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The Butler-Bowdon Cope, 1330–1350, V&A Museum no. T.36-1955.. The Anglo-Saxon embroidery style combining split stitch and couching with silk and goldwork in gold or silver-gilt thread of the Durham examples flowered from the 12th to the 14th centuries into a style known to contemporaries as Opus Anglicanum or "English work".
Opus Anglicanum was usually embroidered on linen or, later, velvet, in split stitch and couching with silk and gold or silver-gilt thread. [2] Gold-wound thread, pearls and jewels are all mentioned in inventory descriptions.
In 1901, Grace Christie had been appointed as an instructor at the Royal College of Art (RCA) in embroidery and tapestry weaving under Leathaby who had become the first professor of design there that same year. In 1906 Christie published Embroidery and Tapestry Weaving as part of Lethaby's Artistic Crafts Series of Technical Handbooks. She and ...
During this period the final most difficult task for the student of embroidery was the making of an elaborate casket or box depicting scenes using raised embroidery. [ 2 ] Traditionally stumpwork depicted a scene which might contain a castle, stag, lion, birds, butterflies, fruit, flowers, and several figures sometimes positioned beneath a canopy.
The Bayeux Tapestry tituli are Medieval Latin captions that are embroidered on the Bayeux Tapestry and describe scenes portrayed on the tapestry. These depict events leading up to the Norman conquest of England concerning William, Duke of Normandy, and Harold, Earl of Wessex, later King of England, and culminating in the Battle of Hastings.
Design is all-important in a banner for ecclesiastical use. The banner maker needs a sound knowledge of religious symbolism and iconography. There is also the question of its use, i.e. indoor or outdoor. If outdoor, it needs weatherproofing and must be able to be carried. Whether indoor or outdoor, proper storage provision must be made.
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