The Thirteenth, Greatest of Centuries

by James J. Walsh

XX. TEXTILE WORK OF THE CENTURY.

A special chapter might easily have been written on the making of fine cloths of various kinds, most of which reached their highest perfection in the Thirteenth Century. Velvet, for instance, is mentioned for the first time in England in 1295, but existed earlier on the continent, and cut velvets with elaborate patterns were made in Genoa exactly as we know finished velvet now. Baudekin or Baldichin, a very costly textile of gold and silk largely used in altar coverings and hangings, came to very high perfection in this century also. The canopy for the Blessed Sacrament is, because of its manufacture from this cloth, still called in Italy a baldichino. Chaucer in the next century tells how the streets in royal processions were "hanged with cloth of gold and not with serge." Satin also was first manufactured very probably in the Thirteenth Century. It is first mentioned in England about the middle of the Fourteenth Century, when Bishop Grandison made a gift of choice satins to Exeter Cathedral. The word satin, however, is derived from the silks of the Mediterranean, called by the Italians seta and by the Spanish seda, and the art of making it was brought to perfection during the preceding century.

The art of making textiles ornamented with elaborate designs of animal forms and of floral ornaments reached its highest perfection in the Thirteenth Century. In one of the Chronicles we learn that in 1295 St. Paul's in London owned a hanging "patterned with wheels and two-headed birds." We have accounts of such elaborate textile ornamentation as peacocks, lions, griffins and the like. Almeria in Andalusia was a rich city in the Thirteenth Century, noted for its manufactures of textiles. A historian of the period writes: "Christians of all nations came to its port to buy and sell. Then they traveled to other parts of the interior of the country, where they loaded their vessels with such goods as they wanted. Costly silken robes of the brightest colors are manufactured in Almeria." Marco-Polo says of the Persians that, when he passed through that country (end of the Thirteenth Century), "there are excellent artificers in the city who make wonderful things in gold, silk and embroidery. The women make excellent needlework in silk with all sorts of creatures very admirably wrought therein." He also reports the King of Tartary as wearing on his birthday a most precious garment of gold, and tells of the girdles of gold and silver, with pearls and ornaments of great price on them.

Unfortunately English embroidery fell off very greatly at the time of the Wars of the Roses. These wars constitute the main reason why nearly every form of intellectual accomplishment and artistic achievement went into decadence during the Fourteenth Century, from which they were only just emerging when the so-called [{455}] reformation, with its confiscation of monastic property, and its destruction of monastic life, came to ruin schools of all kinds, and, above all, those in which the arts and crafts had been taught so successfully. France at the end of the Thirteenth Century saw a similar rise to excellence of textile and embroidery work. In 1299 there is an allusion to one Clément le Brodeur who furnished a magnificent cope for the Count of Artois. In 1316 a beautifully decorated set of hangings was made for the Queen by Gautier de Poulleigny. There are other references to work done in the early part of the Fourteenth Century, which serve to show the height which art had reached in this mode during the Thirteenth Century. In Ireland, while the finer work had its due place, the making of woolens was the specialty, and the dyeing of woolen cloth made the Irish famous and brought many travelers from the continent to learn the secret.

The work done in England in embroidery attracted the attention of the world. English needlework became a proverb. In the body of the book I mentioned the cope of Ascoli, but there were many such beautiful garments. The Syon cope is, in the opinion of Miss Addison, author of "Arts and Crafts in the Middle Ages," the most conspicuous example of the medieval embroiderers' art. It was made by nuns about the middle of the Thirteenth Century, that is, just about the same time as the cope of Ascoli, but in a convent near Coventry. According to Miss Addison "it is solid stitchery on a canvas ground, wrought about with divers colors' on green. The design is laid out in a series of interlacing 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 on 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 center of the cope outward, without consideration of the positions of the figures. Each face is worked in circular progression outward from the center, 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."