"He was at once architect, sculptor, carpenter, goldsmith, armourer,
jeweller, saddler, tailor, and painter. There is extant, in Dugdale, a
curious example of the character of the times, and a scale by which we
can measure the public admiration of art. It is a contract between the
Earl of Warwick and John Rag, citizen and tailor, London, in which the
latter undertakes to execute the emblazonry of the earl's pageant in his
situation of ambassador to France. In the tailor's bill, gilded griffins
mingle with Virgin Marys; painted streamers for battle or procession,
with the twelve apostles; and 'one coat for his grace's body, lute with
fine gold,' takes precedence of St. George and the Dragon."

We wish some of the criticism in this chapter had been milder, and a few
of the invectives not so highly charged; some of them even out-Herod the
fury of an article on Painting, in a recent number of the _Edinburgh
Review_. But we must pass on to pleasanter matters--as the following
poetical paragraphs:--

"The art of tapestry as well as the art of illuminating books, aided in
diffusing a love of painting over the island. It was carried to a high
degree of excellence. The earliest account of its appearance in England
is during the reign of Henry the Eighth, but there is no reason to doubt
that it was well known and in general esteem much earlier. The
traditional account, that we were instructed in it by the Saracens, has
probably some foundation. The ladies encouraged this manufacture by
working at it with their own hands; and the rich aided by purchasing it
in vast quantities whenever regular practitioners appeared in the
market. It found its way into church and palace--chamber and hall. It
served at once to cover and adorn cold and comfortless walls. It added
warmth, and, when snow was on the hill and ice in the stream, gave an
air of social snugness which has deserted some of our modern mansions.