Many moons ago, on my 2016 London workshops-at-Ally-Pally visit in fact, I had the opportunity of seeing the Opus Anglicanum exhibition at the V & A. It was absolutely stunning, and I’d have loved to go twice because there was so much to see and take in that my brain felt quite numb by the time I got to the end of the exhibition. At that time I didn’t buy the catalogue, an enormous hardback book that was A) far too heavy to carry around with me until going home, B) far too expensive and C) far more detailed than I needed. Fast forward three years or so and a fellow member of the Cross Stitch Forum mentions that she has been given this book as a Christmas present, and how wonderful it is.
Could I possibly treat myself? Well, ordering it online would mean a delivery to my door rather than traipsing through London with it. That took care of objection A). A bit of Googling found it on Wordery at £9 less than the RRP, which took care of B). And most importantly, in the intervening years I’ve become much more interested in medieval embroidery in general (I’ve recently been engrossed in Carola Hicks’ excellent book about the Bayeux Tapestry) and Opus Anglicanum in particular (I blame the Coombe Abbey retreat with Angela Bishop and Sarah Homfray); having learnt a bit more about the style and technique and tried it out myself I would now really like to “re-visit” that exhibition. So that was objection C) done with. And yesterday morning it arrived:
I haven’t had time yet to look at all the large photographs in detail (let alone read everything) but I do hope I will find the embroidery depicting Jesus’ betrayal which shows Judas and the other attackers wearing, according to the explanatory notice beside it, “striped leggings [which] were a marker of their sinful pride and bad character”. Well, they do say clothes make the man!
Two pictures I would like to share with you, and as they are partial pictures and meant to illustrate a point I hope the V & A won’t feel too upset. First of all a certain chap who looks decidedly familiar – surely he is kin (although admittedly larger and rather more detailed kin) to King Ethelnute of Coombe Abbey?
And secondly a source of inspiration – the dappled horse from the Steeple Aston cope who is the spiritual ancestor of Hengest the Medieval Unicorn. Not having seen the original horse for a while (and not having worked on Hengest for some time either) I was surprised both at how recognisably alike they are, and yet how much Hengest has developed a personality of his own (not least because of that goofy look in his eyes).
The book also contains a picture of a scene from the Bayeux Tapestry. Throughout reading Hick’s “life story” of that particular piece of embroidery, I found it quite exhilarating to think that if one of the stitchers of the Tapestry walked into our house, one of the few things she’d immediately recognise would be my Certificate set-up of a slate frame on trestles with wool embroidery on linen. In some ways we who do hand embroidery may be closer to those medieval stitchers than to some of our contemporaries who have no love or appreciation of craft.