In concerning ourselves solely with those periods of which examples survive, we must pass over a wide gap and begin with the anciently-civilized land of Egypt. The sandy soil and dry climate of that country have led to the preservation of woven stuffs and embroideries of unique historic interest. The principal, and by far the earliest, known pieces which have a bearing on the present subject, found in 1903 in the tomb of Tethmosis (Thoutmôsis, or Thothmes) IV. at Thebes, are now in the Cairo Museum. There are three fragments, entirely of linen, inwrought with patterns in blue, red, green and black (fig. 1). A kind of tapestry method is used, the patterns being wrought upon the warp threads of the ground, instead of upon the finished web or woven material. Such a process, generally supplemented, as in this case, by a few stitches of fine needlework, was still in common use at a far later time. The largest of the three fragments at Cairo bears, in addition to rows of lotus flowers and papyrus inflorescences, a cartouche containing the name of Amenophis (Amenhotep) II. (c. 15th century B.C.); another is inwrought with the name of Tethmosis III. (c. 16th century B.C.).[1]
| Fig. 1.—Fragment of a linen robe, found in the tomb of Tethmosis (Thothmes) IV. at Thebes, and now in the Cairo Museum. The cartouche has the name of Amenophis (Amenhotep) II. (c. 15th century B.C.). |
No other embroidered stuffs which can be assigned to so early a date have hitherto come to light in the Nile valley (nor indeed elsewhere), and the student who wishes to gain a fuller knowledge of the textile patterns of the ancient Egyptians must be referred to the wall-paintings and sculptured reliefs which have been preserved in considerable numbers.
From the ancient civilizations of Babylon and Assyria no fragments of embroidery, nor even of woven stuffs, have come down to us. The fine series of wall-reliefs from Nineveh in the British Museum give some idea of the geometrical and floral patterns and diapers which adorned the robes of the ancient Assyrians. The discovery of the ruins of the palace of Darius I. (521-485 B.C.) at Susa in 1885 has thrown some light upon the textile art of the ancient Persians. They evidently owed much to the nations whom they had supplanted. The famous relief from this palace (now in the Louvre) represents a procession of archers, wearing long robes covered with small diaper patterns, perhaps of embroidery.
The exact significance of the words used in the book of Exodus in describing the robes of Aaron (ch. xxviii.) and the hangings and ornaments of the Tabernacle (ch. xxvi.) cannot be determined, and the “broidered work” of the prophecy of Ezekiel (ch. xxvii.) at a later time is also of uncertain meaning. It seems likely that much of this ancient work was of the tapestry class, such as we have found in the early fragments from Thebes.
The methods of the ancient Greek embroiderer, or “variegator” (ποικιλτής) to whom woven garments were submitted for enrichment, can only be conjectured. The peplos or woven cloth made every fifth year to cover or shade the statue of Athena in the Parthenon at Athens, and carried at the Panathenaic festival,[2] was ornamented with the battles of the gods and giants. The late Dr J.H. Middleton thought that very possibly most of the elaborate work upon these peploi was done by the needle. That true embroidery, in the modern sense—the decoration by means of the needle of a finished woven material—was practised among the ancient Greeks, has been demonstrated by the finding of some textile fragments in graves in the Crimea; these are now in the Hermitage at St Petersburg. One of them, of purple woollen material, from a tomb assigned to the 4th century B.C., is embroidered in wools of different colours with a man on horseback, honeysuckle ornament and tendrils. Another woollen piece, attributed to the following century, has a stem and arrow-head leaves worked in gold thread.[3]
In turning to ancient Rome, it is well first briefly to notice Pliny’s account of the craft (Nat. Hist. viii.), as recording the views current in Rome at his time (1st century A.D.). After relating that Homer mentions embroidered garments (pictas vestes), he states that the Phrygians first used the needle for embroidered robes, which were thence called Phrygionian (Phrygioniae), and that Attalic garments were named from Attalus II., king of Pergamum (159-138 B.C.), the inventor of the art of embroidering in gold. He further relates that Babylon gave the name to embroideries of divers colours, for the production of which that city was famous. By the Romans the art was designated as “painting with the needle” (acu pingere), a term used by Virgil in speaking of the decoration of robes, by Ovid (who describes it as an art taught by Minerva), and by Roman writers generally when referring to embroidery.[4] It is to be regretted that no examples have been discovered in the neighbourhood of the Roman capital. For embroideries made under Roman influence we must again look to Egypt. They formed the decoration of garments[5] and mummy-wrappings from the cemeteries in Upper and Middle Egypt, which have been so extensively rifled of late years. Those of Roman type date approximately from the first five centuries of the Christian era. The earliest represent human figures, animals, birds, geometrical and interlacing ornaments, vases, fruit, flowers and foliage (especially the vine). They are generally done in purple wool and undyed linen thread by the tapestry process employed in Egypt at least fifteen centuries earlier, as we have seen; most of the patterns have had the lines more clearly marked out by the ordinary method of needlework. Towards the end of this period a greater choice of colours is seen, and Christian symbols appear. At this time examples worked entirely upon the finished web are found (fig. 2). The transition is easy from such work to the veritable “needle-paintings,” representing scenes from the gospels, produced in Egypt shortly after (fig. 3). Such embroideries are evidently akin to those mentioned by Bishop Asterius (330-410), who describes the garments worn by effeminate Christians as painted like the walls of their houses.[6]
From the time of Justinian (527-565) onwards for some centuries, the art of Europe, embroidery with the rest, was dominated by that of the Byzantine empire. To trace the progress of the highly conventionalized Byzantine style, becoming more rigid and stereotyped as time passes, belongs to the general history of art, and such a task cannot be attempted here. Perhaps the most remarkable example of all which have survived to illustrate the work of the Byzantine embroiderers is the blue silk robe known as the dalmatic of Charlemagne or of Leo III., in the sacristy of St Peter’s at Rome (fig. 4). According to the present consensus of opinion it belongs to a later time than either of those dignitaries, dating most probably from the 12th century.[7] In front is represented Christ enthroned as Judge of the world, a youthful but majestic figure; on the back is the Transfiguration. These, as well as the minor subjects, are explained by Greek inscriptions. The wide influence of Byzantine art gradually died out after the Latin sack of Constantinople in the year 1204, although the style lingered, and lingers still, in certain localities, notably at Mount Athos.
| Fig. 2.—Embroidered panel from a linen garment, with a jewelled cross and two birds within a wreath. Found in a cemetery at Akhmīm, Upper Egypt. Egypto-Roman work of the 4th or 5th century A.D. |
| Fig. 3.—Embroidered panel from a linen garment, with a representation of the Annunciation and the Salutation. Found in a cemetery in Egypt. Coptic work of the 6th or 7th century A.D. |