Embroidery and lace: their manufacture and history from the remotest antiquity to the present dayA handbook for amateurs, collectors and general readers . (fig. 23). * See M. de RonchaucTs remarks on the Peplos of Minerva, and hisbook on Tapisserie dans IAntiquite. f According to some, the Arrephori were four girls of betweenseven and eleven 3-ears of age, two of whom superintended the weavingof the sacred peplos of Athene. Other authorities say that there isno evidence that the Arrephori took part in the Panathenaic festival(see p. 71 of the British Museum Guide to the Sculptines of the Parth
Embroidery and lace: their manufacture and history from the remotest antiquity to the present dayA handbook for amateurs, collectors and general readers . (fig. 23). * See M. de RonchaucTs remarks on the Peplos of Minerva, and hisbook on Tapisserie dans IAntiquite. f According to some, the Arrephori were four girls of betweenseven and eleven 3-ears of age, two of whom superintended the weavingof the sacred peplos of Athene. Other authorities say that there isno evidence that the Arrephori took part in the Panathenaic festival(see p. 71 of the British Museum Guide to the Sculptines of the Parthe-non), and it is more generally supposed that the peplos was em-broidered by skilful and high-born Athenian ladies. * It should be noted, moreover, that the sacred peplos, borne on. Fig. 19. — Fragment of aGreek statue with embroi-deries on the drapery. 30 EMBROIDERY. Our museums contain many sculptures and Greekand Etruscan vases on which are figured persons wear-ing embroideries (see figs. 19, 20, 22, and 23). A fine stone at the British Museum is engraved witha Babylonian king, Merodach-Idin-Akhy, in embroideredrobes, which speak of the art as practised elevenhundred years before Christ (fig. 21).
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