CHAPTER XIV

ON THE ALBE, SURPLICE, ETC.

There are various opinions among the learned both as to the origin and line of descent (so to speak) of all the distinctive vestments worn by the ministers of the Church at the present day. The albe and surplice are not among the least interesting from an historical point of view; however, it is not our purpose to discuss it here, and whatever theory we may prefer—that which derives them from a Levitical ancestry, or from the Eastern garments of common use in the time of Our Lord, or from the Græco-Roman in the early centuries of our era, the fact remains that from the very earliest times of which we have any record of such things _white linen raiment_[13] was a noticeable feature in the dress of the Christian minister, whether priest, deacon, or server.

The albe and the surplice were _possibly_ both derived from one original garment. Their chief characteristics were that they were long, full, and made with sleeves; moreover that they were usually of white linen, and either quite plain or ornamented in some simple and appropriate manner by a border that could be washed with the garment, or (in the case of the albe from the thirteenth century) by apparels which were easily removed without injuring it.

The ALBE has retained its primitive character in all these respects.

The long flowing garment is confined at the waist, for convenience in ministration, by a girdle or band, which may consist simply of a plain linen cord 4 yards long, finished at the ends with tassels of the same; or it may be a band from 1 to 3 inches wide, richly embroidered in silk and gold. When this is the case it should be fastened by strings sewn to the lining, or by hooks and eyes, or a clasp, so that it may not become creased and spoiled by frequent tying. A band is perhaps better for keeping the stole in place as being less liable to roughen and damage the silk. It seems to have been an old English custom to use a band, judging by the old inventories, &c.,[14] but it is not so general in these days as the cord, and the symbolism is lost unless the band is kept quite narrow.

The diagram (Illustration II.) shows the shape and dimensions of a very old albe now in the Victoria and Albert Museum, South Kensington. The linen it is made of is 22 inches wide, and the seams are joined down the middle of the front and back by means of an insertion, worked in buttonhole-stitch with white linen thread, rather more than; ¼ inch wide. The seams at the shoulders are treated in the same way with insertion ½ inch wide, into which is worked an inscription in red thread; and there is a small red cross on each of the gussets let in at the waist to contain the gathers, which are set very close together, to provide the necessary fulness for the skirt.

The apparels are made of fourteenth century brocade.

Modern albes are usually either gathered into a neck-band somewhat like a surplice (see Illustration III.), and so are full all the way down, or they may be widened gradually from the shoulder.

The measurements are very similar in each case, and take from 7 to 9 yards of linen, a yard wide.

In the gathered pattern (which is much handsomer than the plain one) there are no _cut_ seams except for the sleeves; the selvedges should be over-sewn together with fine cotton very closely, and then the seams will not show at all. Those on the sleeve should be finely stitched and the raw edge turned in and ‘felled’—i.e. _hemmed_—down on the inside. The neck and shoulder bands should be stitched with fine back-stitching on the outside. They may be decorated with any fancy stitch as well, or a narrow border may be embroidered. The hem round the bottom should be from 1 to 3 inches deep. A border of embroidery may be worked all round, above the hem.

The custom of working a lace insertion in the middle of a seam, which used to be common to the better sort of household linen as well as that for the Church, has fallen into disuse of late years, in consequence of our linen being woven so much wider than it used to be. But it might still be used in the front and back of the plain albe, and it may be well to describe the method of working it, as it is not at all difficult to do, nor so tedious as it might appear at first glance. And irrespective of the _width_ of linen, there are occasions when the _length_ may require addition (such, for instance, as the enlargement of a fair linen cloth for an altar). It is a recognised law of art that Beauty should be called forth by Necessity; and the hiding, covering, or ornamenting a seam was perhaps the very first incentive to embroidery!

If it is a cut edge which is to be joined to another in this manner, each piece of stuff is hemmed separately.

The work is begun upon one hem as a foundation, and when finished is sewn closely on to the other.

For the first row * make two tiny buttonhole stitches into the edge of the hem (or of the selvedge if there is no hem). Then leave a small space, equal to the room taken up by the two buttonhole stitches; then two more stitches, then leave a space of about ⅜ inch, carrying the cotton straight along—repeat from * till the first row is done, all along the edge.

Turn the work over to the other side, or fasten off thread and begin at the same end as at first: by turning it over the same effect is attained—viz. working from left to right for each row, which keeps the work even.

For the second row the threads which stretch across the spaces of ⅜ inch are covered with fine buttonholing, and two stitches are put into each of the tiny spaces left for them in the first row.

When the end of the second row is reached the work should be turned over, as before, and the third row done exactly the same as the first, except that the pairs of stitches are worked _into the little spaces_ caused by going from the bar to the middle of the pairs of stitches instead of into the stuff: _c_ on Illustration IV. shows this very much enlarged; _a_ and _b_ are the same size as the work on the old albe. After the first row, which is worked into the linen, it is better to use a blunt needle. The button-hole-stitches should be drawn up tightly over the thread throughout the work; in the illustration of the detail they are not drawn tightly enough for the real work.

From three to five bars are enough for this pattern. A great number of different ones can be arranged with a little ingenuity, variation being brought about by differing the proportions of buttonhole ‘filling,’ bars and spaces.

The sleeve of the albe is, theoretically, tight fitting, but for convenience in wearing it over other clothing, and to get it easily over the hand, it is generally made from 12 to 14 inches in circumference at the wrist. In old pictures one often sees it fitting _quite closely_, in which case it is provided with buttons and buttonholes to fasten the extra opening, which has to be made at the under seam.

The AMICE is either a square or rectangular piece of fine linen from 29 to 36 inches in length, worn as a neck-cloth with the albe and covering the edge of the chasuble, where it would otherwise come in contact with the neck of the wearer. It is hemmed with a narrow hem all round and has two strings 74 inches long, fastened at the upper corners to keep it in place. It sometimes has a large cross embroidered upon it, as in this example which is taken from that of St. Thomas à Becket, and has an apparel of gold embroidery attached to the upper edge. These apparels were almost universal from the thirteenth to the sixteenth century, and are retained in the English use. It is lightly tacked on to the edge of the amice, so that when it is turned back over the chasuble it lies evenly round like a collar. It may be made to match the colour of the vestment it is worn with, or one richly embroidered with gold or made of gold tissue, may be worn with any of them.

The SURPLICE, which from very early times seems to have formed part of the choir habit of clergy and other ministers alike, is very similar to the albe, except that, being an outer instead of an under vestment, the sleeves are long and full, and also in consequence of being worn over a cassock, an albe, or a ‘pellice’[15] it has become somewhat shorter in the skirt; but there are, from the time of Edward the Confessor onward, numerous canons, laws, and directions always ordering the surplice to be long enough to reach down to the heels. The albe, surplice, and rochet are very much alike; in the old documents it is often difficult to determine which of the three is meant, there being so many names for the same thing, and both names and uses almost interchangeable. But in the present day we confine the term _albe_ to the one with somewhat tight-fitting sleeves, _surplice_ to the one with long flowing sleeves, and _rochet_ to the one without any, or with full ones gathered into a band at the wrist. Albes were at one time occasionally made of silk, and sometimes were even coloured,[16] but I do not think surplices ever were, neither have they ever been much ornamented. Smocking at the gathers or an embroidered neck-band seems to have been the only decoration at all common. The rochet was and still is sometimes embroidered all round just above the hem.

The accompanying diagram (Illustration VIII.) shows how to cut a surplice like the one represented at Illustration VII.

The dimensions are very similar to those given by Dr. Rock, except that his is fuller in the skirt. If this is desired it can be done without any difficulty by merely adding another width of linen (placing the _centre_ on the diagram 18 inches further to the right, and thus using _two_ full widths instead of one).

It is better in this case to make the collar-band deeper, as it is difficult to get so many gathers into the 29 inches of circumference given here.

All the selvedge seams should be ‘whipped,’ ‘seamed,’ or ‘over-sewn’—three names for one and the same process. The diagonal seams or any with cut edges must be ‘run and felled.’

This pattern takes 6½ yards of linen, a yard wide; Dr. Rock’s would take 2½ yards more. His is more suitable for smocking; and where a deep collar-band is used it may be embroidered, preferably in white, though some of the old ones were done in red.

A priest’s surplice should measure at least 4½ yards round the bottom; those for choir men and boys are not usually so wide.

CONCLUSION

On bringing this little book to an end the author feels sadly aware of its many deficiencies. Time does not allow for either very strict revision or much elaboration of the papers which formed the foundation of it.

There are many points of interest connected with the subject of Church needlework which have been purposely touched upon as briefly as possible, that the student may not be obliged to wade through a quantity of extraneous matter in order to find the practical information required.

There are others omitted for want of time and space (such, for instance, as illustration and explanation of the various symbols, &c., used in Church embroidery from the earliest times to the present day: special characteristics of different styles, periods, and countries, &c. &c.)

But there is one point I find I have not mentioned in its proper place (Chapter VII), which I am unwilling to pass over altogether because it involves a matter of principle. It is concerning the practice of _painting_ the faces instead of working them in figure-embroidery.

It seems to me no more legitimate than it would be actually to embroider the robes of a painted portrait!

If figure-embroidery is beyond the ability of any individual worker, let her get someone else to do the faces while she contents herself with the robes and background, or apply her powers to other work. There is plenty of beautiful embroidery to be done without employing figure-work at all.

I have seen faces painted into embroidery so exactly simulating needlework that it is almost impossible to tell the difference. This obviates the objectionable clashing of the two distinct arts as far as _appearance_ goes; but it seems to me morally worse, inasmuch as it is an intentional deception. One branch of art does not need to imitate another. Each should seek perfection in its own special way, and sincerity is one great essential in all.

This brings me to my parting word. Be true and your work will be beautiful. Let everything that is done for the Church be done for the Glory of God, and there will be no trickery possible, no attempt to make anything appear better than it is. The simplest work done in honest materials is more essentially lovely than the most elaborate of ‘shoddy.’

‘Whatsoever things are true, Whatsoever things are honest, Whatsoever things are pure, Whatsoever things are lovely, Whatsoever things are of good report, If there be any virtue and if there be any praise think on these things.’

FOOTNOTES

[1] It is a mistake to be over-timid in attacking floss-silk. It requires a light but firm hand, and should be pulled fairly tight to get it to lie smoothly—a sort of little secondary jerk after drawing the needle through to the back.

[2] _Line and Form_, by Walter Crane, i. 1.

[3] This is the smallest quantity that can be made satisfactorily, twice this quantity is easier to manage. A moderately heaped tablespoonful is about equal to 1 oz., and a _small_ teaspoonful to 2 dr. Ordinary water _filtered_ instead of distilled will do if it is soft.

[4] This method, called _a’or nué_, the Florentines seem to have got from Flanders, where it had long been in use.

[5] Vasari says: ‘The figures are no less admirably executed with the needle than drawn by Pollaiuolo with the pencil, and thus we are largely indebted to one master for his design, and to the other for his patience.’

[6] _Art in Needlework_, p. 130.

[7] To the present day our sovereigns offer upon the altar at their coronation a ‘Pall of Silk’ in accordance with old custom.

[8] The name _orarium_ to denote a stole is still used in the Eastern Church for the deacon’s stole (ὠράριον), although it has passed out of use in the Western church altogether, I believe.

[9] There is a beautiful coloured reproduction of it in the ‘Art Worker’s Quarterly,’ January 1906.

[10] ‘In the famous triptych of the Seven Sacraments, by Van der Weyde, now in the Antwerp Museum, the central compartment shows a missal upon the altar at Mass with a _sudariolum_ hanging from it. It would seem by no means impossible that the string to which this napkin was attached was used as a book-marker. The Bishop’s maniple still serves the same purpose in the book of the Gospels at the beginning of Mass.’—Rev. H. Thurston, S.J., ‘Vestments of Low Mass,’ ‘The Month,’ October 1898.

[11] Appendix C.

[12] Howsel—Husel = Saxon name for the Eucharist.

[13] ‘White shining vestment of fine linen common to all clergy.’—Council of Narbonne A.D. 580.

[14] At Sarum in 1222 there were nine girdles of silk and twelve others mentioned in the Inventory. There was one of gold tissue found upon the body of St. Cuthbert at Durham.

[15] Hence the derivation, to which some writers refer as evidence of its being at one time an under garment, points exactly the other way, the pellice being a long lambskin dress worn by the English clergy from very early times. See Matthew Paris, _Vit. Abb._, p. 53.

[16] Perhaps the red and blue cassocks sometimes to be seen nowadays may justify their existence by the example of these coloured albes frequently mentioned in old documents and depicted in illuminated MSS.

APPENDICES

APPENDIX A

TABLE OF LITURGICAL COLOURS ACCORDING TO THE ANCIENT USE OF FIVE ENGLISH DIOCESES OR CONVENTUAL CHURCHES COMPARED WITH THAT OF ROME

+============+===========+=========+=========+=========+=========+======+ Season |Westminster|Sarum |Exeter |Wells |Lichfield| Rome | +============+===========+=========+=========+=========+=========+======+ |Advent |White |Unknown |Violet |Medius |Black |Violet| | | |(? White)| | |(? Blue) | | +------------+-----------+---------+---------+---------+---------+------+ |Christmas |White |Mixed |White |White |White |White | | | |colours | | | | | +------------+-----------+---------+---------+---------+---------+------+ |The Epiphany|White |Mixed |White |White |Red |White | | | |colours | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Epiphany |White (to |Red |Green |Red |At will |Green | |(Octave) to |Candlemas) | | | |of | | |Septuagesima| | | | |Sacrist | | +------------+-----------+---------+---------+---------+---------+------+ |Septuagesima|Reddish |Red |Violet |Unknown |— |Violet| | to Lent |(subrubeus)| | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Lent, first |Black (in |Unknown |Violet |— |Black |Violet| |four weeks |practice, |(in | | | | | | |White) |practice,| | | | | | | |White) | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Lent, last |Red |Red |Violet |Red |Red |Violet| |two weeks or| | | | | | | |Passion-tide| | | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Easter, from|Red |White or |White |Red, Low |White |White | |First | |Mixed | |Sunday | | | |Evensong, on| |colours | |White | | | |Easter Eve, | | | | | | | |to Low | | | | | | | |Sunday | | | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Low Sunday |Red |White |White |Red |White |White | |to Ascension| | | | | | | |Day | | | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Ascension |White |White or |— |White |White |White | |Day to | |Mixed | | | | | |Whit Sunday | |colours | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Whit Sunday |Red (or |White or |Red |Red |White |Red | | |Saffron) |Mixed | | | | | | |Yellow |colours | | | | | | |(or Green) | | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Trinity |Red |Mixed |If |Red |White |White | |Sunday | |colours |handsome,| | | | | | | |Green, | | | | | | | |otherwise| | | | | | | |White | | | | +------------+-----------+---------+---------+---------+---------+------+ |Corpus |— |— |Red and |Red |— |White | |Christi and | | |White | | | | |Octave | | | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Sundays |Red |Red |Green |Red |At will |Green | |after | | | | |of | | |Trinity | | | | |Sacrist | | +------------+-----------+---------+---------+---------+---------+------+ |Week days |— |Unknown |— |— |— |Green | |after | | | | | | | |Trinity, | | | | | | | |not being | | | | | | | |Saints Days | | | | | | | +============+===========+=========+=========+=========+=========+======+ |SAINTS DAYS | | | | | | | +------------+-----------+---------+---------+---------+---------+------+ |St. Paul |— |Red |Red or |Red |Red |White | |(January 25)| | |Blue | | | | +------------+-----------+---------+---------+---------+---------+------+ |Evangelists |Red |Red |Red |Red |— |Red | +------------+-----------+---------+---------+---------+---------+------+ |Apostles |Red |Red |Red |Red |Red |Red | +------------+-----------+---------+---------+---------+---------+------+ |Martyrs |Red |Red |Red |Red |Red |Red | +------------+-----------+---------+---------+---------+---------+------+ |Virgins |White |White |White |White |White |White | +------------+-----------+---------+---------+---------+---------+------+ |Confessors |Yellow |Yellow |— |Blue and |Varius |White | | |(or Green |(or | |Green | | | | |and Blue) |Saffron) | | | | | +------------+-----------+---------+---------+---------+---------+------+ |St. John |White |White |— |Indius |Varius |White | |Baptist | | | |(? Blue) | | | |(June 24) | | | | | | | +------------+-----------+---------+---------+---------+---------+------+ |All Saints |— |Unknown |White, |White and|Varius |White | | | | |Red, and |Red | | | | | | |all | | | | | | | |colours | | | | +------------+-----------+---------+---------+---------+---------+------+ |St. Michael |White |White |White |White and|White |White | |and |or Blue | | |Indius | | | |All Angels | | | |(? Blue) | | | +------------+-----------+---------+---------+---------+---------+------+ |St. John |White |White |White |— |White |White | |Evangelist | | | | | | | +------------+-----------+---------+---------+---------+---------+------+ |Holy |Violet |Unknown |— |Red |— |Violet| |Innocents | | | | | | | +============+===========+=========+=========+=========+=========+======+ |Festivals of|White |White |White |White |White |White | |the Blessed | | | | | | | |Virgin Mary | | | | | | | +============+===========+=========+=========+=========+=========+======+ |Dedication |— |White or |All |Blue and |— |White | |of Churches | |Mixed |colours |White | | | | | |colours | | | | | +============+===========+=========+=========+=========+=========+======+ |Burial |Black |Black |Black |Black |Black |Black | +============+===========+=========+=========+=========+=========+======+

Wherever Black was ordered, Violet, Purple, Dark Blue, and Ash-colour, or Grey, seem to have been considered equivalent. So Green also replaced Yellow.

APPENDIX B

A FEW OF THE SYMBOLS AND EMBLEMS MOST FREQUENTLY USED IN ECCLESIASTICAL ART

I. The FISH.—The first, in point of date, as a distinctly Christian Symbol (1) of Baptism, (2) of the Name of OUR LORD, the letters In Greek forming an anagram of the Name JESUS.

II. The CROSS.—The universal emblem of Christianity, showing the length, breadth, depth, and height of the Love of GOD in Christ.

As decoration, the Latin form ✝ should only be used for Penitential occasions, being the symbol of suffering and of the Passion. The Greek 🞣 or equilateral, the foundation of all the more decorative ones, is suitable for all times and seasons except Christmas and Epiphany.

The Gammadion, Fylfot, Swarstika, or (in heraldry) the Cross Potent rebated—a prehistoric cross found all over the world—is suitable for all seasons, and was the one most generally used in ancient Church embroidery.

III. The GLORY, NIMBUS and AUREOLE, in the _East_, an attribute of power; in the _West_, of Divinity or of consecration.

IV. The LAMB.—An early symbol of Christ as the Lamb of GOD, the sacrifice for sin. With the standard ‘Agnus Dei,’ signifies the Risen LORD.

As an attribute (1) of St. John the Baptist, in reference to his words ‘Behold,’ &c.; (2) of St. Agnes = Innocence and Purity, and for her name.

V. The PELICAN ‘in her piety,’ a symbol (1) of Christ giving Life by His sufferings; (2) of the Blessed Sacrament.

VI. The LION = Strength, Fortitude, Solitude, as an attribute of Martyrs, signifies the mode of their death; of St. Mark as Evangelist, because he depicts Christ as the ‘Lion of the tribe of Judah.’

VII. The HART or HIND = Solitude, Purity, Religious Aspiration, ‘Like as the Hart desireth,’ &c.: Ps. 42.

VIII. The CROWN = Symbol of Victory. Female saints generally depicted _wearing_ the crown, male saints hold it in their hands or have it at their feet, or angels bear it above. _Symbol_ of Martyrdom, _attribute_ of Royalty.

IX. The PALM = Symbol also of Victory, especially that of Martyrdom. Saints and angels bear them in their hands (never on the ground or at their feet).

X. The OLIVE = Peace; attribute of the Angels of the Nativity—St. Gabriel, St. Agnes, &c.

XI. The DOVE is the symbol of the Holy Ghost. It is shown at the Annunciation, Baptism, and over the heads of saints considered specially inspired; (2) emblem of the Soul.

XII. The LILY = Purity, especial attribute of the Blessed Virgin Mary, St. Gabriel, St. Joseph, St. Francis.

XIII. The BOOK signifies the Gospel or an Evangelist; or in the hands of other saints, learning and writings.

XIV. A CHURCH in the hands of a saint indicates that he (or she) was the founder; an attribute of St. Jerome as a Primitive Father.

XV. A SHIP or ARK = The Holy Catholic Church.

XVI. An ANCHOR = Hope.

XVII. A LAMP, LANTERN or TAPER = Piety or Wisdom.

XVIII. The CHALICE, with Host, symbol of the Holy Eucharist; also = Faith.

The Chalice, with Serpent, attribute of St. John, in reference to tradition of poisoned Chalice.

XIX. The FOUR EVANGELISTS were, in very early times, symbolised by four scrolls on the arms of an equilateral cross.

Later (from Second to Fifth Century) by four rivers, and from the Fifth Century onwards by the four Living Creatures.

ST. MATTHEW = the winged man, in reference to his gospel showing the Humanity of Christ.

ST. MARK = the Lion, his gospel being especially for the Jews.

ST. LUKE = the Ox, showing the sacrificial aspect.

ST. JOHN = the Eagle, ‘taking the highest flight and portraying the Divinity’ of our LORD.

XX. The TWELVE APOSTLES.

The earliest representations are purely emblematical—twelve sheep in a row (six on each side) with the ‘Agnus Dei’ in the middle.

The next twelve men, all exactly alike, carrying a sheep, with our LORD as the Good Shepherd larger than the others.

Afterwards the attributes of the Twelve Apostles became as follows:—

St. Peter, with keys or a fish.

St. Paul, with the sword.

St. Andrew, with diagonal cross.

St. James (Major), with pilgrim’s staff.

St. John, with the chalice.

St. Thomas, with builder’s rule.

St. James (Minor), with club.

St. Philip, with staff or crozier.

St. Bartholomew, with large knife.

St. Matthew, with purse or bag.

St. Simon, with saw.

St. Thaddeus or Jude, with halberd.

St. Matthias, with lance.

XXI. A CIRCLE signifies the World or Eternity, or perfection.

An EQUILATERAL TRIANGLE (or other equal three-fold form) stands for the Holy Trinity.

A SQUARE or QUATREFOIL for the World, ruled by the Cross.

XXII. The MONOGRAMS IH̅C̅ or IH̅S̅, and XP̅C̅ or XP̅S̅, are the first two and last letters of the Name JESUS and the title Christ in Greek (the C being the older form of S). They have been used from very early times, and are among the most beautiful and suggestive of the symbols. They should not be used indiscriminately, but given a due place of honour, such as on an altar-frontal or the orphrey of a chasuble or cope. They can be, and often are, extremely decorative, and the thoughtless worker is sometimes betrayed into placing them most inappropriately simply because she happens to possess a good drawing of one.

APPENDIX C

ON LACE AS APPLIED TO CHURCH VESTMENTS, LINEN, ETC.

There are some in the present day who object entirely to the use of lace on any article for ecclesiastical purposes, chiefly on the ground that it is not to be found on the older ones.

It seems to me that this is not a sufficient reason for discarding it altogether (providing that it is otherwise appropriate), for it has always been the custom of the Church to welcome every new form of art as it arises and to consecrate to her use the offerings of the faithful.

Lace was not used on the older vestments, &c., not because there was anything intrinsically wicked about it, or even frivolous, but because it was not yet invented!

There is no reliable evidence to prove the _existence_ of lace, as we understand the term, before the fifteenth century. It seems to have been evolved gradually from ‘cut linen’ through ‘drawn-thread,’ ‘reticella,’ and ‘Lacis’ to needle-point and pillow- or bobbin-lace, and was not in general use till the seventeenth century, by the middle of which it is to be seen, not merely as a decoration, but even as the entire fabric of altar-frontals and vestments.

There is no excuse, of course, for using paltry cheap lace, as there is no necessity for employing it at all. In very old churches where everything is _en suite_, and in simple village churches, it would not be suitable, but I think some quite modern ones may err on the side of being over-zealous for strict Medievalism. At any rate, it is well to understand the reason of things, and then decisions will be made with judgment.

APPENDIX D

BOOKS USEFUL TO THE STUDENT OF CHURCH NEEDLEWORK

N.B.—Those marked with * are mostly about embroidery, and the others on design or history, &c.

* Alford, Lady, Needlework as Art.

* Barber, Mary, Some Drawings of Ancient Embroidery.

* Bock, Dr., Geschichte der Liturgischen Gewänder.

Braun, Die Priestlichen Gewänder, &c.

Clausse, G., Les Monuments du Christianisme, &c.

Chambers, Divine Worship in England in Thirteenth Century, &c.

Crane, Walter, Line and Form (and others).

* Davenport, English Embroidered Bookbindings.

Day, Lewis, Several Handbooks on Design.

* Day, Lewis, and Mary Buckle, Art in Needlework.

* Dolby, Anastasia, Church Embroidery.

Dolby, Anastasia, Church Vestments.

* Farcy, Louis de, La Broderie du XIIIᵉ Siècle, &c.

Jameson, Mrs., Sacred and Legendary Art.

Jones, Owen, Grammar of Ornament.

Jones, Owen, Principles, an Attempt to Define, &c.

* Kendrick, A. F., English Embroidery.

* Lefébure, E., Embroidery and Lace.

Legg, J. Wickham, Notes on the History of Liturgical Colours.

Marriott, Vestiarium Christianum.

* Pugin, Glossary of Ecclesiastical Ornament.

* Rock, Dr. Daniel, Textiles, Introduction to.

Rock, Dr. Daniel, Church of our Fathers.

Semper, Der Stil.

* Townsend, W. G. P., Embroidery: or the Craft of the Needle.

Ward, Historic Ornament.

* Wilton, Countess of, The Art of Needlework.

MAGAZINES.

* The Art Workers’ Quarterly.

* Burlington.

* Home Art Work.

* Studio.

Transactions of St. Paul’s Ecclesiological Society. Vols. I. and II. especially.

INDEX

Albe, an ancient, 86 apparels of, 86 how to make, 86 insertion on old, 87 modern, 87-88 origin of, 85 symbolism of, 53

Almsbags, 67

Altar, keynote of decoration, 39-40 linen required for, 79

Altar-cloth band, 79-80 fair linen, 79

Altar-frontal, 39 early English, 40 to make up, 40-47

Amice, apparel of, 88 of St. Thomas of Canterbury, 88 origin of, 88 symbolism of, 53

Apparels, 57 of albe, 86 of amice, 88 of dalmatic, 24, 57

Appliqué, 21 examples of, 22-24 method of cutting, 26 to prepare, 25 uses of, 25

Apron necessary, 16

Back-stitching, 76

Banners, 65 appliqué suitable for, 25 design for, 64

Basket-stitch, 12

Book-covers, 67

Book-markers, 68

Books, care of, 84

Brocade, 3

Burse, 58, 62 to make, 58, 61

Buttonhole-filling, 75

Buttonhole-stitch, 74

Canvas-stitch, 77

Chain-stitch, 27

Chalice-veil (linen), 83 (silk), 58 design for, 83 specimen of, 63

Chasuble, early English examples, 55 from Harleian MSS., 55 how to make, 56 of St. Ignatius of Loyola, 54 of St. Thomas of Canterbury, 58 origin of, 55 ornament of, ‘flower,’ 56, 59 symbolism of, 53

Cherub, early English, 45

Cingulum or girdle, 53, 85

Clavi, 57

Cloth, linen and woollen, 3 of gold, 3, 9

Colours, 2 isolation of, 21 liturgical, 39 modification of, 10 washing, 16

Cope, measurements of, &c., 49 the, 49 to make up, 50

Coptic embroidery, 28

Corporals, case or burse, 58-62 pair of, 83

Couching (gold), 9 (silk), 15 compared with laid-work, 15, 19

Counter-change, 26

Credence cloth, 85

Crewel-stitch, 20

Cross-stitch, 76-77 like Lacis, 77

Curtains, principles to be observed in hanging, 40

Cut-linen, 82

Dalmatic, 57 apparels of, 24, 57 Clavi, 57 diagram of, 61

Damask, 3

Darning, 20, 21 on drawn-thread, 79, 82

Decoration, futile, 2 of ancient copes, usual arrangement of, 50 some principles of, 2

Design, colour-scheme in, 2

Designers for ecclesiastical art, 2

Designs, to transfer, 6-7

D’or nué, 34, 36

Drawing necessary for figure-work, 29

Emblems, 96

Embroidery, definition of, 1 English, 1 in gold, 9-13 in linen, 72-77 in silks, 15 paste, 25

‘Eye’ of a curve, 74

‘Fair-linen Cloth,’ 79

Fanon or maniple, 53

Feather-stitch, 75

Figure-embroidery, 28-37 Florentine, 35 from frontal of St. Thomas (à Becket) of Canterbury, Salisbury, 33 from Syon cope, 31 imitation of, 91 three methods of, 34

Filling, buttonhole, 75 chain-stitch, 27 stitches suitable for, 74-76

Floss-silk, embroidery in, 15-20 how to use, 16

Flower, ornament called the, 59

Flowers, early English conventional, 42-44

Frames, altar-frontals stretched on, 47 embroidery, 4-6 how to mount for embroidery, 6 making up, 41 position of worker at, 5

French knots, 27

Fringe, importance of, 46 washing of, 82

Frontal, altar-, 39 early English, 40 how to make up, 40-47 keynote as to colour, &c., 39 size, 40

Garments in embroidery, treatment of, 29, 30, 32, 91 liturgical, 53

Girdle of silk at Sarum, 85 the, use and symbolism of, 53

Gold, cloth of, 3, 9 d’or nué, 34, 36 embroidery, 9-13 raised work, 12 stitches useful for, 10, 11 thread, different kinds of, 3-4

Hands, special care of the, 16

Hangings, various, 40

Herring-bone-stitch, 75 close, 76 Swiss, 76

Herse-cloth or pall, 66, 67, 71 colour of, 67

History of embroidery, 1

Houseling-cloth, 84

Imitations condemned, 2, 91

Inlay, 26

Insertion, 86, 87

Kneelers, 68

Lace suitable for linen, 82

Lacis, 77

Laid-work, 15-19 compared with couching, 15, 19

Lavabo towels, 84

Light, arrangement of, 5

Linen, altar, 79 coloured, 3 coloured embroidery on white, 80 corporal, 83 ‘cut,’ 82 drawn-thread, 79-82 embroidery, principal stitches, 73-77 fringe, to wash, 82 vestments, 85

Linen-work, materials for, 73 sampler, 72

Lines, ‘Sympathetic,’ 76

Long- and short-stitch, 17

Maniple, origin and symbolism of, 53 shape and size of, 53-55 the, 53

Materials for backgrounds, 3 for embroidery, 3-5 for linen-work, 73

Mitre, 51-52 of St. Thomas of Canterbury, 51

Needles, 4 to improve, 4

‘Opus Anglicanum,’ 32

Outline, 21 principle of, 21 secondary, 23

Padding in gold-work, 12 in linen-work, 74

Pall or herse-cloth, 66, 67 linen, 83-84

Parchment, use of, 12, 52

Paste, embroidery, to make, 25

Plate, 13

Plumage-stitch, 17

Principles, a few— of colour, 21 of decoration, 2 of embroidery as art, 1 of proportion, 47, 66

Pulpit-hanging, 70

Purificators, 84

Radiation, principle of, 17

Relief, high, 12, 74 exaggerated, 30

Rochet, 89

Saint Ignatius of Loyola, 54 Thomas of Canterbury’s amice, 88 apparel, 88 chasuble, 58 mitre, 51

Sampler for gold-work, 8 for linen-work, 72 for silk-work, 14

Shades of floss-silk, 2-15 in old work, 36

Shading, 15, 16

Silk and satin, 3 embroidery, 15 embroidery compared with linen, 74

Silks, embroidery, 4

Soap, carbolic, &c., to avoid, 16

Stitches—Back-stitch, 76 basket-stitch, 12 buttonhole, 74 canvas or cushion, 77 chain, 27 couching, 9, 10, 11, 15, 61 cross, 76 drawn-thread, 81 feather, 75 French knots, 27 herring-bone, 75 laid-stitch, 15-19 nué (d’or), 34, 36 open-worked cross-stitch, 77 satin, 16, 17, 18 linen, 74 short, 17, 34 slanting, 20 split-stitch, 18, 29, 30, 32, 36

Stole, origin and symbolism of the, 53 shape and design, 55 size of the, 53

Stuffing-cotton, 12

Sudaries, 84

Super-frontal or frontlet, 46

Surplice, ancient, 89 diagram, 90 Dr. Rock’s pattern, 90 how to make, 89 modern, 89

Symbols, 96

‘Sympathetic lines,’ 76

Syon cope, arrangement of design, 32 background of, 37 colours of, 32 figure from the, 31 gold-work of, 36 method of work, 36

Toga, Roman, 49

Towels, Lavabo, 84

Trabea, 49

Tunicle, 57

Veil, chalice (silk), 58, 63 (linen), 83 humeral, 84 offertory, 84

Velvet, 3

Vestments, Eucharistic, 53 colours of, 39, 53 symbolism of, 53 linen, 85-90 of Walter de Cantelupe, fragments of, 30 ‘white shining,’ 85

White linen, decoration of, 73, 74

Worcester, bishop’s tomb at, 56 fragment of vestments, 30

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