Part 3.
Reading edition
Opus Phrygium (or gold work).
Gold embroideries were by the Romans attributed to the Phrygians. All gold work was vaguely supposed to be theirs, as all other embroidery was included in the craft of the Plumarii in Rome.
It has been disputed whether needlework in gold preceded the weaving of flat gold or thread into stuffs, or whether it was an after-thought, and an enrichment of such textiles. I imagine that the embroidery was the first, and that the after-thought was the art of weaving gold. Babylonian embroideries appear to be of gold wire, as we see them in the Ninevite marbles.
An instance of the way golden embroideries were displayed among the Greeks is that of the Athenian peplos, which, as I have already said (p. 32), was worked by embroideresses under the superintendence of two Arrhephoræ of noble birth. It was either scarlet or saffron colour, and blazed with golden representations of the battles of the giants, or local myths and events in the history of Athens.[325]
The art of the Phrygians, who gave their name in Rome to all golden thread-work, has come down to us through the classic “auriphrygium” and the “orphreys” of the Middle Ages. Semper thinks that the flat gold embroidery was the first invented.[326]
The Phrygians had attained to the utmost perfection in tissue ornament when the Romans conquered them, and finding their art congenial to the growing luxury of Rome, they imported and domesticated it; both the people and their work retaining their national designation. Pliny, ignorant of the claims of the Chinese, gave to the Phrygians the credit of being the inventors of all embroidery.[327] The garments they thus decorated were called “phrygionæ,” and the work itself “opus Phrygium.” The term “auriphrygium,” at first given to work in gold only, was in time applied to all embroidery that admitted gold into its composition; and hence the English mediæval term, “orphreys.”
All the gold stitches now called “passing” came from Phrygia; Semper attributes all the “mosaic stitches” to the Phrygians, calling them “opus Phrygionium.”[328] Gold stitches are splendidly exemplified in the embroidered mantle of St. Stephen, of the ninth century. The only somewhat earlier piece of mediæval gold embroidery with which I am acquainted is the dalmatic of Charlemagne in the Vatican, richly embroidered in fine gold thread; and the mantle of the Emperor Henry II. in the Museum at Munich, worked by his Empress Kunigunda, who appears to have been somewhat parsimonious in her use of the precious material.
Almost all ecclesiastical and royal ancient embroideries were illuminated with golden grounds—golden outlines or golden flat embroideries. Later still, raised gold thread work has imitated gilt carvings or goldsmiths’ jewellery; and we feel that it was at once removed from its place as embroidery, and became an elaborate imitation of what should belong to another craft.[329] Such deviations from the proper office and motive of needlework are so dangerously near to bad style and bad taste, that they always and inevitably have fallen into disrepute.