Needlework as art . Silk Wrapping on the body of St. CuthberL Durham. Page 164. PI. Boat with coloured sail, from the tomb of Rameses III. at Thebes. (WilkinsonsAncient Egyptians, iii. p. 211.) Explanatory of the design on St. Cuthbertssilk shroud, pi. 37. Page 164. Materials. 165 It is most likely that in the twelfth century, or even alittle later, the body of St. Cuthbert was wrapped in theseshawls, and so left when at the Reformation, his shrinewas destroyed, and the coffer containing his remainsburied in the same place, and piously concealed till ourown day. I
Needlework as art . Silk Wrapping on the body of St. CuthberL Durham. Page 164. PI. Boat with coloured sail, from the tomb of Rameses III. at Thebes. (WilkinsonsAncient Egyptians, iii. p. 211.) Explanatory of the design on St. Cuthbertssilk shroud, pi. 37. Page 164. Materials. 165 It is most likely that in the twelfth century, or even alittle later, the body of St. Cuthbert was wrapped in theseshawls, and so left when at the Reformation, his shrinewas destroyed, and the coffer containing his remainsburied in the same place, and piously concealed till ourown day. I shall describe the beautiful embroideries inwhich the body had been clothed in the tenth centurywhen I come to the subject of English work. The third period of silk-weaving art is unmistakablySicilian. At the end of the thirteenth century andbeginning of the fourteenth, Palermo struck out her ownline. The Greek cross appears in various forms. Thedesigns are of a wonderful richness and capricious inge-nuity. They show alike Asiatic, African, and Europeananimals, and every kind of mythological creature—grif
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