File:Needlework as art (1886) (14595640237).jpg

Identifier: needleworkasart00alfo (find matches)
Title: Needlework as art
Year: 1886 (1880s)
Authors: Alford, Marianne Margaret Compton Cust, Viscountess, 1817-1888
Subjects: Embroidery Needlework
Publisher: London, S. Low, Marston, Searle, and Rivington
Contributing Library: Sterling and Francine Clark Art Institute Library
Digitizing Sponsor: Sterling and Francine Clark Art Institute Library

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ect copy of an Oriental design. Certain symbolical forms have, however, survived. Theeagle has always meant empire, and the double-headedeagle, a double royalty.1 Ezekiel represents Babylonand Egypt, symbolically, as two eagles.2 But herewe approach the subject of heraldry, which became ascience in mediaeval days ; and every man and womanin any way remarkable, every chivalrous action andnational event, became a subject for textile art, and waswoven or worked with the needle on banner, hanging,or dress. The altar decorations received a new stimulusas historical records, as well as religious symbols, andpride and piety were equally enlisted in these gifts to theChurch. Byzantine patterns have a barbaric stamp, and yethave much of the grandiose about them ; but they areto the last degree conventional. In the early mosaics,both in Constantinople and Rome, every face and head,every flower and animal, represents a type and not anindividual. Gothic foliage patterns, in England and elsewhere,
Text Appearing After Image:
Fig. 13.Gothic Trees, from Bayeux tapestry. 1 The double-headed eagle was the badge of Saladin. as well as thatof the Holy Roman Empire.■ Ezekiel xvii. P 2 108 Needlework as Art. are a struggle between the naturalistic and the conven-tional. The Norman style and the Romanesque, whichpreceded it, and from which it was modified and elevated,show their vegetable forms thick-stemmed and few-leaved,whereas the Gothic aspired to a developed graceful-ness ; and the Renaissance, which succeeded it, assumedall the freedom of natural flowers and plants, floating inthe breeze, on their delicate stems. (PL 28.) All the Renaissance patterns, which, as their namedenotes, were born again, like butterflies to frolic for aday of gay enjoyment, are purely decorative. Theirgenerally charming, graceful forms group together tocover empty spaces with every regard to the rules ofdesign and composition, but without any inner meaning.If we take these arabesques to pieces, we generally findthe parts come fro

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