lusion to some event in his career, embroidered, it was supposed, by the hand of his lady-love. A yet more sacred gift was the scarf worn across the shoulder, an indispensable appendage to a knight fully equipped. The emotions of the human soul send an electric current through the ages, and women who during four years of war toiled to aid our soldiers in the great struggle of the nineteenth century felt their hearts beat in unison with hers who gave, with tears and prayers, pennon and scarf to the knightly and beloved hero seven hundred years ago.
Not only were the appointments of the warriors adorned by needle-work, but the ladies must have found ample scope for industry and taste in their own toilets. The Anglo-Saxon women as far back as the eighth century excelled in needle-work, although, judging from the representations which have come down to us, their dress was much less ornamented than that of the gentlemen. During the eighth, ninth, and tenth centuries there were few changes in fashion. A purple gown or robe, with long yellow sleeves, and coverchief wrapt round the head and neck, frequently appears, the edges of the long gown and sleeves being slightly ornamented by the needle. How the ladies dressed their hair in those days is more difficult to decide, as the coverchief conceals it. Crisping-needles to curl and plat the hair, and golden hair-cauls, are mentioned in Saxon writings, and give us reason to suppose that the locks of the fair damsels were not neglected. In the eleventh century the embroidery upon the long gowns becomes more elaborate, and other changes of the mode appear.
From the report of an ancient Spanish ballad, the art of needle-work and taste in dress must have attained great perfection in that country while our Anglo-Saxon sisters were wearing their plain long gowns. The fair Sybilla is described as changing her dress seven times in one evening, on the arrival of that successful and victorious knight, Prince Baldwin. First, she dazzles him in blue and silver, with a rich turban; then appears in purple satin, fringed and looped with gold, with white feathers in her hair; next, in green silk and emeralds; anon, in pale straw-color, with a tuft of flowers; next, in pink and silver, with varied plumes, white, carnation, and blue; then, in brown, with a splendid crescent. As the fortunate Prince beholds each transformation, he is bewildered (as well he may be) to choose which array becomes her best; but when
"Lastly in white she comes, and loosely
Down in ringlets floats her hair,
'O,' exclaimed the Prince, 'what beauty!
Ne'er was princess half so fair.'"
Simplicity and natural grace carried the day after all, as they generally do with men of true taste. "Woman is fine for her own satisfaction alone," says that nice observer of human nature, Jane Austen. "Man only knows man's insensibility to a new gown." We hope, however, that the dressmakers and tirewomen of the fair Sybilla, who had expended so much time and invention, were handsomely rewarded by the Prince, since they must have been most accomplished needle-women and handmaids to have got up their young lady in so many costumes and in such rapid succession.
A very odd fashion appears in the thirteenth and fourteenth centuries, of embroidering heraldic devices on the long gowns of the ladies of rank. In one of the illuminations of a famous psalter, executed for Sir Geoffery Loutterell, who died in 1345, that nobleman is represented armed at all points, receiving from the ladies of his family his tilting helmet, shield, and pavon. His coat of arms is repeated on every part of his own dress, and is embroidered on that of his wife, who wears also the crest of her own family.
Marie de Hainault, wife of the first Duke of Bourbon, 1354, appears in a corsage and train of ermine, with a very fierce-looking lion rampant embroidered twice on her long gown. Her jewels are magnificent. Anne,
