[319] Semper, “Der Stil,” Textile Kunst, i. pp. 77-90.
[320] Semper, Textile Kunst, “Der Stil,” i. p. 77. The German word “naht,” here literally translated, would be, uniting, weaving, bringing together.
[321] “Handbook of Plain Needlework,” by Mrs. Floyer. See also her “Plain Hints for Examiners,” &c.
[322] Dr. Rock, “Introduction,” pp. cix, cx, calls it “thread embroidery,” and names some specimens in the South Kensington Museum. He says it was sometimes done in darning stitches for ecclesiastical purposes, for instance, for coverings for the pyx. It is mentioned in the Exeter inventory of the fourteenth century. There is notice of white knotted thread-work belonging to St. Paul’s, London, in 1295, by Dugdale (p. 316).
[323] St. Catherine of Sienna’s winding-sheet is described as being cut work (punto tagliato) on linen. This sounds like embroidery of the type now sold as “Madeira work,” the pattern being cut out and the edges overcast.
[324] Semper, “Der Stil,” i. pp. 132, 203.
[325] See Semper, “Der Stil,” i. p. 289.
[326] Ibid. He cites Athenæus, iv. 64.
[327] Phrygia in general, and especially Babylon, were famed for their embroideries. “Colores diversos picturæ intexere Babylon maxime celebravit et nomen imposuit.”—Pliny, lib. viii. 74. See D’Auberville, “Ornement des Tissus,” p. 7.
[328] “Der Stil,” i. p. 196. “Opus Phrygium,” in the Middle Ages, included all gold work in flat stitches. The cloak worked by Queen Gisela in the ninth century, for her husband, St. Stephen, King of Hungary, the imperial mantle at Bamberg, of the date of 1024, and the robes of Bishop William de Blois (thirteenth century), in the library at Worcester Cathedral, are all “opus Phrygium,” and resemble each other in style.