OF SIX MEDIÆVAL WOMEN
there, mention is made of four figure-pictures, one of which is said to have been of Roman workmanship, and round in form—certainly, as far as is known, a rarity at that time. We also find a record of finely wrought embroideries and tapestries on the walls, and of windows painted either with armorial bearings and figures, or with simple foliage like the delicate ivy and hawthorn to be seen enriching the pages of Books of Hours of the fourteenth century. Special mention is made of a window, evidently over the altar in the private Chapel, in which was represented the Crucifixion. In the large hall were tables on trestles, easily removed before the dance began or minstrels or jugglers displayed their skill, dressers to hold the gold and silver plate and from which to serve the banquet, and settles with footboards so necessary when the rushes were only renewed at lengthy intervals. But if the hall was somewhat sparsely furnished, its ceiling and walls (the latter on occasions hung with embroideries carried from castle to castle as the Countess journeyed) were made bright with colour, and beautiful with design. How bright, and how beautiful, we can infer almost with certainty from examples in the Castle of Chillon of thirteenth and fourteenth century decoration lately rescued from under a coat of whitewash,[1] and from the comparison made by Brunette Latini (1230-1294), in his Tesoro, of the Italian with the French feudal
- ↑ Chillon, Albert Naef, Geneve, 1908.
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