Discover the beauty and craftmanship of 'opus anglicanum'
St Margaret of Antioch
St Margaret was a virgin martyr who was cruelly tortured because of her refusal to renounce her Christian faith. Here, she is overcoming a dragon, referring to the legend that she was swallowed by Satan in dragon’s form, but was able to escape because the beast could not stomach the cross she was carrying.
The Adoration of the Magi
Three magi, or wise men, travelled to Bethlehem to worship the Christ Child, and offer him the precious gifts of frankincense, myrrh and gold. Here, they are shown as kings – young, middle-aged and old – representing the three stages of life. One king points towards the star that had guided them to Bethlehem.
Dating to around the 1330s, the Steeple Aston Cope was originally made as a large semi-circular cloak, to be worn in church services. It exists today in an altered state, having been cut up and rearranged to make altar furnishings, probably at the time of the Reformation. This digital reconstruction demonstrates the cope's original shape and design, showing how it would have looked when worn.
Christ is shown nailed to a rough-hewn green cross which symbolises the Tree of Life. The Virgin Mary and St John the Evangelist are embroidered at his feet – their grief depicted through their expressive gestures. Uniquely within English medieval embroidery, here Christ’s body is embroidered in silver thread.
St Michael killing Satan
The Archangel Michael is represented as a warrior saint, thrusting his spear into the throat of a dragon, symbol for the devil. The Book of Revelation describes Michael as the commander of the Army of God, who, come the end of the world, will lead the other angels in the fight against evil.
A symmetrical form made up of four lobes, usually semi-circular, arranged like the petals of a flower. Designs of this sort became popular as a framing device in the late 13th and early 14th centuries and were used in several different media – from illuminated manuscripts to panel paintings.
Medieval embroidery was a painstaking and precise art form, performed by skilled embroiderers – both men and women – mostly based in the City of London. Here contemporary embroiderer Rosie Taylor-Davies recreates a detail from a 700-year-old fragment of English embroidery. Working entirely by hand, she demonstrates the intricate process and skill of 14th-century embroiderers, who created some of England’s most beautiful and elaborate textile art.
The Prophet Jesse and King David
Jesse, King David’s father, is shown asleep at the base of the design. The golden vine growing from his side refers to a prophecy in the Old Testament: “And there shall come forth a rod out of the stem of Jesse, and a branch shall grow out of his roots.“ (Isaiah 11.1). King David was the youngest of Jesse’s eight sons. Described as a courageous warrior and as a gifted poet and musician, he is often shown playing the harp.
At the centre of the Tree of Jesse is Solomon, son of King David and Bathsheba, one of Christ’s most important ancestors. He is the biblical king most renowned for his wisdom and wealth. One legend tells that the Queen of Sheba, a distant land, came to visit him in Jerusalem to challenge him with riddles, all of which King Solomon was able to answer.
Another embroidered example of Jesse Tree imagery is found in this orphrey (a decorative band). The background is embroidered in underside-couched silver-gilt thread, while the figures are embroidered with coloured silks in split stitch – two characteristic techniques of opus anglicanum. Gaps in the design are filled with beautiful vine leaves and grapes.