Chats on Old Lace and Needlework Part 13

6. Maniple.

7. Stole.

8. Alb.

_From "A Guide to Ecclesiastical Law," by kind permission of Mr. Henry Miller._]

The Alb is often trimmed handsomely with lace, the apparels are st.i.tched on to the front. The Stoles ought to have three crosses embroidered on it and be 3 yards long. Over this comes the Chasuble, which is the last garment the priest puts on before celebrating Ma.s.s. The Cope is a huge semi-circular 10 ft. wide cape. The Maniple is a strip of embroidery 3 ft. 4 in. long worn over the left wrist of the priest.

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

English, Fifteenth or early Sixteenth Century.

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

IV

TUDOR EMBROIDERY

IV

TUDOR EMBROIDERY

The influences of the Reformation--Queen Catherine of Aragon's needlecraft--The gorgeous clothes of Henry VIII.--Field of the Cloth of Gold--Queen Elizabeth's embroideries.

After the Reformation and the wholesale destruction of the cathedrals, monasteries, and churches, the gentle dames of England found their occupation gone. The priestly vestments, the sumptuous altar-cloths, and gorgeous hangings were now needless. Those which had been the glory of their owners, and the pictorial representations of Biblical life to the uneducated ma.s.ses of people, had been ruthlessly torn down and destroyed for the sake of the gold to be found on them. As in the time immediately preceding the French Revolution, costly embroideries were unpicked, and the amount of gold and silver obtained from them became a source of income and profit to their destroyers.

Apart from her household, women had no other interests in those days, unless we accept such anomalies as Lady Jane Grey, who was a marvel of learning and wisdom. All their long leisure hours had been spent, not in improving their minds, but in beautifying the churches with specimens of their skill. Catherine of Aragon, one of the unfortunate queens of Henry VIII., was a notable needlewoman, and spent much of her short, unhappy time as Queen of England in embroidery. The lace-making of Northampton is said to have been commenced by her during her period of retirement after her divorce. The "Spanish st.i.tch," which was known and used in embroidery of that period, was introduced by her from her own country, and many examples of her skill in embroidery are to be seen in the British Museum and the various homes belonging to our old n.o.bility.

During the reign of Henry VIII. dress became very sumptuous, as the contemporary pictures of the times show. Indeed, all the fervour and feeling which ladies had worked in religious vestments now seemed to find refuge in the over-elaboration of personal wear. Very little lace was used, and that of only a primitive description, so that effect was produced by embroidery in gold and silver threads and the use of pearls and precious stones. The dress of the n.o.bles in the time of Henry VIII.

was especially gorgeous, the coats being thickly padded and quilted with gold bullion thread, costly jewels afterwards being sewn in the lozenges. It is related that after his successful divorce King Henry gave a banquet to celebrate his marriage to Anne Boleyn, and wore a coat covered with the jewelled letters "H," and in the height of his satisfaction allowed the ladies to cut or tear away the jewels as souvenirs of his triumph over Wolsey and Catherine. It is said that he was left in his underwear, so great was the compet.i.tion for these favours! Robes made of gold tissue, then called Cloth of Gold, were used, and in Henry's meeting with Francis I. the English and French armies vied with each other as to which should present a greater magnificence. The name "the Field of the Cloth of Gold" remains as a guarantee of its splendour.

Under the more austere and religious rule of Queen Mary we might suppose that ecclesiastical embroidery would have somewhat regained a foothold.

But the landmarks had been entirely swept away, and we have little to record of the reign, except that Mary herself was a clever needlewoman and worked much of her heartache, at the neglect of her Spanish husband, into her needlework. Her jealousy of her sister Elizabeth caused the latter to spend her life away from the pomps and ceremonies of the Court, and she has left many records of her handiwork, some well authenticated, as, for example, the two exquisite book-covers in the British Museum. Queen Elizabeth cannot, however, be said to have been in any way a patroness of the art of needlecraft. Her talent seems rather to have been devoted to affairs of State--and her wardrobe! On her death, at seventy years of age, she left over one thousand dresses, most of which must have been a cruel weight, so overburdened were they with stiff bullion and trimmed with large pearls and jewels. Her dresses were literally diapered with gold and silver "gimps" inset with heavier stones, but little real embroidery is shown.

Mary Queen of Scots, on the contrary, was a born needlewoman. During her married life in France she learned the gentle arts of embroidery and lace-making, accomplishments which, as in many humbler women's lives, have served their owners in good stead in times of loneliness and trouble. The Duke of Devons.h.i.+re possesses specimens of Queen Mary's skill, worked during the long, dreary days of her imprisonment at Fotheringay. It is said that Queen Elizabeth was not above helping herself to the wardrobe and laces that the unfortunate Queen of Scotland brought with her from France.

Much embroidery must have been worked for the adornment of the house after the Reformation, but beyond an occasional old inventory nothing is left to show it. After the Reformation greater luxury in living obtained, and instead of the clean or rush-strewn floors some kind of floor-covering was used. Furniture became much more ornamental, and the use of hangings for domestic purposes was common. Not a thread of these hand-worked hangings remain, but we have the immense and immediate use of tapestry, which first became a manufacture of England in the reign of Henry VIII. It is easy to conceive that English women would readily seize upon the idea supplied in tapestry and adapt its designs to that of embroidery. It is certain that hangings for the old four-post beds were embroidered, as in the inventory of Wolsey's great palace at Hampton Court there is mention of 230 bed-hangings of English embroidery. Nothing of this remains, so that its style is simply conjectural; and we can only suppose these hangings to have been replicas of the magnificent velvet and satin hangings, covered with laid or couched gold and silver threads, such as Catherine of Aragon would bring with her from Spain. This also would account for their absolute disappearance. The value of the gold and silver in embroidery has always been a fertile source of wealth to the destroyer of ancient fabrics, while many embroideries worked only in silks have escaped this vandalism.

V

EARLY NEEDLEWORK PICTURES AND ACCESSORIES

[Ill.u.s.tration: EARLY "PEt.i.t POINT" PICTURE.

Late Sixteenth Century.

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

V

EARLY NEEDLEWORK PICTURES AND ACCESSORIES

"Pet.i.t point"--old list of st.i.tches--Stuart bags--Gloves--Shoes--Caps.

Towards the end of James I.'s reign it is supposed that the earliest needlework pictures appeared. They were obviously literal copies of the tapestries which had now become of general use in the homes of the wealthy, being worked in what is known as "pet.i.t point," or "little st.i.tch." This st.i.tch was worked on canvas of very close quality, with fine silk thread, one st.i.tch only being taken over the junction of the warp and the weft of the canvas instead of the "cross st.i.tch" of later days. Very few of these specimens are left of an early date. A panel, measuring 30 inches by 16 inches, in perfect condition, and dated 1601, was sold at Christie's Rooms this year for 115. The purchaser, Mr.

Stoner, of King Street, sold it next day at a very considerable profit.

At this period the workers of these pictures did not draw upon Biblical subjects for their inspiration (with great advantage to the picture, it may be stated). The subjects were either fanciful adaptations from real life, with the little people dressed in contemporary costume, or dainty little mythological subjects, such as the "Judgment of Paris," "Corydon wooing Phyllis," with most absurd little castles of Tudor construction in impossible landscapes, where the limpid stream meandered down fairy-like hills into a s.h.i.+ning lake, which held dolphins under the water and water-fowl above it. The ill.u.s.tration depicts such a specimen, and shows one of these tiny pictures worked in no less than ten different st.i.tches of lacework, in addition to the usual pet.i.t point.

The number of these st.i.tches is legion. In the reign of Charles I., John Taylor, the water-poet, wrote in 1640:

"For tent worke, raised worke, first worke, laid worke, net worke, Most curious purl, or rare Italian cut worke, Fire, ferne st.i.tch, finny st.i.tch, new st.i.tch, chain st.i.tch, Brave bred st.i.tch, fisher st.i.tch, Irish st.i.tch, and Queen st.i.tch, The Spanish st.i.tch, Rosemary st.i.tch, and mowle st.i.tch, The smarting whip st.i.tch, back st.i.tch, and cross st.i.tch; All these are good, and this we must allow, And they are everywhere in practice now."

[Ill.u.s.tration: VERY EARLY "PEt.i.t POINT" PICTURE.

(_Author's Collection._)]

These are not _all_ the st.i.tches in vogue during the first era of needlework pictures. A single glance at one of the early specimens, though it may not _charm_, fills one with amazement at the amount of toil, ingenuity, patience, and downright _love_ for the work the ancient needlewoman must have possessed. Not only pictures, however, were made in pet.i.t point. Many dainty little accessories of the toilet gave scope to the delicate fancy and nimble fingers of the ladies who had found solace from the cessation of their labours for the priesthood in making dainty little handbags and other pretty articles, each a marvel of minute handicraft. One bag in my possession measures only four inches square, and is worked on fine canvas, about forty threads to the square inch, the design being the favourite Tudor rose, each petal worked in lace st.i.tch, and raised from the centre which is made of knots worked with golden hair, flat green leaves exquisitely shaded, and a charming bit of the worker's skill in the shape of a pea's pod, open and raised, showing the tiny little peas in a row. An exquisitely worked b.u.t.terfly with raised wings in lace st.i.tch is on the other side. The grounding of the whole is run with flat gold thread, making a "cloth of gold" ground, strings made of similarly worked canvas, with gold thread and silk ta.s.sels complete a bag fit for the Princess Golden Locks of our fairy tales. This little bag cost the writer 5 guineas, and was cheap at the price. The South Kensington Museum have several specimens, and although many are very exquisite, there is not one quite so perfect in design nor in such condition. Other little trifles made in similar style are the embroidered gauntlets of the buff leather glove worn at the time. These have become rarer than any other embroideries, as they were not merely for ornament but for actual wear. Four or five of these gauntlet gloves are in the South Kensington Collection, but are of a later date than the "pet.i.t point" period.

The use of gloves in England was not very general, we may infer, in the earlier ages of embroidery. There are certain evidences, however, showing that the glove was part of the priestly outfit, remains of gloves having been found on the bones of Thomas a Becket when they were transferred from the crypt of Canterbury Cathedral to the special shrine prepared for them; and a crimson leather pair, bearing the sacred monogram in embroidered gold, are preserved in the New College, Oxford, belonging to the founder, William of Wykeham, who opened the college in 1386.

It was not until the fourteenth century that the wearing of gloves became general, and practically nothing remains to show what manner of hand-covering was worn until the Tudor period. Henry VIII. was exceptionally lavish and extravagant in the use of handsomely embroidered gloves, and few of his portraits show him without a sumptuous glove in one hand. He had gloves for all functions--like a modern fas.h.i.+onable woman. A pair of hawking gloves belonging to him are in the Ashmolean Museum, Oxford, and in South Kensington is one of a pair presented by Henry to his friend and Councillor Sir Anthony Denny.

It is of buff, thin leather, with a white satin gauntlet, embroidered with blue and red silk in applique work, decorated with seed-pearls and spangles, and trimmed with gold lace. The Tudor rose, the crown, and the lion are worked amidst a splendour of gold and pearls.

[Ill.u.s.tration: A STUART GLOVE.

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

Queen Elizabeth must have inherited her love for gorgeous apparel along with her strong personality and masterful spirit, as her expenditure for gloves alone was proverbial. The favourite offering to her was a pair of gloves, but she was not above accepting shoes, handkerchiefs, laces, and even gowns from her faithful and admiring subjects. On her visit to Oxford in 1578 she was presented by the Chancellor of the University with a pair of perfumed gloves, embroidered with gold and set with jewels, which cost the University sixty s.h.i.+llings, an immense sum in those days. Other historic gloves are in the various museums of the country, seldom or never coming into the open market. In the Braikenridge Collection sold at Christie's in February of this year I was able to secure one for 2 12s. 6d., immediately afterwards being offered double the price for it.

The gloves belonging to Charles I. and Queen Henrietta Maria were very ornamental, and it is said that even Oliver Cromwell, with all his austerity, was not proof against the fascination of the decorated glove.

With Charles II. the embroidered gloves seem to have vanished along with the stumpwork pictures, of which more anon.