selected and the work done with a ‘rug’ needle.
This work is easily made up, the edges turned over and strong flax or
hempen cloth hemmed to it. An interlining of coarse felt may be added if
extra thickness is desired.
The modern use of the BOOK-MARKER in the Holy Bible, Office, and Altar
books seems partly to be occasioned by the absence of illuminated
Initials, Versals, &c., which in former days assisted the reader in
finding his place in the book. But there was often in medieval times a
small handkerchief (_sudariolum_) attached to the altar-book by a ribbon
for the use of the officiating priest, and this string would naturally
sometimes be used as a ‘marker.’ In the course of time, like all other
things used in the sanctuary, this would become resplendent with gold and
embroidery, till the ornamental took the place of the useful and remained
only as a symbol.[10]
Book-markers should not be wide or clumsy or they defeat one of the
objects for which they exist—the preservation from wear and tear of the
books in which they are placed. It would perhaps be more convenient
if they were fastened into the binding, but as this is seldom done
effectually in the first place, and they soon get worn out, the movable
ones, which can easily be replaced, are now in general use. A simple
device at each end and the appropriate finish of a good fringe are all
that is necessary. For the sake of harmonious appearance, and not for any
ritual reason, they are usually made _en suite_ with the vestments and
altar.
[Illustration: Diagram showing how to cut two Almsbags]
When working book-markers sufficient ribbon should be left below the
design to turn up and cover the back of the work. The raw edge will be
turned in and it will be slip-stitched along the top and over-sewn
down both sides. The fringe is then over-sewn to the extreme end of the
marker. If the ‘head’ of the fringe is not suitable for this treatment,
the ribbon that covers the back of the work may be cut separately and
the head of the fringe inserted between the two. The back may also be
embroidered.
[Illustration: Ancient Pulpit-hanging in Stapleton Church, Shrewsbury]
[Illustration: Ornament for Horse-cloth, belonging to the Fishmongers’
Company]
CHAPTER XII
ON THE PRINCIPAL STITCHES USED IN LINEN-WORK
In all the previous chapters I have assumed that the embroidress would
carry out the suggestions given by means of gold and silver thread,
floss silks, &c., working them either directly upon some rich fabric
such as silk or velvet, or else on linen with the ultimate purpose of
transferring it to the more precious material, or, thirdly, on a linen
ground which is eventually covered so entirely with embroidery that no
trace of the original material appears. I have mentioned coloured linens
and linen thread as desirable materials where economy is a consideration,
to be used for the same purposes and in the same manner as silk and gold,
&c.
I now propose to treat of linen-work as a separate branch of Church
needlework, different both in regard to the materials employed and in the
method of using them.
[Illustration: Sampler for Linen-work]
To begin with, as the ground-work will be of _white_ linen, which
naturally requires frequent washing, the decoration of it must either be
detachable (as in the case of ‘Apparels’), or it must be of such a nature
as to withstand injury under the necessary processes of the laundry.
This limits the materials for the embroidery to linen thread, cotton,
crewel wool, washing silk, and a certain make of tambour gold which can
be conveniently worked through the substance of the linen.
It excludes (generally speaking) all loose surface-stitches and highly
raised relief work; but on the other hand it allows of many curious and
diversified stitches which can only be worked satisfactorily when done in
the hand without a frame, such as chain-stitch, buttonhole, &c. &c.
In choosing the materials, whether it be the linen itself or the
embroidery threads, a careful judgment is required to select only the
best and most durable. If colours are to be used in the ornament, it is
well to test them beforehand as to their behaviour under the ordeal of
washing. The guarantee of the labels on many of them is insufficient.
The linen itself ought also to be washed in boiling water before the
cutting-out or embroidering is attempted. Hand-made and grass-bleached
linens are much to be preferred to the more perfect-looking but less
reliable products of machinery.
Linen thread for embroidery is not so easy to work with as some of the
cottons prepared for this purpose; but it looks so well when carefully
handled that it repays a little extra trouble in the using. It is apt
to come untwisted in the friction through the stuff, and then to break
rather readily; the remedy is to roll the needle between the finger
and thumb from time to time during each needleful, to keep it twisted
right, or to change hands, working with the left if possible, or from
the opposite end of the work where it is convenient. The needlefuls also
should not be too long.
‘D.M.C.’ cottons (of which there are a great number of different kinds)
are very nice-looking and pleasant to work with; the colours also are
good.
For white work I prefer Clark’s Anchor (_à broder_), the numbers from 5
to 10 being especially good and useful.
THE STITCHES
There is a great variety in the stitches which may be employed in linen
embroidery, but for each separate piece of work it is best to keep to one
or two only. In the accompanying sampler I have contrived to show about
a dozen different ones without seriously interfering with the unity of
the design; but it is to be taken merely as a sampler of stitches, and of
those only the most desirable for Church linen.
All this kind of work should be solid and firm without being drawn too
tight. It should never be so tightly done as embroidery which is worked
in a frame, if the linen becomes puckered or drawn out of shape it
will never ‘come right’ afterwards, so the stitches ought to be well
practised on a waste piece of linen till the right degree of tension
is ascertained. A want of due regard to this is the cause of much
disappointment in work done in the hand; if too loose it soon becomes
shabby, and if too tight it makes a series of small holes all round the
work, after repeated efforts of the laundress to make the thing lie
smoothly by means of much stretching and heavy ironing.
In general method, embroidery worked loose in the hand differs from that
done in a frame, in that each stitch is completed by one action of the
needle instead of two, as it goes in and out of the stuff.
[Illustration]
SATIN-STITCH, marked _A_ on the sampler, is nearly always padded first by
running a few stitches backwards and forwards in the opposite direction
to that of the satin-stitch, which covers it by going ‘over and over,’
the needle going in at one edge of the outline and coming out at the
other as nearly as possible at right angles. The stitches should be
placed quite close together, and should never be _much_ more than ¼
inch across: if the design shows a wider space to be filled it must be
subdivided by a voided line. Some workers pad their satin-stitch very
thickly, thinking to make it handsomer; but all very high relief is a
mistake from an artistic point of view, as it destroys the delicacy one
expects to see in linen-work, and obtrudes itself unduly even when worked
entirely in white. Indeed, some authorities go so far as to say that
the change of surface or texture caused by the stitchery is the only
legitimate effect in white work; but I think the majority would allow
a _little_ relief, providing it is not exaggerated, especially as it
causes the satin-stitch to lie much more smoothly than when done without
any under layer of cotton.
Next to the satin- and chain-stitches I think BUTTONHOLE-STITCH is
perhaps the most useful for linen embroidery. Simple buttonholing is
worked from left to right, setting the needle in and out at right angles
to the outline, holding the thread down with the left thumb at each
stitch while the needle goes over it. Both chain- and feather-stitch may
be considered variations of buttonhole, the principle of the method being
the same in each case, viz. working from left to right (or from the top
downwards), holding the thread under the thumb for the needle to pass
over as it pierces the stuff and comes out again at one ‘stroke.’
In ordinary buttonholing the stitches are placed as near together as
possible: at a little distance apart it becomes ‘blanket-stitch,’ of
which there are as many variations as the ingenious needlewoman chooses
to make, but which are not appropriate to our present purpose.
To work the foliation marked _B_ on the sampler, it should be slightly
padded, exactly as for satin-stitch, and the ridged side of the stitch
kept to the outline; round the inner curves, if a sufficient number of
stitches are inserted, the ridge will stand up a little and accentuate
the ‘eye’ of the curve very prettily. The firmness of outline obtained by
buttonholing has caused it to be applied to the most beautiful designs
for cut-linen work (see Illustration, p. 82), which may be carried out
with any amount of detail without the least danger of its fraying or
getting out of shape, and which will last and wear as long as the linen
itself. The outline should be run round before working the buttonhole for
this purpose, the stitches kept close together and drawn rather tighter
than when intended to lie on the surface.
[Illustration]
The inner outlines, also marked _B_ on the sampler, are done in the same
stitch, in the one case set in straight and in the other slanting. The
tiny rosettes above are worked by setting the needle in at the same place
at each stitch. By drawing the thread fairly tight, a small neat hole is
arrived at in the centre of each; if the linen is very hard and strong,
the spot should be pierced with a stiletto before working.
[Illustration]
Another application of the principle is shown as a ‘filling’ stitch at
_C_ on the sampler. It is worked like one of the lace stitches, except
that the needle takes up a bit of the linen beneath at each stroke
(instead of ‘being in the air,’ as lace may be truly defined). An
outline of chain-stitch should be worked first, as it provides a neat
and convenient boundary for the rows of buttonholing to begin and end
with. Bringing out the needle on the edge to the right of the worker,
it is carried straight across the work to the left and set into one of
the chain-stitches there; it is then brought out at the next chain, and
the long thread buttonholed over till it arrives at the beginning of the
thread where it was fastened on. The same process is repeated till the
space is filled, the stitches in each row of buttonholing being placed
between those of the previous row, and each row beginning at the left
over the thread laid across from the right.
This will be seen clearly by the detail _C_, which is very much enlarged
to show the working, but the rows of buttonholing are not usually much
more than ⅟₁₆ of an inch deep. It combines admirably with chain-stitch
for leaves, flowers, and even figures, the stems and small details being
worked in chain, and the filling in this solid form of buttonhole, while
features and the folds of garments may be clearly indicated by voided
lines.
FEATHER-STITCH, marked _D_ on the sampler, may be considered another
development of the buttonhole-stitch, the simpler forms of it being
merely one, two, or three slanting buttonhole-stitches taken alternately
from the one side and the other of imaginary boundary lines. In
practising the stitch, until the worker gets accustomed to it, it is a
good plan to trace real boundary lines, determining the width to be kept
to, and two other lines at equal distances within these, as a guide for
keeping the stitches all of the same size.
Feather-stitch by itself makes a very pretty border pattern, but it
always seems a little frivolous unless it is subdued by an enclosing
line of chain-stitch or buttonhole, with either of which it will combine
most happily. The chain may be done first on each side (making, in fact,
the boundary for width), and then the single feather-stitches taken from
side to side into each chain in turn, being careful to pick up a tiny bit
of the stuff on the needle, as well as the thread of the chain, at each
stitch, otherwise it will be only a surface-stitch, which does not wear
so well, though the appearance is almost exactly the same. If buttonhole
be used for the edge, either it should be done _slanting_, to agree with
the feather, or the latter should be worked in _upright_ stitches to suit
the buttonhole. In this case it does not matter which is done first, as
the stitches go _between_ and not _into_ each other.
[Illustration]
HERRING-BONE is somewhat similar in appearance to feather-stitch, but the
method of working is quite different. It is begun from the opposite end
of the border, working from the bottom upwards, and the needle is set
in the same direction as the line of the border, not at right angles or
diagonally, but on the line itself. The stitches are taken alternately
from side to side, and the threads cross each other naturally, without
any intervention of the needle or thumb of the worker. It is a stitch
well known to the neat-fingered housewife for keeping flat the cut edges
of a seam where a hem is considered too clumsy. As a decoration it is
seldom used in its simplest form; but I have seen many beautiful pieces
of embroidery executed entirely in other forms of the same stitch, such
as Swiss or Close herring-bone or Fish-bone. The method of work is shown
here, and I think needs no further description. In the third diagram
of this stitch it will be noticed that the needle goes at right angles
with the outline, both in the large stitch from edge to edge, and in
the little stitch in the middle. This makes the work less thick and
substantial than the Swiss, which gives the same effect at a greater
expenditure of silk or cotton, &c.
[Illustration]
BACK-STITCHING is very useful for making fine lines, for following
outside of an outline which may seem too hard, or for breaking up a
background, as in the central petal of the _fleur-de-lys_ in the sampler,
where it answers the same purpose as dots or ‘sympathetic lines’ in a
drawing, by filling a flat surface quietly and unobtrusively. It is well
to work it in rather coarser thread than the satin-stitch it accompanies.
The stitches should not lie too close together; a _very_ small piece of
the stuff should be taken up on the needle at each stitch, and the point
of the needle brought out at the spot where the next stitch is to be.
If the dots do not look large enough, each stitch should be gone over
_twice_, instead of only once, at exactly the same place. When three or
four stitches are used one over the other, they make a smooth raised knot
preferable to French knots for linen-work, as they do not get disarranged
by ironing. When only one or two stitches are used for each dot, the
needle should pierce the thread at the back as it goes through from one
dot to the next place.
CROSS-STITCH is, I think, too well known to need much in the way of
description. But the application of it to _linen-work_ would well repay
more attention than is commonly given to it. I need only point to the
accompanying examples from South Kensington to show something of the
beauty that may be arrived at by this simple kind of work. There are
three typical ways of doing this, the first (as in Illustration _F_) by
making a pattern _on the linen_ by means of _cross-stitch_ alone, in one
colour. The second (_F, f_), by making the pattern _by the linen_, the
background being in cross-stitch. The third, by _combining_ cross-stitch
with back-stitch for the fine lines, by means of which the smaller detail
can be described without breaking up the pattern too much. (See _F, f_).
It can be diversified by using two or more colours, but a medley is
undesirable. I myself prefer the patterns worked in one colour only; and
I believe most of the old work was done in either red, green, blue, or
brownish yellow, each used alone, and making by itself quite sufficient
contrast with the white linen on which it was worked.
[Illustration: Illustration (_F_), Cross-stitch
_Spanish, Sixteenth Century. V. & A. Museum (No. 227—1880)_]
If the linen used is too fine to allow the counting of the threads, in
order to keep the stitches of a uniform size and to follow the pattern
correctly, a fine canvas may be tacked over it, and the work done through
the two thicknesses. When it is finished, the threads of the canvas can
easily be drawn away, leaving the work on the linen sufficiently accurate
if it has been carefully done. I would recommend the use of an embroidery
frame for work done on this system, as the stitches ought to be set in
quite vertically to keep them true. All canvas or ‘cushion’ work may be
done on other textiles by means of this method, and for quite coarse work
a frame is unnecessary.
There is yet another application of cross-stitch admirable for
linen-work, which was much in favour for the bordering of corporals,
&c., in the sixteenth century, and presents a lighter effect than the
ordinary solid-looking cross-stitch. In appearance it is very similar
to ‘Lacis’ (a darning on coarse, square-meshed net, or on small-meshed
netting). This open-worked cross-stitch is accomplished by drawing the
thread it is worked with quite tight at each half-stitch that is taken
into the linen, the _first process_ of the ‘cross’-stitch is worked all
along one row before the second, which ‘crosses’ over it. It is either
worked in two colours, one for the pattern and one for the ground, or the
ground alone is worked, leaving the linen to form the pattern, in the
same manner as _F, f_, the ground of the border becoming open-work. It
may be thus worked with a beautiful lacy effect in white thread or silk
for altar-linen. In each case the thread used must be fine and strong.
[Illustration: Illustration (_F, f_)
_Spanish, Early Sixteenth Century. The same back and front. V. & A.
Museum, S. Kensington (No. 224—1880)_]
CHAPTER XIII
ON ALTAR-LINEN
The linen required for service at the Holy Table includes a ‘Fair Linen
Cloth,’ a Corporal, Chalice-veil and Pall, or a pair of Corporals;
Purificators, and a Credence Cloth.
[Illustration: Portion of an Altar-cloth (Embroidered Cambric), Italian]
The first-named should be made to fit the top of the altar exactly as to
width, but may hang down at each end to within a foot or so of the floor,
including the fringe.
The hem along the sides should be one inch wide and that at the ends
about three inches wide. If any embroidery is worked on the part which
lies flat on the top, it should not be done in high relief, and may
consist of five crosses, one in the centre and one at each corner
about an inch from the edges of the altar, worked in chain or close
herring-bone, or _very slightly_ padded satin-stitch.
The two ends which hang down may be enriched by any amount of embroidery,
and any of the stitches described in the last chapter may be used.
Many of the clergy prefer their altar-linen worked entirely in
white; linen-thread, silk, or cotton may be employed; where colour
is not objected to, red, blue, green and yellow, either singly or in
combination, may produce very beautiful results.
Illustration I., p. 80, taken from an altar-band at South Kensington, is
worked with the names of saints, alternately red and blue, the foliage
green, fruit red and yellow, flowers red, white and blue. The stitch used
throughout is close herring-bone or braid-stitch, with the exception of
the quaint little birds, which are done in cross-stitch.
For less elaborate work one of the cross-stitch borders _F_ and _F, f,_
p. 77, and worked in red silk or in gold colour, would look well, and all
the rest of the altar-linen could be done to match, or with a narrower
border.
For white work Illustration II. is very satisfactory. The outline of the
leaves may be done in chain-stitch, the veins and grapes in satin-stitch,
the quatrefoil in feather-stitch; the sacred monogram may be either
solid satin-stitch, divided down the middle of each down-stroke by a
voided line, or outlined with chain-stitch and filled with the buttonhole
filling or with satin-stitch dots, or again, with close feather-stitch
like the quatrefoil. The stems of the vine may be filled in the same
manner, and the leaves with a series of back-stitches, like the
illustration given for Chalice-veil.
A neatly sewn hem is better for altar-linen than hem-stitching or drawn
thread; the latter especially being somewhat flimsy, and destroying to
a certain extent the wearing properties of the fabric, is decidedly
unsuitable for this purpose, except perhaps one kind, of which I give an
illustration here (Illustration III., p. 81).
In this some of the strands of either warp or weft are withdrawn as in
ordinary drawn-thread work, but instead of being merely tied together
by means of the needle and thread, or the spaces between filled up with
stitches, the absent strands are replaced, and one might say _more_ than
made good by the darning which builds up the pattern.
This darning might be done all in white-linen thread, or colour may be
introduced as in this example, which is of blue and white alternate
medallions, and the fringe is spaced with blue to correspond.
The threads withdrawn should be counted if the linen is fairly coarse,
but if very fine, measurement will suffice for accuracy and is not so
trying for the eyes; indeed, after a little practice, neither should
be necessary in the case of the strands taken up by the needle in the
course of the work. In my example—which is done on a heavy homespun
linen—twenty-four threads go to the half-inch, both in warp and weft, and
I would recommend that this pattern should be practised on nothing finer
until it is thoroughly learnt, as it is somewhat intricate. The narrow
border above and below the principal pattern is simple enough.
[Illustration: Fig. I.—Portion of Linen Altar-cloth Band, embroidered in
various coloured silks in close herring-bone or Plait-stitch
_German, Fifteenth Century. In V. & A. Museum (No. 7,025—1860)._]
To work it, begin by drawing three-eighths of an inch deep, then
threading a needle with blue linen, silk or cotton, take up five
threads (or their equivalent one-eighth of an inch), and knot the blue
over them with a single knot, just to keep it in place to start with;
lay the end along with the strands of the linen, and work over it by
taking an equal number of strands on the needle in the opposite direction
to the first lot. This must be done backwards and forwards till nearly
half the bar is firmly and evenly covered with blue. Then take up five
and leave five, darning (over twenty altogether) backwards and forwards
about four times to make the cross-bar. The first bar is to be continued
up to the end, then the other stroke of the H-form is to be worked the
same as the first, only, instead of doing the cross-bar, the needle is
just run through the former stitches (in with the warp-strands). They are
worked alternately two blue and two white, and I strongly recommend blue
or green to be used with the white for practice, for the sake of the
worker’s eyes, as all white work is undeniably bad to do very much of.
To fasten off the thread it is simply run through the stitches already
done and cut off close.
To work the larger part of the pattern, threads are drawn to the depth of
one inch (see _A_, on Illustration IV., which is very much enlarged to
show the method of work). This will be for a row of half medallions. A
very fine needle and No. 100 or 120 cotton is used to collect the strands
into a series of upright bars (_B_), by twisting the fine cotton over
each group of four (or an eighth part of the threads which each medallion
takes to do). It should be twisted round and round fairly tightly, from
one end to the other, and a few stitches into the linen will help to keep
them apart at each end. When this is done, another inch may be drawn,
leaving a few threads of the linen intact between the two halves of the
medallion, _D_.
[Illustration: Fig. II.—Border for Fair Linen Cloth, suitable for working
all in white—in the same style as No. VI]
[Illustration: Fig. III.—Strong Drawn-thread work in blue and white
thread, suitable for border of Fair Linen Cloth]
The dotted lines at _E_ show how the bars are pulled apart on the one
hand and drawn together on the other by the darning forming the pattern,
the bars thus connecting the whole of the medallions throughout the
work. _F_ shows one of the latter being worked from the centre. It is
begun by darning eight bars regularly backwards and forwards about four
times. Then the two middle bars are left and one side is darned over
only three bars, to finish the first ‘step,’ and to leave the little
window-like opening, _H_, then over two bars only to finish the ‘window,’
and begin the second step. At _J_ it goes right across six bars once,
when returning to the centre it goes down the two that were left till it
arrives near _F_ again, and the other side is begun in steps like the
first. At _J_ it goes right across six again and keeps on till the second
step is finished, which is where the needle has got to in the sketch. The
second step is about half the depth of the first. The third is the same
depth as the second, but is darned over four bars. This leaves two to be
finished last, and these two are darned over till the undrawn strip of
linen is reached and the half medallion is finished. The other half is
exactly the same, only reversed. The thread should be worked fairly tight
throughout.
[Illustration: Fig. IV.—Details of Fig. III, showing how to work it]
The hem at the bottom should be finished off with a fringe. If colours
are used in the work they should appear again in the fringe, but if it is
all white a good knotted one of fine white linen thread should be sewn on
by its upper edge (see Illustration II.), taking care not to stretch it
at all, but rather to ease it on. It should hang quite free, not on the
stuff, as it is in the case of frontals, &c.
I may here remark that it is a mistake to suppose that there is any
difficulty in washing fringes. If they are not too deep in the ‘fall,’
and are well made of good linen thread, they only need to be well shaken
two or three times when wet and while drying, to make them hang perfectly
straight and well.
Good thread lace[11] may be used instead of fringe. Lace is also
sometimes tacked along the front to hang over the super-frontal, but as
it requires to be taken off every time the cloth is washed it is not
practicable unless some careful lady is responsible for its welfare, or
unless some such lace as Irish crochet be used, which will stand washing.
I believe the coloured embroidery described above used to be tacked on to
the ends of the fair linen in this way like apparels, and removed for the
more frequent washing of the cloth itself; in some modern churches where
there are plenty of persons able and willing to attend to these things
they are still used, and quite appropriately; but for a small village or
very poor town church it seems more suitable to have good strong linen,
simple embroideries (either in one colour or white), and a stout linen
fringe to match.
[Illustration: Fig. V.—Design for Cut-linen work]
Cut-linen too may be used either for an open-work border or instead of
lace or fringe for the edge. If evenly and firmly worked, either in
buttonhole or over-sewing, it will last as long as the linen itself.
In olden times the CORPORAL or corporax-cloth was often made large enough
to cover the surface of the altar, to fold over the chalice, or a ‘Pair
of Corporals’ were used. It seems to be more general now to have one
corporal about twenty-four inches square, and one smaller and thinner—a
‘Chalice-veil,’ used in conjunction with a stiffened square of linen
called the pall; which together take the place of the second corporal.
The corporal may be worked with five crosses like the altar cloth, only
smaller, or with one, just above the hem, in the centre of one of the
sides; or it may have a border embroidered all round it. There are some
in the Victoria and Albert Museum done in cross-stitch very similar to
the designs I have suggested for Fair Linen Cloths, and one, it may be
noted, with the border worked exactly the same on both sides (inside and
out), so that when turned over in actual use there would be no ‘wrong
side’ to show.
The more delicate ‘Chalice-veil’ may be embroidered all over, so long
as the decoration does not interfere with the softness of the linen,
which is its chief beauty. If it is intended to be folded when in use it
should not be so soft, and the design might take up just one-ninth of the
surface—one-third of the width by one-third of the length, so that when
folded in three each way the ornamentation may fill the central square.
[Illustration: Fig. VI.—Linen Pall]
[Illustration: Fig. VII.—Design for centre of Chalice-veil]
If it is to hang over as a veil the same rule applies to it as to the
silk chalice-veil, namely, that as one-third of it will hang down all
round when in use, the design must take account of these conditions. The
corners or the sides may be the centre of decoration, which should in
this case grow upward, or a border may run all round. It is frequently
edged with lace of the finest and richest description.
The PALL, which is used with the soft fine chalice-veil, is a stiff
square of linen from 4 to 6 inches in size, according to the chalice it
is to cover. It may be embroidered all over, or with a cross, or the
sacred monogram, or a symbol of the Passion in the centre. Some stiffen
it with a square of cardboard covered with linen, others with a double
fold of the material used for the interlining of linen collars. The
upper square, which is embroidered, is often made separately; it is in
this case hemmed (sometimes edged with a narrow thread lace), and a tiny
strap is buttonholed across each corner to keep it in place. Otherwise
it is over-sewn finely all round in the same manner as are the boards of
a burse. In every case the stiffening is covered on both sides with fine
white linen neatly sewn.
The origin of the PURIFICATOR is very obscure, while the use of and the
necessity for it are quite obvious.
Purificators and lavabo towels now supply the place of the original
maniple, &c., and in consequence are not subject to much ornamentation,
the cross on the purificator being intended more to indicate its sacred
use than as a decoration. There seems to be no reason why the lavabo
towel should not have a neat border worked just above the hem or fringe.
Purificators should be made of the softest of linen, plain or diapered,
about 12 inches square, or 9 × 12. The edges may be fringed by drawing
out threads all round to the depth of about half an inch, or they may be
neatly sewn with a very narrow plain hem. A small cross in the centre or
at one of the corners is all that is necessary in the way of embroidery.
The CREDENCE CLOTH should be made to fit the table. It may hang down a
little on each side like the altar cloth, and have a border somewhat
similar only narrower, and either a fringe or lace to match in style.
In some churches the old custom is retained of hanging a
‘HOUSELING-CLOTH’[12] over the altar-rails. These rails were first
required in England about the beginning of the seventeenth century,
according to Canon 7 of 1640, to preserve the communion-table from
Puritan profanations.
Previously to this the Houseling-cloth (a long white silken or linen
towel) was held before the communicants as they knelt at the altar. It
is a reverent and seemly custom, intended to prevent the fall of any
particle of the Blessed Sacrament during the communion of the people.
The decoration of it may be treated in the same style as that of the
altar- and credence-cloths.
Humeral veils, offertory veils, and sudaries of various kinds have been
in more or less constant use to preserve the books, sacred vessels,
vestments, &c., from contact with the bare hands of the assistants at the
altar. It is to this reverent care and scrupulous cleanliness that we owe
the conservation of so many of the precious relics of the past that have
come down to our own time, which with rough and careless handling would
have perished long ago. A small neat cushion of velvet or some other soft
textile, about 9 by 3 inches in size, after the old fashion, would be
much better for the altar-book to rest upon than the hard wooden or brass
desks we so often see nowadays. Wherever these latter are used a soft
cloth of some kind should at least prevent their contact with valuable
books, especially if the covers are embroidered.
CHAPTER XIV
ON THE ALBE, SURPLICE, ETC.
There are various opinions among the learned both as to the origin and
line of descent (so to speak) of all the distinctive vestments worn by
the ministers of the Church at the present day. The albe and surplice
are not among the least interesting from an historical point of view;
however, it is not our purpose to discuss it here, and whatever theory
we may prefer—that which derives them from a Levitical ancestry, or from
the Eastern garments of common use in the time of Our Lord, or from the
Græco-Roman in the early centuries of our era, the fact remains that from
the very earliest times of which we have any record of such things _white
linen raiment_[13] was a noticeable feature in the dress of the Christian
minister, whether priest, deacon, or server.
The albe and the surplice were _possibly_ both derived from one original
garment. Their chief characteristics were that they were long, full, and
made with sleeves; moreover that they were usually of white linen, and
either quite plain or ornamented in some simple and appropriate manner by
a border that could be washed with the garment, or (in the case of the
albe from the thirteenth century) by apparels which were easily removed
without injuring it.
The ALBE has retained its primitive character in all these respects.
The long flowing garment is confined at the waist, for convenience in
ministration, by a girdle or band, which may consist simply of a plain
linen cord 4 yards long, finished at the ends with tassels of the same;
or it may be a band from 1 to 3 inches wide, richly embroidered in silk
and gold. When this is the case it should be fastened by strings sewn to
the lining, or by hooks and eyes, or a clasp, so that it may not become
creased and spoiled by frequent tying. A band is perhaps better for
keeping the stole in place as being less liable to roughen and damage the
silk. It seems to have been an old English custom to use a band, judging
by the old inventories, &c.,[14] but it is not so general in these days
as the cord, and the symbolism is lost unless the band is kept quite
narrow.
[Illustration: Fig. I.—Albe, with Girdle, Amice, and Stole]
[Illustration: Fig. II.—Ancient Albe
(_South Kensington Museum_)]
The diagram (Illustration II.) shows the shape and dimensions of a very
old albe now in the Victoria and Albert Museum, South Kensington. The
linen it is made of is 22 inches wide, and the seams are joined down
the middle of the front and back by means of an insertion, worked in
buttonhole-stitch with white linen thread, rather more than; ¼ inch wide.
The seams at the shoulders are treated in the same way with insertion
½ inch wide, into which is worked an inscription in red thread; and
there is a small red cross on each of the gussets let in at the waist to
contain the gathers, which are set very close together, to provide the
necessary fulness for the skirt.
The apparels are made of fourteenth century brocade.
Modern albes are usually either gathered into a neck-band somewhat like
a surplice (see Illustration III.), and so are full all the way down, or
they may be widened gradually from the shoulder.
The measurements are very similar in each case, and take from 7 to 9
yards of linen, a yard wide.
In the gathered pattern (which is much handsomer than the plain one)
there are no _cut_ seams except for the sleeves; the selvedges should be
over-sewn together with fine cotton very closely, and then the seams
will not show at all. Those on the sleeve should be finely stitched and
the raw edge turned in and ‘felled’—i.e. _hemmed_—down on the inside. The
neck and shoulder bands should be stitched with fine back-stitching on
the outside. They may be decorated with any fancy stitch as well, or a
narrow border may be embroidered. The hem round the bottom should be from
1 to 3 inches deep. A border of embroidery may be worked all round, above
the hem.
The custom of working a lace insertion in the middle of a seam, which
used to be common to the better sort of household linen as well as that
for the Church, has fallen into disuse of late years, in consequence of
our linen being woven so much wider than it used to be. But it might
still be used in the front and back of the plain albe, and it may be well
to describe the method of working it, as it is not at all difficult to
do, nor so tedious as it might appear at first glance. And irrespective
of the _width_ of linen, there are occasions when the _length_ may
require addition (such, for instance, as the enlargement of a fair linen
cloth for an altar). It is a recognised law of art that Beauty should be
called forth by Necessity; and the hiding, covering, or ornamenting a
seam was perhaps the very first incentive to embroidery!
[Illustration: Fig. III.—Modern Albe]
If it is a cut edge which is to be joined to another in this manner, each
piece of stuff is hemmed separately.
The work is begun upon one hem as a foundation, and when finished is sewn
closely on to the other.
For the first row * make two tiny buttonhole stitches into the edge of
the hem (or of the selvedge if there is no hem). Then leave a small
space, equal to the room taken up by the two buttonhole stitches; then
two more stitches, then leave a space of about ⅜ inch, carrying the
cotton straight along—repeat from * till the first row is done, all along
the edge.
Turn the work over to the other side, or fasten off thread and begin
at the same end as at first: by turning it over the same effect is
attained—viz. working from left to right for each row, which keeps the
work even.
For the second row the threads which stretch across the spaces of ⅜ inch
are covered with fine buttonholing, and two stitches are put into each of
the tiny spaces left for them in the first row.
When the end of the second row is reached the work should be turned over,
as before, and the third row done exactly the same as the first, except
that the pairs of stitches are worked _into the little spaces_ caused by
going from the bar to the middle of the pairs of stitches instead of into
the stuff: _c_ on Illustration IV. shows this very much enlarged; _a_
and _b_ are the same size as the work on the old albe. After the first
row, which is worked into the linen, it is better to use a blunt needle.
The button-hole-stitches should be drawn up tightly over the thread
throughout the work; in the illustration of the detail they are not drawn
tightly enough for the real work.
From three to five bars are enough for this pattern. A great number of
different ones can be arranged with a little ingenuity, variation being
brought about by differing the proportions of buttonhole ‘filling,’ bars
and spaces.
[Illustration: Fig. IV]
The sleeve of the albe is, theoretically, tight fitting, but for
convenience in wearing it over other clothing, and to get it easily over
the hand, it is generally made from 12 to 14 inches in circumference at
the wrist. In old pictures one often sees it fitting _quite closely_,
in which case it is provided with buttons and buttonholes to fasten the
extra opening, which has to be made at the under seam.
[Illustration: Fig. V.—Amice of St. Thomas of Canterbury]
The AMICE is either a square or rectangular piece of fine linen from 29
to 36 inches in length, worn as a neck-cloth with the albe and covering
the edge of the chasuble, where it would otherwise come in contact with
the neck of the wearer. It is hemmed with a narrow hem all round and
has two strings 74 inches long, fastened at the upper corners to keep
it in place. It sometimes has a large cross embroidered upon it, as in
this example which is taken from that of St. Thomas à Becket, and has an
apparel of gold embroidery attached to the upper edge. These apparels
were almost universal from the thirteenth to the sixteenth century, and
are retained in the English use. It is lightly tacked on to the edge
of the amice, so that when it is turned back over the chasuble it lies
evenly round like a collar. It may be made to match the colour of the
vestment it is worn with, or one richly embroidered with gold or made of
gold tissue, may be worn with any of them.
[Illustration: Fig. VI.—English Choir Surplice
(A.D. 1301)]
The SURPLICE, which from very early times seems to have formed part of
the choir habit of clergy and other ministers alike, is very similar to
the albe, except that, being an outer instead of an under vestment, the
sleeves are long and full, and also in consequence of being worn over a
cassock, an albe, or a ‘pellice’[15] it has become somewhat shorter in
the skirt; but there are, from the time of Edward the Confessor onward,
numerous canons, laws, and directions always ordering the surplice to
be long enough to reach down to the heels. The albe, surplice, and
rochet are very much alike; in the old documents it is often difficult
to determine which of the three is meant, there being so many names for
the same thing, and both names and uses almost interchangeable. But in
the present day we confine the term _albe_ to the one with somewhat
tight-fitting sleeves, _surplice_ to the one with long flowing sleeves,
and _rochet_ to the one without any, or with full ones gathered into a
band at the wrist. Albes were at one time occasionally made of silk, and
sometimes were even coloured,[16] but I do not think surplices ever were,
neither have they ever been much ornamented. Smocking at the gathers or
an embroidered neck-band seems to have been the only decoration at all
common. The rochet was and still is sometimes embroidered all round just
above the hem.
The accompanying diagram (Illustration VIII.) shows how to cut a surplice
like the one represented at Illustration VII.
The dimensions are very similar to those given by Dr. Rock, except that
his is fuller in the skirt. If this is desired it can be done without any
difficulty by merely adding another width of linen (placing the _centre_
on the diagram 18 inches further to the right, and thus using _two_ full
widths instead of one).
It is better in this case to make the collar-band deeper, as it is
difficult to get so many gathers into the 29 inches of circumference
given here.
[Illustration: Fig. VII.—Modern Surplice]
All the selvedge seams should be ‘whipped,’ ‘seamed,’ or
‘over-sewn’—three names for one and the same process. The diagonal seams
or any with cut edges must be ‘run and felled.’
This pattern takes 6½ yards of linen, a yard wide; Dr. Rock’s would
take 2½ yards more. His is more suitable for smocking; and where a deep
collar-band is used it may be embroidered, preferably in white, though
some of the old ones were done in red.
A priest’s surplice should measure at least 4½ yards round the bottom;
those for choir men and boys are not usually so wide.
[Illustration: Fig. VIII]
CONCLUSION
On bringing this little book to an end the author feels sadly aware
of its many deficiencies. Time does not allow for either very strict
revision or much elaboration of the papers which formed the foundation of
it.
There are many points of interest connected with the subject of Church
needlework which have been purposely touched upon as briefly as possible,
that the student may not be obliged to wade through a quantity of
extraneous matter in order to find the practical information required.
There are others omitted for want of time and space (such, for instance,
as illustration and explanation of the various symbols, &c., used in
Church embroidery from the earliest times to the present day: special
characteristics of different styles, periods, and countries, &c. &c.)
But there is one point I find I have not mentioned in its proper place
(Chapter VII), which I am unwilling to pass over altogether because
it involves a matter of principle. It is concerning the practice of
_painting_ the faces instead of working them in figure-embroidery.
It seems to me no more legitimate than it would be actually to embroider
the robes of a painted portrait!
If figure-embroidery is beyond the ability of any individual worker, let
her get someone else to do the faces while she contents herself with the
robes and background, or apply her powers to other work. There is plenty
of beautiful embroidery to be done without employing figure-work at all.
I have seen faces painted into embroidery so exactly simulating
needlework that it is almost impossible to tell the difference. This
obviates the objectionable clashing of the two distinct arts as far
as _appearance_ goes; but it seems to me morally worse, inasmuch as
it is an intentional deception. One branch of art does not need to
imitate another. Each should seek perfection in its own special way, and
sincerity is one great essential in all.
This brings me to my parting word. Be true and your work will be
beautiful. Let everything that is done for the Church be done for the
Glory of God, and there will be no trickery possible, no attempt to make
anything appear better than it is. The simplest work done in honest
materials is more essentially lovely than the most elaborate of ‘shoddy.’
‘Whatsoever things are true,
Whatsoever things are honest,
Whatsoever things are pure,
Whatsoever things are lovely,
Whatsoever things are of good report,
If there be any virtue and if there be any praise think on these things.’
FOOTNOTES
[1] It is a mistake to be over-timid in attacking floss-silk. It requires
a light but firm hand, and should be pulled fairly tight to get it to lie
smoothly—a sort of little secondary jerk after drawing the needle through
to the back.
[2] _Line and Form_, by Walter Crane, i. 1.
[3] This is the smallest quantity that can be made satisfactorily, twice
this quantity is easier to manage. A moderately heaped tablespoonful is
about equal to 1 oz., and a _small_ teaspoonful to 2 dr. Ordinary water
_filtered_ instead of distilled will do if it is soft.
[4] This method, called _a’or nué_, the Florentines seem to have got from
Flanders, where it had long been in use.
[5] Vasari says: ‘The figures are no less admirably executed with the
needle than drawn by Pollaiuolo with the pencil, and thus we are largely
indebted to one master for his design, and to the other for his patience.’
[6] _Art in Needlework_, p. 130.
[7] To the present day our sovereigns offer upon the altar at their
coronation a ‘Pall of Silk’ in accordance with old custom.
[8] The name _orarium_ to denote a stole is still used in the Eastern
Church for the deacon’s stole (ὠράριον), although it has passed out of
use in the Western church altogether, I believe.
[9] There is a beautiful coloured reproduction of it in the ‘Art Worker’s
Quarterly,’ January 1906.
[10] ‘In the famous triptych of the Seven Sacraments, by Van der Weyde,
now in the Antwerp Museum, the central compartment shows a missal upon
the altar at Mass with a _sudariolum_ hanging from it. It would seem by
no means impossible that the string to which this napkin was attached was
used as a book-marker. The Bishop’s maniple still serves the same purpose
in the book of the Gospels at the beginning of Mass.’—Rev. H. Thurston,
S.J., ‘Vestments of Low Mass,’ ‘The Month,’ October 1898.
[11] Appendix C.
[12] Howsel—Husel = Saxon name for the Eucharist.
[13] ‘White shining vestment of fine linen common to all clergy.’—Council
of Narbonne A.D. 580.
[14] At Sarum in 1222 there were nine girdles of silk and twelve others
mentioned in the Inventory. There was one of gold tissue found upon the
body of St. Cuthbert at Durham.
[15] Hence the derivation, to which some writers refer as evidence of its
being at one time an under garment, points exactly the other way, the
pellice being a long lambskin dress worn by the English clergy from very
early times. See Matthew Paris, _Vit. Abb._, p. 53.
[16] Perhaps the red and blue cassocks sometimes to be seen nowadays may
justify their existence by the example of these coloured albes frequently
mentioned in old documents and depicted in illuminated MSS.
APPENDICES
APPENDIX A
TABLE OF LITURGICAL COLOURS ACCORDING TO THE ANCIENT USE OF FIVE ENGLISH
DIOCESES OR CONVENTUAL CHURCHES COMPARED WITH THAT OF ROME
+============+===========+=========+=========+=========+=========+======+
Season |Westminster|Sarum |Exeter |Wells |Lichfield| Rome |
+============+===========+=========+=========+=========+=========+======+
|Advent |White |Unknown |Violet |Medius |Black |Violet|
| | |(? White)| | |(? Blue) | |
+------------+-----------+---------+---------+---------+---------+------+
|Christmas |White |Mixed |White |White |White |White |
| | |colours | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|The Epiphany|White |Mixed |White |White |Red |White |
| | |colours | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Epiphany |White (to |Red |Green |Red |At will |Green |
|(Octave) to |Candlemas) | | | |of | |
|Septuagesima| | | | |Sacrist | |
+------------+-----------+---------+---------+---------+---------+------+
|Septuagesima|Reddish |Red |Violet |Unknown |— |Violet|
| to Lent |(subrubeus)| | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Lent, first |Black (in |Unknown |Violet |— |Black |Violet|
|four weeks |practice, |(in | | | | |
| |White) |practice,| | | | |
| | |White) | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Lent, last |Red |Red |Violet |Red |Red |Violet|
|two weeks or| | | | | | |
|Passion-tide| | | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Easter, from|Red |White or |White |Red, Low |White |White |
|First | |Mixed | |Sunday | | |
|Evensong, on| |colours | |White | | |
|Easter Eve, | | | | | | |
|to Low | | | | | | |
|Sunday | | | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Low Sunday |Red |White |White |Red |White |White |
|to Ascension| | | | | | |
|Day | | | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Ascension |White |White or |— |White |White |White |
|Day to | |Mixed | | | | |
|Whit Sunday | |colours | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Whit Sunday |Red (or |White or |Red |Red |White |Red |
| |Saffron) |Mixed | | | | |
| |Yellow |colours | | | | |
| |(or Green) | | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Trinity |Red |Mixed |If |Red |White |White |
|Sunday | |colours |handsome,| | | |
| | | |Green, | | | |
| | | |otherwise| | | |
| | | |White | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Corpus |— |— |Red and |Red |— |White |
|Christi and | | |White | | | |
|Octave | | | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Sundays |Red |Red |Green |Red |At will |Green |
|after | | | | |of | |
|Trinity | | | | |Sacrist | |
+------------+-----------+---------+---------+---------+---------+------+
|Week days |— |Unknown |— |— |— |Green |
|after | | | | | | |
|Trinity, | | | | | | |
|not being | | | | | | |
|Saints Days | | | | | | |
+============+===========+=========+=========+=========+=========+======+
|SAINTS DAYS | | | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|St. Paul |— |Red |Red or |Red |Red |White |
|(January 25)| | |Blue | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Evangelists |Red |Red |Red |Red |— |Red |
+------------+-----------+---------+---------+---------+---------+------+
|Apostles |Red |Red |Red |Red |Red |Red |
+------------+-----------+---------+---------+---------+---------+------+
|Martyrs |Red |Red |Red |Red |Red |Red |
+------------+-----------+---------+---------+---------+---------+------+
|Virgins |White |White |White |White |White |White |
+------------+-----------+---------+---------+---------+---------+------+
|Confessors |Yellow |Yellow |— |Blue and |Varius |White |
| |(or Green |(or | |Green | | |
| |and Blue) |Saffron) | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|St. John |White |White |— |Indius |Varius |White |
|Baptist | | | |(? Blue) | | |
|(June 24) | | | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|All Saints |— |Unknown |White, |White and|Varius |White |
| | | |Red, and |Red | | |
| | | |all | | | |
| | | |colours | | | |
+------------+-----------+---------+---------+---------+---------+------+
|St. Michael |White |White |White |White and|White |White |
|and |or Blue | | |Indius | | |
|All Angels | | | |(? Blue) | | |
+------------+-----------+---------+---------+---------+---------+------+
|St. John |White |White |White |— |White |White |
|Evangelist | | | | | | |
+------------+-----------+---------+---------+---------+---------+------+
|Holy |Violet |Unknown |— |Red |— |Violet|
|Innocents | | | | | | |
+============+===========+=========+=========+=========+=========+======+
|Festivals of|White |White |White |White |White |White |
|the Blessed | | | | | | |
|Virgin Mary | | | | | | |
+============+===========+=========+=========+=========+=========+======+
|Dedication |— |White or |All |Blue and |— |White |
|of Churches | |Mixed |colours |White | | |
| | |colours | | | | |
+============+===========+=========+=========+=========+=========+======+
|Burial |Black |Black |Black |Black |Black |Black |
+============+===========+=========+=========+=========+=========+======+
Wherever Black was ordered, Violet, Purple, Dark Blue, and Ash-colour,
or Grey, seem to have been considered equivalent. So Green also replaced
Yellow.
APPENDIX B
A FEW OF THE SYMBOLS AND EMBLEMS MOST FREQUENTLY USED IN ECCLESIASTICAL
ART
I. The FISH.—The first, in point of date, as a distinctly Christian
Symbol (1) of Baptism, (2) of the Name of OUR LORD, the letters In Greek
forming an anagram of the Name JESUS.
II. The CROSS.—The universal emblem of Christianity, showing the length,
breadth, depth, and height of the Love of GOD in Christ.
As decoration, the Latin form ✝ should only be used for Penitential
occasions, being the symbol of suffering and of the Passion. The Greek
🞣 or equilateral, the foundation of all the more decorative ones, is
suitable for all times and seasons except Christmas and Epiphany.
The Gammadion, Fylfot, Swarstika, or (in heraldry) the Cross Potent
rebated—a prehistoric cross found all over the world—is suitable for all
seasons, and was the one most generally used in ancient Church embroidery.
III. The GLORY, NIMBUS and AUREOLE, in the _East_, an attribute of power;
in the _West_, of Divinity or of consecration.
IV. The LAMB.—An early symbol of Christ as the Lamb of GOD, the sacrifice
for sin. With the standard ‘Agnus Dei,’ signifies the Risen LORD.
As an attribute (1) of St. John the Baptist, in reference to his words
‘Behold,’ &c.; (2) of St. Agnes = Innocence and Purity, and for her name.
V. The PELICAN ‘in her piety,’ a symbol (1) of Christ giving Life by His
sufferings; (2) of the Blessed Sacrament.
VI. The LION = Strength, Fortitude, Solitude, as an attribute of Martyrs,
signifies the mode of their death; of St. Mark as Evangelist, because he
depicts Christ as the ‘Lion of the tribe of Judah.’
VII. The HART or HIND = Solitude, Purity, Religious Aspiration, ‘Like as
the Hart desireth,’ &c.: Ps. 42.
VIII. The CROWN = Symbol of Victory. Female saints generally depicted
_wearing_ the crown, male saints hold it in their hands or have it at
their feet, or angels bear it above. _Symbol_ of Martyrdom, _attribute_
of Royalty.
IX. The PALM = Symbol also of Victory, especially that of Martyrdom.
Saints and angels bear them in their hands (never on the ground or at
their feet).
X. The OLIVE = Peace; attribute of the Angels of the Nativity—St.
Gabriel, St. Agnes, &c.
XI. The DOVE is the symbol of the Holy Ghost. It is shown at the
Annunciation, Baptism, and over the heads of saints considered specially
inspired; (2) emblem of the Soul.
XII. The LILY = Purity, especial attribute of the Blessed Virgin Mary,
St. Gabriel, St. Joseph, St. Francis.
XIII. The BOOK signifies the Gospel or an Evangelist; or in the hands of
other saints, learning and writings.
XIV. A CHURCH in the hands of a saint indicates that he (or she) was the
founder; an attribute of St. Jerome as a Primitive Father.
XV. A SHIP or ARK = The Holy Catholic Church.
XVI. An ANCHOR = Hope.
XVII. A LAMP, LANTERN or TAPER = Piety or Wisdom.
XVIII. The CHALICE, with Host, symbol of the Holy Eucharist; also = Faith.
The Chalice, with Serpent, attribute of St. John, in reference to
tradition of poisoned Chalice.
XIX. The FOUR EVANGELISTS were, in very early times, symbolised by four
scrolls on the arms of an equilateral cross.
Later (from Second to Fifth Century) by four rivers, and from the Fifth
Century onwards by the four Living Creatures.
ST. MATTHEW = the winged man, in reference to his gospel showing the
Humanity of Christ.
ST. MARK = the Lion, his gospel being especially for the Jews.
ST. LUKE = the Ox, showing the sacrificial aspect.
ST. JOHN = the Eagle, ‘taking the highest flight and portraying the
Divinity’ of our LORD.
XX. The TWELVE APOSTLES.
The earliest representations are purely emblematical—twelve sheep in a
row (six on each side) with the ‘Agnus Dei’ in the middle.
The next twelve men, all exactly alike, carrying a sheep, with our LORD
as the Good Shepherd larger than the others.
Afterwards the attributes of the Twelve Apostles became as follows:—
St. Peter, with keys or a fish.
St. Paul, with the sword.
St. Andrew, with diagonal cross.
St. James (Major), with pilgrim’s staff.
St. John, with the chalice.
St. Thomas, with builder’s rule.
St. James (Minor), with club.
St. Philip, with staff or crozier.
St. Bartholomew, with large knife.
St. Matthew, with purse or bag.
St. Simon, with saw.
St. Thaddeus or Jude, with halberd.
St. Matthias, with lance.
XXI. A CIRCLE signifies the World or Eternity, or perfection.
An EQUILATERAL TRIANGLE (or other equal three-fold form) stands for the
Holy Trinity.
A SQUARE or QUATREFOIL for the World, ruled by the Cross.
XXII. The MONOGRAMS IH̅C̅ or IH̅S̅, and XP̅C̅ or XP̅S̅, are the first two
and last letters of the Name JESUS and the title Christ in Greek (the C
being the older form of S). They have been used from very early times,
and are among the most beautiful and suggestive of the symbols. They
should not be used indiscriminately, but given a due place of honour,
such as on an altar-frontal or the orphrey of a chasuble or cope. They
can be, and often are, extremely decorative, and the thoughtless worker
is sometimes betrayed into placing them most inappropriately simply
because she happens to possess a good drawing of one.
APPENDIX C
ON LACE AS APPLIED TO CHURCH VESTMENTS, LINEN, ETC.
There are some in the present day who object entirely to the use of lace
on any article for ecclesiastical purposes, chiefly on the ground that it
is not to be found on the older ones.
It seems to me that this is not a sufficient reason for discarding it
altogether (providing that it is otherwise appropriate), for it has
always been the custom of the Church to welcome every new form of art as
it arises and to consecrate to her use the offerings of the faithful.
Lace was not used on the older vestments, &c., not because there was
anything intrinsically wicked about it, or even frivolous, but because it
was not yet invented!
There is no reliable evidence to prove the _existence_ of lace, as we
understand the term, before the fifteenth century. It seems to have been
evolved gradually from ‘cut linen’ through ‘drawn-thread,’ ‘reticella,’
and ‘Lacis’ to needle-point and pillow- or bobbin-lace, and was not in
general use till the seventeenth century, by the middle of which it is
to be seen, not merely as a decoration, but even as the entire fabric of
altar-frontals and vestments.
There is no excuse, of course, for using paltry cheap lace, as there
is no necessity for employing it at all. In very old churches where
everything is _en suite_, and in simple village churches, it would not
be suitable, but I think some quite modern ones may err on the side of
being over-zealous for strict Medievalism. At any rate, it is well to
understand the reason of things, and then decisions will be made with
judgment.
APPENDIX D
BOOKS USEFUL TO THE STUDENT OF CHURCH NEEDLEWORK
N.B.—Those marked with * are mostly about embroidery, and the others on
design or history, &c.
* Alford, Lady, Needlework as Art.
* Barber, Mary, Some Drawings of Ancient Embroidery.
* Bock, Dr., Geschichte der Liturgischen Gewänder.
Braun, Die Priestlichen Gewänder, &c.
Clausse, G., Les Monuments du Christianisme, &c.
Chambers, Divine Worship in England in Thirteenth Century, &c.
Crane, Walter, Line and Form (and others).
* Davenport, English Embroidered Bookbindings.
Day, Lewis, Several Handbooks on Design.
* Day, Lewis, and Mary Buckle, Art in Needlework.
* Dolby, Anastasia, Church Embroidery.
Dolby, Anastasia, Church Vestments.
* Farcy, Louis de, La Broderie du XIIIᵉ Siècle, &c.
Jameson, Mrs., Sacred and Legendary Art.
Jones, Owen, Grammar of Ornament.
Jones, Owen, Principles, an Attempt to Define, &c.
* Kendrick, A. F., English Embroidery.
* Lefébure, E., Embroidery and Lace.
Legg, J. Wickham, Notes on the History of Liturgical Colours.
Marriott, Vestiarium Christianum.
* Pugin, Glossary of Ecclesiastical Ornament.
* Rock, Dr. Daniel, Textiles, Introduction to.
Rock, Dr. Daniel, Church of our Fathers.
Semper, Der Stil.
* Townsend, W. G. P., Embroidery: or the Craft of the Needle.
Ward, Historic Ornament.
* Wilton, Countess of, The Art of Needlework.
MAGAZINES.
* The Art Workers’ Quarterly.
* Burlington.
* Home Art Work.
* Studio.
Transactions of St. Paul’s Ecclesiological Society. Vols. I.
and II. especially.
INDEX
Albe, an ancient, 86
apparels of, 86
how to make, 86
insertion on old, 87
modern, 87-88
origin of, 85
symbolism of, 53
Almsbags, 67
Altar, keynote of decoration, 39-40
linen required for, 79
Altar-cloth band, 79-80
fair linen, 79
Altar-frontal, 39
early English, 40
to make up, 40-47
Amice, apparel of, 88
of St. Thomas of Canterbury, 88
origin of, 88
symbolism of, 53
Apparels, 57
of albe, 86
of amice, 88
of dalmatic, 24, 57
Appliqué, 21
examples of, 22-24
method of cutting, 26
to prepare, 25
uses of, 25
Apron necessary, 16
Back-stitching, 76
Banners, 65
appliqué suitable for, 25
design for, 64
Basket-stitch, 12
Book-covers, 67
Book-markers, 68
Books, care of, 84
Brocade, 3
Burse, 58, 62
to make, 58, 61
Buttonhole-filling, 75
Buttonhole-stitch, 74
Canvas-stitch, 77
Chain-stitch, 27
Chalice-veil (linen), 83
(silk), 58
design for, 83
specimen of, 63
Chasuble, early English examples, 55
from Harleian MSS., 55
how to make, 56
of St. Ignatius of Loyola, 54
of St. Thomas of Canterbury, 58
origin of, 55
ornament of, ‘flower,’ 56, 59
symbolism of, 53
Cherub, early English, 45
Cingulum or girdle, 53, 85
Clavi, 57
Cloth, linen and woollen, 3
of gold, 3, 9
Colours, 2
isolation of, 21
liturgical, 39
modification of, 10
washing, 16
Cope, measurements of, &c., 49
the, 49
to make up, 50
Coptic embroidery, 28
Corporals, case or burse, 58-62
pair of, 83
Couching (gold), 9
(silk), 15
compared with laid-work, 15, 19
Counter-change, 26
Credence cloth, 85
Crewel-stitch, 20
Cross-stitch, 76-77
like Lacis, 77
Curtains, principles to be observed in hanging, 40
Cut-linen, 82
Dalmatic, 57
apparels of, 24, 57
Clavi, 57
diagram of, 61
Damask, 3
Darning, 20, 21
on drawn-thread, 79, 82
Decoration, futile, 2
of ancient copes, usual arrangement of, 50
some principles of, 2
Design, colour-scheme in, 2
Designers for ecclesiastical art, 2
Designs, to transfer, 6-7
D’or nué, 34, 36
Drawing necessary for figure-work, 29
Emblems, 96
Embroidery, definition of, 1
English, 1
in gold, 9-13
in linen, 72-77
in silks, 15
paste, 25
‘Eye’ of a curve, 74
‘Fair-linen Cloth,’ 79
Fanon or maniple, 53
Feather-stitch, 75
Figure-embroidery, 28-37
Florentine, 35
from frontal of St. Thomas (à Becket) of Canterbury, Salisbury, 33
from Syon cope, 31
imitation of, 91
three methods of, 34
Filling, buttonhole, 75
chain-stitch, 27
stitches suitable for, 74-76
Floss-silk, embroidery in, 15-20
how to use, 16
Flower, ornament called the, 59
Flowers, early English conventional, 42-44
Frames, altar-frontals stretched on, 47
embroidery, 4-6
how to mount for embroidery, 6
making up, 41
position of worker at, 5
French knots, 27
Fringe, importance of, 46
washing of, 82
Frontal, altar-, 39
early English, 40
how to make up, 40-47
keynote as to colour, &c., 39
size, 40
Garments in embroidery, treatment of, 29, 30, 32, 91
liturgical, 53
Girdle of silk at Sarum, 85
the, use and symbolism of, 53
Gold, cloth of, 3, 9
d’or nué, 34, 36
embroidery, 9-13
raised work, 12
stitches useful for, 10, 11
thread, different kinds of, 3-4
Hands, special care of the, 16
Hangings, various, 40
Herring-bone-stitch, 75
close, 76
Swiss, 76
Herse-cloth or pall, 66, 67, 71
colour of, 67
History of embroidery, 1
Houseling-cloth, 84
Imitations condemned, 2, 91
Inlay, 26
Insertion, 86, 87
Kneelers, 68
Lace suitable for linen, 82
Lacis, 77
Laid-work, 15-19
compared with couching, 15, 19
Lavabo towels, 84
Light, arrangement of, 5
Linen, altar, 79
coloured, 3
coloured embroidery on white, 80
corporal, 83
‘cut,’ 82
drawn-thread, 79-82
embroidery, principal stitches, 73-77
fringe, to wash, 82
vestments, 85
Linen-work, materials for, 73
sampler, 72
Lines, ‘Sympathetic,’ 76
Long- and short-stitch, 17
Maniple, origin and symbolism of, 53
shape and size of, 53-55
the, 53
Materials for backgrounds, 3
for embroidery, 3-5
for linen-work, 73
Mitre, 51-52
of St. Thomas of Canterbury, 51
Needles, 4
to improve, 4
‘Opus Anglicanum,’ 32
Outline, 21
principle of, 21
secondary, 23
Padding in gold-work, 12
in linen-work, 74
Pall or herse-cloth, 66, 67
linen, 83-84
Parchment, use of, 12, 52
Paste, embroidery, to make, 25
Plate, 13
Plumage-stitch, 17
Principles, a few—
of colour, 21
of decoration, 2
of embroidery as art, 1
of proportion, 47, 66
Pulpit-hanging, 70
Purificators, 84
Radiation, principle of, 17
Relief, high, 12, 74
exaggerated, 30
Rochet, 89
Saint Ignatius of Loyola, 54
Thomas of Canterbury’s amice, 88
apparel, 88
chasuble, 58
mitre, 51
Sampler for gold-work, 8
for linen-work, 72
for silk-work, 14
Shades of floss-silk, 2-15
in old work, 36
Shading, 15, 16
Silk and satin, 3
embroidery, 15
embroidery compared with linen, 74
Silks, embroidery, 4
Soap, carbolic, &c., to avoid, 16
Stitches—Back-stitch, 76
basket-stitch, 12
buttonhole, 74
canvas or cushion, 77
chain, 27
couching, 9, 10, 11, 15, 61
cross, 76
drawn-thread, 81
feather, 75
French knots, 27
herring-bone, 75
laid-stitch, 15-19
nué (d’or), 34, 36
open-worked cross-stitch, 77
satin, 16, 17, 18
linen, 74
short, 17, 34
slanting, 20
split-stitch, 18, 29, 30, 32, 36
Stole, origin and symbolism of the, 53
shape and design, 55
size of the, 53
Stuffing-cotton, 12
Sudaries, 84
Super-frontal or frontlet, 46
Surplice, ancient, 89
diagram, 90
Dr. Rock’s pattern, 90
how to make, 89
modern, 89
Symbols, 96
‘Sympathetic lines,’ 76
Syon cope, arrangement of design, 32
background of, 37
colours of, 32
figure from the, 31
gold-work of, 36
method of work, 36
Toga, Roman, 49
Towels, Lavabo, 84
Trabea, 49
Tunicle, 57
Veil, chalice (silk), 58, 63
(linen), 83
humeral, 84
offertory, 84
Velvet, 3
Vestments, Eucharistic, 53
colours of, 39, 53
symbolism of, 53
linen, 85-90
of Walter de Cantelupe, fragments of, 30
‘white shining,’ 85
White linen, decoration of, 73, 74
Worcester, bishop’s tomb at, 56
fragment of vestments, 30
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