Date: Sunday f 5, 2012
Mediaeval Embroideries
The materials used as groundwork for mediaeval embroideries were rich in themselves. Samit was the favourite
shimmering, and woven originally of solid flat gold wire. Ciclatoun was also a brilliant textile, as also was Cendal. Cendal silk is spoken of by early writers.
The first use of silk is interesting to trace. A monopoly, a veritable silk trust, was established in 533, in the Roman Empire. Women were employed at the Court of Justinian to preside over the looms, and the manufacture of silk was not allowed elsewhere. The only hindrance to this scheme was that the silk itself had to be brought from China.
But in the reign of Justinian, two monks who had been travelling in the Orient, brought to the emperor, as curiosities, some silkworms and cocoons. They obtained some long hollow walking sticks, which they packed full of silkworms' eggs, and thus imported the producers of the raw material. The European silk industry, in fabrics, embroideries, velvets, and such commodities, may owe its origin to this bit of monastic enterprise in 550.
Silk garments were very costly, however, and it was not every lady in early times who could have such luxuries. It is said that even the Emperor Aurelian refused his wife her request for just one single cloak of silk, saying, "No, I could never think of buying such a thing, for it sells for its weight in gold!"
Fustian and taffeta were less costly, but frequently used in important work, as also were sarcenet and camora. Velvet and satin were of later date, not occurring until the thirteenth and fourteenth centuries. Baudekin, a good silk and golden weave, was very popular.
Cut velvets with elaborate patterns were made in Genoa. The process consisted in leaving the main ground in the original fine rib which resulted from weaving, while in the pattern these little ribs were split open, making that part of a different ply from the rest of the material, in fact, being the finished velvet as we now know it, while the ground remained uncut, and had more the appearance of silk reps. Velvet is first mentioned in England in 1295, but probably existed earlier on the Continent.
Both Roger de Wendover and Matthew Paris mention a stuff called "imperial," it was partly gold in weave, but there is some doubt as to its actual texture.
Baudekin was a very costly textile of gold and silk which was used largely in altar coverings and hangings, such as dossals, by degrees the name became synonymous with "baldichin," and in Italy the whole altar canopy is still called a baldachino.
During Royal Progresses the streets were always hung with rich cloth of gold. As Chaucer makes allusion to streets
"By ordinance throughout the city large
Hanged with cloth of gold, and not with serge,"
so Leland tells how the Queen of Henry VII. was conducted to her coronation and "all the stretes through which she should pass were clenely dressed... with cloths of tapestry and Arras, and some stretes, as Cheepe, hanged with rich cloths of gold, velvetts, and silks." And in Machyn's Diary, he says that "as late as 1555 at Bow church in London, was hangyd with cloth of gold and with rich Arras."
The word "satin" is derived from the silks of the Mediterranean, called "aceytuni," which became "zetani" in Italian, and gradually changed through French and English influence, to "satin." The first mention of it in England is about 1350, when Bishop Grandison made a gift of choice satins to Exeter Cathedral.
The Dalmatic of Charlemagne is embroidered on blue satin, although this is a rare early example of the material. At Constantinople, also, as early as 1204, Baldwin II. wore satin at his coronation. It was nearly always made in a fiery red in the early days. It is mentioned in a Welsh poem of the thirteenth century.
Benjamin of Tudela, a traveller who wrote in 1161, mentions that the Jews were living in great numbers in Thebes, and that they made silks there at that time. There is record that in the late eleventh century a Norman Abbot brought home from Apulia a quantity of heavy and fine silk, from which four copes were made. French silks were not remarkable until the sixteenth century, while those of the Netherlands led all others as early as the thirteenth.
Shot silks were popular in England in the sixteenth century. York Cathedral possessed, in 1543, a "vestment of changeable taffety for Good Friday."
St. Dunstan is reported to have once "tinted" a sacerdotal vestment to oblige a lady, thus departing from his regular occupation as goldsmith to perform the office of a dyer of stuff.
Mediaeval Embroideries.
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