first of these, upon a dark blue ground, amid arabesques and monsters
after classic models, are observable the infant Hercules strangling
the two serpents; in the middle, a female holding two ropes, and about
her little boys carrying tall reeds, which at top expand into a cup
full of fire, as she stands upright upon a pedestal over a doorway,
in the tympanum of which, within a round hollow, is the bust of a
man having a wine-jug on one side, and a dish filled with fire on
the other; still further to the right, there is, within an oval, a
child reading at a three-legged desk, and seated on the bending bough
of a tree, at the foot of which is a book, and a comic mask. On the
second band, the ground of which is light blue, within the doorway,
coloured green, stands Hercules cross-legged, bearing in his right
hand his club, and with the left upholding the lion-skin mantle. To
the right, Hercules is seen wrestling; next, Hercules fighting the
Nemean lion with his club; and then the hero shooting with his bow
and arrows the Stymphalian birds, half human in their shape: to the
left, Hercules is beheld strangling with his own hands the Nemean
lion; then he is seen with this dead beast upon his shoulders as he
carries it to Eurystheus; and lastly, he is shown loaded with a blue
globe, marked with the signs of the zodiac, upon his back. On the
third band, which is crimson, we find Hercules, leading by a chain
the many-headed Cerberus from the lower world, having along with him
Athena, who is seen with clasped hands, and Theseus, who is clad in
armour with a reversed dart in his hand; in front lies a dead man. The
middle of this band is filled in with architectural scroll-work, upon
which are seated two half-bust winged figures, one male, the other
female, and hanging between them a shield figured with the rape of
Europa. After this central piece we come to the scene on the journey
into exile of Hercules and his wife Deianira: the centaur Nessus is
carrying the lady in his arms over the river Evenus, and while doing
so insults her, whereupon Hercules lets fly an arrow, on hearing his
wife’s screams, and shoots Nessus to the heart. The whole is enclosed
within a border of a crimson ground, figured with arabesques and heads
of a classic character. The third band has a hermes or terminal post
at each end; and, curiously enough, in the top band, and resting on
the foliations, are four nests of the pelican, billing its breast and
feeding its young ones with its blood; besides this we see in places
two lions rampant, and regularly langued _gules_, being caressed by a
sort of harpy: all of which would lead us to think that in the bird
and the animals we have the armorial charge upon the shield, and its
supporters, of the noble, but now unknown, owner for whom this piece
of tapestry was originally wrought. Its fellow-piece, figured not so
much with the triumphs as the festive joys of Bacchus, is in this
collection.
Tapestry Wall-hanging; ground, white; subject, the young Bacchus on a
cloud, with a cup of wine in one hand, and the thyrsus-staff in the
other; and all about, his symbols. French, or Gobelin, 18th century.
Within a rather broad panelled arch, wine-red in its tone, is figured
the young Bacchus with a couple of thyrsus-staves,
crossed saltire-wise above him: below, is a fountain with an animal’s
face, from the mouth of which runs red wine, and by it two little
satyrs playing with tigers, into whose open maws they are squeezing
the juice of the purple grape. Within a tablet in the higher part are
figured two letters M. M. seemingly the ciphers of the individual for
whom this piece was woven.
Tapestry Wall-hanging; ground, white; subject, Venus surrounded by her
emblems. French, or Gobelin, 18th century.
This is a fellow-piece to the foregoing one, and arranged in the same
manner. Riding on a cloud, Venus holds a small dart, and leans upon
a swan, with a Cupid by her feet. Like the other piece, it has the
cipher M. M.
Tapestry Wall-hanging; ground, mostly white; subject, shepherds and
shepherdesses sacrificing to Pan. French, or Gobelin, 18th century.
This large fine piece has a very cheerful tone, and the background is
so managed as to be very lightsome in its skies, and hills, and water.
In many parts of the costumes, and the vegetation, the colouring is
warm without being dauby or garish.
Tapestry Wall-hanging; subject, Melchizedek bringing bread and wine to
Abram after his victory. Flemish, late 17th century.
On a tablet at the top of the piece is this inscription:--“Sodomâ
expugnatâ Lot capitur. Abram illum recepit. Rex Melchizedek victori
Abram offert panem et vinum.” As the reader will easily bring to
mind, the subject as well as the inscription are borrowed from the
fourteenth chapter of Genesis. Supposing that Sodom, after the
overthrow by Abram’s night attack of the four kings, had been retaken,
and his nephew Lot and his substance freed from the hands of the four
conquered princes, the artist has chosen that point of time in the
story, when Melchizedek, the King of Salem and the Priest of the Most
High, went out to meet Abram as he was coming from the slaughter; and
bringing forth bread and wine, blessed him.
The two principal personages occupy the centre of the foreground.
Crowned as a king and wearing a costly sword, Melchizedek comes
forth with outstretched right hand to welcome Abram, from whom he is
separated by a highly ornamented tall vase full of wine. Behind this
King of Salem one of his own serving men, who carries on his shoulders
a basket full of food, is coming down the wide staircase from which
his royal master has just issued, while outside a doorway, under an
upper portico in the same palace, stand two men gazing on the scene
below them. On the other side of the vase, Abram, holding a long staff
in his right hand, is stepping forwards toward Melchizedek, whom he
salutes with his lowered left hand, and behind him a second servant of
Melchizedek has just set upon the ground a large hamper full of flat
loaves of bread. A little higher in the piece, and somewhat to the
left of this domestic, a group of soldiers are quenching their thirst
gathered about an open tun of wine, which they drink out of a wide
bowl; hastening towards the same spot, as if from an archway, flows a
stream of other military men. Amid the far-off landscape may be seen
banners flying, and beneath them all the turmoils of a battle raging
at its height. To the right, the standard-bearers and some of the
vanquished are seen in headlong flight.
The deep golden-grounded border is parted at bottom by classic
monstrous hermæ, male and female, each wearing a pair of wings by
its ears. The spaces between these grotesques are filled in with
female figures, mostly symbolizing vices. “Violentia” is figured by
a youthful woman, who, with a sheathed sword by her side, is driving
before her a captive young man, whom she holds by the cords which tie
his hands behind him, and whom she hurries onwards by the blows from a
thick staff that she wields in her uplifted right hand. “Depredatio,”
with her fingers ending at their tips in long sharp ravenous nails,
is riding astride a lion. “Gratitudo” is a gentle young maiden, who
is seated with a bird in her lap, a stork, which she seems to be
fondling. “Pugna,” or brawling, is shown by two middle-aged women of
the lower class. With their dishevelled hair hanging all about their
shoulders, they are in the height of a fight, and the woman with a
bunch of keys hanging from her girdle has overcome the other, and
is tugging at one of her long locks. “Tyrannis” is an old haggish
female with dog-like feet, and she brandishes a sword; almost every
one of the other women on the border has, curiously enough, one foot
resembling that of an animal. In several parts of the composition
besides the border, in the warp and for shading, golden thread has
been woven in, but so scantily employed, and the gold itself of such
a debased bad quality, that the metal from being tarnished to quite a
dull black tone is hardly discernible.
The costume, like the scenery and buildings, has nothing of an
oriental character about it, but is fashioned after an imagined
classic model.
Tapestry Wall-hanging; subject, the Progress of Avarice. Flemish,
middle of the 17th century.
Up above within the border of this large piece is a tablet bearing
this inscription:--
“Semper eget sitiens mediis ceu Tantalus undis
Inter anhelatas semper avarus opes.”
Beginning at the top left hand of the subject represented, we see a
murky sort of vapour streaked by a flash of red lightning. Amid this
brownish darkness, peopled with horrid little phantoms and small
fantastic sprites, we discover a diminutive figure of Death wielding a
long-handled curiously-headed scythe.
Just below is a man pointing with his right hand up to Death, and
with his left hand to a little harpy before him; behind him stands a
figure with two heads, one a woman’s, the other a man’s, set together
Januswise. Lower down, and of a much larger size, are three male
figures, one a youth well clad, were it not for his ragged pantaloons,
the next an old man wearing sandals and bearing in his right hand what
looks like a reliquary glazed and coloured red, while in his left he
holds two unfolded scrolls, the upper one of which is illuminated with
a building like a castle, by the side of which stands a man, over
whose head is the tau or T, with a bell hanging under it--the symbols
of St. Anthony of Egypt.
Beside the last personage stands the figure of a monk-like form,
clasping in both hands a pair of beads or rosary. Next we have, half
leaning from out her seat placed upon a car, and bending over an open
chest, into which she is dropping golden pieces of money from her
claw-like fingers, a female form with hideous wings and vulture feet,
such as harpies have. The chariot drawn by a wyvern-like animal, with
its fiery long tongue thrust out, has knocked down an elderly man,
who, from the tonsure on his grey head, would seem to be a priest,
and its wheel is going to crush a youth upon the ground, while the
wyvern’s outstretched claws are about to gripe a ghastly cut-off head.
Hanging on the mouldings of this car are empty money-bags, crumpled-up
deeds, and a wide-open account book. Alongside of this fiendish hag
trips a flaunting courtier; before her rides Midas with ass’s ears to
his bloated face, unkempt locks falling down its sides, a royal diadem
upon his head, and a withered branch in his hand; and, as if bound to
her chariot, walks a king, having with him his queen. Before, but on
one side, paces another crowned prince on horseback, while full in
front rides a third king carrying in his arms a naked woman.
Last of all and heading, as it were, this progress of Avarice, sits a
female figure sidewise on a horse, which she has just reined up. In
her right hand she bears a red standard emblazoned with a monkey on
all fours, sharp clawed, and something which may be meant for gold
pieces.
Flying down from the skies comes an angel, who, with his outstretched
right hand, seems to stay the march of the frightful woman in the
chariot with her kingly rout, and forbid its onward progress.
In the far-off landscape we discover a group of soldiers, near whom
lies stretched out on the ground a dead body, upon which an angel
gazes. Far to the right we find an open building, intended, may be,
for a church; near it are two military men in armour; inside, a third
seems holding out his hand as if he were leaving his offerings on
the altar there. Outside, and not far from this same building, may
be seen other four men, two of them pilgrims, of whom one kneeling
before another looks as if he were making his confession.
The broad border to this large piece is designed with elaborate care.
At each of the two lower corners it is figured with the one same
subject, which consists in a group of three naked winged boys or
angels; of these one holds a short-stemmed cup or chalice, from out
of which rises a host or large round altar bread, showing marked on
it our Lord hanging upon the cross, between the B. V. Mary and St.
John Evangelist; a second angel kneeling has in his hands an uplifted
crown of thorns, while lying behind him are two books; and the third
angel shows us a tablet written with the Greek letters Α Ω. All the
rest of this frame-work is filled in with flowers, fruits, birds,
and snakes. Of the flowers the most frequent are the fritillary,
the rose, the lily, the amaryllis, poppies, white campanulas, large
daisies, fleurs-de-lis, and corn-flowers. Among the fruits we see the
pomegranate, of which some are split, pears, Indian corn, apples,
plums, and figs. The birds are mostly parrots, woodpeckers, storks,
cocks, doves, and some other birds of the smaller kinds. In places may
be discovered a knot of snakes coiled about a garland made of yellow
leaves.
The allegory of the piece is read with ease. The progress of Avarice
is headed by Wickedness, who carries aloft her blood-stained flag,
emblazoned with the monkey, the emblem of moral ugliness and mischief.
Hard upon the heels of Wickedness comes a lecherous potentate, the
type of immorality. The crowned heads, whether mounted or on foot,
that come next have for their brother-companion Midas, the emblem
of the sensual miser’s greed of gold, to remind us how kings, nay
queens too, sometimes thirst for their subjects’ wealth to gratify
their evil wishes; and the gay young man behind them, coming by the
chariot’s side, personates those courtiers who are reckless of what
they do to help their royal masters in their love for lucre. Next we
are told what harpy-avarice will not waver to execute while led on
by wicked sovereigns. Look at those about and beneath her chariot:
from them we learn that she beggars the nobility, and leaves them
to walk through the world in rags; she destroys churches, and, when
lacking other means for her fell purpose, will shed innocent blood
and behead her opponents. But here below, Avarice and those who lead
her on, though they be kings and queens, will have their day: Time
will bring them to a stand. The rifled altar will be ornamented again,
the rites of worship restored, and hospitals reopened. While an angel
from heaven stops the progress of Avarice, high up in the eastern sky
a thunder-storm is gathering; and on earth a man, whilst pointing
with one hand to grim Death, armed with his scythe, amid a cloud of
loathsome winged things flitting around him, with the other that
same person warns a harpy that her sister harpy Avarice will soon be
overtaken; and just as the heathen Januslike figure close by--emblem
of the past, and of a certain future--he also tells her of that just
retribution which, by the hands of Death and in another world, will be
dealt out to herself and all this miscreant company.
It would seem that this piece was wrought to stigmatize the memory of
some of those many wanton acts of spoliation perpetrated in France
and Belgium during the latter years of the 16th and the beginning
of the 17th centuries. Perhaps the clue to the history and import
of this fine specimen of the Flemish loom may be found all about
the person of that old man, who carries in one hand a reliquary so
conspicuously painted red, and in the other two parchment scrolls,
upon one of which we find a sort of sketch of some particular spot,
with an important edifice on it. By its size and look it seems to be
some great hospital, and from the presence there of a man having above
his head the letter tau or T and a bell hanging to it, we are given
to understand that this building belonged to some brotherhood of St.
Anthony, in the service of the sick; and that its suffering inmates
were principally those afflicted with erysipelas, a disease then, and
even yet, called abroad St. Anthony’s fire, once so pestilential that
it often swept away thousands everywhere. Near Vienne, in the South of
France, stood a richly-endowed hospital, founded A.D. 1095, chiefly
for those suffering under this direful malady. This house belonged to
and was administered by Canons Regular of St. Anthony. The town where
it stood was Didier-la-Mothe, better known as Bourg S. Antoine. During
the troubled times in France this great wealthy hospital, here fitly
represented like a town of itself, by those lofty walls and that tall
wide gateway, had been plundered: hence, one of its brothers is shown
upbraiding Avarice for her evil doings, of which those sad tokens of
moneyless purses, well-searched rent-books, and ransacked title-deeds
are still dangling on her car. If not all, most, at least, of the
persons here figured are meant, as is probable, to be characterized
as the likenesses of the very individual victims and the victimizers
portrayed upon this tapestry.
Tapestry Wall-hanging; subject, Abraham’s upper servant meeting Rebecca
at the spring of water. Flemish, late 17th century.
At top, in the middle of the broad border, a tablet gives us the
following inscription:--Cumque pervenisset (servus?) ad fontem et sibi
(aquam?) petiisset et Batuelis filia Rebecca ex hydria potum dedisset
et camelis haustis et filio Abrahe eam fore conjugem oraculo cognovit.
In the twenty-fourth chapter of Genesis we read how Abraham in his
old age sent his eldest servant unto his own country and kindred,
thence to bring back a wife for his son Isaac; and how that man, at
his master’s behest, immediately took ten camels, carrying something
of all his lord’s goods with him, and went on to Mesopotamia, to the
city of Nahor; and how, when he had reached that place, and had made
a halt without the town near a well of water, in the evening, at the
time that women were wont to come out to draw water, he besought
Heaven that the maid to whom he should say, “Let down thy pitcher, I
pray thee, that I may drink, and she shall say, Drink, and I will give
thy camels drink also--let the same be she that Thou hast appointed
for thy servant Isaac.” This faithful steward had not yet ended these
words within himself, and behold Rebecca came out, the daughter of
Bathuel the son of Milcha, wife to Nahor, the brother of Abraham, and
spoke and did as this servant had wished: and then he gave her golden
earrings and bracelets.
As was fitting, the whole scene is laid in the open air, amid a
charming landscape scattered all over with buildings. To the left, in
the foreground, we behold a maid with a pitcher getting water out of
a large square tank, ready, as it seems, for a second serving-woman
to carry off, and who is coming back with another pitcher empty to
be again refilled. In the middle ground a young woman, who carries a
large pot of water on her head, is clambering over a wooden fence, and
going towards an arch or bridge leading to a house.
Right in the centre of the piece stands Rebecca, with one foot resting
on a slab of veined marble, on which is placed a richly ornamented
vase; and from out another like vessel, which she holds up in both her
hands, she is giving drink to the steward Eliezer, who is respectfully
bending forwards while carrying to his lips this same pitcher to
slake his thirst. A kind of short sword, or anelace, dangles from his
girdle, and a long stout staff lies by his feet upon the ground. Two
tall trees with vines twining about them overshadow the spot. In the
distance stand several camels burdened; but behind him, some of his
men, having unloaded one or two of those beasts, are opening certain
gaily ornamented trunks, and looking out, no doubt, the bracelets and
earrings to be afterwards given to Rebecca. In the background are fine
large buildings, fortifications, a castle, and a palace-like erection
conspicuous for its tall tower and cupola, besides the walls of a
little town.
The piece is framed with a very elaborately designed broad border,
containing accessories which show a strong leaning towards the
ornamentation that grew out of the classicism that burst forth at the
end of the fifteenth century all over Europe.
On the lower band, standing one at each side of a short pedestal, or
rather low dado, are, back to back, two bearded grotesques, each of
which is made up of a human head and face having three goats’ horns
growing out of the forehead, and of a wyvern’s body, holding aloft
in one of its claws a tall tapering torch. Further on comes a series
of spaces peopled with emblematic personages, and separated from one
another by two little naked winged boys standing on a highly elaborate
zocle, and with the left hand swinging by a cord, at each end of which
hang from a ring, and done up in bunches, fruits and flowers. In the
first space is “Prudentia,” bearing in her right hand a long-handled
convex mirror, in her left, a human skull; in the second space, upon
a sort of throne, sits “Sollicitudo,” upholding in her right hand an
oblong square time-piece, while on her left, with her elbow propped
up by one arm of her chair, she leans her head as if buried in deep
thought; in the third space sits “Animi-(Probitas)” with both her arms
outstretched, as if reprovingly; in the fourth space we have “Ceres,”
the heathen goddess of corn: crowned with a wreath of the centaurea
flowers, she carries ears of wheat in her right hand, in her left,
a round flat loaf of bread; in the fifth space, “Liberalitas,” who,
from the emblems in her hands, must have been meant to personify not
generosity but freedom, for in her right hand she shows us a hawk’s
jesses, with the bells and their bewits, and on her left wrist, or,
as it should be phrased, the “fist,” the hawk itself without jesses,
bells, lunes, or tyrrits on--in fact quite free.
At the left side of the upright portion of the border, stands first,
within an architectural niche, “Circumspectio,” or Wariness, who,
while she gathers up with her right hand her flowing garments from
hindering her footsteps, with her left, holds an anchor upright, and
carries on her wrist a hawk with two heads, one looking behind, the
other before, fit token of keen-sightedness, which, from a knowledge
of the past, strives to learn wisdom for the future. Higher up
“Adjuratio” is standing, with her right hand outstretched afar, as if
in warning of the awfulness of the act, and her left hand held upon
her bosom in earnest of the truth of what she utters, whilst all about
her head, as if enlightened from heaven, shines a nimb of glory. Last
of all on this side, we have “Bonus zelus,” or Right-Earnestness, in
the figure of a stout, hale husbandman, who is about clasping within
his right arm two straight uprooted saplings, evidently apple-trees,
by the fruit hanging from the wisp which binds them at their middle
height.
Going to the right-hand strip, we find, at the lower end, occupying
her niche, “Pudicitias,” (sic), figured as a young maiden, who holds
upon her breast with her left arm a little lamb, which, with her
uplifted right hand, and the first two fingers put out according to
the Latin rite, she seems to be blessing. In his own niche, and just
overhead, we see “Requisicio,” or Hot-wishfulness, who is shown to
us under the guise of a young knight, girt with an anelace, which
hangs in front of him: in the hollow of his left outstretched hand he
carries a heart--very likely as his own--all on fire. The last of this
very curious series is “Diligentia,” as a matronly woman, who, with
one hand keeping the ample folds of her gown from falling about her
feet, carries the branch of a vine in the other hand.
From the quantities of dulled and blackish spaces all over the
border-ground, and amid the draperies upon the figures in this
tapestry, it is evident that much gold thread was woven into it, so
that when fresh from the loom it must have had a splendour and a
richness of which at present we can image to ourselves but a very
faint idea. Though the glitter of its golden material is gone for
ever, its artistic beauty cannot ever fade. Much gracefulness in the
attitudes, several happy foreshortenings, and a great deal of good
drawing all about this design, show that the man who made the cartoon
must have deeply studied the great masters of Italy, and, in an
especial manner, those belonging to the Roman school: unfortunately,
like all of them, he too had forgot to learn what was the real
Oriental costume, and followed a classic style in dress, which, as he
has given it, is often very incorrect.
Tapestry Wall-hanging; subject, Tobit, the father, sending his son
to the city of Rages for the recovery of the moneys lent to Gabael.
Flemish, late 17th century.
Sitting in the open air, we see first the elder Tobit. Well stricken
in years, and blind, he is leaning his right hand upon a staff; in
his left hand he holds a folded document--the note-of-hand signed by
Gabael. Thinking that he must die in a short time, he has called to
his side his well-beloved child the young Tobias, and after having
given him the most wholesome counsel for his religious and moral
behaviour through life, speaks of his own burial, and how he wishes
that when his wife Sarah’s days are done, the boy should lay his
mother’s body by his father’s in the grave. As an ending to this
discourse, the elder Tobias said, “‘I signify this to thee, that I
committed ten talents to Gabael--at Rages in Media. Seek thee a man
which may go with thee, whiles I yet live--and go and receive the
money.”
Then Tobias going forth, found a beautiful young man, standing girded,
and as it were ready to walk; and not knowing that he was an angel of
God, he saluted him and said: “Canst thou go with me to Rages, and
knowest thou those places well?” To whom the angel said: “I will go
with thee, and I know the way well.” Then Tobias going in told all
these things to his father; and all things being ready, Tobias bade
his father and his mother farewell, and he and the angel set out both
together; and when they were departed, his mother began to weep;
and Tobias went forward, and the dog followed him.--Book of Tobit,
chapters iv. v.
Seated, and leaning his right hand upon his staff, the old man is
outstretching with his left to his starting son the note-of-hand to
Gabael, behind him stands his wife Sarah weeping; before him is his
son, who, leaning his long travelling staff against his shoulder, with
his left hand is about to take the important document from his father,
at the same time that he turns himself half round and points with his
right hand to the angel behind him, as if to comfort his father in
the knowledge that he is to have such a good companion for his guide.
The angel, who carries a traveller’s staff in his left hand, holds
out his right towards the young man, as telling his father and mother
how carefully he would lead him to Rages, and bring him safely home
again. Last of all, and standing beneath a tree we find a saddled
ass with a large gaily ornamented pilgrim’s wooden bottle for water
hanging by its side, and the ass’s head is turned round as if looking
on the faithful dog that is lying on the ground ready to follow his
young master on the way. Magnificent buildings arise as a background
to the spot where we see old Tobit seated, and standing behind him his
weeping wife Sarah. On the threshold of their own fine house behind
them there stands in a niche the statue of Moses, who is figured with
the two horns upon his forehead, as representing the light that shone
about his face, and darted all around it in rays like horns, as he
came from Sinai a second time with tables of the law: his left hand
leans upon those two tables that stand beside him; and on his right
arm lies a long scroll.
The borders all about the piece are made up of wreathed boughs
of foliage, from out of which peep forth fruits and flowers. The
left-hand strip shows a peacock perched upon the stem of a vine, and
little boys are shooting blunt-headed arrows at it: on the strip
to the right, other little boys are disporting themselves amid the
branches, playing music, one beating a drum, a second blowing the
flute, others clambering up amid the roses, fruits and flowers; one
little fellow, conspicuous for his dress, is waving a flag in great
delight: on the lower border children are at their gambols with
equally graceful energy. At every one of the four corners is a large
circle, wrought in imitation of bronze, all in gold, but now so faded
that the smallest lustre from the metal is lacking. They were figured
by the means of outlines done in brown silk, each with a subject drawn
from the Book of Tobit. In the circle, at the upper left-hand corner,
we observe the young Tobias going out from his father to seek, as he
had bidden him, for some trusty guide to Gabael’s house; in the lower
round of the same side the wished-for companion, Raphael in his angel
shape, has been brought in, and is speaking with the blind old man.
Looking at the circle on the upper right-hand of the border we see the
same Tobit giving comfort to his sorrowing wife Sarah, just as both
have been left by their son gone on his journey.
Gold-covered thread has been much employed all about this fine
specimen of tapestry; but, like too many other instances of misapplied
economy in material, this exhibits nothing but blotches of dirty
brownish black in those laces which should have shone with gold.
Tapestry Wall-hanging; ground, rather white; subject, a feast. French,
or Gobelin, 18th century. Lent by the Board of Works.
Within a large stone hall, roughly built and festooned, is spread a
long well-provided table, at which the guests, male and female, are
sitting: in the foreground are the servants, some of whom are shown in
very daring but successful foreshortenings, reminding us somewhat, on
the whole, of one of Paolo Veronese’s banquets, though here we behold
a rustic building in a garden, not an architectural hall in a Venetian
palace.
Tapestry Wall-hanging; ground, mostly white; subject, Cupid among the
rustics. French, or Gobelin, 18th century. Lent by the Board of Works.
Amid the ruins of an Ionic temple in the foreground we have a
shepherd and his dog fast asleep, while a winged youthful genius is
hovering just above, and scattering very plentifully poppy-flowers
all about the spot. Behind, a young little Cupid, seated on a cloud,
is surrounded by a crowd of rustics, men and women, thronging, as it
were, to hear him. As in the other fellow-piece to this, the colouring
is cheerful and very pleasing, in parts so soft and well graduated in
their tones, and so remarkable for their foreshortenings. From their
large size they must have been intended for some great hall, and
seemingly were all wrought for the same spacious room.
Tapestry Hangings for Pilasters; ground, brown; design, arabesques done
in red, blue, and yellow. French, early 18th century. Lent by the Board
of Works.
These two pieces seem to have been especially wrought to cover some
pilasters in a hall, and not to border any larger production of the
loom.
[Illustration]
INDEX I.
ABRAM and MELCHISEDECH figured, 88, 328.
ABRAHAM’s servant meeting Rebecca at the well, 333.
_Adderbury_ Church, Oxon, monster sculptures outside of, 157.
AHASUERUS and ESTHER, figured, 307.
Alhambra, 55.
Alb, apparels for, 65, 146, 199.
---- fine mediæval one, 268.
Algerine embroidery, 18.
_Almeria_, its fine silks, 63.
Altar, cere-cloth for, 160.
Altar-cloths, 60, 62, 73, 79, 265.
Altar-curtains, 51, 201.
Altar-frontals, 14, 31, 87, 101, 265, 266, 267.
Altar-frontlets, 62, 265.
Amices, 185, 195.
Amice, apparel for, 34, 186, &c.
ANASTASIUS BIBLIOTHECARIUS, quoted, 155, 161.
Angels, nine choirs of, 22, 281.
Animals, see Zoology.
Anjou, Royal House of, 32.
ANN of Bohemia, Richard II.’s queen, 53.
Annunciation of the B. V. Mary, figured, 2, 186, 247.
ANTHONY, S., figured, 253, 254.
---- Canons Regular of, 332.
---- fire of, or erysipelas, 332;
hospital for the cure of it at _Bourg S. Antoine_ in the south of
France, 332.
Apparels for Albs, 65, 146, 149, 181, 199, 268.
---- for amices, 34, 185, 187, 195, 234.
Apparels for dalmatics and tunicles, 206.
Apocalypse quoted, 288.
Applied or cut-work, 2, 17, 20, 21, 77, 81, 146, 199, 215, 265.
Arabic inscriptions, real, 179, 232, 238, 243.
---- pretended, 25, 29, 45, 53, 76, 122, 125, 137, 138, 146, 177,
181, 213, 220, 234.
Araneum opus, 162.
Architectural design on stuffs, 10, 32, 33, 108, 131, 150, 233, 252.
Armorial bearings of--
BRANDENBURG, 63.
BASSINGBURN, DE, 285.
_Bohemia_, 63.
BOTILER, Le, 283, 285.
BYGOD, 285.
CHAMBOWE(?), 285.
CHAMPERNOUN, 284.
_Castile and Leon_, 282.
_Cleves_, 22, 246.
CLIFFORD, 283.
_England_, 246, 284.
EVERARD, 283.
_France_, 84.
FERRERS, 282.
FRETIE, 214.
FITTON, 148.
FITZ ALAN, 284.
GRANDISON, one of the coats, 284.
GENEVILLE, 282.
GOLBORE or GROVE, 285.
HAMPDEN(?), 284.
Knights Templar’s badge, 283.
LIMESI or LINDSEY, 283.
LUCY, 285.
MARCK, DE LA, 22.
MONTENEY of _Essex_, 284.
MORTIMER, ROGER DE, 285.
PANDOLFINI, 143.
PERCY, 284.
RIBBESFORD (?), 285.
SHELDON, 284.
SPENCER, 283.
THORNELL of _Suffolk_, 148.
TYDESWALL, 284.
WARWICK, 282.
Assumption of the B. V. Mary figured, 89, 272, 273, 276, 278.
Atonement, symbol of, 30.
_Aubusson_ tapestry and carpets, 306.
_Audenaerde_ famous for its tapestry, 294.
Avarice personified, and progress of, figured, 329.
ἀχειροποίητος, what, 249.
Bags, liturgical, 188, 263;
Persian travelling, 83.
Balaam’s prophecy quoted from Numbers, xxiv. 17, 285.
Balm cloth, 19, 20.
_Bamberg_ cathedral, stuffs there, 153.
Banners for church processions, 259.
_Bath_, old English vestments found hidden in a house at, 88.
_Bayeux_, so-called tapestry, piece of, 6.
Beads, embroidery in, 169.
---- making of, at Venice, 169.
---- or rosary, for prayers, 263.
Beasts, see Zoology.
Beauvais tapestry, 307.
Bed-quilts, 20, 86, 104, 293;
hangings, 107.
BELETH, JOHN, quoted, 277.
BERNARD, ST., chasuble of, 159.
Birds, see Zoology.
Bishops’ liturgical stockings, 56.
Bissus or Byssus, what, 25, 152, 175, 239.
BLACK PRINCE, 129.
Blessing, the liturgical, how given in the Latin rite, 187;
figured as given with the left or wrong hand, 71.
BLICKIN VON LICHTENBERG, ANNA, 94.
Block printing on linen, 118, 120, 183, 184, 234.
---- on diaper, 61.
---- on silk, 31.
BOCK, Rev. Dr., quoted, 25, 26, 29, 34, 45, 49, 52, 55, 58, 60, 89,
122, 123, 151, 152, 155, 158, 162, 165, 169, 175, 184, 187,
207, 223, 242, 247, 252, 264, 270.
_Bohemia_, arms of, 63;
ANN of, 63.
Bordering, or Lace, 160.
Borsa, the Italian, gibeciere or pouch, 3.
Boots or legging, like stockings, worn by bishops while
pontificating, 56.
Botany--
Flowers:
Artichoke, bloom of, 64, 137.
Bignonia, or trumpet flower, 75.
Centaurea, or corn-flower, 47, 49, 53, 62, 89, 99, 258.
Fleur-de-lis, 5, 27, 29, 32, 35, 59, 91, 110, 116, 130, 138, 162,
167, 196, 226.
Frittilary, 66.
Foxglove, or digitalis, 66.
Honeysuckle, 73.
Heartsease, or pansey, 259.
Ivy, 132.
Lily, 69, 89, 110, 115, 257, 310.
Penstemon, 66.
Pinks, 115.
Pomegranate, 11, 12, 13, 14, 20, 66.
Rose, 20, 34, 47, 59, 61, 107, 188, 193, 195.
Trefoil, 137.
Tulips, 42, 62.
Fruits, &c.:
Acorns, 115, 202, 245.
Apples (?), 137.
Arbutus unedo, or strawberry tree, 110.
Artichoke, 36, 47, 60, 62, 64, 65, 66, 69, 70, 72, 73, 80, 114,
115, 116, 118, 129, 130, 134, 145, 152, 192, 256.
Grapes, 49, 69, 74, 75, 163, 241, 245.
Mulberry, 65.
Oranges (?), 137.
Pomegranate, 7, 48, 50, 66, 73, 91, 114, 115, 128, 134, 191, 192,
193, 197, 199, 228, 256, 258.
Strawberry, 110.
Wheat-ears, 90, 113, 137, 177.
Trees:
The Homa, hom, or sacred tree of the Persians, 84, 140, 154, 213,
215, 216, 238.
Oak-leaves, 202, 245.
Vine, 163, 245.
Box for corporals, 112, 193, 194.
---- for reservation of the consecrated Host, from Maundy Thursday
till Good Friday, 112.
_Brandenburg_, arms of, 63.
Brocades, 8, 9, 10, 12, 15, 19, 20, 29, 114, 116, 117, 122, 126, &c.
BROOKE, the Collection, 312.
Bouchier Knot, 168.
Bourgtheroud, Hotel de, at Rouen, 294.
Boy-bishop, 85.
Bugles, 169.
Burse, or corporal-case, 144, 145, 194.
Byssus, see Bissus.
Byzantine stuffs, 155, 159, 160, 161, 219, 222.
C, the letter, interlaced, 5, 38.
_Cairo_, 57.
Canvas, what kind of stuff meant by the word in old inventories, 185.
Cap, scull, 16;
of estate or state, 86.
CAPUANUS, PETRUS, quoted, 286.
Carpet, 66, 83, 209, 248;
see Pedalia, or Pede-cloth.
CAXTON, his translation of the “Legenda Aurea,” quoted, 275, 277.
Cendal, 163.
Cere-cloth, for laying immediately over the altar-stone, 160.
Chairs, seat-covers for, 110.
Charles I.’s scull-cap, 16.
Chasubles, 1, 5, 13, 21, 76, 81, 82, 88, 142, 208, 213, 264, 266, 269.
Chaucer quoted, 64.
Cheetahs, see Zoology.
Chinese silks, &c. 1, 8, 11, 12, 16, 75.
Choirs, nine, of angels, 22, 281.
“Church of our Fathers,” quoted, 19, 34, 36, 46, 85, 103, 170, 174,
181, 186, 194, 196, 202, 203, 205, 206, 210, 239, 248, 265.
Clare, Margaret de, Countess of Cornwall, 6.
CLEVES, princely house of, 246.
CLEVES, its armorial bearings, 22.
Cloth, Corpus Christi, what, 202, 260.
---- for crozier, 174, 250.
---- for lectern, 210, &c.
---- for pyx, 202, 260.
---- of estate, 107.
---- of gold or lama d’oro, 204, 208.
Cluny, Hotel de, at Paris, 212.
Cobham college and church, Kent, iron lectern once at, 213.
Cobweb stuff, so-called, 162.
Collars of Orders--
St. Michael, 84;
The Holy Ghost, 84.
_Cologne_, 61, 187;
painting in cathedral, 187;
woven stuffs for church use, see orphreys of web.
---- embroidery, 61, 66, 67, 246.
Colours, murrey, once such a favourite in England, 9.
---- pink or gules, and green, somewhat peculiar to Parlermitan
looms, 165, 170, 178, &c.
---- those used in the Latin as well as the Greek rite, 172;
black in services for the dead, 197.
Copes, 2, 15, 80, 207, 275.
---- hoods of, 67, 144, 198;
in England, how shaped, 41.
Coral beads, 169.
_Cornelimünster_, abbey of, 26;
sudary of our Lord there, 26.
Coronation of the B. V. Mary figured, 236, 272, 280.
Corporals or square pieces of altar linen, 144, 145, 194, 195.
---- cases for keeping, 112, 144, 145, 194;
see Burse.
Corpus Christi cloths, 202, 260.
Costume, mediæval, 78.
Counterpane, 271.
_Coventry_, its famous gild, 289, &c.
Coverlets, 20, &c.
Cracowes or pointed shoes, so called, 53.
Cradle-coverlets, 4, 13, 66, 67, 100, 103, 104, 110.
Crape, 126.
Creeping to the cross, ceremony of, on Good Friday, 174.
Crescent moon and star, symbolical of our Lord and His church, 285.
Crochet work, 18, 72.
Cross, St. Andrew’s, 161, 229;
the so-called Y cross, 82.
---- cramponnée, 161;
flory, 161;
foliated, 218;
pommée, 140.
---- filfod, 161.
---- gammadion, 161.
---- Greek, figured on stuffs, 160.
---- creeping to, ceremony of, 174.
Crown, supposed, of King Edward the Confessor, 153.
---- of St. Edgitha, 153.
Crozier, napkin for, 174, 250.
Crucifixion figured, 6, 30, 82, 83, 142, 276.
---- with four nails, 30.
---- old English manner of figuring, 276.
Crystal balls, 206.
CURETÓN, Dr., quoted, 179.
Curtains, 7, 12, 13, 15.
---- for the altar, 51, 201.
Cushions, 4, 59, 111, 142, 174, 273.
---- used in the liturgy, 59, 174.
Cut-purse, what meant by the expression, 3.
Cut-work, 22, 76, 141, 189, 199, 259, 292;
see Applied work.
Cyrillian alphabet, the, 172.
Daisies, the symbolism of, 149, see Botany--Flowers.
Dalmaticks, 76, 143, 206, 214, 266.
Dalmatics, apparels on, 206.
Damask, Chinese, 75.
Damasks, figured with pictorial subjects, 165, 184, &c., see “Stuffs
historiated.”
Damask in linen, 73, 201, 203, 238.
---- in linen and woollen, 202.
---- in silk, 10, 11, 13, 15, 25, 41, 42, 43, 47, 48, 49, 50, 52,
55, 56, 57, 62, 67, 72, 73, 74, 81, 113, 114, 115, 116, 121,
124, 125, 126, 127, 128, 129, 130, 131, 133, 136, 137, 138,
139, 140, 152, 154, 155, 156, 159, 160, 162, 163, 168, 190,
191, 196, 197, 202, 203, 204, 205, 206, 213, 215, 216, 221,
224, 225, 226, 227, 228, 229, 233, 234, 237, 238, 239, 240,
241, 244, 245, 251, 256, 274.
Damask in silk and cotton, 60, 166, 167, 230, 231, 262.
---- in silk and gold, 46, 47, 52, 53, 54, 56, 57, 60, 63, 64, 65,
66, 113, 129, 130, 132, 134, 137, 138, 139, 146, 151, 159, 162,
164, 165, 166, 167, 168, 170, 177, 178, 179, 180, 181, 183,
184, 191, 193, 201, 213, 224, 225, 227, 228, 233, 234, 235,
237, 238, 241, 243, 247, 273.
---- in silk and hemp, 164.
---- in silk and linen, 74, 130, 136, 154, 166, 204, 243, 262, 264.
---- in silk and silver, 161, 177, 183.
---- in silk, wool, linen, thread, and gold, 129.
DANIEL, the book of, quoted, 227.
Design, architectural, upon stuffs, 10, 32, 33, 108, 131, 150, 233,
252.
_Didier-la-Mothe_ or _Bourg S. Antoine_ hospital at for those struck
with S. Anthony’s fire or erysipelas, 332.
DIOGENES, subjects, in tapestry, from the life of, 303, &c.
Door-curtains, 7, 12, 13, 15.
Dorneck, a coarser kind of damask so called, 129.
Dory, John, the fish so called, 151.
Dove, emblem of the Holy Ghost, 58.
Dragon, the five-clawed Chinese, 1.
Dress, Lady’s, 14, 18;
and the Brooke Collection, 313, &c.
DUC, M. VIOLLET LE, quoted, 212.
DUGDALE’s St. Paul’s, quoted, 151.
_Durham_, Anglo-Saxon embroidered vestments kept in the cathedral
library at, 205.
Eagle, double-headed, 26, 28, 37, 86.
---- German, of Charles V. of Spain, 7.
Edward I., how he knighted his son, 287;
and swore by the swans that he would wage war against Scotland,
_Ib._
Egyptian gauze, 57;
linen, 25;
silk, 56;
taffeta, 57.
Elephant, 45.
---- and Castle, 170.
Embroidery, Chinese, 7, 12, 16.
---- English, 5, 6, 16, 88, 147, 275, 283.
---- Flemish, 119, 144, 198, 248.
---- Florentine, 58, 91, 111, 120, 142, 214.
---- French, 85, 110, 219, 226.
---- German, 51, 53, 58, 59, 60, 66, 103, 108, 119, 120, 139, 140,
150, 153, 156, 158, 165, 166, 186, 187, 189, 190, 196, 206,
207, 216, 218, 249, 250, 252, 253, 254, 257, 258, 269.
---- Indian, 86, 262.
---- Italian, 71, 145, 199, 271.
---- Persian, 270.
---- Sicilian, 149.
---- Spanish, 65, 82, 204.
---- Syrian, 262.
---- Venetian, 168.
---- in quilting, 14, 16, &c.
---- in waving lines, 59.
---- done in beads, 44, 169, 190.
---- as cut-work and applied, 146, 189, 199, 248.
---- in gold wire, 220.
---- in gold and silver wire, 150.
---- done in solid silver gilt wire, 150, 220.
---- in pearls and precious stones, 199.
---- with goldsmith’s work amid it, 168, 169, 186, 199, 223, 233.
---- in silk, 2, 3, 4, 5, 6, 7, 12, 13, 16, 34, 103, 117, 120, 133,
144, 153, 155, 156, 166, 168, 181, 217, 252, 271, 273, 275.
---- on linen in silk, 29, 58, 60, 65, 119, 186, 187, 189, 258, 262.
---- on linen in thread, 31, 51, 120.
---- done in thread, 19, 20, 53, 58.
---- done in worsted, 140, 256, 262, 269.
---- figured with birds, 16, 158.
---- historic, 7, 91, 147, 150, 269, 273.
---- flowers, 4, 5, 11, 12, 13, 16, 121, 199, 213.
---- figured with saints, 2, 6, 56, 58, 88, 111, 116, 144, 145, 146,
147, 149, 151, 165, 186, 187, 189, 190, 198, 207, 217, 244,
248, 250, 254, 258.
English chintz, 84.
---- conventional flowers in embroidery, 88.
---- purse, 106.
---- quilting, 16, &c.
---- tapestry, 306.
---- textiles in a ribbon-like shape, 24, 33, 38, 161, 217, 218,
219, 221.
---- embroidery, 5, 6, 16, 88, 147, 275, 283;
and “The Brooke Collection,” 312, &c., passim.
---- silks, “The Brooke Collection,” passim, 312.
---- velvet, “The Brooke Collection,” passim, 312.
---- small hand-loom woven strips for stoles, &c., 24, 33, 38, 217,
218, 219, 221.
Erysipelas, or St. Anthony’s fire, hospital for, in France, 332.
ESTHER and AHASUERUS, figured in tapestry, 307.
Eucharist, how borne to the sick and dying, 188.
---- reservation of, 194, 203.
EUSEBIUS, quoted, 280.
Evangelists’ symbols, 149.
EZECHIEL, quoted, 281.
Fan, the liturgic, 60.
Fates, the three, figured, 309.
Fenrir, the Scandinavian fabled water-wolf, 151.
_Festival_, the old English so-called book, quoted, 147, 276.
Filfod, or Full-foot, 161, 174, 242, 249.
Fish, figured, 151.
FITTON, arms of the family of, 148.
Flemish embroidery, 3, 117, 248, 255.
---- linen, damask, or napery, 34, 61, 73, 75, 124, 203, 205, 255,
263.
---- linen, block-printed, 118, 120, 234.
---- napery, 34, 75, 124, 255.
---- silk damask, 190, 191, 197, 252.
---- tapestry, 294, 299, 300, 301, 302, 303, 307, 328, 329, 330, 335.
Flemish velvet, 254, 255, 264.
Florentine embroidery, 58, 91, 111, 120, 142, 214.
---- silk, damasked, 202, 215;
figured with angels, 36, 133.
---- silk and linen, 264.
---- velvets, plain, 12, 142.
---- velvets, with gold, 85, 144, 145.
---- velvets, raised, 18, 82, 144, 145.
---- web for orphreys, 89, 136, 142, 260, 291.
Flowers, see Botany.
----, the English conventional, in embroidery, 88.
Foot-cloths, 140, 263.
Frames for enamels, 34, 85.
FRASER, or FRAZER, Scotch family of, 274.
French cloth of gold, 204, 208.
---- cut-work, 81, 292.
---- embroidery, 5, 7, 14, 19, 21, 29, 107, 205, 226.
---- gloves, 105.
---- heraldry, 14, 29, 130.
---- lace (gold), 131.
---- lectern-veil, 141.
---- purses, 89, 106.
---- quilting, 13, 104.
---- satin, 8, 14, 21, 104.
---- silk, brocaded, 9, 15, 105.
---- silk, damasked, 13, 204, 205, 206.
---- tapestry, 302, 303, 304.
---- velvet, 14, 106.
---- webs, 29, 130.
FRETIE, LODEWICH, 214.
Fringe of gold, 145;
of silk, 252, 266.
Frontals to altars, 14, 31, 87, 101, 265, 266, 267, 293.
Frontlets, 62, 251, 257, 265.
G, the letter as an initial (for Gabriela?), 236.
Gabriel the archangel, how figured, 186, 217.
Gammadion, 34, 60, 127, 174, 175, 185, 242, 249.
GARLAND, JOHN, noticed, 38, 162, 217.
Gauze, 57.
GEISPITZHEIM, HENRY VON, 94;
his armorials, 93.
Genoa brocade, 114, 134.
Genoa damask, 115, 116, 201.
---- silk, 12.
---- velvet, 3, 18, 62, 90, 107, 110, 145, 192, 199, 200, 263.
---- velvet raised, 18, 62, 107, 134.
Geography of textiles, &c.;
see Index II.
German embroidery, 18, 21, 34, 35, 42, 51, 58, 61, 92, 99, 100, 101,
103, 104, 116, 133, 144, 153, 158, 165, 185, 187, 207, 246,
249, 252, 253, 261, 263.
---- embroidery on linen in silk, 29, 55, 59, 60, 62, 109, 133, 139,
174, 186, 187, 196, 242, 250, 261, 266, 267, 270.
---- embroidery on linen in thread, 31, 35, 60, 79, 235, 267.
---- embroidery in thread, 18, 31, 42, 92, 99.
---- embroidery in worsted, 66, 79, 108, 246, 266, 269.
---- napery, 190.
---- netting, 175, 245, 267.
---- silk and linen, 192, 270.
---- tapestry, 296, 298.
---- velvet, 260.
---- webs, 61, 62, 63, 64, 69, 80, 82, 116, 117, 118, 119, 174, 175,
252, 253.
Gianitore, a fish, and what, 151.
Gibeciere, 3.
Gilds, English, 289.
---- their Corpus Christi plays, 289.
---- at Coventry, 289.
---- their members, 289.
---- their vestments, 289.
Gilt parchment, 140, 224, 229, 244.
---- vellum; see gilt parchment.
Gimp, 102.
GIOTTO, 186.
---- and his school of painting, 186.
Girdles, 57, 126, 205, 218, 219.
Girdle at Prato, of the B. V. Mary, 261, 272, 280, 282.
GLOVER, ROBERT, Somerset herald, quoted, 148.
Gloves, ladies’, 105.
Gobelins tapestry, 302, 305.
Golden Legend, Caxton’s English translation quoted, 275, 277.
Goldsmith’s work found upon embroidery and textiles;
see Silversmith’s work.
Good Friday’s celebration, 113.
Good Friday rite among the Greeks, 113, 173.
---- rite among the Latins, 113, 174.
Grail, or Grayle, the liturgic book, what, 34.
Granada textiles, 26, 27, 60, 65, 73, 128, 161, 166.
GRAUNT, Master Thomas, 289.
Greek, alb, chitonion, 171.
---- dalmatic or stoicharion, 171.
---- ritual noticed, 113, 124, 126, 171, 191, 205.
---- stoicharion or dalmatic, 171.
---- textiles, 27, 28, 33, 36, 123, 124, 126, 127.
---- mixed with cotton, 27, 126, 219.
----, thread, 33, 123.
Green, colour of, 57, 281.
Gregory’s (St.), “Pity,” what, 34.
HABACUC, 277.
HAMAN, fall of, figured, 308.
HAMPDEN, arms of (?)
287.
Hand, in benediction, 54.
Hangings of velvet, 17, 18, 107.
---- for walls, wrought of cut-work, and figured with the romance of
Sir Guy, of Warwick, and the Northumbrian “worm” or dragon, 77.
Hare, its symbolic meaning, 237.
Harts, lodged, 43.
HENRY II, emperor of Germany, 153;
tunic of, 153, 154.
Heraldry, 14, 19, 22, 28, 32, 37, 38, 39, 40, 63, 73, 76, 84, 93,
103, 104, 108, 128, 130, 143, 148, 175, 177, 181, 183, 196,
203, 204, 205, 207, 209, 214, 246, 253, 260, 263, 264, 266,
267, 269, 273, 282, 283, &c.
“Hierurgia,” the work so entitled, quoted, 171, 185, 196, 203, 205.
HOLLIS, the brothers’, “Monumental Effigies of Great Britain,”
quoted, 269.
Holosericus, what, 155.
Holy loaf, what, 263.
Hom, or Homa, the Persian sacred tree, 84, 140, 154, 213, 216, 238.
Hood, the, upon English copes, how shaped, 41.
Hoods of copes, 2, 3, 41, 144, 198, 260, 272.
Ωρολογιον, or Horologion, one of the Greek ritual books quoted, 172.
Hotel de Bourgtheroud at Rouen, 294.
HOHENSTAUFEN, House of, 29, 38.
Housing, 204.
HUNSDON, Lord, gave silk stockings to Queen Elizabeth, 200.
Illuminated MSS., gauze between leaves of, 57.
Incarnation, mystery of, how symbolized, 236.
Indian embroidery, 14.
Initials--
Two C’s interlaced, 5, 38.
G, 236.
L and K, 73.
R, 52.
V, four V’s put crosswise, 28.
Inscriptions, 206, 214, 223, 226, 250, 257, 265, 269, 270, 273.
Inscriptions in Arabic, see Arabic.
---- in German, 93, 256, 296.
---- in Greek (Cyrillian letters), 172.
---- in Latin, 31, 62, 66, 80, 82, 89, 111, 119, 148, 166, 176, 187,
201, 206, 210, 211, 223, 226, 257, 264, 265, 269, 305, 329.
----, mediæval, German, 296, 298.
ISAIAS quoted, 281.
Italian altar-frontals, 87, 101, 293.
---- bed-quilt, 293.
---- cut-work applied, 17, 20, 293.
---- silk damask, 11, 13, 15, 25, 33, 46, 56, 58, 60, 73, 74, 81,
115, 129, 130, 136, 162, 163, 165, 196, 206, 227, 230, 233,
239, 240, 242, 256, 258.
---- damask, in silk brocaded with gold, 13, 46, 56, 58, 60, 117,
162, 165, 170, 176, 213, 233, 235.
---- silk, damasked in gold, 177, 181, 183, 241.
---- in silver, 183.
Italian silk, damasked in silk and cotton, 37, 60, 181, 230, 262.
---- in silk and hemp, 164.
---- in silk and linen, 37, 124, 130, 176, 204, 243.
---- embroidery, 4, 12, 34, 58, 87, 91, 101, 120, 121, 244, 293.
---- fringe, 293.
---- lace, (silk), 271.
---- net-work, 3, 4, 101, 162.
---- quilting, 14.
---- satin, 14.
---- velvet in silk, 9, 17, 62, 70, 72, 88.
---- velvet in silk, raised, 62, 80, 87, 89, 185, 194, 258.
---- velvet in worsted, 12.
---- web, 221.
JAMES I, 273.
JAMESON, Mrs. quoted, 198.
Jerusalem, the two stars, symbols of, 55.
John Dory, fish so called, 151.
Jubinal’s work on tapestry noticed, 86.
KENNEDY, Margaret, one of the ladies in waiting on Mary Queen of
Scots at her beheading, 203.
Keys, St. Peter’s, one gold, the other silver, 6.
KNIGHT’s History of England quoted, 203.
Knot, the Bouchier, 168.
---- the Wake and Ormonde, 250.
Knots, 160, 229, 244.
---- petty, 120, 146.
----, love, 123, 157.
Kraken, the Scandinavian fabled sea-monster, 236.
Lace, old English, 6.
---- gold, 6, 131, 160, 197, 249.
---- nuns’, so called, 73.
---- open-worked, 13.
---- silk, 241, 271.
---- silk, and velvet, 85.
----, worsted, 249.
----, woollen and linen, for carriage-trimmings, 191.
Lama d’oro, or cloth of gold, 204.
Lamb, Holy, 58.
Languages, see “Inscriptions.”
Languages--
German mediæval, 296, 298.
Latin rite, 187.
Lappet of a mitre, 51.
Lap-cloths, bishop’s, 19, 20.
Lavabo cloths, 203.
Leather gilt, and used as edging, 65, 78.
Lectern cloths or veils, 20, 141, 145, 210, 261.
Legend, the English Golden, quoted, 275, 277.
----, the Golden, translated by Caxton, quoted, 278, 284, 285.
Λειτουργία των προηγιασμενων, 113.
Lent, and Passion-tide, liturgic colours for, 36, 133.
Lenten vestments, 133.
“Letters,” the “Paston,” noticed, 289.
Linen, or byssus, 25, 152, 175, 239.
---- diaper, 61.
----, embroidered, 29, 65, 71, 181, 185, 190, 235, 242, 246, 249,
250, 251, 255, 256.
---- and gold tissue, 169.
----, printed, 118, 120, 183, 184, 234.
---- and woollen, 246.
Lion, the symbol of Christ, 156.
Liturgical appliances, of rare occurrence in public collections, 99,
112, 120, 142, 171, 174, 184, 186, 188, 196, 202, 205, 210,
242, 243, 250, 263.
Loaf, see Holy Loaf.
---- holy, what, 263.
LOKE, the Scandinavian god, 151.
Lombardy, once famous for its opus araneum, or cobweb weaving, 162.
London wrought stuffs, 161.
Lord, our, how figured on the cross, 276.
Louvre, museum of, silks in, 44.
Love knots, 157.
_Lucca_ damasked silks, 15, 50, 65, 145, 163, 235, 244.
---- damasked silk, brocaded in gold, 243.
---- velvets, 62, 72, 192, 259.
LYDGATE quoted, 288.
_Lyons_, damasked silk, 19, 20, 91, 105.
----, brocaded in gold and silver, 91.
----, in silver, 19.
M, the letter figured on stuffs, 156, 166, 182, 222, 230, 241.
Madonna del Cardellino, 215.
---- della Cintola, subject of, how treated in the Italian schools,
267.
Magdalen College, Oxford, and its builder Waneflete’s fine liturgical
shoes, 46.
“Man of Sorrows,” our Lord as the, 34.
MANDEVILLE, Sir John’s, travels, quoted, 178.
Maniples, 35, 38, 45, 46, 53, 88, 116, 121, 138, 156, 252, 292.
MARCK, DE LA, armorial bearings of the House of, 22.
Marguerite, La, what the flower signifies, 149.
MARTIN’s (Pere), learned and valuable work--“Mélanges d’Archéologie,”
quoted, 44, 130.
Mary, the B. V., her assumption, how figured on the Syon cope, 276.
---- on Florentine textiles, 291. See “Assumption.”
----, B. V., the death and burial of, how figured on the Syon cope,
277.
----, St., of Egypt, her legend figured, 54.
---- Queen of Scots, and the cloth over her face when she was
beheaded, 203.
Mass of the Presanctified, 113.
Matilda, the Norman William’s queen, and the Bayeux so-called
tapestry, 7.
Maundy Thursday, mass on, 112, 194.
Melchizedek and Abram, figured, 88, 328.
Memling and his school of painting, 198.
MERCŒUR, House of, 30.
Michael the archangel, how figured, overcoming Satan, 30, 275.
Midgard, the Scandinavian fabled serpent, 151.
Milan, famed for its looms, 162.
Milanese embroidery, 3.
---- lace, 197.
---- net-work, 200.
---- steel-work, 3.
---- velvet raised, 7.
Missal-cushion, 142.
Missal, the Roman, quoted, 142.
---- the Salisbury, quoted, 284.
Mitre, lappets of, 51, 85.
Monstrance for liturgical use, what, 184.
Moon, crescent, 220, 243.
---- crescent, symbolism of, 288.
---- figured in pictures of the Crucifixion, 30.
Moorish tissue, 123.
Moresque, Spanish, 51, 55, 121, 124, 125, 152, 160, 180, 240, 244.
Moslem use, stuffs for, 57, 61.
Mund or ball, so called, 276.
---- how anciently divided, 276.
Munich, the Maximilian museum at, 153, 154.
_Murano_ and its manufacture of beads, 169.
Murrey-colour liked in the mediæval period by the English, 9.
Musical instruments, mediæval, 23, 157.
Mythology, Scandinavian, 150.
Napery--
Flemish, 34, 61, 73, 75, 124, 203, 205, 255, 263.
German, 62.
Napkins for crozier, 174, 250.
---- embroidered, 99, 100, 101, 261.
Napkin of linen, 35.
---- for pyx, 202, 260.
Neapolitan embroidery, 13.
---- silk, 13.
NECKAM, ALEXANDER, quoted, 286.
Needlework, 79, 99, 100, 101, 262.
---- old English, the admired “opus Anglicum,” 147, 275, 281, 288.
---- old English, how to be known, 288.
Net-work, 3, 4, 61, 101, 107, 175, 200, 245.
_Newburg_, near Vienna, robes at, 38.
Newmarket, king’s house at, 302;
tapestries from, 302.
Nineveh sculptures, 25, 122.
Numbers, Book of, quoted, 288.
Nuns’ lace, 73.
_Nuremberg_, old tapestry wrought at, 298.
Nursery rhymes, old English, 103.
O, the, or zero form of ornamentation, 225, 227, 228.
OAKDEN, RALF, Esq., gift of old English embroidered apparels, 147.
Odilia, a French lady-embroideress, 30.
Opus Anglicum, 275, 281, 288.
---- Araneum, 162, 210.
---- Plumarium, 288, 289.
Oriental damasked silk, 25, 128, 132, 136, 140, 154, 155, 160, 251.
---- brocaded in gold, 25, 133, 137, 138, 151, 156.
---- modern damasked silk, 21.
---- brocaded in gold and silver, 21.
---- very fine linen, or byssus, 239.
Orphreys, embroidered, 1, 6, 21, 29, 55, 68, 76, 82, 117, 120, 143,
145, 168, 189, 244, 245, 247, 252, 253, 254, 259, 265.
---- of web, or woven stuff for the purpose, 28, 33, 61, 62, 68, 80,
83, 89, 112, 116, 118, 119, 136, 143, 161, 174, 175, 191, 201,
207, 208, 252, 253, 265, 291.
Orphrey web, Venetian, 71, 112, 271, 272.
_Orvieto_, altar-frontal from, 101.
OSMONT’s “Volucraire,” or Book on Birds, 286.
Ostrich-feathers figured, 19, 129.
_Palermo_, stuffs woven at, 38, 44, 45, 53, 130, 131, 139, 150, 163,
165, 170, 228, 232.
---- its “Tiraz,” or silk-house, 232.
Pallæ or palls, what, 194, 196.
---- or liturgical palls, 196.
Palls for casting over tombs in churches, 56.
Palm-branch carried by St. John Evangelist at the burial of the B. V.
Mary, 278.
---- held by the Jew as figured on the Syon cope, 280.
PANDOLFINI, armorials of the family of, 143.
Paper, gilt and stamped out like flowers pasted on silken stuffs, 43.
Papyonns, or cheetahs, 154, 178.
Parchment, gilt, 140, 224, 229, 244.
---- gilt and woven into silken stuffs, 132, 140, 224, 229, 244;
the trade trick learned from the Moors by the southern Spaniards,
244.
Parrots; see Zoology--Birds.
“Paston Letters” noticed, 289.
Pastoral amusements, 295, &c.
---- literature, 294.
Paul’s, S. cathedral, London, vestments once belonging to, 151.
Peacock, oaths sworn by the, 287.
---- symbolism of the, 286, &c.
Pedalia or Pede-cloths, 209, 210, 263.
Persian carpeting, 83.
---- damask, silk brocaded in gold, 133.
---- damask, silk and worsted, 84.
---- embroidery, 270.
---- satin, 270.
---- tunic, 270.
Peter’s, St., fish, 151.
Pin, an old one (?), 254.
PITRA, Dom, now Cardinal, quoted, 286.
Pity, the so-called, of St. Gregory, what, 34, 194.
Plumarium Opus, what, 288, 289.
Pomegranate; see Botany--Fruits.
---- ensign of Queen Catherine of Arragon, 134.
---- ensign of Spain, especially of Granada, 7.
---- symbolic meaning of, 13.
Polystauria or stuffs figured all over with the sign of the cross,
161.
Porphyreticum, what, 155.
Pouch, 3.
_Prato_, church of, 261.
Presanctified, mass of, 113.
Printing by block, on silk, 31, &c.;
see Block printing.
Psalms, Book of, quoted, 281.
Purses, 3, 89, 106.
---- liturgical, 188, 263.
Pyx cloth, 202, 260.
Quilting, 14, 16.
---- English, 16.
Quilts, 4, 5, 13, 14, 16, 86, 104, 293.
R, the letter, wrought upon a silken stuff, 52.
Rain-drops, shower of, 52, 54, 239, &c.
RAINE, Mr., his St. Cuthbert, noticed, 205.
RAPHAEL’s Madonna del Cardellino, 215.
REBECCA meeting ABRAHAM’s servant at the well, figured in tapestry,
333.
Relics, bag for, 42.
Reredos of embroidered linen, 53, 235.
Resurrection, how figured on woven stuffs, 113, 272.
---- of our Lord, how embroidered upon the Syon cope, 276.
Rhenish cut or applied work, 21, 258.
---- embroidery, 2, 52, 247, 258.
Ribbon, green silk and gold thread, 121.
RICHARD II.’s monumental effigy in Westminster Abbey, 269.
Rite, Greek, noticed, 113, 124, 126, 171, 191, 205.
---- Latin, 113, 124, 172, 187, 188, 191, 194, 205.
Rock crystal, balls of, used on vestments, 206.
Romance, the, of Sir Guy of Warwick, figured, 77.
Rosary-beads, 263.
Rose of England, 134.
---- red and white, 188.
ROVERE DELLA, family of, 115.
Ruthenic work, 171.
Saddle-bags, 84.
Saddle-cloth, 204.
---- Saints, figured
S. Andrew, Apostle, 158, 279.
S. Ann, mother of the B. V. Mary, 147, &c.
S. Anthony of Egypt, 253, 254.
S. Bartholomew, Apostle, 270.
S. Bernard, 198.
S. Bernard’s life, 198.
St. Blase, 38.
S. Catherine of Alexandria, 253.
S. Christina, and her life, 142.
S. Dorothy, 211.
Santa Francesca Romana, and her life, 92.
S. James, Apostle, called of Compostella, 280.
S. James the Less, Apostle, 280.
S. Jerome, 142.
S. John, Evangelist, 142, 145, 276, &c.
S. Kilian or Kuln, 187.
S. Louis, King of France, 144.
S. Lucy, 142, 211.
S. Mark, Evangelist, 111.
S. Mary, B. V., 148, 210, 211, 236, 251, 260, 272, 273, 276, 279.
St. Mary of Egypt, 54.
S. Mary Magdalen, 30, 209, 211, 280.
S. Michael, Archangel, 30, 275.
S. Odilia, 187.
S. Onuphrius, hermit, 2.
S. Paul, Apostle, 146, 278, 279.
S. Peter, Apostle, 145, 149, 278, 279.
S. Philip, Apostle, 149, 280.
S. Simon, Apostle, 149, 210.
S. Stephen, stoning of, 6, 38.
S. Thomas, Apostle, 279, 280;
see “Girdle at Prato.”
S. Ubaldo, 102.
S. Ursula, 211, 247.
Saints’ tombs, 56.
Salisbury rite, noticed, 34, 36.
SAMPSON slaying the lion, figured, 123.
Saracenic damask, 127, 178, 244.
Sashes, 21.
Satin, 8, 9, 13, 14, 16, 20, 110, 113.
----French, 110.
---- Italian, 113.
Scandinavian mythology, 150.
Scarf, 18.
---- liturgical, 105.
SCHÖN MARTIN, 207.
School, Umbrian, of painting, 184, 186.
---- of Umbria for painting, 247;
and its beauty, 247.
Sclaves, 172.
Scotch embroidery, 273.
SCOTT, SIR WALTER, quoted, 3.
Scull-cap, 16.
SHAW’s “Dresses and Decorations of the Middle Ages,” quoted, 86.
Shoe, liturgical, 46.
Shower of rain-drops, figured, 54, 239.
Sicilian stuffs, 28, 29, 32, 37, 38, 39, 40, 41, 43, 44, 45, 46, 47,
48, 49, 50, 51, 52, 53, 76, 115, 127, 130, 132, 137, 139, 146,
150, 154, 156, 158, 159, 163, 164, 165, 167, 168, 169, 178,
179, 180, 215, 222, 223, 224, 225, 226, 227, 228, 229, 230,
231, 234, 238, 239, 242, 245, 266, 268, 269, 274.
Sicilian cendal, 163.
---- damasks, figured with beasts and flowers, 47, 50, 51, 52, 53,
127, 130, 137, 139, 146, 150, 164, 166, 178, 179, 269.
---- damasks in silk, 32, 53, 76, 115, 132, 137, 156, 159, 163, 168,
169, 180, 215, 226, 227, 239, 245, 274.
---- damasks in silk, brocaded in gold, 28, 29, 37, 38, 39, 40, 41,
43, 45, 46, 47, 50, 51, 52, 53, 126, 130, 139, 146, 150, 159,
164, 165, 167, 168, 224, 227, 228, 231, 232, 234, 238, 242,
266, 268, 269.
---- damasks, silk and cotton, 41, 44, 230.
---- damasks, silk and cotton, brocaded in gold, 39, 45, 48.
---- damasks, in silk and thread, 154, 223.
---- damasks, silk and thread, brocaded in gold, 48, 49, 238.
---- damasks in linen thread, brocaded in gold, 169.
---- damask or tapestry, silk, cotton, and wool, 158.
---- embroidery, 149, 158, 159.
---- lace, silk, and gold, 160, 161.
---- taffeta, 75, 121.
---- tissue or web, 222.
Silk-house, or Tiraz, at Palermo, 232.
Silk gauze, 57.
Silks, block-printed, 31.
Silk mixed with cotton, 5, 24, 26, 27, 33, 37, 39, 41, 42, 43, 44,
47, 60, 126, 152, 181, 219, 226.
---- mixed with linen, 27, 33, 37, 122, 123, 124, 176, 192, 220, 223.
---- worsted, 84, 114;
see Damask.
---- net-work, 200.
Silversmith’s work amid embroidery, 168, 169, 186, 199, 223, 233.
Sindon, the Greek liturgical embroidery, so-called, 170.
---- or pyx-cloth of the old English ritual, 202, 260.
Sorrows, Man of, our Lord figured as, 34.
---- the B. V. Mary, of, 69.
SOTHENER, MASTER STEPHEN, and his fine picture in Cologne cathedral,
187.
Spangles, 186, 190, 223.
Spanish carpeting, 209, 248.
---- crochet work, 20.
---- damasked silk, 36, 48, 67, 72, 73, 74, 115, 121, 126, 128, 129,
168, 182, 216, 224, 225, 240, 248.
Spanish damasks, brocaded in gold, 50, 62, 66, 116, 132, 193, 229.
----, in silver, 177.
---- embroidery, 65, 81, 204.
Spanish-Moresco stuffs, 51, 121, 124, 125, 152, 160, 180, 241, 244.
---- net-work, 20.
---- stuffs, cotton and linen, 224.
----, linen, and gilt parchment, 140, 224.
----, silk and cotton, 26, 47, 166.
----, linen, 122, 166.
---- of wool and hemp, 209.
---- of wool and thread, 114.
---- taffetas, 47.
---- velvets, 81, 135, 189, 207, 291, 292.
SPENSER quoted, 64.
Spicilegium Solesmense quoted, 286.
Spider, figured, 182.
Star and Crescent, their symbolism, 285.
Star, symbolism of, 55, 272, 285.
Stauracin, 124, 127, 160, 161.
“Stella Maris,” or “Star of the Sea,” one of the old symbolical
attributes of the B. V. Mary, 272.
State cap, 86.
Stauracina, what, 124, 161.
Stenciled satin, 113.
Stitchery of a fine kind, 4, 7, 19.
Stockings, silk, one of the first pair made in England, given to
Queen Elizabeth, and now belonging to the Marquis of Salisbury,
200.
Stoles, 24, 44, 58, 138, 185, 222, 235.
----, 58, 121, 191.
Stones, precious, used, 81, 82, 199.
STOTHARD, MRS., 7.
Strap-shaped ornamentation on textiles, as well as in bookbindings,
201.
Stuffs, loom-wrought, with history-pieces, 271, 272.
Stuffs, &c.,
Of the Adoration of the Magi or three Kings, 186.
Of Angels, 142, 143.
---- holding crescents, 234.
---- a monstrance, 184.
Of Angels swinging thuribles, and carrying crowns of thorns and
crosses in their hands, 36.
Of the Annunciation, 247.
Of the Assumption of the B. V. Mary, 272, 273.
Stuffs figured with--
Beasts, 5, 25, 32, 41, 42, 43, &c.
Birds, 26, 28, 29, 32, 37, 41, 42.
Men and beasts, 122.
With a Chinese subject, 75.
Of the coronation in heaven of the B. V. Mary, 272.
Of Emblems of the Passion, 133.
Figured with flowers and fruits, 11, 13, 15, 41, 42.
Of a king on horseback, with hawk on hand, &c., 223.
Of a man or woman with hawk on wrist, 233.
Of the B. V. Mary, with our Lord as a child in her arms, or on her
lap, 63, 71, 271, 272.
Of St. Mary of Egypt, 54.
Of St. Peter, apostle, 136.
Of the resurrection.
Of Sampson overcoming the lion, 122.
Of women gathering dates, 165.
Subdeacon’s liturgical veil worn over the shoulders, 144.
Sudary of our Lord, 26.
Sun-beams and rain-drops figured, 54, 239.
Sun and moon figured in art-works of the Crucifixion, 30.
Surplices, 239.
---- of transparent linen, 239.
Symbolism, 149, 236, 237, 272, 276, 285, 311, 329, 330, 331, 332.
Syon Nunnery, beautiful cope once belonging to, 275.
Syrian crape drapered with a pattern, 126.
---- stuffs, 125, 127, 139, 213, 215, 216, 221.
---- damask in silk and cotton, 24, 152.
---- damask, silk and gold, 122, 178, 180, 238.
---- damask, silk and linen thread, 42, 136, 220.
Table-covers, 16, 19, 92, 108, 141.
Taffeta, 47.
---- Egyptian, 56, 57.
---- Sicilian, 75, 121.
Tangier stuff, 123.
Tapestry, 6, 158, 294, &c.
Tapestry--
English, 306.
Flemish, 294, 299, 300, 301, 302, 303, 307, 328, 329, 333.
French, 302, 303, 304, 305, 306, 307, 309.
German, 296, 298.
Tassels on dalmatics, 206.
TAYLOR’s “Glory of Regality,” quoted, 153.
Tetuan stuff, 123.
THAUN, PHILLIPPE DE, quoted, 236.
The Three Wise Men, clothed and crowned as kings going to
Bethlehem, 148.
THORNELL of Suffolk, arms of, 148.
Thread embroidery, 19, 20, 53, 58.
Throne-room in Roman princely houses, 87, 107.
Tiles, glazed for paving, 183.
Tiraz or silk-house at Palermo, 232.
TOBIT, the elder, sending his son to Rages, figured, 335.
Toca, what, 204.
Tombs in churches, palls for throwing over, 56.
Trimming for carriages, 191.
---- vestments, 193.
Tunicle, 143.
Turkish net, 61.
Tyrian purple, so called, 155, 159, 160, 219.
The U form of ornamentation, 227, 228.
Unicorn, hunting of the, 53, 236.
Umbrian school of painting, 184, 186, 247.
V, the letter, put cross-wise, 28.
Vallombrosa, book from the monastery at, 87.
Varnicle or Vernicle, 198, 248.
Vasari, quoted, 261.
Veil for lectern, 20, 141, 145, 212, 261.
Veil or scarf worn over his shoulders by the subdeacon, 144, 145.
Velvet, brocaded in gold, 62, 65, 85, 107, 134, 135, 144, 185, 189,
193, 198, 259.
Velvet, cut and applied, 17, 20.
---- embroidered, 198, 200, 204.
---- figured, 17, 62, 135, 192, 193, 207.
---- freckled with golden loops, 257.
----, pile upon pile, 1, 257.
----, plain, 2, 3, 9, 14, 143, 199, 204, 206.
----, raised, 4, 18, 62, 65, 69, 70, 72, 80, 82, 87, 89, 90, 107,
110, 134, 135, 144, 145, 185, 193, 200, 254, 256, 257, 258, 263.
----, English, see Brooke Collection, 312, &c.
---- Flemish, 254, 255, 264.
---- Florentine, 1, 18, 82, 85, 142, 144, 145, 198, 256, 257.
---- French, 14, 89, 106.
---- Genoa, 3, 18, 62, 90, 107, 110, 134, 145, 192, 199, 200, 263.
---- Italian, 65, 89, 90, 199.
---- Lucca, 62, 72, 192, 198, 259.
---- Spanish, 81, 135, 189.
Venetian beads, 169.
---- damask, 54, &c.
---- embroidery, 44, 168.
---- embroidery in beads, 169.
---- lace, 141.
---- table-covers, 141.
---- webs, 71, 112, 271, 272.
Vestments often blazoned with armorial bearing of those who gave
them, 22, 148, 214, 282.
----, English, 41, 146, 275.
VINCENT, FRANCOIS ANDRE, 302.
VIOLLET, LE DUC, quoted, 212.
VIRGILIUS, subjects from, figured in tapestry, 300, 301, 302.
WALLER’s brasses, noticed, 181.
WANEFLETE’S, BP., liturgical shoes, 46.
Warwick, Sir Guy of, and the Northumbrian dragon, figured, 79.
Webs, 28, 33, 61, 62, 63, 64, 71, 80, 112, 116, 117, 118, 119, 136,
143, 161, 174, 175, 191, 201, 217, 221, 222, 223, 257, 261,
271, 272, 291.
Wire of pure metal gold, or silver, 220.
Wise men or Magi, adoration of, figured, 3.
Wire, pure metal, 220.
Witsuntide, stuff for, in the ritual, 226.
Witsunday, how signified, 2.
Worsley, The, sepulchral brass, 181.
Worsted and thread, 114.
---- work, 61, 79.
WYDEROYD, Pastor S. Jacobi Colon, 189.
Y, the cross so called, 81, 82.
_York_, cloth of gold, found in a grave at the cathedral of, 251.
_Yprès_, 34, 61, 73, 75.
Zoology--
Beasts:
Antelopes, 46, 47, 52, 234.
Boars, wild, 180.
Cheetahs, or papyonns, 74, 136, 137, 154, 178, 215, 234.
Deer, 108, 226, 242.
Dogs, 33, 42, 45, 50, 52, 124, 138, 155, 165, 168, 180, 223, 233,
241, 336.
Elephant, 45; and castle, 170.
Gazelles, 179, 234.
Giraffes, 225, 228.
Hares, 240, 310.
Harts, 41, 42, 43, 51, 118.
Hounds, 49, 76, 167.
Leopards, 154, 163, 164, 214.
Lions, 27, 30, 33, 42, 49, 57, 111, 122, 131, 137, 138, 146, 165,
177, 183, 218.
Monkey, 108, 310.
Oxen, 214.
Panther, 250.
Papyonns; see cheetah.
Squirrels, 58.
Stags, 53, 99, 166, 180.
Talbot, or English blood-hound, 223.
Toad, 310.
Weasel, or stoat, 310.
Wolf, 158.
Beasts, emblematic, 140, 156, 163, 311.
Beasts, heraldic, 5, 40, 41, 46, 47, 52, 53, 58, 59, 60, 156, 161,
217, 218, 228, 246, 267.
Elephant and Castle, 170.
Griffins, 5, 29, 32, 40, 47, 49, 130, 131, 154, 155.
Leopard, noued, 164.
Libbards, 240.
Lion, noued, 165.
Lioncels, 5.
Wyverns, 40, 47, 131, 133, 158, 159, 163, 168, 228.
Beasts, monsters, 3, 25, 30, 40, 41, 42, 99, 106, 150, 155, 157,
158, 160, 177, 181, 217, 218, 222, 226, 251.
Kraken, 236.
Mermaid, 251.
Midgard Serpent, 151.
Satyr, 3.
Sphinxes, 181.
The Wolf Fenrir, 151.
Beasts, symbolical:
Hare, of man’s soul, 237, 311.
Lion, of Christ, 156.
Monkey, of mischief and lubricity, 311.
Monoceros or unicorn, of Christ as God-man, 237.
Birds:
Cocks, 39.
Cockatoos, 133, 228.
Cranes, 164.
Doves, 124, 218, 310;
symbol of love, 311.
Ducks, wild, 229.
Eagles, 7, 25, 26, 40, 43, 50, 51, 76, 81, 129, 137, 138, 158,
163, 164, 178, 180, 183, 229, 232, 233.
Hawks, 155, 166, 223, 226, 233.
Hoopoes, 45, 137, 146.
Owls, 3.
Parrots, 119, 131, 139, 140, 154, 159, 166, 168, 241, 242, 244.
Peacocks, 154, 250.
Pelican, 214.
Pheasants, 60.
Swans, 49, 166, 179, 232.
Wild ducks, 229.
Birds, heraldic, or monster things with wings:
Dragon, 1.
Eagle, double-headed, 7, 37, 86.
Griffins, 5, 29, 32, 40, 47, 49, 131.
Harpies, 329, 330.
Wyverns, 40, 47, 131, 158, 159, 163, 168, 228, 330.
Fish, 151.
----, Sr. Peter’s, the Italian Gianitore, or our John Dory, 151.
Insects:
Butterflies, 16, 44, 66.
Spider, 182.
Shells, 7.
Snakes, 177.
[Illustration]
INDEX II.
GEOGRAPHY OF TEXTILES.
EUROPE.
ENGLAND:
Chintz.
Embroidery.
Quilting.
Satins.
Silks.
Tapestry.
Velvets.
Webs, ribbon-like.
FLANDERS:
Embroidery.
Lace.
Linen, block-printed.
Linen, damasked.
Napery.
Silk, damasked.
Tapestry.
Velvets.
FRANCE:
Cloth of gold.
Embroidery.
Lace in gold.
Quilting.
Silks, brocaded.
Silks, damasked.
Tapestry.
Velvets.
Webs.
GERMANY:
_Cologne_, and other Rhenish towns:
Embroidery in silk, in thread, in worsted.
Napery.
Silk and linen.
Tapestry.
Velvet.
Webs in silk, in silk and linen.
GREECE:
Silks.
Silks mixed with cotton.
Silks mixed with linen thread.
Byzantine stuffs historied.
ITALY:
_Florence_:
Embroidery.
Silks, damasked.
Silks, historied.
Silks mixed with linen.
Velvets, pile upon pile.
Velvets, plain.
Velvets wrought with gold.
Velvets raised.
Webs, historied.
_Genoa_:
Silks, brocaded in gold.
Silks, damasked.
Velvets, plain.
_Italian_ Textiles, &c.:
Applied or cut-work.
Embroidery.
Fringe.
Lace.
Quilting.
Satins.
Satins, brocaded in gold and silver.
Silks, brocaded in gold.
Silks, damasked.
Silks mixed with cotton.
---- with hemp.
---- with flax.
Velvets raised.
Velvets of silk.
Velvets of worsted.
Webs.
_Lombardy_:
Cob-web weaving.
Lace.
_Lucca_:
Silks, brocaded in gold.
Silks, damasked.
Velvets.
_Milan_:
Embroidery.
Lace.
Velvets.
Velvets, raised.
_Naples_:
Embroidery.
Silks.
_Reggio_:
Silks, damasked.
_Sicily_:
Cendal.
Damasks in linen, brocaded in gold.
Embroidery.
Lace in silk and gold.
Silks, brocaded in gold.
Silks, damasked.
Silks mixed with cotton.
Silks mixed with cotton and wool.
Silks mixed with flaxen thread.
Silk taffeta.
Silk webs.
_Venice_:
Embroidery.
Embroidery in beads.
Laces in gold.
Silks, damasked.
SPAIN:
Carpeting.
Crochet-work.
Embroidery.
Silks, brocaded in gold and silver.
Silks, damasked.
Silks mixed with gilt parchment.
Silks mixed with cotton and linen thread.
Silks mixed with linen thread.
Silks mixed with linen thread, and gilt parchments.
Stuffs of wool and hemp.
Stuffs of wool and thread.
Taffetas.
Velvets.
ASIA.
CHINA:
Embroidery.
Satins.
Silks.
Silks, damasked.
INDIA:
Embroidery.
Linen.
PERSIA:
Carpeting.
Embroidery.
Satins.
Silks.
Silks, brocaded in gold.
Silks, damasked.
Silks mixed with wool.
SYRIA:
Crape.
Silks, brocaded in gold.
Silks, damasked.
Silks mixed with cotton.
Silks mixed with linen.
AFRICA.
ALGIERS:
Embroidery.
Fine linen.
EGYPT:
Byssus or very fine linen.
Gauze.
Silks.
Silks mixed with cotton.
Taffetas.
MOROCCO:
_Tangier_:
Silks.
_Tetuan_:
Silks.
* * * * *
CHISWICK PRESS:--PRINTED BY WHITTINGHAM AND WILKINS,
TOOKS COURT, CHANCERY LANE.
Transcriber's Notes
A number of typographical errors were corrected silently.
Cover image was created by the transcriber and is donated to the public
domain.
Two small illustrations were recreated by the transcriber and are
donated to the public domain.
First index entry for emblematic beasts corrected to page 140 from page
198.
There are two items numbered 1376. The first is probably correct as it
references a matching image.