,illustration ,,textile ,,fabrics4 ,illustration ,illustration3 #hd4 ,,hood ,,of ,a ,,cope ,embroidered by hand in silks gold1 with the ,adoration of the ,magi1 bordered with green yellow silk fringe4,flemish #afth4 century4 ,,south ,,kensington ,,museum4 ,illustration ,,textile ,,fabrics2 ,a ,,descriptive ,,catalogue ,of the ,collection of ,church-vestments1 ,dresses1 ,silk ,stuffs1 ,needlework and ,tapestries1 forming that ,section of the ,museum4 ,,by ,,the ,,very ,,rev4 ,,daniel ,,rock1 ,d4,d4 ,illustration ,published for the ,science and ,art ,department of the ,committee of ,council on ,education4 ,,london3 ,,chapman ,,and ,,hall1 #aic1 ,,piccadilly4 #ahgj4 ,illustration ,,contents ,,of ,,the ,,introduction4 ,,section ,i4--,,textiles4 ,the ,geography of the ,raw ,materials4 ,wool1 x4 ,cotton1 xiii4 ,hemp1 xiii4 ,flax1 xiii4 ,silk1 xvi4 ,gold1 xxv4 ,cloth of ,gold1 xxv4 ,tissue1 xxxi4 ,silver1 xxxiii4 ,wire-drawing1 xxxiii4 ,gold thread1 xxxiv4 ,silks had various ,names3 ,holosericum1 xxxvii4 ,subsericum1 xxxvii4 ,examitum1 xxxvii4 ,xamitum1 xxxvii4 ,samit1 xxxvii4 ,ciclatoun1 xxxix4 ,cendal1 xl4 ,taffeta1 xli4 ,sarcenet1 xlii4 ,satin1 xlii4 ,cadas1 xliii4 ,camoca1 xliv4 ,cloth of ,tars1 xliv4 ,velvet1 xlv4 ,diaper1 xlvi4 ,chrysoclavus1 xlix4 ,stauracin1 l4 ,polystauron1 l4 ,gammadion1 l4 ,de quadrapolo1 li4 ,de octapolo1 li4 ,de fundato1 liii4 ,stragulatae1 liv4 ,imperial1 lv4 ,baudekin1 lvi4 ,cloth of ,pall1 lviii4 ,lettered silks1 lix4 ,the ,eagle1 lxi4 ,styles of ,silks4 ,chinese1 lxiii4 ,persian1 lxiii4 ,byzantine1 lxiv4 ,oriental1 lxv4 ,syrian1 lxv4 ,saracenic1 lxvi4 ,moresco-,spanish1 lxvi4 ,places weaving ,textiles4 ,sicily1 lxvii4 ,lucca1 lxxi4 ,genoa1 lxxii4 ,venice1 lxxiii4 ,florence1 lxxv4 ,milan1 lxxvi4 ,great ,britain1 lxxvi4 ,ireland1 lxxix4 ,flanders1 lxxix4 ,france1 lxxx4 ,cologne1 lxxxi4 ,acca or ,acre1 lxxxiii4 ,buckram1 lxxxv4 ,burdalisaunder1 lxxxv4 ,fustian1 lxxxvi4 ,muslin1 lxxxvii4 ,cloth of ,areste1 lxxxvii4 ,silks distinguished through their ,colours and shades of ,colour4 ,cloth of ,tars1 lxxxix4 ,indicus1 or sky-blue1 xc4 ,murrey1 xc4 ,changeable1 or shot1 xci4 ,marble1 xci4 ,,section ,,ii4--,,embroidery4 ,of the ,egyptians1 xcii4 ,of the ,israelites1 xcii4 ,of the ,greeks and ,latins1 or ,phrygionic1 xciii4 ,opus plumarium1 or feather-stitch1 xcv4 ,opus pulvinarium1 or cushion-style1 xcvi4 ,opus pectineum1 or comb-drawn1 xcvi4 ,opus ,anglicum1 or ,english work1 xcviii4 ,opus consutum1 or cut work1 cii4 ,accessories of gold and silver1 civ2 glass1 cv2 enamel1 cv4 ,diapering1 cviii4 ,thread embroidery1 cix4 ,quilting1 cx4 ,,section ,,iii4--,,tapestry4 ,egyptian1 cx4 ,asiatic1 cxi4 ,english1 cxi4 ,flemish1 cxii4 ,arras1 cxii4 ,saracenic1 cxii4 ,imitated ,tapestry--8stayned cloth10 cxiv4 ,carpets1 cxv4 ,,section ,,iv4 ,usefulness of the ,collection ,to the ,historian1 cxvi4 ,the miscalled ,bayeux ,tapestry1 cxvi4 ,,section ,v4--,,liturgy4 ,liturgical rarities1 cxxiii4 ,,section ,,vi4 ,usefulness of the ,collection to ,artists1 cxxx4 ,manufacturers1 cxxx4 ,,section ,,vii4 ,symbolism1 cxxxv4 ,the ,gammadion1 cxxxvii4 ,vow of the ,swan1 the ,peacock1 c41 cxli4 ,,section ,,viii4 ,usefulness of the ,collection ,to ,literature and ,languages1 clii4 ,the ,cyrillian alphabet1 clii4 ,,section ,,ix4--,,heraldry4 ,armorial bearings worked upon vestments1 cliii4 ,the ,scrope and ,grosvenor claims for the bend or on a field azure1 cliii4 ,case of the ,countess of ,salisbury1 clv4 ,case of the ,earl of ,surrey1 clv4 ,,section ,x4--,,botany ,,and ,,zoology4 ,the giraffe1 clvi4 ,the pheasant1 clvi4 ,the cheetah1 clvi4 ,the hom1 clvii4 ,the pine-apple1 clix4 ,the artichoke1 clix4 ,the passion-flower1 clx4 ,illustration ,illustration ,,introduction4 ,like every other specific collection of art labour among the several such brought together within these splendid halls of the ,south ,kensington ,museum1 this extensive one made from woven stuffs1 tapestry1 and needlework1 is meant to have1 like them1 its own peculiar useful purposes4 ,here1 at a glance1 may be read the history of the loom of various times and in many lands4 ,here may be seen a proof of the onward march of trade and its consequent civilizing influences4 ,here we take a peep at the private female life in ages gone by1 and learn how women1 high-born and lowly1 spent or rather ennobled many a day of life in needlework1 not merely graceful but artistic4 ,here1 in fine1 in strict accordance with the intended industrial purposes of this public institution1 artizans1 designers1 and workers in all kinds of embroidery1 may gather many an useful lesson for their respective crafts1 in the rare as well as beautiful samples set out before them4 ,the materials out of which the articles in this collection were woven1 are severally wool1 hemp1 flax1 cotton1 silk1 gold1 and silver4 ,the silken textures are in general wholly so2 in many instances they are wrought up along with either cotton1 or with flax2 hence1 in ancient documents1 the distinction of 8holosericum10 all silk1 and 8subsericum10 not all silk1 or the warp--that is1 the longitudinal threads--of cotton or flax1 and the woof--that is the cross-threads of silk4 ,very seldom is the gold or the gilt silver woven into these textiles found upon them in a solid wire-drawn form1 but almost always1 after being flattened very thin1 the precious metal was wound about a very small twist of cotton1 or of flax1 and thus became what we call gold thread4 ,as a substitute for this1 the ,moors of ,granada1 and after them the ,spaniards of that kingdom1 employed strips of gilded parchment1 as we shall have to notice4 ,,section ,i4--,,textiles4 ,under its widest acceptation1 the word 8textile0 means every kind of stuff1 no matter its material1 wrought in the loom4 ,hence1 whether the threads be spun from the produce of the animal1 vegetable1 or the mineral kingdom--whether of sheep's wool1 goats' hair1 camels' wool1 or camels' hair--whether of flax1 hemp1 mallow1 ,spanish broom1 the filaments drawn out of the leaves of the yucca--,adam's needle--and other plants of the lily and asphodel tribes of flowers1 the fibrous coating about pods1 or cotton2 whether of the mineral amianthus1 of gold1 silver1 or of any other metal1 it signifies nothing1 the webs from such materials are textiles4 ,unlike to these are other appliances for garment-making in many countries2 and of such materials1 not the least curious1 if not odd to our ideas1 is paper1 which is so much employed for the purpose by the ,japanese4 ,at the outset of our subject a word or two may be of good use1 upon ,the ,geography of the ,raw ,materials4 one or other of which we shall always find wrought up in the textiles in this collection4 ,we will then begin with ,,wool4 ,after gleaning out of the writings of the ancients all they have said about the physical geography of the earth1 as far as their knowledge of it went1 and casting our eyes upon a map of the world as known of old1 we shall see at once the materials which man had at hand1 in every clime1 for making his articles of dress4 ,in all the colder regions the well-furred skins of several families of beasts could1 by the ready help of a thorn for a needle1 and the animal's own sinews for thread1 be fashioned1 after a manner1 into the requisites of dress4 ,throughout by far the longest length and the widest breadth of the earth1 sheep1 at an early period1 were bred1 not so much for food as for raiment4 ,at first1 the locks of wool torn away from the animal's back by brambles1 were gathered3 afterwards shearing was thought of and followed in some countries1 while in others the wool was not cut off1 but plucked by the hand away from the living creature1 as we learn from ,pliny3#a 8,oves non ubique tondentur3 durat quibusdam in locis vellendi mos40 ,got in either method the fleeces were1 from the earliest times1 spun by women from the distaff4 ,at last so wishful were the growers to improve the coats of their lambs that they clothed them in skins2 a process which not only fined the staple of the wool1 but kept it clean1 and better fitted it for being washed and dyed1 as we are told by many ancient writers1 such as ,horace and the great agricultural authority ,varro4 ,in uttering his wish for a sweet peaceful home in his old age1 either at ,tibur1 or on the banks of the pleasant ,gelsus1 thus sings the poet3 ,dulce pellitis ovibus ,gelsi ,flumen4#b ,and what were these 8oves pellit10 or 8tect0 and 8molles10 as they were called1 in contradistinction to 8hirt10 we understand from ,varro1 who says1 8oves pellit2 qu propter lan bonitatem1 ut sunt ,taren-tin et ,attic1 pellibus integuntur1 ne lana inquinetur quo minus vel infici rect possit1 vel lavari ac parari40#c ,this latter very ancient daily work followed by women of all degrees1 spinning from off the distaff1 was taught to our ,anglo-,saxon sisters among all ranks of life1 from the king's daughter downwards4 ,in his life of ,eadward the elder1 ,a4,d4 #ija1 ,malmesbury writes3 8,filias suas ita instituerat ut literis omnes in infantia maxime vacarent1 mox etiam colum et acum exercere consuescerent1 ut his artibus pudice impubem virginitatem transigerent40#d ,the same occupation is even now a female favourite in many countries on the ,continent1 particularly so all through ,italy4 ,long ago it bestowed the name of spindle-tree on the ,euonymus plant1 on account of the good spindles which its wood affords1 and originated the term 8spinster10 yet to be found in our law-books as meaning an unmarried woman even of the gentlest blood1 while every now and then from the graves that held the ashes of our sisters of the ,british and the ,anglo-,saxon epochs1 are picked up the elaborately ornamented leaden whorls which they fastened at the lower end of their spindles to give them a due weight and steadiness as they twirled them round4 ,beginning with the ,british islands on the west1 and going eastward on a line running through the ,mediterranean sea1 and stretching itself out far into ,asia1 we find that the peoples who dwelt to the north of such a boundary wrought several of their garments out of sheep's wool1 goats' hair1 and beavers' fur1 while those living to the south1 including the inhabitants of ,north ,africa1 ,arabia1 and ,persia1 besides the above-named animal produce1 employed for these purposes1 as well as tent-making1 the wool and hair which their camels gave them3 the ,baptist's garment was of the very coarsest kind4 ,of the use of woollen stuff1 not woven but plaited1 among the older stock of the ,britons1 a curious instance was very lately brought to light while cutting through an early ,celtic grave-hill or barrow in ,yorkshire3 the dead body had been wrapped1 as was shown by the few unrotted shreds still cleaving to its bones1 in a woollen shroud of coarse and loose fabric wrought by the plaiting process without a loom4#e ,as time crept on1 it brought along with it the loom1 fashioned though it was after its simplest form1 to the far west1 and taught its use throughout the ,british islands4 ,the art of dyeing very soon followed2 and so beautiful were the tints which our ,britons knew how to give to their wools1 that strangers1 while they wondered at1 were not a little jealous of the splendour of those tones4 ,from the heavy stress laid upon the rule which taught that the official colour in their dress assigned to each of the three ranks into which the bardic order was distinguished1 must be of one simple unbroken shade1 whether spotless white1 symbolic of sun-light and holiness1 for the druid or priest--whether sky-blue1 emblem of peace1 for the bard or poet--or green1 the livery of the wood and field1 for the ,ovydd or teacher of natural history and leech-craft1 yet at the same moment we know that party-coloured stuffs were woven here1 and after two forms3 the postulants asking leave to be admitted into bardism might be recognized by the robe barred with stripes of white1 blue1 and green1 which they had to wear during all the term of their initiation4 ,with regard to the bulk of our people1 according to the ,greek historian of ,rome--,dion ,cassius1 born ,a4,d4 #aee--the garments worn by them were made of a texture wrought in a square pattern of several colours2 and speaking of our brave-hearted ,british queen1 ,boadicea1 that same writer tells us that she usually had on1 under her cloak1 a motley tunic1 1 that is1 checkered all over with many colours4 ,this garment we are fairly warranted in deeming to have been a native stuff1 woven of worsted after a pattern in tints and design exactly like one or other of the present ,scotch plaids4 ,pliny1 who seems to have gathered a great deal of his natural history from scraps of hearsay1 most likely included these ancient sorts of ,british textiles along with those from ,gaul1 when he wrote3--8,plurimis vero liciis texere qu polymita appellant1 ,alexandria instituit3 scutullis dividere1 ,gallia40 ,but to weave with a good number of threads1 so as to work the cloths called polymita1 was first taught in ,alexandria2 to divide by checks1 in ,gaul4#f #a ,lib4 viii4 c4 #dg4 #b ,lyric4 c4 vi4 vi4 #c ,de ,re ,rustica1 ii4 #b4 #d ,gesta ,regum ,anglorum1 t4 #a4 lib4 ii4 p4 #aih1 ed4 ,hardy4 #e ,journal of the ,archological ,institute1 t4 ,,xxii4 p4 #bed4 #f ,plin4 lib4 viii4 ,the native botanical home of ,,cotton is in the ,east4 ,india almost everywhere throughout her wide-spread countries1 and many kingdoms of old1 arrayed1 as she still arrays herself1 in cotton1 which she gathered from a plant of the mallow family1 that had its wild growth there2 and in this same vegetable produce the lower orders of the people dwelling still further to the east were fain to clothe themselves4 ,,hemp1 a plant of the nettle tribe1 and called by botanists 8cannabis sativa10 was of old well known in the far north of ,germany1 and all over the ancient ,scandinavia4 ,full two thousand five hundred years ago1 ,herodotus#g thus wrote of it3 8,hemp grows in the country of the ,scythians1 which except in the thickness and height of the stalk1 very much resembles flax2 in the qualities mentioned1 however1 the hemp is much superior4 ,it grows in a wild state1 and is also cultivated4 ,the ,thracians make clothing of it very like linen cloth2 nor could any person1 without being very well acquainted with the substance1 say whether this clothing is made of hemp or flax40 ,from 8cannabis10 its name in ,latin1 have we taken our own word 8canvas10 to mean any texture woven of hempen thread4 #g ,herod4 book iv4 #gd4 ,,flax now follows4 ,who that has ever seen growing a patch of beautiless1 sad-looking hemp1 and as he wandered a few steps further1 came upon a field of flax all in flower1 with its gracefully-drooped head1 strewing the breeze1 as it strayed over it1 with its frail1 light-blue petals1 could at first have thought that both these plants were about to yield such kindred helps for man in his wide variety of wants8 ,yet so it is4 ,besides many other countries1 all over this our native land flax is to be found growing wild4 ,though every summer its handsome bloom must have caught the eye of our ,celtic ,british forefathers1 they were not aware for ages of the use of this plant for clothing purposes1 else had they left behind them some shred of linen in one or other of their many graves2 since1 following1 as they did1 the usage of being buried in the best of the garments they were accustomed to1 or most loved when alive1 their bodies would have been found arrayed in some small article of linen texture1 had they ever worn such4 ,that at length they became acquainted with its usefulness1 and learned to prepare and spin it1 is certain2 and in all likelihood the very name 8lin-white thread10 which those ,celts gave it in its wrought shape1 furnished the ,greeks with their word 1 and the ,latins their linum1 for linen4 ,the term 8flax10 which we still keep1 from the ,anglo-,saxon tongue1 for the plant itself and its raw material1 and the ,celtic 8linen10 for the same vegetable produce when spun and woven into cloth1 are words for things akin in our present language1 which1 as in many such like instances1 show the footprints of those races that1 one after another1 have trod this land4 99 99 99 99 99 ,to the valley of the ,nile must we go if we wish to learn the earliest history of the finest flaxen textiles4 ,time out of mind were the ,egyptians famous as well for the growth of flax1 as for the beautiful very fine linen they wove out of it1 and which became to them a most profitable1 because so widely sought for1 article of commerce4 ,their own word1 8byssus10 for the plant itself1 became among the ,greeks1 and afterwards among the ,latin nations1 the term for linens wrought in ,egyptian looms4 ,long before the oldest book in the world was written1 the tillers of the ground all over ,egypt had been heedful in sowing their flax1 and anxious about its harvest4 ,it was one of their staple crops1 and hence was it that1 in punishment of their hard-hearted ,pharaoh1 the hail plague which1 at the bidding of ,moses1 showered down from heaven1 hurt throughout the land the flax just as it was getting ripe4#h ,though the ,jordan grew flax upon its banks1 and all over the land that would soon belong to ,abraham's children1 the women there1 like ,rahab1 carefully dried it when pulled1 and stacked it for future hackling upon the roofs of their houses2#i still1 it was from ,egypt1 as ,solomon hints1#aj that the ,jews had to draw their fine linen4 ,at a later period1 among the woes foretold to ,egypt1 the prophet ,isaiah warns her that they shall be confounded who wrought 7there7 in combing and weaving fine linen4#aa #h ,exodus ix4 #ca4 #i ,joshua ii4 #f4 #aj ,proverbs vii4 #af4 #aa ,isaiah xix4 #i4 ,how far the reputation of ,egyptian workmanship in the craft of the loom had spread abroad is shown us by the way in which1 beside sacred1 heathenish antiquity has spoken of it4 ,herodotus says3--8,amasis ,king of ,egypt gave to the ,minerva of ,lindus1 a linen corslet well worthy of inspection10#ab and further on1#ac telling of another corslet which ,amasis had sent the ,lacedmonians1 observes that it was of linen1 and had a vast number of figures of animals inwoven into its fabric1 and was likewise embroidered with gold and tree-wool4 ,what is more worthy of admiration in it is that each of the twists1 although of fine texture1 contains within it #cfj threads1 all of them clearly visible4#ad ,by these trustworthy evidences we clearly see that in those early times1 ,egypt was not only widely known for its delicately woven byssus1 but it supplied all the neighbouring nations with the finest sort of linens4 #ab ,herodotus1 b4 ii4 c4 #ahb1 ,rawlinson's ,translation1 t4 ii4 p4 #bge4 #ac ,ib4 b4 iii4 c4 #dg4 #ad ,herodotus1 t4 ii4 pp4 #ddb-dc4 ,from written let us now go to material proofs at hand4 ,during late years many mummies have been brought to this country from ,egypt1 and the narrow bandages with which they were found to have been so admirably1 even according to our modern requirements of chirurgical fitness1 so artistically swathed1 have been unwrapped2 and always have they been so fine in their texture as to fully verify the praises of old bestowed upon the beauty of the ,egyptian loom-work4 ,moreover1 from those who have taken a nearer and1 so to say1 a trade-like insight into such an article of manufacture1 we learn that1 8,the finest piece of mummy-cloth1 sent to ,england by ,mr4 ,salt1 and now in the ,british ,museum1 of linen1 appears to be made of yarns of near #ajj hanks in the pound1 with #adj threads in an inch in the warp and about #fd in the woof40#ae ,another piece of linen which the same distinguished traveller obtained at ,thebes1 has #aeb threads in the warp1 and #ga in the woof4#af #ae 8,ancient ,egypt10 by ,sir ,gardiner ,wilkinson1 t4 iii4 p4 #abb4 #af ,ib4 p4 #abe4 ,here starts up a curious question4 ,though1 from all antiquity upwards till within some few years back1 the unbroken belief had been that such mummy-clothing was undoubtedly made of linen woven out of pure unmixed flax1 some writers led1 or rather misled1 by a few stray words in ,herodotus about tree-wool1 while speaking of the corslet of ,amasis1 quoted just now1 took at once the expression of that historian to mean wool1 and then skipped to the conclusion that all ,egyptian textiles wrought a thousand years before were mixed with cotton4 ,when1 however1 it be borne in mind that even several hundred years after the ,greek historian wrote1 the common belief existed that1 like cotton1 silk also was the growth of a tree1 as we are told by ,virgil3 ,quid nemora thiopum1 molli canentia lana ,velleraque ut foliis depectant tenuia ,seres8#ag ,soft wool from downy groves the thiop weaves1 ,and ,seres comb their silken fleece from leaves-- the of ,herodotus may be understood to mean silk1 just as well as cotton2 nay1 the rather so1 as it seems very likely that1 at the time when ,amasis lived1 silk1 in the shape of thread1 had found1 through traders' hands1 its way to the markets of ,egypt1 and must have been thought a more fitting thing1 from being a new as well as costly material1 to grace a royal gift to a religious sanctuary of high repute1 than the less precious and more common cotton4 ,while this question was agitated1 specimens of mummy-cloth were submitted to the judgment of several persons in the weaving trade deemed most competent to speak upon the matter4 ,helped only by the fingers' feel and the naked eye1 some among them agreed that such textures were really woven of cotton4 ,this opinion was but shortlived4 ,other individuals1 more philosophical1 went to work on a better path4 ,in the first place1 they clearly learned1 through the microscope1 the exact and never-varying physical structure of both these vegetable substances4 ,that of cotton they found in its ultimate fibre to be a transparent tube without joints1 flattened so that its inward surfaces are in contact along its axis1 and also twisted spirally round its axis2 that of flax1 a transparent tube1 jointed like a cane1 and not flattened or twisted spirally4#ah ,examined in the same way1 several old samples of byssus or mummy-bandages from ,egypt in every one instance were ascertained to be of fine unmixed flaxen linen4 ,ages before ,french ,flanders had dreamed of weaving fine lawns1 ages before one of her industrial cities--,cambray--had so far taken the lead as to be allowed to bestow her own name1 in the shape of 8cambric10 on the finest kind that modern ,european ingenuity could produce1 ,egypt had known how to give to the world even a yet finer sort1 and centuries after she had fallen away from her place among the kingdoms of the earth1 her enthralled people still kept up their ancient superiority in spinning and weaving their fine1 sometimes transparent1 byssus1 of which a specimen or two may be seen in this collection4#ai #ag ,georg4 lib4 ii4 #abj-aba4 #ah ,thomson in the ,philosophical ,magazine1 #crd series1 t4 v4 num4 #bi1 ,nov4 #ahcd4 #ai ,no4 #aeb4 ,for many reasons the history of ,,silk is not only curious1 but highly interesting4 ,in the early ages1 its very existence was quite unknown1 and when found out1 the knowledge of it stole forth from the far east1 and straggled westward very very slowly4 ,for all that lengthened period during which their remarkable civilization lasted1 the older ,egyptians never once beheld silk3 neither they1 nor the ,israelites1 nor any other of the most ancient kingdoms of the earth1 knew of it in any shape1 either as a simple twist1 or as a woven stuff4 ,not the smallest shred of silk has hitherto been found in the tombs1 or amid the ruins of the ,pharaonic period4 ,no where does ,holy ,writ1 old or new1 tell anything of silk but in one single place1 the ,apocalypse1 xviii4 #ab4 ,true it is that1 in the ,english authorized version1 we read of 8silk0 as if spoken of by ,ezekiel1 xvi4 #aj1 #ac2 and again1 in ,proverbs1 xxxi4 #bb2 yet there can be no doubt1 but that in both these passages1 the word silk is wrong through the translators misunderstanding the original ,hebrew 7meschi74 ,of this word1 ,parkhurst says3 8,as a noun1 1 according to our translation 7is7 silk1 but not so rendered in any of the ancient versions4 ,silk would indeed well enough answer the ideal meaning of the ,hebrew word1 from its being drawn forth from the bowels of the silk-worm1 and that to a degree of fineness1 so as to form very slender threads4 ,but ,i meet with no evidence that the ,israelites in very early times 7and to these ,ezekiel refers7 had any knowledge of silk1 much less of the manner in which it was formed2 1 therefore1 ,i think1 means some kind of fine linen or cotton cloth1 so denominated from the fineness with which the threads whereof it consisted were drawn out4 ,the ,vulgate1 by rendering it in the former passage1 #8subtilibus' fine1 as opposed to coarse1 has nearly preserved the true idea of the ,hebrew40#bj ,braunius1 too1 no mean authority1 after bestowing a great deal of study on the matter1 gives it as his well-weighed judgment that1 throughout the whole ,hebrew ,bible1 no mention whatever can be found of silk1 which was a material utterly unknown to the children of ,israel4#ba ,once only is silk spoken of in the ,new ,testament1 and then while ,st4 ,john#bb is reckoning it up along with the gold1 and silver1 and precious stones1 and pearls1 and fine linen--byssus--and purple which1 with many other costly freights merchants were wont to bring in ships to that mighty city which1 in the ,apostle's days1 ruled over the kings of the earth4 #bj ,hebrew and ,english ,lexicon4 ,london1 #ahac1 p4 #dae4 #ba ,de ,vestitu ,heb4 ,sac41 lib4 ,i4 cap4 viii4 #h4 #bb ,apoc4 xviii4 #ab4 ,long after the days of ,ezekiel was it that silk1 in its raw form only1 made up into hanks1 first found its way to ,egypt1 western ,asia1 and eastern ,europe4 ,to ,aristotle do we owe the earliest notice1 among the ancients1 of the silk-worm1 and although his account be incorrect1 it has much value1 since1 along with his description1 the celebrated ,greek philosopher gives us information about the original importation of raw silk into the western world4 ,brought from ,china1 through ,india1 till it reached the ,indus1 the silk came by water across the ,arabian ,ocean1 up the ,red ,sea1 and thence over the ,isthmus of ,suez1 or1 perhaps1 rather by the overland route1 through ,persia1 to the small but commercial island of ,cos 7now ,koss71 lying off the coast of ,asia ,minor4 ,pamphile1 daughter of ,plates1 is reported to have first woven it 7silk7 in ,cos4#bc ,here1 by female hands1 were wrought those light thin gauzes which became so fashionable among some high dames1 but while so often spoken of by the poets of the ,augustan period1 were stigmatized by some among them1 as well as by the heathen moralists of after ages1 as anything but seemly for women's wear4 ,thus ,tibullus says of this sort of clothing3 ,illa gerat vestes tenues1 quas fmina ,coa ,texuit1 auratas disposuitque vias4#bd ,she may thin garments wear1 which female ,coan hands ,have woven1 and in stripes disposed the golden bands4 ,years afterwards1 thus laments ,seneca1 the philosopher3 8,video sericas vestes1 si vestes vocand sunt1 in quibus nihil est1 quo defendi aut corpus aut denique pudor possit40 ,i behold silken garments1 if garments they can be called1 which are a protection neither for the body nor for shame4#be ,and later still1 and in the ,christian era1 an echo to the remarks of ,seneca do we hear in the words of ,solinus3 8,hoc illud est sericum in quo ostentare potius corpora qum vestire1 prim feminis1 nunc etiam viris persuasit luxuri libido40#bf ,this is silk1 in which at first women but now even men have been led1 by their cravings after luxury1 to show rather than to clothe their bodies4 #bc ,hist4 ,anim4 ,v4 c4 #ai1 p4 #hej1 ed4 ,duval4 #bd ,tibullus1 l4 ii4 #f4 #be ,de ,beneficiis1 l4 vii4 c4 #bf ,solinus1 c4 #a4 ,while looking over some precious early medival ,,ms41 often do we yet find that its beautifully limned and richly gilt illuminations1 to keep them from harm1 or being hurt through the rubbings of the next leaf1 have fastened beside them a covering of the thinnest gauze1 just as we put in sheets of silver paper for that purpose over engravings4 ,the likelihood is that some at least of these may be shreds from some of those thin translucent textiles which found such favour in the fashionable world for so long a time during the classic period4 ,to some at least of our readers1 the curious example of such gauzy interleafings in the manuscript of ,theodulph1 now at ,puy en ,velay1 will occur4 ,not only these transparent silken gauzes wrought in ,cos1 but far more tasty stuffs1 and flowered too1 from ,chinese looms1 found their way to ,asia ,minor and ,italy4 ,in telling of the barbarous nations then called the ,seres1 ,dionysius ,periegetes writes that they comb the variously coloured flowers of the desert land to make precious figured garments1 resembling in colour the flowers of the meadow1 and rivalling 7in fineness7 the work of spiders4#bg ,as may be easily imagined1 silken garments were brought1 at an early period1 to imperial ,rome4 ,such1 however1 were the high prices asked for them1 that few either would or could afford to buy these robes for their wives and daughters2 since1 at first1 they were looked upon as quite unbecoming for men's wear2 hence1 by a law of the ,roman senate under ,tiberius1 it was enacted3 8,ne vestis serica vicos fdaret40 ,while noticing how womanish ,caligula became in his dress1 ,suetonius remarks his silken attire3 8,aliquando sericatus et cycladatus40#bh ,an exception was made by some emperors for very great occasions1 and both ,titus and ,vespasian wore dresses of silk when they celebrated at ,rome their triumph over ,juda4 ,of the emperors who adopted whole silk for their clothing1 ,heliogabalus was the first1 and so fond was he of the material1 that1 in the event of wishing to hang himself1 he had got for the occasion a rope1 one strand of which was silk1 and the other two dyed with purple and scarlet3 8,paraverat sunes1 blatta et serico1 et cocco intortos1 quibus si necesse esset1 laqueo vitam finiret40#bi ,the abnegation of another ,roman ,emperor1 ,aurelian1 both in respect of himself and his empress1 is1 however1 very remarkable3 8,vestem holosericam neque ipse in vestiario suo habuit neque alteri utendam dedit4 ,et cum ab eo uxor sua peteret1 ut unico pallio blatteo serico uteretur1 ille respondit absit1 ut auro fila pensentur4 ,libra enim auri tunc libra serici suit40#cj ,aurelian neither had himself in his wardrobe a garment wholly silk1 nor gave one to be worn by another4 ,when his own wife begged him to allow her to have a single mantle of purple silk1 he replied1 8,far be it from us to allow thread to be reckoned worth its weight in gold40 ,for then a pound of gold was the price of a pound of silk4 ,here it ought to be mentioned that1 for some time before this period a very broad distinction had been drawn1 even in the sumptuary laws of the empire1 between garments made wholly1 and partially of silk2 in the former1 all the web1 both woof and warp1 is woven of nothing but silk2 in the latter1 the woof is of cotton or of thread1 the warp only of silk4 ,this difference in the texture is thus well set forth by ,lampridius1 in his life of ,alexander ,severus1 of whom he says3 he had few garments of silk--he never wore a tunic woven wholly of silk1 and he never gave away cloth made of silk mixed with less valuable stuff4 8,vestes sericas ipse raras habuit2 holosericas nunquam induit subsericam nunquam donavit40#ca #bg ,quoted by ,yates1 ,textrinum ,antiquorum1 p4 #aha4 #bh ,suetonius1 c4 #eb4 #bi ,lampridius1 c4 #bf4 #cj ,vopiscus1 c4 #de4 #ca ,severus1 c4 #dj4 ,clothing made wholly or in part out of silk1 became every year more and more sought for4 ,so remunerative was the trade of weaving the raw material into its various forms1 that1 by the ,justinian pandects1 the revised code of laws for the ,roman ,empire1 drawn up and published ,a4,d4 #ecc--;a monopoly in it was given to the court1 and looms worked by women were set up in the imperial palace4 ,thus ,byzantium became1 and long continued famous for the beauty of its silken stuffs4 ,still1 the raw silk itself had to be brought thither from abroad2 but a remedy was very near at hand4 ,two ,greek monks1 while spending many years among the ,chinese1 had well learned the whole process of rearing the worm4 ,they came home1 and brought back with them a goodly number of eggs hidden in their walking-staves1 likely made of that hollow tough sort of reed or tall grass1 the ,arundo ,donax2 and1 carrying them to ,constantinople1 they presented these eggs to the ,emperor1 who gladly received them4 ,when hatched1 the worms were distributed all over ,greece and ,asia ,minor1 and very soon the western world reared its own silk4 ,not long afterwards1 ,persia and ,india also became silk-growing countries4 ,in some places1 at least in ,greece1 the weaving not only of the finer kinds of cloth1 but of silk1 got at last into the hands of the ,jews4 ,writing of his travels1 ,a4,d4 #aafa1 ,benjamin of ,tudela tells us that the great city of ,thebes contained about two thousand ,jewish inhabitants4 ,these are the most eminent manufacturers of silk and purple cloth in all ,greece4#cb ,telling us how the fleet of our first ,richard coasted the shores of ,spain on its voyage to the ,holy ,land1 ,hoveden says of ,almeria and its silk factory3 8,deinde per nobilem civitatem qu dicitur ,almaria ubi fit nobile sericum et delicatum quod dicitur sericum de ,almaria40#cc ,so prized were these fine delicate textiles that they were paid as tribute to princes3 8,insula de ,maiore reddit ei 7regi ,arragoni7 trecentos pannos sericos de ,almaria per annum de tributo10 c4#cd #cb ,early ,travels in ,palestine1 ed4 ,t4 ,wright1 p4 #ga4 #cc ,rog4 ,hoveden1 ,ann4 ed4 ,savile1 ,rer4 ,ang4 ,script41 p4 #chb4 #cd ,ib4 p4 #chb1 b4 ,south ,italy wrought rich silken stuffs by the end of the eleventh century2 for we are told by our countryman1 ,ordericus ,vitalis1 who died in the first half of the twelfth century1 that ,mainerius1 the abbot of his monastery of ,st4 ,evroul1 at ,uzey1 in ,normandy1 on coming home1 brought with him from ,apulia several large pieces of silk1 and gave to the ,church four of the finest ones1 with which four copes were made for the chanters3 8,de pallis quas ipse de ,apulia detulerat quatuor de preciosioris ,s4 ,ebrulfo obtulit ex quibus quatuor capp cantorum in eadem fact sunt ecclesia40#ce #ce ,ordericus ,vitalis1 ,ecc4 ,hist41 l4 v4 p4 #ehd4 ,from a feeling alive in every heart throughout the length and breadth of ,christendom that the best of all things ought to be given for the service of its religious rites1 the garments of its celebrating priesthood1 from the far east to the uttermost west1 were1 if not always1 at least very often wholly of silk--holosericus4 ,to this fact we have pointed for the sake of remembering that were it not so1 we had been1 at this day1 without the power of being able to see through the few but tattered shreds before us1 what elegantly designed and gorgeous stuffs the foreign medival loom could weave1 and what beautiful embroidery our own countrywomen knew so well how to work4 ,these specimens help us also to rightly understand the description of those splendid vestments and ritual appliances enumerated with such exactness in the old inventories of our venerable cathedrals and parish churches as well as the early wardrobe accompts of our kings1 the wills and bequests of our dignified ecclesiastics and nobility1 to some of which documents we shall have to refer a little later4 ,in coming westward among us1 all these so much coveted stuffs brought along with them their own several names by which they were commonly known throughout the east1 whether ,greece1 ,asia ,minor1 or ,persia4 ,hence when we read of ,samit1 ciclatoun1 cendal1 baudekin1 and other such terms quite unknown to trade now-a-day1 we should bear in mind that notwithstanding the wide variety of spelling1 or rather misspelling1 each of these appellations has run through1 we reach at last their true derivations1 and so happily get to know in what country and by whose hands they were wrought4 ,as trade grew up1 she brought these fine silken textiles to our markets1 and articles of dress were made of silk for men's as well as women's wear among the wealthy4 ,at what period the raw material came to be imported here1 not so much for embroidery as to be wrought in the loom1 we do not exactly know2 but from several sides we learn that our countrywomen of all degrees busied themselves in weaving4 ,among the home occupations of maidens dedicated to ,god1 ,st4 ,aldhelm1 at the end of the seventh century1 seems to number3 8,cortinarum sive stragularum textura40#cf ,in the council at ,cloveshoo1 under ,archbishop ,cuthbert1 ,a4,d4 #gdg1 nuns are exhorted to spend their time in reading or singing psalms rather than weaving and knitting vainglorious garments of many colours3 8,magisque legendis libris vel canendis psalmis1 quam texendis et plectendis vario colore inanis glori vestibus studeant operam dare40#cg ,by that curious old ,english book1 the 8,ancren ,riwle10 written towards the end of the twelfth century1 ankresses are forbidden to make purses to gain friends therewith1 or blodbendes4#ch ,were it not that the weaving especially of silk1 was so generally followed in the cloister by ,english women1 it had been useless to have so strongly discountenanced the practice4 #cf ,de ,laudibus ,virginitatis1 ,opp4 ed4 ,giles1 #ae4 #cg ,concil4 ,ecc4 ,brit4 ed4 ,spelman1 i4 #bef4 #ch ,p4 #dba4 ,those 8blodbendes10 or narrow strips for winding round the arm after bleeding1 are curiously illustrative of an old national custom for health-sake kept up in the remembrance of some old folks still living1 of periodical blood-letting4 ,to his practices upon the heads and chins of people the barber at no remote period1 added that of bleeding them2 and the old ,english barber surgeons held a high position among the gilds of ,london4 ,to show where he lived each member of that brotherhood had hanging out from the walls of his house a long thin pole painted spirally black and white1 the white in token of the blodbende or bandage to be winded and kept about the patient's arm4 ,but on silk weaving by our women in small hand-looms1 a very important witness1 especially about several curious specimens in this collection1 is ,john ,garland1 born at the beginning of the thirteenth century in ,london1 where his namesakes and likely of his stock1 were and are known4 ,first1 a ,john ,garland1 ,a4,d4 #aagj1 held a prebend's stall in ,st4 ,paul's ,cathedral4#ci ,another1 ,a4,d4 #abaa1 was sheriff1 at a later period4#dj ,a third1 a wealthy draper of ,london1 gave freely towards the building of a church in ,somersetshire4#da ,a fourth1 who died ,a4,d4 #adfa1 lies buried in ,st4 ,sythe's2#db and1 at the present day1 no fewer than twenty-two trades-men of that name1 of whom six are merchants of high standing in the city1 are mentioned in the ,london ,post ,office ,directory for this year #ahfh4 ,we give these instances as some have tried to rob us of ,john ,garland by saying he was not an ,englishman1 though of himself he had said3 8,anglia cui mater fuerat1 cui gallia nutrix10 c4 #ci ,dugdale's ,st4 ,paul's1 p4 #bfd4 #dj ,liber de ,antiq4 ,legibus1 pp4 #c1 #bbc4 #da ,leland's ,itinerary1 t4 #g1 p4 #ii4 #db ,stowe's ,survey1 ,b4 iii4 p4 #ca4 ,in a sort of very short dictionary1 drawn up by that writer1 and printed at the end of 8,paris sous ,philippe ,le ,bel10 edited by ,m4 ,h4 ,geraud1 our countryman says3 8,textrices qu texunt serica texta projiciunt fila aurata officio cavillarum et percuciunt subtemina cum linea 7lignea87 spata3 de textis vero fiunt cingula et crinalia divitum mulierum et stole sacerdotum40#dc ,though short1 this passage is curious and valuable4 ,from it we learn that1 besides the usual homely textiles1 those more costly cloth-of-gold webs were wrought by our women1 and very likely1 among their other productions--cingula--were those 8blodbendes10 the weaving of which had been forbidden to ankresses and nuns2 perhaps1 too1 of those narrow gold-wrought ribbons in this collection1 pp4 #bd1 #cc1 #ch1 #bag1 #bah1 #bai1 #bba1 c41 some may have been so employed by our high-born dames on occasion of their being bled1 since as late as the sixteenth century some seasons were deemed fit1 others quite unfitting for the operation4 ,hence1 in his ,richard ,,ii4 act #a1 scene i4 ,shakespeare makes the king to warn those wrath-kindled gentlemen1 ,bolingbroke and ,norfolk3 ,our doctors say this is no month to bleed4 #dc ,ib4 #fjg4 ,and our most popular books in olden time1 one the ,shepherd's ,kalendar1 speaking about the signs of the zodiack1 tell us which of the twelve months are either good1 evil1 or indifferent for blood-letting4 ,john ,garland's 8cingula0 may also mean those rich girdles or sashes worn by our women round the waist1 and of which we have one in this collection1 ,no4 #hega1 p4 #bah4 ,of this sort1 is that border--amber coloured silk and diapered--round a vestment found in a grave at ,durham1 and like 8a thick lace1 one inch and a quarter broad--evidently owing its origin1 not to the needle1 but to the loom10 c4#dd ,for the artist wishful to be correct concerning the head-gear of ladies from ,anglo-,saxon times till the end of the later ,plantagenets1 this collection can furnish examples of those bands in those narrow textiles spoken of by our ,john ,garland4 ,for an after-period those bands are shown on the statuary1 and amid the limning in illuminated ,,mss4 of the thirteenth century2 as instances of the narrow girdle1 may be viewed a lady's effigy1 in ,romney church1 ,hants2 and that of ,ann of ,bohemia1 in ,westminster ,abbey2 both to be found in ,hollis's ,monumental ,effigies of ,great ,britain2 for the band about the head1 the examples in the wood-cuts in ,planch's ,british ,costumes1 p4 #aaf4 #dd ,raine's ,st4 ,cuthbert1 p4 #aif4 ,of such head-bands we have one at number #hefi1 p4 #bag1 and other three mentioned upon p4 #bba4 ,they are1 no doubt1 the old snd of the ,anglo-,saxon period4 ,for high-born dames they were wrought of silk and gold2 those of lower degree wore them of simpler stuff4 ,the silken snood1 affected to the present hour by young unmarried women in ,scotland1 is a truthful witness to the fashion in vogue during ,anglo-,saxon and later times in this country4 ,with regard to what ,john ,garland says of stoles so made1 there is one here1 ,no4 #abcc1 p4 #bd1 quite entire4 ,from what has been here brought forward1 it will be seen that of silk1 whence it came or what was its kind1 nothing was truly understood1 even by the learned1 for many ages4 ,while1 then1 we smile at ,virgil and the other ancients for thinking that silk was a sort of herbaceous fleece growing upon trees1 let us not forget that not so many years ago our own ,royal ,society printed a paper in which it is set forth that the yet-called ,barnacle ,goose comes from a mussel-like bivalve shell1 known as the 8,anatifa10 or ,barnacle1 an origin for the bird still believed in by some of our seafaring folks1 and fostered after a manner by well-read people by the scientific nomenclature of the shell and the vernacular epithet for the goose4 ,in the twelfth century1 our countryman1 ,alexander ,neckham1 foster-brother to our ,richard ,i41 wrote of this marvel thus3 8,ex lignis abiegnis salo diuturno tempore madefactis originem sumit avis qu vulgo dicitur bernekke10 c4#de ,such1 however1 was the ,cirencester ,augustinian friar's knowledge of natural history1 that1 at least four hundred years ere the ,royal ,society had a being amongst us1 he thus spurns the popular belief upon the subject3-- ,ligna novas abiegna salo madefacta1 jubente ,natura1 volucres edere fama refert4 ,id viscosus agit humor1 quod publica fama ,afserit indignans philosophia negat4#df ,of a truth the ,record ,commission is doing ,england good service by drawing out of darkness the works of our medival writers4 #de ,de ,natura ,rerum1 p4 #ii1 published under the direction of the ,master of the ,rolls4 #df ,ib4 p4 #cjd4 ,the breeding of the worm and the manufacture of its silk both spread themselves with steady though slow steps over most of those countries which skirt the shores of the ,mediterranean2 so that1 by the tenth century1 those processes had reached from the far east to the uttermost western limits of that same sea4 ,even then1 and a long time after1 the natural history of the silkworm became known but to a very few4 ,our aforesaid countryman1 ,alexander ,neckham1 made ,abbot of ,cirencester1 ,a4,d4 #abac1 was1 it is likely1 the first who1 while he had learned1 tried in his popular work1 8,de ,natura ,rerum10 to help others to understand the habits of the insect3 8,materiam vestium sericarum contexit vermis qui bombex dicitur4 ,foliis celsi1 qu vulgo morus dicitur1 vescitur1 et materiam serici digerit2 postquam vero operari cperit1 escam renuit1 labori delicioso diligentem operam impendens4 ,calathi parietes industrius textor circuit1 lanam educens crocei coloris qu nivei candoris efficitur per ablutionem1 antequam tinctura artificialis superinduitur4 ,consummato autem opere nobilis textoris1 thecam in opere proprio involutam centonis in modum subintrat jamque similis papilioni1 c40#dg #dg ,ed4 ,t4 ,wright1 p4 #bgb4 ,of those several raw materials that have1 from the earliest periods1 been employed in weaving1 though not in such frequency as silk1 one is ,,gold1 which1 when judiciously brought in1 brings with it1 not a barbaric1 but artistical richness4 ,the earliest written notice we have about the employment of this precious metal in the loom1 or of the way in which it was wrought for such a purpose1 we find set forth in the ,pentateuch1 where ,moses tells us that he 7,beseleel7 made of violet and purple1 scarlet and fine linen1 the vestments for ,aaron to wear when he ministered in the holy places4 ,so he made an ephod of gold1 violet1 and purple1 and scarlet twice dyed1 and fine twisted linen1 with embroidered work2 and he cut thin plates of gold and drew them small into strips1 that they might be twisted with the woof of the aforesaid colours4#dh ,instead of 8strip10 the authorized version says1 8wire10 another translation reads 8thread20 but neither can be right1 for both of these ,english words mean a something round or twisted in the shape given to the gold before being wove1 whereas the metal must have been worked in quite flat1 as we learn from the text4 #dh ,exodus xxxix4 #a1 #b1 #c4 ,this brings us to a short notice of ,,cloth ,,of ,,gold1 ,,or ,,tissue4 ,the use of gold for weaving1 both along with linen or quite by itself1 existed1 it is likely1 among the ,egyptians1 long before the days of ,moses4 ,in either way of its being employed1 the precious metal was at first wrought in a flattened1 never in a round or wire shape4 ,to this hour the ,chinese and the people of ,india work the gold into their stuffs after the first and ancient form4 ,in this fashion1 to even now1 the ,italians love to weave their lama d'oro1 or the more glistening toca--those cloths of gold which1 to all ,asiatic and many ,european eyes1 do not glare with too much garishness1 but shine with a glow that befits the raiment of personages in high station4 ,among the nations of ancient ,asia1 garments made of webs dyed with the costly purple tint1 and interwoven with gold1 were on all grand occasions worn by kings and princes4 ,so celebrated did the ,medes and ,persians become in such works of the loom1 that cloths of extraordinary beauty got their several names from those peoples1 and ,medean1 ,lydian1 and ,persian textiles came to be everywhere sought for with eagerness4 ,writing of the wars carried on in ,asia and ,india by ,alexander the ,great1 almost four centuries before the birth of ,christ1 ,quintus ,curtius often speaks about the purple and gold garments worn by the ,persians and more eastern ,asiatics4 ,among the many thousands of those who came forth from ,damascus to the ,greek general1 ,parmenio1 many were so clad3 8,vestes 444 auro et purpura insignes induunt40#di ,all over ,india the same fashion was followed in dress4 ,when an ,indian king1 with his two grown-up sons1 came to ,alexander1 all three were so arrayed3 8,vestis erat auro purpuraque distincta1 c40#ej ,princes and the high nobility1 all over the ,east1 are by ,quintus ,curtius called1 8purpurati40#ea ,not only garments but hangings were made of the same costly fabric4 ,when ,alexander wished to afford some ambassadors a splendid reception1 the golden couches upon which they lay to eat their meat were screened all about with cloths of gold and purple3 8,centum aurei lecti modicis intervallis positi erant3 lectis circumdederat 7rex ,alexander7 la purpura auroque fulgentia1 c40#eb ,but these ,indian guests themselves were not less gorgeously arrayed in their own national costume1 as they came wearing linen 7perhaps cotton7 garments resplendent with gold and purple3 8,line vestes intexto auro purpuraque distinct1 c40#ec ,the dress worn by ,darius1 as he went forth to do battle1 is thus described by the same historian3 ,the waist part of the royal purple tunic was wove in white1 and upon his mantle of cloth of gold were figured two golden hawks as if pecking at one another with their beaks3 8,purpure tunic medium album intextum erat3 pallam auro distinctam aurei accipitres1 velut rostris inter se concurrerent1 adornabant40#ed #di ,q4 ,curtii ,rufi1 lib4 iii4 cap4 xiii4 #cd1 p4 #bf1 ed ,foss4 #ej ,ib4 lib4 ix4 cap4 i4 p4 #bag4 #ea ,ib4 lib4 iii4 cap4 ii4 p4 #d1 cap4 viii4 p4 #af4 #eb ,ib4 lib4 ix4 cap4 vii4 p4 #bcc4 #ec ,ib4 cap4 vii4 p4 #bcc4 #ed ,ib4 lib4 iii4 cap4 iii4 p4 #g4 ,from the east this love for cloth of gold reached the southern end of ,italy1 called ,magna ,grcia1 and thence soon got to ,rome2 where1 even under its early kings and much later under its emperors1 garments made of it were worn4 ,pliny1 speaking of this rich textile1 says3--,gold may be spun or woven like wool1 without any wool being mixed with it4 ,we are informed by ,verrius1 that ,tarquinius ,priscus rode in triumph in a tunic of gold2 and we have seen ,agrippina1 the wife of the ,emperor ,claudius1 when he exhibited the spectacle of a naval combat1 sitting by him1 covered with a robe made entirely of woven gold without any other material4#ee ,in fact1 about the year #ahdj1 the ,marquis ,campagna dug up1 near ,rome1 two old graves1 in one of which had been buried a ,roman lady of high birth1 inferred from the circumstance that all about her remains were found portions of such fine gold flat thread1 once forming the burial garment with which she had been arrayed for her funeral3 8,di due sepolcri ,romani1 del secolo di ,augusto scoverti tra la via ,latina e l',appia1 presso la tomba degli ,scipioni40 #ee ,book ,,xxxiii4 c4 #ai4 ,dr4 ,bostock's ,translation4 ,now we get to the ,christian epoch4 ,when ,pope ,paschal1 ,a4,d4 #hba1 sought for the body of ,st4 ,cecily1 who underwent martyrdom ,a4,d4 #bcj1 the pontiff found1 in the catacombs1 the maiden bride whole1 and dressed in a garment wrought all of gold1 with some of her raiment drenched in blood lying at her feet3 8,aureis illud 7corpus7 vestitum indumentis et linteamina martyris ipsius sanguine plena40#ef ,in making the foundations for the new ,st4 ,peter's at ,rome1 they came upon and looked into the marble sarcophagus in which had been buried ,probus ,anicius1 prefect of the ,pretorian1 and his wife1 ,proba ,faltonia1 each of whose bodies was wrapped in a winding-sheet woven of pure gold strips4#eg ,maria ,stilicho's daughter1 was wedded to the ,emperor ,honorius1 and died sometime about ,a4,d4 #djj4 ,when her grave was opened1 ,a4,d4 #aedd1 the golden tissues in which her body had been shrouded were taken out and melted1 when the yield of precious metal amounted to thirty-six pounds4#eh ,the late ,father ,marchi found1 among the remains of ,st4 ,hyacinthus1 martyr1 several fragments of the same kind of golden web1 winding sheets of which were often given by the opulent for wrapping up the dead body of some poor martyred ,christian brother1 as is shown by the example specified in ,boldetti's 8,cimiteri de' santi martiri di ,roma40#ei #ef ,liber ,pontificalis1 t4 ii4 p4 #ccb1 ed4 ,vignolio1 ,rom1 #ageb2 ,hierurgia1 #bnd ed4 p4 #bge4 #eg ,batelli1 de ,sarco4 ,marm4 ,probi ,anicii et ,prob ,faltoni in ,temp4 ,vatic4 ,rom4 #agje4 #eh ,cancellieri1 ,de ,secretariis ,basil4 ,vatic4 ii4 #ajjj4 #ei ,t4 ,,ii4 p4 #bb4 ,childeric1 the second and perhaps the most renowned king of the ,merovingean dynasty1 died and was buried ,a4,d4 #dhe1 at ,tournai4 ,in the year #afec his grave was found out1 and amid the earth about it so many remains of pure gold strips were turned up1 that there is every reason for thinking that the ,frankish king was wrapped in a mantle of such golden stuff for his burial4#fj ,that the strips of pure gold out of which the burial cloak of ,childeric was woven were not anywise round1 but quite flat1 we are warranted in thinking1 from the fact that1 while digging in a ,merovingean burial ground at ,envermeu1 ,a4,d4 #ahee1 the distinguished archologist l',abbe ,cochet came upon the grave once filled1 as it seemed1 by a young lady whose head had been wreathed with a fillet of pure golden web1 the tissue of which is thus described3 8,ces fils aussi brillants et aussi frais que s'ils sortaient de la main de l'ouvrier1 n'taient ni tirs ni cords4 ,ils taient plats et se composaient tout semplement de petites lanires d'or d'un millimtre de largeur1 coupe mme une feuille d'or paisse de moins d'un dixime de millimtre4 ,la longueur totale de quelques-uns atteignait parfois jusqu' quinze ou dix-huit centimtres40#fa #fj ,cochet1 ,le ,tombeau de ,childeric ,ier1 p4 #agd4 #fa ,cochet1 ,le ,tombeau de ,childeric ,ier p4 #age4 ,our own country can furnish an example of this kind of golden textile4 ,at ,chessel ,down1 in the ,isle of ,wight1 when ,mr4 ,hillier was making some researches in an old ,anglo-,saxon place of burial1 the diggers found pieces of golden strips1 thin1 and quite flat1 which are figured in ,m4 l',abb ,cochet's learned book just quoted4#fb ,of such a rich texture must have been the vestment covered with precious stones1 given to ,st4 ,peter's ,church1 at ,rome1 by ,charles of ,france1 in the middle of the ninth century3 8,carolus rex sancto ,apostolo obtulit ex purissimo auro1 et gemmis constructam vestem1 c40#fc ,in the working of such webs and embroidery for use in the ,church1 a high-born ,anglo-,saxon lady1 lthelswitha1 with her waiting maids1 spent her life near ,ely1 where1 8aurifrixori et texturis secretius cum puellulis vacabat1 qu de proprio sumptu1 albam casulam suis manibus ipsa talis ingenii peritissima fecit10 c4#fd #fb ,ib4 p4 #agf4 #fc ,liber ,pontificalis1 l4 iii41 p4 #bja1 ed4 ,vignolia4 #fd ,liber ,eliensis1 ed4 ,stewart1 p4 #bjh4 ,such a weaving of pure gold was1 here in ,england1 followed certainly as late as the beginning of the tenth century2 very likely much later4 ,in the chapter library belonging to ,durham ,cathedral may be seen1 along with several other very precious liturgical appliances1 a stole and maniple1 which happily1 for more reasons than one1 bear these inscriptions3 8lfflaed ,fieri ,precepit4 ,pio ,episcopo ,fridestano40 ,queen to ,alfred's son and successor1 ,edward the elder was our lfflaed who got this stole and maniple made for a gift to ,fridestan1 consecrated bishop of ,winchester ,a4,d4 #ije4 ,with these webs under his eye1 ,mr4 ,raine1 in his 8,saint ,cuthbert10#fe writes thus3 ,in the first1 the ground work of the whole is woven exclusively with thread of gold4 ,i do not mean by thread of gold1 the silver-gilt wire frequently used in such matters1 but real gold thread1 if ,i may so term it1 not round1 but flat4 ,this is the character of the whole web1 with the exception of the figures1 the undulating cloud-shaped pedestal upon which they stand1 the inscriptions1 and the foliage2 for all of which1 however surprising it may appear1 vacant spaces have been left by the loom1 and they themselves afterwards inserted with the needle4 ,further on1 in his description of a girdle1 the same writer tells us3 ,its breadth is exactly seven-eighths of an inch4 ,it has evidently proceeded from the loom2 and its two component parts are a flattish thread of pure gold1 and a thread of scarlet silk1 c4#ff ,let it be borne in mind that ,winchester was then a royal city1 and abounded1 as it did afterwards1 with able needle-women4 #fe ,p4 #bjb4 ,the employment1 till a late period1 of flattened gold in silk textiles is well shown by those fraudulent imitations1 and substitution in its stead of gilt parchment1 which we have pointed out among the specimens in this collection1 as may be seen at ,nos4 #gjie1 p4 #adj2 #heij1 p4 #bbd2 #hfja1 p4 #bbi2 #hfci1 p4 #bdd1 c4 ,that these ,durham cloth-of-gold stuffs for vestments were home made--we mean wrought in ,anglo-,saxondom--is likely1 and by our women's hands1 after the way we shall have to speak about further on4 ,this love for such glittering attire1 not only for liturgical use but secular wear1 lasted long in ,england4 ,such golden webs went here under different names2 at first they were called 8ciclatoun10 8siglaton10 or 8siklatoun10 as the writer's fancy led him to spell the common ,persian word for them at the time throughout the east4 ,by the old ,english ritual1 plain cloth of gold was allowed1 as now1 to be taken for white1 and worn in the ,church's ceremonials as such1 when that colour happened to be named for use by the rubric4 ,thus in the reign of ,richard ,,ii41 among the vestments at the ,chapel of ,st4 ,george1 ,windsor ,castle1 there was 8unum vestimentum album bonum de panno adaurato pro principalibus festis ,b4 ,mari10 c4#fg ,st4 ,paul's1 ,london1 had1 at the end of the thirteenth century1 two amices2 one an old one1 embroidered with solid gold wire3 8,amictus breudatus de auro puro2 amictus vetus breudatus cum auro puro40#fh #ff ,mr4 ,raine1 ,st4 ,cuthbert1 p4 #bji4 #fg ,dugdale's ,mon4 ,angl4 t4 viii41 p4 #acfc4 #fh ,dugdale1 p4 #cah4 ,the use of golden stuffs not unlikely woven in ,england1 but assuredly worn by royalty here1 is curiously shown by the contrast between the living man clothed in woven gold1 and the dead body1 and its frightful state at burial1 of ,henry ,i41 set forth by ,roger ,hoveden2 who thus writes of that king3 8vide 444 quomodo regis potentissimi corpus cujus cervix diademite1 auro et gemmis electissimis quasi divino splendore vernaverat 444 cujus reliqua superficies auro textile tota rutilaverat10 c4#fi ,often was this splendid web wrought so thick and strong1 that each string1 whether it happened to be of hemp or of silk1 in the warp1 had in it six threads1 while the weft was of flat gold shreds4 ,hence such a texture was called 8samit10 a word shortened from its first and old ,byzantine name 8exsamit10 as we shall have to notice further on4 ,among several other purchases for the wardrobe of ,edward ,i41 in the year #acjj1 we find this entry3 8,pro samitis pannis ad aurum tam in canabo quam in serico10 c4#gj ,and such was the quantity kept there of this costly cloth1 that the nobles of that king were allowed to buy it out of the royal stores2 for instance1 four pieces at thirty shillings each were sold to the ,lord ,robert de ,clifford1 and another piece at the same price to ,thomas de ,cammill4#ga ,not only ,asia ,minor1 but the ,island of ,cyprus1 the ,city of ,lucca1 and ,moorish ,spain1 sent us these rich tissues4 ,the cloth of gold from ,spain is incidentally spoken of later in the ,sherborn bequest1 p4 lvi4 ,along with other things left behind him at ,haverford castle1 by ,richard ,,ii41 were twenty-five cloths of gold of divers suits1 of which four came from ,cyprus1 the others from ,lucca3 8xxv4 draps d or de diverses suytes dount iiii4 de ,cipres les autres de ,lukes40#gb ,how ,edward ,,iv4 liked cloth-of-gold for his personal wear1 may be gathered from his 8,wardrobe ,accounts10 edited by ,nicolas2 and the lavish use of this stuff ordered by ,richard ,,iii4 for his own coronation1 is recorded in the 8,antiquarian ,repertory40#gc ,the robes to be worn by the unfortunate ,edward ,v4 at this same function were cloth of gold tissue4 8,diverse peces of cloth of gold0 were bought by ,henry ,,vii41 8of ,lombardes40#gd #fi ,annalium1 c41 p4 #bgf1 ed4 ,savile4 #gj ,liber ,quotidianus ,garderob1 p4 #ced4 #ga ,ib41 p4 #f4 #gb ,ancient ,kalendars1 c41 ed4 ,palgrave1 t4 iii41 #ceh4 #gc ,i4 p4 #dc1 c4 #gd ,excerpta ,historica1 p4 #ij4 ,a 8gowne of cloth-of-gold1 furred with pawmpilyon1 ayenst ,corpus ,xpi day10 was brought from ,london to ,richmond1 to ,elizabeth of ,york1 afterwards ,henry ,,vii4's queen1 for her to wear as she walked in the procession on that great festival4#ge ,the affection shown by ,henry ,,viii41 and all our nobility1 men and women1 of the time1 for cloth of gold in their garments1 was unmistakingly set forth in so many of their likenesses brought together in that very instructive ,exhibition of ,national ,portraits in the year1 ,a4,d4 #ahff1 in the ,south ,kensington ,museum4 ,this stuff seems to have been costly then1 for ,princess1 afterwards ,queen ,mary1 thirteen years before she came to the throne3 8payed to ,peycocke1 of ,london1 for xix yerds iii4 qrt of clothe of golde at xxxviij4s the yerde1 xxxvijli4 xs4 vjd40#gf ,and for 8a yerde and dr qrt of clothe of siluer xls40#gg #ge ,privy ,purse ,expenses of ,elizabeth of ,york1 p4 #cc1 ed4 ,nicolas4 #gf ,privy ,purse ,expenses of ,princess ,mary1 ed4 ,madden1 p4 #hg4 #gg ,ib4 p4 #hf4 ,cloth of gold called ,,tissue4 ,as between common silk and satin1 there runs a broad difference1 at least in look1 one being dull1 the other smooth and glossy1 so there is a great distinction to be made among cloths of gold2 some are1 so to say1 dead2 others1 brilliant and sparkling4 ,when the gold is twisted into its silken filament1 it takes the deadened look2 when the flattened1 filmy strip of metal is rolled about it so evenly as to bring its edges close to one another1 it seems to be one unbroken wire of gold1 sparkling and lustrous1 like what is now known as 8passing10 and1 during the middle ages1 went by the term of ,cyprus gold2 and rich samits woven with it1 were called damasks of ,cyprus4 ,the very self-same things get for themselves other denominations as time goes on3 such happened to cloths of gold4 ,what the thirteenth century called1 first1 8ciclatoun10 then 8baudekin10 afterward 8nak10 people1 two hundred years later1 chose to name 8tissue10 or the bright shimmering golden textile affected so much by our kings and queens in their dress1 for the more solemn occasions of stately grandeur1 as was just now mentioned4 ,up to this time1 the very thin smooth paper made at first on purpose to be1 when this rich stuff lay by1 put between its folds to hinder it from fraying or tarnish1 yet goes1 though its original use is forgotten1 by the name of tissue-paper4 ,the gorgeous and entire set of vestments presented to the altar at ,st4 ,alban's ,abbey1 by ,margaret1 ,duchess of ,clarence1 ,a4,d4 #adbi1 and made of the cloth of gold commonly called 8tyssewys10 must have been as remarkable for the abundance and purity of the gold in its texture1 as for the splendour of the precious stones set on it1 as well as the exquisite beauty of its embroideries3 8,obtulit etiam unum vestimentum integrum cum tribus capis choralibus de panno ,tyssewys vulgariter nuncupato in quibus auri pretiosa nobilitas1 gemmarum pulchritudo et curiosa manus artificis stuporem quendam inspectantium oculis reprsentant40#gh ,the large number of vestments made out of gold tissue1 and of crimson1 light blue1 purple1 green1 and black1 once belonging to ,york ,cathedral1 are all duly registered in the valuable 8,fabric ,rolls0 of that ,church lately published by the ,surtees ,society4#gi #gh ,mon4 ,anglic4 ,,ii4 #bbb4 #gi ,pp4 #bbi1 c4 ,among those many rich and costly vestments in ,lincoln ,cathedral1 some were made of this sparkling golden tissue contra-distinguished in its inventory1 from the duller cloth of gold1 thus3 8,four good copes of blew tishew with orphreys of red cloth of gold1 wrought with branches and leaves of velvet20#hj 8a chesable with two tunacles of blew tishew having a precious orphrey of cloth of gold40#ha ,to this day1 in some countries the official robes of certain dignitaries are wrought of this rich textile4 ,even now1 these ,roman princes1 and the senator whose place on great festivals when the ,pope is present1 is about the pontifical throne1 are all arrayed in state garments made of cloth of gold4 #hj ,monasticon ,anglicanum1 ed4 ,dugdale1 t4 viii4 p4 #abhb4 #ha ,ib4 ,silken textures ornamented with designs in copper gilt thread1 were brought into market and honestly sold for what they really were3 of such inferior wares we find mention in the inventory of vestments at ,winchester ,cathedral1 drawn up by order of ,henry ,,viii4 where we read of 8twenty-eight copys of white bawdkyne1 woven with copper gold40#hb ,the substitution of gilt parchment for metal will be noticed further on1 ,section vi4 ,to imitate cloth of gold1 the gilding of silk and fine canvas1 like our gilding of wood and other substances1 though not often1 was sometimes resorted to for splendour's sake on momentary occasions2 such1 for instance1 as some stately procession1 or a solemn burial service4 ,mr4 ,raine tells us he got from a grave at ,durham1 among other textiles1 8a robe of thinnish silk2 the ground colour of the whole is amber2 and the ornamental parts were literally covered with leaf gold1 of which there remained distinct and very numerous portions40#hc ,in the churchyard of ,cheam1 ,surrey1 ,a4,d4 #ahfe1 was found the skeleton of a priest buried there some time during the fourteenth century2 around the waist was a flat girdle made of brown silk that had been gilt1 and a shred of it now lies before the writer4 ,in the 8,romaunt of the ,rose10 translated by ,chaucer1 ,dame ,gladnesse is thus described3-- --in an over gilt samite ,clad she was4#hd ,on a piece of ,german orphrey-web1 in this collection1 ,no4 #acgc1 p4 #hj1 and likely done at ,cologne1 in the sixteenth century1 the gold is put by the gilding process4 #hb ,ib4 t4 i4 p4 #bjb1 new ed4 #hc ,saint ,cuthbert1 by ,j4 ,raine1 p4 #aid4 #hd ,poems1 ed4 ,nicolas1 t4 iv4 p4 #bg4 ,in the year #abie1 ,st4 ,paul's1 ,london1 had3 8,casula de panno inaurato super serico10 a chasuble of gilded silk2#he and it was lined with red cloth made at ,ailesham1#hf or ,elesham ,priory in ,lincolnshire4 ,it had1 too1 another chasuble1 and altar frontals of gilded canvas3 8casula de panno inaurato in canabo1 lineata carda ,indici coloris cum panno consimili de ,venetiis ad pendendum ante altare40#hg ,venice seems to have been the place where these gilded silks and canvases1 like the leather and pretty paper of a later epoch1 were wrought4 #he ,dugdale's ,st4 ,paul's1 p4 #cce4 #hf ,ib4 #hg ,ib4 ,as gold1 so too ,,silver1 was hammered out into very thin sheets1 which were cut into narrow long shreds to be woven1 unmixed with anything else1 into a web for garments fitting for the wear of kings4 ,of this we have a striking illustration in the 8,acts10 where ,st4 ,luke1 speaking of ,herod ,agrippa1 tells us that he presented himself arrayed in kingly apparel1 to the people1 who to flatter him1 shouted that his was the voice1 not of a man1 but of a god2 and forthwith he was smitten by that loathsome disease--eaten up by worms--which shortly killed him4#hh ,this royal robe1 as ,josephus informs us1 was a tunic all made of silver and wonderful in its texture4 ,appearing in this dress at break of day in the theatre1 the silver1 lit up by the rays of the early morning's sun1 gleamed so brightly as to startle the beholders in such a manner that some among them1 by way of glozing1 shouted out that the king before them was a god4#hi #hh ,acts4 c4 xii4 vv4 #ba-bc4 #hi ,ant4 l4 xix4 #h4 ,intimately connected with the raw materials1 and how they were wrought in the loom1 is the question about the time when ,,wire-,,drawing was found out4 ,at what period1 and among what people the art of working up pure gold1 or gilded silver1 into a long1 round1 hair-like thread--into what may be correctly called 8wire0--began1 is quite unknown4 ,that with their mechanical ingenuity the ancient ,egyptians bethought themselves of some method for the purpose1 is not unlikely4 ,from ,sir ,gardiner ,wilkinson1 we learn that at ,thebes there was found the appearance of gold wire4#ij ,of those remarkable pieces of ,egyptian handicraft the corslets sent by ,king ,amasis--one to ,lindus1 the second to ,lacdemon--of which we have already spoken 7p4 xiv471 we may fairly presume that the work upon them done by the needle in gold1 required by its minuteness that the precious metal should be not flat1 but in the shape of a real wire4 ,by the delicate management of female fingers1 the usual narrow flat strips might have been pinched or doubled up1 so that the two edges should meet1 and then rubbed between men's harder hands1 or better still1 between two pieces of smooth highly-polished granite1 would produce a golden wire of any required fineness4 ,belonging to the writer is an ,egyptian gold ring1 which was taken from off the finger of a mummy by a friend4 ,the hoop is a plain1 somewhat thick wire4 ,on each side of its small green-dyed ivory scarabee1 to keep it in its place1 are wound several rounds of rather fine wire4 ,in ,etruscan and ,greek jewellery1 wire is often to be found2 but in all instances it is so well shaped and so even1 that no hammer could have hardly wrought it1 and it must have been fashioned by some rolling process4 ,all through the medival times the filigree work is often very fine and delicate4 ,likely is it that the embroidery which we thus read of in the descriptions of the vestments belonging whilom to our old churches1 for instance3 8amictus breudatus cum auro puro0#ia--was worked with gold wire4 ,to go back to ,anglo-,saxon times in this country1 such gold wire would seem to have been well known and employed1 since in ,peterborough minster there were two golden altar-cloths3 8ii4 gegylde eofad sceatas20#ib and at ,ely ,cathedral1 among its old ritual ornaments1 were1 in the reign of ,william ,rufus3 8,duo cinguli1 unus totus de auri filo1 alter de pallio cujus pendentia0 7the tassels7 8sunt bene ornata de auri filo40#ic ,the first idea of a wire-drawing machine dawned upon a workman's mind in the year #acfj1 at ,nuremberg2 and yet it was not until two hundred years after1 ,a4,d4 #aefj1 that the method was brought to ,england4 ,one sample of a stuff with pure wire in it may be seen1 p4 #bbj1 ,no4 #heha1 in this collection1 as well as at ,no4 #hbbh1 p4 #aej4 #ij ,ancient ,egyptians1 iii4 #acj4 #ia ,church of our ,fathers1 i4 #dfi4 #ib ,mon4 ,anglic4 t4 i4 p4 #chb4 #ic ,hist4 ,elien4 lib4 ii41 c4 #aci1 p4 #bhc1 ed4 ,steuart4 ,equally interesting to our present subject is the process of twining long narrow strips of gold1 or in its stead gilt silver1 round a line of silk or flax1 and thus producing ,,gold ,,thread4 ,probably its origin1 as far as flax and not silk is concerned1 as being the underlying substance1 is much earlier than has been supposed2 and when ,attalus's name was bestowed upon a new method of interweaving gold with wool or linen1 it happened so not because that ,pargamanean king had been the first to think of twisting gold about a far less costly material1 and thus1 in fact1 making gold thread such as we now have1 but through his having suggested to the weaver the long-known golden thread as a woof into the textiles from his loom4 ,from this point of view1 we may easily believe what ,pliny says3 8,aurum intexere in eadem ,asia invenit ,attalus rex2 unde nomen ,attalicis40#id ,in that same ,asia ,king ,attalus invented the method of using a woof of gold2 from this circumstance the ,attalic cloths got their name4 ,that1 at least for working embroidery1 ladies at an early ,christian period used to spin their own gold thread1 would seem from a passage in ,claudian4 ,writing on the elevation to the consulate of the two brothers ,probinus and ,olybrius1 at the end of the fourth century1 the poet thus gracefully compliments their aged mother1 ,proba1 who with her own hands had worked the purple and gold-embroidered robes1 the 8tog pict10 or 8trabe10 to be worn by her sons in their office3 ,ltatur veneranda parens1 et pollice docto ,jam parat auratas trabeas 444 99 99 99 99 99 ,et longum tenues tractus producit in aurum ,filaque concreto cogit squalere metallo4#ie ,the joyful mother plies her learned hands1 ,and works all o'er the trabea golden bands1 ,draws the thin strips to all their length of gold1 ,to make the metal meaner threads enfold4 ,a consular figure1 arrayed in the purple trabea1 profusely embroidered in gold1 is shown in 8,the ,church of our ,fathers40#if #id ,lib4 viii4 c4 #dg4 #ie ,in ,probini et ,olybrii ,consulatum1 #agg-ahb4 #if ,t4 ii4 p4 #aca4 ,that1 in the thirteenth century our own ladies1 like the ,roman ,proba1 themselves used to make the gold thread needed for their own embroidery is certain2 and the process which they followed is set forth as one of the items among the other costs for that magnificent frontal wrought ,a4,d4 #abga1 for the high altar at ,westminster ,abbey4 ,as that bill itself1 to be seen on the ,chancellor's ,roll for the year #ef of ,henry ,,iii41 affords so many curious and available particulars about the whole subject in hand1 we will give it here at full length for the sake of coming back hereafter to its several parts3 8,in xij4 ulnis de canabo ad frontale magni altaris ecclesi 7,westmonasterii7 et cera ad eundem pannum ceranda1 vs4 vid4 ,et in vj marcis auri ad idem frontale1 liij marcas4 ,et in operacione dicti auri1 et sessura 7scissura87 et filatura ejusdem1 iiijl4 xiijs4 ,et in ij libris serici albi et in duobus serici crocei ad idem opus1 xxxvs4 ,et in perlis albis ponderis v marcarum1 et dimidi ad idem opus lxxli4 ,et pro grossis perlis ad borduram ejusdem panni1 ponderis ij marcarum1 xiijli4 dimidiam marcam4 ,et in una libra serici grossi1 xs4 ,et in stipendio quatuor mulierum operancium in predicto panno per iij annos et iij partes unius anni1 xxxvili4 ,et in ,dccciijxx vi estmalles ponderis liiis4 ad borduram predictam4 ,et pro lxxvj asmallis grossis ponderis lxvs4 ad idem frontale iiijxxli4 xvjs4 ,et pro ,dl gernectis positis in predictis borduris1 lxvis4 ,et in castoniis auri ad dictas gernectas imponendas ponderis xijs4 vjd41 cxijs4 vjd4 ,et in pictura argenti posita subtus predicta asmalla1 ij marcas4 ,et in vj ulnis cardonis de viridi1 iijs40#ig ,as the pound-weight now is widely different from the pound sterling1 so then the mark-weight of gold cost nine marks of money4 ,the 8operacio auri0 of the above document consisted in flattening out1 by a broad-faced hammer like one such as our gold-beaters still use1 the precious metal into a sheet thin as our thinnest paper4 ,the 8scissura0 was the cutting of it afterwards into long narrow strips1 the winding of which about the filaments of the yellow silk mentioned1 is indicated by the word 8filatura10 and thus was made the gold thread of that costly frontal fraught with seed-pearls and other some1 of a much larger size1 and garnets1 or rather carbuncles1 and enamels1 and which took four women three years and three-quarters to work4 ,at the back it was lined with green frieze or baize--8cardo de viridi40 ,such was the superior quality of some gold thread that it was known to the medival world under the name of the place wherein it had been made4 ,thus we find a mention at one time of ,cyprus gold thread--8vestimentum embrowdatum cum aquilis de auro de ,cipre20#ih later1 of ,venice gold thread--8for frenge of gold of ,venys at vjs4 the ounce20#ii 8one cope of unwaterd camlet laid with strokes of ,venis gold40#ajj ,what may have been their difference cannot now be pointed out3 perhaps the ,cyprian thread was so much esteemed because its somewhat broad shred of flat gold was wound about the hempen twist beneath it so nicely as to have the smooth unbroken look of gold wire2 while the article from ,venice showed everywhere the twisting of common thread4 #ig ,rot4 ,cancel4 #ef ,henrici ,,iii4 ,compot4 ,will4 de ,glouc4 #ih ,mon4 ,anglic4 ii4 #g4 #ii ,wardrobe ,accounts of ,king ,edward ,,iv4 p4 #aag1 ed4 ,n4 ,h4 ,nicolas4 #ajj ,mon4 ,anglic4 ii4 #afg4 ,as now1 so of old1 ,,silks ,,had ,,various ,,names given them1 meaning either their kind of texture and dressing1 their colour and its several tints1 the sort of design or pattern woven on them1 the country from which they were brought1 or the use for which1 on particular occasions1 they happened to be especially set apart4 ,all of these designations are of foreign growth2 some sprang up in the seventh and following centuries at ,byzantium1 and1 not to be found in classic writers1 remain unknown to modern ,greek scholars2 some are half ,greek1 half ,latin1 jumbled together2 other some1 borrowed from the east1 are so shortened1 so badly and variously spelt1 that their ,arabic or ,persian derivation can be hardly recognized at present4 ,yet1 without some slight knowledge of them1 we may not understand a great deal belonging to trade1 and the manners of the times glanced at by our old writers2 much less see the true meaning of many passages in our medival ,english poetry4 ,among the terms significative of the kind of web1 or mode of getting up some sorts of silk1 we have ,holosericum1 the whole texture of which1 as its ,greek-,latin compound means to say1 is warp and woof wholly pure silk3 in a passage from ,lampridius1 quoted before1 p4 xix41 we learn that so early as the reign of ,alexander ,severus1 the difference between 8vestes holoseric10 and 8subseric10 was strongly marked1 and from which we learn that ,subsericum implied that such a texture was not entirely1 but in part--likely its woof--of silk4 ,although the warp only happened to be of silk1 while the woof was of gold1 still the tissue was often called 8holosericum20 of the vestments which ,beda says#aja ,s4 ,gregory sent over here to ,s4 ,austin1 one is mentioned by a medival writer as 8una casula oloserica purpurei coloris aurea textura0--a chasuble all silk1 of a purple colour1 woven with gold4#ajb ,examples of 8holosericum0 and 8subsericum0 abound in this collection4 #aja ,hist4 ,ecc4 lib4 i4 c4 #bi4 #ajb ,bed ,hist41 ed4 ,smith1 p4 #fia4 ,examitum1 xamitum1 or1 as it is called in our old ,english documents so often1 samit1 is a word made up of two ,greek ones1 1 8six10 and 1 8threads10 the number of the strings in the warp of the texture4 ,that stuffs woven so thick must have been of the best1 is evident4 ,hence1 to say of any silken tissue that it was 8examitum10 or 8samit10 meant that it was six-threaded1 in consequence costly and splendid4 ,at the end of the thirteenth and beginning of the fourteenth centuries1 8examitum10 as the writer still names the silk1 was much used for vestments in ,evesham abbey1 as we gather from the 8,chronicon0 of that house1 published lately for the ,master of the ,rolls4#ajc ,about the same period1 among the best copes1 chasubles1 and vestments in ,st4 ,paul's1 ,london1 many were made of 8sametum20 so ,master ,radulph de ,baldock chose to call it in his visitation of that church as its dean1 ,a4,d4 #abie4ajd ,as we observed just now1 these rich silks1 which were in all colours1 with a warp so stiff1 became richer still from having a woof of golden thread1 or1 as we should now say1 being shot with gold4 ,but years before1 8examitum0 was shortened into 8samet20 for among the nine gorgeous chasubles bequeathed to ,durham cathedral by its bishop1 ,hugh ,pudsey1 ,a4,d4 #aaie1 there was the 8prima de rubea samete nobiliter braudata cum laminis aureis et bizanciis et multis magnis perlis et lapidibus pretiosis40#aje ,about a hundred years afterwards the employment of it1 after its richest form1 in our royal wardrobes1 has been pointed out just now1 p4 xxviii41 c4 ,in that valuable inventory1 lately published1 of the rich vestments belonging to ,exeter cathedral1 ,a4,d4 #abgg1 of its numerous chasubles1 dalmatics1 tunicles1 besides its seventy and more copes1 the better part were made of this costly tissue here called 8samitta20 for example3 8casula1 tunica1 dalmatica de samitta--par 7vestimentorum7 de rubea samitta cum avibus duo capita habentibus20 8una capa samitta cum leonibus deauratis40#ajf ,in a later document1 ,a4,d4 #acbg1 this precious silk is termed 8samicta40#ajg ,our minstrels did not forget to array their knights and ladies in this gay attire4 ,when ,sir ,lancelot of the ,lake brought back ,gawain to ,king ,arthur3-- ,launcelot and the queen were cledde ,in robes of a rich wede1 ,of samyte white1 with silver shredde3 99 99 99 99 99 ,the other knights everichone1 ,in samyte green of heathen land1 ,and their kirtles1 ride alone4#ajh #ajc ,pp4 #bhb-hh4 #ajd ,dugdale's ,st4 ,paul's1 new ed4 pp4 #caf1 c4 #aje ,wills and ,inventories1 part i4 p4 #c1 published by the ,surtees ,society4 #ajf ,lives of the ,bishops of ,exeter1 and a ,history of the ,cathedral1 by ,oliver1 pp4 #big1 #bih4 #ajg ,ibid4 #cac4 #ajh ,ellis's ,metrical ,romances1 i4 #cfj4 ,in his 8,romaunt of the ,rose10 ,chaucer describes the dress of ,mirthe thus3-- ,full yong he was1 and merry of thought ,and in samette1 with birdes wrought1 ,and with gold beaten full fetously1 ,his bodie was clad full richely4#aji ,many of the beautifully figured damasks in this collection are what anciently were known as 8samits20 and if they really be not 8six-thread10 according to the ,greek etymology of their name1 it is because1 that at a very early period the stuffs so called ceased to be woven of such a thickness4 ,those strong silks of the present day with the thick thread called 8organzine0 for the woof1 and a slightly thinner thread known by the technical name of 8tram0 for the warp1 may be taken to represent the ancient 8examits40 ,just as remarkable for the lightness of its texture1 as happened to be 8samit0 on account of the thick substance of its web1 yet quite as much sought after1 was another kind of thin glossy silken stuff 8wrought in the orient0 by ,paynim hands1 and here called first by its ,persian name which came with it1 ciclatoun1 that is1 bright and shining2 but afterwards sicklatoun1 siglaton1 cyclas4 ,often a woof of golden thread lent it more glitter still2 and it was used equally for ecclesiastical vestments as for secular articles of stately dress4 ,in the 8,inventory of ,st4 ,paul's ,cathedral1 ,london10 ,a4,d4 #abie1 there was a cope made of cloth of gold1 called 8ciclatoun30--8capa de panno aureo qui vocatur ciclatoun40#aaj ,among the booty carried off by the ,english when they sacked the camp of ,saladin1 in the ,holy ,land1 ,king ,richard took the pavillouns ,of sendal1 and of cyclatoun4 ,they were shape of castels2 ,of gold and silver the pencels4#aaa ,in his 8,rime of ,sire ,thopas10 ,chaucer says of the doughty swain1 ,of ,brugges were his hosen broun ,his robe was of ciclatoun4#aab ,though so light and thin1 this cloak of 8ciclatoun0 was often embroidered in silk1 and had sewn on it golden ornaments2 for we read of a young maid who sat1 ,in a robe ryght ryall bowne ,of a red syclatowne ,be hur fader syde2 ,a coronell on hur hedd set1 ,hur clothys with bestes and byrdes wer bete ,all abowte for pryde4#aac #aji ,poems1 ed4 ,nicolas1 t4 iv4 p4 #bf4 #aaj ,dugdale's ,st4 ,paul's1 new ed4 p4 #cah4 #aaa ,ellis's ,metrical ,romances1 t4 ii4 p4 #bec4 #aab ,poems1 ed4 ,nicolas1 t4 iii4 p4 #hc4 #aac ,ancient ,english ,met4 ,rom41 ed4 ,ritson1 t4 iii4 pp4 #h1 #i4 ,when in the field1 over their armour1 whether of mail or plate1 knights wore a long sleeveless gown slit up almost to the waist on both sides3 sometimes of 8samit10 often of 8cendal10 oftener still of 8ciclatourn10 because of its flowing showy texture was this garment made1 and from a new and contracted way of calling it1 the name of the gown1 like the shortened one for its stuff1 became known as 8cyclas10 nothing akin to the --the full round article of dress worn by the women of ,greece and ,rome4 ,when1 ,a4,d4 #acjf1 before setting out to ,scotland1 ,edward ,i4 girded his son1 the prince of ,wales1 with so much pomp1 a knight1 in ,westminster ,abbey2 to the three hundred sons of the nobility whom the heir to the throne was afterward to dub knights in the same church1 the king made a most splendid gift of attire fitting for the ceremony1 and among other textiles sent them were these 8clycases0 wove of gold3--8,purpura1 bissus1 syndones1 cyclades auro text10 c4 as we learn from ,matthew ,westminster1 8,flores ,historiarum10 p4 #ded4 ,how very light and thin must have been all such garments1 we gather from the quiet wit of ,john of ,salisbury while jeering the man who affected to perspire in the depth of winter1 though clad in nothing but his fine 8cyclas30--8dum omnia gelu constricta rigent1 tenui sudat in cylade40#aad ,not so costly1 and even somewhat thinner in texture1 was a silken stuff known as cendal1 cendallus1 sandal1 sandalin1 cendatus1 syndon1 syndonus1 as the way of writing the word altered as time went on4 ,when ,sir ,guy of ,warwick was knighted1 ,and with him twenty good gomes ,knightes' and barons' sons1 ,of cloth of ,tars and rich cendale ,was the dobbing in each deal4#aae #aad ,polycraticus1 lib4 ,,viii4 c4 xii4 #aae ,ellis's ,met4 ,rom4 i4 #ae4 ,the ,roll of ,caerlaverock tells us that among the grand array which met and joined ,edward ,i4 at ,carlisle1 ,a4,d4 #acjj1 on his road to invade ,scotland1 there was to be seen many a rich caparison embroidered upon cendal and samit3-- ,la ot meint riche guarnement ,brod sur sendaus e samis4#aaf ,and ,lacy1 ,earl of ,lincoln1 leading the first squadron1 hoisted his banner made of yellow cendal blazoned with a lion rampant purpre4#aag ,baner out de un cendal safrin1 ,o un lioun rampant purprin4 ,most1 if not all the other flags were made of the same cendal silk4 #aaf ,roll of ,caerlaverock1 ed4 ,wright1 p4 #a4 #aag ,ibid4 p4 #b4 ,when the stalworth knight of ,southampton wished to keep himself unknown at a tournament1 we thus read of him-- ,sir ,bevis disguised all his weed ,of black cendal and of rede1 ,flourished with roses of silver bright1 c4#aah ,of the ten beautiful silken albs which ,hugh ,pudsey left to ,durham1 two were made of samit1 other two of cendal1 or as the bishop calls it1 sandal3 8,qu dicuntur sandales40#aai ,exeter cathedral had a red cope with a green lining of sandal3 8,capa rubea cum linura viridi sandalis20#abj and a cape of sandaline3 8,una capa de sandalin40#aba ,chasubles1 too1 were1 it is likely1 for poorer churches1 made of cendal or sandel2 ,piers ,ploughman speaks thus to the high dames of his day-- ,and ye lovely ladies ,with youre long fyngres1 ,that ye have silk and sandal ,to sowe1 whan tyme is4 ,chesibles for chapeleyns1 ,chirches to honoure1 c4#abb ,a stronger kind of cendal was wrought and called1 in the ,latin inventories of the thirteenth and fourteenth centuries1 cendatus afforciatus1 and of such there was a cope at ,st4 ,paul's2#abc while another cope of cloth of gold was lined with it1#abd as also a chasuble of red samit given by ,bishop ,henry of ,sandwich4 #aah ,ellis's ,met4 ,rom4 ii4 #aef4 #aai ,wills and ,inventories1 p4 #c4 #abj ,oliver1 p4 #bii4 #aba ,ib4 p4 #cae4 #abb ,the ,vision1 ,passus ,sextus1 t4 i4 p4 #aag1 ed4 ,wright4 #abc ,p4 #cag4 #abd ,p4 #cah4 ,syndonus or ,sindonis1 as it would seem1 was a bettermost sort of cendal4 ,st4 ,paul's had a chasuble as well as a cope of this fabric3 8,casula de sindone purpurea1 linita cendata viridi2#abe 8capa de syndono ,hispanico40#abf #abe ,p4 #cbc4 #abf ,transcriber's note3 ,footnote1 originally number #i on page xli1 not in original text4 ,taffeta1 it is likely1 if not a thinner1 was a less costly silken stuff than cendal2 which word1 to this day1 is used in the ,spanish language1 and is defined to be a thin transparent textile of silk or linen3 8,tela de seda lino muy delgada y trasparente40 ,as the ,knights' flags3 ,ther gonfanens and ther penselles ,wer well wrought off grene sendels2 as their long cyclases which they wore over their armour were of cendal1 so too were of cendal1 all blazoned with their armorial bearings1 the housing of the steeds they strode4 ,of cendal1 also1 was the lining of the church's vestments1 and the peaceful citizen's daily garments4 ,of his 8,doctour of ,phisike10 ,chaucer tells us3-- ,in sanguin and in perse he clad was alle ,lined with taffata1 and with sendalle4#abg ,for the weaving of cendal1 among the ,europeans1 ,sicily was once celebrated1 and a good example from others in this collection1 is ,no4 #hbee1 p4 #afc4 #abg ,prologue1 ,poems1 ed4 ,nicolas1 ii4 #ad4 ,sarcenet1 during the fifteenth century took by degrees the place of cendal1 at least here in ,england4 ,by some improvement in their weaving of cendal1 the ,saracens1 it is likely in the south of ,spain1 earned for this light web as they made it1 or sold it1 a good name in our markets1 and it became much sought for here4 ,among other places1 ,york ,cathedral had several sets of curtains for its high altar1 8de sarcynet40#abh ,at first we distinguished this stuff by calling it1 from its makers1 8saracenicum40 ,but while ,anglicising1 we shortened that appellation into the diminutive 8sarcenet20 and this word we keep to the present day1 for the thin silk which of old was known among us as 8cendal40 #abh ,fabric ,rolls1 c4 p4 #bbg4 ,satin1 though far from being so common as other silken textures1 was not unknown to ,england1 in the middle ages2 and of it thus speaks ,chaucer1 in his 8,man of ,lawes ,tale30 ,in ,surrie whilom dwelt a compagnie ,of chapmen rich1 and therto sad and trewe1 ,that wide were senten hir spicerie1 ,clothes of gold1 and satins riche of hewe4#abi #abi ,poems1 ii4 #acg4 ,but as ,syria herself never grew the more precious kinds of spices1 so we do not believe that she was the first to hit upon the happy mechanical expedient of getting up a silken texture so as to take1 by the united action at the same moment of strong heat and heavy pressure upon its face1 that lustrous metallic shine which we have in satin4 ,no4 #gjb1 p4 #h1 is a good example of late ,chinese manufacture1 a process which this country is only now beginning to understand and successfully employ4 ,when satin first appeared in trade1 it was all about the shores of the ,mediterranean called 8aceytuni40 ,this term slipped through early ,italian lips into 8zetani20 coming westward this1 in its turn1 dropped its 8i10 and smoothed itself into 8satin10 a word for this silk among us ,english as well as our neighbours in ,france1 while in ,italy it now goes by the name of 8raso10 and the ,spaniards keep up its first designation in their dictionary4 ,in the earlier inventories of church vestments1 no mention can be found of satin2 and it is only among the various rich bequests 7ed4 ,oliver7 made to his cathedral at ,exeter by ,bishop ,grandison1 between ,a4,d4 #acbg-fi that this fine silk is spoken of2 though later1 and especially in the royal wardrobe accompts 7ed4 ,nicolas71 it is perpetually specified4 ,hence we may fairly assume that till the beginning of the fourteenth century satin was unknown in ,england2 afterwards it met much favour4 ,flags were made of it4 ,on board the stately ship in which ,beauchamp1 ,earl of ,warwick1 in the reign of ,henry ,,vi41 sailed from ,england to ,france1 there were flying 8three penons of satten10 besides 8sixteen standards of worsted entailed with a bear and a chain10 and a great streamer of forty yards in length and eight yards in breadth1 with a great bear and griffin holding a ragged staff poudred full of ragged staffs4#acj ,like other silken textiles1 satin seems to have been1 in some few instances1 interwoven with flat gold thread1 so as to make it a tissue3 for example1 ,lincoln had of the gift of one of its bishops1 eighteen copes of red tinsel sattin with orphreys of gold4#aca ,though not often1 yet sometimes do we read of a silken stuff called1 cadas1 carda1 carduus1 and used for inferior purposes4 ,the outside silk on the cocoon is of a poor quality compared with the inner filaments1 from which it is kept quite apart in reeling1 and set aside for other uses2 this is cadas which the ,promptorium ,parvulorum defines1 however1 as 8,bombicinium10 or silk4 ,st4 ,paul's1 ,a4,d4 #abie1 had 8pannus rubeus diasperatus de ,laret lineatus de carda ,inda20#acb and ,exeter possessed another cloth for the purpose3 8,cum carduis viridibus40#acc ,more frequently1 instead of being spun it served as wadding in dress2 on the barons at the siege of ,caerlaverock1 might be seen many a rich gambeson garnished with silk1 cadas1 and cotton3-- ,meint riche gamboison guarni ,de soi1 de cadas e coton4#acd ,one of the ,lenten veils at ,st4 ,paul's1 in the chapel of ,st4 ,faith1 was of blue and yellow carde3 8velum quadragesimale de carde croceo et indico40#ace ,the quantity of card purchased for the royal wardrobe1 in the twenty-eighth year of ,edward ,i4's reign1 ,a4,d4 #abii1 is set forth in the ,liber ,quotidianus1 c4#acf ,chasubles made in the thirteenth century1 and belonging to ,hereford ,cathedral1 were lined with carda3 8,unam casulam de rubeo sindone linita de carda crocea--tertiam casulam de serico de ,india linita de carda viridi10 c4#acg #acj ,baronage of ,england1 ,dugdale1 i4 #bdf4 #aca ,mon4 ,anglic4 viii4 #abhb4 #acb ,p4 #cce4 #acc ,ed4 ,oliver1 p4 #cag4 #acd ,roll4 p4 #cj4 #ace ,st4 ,paul's ed4 ,dugdale1 p4 #ccf4 #acf ,p4 #ced4 #acg ,roll of the ,household ,expenses of ,swinford1 ,bishop of ,hereford1 t4 ii4 p4 xxxvi4 ed4 ,web4 for the ,camden ,society4 ,camoca1 camoka1 camak1 camora 7a misspelling71 as the name is differently written1 was a textile of which in ,england we hear nothing before the latter end of the fourteenth century4 ,no sooner did it make its appearance than this camoca rose into great repute2 the ,church used it for her liturgical vestments1 and royalty employed it for dress on grand occasions as well as in adorning palaces1 especially in draping beds of state4 ,in the year #ache1 besides some smaller articles1 the royal chapel in ,windsor ,castle had a whole set of vestments and other ornaments for the altar1 of white camoca3 8,unum vestimentum album de camoca10 c4444 8,album de camoca1 cum casula40#ach444 8,duo quissini rubei de camoca40#aci ,to his cathedral of ,durham1 the learned ,richard ,bury left a beautifully embroidered whole set of vestments1 ,a4,d4 #acde3 8,unum vestimentum de alma camica 7sic7 subtiliter brudata10 c4#adj ,our princes must have arrayed themselves1 on grand occasions1 in camoca2 for thus ,herod1 in one of the ,coventry ,misteries--the ,adoration of the ,magi--is made to boast of himself3 8,in kyrtyl of cammaka kynge am ,i cladde40#ada ,but it was in draping its state-beds that our ancient royalty showed its affection for camoca4 ,to his confessor1 ,edward the ,black ,prince bequeaths 8a large bed of red camora 7sic7 with our arms embroidered at each corner10#adb and the prince's mother leaves to another son of hers1 ,john ,holland1 8a bed of red camak40#adc ,our nobles1 too1 had the same likings1 for ,edward ,lord ,despencer1 ,a4,d4 #acge1 wills to his wife1 8my great bed of blue camaka1 with griffins1 also another bed of camaka1 striped with white and black40#add ,what may have been the real texture of this stuff1 thought so magnificent1 we do not positively know1 but hazarding a guess1 we think it to have been woven of fine camel's hair and silk1 and of ,asiatic workmanship4 ,from this mixed web pass we now to another1 one even more precious1 that is the ,cloth of ,tars1 which we presume to have1 in a manner1 been the forerunner of the now so celebrated cashmere1 and along with silk made of the downy wool of a family of goats reared in several parts of ,asia1 but especially in ,tibet1 as we shall try to show a little further on4 #ach ,mon4 ,anglic4 ed4 ,dugdale1 new edition1 p4 viii4 #acfc1 a4 #aci ,ib4 p4 #acff1 a4 #adj ,wills and ,inventories1 t4 i4 p4 #be1 published by the ,surtees ,society4 #ada ,ed4 ,halliwell1 p4 #afc4 #adb ,nicolas's ,testamenta ,vetusta1 t4 i4 p4 #ab4 #adc ,ib4 p4 #ad4 #add ,ib4 p4 #ii4 ,velvet is a silken textile1 the history of which has still to be written4 ,of the country whence it first came1 or the people who were the earliest to hit upon the happy way of weaving it1 we know nothing4 ,the oldest piece we remember to have ever seen was in the beautiful crimson cope embroidered by ,english hands in the fourteenth century1 now kept at the college of ,mount ,st4 ,mary1 ,chesterfield1 and exhibited here in the ever memorable year '#fb4 ,our belief is1 that to central ,asia--perhaps ,china1--we are indebted for velvet as well as satin1 and we think the earliest places in ,europe to weave it was1 first the south of ,spain1 and then ,lucca4 ,in the earlier of those oldest inventories we have of church vestments1 that of ,exeter ,cathedral1 ,a4,d4 #abgg1 velvet is not spoken of2 but in ,st4 ,paul's1 ,london1 ,a4,d4 #abie1 there is some notice of velvet1#ade along with its kindred web1 8fustian10 for chasubles4#adf ,at ,exeter1 in the year #acbg1 velvet--and it was crimson--is for the first time there mentioned1 but as in two pieces not made up1 of which some yards had been then sold for vestment-making4#adg ,from the middle of the fourteenth century1 velvet--mostly crimson--is of common occurrence4 ,the name itself of velvet1 8velluto10 seems to point out ,italy as the market through which we got it from the ,east1 for the word in ,italian indicates something which is hairy or shaggy1 like an animal's skin4 ,fustian was known at the end of the thirteenth century4 ,st4 ,paul's ,cathedral had3 8,una casula alba de fustian40#adh ,but in an ,english sermon preached at the beginning of this thirteenth century1 great blame is found with the priest who had his chasuble made of middling fustian3 8e meshakele of medeme fustian40#adi ,as then wove1 fustian1 about which we have to say more1 had a short nap on it1 and one of the domestic uses to which1 during the middle ages1 it had been put1 was for bed clothes1 as thick undersheets4 ,lady ,bergavenny bequeaths ,a4,d4 #adcd1 8,a bed of gold of swans1 two pair sheets of ,raynes 7fine linen1 made at ,rheims71 a pair of fustians1 six pair of other sheets1 c40#aej ,that this stuff may have hinted to the ,italians the way of weaving silk in the same manner1 and so of producing velvet1 is not unlikely4 ,had the ,egyptian ,arabs been the first to push forward their own discovery of working cotton into fustian1 and changing cotton for silk1 and so brought forth velvet1 it is probable some one would have told us2 as it is1 we yield the merit to ,asia--may be ,china4 ,other nations took up this manufacture1 and the weaving of velvet was wonderfully improved4 ,it became diapered1 and upon a ground of silk or of gold1 the pattern came out in a bold manner1 with a raised pile2 and1 at last1 that difficult and most beautiful of all manners of diapering1 or making the pattern to show itself in a double pile1 one pile higher than the other and of the same tint1 now1 as formerly1 known as velvet upon velvet1 was brought to its highest perfection3 and velvets in this fine style were wrought in greatest excellence all over ,italy and in ,spain and ,flanders4 ,our old inventories often specify these differences in the making of the web4 ,york cathedral had 8four copes of crimson velvet plaine1 with orphreys of clothe of goulde1 for standers20#aea and besides1 8a greene cushion of raised velvet10#aeb possessed 8a cope of purshed velvet 7redd70#aec 8purshed0 meaning the velvet raised in a net-work pattern4 #ade ,p4 #cah4 #adf ,p4 #cbc4 #adg ,ed4 ,oliver1 p4 #cag4 #adh ,ed4 ,dugdale1 p4 #cbc4 #adi ,reliqui ,antiqu1 i4 #abi4 #aej ,test4 ,vet4 i4 #bbg4 #aea ,fabric ,rolls1 p4 #cji4 #aeb ,ib4 p4 #caa4 #aec ,ib4 p4 #caj4 ,diaper was a silken fabric1 held everywhere in high estimation during many hundred years1 both abroad and here in ,england4 ,this we know from documents beginning with the eleventh century4 ,what was its distinctive characteristic1 and whence it drew its name1 we have not been hitherto told1 with anything like certainty4 ,several eminent men have discussed these points1 but while hazarding his own conjecture1 each of these writers has differed from the others4 ,till a better may be found1 we submit our own solution4 ,the silk weavers of ,asia had1 of old1 found out the way so to gear their looms1 and dress their silk1 or their threads of gold1 that with a warp and woof1 both precisely of the same tone of colour they could give to the web an elegant design1 each part of which being managed in the weaving1 as either to hide or to catch the light and shine1 looked to be separated from or stand well up above the seeming dusky ground below it3 at times the design was dulled1 and the ground made glossy4 ,to indicate such a one-coloured1 yet patterned silk1 the ,byzantine ,greeks of the early middle ages bethought themselves of the term 1 diaspron1 a word of their own coinage1 and drawn from the old ,greek verb1 1 ,i separate1 but meant by them to signify 8what distinguishes or separates itself from things about it10 as every pattern must do on a one-coloured silk4 ,along with this textile1 the ,latins took the name for it from the ,greeks1 and called it 8diasper10 which we ,english have moulded into 8diaper40 ,in the year #ajff1 the ,empress ,agnes gave to ,monte ,cassino a diaper-chasuble of cloth of gold1 8optulit planetam diasperam totam undique auro contextam40#aed ,how a golden web may be so wrought is exemplified1 amid several other specimens in this collection1 by the one under ,no4 #abgj1 p4 #ch1 done most likely by an ,english hand4 ,at ,york ,minster1 in the year #ahfb1 was opened a tomb1 very likely that of some archbishop2 and there was found1 along with other textiles in silk1 a few shreds of what had been a chasuble made of cloth of gold diapered all over with little crosses1 as we ourselves beheld4 ,it would seem1 indeed1 that cloth of gold was at most times diapered with a pattern1 at least in ,chaucer's days1 since he thus points to it on the housing of his king's horse3-- -- -- trapped in stele1 ,covered with cloth of gold diapred wele4#aee #aed ,chron4 ,s4 ,monast4 ,cassin4 ,lib4 iii4 cap4 #gc1 p4 #dej1 ed4 ,muratori4 #aee ,knight's ,tale1 l4 #baei-fj4 ,our oldest ,church inventories make frequent mention of such diapered silks for vestments4 ,in #abgg1 ,exeter ,cathedral had3 8una 7capa7 de alba diapra cum noviluniis10#aef--;a cope of white diaper with half moons4 ,it was the gift of ,bishop ,bartholomew1 ,a4,d4 #aafa4 ,bishop ,brewer1 ,a4,d4 #abbd1 bestowed upon the ,church a small pall of red diaper3 8parva palla de rubea diapra20 along with a chasuble1 dalmatic and tunicle of white diaper3 8casula1 c4 de alba diapra40#aeg ,among its vast collection of liturgical garments1 ,a4,d4 #abie1 old ,st4 ,paul's had a large number made of diaper1 which was almost always white4 ,sometimes the pattern of the diapering is noticed2 for instance1 a chasuble of white diaper1 with coupled parrots in places1 among branches3 8casula de albo diaspro cum citaciis combinatis per loca in ramusculis40#aeh ,again3 8tunica et dalmatica de albo diaspro cum citacis viridibus in ramunculis10#aei where we see the white diaper having the parrots done in green4 ,probably the most remarkable and elaborate specimen of diaper-weaving on record1 is the one that ,edmund1 ,earl of ,cornwall gave1 made up in 8a cope of a certain diaper of ,antioch colour1 covered with trees and diapered birds1 of which the heads1 breasts1 and feet1 as well as the flowers on the trees1 are woven in gold thread3 8,capa ,domini ,edmundi ,comitis ,cornubi de quodam diaspero ,antioch coloris1 tegulata cum arboribus et avibus diasperatis quarum capita1 pectora et pedes1 et flores in medio arborum sunt de aurifilo context4#afj #aef ,p4 #big4 #aeg ,p4 #bih4 #aeh ,st4 ,paul's1 ed4 ,dugdale1 p4 #cbc4 #aei ,ib4 p4 #cbb4 #afj ,ib4 p4 #cah4 ,by degrees the word 8diaper0 became widened in its meaning4 ,not only all sorts of textile1 whether of silk1 of linen1 or of worsted1 but the walls of a room were said to be diapered when the self-same ornament was repeated and sprinkled well over it4 ,thus1 to soothe his daughter's sorrows1 the ,king of ,hungary promises her a chair or carriage1 that-- ,shal be coverd wyth velvette reede ,and clothes of fyne golde al about your heede1 ,with damaske whyte and azure blewe ,well dyaperd with lylles newe4#afa ,nay1 the bow for arrows held by ,,sweet ,,looking is1 in ,chaucer's 8,romaunt of the ,rose10 described as-- painted well1 and thwitten ,and over all diapred and written1 c4#afb ,even now1 our fine table linen we call 8diaper10 because it is figured with flowers and fruits4 ,sometimes1 with us1 silks diapered were called 8sygury30 una capa de sateyn sygury1 cum ymagine ,b4 ,m4 ,v4 in capucio4#afc #afa ,squire of ,low ,degree1 ed4 ,ritson4 #afb 8,romaunt of the ,rose10 l4 #ijj4 #afc ,fabric ,rolls of ,york ,cathedral1 p4 #bcj4 ,in their etymology of diaper1 modern writers try to draw the word from ,yprs1 or d',ypris1 because that town in ,belgium was once celebrated1 not for silken stuffs1 but for linen4 ,between the city and the name of 8diaper0 a kinship even of the very furthest sort cannot be fairly set up4 ,from the citations out of the ,chronicle of ,monte ,cassino we learn1 that at the beginning of the eleventh century1 the term in use there for a certain silken textile1 brought thither from the east1 was 8diasperon40 ,we find1 too1 how that great monastery was in continual communication with ,constantinople1 whither she was in the habit of sending her monks to buy art-works of price1 and bring back with them workmen1 for the purpose of embellishing her ,church and its altars4 ,getting from ,south ,italy to ,england1 and our own records1 we discover this same ,greece-born phrase1 diaspron1 diasper1 given to precious silks used as vestments during the twelfth and thirteenth centuries1 in ,london and ,exeter4 ,by the latter end of the fourteenth century--,chaucer's time--the terms 8diasper10 and 8diasperatus10 among us1 had slidden into 8diaper10 8diaperatus10 ,englished1 8diapered40 ,now1 in this same fourteenth century1 do we1 for the first time1 meet a mention of ,yprs2 and not alone1 but along with ,ghent1 as famous for linen1 if by that word we understand cloth2 and even then our own ,bath seems to have stood above those ,belgian cities in their textiles4 ,among ,chaucer's pilgrims-- ,a good wif was ther of beside ,bathe 99 99 99 99 99 ,of cloth making she hadde swiche an haunt ,she passed hem of ,ipres and of ,gaunt4#afd #afd ,the ,prologue1 #ddg4 ,neither in this1 nor any other subsequent notice of ,yprs weaving1 is there anything which can be twisted into a warrant for thinking the distinctive mark to have been the first employment of pattern on its webs1 or even its peculiar superiority in such a style of work4 ,the important fact which we have just now verified that several ages had gone by between the period when1 in ,greece1 in ,south ,italy1 and ,england1 the common name for a certain kind of precious silk was 8diaspron10 8diasper10 8diaper10 and the day when1 for the first time1 ,yprs1 not alone1 but in company with other neighbouring cities1 started up into notice for its linens1 quite overthrows the etymology thought of now-a-days for the word 8diaper10 and hastens us to the conclusion that this almost ante-medival term came to us from ,greece1 and not from ,flanders4 ,of the several oldest pieces in this collection1 there are not a few which those good men who wrote out the valuable inventories of ,exeter and ,st4 ,paul's1 ,london1 would have jotted down as 8diasper10 or 8diaper40 ,the shreds of creamy1 white silk1 number #abci1 p4 #bf1 fully illustrate the meaning of this term1 and will repay minute inspection4 ,more ancient still are other terms which we are about to notice1 such as 8chrysoclavus10 8stauracin10 8polystaurium10 8gammadion10 or 8gammadi10 8de quadruplo10 8de octoplo10 and 8de fundato40 ,first1 textiles of silk and gold are1 over and over again1 enumerated as then commonly known under such names1 in the so-called ,anastasius ,bibliothecarius1 ,liber ,pontificalis seu de ,gestis ,romanorum ,pontificum1 the good edition of which1 in three volumes1 edited by ,vignolius1 ought to be in the hands of every student of early ,christian art-work1 and in particular of textiles and embroidery4 ,the ,chrysoclavus or golden nail-head1 was a remnant1 which lingered a long time among the ornaments embroidered on ecclesiastical vestments1 and robes for royal wear1 of that once so coveted 8latus clavus10 or broad nail-head-like purple round patch worn upon the outward garment of the old ,roman dignitaries1 as we learn from ,horace1 while laughing at the silly official whom he saw at ,fondi-- ,insani ridentes prmia scrib1 ,prtextam et latum clavum4#afe #afe ,serm4 lib4 i4 satir4 v4 ,in the ,court of ,byzantium this device of dignity was elevated1 from being purple on white1 into gold upon purple4 ,hence came it that all rich purple silks1 woven or embroidered1 with the 8clavus0 done in gold1 became known from their pattern as gold nail-headed1 or chrysoclavus1 a half ,greek half ,latin word1 employed as often as an adjective as a substantive2 and silken textiles of ,tyrian dye1 sprinkled all over with large round spots1 were once in great demand4 ,shortly after1 ,a4,d4 #gie1 ,pope ,leo1 among his several other gifts to the churches at ,rome1 bestowed a great number of altar frontals made of this purple and gold fabric1 as we are told by ,anastasius4 ,to the altar of ,st4 ,paul's the pontiff sent 8vestem super altare albam chrysoclavam20#aff but to another 8vestem chrysoclavam ex blattin ,byzanteo40#afg ,sometimes these 8clavi0 were made so large that upon their golden ground an event in the life of a saint1 or the saint's head1 was embroidered1 and then the whole piece was called 8sigillata10 or sealed4 ,stauracin1 or 8stauracinus10 taking its name from 1 the ,greek for 8cross10 was a silken stuff figured with small plain crosses1 and therefore from their number sometimes further distinguished by the word signifying that meaning in ,greek1 ,polystauron4 ,of such a textile ,st4 ,leo gave presents to churches1 as we learn from ,anastasius1 lib4 ,pont4 ii4 #bfe4 ,how much silken textiles figured with the cross were in request for church adornment we learn from ,fortunatus1 who1 about the year #efe1 thus describes the hangings of an oratory in a church at ,tours-- ,pallia nam meruit1 sunt qu cruce textile pulchra1 99 99 99 99 99 ,serica qua niveis sunt agnava blattea telis1 ,et textis crucibus magnificatur opus4#afh ,very often the crosses woven on these fabrics were of the simplest shape2 oftener were they designed after an elaborate type with a symbolic meaning about it that afforded an especial name to the stuffs upon which they were figured1 the first of which that claims our notice is denominated #aff ,lib4 ,pon4 ii4 #beg4 #afg ,ibid4 #beh4 #afh ,poematum1 ,liber ,,ii4 iv4 ,gammadion1 or ,gammadi1 a word applied as often to the pattern upon silks as the figures wrought upon gold and silver for use in churches1 we so repeatedly come upon in the 8,liber ,pontificalis40 ,in the ,greek alphabet the capital letter of gamma takes the shape of an exact right angle thus1 4 ,being so1 many writers have beheld in it an emblem of our ,lord as our corner-stone4 ,following this idea artists at a very early period struck out a way of forming the cross after several shapes by various combinations with it of this letter 4 ,four of these gammas put so fall into the shape of the so-called ,greek cross2 and in this form it was woven upon the textiles denominated 8stauracin20 or patterned with a cross4 ,being one of the four same-shaped elements of the cross's figure1 the part was significant of the whole4 ,being1 too1 the emblem of our corner-stone--our ,lord1 the gamma1 or 1 was shown at one edge of the tunic on most of the apostles in ancient mosaics2 wherein sometimes we find1 in place of the gamma1 our present capital for the aspirate1 with which for their symbolic purpose the early ,christians chose to utter1 if not1 write the sacred name4 ,this is1 however1 only another combination of the four gammas in the cross4 ,whatsoever1 therefore1 whether of silver or of silk1 was found to be marked in these or other ways of putting the gammas together1 or with only a single one1 such articles were called 8gammadion10 or 8gammadi20 but as often the so-formed cross was designated as 8gammaed10 or 8gammadia40 ,st4 ,leo gave to the ,church of ,s4 ,susanna1 at ,rome1 an altar-frontal1 upon which there were four of such crosses made of purple silk speckled with gold spots2 8vestem de blatthin habentem 444 tabulas chrysoclavas iiii cum gemmis ornatas1 atque gammadias in ipsa veste chrysoclavas iiii40#afi ,ancient ingenuity for throwing its favourite gamma into other combinations1 and thus bringing forth other pretty but graceful patterns to be wrought on all sorts of ecclesiastical appliances1 did not stop here4 ,in the 8,liber ,pontificalis0 of ,anastasius1 we meet not unfrequently with such passages as these3 8,cortinas mir magnitudinis de palliis stauracin seu quadrapolis20#agj 8vela 444 ex palliis quadrapolis seu stauracin20#aga 8vela de octapolo40#agb ,the explanation of these two terms1 8de quadrapolo10 8de octapolo10 has hitherto baffled all commentators of the text through their forgetfulness of comparing together the things themselves and the written description of them4 ,in these texts there is evidently meant a strong contrast between a something amounting to four1 and to eight1 in or upon these textiles4 ,it cannot be to say that one fabric was woven with four1 the other with eight threads3 had that been so meant1 then the fact would have been announced by words constructed like 8examitus10 p4 xxxvii4 ,as the contrast is not in the texture1 it must then be searched for in the pattern of these two stuffs4 ,sure enough1 there we find it1 as 8de quadrapolis0 and 8stauracin0 were1 as we see above1 interchangeable terms2 the first1 like the second sort of textile1 was figured with crosses4 ,given at the end of ,du ,cange's 8,glossary0 is an engraving of a work of ,greek art1 plate ,,ix4 ,here ,st4 ,john ,chrysostom stands between ,st4 ,nicholas and ,st4 ,basil4 ,all three are arrayed in their liturgical garments1 which being figured with crosses1 are of the textile called of old 8stauracin20 but a marked difference in the way in which the crosses are put is discernible4 ,as a metropolitan ,st4 ,john wears the saccos upon which the crosses are arranged thus ,illustration ,st4 ,nicholas1 and ,st4 ,basil have chasubles which1 though worked all over with crosses1 made1 as on ,st4 ,john's saccos1 with gammas1 are surrounded with other gammas joined so as to edge in the crosses1 thus ,illustration ,as four gammas only are necessary to form all the crosses upon ,st4 ,john's vestment1 therein we behold the textile called by ,anastasius1 8,stauracin de quadruplo10 or the stuff figured with a cross of four 7gammas72 while as eight of these ,greek letters are required for the pattern on the chasubles1 we have in them an example of the other 8stauracin de octaplo10 or 8octapulo10 a fabric with a pattern composed of eight gammas4 ,but of all the shapes fashioned out of the repetition of the one same element1 the ,greek letter 1 by far the most ancient1 universal1 and mystic1 is that curious one particularized by many as the #afi ,lib4 ,pontif4 ii4 #bdc4 #agj ,ib4 ii4 #aif4 #aga ,ib4 ii4 #aih4 #agb ,ib4 ii4 #bji4 ,gammadion1 or ,filfot1 a name by which1 at one time in ,england1 it was generally known4 ,several pieces in this collection exhibit on them some modification of it1 as ,nos4 #abfa1 p4 #cd2 #acbe1 p4 #fj2 #gjeb1 p4 #abg2 #hbgi;,a1 p4 #agd2 #hcje1 p4 #ahe2 #hfce1 p4 #bdb2 #hfeb1 p4 #bdi4 ,its figure is made out of the usual four gammas1 so that they should fall together thus 3 of its high antiquity and symbolism1 we speak further on1 section ,,vii4 ,silks figured with a cross1 some made with four1 some with eight ,greek gammas1 remained in ,eastern ,church use all through the middle ages1 as we may gather from several monuments of that period4 ,besides a good many other books1 ,gori's fine one1 8,thesaurus ,veterum ,diptychorum0 affords us several instances4#agc ,the name also remained to such textiles as we know from the ,greek canonist ,balsamon1 who1 writing about the end of the twelfth century on episcopal garments1 calls the tunic1 or 7with a pattern7 of gammas--gammadion4 ,how to this day the cross made by four gammas is woven on ,greek vestments1 may be observed in the plates we have given in 8,hierurgia40#agd ,two late specimens of 8stauracin0 are in this collection under ,nos4 #gjci1 p4 #abc2 #gjdh1 p4 #abf2 and #hbej;,a1 p4 #afa4 #agc ,t4 iii4 p4 #hd4 #agd ,pp4 #dde1 #ddh1 second edition4 ,of silks patterned with the ,greek cross or 8stauracin10 there are several examples in this collection2 and though not of the remotest period1 are interesting2 the one ,no4 #hbcd1 p4 #aed1 wrought in ,sicily as it is probable by the ,greeks brought as prisoners from the ,morea1 in the twelfth century1 is not without some value4 ,in the ,chapter ,library at ,durham may be seen a valuable sample of ,byzantine stauracin 8colours purple and crimson2 the only prominent ornament a cross--often repeated1 even upon the small portion which remains40#age ,those who have seen in ,st4 ,peter's sacristy at ,rome1 that beautiful light-blue dalmatic said to have been worn by ,charlemagne when he sang the ,gospel at high mass1 at the altar1 vested as a deacon1 the day he was crowned emperor in that church by ,pope ,leo ,,iii4 will remember how plentifully it is sprinkled with crosses between its exquisite embroideries1 so as to make the vestment a real 8stauracin40 ,it has been well given by ,sulpiz ,boissere in his 8,kaiser ,dalmatika in der ,st4 ,peterskirche20 but far better by ,dr4 ,bock in his splendid work on the ,coronation ,robes of the ,german emperors4 ,silks1 from the pattern woven on them called de fundato1 are frequently spoken of by ,anastasius4 ,from the texts themselves of that writer1 and passages in other authors of his time1 it would seem that the silks themselves were dyed of the richest purple1 and figured with gold in the pattern of netting4 ,as one of the meanings for the substantive 8funda0 is a fisherman's net1 rich textiles so figured in gold1 were denominated from such a pattern 8de fundato0 or netted4 ,to ,st4 ,peter's ,church at ,rome the pontiff1 ,leo ,,iii4 gave 8cortinam majorem ,alexandrinam holosericam habentem in medio adjunctum fundatum1 et in circuitu ornatum de fundato20#agf and for the ,church of ,st4 ,paul's1 ,leo provided 8vela holoserica majora sigillata habentia periclysin et crucem tam de blattin seu de fundato40#agg ,from ,fortunatus we gather that those costly purple-dyed silks called 8blatta10 were always interwoven with gold3-- ,serica purpureis sternuntur vellera velis1 ,inlita blatta toris1 aurumque intermicat ostro4#agh ,this net-pattern lingered long1 and1 no doubt1 we find it1 under a new name1 8laqueatus0--meshed--as identified upon a cope made of baudekin1 at ,st4 ,paul's1 ,london1 ,a4,d4 #abie3 8,capa de baudekino cum pineis 7fir-apples7 in campis laqueatis40#agi ,modifications of this very old pattern may be seen in this catalogue 7pp4 #ce1 #cf1 #aed74 #age ,raine's ,st4 ,cuthbert1 p4 #aif4 #agf ,lib4 ,pontif4 ii4 #bhb4 #agg ,ibid4 #bdj4 #agh ,de ,vita ,s4 ,martini lib4 ii4 #agi ,dugdale's ,st4 ,paul's1 p4 #cah4 ,the ,latin term 8de fundato10 for this net-pattern1 so unusual1 has for many been quite a puzzle4 ,here1 too1 art-works are our best help to properly understand the meaning of the word4 ,the person of ,constantine the ,great1 given by ,gori1#ahj as well as that of a much later personage1 shown us by ,du ,cange1 at the end of his 8,glossarium10#aha shows the front of the imperial tunic1 which was purple1 to have been figured in gold with a netting-pattern1 marked with pearls4 ,gori1 moreover1 presents us with a bishop whose chasuble is of the same design4#ahb ,further still1 ,paciaudi1 in his 8,de ,cultu ,s4 ,johannis ,baptist10#ahc furnishes a better illustration1 if possible1 by an engraving of a diptych first published by him4 ,here ,st4 ,jacobus1 or ,james1 is arrayed in chasuble and pall of netting-patterned silk2 and of the same-figured stuff is much of the trimming or ornamentation on the robes of the ,b4 ,v4 ,mary1 but on those more especially worn by the archangels1 ,st4 ,michael and ,gabriel4 ,in the diapered pattern on some of the cloth of gold found lately in the grave of some archbishop of ,york1 buried there about the end of the thirteenth century1 is the same netting discernible4 #ahj ,t4 iii4 p4 xx4 #aha ,t4 viii4 plate #e4 #ahb ,ib4 p4 #hd4 #ahc ,p4 #chi4 ,striped or barred silks--stragulat--got their especial name for such a simple pattern1 and at one time were in much request4 ,frequent mention is made of them in the ,exeter ,inventories1 of which the one taken1 ,a4,d4 #abgg1 specifies1 8,due palle de baudekyno--una stragulata20#ahd and ,a4,d4 #acbg1 the same cathedral had1 8,unum filatorium de serico bonum stragulatum cum serico diversi coloris10#ahe a veil or scarf for the sub-deacon1 made of silk striped in different colours4 ,the illuminations on the ,,ms4 among the ,harley collection at the ,british ,museum1 of the deposition of ,richard ,,ii4 published by the ,society of ,antiquaries1 afford us instances of this textile4 ,the young nobleman to the right sitting on the ground at the archbishop's sermon1 is entirely1 hood and all1 arrayed in this striped silk1#ahf and at the altar1 where ,northumberland is swearing on the ,eucharist1 the priest who is saying mass1 wears a chasuble of the same stuff4#ahg ,old ,st4 ,paul's had copes like it3 8,cap fact de uno panno serico veteri pro parte albi coloris1 pro parte viridi20#ahh besides which1 it had offertory-veils of the same pattern1 one of them with its stripes paly red and green3--8,unum offertorium stragulatum1 de rubeo et viridi20 and two others with their stripes bendy-wise3 8,duo offertoria bendata de opere ,saraceno40#ahi ,york ,cathedral also had two red palls paled with green and light blue3 8,du pall rubi palyd cum viridi et blodio10#aij so admirably edited for the ,surtees ,society1 by ,rev4 ,jas4 ,raine1 jun4 ,under this kind of patterned silks must be put one the name for which has hitherto not been explained by our ,english antiquaries4 ,at the end of the twelfth century there was brought to ,england1 from ,greece1 a sort of precious silk named there ,imperial4 ,ralph1 dean of ,st4 ,paul's cathedral1 ,london1 tells us1 that ,william de ,magna ,villa1 on coming home from his pilgrimage to the ,holy ,land1 made presents to several churches1 ,a4,d4 #aagh1 of cloths which at ,constantinople were called imperial3 8,pannos quos ,constantinopolis civitas vocat ,imperiales1 c40#aia ,relating the story of ,john's apparition1 ,a4,d4 #abbf1 ,roger ,wendover1 and after him ,matt4 ,paris1 tells us that the ,king stood forth dressed in royal robes made of the stuff they call ,imperial3 8,astitit rex in vestibus regalibus de panno scilicet quem imperialem appellant40#aib ,in the ,inventory of ,st4 ,paul's1 ,london1 drawn up ,a4,d4 #abie1 four tunicles1 vestments for subdeacons and lower ministers about the altar1 are mentioned as made of this imperial4 ,no colour is specified1 except in the one instance of the silk being marbled2 and the patterns are noticed as of red and green1 with lions wove in gold4#aic ,it seems not to have been thought good enough for the more important vestments1 such as chasubles and copes4 ,were it not spoken of thus by ,wendover and ,paris1 as well as by a dean of ,st4 ,paul's1 and mentioned once as used in a few liturgical garments for that cathedral1 we had never heard a word about such a textile anywhere in ,england4 ,our belief is that it got its name neither from its colour--supposed royal purple--nor its costliness1 but through quite another reason3 woven at a workshop kept up by the ,byzantine emperors1 just like the ,gobelins is to-day in ,paris by the ,french1 and bearing about it some small1 though noticeable mark1 it took the designation of 8,imperial40 ,that it was partly wrought with gold1 we know2 but that its tint was always some shade of the imperial purple--hence its appellation--is a purely gratuitous assumption4 ,moreover1 as ,saracenic princes in general had wrought in their own palaces1 at the tiraz there1 those silks wanted by themselves1 their friends1 and officers1 and caused them to be marked with some adopted word or sentence2 so1 too1 the rulers of ,byzantium followed1 it is likely the same usage1 and put some royal device or word1 or name in ,greek upon theirs1 and hence such textiles took the name of ,imperial4 ,in ,france1 this textile was in use as late as the second half of the fifteenth century1 but looked upon as old4 ,here1 at ,york1 as late as the early part of the sixteenth1 one of its deans bestowed on that cathedral 8two 7blue7 copes of clothe imperialle40#aid #ahd ,ed4 ,oliver1 p4 #bih4 #ahe ,ib4 p4 #cab4 #ahf ,plate v4 p4 #ec4 #ahg ,plate xii4 p4 #ada4 #ahh ,dugdale's ,st4 ,paul's1 p4 #cah4 #ahi ,ib4 #aij ,york ,fabric ,rolls1 p4 #bcj4 #aia ,hist4 ,anglic4 ,script4 ,x4 t4 i4 p4 #fjb1 ed4 ,twysden4 #aib ,rog4 de ,wendover1 ,chronica1 t4 iv4 p4 #abg1 ed4 ,coxe4 #aic ,p4 #cbb4 #aid ,fabric ,rolls1 p4 #caj4 ,,baudekin ,was a costly stuff much employed and often spoken of in our literature during many years of the medival period4 ,ciclatoun1 as we have elsewhere remarked1 was the usual term during centuries throughout ,western ,europe1 by which those showy golden textiles were called4 ,when1 however1 ,bagdad1 or ,baldak1 standing where once stood the ,babylon of old1 took and held for no short length of time the lead all over ,asia in weaving1 every kind of fine silks and in especial golden stuffs shot1 as now1 in different colours1 cloths of gold so tinted became every where known more particularly among us ,english as 8baldakin10 8baudekin10 or 8baudkyn10 or silks from ,baldak4 ,at last the earlier term 8ciclatoun0 dropped quite out of use4 ,with this before him the reader will hereafter more readily understand several otherwise puzzling passages in many of our old writers in poetry and prose1 as well as in the inventories of royal furniture and church vestments4 ,our kings and our nobility affected much this rich stuff for the garments worn by them on high occasions4 ,when1 ,a4,d4 #abdg1 girding in ,westminster ,abbey ,william de ,valence his uterine brother1 a knight1 our ,henry ,,iii4 had on a robe of baudekin1 or cloth-of-gold1 likely shot with crimson silk3 8,dominus ,rex veste deaurata facta de preciosissimo ,baldekino et coronula aurea1 qu vulgariter garlanda dicitur redimitus1 sedens gloriose in solio regio1 fratrem suum uterinum1 baltheo militari gaudenter insignivit40#aie ,in the year #abei the master of ,sherborn ,hospital in the north1 bequeathed to that house a cope made of cloth-of-gold1 or 8baudekin30--8,capam de panno ad aurum scilicet ,baudekin cum vestimento plenario de panno ,yspani ad aurum40#aif ,but these ,bagdad or ,baldak silks1 with a weft of gold known among us as 8baudekins0 were often wove very large in size1 and applied here in ,england to especial ritual purposes4 ,as a thanks-offering after a safe return home from a journey1 they were brought and given to the altar2 at all the solemn burials of our kings and queens1 and other great ones1 each of the many mourners1 when offertory time came1 went to the illuminated hearse1--one is figured in the 8,church of ,our ,fathers10#aig--;and strewed a baudekin of costly texture over the coffin4 ,artists or others who wish to know the ceremonial for that occasion1 will find it set forth in the descriptions of many of our medival funerals4 ,at the obsequies of ,henry ,,vii4 in ,westminster ,abbey3--8,twoe herauds came to the ,duke of ,buck4 and to the ,earles and conveyed them into the ,revestrie where they did receive certen ,palles which everie of them did bringe solemply betwene theire hands and comminge in order one before another as they were in degree unto the said herse1 thay kissed theire said palles and delivered them unto the said heraudes which laide them uppon the kyngs corps1 in this manner3 the palle which was first offered by the ,duke of ,buck4 was laid on length on the said corps1 and the residewe were laid acrosse1 as thick as they might lie40#aih ,in the same church at the burial of ,anne of ,cleves1 ,a4,d4 #aeeg1 a like ceremonial of carrying cloth-of-gold palls to the hearse was followed4#aii #aie ,matt4 ,paris1 p4 #bdi4 #aif ,wills1 c4 of the ,northern ,counties of ,england1 ,surtees ,society1 p4 #f4 #aig ,tom4 ii4 p4 #eja4 #aih ,lelandi ,collectanea1 t4 iv4 p4 #cjh4 #aii ,excerpta ,historica1 p4 #cab4 ,among the many rich textiles belonging to ,st4 ,paul's1 ,london1 ,a4,d4 #abie1 are mentioned3 8,baudekynus purpureus cum columpnis et arcubus et hominibus equitantibus infra1 de funere comitiss ,britanni4 ,item baudekynus purpureus cum columpnis et arcubus et ,sampson fortis infra arcus1 de dono ,domini ,henrici ,regis4 ,duo baudekyni rubei cum sagittarijs infra rotas1 de dono ,e4 regis et regin venientium de ,wallia1 ,unus ,baudekynus rubei campi cum griffonibus1 pro anima ,alianor regin junioris10#bjj c4 ,at times these rich stuffs were cut up into chasubles3 8,casula de baudekyno de opere ,saracenico10#bja as was the cloth-of-gold dress worn by one of our princesses at her betrothal3 8,unam vestimentum rubeum de panno adaurato diversis avibus poudratum1 in quo domina principessa fuit desponsata40#bjb ,the word 8baudekin0 itself became at last narrowed in its meaning4 ,so warm1 so mellow1 so fast were all the tones of crimson which the dyers of ,bagdad knew how to give their silks1 that without a thread of gold in them1 the mere glowing tints of those plain crimson silken webs from ,bagdad won for themselves the name of baudekins4 ,furthermore1 when they quite ceased to be partly woven in gold1 and from their consequent lower price and cheapness got into use for cloths of estate over royal thrones1 on common occasions1 the shortened form of such a regal emblem1 the canopy hung over the high altar of a church1 acquired1 and yet keeps its appellation1 at least in ,italy1 of 8baldachino40 #bjj ,dugdale's ,st4 ,paul's1 pp4 #cbh-i4 #bja ,ibid4 p4 #cca4 #bjb ,inventory of the ,chapel1 ,windsor ,castle1 ,mon4 ,ang4 viii4 #acfc4 ,how very full in size1 how costly in materials and embroidery1 must have sometimes been the cloth of estate spread overhead and behind the throne of our kings1 may be gathered from the 8,privy ,purse ,expenses of ,henry the ,seventh10 wherein this item comes3 8,to ,antony ,corsse for a cloth of an estate conteyning #dg yerds1 #aa the yerd1 #ebb #ajs40#bjc ,about the feudal right1 still kept up in ,rome1 to a cloth of estate1 among the continental nobility1 we have spoken1 p4 #ajg of this catalogue1 where a fragment of such a hanging is described4 ,the custom itself is thus noticed by ,chaucer3-- ,yet nere and nere forth in ,i gan me dress ,into an hall of noble apparaile1 ,with arras spred1 and cloth of gold ,i gesse1 ,and other silke of easier availe3 ,under the cloth of their estate sauns faile ,the king and quene there sat as ,i beheld4#bjd #bjc ,excerpta ,historica1 p4 #aba4 #bjd ,poems1 ed4 ,nicolas1 t4 vi4 p4 #acd4 ,this same rich golden stuff asks for our notice under a third and even better known name1 to be found all through our early literature as ,,cloth ,,of ,,pall4 ,the cloak 7in ,latin pallium1 in ,anglo-,saxon paell7 of state for regal ceremonies and high occasions1 worn alike by men as well as women1 was always made of the most gorgeous stuff that could be found4 ,from a very early period in the medival ages1 golden webs shot in silk with one or other of the various colours--occasionally blue1 oftener crimson--were sought out1 as may be easily imagined1 for the purpose1 through so many years1 and everywhere1 that at last each sort of cloth of gold had given to it the name of 8pall10 no matter the immediate purpose to which it might have to be applied1 and after so many fashions4 ,vestments for church use and garments for knights and ladies were made of it4 ,old ,st4 ,paul's had chasubles and copes of cloth of pall3 8,casula de pal1 capa chori de pal1 c40#bje ,in worldly use1 if the king's daughter was to have a ,mantell of ryche degre ,purple palle and armyne fre4#bjf ,so in the poem of ,sir ,isumbras-- ,the rich queen in hall was set2 ,knights her served1 at hand and feet ,in rich robes of pall4#bjg #bje ,hist4 ed4 ,dugdale1 p4 #ccf4 #bjf ,the ,squire of ,low ,degree4 #bjg ,ellis's ,metrical ,romances1 t4 iii4 p4 #afg4 ,for state receptions1 our kings used to send out an order that the houses should be 8curtained0 all along the streets which the procession would have to take through ,london1 8incortinaretur40#bjh ,how this was done we learn from ,chaucer in the 8,knight's ,tale10#bji ,by ordinance1 thurghout the cite large ,hanged with cloth of gold1 and not with sarge2 as well as from the 8,life of ,alexander30-- ,al theo city was by-hong ,of riche baudekyns and pellis 7palls7 among4#baj ,hence1 when ,elizabeth1 our ,henry ,,vii4's queen1 8proceeded from the ,towre throwge the ,citie of ,london 7for her coronation7 to ,westminster1 al the strets ther wich she shulde passe by1 were clenly dressed and besene with clothes of ,tappestreye and ,arras4 ,and some strets1 as ,cheepe1 hangged with riche clothes of gold1 velvetts1 and silks1 c4#baa 8,as late as ,a4,d4 #aeee1 at ,bow chyrche in ,london was hangyd with cloth of gold and with ryche hares 7arras740#bab ,those same feelings which quickened our doughty knights and high-born ladies to go and overspread the bier of each dead noble friend1 with costly baudekins or cloths of gold1 so the church whispered and she whispers us still to do1 in due degree1 the same to the coffin in which the poor man is being carried to the grave beneath a mantle of silk and velvet4 ,the brother or the sister belonging to any of our old ,london gilds had over them1 however lowly they might have been in life1 one or other of those splendid hearse-cloths which we saw in this museum1 among the loans1 in the ever memorable year #ahfb4 ,this silken textile interwove with gold1 first known as 8ciclatoun10 on account of its glitter1 then as 8baudekin10 from the city where it was best made1 came at last to be called by the name of 8pall40 ,whether employed on jubilant occasions1 for a joyful betrothal1 or a stately coronation1 or for a sorrowing funeral1 it mattered not1 it got the common term of 8cloth of pall10 which we yet keep up in that velvet covering for a coffin1 a burial pall4 #bjh ,matt4 ,paris1 p4 #ffa4 #bji ,v4 #befi-gj4 #baj ,warton's ,hist4 of ,english ,poetry1 t4 ii4 p4 #h4 #baa ,leland's ,collectanea1 t4 iv4 p4 #bbj4 #bab ,machyn's ,diary1 p4 #ajb4 ,,lettered ,,silks are of no uncommon occurrence1 and some examples may be seen in this collection4 ,a celebrated ,mohammedan writer1 ,ebn-,khaldoun1 who died about the middle of the fifteenth century1 while speaking of that spot in an ,arab palace1 the 8,tiraz10 so designated from the name itself of the rich silken stuffs therein woven1 tells us that of the attributes of all ,saracenic kings and sultans1 and which became a particular usage for ruling dynasties1 one was to have woven the name of the actual prince1 or that special ensign chosen by his house1 into the stuffs intended for their personal wear1 whether wrought of silk1 brocade1 or even coarser kind of silk4 ,while gearing his loom1 the workman contrived that the letters of the title should come out either in threads of gold1 or in silk of another colour from that of the ground4 ,the royal apparel thus bore about it its own especial marks emblematic of the sultan's wardrobe1 and so became the distinguishing ensigne of the prince himself1 as well as for those personages around him1 who were allowed1 by their official rank in his court1 to wear them1 and those again upon whom he had condescended to bestow such garments as especial tokens of the imperial favour1 like the modern pelisse of honour4 ,before the period of their having embraced ,islamism the ,kings of ,persia used to have woven upon the stuffs wrought for their personal use1 or as gifts to others1 their own especial effigies or likeness1 or at times the peculiar ensign of their royalty4 ,on becoming ,mussulmans1 the rulers of that kingdom changed the custom1 and instead of portraiture substituted their names1 to which they added words sounding to their ears as foreboding good1 or certain formulas of praise and benediction4#bac ,wherever the ,moslem ruled1 there did he set up the same practice2 and thus1 whether in ,asia1 in ,egypt1 or other parts of ,africa1 or in ,moorish ,spain1 the silken garments for royalty and its favoured ones1 showed woven in them the prince's name1 or at least his chosen badge4 ,the silken garments wrought in ,egypt for the far-famed ,saladin1 and worn by him as its ,kalif1 bore very conspicuously upon them the name of that conqueror4 ,in our old lists of church ornaments1 frequent mention is found of vestments inscribed1 like pieces here1 with words in real or pretended ,arabic2 and when ,st4 ,paul's inventory more than once speaks of silken stuffs1 8de opere ,saraceno10 we lean to the belief that1 though not all1 some at least of those textiles were so called from having ,arabic characters woven on them4 ,such1 too1 were the letters on the red pall1 figured with elephants and a bird1 belonging to ,exeter3 8,palla rubea cum quibusdam literis et elephantis et quadam avi in superiori parte40#bad ,later1 our trade with the ,south of ,spain and the ,moors there1 led us to call such words on woven stuffs ,moorish1 as we find in old documents1 thus ,joane ,lady ,bergavenny bequeaths 7,a4,d4 #adcd7 a 8hullyng 7hangings for a hall7 of black1 red1 and green1 with morys letters1 c40#bae ,the weaving of letters in textiles is neither a ,moorish1 nor ,saracenic invention2 ages before1 the ancient ,parthians used to do so1 as we learn from ,pliny3 8,parthi literas vestibus intexunt40 ,a curious illustration of silken stuffs so frequently bearing letters1 borrowed in general from some real or supposed oriental alphabet1 is the custom which many of the illuminators had of figuring very often on frontals and altar canopies1 made of silk1 meaningless words2 and the artists of ,italy up to the middle of the sixteenth century did the same on the hems of the garments worn by great personages1 in their paintings4 ,on the inscribed textiles here1 the real or pretended ,arabic sentence is written twice on the same line1 once forwards1 once backwards4 #bac ,silvestre ,de ,sacy1 ,chrestomathie ,arabe1 t4 ii4 p4 #bhg4 #bad ,oliver1 p4 #bih4 #bae ,test4 ,vet4 i4 p4 #bbh4 ,,the ,,eagle1 single and double-headed1 may frequently be found in the patterns of old silks4 ,in all ages certain birds of prey have been looked upon by heathens as ominous for good or evil4 ,of this our own country affords us a mournful example4 ,upon the standard which was carried at the head of the ,danish masters of ,northumbria was figured the raven1 the bird of ,odin4 ,this banner had been woven and worked by the daughters of ,regnar ,lodbrok1 in one noontide's while2 and those heathens believed that if victory was to follow1 the raven would seem to stand erect1 and as if about to soar before the warriors1 but if a defeat was impending1 the raven hung his head and drooped his wings2 as we are told by ,asser3 8,pagani acceperunt illud vexillum quod ,reafan nominant3 dicunt enim quod tres sorores ,hungari et ,habb fili videlicet ,lodebrochi illud vexillum texuerunt et totum paraverunt illud uno meridiano tempore3 dicunt etiam quod1 in omni bello ubi prcederet idem signum1 si victoriam adepturi essent1 appereret in medio signi quasi corvus vivens volitans3 sin vero vincendi in futuro fuissent1 penderet directe nihil movens40#baf ,another and a more important flag1 that which ,harold and his ,anglo-,saxons fought under and lost at ,hastings1 is described by ,malmesbury as having been embroidered in gold1 with the figure of a man in the act of fighting1 and studded with precious stones1 all done in sumptuous art3 8,quod 7vexillum7 erat in hominis pugnantis figura auro et lapidibus arte sumptuosa intextum40#bag ,still farther down in past ages1 known for its daring and its lofty flight1 the eagle was held in high repute2 throughout all the ,east1 where it became the emblem of lordly power and victory1 often it is to be seen flying in triumph over the head of some ,assyrian conqueror1 as may be witnessed in ,layard's ,work on ,nineveh4#bah ,homer calls it the bird of ,jove4 ,upon the yoke in the war chariot of the ,persian king ,darius sat perched an eagle as if outstretching his wings wrought all in gold3 8,auream aquilam pinnas extendenti similem40#bai ,the sight of this bird in the air while a battle raged was1 by the heathen looked upon as an omen boding victory to those on whose side it hovered4 ,at the battle of ,granicus those about ,alexander saw or thought they saw fluttering just above his head1 quite heedless of the din1 an eagle1 to which ,aristander called the attention of the ,macedonians as an unmistakable earnest of success3 8,qui circa ,alexandrum erant1 vidisse se crediderunt1 paululum super caput regis placide volantem aquilam non gemitu morientium territam ,aristander 444 militibus in pugnam intentis avem monstrabat1 haud dubium victori auspicium40#bbj ,the ,romans bore it on their standards2 the ,byzantine emperors kept it as their own device1 and following the ancient traditions of the east1 and heedless of their law that forbids the making of images1 the ,saracens1 especially when they ruled in ,egypt1 had the eagle figured on several things about them1 sometimes single at others double-headed1 which latter was the shape adopted by the emperors of ,germany as their blazon2 and in this form it is borne to this day by several reigning houses4 ,no wonder then that eagles of both fashions are so often to be observed woven upon ancient and eastern textiles4 ,very likely1 as yet left to show itself upon the walls of the citadel at ,cairo1 and those curious old glass lamps hung up there and elsewhere in the mosques1 the double-headed eagle with wings displayed1 which we find on royal ,saracenic silks1 was borrowed by the ,paynim from the ,crusaders1 as it would seem1 and selected for its ensign by the government of ,egypt in the thirteenth century1 which will easily account for the presence of that heraldic bird upon so many specimens from ,saracenic looms1 to be found in this collection4 ,the 8tiraz10 in fact1 was for silk like the royal manufactory of ,dresden and ,svres china1 or ,gobelin's looms for tapestry1 and as the courts of ,france for its mark or ensign fixed upon the two ,l,ls interlaced1 and the house of ,saxony the two swords placed saltire wise1 so at least for ,saladin and ,egypt1 in the middle ages the double-headed eagle with its wings outstretched1 was the especial badge or ensign4 ,in the same manner the sacred 8horm10 or tree of life1 between the two rampant lions or cheetahs may be the mark of ,persia4 ,as early as ,a4,d4 #abgg ,exeter ,cathedral reckoned among her vestments several such2 for instance1 a cope of baudekin figured with small two-headed eagles3 8,capa baudekyn cum parvis aquilis1 ij capita habentibus20#bba and our ,henry ,,iii4's brother1 ,richard the king of ,germany1 gave to the same church a cope of black baudekin1 with eagles in gold figured on it3 8,una capa de baudek1 nigra cum aquilis deauratis40#bbb ,many other instances might be noticed all through ,england4 #baf ,asserius1 ,de ,rebus ,gestis lfredi1 ed4 ,wise1 p4 #cc4 #bag ,will4 ,malmes4 ,gesta ,regum ,anglorum1 t4 ii4 p4 #dae1 ed4 ,duffus ,hardy4 #bah ,plates1 #ah1 #bj1 #bb4 #bai ,quintus ,curtius1 ,lib4 ,,iii4 cap4 iii4 p4 #g4 #bbj ,ibid4 ,lib4 ,,iv4 cap4 xv4 p4 #gb4 #bba ,oliver1 p4 #bii4 #bbb ,ibid4 ,as in architecture1 sculpture1 and painting1 ancient and modern1 so ,,in ,,woven ,,stuffs ,,there ,,are ,,styles ,,nicely ,,defined1 ,,and ,,epochs ,,easily ,,discernible4 ,hitherto no attempt has been anywhere made to distribute olden silken textiles into various schools1 and as the present is the first and only collection which has in any country been thrown open as yet to the public1 the occasion seems a fitting one to warrant such an endeavour of classification4 ,with no other than the specimens here before us1 we think we see them fall into these several groups--,chinese1 ,persian1 ,byzantine1 ,oriental or ,indian1 ,syrian1 ,saracenic1 ,moresco-,spanish1 ,sicilian1 ,italian1 ,flemish1 ,british1 and ,french4 ,chinese examples here are very few2 but what they are1 whether plain or figured1 they are beautiful in their own way4 ,from all that we know of the people1 we are led to believe their own way two thousand years ago is precisely theirs still1 so that the web wrought by them this year or two hundred years ago1 like ,no4 #acfh1 p4 #ge1 would not differ hardly in a line from their textiles two thousand years gone by1 when ,dionysius ,periegetes wrote that1 the 8,seres make precious figured garments1 resembling in colour the flowers of the field1 and rivalling in fineness the work of spiders40 ,in the stuffs1 warp and woof are of silk1 and both of the best kinds4 ,persian textiles1 even as we see them in this collection1 must have been for many centuries just as they were ever figured1 and may be1 even now1 described by the words of ,quintus ,curtius1 with some little allowance for those influences exercised upon the mind of the weaver by his peculiar religious belief1 which would not let the lowliest workman forget the 8homa10 or tree of life4 ,when ,marco ,polo travelled through those parts1 in the thirteenth century1 and our countryman1 ,sir ,john ,mandeville1 a hundred years later1 the old love for hunting wild beasts still lived1 and the princes of the country were as fond as ever of training the cheetah1 a kind of small lion or leopard1 for the chase1 as we have noticed1 p4 #agh4 ,when the design is made up of various kinds of beasts and birds1 real or imaginary1 with the sporting cheetah nicely spotted among them2 and the 8homa0 conspicuously set forth above all2 sure may we be that the web was wrought by ,persians1 and on most occasions the textile will be found in all its parts to be woven from the richest materials4 ,as an illustration of the ,persian type of style1 ,no4 #hbcc1 p4 #aed1 may be taken as a specimen4 ,for trade purposes1 and to make the textile pass in the ,european market as from ,persia1 the manner of its loom was often copied by the ,jewish and the ,christian weavers in ,syria1 as we shall have to notice just now4 ,the ,byzantine ,greeks1 for their textiles from the time when in the sixth century they began to weave home-grown silk1 made for themselves a school of design which kept up in their drawing not a little of the beauty1 breadth1 and flowing outline which had outlived among them the days of heathenish art4 ,along with this a strong feeling of their ,christianity showed itself as well in many of the subjects which they took out of holy writ1 as in the smaller elements of ornamentation4 ,figures1 whether of the human form or of beasts1 are given in a much larger and bolder size than on any other ancient stuffs4 ,though there be very few known specimens from the old looms of ,constantinople1 the one here1 ,no4 #gjcf1 p4 #abb1 showing ,samson wrestling with a lion1 may serve as a type4 ,in the year #abie old ,st4 ,paul's ,cathedral1 here in ,london1 would seem to have possessed several splendid vestments made of ,byzantine silk1 as we note in the samples to be named infra under the head of ,damask4 ,the way in which those ,greeks gave a pattern to the stuff intended more especially for liturgical purposes is pointed out while speaking about 8,stauracin0 and the 8,gammadion10 a form of the cross with which they powdered their silks2 p4 lii4 ,the world-wide fame of the ,byzantine purple tint is attested by our ,gerald ,barry1 whose words we quote further on4 ,as a sample of the ,byzantine loom in 8diaspron10 or diapering1 we would refer to ,no4 #abci1 p4 #bf4 ,the specimens here from the ,byzantine1 and later ,greek loom1 are not to be taken as by any means appropriate samples of its general production4 ,they are poor in both respects--material and1 when figured1 design--as may be seen at pp4 #bg1 #bh1 #cc1 #cf1 #abc1 #abd1 #abf1 #bai1 c4 ,oriental ancient silks and textiles have their own distinctive marks4 ,from ,marco ,polo1 who wandered much over the far east1 some time during the thirteenth century1 we learn that the weaving there was done by women who wrought in silk and gold1 after a noble manner1 beasts and birds upon their webs3--8,le loro donne lavorano tutte cose a seta e ad oro e a uccelli e a bestie nobilmente e lavorano di cortine ed altre cose molto ricamente40#bbc ,out of the several specimens here from ,tartary and ,india1 during our medival period1 we pick one or two which show well the meaning of those words uttered by that great ,venetian traveller1 while speaking about the textiles he saw in those countries4 ,the dark purple piece of silk1 figured in gold with birds and beasts1 of the thirteenth century1 ,no4 #gjhf1 p4 #acg1 is good2 but better still for our purpose is the shred1 ,no4 #gjhg1 p4 #ach1 of blue damask1 with its birds1 its animals1 and flowers wrought in gold1 and different coloured silks4 ,what ,india is1 it has ever been1 famous for its cloud-like transparent muslins1 which since ,marco ,polo's days have kept till now even that oriental name1 through being better than elsewhere woven at ,mosul4 #bbc ,i ,viaggi di ,marco ,polo1 ed4 ,a4 ,bartoli1 ,firenze1 #ahfe1 p4 #cde4 ,the ,syrian school is well represented here by several fine pieces4 ,the whole sea-board of that part of ,asia ,minor1 as well as far inland1 was inhabited by a mixture of ,jews1 ,christians1 and ,saracens2 and each of these people were workers in silk4 ,the reputation of the neighbouring ,persia had of old stood high for the beauty and durability of her silken textiles1 which made them to be sought for by the ,european traders4 ,persia's outlet to the west for her goods1 lay through the great commercial ports on the coast of ,syria4 ,setting1 like ,persia used to do1 as it were1 her own peculiar seal upon her figured webs1 by mingling in her designs the mystic 8homa10 to the ,european mind this part of the pattern became1 at first1 a sort of assurance that those goods had been thrown off by ,persian looms4 ,by one of those tricks of imitation followed then1 as well as now1 the ,syrian designers for the loom threw this 8homa0 into their patterns4 ,this symbol of 8the tree of life10 had no doubt been a borrow by ,zoroaster from ,holy ,writ4#bbd ,neither to the ,christian's eye1 nor to the ,jew's1 nor ,moslem's1 was there in it anything objectionable2 all three1 therefore1 took it and made it a leading portion of design in the patterns of their silks2 and hence is it that we meet it so often4 ,though done with perhaps a fraudulent intention of palming on the world ,syrian for real ,persian silks1 those ,syrians usually put into their own designs a something which spoke of their peculiar selves and their workmanship4 ,though there be seen the 8homa10 the 8cheetah10 and other elements of ,persian patterns1 still the discordant two-handled vase1 the badly imitated ,arabic sentence1 betray the textile to be not ,persian1 but ,syrian4 ,no4 #hcei1 p4 #bac1 will readily exemplify our meaning4 ,furthermore1 perhaps quite innocent of any knowledge about ,persia's first belief1 and her use of the 8homa0 in her old religious services1 the ,christian weavers of ,syria1 along with the ,zorasterian symbol1 put the sign of the cross by the side of that 8tree of life10 as we find upon the piece of silk1 ,no4 #gjid1 p4 #adj4 ,another remarkable specimen of the ,syrian loom is ,no4 #gjcd1 p4 #abb1 whereon the ,nineveh lions come forth so conspicuously4 ,as a good example of well-wrought 8diaspron0 or diaper1 ,no4 #hbcc1 p4 #aed1 may be mentioned1 along with ,no4 #gjeb1 p4 #abg4 #bbd ,genesis ii4 #i4 ,saracenic weaving1 as shown by the design upon the web1 is exemplified in several specimens before us4 ,however much against what looks like a heedlessness of the ,koran's teachings1 certain it is that the ,saracens1 those of the upper classes in particular1 felt no difficulty in wearing robes upon which animals and the likenesses of other created things were woven2 with the strictest of their princes1 a double-headed eagle was a royal heraldic device1 as we have shown1 p4 lxiii4 ,stuffs1 then1 figured with birds and beasts1 with trees and flowers1 were not the less of ,saracenic workmanship1 and meant for ,moslem wear4 ,what1 however1 may be looked for upon real ,saracenic textures is a pattern consisting of longitudinal stripes of blue1 red1 green1 and other colour2 some of them charged with animals1 small in form1 other some written1 in large ,arabic letters1 with a word or sentence1 often a proverb1 often a good wish or some wise saw4 ,as examples we would point to ,no4 #hbhh1 p4 #agh1 and #gjea1 p4 #abg4 ,for a fair specimen of diapering1 ,no4 #gjej1 p4 #abg1 while ,no4 #hfci1 p4 #bdc1 presents us with a design having in it1 besides the crescent moon1 a proof that architectural forms were not forgotten by the weaver-draughtsman1 in his sketches for the loom4 ,later1 in our chapter on ,tapestry1 we shall have occasion to speak about another sort of ,saracenic work or tapestry1 of the kind called abroad1 from the position of its frame1 of the basse lisse4 ,moresco-,spanish1 or ,saracenic textiles1 wrought in ,spain1 though partaking of the striped pattern1 and bearing words in real or imitated ,arabic1 had some distinctions of their own4 ,the designs shown upon these stuffs are almost always drawn out of strap-work1 reticulations1 or some combination or another of geometrical lines1 amid which are occasionally to be found different forms of conventional flowers4 ,specimens are to be seen here at pp4 #ea1 #ee1 #aba1 #abd1 #abe1 #ahf1 #bdj1 c4 ,sometimes1 but very rarely1 the crescent moon is figured as in the curious piece1 ,no4 #hfci1 p4 #bdc4 ,the colours of these silks are usually either a fine crimson1 or a deep blue with almost always a fine toned yellow as a ground4 ,but one remarkable feature in these ,moresco-,spanish textiles is the presence1 when gold is brought in1 of an ingenious though fraudulent imitation of the precious metal1 for which shreds of gilded parchment cut up into narrow flat strips are substituted1 and woven with the silk4 ,this1 when fresh1 must have looked very bright1 and have given the web all the appearance of those favourite stuffs called here in ,england 8tissues10 of which we have already spoken1 p4 xxiii4 ,we are not aware that this trick has ever been found out before1 and it was only by the use of a highly magnifying glass that we penetrated the secret4 ,our suspicion was awakened by so often observing that the gold had become quite black4 ,examples of this gilt vellum may be seen here1 at ,nos4 #gjie1 p4 #adj2 #heij1 p4 #bbd2 #hfci1 p4 #bdd2 c4 ,when the ,christian ,spanish weavers lived beyond ,saracenic control1 they filled their designs with beasts1 birds1 and flowers2 but even then the old ,spanish fine tone of crimson is rather striking in their webs1 as is evidenced in the beautiful piece of diaper1 ,no4 #accf1 p4 #fd4 ,spanish velvets--and they were mostly wrought in ,andalusia--are remarkably fine and conspicuous both for their deep soft pile1 and their glowing ruby tones2 but when woven after the manner of velvet upon velvet1 are very precious3 a good specimen of rich texture1 and mellow colouring is furnished by the chasuble at ,no4 #acge1 p4 #ha4 ,the ,sicilian school strongly marked the wide differences between itself and all the others which had lived before2 and the history of its loom is as interesting as it is varied4 ,the first to teach the natives of ,sicily the use of cotton for their garments1 and how to rear the silkworm and spin its silk1 were1 as it would seem1 the ,mahomedans1 who1 in coming over from ,africa1 brought along with them1 besides the art of weaving silken textiles1 a knowledge of the fauna of that vast continent--its giraffes1 its antelopes1 its gazelles1 its lions1 its elephants4 ,these ,mussulmans told them1 too1 of the parrots of ,india and the hunting sort of lion1--the cheetahs1 that were found in ,asia2 and when the stuff had to be wrought for ,european wear1 imaged both beast and bird upon the web1 at the same time that they wove a word in ,arabic1 of greeting to be read among the flowers4 ,like all other ,saracens1 those in ,sicily loved to mingle gold in their tissues2 and1 to spare the silk1 cotton thread was not unfrequently worked up in the warp4 ,when1 therefore1 we meet with beasts taken from the fauna of ,africa1 such1 especially1 as the giraffe1 and the several classes of the antelope family--in particular the gazelle--with1 somewhere about1 an ,arabic motto--and part of the pattern wrought in gold1 which1 at first poor and thin1 is now become black1 as well as cotton in the warp1 we may fairly take the specimen as a piece of ,sicily's work in its first period of weaving1 all so ,saracenic to the eye4 ,even when that ,moslem nation had been driven out by the ,normans1 if many of its people did not stay as workmen in silk at ,palermo1 yet they left their teachings in weaving and design behind them1 and their practices were1 years afterwards1 still followed4 ,now we reach ,sicily's second epoch4 ,while at war with the ,byzantines1 in the twelfth century1 ,roger1 ,king of ,sicily1 took ,corinth1 ,thebes1 and ,athens1 from each of which cities he led away captives all the men and women he could find who knew how to weave silks1 and carried them to ,palermo4 ,to the ,norman tiraz there1 these ,grecian new comers brought fresh designs1 which were adopted sometimes wholly1 at others but in part and mixed up with the older ,saracenic style1 for silks wrought under the ,normano-,sicilian dynasty4 ,in this second period of the island's loom we discover what traces the ,byzantine school had impressed upon ,sicilian silks1 and helped so much to alter the type of their design4 ,on one silk1 a grotesque mask amid the graceful twinings of luxuriant foliage1 such as might have been then found by them upon many a fragment of old ,greek sculpture1 was the pattern1 as we witness1 at ,no4 #hbda1 p4 #aeh2 on another1 a sovereign on horseback wearing the royal crown1 and carrying as he rides a hawk upon his wrist--token both of the love for lordly sports at the period1 and the feudalism all over ,italy and ,christendom1 shown in the piece1 ,no4 #hehi1 p4 #bbc2 on a third1 ,no4 #hbcd1 p4 #aed1 is the ,greek cross1 along with a pattern much like the old netted or 8de fundato0 kind which we have described1 p4 liii4 ,but ,sicily's third is quite her own peculiar style4 ,at the end of the thirteenth and beginning of the fourteenth century1 she struck out of herself into quite an unknown path for design4 ,without throwing aside the old elements employed till then especially1 all over the east1 and among the rest1 by the ,mahomedans1 ,sicily put along with them the emblem of ,christianity1 the cross1 in various forms1 on some occasions with the letter ,v4 four times repeated1 and so placed together as to fall into the shape of this symbol1 like what we find at ,no4 #abde1 p4 #bh2 in other instances the cross is floriated1 as at ,no4 #abic1 p4 #dg4 ,from the far east to the uttermost western borders of the ,mediterranean the weavers of every country had been in the habit of figuring upon their silks those beasts and birds they saw around them3 the ,tartar1 the ,indian1 and the ,persian gave us the parrot and the cheetah2 the men of ,africa the giraffe and the gazelle2 the people of each continent the lions1 the elephants1 the eagles1 and the other birds common to both4 ,from the poetry and sculpture of the ,greeks and ,romans could the ,sicilians have easily learned about the fabled griffin and the centaur2 but it was left for their own wild imaginings to figure as they have1 such an odd compound in one being as the animal--half elephant1 half griffin--which we see in ,no4 #abhh1 p4 #de4 ,their daring flights of fancy in coupling the difficult with the beautiful1 are curious2 in one place1 ,no4 #acjb1 p4 #ej1 large eagles are perched in pairs with a radiating sun between them1 and beneath dogs1 in pairs1 running with heads turned back1 c42 in another1 ,no4 #acjd1 p4 #ea1 running harts have caught one of their hind legs in a cord tied to their collar1 and an eagle swoops down upon them2 and the same animal1 in another place1 on the same piece has switched its tail into the last link of a chain fastened to its neck2 on a third sample1 ,no4 #hehh1 p4 #bbb1 we behold figured1 harts1 the letter ,m floriated1 winged lions1 crosses floriated1 crosses sprouting out on two sides with fleurs-de-lis1 four-legged monsters1 some like winged lions1 some biting their tails4 ,exeter ,cathedral had a cloth of gold purple cope1 figured with 8draconibus volantibus ac tenentibus caudas proprias in ore10#bbe doves in pairs upholding a cross1 c4 ,hardly elsewhere to be found are certain elements peculiar to the patterns upon silks from medival ,sicily2 such1 for instance1 as harts1 and demi-dogs with very large wings1 both animals having remarkably long manes streaming far behind them1 ,no4 #abgi1 p4 #da2 harts again1 but lodged beneath green trees1 in a park with paling about it1 as in ,no4 #abhc1 p4 #dc1 and ,no4 #hgaj1 p4 #bfi2 that oft-recurring sun shedding its beams with eagles pecking at them1 or gazing undazzled at the luminary1 pp4 #dh1 #ej1 #acg1 but sometimes stags1 as at pp4 #ed1 #bci1 carrying their well attired heads upturned to a large pencil of those sunbeams as they dart down upon them amid a shower of rain-drops4 ,of birds1 the hawk1 the eagle1 double and single headed1 the parrot1 may be found on stuffs all over the east2 not so1 however1 with the swan1 yet this majestic creature was a favourite with ,sicilians1 and may be seen here often drawn with great gracefulness1 as at ,nos4 #abgg1 p4 #da2 #abii1 p4 #di2 #hbfd1 p4 #aff2 #hfaj1 p4 #bcb1 c4 #bbe ,oliver1 p4 #cde4 ,the ,sicilians showed their strong affection for certain plants and flowers4 ,on a great many of the silks in this collection1 from ,palermitan looms1 we see figured upon a tawny-coloured grounding1 beautifully drawn foliage in green2 which1 on a nearer inspection1 bears the likeness of parsley1 so curled1 crispy and serrated are its leaves4 ,besides their cherished parsley along with the vine-leaf for foliage1 they had their especial favourite among flowers2 and it is the centaurea cyanus1 our corn blue-bottle1 shown among others in ,no4 #abhc1 c4 p4 #dc1 ,no4 #abia1 p4 #dg1 ,no4 #acjh1 p4 #ec4 ,another peculiarity of theirs is the introduction of the letter ,u1 repeated so as at times to mark the feathering upon the tails of birds2 at others1 to fall into the shape of an ,o1 as we pointed out at pp4 #dj1 #bbe1 #bbg1 #bbh4 ,whether it was that1 like our own ,richard ,i41 crusaders in after times often made ,sicily the halting spot on their way to the ,holy ,land1 or that knights crowded there for other purposes1 and thus dazzled the eyes of the islanders with the bravery of their armorial bearings1 figured on their cyclases and pennons1 their flags and shields1 certain is it that these ,sicilians were particularly given to introduce a deal of heraldic charges--wyverns1 eagles1 lions rampant1 and griffins--into their designs2 and the very numerous occasions in which such elements of blazoning come in1 are very noticeable1 so that one of the features belonging to the ,sicilian loom in its third period1 is that1 bating tinctures1 it is so decidedly heraldic4 ,not the last among the peculiarities of the third period in the ,sicilian school is the use1 for many of its stuffs1 of two certain colours--murrey1 for the ground1 and a bright green for the pattern4 ,when the fawn-coloured ground is gracefully sprinkled with parsley leaves1 and nicely trailed with branches of the vine1 and shows beasts and birds disporting themselves between the boughs of lively joyous green2 the effect is cheerful1 as may be witnessed in those specimens ,no4 #heid1 p4 #bbf1 ,no4 #hfjb1 p4 #bbi1 ,no4 #hfjg1 p4 #bca1 ,nos4 #hfji1 #hfaj1 p4 #bcb1 all of which so admirably exemplify the style4 ,all their beauty and happiness of invention1 set forth by bold1 free1 spirited drawing1 were bestowed1 if not thrown away1 too often upon stuffs of a very poor inferior quality1 in which the gold1 if not actually base1 was always scanty1 and a good deal of cotton was sure to be found wrought up along with the silk4 ,though ,palermo was1 without doubt1 the great workshop for weaving ,sicilian silks1 that trade used to be carried on not only in other cities of the island1 but reached towns like ,reggio and other such in ,magna ,grcia1 northward up to ,naples4 ,we think that1 as far as the two ,sicilies are concerned1 the growth of the cotton plant always went along with the rearing of the silkworm4 ,of the main-land loom we would specify ,no4 #hbef1 p4 #afc1 ,no4 #hfcd1 p4 #bdb1 ,no4 #hfch1 p4 #bdc4 ,till within a few years the royal manufactory at ,sta4 ,leucia1 near ,naples1 produced silks of remarkable richness2 and the piece1 likely from that city itself1 ,no4 #gba1 p4 #ac1 does credit to its loom1 as it wove in the seventeenth century4 ,northern ,italy was not idle2 and the looms which she set up in several of her great cities1 in ,lucca1 ,florence1 ,genoa1 ,venice and ,milan1 earned apart for themselves a good repute in some particulars1 and a wide trade for their gold and silver tissues1 their velvets1 and their figured silken textiles4 ,yet1 like as each of these free states had its own accent and provincialisms in speech1 so too had it a something often thrown into its designs and style of drawing which told of the place and province whence the textiles came4 ,lucca at an early period made herself known in ,europe for her textiles2 but her draughtsmen1 like those of ,sicily1 seem to have thought themselves bound to follow the style hitherto in use1 brought by the ,saracens1 of figuring parrots and peacocks1 gazelles1 and even cheetahs1 as we behold in the specimens here ,no4 #hbeh1 p4 #afc1 and ,no4 #hfaf1 p4 #bcd4 ,but1 at the same time1 along with these eastern animals1 she mixed up emblems of her own1 such as angels clothed in white1 like in the example the last mentioned4 ,she soon dropped what was oriental from her patterns1 which she began to draw in a larger1 bolder manner1 as we observe1 under ,no4 #hfcg1 p4 #bdc1 ,no4 #hfdj1 p4 #bdd1 and showing an inclination for light blue1 as a colour4 ,as in other places abroad1 so at ,lucca1 cloths of gold and of silver were often wrought1 and the ,lucchese cloths of this costly sort were1 here in ,england1 during the fourteenth century1 in particular request4 ,in all likelihood they were1 both of them1 not of the deadened but sparkling kind1 afterwards especially known as 8tissue40 ,exeter ,cathedral1 ,a4,d4 #acbg1 had a cope of silver tissue1 or cloth of ,lucca3--8una capa alba de panno de ,luk40#bbf ,at a later date1 belonging to the same church1 were two fine chasubles--one purple1 the other red--of the same glittering stuff1 8casula de purpyll panno10 c41#bbg where we find it specified that not only was the textile of gold1 but of that especial sort called tissue4 ,york cathedral was particularly furnished with a great many copes of tissue shot with every colour required by its ritual1 and among them were--8a reade cope of clothe of tishewe with orphry of pearl1 a cope with orphrey1 a cope of raised clothe of goulde10#bbh making a distinction between tissue and the ordinary cloth of gold4 ,but at the court of our ,edward ,,ii4 its favour would seem to have been the highest4 ,in the ,wardrobe ,accounts of that king1 we see the golden tissue1 or ,lucca cloth1 several times mentioned4 ,whether the ceremony happened to be sad or gay1 this glistening web was used2 palls made of ,lucca cloth were1 at masses for the dead1 strewed over the corpse2 at marriages the care-cloth was made of the same stuff2 thus when ,richard de ,arundell and ,isabella1 ,hugh le ,despenser's daughter1 had been wedded at the door of the royal chapel1 the veil held spread out over their heads as they knelt inside the chancel during the nuptial mass1 for the blessing1 was of ,lucca cloth4#bbi ,richard ,,ii4's fondness for this cloth of gold was lately noticed1 p4 xxx4 ,just about ,edward ,,ii4's time was it that velvet became known1 and got into use amongst our churchmen for vestments1 and our nobles for personal wear1 and the likelihood is that ,lucca was among the first places in ,europe to weave it4 ,the specimens here of this fine textile from ,lucchese looms1 though in comparison with those from ,genoa1 they be few and mostly after one manner--the raised or cut--still have now a certain historical value for the ,english workman3 ,no4 #aceg1 p4 #gb1 with its olive green plain silken ground1 and trailed all over with flowers and leaves in a somewhat deeper tone1 and the earlier example1 ,no4 #hcbb1 p4 #aib1 with its ovals and feathering stopped with graceful cusps and artichokes1 afford us good instances of what ,lucca could produce in the way of artistic velvets4 #bbf ,oliver1 p4 #cae4 #bbg ,p4 #cdd4 #bbh ,york ,fabric ,rolls1 p4 #cjh4 ,genoa1 though in far off medival times not so conspicuous as she afterwards became for her textile industry1 still must have from a remote period1 encouraged within her walls1 and over her narrow territory1 the weaving of silken webs4 ,of these the earliest mention we anywhere find1 is to be seen in the inventory of those costly vestments once belonging to our own ,st4 ,paul's ,cathedral1 ,london1 in the year #abie3 besides a cope of ,genoa cloth1 that church had1 from the same place1 a hanging patterned with wheels and two-headed birds4#bcj ,though this first description be scant1 we read in it quite enough to gather that these ,genoese cloths must have entirely resembled the textiles wrought at ,lucca1 but1 in particular1 in ,sicily4 ,perhaps they had been carried by trade from ,palermo to the north-west shores of ,italy1 whence they were brought in the same way to ,england1 so that they may be deemed to have reached us not so much from the looms themselves of ,genoa1 as those of some other place1 but through her then great port4 ,of ,genoa's own weaving of beautiful velvets there can be no doubt1 a reputation she keeps to the present day as far as plain velvet is concerned4 ,in this collection we have samples in every kind of ,genoese velvets1 from those with a smooth unbroken surface to the elaborately patterned ones--art-wrought velvets in fact--showing1 together with wonderful skill in the weaving1 much beauty of design4 ,among the plain velvets in which we have nothing but great softness and depth of pile1 along with clear bright luminous tones of colour1 ,no4 #edj1 p4 #c1 is a very fair specimen for its delicious richness of pile2 and ,no4 #hccd1 p4 #aii1 not merely for this property1 but as well for its lightsome mellow deep tint of crimson4 ,getting to what may be truly called art-velvets1 we come to several specimens here4 ,some are raised or cut1 the design being done in a pile standing well up by itself from out of a flat ground of silk1 sometimes of the same1 sometimes of another colour1 and not unfrequently wrought in gold1 as at pp4 #ah1 #ij1 #ajg1 #aaj1 #bfc4 ,then we have at ,no4 #ggie1 p4 #ade1 an example of that precious kind--velvet upon velvet--in which the ground is velvet1 and again of velvet is the pattern itself1 but raised one pile higher and well above the other1 so as to show its form and shape distinctly4 ,last of all we here find samples1 as in ,no4 #hcbc1 p4 #aib1 how the design was done in various coloured velvet4 ,such was a favourite in ,england1 and called motley2 in his will1 ,a4,d4 #adae1 ,henry ,lord ,scrope bequeathed two vestments1 one1 motley velvet rubeo de auro2 the other1 motley velvet nigro1 rubeo et viridi1 c4#bca #bbi ,archologia1 t4 xxvi4 pp4 #ccg1 #cdd4 #bcj ,hist4 of ,st4 ,paul's1 ed4 ,dugdale1 pp4 #cah1 #cbi4 #bca ,rymer's ,fdera1 t4 #i1 p4 #bgd4 ,venice does not seem to have been at any time1 like ,sicily and ,lucca1 smitten with the taste of imitating in her looms at home the patterns which she saw abroad upon textile fabrics1 but appears to have borrowed from the ,orientals only one kind of weaving cloth of gold3 the yellow chasuble at ,exeter ,cathedral1 ,a4,d4 #acbg1 figured with beasts1 cum bestiis crocei coloris1#bcb is the solitary instance we know1 upon which she wove1 like the east1 animals upon silks4 ,she1 however1 set up for herself a new branch of textiles1 and wrought for church use certain square webs of a crimson ground on which she figured1 in gold1 or on yellow silk1 subjects taken from the ,new ,testament1 or the persons of saints and angels4 ,these square pieces were as they yet are1 employed1 when sewed together in squares as frontals to altars1 but when longwise much more generally as orphreys to chasubles1 copes and other vestments4 ,of such stuffs must have been those large orphreys upon a dalmatic and tunicle1 at ,st4 ,paul's ,cathedral1 ,london1 ,a4,d4 #abie4bcc ,though not of so early a date as the thirteenth century1 there are in this collection specimens of this ,venetian web belonging to the sixteenth1 which are very fine1 ,no4 #eijj1 p4 #aab1 represents the resurrection of our ,lord2 so does ,no4 #higf1 p4 #bga1 while ,no4 #high1 p4 #bgb1 presents us with the coronation of the ,virgin1 and ,no4 #higf1 the ,virgin and the ,child1 as also ,no4 #acce1 p4 #ga4 ,far below in worth are the same kind of webs wrought at ,cologne1 as will be noticed just now4 ,any one that has ever looked upon the woodcuts done at ,venice in the sixteenth century1 such as illustrate1 for instance1 the ,roman ,pontifical1 published by ,giunta1 the 8,rosario della ,g4 ,v4 ,maria10 by ,varisco1 and other such religious books from the ,venetian press1 will1 at a glance1 find on the webs before us from that state1 the self-same style and manner in drawing1 the same broad1 nay1 majestic fold and fall of drapery1 and in the human form the same plumpness1 and not unfrequently with the facial line almost straight2 and there1 but more especially about the hands and feet1 a somewhat naturalistic shape2 so near is the likeness in design that one is led to think that the men who cut the blocks for the printers also worked for the weavers of ,venice1 and sketched out the drawings for their looms4 ,by the fifteenth century ,venice knew how to produce good damasks in silk and gold1 and of an historiated kind3 if we had nothing more than the specimen1 ,no4 #acaa1 p4 #ed1 where ,st4 ,mary of ,egypt is so well represented1 it would be quite enough for her to claim for herself such a distinction4 ,that like her neighbours1 ,venice wrought in velvet1 there can be little or no doubt1 and if she it was who made those deep piled stuffs1 sometimes raised1 sometimes pile upon pile1 in which her painters loved to dress the personages1 men especially1 in their pictures1 then1 of a truth1 ,venetian velvets were beautiful4 ,of this1 any one may satisfy himself by one visit to our ,national ,gallery4 ,there1 in the 8,adoration of the ,magi10 painted by ,paulo ,veronese1 ,a4,d4 #aegc1 the second of the wise men is clad in a robe all made of crimson velvet1 cut or raised after a design quite in keeping with the style of the period4 ,no insignificant article of ,venetian textile workmanship was her laces wrought in every variety--in gold1 in silk1 in thread4 ,the portrait of a ,doge usually shows us that dignitary clothed in his dress of state4 ,his wide mantle1 having such large golden buttons1 is made of some rich dull silver cloth2 and upon his head is that curiously ,phrygian-shaped ducal cap bound round with broad gold lace diapered after some nice pattern1 as we see in the bust portrait of ,doge ,loredano1 painted by ,john ,bellini1 and now in our ,national ,gallery4 ,not only was the gold in the thread particularly good1 but the lace itself in great favour at our court during one time1 where it used to be bought1 not by yard measure1 but by weight2 a pounde and a half of gold of ,venys was employed 8aboutes the making of a lace and botons for the king's mantell of the garter40#bcd 8,frenge of ,venys gold10 appears twice1 pp4 #acf1 #afc1 in the wardrobe accounts of ,edward ,,iv4 ,laces in worsted or in linen thread wrought by the bobbin at ,venice2 but more especially her point laces1 or such as were done with the needle1 always had1 as indeed they still have1 a great reputation3 sewed to table-covers1 two specimens are found in this collection1 described at p4 #ada4 ,venetian linens1 for fine towelling and napery in general1 at one time were in favourite use in ,france during a part of the fifteenth century4 ,in the 8,ducs de ,bourgogne10 by ,le ,comte de ,laborde1#bce more than once we meet with such an entry1 as 8une pice de nappes1 ouvraige de ,venise10 c4 #bcb ,oliver1 p4 #cac4 #bcc ,ed4 ,dugdale1 p4 #cba4 #bcd ,privy ,purse ,expenses of ,elizabeth of ,york1 p4 #h4 #bce ,t4 ii4 ,preuves1 p4 #ajg4 ,florence1 always so industrious and art-loving1 got for its loom1 about the middle of the fourteenth century1 a place in the foremost rank amid the weavers of northern ,italy4 ,specimens of her earliest handicraft are yet few--only two--here2 but one sample of the able way in which she knew how to diaper1 well shows her ability3 ,no4 #hefc1 p4 #bae1 woven in the fifteenth century1 will prove this with reference to her secular silks4 ,the pieces described at pp4 #bjb1 #bfd1 witness the boldness of her design during the sixteenth century4 ,in her webs1 expressly woven for church-use1 is it that she displays her great taste in design1 and wonderful power--at least for that time1 the fourteenth century--in gearing the loom3 the violet silk damask1 ,no4 #abfe1 p4 #cf1 and another like piece1 ,no4 #gjgb1 p4 #acc1 figured with angels swinging thuribles1 or bearing crowns of thorns in the hands1 or holding a cross1 will warrant our remarks4 ,the style of doing the face and hands in white of those otherwise yellow angels1 is a peculiarity of the ,tuscan loom4 ,the orphrey-webs of ,florence are equally conspicuous for drawing and skill in weaving as her vestment textiles1 and in beauty come up to those done at ,venice1 and far surpass anything of the kind ever wrought at ,cologne2 specimens of this sort of ,florentine work may be seen at ,nos4 #djei1 p4 #hi2 #gjhj1 p4 #acf2 #gfgd1 p4 #adb2 #ggia1 p4 #adc2 #aig1 p4 #bia4 ,along with these may be classed the hood of a cope1 described at ,no4 #hfib1 p4 #bfj1 as well as the apparels to the dalmatic and tunicle1 p4 #adc1 where the cherubic heads have white faces4 ,but it was of her velvets that ,florence might be so warrantably proud4 ,our ,henry ,,vii4 in his will1 8,testamenta ,vetusta10#bcf bequeathed 8to ,god and ,st4 ,peter1 and to the abbot and prior and convent of our monastery of ,westminster1 the whole suit of vestments to be made at ,florence in ,italy40 ,gorgeous and artistically designed was this textile1 as we may yet see in one of these ,westminster ,abbey copes still in existence1 and belonging to ,stonyhurst college4 ,the golden ground is trailed all over with leaf-bearing boughs of a bold type1 in raised or cut ruby-toned velvet of a rich soft pile1 which is freckled with gold thread sprouting up like loops4 ,though nothing so rich in material1 nor so beauteous in pattern1 there are here1 pp4 #add1 #ade1 two specimens of ,florentine cut1 crimson velvet on a golden ground1 quite like in sort to the royal vestments1 and having too that strong peculiarity upon them--the little gold thread loop shooting out of the velvet pile4 ,though a full century later than the splendid cope at ,stonyhurst1 and the two pieces ,nos4 #ggib1 #ggii1 these illustrate the peculiar style of ,tuscan velvets4 ,among the truly prince-like gifts of vestments to ,lincoln ,cathedral1 by ,john of ,gaunt and his duchess1 are many made of the richest crimson velvet of both sorts1 that is1 plain1 and cut or raised to a pattern upon a ground of gold1 as for instance3--two red copes1 of the which one is red velvet set with white harts lying in colours1 full of these letters ,s4 ,s41 with pendents silver and gilt1 the harts having crowns upon their necks with chains silver and gilt2 and the other cope is of crimson velvet of precious cloth of gold1 with images in the orphrey1 c4#bcg ,that peculiar sort of ornamentation--the little loop of gold thread standing well up1 and in single spots--upon some velvets1 seems at times to have been replaced1 perhaps with the needle1 by small dots of solid metal1 gold or silver gilt1 upon the pile2 of the gift of one of its bishops1 ,john ,grandisson1 ,exeter cathedral had a crimson velvet cope1 the purple velvet orphrey to which was so wrought3--,de purpyll velvete operata cum pynsheds de puro auro4#bch #bcf ,ed4 ,nicolas1 t4 i4 p4 #cc4 #bcg ,mon4 ,anglic4 viii4 #abha4 #bch ,oliver1 p4 #cde4 ,milan1 though now-a-days she stands in such high repute for the richness and beauty of her silks of all sorts1 was not1 we believe1 at any period during medival times1 as famous for her velvets1 her brocades1 or cloths of gold1 as for her well wrought admirably fashioned armour1 so strong and trustworthy for the field--so furbished and exquisitely damascened for courtly service4 ,still1 in the sixteenth century she earned a name for her rich cut velvets1 as we may see in the specimen1 ,no4 #fih1 p4 #g2 her silken net-work1 ,no4 #hccf1 p4 #bjj1 which may have led the way to weaving silk stockings2 and her laces of the open tinsel kind once in such vogue for liturgical1 as well as secular attire1 as we have in ,no4 #hcca1 p4 #aig4 ,britain1 from her earliest period1 had textile fabrics varying in design and material2 of the colours in the woollen garments worn by each of the three several classes into which our ,bardic order was apportioned4 ,of the checkered pattern in ,boadicea's cloak we have spoken just now1 p4 xii4 ,of the beauty and wide repute of ,english needlework1 we shall have to speak when1 a little further on1 we reach the subject of embroidery4 ,from ,john ,garland's words1 which we gave at p4 xxii1 it would seem that all the lighter and more tasteful webs wrought here came from women's hands2 and the loom1 one of which must have been in almost every ,english nunnery and homestead1 was of the simplest make4 ,in olden times1 the ,egyptians wove in an upright loom1 and beginning at top so as to weave downwards1 sat at their work4 ,in ,palestine the weaver had an upright loom too1 but beginning at bottom and working upwards1 was obliged to stand4 ,during the medival period the loom1 here at least1 was horizontal1 as is shown by the one figured in that gorgeously illuminated ,bedford ,book of ,hours1 fol4 #cb1 at which the ,blessed ,virgin ,mary is seated weaving curtains for the temple4 ,as samples of one of the several kinds of work wrought by our nuns and mynchens1 as well as ,english ladies1 we refer to ,nos4 #abcc1 p4 #bd1 #abef1 p4 #cc1 #abgj1 p4 #ch1 demonstrating the ability of their handicraft as well as elegance in design during the thirteenth century4 ,for specimens of the commoner sorts of silken textiles and of wider breadth1 which began to be woven in this country under ,edward ,,iii41 it would be as hard as hazardous to direct the reader4 ,very recent examples of all sorts--velvets among the rest--may be found in the ,brooke collection4 ,to some students the piece of ,old ,english printed chintz1 ,no4 #afbb1 p4 #hd1 will not be without an interest4 ,for the finer sort of linen napery1 ,eylisham or ,ailesham in ,lincolnshire was famous during the fourteenth century4 ,exeter cathedral1 ,a4,d4 #acbg1 had 8unum manutergium de ,eylisham0--a hand towel of ,ailesham cloth4#bci ,our coarser native textiles in wool1 in thread or in both1 woven together1 forming a stuff called 8burel10 made of which ,st4 ,paul's ,london1 ,a4,d4 #abie1 had a light blue chasuble2#bdj and ,exeter cathedral1 ,a4,d4 #abgg1 a long pall2#bda all sorts1 in fine1 of heavier work1 were wrought in our monasteries for men4 ,by their rule the ,benedictine monks1 and all their offsets1 were bound to give a certain number of hours every week-day to hand work1 either at home or in the field4#bdb ,weeping over the wars and strife in ,england during the year #abfe and the woes of the people1 our ,matthew of ,westminster sums up1 among our losses1 the fall in our trade of woollen stuffs1 with which we used to supply the world4 ,o ,anglia olim gloriosa 444 licet maris angustata littoribus 444 tibi tamen per orbem benedixerunt omnium latera nationum de tuis ovium velleribus calefacta4#bdc ,the weaving in this country of woollen cloth1 as a staple branch of trade1 is older than some are willing to believe4 ,of the monks at ,bath abbey we are told by a late writer1 8the shuttle and the loom employed their attention1 7about the middle of the fourteenth century17 and under their active auspices the weaving of woollen cloth 7which made its appearance in ,england about the year #accj1 and received the sanction of an ,act of ,parliament in #accg7 was introduced1 established1 and brought to such perfection at ,bath as rendered this city one of the most considerable in the west of ,england for this manufacture40#bdd ,worcester cloth1 which was of a fine quality1 was so good1 that by a chapter of the ,benedictine ,order1 held ,a4,d4 #adbb1 at ,westminster ,abbey1 it was forbidden to be worn by the monks1 and declared smart enough for military men4#bde ,norwich1 too1 wove stuffs that were in demand for costly household furniture1 for1 ,a4,d4 #acid1 ,sir ,john ,cobham bequeathed to his friends 8a bed of ,norwich stuff embroidered with butterflies40#bdf ,in one of the chapels at ,durham ,priory there were four blue cushions of ,norwich work4#bdg ,worsted1 a town in ,norfolk1 by a new method of its own for the carding of the wool with combs of iron well heated1 and then twisting the thread harder than usual in the spinning1 enabled our weavers to produce a woollen stuff of a fine peculiar quality1 to which the name itself of worsted was immediately given4 ,unto such a high repute did the new web grow that liturgical raiment and domestic furniture of the choicest sorts were made out of it2 ,exeter cathedral1 among its chasubles1 had several 8de nigro worsted0 in cloth of gold4 ,elizabeth de ,bohun1 ,a4,d4 #acef1 bequeathed to her daughter the ,countess of ,arundel 8a bed of red worsted embroidered20#bdh and ,joane ,lady ,bergavenny leaves to ,john of ,ormond 8a bed of cloth of gold with lebardes1 with those cushions and tapettes of my best red worsted10#bdi c4 ,of the sixteen standards of worsted entailed with the bear and a chain which floated aloft in the ship of ,beauchamp ,earl of ,warwick1 we have spoken before 7p4 xliii47 ,in the 8,fabric ,rolls of ,york ,minster0 vestments made of worsted--there variously spelt 8worsett10#bej and 8woryst0#bea--;are enumerated4 #bci ,oliver1 p4 #cad4 #bdj ,dugdale's ,st4 ,paul's1 p4 #cbc4 #bda ,oliver1 p4 #bih4 #bdb ,reg4 ,s4 ,ben4 c4 xlviii4 ,de ,opere ,manuum quotidiano1 p4 #abi2 c4 lvii4 ,de ,artificibus ,monasterii1 p4 #aca2 ed4 ,brockie1 t4 i4 8,lena0 is the medival ,latin for a bed coverlet4 #bdc ,flores ,histor4 p4 #cif4 ,frankfort1 ,a4,d4 #afja4 #bdd ,monasticon ,anglicanum1 t4 ii4 p4 #bei4 #bde ,benedict4 in ,anglia1 ed4 ,reyner1 ,app4 p4 #afe4 #bdf ,testamenta ,vetusta1 ed4 ,nicolas1 t4 i4 p4 #acf4 #bdg ,hist4 ,dunelm4 ,scriptores ,tres4 ,append4 p4 cclxxxvi4 #bdh ,testamenta ,vetusta1 i4 #fa4 #bdi ,ibid4 p4 #bbg4 #bej ,pp4 #cja1 #cje4 #bea ,p4 #cjb4 ,irish cloth1 white and red1 in the reign of ,john1 ,a4,d4 #abac1 was much used in ,england2 and in the household expenses of ,swinford1 bishop of ,hereford1 ,a4,d4 #abij1 an item occurs of ,irish cloth for lining4#beb ,but our weavers knew how to throw off from their looms1 artistically designed and well-figured webs2 in the 8,wardrobe ,accounts0 of our ,edward ,,ii4 we read this item3 8to a mercer of ,london for a green hanging of wool wove with figures of kings and earls upon it1 for the king's service in his hall on solemn feasts at ,london40#bec ,such 8salles10 as they were called in ,france1 and 8hullings10 or rather 8hallings10 the name they went under here1 were much valued abroad1 and in common use at home3 under the head of 8,salles d',angleterre10 among the articles of costly furniture belonging to ,charles ,v4 of ,france1 ,a4,d4 #acfd1 who began his reign some forty years after our ,edward ,,ii4's death1 one set of such hangings is thus put down3 8une salle d',angleterre vermeille brode d'azur1 et est la bordeure vignettes et le dedens de lyons1 d'aigles et de lyepars10 quoted from the ,,ms4 ,no4 #hcef1 in the ,imperial ,library1 ,paris1 by ,michel2#bed while here in ,england1 ,richard ,earl of ,arundel1 ,a4,d4 #acib1 willed to his dear wife 8the hangings of the hall which was lately made in ,london1 of blue tapestry with red roses with the arms of my sons10#bee c42 and ,lady ,bergavenny1 after bequeathing her hullying of black1 red1 and green1 to one friend1 to another left her best stained hall4#bef #beb ,ed4 ,web4 for the ,camden ,society1 p4 #aic1 t4 i4 #bec ,archologia1 t4 xxvi4 p4 #cdd4 #bed ,tom4 i4 p4 #di4 #bee ,test4 ,vetust4 t4 i4 p4 #acj4 #bef ,ibid4 pp4 #bbh1 #bbi4 ,flemish textiles1 at least of the less ambitious kinds1 such as napery and woollens1 were much esteemed centuries ago1 and our countryman1 ,matthew of ,westminster1 says of ,flanders1 that from the material--perhaps wool--which we sent her1 she sent us back those precious garments she wove4#beg ,though industrious everywhere within her limits1 some of her towns stood foremost for certain kinds of stuff1 and ,bruges became in the latter end of the fifteenth century conspicuous for its silken textiles4 ,here in ,england1 the satins of ,bruges were in great use for church garments2 in ,haconbie church1 ,a4,d4 #aeff1 was 8one white vestmente of ,bridges satten repte in peces and a clothe made thereof to hange before our pulpitt20#beh and1 ,a4,d4 #aebj1 ,york cathedral had 8a vestment of balkyn 7baudekin7 with a crosse of green satten in bryges40#bei ,her damask silks were equally in demand2 and the specimens here will interest the reader4 ,nos4 #hcah1 p4 #aij1 #hccb1 p4 #aig1 show the ability of the ,bruges loom1 while the then favourite pattern with the pomegranate in it1 betrays the likings of the ,spaniards1 at that time the rulers of the country1 for this token of their beloved ,isabella's reconquered ,granada4 ,no4 #hcai1 p4 #aia1 is another sample of ,flemish weaving1 rich in its gold1 and full of beauty in design4 ,in her velvets1 ,flanders had no need to fear a comparison with anything of the kind that ,italy ever threw off from her looms1 whether at ,venice1 ,florence1 or ,genoa1 as the samples we have here under ,nos4 #hfgc1 p4 #bed1 #hfgd1 p4 #bee1 #hgjd1 p4 #bfd1 will prove4 ,nay1 this last specimen1 with its cloth of gold ground1 and its pattern in a dark blue deep-piled velvet1 is not surpassed in gorgeousness even by that splendid stuff from ,florence yet to be seen in one of the copes for ,westminster ,abbey given it by ,henry ,,vii4 ,block-printed linen was1 toward the end of the fourteenth century1 another production of ,flanders1 of which pieces may be seen at ,nos4 #gjbb1 p4 #aah1 #gjbg1 p4 #abj1 #hcjc1 p4 #ahd1 #hfae1 p4 #bcd4 ,though to the eyes of many1 these may look so poor1 so mean2 to men like the cotton-printers of ,lancashire and other places they will have a strong attraction2 to the scholar they will be deeply interesting as suggestive of the art of printing4 ,such specimens are rare1 but it is likely that ,england can show1 in the chapter library at ,durham1 the earliest sample of the kind as yet known1 in a fine sheet wrapped about the body of some old bishop discovered1 along with several pieces of ancient silks1 and still more ancient ,english embroidery1 in a grave opened by ,mr4 ,raine1 ,a4,d4 #ahbg1 within that grand northern cathedral4 ,what ,bruges was in silks and velvets ,yprs1 in the sixteenth century1 became for linen1 and for many years ,flemish linens had been in favourite use throughout ,england4 ,hardly a church of any size1 scarcely a gentleman's house in this country1 but used a quantity of towels and other napery that was made in ,flanders1 especially at ,yprs4#bfj ,of this textile instances may be seen at pp4 #cd1 #gc1 #ge1 #abd1 #bjc1 #bje1 #bee1 #bfc4 #beg ,hist4 p4 #cif1 ,frankfort1 ,a4,d4 #afja4 #beh ,church ,furniture1 ed4 ,peacock1 p4 #id4 #bei ,fabric ,rolls1 p4 #cjb4 #bfj ,oliver's ,exeter1 p4 #cef4 ,french silks1 now in such extensive use1 were until the end of the sixteenth century not much cared for in ,france itself1 and seldom heard of abroad4 ,the reader1 then1 must not be astonished at finding so few examples of the ,french loom1 in a collection of ancient silken textiles4 ,france1 as ,england1 used of old to behold her women1 old and young1 rich and poor1 while filling up their leisure hours in-doors1 at work on a small loom1 and weaving certain narrow webs1 often of gold1 and diapered with coloured silks1 as we mentioned before 7p4 xxii47 ,of such ,french wrought stuffs belonging to the thirteenth century1 some samples are described at pp4 #bi1 #acj1 #aca4 ,in damasks1 her earliest productions are of the sixteenth century1 and are described at pp4 #ac1 #bje1 #bjf2 and the last is a favourable example of what the loom then was in ,france2 everything later is of that type so well known to everybody4 ,in several of her textiles a leaning towards classicism in design is discernible4 ,though so few1 her cloths of gold1 pp4 #i1 #ae1 are good1 more especially the fine one at p4 #ajd4 ,her velvets1 too1 pp4 #ad1 #hi1 #ajf1 are satisfactory4 ,satins from ,france are not many here4 ,the curious and elaborately ornamented gloves1 p4 #aje1 which got into fashion1 especially for ladies1 at the end of the sixteenth century1 will be a welcome object for such as are curious in the history of women's dress1 in ,france and ,england4 ,quilting1 too1 on coverlets1 shown at pp4 #ac1 #ajd1 displays the taste of our neighbours in such stitchery1 so much in use among them and ourselves from the sixteenth century4 ,like ,flanders1 ,france knew how to weave fine linen1 which here in ,england was much in use for ecclesiastical as well as household purposes4 ,three new cloths of ,rains 7,rennes in ,brittany7 were1 ,a4,d4 #acbg1 in use for the high altar in ,exeter cathedral1#bfa and many altar-cloths of ,paris linen4 ,in the poem of the 8,squier of ,low ,degree10 the lady is told ,your blankettes shal be of fustyane1 ,your shetes shal be of cloths of rayne2 and1 ,a4,d4 #adcd1 ,joane ,lady ,bergavenny devises in her will1 8two pair sheets of ,raynes1 a pair of fustians10 c4#bfb ,for her ,easter 8,sepulchre0 ,exeter had a pair of this ,rennes sheeting2 8par linthiaminum de ,raynys pro sepulchro40#bfc #bfa ,oliver1 p4 #cad4 #bfb ,test4 ,vet4 i4 #bbg4 #bfc ,oliver1 p4 #cdj4 ,cologne1 the queen of the ,rhine1 became famous during the whole of the fifteenth and part of the sixteenth century for a certain kind of ecclesiastical textile which1 from the very general use to which it has been applied1 we have named 8orphrey web40 ,since by far the greater part of this collection1 as it now exists1 had been made in ,germany1 beginning with ,cologne1 it is1 as might be expected1 well supplied with specimens of a sort of stuff1 if not peculiar1 at least abounding in that country4 ,those same liturgical ornaments which ,venice and ,florence wove with such artistic taste for ,italian church use1 ,cologne succeeded in doing for ,germany4 ,her productions1 however1 are every way far below in beauty ,italy's like works4 ,the ,italian orphrey-webs are generally done in gold or yellow silk1 upon a crimson ground of silk4 ,florence's are often distinguished from those of ,venice by the introduction of white for the faces2 ,cologne's vary from both by introducing blue1 while the material is almost always very poor1 and the weaving coarse4 ,the earliest specimen here of this ,cologne orphrey-web is ,no4 #hbgi1 p4 #agd2 but it is far surpassed by many others1 such as are1 for instance1 to be found at pp4 #fa1 #fb1 #fc1 #fd1 #fi1 #hj1 #hb1 #aaf1 #aag1 #aah1 #aai1 #agd1 #age1 #beb1 #bec4 ,among these some have noticeable peculiarities2 ,no4 #acbi1 p4 #fa1 a good specimen1 has the persons of the saints so woven that the heads1 hands1 and emblems are wrought with the needle2 the same1 too1 in ,nos4 #gjbc1 p4 #aah1 and #hffg1 p4 #beb2 in ,no4 #acgc1 though the golden ground looks very fresh and brilliant1 the gilding process1 as on wood1 has been employed4 ,here in ,england this orphrey web was in church use and called 8rebayn de ,colayn40#bfd ,the piece of ,german napery at ,no4 #hcag1 p4 #aij1 of the beginning of the fifteenth century will be to those curious about household linen1 an acceptable specimen4 ,if by hazard while reading some old inventory of church vestments the reader should stumble upon some entry mentioning a chasuble made of cloth of ,cologne1 let him understand it to mean not a certain broad textile woven there1 but merely a vestment composed of several pieces of this kind of web sewed together1 just as was the frontal made out of pieces of woven ,venice orphreys at ,no4 #higf1 p4 #bga4 #bfd ,testamenta ,eborac1 iii4 #ac4 ,the countries whence silks came to us are numerous2 with confidence1 however1 we may say1 that till the middle of the fifteenth century1 when we began to weave some of them for ourselves1 the whole geography of silken textiles lay within the basin of the ,mediterranean to the west1 and the continent of ,asia to the east4 ,though mention is often made of tissues coming from various places1 those cities are always to be found upon the map we have just marked out4 ,among those spoken of ,antioch1 ,tarsus1 ,alexandria1 ,damascus1 ,byzantium1 ,cyprus1 ,trip or ,tripoli1 and ,bagdad1 are easily recognized1 as well as the later centres of trade and manufacture1 ,venice1 ,genoa and ,lucca4 ,to fix the localities of a few others would be but guess-work4 ,at the beginning of the fourteenth century is mentioned occasionally a silk called 8,acca10 and1 from the description of it1 it must have been a cloth of gold shot with coloured silk1 figured with animals3 ,william de ,clinton1 ,earl of ,huntingdon1 gave to ,st4 ,alban's monastery a whole vestment of cloth of gold shot with sky-blue1 and called cloth of ,acca2 8unum vestimentum 444 de panno quem ,accam dicimus2 cujus campus est aerius4 ,in reliquis vero partibus resultat auri fulgor40#bfe ,to some it would look as if this stuff took its name from having been brought to us through the port of ,acre4 ,we lean towards this belief on finding1 on the authority of ,macri1 in his valuable ,hierolexicon1 ,venice1 #agce1 pp4 #e1 #edb1 that so used to be written the name of the ancient ,ptolemais in ,syria4 ,what in one age1 and at a particular place1 happened to be so well made1 and hence became so eagerly sought for1 at a later period1 and in another place1 got to be much better wrought and at a lower price4 ,time1 indeed1 changed the name of the market1 but did not alter in any great degree either the quality of the material1 or the style of the design wrought upon it4 ,all over the kingdom of the ,byzantine ,greeks the loom had to change its gearing very little4 ,the ,saracenic loom1 whether in ,asia1 ,africa1 or ,spain1 was always ,arabic1 though ,persia could not forget her olden ,zoroasterian traditions about the 8hom0 or tree of life separating lions1 and having all about lion-hunting cheetahs1 and birds of various sorts4 ,with regard to the whole of ,asia1 we learn that its many peoples1 from the earliest times1 knew how not only to weave cloth of gold1 but figure it too with birds and beasts4 ,almost two thousand years afterwards1 ,marco ,polo1 in the thirteenth century1 found exactly the very same kinds of textile known in the days of ,darius still everywhere1 from the shores of the ,mediterranean to far ,cathay1 in demand and woven4 ,what he says of ,bagdad1 he repeats in fewer words about many other cities4#bff ,in finding their way to ,england these fabrics had given them not so often the names of the places where they had been wrought1 but1 if not in all1 at least in most instances1 the names of the seaports in the ,mediterranean where they had been shipped4 #bfe ,mon4 ,anglic4 ii4 #bba4 #bff ,i ,viaggi di ,marco ,polo1 ed4 ,a4 ,bartoli1 ,firenze1 #ahfc4 ,for beautifully wrought and figured silk1 of the few terms that still outlive the medival period1 one is ,damask4 ,china1 no doubt1 was the first country to ornament its silken webs with a pattern4 ,india1 ,persia and ,syria1 then ,byzantine ,greece1 followed1 but at long intervals between1 in ,china's footsteps4 ,stuffs so figured brought with them to the west the name 8diaspron0 or diaper1 bestowed upon them at ,constantinople4 ,but about the twelfth century1 so very far did the city of ,damascus1 even then long celebrated for its looms1 outstrip all other places for beauty of design1 that her silken textiles were eagerly sought for everywhere1 and thus1 as often happens1 traders fastened the name of ,damascen or ,damask upon every silken fabric richly wrought and curiously designed1 no matter whether it came or not from ,damascus4 ,after having been for ages the epithet betokening all that was rich and good in silk1 8,samit0 had to be forgotten1 and ,diaper1 from being the very word significant of pattern1 became a secondary term descriptive of merely a part in the elaborate design on ,damask4 ,baudekin1 that sort of costly cloth of gold spoken of so much during so many years in ,english literature1 took1 as we said before1 its famous name from ,bagdad4 ,many are the specimens in this collection furnishing proofs of the ancient weavers' dexterity in their management of the loom1 but especially of the artists' taste in setting out so many of their intricate and beautiful designs4 ,what to some will be happily curious is that we have this very day before our eyes pieces1 in all likelihood1 from the self-same web which furnished the material1 centuries ago1 for vestments and ornaments used of old in the cathedrals of ,england4 ,let any one turn to p4 #abb1 and1 after looking at number #gjcf1 compare that silk with this item in the inventory of ,st4 ,paul's1 ,london1 ,a4,d4 #abbe3 8,item1 ,baudekynus rubeus cum ,sampsone constringente ora leonum10 c4#bfg ,see also number #hehi1 and number #hbce4 ,an identification between very many samples1 brought together here1 of ancient textiles in silk1 and the descriptions of such stuffs afforded us in those valuable records--our old church inventories--might be carried on1 if necessary1 to a very lengthened extent4 #bfg ,dugdale's ,st4 ,paul's1 p4 #cbh4 ,dorneck was the name given to an inferior kind of damask wrought of silk1 wool1 linen thread and gold1 in ,flanders4 ,towards the end of the fifteenth century1 mostly at ,tournay1 which city1 in ,flemish1 was often called ,dorneck--a word variously spelt as ,darnec1 ,darnak1 ,darnick1 and sometimes even ,darness4 ,the gild of the ,blessed ,virgin ,mary at ,boston had a care cloth of silke dornex and church furniture4#bfh ,the 8care cloth0 was a sort of canopy held over the bride and bridegroom as they knelt for the nuptial blessing1 according to the ,salisbury rite1 at the marriage mass4 ,at ,exeter it was used in chasubles for orphreys4#bfi ,a specimen of ,dornex may be seen1 ,no4 #gjeh1 p4 #abi4 ,see also ,york ,fabric ,rolls1 pp4 #bia1 #big1 #bih1 #cjj1 #cje4 #bfh ,peacock1 p4 #bjd4 #bfi ,oliver1 pp4 #cei1 #cfe4 ,buckram1 a cotton textile1 has a history and a reputation somewhat varied4 ,in our oldest inventories mention is often made of a 8panus ,tartaricus0 or ,tartary cloth1 which was1 if not always1 at least often purple4 ,asia1 especially in its eastern borders1 became famous for the fine textiles it wove out of cotton1 and dyed in every colour4 ,cities got for themselves a reputation for some especial excellence in their looms1 and as ,mosul had the name of ,muslin from that place given to the fine and delicate cotton webs it wrought1 so the term of buckram for another sort of cotton textile came from the city of ,bokhara in ,tartary where this cloth was made4 ,all along the middle ages buckram was much esteemed for being costly and very fine1 and consequently fit for use in church vestments1 and for secular personal wear4 ,john ,grandison1 consecrated bishop of ,exeter1 ,a4,d4 #acbg1 gave to his cathedral flags of white and red buckram2#bgj and among the five very rich veils for covering the moveable lectern in that church1 three were lined with blue 8bokeram40#bga ,as late as the beginning of the sixteenth century this stuff was held good enough for lining to a black velvet gown for a queen1 ,elizabeth of ,york4#bgb ,the coarse thick fabric which now goes by the name was anything but the olden production known as 8bokeram40 #bgj ,ib4 p4 #cai4 #bga ,ib4 p4 #cbi4 #bgb ,her ,privy ,purse ,expenses1 ed4 ,nicolas1 p4 #bb1 c4 ,burdalisaunder1 ,bordalisaunder1 ,bourde de ,elisandre1 with other varieties in spelling1 is a term often to be met with in old wills and church inventories4 ,in the year #acbg ,exeter had a chasuble of ,bourde de ,elisandre of divers colours4#bgc ,it was wide enough for half a piece to form the adornment of a high altar4#bgd ,the difficulty of understanding what this textile was will vanish when we remember that in ,arabic 8bord0 to this day means a striped cloth2 and we know1 both from travellers and the importation of the textile itself1 that many tribes in ,north and ,eastern ,africa weave stuffs for personal wear of a pattern consisting of white and black longitudinal stripes4 ,st4 ,augustin too1 living in ,north ,africa near the modern ,algiers1 speaks of a stuff for clothing called 8burda10 in the end of the fourth and beginning of the fifth century4 ,burdalisaunder was a silken web in different coloured stripes1 and specimens of this1 at one time known as 8stragulata0 may be found here at pp4 #ba1 #bg1 #cc1 #ef1 #eg1 #afa1 #bbe1 #bbf1 c4 ,though made in so many places round the ,mediterranean1 this silk took its name1 at least in ,england1 from ,alexandria1 because it was to be had in that ,egyptian city1 always celebrated for its silks1 either better made or at a much lower price than elsewhere4 ,in all likelihood the curtains for the tabernacle1 as well as the girdles for ,aaron and his sons1 of fine linen and violet and purple1 and scarlet twice dyed1 were wrought with this very pattern1 so that in the 8stragulata0 or 8burd ,aliscaunder0 we behold the oldest known design for any textile4 #bgc ,oliver1 p4 #cab4 #bgd ,yorkshire ,wills4 ,part i4 p4 #agd4 ,fustian1 of which two of its forms we still have in velveteen and corduroy1 was originally wove at ,fustat1 on the ,nile1 with a warp of linen thread and a woof of thick cotton1 which was so twilled and cut that it showed on one side a thick but low pile2 and the web so managed took its name of ,fustian from that ,egyptian city4 ,at what period it was invented we do not rightly know1 but we are well aware it must have been brought to this country before the ,normans coming hither1 for our ,anglo-,saxon countryman1 ,st4 ,stephen ,harding1 when a ,cistercian abbot and an old man1 circ4 ,a4,d4 #aaad1 forbade chasubles in his church to be made of anything but fustian or plain linen3 8neque casulas nisi de fustaneo vel lino sine pallio aureo vel argenteo10 c4#bge ,the austerity of his rule reached even the ornament of the church4 ,from such a prohibition we are not to draw as a conclusion that fustian was at the time a mean material2 quite the contrary1 it was a seemly textile4 ,years afterwards1 in the fourteenth century1 ,chaucer tells us of his knight3-- ,of fustian he wered a gepon4#bgf ,fustian1 so near akin to velvet1 is more especially noticed along with what is said upon that fine textile4 ,in the fifteenth century ,naples had a repute for weaving fustians1 but our ,english churchwardens1 not being learned in geography1 made some laughable bad spelling of this1 like some other continental stuffs3 8,fuschan in appules10 for fustian from ,naples1 is droll2 yet droller still is 8mustyrd devells10 for a cloth made in ,france at a town called ,mustrevilliers4 #bge ,mon4 ,anglic4 ed4 ,dugdale1 v4 #bbe4 #bgf ,the ,prologue1 ,poems1 ed4 ,nicolas1 ii4 #c4 ,muslin1 as it is now throughout the world1 so from the earliest antiquity has been everywhere in ,asia in favourite use1 both as an article of dress and as furniture4 ,its cloud-like thinness1 its lightness1 were1 as they still are to some ,asiatics1 not the only charms belonging to this stuff3 it was esteemed equally as much for the taste in which stripes of gold had been woven in its warp4 ,as we learn from the travels of ,marco ,polo1 the further all wayfarers in ,asia wandered among its eastern nations1 the higher they found the point of excellence which had been reached by those people in weaving silk and gold into splendid fabrics4 ,if the silkworm lived1 nay1 thrived there1 the cotton plant was in its home1 its birth-place1 in those regions4 ,where stood ,nineveh ,mosul stands now4 ,like many cities of ,middle ,asia1 ,mosul had earned for itself a reputation of old for the beauty of its gold-wrought silken textiles4 ,cotton grew all around in plenty2 the inhabitants1 especially the women1 being gifted with such quick feeling of finger1 could spin thread from this cotton of more than hair-like fineness4 ,cotton then took with them1 on many occasions1 the place of silk in the loom2 but gold was not forgotten in the texture4 ,this new fabric1 not only because it was so much cheaper1 but from its own peculiar beauty and comeliness1 won for itself a high place in common estimation4 ,at once1 and by the world's accord1 on it was bestowed as its distinctive name1 the name of the place where it was wrought in such perfection4 ,hence1 whether wove with or without gold1 we call to this day this cotton web ,muslin1 from the ,asiatic city of ,mosul4 ,cloth of ,areste is another of those terms for woven stuffs which students of textiles had never heard of were it not to be found in our old ,english deeds and inventories4 ,the first time we meet it is in an order given1 ,a4,d4 #abdd1 by ,henry ,,iii4 for finding two of these cloths of ,areste with which two copes had to be made for royal chapels3 8,duos pannos del ,areste ad duas capas faciendas10 c4#bgg ,again it comes a few years later at ,st4 ,paul's1 which cathedral1 ,a4,d4 #abie1 had1 besides a dalmatic and tunicle of this silk--8de serico albo diasperato de ,arest10#bgh--;as many as thirty and more hangings of this same texture4#bgi ,from the description of these pieces we gather that this so-called cloth of ,areste must have been as beautiful as it was rich1 being for the most part cloth of gold figured elaborately1 some with lions and double-headed eagles1 others1 for example1 with the death and burial of our ,lord--8campus aureus cum leonibus et aquilis bicapitibus de aurifilo contextis--campus rubeus cum historia ,passionis ,domini et sepultur ejusdem40 ,these designs speak of the looms at work in the middle ages on the eastern shore of the ,mediterranean1 and we are much strengthened in this thought by beholding how the death and burial of our ,lord1 like the sample here1 number #hbgh1 p4 #agj-a1 are shown on a crimson ground1 as we shall have to instance further on under ,symbolism1 ,,vii4 ,that this sort of stuff1 wove of silk and gold1 was of any kind of ,arras1 or made in that town1 to our seeming is a very unhappy guess4 ,arras had not won for itself a reputation for its tapestry before the fourteenth century4 ,tapestry itself is too thick and heavy for use in vestments2 yet this cloth of ,areste was light enough for tunicles1 and when worn out was sometimes condemned at ,st4 ,paul's to be put aside for lining other ritual garments--8ad armaturam faciendam40#bhj ,the term 8,areste0 has little or nothing in it common to the word 8,arras10 as written either in ,french1 or under its ,latin appellation 8,atrebatum40 ,among the three meanings for the medival 8,aresta10 one is1 any kind of covering4 ,to us1 then1 it seems as if these cloths of ,areste took their name not from the place whereat they had been wove1 but from the use to which1 if not always1 for the most part1 we put them--that of hangings about our churches1 since in the ,st4 ,paul's inventory they are usually spoken of as such--8culcitr pendules1 panni penduli40#bha ,moreover1 tapestry1 or ,arras work1 being thick and heavy1 could never have been employed for such light use as that of apparels1 nor would it have been diapered like silk1 yet we find it to have been so fashioned and so used--8maniculariis apparatis quodam panno rubeo diasperato de ,laret1 c40#bhb #bgg ,excerpta ,historica1 p4 #djd4 #bgh ,st4 ,paul's ,cathedral1 ed4 ,dugdale1 p4 #cbb4 #bgi ,ibid4 p4 #cbi4 #bhj ,st4 ,paul's ,cathedral1 ed4 ,dugdale1 p4 #cbi4 #bha ,ibid4 p4 #cbi4 #bhb ,ibid4 p4 #cce4 ,for not a few it would be hard to understand some at least among those epithets meant in by-gone days to tell how ,,silks ,,were ,,distinguished ,,through ,,their ,,colours ,,and ,,shades ,,of ,,colour4 ,to the inventories of vestments and church-stuffs of all sorts must we go to gather the information which we want about the textiles in use in this country at any particular period during by-gone days4 ,the men who had1 in the thirteenth century1 the drawing up of such lists1 seem to have been gifted with a keen eye for the varieties of shade and tints in the colour of silks then before them4 ,for instance1 a chasuble at ,st4 ,paul's1 ,london1 ,a4,d4 #abie1 is set down thus3--8,de sameto purpureo aliquantulum sanguineo0--that is1 made of samit 7a thick silk7 dyed in a purple somewhat bordering on a blood-red tone4 ,such language is unmistakable2 not so1 however1 many other terms at the time in common use1 and though well understood then1 are now not so intelligible4 ,we are told in the same inventory#bhc several times of a 8pannus ,tarsicus10 a ,tarsus cloth1 and of a 8pannus ,tarsici coloris10 a ,tarsus coloured cloth4 ,what may have been the distinctive qualities of the stuffs woven at ,tarsus1 what the peculiar beauty in that tint to which that once so celebrated city had given its own name1 we cannot say4 ,we think1 however1 those ,tarsus textiles were partly of silk1 partly of fine goats' hair1 and for this reason ,varro tells#bhd--8,tondentur 7capr7 quod magnis villis sunt1 in magna parte ,phrygi2 unde ,cilicia1 et ctera ejus generis ferri solent4 ,sed1 quod primum ea tonsura in ,cilicia sit instituta1 nomen id ,cilicas adjecisse dicunt40 ,goats are shorn in a great part of ,phrygia1 because there they have long shaggy hair4 ,cilicia 7the ,latin for hair cloths7 and other things of the same sort1 are usually brought from that country4 ,for the reason that in ,cilicia such a shearing of goats arose1 they say that the name of ,cilician was given to such stuffs woven of goats' hair4 ,as ,tarsus is1 so always was it1 the head city in all that part of ,asia ,minor known of old as ,phrygia4 ,hence then we think that-- #bhc ,pp4 #cbb1 #cbc4 #bhd ,de ,re ,rustica1 lii4 cap4 xi4 ,cloth of ,tarsus1 of ,tars1 c41 was woven of fine goats' hair and silk4 ,but this web was in several colours1 and always looked upon as very costly4 ,the ,tarsus colour itself was1 as we take it1 some shade of purple differing from1 and perhaps to some eyes more beautiful than1 the ,tyrian dye4 ,the people of ,tarsus no doubt got from their murex1 a shell-fish of the class mollusca and purpurifera family to be found on their coast1 their dyeing matter2 and when it is borne in mind what changes are wrought in the animal itself by the food it eats1 and what strong effects are made by slight variations in climate1 even atmosphere1 upon materials for colouring in the moments of application1 we may easily understand how the difference arose between the two tints of purple4 ,we are strengthened in our conjecture that not only was the cloth of ,tarsus of a rare and costly kind1 but its tint some shade of royal purple1 from the fact that while noticing the robes worn on a grand public occasion by a king1 ,chaucer thus sketches the prince3-- ,the gret ,emetrius1 the king of ,inde1 ,upon a stede bay1 trapped in stele1 ,covered with cloth of gold diapred wele1 ,came riding like the god of armes ,mars4 ,his cote armure was of a cloth of ,tars1 ,couched with perles1 c4#bhe #bhe ,knightes ,tale1 ,poems1 ed4 ,nicolas1 ii4 #fd-e4 ,sky-blue was a liturgical colour everywhere in use for certain festivals throughout ,england1 as we have shown in another place4#bhf ,in the early inventories the name for that tint is 8,indicus10 8,indus10 reminding us of our present indigo4 ,in later lists it is called 8,blodius10 not sanguinary1 but blue4 #bhf ,church of our ,fathers1 t4 ii4 p4 #bei4 ,murrey1 or a reddish brown1 is often specified2 and a good specimen of the tint is given us1 ,no4 #gji1 p4 #i4 ,old ,st4 ,paul's1 ,london1 had several pieces of baudekin of this colour3 8baudekynus murretus cum griffonibus datus pro anima4 ,alphonsi filii regis ,e40#bhg ,going far down1 and much below the middle ages1 ,purple1 in all its tones1 and tints1 and shades1 was spoken of and looked upon as allowable to be worn in garments only to worshipful1 ennobled1 or royal personages4 ,whether it glowed with the brightness it seemed to have stolen from the rose1 or wore its darkest tone it could borrow from the violet1 whether it put on any one of those hundred shades to be found between those two extremes1 it mattered not2 it was gazed at with an admiring1 a respectful eye4 ,eagerly sought out1 and bought at high price1 were those textiles that showed this colour1 and had been dyed at ,tyre1 ,antioch1 ,tarsus1 ,alexandria1 ,byzantium1 or ,naples4 ,all these places were at one time or another1 in days of old1 famous for their looms1 no less than their ability in the dyeing1 especially of purple1 among the nations living on the shores of the ,mediterranean2 and each of them had in its own tone a shade which distinguished it from that of all the others4 ,what the tint of purple was which established this difference we cannot at this distance of time1 and with our means of knowing1 justly say4 ,of this1 however1 we are perfectly aware1 that silks of purple usually bore their specific name from those above-named cities1 as we perceive while reading the old inventories of our churches and cathedrals4 ,moreover1 our native writers let us know that1 if not always from ,greece1 it was through that country that purple textiles were brought to ,england4 ,besides speaking of a conversation held about1 beside other things1 the produce of ,greece in purple silks--8,grcorum purpuris1 et pannis holosericis0--,gerald ,barry gives us to understand that in his days not only were our churches sumptuously hung with costly palls and purple silks1 but that these textiles were the work of ,grecian looms--8rex 7,willielmus ,rufus7 ecclesiam quandam 7in nova foresta7 intraret quam adeo pulchram et decentius ornatam auletis historicis1 et pretiosis ,grcorum palliis1 pannis holosericis et purpureis undique vestitam10 c4#bhh ,silks woven of two colours1 so that one of them showed itself unmixed and quite distinct on one side1 and the second appeared equally clean on the other--a thing sometimes now looked upon as a wonder in modern weaving--might occasionally be met with here at the medival period3 ,exeter ,cathedral had1 ,a4,d4 #acbg3--8,unus pannus sericus curtus rubei coloris interius et crocei coloris exterius40#bhi #bhg ,st4 ,paul's1 ed4 ,dugdale1 p4 #cbh1 c4 #bhh ,giraldus ,cambrensis1 ,de ,instructione ,principum1 pp4 #afh-agc4 #bhi ,oliver1 p4 #caf4 ,shot1 or1 as they were then called1 changeable silks1 were fashionable in ,england during the sixteenth century1 for when the ,king's 7,edward ,,vi47 ,lord of ,misrule rode forth with great pageantry1 among other personages there came 8afor xx4 of ys consell on horsbake in gownes of chanabulle lynyd with blue taffata and capes of the sam1 like sage 7men72 then cam my lord with a gowne of gold furyd10 c4#bij ,at ,york ,cathedral1 ,a4,d4 #aedc1 there was 8a vestment of changeable silke10#bia 8besides one of changeable taffety for ,good ,friday40#bib #bij ,diary of ,henry ,machyn1 ed4 ,nichols for the ,camden ,society1 p4 #ac4 #bia ,fabric ,rolls1 p4 #cja4 #bib ,ibid4 p4 #caa4 ,marble silk had a weft of several colours so put together and woven as to make the whole web look like marble1 stained with a variety of tints2 hence it got its name4 ,in the year #abie ,st4 ,paul's had 8paruram de serico marmoreo0#bic--;an apparel of marble silk2 8tunica de quodam panno marmoreo spisso0#g--;a tunicle of a certain thick marble cloth2 8tunica de diaspro marmoreo spisso0#bid--;a tunicle of thick diaper marble2 8casula marmorei coloris0#bie--;a chasuble of marble colour4 ,during full three centuries this marble silk found great favour among us since ,h4 ,machyn1 in his very valuable and curious ,diary tells his readers how 8the old ,qwyne of ,schottes rod thrught ,london10 and how 8then cam the ,lord ,tresorer with a ,c4 gret horsse and ther cotes of marbull10#i c41 to meet her the #fth of ,november1 ,a4,d4 #aeea4bif #bic ,ibid4 p4 #cbj4 #bid ,ibid4 p4 #cbb4 #bie ,ibid4 p4 #cbc4 #bif ,pp4 #aa1 #ab4 ,,section ,,ii4--,,embroidery4 ,the art of working with the needle flowers1 fruits1 human and animal forms1 or any fanciful design1 upon webs woven of silk1 linen1 cotton1 wool1 hemp1 besides other kinds of stuff1 is so old that it reaches far into the prehistoric ages4 ,those patterns1 after so many fashions1 which we see figured upon the garments worn by men and women in ,egyptian and ,assyrian monuments1 but especially on the burned-clay vases made and painted by the ,greeks during their most archaic as well as later times1 or we read about in the writings of that people1 were not wrought in the loom1 but done by the needle4 ,the old ,egyptian loom--and that of the ,jews must have been like it--was1 as we know from paintings1 of the simplest shape1 and seems to have never been able to do anything more diversified in the designs of its patterns than straight lines in different colours1 and at best nothing higher in execution than checker-work3 beyond this1 all else was put in by hand with the needle4 ,in ,paris1 at the ,louvre1 are several pieces of early ,egyptian webs coloured1 drawings of which have been published by ,sir ,gardner ,wilkinson in his short work 8,the ,egyptians in the time of the ,pharaohs40#big ,there are two pieces of the same textile scarlet1 with one brede woven of narrow red stripes on a broad yellow stripe1 the other border being a broad yellow stripe edged by a narrow scarlet one1 both wrought up and down with needlework2 the second piece of blue is figured all over in white embroidery with a pattern of netting1 the meshes of which shut in irregular cubic shapes1 and in the lines of the reticulation the mystic 8gammadion0 or 8fylfot0 is seen4 ,of them ,sir ,j4 ,g4 ,wilkinson says3--8,they are mostly cotton1 and1 though their date is uncertain1 they suffice to show that the manufacture was ,egyptian2 and the many dresses painted on the monuments of the eighteenth dynasty show that the most varied patterns were used by the ,egyptians more than #cjjj years ago1 as they were at a later period by the ,babylonians1 who became noted for their needlework40#bih ,other specimens of ,egyptian embroidery were on those corslets sent to ,grecian temples by ,amasis1 about which we have before spoken 7p4 xiv47 #big ,p4 #db4 #bih ,ibid4 p4 #da4 ,that the ,israelites embroidered their garments1 especially those worn in public worship1 is clear from several passages in the ,book of ,exodus4 ,the words 8embroidery0 and 8embroidered0 that come there so frequently in our ,english versions are not to be understood always to mean needlework1 but on occasions the tasteful weaving in stripes of the gold1 violet1 and purple1 and scarlet twice dyed1 and fine twisted linen2 the pomegranates at the bottom of ,aaron's tunic between the golden bells1 and wrought of four of these stuffs1 were1 it is likely1 made out of such coloured shreds1 and of that kind which is now called cut-work4 ,picking up from ,greek and ,latin writers only1 as was his wont1 those scraps of which his ,natural ,history is made1 ,pliny tells us1 even in ,homer1 mention is made of embroidered cloths1 which originated such as by the ,romans are called 8triumphal40 ,to do this with the needle was found out by the ,phrygians1 hence such garments took the name ,phrygionic3 8,pictas vestes jam apud ,homerum fuisse unde triumphales nat4 ,acu facere id1 ,phryges invenerunt ideoque ,phrygioni appellat sunt40#bii ,he might have added that the only word the ,romans had to mean an embroiderer was 8,phrygio10 which arose from the same cause4 ,many passages in ,virgil show that from ,western ,asia the ,romans learned their knowledge of embroidery1 and borrowed the employment of it on their garments of ,state2 besides1 8those art-wrought vests of splendid purple tint30--8arte laborat vestes ostroque superbo10#cjj brought forth for the feast by the ,sidonian ,dido1 the ,phrygian ,andromache bestows upon ,ascanius1 as a token of her own handicraft1 garments shot with gold and pictured1 as well as a ,phrygian cloak1 along with other woven stuffs-- ,fert picturatas auri subtemine vestes1 ,et ,phrygiam ,ascanio chlamydem1 c4#cja and neas veils his head for prayer with the embroidered hem of his raiment-- ,et capita ante aras ,phrygio velamur amictu4#cjb #bii ,lib4 viii4 c4 #dg4 #cjj neid i4 #fdc4 #cja ,ibid4 iii4 #dhb4 #cjb ,ibid4 iii4 #ede4 ,in ,latin while an embroiderer was called a ,phrygian1 8,phrygio10 needlework was denominated 8,phrygium10 or ,phrygian stuff2 hence1 when1 as often happened1 the design was wrought in solid gold wire or golden thread1 the embroidery so worked got named 8auriphrygium40 ,from this term comes our own old ,english word 8orphrey40 ,though deformed after so many guises by the witless writers of many an inventory of church goods1 or by the sorry cleric who in a moment of needful haste had been called upon to draw up a will2 other men1 however small their learning1 always spelled the word 8orphrey10 in ,english1 and 8auriphrygium10 in ,latin4 ,in the ,exeter inventory1 given by ,oliver1 8cum orphrey de panno aureo1 c4 cum orphrais1 c40#cjc are found2 and the cope bequeathed by ,henry ,lord de ,scrope1 ,a4,d4 #adae1 had its 8orphreis0 8embraudata nobiliter cum imaginibus10 c4#cjd ,the many beautiful orphreys on the ,lincoln vestments are fully described in the 8,monasticon ,anglicanum30#cje no one could be more earnest in commanding the use on vestments of the auriphrygium1 or embroidered 8orphrey0 than ,st4 ,charles ,borromeo4#cjf ,while ,phrygia in general1 ,babylon in particular became celebrated for the beauty of its embroideries3 8colores diversos pictur intexere ,babylon maxime celebravit et nomen imposuit20#cjg and those who have seen the sculptures in the ,british ,museum brought from ,nineveh1 and described and figured by ,layard1 must have witnessed how lavishly the ,assyrians must have adorned their dress with that sort of needlework for which one of their greatest cities was so famous4 ,up to the first century of our era1 the reputation which ,babylon had won for her textiles and needlework still lived4 ,josephus1 himself a ,jew1 who had often been to worship at ,jerusalem1 tells us that the veils of its ,temple given by ,herod were ,babylonian1 and of the outer one that writer says3--8there was a veil of equal largeness with the door4 ,it was a ,babylonian curtain1 embroidered with blue and fine linen1 and scarlet and purple1 and of a texture that was wonderful40#cjh #cjc ,pp4 #ccj1 #cce-ccf4 #cjd ,rymer's ,fdera1 t4 ix4 p4 #bgb4 #cje ,t4 viii4 pp4 #abij1 new edition4 #cjf ,church of our ,fathers1 t4 i4 p4 #dec4 #cjg ,pliny1 lib4 viii4 c4 #dg4 #cjh ,wars of the ,jews1 b4 v4 c4 #e2 ,works translated by ,weston1 t4 #d1 p4 #aba4 ,what the ,jews did for the ,temple we may be sure was done by ,christians for the ,church4 ,the faithful1 however1 went even further1 and wore garments figured all over with passages from ,holy ,writ wrought in embroidery4 ,from a stirring sermon preached by ,st4 ,asterius1 bishop of ,amasia in ,pontus1 in the fourth century1 we learn this4 ,taking for his text1 8a certain rich man who was clothed in purple and fine linen10 this father of the ,church1 while upbraiding the world for its follies in dress1 lets us know that some people went about arrayed like painted walls1 with beasts and flowers all over them2 while others1 pretending a more serious tone of thought1 dressed in clothes figured with a sketch of all the doings and wonders of our ,lord4 8,strive10 thunders forth ,st4 ,asterius1 8to follow in your lives the teachings of the ,gospel1 rather than have the miracles of our ,redeemer embroidered upon your outward dress40#cji ,to have had so many subjects shown upon one garment1 it is clear that each must have been done very small1 and all wrought in outline2 a style which is being brought back1 with great effect1 into ecclesiastical use4 ,of the embroidery done by ,christian ladies abroad during the ,lower ,roman ,empire1 we have already spoken1 p4 xxxv4 ,coming to our own land1 and its medival times1 we find how at the beginning of that period our ,anglo-,saxon sisters knew so well to handle their needle4 ,the many proofs of this we have brought forward in another place4#caj ,the discriminating accuracy with which our old writers sought to follow while noting down the several kinds of textile gifts bestowed upon a church is as instructive as praiseworthy4 ,ingulph did not think it enough to say that abbot ,egelric had given many hangings to the ,church of ,croyland1 the great number of which were silken1 but he must tell us1 too1 that some were ornamented with birds wrought in gold1 and sewed on--in fact1 of cut-work--other some with those birds woven into the stuff1 other some quite plain3--8,dedit etiam multa pallia suspendenda in parietibus ad altaria sanctorum in festis1 quorum plurima de serico erant1 aureis volucribus qudam insita1 qudam intexta1 qudam plana40#caa ,so also the care often taken by the writers of inventories1 like him who wrote out the ,exeter one1 to mention how some of the vestments had nothing about them but true needlework1 or1 as they at times express it1 8operata per totum opere acuali10 may be witnessed in that useful work1 8,the ,lives of the ,bishops of ,exeter10 by ,oliver4#cab ,by the latter end of the thirteenth century embroidery1 as well as its imitation1 got for its several styles and various sorts of ornamentation mixed up with it a distinguishing and technical nomenclature2 and the earliest document in which we meet with this set of terms is the inventory drawn up1 ,a4,d4 #abie1 of the vestments belonging to our ,london ,st4 ,paul's ,cathedral3 herein1 the 8opus plumarium10#cac the 8opus pectineum10#cad the 8opus pulvinarium10#cae cut-work1 8consutum de serico10#caf 8de serico consuto10#cag may be severally found in ,dugdale's 8,history of ,st4 ,paul's40 #cji ,ceillier1 ,hist4 ,gen4 des ,auteurs ,sacrs et ,ecclesiastiques1 t4 viii4 p4 #dhh4 #caj ,the ,church of our ,fathers1 t4 ii4 p4 #bfg1 c4 c4 #caa ,ingulphi ,hist4 ed4 ,savile1 p4 #eje1 b4 #cab ,pp4 #ccf1 #cdd1 c4 #cac ,p4 #cbj4 #cad ,p4 #caf4 #cae ,p4 #cai4 #caf ,p4 #cbj4 #cag ,p4 #cai4 ,the 8opus plumarium0 was the then usual general term for what is now commonly called embroidery2 and hence1 in some old inventories1 we meet with such notices as this3--8cap opere plumario fact id est1 brudat40 ,this term was given to embroidery needlework because the stitches were laid down never across but longwise1 and so put together that they seemed to overlap one another like the feathers in the plumage of a bird4 ,not inaptly then was this style called 8feather-stitch0 work1 in contradistinction to that done in cross and tent stitch1 or the 8cushion-style10 as we shall1 a little further on1 have occasion to notice next4 ,among the many specimens here done in feather-stitch1 in all ages1 we would especially instance ,no4 #hd1 p4 #c4 ,the 8opus pulvinarium10 or 8cushion style10 was that sort of embroidery like the present so-called ,berlin-work4 ,as now1 so then it was done in the same stitchery1 with pretty much the same materials1 and put if not always1 at least often1 to the same purpose of being used for cushions1 upon which to sit or to kneel in church1 or uphold the mass-book at the altar2 hence its name of 8cushion-style40 ,in working it1 silken thread is known to have been often used4 ,among other specimens1 and in silk1 the rare and beautiful liturgical cushion of a date corresponding to the ,london inventory1 is to be seen here1 ,no4 #acbd1 p4 #ei4 ,being so well adapted for working heraldry1 from an early period till now1 this stitch has been mostly used for the purpose2 and the emblazoned orphreys1 like the narrow hem on the ,syon cope1 are wrought in it4 ,the oldest1 the most elaborate1 the best known sample in the world1 and what to us is more interesting still from being in reality not ,french but ,english needlework1 is the so-called1 but misnamed1 ,bayeux tapestry1 a shred of which is in this collection1 ,no4 #fge1 p4 #f4 ,of all this more anon1 ,,iv4 ,the 8opus pectineum0 was a kind of woven-work imitative of embroidery1 and used as such1 in truth1 about which we have a description in the ,dictionary of the ,londoner1 ,john ,garland1 who thus speaks of the process3 8,textrices ducunt pectines cum trama qu trahitur a spola et pano10 c4#cah ,from this use of a comb-like instrument--8pecten0--in the manufacture the work itself received the distinctive appellation of 8pectineum10 or comb-wrought4 ,before ,john ,garland forsook ,england for ,france1 to teach a school there1 he must have often seen1 while at home1 his countrywomen sitting down to such an occupation2 and the 8amictus de dono domin ,kathrin de ,lovell de opere pectineo10#cai may perhaps have been the doing of that same lady's own hands4 #cah ,ed4 ,h4 ,geraud1 ,paris sous ,philippe le ,bel4 p4 #fjg4 #cai ,dugdale's ,hist4 of ,st4 ,paul's1 p4 #cai4 ,of such work as this 8opus pectineum10 or comb-drawn1 wrought by ,english women here at home1 we have several specimens in this collection1 pp4 #bd1 #cc1 #ch1 c4 ,foreign ones are plentifully represented in the many samples of such webs from ,germany1 especially from ,cologne1 pp4 #fa1 #fb1 #fc1 c4 ,likely is it that ,helisend1 the bold young lady from the south of ,england1 and one of the waiting maids to the ,english ,maud1 queen of ,david1 king of ,scotland1 circa ,a4,d4 #aaej1 got1 from her cunning in such work1 the reputation of being so skilful in weaving and church-embroidery3--8operis textur scientia purpuraria nobilis extiterat1 et aurifrixoria artificios compositionis peroptima super omnes ,angli mulieres tunc temporis principaliter enituerat40#cbj ,our medival countrywomen were so quick at the needle that they could make their embroidery look as if it had been done in the loom--really woven4 ,not long ago1 a shred of crimson cendal1 figured in gold and silver thread with a knight on horseback1 armed as of the latter time of ,edward ,i41 was shown us4 ,at the moment we took the mounted warrior to have been1 not hand-worked1 but woven1 so flat1 so even was every thread4 ,looking at it however through a glass and turning it about1 we found it to have been unmistakably embroidered by the finger in such a way that the stitches for laying down upon the surface1 and not drawing through the gold threads and thus saving expense1 were carried right into the canvas lining at the back of this thin silk4 ,after this same manner was really done1 to our thinking1 all the design1 both before and behind upon that fine ,english-wrought chasuble1 ,no4 #fgc1 p4 #e4 ,at the latter end of the thirteenth century our women struck out for themselves a new way of embroidery4 ,without leaving aside the old and usual 8opus plumarium10 or feather-stitch1 they mixed it with a new style1 both of needlework and mechanism4 ,so beautiful and telling was the novel method deemed abroad1 that it won for itself from admiring ,christendom the complimentary appellation of 8opus ,anglicum10 or ,english work4 ,in what its peculiarity consisted has long been a question and a puzzle among foreign archological writers2 and a living one of eminence1 the ,canon ,voisin1 vicar general to the bishop of ,tournai1 while noticing a cope of ,english work given to that church1 says3--8,il serait curieux de savoir quelle broderie ou quel tissu on designait sous le nom de opus ,anglicum40#cba #cbj ,reginaldi ,dunelmensis ,libellus1 c4 ,ed4 ,surtees ,society1 p4 #aeb4 #cba ,notice sur les ,anciennes ,tapisseries de la ,cathedral de ,tournai1 p4 #af4 ,but the reader may ask what is ,,the ,,opus ,,anglicum1 ,,or ,,english ,,work1 about which one heard so much of old8 ,happily1 we have before us in the present collection1 as well as elsewhere in this country1 the means of helping our continental friends with an answer to their question4 ,looking well into that very fine and invaluable piece of ,english needlework1 the ,syon cope1 ,no4 #iahb1 p4 #bge1 we find that for the human face1 all over it1 the first stitches were begun in the centre of the cheek1 and worked in circular1 not straight lines1 into which1 however1 after the further side had been made1 they fell1 and were so carried on through the rest of the fleshes2 in some instances1 too1 even all through the figure1 draperies and all4 ,but this was done in a sort of chain stitch1 and a newly practised mechanical appliance was brought into use4 ,after the whole figure had thus been wrought with this kind of chain stitch in circles and straight lines1 then with a little thin iron rod ending in a small bulb or smooth knob slightly heated1 were pressed down those middle spots in the faces that had been worked in circular lines2 as well1 too1 as that deep wide dimple in the throat1 especially of an aged person4 ,by the hollows thus lastingly sunk1 a play of light and shadow is brought out1 that1 at a short distance1 lends to the portion so treated a look of being done in low relief4 ,chain stitch1 then1 worked in circular lines1 and relief given to parts by hollows sunk into the faces1 and other portions of the persons1 constitute the elements of the 8opus ,anglicum10 or embroidery after the ,english manner4 ,how the chain-stitch was worked into circles for the faces1 and straight lines for the rest of the figures1 is well shown by a wood-cut1 after a portion of the ,steeple ,aston embroideries1 given in the ,archological ,journal1 t4 iv4 p4 #bhe4 ,though1 indeed1 not merely the faces and the extremities1 but the dress too of the persons figured1 were sometimes wrought in chain-stitch1 and afterwards treated as we have just described1 the more general practice was to work the draperies in our so-called feather-stitch1 which used to be also employed for the grounding1 but diapered after a pretty1 though simple1 zig-zag design1 as we find in the ,syon cope4 ,apart from its stitching in circles1 and those hollows1 there are elements in the design for sacred art-work almost peculiar to medival ,england4 ,upon the rood loft in old ,westminster ,abbey1 stood hard by the cross two six-winged seraphim1 each with his feet upon a wheel2 so1 too1 in the ,syon cope1 as well as in ,english needlework on chasubles and copes1 wrought even late in the fifteenth century4 ,when1 therefore1 such angel-figures are found on embroideries1 still to be seen in foreign hands1 a presumption exists that the work is of ,english production4 ,how highly ,english embroideries were at one period appreciated by foreigners may be gathered from the especial notice taken of them abroad2 and spoken of in continental documents4 ,matilda1 the first ,norman ,william's queen1 stooped to the meanness of filching from the affrighted ,anglo-,saxon monks of ,abingdon their richest church vestments1 and would not be put off with inferior ones4#cbb ,other instances we have given4#cbc ,in his will1 dated ,a4,d4 #acfj1 ,cardinal ,talairand1 bishop of ,albano1 speaks of the ,english embroideries on a costly set of white vestments4#cbd ,ghini1 by birth a ,florentine1 but1 in the year #acdc1 bishop of ,tournai1 bequeathed to that cathedral an old ,english cope1 as well as a beautiful corporal of ,english work--8cappam veterem cum imaginibus et frixio operis ,anglicani4 ,item unum corporale de opere ,anglicano pulchrum10 c4#cbe ,among the copes reserved for prelates' use in the chapel of ,charles1 ,duke of ,bourgogne1 brother-in-law to our ,john ,duke of ,bedford1 there was one of ,english work1 very elaborately fraught with many figures1 as appears from this description of it3 8une chappe de brodeure d'or1 faon d',engleterre1 plusieurs histoires de ,n4,d4 et anges et autres ymages1 estans en laceures escriptes1 garnie d'un orfroir d'icelle faon fait apostres1 desquelles les manteulx sont tous couvers de perles1 et leur diadesmes pourphiler de perles1 estans en manire de tabernacles1 faits de deux arbres1 dont les tiges sont toutes couvertes de perles et la dite chappe y a une bille des dites armes1 garnie de perles comme la dessus dicte40#cbf ,besides textiles1 leather was at one time the material upon which our embroiderers exercised the needle2 and the ,exeter inventory1 drawn up ,a4,d4 #abgg1 mentions1 for its bier1 a large pillow covered with leather figured with flowers3 8magnum cervical co-opertum coreo cum floribus40#cbg #cbb ,chronicon ,monasterii de ,abingdon1 p4 #dia4 #cbc ,church of our ,fathers1 t4 iv4 p4 #bga1 c4 #cbd ,texier1 ,dictionnaire1 d',orfeverie1 p4 #aie4 #cbe ,voisin1 ,notice sur les ,anciennes ,tapisseries1 p4 #ag4 #cbf ,les ,ducs de ,bourgogne1 t4 ii4 p4 #bdd1 ed4 ,le ,comte de ,laborde4 #cbg ,ed4 ,oliver1 p4 #bih4 ,while so coveted abroad1 our ,english embroidery was highly prized and well paid for here at home4 ,henry ,,iii4 had a chasuble embroidered by ,mabilia of ,bury ,st4 ,edmund's2#cbh and ,edward ,,ii4 paid a hundred marks--a good round sum in those days--to ,rose1 the wife of ,john de ,bureford1 a citizen and mercer of ,london1 for a choir-cope of her embroidering1 and which was to be sent to ,rome for the ,pope as an offering from the queen4#cbi ,though ,english embroidery fell on a sudden from its high estate1 it never died4 ,all along through those years1 wasted with the wars of the ,roses1 the work of the ,english needle was very poor1 very coarse1 and1 so to say1 ragged2 as1 for instance1 the chasuble here1 ,no4 #djde1 p4 #hh4 ,nothing whatsoever of the celebrated chain-stitch with dimpled faces in the figures can be found about it4 ,every part was done in the feather-stitch1 slovenly put down1 with some few exceptions1 among which may be enumerated the three rich ,english copes with pointed hoods running1 like one here1 p4 #bjg1 through the orphreys1 still to be seen in the ,chapter ,library at ,durham1 and other vestments of the period in private hands4 ,during the early part of the seventeenth century our embroiderers again struck out for themselves a new style1 which consisted in throwing up their figures a good height above the grounding4 ,of this raised work there is a fine specimen in the fourth of those ,durham copes4 ,it is said to have been wrought for and given by ,charles ,i4 to that cathedral4 ,this red silk vestment is well sprinkled with bodiless cherubic heads crowned with rays and borne up by wings2 while upon the hood is shown ,david1 who is holding in one hand ,goliath's severed head2 and the whole is done in highly raised embroidery4 ,belonging to a few of our aristocracy are bibles of the large folio size1 covered in rich white silk or satin1 and embroidered with the royal arms done in bold raised-work4 ,each of such volumes is said to have been a gift from that prince to a forefather of the man who now owns it2 and a very fine one we lately saw at ,ham ,house4 ,this style of raised embroidery remained in use for many years2 and even yet to be found are certain quaint old looking-glasses1 the broad frames of which are overlaid with this kind of raised embroidery1 sometimes setting forth1 as in the specimen ,no4 #hib1 p4 #cai1 of the ,brooke collection here1 the story of ,ahasuerus and ,esther1 or a passage in some courtship carried on after the manners of ,arcadia4#ccj #cbh ,issue ,rolls1 p4 #bc4 #cbi ,issue ,rolls1 p4 #acc4 #ccj ,archological ,journal1 t4 xviii4 #aia4 ,occasionally on work of an earlier period1 some element or another of this raised style may be found2 for instance1 in that fine ,rhenish embroidery1 ,nos4 #aaid-e1 p4 #ba1 the bushiness of hair on all the angels' heads1 is striking1 but this is done with little locks of auburn coloured silk4 ,but a very few people1 at the present moment1 have the faintest idea about the labour1 the money1 the length of time often bestowed of old upon embroideries which had been sketched as well as wrought by the hands of men1 each in his own craft the ablest and most cunning of that day4 ,in behalf of this our own land1 we may gather evidences strewed all over the present ,introduction3 as a proof of the self-same doings elsewhere1 may be set forth a remarkable passage given1 in his life of ,antonio ,pollaiuolo1 by ,vasari1 where he says3 8,for ,san ,giovanni in ,florence there were made certain very rich vestments after the design of this master1 namely1 two dalmatics1 a chasuble1 and a cope1 all of gold-wove velvet with pile upon pile--di broccato riccio sopra riccio--each woven of one entire piece and without seam1 the bordering and ornaments being stories from the life of ,st4 ,john1 embroidered with the most subtile mastery of that art by ,paolo da ,verona1 a man most eminent of his calling1 and of incomparable ingenuity3 the figures are no less ably executed with the needle than they would have been if ,antonio had painted them with the pencil2 and for this we are largely indebted to the one master for his design1 as well as to the other for his patience in embroidering it4 ,this work took twenty-six years for its completion1 being wholly in close stitch--questi ricami fatti con punto serrato--which1 to say nothing of its durability1 makes the work appear as if it were a real picture limned with the pencil2 but the excellent method of which is now all but lost1 the custom being in these days to make the stitches much wider--il punteggiare piu largo--whereby the work is rendered less durable and much less pleasing to the eye40#cca ,these vestments may yet be seen framed and glazed in presses around the sacristy of ,san ,giovanni4#ccb ,antonio died ,a4,d4 #adih4 ,the magnificent cope once belonging to ,westminster ,abbey1 and now at ,stonyhurst and exhibited here1 ,a4,d4 #ahfb1 is of one seamless piece of gorgeous gold tissue figured with bold wide-spreading foliage in crimson velvet1 pile upon pile1 and dotted with small gold spots2 it came1 it is likely1 from the same loom that threw off these ,san ,giovanni vestments1 at ,florence40 #cca ,vite de' piu ,eccellenti ,pittori1 c41 di ,g4 ,vasari1 ,firenze1 ,f4 ,le ,monnier1 #ahdi4 t4 v4 pp4 #aja1 #ajb2 ,english translation1 by ,mrs4 ,foster1 t4 ii4 p4 #bbi4 #ccb ,ib4 ,,our ,,old ,,english ,,opus ,,consutum1 ,,or ,,cut ,,work1 in ,french1 8appliqu10 is a term of rather wide meaning1 as it takes in several sorts of decorative accompaniments to needlework4 ,when anything--flower1 fruit1 or figure--is wrought by itself upon a separate piece of silk or canvas1 and afterwards sewed on to the vestment for church use1 or article for domestic purpose1 it comes to be known as 8cut-work40 ,though often mixed with embroidery1 and oftener still employed by itself upon liturgical garments2 oftenest of all1 it is to be found in bed-curtains1 hangings for rooms and halls1 hence called 8hallings10 and other items in household furniture4 ,of cut-work in embroidery1 those pieces of splendid ,rhenish needlework with the blazonment of ,cleves1 all sewed upon a ground of crimson silk1 as we see1 ,nos4 #aaid-e1 p4 #ba4 ,the chasuble of crimson double-pile velvet1 ,no4 #gh1 p4 #a1 affords another good example4 ,the niches in which the saints stand are loom-wrought1 but those personages themselves are exquisitely done on separate pieces of fine canvass1 and afterwards let into the unwoven spaces left open for them4 ,a ,florentine piece of cut-work1 ,no4 #eghh1 p4 #aaa1 is alike remarkable for its great beauty1 and the skill shown in bringing together so nicely1 weaving and embroidery4 ,much of the architectural accessories is loom-wrought1 while the extremities of the evangelists are all done by the needle2 but the head1 neck1 and long beard are worked by themselves upon very fine linen1 and afterwards put together after such a way that the full white beard overlaps the tunic4 ,another and a larger example1 from ,florence1 of the same sort1 is furnished us at ,no4 #gh1 p4 #a4 ,quite noteworthy too is the old and valuable vestment1 ,no4 #fgc1 p4 #e1 in this regard1 for parts of the web in the back orphrey were left open1 in the looms for the heads1 and extremities of the figures there1 to be done afterwards in needlework4 ,such a method of weaving was practised in parts of ,germany1 and the web from the looms of ,cologne1 ,no4 #acbi1 p4 #fa1 exhibits an example4 ,other methods were bade to come and yield a quicker help in this cut-work4 ,to be more expeditious1 all the figures were at once shaped out of woven silk1 satin1 velvet1 linen1 or woollen cloth as wanted1 and sewed upon the grounding of the article4 ,upon the personages thus fashioned in silk1 satin1 or linen1 the features of the face and the contours of the body were wrought by the needle in very narrow lines done in brown silk thread4 ,at times1 even thus much of embroidery was set aside for the painting brush1 and instances are to be found in which the spaces left uncovered by the loom for the heads and extremities of the human figures1 are filled in by lines from the brush4 ,often1 too1 the cut-work done in these ways is framed1 as it were1 with an edging1 either in plain or gilt leather1 hempen1 or silken cord1 exactly like the leadings of a stained glass window4 ,belonging to ourselves is an old ,english chasuble1 the broad cross1 at the back of which is figured with 8,the ,resurrection of the ,body40 ,the dead are arising from their graves1 and each is wrought in satin1 upon which the features on the face1 and the lineaments of the rest of the body1 are shown by thin lines worked with the needle in dark brown silk2 and the edge1 where each figure is sewed on the grounding1 is covered with a narrow black silk cord1 after much the same fashion as the lectern-veil here1 ,no4 #gdfh1 p4 #ada1 of silk and gold cut work4 ,instances there are wherein1 instead of needlework1 painting was resorted to2 ,no4 #hcae1 p4 #ahi1 shows us a fine art-work in its way1 upon which we see the folds of the white linen garment worn by our ,lord1 marked by brown lines put in with the brush1 while the head and extremities1 and the ground strewed with flowers1 are wrought with the needle4 ,no4 #hfhg1 p4 #beh1 gives us a figure where the whole of the person1 the fleshes and clothing1 are done in woven silk cut out1 shaded and featured in colours by the brush with some little needlework here and there upon the garments4 ,in that old specimen1 ,no4 #hgac1 p4 #bgj1 such parts of the design as were meant to be white are left uncovered upon the linen1 and the shading is indicated by brown lines4 ,perhaps in no collection open anywhere to public view could be found a piece of cut-work so full of teaching about the process1 and its easy way of execution1 as the one here1 ,no4 #acgj1 p4 #gf2 to it we earnestly recommend the attention of such of our readers as may wish to learn all about this method4 ,for the invention of cut-work or 8di commesso10 as ,vasari calls it1 that writer tells us we are indebted to one of his ,florentine countrymen3 8,it was by ,sandro ,botticelli that the method of preparing banners and standards in what is called cut-work1 was invented2 and this he did that the colours might not sink through1 showing the tint of the cloth on each side4 ,the baldachino of ,orsanmichele is by this master1 and is so treated10 c41 and this work serves to show how much more effectually that mode of proceeding preserves the cloth than do those mordants1 which1 corroding the surface1 allow but a short life to the work2 but as the mordants cost less1 they are more frequently used in our day than the first-mentioned method4#ccc ,however accurate such a statement may be regarding ,italy in general1 and ,tuscany in particular1 it is1 nevertheless1 utterly untrue as applicable to the rest of the world4 ,in this collection may be seen a valuable piece of this same cut-work--or as ,vasari would call it 8di commesso0--by ,french hands1 fraught with a story out of our ,english ,romance1 and done towards the end of the fourteenth century1 ,no4 #acgj1 p4 #gf4 ,now1 as ,botticelli was born ,a4,d4 #adeg1 and died ,a4,d4 #aeae1 he came into being almost a whole century too late to have originated such a process of ornamental needlework1 which was well known and practised in these parts so many years before the birth of that ,florentine painter4 #ccc ,vite de' piu ,eccellenti ,pittori1 c41 di ,g4 ,vasari1 t4 v4 p4 #aba2 ,english translation1 t4 ii4 p4 #bci4 ,there are some accessories1 in medival embroidery1 which ought not to be overlooked here4 ,in some few instances1 ,,gold1 ,,and ,,silver ,,gilt1 in very many more1 wrought after the smith's cunning into little star-like flowers--broader1 bigger1 and more craftily fashioned than our modern spangles--are to be found sewed upon the silks or amid the embroidery in the specimens before us1 particularly those from ,venice and its main-land provinces in ,italy1 and from ,southern ,germany4 ,at ,no4 #hbgd1 pp4 #afh-i1 we have a part of an orphrey embroidered on parchment1 and having along with its coral1 gold beads1 and seed pearls1 small bosses and ornaments in gilded silver stars2 it is ,venetian1 and of the second half of the twelfth century4 ,no4 #hcjg1 pp4 #ahe-f is a linen amice1 the silken apparel of which has sewed to it large spangle-like plates in gilded silver struck with a variety of patterns1 showing how the goldsmith's hand had been sought by the ,germans of the fifteenth century to give beauty to this silken stuff4 ,the fine piece of ruby-tinted ,genoa velvet1 which was once the apparel for the lower hem of an alb1 is sprinkled somewhat thickly with six-rayed stars of gold and silver2 but those made of the latter metal have turned almost black3 here we have a sample of ,lombard taste in this matter1 of the ending of the fifteenth century4 ,silver-gilt spangles wrought to figure six-petalled flowers on a fine example of gold tissue1 under ,no4 #hehh1 pp4 #bbb-c1 present us with a ,german craftsman's work1 in the fourteenth century4 ,no4 #hfab1 p4 #bcc1 is not without its value in reference to ,italian taste4 ,all over1 this curious now fragmental piece of silk damask1 has at one time been thickly strewed with trefoils cut out of gilt metal1 but very thin1 and not sewed but glued on to the silk3 many of these leaves have fallen off1 and those remaining turned black4 ,from among these examples a few will show the reader how the goldsmith had been tasked to work upon them as jeweller also1 and gem the liturgical garments to which these shreds belong1 with real or imitated precious stones4 ,in the orphrey upon the back of that very rich fine crimson velvet chasuble1 ,no4 #acge1 pp4 #ha-b1 the crossed nimb about our ,lord's head is gemmed with stones set in silver gilt2 and the sockets still left on the piece of crimson velvet1 ,no4 #hccd1 p4 #aii1 unmistakably speak for themselves4 ,besides precious stones1 coral1 and seed-pearls1 ,,glass1 coloured and wrought into small beads and bugles1 is another of those hard materials1 the presence of which we find in this collection4 ,as now1 so far back during the medival period1 the ,venetians1 at the island of ,murano1 wrought small glass beads and bugles of all colours1 as well as pastes--smalti--in every tint for mosaics1 and imitations of jewels4 ,this art1 which they had learned from the ,greeks1 they followed with signal success2 and likely is it that from ,venice came the several specimens of glass--blue1 like lapis lazuli--which we still see on that beautiful frontal in ,westminster ,abbey1#ccd--the work of our countryman ,peter de ,ispagna1#cce the member of an old ,essex family4 ,at ,no4 #hbgf1 pp4 #afh-i1 is a piece of an orphrey for a chasuble1 plentifully embroidered with glass beads and bugles1 which shows how much such a style of ornament was used towards the latter end of the twelfth century1 at least in ,lower ,germany1 and some of the ,italian provinces4 ,belonging to ,st4 ,paul's1 ,london1 ,a4,d4 #abie1 among many other amices1 there was one having glass stones upon it2 8amictus 444 ornatus lapidibus vitreis magnis et parvis per totum in capsis argenteis deauratis1 c40#ccf #ccd ,church of our ,fathers1 #a1 p4 #bce4 #cce ,monumenta ,vetusta1 vi4 p4 #bf4 #ccf ,dugdale's ,st4 ,paul's1 p4 #cah4 ,,enamel4 ,another form of glass fastened by heat to gold and copper--enamel1 the invention neither of ,egypt1 ,greece1 nor ,italy1 but of our own old ,britons1#ccg was extensively employed as an adornment upon textiles4 ,besides the examples we have given1#cch that gorgeous 8chesable of red cloth of gold with orphreys before and behind set with pearls1 blue1 white and red1 with plates of gold enamelled1 wanting fifteen plates1 c40#cci bestowed by ,john of ,gaunt's duchess of ,lancaster1 upon ,lincoln ,cathedral1 is another instance to show how such a kind of rich ornamentation was sewed to garments1 especially for church use1 in such large quantities4 #ccg ,philostratus1 ,icon4 ,l4 #a4 cap4 #ebh4 #cch ,church of our ,fathers1 t4 i4 p4 #dfi4 #cci ,dugdale's ,mon4 ,anglic4 t4 ,,viii4 p4 #abha4 ,here1 in ,england1 the old custom was to sew a great deal of goldsmith's work1 for enrichment1 upon articles meant for personal wear1 as well as on ritual garments4 ,when our first ,edward's grave1 in ,westminster ,abbey1 was opened1 ,a4,d4 #aggd1 on the body of the king1 besides other silken robes1 was seen1 a stole-like band of rich white tissue put about the neck1 and crossed upon his breast3 it was studded with gilt quatrefoils in filigree work and embroidered with pearls4 ,from the knees downwards the body was wrapped in a pall of cloth of gold4 ,concerning attire for liturgical use1 the fact may be verified in those instances we have elsewhere given4#cdj ,when ,henry ,,iii41 in the latter end of his reign1 bestowed a frontal on the high altar in ,westminster ,abbey1 besides carbuncles in golden settings1 as we have just read1 p4 xxxvi1 we may have observed that along with several larger pieces of enamel1 there were as many as #hff smaller ones--the 8esmaux de plique0 of the ,french--all fastened on this liturgical embroidery4 ,a good instance of the appliance of figured solid gold or silver1 upon church vestments1 is the following one of a cope beaten all over with lions in silver1 given by a well-wisher to ,glastonbury ,abbey3--8dederat unam capam rubeam cum leonibus laminis argenteis cap infixis1 c40#cda ,in the ,norman-,french1 for so long a period in use at our ,court1 silken stuffs thus ornamented were said to be 8batuz10 or as we now say beaten with hammered-up gold4 ,among the liturgical furniture provided by ,richard ,,ii4 for the chapel in the castle of ,haverford1 were 8ii rydell batuz0--two altar-curtains beaten 7no doubt with ornaments in gilt silver47#cdb #cdj ,church of ,our ,fathers1 i4 #cfj1 #cfb1 #dfi1 c4 #cda ,johannes ,glastoniensis1 p4 #bjc4 #cdb ,kalendars of the ,treasury1 c4 ed4 ,palgrave1 t4 iii4 p4 #cei4 ,for the secular employment of this same sort of decoration1 we have several curious examples4 ,our ladies' dresses for grand occasions were so adorned1 as we may see in the verses following3-- ,in a robe ryght ryall bowne1 ,of a redd syclatowne1 ,be hur fadur syde2 ,a coronell on hur hedd sett1 ,hur clothys wyth bestes and byrdes wer bete1 ,all abowte for pryde4#cdc ,a4,d4 #abae our ,king ,john sent an order to ,reginald de ,cornhull and ,william ,cook to have made for him1 besides five tunics1 five banners with his arms upon them1 well beaten in gold3 8quinque banerias de armis nostris bene auro bacuatas0 7sic74#cdd ,the c for t must be a misprint in the last word4 ,an amice at ,st4 ,paul's had on it the figures of two bishops and a king hammered up out of gilt silver3 8amictus ornatus cum duobus magnis episcopis et uno rege stantibus argenteis deauratis40#cde ,from the original bill for fitting out one of the ships in which ,beauchamp1 ,earl of ,warwick1 during the reign of ,henry ,,vi41 went over to ,france1 where he had been appointed to a high command1 we gather hints which throw light upon this as well as several matters belonging to this ,introduction4 ,among other items for the above-named equipage are these3--8,four hundred pencils 7long narrow strips1 may be of silk1 used as flags71 beat with the ,raggedstaff in silver2 the other pavys 7one of two shields1 likely of wood1 and fastened outside the ship at its bows71 painted with black1 and a ,raggedstaff beat with silver occupying all the field2 one coat 7perhaps of silk1 but no doubt blazoned with the ,beauchamp's arms17 for my ,lord's body1 beat with fine gold2 two coats 7like the foregoing7 for heralds1 beat with demi gold2 a great streamer for a ship of forty yeards in length and eight yeards in breadth1 with a great ,bear and ,griffin holding a ,raggedstaff poudred full of ,raggedstaffs2 three penons 7small flags7 of satten2 sixteen standards of worsted entailed with the ,bear and a chain40#cdf ,the quatrefoils on the robe of our ,first ,edward1 the silver lions on the ,glastonbury cope1 the beasts and birds on the lady's gown1 the ,bear1 and ,griffin1 and ,raggedstaff belonging to the ,beauchamp's blazoning1 and all such like enrichments--mostly heraldic--put upon silken stuffs1 were cut out of very thin plates of gold or silver1 so as to hang upon them lightly1 and were hammered up to show in low relief the fashion of the flower and the lineaments of the beast or bird meant to be represented4 ,in fact1 such a style of ornamentation done in gold or silver1 stitched on silken stuffs made up into liturgical garments1 knights' coats of arms1 ladies' dresses1 heralds' tabards1 or flags and penoncels1 was far more common once than is now thought4 ,it had struck out for itself a technical expression4 ,in speaking of it men would either write or say1 8silk beaten with gold or silver10 as the case might be--a meaning1 by the way1 for the word 8beat10 quite overlooked by our lexicographers2 yet1 making her will as late as the year #aech1 ,barbara ,mason bequeathed to a church 8a vestment of grene sylke betyn with goold40#cdg #cdc ,ancient ,english ,metrical ,romances1 t4 iii4 pp4 #h1 #i4 #cdd ,close ,rolls1 ed4 ,d4 ,hardy1 p4 #aic4 #cde ,dugdale1 p4 #cah4 #cdf ,dugdale's ,baronage of ,england1 i4 #bdf4 #cdg ,bury ,wills1 p4 #acd4 ,the badge on the arm of the livery coat once commonly worn1 and yet rowed for by the ,thames watermen1 as well as the armorials figured1 before and behind1 upon the fine old picturesque frocks of our buffetiers--the yeomen of the ,royal guard1 called in ,london 8beefeaters10--help to keep up the tradition of such a style of ornament in dress4 ,spangles1 when they happened to be used1 were not like such as are now employed1 but fashioned after another and artistic shape1 and put on in a different manner4 ,before me lies a shred from the chasuble belonging to the set of vestments wrought1 it is said1 by ,isabella of ,spain and her maids of honour1 and worn the first time high mass was sung in ,granada1 after it had been taken by the ,spaniards from the ,moors4 ,upon this shred are flowers1 well thrown up in relief1 done in spangles on a crimson velvet ground4 ,these spangles--some in gold1 some in silver--are1 though small1 in several sizes2 all are voided--that is1 hollow in the middle--with the circumference not flat1 but convex1 and are sewed on like tiles one overlapping the other1 and thus produce a rich and pleasing effect4 ,our present spangles1 in the flat shape1 are quite modern4 ,sadly overlooked1 or but scantily employed on modern embroideries1 is the process of ,,diapering1 after so many graceful and ever-varying forms to be found almost always upon medival works of the needle4 ,the garments worn by high personages in the embroidery1 and meant to imitate a golden textile1 were done in gold passing sometimes by itself1 sometimes with coloured silk thread laid down alternately aside it1 so as to lend a tinge of green1 crimson1 pink1 or blue1 to the imagined tissue of the robe1 as if it were made of a golden stuff shot with the adopted tint4 ,for putting on this gold passing1 it was of course required to sew it down4 ,now1 from this very needful and mechanical requirement1 those medival needlewomen sought and got an admirable as well as ingenious element of ornamentation1 and so truthful too4 ,of this our ladies at this day1 seem1 from their work1 to have a very narrow1 short idea4 ,taking thin 7usually red7 silk1 and while fastening the golden or silver passing1 they dotted it all over in small stitches set exactly after a way that showed the one same pattern4 ,so teeming were their brains in this matter that hardly the same design in diapering is twice to be found upon the same embroidered picture4 ,with no other appliance they were thus enabled to lend to their draperies the appearance of having been1 not wrought by the needle1 but actually cut out of a piece of textile1 and for which they have been sometimes mistaken4 ,of the many samples here of this kind of diapering we select one or two--,nos4 #aaid-e1 p4 #ba1 which is so very fine1 and of itself quite enough for showing what we wish to point out1 and to warrant our praises of the method2 ,no4 #hhcg1 p4 #bjj1 is another worth attention4 ,,thread ,,embroidery1 after several of its modes1 is represented here2 and though the specimens are not many1 some of them are splendid4 ,by our ,english women1 hundreds of years gone by1 among other applications of the needle1 one was to darn upon linen netting or work thereon with other kinds of stitchery1 religious subjects for ,church-use2 or flowers and animals for household furniture4 ,in this country such a sort of embroidering was called net-work--filatorium--as we learn from the ,exeter ,inventory1 where we read that its cathedral possessed1 ,a4,d4 #acbg1 three pieces of it1 for use at the altar--one in particular for throwing over the desk3 8tria filatoria linea1 unde unum pro desco40#cdh ,from their liturgical use1 as we have noticed1 p4 #bab1 they were more generally named lectern-veils1 and as such are spoken of1 in the same ,devonshire document3 8i lectionale de panno lineo operato de opere acuali1 c40#cdi ,of those narrow1 light1 and moveable lecterns over which these linen embroideries were cast1 ,exeter had three--two of wood1 another which folded up 7see p4 #bab here17 of iron3 8i descus volubilis de ferro1 pro ,evangelio supra legendo2 ii alia lectrina lignea40#cej ,almost every one of these thread embroideries were wrought during the fourteenth century1 and several of them for the service of the sanctuary1 either as reredos1 frontal1 or lectern-veil2 and while those described at pp4 #ai1 #bj1 #ca1 #ec1 #fj1 #ga1 #ii1 #abj1 #bdb-c1 #bdi1 #bfa-g1 deserve consideration1 a more complete and an especial notice is due to those two very fine ones under ,nos4 #hceh1 p4 #baj1 and #hfah1 p4 #bce4 ,as early as ,a4,d4 #abie1 ,st4 ,paul's had a cushion covered with knotted thread3 8pulvinar opertum de albo filo nodato40#cea #cdh ,ed4 ,oliver1 p4 #cab4 #cdi ,ib4 p4 #cef4 #cej ,ib4 p4 #cbi4 #cea ,dugdale1 p4 #caf4 ,,quilting1 too1 must not be forgotten here2 and a short look at ,nos4 #gbg1 p4 #ad1 and #ghf1 p4 #af1 will be sufficient to make us understand how1 in hands guided by taste1 a work of real1 though humble art1 may be brought out and shewn upon any article1 from a lady's skirt to a gentleman's daily skull-cap1 by such a use of the needle4 ,crochet1 knitting done with linen thread1 and in the convents throughout ,flanders1 as well as the thick kinds of lace wrought there upon the cushion with bobbins1 came1 under the name of nun's lace1 to be everywhere much employed1 from the sixteenth century and upwards1 for bordering altar-cloths1 albs1 and every sort of towel required in the celebration of the liturgy4 ,no4 #aceh1 p4 #gb1 is a good example4 ,,section ,,iii4--,,tapestry4 ,though regarding actual time so very old1 still in comparison with weaving and embroidery1 the art of tapestry is1 it would seem1 the youngest of the three4 ,it is neither real weaving1 nor true embroidery1 but unites in its working those two processes into one4 ,though wrought in a loom and upon a warp stretched out along its frame1 it has no woof thrown across those threads with a shuttle or any like appliance1 but its weft is done with many short threads1 all variously coloured1 and put in by a kind of needle4 ,it is not embroidery1 though so very like it1 for tapestry is not worked upon what is really a web--having both warp and woof--but upon a series of closely set fine strings4 ,from the way in which tapestry is spoken of in ,holy ,writ1 we are sure the art must be very old2 but if it did not take its first rise in ,egypt1 we are led by the same authority to conclude that it soon became much and successfully cultivated by the people of that land4 ,the woman in ,proverbs vii4 #af1 says3--8,i have woven my bed with cords4 ,i have covered it with painted tapestry1 brought from ,egypt40 ,while1 therefore1 in those words we hear how it used to be employed as an article of household furniture among the ,israelites1 by them are we also told that the ,egyptians were the makers4 ,like weaving and fine needlework1 the art of tapestry came from ,egypt and ,asia1 westward2 and in the days of ,virgil our old ,british sires were employed in the theatres at ,rome as scene-shifters1 where they had to take away those tapestries on which they themselves1 as examples of imperial triumph1 had been figured3-- ,juvat 444 ,vel scena ut versis discedat frontibus1 utque ,purpurea intexti tollant aula ,britanni4#ceb ,from ,egypt through ,western ,asia the art of tapestry-making found its way to ,europe1 and at last to us2 and among the other manual labours followed by their rule in religious houses1 this handicraft was one1 and the monks became some of its best workmen4 ,the altars and the walls of their churches were hung with such an ornamentation4 ,matthew ,paris tells us1 that among other ornaments which1 in the reign of ,henry ,i1 ,abbot ,geoffrey had made for his church of ,st4 ,alban's monastery1 were three reredoses1 the first a large one wrought with the finding of ,england's protomartyr's body2 the other two smaller-ones figured with the gospel story of the man who fell among thieves1 the other with that of the prodigal son3 8dedit quoque dossale magnum in quo intexitur inventio ,sancti ,albani1 cujus campus est aerius1 et aliud minus ubi effigiatur ,evangelium de sauciato qui incidit in latrones1 et tertium ubi historia de filio prodigo figuratur40#cec ,while in ,london1 ,a4,d4 #acaf1 ,simon ,abbot1 of ,ramsey1 bought for his monks' use looms1 staves1 shuttles and a slay3 8pro weblomes emptis xxs4 ,et pro staves ad easdem vjd4 ,item pro iiij shittles pro eodem opere ijs vjd4 ,item in j4 slay pro textoribus viijd40#ced ,what was done in one monastery was but the reflex of every other2 hence1 ,giffard1 one of the commissioners for the suppression of the smaller houses1 in the reign of ,henry ,,viii41 thus writes to ,cromwell1 while speaking of the monastery of ,wolstrope1 in ,lincolnshire3--8,not one religious person there but that he can and doth use either imbrothering1 writing books with very fair hand1 making their own garments1 carving1 painting1 or graving1 c40#cee #ceb ,georg4 ,l4 iii4 #bd1 c4 #cec ,vit ,s4 ,albani ,abbatum1 p4 #dj4 #ced ,mon4 ,anglic4 ii4 p4 #ehe4 #cee ,collier1 ,ecclesiastical ,history of ,great ,britain1 ed4 ,lathbury1 t4 v4 p4 #c4 ,pieces of ,english-made tapestry still remain4 ,that fine1 though mutilated specimen at ,st4 ,mary's ,hall1 ,coventry1 is one2 a second is the curious reredos for an altar1 belonging to the ,london ,vintners' ,company2 it is figured with ,st4 ,martin on horseback cutting with his sword his cloak in two1 that he might give one-half to a beggar man2 and with ,st4 ,dunstan singing mass1 and wrought by the monks of ,st4 ,alban's4 ,though practised far and wide1 the art of weaving tapestry became most successfully followed in many parts of ,france and throughout ancient ,flanders where secular trade-gilds were formed for its especial manufacture1 in many of its towns4 ,several of these cities won for themselves an especial fame2 but so far1 at last1 did ,arras outrun them all that arras-work came1 in the end1 to be the common word1 both here and on the ,continent1 to mean all sorts of tapestry1 whether wrought in ,england or abroad4 ,thus is it1 we think1 that those fine hangings for the choir of ,canterbury ,cathedral1 now at ,aix-en-,provence1 though made at home1 perhaps too by his own monks1 and given to that church by ,prior ,goldston1 ,a4,d4 #aeie1 are spoken of as1 not indeed from ,arras1 but arras-work--8pannos pulcherrimos opere de arysse subtiliter intextos40#cef ,arras is but one among several other terms by which1 during the middle ages1 tapestry was called4 ,from the ,saracens1 it is likely ,western ,europe learned the art3 at all events its earliest name in ,christendom was ,saracenic work--8opus ,saracenicum0--and as our teachers1 we too wrought in a low or horizontal loom4 ,the artizans of ,france and ,flanders were the first to bring forwards the upright or vertical frame1 afterwards known abroad as 8de haute lisse10 in contradistinction to the low or horizontal frame called 8de basse lisse40 ,those who went on with the latter unimproved loom1 though thorough good ,christians1 came to be known1 in the trade1 as ,saracens1 for keeping to the method of their paynim teachers2 and their produce1 ,saracenic4 ,in year #acci ,john de ,croisettes1 a ,saracen-tapestry worker1 living at ,arras1 sells to the ,duke of ,touraine a piece of gold ,saracenic tapestry figured with the story of ,charlemaine3 8,jean de ,croisettes1 tapissier ,sarrazinois demeurant ,arras1 vend au ,duc de ,touraine un tapis ,sarrazinois or de l'histoire de ,charlemaine40#ceg ,soon however the high frame put out of use the low one2 and among the many pieces of tapestry belonging to ,philippe ,duke of ,bourgogne and ,brabant1 very many are especially entered as of the high frame1 and one of them is thus described3--8ung grant tapiz de haulte lice1 sauz or1 de l'istoire du duc ,guillaume de ,normandie comment il conquist ,engleterre40#ceh #cef ,anglia ,sacra1 t4 i4 p4 #adh4 #ceg ,voisin1 p4 #d4 #ceh ,les ,ducs de ,bourgogne1 par le ,comte de ,laboure1 t4 ii4 p4 #bgj4 ,with the upright1 as with the flat frame1 the workman went the same road to his labours2 but1 in either of these ways1 had to grope in the dark a great deal on his path4 ,in both1 he was obliged to put in the threads on the back or wrong side of the piece following his sketch as best he could behind the fixings or warp4 ,as the face was downward in the flat frame he had no means of looking at it to correct a fault4 ,in the upright frame he might go in front1 and with his own doings in open view on one hand1 and the original design full before him on the other1 he could mend as he went on1 step by step1 the smallest mistake1 were it but a single thread4 ,put side by side1 when done1 the pieces from the upright frame were1 in beauty and perfection1 far beyond those that had come from the flat one4 ,in what that superiority consisted we do not know with certitude1 for not one single flat sample1 truly such1 is recognizable from evidence within our reach4 ,to us it seems that the ,saracenic work was in texture light and thin1 so that it might be1 as it often was1 employed for making vestments themselves1 or sewed instead of needlework embroidered on those liturgical appliances4 ,in the inventory of ,st4 ,paul's1 ,london1 ,a4,d4 #abie1 mention is made of it thus3 8,duo amicti veteres quorum unus de opere ,saraceno40#cei 8,stola de opere ,saraceno40#cfj 8,vestimentum de opere ,saraceno40#cfa 8,tunica et ,dalmatica de indico sendato afforciato cum bordura operis ,saraceni40#cfb 8,quatuor offertoria de rubeo serico quorum duo habent extremitates de opere ,saraceno40#cfc #cei ,dugdale1 p4 #cai4 #cfj ,ib4 p4 #cai4 #cfa ,ib4 p4 #cbj4 #cfb ,ib4 p4 #cbb4 #cfc ,ib4 p4 #cbd4 ,of the tapestries in this collection1 perhaps ,nos4 #abif1 p4 #bif1 and #adfe1 p4 #bih1 may be of the so-called ,saracenic kind1 because wrought in the low flat loom1 or1 8de basse lisse10 while all the rest are assuredly of the 8dehaute lisse10 or done in the upright frame4 ,when the illuminators of ,,mss4 began--and it was mostly in ,flanders--to put in golden shadings all over their painting1 their fellow-countrymen1 the tapestry-workers1 did the same4 ,such a manner1 in consequence1 cannot be relied on as any criterion whereby to judge of the exact place where any specimen of tapestry had been wrought1 or to tell its precise age4 ,to work figures on a golden ground1 and to shade garments1 buildings1 and landscapes with gold1 are two different things4 ,upon several pieces here gold thread has been very plentifully used1 but the metal is of so debased a quality that it has become almost black4 ,for ,church decoration and household furniture the use of tapestry1 both here and abroad1 was--nay1 on the ,continent still is--very great4 ,the many large pieces1 mostly of a scriptural character1 provided by ,cardinal ,wolsey for his palace at ,hampton ,court1 were very fine4 ,the most beautiful collection in the world--the ,arazzi--now in the ,vatican at ,rome1 may be judged of by looking at a few of the original cartoons at present in the ,museum1 drawn and coloured by ,raffael's own hand4 ,duke ,cosimo tried to set up tapestry work at ,florence1 but did not succeed4 ,later1 ,rome produced some good things2 among others1 the fine copy of ,da ,vinci's ,last ,supper still hung up on ,maundy ,thursday4 ,england herself made like attempts--first at ,mortlake1 then years afterwards in ,london1 at ,soho4 ,works from these two establishments may be met with4 ,at ,northumberland ,house there is a room all hung with large pieces of tapestry wrought at ,soho1 and for that place1 in the year #ageh4 ,the designs were done by ,francesco ,zuccherelli1 and consist of landscapes composed of hills crowned here and there with the standing ruins of temples1 or strewed with broken columns1 among which are wandering and amusing themselves groups of country folks4 ,mortlake and ,soho were failures4 ,not so the ,gobelins at ,paris1 as may be observed in the beautifully executed specimens in the ,museum4 ,as now1 so in ages gone by1 pieces of tapestry were laid down for carpeting4 ,in many of our old-fashioned houses--in the country in particular--good samples of ,flemish tapestry may be found4 ,close to ,london1 ,holland ,house is adorned with some curious specimens1 especially in the raised style4 ,imitated tapestry--if paintings on canvas may be so called--existed here hundreds of years ago under the name of 8stayned cloth10 and the workers of it were embodied into a ,london civic gild4 ,of this 8stayned cloth0 we have lately found hangings upon the walls of a dining-room in one mansion2 in another ornamenting1 with great effect1 the top of a stair-case4 ,at the beginning of the sixteenth century ,exeter ,cathedral had several pieces of old painted or 8stayned0 cloth3 8i pannus veteratus depictus cum ymaginibus ,sancti ,andree in medio et ,petri et ,pauli ex lateribus2 i front stayned cum crucifixo1 ,maria et ,johanne1 ,petro et ,paulo2 viij parvi panni linei stayned1 c40#cfd ,the very great use at that time of such articles in household furniture may be witnessed in the will1 ,a4,d4 #aejc1 of ,katherine ,lady ,hastings1 who bequeaths1 besides several other such pieces1 8an old hangin of counterfeit arres of ,knollys1 which now hangeth in the hall1 and all such hangyings of old bawdekyn1 or lynen paynted as now hang in the chappell40#cfe #cfd ,ed4 ,oliver1 p4 #cei4 #cfe ,testamenta ,vetusta1 ii4 #dec4 ,,carpets are somewhat akin to tapestry1 and though the use of them may perhaps be not so ancient1 yet is very old4 ,here1 again1 to the people of ,asia1 must we look for the finest as well as earliest examples of this textile4 ,few are the medival specimens of it anywhere1 and we are glad to recommend attention to two pieces of that period fortunately in the collection1 ,no4 #hfdi1 p4 #bdh1 of the fourteenth century1 and ,no4 #hceg1 p4 #bji1 of the sixteenth1 both of ,spanish make4 ,as even the antechambers of our royal palaces1 so the chancels in most of our country parish churches used to be strewed with rushes4 ,when1 however1 they could afford it1 the authorities of our cathedrals1 even in ,anglo-,saxon times1 sought to spread the sanctuary with carpets2 and at last old tapestry came to be so employed1 as now in ,italy4 ,among such coverings for the floor before the altar1 ,exeter had a large piece of ,arras cloth figured with the life of the ,duke of ,burgundy1 the gift of one of its bishops1 ,edmund ,lacy1 ,a4,d4 #adbj1 besides two large carpets1 one bestowed by ,bishop ,nevill1 ,a4,d4 #adef1 the other1 of a chequered pattern1 by ,lady ,elizabeth ,courtney3 8,carpet et panni coram altari sternendi--i pannus de ,arys de historia ,ducis ,burgundie--i larga carpeta1 c40#cff ,in an earlier inventory1 we find that among the 8bancaria10 or bench-coverings1 in the choir of the same cathedral1 ,a4,d4 #acbg1 one was a large piece of ,english-made tapestry1 with a fretted pattern--8unum tapetum magnum ,anglicanum frettatum40#cfg ,and we think that as the ,record ,commission goes on under the ,master of the ,rolls1 to print our ancient historians1 evidences will turn up showing that the looms at work in all our great monasteries1 among other webs1 wrought carpets4 ,from existing printed testimony we know that1 in all likelihood1 such must have been the practice at ,croyland1 where ,abbot ,egelric1 the second of the name bestowed before the year #iib1 when he died1 upon his church3 8two large foot-cloths 7so carpets were then called7 woven with lions to be laid out before the high altar on great festivals1 and two shorter ones trailed all over with flowers1 for the feast days of the ,apostles3 8,dedit etiam duo magna pedalia leonibus intexta1 ponenda ante magnum altare in festis principalibus et duo breviora floribus respersa pro festis ,apostolorum40#cfh ,the quantity of carpeting in our palaces may be seen by the way in which 8my lady the queen's rooms were strewed with them #8when she took her chamber4'0#cfi #cff ,ed4 ,oliver1 p4 #cb4 #cfg ,ib4 p4 #cag4 #cfh ,ingulphi ,hist4 ed4 ,savile1 p4 #eje1 b4 #cfi ,leland's ,collectanea1 t4 iv4 pp4 #agi1 #ahf1 c4 ,,section ,,iv4 ,while telling of a coronation1 a royal marriage1 the queen's #8taking her chamber1' her after-churching1 a baptism1 a progress1 or a funeral1 the historian or the painter cannot bring before his own mind1 much less set forth to ours1 a fit idea of the circumstances in the splendour shown on any one of these imperial occasions1 unless he can see old samples of those cloths of gold1 figured velvets1 curious embroidery1 and silken stuffs1 such as are gathered in this collection1 and used to be worn of old for those functions4 ,of the many valuable1 though indirect uses to which this curious collection of textiles may1 on occasions1 be turned1 a few there are to which we call particular attention1 for the ready help it is likely to afford4 ,in the first place1 to ,,the ,,historian1 in some at least of his researches1 as he not only writes of bloodshed and of wars1 that make or unmake kings1 but follows his countrymen in private life through their several ways onward to civilization and the cultivation of the arts of peace4 ,besides a tiny shred 7,no4 #fge1 p4 #f7 of the very needlework itself1 we have here a coloured plaster-cast of one of the figures in the so-called ,bayeux ,tapestry1 which1 among some1 it has of late been a fashion to look upon as a great historic document1 because it was1 they say1 worked by no less a personage than ,william's own queen1 ,matilda1 helped by her handmaids4 ,its present and modern title is altogether a misnomer4 ,it is needlework1 and no tapestry4 ,not ,normandy1 but ,england1 is most likely to have been the country2 not ,bayeux1 but ,london1 the place wherein it was wrought4 ,probabilities forbid us from believing that either ,matilda herself1 or her waiting ladies1 ever did a stitch on this canvas2 nay1 it is likely she never as much as saw it4 ,coarse white linen and common worsted would never have been the materials which any queen would have chosen for such a work by which her husband's great achievement was to be celebrated4 ,but three women are seen upon the work1 and ,matilda is not one of them4 ,surely the dullest courtier would never have forgotten such an opportunity for a compliment to his royal mistress by putting in her person4 ,a piece1 nineteen inches broad and two hundred and twenty-six feet long1 crowded with fighting men--some on foot1 some on horseback--with buildings and castles1 must have taken much time and busied many hands for its working4 ,yet of all this1 nought has ever turned up in any notice of ,matilda's life4 ,she was not1 like the ,anglo-,saxon ,margaret queen of ,scotland1 known to fill up her time amidst her maids with needlework1 nor ever stood out a parallel to an older ,anglo-,saxon high-born lady1 the noble lfleda1 of whom we now speak4 ,her husband was the famous ,northumbrian chieftain1 ,brithnoth1 who had so often fought and so sorely worsted the invading ,danes1 by whom he was at last slain4 ,his loving wife and her women wrought his deeds of daring in needlework upon a curtain which she gave to the minster church at ,ely1 wherein the headless body of her ,brithnoth lay buried3 8cortinam gestis viri sui 7,brithnothi7 intextam atque depictam in memoriam probitatis ejus1 huic ecclesi 7,eliensi7 donavit 7lfleda740#cgj ,surely when lfleda's handiwork found a chronicler1 that of a queen would never have gone without one4 ,moreover1 had such a piece any-wise or ever belonged to ,william's wife1 we must think that1 instead of being let to stray away to ,bayeux1 towards which place she bore no particular affection1 she would have bequeathed it1 like other things1 to her beloved church at ,caen4 ,yet in her will no notice of it comes1 and the only mention of any needlework is of two ,english specimens1 one a chasuble bought of ,aldaret's wife at ,winchester1 and a vestment then being wrought for her in ,england3 8casulam quam apud ,wintoniam operatur uxor ,aldereti 444 atque aliud vestimentum quod operatur in ,anglia10 both of which she leaves to the ,church of the ,holy ,trinity at ,caen4 #cgj ,historia ,eliensis1 ,lib4 ,secund4 ed4 ,stewart1 p4 #ahc4 ,but there is the tradition that it is ,matilda's doing4 ,true1 but it is barely a hundred years old1 and its first appearance was in the year #agcj or so3 tradition so young goes then for nothing4 ,who then got it worked1 and why did it find its way to ,bayeux8 ,odo1 bishop of ,bayeux1 and own brother to ,william came himself1 and1 like other rich and powerful ,norman ,lords1 brought vassals who fought at ,hastings4 ,of all the great chiefs1 but one1 at most but two1 are pointed out by name on this piece4 ,odo1 however1 is figured in no less than three of its compartments2 furthermore1 three men quite unknown to fame1 ,turold1 ,vital1 and ,wadard1 receive as many times as the bishop this same honourable distinction4 ,rich and influential in ,normandy1 ,odo1 after being made ,earl of ,kent by his victorious brother1 became richer and more influential in ,england2 hence the three above-mentioned individuals1 the prelate's feudatories1 by their master's favour1 got possession of wide landed estates in many parts of ,england1 as appears from ,domesday4 ,coming from ,bayeux itself1 and owing service to its bishop1 through whom they had become rich lords in ,england1 these three men may have very naturally wished to make a joint offering to the cathedral of their native city4 ,hence they had this piece of needlework done in ,london1 and on it caused1 neither ,matilda nor any of the great chiefs of the ,norman expedition1 but instead1 the bishop of ,bayeux and themselves its citizens to be so conspicuously set forth upon what was meant to be1 for ,bayeux itself1 a memorial of the part that the bishop and three men of ,bayeux had taken in the ,norman conquest of ,england4 ,on second thoughts1 we look upon this curious piece as the work of the early part of the twelfth century1 perhaps as an offering to the new church 7the old one having been burned down by our ,henry ,i4 ,a4,d4 #aajf7 of ,bayeux1 as in measurement it exactly fits for hanging both sides of the present nave1 its original as well as recent purpose4 ,in future1 then1 our writers may be led to use with caution this so-called ,bayeux ,tapestry1 as a document contemporaneous with the ,norman conquest4 ,though1 in the reign of our ,henry ,,ii4 ,london was the head city of this kingdom1 and the chief home of royalty1 some reader may perhaps be startled on hearing that while its churches were #abj1 the inhabitants amounted only to the number of #dj1jjj1 as we learn from ,peter1 its then archdeacon3 8nam quum sint in illa civitate 7,londinensi7 quadra-ginta millia hominum1 atque centum et viginti ecclesi10 c4#cga--yet1 at that very time1 the capital of ,sicily--,palermo--by itself was yielding to its king a yearly revenue quite equal in amount to the whole income of ,england's sovereign1 as we are told by ,gerald ,barry the learned ,welsh writer then living3 8,urbs etenim una ,sicili1 ,palernica scilicet1 plus certi redditus regi ,siculo singulis annis reddere solet1 quam ,anglorum regi nunc reddit ,anglia tota40#cgb ,this great wealth was gathered to ,sicily by her trade in silken textiles1 first with the ,byzantines and the coasts of ,asia ,minor and ,alexandria1 where those stuffs were at the time wrought2 and secondly1 with ,europe1 and the products of her own looms somewhat later4 ,many of the pieces in this collection were woven at ,palermo and other cities in that island4 ,she herself was not the least consumer of her own industry1 and of the profuse employment of silk for royal awnings1 during the twelfth century in the kingdom of the two ,sicilies4 ,we have an example in the silken tent1 made for queen ,joan1 and given her by her husband king ,william1 large enough to hold two hundred knights sitting down to dinner2 and which1 along with her chair of gold1 and golden table twelve feet long and a foot and a-half wide1 her brother1 our ,richard ,i4 got back for his sister from ,tancred3 8,ipse 7,richardus rex7 enim a rege ,tancredo exigebat--cathedram auream ad opus ejusdem ,johann de consuetudine reginarum illius regni et ad opus sui ipsius mensam auream de longitudine duodecim pedum1 et de latitudine unius pedis et semis et quoddam tentorium de serico magnum adeo quod ducenti milites in eo possint simul manducare40#cgc ,among the old copes1 dalmatics and chasubles which1 one after the other1 find their way at last to collections such as this1 must the historian seek for what remains of those gorgeous robes worn at some interesting ceremony1 or on some stirring occasion1 by personages celebrated in our national annals4 ,for example1 along with the several gifts bestowed upon the church of ,ely1 by king ,edgar1 we find mentioned his mantle of costly purple and gold1 of which was made a vestment3 8,enimvero chlamydem suam de insigni purpura ad modum loric auro undique contextam illuc 7ecclesi ,eliensi7 contulit rex dgarus40#cgd ,of a whole set of mass vestments at ,windsor made out of the crimson and gold cloth powdered with birds1 once the array worn by a royal princess when she was married1 we have already spoken4 #cga ,petri ,blesensis ,opera1 ed4 ,giles1 t4 ii4 p4 #he4 #cgb ,geraldi ,cambrensis ,de ,instructione ,principum1 ed4 ,j4 ,s4 ,brewer1 p4 #afh4 #cgc ,rog4 ,hoveden ,annal4 ed4 ,savile1 p4 #chd1 b4 #cgd ,hist4 ,elien4 ,lib4 ,secund4 ed4 ,stewart1 p4 #afj4 ,queen ,philippa gave to ,symon1 bishop of ,ely1 the gown she wore at her churching after the birth of her eldest son the ,black ,prince4 ,the garment was of murrey-coloured velvet1 powdered with golden squirrels1 and so ample that it furnished forth three copes for choir use3 8,contulit sibi 7,symoni de ,monte ,acuto7 ,domina regina quandam robam preciosam cum omnibus garniamentis de velvet murreo squirrillis aureis pulverizato2 qua induta erat in die ,purificationis su post partum ,principis excellentissimi ,domini ,edwardi filii sui primogeniti4 ,de quibus garniamentis tres cap efficiuntur10 c4#cge ,to ,st4 ,alban's ,abbey was sent by ,elizabeth ,lady ,beauchamp the splendid mantle made of cloth of gold lined with crimson velvet which ,henry ,v4 had on as he rode in state on horseback through ,london1 the day before his coronation4 ,also another gown of green and gold velvet out of both of which vestments were made3 8,elizabeth ,beauchamp mulier nobilis 444 contulit monasterio ,s4 ,albani quandam togam pretiosissimam auro textam duplicatam cum panno de velvetto rubeo resperso cum rosis aureis qu quondam erat indumentum regis ,henrici quinti dum regaliter equitaret per ,londonias pridie ante coronationem suam4 ,item dedit et aliam gounam de viridi velvetto auro texto unde fieri posset integrum vestimentum qu similiter fuit ejusdem regis40#cgf ,naturally wishful to know something about such costly stuffs1 the historian will have to come hither1 where he may find specimens in the gorgeous velvet and gold chasubles in this collection4 ,whilst here perchance his eye may wander toward such pieces as those ,nos4 #acaj1 p4 #ec1 and #hfbd1 p4 #bci1 whereon he sees figured1 stags with tall branching horns1 couchant1 chained1 upturning their antlered heads to sunbeams darting down upon them amid a shower of rain2 and beneath the stags are eagles2 p4 #bci4 ,this ,sicilian textile1 woven about the end of the fourteenth century1 brings to his mind that bronze cumbent figure of a king in ,westminster ,abbey4 ,it is of ,richard ,,ii4 made for him before his downfal1 and by two coppersmiths of ,london1 ,nicholas ,broker and ,godfrey ,prest4 ,this effigy1 once finely gilt1 is as remarkable for its beautiful workmanship1 as for the elaborate manner in which the cloak and kirtle worn by the king are diapered all over with the pattern 7now hid under coats of dirt7 on that silken stuff out of which those garments must have been cut for his personal wear while living2 and it consists of a sprig of the ,planta genesta1 the humble broom plant--the haughty ,plantagenets' device--along with a couchant hart chained and gazing straight forwards1 and above it a cloud with rays darting up from behind4 ,with ,edward ,,iii4 ,richard's grandfather1 8sunbeams issuing from a cloud0 was a favourite cognizance4 ,the white hart he got from the white hind1 the cognizance of his mother ,joan1 the fair maid of ,kent1 and rendered remarkable by the unflinching steadfastness of the faithful ,jenico in wearing it as his royal master's badge after ,richard's downfal4 ,sometimes1 did that king take as a device a white falcon1 for1 at a tournament held by him at ,windsor1 forty of his knights came clothed in green with a white falcon on the stuff4 ,during a foppish reign1 ,richard was the greatest fop4 ,when he sat to those two ,london citizens for his monument1 which they so ably wrought1 and which still is at ,westminster1 our own belief is that he wore a dress of silk which had been expressly woven for him at ,palermo4 ,we think1 too1 that the couple of specimens here1 ,nos4 #acaj1 p4 #ec1 and #hfbd1 p4 #bci1 were originally wrought in ,sicily1 after designs from ,england1 and for the court of ,richard3 they quite answer the period1 and show those favourite devices1 the chained hart1 sunbeams issuing from a cloud1 the falcon or eagle--a group in itself quite peculiar to that monarch4 ,for the slight variations in these stuffs from those upon the ,westminster monument1 we will account1 a little further on1 while treating the subject of symbolism1 ,section ,,vii4 #cge ,anglia ,sacra1 ed4 ,wharton1 t4 i4 p4 #fej4 #cgf ,mon4 ,anglic4 ed4 ,caley1 t4 ii4 p4 #bbc4 ,the seemliness1 not to say comfort1 of private life1 was improved by the use1 after several ways1 of textiles4 ,let the historian contrast the manners1 even in a royal palace during the twelfth century1 with those that are now followed in every tradesman's home4 ,then1 rich barons and titled courtiers would sprawl amid the straw and rushes1 strewed in the houses even of the king1 upon the floor in every room1 which1 as ,wendover says3 8junco solent domorum are operiri20#cgg and1 platting knots with the litter1 fling them with a gibe at the man who had been slighted by the prince4#cgh ,not quite a hundred years later1 when ,eleanor of ,castile came to ,london for her marriage with our first ,edward1 she found her lodgings furnished1 under the directions of the ,spanish courtiers who had arrived before her1 with hangings and curtains of silk around the walls1 and carpets spread upon the ground4 ,this sorrowed some of our people2 more of them giggled at the thought that some of these costly things were laid down to be walked upon1 as we learn from ,matthew ,paris3 8,cum venisset illa nurus nobilissima 7,alienora7 ad hospitium sibi assignatum invenit illud 444 holosericis palliis et tapetiis1 ad similitudinem templi appensis2 etiam pavimentum aulis redimitum1 ,hispanis1 secundum patri su forte consuetudinem hoc procurantibus40#cgi ,now1 our houses have a carpet for every room as well as on its stair-case1 and not a few of our shops are carpeted throughout4 #cgg ,t4 iii4 p4 #aji4 #cgh ,vita ,s4 ,thom1 auct4 ,eduardo ,grim4 ed4 ,giles1 p4 #dg4 #cgi ,hist4 ,ang4 in ,a4,d4 #abee1 p4 #fab1 col4 b4 ,the ,emperor ,aurelian's wife once tried to coax out of her imperial husband a silk cloak--only one silk cloak4 8,no10 was the answer2 8,i could never think10 said that lord of the earth1 8of buying such a thing2 it sells for its weight in gold20 as we showed before1 p4 xix4 ,now1 however1 little does the woman of the nineteenth century suspect1 when she goes forth pranked out in all her bravery of dress1 that an ,egyptian ,cleopatra equally with a ,roman empress would have looked with a grudging eye upon her gay silk gown and satin ribbons2 or that1 as late as three hundred years ago1 even her silken hose would have been an offering worthy of an ,english queen's 7,elizabeth's7 acceptance4 ,little1 too1 does that tall young man who1 as he stands behind the lady's chariot going to a ,drawing-room1 ever and anon lets drop a stealthy but complaisant look upon his own legs shining in soft blushing silk--ah6 little does he dream that in that old palace before him there once dwelt a king 7,james ,i47 of ,great ,britain1 who would have envied him his bright new stockings2 and who1 before he came to the throne of ,england1 was fain to wear some borrowed ones1 when in ,scotland he had to receive an ,english ambassador4 ,if we take this loan1 for the nonce1 from the ,earl of ,mar to his royal master1 to have been as shapeless and befrilled as are the yellow pair 7,blue ,coat ,school boys' as yet7 once ,queen ,elizabeth's1 now among the curiosities at ,hatfield2 then were those stockings--the first woven in ,england1 and presented by ,lord ,hunsdon--funny things1 indeed4 ,though so small a thing1 there is in this collection a little cushion1 ,no4 #ijdg1 p4 #bgc1 which bears in it much more than what shows itself at first1 and is likely to awaken the curiosity of some who may have hereafter to write about the doings of our ,court in the early part of the seventeenth century4 ,this cushion is needle-wrought and figured all over with animals1 armorial bearings1 flowers1 and love-knots1 together with the letters ,i and ,r royally crowned with a strawberry leaf1 and the strawberry fruit close by each of those capitals1 as well as plentifully sprinkled all over the work4 ,in ,scotland1 several noble families1 whether they spell their name ,,fraser or ,,frazer1 use as a canting charge--8arme che cantano0--of the ,italians2 the ,french 8frasier10 or strawberry1 leafed1 flowered1 fructed proper2 the buck too1 figured here1 comes in or about their armorial shields4 ,hence then we are fairly warranted in thinking that it was a ,fraser's lady hand which wrought this small1 but elaborate cushion1 most likely as a gift1 and with a strong meaning about it1 to our ,king ,james ,i41 whose unicorn is not forgotten here2 and1 in all probability1 whilst she also wished to indicate that an ,s was the first letter in her own baptismal name4 ,siren too is another term for mermaid--that emblem so conspicuously figured by the lady's side4 ,all this1 with the love-knot so plentifully broadcast and interwoven after many ways1 and sprinkled everywhere as such a favourite device1 perhaps may help some future biographer of ,james to throw a light over a few hidden passages in the life of that sovereign4 ,human hair1 or something very like it1 was put into the embroidery on parts of this small cushion4 ,on the under side1 to the left1 stands a lady with her hair lying in rolls about her forehead4 ,after looking well into them1 through a glass1 these rolls seem to be real human hair--may be the lady's own--it is yellow4 ,peering narrowly into those red roses close by1 seeded and barbed1 the seeded part or middle is found to be worked with two distinct sorts of human hair--one the very same as the golden hair on the lady's brow1 the other of a light sandy shade3 could this have been king ,james's8 ,his son1 ,charles ,i41 used1 as it would seem1 to send from his prison locks of his own hair to some few of the gentry favourable to his cause1 so that the ladies of that house1 while working his royal portraiture in coloured silks1 might be able to do the head of hair on it1 in the very hair itself of that sovereign4 ,one or two of such wrought likenesses of king ,charles were1 not long ago1 shown in the exhibition of miniatures which took place in this ,museum4 ,for verifying passages in early as well as medival times1 little does the historian think of finding in these specimens such a help for the purpose4 ,quintus ,curtius tells us1 that1 reaching ,india1 the ,greeks under ,alexander found there a famous breed of dogs for lion-hunting more especially4 ,on beholding a wild beast they hush their yelpings1 and hold their prey by the teeth with so much stubbornness that sooner than let go their bite they would suffer one of their own limbs to be cut off3 8,nobiles ad venandum canes in ea regione sunt3 latratu abstinere dicuntur1 quum viderunt feram1 leonibus maxime1 infesti10 c4#chj ,such is the animal now known as the cheetah1 which1 as of old so all through the middle ages1 up to the present time1 has been trained everywhere in ,persia and over ,india for hunting purposes2 and called by our countryman1 ,sir ,john ,mandeville1 a 8papyonn10 as we have noticed in this catalogue1 p4 #agh4 ,this far-famed hunting-dog of ,quintus ,curtius1 now known as the cheetah or hunting-lion1 may be often met with on silken textiles here from ,asiatic looms1 especially in ,nos4 #gjhc1 p4 #acf2 #gjhf1 p4 #acg2 #hbcc1 p4 #aed2 #hbhh1 p4 #agh4 #chj ,lib4 ix4 cap4 i4 sect4 #f4 ,,section ,v4--,,liturgy4 ,for a sight of some liturgical appliances which1 though once so common and everywhere employed have become rare from having one by one dropped into disuse1 ritualists1 foreign ones among the rest1 will have to come hither4 ,a few more of such articles1 though still in common use1 are remarkable for the antiquity or the costliness of those stuffs out of which they happen to be made4 ,for its age1 and the beauty of its needlework1 the ,syon cope is in itself a remarkable treasure1 while its emblazoned orphreys1 like the vestments on the person of a ,percy in ,beverley minster1 make it1 at least according to present custom1 singular4 ,several chasubles here so noteworthy for their gorgeousness1 have their fellows equal in splendour1 elsewhere2 but in this museum are a few articles which till now we might have sought for in vain throughout ,christendom in any other private or public collection4 ,such liturgical boxes as those two--,no4 #eieh1 p4 #aab1 and ,no4 #hcbg1 p4 #aic--;are of the kind known of old as the 8capsella cum serico decenter ornata0--a little box beseemingly fitted up with silk--of the medival writers2 or the 8capsula corporalium0--the box in which are kept the corporals or square pieces of fine linen1 a fine medival specimen of which is here1 ,no4 #hcbi1 p4 #aie1 of the rubrics which1 to this day1 require its employment for a particular service1 during holy week4 ,like its use the name of this appliance is very old1 and both are spoken of in those ancient 8,ordines ,romani10 in the first of which1 drawn up now more than a thousand years ago1 it is directed3 8tunc duo acolythi tenentes capsas cum ,sanctis apertas1 c420#cha and again1 in another 8,ordo10 written out some little time before ,a4,d4 #aadc1 a part of the rubric for ,good ,friday requires the ,pope to go barefoot during the procession in which a cardinal carries the ,host consecrated the day before1 and preserved in the corporals' chest or box3 8discalceatus 7papa7 pergit cum processione4444 ,quidam cardinalis honorifice portat corpus ,domini prteriti diei conservatum1 in capsula corporalium40#chb ,about the mass of the presanctified1 before the beginning of which this procession took as it yet takes place1 we have said a few words at pp4 #aab1 #aac4 ,what is meant by the word 8corporal10 we have explained1 p4 #aid4 ,here in ,england1 such small wooden boxes covered with silks and velvets richly embroidered1 were once employed for the same liturgical uses4 ,the ,exeter inventories specify them thus3 8unum repositorium ligneum pro corporalibus co-opertum cum saccis de serico20#chc 8tria corporalia in casa lignea co-operta cum panno serico1 operata cum diversis armis40#chd #cha ,ed4 ,mabillon1 ,museum ,italicum1 t4 ii4 p4 #h4 #chb ,ib4 p4 #acg4 #chc ,oliver's ,exeter ,cathedral1 p4 #cad4 #chd ,ib4 p4 #cbg4 ,good ,friday brings to mind a religious practice followed wherever the ,greek ritual is observed1 and the appliance for which1 ,no4 #hbgh1 p4 #agj1 we have there spoken of at such length as to save us here any further notice of this interesting kind of frontal1 upon which is shown our dead ,lord lying stretched out upon the sindon or winding-sheet4 ,of the ,cyrillian character in which the ,greek sentences upon it are written1 we shall have a more fitting opportunity for speaking a little further on4 ,at ,rome1 in the ,pope's chapel1 the frontal set before the altar for the function of ,maundy ,thursday1 is of gold cloth figured1 amid other subjects suitable to the time1 with our ,lord lying dead between two angels who are upholding ,his head1 as we learn from the industrious ,cancellieri's description1 in his 8,settimana ,santa nella cappella pontificia40#che ,in ,greece may be still found several churches built with a dome1 all around which is figured1 in painting or in mosaics1 what is there known as and called the 8,divine ,liturgy10 after this manner4 ,on the eastern side1 and before an altar1 but facing the west1 stands our ,lord1 robed as a patriarch1 about to offer up the mass4 ,the rest of the round in the cupola is filled with a crowd of angels1--some arrayed in chasubles like priests1 some as deacons1 but each bearing in his hands either one of the several vestments or some liturgical vessel or appliance needed at the celebration of the sacred mysteries1--all walking1 as it were1 to the spot where stands the divine pontiff4 ,but amid this angel-throng may be seen six of these winged ministers who are carrying between them a sindon exactly figured as is the one of which we are now speaking4 ,how1 according to the ,greek ritual1 this subject ought to be done1 is given in the ,painter's ,guide1 edited by ,didron4#chf ,though of yore as now a somewhat similar ceremonial was always observed according to the ,latin rite1 in carrying his vestments to a bishop when he pontificated1 never in such a procession here1 in the west1 was any frontal or sindon borne1 as in the east4 ,with regard to 8red0 as the mourning colour1 in the sindon1 our own old ,english use joined it with 8black0 upon vestments especially intended to be worn in services for the dead4 ,for especial use on ,good ,friday ,bishop ,grandison gave to his cathedral 7,exeter7 a black silk chasuble1 the red orphrey at the back of which had embroidered on it our ,lord hanging upon a green cross3 8j casula de nigro serico1 pro ,die ,paraschive1 cum j orfrey quasi rubii coloris1 cum crucifixo pendente in viridi cruce1 ex dono ,johannis ,grandissono20#chg and in the same document1 among the black copes and chasubles1 we find that they had their orphreys made of red3 8cape nigre cum casulis--j casula de nigro velvete cum rubeo velvete in le orfrey4 ij tuniculi ejusdem panni et secte4 iij cape ejusdem panni et secte40#chh #che ,p4 #eh4 #chf ,manuel d',iconographie ,chretienne1 pp4 xxxvi4 #bbi4 #chg ,oliver1 p4 #cdd4 #chh ,ib4 p4 #cdi4 ,at ,lincoln cathedral there were 8a chesable of black cloth of gold of bawdkin with a red orphrey1 c42 a black cope of cloth of silver with an orphrey of red velvet broidered with flowers1 c42 a black cope of camlet broidered with flowers of woodbine with an orphrey of red cloth of gold10 c42 two copes of black satin with orphreys of red damask1 broidered with flowers of gold1 having1 in the back1 souls rising to their doom1 c41 besides other vestments of the same kind4#chi ,green1 sometimes along with red1 sometimes taking the latter's place in the orphreys1 may be seen on some of our old vestments4 ,those two pyx-cloths at ,no4 #hcdb1 p4 #bjb1 and ,no4 #hfia1 p4 #bfj1 will have an interest for the student of medival liturgy as we have already pointed out1 p4 #bjb4 ,while in ,italy the custom1 during the middle ages at least1 never prevailed1 here in ,england as well as all over ,france1 and several countries on the ,continent1 it did1 of keeping the ,eucharist under one form1 hung up over the high altar beneath a beautiful canopy within a pyx of gold1 silver1 ivory1 or enamel1 and mantled with a fine linen embroidered cloth or veil4 ,at present this 8velum pyidis0 overspreading the ciborium or pyx in the tabernacle1 is of silk4 ,in olden days the veil for the pyx was1 here in ,england1 beautifully embroidered with golden thread and coloured silks1 and usually carried three crowns of gold or silver1 as is shown in the woodcut1 8,church of our ,fathers10#cij and often mentioned in many of our national documents which1 without some such notice as this1 could not be rightly understood4 ,among the things once belonging to ,richard ,,ii4 in ,haverford castle and sent by the sheriff of ,hereford to the exchequer1 at the beginning of ,henry ,,iv4's reign1 are three crowns of gold1 a gold cup1 and one of the pyx-veils like these3 8iij corones d'or pour le ,corps ,ihu ,cryst4 i coupe d'or pour le ,corps ,ihu ,cryst4 i towayll ove 7avec7 i longe parure de mesure la suyte40#cia #chi ,monasticon ,anglicanum1 t4 viii4 p4 #abhe1 ed4 ,caley4 #cij ,t4 iv4 p4 #bjf4 #cia ,the ,ancient ,kalendars and ,inventories of ,his ,majesty's ,exchequer1 t4 iii4 p4 #cfa4 ed4 ,palgrave4 ,by different people1 and at various periods1 a variety of names was given to this fine linen covering4 ,describing in his will1 one made in this country and so valuable for its ,english needlework1 a bishop of ,tournay 7see before p4 xcix7 calls it a corporal3 in the inventory of things taken from ,dr4 ,caius1 and in the college of his own founding at ,cambridge1 are3 8corporas clothes1 with the pix and #8sindon' and canopie10 c4#cib ,this variety in nomenclature doubtless led writers unacquainted with ritual matters to state that before ,mary ,queen of ,scots bent her head upon the block1 she had a 8corporal10 properly so called1 bound over her eyes4 ,what to our seeming this bandage really was1 must have been a large piece of fine linen embroidered by her own hands--,mary wrought much with her needle1 as specimens of her doing yet remain at ,chatsworth1 and at ,greystock show--meant for1 perhaps too once used as a pyx-cloth1 and not an altar corporal4 #cib ,munk's ,roll of the ,royal ,college of ,physicians1 t4 i4 p4 #cg4 ,whilst these pages were going through the press1 one of these old ,english pyx1 or ,corpus ,christi cloths1 was found at the bottom of a chest in ,hessett church1 ,suffolk4 ,as it is a remarkable and unique specimen of the ingenious handicraft done by our medival countrywomen1 we notice it4 ,to make this pyx-cloth1 a piece of thick linen1 about two feet square1 was chosen1 and being marked off into small equal widths on all its four edges1 the threads at every other space were1 both in the warp and woof1 pulled out4 ,the checquers or squares so produced all over it were then drawn in by threads tied on the under side1 so as to have the shape of stars1 so well and nicely given that1 till this piece had been narrowly looked into1 it was thought to be guipure lace4 ,of a textile so admirably wrought1 it is to be regretted that there is1 as yet1 no sample in this collection4 ,this curious liturgical appliance is figured in the ,april number1 for the year #ahfh1 of the 8,ecclesiologist10 page #hf4 ,for the several very curious sorts of ornamental needlework about it1 and the somewhat intricate manner after which it is cut out1 the old alb1 ,no4 #hgaj1 p4 #bfh1 as well as the amice1 ,no4 #hcjg1 p4 #ahe1 having both of them the apparels yet remaining sewed on to these church garments1 must draw the attention of every inquirer after such rare existing samples of the kind4 ,some very fine threaden cloths--now become rare--for liturgical purposes1 deserve attention4 ,in the old inventories of church furniture in ,england1 they are known under the name of 8filatoria10 about which we have spoken just now1 p4 cix4 ,at ,no4 #ddeg1 p4 #ii1 is a towel which1 it is likely1 was spread under the tapers for ,candlemass-day1 and the twigs of the sallow1 or willow 7our so-called palm71 and slips of the box-tree1 for ,palm-,sunday1 while they were being hallowed before distribution4 ,for several lectern veils1 we shall have to go to ,no4 #gjbi1 p4 #abj2 ,no4 #hceh1 p4 #baj2 and ,no4 #hfic1 p4 #bfa4 ,those two linen napkins1 formerly kept hanging down from just below the crook on a pastoral staff or crozier are become so excessively rare1 that we unhesitatingly believe that none of our countrymen have ever been able to find1 either in ,england or abroad1 a single other sample2 they are to be seen1 ,no4 #hbgi;,a1 p4 #agd1 and ,no4 #hffb1 p4 #bej4 ,those who have ever witnessed on a ,sunday morning in any of the great churches at ,paris1 the blessing of the ,french 8pain beni0--our old ,english 8holy loaf0--the 8eulogia0 of antiquity--will call to mind how a fair white linen cloth1 like the one here1 ,no4 #hfih1 p4 #bfc1 overspread1 and fell in graceful folds down from two sides of the board upon which1 borne on the shoulders of four youthful acolytes1 a large round cake garnished with flowers and wax-tapers was carried through the chancel1 and halting at the altar's foot got its blessing from the celebrant4 ,the rich crimson velvet cope1 ,no4 #gi1 p4 #b1 has a fine hood figured with the coming down1 after the usual manner1 of the ,holy ,ghost upon the infant church4 ,no4 #heie1 p4 #bbf1 presents us with a shred merely of what must have been once a large hanging for the chancel walls1 or perhaps one of the two curtains at the altar's sides1 having such fragments of some ,latin sentences as these3--8et tui amoris in eis 444 tus4 ,re 444 le tuoru40 ,the subject on the cope's hood tells of ,pentecost ,sunday2 so too does the second article1 for those broken sentences are parts of particular words3 8,veni ,sancte ,spiritus1 reple tuorum corda fidelium3 et tui amoris in eis ignem accende10 to be found both in our own old ,english ,salisbury missal1 and breviary1 but in every like service-book in use during the medival period throughout western ,christendom4 ,be it kept in mind that both these liturgical appliances are red or crimson2 and as now1 so heretofore1 as well in old ,england1 as elsewhere this very colour has been employed for the church's vestments1 thus to remind us of those parted tongues1 as it were1 of fire that sat upon every one of the ,apostles4#cic ,we mention all this with a view to correct an error in lexicography4 ,in our dictionaries we are told that 8,whitsuntide0 is a contracted form of ,white ,sunday tide1 so called from the white vestments worn on that day by the candidates for baptism4 ,nothing of the sort2 but the word 8wits10 our intellect or understanding1 is the root of the term1 for a curious and valuable old ,english book of sermons called 8,the ,festival10 tells us3--8,this day is called ,wytsonday by cause the ,holy ,ghoost brought wytte and wysdom in to ,cristis dyscyples2 and so by her preachyng after in to all ,cristendom40#cid #cic ,acts ii4 #a-aa4 #cid ,in die ,penthecostes1 fol4 xlvi4 verso4 ,somewhat akin to this subject1 are those several christening cloaks here1 pp4 #h1 #i1 #aj1 #aa4 ,not long ago the custom was to carry to church for baptism the baby wrapped up in some such a silken covering which was called a bearing-cloth4 ,of old1 that used to be a conspicuous article in all royal christenings2 and amongst our gentry was looked upon as worthy enough of being made a testamentary bequest4 ,at the christening of ,arthur ,prince of ,wales1 eldest son of ,henry ,,vii4 8my ,lady ,cecill1 the ,queen's eldest sister1 bare the prince wrapped in a ,mantell of ,cremesyn ,clothe of ,golde furred with ,ermyn10 c4#cie ,such ceremonial garments varied1 according to the owner's position of life1 in costliness2 hence ,shakespeare makes the shepherd1 in the 8,winter's ,tale10 cry out1 8,here's a sight for thee2 look thee1 a bearing cloth for a squire's child60#cif ,a well-to-do tradesman bequeathed1 ,a4,d4 #afdh1 to his daughter ,rose his 8beareing cloath such 444 linnen as is belonginge to infants at their tyme of baptisme40#cig ,very often in our old country houses are found1 thrown aside in some antique chest1 certain small square pieces of nice embroidery1 the former use for which nobody now knows1 and about which one is asked4 ,if their owners would look at those several cradle-quilts here--pp4 #d1 #ac1 #ff1 #fg1 #ajj1 #ajc1 #ajd1 #aaj--they might find out such ancient household stuff was wrought for their forefathers' comfort and adornment1 when mere babies4 ,the evangelists' emblems figured on several among these coverlets3 such as ,no4 #acdd1 p4 #fg1 ,no4 #ddei1 p4 #ajj1 ,no4 #dfdd1 p4 #ajc1 will call to mind those old nursery-rhymes we referred to at p4 #ajc4 ,of yore1 not only little children1 but grown-up1 ay1 aged men too loved to think about those verses1 when they went to sleep1 for the inventory of furniture taken1 ,a4,d4 #addf1 in the ,priory of ,durham1 tells us that in the upper chamber there was a bed-quilt embroidered with the four ,evangelists--one in each corner3 8j culcitrum cum iiij or ,evangelistis in corneriis40#cih ,the bag or purse1 ,no4 #hcac1 p4 #ahh1 is of a kind which not only were used for those liturgical purposes which we have already enumerated1 but served for private devotional practices4 ,in that very interesting will made by ,henry1 ,lord de ,scrope1 ,a4,d4 #adae1 among other pious bequests1 is the following one1 of the little bag having in it a piece of our ,lord's cross1 which he always wore about his neck2--8j bursa parva qu semper pendet circa collum meum cum cruce ,domini40#cii #cie ,leland's ,collectanea1 t4 iv4 pp4 #bje1 #ahj1 #aha1 #ahc4 #cif ,act iii4 scene iii4 #cig ,bury ,wills1 c4 p4 #ahf4 #cih ,hist4 ,dunelm4 ,scriptores ,tres1 ed4 ,surtees ,society1 p4 cclxxxvii4 #cii ,rymer's ,fdera1 t4 ix4 p4 #bgh4 ,the crimson velvet mitre1--,no4 #djae1 p4 #he1--;for the boy-bishop1 bairn-bishop1 or ,nicholas-tide bishop1 as the little boy was severally called in ,england1 is a liturgical curiosity1 as the ceremonies in which it was formerly worn are everywhere laid aside4 ,among the things given for the use of the chapel in the college--,all ,souls--of his founding at ,oxford by ,archbishop ,chicheley1 are a cope and mitre for this boy1 there named the ,nicholas-tide bishope3--8i cap4 et mitre pro episcopo ,nicholao40#djj ,to make good his election to such a dignity1 at ,eton ,college1 a boy had to study hard and show at the examination for it1 that he was the ablest there at his books3 his success almost ennobled him among his schoolfellows3--8,in die ,sti ,hugonis pontificis0 7#ag ,nov47 8solebat ton fieri electio ,episcopi ,nihilensis1 sed consuetudo obsolevit4 ,olim episcopus ille puerorum habebatur nobilis1 in cujus electione1 et literata et laudatissima exercitatio1 ad ingeniorum vires et motos exercendos1 ton celebris erat40#dja ,the colour1 crimson1 in this boy's mitre1 was to distinguish it from that of bishops4 ,of the episcopal bairn-cloth--the ,gremiale of foreign liturgists--we have two specimens here1--,nos4 #ajca1 #ajcb1 pp4 #ai1 #bj4 ,the rich one of crimson cloth of gold1 once belonging to ,bowet1 ,archbishop of ,york1 who died ,a4,d4 #adbc1 brought more money than even a chasuble of the same stuff3--8,et de xxvjs4 viijd4 receptis pro j4 bairnecloth de rubeo panno auri4 ,et de xxs4 receptis pro j casula de rubeo beaudkyn1 c4 ,inventorium10 c4#djb ,old episcopal shoes are now become great liturgical rarities1 but there is one here1--,no4 #abij1 p4 #df4 ,at one time they were called 8sandals20 and among the episcopal ornaments that went by usage to ,durham cathedral at the death of any of its bishops1 were 8mitra et baculum et sandalia et ctera episcopalia10 of ,hugh ,pudsey1 ,a4,d4 #aaie4djc ,later was given them the name of 8sabatines20 and ,archbishop ,bowet's inventory mentions two pairs3--8pro j pare de sabbatones1 brouddird1 et couch' cum perell'2 pro j pare de sabbatones de albo panno auri10 c4#djd #djj ,collectanea ,curiosa1 ed4 ,gutch1 t4 ii4 p #bfe4 #dja ,king's ,college1 ,cambridge1 and ,eton ,college ,statutes1 ed4 ,wright1 p4 #fcb4 #djb ,test4 ,ebor4 t4 iii4 p4 #gf1 ed4 ,surtees ,society4 #djc ,wills of the ,northern ,counties1 ed4 ,surtees ,society1 t4 i4 p4 #c4 #djd ,ib4 p4 #gf4 ,,section ,,vi4--,,artists ,,and ,,manufacturers ,will1 on many occasions1 heartily rejoice to have1 within easy reach1 such an extensive1 varied1 and curious collection of textiles gathered from many lands1 and wrought in different ages4 ,for the painter and the decorator it must have a peculiar value4 ,until this collection of silken and other kinds of woven stuffs had been brought to ,england1 and opened for the world's inspection and study1 an artist had not1 either in this country or abroad1 any available means of being correctly true in the patterns of those silks and velvets with which he wished to array his personages1 or of the hangings for garnishing the walls of the hall in which he laid the scene of his subject4 ,in such a need1 right glad was he if he might go to any small collection of scanty odds and ends belonging to a friend1 or kept in private hands4 ,so keenly was this want felt1 that1 but a few years ago1 works of beautiful execution1 but of costly price1 were undertaken upon the dress of olden times1 and medival furniture2 yet those who got up such books could do nothing better than set out in drawings1 as their authorities for both the branches of their subject1 such few specimens as they could pick up figured in illuminated ,,mss4 and the works of the early masters4 ,here1 however1 our own and foreign artists see before them1 not copies1 but those very self-same stuffs4 ,if we go to our ,national ,gallery and look at the medival pictures there1 taking note of the stuffs in which those old men who did them clothed their personages2 if1 then1 we step hither1 we shall be struck by the fact of seeing in these very textiles1 duplicates1 as far as pattern is sought1 of those same painted garments4 ,for example1 in ,orcagna's ,coronation of the ,blessed ,virgin ,mary1 the blue silk diapered in gold1 with flowers and birds1 hung as a back ground2 our ,lord's white tunic diapered in gold with foliage2 the mantle of ,his mother made of the same stuff2 ,st4 ,stephen's dalmatic of green samit1 diapered with golden foliage1 are all quite ,sicilian in design1 and copied from those rich silks which came1 at the middle of the fourteenth century1 from the looms of ,palermo4 ,while standing before ,jacopo di ,casentino's ,st4 ,john1 our eye is drawn1 on the instant1 to the orphrey on that evangelist's chasuble1 embroidered1 after the ,tuscan style1 with barbed quatrefoils1 shutting in the busts of ,apostles4 ,isotta da ,rimini1 in her portrait by ,pietro della ,francesca1 wears a gown made of velvet and gold1 much like some cut velvets here4 ,in the patterns followed by the ,sicilian looms1 and those of ,italy in general1 may almost always be found the same especial elements4 ,of these1 one is the artichoke in flower2 and in ,f4 ,francia's painting of the ,blessed ,virgin ,mary with our ,lord in her arms1 and saints standing about them1--,no4 #agi1--,st4 ,laurence's rich cloth of gold is diapered all over with the artichoke marked out in thin red lines4 ,so1 too1 in the picture of ,v4 ,cappaccio1 ,no4 #gej1 the cloth-of-gold mantle worn by our ,lord's mother1 as well as the dress of the ,doge1 are both diapered with this favourite ,italian vegetable4 ,often is this artichoke shut in by an oval1 made sometimes of ogee arches1 with their finials shooting forwards outside3 thus is diapered the cloak of the ,madonna1 in ,crivelli's ,inthronement--,no4 #gbd4 ,much more frequently1 however1 this oval is put together out of architectural cusps--six or eight--turned inside1 and their featherings sprouting out into a trefoil1 as in our own ,early ,english style4 ,such ovals round an artichoke are well shown in each of the four pictures by ,melozzo da ,forli1 on the pede-cloth with which the steps in each of them are covered4 ,of such a patterned stuff here we select from several such1 for the reader1 ,nos4 #aceb1 p4 #gj2 #aceb;,a1 p4 #gj4 ,stained and patterned papers for wall-hanging are even yet unknown but in a very few places on the ,continent4 ,the employment of them as furniture among ourselves is comparatively very modern1 and came to ,england1 it is likely1 through our trade with ,china4 ,though in ,italy the state apartment and the reception rooms of a palace are hung always with rich damasks1 and often with fine tapestry1 while some old examples of gilt and beautifully-wrought leather trailed all over with coloured flowers and leaves are still to be found1 the rooms for domestic use have their whitewashed walls adorned at best with a coloured ornamentation1 bestowed upon them by the cheap and ready process of stencilling4 ,from early times up to the middle of the sixteenth century1 our cathedrals and parish churches1 our castles1 manorial houses1 and granges1 the dwellings of the wealthy everywhere1 used to be ornamented with wall-painting done1 not in 8fresco10 but in 8secco20 that is1 distemper4 ,upon high festivals the walls of the churches were overspread with tapestry and needlework2 so1 too1 those in the halls of the gentry1 for some solemn ceremonial4 ,our high-born ladies used to spend their leisure hours in working these 8hallings10 as they were called2 and while ,bradshaw1 a monk of ,st4 ,werburgh's monastery at ,chester1 sings the praises of the patron-saint of his church1 he gives us a charming picture of how a large hall was arrayed here in ,england with needlework1 for a solemn feast some time about the latter end of the fifteenth century4 ,first of all1 according to the then wont1 when great folks were bidden to a feast3-- ,all herbes and flowers1 fragraunt1 fayre and swete ,were strawed in halles1 and layd under theyr fete4 ,clothes of gold and arras were hanged in the hall ,depaynted with pyctures and hystoryes manyfolde1 ,well wroughte and craftely4 ,the story of ,adam1 ,noe1 and his shyppe2 the twelve sones of ,jacob2 the ten plages of ,egypt1 and-- ,duke ,josue was joyned after them in pycture1 99 99 99 99 99 ,theyr noble actes and tryumphes marcyall ,fresshly were browdred in these clothes royall4 99 99 99 99 99 ,but over the hye desse in pryncypall place ,where the sayd thre ,kynges sat crowned all ,the best hallynge hanged as reason was1 ,whereon were wrought the ix orders angelicall1 ,dyvyded in thre ierarchyses1 not cessynge to call1 ,sanctus1 ,sanctus1 ,sanctus1 blessed be the ,trynite1 ,dominus ,deus ,sabaoth1 thre persons in one deyte4#dje ,the tapestries here will afford much help to the artist if he have to paint a dining room with festive doings going on1 any time during the latter portion of the medival period2 but such 8hallings0 are by no means scarce4 ,not so1 however1 such pieces of room hangings as he may find here at ,no4 #acgj1 p4 #gf2 ,no4 #abig1 p4 #bif2 ,no4 #adfe p4 #bih4 ,their fellows are nowhere else to be met with4 ,at a certain period1 gloves were a much more ornamented and decorative article of dress than now2 and1 when meant for ladies' wear1 a somewhat lasting perfume was bestowed upon them4 ,among the new year's day presents to ,tudor ,queen ,mary1 some years before she came to the throne1 was 8a payr of gloves embrawret with gold40#djf ,a year afterwards1 8x payr of ,spanyneshe gloves from a ,duches in ,spayne10 came to her2#djg and but a month before1 ,mrs4 ,whellers had sent to her highness 8a pair of swete gloves40 ,shakespeare1 true to manners of his days1 after making the pretended pedler1 ,autolycus1 thus chant the praises of his-- ,laura1 as white as driven snow2 ,cyprus1 black as e'er was crow2 ,gloves1 as sweet as damask roses2 puts this into ,mopsa1 the shepherdess'1 mouth1 as she speaks to her swain3--8,come1 you promised me a tawdry lace1 and a pair of sweet gloves40#djh ,here1 in this collection1 we may find a pair of such gloves1 ,no4 #dffe1 p4 #aje4 ,what1 though the fragrance that once1 no doubt1 hung about them1 be all gone1 yet their shape and embroideries will render them a valuable item to the artist for some painting4 #dje ,warton's ,history of ,english ,poetry1 ed4 #ahdj1 t4 ii4 p4 #cge1 c4 #djf ,privy ,purse ,expenses of the ,princess ,mary1 ed4 ,madden1 p4 #add4 #djg ,ib4 p4 #afd4 #djh 8,a ,winter's ,tale10 act iv4 scene iii4 ,manufacturers and master-weavers of every kind of textile1 as well as their workmen1 may gather some useful hints for their trade1 by a look at the various specimens set out here before them4 ,they will1 no doubt1 congratulate themselves1 as they fairly may1 that their better knowledge of chemistry enables them to give to silk1 wool1 and cotton1 tints and tones of tints1 and shades1 nay1 entire colours quite unknown to the olden times1 even to their elders of a few years ago3 our new-found chemicals are carrying the dyeing art to a high point of beauty and perfection4 ,among the several boasts of the present age one is1 that of making machinery1 as a working power in delicate operations1 so true1 as if it had been quickened with a life and will and power all its own3 mechanism applied to weaving is1 at least for the speed of plain work1 most marvellous2 and the improvements of the morrow over those of yesterday make the wonder grow4 ,but1 though having such appliances at hand1 let an able well-taught designer for silken stuffs come hither1 along with a skilled weaver1 from ,coventry1 ,glasgow1 or ,manchester1 and the two will say1 that for truthfulness and beauty in the drawing of the patterns1 and their good renderings in the weaving1 nothing of the present day is better1 while much is often not so good4 ,yet these old stuffs before our eyes were wrought in looms so clumsy1 and awkward1 and helpless1 that a weaver of the present day laughs at them in scorn4 ,the man1 however1 who should happen to be asked to make the working drawings for several of such textiles1 would fain acknowledge that he had been taught much by their study1 and must strive hard before he might surpass many of them in the often crowded1 yet generally clear combination of parts borrowed from beasts1 birds1 and flowers1 all rendered with beauty and fittingness4 ,what has been1 may be done again4 ,we know better how to dye2 we have more handy mechanism4 ,let1 then1 all those who belong any-wise to the weaving trade and come hither1 go home resolved to stand for the future behind no nation1 either of past or present time1 in the ability of weaving not only useful1 but beautiful and artistic textiles4 ,before leaving the ,south ,kensington ,museum the master weaver may1 if he wishes1 convince himself that the so-called tricks of the trade are not evils of this age's growth1 but1 it is likely1 older than history herself4 ,for medival instances of fraud in his own line of business1 he will find not a few among the silks from ,syria1 ,palermo1 and the ,south of ,spain4 ,what we said just now about ,lettered ,silks1 p4 lix4 should be borne here in mind4 ,with the ,saracens1 wherever they spread themselves1 the usage was to weave upon their textiles1 very often1 either the title of the prince who was to wear them or give them away1 or some short form of prayer or benediction4 ,by ,christian eyes1 such ,arabic words were looked upon as the true unerring sign that the stuffs that showed them came from ,saracenic looms--the best of those times--or1 in other terms1 were the trade-mark of the ,moslem4 ,the ,christian and ,jewish weavers in many parts of the ,east1 to make their own webs pass as ,saracenic goods1 wrought the ,paynim trade-mark1 as then understood1 upon them4 ,the forgery is clumsy3 the letters are poor imitations of the ,arabic character1 and the pretended word runs1 as it should1 first correctly1 or from right to left1 then wrong or backward from left to right1 just as if this part of the pattern--and it is nothing more--had been intended1 like every other element in it1 to confront itself by immediate repetition on the self-same line4 ,our young folks who sometimes amuse themselves by writing a name on paper1 and while the ink is wet fold the sheet so that the word is shown again as if written backwards1 get such a kind of scroll4 ,in many ,oriental silk textiles the warp is either of hemp1 flax1 or cotton2 but this is so easily discoverable that it could hardly have been done for fraud' sake4 ,there is however a ,saracenic trick1 learned from that people1 and afterwards practised by the ,spaniards of the ,south1 for imitating a woof of gold4 ,it is rather ingenious1 and we presume unknown among collectors and writers until now4 ,for the purpose1 the finer sort of parchment was sought out1 sometimes as thin as that now rare kind of vellum called1 among manuscript collectors1 8uterine40 ,such skins were well gilt and then cut into very narrow shreds1 which were afterwards1 instead of gold1 woven1 as the woof to the silken warp1 to show those portions of the pattern which should be wrought in golden thread4 ,but as these strips of gilded parchment were flat1 they necessarily gave the stuffs in which they came all the look of being that costly and much used web called by us in the fifteenth century 8tyssewys10 as we have before noticed1 p4 xxxi4 ,specimens of such a fraudulent textile are to be seen here1 ,nos4 #gjfg1 p4 #acb2 #gjie1 p4 #adj2 #heij1 p4 #bbd2 #hfja1 p4 #bbi2 #hfci1 p4 #bdc1 c4 ,,section ,,vii4--,,symbolism4 ,a metaphor or figurative speech is the utterance to the understanding through the ear of words which have other and further meanings in them than their first one4 ,symbolism is the bringing to our thoughts1 through the eye1 some natural object1 some human personage1 some art-wrought figure1 which is meant to set forth a some one1 or a something else besides itself4 ,the use of both arose among men when they first began to dwell on earth and live together4 ,through symbolism1 and the phonetic system1 ,egypt struck out for herself her three alphabets--the hieroglyphic or picture writing2 the hieratic or priestly characters1 or shortened form of the hieroglyphics2 and the enchorial or people's alphabet1 a further abridgment still4 ,the ,hebrew letters are the conventional symbols of things in nature or art2 and even yet1 each keeps the name of the object which at first it represented2 as 8aleph0 or 8ox10 8beth0 or 8house10 8gimel0 or 8camel10 c4 ,holy ,writ is full of symbolism2 and from the moment that we begin to read those words--8,i will set my bow in the clouds1 and it shall be the sign of a covenant10#dji till we reach the last chapter in the ,new ,testament1 we shall1 all throughout1 come upon many most beautiful and appropriate examples4 ,the blood sprinkled upon the door-posts of the ,israelites2 the brazen serpent in the wilderness2 that sign--that mystic and saving sign 7,tau7 of ,ezekiel1 were1 each and every one of them symbols4 #dji ,gen4 ix4 #ac4 ,being given to understand that things which happened to the ,jews were so many symbols for us1 the early ,christian ,church figured on the walls of the catacombs many passages from ancient ,jewish history as applicable to itself1 while its writers bestowed much attention on the study of symbolism4 ,s4 ,melito1 bishop of ,sardes1 ,a4,d4 #agj1 drew out of scripture a great many texts which would bear a symbolical meaning1 and gave to his work the name of 8,the ,key40 ,almost quite forgotten1 and well nigh lost1 this valuable book1 after long and unwearied labour1 was at last found and printed by ,dom 7now ,cardinal7 ,pitra in his ,spicilegium ,solesmense1 t4 ii4 ,among other works from the pen of ,st4 ,epiphanius1 born ,a4,d4 #caj1 we have his annotations on a book1 then old1 and called 8,the ,physiologist10 and a work of his own--a treatise on the twelve stones worn by ,aaron1#daj in both of which1 the ,saint speaks much about symbolism4 ,but the fourth century witnessed the production of the two great works on ,scriptural ,symbolism2 that of ,st4 ,basil in his homilies on the six days' creation2#daa which sermons in ,greek were styled by their writer 8,hexmeron20 and the other by ,st4 ,ambrose1 in ,latin1 longer and more elaborated1 on the same subject and bearing the same title4 ,a love for such a study grew up with the church's growth everywhere1 from the far east to the utmost west1 amid ,greeks as well as ,latins1 all of whom beheld1 in their several liturgies1 many illustrations of the system4 ,it was not confined to clerics1 but laymen warmly followed it4 ,the artist1 whether he had to set forth his work in painting or mosaic2 the architects1 whether they were entrusted with the raising of a church1 or building a royal palace1 nay a dwelling-house1 were1 each of them1 but too glad to avail themselves1 under clerical guidance1 of such a powerful help for beautiful variety and happy illustration as was afforded them by ,christian ,symbolism4 ,so systematized at last became this subject that by the eleventh century we find it separated into three branches--beasts1 birds1 and stones--and works were written upon each4 ,those upon beasts were1 as they still are1 known by the title of 8,bestiaria10 or books on beasts2 8,volucraria10 on birds1 and 8,lapideria10 on stones4 ,about the same period1 as an offset from symbolism1 heraldry sprang up2 whether the crusaders were the first to bethink themselves of such a method for personal recognition and distinction2 or whether they borrowed the idea from the peoples in the east1 and while adopting1 much improved upon it1 matters not2 heraldry grew out of symbolism4 ,very soon it was made to tell about secular as well as sacred things2 and poets1 nay political partizans were quick in their learning of its language4 ,the weaver too of silken webs was often bade1 while gearing his loom1 to be directed by its teaching1 as several specimens in this collection will testify4 ,that some of the patterns1 made up of beasts and birds1 upon silken stuffs from ,sicilian1 or ,italian looms and here before us1 were sketched by a partizan pencil and advisedly meant to carry about them an historic1 if not political signification1 we do not for a moment doubt4 ,several instances of sacred symbolism here1 have been specified1 and some explanation of it given4 #daj ,exod4 xxviii4 #daa ,gen4 i4 ,the 8gammadion10 or the cross made thus a figure which1 as we said before1 is to be seen traced upon the earliest heathenish art-works1 as well as the latest medival ones for ,christian use1 may be often found wrought on textiles here4 ,knowing1 as we do1 that the first time this symbol shows itself to our eyes1 is in the pattern figured on a web of the ,pharaonic period1 it is to the early history of ,egypt we ought to go1 if we wish to learn its origin and meaning4 ,the most astounding event of the world's annals was the going out of ,israel from ,egypt4 ,the blood of the lamb slain and sacrificed the evening before1 and put upon both the door-posts1 as well as sprinkled at the threshold of the house wherein any ,hebrew dwelt--a sign of safety from all harm and death to man and beast1 within its walls1 on that awful night when throughout all ,egypt the first-born of everything else was killed--must have caught the sight of every wonder-stricken ,egyptian father and mother who1 while weeping over their loss1 heard that death had not gone in to do the work of slaughter where the blood had signed the gates of every ,israelite4 ,among the ,hebrew traditions1 handed down to us by the ,rabbins1 one is that the mark made by the ,israelites upon their door-posts with the blood of the sacrificed lamb1 the night before starting out of ,egypt1 was fashioned like the letter ,tau made after its olden form1 that is1 in the shape of a cross1 thus 4 ,what is still more curious1 we are told that the lamb itself was spitted as if it had been meant to bear about its body1 an unmistakable likeness to a kind of crucifixion4 ,treating of the passover1 the ,talmud says3--,the ram or kid was roasted in an oven whole1 with two spits made of pomegranate wood thrust through it1 the one lengthwise1 the other transversely 7crossing the longitudinal one near the fore-legs7 thus forming a cross4#dab ,precisely the same thing is said by ,st4 ,justin1 martyr1 born ,a4,d4 #ajc1 in his ,dialogue with ,tryphon the ,jew4 ,this very mode of roasting is expressed in ,arabic by the verb 8to crucify20 according to ,jahn1 in his 8,biblical ,antiquities10 #adb1 as quoted by ,kitto1 under the word ,passover4#dac #dab ,pesachim1 c4 #c4 #dac ,t4 ii4 p4 #dgg of the 8,cyclopdia of ,biblical ,literature40 ,from the words of ,st4 ,jerome1 it would seem that that learned hebraist1 well knowing1 as he did1 the traditions of the rabbins of his day1 had understood from them that the mark of the lamb's blood sprinkled on the doors of the ,israelites going out of ,egypt1 had been so made as to take the shape of a cross4 ,deeply smitten as the whole of ,egypt must have been at the woe that befel them and theirs1 the night before the great exode of the ,israelites from among them1 those ,egyptians could not help seeing how all the ,hebrews1 their children1 and their flocks had gone forth scatheless out of that death-stricken land4 ,at peep of dawn1 the blood upon the door-posts of every house where an ,israelite had lately dwelt1 told the secret2 for the destroyer had not been there4 ,from that hour1 a ,tau was thought by them to be the symbol of health and safety1 of happiness1 and future life4 ,st4 ,epiphanius1 born ,a4,d4 #caj1 in ,palestine1 for many years ,archbishop of ,salamis in ,cyprus1 and a great traveller in ,egypt1 tells us1 that being mindful of that day on which the ,israelites who had besmeared the door-posts of their houses with the blood of the lamb1 had been spared the angel's death-stroke1 the ,egyptian people were accustomed1 at every vernal equinox--their new year--to daub1 with red paint1 their doors1 their trees1 and animals1 the while they cried out that1 8once at this time fire blighted every thing20 against such a plague1 they think that the remedy is a spell in the colour of blood3 8,egyptios memores illius diei quo a cde angeli liberati sunt ,israelit qui agni sanguine postes domorum illinierant1 solitos esse1 intrante quinoctio vernanti1 accipere rubricam et illinere omnes arbores domosque clamantes #8quia in tempore hoc ignis vastavit omnia' contra quam luem remedium putant ignis colorem sanguineum rubric40#dad #dad ,hreses1 xviii4 ,while they found blood upon the departed and unharmed ,israelites' door-posts1 the sorrowing ,egyptians must have seen that it had been sprinkled there1 not at hazard1 but with the studied purpose of making therewith the ,egyptian letter ,tau1 as it used to be fashioned at the time4 ,but what was then its common shape8 ,that the old ,tau was a cross1 we are told by written authority1 and learn from monumental evidence4 ,learned as he was in all the wisdom of the ,egyptians1 ,moses1 no doubt1 wrote with the letters of their alphabet4 ,now1 the oldest shape of the ,tau in the ,hebrew alphabet1 and still kept up among the ,samaritans in ,st4 ,jerome's days1 was in the form of a cross3 8,antiquis ,hebrorum literis1 quibus usque hodie ,samarit utuntur1 extrema ,tau crucis habet similitudinem1 qu in ,christianorum frontibus pingitur et frequentius manus inscriptione signatur40#dae ,for monumental testimony we refer the reader to the proofs we have given1 at large1 in 8,hierurgia10 pp4 #ceb-cee1 second edition4 ,strengthening our idea that the lamb's blood had been put on the door-post in the shape of a cross1 and that hence the old ,egyptians had borrowed it as a spell against evil hap1 and a symbol of a life hereafter1 is a passage set forth1 first by ,rufinus1 ,a4,d4 #cig1 and then by ,socrates1 ,a4,d4 #ddj3--8,on demolishing at ,alexandria a temple dedicated to ,serapis1 were observed several stones sculptured with letters called hieroglyphics1 which showed the figure of a cross4 ,certain ,gentile inhabitants of the city who had lately been converted to the ,christian faith1 initiated in the method of interpreting these enigmatic characters1 declared that the figure of the cross was considered as the symbol of future life40#daf ,we know that1 while the old ,tau kept the shape of a cross1 it took at least three modifications of that form on those monuments which1 up to this time1 have been brought to light3 others may turn up with that letter traced exactly like the so-called 8gammadion0 found upon an ,egyptian stuff of such an early date4 ,most probably this was the very shape1 but with shorter arms1 of the letter found traced upon the door-posts4 #dae ,hier4 in cap4 ix4 ,ezech4 #daf ,hist4 ,eccles4 lib4 v4 c4 #ag4 ,the recurrence of the gammadion upon ,christian monuments is curious4 ,we find it shown upon the tunic of a gravedigger in the catacombs2 it comes in among the ornamentation wrought upon the gold and parcel-gilt altar-frontal dome by our ,anglo-,saxon countryman ,walwin for the ,ambrosian basilican church at ,milan2 it is seen upon the narrow border round some embroidery of the twelfth century1 lately found within a shrine in ,belgium1 and figured by that untiring archologist the ,canon ,voisin of ,tournay2 and upon a piece of ,english needlework of the latter half of the same twelfth century--the mitre of our ,st4 ,thomas1 figured by ,shaw1 and still kept at ,sens cathedral4 ,as a favourite element in the pattern worked upon our ecclesiastical embroideries1 this 8gammadion0 is as conspicuously shown upon the apparel round the shoulders1 and on the one in front of his alb1 in the effigy of ,bishop ,edington1 at ,winchester cathedral1 as upon the vestments of a priest in a grave-brass at ,shottesbrook church1 ,berks1 given by ,waller in his fine work4 ,always keeping up its heathenish signification of a 8future life10 ,christianity widened the meaning of this symbol1 and made it teach the doctrine of the ,atonement through the death of our ,lord upon a cross4 ,furthermore1 it set forth that ,he is our corner-stone4 ,about the thirteenth century1 it was taken to be an apt memorial of ,his five wounds2 and remembering the stigmata or five impressions in the hands1 feet1 and side of ,st4 ,francis of ,assisi1 this gammadion became the favourite device of such as bore that famous saint's name1 and was called in ,england1 after its partial likeness to the ensigne of the ,isle of ,man--three feet--a fylfot4#dag #dag ,m4 ,s4 ,harley1 #hgd1 p4 #aij4 ,to the symbolic meaning affixed unto some animals1 we have pointed in the catalogue1 wherein1 at p4 #aef1 the reader will find that ,christ1 as ,god1 is typified under the figure of a lion1 under that again of the unicorn1 as ,god-man4 ,man's soul1 at pp4 #bcg1 #caa1 is figured as the hare2 mischief and lubricity are1 at p4 #caa1 shadowed forth in the likeness of the monkey4 ,birds often come in here as symbols2 and of course we behold the lordly eagle very frequently4 ,bearing in mind how struggled the two great factions of the ,guelphs whose armorial arms were 8un' ,aquila con un ,drago sotto i piedi0--an eagle with a dragon under its feet--and the ,ghibellini1 we do not wonder at finding the noble bird1 sometimes single1 sometimes double-headed1 so frequently figured on silks woven in ,sicily1 or on the ,italian peninsula1 triumphing over his enemy1 the dragon or ,ghibelline stretched down before him4 ,about the emblematic eagle of classic times we have already spoken4 ,if the ,roman ,quintus ,curtius1 like the ,greeks before him1 was in amazement at certain birds in ,india1 so quick in mimicking the human voice3 8aves ad imitandum human vocis sonum dociles10#dah we naturally expect to find the parrot figured1 as we do here1 upon stuffs from ,asia1 or imitations of such webs4 ,famous1 in eastern story1 are those knowing birds--and they were parrots--that1 on coming home at evening1 used to whisper unto thiopia's queen 7whom ,englishmen not till the sixteenth century began to call ,sheba1 but all the world besides called and yet calls ,saba7 each word and doing1 that day1 of the far-off ,solomon1 or brought round their necks letters from him4 ,out of this ,talmudic fable grew the method with artists during the fifteenth century of figuring one of the wise men as very swarthy--an thiopian--under the name of ,balthasar1 taking as their warrant1 a work called 8,collectane10 erroneously assigned to our own ,beda2 and because our ,salisbury books for the liturgy1 sang1 as all the old liturgies yet sing1 on the feast of the ,epiphany3--8,all shall come from ,saba0--the name of the country as well as of that queen who once governed it--8bringing gold and frankincense10 c4 those medival artists deemed it proper to show somewhere about the wise men1 parrots1 as sure to have been brought among the other gifts1 especially from the land of ,saba4 ,upon a cope1 belonging now to ,mount ,st4 ,mary's1 ,chesterfield1 made of very rich crimson velvet1 there is beautifully embroidered by ,english hands1 the arrival at ,bethlehem of the three wise men4 ,in the orphrey1 on that part just above the hood1 are figured in their proper colours two parrots1 as those may remember who saw it in the ,exhibition here of #ahfb2 on textiles before us this bird is often shown4 ,the appearance of the parrot on the vestments at old ,st4 ,paul's is very frequent4#dai #dah ,lib4 viii4 cap4 #i4 #dai ,dugdale1 p4 #cag4 ,but of the feathered tribe which we meet with figured on these textiles1 there are three that merit an especial mention through the important part they were made to take1 whilom in ,england at many a high festival and regal celebration--we mean the so-called 8,vow of the ,swan1 the ,peacock and the ,pheasant40 ,from the graceful ease--the almost royal dignity with which it walks the waters1 the swan with its plumage spotless and white as driven snow1 has everywhere been looked upon with admiring eyes2 and its flesh while yet a cygnet used to be esteemed a dainty for a royal board1 on some extraordinary occasions4 ,to make it the symbol of majestic beauty in a woman1 it had sometimes given it a female's head4 ,among the gifts bestowed on his son1 ,richard ,,ii4 by the ,black ,prince1 in his will were bed-hangings embroidered with white swans having women's heads4 ,to raise this bird still higher1 in ecclesiastical symbolism1 it is put forth to indicate a stainless1 more than royal purity2 and as such1 is often linked with and figured under the ,blessed ,virgin ,mary1 as is shown upon an enamelled morse given in the 8,church of our ,fathers40#dbj ,besides all this1 the swan owns a curious legend of its own1 set forth by some raving troubadour in the wildest dream that minstrel ever dreamed4 8,the life and myraculous hystory of the most noble and illustryous ,helyas1 knight of the swanne1 and the birth of ye excellent knight ,godfrey of ,boulyon10 c41 was once a book in great favour throughout ,europe2 and was 8newly translated and printed by ,robert ,copland1 out of ,frensshe in to ,englisshe at thinstigacion of ye ,puyssaunt and ,illustryous ,prynce ,lorde ,edwarde ,duke of ,buckyngham--of whom lynyally is dyscended my sayde lorde40#dba #dbj ,t4 ii4 p4 #da4 #dba ,typographical ,antiquities of ,great ,britain1 ed4 ,dibdin1 t4 iii4 pp4 #aeb-c4 ,while our noble countryman boasted of an offspring from this fabled swan1 so did the greatest houses abroad4 ,in private hands in ,england is a precious ivory casket wrought on its five panels1 before us in photography1 with this history of the swan4 ,helyas's shield and flag are ensigned with ,st4 ,george's cross2 the armour tells of ,england and its military appliances1 about the end of the fourteenth century2 and the whole seems the work of ,english hands4 ,at the great exhibition of loans in this museum1 ,a4,d4 #ahfb1 one of the many fine textiles then shown was a fine but cut-down chasuble of blue ,sicilian silk1 upon which was1 curiously enough for what we have said about the birds before which the 8,vow0 was made1 figured1 amid other fowls the pheasant4 ,the handsome orphreys upon this vestment were wrought in this country1 and good specimens they are of ,english needlework during the fourteenth century4 ,these orphreys1 before and behind1 are embroidered on a bright red silk ground1 with golden flower and leaf-bearing branches1 so trailed as1 in their twinings1 to form ,stafford knots in places1 and to embower shields of arms each supported by gold swans all once ducally gorged4 ,from these and other bearings on it1 this chasuble would seem to have been worked for the ,staffords1 ,dukes of ,buckingham4 ,at ,corby ,castle there is an altar frontal of crimson velvet made for and figured with the great ,buckingham and his ,duchess both on their knees at the foot of a crucifix4 ,amid a sprinkling of the ,stafford knot1 for the ,duke 7,henry ,,viii4 beheaded him7 was ,earl of ,stafford1 the swan is shown1 and the ,lord ,stafford of ,cossey1 in whose veins the blood of the old ,buckingham still runs1 gives a silver swan as one of his armorial supporters4 ,at ,lincoln cathedral there were3--,a cope of red cloth of gold with swans of gold2#dbb and a cope of purple velvet having a good orphrey set with swans4#dbc ,in medival symbolism1 as read by ,englishmen1 the swan was deemed not only a royal bird1 but1 more than that1 one of the tokens of royal prowess4 ,hence we may easily understand why our great warrior king1 ,edward ,i41 as he sat feasting in ,westminster ,hall1 amid all the chivalry1 old and young of the kingdom1 on such a memorable day1 should have had brought before him the two swans in their golden cages3--8tunc allati sunt in pompatica gloria duo cygni vel olores1 ante regem1 phalerati retibus aureis1 vel fistulis deauratis1 desiderabile spectaculum1 intuentibus4 ,quibus visis1 rex votum vovit ,deo cli et cygnis1 se proficisci in ,scotiam10 c4#dbd ,and then solemnly made the 8,vow of the ,swan10 as we described1 p4 #bhg of the ,catalogue4 #dbb ,mon4 ,anglic4 t4 viii4 p4 #abhb4 #dbc ,ibid4 #dbd ,flores ,historiarum1 per ,matt4 ,westmonast4 ,collect1 p4 #ded4 ,in the pride of place1 on such occasions1 abreast with the swan stood the peacock1 8with his angel fethers bright20 and was at all times and everywhere looked upon as the emblem of beauty4 ,not a formal banquet was ever given1 at one period1 without this bird being among the dishes2 in fact1 the principal one4 ,to prepare it for the table1 it had been killed and skinned with studious care4 ,when roasted1 it was sewed up in its skin after such an artistic way that its crested head and azure neck were kept1 as in nature1 quite upright2 and its fan-like tail outspread2 and then1 put in a sitting position on a large broad silver dish parcel gilt1 used to be brought into the hall with much solemnity4 ,on the last day of a tournament1 its gay festivities ended in a more than usual sumptuous banqueting4 ,the large baronial hall was hung all over with hangings1 sometimes figured with a romance1 sometimes with scenes such as we read of in 8,the ,flower and the ,leaf20 and because trees abounded on them1 were known as tapestry of 8verd40 ,at top of and all along the travers ran the minstrel-gallery1 and thither-- ,come first all in their clokes white1 ,a company1 that ware for their delite1 ,chapelets fresh of okes seriall1 ,newly sprong1 and trumpets they were all4 ,on every trumpe hanging a broad banere ,of fine tartarium were full richely bete1 ,every trumpet his lordes arms bare1 ,about their neckes with great pearles sete ,collers brode1 for cost they would not lete1 c4#dbe ,from among those high-born damosels who had crowded thither1 one was chosen as the queen of beauty4 ,when all the guests had gathered in that dining-hall1 and been marshalled in their places by the herald1 and the almoner had said grace1 and set the 8grete almes disshe of silver and overgilt1 made in manner of a shippe full of men of armes feyghtyng upon the shippe syde weyng in all lxvii lb ix unc of troye10#dbf at the high board under the dais1 a bold fanfar was flourished upon silver trumpets1 from which drooped silken flags embroidered with the blazon of that castle's lord1 or-- ,of gold ful riche1 in which ther was ybete some quaint device4 ,then a burst of music from the minstrel-gallery arose as came in the queen of beauty4 ,her kirtle was of ciclatoun1 cloth of pall1 or sparkling tissue3-- ,to don honour 7to that day7 ,yclothed was she fresshe for to devise4 ,hire yelwe here was broided in a tresse1 ,behind hire back a yerde long ,i gesse2 ,and in the gardin at the sonne uprist1 ,she walketh up and doun wher as her list4 ,she gathereth floures1 partie white and red1 ,to make a sotel gerlond for hire hed4#dbg ,one at each side of her1 walked two of the youngest bachelors in chivalry4 ,these youths did not wear their harness1 but came arrayed in gay attire1 having on white hoods1 perhaps embroidered with dancing men in blue habits1 like the one given by ,edward ,,iii4 to the ,lord ,grey of ,rotherfield1 to be worn at a tournament2 or looking1#dbh each of them1 like the 8yonge ,squier10 of whom ,chaucer said3-- ,embrouded was he1 as it were a mede1 ,alle ful of fresshe floures1 white and red4#dbi #dbe ,chaucer1 ,the ,flower and the ,leaf1 v4 #bjg1 c4 #dbf ,antient ,kalendars of the ,exchequers1 ed4 ,palgrave1 ii4 p4 #ahd4 #dbg ,chaucer1 ,the ,knightes ,tale1 v4 #ajej4 #dbh ,dugdale's ,baronage1 i4 #gbc4 #dbi ,the ,prologue1 v4 #gi4 ,treading out sweetness from the bay leaves strewed among the rushes on the floor1 and with step as stately as the peacock's own1 the queen of beauty for the nonce1 bearing in both her hands the splendid charger with the bird--the symbol of herself--slowly paced the hall4 ,halting on a sudden1 she set it down before the knight who1 by general accord1 had borne him best throughout that tournament2 such was the ladies' token of their praises4 ,to carve well at table was one of the accomplishments of ancient chivalry2 and our own ,king ,arthur was so able in that gentle craft1 that on one occasion he is said to have cut up a peacock so cleverly that every one among the one hundred and fifty guests had a morsel of the fowl4 ,to show himself as good a knight at a feast as at a passage of arms1 the lady bade him carve the bird4 ,what the lances of his antagonists could not do1 this meed of praise from the ladies did--it overcame him4 ,with deference1 he humbly pleaded that many a doughty knight there present was more worthy of the honour3 all his words were wasted4 ,the queen of beauty would brook no gainsaying to her behest4 ,he therefore bowed obedience1 and she went away4 ,ere applying himself to his devoir1 outstretching his right hand on high above the dish before him1 amid the deepest silence1 and in a ringing voice1 so as to be well heard by all that noble presence1 the knight vowed his vow of the peacock4 ,almost always this vow was half religious1 half military2 and he who took it bound himself to go on pilgrimage to the ,holy ,land1 and1 on his road thither or homeward1 to join1 as he might1 any crusade against the ,paynim4 ,hardly had the words of such a plight been uttered1 when other knights started up at every table1 and bound themselves by his or some like vow4 ,the dinner done1 the feast was not quite over4 ,plucking from its tail the best and brightest of the peacock's feathers1 the beauty-queen wove them into a diadem2 the minstrel who had long distinguished himself1 was summoned by a pursuivant and brought before her2 and she crowned him as he knelt lowly down4 ,ever afterwards1 at festival or tournament1 this music king wore this crown about his hat as blithely as did the knight his lady's glove or favour on his helmet1 at a joust4 ,such was-- ,vowis of ,pecok1 with all ther proude chere4 ,sometimes a pheasant1 on account of its next beautiful plumage1 used to be employed1 instead of the larger1 grander peacock4 ,with these facts set before him1 any visitor to this collection will take a much more lively interest in so precious a piece of ,english embroidery as is the ,syon cope1 for while looking at it in admiration of the art-work shown in such a splendid church vestment1 he finds1 where he never thought of coming on1 a curious record of our ancient national manners4 ,besides all that has been said in reference to this cope1 at pp4 #bhi-ij of the ,catalogue1 we would remind our reader that at easy distances from ,coventry might be found such lordly castles as those of ,warwick1 ,kenilworth1 ,chartley1 ,minster ,lovel1 ,tamworth4 ,the holding of a tournament within their spacious walls1 or in the fields beside them1 was1 we may be certain1 of frequent occurrence at some one or other of them4 ,the tilting was followed by the banquet and the 8vow20 and the vow by its fulfilment from those barons bold1 who bore in their own day the stirring names of ,beauchamp1 ,warwick1 ,ferrers1 ,geneville1 or ,mortimer4 ,of one or other of them might be said3-- ,at ,alisandre he was whan it was wonne4 ,ful often time he hadde the bord begonne ,no cristen man so ofte of his degre4 ,in ,gernade at the siege eke hadde he be ,of ,algesir1 and ridden in ,belmarie4 ,at mortal batailles hadde he ben fiftene1 ,and foughten for our faith at ,tramissene ,in listes thries1 and ay slain his fo4#dcj #dcj ,chaucer1 ,the ,prologue1 vv4 #ea1 c4 ,at ,warwick itself1 and again at ,temple ,balsall1 not far off1 the ,knights ,templars held a preceptory1 and1 as it is likely1 aggregated to the ,coventry gild1 had their badge--the ,holy ,lamb--figured on its vestment4 ,proud of all its brotherhood1 proud of those high lords who had gone on pilgrimage to the ,holy ,land1 figured by the ,star of ,bethlehem1 and had done battle with the ,moslem1 according to the vow signified by the swan and peacock1 the ,coventry gild caused to be embroidered on the orphrey of their fine old cope1 the several armorial bearings of those among their brotherhood who had swelled the fame of ,england abroad2 and by putting those symbols--the swan and the peacock1 the star and crescent--close by their blazons1 meant to remind the world of those festive doings which led each of them to work such deeds of hardihood4 ,in the fourteenth century a fashion grew up here in ,england of figuring symbolism--heraldic and religious--upon the articles of dress1 as we gather from specimens here1 as well as from other sources4 ,the ostrich feather1 first assumed by our ,black ,prince1 was a favourite device with his son ,richard ,,ii4 for his flags and personal garments4 ,this is well shown in the illumination given1 p4 #ca1 of the 8,deposition of ,richard ,,ii410 published by the ,antiquarian ,society4 ,that king's mother had bequeathed to him a new bed of red velvet1 embroidered with ostrich feathers of silver1 and heads of leopards of gold1 with boughs and leaves issuing out of their mouths4#dca ,through family feeling1 not merely the white swan1 but this cognizance of the ,yorkists--the ostrich feather--was sometimes figured on orphreys for church copes and chasubles1 since in the ,exeter1 ,a4,d4 #aejf1 we find mentioned a cope1 8le orfrey de rubeo damasco operato de opere acuali cum rosis aureis ac ostryge fethers insertis in rosis10 c42#dcb and again1 8le orfrey de blodio serico operata de opere acuali cum cignis albis et ostryge fethers--i casula de blodio serico operata opere acuali cum ostryge fethers sericis1 le orfrey de rubeo serico operato cum ostryge fethers aureis40#dcc ,lincoln ,cathedral1 too1 had a cope of red damask1 with ostriges feathers of silver4#dcd ,this somewhat odd element of design for a textile is to be found on one here1 ,no4 #gjeh1 p4 #abi4 #dca ,testamenta ,vetusta1 i4 #ad4 #dcb ,ed4 ,oliver1 p4 #cdg4 #dcc ,ibid4 p4 #cfe4 #dcd ,mon4 ,anglic4 t4 viii4 p4 #abhb1 ed4 ,caley4 ,to eyes like our own1 accustomed to see nowhere but in ,english heraldry1 and ,english devices1 harts figured as lodged beneath green trees in a park as in ,nos4 #abhc-d1 p4 #dc1 or stags couchant1 with a chain about the neck1 as at pp4 #ec1 #bci1 and in both samples gazing upward to the sun behind a cloud1 it would appear that they were but varieties of the pattern sketched for the silken stuffs worn by ,richard ,,ii41 and admirably shown on that valuable1 yet hitherto overlooked specimen of ,english medival workmanship in copper and engraving still to be found in ,westminster ,abbey1 as we before observed1#dce and the symbolism of which we now explain4 ,the pattern of the silken textile worn by the king consists of but three elements--the broom-pod1 the sun's rays darting upwards from behind a cloud1 and a stag lying down on the grass1 looking right forward1 with about its neck a royal crown1 down from which falls a long chain4 ,the broom tells1 of course1 that ,richard was a ,plantagenet4 ,his grandfather's favourite cognizance was that of sunbeams issuing from clouds2 his mother's--,joan1 the fair maid of ,kent--the white hart4 ,the latter two were evidently meant to bring to mind the words of the ,psalmist1 who says3--8,the heavens show forth the glory of ,god4 ,he hath set ,his tabernacle in the sun4 ,the ,lord is my light1 and ,his throne as the sun40 ,the white hind brings to our thoughts how the hart panting for the water-fountains1 is likened to the soul that pants after ,god4 ,this symbolism is unfolded into a wider breadth upon the design for the stuffs here1 ,no4 #acaj1 p4 #ec2 ,no4 #hfbd1 p4 #bci4 ,here1 instead of the sunbeams shooting upwards1 as if to light the whole heavens1 they dart downward1 as if for the individual stag with upturned gaze1 amid a gentle shower of rain2 as if to say that if man look heavenward by prayer1 light will be sent down to him1 and helping grace1 like rain1 like the shower upon the grass to slake his ghostly thirst4 #dce ,p4 cxx4 ,about the time of ,richard ,,ii4 the white hart seems to have been a favourite element in ornamental needlework here in ,england1 for ,lincoln cathedral had 8a red velvet cope set with white harts lying1 colours 7with collars87 full of these letters ,s ,s 444 the harts having crowns upon their necks with chains1 silver and gilt10 c4#dcf ,so thoroughly national at the time was this emblem that we believe every piece of silken textile to be found here or elsewhere had its design sketched in this country and sent to ,palermo to be woven there in stuffs for the use of the ,english court4 ,when his order had been done1 the weaver having his loom geared at our king's expense1 threw off a certain quantity of the same pattern for home use or his trade with ,germany2 and hence we see such a beautiful variation figured on the apparels upon the old alb1 ,no4 #hgaj1 p4 #bfh of the catalogue4 ,the eagle shown all in gold1 with a crown not on but above its head1 may refer to one of ,richard's ancestors1 the ,king of the ,romans1 who never reigned as such4 ,the hart1 collared and lodged in its park1 is ,richard's own emblem4 ,that dog1 collared and courant1 has a story of its own in ,richard's eventful life4 ,dogs when petted and great favourites1 were always arrayed in ornamented collars2 hence we must not be surprised to find put down among the things of value kept in the ,treasury of the ,exchequer3--8ii grehondes colers of silk enbrouded with lettres of gold and garnyssed with silver and overgilt40#dcg ,telling of ,richard's capture in ,flint castle by the ,earl of ,derby1 soon afterwards ,henry ,,iv41 ,froissart says3--8,king ,richard had a greyhound called ,math1 beautiful beyond measure who would not notice nor follow any one but the king4 ,whenever the king rode abroad the greyhound was loosed by the person who had him in charge1 and ran instantly to caress him1 by placing his two fore feet on his shoulders4 ,it fell out that as the king and the ,duke of ,lancaster were conversing in the court of the castle1 their horses being ready for them to mount1 the greyhound was untied1 but instead of running as usual to the king1 he left him1 and leaped to the ,duke of ,lancaster's shoulders1 paying him every court1 and caressing him as he was formerly used to caress the king4 ,the duke asked the king1 #8,what does this mean8' #8,cousin1' replied the king1 #8it means a great deal for you1 and very little for me4 ,this greyhound fondles and pays his court to you this day as ,king of ,england4'0#dch ,that such a pet as ,math once so given to fawn upon his royal master should1 with other emblematic animals1 have been figured in the pattern on a textile meant for its master's wear1 or that of his court1 seems very likely3 and thus the piece before us possesses a more than ordinary interest4 #dcf ,mon4 ,anglic4 t4 viii4 p4 #abha1 ed4 ,caley4 #dcg ,antient ,kalendars and ,inventories1 ed4 ,palgrave1 t4 ii4 p4 #beb4 #dch ,froissart's ,chronicles1 by ,johnes1 t4 ii4 chap4 cxiii4 p4 #fib4 ,respecting ecclesiastical symbolism1 we have to observe that with regard to the subjects figured upon these liturgical embroideries1 we may see at a glance1 that the one untiring wish1 both of the designer and of those who had to wear those vestments1 was to set before the people's eyes and to bring as often as possible to their mind the divinity of ,christ1 strongly and unmistakably1 along with the grand doctrine of the ,atonement4 ,whether it be cope1 or chasuble1 or reredos1 or altar-frontal such a teaching is put forth upon it4 ,beginning with the divinity of our ,saviour's manhood1 sometimes we have shown us how1 with such lowly reverence1 ,gabriel spoke his message to the ,blessed ,virgin ,mary with the mystic three-flowered lily standing up between them2 or the ,nativity with the shepherds or the wise men kneeling in adoration to acknowledge the divinity of our ,lord even as a child just born2 then some event in ,his life1 ,his passion1 ,his scourging at the pillar1 the bearing of ,his cross1 ,his being crowned with thorns1 always ,his crucifixion1 often above that1 ,his upraised person like a king enthroned and crowning her of whom ,he had taken flesh2 while everywhere about the vestment are represented apostles1 martyrs1 and saints all nimbed with glory1 and among them1 winged seraphim standing upon wheels1 signifying that heaven is now thrown open to fallen but redeemed man1 who1 by the atonement wrought for him by our ,divine ,redeemer1 is made to become the fellow-companion of angels and cherubim4 ,to this same end1 the black vestments worn at the services for the dead were1 according to the old ,english rite1 marked2 the chasubles on the back with a green cross upon a red ground1 the copes with a red orphrey at their sides1 to remind those present that while they mourned their departed friend1 they must believe that his soul could never enter heaven unless made clean and regenerated by the atoning blood shed for it on the cross4 ,at his dubbing1 8unto a knight is given a sword1 which is made in the semblance of the cross1 for to signify how our ,lord ,god vanquished in the cross the death of human lineage1 to the which he was judged for the sin of our first father ,adam40 ,this we are told in the 8,order of ,chivalry10 translated by ,caxton4#dci ,while stretched wounded and dying on the battle-field1 some friendly hand would stick a sword into the ground before the expiring knight1 that as in its handle he beheld this symbol of the cross1 he might forgive him who had struck him down1 as he hoped forgiveness for himself1 through the atonement paid for him on the cross at ,calvary4 #dci ,typographical ,antiquities1 ed4 ,dibdin1 t4 i4 p4 #bcd4 ,the ages of chivalry were times of poetry1 and we therefore feel no surprise on finding that each young knight was taught to learn that belonging to every article of his armour1 to every colour of his silken array1 there was a symbolism which he ought to know4 ,all these emblematic significations are set forth in the 8,order of ,chivalry10 which we just now quoted4 ,the work is very rare1 but the chapter on this subject is given by ,ames in his 8,typographical ,antiquities of ,great ,britain20#ddj as well as in 8,lancelot du ,lac0 modernized and printed in the 8,bibliothque ,bleu10 pp4 #aa1 #ab4 ,in that black silk chasuble with a red orphrey upon which our ,lord is figured hanging upon a green cross--8cum crucifixo pendente in viridi cruce10#dda it was for a particular reason that the colour of this wood for the cross is specified3 as green is the tint of dress put on by the new-born budding year1 which thus foretells of flowers and fruits in after months1 so was this same colour the symbol of regeneration for mankind1 and the promise of paradise hereafter4 ,for such a symbolic reason is it that1 upon the wall painting lately brought again to light in ,west ,somerton ,church1 ,norfolk1 our uprisen ,lord is shown stepping out of the grave1 mantled in green1 with the banner of the resurrection in ,his left hand1 and giving a blessing with ,his upraised right4 ,at all times1 and in every land1 the 8,language of ,flowers0 has been cultivated1 and those who now make it their study will find much to their purpose in ,chaucer1 especially in his 8,flower and the ,leaf40 ,there speaking of 8,diane1 goddesse of chastite10 the poet says3-- ,and for because that she a maiden is1 ,in her hond the braunch she beareth this1 ,that agnus castus men call properly2 99 99 99 99 99 ,and tho that weare chapelets on their hede ,of fresh woodbind1 be such as never were ,of love untrue in word1 thought ne dede1 ,but aye stedfast1 c4#ddb #ddj ,ibid4 #dda ,oliver1 p4 #acd4 #ddb ,works1 ed4 ,nicolas1 t4 vi4 p4 #bei4 ,were it not for this symbolism for the woodbine1 we had been quite unable to understand why in our old testamentary bequests1 the flower should have been so especially mentioned as we find in the will of ,joan ,lady ,bergavenny who1 ,a4,d4 #adcd1 leaves to one of her friends1 a 8bed of silk1 black and red1 embroidered with woodbined flowers of silver10 c4#ddc ,besides its symbolism of those colours--black and red--for which we have but this moment given the reasons1 p4 cxlix41 the funeral cope which we noticed before1 p4 cxxvi41 showed a symbolism of flowers in the woodbine wrought upon it4 ,sure may we be that the donor's wish--perhaps the fingers of a weeping widow had worked it for ,lincoln ,cathedral--was to tell for her in after days the unfaltering love she ever bore towards her husband1 and to say so every time this vestment happened to be worn at the services sounded for him4 ,may be that quaint old likeness of ,anne ,vavasour1 exhibited here ,a4,d4 #ahfh among the 8,national ,portraits10 and numbered #fhj1 p4 #ach of the ,catalogue1 had its background trailed all over with branches of the woodbine in leaf1 at the particular behest of a fond spouse ,sir ,h4 ,lee1 and so managed that the plant's only cyme of flower should hang just below her bosom4 ,by ,shakespeare floral symbolism was well understood2 and he often shows his knowledge of it in 8,a ,winter's ,tale10 act iv4 scene iii4 ,he gives us several meanings of flower-speech1 and when he makes 7,henry ,,viii4 act iv4 scene ii47 ,queen ,katherine say to ,griffith 8,farewell--when ,i am dead--strew me over with maiden flowers1 that all the world may know ,i was a chaste wife to my grave10 he tells of an olden custom still kept up among us1 and more fully carried out in ,wales and the ,western parts of ,england1 where the grave of a dear departed one is weekly dressed by loving hands with the prettiest flowers that may be had4 ,the symbolism of colours is learnedly treated by ,portal in his 8,couleurs ,symboliques40 ,the readers of those valuable inventories of the chasubles1 copes1 and other liturgical silk garments which belonged to ,exeter cathedral and that of ,london1 about the middle of the thirteenth century1 will not fail to observe that some of them bore1 amongst other animals1 the horse1 and fish of different sorts1 nay1 porpoises figured on them3 8una capa de palla cum porphesiis et leonibus deauratis10#ddd 8due cape de palla cum equis et avibus10#dde 8unum pulvinar breudatum avibus1 piscibus et bestiis10#ddf 8capa de quodam panno ,tarsico1 viridis coloris cum pluribus piscibus et rosis aurifilo contextis40#ddg ,even here1 under ,no4 #hbbi1 p4 #aea1 we have from the ,east a small shred of crimson silk1 which shows on it a flat-shaped fish4 ,if to some minds it be a subject of wonderment that1 amid flowers and fruits1 not only birds and beasts--elephants included--but such odd things as fish1 even the porpoise1 are to be found represented upon textiles chosen for the service of the altar1 they should learn that all such stuffs were gladly put to this very use for the symbolism they carried1 by accident1 about them4 ,then1 as now1 the clergy had to say1 and the people to listen daily to that canticle3 8,o all ye works of the ,lord1 bless ye the ,lord2 ,o ye angels of the ,lord1 ,o ye whales1 and all that move in the waters1 ,o ye fowls of the air1 ,o all ye beasts and cattle1 bless ye the ,lord and magnify ,him for ever60 ,not merely churchmen1 but the lay folks1 deemed it but fitting that while the prayer above was being offered up1 an emphasis should be given to its words by the very garment worn by the celebrant as he uttered them4 #ddc ,test4 ,vet4 i4 #bbh4 #ddd ,oliver's ,exeter1 p4 #bii4 #dde ,ibid4 #ddf ,st4 ,paul's1 p4 #caf4 #ddg ,ibid4 p4 #cah4 ,,section ,,viii4--,,literature ,,and ,,languages4 ,for those who bestow their attention upon ,literature and ,languages1 this collection must have1 at times1 an especial value1 whichever way their choice may lead them1 whether towards subjects of biblical1 classic or medival study3 proofs of this1 we think1 may be gathered1 up and down the whole of this 8,introduction40 ,with regard to our own country1 we deem it quite impossible for any one among us to properly know the doings1 in private and in public1 throughout this land in by-gone days1 or to take in all the beauty of many a passage in our prose writers1 much less understand several particulars in the poetry of the middle ages1 without an acquaintance1 such as may be made here1 with the textiles and needlework of that period4 ,to the student of languages1 it may seem1 at first sight1 that he will have nothing to learn by coming hither4 ,when he looks at those two very curious and interesting pieces1 ,nos4 #abig1 p4 #bif2 #adfe1 p4 #bih1 and has read the scrolls traced upon them1 he may perhaps1 if he be in search of the older forms of ,german speech1 have to change his mind3 of the words1 so often to be met with here1 in real or pretended ,arabic1 we say nothing4 ,to almost every one among our ,english students of languages there is one inscription done in needlework quite unreadable4 ,at ,no4 #hbgh1 p4 #agj1 going round the four sides of this liturgical appliance1 are sentences in ,greek1 borrowed from the ritual1 but hidden to the ,greek scholar's eye1 under the so-called ,cyrillian character4 ,toward the second half of the ninth century1 a monk1 known in his cloister under the name of ,constantine1 but afterwards1 when a bishop1 as ,cyrillus1 became earnestly wishful of bringing all the many tribes of the ,sclavonic race to a knowledge of ,christianity2 and warming in the heart of his brother ,methodius a like hope1 they both bethought themselves1 the sooner to succeed1 of inventing an alphabet which should be better adapted for that purpose than either the ,greek or the ,latin one2 and because its invention is owing1 for the greater part1 to ,st4 ,cyril1 it immediately took1 and still keeps1 its name from him1 and is now denominated ,cyrillian4 ,of this invention we are told by ,pope ,john ,,viii4 to whom the two brothers had gone together1 to ask authority and crave his blessing for their undertaking3 8,letteras ,sclavonicas1 a ,constantino quodam philosopho repertas1 quibus ,deo laudes debit resonant4 ,ep4 ad ,svaplukum1 apud ,dobrowsky1 ,institutiones ,lingu ,slavic40 ,this great and successful missionary took not any ,gothic1 but a ,greek model for his letters1 as is shown by ,dobrowsky4 ,the ,sclaves who follow the ,greek rite1 use the ,cyrillian letters in their liturgical books1 while those of the same people who use the ,latin rite employ1 in their service1 the ,glagolitic alphabet1 which was drawn up in the thirteenth century4 ,the probability is that this latter--a modification of the ,cyrillian1 is no older than that period1 and is not from the hand1 as supposed by some1 of ,st4 ,jerom4 ,a short time ago1 the ,sclaves celebrated with great splendour the thousandth anniversary of ,st4 ,cyril1 to whom they owe their ,christianity and their alphabet2 and among the beautiful wall paintings lately brought to light in the lower church of ,st4 ,clement at ,rome1 by the zealous labours of ,father ,malooly1 an ,irish ,dominican1 the translation of ,st4 ,cyril's body from the ,vatican1 to that church1 is figured4 ,,section ,,ix4--,,heraldry1 ,and how the appearance of it1 real or imagined1 under any shape1 and upon vestments1 was made available1 after different ways1 in our law-courts1 ask for and shall have a passing notice4 ,at the end of the fourteenth century1 there arose1 between the noble houses of ,scrope and ,grosvenor1 a difference about the legal right of bearing on their respective shields the bend or on a field azure2 and the suit was carried to the ,court of ,honour which sat at ,westminster1 and commissioners were sent about the country for the purpose of gathering evidence4 ,besides a numerous body of the nobility1 several distinguished churchmen were examined2 and their depositions are curious4 ,john1 ,abbot of ,st4 ,agatha1 in ,richmondshire1 said the arms 7,azure1 a bend or1 the bearing of the ,scrope family who contended against its assumption by the ,grosvenors7 were on a corporas case belonging to the church of his monastery1 of which the ,scropes were deemed the second founders4#ddh ,john de ,cloworthe1 sub-prior of ,wartre1 exhibited before the commissioners an amice embroidered on red velvet with leopards and griffons or1 between which are sewn in silk1 in three pieces1 three escochens with the entire arms of ,sir ,richard ,scrope therein1 viz4--azure a bend or4#ddi ,william1 ,prior of ,lanercost1 said they had in their church the same arms embroidered on the morse of a cope4#dej ,sir ,simon1 parson of ,wenslay 7whose fine grave brass may be seen in the 8,church of ,our ,fathers10#dea7 placed before the commissioners an albe with flaps1 upon which were embroidered the arms of the ,scropes entire1 c4#deb ,the ,scropes were the patrons of that living4 ,thomas de ,cotyngham1 prior of the ,abbey of ,st4 ,mary1 ,york1 said that they had vestments with the ,scrope arms upon them4#dec ,sir ,john de ,manfeld1 parson of the ,church of ,st4 ,mary sur ,rychille1 in ,york1 said that in the church were diverse vestments on which were sewn1 in silk1 the entire arms of ,scrope4#ded ,sir ,bertram ,mountboucher said that these arms of the ,scropes were to be seen on vestments1 c41 in the abbey and churches where ,sir ,r4 ,scrope was born4#dee ,not the least remarkable individual who bore evidence on the subject was the poet ,chaucer1 who was produced on behalf of ,sir ,richard ,scrope4 ,when asked whether the arms azure1 a bend or1 belonged1 or ought to belong to the said ,sir ,richard8 said yes1 for he saw him so armed in ,france1 c41 and that all his time he had seen the said arms in banners1 glass1 paintings and vestments1 and commonly called the ,arms of ,scrope4#def ,for the better understanding of all these evidences the reader should look at ,no4 #hcjg1 p4 #ahe1 an amice with its old apparel still on it4 ,the 8flaps0 of an alb are now called apparels2 and an old one1 with these ornaments upon it1 both at the cuffs as well as before and behind1 is in this collection1 ,no4 #hgaj1 p4 #bfh of the ,catalogue4 ,the two fine old ,english apparels here1 ,no4 #habh1 p4 #adf1 show how shields with heraldry could be put along with ,scriptural subjects in these embroideries4 ,the monumental effigy of a priest --a ,percy by birth--in ,beverley ,minster1 exhibits how these apparels1 on an amice1 were sometimes wrought with armorial bearings4 ,of 8corporas cases10 there are several here1 and pointed out at pp4 #aab1 #add1 #ade1 and #aid of the ,catalogue4 #ddh ,scrope and ,grosvenor ,rolls1 ed4 ,sir ,h4 ,nicolas1 t4 ii4 p4 #bge4 #ddi ,ibid4 p4 #bgh4 #dej ,ibid4 p4 #bgi4 #dea ,t4 i4 p4 #cbe4 #deb ,scrope and ,grosvenor ,rolls1 ed4 ,sir ,h4 ,nicolas1 t4 ii4 p #ccj4 #dec ,ibid4 p4 #cdd4 #ded ,ibid4 p4 #cdf4 #dee ,ibid4 p4 #chd4 #def ,ibid4 p4 #daa4 ,margaret1 ,countess of ,salisbury1 the last of the ,plantagenets1 and mother of ,lord ,montague and ,cardinal ,pole1 was1 like her son the peer1 beheaded1 and at the age of seventy1 by their kinsman ,henry ,,viii4 ,this fact is recorded by ,collier2#deg but ,miss ,a4 ,strickland mentions it more at length in these words3--,cromwell produced in the ,house of ,lords1 ,may #ajth1 by way of evidence against the aged ,countess of ,salisbury1 a vestment 7a chasuble no doubt7 of white silk that had been found in her wardrobe1 embroidered in front with the arms of ,england1 surrounded with a wreath of pansies and marigolds1 and on the back the representation of the host with the five wounds of our ,lord1 and the name of ,jesus written in the midst4 ,the peers permitted the unprincipled minister to persuade them that this was a treasonable ensign1 and as the ,countess had corresponded with her absent son 7,cardinal ,pole7 she was for no other crime attainted of high treason1 and condemned to death without the privilege of being heard in her own defence4#deh ,the arms of ,england1 amid the quarterings of some great families1 are even now to be found upon vestments2 a beautiful one was exhibited here1 ,a4,d4 #ahfb1 and described in the ,loan ,catalogue1 p4 #bff2 another fine one is at present at ,abergavenny4 ,with regard to the representation of the 8,host with the five wounds of our ,lord10 c4 this is of very common occurrence in ecclesiastical embroidery2 and in this very collection1 on the back orphrey to the splendid chasuble1 ,no4 #hgjd1 p4 #bfd of this ,catalogue1 we find embroidered the crucifixion1 and a shield gules1 with a chalice or and a host argent at top1 done in ,flanders full half a century before the 8,pilgrimage of ,grace0 in our northern counties had adopted such a common device upon their banner when the people there arose up against ,henry ,,viii4 #deg ,eccles4 ,hist4 t4 v4 p4 #ea1 ed4 ,lathbury4 #deh ,queens of ,england1 iii4 p4 #fh4 ,to a ,surrey1 for winning the day at ,flodden ,field1 ,king ,henry ,,viii4 gave the tressured lion of the royal arms of ,scotland to be borne upon the ,howard bend as arms of augmentation4 ,in after years1 the same ,henry ,,viii4 cut off a ,surrey's head because he bore1 as his ,house had borne from the time of one of their forefathers1 ,thomas de ,brotherton1 ,edward ,i4's son1 the arms of the ,confessor1 the use of which had been confirmed to it by ,richard ,,ii4 ,if1 like ,scrope1 ,surrey had bethought himself of vestments1 even of the few we have with the royal arms upon them1 and assumed by other ,english noblemen1 perhaps those liturgic embroideries might have stood him in some good stead to save his life4 ,had the poor aged ,countess of ,salisbury been heard1 she might have shamed her kinsman the king not to take her life for using upon her church furniture emblems1 then as now1 employed upon such appliances throughout all ,christendom4 ,for the genealogist1 the lawyer1 the herald1 the historian1 such of these old liturgical garments as1 like the ,syon cope1 bear armorial shields embroidered upon them1 will have a peculiar value1 and a more than ordinary interest4 ,those emblazonries not only recall the names of men bound up for ever with this land's history1 but may again serve1 as they once before have served1 to furnish the lost link in a broken pedigree1 or unravel an entangled point before a law tribunal4 ,,section ,x4--,,botany ,,and ,,zoology4 ,by all those for whom1 among other allurements drawing them on in their studies of ,botany and ,zoology1 one is the gratification they feel in learning how many of the subjects belonging to these two sections of the natural sciences were known1 and how they used to be depicted during the middle ages1 this large collection of textiles figured so often with birds1 beasts and flowers1 will be heartily welcomed4 ,our ,zoological ,society prides itself1 and in justice1 with treating the ,londoners with the first sight of a live giraffe2 but here its members themselves may behold1 ,nos4 #heia-ia;,a1 p4 #bbd2 #heii1 p4 #bbh1 the earliest known portrait of that curious quadruped sketched upon ,sicilian silks of the fourteenth century4 ,we once listened to a discussion between ,english sportsmen about the travels of the pheasant from its native home by the banks of the river ,phasis at ,colchis1 and the time when it reached this island4 ,both parties agreed in believing its coming hither to have been somewhat late4 ,be that as it may1 our country gentlemen will see their favourite bird figured here1 ,no4 #acbe1 p4 #fj4 ,about the far-famed hunting cheetahs of ,india1 we have heard1 and still hear much2 and on pieces of silk from eastern looms1 in this collection1 they are often to be seen figured4 ,with regard to the way in which all kinds of fowl1 as well as animals are represented on these stuffs1 there is one thing which we think will strike most observers who compare the drawing of them here with that of the same objects among the illuminations in old ,,mss4 ,the birds and beasts on the textiles are always very much better rendered than in the wood-cuts to be found in our old black-letter books1 from ,caxton's days upwards1 especially in such works as that of sop and the rest4 ,figures of animals and of birds in manuscripts are hardly better1 as we may see in the prints of our own ,sir ,john ,maundevile's ,travels1 and the ,french 8,bestiaire d',amour10 par ,r4 de ,fournival1 lately edited by ,c4 ,hippeau4 ,scarcely better does their design fare in illuminated ,,mss4 ,belonging to the ,duke of ,northumberland1 and now in the library at ,alnwick castle is the finest ,salisbury missal we have ever beheld4 ,this tall thick folio volume was1 some time during the end of the fourteenth century1 begun to be written and illuminated by a ,benedictine monk--one ,john ,whas--who carried on this gorgeous book as far as page #ffa4 ,from the two ,leonine verses which we read there1 it would seem that this labour of love carried on for years at early morn in the scriptorium belonging to ,sherbourne ,abbey1 ,dorsetshire1 had broken1 as well it might1 the health of the monk artist1 of whom it is said3-- 8,librum scribendo ,ion ,whas monachus laborabat2 ,et mane surgendo multum corpus macerabat40 ,among his other tastes1 this ,benedictine had that for ,natural ,history1 and in the beautifully illuminated ,kalendar at the beginning of this full missal1 almost every month is pointed out by the presence of some bird1 or fish1 or flower1 peculiar to that season1 with its name beneath it1--for instance1 8,ys is a throstle10 c4 ,however much the thrush's song may have cheered him at his work at ,spring-tide peep of day1 ,whas did not draw his bird with half the individuality and truthfulness which we find in birds of all sorts that are figured upon ,sicilian stuffs woven at the very period when the ,english ,benedictine was at work within the cloisters of his house in ,dorsetshire--a fact which may lead the ornithologist to look with more complacency upon those textiles here patterned with ,italian birds4 ,for ,botany1 it has not gone so well2 yet1 notwithstanding this drawback1 there are to be seen figured upon these textiles plants and trees which1 though strangers to this land and to ,europe1 and their forms no doubt1 oddly and clumsily represented1 yet1 as they keep about them the same character1 we may safely believe to have a true type in nature1 which at last by their help we shall be able to find out4 ,such is the famous 8homa10 or 8hom10--the sacred tree--among the ancient followers of ,zoroaster1 as well as the later ,persians4 ,it is to be seen figured on many silks in this collection of real or imitated ,persian textiles1 woven at various periods during the middle ages4 ,from the earliest antiquity a tradition came down throughout middle ,asia1 of some holy tree--perhaps the tree of life spoken of as growing in ,paradise4--,gen4 ii4 #i4 ,some such a tree is very often to be seen sculptured on ,assyrian monuments2 and1 by the place which it holds there1 must have been held in peculiar1 nay religious veneration4 ,upon those important remains from ,nineveh1 now in the ,british ,museum1 and figured in ,mr4 ,layard's fine work1 it appears as the object of homage for the two men symbolized as sacerdotal or as kingly personages1 between whom it invariably stands4 ,it is to be found equally figured upon the small bucket meant for religious rites1#dei as embroidered upon the upper sleeve of the monarch's tunic4#dfj ,from ,fergusson's 8,palaces of ,nineveh1 and ,persepolis restored10 we learn that it was frequently to be found sculptured as an architectural ornament4 ,when seen done in needlework upon dresses1 the two animals--sometimes winged bulls1 sometimes gazelles--which its umbel of seven flowers is separating1 are shown with bended knees1 as if in worship of it4 ,always this plant is represented as a shrub1 sometimes bearing a series of umbels with seven flowers sprouting1 each at the end of a tangled bough2 sometimes as a stunted tree with branches growing all the way up right out of a thick trunk with ovated leaves2 but the height never looks beyond that of a good sized man4 ,never for one moment can it be taken as any conventionalism for a tree1 since it is as distinct an imitation of a particular plant1 as is the figure of the palm which occurs along with it4 ,to us1 it has every look of belonging to the family of ,asclepiade1 or one of its near kindred4 ,the few ,parsees still to be found in ,east ,india1 are the only followers of ,persia's olden religious practices2 and in his 8,essays on the sacred writings1 language1 and religion of the ,parsees10 ,haug tells us1#dfa that those people yet hold a certain plant--the ,homa1 or hom8--to be sacred1 and from it squeeze a juice to be used by them in their religious services4 ,to our seeming1 those buckets in the left hand of many an ,assyrian figure were for holding this same liquor4 ,can the 8hom0 of the old ,persians be the same as the famous ,sidral ,almuntaha which bears as many leaves inscribed with names as there are men living on the earth8 ,at each birth a fresh leaf bearing the name of the newly born bursts out1 and1 when any one has reached the end of his life1 the leaf withers and falls off4#dfb ,though unable to identify among the plants of ,asia1 which was the 8hom0 or tree of life1 held so sacred by the ,assyrians and later ,persians1 we know enough about that king of fruits--the 8pine-apple0--as to correct a great mistake into which those have fallen who hitherto have had to write about the patterns figured on ancient or medival textiles4 ,in their descriptions1 we are perpetually told of the pine-apple appearing there2 and at a period when the ,ananas1 so far from having been even once beheld in the old world1 had never been dreamed of4 ,among the ,peruvians our pine-apple1 the 8,nanas10 was first found and seen by ,europeans4 ,hardly more than two hundred years ago was a single fruit of it brought to any place in the old world4 ,a little over a century has it been cultivated here in ,england2 and1 as far as our memory goes1 a pine-apple1 fifty years ago1 had never been planted in any part of ,italy or ,sicily1 nor so much as seen4 ,writing1 ,october #ag1 #agaf1 from ,blankenburg1 and telling her friend all about a royal dinner at which she had just been1 ,lady ,mary ,wortley ,montague says3--8,what ,i thought worth all the rest 7were7 two ripe ,ananasses1 which1 to my taste1 are a fruit perfectly delicious4 ,you know they are naturally the growth of ,brazil1 and ,i could not imagine how they came here1 but by enchantment4 ,upon enquiry1 ,i learned that they have brought their stoves to such perfection1 c4 ,i am surprised we do not practise in ,england so useful an invention40#dfc ,as turnips grow in ,england1 so do artichokes all over middle and south ,italy1 as well as ,sicily1 large fields are full of them4 ,put side by side with the pine-apple1 and its narrow stiff leaves1 the artichoke in bloom amid its graceful foliage1 shows well2 and every artistic eye will see that the ,sicilian weaver1 so fond of flowers and nice foliage for his patterns1 must have chosen his own vegetable1 unfolding its beauties to him at every step he took1 and not a fruit of which he had never heard1 and which he had never looked upon4 ,in his description of fruits or flowers woven on a textile1 let not the youthful or unwary writer be led astray by older men with a reputation howsoever high for learning other than botanical4 ,some years ago we were reading with great delight a tale about some things that happened in the third century1 and near ,carthage4 ,though avowedly a fiction1 most of its incidents were facts1 so admirably put together that they seemed to have been drawn by the pen of one who had lived upon the spot4 ,but taking one of his personages to a walk amid the hills running down to the shores of ,north ,africa1 the writer leads him through a narrow glen tangled over head1 and shaded with sweet smelling creepers and climbers1 among which he sees the passion-flower in full bloom4 ,now1 as every species--save one from ,china of late introduction--that we have of this genus of plants1 came to the old world from the new one1 to speak of them as growing wild in ,africa1 quite fourteen hundred years before they could have been seen there1 and ,america was known1 is spoiling a picture otherwise beautifully sketched4 #dei ,layard's ,discoveries at ,nineveh1 abridged1 p4 #df4 #dfj ,ibid4 p4 #bde4 #dfa ,pp4 #acb1 #bci4 #dfb ,the ,bible1 the ,koran1 and the ,talmud1 or ,biblical ,legends of ,mussulmans compiled1 c41 by ,dr4 ,g4 ,weil1 pp4 #ahc1 #ahd4 #dfc ,letters1 t4 i4 p4 #aje1 ,london1 #agfc4 99 99 99 99 99 ,with some1 there perhaps may be a wish to know what was the origin of this collection4 ,as is set forth1 in the 8,church of ,our ,fathers10#dfd some thirty years ago there began to grow up1 amid a few1 a strong desire to behold a better taste in the building of churches1 and the design of every ecclesiastical accessory4 ,our common sympathies on all these points brought together the late ,mr4 ,a4 ,welby ,pugin1 and him who writes these lines1 and they became warm friends4 ,what were the results to ,pugin through our intercourse he himself has acknowledged in his 8,principles of ,pointed or ,christian ,architecture10 p4 #fg4 ,to think of anything and do it1 were1 with ,pugin1 two consecutive actions which followed one another speedily4 ,while at ,birmingham ,hardman was working in metal1 after drawings by ,pugin1 and putting together a stained-glass window from one of his cartoons1 a loom at ,manchester1 which had been geared after his idea1 was throwing off textiles for church use1 and orphreys1 broad and narrow1 were being wove in ,london3 the medival court at ,hyde ,park1 in the year #ahea1 was the gem of our first ,exhibition4 ,going back1 a ,german lady took from ,england a cope made of the textiles that had been designed by ,pugin4 ,this vestment got into the hands of ,dr4 ,bock1 whose feelings were1 as they still are1 akin to our own in a love for all the beauties of the medival period4 ,while so glad of his new gift1 it set this worthy canon of ,aix-la-,chapelle thinking that other and better patterns were to be seen upon stuffs of an old and good period1 could they be but found4 ,he gave himself to the search1 and took along with him1 over the length and breadth of ,europe1 that energy and speed for which he is so conspicuous2 and the gatherings from his many journeys1 put together1 made up the bulk of a most curious and valuable collection--the only one of its kind--which has found an abiding home in ,england1 at the ,south ,kensington ,museum4 ,thus have these beautiful art-works of the loom become1 after a manner1 a recompense most gratefully received1 to the native land of those men whose action1 some thirty years ago1 indirectly originated their being brought together4 ,before laying down his pen1 the writer of this ,catalogue must put on record his grateful remembrances of the kindness shown so readily by ,m4 ,octave ,delepierre1 ,secretary of ,legation and ,consul-,general for ,belgium1 in rendering those inscriptions of old ,german upon that curious piece of hanging1 ,no4 #abig1 p4 #bif1 as well as upon another piece of the same kind1 ,no4 #adfe1 p4 #bih4 ,for the like help afforded about the same1 together with those several long inscriptions upon ,no4 #ddef1 p4 #ib1 the writer is equally indebted to ,dr4 ,appell2 and1 without the ready courtesy of the ,rev4 ,eugene ,popoff1 the writer could not have been able to have given the ,greek readings1 hidden under ,cyrillian characters1 worked by the needle all around the ,ruthenic ,sindon1 ,no4 #hbgh1 p4 #agj4 #ag1 ,essex ,villas1 ,kensington4 #dfd ,t4 i4 pp4 #cdh1 c4 ,illustration ,illustration ,a ,,descriptive ,,catalogue ,,of ,,the ,,collection ,,of ,,church ,,vestments1 ,,dresses1 ,,silk ,,stuffs1 ,,needlework1 ,,and ,,tapestries ,,in ,,the ,,south ,,kensington ,,museum4 ,illustration ,illustration ,,contents ,,of ,,the ,,book4 ,part the ,first4 ,page ,,church-,,vestments1 ,,silk-,,stuffs1 ,,needlework ,,and ,,dresses #a ,part the ,second4 ,,tapestry #bid ,the ,brooke ,collection4 ,,needlework ,,and ,,dresses #cab ,lent by ,her ,majesty1 and by the ,board of ,works4 ,,tapestry #cbd ,,index ,i4 ,alphabetical #cci ,,index ,,ii4 ,geography of ,textiles #cee ,illustration ,,illustrations4 ,no4 ,page #hd4 ,,hood ,,of ,a ,,cope4 ,embroidered 7,coloured plate74 ,flemish1 #afth century ,frontispiece #c #abfi4 ,,silk ,,and ,,gold ,,damask4 ,sicilian1 #adth century #cg #acfb4 ,,silk ,,damask4 7,coloured plate47 ,north ,italian1 #afth century #gd #acgf4 ,,part ,,of ,,the ,,orphrey ,,of ,a ,,chasuble4 ,german1 #aeth century #hb #acgf4 ,,part ,,of ,,the ,,orphrey ,,of ,,the ,,same ,,chasuble4 ,german1 #aeth century #hb #djfh4 ,,strip ,,of ,,raised ,,velvet4 7,coloured plate47 ,north ,italian1 #afth century #ij #gjjd4 ,,silk ,,damask4 ,italian1 late #afth century #aac #gjci4 ,,silk ,,damask4 ,byzantine1 #adth century #abc #gjdc4 ,,silk ,,damask4 ,sicilian1 #aeth century #abe #ggie4 ,,silk ,,damask 7,,back ,,of ,a ,,burse74 ,italian1 #afth century #ade #hbfd4 ,,silk ,,and ,,gold ,,tissue4 ,sicilian1 early #adth century #aff #hbfe4 ,,linen ,,and ,,silk ,,textile4 ,spanish1 late #adth century #aff #hcca4 ,,lace ,,embroidery4 ,milanese1 late #afth century #aig #hfje4 ,,silk ,,damask4 ,italian1 #adth century #bcj #hfjg4 ,,silk ,,damask4 ,sicilian1 #adth century #bca #hfbf4 ,,silk ,,damask4 ,italian1 end of #adth century #bci #hffg4 ,,silk ,,and ,,gold ,,embroidery4 ,,portion ,,of ,,an ,,orphrey4 7,coloured plate47 ,german1 #aeth century #beb #hgjb4 ,,silk ,,and ,,linen ,,damask4 ,florentine1 #afth century #bfd #hgjd4 ,,part ,,of ,,the ,,orphrey ,,of ,a ,,chasuble4 ,flemish1 very late #aeth century #bfd #iahb4 ,,part ,,of ,,the ,,orphrey ,,of ,,the ,,syon ,,monastery ,,cope4 ,english1 #acth century #bge ,illustration ,illustration ,,part ,,the ,,first4 ,church-vestments1 ,silk-stuffs1 ,needlework1 and ,dresses4 #fd4 ,chinese ,mandarin's ,tunic of ,ceremony embroidered in various coloured flos-silks and gold upon an orange-red satin4 ,chinese4 #d feet high by #f feet round1 modern4 ,sprawling all in gold and lively colours1 both before and behind1 upon this rich garment of state1 is figured1 with all its hideousness1 the imperial five-clawed dragon1 before which1 according to the royal fancies of that land1 the lion turns pale and the tiger is struck with dumbness4 ,in the ornamentation the light blue quantity of silk is very conspicuous1 more especially upon the broad lower hem of this robe4 #gh4 ,chasuble of crimson velvet1 with both orphreys embroidered2 the velvet1 pile upon pile1 and figured with large and small flowers in gold and colour1 and other smaller flowers in green and white2 the orphreys figured with the ,apostles and the ,annunciation4 ,florentine1 late #aeth century4 #d feet #c inches by #b feet #e inches4 ,like most other chasubles1 this has been narrowed1 at no late period1 across the shoulders4 ,the velvet is very soft and rich1 and of that peculiar kind that shows a double pile or the pattern in velvet upon velvet1 now so seldom to be found4 ,on the back orphrey1 which is quite straight1 is shown ,st4 ,peter with his keys2 ,st4 ,paul with a sword2 ,st4 ,john blessing with one hand1 and holding a chalice1 out of which comes a serpent1 in the other2 ,st4 ,james with a pilgrim's hat and staff3 on the front orphrey the ,annunciation1 and ,st4 ,simon holding a club1 but his person so placed1 that1 by separating the archangel ,gabriel from the ,blessed ,virgin ,mary1 a tau-cross is made upon the breast2 ,st4 ,bartholomew with a knife1 and ,st4 ,james the ,less with the fuller's bat4 ,for their greater part1 the ,gothic niches in which these figures stand1 are loom-wrought2 but these personages themselves are done on separate pieces of fine canvas and are applied over spaces left uncovered for them4 ,another curious thing is that in these applied figures the golden parts of the draperies are woven1 and the spaces for the heads and hands left bare to be filled in by hand2 and most exquisitely are they wrought1 for some of them are truly beautiful as works of art4 #gi4 ,cope1 crimson velvet1 with hood and orphrey embroidered1 c4 ,florentine1 late #aeth century4 #i feet #e inches by #d feet #f inches4 ,this fine cope is of the same set a part of which was the beautiful chasuble ,no4 #gh1 and1 while made of precisely the same costly materials1 is wrought with equal care and art4 ,its large fine hood is figured with the coming down of the ,holy ,ghost upon the infant ,church1 represented by the ,blessed ,virgin ,mary amid the ,apostles1 and not merely this subject itself1 but the crimson colour of the velvet would lead us to think that the whole set of vestments was intended for use on ,witsunday4 ,on the orphrey1 on the right hand1 the first saint is ,st4 ,john the ,baptist1 with the ,holy ,lamb2 then1 ,pope ,st4 ,gregory the ,great2 afterwards1 an archbishop1 may be ,st4 ,antoninus2 after him a layman-saint with an arrow1 and seemingly clad in armour1 perhaps ,st4 ,sebastian2 on the left side1 ,st4 ,george with banner and shield2 under him ,st4 ,jerome1 below whom1 a bishop2 and lowermost of all ,st4 ,onuphrius1 hermit1 holding in one hand a cross on a staff1 in the other a walkingstick1 and quite naked1 saving his loins1 round which he wears a wreath of leaves4 ,all these subjects are admirably treated1 and the heads done with the delicacy and truth of miniatures4 #hd4 ,hood of a ,cope1 figured with the ,adoration of the ,wise ,men4 ,flemish1 #afth century4 #a foot #h inches wide1 #a foot #d inches deep4 ,this is one of the best preserved and the most beautiful works of the period in the collection1 and is remarkable for the goodness of the gold1 which is so plentifully bestowed upon it4 ,it is somewhat large1 and the three long hooks by which it used to hang are still attached1 while its fine green and yellow silk fringe is a pleasing specimen of such a kind of decoration4 #edj4 ,purse in crimson velvet1 embroidered with comic masks1 and mounted in chased steel damascened in gold4 ,attached is a crimson ,band with a ,buckle of cut and gilt steel4 ,milanese1 #afth century4 #aa inches by #aa inches4 ,the rich crimson velvet is ,genoese2 the frame1 an art-work of the ,milan school1 is figured with two monsters' heads1 and two medallions1 one containing a naked youth seated1 the other a nude female figure standing4 ,on the front of the bag are applied two embroideries in gold and coloured silk1 one an owl's head1 the other that of a full-faced grotesque satyr2 on the back is another satyr's side-face4 ,at one time1 such bags or ornamental purses1 under the name of 8gibecires0 in ,france and ,england1 but known in ,italy as 8borsa10 were articles of dress worn by most people2 and 8the varlet with the velvet pouch0 will not be forgotten by those who have read ,walter ,scott's novel of 8,quentin ,durward40 ,the expressions1 in ,english of 8cut-purse10 in ,italian 8taglia borse10 for a pickpocket1 are well illustrated by this gay personal appendage4 #fbc4 ,piece of ,edging2 ground1 purple thread-net2 pattern1 bunches of flowers1 of two sorts alternated1 in various coloured flos-silks4 ,italian1 #ahth century4 #e feet #e inches by #e inches4 ,intended for a border to a dress or to a bed-quilt1 and no attention shown to the botanical exactness of the flowers1 most of which are seemingly tulips4 ,a large coverlet is edged with a broad piece of needlework1 after this manner1 in the collection4 #fbd4 ,piece of ,edging2 ground1 purple thread-net2 pattern1 large flowers1 mostly the same1 embroidered in various coloured flos-silks1 within scrolls and foliage4 ,italian1 #ahth century4 #h feet #c inches by #aa inches4 ,probably by the same hand as the foregoing piece1 and equally care-less of botanical exactness in the flowers4 #fbe4 ,cushion-cover1 oblong1 centre in striped cherry-coloured silk1 the border of open work embroidered in various coloured flos-silks upon a net of purple thread4 ,italian1 #ahth century4 #b feet #f inches by #b feet4 ,the only difference in the way of the stitchery is that the geometrical pattern shows the same on both sides4 #fbf4 ,quilt for a ,bed2 ground1 an amber-coloured cotton1 figured with a net-work of ovals and squares in diapered raised crimson velvet1 the ovals filled in with a floriation of crimson and green raised velvet2 the squares1 with a small vase having a flower-bearing tree1 crimson raised velvet4 ,this is the centre1 which is bordered by a like kind of stuff #aa inches deep2 the ground1 primrose yellow2 the pattern1 ovals1 enclosing a foliage bearing crimson and amber-tinted flowers1 and placed amid boughs bearing the same coloured flowers2 on both edges this border has three stripes--two crimson raised velvet1 the third and broader one a pattern in shades of purple--all on a light yellow ground2 at the ends of the quilt hangs a long party-coloured fringe of linen thread2 the lining of it is fine ,chinese silk of a bright amber1 figured with sprigs of crimson flowers1 shaded yellow and white4 ,genoese1 #agth century4 #e feet #aa inches by #c feet #aj inches4 #fbg4 ,quilt for a ,bed2 ground1 brown canvas2 pattern1 all embroidered scales or scollops jagged like a saw1 and overlapping each other in lines1 some blue and green shaded white or yellow1 some amber4 ,the border is a broad scroll of large flowers1 among which one at each corner1 the fleur-de-lis1 is conspicuous4 ,this again has a scollop edging of flowers separated by what seem two ,cs interlaced4 ,french1 #agth century4 #g feet #h inches by #e feet #h inches4 #fgc4 ,chasuble of green silk1 figured with animals and scrolls in gold1 with an embroidered orphrey at back1 and a plain orphrey in front4 ,sicilian1 early #acth century4 #c feet #i inches by #b feet #b inches4 ,this very valuable chasuble is very important for the beauty of its stuff2 but by no means to be taken as a sample in width of the fine old majestic garment of that name1 as it has been sadly cut down from its former large shape1 and that1 too1 at no very distant period4 ,though now almost blue1 its original colour was green4 ,the warp is cotton1 the woof silk1 and that somewhat sparingly put in2 the design showing heraldic animals1 amid gracefully twining branches all in gold and woven1 is remarkably good and free4 ,the front piece is closely resembling the back1 but1 on a near and keen examination1 may be found to differ in its design from the part behind2 on this we see that it must have consisted of a lioncel passant gardant1 langued1 and a griffin2 on that on the part in front1 a lioncel passant1 and a lioncel passant regardant4 ,when the chasuble was in its first old fulness1 the design on both parts came out in all its minuteness2 now1 it is so broken as not to be discernible at first4 ,in front the orphrey is very narrow1 and of a sort of open lace-work in green and gold2 on the back the orphrey is very broad1 #a foot #a inches1 and figured with the ,crucifixion1 the ,blessed ,virgin ,mary standing on our ,lord's right hand1 ,st4 ,john the ,evangelist on ,his left2 below1 the ,blessed ,virgin ,mary crowned as a queen and seated on a royal throne1 with our ,lord as a child sitting on her lap2 lower still1 ,st4 ,peter with two keys--one silver1 the other gold--in his left hand1 and a book in the right2 and ,st4 ,paul holding a drawn sword in his right1 and a book in his left2 and1 last of all1 the stoning of ,st4 ,stephen4 ,all the subjects are large1 and within quatrefoils2 as much of the body of our ,lord as is uncovered on the ,cross1 and the heads1 hands1 and feet in the other figures1 as well as those parts of the draperies not gold1 are wrought by needle1 while the golden garments of the personages are woven in the loom4 ,this very interesting chasuble has a history belonging to it1 given in 8,the ,gentleman's ,magazine10 t4 lvi4 pp4 #bih1 #dgc1 #ehd1 by which we are taught to believe that it has always been in ,england2 belonging once to it were a stole and maniple1 upon which latter appliance were four armorial shields1 which would lead to the idea that it had been expressly made for the chapel of ,margaret de ,clare1 ,countess of ,cornwall1 who is known to have been alive ,a4,d4 #abid4 ,that time quite tallies with the style of the stuff of which this chasuble is made2 and though now so worn and cut away1 it is one of the most curious in this or any other country1 and particularly valuable to an ,english collection4 #fge4 ,piece of the ,bayeux ,tapestry2 ground1 white linen2 design1 two narrow bands in green edged with crimson 7now much faded7 with a very thin undulating scroll in faded crimson1 and green between them4 ,english1 #aath century4 #c inches by #b inches4 ,though done in worsted1 and such a tiny fragment of that great but debated historical work1 it is so far a valuable specimen as it shows the sort of material as well as style and form of stitch in which the whole was wrought4 ,in the 8,vetusta ,monimenta10 published by the ,society of ,antiquaries1 plate #ag1 shows1 in large1 a portion of this embroidery where the piece before us is figured2 and1 from the writing under it1 we learn that it was brought away from ,bayeux by ,mrs4 ,stothard1 when her husband was occupied in making drawings of that interesting record4 ,there is not the slightest reason for believing that this embroidery was the work of ,matilda1 or any of her ladies of honour1 or waiting maids2 but all the probabilities are that it was done by ,english hands1 may be in ,london by order1 and at the cost1 of one or other of three knights from ,bayeux1 who came over with ,william1 on whom he bestowed much land in ,england1 as we have already shown in the ,introduction to this ,catalogue1 #d4 #fih4 ,door-curtain1 ground1 yellow and gold2 pattern1 in rich raised green velvet1 two small eagles with wings displayed1 and between them a large vase1 out of which issues a conventional flower showing the pomegranate1 surmounted by a modification of the same fruit amid wide-spreading foliations4 ,milanese1 #afth century4 #h feet #h inches by #f feet #f inches4 ,though the golden threads of the ground in this magnificent stuff are much tarnished1 still this piece is very fine1 and may have been part of some household furniture wrought at the order of the ,emperor ,charles ,v1 whose ,german eagle is so conspicuous in the design1 while the pomegranate brings to mind ,spain and ,granada4 #fii4 ,piece of ,embroidery2 ground1 a brown fine linen1 backed with strong canvas2 pattern1 female figures1 monkeys1 flowers1 shells1 c4 in coloured worsteds4 ,french1 late #agth century4 #h feet #i inches by #h feet #c inches4 ,this large work is admirably done1 and a fine specimen both of the taste with which the colours are matched1 and the stitchery executed2 and it may have been intended as the hanging for the wall of a small room4 #gjj4 ,lady's dress1 white silk2 embroidered with flowers in coloured silks and gold and silver threads4 ,chinese1 #ahth century4 #d feet #b inches4 ,worked by order1 very probably of some ,european dame1 at ,macao or ,canton1 and exactly like ,no4 #gac in design and execution4 ,the gold and silver1 as in that1 so in this specimen1 are much tarnished4 #gja4 ,lady's ,dress1 sky-blue satin2 brocaded with white flowers1 in small bunches4 ,french1 late #ahth century4 #d feet #g inches4 #gjb4 ,christening ,cloak of green satin1 lined with rose-coloured satin4 ,chinese4 #e feet #h inches by #c feet #f inches4 ,a fine specimen1 in every respect1 of ,chinese manufacture2 the satin itself is of the finest1 softest kind2 whether we look at the green or the light rose-colour1 nothing can surpass either of them in tone and clearness4 ,few ,european dyers could give those tints4 ,in its present form this piece constituted an article to be found1 and even yet seen1 in very many families in ,italy1 ,germany1 and ,france1 and was employed for christening occasions1 when the nurse or midwife wore it over her shoulders1 like a mantle1 for muffling up the new-born babe1 as she carried it1 in state1 to church for baptism4 ,in this1 as in other specimens of the ,museum1 there was a running string at top by which it might be drawn tight to the neck4 ,those who have lived abroad for even a short time must have observed how the nurse took care to let a little of this sort of scarf hang out of the carriage-window as she rode with baby to church4 ,the christening cloth or cloak was1 not long since1 in use among ourselves4 #gjc4 ,christening ,cloak of bright red satin4 ,italian1 #ahth century4 #e feet by #e feet #aa inches4 ,the material is rich1 and of a colour rather affected for the purpose in ,italy4 #gjd4 ,christening ,cloth or ,cloak of murrey-coloured velvet4 ,italian1 #agth century4 #h feet by #e feet #e inches4 ,the pile is soft and rich1 and its colour1 once such a favourite in the by-gone days of ,england1 of a delicious mellow tone4 ,like ,nos4 #gjb and #gjc1 it robed the nurse as she went to the baptismal font with the new-born child1 and has the string round the neck by which it could be drawn1 like a mantle1 about her shoulders4 #gje4 ,lady's ,dress of brocaded satin2 ground1 dull red2 pattern1 slips of yellow flowers and green leaves4 ,italian1 late #ahth century4 #d feet #aj inches4 ,the satin is rich1 but the tinsel1 in white silver1 tawdry4 #gjf4 ,skirt of a ,lady's ,dress of brocaded silk2 ground1 white2 pattern1 bunches of flowers in pink1 blue1 yellow1 and purple1 amid a diapering of interlaced strap-design in white flos-silk4 ,french1 #ahth century4 #c feet #c inches4 ,good in material1 but in pattern like many of the stuffs which came from the looms of the period at ,lyons4 #gjg4 ,christening ,scarf of white brocaded silk4 ,lucca1 #agth century4 #e feet square4 ,of a fine material and pleasing design4 #gjh4 ,piece of green ,silk ,brocade2 pattern1 lyres1 flowers1 ribbons with tassels4 ,french1 #ahth century4 #e feet #f inches by #a foot #h inches4 #gji4 ,skirt of a ,lady's ,dress2 ground1 bright yellow1 barred white2 pattern1 a brocade in small flowers in gold1 green1 and red sparingly sprinkled about4 ,italian1 #ahth century4 #g feet #h inches by #c feet #d inches4 ,a pleasing specimen of the time4 #gaj4 ,piece of ,white ,silk1 brocaded with flowers in white flos-silk1 and in silver1 between bands consisting of three narrow slips in white4 ,french1 #agth century4 #e feet by #d feet #f inches4 ,when the silver was bright and untarnished1 the pattern1 so quiet in itself1 must have had a pleasing effect4 #gaa4 ,christening ,scarf of silk damask2 ground1 light blue2 pattern1 flowers in pink1 white1 and yellow4 ,levant1 #ahth century4 #e feet #e inches by #e feet4 ,garish in look1 still it has a value as a specimen of the loom in the eastern parts of the ,mediterranean2 the blue diapering on the blue ground shows1 in the architectural design1 a ,saracenic influence4 #gab4 ,piece of ,damask ,silk2 ground1 crimson2 pattern1 flowers and vases in white and green4 ,italian1 #agth century4 #h feet #i inches by #a foot #i inches4 ,rich in substance1 and intended for hangings in state rooms4 #gac4 ,skirt of a ,lady's ,dress2 white silk embroidered with flowers in coloured silks1 and gold and silver4 ,chinese1 #ahth century4 #c feet4 ,though well done1 and by a ,chinese hand1 very likely at ,canton or ,macao1 for some ,european lady1 it is far behind1 in beauty1 the ,chinese piece ,no4 #gib4 #gad4 ,christening ,cloak of yellow silk damask2 pattern1 bunches of flowers4 ,lucca1 #agth century4 #g feet #aj inches by #e feet4 ,like other such cloaks1 or scarves1 it has its running string1 and is of a fine rich texture4 #gae4 ,piece of ,silk ,damask2 ground1 dove-coloured white2 pattern1 large foliage in pale green4 ,italian1 #ahth century4 #d feet #h inches by #c feet #h inches4 ,a fine material1 and the bold design well brought out4 #gaf4 ,christening ,cloak of pink satin damask4 ,italian1 #ahth century4 #d feet #h inches by #d feet #f inches4 ,the little sprigs of fruits and flowers are well arranged2 and the pomegranate is discernible among them4 #gag4 ,piece of ,silk ,brocade2 ground1 stone-white chequered silk2 pattern1 deep blue garlands and bunches of flowers1 both dotted with smaller flowers in silver4 ,italian1 #agth century4 #c feet #h inches by #c feet4 #gah4 ,piece of ,embroidered ,silk2 ground1 sky-blue2 pattern1 leaves1 flowers1 and fruit1 in white silk4 ,italian1 #ahth century4 #c feet #h inches by #c feet4 ,the embroidery is admirably done1 and the pomegranate is there among the fruit4 #gai4 ,door-curtain1 crimson worsted velvet2 pattern1 flowers and foliage4 ,italian1 #agth century4 #aj feet #c inches by #d feet #c inches4 ,a very fine and rich specimen of its kind1 and most likely wrought at ,genoa4 #gbj4 ,piece of ,silk2 ground1 white2 pattern1 flowers and foliage1 embroidered in gold thread and coloured silks4 ,chinese1 #ahth century4 #c feet #b inches by #a foot #f inches4 ,another specimen of ,chinese work done for ,europeans1 and most likely after an ,european design2 in character resembling other examples in this collection from the same part of the world4 #gba4 ,piece of ,silk2 ground1 white2 pattern1 flowers and pomegranates embroidered in gold and coloured silks4 ,neapolitan1 #agth century4 #c feet #c inches by #a foot #e inches4 ,the design is rich1 the flowers well-raised1 and the gold unsparingly employed4 #gbb4 ,cradle-coverlet2 white satin quilted1 after a design of fruits1 and branches of leaves upon a chequer pattern4 ,french1 #ahth century4 #c feet #b inches by #c feet4 ,among the fruits the symbolic pomegranate is not forgotten1 perhaps as expressive of the wish that the young mother to whom this quilt may have been given by a lady friend1 might have a numerous offspring1 hinted at by the many pips in the fruit4 #gbc4 ,door-curtain of silk damask2 ground1 crimson2 pattern1 scrolls in gold foliage1 and flowers in coloured silks4 ,italian1 early #agth century4 #f feet #g inches by #c feet #e inches4 ,this is a fine rich stuff2 it is lined with purple satin1 and must have been very effective when in use4 #gbd4 ,chasuble of woven silk2 ground1 white2 pattern1 floral scrolls in green1 and lined pink2 the cross at the back and the two stripes in front in gold lace of an open design4 ,french1 #ahth century4 #d feet #b inches by #b feet #e inches4 ,the open-worked lace is good of its kind4 #gbe4 ,altar-frontal of crimson velvet1 ornamented on three sides with a scroll ornamentation in gold1 and applied2 and with seven armorial bearings all the same4 ,french1 #agth century4 #f feet #a inch by #b feet #f inches4 ,the armorial shield1 as it stands at present1 is--azure a cross ankred sable between two fleur-de-lis argent4 ,on looking narrowly at the azure velvet on which these charges are worked1 it is evident that something has been picked out1 and1 in its place1 the sable-cross has been afterwards wrought in1 thus explaining the anomaly of colour upon colour not in the original bearing4 ,the applied ornaments in gold are in flowers and narrow gold lace1 and of a rich and effective manner4 #gbf4 ,cradle-coverlet of white satin2 embroidered in white1 with a roving border of flowers1 and fringed4 ,french1 #ahth century4 #c feet #e inches by #b feet #h inches4 ,rich in its material1 and nicely wrought4 #gbg4 ,skirt of a ,lady's ,dress2 sky-blue satin1 quilted round the lower border with a scroll of large palmate leaves1 and bunches of flowers1 with an edging of fruits1 in which the pomegranate may be seen4 ,italian1 #ahth century4 #h feet #i inches by #c feet4 ,the pattern in which the quilting comes out is very tasteful2 and the body of this skirt has an ornamentation in quilting of a cinquefoil shape1 and made to lap one over the other in the manner of tiles4 #gbh4 ,piece of ,silk ,damask2 ground1 bright yellow silk ribbed2 pattern1 white plumes twined with brown ribbons1 and bunches of white flowers4 ,lucca1 #agth century4 #h feet #aj inches by #g feet4 ,of rich material and wrought for household use4 #gbi4 ,door-curtain of yellow silk damask2 pattern1 strap-work and conventional foliage4 ,italian1 #agth century4 #g feet #b inches by #e feet4 ,a bold design1 and wrought in a good material4 #gcj4 ,cope of brocaded silk2 ground1 orange-red2 pattern1 foliage1 and bunches of flowers amid white garlands1 in coloured silks4 ,french1 #ahth century4 #aj feet #aj inches by #e feet #f inches4 ,the hood and morse are of the same stuff1 which was evidently meant to be for secular1 not liturgical1 use4 #gca4 ,door-curtain of crimson damask silk2 pattern1 a large broad conventional floriation4 ,italian1 #agth century4 #aj feet by #h feet #aj inches4 #gcb4 ,curtain of pale sea-green damask2 pattern1 large leaves and flowers4 ,italian4 #ag feet #h inches by #ac feet #g inches4 ,the satiny ground throws up the design in its dull tone extremely well2 and the whole is edged with a border of narrow pale yellow lace1 figured with small green sprigs4 #gej4 ,table-cover2 ground1 fine ribbed cream-coloured linen2 pattern1 flowers1 butterflies1 and birds1 embroidered in various-coloured flos-silks4 ,indian1 #agth century4 #g feet by #e feet #f inches2 fringe #c inches deep4 ,the curiosity of this piece is that1 like many such works of the needle from ,india1 the embroidery shows the same on both sides2 and there is evidently a ,gothic feeling in the edgings on the borders of the inner square4 #ghf4 ,scull-cap of white satin2 quilted after an elaborate running design4 ,english1 #agth century1 #aj inches diameter4 ,tradition tells us that this scull-cap belonged to our ,king ,charles the ,first1 and says1 moreover1 that1 at his beheading1 it was worn by that unfortunate ,king4 ,the style of design would not1 as far as art-worth can speak1 invalidate such a history of this royal ownership4 ,its lining is now quite gone4 #gib4 ,piece of ,chinese ,embroidery2 ground1 greyish white satin2 pattern1 girls1 flowers1 birds1 fruits1 and insects in various-coloured flos and thread silks1 and gold4 #aa feet by #a foot #g inches4 ,justly may we look upon this specimen as one among the best and most beautiful embroideries wrought by the ,chinese needle known1 not merely in this country1 but in any part of ,europe4 ,putting aside the utter want of perspective1 and other ,chinese defective notions of art1 it is impossible not to admire the skilful way in which the whole of the piece before us is executed4 ,in the female figures there seems to be much truthfulness with regard to the costume and manners of that country2 and the sharp talon-like length of finger-nails affected by the ladies there is conspicuously shown in almost every hand4 ,the birds1 the insects1 the flowers are all admirably done2 and the tones of colour are so soft and well assorted1 and there is such a thorough ,chinese taste displayed in the choice of tints--tints almost unknown to ,european dyers--that the eye is instantly pleased with the production4 ,the embroidery itself is almost entirely well raised4 #hci4 ,piece of ,velvet ,hanging2 ground1 crimson velvet2 pattern1 large conventional flowers and branches in yellow applied silk4 ,italian1 #agth century4 #f feet #d inches by #a foot #h inches4 ,this piece is rather a curiosity for the way in which its design is done4 ,on the plain length of velvet a pattern was cut1 and the void spaces were filled in with yellow silk1 and the edges covered with a rather broad and flat cording1 and the whole--that is1 velvet and silk--gummed on to a lining of strong canvas1 having the cord only stitched to it4 #hdj4 ,piece of ,applied ,work2 ground1 crimson velvet2 pattern1 large conventional flowers in yellow satin4 ,italian1 #agth century4 #b feet #f inches by #b feet #c inches4 ,here the same system is followed1 but the ground is yellow satin uncut1 the crimson velvet being cut out so as to make it look the ground1 and the real ground the design1 both are1 as above1 gummed on coarse canvas4 #hda4 ,piece of ,velvet ,hanging2 ground1 yellow silk2 pattern1 scrolls and flowers in applied crimson velvet4 ,italian1 #agth century4 #f feet #d inches by #a foot #i inches4 ,executed exactly as ,no4 #hdj4 ,in all likelihood these three pieces served as hangings to be put at open windows on festival days--a custom yet followed in ,italy4 #hdb4 ,piece of ,raised ,velvet2 ground1 pale yellow silk2 pattern1 in raised velvet1 a fan-like floriation in crimson and green4 ,florentine1 #afth century4 #c feet #b inches by #b feet #a inch4 ,a specimen of rich household decoration4 #hdc4 ,raised ,velvet2 ground1 creamy white satin2 pattern1 the artichoke amid wide-spreading ramifications in crimson raised velvet4 ,genoese1 #agth century4 #b feet #a inch by #a foot #h inches4 ,intended for household furniture4 ,when hung upon the walls of a large room this stuff must have had a fine effect4 #hhb4 ,skirt of ,female ,attire2 ground1 coarse white linen2 pattern1 a broad band of blue worsted1 figured with flowers and animals in white thread1 and the broad edging of crochet work4 ,german1 #agth century4 #c feet #h inches by #b feet #h inches deep4 ,this piece of embroidery must have been for secular personal use1 and not for any ecclesiastical employment1 and very likely was part of the holyday dress of some country girl in ,germany or ,switzerland4 ,the blue embroidery1 though of a bold well-raised character1 is coarse2 so1 too1 is the lace below it4 #ajbi4 ,an ,algerine ,embroidered ,scarf2 ground1 very thin canvas2 pattern1 a modification of the artichoke form1 and ramifications in various-coloured flos-silks1 and parted by short bands of brace-like work in white flos-silk4 #b feet #c inches by #a foot #c inches4 ,neither old1 nor remarkable as an art-work4 #ajcj4 ,table-cover of linen1 embroidered in white thread1 with flowers1 vases1 trophies1 and monograms4 ,french1 #ahth century4 #d feet #d inches by #c feet #aj inches4 ,this beautifully-executed piece of needlework is richly deserving a notice from those who admire well-finished stitchery1 which is here seen to advantage4 ,in the centre is a basket with wide-spreading flowers1 upon each side of which is a military trophy consisting of cannon-balls1 kettle-drums1 other drums1 knights' tilting-lances1 halberts1 swords1 cannon1 trumpets1 all gracefully heaped together and upholding a herald's tabard blazoned with a leopard rampant1 by the side of which1 and drooping above1 are two flags1 one showing the three fleurs-de-lis of ,france1 and the other with a charge that is indistinct2 and the whole is surmounted by a full-faced barred helmet wreathed with a ducal coronet1 out of which arises a plume of ostrich feathers2 on the other sides are two elegantly-shaped vases full of flowers4 ,at each of the four corners of this inner square is the monogram ,a4 ,m4 ,v4 ,p4 ,t4 between boughs1 and surmounted by a ducal coronet2 and at every corner of the border below is a flaming heart pierced by two arrows1 while all about are eagles with wings displayed and heads regardant1 seemingly heraldic4 #ajca4 ,piece of ,silk ,brocade2 ground1 white2 pattern1 large red flowers seeded yellow1 and foliage mostly light green4 ,lyons1 #ahth century4 #b feet #aj inches by #a foot #i inches4 ,a specimen of one of those large showy flowered tissues in such favour all over ,europe during the last century1 as well as in the earlier portion of the present one1 for church use4 ,the example before us1 in all probability1 served as a bishop's lap-cloth at solemn high mass2 for which rite1 see 8,the ,church of our ,fathers10 i4 #dji4 #ajcb4 ,piece of ,silk and ,silver ,brocade2 ground1 a brown olive2 pattern1 large flowers1 some lilac1 but mostly bright crimson1 intermixed with much silver ornamentation4 ,lyons1 #ahth century4 #b feet #h inches1 by #a foot #h inches4 ,another specimen of the same taste as ,no4 #ajca1 but even more garish4 ,like it1 it seems to have served the purpose of a liturgical lap-cloth1 or1 as it used to be called1 a barm-cloth4 #ajcc4 ,lectern-veil2 ground1 yellow satin2 pattern1 conventional flowers in applied velvet in blue1 green1 and crimson4 ,italian1 early #agth century4 #f feet #f inches by #a foot #h inches4 ,in fact the whole of this liturgical veil for the deacon's book-stand is of the so-called 8applied style20 that is1 of pieces of satin and of velvet cut out to the required shape1 and sewed on the canvas ground1 and the edges bordered with a cord of silk1 mostly white2 and altogether it has a rich appearance4 #ajce4 ,bed-coverlet2 ground1 white thread net2 pattern1 flowers in white thread4 ,spanish1 #agth century4 #f feet #e inches by #e feet #c inches4 ,this specimen of netting and crochet needlework displays much taste in its design of flowers1 among which the rose and the pomegranate are very conspicuous4 ,it was wrought in four strips joined together by narrow linen bands1 and the whole edged with a shallow fringe4 #ajcg1 #ajcg;,a4 ,pieces of ,stuff for ,silk ,sashes2 pattern1 perpendicular bars1 some whity-brown figured with gold and silver flowers1 some plain olive green1 and bordered on both edges of the stuff with bands of whity-brown ornamented with sprigs of gold flowers4 ,oriental1 #afth century4 #b feet #d inches1 by #aa inches4 ,the trimming and cross1 done in tinsel1 show that its last ,european use was for the church2 in the ,east1 such silken stuffs1 in long lengths1 are worn about the waist by men and women as a sash or girdle4 #ajch4 ,chasuble-back2 ground1 green satin2 design1 scrolls in raised red silk thread4 #ahth century4 ,satin1 ,french4 #c feet #h inches by #b feet #b inches4 ,very likely the satin formed some part of a lady's gown1 and for its richness was given to the church for making vestments4 ,as a ritual garment it could not have looked well1 nor is its gaudy red embroidery in good taste for any ecclesiastical purpose4 #ajci4 ,waistcoat-pattern1 embroidered and spangled4 ,second half of the #ahth century4 ,french4 #aj inches by #g inches4 ,of such stuffs were gentlemen's vests made in ,paris under ,louis ,,xv41 and in ,london at the beginning of ,george ,,iii4's reign4 #aaid1 #aaie4 ,orphreys for a ,chasuble2 ground1 crimson silk2 design1 an angel-choir in two rows amid wreaths1 of which the flowers are silver and the leaves gold1 some shaded green2 on the back orphrey are two heraldic bearings4 ,german1 very late #aeth century4 ,this beautifully-wrought specimen of ,rhenish needlework1 most likely done at ,cologne1 consists of twenty-six small figures of winged angels robed in various liturgical vestments1 and playing musical instruments of all sorts--some wind1 some stringed4 ,of these celestial beings several wear copes over their white albs2 others have over their albs narrow stoles1 in some instances crossed upon the breast as priests1 but mostly belt-wise as deacons3 other some are arrayed in the sub-deacon's tunicle1 and the deacon's dalmatic3 thus vested they hold the instrument which each is playing2 and no one but a ,german would have thought of putting into angels' hands such a thing as the long coarse aurochs' horn wherewith to breathe out heavenly music4 ,on the front orphrey are ten of such angels2 on the one made in the shape of a cross1 for the back of the chasuble1 there are sixteen4 ,at both ends of the short beam or transom of this cross we find admirably-executed armorial bearings4 ,the first blazon--that to the left--shows a shield gules an inescutcheon argent1 over all an escarbuncle of eight rays or1 for ,,cleves2 dimidiated by1 or a fess checky argent and gules1 for ,,marck2 surmounted by a helmet argent crested with a buffalo's head cabosed gules1 having the shut-down bars of the helmet's vizor thrust out through the mouth of the animal1 which is crowned ducally or the attire argent passing up within the crown2 and the mantlings gules4 ,as if for supporters1 this shield has holding it two angels1 one in a tunicle1 the other in a cope4 ,the second shield--that on the right hand1--shows gules an inescutcheon argent1 over all1 an escarbuncle of eight rays or1 crested and supported as the one to the left1 thus giving1 undimidiated1 the blazon of the then sovereign ducal house of ,,cleves4 ,all these ornaments1 armorial bearings1 angels1 flowers1 and foliage1 are not worked into1 but wrought each piece separately1 and afterwards sewed on the crimson silk ground1 which is the original one2 they are 8cut work40 ,the angels' figures are beautifully done1 and their liturgic garments richly formed in gold1 as are the leaves and stems of the wreaths bearing large silver flowers4 ,from its heraldry we may fairly assume that the chasuble1 from which these handsome orphreys were stripped1 belonged to the domestic chapel in the palace of the ,dukes of ,cleves1 and had been made for one of those sovereigns whose wife was of the then princely stirring house of ,de la ,marck4 ,as was observed1 while describing the beautiful ,syon ,cope1 ,no4 #iahb1 the nine choirs of angels separated into three hierarchies is indicated here also2 and the distinction marked by the garments which they are made to wear in these embroideries2 some are clothed in copes1 others in tunicles1 the remainder1 besides their narrow stoles1 in long-flowing white albs only--that emblem of spotless holiness in which all of them are garmented1 as with a robe of light4 ,the bushiness of the auburn hair on all of them is remarkable1 and done in little locks of silk4 ,for a student of medival music1 this angel-choir will have an especial interest2 but1 to our thinking1 neither this1 nor any other production of the subject1 whether wrought in sculpture1 painting1 or needlework1 hitherto found out on the ,continent1 at all comes up in beauty1 gracefulness1 or value1 to our own lovely minstrel-gallery in ,exeter ,cathedral1 or the far more splendid and truly noble angel-choir sculptured in the spandrils of the triforium arches in the matchless presbytery at ,lincoln ,minster4 ,a cast of the ,exeter minstrel-gallery is put up here on the western wall of the north court1 and among the casts lent by the ,architectural ,society are those of the angels in ,lincoln4 ,of the musical instruments themselves1 we see several in these two pieces of cut-work4 ,beginning with the back orphrey1 marked ,no4 #aaid at top1 the first of the two angels is playing with the fingers of both hands an instrument now indiscernible2 the second1 the lute2 below them one is beating a tabour with a stick2 the other is turning the handle of the gita1 our hurdy-gurdy4 ,after these we have an angel blowing a short horn1 while his fellow angel strikes the psaltery4 ,then an angel robed as a deacon in alb1 and stole worn like a belt falling from his right shoulder to under his left arm1 sounding the sistrum or ,jew's harp1 and his companion fingers with his right hand a one-stringed instrument or ancient monochord4 ,in the last couple1 one with a large bow is playing the viol1 a long narrow instrument with several silver strings4 ,on the orphrey1--made in the shape of a cross and worn on the back of the chasuble1 ,no4 #aaie1--the first angel plays the pan-pipes2 the second1 a gittern1 or the modern guitar2 the next two show one angel1 as a deacon in dalmatic1 jingling an instrument which he holds by two straps1 hung all round with little round ball-like bells2 and his companion1 robed in alb and stole crossed at the breast like a priest1 ringing two large hand-bells2 lower down1 of the two angels both vested as deacons1 one blowing a large1 long curved-horn1 like that of the aurochs1 the other1 the shalmes or double-reeded pipe4 ,below these1 one in alb and stole1 belt-wise as a deacon1 blows a cornamuse or bag-pipe2 the other1 as deacon1 the aurochs' horn4 ,then a deacon angel has a trumpet2 his fellow1 a priest in alb and crossed stole1 is playing a triangle2 last of all1 one plays a tabour1 the other the monochord4 ,so noteworthy are these admirable embroideries1 that they merit particular attention4 #abcc4 ,a stole2 ground1 very pale yellow silk2 design1 an interlacing strap-work in the greater part2 for the expanding ends1 a diamond in gold thread1 with a fringe of silk knots alternately crimson and green2 the lining1 thin crimson silk4 ,english or ,french1 #acth century4 #i feet #i inches by #a inches in the narrow parts1 and #b inches in the expanded ends4 ,another of those specimens of weaving in small looms worked by young women in ,london and ,paris1 during the #acth century1 which we have met in this collection4 ,as the expanded ends are formed of small pieces of gold web they were wrought apart1 and afterwards sewed on to the crimson silk ground4 ,the design of the narrow part has all along its length1 at its two edges1 a pair of very small lines1 now brown1 enclosing a dented ornament4 ,as a liturgical appliance1 this stole1 for its perfect state of preservation1 is valuable2 ,dr4 ,bock says that a stole called ,st4 ,bernhard's1 now in the church of our ,lady at ,treves1 as well as another curious one in the former cathedral at ,aschaffenburg1 are in length and breadth1 just like this4 #abcd4 ,tissue of ,silk and ,cotton2 the warp1 cotton2 the woof1 silk2 ground1 green2 design1 so imperfect that it can hardly be made out1 but apparently a monster bird in yellow1 lined and dotted in crimson2 standing on a border of a yellow ground marked with crosses and mullets of four points4 ,syrian1 late #abth century4 #f inches by #d inches4 ,when perfect this stuff must have been somewhat garish1 from its colours being so bright and not well contrasted4 #abce4 ,tissue of ,silk and ,cotton2 the warp1 silks of different colours2 the woof1 fawn-coloured fine cotton2 design1 stripes1 the broader ones charged with wild beasts1 eagles1 and a monster animal having a human head2 the narrow bands showing a pretended ,arabic inscription4 ,syrian1 #acth century4 #ac inches by #b inches4 ,so very torn and worn away is this piece that the whole of its elaborate design cannot be made out2 but enough is discernible to prove an ,asiatic influence4 ,the monster1 with the human face staring at us1 calls to mind the ,nineveh sculptures in the ,british ,museum4 #abcf4 ,silk ,damask2 ground1 crimson silk2 pattern1 in gold thread1 two very large lions1 and two pairs1 one of very small birds1 the other of equally small dragons1 and an ornament not unlike a hand looking-glass4 ,oriental1 #adth century4 #b feet #e inches by #b feet inch4 ,a piece of this same stuff is described under ,no4 #gjcd in this catalogue2 and ,dr4 ,bock1 in his useful work1 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 t4 i4 plate iv4 has figured it4 #abcg4 ,tissue of ,silk2 ground1 dull reddish deep purple2 design1 a lozenged diapering4 ,south ,italian1 #acth century4 #f inches by #e inches4 ,so thin is this web that we may presume it was meant as a stuff for lining garments of a richer texture4 #abch4 ,piece of ,linen1 or the finest byssus of antiquity4 ,egyptian4 #e inches by #c inches4 ,whether this very curious example of that rare and fine tissue known in classic times1 and later1 as byssus1 was of medival production in ,egypt1 or found in one of the ancient tombs of that land1 would be hard to determine4 ,another equally fine and no less valuable specimen may be seen in this collection1 ,no4 #hbcj4 ,from ,dr4 ,bock we learn that the sudary of our ,lord1 given to the ,abbey of ,cornelimnster1 near ,aix-la-,chapelle1 by the ,emperor ,louis the ,pious1 circa ,a4,d4 #hbj1 was much like the present example4 #abci4 ,piece of ,silk ,damask2 ground1 creamy white2 design1 broad-banded lozenges1 enclosing a two-headed displayed eagle1 and a pair of birds addorsed1 each within an oval4 ,greek1 #aath century4 #aj inches by #g inches4 ,it is said to have been a fragment of the imperial tunic belonging to ,henry ,,ii1 ,emperor of ,germany2 and not unlikely4 ,if wrought for the occasion1 and a gift from his imperial brother-,emperors of ,constantinople1 ,basil and ,constantine1 worthy was it for their sending and of his acceptance1 since the silk is rich1 the texture thick1 and the design in accordance with the ensigns of ,german royalty4 ,in shreds1 and ragged as it is1 we may prize it as a valuable piece4 #abdj4 ,piece of ,silk and ,cotton ,damask2 ground1 a yellowish green2 design1 large elliptical spaces filled in with ,saracenic figurations4 ,the warp is of green cotton1 the woof1 of pale yellow silk4 ,south of ,spain1 #adth century4 #af inches by #d inches4 ,this strong stuff most likely came from the looms of ,granada4 #abdj;,a4 ,piece of ,silk and ,cotton4 ,another piece of the same texture4 #abda4 ,silk and ,cotton ,damask2 ground1 blue2 design1 circles filled in with conventional ornamentation in crimson 7now faded74 ,greek1 #acth century4 #ae inches by #g inches4 ,in some very small parts of the pattern1 at first sight1 indications appear of four-footed animals1 but the outlines are a fortuitous combination4 ,this stuff is poor in material1 and the design not very artistic4 #abdb4 ,silk and ,cotton ,damask2 ground1 light green2 design1 a ,saracenic pattern formed by lines in long lozenges4 ,south of ,spain1 #adth century4 #i inches by #g inches4 ,much like in tint and style of pattern the fine specimen at ,no4 #abdj4 ,in both the ,moslem's sacred colour of green may be noticed1 and the two pieces may have been woven at ,granada4 #abdc4 ,damask1 silk and linen2 ground1 crimson and yellow stripes2 design1 on the crimson stripes1 circles enclosing a lion rampant1 and six-petaled flowers1 in yellow2 on the yellow1 one stripe with flowers in white silk1 the other with flowers in gold1 now faded black4 ,syrian1 #adth century4 #g inches by #f inches4 ,the quality of this damask is coarse1 from the great quantity of thread of a thick size wrought up in it4 ,the design has no particular merit4 #abdd-abdd;,c4 ,pieces of ,damask2 ground1 gold2 design1 in crimson silk1 broad round hoops1 marked with a golden floriation1 and enclosing a lion passant1 the spaces between the hoops filled in with a floriated square topped by fleur-de-lis4 ,sicilian1 #adth century4 ,each piece about #d inches square4 ,when whole the design of this rich stuff must have been effective1 and the fragments we here have prove it to have been sketched in a bold free style4 ,unfortunately1 so bad was the gold that1 in places1 it has turned green4 ,the warp is of a thick linen thread1 but1 though it gives a strength to the texture1 is not to be perceived upon its face4 #abde4 ,piece of ,silk and ,gold ,damask2 ground1 crimson silk2 design1 a net-work formed by cords twined into circles enclosing four ,v's1 put so as to form a cross1 and the meshes filled in alternately with a flower and a leaf1 each surrounded by a line like an eight-petaled floriation1 all in gold thick thread4 ,sicilian1 #adth century4 #e inches by #d inches4 ,the way in which the pattern affects the form of a cross in its design is remarkable4 #abdf4 ,silk ,damask2 ground1 brick-red2 design1 within broad-banded squares1 ornamented with stars and flowers1 a large double-headed eagle with wings displayed4 ,greek1 #acth century4 #ab inches by #h inches4 ,being so very thin in texture1 it is not surprising that this stuff is in such a tattered condition4 ,when new1 it must have been meant1 not for personal wear1 but rather for church purposes1 or household use1 as the hanging of walls4 ,its design is not happy1 and the ornamentation about the eagle thick and heavy4 #abdg4 ,narrow ,web for ,orphreys2 ground1 a broad stripe of crimson silk between two narrow ones of green2 design1 a succession of oblong six-sided spaces in gold1 filled in with a sort of floriated cross having sprouting from both ends of the upright beam1 stalks bending inwards and ending in a fleur-de-lis1 all in red silk4 ,french1 #acth century4 #c inches by #a- inches4 ,of this kind of textile1 wrought by women in a small loom1 we have before us in this collection several specimens2 and what was done by poor females at the time in ,england and ,france1 it is likely was performed by industrious women elsewhere4 ,the fleur-de-lis upon this fragment leads us to think of ,france2 but ,dr4 ,bock informs us that laces much like this in pattern were observed upon the royal robes in which two princes of the imperial house of the ,hohenstaufen were clad for their burial1 when their graves were opened in the cathedral of ,palermo4 #abdh4 ,piece of ,silk and ,gold ,brocade2 ground1 blue silk2 design1 a broad border with large pretended ,arabic letters1 and a griffin787 segreant1 both in gold4 ,sicilian1 early #acth century4 #h inches by #d- inches4 ,the heraldic monster-bird here1 supposed to be a griffin1 is drawn and executed in a very spirited manner4 #abdi4 ,linen1 embroidered1 in gold and silk1 with the figure of a king4 ,german1 late #abth century4 ,diameter #f inches4 ,the figure of this grim-bearded personage is carefully worked1 and the gold employed is good though thin4 ,upon his head he wears a crown1 such as are figured upon the monuments of the time2 the face is badly drawn1 but the ermine lining of his mantle is carefully represented4 #abej4 ,an ,orphrey2 ground1 gold2 design1 various subjects from ,holy ,writ1 with borders2 the whole length figured with monsters1 floriations1 and an inscription4 ,french1 #acth century4 #d feet #b inches by #g inches4 ,in all probability this orphrey belonged to the back of a chasuble1 and1 as such1 the subjects figured in it would find an appropriate place there2 but it ought to be observed that1 in reality1 it is made up of four portions1 the two narrow bands1 besides the long and the short lengths of the middle or broad parts which they border4 ,at top we have the ,crucifixion1 wherein each of our ,lord's feet is fastened by its own separate nail4 ,on one side of ,his head is the sun1 on the other the moon2 ,st4 ,mary and ,st4 ,john are standing on the ground beside ,him2 and1 at the cross's foot1 looks out a head1 that of ,adam1 which1 whether from accident or design1 has very much the shape of a lion's with a shaggy mane2 one of the symbols belonging to our ,lord is a lion1 in token of the resurrection4 ,some way down a female1 crowned and wimpled1 bears in both her hands1 which are muffled in a veil1 a golden-covered cup1--very likely ,mary ,magdalen1 with her vessel full of costly spikenard for anointing our ,saviour's feet against the day of ,his burying4 ,opposite to her is ,st4 ,michael1 spearing ,satan1 an emblem of the great atonement1 as is shown under ,no4 #iahb1 while describing the ,syon ,cope4 ,lower down we have the three women or1 as they are sometimes called1 ,maries1 with their sweet spices1 and the angel telling them of the uprising of our ,redeemer4 ,lower yet1 our ,lord's ,ascension is represented by showing ,him seated in majesty with both ,his arms outstretched1 within an almond-shaped glory4 ,on the second or shorter length1 and1 as far as the ,gospel history is concerned1 out of its due place1 we behold the ,annunciation1 and a little under that subject a row of four nimbed and seemingly winged heads1 like those of the cherubim1 may be symbols of the four evangelists4 ,at each side of these subjects runs a border of gold wrought with lions crowned1 and imaginary winged monster-animals separated by graceful floriations2 and on one of these borders1 at the lower end1 is worked this inscription--8,odilia me fecit10 in nicely shaped letters4 ,this female name was common in ,auvergne1 where ,st4 ,odilo1 the sixth abbot of ,cluni1 was born1 a son of the noble house of ,mercur1 and1 to our thinking1 it is very likely this ,odilia was a daughter of one of the lords of that once great family in the ,south of ,france4 ,so worn away is this curious orphrey that often the several subjects figured on in the loom1 and not by the needle1 can be hardly made out till held in various lights4 #abea4 ,printed ,silk ,taffeta2 ground1 very light purple2 design1 a scroll1 block-printed in deeper purple1 and edged black4 ,sicilian1 #acth century4 #h inches by #f inches4 ,the boughs1 sprouting into a sort of trefoil1 are gracefully twined with a bold free hand2 and the scroll reminds us of much of the like sort of ornament found1 in this country1 on various art-works of its time4 ,as an early specimen of block-printing upon silk1 it is valuable and rare4 #abeb4 ,part of an ,altar-,frontal1 embroidered1 in coloured threads1 upon coarse canvas2 design1 within a medallion1 the ground1 light blue and broad border1 fawn-colour1 a figure1 seated1 holding in his left-hand a staff1 and having on his knee an open book inscribed1--8,ego sum ,liber ,vite40 ,the figure is clothed in a girded white tunic1 and a mantle now fawn-coloured2 but the head is so damaged that the personage cannot be recognized2 the probability is that it represents our ,lord in majesty1 having the staff of a cross in one hand and giving ,his blessing with the other4 ,german1 early #abth century1 #ab inches by #aj inches4 #abeb;,a4 ,part of an ,altar-,frontal2 design1 the busts of two winged and nimbed angels1 within round arches1 bearing between them a white scroll with these words--8,deus ,sabaoth40 ,this was a portion of the frontal mentioned above4 ,german1 early #abth century4 #ag inches by #g inches4 ,in both pieces the parts now fawn-coloured have faded into such from crimson4 #abec4 ,silk ,damask2 ground1 fawn-colour2 design1 in light green1 a sprinkling of fleur-de-lis amid griffins1 in pairs1 rampant1 regardant4 ,sicilian1 #adth century4 #aj inches by #h inches4 ,the pattern is not of that spirited character found on many of the earlier specimens of the ,sicilian loom2 the griffins1 especially1 are weakly drawn4 ,the fleur-de-lis would signify that it was wrought for some ,french family or follower of the house of ,anjou4 #abed4 ,silk ,damask2 ground1 crimson2 design1 a diapering of birds pecking at a cone-like ornament ending in a fleur-de-lis1 all in yellow4 ,sicilian1 #adth century4 #e inches by #d inches4 ,a very thin stuff with a pattern of a small but pretty design4 ,what the birds are with their long square tails is hard to guess2 so1 too1 with respect to the ornament between them1 like a fir-cone purfled at its sides with crockets1 and made to end in a flower1 which may have some reference to the ,french family of ,anjou1 once reigning in ,sicily4 ,the stuff itself is poor and may have been woven for linings to richer silks4 #abee4 ,shred of ,silk ,damask2 ground crimson2 design1 seemingly horsemen separated by a large circular ornament in one row1 and the gable of a building in the other1 in yellow and blue4 ,greek1 #abth century4 #h inches by #f inches4 ,though this stuff be thin and poor1 the design1 could it be well seen1 would be curious4 ,the circle seems a leafless but branchy tree1 with a low wall round it2 and the gable is full of low pillared arches with voids for windows in them4 #abef4 ,fragments of ,narrow ,orphrey ,web2 ground1 crimson2 design1 in gold ramified scrolls1 with beasts and birds4 ,english or ,french1 #acth century1 #aj inches by #c inches4 ,this very handsome piece is another specimen of the small loom worked by young women1 as before noticed2 and may have served either for sacred or secular use4 ,the band is parted into spaces by a thin chevron1 and each division so made is filled in with tiny but gracefully-twined boughs1 among which some times we have a pair of birds1 at others a pair of collared dogs2 at top another arrangement took place1 but no more of it remains than the body of a lion4 #abeg4 ,silk and ,thread ,tissue2 ground1 stripes of red1 green1 and yellow2 design1 rows of circles1 large and small1 with a conventional flower between1 the large circles red1 the small ones merely outlined in white4 ,greek1 #acth century4 #h inches by #f inches4 ,even when new it must have been flimsy1 and could have served but for a lining4 ,of exactly the same design1 but done in other and fewer colours1 a specimen now at ,paris is figured in the 8,mlanges d',archologie10 tome iii4 plate #ae4 #abeh4 ,silk and ,cotton ,damask2 ground1 yellow2 design1 a net-work with six-sided meshes1 each filled in with flowers and foliage in deep dull purple4 ,italian1 late #acth century4 #ad inches by #aj inches4 ,the well-turned and graceful foliation to be seen in architectural scroll-work1 on monuments raised at the period1 enters largely into the design2 and for its pattern1 though poor for the quantity of its silk1 this specimen is very good4 #abei4 ,piece of a ,napkin2 ground1 nicely diapered in lozenges1 all white2 design1 horizontal dark brown stripes1 with a lined pattern in white upon them4 ,flemish1 #afth century4 #bd inches by #ac inches4 ,most likely ,yprs sent forth this pleasing example of fine towel linen4 #abfj4 ,embroidery for liturgical use2 ground1 dark blue silk2 design1 our ,lord1 as the 8,man of ,sorrows10 within a quatrefoil flowered at the barbs in gold thread sewed on with crimson silk4 ,italian1 #aeth century4 #f inches square4 ,the figure of our ,redeemer1 wrought upon linen with white silk1 much of which is worn away1 is holding ,his wounded hands cross-wise1 and a scourge under each arm4 ,from ,his brows1 wreathed with thorns1 trickle long drops of blood2 and the whole1 with the large bleeding gaping wound in ,his side1 strikingly reminds us of the wood-cut to be found at the beginning of our ,salisbury ,grails1 or choir-books1 with those anthems sung at high mass1 called graduals4 ,in ,england such representations were usually known under the name of 8,s4 ,gregory's ,pity10 as may be seen in 8,the ,church of our ,fathers10 t4 i4 p4 #ec4 ,this embroidery is figured by ,dr4 ,bock1 in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 ,i4 ,band1 #aa4 ,lieferung1 pl4 #ad4 #abfa4 ,the ,embroidered ,apparel for an ,amice2 ground1 crimson flos-silk1 now faded2 design1 large and small squares1 green1 blue1 and purple1 filled in with gold1 and modifications of the gammadion1 in white or crimson silks4 ,german1 #adth century4 #ad inches by #e inches4 ,this apparel is made out of three pieces1 and stiffened with parchment2 and is bordered by a narrow but effective lace of a green ground1 bearing circles of white and red1 parted by yellow4 ,the brown canvas upon which it is worked is very fine of its kind2 and the gold1 which is of a good quality1 is of narrow tinsel strips4 ,from age1 or use1 the design is worn away from a great portion of the ground1 and the pattern was a favourite one for liturgical appliances up to the #afth century4 #abfb4 ,maniple2 embroidered1 in various-coloured silk1 upon brown canvas2 design1 a net-work in bright crimson1 the lozenge-shaped meshes of which1 braced together by a fret1 are filled in with a ground alternately yellow charged with modifications of the gammadion in blue1 and green1 with the same figure in white voided crimson4 ,the extremities are cloth of gold1 both edged with a parti-coloured fringe1 and one figured with a lion in gold on a crimson field4 ,german1 #adth century4 #c feet #aa inches by #c inches4 #abfc4 ,napkin of linen embroidered in white thread2 ground1 plain white linen2 design1 a conventional rectangular floriation1 filled in with other floriations1 and in the middle an eight-petaled flower1 and in the square intervening spaces outside a fleur-de-lis shooting out of each corner1 all in white broad thread4 ,german1 late #adth century4 #bc inches by #ac inches4 ,like many other examples of the kind1 the present one can show its elaborate and beautifully-executed design only by being held up to the light1 when it comes forth in perfection4 #abfd4 ,silk ,damask2 ground1 crimson2 design1 a net-work in broad bands of yellow silk and gold wrought like twisted cords1 and the meshes1 which are wreathed inside with a green garland bearing green and white flowers1 filled in with a conventional artichoke in yellow silk mixed with gold thread1 and edged with a green and white border4 ,spanish1 early #afth century4 #ag inches by #ae inches4 ,as a furniture-stuff1 this must have been very effective2 and from the under side being thickly plastered with strong glue1 the last service of the present piece would seem to have been for the decoration of the wall of some room4 #abfe4 ,silk ,damask2 ground1 deep blue1 or violet2 design1 a sprinkling of small stars and rows of large angels1 some issuing from clouds and swinging thuribles in the left hand1 others kneeling in worship with uplifted hands1 bearing crowns of thorns1 and the last row kneeling and holding up before them a cross of the ,latin shape4 ,florentine1 late #adth century4 #ba inches by #ac inches4 ,from its form this piece seems to have been cut off from a chasuble2 and the stuff itself1 it is likely1 was woven expressly for the purple vestments worn in ,lent1 and more particularly during ,passion time4 ,at ,no4 #gjgb another portion of the same damask is described4 #abff4 ,triangular ,piece of ,yellow ,silk2 ground1 light yellow2 design1 a netting filled in with eight-petaled roses and circles enclosing other flowers1 all in white4 ,greek1 #adth century4 #i inches4 ,lined as it is with stout blue canvas1 this piece may have been in liturgical use1 and1 in all likelihood1 served as the hood to some boy-bishop's cope4 ,about the boy-bishop himself and his functions1 according to our old ,salisbury ,rite1 see 8,church of ,our ,fathers10 t4 iv4 p4 #bae4 #abfg4 ,tissue1 silk upon linen2 ground1 white2 design1 broad circles filled in with floriated ornamentation1 bearing in the middle a five-petaled purple flower4 ,italian1 early #adth century4 #g inches by #c inches4 #abfg;,a4 ,another ,piece of the same ,tissue4 #ab inches by #b inches4 ,the thread in the warp of this stuff is more than usually thick2 and so sparingly is the silk employed on its pattern1 that in its best days it could have looked but poor4 #abfh4 ,silk and ,cotton ,damask2 ground1 yellow silk mixed with cotton2 design1 a sprinkling of eight-rayed voided stars1 in dusky purple4 ,italian1 #adth century4 #e inches by #b inches4 ,a thin stuff for linings4 #abfi4 ,silk and ,gold ,damask2 ground1 light fawn-colour in silk2 design1 a large conventional flower enclosing another flower of the same character1 which is filled in with a double-headed eagle displayed1 and the spaces between the large flowers diapered with foliage shooting from a sort of fir-cone1 at the top of which are birds in pairs hovering over the plant and having a long feather drooping from the head1 all in gold thread4 ,sicilian1 early #adth century4 #aj inches by #i inches4 ,illustration3 #abfi4 ,,silk ,,and ,,gold ,,damask4 ,sicilian1 #adth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,though not so spirited in the drawing of its pattern1 and the gold so poor and bad that it has become almost lost to the eye1 this stuff is a valuable item in the collection4 ,the eagle1 with its double head1 and wings displayed1 would lead to the belief that it had been wrought to the order of some emperor of ,germany1 or for some ,sicilian nobleman who cherished a love for the house of ,hohenstaufen4 #abgj4 ,part of a ,maniple2 ground1 cloth of gold2 design1 in needlework1 ,st4 ,blase and ,st4 ,stephen4 ,english or ,french1 #acth century4 #ab inches by #f inches4 ,both with regard to its golden cloth1 and the figures upon it1 this piece is very valuable4 ,the stuff is of that kind which our countryman1 ,john ,garland1 tells us was wrought by young women at his time1 and shows1 in its grounding1 a pretty zig-zag pattern4 ,the two kneeling figures1 though done in mere outline of the scantiest sort1 display an ease and gracefulness peculiar to the sculpture and illuminations in ,england and ,france of that period4 ,st4 ,blase is shown us vested in his chasuble and mitre--low in form--with a very long grey beard1 and holding a comb in one hand--the instrument of his martyrdom2 ,st4 ,stephen is robed as a deacon1 and kneeling amid a shower of large round stones1 pelted at him on all sides4 #abga4 ,silk and ,gold ,damask2 ground1 light green silk2 design1 griffins passant and fleur-de-lis in one row1 fleur-de-lis and slipped vine-leaves arising from two tendrils formed like the letter ,c1 and put back to back1 all in gold4 ,sicilian1 #adth century4 #ab inches by #g inches4 ,the whole of this pattern is thrown off with great freedom1 and an heraldic eye will see the boldness of the griffins4 ,the vine-leaves are as crispy as any ever seen upon such stuffs1 and the whole does credit to the royal looms of ,palermo1 where it was probably wrought at the command of the prince1 for himself1 or as a gift to some ,french royalty4 ,an exactly similar stuff to this may be found at ,no4 #gjfa2 and it is said that the robes now shown at ,neuburg1 near ,vienna1 are traditionally believed to have been worn1 at his marriage1 by ,leopold the ,holy4 #abgb4 ,silk and ,cotton ,stuff2 ground1 light purple cotton2 design1 small but thick foliage1 interspersed with birds of various kinds1 in pairs and face to face1 in amber-coloured silk4 ,sicilian1 #adth century4 #i inches by #g inches4 ,though so small in its elements1 this is a pleasing design1 and extremely well drawn1 like all those from ,palermo4 #abgc4 ,silk and ,cotton ,damask2 ground1 of cotton1 a light orange2 design1 within a ten-cusped circle1 and divided by the thin trunk of a tree1 two cocks1 face to face1 all in gold thread1 upon a purplish crimson ground1 and between the circles an ornamentation in which a small crown tipped with fleur-de-lis1 over a lion passant gardant1 is very frequent in gold4 ,sicilian1 late #adth century1 #aj inches by #c inches4 ,though such a mere rag1 this piece is so far valuable1 as it shows that ,france then got her silken stuffs from ,sicily1 and1 in this instance1 perhaps sent her own design with her ,gallic cock1 and her fleur-de-lis mingled so plentifully in it4 ,how or why the lion is there cannot be explained4 #abgd4 ,silk ,damask2 ground1 fawn-colour2 design1 parrots1 and giraffes in pairs1 amid floriated ornamentation1 all1 excepting the parts done in gold1 of the tint of the ground4 ,sicilian1 #acth century4 #bj inches by #aj inches4 ,upon an egg-shaped figure1 nicely filled in with graceful floriated ornaments1 stand two parrots1 breast to breast1 but with heads averted1 which 7as well as their pinion-joints1 marked by a broad circle crowded with little rings on their wings1 and legs and claws7 are wrought in threads of gold1 all now so tarnished as to look as if first worked in some dull purple silk4 ,their long broad perpendicular tails have the feathers shown by ,u shaped lines1 looking much like the kind of ornamentation noticed under ,nos4 #heia1 #heif1 #heii4 ,below1 and back to back1 or--as some may choose to see them--affronted1 and biting the stems of the foliage1 are two giraffes1 with one leg raised--may be better described as tripping4 ,they are specked all over with quatrefoil spots1 and have head and hoofs done in gold1 now faded to black4 ,this stuff is as beautiful in design as substantial in its material1 being all of good fine silk2 though so poor and sparing was the gold upon the thread1 that it has quite faded4 ,from the curve at the upper end1 this piece seems to have been cut out of an old chasuble4 #abge4 ,silk ,damask 7made up of four pieces72 ground1 brown1 once purple2 design1 in gold thread and coloured silks1 griffins1 eagles1 and flowers4 ,sicilian1 early #acth century4 #ai inches by #ai inches4 ,at top we have a row of griffins looking to the east1 mostly wrought in gold1 but relieved on coloured silks1 and having at the pinion-joints of the wing that singular circle1 filled in with a small design2 then a row of conventional flowers in red1 crimson1 green1 and white1 and1 last of all1 a row of eagles at rest1 done mostly in gold1 slightly shaded with green1 and looking west4 ,the beasts and birds are admirably drawn1 and when the stuff was new it must have been very fine and effective1 though now the gold looks shabby4 #abgf4 ,stole1 of silk and gold damask2 ground1 purple silk2 design1 mostly in gold1 pricked out with green silk1 a floriated oval1 filled in with a pair of young parded leopards1 addorsed regardant1 and wyverns regardant in couples4 ,sicilian1 late #acth century4 #h feet #d inches by #c inches1 not including the expanded ends4 ,this is a magnificent stuff2 but the stole itself could have been made out of it only in the middle of the #agth century4 #abgg4 ,the ,hood of a ,cope2 silk and gold2 ground1 fawn-coloured silk2 design1 bands1 in gold thread1 alternately broad1 figured with harts couchant1 and flowers with an oblique pencil of rays darting down2 and narrow1 marked with rayless flowers4 ,underlying the latter gold band is a very broad one of silk1 figured in green1 with collared dogs running at speed towards a small swan1 with sprigs of flowers1 green and white1 between them4 ,sicilian1 late #acth century4 #ad inches by #ac inches4 ,the very pointed shape of this hood is somewhat unusual in the form of this part of a cope1 as made during medival times1 in ,england4 ,the stuff is of a spirited design1 and shows a curious element in its pattern1 in those golden flowers with their pencils of rays4 #abgh4 ,silk and ,cotton ,damask2 ground1 black2 design1 a lion rampant amid trees1 all in light green4 ,sicilian1 #adth century4 #ae inches by #g inches4 ,very few examples occur with ground coloured black1 yet the bright green of the design goes well upon its sombre grounding4 ,the animal and also the leaves and trees around him are all admirably and spiritedly drawn1 and one regrets that a pattern of such merit should have been lost upon such poor materials4 #abgi4 ,silk and ,gold ,damask2 ground1 bright green silk2 design1 in gold1 conventional artichokes1 large and small1 and harts1 and demi-dogs with very large wings1 both animals having remarkably long manes streaming far behind them4 ,sicilian1 #adth century4 #bg inches by #ad inches4 ,this beautifully and richly wrought stuff1 with its fantastic design drawn with such spirit1 must have been1 when seen in a large piece1 very pleasing4 ,its last use was in a chasuble of rather modern cut1 to judge from its present shape4 #abhj4 ,small ,bag to hold relics2 ground1 gold2 design1 all embroidered by needle1 white rabbits787 segreant1 peacocks in couples1 face to face1 with the rabbits between them1 two hearts and rows of black or purple spots1 like women's heads1 one in the middle surrounded by a wreath of eight crimson stars1 with small green flower-bearing trees1 and the whole field sprinkled with letters1 now1 from the ill condition of the embroidery1 not to be read4 ,german1 #afth century4 #d inches square4 #abha4 ,part of a ,liturgical ,ornament2 silk upon linen2 ground1 crimson1 faded2 design1 in yellow flos-silk1 beasts and birds4 ,syrian1 late #acth century4 #b feet #f inches by #g inches4 ,it does not seem to have last served as either stole or maniple1 but1 apparently1 was part of an altar curtain of which two were hung1 one at each side of the sacred table4 ,lions and dogs seated and eagles perched amid flowers and foliage form the pattern1 which is not as well figured as those usually are which came from the eastern shores of the ,mediterranean4 #abhb4 ,silk and ,cotton ,damask2 ground1 green2 design1 large ovals filled in with foliation1 enclosed with a net-work of garlands1 the fruits of which might be mistaken for half-moons4 ,north ,italy1 #adth century4 #ac inches by #g inches4 ,on better material1 for the quantity of its silk is small1 and in happier colours1 this stuff might have been very pretty4 #abhc4 ,silk ,damask2 ground1 amber yellow2 design1 a hart1 in gold1 lodged beneath green trees in a park1 the paling of which is light green1 with a bunch of the corn-flower1 centaurea1 before it4 ,sicilian1 #adth century4 #g inches by #e inches4 #abhc;,a4 ,silk ,damask2 ground1 amber yellow2 design1 the sun in its splendour1 an eagle in gold1 a green tree4 ,sicilian1 #adth century4 #g inches by #e inches4 #abhd4 ,silk ,damask2 ground1 amber yellow2 design1 a hart1 in gold1 lodged beneath green trees in a park1 the paling of which is light green1 with a bunch of the corn-flower before it4 ,sicilian1 #adth century4 #g inches by #f inches4 #abhd;,a4 ,silk ,damask2 ground1 amber yellow2 design1 a running hart1 in gold1 amid foliage4 ,sicilian1 #adth century4 #h inches by #d inches4 ,the last four pieces are1 in fact1 but fragments of the same stuff1 and when put together make up its original pattern1 and beautiful it must have seemed when beheld as a whole2 the bird and animals are done with much freedom and spirit2 so likewise the foliage3 but two of the portions1 by being more exposed to the light1 are much faded1 in such a manner that the green in them has almost fled4 ,as usual1 so poor was the golden thread that the bird and animals now look almost black1 but here and there1 with a good glass1 shimmerings of gold may be found upon them4 ,to some eyes the sun may look like a rose surrounded by rays4 ,at one time or another an unfeeling hand has most plentifully sprinkled all these four pieces with flowers made from gilt paper stamped out1 and pasted on the staff with stiff glue4 ,the silk1 especially the yellow1 of this tissue was mixed with very fine threads of cotton4 #abhe4 ,one of the ,ends of a ,stole1 embroidered in beads2 ground1 dark blue2 design1 very likely the head of an apostle1 in various coloured and gold beads4 ,venetian1 late #abth century4 ,so like both in design1 execution1 and materials to the portion of an orphrey1 ,no4 #hbgd1 that it would seem this piece was not only worked by the self-same hand1 but formed a part of the self-same set of vestments4 ,the places1 now bare1 in the nimb and neck1 were1 no doubt1 once filled in with fine seed-pearls that have been wantonly picked out4 ,the other end of the same stole to which this belonged is the following4 #abhf4 ,exactly like the foregoing2 but if in its fellow piece seed-pearls are not to be seen1 here they are left in part of the nimb1 but especially over the left eye4 ,of the large piece with the head of the ,blessed ,virgin ,mary1 we have spoken at length1 ,no4 #hbgd4 #abhg4 ,silk and ,cotton ,damask2 ground1 light yellow silk2 design1 a reticulation of vine-branches bearing grapes and leaves1 and enclosing butterflies1 an armorial shield having a royal crown over it1 all in light purple cotton4 ,sicilian1 early #adth century4 #ag inches by #ae inches4 ,the design in all its elements is so like many other specimens wrought by the looms of ,palermo at the period1 that we are warranted to presume it came from that great mart of silken stuffs during the middle ages4 ,so thin in its texture1 it must have been meant for the lining of a heavier material4 ,pre ,martin has figured1 in his very valuable 8,mlanges d',archologie10 t4 iv4 plate xxii1 a piece of silk1 now in the ,museum of the ,louvre1 almost the same in pattern1 but differing much in colour1 from the specimen before us4 ,in the specimen at ,paris little dogs and dragons1 both in pairs1 come in1 but here they are wanting2 so that we may learn that1 to give variety to the pattern1 parts were changed4 ,upon the shield there is a charge not unlike a star1 rather oblong1 of six points4 #abhh4 ,damask1 silk and cotton2 ground1 deep bluish green2 design1 pairs of monsters1 half griffin1 half elephant1 in gold1 a conventional flower in light green1 enclosing a pair of wings in gold1 and pairs of birds amid foliation1 with short sentences of imitated ,arabic here and there4 ,sicilian1 early #adth century4 #ad inches by #aa inches4 ,this is a fine and noteworthy production of the ,palermitan loom1 and shows in its pattern much fancy and great freedom of drawing2 for whether we look at those very singular griffin elephants1 sitting in pairs--and gazing at one another1 or the two birds of the hoopoe family1 with a long feather on the head1 or the two gold wings conjoined and erect1 so heraldically tricked1 with that well-devised flower ending in a honeysuckle scroll1 an ornament sprinkled all about1 we cannot but be pleased with the whole arrangement4 ,the combination of elephant and griffin in ornamentation is almost1 perhaps quite1 unique4 ,the pretended ,arabic points to a locality where once ,saracenic workmen laboured1 and left behind them their traditions of excellency of handicraft4 ,in ,dr4 ,bock's 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #d ,lieferung1 pl4 ix4 may be seen this curious stuff figured4 #abhi4 ,part of a ,maniple1 silk damask2 ground1 fawn-coloured2 design1 an ovate foliation amid monster beasts and birds1 all in light blue silk1 excepting the heads of the birds2 the feet and heads of the animals done in gold4 ,sicilian1 late #acth century4 #ac inches by #g inches4 #abhi;,a4 ,part of a ,maniple1 silk damask2 ground1 fawn-coloured2 design1 an ovate foliation amid small lions and large monster beasts and birds1 in light blue silk1 excepting the small lions all in gold1 and the heads and claws of the others in the same metal4 ,sicilian1 late #acth century4 #ba inches by #f inches4 ,the two articles were evidently parts of the same maniple2 a liturgical appliance of such narrow dimensions that we cannot make out the entire composition of the very fine and admirably drawn design upon the stuff1 out of which it was cut originally4 ,from what is before us we perceive that there were a pair of small lions1 face to face1 all in gold1 a pair of wyverns segreant in green1 a pair of griffins passant1 with heads of gold1 and a pair of other large animals1 antelopes1 with their horned heads and cloven hoofs in the same metal2 slight indications of the fleur-de-lis here and there occur4 #abij4 ,a bishop's ,liturgical ,shoe1 of silk and gold damask2 ground1 crimson silk2 design1 eagles1 in couples1 at rest1 in gold1 amid foliations in green silk2 a small piece on the left side of the heel is of another rich stuff in gold and light green4 ,italian stuff1 #adth century4 #aa inches4 ,such old episcopal liturgic shoes are now great rarities2 and a specimen once belonging to one of our ,english worthies1 ,waneflete1 is given in the 8,church of our ,fathers10 t4 ii4 p4 #bej2 it is of rich silk velvet1 wrought with flowers1 and still kept at ,magdalen ,college1 ,oxford1 built and endowed by that good bishop of ,winchester4 ,in the present example we have1 in its thin leather sole for the right foot1 a proof that making shoes right and left was well known then4 #abia4 ,silk and ,gold ,damask2 ground 7now very faded71 crimson silk2 design1 animals1 all in gold1 and flowers in gold1 pricked out1 some in green1 others in purple silk4 ,sicilian1 #adth century4 #ad inches by #h inches4 ,the animals are large antelopes couchant1 and smaller ones in the like posture1 within flowers1 along with large oddly-shaped wyverns with the head bent down2 the flowers are roses1 and a modification of the centaurea1 or corn-flower4 ,though the gold be tarnished1 the pattern is still rich4 #abib4 ,taffeta1 silk and cotton2 ground1 dull crimson cotton2 design1 reticulated foliage with a conventional artichoke in the meshes1 all in pale blue4 ,spanish1 #aeth century4 #g inches by #f inches4 #abib;,a4 ,taffeta1 silk and cotton2 ground1 dull crimson cotton2 design1 reticulated foliage with a conventional artichoke in the meshes1 all in pale blue4 ,spanish1 #aeth century4 #e inches by #e inches4 ,as poor in material as in design1 and evidently manufactured for linings to silks of richer substances4 #abic4 ,silk and ,cotton ,damask2 ground1 bright crimson silk2 design1 floriated circles filled in with a pair of griffins rampant1 addorsed1 regardant1 and the spaces between the circles ornamented with a floriated cross1 all in yellow cotton4 ,sicilian1 #adth century4 #i inches by #g inches4 ,a good design bestowed upon somewhat poor materials4 ,at first the yellow parts of the pattern had their cotton thread covered with gold1 but of such a debased quality and so sparingly1 too1 that it has almost all disappeared1 and1 where seen1 has tarnished to a dusky black4 #abid4 ,silk ,damask2 ground1 purple2 design1 large fan-like leaves1 between small fruits of the pomegranate1 in dead purple4 ,spanish1 late #aeth century4 ,upon this specimen there was sewed an inscription1 now so broken as not to make sense1 and from the style of letter1 of the floriated form1 done in red and gold thread upon purple canvas1 as is all the scroll-work about it1 some ,german hand must have wrought it4 #abie4 ,tissue of ,cotton ,warp and ,silk and ,gold ,woof2 ground1 now yellow2 design1 eagles in pairs1 divided by rayed orbs1 amid foliage all in gold4 ,sicilian1 middle #adth century4 #f inches by #e inches4 ,the eagles are about to take wing1 and are pecking at the rays of1 seemingly1 the sun which separates them4 ,the foliage is much like1 in form1 that which so often occurs on works from the looms of ,palermo2 and1 in all likelihood1 the ground1 now yellow1 was once of a fawn-colour4 ,though good in design1 this stuff is made of poor materials1 the silk in it is small1 and the gold of such a base quality that it has become a dusky brown4 #abif4 ,tissue of ,flaxen ,thread ,warp and ,silk and ,gold ,woof2 ground1 fawn-coloured2 design1 eagles in pairs affronted1 with a pencil of sun-rays darting down upon their heads1 and resting amid flowers all in gold4 ,sicilian1 middle #adth century4 #h inches by #d inches4 ,what we said of ,no4 #abie is equally applicable to this specimen1 in which1 however1 may be seen1 the corn-flower1 centaurea1 so often met with in ,palermitan textures of the time4 #abig4 ,silk ,damask2 ground1 light green2 design1 within a heart-shaped figure1 a large vine-leaf1 at which two very small hoopoes1 one at each side1 are pecking2 outside the ovals1 from which large bunches of small-fruited grapes are hanging1 runs a scroll with little vine-leaves1 all now of a fawn-colour1 but at first in a rosy crimson hue4 ,italian1 late #adth century4 #ae inches by #e inches4 ,the design for this tasteful stuff was thrown off by an easy flowing hand2 and ,dr4 ,bock has given a good plate1 in his 8,dessinateur des ,etoffes10 #c ,livraison1 of a silk almost the very same1 the differences being some very slight variations in parts of its colours4 #abih1 #abih;,a4 ,silk ,damask2 ground1 purple2 design1 amid foliage and small geometrical figures1 birds in pairs1 all in rosy red1 and beasts in gold4 ,sicilian1 #adth century4 #i inches by #c inches1 and #d inches by #d inches4 ,putting these two pieces together we make out this beautiful1 elaborate1 though small pattern4 ,what the birds may be is hard to guess1 but the beasts seem lionesses1 with bushy tails1 and bold spirited griffins4 ,dr4 ,bock has figured this stuff in the before-mentioned large work4 #abii4 ,damask1 gold1 silk1 and thread2 ground1 dull purple2 design1 two broad horizontal bands1 the first charged with a hound1 green1 collared1 armed1 and langued white1 lying down with head upturned to a large swan in gold1 with foliage all about them2 on the second1 a dog chasing a hart1 both in gold1 and between two cable ornaments in gold1 and two scrolls of roving foliage1 in light green pricked with white4 ,sicilian1 late #adth century4 #ah inches by #ab inches4 ,the beautiful and boldly-drawn pattern of these beasts and birds in pairs1 and succeeding each other1 is not duly honoured by the materials used in it2 the quantity of thread is large1 and the gold of the poorest sort4 #acjj4 ,silk ,damask2 ground1 blue2 design1 in yellow1 a net-work done in ovate geometrical scrolls1 and the meshes filled in with geometrical lozenges1 and others showing an ornamentation of singular occurrence1 somewhat like the heraldic nebule4 ,lucca1 early #aeth century1 #aj inches by #g inches4 ,after a pattern that seldom is to be found on medival stuffs4 #acja4 ,silk and ,gold ,damask2 ground1 bright crimson silk2 design1 in gold1 fruit of the pomegranate1 mingled with flowers and leaves of another plant4 ,south of ,spain1 #aeth century4 #i inches by #h inches4 ,at a distance this stuff must have shown well1 but its materials are not of the first class2 though lively in tone1 the silk is poor1 and its gold made of that thin gilt parchment cut into flat shreds1 like other examples here--,nos4 #heij1 #hfja1 #hfci1 c4 #acjb4 ,silk and ,gold ,damask2 ground1 fawn-coloured faded from crimson1 in silk2 design1 large eagles perched in pairs1 with a radiating sun between them1 and beneath the rays dogs in pairs1 running with heads turned back and looking on the foliage separating them1 all in gold4 ,sicilian1 #adth century4 #ag inches by #h inches4 ,the fine and spirited pattern of this piece is now very indistinct1 owing to the bad colour of the ground1 which has so much faded1 and the inferior quality of the gold upon the thread4 #acjc4 ,silk ,damask2 ground1 a rose-coloured tint2 pattern1 in a dull tone of the same1 broad strap-work1 in reticulations enclosing a circular conventional floriation4 ,moresco-,spanish1 #adth century4 #f inches by #e inches4 ,the tone of the colour has changed from its first brightness1 and the stuff is of a very thin texture4 #acjd4 ,silk and ,gold ,damask2 ground1 crimson silk much faded2 design1 harts collared and flying eagles amid foliage1 all in gold4 ,sicilian1 #adth century4 #b feet #h inches by #a foot4 ,in this spirited pattern the running harts in the upper row have caught one of their hind-legs in the cord tied to their collar1 and an eagle swoops down upon them2 in the second row1 the same animal has switched its tail into the last link of the chain fastened to its collar1 and an eagle seems flying at its head1 as it screams with gaping beak4 ,the last use of this specimen of so magnificent a stuff appears to have been as part of a curtain 7with its #aeth century poor parti-coloured thread fringe7 for hanging at the sides of an altar4 #acje4 ,embroidered ,lappet of a ,mitre2 ground1 linen2 design1 beneath a tall niche1 a female in various coloured silks and gold2 and under her1 within a lower-headed niche1 a male figure after the same style4 ,german1 late #adth century4 #ag inches by #c inches4 ,the high-peaked canopy1 with its crocketing and finial well formed and once all covered with gold1 holds a female figure1 crowned like a queen1 with the banner of the ,resurrection in one hand and a chalice1 having on it the sacred host1 in the other1 which may be taken for the person of the ,church1 while the majestic prophet beneath her seems to be ,malachi holding a long unfolded scroll significative of those words of his relating to the sacrifice in the ,new ,law4 ,in the embroidery of the figures this piece very much resembles the style of needlework in the part of an orphrey1 ,no4 #acac4 ,in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #b ,lieferung1 pl4 xii4 ,dr4 ,bock has given figures of this curious lappet4 #acjf1 #acjf;,a4 ,silk ,damask2 ground1 fawn-coloured2 design1 amid sunbeams1 raindrops1 and foliage1 large birds clutching in their talons a scroll charged with a capital letter ,r thrice repeated1 all in light green4 ,sicilian1 late #adth century4 #ac inches by #f inches2 and #h inches by #c inches4 ,the design of this stuff is rather curious from the inscribed scroll1 the letter ,r of which is very ,italian4 #acjg4 ,silk and ,gold ,damask2 ground1 fawn-colour2 design1 amid a conventional foliation shooting out in places with large fan-like flowers in gold1 braces of small birds on the wing and pairs of running dogs with two antelopes1 couchant1 biting a bough1 both in gold4 ,sicilian1 #adth century4 #ab inches by #h inches4 ,a very good design well drawn1 but unfortunately not quite perfect in the specimen1 the golden parts of which are much tarnished4 #acjh4 ,silk ,damask2 ground1 rosy fawn-coloured2 design1 within a wreath made up mostly of myrtle-leaves and trefoils1 a lion's head cabosed1 above which is a bunch of vine-leaves shutting in a blue corn-flower1 and at each side1 in white1 a word in imitated ,arabic2 excepting the blue centaurea and two white flowers in the wreath1 all the rest is in light green4 ,sicilian1 #adth century4 #bb inches by #aj inches4 ,this well-varied pattern is nicely drawn1 and shows the traditions of the ,saracenic workmen who once flourished at ,palermo4 #acji4 ,embroidery of ,thread upon ,linen2 design1 in raised stitchery1 the hunting of the unicorn4 ,german1 late #adth century4 #bf inches by #ac inches4 ,this fine piece of needlework shows us a forest where a groom is holding three horses1 on two of which the high-peaked saddles are well given2 running towards him are two hunting dogs1 collared4 ,in the midst of the wood sits a virgin with her long hair falling down her back1 and on her lap an unicorn is resting his fore-feet2 behind this group is coming a man with a stick upon his shoulder1 from which hangs1 by its coupled hind-legs1 a dead hare4 ,not only the lady1 but the men wear shoes with remarkably long toes1 and the gracefulness with which the foliage is everywhere twined speaks of the period as marked in the architectural decoration of the period here in ,england4 ,in another number 7#hfah7 the same subject is noticed as significative of the ,incarnation1 and fully explained4 ,no doubt1 like the other piece of fine ,rhenish needlework1 this also formed but a part of a large cloth to hang behind an altar as a reredos4 ,those very long-toed shoes brought into fashion here by ,ann of ,bohemia1 our ,richard ,,ii4's queen1 were called 8cracowes40 #acaj4 ,maniple of ,crimson and ,gold ,damask2 ground1 bright crimson2 design1 stags and sunbeams4 ,sicilian1 late #adth century4 #c feet #g inches by #d inches4 ,under ,no4 #hfbd there is a specimen of silk damask1 without gold in it1 of a pattern so like this that1 were the present piece perfect in its design1 we might presume both had come from the same loom1 and differed only in materials4 ,in that1 as in this1 we have a couple of stags well attired1 with their heads upturned to a large pencil of sunbeams darting down upon them amid a shower of raindrops4 #acaa4 ,silk and ,gold ,damask2 ground1 deep violet2 design1 ,st4 ,mary of ,egypt1 with her own hair falling all over her1 as her only garment1 on her knees before an altar on which stands a cross2 behind her1 a tree1 upon which hovers a bird with a long bough in its beak2 and high up over against her an arm coming from a cloud with the hand in benediction1 and rays darting from the fingers1 between two stars1 one of eight1 the other of six points1 all mostly in gold4 ,venetian1 #aeth century4 #ab inches by #aa inches4 ,the materials and the weaving of this valuable tissue are both good1 and figure a saint once in great repute in ,oriental ,christendom as well as among those ,europeans who traded with the ,east1 as an example of true repentance4 ,a part of the design is1 so to say1 ante-dated1 and to understand the whole of it we ought to know something of the life of this second ,magdalen4 ,in the latter half of the fourth century ,st4 ,mary of ,egypt1 then a girl of twelve1 fled to ,alexandria1 where she led an abandoned life4 ,it chanced that she went in a certain ship full of pilgrims to ,jerusalem1 where1 on the feast of the ,elevation of the ,cross1 she was hindered by a miracle from entering the church4 ,then1 coming to herself1 she made a vow of penance1 and withdrew to the desert beyond the ,jordan4 ,there she lived unseen for forty years1 till all her garments fell away and she had nothing wherewith to clothe herself but her own long hair4 ,on the stuff before us the anachronism of its design will be soon perceived from this rapid sketch of ,st4 ,mary's life4 ,instead of being1 as she must have been1 arrayed in the female fashion of the time when she went to ,jerusalem1 the great penitent is represented so far quite naked that her own long tresses1 falling all around her1 are her only mantle--just as she used to be more than forty years afterwards4 ,but yet the design well unfolds her story2 the hand darting rays of light signifies the revelation given her from heaven1 and the blessing that followed it2 while the two stars tell of ,jerusalem1 as also does the elaborately-fashioned cross that is standing on the altar1 the frontal to which1 in the upper border1 seems ornamented in purple1 with an inscription1 now unreadable1 but the last letters of which look as if they are ,r ,l ,i4 ,the bird1 perhaps a dove1 has no part in the saint's history1 but is a fancy of the artist4 ,in ,dr4 ,bock's 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #a ,band1 #a ,lieferung1 pl4 xi4 is a figure of this stuff4 #acab4 ,silk ,damask2 ground1 crimson2 design1 a complication of geometric lines and figures in yellow1 blue1 green and white4 ,moresque1 #aeth century4 #bb inches by #ah inches4 ,those who know the ornamentation on the burned clay tiles and the gilt plaster ceilings in the ,alhambra at ,granada will recognize the same feeling and style in this showy stuff1 the silk of which is so good1 and the colours1 particularly the crimson1 so warm4 #acac4 ,part of an ,orphrey2 ground1 deep crimson satin1 edged with a narrow green band2 design1 three apostolic figures beneath ,gothic canopies1 all wrought in gold thread and coloured silks upon canvas and applied4 ,german1 early #aeth century4 #cj inches by #g inches4 ,each figure is nicely worked2 and the first1 beginning at the top1 holding a sword erect in his right hand1 is ,st4 ,james the ,greater2 beneath him1 with a halbert1 ,st4 ,matthew2 and last of all1 holding in one hand a book1 in the other a sword1 ,st4 ,paul4 ,the flowery crocketing running up the arches of the niches is particularly good4 #acad4 ,silk ,damask2 ground1 crimson 7now faded72 design1 two golden lions with their fore-paws resting on a white scroll1 looking down upon an orb darting straight down its rays upon the heads of two perched eagles1 amid foliation1 all in green4 ,italian1 late #adth century4 #bf inches by #i inches4 ,a fine design1 and sketched with great freedom2 but the silk and gold employed in it are not of the best4 #acae4 ,silk ,taffeta2 ground1 brown2 design1 broad bands made up of eight red-edged orange stripes within two white ones4 ,egyptian1 #ajth century4 #bf inches by #i inches4 #acaf4 ,silk ,taffeta2 ground1 purple2 design1 narrow stripes made up of white purple and green lines4 ,egyptian1 #ajth century4 #bd inches by #c inches4 ,these scarce examples of ,oriental ability in the production of very thin substances for personal adornment and dress1 under such a sun as even the north of ,africa has1 were originally wrought for ordinary1 not religious use4 ,they were brought to ,europe as precious stuffs1 and given as such to the ,church and used for casting over the tombs of the saints1 as palls1 or as linings for thicker silken vestments4 ,that these or any of the following specimens of gauze or taffeta were ever put to the purpose of making stockings1 or rather leggings like boots1 still worn by bishops on solemn occasions during the celebrations of the liturgy1 cannot for a moment be thought of4 ,such appliances are1 and always were1 made either of velvet or strong cloth of gold or silver4 #acag4 ,silk ,gauze2 ground1 light green2 design1 broad bands composed of white1 black1 and orange stripes4 ,egyptian1 #ajth century4 #ac inches by #d inches4 #acah4 ,taffeta1 ,silk and ,cotton2 ground and design1 broad stripes of crimson1 green1 crimson and orange1 separated by narrow lines of white2 the warp is of brown fine cotton4 ,egyptian1 #ajth century4 #ab inches by #b inches4 ,of such stuffs the ,orientals make their girdles to this day2 and for such a purpose we presume this taffeta was woven at ,cairo and for ,moslem use1 as the green of the so-called prophet is one among its colours4 #acai4 ,silk ,gauze2 ground1 a light green4 ,egyptian1 #ajth century4 #aj inches by #c inches4 ,though without any pattern1 such a specimen is very valuable for letting us see the delicate texture which the ,saracens1 like the ancient ,egyptians1 knew how to give to the works of the loom4 ,this1 like ,no4 #acag1 if ever used for church purposes1 could only have been employed for spreading over shrines1 or the lining of vestments2 specimens like these are sometimes found between the leaves in illuminated ,,mss1 to protect the paintings4 #acbj4 ,silk and ,gold ,damask2 ground1 crimson 7now faded7 silk2 design1 lions in pairs addorsed1 regardant1 each with a swan swung upon its back1 and held by the neck in its mouth1 bounding from out a small space surrounded by a low circular paling1 and amid two large conventional floriations2 at the top of one of these are two squirrels sitting upright1 or sejant1 all in gold4 ,italian1 late #adth century4 #ag inches by #aj inches4 ,unfortunately this curious well-figured and interesting design is somewhat wasted upon materials so faded1 as scarcely to show it now4 ,the foliation is rather thick and heavy4 ,in ,dr4 ,bock's work1 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #a ,band1 #a ,lieferung1 pl4 xiv4 may be found this stuff1 nicely figured4 #acba4 ,small ,piece of ,embroidery2 background1 canvas diapered with lozenges in brown thread2 foreground1 once partly strewed with streaks of gold2 design1 two men bearded and clad in long garments1 seemingly personages of the ,old ,law1 talking to each other4 ,florentine1 #aeth century4 ,with quite an ,italian and ,florentine character about them1 these two figures1 both worked in silk1 have no great merit2 though there are some good folds in the brown mantle1 shot with green1 of the hooded individual standing on the left-hand4 ,that it has been cut away from some larger piece is evident1 but what the original served for1 whether a sacred or secular purpose1 it is impossible now to say4 #acbb4 ,stole2 ground1 light blue silk2 design1 a thin bough roving along the stole's whole length in an undulating line1 and sprouting out into fan-like leaves1 and small flowers1 and in a white raised cord1 narrowly edged with crimson silk and gold thread4 ,at one expanded end is the ,holy ,lamb upon a golden ground2 at the other1 the dove1 emblem of the ,holy ,ghost1 alighting upon flowers4 ,german1 #aeth century4 #h feet #f inches by #c inches4 ,though the work upon this stole is rather coarse1 still from its raised style it must have been effective2 but its chief value is from having been a liturgic ornament4 ,the diapering at the end figured with the ,holy ,lamb1 done upon a yellow canvas ground1 with its thin golden threads worked into three circles1 with their radiations not straight but wavy1 is remarkable1 and may be found upon another work wrought by a ,german needle in this collection4 ,not only the ,lamb and the ,dove1 but the floriation1 are thrown up into a sort of low relief4 #acbc4 ,embroidered ,linen2 design1 barbed quatrefoils filled in with armorial birds and beasts1 and the spaces between wrought with vine-leaves4 ,german1 #aeth century4 #af inches by #aa inches4 ,this is but a piece of a much larger work1 the pattern of which1 in its entire form1 can only be guessed at from a few remains4 ,one quatrefoil is occupied by a pair of eagles 7as they seem to be7 addorsed regardant2 and the two legs of another three-toed creature remaining near them prove that other things besides the eagles were figured4 ,the whole is coarsely done in coarse materials1 and1 in workmanship1 far below very many specimens here4 ,it appears to have served for household not for church use4 #acbd4 ,embroidered ,cushion for the missal at the altar2 ground1 crimson silk2 design1 our ,infant ,lord in the arms of the ,blessed ,virgin ,mary1 with ,st4 ,joseph and four angels worshipping1 on the upper side1 in various-coloured silk2 on the under side1 a reticulation filled in with a pair of birds and a flowering plant alternately4 ,german1 late #acth century4 #ai inches by #ac inches4 ,such cushions1 and of so remote a period1 are great liturgical curiosities1 and1 fortunately1 the present one is in very good preservation1 and quite a work of art4 ,throned within a ,gothic building1 rather than beneath a canopy1 sits the mother of the ,divine ,babe1 who is outstretching ,his little hands towards the lily-branch which the approaching ,st4 ,joseph is holding in one hand1 while in the other he carries a basket of doves4 ,outside1 and on the green sward1 are kneeling four angels robed as deacons1 three of whom bear lily flowers1 a fourth the liturgical fan2 the whole is encircled by a garland of lilies4 ,the under-side is worked with white doves in pairs1 and a green tree blooming with red flowers2 and though much of the needlework is gone1 this cushion is a good example for such an appliance4 ,dr4 ,bock has figured it in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #a ,band1 #b ,lieferung1 p4 xiii4 #acbe4 ,part of an ,altar-cloth2 ground1 linen2 design1 amid foliage sparingly heightened with yellow silk1 birds1 and beasts1 and one end figured with the gammadion4 ,german1 #adth century4 #f feet #d inches by #b feet #b inches4 ,this altar-cloth1 now shortened and without one of its ends figured with the gammadion1 is made up of two different pieces1 of which one showing two large-headed pheasants1 put one above the other1 amid foliage plentifully flowered with the fleur-de-lis and roses1 is quite perfect in its pattern2 but the other1 marked with alternate griffins and lions1 has been cut in two so as to give us but the hinder half of each animal1 amid a foliage of oak-leaves4 ,the whole design1 however1 is boldly drawn and spiritedly executed4 #acbf4 ,damask1 silk and cotton2 ground1 green2 design1 large and small conventional artichokes1 in gold and yellow silk1 amid garlands in white silk4 ,italian1 #aeth century4 #b feet #aj inches by #a foot #c inches4 ,though much cotton is mixed up with the silk1 and its gold was of an inferior quality1 still the crowded and elaborate design of its pattern makes this stuff very pleasing4 #acbg4 ,silk ,net2 green4 ,turkish1 #afth century 7874 #aa inches by #d inches4 ,such productions of the loom are used among the ,moslem inhabitants of the ,east in various ways1 for concealing their females when they go abroad in carriages1 c4 #acbh4 ,linen ,diaper4 ,flemish1 #aeth century4 #b inches square4 ,very likely from the looms of ,yprs1 then famous for its napery1 and which gave its name1 8d'ypres10 to this sort of wrought linen4 #acbi4 ,part of an ,orphrey ,web2 ground1 crimson silk2 design1 straight branches bearing flowers and boughs1 in gold thread2 and amid them ,st4 ,dorothy and ,st4 ,stephen4 ,german1 #aeth century4 #bc inches by #b inches4 ,st4 ,dorothy is figured holding in her right hand a golden chalice-like cup filled with flowers1 and in her left1 a tall green branch blooming with white roses2 ,st4 ,stephen carries a palm-branch1 emblem of his martyrdom4 ,both saints are standing upon green turf sprinkled with crimson daisies1 and beneath each is the saint's name1 written in gold4 ,though the persons of the saints are woven1 the heads1 hands1 and emblems are wrought with the needle4 ,the dalmatic of the proto-martyr is nicely shown1 in light green1 with its orphreys in gold4 ,this piece is a favourable specimen of its kind1 and very likely was produced at ,cologne4 #accj4 ,frontlet to an ,altar-cloth2 ground1 diapered white linen2 design1 embroidery of two large flower-bearing trees1 with an uncharged shield between them1 and under them inscriptions4 ,german1 #afth century4 #ae inches by #e inches4 ,so very like the piece ,no4 #hhfd that it would seem to have been wrought by the same hand4 ,to the left we read--8,spes unica1 stabat mater20 to the right--8,mater dolorosa juxta crucem10 c4 #acca4 ,web for ,orphreys2 ground1 crimson silk2 design1 two boughs with leaves and flowers twined in an oval form1 all in gold thread4 ,german1 late #aeth century4 #aj inches by #d inches4 ,graceful in its design1 but poor in both its silk and gold1 the latter having become almost black4 #accb4 ,piece of ,raised ,velvet1 brocaded in gold2 ground1 dark blue2 design1 a diapering in cut velvet on the blue ground1 and large leaves and small artichokes in gold4 ,italian1 early #afth century4 #af inches by #ae inches4 ,this nicely diapered velvet1 of a good pile and sprinkled with a gold brocade1 may have been wrought either at ,lucca or ,genoa4 ,unfortunately1 the gold thread was of an inferior quality4 #accc4 ,silk and ,gold ,damask2 ground1 crimson silk2 design1 broad garlands twined into a net-work1 the almost round meshes of which are filled in with a conventional artichoke wreathed with corn-flowers1 all in pure good gold1 upon a ground specked with gold4 ,spanish1 late #aeth century4 #bb inches by #i inches4 ,this is a fine rich specimen of an article of the ,spanish loom1 very likely from ,almeria2 its crimson tone is fresh and warm1 while its gold is as bright now as when first woven into its present graceful pattern4 #accd4 ,web for ,orphreys2 ground1 gold thread2 design1 two branches twined into large oval spaces1 and bearing leaves and red and white flowers1 having1 in one space1 the name ,gumprecht and a shield1 applied1 or1 a spread-eagle sable1 langued and armed gules1 7may be for ,brandenburg72 and under this1 in the web itself1 another shield or1 a lion rampant gules1 armed langued and crowned or1 and double tailed1 seemingly for ,bohemia4 ,german1 #aeth century4 #af inches by #e inches4 ,though of poor materials1 this piece is interesting from showing a name and armorial bearings4 #acce4 ,web for ,orphreys2 ground1 fawn-coloured silk2 design1 almost all in gold1 sitting on a throne beneath a ,gothic canopy the ,blessed ,virgin ,mary1 crowned and nimbed1 with our ,lord as a child upon her lap1 alternating with a circle bearing within it the sacred monogram 7worked the wrong way7 done in blue silk1 surrounded by golden rays4 ,german1 middle of #aeth century4 #aa inches by #d inches4 ,the design of this orphrey-web is good1 but the gold so amalgamated with copper that it has become quite brown4 ,though the monogram is that usually seen in the hands of ,st4 ,bernardinus of ,sienna1 and the drawing of the group of the ,blessed ,virgin ,mary and the sacred ,child is somewhat ,italian1 this was not the work of any ,italians loom2 for in no part of ,italy would the monogram have had given it letters of such a ,german type4 #accf4 ,silk ,damask2 ground and pattern in rich crimson2 design1 eight-cusped ovals1 each cusp tipped not with a flower1 but tendrils2 the ovals enclose a conventional artichoke purfled with flowers2 and the spaces between the ovals are filled in with small artichokes in bloom4 ,spanish1 #aeth century4 #bj inches by #ad inches4 ,this is a fine specimen both for the richness of its silk and the warm and mellow tint of its ground1 upon which the pattern comes out in a duller tone4 ,further on we shall meet with another stuff1 ,no4 #acde1 which must have proceeded from the same loom1 and shows in its design many elements of the one in this4 ,either ,granada or ,almeria produced this fine piece1 which affords us1 in the brilliancy of its colour1 an apt sample of our old poet ,chaucer's dress for one of his characters1 of whom he tells us1-- 8,in sanguin and in perse he clad was alle20 and helps us to understand ,spenser's allusion to the young maiden's blushes3-- 8,how the red roses flush up in her cheekes 444 with goodly vermill stayne1 ,like crimson dyde in grayne40 #accg4 ,web for ,orphreys2 ground1 crimson silk2 design1 in gold thread1 a straight branch of a tree bearing pairs of boughs with flowers1 alternating with other boughs with sprigs of leaves4 ,german1 early #afth century4 #ad inches by #b inches4 ,the warp of this web is thick linen thread1 and where the woof of crimson silk is worn away1 this thread1 as if part of the design1 shows itself2 and1 as the gold is poor and sparingly put on1 the specimen now looks shabby4 ,like many other samples of the kind1 woven1 probably1 at ,cologne1 this was intended as the narrow orphrey on liturgical garments4 #acch4 ,an ,apparel to an ,alb2 ground1 strong linen2 design1 within twining boughs bearing flowers and leaves1 a dove and a lamb1 all in various-coloured silks and outlined in narrow strips of leather4 ,spanish1 early #aeth century4 #ac inches square4 ,that the last liturgic use of this piece was as an apparel to an alb there can be little doubt1 though1 in all likelihood1 it may have been cut off a larger piece of needlework wrought for the front border of an altar-cloth4 ,the outline in leather is rather singular2 though now black1 it was once gilt1 like those strips we see cut into very narrow shreds1 and worked up1 instead of gold thread1 into silken stuffs from the looms of ,almeria or ,granada1 specimens of which are in this collection4 ,as an art-production of the needle1 this is but a poor one4 #acci4 ,raised ,gold ,brocaded ,velvet2 ground1 green silk2 design1 within an oval in crimson raised velvet of a floriated pattern1 dotted with flowers and grapes in white1 a large trefoil on raised crimson velvet1 bearing inside an artichoke in green and gold1 springing from a white flower4 ,italian1 #afth century1 #aa inches by #h inches4 ,this tasteful and pleasing design is wrought in rich materials2 and large state-chairs are yet to be seen in the palaces of ,rome covered with such beautiful and costly velvets4 #acdj4 ,silk and ,gold ,damask2 ground1 blue silk2 design1 ogee arches1 over the finial of each a large conventional flower1 and within and without the arches a slip of the mulberry-leaf and fruit1 all in bright gold4 ,lucca1 #afth century4 #c feet #e inches by #b feet #d inches4 ,this fine rich stuff must have been most effective for wall-hangings4 ,the blue silk ground is tastefully diapered in bright and dull shades of the silk itself2 and in the fine gold design the artichoke is judiciously brought in upon the ogee arches4 ,when nicely managed1 nothing is better than a ground in one shade and a design in a deeper tone of the same colour4 #acda4 ,silk and ,gold ,damask2 ground1 fawn-coloured silk2 design1 pomegranates piled together in threes1 all gold1 and flowers in silk alternately crimson and green4 ,spanish1 #afth century4 #af inches by #ab inches4 ,the rich ground of this fine stuff has a well-designed and rather raised diapering of geometrical scroll-work2 the pomegranates are wrought in pure gold thread1 and the tones of the flowers are bright4 #acdb4 ,worsted ,work2 ground1 black2 design1 flowers4 ,german1 #afth century4 #ba inches square4 ,very likely this was part of a carpet1 embroidered by hand1 for covering the top of the higher step at the altar1 called by some a pede-cloth2 the ground is of a black worsted warp1 with a woof of thick brown thread4 ,the flowers are mostly crimson-shaded pink1 some are1 or were1 partly white1 and seem to be made for sorts of the pentstemon1 digitalis1 and fritillaria2 a butterfly1 too1 is not forgotten4 #acdc4 ,cradle-quilt1 linen1 embroidered in coloured silks with flowers and names4 ,german1 late #aeth century4 #c feet #d inches by #a foot #h inches4 ,at each of its four corners1 as well as in the middle1 is wrought a large bunch of our 8meadow pink20 between the flowers are worked these names1--8,jhesus1 ,maria1 ,johanes1 ,jaspar1 ,baltasar1 ,maria1 ,melchior1 ,johanes40 ,from the names assigned to the three wise men1 whose relics are enshrined in the cathedral at ,cologne1 being so conspicuously wrought upon this piece1 we may presume that the needlework was done in that great ,german city4 ,by wear1 the greens of the leaves have turned brown1 and the pink of the flowers become pale4 ,those pieces of printed linen with which the holes in two places are mended will not be without an interest for those who are curious in tracing out the origin of such manufactures4 ,other examples of these cradle-quilts are in this collection4 #acdd4 ,cradle-quilt1 linen1 embroidered in coloured silks2 design1 within a broad border of scroll-work in simple lines1 the emblems of the four ,evangelists1 one at each corner2 of the ,crucifixion1 with the ,blessed ,virgin ,mary on the right1 and ,st4 ,john to the left1 only a small part of the young apostle's figure is to be found at present4 ,german1 early #afth century1 #b feet #f inches by #b feet #b inches4 ,though in mere outline1 the whole design was well drawn1 and the emblems at the corners have great freedom about them4 ,on the popular use of the evangelists' emblems upon such baby's furniture1 some observations are given on another good sample1 ,no4 #dfdd1 in this collection4 ,a cradle-quilt like the present one occurs at ,no4 #ddei4 #acde4 ,silk ,damask2 ground and pattern in reddish crimson2 design1 eight-cusped ovals1--each cusp tipped with a flower1 ending in a fleur-de-lis above a crown1 at top1 and enclosing a conventional artichoke purfled with flowers4 ,spanish1 #aeth century4 #ad inches by #ac inches4 ,from its present shape1 this piece was evidently last in use as the hood to a liturgical cope4 #acdf4 ,part of an ,embroidered ,orphrey2 ground 7now faded71 crimson silk2 design1 a green silk bough so twined as to end in a long pinnatified leaf or flower1 now white but once gold1 with little rounds of gold sprouting from parts of the outside branches4 ,german1 #afth century4 #af inches by #c inches4 ,a specimen as meagre in design as it is poor in materials4 #acdg4 ,part of an ,embroidered ,orphrey2 ground1 crimson silk2 design1 a green silk bough1 c4 ,german1 #afth century4 #ag inches by #e inches4 ,in all likelihood a part of the broader orphrey wrought for the same vestment as the one just before mentioned4 #acdh4 ,web for ,orphreys2 ground1 gold thread2 design1 the fleur-de-lis composed into a geometric pattern1 outlined in dark brown silk4 ,german1 late #aeth century4 #ad inches by #d inches4 ,both the brown colour and the design are somewhat rare1 as found upon ecclesiastical appliances4 ,here1 as elsewhere1 the gold is so poor that it is hardly discernible4 ,under the canvas lining is a piece of parchment1 on which is written some theological matter4 #acdi4 ,web for ,orphreys2 ground1 cloth of gold pricked with crimson2 design1 the names--8,jhesus10 8,maria10 done in blue silk1 between two trees1 one bearing heads of crimson fruit1 the other lilies1 parti-coloured white with crimson2 and the green sward1 from which both spring1 covered with full-blown daisies in one instance1 with unexpanded daisies in the other4 ,german1 late #aeth century4 #ag inches by #d inches4 ,like several other specimens in the collection1 and most probably woven to be the orphreys sewed1 before and behind1 in a horizontal stripe1 upon the dalmatics and tunicles for high mass4 ,the student of symbolism will not fail to see in the tree to the right hand the mystic vine1 bearing bunches of crimson grapes2 while1 to the left1 the tree covered with parti-coloured lilies--white for purity1 red for a bleeding-heart--is referrible to the ,blessed ,virgin ,mary1 whose heart1 as she stood at the foot of the cross1 underwent all the pains of martyrdom foretold her by ,simeon when he said1--8,and thine own soul a sword shall pierce10 ,luke ii4 #ce4 #acej4 ,web for ,orphreys2 ground1 narrow blue spaces alternating with wider crimson ones2 design1 the name of 8,jhesus10 in gold upon the blue1 between two borders checkered crimson blue and yellow1 the crimson spaces charged with a floriation1 alternately gold and yellow2 the next blue space inscribed with the name 8,maria0 in gold4 ,in the names1 as well as the floriation1 the metal has become tarnished so as to look a dull brown4 ,german1 late #aeth century4 #ai inches by #b inches4 ,of such webs there are several specimens in the collection2 and their use was to ornament liturgical vestments1 in those long perpendicular lines found upon tunicles and dalmatics4 #acea4 ,piece of ,raised ,velvet2 ground1 crimson2 design1 a conventional artichoke1 wreathed with small flowers in green and yellow within a garland of the same colours4 ,italian1 #afth century4 #aa inches by #aa inches4 #acea;,a4 ,piece of ,raised ,velvet4 ,a part of the same stuff4 ,italian1 #afth century4 #i inches by #a by inches4 #acea;,b4 ,piece of ,raised ,velvet4 ,a part of the same stuff4 ,italian1 #afth century4 #ab inches by #a inches4 ,these three pieces are portions of a material made of excellent rich silk1 and of good tones in colour4 #aceb4 ,piece of ,raised ,velvet1 brocaded in gold2 ground1 crimson2 design1 an oval with cusps inside and enclosing a large artichoke1 the whole wreathed with a garland1 and in gold4 ,italian1 #afth century4 #b feet #c inches by #h inches4 ,this magnificent stuff is rendered still more valuable1 as a specimen1 from having much of its design of that rare kind of velvet upon velvet1 or one pile put over1 in design1 another but lower pile4 ,the state-rooms of a palace could alone have been hung with such sumptuous wall-coverings4 ,perhaps church vestments and hangings about the altar may have been sometimes made of such a heavy material4 #aceb;,a4 ,piece of ,raised ,velvet1 brocaded in gold2 ground1 crimson2 design1 a cusped oval enclosing a conventional artichoke1 and the whole wreathed with a broad garland1 all in gold4 ,italian1 #afth century4 #ah inches by #g inches4 ,this differs both in design and quality from the former1 having no pile upon pile in it4 #aceb;,b4 ,piece of ,raised ,velvet1 brocaded in gold2 ground1 crimson2 design1 not very clear3 though1 from what can be observed1 it is the same with ,no4 #aceb4 #acec4 ,web for ,orphreys2 ground1 crimson silk2 design1 in yellow silk and gold thread1 between two floriated borders1 a series of foliated scrolls1 with the open round spaces filled in with the ,blessed ,virgin holding our ,lord as a naked child in her arms1 and a saint-bishop wearing his mitre and cope1 giving his blessing with one hand1 and holding his pastoral staff in the other4 ,venetian1 #afth century4 #be inches by #h inches4 ,the materials are good1 excepting the gold thread1 which has turned black1 though the large quantity of rich yellow silk used along with it somewhat hides its tarnish4 ,in gearing his loom the weaver has made the mistake of showing the bishop as bestowing his benediction with his left1 instead of his right hand4 #aced4 ,embroidered ,linen2 ground1 very fine linen2 design1 separated by a saltire or ,st4 ,andrew's cross1 lozenges filled in with a ,greek cross1 and half lozenges1 the whole ornamented with circles enclosing other small crosses4 ,italian1 #afth century4 #aj inches by #c inches4 ,this elaborate design is as delicately worked as it is beautiful in pattern4 #acee4 ,silk ,damask2 ground1 sea-green2 design1 in the same tint1 a conventional foliation of the pomegranate1 surrounding a wide broad-banded oval filled in with a large fruit of the same kind4 ,spanish1 early #afth century4 #cc inches by #ab inches4 ,in the beauty of its design1 the rich softness of its silk1 and its grateful tone1 this is a pleasing specimen of the loom from the south of ,spain4 #acef4 ,piece of ,raised ,velvet2 black2 design1 foliated branches joined at intervals by royal crowns alternating with vases1 and large artichokes in the intervening spaces4 ,italian1 late #aeth century4 #be inches by #ba inches4 ,this truly beautiful velvet was1 no doubt1 meant for personal attire4 #aceg4 ,raised ,velvet2 ground1 olive-green silk2 design1 slips with flowers and leaves of a somewhat deeper tone1 and outlined in a lighter coloured raised velvet4 ,lucca1 #afth century4 #h- inches by #h inches4 ,this nicely-wrought stuff of pleasing pattern must have been made for personal attire4 #aceh4 ,linen ,crochet ,work2 design1 saltires1 between crosses formed of leaves1 and a modification of the ,greek meander4 ,flemish1 #afth century4 #ba inches by #g inches4 ,the convents in ,france1 but more particularly in ,flanders1 were at all times famous for this kind of work2 hence it is often called nun's lace1 because wrought by them for trimming altar-cloths and albs4 ,the present one is a good specimen of a geometrical pattern1 and the two borders are neatly done by the needle upon linen4 ,in all likelihood this piece was the hem of an altar-cloth4 #acei4 ,linen ,damask2 design1 scrolls and foliage1 with a deep border showing ducal coronets1 armorial shields1 and the letters ,l and ,k4 ,flemish1 early #agth century4 #bh inches by #aa inches4 ,an elaborate specimen of the way they geared their looms in ,flanders1 and more especially at ,yprs1 where most likely1 this fine damask was woven4 ,the shield is party per pale1 #ast1 two chevronels embattled2 #bnd1 three turreted towers1 two and one4 ,seemingly this piece of ,flemish napery was made for some nobleman whose wife was1 or claimed to be1 of the ancient blood of the royal house of ,castile4 #acfj4 ,silk ,damask2 ground1 crimson2 design1 bunches of flowers1 artichokes1 and pomegranates1 in yellow4 ,spanish1 #afth century4 #bj inches by #aa inches4 ,a rich stuff1 whether colour or material be considered2 and quite agreeing with other specimens in the love of the southern ,spanish loom for the pomegranate1 the emblem of ,granada1 where probably it was wrought4 #acfa4 ,silk ,damask2 ground1 dull violet2 design1 within reticulated squares1 a conventional bunch of flowers much in the honeysuckle shape1 in white and yellow4 ,italian1 #afth century4 #f inches by #g inches4 ,though the silk is good1 the weaving is rather coarse and rough4 #acfb4 ,silk ,damask2 ground1 bright crimson2 design1 a conventional floriation in various-coloured silks4 ,north ,italian1 #afth century4 #i inches by #f inches4 ,illustration3 #acfb4 ,,silk ,,damask ,crimson ground with large branching pattern in coloured silk4 ,italian1 #afth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,so thick is this somewhat showy stuff1 that it must have been meant for furniture purposes4 #acfc4 ,silk ,damask2 ground1 reddish purple2 design1 slips of three kinds of flower-bearing plants1 one of which is the pomegranate4 ,spanish1 late #aeth century4 #aj inches by #f- inches4 ,from the south of ,spain1 and bearing a token1 if not of the city1 at least of the kingdom of ,granada4 #acfd4 ,damask1 linen woof1 silken warp2 ground1 yellow2 design1 a conventional floriation1 showing a strong likeness to the whole plant of the artichoke1 in white linen4 ,italian1 #afth century4 #aj inches by #i inches4 ,a poor stuff in respect to materials1 colour1 and design2 which latter is the best element in it4 ,intended for household decorative purposes4 #acfe4 ,damask1 silk woof1 linen warp2 ground1 light red1 now faded2 design1 vases filled with flowers1 in yellow silk4 ,italian1 late #afth century4 #bd inches by #bb inches4 ,no doubt this stuff was meant for hangings in a palace or dwelling-house2 and among the flowers may be seen the bignonia or trumpet-flower1 and the pomegranate opening and about to shed its seed4 #acff4 ,linen ,diaper2 design1 square made out of four leaves4 ,flemish1 late #afth century4 #bj inches by #i inches4 ,the pattern1 though so simple1 is very pleasing1 and the stuff itself speaks of ,yprs as being the place of its origin4 #acfg4 ,silk ,taffeta2 ground1 purple2 design1 amid boughs1 a pair of birds1 with an artichoke between them1 all in orange-yellow4 ,sicilian1 #adth century4 #i inches square4 ,this light thin stuff1 quiet in its tones and simple in its pattern1 must have been wrought for lining robes of rich stuffs4 #acfh4 ,silk ,damask2 ground1 white satin2 design1 amid flowers1 among which the chrysanthemum is very conspicuous1 a group1 consisting of a man inside a low fence looking upwards upon a blue lion and a golden tiger1 seemingly at play1 side by side1 one of which is about to be struck by a long spear held by a man standing above1 within a walled building4 ,just over him stands another man with a short mace in one hand1 in the other a small bottle1 out of which comes a large bough of the pomegranate tree in leaf1 flower1 and fruit4 ,chinese1 #afth century4 #b feet #f inches by #aj inches4 ,for the soft warm tints of its several coloured flos-silks1 the pureness of the gold thread upon the human faces1 the animals and the flowers1 the correctness of the drawing1 and the well-arranged freedom of the whole pattern1 there are few pieces that come up to this in the whole collection4 ,in all likelihood it was brought from ,china1 perhaps made up as a liturgical chasuble1 by some ,portuguese missionary priest1 in the latter portion of the #afth or beginning of the #agth century4 #acfi4 ,dalmatic2 ground1 blue silk2 design1 narrow bands charged with circles enclosing a word in imitated ,arabic1 and conventional flowers separating two hounds couchant1 gardant1 each within his own circle1 all in gold1 and a large conventional floriation1 at the foot of which are two cheetahs collared1 courant1 face to face1 all in white silk1 slightly specked with crimson1 and between this group two eagles1 in white silk1 flying down upon two small hounds1 sejant1 gardant1 both in gold4 ,the orphreys1 broad and narrow1 are embroidered with heraldic shields set upon a golden ground4 ,sicilian1 #adth century4 #c feet #e inches by 7across the sleeves7 #d feet #b inches4 ,some ruthless hand has cut away from the back a large square piece of this vestment2 and1 to adopt it to modern fashion1 its sleeves have been slit up at the under side4 ,the armorial bearings are1 on one shield1 a chief or1 gules1 three stars1 two1 and one argent2 on the other1 purpure1 two arrows in saltire or4 ,the cheetahs are well marked by the round spots upon them2 and when new1 this stuff1 with its pattern so boldly figured1 must have been pleasing4 #acgj4 ,piece of ,cut-work1 for wall-hanging2 ground1 square of blue and red1 with the upper border blue1 the side one red2 design1 at top1 knights and ladies talking1 and each within a separate arch2 in the body of the piece1 the history of some dragon-slayer1 figured in two horizontal rows of compartments1 every one of which is contained within an archway with a head composed of three trefoil arches in a straight line1 and resting on trefoil-brackets1 and having1 all through1 birds and flowers in the spandrils4 ,french1 late #adth century4 #g feet #aa inches by #c feet #d inches4 ,though now so rough and tattered this almost unique piece of 8cut-work0 7which ,french people would call appliqu1 but better described by the ,english words71 of so large a size1 is valuable for its use in showing how1 with cheap materials and a little knowledge of drawing1 a very pleasing1 not to say useful1 article of decoration may be made1 either for church appliance or household furniture4 ,unfortunately the heads of the personages in the upper row are all cut away1 but lower down we plainly see the history meant to be represented4 ,upon the first pane1 to the left1 we have a regal throne1 upon which are sitting1 evidently in earnest talk1 a king1 crowned and sceptred1 and a knight1 each belted with a splendid military girdle falling low down around the hips4 ,behind the knight stands his 'squire4 ,in the next pane the enthroned king is giving his orders to the standing knight1 toward whom his 'squire is bringing his sword1 his shield1 7argent a fess azure1 surmounted by a demi-ox azure17 and a bascinet mantled and crested with the head of the same demi-ox or aurochs and its tall horns4 ,after this we behold the knight with lance and shield1 and his 'squire on horseback riding forth from the castle1 at the gate of which stands the king1 outstretching his hand and bidding farewell to the knight1 who is turning about to acknowledge the good-bye4 ,going first upon the road1 the knight1 followed by the 'squire1 seems asking the way to the dragon's lair1 from a gentleman whom they meet4 ,the monster is then found in a wood1 and the knight is tilting his spear into its fire-red maw4 ,the next pane carrying on the romance is the first to the left in the second or lower series4 ,here the knight is unhorsed1 and his good grey steed is lying on the field2 but the knight himself1 wielding his sword in both hands1 is about to smite the dragon breathing long flames of fire towards him4 ,afterwards he catches hold of his fiery tongue1 and is cutting it off4 ,it would look as if the dragon1 though wounded to the loss of its tongue1 had not been worsted2 for in the following compartment we behold the same knight all unarmed1 but well mounted1 galloping forth from a castle gate with a hound and some sort of bird1 both with strings to them1 by his horse's side1 and having found the dragon again1 appears holding an argument with the beast that1 for answer1 shows the fiery stump of his tongue in his gaping mouth4 ,but the dragon will not give himself up and be led away captive4 ,now1 however1 comes the grand fight4 ,in a forest1 with a bird perched on high upon one of the trees1 the knight1 dismounted from his horse1 cuts off the head of the dragon1 which1 to the last1 is careful to show his much shortened yet still fiery tongue to his victor4 ,now have we the last passage but one in the story4 ,upon his bended knee the triumphant knight is presenting the open-mouthed1 tongueless1 cut-off dragon's head to the king and queen1 both throned and royally arrayed1 the princess1 their daughter1 standing by her mother's side4 ,the young maiden1 no doubt1 is the victor's prize2 but now--and it is the last chapter--the knight and lady1 dressed in the weeds of daily life and walking forth upon the flowery turf1 seem happy with one another as man and wife4 ,the two panes at this part1 and serving as a border1 seem out of place1 and neither has a connection with the other2 in the first1 just outside a castle wall1 rides a crowned king followed by a horseman1 evidently of low degree2 and a column separates him from a large bed1 lying upon which we observe the upper part of a female figure1 the head resting upon a rich cushion2 next to this1 but put in anglewise to fill up the space1 we have a crowned lady and a girdled knight1 sitting beneath a tree1 each with a little dog beside them4 ,the costume of both men and women in this curious piece of cut-work is that of the end of the #adth century4 ,the parti-coloured dress of the men1 their long pointed shoes1 and the broad girdles1 worn so low upon their hips by the king and knight1 as well as the bascinet and helmet of the latter1 with the horses' trappings1 all speak of that period2 nor should we forget the sort of peaked head-dress1 as well as the way in which the front hair of the ladies is thrown up into thick short curls4 ,all the human figures1 all the beasts1 as well as the architecture1 are outlined in thin leather or parchment once gilt1 but now turned quite black4 ,with the same leather1 too1 were studded the belts of the king and knight1 and the spangles and golden enrichments of the ladies' dress were of the same material4 ,saving here and there a few stitches of silk1 everything else was of worsted1 and that none of the finest texture4 ,with such small means a good art-work was produced1 as we see before us4 ,the way in which each figure over the whole of this curious piece of cut-work is outlined by the leather edging strongly reminds us of the leadings in stained glass2 in fact1 both the one and the other are wrought after the same manner1 and the principal difference between the window and the woollen hanging is the employment of an opaque instead of a transparent material4 ,if the personages are dressed sometimes in blue1 at others in crimson1 it will be found that these colours alternate with the alternating tints of the panes upon which they are sewed4 ,so often do the passages in the romance here figured correspond with certain parts in the wild legend of our own far-famed 8,sir ,guy of ,warwick10 that1 at first sight1 one might be led to think that as his renowned story was carried all through ,christendom1 we had before us his mighty feats and triumph over the dragon in ,northumberland1 set forth in this handiwork of some lady-reader of his story4 #acga4 ,worsted ,work2 ground1 green2 design1 conventional flowers in yellow1 with1 at one end1 a border of foliated boughs1 the leaves of which are partly green1 partly red1 and an edging of a band made up of white1 green1 yellow1 scarlet straight lines on the inner side2 on three sides there is a narrow listing of bluish-green lace4 ,german1 #aeth century4 #d feet #c inches by #a foot #aj inches4 ,in all probability this was intended and used as a carpet for some small altar-step4 ,it is worked upon coarse canvas4 #acgb4 ,piece of ,needlework2 pattern1 upon bell-shaped spaces of silver thread1 flowers mostly white and shaded yellow1 divided by a sort of imperial high-peaked cap of blue shaded white1 arising out of a royal crown4 #agth century4 #ab inches by #g inches4 #acgb;,a4 ,border to an ,altar-cloth1 embroidered2 ground1 crimson silk2 design1 animals and birds amid branching foliage and fleurs-de-lis1 well raised in white and gold2 the upper part linen1 wrought into lozenges alternately crimson and yellow1 braced together by a fret1 and filled in with narrow bars saltire wise4 ,german1 #aeth century4 #c feet #aj inches by #aa inches4 ,among the animals is the symbolic lamb and flag1 with a chalice underneath its head4 ,from the exact similarity of style in the ornamentation and needlework1 there can be no doubt but the same hand which wrought the stole1 ,no4 #acbb1 worked this piece1 and probably both formed a portion of the same set of ornaments for the chantry chapel of some small family4 #acgc4 ,cope2 ground1 green raised-velvet2 design1 amid leaves of a heart-shape or cordate1 freckled with a kind of check1 large conventional artichokes4 ,the orphreys are of web1 figured1 on a golden ground1 with saints1 inscription1 and flower-bearing trees2 the hood is ornamented with applied cut-work and needle embroidery1 and the morse is of plain velvet4 ,the raised velvet is ,italian1 #afth century2 the orphrey web1 ,german1 #afth century2 the embroidery of the hood1 #afth century4 #i feet #b inches by #c feet #aa inches4 ,the raised velvet1 though now so torn and stitched together1 is of a very fine pile1 and pleasing elaborate design4 ,the hood is figured with the ,annunciation1 and the faces are applied pieces of white silk with the features and hair brought out by the needle in coloured silks2 the other parts of the embroidery are coarse but effective4 ,on the orphreys are shown1 on one side1 ,st4 ,peter and ,st4 ,katherine1 on the other1 ,st4 ,paul and ,st4 ,barbara4 ,the ground for the name of the last saint looks very bright and fresh in its gold2 but the gold is1 so to say1 a fraud4 ,it is put1 by the common gilding process1 upon the web after being woven1 and not twined about the thread itself4 ,the fringe all round the lower part is rather unusual4 #acgd4 ,applied ,embroidery2 ground1 green silk2 pattern1 a flower-vase between two horns of plenty with flowers coming out of them1 and separated by a conventional floral ornament1 mostly done in amber-coloured cord4 ,french1 late #agth century4 #b feet #c inches by #f inches4 ,tame in its design1 and easy in its execution4 #acgd;,a4 '#fd4 ,chasuble of ,silk ,damask2 ground1 purple2 design1 a quatrefoil within another charged with a cross-like floriation1 having a square white-lined centre1 surmounted by two eagles with wings displayed and upholding in their beaks a royal crown1 all in green4 ,italian1 early #aeth century4 #d feet #f inches by #b feet #g inches4 ,by some unfeeling hand a large piece was1 not long ago1 cut out from the front of this fine old ample chasuble2 and1 very likely1 the specimen of the same stuff1 ,no4 #gjeg1 is that very portion4 #acge4 '#fd4 ,chasuble2 ground1 very rich velvet2 design1 in the middle of a large five-petaled flower1 a pomegranate1 and another pomegranate in the spaces between these flowers4 ,the orphreys are1 before and behind1 of rich diapered cloth of gold1 the one behind of the ,y form1 figured in embroidery with the ,crucifixion2 the one before on a piece of velvet of a different diapering from the back1 with the ,blessed ,virgin ,mary and our ,lord1 as a child1 in her arms2 and below1 the figure of ,religion4 ,spanish1 late #aeth century4 #c feet #b inches by #b feet #d inches4 ,this chasuble must have been truly grand and majestic when new1 and seen in all its sumptuous fulness1 for it has been sadly cut away about the shoulders4 ,it must1 originally1 have measured1 on that part1 at least some inches beyond four feet4 ,the ,y cross orphrey on the back is figured with the crucifixion1 done after a large and effective manner1 for the person of our ,redeemer measures more than #a foot #i inches in length1 and ,his1 as well as all the other faces are thrown up in low relief4 ,at the ends of the transom of the cross are four winged angels--two at each side1 of whom one is catching1 in a golden chalice1 the sacred blood spirting from the wounds in the hands1 the other flying down in sorrow from the clouds4 ,high above the cross are two angels with peacock-feather wings1 swinging two golden thuribles1 which are in low relief2 and between these angelic spirits1 a golden eagle in high relief1 with wings displayed1 armed and beaked gules and holding in his once crimson talons a scroll which1 from the letters observable1 may have been inscribed with the motto1 87,respice7 in fi7nem740 ,the front of the chasuble is made of a piece of velvet of another and much broader design--a large flower of five petals and two stipul--but equally remarkable for its deep mellow ruby tone and soft deep pile4 ,its orphrey of fine diapered gold-thread embroidery1 but much worn away through being long rubbed by its wearers against the altar1 is worked with the ,blessed ,virgin ,mary carrying in her arms our ,saviour1 as a naked child1 caressing ,his mother's face2 and1 lower down1 with a female figure crowned and nimbed1 bearing in her right hand a golden chalice1 at the top of which is a large eucharistic particle marked with a cross-crosslet2 this is the emblem of the ,church4 ,both figures are large and of a telling effect2 and1 like the other figures1 have more of a naturalistic than ideal type of beauty about them4 #acgf4 ,chasuble2 ground1 raised crimson velvet with concentric circles in cloth of gold1 within garlands of which the leaves are green1 the flowers gold4 ,the orphreys are woven in coloured silks on cloth of gold1 with inscriptions4 ,the velvet1 ,florentine1 late #aeth century2 the orphrey web1 ,german1 late #aeth century4 #c feet #aj inches by #b feet #aj inches4 ,illustration3 #acgf4 ,,part ,,of ,,the ,,orphrey ,,of ,a ,,chasuble4 ,german #aeth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,illustration3 #acgf4 ,,part ,,of ,,the ,,orphrey ,,of ,a ,,chasuble4 ,german #aeth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,the very rich stuff of this vestment far surpasses in splendour the orphreys1 which ought to have been better4 ,on the one behind1 we have the ,crucifixion with the words below1 in blue silk1 8,o ,crux ,ave40 ,further down an angel is holding a sheet figured with all the instruments of the ,passion4 ,after the word ,maria1 a second angel is shown with another sheet falling from his hands and figured with the ,holy ,lamb1 having1 beneath it1 the words 8,ecce ,agnus ,dei20 then a third angel1 with the word1 but belonging to another piece1 8,johan40 ,on the orphrey in front a fourth angel is displaying a chalice surmounted by a cross and standing within a fenced garden1 and beneath the sheet the word 8,maria40 ,lower down a fifth angel is showing the column and two bundles of rods1 with 8,jhesus40 ,last of all there is an angel with a napkin marked with the crown of green thorns and two reeds placed saltire-wise1 and the word 8,maria40 #acge4 ,saddle-bag of ,persian carpeting2 ground1 deep crimson2 pattern1 stripes in various colours running up the warp4 ,persian4 #c feet #d inches by #a foot #e inches4 ,the warp and weft are of a strong coarse texture1 and not only at the corners but upon each pouch there are tassels4 #acgf4 ,travelling-bag1 of the same stuff1 but varying in pattern4 ,persian4 #a foot #h inches by #a foot #g inches4 #acgh4 ,bag of woven worsted2 ground1 deep crimson2 pattern1 narrow stripes figured with diversified squares in different colours4 ,persian4 #a foot #c inches by #a foot #b inches4 ,from the string of worsted lace attached to the side it would seem that this bag was meant to be slung across the person of the wearer4 ,none of these three articles are very old4 #acgi4 ,bag of woven silk and worsted2 ground1 deep crimson worsted2 pattern1 horizontal bands in silk figured1 in places1 with four-legged beasts1 white1 yellow1 red1 and green1 and with vertical bands figured with a green net-work filled in with what look like birds1 crimson1 separated by a tree4 ,persian4 #aa inches by #aj inches4 ,most ,persian in look is this bag1 which1 from the thick cord attached to it1 seems to have been for carrying in the hand4 ,it is lined with brown linen1 and has two strings for drawing the mouth close up4 ,the two birds repeated so often on the lower part1 and separated by what looks like a tree1 may be an ornament traditionally handed down from the times when the ,persian sacred 8hom0 was usual in the patterns of that country4 ,no great antiquity can be claimed by the textile before us4 #aedg1 #aedh4 ,two ,escutcheons of the ,arms of ,france1 surmounted by a royal crown1 and encircled with the collars of two orders--one ,st4 ,michael1 the other the ,holy ,ghost--embroidered upon a black ground1 in gold and silver1 and the proper blazon colours4 ,french1 #agth century4 ,all well and heraldically done4 #afbb4 ,piece of ,printed ,chintz4 ,old ,english1 presented by ,f4 ,fellingham1 ,esq4 #bhfd;,a4 ,frame for enamels2 ground1 purple velvet2 pattern1 scrolls in raised gold embroidery4 ,french1 late #agth century4 #h inches by #g inches4 ,the velvet is put on pasteboard4 ,in the centre1 left uncovered1 a larger enamel must have been let in2 upon the four small circular and unembroidered spaces of the velvet1 lesser enamels1 or precious stones1 were sewed4 #bhfe4 ,frame for enamels2 ground1 crimson velvet2 pattern1 scrolls in raised gold embroidery4 ,french1 late #agth century4 #h inches by #g inches4 ,though differing in its colour1 this is evidently the fellow to the one just mentioned4 #djae4 ,mitre2 crimson and gold velvet4 ,florentine1 #aeth century4 #a foot #aj inches by #aa inches4 ,this liturgical curiosity is of that low graceful shape which we find in most mitres before the #afth century2 in all probability this one was made not for real episcopal use1 but to be employed in the service of the so-called boy-bishop who used1 for centuries1 to be chosen every year from among the boys who served in the cathedral1 or the great churches of towns1 at ,christmas-tide1 as well in ,england as all over ,christendom2 7see 8,church of our ,fathers10 t4 iv4 p4 #bae74 ,as the rubrical colour for episcopal mitres is white1 or of cloth of gold1 a crimson mitre is of great rarity4 ,the one before us is made of those rich stuffs for which ,florence was so famous1 as may be instanced in the gorgeous vestments given to ,westminster ,abbey by our ,henry ,,vii4 ,the mitre itself is of crimson velvet1 freckled with gold threads1 raised in a rich pile upon a golden ground1 with green fringed lappets2 but the 8titulus10 or upright stripe before and behind1 along with the 8corona10 or circular band1 are all of a kind of lace or woven texture of raised velvet1 green1 white1 and crimson1 after a pretty design1 upon a golden ground4 ,the mitre is lined throughout with light-blue silk4 #djaf4 ,bed-quilt2 ground1 cherry-coloured satin2 pattern1 birds amid flowers and foliage1 in the centre a double-headed eagle1 displayed4 ,east ,indian 7871 early #agth century4 #h feet #f inches by #f feet #aj inches4 ,the satin is poor1 and its colour faded2 but the embroidery1 with which it is plentifully overspread1 is of a rich1 though not tasty1 kind4 ,birds of extraordinary1 and1 no doubt1 fanciful plumage are everywhere flitting about it1 among flowers as unusual as themselves2 but the glowing tones of the many-coloured silks in which they are wrought must strike every one's eye4 ,from the double-headed eagle1 done in gold1 with wings blue1 yellow1 and green1 displayed1 it would appear that this quilt was wrought for some 7perhaps imperial7 house in ,europe4 #djah4 ,state-cap1 of crimson velvet turned up with white satin1 which is faced with crimson velvet1 and all embroidered in gold and silver threads4 ,german 7871 late #agth century4 #ad inches by #aj inches4 ,by a very modern hand the words 8,king ,charles0 are written upon the green silk lining2 what ,charles1 however1 is not mentioned4 ,there is much about the shape of the cap itself1 and especially in the design of its embroidery1 to induce the belief that it was wrought and fashioned by a ,german hand1 and for ,german and not ,english use4 ,in a piece of tapestry once belonging to the famous ,bayard1 and now in the ,imperial ,library at ,paris1 the same form of high-crowned crimson velvet cap is worn by ,pyrrhus while he is being knighted1 as may be seen1 plate #db1 in ,shaw's 8,dresses and ,decorations of the ,middle ,ages10 t4 ii1 borrowed from ,jubinal's fine work on 8,early ,tapestries40 #djbd4 ,altar-frontal2 ground1 crimson satin2 subjects1 five apostles1 each under a ,gothic canopy1 with bunches of flowers between them wrought in coloured silks and gold thread4 ,italian1 late #aeth century4 #g feet #c inches by #b feet4 ,beginning at the left-hand we have ,st4 ,paul holding a sword1 then ,st4 ,james the ,greater with the pilgrim-staff2 in the middle1 ,st4 ,thomas holding in one hand a spear1 and giving his blessing with the right1 ,st4 ,andrew with a cross of large size leaning against his shoulder2 and1 last of all1 ,st4 ,john with an eagle at his feet4 ,the figures are better done than the niches about them1 which are very heavy and bad in taste1 as are the bunches of flowers4 ,the whole is applied1 and upon a more modern piece of crimson satin4 ,the back is lined with leaves of a printed book relating to the ,abbey of ,vallombrosa1 near ,florence4 ,hanging behind this frontal1 and put together as a background to it1 are ,numbers3-- #deac-deaf4 ,fringed ,panels of ,domestic ,furniture2 ground1 deep maroon velvet2 pattern1 a small arabesque within a square of the same design1 in cloth of gold edged with gold cord4 ,italian1 #afth century4 ,nos4 #deac and #deae1 each #d feet #f inches by #a foot #d inches2 ,nos4 #dead and #deaf1 each #c feet #g inches by #a foot #d inches4 ,bedsteads in ,italy are so large that these pieces look far too small to have ever been applied to such a purpose as bed-furniture4 ,they were1 probably1 the hangings for the head of a canopy in the throne-room of a palace during the year of mourning for the death of its prince4 #djde4 ,chasuble2 the ground1 tawny-coloured velvet2 pattern1 angels and flowers in coloured flos-silks and gold thread1 the orphreys before and behind figured with saints4 ,english1 #aeth century4 #g feet by #c feet4 ,though the needlework upon this chasuble is effective at a distance1 like much of the embroidery of the time1 both in this country and abroad1 it is found to be very rude and coarse when seen near4 ,the style of the whole ornamentation is so very ,english that there is no mistaking it4 ,the back orphrey is in the shape of a cross2 and on it1 and figured at top1 ,melchisedek with three loaves in his hand2 beneath him1 the prophet ,malachi1 on the left of whom we have ,abraham with a large broad sacrificial knife in his hand1 on the right1 ,king ,david and his harp2 these three form the transom of the cross4 ,going downward1 we see ,st4 ,john the ,evangelist with the chalice2 below this apostle1 ,david again2 and1 last of all1 half the person of some saint4 ,on the front orphrey are given ,st4 ,james the ,greater1 and two prophets of the ,old ,law4 ,this chasuble1 with its stole and maniple1 is said to have been found at ,bath1 hidden behind the wainscot of a house there4 ,certain it is that the chasuble has been much cut down4 ,the original size was far larger4 #djdf1 #djdf;,a4 ,stole and ,maniple2 ground1 tawny-coloured velvet1 embroidered with flowers in gold and coloured silks4 ,english1 #aeth century4 ,stole1 #h feet #f inches by #b inches2 maniple1 #c feet #c inches by #b inches4 ,the embroidery is quite of the style of the period1 and in character with that usually found upon the commoner class of ,english vestments1 done in flos-silk and gold thread1 after a large design4 ,the velvet is ,italian1 and this tone of colour seems to have been then in favour4 #djei4 ,piece of ,woven ,orphrey2 ground1 crimson silk2 subject1 the ,assumption of the ,blessed ,virgin ,mary1 in yellow silk4 ,florentine1 #aeth century4 #b feet #i inches by #h inches4 ,this favourite subject of all art-schools in the medival period is treated here much after other examples in this collection1 as ,no4 #higg1 c41 but with some variations1 and better design and drawing4 ,the ,eternal ,father1 with glory round ,him1 and two cherubim1 is putting a crown upon the head of ,st4 ,mary1 who is seated upon sunbeams surrounded by angels1 while she drops her girdle to ,st4 ,thomas as he kneels at her late grave1 now filled with new-blown lilies1 and bearing on its front the words 8,assunta est40 8,assunta0 for 8,assumpta0 is the weaver's own blunder4 ,dr4 ,bock gives a plate of it in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #a ,band1 #b ,lieferung1 pl4 xvi4 #djfa4 ,piece of ,raised ,velvet2 ground1 pale yellow silk2 pattern1 in raised velvet1 a large oblong square1 having within a border of corn-flowers a large star-like inflorescence1 and each square separated by a border or band charged with liliaceous flowers1 in crimson raised velvet1 in part upon a silver ground1 now blackened1 surrounded by an ornament in amber-streaked green in raised velvet4 ,italian1 late #afth century4 #d feet by #a foot #a inch4 ,another of the several specimens of the rich raised velvet for furnishing purposes4 #djfb4 ,purse in ,green ,velvet1 embroidered with gold and silver threads1 and at bottom emblazoned with a ducal crown and two shields of arms4 ,french1 #ahth century4 #d inches in diameter1 #c inches high4 ,though so small1 this little purse is tastefully and richly wrought1 and has nicely worked double strings1 with gold-covered knobs at their ends for drawing its mouth close1 and two other like knobs for opening it4 ,at bottom it is very richly ornamented with a golden mantle1 upon which are two shields1 the one on the man's side is azure two lions passant gardant1 royally crowned or2 that on the woman's side1 azure a chevron or1 between two four-petaled and barbed flowers1 in chief1 and a double transomed cross in base argent2 over both shields is a ducal coronet4 ,no doubt this purse1 which is lined with white kid-leather1 was one of those still used by ladies in ,france1 and held in their hands as they stand at the doors or go about the church at service-time to collect the alms of the congregation1 for the poor or other pious purposes2 this one may have belonged to an heiress married to a duke4 #djfh4 ,strip of ,raised ,velvet2 ground1 silver and white silk2 pattern1 a large crimson and green flower seeded gold1 alternating with a floriation having flowers of crimson1 tawny1 and purple on green stems4 ,north ,italy1 #afth century4 ,illustration3 #djfh4 ,,velvet ,silver ground1 raised floriated pattern1 in various colours4 ,genoese1 #afth century4 ,this fine specimen of raised velvet is of a deep pile and rich mellow colouring4 ,the silver threads of the ground have become quite dimmed1 while the gold in the flower is fresh and glowing4 ,seemingly1 this piece last served as the hanging of a bed4 #djfi4 ,piece of ,raised ,velvet on a gold ground2 pattern1 large conventional flowers and ears of corn issuing out of a ducal coronet4 ,genoese1 early #agth century4 #h feet by #d feet4 ,the gold of the ground is now so tarnished1 and was1 at first1 so sparingly used that now it is almost invisible2 but the pile of the velvet is deep and the pattern bold4 ,doubtless this stuff was for household decoration4 #djgj4 ,piece of ,silk ,brocade2 purple2 pattern1 in gold and silver1 a large vase out of which spring two ramifications and two eagles1 one on each side1 alternating with a floriation bearing at top a pomegranate seeded2 in the narrow border at top and bottom the fleur-de-lis is the chief ornament1 while the tasseled fringe1 designed at bottom1 shows that this texture must have been intended as a hanging for a frieze4 ,lyons1 late #afth century4 #ab feet by #a foot #aj inches4 ,the occurrence of birds or animals of any sort in stuffs of the period is unusual2 and1 in all likelihood1 the last use of this piece was as a hanging in some large hall4 #dbji1 #dbaj4 ,pieces of ,white ,brocaded ,silk4 ,lyons1 #ahth century1 #a foot #d inches by #aa inches4 ,the manufacture of this stuff is rather remarkable1 not so much for that satin look1 produced by flos-silk1 in some parts of its design of flower-bearing branches1 as by the way in which portions of it are thrown up in little seed-pearls4 #dbaf4 ,piece of ,needlework figured with a female saint at her prayers before a picture of our ,saviour1 and a crowd of men standing behind her near a belfry1 in which are swinging two bells4 ,italian1 early #aeth century4 #a foot #d inches by #aa inches4 ,by the costume this work would seem to have been done in ,tuscany1 and it shows the bed-room of some saintly noble dame1 wimpled and clad in a crimson mantle embroidered with gold4 ,at the foot of her bed there is1 wrought and diapered in gold1 a praying desk on which lies open a book in silver having a large ,m in red marked on its first page2 above is a picture of our ,redeemer1 known by ,his crossed glory1 in the act of giving ,his blessing1 before whom the saint is praying4 ,at her knees are two green snakes1 and above her two angels are carrying her soul1 under her human form1 up to heaven4 ,behind her1 and close to a belfry1 where the bells are swinging and the ropes of which are hanging down1 is a group of men1 one a tonsured cleric1 seemingly1 from his dalmatic1 a deacon1 with both hands upraised in surprise2 near him other clerics tonsured1 two of whom are reading with amazement out of a book held by a noble layman4 ,this work contains allusions to several events in the life of ,st4 ,frances1 widow1 known in ,italy1 as ,santa ,francesca ,romana2 but a very remarkable one is here especially sketched forth4 ,she is said to have often beheld the presence of her guardian angel1 clothed as a deacon1 watching over her4 ,such was the obedience and condescension yielded by her to her husband that1 though wrapped in prayer1 or busied in any spiritual exercise1 if called by him or anywise needed by the lowliest servant in her family1 she hastened to obey at the moment4 ,it is told of her1 that one day1 being asked for as many as four times in succession1 just as she was1 each time1 beginning the same verse again1 of a psalm in the ,office of the ,blessed ,virgin1 on coming back for the fifth time she found that verse written all in gold4 ,here then we have the loving husband showing this prayer-book1 with its golden letters1 to a crowd of friends1 among whom is his wife's angel hidden under a deacon's dalmatic2 while the saint herself is at her devotions1 foreseeing in vision the evils that are to befall ,italy1 through civil strife1 shown by those serpents and the swinging bells betokening alarm and fright4 #ddef4 ,table-cover2 ground1 coarse canvas2 design1 armorial bearings1 symbolical subjects1 fruits1 and animals1 besides five long inscriptions in ,german1 dated ,a4,d4 #aehe4 ,german4 #f feet by #f feet #f inches4 ,the whole of this large undertaking was worked by some well-born ,german mother as an heirloom to her offspring4 ,at the right hand corner1 done upon a separate piece of finer canvas and afterwards applied to the ground1 is a shield of arms1 sable1 three lions rampant or armed and langued gules two and one between a fess argent2 at another corner1 but worked upon the canvas ground itself1 a shield1 gules three bars dancett argent2 upon a third shield1 argent1 a fess dancett sable2 on the last corner shield1 quarterly or and gules1 a fess argent2 upon a smaller shield in the middle of the border1 sable a pair of wings expanded argent2 on the border opposite1 party per fess sable and or1 two crescents argent2 in the centre of the next border1 gules two bars 7perhaps7 sable charged1 the upper one with three1 the lower with one1 bezants or plates2 and last of all1 upon the other border1 or1 a lion rampant1 gules with chief vair1 sable1 and or4 ,repeated at various places are a vase surmounted by a cross with two birds1 half-serpent1 half-dove1 sipping out of the vessel2 and below this group another1 consisting of two stags well 8attired10 each with one hoof upon the brim of a fountain out of which they are about to drink4 ,this latter symbol is evidently a reference to the ,psalmist's hart that panteth after the fountains of water1 while the former one is a representation of the union of the serpent's wisdom with the simplicity of the dove4 ,in many ancient monuments the upper half of the bird is that of a dove1 the lower ends in a snake-like shape with an eye shown at the extremity of the tail4 ,there are five long rhythmical inscriptions on this cloth1 in ,german1 one at every corner1 and the longest of all in the middle2 considering the period at which they were written1 these doggerel verses are very poor1 and run nearly as follows3-- 8,,als 4 ,,man 4 ,,zalt 4 ,,funfzehn 4 ,,hundert 4 ,,jahr4 ,,darzu 4 ,,noch 4 ,,achtzig 4 ,,und 4 ,,funf 4 ,,zwar4 ,,hat 4 ,,der 4 ,,edel 4 ,,und 4 ,,vest 4 ,,heinrich4 ,,von 4 ,,geispitzheim 4 ,,die 4 ,,tugentreich4 ,,anna 4 ,,blickin 4 ,,zum 4 ,,gmal 4 ,,erkorn4 ,,welche 4 ,,von 4 ,,ligtenberg 4 ,,geborn4 ,,beid 4 ,,altes 4 ,,adelichs 4 ,,geschlecht4 ,,zusammen 4 ,,sich 4 ,,vermehlt 4 ,,recht4 ,,damit 4 ,,nuhn 4 ,,in 4 ,,ihrem 4 ,,ehestandt4 ,,vleisig 4 ,,haushaltung 4 ,,wurdt 4 ,,erkandt4 ,,hat 4 ,,sie 4 ,,ihrem 4 ,,tunckern 4 ,,zu 4 ,,ehrn4 ,,den 4 ,,hausraht 4 ,,wollen 4 ,,zirn 4 ,,und 4 ,,mehrn4 ,,darumb 4 ,,mit 4 ,,ihrer 4 ,,eignen 4 ,,handt4 ,,dies 4 ,,und 4 ,,noch 4 ,,viel 4 ,,zierlichs 4 ,,gewandt4 ,,zu 4 ,,ihrer 4 ,,gedachtnis 4 ,,gemacht4 ,,mit 4 ,,beider 4 ,,nechsten 4 ,,anghen 4 ,,acht4 ,,mit 4 ,,gott 4 ,,ihrh 4 ,,tunckern 4 ,d 4 ,,kinder 4 ,,zart4 ,,auch 4 ,,sie 4 ,,erhalte 4 ,,bei 4 ,,wohlfahrth4 ,,darneben 4 ,,verleihen 4 ,,gedult4 ,,das 4 ,,wir 4 ,,bezahln 4 ,,der 4 ,,natur 4 ,,schult4 ,,nach 4 ,,vollprachtem 4 ,,langen 4 ,,leben4 ,,uns 4 ,,allen 4 ,,die 4 ,,ewig 4 ,,freud 4 ,,geben4 ,,amen4 ,,obgmelter 4 ,,heinrich 4 ,,dichtet 4 ,,mich4 8,when one wrote the year ,fifteen hundred and ,eighty five1 the noble and true ,henry von ,geispitzheim had chosen for his spouse the virtuous ,anna ,blickin von ,lichtenberg4 ,both of them were of ancient noble descent4 ,and she1 to honour the esquire1 her husband1 wished to adorn and increase the house furniture1 and there has worked with her own hand this and still many other pretty cloths1 to her memory4 ,praying that ,god may preserve the esquire1 and the tender children1 and herself also1 and that they may pay the debt of nature at the end of a long life1 and eternal joy may be granted them4 ,amen4 ,the aforesaid ,henry has composed me 7i4e4 the doggerel verses740 8,,nun 4 ,,folget 4 ,,auch 4 ,,bei 4 ,,die 4 ,,zeit 4 ,,und 4 ,,jahr4 ,,darin 4 ,,ich 4 ,,zur 4 ,,welt 4 ,,gepohren 4 ,,war4 ,,des 4 ,,wen 4 ,,mein 4 ,,drei 4 ,,dochterlein4 ,,auch 4 ,,sonn 4 ,,zur 4 ,,welt 4 ,,gepohren 4 ,,sein4 ,,als 4 ,,man 4 ,,zaltt 4 ,,funff 4 ,,zehen 4 ,,hundert 4 ,,lii4 ,,erfreuwet 4 ,,mein 4 ,,mutter 4 ,,mein 4 ,,geschrei4 ,,an 4 ,,dem 4 ,,jar 4 ,,achtzig 4 ,,funff 4 ,,her 4 ,,nach4 ,,ich 4 ,,meinem 4 ,,junckern 4 ,,ein 4 ,,dochter 4 ,,pracht4 ,,emilia 4 ,,cathariena 4 ,,ist 4 ,,ihr 4 ,,nahm4 ,,von 4 ,,jugent 4 ,,gerecht 4 ,,und 4 ,,lobesam4 ,,zwei 4 ,,jhar 4 ,,dar 4 ,,nach 4 ,,im 4 ,,janner 4 ,,hart4 ,,mich 4 ,,got 4 ,,wiederum 4 ,,erfreuet 4 ,,hat4 ,,mit 4 ,,einer 4 ,,dochter 4 ,,zart 4 ,,und 4 ,,fein4 ,,sie 4 ,,drinckt 4 ,,waser 4 ,,und 4 ,,keinen 4 ,,wein4 ,,magdalena 4 ,,elisabeth 4 ,,gennant4 ,,jhrem 4 ,,vater 4 ,,werth 4 ,,gar 4 ,,wohl 4 ,,bekannt4 ,,nach 4 ,,gehents 4 ,,jahr 4 ,,achtzig 4 ,,acht4 ,,meinen 4 ,,son 4 ,,reichart 4 ,,an 4 ,,das 4 ,,licht 4 ,,gepracht ,,das 4 ,,war 4 ,,dem 4 ,,vater 4 ,,grosse 4 ,,freuwdt4 ,,got 4 ,,sei 4 ,,gelobt 4 ,,in 4 ,,ewigkeit4 ,,das 4 ,,volgt 4 ,,jahr 4 ,,achtzig 4 ,,und 4 ,,neun4 ,,bracht 4 ,,ich 4 ,,zur 4 ,,welt 4 ,,die 4 ,,zwiling 4 ,,mein4 ,,hans 4 ,,casparn 4 ,,erst 4 ,,drauff 4 ,,emichen 4 ,,baldt4 ,,das 4 ,,sich 4 ,,erfreudt 4 ,,der 4 ,,vater 4 ,,alt4 ,,das 4 ,,geschach 4 ,,den 4 ,,iz 4 ,,hornungs 4 ,,dag4 ,,gots 4 ,,allmacht 4 ,,noch 4 ,,viel 4 ,,mehr 4 ,,vermag4 ,,zu 4 ,,letz 4 ,,im 4 ,,jahr 4 ,,neuntzig 4 ,,und 4 ,,drei4 ,,anna 4 ,,margaretha 4 ,,kam 4 ,,auch 4 ,,herbei4 ,,den 4 ,,zwolfften 4 ,,februarius4 ,,damit 4 ,,ich 4 ,,disse 4 ,,sach 4 ,,beschlusz4 ,o 4 ,,ihr 4 ,,hertz 4 ,,liebe 4 ,,kindter 4 ,,mein4 ,,ich 4 ,,lasz 4 ,,euch 4 ,,mir 4 ,,befohlen 4 ,,sein4 ,,behtet 4 ,,allens 4 ,,morgens 4 ,,ohn 4 ,,under 4 ,,lasz4 ,,in 4 ,,froligkeit 4 ,,halt 4 ,,gnae 4 ,,masz4 ,,ach 4 ,,ihr 4 ,,hertz 4 ,,liebe 4 ,,kindter 4 ,,mein4 ,,macht 4 ,,euch 4 ,,mit 4 ,,gottes 4 ,,wort 4 ,,gemein4 ,,so 4 ,,wirt 4 ,,euch 4 ,,got 4 ,,der 4 ,,her 4 ,,erhalten4 ,,das 4 ,,ihr 4 ,,ewerem 4 ,,vater 4 ,,noch 4 ,,mit 4 ,,ehrn 4 some letters wanting ,,disen 4 ,,spruch 4 ,,merckt 4 ,,eben4 ,,so 4 ,,wirt 4 ,,euch 4 ,,got 4 ,,glick 4 ,,und 4 ,,sgen 4 ,,gebn4 8,now follows here my own birthday4 ,when one wrote #aeeb my mother's heart was gladdened by my first cry4 ,in the year #aehe ,i gave birth myself to a daughter4 ,her name is ,emilia ,catharina1 and she has been a proper and praiseworthy child4 ,two years later1 in a cold ,january1 has ,god again gratified me with a daughter tender and fine1 she drinks water and no wine1 her name is ,magdalena ,elizabeth4 ,in #aehh my son ,richard came into this world1 whose birth gave great pleasure to his father4 ,in the following year1 in ,february1 ,i gave birth to my twins1 ,hans ,caspar and ,emich 7,erich874 ,at last1 in #aeic1 on the #abth of ,february1 my daughter ,anna ,margaretha was born4--,o you truly beloved children1 ,i commend myself to your memory4 ,do not forget your prayers in the morning4 ,and be temperate in your pleasures4 ,and make yourselves acquainted with the ,word of ,god4 ,then ,god will preserve you1 and will grant you happiness and bliss40 8,,disz 4 ,,hab 4 ,,ich 4 ,,euch 4 ,,liebe 4 ,,kinder 4 ,,mein4 ,,in 4 ,,reimen 4 ,,bringen 4 ,,laszen 4 ,,fein4 ,,auff 4 ,,das 4 ,,ir 4 ,,wust 4 ,,euwers 4 ,,alters 4 ,,zeit4 ,,durch 4 ,,diese 4 ,,meiner 4 ,,handt 4 ,,arbeit4 ,,welchs 4 ,,ich 4 ,,euch 4 ,,zur 4 ,,gedechtnis 4 ,,las4 ,,und 4 ,,bitt 4 ,,euch 4 ,,freundlich 4 ,,aller 4 ,,mass4 ,,seidt 4 ,,uffrichtig 4 ,,in 4 ,,allen 4 ,,sachen4 ,,das 4 ,,wirt 4 ,,euch 4 ,,gosz 4 ,,und 4 ,,herlich 4 ,,machn4 ,,thut 4 ,,iedem 4 ,,ehr 4 ,,nach 4 ,,seinem 4 ,,standt4 ,,das 4 ,,wirt 4 ,,euch 4 ,,rumlich 4 ,,machen 4 ,,bekandt4 ,,und 4 ,,ihr 4 ,,hertz 4 ,,liebe 4 ,,sone 4 ,,mein4 ,,wolt 4 ,,euch 4 ,,huten 4 ,,vor 4 ,,verigem 7feurigem7 4 ,,wein4 ,,drinckt 4 ,,den 4 ,,wein 4 ,,mit 4 ,,bescheidenheit4 ,,da 4 ,,sichs 4 ,,geburtt 4 ,,das 4 ,,pehut 4 ,,vor 4 ,,leidt4 ,,und 4 ,,ihr 4 ,,hertz 4 ,,liebe 4 ,,dochter 4 ,,mein4 ,,last 4 ,,euch 4 ,,alle 4 ,,tugent 4 ,,betolen 4 ,,sein4 ,,bewart 4 ,,euher 4 ,,ehr 4 ,,hapt 4 ,,euhr 4 ,,gut 4 ,,acht4 ,,bedenckt 4 ,,zu 4 ,,vor 4 ,,jde 4 ,,sach4 ,,dan 4 ,,vor 4 ,,gethan 4 ,,und 4 ,,nach 4 ,,bedracht4 ,,hat 4 ,,manchen 4 ,,weit 4 ,,zuruck 4 ,,gebracht4 ,,das 4 ,,mitell 4 ,,dis 4 ,,alles 4 ,,zu 4 ,,gepen4 ,,ist 4 ,,die 4 ,,forcht 4 ,,gottes 4 ,,merckt 4 ,,mich 4 ,,eben4 ,,gotts 4 ,,forcht 4 ,,bringt 4 ,,weisheit 4 ,,und 4 ,,verstant4 ,,dar 4 ,,dorch 4 ,,gesegnet 4 ,,wirdt 4 ,,das 4 ,,landt4 ,,gots 4 ,,forcht 4 ,,macht 4 ,,reich 4 ,,bringt 4 ,,fred 4 ,u 4 ,,muht4 ,,erfrischt 4 ,,das 4 ,,leben 4 ,,und 4 ,,das 4 ,,blut4 ,,gotes 4 ,,forcht 4 ,,behutt 4 ,,vor 4 ,,allem 4 ,,leidt4 ,,und 4 ,,ist 4 ,,ein 4 ,,weg 4 ,,zur 4 ,,seligkeit4 ,,gottes 4 ,,forcht 4 ,,ist 4 ,,das 4 ,,recht 4 ,,fundament4 ,,daruff 4 ,,des 4 ,,menschen 4 ,,glick 4 ,,bewendt4 ,,und 4 ,,ist 4 ,,ein 4 ,,hauptmittel 4 ,,aller 4 ,,dugent4 ,,wer 4 ,,sich 4 ,,der 4 ,,animpt 4 ,,in 4 ,,der 4 ,,jugent4 ,,dem 4 ,,geht 4 ,,sein 4 ,,alter 4 ,,an 4 ,,mit 4 ,,ehren4 ,,und 4 ,,sein 4 ,,glick 4 ,,wird 4 ,,sich 4 ,,taglich 4 ,,mehren4 ,,dar 4 ,,durch 4 ,,der 4 ,,mensch 4 ,,zum 4 ,,selig 4 ,,endt4 ,,letzlich 4 ,,gelangt 4 ,,ach 4 ,,her 4 ,,uns 4 ,,sendt4 ,,dein 4 ,,heiliger 4 ,,geist 4 ,,der 4 ,,uns 4 ,,thut 4 ,,einfren4 ,,zu 4 ,,solcher 4 ,,forcht 4 ,,die 4 ,,wol 4 ,,euch 4 ,,rihren4 ,,ewer 4 ,,hertz 4 ,,und 4 ,,sin 4 ,,ihr 4 ,,solich 4 ,,forcht4 ,,ergreiffen 4 ,,kont 4 ,,und 4 ,,got 4 ,,gehrcht4 ,,amen 4 ,,das 4 ,,werdt 4 ,,warh 4 ,g 4 ,,gott 4 ,,die 4 ,,erh4 8,this1 ,o my dear children1 has at my wish been put into rhymes1 in order that you may know your age by this work of my own hand1 which ,i leave to you as a memorial4 ,i beseech you to be sincere in all matters2 that will make you great and glorious4 ,honour everybody according to his station2 it will make you honourably known4 ,you1 my truly beloved sons1 beware of fiery wine1 and drink with moderation2 that will preserve you from evil4 ,and you1 my truly beloved daughters1 let me recommend you to be virtuous4 ,preserve and guard your honour2 and reflect before you do anything2 for many have been led into evil by acting first and reflecting afterwards4 ,the way to get to this end is the fear of ,god1 mark me well6 ,the fear of ,god brings wisdom and understanding4 ,the fear of ,god makes rich1 and gives joy and courage1 refreshes life and blood4 ,the fear of ,god protects us from all evil2 and is the way to the state of bliss4 ,the fear of ,god is the foundation on which the happiness of man rests2 and is the chief way to all virtues4 ,he who seeks it in his youth will live with honour till his old age2 and his happiness will daily increase4 8,amen4 ,give to ,god all honour40 8,,als 4 ,,man 4 ,,zalt 4 ,,fufzehn 4 ,,hundert 4 ,,jahr4 ,,und 4 ,,neuntzig 4 ,,neun 4 ,,darzu 4 ,,jst 4 ,,war4 ,,den 4 ,,ersten 4 ,,april 4 ,,nach 4 ,,mitnacht4 ,,gleich 4 ,,umb 4 ,,ein 4 ,,uhr 4 ,,offt 4 ,,ichs 4 ,,betracht4 ,,der 4 ,,allerliebste 4 ,,juncker 4 ,,mein4 ,,genandt 4 ,,heinrich 4 ,,von 4 ,,geispitzheim4 ,,zu 4 ,,dir 4 ,o 4 ,,gott 4 ,,aus 4 ,,dieser 4 ,,welt4 ,,erfordert 4 ,,wirt 4 ,,als 4 ,,dirs 4 ,,gefellt4 ,,sein 4 ,,alter 4 ,,war 4 ,,sechzig 4 ,,und 4 ,,acht4 ,,die 4 ,,wasser 4 ,,sucht 4 ,,ihn 4 ,,umgepracht4 ,,den 4 ,,wollest 4 ,o 4 ,,gott 4 ,,gned 4 ,,geben4 ,,sein 4 ,,pflegen 4 ,,nach 4 ,,dem 4 ,,willen 4 ,,dein4 ,,jch 4 ,,sein 4 ,,betruebte 4 ,,nachgelassen 4 ,,ann4 ,,blickin 4 ,,von 4 ,,liechtenperg 4 ,,genandt4 ,,hab 4 ,,mit 4 ,,nicht 4 ,,under 4 ,,lassen 4 ,,wollen4 ,,sondern 4 ,,ein 4 ,,soliches 4 ,,hie 4 ,,melden 4 ,,sollen4 ,,in 4 ,,diesem 4 ,,tuch 4 ,,mit 4 ,,meiner 4 ,,handt4 ,,damit 4 ,,es 4 ,,werd 4 ,,meinen 4 ,,kindern 4 ,,bekandt4 ,,dieses 4 ,,mein 4 ,,grosses 4 ,,leid4 ,,welches 4 ,,mir 4 ,,von 4 ,,gott 4 ,,ward 4 ,,bereit4 8,when one wrote the year ,fifteen hundred and ninety-nine1 on the first of ,april after midnight1 just at one o'clock--often ,i think of it--my truly beloved husband1 the ,squire ,henry von ,geispitzheim1 was called to ,thee1 ,o ,god6 from this world1 according to ,thy will4 ,his age was sixty and eight years4 ,the dropsy has killed him4 ,to him grant1 ,o ,god6 ,thy mercy1 after ,thy will4 ,i1 his afflicted ,anna ,blickin von ,liechtenperg who was left behind1 have related it with my hand in this cloth1 that it might be known to my children--this my great sorrow1 which ,god has sent me40 8,,den 4 ,,funfften 4 ,,august 4 ,,baldt 4 ,,hernach4 ,,wiederum 4 ,,sich 4 ,,fugt 4 ,,ein 4 ,,leidig 4 ,,sach4 ,,mein 4 ,,jungster 4 ,,son 4 ,,eimch 4 ,,ein 4 ,,zwilling4 ,,von 4 ,,dieser 4 ,,welt 4 ,,abschiedt 4 ,,gab 4 ,,gehlings4 ,,dardurch 4 ,,wardt 4 ,,mir 4 ,,mein 4 ,,leid 4 ,,gemert4 ,,und 4 ,,alle 4 ,,hoffnung 4 ,,umbgekerth4 ,,ach 4 ,,gott 4 ,,las 4 ,,dichs 4 ,,miener 4 ,,erbarmen4 ,,und 4 ,,kom 4 ,,zu 4 ,,trost 4 ,,und 4 ,,hilff 4 ,,mir 4 ,,armen4 ,,hilf 4 ,,treuwer 4 ,,got 4 ,,und 4 ,,steh 4 ,,bei 4 ,,mich4 ,,trost 4 ,,mich 4 ,,mit 4 ,,deinem 4 ,,geist 4 ,,gnedigglich4 ,,und 4 ,,behut 4 ,,mir 4 ,,mein 4 ,,liebe 4 ,,kindt4 ,,so 4 ,,bisz 4 ,,noch 4 ,,gesund 4 ,,uebrig 4 ,,sint4 ,,und 4 ,,schaff 4 ,o 4 ,,got 4 ,,das 4 ,,wir 4 ,,zuglich4 ,,dich 4 ,,schau 4 ,,den 4 ,,im 4 ,,himmel 4 ,,ewiglich4 ,,darzu 4 ,,hilff 4 ,,uns 4 ,,gnedigklich4 ,,ach 4 ,,her 4 ,,ver 4 ,,gieb 4 ,,all 4 ,,unser 4 ,,schult4 ,,hilff 4 ,,das 4 ,,warten 4 ,,mit 4 ,,gedult4 ,,bies 4 ,,unser 4 ,,stuntlin 4 ,,nacht 4 ,,herbei4 ,,auch 4 ,,unser 4 ,,glaube 4 ,,stetz 4 ,,wacker 4 ,,sei4 ,,dein 4 ,,wort 4 ,,zu 4 ,,drauwen 4 ,,testigklich4 ,,bis 4 ,,wir 4 ,,endt 4 ,,schlaffen 4 ,,seligklich4 8,on the fifth of ,august soon afterwards another sorrowful event happened4 ,my youngest son ,eimah 7,erich871 one of my twins1 suddenly departed from this world2 and therefore my sorrow was increased1 and all hope overthrown4 ,o ,god6 have mercy upon me1 and come to comfort and help me1 poor one4 ,help1 true ,god6 and assist me1 comfort me with ,thy ,spirit1 and protect me and my dear children who are still left in good health4 ,and grant1 ,o ,god6 that we then may behold ,thee in ,heaven eternally4 ,o ,lord6 forgive us our trespasses1 help that we may wait with patience until our last hour may come2 and also that our faith may be true1 to believe in ,thy ,word steadfastly until we sink into the slumber of death40 #ddeg4 ,table-cover of white linen1 figured in thread1 with the 8,agnus ,dei10 or 8,holy ,lamb10 in the middle1 and the symbolic animals of the four ,evangelists1 one at each corner4 ,german1 late #afth century4 #f feet #c inches by #e feet #h inches4 ,for its sort and time there is nothing superior to this fine piece of needlework4 ,about the evangelic emblems1 as well as the ,lamb in the centre1 there is a freedom and boldness of design only equalled by the beauty and nicety of execution1 making the piece altogether quite an art-work4 ,the little dogs chasing the young harts1 as well as the rampant unicorns1 but especially the bird of the stork-kind preening its feathers1 and the stag looking back at the hound behind1 all so admirably placed amid the branches so gracefully twining over the whole field1 show a master's spirited hand in their design4 ,unfortunately1 however1 none of its beauty can be seen unless1 like a piece of stained glass1 it be hung up to the light4 ,its use was most likely liturgic1 and occasions for it not unfrequently occur in the year's ritual round2 and on ,candlemas-day and ,palm ,sunday it might becomingly have been spread over the temporary table on the south side of the altar1 upon which were put1 for the especial occasion1 the tapers for the one service1 and the palm-branches for the other1 during the ceremony of blessing them before their distribution4 #ddeh4 ,linen ,napkin2 the four corners embroidered in crimson thread4 ,german1 #agth century4 #c feet by #b feet #f inches4 ,the design consists of a stag at rest couchant1 and an imaginary figure1 half a winged human form1 half a two-legged serpent1 separated by a flower of the centaurea kind4 ,this is repeated on the other side of the square1 up the middle of which runs an ornamentation made out of a love-knot1 surmounted by a heart1 sprouting out of which is a stalk bearing a four-petaled flower1 and then a stem with the usual corn-flower at the end of it4 ,to all appearance1 this linen napkin was for household use4 #ddei4 ,linen ,cradle-,coverlet2 ground1 fine white linen2 pattern1 the ,crucifixion1 with ,saints and the ,evangelists' emblems1 all outlined in various-coloured silk thread2 dated #aeij4 ,german4 #f feet by #f feet #f inches4 ,this piece of needlework is figured with the ,crucifixion in the middle1 and shows us1 on one side1 the ,blessed ,virgin ,mary and ,st4 ,christopher2 on the other1 ,st4 ,john and the ,blessed ,virgin ,mary holding our ,lord in her arms1 and1 at her feet1 a youthful virgin-saint1 most likely ,st4 ,catherine of ,sienna4 ,from the cross itself flowers are in some places sprouting out1 and three angels are catching1 in chalices1 the sacred blood that is gushing from the wounds on the body of our ,lord4 ,at each corner is an evangelist's symbol1 and the whole is framed in a broad border in crimson and white silk1 edged by crochet-work1 and at the corners are the letters ,a4 ,h4 ,a4 ,r4 ,though the figures are in mere outline they are well designed1 but poorly1 feebly executed by the needle4 ,another specimen of a cradle-quilt1 much like this1 is ,no4 #acdd1 and under ,no4 #dfdd notice is taken of feeling for the employment of the four ,evangelists' symbols at the corners of this nursery furniture4 #ddfj4 ,linen ,napkin2 embroidered at one end with two wreaths of flowers above a narrow floral border2 it is edged with lace1 and bears the date #afgb1 and the initials ,a4 ,m4 ,w4 ,german1 #c feet #f inches by #a foot #f inches4 ,probably meant to hang in the sacristy for the priest to wipe his fingers on after washing the tips of them1 before vesting for mass4 #ddfa4 ,linen ,table-,cover2 pattern1 a wide floriation done in white and yellow threads2 in the centre1 a flag couchant within a wreath4 ,german1 late #afth century4 #e feet #d inches by #d inches4 ,free in design and easy of execution4 #ddfb4 ,embroidery on ,silk ,net2 ground1 crimson2 pattern1 branches twined into ovals1 and bearing flowers and foliage1 in various-coloured silks1 and heightened1 in places1 with gold and silver thread4 ,italian1 late #agth century4 #b feet #h inches by #i inches4 ,a very pleasing and exceedingly well-wrought specimen of its style4 ,like in manner1 but much better done than the examples at ,nos4 #fbc1 #fbd4 ,no doubt it was meant for female adornment4 #debb4 ,altar-frontal2 embroidered in the middle with nine representations of the birth1 c4 of our ,lord2 and four passages from the ,saints' lives on each side1 all in gold and various-coloured silks1 upon fine linen4 ,italian1 #adth century4 #d feet #c inches by #a foot #h inches4 ,this frontal is said to have been brought from ,orvieto2 but in it there is nothing about the celebrated relic kept in the very beautiful and splendid shrine in that fine cathedral4 ,so very worn is this piece of embroidery1 that several panels of it are quite indistinct4 ,it may be1 however1 distinguished into three parts--the centre and the two sides4 ,in the first we have1 in nine compartments1 the ,annunciation1 the ,nativity1 the coming of the ,wise ,men1 the ,blessed ,virgin ,mary1 with ,st4 ,joseph1 going to the temple and carrying in a basket her pair of turtle-doves1 which she is giving to ,simeon2 the ,last ,supper2 our ,lord being taken in the garden2 the ,crucifixion2 the burial2 the ,resurrection of our ,saviour2 on the right side1 the legend of ,st4 ,christopher1 mixed up with that of ,st4 ,julian ,hospitaler2 on the left are passages from the life of ,st4 ,ubaldo1 bishop of ,gubbio in the middle of the #abth century4 ,in the first square is the saint mildly forgiving the master-mason who carried the new walls of the city across a vineyard belonging to ,st4 ,ubaldo1 and1 when reproved about the wrong thus done to private property1 knocked down the saint2 in the second we behold the saint at the bedside of a converted sinner1 whose soul1 just breathed forth1 an angel is about to waft to heaven2 in the third we have before us the saint himself1 upon his dying bed1 surrounded by friends1 one of whom--a lady--is throwing up both her arms in great affright at the sudden appearance of a possessed man who has cast himself upon his knees at the bedfoot1 and1 with one hand outstretched upon the bed1 is freed from the evil spirit1 which is flying off over head in shape of a devil-imp2 in the last the saint is being drawn in an open bier1 by two oxen1 to church for burial1 followed by a crowd1 among whom is his deacon4 ,from the subjects on this much-decayed frontal1 figured1 as it is1 with the life of ,st4 ,ubaldo1 known for his love of the poor1 his kindness to wayfarers and pilgrims1 and his healing of the sick1 as well as with the legends of ,st4 ,julian and ,st4 ,christopher1 remarkable for the same virtues1 we may infer that this ecclesiastical appliance hung at the altar of some poor house or hospital1 in by-gone days1 at ,orvieto4 #dfdc4 ,band of ,gimp ,openwork1 crimson and gold thread4 ,german 7871 #ahth century4 #a foot #aj inches by #a inch4 ,evidently for ladies' use1 but how employed is not so clear2 from a little steel ring sewed to it1 perhaps it may have been worn hanging from the hair behind the neck4 #dfdd4 ,cradle-quilt2 ground1 green satin1 embroidered with armorial bearings1 the four ,evangelists1 and flowers1 all in coloured silks1 and dated #afab4 ,german4 #b feet #e inches by #a foot #i inches4 ,within a narrow wreath of leaves and flowers there are two shields1 of which the first bears gules a wheel or1 surmounted by a closed helmet1 having its mantlings of or and gules1 and on a wreath gules a wheel or as a crest2 the second1 azure1 a cross couped argent between a faced crescent and a ducal coronet1 both or1 and all placed in pile1 surmounted by a closed helmet having its mantlings of or and azure1 and on a wreath or1 a demy bear proper with a cross argent on its breast1 crowned with a ducal coronet or1 and holding in its paws a faced crescent or4 ,at each of the four corners is the emblem of an evangelist with his name1 and shown as a human personage nimbed and coming out of a flower1 with his appropriate emblem upholding an open volume which he has in his hands1 thus calling to mind those nursery rhymes3-- 8,matthew1 ,mark1 ,luke1 and ,john1 ,guard the bed ,i lie upon10 c42 which seem to be as well known in ,germany as they were1 and yet are1 in ,england4 ,see 8,church of ,our ,fathers10 t4 iii4 p4 #bcj4 #dfde4 ,cradle-quilt2 centre1 crimson silk1 embroidered with flowers in coloured silk1 mostly outlined with gold thread1 and here and there sprinkled with gold ornamentations1 and surrounded by a broad satin quilting edged with a gold lace-like border4 ,german1 late #agth century4 #b feet #g inches by #b feet #b inches4 ,the cradle-cloths1 or quilts1 are of common occurrence1 and afford occasions for much elegance of design4 #dfdf4 ,cradle-quilt2 ground1 brown silk2 pattern1 a wreath of green leaves encircling two armorial shields1 and filled in with flowers outside the spandrils2 the whole surrounded by a border of flowers1 all in various-coloured flos-silk4 ,german1 late #afth century4 #c feet by #b feet #e inches4 ,of the two shields the first is party per fess azure and sable1 a griffin rampant or holding three ears of wheat2 the shield itself surmounted by a helmet closed1 having green mantlings and crested with a ducal coronet out of which issues a demi-griffin rampant holding three ears of wheat or4 ,the second shield is party per fess sable and or1 a lion rampant or noued1 and langued gules1 counterchanged or and sable1 surmounted by a closed helmet with green mantlings1 and crested with a demy-lion rampant or1 langued gules issuing from a wreath sable and or 7now faded74 ,by means of a long slit with hooks and eyes to it a blanket might be introduced to make this coverlet warmer4 #dfdg4 ,satin ,bed-quilt2 the middle a silk brocade diapered with a large floriation within a broad wreath-like band1 all bright amber upon a crimson ground2 the broad border is of crimson satin1 quilted1 after an elaborate pattern shown by a cording of blue and gold4 ,french1 #agth century4 #f feet by #e feet #f inches4 #dfdh4 ,satin ,bed-quilt2 the middle1 silk brocade diapered with a somewhat small floriation1 in bright amber and white upon a crimson ground4 ,the wide border1 in crimson satin of rich material and brilliant tone1 is quilted after an agreeable design with yellow cord4 ,french1 #agth century4 #g feet #aj inches by #e feet #d inches4 #dfdi4 ,liturgical ,scarf2 ground1 white silk2 pattern1 bunches of leaves and flowers1 in various-coloured silk thread4 ,french1 #ahth century4 #aa feet #e inches by #a foot #d inches4 ,such scarves are used for throwing on the lectern1 and to be worn by the sub-deacon at high mass2 and1 from its appearance1 this one must have seen much service4 ,all its flowers1 as well as its two edgings1 are worked in braid1 nicely sewed on and admirably done4 #dffa4 ,long ,piece of ,silk ,brocade2 ground1 light maroon2 pattern1 creamy white scrolls1 dotted with blue flowerets1 and placed so as to form a wavy line all up the warp amid bunches of red and blue flowers and leaves4 ,lyons1 late #agth century4 #h feet #f inches by #a foot #g inches4 ,the colours are faded somewhat1 and though showy1 this stuff is not so glaring in its design as were the silks that came1 at a later period1 from the same looms4 ,if used in the liturgy1 it must have been for covering the moveable lectern for holding the ,book of the ,gospels1 out of which the deacon at high mass chants the gospel of the day4 ,it might1 too1 have served as a veil for the sub-deacon for muffling his hands while he held the paten after the offertory4 #dffe4 ,pair of ,lady's ,gloves of kid leather1 with richly embroidered cuffs4 ,french1 late #agth century4 #ac inches by #g inches4 ,the hands are of a light olive tone1 and embroidered on the under seams in gold2 the cuffs are deep1 and embroidered in gold and silver after a rich design upon crimson silk1 and are united by the novelty of a gusset formed of three pieces of broad crimson ribbon4 #dfff4 ,purse in gold tissue1 embroidered with flowers in pots1 and bound with ribbons in silver and colours4 ,french1 #ahth century4 #e inches by #d inches4 ,some of the flowers are springing up from silver baskets2 others are tied up with silver ribbons1 and the whole pleasingly done4 #dffg4 ,purse in gold and silver embroidery1 with gilt clasp4 ,english1 #aith century4 #d inches by #d inches4 ,the design of this is pretty1 and consists of small gold and silver disks wrought in thread1 and linked together by a strong green silk netting4 #dhid4 ,velvet ,hanging2 ground1 black2 pattern1 a frieze made up of a flower-bearing vase between two broad horns of plenty1 full of fruits1 and two imaginary heraldic monsters1 one on each side1 like supporters1 fashioned as red-tongued eagles1 with wings displayed in the head1 but having a tailless haunch1 and cloven-footed legs of an ox2 the fimbriations are edged with green fringe1 and the spaces filled with a conventional floriation2 and the greater parts done in yellow satin1 smaller parts in other coloured satins1 all edged with gold cording and silver thread1 and applied to the ground of black velvet4 ,french1 early #agth century4 #be inches by #ab inches4 ,the whole of this curious piece is designed with great boldness and spirit1 and most accurately wrought4 #effb4 ,four ,pieces of ,raised ,velvet1 sewed into one large square2 ground1 yellow and crimson silk2 pattern1 a bold floriation in raised crimson velvet4 ,genoese1 #afth century4 ,a fine specimen of the ,genoese loom1 showing a well-managed design composed of a modification of the artichoke1 mixed with pomegranates1 ears of corn 7rather an unusual ornament71 roses1 and large liliacious flowers4 ,not unlikely this stuff was ordered by some ,spanish nobleman for hangings in the state halls of his palace4 ,such stuffs are sometimes to be seen on the canopy in the throne-room of some ,roman princely house1 whose owners have the old feudal right to the cloth of estate4 #effc4 ,set of ,bed ,hangings complete1 in green cut velvet raised upon a yellow satin ground1 diapered in gold4 ,genoese1 #afth century4 ,the foliated scroll pattern of this truly rich stuff is executed in a bold and telling manner2 and the amber satin ground is marked with a small but pleasing kind of diaper1 which is done in gold thread4 ,to give a greater effect to the velvet1 which is deep in its pile1 a cord of green and gold stands stitched to it as an edging4 #effd1 #effd;,a4 ,two ,pieces of ,embroidery2 ground1 light purple1 thin net lined with blue canvas2 pattern1 nosegays of white and red flowers and large green branches tied up in bunches1 with white and with yellow ribbons alternately2 the narrow borders1 which are slightly scolloped1 are figured with sprigs of roses2 and the whole is done in bright-coloured untwisted silks1 and has throughout a lining of thin white silk4 ,french1 late #afth century4 #aj feet #i inches by #b feet #i inches4 ,each piece consists of two lengths of the same embroidery sewed together all along the middle2 and served for some household decoration4 #effe4 ,embroidered ,table-cover2 ground1 green cloth2 pattern1 within a large garland of fruits and flowers1 separated into four parts by as many cherubic heads1 two armorial shields and a scroll bearing the date #aeih1 and the four sides bordered with an entablature filled in with animals1 fruits1 flowers1 and architectural tablets having about them ornaments of the strap-like form1 and each charged with a female face4 ,south ,germany1 #afth century4 #e feet #g inches by #e feet #c inches4 ,the design of the embroidery1 done in various-coloured worsteds1 is admirable1 and quite in accordance with the best types of that period2 nor ought we to overlook the artistic manner in which the colours are everywhere about it so well contrasted4 ,the animals are several1 not forgetting the unicorn and monkey2 though1 from the frequency of the ,alpine deer kind1 it looks as if this fine piece of work had been sketched and executed by those familiar with the ,alps4 ,the shields are1 first1 barry of six argent and azure1 with mantlings about a helmet closed and crested with a demi-bloodhound collared and langued1 and1 from the neck downward1 barry like the shield2 second1 quarterly #a and #d or charged with a pair of pincers sable2 #b and #c sable1 a lion rampant or1 and mantlings about a helmet closed and crested with a demi-lion rampant or1 upon a wreath sable and argent4 ,the silver has now become quite black4 #efff4 ,table-cover2 ground1 dark green serge2 pattern1 embroidered in silk and thread1 the four seasons and their occupations1 c41 and in the centre the ,annunciation4 ,german1 early #agth century4 #e feet #c inches by #d feet #f inches4 ,this piece1 though much resembling the foregoing1 ,no4 #effe1 is far below it as an art-work1 and1 by its style1 betrays itself as the production of another period4 ,within a wreath1 the ,annunciation is figured1 after the usual manner1 but without gracefulness1 in the middle of the cloth2 at one corner ,winter is shown1 by men in a yard chopping up and stacking wood2 then1 by the inside of a room where a woman is warming herself before one of those large blind stoves still found in ,germany1 and a bearded man1 seated in a large chair1 doing the same at a brazier near his feet1 while outside the house a couple are riding on a sledge drawn by a gaily caparisoned horse4 ,at the corner opposite we have ,spring--a farm-house1 with its beehives1 and a dame coming out with a jug of milk to a woman who is churning1 near whom is a hedger at his work1 and other men pruning1 grafting1 and sowing4 ,for ,summer1 two gentlemen are snaring birds with a net2 a woman and a man1 each with a sickle in hand1 are in a cornfield2 two people are bathing in a duck-pond before a farm-house1 on the roof of which is a nest with two storks sitting1 one of which has caught a snake2 and in a meadow hard by a man is mowing and a woman making hay4 ,for ,autumn1 we see a vineyard where one man is gathering grapes and another carrying them in a long basket on his shoulders2 and near1 a man with a nimb1 or glory1 about his head1 and lying on the ground with one leg outstretched1 which a dog is licking above the thigh--perhaps the shepherd ,st4 ,rock1 and1 while a gentleman is walking past behind him1 a girl1 with a basket of fruit upon her head1 is coming towards the spot4 ,between the seasons1 and within circular garlands1 are subjects akin to these parts of the year2 in a boat1 upon the water1 a young couple are beginning the voyage of life together2 a lady on a grey horse is1 with hawk on hand1 disporting herself in the flowery fields2 a young lady is caressing a lamb with one hand and carries a basket of young birds in the other2 last of all1 another lady is kneeling at her prayers1 with a book open before her on a table over-spread with a nicely worked cloth4 ,a deep gold fringe runs all round the four sides of this table-cover4 #efgj-efgf4 ,seven ,chair-seat ,covers2 ground1 yellow satin2 pattern1 birds1 flowers1 and a mask of an animal1 all embroidered in various-coloured flos-silk4 ,french1 late #agth century4 #b feet #f inches by #b feet4 ,the satin is rich1 and all the embroideries done in a bold effective manner2 in some of these pieces the beak of each green parrot holds a strawberry or arbutus-fruit2 and the lily and fleur-de-lis here and there betray a ,french feeling4 ,it should be noticed1 too1 that much botanical knowledge is shown in the figuration of the flowers1 which are more pleasing and effective from being thus done correctly4 #efgg4 ,two ,pieces of ,raised ,silk ,brocade2 ground1 yellow2 pattern1 the artichoke amid strap-work ornamentation1 all of a large bold character1 in raised crimson4 ,italian1 #afth century4 #aj feet #a inch by #d feet #b inches4 ,a rich stuff1 and made up for household decoration1 perhaps for the throne-room of some palace4 #efgh4 ,cradle-coverlet1 green silk1 brocaded in gold and silver2 pattern1 imitation of ,oriental design in gold and silver flowers1 after a large form1 lined in red4 ,french1 #ahth century4 #c feet #f inches square4 ,a specimen of a rich and telling1 though not artistic1 stuff4 #egbc4 ,piece of ,raised ,velvet2 green1 on a light amber-coloured ground4 ,genoese1 late #afth century4 #g feet #aj inches by #a foot #h inches4 ,the pattern1 rich in its texture and pleasing in its colours1 consists of large stalks of flowers springing out of royal open crowns1 all in a fine pile of green velvet1 and1 no doubt1 was meant for palatial furniture4 #egbh4 ,a ,missal-,cushion2 ground1 white satin2 pattern1 flowers and fruit embroidered in coloured silks1 amid an ornamentation of net-work1 partly in gold2 it has four tassels of green silk and gold thread4 ,french1 #agth century4 #a foot #e inches by #aj inches4 ,one of those cushions once so generally used for supporting the ,missal at the altar4 ,it is figured only on the upper side1 and underneath is lined with a silk diapered in a pleasing pattern1 in amber-colour4 ,its tassels are rather large and made of several coloured silk threads and gold4 #eghh4 ,a figure of ,st4 ,mark1 seated2 embroidered1 in part by the hand1 in part woven4 ,florentine1 early #afth century4 #a foot #c inches by #h inches4 ,beneath a circular-headed niche1 with all its accessories in the style of the revival of classic architecture1 sits ,st4 ,mark1 known as such by the lions at his side4 ,within his right arm the ,evangelist holds a large cross2 and on his lap lies an open book1 both pages of which are written with the words3--8,gloria in excelsis ,deo1 et in ta40 ,much of the architecture1 as well as of the drapery of this personage1 is loom-wrought1 assisted in places by needle-embroidery4 ,the head1 the hands1 the feet1 are all done by the needle2 but the head1 neck1 and beard are worked upon very fine linen by themselves1 and afterwards applied1 and in such a manner that the long white beard overlaps the tunic4 ,his chair1 instead of legs1 is upheld upon the backs of two lions lying on the ground4 ,the head is done with all the fineness and delicacy of a miniature on ivory1 and the way in which the massive folds of his full wide garments are thrown over his knees is noteworthy and majestic4 #eijj4 ,silk ,damask ,orphrey ,web2 ground1 crimson2 pattern1 the ,resurrection4 ,venetian1 #afth century4 #a foot #d inches by #h inches4 ,one of those numerous examples of woven orphrey-work for vestments such as copes and chasubles4 ,our ,lord is figured as uprising from the grave1 treading upon clouds1 giving1 with ,his right hand1 a blessing to the world1 and holding the triumphal banner in the left4 ,glory streams from ,his person1 and a wreath of ,cherubim surrounds ,him2 while1 from the top part of this piece1 we know that two ,roman soldiers were sitting on the ground by the side of the sepulchre1 which they were charged to guard4 #eieh4 ,box for keeping the linen corporals used at mass1 in the vestry4 ,it is covered with fine linen1 of a creamy brown tint1 embroidered with crimson silk and gold4 ,inside it is lined1 in part green1 on the lid crimson1 where a very rude print of the ,crucifixion1 daubed with colour1 has been let in4 ,german1 #agth century4 #h inches by #g inches1 #a inches deep4 ,such boxes seem to have been much used1 at one time1 throughout ,germany1 for keeping1 after service1 the blessed pieces of square fine linen called corporals1 and upon which1 at mass1 the host and chalice are placed4 ,before being employed all the year round as the daily repository for laying up the corporals after the morning's masses1 this sacred appliance1 overlaid with such rich embroidery1 and fitly ornamented with the illumination of the ,crucifixion inside its lid1 would seem to have been originally made and especially set aside for an use assigned it by those ancient rubrics1 which we have noticed in our ,introduction1 #e4 ,as such1 it is1 like ,no4 #hcbg further on1 a great liturgical rarity1 now seldom to be found anywhere1 and merits a place among other such curious objects which give a value to this collection4 ,at the mass on ,maundy ,thursday1 besides the host received by the officiating priest1 another host is and always has been consecrated by him for the morrow's 7,good ,friday's7 celebration2 and because no consecration of the ,holy ,eucharist1 either in the ,latin or in the ,greek part of the ,church1 ever did nor does take place on ,good ,friday1 the service on that day is by the ,west called the 8,mass of the ,pre-sanctified10 by the ,east1 8 40 ,folded up in a corporal 7a square piece of fine linen71 the additional host consecrated on ,maunday ,thursday was put into this receptacle or 8capsula corporalium0 of the old rubrics1 and afterwards carried in solemn procession to its temporary resting-place1 known in ,england as the sepulchre1 and there1 amid many lights1 flowers1 and costly hangings of silk and palls of gold and silver tissue1 was watched by the people the rest of that afternoon1 and all the following night1 till the morning of the next day1 when1 with another solemn procession1 it was borne back to the high altar for the ,good ,friday's celebration4 #fiih4 ,piece of ,green ,satin2 pattern1 an arabesque stenciled in light yellow1 and finished by touches done by hand4 ,italian1 very late #ahth century4 #c feet #a inches by #a foot #f inches4 7,presented by ,mr4 ,j4 ,webb74 ,this piece may have been part of a frieze1 round the head of a bed2 and have had a good effect at that height1 though1 in a manner1 an artistic cheat1 pretending to be either wrought in the loom or done by the needle4 ,the design1 in its imitative classicism1 is bold and free1 and the touches of the pencil effective4 ,to this day stencil ornamentation upon house-walls is very much employed in ,italy1 where papering for rooms is seldom used even as yet1 and not long ago was in many places almost unknown4 #gjjd4 ,piece of ,silk ,damask2 ground1 crimson2 pattern1 wheat-ears1 flowers1 and conventional foliage in gold1 shaded white4 ,italian1 late #afth century4 #aa inches by #aj inches4 ,illustration3 #gjjd4 ,,silk ,,damask1 ,italian1 #afth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,a pleasing design1 but the gold is very scant4 #gjje4 ,woollen and ,thread ,stuff2 ground1 white2 pattern1 sprigs of artichokes and pomegranates4 ,spanish1 #afth century4 #aa inches by #g inches4 ,the warp is white linen thread1 rather fine2 and the weft of thick blue wool2 and1 altogether1 it is a pleasing production1 and the design nicely managed4 #gjjf4 ,satin ,brocade2 ground1 bright green satin2 pattern1 sprigs of gold flowers4 ,genoese1 late #afth century4 #g inches by #f inches4 ,the flowers upon this rich and showy stuff are the lily1 the pomegranate1 and the artichoke in sprigs1 each after a conventional form2 and the gold in the thread is of the best1 as it shows as bright now as almost on the first day of its being woven in the satin1 which so seldom happens4 #gjjg4 ,silk ,diaper2 ground1 creamy white2 pattern1 small bunches of leaves1 flowers1 and fruit1 in white1 green1 and brown silk4 ,spanish1 #afth century4 #d inches by #c inches4 ,though the warp is woollen1 the silk in the weft is rich and the pattern after a pretty design1 where the pomegranate comes in often4 #gjjh4 ,piece of ,silk ,damask of the very lightest olive-green2 pattern1 a diaper of large sprigs of flowers4 ,italian1 late #afth century4 #a foot #b inches by #i inches4 ,pleasing in its quiet tone1 and good design4 #gjji4 ,damasked ,silk2 ground1 light red1 with lines of gold2 pattern1 leaves and flowers in deeper red4 ,sicilian1 late #adth century4 #aj inches by #f inches4 ,very like several other specimens in this collection from the looms of ,sicily1 ,palermo especially1 in the pattern of its diapering1 usually in green upon a tawny ground4 #gjaj4 ,silk ,damask2 ground1 crimson2 pattern1 bunches of flowers of the pink and lily kinds1 mingled with slips of the pomegranate4 ,spanish1 #aeth century4 #ab inches by #aj inches4 ,the colour has much faded2 but the design of the pattern1 which is a crowded one1 is very pretty2 and the stuff seems to have been for personal wear4 #gjaa4 ,satin ,damask2 ground1 green2 pattern1 an acorn and an artichoke united upon one small sprig1 in yellow silk4 ,genoese1 #afth century4 #h inches by #c inches4 ,though small1 this is a pretty design2 and1 perhaps1 the great family of ,della ,rovere belonging to the ,genoese republic may have suggested the acorn1 8rovere0 being the ,italian word for one of the kinds of oak4 #gjab4 ,satin ,damask2 the diapering is a sprig fashioned like the artichoke1 and1 in all likelihood1 was outlined in pale pink4 ,italian1 late #afth century4 #a foot #d inches by #i inches4 ,a texture for personal attire which must have looked well4 #gjac4 ,silk ,damask2 ground1 crimson2 pattern1 a large artichoke flower bearing1 in the middle1 a fleur-de-lis4 ,genoese1 late #afth century4 ,the design in the pattern is rather singular2 and may have been meant for some noble1 if not royal ,french family1 connected with a house of the same pretensions in ,spain4 #gjad4 ,silk ,brocade2 ground1 dull purple silk2 pattern1 flowers in gold1 partially relieved in white silk4 ,spanish1 late #afth century4 #aj inches by #f inches4 ,the flowers are mostly after a conventional form1 though traces of the pomegranate may be seen2 the gold thread is thin and scantily employed1 and always along with broad yellow silk4 ,with somewhat poor materials1 a stuff rather effective in design is brought out4 #gjae4 ,silk ,web1 on linen warp2 ground1 deep crimson2 pattern1 a quatrefoil with flowers at the tips of the barbs or angles at the corners1 in gold thread1 and filled in with a four-petaled flower in gold upon a green ground4 ,german1 #aeth century4 #ad inches by #d inches4 ,intended as orphreys of a narrow form2 but made of poor materials1 for the gold is so scant that it has almost entirely disappeared4 #gjaf4 ,end of a ,maniple2 pattern1 lozenges1 green charged with a yellow cross1 and red charged with a white cross of web2 the end1 linen embroidered with a saint holding a scroll1 and fringed with long strips of flos-silk1 green blue white and crimson4 ,german1 early #aeth century4 #ae inches by #c inches4 ,as this piece is put the wrong side out in the frame1 the figure of the saint cannot be identified1 nor the word on the scroll read4 #gjag4 ,linen ,web2 ground1 crimson and green2 pattern1 on the crimson square1 a device in white2 on the green1 two narrow bands chequered crimson1 white1 and green1 with an inscription 7now illegible7 between them4 ,german1 #aeth century4 #af inches by #b inches4 ,poor in every respect1 and the small band of gold is almost black4 #gjah4 ,orphrey ,web2 ground1 gold2 pattern1 a flower-bearing tree in green1 red1 and white2 and the sacred ,name in blue silk4 ,german1 #aeth century4 #ac inches by #c inches4 ,the same stuff occurs at other numbers in this collection4 #gjai4 ,orphrey ,band2 ground1 gold thread2 pattern1 flowers in various-coloured silks4 ,flemish1 #afth century4 #ai inches by #b inches4 ,the whole of this pretty piece is done with the needle1 upon coarse canvas1 and1 no doubt1 ornamented either a chasuble1 dalmatic1 or some liturgical vestment4 #gjbj4 ,crimson and ,gold ,damask2 ground1 crimson2 pattern1 a diaper of animals in gold4 ,italian1 #aeth century4 #ad inches by #d inches4 ,exactly like another piece in this collection2 a winged gaping serpent1 with a royal crown just above but not upon its head1 occupies the lowest part of the design2 over it is the heraldic nebule or clouds darting forth rays all about them1 and above all1 a hart1 collared1 and with head regardant lies lodged within a palisade or paled park4 #gjba4 ,narrow ,orphrey of ,web2 ground1 red and gold diapered2 pattern1 armorial shields with words between them4 ,german1 #aeth century4 #a foot #aj inches by #b inches4 ,one of the shields is azure1 two arrows argent in saltire2 the other shield is argent1 three estoils1 two and one1 azure2 and on a chief or1 two animals 7indiscernible7 sable3 the words between the shields are so worn away as not to be readable4 #gjbb4 ,linen1 block-printed2 ground1 white2 pattern1 two eagles or hawks crested1 amid floriations of the artichoke form1 and a border of roving foliage2 all in deep dull purple4 ,flemish1 late #adth century4 #a foot #h inches by #f inches4 ,the design is good1 and evidently suggested by the patterns on silks from the south of ,europe4 ,further on1 we have another piece1 ,no4 #hcjc4 #gjbc4 ,orphrey of ,web2 ground1 red and gold1 figured with a bishop-saint4 ,german1 #aeth century4 #e inches by #d inches4 ,the spaces for the head and hands are left uncovered by the loom1 so that they may be1 as they are here1 filled in by the needle4 ,in one hand the bishop1 who wears a red mitre--an anomaly--and a cope with a quatrefoil morse to it1 holds a church1 in the other a pastoral staff4 #gjbd4 ,embroidery1 in coloured silks upon fine linen damask4 ,flemish1 #afth century4 #aj inches by #b inches4 ,the fine linen upon which the embroidery is done1 is diapered with a lozenge pattern3 on one side of a large flower-bearing tree are the words3--8,jhesu ,xpi10 and the other1 8,o crux ,ave10 on each side of the tree is a shield unemblazoned but surrounded by a garland of flowers4 ,most likely this piece served to cover the top of the devotional table in a lady's bed-room4 #gjbe4 ,embroidery1 in coloured silks upon white linen2 pattern1 symbols of the ,passion1 flowers1 and birds1 with saints' names4 ,german1 #agth century4 #bj inches by #f inches4 ,within a green circle1 overshadowed on four sides by stems bearing flowers1 stands a low column with ropes about it and a scourge at one side1 and divided by it is the word ,martinus1 in red silk2 amid the flower-bearing wide-spread branches of a tree are the names ,ursula1 ,augustinus2 within another circle like the first we see the cross with the sponge at the end of a reed1 and the lance1 having the name of ,barbara in blue and crimson2 and1 last of all1 another tree with the names ,laurentius--,katerina4 ,it is edged with a border of roses and daisies1 and has a parti-coloured silk fringe4 ,no doubt this piece served as the ornament of a lady's praying-desk in her private room1 and bore the names of those for whom she wished more especially to pray4 #gjbf4 ,orphrey of ,web2 ground1 gold2 pattern1 two stems intertwined and bearing leaves and flowers1 in crimson silk4 ,german1 #aeth century4 #i inches by #b inches4 #gjbg4 ,linen1 block-printed2 ground1 white2 pattern1 crested birds and foliage1 just like another piece1 ,no4 #hfae1 in this collection4 ,flemish1 late #adth century4 #ad inches by #b inches4 #gjbh4 ,small ,piece of ,orphrey2 ground1 yellow silk stitchery upon canvas1 embroidered1 within barbed quatrefoils in cords of gold1 and upon a gold diapered ground1 with the busts of two ,evangelists in coloured silks1 and the whole bordered by an edging of gold stalks1 with trefoils4 ,italian1 the middle of the #aeth century4 #aj inches by #e inches4 ,the quatrefoils are linked together by a kind of fretty knot1 as well as the lengths in the two narrow edgings on the border by a less intricate one1 all of which looks very like ,florentine work4 ,most likely this orphrey served for the side of a cope4 #gjbi4 ,piece of a ,liturgical ,cloth1 embroidered in white thread1 very slightly shaded here and there in crimson silk1 upon linen1 with a quatrefoil at top enclosing the ,annunciation and four angels1 one at each corner swinging a thurible1 and lower down1 with ,st4 ,peter and ,st4 ,paul1 ,st4 ,james the ,less and ,st4 ,matthias1 ,st4 ,james the ,greater and ,st4 ,andrew2 amid the leaf-bearing boughs1 roving all over the cloth1 may be seen an occasional lion's head cabossed and langued gules4 ,german1 late #adth century4 #b feet #i inches by #a foot #aj inches4 ,this is but a small piece of one of those long coverings or veils for the lectern1 of which such fine examples are in this collection4 ,the lion's head cabossed would seem to be an armorial ensign of the family to which the lady who worked the cloth belonged1 although such an ornament does sometimes appear1 without any heraldic meaning1 upon monuments of the period4 ,in the execution of its stitchery the specimen before us is far below others of the same class4 #gjcj4 ,piece of a ,stole or ,maniple2 ground1 crimson silk 7much faded72 and embroidered with green stems twining up and bearing small round flowers in gold1 and large oak leaves in white4 ,italian1 #afth century4 #ac inches by #c inches4 ,the leaves1 now so white1 were originally of gold1 but of so poor a quality that the metal is almost worn off the threads4 #gjca4 ,silk ,ribbon2 ground1 green and gold2 pattern1 squares and lozenges on one bar1 spiral narrow bands on another1 the bars alternating4 ,italian1 early #agth century4 #h inches by #h inches4 ,both silk and gold are good in this simple pattern4 #gjcb4 ,silk ,damask2 ground1 crimson2 pattern1 a square enclosing a floriation2 both in bright yellow4 ,spanish1 #aeth century4 #h inches by #d inches4 ,designed on ,moorish principles1 and coarse in its workmanship4 #gjcc4 ,silk ,texture2 ground1 yellow2 pattern1 net-work1 with flowers and mullets1 all in dark blue4 ,sicilian1 late #adth century4 #aj inches by #c inches4 ,of a simple design and poor in texture1 and probably meant as the lining for a richer kind of stuff4 #gjcd4 ,silk ,damask2 ground1 crimson silk2 pattern1 in gold thread1 two very large lions1 and two pairs1 one of very small birds1 the other of equally small dragons1 and an ornament like a hand looking-glass4 ,oriental1 #adth century4 #b feet #d inches by #b feet4 ,the large lions1 which strongly resemble1 in their fore-legs1 the ,nineveh ones in the ,british ,museum1 are placed addorsed regardant and looking upon two very small birds1 while between their heads stands what seems like a looking-glass1 upon a stem or handle2 at the feet of these huge beasts are two little long-tailed1 open-mouthed1 two-legged dragons4 ,the whole of this design now appears to be in coarse yellow thread1 which once was covered with gold1 but so sparingly and with such poor metal that not a speck of it can now be detected anywhere in this large specimen4 ,the probability is that this stuff was wrought in some part of ,syria1 for the ,european market2 at the lions' necks are broad collars bearing two lines or sentences in imitated ,arabic characters4 ,copes and chasubles for church use during the ,middle ,ages were often made of silks like this4 ,dr4 ,bock has figured this very piece in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 t4 i4 pl4 iv4 #gjce4 ,silk and ,linen ,texture2 ground1 crimson2 pattern1 star-like flowers4 ,spanish1 #aeth century4 #e inches by #b inches4 ,poor in design as well as material4 #gjcf4 ,silk ,diapered1 with a man wrestling with a lion repeated2 ground1 crimson1 the diaper in various colours1 and the waving borders in creamy white1 edged black1 and charged with crimson squares1 and fruits crimson and deep green4 ,byzantine1 #abth century4 #ae inches by #ab inches4 ,this is one among the known early productions of the loom1 and therefore very valuable4 ,the lion and man seem to be meant for ,samson's victory over that animal1 though1 for the sake of a pattern1 the same two figures are repeated in such a way that they are in pairs and confronted4 ,samson's dress is after the classic form1 and he wears sandals1 while a long narrow green scarf1 fringed yellow1 flutters from off his shoulder behind him2 and the tawny lion's mane is shown to fall in white and black locks1 but in such a way that1 at first sight1 the black shading might be mistaken for the letters of some word4 ,this stuff is figured by ,dr4 ,bock in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 t4 i4 pl4 ii4 #gjcg4 ,silk and ,linen ,damask2 ground1 pale dull yellow-coloured linen2 pattern1 circles enclosing tawny foliation1 in the midst of which is a purple cinquefoil1 and the spandrils outside filled in with other foliations in the same tawny tone4 ,byzantine1 #adth century4 #ac inches by #ac inches4 ,of poor stuff1 but of a rather pleasing design4 #gjch4 ,silk ,texture2 ground1 crimson2 pattern1 geometrical figures1 mostly in bright yellow1 filled in with smaller like figures in blue1 green1 and white4 ,moorish1 #aeth century4 #a foot #aj inches by #a foot #b inches4 ,most likely this garish and rather staring silk was woven either at ,tangier or ,tetuan1 and found its way to ,europe through some of the ports on the southern coast of ,spain4 #gjci4 ,silk ,damask2 ground1 purple2 pattern1 lozenges1 with so-called love-knots1 one on each side1 enclosing a flower and a lozenge chequered with ,greek crosses alternately1 all in yellow4 ,byzantine1 #adth century4 #h inches by #d inches4 ,illustration3 #gjci ,,silk ,,fabric1 ,byzantine---- #adth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,though poor in material this silk is so far interesting as it gives a link in that long chain of traditional feeling for showing the cross about stuffs1 meant1 as most likely this was1 for ritual uses1 and known among both the ,latins and the ,greeks as 8stauracina40 ,to this day the same custom is followed in the ,east of having the cross marked upon the textiles employed in liturgical garments4 #gjdj4 ,white ,linen1 diapered with a small lozenge pattern1 and a border of one broad and two narrow bands in black thread4 ,flemish1 #aeth century4 #ab inches by #aa inches4 ,a good example of ,flemish napery with the diaper well shown4 #gjda4 ,silk and ,linen ,texture2 ground1 blue2 pattern1 a large petaled flower within a park fencing1 upon the palings of which are perched two birds1 and another somewhat like flower enclosed in the same way with two quadrupeds rampant on the palings4 ,italian1 #aeth century4 #af inches by #ab inches4 ,the birds seem to be meant for doves2 and the animals for dogs4 ,in design1 but not in richness of material1 this specimen is much like ,no4 #gjbj4 #gjdb4 ,silk ,damask2 ground1 deep blue2 pattern1 floriated lozenges1 enclosing chequered lozenges in deep yellow4 ,south of ,spain1 #adth century4 #ab inches by #g inches4 ,a tissue showing a ,saracenic feeling4 #gjdc4 ,silk ,damask2 ground1 tawny2 pattern1 a cone-shaped floriation amid foliage and flowers4 ,sicilian1 #aeth century4 #ac inches by #ac inches4 ,illustration3 #gjdc4 ,,silk ,,damask1 ,sicilian--#aeth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,both around the cone1 as well as athwart the flowers1 there are attempts at ,arabic sentences1 but in letters so badly done as easily to show the attempted cheat4 #gjdd4 ,silk ,damask2 ground1 deep blue2 pattern1 six-sided panels filled in with conventional floriations1 all in orange yellow4 ,spanish moresque1 #aeth century4 #g inches by #c inches4 ,if not designed and wrought by ,moorish hands1 its ,spanish weaver worked after ,saracenic feelings in the forms of its ornamentation4 #gjde4 ,silk ,damask2 ground1 amber1 diapered in small lozenges2 pattern1 parrots in pairs outlined in blue and crimson1 both which colours are almost faded1 and having a border consisting of narrow parallel lines1 some dark blue with white scrolls1 others of gold thread1 with deep blue scrolls4 ,oriental1 late #abth century4 #i inches by #e inches4 #gjde;,a4 ,silk ,border1 torn off from the foregoing number4 ,both the one and the other are valuable proofs of the care taken by the ,greek weavers1 in the ,greek islands1 ,greece proper1 and in ,syria1 to give an elaborate design to the grounds of their silks4 #gjdf4 ,silk ,brocade2 ground1 deep crimson2 pattern1 a diapering1 in the same colour1 of heart-shaped shields charged with a fanciful floriation1 amid wavy scrolls bearing flowers upon them4 ,south of ,spain1 #adth century4 #f inches by #d inches4 ,the fine rich tone of colour1 so fixed that it is yet unfaded1 is remarkable4 #gjdg4 ,silk ,crape1 deep crimson1 thickly diapered with leaves upon the items4 ,syrian4 #h inches by #e inches4 ,not only the mellow tone1 but the pretty though small pattern is very pleasing4 #gjdh4 ,silk and ,cotton ,texture2 ground1 white cotton2 pattern1 lozenges filled up with a broken fret of ,t-shaped lines and dots1 and a cross in the middle2 and with similar markings in the intervening spaces4 ,byzantine1 #adth century4 #ad inches by #e inches4 ,though of such poor materials this specimen is rather interesting from its design where the narrow-lined lozenges with their ,t's and short intervening lines are all in green silk1 now much faded2 and the cross1 known as of the ,greek form1 with those little dots are in crimson silk4 ,most likely it was woven in one of the islands of the ,archipelago1 and for liturgical use1 such as the broad flat girdle still employed in the ,oriental rituals4 #gjdi4 ,silk ,damask2 ground1 fawn-colour2 design1 parrots and giraffes in pairs amid floriated ornamentation1 all1 excepting the portions done in gold1 of the same tint with the ground4 ,sicilian1 #acth century4 #ae inches by #h inches4 ,like the specimen under ,no4 #abgd1 where it is fully described4 #gjej4 ,silk ,damask2 all creamy white2 pattern1 net-work1 the oval meshes of which show floriations in thin lines upon a satiny ground4 ,syrian1 #acth century4 #aa inches by #f inches4 ,this fine rich textile is1 in all probability1 the production of a ,saracenic loom1 and from the eastern part of the ,mediterranean4 #gjea4 ,silk ,tissue2 ground1 amber2 pattern1 a reticulation1 each six-sided mesh filled in with alternate flowers and leaves1 with here and there a circle enclosing a pair of parrots1 addorsed1 regardant2 and between them a lace sort of column having1 at top1 a crescent all in dark blue4 ,oriental1 late #abth century4 #ab inches by #f inches4 ,a good specimen1 when fresh and new1 of the eastern loom4 #gjeb4 ,white ,silk ,damask1 diapered with a chequer charged with lozenges1 bearing the ,greek gammadion1 and sprinkled with larger flowers4 ,oriental1 #adth century4 #g inches by #e inches4 ,the pattern of this curious stuff is very small2 and from the presence of the gammadion upon it1 we may presume it was originally wrought for ,greek liturgical use1 somewhere on the coast of ,syria4 #gjec4 ,silk ,damask2 green2 the pattern1 an oval1 enclosing an artichoke1 and the spaces between filled in with foliations and pomegranates4 ,spanish1 #afth century4 #bc inches by #ab inches4 ,beautiful in tone of colour1 and of a pleasing design1 well shown by a shining satiny look of the silk2 this is a specimen of a rich stuff4 #gjed4 ,diapered ,silk2 ground1 yellow2 pattern1 a large conventional foliation1 in rows1 alternating with rows of armorial shields1 all in blue4 ,spanish1 early #agth century4 #bj inches by #ag inches4 ,a very effective design for household use3 the shield is a pale1 the crest a barred closed helmet topped by a demy wyvern4 #gjee4 ,silk ,diaper2 ground1 gold2 pattern1 flowers and fruits in crimson1 slightly shaded in blue and green silk4 ,spanish1 #afth century4 #ab inches by #h inches4 ,though the gold on the ground be so sparingly put in1 this stuff has a rich look1 and the occurrence of the pomegranate points to ,granada as the place of manufacture of this and other tissues of such patterns4 #gjef4 ,silk ,tissue1 now deep amber1 once bright crimson1 diapered with a modification of the meander1 and over that sprigs of flowers4 ,oriental1 #acth century4 #h inches by #d inches4 ,to see the raised diapering of this piece requires a near inspection1 but when detected1 it is found to be of a pleasing type4 #gjeg4 ,silk ,damask2 ground1 purple2 pattern1 a quatrefoil1 within another1 charged with a cross-like floriation1 with a square white centre1 surmounted by two eagles with wings displayed1 upholding in their beaks a royal crown1 all in green4 ,italian1 early #aeth century4 #ad inches by #aa inches4 ,though the silk be poor the design is in good character1 and the stuff would seem to have been wrought either at ,florence or ,lucca1 for some princely ,german house4 #gjeh4 ,piece of ,silk ,damask2 ground1 red and gold2 pattern1 a pair of ostrich feathers1 springing from a conventional flower1 and drooping over an artichoke-like floriation1 of a tint once light green1 and shaded dull white4 ,spanish1 #aeth century4 #ad inches by #g inches4 ,a curious mixture of silk1 wool1 linen thread and gold very sparingly employed4 ,the ostrich feather is so unusual an element of ornamental design1 especially in woven stuffs1 that we may deem it a kind of remembrance of the ,black ,prince who fought for a ,spanish king1 ,don ,pedro the ,cruel1 at the battle of ,navaretta1 or ,najarra1 if not having a significance of the marriage of ,catherine of ,arragon1 first with our ,prince ,arthur1 eldest son of ,henry ,,vii1 and after his death1 with his younger brother1 ,henry ,,viii1 each of whom was in his time ,prince of ,wales1 whose badge became one or more ostrich feathers4 ,in old ,english church inventories drawn up towards the middle and the end of the #aeth century1 mention is often found of vestments made of a ,flemish stuff1 called ,dorneck1 from the name in ,flanders for the city of ,tournay1 where it was made1 but spelt in ,english various ways1 as ,darnec1 ,darnak1 ,darnick1 and even ,darnep4 ,such an inferior kind of tissue woven of thin silk mixed with wool and linen thread1 was in great demand1 for every-day wear in poor churches in this country4 ,though not wrought at ,tournay1 the present specimen affords a good example of that sort of stuff called ,dorneck1 which1 very probably1 was introduced into ,flanders from ,spain4 ,besides the present textile1 another1 figured in the 8,mlanges d',archologie10 t4 iii4 pt4 xxxiii1 furnishes an additional instance in which the ostrich feather is brought into the design4 #gjei4 ,green ,silk ,damask2 pattern1 floriations and short lengths of narrow bands arranged zig-zag4 ,italian1 #agth century4 #h inches by #f inches4 ,an extraordinary but not pleasing pattern4 #gjfj4 ,silk and ,linen ,damask2 ground1 creamy white2 pattern1 in light brown1 once pink1 a conventional artichoke4 ,italian1 #afth century4 #a foot #e inches by #i inches4 ,the warp is thread1 but still the texture looks well4 #gjfa4 ,silk and ,gold ,damask2 ground1 light green silk2 pattern1 large vine-leaves and stars1 with a border of griffins and fleur-de-lis1 in gold4 ,sicilian1 #adth century4 #aj inches square4 ,this beautiful stuff was1 in all likelihood1 woven at the royal manufactory at ,palermo1 and meant as a gift to some high personage who came from the blood royal of ,france4 ,the griffins1 affronted or combatant1 are drawn with much freedom and spirit1 and though the gold be dull1 the pattern still looks rich4 #gjfb4 ,gold ,web1 diapered with animals in green silk4 ,french1 late #acth century4 #ad inches by #b inches4 ,probably wrought in a small frame1 at home1 by some young woman1 and for personal adornment4 ,so much is it worn away1 that the green beardless lion1 with a circle of crimson1 can be well seen only in one instance4 ,a narrow short piece of edging lace1 of the same make and time1 but of a simple interlacing strap-pattern1 is pinned to this specimen4 #gjfc4 ,green and ,fawn-coloured ,silk ,diaper2 pattern1 squares1 green1 filled in with leaves fawn-coloured1 and beasts and birds1 green4 ,sicilian1 late #acth century4 #h inches by #c inches4 ,another of those specimens1 perhaps of the ,palermitan loom3 all the animals look heraldic1 and are lions1 griffins1 wyverns1 and parrots4 ,the stuff itself is not of the richest4 #gjfd4 ,gold ,lace1 so worn by use that the floriation on the oblong diaper is obliterated4 ,french1 #acth century4 #i inches by #a inches4 #gjfd;,a4 ,gold ,lace2 pattern1 interlacing strap-work4 ,french1 #acth century4 #g inches by #a inches4 ,equally serviceable for personal or ecclesiastical use4 #gjfe4 ,black ,silk ,damask2 figured with a tower surrounded by water1 over which are two bridges2 in the lower court are two men1 each with an eagle perched upon his hand2 from out the third story of the tower springs a tree1 bearing artichoke floriations4 ,italian1 #aeth century4 #aa inches by #h inches4 ,another piece of this identical damask occurs at ,no4 #hfab1 but there the design is by no means so clear as in the piece before us4 #gjff4 ,green ,silk2 pattern1 a lozenge reticulation1 each mesh filled in with four very small voided lozenges placed crosswise1 in pale yellow4 ,oriental1 #adth century4 #e inches by #d- inches4 #gjfg4 ,silk and ,gold ,damask2 ground1 green silk2 pattern1 conventional floriation1 with a circular form of the artichoke4 ,spanish1 early #aeth century4 #a foot #c inches by #d inches4 ,one of those samples of that poor texture which came from the ,spanish loom1 with the sham gold1 which we have before observed in other examples1 of thin parchment gilt with a much debased gold4 #gjfh4 ,silk ,damask2 straw-colour2 pattern1 lozenge-shaped net-work1 each mesh enclosing a flower4 ,spanish1 #aeth century4 #ac inches by #ab inches4 ,so worn is this piece that it is with difficulty that its simple design can be made out4 #gjfi4 ,silk ,damask2 straw-colour2 pattern1 an imaginary eagle-like bird1 enclosed by a garland full of ivy leaves4 ,sicilian1 #adth century4 #g inches by #f inches4 ,the ground is completely filled in with the well-designed and pretty diapering2 but damp has sadly spoiled the specimen4 #gjgj4 ,silk ,damask2 ground1 purple2 pattern1 heraldic figures1 birds1 and oval floriations1 in gold thread4 ,oriental1 #adth century4 #af inches by #i inches4 ,on an oval1 floriated all round1 and enclosing two lionesses addorsed rampant regardant1 are two wyvern-like eagles with curious feathered tails1 regardant2 below1 are two cockatoos addorsed regardant1 all in gold4 ,the oval floriation is outlined with green4 ,when new1 this stuff must have had a brave appearance1 and shows a ,persian tradition about it4 #gjga4 ,linen1 embroidered in silk2 ground1 fine linen2 pattern1 a zigzag1 alternating in light blue and brown4 ,german1 #aeth century4 #ad inches by #c inches4 ,the zigzag may be termed dancette1 and all over is parted into lozenges1 each lozenge charged with a cross made of mascles1 and the spaces between the brown and the blue zigzags1 filled in with others of a light brown coloured diapering4 #gjgb4 ,silk ,damask2 ground1 violet or deep purple2 pattern1 angels with thuribles1 and emblems of the ,passion1 in yellow and white4 ,florentine1 late #adth century4 #ah inches by #ae inches4 ,this truly artistic and well-executed stuff displays a row of angels in girded albs1 all flying one way1 as with the left hand they swing thuribles1 and another row kneeling1 each with a crown of thorns in his hands1 alternating1 with a second set of angels1 in another row1 each bearing before him a cross4 ,all the angels are done in yellow1 but with face and hands white1 and the whole ground is strewed with stars4 ,it is likely that this fine stuff was woven expressly for the purple vestments worn in ,passion time1 at the end of ,lent4 #gjgc4 ,crimson ,silk and ,gold ,brocade2 ground1 a diaper of crimson2 pattern1 an oval reticulation1 in the meshes of which is an artichoke flower1 all in gold4 ,genoese1 #afth century4 #af inches by #i inches4 ,the design of this rich stuff is well managed1 and the diapering in dull silk upon a satin ground throws out the gold brocading admirably2 the meshes which enclose the flowers are themselves formed of garlands4 #gjgd4 ,raised ,crimson ,velvet1 damasked in gold2 pattern1 the artichoke and small floriations in gold4 ,genoese1 #afth century4 #ae inches by #aa inches4 ,a specimen of what1 in its prime1 must have been a fine stuff for household decoration1 though of such a nature as to have freely allowed it to be employed for ecclesiastical purposes4 ,it has seen rough service1 so that its pile is in places thread-bare1 and its gold almost worn away4 #gjge4 ,raised ,velvet on ,gold ,ground2 pattern1 a very large rose with broad border in raised crimson velvet1 filled in with a bush of pomegranates1 in very thin lines of raised crimson velvet2 the rest of the ground is diapered all over with the pomegranate tree in very thin outline4 ,genoese1 early #afth century4 #b feet #i inches by #b feet4 ,the gold thread was so poor that the precious metal has almost entirely disappeared2 but when all was new1 this stuff must have looked particularly grand4 ,the large red rose1 and the pomegranate1 make it seem as if it had been wrought1 in the first instance1 for either our ,henry the ,seventh1 or ,henry the ,eighth1 after the ,english marriage of ,catherine of ,arragon4 #gjgf4 ,raised ,velvet and ,gold2 pattern1 conventional flowers in gold1 upon tawny-coloured velvet4 ,genoese1 late #aeth century4 #ab inches by #h inches4 ,the gold of the design is1 in parts1 nicely diapered2 and the gold thread itself thin1 and now rather tarnished4 #gjgg4 ,raised ,crimson ,velvet2 pattern1 an artichoke amid flowers4 ,genoese1 late #aeth century4 #af inches by #aa inches4 ,the pile is rich2 and when it is borne in mind how the ,emperor ,charles ,v4 honoured ,andrea ,dorea1 it is not surprising that his countrymen had a partiality for the ,spanish emblem of their great captain's admirer4 #gjgh4 ,raised ,blue ,velvet2 ground1 deep blue2 pattern1 within an outlined seven-petaled floriation in silk1 an artichoke1 with sprigs of flowers shooting out of it4 ,genoese1 late #aeth century4 #ag inches by #aj inches4 ,though much worn by hard usage1 this stuff is of a pleasing effect1 owing to its agreeable design1 which not unfrequently occurs perfect1 and consists of a kind of circle in narrow lines1 somewhat in the shape of a flower1 but having at the tips of its prominent feathering cusps of florets4 #gjgi4 ,figured ,blue ,velvet2 embroidered in gold thread1 with cinquefoils1 enclosing a floriation of the artichoke form1 with smaller ones around it4 ,spanish1 #aeth century4 #ae inches by #i inches4 ,by the shape of this piece it must have been cut off from the end of a chasuble4 ,though the velvet is rich1 the embroidery is poor1 done as it is in thin outline1 but still of a good form4 #gjhj4 ,orphrey ,web1 silk and gold2 ground1 crimson2 pattern1 on a gold diapering1 conventional floriations and scrolls1 in one of which is the bust of ,st4 ,peter1 with his key in one hand and a book in the other4 ,florentine1 late #aeth century4 #ba inches by #h inches4 ,like many other samples1 this rich web of crimson silk and fine gold thread was wrought for those kinds of broad orphreys needed for chasubles and copes2 and sometimes worked up into altar-frontals4 #gjha4 ,silk ,damask2 ground1 yellow2 pattern1 net-work1 the meshes1 which are looped to each other1 filled in with a conventional floriated ornament1 all in green4 ,italian1 #afth century4 #af inches by #aj inches4 ,intended for household adornment4 ,this stuff must have had an agreeable effect1 though the green has somewhat faded4 #gjhb4 ,silk ,damask2 ground1 yellowish pale green2 pattern1 a diapering of very small leaves and flowers4 ,oriental1 #acth century4 #f inches by #e inches4 ,just like ,no4 #gjef1 and needing the same near inspection to find out its small but well-managed delicate design4 #gjhc4 ,silk and ,linen ,texture2 ground1 yellow2 pattern1 amid foliage1 two cheetahs1 face to face1 all blue1 but spotted yellow4 ,syrian1 #adth century4 #g inches by #f inches4 ,at the same time that the warp is of linen1 the woof of silk is thin2 and a bold design is almost wasted upon poor materials4 ,the specimen1 however1 is so far valuable1 as it shows us how1 for ages1 a ,persian feeling went along with the workmen on the eastern shores of the ,levant4 #gjhd4 ,silk ,damask2 ground1 tawny2 pattern1 birds1 flowers1 and heart-shaped figures1 encircled with imitated ,arabic letters1 all mostly in green1 very partially shaded white4 ,sicilian1 #adth century4 #ai inches by #e inches4 ,above a heart-shaped ornament1 bordered by a sham inscription in ,arabic1 and surrounded by a wreath1 are two birds of the hoopoe kind1 and beneath1 two other birds1 like eagles2 and this design is placed amid the oval spaces made by garlands of flowers4 ,all the component elements of the pattern are in small1 though well-drawn figures4 #gjhe4 ,silk and ,gold ,damask2 ground1 tawny2 pattern1 fruit1 beasts1 and birds4 ,sicilian1 #adth century4 #bb inches by #aj inches4 ,this rich stuff has an elaborate pattern1 consisting of three pieces of fruit1 like oranges or apples1 with a small pencil of sun-rays darting from them above1 out of which springs a little bunch of trefoils1 which separate two lions1 in gold1 that are looking down1 and with open langued mouths2 below is another and larger pencil of beams1 shining upon two perched eagles1 with wings half spread out for flight4 ,between such groups is a large flower like an artichoke1 with two blue flowers1 like the centaurea1 at the stalk itself2 above which is1 as it were1 the feathering of an arch with a bunch of three white flowers1 for its cusp4 ,with the exception of the lions and flowers1 the rest of the pattern is in green4 #gjhf4 ,silk and ,gold ,brocade2 ground1 dark purple2 pattern1 all in gold1 floriations1 birds and beasts4 ,oriental1 #acth century4 #ah inches by #g inches4 ,when new1 this rich stuff must have been very effective1 either for liturgical use or personal wear4 ,there is a broad border1 formed by the shallow sections of circles1 inscribed with imitated ,arabic characters4 ,out of the points or featherings made by the junctions of the circular sections spring forth bunches of wheat-ears1 separating two collared cheetahs with heads reversed2 and from other featherings1 a large oval well-filled floriation1 upon the branches of which are perched two crested birds1 may be hoopoes1 at which the cheetahs seem to be gazing4 ,over the wheat-ears1 drops are falling from a pencil of sunbeams above them2 below are two flowers in silk1 once crimson4 #gjhg4 ,silk ,damask2 ground1 blue2 pattern1 birds1 animals1 and flowers1 in gold1 and different coloured silks4 ,oriental1 late #acth century4 #ag inches by #g inches4 ,so fragmentary is this specimen1 that it is rather hard to find out the whole of the design1 which was seemingly composed of white cheetahs collared red1 in pairs2 above which sit two little dogs1 in gold1 looking at one another2 and just over them a pair of white eagles1 small too1 on the wing1 and holding a white flower between them4 ,running across the pattern was a band1 in gold1 charged with circles enclosing a sitting dog1 a rosette1 a circle having an imitated ,arabic sentence over it4 #gjhh4 ,part of a ,stole1 or of a ,maniple2 silk brocade2 ground1 light crimson2 pattern1 floriations in green1 with lions rampant in gold4 ,sicilian1 late #adth century4 #bj inches by #c inches4 ,the parti-coloured fringe to this liturgical appliance is of poor linen thread not corresponding to the richness of the stuff4 #gjhi4 ,silk and ,gold ,damask2 ground1 gold2 pattern1 branches of foliation1 in yellow silk4 ,oriental1 #aeth century4 #ag inches by #c inches4 ,though rather rich in material1 the design is so obscure as hardly to be observable4 #gjij4 ,silk ,damask2 ground1 purple2 pattern1 a diaper of parrots1 and floriations1 in bright greenish yellow4 ,oriental1 #adth century4 #aa inches by #d inches4 ,though of a poor silk1 the design is pretty1 and tells of the coast of ,syria1 where many of the looms were kept at work for ,european use4 #gjia4 ,silk and ,gold ,damask2 ground1 purple2 pattern1 fleurs-de-lis in gold4 ,sicilian1 late #adth century4 #d inches square4 ,done1 as was often the case1 for ,french royalty1 or some one of ,french princely blood1 at ,palermo1 and sent to ,france4 ,the stuff is rich1 and well sprinkled with the royal golden flower4 #gjib4 ,silk ,damask2 ground1 amber 7once crimson72 pattern1 a diaper of flowers and leaves1 in yellow4 ,sicilian1 late #adth century4 #i inches by #e inches broad4 ,of a quiet and pleasing kind of design1 showing something like a couple of letters in the hearts of two of its flowers4 #gjic4 ,embroidery in silk upon linen2 pattern1 men blue1 women white1 standing in a row hand in hand2 the spaces filled up with lozenges in white4 ,the women upon a green1 the men upon a white ground4 ,german1 #afth century4 #h inches by #f inches4 ,so very worn away is the needlework1 that it is very hard to see the design1 which1 when discovered1 looks to be very stiff1 poor1 and angular4 #gjid4 ,silk ,damask2 ground1 straw-colour2 pattern1 net-work of lozenges and quatrefoils1 filled in each with a cross pomme1 amid which are large circles containing a pair of parrots1 all in raised satin4 ,oriental1 #acth century4 #h inches by #g inches4 ,this fine textile was1 in all likelihood1 woven by ,christian hands somewhere upon the ,syrian coast1 and while a religious character was given it both by the crosses and the emblematic parrots1 a ,persian influence by the use of the olden traditionary tree between the parrots1 or the ,persians' sacred 8hom10 was allowed to remain upon the designer's mind without his own knowledge of its being there1 or of its symbolic meaning in reference to ,persia's ancient heathen worship4 #gjie4 ,blue ,linen1 wrought with gilt thin parchment2 pattern1 an oval1 filled in with another oval1 surrounded by six-petaled flowers1 all in outline2 this piece is put upon another of a different design1 of which the pattern is an eagle on the wing4 ,spanish1 #adth century4 #g inches by #d- inches4 ,this is another specimen of gilt parchment being used instead of gold thread4 #gjii4 ,foot-cloth2 ground1 green worsted2 pattern1 birds and flowers4 ,german1 #afth century4 #d feet #g inches by #b feet #g inches4 ,in all likelihood1 this piece of needlework served the purpose of a rug or foot-cloth1 or1 may be1 as the cloth covering for the seat of a carriage4 ,it is worked in thick worsted upon a wide-meshed thread net1 and after a somewhat stiff design4 #gbah4 ,table-cover1 in green silk1 with wide border of ,italian point lace4 ,venetian1 late #afth century4 #e feet #f inches by #c feet #b inches4 ,the pattern of the lace is very bold and well executed1 and consists of a large foliage-scroll of the classic type1 ending in a lion's head1 so cherished by the ,venetians1 as the emblem of the ,republic's patron-saint1 ,st4 ,mark4 ,the poor thin silk is not worthy of its fine trimming4 #gbai4 ,table-cover1 in light blue silk1 with wide border of ,italian point lace4 ,venetian1 late #afth century4 #f feet #e inches by #d feet4 ,the pattern of the lace1 like the foregoing specimen1 is after a classic form1 consisting of two horns of plenty amid foliage and scroll-work2 in both pieces we see the effect of that school which brought forth a ,palladio4 #gdfh4 ,a ,lectern ,veil of silk and gold cut-work2 ground1 crimson silk2 design1 of cut-work in cloth of gold and white and blue silk1 ramifications ending in bunches of white grapes1 horns of plenty holding fruit1 and ears of wheat4 ,french1 #agth century4 #i feet by #a foot #i inches4 ,such veils are thrown over a light moveable stand upon which the book of the ,gospels and ,epistles is put at high mass1 for the deacon's use as he sings the ,gospel of the day4 ,the cut-work is well-designed1 and sewed on with an edging of blue cord in some places1 of yellow in others4 ,the cloth of gold was so poor that now it looks at a short distance like mere yellow silk4 #gfgd4 ,missal ,cushion2 ground1 red silk2 pattern1 two angels standing face to face and holding between them a cross1 all in gold1 excepting the angels' faces and hands1 which are white2 there are four tassels1 one at each corner1 crimson and gold4 ,florentine1 early #aeth century4 #a foot #c inches by #a foot4 ,the covering for this cushion is made of orphrey web1 the gold of which is very much faded2 and1 like other specimens from the same looms1 shows the nudes of the figures in a pinkish white4 ,the use of such cushions for upholding the missal upon the altar is even now kept up in some places4 ,according to the rubric of the ,roman ,missal1 wherein1 at the beginning among the 8rubric generales10 cap4 xx4 it is directed that there should be 8in cornu epistol 7altaris7 cussinus supponendus missali40 #gghh4 ,chasuble1 in crimson velvet1 with orphreys embroidered in gold and coloured silks4 ,florentine1 #aeth century4 #d feet long by #b feet #e inches broad4 ,this garment has been much cut down1 and so worn that1 in parts1 its rich and curious orphreys are so damaged as to be unintelligible4 ,over the breast and on the front orphrey is embroidered the ,crucifixion1 but after a somewhat unusual manner1 inasmuch as1 besides our ,lord on the ,cross1 with ,his mother and ,st4 ,john the ,evangelist standing by2 two other saints are introduced1 ,st4 ,jerome on one side1 ,st4 ,lucy on the other1 kneeling on the ground at the foot of the ,cross1 possibly the patrons1 one of the lady1 the other of the gentleman1 at whose cost this vestment was wrought4 ,under this is ,st4 ,christina defending ,christianity against the heathens2 her arraignment1 for her belief1 before one of ,dioclesian's officials2 her body bound naked1 and scourged at a pillar4 ,on the back orphrey1 the same martyr on her knees by the side of another governor1 her own pagan father1 and praying that the idol1 held to her for worship by him1 may be broken2 the saint maintaining her faith to those who came to argue with her before the window of the prison1 wherein she is shut up naked in a cauldron1 with flames under it1 and praying with one of the men who are feeding the fire with bundles of wood1 on his knees1 as if converted by her words2 then1 the saint standing at a table1 around which are three men2 and below all1 a piece so worn and cut1 as to be unintelligible4 ,upon the last square but one is a shield argent1 a bend azure1 charged with a crescent or1 two stars or1 and another crescent or1 probably the blazon of the ,pandolfini family1 to whose domestic chapel at ,florence this vestment is said to have belonged4 #gghi1 #ggij4 ,dalmatic1 and ,tunicle1 in crimson velvet1 with apparels of woven stuff in gold and crimson silk1 figured with cherubic heads4 ,florentine1 #aeth century4 ,the velvet is of a rich pile1 and the tone of colour warm4 ,the orphreys1 or rather apparels1 are all of the same texture1 woven of a red ground1 and figured in gold with cherubic heads1 having white faces2 the lace also is red1 and gold2 but in both the gold is quite faded4 ,the sleeves are somewhat short1 but the garment itself is full and majestic4 ,doubtless the dalmatic and tunicle formed a part of a full set of vestments1 to which the fine and curiously embroidered chasuble1 ,no4 #gghh1 belonged2 and their apparels1 or square orphreys1 above and below1 before and behind1 are in design and execution alike to several others from the looms of ,florence1 which we have found among various other remains of liturgic garments in this collection4 #ggia4 ,piece of ,woven ,orphrey2 ground1 crimson silk2 design1 in gold1 an altar1 with an angel on each side clasping a column1 and above1 other two angels worshipping2 and upon the step leading to the altar1 the words 8sanctus1 sanctus40 ,florentine1 early #afth century4 #i feet #g inches by #i inches4 ,the design is evidently meant to express the tabernacle at the altar1 where the blessed sacrament is kept in church1 for administration to the sick1 c41 and1 like all similar textiles1 was made of such a length as to be applicable to copes1 chasubles1 and other ritual uses4 #ggib4 ,veil for the subdeacon1 of raised velvet and gold2 ground1 gold2 pattern1 a broad scroll1 showing1 amid foliation1 a conventional artichoke in raised crimson velvet4 ,florentine1 late #afth century4 #ad feet #d inches by #a foot #aj inches4 ,the bright yellow ground is more of silk than gold thread1 and the velvet design1 deep in its rich pile and glowing in its ruby tint1 is dotted with the usual gold thread loops2 at each end is a golden fringe2 both edges are bordered with poor gold open lace2 and still attached to it are the two short yellow silk strings for tying it in front1 when put about the shoulders of the subdeacon at the offertory1 when the paten is given him to hold at high mass4 #ggic4 ,hood of a ,cope2 ground1 mostly gold1 and a small part1 silver2 figured with two adoring angels2 the centre piece gone1 and in its place a saint standing1 and done in woven work4 ,flemish1 #aeth century2 the inserted saint1 ,florentine1 #aeth century4 #a foot #d inches by #a foot #d inches4 ,the figures of the angels in worship are nicely done in flos-silk2 and perhaps the original lost figure was that of our ,lord1 or of the ,b4 ,v4 ,mary4 ,the lay saint now inserted1 bare-headed1 and leaning on his sword1 wearing a green tunic1 and a blue mantle sprinkled with trefoils in red and gold1 perhaps meant for fleurs-de-lis1 seems to be intended for ,st4 ,louis of ,france4 ,the broad green silk fringe1 and the pointed shape of the hood will not escape notice2 and behind may yet be seen the eyes by which this hood was hung upon the cope4 ,the poor shabby silver tinsel round this king is an addition quite modern4 #ggid4 ,burse for ,corporals2 ground1 crimson satin2 pattern1 foliations and flowers in coloured silks and gold1 with a phnix rising from the flames in the middle4 ,german1 late #agth century4 #aa inches by #aj inches4 #ggie4 ,burse for ,corporals2 ground1 crimson velvet2 pattern1 velvet upon velvet1 lined at back with silk2 ground1 amber1 figured with a modification of the artichoke1 in deep crimson4 ,italian1 #afth century4 #aj inches by #aj inches4 ,illustration3 #ggie4 ,,silk ,,damask1 ,italian---- #afth century4 ,though probably this burse1 like the one above1 may have come from a church in ,germany1 its beautiful materials are of ,italian manufacture2 the fine deep piled velvet upon velvet1 from ,genoa1 the well-designed and pleasing silk at back1 from ,lucca1 and many years1 may be a half century1 older than the velvet1 make this small liturgical article very noteworthy on account of its materials4 #ggii4 ,veil of raised crimson velvet2 ground1 yellow silk and gold thread2 pattern1 large floriations all in crimson velvet1 freckled with little golden loops4 ,florentine1 #agth century4 #aa feet #b inches by #a foot #aj inches4 ,one of those magnificent textures of cut velvet1 with a fine rich pile1 sent forth by the looms of ,tuscany4 ,its use may have been both for a veil to the lectern for the ,gospel1 and to be worn by the subdeacon at high mass2 the two strings1 attached to it still1 evidently show its application to the latter purpose4 ,a heavy gold fringe borders its two ends1 the scolloped shape of which is rather unusual4 #ghac4 ,front ,orphrey of a ,chasuble1 embroidered with figures in niches4 ,italian1 late #aeth century4 #c feet #a inch by #g inches2 at the cross1 #a inches4 ,the first figure is that of our ,lord giving ,his blessing1 and of a very youthful countenance2 next1 seemingly the figure of ,st4 ,peter2 then ,st4 ,john the ,evangelist4 ,all these are done in coloured silks1 upon a ground of gold1 and within niches2 but are sadly worn4 ,the two angels at our ,lord's head are the best in preservation2 but the whole is rather poor in execution4 ,as a border1 there are two strips figured with silver crosses upon grounds of different coloured silks4 #ghac;,a4 ,part of an ,orphrey1 embroidered with figures of the ,apostles4 ,italian1 late #aeth century4 #d feet by #g inches4 ,of the five personages1 only the second1 ,st4 ,paul1 can be identified by his symbol of a sword4 ,all are wrought upon a golden diaper1 and standing within niches2 but though the features are strongly marked in brown silk lines1 as a specimen it is not remarkably good2 and1 most likely1 served as the orphrey to some vestment1 a chasuble1 the orphrey of which for the front was the piece numbered #ghac4 #ghcc4 ,piece of ,applied ,embroidery1 upon silk of a creamy white1 an ornamentation in crimson velvet and cloth of gold1 scolloped and tasseled4 ,italian1 early #agth century4 ,rich of its kind1 and probably a part of household furniture4 #gijj4 ,silk ,damask2 ground1 blue2 pattern1 diaper of stalks1 bearing a broad foliation in whitish blue1 and lions1 and birds like hoopoes1 all in gold1 between horizontal bands inscribed with imitated ,saracenic letters4 ,sicilian1 #adth century1 #aj inches square4 ,a beautiful design2 and in the bands1 at each end of the imitated word in ,saracenic characters1 are those knots that are found on ,italian textiles4 ,so poor was the gold on the thread1 that it is sadly tarnished4 #habh4 ,apparels to an ,alb2 figured with the birth of the ,b4 ,v4 ,mary1 in the upper one2 and in the lower1 the birth of our ,lord2 with two armorial shields alternating between the spandrils of the canopies4 ,english needlework1 on crimson velvet1 and in coloured silks and gold thread1 done in the latter half of the #adth century4 ,each piece #b feet #h inches by #aj inches4 ,presented by ,ralf ,oakden1 ,esq4 ,in many respects these two apparels1 seemingly for the lower adornment of the liturgical alb1 one before1 the other behind1 are very valuable2 besides the subjects they represent1 they afford illustrations of the style of needlework1 architecture1 costume1 and heraldry of their time4 ,in the upper apparel1 we have the birth and childhood of the mother of our ,lord1 as it is found in one of the apocryphal books of the ,new ,testament1 entitled1--8,evangelium de ,nativitate ,s4 ,mariae10 which the ,latins got from the ,greeks1 as early1 it would seem1 as the second or third age of the ,church4 ,though of no authority1 this book was in especial favour with our countrymen1 and it was not unfrequently noticed in their writings2 hence1 no doubt1 the upper apparel was suggested by that pseudo-gospel4 ,in its first compartment1 we behold a middle-aged lady1 richly clad1 having a mantle of gold1 lined with vair or costly fur1 about her shoulders1 seated on a cushioned stool with a lectern1 or reading-desk before her1 and upon it an open book of the ,psalms1 with the beginning of the fiftieth written on its silver pages1--8,miserere mei1 ,deus10 c41 and outstretching her hands towards an angel coming down from the clouds1 and as he hails her with one hand1 holds1 unrolled1 before her eyes1 a scroll bearing these words3--8,occurre viro ad portam40 ,this female is ,ann1 wife of ,joachim1 and mother of ,mary2 and the whole is thus set forth in the ,codex ,apocryphus ,novi ,testamenti2 where the angel1 who appeared to her while she was at prayer1 is said to have spoken these words3--8,ne timeas1 ,anna1 neque phantasma esse putes4444 ,itaque surge1 ascende ,hierusalem1 et cum perveneris ad portam qu aurea1 pro eo quod deaurata est1 vocatur1 ibi pro signo virum tuum obvium habebis10 c4--,evangelium de ,nativitate ,s4 ,mariae1 c4 iv4 in ,,cod4 ,,apocry4 ed4 ,thilo1 pp4 #cbd1 #cbe4 ,this passage is thus rendered in that rare old ,english black-letter book of sermons called 8,the ,festival10 which was so often printed by ,caxton1 ,wynkyn de ,worde1 and other early printers in ,london3--8,anne was sory and prayed to ,god and sayde1 ,lorde1 that me is woo4 ,i am bareyne1 and ,i may have noo frute 444 and ,i knowe not whyther he 7,joachim my husband7 is gone4 ,lorde have mercy on me4 ,whene as she prayed thus an angell come downe and comforted her1 and sayd3 ,anne1 be of gode comfort1 for thou shalt have a childe in thyne olde age1 there was never none lyke1 ne never shall be 444 and whan he 7,joachim7 come nye home1 the angell come to ,anne1 and bade her goo to the gate that was called the golden gate1 and abide her husbonde there tyll he come4 ,thene was she glad 444 and went to the gate and there she mete with ,joachim1 and sayd1 ,lord1 ,i thanke thee1 for ,i was a wedow and now ,i am a wyfe1 ,i was bareyne and now ,i shall bear a childe 444 and whan she 7the child7 was borne1 she was called ,mary40--,the ,festival1 fol4 lxvi4 ,in the second compartment we have a further illustration of the foregoing text in the representation of the golden gate at ,jerusalem1 and ,anna and ,joachim greeting one another as they meet there4 ,in the third1 there is the lying-in of ,anna1 who from her own bed is swathing her new-born child1 whom the ,almighty's right hand coming from heaven is blessing4 ,in the fourth is ,anna bringing her little girl ,mary1 when three years old1 as an offering to ,god1 in the temple1 before the ,high ,priest4 ,in the fifth and last compartment of this upper row of niches1 we see ,anna teaching her daughter1 the ,b4 ,v4 ,mary1 to read the ,psalter4 ,in the first compartment in the lower apparel1 or on the second row1 the angel ,gabriel1 winged and barefoot1 is represented standing before the ,b4 ,v4 ,mary1 whom with his right he is blessing1 while in his left he holds out before her a scroll on which are the words3--8,ave ,maria gracia40 ,she outstretches her hands1 and gently bending her head forwards1 seems to bow assent2 between them is the lily-pot1 and1 as it should1 holds but one flower-stem1 with three1 and only three1 full-blown lilies 78,church of our ,fathers10 t4 iii4 p4 #bdg72 above1 is the ,holy ,ghost1 figured as a white dove1 coming down upon the ,virgin4 ,to this follows ,st4 ,elizabeth's visit to the ,b4 ,v4 ,mary1 or the ,salutation1 as it is often called in this country4 ,then we have the ,nativity1 after the usual manner1 with the ox and ass worshipping at the crib wherein our ,lord is lying in swaddling clothes2 and ,st4 ,joseph is figured wearing gloves4 ,filling the next niche1 we behold the angel coming from the skies1 with a scroll in his hands inscribed1--8,gloria in excelsis ,deo10 to the shepherds1 one of whom is playing on a bag-pipe with one hand1 as with the other he is ringing a bell1 which draws the attention of his dog that sits before him with upturned head and gaping mouth4 ,in the last compartment we have the three wise men1 clothed and crowned as kings1 going to ,bethlehem with their gifts1 but none of them is a negro4 ,of the two shields hung alternately between every spandril1 one is1--barry of ten argent and gules1 which was the blazon of ,thornell de ,suffolk2 and the other1--azure three cinque-foils argent1 that of the family of ,fitton1 according to a ,,ms4 ordinary of arms1 drawn up by ,robert ,glover1 some time ,somerset herald4 ,in the subject of the shepherds1 the ground is so plentifully sprinkled with growing daisies1 that it seems as if it were done on purpose to tell us that she whose hands had wrought the work was called ,margaret2 as the flower was in ,french designated 8,la ,marguerite10 it became the symbol of that saint's name1 and not unfrequently was the chosen emblem of the females who bore it4 #hbbf4 ,gold ,embroidery on purple silk over a white cotton ground1 with figures of our ,saviour and of the apostles ,st4 ,peter1 ,st4 ,simon1 and ,st4 ,philip4 ,sicilian work1 done about the end of the #abth century4 #ad inches by #g inches4 ,this piece of needlework with its figures1 as well as its architectural accessories1 wrought in gold thread1 though rude in its execution1 is not without an interest4 ,in it the liturgical student will find the half of an apparel 7for it has been unfeelingly cut in half at some remote time7 for the lower hem in front of the linen garment known as the alb4 ,originally it must have consisted of seven figures2 one of our ,lord1 in the middle1 sitting upon a throne in majesty with the on the one side and the on the other side of ,his nimbed head1 and ,his right hand uplifted in the act of bestowing ,his benediction4 ,to the left must have been three apostles2 to the right are still to be seen the other three1 nearest our ,saviour1 ,st4 ,peter1 holding in his left hand a double-warded key1 next to him ,st4 ,simon1 with his right hand in the act of blessing1 and holding in his left a saw fashioned not like ours1 but as that instrument is still made in ,italy1 and last of all ,st4 ,philip1 but without any symbol4 ,what look like half-moons with a little dot in the inside1 and having a cross between them1 are nothing more than the word 8,sanctus10 thus contracted with the letter ,s written as the ,greek sigma formed like our ,c1 a common practice in ,italy during the middle ages1 as may be seen in the inscriptions given by writers on ,palography4 ,our ,lord is seated within an elongated trefoil1 and1 at each corner at the outward sides1 is shown one of ,his emblems1 better known as the ,evangelists' symbols hinted at by the prophet ,ezekiel1 i4 #aj3 of these1 two are very discernible1 the winged human bust1 commonly called ,st4 ,matthew's emblem1 at top1 and the nimbed and winged horned ox or calf for ,st4 ,luke4 ,the ,apostles all stand within round-headed arches1 the spandrils of which are filled in with a kind of diaper ornamentation4 #hbbg4 ,piece of ,crimson ,silk1 with pattern woven in gold thread4 ,sicilian1 early #acth century4 #aj inches by #g inches4 ,this rich sample of the looms of ,palermo betrays the architectural influences1 which acted upon the designers of such stuffs1 by the introduction of that ramified ornamentation with its graceful bendings1 that is so marked a character in the buildings of ,england and ,france at the close of the #abth and opening of the #acth century4 ,the fleur-de-lis is rather an accidental than intentional adaptation1 years before the ,french occupation of ,sicily4 #hbbh4 ,piece of ,purple ,silk ,embroidery in gold and silver2 pattern of interlaced dragons1 human figures1 and birds4 ,north ,german1 #abth century4 #h inches by #g inches4 ,this small sample of needlework is as remarkable for the way in which it is wrought1 as for the wild ,scandinavian mythology which is figured on it4 ,the usual process for the application of gold and silver in textiles and embroidery is to twine the precious metal about cotton thread1 and thus weave it in with the shuttle or stitch it on by the needle4 ,here1 however1 the silver1 in part white in its original condition1 in part gilt1 is laid on in the form of a very thin but solid wire1 unmixed with cotton1 and the effect is very rich and brilliant4 ,in the middle of this piece are shown two monsters interlacing one another2 within the upper coil which they make with their snake-like lengths1 stands a human figure which1 from its dress1 looks that of a man who with each outstretched hand1 seems fondling the serpent-heads of these two monsters2 that at the other end terminates in the upper portion of an imaginary dragon with wings on its shoulders1 its paws well armed with claws1 and a wolfish head largely horned1 and jaws widely yawning1 as eager to swallow its prey4 ,to our thinking1 we have shown to us here the ,scandinavian personification of evil in the human figure of the bad god ,loki 7the embroidery of whose face is worn away7 and his wicked offspring1 the ,midgard serpent1 the wolf ,fenrir1 and ,hela or ,death1 who may be identified in that female figure seated within the smaller lower coil made by the twining serpents4 ,amid some leaf-bearing branches to the right is perceived a man as if running away affrighted2 to the left we behold ,thor himself1 mallet in hand1 about to deal a heavy blow upon the scaly length of this ,midgard serpent4 ,about the same time this embroidery was worked the bishop's crozier began to end in the serpent's head4 ,a good figure of this piece is given by ,dr4 ,bock1 in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #a ,band1 #b ,lieferung1 pt4 vi4 #hbbi4 ,piece of ,crimson ,silk1 with interlacing pattern woven in gold2 the centre occupied with representations of flat-shaped fish1 and1 as we learn from ,dr4 ,bock1 like to an imperial robe at ,vienna1 made ,a4,d4 #aacc4 ,oriental4 #aa inches by #e inches4 ,though of a very tame design and rather striking for the sparing way in which the dim gold is rolled about its thread1 still it is not fair to judge of what this stuff might have once been when new1 fresh from the loom and unfaded4 ,if1 in the first half of the #abth century1 silks so wrought with the representation of fishes were deemed worthy of being put into use for state garments of a ,german ,emperor2 a short hundred years later1 they were for their symbolism thought even more fitting to be employed for making the chasubles and copes worn at divine service in the cathedral of ,london4 ,from the inventory drawn up1 ,a4,d4 #abie1 of the altar vestments belonging to old ,st ,paul's1 we learn that among them there were3--8,capa magistri ,johannis de ,s4 ,claro1 de quodam panno ,tarsico1 viridis coloris1 cum plurimis piscibus et rosis de aurifilo1 contextis40 ,dugdale's 8,history of ,st4 ,paul's10 new ed4 p4 #cah4 8,item casula de panno ,tarsico indici coloris cum pisculis et rosulis aureis1 c40 ,ib4 p4 #cbc4 ,in all likelihood1 the fish here shown was meant for what we oddly call 8,john ,dory10 a corruption of the ,italian 8,gianitore10 or gate-keeper1 the name of this fish in some parts of ,italy1 in reference to ,st4 ,peter1 who is deemed to have found the tribute-money in the mouth of this fish1 hence denominated ,st4 ,peter's fish4 #hbcj4 ,piece of so-called ,bissus1 of a yellowish white1 with squares formed by intersecting bars of dark brown4 #aa inches by #h inches4 ,though so unattractive to the eye1 this fragment of one of the most delicate sorts of textile manufacture is one among the most curious and interesting specimens of this valuable collection4 ,unfortunately1 ,dr4 ,bock does not furnish us with any clue to its history1 nor tell us where he found it4 ,the large whitish squares measure #d inches by #c inches1 and those deep brown bars that enclose them are a quarter of an inch broad1 and meant evidently to have not a straight but wavy form4 ,another piece of this curious textile may be seen under ,no4 #abch4 #hbca4 ,piece of ,yellow ,silk1 with a diapering of an artichoke shape marked with lines like letters4 ,moresco-,spanish1 #adth century4 #f inches by #c inches4 ,the texture of this silk is rather thick2 and though resembling ,arabic letters1 the marks in the diapering are not alphabetical characters1 but attempts to imitate them4 #hbca;,a4 ,piece of ,dark ,blue ,purple ,stuff1 partly silk1 partly cotton1 double-dyed1 with a diapering of small hexagons4 ,oriental4 #e inches by #b inches4 ,this somewhat strong texture seems to have come from ,syria and to be of the #adth century4 #hbcb4 ,piece of ,silk and ,gold ,embroidery4 ,german1 #h inches by #c inches4 ,it is said that an imperial tunic1 now kept in the ,maximilian ,museum at ,munich1 once belonged to the ,emperor ,henry ,,ii41 and was spoken of as such in a list of the treasures of ,bamberg ,cathedral in the #abth century4 ,from the border of this tunic the piece before us is reported to have been cut off4 ,that in the #abth century ,bamberg ,cathedral had the imperial 7probably the coronation7 tunic of its builder and great benefactor1 and as such reckoned it among its precious things1 was but natural2 it1 however1 by no means follows that this is the garment now at ,munich and brought from ,bamberg six hundred years after its reputed owner's death1 and put into the museum in his palace by the ,elector ,maximilian1 ,a4,d4 #afjg4 ,keeping in mind that the ,emperor ,henry ,,ii4 was crowned at the very beginning of the #aath century1 about the year #ajjb1 and seeing in the piece before us the style of the end of the #abth century--with thus a period of almost two hundred years between the two epochs--we cannot recognize this specimen to have ever formed a portion of the real tunic of the above-named ,german emperor4 ,besides its style1 its materials forbid us to accept it as such4 ,its design is set forth in cording of a coarse thread roughly put together2 the spaces between are filled in with shreds of red silken gold tissue1 and of gold stuff sewed on to very coarse canvas4 ,that1 in this condition1 it had been much used1 and needed mending through long wear1 is evident from other pieces of a gold and velvet texture of the #adth century being let in here and there over the frayed portions1 thus showing a second example of what is called 8applied40 ,like ,germany1 ,england1 too1 has made its mistakes on such matters1 for we are told that 8as the kings of ,england are invested with the crown of ,st4 ,edward1 their queens are crowned with that of ,st4 ,edgitha1 which is named in honour of the ,confessor's consort40--,taylor's 8,glory of ,regality10 p4 #fc4 ,in the inventory1 drawn up in the year #afdi1 8of that part of the ,regalia which are now removed from ,westminster to the ,tower ,jewel ,house10 we find entered 8,queen ,edith's crowne1 ,king ,alfred's crowne10 c4--,taylor's 8,glory of ,regality10 p4 #cac4 ,the likelihood is that1 in the #agth century1 these supposed ,anglo-,saxon crowns were not #bjj years old4 #hbcc4 ,piece of ,white ,silk1 with rich pattern of circles enclosing leopards and griffins1 and a diaper of scrolls and birds4 ,oriental1 #acth century4 #a foot #aa inches by #i inches4 ,like the piece immediately preceding1 this too comes to us with an account that it once formed a part of the white silk imperial tunic belonging to the same holy ,emperor ,henry ,,ii41 and was cut off from that garment now preserved in the ,maximilian ,museum in the royal palace at ,munich4 ,that it could have been wrought so early as the beginning of the #aath century1 that is1 about the year #ajjb1 we are hindered from believing by the style of the ornamentation of this very rich stuff4 ,as a specimen of the ,arabic loom in the #acth century it is most valuable1 and looks as if its designer had in his mind ,persian traditions controlled by ,arabic ideas while he drew its pattern4 ,a remembrance of the celebrated ,persian ,hom1 or sacred tree1 which separates both the griffins1 the leopards1 and the birds--seemingly peacocks in one place1 long-tailed parrots in another--was clearly before him4 ,the griffins are addorsed regardant and sketched with spirit2 so too are the leopards1 which are collared1 and like the 8papyonns10 or present ,east ,indian 8cheetahs10 of which mention is made at ,no4 #hbhh4 ,altogether this pattern1 which is thrown off with so much freedom1 is among the most pleasing and effective in the collection1 and the thickness of its silken texture renders it remarkable4 #hbcd4 ,piece of ,purple ,silk1 double-dyed1 the pattern formed of squares filled in with a ,greek cross amid conventional ornaments4 ,sicilian1 #abth century4 #g inches by #i inches4 ,the warp is of linen thread1 the woof of silk1 and as the two materials have not taken the dye in the same degree1 the ground is of quite another tone from the pattern1 which is1 in a manner1 fortunate1 as thus a better effect is produced4 ,not for a moment can we look upon this piece as a specimen of real imperial purple wrought at ,byzantium for royal use1 and so highly spoken of by ,anastasius ,bibliothecarius1 and called by him 8blatthin10 with the distinguishing adjunct of 8holosericus10 or made entirely of silk1 and sometimes noticing it as 8porphyreticum10 while enumerating the gifts of rich silks bestowed upon the churches at ,rome by pontifical and imperial benefactors4 #hbce4 ,piece of ,yellow ,silk1 with pattern of circles enclosing griffins1 the interspaces filled in with hawks4 ,byzantine1 #aath century4 #ab inches by #aj inches4 ,this well woven and thickly bodied stuff shows its ,byzantine origin in that style of ornamentation seen in the circles so characteristic of a ,greek hand1 as may be found in the ,byzantine ,,mss4 of the period4 ,what makes this specimen somewhat remarkable1 is the rare occurrence of finding the birds and animals figured in lines of silver thread4 ,dr4 ,bock tells us that the chasuble of ,bishop ,bernward1 who died in the #aath century1 is decorated with a similar design4 #hbcf4 ,piece of ,silk1 ,tyrian purple1 diapered with palmette pattern4 ,oriental1 #aath century4 #a foot #d inches by #h inches4 ,the hundreds of years that have passed over this remnant of the ,eastern looms have stolen from it that brightness of tone which once1 no doubt1 shone about its surface4 #hbcg4 ,portion of ,silk ,border1 crimson wrought in gold1 with circles containing grotesque animals4 ,italian 7871 middle of the #acth century4 #a foot #e inches by #c inches4 ,this well filled piece contains birds and beasts1 among the latter two dogs addorsed1 embroidered with circles1 upon plain red silk4 ,by the ornamentation1 the embroidery must be about the middle of the #acth century1 and is of that general character which hinders national identification1 though there can be no doubt it must have been wrought by some hand in ,western ,europe4 #hbch4 ,three ,pieces of ,silk1 discoloured to dull olive1 diapered with a closely foliated pattern4 ,sicilian1 #acth century4 ,respectively #f inches by #d inches1 #d inches by #d inches1 and #f inches by #c inches4 ,the design of the pattern is very elaborate and worthy of attention for the tasteful way in which it is arranged4 #hbch;,a4 ,piece of ,silk1 with lilac pattern1 enclosing grotesque animals4 ,sicilian1 #acth century4 #c inches by #a inches4 ,there is no reason for assuming that this piece of woven stuff formed the orphrey of a stole or any other liturgical ornament4 ,it is1 however1 a fine specimen in its kind1 and is one of the very many proofs to be found among the textiles and embroideries in the ,museum1 of the influence exercised by heraldry upon the looms of ,western ,europe4 ,the beasts and birds are evidently heraldic1 and are heraldically placed1 especially the beasts1 which are statant regardant4 #hbci4 ,maniple in ,crimson ,silk1 embroidered in colours and gold with emblematical animals4 ,the ends contain within circles1 one the lion1 symbolical of ,christ1 the other the initial ,m1 but of much later work4 ,the silk1 ,oriental2 the embroidery1 ,german1 early #adth century4 #c feet #h inches by #g inches4 ,this valuable specimen of medival church-embroidery is very curious1 inasmuch as it contains three distinct periods of work2 the middle part of the earliest portion of the #adth century1 embroidered with so many fantastic figures2 the lion passant with the human head1 at the left end1 of the beginning of the #acth2 and the green letter ,m1 poorly worked on the red garment laid bare at the right end by the loss of the circular piece of embroidery once sewed on there1 no doubt in the style and of the same period of the human-faced lion1 of the latter part of the #aeth century4 ,the whole of the middle piece is of needlework1 and figured with sixteen figures1 four-legged beasts in the body1 and human in the heads1 all of which are seen1 by the hair1 to be female4 ,all are statant gardant or standing and looking full in the face of the spectator4 ,eight of them are playing musical instruments1 most of which are stringed and harp-shaped1 one a clarionet-like pipe1 another castanets1 and two cymbals1 and are human down to the waist2 the other eight seem meant for queens wearing crowns1 and having the hair very full1 but reaching no further than the shoulders1 while the minstrel females show a long braid of dark brown hair falling all down the back4 ,the queens have wings1 and are human only in head and neck2 the musical figures are wingless1 and human as far as the waist4 ,all these monsters display large tails1 which end in an open-mouthed head like that of a fox1 and are all noued4 ,each of these figures stands within a square1 which is studded at each corner with the curious four-pointed love-knot1 and in the ornamentation of its sides the crescent is very conspicuous2 besides which1 upon the bodies of these figures themselves numerous ring-like spots are studiously marked1 as if to show that the four-legged animal was a leopard4 ,grotesques like those in this curious piece of embroidery abound in the ,,mss4 of the #adth century2 and those cut in stone on the north and south walls outside ,adderbury ,church1 ,oxon1 bear a strong likeness to them4 ,these fictitious creatures1 made up of a woman1 a leopard--the beast of prey1 a fox--the emblem of craftiness and sly cunning1 wielding too the power of wealth and authority1 shown in those regal heads1 and bringing those siren influences of music1 love1 and revelry into action1 lead to the belief that under such imagery there was once hidden a symbolic meaning1 which still remains to be found out1 and this embroidery may yield some help in such an interesting study4 ,all the figures are wrought on fine canvas in gold thread1 and shaded with silk thread in various colours1 the ground being filled in1 in short stitch1 with a bright-toned crimson silk that has kept its colour admirably4 ,the narrow tape with a gold ornament upon a crimson ground1 that encloses the square at each end of this liturgical appliance1 is very good1 and perhaps of the #acth century1 as well as the many-coloured fringe of the #aeth4 ,there is no doubt this maniple1 for such it is1 was made out of scraps of secular adornments of various dates2 and gives us remarkable examples of embroidery and weaving at various periods4 ,one end of it is figured in ,dr4 ,bock's 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #a ,band1 #b ,lieferung1 part vi4 #hbdj1 #hbdj;,a4 ,two ,pieces of ,silk ,border2 red purple1 embroidered with monsters1 birds1 and scroll patterns4 ,to ,no4 #hbdj is attached a portion of edging1 embroidered in gold1 with the rude figure of a saint1 on a blue-purple ground4 ,sicilian1 #acth century4 #hbdj1 #a foot #c inches by #e inches2 #hbdj;,a1 #a foot #aa inches by #b inches4 ,among the animals figured on these pieces may be discerned a wolf passant1 the fabulous heraldic wyvern1 an eagle displayed1 and a stag4 ,the figure1 however1 of the saint1 done in gold now much faded1 is of the #abth century4 #hbda4 ,piece of ,tapestry1 the warp cotton1 the woof partly wool1 partly silk2 in the centre1 a grotesque mask1 connecting scroll-patterns in blue1 bordered with ,tyrian purple4 ,sicilian1 late #abth century4 #a foot #b inches by #f inches4 ,this is a rare as well as valuable specimen of its kind1 and deserves attention1 not only for the graceful twinings of its foliage1 but the happy contrast of its colours4 #hbdb4 ,portion of ,gold ,embroidery1 on red-purple silk1 over a dark blue cotton ground1 figure of ,st4 ,andrew within an arch4 ,german work1 #abth century4 #i inches by #e inches4 #hbdc4 ,piece of ,silk1 dark ,tyrian purple ground1 with dark olive pattern of angular figures1 and circles enclosing crosses1 composed of four heart-shaped ornaments4 ,byzantine1 beginning of the #abth century4 #f inches by #f inches4 #hbdc;,a4 ,piece of ,silk ,border1 ground alternately lilac1 purple1 and yellowish1 with figures of animals within the spaces of the patterns2 edging1 green4 ,sicilian1 #acth century4 #c inches by #a inch4 ,though small1 this is a beautiful sample of textile excellence2 on it various animals are figured1 of which one is the heraldic wyvern4 #hbdd1 #hbdd;,a4 ,two ,pieces of ,crimson1 embroidered1 in gold1 with a scroll-pattern4 ,sicilian1 #acth century4 #hbdd1 #f inches by #b inches2 #hbdd;,a1 #f inches by #b inches4 #hbde4 ,piece of ,silk ,tissue2 the ground of pale purple1 woven in a diaper with stripes of yellow and blue2 the pattern formed of parrots perched in pairs4 ,sicilian1 #abth century4 #a foot #f inches by #aj inches4 ,it is said that ,st4 ,bernard1 abbot of ,clairvaux1 when his grave was opened1 was found vested in a chasuble made of a stuff much like this4 #hbde;,a4 ,piece of ,tissue1 like the foregoing 7,no4 #hbde71 with a centre stripe woven with gold thread and dark blue1 and two side-stripes with figures of parrots4 ,sicilian1 early #acth century4 ,though seemingly so slight and insignificant1 these two pieces will richly repay a close examination1 exhibiting1 as they do1 great beauty of design4 #hbdf4 ,piece of ,border1 of silk and gold thread1 pale purple ground1 with pattern of animals and flower 787 ornament4 ,sicilian 7874 #aj inches by #a inches4 ,from age1 the design of the pattern is so very indistinct that it becomes almost a puzzle to make it out4 #hbdg4 ,three ,pieces of ,silk1 orange-red ground1 with yellow pattern1 apparently composed in part of grotesque animals4 ,oriental1 #acth century4 #f inches by #d inches2 #c inches by #b inches2 #d inches by #b inches4 ,this last piece shows signs of having been waxed1 and probably is the fragment of a cere-cloth for the altar1 to be placed immediately on the stone table1 and under the linen cloths4 #hbdh4 ,piece of ,tissue1 woven of silk and linen2 ground1 ,tyrian purple1 with a ,romanesque pattern in white4 ,moresco-,spanish1 #acth century4 ,the design of this specimen is very effective2 and1 as the materials of this stuff are poor and somewhat coarse1 we may perceive that1 even upon things meant for ordinary use1 the medival artisans bestowed much care in the arrangement and sketching of their patterns4 #hbdi4 ,piece of ,silk2 purple ground1 and yellowish pattern in lozenge forms1 intersected by interlaced knots4 ,byzantine1 end of the #abth century4 #f inches by #e inches4 ,the knots in this piece are somewhat like those to be found upon ,anglo-,saxon work1 in stone1 and in silver and other metals2 and the lozenges powdered with ,greek crosses1 and stopped at each of the four corners of the lozenge by a three-petaled flower ornament--not1 however1 a fleur-de-lis1--make this piece of stuff remarkable4 #hbej4 ,piece of ,broad ,border of ,gold ,tissue1 portion of a vestment4 ,sicilian1 #acth century4 #f inches by #e inches4 ,this was once part of the orphrey of some liturgical garment1 and is figured with lions rampant combatant1 and foliage in which a cross flory may be discovered4 #hbej;,a4 ,piece of ,silk2 green ground1 with a stripe diapered in silver4 ,byzantine1 end of #abth century4 #d inches by #b inches4 ,the design of the stripe not only shows the ,st4 ,andrew's cross1 or saltire1 but1 in its variety of combination1 displays other forms of the cross1 that make this stuff one of the kind known among ,greek writers as 8stauracinus0 and 8polystauria10 and spoken of as such by ,anastasius ,bibliothecarius in very many parts of his valuable work4 #hbea4 ,portion of a ,maniple1 linen web with an interlaced diamond-shaped diapering1 in silk4 #abth century4 ,byzantine4 #a foot #i inches by #b inches4 ,this curious remnant of textiles1 wrought on purpose for liturgical use1 shows in places another combination of lines1 or rather of a digamma1 so as to form a sort of cross3 and stuffs so diapered were called by ,greek1 and after them by ,latin1 ,christian writers1 8gammadia40 ,it was a pattern taken up by the ,sicilian and ,south ,italian looms1 whence it spread so far north as ,england1 where it may be found marked amid the ornaments designed upon church vestments figured in many graven brasses4 ,from us it got the new name of 8filfod0 through the idea of 8full foot10 which by some ,english medival writers was looked upon as an heraldic charge1 and is now called 8cramponne40 ,during the #acth century1 in this country1 ribbon-like textiles1 for the express purpose of making stoles and maniples to be worn at the altar1 were extensively wrought1 and constituted one of the articles of trade in ,london1 for a distinguished citizen of hers1 ,john de ,garlandia1 or ,garland1 tells us3--8,de textis vero fiunt cingula1 et crinalia divitum mulierum et stole7ae7 sacerdotum40 ,these 8priests' stoles10 in all likelihood1 were figured with the gammadion or filfod pattern2 and1 perhaps1 many of them which are to be found in foreign sacristies to this day came from ,london4 ,the piece before us is figured in ,dr4 ,bock's 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #d ,lieferung1 pt4 iii4 fig4 #c4 #hbeb4 ,piece of ,silk and ,gold ,tissue1 lilac-purple with fleur-de-lis diapering in gold4 ,south ,italian1 end of #adth century4 #e inches by #d inches4 ,this stuff seems to have been made expressly for ,french royalty1 perhaps some member of the house of ,anjou4 #hbec4 ,piece of ,dark ,blue ,silk1 with pattern in yellow1 consisting of centre ornaments surrounded by four crowned birds like parrots4 ,south ,italian1 #adth century4 #i inches by #g inches4 #hbed4 ,piece of ,silk ,net1 embroidered with crosslets and triangular ornaments charged with chevrons in lilac and green4 ,north ,italian1 #adth century4 #g inches by #e inches4 ,this is a good specimen of a kind of cobweb weaving1 or 8opus araneum10 for which ,lombardy1 especially its capital1 ,milan1 earned such a reputation at one time4 #hbee4 ,piece of ,silk1 crimson ground1 with pattern in violet and green1 consisting partly of wyverns4 ,sicilian1 end of #acth century4 #aj inches by #e inches4 ,another good specimen of the ,sicilian loom1 and very likely one of those 8cendals0 for which ,palermo was once so famous4 #hbef4 ,piece of ,silk1 pink-buff colour1 with pattern1 in green1 of vine-leaves and grapes4 ,south ,italian1 middle of #adth century4 #h inches by #e inches4 ,the design of this silk is remarkably elegant1 and exemplifies the ability of the weaver-draughtsmen of those times4 #hbeg4 ,piece of ,crimson ,silk1 damasked with a pattern in which occur leopards and eagles pouncing upon antelopes4 ,sicilian1 end of #acth century4 ,the design of this piece of what must have been such a beautiful stuff is very skilfully imagined1 and the whole carried out in a spirited manner4 ,the leopards are collared1 and from the presence of1 as well as mode of action in1 the eagles stooping on their prey1 a thought may cross the mind that some political or partisan meaning is hidden under these heraldic animals4 #hbeh4 ,piece of ,silk2 ground1 lilac-purple2 pattern1 in bright yellow1 composed of stags1 parrots1 and peacocks1 amid foliage4 ,italian1 #adth century4 #aj inches by #d inches4 ,a pretty design1 in cheerful colours1 and a pleasing example probably of the ,lucca loom towards the close of the #adth century4 #hbei4 ,piece of ,tissue1 with hemp warp and silk woof2 ground1 dark blue2 pattern1 yellowish1 representing a tree imparked1 with eagles1 and leopards having tails noued or tied in a knot4 ,italian1 early #aeth century4 #a foot #g inches by #a foot4 ,though somewhat elaborate1 the design of this piece is rather heavy4 #hbfj4 ,piece of ,silk and ,gold ,tissue1 lilac-purple ground1 with a green pattern1 showing eagles statant regardant1 with wings displayed4 ,sicilian1 #adth century4 #g inches by #d inches4 ,the design is very good4 #hbfj;,a4 ,piece of ,silk1 lilac-purple ground with green pattern1 and gold woven border1 exhibiting an antelope courant regardant4 ,sicilian1 early #adth century4 #f inches by #c inches4 ,good in design4 #hbfj;,b1 ,c4 ,two ,pieces of ,silk1 green ground and lilac-purple pattern1 with dragons and cranes4 ,sicilian1 early #adth century4 #d inches by #d inches2 and #d inches by #b inches4 ,a pleasing design4 #hbfa4 ,portion of an ,orphrey embroidered in silk and gold1 with figures of two ,apostles beneath crocketed canopies4 ,german1 early #adth century4 #hbfb4 ,piece of ,silk1 rose-coloured ground1 with pattern of eagles rising from trees1 both green1 and wild beasts spotted 7perhaps leopards7 in gold1 and lodged in a park1 paled green4 ,south ,italian1 #adth century4 #b feet by #aj inches4 #hbfc4 ,piece of ,silk1 rose-coloured ground1 pattern in green and gold1 of two female demi-figures addorsed1 gathering date-fruit with one hand1 with the other patting a dog rampant and collared with bells1 and other two female demi-figures holding1 with one hand1 a frond of the palm-tree out of which they are issuing1 and with the other hand clutching the manes of lions rampant regardant and tails noued4 ,sicilian1 #adth century4 #a foot #i inches by #a foot #b inches4 ,this valuable and important piece displays an intricate yet well-managed and tastefully arranged pattern4 ,one must be struck with the peculiar style of assortment of pink and green in its colours1 the somewhat sameness in the subjects1 and the artistic and heraldic way in which these silks 7very likely wrought at ,palermo7 are woven4 ,dr4 ,bock has given a fine large plate of this stuff in his 8,dessinateur pour ,etoffes10 c4 ,paris1 ,morel4 #hbfd4 ,piece of ,silk and ,gold ,tissue2 the ground black1 with pattern1 in gold1 of a rayed star1 with eagles statant and swans naiant 7swimming7 upon water on a foliated scroll4 ,sicilian1 early #adth century4 #a foot #b inches by #a foot #a inches4 ,illustration3 #hbfd ,,silk ,,and ,,gold ,,tissue1 ,sicilian1 #adth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,the design of this piece is as easy and flowing as it is bold2 and the specimen affords us a very choice example of fine manufacture4 #hbfe4 ,piece of ,linen and ,silk ,textile2 the ground1 dark blue2 the pattern1 yellow1 consisting of arcades beneath which are rows of parrots and hawks alternately1 both gardant1 and perched upon a vine2 the initial ,m surmounted by a crown or fleur-de-lis in gold thread is inserted in the alternate range of arches4 ,southern ,spanish1 late #adth century4 #a foot #f inches by #aj inches4 ,illustration3 #hbfe ,,linen ,,and ,,silk ,,textile1 ,spanish1 #adth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,as a specimen of the ,andalusian loom1 and wrought by ,christian hands1 perhaps at ,granada1 while that part of ,spain was under ,moorish rule1 this piece has a peculiar interest about it4 #hbff4 ,maniple1 embroidered in silk1 inscribed in ,gothic letters with 8,gratia plena ,dom 4440 ,german1 end of #adth century4 #c feet #aj inches by #b inches4 #hbfg4 ,piece of ,tissue1 of cotton warp1 of silk and gold woof1 with pattern of birds and stags amid foliated ornamentation4 ,spanish1 #adth century4 #hbfh4 ,piece of ,silk and ,gold ,tissue2 the ground1 lilac-purple2 the pattern in gold1 symmetrically arranged and partly composed of birds1 upon which hounds are springing4 ,sicilian1 #adth century4 #b feet #c inches by #aa inches4 ,a very effective and well-executed design4 #hbfi4 ,piece of ,silk2 ground1 blue1 diapered in yellow with mullets of eight points and eight-petaled flowers1 within lozenges4 ,sicilian1 early #aeth century4 #f inches by #d inches4 #hbfi;,a4 ,piece of ,silk and ,cotton ,border2 ground1 crimson1 now much faded2 pattern1 a diaper of the fleur-de-lis within a lozenge1 both yellow2 the stuff which it edged has a deep blue ground powdered with fleurs-de-lis1 and eight-petaled flowers within lozenges1 both yellow4 ,south ,italian1 late #acth century4 #d inches by #b inches4 ,though from its pattern we may assume that this stuff was made for the requirement of the ,sicilian ,anjou family or one of its adherents1 the poorness of its materials forbids us from thinking it could have served for any other than common use4 #hbgj4 ,piece of ,silk and ,gold ,tissue2 pattern1 consisting of diaper and leaves interspersed with small circles1 within each of which is a conventional flower expanded4 ,south ,italian1 #adth century4 #aa inches by #aj inches4 #hbga4 ,piece of ,silk1 with portions of the pattern in gold2 ground1 green1 on which are parrots 787 and little dogs1 amid a sprinkling of quatrefoils4 ,sicilian1 beginning of #adth century4 #aj inches by #d inches4 #hbgb4 ,piece of ,silk and ,gold ,tissue2 ground1 green2 the pattern in gold seems to have been divided by bars1 and consists of an interlaced knot1 on which rest birds4 ,southern ,spanish1 early #adth century4 #h inches by #d inches4 ,the knots in this piece are somewhat like our own ,bouchier one2 but the four ends of the ,english badge are not shown in this ,andalusian ornament1 perhaps meant to be really an heraldic charge peculiar to ,spanish blazon4 #hbgc4 ,piece of ,silk2 ground1 lilac-purple2 pattern1 yellow1 diapered with crescents1 within the horns of which are two very small wyverns addorsed4 ,sicilian1 late #acth century4 #g inches by #d inches4 ,the design is so indistinct that it requires time to unpuzzle it4 #hbgd4 ,portion of an ,orphrey1 embroidered on parchment with glass1 coral1 gold beads1 and seed pearls1 having also small bosses and ornaments in silver-gilt4 ,the ground is dark blue1 on which is figured the ,b4 ,v4 ,mary nimbed and crowned within an oblong aureole terminated by scrolls ending in trefoils and cinquefoils4 ,venetian1 late #abth century4 ,that this curious and elaborate piece of bead embroidery must have been part of an orphrey for a chasuble1 and not a maniple1 is evident from the pointed shape in which it ends4 ,from its style1 and the quantity of very small beads and bugles which we see upon it1 it would seem to have been wrought either at ,venice itself1 in some of its mainland dependencies1 or in ,lower ,styria4 ,then1 as now1 the ,venetian island of ,murano wrought and carried on a large trade in beads of all kinds2 and the silversmith's craft was in high repute at ,venice4 ,finding1 then1 this remnant of a liturgical vestment so plentifully adorned with beads1 bugles1 and coral1 besides being so dotted with little specks of gold1 and sprinkled with so many small but nicely worked silver-gilt stars1 we are warranted in taking this embroidery to have been wrought somewhere in ,north ,east ,italy or ,south ,west ,germany1 upon the borders of the ,adriatic4 ,those fond of ecclesiastical symbolism will look upon this old piece of needlework with no small interest1 and observe that it was by intention that the ground was blue4 ,it is figured in ,dr4 ,bock's 8,geschichte der ,liturgischen ,gewnder ,mittelalters10 #a ,band1 #b ,lieferung1 pt4 x4 s4 #bge4 #hbge4 ,piece of ,linen ,tissue1 with pattern woven in gold2 the design consists of bands curving to a somewhat lozenge form and inclosing an ornament composed of intersecting circles with a three-pointed or petaled kind of conventional flower 7not a fleur-de-lis7 radiating from the centre4 ,sicilian1 #adth century4 #e inches by #d inches4 #hbgf4 ,piece of ,silk2 ground1 pinkish purple2 pattern in dark blue1 or rather green1 divided by four-sided compartments and formed of conventional flowers and salamanders1 the borders of a running design4 ,sicilian1 #adth century4 #aj inches by #f inches4 ,most likely woven at ,palermo1 but no good sample of dyeing1 as the colours have evidently changed2 what is now a pinkish purple hue was of a light cheerful crimson tone1 and the dark blue pattern must have originally been a warm green4 #hbgg4 ,piece of ,crimson ,silk and ,gold ,tissue2 the pattern1 in gold1 of conventional ornaments and circles containing birds and animals2 the border consists of a repetition of a wyvern1 an eagle displayed1 and an elephant and castle4 ,italian1 early #adth century4 #aa inches by #d inches4 ,this fine costly specimen of old silken stuff cannot fail in drawing to itself a particular attention from the heedful observer1 by its gracefully elaborate design1 so well carried out and done in such rich materials1 but more especially by the symbols figured on it4 ,though now unable to read or understand the meaning of all those emblematic hints so indistinctly uttered in its curious border1 made up1 as it is1 of a wyvern1 a stork embowed and statant on an elephant and castle1 and a displayed eagle1 we hopefully think that1 at no far-off day1 the key to it all will be found2 then1 perhaps1 the piece before us1 and many other such textiles in this very collection1 may turn out to be no little help to some future writer while unravelling several entanglements in medival history4 ,not for a single moment can we admit that through these heraldic beasts and birds the slightest reference was intended to be made to the four elements2 heaven or the air1 earth or its productions1 fire and water1 were quite otherwise symbolized by artists during the middle ages1 as we may see in the nielli on a super-altar described and figured in the 8,church of ,our ,fathers10 t4 i4 p4 #beg4 #hbgh4 ,a ,,sindon or kind of ,frontal1 of ,crimson ,silk1 on a linen or canvas lining1 embroidered in silk and silver thread1 with a large figure of our ,lord dead1 two standing angels1 and1 at each of its four corners1 a half-length figure of an evangelist2 the whole enclosed in a border inscribed with ,sclavonic characters4 ,ruthenic work1 middle of #agth century4 #d feet #f inches by #b feet #aj inches4 ,in the centre of this curious ecclesiastical embroidery 7for spreading outside the chancel1 at the end of ,holy ,week1 among the ,greek17 our dead ,lord1 with the usual inscription1 ,,ic1 ,,xc1 over ,him1 is figured lying full length1 stretched out1 as it were1 upon a slab of stone which a sheet overspreads4 ,his arms are at ,his sides as far as the elbows1 where they bend so that ,his hands may be folded downward cross-wise upon ,his stomach1 from which1 to ,his knees1 ,his loins are wrapped in a very full-folded cloth done in silver thread1 but now nearly black from age4 ,his skin is quite white1 ,his hair and beard of a light brown colour1 and ,his right side1 ,his hands and feet are marked each with a blood-red wound2 and the embroidery of ,his person is so managed as to display1 in somewhat high relief1 the hollows and elevations of the body's surface2 all around and beneath ,his head goes a nimbus marked inside with a cross very slightly pattee1 the whole nicely diapered and once bright silver1 but now quite black4 ,two nimbed angels1 beardless and1 in look1 quite youthful1 are standing1 one at ,his head1 the other at ,his feet1 each1 like the other1 vested1 as is the deacon at the present day1 for mass1 according to the ,greek and ,oriental rites2 they wear the 8chitonion0 or alb1 over that the 8stoicharion0 or dalmatic1 and from the right--though it should have been from the left--shoulder falls the 8orarion0 or stole1 upon which the ,greek word 8agios10 or holy1 is repeated1 just as a ,greek deacon is shown in 8,hierurgia10 p4 #cde2 in his right hand each holds extended over our ,lord1 exactly as ,greek deacons now do1 at the altar1 after the consecration of the ,holy ,eucharist1 a long wand1 at the end of which is a large round six-petaled flower-like ornament1 having within it a cherub's six-winged face2 this is the holy fan1 concerning which see the 8,church of our ,fathers10 iv4 #aig2 and each has his left hand so raised up under his chin as to seemingly afford a rest for it4 ,at each of the four corners of the frontal is the bust of an evangelist with a nimb about his head2 in the upper left1 8,agios o ,theologos10 for so the ,greeks still call ,st4 ,john the ,evangelist3 in the lower left1 ,st4 ,luke2 in the upper right1 ,st4 ,matthew2 in the lower right1 ,st4 ,mark2 each is bearded1 and the hair1 whether on the head or chin1 is shown in blue and white as of an aged man4 ,while the heads and faces of all four evangelists are red1 with the features distinguished by white lines1 the angels have white faces and their hair is deep red with strokes in white to indicate the curly wavings of their locks4 ,there are two crosses1 rather pattee1 done in silver thread1 measuring #b inches1 one above1 the other below our ,lord1 in the middle of the ground1 which is crimson1 and wrought all over with gracefully twined flower-bearing branches2 and each evangelist is shut in by a quarter-circle border charmingly worked with a wreath of leaves quite characteristic of our #acth century work4 ,all the draperies1 inscriptions1 and ornamentation1 now looking so black1 were originally wrought in silver thread that is thus tarnished by age4 ,among the liturgical rarities in this extensive and precious collection of needlework1 not the least is the present ,russo-,greek 8sindon10 or ritual winding-sheet1 used in a portion of the ,eastern ,church service on the ,great ,friday and ,great ,saturday1 as the ,orientals call our ,good ,friday and ,holy ,saturday4 ,the colour itself--purplish crimson--of the silk ground upon which our ,lord's dead body lies1 as it were1 outstretched upon the winding-sheet in the grave1 is not without a symbolic meaning1 for amongst the ,greeks1 up to a late period1 of such a tint were invariably the garments and the stuffs employed on every occasion any wise connected with the dead1 though now1 like the ,latins1 the ,muscovites at least use black for all such functions4 ,all around the four borders of this sindon are wrought in golden thread1 now much tarnished1 sentences of ,greek1 but written1 as the practice is among the ,sclaves1 in the ,cyrillian character1 thus named from ,st4 ,cyrill1 the monk1 who invented that alphabet a thousand years ago1 as one of the helps for himself and his brother ,st4 ,methodius1 in teaching ,christianity to the many tribes of the widely-spread ,sclavonian people1 as we noticed in our ,introduction1 #e4 ,beginning at the right-hand side1 from that portion of the silk being somewhat torn1 the words are not quite whole1 but those that can be read1 say thus3--8,pray for the servant of ,god1 ,nicolaus4444and his children4 ,amen20 here1 no doubt1 we have the donor's name1 and the exact time itself of this pious gift was put down1 but owing to the stuff being1 at this place too1 worn away1 the date is somewhat obliterated1 but seems to be the year #afde4 ,all the other sentences are borrowed from the ,greek ritual-book known as the or ,horologium1 in the service for the afternoon on ,good ,friday and ,holy ,saturday4 ,along the lower border runs this 8troparion10 or versicle3-- 1 4 8,the comely ,joseph 7of ,arimathea7 having taken down from the wood 7of the cross7 the spotless body of ,thee 7,o ,jesus71 and having wrapped it up in a clean winding-sheet together with aromatics1 taking upon himself to afford it a becoming burial1 laid it in a new grave40 ,upon the left hand side comes this versicle3-- 1 3 1 -- 4 4 8,seeing at the grave the women who were carrying perfumes1 the ,angel cried out1 #8,the ointments fitting 7to be used in the burial7 for mortal beings are lying here1 but ,christ1 having undergone death1 has shown ,himself 7again7 after another form4'0 ,according to the rite followed by the ,russians and ,greeks1 on the afternoon of ,good ,friday1 as well as that of ,holy ,saturday1 a sindon or liturgical winding-sheet1 figured just like the one before us1 is brought into the middle of the church1 and placed outside the sanctuary1 so that it may be easily venerated by all the people in turn4 ,first come the clergy1 making1 as they slowly advance1 many low and solemn bows1 and bendings of the whole person4 ,reaching the sindon1 each one kisses with great devotion the forehead of our ,lord1 and the place of the wounds in ,his side1 ,his hands1 and feet4 ,then follow the congregation1 every one approaching in the same reverential manner1 and going through the same ceremonial like the clergy2 all this while are being sung1 along with other versicles1 the ones embroidered round this piece of needlework4 ,but this is not all1 at least in some provinces where the ,greek ritual obtains4 ,as soon as it is dark on ,good ,friday evening1 upon a funeral bier is laid the figure of our ,lord1 either wrought in low relief1 painted on wood or canvas1 or shown in needlework like this sindon4 ,lifted up and borne forwards1 it is surrounded by a crowd carrying lights4 ,then follow the priests vested in chasubles and the rest of the garments proper for mass2 after them walk the lower clergy1 and the lay-folks of the place come last4 ,then the procession goes all through and about the streets of the town1 singing the cxviiith ,psalm1 the 8,beati immaculati in via10 c4 of the ,vulgate1 or cxixth of the authorized version1 between each verse of which is chanted a versicle from the ,horologium4 ,everywhere the populace bow down as the bier comes by1 and many times it halts that they may kiss the figure of our dead ,saviour1 whose image is overspread by the flowers sprinkled upon it as it is carried past1 and afterwards these same flowers are eagerly sought for by the crowd1 who set much store by them as the bringers of health to their bodies and a blessing on their homesteads all the after year4 ,now it should be observed that1 even in the present piece1 what is the real sindon or white linen winding-sheet shown open and spread out quite flat beneath our ,lord's body1 is put upon a mourning pall of red silk1 which is worked all over with flowers1 doubtless in allusion to this very custom of showering down upon it flowers as it is carried by4 ,very like1 in part1 to the ,greek ceremony1 is the ,latin rite still followed on ,good ,friday of kissing the crucifix as it lies upon a cushion on the steps going up to the altar1 and known of old in ,england as creeping to the cross1 the ritual for which among the ,anglo-,saxons1 as well as later1 according to the use of ,salisbury1 may be seen in the 8,church of ,our ,fathers10 t4 iv4 pp4 #hh1 #bda4 ,those who have travelled in the ,east1 or in countries where the ,greek rite is followed1 may have observed that1 almost always1 the cupola of the larger churches is painted with the celebration of the ,divine ,liturgy2 and among the crowd of personages therein shown are usually six angels reverently bearing one of these so-figured sindons1 as was noticed in the ,introduction1 #e4 #hbgi4 ,portion of an ,orphrey for a ,chasuble2 border woven in silk1 with a various-coloured diapering4 ,german1 late #adth century4 #c feet4 ,such textiles 7for they are not embroideries7 as these were evidently wrought to serve as the orphreys for liturgical garments of a less costly character1 and made1 as this example is1 out of thread as well as silk1 fashioned after a simple type of pattern4 #hbgi;,a4 ,linen ,napkin1 for a ,crozier2 of very fine linen1 and various embroideries4 ,german1 late #adth century4 #b feet #aj inches by #f feet4 ,such napkins are very great liturgical curiosities1 as the present one1 and another in this collection1 are the only specimens known in this country2 and perhaps such another could not be found on any part of the ,continent1 the employment of them having been for a very long time everywhere left off4 ,its top1 like a high circular-headed cap1 #d inches by #d inches1 is marked with a diapering1 on one side lozengy1 on the other checky1 ground crimson1 and filled in with the gammadion or filfot in one form or another4 ,on the lozenges this gammadion is parti-coloured1 green1 yellow1 white1 purple2 in the checks1 all green1 yellow1 white1 and purple4 ,curiously enough1 the piece of vellum used as a stiffening for this cap is a piece of an old manuscript about some loan1 and bears the date of the year #abef4 ,the slit up the middle of the linen1 #aa inches long1 is bordered on both edges with a linen woven lace1 #a inches broad1 embroidered on one side of the slit with ,l1 one of the forms of the gammadion2 on the other with the saltire1 or ,st4 ,andrew's cross2 the gammadion and saltire are wrought in purple1 green1 crimson 7faded71 or yellow1 each of one colour1 and not mixed1 as in one part of the cap4 ,these two edgings brought together1 and thus running up for the space of #f inches1 are stopped by a piece of woven silk lace1 #c inches by #b inches1 and figured with the filfot or gammadion4 ,the linen is very fine1 and of that kind which1 in the middle ages1 was called 8bissus20 tent-like in shape1 and closed1 it hung in full folds4 ,its gold and silken cords1 of various colours1 as well as those large well-platted knobs of silk and gold by which it was strung to the upper part of the crozier1 are all quite perfect2 and an account of this ornament is given in the 8,church of ,our ,fathers10 t4 ii4 p4 #baj4 ,dr4 ,bock has given a figure of the present one in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #d ,lieferung1 pl4 xiv4 fig4 i2 and another specimen will be found here1 ,no4 #hffb4 #hbhj4 ,piece of ,net1 of coarse linen thread1 with an interlaced lozenge pattern1 and a border4 ,very likely ,german1 #afth century4 #c feet #aj inches by #c feet #h inches4 ,those who amuse themselves by netting will find in this specimen a good example to follow1 both in design and accurate execution4 ,it must have been wrought for domestic1 and not for ,church use4 #hbha4 ,portion of an ,orphrey1 in red and purple silk1 figured in gold1 with a fleur-de-lis1 inscriptions1 and armorial bearings4 ,german1 late #aeth century4 #ab inches by #b inches4 ,this piece is woven throughout1 and the letters1 as well as the heraldry1 are the work1 not of the needle1 but of the shuttle4 ,on a field gules is shown a fleur-de-lis argent1 which device1 not being upon a shield1 may have been meant for a badge4 ,on a field or is a cross purpure1 and over it1 another cross of the field4 ,though the words given may possibly be intended to read 8,pete allia 7alia710 there are difficulties in so taking them4 ,it is imagined that these heraldic bearings refer to the archiepiscopal sees and chapters of ,cologne and ,treves4 #hbhb4 ,piece of ,silken and ,linen ,texture4 ,upon a yellow thread ground are figured1 in green silk1 trees1 from the lower right side of which darts down a pencil of sunbeams1 and just over these rays stand birds like cockatoos or hoopoes1 and six-petaled flowers and eagles stooping1 both once in gold1 now dimmed2 the flowers and eagles well raised above the rest of the design4 ,made in ,north ,italy1 during the middle of the #adth century4 ,when bright and fresh1 this stuff must have been very effective2 and a play of light could not fail in well showing off its golden eagles and flowers1 that are made to stand out somewhat boldly amid the green foliage of the trees4 #hbhc4 ,piece of ,lilac-purple ,silk1 with a delicate diapering of vine-branches and birds4 ,italian1 late #adth century4 ,though everything is small in the design of this piece1 it is remarkably pleasing4 ,the way in which the boughs are twined is quite graceful1 and the foliage very good4 #hbhd4 ,piece of ,light ,crimson ,silk and ,gold ,tissue4 ,this small bit of a large pattern shows a crested bird plucking a bell-shaped flower4 ,italian1 early #aeth century4 ,unfortunately this scrap is so small as not to exhibit enough of the original design to let us know what it was2 but1 to judge by the ends of some wings1 we have before us sufficient to see that1 when entire1 it must have consisted of large birds1 and have been bold and telling4 #hbhe4 ,piece of ,light ,crimson ,silk and ,gold ,tissue2 the pattern is a diapering1 all in gold1 formed of a tree with a lioness sejant regardant beneath it1 and a bird alighting on a flower1 the centre of which is spotted with stamens of blue silk4 ,north ,italian1 beginning of the #aeth century4 ,this specimen is valuable both for its rich materials and the effective way in which the design is brought out4 #hbhf4 ,piece of ,dark ,purple ,silk and ,silver ,tissue1 relieved with crimson thrown up in very small portions4 ,the pattern is a bold diapering of grotesque animals and birds1 together with inscriptions affecting to be in ,arabic4 ,very likely from the ,south of ,spain1 at the beginning of the #aeth century4 #bd inches by #ai inches4 ,alike conspicuous for the richness of materials1 as for the exuberance in its design1 this specimen deserves particular attention4 ,spotted leopards and shaggy-haired dogs1 all collared1 and separated by bundles of wheat-ears2 birds of prey looking from out the foliage1 hoopoes pecking at a human face1 dragon-like snakes gracefully convoluted amid a ,moorish kind of ornamentation1 and imitated ,arabic letters strung together without a meaning1 show that the hand of the ,christian workman was guided somewhat by ,saracenic teachings1 or wrought under the set purpose of passing off his work as of ,oriental produce4 ,but in this1 as in so many other examples1 a strong liking for heraldry is displayed by those pairs of wings conjoined and elevated1 in the one instance eagle's1 in the other wyvern's4 #hbhg4 ,piece of ,silk and ,gold ,tissue1 on a red ground2 a design in green1 relieved by bands of scroll-pattern1 with an eagle's head and neck in gold and flowers in white and dark purple4 ,sicilian1 #aeth century4 #ab inches by #ab inches4 ,when new this tissue must have been very showy1 but now the whole of its pattern is somewhat difficult to trace out4 ,the way in which the large eagle's head and neck are given1 resting upon a broad-scrolled bar1 is rather singular2 so1 too1 is the listing or border1 on one side charged with a small but rich ornamentation1 amid which may be detected some eaglets4 #hbhh4 ,piece of ,silk and ,gold ,tissue1 the ground of which is gold banded with patterns in blue1 red1 and green1 divided by narrowed stripes of black2 on one golden band is an ,arabic word repeated all through the design4 ,syrian4 #af inches by #af inches4 ,the value of this fine rich specimen will be instantly appreciated when it is borne in mind that it is one of the few known examples of real ,saracenic weaving which we have4 ,its ornamentation has about it1 in the checkered and circular portions of its design1 much of that feeling which shows itself in ,saracenic architecture2 and those who remember the court of lions1 in the ,alhambra at ,granada1 will not be surprised at seeing animals figured upon this piece of stuff so freely4 ,the broad bands are separated by very narrow black ones1 on which are shown1 in gold1 short lengths of thick foliage like strawberry-leaves1 and an animal1 which1 from the tuft of hair on its ears1 seems a lynx1 chased by the hunting-leopard1 of which our celebrated travelling countryman1 ,sir ,john ,mandeville1 in his 8,voiage10 written in the reign of ,edward ,,iii1 speaks thus3 8,in ,cipre men hunten with ,papyonns that ben lyche ,lepardes1 and thei taken wylde bestes righte welle and thei ben somedelle more than ,lyonns2 and thei taken more scharpely the bestes and more delyverly than don houndes40 ,ed4 ,halliwell1 p4 #bi4 ,this sort of leopard1 the claws of which are not1 like the rest of its kind1 retractile1 is1 to this day1 employed in ,asia1 more especially in the ,east ,indies1 like dogs for hunting1 and known by the name of 8,cheetah40 ,each of these lengths is studded with those knots1 found so often upon eastern wares of all sorts1 and formed by narrow ribbons interlacing one another at right angles so as to produce squares or checks2 these knots are alternately large--of three rows of checks1 and small--of two rows4 ,upon one of the large bands1 gold in its ground1 is1 all along it1 woven a sentence in ,arabic letters in dusky white1 of which tint is the circular ornament which everywhere stands between this writing2 very likely these characters1 as well as the dividing flower1 were once of a crimson colour1 which is now faded4 ,the inscribed sentence itself being figured without the distinctive points1 may be understood various ways4 ,that it is some well-known ,oriental saying or proverb is very likely1 and1 to hazard a guess1 reads thus3 8,injury1 hurt1 reception10--meaning1 perhaps1 that the individual who has done you1 behind your back1 all the harm he can1 may1 when next he meets you1 utter the greetings and put on all the looks of friendship4 ,such was its meaning1 as read by the late lamented ,oriental scholar1 ,dr4 ,cureton4 ,upon the next broad band1 on a ground once crimson1 are figured1 in gold1 the before-mentioned 8papyonns10 or hunting-leopards1 collared and in a sitting position under foliage1 swans swimming1 and an animal of the gazelle or antelope genus1 heraldically lodged regardant1 with a flower-bearing stem in its mouth1 and another animal not easily identified4 ,the remaining two broad bands1 one blue1 the other green1 are figured1 in gold1 with squares filled up by checks of an ,oriental character1 alternating with quatrefoils sprouting all over into flowers4 #hbhi4 ,piece of ,silk and ,gold ,tissue2 the ground1 lilac2 the pattern1 green and white1 of flowers1 beneath which couch two animals1 and under them stand two eagles4 ,italian or ,sicilian1 late #adth century4 #ae inches by #ae inches4 ,one of those well-balanced designs thrown off so freely by the looms of ,italy and ,sicily during the whole of the #adth century4 ,what those two animals collared1 couchant and addorsed regardant1 may be meant for it is hard to imagine4 ,rays1 like those from the sun1 dart down beneath these dog-like creatures1 and looking upward to those beams stand two eagles4 ,some of the flowers and the two animals are wrought in gold4 #hbij4 ,piece of ,silk2 ground1 dark blue2 pattern1 yellow1 in zigzag arabesque4 ,moorish work of the ,south of ,spain1 #adth century4 #ab inches by #h inches4 ,though of such simple elements in its design1 this ,moresco stuff is not unpleasing4 #hbia1 #hbia;,a4 ,two ,pieces of ,silk and ,gold ,tissue1 having a pattern in bands diapered with arabesques1 birds1 and animals4 ,syrian1 #adth century4 #e inches by #d inches1 and #e inches by #c inches4 ,although but mere rags1 these two specimens are interesting4 ,they tell1 of their country and time1 by the management of their design1 and have a near relationship to the specimen ,no4 #hbhh4 #hbib4 ,piece of ,silk2 ground1 red with pattern1 in violet1 of vine-leaves1 conventional foliage1 and animals4 ,sicilian1 early #adth century4 #ab inches by #f inches4 ,this very pretty produce of the ,italian loom1 like ,no4 #hbhc1 commends itself to our admiration by the graceful manner in which the design is carried out4 ,though small in its parts1 the pattern is attractive4 ,those stags1 tripping and showing heads well attired1 are not uncommon1 about the period1 upon stuffs1 but those wild boars--like the deer1 in pairs--segeant face to face1 are somewhat new4 #hbic4 ,piece of ,linen embroidered in red silk1 with an open diaper of crosslets leaving circular and lozenge spaces1 the former now empty1 the latter ornamented with cross-crosslets in yellow1 purple1 and green silk4 ,late #adth century4 #ae inches by #ab inches4 ,in all likelihood the round spaces were filled in with heraldic animals1 and the piece served as the apparel to an alb1 resembling the one shown on the fine ,wensley brass1 figured by the brothers ,waller1 and also given in the 8,church of our ,fathers10 t4 i4 p4 #cbe4 #hbid4 ,piece of ,silk and ,gold ,tissue1 the ground red with a pattern in green and white1 forming a large lozenge1 enclosing1 in one instance1 a bunch of foliage and two eagles1 in the other1 a bough and two dogs4 ,south ,italian1 late #adth century4 #ba inches by #aa inches4 ,in this rich pattern there are certain portions that1 at first sight1 might be taken for attempts to represent ,oriental letters2 they are1 however1 no forms of any alphabet1 and1 least of all1 bear any likeness to the ,cufic4 #hbie4 ,piece of ,silk and ,cotton ,tissue2 ground1 deep red mixed with green1 blue1 white1 and gold2 the pattern consists of loosely branched stems with large flower-heads1 and monsters alternately blue and gold1 bearing in their hands a white flower4 ,italian1 late #adth century4 #bg inches by #i inches4 ,the so-called sphinxes in this piece are those monster figures often found in art-work during the middle ages1 and are formed of a female head and waist joined on to the body of a lioness passant cowed1 that is1 with its tail hanging down between its legs4 ,in this specimen may be detected an early form of the artichoke pattern1 which afterwards became such a favourite4 #hbif4 ,piece of ,silk2 ground1 dark red2 pattern1 a yellow diapering of somewhat four-sided figures enclosing an ornament of a double ellipsis4 ,south ,spanish1 #aeth century4 #aj inches by #g inches4 #hbig4 ,piece of ,crimson ,silk2 pattern1 in green1 of open arabesque spread in wide divisions4 ,southern ,spain1 late #adth century4 #ah inches by #g inches4 ,the design of this valuable piece is very good1 and must have had a pleasing effect4 ,from the way in which the cross is introduced by combinations of the ornamentation and slight attempts at showing the letter ,m for ,maria--the ,blessed ,virgin ,mary1 it would seem that it was the work of a ,christian hand well practised in the ,saracenic style of pattern-drawing4 #hbih4 ,piece of ,silk2 ground1 crimson2 pattern1 a yellow diapering of a rather peculiar form4 ,spanish1 late #adth century4 #ah inches by #ab inches4 ,rich in its tones1 this specimen may have been designed under the influence of ,moorish teachings2 it is1 however1 very agreeable4 #hbii4 ,piece of ,silk ,tissue2 the pattern1 a large raised diaper1 which consists of a centre1 in red silk1 representing the web of the geometric spider1 with the insect resting in the middle1 enclosed within the branches of a conventional tree1 in silver thread4 ,italian1 early #aeth century4 #ab inches by #f inches4 ,though the silk ground of this elegant stuff must have been once of a bright crimson tinge1 almost the whole of the colour has flown2 and the silver thread1 of which the beautifully arranged tree is formed1 has become so tarnished as to look as if it had been from first a dull olive-green4 ,such events give a warning to manufacturers about the quality of their dyes1 and the purity as well as sort of the metals they may choose to employ4 ,the manner in which the tree and its graceful branches are made to stand well out and above the red grounding is remarkably good2 and1 altogether1 the pattern1 composed as it is of a spider in its web1 hanging so nicely between the outspread limbs of the tree1 is as singular as it is pleasing4 ,of old1 a ,lombard family bore1 as its blazon1 a spider in its web4 #hcjj4 ,piece of very rich ,crimson ,silk and gold ,tissue2 the large pattern represents a palm-tree rising from a close palisade1 within which is a lion seated2 from one side shoots a slender branch1 to which clings a bird4 ,italian1 late #adth century4 #ca inches by #ad inches4 ,a fine bold pattern1 but the gold so tarnished that it looks as if the threads had always been brown4 ,the down-bent eagles1 and the shaggy-maned lion couchant regardant at the foot of a palm-tree in a park palisaded1 make this heraldic design very pleasing4 #hcja4 ,portion of ,linen2 border1 probably of an altar-cloth1 stamped in red and yellow with a geometric pattern composed of circles and leaves4 ,flemish1 #aeth century4 ,the design and colouring of this old piece of printed cloth are so very like those employed upon the glazed paving tiles of the medival period1 that the idea of the potter's work immediately suggests itself2 though of such poor material1 it is a valuable link in the history of textiles4 #hcjb4 ,piece of ,purple ,silk and ,gold ,tissue2 the pattern is formed of angels holding a monstrance1 beneath which is a six-winged cherub's head4 ,florentine1 #adth century4 #ah inches by #af inches4 ,this is one of the most elaborate and remarkable specimens of the medival weavers' works1 and shows how well1 even with their appliances1 they could gear their looms4 ,the faces of the six-winged cherubic heads1 as well as the hands and faces of the seraphim1 vested in long albs1 were originally shaded by needlework1 most of which is now gone4 ,the ,umbrian school of design to be seen in the gracefully floating forms of the angels1 is very discernible4 ,this rich stuff must have been purposely designed and woven for especial liturgical use at the great ,festival of ,corpus ,christi1 and its solemn processions4 ,it may have been employed for hanging the chancel walls1 or for altar-curtains2 but most likely it overspread the long wooden frame-work or portable table upon which stood1 and was thus carried all about the town by two or four deacons1 the ,blessed ,sacrament enclosed in a tall heavy gold or silver vessel like the one shown in this textile1 and called a 8monstrance10 because1 instead of shutting up from public gaze1 it displayed the consecrated host as it was borne about among the people4 ,dr4 ,bock has figured this stuff in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters40 #hcjc4 ,piece of ,linen2 pattern1 stamped in black with a central stem of conventional branches and flowers1 at either side of which are hawks crested1 regardant2 at one side is a running border of detached portions of scroll-foliage4 ,flemish1 very late #adth century4 #ac inches by #f inches4 ,any specimen of such printed linen has now become somewhat a rarity1 though there are other pieces here1 ,nos4 #gjbb1 #hfae4 #hcjd4 ,linen ,towel1 for use at the altar1 with deep border embroidered in various coloured silk1 with a geometrical pattern interspersed with small figures of birds4 ,beginning of #aeth century4 #c feet by #a foot #a inch4 #hcje4 ,a ,diaconal ,stole1 embroidered in linen thread and various-coloured silk1 with a pattern somewhat like the 8gammadion0 ornaments1 the ends of gold tissue1 fringed with silk and linen4 ,german1 #adth century4 #h feet #h inches by #b inches4 ,for the distinction of the priest's and the deacon's stole1 and the manner in which either wears it in the celebration of the liturgy1 see ,hierurgia1 p4 #dcd1 #bnd edition4 #hcjf4 ,piece of ,dark brown raised ,velvet and ,gold ,tissue2 portion of the robe in which the ,emperor ,charles ,,iv4 was buried at ,prague1 as it is said4 ,italian1 #adth century4 #g inches by #f inches4 #hcjg4 ,linen ,amice1 with its 8apparel0 of crimson silk1 to which are sewed small ornaments in silver and silver-gilt4 ,german1 #aeth century4 #d feet #b inches by #a foot #aa inches4 ,the example of linen in this amice will1 for the student of medival antiquities and manufactures1 be of great service1 showing1 as it does1 what we are to understand was the kind of stuff meant by canvas in old accounts which speak of that material so often as bought for making albs1 surplices1 and other linen garments used in the ceremonial of the ,church4 ,the crimson ornament of silk sprinkled with large spangle-like plates of silver gilt1 and struck with a variety of patterns1 is another of various instances to show how the goldsmith's craft in the middle ages was brought into play for ornaments upon silk and other textiles2 and the liturgical student will be glad to see in this specimen an instance1 now so very rare1 of an old amice1 with its strings1 but more especially its apparel1 in its place2 about which see 8,church of our ,fathers10 t4 i4 #dfc4 #hcjh4 ,piece of ,embroidery in ,silk1 on linen ground2 the subject1 partly needlework1 and partly sketched in1 represents the ,adoration of the three ,kings4 ,german1 #adth century4 #ab inches square4 ,though in the style of that period1 it is roughly done1 and by no means a good example4 #hcji4 ,piece of ,silk and ,gold ,tissue2 the ground1 lilac-blue2 the pattern1 in gold1 represents the ,annunciation4 ,florentine1 late #adth century4 #ag inches by #ab inches4 ,this is another of those many beautiful and artistic exemplars of the loom given to the world1 but more especially for the use of the ,church1 by ,north ,italy1 during the #adth and #aeth centuries4 ,the treatment of the subject figured on this fragment--the ,annunciation--is quite typical1 in its drawing and invention1 of the feelings which spread themselves all over the sweet gentle ,umbrian school of painting1 from the days of its great teacher the graceful ,giotto4 ,the lover1 too1 of ecclesiastical symbolism will1 in this small piece1 find much to draw his attention to it3 the dove1 emblem of the ,holy ,ghost1 is in one place flying down from heaven with an olive-branch1 and hovers over the head of the ,blessed ,virgin ,mary2 in another place1 it stands at rest behind her1 and bearing in its beak a lily-like flower2 the angel ,gabriel1 clothed in a full1 wide-flowing alb1 carrying in his left hand a wand--the herald's sign--tipped with a fleur-de-lis1 to show not only that he was sent from ,god1 but for an especial purpose1 is on his bended knee before the mother of our ,lord1 while1 with his right hand uplifted in the act of blessing according to the ,latin rite1 he utters the words of his celestial message4 ,the colour1 too1 of the ground--lilac-blue1 emblematic of what is heavenly--must not be overlooked4 #hcaj4 ,fragment of a ,vestment for ,church use2 embroidered in silk and gold1 on a dark blue linen ground1 with figures of the ,blessed ,virgin ,mary1 and ,infant1 our ,saviour1 and ,st4 ,john4 ,german1 #aeth century4 #c feet #f inches by #aj inches4 ,this fine example of the ,german needle1 in its design and treatment1 calls to mind the remarkably painted folding altar-piece by ,master ,stephen ,sothener1 ,a4,d4 #adaj1 in the chapel of ,st4 ,agnes1 at the east end of ,cologne ,cathedral4 #hcaa4 ,the ,apparel for an ,amice2 the ground1 crimson1 embroidered in silk2 the centre pattern is edged at both sides with inscriptions done in letters of the medival form4 ,german1 #aeth century4 #ae inches by #c inches4 ,this apparel for an amice is embroidered in sampler-stitch and style with the names of ,st4 ,odilia and ,st4 ,kylianus1 and the first line of the hymn in honour of the ,blessed ,virgin ,mary1 8,ave ,regina celorum10 as well as the inscription 8,mater ,regis10 having1 except in one instance1 a crowned head between each word in the lettering4 ,st4 ,kilian or ,kuln was an ,irishman born of a noble house3 with two companions1 he went to ,germany to preach to the unbelieving ,franconians1 and being made bishop by ,pope ,conon1 he fixed his see at ,wurtzburg1 where he was martyred1 ,a4,d4 #fhh4 ,dr4 ,bock has figured it in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 iv ,lieferung1 pl4 iii4 fig4 #d4 #hcab4 ,piece of ,raised ,velvet2 ground1 crimson2 pattern1 flowers and foliage in green1 white1 and purple4 ,north ,italian1 middle of #aeth century4 ,attached is a piece of dark blue plush lining of the same date and country4 #ad inches by #ac inches4 ,as a specimen of a pattern in raised velvet upon a plain silk ground1 this fragment is valuable2 and the occurrence of roses1 both white and red1 seeded and barbed1 would1 at first sight1 lead to the thought that its designer had in his mind some recollection of the ,english ,yorkist and ,lancastrian strife-stirring and direful badges2 but it must have been woven some years before the war of the ,roses raged in all its wildness through the length and breadth of this land4 #hcac4 ,purse with cords2 white lattice-work on crimson ground1 with crimson and yellow pattern in the spaces1 four of which on each side are ornamented with gold thread4 ,german1 latter half of the #adth century4 #e inches by #e inches4 ,not only is this little bag nicely embroidered1 but it has a lining of crimson sarcenet1 and is supplied with platted silken strings of several colours for drawing its mouth close1 as well as another silk string made after the same fashion1 for carrying it in the hand4 ,in church inventories of the period mention is often found of silk bags holding relics1 and from ,dr4 ,bock we learn that in the sacristy of ,st4 ,gereon's1 at ,cologne1 may yet be seen just such another bag1 which served1 if it does not still serve1 as a sort of reliquary4 ,for taking to the sick and dying1 the holy ,eucharist shut up in a small silver or ivory box1 such little bags were and yet are employed1 but then they were borne slung round the neck of the priest1 which in this instance could not be done1 as the cord is too short4 ,bags for prayer-books are often figured1 but this one is too small for such a purpose2 its most probable use was that of a reliquary4 #hcad4 ,piece of ,velvet2 ground of crimson1 bordered with green1 brown1 white1 and purple1 and striped with bands of gold thread1 probably for secular use4 ,spanish1 beginning of the #afth century4 #ac inches by #e inches4 ,the pile of this velvet is good1 but so bad was the gold1 that it has turned black4 #hcae4 ,two ,pieces of ,embroidery1 in silk and gold thread upon white linen2 the one shows our ,saviour bearing ,his cross2 the other1 an inscription with the date #addb4 ,these pieces have been mounted on a piece of crimson damask of a much later date4 ,the embroideries1 ,german1 middle of #aeth century2 the crimson silk1 ,lyons1 late #agth century4 #f inches square4 ,to all appearance1 this figure of our ,lord carrying ,his cross to ,calvary1 as well as the inscription above it1 formed part of the orphrey of a chasuble1 and to preserve it1 was mounted upon the crimson silk which is stiffened by a thin board2 and from the black loop at top it seems it was hung as a devotional picture upon the wall1 most likely1 of a private oratory or bed-room4 ,as a work of art1 the figure of our ,lord is beautiful4 ,the head1 hands1 and feet1 as well as the crossed nimbus in gold1 the cross1 and the ground strewed with flowers1 are worked with the needle2 while the folds of the white linen garment are all1 with but a very few strokes1 marked by brown lines put in with the brush4 ,the inscription1 quite a separate piece1 done in gold upon thin brown silk lined with canvas1 reads thus3--,wyderoyd ,pastor ,s4 ,jac7obi7 ,colon7iensis74 #addb4 ,in its original state it must have been1 as now1 8applied10 and not wrought upon the vestment itself1 and affords a good hint to those who are striving to bring back the use of such a mode of embroidery in cut work4 #hcaf4 ,piece of ,silk ,embroidery on green silk ground4 ,the pattern is in branches decorated with glass beads1 and gilt spangles1 flowers in white and red silk1 and leaves in red and yellow4 ,german1 middle of #aeth century4 #f inches square4 ,remarkable for the freedom of its design and beautiful regularity of its stitches4 ,the thin green sarcenet upon which the embroidery was originally made is nearly all gone1 and scarcely anything like a grounding is to be seen beside the thick blue canvass1 which is backed by a lining of the same material1 but white4 ,those small opaque white beads1 in all likelihood1 came from ,venice1 where ,murano1 to this day1 is the great manufactory for ,africa of the same sort of ornament4 #hcag4 ,napkin1 or ,towel1 in ,white ,linen ,diaper1 with patterns woven in blue and brown4 ,german1 beginning of the #aeth century4 #ai inches by #i inches4 ,though not conspicuous for the richness of its material1 this linen textile is somewhat a curiosity1 as such specimens have now become rare2 and it shows how1 even in towels1 the ornamentation of colour1 as well as the pattern in warp and weft1 were attended to in the medival period4 #hcah4 ,piece of ,silk ,damask1 green1 with pattern of pomegranates1 crowns1 and wreaths of flowers4 ,flemish1 middle of #afth century4 ,the tastefully-arranged design of this silk would seem to have been a favourite1 as we shall again meet it in other specimens1 especially at ,no4 #hccb4 #hcai4 ,piece of ,silk ,damask1 slate blue ground1 with winding borders of cinnamon colour1 enclosing pomegranates wrought in gold thread and white silk4 ,flemish1 middle of #afth century1 #b feet #f inches by #b feet4 ,though elaborate in design and rich in gold1 this piece is not happy in its colours4 ,its use must have been for the court and palace1 but not for the church1 and the whole is loom-wrought1 and nothing about it done by the needle4 #hcbj4 ,orphrey1 woven of crimson wool and white linen thread4 ,the pattern is of flowers and leaves on a trellis of branches1 in which appear the names of 8,jhesus10 8,maria40 ,german1 end of #aeth century4 #b feet #h inches by #b inches4 ,in this textile the warp is of white strong linen thread1 the woof of crimson wool2 and stuffs of such cheap materials were wrought to serve as orphreys to tunicles and dalmatics worn by deacon and sub-deacon at high mass1 and in processions1 as well as for trimming other adornments for church use2 the liturgical girdle neither is1 nor ever was made1 according to the ,latin rite1 of so broad a width1 nor after such a fashion2 in the ,greek ritual1 broad girdles are in use4 ,the weavers of laces for carriage-trimming1 or the adornment of state liveries1 will in this specimen see that1 more than three hundred years ago1 their craft was practised in ,germany2 and ,cologne appears to have been the centre of such a loom production4 #hcba4 ,piece of ,satin ,damask1 ground of golden yellow1 covered with a rich pattern in rose-colour4 ,french 7871 middle of the #afth century4 #b feet #aj inches by #aa inches4 ,in this specimen we observe how the designs for textiles were gradually losing the conventional forms of the medival period4 #hcbb4 ,piece of ,velvet1 dark blue1 figured with a pomegranate kind of pattern4 ,italian1 end of the #aeth century4 #ag inches by #ad inches4 ,lucca seems to be the place where this specimen of a deep-piled and prettily designed velvet was produced2 and a medival conventionality hung about the pencil of its designer1 as we may observe in the scrolls or featherings stopped with graceful cusps which go round and shut in those modifications of the so-called pine1 really an artichoke1 and the pomegranate pattern4 ,though equally employed for secular as well as sacred purposes1 such velvets1 in their latter use1 are often found in the remains of copes1 chasubles1 c4 and altar-frontals4 #hcbc4 ,portion of a ,chasuble1 in figured velvet2 the ground1 purple1 with a pomegranate pattern in yellow1 green1 and white1 with a broad yellow scroll4 ,genoese1 middle of #afth century4 #b feet #c inches by #a foot #i inches4 ,genoa had earned for itself a notoriety1 about this period1 for its velvets1 wrought in several colours1 and the present piece seems no bad specimen of the style4 ,by the warp of cotton and the thin low pile of its silken woof we learn that ,genoese velvets varied much in the richness of their materials1 and1 in consequence1 in their cost4 ,this piece was once in a chasuble1 as we may see by the bend1 to fit the neck1 in the upper part4 #hcbd4 ,piece of ,silk and ,linen ,tissue2 pattern1 white crosses on ground of crimson1 barred with purple1 yellow1 and green4 ,german1 #afth century4 #d inches square4 ,this specimen of ,german trimming1 like the one ,no4 #hcbj1 seems to have been made at ,cologne1 and for the same ecclesiastical uses4 #hcbe4 ,piece of ,silk-,velvet ,damask2 green1 with pattern of large and small pomegranates in gold4 ,lucca1 latter half of the #aeth century4 #c feet #aj inches by #aa inches4 ,among the remarkable specimens of velvet in this collection1 not the least conspicuous is the present one1 being velvet upon velvet1 that is1 having1 in a portion of it1 a pattern in a higher pile than the pile of the ground4 ,by looking narrowly at the larger pomegranate in golden thread within its heart-shaped oval1 with featherings bounded by trefoiled cusps1 the eye will catch an undulating pattern rising slightly above the rest of the pile2 such examples1 as distinguished from what is called cut or raised velvet1 are very rare4 ,the tone1 too1 of the fine green1 as well as the goodness of the gold1 in the ornamentation1 enhance the value of this piece1 which was once the back part of a chasuble4 #hcbf4 ,piece of ,silk ,damask2 white1 with the rose and pomegranate pattern woven in gold thread4 ,spanish1 latter half of the #aeth century4 ,this piece1 from the looms of ,spain1 for the beauty of design and the thick richness of its silk1 is somewhat remarkable4 #hcbg4 ,box covered with crimson raised velvet1 having1 round the lid1 a many-coloured cotton fringe4 ,it holds two liturgical pall1 both of fine linen and figured--one mounted on pasteboard and measuring #g inches by #g inches1 with an altar and two figures2 the other1 with the ,crucifixion and ,st4 ,mary and ,st4 ,john1 measuring #i inches by #i inches4 ,inside the lid of this box is an illuminated border of flowers1 and the central design is effaced4 ,velvet1 ,italian1 #afth century1 all the paintings very late #aeth century1 and ,german4 ,box1 #aj inches by #i inches4 ,as a case for holding 8corporals0 and 8palls10 this box is a curiosity1 in its way1 of rare occurrence4 ,it must be carefully distinguished from a square sort of case for the 8corporal10 and called the 8burse40 ,the corporal is a large square piece of fine linen2 and at one time the chalice at mass not only stood upon it but was covered too by its inward border2 but for a long period1 the usage has been and is to put upon the chalice1 instead of any part of the corporal1 a much smaller separate square piece of fine linen1 often stiffened1 the better to serve its purpose1 with card-board1 like this example2 such is a pall1 and the one before us is figured1 we may say illuminated1 with what used to be called1 in ,england1 ,st4 ,gregory's ,pity2 8,church of our ,fathers10 i4 #ec4 ,upon an altar1 around which are the instruments of the ,passion1 and on one side ,st4 ,peter1 known by the key in his hand1 and on the other the cock on the column1 crowing1 stands our ,lord all bleeding1 with the blood trickling into a chalice between ,his feet4 ,at the foot of the altar kneels1 veiled for mass1 ,st4 ,gregory the ,great1 behind whom we see1 holding a book in both hands1 ,st4 ,jerome1 robed as a cardinal2 the whole is framed in a floriated border4 ,the other1 and unstiffened 8pall10 is illuminated with the ,crucifixion after the usual conventional manner1 in all respects1 that prevailed at the time it was done1 that is1 somewhere about the year #adij4 ,as specimens on linen these two palls are rather rare4 ,the border of flowers1 on vellum1 attached to the inside of the lid1 is a free1 well-coloured1 and pleasing example of the ,flemish school late in the #aeth century4 ,the raised velvet is of a rich crimson tone1 and from ,lucca or ,genoa4 ,though1 in later times1 employed as an ordinary case for the cleanly keeping after service of the corporals or pieces of fine linen1 always spread out in the middle of the altar-stone for the host and chalice to rest upon1 at mass1 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 morning1 as we have fully set forth in the ,introduction #e1 and again while describing a similar box1 ,no4 #eieh4 ,in the present specimen all that remains of the vellum illumination1 once upon the inside of the lid1 is a wreath of painted flowers1 within which stood the missing ,crucifixion4 ,the absence of that scene is1 however1 well supplied by the other kind of art-work wrought in colours of the same subject2 done1 too1 after a broad bold manner1 upon a square piece of very fine linen1 which1 as it is moveable1 serves now as a lining for the lower inside of this case4 ,such ecclesiastical appliances are rare1 so much so1 that1 besides the two in this collection1 none is known to be in this country2 while very few1 even on the ,continent1 are to be seen at the present day4 #hcbh4 ,amice of ,linen2 with its apparel of crimson velvet1 on which are three hexagonal roses woven in gold4 ,spanish1 middle of the #aeth century4 #c feet #i inches by #a foot #i inches4 ,the velvet of the apparel is of a fine rich pile1 and the tone of colour light ruby4 ,the flowers1 seeded and barbed1 are not put in by the needle but woven4 ,such a liturgical appliance is not now often to be met with in its original state2 but1 in this instance1 it ought to be noticed1 that while the amice itself--that is1 the linen portion of this vestment--is remarkable for its large size1 the velvet apparel sewed on it is broader and shorter than those which we find figured on ,english ecclesiastical monuments during the medival period4 ,the narrow green ferret which hems the apparel is usually found employed as a binding in crimson liturgical garments anciently made in ,flanders4 ,though the velvet was woven in ,spain1 this linen amice seems to have once belonged to some ,flemish sacristy3 at one period the connection between the two countries was drawn very close4 #hcbi4 ,linen ,cloth or ,corporal1 with an edge on all its four sides2 #b inches broad1 embroidered in blue1 white1 and yellow silks4 ,german1 late #aeth century4 #bb inches by #ba inches4 ,to the student of ecclesiastical antiquities this liturgical appliance will be a great curiosity1 from its being so much larger than the corporals now in use2 but its size may be easily accounted for4 ,from being put over the altar-cloth1 on the middle of the table of the altar1 so that the priest1 at mass1 might place the host and chalice immediately upon it before and after the consecration of the ,eucharist1 it got1 and still keeps the name of 8corporale10 about which the reader may consult 8,hierurgia10 p4 #gd1 #bnd edition4 ,the embroidery1 seemingly of a vine1 is somewhat remarkable from being1 like ,indian needlework1 the same on both sides1 and was so done for a purpose to be noticed below4 ,its greater size may be easily explained4 ,during the middle ages1 as in ,england1 so in ,germany1 the usage was to cover the chalice on the altar1 not with a little square piece of linen called a 8palla10 two specimens of which are mentioned1 ,no4 #hcbg1 but with the corporal itself1 as shown in those illuminations copied and given as a frontispiece to the fourth volume of the 8,church of our ,fathers40 ,to draw up for this purpose the inner edge of the corporal1 it was made1 as needed1 larger than the one now in use4 ,moreover1 as the under side of the embroidery would thus be turned upwards and conspicuously shown1 even on the consecrated chalice1 to a great extent2 and as anything frayed and ragged--and this single embroidery always is on the under side--would1 at such a time1 in such a place1 have been most unseemly2 to hinder this disrespect the embroidery was made double1 that is1 as perfect on the one side as on the other1 giving the design clear and accurate on both1 so that whichever part happened to be turned upwards it looked becoming4 #hccj4 ,piece of ,silk ,damask2 green1 with pattern of crowns connected by wavy ribbons1 in each space is a rose4 ,north ,italian1 #aeth century4 #bb inches by #ba inches4 ,this fine and valuable piece of damask exhibits a very effective design1 which is thoroughly heraldic in all its elements4 ,of these1 the first are roselettes--single roses having five petals each--seeded and barbed1 and every petal folds inward very appropriately2 all about each roselette roves a bordure nebul1 significative in heraldry of a cloud-wreath1 above which and just over the flower rests an open crown1 the hoop of which is studded with jewels1 and bears on the upper rim two balls--pearls--on pyramidal points1 and three fleurs-de-lis4 ,to take these roselettes for the ,tudor flower would be a great mistake1 as it was not thought of at the period when this stuff was manufactured1 besides which1 it is never shown as a roselette or single rose1 but as a very double one4 ,it is not unlikely that this damask was1 in the first instance1 ordered from ,italy1 if not by our ,edward ,,iv1 at least by one of the ,yorkist party after the ,lancastrian defeat at ,mortimer's ,cross3 the crown with its fringe of clouds seems to point to the curious appearance in the heavens that day4 ,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 markets4 #hcca4 ,piece of ,lace in ,open ,work4 ,the pattern1 oblong and octagonal spaces framed in gold thread1 and containing stars in silver and flowers in gold1 upon a black silk ground4 ,milanese1 end of the #afth century4 #ad inches by #d inches4 ,illustration3 #hcca4 ,,lace ,,embroidery1 ,milanese---- #afth century4 ,during a long time ,milan1 the capital of rich and manufacturing ,lombardy1 stood conspicuous among its neighbouring cities for the production of its gold thread1 and beautifully wrought laces in that material2 and the specimen before us is a pleasing example of this far-famed ,milanese handicraft4 ,to all appearance1 it once served as the apparel to an amice to be used in religious services for the dead4 ,it seems the work of the loom2 and the piece of stout black silk under it was meant1 though quite apart from it1 to be1 as it were1 a grounding to throw up more effectively its gold and silver ornamentation4 #hccb4 ,piece of ,silk1 formerly crimson1 but much faded1 with elaborate pattern of pomegranates1 crowns and wreaths of flowers4 ,flemish1 middle of the #afth century4 #ai inches by #ag inches4 ,in this piece1 though so faded1 we have a good specimen of the ,bruges loom about the second half of the #afth century1 and seemingly from the same workshop which sent forth ,no4 #hcah4 #hccc4 ,hood of a ,cope1 with figures embroidered on a very rich ground of red and gold velvet4 ,velvet1 ,florentine2 the embroidery ,flemish1 late #aeth century4 #af inches by #ae inches4 ,about this period1 ,florence was noted for its truly rich and beautiful crimson velvets of a deep pile and artistically flowered in gold1 and profusely sprigged1 or rather dotted1 with small loops of golden thread standing well up from the velvet ground2 and in this production of ,florentine contrivance we have a good example of its speciality4 ,the needlework is a very favourable specimen of ,flemish embroidery1 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 ,memling1 who has made ,bruges to be the pilgrimage of many an admirer of the beautiful in ,christian art4 ,the holy woman1 who1 according to the old tradition1 gave a napkin to our ,lord on ,his way to ,calvary1 is figured1 at top1 holding1 outstretched before her to our view1 this linen cloth showing shadowed on it the head of our ,redeemer crowned with thorns and trickling with blood3 the ,saint became known as ,st4 ,veronica1 and the handkerchief itself as the 8,varnicle40 ,just below1 we have the ,blessed ,virgin ,mary seated and holding on her knees the infant ,saviour1 before whom kneels ,st4 ,bernard1 the famous abbot of ,clairvaux1 in the white ,cistercian habit which he had received from our fellow-countryman1 ,st4 ,stephen ,harding1 the founder of the ,cistercian ,order1 about the year #aaad4 ,the group itself is an early example of a once favourite subject in ,st4 ,bernard's life1 thus referred to by ,mrs4 ,jameson1 in one of her charming books3--8,it was said of him 7,st4 ,bernard7 that when he was writing his famous homilies on #8,the ,song of ,songs which is ,solomon's1' the ,holy ,virgin herself condescended to appear to him1 and moistened his lips with the milk from her bosom2 so that ever afterwards his eloquence1 whether in speaking or in writing1 was persuasive1 irresistible1 super-natural40 7,legends of the ,monastic ,orders1 p4 #adb74 ,lower still1 ,st4 ,bernard1 with his abbot's pastoral staff1 cast upon the ground by his side1 is praying1 on bended knees1 before a crucifix1 from off of which our ,redeemer has loosened ,himself to fall into the arms of the saint1 who was so fond of meditating on all the throes of our ,lord upon the cross4 #hccd4 ,piece of ,crimson ,velvet1 spangled with gold and silver stars1 and embroidered with leaves and flowers in gold thread1 once dotted with precious stones4 ,north ,italian1 end of the #aeth century4 #ad inches by #e inches4 ,the ,genoese velvet of this piece is of a very deep ruby tone1 deeper than usual2 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 embroidering4 ,the design consists chiefly of branches gracefully bent in all directions and sprouting out1 here and there1 with leaves and variously fashioned flowers which1 from one example that still holds its tiny round-headed piece of coloured glass set in a silver gilt socket1 bore in them mock precious stones1 and perhaps seed-pearls4 ,these branches themselves are made of common hempen string1 edged on both sides with a thread of gold of a smaller bulk1 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 in2 and the whole of the design appears to have been worked1 first upon a strong canvas1 from which it was afterwards cut and appliqu upon its velvet ground4 ,all the space between the boughs is sprinkled rather thickly with six-rayed stars of gold and silver1 but the latter ones have turned almost black4 ,this piece was once the apparel for the lower border of an alb4 #hcce4 ,piece of ,silk ,damask2 upon a light blue ground1 an elaborate pattern of pomegranates and flowers in pale yellow4 ,flemish1 end of the #afth century4 #bd inches by #ba inches4 ,like1 in many respects1 to another piece of the looms of ancient ,bruges1 it shows that the ,flemings were unfortunate in their mode of dyeing1 for this1 as well as ,no4 #hccb1 has faded much in colour1 but the pattern is very rich and graceful4 ,this textile is figured by ,dr4 ,bock1 in his 8,history of ,liturgical ,robes10 vol4 i4 #hccf4 ,piece of ,silk ,net-,work1 formerly crimson4 ,the design is evidently circular1 and consists of a lozenge filled in with two other very much smaller lozenges touching each other lengthwise4 ,milanese1 end of the #afth century4 ,this curious little piece of frame-work seems to be another specimen of the lace of ,milan1 concerning which a notice has been given under ,no4 #hcca4 ,some would take it to be crochet1 but it looks as if it came from a loom4 ,to our thinking1 it was either the heel or the toe part of a silk stocking4 ,though of a much finer texture1 it much resembles1 in pattern1 the yellow silk pair of stockings belonging now to the ,marquis of ,salisbury1 but once presented by ,lord ,hunsdon to ,queen ,elizabeth1 and said to be the first ever made in ,england4 #hhcg4 ,piece of ,crimson ,raised ,velvet1 with pattern of pomegranates1 flowers and scrolls embroidered in gold thread and coloured silks4 ,genoese1 beginning of the #afth century4 ,this piece affords a very instructive instance of how velvet textiles were not unfrequently treated4 ,the pattern was first wrought in the weaving1 and made the fabric what is now known as cut or raised velvet4 ,then those parts left bare of the silken pile were filled in by hand-embroidery1 done in gold1 silver1 and silks of various colours1 as the fancy of the individual might like1 and produced a mixed work similar to the one before us4 ,the velvet itself of this specimen is poor in colour and thin in substance1 but the gold thread is of the finest1 and admirably put together2 and those little specks of the crimson silk employed in sewing it on1 help1 in no small manner1 to heighten its brilliancy and effect4 #hcch4 ,part of an ,orphrey2 ground1 gold thread1 with ornamentation1 in silk1 of a rosette1 a tree with flowers1 and the inscriptions--8,ave ,regina ,celorum10 and 8,jhesus40 ,cologne work1 late #aeth century4 #bb inches by #c inches4 ,much1 in style1 like ,no4 #hcbj4 #hcch;,a4 ,part of an ,orphrey1 woven in silk upon linen2 ground1 red2 pattern1 in gold thread upon blue silk4 ,cologne work1 #aeth century4 #ae inches by #d inches4 ,this and the piece immediately preceding afford us one of the peculiarities of the ,german loom1 and1 in all likelihood1 were woven at ,cologne1 the great manufacturing centre of ,germany in the middle ages4 ,such webs were wrought for the orphreys of chasubles1 copes1 and dalmatics1 c4 ,the design is stiff1 and wanting in much of the elegance to be found in earlier works of the loom1 and1 from its sampler-like look1 might1 at first sight1 be taken for needlework4 #hcci4 ,piece of ,silk and ,linen ,damask2 pattern1 rich1 broad and flowing1 in crimson1 on a gold ground4 ,genoese1 late #afth century4 #b feet #d inches by #a foot #aa inches4 ,this gives us a fine specimen of ,italian weaving in the middle or latter portion of the #afth century4 ,so rich1 and so solid in materials1 it is as bold as it is1 at first sight1 attractive in its design1 and shows indications of that strap-shaped ornamentation which soon afterwards became so conspicuous in all cut-work1 especially so in bookbindings1 all over ,western ,europe4 ,such stuffs were mostly used for hangings on the walls of state-rooms and the backs of the stalls in churches1 as well as for curtains at the sides of altars4 #hcdj4 ,piece of ,silk ,damask2 pattern1 of the #afth century revival character1 in crimson upon a yellow ground2 probably a border to some other stuff4 ,florentine1 end of the #afth century1 #aj inches by #e inches4 #hcda4 ,piece of ,linen and ,woollen ,damask1 white and green2 the pattern1 birds1 oak-leaves1 and acorns4 ,north ,italian1 end of the #afth century4 #g inches by #e inches4 ,though made out of such humble materials as linen-thread and worsted1 this charming little piece of stuff cannot fail in drawing upon itself the eye of the observer1 by the beauty and elegance which it has about it4 #hcdb4 ,linen ,napkin1 or rather ,sindon or ,pyx-cloth1 the borders embroidered with coloured silks and silver-thread4 ,perhaps ,flemish1 #afth century4 #ah inches by #af inches4 ,in more senses than one this small linen cloth is of great value1 being1 in the first place1 a liturgical appliance of the medival period1 now unused in this form1 certainly unique in this country1 and hardly ever to be met with on the continent1 either in private hands or public collections4 ,according to ancient ,english custom1 the pyx containing particles of the ,blessed ,eucharist for giving1 at all hours of day or night1 the ,holy ,communion to the dying1 and kept hanging up over the high altar of every church in this land1 was overspread with one of such fine linen and embroidered veils1 as may be seen in an illumination from the 8,life of ,st4 ,edmund1 ,king and ,martyr10 in the ,harley ,collection1 ,british ,museum1 and engraved in the 8,church of our ,fathers10 t4 iv4 p4 #bjf4 ,the readers of ,english history will1 no doubt1 feel an interest in this specimen1 when they learn that1 with such a linen napkin1 ,mary ,queen of ,scots had her face muffled just before she laid her head upon the block3 8,then the maid1 ,kennedy1 took a handkerchief1 edged with gold1 in which the ,eucharist had formerly been enclosed1 and fastened it over her eyes40 8,pict4 ,hist4 of ,england1 ed4 ,knight10 t4 ii4 p4 #fga4 ,knight is wrong in saying that the ,holy ,eucharist had ever been immediately enclosed in this cloth1 which is only the veil that used to be cast over the pyx or small vessel in which the consecrated hosts were kept1 as we observed in the introduction1 #e4 #hcdc4 ,piece of ,linen ,damask2 pattern1 of the pomegranate type1 with a border of an armorial shield repeated1 and the initials ,c4 ,l4 ,an edging of lace is attached to one end4 ,flemish1 middle of the #afth century4 #ag inches by #ac inches4 ,the shield is party per pale2 in the first1 two bars counter-embattled2 in the second1 a chevron charged with three escallop shells4 ,most likely this small piece of ,flemish napery served as the finger-cloth or little napkin with which1 when saying mass1 the priest dried the tips of his fingers after washing them1 the while he said that prayer1 8,munda me1 ,domine10 c4 in the ,salisbury ,missal2 8,church of our ,fathers10 t4 iv4 p4 #aej4 ,by the rubrics of the ,roman ,missal1 the priest was1 and yet is1 directed to say1 at the ritual washing of his hands1 that portion of the #beth ,psalm1 which begins1 verse #f1 8,lavabo manus meas10 c4 8,hierurgia10 p4 #ba2 hence these small liturgical towels got1 and still keep1 the name of ,lavabo cloths or ,lavaboes1 especially in all those countries where the ,roman ,missal is in use4 #hcdd4 ,piece of ,silk ,damask2 ground1 blue and yellow2 pattern1 a large conventional flower1 with heraldic shields1 helmets1 and crests4 ,italian1 late #afth century4 #a foot #h inches by #ac inches4 ,the shields show a pale2 the helmets are given sidewise with the beaver closed2 and the crests1 a demi-wyvern segeant1 but with no wreath under it1 doubtless to show the armorial bearings of the esquire or gentleman of blood1 as1 according to the readings of ,english blasonry1 he could have been of no higher degree1 for whom this stuff had been woven4 #hcde4 ,fragment of an ,ecclesiastical ,vestment2 ground1 cloth of gold1 diapered with an elaborate flower-pattern4 ,french1 middle of the #afth century4 #b feet #a inches by #a foot #i inches4 ,this valuable specimen of cloth of gold is figured1 in small red lines1 with a free and well-designed pattern1 and shows us how much above modern ,french and ,italian toca and lama d'oro were those fine old cloth of gold stuffs which1 in the #afth century1 became so variously employed for secular purposes4 ,let the reader imagine a vast round royal tent of such a textile with the banner of a king fluttering over it1 and then he may well conceive why the meadow upon which it stood was called 8the field of the cloth of gold40 #hcdf4 ,piece of ,silk and ,linen ,damask1 green and yellow2 pattern1 a small conventional flower1 probably a furniture stuff4 ,italian1 late #afth century4 #aj inches by #g inches4 #hcdg4 ,piece of ,silk ,damask1 blue and yellow2 pattern of flowers4 ,french1 late #afth century4 #h inches square4 ,in the design of the pattern there is evidently a wish to indicate the national fleur-de-lis4 #hcdh4 ,portion of a ,housing or ,saddle-cloth1 grey velvet1 embroidered with interlaced patterns in silver and gold thread4 ,in one corner is an armorial shield in silver and coloured silks4 ,spanish1 middle of the #afth century4 #a foot #h inches by #f inches4 ,very probably the blazon of the shield on this curious horse-furniture may be the canting arms of its primitive owner2 and it is argent1 a hoopoe gules on a mount vert4 #hcdi4 ,piece of ,silk ,damask2 green1 with the pomegranate pattern4 ,french1 end of the #afth century4 #b feet #g inches by #a foot #g inches4 #hcej4 ,embroidered ,girdle2 pattern1 rectangular1 in gold and silver threads and crimson silk2 there are long gold tassels at the ends4 ,french1 late #afth century4 #f feet #c inches by inch4 ,most likely a liturgical girdle1 for the use of which see 8,hierurgia10 p4 #dbf1 #bnd edition1 and 8,church of our ,fathers10 t4 i4 p4 #ddh4 ,such ecclesiastical appliances are now become great rarities1 and though this one is very modern1 it is not less valuable on that account4 ,the only other good example known in ,england is the very fine and ancient one kept1 in ,durham ,cathedral ,library1 among the remains of those rich old vestments found upon the body of a bishop mistaken1 by ,mr4 ,raine1 for that of ,st4 ,cuthbert4 ,flat girdles1 whenever used in the ,latin rite1 were narrow2 while those of the ,greek and ,oriental liturgies are much broader4 #hcea4 ,linen ,cloth2 pattern1 a white diaper lozenge4 ,flemish1 end of the #afth century4 ,shape1 oval1 diameters #bb inches and #ag inches4 ,though of so simple a pattern the design is pleasing1 and well brought out4 #hceb4 ,piece of ,silk ,damask1 sky-blue and white2 pattern1 intersecting ribbons with flowers in the spaces4 ,french1 late #afth century4 #i inches by #d inches4 ,a very agreeable specimen of the taste of the period and country1 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 textiles1 but to be found in several other examples of the medival loom in this collection4 #hcec4 ,dalmatic of ,yellow ,silk1 damasked with a pattern of the pomegranate form1 in raised velvet1 of a lightish green tint4 ,the tissue1 ,italian1 late #aeth century2 the embroidery and inscriptions1 ,german1 late #aeth century4 #g feet #h inches by #d feet #c inches4 ,this fine dalmatic--for the liturgical use of which the reader may consult the 8,church of our ,fathers10 t4 i4 p4 #cge--;is rather curious for the way in which the two very singular tassels hanging on the back from the shoulders are ornamented4 ,these usual appendages are in this instance made of remarkably long 7#ae inches7 flakes of white1 red1 and deep-brown silken thread1 and1 instead of silk nobs at the end of the cords1 have large round balls of rock crystal4 ,the orphreys1 or stripes1 down both sides1 before and behind1 are #b inches broad1 woven in gold and charged with squares of flower-bearing trees1 and inscribed in blue with 8,jhesus10 8,maria40 ,the fringes on the two lower borders of the dalmatic1 #c inches deep1 are alternately red1 green1 white1 and blue1 and those on the sides and around the sleeves are much narrower4 ,the sleeves themselves from being #ah inches wide at the shoulder become as narrow as #ab inches towards the wrist4 ,the two apparels on the upper part1 before and behind1 are woven in gold1 and measure #af inches in length1 and #e inches in breadth2 the one on the back just under the neck is figured with three golden-grounded squares1 the centre one ornamented with a crimson quatrefoil1 barbed1 and enclosing a various-coloured conventional flower2 the other two1 with a green tree blossomed with red flowers3 the apparel across the breast is inscribed with the names1 in large blue letters1 of 8,jhesus10 8,maria40 ,half way down the back hangs1 transversely1 a shield of arms quarterly1 one and four gules1 two bars argent1 between seven fleurs-de-lis1 or1 three1 two1 and two2 two and three1 sable two bars1 argent3 as a crest1 a full-forward open-faced helmet1 with six bars all gold1 surmounted by a pair of horns barred sable and argent1 with mantlings of the same4 ,this blazon1 according to ,english heraldry1 would indicate that the giver of this splendid vestment--and very likely it was only one of a large set--could boast1 by showing the golden five-barred full-forward helmet1 of royal blood in his pedigree1 and was not lower than a ,duke in title4 ,dr4 ,bock has figured this finely-preserved dalmatic in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #d ,lieferung1 pt4 vii4 fig4 #a4 #hced4 ,a ,cope of ,crimson ,raised ,velvet2 pattern of the so-called pomegranate design4 ,the orphreys and hood embroidered on a golden ground2 the latter with the death of the ,blessed ,virgin ,mary2 the former1 with various saints4 ,velvet1 ,spanish1 the embroidery1 ,german1 both of the end of the #aeth century4 #aj feet #h inches by #e feet #h inches4 ,the velvet1 both for its ruby tone and richness of pile1 is remarkable1 while its design of the pattern is efficiently shown4 ,the hood which1 it should be observed by those curious in liturgical garments1 runs right through the orphreys quite up to the neck1 is an elaborate and well-wrought piece of needlework2 and strongly reminds one of the picture of the same subject--the death-bed of the ,mother of our ,lord--by ,martin ,schn1 now in the ,national ,gallery4 ,all the ,apostles are supposed to be gathered round her2 to the right of the spectator stands ,st4 ,peter sprinkling her with holy water from the silver sprinkle in his right hand2 next to this chief celebrant is ,st4 ,john1 the acolyte1 with the holy water stoop in his left hand1 and in his right the lighted taper1 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 bridegroom4 ,behind him again1 and with his back turned1 is another apostle1 blowing into the half-extinguished thurible1 which he is raising to his mouth2 the rest of the ,apostles are nicely grouped around4 ,the ground of this hood is of rich gold thread1 and the figures of the scene are separately wrought and afterwards 8applied40 ,the orphreys1 that are rather narrow1 measuring only #e inches in breadth1 are of a golden web and figured1 on the right hand side1 with ,st4 ,mary ,magdalen1 carrying a box of ointment in her hands2 ,st4 ,bernadin of ,siena1 holding a circular radiated disc inscribed with ,i4,h4,s4 in his right hand1 and in his left a ,latin cross2 ,st4 ,bicta--for so the inscription seems to read--bearing the martyr's branch of palm in her right hand1 and a sword thrust through her throat2 and ,st4 ,kymbertus in a cope1 with a crozier in his right hand1 and in his left a closed book3 on the left hand orphrey1 ,st4 ,elizabeth1 the ,queen of ,hungary1 with a child's article of dress in one hand1 and a royal crown upon her head2 ,st4 ,severinus1 wearing a mitre and cope1 and holding in his right hand a crozier1 in his left a church2 ,st4 ,ursula1 with the martyr's palm in one hand2 in the other a long large silver arrow1 and having six of her martyred virgins at her sides2 and ,st4 ,john ,baptist1 with the 8,lamb of ,god0 on the palm of his left hand1 and the forefinger of the right outstretched as pointing to it4 ,the heads of all these figures are done in silk and 8applied10 but the hands and diapering of the garments1 as well as the emblems1 are wrought by the needle1 in gold or in silk1 upon the golden web-ground of these orphreys4 ,at the lower part of the hood is 8applied0 a shield--no doubt the armorials of the giver of this fine cope--party per pale--gules two chevronels argent1 a chief or--azure three garbs 7one lost71 argent1 two and one4 #hcee4 ,chasuble of ,damask ,cloth of ,gold2 the orphreys figured with arabesques in coloured silk upon a golden ground1 and busts of saints embroidered in coloured silks within circles of gold4 ,there is a shield of arms on the body of the vestment1 on the left side4 ,french1 #agth century4 #g feet #c inches by #b feet #d inches4 ,the cloth of gold is none of the richest1 and may have been woven at ,lyons2 but the orphreys are good specimens of their time3 that on the back of this vestment1 #d inches in width1 and made in a cross1 shows a female saint holding a sword in her right hand1 and in her left a two-masted boat--perhaps ,st4 ,mary ,magdalen1 in reference to her penitence and voyage to ,france2 ,st4 ,john with a cup1 and the demon serpent coming up out of it2 the ,empress ,helen carrying a cross 7874 ,the orphrey in front1 three inches broad1 gives us1 in smaller circles1 ,st4 ,simon the apostle with his saw2 a female saint 7,hedwiges87 holding a cross2 and two prophets1 each with a rolled-up scroll in his hand4 ,on the back1 and far apart from the orphrey1 is a shield argent 7nicely diapered71 a chevron sable between three leaves slipped vert1 hanging as it does on the left hand1 it may be presumed there was another shield on the right1 but it is gone4 ,this chasuble1 small as it is now1 must have been sadly reduced across the shoulders1 from its original breadth4 #hcef4 ,piece of ,carpet1 of wool and hemp2 ground1 red2 pattern1 boughs1 and flowers1 in blue1 and the so-called pomegranate1 blue with a large yellow flower in the middle2 border1 two stripes blue barred with yellow1 one stripe yellow barred red4 ,spanish1 #afth century4 #c feet #aj inches by #c feet #g inches4 ,in every way like the following specimen of carpeting1 with its warp of hempen thread2 and originally employed for the same purpose of being spread up the steps leading to the altar1 but more especially upon the uppermost or last one for the celebrant to stand on4 #hceg4 ,piece of ,carpet2 ground1 dark blue2 pattern1 a large so-called pomegranate design in light blue1 spotted with flower-like circles1 white and crimson 7now faded74 ,at each end it has a border in red1 blue1 green1 white1 and yellow lines4 ,spanish1 #afth century4 #i feet #c inches by #h feet #f inches4 ,the warp1 as in the foregoing example1 is of hempen thread1 the woof of worsted2 and this textile was woven in breadths #d feet #c inches wide4 ,in all likelihood this piece of carpeting1 valuable because very rare now1 served as the covering for the steps that led up to the altar1 and corresponded to what in some old ,english church inventories were called pedalia1 or pede-cloths3--8,church of our ,fathers10 i4 #bfh4 ,finer sorts were spread on high feast days upon the long form where sat the precentor with his assistant rulers of the choir1 or upon the stools which they separately occupied4 ,ib4 ii4 #bjb4 #hceh4 ,liturgical ,cloth of grey linen thread1 figured all over with subjects from the ,new ,testament1 angels1 apostles1 flowers1 and monsters4 ,rhenish1 end of the #adth century4 #aj feet by #c feet4 ,this curious and valuable piece1 of the kind denominated 8opus araneum10 or spider-web1 is very likely the oldest as well as one among the very finest specimens yet known of that peculiar sort of needlework4 ,the design is divided into two lengths1 one much shorter than the other1 and reversed2 thus evidently proving that its original use was to cover1 not the altar1 but the lectern1 upon which the ,evangeliarium1 or ,book of the ,gospels1 is put at high mass for the deacon to sing the gospel from3 judging by the subjects wrought upon it1 and in white1 it appears to have been intended more especially for the daily high mass1 chaunted in many places every morning in honour of the ,blessed ,virgin ,mary4 ,beginning at the lower part of the longer length1 we see an angel1 vested like a deacon1 in an appareled and girded alb1 playing the violin1 then six apostles--,st4 ,simon with the fuller's bat in his hand1 ,st4 ,matthias with sword and book1 ,st4 ,james the ,greater with pilgrim's bourdon or staff1 ,st4 ,jude1 or ,thaddeus1 with club and book1 ,st4 ,andrew with book and saltire cross1 ,st4 ,thomas with spear2 then another like vested angel sounding a guitar--all of which figures are standing in a row amid oak boughs and flowery branches4 ,higher up1 and within a large quatrefoil encircled by the words3-- 8,magnificat3 ,anima3 mea3 ,dominum20 the ,visitation1 or the ,blessed ,virgin ,mary and ,st4 ,elizabeth1 both with outstretched hands1 one towards the other1 the first as a virgin with her hair hanging down upon her shoulders1 the second having her head shrouded in a hood like a married woman2 they stand amid lily-bearing stems 7suggested by the lesson read on that festival from ,canticles ii472 in each of the north and south petals of the quatrefoil is a kneeling angel1 deacon-vested1 holding in each hand a bell1 which he is ringing1 while in the east and west petals are other like-robed angels1 both incensing with a thurible4 ,outside the quatrefoil are represented within circles at the south-west corner the ,british ,st4 ,ursula--one of the patron saints of ,cologne--standing with a book in one hand1 and an arrow in the other2 at the south-east corner ,st4 ,helen 7871 with cross and book2 at the north-west1 ,st4 ,lucy with book and pincers2 at the north-east1 a virgin martyr1 with a book and a branch of palm4 ,at each of the angles1 in the corners between the petals1 is an open crown4 ,above stands in the middle a double-handled vase1 between two wyverns1 jessant oak branches4 ,over this species of heraldic border is another large quatrefoil arranged in precisely the same manner3 the angels--two with bells1 two with thuribles--are there1 so too are the corner crowns1 within and encircled by the words ,gloria3 in3 exc7e7l7s7is3 ,deo3 et3 in3 terr7a71 we have the ,assumption of the ,blessed ,virgin ,mary1 after this manner3 seated upon a throne is our ,lord in majesty1 that is1 crowned and holding the mund or ball surmounted by a cross in ,his left hand2 with ,his right ,he is giving ,his blessing to ,his mother1 who is seated also on the same throne1 crowned1 with her hair about her shoulders1 and with hands upraised to ,him as in the act of prayer4 ,at the top1 to the left1 is ,st4 ,catherine1 with a sword in one hand1 a wheel armed with spikes in the other2 to the right1 ,st4 ,dorothy1 with a blooming branch in one hand and in the other a basket--made like a cup with foot and stem--full of flowers2 below1 ,st4 ,barbara1 with tower and palm-branch1 in the left side2 on the other1 ,st4 ,mary ,magdalen1 with an ointment box and palm4 ,here the design is reversed1 and very properly so1 as otherwise it would be1 when thrown over the lectern1 upside down2 and curiously enough1 just at this place there is a large hole1 caused1 as is clear1 by this part of the needlework being worn away from the continual rubbing of some boss or ornament at the top of the folding lectern1 which most likely was wrought in iron4 ,this shorter length of the design--that portion which hung behind--begins with the double-handled vase and two wyverns1 and has but one quatrefoil arranged like the other two in the front part3 within the circle inscribed ,ecce3 ancilla3 ,domini3 fiat3 michi--we see the ,annunciation2 kneeling before a low reading desk1 with an open book upon it1 is the ,blessed ,virgin ,mary1 with the ,holy ,ghost under the form of a nimbed dove coming down from heaven1 signified by the nebul or clouds1 upon her2 and turning about with arms wide apart1 as if in wonderment1 she is listening to ,gabriel on his knees and speaking his message in those words3--ave3 gracia3 ple7na71 traced upon the scroll1 which1 with both his hands1 he holds before him4 ,in the corners of the petals are1 at top1 to the left1 a female saint1 with a cross in one hand1 a closed book in the other2 to the right1 a female saint with palm-branch and book2 below1 to the left1 a female saint--,st4 ,martina1 ,v4 ,m4--with book and a two-pronged and barbed fork2 on the right1 a female saint with a book1 and cup with a lid4 ,as the other end began1 so this ends1 with a row of eight figures1 of which two are angels robed as deacons1 one playing the violin1 the other the guitar2 then come six apostles--,st4 ,john the ,evangelist exorcising the poisoned cup2 ,st4 ,bartholomew1 with book in one hand and flaying knife in the other2 ,st4 ,peter1 with book and key2 ,st4 ,paul1 with book and sword held upwards2 ,st4 ,matthew1 with sword held downwards1 and book2 ,st4 ,philip1 with book and cross4 ,the figures within the quatrefoils and of the apostles are about seven inches high2 those of the female saints--all virgins1 as is shown by the hair hanging in long tresses about their shoulders--measure six inches4 ,the spaces between are filled in with branches of five-petaled and barbed roses1 and at both ends there originally hung a prettily knotted long fringe4 ,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 #adth and beginning of the #aeth centuries4 ,the exact way in which these now very rare specimens of medival needlework used to be employed in the celebration of the liturgy1 may be seen1 by a glance1 on looking at any of those engravings in which are figured a few of those old lecterns2 made either of light thin wood1 or iron1 or of bronze1 so as they could be easily folded up3 they were thus with readiness carried about from one part to another of the choir1 or chancel1 even by a boy4 ,when set down the veil was cast over them4 ,some of our own archological works afford us good examples of such lecterns2 as fine1 if not finer1 are those two which ,m4 ,viollet ,le ,duc has given in his instructive 8,dictionnaire du ,mobilier ,franais10 t4 i4 pp4 #afb1 #afc1 especially that from the ,hotel de ,cluny4 ,speaking of the coverings for such lecterns1 he tells that in the treasury of ,sens ,cathedral there yet may be found one which is1 however1 according to his admeasurements1 much smaller every way than this piece of curious needlework before us4 ,whether the one now at ,sens be of the #ajth or #aath century assigned it1 far too early date to our thinking1 it cannot1 to judge from the coloured plate given by ,m4 ,viollet ,le ,duc1 be put for a moment in competition with the present one1 as an art-work done by the needle4 ,in our own medival records notices of such lecterns may be sometimes found2 in the choir of ,cobham ,college1 ,kent1 ,a4,d4 #adgi1 there was such an article of church furniture1 8,church of our ,fathers10 ii4 #bja1 and doubtless it was usually covered with a veil4 #hcei4 ,chasuble of ,silk ,damask1 green and fawn-coloured1 freckled in white with small flowers1 inscriptions1 and other ornaments2 the pattern1 in bands1 consists of a large fan-like flower-bearing plant1 and a double-handled vase1 from which shoots up the thin stem of a tree between two hunting leopards collared1 and addorsed1 with an ,arabic inscription beneath the vase1 both plant and vase occurring alternately2 these bands are separated by a narrower set of bands divided into squares enclosing birds of prey alternately gardant segeant4 ,syrian1 late #acth century4 #i feet #e inches by #d feet4 ,this stuff betrays a few lingering traditions of the ,persian style of design1 and some people will see in the little tree between those hunting leopards the 8hom10 or sacred tree of the olden belief of that country4 ,the material of it is thin and poor1 and in width it measures twenty-one inches4 ,the characters under the vase holding the leopards and 8hom10 are but an imitation of ,arabic1 and hence we may presume that it was woven by ,jewish or ,christian workmen for the ,european market1 and to make it pass better1 as if coming from ,persia1 inscribed as best they knew how1 with ,arabic letters1 or imitations of that alphabet4 #hcfj4 ,back of a ,chasuble1 blue silk wrought all over with beasts and birds in gold beneath trees4 ,the orphrey of crimson silk is embroidered with flowers and armorial shields4 ,the blue silk1 ,italian1 #adth century2 the orphrey1 ,german1 #aeth century4 #c feet #h inches by #b feet #e inches4 ,the birds that are shown on this blue-grounded piece of rather shining silk are peahens1 standing on green turf sprinkled with white flowers1 and three very much larger flowers stand high above their heads2 the beasts are leopards1 with their skin well spotted1 and they seem to be1 as it were1 scenting and scratching the ground4 ,the orphrey1 cross-shaped1 and #e inches wide1 is overspread with gracefully intertwined rose-branches1 the leaves of which are of gold shaded green1 and the flowers in silver1 seeded and barbed4 ,it is blazoned all over with armorial bearings1 seemingly of two houses1 of which the first is a shield1 tincture gone1 charged with a lion rampant or1 langued and armed gules2 the second1 a shield1 barry of twelve1 gules and or1 with a lion rampant1 argent1 langued and armed azure1 in the dexter canton4 ,there are three of each of these shields1 and all six are worked on canvas1 and afterwards sewed on4 ,on the upright stem of the cross may be read in places the name of 8,lodewich ,fretie10 the individual who bore those arms and gave the chasuble4 #hcfa4 ,dalmatic of blue silk damasked with gold2 the pattern consists of alternate rows of oxen1 and pelican-like birds amid flowers and foliage4 ,north ,italian1 late #adth century4 #g feet #g inches by #d feet4 ,a rather showy piece1 and very effective in its pattern1 though the gold about the thread with which the design is brought out is sparingly employed1 so that it looks more yellow than metallic4 ,the sleeves now but eleven inches long1 are slit quite up1 and were very likely shortened when the slitting was inflicted on them1 and that1 within the last hundred years1 in compliance with the somewhat modern practice that took its rise in ,france4 #hchh4 ,piece of ,embroidery of our ,lord upon ,his mother's lap4 ,florentine1 #aeth century4 #h inches by #e inches4 ,the ,blessed ,virgin ,mary is robed in the usual crimson tunic1 and sky-blue flowing mantle1 and bearing1 as is customary in the ,italian schools of art1 a golden star figured on her left shoulder4 ,sitting upon a tasseled cushion1 and holding a little bird in ,his left hand1 we have our ,lord quite naked1 with ,his crossed nimb about ,his head4 ,those who bring to mind that lovely picture of ,raphael's1 the so-called 8,madonna del ,cardellino10 or our ,lady of the gold-finch1 will see that such an idea was an old one when that prince of painters lived4 ,this piece of needlework was originally wrought for the purpose of being applied1 and shows on the back proofs that1 in its last use1 it had been pasted on to some vestment or altar-frontal4 #hefa4 ,small ,piece of ,silk2 ground1 purple2 pattern1 boughs of green leaves twining amid rosettes1 green1 some with crimson1 some with yellow centres4 ,sicilian1 late #adth century4 #f inches by #c inches4 ,good in material and pretty in design1 though the colours are not happily contrasted4 #hefb4 ,piece of ,silk2 ground1 purple2 pattern1 circles inclosing1 some a tree which separates beasts and birds1 some a long stripe which seemingly separates birds1 all in yellow4 ,syrian1 #adth century4 #a foot #a inches by #g inches4 ,the piece is so faded that with much difficulty its design can be traced1 but enough is discernible to show the ,persian feelings in it4 ,no doubt the beasts are the cheetah or spotted hunting leopard addorsed and separated by the traditional 8hom10 and the birds over them1 put face to face1 but parted by the 8hom10 are eagles4 #hefc4 ,piece of ,yellow ,silk2 pattern1 a broad oval1 filled in and surrounded with floriations4 ,florentine1 #aeth century4 #aa inches by #g inches4 ,the once elaborate design1 now indiscernible1 was brought out not by another coloured silk but by the gearing of the loom2 some one1 very recently1 has tried to show it by tracing it out in lead-pencil4 #hefd4 ,piece of ,white ,silk2 pattern1 within circles1 two birds addorsed1 regardant1 and separated by a tree4 ,syrian1 #adth century4 #ab inches by #i inches4 ,the satin-like appearance and the creamy tone of this piece make it very pleasing1 and in it we find1 as in ,no4 #hefb1 the same ,persian influences2 here1 too1 we have the mystic 8hom10 put in1 no doubt1 by ,christian hands4 #hefe4 ,piece of ,silk ,tissue2 ground1 red2 pattern1 embroidery in various-coloured silks1 gold thread1 and coloured small beads4 ,german1 #adth century4 #c- inches by #c inches4 ,in most of its characters this end of a stole is just like those attached to the fine specimen noticed under ,no4 #hehh4 #heff4 ,piece of ,silk ,damask2 ground1 red2 pattern1 squares filled in alternately with a pair of animals and flower-like ornaments4 ,syrian1 #acth century4 #g inches by #b inches4 ,the old ,persian tradition of the 8hom0 may be seen here dividing the two addorsed regardant lionesses1 and the whole design is done with neatness4 #hefg4 ,piece of ,silk ,damask2 ground1 red2 pattern1 two popinjays divided by a bowl or cup looking much like a crescent moon1 in an octagonal frame-work1 all yellow4 ,spanish1 #acth century4 #h inches by #f inches4 ,this stuff is of very light material1 which has1 however1 kept its colour very well4 #hefh4 ,piece of ,gold ,tissue1 embroidered with the needle2 ground1 gold2 pattern1 the ,archangel ,gabriel1 with his head1 hands1 folds of his dress1 and lines in his wings done by needle in different coloured silks4 ,italian1 #adth century4 #h inches by #e inches4 ,this beautiful and rare kind of textile1 combined with needlework1 merits the particular attention of those occupied with embroidery4 ,the loom has done its part well2 not so well1 however1 he or she who had to fill in the lines1 especially the spaces for the hands and head1 on which the features of the face are rather poorly marked4 #hefi4 ,two ,portions 7joined together7 of ,gold ,tissue2 ground1 gold2 pattern1 in various-coloured silks1 of birds1 beasts1 monsters1 and foliage4 ,english or ,french1 #acth century4 #ac inches by #b inches4 ,among the monsters1 we have the usual heraldic ones that so often occur upon the textiles of that period2 but the recurrence of the unmistakable form of the fleurs-de-lis1 though sometimes coloured green1 persuades us that this piece1 entirely the produce of the loom1 came from ,french1 very likely ,parisian hands1 and was wrought for female use1 as a band or fillet to confine the hair about the forehead1 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 ,,mss4 and sepulchral effigies of our ,plantagenet epoch4 ,our countryman1 ,john ,garland1 tells us1 as we noticed in our ,introduction1 that women-weavers1 in their time1 wove such golden tissues1 not only for ecclesiastical1 but secular uses2 and these two pieces seem to belong to the latter class4 #hegj4 ,portion of an ,orphrey2 ground1 crimson silk2 pattern1 foliage with fruit and flowers in gold4 ,german1 #adth century4 #i inches by #c inches4 ,so sparingly was the gold twined about the yellow thread1 and of such a debased amalgamation that it has almost entirely disappeared1 or where it remains has turned black4 #hega4 ,portion of ,gold ,tissue1 figured with birds and beasts in gold upon a crimson ground4 ,french or ,english1 late #abth century4 #i inches by #b inches4 ,when new this textile must have been very pretty2 but so fugitive was its original crimson1 that now it looks a lightish brown4 ,within circles1 divided by a tree made to look like a floriated cross1 stands a lion regardant1 and upon the transverse limbs of the cross1 as upon the boughs of a tree1 are perched two doves2 while the spandrils or spaces between the circles are filled in with fleurs-de-lis growing out of leafed stalks4 ,though1 in after times1 it may have been applied to church use1 it seems1 like the specimen under ,no4 #hefi1 to have been at first intended for female dress1 either as a girdle or head attire4 #hegb4 ,two ,portions of ,embroidery 7joined together71 the one showing1 on a reddish purple silk ground1 figures of birds and animals within circles1 all embroidered in gold2 the other1 a similar ground and pattern within lozenges4 ,german1 #adth century4 #b feet #a inches by #b inches4 ,the figures are heraldic monsters with the exception of the three birds1 and are all done with great freedom and spirit2 like the preceding piece1 this looks as if it had originally been wrought for a lady's girdle4 ,the present two portions seem from the first to have formed parts of the same ornament1 and to have been worked by the same needle4 #hegc4 ,small ,fragment of ,red ,silk1 having a narrow border of purple with lozenge pattern1 in gold4 ,english or ,french1 #acth century4 #b inches by inch4 ,alike1 in its original use1 to the foregoing pieces4 #hegd4 ,two ,fragments 7joined together7 of ,purple ,silk1 much faded1 with a cotton woof4 ,byzantine1 #abth century4 #b inches by #a inches4 #hege4 ,two ,fragments 7joined together7 of ,silk and ,gold ,tissue2 ground1 light crimson1 now quite faded1 bordered green2 pattern1 an interlacing strap-work1 in gold4 ,english or ,french1 #acth century4 #b inches by #b inches4 ,like1 for use1 to the other similar specimens4 #hegf4 ,very small ,fragment of ,gold ,tissue on a red ground4 #acth century4 #a inches by inch4 ,this cloth of gold must have been showy from its richness4 #hegg1 #hegg;,a4 ,two small ,pieces of ,silk1 ,tyrian purple4 ,byzantine1 #abth century4 ,each #a inches square4 #hegh1 #hegh;,a4 ,two ,rosettes1 in small gold thread on deep purple silk1 bordered by an edging of much lighter purple4 #adth century4 #a inches square2 #a inch square4 #hegi4 ,piece of ,silk and ,linen ,damask2 ground1 green2 pattern1 a monster animal within a circle studded with full moons1 and a smaller circle holding a crescent-moon studded in like manner4 ,syrian1 #acth century4 #a foot #h inches by #a foot #b inches4 ,this bold and effective design is somewhat curious1 exhibiting1 as it does1 a novel sort of monster which is made up of a dog's head and fore-paws1 wings erect1 and a broad turned-up bushy tail freckled with squares1 in each of which is an ornament affecting sometimes the shape of an ,l1 sometimes of an ,f1 at others of an ,a4 ,around the neck of this imaginary beast is a collar which1 as well as the root of the wing1 shows imitations of ,arabic characters4 #hehj4 ,portion of ,gold ,embroidery2 ground1 dark blue silk2 pattern1 large griffins in gold4 ,early #acth century4 #a foot #d inches by #ab inches4 ,pity it is that we have such a small part1 and that so mutilated1 of what must have been such a fine specimen of the needle4 ,though the whole pattern may not be made out1 enough remains to show that the griffins1 which were langued gules1 stood in pairs and rampant1 both figured with two-forked tails ending in trefoils1 all worked in rich gold thread4 #heha4 ,portion of an ,orphrey2 ground1 crimson silk2 pattern1 stars of eight points1 within squares1 both embroidered in gold4 #adth century4 #e inches by #b inches4 ,this is one of the very few specimens which have pure gold1 or perhaps only silver-gilt wire1 without any admixture of thread in it1 employed in the stars and narrow oblong ornaments in the embroidery1 the wire itself being stitched to its grounding by thin linen thread4 ,the large and small squares1 as well as the borders1 are executed in gold-twisted thread1 very poor of its kind4 ,the glittering effect of the pure metal-wire is very telling4 #hehb4 ,piece of ,silk ,damask2 ground1 crimson2 pattern1 conventional peacocks and foliage1 in yellow4 ,syrian1 #acth century4 #ac inches by #i inches4 ,a good design bestowed upon very thin materials4 #hehc4 ,portion of ,gold ,tissue2 ground1 light crimson1 now quite faded1 edged green2 pattern1 a diaper of interlacing strap-work4 ,english or ,french1 #acth century4 #b inches by #a inches4 #hehd4 ,portion of ,gold ,tissue2 ground1 green1 edged crimson2 pattern1 lozenge-shaped diaper in gold4 ,english or ,french1 #acth century4 #g inches by #a inch4 #hehe4 ,portion of ,gold ,tissue2 ground1 green1 now quite faded2 pattern1 in gold1 almost all worn away1 a lozenge diaper4 ,english or ,french1 #acth century4 #e inches by #a inches4 ,this1 as well as the other two pieces immediately preceding1 were woven by female hands for the binding of the hair4 #hehf4 ,fragment of ,silk ,tissue2 ground1 purple2 pattern1 small squares1 green and black1 enclosing a black disk voided in the middle4 ,byzantine 7871 #abth century4 #g inches by #b inches4 ,this stuff1 which was thin in its new state1 is now very tattered and its colours dimmed4 #hehg4 ,fragment of ,silk ,tissue2 ground1 purple2 pattern1 a rosette within a lozenge1 with a floral border4 ,italian1 #adth century4 #d inches by #b inches4 #hehh4 ,stole of ,gold ,tissue1 figured with small beasts1 birds1 and floriated ornaments1 bordered on one side by a blue stripe edged with white and charged with ornamentation in gold1 on the other1 by a green one of a like character1 as well as by two ,latin inscriptions4 ,the ends1 four inches long1 are of crimson silk1 ornamented with seed-pearls1 small red1 blue1 gold1 yellow1 and green beads1 pieces of gilt-silver1 and have a fringe three inches long1 red and green4 ,sicilian1 #acth century4 #f feet by #c inches4 ,as a piece of textile showing how the weavers of the middle ages could1 when they needed1 gear the loom for an intricacy of pattern in animals as well as inscriptions1 this rich cloth of gold is a valuable specimen4 ,among the ornaments on the middle band we find doves1 harts1 the letter ,m floriated1 winged lions1 crosses floriated1 crosses sprouting out on two sides with fleurs-de-lis1 four-legged monsters1 some like winged lions1 some biting their tails1 doves in pairs upholding a cross1 c42 and above and below these1 divided from them by gracefully ornamented bars1 one blue the other green1 may be read this inscription1--8,o spes divina1 via tuta1 potens medicina ,porrige subsidium1 ,o ,sancta ,maria1 corp4 7sic7 consortem sancte sortis patrone ministram4 ,effice ,corneli meeritis 7sic7 prece regna meri4 ,o celi porta1 nova spes mor4 7sic7 protege1 salva1 benedic1 sanctifica famulum tuum ,alebertum crucis per sinnaculum 7sic7 morbos averte corporis et anime4 ,hoc contra signum nullum stet periculum4 ,o clemen4 7sic7 ,domina spes dese'erantibus una40 ,the ends of this stole1 ,german work of the #adth century1 widen like most others of the period1 and in their original state seem to have been studded with small precious stones1 the sockets for which are very discernible amid the beads2 and in each centre must have been let in a tiny illumination1 as one still is there showing the ,blessed ,virgin ,mary with our ,lord1 as a child1 in her arms2 and this appears to have been covered with glass4 ,amid the beads are yet a few thick silver-gilt spangles wrought like six-petaled flowers4 ,as a stole1 the present one is very short1 owing1 no doubt1 to a scanty length of the gold tissue2 in fact1 it might easily be taken for a long maniple4 ,when it is remembered that the ,suabian house of ,hohenstaufen reigned in ,sicily for many years1 till overthrown in the person of the young ,conradin1 at the battle of ,tagliacozzo1 by the ,french ,charles of ,anjou1 ,a4,d4 #abfh1 we can easily account for ,sicilian textiles of all sorts finding their way1 during the period1 into ,germany4 ,in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #d ,lieferung1 pt4 xviii4 fig4 #c1 ,dr4 ,bock has given a figure of this stole4 #hehi4 ,piece of ,silk and ,linen ,tissue2 ground1 yellow1 with a band of crimson2 pattern1 crowned kings on horseback amid foliage1 each holding on his wrist a hawk1 and having a small dog on the crupper of his saddle4 ,sicilian1 early #acth century4 #a foot #d inches by #g inches4 ,from a small piece to the left1 figured with what looks like an ,english bloodhound or talbot1 it would seem that we have not the full design in the pattern of this curious stuff1 which speaks so loudly of the feudalism of medival ,italy and other continental countries4 ,seldom was a king then figured without his crown1 besides carrying his hawk on hand and being followed by his dogs1 like any other lord of the land4 ,the little hound behind him is somewhat singular4 ,to us it appears curious that such an elaborate and princely design1 meant evidently for the hangings of some palace1 should have been done in the rather mean materials which we find4 ,parts seem to have been woven in gold thread2 but so thin and debased was the metal that it is now quite black1 and the linen warp far outweighs the thin silken woof4 #heij4 ,piece of ,silk ,tissue2 ground1 green2 pattern1 a so-called pomegranate of elaborate form1 amid flowers of white and light purple1 now faded1 both largely wrought in gold4 ,spanish1 #aeth century4 #a foot #aa inches by #a foot #b inches4 ,not only is the design of the pattern very effective1 but the gold1 in which the far larger part of it is done1 looks bright and rather rich2 yet1 by examining it with a powerful glass1 we may discover an ingenious1 not to say trickish1 way for imitating gold-covered thread4 ,skins of thin vellum were gilt1 and not very thickly2 these were cut into very narrow filament-like shreds1 and in this form--that is1 flat with the shining side facing the eye--afterwards woven into the pattern as if they were thread1 a trick in trade which the ,spaniards learned from the ,moors4 ,the warp is of a poor kind of silk not unlike jute1 and the woof is partly of cotton1 partly linen thread1 so that with its mock gold filaments we have a showy textile out of cheap materials2 a valuable specimen of the same sort of stuff from a ,saracenic loom will be found under ,no4 #hfci1 c4 #heia1 #heia;,a4 ,two ,pieces of ,silk ,tissue2 ground1 a bright green2 pattern1 not complete1 but showing a well-managed ornamentation1 consisting of the so-called pomegranate with two giraffes below1 the heads of which are in gold1 now so faded as to look a purplish black4 ,sicilian1 early #adth century4 #g inches by #d inches2 #d inches by #d inches4 ,this is a specimen interesting for several reasons4 ,when new and fresh1 this stuff must have been very pleasing2 the elaborate design of its pattern1 done in a cheerful spring-like tone of green upon a ground of a much lighter shade of the same colour1 makes it welcome to the eye4 ,the giraffes1 tripping and addorsed1 with their long necks and parded skins1 have something like a housing on their backs4 ,from such a quadruped being figured on this stuff1 he who drew the design must have lived in ,africa1 or have heard of the animal from the ,moors2 he must have been a ,christian1 too1 for green being ,mohammed's own colour1 and even still limited1 in its use1 to his descendants1 no ,saracenic loom would have figured this stuff with a forbidden form of an animal4 ,yet1 withal1 there may be seen upon it strong traces of ,saracenic feeling in its pattern4 ,that singular ornament1 made up of long zero-like forms placed four together in three rows1 which we find upon other examples in this curious collection 7,no4 #heif1 c471 seems distinctive of some particular locality2 so that we may presume this fine textile to have been wrought at the royal manufactory of ,palermo1 where the giraffe might have been well known1 where ,saracenic art-traditions a long time lingered2 and people cared nothing for the prohibition of figuring any created form1 or of wearing green in their garments1 or hanging their walls with silks dyed green2 in some specimens the zero-like ornamentation takes the shape of our letter ,u2 moreover the large feathers in the bird's long tail are sometimes so figured4 #heib4 ,piece of ,silk ,damask2 ground1 red2 pattern1 the castle of ,castile and fleur-de-lis1 both in yellow4 ,spanish1 #acth century4 #aj inches by #f inches4 ,though of poor and somewhat flimsy silk1 this stuff is not without some merit1 as it shows how exact were the workmen of those days to be guided by rule in the choice of colour2 for instance1 the tinctures here are correct1 so far that metal or is put upon colour gules4 ,it was woven in stripes marked by narrow blue lines4 #heic4 ,portion of some ,liturgic ,ornament 7872 ground1 deep blue2 pattern1 fleurs-de-lis embroidered in gold4 ,french1 #adth century4 #g inches by #c inches4 ,whether this fragment once formed a part of maniple1 stole1 or orphrey for chasuble1 cope1 dalmatic1 or tunicle1 it is impossible to say2 heraldically it is quite correct in its tincture1 and that is its only merit4 #heid4 ,piece of ,silk ,damask2 ground1 fawn-colour2 pattern1 birds and beasts amid foliage1 all in green4 ,sicilian1 early #adth century4 #aj inches by #d inches4 ,though every part of the design in the pattern of this charming stuff is rather small1 the whole is admirably clear and well rendered1 and we see a pair of hawks perched1 a pair of lions passant1 a pair of flags tripping1 a pair of birds 7heads reversed71 a pair of monster-birds 7perhaps wyverns71 and a pair of eagles 7much defaced7 with wings displayed4 ,the lions are particularly well drawn4 #heie4 ,fragment of ,silk ,tissue2 ground1 crimson and gold1 with three white and green narrow stripes running down the middle1 and an inscription on each side the stripes4 ,spanish1 #adth century4 #g inches by #f inches4 ,the warp is of thick cotton thread1 the woof of silk and gold4 ,though very much broken1 the inscription is ,latin1 and gives but a very few entire words1 such as 8et tui amoris in eis10 with these fragments1 8--tus4 ,re---- le tuoru--40 ,from this1 however1 we are warranted in thinking this textile to have been wrought1 not for any vestment--for it is too thick1 except for an orphrey--but rather for hangings about the chancel at ,whitsuntide4 ,see ,introduction1 #e4 #heif4 ,piece of ,silk ,damask2 ground1 light crimson2 pattern1 in deep brown1 vine-leaves within an ellipsis which has on the outer edge a crocket-like ornamentation1 and on both sides a cluster as if of the letter ,u1 arranged four in a row1 one row above the other4 ,sicilian1 #adth century4 #h inches by #f inches4 ,as we saw in ,nos4 #heia1 #heia;,a1 so here we see that very curious and not usual ornamentation1 in the former instances like an ,o or zero1 in the present one like another letter1 ,u4 ,the same crispiness in the foliage may be observed here as there2 and in all likelihood both silks issued from the same city1 perhaps from the same loom1 but at different periods1 as the one before us does not come up1 by any means1 in beauty with those fragments at ,nos4 #heia1 #heia;,a4 ,in some instances the feathers in a bird's tail are made in the shape of our capital letter ,u4 #heig4 ,piece of ,silk ,damask2 ground1 blackish purple2 pattern1 conventional foliage in greyish purple4 ,italian1 #adth century4 #a foot #h inches by #a foot #f inches4 ,the foliage1 so free and bold1 is quite of an architectural character1 and shows a leaning to that peculiar scroll-form so generally to be seen on ,greek fictile vases4 ,perhaps this stuff was wrought at ,reggio in ,south ,italy2 but evidently for secular1 not ecclesiastical use4 #heih4 ,piece of ,silk ,damask2 ground1 purple2 pattern1 large monster birds1 and1 within ovals1 smaller beasts1 all in gold thread1 relieved with green silk4 ,sicilian1 #adth century4 #b feet #d inches by #aj inches4 ,the design is bold and very effective1 and consists of an oval bordered very much in the ,saracenic style1 within which are two leopards addorsed rampant regardant4 ,above this oval stand two wyverns with heads averted and langued green or vert4 ,this alternates with another oval enclosing two dog-like creatures rampant addorsed regardant2 above this two imaginary birds1 well crested1 langued vert1 with heads averted1 and seem to be of the cockatoo family4 ,from the shape of this piece1 as we now have it1 no doubt its last use was for a chasuble1 but of a very recent make and period2 and sadly cut away at its sides4 #heii4 ,piece of ,silk ,damask2 ground1 green2 pattern1 in light purple or violet1 an ellipsis filled in with ,saracenic ornamentation1 having below two split pomegranates in gold1 and above1 two giraffes1 which alternate with a pair of long-necked gold-headed birds that are flanked by an ornament made up of letters like ,u4 ,sicilian1 #adth century4 #a foot #aj inches by #b feet #b inches4 ,though this specimen has been sadly ill-used by time1 and made out of several shreds1 it evidently came from the hands that designed and wrought other pieces 7,nos4 #heia1 #heia;,a1 #heif7 in this collection4 ,upon this1 as upon them1 we have the same elements in the pattern--the ellipsis1 the giraffes1 and that singular kind of ornamentation1 a sort of letter ,u or flattened ,o1 not put in for any imaginary beauty of form1 but to indicate either place or manufacturer1 being a symbol which we have yet to learn how to read and understand4 ,that in time we shall be able to find out its meanings there can be little or no doubt4 ,though of so pleasing and elaborate a design1 the stuff1 in its materials1 is none of the richest4 #hfjj4 ,piece of ,silk ,damask2 ground1 yellow2 the pattern1 in violet1 an ellipsis filled in with ,saracenic ornamentation4 ,sicilian1 #adth century4 #aj inches by #b inches4 ,there can be little doubt that this inferior textile1 showing1 as it does1 the same feelings in its pattern1 came from ,palermo4 #hfja4 ,piece of ,silk ,damask2 ground1 yellow2 pattern1 a broad stripe of gold with narrow stripes1 two in green1 two in blue1 and yellow bands charged with birds and flowers in gold4 ,spanish1 late #adth century4 #ac inches by #h inches4 ,the narrow stripes running down the broad one1 and constituting its design1 are ornamented with square knots of three interlacings and a saltire of ,st4 ,andrew's cross alternatingly4 ,the bands display birds of the waterfowl genus--a kind of crested wild-duck--very gracefully figured as pecking at flowers1 one of which seems of the water-lily tribe4 ,here1 as at ,no4 #heij1 we have the same substitution for gold thread1 of gilt vellum cut into thread-like filaments1 and so woven up with the silk and cotton of which the warp and woof are composed4 ,this1 like its sister specimen1 so showy1 is just as poor in material2 and1 from its thinness1 if may have served not so much for an article of dress as for hangings in churches and state apartments4 #hfjb1 #hfjb;,a1 ,b1 ,c1 ,d1 ,e4 ,six ,fragments of ,silk ,damask2 ground1 fawn-colour2 pattern1 a floriated ellipsis enclosing a pair of eagles1 with foliage between the elliptical figures4 ,sicilian1 #adth century4 ,dimensions1 all small and various4 ,in many respects these fragments of the same piece of tissue closely resemble the fine stuff under ,no4 #heid2 the ground1 fawn-colour1 is the same2 the same too--green1 and of the same pleasing tone--is the colour of its pattern1 which1 however1 gives us the peculiarity of a knot of two interlacings plentifully strewed amid the foliage4 ,it is slightly freckled1 too1 with white4 #hfjc4 ,piece of ,silk ,damask2 ground1 fawn-colour2 pattern1 birds in pairs amid foliage 7all green7 and flowers1 some blue1 some gold1 now faded black4 ,italian1 #adth century4 #ah inches by #ab inches4 ,not a satisfactory design1 as the birds are in green and hard to be distinguished from the heavy foliage in which they are placed4 ,the materials1 too1 are poor and thin1 the warp being cotton4 #hfjd4 ,fragment of ,silk ,damask2 ground1 deep fawn-colour2 pattern1 birds pecking at a flower-stem amid foliage1 all yellow1 occasionally shaded deep green4 ,sicilian1 #adth century4 #f inches by #d inches4 ,as far as it goes1 the design is neat and flowing1 with the peculiarity of the deep green1 now almost blue1 shadings both in the birds and foliage4 ,the warp is fine cotton1 and the whole speaks of a ,sicilian origin4 #hfje4 ,piece of ,damask2 ground1 light purple2 pattern1 in yellow1 a net-like broad ribbon1 within the meshes of which are eight-petaled conventional flowers4 ,italian1 #adth century4 ,illustration3 #hfje ,,silk ,,damask4 ,italian1 #adth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,the texture of the specimen is somewhat thin1 but the tones of its two harmonious colours are good1 and its pattern1 in all its parts1 extremely agreeable2 upon those broad ribbon lines of the net1 the branches1 sprouting out into trefoils1 are gracefully made to twine2 and an inclination to figure a crowned ,m on every petal of the flower inside the meshes is very discernible4 ,possibly ,reggio1 south of ,naples1 is the town where this showy stuff was wrought1 serviceable alike for sacred and secular employment4 #hfjf4 ,piece of ,silk ,damask2 ground1 black2 pattern1 not easily discernible1 though evidently elaborate4 ,italian1 #adth century4 #aj inches by #f inches4 ,so much has damp injured this piece that its original black has become almost brown1 and its pattern is well nigh gone4 ,in its fresh state1 however1 the design1 traces of which show it to have been sketched in the country and about the time mentioned1 was thrown up satisfactorily1 for it was woven in cotton from the silken ground of the piece4 #hfjg4 ,piece of ,silk ,damask2 ground1 fawn-colour2 pattern1 trefoils and vine-leaves1 in green4 ,sicilian1 #adth century4 #h inches by #d inches4 ,illustration3 #hfjg4 ,,silk ,,damask4 ,sicilian1 #adth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,like all the other specimens of this kind1 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 surface2 the materials1 too1 are thick and lasting4 #hfjh4 ,fragment of ,silk ,damask2 ground1 dark blue2 pattern 7very imperfect in the specimen71 an ellipsis filled in with ornamentation and topped by a floriation1 out of which issue birds' necks and heads1 all in lighter blue1 edged with white1 and two conventional wild animals in gold1 but now black with tarnish4 ,sicilian1 #adth century4 #f inches by #f inches4 #hfji4 ,piece of ,silk ,damask2 ground1 fawn-colour2 pattern1 wreaths of white flowers1 green boughs bearing white flowers1 forming part of a design in which an ellipsis in green constitutes a leading portion2 and a broad band figured with scroll-work and an ,arabic sentence1 all in gold4 ,sicilian1 #acth century4 #a foot #e inches by #e inches4 ,probably in the sample before us we behold a work from the royal looms or 8tiraz0--silk-house--of ,palermo1 when ,sicily was under the sway of ,france1 in the person of a prince belonging to the house of ,anjou4 ,in the first place1 we have the fawn--a tone of the murrey colour of our old ,english writers--and the light joyous green2 in the second place1 the ellipsis was there1 though our specimen is too small to show it all4 ,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 side2 on the other1 a row of golden half-moons and blue cross-crosslets3 on the band itself we find1 alternating with foliage1 an oblong square1 within which is written a short sentence in ,arabic--a kindly word1 a wish of health and happiness to the wearer--such as was1 and still is1 the custom among the ,arabs4 ,sure is it that this textile1 if wrought by ,saracenic hands1 was done under a ,christian prince1 and that prince a ,frenchman4 #hfaj4 ,piece of ,silk ,damask2 ground1 fawn-colour2 pattern1 birds and dogs in green4 ,sicilian1 #adth century4 #a foot #d inches by #aj inches4 ,like so many other specimens of the ,palermitan loom1 both in colours and design1 this piece is rather poor in its silk1 which is harsh and somewhat thin4 ,the birds are a swan ruffling up its feathers at the presence of an eagle perched just overhead1 amid branches and foliage in which the trefoil abounds4 #hfaa4 ,piece of ,silk ,damask2 ground1 red2 pattern1 foliage in green1 wild dogs in blue1 gold1 and white4 ,south ,italian1 #adth century4 #ae inches by #ab inches4 ,the wild dogs are segeant face to face1 in pairs2 one blue1 the other gold2 one white1 the other gold3 and below are flowers blue1 gold1 and white1 alternating like the animals4 ,the warp is cotton1 the woof silk1 and altogether the stuff is coarse4 #hfab4 ,fragments of ,silk ,damask2 ground1 black2 pattern1 a tower surrounded by water and a figure holding a hawk1 and hawks perched1 in pairs1 on trees4 ,italian1 #aeth century4 #i inches by #e inches2 #i inches by #d inches4 ,pity that this curious piece is so fragmental and decayed that its singular design cannot1 as in another specimen of the very same tissue1 all be made out4 ,whether it be man or woman standing on high outside the tower with a bird at rest on the wrist is here hard to say4 ,the castle is well shown1 with its moat1 and its draw-bridges--for it has more than one--all down4 ,like ,no4 #hfjf1 it shows its pattern by the difference of material in the warp and woof4 ,all over it has been thickly sprinkled with thin gilt trefoils that were not sewed but glued on2 many have fallen off1 and those remaining have turned black4 ,see ,no4 #gjfe4 #hfac4 ,piece of ,silk ,damask2 ground1 black2 pattern1 in gold thread1 birds amid foliage4 ,italian1 #adth century4 #ad inches by #g inches4 ,the bold and facile pattern of this piece is very conspicuous1 with its eagles stooping upon long-necked birds perched on waving boughs2 to much beauty in design it adds1 moreover1 richness in material4 #hfad4 ,piece of ,silk ,damask2 ground1 light brown2 pattern1 the same colour1 palmettes and rosettes1 with ,arabic sentences repeated4 ,attached is a piece of green silk wrought with gold4 ,sicilian1 #adth century4 #af inches by #ae inches4 ,a quiet but rich stuff1 and especially noticeable for its ,arabic or imitated ,arabic inscriptions1 one within the rosettes1 the other all round the inner border of the palmettes or elliptical ornamentations4 ,the cloth of gold is plain4 #hfae4 ,piece of ,linen1 block-printed in a pattern composed of birds and foliage4 ,flemish1 late #adth century4 #a foot #i inches by #c inches4 ,of this kind of block-printed linen1 with its graceful design in black upon a white ground1 there are other good examples 7,nos4 #gjbg and #hcjc7 in this collection4 ,from the marks of use upon its canvas lining1 this long narrow strip would seem to have once served as an apparel to an amice in some poor church4 #hfaf4 ,portions of ,crimson ,silk1 brocaded in gold2 the pattern1 angels holding crescents beneath crowns1 from which come rays of glory1 and hunting leopards seizing on gazelles4 ,italian1 end of #adth century4 #b feet #h inches by #b feet4 ,this rich stuff betrays in its design an odd mixture of ,asiatic and ,european feeling2 we have the eastern hunting lion spotted and collared blue1 pouncing on the gazelle or antelope1 which is collared too2 so far we have the imitation1 but without lettering1 of a ,persian or ,asiatic pattern4 ,with this we find ,european1 or at least ,christian1 angels1 clothed in white1 but with such curious nebule-nimbs about their heads as to make their brows look horned1 more like spirits of evil than of good4 ,the open crowns are thoroughly after a western design2 and the head and shoulders of a winged figure1 to the left1 show that we have not the entire design before us4 ,from the graceful way in which the figures are made to float1 as well as from several little things about the scrolls1 we may safely conclude that the designer of the pattern lived in upper ,italy1 and that this costly and elegant brocade was wrought at ,lucca4 ,of the ,oriental elements of this pattern we have said a few words at ,no4 #hbhh4 #hfag4 ,stole of deep purple silk1 brocaded in gold and crimson2 pattern1 a long flower-bearing stem1 and large flowers4 ,italian1 early #aeth century4 #i feet #f inches by #d inches4 ,like all the old stoles1 this is so long as almost to reach down to the feet1 and is rather broader than usual1 but does not widen at the ends1 which have a long green fringe4 ,the stuff is of a rich texture1 and the pattern good4 #hfah4 ,part of a ,linen ,cloth1 embroidered with sacred subjects1 and inscribed with the names1 in ,latin1 of the ,evangelists4 ,german1 end of the #adth century4 #f feet by #d feet4 ,unfortunately1 this curious and very valuable sample of ,rhenish needlework is far from being complete1 and has lost a good part of its original composition on its edges1 but much more lamentably on the right hand side4 ,not for a moment can we think it to have been an altar-cloth properly so-called1 that is1 for spreading out over the table itself of the altar2 but1 in all likelihood1 it was used as a reredos or ornament over but behind the altar1 as a covering for the wall4 ,another beautiful specimen of the same kind has been already noticed under ,no4 #hceh1 for throwing over the deacon's and subdeacon's lectern at high mass2 and1 from the fact that1 in both instances1 the subjects figured are in especial honour of the ,b4 ,v4 ,mary1 it would seem that1 in many ,german churches1 and following a very ancient tradition that the ,blessed ,virgin wrought during all her girlhood days ornaments for the ,temple of ,jerusalem with her needle1 the custom was to have for the 8,mary ,mass10 and for altars dedicated under her name1 as many liturgical appliances as might be of this sort of white needlework1 and done by maidens' hands4 ,in the centre we have the coronation of the ,b4 ,v4 ,mary1 executed after the ordinary fashion1 with her hair falling down her shoulders1 and a crown upon her head2 she is sitting with arms uplifted in prayer1 upon a ,gothic throne1 by her ,divine ,son1 who1 while holding the mund in ,his left1 is blessing ,his mother with raised right hand2 over-head is hovering an angel with a thurible2 at each of the four corners is an ,evangelist represented1 not only by his usual emblem1 but announced by his name in ,latin4 ,at first sight the angel1 the emblem of ,st4 ,matthew might be taken for ,gabriel announcing the ,incarnation to the ,b4 ,v4 ,mary4 ,above and around are circles formed of the ,northern ,kraken1 four in number1 put in orb1 and running round an elaborately floriated ,greek cross1 symbolizing the victory of ,christianity over heathenism4 ,in many places1 within a gracefully twining wreath of trefoil leaves and roses barbed1 is the letter ,g1 very probably the initial of the fair hand who wrought and gave this beautiful work to our ,lady's altar2 and the spaces between the subjects are filled in with well-managed branches of the oak bearing acorns4 ,to the left is seen a hind or countryman hooded1 carrying1 hung down from a long club borne on his shoulder1 a dead hare2 and further on1 still to the left1 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 shoulders1 and stroking the forehead of the animal with her left hand4 ,the symbolism of this curious group1 not often to be met with1 significative of the mystery of the ,incarnation1 is thus explained by the ,anglo-,norman poet1 ,phillippe de ,thaun1 who wrote his valuable 8,bestiary0 in ,england for the instruction of his patroness1 ,adelaide of ,louvaine1 ,queen to our ,henry ,i3--8,monoceros is an animal which has one horn on its head2 it is caught by means of a virgin3 now hear in what manner4 ,when a man intends to hunt it and to take and ensnare it1 he goes to the forest where is its repair1 there he places a virgin with her breast uncovered1 and by its smell the monoceros perceives it2 then it comes to the virgin and kisses her breast1 falls asleep on her lap1 and so comes to its death3 the man arrives immediately1 and kills it in its sleep1 or takes it alive and does as he likes with it4444 ,a beast of this description signifies ,jesus ,christ2 one ,god he is and shall be1 and was and will continue so2 he placed himself in the virgin1 and took flesh for man's sake3 a virgin she is and will be1 and will always remain4 ,this animal in truth signifies ,god2 know that the virgin signifies ,st4 ,marye2 by her breast we understand similarly ,holy ,church2 and then by the kiss it ought to signify that a man when he sleeps is in semblance of death2 ,god slept as a man1 who suffered death on the cross1 and ,his destruction was our redemption1 and ,his labour our repose10 c4--8,popular ,treatises on ,science written during the ,middle ,ages1 c41 and edited for the ,historical ,society of ,science by ,t4 ,wright10 pp4 #ha1 #hb4 ,the figure of the countryman carrying off the hare is brought forward in illustration4 ,as the rough coarse clown1 prowling about the lands of his lord1 wilily entraps the hare in his hidden snares1 so does the devil1 by allurements to sin1 strive to catch the soul of man4 ,these interesting symbolisms end the left-hand portion of the reredos4 ,going to the right1 we find that part torn and injured in such a way that it is evidently shorn of its due portions1 and much of the original so completely gone that we are unable to hazard a conjecture about the subject which was figured there4 #hfai4 ,piece of ,silk ,damask2 ground1 rose-coloured2 pattern1 peacocks1 eagles1 a small nondescript animal1 and a lyre-shaped ornament1 all in green1 touched with white4 ,italian1 late #adth century4 #aa inches by #aj inches4 ,a curious design1 in which the birds are boldly and freely drawn4 ,each horn of the lyre-shaped ornament ends1 bending outwardly with what to herald's eyes seems to be two wings conjoined erect4 #hfbj4 ,piece of ,silk and ,gold ,damask2 ground1 dark blue1 in some places faded2 pattern1 a band charged with squares in gold1 every alternate one inscribed with the same short ,arabic word1 lions in gold beneath a tree in light blue shaded white1 and cockatoos in gold4 ,syrian1 #adth century4 #ai inches by #ac inches4 ,so strong is the likeness between this and the stuff at ,no4 #hcei1 both in the texture of the silk and the treatment of the beasts and birds1 that we are led to suppose them to have come from the same identical workshop4 ,that tree-like ornament1 under which the shaggy long-tailed lion with down-bent head is creeping1 seems the traditionary form of the ,persians' 8hom40 ,the gold is1 in most parts1 very brilliant1 owing to the broadness of the metal wrapped round the linen thread that holds it2 and1 altogether1 this is a rich specimen of the ,syrian loom4 #hfba4 ,piece of ,silk ,damask2 ground1 fawn-colour2 pattern1 foliage in green1 flowers1 some white1 some in gold1 and lions in gold4 ,sicilian1 late #adth century4 #bb inches by #aj inches4 ,the warp is of linen1 and the silken woof is thin2 so sparingly was the gold bestowed1 that it has almost entirely faded2 altogether1 this specimen shows a good design wasted upon very poor materials4 ,in the expanding part of the foliage there seems to be a slight remembrance of the fleur-de-lis pattern1 and the lions are sejant addorsed regardant4 #hfbb1 #hfbc4 ,two ,portions of ,silk ,damask2 in both1 the ground1 fawn-colour2 the pattern1 in the one1 ramified foliage1 amid which two lions sejant regardant1 in gold2 in the other1 two eagles at rest regardant1 in green1 divided by a large green conventional flower1 including another such flower in gold4 ,sicilian1 #adth century4 #aa inches by #e inches2 #i inches by #d inches4 ,very likely from the same loom as ,no4 #hfba1 and every way corresponding to it4 #hfbd4 ,piece of ,silk ,damask2 ground1 pale brown2 pattern1 in a lighter tone1 stags and sunbeams1 and below eagles within hexagonal compartments4 ,sicilian1 late #adth century4 #ah inches by #ad inches4 ,the stags1 well attired1 are in pairs1 couchant1 chained1 with heads upturned to sunbeams darting down on them1 with spots like rain coming amid these rays2 beneath these stags are eagles4 ,the material is very thin and poor for such a pleasing design4 ,in a much richer material part of this same pattern is to be seen at ,no4 #acaj4 #hfbe4 ,piece of very fine ,linen4 ,oriental4 #b feet #d inches by #a foot #e inches4 ,this is another of those remarkably delicate textiles for which ,egypt of old was1 and ,india for ages has been1 so celebrated4 ,a fine specimen has been already noticed at ,no4 #hbcj2 but to indicate the country or the period of either would be but hazarding a conjecture4 ,surplices were often made of such fine transparent linen1 as is shown by illuminated ,,mss4 ,see 8,church of our ,fathers10 t4 ii4 p4 #bj4 #hfbf4 ,piece of ,silk ,damask2 ground1 fawn-colour2 pattern1 flowers and birds1 both in green4 ,italian1 end of #adth century4 #aa inches by #h inches4 ,illustration3 #hfbf ,,silk ,,damask4 ,italian1 #adth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,the birds are in two pairs1 one at rest1 the other on the wing darting down2 between them is an ornament somewhat heart-shaped1 around which runs an inscription of imitated ,arabic4 ,most likely this silk is of ,sicilian work4 #hfbg4 ,piece of ,silk ,damask2 ground1 dark blue2 pattern1 lozenge-shaped compartments1 filled in with quadrangular designs varying alternately4 ,spanish1 late #adth century4 #aj inches by #h inches4 ,there is a ,moorish influence in the design1 which leads to the supposition that this stuff was wrought somewhere in the ,south of ,spain4 #hfbh1 #hfbh;,a4 ,two ,fragments of ,silk ,damask2 ground1 light yellow2 pattern1 flowers and birds1 with the letters ,a and ,m crowned1 all in pale red4 ,italian1 late #adth century4 #f inches by #e inches2 #f inches by #c inches4 ,a very pleasing design1 in nicely toned colours1 and evidently wrought for hangings1 or perhaps curtains1 about the altar of the ,b4 ,v4 ,mary1 as we have the whole sprinkled with the crowned letters ,a ,m1 significative of 8,ave ,maria40 #hfbi4 ,fragment of ,silk ,damask2 ground1 purple2 pattern1 four green hares in a park walled1 with conventional flowers1 yellow4 ,italian1 late #adth century4 #e inches by #d inches4 ,the colours1 both of the ground and design1 of this piece are much faded1 so that it becomes hard1 at first sight1 to make out the pattern1 especially the four green hares tripping within a park1 which1 instead of being shown with pales1 has a wall round it4 #hfcj4 ,fragment of ,silk ,damask2 ground1 red2 pattern1 foliage and flowers in green1 with animals1 alternately in gold and dark blue4 ,italian1 late #adth century4 #e inches by #d inches4 ,though the materials be thin1 the design is interesting and displays taste4 ,the animals1 seemingly fawns1 are lodged1 but so sparingly was the gold bestowed upon its cotton thread that it has almost entirely disappeared from the would-be golden deer4 #hfca4 ,fragment of ,silk ,damask2 ground1 deep purple2 pattern1 a circle inclosing a heart-shaped floral ornament1 in red1 with an indistinct ornament1 once gold4 ,south of ,spain1 #adth century4 #f inches by #e inches4 ,the colours of what may have been a rich stuff1 as well as the brightness of the gold1 are much dulled4 #hfcb4 ,piece of ,silk ,damask2 ground1 pale yellow2 pattern1 vine-leaves and grapes1 with the letter ,a1 all in light purple4 ,italian1 late #adth century4 #aa inches by #c inches4 ,one of those cheerful designs which are to be found in this collection2 and had the specimen been larger1 very likely an ,m would have been shown under the ,a4 #hfcc4 ,piece of ,silk ,damask2 ground1 purple2 pattern1 within interlacing strapwork forming a square1 two parrots addorsed alternating with two dogs addorsed1 all yellow1 with ornamentations of small circles and flowers1 once gold1 but now so tarnished that they look black4 ,sicilian1 #adth century4 #e inches by #e inches4 ,one of those specimens which will be sought by those who want examples of stuffs figured with animals4 ,this stuff is shewn in ,dr4 ,bock's 8,dessinateur pour ,etoffes10 c4 #c ,livraison4 #hfcd4 ,piece of ,silk ,damask2 ground1 fawn and green2 pattern1 small squares enclosing leaves1 birds1 and beasts alternately4 ,italian1 #adth century4 #g inches by #c inches4 ,though small1 the pattern is good and comes from either a ,sicilian or a ,reggio loom4 ,lions1 and stags with branching horns1 eagles1 parrots1 and undecipherable birds1 in braces with necks crossing one another1 are to be found upon it2 among the foliage the vine-leaf prevails4 #hfce4 ,altar ,frontal of ,linen1 embroidered with the filfot in white thread freckled with spots in blue and green silk1 and lozenge-shaped ornaments in blue1 green1 and crimson silk4 ,german1 #adth century4 #c feet #aj inches square4 ,there can be little doubt but this piece of needlework was originally meant for an altar frontal1 and its curious but coarser lining1 may have been wrought for the same separate but distinct purpose4 ,the filfot or gammadion1 a favourite object upon vestments1 is its chief adornment1 while its lining1 a work of a century later1 is worked with a palm-like design in thick linen thread4 ,at a later time1 it seems to have been employed as a covering to the table itself of the altar1 and is plentifully sprinkled with spots of wax-droppings4 #hfcf4 ,piece of ,linen ,cloth1 embroidered with filfots1 some in white1 some in blue silk4 ,german1 #adth century4 #a foot #aa inches by #i inches4 ,this handsome piece of napery was evidently woven for the service of the church1 and may have been intended either for frontals to hang in front of the altar1 or as curtains to be suspended away from1 but yet close to1 the altar-table on the north and south sides4 ,the favourite gammadion appears both in the pattern of the loom-work and in the embroideries wrought by hand1 sometimes in blue1 sometimes in white silk1 upon it4 #hfcg4 ,piece of ,silk and ,gold ,damask2 ground1 green2 pattern1 flower-bearing stems1 in gold1 amid foliated tracery of a deep green tone1 all enclosed by a golden elliptical border4 ,italian1 early #aeth century1 #aa inches by #g inches4 ,this rich and pleasing stuff is most likely from the loom of some workshop in ,lucca and was manufactured for secular purposes1 and deserves attention not only for the goodness of its materials1 but for the beauty of its design4 #hfch4 ,,piece of ,thread and ,silk ,damask2 ground1 purple slightly mixed with crimson2 pattern1 vine-branches bearing grapes and tendrils all in green1 amid which are wyverns in gold1 langued green4 ,south ,italian1 #aeth century1 #a foot #a inch by #i inches4 ,the warp is of thread1 and the woof of silk4 ,such was the poverty of the gold thread in the wyverns1 that it has almost entirely dropped off or turned black4 ,this specimen shows how1 sometimes1 a rich pattern was thrown away upon mean materials4 ,its uses seem to have been secular4 #hfci4 ,piece of ,silk ,damask2 ground1 gold2 pattern1 a circle showing1 in its lower half1 a crescent moon and an eight-petaled flower1 in the round centre of which is an ,arabic inscription1 all in black1 and the spaces filled in with a ,saracenic scroll in light blue1 light green1 and crimson 7now faded74 ,moresco-,spanish1 #adth century4 #a foot #a inches by #e inches4 ,this unmistakeable specimen of a ,saracenic loom would seem to have been wrought somewhere in the south of ,spain1 may be at ,granada1 ,seville1 or ,cordova4 ,as a sample of its kind it is valuable1 showing1 as it does1 that the same feelings which manifested themselves upon ,moorish ornamentation for architecture were displayed in the patterns of textiles among that people4 ,the fraud1 so to say1 of gilt shreds of parchment for threads covered with gold is exemplified here2 and hence we may gather that the ,spaniards of the medival period learned this trick from their ,saracenic teachers in the arts of the loom4 ,as in ,no4 #heij1 c41 so here1 the gold ground is wrought1 not in thread twined with gold foil1 but with gilt vellum cut into very narrow filaments1 and worked into the warp so as to lie quite flat4 #hfdj4 ,piece of ,silk ,damask2 ground1 light blue2 pattern1 a circle elaborately filled in with a wreath of leaves edged with a hoop of fleur-de-lis1 and enclosed in an oblong garland made up of boughs and flowers1 in a slightly deeper tone of the same blue4 ,italian1 early #aeth century4 #a foot by #h inches4 ,so very like in design to ,no4 #hfcg1 that we may presume it to have been wrought at ,lucca4 #hfda4 ,part of an ,orphrey2 ground1 once crimson1 but now faded to a light brown colour2 pattern1 quatrefoils1 with angles between the leaves1 embroidered with male saints in various colours upon a golden ground4 ,each quatrefoil is separated by a knot of three interlacings1 and the sides filled in with a pair of popinjays1 gold and green1 and two boughs of the oak bearing acorns1 alternately4 ,on both sides runs a border formed of a scroll of vine-leaves1 done alternately in gold and silver1 upon a green silk ground4 ,north ,italian1 #aeth century4 #b feet #g inches by #e inches4 ,the whole of this elaborate piece of needlework has been done with much care1 and in rich materials2 but as the saints have no peculiar emblems given them1 their identification is beyond hope4 ,whether for cope or chasuble--for it might have served for either vestment--this embroidery must have been very effective1 from the bold raised nature of much of its ornamentation4 #hfdb1 #hfdb;,a4 ,two ,pieces of ,silk ,damask2 ground1 green and fawn2 pattern1 intertwining branches of the vine1 with bunches of grapes4 ,sicilian1 #adth century4 #i inches by #d inches2 #f inches by #d inches4 ,another of those graceful green and fawn-coloured silks almost identical in pattern with others we have seen from the same country4 #hfdc4 ,piece of ,net-work2 ground1 reticulated pale brown silk2 pattern1 a sort of lozenge1 in green and in brown silk1 hand-embroidered4 ,german1 #adth century4 #g inches by #e inches4 ,from the circular shape of this piece it seems to have been a portion of female attire1 most likely for the shoulders4 ,one of its ornaments looks very like a modification of one form of the heraldic mill-rind1 with the angular structure4 #hfdd4 ,portion of an ,orphrey2 ground1 gold2 pattern1 a shield of arms1 and an inscription in purple letters1 repeated4 ,german1 #aeth century4 #a foot #i inches by #b inches4 ,this specimen of the ,german loom may have been woven at ,cologne1 probably for the narrow orphreys of a whole set of vestments given to the church by some ,duchess of ,cleves1 of the name of ,elizabeth ,vancleve1 since1 to such a lady1 the blazon and the inscription point4 ,the shield is party per pale gules1 an escarbuncle or2 and purpure1 a lion rampant argent1 barred gules1 ducally crowned and armed or4 #hfde4 ,piece of ,linen2 ground1 light brown2 pattern1 small blue squares or lozenges1 separated into broad bands by narrow stripes1 once ornamented with green lozenges and bordered all along by red lines4 ,german1 #aeth century4 #a foot by #g inches4 ,the warp and woof are linen thread2 the green of the narrow stripes1 from the small remains1 appears to have been woollen4 #hfdf4 ,fragment of a ,piece of ,silk and ,gold ,embroidery on ,linen2 ground1 as it now looks1 yellow2 pattern1 interlacing strapwork1 forming spaces charged with the armorial bearings of ,england1 and other blazons1 rudely worked4 #adth century4 #e inches by #c inches4 ,so faded are the silks1 and so tarnished the gold thread used for the embroidery of this piece1 that1 at first sight1 the tinctures of the blazon are not discernible4 ,in the centre we have the three golden libards or lions of ,england1 and the silk of the ground or field1 on narrow examination1 we find to have been scarlet or gules2 immediately below is a shield quarterly1 #a and #d or1 a lion rampant gules1 #b and #c sable1 a lion rampant or2 immediately above1 a shield gules1 with three pales azure 7871 each charged with what are seemingly tall crosses 7,st4 ,anthony's7 or2 above1 the shield of ,england2 but to the right hand1 on a field barry of twelve azure and or1 a lion rampant gules2 below this shield1 another1 on a field or1 two bars sable2 these two shields alternate on the other side4 ,the strapwork all about is fretty or1 on a field gules4 #hfdg4 ,piece of ,silk and ,gold ,damask2 ground1 crimson1 sprinkled with gold stars2 pattern1 the ,annunciation4 ,italian1 #adth century4 #a foot #a inches by #h inches4 ,in this admirable specimen of the ,florentine loom we have shown us the ,b4 ,v4 ,mary not quite bare-headed1 but partly hooded and nimbed1 as queen-like she sits on a throne1 with her arms meetly folded on her breast1 the while she listens to the words of the angel who is on his knees before her1 and uplifting his hand in the act of speaking a benediction1 while in his left he holds the lily-branch1 correctly--which is not always so in artworks--blooming with three1 and only three1 full-blown flowers4 ,above the archangel the ,holy ,ghost is coming down from heaven in shape of a dove1 from whose beak dart forth long rays of light toward the head of ,st4 ,mary4 ,the greater part of the subject is wrought in gold2 the faces1 the hands1 and flowers are white1 and a very small portion of the draperies blue4 ,the drawing of the figures is quite after the ,umbrian school1 and1 therefore1 not merely good1 but beautiful4 ,in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #a ,lieferung1 pl4 xiii4 ,dr4 ,bock has figured it4 #hfdh4 ,an ,embroidered ,figure of ,st4 ,ursula1 within a ,gothic niche1 which with much of the drapery1 was done in gold1 on a ground now brown4 ,rhenish1 #adth century4 #h inches by #c inches4 ,so sadly has the whole of this embroidery suffered1 apparently from damp1 that the tints of its silk are gone1 and the gold about it all become black4 ,that this is but one of several figures in an orphrey is very likely2 it gives us the saint with the palm-branch of martyrdom in one hand1 a book in the other1 and an arrow slicking in her neck1 the instrument of her death2 being of blood royal1 she wears a crown2 emblem of heaven and paradise1 the ground she treads is all flowery4 #hfdi4 ,piece of ,woollen ,carpet2 ground1 red2 pattern1 a green quatrefoil bearing three white animals4 ,spanish1 late #adth century4 #a foot #aa inches by #a foot #a inch4 ,a most unmistakeable piece of medival carpeting2 the lively tone of its red is yet bright4 ,the quatrefoils are quite of the period1 and look like four-petaled roses barbed1 that is1 with the angular projection between the petals4 ,so unlion-like are the animals1 that we may not take them as the blazon of the ,kingdom of ,leon4 #hfej4 ,piece of ,silk ,damask2 ground1 crimson2 pattern1 the so-called artichoke in yellow and green1 lined white1 and foliage of green lined white4 ,spanish1 #aeth century4 #a foot #i inches by #a foot #d inches4 ,a good example of this showy pattern1 once so much in favour1 and of which the materials are very good and substantial2 much of the yellow portions of the design was in gold thread1 the metal of which has1 however1 almost all gone4 ,from the quantity of glue still sticking to the hind part of this silk1 its last destination would seem to have been the covering of some state room4 #hfea4 ,the 8,vernicle10 embroidered in silk1 and now sewed on a large piece of linen4 ,flemish1 middle of #aeth century4 #i inches by #g inches2 the linen1 #b feet #aj inches by #b feet #i inches4 ,to the readers of old ,english literature1 especially of ,chaucer1 the term of 8,vernicle0 will not be unknown1 as expressing the representation of our ,saviour's face1 which ,he is said to have left upon a napkin handed ,him to wipe ,his brows1 by one of those pious women who crowded after ,him on ,his road to ,calvary4 ,it is noticed1 too1 in the 8,church of our ,fathers10 t4 iii4 p4 #dch4 ,this piece of needlework seems to have been cut off from another1 and sewed1 at a very much later period1 to the large piece of linen to which it is now attached2 for the purpose of being put up either in a private chapel1 or over some very small altar in a church1 as a sort of reredos2 or1 perhaps1 it may have originally been one of the apparels on an alb3 never1 however1 on an amice1 being much too large for such a purpose4 ,one singularity in the subject is the appearance of crimson tassels1 one at each corner of the napkin figured with our ,lord's likeness1 which is kept with great care still1 at ,rome1 among the principal relics in ,st4 ,peter's1 where it is shown in a solemn manner on ,easter ,monday4 ,it is one of those representations of a sacred subject called by the ,greeks 1 that is1 8not made by hands10 or1 not the work of man1 as was noticed in the ,introduction to the present ,catalogue4 #hfeb4 ,linen ,towel1 with thread embroidery2 pattern1 lozenges1 some enclosing flowers1 others1 lozenges4 ,german1 #aeth century4 #c feet #aa inches by #a foot #f inches4 ,most likely this small piece of linen was meant to be a covering for a table1 or may be the chest of drawers in the vestry1 and upon which the vestments for the day were laid out for the celebrating priest to put on4 ,in the pattern there is evidently a strong liking for the gammadion--a kind of figuration constructed out of modifications of the ,greek letter gamma4 ,in ,england the gammadion became known as the 8filfot10 and seems to have been looked upon as a symbol for the name ,francis or ,frances1 and is of frequent occurrence in our national monuments--especially in needlework--belonging to the #adth and #aeth centuries4 ,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 frontal1 ,no4 #hgji1 worked this1 and that her baptismal name was ,frances4 #hfec-hffa;,a4 ,ten ,fragments of ,narrow ,laces for edgings to liturgical garments1 woven1 some in gold1 some in silk1 and some in worsted4 #hfeh is a specimen of parti-coloured fringe2 #hfei shows a two-legged monster as part of its design2 and in #hffa and #hffa ,a we find a knot much like the one to which ,montagu gives the names of ,wake and ,ormond1 in his 8,guide to the ,study of ,heraldry10 p4 #eb4 #hffb4 ,the ,napkin for a ,crozier1 of fine linen ornamented with two narrow perpendicular strips of embroidery of a lozenge pattern in various-coloured worsteds1 and having1 at top1 a cap-shaped finishing made of a piece of green raised velvet1 which is figured with a bird1 like a peacock1 perched just by a well1 into which it is looking4 ,at each corner of this cap is a small parti-coloured tassel1 and1 at the top1 the short narrow loop by which it hung from the upper part of the crozier-staff4 ,german1 #aeth century4 #b feet #b inches by #a foot #h inches4 ,this is another of those liturgical ornaments1 valuable1 because so rare1 of which we have spoken under ,no4 #hbgi;,a4 ,but in the specimen before us we find it in much diminished form--half only of its usual size4 ,the design of the raised velvet1 in its cap1 is as unusual as curious4 #hffc4 ,linen ,cloth1 embroidered in coloured silks with sacred emblems and hagiological subjects1 and inscribed with names amid trees and flowers4 ,german1 #aeth century4 #a foot #a inches by #d inches4 ,in all likelihood this needlework was meant as the covering for a table in the vestry of some church1 or oratory in some lady's room4 ,on the left is figured ,st4 ,george slaying the dragon2 next1 the pelican in its piety1 above which is the 8vernicle10 and over this the word 8,emont10 with a ducal coronet above it4 ,then the names 8,ihs10 8,maria10 and1 above them1 the word 8,eva0 crowned4 ,in the middle of the cloth is a cross with all the emblems of the ,passion around it1 as well as a star and crescent4 ,then an animal spotted like a panther and chained to a tree2 this is followed by the name 8,meltinich20 last of all we find the name 8,amelia10 and beneath1 a half-figure of a woman having long hair with a large comb in her right hand1 altogether resembling a mermaid4 ,at bottom runs a narrow parti-coloured thread fringe4 #hffd4 ,frontlet to an ,altar-,cloth1 embroidered in coloured silks upon fine linen1 with flower-bearing trees and a shield of the ,passion1 along with saints' names1 c4 ,german1 #afth century4 #a foot #a inches by #d inches4 ,the shield in the middle is charged with a chalice and consecrated host1 and four wounds 7hands and feet7 of our ,lord4 ,under one tree occur the names 8,jhesus10 8,maria20 under another1 8,andreas10 8,anna40 ,from amid the grass on the ground spring up tufts of daisies4 #hffe4 ,piece of ,embroidery1 done upon fine linen in coloured silks and gold thread4 ,german1 middle of the #aeth century4 #g inches square4 ,the subject of this piece is the death of the ,blessed ,virgin ,mary1 figured according to the traditional manner much followed by the medival schools of art in most parts of ,christendom4 ,it is1 however1 to be regretted that this embroidery has been at some time mutilated2 in its original state it may have1 perhaps1 served as an apparel to an alb1 and occupied the place of one of those to be seen at ,no4 #hgaj4 #hfff4 ,fragment of thin ,silk ,damask2 pattern1 a lozenge-shaped diaper2 colour1 a much faded crimson4 ,oriental1 #acth century4 #h inches by #d inches4 ,though small1 the pattern is pretty1 and much resembles a stuff of silk and gold very lately found in the tomb of one of the ,archbishops of ,york1 in that cathedral4 #hffg4 ,portion of an ,orphrey1 wrought partly in the loom1 partly by the needle1 and figured with an angel-like youth holding before him an armorial shield1 as he stands within a ,gothic niche1 with an inscription below his feet4 ,german1 very late #aeth century4 #aj inches by #e inches4 ,illustration3 #hffg4 ,,embroidery1 ,,silk ,,gold ,under a ,gothic canopy c4 ,german1 late #aeth century4 ,this instructive piece deserves the attention of those who study embroidery4 ,the loom was geared in such a manner that the spaces for the head1 face1 neck1 and hands were left quite empty1 so that they might be filled in by the needle4 ,but this was not all the hand had to do2 the architectural features of the canopy1 its shading in red1 the nimb1 and nicely floriated diapering all over the angel's golden alb1 were put in by the needle4 ,the inscription1 woven in1 reads 8,joh v gey10 and the piece is figured in ,dr4 ,bock's 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #b ,lieferung1 pl4 xv4 #hffh4 ,part of an ,orphrey1 mostly loom-woven1 and figured with the ,crucifixion1 on one side of which stands the ,blessed ,virgin ,mary1 on the other1 ,st4 ,john the ,evangelist1 ,german1 late #aeth century4 #ab inches by #e inches4 ,like the preceding piece1 the greater part is woven1 even the body itself of our ,lord1 so that in ,his figure1 as in those of ,his mother and the beloved disciple1 the only embroidered portions are the head and face1 besides those blood-spots all over ,his person1 the tricklings from ,his five wounds1 and the crossed nimb about ,his head4 #hffi4 ,portion of a ,maniple1 in much faded tawny silk2 pattern1 a rose-like floriation4 ,flemish1 #afth century4 #a foot #aj inches by #c inches4 ,though peculiar1 the pattern in the design of this silken stuff is very pretty2 the piece of parti-coloured silken fringe that edges the end of this maniple is older than the textile to which it is sewed4 #hfgj4 ,the hind ,orphrey for a ,chasuble1 with embroidered figures applied upon a ground red and gold4 ,the figures are a knight bareheaded and kneeling in prayer1 with his helmet and shield before him1 ,st4 ,catherine of ,alexandria1 and ,st4 ,anthony of ,egypt reading a book4 ,german1 middle of the #aeth century4 #b feet #aa inches by #e inches4 ,the figures are well done1 and all show the varieties of process then brought into use2 they were worked on canvas1 of which the portions for the face and hands were left untouched1 saving by the few slight stitches required for indicating the hair and features of the countenance and indications of the fingers4 ,some of the dress was cut out of woven cloth of gold and sewed on2 other parts worked with the needle1 as were such accessories as books1 instruments of martyrdom1 and other such emblems4 ,the knight1 probably the giver of the chasuble1 is meant to be indicated by his blazon1 which is a shield or charged with eight torteaux in orle1 and this is surmounted by a golden helmet with mantling1 and a crest1 consisting of golden horns fringed with four torteaux each4 ,the ground upon which the embroideries are set is rich1 and woven with golden wheel-like circles with wavy1 not straight1 spokes upon a bright red field4 #hfga4 ,fragment of an ,orphrey1 woven in gold and coloured silks2 pattern1 intertwining brambles of the wild rose1 bearing flowers seeded and barbed4 ,german1 beginning of the #afth century4 #g inches by #d inches4 ,though the ground is1 or rather was1 of gold1 so sparingly was the precious metal bestowed upon the thread1 that it has been almost entirely worn away4 ,the same may be said of the very narrow tape with which1 on one of its edges1 it is still bordered4 #hfgb4 ,part of an ,orphrey1 embroidered upon linen1 in coloured silks1 and figured with ,st4 ,anthony and a virgin martyr-saint1 both standing beneath ,gothic canopies4 ,rhenish1 late #aeth century4 #a foot #i inches by #c inches4 ,notwithstanding the embroidery be somewhat coarse1 like much of the same kind of work at the period1 it is so far valuable as it instructs us how three methods were practised together on one piece4 ,the canvas ground was left bare at the faces and hands1 so that the features of the one and the joints of the other might be shown by appropriate stitches in silk4 ,pieces of golden web1 cut to the right size1 were applied for the upper garments of the figures1 and the folds shaded by hand in red silk1 and the borders of the robe edged with a small cording1 while all the rest of the work was filled in with needlework4 ,the closely fitting scull-cap1 but more especially the staff ending in a tau-cross1 indicate ,st4 ,anthony1 but the female saint cannot be identified2 her long hair flowing about her shoulders signifies that she was a virgin1 and the green palm-branch in her right hand indicates that she underwent martyrdom4 #hfgc4 ,piece of ,raised ,velvet2 ground1 yellowish pink1 the raised velvet1 bright crimson2 pattern1 a large compound floriation within a circle formed by small hooked lines having flowers at the cusps1 and the round itself springing out of a somewhat smaller floriation4 ,flemish1 #afth century4 #b feet #c inches by #a foot #a inches4 #hfgd4 ,piece of ,raised ,velvet2 the ground1 orange1 the raised velvet1 green2 the pattern1 of pomegranate form1 within crocketed circles1 and alternating with a large floriation4 ,flemish1 #afth century4 #b feet #d inches by #aa inches4 ,the raised pattern1 from its rich pile1 stands up well1 and was hung upon walls1 or employed for curtains and other household appliances1 for which such stuffs were generally produced4 #hfge4 ,piece of ,worsted ,needlework2 pattern1 lozenges after several forms1 and done in various colours4 ,flemish1 #afth century4 #ah inches by #ab inches4 ,worked after the same fashion1 and with the same materials1 that our ladies at this day employ upon their ,berlin wool work4 #hfgf4 ,piece of ,linen ,damask2 pattern1 artichoke and pomegranate forms4 ,flemish1 #afth century4 #a foot #c inches by #a foot #a inches4 ,the design is carefully elaborated2 and the piece itself is evidence of the beauty of old ,flemish napery4 #hfgg4 ,a ,small ,cloth for an ,oratory1 of fine linen1 embroidered with sprigs of flowers in their proper colours1 in silk1 and with ,i4 ,h4 ,s4 in red gothic letters1 within a thorn-like wreath in green4 ,flemish1 #afth century4 #b feet #f inches by #a foot #aj inches4 ,that this cloth has been cut down is evident2 the sacred monogram is not in the middle1 and the higher row of flowers is shortened4 ,though hemmed with tape on one side1 and edged on two sides by very narrow strong lace1 and on the fourth or front border by a broader lace1 its last use was as a covering for some sort of table1 not an altar properly so called2 it is by far very much too small for any such purpose4 ,in all likelihood1 this cloth was made to overspread the top of a praying desk1 or some little table strewed with devotional objects in a bed-room or private oratory4 #hfgh4 ,portion of ,worsted ,embroidery upon light brown linen2 the pattern1 a scroll of flowers and foliage in colours ,german1 late #afth century4 #a foot #e inches by #d inches4 ,the design is made to run along well1 and the colours are nicely contrasted4 #hfgi4 ,piece of ,silk ,damask1 of a light red and straw colour2 pattern1 two varieties of the pomegranate mixed with large artichokes and small crowns1 and separated by thick branches1 which are purpled with broad ivy-like leaves4 ,italian1 #afth century4 #b feet #aj inches by #a foot #aa inches4 ,a bold pattern1 remarkable for the originality of some parts of its design4 #hfhj1 #hfhj;,a4 ,two ,pieces of ,raised ,velvet1 green and gold2 pattern1 a modification of the favourite pomegranate and its accompanying intertwining foliage2 very large and incomplete4 ,florentine1 early #afth century4 #b feet #a inch by #i inches2 #a foot #c inches by #aj inches4 ,these two pieces give us specimens of those gorgeous stuffs so often sent forth to the world from the looms of ,tuscany1 and afford1 in portions of the design1 samples of velvet raised upon velvet so very rarely to be found4 ,the little short loops1 or spots1 of gold thread1 with which the velvet is in some parts freckled1 ought not to go unnoticed4 #hfha4 ,piece of ,embroidery1 wrought with a running pattern of leaves and flowers in coloured threads upon a golden ground1 now much tarnished4 ,german1 #afth century1 #a foot #f inches by #d inches4 ,embroidery in thread is of somewhat rare occurrence4 #hfhb4 ,part of a ,web for church use1 wrought in thread and silk upon a golden ground1 now much faded4 ,the pattern1 trees bearing white flowers1 bunches of white lilies1 wheels with stars1 and the words 8,jhesus1 ,maria40 ,cologne1 late #aeth century4 #f feet by #e inches4 ,that it once formed a frontlet or border to the front edge of an altar-cloth is very likely1 not only from the spots of wax with which it is in some parts sprinkled1 but more especially from the way in which its pattern is wrought1 so as to be properly seen when stretched out horizontally4 #hfhc1 #hfhd4 ,two ,specimens of ,web for church use2 woven in silks1 upon a golden ground2 the first with the sacred name 8,jhesus10 and a tree bearing white and red flowers1 with daisies at its foot1 and the name 8,maria10 beneath which is a garland of white and red flowers twined about the letter ,m2 the second1 with a round ornament1 having red and gold stars upon a tawny white ground between each of its eight radii1 and underneath the sacred name1 in dark blue silk4 ,german1 late #aeth century4 #a foot #g inches by #b inches2 #g inches by #c inches4 ,like several other examples of the same kind to be found in this collection1 and wrought for the same liturgical purposes4 #hfhe4 ,piece of ,raised ,velvet1 dark blue2 pattern1 one of the several varieties of the pomegranate4 ,italian1 #afth century4 #a foot #c inches by #a foot #c inches4 ,rich neither in material nor design1 this velvet may have been wrought not for ecclesiastical but personal use4 #hfhf4 ,piece of ,silk ,damask1 purple2 pattern1 the pomegranate4 ,italian4 #b feet #e inches by #aa inches4 ,like the preceding1 meant for personal use1 but exhibiting a much more elaborate design1 and the variety of the corn-flower 7centaurea7 springing forth all round the pomegranate1 which itself grows out of a fleur-de-lis crown4 #hfhg4 ,piece of ,embroidery1 on canvas2 ground1 figured with ,st4 ,john the ,baptist and ,st4 ,john the ,evangelist4 ,rhenish1 #afth century4 #a foot #d inches square4 ,to the left is seen ,st4 ,john the ,baptist1 clothed in a long garment of camel-hair and his loins girt with a light-blue girdle1 preaching in the wilderness on the banks of the ,jordan4 ,in his left hand he holds a clasped book1 upon which rests the 8,lamb of ,god10 and just over1 a flag1 the white field of which is ensigned with a red cross2 his upraised right hand1 with the first two fingers elevated as in the act of blessing1 is pointed to the lamb4 ,to the right we have ,st4 ,john the ,evangelist1 holding a cup in one hand1 while with the other he makes the poisonous drug in it harmless by a blessing4 ,the grounding has been filled in mostly with golden thread1 but of so poor a quality that the thin metal on it is scarcely discernible4 ,in both figures the whole of the person1 the fleshes1 as well as clothing1 are all done in woven white silk cut out1 shaded1 and featured in colours by the brush1 with some little needlework here and there upon the garments and accessories4 ,the figures of the saints are 8applied20 and one cannot but admire the effect which a few stitches of rich green silk produce upon the canvas ground1 while a piece of applied silk1 slightly shaded by the brush1 is an admirable imitation of a rocky cliff4 ,the two tall trees and green garlands between them are telling in their warm tones4 ,altogether this is a precious specimen of applied work1 and merits attention4 ,it seems to have been the middle piece of a banner used for processions1 and may have once belonged to some church at ,cologne dedicated to the two ,,ss4 ,john4 #hfhh4 ,portion of an ,orphrey1 crimson satin1 embroidered with flowers in coloured silk and gold thread4 #agth century4 #a foot #c inches by #b inches4 ,from what liturgical vestment this was taken it would be hard to guess1 but there is no likelihood that it ever ornamented a mitre4 ,the yellow flowers1 of the composite kind1 and heart's-eases are very nicely done1 whether the work of an ,italian1 ,french1 or ,german hand4 ,they have much about them that speaks of ,france4 #hfhi4 ,piece of ,raised ,velvet1 brown1 with floriated pattern in gold thread4 ,north ,italy1 early #afth century4 #a foot #a inches by #f inches4 ,most likely from the looms of ,lucca1 and with a pretty diapering in the gold ground where it is bare of the velvet pile4 #hfij4 ,piece of ,green ,velvet1 spangled with gold1 and embroidered with three armorial shields in gold thread and coloured silks4 ,german1 #agth century4 #aj inches by #i inches4 ,all the shields are very ,german1 especially in their crests4 ,the shield on the right hand will attract notice by its anomaly2 on a field azure it gives a rose gules barbed green1 or colour upon colour2 the crest1 too1 is a curiosity1 at least in ,english blazon1 displaying an ,elector's cap with very tall bullrushes1 five in number1 and coloured proper1 issuing from between the ermine and the crimson velvet4 #hfia4 ,linen ,napkin1 for liturgic use1 embroidered1 in coloured silks1 with conventional flowers4 ,german1 end of the #afth century4 #b feet inch by #a foot #aa inches4 ,this is another of those liturgical rarities--,corpus ,christi cloths--of which we have spoken at ,no4 #hcdb1 under the name of ,sindons1 or ,pyx-cloths4 ,such appliances were employed for mantling the pyx or ciborium when shut up in the tabernacle--that little temple-like erection on the table1 or rather step1 on the wall-side of the altar--when the custom ceased of keeping the pyx hanging up beneath a canopy4 #hfib4 ,hood of a ,cope1 silk damask1 red and yellow1 with the subject of the ,assumption of the ,blessed ,virgin ,mary woven in it4 ,florentine1 late #aeth century4 #a foot #e inches by #a foot #d inches4 ,uprising from her grave1 and amid rays of glory and an oblong or elliptic aureole1 the ,virgin ,mary is being wafted to heaven by four angels1 who are not1 as of yore1 vested in long close albs like deacons1 but in flowing garments so slit up as to show their naked arms1 bare legs1 and lower thighs4 ,upon the empty tomb1 from out of which are springing up lilies1 is written 8,assunta est20 and at one corner kneels the apostle ,st4 ,thomas who1 with head uplifted and both his arms outstretched1 is receiving from the mother of our ,lord her girdle1 which she is holding in her hands and about to let drop down to him4 8,la ,madonna della cintola0--this subject--may often be met with in ,italian1 more especially ,florentine1 art of the middle ages1 and is closely linked with the history of the fine old church of ,prato1 as we gather from ,vasari1 in his 8,vite dei ,pittori10 t4 i4 p4 #bgi1 ,firenze1 #ahdf2 and the ,english translation1 t4 ii4 p4 #ge4 #hfic4 ,linen ,napkin1 for liturgic use1 embroidered in white1 brown1 and blue thread1 with figures of our ,lord and the twelve ,apostles4 ,german1 #d feet #h inches by #a foot #d inches4 ,like the valuable specimen of the needle described at ,no4 #hceh1 the example before us served the purpose of covering the lectern in the chancel at the celebration of the liturgy4 ,as in the usual representations of the ,jesse-tree1 the bust of each of the thirteen figures is made to rest within a circular branch upon its tip1 where it sprouts out like a wide flower4 ,at the top of this tree we behold our ,lord with ,his right hand uplifted in the act of benediction1 ,his left rested upon a mund1 and1 about ,his head a scroll inscribed 8,pax ,f7,v7obis40 ,to the right is ,st4 ,peter--so inscribed--holding a key2 to the left1 ,st4 ,john1 as a beardless youth--inscribed 8,s4 ,johnis20 then ,st4 ,anderus 7,andrew71 with a cross saltire-wise2 and ,st4 ,jacob 7,james71 with his pilgrim's staff in hand1 and on his large slouched hat turned up in front he has two pilgrim-staves in saltire2 ,st4 ,jacobi 7,james the ,less71 with fuller's bat2 ,st4 ,simonus 7,simon71 beardless1 with a long knife or sword jagged or toothed like a saw2 ,st4 ,thomas1 with his spear2 ,st4 ,bartlyme 7,bartholomew71 with the flaying knife2 ,st4 ,judas ,tadvs 7,jude or ,thaddeus71 with a knotted club2 ,st4 ,matheus 7,matthew71 with a hatchet1 and beardless2 ,st4 ,philippe1 with a cross bottony1 and beardless2 ,st4 ,mathias1 with a halbert4 ,at bottom is marked1 in blue ink1 #aegd2 but it may be fairly doubted if this date be the true one for this embroidery1 of which the style looks at least fifty years older4 #hfid4 ,fragment of ,silk and ,cotton ,tissue1 green1 with small flower pattern4 ,italian1 late #afth century4 #f inches by #d inches4 ,a pleasing specimen1 rich in material1 and bright in its tones1 very likely from the ,south of ,italy4 #hfie4 ,piece of ,silk ,damask1 crimson and yellow2 pattern1 scroll and foliage4 ,french1 end of #afth century4 #a foot #g inches by #a foot #i inches4 ,this piece1 intended for household use1 is not without effect in its design4 ,though the warp is silk1 in the woof there is linen thread1 though not easily perceived4 #hfif4 ,piece of ,fine ,linen1 with broad border of flowers in coloured silks4 ,syrian 7871 #aeth century4 #ab inches by #a foot #g inches4 ,this very fine linen has all the appearance of having been wrought in some country on the eastern shores of the ,mediterranean1 and reminds us of those thin textures for which ,india was1 and yet is1 so celebrated4 ,the embroidery1 too1 is but a timid imitation of flowers1 and is so worked as to be equally good on both sides4 ,to all appearance it is she end of a woman's scarf4 #hfig4 ,piece of ,needlework in coloured worsteds1 upon a canvas ground2 pattern1 zig-zag lozenges1 containing tulips and other liliacious flowers4 ,german1 middle of #afth century4 #a foot #d inches by #a foot #a inch4 ,seemingly1 this is but a small piece of a foot-cloth for the upper step of an altar4 #hfih4 ,linen ,damask ,napkin2 pattern1 scrolls enclosing a pomegranate ornamentation2 border1 at two sides1 rich lace4 ,flemish1 #afth century4 #d feet #c inches by #b feet #c inches4 ,this napkin probably served for carrying to the altar the ,sunday 8holy loaf10 as it was called in ,england1 the use of which is still kept up in ,france1 and known there as the 8pain benit40 ,for an account of this ancient rite1 see the 8,church of our ,fathers10 i4 #ace4 #hfii4 ,small ,bag1 silk and linen thread1 embroidered in quadrangular pattern4 ,german1 #aeth century4 #c inches square4 ,very like the one under ,no4 #hcac4 ,it may have been used as a reliquary1 or1 what is more probable1 for carrying the rosary-beads of some lady4 ,concerning the form of prayer itself1 see the 8,church of our ,fathers10 t4 iii4 p4 #cbj4 #hgjj4 ,piece of ,embroidery1 upon an older piece of white silk1 brocaded in gold1 three armorial shields in their proper tinctures1 all within a golden wreath4 ,german1 late #afth century4 #d inches square4 #hgja4 ,piece of ,black ,raised ,velvet1 with small flower pattern4 ,italian1 #afth century4 #a foot by #g inches4 ,a pleasing example of the ,genoese loom4 #hgjb4 ,piece of ,damask1 silk and linen1 tawny and yellow2 pattern1 a modification of the pomegranate within oblong curves1 and other floriations4 ,florentine1 #afth century4 #b feet #aa inches by #a foot #a inches4 ,illustration3 #hgjb ,,damask1 ,,silk ,,and ,,linen1 ,florentine1 #afth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,of a large bold design1 though not rich in material4 #hgjc4 ,piece of ,damask1 silk and linen1 tawny and yellow2 pattern1 a slight variation of the foregoing1 ,no4 #hgjb4 ,florentine1 #afth century4 #c feet #d inches by #i inches4 ,so much alike are these two specimens1 that at first sight they look parts of the same stuff2 a near and close inspection shows1 however1 that for one or other there was a slight alteration in the gearing of the loom4 ,both may have originally been crimson and yellow3 if so1 the first colour has sadly faded4 ,from the shape of this piece1 its last use must have been for a chasuble1 but of a very recent period1 judging from its actual shape4 #hgjd4 ,chasuble1 cloth of gold1 diapered with a deep-piled blue velvet1 so as to show the favourite artichoke pattern after two forms1 with embroidered orphreys and armorial shields4 ,flemish1 very late #aeth century4 #d feet #d inches by #c feet #aj inches4 ,illustration3 #hgjd4 ,,part ,,of ,,the ,,orphrey ,,of ,a ,,chasuble4 ,flemish1 #aeth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,this chasuble1 rare1 because not cut-down1 has been lately but properly repaired4 ,the back orphrey1 in the form of a cross1 is figured with the ,crucifixion1 the ,b4 ,v4 ,mary fainting and upheld by ,st4 ,john2 a shield gules1 with chalice or1 and host argent1 at top2 another shield at bottom1 gules1 a column argent1 twined with cords or2 the front orphrey is figured with the ,b4 ,v4 ,mary crowned1 and carrying our infant ,lord in her arms2 beneath her1 the words inscribed in blue1 8,salve ,regina20 lower down1 ,st4 ,john the ,evangelist blessing a golden chalice1 out of which is coming a dragon1 and having the inscription at his feet1 8,sanctus ,iohannes40 ,lower still1 ,st4 ,catherine with a book in her right hand1 and in the left a sword resting on a wheel4 ,the front orphrey is done in applied work2 the back orphrey consists of a web with a ground of gold1 figured with green flower-bearing boughs1 and having spaces left for the heads and hands to be filled in with needlework4 ,the shield of arms or1 with a chief azure1 charged with three square buckles argent1 we may presume to be the blazon of the giver of this gorgeous vestment4 #hgje4 ,frontlet to an ,altar-,cloth of diapered linen4 ,the frontlet itself is the broad border of purple cloth on which is figured a ,latin inscription within wreaths of flowers done in white linen4 ,german1 late #aeth century4 #aj feet #i inches by #f inches2 the linen1 #i inches4 ,this is another liturgical appliance1 once so common everywhere1 and so often mentioned in ,english ecclesiastical documents1 which has now become a very great rarity4 ,from the shred of the altar-cloth itself to which it is sewed1 that linen1 with its fine diapering and its two blue stripes1 diapered1 too1 and vertically woven in1 must have been of a costly kind1 and large enough to overspread the whole table of the altar1 so that this blue frontlet fell down in front4 ,the ,latin inscription1 each word parted by a wreath1 from four parts of which shoot sprigs of flowers1 reads thus3--8,o ,gloriosum lumen ec7c7lesiarum funde preces pro salute populorum40 ,the letters1 as well as all the floral ornamentation of this short prayer1 are wrought in pieces of linen stitched on with red thread2 and below is a worsted parti-coloured fringe1 #a inches deep4 ,for the use of the frontlet in ,england1 during the medival period1 the reader may consult the 8,church of our ,fathers10 i4 #bch4 #hgjf4 ,an ,altar-,frontal in very dark brown coarse cloth1 on which are applied armorial shields1 and the ground is filled in with flower-bearing branches1 in worsted and silk4 ,german1 beginning of #afth century4 #g feet #h inches by #d feet #a inch4 ,though of so late a period1 this altar-frontal can teach those studious of such appliances how readily and effectively such works may be wrought4 ,the whole is divided into eight squares2 in the middle of each is put a shield alternating with another in its blazon1 the first being or1 three hearts gules1 two and one1 between three bendlets sable2 the second1 argent1 an eagle sable on an arched bough raguly azure in the dexter base4 ,the ramifications twining all over the ground are done in light brown broad worsted threads stitched on with white thread2 and the flowers1 all seeded and barbed1 some white1 some yellow1 as if in accordance with the tints of the two shields1 are done in silk4 ,at bottom this frontal has been edged with a deep fringe1 parti-coloured white and black4 #hgjg4 ,chasuble1 blue cut velvet2 pattern1 one of the pomegranate forms1 with orphreys4 ,german1 late #aeth century4 #i feet #e inches by #d feet #i inches4 ,to the liturgical student fond of vestments in their largest1 most majestic shapes1 this chasuble will afford great satisfaction1 as it is one of the few known that have not been cut down4 ,the front orphrey is a piece of narrow poor web1 once of gold1 but not much worn2 the hind orphrey is a long cross1 raguly or knotted1 with our ,lord nailed to it2 above is the ,eternal ,father wearing an imperial crown of gold lined crimson1 and in the act of blessing1 between whom and our ,saviour is the ,holy ,ghost in shape of a silver dove with outspread wings4 ,at foot is the group of the ,blessed ,virgin ,mary fainting1 and hindered from falling by ,st4 ,john4 #hgjh4 ,the ,blue ,linen ,lining of a ,dalmatic1 with the parti-coloured fringe bordering the front of the vestment1 and some other fragments4 #d feet #a inches by #e feet #g inches4 ,the silk ,sicilian1 #adth century4 ,the silk is much like the specimen fully described under ,no4 #hbfc4 #hgji4 ,altar-,frontal of grey linen1 figured in needlework1 with flowers1 stars1 and heraldic animals1 on alternating squares of plain linen and net-work4 ,german1 #aeth century4 #i feet #e inches by #d feet #b inches4 ,this important piece of stitchery was never meant for a covering to the table or upper part of the altar2 it served as a frontal to it1 and was hung before1 and at each corner of the altar so as to cover it and its two sides down to the ground4 ,from all its ornaments having an armorial feeling about them1 this elaborate piece of needlework would seem to have been wrought by the hands of some noble lady1 who took the blazon of her house for its adornment4 ,at the lower part1 in the middle1 is a shield of arms argent1 charged with two bars once gules2 high above1 a star of eight points voided gules2 below1 a fleur-de-lis barred argent and gules2 at each of the four corners of the square a maneless lion rampant barred argent and gules4 ,to the right1 on the same level1 a square filled in with fleurs-de-lis2 then a square with birds and beasts unknown to ,english heraldry3 the birds1 natant1 have heads of the deer kind1 horned1 and the beasts a beaked head with a single arched horn coming out of the forehead with the point of the bow in front2 both birds and beasts are paled argent and gules4 ,on the next square are stars of eight points1 and flowers with eight petals1 within quatrefoils all argent1 upon a field 7the netting7 gules4 ,the last square is separated into three pales each charged with a flower-like ornament alternately argent and gules4 ,above this square is another of net gules1 charged with four flowers argent2 and1 going to the left1 we have a square showing two bears combatant barred argent and gules2 still to the left1 birds at rest1 and stars alternating argent upon a square of net gules4 ,next to this a large antelope tripping paled argent and gules2 then a square having lions rampant within lozenges with a four-petaled flower at every point1 all argent1 on a field 7of net7 gules4 ,following this is a large dog1 maned and rampant barred argent and gules2 to this succeeds a square of net gules charged with lozenges1 having over each point a mascle1 and within them stars of eight points all argent4 ,the last square to the left on this middle row is charged with a heart-shaped ornament voided in the form of a fleur-de-lis1 and put in three piles of four with flowers between4 ,the only other square differing from those just noticed are the two charged with an animal of the deer kind1 with antlers quite straight4 ,the narrow borders at the sides are not the least curious parts of this interesting specimen2 that on the left hand is made up of a dog running after a bearded antelope1 which is confronted by a griffin so repeated as to fill up the whole line4 ,the border on the right hand is made up of the beast with the one horn4 #hgaj4 ,alb of ,white ,linen appareled at the cuffs1 and before and behind at the feet1 with crimson and gold stuff figured with animals and floriations of the looms of ,palermo4 ,sicilian1 #adth century4 #e feet #g inches long1 #d feet across the shoulders1 without the sleeves4 ,for those curious in liturgical appliances this fine alb of the medival period will be a valuable object of study1 though perhaps not for imitation in the way in which it is widened at the waist4 ,its large opening at the neck--#a foot #d inches--is somewhat scalloped1 but without any slit down the front1 or gatherings1 or band4 ,on each shoulder1 running down #a foot #c inches1 is a narrow piece of crochet-work inscribed in red letters with the names 8,,jesus10 8,,maria40 ,the full sleeves1 from #a foot #f inches wide1 are gradually narrowed to #f inches at the end of the apparels at the cuffs1 which are #d inches deep and edged with green linen tape4 ,at the waist1 where it is #c feet #aj inches1 it is made1 by means of gatherings upon a gusset embroidered with a cross-crosslet in red thread1 to widen itself into #f feet1 or #ab feet all round4 ,down the middle1 before and behind1 as far as the apparels1 is let in a narrow piece of crochet-work like that upon the shoulders1 but uninscribed4 ,the two apparels at the feet--one before1 the other behind--vary in their dimensions1 one measuring #a foot #a inch by #a foot #a inches1 the other1 which is made up of fragments1 #a foot by #aa inches4 ,very elaborate and freely designed is the heraldic pattern on the rich stuff which forms the apparels4 ,the ground is of silk1 now faded1 but once a bright crimson2 the figures1 all in gold1 are an eagle in demi-vol1 langued1 with a ducal crown1 not upon1 but over its head2 above this is a mass of clouds with pencils of sun-rays darting from beneath them all around2 higher up again1 a collared hart lodged1 with its park set between two large bell-shaped seeded drooping flowers1 beneath each of which is a dog collared and courant4 ,for ,english antiquaries1 it may be interesting to know that upon the mantle and kirtle in the monumental effigy of ,king ,richard ,,ii1 in ,westminster ,abbey1 the hart as well as the cloud with rays form the pattern on those royal garments1 and are well shown in the valuable but unfinished 8,monumental ,effigies of ,great ,britain10 by the late brothers ,hollis4 ,this alb is figured1 but not well with regard to the apparels1 by ,dr4 ,bock1 in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #d ,lieferung1 pl4 iii1 fig4 #a4 #hgaa4 ,chasuble1 ,cloth of1 now tawny1 once crimson1 silk2 pattern1 animals amid floriations4 ,sicilian1 #adth century4 #d feet #e inches by #c feet #f inches4 ,made of precisely the same rich and beautiful stuff employed in the apparels of the alb just noticed1 ,no4 #hgaj1 the elaborate design of which is here seen in all its perfectness4 ,the chasuble itself has been much cut away from its first large shape4 #hgab4 ,part of a large ,piece of ,needlework1 done upon linen in coloured worsteds1 figured with a king and queen seated together on a ,gothic throne1 and a young princess sitting at the queen's feet4 ,all about are inscriptions4 ,german 7871 #aeth century4 #e feet #f inches by #c feet #aj inches4 ,wofully cut as this large work has been1 enough remains to make it very interesting4 ,the king1--whose broad-toed shoes1 as well as the very little dog at his feet1 will not escape notice1--holds a royal sceptre in his left hand1 and around his head runs a scroll bearing this inscription1 8,inclitus ,rex ,alfridus ex ytalia ,pacis amator40 ,about the head of the queen1 which is wimpled1 the scroll is written with1 8,pia ,hildeswit ,fundatrix ,peniten 7871 ,ao4 ,mo4 ,,xiio40 ,below the princess1 whose hair1 as that of a maiden1 falls all about her shoulders1 and whose diadem is not a royal one1 nor jewelled like those worn by the king and queen1 runs a scroll bearing these words1 8,albergissa ,abbatissa40 ,just under the king1 on a broad band1 comes--8o4 dpnacionis 7damnationis7 in 40 ,at top1 on a broad bright crimson ground1 in large yellow letters1 we read--8v 7ex voto87 hoc opus completum 7est740 ,from droppings of wax still upon it1 this curious piece of needlework must have been used somewhere about an altar--very likely as a sort of reredos2 and from the inscription1 it would seem to have been wrought as an ex voto offering4 #hgac4 ,piece of ,needlework1 in silk1 upon linen1 figured with ,st4 ,bartholomew and ,st4 ,paul1 each standing beneath a round arch4 ,german1 early #abth century4 #b feet #h inches by #a foot #f inches4 ,the linen upon which this venerable specimen of embroidery is done shows a very fine texture2 but the silk in which the whole is wrought is of such an inferior quality that1 at first sight1 though soft to the touch1 it looks like the better sort of untwisted cotton thread4 ,such parts of the design as were meant to be white are left uncovered upon the linen1 and the shading is indicated by brown lines4 ,as such early examples are scarce1 this is a great curiosity4 ,dr4 ,bock has figured it in his 8,geschichte der ,liturgischen ,gewnder des ,mittelalters10 #b ,lieferung1 pl4 viii4 #hidb4 ,persian ,tunic1 crimson satin1 embroidered in various-coloured silks after shawl-patterns1 with a double-mouthed long pocket in front4 #d feet by #c feet4 #higc4 ,piece of ,embroidered ,silk2 ground1 blue silk2 pattern1 flowers in coloured flos-silks and gold thread1 and broad band figured with wood-nymphs1 syrens1 boys1 and an animal half a fish and half a lion4 ,italian1 #agth century4 #f feet inch by #c feet #a inches4 ,no doubt this embroidery served as domestic decoration4 ,it may have been employed as the front to a lady's dressing-table4 #hige4 ,counterpane2 ground1 thread net1 embroidered with foliage and flowers in various silks4 ,italian1 #afth century4 #h feet by #g feet #aj inches4 ,the flos-silks used are of a bright colour1 and the whole was worked in narrow slips sewed together in places with yellow silk2 in other parts the joinings were covered by a narrow silk lace of a pleasing design4 #higf4 ,frontal to an ,altar2 ground1 crimson2 pattern1 sacred subjects and saints1 some in gold1 some in yellow silk4 ,venetian1 early #afth century4 #f feet #f inches by #b feet #c inches4 ,this frontal is made out of pieces of woven orphreys1 and by the way in which those pieces are put together we know that they must have been taken from old vestments1 some of which had been much used4 ,it is composed of nine stripes or pales of broad orphrey-web2 and allowing for the two end pales being brought round the ends of the altar when hung there1 it would then present seven stripes or pales to the eye4 ,looking at it thus1 we find the first pale of crimson silk1 figured in yellow silk1 with the ,b4 ,v4 ,mary holding our ,lord as an infant on her lap1 with the mund or terraqueous globe surmounted by a cross in ,his right hand1 amid a strap-like foliation2 the next pale of crimson silk is figured in gold1 with a saint-bishop vested in alb1 stole crossed over his breast1 and cope1 and wearing jewelled gloves1 with his pastoral staff in his right hand4 ,the third pale1 in yellow silk upon a crimson ground1 presents us our ,lord's tomb1 with soldiers watching it1 and our ,lord ,himself uprising1 with ,his right hand giving a blessing1 and in ,his left a banner1 and by ,his side cherubic heads4 ,the fourth pale at top gives us the ,b4 ,v4 ,mary and our infant ,saviour in her arms1 very much worn away1 and beneath1 ,st4 ,peter with his keys1 in gold upon crimson4 ,the other pales are but repetitions of the foregoing4 ,altogether1 this frontal1 thread-bare as it is in places1 is well worth the attention of those who interest themselves in the history of ,venetian design1 and the art of weaving4 #higg4 ,hood to a ,cope2 ground1 two shades of yellow silk2 subject1 the ,assumption of the ,blessed ,virgin ,mary4 ,venetian1 #afth century4 #a foot #d inches by #a foot #c inches4 ,within an oval1 upheld by four angels1 and radiant with glory1 and having a cherubic head beneath her1 the ,b4 ,v4 ,mary is rising heavenward from her tomb1 out of which lilies are springing1 and by it ,st4 ,thomas on his knees is reaching out his hand to catch the girdle dropped down to him4 ,on an oval upon the face of the tomb is written 8,assunta est10 like what is shown in other pieces in this collection4 #high4 ,piece of ,silk ,orphrey ,web2 ground1 crimson2 pattern1 the ,coronation1 in heaven1 of the ,blessed ,virgin ,mary1 in yellow4 ,venetian1 #afth century4 #a foot #g inches by #aj inches4 ,this design1 though treated after the tradition of the ,italian schools1 has one peculiarity4 ,on the royal diadem which our ,lord1 who wears1 as ,great ,high ,priest of the new law1 a triple-crowned tiara1 is putting on the head of ,his mother a large star is conspicuously shown2 one of the titles of ,st4 ,mary is 8stella maris10 star of the sea1 which would not be forgotten by a seafaring people like the ,venetians4 #higi4 ,tissue of ,crimson ,silk and ,gold ,thread2 pattern1 the ,blessed ,virgin ,mary in glory1 amid cherubic heads1 and having two angels1 one on each side1 standing on clouds4 ,venetian1 #afth century4 #a foot #d inches by #a foot4 ,the subject1 a favourite one of the time1 is the ,assumption of the ,b4 ,v4 ,mary1 and the tissue was woven entirely for the adornment of liturgical furniture4 #ijdg4 ,cushion1 elaborately wrought by the needle on fine canvas1 and figured with animals1 armorial bearings1 flowers1 and love-knots1 as well as with the letters ,i and ,r royally crowned4 ,scotch1 #agth century4 #aa inches by #h inches4 ,we have on the first large pane a rose tree1 bearing one red rose seeded or1 barbed vert1 and at its foot1 but separating them1 two unicorns argent1 outlined and horned in silver thread2 above them1 and separated by the red rose1 two lions passant1 face to face1 langued and outlined in gold thread2 above the flower a royal crown or1 and two small knots or1 and at each side a white rose slipped2 over each unicorn a gold knot1 and a strawberry proper4 ,beneath this larger shield are three small ones3 the first1 fretty or1 and vert 7but so managed that the field takes the shape of strawberry leaves71 charged with four true-love-knots or1 and in chief vert1 a strawberry branch or wire or1 bearing one fruit proper1 and one flower argent2 the second shield gives us1 on a field azure1 and within an orle of circles linked together on four sides by golden bands1 and charged with strawberry fruit1 and leaf1 and flower proper1 and alternating1 a plume of ,prince of ,wales's feathers argent1 with the quill of the middle feather marked red or gules1 at each of the four corners there is a true-love-knot in gold2 the third small shield is a series of circles outlined in gold1 and filled in with quatrefoils outlined green2 below1 on a large green pane1 a white rose slipped1 with grapes and acorns2 by its side1 the capital letters1 in gold1 ,i and ,r1 with a strawberry and leaf close by each letter1 and above all1 and between two love-knots1 a regal crown4 ,by the sides of this device are several small panes1 exhibiting fanciful patterns of flowers1 c43 but in most of them the true-love-knot as well as the strawberry plant1 in one combination or another1 are the principal elements2 and in one of the squares or panes the ornamentation evidently affects the shape of the capital letter ,s2 upon the other side1 with an orle of knots of different kinds1 is figured a mermaid on the sea1 with a comb in one hand1 and on one side of this pane is shown a high-born dame1 whose fan1 seemingly of feathers1 is very conspicuous4 ,underneath the mermaid are shown1 upon a field vert1 a man with a staff1 amid four rabbits1 each with a strawberry-leaf in its mouth1 and at each far corner a stag4 ,as on the other side1 so here the larger squares are surrounded by smaller ones displaying in their design true-love-knots1 strawberries1 acorns1 roses1 white and red1 and in one pane the combination1 in a sort of net-work1 of the true-love-knot with the letter ,s1 is very striking4 ,in ,scotland several noble families1 whether they spell their name ,fraser or ,frazer1 use1 as a canting charge in their blazon1 the frasier or strawberry1 leafed1 flowered1 and fructed proper2 the buck1 too1 comes in upon or about their armorial shields4 ,and this may have been worked by a member of that family4 #ijdg;,a4 ,silk ,damask2 ground1 white2 pattern1 wreaths of flowers and fruits1 in net-work1 each mesh filled in with two peacocks beneath a large bunch of red centaurea1 or corn-flowers4 ,sicilian1 late #aeth century4 #b feet #c inches by #a foot #h inches4 ,the garlands of the meshes1 made out of boughs of oak bearing red and blue acorns1 have1 at foot1 two eagles red and blue2 at top1 two green parrots beneath a bunch of pomegranates1 the fruit of which is red and cracked1 showing its blue seed ready to fall out4 ,the corn-flower is spread forth like a fan4 ,this stuff shows the mark of ,spanish rule over the two ,sicilies4 #iahb4 ,the ,syon ,monastery ,cope2 ground1 green1 with crimson interlacing barbed quatrefoils enclosing figures of our ,lord1 the ,blessed ,virgin ,mary1 the ,apostles1 with winged cherubim standing on wheels in the intervening spaces1 and the orphrey1 morse1 and hem wrought with armorial bearings1 the whole done in gold1 silver1 and various-coloured silks4 ,english needlework1 #acth century4 #i feet #g inches by #d feet #h inches4 ,illustration3 #iahb4 ,,part ,,of ,,the ,,orphrey ,,of ,,the ,,syon ,,cope4 ,english1 #acth century4 ,vincent ,brooks ,day ,son1 ,lith4 ,this handsome cope1 so very remarkable on account of its comparative perfect preservation1 is one of the most beautiful among the several liturgic vestments of the olden period anywhere to be now found in christendom4 ,if by all lovers of medival antiquity it will be looked upon as so valuable a specimen in art of its kind and time1 for every ,englishman it ought to have a double interest1 showing1 as it does1 such a splendid and instructive example of the 8,opus ,anglicum10 or ,english work1 which won for itself so wide a fame1 and was so eagerly sought after throughout the whole of ,europe during the middle ages4 ,beginning with the middle of this cope1 we have1 at the lowermost part1 ,st4 ,michael overcoming ,satan2 suggested by those verses of ,st4 ,john1 8,and there was a great battle in heaven1 ,michael and his angels fought with the dragon1 and the dragon fought and his angels2 444 and that great dragon was cast out1 that old serpent1 who is called the ,devil and ,satan10 c4--,rev4 xii4 #g1 #i1 to which may be added the words of the ,english ,golden ,legend3 8,the fourth victorye is that that tharchaungell ,mychaell shal have of ,antecryst whan he shall flee hym4 ,than ,michaell the grete prynce shall aryse1 as it is sayd ,danielis xii1 ,he shall aryse for them that ben chosen as an helper and a protectour and shall strongely stande ayenst ,antecryst 444 and at the last he 7,antichrist7 shall mount upon the mount of ,olyvete1 and whan he shall be 444 entred in to that place where our ,lorde ascended ,mychaell shall come and shall flee hym1 of whiche victorye is understonden after saynt ,gregorye that whyche is sayd in thapocalipsis1 the batayll is made in heven10 7fol4 cclxx4 b474 ,as he tramples upon the writhing demon1 the archangel1 barefoot1 and clad in golden garments1 and wearing wings of gold and silver feathers1 thrusts down his throat and out through his neck a lance1 the shaft of which is tipped with a golden cross crosslet1 while from his left arm he lets down an azure shield blazoned with a silver cross4 ,the next quatrefoil above this one is filled in with the ,crucifixion4 ,here the ,blessed ,virgin ,mary is arrayed in a green tunic1 and a golden mantle lined with vair or costly white fur1 and her head is kerchiefed1 and her uplifted hands are sorrowfully clasped2 ,st4 ,john--whose dress is all of gold--with a mournful look1 is on the left1 at the foot of the cross upon which the ,saviour1 wrought all in silver--a most unusual thing1--with a cloth of gold wrapped about ,his loins1 is fastened by three1 not four1 nails4 ,the way in which the ribs are shown and the chest thrown up in the person of our ,lord is quite after old ,english feelings on the subject4 ,in the book of sermons called the 8,festival0 it is said1 with strong emphasis1 how 8,cristes body was drawen on the crosse as a skyn of parchement on a harow1 so that all hys bonys myght be tolde10 fol4 xxxiii4 ,in the highest quatrefoil of all is figured the ,redeemer uprisen1 crowned as a king and seated on a cushioned throne4 ,resting upon ,his knee1 and steadied by ,his left hand1 is the mund or ball representing the earth--the world4 ,curiously enough1 this mund is distinguished into three parts1 of which the larger one--an upper horizontal hemicycle--is coloured crimson 7now faded to a brownish tint71 but the lower hemicycle is divided vertically in two1 of which one portion is coloured green1 the other white or silvered4 ,the likelihood is1 that such markings were meant to show the then only known three parts of our globe2 for if the elements were hereon intended1 there would have been four quarters--fire1 water1 earth1 and heaven2 instead1 too1 of the upper half being crimsoned1 it would have been tinted1 like the heavens1 blue4 ,furthermore1 the symbolism of those days would put1 as we here see1 this mund under the sovereign hand of the ,saviour1 as setting forth the ,psalmist's words1 8,the earth is the ,lord's1 and the fulness thereof1 the world and all that dwell therein20 while its round shape--itself the emblem of endlessness--must naturally bring to mind that everlasting ,being--the ,alpha and the ,omega spoken of in the ,apocalypse--the beginning and the end1 ,who is and ,who was1 and ,who is to come--the ,almighty4 ,stretching forth ,his right arm1 with ,his thumb and first two fingers upraised--emblem of one ,god in three persons--,he is giving ,his blessing to ,his mother4 ,clothed in a green tunic1 over which falls a golden mantle lined with vair or white fur1 she is seated on the throne beside ,him1 with hands upraised in prayer4 ,it ought not to be overlooked1 that while the ,blessed ,virgin ,mary wears ornamented shoes1 our ,lord1 like ,his messengers1 the angels and apostles1 is barefoot4 ,to show that as ,he had said to those whom ,he sent before ,his face1 that they were to carry neither purse1 nor scrip1 nor shoes1 so therefore1 is ,he ,himself here and elsewhere figured shoeless4 ,though already in heaven1 still1 out of reverence towards ,him1 the head of ,his mother is kerchiefed1 as it would have been were she yet on earth and present at the sacred liturgy4 ,john ,beleth1 an ,englishman1 who1 in ,a4,d4 #aafb1 a short century before this cope was worked1 wrote a book upon the ,church ,ritual1 lays it down as an unbending rule that1 while men are to hear the ,gospel bare-headed1 all women1 whatever be their age1 rank1 or condition1 must never be uncovered1 and if a young maiden be so her mother or any other female ought to cast a cloth of some sort over her head2--8,viri1 itaque 444 aperto capite ,evangelium audire debent4444 ,mulieres vero debent audire ,evangelium tecto et velato capite etiamsi sit virgo1 propter pomum vetitum4 ,et si eveniat ut virgo capite sit aperto1 ut velamen non habeat1 necesse est1 ut mater1 aut quvis alia mulier capiti ejus pannum vel simile quippiam imponat40 ,divin4 ,offic4 ,explic4 c4 xxxix4 p4 #ejg4 ,the next two subjects now to be described are--one1 that on the right hand1 the death of the ,blessed ,virgin ,mary2 the other1 to the left1 her burial4 ,to fully understand the traditionary treatment of both1 it would be well to give the words of ,caxton's ,english translation of the 8,golden ,legend10 from the edition 8emprynted at ,london1 in ,fletestrete at ye sygne of ye ,sonne1 by ,wynkyn de ,worde1 in ye yere of our ,lorde ,m4,,ccccxvii10 a scarce and costly work not within easy reach4 8,we fynde in a booke sente to saynt ,johan the evangelys1 or elles the boke whiche is sayd to be apocryphum 444 in what maner the ,assumpcyon of the blessyd vyrgyn saynt ,marye was made 444 upon a daye whan all the apostles were spradde through the worlde in prechynge1 the gloryous vyrgyne was gretely esprysed and enbraced wyth desyre to be wyth her sone ,ihesu ,cryste 444 and an aungell came tofore her with grete lyghte and salewed her honourably as the mother of his ,lorde1 sayenge1 ,all hayle blessyd ,marie4444 ,loo here is a bowe of palme of paradyse1 lady1 444 whiche thou shalte commaunde to be borne tofore thy bere1 for thy soule shall be taken from thy body the thyrde daye nexte folowynge2 and thy ,sone abydeth thee ,his honourable moder4444 ,all the apostles shall assemble this daye to thee and shall make to thee noble exequyes at thy passynge1 and in the presence of theym all thou shalte gyve up thy spyryte4 ,for he that broughte the prophete 7,habacuc7 by an heer from ,judee to ,babylon 7,daniel xiv4 #ce1 according to the ,vulgate7 may without doubte sodeynly in an houre brynge the apostles to thee4444 ,and it happened as ,saynt ,johan the euangelyst preched in ,ephesym the heven sodeynly thondred and a whyte cloude toke hym up and brought hym tofore the gate of the blessyd vyrgyne ,marye at ,jerusalem 7who7 sayd to hym1 444 ,loo ,i am called of thy mayster and my ,god1 444 ,i have herde saye that the ,jewes have made a counseyll and sayd1 let us abyde brethren unto the tyme that she that bare ,jhesu ,crist be deed1 and thenne incontynente we shall take her body and shall caste it in to the fyre and brenne it4 ,thou therefore take this palme and bere it tofore the bere whan ye shall bere my body to the sepulcre4 ,than sayd ,johan1 ,o wolde ,god that all my brethren the apostles were here that we myght make thyn exequyes covenable as it hoveth and is dygne and worthy4 ,and as he sayd that1 all the apostles were ravysshed with cloudes from the places where they preched and were brought tofore the dore of the blessyd vyrgyn ,mary4444 ,and aboute the thyrde houre of the nyght ,jhesu ,crist came with swete melodye and songe with the ordre of aungelles4444 ,fyrst ,jhesu ,crist began to saye1 ,come my chosen and ,i shall set thee in my sete 444 come fro ,lybane my spouse4 ,come from ,lybane4 ,come thou shalte be crowned4 ,and she sayd ,i come1 for in the begynnynge of the booke it is wryten of me that ,i sholde doo thy wyll1 for my spyryte hath joyed in thee the ,god of helth2 and thus in the mornynge the soule yssued out of the body and fledde up in the armes of her sone4444 ,and than the apostles toke the body honourably and layde it on the bere4--,and than ,peter and ,paule lyfte up the bere1 and ,peter began to synge and saye ,israhell is yssued out of ,egypt1 and the other apostles folowed hym in the same songe1 and our ,lorde covered the bere and the apostles with a clowde1 so that they were not seen but the voyce of them was onely herde1 and the aungelles were with the apostles syngynge1 and than all the people was moved with that swete melodye1 and yssued out of the cyte and enquyred what it was4--,and than there were some that sayd that ,marye suche a woman was deed1 and the dyscyples of her sone ,jhesu ,crist bare her1 and made suche melodye4 ,and thenne ranne they to armes and they warned eche other sayenge1 ,come and let us slee all the dysciples and let us brenne the body of her that bare this traytoure4 ,and whan the prynce of prestes sawe that he was all abashed and1 full of angre and wrath sayd1 ,loo1 here the tabernacle of hym that hath troubled us1 and our lygnage1 beholde what glorye he now receyveth1 and in the saynge so he layde his hondes on the bere wyllynge to turne it and overthrowe it to the grounde4 ,than sodeynly bothe his hondes wexed drye and cleved to the bere so that he henge by the hondes on the bere and was sore tormented and wepte and brayed4 ,and the aungelles 444 blynded all the other people that they sawe no thynge4 ,and the prynce of prestes sayd1 saynt ,peter despyse not me in this trybulacyon1 and ,i praye thee to praye for me to our ,lorde4--,and saynt ,peter sayd to hym--,kysse the bere and saye ,i byleve in ,god ,jhesu ,crist4 ,and whan he had so sayd he was anone all hole perfyghtly4--,and thenne the apostles bare ,mary unto the monument 7in the ,vale of ,josaphat outside ,jerusalem7 and satte by it lyke as oure ,lord had commaunded4 ,and at the thyrde daye 444 the soule came agayne to the body of ,marye and yssued gloryously out of the tombe1 and thus was receyved in the hevenly chaumbre1 and a grete company of aungelles with her2 and saynt ,thomas was not there2 and whan he came he wolde not byleve this2 and anone the gyrdell with whiche her body was gyrde came to hym fro the ayre1 whiche he receyved1 and therby he understode that she was assumpte into heven2 and all this it here to fore is sayd and called apocryphum10 c4 ff4 ccxvi1 c4 ,with this key we may easily unlock what1 otherwise1 would lie hidden1 not only about the coronation1 but1 in an especial manner1 the death and burial1 as here figured1 of the ,blessed ,virgin ,mary2 the former of these two is thus represented on the right hand side4 ,in her own small house by the foot of ,mount ,sion1 at ,jerusalem1 is ,christ's mother on her dying bed4 ,four only of the apostles--there would not have been room enough for showing more in the quatrefoil--are standing by the couch upon which she lies1 dressed in a silver tunic almost wholly overspread with a coverlet of gold2 she is bolstered up by a deep purple golden fretted pillow4 ,st4 ,peter is holding up her head1 while by her side stands ,st4 ,paul1 clad1 like ,st4 ,peter1 in a green tunic and a golden mantle2 then ,st4 ,matthew1 in a blue tunic and a mantle of gold1 holding in the left hand his ,gospel1 which begins with the generation of our ,lord as man1 and the pedigree of ,mary ,his mother2 while1 in front of them1 stands ,john1 arrayed in a shaded light-purple tunic1 youthful in look1 and whose auburn hair is in so strong a contrast to the hoary locks of his brethren4 ,on the left-hand side we have her burial4 ,stretched full-length upon a bier1 over which is thrown a pall of green shot with yellow1 lies the ,virgin ,mary1 her hair hanging loose from her head4 ,st4 ,peter1 known by his keys1 ,st4 ,paul1 by his uplifted sword1 are carrying on their shoulders one end of the bier1 in front2 behind1 in the same office1 are ,st4 ,andrew bringing his cross with him1 and some other apostle as his fellow4 ,after them walks ,st4 ,thomas1 who1 with both his uplifted hands1 is catching the girdle as it drops to him from above1 where1 in the skies1 her soul1 in the shape of a little child1 is seen standing upright with clasped hands1 within a large flowing sheet held by two angels who have come from heaven to fetch it thither4 ,right before the funeral procession is a small ,jew1 who holds in one hand a scabbard1 and with the other is unsheathing his weapon4 ,by the side of the bier stand two other ,jews also small in size--one1 the high priest4 ,one of them has both his arms1 the priest but one1 all twisted and shrunken1 stretched forward on the bier1 as if they wanted to upset it2 while the latter holds in one of his wasted hands the green bough of the palm-tree1 put into it by ,st4 ,john4 ,with regard to ,st4 ,thomas and the girdle1 this cope1 if not the earliest1 is among the earlier works upon which that part of the legend is figured1 though after a somewhat different manner to the one followed in ,italy1 where1 as is evident from several specimens1 in this collection1 it found such favour4 ,below the burial1 we have our ,lord in the garden1 signified by the two trees 7,john xx4 #ag74 ,still wearing a green crown of thorns1 and arrayed in a golden mantle1 our ,lord in ,his left hand holds the banner of the resurrection1 and with ,his right bestows ,his benediction on the kneeling ,magdalene1 who is wimpled1 and wears a mantle of green shot yellow1 over a light purple tunic4 ,below1 but outside the quatrefoil1 is a layman clad in gold upon his knees1 and holding a long narrow scroll1 bearing words which cannot now be satisfactorily read4 ,lowermost of all we see the apostle ,st4 ,philip with a book in the left hand1 but upon the right1 muffled in a large towel wrought in silver1 three loaves of bread1 done partially in gold1 piled up one on the other1 in reference to our ,lord's words 7,john vi4 #e71 before the miracle of feeding the five thousand4 ,at the left is ,st4 ,bartholomew holding a book in one hand1 in the other the flaying knife4 ,a little above him1 ,st4 ,peter with his two keys1 one gold1 the other silver2 and somewhat under him1 to the right1 is ,st4 ,andrew with his cross4 ,on the other side of ,st4 ,michael and the dragon is ,st4 ,james the ,greater--sometimes called of ,compostella1 because he lies buried in that ,spanish city--with a book in one hand1 and in the other a staff1 and slung from his wrist a wallet1 both emblems of pilgrimage to his shrine in ,galicia4 ,in the next quatrefoil above stands ,st4 ,paul with his usual sword1 emblem alike of his martyrdom1 and of the ,spirit1 which is the word of ,god 7,ephes4 vi4 #ag71 and a book2 lower1 to the right1 ,st4 ,thomas with his lance of martyrdom and a book2 and still further to the right1 ,st4 ,james the ,less with a book and the club from which he received his death-stroke 7,eusebius1 book ii4 c4 #bc74 ,just above is our ,saviour clad in a golden tunic1 and carrying a staff overcoming the unbelief of ,st4 ,thomas4 ,upon his knees that apostle feels1 with his right hand held by the ,redeemer1 the spear-wound in ,his side 7,john xx4 #bg74 ,as at the left hand1 so here1 quite outside the sacred history on the cope1 we have the figure of an individual probably living at the time the vestment was wrought4 ,the dress of the other shows him to be a layman2 by the shaven crown upon his head1 this person must have been a cleric of some sort3 but whether monk1 friar1 or secular we cannot tell1 as his gown has become quite bare1 so that we see nothing now but the lower canvas with the lines drawn in black for the shading of the folds4 ,like his fellow over against him1 this churchman holds up a scroll bearing words which can no longer be read4 ,when new this cope could show1 written in tall gold letters more than an inch high1 an inscription now cut up and lost1 as the unbroken word 8,ne0 on one of its shreds1 and a solitary 8,v0 on another1 are all that remains of it1 the first on the lower right side2 the second1 in the like place1 to the left4 ,though so short1 the ,latin word leads us to think that it was the beginning of the anthem to the seven penitential psalms1 8,ne reminiscaris1 ,domine1 delicta nostra1 vel parentum nostrorum2 neque vindictam sumas de peccatis nostris10 a suitable prayer for a liturgical garment1 upon which the mercies of the ,great ,atonement are so well set forth in the ,crucifixion1 the overthrow of ,antichrist1 and the crowning of the saints in heaven4 ,in its original state it could give us1 not1 as now1 only eight apostles1 but their whole number4 ,even as yet the patches on the right-hand side afford us three of the missing heads1 while another patch to the left shows us the hand with a book1 belonging to the fourth4 ,the lower part of this vestment has been sadly cut away1 and reshaped with shreds from itself2 and perhaps at such a time were added its present heraldic orphrey1 morse1 and border1 perhaps some fifty years after the embroidering of the other portions of this invaluable and matchless specimen of the far-famed 8,opus ,anglicum10 or ,english needlework4 ,the early writers throughout ,christendom1 ,greek as well as ,latin1 distinguished 8nine choirs0 of angels1 or three great hierarchies1 in the upper of which were the 8cherubim1 or seraphim1 and thrones20 in the middle one1 the 8dominations1 virtues1 and powers20 in the lower hierarchy1 the 8principalities1 angels1 and archangels40 ,now1 while looking at the rather large number of angels figured here1 we shall find that this division into three parts1 each part again containing other three1 has been accurately observed4 ,led a good way by ,ezekiel 7i471 but not following that prophet step by step1 our medival draughtsmen found out for themselves a certain angel form4 ,to this they gave a human shape having but one head1 and that of a comely youth1 clothing him with six wings1 as ,isaias told 7vi4 #b7 of the seraphim1 and in place of the calf's cloven hoofs1 they made it with the feet of man2 instead of its body being full of eyes1 this feature is not unoften to be perceived upon the wings1 but oftenest those wings themselves are composed of the bright-eyed feathers borrowed from the peacock's tail4 ,those eight angels standing upon wheels1 and so placed that they are everywhere by those quatrefoils wherein our ,lord's person comes1 may be taken to represent the upper hierarchy of the angelic host2 those other angels--and two of them only are entire--not upon wheels1 and far away from our ,lord1 one of the perfect ones under ,st4 ,peter1 the other under ,st4 ,paul1 no doubt belong to the second hierarchy2 while those two having but one1 not three1 pair of wings1 the first under the death1 the other under the burial of the ,virgin1 both of them holding up golden crowns1 one in each hand1 represent1 we may presume1 the lowest of the three hierarchies4 ,all of them1 like our ,lord and ,his apostles1 are barefoot4 ,all of them have their hands uplifted in prayer4 ,for every lover of ,english heraldic studies this cope1 so plentifully blazoned with armorial bearings1 will have an especial value1 equal to that belonging to many an ancient roll of arms4 ,to begin with its orphrey3 that broad band may1 in regard to its shields1 be distinguished into three parts1 one that falls immediately about the neck of the cleric wearing this vestment1 and the other two portions right and left4 ,in this first or middle piece the shields1 four in number1 are of a round shape1 but1 unlike the square ones1 through both the other two side portions1 are not set upon squares alternately green and crimson 7faded to brown7 as are the quatrefoils on the body of the cope4 ,taking this centre-piece first1 to the left we have-- #f4 ,checky azure and or1 a chevron ermine4 ,,warwick4 #g4 ,quarterly #a and #d gules1 a three-towered castle or2 #b and #c argent1 a lion rampant azure4 ,,castile ,,and ,,leon4 #h4 ,vair or and gules1 within a bordure azure1 charged with sixteen horse-shoes argent4 ,,ferrers4 #i4 ,azure1 three barnacles or1 on a chief ermine a demi-lion rampant gules4 ,,geneville4 ,these four shields are round1 as was said before1 and upon a green ground1 having nothing besides upon it4 ,all the rest composing this orphrey are squares of the diamond form1 and put upon a grounding alternately crimson and green2 on the crimson are two peacocks and two swans in gold2 on the green1 four stars of eight rays in gold voided crimson4 ,now1 beginning at the furthermost left side1 we see these blazons3-- #a4 ,ermine1 a cross gules charged with five lioncels statant gardant or4 ,,everard4 #b4 ,same as #h4 ,,ferrers4 #c4 ,gules1 the ,holy ,lamb argent with flag or1 between two stars and a crescent or4 ,,badge ,,of ,,the ,,knights ,,templars4 #d4 ,same as #b4 ,,ferrers4 #e4 ,same as #a4 ,,everard4 #aj4 ,checky azure and or1 a bend gules charged with three lioncels passant argent4 ,,clifford4 #aa4 ,quarterly argent and gules2 #b and #c fretty or1 over all a bend sable4 ,,spencer4 #ab4 ,the same as #c1 but the ,lamb is or1 the flag argent4 ,,badge ,,of ,,the ,,knights ,,templars4 #ac4 ,same as #aa4 ,,spencer4 #ad4 ,same as #aj4 ,,clifford4 ,just below the two middle shields are four nicely-formed loops1 through which might be buttoned on to the cope the moveable hood--or different hoods1 according to the festival1 and figured with the subject of the feast--now lost4 ,on the other edge of the orphrey1 to the left1 are seen other three loops1 like the former1 made of thick gold cord1 by which was made fast the morse that is also blazoned with ten coats1 as follows3-- #a4 ,gules1 a large six-pointed star argent voided with another star azure voided argent voided gules1 between four cross-crosslets or4 #b4 ,gules1 an eagle displayed or4 ,,limesi or ,,lindsey4 #c4 ,,castile ,,and ,,leon4 #d4 ,gules1 a fess argent between three covered cups or4 ,,le ,,botiler4 #e4 ,,castile ,,and ,,leon4 #f4 ,,ferrers4 #g4 ,azure1 a cross argent between four eagles 787 displayed argent 7874 #h4 ,,spencer4 #i4 ,same as #b4 ,,lindsey4 #aj4 ,,geneville4 ,the ground is checky azure and or upon which these small shields in the morse are placed4 ,on the narrow band1 at the hem1 the same alternation of green and crimson squares1 as a ground for the small diamond-shaped shields1 is observed1 as in the orphrey2 and the blazons are1 beginning at the left-hand side3-- #a4 ,barry of ten azure and or imbattled1 a fess gules sprinkled with four-petaled flowers seeded azure4 #b4 ,or1 charged with martlets gules1 and a pair of bars gemelles azure4 #c4 ,,ferrers4 #d4 ,,castile ,,and ,,leon4 #e4 ,azure1 a cross or4 ,,sheldon4 #f4 ,azure1 a lion rampant or1 within a bordure gules charged with eight water-bougets argent4 #g4 ,,warwick4 #h4 ,,spencer4 #i4 ,azure1 a bend between six birds or4 ,,monteney of ,essex4 #aj4 ,gules1 sprinkled with cross-crosslets or1 and a saltire verry potent argent and azure4 ,,champernoun4 #aa4 ,,geneville4 #ab4 ,,england4 #ac4 ,checky argent and azure1 on a bend gules1 three garbs 787 or escallop-shells 787 or4 #ad4 ,or1 on a fess gules between six fleurs-de-lis three and three gules1 three fleurs-de-lis or4 #ae4 ,gules1 a lion rampant argent1 within a bordure azure1 charged with eight water-bougets or4 #af4 ,checky or and gules1 on a bend azure1 five horse-shoes argent4 #ag4 ,same as #a4 #ah4 ,same as #b4 #ai4 ,same as #c4 ,,ferrers4 #bj4 ,same as #aj4 ,,champernoun4 #ba4 ,same as #aj in the orphrey4 ,,clifford4 #bb4 ,same as #h4 ,,spencer4 #bc4 ,azure1 between six escallop-shells 787 three and three1 a bend or4 ,,tyddeswall4 #bd4 ,same as #f4 #be4 ,paly of ten argent and azure1 on a bend gules1 three escallop-shells 787 or4 ,a coat of ,,grandison4 #bf4 ,gules1 a lion rampant or4 ,,fitz ,,alan4 #bg4 ,barry argent and azure1 a chief checky or and gules4 #bh4 ,,geneville4 #bi4 ,party per fess azure and or1 a cross fusil counterchanged4 #cj4 ,argent1 four birds gules1 between a saltire gules1 charged with nine bezants4 ,,hampden 7874 #ca4 ,azure1 five fusils in fesse or4 ,,percy4 #cb4 ,same as #a1 on the orphrey4 ,,everard4 #cc4 ,same as #f1 on the orphrey4 ,,warwick4 #cd4 ,gules1 three lucies hauriant in fess between six cross-crosslets or4 ,,lucy4 #ce4 ,paly of ten or and azure1 on a fess gules1 three mullets of six points argent1 voided with a cross azure4 ,,chambowe 7874 #cf4 ,party per fess gules1 fretted or1 and ermine4 ,,ribbesford 7874 #cg4 ,same as #i4 #ch4 ,or1 on a cross gules1 five escallop-shells argent4 ,,bygod4 #ci4 ,barry1 a chief paly and the corners gyronny1 or and azure1 an inescutcheon ermine4 ,,roger ,,de ,,mortimer4 #dj4 ,same as #f4 #da4 ,party per fess1 argent three eight-petaled flowers formed as it were out of a knot made cross-wise1 with two flowers at the end of each limb1 and azure with a string of lozenges like a fess argent1 and three fleurs-de-lis 787 two and one or4 #db4 ,gules1 a fess checky argent and azure1 between twelve cross crosslets or4 ,possibly one of the many coats taken by ,,le ,,botiler4 #dc4 ,azure1 three lucies hauriant in fess between six cross-crosslets or4 ,,lucy4 #dd4 ,ermine1 on a chevron gules1 three escallop-shells or4 ,,golbore or ,,grove4 #de4 ,gyronny of twelve or and azure4 ,,de ,,bassingburn4 ,besides their heraldry1 squares upon which are shown swans and peacocks wrought at each corner1 afford1 in those birds1 objects of much curious interest for every lover of medival symbolism under its various phases4 ,in the symbolism of those times1 the star and the crescent1 the peacock and the swan1 had1 each of them1 its own several figurative meanings4 ,by the first of these emblems was to be understood1 according to the words1 in ,numbers xxiv4 #ag1 of ,balaam's prophecy1--8a star shall arise out of ,jacob10--our ,saviour1 who says of ,his divine self1 ,apocalypse xxii4 #af1 8,i am the bright and morning star40 ,by inference1 the star not only symbolized our ,lord ,himself1 but ,his ,gospel--,christianity--in contradistinction to ,mahometanism1 against which the crusades had been but lately carried on4 ,the star of ,bethlehem1 too1 was thus also brought before the mind with all its associated ideas of the ,holy ,land4 ,the crescent moon1 on the shields with the ,holy ,lamb1 represents the ,church1 for the reason that small at first1 but getting her light from the true ,sun of justice1 our ,lord1 she every day grows larger1 and at the end of time1 when all shall believe in her1 will at last be in her full brightness4 ,this symbolism is set forth1 at some length1 by ,petrus ,capuanus as quoted by ,dom 7now ,cardinal7 ,pitra in his valuable 8,spicilegium ,solesmense10 t4 ii4 #ff4 ,but for an ,english medival authority on the point1 we may cite our own ,alexander ,neckam1 born ,a4,d4 #aaeg at ,st4 ,albans1 and who had as a foster-brother ,king ,richard of the ,lion-,heart4 ,in his curious work1 8,de ,naturis ,rerum10 not long since printed for the first time1 and published by the authority of ,her ,majesty's treasury1 under the direction of the ,master of the ,rolls1 ,neckam thus writes3--8,per solem item ,christus1 verus sol justici plerumque intelligitur2 per lunam autem ecclesia1 vel qucunque fidelis anima4 ,sicut autem luna beneficium lucis a sole mendicat1 ita et fidelis anima a ,christo qui est lux vera40 ,p4 #ec4 ,not always was the peacock taken to be the unmitigated emblem of pride and foolish vanity4 ,osmont the cleric1 in his 8,volucraire1 or ,book of ,birds10 after noticing its scream instead of song1 its serpent-like shape of head that it carries so haughtily1 but lowers quite abashed as it catches a glimpse at its ugly feet1 and its garish plumage with the many bright-eyed freckles on its fan-like tail which it loves to unfold for admiration1 draws these comparisons4 ,as the peacock affrights us by its cry1 so does the preacher1 when he thunders against sin startle us into a hatred of it2 if the step of the bird be so full of majesty1 with what steadiness ought a true ,christian fearlessly tread his narrow path4 ,a man may perhaps find a happiness1 nay1 show a pride in the conviction of having done a good deed1 perhaps may sometimes therefore carry his head a trifle high1 and1 strutting like the peacock1 parade his pious works to catch the world's applause2 as soon as he looks into ,holy ,writ and there learns the weakness1 lowliness1 of his own origin1 he too droops his head in all humility4 ,those eye-speckled feathers in its plumage warn him that never too often can he have his eyes wide open1 and gaze inwardly upon his own heart and know its secret workings4 ,thus spoke an ,anglo-,norman writer4 ,about the swan an ,englishman1 our ,alexander ,neckam1 says3--8,quid quod cygnus in tate tenella fusco colore vestitus esse videtur1 qui postmodum in intentissimum candorem mutatur8 ,sic nonnulli caligine peccatorum prius obfuscati1 postea candoris innocenti veste spirituali decorantur40--,de ,naturis ,rerum1 p4 #aja4 ,here our countryman hands us the key to the symbolic appearance of the swan upon this liturgical garment2 for1 as while a cygnet1 its feathers are always of a dusky hue1 but when the bird has grown up its plumage changes into the most intensely white1 just so1 some people who are at first darkened with the blackness of sin1 in after days become adorned with the garb of white innocence4 ,besides their ecclesiastical meanings these same symbols had belonging to them a secular significance4 ,found upon a piece of stuff quite apart from that of the cope itself1 and worked for the adornment of that fine vestment after a lapse of many years1 made up too of an ornamentation the whole of which is heraldic and thus bringing to mind worldly knights and their blazons and its age's chivalry1 it is easy to find out for it an adaptation to the chivalric notions and customs of those times4 ,the ,bethlehem star overtopping the ,islam badge of the crescent moon showed forth the wishes of every one who had been or meant to be a crusader1 or rather more1 not merely of our men at arms but of every true believer throughout ,christendom whose untiring prayers were that the ,holy ,land might be wrested from the iron hand of the ,mahometan4 ,at great national festivities and solemn gatherings of the aristocracy1 not the young knight alone then newly girt1 but the grey-haired warrior would often1 in that noble presence1 bind himself by vow to do some deed of daring1 and swore it to heaven1 and the swan1 the pheasant1 or the peacock as the bird of his choice1 was brought with a flourish of trumpets1 and amid a crowd of stately knights waiting on a bevy of fair young ladies1 and set before him4 ,this sounds odd at this time of day2 not so did it in medival times1 when those birds were looked upon with favour on account of the majestic gracefulness of their shape1 or the sparkling beauty of their plumage4 ,it must not be forgotten that this orphrey was blazoned by ,english hands in ,england1 and while all the stirring doings of our first ,edward were yet fresh in our people's remembrance4 ,that king had been and fought in the ,holy ,land against the ,saracens4 ,at his bidding1 towards the end of life1 a scene remarkable even in that period of royal festive magnificence1 took place1 when he himself1 in the year #acjf1 girded his son1 afterwards ,edward ,,ii1 with the military belt in the palace of ,westminster1 and then sent him to bestow the same knightly honour1 in the church of that abbey1 upon the three hundred young sons of the nobility1 who had been gathered from all parts of the kingdom to be his companions in the splendours of the day4 ,but that grand function was brought to an end by a most curious yet interesting act2 to the joyous sounds of minstrelsy came forwards a procession1 bearing along a pair of swans confined in a net1 the meshes of which were made of cords fashioned like reeds and wrought of gold4 ,these birds were set in solemn pomp before the king2 and there and then ,edward swore by the ,god in heaven and the swans that he would go forth and wage war against the ,scots3 ,matthew ,westminster1 p4 #ded4 ,no wonder1 then1 that along with the star and crescent we find the knightly swan and peacock mingled in the heraldry of the highest families in ,england1 wrought upon a work from ,english hands1 during the fourteenth century4 ,a long hundred years after this elaborate orphrey was worked we find that ,dan ,john ,lydgate1 monk of ,bury ,st4 ,edmund's1 in his poem called 8,all stant in chaunge like a mydsomer ,rose10 upon the fickleness of all earthly things1 while singing of this life's fading vanities1 counts among them-- 8,vowis of pecok1 with all ther proude chere40 ,,minor ,,poems1 ed4 ,halliwell for ,percy ,society1 p4 #be4 ,to the wild but poetic legend of the swan and his descendants1 we have already alluded in our ,introduction4 ,a word or two now upon the needlework1 how it was done1 and a certain at present unused mechanical appliance to it after it was wrought1 so observable upon this vestment1 lending its figures more effect1 and giving it1 as a teaching example of embroidery1 much more value than any foreign piece in this numerous collection4 ,looking well into this fine specimen of the ,english needle1 we find that1 for the human face1 all over it1 the first stitches were begun in the centre of the cheek1 and worked in circular1 not straight lines1 into which1 however1 after the middle had been made1 they fell1 and were so carried on through the rest of the fleshes4 ,after the whole figure had thus been wrought2 then with a little thin iron rod ending in a small bulb or smooth knob slightly heated1 were pressed down those spots upon the faces worked in circular lines1 as well as that deep wide dimple in the throat especially of an aged person4 ,by the hollows thus lastingly sunk1 a play of light and shadow is brought out that1 at a short distance1 lends to the portion so treated a look of being done in low relief4 ,upon the slightly-clothed person of our ,lord this same process is followed in a way that tells remarkably well2 and the chest with the upper part of the pelvis in the figure of our ,saviour overcoming ,thomas's unbelief1 shows a noteworthy example of the medival knowledge of external anatomy4 ,we must not1 however1 hide from ourselves the fact that the edges1 though so broad and blunt1 given by such a use of the hot iron to parts of an embroidery1 expose it somewhat to the danger of being worn out more in those than other portions which soon betray the damage by their thread-bare dingy look1 as is the case in the example just cited4 ,the method for filling in the quatrefoils1 as well as working much of the drapery on the figures1 is remarkable for being done in a long zigzag diaper-pattern1 and after the manner called in ancient inventories1 8opus plumarium10 from the way the stitches overlie each other like the feathers on a bird4 ,the stitchery on the armorial bearings is the same as that now followed in so many trifling things worked in wool4 ,the canvas for every part of this cope is of the very finest sort2 but oddly enough1 its crimson canvas lining is thick and coarse4 ,what constituted1 then1 the characteristics of the 8opus ,anglicum10 or ,english work1 in medival embroidery were1 first1 the beginning of the stitchery in certain parts of the human figure--the face especially--in circular lines winding close together round and round2 and1 in the second place1 the sinking of those same portions into permanent hollows by the use of a hot iron4 ,a word or two now about the history of this fine cope4 ,in olden days not a town1 hardly a single parish1 throughout ,england1 but had in it one or more pious associations called 8gilds10 some of which could show the noblest amongst the layfolks1 men and women1 and the most distinguished of the clergy in the kingdom1 set down upon the roll of its brotherhood1 which often grew up into great wealth4 ,each of these gilds had1 usually in its parish church1 a chapel1 or at least an altar of its own1 where1 for its peculiar service1 it kept one if not several priests and clerics1 provided1 too1 with every needful liturgical appliance1 articles of which were frequently the spontaneous offering of individual brothers1 who sometimes clubbed together for the purpose of thus making their joint gift more splendid4 ,now it is most remarkable that upon this cope1 and quite apart from the sacred story on it1 we have two figures1 that to the left1 pranked out in the gay attire of some rich layman2 on the right1 the other1 who must be an ecclesiastic from the tonsure on his head2 each bears an inscribed scroll in his hand1 and both are in the posture of suppliants making offerings4 ,this cleric and this layman may have been akin to one another1 brothers1 too1 of the same gild for which they at their joint cost got this cope worked and gave to it4 ,but where was this gild itself8 ,among the foremost of our provincial cities once was reckoned ,coventry4 ,its ,corpus ,christi plays or mysteries1 illustrated by this embroidery1 enjoyed such a wide-spread fame that for the whole eight days of their performance1 every year1 they drew crowds of the highest and the gentlest of the land far and near1 as the 8,paston ,letters0 testify1 to see them2 its gild was of such repute that our nobility--lords and ladies--our kings and queens1 did not think it anywise beneath their high estate to be enrolled among its brotherhood4 ,besides many other authorities1 we have one in that splendid piece of ,english tapestry--figured with ,henry ,,vi1 ,cardinal ,beaufort1 ,humphrey1 ,duke of ,gloucester1 and other courtiers1 on the left or men's side1 and on the women's1 ,queen ,margaret1 the ,duchess of ,buckingham1 and other ladies1 most of them on their knees1 and all hearing mass--still hanging on the wall of the dining hall of ,st4 ,mary's gild1 of which that king1 with his queen and all his court became members2 and at whose altar1 as brethren1 they heard their service1 on some ,sunday1 or high festival1 which they spent at ,coventry4 ,taking this old city as a centre1 with a radius of no great length1 we may draw a circle on the map which will enclose ,tamworth1 tower and town1 ,chartly ,castle1 ,warwick1 ,charlcote1 ,althorp1 c4 where the once great houses of ,ferrers1 ,beauchamp1 ,lucy1 and ,spencer held1 and some of them yet hold1 large estates2 and from being the owners of broad lands in its neighbourhood1 their lords would1 in accordance with the religious feeling of those times1 become brothers of the famous gild of ,coventry2 and on account of their high rank1 find their arms emblazoned upon the vestments belonging to their fraternity4 ,that such a pious queen as the gentle ,eleanor1 our ,first ,edward's first wife1 who died ,a4,d4 #abij1 should have1 in her lifetime1 become a sister1 and by her bounties made herself to be gratefully remembered after death1 is very likely1 so that we may with ease account for her shield--,castile and ,leon--as well as for the shields of the other great families we see upon the orphrey1 being wrought there as a testimonial that1 while1 like many others1 they were members1 they also had been munificent benefactors to the association4 ,a remembrance of brotherhood for those others equally noble1 but less generous in their benefactions1 may be read in those smaller shields upon the narrow hem going along the lower border of this vestment4 ,the whole of it must have taken a long1 long time in the doing2 and the probability is that it was worked by the nuns of some convent which stood in or near ,coventry4 ,upon the banks of the ,thames1 at ,isleworth1 near ,london1 in the year #adad1 ,henry ,v4 built1 and munificently endowed1 a monastery to be called 8,syon10 for nuns of ,st4 ,bridget's order4 ,among the earliest friends of this new house was a ,master ,thomas ,graunt1 an official in one of the ecclesiastical courts of the kingdom4 ,in the ,syon nuns' martyrologium--a valuable ,,ms4 lately bought by the ,british ,museum--this churchman is gratefully recorded as the giver to their convent of several precious ornaments1 of which this very cope seemingly is one4 ,it was the custom for a gild1 or religious body1 to bestow some rich church vestment upon an ecclesiastical advocate who had befriended it by his pleadings before the tribunals1 and thus to convey their thanks to him along with his fee4 ,after such a fashion this cope could have easily found its way1 through ,dr4 ,graunt1 from ,warwickshire to ,middlesex4 ,at the beginning of ,elizabeth's reign it went along with the nuns as they wandered in an unbroken body through ,flanders1 ,france1 and ,portugal1 where they halted4 ,about sixty years ago it came back again from ,lisbon to ,england1 and has found a lasting home in the ,south ,kensington ,museum4 #aig4 ,web for ,orphreys2 ground1 crimson silk2 design1 the ,assumption1 in yellow silk and gold thread4 ,florentine1 #aeth century4 #b feet #b inches by #a foot #b inches4 ,the same sort of stuff frequently occurs in this collection1 and the present specimen1 which consists of two breadths sewed together1 is the same as the one fully described in ,no4 #djei4 ,in its present shape it may have served as a back hanging to a little praying-desk in a bed-room4 #aih4 ,a ,crimson ,velvet ,stole1 with crosses and fringes of green silk4 ,spanish1 #afth century4 #f feet #h inches by #b inches1 and #e inches4 ,the pieces of crimson velvet out of which this stole was made1 not so many years ago1 are of a deep warm tone of colour1 and soft rich pile2 both so peculiar to the looms of ,spain4 ,the velvet must have been in use for church purposes before this stole was made out of it4 #abjg4 ,a ,crimson ,velvet ,stole1 with crosses of poor gold lace1 and fringes of crimson silk4 ,spanish1 #afth century4 #g feet #g inches by #c inches1 and #h inches4 ,like the foregoing stole in quality of velvet4 #bed-ee4 ,two ,crimson ,velvet ,maniples1 with crosses and fringes of green4 ,spanish1 #afth century4 #a foot #f inches by #c inches1 and #e inches4 ,these were to match the like kind of stole4 #ebd4 ,a ,crimson ,velvet ,maniple1 with crosses of gold and fringes of crimson silk4 ,spanish1 #afth century4 #a foot #e inches by #c inches1 and #f inches4 #gcc4 ,a ,piece of ,raised ,velvet2 ground1 yellow silk2 design1 in velvet pile1 pomegranates1 and conventional floriations1 enclosing an oval with a quatrefoil in the middle4 ,spanish1 late #afth century4 #a foot #f inches by #g inches1 and by #a foot #b inches4 ,this raised velvet must have been for household decoration1 and may have been wrought at ,almeria4 #ijb4 ,cut-,work for furniture purposes2 ground1 yellow silk2 design1 vases of flowers formed in green velvet2 the flowers in places embroidered in white and light blue floss-silk4 ,french1 #agth century4 #i feet #i inches by #a foot #i inches4 ,this specimen well shows the way in which such strips for pilasters were wrought4 ,at first the green velvet seems the ground1 which1 however1 is of amber yellow silk1 but the velvet is so cut out and sewed on as to give the vases and their flowers the right form1 and sometimes is made to come in as foliage4 ,the flowers1 mostly fleurs-de-lis and tulips1 are well finished in white silk1 shaded either by light blue in the first1 or pink in the second instance1 where1 however1 there are only five instead of six petals2 and the whole is edged in its design with yellow silk cord4 #iaj4 ,an ,altar ,frontal1 silk and thread2 ground1 yellow2 design1 vases and conventional artichokes1 amid floriations1 all in crimson silk1 and trimmed at the lower side with cut-work1 in a flower pattern1 of various-coloured silks1 edged with yellow cord4 ,italian1 early #agth century4 #f feet by #b feet #h inches4 ,the silk in this stuff is small in comparison with the thread1 which1 however1 is so well covered as to be kept quite out of sight in the pattern4 ,the fringe1 six inches in depth1 is left quite open4 #iaa4 ,a ,bed-,quilt2 ground1 green silk2 design1 in the middle the goddess ,flora1 around her large flowers and branches1 amid which are birds 7doves871 and hares climbing up the boughs1 all in floss-silk of very showy colours1 with a deep border of flowers1 worked upon dark net4 ,italian1 #ahth century4 #h feet #c inches by #f feet4 ,such coverlets were1 as they still are1 used for throwing over beds in the day-time4 ,the flowers1 both on the silk and the netting1 are so embroidered as to show the same1 like ,east ,indian needlework1 on both sides4 ,the love for lively colour1 not to say garishness1 was such as to lead the hand that wrought this piece to render the branches of some of the parts parti-coloured in white and crimson4 ,other specimens of embroidered net may be seen at ,nos4 #fbc1 #fbd1 #ddfb4 ,illustration ,,part ,,the ,,second4 ,tapestry4 #abif4 ,pieces of ,tapestry ,hanging1 figured with poetic pastoral scenes4 ,flemish1 perhaps wrought at ,audenaerde1 in the first half of the #afth century4 #bi feet #d inches by #aa feet4 ,soon after the early part of the #afth century1 there sprang up throughout ,europe a liking for pastoral literature as seen in ,virgil's eclogues3 poets sung their dreams of the bliss to be found in rustic life1 in which sports and pastimes1 amid well-dressed revelry and music1 with nought of toil or drudgery belonging to it1 formed the yearly round2 and in summer tide1 nobles and their ladies loved to rove the woods and fields1 and play at gentle shepherdism4 ,how such frolics were carried out we learn from the tapestry before us1 which1 in many of its features1 is near akin to those low reliefs of the same subject that adorn the walls in the court-yard of the curious and elaborately ornamented ,hotel de ,bourgtheroud1 at ,rouen4 ,at the left-hand side1 lying on a flowery bank1 is a gentleman shepherd1 whose broad-toed shoes and thick cloth leggings1 fastened round the knees and about the ancles1 are rather conspicuous4 ,on the brim of his large round white hat is a sort of square ticket1 coloured4 ,from his waist hangs a white satchel1 bearing outside various appliances1 such as countrymen want4 ,over him stands1 with a tall spud in her hands1 a youthful lady dressed in a scarlet robe1 and wearing her satchel by her side1 a thin gauze cap1 not a hat1 is on her head1 and with her hand upraised she seems to be giving emphasis to what she says to her friend upon the ground4 ,in the middle of this piece is a group1 consisting of four characters1 all of whom are playing at some game of forfeits4 ,a young lady clad in blue satin1 with the usual rustic pouch slung at her side1 is sitting on the flowery grass1 with her hands on the shoulders of a youth at her feet1 and hiding his face in her lap4 ,standing over him and about to strike his open palm is another youth in a blue tunic turned up with red1 and holding a spud4 ,behind the blindfolded youth stands a young lady1 whose flaxen locks fall from under a broad-brimmed crimson hat1 upon her shoulders over her splendid robe1 the crimson ground of which is nearly hidden by the broad diapering of gold most admirably shown upon it4 ,in the other corner1 to the right1 is a lady1 kerchiefed and girded with her rustic wallet1 with both hands grasping a man1 who seems as if he asked forgiveness4 ,overhead is a swineherd leading a pig1 and going towards a farm-labourer who is making faggots2 further on is another clown1 hard at work1 with his coat thrown down by him on the ground1 lopping trees2 and last of all1 a gentleman and lady1 both clad in the costume of the first half of the sixteenth century4 ,these groups on the high part of the canvas are evidently outside the subject of the games below1 and are merely passers by4 ,all about the field are seen grazing sheep2 and to the right1 a golden pheasant on the foreground is so conspicuous as to lead to the thought that it was placed there to tell1 either the name of the noble house for which this beautifully-wrought and nicely-designed tapestry was made1 or of the artist who worked it4 ,in a second1 but much smaller pane of tapestry1 the same subject is continued4 ,upon the flowery banks of a narrow streamlet sit a lady and a little boy1 bathing their feet in its waters4 ,a gentleman--a swain for the nonce--on his bended knee1 holds up triumphantly one of the lady's stockings over the boy's head4 ,just above and striding towards her comes another gentleman-shepherd1 with both his hands outstretched as if in wonderment1 over whom we find a real churl in the person of a shepherd playing a set of double pipes--the old ,french 8flahuter deux dois0--to the no small delight of a little dog by his side4 ,serving as a background to this group1 we have a comfortable homestead amid trees4 ,somewhat to the right and lower down1 over a brick arch leans a lady1 to whom a gaily-dressed man is offering money or a trinket1 which he has just drawn forth from his open gipcire hanging at his girdle4 ,below sits a lady arrayed in a white robe1 the skirts of which she has drawn and folded back upon her lap to show her scarlet petticoat4 ,she is listening to a huntsman pranked out with a belt strung with little bells2 falling from his girdle hangs in front a buglehorn1 and his left hand holds the leash of his dog with a fine collar on4 ,over this spruce youth is an unmistakable real field labourer with a ,flemish hotte81 or wooden cradle1 filled with chumps and sticks1 upon his back2 and before him walk two dogs1 one of which carries a pack or cloth over his shoulders4 ,still higher up is a wind-mill1 toward which a man bearing a sack is walking4 ,in both these pieces1 which are fellows1 and wrought for the hangings of the same chamber1 the drawing of the figures1 with the accessories of dress1 silks1 and even field-flowers1 is admirable1 and the grouping well managed3 altogether1 they are valuable links in the chain for the study and illustration of the ancient art of tapestry4 #abig4 ,piece of ,tapestry ,hanging2 ground1 green sprinkled with flowers1 and sentence-bearing scrolls2 design1 steps in a religious life1 figured in five compartments4 ,west ,german1 late #aeth century4 #ab feet by #b feet #aj inches4 #a4 ,a young well-born maiden1 with a narrow wreath about her unveiled head1 and dressed in pink1 is saying her prayers kneeling on the flowery green ground1 with these words traced on the scrolls twined gracefully above her1--8,das wir ,maria kindt in trew mage werden so 444 t ich myn gnade 444 n af erden20 8,let us become like to ,mary's child1 7so7 we shall deserve mercy on earth40 #b4 ,seated on a chair1 with a book upon his lap1 is an ecclesiastic1 in a white habit and black scapular4 ,to this priest the same young lady is making confession of her sins2 and the scrolls about this group say1--8,vicht di sunde mit ernst sonder spot so findestic ,godez trew gnadt20 8,fight against sin with earnestness and without feigning2 you will find the true mercy of ,god40--8,her myn sunde vil ich ach dagen uff das mir ,gots trew moge behagen20 8,lord1 ,i will mourn over my sin1 in order that the truth of ,god may comfort me40 #c4 ,the same youthful maiden is bending over a wooden table1 upon which lies a human heart that she is handling2 and the inscriptions about her tell us the meaning of this action of hers1 thus1--8,sol ich myn sund hi leschen so musz ich ich m hertz im blude wesche20 8,to cleanse away my sin here1 ,i must wash my heart in the blood40 #d4 ,we here see an altar2 upon its table are a small rood or crucifix with ,s4 ,mary and ,s4 ,john1 two candlesticks1 having prickets for the wax-lights1 the outspread corporal cloth1 upon which stands the chalice1 and under which1 in front and not at the right side1 lies the paten somewhat hidden4 ,at the foot of this altar kneels the maiden1 clad in blue1 and wearing on her head a plain1 closely-fitting linen cap1 like that yet occasionally worn at church in ,belgium1 by females of the middle classes1--and the priest who is saying mass there is giving her ,communion4 ,the priest's alb is ornamented with crimson apparels on its cuffs and lower front hem1 inscribed with the word 8haus10 house1 is well rendered4 ,the inscriptions above are1 as elsewhere1 mutilated1 so that much of their meaning is lost2 but they run thus1--8,wer he 444 versorget mich mit ,gottes trew das bitten ich20 8,if 444 not procure me the love of ,god that ,i pray for40--8,emphang in trewen den waren ,crist dmit dyn20 8,receive with fidelity the very ,christ in order44440 #e4 ,a nunnery1 just outside of which stands its lady-abbess1 clothed in a white habit1 black hood1 and white linen wimple about her throat4 ,in her right hand she bears a gold crozier1 from which hangs that peculiar napkin1 two of which are in this collection1 ,nos4 #hbgi;,a1 and #hffb4 ,behind stands an aged nun1 and1 as if in the passage and seen through the cloister windows1 are two lay sisters1 known as such by the black scapular4 ,in front of the abbess stands the young maiden dressed in pink1 with her waiting woman all in white1 in attendance on her4 ,upon the scrolls are these sentences1--8,dez hymels ey port ,godez vor 7m7eyn husz disz ist20 8,a gate of heaven--,god's and mine house this is40--8,kom trew ,christ wol4 p44 eidt nym dy ,kron dy dir ,got hat bereit40--8,come1 true ,christian well 444 take the crown which ,god has prepared for thee40 ,though but a poor specimen of the loom1 this piece gives us scraps of an obsolete dialect of the medival ,german1 not ,flemish1 language4 #adfe4 ,piece of ,tapestry ,hanging2 ground1 grass and flowers2 design1 a ,german romance1 divided into six compartments1 each having its own inscribed scrolls1 meant to describe the subject4 ,south ,german1 middle of the #aeth century4 #ab feet by #b feet #f inches4 ,in the first compartment we see a group of horsemen1 of whom the first is a royal youth wearing a richly-jewelled crown and arrayed in all the fashion of those days4 ,following him are two grooms1 over one of whose heads1 but high up in the heavens1 flies an eagle2 and perhaps the bird may be there to indicate the name of the large walled city close by4 ,pacing on the flowery turf1 the cavalcade is nearing a castle1 at the threshold of which stand an aged king and his youthful daughter4 ,on a scroll are the words1--8,bisg god wilkum dusig stunt787 grosser frayd wart uns nie kunt20 8,be right welcome for a thousand hours2 a greater joy we never knew40 ,of course the coming guest utters his acknowledgments2 but the words on the scroll cannot be made out with the exception of this broken sentence1--8,heute ich unt 44420 8,to day ,i and 4440 ,in the second compartment1 in a room of the castle we behold the same royal youth1 wearing1 as before1 his crown upon his long yellow locks1 along with his three varlets4 ,on a scroll are the words1--8,fromer dieur bestelle mir die ros ein wagge ist nun lieber20 8,pious servant1 order me the horses1 a carriage is preferred40 ,in the third compartment is shown1 and very likely in his own home1 the same young wooer talking1 as it would seem by the scrolls1 to his three waiting-men2 and after one of them had said1--8,wage un rosz sint bereit als 44420 8,carriage and horses are ready as44440 he says1--8,wo schien gluck zu diser vart nie kein reise20 8,if luck has shone on this journey1 ,i never liked travelling better40 ,of the three servants1 one holds three horses1 while the upper groom is presenting1 with both hands1 to his royal young master a large something1 apparently ornamented with flowers2 the churl wears1 hanging down from his girdle in front1 an anelace or dagger1 the gentleman a gay gipcire1 but the shoes of both are very long and pointed4 ,in the fourth compartment the same crowned youth again is seen riding towards the castle-gate1 though this time no lady fair stands at its threshold for the greeting2 but instead1 there stands with the old king a noble youth who1 to all appearances1 seems to have been beforehand1 in the business of wooing and winning the young princess's heart1 with the last comer4 ,there are these words upon the scroll1--8,ich hab vor einem 444 gericht einer tuben und mich yr verpflicht20 8,i have before a 444 tribunal of a dove1 and have myself engaged to her20 meaning that already had he himself betrothed the king's daughter1 by swearing to her his love and truth before a dove--a thing quite medival1 like the vows of the swan1 the peacock1 and the pheasant1 as we have noticed in the ,introduction1 and again while treating of the ,syon ,cope1 at p4 #bh4 ,on his side1 the old king thus addresses him1--8,mich dunckt du komst uber land 444 zu der hochzeit20 8,methinks thou comest over-land 444 to see the wedding40 ,in this1 as in other inscriptions1 the whole of the words cannot be made out4 ,the fifth compartment shows us the second and successful wooer1 dressed out in the same attire as before1 but now riding a well-appointed steed1 and booted in the manner of those times4 ,he is waited on by a mounted page4 ,on a scroll are the words1--8,umb sehnlichst ich nun kme 444 ist die ewige 44420 8,that ,i most passionately now can 444 is the eternal10 c4 ,in the last compartment the rejected wooer is seen riding away as he came--without a bride--followed by two grooms4 ,though rough in its execution1 this piece of tapestry is valuable not only for its specimens of costume1 like our own at the period1 but especially for its inscriptions1 which betray the provincialisms belonging to the south of ,germany2 and some of their expressions are said to be even yet in daily use about the neighbourhood of ,nuremberg1 to which locality we are warranted1 for several reasons1 in ascribing the production of this early example of the ,german loom4 #adhj4 ,tapestry ,hanging2 within a narrow border of a dark green ground1 ornamented with flowers mostly pink1 and fruit-bearing branches of the vine1 is figured a subject just outside the gates of a large walled city1 and upon the flowery turf4 ,flemish1 beginning of the #afth century1 #ac feet by #aa feet #f inches4 ,to all appearance the subject is taken from the ,gospel of ,st4 ,john1 chap4 #i1 where the miracle is related of our ,lord giving sight to the man born blind1 who has just come back from washing in the pool of ,siloam1 and is answering his neighbours who had hitherto known him as the blind beggar4 ,in front stands an important personage in a tunic of cloth of gold shot light blue1 over which he wears a shorter one of fine crimson diapered in gold1 having a broad jewelled hem2 of a rich gold stuff is his lofty turban4 ,in his left hand he holds a long wand1 ending in an arrow-shaped head4 ,at the feet of this high functionary kneels the poor man blessed with sight1 while he is taking from him a something like a square glass bottle1 and holds his coarse hat in his hand4 ,near but above him stands a lady wearing a most curious head-dress1 which is blue1 with two red wings bristling at its sides4 ,the rest of her array is exactly like1 in shape and stuffs1 to the magnificent apparel of the first portly male figure1 so as to lead us to believe that she must be his wife1 himself being one of the ,jewish chief priests4 ,talking with her is another ,jew splendidly dressed1 and bearing a wand in one hand2 and behind her we see a man wearing earrings1 and a woman belonging to the lower class--probably the cured man's father and mother4 ,not far away from the priest1 and at his back1 are soldiers with lances1 and one with a halbert1 before whom stands a well-dressed1 mantled and hooded ,pharisee1 with a rolled-up volume in his hand1 and looking with a somewhat haughty scowl upon the man kneeling on the ground4 ,above the walls are seen the domes of several large buildings1 of which one looks as if it were the temple of ,jerusalem2 and all about the battlements are people gazing down upon the scene beneath them4 ,so ,flemish is the ,gothic style of architecture on the gates1 around which are mock inscriptions1 and on the walls of the city1 that we find at once that the tapestry must have been designed and wrought in ,flanders4 ,though the shapes of the dresses be for the most part quite imaginary1 still the diapering on the gorgeous cloths of gold is after the style then in vogue and well rendered4 #adha4 ,tapestry ,wall-hanging2 subject1 ,neptune stilling the wind-storm raised at ,juno's request by olus against the ,trojan fleet on the ,sicilian coast4 ,flemish1 #agth century4 ,evidently the designer of this tapestry meant to illustrate ,virgil at the beginning of his first book of the neid4 ,to the left hand is seen ,boreas with a lance1 which he is aiming against ,neptune1 in one hand1 while in the other he holds by a cord a rough wooden yoke1 to which are tied two boys floating in the water1 and each with a pair of bellows1 which he is blowing4 ,drawn by two steeds comes ,neptune with uplifted trident1 to still the winds raised by the two boys2 and over his head are ,eurus and the western wind in the shape of females flying in the air1 one snapping the tall mast of one of neas's ships1 and the other pouring out broad streams of water from four vases1 one in each hand4 ,the bellows are very like those elaborately-carved ones in the ,museum1 out of ,soulages collection4 #adhc4 ,tapestry ,wall-hanging2 subject1 neas and ,achates before ,dido1 at ,carthage4 ,flemish1 #agth century4 ,the passage1 in ,virgil's first book of the neid1 descriptive of neas1 with the faithful ,achates at his side1 relating his adventures to ,dido1 the ,carthaginian queen1 is here illustrated4 ,the youthful princess1 enthroned beneath a cloth of estate1 is listening to the ,trojan prince before her1 and around are her ladies in gay costume1 her own being of light blue silk damasked with a large golden flower4 ,as a background we see the port filled with neas's ships1 to which countrymen are driving sheep and oxen for their crews4 ,the women are quite of the ,flemish type of fat beauty1 and the odd head-dress for a man on ,achates is remarkable4 #aehb4 ,tapestry ,hanging2 subject1 the departure of neas from ,carthage4 ,flemish1 #agth century4 ,in the foreground is neas taking leave of ,dido1 who is fainting into the arms of her waiting ladies4 ,behind1 is a youth working as a mason and building a wall3 further back1 are seen horses richly caparisoned1 upon one of which rides ,dido1 while ,mercury comes flying down bidding neas to haste him away4 #afhc4 ,tapestry ,wall-hanging2 subject1 ,venus appearing to neas in a wood4 ,the second book of the neid has furnished the designer with the materials for this piece4 ,just as neas had uplifted his hand to slay ,helen1 ,venus appears1 stays his arms1 and reasons with him4 ,so says ,virgil2 but here we merely see ,mercury coming down from the clouds1 and ,venus revealing herself to her son4 ,the admirers of the beautiful in form and face will not find much to please them in the lady's person4 ,this piece closes the history of neas as given in these tapestries1 which came from the palace1 or1 as it used to be called1 the ,king's ,house at ,newmarket4 ,all through1 ,dido is made to appear in the same kind of costume2 but the dresses in general are purely imagined by the artist1 without the slightest authority from the monuments of either ,greek or ,roman antiquity3 and the architectural parts are quite in the debased classic style of the #agth century1 as followed in ,flanders4 ,all these tapestries are framed in a red border1 wrought at the sides with scrolls and shields1 and below1 with winged boys holding labels once showing inscriptions 7now faded7 all shot with gold1 but tarnished black4 ,many of the female figures are slip-shod1 like ,st4 ,mary ,magdalen in ,rubens's 8,taking down from the ,cross10 at ,antwerp4 #fgcc4 ,tapestry ,hanging2 subject1 the story of ,arria and ,paetus1 copied from a painting by ,francois ,andr ,vincent1 and dated #aghe4 ,the border was added afterwards4 ,french1 done at the ,gobelins4 #ab feet by #aj feet #f inches4 ,presented by ,his ,imperial ,highness ,prince ,napoleon4 ,the subject is a startling one2 being condemned to die1 by the ,emperor ,claudius1 and put an end to his life with his own hand1 ,paetus hesitated4 ,seeing this1 his wife ,arria snatched up the weapon and plunged it to the hilt in her own bosom1 and then handing the dagger to her husband1 said1 8,it does not pain me1 ,paetus40 ,at top1 on a blue ground1 is a large ,n in yellow1 indicative of the first ,napoleon1 who1 in the year #ahjg presented this fine specimen of the far-famed ,gobelin tapestry to his brother ,jerome1 at the time ,king of ,westphalia1 as a marriage gift4 ,by the late ,prince ,jerome it was sent1 through his son1 the present ,prince ,napoleon1 for presentation to this ,museum4 #bddb4 ,tapestry ,wall-hanging2 design1 groups of richly-dressed ladies and gentlemen around a queen4 ,flemish1 early #afth century4 ,apparently the crowded scene before us is meant to illustrate some symbolic subject4 ,in the midst of them all stands a queen1 whose hands are clasped4 ,before her kneels a man who respectfully bares his head the while he outstretches to the princess a written paper4 ,behind stands a magnificent chair4 ,further back is a nicely-shown interior of a room having its cupboard loaded with vases standing on the shelves2 there sit three ladies in earnest talk4 ,all about are groups of richly-clothed men and women1 each of whose dresses is worthy of notice4 #bddc4 ,tapestry2 subject1 a landscape1 the foreground strewed with human and animals' bones1 and a living figure sitting among rocks4 ,french1 early #agth century4 ,this is one of a short series of tapestries setting forth1 but sometimes laughing at1 the ideas of the ancient cynics4 ,before us here we have a wild dell clothed in trees on one side1 on the other piled with rocks capped1 in some places1 by ruins4 ,seated on a stone1 with a book held in his hand1 is ,diogenes in meditation1 with human bones1 animal skulls1 and monster things about him4 ,the work is well done1 and shows how perfect was the loom that wrought it4 ,on a blue tablet at top runs this inscription1--8,diogenes derisor omnium in fine defigitur40 #bhjg4 ,tapestry2 subject1 the visit of ,alexander the ,great to ,diogenes in his tub4 ,french1 early #agth century4 ,the scene is well laid out1 peopled with many figures1 and its story neatly told4 ,above1 in the usual place1 is this inscription1--8,sensit ,alexander test quum vidit in ill magnum habitatorem1 quanto felicior hic1 qui nil cuperet 7qum7 qui totum sibi posceret orbem40 #chah4 ,tapestry2 subject1 a beautifully-wooded scene with a stream running down the middle of it1 and across which two men1 one on each side1 are talking4 ,french1 early #agth century4 ,on one side stands ,dionysius2 on the other1 and holding a bunch of vegetables1 which he is about to wash in the brook1 is ,diogenes1 who was not remarkable for his personal cleanliness4 ,dionysius1 it would seem1 has been twitting him upon that subject1 and gets for answer that his very presence taints with dirt ,diogenes himself1 and the waters in which he is about to wash his pot-herbs3 8,sordet mihi ,dionysius lavanti olera10 as the ,latin inscription reads above4 #dcca4 ,tapestry ,wall-hanging2 design1 a wooded scene in the background2 in the foreground1 ,diogenes and a man4 ,french1 early #agth century4 ,before a large tub1 lying on its side1 is stretched out ,diogenes1 pointing his finger to his curious dwelling1 with his head looking towards a wayfarer1 to whom he seems to say those words traced on the blue label at the top1--8,qui domum ambit hanc 7anne87 me sepeliat40 ,this appears to have been drawn from his lips by the man going by1 who is pointing towards the gaping mouth of the tub4 #dfej4 ,tapestry2 subject1 a gate-way built of rough stone1 over which a female is tracing an inscription1 of which are written in large capital letters these words3-- 8,nihil hic ingrediatur mali40 ,besides this1 we find these sentences also3-- 8,diogenes ,cynicus subscribit20 and1 8,spado sceleratus scripsit40 ,in these five pieces of tapestry1 which were evidently employed for hanging the walls in some especial hall1 we cannot but admire the ease and freedom of their whole design1 and be struck especially by the beauty of their wild1 yet charming landscapes1 which are so well brought out by the weaver-artist who wrought them4 #gibf4 ,tapestry2 subject1 the holy family1 after ,raphael4 ,presented by ,his ,imperial ,majesty the ,emperor ,napoleon ,,iii4 ,no words are necessary to call the observer's attention to this admirable specimen of the ,french loom4 ,of the many fine pieces sent forth by the manufactory of the ,gobelins1 this may easily take a place among the very finest2 and1 at first sight1 many people might be led to think that it was the work of the pencil1 and not of machinery4 ,about it there is a warmth and depth of mellow colouring which has partly fled from the original1 through time and1 may be1 want of care4 ,those who have seen the pictures at the ,louvre must well remember the grand and precious original of which this is such a successful copy4 #ahi4 ,tapestry ,wall-hanging2 design1 our ,lord giving the power of the keys to ,st4 ,peter1 after ,raphael's cartoon4 ,english 7probably from ,soho71 #agth century4 #ag feet #a inch by #ab feet4 ,the point of time chosen by the great ,roman painter is that indicated by ,st4 ,matthew1 xvi4 #ah1 #ai2 for ,st4 ,peter holds the keys promised him by his divine ,master1 at whose feet he alone1 of all the apostles1 is kneeling4 ,behind our ,lord is a large flock of sheep1 as explanatory of the pastoral power bestowed1 after ,his uprising from the grave1 by our ,saviour upon ,st4 ,peter more especially1 to feed the sheep as well as lambs in ,his flock1 as we read in ,st4 ,john1 xxi4 #af1 #ag3 both subjects are naturally connected4 ,by the many engravings1 but1 more particularly1 the fine photographs of the original cartoon1 once at ,hampton ,court1 now in this ,museum1 this subject is well known4 ,in this especial piece1 the colouring1 being so badly graduated and garish1 is by no means as good as in the earlier one1 still to be seen in the ,gallery of the ,tapestries at the ,vatican4 ,here1 the tone of our ,lord's drapery is not distinguishable from the stony hue of the wool upon the sheep behind ,him4 #hbbe4 ,panel of ,tapestry2 ground1 light blue2 design1 bunches of flowers upon a white panel4 #b feet #aa inches by #b feet #c inches4 ,aubusson1 present century4 ,presented by ,messrs4 ,requillart1 ,roussel1 and ,chocqueel4 ,after ,paris with the ,gobelins1 and the city of ,beauvais1 there is no town in ,france which produces such fine tapestries as ,aubusson1 the carpets of which are much admired4 #gibg to #gicj4 ,four ,pieces of ,tapestry2 ground1 light blue2 design1 flowers4 ,french1 present century4 ,presented by ,his ,imperial ,majesty the ,emperor ,napoleon ,,iii4 ,beauvais1 which produced these beautiful specimens1 has long been famous for the works of the loom2 and the present lovely figures of such well-drawn1 nicely-coloured flowers are worthy of that city's reputation4 #eid4 ,tapestry ,wall-hanging2 subject1 ,esther about to venture into the presence of ,ahasuerus4 ,from the ,soulages ,collection4 ,flemish1 first half of the #afth century4 ,height #ac feet1 breadth #aa feet #f inches4 ,the history1 as here shown us1 of a most eventful achievement1 is at top distributed into four groups1 each made up of figures rather small in stature2 and at bottom1 into other five clusters1 in which all the personages assume a proportion little short of life-size4 ,beginning with those higher compartments on the piece1 we find in the two at the left-hand side the commencement of this ,scriptural record4 ,the mighty ,ahasuerus is presented to us in the second of those two groups there1 as seated amid trees1 and robed as would have been a sovereign prince during the first half of the sixteenth century4 ,all about his head and neck the ,persian king wears1 wrapped in loose folds1 a linen cloth1 over which he has a large scarlet hat with an ornament for a crown1 made up of small silver shield-shaped plates1 marked with wedge-like stripes of a light blue colour1 or heraldically1 argent1 five piles azure meeting at the base2 over his shoulders falls an unspotted ermine cape jagged all about its edge so as to look as if meant for a nebule border4 ,upon the left breast of this sort of mantle is sewed a little crimson shield-shaped badge marked in white seemingly with the letter ,a1 not having1 however1 the stroke through it1 but above1 the sign of contraction dashed4 ,he wears a blue tabard1 is girt with a sword1 and holds in his left hand a tall wand1 that golden sceptre which1 if not outstretched in token of clemency towards the man or woman who had the hardihood to come unbidden to his presence1 signified that such a bold intruder1 were she the queen herself1 must be put to death4 ,having nobles and guards about him1 this monarch of one hundred and twenty-seven provinces is handing to ,haman1 one of those three princes before him1 a written document from which hang two royal seals3 this is that terrible decree1 which1 out of spite towards ,mordecai1 and hatred for the ,jewish race1 ,haman had won from his partial master ,ahasuerus1 for the slaughter1 on a certain day1 of every ,hebrew within the ,persian empire4 ,yet further to the left is another group1 wherein we observe some of the richly-attired functionaries of the empire4 ,a bareheaded old man1 a royal messenger1 who holds up his left hand as if to indicate he had come from the court of ,ahasuerus1 delivers to one of the nobles there this original decree to be copied out and sent in all directions through the kingdom4 ,looking still at top1 but to the far right1 we have in the background1 amid the trees1 a large house1 from out of the midst of which stands up a tall red beam1 the gibbet1 fifty cubits high1 got ready by ,haman at his wife's and friends' suggestion for hanging on it ,mordecai4 ,in this foreground we behold ,haman clad in a blue mantle and a rich golden chain about his neck3 to the man standing respectfully before him1 cap in hand1 ,haman gives the written order duly authenticated by the two imperial seals upon it1 for the execution of ,mordecai4 ,immediately to the left of this scene we are presented with the inside view of a fine chamber hung with tapestry1 and ornamented with tall vases1 two of which are on a shelf close by a lattice-window4 ,in the middle of this room is a group of three women3 one of them1 ,esther1 richly clad1 is seated and wringing her hands in great grief1 as if she had learned the fell death awaiting her uncle1 and the slaughter already decreed of all her nation3 two of her gentlewomen are with her1 wailing1 like their queen-mistress1 the coming catastrophe4 ,right in the centre of the piece1 and occupying its most conspicuous position1 we behold the tall stately figure of a beautiful young queen1 splendidly arrayed1 and wearing over the rich caul upon her head a royal diadem4 ,she seems to have just arisen from the magnificent throne or rather faldstool close behind her4 ,with both her hands clasped in supplication1 she is followed in her upward course by her train of attendants--two ladies and a nobleman--all gaily dressed1 threading their way through as they ascend from the hall below crowded with courtiers1 men and women gossiping together in little knots1 and set off in fashionable dress4 ,while bending her steps1 ,esther looks towards the spot where ,ahasuerus is sitting4 ,at this moment an oldish man steps forward1 clad after a beseeming fashion3 in one hand he holds his red cap1 while with the other hand he is stretching out1 for ,esther's acceptance1 his inscribed roll4 ,this person must be ,mordecai1 thus shown as instructing and encouraging his niece-queen ,esther in the hazardous work of saving her people's lives1 at the same time that he furnishes her with a copy of the decree for their utter annihilation4 ,this inner court of the ,king's house where ,esther is now standing over against the hall in which ,ahasuerus sits upon his throne is crowded with courtiers1 all remarkable for the elegance and costliness of their dress4 ,in a circle of three great personages to the right1 one of those high-born dames has brought with her her guitar1 made in the form of the calabash1 to help on by her music the expected mirth and revelry of the day4 ,in those several instances in which the royal decree is figured with the imperial seals hanging from it1 the impression stamped upon the wax seems1 no doubt1 to be taken as the cipher of ,ahasuerus1 a large ,a1 but without the stroke through it4 ,one remarkable feature among the ornaments of dress assumed by almost all the great personages in this piece of tapestry is the large-linked1 heavy golden chain about the neck1 worn as much by ladies as by gentlemen4 ,the caps of the men are mostly square4 ,the elaborately-adorned1 closely-fitting1 round-shaped caul worn by the women in this court of ,ahasuerus is in strict accordance with the female fashion abroad at the beginning of the sixteenth century2 while here1 in ,england1 the gable-headed coif found more favour than the round with our countrywomen4 ,then1 however1 as now1 ladies loved long trains to their gowns2 and the men's shoes had that peculiar broad toe so conspicuously marked in ,hans ,holbein's cartoon for a picture of our ,henry ,,viii4 belonging to the ,duke of ,devonshire1 and exhibited among the ,national ,portraits on loan to the ,south ,kensington ,museum1 ,a4,d4 #ahff4 #higi4 ,tapestry ,hanging2 subject1 the three ,fates with a young lady lying dead at their feet4 ,flemish1 early #afth century4 ,with a grove of blooming trees behind them1 and upon a lawn1 everywhere sprinkled with many kinds of flowers1 stand the ,fates4 ,each of the weird sisters may be individually known by her proper name written in white letters near her head4 ,beginning from the right side of the piece1 we have the spinster ,clotho1 who is figured as a youthful maiden2 amid the boughs of a tree just above her is seen a long-billed bird of the snipe-kind2 she is gaily dressed in a yellow kirtle1 elaborately diapered after a flowery pattern done in green1 over which she wears a gown of deep crimson velvet1 while from her girdled waist falls a large golden chain ending in a gold pomander4 ,in her left hand she holds a distaff1 keeping at the same time between her fingers the thread which she has but just done spinning4 ,next to ,clotho stands ,lachesis1 almost as young in look2 she is not quite so sprightly but yet as elegantly clad as her sister with the distaff2 billing and cooing above this feigned manager of individual destiny we behold a pair of turtle-doves2 this second of the ,fates is clad in robes of a light pink tone nicely and artistically diapered1 and with her left hand she takes from ,clotho the thread just spun and with her right passes it on to ,atropos4 ,this the last1 and the most dreaded of the fatal three1 looks older than the other two1 and is arrayed more matronly4 ,clothed in deep blue1 ,atropos wears a large full white kerchief1 which1 as its name implies1 not only covers her head1 but falls well down from her shoulders half-way to her broad girdle1 upon which is slung a string of beads for prayer--a rosary4 ,atropos1 whose imaginary office was to cut with knife1 or scissors1 or a pair of shears1 the thread of life1 uses no such an instrument here2 for with her hands she has broken the life-cord1 and the spindle1 around which it had been wound1 lies thrown upon the flowery turf close by the head of the victim of the ,fates4 ,at the feet of these three sisters lies1 stretched out in all her fullest length1 a youthful lady dead4 ,she wears a kerchief on her head1 and over her richly-diapered pink gown she has a light crimson mantle thickly powdered with small golden crescents4 ,her bed seems made of early summer flowers2 and alongside of her1 and as if just fallen from her outstretched right hand1 lies the tall stalk1 snapped short off near the lower end1 of a blooming white lily4 ,at one side1 but lower down1 is the half-figure of a monkey2 some way to the right1 but on the same level1 sits in quiet security a large brown hare2 while between these two animals1 from out a hole in the ground1 as if they snuffed their future prey in the dead body1 are creeping a weasel and a stoat1 just after a large toad that has crawled out before them4 ,this piece of tapestry1 valuable alike for its artistic excellence and its good preservation1 has a more than common interest about it4 ,in all likelihood it gives us the history1 nay1 perhaps affords us the very portraiture of some high-born1 beautiful young lady1 well known and admired in her day4 ,a little something at least may be gathered from its symbolism4 ,by the heathen mythological distribution of functions among the poetic ,parc1 or ,fates1 to the second of these three sisters1 to ,lachesis1 was it given to decide the especial destiny of each mortal the hour that she or he was born4 ,now in the instance before us a pair of turtle-doves1 love's emblem1 is conspicuously shown above the head of ,lachesis4 ,as this young lady's life-thread slipped through her fingers ,lachesis has touched it1 quickened it so that the child for whom it is being spun shall have a heart all maidenly1 but soft to the impressions of the gentle passion--love4 ,she has been wooed and made a bride1 for she has on the married woman's kerchief4 ,that lily-stem with its opening buds and full-blown flowers at top is the emblem of a spotless whiteness1 an unstained innocence2 the stalk is broken1 but the flowers on it are unwithered4 ,what fitter tokens of a bride's unlooked-for death1 the very morning of her marriage8 ,but that monkey-emblem of mischief1 evil1 moral ugliness1 and in particular of lubricity--perhaps may mean us to understand the worthlessness of wanton1 profligate men4 ,as the harmless unsuspecting hare is easily snared and taken in a toil1 so she might have been caught1 but may have been spared1 by early death1 a life of misery4 ,those loathsome things coming from out the ground warn men that all of us must one day or another become the prey of the grave1 and that youth1 and innocence1 and beauty will be its food4 ,illustration ,illustration ,,the ,,brooke ,,collection4 #edb4 '#fd4 ,christening ,ribbon1 white silk with silver gimp edge4 ,english1 #ahth century4 ,length #f feet #i inches1 width #b inches4 ,presented by the ,rev4 ,r4 ,brooke4 #heh1 #heh;,b4 '#fd4 ,court suit1 coat and knee-breeches1 of cherry-coloured ,genoa velvet1 white satin lining1 waistcoat white satin embroidered in coloured silks and silver4 ,english1 dated #aggb4 ,length of coat #c feet #b inches1 length of breeches #b feet1 length of waistcoat #b feet #e inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hei1 #hei;,b4 '#fd4 ,dress suit1 coat1 waistcoat1 and knee-breeches1 of pink silk brocade with a diapered flower pattern4 ,english1 date about #aggj4 ,length of coat #c feet #b inches1 length of waistcoat #b feet #f inches1 length of breeches #b feet #d inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hfj4 '#fd4 ,apron1 white silk1 with raised floral embroidery4 ,english1 date about #agbj4 ,length #b feet #j inch1 width #b feet #i inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hfa4 '#fd4 ,apron1 yellow silk1 with raised floral embroidery1 in colours1 bordered with silk lace4 ,english1 date about #agbj4 ,length #b feet #a inch1 width #b feet #aj inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hfb4 '#fd4 ,apron1 white silk1 with coloured floral embroidery and silver cord4 ,english1 date about #agbj4 ,length #a foot #g inches1 width #c feet4 ,presented by the ,rev4 ,r4 ,brooke4 #hfc4 '#fd4 ,apron1 white silk1 with purple floral embroidery and gold cord4 ,english1 date about #agbj4 ,length #a foot #i inches1 width #c feet #b inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hfd4 '#fd4 ,portion of ,embroidery1 flowers in coloured silks 7chiefly orange7 on linen ground covered with stitched scroll pattern4 ,english1 #ahth century4 ,length #a foot #aj inches1 width #a foot #f inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hfe4 '#fd4 ,portion of ,embroidery1 flowers in coloured silks 7chiefly orange7 on linen ground covered with stitched scroll pattern4 ,english1 #ahth century4 ,length #a foot #a inches1 width #a foot #f inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hff4 '#fd4 ,portion of ,embroidery1 flowers in coloured silks 7chiefly orange7 on linen ground covered with stitched scroll pattern4 ,english1 #ahth century4 ,length #b feet #b inches1 width #b feet4 ,presented by the ,rev4 ,r4 ,brooke4 #hfg4 '#fd4 ,piece of ,brocade1 crimson satin with cut velvet floral pattern2 bordered with silver gimp and spangles4 ,french1 date about #aggj4 ,length #c feet #e inches1 width #c feet #b inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hfh4 '#fd4 ,piece of ,brocade1 crimson satin with cut velvet floral pattern2 bordered with silver gimp and spangles4 ,french1 date about #aggj4 ,length #f feet1 width #c feet #b inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hfi4 '#fd4 ,mantilla1 yellow silk and black lace4 ,english1 date about #aggj4 ,length1 as worn1 #e feet1 width of skirt #c feet4 ,presented by the ,rev4 ,r4 ,brooke4 #hgj4 '#fd4 ,boddice1 yellow silk4 ,english1 date about #aggj4 ,height #ab inches1 width #b feet #d inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hga4 '#fd4 ,table-cover1 pink silk edged with silver gimp4 ,english1 #ahth century4 ,length #c feet #e inches1 width #c feet4 ,presented by the ,rev4 ,r4 ,brooke4 #hgb4 '#fd4 ,piece of ,silk1 pink ribbed1 lined with pink sarsnet4 ,english1 #ahth century4 ,length #c feet #d inches1 width #d feet4 ,presented by the ,rev4 ,r4 ,brooke4 #hgc4 '#fd4 ,silk ,fringe1 green and yellow4 ,english1 date about #agdj4 ,length #h feet #a inch1 depth #c inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hgd4 '#fd4 ,counterpane1 white linen embroidered with running pattern2 in centre a scroll ornament with cipher and scroll border1 all in yellow silk4 ,english1 #agth century4 ,length #g feet #h inches1 width #f feet #aa inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hge4 '#fd4 ,cushion-cover1 white linen embroidered with running pattern and scroll ornament1 yellow silk2 cipher in centre4 ,english1 #agth century4 ,length #b feet #a inch1 width #a foot #e inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hgf4 '#fd4 ,cushion-cover1 white linen embroidered with running pattern and scroll ornament1 yellow silk2 cipher in centre4 ,english1 #agth century4 ,length #a foot #h inches1 width #a foot #c inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hgg4 '#fd4 ,cushion-cover1 white linen embroidered with running pattern and scroll ornament1 yellow silk2 cipher in centre4 ,english1 #agth century4 ,length #a foot #e inches1 width #a foot #b inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hgh4 '#fd4 ,piece of ,brocade1 white silk and gold in narrow stripes4 ,french 7871 #ahth century4 ,length #aj feet #d inches1 width #b feet #b inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hgi4 '#fd4 ,table-cover1 crimson ,genoa velvet with broad border of silver gimp1 ,indian 7,delhi7 work4 ,length #e feet #b inches1 width #e feet #b inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hhj4 '#fd4 ,saddle-cloth1 dark blue ,genoa velvet1 ornamented with broad bands of flowered gold lace2 trappings for the horse of ,h4 ,osbaldeston1 ,esq41 ,high ,sheriff of ,yorkshire1 ,a4,d4 #aggb-c4 ,length #d feet #e inches1 width #a foot #h inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hha1 #hha;,a4 '#fd4 ,pair of ,holsters for ,pistols1 dark blue ,genoa velvet1 ornamented with broad bands of flowered gold lace2 trappings for the horse of ,h4 ,osbaldeston1 ,esq41 ,high ,sheriff of ,yorkshire1 ,a4,d4 #aggb-c4 ,length #a foot #i inches1 width #a foot #f inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hhb4 '#fd4 ,saddle-cloth1 scarlet cloth with border of gold lace1 used by the attendants of the ,high ,sheriff of ,yorkshire1 ,a4,d4 #aggb-c4 ,length #c feet #h inches1 width #a foot #f inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hhc4 '#fd4 ,saddle-cloth1 scarlet cloth with border of gold lace1 used by the attendants of the ,high ,sheriff of ,yorkshire1 ,a4,d4 #aggb-c4 ,length #c feet #aj inches1 width #a foot #f inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hhd4 '#fd4 ,saddle-cloth1 scarlet cloth1 with border of gold lace1 used by the attendants of the ,high ,sheriff of ,yorkshire1 ,a4,d4 #aggb-c4 ,length #c feet #aj inches1 width #a foot #f inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hhe4 '#fd4 ,pair of ,pistol ,holsters1 scarlet cloth bordered with gold lace1 used by the attendants of the ,high ,sheriff of ,yorkshire1 ,a4,d4 #aggb-c4 ,length #ab inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hhf1 #hhf;,a4 '#fd4 ,pair of ,pistol ,holsters1 scarlet cloth bordered with gold lace1 used by the attendants of the ,high ,sheriff of ,yorkshire1 ,a4,d4 #aggb-c4 ,length #ab inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hhg1 #hhg;,a4 '#fd4 ,pair of ,pistol ,holsters1 scarlet cloth bordered with gold lace1 used by the attendants of the ,high ,sheriff of ,yorkshire1 ,a4,d4 #aggb-c4 ,length #ab inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hhh4 '#fd4 ,dress ,silk ,brocade1 white ground with pattern of flowers in various colours4 ,french7871 early #ahth century4 ,length #d feet #g inches1 width #h feet #d inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hhi4 '#fd4 ,lady's ,shoe1 pink prunella1 with high heel4 ,english1 date about #agfe4 ,length #i inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hij '#fd4 ,grenadier's ,cap1 scarlet and white cloth and crimson velvet1 with silver and gold embroidery1 and gold spangles4 ,english1 date about #aggj4 ,height #ad inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hia4 '#fd4 ,lady's ,workbag1 made from the bark of a tree1 bordered with green and white4 ,english7871 #ahth century4 ,length #b feet1 width #a foot #a inch4 ,presented by the ,rev4 ,r4 ,brooke4 #hib4 '#fd4 ,piece of ,silk ,embroidery in frame1 white satin ground1 on which are worked in high relief ,king ,ahasuerus1 ,queen ,esther1 various animals1 fruits1 and other objects1 in coloured silk and gold cord4 ,english1 early #ahth century4 ,height #a foot #a inch1 width #a foot #g inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hic4 '#fd4 ,waistcoat1 white ribbed silk embroidered with flowers in various colours1 silver cord1 and spangles4 ,english1 date about #aggj4 ,length #b feet #c inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hid4 '#fd4 ,waistcoat1 crimson satin1 with floral brocade border in various colours4 ,english1 date about #aggj4 ,length #b feet #g inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hie4 '#fd4 ,waistcoat1 blue and white striped silk brocade with flower spot pattern4 ,english1 date about #aggj4 ,length #b feet #b inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hif4 '#fd4 ,skirt of a ,lady's ,dress1 white silk printed with flowers in various colours4 ,french7871 #ahth century4 ,height #c feet #f inches1 width #i feet #h inches4 ,presented by the ,rev4 ,r4 ,brooke4 #hig4 '#fd4 ,piece of ,silk1 white silk printed with flowers in various colours4 ,french7871 #ahth century4 ,height #c feet1 width #b feet4 ,presented by the ,rev4 ,r4 ,brooke4 #hih4 '#fd4 ,kerchief1 yellow silk gauze with floral pattern1 border of pink and yellow silk lace4 ,french7871 #ahth century4 ,length #d feet #c inches1 width #c feet4 ,presented by the ,rev4 ,r4 ,brooke4 #hii4 '#fd4 ,trimming of a ,dress1 chocolate silk gauze1 embroidered with flowers in various colours4 ,english1 #ahth century4 ,length #e feet1 width #ab inches4 ,presented by the ,rev4 ,r4 ,brooke4 #ijj4 '#fd4 ,christening ,suit1 viz4 cap1 bib1 mittens1 and dress 7in two pieces71 old point lace4 ,flemish7871 #ahth century2 worn in #aggc4 ,length of dress #a foot #aa inches1 width #a foot #c inches4 ,presented by the ,rev4 ,r4 ,brooke4 #iai4 '#fd4 ,reticule1 silk embroidery of various colours1 with yellow satin neck4 ,english1 #ahth century4 ,length #i inches1 width #f inches4 ,presented by the ,rev4 ,r4 ,brooke4 #icb4 '#fd4 ,sword-,belt1 black silk web2 part of a ,volunteer uniform4 ,english1 early present century4 ,length #c feet #e inches4 ,presented by the ,rev4 ,r4 ,brooke4 #icc4 '#fd4 ,sword-belt1 pale blue silk web1 with steel clasps2 part of a ,volunteer uniform4 ,english1 early #ahth century4 ,length #c feet #h inches4 ,presented by the ,rev4 ,r4 ,brooke4 #icd4 '#fd4 ,sword-belt1 black leather1 gilt metal mounts2 part of a ,volunteer uniform4 ,english1 #ahth century4 ,length #b feet #aa inches4 ,presented by the ,rev4 ,r4 ,brooke4 #ice4 '#fd4 ,badge for a ,cap ,front1 crown1 cipher1 and motto in steel on scarlet cloth2 part of a ,volunteer uniform4 ,english1 #ahth century4 ,height #d- inches1 width #e inches4 ,presented by the ,rev4 ,r4 ,brooke4 #iff4 '#fd4 ,bag1 or ,purse1 links of silver filagree4 ,modern ,genoese4 ,length #e inches4 ,presented by the ,rev4 ,r4 ,brooke4 #igh4 '#fd4 ,screen1 white silk gauze painted with flowers and birds with a vase in centre4 ,modern ,chinese4 ,length #ab feet #h inches1 height #b feet #f inches4 ,presented by the ,rev4 ,r4 ,brooke4 #igi4 '#fd4 ,screen1 white silk gauze1 painted with flower-sprigs1 insects1 and a basket hanging from a tree4 ,modern ,chinese4 ,length #ab feet #aj inches1 width #b feet #e inches4 ,presented by the ,rev4 ,r4 ,brooke4 #ihj4 '#fd4 ,screen1 white silk gauze1 painted with flowers and birds4 ,modern ,chinese4 ,height #c feet #f inches1 width #d feet #h inches4 ,presented by the ,rev4 ,r4 ,brooke4 #iha4 '#fd4 ,piece of ,embroidery1 white satin ground with pattern of leaves and flowers highly relieved in coloured silks and gold cord4 ,english1 #ahth century4 ,length #a foot #aj inches1 width #a foot #a inches4 ,presented by the ,rev4 ,r4 ,brooke4 #ihb1 #ihb;,d4 '#fd4 ,five ,funeral ,banners1 silk1 emblazoned with armorial shields4 ,english1 #ahth century4 ,length #a foot #i- inches1 width #a foot #d- inches4 ,presented by the ,rev4 ,r4 ,brooke4 #ihc4 '#fd4 ,funeral ,banner1 calico1 emblazoned with armorial shields4 ,english1 #ahth century4 ,length #a foot #b inches1 width #a foot #d inches4 ,presented by the ,rev4 ,r4 ,brooke4 #ihc;,a4 '#fd4 ,funeral ,banner1 calico4 ,english1 #ahth century4 ,length #a foot #b inches1 width #a foot #a inch4 ,presented by the ,rev4 ,r4 ,brooke4 ,illustration ,illustration ,,lent ,,by ,,her ,,majesty ,,and ,,the ,,board ,,of ,,works4 ,tapestry2 ground crimson1 diapered with foliage2 design1 within a broad arch1 a white panel1 figured with ,diana1 and about her flowers1 birds1 and animals1 dead and alive4 ,at the right corner1 on the lower hem1 is inscribed1 8,neilson1 ex4 #aghf40 ,french1 from the ,gobelin factory4 ,diana holds by a long blue ribbon a greyhound2 below1 are other two hounds and two little naked boys1 of whom one is about to dart an arrow2 the other1 to shoot one from a bow at ,diana herself1 who1 with her shadow cast upon a cloud1 is holding her favourite dog by its blue string3 at her feet lie her own bow and arrows4 ,this piece is graciously lent by ,her ,majesty1 and is a favourable specimen of the ,gobelins royal manufactory1 over which the ,neilsons1 father and son1 presided1 from ,a4,d4 #agdi till #aghh4 ,most likely this piece was wrought by the elder ,neilson1 who1 as well as his son1 worked with the 8basse lisse10 or low horizontal frame1 as distinguished from the 8haute lisse10 or high vertical one4 ,tapestry ,wall-hanging2 design1 a landscape with the figure of a man4 ,french1 #agth century4 ,the landscape is somewhat wild1 but nicely rendered4 ,in the foreground1 sitting on a stone1 we have a youth with both his hands upon a classic-shaped vase1 standing between his feet4 ,in the background are seen a few goats2 and further on still1 a building with pillars1 very likely a well4 ,this fancy piece is surrounded by a border figured with ornamentation1 and though it be small and made to fit some panel in a room1 is a good specimen of its time1 and seems to have come from the same hands that designed and wrought the ,diogenes pieces4 ,tapestry2 design1 within a crimson border ornamented1 in white1 with scroll-work after a classic character1 a large mythologic1 perhaps ,bacchanal subject4 ,french1 #agth century4 ,upheld by pilasters and columns wreathed with branches of the vine1 we see a wide entablature coloured crimson and blue1 figured with tripods1 vases1 and other fanciful arabesque ornamentation1 and amid these1 heathen gods and goddesses1 centaurs1 birds1 and groups of satyrs4 ,below1 and between the pilasters and columns1 a male figure is playing the double pipe1 women are carrying fruits in dishes1 another is dancing1 and some high personages feasting at a table1 with some men looking on4 ,lowermost of all is another scene1 in which we have little naked boys1 satyrs carrying grapes1 and an ass laden with them1 and other satyrs pouring into vases the red wine which they are getting from a fountain brim full of it4 ,a border of a crimson ground figured in places with full-faced heads1 and all over with small figures1 the draperies of which are shaded in gold now quite black1 and arabesques after a classic form1 goes round the whole piece1 which is fellow to another showing the labours of ,hercules1 in this collection4 ,in the tapestry before us1 all the subjects are so ,bacchanalian that we must suppose that the designer meant to set forth the ways of the god of wine4 ,like the drawing in the ,hercules piece1 the drawing here is good2 but the piece itself is in a somewhat bad condition4 ,tapestry ,wall-hanging2 subject1 the labours of ,hercules4 ,flemish1 late #agth century4 #ba feet #f inches by #af feet4 ,this large piece is divided into three broad horizontal bands2 on the first of these1 upon a dark blue ground1 amid arabesques and monsters after classic models1 are observable the infant ,hercules strangling the two serpents2 in the middle1 a female holding two ropes1 and about her little boys carrying tall reeds1 which at top expand into a cup full of fire1 as she stands upright upon a pedestal over a doorway1 in the tympanum of which1 within a round hollow1 is the bust of a man having a wine-jug on one side1 and a dish filled with fire on the other2 still further to the right1 there is1 within an oval1 a child reading at a three-legged desk1 and seated on the bending bough of a tree1 at the foot of which is a book1 and a comic mask4 ,on the second band1 the ground of which is light blue1 within the doorway1 coloured green1 stands ,hercules cross-legged1 bearing in his right hand his club1 and with the left upholding the lion-skin mantle4 ,to the right1 ,hercules is seen wrestling2 next1 ,hercules fighting the ,nemean lion with his club2 and then the hero shooting with his bow and arrows the ,stymphalian birds1 half human in their shape3 to the left1 ,hercules is beheld strangling with his own hands the ,nemean lion2 then he is seen with this dead beast upon his shoulders as he carries it to ,eurystheus2 and lastly1 he is shown loaded with a blue globe1 marked with the signs of the zodiac1 upon his back4 ,on the third band1 which is crimson1 we find ,hercules1 leading by a chain the many-headed ,cerberus from the lower world1 having along with him ,athena1 who is seen with clasped hands1 and ,theseus1 who is clad in armour with a reversed dart in his hand2 in front lies a dead man4 ,the middle of this band is filled in with architectural scroll-work1 upon which are seated two half-bust winged figures1 one male1 the other female1 and hanging between them a shield figured with the rape of ,europa4 ,after this central piece we come to the scene on the journey into exile of ,hercules and his wife ,deianira3 the centaur ,nessus is carrying the lady in his arms over the river ,evenus1 and while doing so insults her1 whereupon ,hercules lets fly an arrow1 on hearing his wife's screams1 and shoots ,nessus to the heart4 ,the whole is enclosed within a border of a crimson ground1 figured with arabesques and heads of a classic character4 ,the third band has a hermes or terminal post at each end2 and1 curiously enough1 in the top band1 and resting on the foliations1 are four nests of the pelican1 billing its breast and feeding its young ones with its blood2 besides this we see in places two lions rampant1 and regularly langued gules1 being caressed by a sort of harpy3 all of which would lead us to think that in the bird and the animals we have the armorial charge upon the shield1 and its supporters1 of the noble1 but now unknown1 owner for whom this piece of tapestry was originally wrought4 ,its fellow-piece1 figured not so much with the triumphs as the festive joys of ,bacchus1 is in this collection4 ,tapestry ,wall-hanging2 ground1 white2 subject1 the young ,bacchus on a cloud1 with a cup of wine in one hand1 and the thyrsus-staff in the other2 and all about1 his symbols4 ,french1 or ,gobelin1 #ahth century4 ,within a rather broad panelled arch1 wine-red in its tone1 is figured the young ,bacchus with a couple of thyrsus-staves1 crossed saltire-wise above him3 below1 is a fountain with an animal's face1 from the mouth of which runs red wine1 and by it two little satyrs playing with tigers1 into whose open maws they are squeezing the juice of the purple grape4 ,within a tablet in the higher part are figured two letters ,m4 ,m4 seemingly the ciphers of the individual for whom this piece was woven4 ,tapestry ,wall-hanging2 ground1 white2 subject1 ,venus surrounded by her emblems4 ,french1 or ,gobelin1 #ahth century4 ,this is a fellow-piece to the foregoing one1 and arranged in the same manner4 ,riding on a cloud1 ,venus holds a small dart1 and leans upon a swan1 with a ,cupid by her feet4 ,like the other piece1 it has the cipher ,m4 ,m4 ,tapestry ,wall-hanging2 ground1 mostly white2 subject1 shepherds and shepherdesses sacrificing to ,pan4 ,french1 or ,gobelin1 #ahth century4 ,this large fine piece has a very cheerful tone1 and the background is so managed as to be very lightsome in its skies1 and hills1 and water4 ,in many parts of the costumes1 and the vegetation1 the colouring is warm without being dauby or garish4 ,tapestry ,wall-hanging2 subject1 ,melchizedek bringing bread and wine to ,abram after his victory4 ,flemish1 late #agth century4 ,on a tablet at the top of the piece is this inscription3--8,sodom expugnat ,lot capitur4 ,abram illum recepit4 ,rex ,melchizedek victori ,abram offert panem et vinum40 ,as the reader will easily bring to mind1 the subject as well as the inscription are borrowed from the fourteenth chapter of ,genesis4 ,supposing that ,sodom1 after the overthrow by ,abram's night attack of the four kings1 had been retaken1 and his nephew ,lot and his substance freed from the hands of the four conquered princes1 the artist has chosen that point of time in the story1 when ,melchizedek1 the ,king of ,salem and the ,priest of the ,most ,high1 went out to meet ,abram as he was coming from the slaughter2 and bringing forth bread and wine1 blessed him4 ,the two principal personages occupy the centre of the foreground4 ,crowned as a king and wearing a costly sword1 ,melchizedek comes forth with outstretched right hand to welcome ,abram1 from whom he is separated by a highly ornamented tall vase full of wine4 ,behind this ,king of ,salem one of his own serving men1 who carries on his shoulders a basket full of food1 is coming down the wide staircase from which his royal master has just issued1 while outside a doorway1 under an upper portico in the same palace1 stand two men gazing on the scene below them4 ,on the other side of the vase1 ,abram1 holding a long staff in his right hand1 is stepping forwards toward ,melchizedek1 whom he salutes with his lowered left hand1 and behind him a second servant of ,melchizedek has just set upon the ground a large hamper full of flat loaves of bread4 ,a little higher in the piece1 and somewhat to the left of this domestic1 a group of soldiers are quenching their thirst gathered about an open tun of wine1 which they drink out of a wide bowl2 hastening towards the same spot1 as if from an archway1 flows a stream of other military men4 ,amid the far-off landscape may be seen banners flying1 and beneath them all the turmoils of a battle raging at its height4 ,to the right1 the standard-bearers and some of the vanquished are seen in headlong flight4 ,the deep golden-grounded border is parted at bottom by classic monstrous herm1 male and female1 each wearing a pair of wings by its ears4 ,the spaces between these grotesques are filled in with female figures1 mostly symbolizing vices4 8,violentia0 is figured by a youthful woman1 who1 with a sheathed sword by her side1 is driving before her a captive young man1 whom she holds by the cords which tie his hands behind him1 and whom she hurries onwards by the blows from a thick staff that she wields in her uplifted right hand4 8,depredatio10 with her fingers ending at their tips in long sharp ravenous nails1 is riding astride a lion4 8,gratitudo0 is a gentle young maiden1 who is seated with a bird in her lap1 a stork1 which she seems to be fondling4 8,pugna10 or brawling1 is shown by two middle-aged women of the lower class4 ,with their dishevelled hair hanging all about their shoulders1 they are in the height of a fight1 and the woman with a bunch of keys hanging from her girdle has overcome the other1 and is tugging at one of her long locks4 8,tyrannis0 is an old haggish female with dog-like feet1 and she brandishes a sword2 almost every one of the other women on the border has1 curiously enough1 one foot resembling that of an animal4 ,in several parts of the composition besides the border1 in the warp and for shading1 golden thread has been woven in1 but so scantily employed1 and the gold itself of such a debased bad quality1 that the metal from being tarnished to quite a dull black tone is hardly discernible4 ,the costume1 like the scenery and buildings1 has nothing of an oriental character about it1 but is fashioned after an imagined classic model4 ,tapestry ,wall-hanging2 subject1 the ,progress of ,avarice4 ,flemish1 middle of the #agth century4 ,up above within the border of this large piece is a tablet bearing this inscription3-- 8,semper eget sitiens mediis ceu ,tantalus undis ,inter anhelatas semper avarus opes40 ,beginning at the top left hand of the subject represented1 we see a murky sort of vapour streaked by a flash of red lightning4 ,amid this brownish darkness1 peopled with horrid little phantoms and small fantastic sprites1 we discover a diminutive figure of ,death wielding a long-handled curiously-headed scythe4 ,just below is a man pointing with his right hand up to ,death1 and with his left hand to a little harpy before him2 behind him stands a figure with two heads1 one a woman's1 the other a man's1 set together ,januswise4 ,lower down1 and of a much larger size1 are three male figures1 one a youth well clad1 were it not for his ragged pantaloons1 the next an old man wearing sandals and bearing in his right hand what looks like a reliquary glazed and coloured red1 while in his left he holds two unfolded scrolls1 the upper one of which is illuminated with a building like a castle1 by the side of which stands a man1 over whose head is the tau or ,t1 with a bell hanging under it--the symbols of ,st4 ,anthony of ,egypt4 ,beside the last personage stands the figure of a monk-like form1 clasping in both hands a pair of beads or rosary4 ,next we have1 half leaning from out her seat placed upon a car1 and bending over an open chest1 into which she is dropping golden pieces of money from her claw-like fingers1 a female form with hideous wings and vulture feet1 such as harpies have4 ,the chariot drawn by a wyvern-like animal1 with its fiery long tongue thrust out1 has knocked down an elderly man1 who1 from the tonsure on his grey head1 would seem to be a priest1 and its wheel is going to crush a youth upon the ground1 while the wyvern's outstretched claws are about to gripe a ghastly cut-off head4 ,hanging on the mouldings of this car are empty money-bags1 crumpled-up deeds1 and a wide-open account book4 ,alongside of this fiendish hag trips a flaunting courtier2 before her rides ,midas with ass's ears to his bloated face1 unkempt locks falling down its sides1 a royal diadem upon his head1 and a withered branch in his hand2 and1 as if bound to her chariot1 walks a king1 having with him his queen4 ,before1 but on one side1 paces another crowned prince on horseback1 while full in front rides a third king carrying in his arms a naked woman4 ,last of all and heading1 as it were1 this progress of ,avarice1 sits a female figure sidewise on a horse1 which she has just reined up4 ,in her right hand she bears a red standard emblazoned with a monkey on all fours1 sharp clawed1 and something which may be meant for gold pieces4 ,flying down from the skies comes an angel1 who1 with his outstretched right hand1 seems to stay the march of the frightful woman in the chariot with her kingly rout1 and forbid its onward progress4 ,in the far-off landscape we discover a group of soldiers1 near whom lies stretched out on the ground a dead body1 upon which an angel gazes4 ,far to the right we find an open building1 intended1 may be1 for a church2 near it are two military men in armour2 inside1 a third seems holding out his hand as if he were leaving his offerings on the altar there4 ,outside1 and not far from this same building1 may be seen other four men1 two of them pilgrims1 of whom one kneeling before another looks as if he were making his confession4 ,the broad border to this large piece is designed with elaborate care4 ,at each of the two lower corners it is figured with the one same subject1 which consists in a group of three naked winged boys or angels2 of these one holds a short-stemmed cup or chalice1 from out of which rises a host or large round altar bread1 showing marked on it our ,lord hanging upon the cross1 between the ,b4 ,v4 ,mary and ,st4 ,john ,evangelist2 a second angel kneeling has in his hands an uplifted crown of thorns1 while lying behind him are two books2 and the third angel shows us a tablet written with the ,greek letters 4 ,all the rest of this frame-work is filled in with flowers1 fruits1 birds1 and snakes4 ,of the flowers the most frequent are the fritillary1 the rose1 the lily1 the amaryllis1 poppies1 white campanulas1 large daisies1 fleurs-de-lis1 and corn-flowers4 ,among the fruits we see the pomegranate1 of which some are split1 pears1 ,indian corn1 apples1 plums1 and figs4 ,the birds are mostly parrots1 woodpeckers1 storks1 cocks1 doves1 and some other birds of the smaller kinds4 ,in places may be discovered a knot of snakes coiled about a garland made of yellow leaves4 ,the allegory of the piece is read with ease4 ,the progress of ,avarice is headed by ,wickedness1 who carries aloft her blood-stained flag1 emblazoned with the monkey1 the emblem of moral ugliness and mischief4 ,hard upon the heels of ,wickedness comes a lecherous potentate1 the type of immorality4 ,the crowned heads1 whether mounted or on foot1 that come next have for their brother-companion ,midas1 the emblem of the sensual miser's greed of gold1 to remind us how kings1 nay queens too1 sometimes thirst for their subjects' wealth to gratify their evil wishes2 and the gay young man behind them1 coming by the chariot's side1 personates those courtiers who are reckless of what they do to help their royal masters in their love for lucre4 ,next we are told what harpy-avarice will not waver to execute while led on by wicked sovereigns4 ,look at those about and beneath her chariot3 from them we learn that she beggars the nobility1 and leaves them to walk through the world in rags2 she destroys churches1 and1 when lacking other means for her fell purpose1 will shed innocent blood and behead her opponents4 ,but here below1 ,avarice and those who lead her on1 though they be kings and queens1 will have their day3 ,time will bring them to a stand4 ,the rifled altar will be ornamented again1 the rites of worship restored1 and hospitals reopened4 ,while an angel from heaven stops the progress of ,avarice1 high up in the eastern sky a thunder-storm is gathering2 and on earth a man1 whilst pointing with one hand to grim ,death1 armed with his scythe1 amid a cloud of loathsome winged things flitting around him1 with the other that same person warns a harpy that her sister harpy ,avarice will soon be overtaken2 and just as the heathen ,januslike figure close by--emblem of the past1 and of a certain future--he also tells her of that just retribution which1 by the hands of ,death and in another world1 will be dealt out to herself and all this miscreant company4 ,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 #afth and the beginning of the #agth centuries4 ,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 man1 who carries in one hand a reliquary so conspicuously painted red1 and in the other two parchment scrolls1 upon one of which we find a sort of sketch of some particular spot1 with an important edifice on it4 ,by its size and look it seems to be some great hospital1 and from the presence there of a man having above his head the letter tau or ,t and a bell hanging to it1 we are given to understand that this building belonged to some brotherhood of ,st4 ,anthony1 in the service of the sick2 and that its suffering inmates were principally those afflicted with erysipelas1 a disease then1 and even yet1 called abroad ,st4 ,anthony's fire1 once so pestilential that it often swept away thousands everywhere4 ,near ,vienne1 in the ,south of ,france1 stood a richly-endowed hospital1 founded ,a4,d4 #ajie1 chiefly for those suffering under this direful malady4 ,this house belonged to and was administered by ,canons ,regular of ,st4 ,anthony4 ,the town where it stood was ,didier-la-,mothe1 better known as ,bourg ,s4 ,antoine4 ,during the troubled times in ,france this great wealthy hospital1 here fitly represented like a town of itself1 by those lofty walls and that tall wide gateway1 had been plundered3 hence1 one of its brothers is shown upbraiding ,avarice for her evil doings1 of which those sad tokens of moneyless purses1 well-searched rent-books1 and ransacked title-deeds are still dangling on her car4 ,if not all1 most1 at least1 of the persons here figured are meant1 as is probable1 to be characterized as the likenesses of the very individual victims and the victimizers portrayed upon this tapestry4 ,tapestry ,wall-hanging2 subject1 ,abraham's upper servant meeting ,rebecca at the spring of water4 ,flemish1 late #agth century4 ,at top1 in the middle of the broad border1 a tablet gives us the following inscription3--,cumque pervenisset 7servus87 ad fontem et sibi 7aquam87 petiisset et ,batuelis filia ,rebecca ex hydria potum dedisset et camelis haustis et filio ,abrahe eam fore conjugem oraculo cognovit4 ,in the twenty-fourth chapter of ,genesis we read how ,abraham in his old age sent his eldest servant unto his own country and kindred1 thence to bring back a wife for his son ,isaac2 and how that man1 at his master's behest1 immediately took ten camels1 carrying something of all his lord's goods with him1 and went on to ,mesopotamia1 to the city of ,nahor2 and how1 when he had reached that place1 and had made a halt without the town near a well of water1 in the evening1 at the time that women were wont to come out to draw water1 he besought ,heaven that the maid to whom he should say1 8,let down thy pitcher1 ,i pray thee1 that ,i may drink1 and she shall say1 ,drink1 and ,i will give thy camels drink also--let the same be she that ,thou hast appointed for thy servant ,isaac40 ,this faithful steward had not yet ended these words within himself1 and behold ,rebecca came out1 the daughter of ,bathuel the son of ,milcha1 wife to ,nahor1 the brother of ,abraham1 and spoke and did as this servant had wished3 and then he gave her golden earrings and bracelets4 ,as was fitting1 the whole scene is laid in the open air1 amid a charming landscape scattered all over with buildings4 ,to the left1 in the foreground1 we behold a maid with a pitcher getting water out of a large square tank1 ready1 as it seems1 for a second serving-woman to carry off1 and who is coming back with another pitcher empty to be again refilled4 ,in the middle ground a young woman1 who carries a large pot of water on her head1 is clambering over a wooden fence1 and going towards an arch or bridge leading to a house4 ,right in the centre of the piece stands ,rebecca1 with one foot resting on a slab of veined marble1 on which is placed a richly ornamented vase2 and from out another like vessel1 which she holds up in both her hands1 she is giving drink to the steward ,eliezer1 who is respectfully bending forwards while carrying to his lips this same pitcher to slake his thirst4 ,a kind of short sword1 or anelace1 dangles from his girdle1 and a long stout staff lies by his feet upon the ground4 ,two tall trees with vines twining about them overshadow the spot4 ,in the distance stand several camels burdened2 but behind him1 some of his men1 having unloaded one or two of those beasts1 are opening certain gaily ornamented trunks1 and looking out1 no doubt1 the bracelets and earrings to be afterwards given to ,rebecca4 ,in the background are fine large buildings1 fortifications1 a castle1 and a palace-like erection conspicuous for its tall tower and cupola1 besides the walls of a little town4 ,the piece is framed with a very elaborately designed broad border1 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 ,europe4 ,on the lower band1 standing one at each side of a short pedestal1 or rather low dado1 are1 back to back1 two bearded grotesques1 each of which is made up of a human head and face having three goats' horns growing out of the forehead1 and of a wyvern's body1 holding aloft in one of its claws a tall tapering torch4 ,further on comes a series of spaces peopled with emblematic personages1 and separated from one another by two little naked winged boys standing on a highly elaborate zocle1 and with the left hand swinging by a cord1 at each end of which hang from a ring1 and done up in bunches1 fruits and flowers4 ,in the first space is 8,prudentia10 bearing in her right hand a long-handled convex mirror1 in her left1 a human skull2 in the second space1 upon a sort of throne1 sits 8,sollicitudo10 upholding in her right hand an oblong square time-piece1 while on her left1 with her elbow propped up by one arm of her chair1 she leans her head as if buried in deep thought2 in the third space sits 8,animi-7,probitas70 with both her arms outstretched1 as if reprovingly2 in the fourth space we have 8,ceres10 the heathen goddess of corn3 crowned with a wreath of the centaurea flowers1 she carries ears of wheat in her right hand1 in her left1 a round flat loaf of bread2 in the fifth space1 8,liberalitas10 who1 from the emblems in her hands1 must have been meant to personify not generosity but freedom1 for in her right hand she shows us a hawk's jesses1 with the bells and their bewits1 and on her left wrist1 or1 as it should be phrased1 the 8fist10 the hawk itself without jesses1 bells1 lunes1 or tyrrits on--in fact quite free4 ,at the left side of the upright portion of the border1 stands first1 within an architectural niche1 8,circumspectio10 or ,wariness1 who1 while she gathers up with her right hand her flowing garments from hindering her footsteps1 with her left1 holds an anchor upright1 and carries on her wrist a hawk with two heads1 one looking behind1 the other before1 fit token of keen-sightedness1 which1 from a knowledge of the past1 strives to learn wisdom for the future4 ,higher up 8,adjuratio0 is standing1 with her right hand outstretched afar1 as if in warning of the awfulness of the act1 and her left hand held upon her bosom in earnest of the truth of what she utters1 whilst all about her head1 as if enlightened from heaven1 shines a nimb of glory4 ,last of all on this side1 we have 8,bonus zelus10 or ,right-,earnestness1 in the figure of a stout1 hale husbandman1 who is about clasping within his right arm two straight uprooted saplings1 evidently apple-trees1 by the fruit hanging from the wisp which binds them at their middle height4 ,going to the right-hand strip1 we find1 at the lower end1 occupying her niche1 8,pudicitias10 7sic71 figured as a young maiden1 who holds upon her breast with her left arm a little lamb1 which1 with her uplifted right hand1 and the first two fingers put out according to the ,latin rite1 she seems to be blessing4 ,in his own niche1 and just overhead1 we see 8,requisicio10 or ,hot-wishfulness1 who is shown to us under the guise of a young knight1 girt with an anelace1 which hangs in front of him3 in the hollow of his left outstretched hand he carries a heart--very likely as his own--all on fire4 ,the last of this very curious series is 8,diligentia10 as a matronly woman1 who1 with one hand keeping the ample folds of her gown from falling about her feet1 carries the branch of a vine in the other hand4 ,from the quantities of dulled and blackish spaces all over the border-ground1 and amid the draperies upon the figures in this tapestry1 it is evident that much gold thread was woven into it1 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 idea4 ,though the glitter of its golden material is gone for ever1 its artistic beauty cannot ever fade4 ,much gracefulness in the attitudes1 several happy foreshortenings1 and a great deal of good drawing all about this design1 show that the man who made the cartoon must have deeply studied the great masters of ,italy1 and1 in an especial manner1 those belonging to the ,roman school3 unfortunately1 like all of them1 he too had forgot to learn what was the real ,oriental costume1 and followed a classic style in dress1 which1 as he has given it1 is often very incorrect4 ,tapestry ,wall-hanging2 subject1 ,tobit1 the father1 sending his son to the city of ,rages for the recovery of the moneys lent to ,gabael4 ,flemish1 late #agth century4 ,sitting in the open air1 we see first the elder ,tobit4 ,well stricken in years1 and blind1 he is leaning his right hand upon a staff2 in his left hand he holds a folded document--the note-of-hand signed by ,gabael4 ,thinking that he must die in a short time1 he has called to his side his well-beloved child the young ,tobias1 and after having given him the most wholesome counsel for his religious and moral behaviour through life1 speaks of his own burial1 and how he wishes that when his wife ,sarah's days are done1 the boy should lay his mother's body by his father's in the grave4 ,as an ending to this discourse1 the elder ,tobias said1 8#8,i signify this to thee1 that ,i committed ten talents to ,gabael--at ,rages in ,media4 ,seek thee a man which may go with thee1 whiles ,i yet live--and go and receive the money40 ,then ,tobias going forth1 found a beautiful young man1 standing girded1 and as it were ready to walk2 and not knowing that he was an angel of ,god1 he saluted him and said3 8,canst thou go with me to ,rages1 and knowest thou those places well80 ,to whom the angel said3 8,i will go with thee1 and ,i know the way well40 ,then ,tobias going in told all these things to his father2 and all things being ready1 ,tobias bade his father and his mother farewell1 and he and the angel set out both together2 and when they were departed1 his mother began to weep2 and ,tobias went forward1 and the dog followed him4--,book of ,tobit1 chapters iv4 v4 ,seated1 and leaning his right hand upon his staff1 the old man is outstretching with his left to his starting son the note-of-hand to ,gabael1 behind him stands his wife ,sarah weeping2 before him is his son1 who1 leaning his long travelling staff against his shoulder1 with his left hand is about to take the important document from his father1 at the same time that he turns himself half round and points with his right hand to the angel behind him1 as if to comfort his father in the knowledge that he is to have such a good companion for his guide4 ,the angel1 who carries a traveller's staff in his left hand1 holds out his right towards the young man1 as telling his father and mother how carefully he would lead him to ,rages1 and bring him safely home again4 ,last of all1 and standing beneath a tree we find a saddled ass with a large gaily ornamented pilgrim's wooden bottle for water hanging by its side1 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 way4 ,magnificent buildings arise as a background to the spot where we see old ,tobit seated1 and standing behind him his weeping wife ,sarah4 ,on the threshold of their own fine house behind them there stands in a niche the statue of ,moses1 who is figured with the two horns upon his forehead1 as representing the light that shone about his face1 and darted all around it in rays like horns1 as he came from ,sinai a second time with tables of the law3 his left hand leans upon those two tables that stand beside him2 and on his right arm lies a long scroll4 ,the borders all about the piece are made up of wreathed boughs of foliage1 from out of which peep forth fruits and flowers4 ,the left-hand strip shows a peacock perched upon the stem of a vine1 and little boys are shooting blunt-headed arrows at it3 on the strip to the right1 other little boys are disporting themselves amid the branches1 playing music1 one beating a drum1 a second blowing the flute1 others clambering up amid the roses1 fruits and flowers2 one little fellow1 conspicuous for his dress1 is waving a flag in great delight3 on the lower border children are at their gambols with equally graceful energy4 ,at every one of the four corners is a large circle1 wrought in imitation of bronze1 all in gold1 but now so faded that the smallest lustre from the metal is lacking4 ,they were figured by the means of outlines done in brown silk1 each with a subject drawn from the ,book of ,tobit4 ,in the circle1 at the upper left-hand corner1 we observe the young ,tobias going out from his father to seek1 as he had bidden him1 for some trusty guide to ,gabael's house2 in the lower round of the same side the wished-for companion1 ,raphael in his angel shape1 has been brought in1 and is speaking with the blind old man4 ,looking at the circle on the upper right-hand of the border we see the same ,tobit giving comfort to his sorrowing wife ,sarah1 just as both have been left by their son gone on his journey4 ,gold-covered thread has been much employed all about this fine specimen of tapestry2 but1 like too many other instances of misapplied economy in material1 this exhibits nothing but blotches of dirty brownish black in those laces which should have shone with gold4 ,tapestry ,wall-hanging2 ground1 rather white2 subject1 a feast4 ,french1 or ,gobelin1 #ahth century4 ,lent by the ,board of ,works4 ,within a large stone hall1 roughly built and festooned1 is spread a long well-provided table1 at which the guests1 male and female1 are sitting3 in the foreground are the servants1 some of whom are shown in very daring but successful foreshortenings1 reminding us somewhat1 on the whole1 of one of ,paolo ,veronese's banquets1 though here we behold a rustic building in a garden1 not an architectural hall in a ,venetian palace4 ,tapestry ,wall-hanging2 ground1 mostly white2 subject1 ,cupid among the rustics4 ,french1 or ,gobelin1 #ahth century4 ,lent by the ,board of ,works4 ,amid the ruins of an ,ionic temple in the foreground we have a shepherd and his dog fast asleep1 while a winged youthful genius is hovering just above1 and scattering very plentifully poppy-flowers all about the spot4 ,behind1 a young little ,cupid1 seated on a cloud1 is surrounded by a crowd of rustics1 men and women1 thronging1 as it were1 to hear him4 ,as in the other fellow-piece to this1 the colouring is cheerful and very pleasing1 in parts so soft and well graduated in their tones1 and so remarkable for their foreshortenings4 ,from their large size they must have been intended for some great hall1 and seemingly were all wrought for the same spacious room4 ,tapestry ,hangings for ,pilasters2 ground1 brown2 design1 arabesques done in red1 blue1 and yellow4 ,french1 early #ahth century4 ,lent by the ,board of ,works4 ,these two pieces seem to have been especially wrought to cover some pilasters in a hall1 and not to border any larger production of the loom4 ,illustration ,,index ,i4 ,,abram and ,,melchisedech figured1 #hh1 #cbh4 ,,abraham's servant meeting ,rebecca at the well1 #ccc4 ,adderbury ,church1 ,oxon1 monster sculptures outside of1 #aeg4 ,,ahasuerus and ,,esther1 figured1 #cjg4 ,alhambra1 #ee4 ,alb1 apparels for1 #fe1 #adf1 #aii4 ---- fine medival one1 #bfh4 ,algerine embroidery1 #ah4 ,almeria1 its fine silks1 #fc4 ,altar1 cere-cloth for1 #afj4 ,altar-cloths1 #fj1 #fb1 #gc1 #gi1 #bfe4 ,altar-curtains1 #ea1 #bja4 ,altar-frontals1 #ad1 #ca1 #hg1 #aja1 #bfe1 #bff1 #bfg4 ,altar-frontlets1 #fb1 #bfe4 ,amices1 #ahe1 #aie4 ,amice1 apparel for1 #cd1 #ahf1 c4 ,,anastasius ,,bibliothecarius1 quoted1 #aee1 #afa4 ,angels1 nine choirs of1 #bb1 #bha4 ,animals1 see ,zoology4 ,anjou1 ,royal ,house of1 #cb4 ,,ann of ,bohemia1 ,richard ,,ii4's queen1 #ec4 ,annunciation of the ,b4 ,v4 ,mary1 figured1 #b1 #ahf1 #bdg4 ,,anthony1 ,s41 figured1 #bec1 #bed4 ---- ,canons ,regular of1 #ccb4 ---- fire of1 or erysipelas1 #ccb2 hospital for the cure of it at ,bourg ,s4 ,antoine in the south of ,france1 #ccb4 ,apparels for ,albs1 #fe1 #adf1 #adi1 #aha1 #aii1 #bfh4 ---- for amices1 #cd1 #ahe1 #ahg1 #aie1 #bcd4 ,apparels for dalmatics and tunicles1 #bjf4 ,apocalypse quoted1 #bhh4 ,applied or cut-work1 #b1 #ag1 #bj1 #ba1 #gg1 #ha1 #adf1 #aii1 #bae1 #bfe4 ,arabic inscriptions1 real1 #agi1 #bcb1 #bch1 #bdc4 ---- pretended1 #be1 #bi1 #de1 #ec1 #gf1 #abb1 #abe1 #acg1 #ach1 #adf1 #agg1 #aha1 #bac1 #bbj1 #bcd4 ,araneum opus1 #afb4 ,architectural design on stuffs1 #aj1 #cb1 #cc1 #ajh1 #aca1 #aej1 #bcc1 #beb4 ,armorial bearings of-- ,,brandenburg1 #fc4 ,,bassingburn1 ,,de1 #bhe4 ,bohemia1 #fc4 ,,botiler1 ,le1 #bhc1 #bhe4 ,,bygod1 #bhe4 ,,chambowe7871 #bhe4 ,,champernoun1 #bhd4 ,castile and ,leon1 #bhb4 ,cleves1 #bb1 #bdf4 ,,clifford1 #bhc4 ,england1 #bdf1 #bhd4 ,,everard1 #bhc4 ,france1 #hd4 ,,ferrers1 #bhb4 ,,fretie1 #bad4 ,,fitton1 #adh4 ,,fitz ,,alan1 #bhd4 ,,grandison1 one of the coats1 #bhd4 ,,geneville1 #bhb4 ,,golbore or ,,grove1 #bhe4 ,,hampden7871 #bhd4 ,knights ,templar's badge1 #bhc4 ,,limesi or ,,lindsey1 #bhc4 ,,lucy1 #bhe4 ,,marck1 ,,de ,,la1 #bb4 ,,monteney of ,essex1 #bhd4 ,,mortimer1 ,,roger ,,de1 #bhe4 ,,pandolfini1 #adc4 ,,percy1 #bhd4 ,,ribbesford 7871 #bhe4 ,,sheldon1 #bhd4 ,,spencer1 #bhc4 ,,thornell of ,suffolk1 #adh4 ,,tydeswall1 #bhd4 ,,warwick1 #bhb4 ,assumption of the ,b4 ,v4 ,mary figured1 #hi1 #bgb1 #bgc1 #bgf1 #bgh4 ,atonement1 symbol of1 #cj4 ,aubusson tapestry and carpets1 #cjf4 ,audenaerde famous for its tapestry1 #bid4 ,avarice personified1 and progress of1 figured1 #cbi4 1 what1 #bdi4 ,bags1 liturgical1 #ahh1 #bfc2 ,persian travelling1 #hc4 ,balaam's prophecy quoted from ,numbers1 xxiv4 #ag1 #bhe4 ,balm cloth1 #ai1 #bj4 ,bamberg cathedral1 stuffs there1 #aec4 ,banners for church processions1 #bei4 ,bath1 old ,english vestments found hidden in a house at1 #hh4 ,bayeux1 so-called tapestry1 piece of1 #f4 ,beads1 embroidery in1 #afi4 ---- making of1 at ,venice1 #afi4 ---- or rosary1 for prayers1 #bfc4 ,beasts1 see ,zoology4 ,beauvais tapestry1 #cjg4 ,bed-quilts1 #bj1 #hf1 #ajd1 #bic2 hangings1 #ajg4 ,,beleth1 ,,john1 quoted1 #bgg4 ,,bernard1 ,,st41 chasuble of1 #aei4 ,birds1 see ,zoology4 ,bishops' liturgical stockings1 #ef4 ,bissus or ,byssus1 what1 #be1 #aeb1 #age1 #bci4 ,,black ,,prince1 #abi4 ,blessing1 the liturgical1 how given in the ,latin rite1 #ahg2 figured as given with the left or wrong hand1 #ga4 ,,blickin ,,von ,,lichtenberg1 ,,anna1 #id4 ,block printing on linen1 #aah1 #abj1 #ahc1 #ahd1 #bcd4 ---- on diaper1 #fa4 ---- on silk1 #ca4 ,,bock1 ,rev4 ,dr41 quoted1 #be1 #bf1 #bi1 #cd1 #de1 #di1 #eb1 #ee1 #eh1 #fj1 #hi1 #abb1 #abc1 #aea1 #aeb1 #aee1 #aeh1 #afb1 #afe1 #afi1 #age1 #ahd1 #ahg1 #bjg1 #bbc1 #bdb1 #bdg1 #beb1 #bfd1 #bgj4 ,bohemia1 arms of1 #fc2 ,,ann of1 #fc4 ,bordering1 or ,lace1 #afj4 ,borsa1 the ,italian1 gibeciere or pouch1 #c4 ,boots or legging1 like stockings1 worn by bishops while pontificating1 #ef4 ,botany-- ,flowers3 ,artichoke1 bloom of1 #fd1 #acg4 ,bignonia1 or trumpet flower1 #ge4 ,centaurea1 or corn-flower1 #dg1 #di1 #ec1 #fb1 #hi1 #ii1 #beh4 ,fleur-de-lis1 #e1 #bg1 #bi1 #cb1 #ce1 #ei1 #ia1 #aaj1 #aaf1 #acj1 #ach1 #afb1 #afg1 #aif1 #bbf4 ,frittilary1 #ff4 ,foxglove1 or digitalis1 #ff4 ,honeysuckle1 #gc4 ,heartsease1 or pansey1 #bei4 ,ivy1 #acb4 ,lily1 #fi1 #hi1 #aaj1 #aae1 #beg1 #caj4 ,penstemon1 #ff4 ,pinks1 #aae4 ,pomegranate1 #aa1 #ab1 #ac1 #ad1 #bj1 #ff4 ,rose1 #bj1 #cd1 #dg1 #ei1 #fa1 #ajg1 #ahh1 #aic1 #aie4 ,trefoil1 #acg4 ,tulips1 #db1 #fb4 ,fruits1 c43 ,acorns1 #aae1 #bjb1 #bde4 ,apples 7871 #acg4 ,arbutus unedo1 or strawberry tree1 #aaj4 ,artichoke1 #cf1 #dg1 #fj1 #fb1 #fd1 #fe1 #ff1 #fi1 #gj1 #gb1 #gc1 #hj1 #aad1 #aae1 #aaf1 #aah1 #abi1 #acj1 #acd1 #ade1 #aeb1 #aib1 #bef4 ,grapes1 #di1 #fi1 #gd1 #ge1 #afc1 #bda1 #bde4 ,mulberry1 #fe4 ,oranges 7871 #acg4 ,pomegranate1 #g1 #dh1 #ej1 #ff1 #gc1 #ia1 #aad1 #aae1 #abh1 #acd1 #aia1 #aib1 #aic1 #aig1 #aii1 #bbh1 #bef1 #beh4 ,strawberry1 #aaj4 ,wheat-ears1 #ij1 #aac1 #acg1 #agg4 ,trees3 ,the ,homa1 hom1 or sacred tree of the ,persians1 #hd1 #adj1 #aed1 #bac1 #bae1 #baf1 #bch4 ,oak-leaves1 #bjb1 #bde4 ,vine1 #afc1 #bde4 ,box for corporals1 #aab1 #aic1 #aid4 ---- for reservation of the consecrated ,host1 from ,maundy ,thursday till ,good ,friday1 #aab4 ,brandenburg1 arms of1 #fc4 ,brocades1 #h1 #i1 #aj1 #ab1 #ae1 #ai1 #bj1 #bi1 #aad1 #aaf1 #aag1 #abb1 #abf1 c4 ,,brooke1 the ,collection1 #cab4 ,bouchier ,knot1 #afh4 ,bourgtheroud1 ,hotel de1 at ,rouen1 #bid4 ,boy-bishop1 #he4 ,bugles1 #afi4 ,burse1 or corporal-case1 #add1 #ade1 #aid4 ,byssus1 see ,bissus4 ,byzantine stuffs1 #aee1 #aei1 #afj1 #afa1 #bai1 #bbb4 ,c1 the letter1 interlaced1 #e1 #ch4 ,cairo1 #eg4 ,canvas1 what kind of stuff meant by the word in old inventories1 #ahe4 ,cap1 scull1 #af2 of estate or state1 #hf4 ,,capuanus1 ,,petrus1 quoted1 #bhf4 ,carpet1 #ff1 #hc1 #bji1 #bdh2 see ,pedalia1 or ,pede-cloth4 ,,caxton1 his translation of the 8,legenda ,aurea10 quoted1 #bge1 #bgg4 ,cendal1 #afc4 ,cere-cloth1 for laying immediately over the altar-stone1 #afj4 ,chairs1 seat-covers for1 #aaj4 ,charles ,i4's scull-cap1 #af4 ,chasubles1 #a1 #e1 #ac1 #ba1 #gf1 #ha1 #hb1 #hh1 #adb1 #bjh1 #bac1 #bfd1 #bff1 #bfi4 ,chaucer quoted1 #fd4 ,cheetahs1 see ,zoology4 ,chinese silks1 c4 #a1 #h1 #aa1 #ab1 #af1 #ge4 ,choirs1 nine1 of angels1 #bb1 #bha4 8,church of our ,fathers10 quoted1 #ai1 #cd1 #cf1 #df1 #he1 #ajc1 #agj1 #agd1 #aha1 #ahf1 #aid1 #aif1 #bjb1 #bjc1 #bje1 #bjf1 #baj1 #bci1 #bdh1 #bfe4 ,clare1 ,margaret de1 ,countess of ,cornwall1 #f4 ,,cleves1 princely house of1 #bdf4 ,,cleves1 its armorial bearings1 #bb4 ,cloth1 ,corpus ,christi1 what1 #bjb1 #bfj4 ---- for crozier1 #agd1 #bej4 ---- for lectern1 #baj1 c4 ---- for pyx1 #bjb1 #bfj4 ---- of estate1 #ajg4 ---- of gold or lama d'oro1 #bjd1 #bjh4 ,cluny1 ,hotel de1 at ,paris1 #bab4 ,cobham college and church1 ,kent1 iron lectern once at1 #bac4 ,cobweb stuff1 so-called1 #afb4 ,collars of ,orders-- ,st4 ,michael1 #hd2 ,the ,holy ,ghost1 #hd4 ,cologne1 #fa1 #ahg2 painting in cathedral1 #ahg2 woven stuffs for church use1 see orphreys of web4 ---- embroidery1 #fa1 #ff1 #fg1 #bdf4 ,colours1 murrey1 once such a favourite in ,england1 #i4 ---- pink or gules1 and green1 somewhat peculiar to ,parlermitan looms1 #afe1 #agj1 #agh1 c4 ---- those used in the ,latin as well as the ,greek rite1 #agb2 black in services for the dead1 #aig4 ,copes1 #b1 #ae1 #hj1 #bjg1 #bge4 ---- hoods of1 #fg1 #add1 #aih2 in ,england1 how shaped1 #da4 ,coral beads1 #afi4 ,cornelimnster1 abbey of1 #bf2 sudary of our ,lord there1 #bf4 ,coronation of the ,b4 ,v4 ,mary figured1 #bcf1 #bgb1 #bhj4 ,corporals or square pieces of altar linen1 #add1 #ade1 #aid1 #aie4 ---- cases for keeping1 #aab1 #add1 #ade1 #aid2 see ,burse4 ,corpus ,christi cloths1 #bjb1 #bfj4 ,costume1 medival1 #gh4 ,counterpane1 #bga4 ,coventry1 its famous gild1 #bhi1 c4 ,coverlets1 #bj1 c4 ,cracowes or pointed shoes1 so called1 #ec4 ,cradle-coverlets1 #d1 #ac1 #ff1 #fg1 #ajj1 #ajc1 #ajd1 #aaj4 ,crape1 #abf4 ,creeping to the cross1 ceremony of1 on ,good ,friday1 #agd4 ,crescent moon and star1 symbolical of our ,lord and ,his church1 #bhe4 ,crochet work1 #ah1 #gb4 ,cross1 ,st4 ,andrew's1 #afa1 #bbi2 the so-called ,y cross1 #hb4 ---- cramponne1 #afa2 flory1 #afa2 foliated1 #bah2 pomme1 #adj4 ---- filfod1 #afa4 ---- gammadion1 #afa4 ---- ,greek1 figured on stuffs1 #afj4 ---- creeping to1 ceremony of1 #agd4 ,crown1 supposed1 of ,king ,edward the ,confessor1 #aec4 ---- of ,st4 ,edgitha1 #aec4 ,crozier1 napkin for1 #agd1 #bej4 ,crucifixion figured1 #f1 #cj1 #hb1 #hc1 #adb1 #bgf4 ---- with four nails1 #cj4 ---- old ,english manner of figuring1 #bgf4 ,crystal balls1 #bjf4 ,,curet,n1 ,dr41 quoted1 #agi4 ,curtains1 #g1 #ab1 #ac1 #ae4 ---- for the altar1 #ea1 #bja4 ,cushions1 #d1 #ei1 #aaa1 #adb1 #agd1 #bgc4 ---- used in the liturgy1 #ei1 #agd4 ,cut-purse1 what meant by the expression1 #c4 ,cut-work1 #bb1 #gf1 #ada1 #ahi1 #aii1 #bei1 #bib2 see ,applied work4 ,cyrillian alphabet1 the1 #agb4 ,daisies1 the symbolism of1 #adi1 see ,botany--,flowers4 ,dalmaticks1 #gf1 #adc1 #bjf1 #bad1 #bff4 ,dalmatics1 apparels on1 #bjf4 ,damask1 ,chinese1 #ge4 ,damasks1 figured with pictorial subjects1 #afe1 #ahd1 c41 see 8,stuffs historiated40 ,damask in linen1 #gc1 #bja1 #bjc1 #bch4 ---- in linen and woollen1 #bjb4 ---- in silk1 #aj1 #aa1 #ac1 #ae1 #be1 #da1 #db1 #dc1 #dg1 #dh1 #di1 #ej1 #eb1 #ee1 #ef1 #eg1 #fb1 #fg1 #gb1 #gc1 #gd1 #ha1 #aac1 #aad1 #aae1 #aaf1 #aba1 #abd1 #abe1 #abf1 #abg1 #abh1 #abi1 #acj1 #aca1 #acc1 #acf1 #acg1 #ach1 #aci1 #adj1 #aeb1 #aed1 #aee1 #aef1 #aei1 #afj1 #afb1 #afc1 #afh1 #aij1 #aia1 #aif1 #aig1 #bjb1 #bjc1 #bjd1 #bje1 #bjf1 #bac1 #bae1 #baf1 #bba1 #bbd1 #bbe1 #bbf1 #bbg1 #bbh1 #bbi1 #bcc1 #bcd1 #bcg1 #bch1 #bci1 #bdj1 #bda1 #bdd1 #bde1 #bea1 #bef1 #bgd4 ,damask in silk and cotton1 #fj1 #aff1 #afg1 #bcj1 #bca1 #bfb4 ---- in silk and gold1 #df1 #dg1 #eb1 #ec1 #ed1 #ef1 #eg1 #fj1 #fc1 #fd1 #fe1 #ff1 #aac1 #abi1 #acj1 #acb1 #acd1 #acg1 #ach1 #aci1 #adf1 #aea1 #aei1 #afb1 #afd1 #afe1 #aff1 #afg1 #afh1 #agj1 #agg1 #agh1 #agi1 #ahj1 #aha1 #ahc1 #ahd1 #aia1 #aic1 #bja1 #bac1 #bbd1 #bbe1 #bbg1 #bbh1 #bcc1 #bcd1 #bce1 #bcg1 #bch1 #bda1 #bdc1 #bdg1 #bgc4 ---- in silk and hemp1 #afd4 ---- in silk and linen1 #gd1 #acj1 #acf1 #aed1 #aff1 #bjd1 #bdc1 #bfb1 #bfd4 ---- in silk and silver1 #afa1 #agg1 #ahc4 ---- in silk1 wool1 linen1 thread1 and gold1 #abi4 ,,daniel1 the book of1 quoted1 #bbg4 ,design1 architectural1 upon stuffs1 #aj1 #cb1 #cc1 #ajh1 #aca1 #aej1 #bcc1 #beb4 ,didier-la-,mothe or ,bourg ,s4 ,antoine hospital at for those struck with ,s4 ,anthony's fire or erysipelas1 #ccb4 ,,diogenes1 subjects1 in tapestry1 from the life of1 #cjc1 c4 ,door-curtains1 #g1 #ab1 #ac1 #ae4 ,dorneck1 a coarser kind of damask so called1 #abi4 ,dory1 ,john1 the fish so called1 #aea4 ,dove1 emblem of the ,holy ,ghost1 #eh4 ,dragon1 the five-clawed ,chinese1 #a4 ,dress1 ,lady's1 #ad1 #ah2 and the ,brooke ,collection1 #cac1 c4 ,,duc1 ,m4 ,,viollet ,,le1 quoted1 #bab4 ,,dugdale's ,st4 ,paul's1 quoted1 #aea4 ,durham1 ,anglo-,saxon embroidered vestments kept in the cathedral library at1 #bje4 ,eagle1 double-headed1 #bf1 #bh1 #cg1 #hf4 ---- ,german1 of ,charles ,v4 of ,spain1 #g4 ,edward ,i41 how he knighted his son1 #bhg2 and swore by the swans that he would wage war against ,scotland1 ,ib4 ,egyptian gauze1 #eg2 linen1 #be2 silk1 #ef2 taffeta1 #eg4 ,elephant1 #de4 ---- and ,castle1 #agj4 ,embroidery1 ,chinese1 #g1 #ab1 #af4 ---- ,english1 #e1 #f1 #af1 #hh1 #adg1 #bge1 #bhc4 ---- ,flemish1 #aai1 #add1 #aih1 #bdh4 ---- ,florentine1 #eh1 #ia1 #aaa1 #abj1 #adb1 #bad4 ---- ,french1 #he1 #aaj1 #bai1 #bbf4 ---- ,german1 #ea1 #ec1 #eh1 #ei1 #fj1 #ff1 #ajc1 #ajh1 #aai1 #abj1 #aci1 #adj1 #aej1 #aec1 #aef1 #aeh1 #afe1 #aff1 #ahf1 #ahg1 #ahi1 #aij1 #aif1 #bjf1 #bjg1 #baf1 #bah1 #bdi1 #bej1 #beb1 #bec1 #bed1 #beg1 #beh1 #bfi4 ---- ,indian1 #hf1 #bfb4 ---- ,italian1 #ga1 #ade1 #aii1 #bga4 ---- ,persian1 #bgj4 ---- ,sicilian1 #adi4 ---- ,spanish1 #fe1 #hb1 #bjd4 ---- ,syrian1 #bfb4 ---- ,venetian1 #afh4 ---- in quilting1 #ad1 #af1 c4 ---- in waving lines1 #ei4 ---- done in beads1 #dd1 #afi1 #aij4 ---- as cut-work and applied1 #adf1 #ahi1 #aii1 #bdh4 ---- in gold wire1 #bbj4 ---- in gold and silver wire1 #aej4 ---- done in solid silver gilt wire1 #aej1 #bbj4 ---- in pearls and precious stones1 #aii4 ---- with goldsmith's work amid it1 #afh1 #afi1 #ahf1 #aii1 #bbc1 #bcc4 ---- in silk1 #b1 #c1 #d1 #e1 #f1 #g1 #ab1 #ac1 #af1 #cd1 #ajc1 #aag1 #abj1 #acc1 #add1 #aec1 #aee1 #aef1 #aff1 #afh1 #aha1 #bag1 #beb1 #bga1 #bgc1 #bge4 ---- on linen in silk1 #bi1 #eh1 #fj1 #fe1 #aai1 #ahf1 #ahg1 #ahi1 #beh1 #bfb4 ---- on linen in thread1 #ca1 #ea1 #abj4 ---- done in thread1 #ai1 #bj1 #ec1 #eh4 ---- done in worsted1 #adj1 #bef1 #bfb1 #bfi4 ---- figured with birds1 #af1 #aeh4 ---- historic1 #g1 #ia1 #adg1 #aej1 #bfi1 #bgc4 ---- flowers1 #d1 #e1 #aa1 #ab1 #ac1 #af1 #aba1 #aii1 #bac4 ---- figured with saints1 #b1 #f1 #ef1 #eh1 #hh1 #aaa1 #aaf1 #add1 #ade1 #adf1 #adg1 #adi1 #aea1 #afe1 #ahf1 #ahg1 #ahi1 #aij1 #aih1 #bjg1 #bag1 #bdd1 #bdh1 #bej1 #bed1 #beh4 ,english chintz1 #hd4 ---- conventional flowers in embroidery1 #hh4 ---- purse1 #ajf4 ---- quilting1 #af1 c4 ---- tapestry1 #cjf4 ---- textiles in a ribbon-like shape1 #bd1 #cc1 #ch1 #afa1 #bag1 #bah1 #bai1 #bba4 ---- embroidery1 #e1 #f1 #af1 #hh1 #adg1 #bge1 #bhc2 and 8,the ,brooke ,collection10 #cab1 c41 passim4 ---- silks1 8,the ,brooke ,collection10 passim1 #cab4 ---- velvet1 8,the ,brooke ,collection10 passim1 #cab4 ---- small hand-loom woven strips for stoles1 c41 #bd1 #cc1 #ch1 #bag1 #bah1 #bai1 #bba4 ,erysipelas1 or ,st4 ,anthony's fire1 hospital for1 in ,france1 #ccb4 ,,esther and ,,ahasuerus1 figured in tapestry1 #cjg4 ,eucharist1 how borne to the sick and dying1 #ahh4 ---- reservation of1 #aid1 #bjc4 ,,eusebius1 quoted1 #bhj4 ,evangelists' symbols1 #adi4 ,,ezechiel1 quoted1 #bha4 ,fan1 the liturgic1 #fj4 ,fates1 the three1 figured1 #cji4 ,fenrir1 the ,scandinavian fabled water-wolf1 #aea4 ,festival1 the old ,english so-called book1 quoted1 #adg1 #bgf4 ,filfod1 or ,full-foot1 #afa1 #agd1 #bdb1 #bdi4 ,fish1 figured1 #aea4 ,,fitton1 arms of the family of1 #adh4 ,flemish embroidery1 #c1 #aag1 #bdh1 #bee4 ---- linen1 damask1 or napery1 #cd1 #fa1 #gc1 #ge1 #abd1 #bjc1 #bje1 #bee1 #bfc4 ---- linen1 block-printed1 #aah1 #abj1 #bcd4 ---- napery1 #cd1 #ge1 #abd1 #bee4 ---- silk damask1 #aij1 #aia1 #aig1 #beb4 ---- tapestry1 #bid1 #bii1 #cjj1 #cja1 #cjb1 #cjc1 #cjg1 #cbh1 #cbi1 #ccj1 #cce4 ,flemish velvet1 #bed1 #bee1 #bfd4 ,florentine embroidery1 #eh1 #ia1 #aaa1 #abj1 #adb1 #bad4 ---- silk1 damasked1 #bjb1 #bae2 figured with angels1 #cf1 #acc4 ---- silk and linen1 #bfd4 ---- velvets1 plain1 #ab1 #adb4 ---- velvets1 with gold1 #he1 #add1 #ade4 ---- velvets1 raised1 #ah1 #hb1 #add1 #ade4 ---- web for orphreys1 #hi1 #acf1 #adb1 #bfj1 #bia4 ,flowers1 see ,botany4 ----1 the ,english conventional1 in embroidery1 #hh4 ,foot-cloths1 #adj1 #bfc4 ,frames for enamels1 #cd1 #he4 ,,fraser1 or ,,frazer1 ,scotch family of1 #bgd4 ,french cloth of gold1 #bjd1 #bjh4 ---- cut-work1 #ha1 #bib4 ---- embroidery1 #e1 #g1 #ad1 #ai1 #ba1 #bi1 #ajg1 #bje1 #bbf4 ---- gloves1 #aje4 ---- heraldry1 #ad1 #bi1 #acj4 ---- lace 7gold71 #aca4 ---- lectern-veil1 #ada4 ---- purses1 #hi1 #ajf4 ---- quilting1 #ac1 #ajd4 ---- satin1 #h1 #ad1 #ba1 #ajd4 ---- silk1 brocaded1 #i1 #ae1 #aje4 ---- silk1 damasked1 #ac1 #bjd1 #bje1 #bjf4 ---- tapestry1 #cjb1 #cjc1 #cjd4 ---- velvet1 #ad1 #ajf4 ---- webs1 #bi1 #acj4 ,,fretie1 ,,lodewich1 #bad4 ,fringe of gold1 #ade2 of silk1 #beb1 #bff4 ,frontals to altars1 #ad1 #ca1 #hg1 #aja1 #bfe1 #bff1 #bfg1 #bic4 ,frontlets1 #fb1 #bea1 #beg1 #bfe4 ,g1 the letter as an initial 7for ,gabriela871 #bcf4 ,gabriel the archangel1 how figured1 #ahf1 #bag4 ,gammadion1 #cd1 #fj1 #abg1 #agd1 #age1 #ahe1 #bdb1 #bdi4 ,,garland1 ,,john1 noticed1 #ch1 #afb1 #bag4 ,gauze1 #eg4 ,,geispitzheim1 ,,henry ,,von1 #id2 his armorials1 #ic4 ,genoa brocade1 #aad1 #acd4 ,genoa damask1 #aae1 #aaf1 #bja4 ---- silk1 #ab4 ---- velvet1 #c1 #ah1 #fb1 #ij1 #ajg1 #aaj1 #ade1 #aib1 #aii1 #bjj1 #bfc4 ---- velvet raised1 #ah1 #fb1 #ajg1 #acd4 ,geography of textiles1 c42 see ,index ,,ii4 ,german embroidery1 #ah1 #ba1 #cd1 #ce1 #db1 #ea1 #eh1 #fa1 #ib1 #ii1 #ajj1 #aja1 #ajc1 #ajd1 #aaf1 #acc1 #add1 #aec1 #aeh1 #afe1 #ahe1 #ahg1 #bjg1 #bdf1 #bdi1 #beb1 #bec1 #bfa1 #bfc4 ---- embroidery on linen in silk1 #bi1 #ee1 #ei1 #fj1 #fb1 #aji1 #acc1 #aci1 #agd1 #ahf1 #ahg1 #aif1 #bdb1 #bej1 #bfa1 #bff1 #bfg1 #bgj4 ---- embroidery on linen in thread1 #ca1 #ce1 #fj1 #gi1 #bce1 #bfg4 ---- embroidery in thread1 #ah1 #ca1 #db1 #ib1 #ii4 ---- embroidery in worsted1 #ff1 #gi1 #ajh1 #bdf1 #bff1 #bfi4 ---- napery1 #aij4 ---- netting1 #age1 #bde1 #bfg4 ---- silk and linen1 #aib1 #bgj4 ---- tapestry1 #bif1 #bih4 ---- velvet1 #bfj4 ---- webs1 #fa1 #fb1 #fc1 #fd1 #fi1 #hj1 #hb1 #aaf1 #aag1 #aah1 #aai1 #agd1 #age1 #beb1 #bec4 ,gianitore1 a fish1 and what1 #aea4 ,gibeciere1 #c4 ,gilds1 ,english1 #bhi4 ---- their ,corpus ,christi plays1 #bhi4 ---- at ,coventry1 #bhi4 ---- their members1 #bhi4 ---- their vestments1 #bhi4 ,gilt parchment1 #adj1 #bbd1 #bbi1 #bdd4 ---- vellum2 see gilt parchment4 ,gimp1 #ajb4 ,,giotto1 #ahf4 ---- and his school of painting1 #ahf4 ,girdles1 #eg1 #abf1 #bje1 #bah1 #bai4 ,girdle at ,prato1 of the ,b4 ,v4 ,mary1 #bfa1 #bgb1 #bhj1 #bhb4 ,,glover1 ,,robert1 ,somerset herald1 quoted1 #adh4 ,gloves1 ladies'1 #aje4 ,gobelins tapestry1 #cjb1 #cje4 ,golden ,legend1 ,caxton's ,english translation quoted1 #bge1 #bgg4 ,goldsmith's work found upon embroidery and textiles2 see ,silversmith's work4 ,good ,friday's celebration1 #aac4 ,good ,friday rite among the ,greeks1 #aac1 #agc4 ---- rite among the ,latins1 #aac1 #agd4 ,grail1 or ,grayle1 the liturgic book1 what1 #cd4 ,granada textiles1 #bf1 #bg1 #fj1 #fe1 #gc1 #abh1 #afa1 #aff4 ,,graunt1 ,master ,thomas1 #bhi4 ,greek1 alb1 chitonion1 #aga4 ---- dalmatic or stoicharion1 #aga4 ---- ritual noticed1 #aac1 #abd1 #abf1 #aga1 #aia1 #bje4 ---- stoicharion or dalmatic1 #aga4 ---- textiles1 #bg1 #bh1 #cc1 #cf1 #abc1 #abd1 #abf1 #abg4 ---- mixed with cotton1 #bg1 #abf1 #bai4 ----1 thread1 #cc1 #abc4 ,green1 colour of1 #eg1 #bha4 ,gregory's 7,st471 8,pity10 what1 #cd4 ,,habacuc1 #bgg4 ,,haman1 fall of1 figured1 #cjh4 ,,hampden1 arms of 787 #bhg4 ,hand1 in benediction1 #ed4 ,hangings of velvet1 #ag1 #ah1 #ajg4 ---- for walls1 wrought of cut-work1 and figured with the romance of ,sir ,guy1 of ,warwick1 and the ,northumbrian 8worm0 or dragon1 #gg4 ,hare1 its symbolic meaning1 #bcg4 ,harts1 lodged1 #dc4 ,,henry ,,ii1 emperor of ,germany1 #aec2 tunic of1 #aec1 #aed4 ,heraldry1 #ad1 #ai1 #bb1 #bh1 #cb1 #cg1 #ch1 #ci1 #dj1 #fc1 #gc1 #gf1 #hd1 #ic1 #ajc1 #ajd1 #ajh1 #abh1 #acj1 #adc1 #adh1 #age1 #agg1 #aha1 #ahc1 #aif1 #bjc1 #bjd1 #bje1 #bjg1 #bji1 #bad1 #bdf1 #bec1 #bfj1 #bfc1 #bfd1 #bff1 #bfg1 #bfi1 #bgc1 #bhb1 #bhc1 c4 8,hierurgia10 the work so entitled1 quoted1 #aga1 #ahe1 #aif1 #bjc1 #bje4 ,,hollis1 the brothers'1 8,monumental ,effigies of ,great ,britain10 quoted1 #bfi4 ,holosericus1 what1 #aee4 ,holy loaf1 what1 #bfc4 ,hom1 or ,homa1 the ,persian sacred tree1 #hd1 #adj1 #aed1 #bac1 #baf1 #bch4 ,hood1 the1 upon ,english copes1 how shaped1 #da4 ,hoods of copes1 #b1 #c1 #da1 #add1 #aih1 #bfj1 #bgb4 1 or ,horologion1 one of the ,greek ritual books quoted1 #agb4 ,hotel de ,bourgtheroud at ,rouen1 #bid4 ,,hohenstaufen1 ,house of1 #bi1 #ch4 ,housing1 #bjd4 ,,hunsdon1 ,lord1 gave silk stockings to ,queen ,elizabeth1 #bjj4 ,illuminated ,,mss41 gauze between leaves of1 #eg4 ,incarnation1 mystery of1 how symbolized1 #bcf4 ,indian embroidery1 #ad4 ,initials-- ,two ,c's interlaced1 #e1 #ch4 ,g1 #bcf4 ,l and ,k1 #gc4 ,r1 #eb4 ,v1 four ,v's put crosswise1 #bh4 ,inscriptions1 #bjf1 #bad1 #bbc1 #bbf1 #bej1 #beg1 #bfe1 #bfi1 #bgj1 #bgc4 ,inscriptions in ,arabic1 see ,arabic4 ---- in ,german1 #ic1 #bef1 #bif4 ---- in ,greek 7,cyrillian letters71 #agb4 ---- in ,latin1 #ca1 #fb1 #ff1 #hj1 #hb1 #hi1 #aaa1 #aai1 #adh1 #aff1 #agf1 #ahg1 #bja1 #bjf1 #baj1 #baa1 #bbc1 #bbf1 #beg1 #bfd1 #bfe1 #bfi1 #cje1 #cbi4 ----1 medival1 ,german1 #bif1 #bih4 ,,isaias quoted1 #bha4 ,italian altar-frontals1 #hg1 #aja1 #bic4 ---- bed-quilt1 #bic4 ---- cut-work applied1 #ag1 #bj1 #bic4 ---- silk damask1 #aa1 #ac1 #ae1 #be1 #cc1 #df1 #ef1 #eh1 #fj1 #gc1 #gd1 #ha1 #aae1 #abi1 #acj1 #acf1 #afb1 #afc1 #afe1 #aif1 #bjf1 #bbg1 #bcj1 #bcc1 #bci1 #bdj1 #bdb1 #bef1 #beh4 ---- damask1 in silk brocaded with gold1 #ac1 #df1 #ef1 #eh1 #fj1 #aag1 #afb1 #afe1 #agj1 #agf1 #bac1 #bcc1 #bce4 ---- silk1 damasked in gold1 #agg1 #aha1 #ahc1 #bda4 ---- in silver1 #ahc4 ,italian silk1 damasked in silk and cotton1 #cg1 #fj1 #aha1 #bcj1 #bfb4 ---- in silk and hemp1 #afd4 ---- in silk and linen1 #cg1 #abd1 #acj1 #agf1 #bjd1 #bdc4 ---- embroidery1 #d1 #ab1 #cd1 #eh1 #hg1 #ia1 #aja1 #abj1 #aba1 #bdd1 #bic4 ---- fringe1 #bic4 ---- lace1 7silk71 #bga4 ---- net-work1 #c1 #d1 #aja1 #afb4 ---- quilting1 #ad4 ---- satin1 #ad4 ---- velvet in silk1 #i1 #ag1 #fb1 #gj1 #gb1 #hh4 ---- velvet in silk1 raised1 #fb1 #hj1 #hg1 #hi1 #ahe1 #aid1 #beh4 ---- velvet in worsted1 #ab4 ---- web1 #bba4 ,,james ,i1 #bgc4 ,,jameson1 ,mrs4 quoted1 #aih4 ,jerusalem1 the two stars1 symbols of1 #ee4 ,john ,dory1 fish so called1 #aea4 ,jubinal's work on tapestry noticed1 #hf4 ,,kennedy1 ,margaret1 one of the ladies in waiting on ,mary ,queen of ,scots at her beheading1 #bjc4 ,keys1 ,st4 ,peter's1 one gold1 the other silver1 #f4 ,,knight's ,history of ,england quoted1 #bjc4 ,knot1 the ,bouchier1 #afh4 ---- the ,wake and ,ormonde1 #bej4 ,knots1 #afj1 #bbi1 #bdd4 ---- petty1 #abj1 #adf4 ----1 love1 #abc1 #aeg4 ,kraken1 the ,scandinavian fabled sea-monster1 #bcf4 ,lace1 old ,english1 #f4 ---- gold1 #f1 #aca1 #afj1 #aig1 #bdi4 ---- nuns'1 so called1 #gc4 ---- open-worked1 #ac4 ---- silk1 #bda1 #bga4 ---- silk1 and velvet1 #he4 ----1 worsted1 #bdi4 ----1 woollen and linen1 for carriage-trimmings1 #aia4 ,lama d'oro1 or cloth of gold1 #bjd4 ,lamb1 ,holy1 #eh4 ,languages1 see 8,inscriptions40 ,languages-- ,german medival1 #bif1 #bih4 ,latin rite1 #ahg4 ,lappet of a mitre1 #ea4 ,lap-cloths1 bishop's1 #ai1 #bj4 ,lavabo cloths1 #bjc4 ,leather gilt1 and used as edging1 #fe1 #gh4 ,lectern cloths or veils1 #bj1 #ada1 #ade1 #baj1 #bfa4 ,legend1 the ,english ,golden1 quoted1 #bge1 #bgg4 ----1 the ,golden1 translated by ,caxton1 quoted1 #bgh1 #bhd1 #bhe4 1 #aac4 ,lent1 and ,passion-tide1 liturgic colours for1 #cf1 #acc4 ,lenten vestments1 #acc4 8,letters10 the 8,paston10 noticed1 #bhi4 ,linen1 or byssus1 #be1 #aeb1 #age1 #bci4 ---- diaper1 #fa4 ----1 embroidered1 #bi1 #fe1 #ga1 #aha1 #ahe1 #aij1 #bce1 #bdb1 #bdf1 #bdi1 #bej1 #bea1 #bee1 #bef4 ---- and gold tissue1 #afi4 ----1 printed1 #aah1 #abj1 #ahc1 #ahd1 #bcd4 ---- and woollen1 #bdf4 ,lion1 the symbol of ,christ1 #aef4 ,liturgical appliances1 of rare occurrence in public collections1 #ii1 #aab1 #abj1 #adb1 #aga1 #agd1 #ahd1 #ahf1 #ahh1 #aif1 #bjb1 #bje1 #baj1 #bdb1 #bdc1 #bej1 #bfc4 ,loaf1 see ,holy ,loaf4 ---- holy1 what1 #bfc4 ,,loke1 the ,scandinavian god1 #aea4 ,lombardy1 once famous for its opus araneum1 or cobweb weaving1 #afb4 ,london wrought stuffs1 #afa4 ,lord1 our1 how figured on the cross1 #bgf4 ,louvre1 museum of1 silks in1 #dd4 ,love knots1 #aeg4 ,lucca damasked silks1 #ae1 #ej1 #fe1 #ade1 #afc1 #bce1 #bdd4 ---- damasked silk1 brocaded in gold1 #bdc4 ---- velvets1 #fb1 #gb1 #aib1 #bei4 ,,lydgate quoted1 #bhh4 ,lyons1 damasked silk1 #ai1 #bj1 #ia1 #aje4 ----1 brocaded in gold and silver1 #ia4 ----1 in silver1 #ai4 ,m1 the letter figured on stuffs1 #aef1 #aff1 #ahb1 #bbb1 #bcj1 #bda4 ,madonna del ,cardellino1 #bae4 ---- della ,cintola1 subject of1 how treated in the ,italian schools1 #bfg4 ,magdalen ,college1 ,oxford1 and its builder ,waneflete's fine liturgical shoes1 #df4 8,man of ,sorrows10 our ,lord as the1 #cd4 ,,mandeville1 ,sir ,john's1 travels1 quoted1 #agh4 ,maniples1 #ce1 #ch1 #de1 #df1 #ec1 #hh1 #aaf1 #aba1 #ach1 #aef1 #beb1 #bib4 ,,marck1 ,,de ,,la1 armorial bearings of the ,house of1 #bb4 ,marguerite1 ,la1 what the flower signifies1 #adi4 ,,martin's 7,pere71 learned and valuable work--8,mlanges d',archologie10 quoted1 #dd1 #acj4 ,mary1 the ,b4 ,v41 her assumption1 how figured on the ,syon cope1 #bgf4 ---- on ,florentine textiles1 #bia4 ,see 8,assumption40 ----1 ,b4 ,v41 the death and burial of1 how figured on the ,syon cope1 #bgg4 ----1 ,st41 of ,egypt1 her legend figured1 #ed4 ---- ,queen of ,scots1 and the cloth over her face when she was beheaded1 #bjc4 ,mass of the ,presanctified1 #aac4 ,matilda1 the ,norman ,william's queen1 and the ,bayeux so-called tapestry1 #g4 ,maundy ,thursday1 mass on1 #aab1 #aid4 ,melchizedek and ,abram1 figured1 #hh1 #cbh4 ,memling and his school of painting1 #aih4 ,,merc,,ur1 ,house of1 #cj4 ,michael the archangel1 how figured1 overcoming ,satan1 #cj1 #bge4 ,midgard1 the ,scandinavian fabled serpent1 #aea4 ,milan1 famed for its looms1 #afb4 ,milanese embroidery1 #c4 ---- lace1 #aig4 ---- net-work1 #bjj4 ---- steel-work1 #c4 ---- velvet raised1 #g4 ,missal-cushion1 #adb4 ,missal1 the ,roman1 quoted1 #adb4 ---- the ,salisbury1 quoted1 #bhd4 ,mitre1 lappets of1 #ea1 #he4 ,monstrance for liturgical use1 what1 #ahd4 ,moon1 crescent1 #bbj1 #bdc4 ---- crescent1 symbolism of1 #bhh4 ---- figured in pictures of the ,crucifixion1 #cj4 ,moorish tissue1 #abc4 ,moresque1 ,spanish1 #ea1 #ee1 #aba1 #abd1 #abe1 #aeb1 #afj1 #ahj1 #bdj1 #bdd4 ,moslem use1 stuffs for1 #eg1 #fa4 ,mund or ball1 so called1 #bgf4 ---- how anciently divided1 #bgf4 ,munich1 the ,maximilian museum at1 #aec1 #aed4 ,murano and its manufacture of beads1 #afi4 ,murrey-colour liked in the medival period by the ,english1 #i4 ,musical instruments1 medival1 #bc1 #aeg4 ,mythology1 ,scandinavian1 #aej4 ,napery-- ,flemish1 #cd1 #fa1 #gc1 #ge1 #abd1 #bjc1 #bje1 #bee1 #bfc4 ,german1 #fb4 ,napkins for crozier1 #agd1 #bej4 ---- embroidered1 #ii1 #ajj1 #aja1 #bfa4 ,napkin of linen1 #ce4 ---- for pyx1 #bjb1 #bfj4 ,neapolitan embroidery1 #ac4 ---- silk1 #ac4 ,,neckam1 ,,alexander1 quoted1 #bhf4 ,needlework1 #gi1 #ii1 #ajj1 #aja1 #bfb4 ---- old ,english1 the admired 8opus ,anglicum10 #adg1 #bge1 #bha1 #bhh4 ---- old ,english1 how to be known1 #bhh4 ,net-work1 #c1 #d1 #fa1 #aja1 #ajg1 #age1 #bjj1 #bde4 ,newburg1 near ,vienna1 robes at1 #ch4 ,newmarket1 king's house at1 #cjb2 tapestries from1 #cjb4 ,nineveh sculptures1 #be1 #abb4 ,numbers1 ,book of1 quoted1 #bhh4 ,nuns' lace1 #gc4 ,nuremberg1 old tapestry wrought at1 #bih4 ,nursery rhymes1 old ,english1 #ajc4 ,o1 the1 or zero form of ornamentation1 #bbe1 #bbg1 #bbh4 ,,oakden1 ,,ralf1 ,esq41 gift of old ,english embroidered apparels1 #adg4 ,odilia1 a ,french lady-embroideress1 #cj4 ,opus ,anglicum1 #bge1 #bha1 #bhh4 ---- ,araneum1 #afb1 #baj4 ---- ,plumarium1 #bhh1 #bhi4 ,oriental damasked silk1 #be1 #abh1 #acb1 #acf1 #adj1 #aed1 #aee1 #afj1 #bea4 ---- brocaded in gold1 #be1 #acc1 #acg1 #ach1 #aea1 #aef4 ---- modern damasked silk1 #ba4 ---- brocaded in gold and silver1 #ba4 ---- very fine linen1 or byssus1 #bci4 ,orphreys1 embroidered1 #a1 #f1 #ba1 #bi1 #ee1 #fh1 #gf1 #hb1 #aag1 #abj1 #adc1 #ade1 #afh1 #ahi1 #bdd1 #bde1 #bdg1 #beb1 #bec1 #bed1 #bei1 #bfe4 ---- of web1 or woven stuff for the purpose1 #bh1 #cc1 #fa1 #fb1 #fh1 #hj1 #hc1 #hi1 #aab1 #aaf1 #aah1 #aai1 #acf1 #adc1 #afa1 #agd1 #age1 #aia1 #bja1 #bjg1 #bjh1 #beb1 #bec1 #bfe1 #bia4 ,orphrey web1 ,venetian1 #ga1 #aab1 #bga1 #bgb4 ,orvieto1 altar-frontal from1 #aja4 ,,osmont's 8,volucraire10 or ,book on ,birds1 #bhf4 ,ostrich-feathers figured1 #ai1 #abi4 ,palermo1 stuffs woven at1 #ch1 #dd1 #de1 #ec1 #acj1 #aca1 #aci1 #aej1 #afc1 #afe1 #agj1 #bbh1 #bcb4 ---- its 8,tiraz10 or silk-house1 #bcb4 ,pall or palls1 what1 #aid1 #aif4 ---- or liturgical palls1 #aif4 ,palls for casting over tombs in churches1 #ef4 ,palm-branch carried by ,st4 ,john ,evangelist at the burial of the ,b4 ,v4 ,mary1 #bgh4 ---- held by the ,jew as figured on the ,syon cope1 #bhj4 ,,pandolfini1 armorials of the family of1 #adc4 ,paper1 gilt and stamped out like flowers pasted on silken stuffs1 #dc4 ,papyonns1 or cheetahs1 #aed1 #agh4 ,parchment1 gilt1 #adj1 #bbd1 #bbi1 #bdd4 ---- gilt and woven into silken stuffs1 #acb1 #adj1 #bbd1 #bbi1 #bdd2 the trade trick learned from the ,moors by the southern ,spaniards1 #bdd4 ,parrots2 see ,zoology--,birds4 8,paston ,letters0 noticed1 #bhi4 ,pastoral amusements1 #bie1 c4 ---- literature1 #bid4 ,paul's1 ,s4 cathedral1 ,london1 vestments once belonging to1 #aea4 ,peacock1 oaths sworn by the1 #bhg4 ---- symbolism of the1 #bhf1 c4 ,pedalia or ,pede-cloths1 #bji1 #baj1 #bfc4 ,persian carpeting1 #hc4 ---- damask1 silk brocaded in gold1 #acc4 ---- damask1 silk and worsted1 #hd4 ---- embroidery1 #bgj4 ---- satin1 #bgj4 ---- tunic1 #bgj4 ,peter's1 ,st41 fish1 #aea4 ,pin1 an old one 7871 #bed4 ,,pitra1 ,dom1 now ,cardinal1 quoted1 #bhf4 ,pity1 the so-called1 of ,st4 ,gregory1 what1 #cd1 #aid4 ,plumarium ,opus1 what1 #bhh1 #bhi4 ,pomegranate2 see ,botany--,fruits4 ---- ensign of ,queen ,catherine of ,arragon1 #acd4 ---- ensign of ,spain1 especially of ,granada1 #g4 ---- symbolic meaning of1 #ac4 ,polystauria or stuffs figured all over with the sign of the cross1 #afa4 ,porphyreticum1 what1 #aee4 ,pouch1 #c4 ,prato1 church of1 #bfa4 ,presanctified1 mass of1 #aac4 ,printing by block1 on silk1 #ca1 c42 see ,block printing4 ,psalms1 ,book of1 quoted1 #bha4 ,purses1 #c1 #hi1 #ajf4 ---- liturgical1 #ahh1 #bfc4 ,pyx cloth1 #bjb1 #bfj4 ,quilting1 #ad1 #af4 ---- ,english1 #af4 ,quilts1 #d1 #e1 #ac1 #ad1 #af1 #hf1 #ajd1 #bic4 ,r1 the letter1 wrought upon a silken stuff1 #eb4 ,rain-drops1 shower of1 #eb1 #ed1 #bci1 c4 ,,raine1 ,mr41 his ,st4 ,cuthbert1 noticed1 #bje4 ,,raphael's ,madonna del ,cardellino1 #bae4 ,,rebecca meeting ,,abraham's servant at the well1 figured in tapestry1 #ccc4 ,relics1 bag for1 #db4 ,reredos of embroidered linen1 #ec1 #bce4 ,resurrection1 how figured on woven stuffs1 #aac1 #bgb4 ---- of our ,lord1 how embroidered upon the ,syon cope1 #bgf4 ,rhenish cut or applied work1 #ba1 #beh4 ---- embroidery1 #b1 #eb1 #bdg1 #beh4 ,ribbon1 green silk and gold thread1 #aba4 ,,richard ,,ii4's monumental effigy in ,westminster ,abbey1 #bfi4 ,rite1 ,greek1 noticed1 #aac1 #abd1 #abf1 #aga1 #aia1 #bje4 ---- ,latin1 #aac1 #abd1 #agb1 #ahg1 #ahh1 #aia1 #aid1 #bje4 ,rock crystal1 balls of1 used on vestments1 #bjf4 ,romance1 the1 of ,sir ,guy of ,warwick1 figured1 #gg4 ,rosary-beads1 #bfc4 ,rose of ,england1 #acd4 ---- red and white1 #ahh4 ,,rovere ,,della1 family of1 #aae4 ,ruthenic work1 #aga4 ,saddle-bags1 #hd4 ,saddle-cloth1 #bjd4 ---- ,saints1 figured ,s4 ,andrew1 ,apostle1 #aeh1 #bgi4 ,s4 ,ann1 mother of the ,b4 ,v4 ,mary1 #adg1 c4 ,s4 ,anthony of ,egypt1 #bec1 #bed4 ,s4 ,bartholomew1 ,apostle1 #bgj4 ,s4 ,bernard1 #aih4 ,s4 ,bernard's life1 #aih4 ,st4 ,blase1 #ch4 ,s4 ,catherine of ,alexandria1 #bec4 ,s4 ,christina1 and her life1 #adb4 ,s4 ,dorothy1 #baa4 ,santa ,francesca ,romana1 and her life1 #ib4 ,s4 ,james1 ,apostle1 called of ,compostella1 #bhj4 ,s4 ,james the ,less1 ,apostle1 #bhj4 ,s4 ,jerome1 #adb4 ,s4 ,john1 ,evangelist1 #adb1 #ade1 #bgf1 c4 ,s4 ,kilian or ,kuln1 #ahg4 ,s4 ,louis1 ,king of ,france1 #add4 ,s4 ,lucy1 #adb1 #baa4 ,s4 ,mark1 ,evangelist1 #aaa4 ,s4 ,mary1 ,b4 ,v41 #adh1 #baj1 #baa1 #bcf1 #bea1 #bfj1 #bgb1 #bgc1 #bgf1 #bgi4 ,st4 ,mary of ,egypt1 #ed4 ,s4 ,mary ,magdalen1 #cj1 #bji1 #baa1 #bhj4 ,s4 ,michael1 ,archangel1 #cj1 #bge4 ,s4 ,odilia1 #ahg4 ,s4 ,onuphrius1 hermit1 #b4 ,s4 ,paul1 ,apostle1 #adf1 #bgh1 #bgi4 ,s4 ,peter1 ,apostle1 #ade1 #adi1 #bgh1 #bgi4 ,s4 ,philip1 ,apostle1 #adi1 #bhj4 ,s4 ,simon1 ,apostle1 #adi1 #baj4 ,s4 ,stephen1 stoning of1 #f1 #ch4 ,s4 ,thomas1 ,apostle1 #bgi1 #bhj2 see 8,girdle at ,prato40 ,s4 ,ubaldo1 #ajb4 ,s4 ,ursula1 #baa1 #bdg4 ,saints' tombs1 #ef4 ,salisbury rite1 noticed1 #cd1 #cf4 ,,sampson slaying the lion1 figured1 #abc4 ,saracenic damask1 #abg1 #agh1 #bdd4 ,sashes1 #ba4 ,satin1 #h1 #i1 #ac1 #ad1 #af1 #bj1 #aaj1 #aac4 ----,french1 #aaj4 ---- ,italian1 #aac4 ,scandinavian mythology1 #aej4 ,scarf1 #ah4 ---- liturgical1 #aje4 ,,sch,n ,,martin1 #bjg4 ,school1 ,umbrian1 of painting1 #ahd1 #ahf4 ---- of ,umbria for painting1 #bdg2 and its beauty1 #bdg4 ,sclaves1 #agb4 ,scotch embroidery1 #bgc4 ,,scott1 ,,sir ,,walter1 quoted1 #c4 ,scull-cap1 #af4 ,,shaw's 8,dresses and ,decorations of the ,middle ,ages10 quoted1 #hf4 ,shoe1 liturgical1 #df4 ,shower of rain-drops1 figured1 #ed1 #bci4 ,sicilian stuffs1 #bh1 #bi1 #cb1 #cg1 #ch1 #ci1 #dj1 #da1 #dc1 #dd1 #de1 #df1 #dg1 #dh1 #di1 #ej1 #ea1 #eb1 #ec1 #gf1 #aae1 #abg1 #acj1 #acb1 #acg1 #aci1 #adf1 #aej1 #aed1 #aef1 #aeh1 #aei1 #afc1 #afd1 #afe1 #afg1 #afh1 #afi1 #agh1 #agi1 #ahj1 #bae1 #bbb1 #bbc1 #bbd1 #bbe1 #bbf1 #bbg1 #bbh1 #bbi1 #bcj1 #bca1 #bcd1 #bch1 #bci1 #bdb1 #bde1 #bff1 #bfh1 #bfi1 #bgd4 ,sicilian cendal1 #afc4 ---- damasks1 figured with beasts and flowers1 #dg1 #ej1 #ea1 #eb1 #ec1 #abg1 #acj1 #acg1 #aci1 #adf1 #aej1 #afd1 #aff1 #agh1 #agi1 #bfi4 ---- damasks in silk1 #cb1 #ec1 #gf1 #aae1 #acb1 #acg1 #aef1 #aei1 #afc1 #afh1 #afi1 #ahj1 #bae1 #bbf1 #bbg1 #bci1 #bde1 #bgd4 ---- damasks in silk1 brocaded in gold1 #bh1 #bi1 #cg1 #ch1 #ci1 #dj1 #da1 #dc1 #de1 #df1 #dg1 #ej1 #ea1 #eb1 #ec1 #abf1 #acj1 #aci1 #adf1 #aej1 #aei1 #afd1 #afe1 #afg1 #afh1 #bbd1 #bbg1 #bbh1 #bca1 #bcb1 #bcd1 #bch1 #bdb1 #bff1 #bfh1 #bfi4 ---- damasks1 silk and cotton1 #da1 #dd1 #bcj4 ---- damasks1 silk and cotton1 brocaded in gold1 #ci1 #de1 #dh4 ---- damasks1 in silk and thread1 #aed1 #bbc4 ---- damasks1 silk and thread1 brocaded in gold1 #dh1 #di1 #bch4 ---- damasks in linen thread1 brocaded in gold1 #afi4 ---- damask or tapestry1 silk1 cotton1 and wool1 #aeh4 ---- embroidery1 #adi1 #aeh1 #aei4 ---- lace1 silk1 and gold1 #afj1 #afa4 ---- taffeta1 #ge1 #aba4 ---- tissue or web1 #bbb4 ,silk-house1 or ,tiraz1 at ,palermo1 #bcb4 ,silk gauze1 #eg4 ,silks1 block-printed1 #ca4 ,silk mixed with cotton1 #e1 #bd1 #bf1 #bg1 #cc1 #cg1 #ci1 #da1 #db1 #dc1 #dd1 #dg1 #fj1 #abf1 #aeb1 #aha1 #bai1 #bbf4 ---- mixed with linen1 #bg1 #cc1 #cg1 #abb1 #abc1 #abd1 #agf1 #aib1 #bbj1 #bbc4 ---- worsted1 #hd1 #aad2 see ,damask4 ---- net-work1 #bjj4 ,silversmith's work amid embroidery1 #afh1 #afi1 #ahf1 #aii1 #bbc1 #bcc4 ,sindon1 the ,greek liturgical embroidery1 so-called1 #agj4 ---- or pyx-cloth of the old ,english ritual1 #bjb1 #bfj4 ,sorrows1 ,man of1 our ,lord figured as1 #cd4 ---- the ,b4 ,v4 ,mary1 of1 #fi4 ,,sothener1 ,,master ,,stephen1 and his fine picture in ,cologne cathedral1 #ahg4 ,spangles1 #ahf1 #aij1 #bbc4 ,spanish carpeting1 #bji1 #bdh4 ---- crochet work1 #bj4 ---- damasked silk1 #cf1 #dh1 #fg1 #gb1 #gc1 #gd1 #aae1 #aba1 #abf1 #abh1 #abi1 #afh1 #ahb1 #baf1 #bbd1 #bbe1 #bdj1 #bdh4 ,spanish damasks1 brocaded in gold1 #ej1 #fb1 #ff1 #aaf1 #acb1 #aic1 #bbi4 ----1 in silver1 #agg4 ---- embroidery1 #fe1 #ha1 #bjd4 ,spanish-,moresco stuffs1 #ea1 #aba1 #abd1 #abe1 #aeb1 #afj1 #ahj1 #bda1 #bdd4 ---- net-work1 #bj4 ---- stuffs1 cotton and linen1 #bbd4 ----1 linen1 and gilt parchment1 #adj1 #bbd4 ----1 silk and cotton1 #bf1 #dg1 #aff4 ----1 linen1 #abb1 #aff4 ---- of wool and hemp1 #bji4 ---- of wool and thread1 #aad4 ---- taffetas1 #dg4 ---- velvets1 #ha1 #ace1 #ahi1 #bjg1 #bia1 #bib4 ,,spenser quoted1 #fd4 ,spicilegium ,solesmense quoted1 #bhf4 ,spider1 figured1 #ahb4 ,star and ,crescent1 their symbolism1 #bhe4 ,star1 symbolism of1 #ee1 #bgb1 #bhe4 ,stauracin1 #abd1 #abg1 #afj1 #afa4 8,stella ,maris10 or 8,star of the ,sea10 one of the old symbolical attributes of the ,b4 ,v4 ,mary1 #bgb4 ,state cap1 #hf4 ,stauracina1 what1 #abd1 #afa4 ,stenciled satin1 #aac4 ,stitchery of a fine kind1 #d1 #g1 #ai4 ,stockings1 silk1 one of the first pair made in ,england1 given to ,queen ,elizabeth1 and now belonging to the ,marquis of ,salisbury1 #bjj4 ,stoles1 #bd1 #dd1 #eh1 #ach1 #ahe1 #bbb1 #bce4 ----1 #eh1 #aba1 #aia4 ,stones1 precious1 used1 #ha1 #hb1 #aii4 ,,stothard1 ,,mrs41 #g4 ,strap-shaped ornamentation on textiles1 as well as in bookbindings1 #bja4 ,stuffs1 loom-wrought1 with history-pieces1 #bga1 #bgb4 ,stuffs1 c41 ,of the ,adoration of the ,magi or three ,kings1 #ahf4 ,of ,angels1 #adb1 #adc4 ---- holding crescents1 #bcd4 ---- a monstrance1 #ahd4 ,of ,angels swinging thuribles1 and carrying crowns of thorns and crosses in their hands1 #cf4 ,of the ,annunciation1 #bdg4 ,of the ,assumption of the ,b4 ,v4 ,mary1 #bgb1 #bgc4 ,stuffs figured with-- ,beasts1 #e1 #be1 #cb1 #da1 #db1 #dc1 c4 ,birds1 #bf1 #bh1 #bi1 #cb1 #cg1 #da1 #db4 ,men and beasts1 #abb4 ,with a ,chinese subject1 #ge4 ,of the coronation in heaven of the ,b4 ,v4 ,mary1 #bgb4 ,of ,emblems of the ,passion1 #acc4 ,figured with flowers and fruits1 #aa1 #ac1 #ae1 #da1 #db4 ,of a king on horseback1 with hawk on hand1 c41 #bbc4 ,of a man or woman with hawk on wrist1 #bcc4 ,of the ,b4 ,v4 ,mary1 with our ,lord as a child in her arms1 or on her lap1 #fc1 #ga1 #bga1 #bgb4 ,of ,st4 ,mary of ,egypt1 #ed4 ,of ,st4 ,peter1 apostle1 #acf4 ,of the resurrection4 ,of ,sampson overcoming the lion1 #abb4 ,of women gathering dates1 #afe4 ,subdeacon's liturgical veil worn over the shoulders1 #add4 ,sudary of our ,lord1 #bf4 ,sun-beams and rain-drops figured1 #ed1 #bci4 ,sun and moon figured in art-works of the ,crucifixion1 #cj4 ,surplices1 #bci4 ---- of transparent linen1 #bci4 ,symbolism1 #adi1 #bcf1 #bcg1 #bgb1 #bgf1 #bhe1 #caa1 #cbi1 #ccj1 #cca1 #ccb4 ,syon ,nunnery1 beautiful cope once belonging to1 #bge4 ,syrian crape drapered with a pattern1 #abf4 ---- stuffs1 #abe1 #abg1 #aci1 #bac1 #bae1 #baf1 #bba4 ---- damask in silk and cotton1 #bd1 #aeb4 ---- damask1 silk and gold1 #abb1 #agh1 #ahj1 #bch4 ---- damask1 silk and linen thread1 #db1 #acf1 #bbj4 ,table-covers1 #af1 #ai1 #ib1 #ajh1 #ada4 ,taffeta1 #dg4 ---- ,egyptian1 #ef1 #eg4 ---- ,sicilian1 #ge1 #aba4 ,tangier stuff1 #abc4 ,tapestry1 #f1 #aeh1 #bid1 c4 ,tapestry-- ,english1 #cjf4 ,flemish1 #bid1 #bii1 #cjj1 #cja1 #cjb1 #cjc1 #cjg1 #cbh1 #cbi1 #ccc4 ,french1 #cjb1 #cjc1 #cjd1 #cje1 #cjf1 #cjg1 #cji4 ,german1 #bif1 #bih4 ,tassels on dalmatics1 #bjf4 ,,taylor's 8,glory of ,regality10 quoted1 #aec4 ,tetuan stuff1 #abc4 ,,thaun1 ,,phillippe ,,de1 quoted1 #bcf4 ,the ,three ,wise ,men1 clothed and crowned as kings going to ,bethlehem1 #adh4 ,,thornell of ,suffolk1 arms of1 #adh4 ,thread embroidery1 #ai1 #bj1 #ec1 #eh4 ,throne-room in ,roman princely houses1 #hg1 #ajg4 ,tiles1 glazed for paving1 #ahc4 ,tiraz or silk-house at ,palermo1 #bcb4 ,,tobit1 the elder1 sending his son to ,rages1 figured1 #cce4 ,toca1 what1 #bjd4 ,tombs in churches1 palls for throwing over1 #ef4 ,trimming for carriages1 #aia4 ---- vestments1 #aic4 ,tunicle1 #adc4 ,turkish net1 #fa4 ,tyrian purple1 so called1 #aee1 #aei1 #afj1 #bai4 ,the ,u form of ornamentation1 #bbg1 #bbh4 ,unicorn1 hunting of the1 #ec1 #bcf4 ,umbrian school of painting1 #ahd1 #ahf1 #bdg4 ,v1 the letter1 put cross-wise1 #bh4 ,vallombrosa1 book from the monastery at1 #hg4 ,varnicle or ,vernicle1 #aih1 #bdh4 ,vasari1 quoted1 #bfa4 ,veil for lectern1 #bj1 #ada1 #ade1 #bab1 #bfa4 ,veil or scarf worn over his shoulders by the subdeacon1 #add1 #ade4 ,velvet1 brocaded in gold1 #fb1 #fe1 #he1 #ajg1 #acd1 #ace1 #add1 #ahe1 #ahi1 #aic1 #aih1 #bei4 ,velvet1 cut and applied1 #ag1 #bj4 ---- embroidered1 #aih1 #bjj1 #bjd4 ---- figured1 #ag1 #fb1 #ace1 #aib1 #aic1 #bjg4 ---- freckled with golden loops1 #beg4 ----1 pile upon pile1 #a1 #beg4 ----1 plain1 #b1 #c1 #i1 #ad1 #adc1 #aii1 #bjd1 #bjf4 ----1 raised1 #d1 #ah1 #fb1 #fe1 #fi1 #gj1 #gb1 #hj1 #hb1 #hg1 #hi1 #ij1 #ajg1 #aaj1 #acd1 #ace1 #add1 #ade1 #ahe1 #aic1 #bjj1 #bed1 #bef1 #beg1 #beh1 #bfc4 ----1 ,english1 see ,brooke ,collection1 #cab1 c4 ---- ,flemish1 #bed1 #bee1 #bfd4 ---- ,florentine1 #a1 #ah1 #hb1 #he1 #adb1 #add1 #ade1 #aih1 #bef1 #beg4 ---- ,french1 #ad1 #hi1 #ajf4 ---- ,genoa1 #c1 #ah1 #fb1 #ij1 #ajg1 #aaj1 #acd1 #ade1 #aib1 #aii1 #bjj1 #bfc4 ---- ,italian1 #fe1 #hi1 #ij1 #aii4 ---- ,lucca1 #fb1 #gb1 #aib1 #aih1 #bei4 ---- ,spanish1 #ha1 #ace1 #ahi4 ,venetian beads1 #afi4 ---- damask1 #ed1 c4 ---- embroidery1 #dd1 #afh4 ---- embroidery in beads1 #afi4 ---- lace1 #ada4 ---- table-covers1 #ada4 ---- webs1 #ga1 #aab1 #bga1 #bgb4 ,vestments often blazoned with armorial bearing of those who gave them1 #bb1 #adh1 #bad1 #bhb4 ----1 ,english1 #da1 #adf1 #bge4 ,,vincent1 ,,francois ,,andre1 #cjb4 ,,viollet1 ,,le ,,duc1 quoted1 #bab4 ,,virgilius1 subjects from1 figured in tapestry1 #cjj1 #cja1 #cjb4 ,,waller's brasses1 noticed1 #aha4 ,,waneflete',s1 ,,bp41 liturgical shoes1 #df4 ,warwick1 ,sir ,guy of1 and the ,northumbrian dragon1 figured1 #gi4 ,webs1 #bh1 #cc1 #fa1 #fb1 #fc1 #fd1 #ga1 #hj1 #aab1 #aaf1 #aag1 #aah1 #aai1 #acf1 #adc1 #afa1 #agd1 #age1 #aia1 #bja1 #bag1 #bba1 #bbb1 #bbc1 #beg1 #bfa1 #bga1 #bgb1 #bia4 ,wire of pure metal gold1 or silver1 #bbj4 ,wise men or ,magi1 adoration of1 figured1 #c4 ,wire1 pure metal1 #bbj4 ,witsuntide1 stuff for1 in the ritual1 #bbf4 ,witsunday1 how signified1 #b4 ,worsley1 ,the1 sepulchral brass1 #aha4 ,worsted and thread1 #aad4 ---- work1 #fa1 #gi4 ,,wyderoyd1 ,pastor ,s4 ,jacobi ,colon1 #ahi4 ,y1 the cross so called1 #ha1 #hb4 ,york1 cloth of gold1 found in a grave at the cathedral of1 #bea4 ,yprs1 #cd1 #fa1 #gc1 #ge4 ,zoology-- ,beasts3 ,antelopes1 #df1 #dg1 #eb1 #bcd4 ,boars1 wild1 #ahj4 ,cheetahs1 or papyonns1 #gd1 #acf1 #acg1 #aed1 #agh1 #bae1 #bcd4 ,deer1 #ajh1 #bbf1 #bdb4 ,dogs1 #cc1 #db1 #de1 #ej1 #eb1 #abd1 #ach1 #aee1 #afe1 #afh1 #ahj1 #bbc1 #bcc1 #bda1 #ccf4 ,elephant1 #de2 and castle1 #agj4 ,gazelles1 #agi1 #bcd4 ,giraffes1 #bbe1 #bbh4 ,hares1 #bdj1 #caj4 ,harts1 #da1 #db1 #dc1 #ea1 #aah4 ,hounds1 #di1 #gf1 #afg4 ,leopards1 #aed1 #afc1 #afd1 #bad4 ,lions1 #bg1 #cj1 #cc1 #db1 #di1 #eg1 #aaa1 #abb1 #aca1 #acg1 #ach1 #adf1 #afe1 #agg1 #ahc1 #bah4 ,monkey1 #ajh1 #caj4 ,oxen1 #bad4 ,panther1 #bej4 ,papyonns2 see cheetah4 ,squirrels1 #eh4 ,stags1 #ec1 #ii1 #aff1 #ahj4 ,talbot1 or ,english blood-hound1 #bbc4 ,toad1 #caj4 ,weasel1 or stoat1 #caj4 ,wolf1 #aeh4 ,beasts1 emblematic1 #adj1 #aef1 #afc1 #caa4 ,beasts1 heraldic1 #e1 #dj1 #da1 #df1 #dg1 #eb1 #ec1 #eh1 #ei1 #fj1 #aef1 #afa1 #bag1 #bah1 #bbh1 #bdf1 #bfg4 ,elephant and ,castle1 #agj4 ,griffins1 #e1 #bi1 #cb1 #dj1 #dg1 #di1 #acj1 #aca1 #aed1 #aee4 ,leopard1 noued1 #afd4 ,libbards1 #bdj4 ,lion1 noued1 #afe4 ,lioncels1 #e4 ,wyverns1 #dj1 #dg1 #aca1 #acc1 #aeh1 #aei1 #afc1 #afh1 #bbh4 ,beasts1 monsters1 #c1 #be1 #cj1 #dj1 #da1 #db1 #ii1 #ajf1 #aej1 #aee1 #aeg1 #aeh1 #afj1 #agg1 #aha1 #bag1 #bah1 #bbb1 #bbf1 #bea4 ,kraken1 #bcf4 ,mermaid1 #bea4 ,midgard ,serpent1 #aea4 ,satyr1 #c4 ,sphinxes1 #aha4 ,the ,wolf ,fenrir1 #aea4 ,beasts1 symbolical3 ,hare1 of man's soul1 #bcg1 #caa4 ,lion1 of ,christ1 #aef4 ,monkey1 of mischief and lubricity1 #caa4 ,monoceros or unicorn1 of ,christ as ,god-man1 #bcg4 ,birds3 ,cocks1 #ci4 ,cockatoos1 #acc1 #bbh4 ,cranes1 #afd4 ,doves1 #abd1 #bah1 #caj2 symbol of love1 #caa4 ,ducks1 wild1 #bbi4 ,eagles1 #g1 #be1 #bf1 #dj1 #dc1 #ej1 #ea1 #gf1 #ha1 #abi1 #acg1 #ach1 #aeh1 #afc1 #afd1 #agh1 #ahj1 #ahc1 #bbi1 #bcb1 #bcc4 ,hawks1 #aee1 #aff1 #bbc1 #bbf1 #bcc4 ,hoopoes1 #de1 #acg1 #adf4 ,owls1 #c4 ,parrots1 #aai1 #aca1 #aci1 #adj1 #aed1 #aei1 #aff1 #afh1 #bda1 #bdb1 #bdd4 ,peacocks1 #aed1 #bej4 ,pelican1 #bad4 ,pheasants1 #fj4 ,swans1 #di1 #aff1 #agi1 #bcb4 ,wild ducks1 #bbi4 ,birds1 heraldic1 or monster things with wings3 ,dragon1 #a4 ,eagle1 double-headed1 #g1 #cg1 #hf4 ,griffins1 #e1 #bi1 #cb1 #dj1 #dg1 #di1 #aca4 ,harpies1 #cbi1 #ccj4 ,wyverns1 #dj1 #dg1 #aca1 #aeh1 #aei1 #afc1 #afh1 #bbh1 #ccj4 ,fish1 #aea4 ----1 ,sr4 ,peter's1 the ,italian ,gianitore1 or our ,john ,dory1 #aea4 ,insects3 ,butterflies1 #af1 #dd1 #ff4 ,spider1 #ahb4 ,shells1 #g4 ,snakes1 #agg4 ,illustration ,,index ,,ii4 ,,geography ,,of ,,textiles4 ,,europe4 ,,england3 ,chintz4 ,embroidery4 ,quilting4 ,satins4 ,silks4 ,tapestry4 ,velvets4 ,webs1 ribbon-like4 ,,flanders3 ,embroidery4 ,lace4 ,linen1 block-printed4 ,linen1 damasked4 ,napery4 ,silk1 damasked4 ,tapestry4 ,velvets4 ,,france3 ,cloth of gold4 ,embroidery4 ,lace in gold4 ,quilting4 ,silks1 brocaded4 ,silks1 damasked4 ,tapestry4 ,velvets4 ,webs4 ,,germany3 ,cologne1 and other ,rhenish towns3 ,embroidery in silk1 in thread1 in worsted4 ,napery4 ,silk and linen4 ,tapestry4 ,velvet4 ,webs in silk1 in silk and linen4 ,,greece3 ,silks4 ,silks mixed with cotton4 ,silks mixed with linen thread4 ,byzantine stuffs historied4 ,,italy3 ,florence3 ,embroidery4 ,silks1 damasked4 ,silks1 historied4 ,silks mixed with linen4 ,velvets1 pile upon pile4 ,velvets1 plain4 ,velvets wrought with gold4 ,velvets raised4 ,webs1 historied4 ,genoa3 ,silks1 brocaded in gold4 ,silks1 damasked4 ,velvets1 plain4 ,italian ,textiles1 c43 ,applied or cut-work4 ,embroidery4 ,fringe4 ,lace4 ,quilting4 ,satins4 ,satins1 brocaded in gold and silver4 ,silks1 brocaded in gold4 ,silks1 damasked4 ,silks mixed with cotton4 ---- with hemp4 ---- with flax4 ,velvets raised4 ,velvets of silk4 ,velvets of worsted4 ,webs4 ,lombardy3 ,cob-web weaving4 ,lace4 ,lucca3 ,silks1 brocaded in gold4 ,silks1 damasked4 ,velvets4 ,milan3 ,embroidery4 ,lace4 ,velvets4 ,velvets1 raised4 ,naples3 ,embroidery4 ,silks4 ,reggio3 ,silks1 damasked4 ,sicily3 ,cendal4 ,damasks in linen1 brocaded in gold4 ,embroidery4 ,lace in silk and gold4 ,silks1 brocaded in gold4 ,silks1 damasked4 ,silks mixed with cotton4 ,silks mixed with cotton and wool4 ,silks mixed with flaxen thread4 ,silk taffeta4 ,silk webs4 ,venice3 ,embroidery4 ,embroidery in beads4 ,laces in gold4 ,silks1 damasked4 ,,spain3 ,carpeting4 ,crochet-work4 ,embroidery4 ,silks1 brocaded in gold and silver4 ,silks1 damasked4 ,silks mixed with gilt parchment4 ,silks mixed with cotton and linen thread4 ,silks mixed with linen thread4 ,silks mixed with linen thread1 and gilt parchments4 ,stuffs of wool and hemp4 ,stuffs of wool and thread4 ,taffetas4 ,velvets4 ,,asia4 ,,china3 ,embroidery4 ,satins4 ,silks4 ,silks1 damasked4 ,,india3 ,embroidery4 ,linen4 ,,persia3 ,carpeting4 ,embroidery4 ,satins4 ,silks4 ,silks1 brocaded in gold4 ,silks1 damasked4 ,silks mixed with wool4 ,,syria3 ,crape4 ,silks1 brocaded in gold4 ,silks1 damasked4 ,silks mixed with cotton4 ,silks mixed with linen4 ,,africa4 ,,algiers3 ,embroidery4 ,fine linen4 ,,egypt3 ,byssus or very fine linen4 ,gauze4 ,silks4 ,silks mixed with cotton4 ,taffetas4 ,,morocco3 ,tangier3 ,silks4 ,tetuan3 ,silks4 99 99 99 99 99 ,,chiswick ,,press3--,,printed ,,by ,,whittingham ,,and ,,wilkins1 ,,tooks ,,court1 ,,chancery ,,lane4 ,transcriber's ,notes ,a number of typographical errors were corrected silently4 ,cover image was created by the transcriber and is donated to the public domain4 ,two small illustrations were recreated by the transcriber and are donated to the public domain4 ,first index entry for emblematic beasts corrected to page #adj from page #aih4 ,there are two items numbered #acgf4 ,the first is probably correct as it references a matching image4