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IR BEDIVERE'S heart misgave him twice ere he could obey the dying commands of King Arthur, and fling away so precious a relic. The lonely maiden's industry has been equalled by many of her mortal sisters, sitting, not indeed "upon the hidden bases of the hills," but in all the varied human habitations built above them since the days of King Arthur.

The richness, beauty, and skill displayed in the needle-work of the Middle Ages demonstrate the perfection that art had attained; while church inventories, wills, and costumes represented in the miniatures of illuminated manuscripts and elsewhere, amaze us by the quantity as well as the quality of this department of woman's work. Though regal robes and heavy church vestments were sometimes wrought by monks, yet to woman's taste and skill the greater share of the result must be attributed, the professional hands being those of nuns and their pupils in convents. The life of woman in those days was extremely monotonous. For the mass of the people, there hardly existed any means of locomotion, the swampy state of the land in England and on the Continent allowing few roads to be made, except such as were traversed by pack-horses. Ladies of rank who wished to journey were borne on litters carried upon men's shoulders, and, until the fourteenth and fifteenth centuries, few representations of carriages appear. Such a conveyance is depicted in an illustration of the Romance of the Rose, where Venus, attired in the fashionable costume of the fifteenth century, is seated in a chare, by courtesy a chariot, but in fact a clumsy covered wagon without springs. Six doves are perched upon the shafts, and fastened by mediæval harness. The goddess of course possessed superhuman powers for guiding this extraordinary equipage, but to mere mortals it must have been a slow coach, and a horribly uncomfortable conveyance even when horses were substituted for doves. An ordinance of Philip le Bel, in 1294, forbids any wheel carriages to be used by the wives of citizens, as too great a luxury. As the date of the coach which Venus guides is two hundred years later, it is difficult to imagine what style of equipage belonged to those ladies over whom Philip le Bel tyrannized.

With so little means of going about, our sisters of the Middle Ages were perforce domestic; no wonder they excelled in needle-work. To women of any culture it was almost the only tangible form of creative art they could command, and the love of the beautiful implanted in their souls must find some expression. The great pattern-book of nature, filled with graceful forms, in ever-varied arrangement, and illuminated by delicate tints or gorgeous hues, suggested the beauty they endeavored to represent. Whether religious devotion, human affection, or a taste for dress prompted them, the needle was the instrument to effect their purpose. The monogram of the blessed Mary's name, intertwined with pure white lilies on the deep blue ground, was designed and embroidered with holy reverence, and laid on the altar of the Lady-chapel by the trembling hand of one whose sorrows had there found solace, or by another in token of gratitude for joys which were heightened by a conviction of celestial sympathy. The pennon of the knight—a silken streamer affixed to the top of the lance—bore his crest, or an emblematic