The Thirteenth, Greatest of CenturiesWalsh, James J. (James Joseph)
History
The Thirteenth, Greatest of Centuries
Walsh, James J. (James Joseph)
Civilization, Medieval -- 13th century; Universities and colleges -- History
A hint of one form of woman's occupation has already been {329} given
in discussing the needlework done for the Cathedrals and especially
the Cope of Ascoli. It must not be forgotten that this was the age not
alone of Cathedrals but also of monasteries and of convents. In all of
these convents every effort was made to have whatever was associated
with the religious ceremonial as beautiful as possible. Hence it was
that needlework rose to a height of accomplishment such as has never
been reached since according to the best authorities, and many
examples of it have come down to us to confirm such an opinion. This
needlework was done not only for religious purposes, however, but also
as presents for Kings and Queens and the nobility, and such presents
proved to be exemplars of artistic beauty that must have helped to
raise the taste of the time. This was essentially woman's work, and in
their distant castles the women of the households of the nobility
occupied themselves with it to much better effect than their sisters
of the modern time with the grievous burden of their so-called social
duties.
Miss Bateson [Footnote 28: Ibidem.] has given a pretty, yet piquant
picture of woman at these occupations. She says:--"There are not
wanting Thirteenth Century satires to tell the usual story of female
levities, and of female devotion to the needle, to German work and
pierced work, Saracen work and combed work, cutout work and wool-work,
and a multitude of other "works" to which the clue seems to be now
wholly lost. Whilst the women are thus engaged, the one who knows most
reads to them, the others listen attentively, and do not sleep as they
do at mass, 'pur la prise de vanite dont ont grant leesce (joy).' The
'opus anglicum' consisted of chain-stitch in circles, with hollows,
made by a heated iron rod, to represent shadows. A cope of this work
was made by Rose de Burford at Edward II's order, and sent to Rome.
One, known as the Syon cope, passed into the possession of the nuns of
Syon, Isleworth, and can be seen at the Victoria and Albert Museum."
Public-domain text, read in full here on John Shaqi.
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