ection at the
Pitti Palace in Florence comprises six hundred, while in the Vatican
are preserved the original Raphael tapestries. South Kensington
Museum, too, is rich in interesting examples of various schools.
It is a very helpful collection to students, especially, although
not so large as some others.

In 1663, "two well intended statutes" were introduced dealing with
curiously opposite matters: one was to encourage linen and tapestry
manufacture in England, and the other was "for regulating the packing
of herrings!"

The famous English Mortlake tapestry manufactory was not established
until the seventeenth century, and that is rather late for us. The
progress of craftsmanship has been steady, especially at the Gobelins
in France. Many other centres of industry developed, however, in
various countries. The study of modern tapestry is a branch by
itself with which we are unable to concern ourselves now.

CHAPTER VI

EMBROIDERIES

The materials used as groundwork for mediaeval embroideries were
rich in themselves. Samit was the favourite--shimmering, and woven
originally of solid flat gold wire. Ciclatoun was also a brilliant
textile, as also was Cendal. Cendal silk is spoken of by early
writers.

The first use of silk is interesting to trace. A monopoly, a veritable
silk trust, was established in 533, in the Roman Empire. Women
were employed at the Court of Justinian to preside over the looms,
and the manufacture of silk was not allowed elsewhere. The only
hindrance to this scheme was that the silk itself had to be brought
from China. But in the reign of Justinian, two monks who had been
travelling in the Orient, brought to the emperor, as curiosities,
some silkworms and cocoons. They obtained some long hollow walking
sticks, which they packed full of silkworms' eggs, and thus imported
the producers of the raw material. The European silk industry, in
fabrics, embroideries, velvets, and such commodities, may owe its
origin to this bit of monastic enterprise in 550.

Silk garments were very costly, however, and it was
not every lady in early times who could have such luxuries. It is
said that even the Emperor Aurelian refused his wife her request
for just one single cloak of silk, saying: "No, I could never think
of buying such a thing, for it sells for its weight in gold!"

Fustian and taffeta were less costly, but frequently used in important
work, as also were sarcenet and camora. Velvet and satin