We learn, however, from authentic sources, that the particular manufacture which we call tapestry was invented in Flanders about 1410. Henry, the historian, mentions an attempt to introduce it here in the reign of Henry VIII., and it appears that W. Sheldon, Esq. brought over workmen at his own expense, and employed them in weaving maps of the different counties, of which specimens are preserved to this day. The palace built by Henry VII. at Richmond is said to have exhibited in gorgeous tapestry the deeds of kings and heroes who had signalized themselves by their conquests throughout France. The walls of Hampton Court were likewise hung with tapestry, and the Board of Green Cloth Room, adjoining the Hall, boasts this sumptuous covering to the present day. An old print of the Council Chamber of Henry VIII. represents the apartment lined with tapestry, wrought alternately with roses and fleurs-de-lis, and the throne splendidly embroidered,

The superb effect of tapestry might well be appreciated among the embellished style of the domestic fittings of the reigns of Henry and Elizabeth. In the latter, men in fantastical postures, like morris-dancers, were common patterns for hangings. A foreigner says that the English then made much use of tapestry and painted cloths, well executed and covered with a profusion of roses, fleurs-de-lis, and lions, there being few houses without this tapestry. Hentzner likewise describes the presence-chamber at

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Greenwich as being "hung with rich tapestry, and the floor, after the English fashion, strewed with hay," probably, rushes. We find, however, not only Flemish, but Chinese, Indian, (very scarce,) Turkish, and Tyrian tapestry, whatever it was, all in use here at the same period. A small entrance-chamber in St. James's Palace is likewise hung with excellently wrought tapestry. Windsor Castle had, previous to the recent alterations, many fine tapestries. Thus, the dining-room of the Round Tower was hung on three sides with tapestry, representing the story of Leander and Hero; and the dressingroom had tapestry wrought with silver and gold thread, representing the opening of Pandora's Box, Cupid and Psyche, &c. Some fine specimens of needlework also merit mention here, as the furniture of the state-bed of Queen Charlotte, worked at an institution for the orphan daughters of clergymen; and the rich canopy above one of the royal chairs of state, which was wrought by a lady from paintings also by a female artist. Tapestry has not, however, been forgotten amidst the restoration of the Castle within these ten years. In the superb state ball-room, adjoining St. George's Hall, six pieces of tapestry, representing the story of Jason and the Golden Fleece, from Ovid, are let into superb frames on the walls they resemble some of Rubens's stupendous works, and in richness and delicacy of colour harmonize with the gold and white decorations of the apartment. They are as fresh as if

executed but yesterday, and were presented to the late king by Louis XVIII. of France.

Hitherto we have spoken but of the tapestried apartments of English palaces; but it would not be difficult to select many specimens of this ingenious enrichment from among the castellated mansions of the nobles and gentry of this country. One example must suffice, and this shall be Haddon Hall, referred to in a previous page, as one of the most curious and perfect of such residences, and still retaining many features of its rude grandeur. One of its most illustrious owners was Sir George Vernon, who, in the reign of Elizabeth, was styled king of the Peak, on account of his almost royal mode of living: his retinue was numerous, and his hospitality princely and magnificent. The dining-rooms, dressing, and certain lodging-rooms are hung with ancient arras," representing field sports and scriptural subjects. In the great chamber is the state-bed, (last occupied by George IV. when Prince Regent): the furniture is of green velvet, lined with white satin, and is said to have been worked by the lady of Sir Robert Manners, in the reign of Henry VI. This room is hung with French tapestry, by the Gobelins; the subjects of which are from Esop's fables. Most of the other rooms are hung with ancient arras, preserved with great care. We here see that one of the uses of tapestry was to conceal the clumsy carpentry of our forefathers, as well as to keep the wind from the crannies in the wains

cot: "the doors," observes Mr. King, in the Archæologia, "were concealed everywhere behind the hangings, so that the tapestry was to be lifted up to pass in and out; only, for convenience, there were great iron hooks (many of which are still in their places,) by means whereof it might be occasionally held back. The doors being thus concealed, nothing can be conceived more ill-fashioned than their workmanship; few of these fit at all close; and wooden bolts, rude bars, and iron hasps are in general their best and only fastenings."

At Chatsworth, near Haddon *, are also some costly tapestries; as, a drawing-room hung with three of the cartoon subjects from Raphael; a dressing-room, with the story of Hero and Leander; and the identical tapestry which embellished the chamber occupied by Mary Queen of Scots.

The name of arras was first applied to tapestry from the most celebrated manufactories in Europe being at Arras, the chief town of the Pas de Calais, and formerly capital of Artois, in France: the tourist passes through this decayed seat of

* Haddon is the property of the noble family of Rutland. The first duke, so created by Queen Anne, maintained here one hundred and forty servants. Most of the rooms are dark and uncomfortable, and give no favourable idea of our ancestors' taste for domestic enjoyments. The family quitted the Hall for Belvoir Castle at the beginning of the last century. Their crest is a boar's head; and at Haddon it was formerly the custom, every Christmas, to serve up a boar's head, with a song.

art in his route from Dunkirk to Paris. There was also another great manufactory in Tournay. In 1606 or 1607, Henry IV. introduced at Paris the tapestry art with artists from Flanders; this must, however, have been subsequent to the celebrity of arras: for, Shakspeare mentions tapestry as arras, in the play of Hamlet. The tapestry hangings of the House of Lords are too curious and interesting to be passed over. They represent one of England's proudest victories with her best bulwarks-the Defeat of the Spanish Armada in 1588. They are of Flemish manufacture, and were the gift of the States of Holland to Queen Elizabeth. About thirtythree years since, they were cleaned, and put up in their present place. They are divided into compartments by frames of brown-stained wood, representing the several stages of the battle, portrait heads of the English officers forming a border to each design.

In 1619, in the reign of James I. Sir Francis Crane established a manufactory of tapestry at Mortlake, near Richmond; but the foreign was preferred in 1663. The king assisted Sir Francis with two thousand pounds, and the weaving was carried to great perfection; designs both in history and grotesque being supplied by a clever Danish artist named Cleyne. In costliness, the fabrics of Sir Francis must have vied with the finest of Flanders. Charles I. likewise patronized this manufactory, and in the first year of his reign, acknowledged a debt to Crane of six