Sacred Spaces

When first established, Lady Welby had stressed that the RSN would be for secular embroidery only, but with bills to pay and a growth in the number of churches, the School responded to architects’ requests to make altar frontals and vestments. This became a significant part of the RSN output and hence the teaching of church work at the Training School. Indeed, church work rose to have its own department, which was for many years (1920s to early 1950s) headed by the Misses Jones. These two sisters had qualified together in 1918.

The RSN worked for churches not just in Britain but also in North America, and even on occasion further afield, such as a banner for the Mothers’ Union of Kenya.

Some of these pieces were designed by the RSN and others by external designers, such as Ninian Comper and Jane Lemon. The most recent significant commissions were two sets of altar frontals for a private oratory in Berkshire and a full set of vestments to mark the millennium of the foundation of Buckfast Abbey in 2018.

Today, the RSN frequently conserves altar frontals and vestments that were made a hundred or more years ago because very often the embroidery remains in good condition but the background fabric deteriorates. With the right attention, the elements can be transferred and the frontal will last another hundred years.

The RSN has also worked on pieces for synagogues and for mosques and advised the Quakers on the Quaker Tapestry, now based at Kendal in Cumbria.

Lord Masham’s Cope

1911

Purple silk damask, silk and metal threads, fringing

This cope was originally used by the Lord Masham at the Coronation of George V in 1911. It was subsequently given by him to Ripon Cathedral where it remained in use until recently.

On loan from Ripon Cathedral with the permission of the Dean and Chapter

Wells Millennium Cope

1999

Silk, silk dupion and organza metallic braids and twists

The cope was one of a set of vestments designed by Jane Lemon and worked by the RSN for the Millennium, along with a series of altar frontals which can be seen by visitors to Wells Cathedral. The Cope is used regularly, so will join the exhibition after Easter.

On loan from Wells Cathedral with thanks to the Dean and Chapter

Cope

1988

Silk, hand embroidery

The theme of the Cope is about the transformation being wrought by God through the work of Creation, Salvation and Sanctification using semi-abstract motifs. At the top, Gold for the completion of life in the ‘revealing of the Children of God’ in ‘the new Heaven and new Earth’ of God’s everlasting kingdom. Father Bates worked the morse himself and included his grandmother’s wedding ring in memory of her.

On loan from Father Stuart Bates

Drawings of Altar frontals

Mixed dates

Paper, paint, pencil, photographs

The RSN has made many altar frontals for churches and cathedrals, all of which are too large to bring to this exhibition (and indeed many are still in use today) but this illustrates some of the variety of the frontals the RSN could make.

Triptychs of Ecclesiastical Iconography

c1918

Linen with silk, cotton and metal threads

Made by the Misses Jones The two Miss Jones were sisters who graduated in 1918 and went on to head the Churchwork Department through to the early 1950s. These pieces were from their Diploma course. The unusual presentation as triptychs meant they could also be used as advertisements for the work the RSN could create for churches.

Churchwork

Early 1900s

Linen, metal threads, padding

This piece shows a central cross, but majors on a wide variety of types of Goldwork, especially in the row of samples along the bottom.