NEEDLEWORK AS ART

BY

LADY M. ALFORD

London:
SAMPSON LOW, MARSTON, SEARLE, AND RIVINGTON,
CROWN BUILDINGS, 188, FLEET STREET.
1886.

[All rights reserved.]

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LONDON:
PRINTED BY GILBERT AND RIVINGTON, LIMITED,
ST. JOHN’S SQUARE.

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TELEMACHUS   PENELOPE

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DEDICATED BY PERMISSION

TO

THE QUEEN.

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TO

THE QUEEN.

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PREFACE.

In the Preface to the “Handbook of Art Needlework,” which I edited for the Royal School at South Kensington in 1880, I undertook to write a second part, to be devoted to design, colour, and the common-sense modes of treating decorative art, as applied especially to embroidered hangings, furniture, dress, and the smaller objects of luxury.

Circumstances have, since then, obliged me to reconsider this intention; and I have found it more practicable to cast the information which I have collected from Eastern and Western sources into the form of a separate work, which in no way supersedes or interferes with the technical instruction supposed to be conveyed in a handbook. I have found so much amusement in learning for myself the history of the art of embroidery, and in tracing the beginnings and the interchanges of national schools, that I cannot but hope that I may excite a similar interest in some of my readers, and so induce those who are capable, to help and lift it to a higher place than it has been allowed in these latter days to occupy. If I have given too important a position to the art of needlework, I would observe that while I have been writing, decorative embroidery has come to the front, and is at this moment one of the hobbies of the day; and I would point out that it contains in itself all the necessary elements of art; it may exercise the imagination and the fancy; it needs education in form, colour, and composition, as well as the craft of a practised hand, to express its language and perfect its beauty.

I confess that when I undertook this task, I did not anticipate the time I have had to spend in collecting and epitomizing the many notices to be found in German, French, and English authors, on what has been considered among us, at least in this century, as merely a secondary art, and therefore, as such, of little importance. Cursory notices of needlework are scattered through almost every book on art; and under the head of textiles it is usual to find embroidery acknowledged as being worthy of notice, though not to be named in company with sculpture, architecture, or painting, however beautifully or thoughtfully its works may be carried out. I have tried to show that it deserves higher estimation.

My first intention was simply to consider Style, good or bad, as it influences our embroidery of to-day, and to find some rules by which to guide that of the future in its next phase. But when we search into the fluctuations of style, and their causes, we find they have an historical succession, and that we must begin at the beginning and trace them through the life of mankind.

This led me to attempt a sketch of consecutive styles, their overlap and variations.

I then found that Design, Patterns, Stitches, Materials, each require a separate study.

Colour, as applied to dyes, claims to be regarded as differing from pigments on the painter’s palette.

Hangings, Dress, and Ecclesiastical Embroideries each require different rules, and the study of the best examples of past centuries. Finally, it seems natural to dwell on our own proficiency in decorative work. English Embroidery has always excelled; and, as we have again returned to this occupation, it is worth while to recollect what we have done of old.

In writing chapters on these subjects, I have found it most convenient to separate the historical and æsthetic questions from the technical rules, and the instruction which naturally belongs to a handbook, of which the purpose should be to teach the easiest and most orthodox manner of executing the simplest, and elaborating the finest works. Such questions ought not to be overlaid with archæological inquiries, or with the information which only profits the designer; though of course it is best that the knowledge of design should be part of the education of the craft.

Perhaps I may be found to have written a book too shallow for the learned, too deep for the frivolous, too technical for the general public, and too diffuse for the specialist of the craft.[1]

I must deprecate these criticisms by saying that I have written it for the benefit of those who know nothing of the art, and are too much engaged to seek information here and there; who yet, being women, have to select and to execute ornamental needlework; or, being artists, are vexed at the incongruities and want of intention in the decorations in daily domestic use; I have also sought to help the designer, that he or she may know something of the history of patterns and stitches.

If my readers should be aware of repetitions, they must forgive them; remembering that the same idea has to be looked at sometimes from a different point of view, according to the use to which it is to be fitted. The same material may be employed for wall-hangings and dress, and then the principles which have been formulated have to be varied. I do not shrink from repetitions if they make my meaning clear, remembering the Duke of Wellington’s direction to his private secretary, “Never mind repetitions; and dot your i’s.”

Portions of these chapters have been already published in No. 49 of the Nineteenth Century,[2] in 1881; and more was delivered in three unpublished lectures the same year.

I have acknowledged and noted on each page my authorities for the facts I have quoted. The

illustrations that are not original, have been copied from other works by permission of authors and publishers. To all of these I wish to express my obligations and thanks, especially to Mr. Villiers Stuart, Dr. Anderson, Sir G. Birdwood, and Sir H. Layard, for their courtesy in allowing me the use of their plates. To my old and valued friend, Mr. Newton, I wish to express my gratitude for his unstinted gifts of time and trouble, bestowed in criticizing and correcting my book, encouraging me to give it to the public, and making it more worthy of publication.

I have largely quoted Charles Blanc (“Ornament in Dress,” English translation), Von Bock (“Liturgische Gewänder”), Dr. Rock (“The Church of our Fathers” and “Introduction to Textiles”), Semper (“Der Stil”), Yates (“Textrinum Antiquorum”), and Yule (“Marco Polo”), besides many others. But these authorities often differ, and, after weighing their arguments, I have ventured to select for my use the facts and theories which accord with my own views. Facts are often so interdependent and closely linked, that it requires great care to distinguish where they have been shaped or coloured (however unintentionally) to fit each other or the writer’s preconceived ideas. Certain it is that facts are but useless heaps till the thread of a theory is found on which to hang them. This process, like that of stringing pearls, has to be often repeated, till each occupies its right place. Only those who have adopted and cherished a theory can appreciate the pain of cutting the thread, to displace what appeared to be a pearl, but which, from its false position as to date or place, or its doubtful origin, has proved only an empty manufactured glass bead of error.

This has happened to me more than once; and since I read my lectures I have had to change my opinions in several instances. If, therefore, any of my readers should observe such changes, I hope they will give me credit for trying to convey now what appears to me on each subject a correct impression.

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CONTENTS.

  PAGE INTRODUCTION. 1 CHAPTER I.—STYLE. Definition of style—Development of style—Primitive—Archaic—Egyptian—Babylonian—Phœnician influences on early Greek style—Decoration of hangings of the Tabernacle in the wilderness—Aryan ideas—The Code of Manu—Indian art—Celtic style—Greek art in dress and embroideries—Homer’s descriptions of embroideries—Pallas Athene—Shield of Achilles—Roman art—Byzantine art—Art of Central Asia—Its arrival in Europe—Art of China, Japan, and Java—Christian art—Scandinavian art—The Dark Ages—Sicilian textile art—Renaissance—Arabesque—Grotesque—Spanish Plâteresque—Style of Queen Anne and the Chippendales—Louis XV. style—Classical revival—Young England’s style—Nineteenth century style 14 CHAPTER II.—DESIGN. Artist and artisan—Prehistoric design—Naturalistic design—Egyptian immutability—Slow evolution of design—Greek perfection—Necessity of following rules—M. Blanc’s laws of ornamentation—Laws of composition—Repetition—Alternation—Symmetry—Progression—Confusion—Designs for hangings and dress materials—Floral design—Design for carpets—The conventional—First principles 54 CHAPTER III.—PATTERNS. Ancestry of patterns—Classification—Their historical value—Primitive patterns—The wave—Tartan—Prehistoric African patterns—The naturalistic—Flowers—Shells—Indian forms of naturalistic patterns—Egyptian—The lotus—Sunflower—Celtic Zoomorphic patterns—The human figure on Greek textiles—Animal forms in Oriental patterns—Symbolical and conventional patterns—The wave patterns—The palm leaf—The cone—Gothic—Arab—Moresque—The Sacred Hom—Egg and tongue—The cross—Swastika—Fylfote—Gammadion—The crenelated pattern—The Ninevite daisy—Emblematic patterns—Bestiaria—Volucraria—Lapidaria—Byzantine patterns—Gothic—Renaissance—The cloud pattern—The fundata—Italian—French patterns—Radiated patterns—The shell—Patterns by repetition—Balcony pattern—Chinese wicker-work—Survival of a pattern—Opus Alexandrinum—Quilting patterns 82 CHAPTER IV.—MATERIALS. Raw materials—Revelations of the microscope—Hemp—Jute—Honduras grass—Spartum—Pinna silk—Hair—Leather—Feathers—Asbestos—Coral—Pearls—Beads—Wool—Classical notices of wool—Careful improvement of wool by the ancients—Tanaquil—Homeric woollen carpets—Crimson textile fragments—Scandinavian woollen garments—Qualities of wool—English wool—Goats’ hair—Flax—Lake cities—Byssus—Fine linen of Egypt—The Atrebates—Embroidery on linen—Cotton—Indian origin—Carbasa—Buckram—Cotton fabrics—Gold—Silver—Gold brocades—Jewish—Indian—Chinese—Dress of Darius—Attalus—Attalic textiles—Agrippina’s golden garments—St. Cecilia’s mantle—Roman tombs—Gold wire—Anglo-Saxon tomb—Childeric’s tomb—Proba’s gold thread—Golden wrappings from tombs of Henry I. and Henry III.—Gold embroideries and jewellers’ work of Middle Ages—Spangles—Enamels—Purl—Modern schools of gold embroidery—Silk—Pamphile of Cos—Early specimens of silk stuffs—Chinese silks—The Seres—Mela—Seneca—M. Terrien

de la Couperie—Empress Si-ling-chi—Princess of Khotan—Euripides—Lucan—Pliny—Silk in Rome—Ælius Lampridius—Flavius Vopiscus—Tailor’s bill—Justinian’s codex—Imperial monopoly—Paul the Silentiary—Bede—King John’s apparition—Greek and Sicilian manufactories of silk—Distinctive marks of different periods—Lyons—Spain—Italy—Flemish towns—Marco Polo—Satin—Welsh poem, “Lady of the Fountain”—Chaucer—Velvet—Transference of work to new materials 118 CHAPTER V.—COLOUR. Harmony and dissonance—Names of tints—Authorities for theories—Art of colouring—Expression of colouring—Purple—Red—Crimson—Blue—Yellow—Pliny—Renouf—Chinese colours—Indian dyes—Persian colours—Dyes of the Gauls—Romans—Scotch—Scales of colour—MM. Charton and Chevreul on tones of colour—Gas colours 175 CHAPTER VI.—STITCHES. Stitches—Part I.: The needle—Gammer Gurton’s needle—Art of needlework—Lists of stitches—Part II.: Plain work—The seam—Mrs. Floyer—White embroidery—Nuns’ work—Greek—German —Spanish—Italian white work—Semper’s rules for white work—Part III.: Opus Phrygium—Gold embroideries—Part IV.: Opus pulvinarium—Cushion stitches—Mosaic stitches—Traditional decorations from Chaldea and Assyria—German and Italian pattern-books—Part V.: Opus plumarium—The Plumarii—Feather-work of India—Islands of the Pacific—African work—Mexican and Peruvian—Cluny triptych—Mitre of St. Charles Borromeo—Essay by Denis—Chinese and Japanese feather-stitches—Part VI.: Opus consutum or cut work—Patchwork—Egyptian and Greek examples—Irish cut work—Chaucer—Francis I.’s hangings at Cluny—Lord Beauchamp’s curtains—Spanish examples—Remarks—Art of application—Part VII.: Lace—Opus filatorium—Mrs. Palliser—M. Blanc—Guipure—Sir Gardiner Wilkinson—Netted lace—Homer—Solomon’s Temple—Bobbin laces—Yak—Coloured laces—Venetian sumptuary laws—Golden laces—Point d’Alençon—Mr. A. Cole’s lectures—M. Urbani de Gheltof on Venice laces—Lace stitches—Revival of lace school at Burano—English laces—Part VIII.: Tapestry—Opus pectineum—Modes of weaving tapestry—Its great antiquity—Egyptian looms—Albert Castel on tapestries—Homeric picture-weaving—Arachne—A paraphrase by Lord Houghton—Nomenticum—Sidonius Apollinaris—Saracenic weaving—Arras—Brussels—Italian tapestries from Florence, Milan, and Mantua—French tapestries—Cluny Museum collection—Gobelins—Beauvais—English tapestry—Comnenus—Matthew Paris—Early trade with Arras—Coventry tapestries—Chaucer—Tapestry “of verd”—Hatfield tapestries—Armada tapestries—Sir F. Crane—Mortlake manufactory—Francis Cleyne—Raphael cartoons—Percy tapestry from Lambeth 194 CHAPTER VII.—HANGINGS. Classical hangings—Babylonian and Persian—Semper’s theory—Sanctuary in the wilderness—St. Peter’s at Rome—Abulfeda—Akbar’s tent—Nadir Shah’s tent—Tent of Khan of Persia—Tents of Alexander the Great at Alexandria—Roman hangings—Funeral pyres—Kosroes’ tent—Semper’s rules for hanging decorations—Ancient carpets—English and French hangings—Rules for designs of hangings 260 CHAPTER VIII.—FURNITURE. Penelope’s couch—Chaldean furnished house—The bed—Earl of Leicester’s inventories—State apartment of Alessandri Palace—Indian embroideries for furniture—The sofa and chair—The footstool—Furniture stitches—The table cover—The screen—Book covers—Morris on furniture 280 CHAPTER IX.—DRESS. Art of dress—Ancient splendour—Persian, Greek, and Roman—Indian—Homeric—Early Christian—Charlemagne’s mantle and robe—Objects of dress—Embroidered garments 294 CHAPTER X.—ECCLESIASTICAL EMBROIDERY. Christian art—Dark ages—Greek and Roman ecclesiastical dress—Northern influence—Continuity of ecclesiastical art—Authorities—Anglo-Saxon orthodox colours—Veils of the Temple—Hangings in Pagan temples and Christian churches—Russian use of veils—Art in the early Church—Rare examples—Destruction by the iconoclasts—Early embroiderers—Empress Helena—Bertha, mother of Charlemagne—His dalmatic—Pluvial of St. Silvester—Pluvial of museum at Bologna—Daroca cope—Cope of Boniface VIII.—Style of the twelfth century—Mantle of St. Stephen of Hungary—Kunigunda’s work for Henry II.—The Romanesque—Movement perfecting Gothic art, thirteenth century—Opus Anglicanum—Syon cope—Embroidery on the stamp—Pictures in flat stitches—Flemish work—Renaissance—Work of some royal ladies—French—Spanish—Sicilian and Neapolitan—German work—Sacred symbolism—Melito’s “The Key”—Mystical colours—Prehistoric cross—Many forms of the cross—The roës—The chrysoclavus—Modern decoration—Principles and motives for church embroideries—The altar-cloth—The reredos—The pulpit and reading-desk—The ancient Paschal—The banner of St. Cuthbert—The fringe—Lay heraldry of the Church—South Kensington Museum 303 CHAPTER XI.—ENGLISH EMBROIDERY. First glimpse of art in England—Dyeing and weaving in Britain in early times—Cæsar’s invasion—Roman civilization—Anglo-Saxon times and art—Adhelme’s poem—Icelandic Sagas—Saga or story of Thorgunna—English work in the eighth century—The Benedictines—Durham embroideries—Aelfled—St. Dunstan—Queen Emma’s work—William of Poitou—The Bayeux tapestry—Abbess of Markgate—Gifts to Pope Adrian IV.—Robes of Thomas à Becket at Sens—Innocent III.—English pre-eminence in needlework from the Conquest to the Reformation—John Garland on hand-looms—Blode-bendes and lacs d’amour—Opus Anglicanum—English peculiarities in ecclesiastical design—Penalties against luxury in dress—Protection the bane of art—Dunstable pall—Stoneyhurst cope—Destruction of fine works at the Reformation—Much on the Continent, much collected in our old Catholic houses—Field of the Cloth of Gold—Mary Tudor’s Spanish stitches—Queen

Elizabeth’s embroideries—Institution of Embroiderers’ Company—East India Company—Oriental taste discouraged on Protectionist grounds—Decay of the art in England—Style of James I.—Dutch style—Cushion stitches—Miss Linwood—Miss Moritt—Mrs. Delany—Mrs. Pawsey—Postscript—Revival of the art of needlework—“Royal School of Art Needlework” 356   Appendix I. Charles T. Newton on Votive Dresses 400 II. The Moritzburg Feather Hangings 401 III. The Story of Arachne, translated by Earl Cowper 402 IV. Charlemagne’s Dalmatic, by Lord Lindsay 405 V. Notices of various Mediæval Embroideries by the Hon. and Rev. W. Ignatius Clifford 407 VI. Syon Cope, Rock’s Introduction, “Textile Fabrics” 408 VII. Assyrian Fringes 412 VIII. Hrothgar’s House Furniture: Poem of Beowulf 412 IX. Thorgunna, by Sir G. Dasent 413 X. Pedigree of Aelswith 414 XI. Statutes at Large 414

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LIST OF ILLUSTRATIONS.

CUTS.

Fig. Page.   1 20 Egyptian corselet. Wilkinson’s “Ancient Egyptians,” p. 332. 2 25 Tabernacle of Balawat. Temp. Shalmaneser. British Museum. 3 30 Zoomorphic Celtic pattern. 4 32 Pallas Athene attired in the sacred peplos. Panathenaic vase, British Museum. 5 62 Wave pattern. 6 63 Key pattern. 7 63 Metopes and triglyphs. 8 73 Persian carpet. Egyptian symbolic patterns. 9 91 Gothic sunflower. R. S. A. N. 10 98 Wave. 11 104 Egyptian ally and enemy. Temp. Rameses II. Wilkinson’s “Ancient Egyptians,” iii. p. 364. 12 105 Assyrian crenelated pattern. 13 107 Gothic type of trees, Bayeux tapestry. 14 111 Radiated pattern. 15

class="tdrt br">111 Radiated sunflower. 16 112 Shell pattern. 17 112 Balcony pattern. 18 115 Varied adjustments of square and circle. 19 146 Spangles. 20 195 Needles. 21 208 Feather patterns. Egyptian. 22 216 Application. Egyptian. Auberville’s “Tissus.” 23 217 Embroidered border on mantle. Crimea. “Compte Rendu.” 24 281 Babylonian or Chaldean house and furniture. 25 311 Italian fifteenth-century pattern. Celtic type. 26 377 Barbed quatrefoil. 27 380 Holbein pattern. Sampler. 28 388 Arms of Embroiderers’ Guild; given by Queen Elizabeth. 29 393 Portion of James II.’s coronation dress; from an old print.

PLATES.

Plate Page.  Ref.         Title-Page. Penelope at her loom, reproached by her son Telemachus. From vase found at Chiusi, in Etruria. “Monum. d. Inst. Arch. Rom.” ix. Pl. 42. 1 22 93 Assurbanipal (Sardanapalus). Sculptures from Nineveh. British Museum. 2 22 93 Portion of royal Babylonian mantle. From Layard’s “Monuments,” Series i. pl. 9. 3 29   St. John. From King Alfred’s Celtic Book of the Gospels. Lambeth Palace Library. 4 30   A page of the Book of St. Cuthbert, or Book of Lindisfarne. 5 33   Silver Bowl from Palestrina. From Clermont Ganneau’s “Journal Asiatique, Syro-Egyptien-Phœnicien.” 6 40 93 Empress Theodora. Ravenna Mosaic. 7 42   Italian Embroidery, fifteenth century. South Kensington Museum. 8 43   Italian and Spanish orphrey, sixteenth century.

tag="{http://www.w3.org/1999/xhtml}a">9 45   Plâteresque Design. Spanish coverlet, green velvet and gold, sixteenth century. Goa work. 10 87   Wave Pattern. 1, 4, 9, 12, 13. Greek wave pattern. 2. Key or Mæander Greek wave. 3. Greek broken wave. 5, 6, 7. Egyptian smooth and rippling wave pattern. 8. Mediæval wave. 10, 11, 14. Babylonian and Chaldean. 15. Persian or Greek, from glass bowl, British Museum. 16. English wave (or cloud). Durham embroideries, tenth century. 11 88   Simple Patterns. 1. Persian. 2. Lotus border, Egyptian. 12 90   Lotus Borders. 1. Indian. 2, 3. Egyptian. 4, 5, Greek. 6. Indian. 13 95 102 Indian Lotus. 1. With Assyrian daisy. 2. Lotus. 3. The egg and tongue, or Vitruvian scroll from Vignola. “Regole di Ordine di Architettura.” 14 91   Sunflower Pattern. R. S. A. N. Nineteenth century. 15 92   Portion of a page of the Book of Kells. Dublin University Library. 16 93 114 Demeter. Greek fictile vase. British Museum. 17 93 217 1. Greek Embroidery, 300 B.C. From tomb of the Seven Brothers, Crimea.       2. Egyptian painted or embroidered linen. The cone, bead, daisy, wave. Lotus-under-water patterns are represented on this fragment. 18 93   Egyptian Tapestry weaving finished with the needle. British Museum. 19 97 114 Egyptian key patterns. Wilkinson’s “Ancient Egyptians,” p. 125. 20 99 101 Trees of Life. 1, 2, 3. Assyrian. 4. Sicilian silk. 5. Mediæval. Birdwood’s “Indian Arts.” 21 101   Trees of Life. 1. Sculpture over gate of Mycenæ. 2. Sicilian silks; Persian type. 22 101   Lotus merged into Tree of Life. 1. Split Chinese Lotus. 2. Split Persian Lotus, from a frieze by Benozzo Gozzoli. Ricardi Palace, Florence. 3. Petal of flower. Greek glass bowl from tomb in Southern Italy. 23 101   Trees of Life. Sicilian silks. Auberville. 1, 2, 3, 4, 5, 10. Persian type. 6, 7, 8, 9, 11. Indian type. 24 101   Tree of Life transformed into vine. Modern pattern of work from the Principalities. 25 103   Typical Crosses. 1. Swastika fire-stick cross. 2. From Greek vase, British Museum, 765 B.C. 3. Sectarial mark of Sakti race. India. 4. Sectarial mark of Buddhists and Jainis. 5. On early Rhodian pottery. 6. Egyptian prehistoric cross. 7. Tau cross. 8. Mark of land, Egyptian and Ninevite. 9. Mark of land, Egyptian and Ninevite. 10. Clavus, “nail” or “button,” or sun-cross. 11, 12, 13. Scandinavian sun and moon crosses. 14, 15, 16. Celtic. 17. Chrysoclavus. 18, 19. Stauracin patterns. 20. Norwegian. 21. Runic. 22. Cross in Temple of the Sun, Palenque. 23. Scotch Celtic cross. 24. Cross

at Iona. 25, 26. Runic and Scandinavian crosses. 27. Cross diapered on Charlemagne’s dalmatic. 28. From mantle of Henry II., Emperor of Germany. 26 103   Prehistoric Crosses. 1. Greek. Pallas, with plaited tunic worked with Swastika. 2. Greek. Ajax playing at dice with Achilles. Cloak embroidered with Swastika and other prehistoric patterns. Fictile vase, Vatican Museum. 27 105   Assyrian Carpet carved in stone, British Museum. 28 107   Gothic. 1. Dress patterns from old MS. 2, 3. Old English tiles. 29 109   Cloud Patterns. 1, 2, 3, 7. Japanese. 5, 8, 9. Mediæval. 4. Chinese. 6. Badge of Richard II. 30 109   Indo-Chinese Coverlet. Hatfield. Supposed to have belonged to Oliver Cromwell. 31 109   Fundata Patterns. 1. On Phœnician silver bowl. (“L’Imagerie Phénicienne.”) 2, 3. From tomb at Essiout, Egypt. Wilkinson’s “Ancient Egyptians,” ii. p. 125. 1600 B.C. 32 124   Part of Border of silk, gold, and pearls. Worked by Blanche, wife of Charles IV. of Bohemia. Bock’s “Lit. Gew.” ii. p. 246. 33 147   Embroidered Window hanging from portrait of Mahomet II., by Gentil Bellini; belonging to Sir Henry Layard. 34 153 110 Classical Silks. 1. Greek. 2. Roman. 35 163   Durham Relics. Persian type of silk weaving. 36 164   Durham Relics. Norman and Persian types mixed. 37 164   Durham Relics. Græco-Egyptian type. 38 164   Egyptian Boat with embroidered and fringed sails, and floating scarves. Wilkinson’s “Ancient Egyptians,” iii. p. 211. 39 200   White embroidery from sculptured tomb of a knight, fifteenth century. Ara Cœli, Rome. 40 201   Processional Cloak, Spanish work, temp. Henry VIII., belonging to Lord Arundel of Wardour. 41 204   Opus Pulvinarium. Counted stitches. 1. Italian. 2. Scandinavian. 3. Ancient Egyptian. Turin Museum. 42 206   Italian Mosaic Stitch work, sixteenth century. Alford House. 43 214   Japanese Opus Plumarium. White silk. 44 216 25 Opus Consutum. Funeral tent of an Egyptian queen. 45 219 123 Opus

Consutum. “Inlaid” and “onlaid.” Italian, seventeenth century. 46 235   Egyptian Gobelins finished with the needle. 47 236   Rheims Cathedral Tapestry. The Virgin weaving and embroidering on frame a “basse-lisse.” 48 243   Tent of Charles the Bold, taken at Grandson, now in museum at Berne. The badge is that of the Golden Fleece. 49 252   English Tapestry belonging to Lord Salisbury, at Hatfield House, temp. Henry VIII. 50 294   Italian Knight of fifteenth century armed for conquest. Gentile da Fabriano. Academia, Florence. 51 309   St. Mark. Anglo-Saxon Book of the Gospels. York Minster Library. 52 312   Classical Pattern adapted into Christian art. 53 318   Charlemagne’s Dalmatic. Vatican Treasury. 54 318   Charlemagne’s Dalmatic. Vatican Treasury. 55 318   Portion of Charlemagne’s Dalmatic. Half-size. 56 319   St. Silvester’s Pluvial. Treasury of St. John Lateran, Rome. Opus Anglicanum, thirteenth century. 57 319   Portion of St. Silvester’s Pluvial, showing its condition. 58 319   Bologna Cope. Museo del Municipio. Opus Anglicanum. 59 319   Daroca Cope. Archæological Museum at Madrid. Opus Anglicanum. 60 319   Boniface VIII.’s Cope from Anagni, his native place; now in Vatican Treasury; twelfth century. 61 319   Altar Frontal at Anagni, Italy. Italian work, fourteenth century. 62 320   Worcester Relics of the tenth century. 1. From tomb of Walter de Cantilupe. 2. From Aix, in Switzerland. Same type. 63 320   1. Mitre of Thomas à Becket. 2. The cross with twelve leaves, “for the healing of the nations.” Coronation vestments at Rheims. 64 321   Anglo-Saxon Work, purple and gold, from tomb of William de Blois, Worcester. He died Bishop in 1236. 65 321   A Portion of St. Stephen of Hungary’s Mantle, worked by his Queen Gisela. From Bock’s “Kleinodien.” 66 322   Portion of Mantle of Henry II., worked by his Empress Kunigunda. From Bock’s “Kleinodien.” 67 325  

class="smcap">The Syon Cope. South Kensington Museum. 68 329   Italian Embroideries designed by Pollaiolo; worked by Paolo da Verona. Sixteenth century. 69 330   Spanish Altar Frontal. The Arms of Castile embroidered in gold with pearls. Ashridge. Plâteresque style, seventeenth century. 70 337 113 Consular Ivories. Two diptychs. 1. Zurich, Wasser-Kirche. Inscribed to Consul Areobindus, A.D. 434. 2. At Halberstadt. No date. From Bock’s “Lit. Gew.” 71 363   Aelfled’s Orphrey, signed by her. Durham Cathedral Library. 72 363   St. Gregory and St. John (Prophet), from Aelfled’s orphrey. Durham. English work, tenth century. 73 365   St. Dunstan in adoration, drawn by himself. Bodleian Library, Oxford. Tenth century. 74 369   Small Parsemé Patterns from Strutt’s “Royal and Ecclesiastical Antiquities of the English from 1100 to 1530.” 75 369   English Patterns of embroidery. 1. Panel of a screen in Hornby Church, Yorkshire. 2. Dress on a painted window in St. Michael’s Church, York. 3. Woven material of the Towneley Copes. 76 375   Opus Anglicanum, twelfth century. British Museum. 77 376   Typical English Ornaments for ecclesiastical embroideries, twelfth century. 78 377   Dunstable Pall. Temp. Henry VII. 79 378   Vintners’ Company Pall. Henry VII. 80 378   Henry VII.’s Cope, from Stoneyhurst; designed by Torrigiano, the sculptor of his tomb. 81 382   Spanish Work. Temp. Henry VIII. 82 383   English “Spanish Work.” Temp. Henry VIII. 83 389   Cushion Cover, Hatfield House. Temp. Elizabeth. 84 390   Oriental “Tree and Beast” Pattern. Cockayne-Hatley. Temp. James I. 85 391   English Crewel Work. Indian design. Temp. James I.

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