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Appliqué

Appliqué is a very simple and rapid method of obtaining decorative effect by stretching cloth pieces to a contrasting ground. Appliqué was referred to as opus consutum, literally meaning sewn-together work.

It was especially effective when using the well-fulled medieval cloths whose edges did not easily fray and could easily be held by hem stitching. It was less effective on silk or velvets because of the fraying problems. Candle wax has been found on raw edges of some medieval pieces.

Appliqué was a technique appropriate to the huge ornamental tents used by the King and his household to extend their summer living.

There were several methods used to protect the edges of the appliquéd pieces. In England cords of linen, gold or silk were couched around the edges of the appliquéd pieces. On the continent gilded leather was also used.

The out lining of figures with cords of silk or linen and the use of split stitch for the drawing of inner details appears to be characteristic of English medieval appliqué.

There are many extant examples of medieval appliqué. The Xanten Cathedral Treasury has an alms bag from France made in the mid 14"' century. It has three musicians embroidered in the silk using chain stitch and couched work on linen and applied to a background covered with couched gold threads. The figures are outlined with a dark cording. The size of the alms bag is 35 x 31 cm.

Another example is an embroidered velvet cloth from the second half of the 15th Century. It is red silk velvet and is a picture of the Virgin and two kneeling priests with an inscribed scroll. The figures are worked don linen and applied to the red silk. There are flowers and trees worked directly on the velvet ground in stem and couched work, but mainly in split stitch.

A real bag at Westminster Abby displays the use of Intarsia, or inlaid motifs. The shield was cut to shape and laid in a mirror image cut in the ground fabric. Then thread or cord was couched along the join lines. The leopards were applied on top and details of the eyes and claws and tails were added using split stitch.

A surviving hanging from Germany is ornamented with scenes from the Tristan legend. Sewn around the edges of the motifs are the remains of narrow gilded leather strips imitating couched gold thread, and effect much used on Scandinavian medieval hangings. Most continental intarsia work includes gilded strips of leather for outlining motifs.

Thirteenth century English accounts do refer to the application onto cloth of whole motifs cut from gilded leather ( de pelle aurea). Whether made from leather or cloth, repeating motifs would have been cut out using a template. The requirement for speed engendered by impatient royal requests frequently meant that motifs in contrasting colors were used to create ornament especially heraldic motifs.

A typical example of this was a jousting tunic made for Edward III in 1345-9 where red and blue cloth formed the fields of his quartered arms and yellow cloth the heraldic symbols of leopards passant guardant and fleurs-de-leis. More extravagant pieces encrusted with gemstones and metal ornaments were made for the court. The so-called "Eagle Dalmatic" created in 1320 had circular medallions of embroidered eagles with black glass eyes applied to a ground of Chinese purple silk damask.

Bibliography

Ancient and Medieval Textiles, Studies in Honour of Donald King, Edited by Lisa Monnas and Hero Granger-Taylor, pp 225-228

Medieval Craftsman: Embroiders by Kay Staniland, pp 29, 33-34

A Pictorial History of Embroidery by Marie Schuette and Sigrid Mueller-Christensen, pp 138, 156,311,313

The History of the Patchwork Quilt by Schnuppe von Gwinner, pp 54-57

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