Chapter X: Ecclesiastical Embroidery

Christian art--Dark ages--Greek and Roman ecclesiastical
dress--Northern influence--Continuity of ecclesiastical
art--Authorities--Anglo-Saxon orthodox colours--Veils of
the Temple--Hangings in Pagan temples and Christian
churches--Russian use of veils--Art in the early Church--
Rare examples--Destruction by the iconoclasts--Early
embroiderers--Empress Helena--Bertha, mother of
Charlemagne--His dalmatic--Pluvial of St. Silvester--Pluvial
of museum at Bologna--Daroca cope--Cope of Boniface VIII.--
Style of the twelfth century--Mantle of St. Stephen of
Hungary--Kunigunda's work for Henry II.--The Romanesque--
Movement perfecting Gothic art, thirteenth century--Opus
Anglicanum--Syon cope--Embroidery on the stamp--Pictures in
flat stitches--Flemish work--Renaissance--Work of some royal
ladies--French--Spanish--Sicilian and Neapolitan--German
work--Sacred symbolism--Melito's "The Key"--Mystical
colours--Prehistoric cross--Many forms of the cross--The
roës--The chrysoclavus--Modern decoration--Principles and
motives for church embroideries--The altar-cloth--The
reredos--The pulpit and reading-desk--The ancient
Paschal--The banner of St. Cuthbert--The fringe--Lay
heraldry of the Church--South Kensington Museum 303