It is of white linen, quilted and padded in wool so as to throw the
design into relief. The scenes represented, taken from the Story of
Tristan, with inscriptions in the Sicilian dialect, are as
follows:--(1) COMU: LU AMOROLDU FA BANDIRI: LU OSTI: IN CORNUUALGIA
(How the Morold made the host to go to Cornwall); (2) COMU: LU RRE:
LANGUIS: CUMANDA: CHI UAIA: LO OSTI. CORNUAGLIA (How King Languis
ordered that the host should go to Cornwall); (3) COMU: LU RRE:
LANGUIS: MANDA: PER LU TRABUTU IN CORNUALIA (How King Languis sent to
Cornwall for the tribute); (4) COMU: (LI M) ISSAGIERI: SO UINNTI: AL
RRE: MARCU: PER LU TRIBUTU DI SECTI ANNI (How the ambassadors are come
to King Mark for the tribute of seven years); (5) COMU: LU AMOROLDU
UAI: IN CORNUUALGIA (How the Morold comes to Cornwall); (6) COMU: LU
AMOROLDU: FA SULDARI: LA GENTI (How the Morold made the people pay);
(7) COMU: T(RISTAINU): DAI: LU GUANTU ALLU AMOROLDU DELA BACTAGLIA
(How Tristan gives the glove of battle to the Morold); (8) COMU: LU
AMOROLDU: E UINUTU: IN CORNUUALGIA: CUM XXXX GALEI: (How the Morold is
come to Cornwall with forty galleys); (9) COMU TRISTAINU BUCTA: LA
UARCA: ARRETU: INTU: ALLU MARU (How Tristan struck his boat behind him
into the sea); (10) COMU: TRISTAINU: ASPECTA: LU AMOROLDU: ALLA ISOLA
DI LU MARU: SANSA UINTURA (How Tristan awaits the Morold on the isle
Sanza Ventura in the sea); (11) COMU: TRISTAINU FERIU LU AMOROLLDU IN
TESTA (How Tristan wounded the Morold in the head); (12) COMU: LU INNA
(?) DELU AMOROLDU: ASPECTTAUA LU PATRUNU (How the Morold's page (?)
awaited his master); (13) COMU LU AMORODU FERIU: TRISTAINU A
TRADIMANTU (How the Morold wounded Tristan by treachery); (14) ...
SITA: IN AIRLANDIA ( ... in Ireland).]
BIBLIOGRAPHY.--Lady Alford, _Needlework as Art_ (London, 1886); Mrs M.
Barber, _Some Drawings of Ancient Embroidery_ (ib., 1880); P.
Blanchet, _Tissus antiques et du haut moyen-age_ (Paris, 1897); F.
Bock, _Die Kleinodien des Heiligen Romischen Reiches Deutscher Nation_
(Vienna, 1864); M. Charles, _Les Broderies et les dentelles_ (Paris,
1905); Mrs Christie, _Embroidery and Tapestry Weaving_ (London, 1906);
A.S. Cole, C.B., "Some Aspects of Ancient and Modern Embroidery"
(_Soc. of Arts Journal_, liii., 1905, pp. 956-973); R. Cox, _L'Art de
decorer les tissus_ (Paris, Lyons, 1900); L.F. Day, _Art in
Needlework_ (London, 1900); A. Dolby, _Church Embroidery_ (_ib._,
1867), and _Church Vestments_ (_ib._, 1868); M. Dreger, _Kunstlerische
Entwicklung der Weberei und Stickerei_ (Vienna, 1904); Madame I.
Errera, _Collection de broderies anciennes_ (Brussels, 1905); L. de
Farcy, _La Broderie_ (Paris, 1890); R. Forrer, _Die Graber und
Textilfunde von Achmim-Panopolis_ (Strassburg, 1891); F.R. Fowke, _The
Bayeux Tapestry_ (London, 1898); Rev. C.H. Hartshorne, _On English
Medieval Embroidery_ (_ib._, 1848); M.B. Huish, _Samplers and Tapestry
Embroideries_ (_ib._, 1900); A.F. Kendrick, _English Embroidery_
(_ib._, 1905); _English Embroidery executed prior to the Middle of the
16th Century_ (Burlington Fine Arts Club Exhibition, 1905,
introduction by A.F. Kendrick); E. Lefebure, _Embroideries and Lace_,
translated by A.S. Cole, C.B. (London, 1888); F. Marshall, _Old
English Embroidery_ (_ib._, 1894); E.M. Rogge, _Moderne
Kunst-Nadelarbeiten_ (Amsterdam, 1905); South Kensington Museum,
_Catalogue of Special Loan Exhibition of Decorative Art Needlework_
(1874); W.G.P. Townshend, _Embroidery_ (London, 1899). For further
examples of ecclesiastical embroidery see the articles CHASUBLE, COPE,
DALMATIC and MITRE. (A. F. K.; A. S. C.)