"THE Scottis peple," says
Bishop Leslie, writing towards the end of the sixteenth century, "is diuidet
in thrie ordouris; ane, of thame quhais pietie and hett studdie of religione
had addicted themselves planelie to serue the Kirke; the secunde, of thame
quhais nobilitie and hienes of blude hes placed (them) in the secunde degrie
of the commoune weil; the thrid, of thame quhome the tounes accnawleges
among thame to be frank and frie." In the political development of the
country each of these orders, or estates, exercised in turn a predominating
influence. It was the nobility whom the earlier Jameses had to conciliate,
and whose support had to be secured when a national policy was to be carried
out. But so heavy were the losses sustained by the nobility at Flodden that
from that time the balance of power passed into the hands of the Church.
This position of influence the Church made use of to encourage James V in
his adhesion to the French Alliance and the Catholic religion. As time went
on, however, the popular revolt against the abuses and exactions of the
Church was reinforced by a growing recognition of the fact that England,
rather than France, was designed by nature to be Scotland's ally. The
pressure of such great questions as these on the minds of the people, and
the groping for practical methods of settling them, helped to train and
educate them for the influence and responsibilities to which they were
destined in turn to succeed when the Reformation deprived the Church of Rome
of her temporal power in Scotland. It was in 1572 that Sir Henry Killigrew,
the English Agent in Scotland, recorded his often-quoted observarion as to
the nobles and burgesses "taking more on them," and from this time forward
it was with the "Estaite of the Commoune Peple" that the Scottish monarchs
had to reckon.
In the preceding lectures we
have considered the homes of the first two of these three orders, examining
the castle of a feudal lord in the fifteenth century, and the manse of a
Pre-Reformation priest in the sixteenth. It is fitting that we should now
turn to the homes of the burgesses, of whose rise to influence and of whose
advance in domestic comfort the records of the time supply clear evidence.
Let us glance, therefore, for a few moments at the domestic surroundings of
Frances Spottiswood, a cloth merchant who died in Edinburgh about 1540. One
incident of his career is recorded, and is worth mentioning because of the
picture it calls up of a sight which often met the eyes of townsmen in those
unsettled times. He is named in the Edinburgh Burgh Records as one of a
small group of citizens who, in 1521, appeared before a notary and formally
protested against the "takin doun of the ii heids of the chalmerlane and his
brother of the tolbuth end," and refused to be responsible for the
consequences of the removal of those ghastly trophies.
The merchant's booth, where
he plies his trade wearing a brown doublet with scarlet hose, and girt with
a silken belt from which hangs a purse with gold tassels, occupies the
ground-floor of his house, and the entrance to the dwelling-house above is
by an outside fore-stair. Ascending these steps we find ourself in the hall
or principal room, where an arras "hingar" or hanging covers one wall, and
the long table has a covering which is also of tapestry. The lower half of
the two small windows is shuttered instead of glazed, and in the shutters
oval holes are cut to allow the occupants to thrust their heads through and
watch the street life below. The merchant's own chair stands at one end of
the table, while there is a form for his wife and young son. At one side
stands a double counter, and on this may be set out some of the larger tin
dishes and, more prominently placed, a silver maser, a silver "piece" or
cup, and a silver salt-cellar enriched with gold. These and a set of a dozen
silver spoons testify to the burgess' prosperity. The smaller trenchers and
other tin dishes are kept in a vessel-aumrie, where also are folded away the
dornick tablecloth, napkins and towels. The furniture is not of a merely
rough and utilitarian kind, for there is a carved oak meat-aumrie and an oak
settle also richly carved. Here too is kept his "stand of harness" or suit
of armour, with a jack and steel bonnet and a two-handed sword; for a
merchant or craftsman had to be a good man at arms, and was required to be
ready to take his part in defending the community from violence. Belongings
of a more personal kind are an ivory stamp or seal tipped with silver, a
gold signet ring, an ivory rosary and a gold pendant in the form of a head
of St. John.
Adjoining the hall is the
bedchamber, where there is a large stand bed fitted with curtains of, "say,"
a serge-like cloth sometimes containing a little silk, and a bedcover of
arras; while a "futegang " or step was arranged by the side of the bed.
There is also a press containing two closed receptacles in which clothes can
be laid, and, as further provision for clothes and bed-linen, a large "schryne"
or box, and a travelling chest which may have accompanied the cloth-merchant
on his visits to Flanders. A sponge and comb are mentioned, the sponge here
meaning a brush, and a towel hung on a pin on the wall; the only basin
mentioned is "ane hali waster fat" or holy water basin. Along with these
there is a mirror—perhaps the earliest mention of a mirror as a piece of
bedroom furniture in Scottish records. A spinning-wheel and implements for
wool carding tell us of the home employments of the merchant's wife, who
seems to have been considerably younger than her husband, for after his
death at a good old age she married again.
Among other significant
possessions of Spottiswood were a horse with a plough, "ane par of harrowis,"
a cart and sledge and other agricultural implements. These remind us that
the towns were still rural communities largely dependent on the cultivation
of the "town acres" on their outskirts, and the cloth-merchant had no doubt
an allotment of the common land on the usual nineteen years' lease.
In the booth below there is a
low curtain of arras used to partition off part of the room, a "burd till
lay claith apone" and other suitable provision for his trade, including a
wardaumrie and several chests for storing goods. There are also three items
of more artistic interest. The first of these is a painted and gilded image
of Our Lady. The second is described as "Sanct James Staf with ane slap." A
slap, or slop, ordinarily means a riddle or sieve, but seems here to be
applied to the reticulated form of wallet associated with the staff which is
the emblem of St. James the Greater. The patron saints of the various gilds
varied in different towns, but St. James does not seem to have been
associated with any of the Edinburgh trades, St. John the Baptist, whose
head Spottiswood wore as a pendant, being the patron of the tailzeours.
There was, however, an altar to St. James in St. Giles' Cathedral, and this
was under the charge of the Provost, Bailies and Council of Edinburgh, and
the emblem may have been carried by Spottiswood in the town processions.
The third, and most
interesting, item is ane hingand brod of oley cullouris."This cannot have
been a signboard, as though trade signs of various sorts were in use even in
the fifteenth century, boards with signs painted on them were unknown till
early in the seventeenth. "Brod" is the word regularly used for a picture.
We read, for instance, in the royal inventories, of the "brod of the pictour
of the Quene Regent brocht out of France," and of "aucht paintit broddis,
Doctouris of Almaine " (1561). The "brod of oley cullouris," then, seems to
have been a picture, and it is interesting as a very early instance of the
possession of an oil painting in a private house in Scotland. The portraits
of James III, still in Holyrood, of James IV, attributed to Holbein, and
even that of James V, in the possession of the Duke of Devonshire, were all,
of course, painted before this date; and there are many early references to
painting. On examination, however, these will be found to apply to something
other than pictures in oil colour. Thus, in 1450, St. Salvador's College at
St. Andrew's had a "new paynted clayth of Sant Lorans, abwn St. Michaellys
alter," and many similar entries might be quoted. But these were painted
hangings intended as substitutes for tapestry, and they were painted not in
oils but with pigments soluble in water. Such hangings are referred to in
Shakespeare's Henry IV, where he speaks of "Slaves as ragged as Lazarus in
the painted cloth." Another set of early references, such as that to David
Pratt, who painted the altar at Stirling in 1497, and another which speaks
of "ane ymage of St. Katryn, new pantyt be the Prouest" in 1450, may also be
set aside. It would be pleasant to conceive a Scottish Provost spending
cloistral hours in executing a primitif portrait of St. Catherine, but it is
likely that his actual work consisted in recoating with rather gaudy colours
a carved figure of the saint. But Spottiswood's brod was a picture in the
modern sense, and it is likely that he may have acquired it himself in
Flanders, and may thus have been one of the earliest, if not actually the
first, private patron of the art of painting in Scotland. The interest that
the early merchants had in the fine arts may be traced in Wedderburn's Compt
Buik, where we find him noting that "John Meill has promyttit a fyn gilt
brod with a pictour, how sone he passes to France," and, on another
occasion, that "Thomas Young is awin me z payntit brodis ouergilt at his
hame-cuming from Flanders." The taste for pictorial art soon began to
diffuse itself, and in 1585 a Dutch painter called Adrian Vanyone was made a
burgess of Edinburgh "to be employed in his craft in the town and to
instruct apprentices."
Such a house as we have been
examining is interesting because it affords a glimpse of the home life of
the burgher class which was to produce such men as Robert Gourlay and George
Heriot. It enables us to see why it was in the homes of the burgesses,
rather than in the castles of the nobles, that the way was being prepared
for the great changes in domestic life that were to be introduced in the
reign of James VI. The burgess lived in a comparatively small house with his
own family, and only one or two servants or apprentices to complete the
household. In these conditions the transition towards the modern conception
of a life of domestic privacy was easier and more natural than among the
nobles, living with considerable retinues in their mediaeval castles, and
maintaining a certain state which tended to perpetuate the feudal tradition.
Spottiswood's house, consisting of only two or three rooms, is furnished
with a sense of the artistic value of furniture in adding a beauty and
dignity to home life; and such a sense is not often found in the castles of
the time. The silver spoons and vessels, the napery and toilet accessories,
all point to a certain fastidiousness in the details of indoor life, and an
exacting standard in these matters was more easily acquired in the towns
than in the country. The burgesses too were in closer touch with the
refinements introduced by foreign trade, and had opportunities of picking up
novelties and improvements in the equipment and arrangement of the house
which were slower in reaching the nobles in their country homes ; while the
freer intercourse of town life led to the circulation of new ideas and the
rapid adoption of new fashions. Finally, the prosperous tradesman had this
advantage over the nobles, that he had a command of money which enabled him
to indulge and cultivate his tastes and so, thanks to his foreign
connections, to become a pioneer in introducing works of art and other
products of countries whose civilisation was more advanced.
The mirror already spoken of
is probably an instance of the additions to domestic convenience introduced
by the burgesses. Mirrors are mentioned as having been bought for the King
in 1503, but one of these was "bocht at the cremare," that is from a pedlar,
and another picked up in Dumfries for eightpence, so that they appear to
have been cheap trifles hawked about the country. They were probably curious
toys rather than satisfactory reflectors. It is not till 1578 that we find
mirrors mentioned in the royal inventories, Queen Mary having "ane fair
steill glas" and a small faceted mirror described as "ane uther less,
schawing monie faces in the visie." In the following century, when they came
into more general use, they were known as "keiking glasses"—a name which
suggests that they were still only of small size and perhaps that their use
was still rather furtive and occasional than established by custom. The old
song says
Sweet Sir, of your courtesie,
When ye come by the Bass then,
For the love ye bear to me
By me a keiking glass then!
The use of clocks in the
house is also due to the middle-class townsmen, who were the first to feel
the need of punctuality in keeping appointments and in regulating their
business. Even the alarm clock existed in Scotland as early as 1564, when
the good ship Neptune arrived at Burntisland, having on board, among other
goods said to have been taken "in piracie," "ane litill knok with ane
walknar (wakener) ouregilt." Other novelties which appeared about that time
were introduced through the Court, whose relations with France kept it in
touch with the latest developments there. Fans, for instance, were used by
Queen Mary, and they are described as "culing fannis of litle wandis," while
a forerunner of the modern parasol may perhaps be found in "ane Title
cannabie of crammasie satyne of thrie quarter lang, furnisit with freinyes
and fassis (fringes and tassels) made of gold and crammasie silk ; monie
litle paintit buttons; all seruing to bear to mak schadow befoir the Queen."
Other familiar articles that first came into use in the sixteenth century
include shoehorns, then called shoeing horns, which are mentioned in 1522;
and glass vessels and cups, which, though still a rarity, are referred to
in1526. Among certain small gear in a great box belonging to a burgess of
the "nobill burgh of Abirdene" we find "spectikyllis" named in 1546, but
these were probably in use a hundred years earlier, as we know them to have
been in England.
An inventory of the
possessions of Sir David Lyndsay, of the Mount, is preserved in the Register
of Acts and Decreets, and it has some interesting features. Among his
silver, for instance, we find "ane dusoun of silver spunis havand the armis
of the said umquhile Schir David thairon," perhaps the earliest record of a
private owner having his silver so marked. Heraldic zeal, however, need not
surprise us in one who was Lyon King of Arms and author of the Register of
Scottish Arms. Even more interesting is the fact that he left "ane byble in
Inglis," for Lyndsay, though a reformer with a singularly unbridled tongue,
died within the communion of the Church. Many English versions of the Bible
had been published before Lyndsay's death in 1555, but it was not till
twenty-four years later that the first version printed in Scotland, by
Bassendyne and Arbuthnott, was issued. And though the Edinburgh Town Council
decreed in the following year that all "substantious houshalderis" must have
a Bible in their houses, it is not till early in the seventeenth century
that we find them appearing as usual family possessions.
That native wood-carvers were
to be found in Scotland even before the close of the fifteenth century is
shown by the accounts for the work done at Stirling Castle. Payments are
entered as made "to Dauid, kervour, in erlis for the gallory quhilk he suld
mak for x merkis" and "to the kervour that took in task the siling of the
chapel." The fact that the panelling or "siling" was entrusted to a carver
seems to show that it was definitely artistic work and not mere carpentry.
But such work was confined for the most part to ecclesiastical interiors.
The scarcity of oak, apart from other causes, made domestic panelling much
less common than in England. "Syllit chalmers" were often rooms whose walls
or roofs were merely faced with boarding. Even as late as 1622, when the
standard of domestic decoration had advanced considerably, the Englishman,
John Ray, wrote,
"In the most stately and
fashionable houses, in great towns, instead of ceiling, they cover the
chambers with firr boards, nailed on the roof within side." And, indeed,
this squalid fashion may be seen to this day in some of our important
Scottish Castles.
In many a church, however,
there was woodcarving of a more or less ambitious kind, which kept a certain
technical standard before the eyes of the people. The screen and stalls of
King's College, Aberdeen, and the stalls in Dunblane, to name two instances
which have survived the iconoclasm of the Reformers, and the elaborate
gallery in Pitsligo Parish Church, erected in 1634, show that both before
and after the Reformation there was no difficulty in providing Scottish
buildings with woodwork which was both capably designed and competently
executed.
The principal example of a
Scottish domestic ceiling panelled in oak is the gallery at Crathes Castle.
Of panelled walls there are naturally more frequent examples, but early
specimens have often been mutilated as a result of their having been moved
from one house to another, and ruthlessly cut to adapt them to their new
situation. One fine piece of early panelling latterly formed the partition
of a cowhouse; and at Inverugie Castle a carved and gilded heraldic panel
was found serving as part of a pig-trough!
Panels decorated with the
"linen-fold" and the "parchment" patterns, both late Gothic types of
ornament, are not unusual in Scotland. We also find examples of a type of
panel carved with a floral design, a good specimen of which is the set of
panels from an old house in Montrose, and now the property of Mr. P. W.
Campbell, W.S. (Plate IV). The panels are believed to be the remains of a
set of twenty-two, and they are supposed to be part of the fittings of Abbot
Panter's Hospital, which was built in Montrose in 1516. The designing of the
various subjects is well done and shows a certain resource in adapting the
plant forms to the spaces to be filled. Yet the work has a somewhat sturdy
and heavy-handed quality which suggests that they are rather the work of
some honest Scot, discovering and, on the whole, surmounting the
difficulties of design, than of a foreign workman with all the experience of
the Flemish gilds at his finger ends. As to the date, the carving might pass
for fifteenth-century work, but the panels in which monks are satirically
represented as foxes and swine probably point to a date nearer that of the
Reformation. The mouldings, cut in the solid wood of the framework, and
intersecting so as to form mitres at the upper corners, but abutting on the
rail at the bottom, support the later date, and suggest that the work may
not be earlier than the second quarter of the sixteenth century.
Along with these panels there
was found a door containing panels of similar design and workmanship, but
separated by stiles ornamented with niches and representations of traceried
windows. The mouldings are treated in the same way as in the panelling, and
it is evident that doors and panelling were originally in the same room.
At Ethic Castle there is a
cabinet associated with the name of Cardinal Beaton, who is said to have
lived there after succeeding to the Abbacy of Arbroath ; the doors forming
the front contain panels of very elaborate Gothic tracery. This is similar
to the tracery found in French furniture of the end of the 'fifteenth
century, though the horizontal openings in the upper panels of the right
hand door are very unusual.
Of a totally different type
are some panels which belong to Mrs. Dunn, Castledouglas, whose father, the
late Mr. Joseph Train, F.S.A. (Scot.), left a MS. note in which he says that
these panels were part of a "massy oaken bedstead well authenticated to have
been the principal one of the Castle of Threave, and said to have been that
of the Black Douglas himself. It is one of the old closet kind of bed." As
the figures wear costume of the sixteenth century, the association with the
Black Douglas may be dismissed. Unfortunately the carved work has been made
up into a piece of furniture which is altogether incongruous with the age to
which the carving belongs. These figures, however, though of a rather rude
type, are extremely spirited, and they show us performers on the bagpipes
and the fiddle, as well as archers, dancers and other types of the time, all
represented with a certain alertness of observation and with considerable
humour. The door from Amisfield Castle is said to be of the same type of
work, but this cannot be verified till the National Museum of Antiquities
has its exhibits restored to it. If true it seems to point to the existence
of an untrained native artist in Dumfries and Galloway in the sixteenth
century, whose work was highly unconventional and whose verve and animal
spirits we can still appreciate.
At Balfour House, in Fife,
there is a set of panels, which is of greater artistic and historical
interest than any of these. There are eight large panels, extending across
the end of a large room, where they have been placed above the level of the
doors. They are evidently of Flemish workmanship of the end of the first
quarter of the sixteenth century, and they are excellent specimens of
medieval woodcarving of a very rich and accomplished kind. The first panel,
on the left, shows the Annunciation, the Virgin kneeling at a "lettron" (lutrin),
overwhelmed by the angel's message ; the pot of lilies, the descending dove,
and some Gothic scroll and canopy work complete the decoration of the panel.
Next comes a panel whose subject is the "Jesse tree." Jesse is shown
recumbent below, while from him springs the tree bearing his descendants and
culminating in the Virgin and Child at the top. The third is a sacred
heraldic panel, the shield being charged with the emblems of the Passion,
while two angels act as supporters; on the helm is the crown of thorns; the
scourge, the crowing cock and other emblems occur in the crest. After this
we have a panel with the arms of Cardinal Beaton and a pastoral staff; and
below are the arms of the Cardinal's father, John Beaton, and his mother,
Elizabeth Monipenny, of Kinkell, the whole surrounded with a beautiful
design of pomegranates. The fifth panel is carved with the Scottish arms,
beneath which a thistle is introduced between the supporters. The sixth and
seventh have decorative designs of various plant forms, among which the rose
and the thistle are employed; while the eighth panel is ornamented with an
arrangement of carved bosses with heraldic and other motives.
The wood carving, as well as
the designing, is of a high standard, such as was secured by the strict
control exercised by the Flemish gilds over the work turned out by their
members. The work, has of course, been executed in accordance with
specifications supplied by Beatoun, and the heraldic details and the
Scottish emblems employed in the decoration give it a personal and national
character.
The use of the pastoral staff
in the fourth panel shows that the panels were executed before 1537, when,
as Bishop of Mirepoix, Beatoun became entitled to display the crozier
instead of the humbler emblem. As Abbot of Arbroath he had the right to the
pastoral staff from 1524, and it is probable that the work was commissioned
by him shortly after his appointment. The tradition in the family was that
the panels had been " in the form of a canopy," and that they had formed
part of the Cardinal's stall at Rome, though it was evident to the later
descendants that the connection with Rome could not be seriously maintained.
There can be little doubt that they were part of the decoration of a series
of stalls in Arbroath Abbey, and were originally surmounted in the usual way
with overhanging canopies. The bosses on the eighth panel, which is not one
of the original set, have probably been taken from the carved canopies which
formerly topped the stalls. It is worth noting that there are seven of these
bosses, corresponding to the number of the other panels, and the larger size
of the central boss may imply that the panel bearing the Scottish arms
occupied the central position in the original arrangement. The present
arrangement is that which was made about 1670, when the panels were removed
from their canopied setting and disposed on the wall so that the more
interesting panels are next the light. Even as we see them to-day they are a
most interesting survival of the "excellent work" which beautified the
sacred buildings of Scotland, and of which so little survived the latter
half of the sixteenth century, when they "broke down the carved work thereof
at once with axes and hammers."
The art of ornamental
needlework, or embroidery, is of very early origin, and it was no doubt in
use in Scotland, though in comparatively rude forms, long before we have any
record of it. By the fifteenth century it was a well-matured art, employed
in decorating costume, curtains and draperies of all sorts. An embroiderer,
called a browdstar, brusoure or brodinster, was one of the regular servants
of the royal retinue,rand many noble families also had their own
embroiderers. The royal browdstar's duties included keeping the chapel
vestments in order, making good the wear and tear of the tapestry hangings,
and doing such odd jobs as "making a chamlot bag to the King," for which "Gely
brousoure" was paid six shillings by the Lord High Treasurer in 14'74. His
services were valued at twenty pounds for three terms, and he was supplied
besides with the necessary materials for his work. In the inventory made in
1488 of the effects of King James III, particulars are given of the drapery
of a bed, consisting of covering, roof and pendicles, or curtains, all made
of "variand purpur tartar, browdin with thrissillis and a unicorne" which by
the way is perhaps the earliest reference to the thistle as the Scottish
national badge or emblem. Such work as this no doubt fell to the royal
embroiderer, with occasional trained assistance for special work; and the
enrichment of such bed-hangings, cloths of estate, and the royal robes and
chapel vestments must have called for a high standard of workmanship as well
as for untiring industry.
It was in ecclesiastical
ornament, however, that needlework found its most elaborate development, and
it was probably in it that "ymagerie," or pictorial representation, was
first employed. In 1450 the High Altar at St. Salvador's College, St.
Andrews, had a "blew claith wellowis (velvet) browdyn with ymagis abuff the
altar," and a similar cloth under the altar (a nether frontal), "brusyt with
thre ymages of gold"; while among other "claythis for the kyrk" there was "ane
frontale of clayth of gold contenand the xii Appostilis."
When, in the sixteenth
century, it became usual to panel the principal rooms in important houses,
and tapestry passed into temporary eclipse, the change soon led to a new
development of the embroiderer's art. The occupants of such rooms, we may
conjecture, began to find that, with all the practical advantages of
panelling, rooms so treated were somewhat dull and cheerless to live in.
Tapestrie chambers had not only been rich in colour, but they had appealed
to the imagination of those who lived in them by the romantic suggestion of
the stories that they pictured. All this was gone, and people looked back to
the brightness and poetry of the fashion that had been displaced. No doubt
when the Reformation led to the churches being despoiled of their richly
embroidered cloths and vestments, many of these found their way into private
houses and were used to relieve the sombre austerity of panelled rooms. The
same movement, however, had deprived the professional embroiderers of the
principal outlet for their most important work. And it is hardly fanciful to
suppose that these conditions explain the introduction of pictures stitched
in coloured wools and silks, and representing biblical and romantic stories,
which came into fashion towards the end of the sixteenth century. 'These
pictures are generally small in scale, being often worked on horizontal
lengths of canvas measuring about 22 inches in height. The length of the
various pieces composing a set often varies considerably, and this suggests
that they were hung in sequence, as a sort of running frieze, at a suitable
level on the wall, and that the length of the separate pieces may have been
determined by the width, of the wall-spaces they were intended to occupy.
The work is done in petit point, consisting of small diagonal stitches
corresponding to the mesh of the canvas on which they are sewn. In most
cases there are about seventeen or eighteen stitches to the vertical linear
inch, and rather fewer, say fourteen to seventeen, to the horizontal inch.
An interesting fact has been noted by Mr. C. E. C. Tatersall, that where two
members of the design are intended to be of the same size, they correspond
in actual size rather than in the number of stitches ; from which it would
seem that the design has been drawn on the canvas, not copied by a count
from squared paper, as is done to-day.
It was probably by women, who
spent so much of their time indoors, that the want of such pictures was most
felt, and much of the work itself was well fitted to appeal to the taste and
domestic industry of women, even if they had not the trained capacity of the
professional embroiderers. Catherine de Medici in France, Queen Elizabeth in
England and Queen Mary in Scotland were all accomplished workers at
embroidery. Whether any one of them was capable of producing petit point
panels of romantic figure-subjects with backgrounds rich with ornamental
gardens, architecture and every kind of animal life, is questionable.
Certainly from the point of view of design, these panels were beyond the
capacity of even talented amateurs. But Catherine de Medici, who, as
Brantome tells us, used to work at her silk embroidery after dinner, had her
work designed, and probably supervised, by Frederic de Vinciolo, who is
described as "dessinateur des plus renommes pour broderie." As for Queen
Mary, a letter (July, 1557) from Sir Nicholas Throkmorton to Queen
Elizabeth, whose emissary he was, describes a visit to the Queen of Scots
shortly after her imprisonment in Loch Leven, and mentions that she had
applied for "an imbroderer to drawe furthe such works as she would be
occupied about." Whether this request was granted does not seem to be
recorded. The request shows her dependence on a professional designer. We
learn from a French source, however, that among the servants who were taken
from her by Sir Amyas Poulet in 1587 was "son brodeur, Charles Plouvart."
And looking for confirmation of this to the list preserved in the State
Papers concerning Queen Mary (No. 378) of the servants to whom passports
were issued on their repatriation, we find the name of Charles "Plonart,"
probably a mistake for Plouart, the nature of whose service however is not
there specified.
So deeply has the popular
imagination been impressed by the romantic story of Queen Mary spending the
bitter hours of imprisonment at her embroidery, that there is a tendency to
attribute to her, or at least to associate with her, any piece of early
embroidery that has come down through several generations of a Scottish
family. One piece of work which has been exhibited more than once as
belonging to, if not worked by her, is plainly of the time of Charles I; and
even much later pieces than this have been attributed to her. All such
attributions should be suspected, and the intrinsic and documentary evidence
carefully examined.
One specimen of her work
whose authenticity can hardly be doubted is preserved at Hardwick Hall
(Plate VII). The spaces formed by the interlacing design are filled with the
Lily of France, the Thistle of Scotland and the Rose of England, while on
the round panel in the centre the letters of the name Maria have been worked
into a monogram and are surmounted with a crown. While the design is a
simple one and hardly beyond the power of an amateur designer, there are one
or two features—such as the little spiral which occurs between the
reticulations—which may point to a more experienced hand, possibly that of
Plouvart. Another panel in the possession of the Duke of Devonshire which is
attributed to Queen Mary bears in the centre a scutcheon with the arms of
Lady Shrewsbury, the well-known Bess of H-Iardwick, in the custody of whose
fourth husband Mary was placed. Round the scutcheon, whose length seems to
have been added to as if by an afterthought, there is a well-distributed
verdure pattern, the leaves and flowers being comfortably adapted to the
broken outline of the cartouche in which the scutcheon stands.
From embroidered work of this
kind it is a far cry to the petit point hangings in which all the
significant episodes of some romantic story are set forth, the figures
wearing contemporary costume and decked with jewels and sumptuous patterned
fabrics, and the whole drama set in a background in which every curiosity of
nature and art is employed to enrich the effect of the whole. Such work must
have taxed the skill of the most expert professional embroiderers. Consider
the difficulty, for instance, of interpreting with the needle an intricately
brocaded silk or velvet draped in folds on a figure in action, where the
pattern is constantly broken and distorted by the folds of the drapery, and
the colours of the materials have to be perpetually modified to express the
light and shade of the puckered fabric. Work so complicated must have
demanded not only a highly cultivated sense of drawing, but also an
undivided and concentrated attention in carrying out the design, which could
hardly have been expected of Queen Mary, with so many sad and anxious
thoughts to muse over as she plied her needle.
Two petit point panels which
were acquired by Sir Noel Paton at the Murthly Castle sale are now in the
Royal Scottish Museum. They are said to represent (a) Solomon and the Queen
of Sheba, and (b) Queen Elizabeth receiving an Embassy with a Proposal of
Marriage from Philip II of Spain (1559); the two panels are of the same
height, and though one is some eight inches longer than the other the
composition is so similar that they appear to be intended as a pair, in
which case the subjects are rather oddly assorted, and the smaller panel
perhaps represents some sixteenth-century historical subject.
The panels mounted on a
screen and representing the Story of Rehoboam have been exhibited on several
occasions since they came into the possession of Mr. Scott Moncrieff's
family. These hangings were very naturally identified with the set,
illustrating the same unusual subject, which appears in the inventory made
in 1561 of effects belonging to Mary of Guise, and also in the list of goods
handed over to James VI in 1578. Investigation, however, showed that a
Rehoboam set was recorded in the earlier inventories of 1539 and 1542, and
Mr. Scott Moncrieff at once recognised the probability that Mary of Guise's
set was the same as that mentioned in the earlier documents, as existing at
a date clearly too early for the costume in his own set. He also made a
detailed inquiry into the costume in his set, and reached the conclusion
that it was probably of a date later, though not much later, than 1561.
There is another point. The Rehoboam hangings in the royal inventories are
grouped with many others as "Tapestryis," a term properly applied to woven
hangings ; and it appears very unlikely that, especially in the Scottish
Court, whose vocabulary in such matters closely followed the French usage,
small embroideries sewn with the needle would be so described. No doubt the
word tapestry was used with a certain latitude, for we read of "ellevin
tapestrie of gilt ledder"; but where woven tapestry was not intended, I
think the distinction would be clearly expressed. That the tapestries in the
royal inventories were hangings of considerable size is further shown by the
fact that many of them were eventually made down into bedcovers and
bed-curtains, as appears in the list of beds handed over to James VI as "pertening
to his hienes' derrest moder."
But though it would have
added a historical interest if these hangings could have been identified
with the tapestries which belonged to Mary of Guise, still their beauty and
interest are inherent and do not depend on documentary evidence. They are
undoubtedly of the period of Queen Mary. They came into the present owner's
family in 1692, having previously belonged to another Scottish family, so
that their early association with Scotland is undoubted, and is confirmed by
the use of the thistle as a piece of decoration in the uppermost panel. The
number of Scottish houses in the sixteenth century likely to have such
finely wrought embroideries was limited, and when we reflect that the story
of Rehoboam is one that deals with a royal house in its relations to changes
in the national faith, it is by no means improbable that the hangings may
have had some connection with Queen Mary, whom such questions of royal
policy so closely affected.
Another set of petit point
hangings traditionally attributed to Queen Mary is that belonging to the
Earl of Morton; and its uninterrupted ownership, from the sixteenth century
to the present day, by Regent Morton and his descendants might well seem to
support the tradition. But, in the first place, it is impossible that work
of such rare beauty and such intricate richness could have been produced by
Mary and her ladies, and above all at Loch Leven where there was no artist
to execute the design. Mary was only eleven months in Loch Leven. By June,
1568, she had left Scotland. Though it is extremely difficult to deduce an
exact time from costume, still the costumes in these hangings appear to be
later, rather than earlier, than 1568 ; and if this is so they are hardly
likely, supposing them to have been worked by Queen Mary, to have come to
Scotland and into the hands of Regent Morton. (Plate VIII).
But there is one line of
investigation which might lead to interesting results. While most of the
petit point hangings of the period have a strong resemblance to each other
in their general character, one finds on comparison that the various
examples differ from each other just as sharply as do, for instance, the
drawings by different artists in Punch. After careful examination of a large
number of such needlework hangings I have found none comparable in
draughtsmanship, in the expressive grace and romantic dignity of the
figures, and in the resourceful inventiveness of the garden background, with
Lord Morton's set. So remarkable are these qualities that one asks who there
was among contemporary artists who could have produced such work? And one
.remembers the name of Nicholas Hilliard, goldsmith and portrait painter to
Queen Elizabeth, of whom Donne wrote:
A hand or eye
By Hilliard drawn is worth a historye
By a worse painter made.
I do not know that there is
any evidence that Hilliard designed for embroidery, but it is quite likely
that the members of the Broderers' Company, incorporated by Queen Elizabeth
in i61, may have applied to the leading artists of the time to supply
designs for the petit point panels that just then came into fashion.
Hilliard has left a considerable number of miniatures, and there is a couple
of drawings by him at the British Museum, one of which is the design for the
Great Seal of Ireland; but there is nothing in these to justify one in
attributing the design of the Morton hangings to him. One of the best known
of the miniatures is that representing George Clifford, Earl of Cumberland,
as Queen's Champion; and in this the Champion's scutcheon bears a device
consisting of a globe, representing the earth, between a sun "in his
splendour"—that is surrounded with rays—in the upper part of the field, and
a moon and stars in the lower part. This may be some flattering allusion to
Elizabeth, and it is worth noting that the seated figure, which might well
be a portrait of Queen Elizabeth, in the central panel of Lord Morton's
hangings, wears shoulder pieces showing the device of a sun in his
splendour. In connection with this figure and its garden surroundings we may
recall Hilliard's description of how, when he "first came in her Highnes
presence to drawe," the Queen, in order to avoid all shadows on the face "chosse
her place to sit in . . . the open ally of a goodly garden, where no tree
was neere, nor anye shadowe at all." If these hangings should represent a
series of scenes in some masque written in honour of Elizabeth and perhaps
acted at court, it might well have been depicted by Hilliard as painter to
the Queen. There are passages in his Arte of Limning in which Hilliard makes
it plain that designing of this kind was known to him, though he does not
explicitly say that he practised it. He naturally, as a miniature painter,
claims a higher place for that art "as a thing apart from all other painting
or drawing, and tendeth not to comon mens vsse, either for furnishing of
howsses or any patternes for tapistries"; and elsewhere he speaks of
portraiture as a thing "which indeed one should not atempt vntill he weare
metly good in story work." It is a fair inference that he had some
experience in designing such story work as is exemplified in these hangings.
Hilliard devoted much
attention to the rendering of jewellery, and in this respect and in all the
opulent detail with which every inch of the hangings is covered, the design
might very well be that of a goldsmith. But besides such general
considerations there are historical facts which seem to support the
hypothesis of his connection with this piece of needlework, or which at
least make such a connection plausible. In the course of a search into the
beginnings of industrial enterprise in Scotland I chanced on this curious
and interesting fact, which seems to have escaped the notice of Hilliard's
biographers. In the year 1580 a company of adventurers came to Scotland
'with the object of working gold mines in Crawfurd Muir, Lanarkshire, where
alluvial gold had been found by earlier enthusiasts. The head of this
company was Nicholas Hilliard, who had with him Arnold Bronkhorst, a Flemish
painter, as his assistant. It was to Regent Morton that application had to
be made for a patent to work the mines, and it seems probable that the
applicants would come bearing gifts for those whose favour had to be won.
What more likely than that Hilliard should bring a set of these hangings,
which were the latest fashion in the great English houses, and which were
easily packed up and carried?
Regent Morton refused to
grant the concession, although we are told that "the said Bronkhorst became
a suitor at least for the space of four months and did not prevail unto
this day." Hilliard had meanwhile returned to England having " lost all his
chardges and never since got any recompence, to Mr. Hilliard's great
hinderance, as he saith, who yet liveth, and confirmeth the same." So Steven
Atkirson tells us in his Discoverie and Historie of the Gold Mynes in
Scotland, published in 1619, the year of Hilliard's death. Bronkhorst, he
says, "was forced to become one of his Majestie's sworne servants at
Ordinary in Scotland, to draw all the small and great pictures for his
Majesty"; and an original precept at the Register House, signed by James VI,
records payment to him for two portraits of the King and one of George
Buchanan, with an additional one hundred marks "as an gratitude for his
repairing to this countrey."
This story of the gold-mining
adventurers at least suggests, as an alternative to the Loch Leven origin of
the hangings, which is improbable on account of dates, how this romantic
piece of needlework may have come into the possession of the family of Lord
Morton. Whether it was designed by Hilliard himself cannot meanwhile be
proved. The evidence of the miniatures does not support the ascription,
though it is difficult to argue from portrait miniatures, where the artist
is closely tied to the realities of his sitters, to storied design, where he
is free to indulge his personal conceptions of ideal beauty. One clue that
might lead to an identification of the designer is the treatment of the
hands, which is very distinctive. The fingers are shown as curved and
separated, each with its own action, and the forefinger having more upward
spring from the knuckle than the others. There is a set of three small
panels at the Victoria and Albert Museum where there is a somewhat similar
treatment of the hands, and some of the men's heads are not unlike those in
Lord Morton's panels. But the museum set lacks the elegance of drawing and
the expressive beauty of the figures in the set we have been examining. |