Then he turned his attention to embroideries and to the tapestries that
performed the office of frescoes in the chill rooms of the northern
nations of Europe. As he investigated the subject—and he always had an
extraordinary faculty of becoming absolutely absorbed for the moment in
whatever he took up—he was almost saddened by the reflection of the
ruin that time brought on beautiful and wonderful things. He, at any
rate, had escaped that. Summer followed summer, and the yellow jonquils
bloomed and died many times, and nights of horror repeated the story of
their shame, but he was unchanged. No winter marred his face or stained
his flowerlike bloom. How different it was with material things! Where
had they passed to? Where was the great crocus-coloured robe, on which
the gods fought against the giants, that had been worked by brown girls
for the pleasure of Athena? Where the huge velarium that Nero had
stretched across the Colosseum at Rome, that Titan sail of purple on
which was represented the starry sky, and Apollo driving a chariot
drawn by white, gilt-reined steeds? He longed to see the curious
table-napkins wrought for the Priest of the Sun, on which were
displayed all the dainties and viands that could be wanted for a feast;
the mortuary cloth of King Chilperic, with its three hundred golden
bees; the fantastic robes that excited the indignation of the Bishop of
Pontus and were figured with “lions, panthers, bears, dogs, forests,
rocks, hunters—all, in fact, that a painter can copy from nature”; and
the coat that Charles of Orleans once wore, on the sleeves of which
were embroidered the verses of a song beginning “Madame, je suis tout
joyeux,” the musical accompaniment of the words being wrought in gold
thread, and each note, of square shape in those days, formed with four
pearls. He read of the room that was prepared at the palace at Rheims
for the use of Queen Joan of Burgundy and was decorated with “thirteen
hundred and twenty-one parrots, made in broidery, and blazoned with the
king’s arms, and five hundred and sixty-one butterflies, whose wings
were similarly ornamented with the arms of the queen, the whole worked
in gold.” Catherine de Medicis had a mourning-bed made for her of black
velvet powdered with crescents and suns. Its curtains were of damask,
with leafy wreaths and garlands, figured upon a gold and silver ground,
and fringed along the edges with broideries of pearls, and it stood in
a room hung with rows of the queen’s devices in cut black velvet upon
cloth of silver. Louis XIV. had gold embroidered caryatides fifteen
feet high in his apartment. The state bed of Sobieski, King of Poland,
was made of Smyrna gold brocade embroidered in turquoises with verses
from the Koran. Its supports were of silver gilt, beautifully chased,
and profusely set with enamelled and jewelled medallions. It had been
taken from the Turkish camp before Vienna, and the standard of Mohammed
had stood beneath the tremulous gilt of its canopy.
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