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OPUS ANGLICANUM

Opus Anglicanum is the name given to gold work embroidery designed and made for use in churches in Medieval times.

The return of the Crusaders from the East with lengths of sumptuous woven textiles and embroideries must have influenced the creative imagination of embroiderers in Britain. This is indicated by the fact that Byzantine fabric was found in the tomb of St. Cuthbert when it was opened and no doubt influenced the design and workmanship of the maniple and stole of St. Cuthbert’s now held in the Treasury of Durham Cathedral. It was made early in the tenth century and provides evidence that a tradition of excellent craftsmanship was already established in Britain at that time. The maniple and stole are described as “outstandingly miraculous, of the finest workmanship, the design carried out in silks and the background laid with the finest and purest, pliant gold thread stitched with underside couching.”

Ecclesiastical embroidery in Britain known as Opus Anglicanum reached its highest achievements in 1250 and remained unsurpassed throughout Europe and the East until 1350. It was of such a high standard that it was highly prized and desired by churches throughout Europe.

The main characteristics of Opus Anglicanum were its design style, method of laying gold thread and split stitch. Designs were figure compositions illustrating incidents from the scriptures to convey stories in simply designed figures and gestures interpreted in embroidery. Single figures, identified by name, were depicted with large eyes and round black pupils, and high, broad foreheads.

The earliest designs resembled drawings made by the monks for the Psalters and the illuminated manuscripts and missals of the time, for example the Book of Kells, St. Mary’s Psalter, Lindisfarne Gospels and Winchester bible. An earlier design, illustration 1, based upon the Tree of Jesse contained single figures of saints enclosed by a spiralling vine.

Faces were worked in fine split-stitch following the contour of the face but spiralling for the cheeks and chin. The hair was also worked in split-stitch in alternating dark and light colours, e.g. reddish-brown and yellow or blue and white. Folds in the draperies were also created with fine silk split-stitch in blues, yellowish-greens and reddish-browns.

In order to execute such fine stitches on the crimson velvet ground, it was necessary to first draw the design onto open-woven gauze-like linen and lay it over the whole background before stitching could begin. On completion of the embroidery the excess linen was cut away. The gold thread that was used was pure and pliant and wound around a core of silk and attached to the fabric with stitched known as “underside couching”.

Toward the end of the fourteenth century the standard of design and workmanship declined due to the influence of the Black Death, the Hundred Years’ War and the general unrest; also at this time the Guilds held less influence in the maintenance of high standards of technique.

1. The Jesse Cope


Illustrations

Opus Anglicanum (1250-1350) examples –

1. 1. The Jesse Cope shows figures enclosed by foliated scrolls, and the execution retains the restraint and spiritual sincerity of design, repose conflicting with flowing movement, and other qualities exemplified in the narrative embroideries prevalent in the Byzantine designs, which was later lost in Opus Anglicanum. This cope is preserved in the Victoria and Albert Museum, London.
   
   2. At the end of the thirteenth century backgrounds were either covered with large circles containing groups of figures as in the Ascoli Piceno cope which still has a small triangular hood attached.
   
   
   
   3. Another popular design shows the whole cope divided into quatrefoils, containing the figures of saints and six winged angels, while peacock feathers are the most prominent symbols used. This design is used on the Syon Cope and a cope in the Vatican Museum. Also produced during thism period was the Steeple Aston Cope, which was later cut into a dossal and frontal.
   
   
   
   4. The Cope of St. Sylvester, now in the Vatican Museum, is in the style of the first half of the fourteenth century. Reflecting English Perpendicular style of architecture the design radiates from the bcentre in a series of arches.
   
   4. The Cope of St. Sylvester
   
   English Medieval Embroidery by Mrs. A.H. Christie is recommended by Dean as a full and exhaustive study of this period.
   
   References: Dean, Beryl, Ecclesiastical Embroidery, Batsford, London, 1958
   Dean, Beryl, Embroidery in Religion and Ceremonial, Batsford, London, 1981
   
   Stitch with Passion
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