Much embroidery for ecclesiastical purposes has been executed in Belgium of late years. It follows medieval models, but is lacking in the qualities which make those of so much importance in the history of the art.

There is perhaps little worthy of special notice in Italy before the beginning of the 14th century, but the embroideries produced at that time show great skill and are very beautiful. The names of two Florentine embroiderers of the 14th century—both men—have come down to us, inscribed upon their handiwork. A fine frontal for an altar, very delicately worked in gold and silver and silks of many colours, is preserved in the archaeological museum at Florence. The subject in the middle is the coronation of the Virgin; on either side is an arcade with figures of apostles and saints. The embroiderer’s name is worked under the central subject: Jacobus Cambi de Florētia me fecit MCCCXXXVIII. The other example is in the basilica at Manresa in Spain. It also is an altar-frontal, worked in silk and gold upon an embroidered gold ground. There is a large central panel representing the Crucifixion, with nine scenes from the Gospel on each side. The embroidered inscription is as follows: Geri Lapi rachamatore me fecit in Florentia. It is of 14th-century work. An embroidered orphrey in the Victoria and Albert Museum belongs to the early part of the same century. It represents the Annunciation, the coronation of the Virgin and figures of apostles and saints beneath arches. In the spandrels are the orders of angels with their names in Italian. In the best period of Italian art successful painters did not disdain to design for embroidery. Francesco Squarcione (1394-1474), the founder of the Paduan school of painting, and master of Mantegna, is called in a document of the year 1423 a tailor and embroiderer (sartor et recamator). It is recorded that Antonio del Pollaiuolo painted cartoons which were carried out in embroidery,[9] and Pierino del Vaga, according to Vasari, did likewise. In the 16th and 17th centuries large numbers of towels and linen covers were embroidered in red, green or brown silk with borders of floral patterns, sometimes (especially in the southern provinces) combined with figure subjects and bird and animal forms (Plate IV. fig. 15). Another type of embroidery popular at the same time, both in Italy and Spain, is known as appliqué (or applied) work. The pattern is cut out and applied to a bright-coloured ground, frequently of velvet, as in the example illustrated (Plate III. fig. 14). The later embroidery of Sicily follows that of the mainland. A remarkable coverlet, quilted and padded with wool so as to throw the design into relief, is shown to be of Sicilian origin by the inscriptions which it bears (Plate VI. fig. 18). It represents scenes from the story of Tristan, agreeing in the main part with the novella entitled “La Tavola Rotonda o l’istoria di Tristano.” The quilt dates from the end of the 14th century. Many pattern-books for embroidery and lace were published in Italy in the 16th and 17th centuries.[10]

Plate III.

Fig. 11.—SILK PANEL, EMBROIDERED WITH AHANGING LANTERN.
Chinese work of the 17th or 18th century. Scale: ¼th.
Fig. 12.—PORTION OF A LARGE HANGING, EMBROIDEREDWITH FIGURES WITHIN MEDALLIONS,AND INSCRIPTIONS.
From a church in Iceland, probably 17th century. Scale: 1⁄8th.
Fig. 13.—PORTION OF A BED-HANGING, EMBROIDEREDWITH FLOWERING TREES GROWING FROM MOUNDS.
English work of the later part of the 17th century. Scale: 1⁄12th.
Fig. 14.—APPAREL FOR A DALMATIC OF GREEN VELVET,EMBROIDERED WITH AN APPLIQUÉ PATTERN.
Italian work of the 16th century. Scale: ¼th.

Plate IV.

Fig. 15.—PORTION OF THE BORDER OF A LINEN COVER, EMBROIDERED WITH A FIGURE OF ST CATHERINE OF ALEXANDRIA AND KNEELING VOTARIES. Italian work of the 16th century. Scale: 2⁄5ths.
Fig. 16.—LINEN BORDER, EMBROIDERED WITH DEBASED FIGURES, BIRDS AND ANIMALS AMID FLOWERS.
Cretan work, dated 1762. Scale: 4⁄9ths.

In the greater part of the Spanish peninsula art was for many centuries dominated by the Arabs, who overran the country in the 8th century, and were not finally subdued until the end of the 15th. Hispano-Moorish embroideries of the medieval period usually have interlacing patterns combined with Arabic inscriptions. In the 15th and 16th centuries Italian influence becomes evident. Later the effects of the Spanish conquests in Asia are seen. Eastern influence is, however, stronger in the case of the Portuguese, who seized Goa, on the west coast of the Indian peninsula, early in the 16th century, and during the whole of that century held the monopoly of the eastern trade. Many large embroideries were produced in the Indies, showing eastern floral patterns mingled with representations of Europeans, ships and coats of arms. Embroideries done in Portugal in the 16th and 17th centuries strongly reflect the influence of oriental patterns.

German embroidery of the 12th and 13th centuries adheres closely to the traditions of Byzantine art. A peculiarity of much medieval German work is a tendency to treat the draperies of the figures as flat surfaces to be covered with diaper patterns, showing no folds. A cope from Hildesheim cathedral, now in the Victoria and Albert Museum, is a typical illustration of such work, dating from the end of the 13th century. It is embroidered in silk upon linen with the martyrdom of apostles and saints. Other specimens of embroidery in this manner may be seen at Halberstadt. An altar-frontal from Rupertsburg (Bingen), belonging to the earlier years of the 13th century, is now in the Brussels museum. It is of purple silk, embroidered with Christ in majesty and figures of saints. It was no doubt made in the time of Siegfried, archbishop of Mainz (1201-1230), who is represented upon it. A type of medieval German embroidery is done in white linen thread on a loose linen ground—a sort of darning-work (Plate II. fig. 10). Earlier specimens of this work are often diversified by using a variety of stitches tending to form diaper patterns. The use of long scrolling bands with inscriptions explaining the subjects represented is more usual in German work than in that of any other country. In the 15th century much fine embroidery was produced in the neighbourhood of Cologne. Later German work shows a preference for bold floral patterns, sometimes mingled with heraldry; the larger examples are often worked in wool on a woollen cloth ground (Plate II. fig. 8). The embroidery of the northern nations (Denmark, Scandinavia, Iceland) was later in development than that of the southern peoples. Figure subjects evidently belonging to as late a period as the 17th century are still disposed in formal rows of circles, and accompanied by primitive ornamental forms (Plate III. fig. 12). A remarkable early embroidered fabric covers the relics of St Knud (Canute, king of Denmark, 1080-1086) in his shrine in the church dedicated to him at Odense. It is apparently contemporary work. The pattern consists of displayed eagles within oval compartments, in blue on a red ground.

In Greece and the islands of the eastern Mediterranean embroidery has been much employed for the decoration of costumes, portières and bed-curtains. Large numbers have been acquired in Crete (Plate IV. fig. 16), and patterns of a distinctive character are also found in Rhodes, Cos, Patmos and other islands. Some examples show traces of the influence of the Venetian trading settlements in the archipelago in the 16th and 17th centuries. Among the Turks a great development of the arts followed upon the conquest of Asia Minor and the Byzantine territory in Europe. Their embroideries show a preference for floral forms—chiefly roses, tulips, carnations and hyacinths—which are treated with great decorative skill.

The use of embroidery in Asia—especially in India, China, Turkestan and Persia—dates back to very early times. The conservatism of all these peoples renders the date of surviving examples often difficult to establish, but the greater number of such embroideries now to be seen in Europe are certainly of no great age.