Needlework as art . aul. Stephen IV. placed immensesilver curtains at the entrance of the basilica of , and in 768 gave to it sixty-five curtains offigured Syrian The same hangings prevailed atintervals in England, France, and Germany, till thetwelfth and thirteenth centuries, when the new Gothicstyle of high, pointed arches altered the decorativecustoms. 1 See Bocks Liturgische Gewander, i. p. 126, quoting AnastasiusBibliothecarius, pp. 153, 156, 189. 2 Ibid. p. 189. 3 The information here collected proves that these sovereign giftsto the great basilicas were by no means of
Needlework as art . aul. Stephen IV. placed immensesilver curtains at the entrance of the basilica of , and in 768 gave to it sixty-five curtains offigured Syrian The same hangings prevailed atintervals in England, France, and Germany, till thetwelfth and thirteenth centuries, when the new Gothicstyle of high, pointed arches altered the decorativecustoms. 1 See Bocks Liturgische Gewander, i. p. 126, quoting AnastasiusBibliothecarius, pp. 153, 156, 189. 2 Ibid. p. 189. 3 The information here collected proves that these sovereign giftsto the great basilicas were by no means of costly materials, especiallyas compared with the preceding splendours of Rome, or the still moreastounding luxury of Alexandria through the Greek conquests of theEastern nations. To these rules of economical decoration, however,we find occasionally exceptions. We gather also from later lists thatthe embroideries of the Papal See were culled, in the thirteenthcentury, from France, Spain, Germany, and England. PI. Frag,nents of Silk ,0 be seen at Coite in Switzerland, al,o in the South Kensington , Page 312. Ecclesiastical Embroidery. 313 From Anastasiuss mode of speaking of ecclesiasticalgarments, it appears that they were named in thetreasury catalogues after the animals represented onthem—the peacock garment, the elephant casula, the lion cope. Evidently these were Oriental goldbrocades, Indian or Persian, or else reproductions oftheir designs, and from Aubervilles and Bocks books ofengravings we can judge how they repeated and variedtheir motives. One woven subject, which evidentlystarted its textile career as one of the labours of Her-cules, was gradually transferred to Samson, or to Danielin the lions den. (Plate 4, Aubervilles LOrnementdes Tissus.) (Plate 52.)1 However, in Russia and throughout the Greek Churchthe ancient Byzantine use of hangings still remains inforce. The art of embroidery has always given its best effortsto these church draperies. Rome was
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