Golden Threads & Silken Gardens

14th Century English Medieval

Embroidery {Opus Anglicanum)

By
Dana Zeilinger

. .having noticed that the ecclesiastical ornaments of certain English

priests, such as choral copes and mitres, were embroidered in gold
thread after a most desirable fashion, (the Pope) asked whence came
this work. From England. They told him. Then exclaimed the Pope,
'England is for us surely a garden of delights..."

-M athew Paris
{Chronica Majora)

Christie's Education
London
Master's Programme

September 2001
© Dana Zeilinger
 ProQuest Number: 13818857

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 Abstract

"In contrast to fashionable theories of the present day a medieval work of art asks to be

understood as well as admired"- A.F. Kendrick.

England, in the thirteenth and fourteenth centuries became famous for its
production of high quality embroidery know n as Opus Anglicanum or "English
Work". The majority of the surviving examples are religious vestments. Some
secular pieces have survived but they are less well documented. Due to this lack
of documentation the m ain focus of this exhibition will be on religious
embroidery. Past exhibitions of Opus Anglicanum have been presented in a
chronological manner. This exhibition will take a different approach. The Butler-
Bowdon cope and the Chichester-Constable chasuble, vestments thought to have
been produced by the same workshop, will be brought together for the first time.
The production, design, use and status of such vestments will be discussed in
conjunction w ith other contemporary gothic works. Medieval art is best
understood w hen studied in context. By placing the vestments in a contemporary
medieval context, their w orth and importance in the Middle Ages will be
illustrated.
 Acknowledgements

Thanks to Michael Michael for steering m e onto the right path. Thanks also
to Clare, Suzie, and Adeela for moral support, Anna and Gayle for rem inding
me why I got myself into this in the first place, and m y m um for all of the
above and then some.
 Table of Contents

List of Comparative Figures................................................. 1

Production and Design of Opus Anglicanum ....................... 4

Purpose and Spiritual Worth of Opus Anglicanum ............. 15

The Butler-Bowdon cope

&
The Chichester-Constable chasuble..................................... 23

Conclusion..................................... 28

Comparative Figures............................................................... 29

Catalogue....................................................................................45

Glossary......................................................................................81

Bibliography..............................................................................86
 List of Comparative Figures

(fig.l) Sainte-chapelle, Paris, built 1241-8

(fig.2) West Minster Abbey, London, begun 1245

(fig.3) West front of Exeter Cathedral 1350-1400

(fig.4) Sketch of M adonna and Child w ith detail of an architectural spire

(Magdalene College, Cambridge, Pepys MS 1916)

(fig.5) Ramsey Abbey censer, English, c.1325 (V&A M.268-1923)

(fig.6) The Anian (Bangor) Pontifical, English, c.1320-8 (Dean and Chapter,
Bangor Cathedral)

(fig.7) Wall painting of St. William of York, St. Albans Abbey c.1330-50

(fig.8) Detail of a Bishop from the Butler-Bowdon cope (V&A T.36-1955)

(fig.9) Detail of a Bishop from the C atw orth fragments of embroidery (V&A
836-1902)

(fig.10) Tomb of Edw ard II, Gloucester Cathedral, c.1330

(fig.ll) Rose window, south transept, W estminster Abbey, c.1250

(fig.12) Byzantine Mosaic depicting St. Onesiporos & St. Porphyros, Church of
St. George, Salonika, c.400

1
(fig.13) Detail of "The Consecration of St. Augustine7, painted by Jaime
Huguet, c .1448?-1487, from the retable of the Guild of Tanners,
Barcelona.

(fig.14) Reredos in Christchurch Priory, Dorset, c.1350-60

(fig.15) Changes in shape to the chasuble over the centuries.

(fig.16) Back of a chasuble w ith a cross-orphrey 1310-40, (V&A T.72A-1922)

(fig.l7) Memorial brass depicting Sir Simon Wensley wearing Eucharistic

vestments, Holy Trinity Church, Wensley, N orth Yorkshire, c.1360

(fig.18) Cross-orphrey for a chasuble, first half of the fourteenth century, (V&A
T. 31-1936)

(fig.19) Details from plate 14 of The Architectural Antiquities of the Collegiate

Chapel of St. Stephen, W estminster (London, 1844), by Frederick
Mackenzie

(fig.20) Priors throne, Canterbury Cathedral chapter house, c.1300,

commissioned by Prior H enry Eastry

(fig.21) The Vich cope, Museo Episcopal de Vich, Spain, c.1340-70

(fig.22) Alb apparels, depicting the life of the Virgin, c.1320-40 (V&A
8128-1863)

2
(fig.23) Detail of a fragm ent of embroidery depicting St. Lawrence and
St. Margaret, c.1320-40, D um barton Oaks Collection, W ashington D.C.

(fig.24) Satin Stitch

(fig.25) Split Stitch

(fig.26) Surface Couching

(fig.27) Underside Couching

3
 Production and D esign of Opus Anglicanum

The term Opus Anglicanum or "English Work" began to be used in the

thirteenth and fourteenth centuries to refer to the high quality embroidery

being produced in England at this time. The majority of the surviving examples

of Opus Anglicanum are religious vestments used in the celebration of Mass.

Both the Butler-Bowdon Cope (cat.1) and the Chichester-Constable chasuble

(cat.2) are exquisite examples of the last phase of the production of Opus

Anglicanum. In order to better understand the importance of these finely

embroidered vestments, we m ust begin by looking at where and how they

were m ade as well as the quality and style of their decoration.

It is impossible to determ ine exactly w here m ost vestments were made. It is

generally thought that the m ost luxurious vestments were m ade in London, but

this is difficult to prove as no docum entary evidence has been found

connecting a surviving vestm ent to a specific w orkshop or person. The names

of some of the embroiderers of the thirteenth and fourteenth centuries have

come dow n to us through records of paym ent and records of complaints.

There are three entries printed in "Memorials of London" from the archives

of the city1. The first is dated 1307 and refers to the embroiderer Alexandre le

Settre who ".. .came before the m ayor.. .and received from Master William

4
Testa Archdeacon in the diocese of Lichfield and Coventry, £10 in part

paym ent of £40, w hish he owed him "for that embroidered choir-cope of his,

which he bought. h The second entry is dated 1308: "John Bonde and John de

Stebenheth, clerk, came before the m ayor and delivered the embroidered cope

of the value of £30, and the Mayor and Alderm en and commonality did

promise to p ay ....(in certain installments one fourth being the share of

Margery, wife of John Stebenheth, and a fourth to Katherine daughter of Simon

G odard of full age, and rem ainder to John Bonde to the use of Thomas and

Simon, children of Simon Godard). "The same cope was given by the Mayor

and commonality to the Bishop of W orcester at his consecration at

Canterbury." The third entry, dated 1325, is a reference to the previous one

and states "An installment of £15 was still unpaid for the "em broidered cope of

silk and gold" which was given to the Bishop of Worcester w hen he was m ade

Archbishop of Canterbury."iv These records not only give us the names of

embroiderers possibly w orking in London in the fourteenth century, but also

an insight into the organization of the embroiderers workshop and evidence of

the great costliness of the goods produced.

The division of paym ent in the second entry suggests that there were many

people involved in the production of this cope, not just a single embroiderer.

During this time it was not unusual to have family workshops, where the skills

of the craft were passed dow n generation-to-generation, and additional

apprentices were taken on as needed. It is know n that by the thirteenth and

5
fourteenth centuries, professional embroidery w orkshops were well established

and required workers to serve an apprenticeship of seven years. Evidence of

this apprenticeship can be found "in a Bill of Complaint brought by John

Catour of Reading on the 8th of February 1369, against a broderer of London,

Ellis Mympe, for beating and ill-treating his daughter, Alice, who had been

apprenticed for five years."v

Unlike in Paris, where the embroiderers became a guild in thirteenth

century, the w orkshops of London seem to have had no formal organization as

a guild until they were officially incorporated by charter in 1561 .vi Marc Fitch

suggests that this is due to the type of embroidery being produced. In France

there was greater need to form a guild early on; the best of the French

embroiderers concentrated on creating rich and luxurious clothing for the

nobility. In England, the best embroiderers seem to have concentrated on

clothing for the church, in the form of finely embroidered vestments. These

vestments were often large in size and could take up to several years to

produce. A paym ent record dated 1271 referring to the now lost altar frontal

m ade for W estminster Abbey reveals that it took four w om en almost four years

to complete the work.™

The embroiderers of France were under pressure by the nobility to produce

their wares in m onths instead of years, due to the ever-changing fashions of the

court. The fashions of the ecclesiastics were ruled by church edicts that very

rarely changed. The increased turnaround of the French embroiderers m eant

6
that decisions and policies concerning their craft had to be m ade more

frequently requiring a certain am ount of organization and co-operation, which

was provided by the institution of the guild.

Although no docum entary evidence exists that states that there was a formal

guild of embroiderers prior to 1561, there is evidence to suggest that there was

an informal organization of the embroidery workshops of London. It is noted

in a register of misteries of the city of London, in the "letter book H", that in

1376 Nicholas Hailey and Robert Ascombe represented the Broderers on the

Common Council of the city.™1

The majority of docum entary evidence we have concerning embroiderers

from this period places them working in London. By the mid- to- late

fourteenth century London had become a bustling city of trade. A crossroads of

commerce where m erchants could sell their goods and workshops could

purchase the raw materials necessary to create their products. The essentials

needed for the em broiderers' craft; bolts of cloth, silks and velvets from Italy

and the Near East, fine silk threads of many colours as well as silver and gold

thread, from Venice, Lucca, and Cyprus, could all be easily attained in London.

For the makers of Opus Anglicanum it w ould have been an ideal place from

which to ply their trade, not just for the accessibility of raw materials, but also

because of the proximity to the court and the aristocracy, the m ain customers of

their trade. It is know n that, as of 1330, King Edward III had an official

embroidery w orkshop operating in the Tower of London, overseen by the John

7
of Cologne, the Royal Arm ourer.^ By comparing contemporary thirteenth and

fourteenth century records of property transactions in London w ith the names

of know n embroiderers w orking in London at the same time, Marc Fitch has

been able to draw together possible evidence that a num ber of embroiderers

were working in London, to the South of the Church of St. Mary le Bow.x

The product m ade by these embroiderers was considered w orthy enough to

be given as gifts from the aristocracy to both foreign and domestic high-

ranking ecclesiastics. Even the Pope himself was desirous of these exquisitely

embroidered vestments. One of the m ost famous and oft used quotes

concerning Opus Anglicanum comes from an account by Mathew Paris in his

Chronica Majora under the year 1246: ".. .having noticed that the ecclesiastical

ornam ents of certain English priests, such as choral copes and mitres, were

embroidered in gold thread after a m ost desirable fashion, asked whence came

this work. From England, they told him. Then exclaimed the Pope, 'England is

for us surely a garden of delights, truly an inexhaustible w ell'.. .Thereupon the

same Lord Pope (Pope Innocent IV), allured by the desire of the eye, sent

letters, blessed and sealed, to wellnigh all the abbots of the Cistercian order

established in England, desiring that they should send to him w ithout delay,

these embroideries of gold which he preferred above all others, as if these

acquisitions w ould cost him nothing.. ."xi

By 1295 there are over one hundred entries of embroidery described as Opus

Anglicanum in the Vatican's inventory lists and m any more were to be added

8
by the end of the fourteenth century. O n 17th May, 1317, Queen Isabella "paid

50 m arks in part paym ent of a hundred, to Rose, wife of John of Bureford,

citizen and m erchant of London for an embroidered cope for the choir-lately

purchased from her to m ake a present to the Lord High Pontiff (Pope John

XXII)//xii Pope John XXII also received lavishly embroidered vestments from

the Archbishop of Canterbury and the Bishop of Ely.™1

The raw materials required to make vestments fit to be w orn by the highest

orders of the church were not inexpensive. If we look at the raw materials

needed to m ake a vestment such as The Chichester-Constable chasuble, the

great expense needed to create such a lavish vestment becomes clear. The

crimson velvet material used for the ground was one of the most luxurious and

expensive fabrics; around £72 could buy you enough to make five garments,

this is m ore money than the average worker w ould make in a year.™' The fine

silk thread for the embroidery had to be imported from northern Italy, silver

and silver-gilt thread was im ported from Cyprus or Italy, the pearls and the

gold beads could be found in England, these materials plus the cost of the

intensive labour involved, all tallied up to a considerable sum. There is a

fourteenth century account of the Earl of Lincoln paying £200 for an

em broidered cloth.™ The luxuriousness of these embroideries often m eant that

in times of need they were stripped of their gems and pearls, and burned in

order to obtain the silver and gold used in the stitching.

9
 London was not only a crossroads for the trade of goods, but also for the

transmission of fashions and styles. In the thirteenth and fourteenth centuries,

the gothic style was dom inant both in England and on the continent. The

greatest manifestation of this style can be seen in the medieval cathedrals and

abbeys of Europe such as Sainte-Chapelle, in Paris (fig.l), and W estminster

Abbey in London (fig.2). In fourteenth century England a highbred of the gothic

style emerged, moving away from the clear soaring lines of the early gothic

period, to one of a more refined nature, concentrating instead on the

embellishment of the architecture and complicated w indow tracery.

This new English decorated style can be seen in the w est front of Exeter

Cathedral (fig.3). The architectural elements of this style are its m ost distinctive

feature. N ot just confined to building design, it was easily transferable into

other mediums, such as stained glass, wall and panel painting, illuminated

manuscripts, metalwork, embroidery and many other contemporary medieval

products, both secular and religious.

Many popular motifs were conveyed to various workshops through the use

of artists' model books. One of the m ost famous surviving examples is the

Pepysian model book c.1370-90 (cat.15). It contains drawings of animals and

birds, as well as two textile patterns and several architectural drawings, one of

which is of contemporary w indow tracery (fig.4). The use of model books m eant

that the same design could be adapted for use in a metalworkers w orkshop

(fig.5) as well as in a m anuscript workshop (fig.6). Although, model books

contributed to the distribution of the style to many different workshops,

ultimately the quality of the execution of the design depended upon the skill of

the craftsperson. There can be no doubt that the makers of Opus Anglicanum

were skilled craftsmen.

The techniques used in making Opus Anglicanum called upon not only the

skills of an embroiderer, but also that of the illustrator or painter. In the

thirteenth and fourteenth centuries, there was a growing division between the

designer and the craftsperson. The designs were not embroidered free hand.

On some vestments, where the threads have w orn away a very sophisticated

underdraw ing can be seen.

The similarity between the style of the figures found in fourteenth century

embroidery and contemporary m anuscript illumination of East Anglia, and

wall and panel painting, has led to the suggestion that the masters of these arts

provided the design templates for the embroiderers. Eileen Roberts has

proposed that there is a stylistic link, between the wall painting of St. William

of York situated behind the high altar screen in St. Albans Abbey (fig.7), and

one of the Bishops embroidered on the orphrey of the Butler-Bowdon cope

(fig.8). She argues that both figures w ear the same early type of mitre, that they

both employ a straight line for the lower eyelid and have small dow n turned

m ouths, the amice that they wear stands away from the neck in a similar

manner, and their chasubles fall from the wrists in shallow parallel zigzags.

11
 Upon closer examination, the St. Albans wall painting of St. William of York

bears little resemblance to the Bishops embroidered on the orphrey of the

Butler-Bowdon cope. They do wear the same early mitre, but that could be

because they both portray a Bishop from the early m iddle ages. The St. Albans

figure is more elongated in form and face and he is bearded, not clean-shaven

like the Butler-Bowdon Bishop. The St. Albans Bishop's hair is curly and his

nose is straight, while the nose of the Butler-Bowdon Bishop is rounded and

hooked. The St. Albans wall painting does, however, bear a resemblance to a

Pope from the Catw orth fragm ents of embroidery currently in the V&A (fig.9).

The Catw orth Embroideries bear the arm s of the Clinton family. These arm s are

also found painted on the ceiling of St. Albans Abbey, and the Clinton family is

listed in the Abbeys' records of benefactors.™ This evidence suggests that there

m ay have been artists w ho worked for patrons in m any different capacities one

region of the country.

The St. William of York wall painting, in St. Albans Abbey, is a rare

surviving fourteenth century example. The decorated style of architecture did

not allow for m uch wall space and fewer large-scale commissions seem to have

been made. Of the surviving examples, there is a stylistic distinction between a

court style and a provincial style. While the majority of the surviving examples

are provincial in style, the gracefulness of the figures in both the Chichester-

Constable Chasuble and the Butler-Bowdon cope implies that the designer of

these vestments was a highly skilled painter, and w ould have been acquainted

12
w ith w orks of art like the Kingston Lacy Screen (cat.6) and the Thom ham Parva

retable (cat7), rare surviving examples of the court style. The decoration

surrounding the figures on the vestments is reminiscent of the spiral columns,

crocketed arches, spires and sculpture niches found on thirteenth and

fourteenth century canopied tombs and shrines (fig.10). The overall effect has

been com pared to the intricate stained glass rose w indow s found in many

medieval churches and cathedrals (fig.ll), and to elaborate sculptural

program m es like the one on the west front of Exeter Cathedral (fig.3).

The embroiderers of England excelled at the fineness and competence of

their stitching. Many varieties of stitching techniques were used including

underside couching, split stitch, raised work, French knots, satin stitch, and

laid and couched work. Embroidery worked on a velvet ground had an

interm ediary layer of linen onto which the stitching w ould have been done.

The excess linen w ould have been cut away after the completion of the piece,

leaving no outw ard trace.

The Butler-Bowdon cope, the Chichester-Constable chasuble and

accompanying stole and maniple, represent the zenith of English em broidery in

the m id-fourteenth century. In the late fourteenth century the quality of the

em broidery produced in England began to decline. Instead of working directly

onto the ground fabric, motifs were embroidered separately and then applied

to the fabric. The stitches used became larger and quicker to execute, creating a

cruder, less refined effect. At the same time as the decline of English

13
 embroidery, the dem and for high quality Flemish and Belgian tapestries

increased.

1 Riley, 1868, mentioned in Lethaby, W.R. “The Broderers of London and Opus Anglicanum” p.74
“ Lethaby, W.R. p.74
Lethaby, W.R. p.74
iv Lethaby, W.R.p.74
v Wallis, Penelope p. 135
" Lethaby, W.R. p.74
^ Young, Bonnie p.291
V1ULethaby, W.R. “English Primitives-London Painters and Opus Anglicanum”p.l78
“ King, Donald-Age o f Chivalry catalogue p. 159
x Fitch, Marc “London Makers of Opus Anglicanum”
” Young, Bonnie p.291
“ Christie p.3
wu Young, Bonnie p.291
X1V Staniland, Kay pp.28-29
^ King, Donald-Age of Chivalry p. 160
XV1 Roberts, Eileen

14
 The Purpose and Spiritual Worth of Opus Anglicanum

Unlike today's art, which mostly seems to be a form of commentary about

contemporary society, art in the Middle Ages was created to reflect the ideals

and beliefs of the time. Thought and use were intimately connected. H ow these

religious vestments w ould have been w orn and used is key to understanding

their importance and meaning within Medieval society.

The religious vestments of the Middle Ages; copes, chasubles, amices,

maniples etc., all have their origin in secular Greco-Roman fashion of the

second and third century AD. Greco-Roman fashion at this time was very

closely related to a persons age, class and office w ithin society. Only

magistrates, and boys sixteen years old and under, were allowed to w ear togas

w ith purple strips; bleached white togas were to be w orn by m agistrates only.

Togas were w orn on special occasions and were not considered to be everyday

dress.

The pallium tunic, a short version of the toga, was more comfortable and

practical for everyday wear. This style of tunic was often decorated w ith woven

strips of coloured wool called clave. At first these were used as identifiers of

status. The colour and design of the clave on your tunic corresponded to w ho

15
you were in society. However, by the second century B.C. the clave began to

loose their symbolism, becoming merely strips of decoration.

The followers of the early Christian church would have been used to

garm ents being used as signifiers of status. Early on in the Christian church

there seems to have been a distinction m ade between the dress of the lay

congregation and that of the clergy, a logical transposition of the idea of

vestm ents as symbols of secular status to symbols of religious status. Unlike the

earlier era, garments signifying status w ithin the church were not to be w orn

outside of the church or w hen performing non-religious tasks. Walafrid Strabo

a Medieval w riter has recorded that Pope Stephen I (253-257) advised: "Priests

should not employ their sacred vestments in the ordinary usage of daily life."1

Early Christian art very rarely depicts contemporary clergy or laity. One of

the earliest and rare depictions of this division between secular and clerical

dress in the early church can be seen in the Byzantine mosaics decorating the

dome of the Church of St. George at Salonika (fig.12). Both clerical and secular

saints are depicted orans. The clerical saints are shown wearing a paenula, the

forerunner of the chasuble, underneath which is an unadorned tunica alba. The

lay Saints are show n wearing a chlamys under which is an embroidered tunica

alba that is cinched at the waist by a girdle. There is evidence to suggest that by

the fourth century attem pts were m ade to regulate the garm ents w orn by the

clergy. Pope Silvester (314-336) decreed, "Deacons should wear the (tunica)

16
dalmatica in church rather than the colobium.. .and that their left hand should be

covered w ith a cloth."11

As the church grew in popularity and size, edicts were increasingly issued in

order to standardise religious practice. By the year 1250 the Church in Europe

had become prosperous and very powerful. As a result, church vestments had

become standardised and specific functions were assigned to them. This

created a stronger division between everyday clerical dress and the dress w orn

by the clergy during celebration of Mass and ceremonial occasions. The

increased wealth of the church m eant that new kinds of cloth could be used in

their construction; silk, cloth of gold, velvet, and m any possessed hand

em broidered decoration. The lavishness of religious vestments in the Middle

Ages served to highlight their secondary function, of transform ing the ordinary

hum an m an into a worthy, holy servant.

The alb became not just an article of clothing worn for added insulation, but

took on the function of a m etaphorical shield that separated the humble hum an

man, from the precious and holy garb he w ore during the celebration of the

Eucharist. The vestments became ornaments, akin to the reliquaries (see cat.6),

censers (see cat.5), and candlesticks adorning the altar; they were no longer just

costumes (fig.13). Like the reredos placed behind most altars (fig.14) they became

focal points for religious inspiration.

The chasuble is the chief vestm ent w orn during the celebration of Mass. Of

all the religious vestments, the chasuble has undergone the m ost shape

17
changes. Originally, the chasuble was a large garment, circular in shape, w ith

an opening for the head. This early shape was derived from the Roman paenula

also called a casula (little house), which is the derivation of the w ord chasuble.^

During the thirteenth and fourteenth centuries, w hen the vestment became

increasingly decorated w ith embroidery, use of silver and gold thread m ade it

quite heavy so that w hen the priest raised the wine above his head during the

Eucharist, the material covering the arm s no longer fell back naturally. Thus,

the shape of the chasuble was altered in order to perform the Mass

unencum bered (fig.15).

Most chasubles have embroidered orphrey bands appliqued on the back,

creating a cross or single vertical column. These embroidered orphrey bands

began as plain strips of material used to cover seams and to reinforce areas of

stress. Eventually, advances in textile m anufacturing in the Middle Ages meant

that cloth could be woven in wider lengths. Chasubles could now be created

w ith larger pieces of cloth, reducing the num ber of seams, and removing the

need to attach reinforcing strips of material. Even though the orphrey bands no

longer had a practical use, they remained, taking the purely symbolic role, of

representing the Cross (fig.16).

In the Middle Ages it was standard practice for the priest to perform the

celebration of Mass w ith his back to the congregation (see c a t.ll). The orphrey

bands on the back of the chasuble, applied in the shape of a cross were a visual

focal point for the congregation- a symbol rem inding them of the origin and
importance of the Mass being said. On some chasubles the orphrey bands have

been abandoned all together, allowing, Biblical and Saintly scenes to take over

the entirety of the back panel (see cat.2). These too provided a visual focal point

for the congregation.

The stole and maniple, vestments w orn in conjunction w ith the chasuble

during the celebration of Mass, were also often decorated w ith embroidered

Saintly scenes. W orn under the chasuble, any decoration on the stole w ould

have been for the edification of the priest only, as it was hidden from the rest of

the congregation. Although exposed, the decoration on the maniple w ould

have been relatively small and not easily visible to the congregation. Memorial

brasses of the thirteenth and fourteenth centuries provide us w ith a visual

record of how the principle vestments would have been w orn (fig.17). The most

extensively decorated vestment was the cope.

The cope was mainly w orn on ceremonial occasions not associated w ith the

celebration of Mass, and w hen officiating over the choir. Like the chasuble, the

cope is also derived from a form of large Roman cloak equipped w ith a hood.

The large semi-circular shape of the copes, and the vestigial hood provided

ample space for embroidered decoration. Due to conservation issues, copes are

usually displayed hung fully spread out w ith the straight edge at the top.

However, this is not how the laity w ould have normally viewed them. Scenes

on the cope w ould have been placed to fall in certain areas whilst being worn.

By displaying it flat, the immediate impact created by the three dimensional

dynamics of the scenes is lost. Figures closest to the middle usually face the

m ain subjects dow n the back, those that w ould fall on the outer sides of the

back face each other and the next segment of figures face tow ards the straight

edge, so that they confront each other on the front. The only instance w hen the

cope w ould have been fully spread out flat is during the consecration of a

Bishop. W hen the Bishop prostrated himself before the altar, the acolytes of the

church "spread out the cope like a ceremonial rug before the altar"iv

The adornm ent of religious garb w ith Biblical and Saintly scenes w ould have

been in keeping w ith the them es represented in contemporary church wall

painting. Opus Anglicanum and religious wall paintings are not just connected

stylistically, but also ideologically. The themes painted on the church walls

provided a visual m ethod of communication, conveying the importance and

relevance of the Biblical and Saintly scenes to their immediate surroundings, on

an everyday basis. The scenes embroidered on the religious vestments w orn

during the celebration of Mass also provided a visual focal point and a m ethod

of communication, but one m ore closely connected to the actual performance of

religious rites.

It w as the duty of the parishioners to ensure that their church was provided

w ith the basic items needed to perform the liturgy. Censers, chalices, patens, a

missal and religious vestm ents w ould all have been considered essential

church articles. In the thirteenth century, Archbishop W alter Grey of York

20
declared, "That the church should be provided w ith the principle vestment of

the church (the chasuble) and also a choir cope."v

Further statutes w ere issued in the thirteenth century concerning the colour

of the vestments. A docum ent from Lincoln, dated 1260, provides some

evidence of the im portance of colour. "Let (the Sacrist) see that the copes be as

the feast required. If M artyr, Apostle, Evangelist or Virgin let the silken copes

be red for the m ost part." He also states that if Confessor it shall be green or

brown, if M atron or Betrothed it should be saffron in colour.vi

Most churches were not wealthy enough to possess a full set of vestments in

every colour necessary for the feasts of the liturgical season. By examining

contem porary inventories of various provincial churches it has become clear

that most did ow n at least three sets of vestments, each one consisting of an alb,

chasuble, stole, m aniple and girdles, the necessary garm ents for the

performance of Mass. In 1277, 65 out of 150 churches and chapels in

Cam bridgeshire recorded having three suits of vestments and by 1368, in

Norfolk, alm ost every church is recorded as having three or more suits of

vestments. ^ Janet Mayo has pointed out that the great num ber of churches

possessing three suits of vestments is indicative of a division of the vestments

into festal or principle, dominical or Sunday, and ferial or workday.

Of all of these churches, very few listed copes am ongst their possessions. In

an inventory of the diocese of Norwich taken in 1368, "out of 358 churches, 127

of them do not specifically record the cope."viii In contrast, w hen William of

21
 W ykeham died in 1404 he "left to the Cathedral church of Winchester his new

vestm ent of blue clothe w rought w ith gold lions, w ith thirty copes of the same

suit orphreyed w ith the story of Jesse."1* An early fifteenth century inventory of

Christchurch Canterbury lists 96 copes of green material, and a set of 39 copes

of white cloth of gold, as well as, five chasubles, two dalmatics, six tunics, and

76 albs w ith stoles and maniples.x Only through the patronage of the

aristocracy, could cathedrals afford to possess such a vast array of lavish

vestments. Cloth was so valued that there are m any records of the nobility

bequeathing secular garments to churches and cathedrals. The garments would

be re-used and m ade into liturgical vestments.

Liturgical vestments were so prized by the church that special chests were

created to house them (cat.8). When the m ain body of a garm ent was w orn

through, the embroidery w ould be carefully cut out, saved and re-attached to a

new garment. Many thirteenth and fourteenth century examples of Opus

Anglicanum can be found on later liturgical vestments, or saved as independent

pieces of embroidery (fig.18)

I Hayward, Jane p.300

II Hayward, Jane p.301
1,1 Hogarth, Sylvia p.8
lv Frankfurter, Alfred “Opus Anglicanum” p.58
v Mayo, Janet p.53
w Mayo, Janet p.55
V11 Mayo, Janet p.55
V1” Mayo, Janet p.53
,x Mayo, Janet p.53
x Mayo, Janet p.53

22
 The Butler-Bowdon Cope
&
The Chichester-Constable Chasuble

The Butler-Bowdon cope (cat.l) and the Chichester-Constable chasuble (cat.2)

and accompanying stole and maniple (cat.3) represent the highest quality of

Opus Anglicanum achieved in the m id-fourteenth century. These vestments use

the same ground material, crimson velvet, and are so close in design and

technique, that it has long been speculated that they originated from the same

workshop and may have been part of the same set of liturgical vestments. The

high quality of the workm anship and the richness of the decoration indicate

that they were intended for a wealthy religious institution.

The combination and order of the scenes on the back of the Chichester

Constable chasuble and the Butler-Bowdon cope appears on no other know n

pieces of Opus Anglicanum. There are two existing inventory descriptions, one

dated 1402 belonging to the Duke of Berry, and one dated 1399 from St. Albans

Cathedral, that describe copes w ith the same iconography; from the bottom up:

the Annunciation; the Adoration; and the Coronation. Unfortunately there is

not enough information to securely link either of the vestments described to

currently known pieces of Opus Anglicanum. The other peculiarity that both of

these vestments have in common is the depiction of angels holding stars.

23
Angels frequently appear on pieces of Opus Anglicanum, but they are usually

depicted censing, playing instruments or holding nothing at all.

Several connections have been made between certain motifs found on the

Butler-Bowdon cope and Chichester-Constable chasuble, and those found in

the now destroyed St. Stephen's chapel in the royal palace at Westminster. St.

Stephen's chapel was rebuilt during the reign of Edward III (1327-77) and

construction was completed in 1350. In an attem pt to compete w ith France,

Edw ard III created the extravagant chapel to rival that of Ste. Chapelle in Paris.

It was decorated using the best techniques and materials, and the latest

fashionable motifs, including elaborate micro-architectural spires, crocketed

ogee arches, lion masks, gesso gilded stars and crescents, and lions passant

(fig.18). All of these motifs, apart from the lions passant appear on both the

Chichester-Constable chasuble and the Butler-Bowdon cope. The lions passant

do appear on the orphrey of the Butler-Bowdon cope (fig.8).

The Coronation of the Virgin scene on the Chichester-Constable chasuble is

the only one known to have both a star and a crescent in the background.

Frances Morris suggested that the prominence given to the Adoration of the

Magi highlighted the importance of kingship and lineage. She went on to say

that the older king perhaps represented Edward the confessor, followed by

Edw ard II, then his son Edw ard III.

The concept of placing oneself in conjunction w ith a biblical or Saintly scene,

and becoming a part of the message, is one that was increasingly familiar to

24
medieval patrons. Prior H enry Eastry of Canterbury Cathedral took this idea

one step further and in c.1300 had a prior's throne installed in the chapter

house (fig.19). The throne, which is set against the wall, is a continuation of the

micro-architectural niches that continue on either side. It is thought that at one

time these niches contained either Biblical or Saintly scenes. By constructing his

throne in such a manner, Prior Eastry became an integral part of the holy

surroundings every time he sat down.

The connection between Edward III and the Adoration of the Magi scenes in

the Butler-Bowdon cope and the Chichester-Constable chasuble is not as direct.

It is know n that Edward III proclaimed his father Edward II a m artyr and that

he was attem pting to make Edward the Confessor an im portant national royal

Saint, equivalent to St. Louis in France. Given this, it is easy to see how the

Three Magi could be interpreted as being these three English kings. However,

due to lack of concrete evidence, this theory m ust rem ain speculative. The

iconography of the vestments gives us very little evidence as to for w hom the

cope was made.

The lavishness of the designs and m aterials used in both vestments, the use

of luxurious crimson velvet for the ground material, the addition of pearls,

gold and glass beads, and the use of silver and silver-gilt thread suggests that

they were intended for a wealthy, if not a royal, religious foundation. The

provenance of these two vestments gives further clout to this supposition. The

Chichester-Constable family owned the chasuble for m any years; it is thought

25
to have been inherited by the family in the sixteenth century. In the will of

Lady M argaret Scrope, wife of Sir John Constable, dated 1559, "she bequeaths

"ye antient vestment' to 'ye fair chappelle,'"1The chapel she refers to in her will

is one that her husband had recently built on their estate. Lady M argaret

Scropes' ancestors served in high -ranking positions at the court of both

Edward II and III and it is possible that the chasuble was a royal gift to the

family.

There is less evidence of the provenance of the Butler-Bowdon cope. The

Butler-Bowdon family had possession of another vestment, which has been

associated with the m arriage in 1398, of the Earl of Stafford to Anne

Plantagenet, granddaughter of Edward III. Since this vestm ent had come to the

family by direct inheritance, it is possible that the Butler-Bowdon cope came to

the family in the same way as the other vestment. “

Several other pieces of Opus Anglicanum have been associated w ith these

vestments on stylistic grounds. Amongst which are, The Vich cope currently in

the Museo Episcopal de Vich, Spain (fig.20), alb apparels in the V&A depicting

the Life of the Virgin (fig.2l), and part of an altar frontal or dossal depicting

Saints Lawrence and M argaret in The D um barton Oaks Collection, W ashington

D.C. (fig.22). All of these examples have been worked on crimson velvet and

exhibit remarkable similarity in the style of their figures. The Vich cope is the

closest in style to the Butler-Bowdon cope and Chichester-Constable chasuble,

show ing only slight variations in its details (fig.20). The similarities in quality
 and design between all of these pieces points to their m anufacture possijbjy

occurring in the same workshop in London.

1Young, Bonnie “Opus Anglicanum” p.297

n Young, Bonnie “Opus Anglicanum” p.297

27
 Conclusion

The Chichester-Constable chasuble and the Butler-Bowdon cope w ould

have conveyed meanings on several different levels. These opulent vestments

w ould have been symbols of the pow er and wealth possessed by the patron or

the religious foundation for which they were made. The rich ornam entation of

the vestments m ade them m uch more than just garm ents to be w orn during

church celebrations; they became ornate symbols of faith like the reliquaries,

censers, chalices and patens that were placed on the altar. The micro-

architectural decoration on them was a direct echo of the church architecture

that surrounded them. The Biblical scenes and the Saints embroidered on the

vestments created a visual and ideological link between the priest perform ing

the religious rite and the congregation behind him.

Even though we may never be able to prove where the Chichester-Constable

chasuble and Butler-Bowdon cope were produced or that they were m ade for

royalty, the importance of these vestments is in no way diminished. They stand

on their ow n as items of great beauty and w hen shown in conjunction w ith

other contemporary gothic objects, they provide insight into the ideals and

beliefs of the Medieval society that created them. They w ere produced at a time

w hen art and craft were indistinguishable from one another; a time w hen

virtually everything produced had a purpose and a message.

28
(fig.l) Sainte-chapelle, Paris, built 1241-8
(fig.2) West Minster Abbey, London, begun 1245

30
 Iflpv'y
lllilil
(fig.3) West front of Exeter Cathedral 1350-1400
 (fig.4) Sketch of M adonna and Child with detail of an
architectural spire (Magdalene College, Cambridge,
Pep vs MS 1916)

32
(fig.5) Ramsey Abbey censer,
English, c.1325 (V&A M.268-1923)

* (fig.6) The Anian (Bangor) Pontifical,

* English, c.1320-8 (Dean and Chapter,
3i Bangor Cathedral)
 Si?®?.

> '
(fig.10) Tomb of Edward II, Gloucester Cathedral, c.1330

35
(fig.ll) Rose window, south transept, Westminster Abbey, c.1250

36
 (fig.12) Byzantine Mosaic
©>— v .
depicting St. Onesiporos
o4 & St. Porphyros, Church

tm ! of St. George, Salonika,

c.400

mMp.
*
r.iX 7 v ':f# tf4 W

(fig.13) Detail of 'The Consecration

of St. Augustine', painted by Jaime
Huguet, c.14487-1487, from the retable
of the Guild of Tanners, Barcelona.

37 (fig.14) Reredos in Christchurch Priory,

Dorset, c.1350-60
 XI CENTURY XII CENTURY X III CENTURY

X IV C E N T U R Y XV CEN TU R Y X V -X V I C E N T U R Y

(fig-15)

(fig.16) Back of a chasuble with

a cross-orphrey 1310-40, (V&A
T.72A-1922)

3 S'
(fig.17) Memorial brass depicting
Sir Simon Wensley wearing Eucharistic
vestments, Holy Trinity Church, Wensley,

N orth Yorkshire, c.1360

(fig-18)
Cross-orphrey for a chasuble,
first half of the fourteenth
century, (V&A T. 31-1936)
 (fig.20) Priors throne, Canterbury
Cathedral chapter house, c.1300,
commissioned by Prior Henry Eastry

(fig. 19) Details from plate 14 of The Architectural

Antiquities of the Collegiate Chapel of St. Stephen,
W estminster (London, 1844), by Frederick Mackenzie

HO
(fig.21) The Vich cope,
Museo Episcopal de
Vich, Spain, c.1340-70
 42
(fig.22) Alb apparels, depicting the life of the Virgin, c.1320-40 (V&A 8128-1863)
(fig.23) Detail of a fragment of embroidery depicting St. Lawrence and
St. Margaret, c. 1320-40 Dumbarton Oaks Collection, W ashington D.C.

43
 (fig.24) Satin Stitch

(fig.25) Split Stitch

(fig.26) Surface Couching

(fig.27) Underside Couching

HH
 Catalogue

1) The Butler -Bowdon Cope

English 1330-50
5 ft. 6" X u ft. 4"

V&A (T.36-1955)

H and embroidered cope w orked in fine coloured silk thread, silver and
silver-gilt thread on a red, velvet ground. The orphrey and hood have been
embroidered on a linen ground. The techniques of underside couching, split
stitch, raised work, French knots, satin stitch, and laid and couched w ork have
been employed. Pearls have been used to adorn the lion-masks, stars, acorns,
m itres and crowns. Many of the pearls have been lost, leaving only traces of
where they would have been attached. Small green beads and gold rings also
used to adorn the cope.
Three concentric semi-circular bands of elaborate cinquefoil and squat trefoil
crocketed ogee arches. The intertw ined coiled columns supporting the arches
have been embellished w ith crouching lions, oak sprigs and lion-masks. Within
the spandrels are enthroned angels holding stars representing the cosmos.
Reading from the outside in, (refer to key plan) the subjects on the m ain
body of the cope are as follows: 1) St. M atthew w ith a sword; 2) St. Simon (his
attribute is missing); 3) St. Thomas w ith a lance; 4) St. A ndrew with a cross; 5)
St. James the Great w ith his attributes of pilgrim staff and wallet decorated
with a scallop shell; 6) St. Peter w ith keys; 7) The Annunciation; 8) St. Paul
with a sword; 9) St. Matthias w ith a halberd; 10) St. James the Less w ith a
cross; 11) St. Philip w ith three loaves; 12) St. Jude w ith a boat 13) St.
Bartholomew with a large flaying knife; 14) St. Edward the Confessor holding a

45
m odel of Westminster Abbey; 15) A m itred Bishop w ith a pastoral staff
(perhaps St. Nicholas); 16) St. M argaret wearing the crown of m artyrdom and
spearing a dragon; 17) St. John the Evangelist w ith silver palm branch; 18)
A doration of the Magi; 19) St. John the Baptist w ith large disc containing the
Agnus Dei; 20) St. Catherine of Alexandria w ith spiked wheel and gold sword;
21) A m itred Archbishop w ith a long stemmed cross (perhaps St. Thomas of
Canterbury); 22) St. Edm und of Bury w ith large silver tipped arrow; 23) St.
Laurence w ith silver gridiron; 24) St. Mary Magdalene w ith loose long hair and
a vase of ointment; 25) Coronation of the Virgin; 26) St. Helen with a crown and
a cross; 27) St. Stephen with three stones;
The subjects on the orphrey reading from right to left are as follows: 28) A
crow ned King with sceptre; 29) A Bishop w ith a long crook; 30) A crowned
King w ith sceptre; 31) An Archbishop w ith a cross; 32) A King with crown and
sceptre; 33) A Bishop w ith a long crook; 34) A King w ith crown and sceptre; 35)
Unidentifiable, only two small fragments rem ain of this panel.
In the upperm ost band of decoration, on the m ain body of the cope, two
parakeets are perched in the spandrels facing each other, one on either side of
the Coronation of the Virgin (No. 25) The vestigial hood outlined with m odern
braiding depicts two censing angels.
This cope is very similar in design, iconography and execution to the
Chichester- Constable chasuble and accompanying stole and maniple currently
in the M etropolitan M useum of Art, New York. The orphrey panel is akin to
that on the Toledo cope.

Provenance: The cope was acquired by the V&A in 1955, it had previously been
in the possession of the Butler- Bowden family and their ancestors. At one
point in its history it was cut into several pieces in order to make a chasuble,
stole, maniple and altar frontal or dossal. During the nineteenth century it was

46
reassembled but has since been taken apart and assembled again into its
present form.

Literature: Christie 1938, No. 90; Arts Council, London 1963 No.77; Staniland
pp.47,65,67; Roberts p.236

47
 zz
35

V
R

48
 49
CAT 1
2) The Chichester- Constable Chasuble
English 1330-50
Front 3 ft. 3"; top scene 2 ft. 5" wide, back 3 ft. 10 V2"

M etropolitan M useum of Art, Fletcher Fund, 1927.162.I

H and embroidered chasuble worked in fine coloured silk thread, silver and
silver-gilt thread on a red velvet ground. The techniques of underside
couching, split stitch, raised work, French knots, satin stitch, and laid and
couched work have been employed. Pearls have been used to adorn the lion-
masks, stars, acorns and crowns. Many of the pearls have been lost, leaving
only traces of where they would have been attached.
There are three bands of scenes, delineated by elaborate cinquefoil and squat
trefoil, crocketed ogee arches. The intertwined coiled columns supporting the
arches have been embellished with oak sprigs and lion- masks. Within the
spandrels are angels seated on faldstools, holding stars representing the
cosmos.
On the back reading from top to bottom are the following scenes (refer to
key plan): 1) The Coronation of the Virgin; 2) The Adoration of the Magi; 3)
The Annunciation. In the spandrels on either side of the Coronation of the
Virgin remain the legs and elongated tails of two parakeets. By the position of
the tails it is clear that they are facing each other.
On the front, reading from top to bottom, are: 4) St. John the Evangelist
w ith palm branch and book; 5) St. John the Baptist w ith gold disc containing
the Agnus Dei; 6) St. Peter w ith keys; 7) St. Paul w ith a sword; 8) St. Andrew
w ith a cross; 9) St. James with a pilgrim 's hat, staff and wallet. All of the Saints
are seated or\ faldstools, their bodies turned to face each other. Along the outer
edges of the chasuble, fragments of saints are visible; they were dismembered
w hen the chasuble was cut into its current shape.

50
 This chasuble is very similar in design, iconography and execution to the
Butler- Bowdon cope.

Provenance: The chasuble was acquired by the M etropolitan Museum of Art in

1927; it had previously been in the possession of the Chichester-Constable
family and their ancestors. The chasuble was, at some point in its history cut to
create a more m odem shape of vestment. The left over fragments were used to
create a stole and maniple.

Literature: Christie 1938 No. 92, Arts Council London 1963, No. 78, M etropolitan
M useum of Art Bulletin, March 1971.

51
s z
53
C A T , 2 - Fdo A/'T

5H
3) Stole and Maniple
English 1330-50
s to le : 8 ft. 1" in length, m a n ip le : 3 ft. 43/4" in length

M etropolitan M useum of Art, Fletcher Fund, 1927.162.I

Stole: This stole was created from the scraps of material left over from the re­

shaping of the Chichester-Constable chasuble. The cuttings used to make up

this stole have been hand embroidered in fine coloured silk thread, silver and
silver-gilt thread on a red velvet ground. The techniques of underside
couching, split stitch, raised work, French knots, satin stitch, and laid and
couched w ork have been employed. As in the Chichester-Constable chasuble,
pearls w ould have been used to adorn the lion-masks and stars which appear
on the stole.
Among the fragm entary figures in the stole are two kings, a seated Saint,
and a Bishop. There are also angels, one of which is almost complete and sitting
on a faldstool, holding a star.

M aniple: This maniple was patched together using the left over scraps of
material created in the re-shaping of the Chichester-Constable chasuble. The
cuttings used to make up this stole have been hand embroidered in fine
coloured silk thread, silver and silver-gilt thread on a red velvet ground. The
techniques of underside couching, split stitch, raised work, French knots, satin
stitch, and laid and couched work have been employed. As in the Chichester-
Constable chasuble, pearls w ould have been used to adorn the lion-masks,
w hich appear on the maniple.
The fragmentary figures on the maniple consist of a head of a Saint and
several partial angels. The embroidered crosses, in the centre and at either end

55
of the maniple, have been added later, as evidenced by the fact that they have
been stitched over the pre-existing embroidery.

Provenance: Both the stole and maniple were acquired by the Metropolitan
M useum of Art in 1927, along w ith the Chichester-Constable chasuble. They
had previously been in the possession of the Chichester-Constable family and
their ancestors. The stole and maniple have been created using the cuttings left
over from w hen the chasuble was re-shaped in order to create a more m odern
style of vestment.

Literature: Christie 1938, No. 92, Arts Council London 1963, No. 78, M etropolitan
M useum of Art Bulletin, March 1971

56
 CAT. 3 -MA a K?UL

GAT. 3 -* STqlG
CT/1T, 3 - Si o l Tl
4) Couchant Lion
South Italian (Apulia?) c. 1200
5 9 cm x 75cm

V&A (324A-1889)

This carved marble lion is one-half of a pair. It is the remains of the support
for a column. The lower portion of the column has been integrally carved,
positioned upon the back of the couchant lion. The pattern of the weathering
on the lion, (particular damage has occurred to the head area) suggests that it
was originally used externally, perhaps on either side of a doorway.
During the thirteenth and fourteenth centuries Italian motifs like this
couchant lion m ade their way to England through itinerant artists, the
distribution of artists' sketchbooks, and the trade in textiles and other products
from the continent. By the late thirteenth and fourteenth centuries, couchant
lion motifs had become very popular and frequently appear in illuminated
manuscripts and embroidered vestments, such as the Butler-Bowdon cope
(cat.l).

58
CAT, H

59
5) The Cambridge Censer
English c. 1350
27cm x 18.5cm
V&A (M.123-1978)

The censer has been m ade of copper alloy, which has been hamm ered cast and
gilded. Along the top of the main body there is a band containing an
inscription engraved in black letter, "Gloria Tibi Dne" (Glory be to thee O' God).
Three cast leopard/lion heads have been attached to the censer. They have
been placed at intervals, alternating between the w ords of the inscription.
The Cambridge censer is a rare example of a gothic censer m ade from base
metal. A great percentage of English base metal church plate has long since
deteriorated beyond recognition due to the unstable composition of the metal
used. In design this censer is in keeping w ith the gothic fashion of elaborate
micro-architecture. Perched atop of the main body of the censer is a hexagonal
spire reminiscent of contemporary chapter houses and other gothic structures,
such as the spires adorning the east end of Lincoln Cathedral. The
leo p ard /lio n heads are also a favourite gothic motif and can be seen in many
contemporary illuminated manuscripts, stained glass panels and opus
Anglicanum.

Provenance: Unkown

60
CAT. Sr

61
6) The Kingston Lacy Screen
England, London c. 1320-30
73 c m x 71 cm

British M useum (on loan from the National Trust)

It is thought that this painted screen might have originally formed the right-
hand wing of a three-part altarpiece. The panels consist of four intricately
carved cinquefoil crocketed ogee arches that have been attached to a base of flat
oak planks. Underneath each arch is a seated figure. The figures, reading from
right to left, are: St. Edm und w ith an arrow; an Archbishop (perhaps St.
Thomas Becket); St. Edward the Confessor holding a ring; and a m itred Bishop.
O n the back of the screen there is the name Heyford, a village in
Northam ptonshire. However, the panels were found in Kingston Lacy in
Dorset, at the Bankes House. The representation of kings and ecclesiastics on
the panel suggests that it was not originally intended for a church in Heyford,
as such a scheme w ould not have been appropriate for a parish church. It
w ould be reasonable to assume that it was intended for a wealthier religious
foundation, perhaps even a royal one.
It is a rare surviving example of high quality English panel painting of the
m id-fourteenth century. The high quality of the painting also supports the
theory that it was intended for a religious foundation of great importance.

Provenance: Found in the Bankes House, Kingston Lacy, Dorset

62
CAT, 6

63
7) Thornham Parva Retable
English c.1335
94 cm x 3.81 m
Thornham Parva Church, Suffolk

This is a rare surviving example of high quality English panel painting of the
fourteenth century. There are eight carved trefoil arches w ith supporting
columns. The larger central scene is placed under a carved cinquefoil arch and
trios of carved leaves adorn the spandrels. The background motifs alternate
between an intricate, repeated, stam ped pastiglia motif and a checkerboard
pattern compromised of the stamped pastiglia motif and stenciled fleur-de-lis.
The scenes, reading from right to left, are as follows: St. Dominic w ith staff
and book; St. Catherine w ith a wheel; St. John the Baptist w ith disc containing
the Agnus Dei; St. Peter w ith keys; The Crucifixion; St. Paul with sword; St.
Edm und w ith arrow; St. M argaret w ith book, spearing dragon; St. Peter Martyr
w ith staff and book.
The inclusion of the two Dominican Saints at either end of the retable
strongly suggest that it was originally intended for a Dominican foundation,
possibly the Dominican priory at Thetford. This supposition is based upon the
fact that after the Dissolution of the Monasteries, the H ow ards received a
portion of the Thetford Priory site. It is know n that in 1778 the retable was in
the possession of a family that was associated w ith the Howards.
This panel has been linked to an altar frontal currently in the Musee de
Cluny, Paris. It is thought they were originally part of the same set of altar
furniture.

Provenance: Thornham Parva Church, Suffolk

Literature: Age of Chivalry Catalogue, No. 564, Royal Academy 6th November
1987-6* March 1988; Coldstream pp. 107,108

64
8) Two Cope Chests
English 12th & 13th Centuries
6 ft 6 in length along each straight side, 2ft 8in high.
York Cathedral

These two quadrant shaped cope chests were used specifically for the
preservation and storage of highly valuable hand embroidered copes. The first
is mid-late twelfth century, m ade entirely of oak and has iron strap hinges on
each door with stam ped decoration. The sides are m ahogany red, possibly
painted. The second chest is similar, but dating from c.1250 w ith thinner and
m ore delicate decoration. The top was probably covered with leather between
the w ood and the ironwork.
Through innovations in technology and technique, ironwork in the
thirteenth century became increasingly decorative, often covering the entire
surface of a chest or door with naturalistic scrollwork.
There are other medieval cope chests of varying dates at Westminster
Abbey, Gloucester (2), Wells and Salisbury cathedrals. The design of the cope
chest varied little over the centuries; the fifteenth century cope chest at
W estminster Abbey is plainer in decoration than the thirteenth century cope
chest at York Minster, but virtually identical to it in its shape and construction.

Provenance: York Minster Cathedral

Literature: E.A. Gee in the 50th Annual Report of the Friends of York Minster,
1979; 'Thread of Gold: The Embroideries and Textiles in York Minster', ed.
Elizabeth Ingram, Aldershot: Pitkin, 1987.

66
9) Two apostles
French, Rouen; c. 1330
26 cm x 21.6 cm
The Cloisters Collection (69.236.1)

Each apostle stands under a canopy of painted architecture consisting of a

crocketed arch, flanked by piers. This stained glass panel w ould have been part
of a m uch larger scheme, creating a grand architectural setting for a larger
figure. The new technique of silver-stain was used to create the detailing and
the tw o coloured effects on the glass. This new technique of painting the
colours on cut dow n on the use of lead and increased the size of the individual
pieces of glass, creating a smoother, less fragmented surface area. The
introduction of a m ore painterly element to the glaziers' craft m eant that they
were now able to m ake their figures more linear in style, closer to those found
in contemporary m anuscript illumination.

Provenance: Unknown

Literature: Medieval Images No.48.

68
 j n c v sktto uuer Ur nre &gnoi- ?. J n tts Ttoutge Oa? T<pcn <t£fs Ipfotgney fltOjlt^
True: uo» IJ1AH15 toincer icfqcy 4 vBjfu^l
Ir oico' Ucldttfttc Cim not fr- rPna m f •
r iXii* nic* Cu rnPJfUuifrpc. Cu fcutprf’j
tm tf cs filiuf-rti .10uluiiou (u fo p o m v *
m ni/iionunniiita m tuinc urrru-cit oeuir 1
fo intuns aoilco opuifh ortamly ttg tu cr ^
lor iTu 40 Ccrttr.mi on fcoce t*jjtoiia p-inv- "
luKxctcocm rtTc umturuv- Cttcnjo qucfunutf *
f.uiiulK nitf fBucni quo* picaofo Iditgnmr
am idi. iftm u furai Ctncnr nuy gtana m
Jn S'.iuiti far inpuUun curt d i e t unicow
iiirnnn;c- v £ n tg ta » i nToilfiu^nOmrfi
pcrfingoioirtitx I'cmtlimifir Crt-tuojmnrw toy oauncirp^tp’jj
m fnutin ffcntuini > ffctin ttVtUi- O ig iu rrone i f t - .n n o k ‘j E < "
dieifto fine paonooantooitr- rtltftinr nnCmru uirrniecwau
iif mifrnicMft-h.Ki»uni.i Pile fup n<*« qucm ipute
.loinooitin ri«l^njiuin tr ju tf otic fpim udoo. ftnfottcrpcrdff
fatiO.tr inctemu pu is fines <U
^iifa m(l i- nit iTOim.iu.-e-- t rout

CAT, 11

69
 10) St. Peter
English c. 1315-26
The Vicar and Parochial Church Council, Stanford, Northam ptonshire,
(Window n .ll)

This panel of stained glass is still in situ and is part of a larger program m e of
stained glass at Stanford on Avon Parish Church. St. Peter is depicted beneath
an ornate architectural canopy consisting of a cinquefoil crocketed arch,
supported by thin columns topped w ith capitals. Flanking the arch and
columns are long side shafts, topped by crocketed pinnacles. A trail of ivy
makes up the border pattern on either side of the shafts. The central
background has been decorated w ith swirling trails of foliage. The inscription
in Lombardic letters reads: S: PETRUS. The technique of silver-staining has
been used to paint most of the details of the composition.

Literature: Age of Chivalry Catalogue, No. 560, Royal Academy 6th November
1987-6* March 1988.

70
CAT. 10

71
11) Theological M iscellany
English c. 1310-25
ff. 53: 20.5x13 cm
Paris, Biblioth£que Nationale, ms fr. 13342

The introductory rubric of this m anuscript reads: Ceo qe vous devez fere &
penser a chascon point de la messe (What you should do and think at each stage of
the Mass). The text has been w ritten in Anglo-French, an indication that it was
intended for a lay audience.
There are thirteen illustrations in the manuscript, showing the priest, server
and congregation at various stages in the celebration of the Mass. Unlike the
m odem celebration of the Mass, in the Medieval observance the priest has his
back to the congregation. The m anuscript also contains a Catechism on
Baptism, the Speculum Ecclesie of Edm und Rich, as well as the Latin Psalter of
St. Jerome. The missing portions of text from this m anuscript are housed in
Oxford, Bodleian Library MS Douce 79. The secondary illustrations and
decoration in this manuscript; the borders, bas-de-pages scenes, historiated and
non-historiated initials, are all done by the same artist w ho was responsible for
parts of the Queen Mary Psalter (London, British Library Royal MS 2 B VII)

Provenance: In France by 1740

Literature: Age of Chivalry Catalogue, No. 110, Royal Academy 6 th November

1987-6* March 1988,

72
12) Psalter
English c. 1370
C ourtauld Institute

This Psalter was m ade for a member of the powerful and wealthy de Bohun
family. The de Bohun family commissioned several m anuscripts to be m ade
for them between the years 1360 and 1370. Other de Bohun m anuscripts
include: A Psalter in Oxford, Exeter College ms.47., a Psalter and H ours in
Oxford Bodleian Library ms.auct.d.4.4., a Psalter in Vienna Osterreichische
National bibliothek.cod.1826*, a Book of H ours in Copenhagen Royal Library,
Thott 547, and a Psalter in Cambridge Fitzwilliam M useum ms.38-1950.
All of the m anuscripts were done by a cohesive group of artists who seem to
have worked exclusively for the de Bohun family. This system of patronage,
keeping illuminators on retainer, is the same system that was used at the Royal
C ourt in France during the same period. That is w hy these manuscripts
represent the closest thing to a courtly style in England. They all share the same
border style, influenced by Italian and Flemish designs, consisting of leaves
and tendrils springing directly from bar borders or from the cusping set at
intervals along these bar borders. Often the borders are punctuated by coats of
arms.
There are two figure styles in this group of manuscripts, the Italianate figure
style and the Flemish figure style. This manuscript is in the Flemish figure
style. The figures have coarse featured faces and thick curly hair, the drapery is
heavily outlined and the background is heavily diapered, giving no impression
of depth.
The central scene on this page, Salome being presented w ith the head of St.
John the Baptist, has been framed by an elaborate architectural precineum,
complete w ith flying buttresses, cinquefoil arches and crocketed spires.
Provenance: Unknown

73
C A T , (2.
13) Chalice and paten of Archbishop de M elton
English c.1320-40
H eight of chalice 14 cm, diam eter of paten 13.5 cm
Dean and Chapter of York

This silver and parcel-gilt chalice differs from earlier chalices in the fact that
its bowl is conical in shape, like an inverted bell. The rounded foot has been
decorated w ith an engraved crucifixion. The stem has been embellished with a
knop consisting of eight tripartite lobes.
The silver paten has a sexfoil depression in the m iddle of which is a Manus
Dei. The sexfoil motif on the Melton paten is reminiscent of the multi-lobed
roundels found on the Ascoli Piceno cope c. 1275-80.
The chalice and paten were found in the grave of Archbishop William de
Melton in York Minster. It was common practice in the M iddle Ages to bury
such items along w ith a priest, as they were symbols of his office (fig. 16).

Provenance: Found 29th, May 1732 in the grave of Archbishop William de

Melton in York Minster.

Literature: Age of Chivalry Catalogue, No. 112, Royal Academy 6th November
1987-6* March 1988

75
 C A T , 13

yjj ;>•**.<_,.

C A T , \H

TO
14) Polyptych-Reliquary of the True Cross
French, Paris (?) c.after 1254
Height 79 cm; length (open) 92; (closed) 22 cm
Mus£e d u Louvre, departm ent of "Objets d'art", OA 5552

This extravagant polyptych-reliquary was m ade for Floreffe Abbey, in

France. In 1204 Philip le Noble, Count of Nam ur, gave the Abbey a fragm ent of
the True Cross. His brother, Baudouin IX Count of Flanders and Hainaut, had
brought the fragm ent back w ith him from the fourth crusade. Upon its arrival
at the abbey, a miracle occurred, the fragm ent of the True Cross began to bleed.
Fifty years later on 3rd of October 1254, the day of the Festival of the Invention
of the Holy Cross, the miracle occurred again. This polyptych-reliquary was
m ade to commemorate event, and to provide a suitable home for the precious
fragment. A Latin inscription in niello on the base reads: hec Crux que voluxit
nobis bis sanguine fluxit.
D uring the thirteenth and fourteenth centuries, there was increased interest
in the relics of Saints and relics from the N ew Testament. Such objects could
bring the religious foundation that owned them an added source of income
through pilgrimage. Eventually, elaborate reliquaries were commissioned to
house and protect these precious objects. They often took the form of a shrine,
but could also be m ade in a shape appropriate to the relic; a hand to house the
finger bone of St. Andrew for example. These reliquaries could also be
fashioned in the form of a polyptych. The central inner panel that contained the
relic w ould rem ain hidden for m uch of the year; the outer wings of the
polyptych w ould only be opened on special Festival and Feast days. N ot all
polyptychs served a dual function of being a reliquary, most simply had a holy
image in the centre panel.

77
 This gold polyptych-reliquary has been adorned w ith typically gothic micro-
architectural features such as crocketed ogee arches, gabled spires, and thin
decorative columns. All of the scenes and figures are depicted w ithin
architectural niches. W hen the polyptych-reliquary is open, it reveals a central
niello panel w ith two gold angels in ronde bosse presenting a large ornately
decorated cross. Each wing contains seven niello panels w ith gold semi-ronde
bosse figures set on three- dimensional architectural daises. These figures
compromise four episodes from The Passion. O n the upper left w ing is the
Crucifixion, below which is the Flagellation. O n the upper right w ing is The
Descent from the Cross, below which is the Holy W omen at the Tomb. The
angels in the spandrels hold the instrum ents of The Passion.
The outside of the polyptych-reliquary is composed of five panels of
decoration. The central panel on the reverse depicts the crucifixion on a niello
background. All of the figures on the outside are in flat gilt w ith engraved
detailing. The left wing depicts St. Pierre and the Virgin. The right w ing depicts
St. Paul and the Angel of the Annunciation. W hen the two wings are closed
these scenes combine to show the Annunciation.

Provenance: 1824, Baron de Snoy; 1880, collection of Baron Adolphe de

Rothschild; legs, 1901.

Literature: "Un Tresor Gothique, La Chasse de Nivelles," Mus6e National du

M oyen Age - Thermes de Cluny: Paris 12 Mars-10 Juin 1996, No.13

78
15) The Pepysian M odel book
English c.1370-90 w ith later additions
ff. 24:240 x 205 cm
Magdalene College, Cambridge, Pepys MS 1916

This is one of the m ost well know n m odel books of the m iddle ages. Many of
the designs contained in it can be found in a wide range of contemporary crafts
including metalwork, embroidery and m anuscript illumination. It contains
draw ings and paintings executed over a range of time.
The seated figures of Apostles and Prophets in folios 2v.-9,14-15v., are the
earliest draw ings probably done c.1370-90. Also included in the m anuscript are
paintings of birds and animals, textile patterns and architectural draw ings (fig.
10). The painted studies of birds on folios 10-13v, and 19, are very close to those
found in the Sherborne Missal c.1396-1407.
Some of the draw ings are clearly m eant to be templates for adaptation and
use in various workshops, others are m ore finished and are more like nature
studies. They are similar to the birds painted in the Vienna Dioscurides c. 512-
13 (Vienna, Nationalbibliothek, cod. Med. gr.lfolio 483v).
O ther sketchbooks do exist but are not as extant and varied as this one.
Many small-scale sketches have been found in the back pages or fly leaves of
manuscripts. The Canterbury copy of the Sentences at Christ College
Cambridge (MS. I) contains high quality sketches of figures on its flyleaf. To
have such a large compilation of English sketches and paintings is rare at this
date.
Provenance: Bequeathed by Samuel Pepys (1653-1703)

Literature: James 1924-5; Age of Chivalry Catalogue, No. 466, Royal Academy 6th
Novem ber 1987-6* March 1988

79
C A T , IS

8 0
 Glossary

Alb - A long ankle- length vestm ent w ith loose sleeves, usually m ade of white
linen, w orn under a chasuble. It often has an applied panel of decoration on the
bottom called an apparel

Altar Frontal - A rectangular covering, m ade of wood, metal or embroidered

cloth, placed over the front of an altar.

Altar Dossal - A rectangular covering, m ade of wood, metal or embroidered

cloth, placed above and behind the altar.

Amice - A rectangular piece of white linen worn by priests around the

shoulders and neck under the alb. Sometimes it is decorated w ith embroidery.

Apparel - A decorative panel often embroidered that is applied to the bottom,

sides or cuffs of an alb. Also found applied to amices.

Chasuble - The m ain vestm ent w orn by priests, Bishops or Archbishops

during the celebration of Mass. The chasuble is w orn over the alb and amice
and is the last vestm ent put on. Apart from the cope it is the vestm ent that
contains the most em broidered decoration and is often m ade of rich material. It
usually has decorated orphreys applied onto it. Originally a large circular
garm ent similar to a poncho, it has undergone changes in shape. In the late
M iddle Ages it was cut in at the sides, creating greater mobility for the arm s of
the wearer.

81
Chlamys - A Roman cloak w orn over one shoulder and pinned together,
over the other, w ith a brooch.

Colobium - A Roman, short-sleeved, loose fitting garm ent

Cope - A large semi-circular cloak w orn over the shoulders and fastened
across the chest by a brooch or a strip of material called a morse. W orn by
priests and privileged clergy such as a Bishop, Archbishop or Pope, the cope
w as a processional garment. It was w orn at special occasions including
incensing the altar, at Lauds and Evensong, W eddings and all ceremonies not
directly connected to the Mass. It was often elaborately embroidered w ith
Biblical and Saintly scenes. Like the chasuble it was usually m ade of rich
material.

Crocket - A small carved ornam ent on the inclined side of a pinnacle or on

the outer arc of a circle.

Faldstool - A backless seat, sometimes capable of being folded, used by

Kings, Bishops and certain other prelates.

French knots - A stitch used in Opus Anglicanum to create a single knot of

colour. Often used to create the eyes in the face of a figure.

Maniple - A narrow strip of material often decorated w ith embroidery

including three crosses, one in the m iddle, and one at either end. It is w orn over
the left wrist or forearm of the priest.

Misterie - A Medieval w ord m eaning guild.

82
Mitre - A double pointed cap w orn by Bishops, Archbishops and some
Abbots. Two narrow strips of cloth called lappets hang from the back. During
the M iddle Ages it w ent through several changes in shape, starting more
rounded and gradually becoming the pointed caps we are used to seeing today.

Ogee - A pointed arch, having various num bers of s-shaped curves all the

w ay around the inside.

Orans - Arms upraised on either side of the body in prayer.

Orphrey - A decorative band of cloth, often embroidered, applied to

chasubles and copes. Pillar-shaped orphreys were usually applied to the front
of a chasuble and cross-shaped ones on the back. Originally a strip of material
used to cover the seams created in the m anufacture of these vestments. As
w eaving technology progressed in the M iddle Ages, cloth could be w oven in
longer lengths, m eaning less seams w ere created w hen sewing together a
vestment. The O rphrey bands lost their practical use, but were kept, because of
their symbolic significance.

Paenula - A large Roman cloak also called a casula (little house) w orn as
protection against the weather, m uch like the m odem poncho.

Paten - A small silver or silver and parcel-gilt platter used to proffer the
wafer representing the corporeal body of Christ in the celebration of the
Eucharist. It is used in conjunction w ith the chalice, which w as used to proffer
the red wine representing the blood of Christ in the celebration of the
Eucharist.

83
Raised Work - Embroidery stitches w orked over either a knapped fabric
such as velvet, or worked over a piece of fabric inserted on top of a silk or linen
ground to create a slightly three dimensional raised area of embroidery.

Satin Stitch - A stitch used in later phases of embroidered Opus Anglicanum.

Long stitches were laid side by side across a delineated area (fig.24). This stitch
replaced the split stitch and in some instances surface and underside couching,
m aking the production of embroidered vestments faster.

Split Stitch - A stitch used in the embroidery of Opus Anglicanum. The

needle is brought up through the m iddle of the last stitch, splitting the stitch in
two (fig.25). Tightly packed rows of this stitch were used to create the intricately
detailed faces of the figures adorning Medieval religious vestments.

Stole - W orn under the chasuble, the stole is a very long strip of cloth reaching
to the ankles. It is w orn in various ways depending upon the office of the
person. Deacons drape it over the left shoulder and Bishops w ear it hung
around the back of the neck, the strips of cloth falling from either shoulder.
Priests wear it around their neck and crossed at the front, held in place by the
girdle or sash worn.

Surface Couching - A type of stitch used in the embroidery of Opus

Anglicanum. The thread w ould be laid dow n in the appropriate areas and a
secondary thread w ould be used to secure the laid threads to the ground fabric
at intervals (fig.26). The securing threads are visible on the front of the
embroidery. This stitch was used w hen w orking w ith silver and silver-gilt

84
thread, giving the embroidery more flexibility than if the metal threads were
w orked directly into to the fabric.

Tunica Alba - A Roman loose fitting garm ent w orn under either a paenula
or a chlamys. Occasionally they were decorated w ith embroidery.

Tunica Dalmatica - A Roman, long-sleeved, close fitting garment.

Underside Couching - A type of stitch used in the embroidery of Opus

Anglicanum. Like surface couching the m ain threads are laid dow n in the
appropriate areas and a secondary thread is used to secure the laid threads to
the ground fabric at intervals. Unlike surface couching the securing thread in
underside couching is pulled dow n through the ground fabric creating a loop
on the underside of the embroidery (fig.27). This stitch was used mainly w hen
w orking w ith silver and silver-gilt thread to give the vestm ent m ore flexibility
than if the metal threads were w orked directly into to the fabric.

Vestigial Hood - Initially the cope was equipped w ith a hood; an essential

part of its original use as a garm ent w orn as protection against the weather. By

the fourteenth century this hood had been reduced to a small triangle of fabric

attached to the outside back neck of the cope. This vestigial hood was kept

because it had become an identifying feature of the vestm ent and provided

another area to apply decoration.

85
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Brel-Bordaz, Odile, Broderies d'O rnam ents Liturgique XIII-XIV Sfecle - O pus
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