Semper’s term, “mosaic” stitches, is a good one, as it covers all that are relegated into patterns in small square spaces, counted by the threads of the textile on which they are laid.[331] He believes that the mosaic patterns and cross stitches in needlework preceded the tesselated pavements, and formed their first motive, though the stitch now refers itself back to the mosaic, at least in name.
It is remarkable that in Chaldea and Assyria there still exist some ruined walls, which are adorned with pilasters, panels, and other architectural forms, covered with some sort of encaustic, imitating textile patterns.[332] The effect is produced by means of a kind of mosaic work of small nails or wedges of baked clay, with china or glazed coloured heads. These are inlaid into the unbaked clay or earth, of which the walls are constructed, and while binding it together, give the effect of the surface being hung with a material which has a pattern worked all over in cross stitch.
The Chinese, the Chaldeans, and the Assyrians long continued to show in their buildings the tradition of this style of decoration. In Egypt there has been found some unfinished mural painting where the plaster has been previously prepared by dividing it into small rectangular spaces, apparently on the principle of the canvas ground for cross stitches.
The name “mosaic” stitch does not interfere with, or militate against the classical appellation of opus pulvinarium, which means “shrine work” or “cushion stitches.” These appear to have been from the first considered as the best suited for adorning cushions, chairs, footstools, and the beds on which men reclined at their feasts, as they are firmly-set stitches which will stand friction.
Most of the work now done in Syria, Turkey, Greece, and the Principalities, shows different forms of the mosaic stitches; so also does the national Russian work, which is Byzantine. All these designs are conventional and mostly geometrical.
This work, in the East, is generally the same on both sides. We may infer that the spoil anticipated by Sisera’s mother, “the garments embroidered on both sides, fit for the necks of those who divide the spoil,” was of this kind.
Thus we see that the “opus pulvinarium” has a very respectable ancestry; and though it had somewhat degenerated in the early part of our century, and had languished and almost died out under the name of Berlin wool work, yet it has done good service through the days of mediæval art down to the present time, both in England and throughout Europe (pl. [42]); and it will probably revive and continue to be generally used.
Though the least available for historical or pictorial work, and not by any means the best for flower-pieces (as the squareness of the stitches refuses to lend itself to flowing lines or gradations of colour, unless the stitches are extremely fine, and the work, in consequence, very laborious), yet it finds its especial fitness in all geometrical designs. It is also particularly well suited to heraldic subjects.
A remarkable example of the use of cross stitches exists in the borders of the Syon cope, in which the coats-of-arms are so executed. This is of the thirteenth century; and besides these cushion stitches, it exhibits all those which are grouped in the style called opus Anglicum or Anglicanum.