FREE BOOKS

Author's List




PREV.   NEXT  
|<   120   121   122   123   124   125   126   127   128   129   130   131   132   133   134   135   136   137   138   139   140   141   142   143   144  
145   146   147   148   149   150   151   152   153   154   155   156   157   158   159   160   161   162   163   164   165   166   167   168   169   >>   >|  
square forms, with rounded and barbed sides and corners. In each of these is a figure or a scriptural scene. The orphreys, or straight borders which go down both fronts of the cope, are decorated with heraldic charges. Much of the embroidery is raised, and wrought in the stitch known as Opus Anglicanum. The effect was produced by pressing a heated metal knob into the work at such points as were to be raised. The real embroidery was executed on a flat surface, and then bossed up by this means until it looked like bas-relief. The stitches in every part run in zig-zags, the vestments, and even the nimbi about the heads, are all executed with the stitches slanting in one direction, from the centre of the cope outward, without consideration of the positions of the figures. Each face is worked in circular progression outward from the centre, as well. The interlaces are of crimson, and look well on the green ground. The wheeled Cherubim is well developed in the design of this famous cope, and is a pleasing decorative bit of archaic ecclesiasticism. In the central design of the Crucifixion, the figure of the Lord is rendered in silver on a gold ground. The anatomy is according to the rules laid down by an old sermonizer, in a book entitled "The Festival," wherein it is stated that the body of Christ was "drawn on the cross as a skin of parchment on a harrow, so that all his bones might be told." With such instruction, there was nothing left for the mediaeval embroiderers but to render the figure with as much realistic emaciation as possible. The heraldic ornaments on the Syon Cope are especially interesting to all students of this graceful art. It is not our purpose here to make much allusion to this aspect of the work, but it is of general interest to know that on the orphreys, the devices of most of the noble families of that day appear. [Illustration: DETAIL OF THE SYON COPE] English embroidery fell off greatly in excellence during the Wars of the Roses. In the later somewhat degenerate raised embroidery, it was customary to represent the hair of angels by little tufted curls of auburn silk! Many of the most important examples of ancient ecclesiastical embroidery are in South Kensington Museum. A pair of orphreys of the fifteenth century, of German work (probably made at Cologne), shows a little choir of angels playing on musical instruments. These figures are cut out and applied on crimson silk, in what was called
PREV.   NEXT  
|<   120   121   122   123   124   125   126   127   128   129   130   131   132   133   134   135   136   137   138   139   140   141   142   143   144  
145   146   147   148   149   150   151   152   153   154   155   156   157   158   159   160   161   162   163   164   165   166   167   168   169   >>   >|  



Top keywords:
embroidery
 

raised

 

figure

 

orphreys

 

outward

 
crimson
 
ground
 

centre

 
design
 

angels


figures

 

stitches

 
executed
 

heraldic

 
purpose
 

allusion

 
aspect
 
interest
 

general

 

devices


instruction

 

harrow

 

parchment

 

mediaeval

 

interesting

 

students

 

graceful

 

families

 

ornaments

 

render


embroiderers

 
realistic
 

emaciation

 

fifteenth

 

century

 
German
 

Museum

 
ancient
 

examples

 
ecclesiastical

Kensington
 

Cologne

 
applied
 
called
 

instruments

 

playing

 
musical
 

important

 
English
 

greatly