where Percival found the Damosel. If the walls were left bare, they were furnished just below the frieze with an iron rod, whence depended hangings of warm stuff or tapestry. Every castle possessed several sets for each apartment, and the noble on his travels had at least one set of chamber-hangings strapped among his baggage. Nothing was easier than to suspend these stuffs, already provided with their hooks, to the rod and rings prepared to hold them. “One thousand hooks for tapestry,” is a common item in fourteenth-century accounts.[52] The hangings were of plain serge, of worked silk cloth of gold, or “tapisserie de haute lisse,” according to the wealth of the noble or the splendour of the occasion they adorned. In times of mourning the hangings were all black. Such a “chamber,” consisting of wall-hangings, bed-furniture, chair-coverings, cushions, etc., in striped serge, with cord and fringe to match, was supplied to the Lady de la Trémoille in 1396, at a cost of fifty-nine livres--about £240 of our money. As the appearance of the hall could be changed at an hour’s notice on the occasion of mourning or festivities, even the greatest castles had ordinary hangings for common use. King Charles V. possessed no less than sixty-four “chambers,” or complete sets of hangings, in silk, velvet, cloth of silver, leather, embroidery, etc.[53] When Valentine Visconti, Duchess of Orleans, prepared to leave Paris in 1408, a few months before her death, a few months after her husband’s murder, she caused her chamberlain to draw up a list of her furniture, which still exists in the Bibliothèque Nationale. This document (pathetically marked by faded crosses against the names of such objects as Valentine desired to carry with her to Touraine) enumerates more than sixty sets of hangings. In the embroidered curtains, some of the subjects appear astonishingly modern, and indicate a complete mastery of the human figure on the part of the designers. As few persons, I believe, have had the privilege of reading this unpublished manuscript (communicated to me by the late Comte Albert de Circourt). I proceed to quote a few of the more interesting descriptions:-- “2. Bed-furniture of green; the baldaquin is worked with a design of angels; the long curtain depending from the tester behind the pillows represents shepherds and shepherdesses feasting on cherries and walnuts; the counterpane shows a shepherd and a shepherdess within a park; the whole is embroidered with gold thread and with coloured wools. Item, wall-hangings to match. Item, curtains for the walls, without gold, and three smaller curtains of green serge.