“The King (Athelstan), delighted with such great and exquisite presents, made an equal return of good offices, and gratified the soul of the longing suitor by a union with his sister. With some of these presents he enriched succeeding kings; but to Malmesbury he gave part of the cross and crown; by the support of which, I believe, that place even now flourishes, though it has suffered so many shipwrecks of its liberty, so many attacks of its enemies.”[20]
It is not to be supposed that at a time when the “whole island” was said to “blaze” with devotion, and when, moreover, her own fair daughters surpassed the whole world in needlework, that the English churches were deficient in its beautiful adornments. Far otherwise, indeed. We forbear to enumerate many, because our chapter has already exceeded its prescribed limits; but we may particularize a golden veil or hanging (vellum), embroidered with the destruction of Troy, which Witlaf, King of Mercia, gave to the abbey of Croyland; and the coronation mantle of Harold Harefoot, son of Cnute, which he gave to the same abbey, made of silk, and embroidered with “Hesperian apples.” Richard, who was abbot of St. Alban’s from 1088 to 1119, made a present to his monastery of a suit of hangings which contained the whole history of the primitive martyr of England, Alban.
Croyland Abbey possessed many hangings for the altars, embroidered with golden birds; and a garment, which seems to have been a peculiar, and considered a valuable one, being a black gown wrought with gold letters, to officiate in at funerals. The enigmatical letters which were worked on ecclesiastical vestments in those days, were various and peculiar, and have given abundant scope for antiquarian research. We have heard it surmised that they took their rise in times of persecution, being indications (then, doubtless, slight and unostentatious ones) by which the Christians might know each other. But they came into more general use, not merely as symbolical characters, but individual names were wrought, and that not on personal garments alone, for Pope Leo the Fourth placed a cloth on the altar woven with gold, and spangled all over with pearls. It had on each side (right and left) a circle bounded with gold, within which the name of his Holiness was written in precious stones. In many old paintings a letter or letters have been noticed on the garment of the principal figure, and they have been taken for private marks of the painter, but it is more probable, says Ciampini,[21] that they are either copied from old garments, or are intended to denote the dignity of the character to which they are attached.
We will conclude the present chapter by remarking that one of the most magnificent specimens of ancient needlework in existence, and which is in excellent preservation, is the State Pall belonging to the Fishmongers Company. The end pieces are similar, and consist of a picture, wrought in gold and silk, of the patron, St. Peter, in pontificial robes, seated on a superb throne, and crowned with the papal tiara. Holding in one hand the keys, the other is in the posture of giving the benediction, and on each side is an angel, bearing a golden vase, from which he scatters incense over the Saint. The angel’s wings, according to old custom, are composed of peacocks’ feathers in all their natural vivid colours; their outer robes are gold raised with crimson; their under vests white, shaded with sky blue; the faces are finely worked in satin, after nature, and they have long yellow hair.
There are various designs on the side pieces; the most important and conspicuous is Christ delivering the keys to Peter. Among other decorations are, of course, the arms of the company, richly emblazoned, the supporters of which, the merman and mermaid, are beautifully worked, the merman in gold armour, the mermaid in white silk, with long tresses in golden thread.
This magnificent piece of needlework has probably no parallel in this country.
FOOTNOTES:
[11] When Robert, Abbot of St. Alban’s, visited his countryman Pope Adrian the Fourth, he made him several valuable presents, and amongst other things three mitres and a pair of sandals of most admirable workmanship. His holiness refused his other presents, but thankfully accepted of the mitres and sandals, being charmed with their exquisite beauty. These admired pieces of embroidery were the work of Christina, Abbess of Markgate.
[12] “Anglicæ nationis feminæ multum acu et auri textura, egregie viri in omni valeant artificio. Però fu renomato Opus Anglicum.”—From Muratori.
[13] A florene is 4s. 6d.