Embroidery Gallery

Boy with a Fawn, ca. 1720. Creator: Unknown

Boy with a Fawn, ca. 1720. Beautiful embroidered coat indicates wealth and privilege, the deer behind is an emblem of longevity and discipline.

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18th Century, America, American, Animal, B And, B And W, B W, Black And, Black And White, Black And White, Boy, Boys, Bw, Century, Child, Children, Clothes, Clothing, Coat, Colonial, Colonialism, Concept, Country, Deer, Dress, Eighteenth Century, Embroidered, Embroidery, Fashion, Fawn, Hand On Hip, Heritage Art, Location, Longevity, Male, Metropolitan Museum Of Art, Museum, Oil On Canvas, Oil Painting, One Person, Painting, People, Portrait, Posture, Privilege, Society, Symbolic, The Met, The Metropolitan Museum Of Art, United States, United States Of America, Unknown, Usa, Wealth, Wealthy, White, Wig

Medieval weaving, embroidery, enamel and painted sculpture, (1898). Creator: Unknown

Medieval weaving, embroidery, enamel and painted sculpture, (1898). 'Fig 1: Statue of St. Simon in the choir of Cologne Cathedral. Fig 2: Pattern on the robe of another statue ibid. Fig 3: Embroidered fonder of French origin. 14th century. Fig 4: Embroidered stuff (in the original, silver is employed instead of gold), 15th century. Fig 5: Embroidered stuff, 14th century. Figs 6-9: Borders and patterns of carpets from the wall-paintings in the upper church S. Francesco at Assisi. 14th century. Fig 10: Pattern of a carpet from a tempera-painting of Niccolo Alunno (1466) in the pinacotheca at Perugia. Fig 11: Sicilian weaving from St. Mary's church at Danzig, 13th century. Fig 12: Border of a carpet on the painting of Hugo van der Goes in the Palazzo degli Uffizi at Florence, 15th century. Fig 13: Border of a carpet on a picture of [by?] Mantegna in S. Zeno at Verona, late 15th century. Fig 14: Border from an embroidered chasuble, 14th century (German work). Figs 15 and 16: Patterns of stuffs from the 14th century, of French origin. Fig 17: Gilt copper-engraving from the cross-relics-table in the catholic parish-church at Mettlach. Figs 18-20: Enamelled decorations on the shrine of the Three Kings in Cologne Cathedral, early 13th century. Fig 21: Enamelled border in the Musee de Cluny, early 13th century'. Plate 42 from "The Historic Styles of Ornament" translated from the German of H. Dolmetsch. [B.T. Batford, London, 1898]

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Altar Cloth, c. 1350. Creator: Unknown

Altar Cloth, c. 1350. This large embroidered altar cloth is one of the rarest, most important medieval church furnishings in existence. It was stitched by nuns in the Premonstratensian Convent in Altenberg on the Lahn, near Trier, and was used to cover the church's high altar in the weeks leading up to Easter. The cloth is an example of linen embroidery, a specialty of German nuns in the later Middle Ages. Since both the ground and pattern are white, a technique known as "white-on-white," the effect of this type of embroidery depends on the variety and skilled manipulation of the stitches used. The nuns at Altenberg may have had an additional reason for creating this white-on-white embroidery: they were known as "white canons" because of the colour of their habits. The Premonstratensians followed the Rule of Saint Augustine, but with supplementary statutes that made their life one of great austerity. The sustaining focus of their community was common prayer and celebration of the Eucharist. The overall design of this altar cloth, befitting its function, concerns the redemption of the world through the death and resurrection of Christ. Figures are displayed within quatrefoils, or four-lobed, frames. The largest quatrefoil, in the center, represents Christ's crucifixion flanked by the Virgin and Saint John. It bears the inscription "Lamb of God who taketh away the sins of the world, have mercy on us."

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