Matthew Paris, who wrote the Chronica Major, recorded in 1246 that the Pope Innocent IV had noticed that English bishops and priests were well kitted out with copes and mitres embroidered with gold thread in the ‘most desirable fashion’. Having discovered their source and described England as a ‘garden of delights’ the pope write to the abbots of the Cistercian order and demanded similar payment for himself, noting that he rather liked the gold work. By 1295 the Vatican had more than 100 vestments described as Opus Anglicanum and the English royal family had found a new and well received gift for the Holy Father of the day and nothing about the robes and vestments were cheap.
The Ascoli Cope at Ascoli Piceno, Italy belonged to Pope Gregory X and is a fine example of English work. It was a gift to him from King Edward I who also gave Nicholas IV and Boniface VIII lots of lovely embroidered goodies.
Survivals across Europe depict some of the richness of the vestments, not to mention the skills of the embroiderers. Samuel Pepys better known for his diaries and love of a buxom wench than his historical interest left papers to Magdalene College, Cambridge which included a book of drawings dating from the fourteenth and fifteenth century, including pattern sheets for medieval glaziers – there are designs for animals and birds, people, angels, the Virgin Mary, and various decorative motifs. During the Victorian period the idea that the designs might have been used for embroiderers was discounted but the images on Gothic stained glass windows are echoed by the glittering vestments worn by the clergy.
The idea behind a model book is that all the creative crafts could draw from the same designs and adapted according to the craft whether it was embroidery, window manufacture or illuminated manuscripts. You name the decorative craft – the chances are that a model book would have been useful, especially if you wanted to create the same design on several occasions – which would help reduce production time. Not everyone could afford to arrange for an artist or illustrator to draw the design on the fabric before it was embroidered.
The Göttingen Model Book which dates to about 1450 provides instruction on penmanship and illustration for the creation of foliage – which could be adapted by embroiderers. Just as today the model books were designed to help artisans learn a skill. Seven year apprenticeships were based on observation and ‘learning on the job’ but model and pattern books were essential for the transmission of images. They would also have been helpful for wealthy patrons who wanted to commission vestments. And, by the fourteenth century wealthy patrons wanted their own clothes richly embroidered as well.
It was really only during the sixteenth century that pattern books became widely available – and lets face it anyone who could afford it decorated everything that could be stitched but by then the heyday of English work was over.
