Peacock Pattern. Silk Wrapping on the body of St. Cuthbert. Durham.
The second period, beginning in the twelfth century, shows the arrival of Count Roger’s Persian and Greek workmen, captives from Thebes, Corinth, and Athens. The fresh designs show fragments of Greek taste, such as masks and foliage, and give one a slight foretaste of the Renaissance.[260]
These semi-classical echoes are contemporary in the Sicilian looms with such Norman motives as a crowned sovereign riding with a hawk upon his wrist.
This description singularly applies to the relics removed from the tomb of St. Cuthbert, at Durham, in 1827; among which are fragments of three wrappings, or garments of silk, so suggestive of the artistic traditions of many nationalities, and the long descent of patterns, recognizable after the lapse of centuries, that a description of them, accompanied by illustrations, can hardly fail to be interesting. They are all now reduced by time to a rich golden brown, though there are indications that blue, green, and red have been woven into their fabric, and there are also on one of them traces of gilding. The first (plate [35]) shows Oriental conventional peacocks, double-headed and collared, framed within circles which slightly intersect each other, thus giving the opportunity for varying the original motive by breaking up the rolling arabesqued pattern, and uniting the stems and flowers contained in the border. The spaces between the circles are filled in with gryphons in pairs, of the Babylonian stamp, thick limbed with strongly-marked muscles. There is a border or guimp, Persian in character, in which are small crosses surmounting repetitions of the crenelated pattern found in Assyrian ornament.
The second piece of silk contains a large rosace. Scattered about it are repetitions of the Persian leaf or tree of life, and the border consists of kneeling hares or fawns between a Persian arabesque and a corded line. The mixture of Egyptian and Assyrian styles is remarkable throughout, till we come to the centre of the rosace, where we find a most incongruous man in armour on horseback with a hawk on his wrist, giving the Norman stamp of the reigning house and influence in Sicily. The central subject is exactly repeated on an embroidered twelfth century chasuble in the treasury of the Cathedral of Bamberg, only that a royal crown and robes are worn by the horseman (pl. [36]).[261]
The third specimen is the most noteworthy (plate [37]). There is nothing of Assyrian here, but it reminds one of Egyptian and Greek art, and at once suggests Count Roger’s Greek slaves at the Sicilian looms, but the design is probably of a much earlier date, and the subject is puzzling. A piece of drapery resembling an Egyptian sail with its fringes[262] (pl. [38]) is looped up on each side to the head of a thyrsus, and above it hangs a large cluster of fruits. The lower part of the drapery rests upon water, and is somewhat like a boat, with ducks swimming towards it, and fish disporting themselves in the rippling waves. Between the circles the ducks are repeated, facing a shield enriched with rows of the crenelated pattern surmounted by a vine.
These fragments have belonged each to a very large and freely woven silk shawl or mantle. The circles are about two feet across. There is a different arrangement of the threads in each web, giving different fine diapers, and the last described has a raised pattern which might have been intended to represent water.
Pl. 36.
