Chats on Old Lace and Needlework Part 12

The great period of English embroidery is supposed to have been from the twelfth to the thirteenth century. Very little remains to show this, except a few fragments of vestments from the tombs of the bishops dating from the twelfth and thirteenth centuries, and other data obtained from various foreign inventories of later date referring to the use of "Opus Anglicanum." Some portion of the Worcester fragments may be seen in the South Kensington Museum, and can only be described as being so perfect in workmans.h.i.+p, colour, and style as even at this day to be more like a magnificent piece of goldsmith's work than that of needlecraft. The background is apparently one ma.s.s of thread of fine gold worked in and out of a silken mesh, the embroidery appearing just as clear and neat in manipulation as an illumination. The coloured photographs, which may be seen in the same room, of the stole and maniple of St. Cuthbert are of precisely the same work. Judging from these, and the embroidered orphrey which the authorities bought from the Hockon Collection for 119 1s.

10d. and which is only 4 feet 8 inches long, there is no doubt that this was, _par excellence_, the finest period. The work can only be described as being like an old Italian painting on a golden ground. We see precisely such design and colouring in ancient paintings for altars as in the old Italian Triptychs. This style was carried out as literally as possible. Even the defects, if so they may be called, are there, and a slight topheaviness of the figures serves but to accentuate the likeness.

There is a legend that during the times of the Danish incursions St.

Benedict travelled backwards and forwards through France and Italy, and brought with him during his _seven_ journeys artificers in _gla.s.s_ and _stone_, besides costly books and copies of the Scriptures. The chief end and aim of monastic life, both of monk and nun, in those early days was to embroider, paint, and illuminate their sacred books, vestments, and edifices with what was to them a newly-inspired faith.

Dr. Rock, in his "Church of Our Fathers," says that from the twelfth century to the time of Henry VIII. that only the best materials that could be found in our country or that of other lands were employed, and that the art that was used on them was the best that could be learnt or given. The original fabrics often came from Byzantium or were of Saracenic origin.

[Ill.u.s.tration: FROM THE "JESSE" COPE (_South Kensington Museum_).

English, early Fourteenth Century.]

The story of Pope Innocent III., who, seeing certain vestments and orphreys, and being informed that they were English, said, "Surely England must be a garden of delight!" must be quoted to show how English work was appreciated in those early days.

The choicest example in this country of this glorious period of English embroidery is the famous Syon cope, which is supposed to rank as the most magnificent garment belonging to the Church. It may be regarded as a typical example of real English work, the "Opus Anglicanum" or "Anglic.u.m," which, although used for other purposes, such as altar-cloths and altar-frontals, found apparently its fullest scope in these large semicircular mantles.

Amongst the many copes treasured at South Kensington there are none, amidst all their splendour, as fine as this, although the fragment of the "Jesse" cope runs it very closely. There are many copes of this period in different parts of the Continent--the Daroca Cope at Madrid, one at Ascagni, another at Bologna, at St. Bertrand-de-Comminges, at "St. John Lateran" at Rome, at Pienza and Toleda, and a fragment of one with the famous altar-frontal at Steeple Aston. These are all a.s.sumed to be of "Opus Anglicanum," and they may be described as being technically perfect, the st.i.tches being of fine small tambour st.i.tch, beautifully even, and the draperies exquisitely shaded.

The ill.u.s.tration showing the Syon Cope requires some little explanation.

It is wrought on linen, embroidered all over with gold and silver thread and coloured silk. It is 9 feet 7 inches long, 4 feet 8 inches wide.

The whole of the cope except the border is covered with interlacing quatrefoils outlined in gold. The ground of these quatrefoils is covered with red silk and the s.p.a.ces between them with green silk. Each quatrefoil is filled with scenes from the life of Christ, the Virgin, and figures of St. Michael and of the Apostles. On the green s.p.a.ces are worked figures of six-winged angels standing on whorls. The chief place on the quatrefoils is given to the crucifixion, where the body of the Saviour is worked in silver and cloth of gold. The Virgin, arrayed in green tunic and golden mantle, is on one side and St. John, in gold, on the other. Above the quatrefoil is another representing the Redeemer seated on a cus.h.i.+oned throne with the Virgin, and below another representing St. Michael overcoming Satan. Other quatrefoils show "Christ appearing to St. Mary Magdalen," "The Burial of the Virgin,"

"The Coronation of the Virgin," "The Death of the Virgin with the Apostles surrounding her," "The Incredulity of St. Thomas," "St. Simon,"

"St. Bartholomew," "St. Peter," "St. Paul," "St. Thomas," "St. Andrew,"

and "St. James." Portions of four other Apostles may be seen, but at some period the cope has been cut down. In its original state the cope showed the twelve Apostles. The lower portion has been cut away and reshaped, and round this is an edging apparently made out of a stole and maniple which point to a later date, as they are worked chiefly in cross-st.i.tch. On the orphrey are emblazoned the arms of Warwick, Castile and Leon, Ferrars, Geneville Everard, the badge of the Knights Templars, Clifford, Spencer, Lindsay, Le Botelier, Sheldon, Monteney of Ess.e.x, Champernoun, Everard, Tyddeswall Grandeson, Fitz Alan, Hampden, Percy, Clanvowe, Ribbesford, ByG.o.d, Roger de Mortimer, Grove, B.

Ba.s.singburn, and many others not recognisable. These coats of arms, it is suggested, belonged to the n.o.ble dames who worked the border. The angels which fill the intervening s.p.a.ces are of the six-winged varieties, each standing on whorls or wheels.

[Ill.u.s.tration: THE "SYON" COPE.

(_S.K.M. Collection._)]

The cope is worked in a fine tambour or chain st.i.tch princ.i.p.ally. All the faces, bodies, and draperies are composed of this. A specially noticeable point is that the faces are worked spirally, beginning in the centre of the cheek and being worked round and round, conforming with the muscles of the face. The garments are worked according to the hang of the drapery, very fine effects being obtained. After the work has been completed a hot iron something like a little iron rod with a bulbous end has been pressed into the cheeks, under the throat, and in different parts of the nude body. Occasionally, but seldom, the same device may be seen in the drapery. All the work is exquisitely fine and perfectly even. The groundwork of the quatrefoils is of gold-laid or "couch" work, as is also that of the armorial bearings.

The name "Syon" is somewhat misleading, as the Cope was not made here, but came into the hands of the Bridgettine nuns in 1414, when Henry V.

founded the convent of "Syon" at Isleworth. Its origin and date will ever be a matter of conjecture, but Dr. Rock infers that Coventry may have been the place of its origin. Taking Coventry as a centre with a small radius, several of the great feudal houses the arms of which are on the border of the cope may be found, and Dr. Rock further supposes that Eleanor, widow of Edward the First, may have become a sister of the fraternity unknown, as her arms, Castile and Leon, are on it. "The whole must have taken long in working, and the probability is that it was embroidered by nuns of some convent which stood on or near Coventry."

However this may be, it is certain that this splendid piece of English work came into the hands, by some means, of the nuns of Syon, and after remaining with them at Isleworth till Elizabeth's time, it was carried by them through Flanders, France, and Portugal. They remained at the latter place till the same persecution which dispersed the famous Spanish Point lace over the length and breadth of the Continent, and about eighty years ago it was brought back to England, and was given by the remaining members of the Order to the Earl of Shrewsbury. After further vicissitudes of a varied character it was bought by the South Kensington Museum for 110, and now sheds the glory of its golden threads in a dark transept unnoticed except by the student.

III

ECCLESIASTICAL EMBROIDERIES AND VESTMENTS

[Ill.u.s.tration: HALF OF THE STEEPLE ASTON ALTAR FRONTAL.

English, Fourteenth Century.]

III

ECCLESIASTICAL EMBROIDERIES AND VESTMENTS

The Pierpont Morgan purchase--The Steeple Aston Altar-frontal--The "Nevil" Altar-frontal at S. K. M.--City palls--Diagram of vestments.

Other copes of the same period are in the Madrid Museum, two copes at Bologna, and the "Ascoli" cope recently purchased by Mr. J. Pierpont Morgan and generously returned by him. Some cus.h.i.+ons from Catworth Church, Huntingdon, now at the South Kensington Museum, were probably cut from copes, and bought by permission of the Bishop of Ely for 27. A long band of red velvet at South Kensington Museum embroidered with gold and silver and coloured silk has evidently been made from the "Apparels"

of an alb. It is in two pieces, each piece depicting five scenes divided by broad arches. The first five are from the life of the Virgin, and are: "The Angel appearing to Anna," "The Meeting of Anna and Joachim,"

"Birth of the Virgin," "Presentation of the Virgin," "Education of the Virgin." In the second piece are: "The Annunciation," "The Salutation,"

"The Nativity," "The Angel appearing to the Shepherds," and the "Journey of the Magi."

Another piece of similar work is the altar-frontal of Steeple Aston, which was originally a cope, and the cope now at Stonyhurst College, originally belonging to Westminster Cathedral. It is made of one seamless piece of gold tissue.

During this great period of English embroidery certain characteristics along with its superb workmans.h.i.+p must be noticed. The earlier the work the finer the modelling of the figures. In the figures of the St.

Cuthbert and the Worcester fragments the proportions of the figures are exquisite; at a later date, while the work is just as excellent, the figures become unnatural, the heads being unduly large, the eyes staring, and the perspective entirely out of drawing. Until the fourteenth century this comes so gradually as to be scarcely noted; but after and through the fifteenth century this becomes so marked as to be almost grotesque, and only the genuine religious fervour with which these poor remnants have been worked prevents many of them being ridiculous. The faces gradually show less careful drawing and working, and the figures become squat and topheavy. The emblems of the saints are often omitted.

[Ill.u.s.tration: THE "NEVIL" ALTAR FRONTAL.

(_S.K.M. Collection._)]

This decline in the embroiderer's art is specially noticeable in an extraordinary panel to be seen at South Kensington Museum, where an altar-frontal of stamped crimson velvet is appliqued in groups of figures in gold, silver, and silks. In the middle is the Crucifixion, with the Virgin and St. John standing on a strip covered with flowers.

On the left is Ralph Nevil, fourth Earl of Westmoreland, 1523, kneeling, and behind him his seven sons. On the right is Lady Catherine Stafford, his wife, also kneeling, and behind her kneel her thirteen daughters.

The frontal cost the museum 50 and is well worth it as an historical doc.u.ment. Other important embroideries of the period to be found in England are at Cirencester Cathedral, Ely Cathedral, Salisbury and Carlisle Cathedrals, Chipping Norton and Little Dean in Gloucesters.h.i.+re, East Langdon in Kent, Buckland and Stourton in Worcester, Littleworth in Leicesters.h.i.+re, Lynn in Norfolk, and the Parish Church at Warrington.

Many of the palls belonging to the great city companies belong to this date. The Saddlers' Company's pall is of crimson velvet embroidered with angels surrounding "I.H.S.," and arms of the Company. The Fishmongers'

Pall, made at the end of the fifteenth century, has at one end the figure of St. Peter (the patron saint of fishermen) enthroned, and angels on either side, and at the other end St. Peter receiving the keys from our Lord. The Vintners' Pall is made of Italian velvet and cloth of gold and embroidered with St. Martin of Tours.

Religious influence characterised the embroideries of England practically from the ninth to the sixteenth centuries. Practically all needlework prior to 1600 is entirely ecclesiastical, and from its limited range in choice of subjects barely does justice to the fine work this period produced.

Dr. Rock says that "few persons of the present day have the faintest idea of the labour, the money, the time, often bestowed on old embroideries which had been designed by the hands of men and women each in their own craft the best and ablest of the day."

We do not know the length of time these ancient vestments occupied in the making, but twenty-six years is stated to be the period of making the vestments for the Church of San Giovanni, in Florence. This is all worked in close st.i.tches similar to our English work.

_Ancient Church Vestments._

The names of the ecclesiastical vestments are somewhat puzzling to those of us who do not belong to the Romish Church, or even to the English High Church. The vestments described are, we believe, in use in the Romish churches now as in the early times when church embroidery was the pleasure and the labour of all cla.s.ses of English women. The accompanying diagram will better ill.u.s.trate the use of these vestments than a page of writing.

[Ill.u.s.tration: ECCLESIASTICAL VESTMENTS.

1. Amice.

2. Orphreys.

3. Chasuble.

4. Sleeves of Alb.

5 and 9. Apparel of Alb.