Textile Fabrics: A Descriptive Catalogue of the Collection of Church-vestments, Dresses, Silk Stuffs, Needlework and Tapestries, forming that Section of the MuseumRock, Daniel
History
Textile Fabrics: A Descriptive Catalogue of the Collection of Church-vestments, Dresses, Silk Stuffs, Needlework and Tapestries, forming that Section of the Museum
Rock, Daniel
Art objects -- England -- London -- Catalogs; Textile fabrics
and happy illustration as was afforded them by Christian Symbolism.
So systematized at last became this subject that by the eleventh
century we find it separated into three branches--beasts, birds, and
stones--and works were written upon each. Those upon beasts were, as
they still are, known by the title of “Bestiaria,” or books on beasts;
“Volucraria,” on birds, and “Lapideria,” on stones. About the same
period, as an offset from symbolism, heraldry sprang up; whether the
crusaders were the first to bethink themselves of such a method for
personal recognition and distinction; or whether they borrowed the
idea from the peoples in the east, and while adopting, much improved
upon it, matters not; heraldry grew out of symbolism. Very soon it was
made to tell about secular as well as sacred things; and poets, nay
political partizans were quick in their learning of its language. The
weaver too of silken webs was often bade, while gearing his loom, to be
directed by its teaching, as several specimens in this collection will
testify. That some of the patterns, made up of beasts and birds, upon
silken stuffs from Sicilian, or Italian looms and here before us, were
sketched by a partizan pencil and advisedly meant to carry about them
an historic, if not political signification, we do not for a moment
doubt. Several instances of sacred symbolism here, have been specified,
and some explanation of it given.
[410] Exod. xxviii.
[411] Gen. i.
The “gammadion,” or the cross made thus 卐 a figure which, as we said
before, is to be seen traced upon the earliest heathenish art-works, as
well as the latest mediæval ones for Christian use, may be often found
wrought on textiles here.
Knowing, as we do, that the first time this symbol shows itself to our
eyes, is in the pattern figured on a web of the Pharaonic period, it is
to the early history of Egypt we ought to go, if we wish to learn its
origin and meaning.
The most astounding event of the world’s annals was the going out of
Israel from Egypt. The blood of the lamb slain and sacrificed the
evening before, and put upon both the door-posts, as well as sprinkled
at the threshold of the house wherein any Hebrew dwelt--a sign of
safety from all harm and death to man and beast, within its walls, on
that awful night when throughout all Egypt the first-born of everything
else was killed--must have caught the sight of every wonder-stricken
Egyptian father and mother who, while weeping over their loss, heard
that death had not gone in to do the work of slaughter where the blood
had signed the gates of every Israelite.
Among the Hebrew traditions, handed down to us by the Rabbins, one is
that the mark made by the Israelites upon their door-posts with the
blood of the sacrificed lamb, the night before starting out of Egypt,
was fashioned like the letter Tau made after its olden form, that is,
in the shape of a cross, thus +.
Public-domain text, read in full here on John Shaqi.
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