century.

[578] See Duchesne's "Historiae Normanorum." Fol. Paris,
1519.

[579] Queen Matilda was not the originator of the idea
that a hero's deeds might be recorded by his wife's
needle. Penelope wove the deeds of Ulysses on her loom,
and it is suggested by Aristarchus that her peplos
served as an historical document for Homer's "Iliad."
See Rossignol's "Les Artistes Homeriques," pp. 72, 73,
cited by Louis de Ronchaud in his "La Tapisserie," p.
32. Gudrun, like the Homeric woman, embroidered the
history of Siegfried and his ancestors, and Aelfled that
of the achievements of her husband, Duke Brithnod. The
Saga of Charlemagne is said to have been embroidered on
twenty-six ells of linen, and hung in a church in
Iceland.

[580] Domesday ed. Record Commission, under head of
Roberte de Oilgi, in co. Buckingham. See also another
entry under Wilts, where "Leivede" is spoken of as
working auriphrigium for King Edward and his Queen.

[581] Canon Jackson, writing of embroidery, says: "That
this was cared for in the great monasteries at this
early date appears from a MS. register of Glastonbury
Abbey in the possession of the Marquis of Bath. It is
called the Liber Henrici de Soliaco, and gives an
account of the affairs of that abbey in A.D. 1189
(Richard I.)." There was a special official whose
business it was to provide the monastery with church
ornaments generally, and specially with "aurifrigium,"
or gold embroidery, on vestments. For this a house and
land, with an annual allowance of food, was set apart.
Another tenant also held some land, to which was
attached the obligation to find a "worker in
gold."--Letter from Canon Jackson to the Author.

[582] See Mrs. Lawrence's "Woman in England," vol. i. p.
360. She quotes an entry from Madox, a sum of L80 (equal
to L1400 of to-day) for an embroidered robe for the
Queen, paid by the Sheriffs of London.

[583] Matthew Paris, "Vit. Abb. St. Albani." p. 46;
Rock, "Church of our Fathers," vol ii. p. 278.

[584] See Mrs. Dolby's Introduction to "Church
Vestments."

[585] Strutt's "Royal and Ecclesiastical Antiquities of
England," ed. mdcclxxiii.

[586] Though the work was domestic, the materials came
from the East and the South; and while the woven gold of
Sicily and Spain was merely bas