DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.65478#0125
gathering fruit. A rich soft black is introduced in some of the dresses
with excellent effect, whilst the foliage of the trees and the tall single
hollyhocks in the garden are beautifully represented. In fact, this
tapestry is more interesting than are the fine cartoons in the Tapestry
Room.
A special bedstead was provided for Queen Catherine, called in the
old inventory a “ Portingale1 Bedstead Garnish’d wth Brasse upon foure
guilt Feet.” It had two sets of splendid hangings ; one was made
entirely of cloth of gold with raised flowers of blue velvet on the surface,
the lining was of blue satin, and the edges had a row of heavy gold
fringe. The tester and the back of the bedstead above the pillows were
embroidered with gold, and the cups or vases at the top were covered
with material to match the hangings, and were filled with white plumes.
The second set of hangings was made of “sad-colour Tabby” (zT. gray
tabinet), mixed with pink silk and edged with gold fringe. The feathers
at the top of the bed were arranged in loose plumes, pink in colour, with
stiff white feathers as a centre.
The chairs in the Queen’s room were covered with gray and pink
trimmed with gold fringe, and during summer the Mortlake tapestry was
replaced by “sad-coloured Tabby Hangings bordered with striped pink
and sad-colour, fringed with silk and a gold fringe besides.” All the
hangings, as well as the chairs, were protected by loose covers of Indian
silk. The white damask curtains hung from gilt rods, and the footstools
were of “ Indian cane ” (probably Chinese), with gilt frames. There was
a large Japan lacquer screen, and six cushions “of sorts,” zT., of
different sizes. The fire-irons had silver handles, the bellows were
beautifully wrought in silver, and the little silver hearth-dogs were made
to represent King Charles spaniels, the favourite lap-dogs of the day.
The fender, the hearth-rod, and the pole of the screen were all of silver.
Four “fixed” pictures were in the Queen’s room, “whereof,” to use
the words of the old inventory, “ One is a madona and ye rest Land-
skips.” The “madona” is a beautiful picture of the Virgin and Child,
painted by Andrea del Sarto, the son of a tailor, who died of the
plague in 1530. This picture is let into the wall of the Queen’s room,
above the fire-place, and is surrounded by a very elaborate festoon
1 Portingale was a way of spelling Portugal.
In the eighteenth century a Portugal laurel was
called a Portingale tree. Evelyn writes in 1687,
“ I saw the Queen’s new apartment at White-
hall, with her new bed, the embroidery of which
cost /3,ooo.”
G
with excellent effect, whilst the foliage of the trees and the tall single
hollyhocks in the garden are beautifully represented. In fact, this
tapestry is more interesting than are the fine cartoons in the Tapestry
Room.
A special bedstead was provided for Queen Catherine, called in the
old inventory a “ Portingale1 Bedstead Garnish’d wth Brasse upon foure
guilt Feet.” It had two sets of splendid hangings ; one was made
entirely of cloth of gold with raised flowers of blue velvet on the surface,
the lining was of blue satin, and the edges had a row of heavy gold
fringe. The tester and the back of the bedstead above the pillows were
embroidered with gold, and the cups or vases at the top were covered
with material to match the hangings, and were filled with white plumes.
The second set of hangings was made of “sad-colour Tabby” (zT. gray
tabinet), mixed with pink silk and edged with gold fringe. The feathers
at the top of the bed were arranged in loose plumes, pink in colour, with
stiff white feathers as a centre.
The chairs in the Queen’s room were covered with gray and pink
trimmed with gold fringe, and during summer the Mortlake tapestry was
replaced by “sad-coloured Tabby Hangings bordered with striped pink
and sad-colour, fringed with silk and a gold fringe besides.” All the
hangings, as well as the chairs, were protected by loose covers of Indian
silk. The white damask curtains hung from gilt rods, and the footstools
were of “ Indian cane ” (probably Chinese), with gilt frames. There was
a large Japan lacquer screen, and six cushions “of sorts,” zT., of
different sizes. The fire-irons had silver handles, the bellows were
beautifully wrought in silver, and the little silver hearth-dogs were made
to represent King Charles spaniels, the favourite lap-dogs of the day.
The fender, the hearth-rod, and the pole of the screen were all of silver.
Four “fixed” pictures were in the Queen’s room, “whereof,” to use
the words of the old inventory, “ One is a madona and ye rest Land-
skips.” The “madona” is a beautiful picture of the Virgin and Child,
painted by Andrea del Sarto, the son of a tailor, who died of the
plague in 1530. This picture is let into the wall of the Queen’s room,
above the fire-place, and is surrounded by a very elaborate festoon
1 Portingale was a way of spelling Portugal.
In the eighteenth century a Portugal laurel was
called a Portingale tree. Evelyn writes in 1687,
“ I saw the Queen’s new apartment at White-
hall, with her new bed, the embroidery of which
cost /3,ooo.”
G