pomegranates in gold. Lucca, latter half of the 15th century. 3 feet 10
inches by 11½ inches.
Among the remarkable specimens of velvet in this collection, not the
least conspicuous is the present one, being velvet upon velvet, that
is, having, in a portion of it, a pattern in a higher pile than the
pile of the ground. By looking narrowly at the larger pomegranate in
golden thread within its heart-shaped oval, with featherings bounded
by trefoiled cusps, the eye will catch an undulating pattern rising
slightly above the rest of the pile; such examples, as distinguished
from what is called cut or raised velvet, are very rare. The tone,
too, of the fine green, as well as the goodness of the gold, in the
ornamentation, enhance the value of this piece, which was once the
back part of a chasuble.
8326.
Piece of Silk Damask; white, with the rose and pomegranate pattern
woven in gold thread. Spanish, latter half of the 15th century.
This piece, from the looms of Spain, for the beauty of design and the
thick richness of its silk, is somewhat remarkable.
8327.
Box covered with crimson raised velvet, having, round the lid, a
many-coloured cotton fringe. It holds two liturgical pallæ, both of
fine linen and figured--one mounted on pasteboard and measuring 7¾
inches by 7¼ inches, with an altar and two figures; the other, with
the Crucifixion and St. Mary and St. John, measuring 9½ inches by
9¾ inches. Inside the lid of this box is an illuminated border of
flowers, and the central design is effaced. Velvet, Italian, 16th
century, all the paintings very late 15th century, and German. Box, 10
inches by 9½ inches.
As a case for holding “corporals” and “palls,” this box is a
curiosity, in its way, of rare occurrence. It must be carefully
distinguished from a square sort of case for the “corporal,” and
called the “burse.” The corporal is a large square piece of fine
linen; and at one time the chalice at mass not only stood upon it
but was covered too by its inward border; but for a long period, the
usage has been and is to put upon the chalice, instead of any part
of the corporal, a much smaller separate square piece of fine linen,
often stiffened, the better to serve its purpose, with card-board,
like this example; such is a pall, and the one before us is figured,
we may say illuminated, with what used to be called, in England, St.
Gregory’s Pity; “Church of our Fathers,” i. 53. Upon an altar, around
which are the instruments of the Passion, and on one side St. Peter,
known by the key in his hand, and on the other the cock on the column,
crowing, stands our Lord all bleeding, with the blood trickling into
a chalice between His feet. At the foot of the altar kneels, veiled
for mass, St. Gregory the Great, behind whom we see, holding a book in
both hands, St. Jerome, robed as a cardinal; the whole is framed in a
floriated border. The other, and unstiffened “pall,” is illuminated
with the Crucifixion after the usual conventional manner, in all
respects, that prevailed at the time it was done, that is, somewhere
about the year 1490. As specimens on linen these two palls are rather
rare. The border of flowers, on vellum, attached to the inside of the
lid, is a free, well-coloured, and pleasing example of the Flemish
school late in the 15th century. The raised velvet is of a rich
crimson tone, and from Lucca or Genoa.
Though, in later times, employed as an ordinary case for the cleanly
keeping after service of the corporals or pieces of fine linen,
always spread out in the middle of the altar-stone for the host and
chalice to rest upon, at mass, its first use seems to have been for
reservation of the Blessed Sacrament consecrated on Maundy Thursday to
serve at the celebration of the divine office on Good Friday morning,
as we have fully set forth in the Introduction § 5, and again while
describing a similar box, No. 5958.
In the present specimen all that remains of the vellum illumination,
once upon the inside of the lid, is a wreath of painted flowers,
within which stood the missing Crucifixion. The absence of that scene
is, however, well supplied by the other kind of art-work wrought in
colours of the same subject; done, too, after a broad bold manner,
upon a square piece of very fine linen, which, as it is moveable,
serves now as a lining for the lower inside of this case.
Such ecclesiastical appliances are rare, so much so, that, besides the
two in this collection, none is known to be in this country; while
very few, even on the Continent, are to be seen at the present day.
8328.
Amice of Linen; with its apparel of crimson velvet, on which are three
hexagonal roses woven in gold. Spanish, middle of the 15th century. 3
feet 9 inches by 1 foot 9 inches.
The velvet of the apparel is of a fine rich pile, and the tone of
colour light ruby. The flowers, seeded and barbed, are not put in by
the needle but woven. Such a liturgical appliance is not now often to
be met with in its original state; but, in this instance, it ought to
be noticed, that while the amice itself--that is, the linen portion of
this vestment--is remarkable for its large size, the velvet apparel
sewed on it is broader and shorter than those which we find figured
on English ecclesiastical monuments during the mediæval period. The
narrow green ferret which hems the apparel is usually found employed
as a binding in crimson liturgical garments anciently made in
Flanders. Though the velvet was woven in Spain, this linen amice seems
to have once belonged to some Flemish sacristy: at one period the
connection between the two countries was drawn very close.
8329.
Linen Cloth or Corporal, with an edge on all its four sides; 2¼
inches broad, embroidered in blue, white, and yellow silks. German,
late 15th century. 22 inches by 21 inches.
To the student of ecclesiastical antiquities this liturgical appliance
will be a great curiosity, from its being so much larger than the
corporals now in use; but its size may be easily accounted for.
From being put over the altar-cloth, on the middle of the table of
the altar, so that the priest, at mass, might place the host and
chalice immediately upon it before and after the consecration of the
Eucharist, it got, and still keeps the name of “corporale,” about
which the reader may consult “Hierurgia,” p. 74, 2nd edition.
The embroidery, seemingly of a vine, is somewhat remarkable from
being, like Indian needlework, the same on both sides, and was so done
for a purpose to be noticed below. Its greater size may be easily
explained. During the middle ages, as in England, so in Germany,
the usage was to cover the chalice on the altar, not with a little
square piece of linen called a “palla,” two specimens of which are
mentioned, No. 8327, but with the corporal itself, as shown in those
illuminations copied and given as a frontispiece to the fourth volume
of the “Church of our Fathers.” To draw up for this purpose the inner
edge of the corporal, it was made, as needed, larger than the one
now in use. Moreover, as the under side of the embroidery would thus
be turned upwards and conspicuously shown, even on the consecrated
chalice, to a great extent; and as anything frayed and ragged--and
this single embroidery always is on the under side--would, at such
a time, in such a place, have been most unseemly; to hinder this
disrespect the embroidery was made double, that is, as perfect on the
one side as on the other, giving the design clear and accurate on
both, so that whichever part happened to be turned upwards it looked
becoming.
8330.
Piece of Silk Damask; green, with pattern of crowns connected by wavy
ribbons, in each space is a rose. North Italian, 15th century. 22
inches by 21 inches.
This fine and valuable piece of damask exhibits a very effective
design, which is thoroughly heraldic in all its elements. Of these,
the first are roselettes--single roses having five petals each--seeded
and barbed, and every petal folds inward very appropriately; all about
each roselette roves a bordure nebulé, significative in heraldry
of a cloud-wreath, above which and just over the flower rests an
open crown, the hoop of which is studded with jewels, and bears on
the upper rim two balls--pearls--on pyramidal points, and three
fleurs-de-lis. To take these roselettes for the Tudor flower would
be a great mistake, as it was not thought of at the period when
this stuff was manufactured, besides which, it is never shown as a
roselette or single rose, but as a very double one. It is not
unlikely that this damask was, in the first instance, ordered from
Italy, if not by our Edward IV, at least by one of the Yorkist party
after the Lancastrian defeat at Mortimer’s Cross: the crown with its
fringe of clouds seems to point to the curious appearance in the
heavens that day. When once his loom was geared the Lombard weaver
would not hesitate to work off stuffs after the same pattern ordered
by his English customer and sell them in the Italian markets.
8331.
Piece of Lace in Open Work. The pattern, oblong and octagonal spaces
framed in gold thread, and containing stars in silver and flowers in
gold, upon a black silk ground. Milanese, end of the 16th century.
14¼ inches by 4½ inches.
[Illustration: 8331.
LACE EMBROIDERY,
Milanese---- 16th century.]
During a long time Milan, the capital of rich and manufacturing
Lombardy, stood conspicuous among its neighbouring cities for the
production of its gold thread, and beautifully wrought laces in that
material; and the specimen before us is a pleasing example of this
far-famed Milanese handicraft. To all appearance, it once served as
the apparel to an amice to be used in religious services for the
dead. It seems the work of the loom; and the piece of stout black
silk under it was meant, though quite apart from it, to be, as it
were, a grounding to throw up more effectively its gold and silver
ornamentation.
8332.
Piece of Silk, formerly crimson, but much faded, with elaborate pattern
of pomegranates, crowns and wreaths of flowers. Flemish, middle of the
16th century. 19 inches by 17½ inches.
In this piece, though so faded, we have a good specimen of the Bruges
loom about the second half of the 16th century, and seemingly from the
same workshop which sent forth No. 8318.
8333.
Hood of a Cope, with figures embroidered on a very rich ground of red
and gold velvet. Velvet, Florentine; the embroidery Flemish, late 15th
century. 16 inches by 15½ inches.
About this period, Florence was noted for its truly rich and beautiful
crimson velvets of a deep pile and artistically flowered in gold,
and profusely sprigged, or rather dotted, with small loops of golden
thread standing well up from the velvet ground; and in this production
of Florentine contrivance we have a good example of its speciality.
The needlework is a very favourable specimen of Flemish embroidery,
and the management of the three subjects shows that the hand that
wrought them was quickened with a feeling love for the school of Hans
Memling, who has made Bruges to be the pilgrimage of many an admirer
of the beautiful in Christian art. The holy woman, who, according to
the old tradition, gave a napkin to our Lord on His way to Calvary, is
figured, at top, holding, outstretched before her to our view, this
linen cloth showing shadowed on it the head of our Redeemer crowned
with thorns and trickling with blood: the Saint became known as St.
Veronica, and the handkerchief itself as the “Varnicle.” Just below,
we have the Blessed Virgin Mary seated and holding on her knees the
infant Saviour, before whom kneels St. Bernard, the famous abbot
of Clairvaux, in the white Cistercian habit which he had received
from our fellow-countryman, St. Stephen Harding, the founder of the
Cistercian Order, about the year 1114. The group itself is an early
example of a once favourite subject in St. Bernard’s life, thus
referred to by Mrs. Jameson, in one of her charming books:--“It was
said of him (St. Bernard) that when he was writing his famous homilies
on ‘The Song of Songs which is Solomon’s,’ the Holy Virgin herself
condescended to appear to him, and moistened his lips with the milk
from her bosom; so that ever afterwards his eloquence, whether in
speaking or in writing, was persuasive, irresistible, super-natural.”
(Legends of the Monastic Orders, p. 142). Lower still, St. Bernard,
with his abbot’s pastoral staff, cast upon the ground by his side, is
praying, on bended knees, before a crucifix, from off of which our
Redeemer has loosened Himself to fall into the arms of the saint, who
was so fond of meditating on all the throes of our Lord upon the cross.
8334.
Piece of Crimson Velvet, spangled with gold and silver stars, and
embroidered with leaves and flowers in gold thread, once dotted with
precious stones. North Italian, end of the 15th century. 14½ inches
by 5¼ inches.
The Genoese velvet of this piece is of a very deep ruby tone, deeper
than usual; but the way in which it is ornamented should not be passed
over by those who wish to learn one among the very effective styles of
embroidering. The design consists chiefly of branches gracefully bent
in all directions and sprouting out, here and there, with leaves and
variously fashioned flowers which, from one example that still holds
its tiny round-headed piece of coloured glass set in a silver gilt
socket, bore in them mock precious stones, and perhaps seed-pearls.
These branches themselves are made of common hempen string, edged on
both sides with a thread of gold of a smaller bulk, and the flowers
are heightened to good effect by the bright red stitches of the
crimson silk with which the gold that forms them is sewed in; and the
whole of the design appears to have been worked, first upon a strong
canvas, from which it was afterwards cut and appliqué upon its velvet
ground. All the space between the boughs is sprinkled rather thickly
with six-rayed stars of gold and silver, but the latter ones have
turned almost black. This piece was once the apparel for the lower
border of an alb.
8335.
Piece of Silk Damask; upon a light blue ground, an elaborate pattern
of pomegranates and flowers in pale yellow. Flemish, end of the 16th
century. 24½ inches by 21 inches.
Like, in many respects, to another piece of the looms of ancient
Bruges, it shows that the Flemings were unfortunate in their mode of
dyeing, for this, as well as No. 8332, has faded much in colour, but
the pattern is very rich and graceful. This textile is figured by Dr.
Bock, in his “History of Liturgical Robes,” vol. i.
8336.
Piece of Silk Net-Work, formerly crimson. The design is evidently
circular, and consists of a lozenge filled in with two other very much
smaller lozenges touching each other lengthwise. Milanese, end of the
16th century.
This curious little piece of frame-work seems to be another specimen
of the lace of Milan, concerning which a notice has been given under
No. 8331. Some would take it to be crochet, but it looks as if it came
from a loom. To our thinking, it was either the heel or the toe part
of a silk stocking. Though of a much finer texture, it much resembles,
in pattern, the yellow silk pair of stockings belonging now to the
Marquis of Salisbury, but once presented by Lord Hunsdon to Queen
Elizabeth, and said to be the first ever made in England.
8837.
Piece of Crimson Raised Velvet, with pattern of pomegranates, flowers
and scrolls embroidered in gold thread and coloured silks. Genoese,
beginning of the 16th century.
This piece affords a very instructive instance of how velvet textiles
were not unfrequently treated. The pattern was first wrought in the
weaving, and made the fabric what is now known as cut or raised
velvet. Then those parts left bare of the silken pile were filled
in by hand-embroidery, done in gold, silver, and silks of various
colours, as the fancy of the individual might like, and produced a
mixed work similar to the one before us. The velvet itself of this
specimen is poor in colour and thin in substance, but the gold thread
is of the finest, and admirably put together; and those little specks
of the crimson silk employed in sewing it on, help, in no small
manner, to heighten its brilliancy and effect.
8338.
Part of an Orphrey; ground, gold thread, with ornamentation, in silk,
of a rosette, a tree with flowers, and the inscriptions--“Ave Regina
Celorum,” and “Jhesus.” Cologne work, late 15th century. 22½ inches
by 3¾ inches.
Much, in style, like No. 8320.
8338A.
Part of an Orphrey, woven in silk upon linen; ground, red; pattern, in
gold thread upon blue silk. Cologne work, 15th century. 15½ inches
by 4½ inches.
This and the piece immediately preceding afford us one of the
peculiarities of the German loom, and, in all likelihood, were woven
at Cologne, the great manufacturing centre of Germany in the middle
ages. Such webs were wrought for the orphreys of chasubles, copes,
and dalmatics, &c. The design is stiff, and wanting in much of the
elegance to be found in earlier works of the loom, and, from its
sampler-like look, might, at first sight, be taken for needlework.
8339.
Piece of Silk and Linen Damask; pattern, rich, broad and flowing, in
crimson, on a gold ground. Genoese, late 16th century. 2 feet 4 inches
by 1 foot 11½ inches.
This gives us a fine specimen of Italian weaving in the middle
or latter portion of the 16th century. So rich, and so solid in
materials, it is as bold as it is, at first sight, attractive in its
design, and shows indications of that strap-shaped ornamentation which
soon afterwards became so conspicuous in all cut-work, especially so
in bookbindings, all over Western Europe. Such stuffs were mostly used
for hangings on the walls of state-rooms and the backs of the stalls
in churches, as well as for curtains at the sides of altars.
8340.
Piece of Silk Damask; pattern, of the 16th century revival character,
in crimson upon a yellow ground; probably a border to some other stuff.
Florentine, end of the 16th century, 10½ inches by 5½ inches.
8341.
Piece of Linen and Woollen Damask, white and green; the pattern, birds,
oak-leaves, and acorns. North Italian, end of the 16th century. 7
inches by 5 inches.
Though made out of such humble materials as linen-thread and worsted,
this charming little piece of stuff cannot fail in drawing upon itself
the eye of the observer, by the beauty and elegance which it has about
it.
8342.
Linen Napkin, or rather Sindon or Pyx-cloth, the borders embroidered
with coloured silks and silver-thread. Perhaps Flemish, 16th century.
18½ inches by 16½ inches.
In more senses than one this small linen cloth is of great value,
being, in the first place, a liturgical appliance of the mediæval
period, now unused in this form, certainly unique in this country, and
hardly ever to be met with on the continent, either in private hands
or public collections. According to ancient English custom, the pyx
containing particles of the Blessed Eucharist for giving, at all hours
of day or night, the Holy Communion to the dying, and kept hanging up
over the high altar of every church in this land, was overspread with
one of such fine linen and embroidered veils, as may be seen in an
illumination from the “Life of St. Edmund, King and Martyr,” in the
Harley Collection, British Museum, and engraved in the “Church of our
Fathers,” t. iv. p. 206.
The readers of English history will, no doubt, feel an interest in
this specimen, when they learn that, with such a linen napkin, Mary
Queen of Scots had her face muffled just before she laid her head upon
the block: “Then the maid, Kennedy, took a handkerchief, edged with
gold, in which the Eucharist had formerly been enclosed, and fastened
it over her eyes.” “Pict. Hist. of England, ed. Knight,” t. ii. p.
671. Knight is wrong in saying that the Holy Eucharist had ever been
immediately enclosed in this cloth, which is only the veil that used
to be cast over the pyx or small vessel in which the consecrated hosts
were kept, as we observed in the introduction, § 5.
8343.
Piece of Linen Damask; pattern, of the pomegranate type, with a border
of an armorial shield repeated, and the initials C. L. An edging of
lace is attached to one end. Flemish, middle of the 16th century.
17¼ inches by 13 inches.
The shield is party per pale; in the first, two bars
counter-embattled; in the second, a chevron charged with three
escallop shells.
Most likely this small piece of Flemish napery served as the
finger-cloth or little napkin with which, when saying mass, the priest
dried the tips of his fingers after washing them, the while he said
that prayer, “Munda me, Domine,” &c. in the Salisbury Missal; “Church
of our Fathers,” t. iv. p. 150. By the rubrics of the Roman Missal,
the priest was, and yet is, directed to say, at the ritual washing
of his hands, that portion of the 25th Psalm, which begins, verse
6, “Lavabo manus meas,” &c. “Hierurgia,” p. 21; hence these small
liturgical towels got, and still keep, the name of Lavabo cloths or
Lavaboes, especially in all those countries where the Roman Missal is
in use.
8344.
Piece of Silk Damask; ground, blue and yellow; pattern, a large
conventional flower, with heraldic shields, helmets, and crests.
Italian, late 16th century. 1 foot 8½ inches by 13 inches.
The shields show a pale; the helmets are given sidewise with the
beaver closed; and the crests, a demi-wyvern segeant, but with no
wreath under it, doubtless to show the armorial bearings of the
esquire or gentleman of blood, as, according to the readings of
English blasonry, he could have been of no higher degree, for whom
this stuff had been woven.
8345.
Fragment of an Ecclesiastical Vestment; ground, cloth of gold, diapered
with an elaborate flower-pattern. French, middle of the 16th century. 2
feet 1¼ inches by 1 foot 9 inches.
This valuable specimen of cloth of gold is figured, in small red
lines, with a free and well-designed pattern, and shows us how much
above modern French and Italian toca and lama d’oro were those fine
old cloth of gold stuffs which, in the 16th century, became so
variously employed for secular purposes. Let the reader imagine a
vast round royal tent of such a textile with the banner of a king
fluttering over it, and then he may well conceive why the meadow upon
which it stood was called “the field of the cloth of gold.”
8346.
Piece of Silk and Linen Damask, green and yellow; pattern, a small
conventional flower, probably a furniture stuff. Italian, late 16th
century. 10 inches by 7½ inches.
8347.
Piece of Silk Damask, blue and yellow; pattern of flowers. French, late
16th century. 8 inches square.
In the design of the pattern there is evidently a wish to indicate the
national fleur-de-lis.
8348.
Portion of a Housing or Saddle-cloth, grey velvet, embroidered with
interlaced patterns in silver and gold thread. In one corner is an
armorial shield in silver and coloured silks. Spanish, middle of the
16th century. 1 foot 8½ inches by 6½ inches.
Very probably the blazon of the shield on this curious horse-furniture
may be the canting arms of its primitive owner; and it is _argent_, a
hoopoe _gules_ on a mount _vert_.
8349.
Piece of Silk Damask; green, with the pomegranate pattern. French, end
of the 16th century. 2 feet 7 inches by 1 foot 7 inches.
8350.
Embroidered Girdle; pattern, rectangular, in gold and silver threads
and crimson silk; there are long gold tassels at the ends. French, late
16th century. 6 feet 3 inches by ⅞ inch.
Most likely a liturgical girdle, for the use of which see “Hierurgia,”
p. 426, 2nd edition, and “Church of our Fathers,” t. i. p. 448. Such
ecclesiastical appliances are now become great rarities, and though
this one is very modern, it is not less valuable on that account. The
only other good example known in England is the very fine and ancient
one kept, in Durham Cathedral Library, among the remains of those rich
old vestments found upon the body of a bishop mistaken, by Mr. Raine,
for that of St. Cuthbert. Flat girdles, whenever used in the Latin
rite, were narrow; while those of the Greek and Oriental liturgies are
much broader.
8351.
Linen Cloth; pattern, a white diaper lozenge. Flemish, end of the 16th
century. Shape, oval, diameters 22 inches and 17 inches.
Though of so simple a pattern the design is pleasing, and well brought
out.
8352.
Piece of Silk Damask, sky-blue and white; pattern, intersecting ribbons
with flowers in the spaces. French, late 16th century. 9¾ inches by
4¾ inches.
A very agreeable specimen of the taste of the period and country, as
well as grateful to the eye for the combination and management of its
two colours in such a way that neither overmatches the other--a beauty
often forgotten by the designers of textiles, but to be found in
several other examples of the mediæval loom in this collection.
8353.
Dalmatic of Yellow Silk, damasked with a pattern of the pomegranate
form, in raised velvet, of a lightish green tint. The tissue, Italian,
late 15th century; the embroidery and inscriptions, German, late 15th
century. 7 feet 8 inches by 4 feet 3 inches.
This fine dalmatic--for the liturgical use of which the reader may
consult the “Church of our Fathers,” t. i. p. 375--is rather curious
for the way in which the two very singular tassels hanging on the back
from the shoulders are ornamented. These usual appendages are in this
instance made of remarkably long (15 inches) flakes of white, red,
and deep-brown silken thread, and, instead of silk nobs at the end of
the cords, have large round balls of rock crystal. The orphreys, or
stripes, down both sides, before and behind, are 2½ inches broad,
woven in gold and charged with squares of flower-bearing trees, and
inscribed in blue with “Jhesus,” “Maria.” The fringes on the two
lower borders of the dalmatic, 3½ inches deep, are alternately
red, green, white, and blue, and those on the sides and around the
sleeves are much narrower. The sleeves themselves from being 18 inches
wide at the shoulder become as narrow as 12 inches towards the wrist.
The two apparels on the upper part, before and behind, are woven
in gold, and measure 16½ inches in length, and 5¼ inches in
breadth; the one on the back just under the neck is figured with three
golden-grounded squares, the centre one ornamented with a crimson
quatrefoil, barbed, and enclosing a various-coloured conventional
flower; the other two, with a green tree blossomed with red flowers:
the apparel across the breast is inscribed with the names, in large
blue letters, of “Jhesus,” “Maria.” Half way down the back hangs,
transversely, a shield of arms quarterly, one and four _gules_, two
bars _argent_, between seven fleurs-de-lis, _or_, three, two, and two;
two and three, _sable_ two bars, _argent_: as a crest, a full-forward
open-faced helmet, with six bars all gold, surmounted by a pair of
horns barred _sable_ and _argent_, with mantlings of the same. This
blazon, according to English heraldry, would indicate that the giver
of this splendid vestment--and very likely it was only one of a large
set--could boast, by showing the golden five-barred full-forward
helmet, of royal blood in his pedigree, and was not lower than a Duke
in title. Dr. Bock has figured this finely-preserved dalmatic in his
“Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung,
pt. vii. fig. 1.
8354.
A Cope of Crimson Raised Velvet; pattern of the so-called pomegranate
design. The orphreys and hood embroidered on a golden ground; the
latter with the death of the Blessed Virgin Mary; the former, with
various saints. Velvet, Spanish, the embroidery, German, both of the
end of the 15th century. 10 feet 8 inches by 5 feet 8 inches.
The velvet, both for its ruby tone and richness of pile, is
remarkable, while its design of the pattern is efficiently shown.
The hood which, it should be observed by those curious in liturgical
garments, runs right through the orphreys quite up to the neck, is an
elaborate and well-wrought piece of needlework; and strongly reminds
one of the picture of the same subject--the death-bed of the Mother
of our Lord--by Martin Schön, now in the National Gallery. All the
Apostles are supposed to be gathered round her; to the right of the
spectator stands St. Peter sprinkling her with holy water from the
silver sprinkle in his right hand; next to this chief celebrant is St.
John, the acolyte, with the holy water stoop in his left hand, and in
his right the lighted taper, which he is about to put into the hand of
his adopted mother--an emblem of the lighted lamp with which each wise
virgin in the Gospel awaited the coming of the bridegroom. Behind him
again, and with his back turned, is another apostle, blowing into the
half-extinguished thurible, which he is raising to his mouth; the rest
of the Apostles are nicely grouped around. The ground of this hood
is of rich gold thread, and the figures of the scene are separately
wrought and afterwards “applied.” The orphreys, that are rather
narrow, measuring only 5½ inches in breadth, are of a golden web
and figured, on the right hand side, with St. Mary Magdalen, carrying
a box of ointment in her hands; St. Bernadin of Siena, holding a
circular radiated disc inscribed with I.H.S. in his right hand, and
in his left a Latin cross; St. Bicta--for so the inscription seems
to read--bearing the martyr’s branch of palm in her right hand, and
a sword thrust through her throat; and St. Kymbertus in a cope, with
a crozier in his right hand, and in his left a closed book: on the
left hand orphrey, St. Elizabeth, the Queen of Hungary, with a child’s
article of dress in one hand, and a royal crown upon her head; St.
Severinus, wearing a mitre and cope, and holding in his right hand
a crozier, in his left a church; St. Ursula, with the martyr’s palm
in one hand; in the other a long large silver arrow, and having six
of her martyred virgins at her sides; and St. John Baptist, with the
“Lamb of God” on the palm of his left hand, and the forefinger of the
right outstretched as pointing to it. The heads of all these figures
are done in silk and “applied,” but the hands and diapering of the
garments, as well as the emblems, are wrought by the needle, in gold
or in silk, upon the golden web-ground of these orphreys. At the lower
part of the hood is “applied” a shield--no doubt the armorials of
the giver of this fine cope--party per pale--_gules_ two chevronels
_argent_, a chief _or_--_azure_ three garbs (one lost), _argent_, two
and one.
8355.
Chasuble of Damask Cloth of Gold; the orphreys figured with arabesques
in coloured silk upon a golden ground, and busts of saints embroidered
in coloured silks within circles of gold. There is a shield of arms on
the body of the vestment, on the left side. French, 17th century. 7
feet 3 inches by 2 feet 4 inches.
The cloth of gold is none of the richest, and may have been woven
at Lyons; but the orphreys are good specimens of their time: that
on the back of this vestment, 4¾ inches in width, and made in a
cross, shows a female saint holding a sword in her right hand, and in
her left a two-masted boat--perhaps St. Mary Magdalen, in reference
to her penitence and voyage to France; St. John with a cup, and the
demon serpent coming up out of it; the Empress Helen carrying a
cross (?). The orphrey in front, three inches broad, gives us, in
smaller circles, St. Simon the apostle with his saw; a female saint
(Hedwiges?) holding a cross; and two prophets, each with a rolled-up
scroll in his hand. On the back, and far apart from the orphrey, is
a shield _argent_ (nicely diapered), a chevron _sable_ between three
leaves slipped _vert_, hanging as it does on the left hand, it may be
presumed there was another shield on the right, but it is gone. This
chasuble, small as it is now, must have been sadly reduced across the
shoulders, from its original breadth.
8356.
Piece of Carpet, of wool and hemp; ground, red; pattern, boughs, and
flowers, in blue, and the so-called pomegranate, blue with a large
yellow flower in the middle; border, two stripes blue barred with
yellow, one stripe yellow barred red. Spanish, 16th century. 3 feet 10
inches by 3 feet 7 inches.
In every way like the following specimen of carpeting, with its warp
of hempen thread; and originally employed for the same purpose of
being spread up the steps leading to the altar, but more especially
upon the uppermost or last one for the celebrant to stand on.
8357.
Piece of Carpet; ground, dark blue; pattern, a large so-called
pomegranate design in light blue, spotted with flower-like circles,
white and crimson (now faded). At each end it has a border in red,
blue, green, white, and yellow lines. Spanish, 16th century. 9 feet 3
inches by 8 feet 6 inches.
The warp, as in the foregoing example, is of hempen thread, the woof
of worsted; and this textile was woven in breadths 4 feet 3 inches
wide. In all likelihood this piece of carpeting, valuable because
very rare now, served as the covering for the steps that led up
to the altar, and corresponded to what in some old English church
inventories were called pedalia, or pede-cloths:--“Church of our
Fathers,” i. 268. Finer sorts were spread on high feast days upon the
long form where sat the precentor with his assistant rulers of the
choir, or upon the stools which they separately occupied. Ib. ii. 202.
8358.
Liturgical Cloth of grey linen thread, figured all over with subjects
from the New Testament, angels, apostles, flowers, and monsters.
Rhenish, end of the 14th century. 10 feet by 3 feet.
This curious and valuable piece, of the kind denominated “opus
araneum,” or spider-web, is very likely the oldest as well as one
among the very finest specimens yet known of that peculiar sort of
needlework. The design is divided into two lengths, one much shorter
than the other, and reversed; thus evidently proving that its original
use was to cover, not the altar, but the lectern, upon which the
Evangeliarium, or Book of the Gospels, is put at high mass for the
deacon to sing the gospel from: judging by the subjects wrought upon
it, and in white, it appears to have been intended more especially for
the daily high mass, chaunted in many places every morning in honour
of the Blessed Virgin Mary.
Beginning at the lower part of the longer length, we see an angel,
vested like a deacon, in an appareled and girded alb, playing the
violin, then six apostles--St. Simon with the fuller’s bat in his
hand, St. Matthias with sword and book, St. James the Greater with
pilgrim’s bourdon or staff, St. Jude, or Thaddeus, with club and
book, St. Andrew with book and saltire cross, St. Thomas with spear;
then another like vested angel sounding a guitar--all of which
figures are standing in a row amid oak boughs and flowery branches.
Higher up, and within a large quatrefoil encircled by the words:--☩
“Magnificat: Anima: mea: Dominum;” the Visitation, or the Blessed
Virgin Mary and St. Elizabeth, both with outstretched hands, one
towards the other, the first as a virgin with her hair hanging down
upon her shoulders, the second having her head shrouded in a hood
like a married woman; they stand amid lily-bearing stems (suggested
by the lesson read on that festival from Canticles ii.); in each of
the north and south petals of the quatrefoil is a kneeling angel,
deacon-vested, holding in each hand a bell, which he is ringing,
while in the east and west petals are other like-robed angels, both
incensing with a thurible. Outside the quatrefoil are represented
within circles at the south-west corner the British St. Ursula--one of
the patron saints of Cologne--standing with a book in one hand, and
an arrow in the other; at the south-east corner St. Helen (?), with
cross and book; at the north-west, St. Lucy with book and pincers; at
the north-east, a virgin martyr, with a book and a branch of palm.
At each of the angles, in the corners between the petals, is an open
crown. Above stands in the middle a double-handled vase, between two
wyverns, jessant oak branches. Over this species of heraldic border
is another large quatrefoil arranged in precisely the same manner:
the angels--two with bells, two with thuribles--are there, so too
are the corner crowns, within and encircled by the words ☩ Gloria:
in: exc(e)l(s)is: Deo: et: in: terr(a), we have the Assumption of
the Blessed Virgin Mary, after this manner: seated upon a throne is
our Lord in majesty, that is, crowned and holding the mund or ball
surmounted by a cross in His left hand; with His right He is giving
His blessing to His mother, who is seated also on the same throne,
crowned, with her hair about her shoulders, and with hands upraised
to Him as in the act of prayer. At the top, to the left, is St.
Catherine, with a sword in one hand, a wheel armed with spikes in the
other; to the right, St. Dorothy, with a blooming branch in one hand
and in the other a basket--made like a cup with foot and stem--full
of flowers; below, St. Barbara, with tower and palm-branch, in the
left side; on the other, St. Mary Magdalen, with an ointment box and
palm. Here the design is reversed, and very properly so, as otherwise
it would be, when thrown over the lectern, upside down; and curiously
enough, just at this place there is a large hole, caused, as is clear,
by this part of the needlework being worn away from the continual
rubbing of some boss or ornament at the top of the folding lectern,
which most likely was wrought in iron. This shorter length of the
design--that portion which hung behind--begins with the double-handled
vase and two wyverns, and has but one quatrefoil arranged like the
other two in the front part: within the circle inscribed ☩ Ecce:
ancilla: Domini: fiat: michi--we see the Annunciation; kneeling before
a low reading desk, with an open book upon it, is the Blessed Virgin
Mary, with the Holy Ghost under the form of a nimbed dove coming down
from heaven, signified by the nebulæ or clouds, upon her; and turning
about with arms wide apart, as if in wonderment, she is listening to
Gabriel on his knees and speaking his message in those words:--ave:
gracia: ple(na), traced upon the scroll, which, with both his hands,
he holds before him. In the corners of the petals are, at top, to
the left, a female saint, with a cross in one hand, a closed book in
the other; to the right, a female saint with palm-branch and book;
below, to the left, a female saint--St. Martina, V. M.--with book and
a two-pronged and barbed fork; on the right, a female saint with a
book, and cup with a lid. As the other end began, so this ends, with
a row of eight figures, of which two are angels robed as deacons, one
playing the violin, the other the guitar; then come six apostles--St.
John the Evangelist exorcising the poisoned cup; St. Bartholomew, with
book in one hand and flaying knife in the other; St. Peter, with book
and key; St. Paul, with book and sword held upwards; St. Matthew, with
sword held downwards, and book; St. Philip, with book and cross.
The figures within the quatrefoils and of the apostles are about seven
inches high; those of the female saints--all virgins, as is shown by
the hair hanging in long tresses about their shoulders--measure six
inches. The spaces between are filled in with branches of five-petaled
and barbed roses, and at both ends there originally hung a prettily
knotted long fringe. All the female saints are dressed in gowns with
very long remarkable sleeves--a fashion in woman’s attire which
prevailed at the end of the 14th and beginning of the 15th centuries.
The exact way in which these now very rare specimens of mediæval
needlework used to be employed in the celebration of the liturgy, may
be seen, by a glance, on looking at any of those engravings in which
are figured a few of those old lecterns; made either of light thin
wood, or iron, or of bronze, so as they could be easily folded up:
they were thus with readiness carried about from one part to another
of the choir, or chancel, even by a boy. When set down the veil was
cast over them. Some of our own archæological works afford us good
examples of such lecterns; as fine, if not finer, are those two which
M. Viollet Le Duc has given in his instructive “Dictionnaire du
Mobilier Français,” t. i. pp. 162, 163, especially that from the Hotel
de Cluny. Speaking of the coverings for such lecterns, he tells that
in the treasury of Sens Cathedral there yet may be found one which
is, however, according to his admeasurements, much smaller every way
than this piece of curious needlework before us. Whether the one now
at Sens be of the 10th or 11th century assigned it, far too early date
to our thinking, it cannot, to judge from the coloured plate given by
M. Viollet Le Duc, be put for a moment in competition with the present
one, as an art-work done by the needle. In our own mediæval records
notices of such lecterns may be sometimes found; in the choir of
Cobham College, Kent, A.D. 1479, there was such an article of church
furniture, “Church of our Fathers,” ii. 201, and doubtless it was
usually covered with a veil.
8359.
Chasuble of Silk Damask, green and fawn-coloured, freckled in white
with small flowers, inscriptions, and other ornaments; the pattern,
in bands, consists of a large fan-like flower-bearing plant, and
a double-handled vase, from which shoots up the thin stem of a
tree between two hunting leopards collared, and addorsed, with an
Arabic inscription beneath the vase, both plant and vase occurring
alternately; these bands are separated by a narrower set of bands
divided into squares enclosing birds of prey alternately gardant
segeant. Syrian, late 13th century. 9 feet 5 inches by 4 feet.
This stuff betrays a few lingering traditions of the Persian style
of design, and some people will see in the little tree between those
hunting leopards the “hom,” or sacred tree of the olden belief of
that country. The material of it is thin and poor, and in width it
measures twenty-one inches. The characters under the vase holding
the leopards and “hom,” are but an imitation of Arabic, and hence we
may presume that it was woven by Jewish or Christian workmen for the
European market, and to make it pass better, as if coming from Persia,
inscribed as best they knew how, with Arabic letters, or imitations of
that alphabet.
8360.
Back of a Chasuble, blue silk wrought all over with beasts and birds
in gold beneath trees. The orphrey of crimson silk is embroidered with
flowers and armorial shields. The blue silk, Italian, 14th century; the
orphrey, German, 15th century. 3 feet 8½ inches by 2 feet 5 inches.
The birds that are shown on this blue-grounded piece of rather
shining silk are peahens, standing on green turf sprinkled with
white flowers, and three very much larger flowers stand high above
their heads; the beasts are leopards, with their skin well spotted,
and they seem to be, as it were, scenting and scratching the ground.
The orphrey, cross-shaped, and 5½ inches wide, is overspread with
gracefully intertwined rose-branches, the leaves of which are of gold
shaded green, and the flowers in silver, seeded and barbed. It is
blazoned all over with armorial bearings, seemingly of two houses,
of which the first is a shield, tincture gone, charged with a lion
rampant _or_, langued and armed _gules_; the second, a shield, barry
of twelve, _gules_ and _or_, with a lion rampant, _argent_, langued
and armed _azure_, in the dexter canton. There are three of each of
these shields, and all six are worked on canvas, and afterwards sewed
on. On the upright stem of the cross may be read in places the name
of “Lodewich Fretie,” the individual who bore those arms and gave the
chasuble.
8361.
Dalmatic of blue silk damasked with gold; the pattern consists of
alternate rows of oxen, and pelican-like birds amid flowers and
foliage. North Italian, late 14th century. 7 feet 7½ inches by 4
feet.
A rather showy piece, and very effective in its pattern, though
the gold about the thread with which the design is brought out is
sparingly employed, so that it looks more yellow than metallic. The
sleeves now but eleven inches long, are slit quite up, and were very
likely shortened when the slitting was inflicted on them, and that,
within the last hundred years, in compliance with the somewhat modern
practice that took its rise in France.
8388.
Piece of Embroidery of our Lord upon His mother’s lap. Florentine, 15th
century. 8¼ inches by 5½ inches.
The Blessed Virgin Mary is robed in the usual crimson tunic, and
sky-blue flowing mantle, and bearing, as is customary in the Italian
schools of art, a golden star figured on her left shoulder. Sitting
upon a tasseled cushion, and holding a little bird in His left hand,
we have our Lord quite naked, with His crossed nimb about His
head. Those who bring to mind that lovely picture of Raphael’s, the
so-called “Madonna del Cardellino,” or our Lady of the gold-finch,
will see that such an idea was an old one when that prince of painters
lived. This piece of needlework was originally wrought for the purpose
of being applied, and shows on the back proofs that, in its last use,
it had been pasted on to some vestment or altar-frontal.
8561.
Small Piece of Silk; ground, purple; pattern, boughs of green leaves
twining amid rosettes, green, some with crimson, some with yellow
centres. Sicilian, late 14th century. 6½ inches by 3 inches.
Good in material and pretty in design, though the colours are not
happily contrasted.
8562.
Piece of Silk; ground, purple; pattern, circles inclosing, some a tree
which separates beasts and birds, some a long stripe which seemingly
separates birds, all in yellow. Syrian, 14th century. 1 foot 1½
inches by 7½ inches.
The piece is so faded that with much difficulty its design can be
traced, but enough is discernible to show the Persian feelings in
it. No doubt the beasts are the cheetah or spotted hunting leopard
addorsed and separated by the traditional “hom,” and the birds over
them, put face to face, but parted by the “hom,” are eagles.
8563.
Piece of Yellow Silk; pattern, a broad oval, filled in and surrounded
with floriations. Florentine, 15th century. 11 inches by 7½ inches.
The once elaborate design, now indiscernible, was brought out not by
another coloured silk but by the gearing of the loom; some one, very
recently, has tried to show it by tracing it out in lead-pencil.
8564.
Piece of White Silk; pattern, within circles, two birds addorsed,
regardant, and separated by a tree. Syrian, 14th century. 12¼ inches
by 9 inches.
The satin-like appearance and the creamy tone of this piece make it
very pleasing, and in it we find, as in No. 8562, the same Persian
influences; here, too, we have the mystic “hom,” put in, no doubt, by
Christian hands.
8565.
Piece of Silk Tissue; ground, red; pattern, embroidery in
various-coloured silks, gold thread, and coloured small beads. German,
14th century. 3-⅝ inches by 3¾ inches.
In most of its characters this end of a stole is just like those
attached to the fine specimen noticed under No. 8588.
8566.
Piece of Silk Damask; ground, red; pattern, squares filled in
alternately with a pair of animals and flower-like ornaments. Syrian,
13th century. 7 inches by 2 inches.
The old Persian tradition of the “hom” may be seen here dividing the
two addorsed regardant lionesses, and the whole design is done with
neatness.
8567.
Piece of Silk Damask; ground, red; pattern, two popinjays divided
by a bowl or cup looking much like a crescent moon, in an octagonal
frame-work, all yellow. Spanish, 13th century. 8½ inches by 6 inches.
This stuff is of very light material, which has, however, kept its
colour very well.
8568.
Piece of Gold Tissue, embroidered with the needle; ground, gold;
pattern, the Archangel Gabriel, with his head, hands, folds of his
dress, and lines in his wings done by needle in different coloured
silks. Italian, 14th century. 8½ inches by 5 inches.
This beautiful and rare kind of textile, combined with needlework,
merits the particular attention of those occupied with embroidery. The
loom has done its part well; not so well, however, he or she who had
to fill in the lines, especially the spaces for the hands and head, on
which the features of the face are rather poorly marked.
8569.
Two Portions (joined together) of Gold Tissue; ground, gold; pattern,
in various-coloured silks, of birds, beasts, monsters, and foliage.
English or French, 13th century. 13 inches by 2 inches.
Among the monsters, we have the usual heraldic ones that so often
occur upon the textiles of that period; but the recurrence of the
unmistakable form of the fleurs-de-lis, though sometimes coloured
green, persuades us that this piece, entirely the produce of the
loom, came from French, very likely Parisian hands, and was wrought
for female use, as a band or fillet to confine the hair about the
forehead, just as we see must have been the fashion in England at
the time from the marked way in which that attire is shown in the
illuminations of MSS. and sepulchral effigies of our Plantagenet
epoch. Our countryman, John Garland, tells us, as we noticed in our
Introduction, that women-weavers, in their time, wove such golden
tissues, not only for ecclesiastical, but secular uses; and these two
pieces seem to belong to the latter class.
8570.
Portion of an Orphrey; ground, crimson silk; pattern, foliage with
fruit and flowers in gold. German, 14th century. 9½ inches by 3¾
inches.
So sparingly was the gold twined about the yellow thread, and of such
a debased amalgamation that it has almost entirely disappeared, or
where it remains has turned black.
8571.
Portion of Gold Tissue, figured with birds and beasts in gold upon a
crimson ground. French or English, late 12th century. 9 inches by 2⅛
inches.
When new this textile must have been very pretty; but so fugitive
was its original crimson, that now it looks a lightish brown. Within
circles, divided by a tree made to look like a floriated cross, stands
a lion regardant, and upon the transverse limbs of the cross, as upon
the boughs of a tree, are perched two doves; while the spandrils or
spaces between the circles are filled in with fleurs-de-lis growing
out of leafed stalks. Though, in after times, it may have been applied
to church use, it seems, like the specimen under No. 8569, to have
been at first intended for female dress, either as a girdle or head
attire.
8572.
Two Portions of Embroidery (joined together), the one showing, on
a reddish purple silk ground, figures of birds and animals within
circles, all embroidered in gold; the other, a similar ground and
pattern within lozenges. German, 14th century. 2 feet 1½ inches by 2
inches.
The figures are heraldic monsters with the exception of the three
birds, and are all done with great freedom and spirit; like the
preceding piece, this looks as if it had originally been wrought for
a lady’s girdle. The present two portions seem from the first to have
formed parts of the same ornament, and to have been worked by the same
needle.
8573.
Small Fragment of Red Silk, having a narrow border of purple with
lozenge pattern, in gold. English or French, 13th century. 2 inches by
¾ inch.
Alike, in its original use, to the foregoing pieces.
8574.
Two Fragments (joined together) of Purple Silk, much faded, with a
cotton woof. Byzantine, 12th century. 2½ inches by 1¼ inches.
8575.
Two Fragments (joined together) of Silk and Gold Tissue; ground, light
crimson, now quite faded, bordered green; pattern, an interlacing
strap-work, in gold. English or French, 13th century. 2 inches by 2
inches.
Like, for use, to the other similar specimens.
8576.
Very small Fragment of Gold Tissue on a red ground. 13th century. 1⅜
inches by ½ inch.
This cloth of gold must have been showy from its richness.
8577, 8577A.
Two small Pieces of Silk, Tyrian purple. Byzantine, 12th century. Each
1¼ inches square.
8578, 8578A.
Two Rosettes, in small gold thread on deep purple silk, bordered by an
edging of much lighter purple. 14th century. 1½ inches square; 1
inch square.
8579.
Piece of Silk and Linen Damask; ground, green; pattern, a monster
animal within a circle studded with full moons, and a smaller circle
holding a crescent-moon studded in like manner. Syrian, 13th century. 1
foot 8¼ inches by 1 foot 2 inches.
This bold and effective design is somewhat curious, exhibiting, as it
does, a novel sort of monster which is made up of a dog’s head and
fore-paws, wings erect, and a broad turned-up bushy tail freckled with
squares, in each of which is an ornament affecting sometimes the shape
of an L, sometimes of an F, at others of an A. Around the neck of this
imaginary beast is a collar which, as well as the root of the wing,
shows imitations of Arabic characters.
8580.
Portion of Gold Embroidery; ground, dark blue silk; pattern, large
griffins in gold. Early 13th century. 1 foot 4½ inches by 12½
inches.
Pity it is that we have such a small part, and that so mutilated, of
what must have been such a fine specimen of the needle. Though the
whole pattern may not be made out, enough remains to show that the
griffins, which were langued _gules_, stood in pairs and rampant, both
figured with two-forked tails ending in trefoils, all worked in rich
gold thread.
8581.
Portion of an Orphrey; ground, crimson silk; pattern, stars of eight
points, within squares, both embroidered in gold. 14th century. 5½
inches by 2 inches.
This is one of the very few specimens which have pure gold, or perhaps
only silver-gilt wire, without any admixture of thread in it, employed
in the stars and narrow oblong ornaments in the embroidery, the
wire itself being stitched to its grounding by thin linen thread.
The large and small squares, as well as the borders, are executed in
gold-twisted thread, very poor of its kind. The glittering effect of
the pure metal-wire is very telling.
8582.
Piece of Silk Damask; ground, crimson; pattern, conventional peacocks
and foliage, in yellow. Syrian, 13th century. 13 inches by 9½ inches.
A good design bestowed upon very thin materials.
8583.
Portion of Gold Tissue; ground, light crimson, now quite faded, edged
green; pattern, a diaper of interlacing strap-work. English or French,
13th century. 2½ inches by 1½ inches.
8584.
Portion of Gold Tissue; ground, green, edged crimson; pattern,
lozenge-shaped diaper in gold. English or French, 13th century. 7½
inches by 1 inch.
8585.
Portion of Gold Tissue; ground, green, now quite faded; pattern, in
gold, almost all worn away, a lozenge diaper. English or French, 13th
century. 5 inches by 1½ inches.
This, as well as the other two pieces immediately preceding, were
woven by female hands for the binding of the hair.
8586.
Fragment of Silk Tissue; ground, purple; pattern, small squares, green
and black, enclosing a black disk voided in the middle. Byzantine (?),
12th century. 7 inches by 2 inches.
This stuff, which was thin in its new state, is now very tattered and
its colours dimmed.
8587.
Fragment of Silk Tissue; ground, purple; pattern, a rosette within a
lozenge, with a floral border. Italian, 14th century. 4 inches by 2
inches.
8588.
Stole of Gold Tissue, figured with small beasts, birds, and floriated
ornaments, bordered on one side by a blue stripe edged with white and
charged with ornamentation in gold, on the other, by a green one of a
like character, as well as by two Latin inscriptions. The ends, four
inches long, are of crimson silk, ornamented with seed-pearls, small
red, blue, gold, yellow, and green beads, pieces of gilt-silver, and
have a fringe three inches long, red and green. Sicilian, 13th century.
6 feet by 3¼ inches.
As a piece of textile showing how the weavers of the middle ages
could, when they needed, gear the loom for an intricacy of pattern in
animals as well as inscriptions, this rich cloth of gold is a valuable
specimen. Among the ornaments on the middle band we find doves, harts,
the letter M floriated, winged lions, crosses floriated, crosses
sprouting out on two sides with fleurs-de-lis, four-legged monsters,
some like winged lions, some biting their tails, doves in pairs
upholding a cross, &c.; and above and below these, divided from them
by gracefully ornamented bars, one blue the other green, may be read
this inscription,--“O spes divina, via tuta, potens medicina ☩ Porrige
subsidium, O Sancta Maria, corp. (_sic_) consortem sancte sortis
patrone ministram. ☩ Effice Corneli meeritis (_sic_) prece regna
meri. ☩ O celi porta, nova spes mor. (_sic_) protege, salva, benedic,
sanctifica famulum tuum Alebertum crucis per sinnaculum (_sic_) morbos
averte corporis et anime. Hoc contra signum nullum stet periculum. ☩ O
clemen. (_sic_) Domina spes dese’erantibus una.”
The ends of this stole, German work of the 14th century, widen like
most others of the period, and in their original state seem to have
been studded with small precious stones, the sockets for which are
very discernible amid the beads; and in each centre must have been
let in a tiny illumination, as one still is there showing the Blessed
Virgin Mary with our Lord, as a child, in her arms; and this appears
to have been covered with glass. Amid the beads are yet a few thick
silver-gilt spangles wrought like six-petaled flowers. As a stole,
the present one is very short, owing, no doubt, to a scanty length
of the gold tissue; in fact, it might easily be taken for a long
maniple. When it is remembered that the Suabian house of Hohenstaufen
reigned in Sicily for many years, till overthrown in the person of the
young Conradin, at the battle of Tagliacozzo, by the French Charles
of Anjou, A.D. 1268, we can easily account for Sicilian textiles of
all sorts finding their way, during the period, into Germany. In his
“Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung,
pt. xviii. fig. 3, Dr. Bock has given a figure of this stole.
8589.
Piece of Silk and Linen Tissue; ground, yellow, with a band of crimson;
pattern, crowned kings on horseback amid foliage, each holding on his
wrist a hawk, and having a small dog on the crupper of his saddle.
Sicilian, early 13th century. 1 foot 4½ inches by 7 inches.
From a small piece to the left, figured with what looks like an
English bloodhound or talbot, it would seem that we have not the full
design in the pattern of this curious stuff, which speaks so loudly
of the feudalism of mediæval Italy and other continental countries.
Seldom was a king then figured without his crown, besides carrying
his hawk on hand and being followed by his dogs, like any other lord
of the land. The little hound behind him is somewhat singular. To us
it appears curious that such an elaborate and princely design, meant
evidently for the hangings of some palace, should have been done in
the rather mean materials which we find. Parts seem to have been woven
in gold thread; but so thin and debased was the metal that it is now
quite black, and the linen warp far outweighs the thin silken woof.
8590.
Piece of Silk Tissue; ground, green; pattern, a so-called pomegranate
of elaborate form, amid flowers of white and light purple, now faded,
both largely wrought in gold. Spanish, 15th century. 1 foot 11 inches
by 1 foot 2 inches.
Not only is the design of the pattern very effective, but the gold,
in which the far larger part of it is done, looks bright and rather
rich; yet, by examining it with a powerful glass, we may discover an
ingenious, not to say trickish, way for imitating gold-covered thread.
Skins of thin vellum were gilt, and not very thickly; these were cut
into very narrow filament-like shreds, and in this form--that is,
flat with the shining side facing the eye--afterwards woven into the
pattern as if they were thread, a trick in trade which the Spaniards
learned from the Moors.
The warp is of a poor kind of silk not unlike jute, and the woof is
partly of cotton, partly linen thread, so that with its mock gold
filaments we have a showy textile out of cheap materials; a valuable
specimen of the same sort of stuff from a Saracenic loom will be found
under No. 8639, &c.
8591, 8591A.
Two Pieces of Silk Tissue; ground, a bright green; pattern, not
complete, but showing a well-managed ornamentation, consisting of the
so-called pomegranate with two giraffes below, the heads of which are
in gold, now so faded as to look a purplish black. Sicilian, early
14th century. 7½ inches by 4½ inches; 4½ inches by 4½
inches.
This is a specimen interesting for several reasons. When new and
fresh, this stuff must have been very pleasing; the elaborate design
of its pattern, done in a cheerful spring-like tone of green upon a
ground of a much lighter shade of the same colour, makes it welcome to
the eye. The giraffes, tripping and addorsed, with their long necks
and parded skins, have something like a housing on their backs. From
such a quadruped being figured on this stuff, he who drew the design
must have lived in Africa, or have heard of the animal from the Moors;
he must have been a Christian, too, for green being Mohammed’s own
colour, and even still limited, in its use, to his descendants, no
Saracenic loom would have figured this stuff with a forbidden form
of an animal. Yet, withal, there may be seen upon it strong traces
of Saracenic feeling in its pattern. That singular ornament, made up
of long zero-like forms placed four together in three rows, which we
find upon other examples in this curious collection (No. 8596, &c.),
seems distinctive of some particular locality; so that we may presume
this fine textile to have been wrought at the royal manufactory of
Palermo, where the giraffe might have been well known, where Saracenic
art-traditions a long time lingered; and people cared nothing for
the prohibition of figuring any created form, or of wearing green in
their garments, or hanging their walls with silks dyed green; in some
specimens the zero-like ornamentation takes the shape of our letter U;
moreover the large feathers in the bird’s long tail are sometimes so
figured.
8592.
Piece of Silk Damask; ground, red; pattern, the castle of Castile and
fleur-de-lis, both in yellow. Spanish, 13th century. 10 inches by 6¼
inches.
Though of poor and somewhat flimsy silk, this stuff is not without
some merit, as it shows how exact were the workmen of those days to be
guided by rule in the choice of colour; for instance, the tinctures
here are correct, so far that metal _or_ is put upon colour _gules_.
It was woven in stripes marked by narrow blue lines.
8593.
Portion of some Liturgic Ornament (?); ground, deep blue; pattern,
fleurs-de-lis embroidered in gold. French, 14th century. 7 inches by
3½ inches.
Whether this fragment once formed a part of maniple, stole, or orphrey
for chasuble, cope, dalmatic, or tunicle, it is impossible to say;
heraldically it is quite correct in its tincture, and that is its only
merit.
8594.
Piece of Silk Damask; ground, fawn-colour; pattern, birds and beasts
amid foliage, all in green. Sicilian, early 14th century. 10¼ inches
by 4 inches.
Though every part of the design in the pattern of this charming stuff
is rather small, the whole is admirably clear and well rendered,
and we see a pair of hawks perched, a pair of lions passant, a pair
of flags tripping, a pair of birds (heads reversed), a pair of
monster-birds (perhaps wyverns), and a pair of eagles (much defaced)
with wings displayed. The lions are particularly well drawn.
8595.
Fragment of Silk Tissue; ground, crimson and gold, with three white and
green narrow stripes running down the middle, and an inscription on
each side the stripes. Spanish, 14th century. 7 inches by 6 inches.
The warp is of thick cotton thread, the woof of silk and gold. Though
very much broken, the inscription is Latin, and gives but a very few
entire words, such as “et tui amoris in eis,” with these fragments,
“--tus. Re---- le tuoru--.” From this, however, we are warranted in
thinking this textile to have been wrought, not for any vestment--for
it is too thick, except for an orphrey--but rather for hangings about
the chancel at Whitsuntide. See Introduction, § 5.
8596.
Piece of Silk Damask; ground, light crimson; pattern, in deep
brown, vine-leaves within an ellipsis which has on the outer edge a
crocket-like ornamentation, and on both sides a cluster as if of the
letter U, arranged four in a row, one row above the other. Sicilian,
14th century. 8½ inches by 6 inches.
As we saw in Nos. 8591, 8591A, so here we see that very curious and
not usual ornamentation, in the former instances like an O or zero,
in the present one like another letter, U. The same crispiness in the
foliage may be observed here as there; and in all likelihood both
silks issued from the same city, perhaps from the same loom, but at
different periods, as the one before us does not come up, by any
means, in beauty with those fragments at Nos. 8591, 8591A. In some
instances the feathers in a bird’s tail are made in the shape of our
capital letter U.
8597.
Piece of Silk Damask; ground, blackish purple; pattern, conventional
foliage in greyish purple. Italian, 14th century. 1 foot 8 inches by 1
foot 6 inches.
The foliage, so free and bold, is quite of an architectural character,
and shows a leaning to that peculiar scroll-form so generally to be
seen on Greek fictile vases. Perhaps this stuff was wrought at Reggio
in South Italy; but evidently for secular, not ecclesiastical use.
8598.
Piece of Silk Damask; ground, purple; pattern, large monster birds,
and, within ovals, smaller beasts, all in gold thread, relieved with
green silk. Sicilian, 14th century. 2 feet 4 inches by 10 inches.
The design is bold and very effective, and consists of an oval
bordered very much in the Saracenic style, within which are two
leopards addorsed rampant regardant. Above this oval stand two
wyverns with heads averted and langued green or _vert_. This
alternates with another oval enclosing two dog-like creatures rampant
addorsed regardant; above this two imaginary birds, well crested,
langued _vert_, with heads averted, and seem to be of the cockatoo
family. From the shape of this piece, as we now have it, no doubt its
last use was for a chasuble, but of a very recent make and period; and
sadly cut away at its sides.
8599.
Piece of Silk Damask; ground, green; pattern, in light purple or
violet, an ellipsis filled in with Saracenic ornamentation, having
below two split pomegranates in gold, and above, two giraffes, which
alternate with a pair of long-necked gold-headed birds that are flanked
by an ornament made up of letters like U. Sicilian, 14th century. 1
foot 10½ inches by 2 feet 2 inches.
Though this specimen has been sadly ill-used by time, and made out of
several shreds, it evidently came from the hands that designed and
wrought other pieces (Nos. 8591, 8591A, 8596) in this collection. Upon
this, as upon them, we have the same elements in the pattern--the
ellipsis, the giraffes, and that singular kind of ornamentation, a
sort of letter U or flattened O, not put in for any imaginary beauty
of form, but to indicate either place or manufacturer, being a symbol
which we have yet to learn how to read and understand. That in time we
shall be able to find out its meanings there can be little or no doubt.
Though of so pleasing and elaborate a design, the stuff, in its
materials, is none of the richest.
8600.
Piece of Silk Damask; ground, yellow; the pattern, in violet, an
ellipsis filled in with Saracenic ornamentation. Sicilian, 14th
century. 10 inches by 2¼ inches.
There can be little doubt that this inferior textile, showing, as it
does, the same feelings in its pattern, came from Palermo.
8601.
Piece of Silk Damask; ground, yellow; pattern, a broad stripe of gold
with narrow stripes, two in green, two in blue, and yellow bands
charged with birds and flowers in gold. Spanish, late 14th century. 13
inches by 8 inches.
The narrow stripes running down the broad one, and constituting its
design, are ornamented with square knots of three interlacings and a
saltire of St. Andrew’s cross alternatingly. The bands display birds
of the waterfowl genus--a kind of crested wild-duck--very gracefully
figured as pecking at flowers, one of which seems of the water-lily
tribe.
Here, as at No. 8590, we have the same substitution for gold thread,
of gilt vellum cut into thread-like filaments, and so woven up with
the silk and cotton of which the warp and woof are composed. This,
like its sister specimen, so showy, is just as poor in material; and,
from its thinness, if may have served not so much for an article of
dress as for hangings in churches and state apartments.
8602, 8602A, B, C, D, E.
Six Fragments of Silk Damask; ground, fawn-colour; pattern, a floriated
ellipsis enclosing a pair of eagles, with foliage between the
elliptical figures. Sicilian, 14th century. Dimensions, all small and
various.
In many respects these fragments of the same piece of tissue closely
resemble the fine stuff under No. 8594; the ground, fawn-colour, is
the same; the same too--green, and of the same pleasing tone--is the
colour of its pattern, which, however, gives us the peculiarity of a
knot of two interlacings plentifully strewed amid the foliage. It is
slightly freckled, too, with white.
8603.
Piece of Silk Damask; ground, fawn-colour; pattern, birds in pairs amid
foliage (all green) and flowers, some blue, some gold, now faded black.
Italian, 14th century. 18 inches by 12¾ inches.
Not a satisfactory design, as the birds are in green and hard to be
distinguished from the heavy foliage in which they are placed. The
materials, too, are poor and thin, the warp being cotton.
8604.
Fragment of Silk Damask; ground, deep fawn-colour; pattern, birds
pecking at a flower-stem amid foliage, all yellow, occasionally shaded
deep green. Sicilian, 14th century. 6½ inches by 4½ inches.
As far as it goes, the design is neat and flowing, with the
peculiarity of the deep green, now almost blue, shadings both in the
birds and foliage. The warp is fine cotton, and the whole speaks of a
Sicilian origin.
8605.
Piece of Damask; ground, light purple; pattern, in yellow, a net-like
broad ribbon, within the meshes of which are eight-petaled conventional
flowers. Italian, 14th century.
[Illustration: 8605
SILK DAMASK.
Italian, 14th century.
Vincent Brooks Day & Son, Lith.]
The texture of the specimen is somewhat thin, but the tones of its
two harmonious colours are good, and its pattern, in all its parts,
extremely agreeable; upon those broad ribbon lines of the net, the
branches, sprouting out into trefoils, are gracefully made to twine;
and an inclination to figure a crowned M on every petal of the flower
inside the meshes is very discernible. Possibly Reggio, south of
Naples, is the town where this showy stuff was wrought, serviceable
alike for sacred and secular employment.
8606.
Piece of Silk Damask; ground, black; pattern, not easily discernible,
though evidently elaborate. Italian, 14th century. 10 inches by 6¼
inches.
So much has damp injured this piece that its original black has
become almost brown, and its pattern is well nigh gone. In its fresh
state, however, the design, traces of which show it to have been
sketched in the country and about the time mentioned, was thrown up
satisfactorily, for it was woven in cotton from the silken ground of
the piece.
8607.
Piece of Silk Damask; ground, fawn-colour; pattern, trefoils and
vine-leaves, in green. Sicilian, 14th century. 8¾ inches by 4½
inches.
[Illustration: 8607.
SILK DAMASK.
Sicilian, 14th century.
Vincent Brooks Day & Son, Lith.]
Like all the other specimens of this kind, the present one is pleasing
in its combination of those favourite colours--fawn and light
green--as well as being remarkable for the elegance with which the
foliage is made to twine about its surface; the materials, too, are
thick and lasting.
8608.
Fragment of Silk Damask; ground, dark blue; pattern (very imperfect in
the specimen), an ellipsis filled in with ornamentation and topped by a
floriation, out of which issue birds’ necks and heads, all in lighter
blue, edged with white, and two conventional wild animals in gold, but
now black with tarnish. Sicilian, 14th century. 6 inches by 6 inches.
8609.
Piece of Silk Damask; ground, fawn-colour; pattern, wreaths of white
flowers, green boughs bearing white flowers, forming part of a design
in which an ellipsis in green constitutes a leading portion; and a
broad band figured with scroll-work and an Arabic sentence, all in
gold. Sicilian, 13th century. 1 foot 5½ inches by 5¾ inches.
Probably in the sample before us we behold a work from the royal
looms or “tiraz”--silk-house--of Palermo, when Sicily was under the
sway of France, in the person of a prince belonging to the house of
Anjou. In the first place, we have the fawn--a tone of the murrey
colour of our old English writers--and the light joyous green; in
the second place, the ellipsis was there, though our specimen is too
small to show it all. Those narrow borders that edge the large golden
lettered band present us with a row of golden half-moons and blue
fleurs-de-lis on one side; on the other, a row of golden half-moons
and blue cross-crosslets: on the band itself we find, alternating with
foliage, an oblong square, within which is written a short sentence
in Arabic--a kindly word, a wish of health and happiness to the
wearer--such as was, and still is, the custom among the Arabs. Sure is
it that this textile, if wrought by Saracenic hands, was done under a
Christian prince, and that prince a Frenchman.
8610.
Piece of Silk Damask; ground, fawn-colour; pattern, birds and dogs in
green. Sicilian, 14th century. 1 foot 4½ inches by 10¼ inches.
Like so many other specimens of the Palermitan loom, both in colours
and design, this piece is rather poor in its silk, which is harsh and
somewhat thin. The birds are a swan ruffling up its feathers at the
presence of an eagle perched just overhead, amid branches and foliage
in which the trefoil abounds.
8611.
Piece of Silk Damask; ground, red; pattern, foliage in green, wild dogs
in blue, gold, and white. South Italian, 14th century. 15 inches by
12½ inches.
The wild dogs are segeant face to face, in pairs; one blue, the other
gold; one white, the other gold: and below are flowers blue, gold,
and white, alternating like the animals. The warp is cotton, the woof
silk, and altogether the stuff is coarse.
8612.
Fragments of Silk Damask; ground, black; pattern, a tower surrounded
by water and a figure holding a hawk, and hawks perched, in pairs, on
trees. Italian, 15th century. 9 inches by 5½ inches; 9 inches by
4½ inches.
Pity that this curious piece is so fragmental and decayed that its
singular design cannot, as in another specimen of the very same
tissue, all be made out. Whether it be man or woman standing on
high outside the tower with a bird at rest on the wrist is here
hard to say. The castle is well shown, with its moat, and its
draw-bridges--for it has more than one--all down. Like No. 8606, it
shows its pattern by the difference of material in the warp and woof.
All over it has been thickly sprinkled with thin gilt trefoils that
were not sewed but glued on; many have fallen off, and those remaining
have turned black. See No. 7065.
8613.
Piece of Silk Damask; ground, black; pattern, in gold thread, birds
amid foliage. Italian, 14th century. 14 inches by 7¼ inches.
The bold and facile pattern of this piece is very conspicuous, with
its eagles stooping upon long-necked birds perched on waving boughs;
to much beauty in design it adds, moreover, richness in material.
8614.
Piece of Silk Damask; ground, light brown; pattern, the same colour,
palmettes and rosettes, with Arabic sentences repeated. Attached is a
piece of green silk wrought with gold. Sicilian, 14th century. 16¼
inches by 15½ inches.
A quiet but rich stuff, and especially noticeable for its Arabic or
imitated Arabic inscriptions, one within the rosettes, the other all
round the inner border of the palmettes or elliptical ornamentations.
The cloth of gold is plain.
8615.
Piece of Linen, block-printed in a pattern composed of birds and
foliage. Flemish, late 14th century. 1 foot 9 inches by 3 inches.
Of this kind of block-printed linen, with its graceful design in
black upon a white ground, there are other good examples (Nos. 7027
and 8303) in this collection. From the marks of use upon its canvas
lining, this long narrow strip would seem to have once served as an
apparel to an amice in some poor church.
8616.
Portions of Crimson Silk, brocaded in gold; the pattern, angels holding
crescents beneath crowns, from which come rays of glory, and hunting
leopards seizing on gazelles. Italian, end of 14th century. 2 feet
8¾ inches by 2 feet.
This rich stuff betrays in its design an odd mixture of Asiatic
and European feeling; we have the eastern hunting lion spotted and
collared blue, pouncing on the gazelle or antelope, which is collared
too; so far we have the imitation, but without lettering, of a Persian
or Asiatic pattern. With this we find European, or at least Christian,
angels, clothed in white, but with such curious nebule-nimbs about
their heads as to make their brows look horned, more like spirits of
evil than of good. The open crowns are thoroughly after a western
design; and the head and shoulders of a winged figure, to the left,
show that we have not the entire design before us. From the graceful
way in which the figures are made to float, as well as from several
little things about the scrolls, we may safely conclude that the
designer of the pattern lived in upper Italy, and that this costly and
elegant brocade was wrought at Lucca. Of the Oriental elements of this
pattern we have said a few words at No. 8288.
8617.
Stole of deep purple silk, brocaded in gold and crimson; pattern,
a long flower-bearing stem, and large flowers. Italian, early 15th
century. 9 feet 6 inches by 4 inches.
Like all the old stoles, this is so long as almost to reach down to
the feet, and is rather broader than usual, but does not widen at the
ends, which have a long green fringe. The stuff is of a rich texture,
and the pattern good.
8618.
Part of a Linen Cloth, embroidered with sacred subjects, and inscribed
with the names, in Latin, of the Evangelists. German, end of the 14th
century. 6 feet by 4 feet.
Unfortunately, this curious and very valuable sample of Rhenish
needlework is far from being complete, and has lost a good part of
its original composition on its edges, but much more lamentably on
the right hand side. Not for a moment can we think it to have been
an altar-cloth properly so-called, that is, for spreading out over
the table itself of the altar; but, in all likelihood, it was used
as a reredos or ornament over but behind the altar, as a covering
for the wall. Another beautiful specimen of the same kind has been
already noticed under No. 8358, for throwing over the deacon’s and
subdeacon’s lectern at high mass; and, from the fact that, in both
instances, the subjects figured are in especial honour of the B. V.
Mary, it would seem that, in many German churches, and following a
very ancient tradition that the Blessed Virgin wrought during all her
girlhood days ornaments for the Temple of Jerusalem with her needle,
the custom was to have for the “Mary Mass,” and for altars dedicated
under her name, as many liturgical appliances as might be of this sort
of white needlework, and done by maidens’ hands.
In the centre we have the coronation of the B. V. Mary, executed after
the ordinary fashion, with her hair falling down her shoulders, and a
crown upon her head; she is sitting with arms uplifted in prayer, upon
a Gothic throne, by her Divine Son, who, while holding the mund in
His left, is blessing His mother with raised right hand; over-head is
hovering an angel with a thurible; at each of the four corners is an
Evangelist represented, not only by his usual emblem, but announced by
his name in Latin. At first sight the angel, the emblem of St. Matthew
might be taken for Gabriel announcing the Incarnation to the B. V.
Mary. Above and around are circles formed of the Northern Kraken, four
in number, put in orb, and running round an elaborately floriated
Greek cross, symbolizing the victory of Christianity over heathenism.
In many places, within a gracefully twining wreath of trefoil leaves
and roses barbed, is the letter G, very probably the initial of the
fair hand who wrought and gave this beautiful work to our Lady’s
altar; and the spaces between the subjects are filled in with
well-managed branches of the oak bearing acorns. To the left is seen a
hind or countryman hooded, carrying, hung down from a long club borne
on his shoulder, a dead hare; and further on, still to the left, an
old man who with a lance is trying to slay an unicorn that is running
at full speed to a maiden who is sitting with her hair hanging about
her shoulders, and stroking the forehead of the animal with her left
hand. The symbolism of this curious group, not often to be met with,
significative of the mystery of the Incarnation, is thus explained
by the Anglo-Norman poet, Phillippe de Thaun, who wrote his valuable
“Bestiary” in England for the instruction of his patroness, Adelaide
of Louvaine, Queen to our Henry I:--“Monoceros is an animal which has
one horn on its head; it is caught by means of a virgin: now hear in
what manner. When a man intends to hunt it and to take and ensnare it,
he goes to the forest where is its repair, there he places a virgin
with her breast uncovered, and by its smell the monoceros perceives
it; then it comes to the virgin and kisses her breast, falls asleep on
her lap, and so comes to its death: the man arrives immediately, and
kills it in its sleep, or takes it alive and does as he likes with
it.... A beast of this description signifies Jesus Christ; one God
he is and shall be, and was and will continue so; he placed himself
in the virgin, and took flesh for man’s sake: a virgin she is and
will be, and will always remain. This animal in truth signifies God;
know that the virgin signifies St. Marye; by her breast we understand
similarly Holy Church; and then by the kiss it ought to signify that a
man when he sleeps is in semblance of death; God slept as a man, who
suffered death on the cross, and His destruction was our redemption,
and His labour our repose,” &c.--“Popular Treatises on Science written
during the Middle Ages, &c., and edited for the Historical Society of
Science by T. Wright,” pp. 81, 82.
The figure of the countryman carrying off the hare is brought forward
in illustration. As the rough coarse clown, prowling about the lands
of his lord, wilily entraps the hare in his hidden snares, so does the
devil, by allurements to sin, strive to catch the soul of man. These
interesting symbolisms end the left-hand portion of the reredos. Going
to the right, we find that part torn and injured in such a way that it
is evidently shorn of its due portions, and much of the original so
completely gone that we are unable to hazard a conjecture about the
subject which was figured there.
8619.
Piece of Silk Damask; ground, rose-coloured; pattern, peacocks, eagles,
a small nondescript animal, and a lyre-shaped ornament, all in green,
touched with white. Italian, late 14th century. 11 inches by 10½
inches.
A curious design, in which the birds are boldly and freely drawn. Each
horn of the lyre-shaped ornament ends, bending outwardly with what to
herald’s eyes seems to be two wings conjoined erect.
8620.
Piece of Silk and Gold Damask; ground, dark blue, in some places
faded; pattern, a band charged with squares in gold, every alternate
one inscribed with the same short Arabic word, lions in gold beneath a
tree in light blue shaded white, and cockatoos in gold. Syrian, 14th
century. 19 inches by 13½ inches.
So strong is the likeness between this and the stuff at No. 8359, both
in the texture of the silk and the treatment of the beasts and birds,
that we are led to suppose them to have come from the same identical
workshop. That tree-like ornament, under which the shaggy long-tailed
lion with down-bent head is creeping, seems the traditionary form of
the Persians’ “hom.” The gold is, in most parts, very brilliant, owing
to the broadness of the metal wrapped round the linen thread that
holds it; and, altogether, this is a rich specimen of the Syrian loom.
8621.
Piece of Silk Damask; ground, fawn-colour; pattern, foliage in green,
flowers, some white, some in gold, and lions in gold. Sicilian, late
14th century. 22½ inches by 10 inches.
The warp is of linen, and the silken woof is thin; so sparingly was
the gold bestowed, that it has almost entirely faded; altogether, this
specimen shows a good design wasted upon very poor materials. In the
expanding part of the foliage there seems to be a slight remembrance
of the fleur-de-lis pattern, and the lions are sejant addorsed
regardant.
8622, 8623.
Two Portions of Silk Damask; in both, the ground, fawn-colour; the
pattern, in the one, ramified foliage, amid which two lions sejant
regardant, in gold; in the other, two eagles at rest regardant, in
green, divided by a large green conventional flower, including another
such flower in gold. Sicilian, 14th century. 11 inches by 5¼ inches;
9½ inches by 4¾ inches.
Very likely from the same loom as No. 8621, and every way
corresponding to it.
8624.
Piece of Silk Damask; ground, pale brown; pattern, in a lighter tone,
stags and sunbeams, and below eagles within hexagonal compartments.
Sicilian, late 14th century. 18 inches by 14 inches.
The stags, well attired, are in pairs, couchant, chained, with heads
upturned to sunbeams darting down on them, with spots like rain coming
amid these rays; beneath these stags are eagles. The material is very
thin and poor for such a pleasing design. In a much richer material
part of this same pattern is to be seen at No. 1310.
8625.
Piece of very fine Linen. Oriental. 2 feet 4 inches by 1 foot 5 inches.
This is another of those remarkably delicate textiles for which
Egypt of old was, and India for ages has been, so celebrated. A fine
specimen has been already noticed at No. 8230; but to indicate the
country or the period of either would be but hazarding a conjecture.
Surplices were often made of such fine transparent linen, as is shown
by illuminated MSS. See “Church of our Fathers,” t. ii. p. 20.
8626.
Piece of Silk Damask; ground, fawn-colour; pattern, flowers and birds,
both in green. Italian, end of 14th century. 11 inches by 8½ inches.
[Illustration: 8626
SILK DAMASK.
Italian, 14th century.
Vincent Brooks Day & Son, Lith.]
The birds are in two pairs, one at rest, the other on the wing darting
down; between them is an ornament somewhat heart-shaped, around which
runs an inscription of imitated Arabic. Most likely this silk is of
Sicilian work.
8627.
Piece of Silk Damask; ground, dark blue; pattern, lozenge-shaped
compartments, filled in with quadrangular designs varying alternately.
Spanish, late 14th century. 10½ inches by 8 inches.
There is a Moorish influence in the design, which leads to the
supposition that this stuff was wrought somewhere in the South of
Spain.
8628, 8628A.
Two Fragments of Silk Damask; ground, light yellow; pattern, flowers
and birds, with the letters A and M crowned, all in pale red. Italian,
late 14th century. 6 inches by 5 inches; 6 inches by 3½ inches.
A very pleasing design, in nicely toned colours, and evidently wrought
for hangings, or perhaps curtains, about the altar of the B. V.
Mary, as we have the whole sprinkled with the crowned letters A M,
significative of “Ave Maria.”
8629.
Fragment of Silk Damask; ground, purple; pattern, four green hares in
a park walled, with conventional flowers, yellow. Italian, late 14th
century. 5 inches by 4¾ inches.
The colours, both of the ground and design, of this piece are much
faded, so that it becomes hard, at first sight, to make out the
pattern, especially the four green hares tripping within a park,
which, instead of being shown with pales, has a wall round it.
8630.
Fragment of Silk Damask; ground, red; pattern, foliage and flowers in
green, with animals, alternately in gold and dark blue. Italian, late
14th century. 5 inches by 4 inches.
Though the materials be thin, the design is interesting and displays
taste. The animals, seemingly fawns, are lodged, but so sparingly was
the gold bestowed upon its cotton thread that it has almost entirely
disappeared from the would-be golden deer.
8631.
Fragment of Silk Damask; ground, deep purple; pattern, a circle
inclosing a heart-shaped floral ornament, in red, with an indistinct
ornament, once gold. South of Spain, 14th century. 6¼ inches by
5½ inches.
The colours of what may have been a rich stuff, as well as the
brightness of the gold, are much dulled.
8632.
Piece of Silk Damask; ground, pale yellow; pattern, vine-leaves and
grapes, with the letter A, all in light purple. Italian, late 14th
century. 11¾ inches by 3 inches.
One of those cheerful designs which are to be found in this
collection; and had the specimen been larger, very likely an M would
have been shown under the A.
8633.
Piece of Silk Damask; ground, purple; pattern, within interlacing
strapwork forming a square, two parrots addorsed alternating with
two dogs addorsed, all yellow, with ornamentations of small circles
and flowers, once gold, but now so tarnished that they look black.
Sicilian, 14th century. 5½ inches by 5 inches.
One of those specimens which will be sought by those who want examples
of stuffs figured with animals. This stuff is shewn in Dr. Bock’s
“Dessinateur pour Etoffes,” &c. 3 Livraison.
8634.
Piece of Silk Damask; ground, fawn and green; pattern, small squares
enclosing leaves, birds, and beasts alternately. Italian, 14th century.
7½ inches by 3 inches.
Though small, the pattern is good and comes from either a Sicilian or
a Reggio loom. Lions, and stags with branching horns, eagles, parrots,
and undecipherable birds, in braces with necks crossing one another,
are to be found upon it; among the foliage the vine-leaf prevails.
8635.
Altar Frontal of Linen, embroidered with the filfot in white thread
freckled with spots in blue and green silk, and lozenge-shaped
ornaments in blue, green, and crimson silk. German, 14th century. 3
feet 10 inches square.
There can be little doubt but this piece of needlework was originally
meant for an altar frontal, and its curious but coarser lining, may
have been wrought for the same separate but distinct purpose. The
filfot or gammadion, a favourite object upon vestments, is its chief
adornment, while its lining, a work of a century later, is worked with
a palm-like design in thick linen thread. At a later time, it seems to
have been employed as a covering to the table itself of the altar, and
is plentifully sprinkled with spots of wax-droppings.
8636.
Piece of Linen Cloth, embroidered with filfots, some in white, some in
blue silk. German, 14th century. 1 foot 11 inches by 9 inches.
This handsome piece of napery was evidently woven for the service of
the church, and may have been intended either for frontals to hang in
front of the altar, or as curtains to be suspended away from, but yet
close to, the altar-table on the north and south sides. The favourite
gammadion appears both in the pattern of the loom-work and in the
embroideries wrought by hand, sometimes in blue, sometimes in white
silk, upon it.
8637.
Piece of Silk and Gold Damask; ground, green; pattern, flower-bearing
stems, in gold, amid foliated tracery of a deep green tone, all
enclosed by a golden elliptical border. Italian, early 15th century,
11½ inches by 7½ inches.
This rich and pleasing stuff is most likely from the loom of some
workshop in Lucca and was manufactured for secular purposes, and
deserves attention not only for the goodness of its materials, but for
the beauty of its design.
8638.
PIECE of Thread and Silk Damask; ground, purple slightly mixed with
crimson; pattern, vine-branches bearing grapes and tendrils all in
green, amid which are wyverns in gold, langued green. South Italian,
15th century, 1 foot 1 inch by 9½ inches.
The warp is of thread, and the woof of silk. Such was the poverty of
the gold thread in the wyverns, that it has almost entirely dropped
off or turned black. This specimen shows how, sometimes, a rich
pattern was thrown away upon mean materials. Its uses seem to have
been secular.
8639.
Piece of Silk Damask; ground, gold; pattern, a circle showing, in its
lower half, a crescent moon and an eight-petaled flower, in the round
centre of which is an Arabic inscription, all in black, and the spaces
filled in with a Saracenic scroll in light blue, light green, and
crimson (now faded). Moresco-Spanish, 14th century. 1 foot 1¾ inches
by 5¾ inches.
This unmistakeable specimen of a Saracenic loom would seem to have
been wrought somewhere in the south of Spain, may be at Granada,
Seville, or Cordova.
As a sample of its kind it is valuable, showing, as it does, that the
same feelings which manifested themselves upon Moorish ornamentation
for architecture were displayed in the patterns of textiles among that
people. The fraud, so to say, of gilt shreds of parchment for threads
covered with gold is exemplified here; and hence we may gather that
the Spaniards of the mediæval period learned this trick from their
Saracenic teachers in the arts of the loom. As in No. 8590, &c., so
here, the gold ground is wrought, not in thread twined with gold foil,
but with gilt vellum cut into very narrow filaments, and worked into
the warp so as to lie quite flat.
8640.
Piece of Silk Damask; ground, light blue; pattern, a circle elaborately
filled in with a wreath of leaves edged with a hoop of fleur-de-lis,
and enclosed in an oblong garland made up of boughs and flowers, in a
slightly deeper tone of the same blue. Italian, early 15th century. 1
foot by 8½ inches.
So very like in design to No. 8637, that we may presume it to have
been wrought at Lucca.
8641.
Part of an Orphrey; ground, once crimson, but now faded to a light
brown colour; pattern, quatrefoils, with angles between the leaves,
embroidered with male saints in various colours upon a golden ground.
Each quatrefoil is separated by a knot of three interlacings, and the
sides filled in with a pair of popinjays, gold and green, and two
boughs of the oak bearing acorns, alternately. On both sides runs a
border formed of a scroll of vine-leaves, done alternately in gold and
silver, upon a green silk ground. North Italian, 15th century. 2 feet 7
inches by 5½ inches.
The whole of this elaborate piece of needlework has been done with
much care, and in rich materials; but as the saints have no peculiar
emblems given them, their identification is beyond hope. Whether for
cope or chasuble--for it might have served for either vestment--this
embroidery must have been very effective, from the bold raised nature
of much of its ornamentation.
8642, 8642A.
Two Pieces of Silk Damask; ground, green and fawn; pattern,
intertwining branches of the vine, with bunches of grapes. Sicilian,
14th century. 9¾ inches by 4½ inches; 6 inches by 4 inches.
Another of those graceful green and fawn-coloured silks almost
identical in pattern with others we have seen from the same country.
8643.
Piece of Net-work; ground, reticulated pale brown silk; pattern, a sort
of lozenge, in green and in brown silk, hand-embroidered. German, 14th
century. 7 inches by 5 inches.
From the circular shape of this piece it seems to have been a portion
of female attire, most likely for the shoulders. One of its ornaments
looks very like a modification of one form of the heraldic mill-rind,
with the angular structure.
8644.
Portion of an Orphrey; ground, gold; pattern, a shield of arms, and an
inscription in purple letters, repeated. German, 15th century. 1 foot 9
inches by 2¼ inches.
This specimen of the German loom may have been woven at Cologne,
probably for the narrow orphreys of a whole set of vestments given
to the church by some Duchess of Cleves, of the name of Elizabeth
Vancleve, since, to such a lady, the blazon and the inscription
point. The shield is party per pale _gules_, an escarbuncle _or_; and
_purpure_, a lion rampant _argent_, barred _gules_, ducally crowned
and armed _or_.
8645.
Piece of Linen; ground, light brown; pattern, small blue squares or
lozenges, separated into broad bands by narrow stripes, once ornamented
with green lozenges and bordered all along by red lines. German, 15th
century. 1 foot by 7 inches.
The warp and woof are linen thread; the green of the narrow stripes,
from the small remains, appears to have been woollen.
8646.
Fragment of a Piece of Silk and Gold Embroidery on Linen; ground, as
it now looks, yellow; pattern, interlacing strapwork, forming spaces
charged with the armorial bearings of England, and other blazons,
rudely worked. 14th century. 5 inches by 3½ inches.
So faded are the silks, and so tarnished the gold thread used for
the embroidery of this piece, that, at first sight, the tinctures
of the blazon are not discernible. In the centre we have the three
golden libards or lions of England, and the silk of the ground or
field, on narrow examination, we find to have been scarlet or _gules_;
immediately below is a shield quarterly, 1 and 4 _or_, a lion rampant
_gules_, 2 and 3 _sable_, a lion rampant _or_; immediately above, a
shield _gules_, with three pales _azure_ (?), each charged with what
are seemingly tall crosses (St. Anthony’s) _or_; above, the shield of
England; but to the right hand, on a field barry of twelve _azure_ and
_or_, a lion rampant _gules_; below this shield, another, on a field
_or_, two bars _sable_; these two shields alternate on the other side.
The strapwork all about is fretty _or_, on a field _gules_.
8647.
Piece of Silk and Gold Damask; ground, crimson, sprinkled with gold
stars; pattern, the Annunciation. Italian, 14th century. 1 foot 1¼
inches by 8 inches.
In this admirable specimen of the Florentine loom we have shown us
the B. V. Mary not quite bare-headed, but partly hooded and nimbed,
as queen-like she sits on a throne, with her arms meetly folded on
her breast, the while she listens to the words of the angel who
is on his knees before her, and uplifting his hand in the act of
speaking a benediction, while in his left he holds the lily-branch,
correctly--which is not always so in artworks--blooming with three,
and only three, full-blown flowers. Above the archangel the Holy Ghost
is coming down from heaven in shape of a dove, from whose beak dart
forth long rays of light toward the head of St. Mary. The greater part
of the subject is wrought in gold; the faces, the hands, and flowers
are white, and a very small portion of the draperies blue. The drawing
of the figures is quite after the Umbrian school, and, therefore,
not merely good, but beautiful. In his “Geschichte der Liturgischen
Gewänder des Mittelalters,” 1 Lieferung, pl. xiii. Dr. Bock has
figured it.
8648.
An Embroidered Figure of St. Ursula, within a Gothic niche, which with
much of the drapery, was done in gold, on a ground now brown. Rhenish,
14th century. 8¾ inches by 3¾ inches.
So sadly has the whole of this embroidery suffered, apparently from
damp, that the tints of its silk are gone, and the gold about it all
become black. That this is but one of several figures in an orphrey is
very likely; it gives us the saint with the palm-branch of martyrdom
in one hand, a book in the other, and an arrow slicking in her neck,
the instrument of her death; being of blood royal, she wears a crown;
emblem of heaven and paradise, the ground she treads is all flowery.
8649.
Piece of Woollen Carpet; ground, red; pattern, a green quatrefoil
bearing three white animals. Spanish, late 14th century. 1 foot 11
inches by 1 foot 1 inch.
A most unmistakeable piece of mediæval carpeting; the lively tone
of its red is yet bright. The quatrefoils are quite of the period,
and look like four-petaled roses barbed, that is, with the angular
projection between the petals. So unlion-like are the animals, that we
may not take them as the blazon of the Kingdom of Leon.
8650.
Piece of Silk Damask; ground, crimson; pattern, the so-called artichoke
in yellow and green, lined white, and foliage of green lined white.
Spanish, 15th century. 1 foot 9 inches by 1 foot 4½ inches.
A good example of this showy pattern, once so much in favour, and of
which the materials are very good and substantial; much of the yellow
portions of the design was in gold thread, the metal of which has,
however, almost all gone. From the quantity of glue still sticking to
the hind part of this silk, its last destination would seem to have
been the covering of some state room.
8651.
The “Vernicle,” embroidered in silk, and now sewed on a large piece of
linen. Flemish, middle of 15th century. 9½ inches by 7½ inches;
the linen, 2 feet 10½ inches by 2 feet 9 inches.
To the readers of old English literature, especially of Chaucer,
the term of “Vernicle” will not be unknown, as expressing the
representation of our Saviour’s face, which He is said to have left
upon a napkin handed Him to wipe His brows, by one of those pious
women who crowded after Him on His road to Calvary. It is noticed,
too, in the “Church of our Fathers,” t. iii. p. 438. This piece of
needlework seems to have been cut off from another, and sewed, at a
very much later period, to the large piece of linen to which it is
now attached; for the purpose of being put up either in a private
chapel, or over some very small altar in a church, as a sort of
reredos; or, perhaps, it may have originally been one of the apparels
on an alb: never, however, on an amice, being much too large for such
a purpose. One singularity in the subject is the appearance of crimson
tassels, one at each corner of the napkin figured with our Lord’s
likeness, which is kept with great care still, at Rome, among the
principal relics in St. Peter’s, where it is shown in a solemn manner
on Easter Monday. It is one of those representations of a sacred
subject called by the Greeks ἀχειροποίητος, that is, “not made by
hands,” or, not the work of man, as was noticed in the Introduction to
the present Catalogue.
8652.
Linen Towel, with thread embroidery; pattern, lozenges, some enclosing
flowers, others, lozenges. German, 15th century. 3 feet 11 inches by 1
foot 6½ inches.
Most likely this small piece of linen was meant to be a covering for
a table, or may be the chest of drawers in the vestry, and upon which
the vestments for the day were laid out for the celebrating priest
to put on. In the pattern there is evidently a strong liking for the
gammadion--a kind of figuration constructed out of modifications of
the Greek letter gamma. In England the gammadion became known as the
“filfot,” and seems to have been looked upon as a symbol for the name
Francis or Frances, and is of frequent occurrence in our national
monuments--especially in needlework--belonging to the 14th and 15th
centuries. From the presence of that large eight-petaled flower in
this cloth we are somewhat warranted in thinking that the same hand
that wrought the fine and curious frontal, No. 8709, worked this, and
that her baptismal name was Frances.
8653-8661A.
Ten Fragments of Narrow Laces for edgings to liturgical garments,
woven, some in gold, some in silk, and some in worsted. 8658 is a
specimen of parti-coloured fringe; 8659 shows a two-legged monster as
part of its design; and in 8661 and 8661 A we find a knot much like
the one to which Montagu gives the names of Wake and Ormond, in his
“Guide to the Study of Heraldry,” p. 52.
8662.
The Napkin for a Crozier, of fine linen ornamented with two
narrow perpendicular strips of embroidery of a lozenge pattern in
various-coloured worsteds, and having, at top, a cap-shaped finishing
made of a piece of green raised velvet, which is figured with a bird,
like a peacock, perched just by a well, into which it is looking. At
each corner of this cap is a small parti-coloured tassel, and, at the
top, the short narrow loop by which it hung from the upper part of the
crozier-staff. German, 15th century. 2 feet 2½ inches by 1 foot
8½ inches.
This is another of those liturgical ornaments, valuable, because so
rare, of which we have spoken under No. 8279A. But in the specimen
before us we find it in much diminished form--half only of its usual
size. The design of the raised velvet, in its cap, is as unusual as
curious.
8663.
Linen Cloth, embroidered in coloured silks with sacred emblems and
hagiological subjects, and inscribed with names amid trees and flowers.
German, 15th century. 1 foot 1¾ inches by 4 inches.
In all likelihood this needlework was meant as the covering for a
table in the vestry of some church, or oratory in some lady’s room. On
the left is figured St. George slaying the dragon; next, the pelican
in its piety, above which is the “vernicle,” and over this the word
“Emont,” with a ducal coronet above it. Then the names “Ihs,” “Maria,”
and, above them, the word “Eva” crowned. In the middle of the cloth is
a cross with all the emblems of the Passion around it, as well as a
star and crescent. Then an animal spotted like a panther and chained
to a tree; this is followed by the name “Meltinich;” last of all we
find the name “Amelia,” and beneath, a half-figure of a woman having
long hair with a large comb in her right hand, altogether resembling a
mermaid. At bottom runs a narrow parti-coloured thread fringe.
8664.
Frontlet to an Altar-Cloth, embroidered in coloured silks upon fine
linen, with flower-bearing trees and a shield of the Passion, along
with saints’ names, &c. German, 16th century. 1 foot 1¾ inches by 4
inches.
The shield in the middle is charged with a chalice and consecrated
host, and four wounds (hands and feet) of our Lord. Under one tree
occur the names “Jhesus,” “Maria;” under another, “Andreas,” “Anna.”
From amid the grass on the ground spring up tufts of daisies.
8665.
Piece of Embroidery, done upon fine linen in coloured silks and gold
thread. German, middle of the 15th century. 7½ inches square.
The subject of this piece is the death of the Blessed Virgin Mary,
figured according to the traditional manner much followed by the
mediæval schools of art in most parts of Christendom. It is, however,
to be regretted that this embroidery has been at some time mutilated;
in its original state it may have, perhaps, served as an apparel to an
alb, and occupied the place of one of those to be seen at No. 8710.
8666.
Fragment of thin Silk Damask; pattern, a lozenge-shaped diaper; colour,
a much faded crimson. Oriental, 13th century. 8½ inches by 4½
inches.
Though small, the pattern is pretty, and much resembles a stuff of
silk and gold very lately found in the tomb of one of the Archbishops
of York, in that cathedral.
8667.
Portion of an Orphrey, wrought partly in the loom, partly by the
needle, and figured with an angel-like youth holding before him
an armorial shield, as he stands within a Gothic niche, with an
inscription below his feet. German, very late 15th century. 10½
inches by 5½ inches.
[Illustration: 8667.
EMBROIDERY, SILK & GOLD
Under a Gothic canopy &c. __ German, late 15th century.]
This instructive piece deserves the attention of those who study
embroidery. The loom was geared in such a manner that the spaces for
the head, face, neck, and hands were left quite empty, so that they
might be filled in by the needle. But this was not all the hand had to
do; the architectural features of the canopy, its shading in red, the
nimb, and nicely floriated diapering all over the angel’s golden alb,
were put in by the needle.
The inscription, woven in, reads “Johā vā geyē,” and the piece is
figured in Dr. Bock’s “Geschichte der Liturgischen Gewänder des
Mittelalters,” 2 Lieferung, pl. xv.
8668.
Part of an Orphrey, mostly loom-woven, and figured with the
Crucifixion, on one side of which stands the Blessed Virgin Mary, on
the other, St. John the Evangelist, German, late 15th century. 12¼
inches by 5 inches.
Like the preceding piece, the greater part is woven, even the body
itself of our Lord, so that in His figure, as in those of His mother
and the beloved disciple, the only embroidered portions are the
head and face, besides those blood-spots all over His person, the
tricklings from His five wounds, and the crossed nimb about His head.
8669.
Portion of a Maniple, in much faded tawny silk; pattern, a rose-like
floriation. Flemish, 16th century. 1 foot 10½ inches by 3¼ inches.
Though peculiar, the pattern in the design of this silken stuff is
very pretty; the piece of parti-coloured silken fringe that edges the
end of this maniple is older than the textile to which it is sewed.
8670.
The hind Orphrey for a Chasuble, with embroidered figures applied upon
a ground red and gold. The figures are a knight bareheaded and kneeling
in prayer, with his helmet and shield before him, St. Catherine of
Alexandria, and St. Anthony of Egypt reading a book. German, middle of
the 15th century. 2 feet 11 inches by 5¼ inches.
The figures are well done, and all show the varieties of process
then brought into use; they were worked on canvas, of which the
portions for the face and hands were left untouched, saving by the few
slight stitches required for indicating the hair and features of the
countenance and indications of the fingers. Some of the dress was cut
out of woven cloth of gold and sewed on; other parts worked with the
needle, as were such accessories as books, instruments of martyrdom,
and other such emblems. The knight, probably the giver of the
chasuble, is meant to be indicated by his blazon, which is a shield
_or_ charged with eight _torteaux_ in orle, and this is surmounted
by a golden helmet with mantling, and a crest, consisting of golden
horns fringed with four _torteaux_ each. The ground upon which the
embroideries are set is rich, and woven with golden wheel-like circles
with wavy, not straight, spokes upon a bright red field.
8671.
Fragment of an Orphrey, woven in gold and coloured silks; pattern,
intertwining brambles of the wild rose, bearing flowers seeded and
barbed. German, beginning of the 16th century. 7¾ inches by 4½
inches.
Though the ground is, or rather was, of gold, so sparingly was the
precious metal bestowed upon the thread, that it has been almost
entirely worn away. The same may be said of the very narrow tape with
which, on one of its edges, it is still bordered.
8672.
Part of an Orphrey, embroidered upon linen, in coloured silks, and
figured with St. Anthony and a virgin martyr-saint, both standing
beneath Gothic canopies. Rhenish, late 15th century. 1 foot 9 inches by
3¾ inches.
Notwithstanding the embroidery be somewhat coarse, like much of the
same kind of work at the period, it is so far valuable as it instructs
us how three methods were practised together on one piece. The canvas
ground was left bare at the faces and hands, so that the features of
the one and the joints of the other might be shown by appropriate
stitches in silk. Pieces of golden web, cut to the right size, were
applied for the upper garments of the figures, and the folds shaded
by hand in red silk, and the borders of the robe edged with a small
cording, while all the rest of the work was filled in with needlework.
The closely fitting scull-cap, but more especially the staff ending
in a tau-cross, indicate St. Anthony, but the female saint cannot
be identified; her long hair flowing about her shoulders signifies
that she was a virgin, and the green palm-branch in her right hand
indicates that she underwent martyrdom.
8673.
Piece of Raised Velvet; ground, yellowish pink, the raised velvet,
bright crimson; pattern, a large compound floriation within a circle
formed by small hooked lines having flowers at the cusps, and the round
itself springing out of a somewhat smaller floriation. Flemish, 16th
century. 2 feet 3 inches by 1 foot 1¾ inches.
8674.
Piece of Raised Velvet; the ground, orange, the raised velvet, green;
the pattern, of pomegranate form, within crocketed circles, and
alternating with a large floriation. Flemish, 16th century. 2 feet
4½ inches by 11 inches.
The raised pattern, from its rich pile, stands up well, and was hung
upon walls, or employed for curtains and other household appliances,
for which such stuffs were generally produced.
8675.
Piece of Worsted Needlework; pattern, lozenges after several forms, and
done in various colours. Flemish, 16th century. 18½ inches by 12
inches.
Worked after the same fashion, and with the same materials, that our
ladies at this day employ upon their Berlin wool work.
8676.
Piece of Linen Damask; pattern, artichoke and pomegranate forms.
Flemish, 16th century. 1 foot 3 inches by 1 foot 1¾ inches.
The design is carefully elaborated; and the piece itself is evidence
of the beauty of old Flemish napery.
8677.
A Small Cloth for an Oratory, of fine linen, embroidered with sprigs
of flowers in their proper colours, in silk, and with I. H. S. in red
gothic letters, within a thorn-like wreath in green. Flemish, 16th
century. 2 feet 6 inches by 1 foot 10 inches.
That this cloth has been cut down is evident; the sacred monogram is
not in the middle, and the higher row of flowers is shortened. Though
hemmed with tape on one side, and edged on two sides by very narrow
strong lace, and on the fourth or front border by a broader lace,
its last use was as a covering for some sort of table, not an altar
properly so called; it is by far very much too small for any such
purpose. In all likelihood, this cloth was made to overspread the
top of a praying desk, or some little table strewed with devotional
objects in a bed-room or private oratory.
8678.
Portion of Worsted Embroidery upon light brown linen; the pattern, a
scroll of flowers and foliage in colours German, late 16th century. 1
foot 5¾ inches by 4¼ inches.
The design is made to run along well, and the colours are nicely
contrasted.
8679.
Piece of Silk Damask, of a light red and straw colour; pattern, two
varieties of the pomegranate mixed with large artichokes and small
crowns, and separated by thick branches, which are purpled with broad
ivy-like leaves. Italian, 16th century. 2 feet 10 inches by 1 foot 11
inches.
A bold pattern, remarkable for the originality of some parts of its
design.
8680, 8680A.
Two Pieces of Raised Velvet, green and gold; pattern, a modification of
the favourite pomegranate and its accompanying intertwining foliage;
very large and incomplete. Florentine, early 16th century. 2 feet 1
inch by 9½ inches; 1 foot 3 inches by 10½ inches.
These two pieces give us specimens of those gorgeous stuffs so often
sent forth to the world from the looms of Tuscany, and afford, in
portions of the design, samples of velvet raised upon velvet so very
rarely to be found. The little short loops, or spots, of gold thread,
with which the velvet is in some parts freckled, ought not to go
unnoticed.
8681.
Piece of Embroidery, wrought with a running pattern of leaves and
flowers in coloured threads upon a golden ground, now much tarnished.
German, 16th century, 1 foot 6 inches by 4½ inches.
Embroidery in thread is of somewhat rare occurrence.
8682.
Part of a Web for church use, wrought in thread and silk upon a golden
ground, now much faded. The pattern, trees bearing white flowers,
bunches of white lilies, wheels with stars, and the words “Jhesus,
Maria.” Cologne, late 15th century. 6 feet by 5 inches.
That it once formed a frontlet or border to the front edge of an
altar-cloth is very likely, not only from the spots of wax with which
it is in some parts sprinkled, but more especially from the way in
which its pattern is wrought, so as to be properly seen when stretched
out horizontally.
8683, 8684.
Two Specimens of Web for church use; woven in silks, upon a golden
ground; the first with the sacred name “Jhesus,” and a tree bearing
white and red flowers, with daisies at its foot, and the name “Maria,”
beneath which is a garland of white and red flowers twined about the
letter M; the second, with a round ornament, having red and gold
stars upon a tawny white ground between each of its eight radii,
and underneath the sacred name, in dark blue silk. German, late 15th
century. 1 foot 7½ inches by 2½ inches; 7 inches by 3¼ inches.
Like several other examples of the same kind to be found in this
collection, and wrought for the same liturgical purposes.
8685.
Piece of Raised Velvet, dark blue; pattern, one of the several
varieties of the pomegranate. Italian, 16th century. 1 foot 3½
inches by 1 foot 3 inches.
Rich neither in material nor design, this velvet may have been wrought
not for ecclesiastical but personal use.
8686.
Piece of Silk Damask, purple; pattern, the pomegranate. Italian. 2 feet
5 inches by 11¾ inches.
Like the preceding, meant for personal use, but exhibiting a much
more elaborate design, and the variety of the corn-flower (centaurea)
springing forth all round the pomegranate, which itself grows out of a
fleur-de-lis crown.
8687.
Piece of Embroidery, on canvas; ground, figured with St. John the
Baptist and St. John the Evangelist. Rhenish, 16th century. 1 foot 4
inches square.
To the left is seen St. John the Baptist, clothed in a long garment of
camel-hair and his loins girt with a light-blue girdle, preaching in
the wilderness on the banks of the Jordan. In his left hand he holds
a clasped book, upon which rests the “Lamb of God,” and just over,
a flag, the white field of which is ensigned with a red cross; his
upraised right hand, with the first two fingers elevated as in the act
of blessing, is pointed to the lamb. To the right we have St. John
the Evangelist, holding a cup in one hand, while with the other he
makes the poisonous drug in it harmless by a blessing.
The grounding has been filled in mostly with golden thread, but of
so poor a quality that the thin metal on it is scarcely discernible.
In both figures the whole of the person, the fleshes, as well as
clothing, are all done in woven white silk cut out, shaded, and
featured in colours by the brush, with some little needlework here and
there upon the garments and accessories. The figures of the saints are
“applied;” and one cannot but admire the effect which a few stitches
of rich green silk produce upon the canvas ground, while a piece of
applied silk, slightly shaded by the brush, is an admirable imitation
of a rocky cliff. The two tall trees and green garlands between
them are telling in their warm tones. Altogether this is a precious
specimen of applied work, and merits attention. It seems to have been
the middle piece of a banner used for processions, and may have once
belonged to some church at Cologne dedicated to the two SS. John.
8688.
Portion of an Orphrey, crimson satin, embroidered with flowers in
coloured silk and gold thread. 17th century. 1 foot 3½ inches by 2
inches.
From what liturgical vestment this was taken it would be hard to
guess, but there is no likelihood that it ever ornamented a mitre.
The yellow flowers, of the composite kind, and heart’s-eases are very
nicely done, whether the work of an Italian, French, or German hand.
They have much about them that speaks of France.
8689.
Piece of Raised Velvet, brown, with floriated pattern in gold thread.
North Italy, early 16th century. 1 foot 1½ inches by 6½ inches.
Most likely from the looms of Lucca, and with a pretty diapering in
the gold ground where it is bare of the velvet pile.
8690.
Piece of Green Velvet, spangled with gold, and embroidered with three
armorial shields in gold thread and coloured silks. German, 17th
century. 10 inches by 9¾ inches.
All the shields are very German, especially in their crests. The
shield on the right hand will attract notice by its anomaly; on a
field _azure_ it gives a rose _gules_ barbed _green_, or colour upon
colour; the crest, too, is a curiosity, at least in English blazon,
displaying an Elector’s cap with very tall bullrushes, five in number,
and coloured proper, issuing from between the ermine and the crimson
velvet.