There has been much controversy as to the date of the dalmatic of Charlemagne in the Vatican treasury. Like every good early piece of Gothic work in Italy, it is allotted to the days of Pope Boniface VIII. (thirteenth century). But when we examine this splendid relic we cannot doubt that it is of a much earlier time, as there is nothing Gothic to be found in it. It is full of the lingering traces of Greek art (not Byzantine). It reminds us most of the mosaics of Santa Pudenziana, which are always quoted to prove that Greek art still survived in Rome in the eighth century.[505] The dalmatic has been much restored, but, I believe, most carefully kept to the old lines.

It is worked on a thick, dark-blue, or purple, satiny silk, which had entirely fallen into little stripes, but has been skilfully mended, and the embroidery has never been transferred. On the front is our Lord in glory, saints below, and angels above, with a border of children playing, which is truly Greek. The motive of this is the "Ibi et Ubi." On the back is the Transfiguration, and on the humerals are the sacraments of bread and wine. The whole, as art, is beautiful; and it is historically most interesting. Lord Lindsay tells us that in the dalmatic of Charlemagne, (called that of Leo III.) Cola di Rienzi robed himself over his armour, and ascended to the Palace of the Popes after the manner of the Caesars, with sounding trumpets before him, and followed by his hors.e.m.e.n--his crown on his head and his truncheon in his hand--"Terribile e fantastico."[506]

This dalmatic must be ranked first and highest among ecclesiastical embroideries. (Plates 53, 54, 55.)

Some of the details are curious. The whole of the blue satin ground is worked with crosses "pa.r.s.eme." Parts of the design are so adorned with larger and smaller Greek crosses--and others with the starry cross. On the shoulder is once embroidered the mystic swastika.[507]

[Ill.u.s.tration: Charlemagne's Dalmatic The Vatican, Rome]

[Ill.u.s.tration: Charlemagne's Dalmatic The Vatican, Rome]

[Ill.u.s.tration: Pl. 55.

Details of Charlemagne's Dalmatic. Vatican Treasury.]

[Ill.u.s.tration: Pl. 56.

Cope called "of St. Silvester." Treasury of St. John Lateran, Rome.

English Embroidery, thirteenth century.]

Rock says, "Those who have seen, in the sacristy of St. Peter's at Rome, that beautiful light-blue dalmatic said to have been worn by Charlemagne when he sang the gospel at High Ma.s.s, at the altar vested as a deacon, the day he was crowned Emperor in that church by Pope Leo III., will remember how plentifully it is sprinkled with crosses between its exquisite embroideries, so as to make the vestment a real 'stauracin.'"[508]

[Ill.u.s.tration: Pl. 57.

Portion of the Cope at St. John Lateran, showing its condition.]

[Ill.u.s.tration: Pluvial, English, XIII. Century Museum at Bologna]

[Ill.u.s.tration: Pl. 59.

The Daroca Cope. Museum at Madrid. Opus Anglicanum, fourteenth century.]

[Ill.u.s.tration: Pl. 60.

Portion of the Cope of Boniface VIII., twelfth century. From Anagni. Now in the Vatican Collection.]

[Ill.u.s.tration: Pl. 61.

Altar Frontal from Anagni, Italy.]

Signor Galletti, Professor of Embroidery to the Pope, says it is undoubtedly of the eighth century. It has been suggested that the design is of the date of the Exarchate. It is, however, something of infinitely finer style; it is n.o.ble, simple Greek.

Charlemagne's dalmatic is embroidered mostly in gold--the draperies in basket-work and laid st.i.tches; the faces in white silk split-st.i.tch, flat, with finely-drawn outlines in black silk. The hair, the shadowy part of the draperies, and the clouds are worked in fine gold and silver thread with dark outlines. The hands, feet, and draperies have a fine bas-relief effect. (Plate 53, 54, 55).

The "pluvial of St. Silvester," in the church of St. John Lateran at Rome, is probably, from its Gothic style, of the time of Boniface VIII. (thirteenth century).[509] It never served St. Silvester, except as being perhaps dedicated to him. On seeing it, one is convinced that it is English. It has one peculiarity of English Gothic design in the canopies being supported by twisted pillars of vine-stems, in this case intersected by green shoots, and carrying leaves. The angels, the two cherubim clothed in peac.o.c.ks' feathers, the fine split-st.i.tch, the gold grounding, and the drawing are also distinctly English.

I give an outline of the pluvial from photographs,[510] and a finished woodcut of the centre to show the style and condition of the work. The design is most beautiful, and we can only regret the loss of the border, which has been entirely cut off. This shows how elaborate is the design, yet how artistically arranged as a whole composition.

(Plate 56, 57.)

It is difficult to settle the precedence between this splendid piece of church decoration and the rival pluvial of Bologna in the Museo Civico, said to have come from the church of San Giacomo. It resembles in style and execution that of St. Silvester, but its architectural arrangement contains six circles of subjects, worked like the other in silk and gold, with gold groundings; and both are embroidered on linen. On careful examination of this splendid work of art, I have come to the conclusion that it is English. (Plate 58.)

The Daroca cope (lately belonging to the Archaeological Museum at Madrid) is undoubtedly English. We can claim it by its peculiar shrine-work, and the twined columns on the orphreys; by the cherubim, by the peac.o.c.k-feathered angels, and by the form of the panels enclosing the different subjects, from the "Life of Our Lord." (Plate 59.)

The cope of Boniface VIII. in the Vatican came from the church of his native place, Anagni (plate 60), where are still very curious old embroideries (see Hon. and Rev. I. Clifford's list of embroideries in Appendix 5). Some appear extremely ancient, but there is no sign by which they may be dated. Some are probably of the thirteenth century, and are very coa.r.s.e Italian work, though finely designed (plate 61).

There are doubtless many interesting specimens still to be found in the sacristies of Italian churches. But they have generally been transferred to museums.

[Ill.u.s.tration: Pl. 62.

1. From Tomb in Worcester Cathedral, of Bishop Walter de Cantilupe, consecrated 1236.

2. Embroidered Cope at Aix in Switzerland.]

[Ill.u.s.tration: Pl. 63.

Mitre of Thomas a Becket at Sens, showing the Scandinavian Fylfot Cross (thirteenth century).

Jewelled Cross on Rose-coloured Cope at Rheims (twelfth century).]

In the tomb of Walter de Cantilupe (eighteenth century) at Worcester, were found the remains of a dress which is decidedly of an earlier date--evidently of Oriental material, but Anglo-Saxon work--so exactly resembling in style that at Aix given by Bock,[511] that we can hardly doubt that they proceeded from the same workshop, or at least are of coeval design. Both are worked with a dark red outline on a red silk ground. The faces and hands are in white silk--all the rest between the outlines is gold thread, flat st.i.tch. Bock places its date as antecedent to the tenth century, and indeed there is no reason to doubt that this is correct, though the Worcester fragment was taken out of a tomb of two centuries later. As these garments were stored in the church treasuries; and as antiquity (without an historical interest) was then of no value, these old clothes, holy by their use and office, yet by their shabbiness unfit for public show, may have been reverently disposed of in clothing the bodies of departed priests, who probably had worn those very vestments, when officiating at the altar near which they were laid to rest. When the date of the wearer of the garment is ascertained, the dress cannot be of a later period, but it may have belonged to a much earlier one. The architectural part of these two embroideries, i.e. the canopy work, resembles that of the Bayeux tapestry. Both appear to be English.

(Plate 62.)

[Ill.u.s.tration: Pl. 64.

From Tomb of Bishop William of Blois, died 1236. Worcester Cathedral Library.]

[Ill.u.s.tration: Pl. 65.

A portion of the Mantle embroidered by Gisela for her husband, St.

Stephen of Hungary. From Bock's "Kleinodien."]

In the eleventh century, and for some part of the twelfth, needlework design in England, France, and Germany first a.s.sumed a phase, which may be called the metal-work style. It is to be found on the robes and mitres of St. Thomas of Canterbury (Thomas a Becket) at Sens[512]--on the famous rose-red cope of satin embroidered with gold and pearls at Rheims (which we should incline to believe is English)[513] (plate 63). The fragment of the cope of William of Blois, found in his tomb, is in this style. (He died in 1236.) The fragments of this curious garment, worked in gold on a purple silk material, evidently Oriental, are also preserved under gla.s.s in the Cathedral Library at Worcester (plate 64).

Amongst the finest instances of ecclesiastical needlework, and, indeed, we may say, of ecclesiastical art of the twelfth century, is the coronation robe of St. Stephen of Hungary, decorated by his queen, Gisela,[514] which is preserved in the Imperial Treasury at Ofen (plate 65).

Of this authentic historical work we have the whole story. The original design,[515] drawn on linen, carefully coloured, is to be seen at the Benedictine convent abbey of Martinsburg, near Raab in Hungary. The care with which the work was carried out shows the value then placed on such undertakings considered as art, and it has been justified by its survival of 800 years; time having spared it owing to its perfect materials and manipulation, till it received cruel injuries by being carried off and thrown into the bog of Orsava during the revolution under Kossuth. It was, however, recovered and restored, and was worn by the present emperor at the splendid and picturesque ceremonial of his coronation at Pesth. The design reminds us of the mosaics in the apse of Santa Maria Maggiore and other churches at Rome, and it is extremely beautiful. It consists of an arrangement of medallions and inscriptions, with "metal-work" ornaments in bands alternated with smaller medallions. Yet the figures are not so finely drawn as those of the Durham relics of the beginning of the tenth century. The drawing of the figures of the Gisela mantle resembles those on the garments of Walter de Cantilupe (plate 62), which, from their design and st.i.tches, seem to be of this period. The architectural parts are very like in design to those of the Bayeux tapestry, though they are infinitely better, and they have Lombardic characteristics.

[Ill.u.s.tration: Pl. 66.

Portion of the Coronation Mantle of Henry II. of Germany, embroidered by the Empress Kunigunda. From Bock's "Kleinodien."]

It appears that Queen Gisela had personally embroidered this many-figured, richly-embroidered representation of the "Ibi et Ubi"--The Saviour in His glory as Victor over death and h.e.l.l, seated on the bow of heaven, surrounded by choirs of angels and saints, and prophets of the Old Testament; below on thrones, are the twelve Apostles. The figures are worked in Oriental gold thread on Byzantine crimson silk.

In contrast to the Ubi, the heavenly hereafter, the queen, in the lowest broad hem (border) has represented the Present, the then "Ibi,"

by the leaders of the Hungarian magnates and the half-figures of the royal givers in large gold-embroidered medallions.

The next finest specimen of eleventh century needlework was the gift of Henry II., Emperor of Germany, and his wife Kunigunda, to the cathedral of Bamberg, where it still exists[516] (plate 66).

This, again, consists of medallions great and small, of which the borders, gracefully intertwined, form a large composition[517]

covering the whole surface of the imperial pallium it once adorned.

But in the fifteenth century it was transferred from its original purple silk ground to one of dark-blue damask, and altered to the form of a chasuble, as we see it now. The general design resembles that of the mantle of Gisela.

Bock calls the style of these works Romanesque; and he thinks that they show a Saracenic influence. They appear, however, as I said before, to be rather Lombardic than anything else. The reader is referred to Dr. Bock's preface for further lists of Continental works and workers.

Abbe Martin considers that in the thirteenth century the opening out of Gothic art was extended to the laity, and was really the sign of a great social revolution. Gothic art had till then only served the Church, and had been by circ.u.mstances closed to the people, who were yet unfitted, by their want of education, for artistic life.[518]

Art was till then almost exclusively produced by the monastic orders, into which all talent had drifted. But about this time it fell into the hands of architects and other originators of design, who presently banded themselves together into brotherhoods and guilds.[519]

Embroidery till the thirteenth century had been entirely in the hands of cloistered women, and the ladies who practised it learned their craft with the rest of their education in convents, and their work was simply ecclesiastical and dedicatory. At that period social burgher life in the towns had first begun to develope its love of luxury,[520]

and to follow the fashions of other countries, and the changes of forms in dress and furnishing which came from foreign parts, though frequently checked by sumptuary laws. This social movement preceded everywhere political and religious revolutions. Embroidery then became customary in lay dress, and lost its religious character, or rather its religious monopoly.

[Ill.u.s.tration: Pl. 67.

The Syon Cope, South Kensington Museum (thirteenth century).]