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Rh arts in Europe, although its ascendancy was of brief duration. Under the Norman kings of Sicily the style was strongly oriental, consequent upon the earlier occupation of the island by the Saracens, and upon the employment of Saracenic craftsmen by the Normans. The magnificent red silk mantle at Vienna, embroidered in gold thread with a date-palm and two lions springing upon camels, and enriched with pearls and enamel plaques, bears round the edge an Arabic inscription, recording that it was made in the royal factory of the capital of Sicily (Palermo) in the year 528 (= 1134). At that time Roger, the first Norman king, was on the throne. Another of the imperial coronation-robes—a linen alb with gold embroidery—is also at Vienna. An inscription in Latin and Arabic states that it was made in the year 1181, under the reign of William II. (Norman king of Sicily, 1166–1189).

From about that time distinct national styles began to develop in different places. In tracing the progress of the embroiderer’s art during the middle ages we must rely mainly upon the many fine examples of ecclesiastical work which have been preserved. The costumes of men and women, as well as curtains and hangings and such articles of domestic use, were often richly adorned with embroidery. These have mostly perished; while the careful preservation and comparatively infrequent use of the vestments and other objects devoted to the service of the church have given us tangible evidence of the attainments of the medieval embroiderer. Much of this work was produced in convents, but old documents show that in monasteries also were to be found men known for their skill in needlework. Other names, both of men and women, are recorded, showing that the craft was by no means exclusively confined to monastic foundations. Gilds of embroiderers existed far back in medieval times.

In England the craft has been a favourite employment for many centuries, and persons of all ranks have occupied their spare hours at needlework. Some embroidered fragments, found in 1826–1827 in the tomb of St Cuthbert at Durham, and now kept in the cathedral library, were worked, chiefly in gold thread, by order of Ælfflæda, queen of Edward the Elder, for Fridestan, bishop of Winchester, early in the 10th century. In the later part of the following century the “Bayeux tapestry” was produced—a work of unique importance (Plate . fig. 7). It is a band of linen, more than 230 ft. long, embroidered in coloured wools with the story of the Norman conquest of England. (See .)

Some fragments of metallic embroidery on silk, of the 12th and 13th centuries, may be seen in the library of Worcester cathedral. They were removed from the coffins of two bishops, William de Blois (1218–1236) and Walter de Cantelupe (1236–1266). A fragment of gold embroidery from the tomb of the latter bishop is preserved in the Victoria and Albert Museum at South Kensington, and others are in the British Museum. In the 13th century English embroidery was famous throughout western Europe, and many embroidered objects are described in inventories of that time as being de opere anglicano. During that century, and the early part of the next, English work was at its best. The most famous example is the “Syon cope” at South Kensington, belonging to the latter half of the 13th century (see, Plate . fig. 2). It represents the coronation of the Virgin, the Crucifixion, the archangel Michael transfixing the dragon, the death and burial of the Virgin, our Lord meeting Mary Magdalene in the garden, the Apostles and the hierarchies of angels. The broad orphrey is embroidered with a series of heraldic shields (Plate . fig. 9). Other embroideries of the period are at Steeple Aston, Chesterfield (Col. Butler-Bowden), Victoria and Albert and British museums, Rome (St John Lateran), Bologna, Pienza, Anagni, Ascoli, St Bertrand de Comminges, Lyons museum, Madrid (archaeological museum), Toledo and Vich.

During the course of the 14th and 15th centuries embroideries produced in England were not equal to the earlier work. Towards the end of the latter century, and until the dissolution of the monasteries in the next, much ecclesiastical embroidery of effective design was done, and many examples are still to be seen in churches throughout the country. In the Tudor period the costumes of the wealthy were often richly adorned with needlework. The portraits of King Henry VIII., Queen Elizabeth and their courtiers show how magnificent was the embroidery used for such purposes. Many examples, especially of the latter reign, worked with very effective and beautiful floral patterns, have come down to these times. A kind of embroidery known as “black work”, done in black silk on linen, was popular during the same reign. A tunic embroidered for Queen Elizabeth, with devices copied from contemporary woodcuts, is an excellent example of this work. It now belongs to the Viscount Falkland. Another class of work, popular at the same time, was closely worked in wools and silks on open-mesh material like canvas, which was entirely covered by the embroidery. Figures in rich costume were often introduced (Plate . fig. 6). This method was much practised in France, and the term applied to it in that country, “au petit point,” has become generally used. Throughout the 17th and 18th centuries embroidery in England, though sometimes lacking in good taste, maintained generally a high standard, and that done to-day, based on the study of old examples, need not fear comparison with any modern work. During these three centuries bold floral patterns for hangings, curtains and coverlets have been usual (Plate . fig. 13), but smaller works, such as samplers, covers of work-boxes, and pictorial and landscape subjects (fig. 5), have been produced in large numbers. In the 18th century gentlemen’s coats and waistcoats and ladies’ dresses were extensively embroidered.

In France, embroidery, like all the arts practised by that nation, has been characterized by much grace and beauty, and many good specimens belonging to different periods are known. The vestments associated with the name of St Thomas of Canterbury at Sens may be either of French or English work (12th century). To the later part of the following century belongs a band of embroidery, representing the coronation of the Virgin, the Adoration of the Magi, the presentation in the Temple, and other subjects beneath Gothic arches, preserved in the Hôtel-Dieu at Château Thierry. The mitre of Jean de Marigny, archbishop of Rouen (1347–1351), in the museum at Évreux,