An embroidered Panel, designed by Pollaiolo, and worked by Paulo da Verona.
In the Church of St. Giovanni at Florence (fifteenth century).

The applied embroideries of the north of Germany were evidently inspired by the newly-discovered art of glass-painting, and resemble its designs, both in the compositions of figures and heraldic subjects. Of this we may remember examples in the Scandinavian Exhibition at South Kensington in 1881.[529]

All the most beautiful and picturesque needlework that we possess of the true ecclesiastical Gothic type, and which belongs to the perfect flowering of the art, is of the fourteenth and fifteenth centuries, just before the spirit of the Renaissance crept northward over Europe, preceding the Reformation and its iconoclastic effacements. This remark especially applies to England.[530] The art of representing Scriptural subjects in flat stitches, as medallions accompanied by beautiful foliage, and heraldic designs, is illustrated to us by the palls belonging to several London companies—and by those belonging to churches, especially that of the church at Dunstable, in which court ladies, knights, and saints form a most artistic border—the costumes being of the date of Henry VII. (see p. [378], post).

The perfection of the embroideries of Flanders of that period has never been exceeded, and it continues still to produce the most splendidly executed compositions in gold and silken needlework, of every variety of stitches. The Flemish work and its peculiar mode of laying golden grounds with flat-laid thread stitched down in patterns was carried into Italy, where great artists did not disdain to design for textiles. I give, as an instance, Vasari’s account of the embroidered set of vestments designed by Antonio Pollaiolo for the church of San Giovanni at Florence. These were carried out by Paolo da Verona, and took twenty-six years for their completion; and they were only one set of vestments, “embroidered by the most subtle master of the art, Paolo da Verona, a man most eminent in his calling, and of incomparable ingenuity (ingenio). The figures are no less admirably executed with the needle than drawn by Pollaiolo with the pencil,—and thus we are largely indebted to one master for his design, and to the other for his patience” (plate [68]).

Towards the end of the fifteenth century the Gothic styles were replaced by the Renaissance, but the technical part of the art of embroidery for the churches lost none of its value. All the talent of the artist and the ingenuity of the craft continued to be lavished on altar decoration and priestly garments, in Flanders, Spain, France, and Italy. But the solemnity of these works was certainly impaired by their being emancipated from the traditional ecclesiastical forms and their accompanying symbolism, to which the old designers had so faithfully adhered. Ecclesiastical decorative art became, so to speak, unorthodox.

As a proof of this secular, I might almost say irreverent spirit, I quote Bock’s accusation against Queen Mary of Hungary, who in her embroideries, preserved at Aix-la-Chapelle, is said to have represented herself as the Queen of Heaven, surrounded by her adorers on their knees.

There is no doubt, however, that needlework aspired in the fourteenth and fifteenth centuries to the highest place in art, and was enthusiastically cultivated by women of rank and position, of artistic taste, who still gave themselves to the productions of beautiful decorations, though they no longer confined themselves to ecclesiastical motives.

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