Pieceof Silk and Silver Brocade; ground, a brown olive; pattern, large flowers, some lilac, but mostly bright crimson, intermixed with much silver ornamentation. Lyons, 18th century. 2 feet 8½ inches, by 1 foot 8½ inches.
Another specimen of the same taste asNo. 1031, but even more garish. Like it, it seems to have served the purpose of a liturgical lap-cloth, or, as it used to be called, a barm-cloth.
Another specimen of the same taste asNo. 1031, but even more garish. Like it, it seems to have served the purpose of a liturgical lap-cloth, or, as it used to be called, a barm-cloth.
Lectern-veil;ground, yellow satin; pattern, conventional flowers in applied velvet in blue, green, and crimson. Italian, early 17th century. 6 feet 6 inches by 1 foot 8 inches.
In fact the whole of this liturgical veil for the deacon’s book-stand is of the so-called “applied style;” that is, of pieces of satin and of velvet cut out to the required shape, and sewed on the canvas ground, and the edges bordered with a cord of silk, mostly white; and altogether it has a rich appearance.
In fact the whole of this liturgical veil for the deacon’s book-stand is of the so-called “applied style;” that is, of pieces of satin and of velvet cut out to the required shape, and sewed on the canvas ground, and the edges bordered with a cord of silk, mostly white; and altogether it has a rich appearance.
Bed-coverlet;ground, white thread net; pattern, flowers in white thread. Spanish, 17th century. 6 feet 5 inches by 5 feet 3½ inches.
This specimen of netting and crochet needlework displays much taste in its design of flowers, among which the rose and the pomegranate are very conspicuous. It was wrought in four strips joined together by narrow linen bands, and the whole edged with a shallow fringe.
This specimen of netting and crochet needlework displays much taste in its design of flowers, among which the rose and the pomegranate are very conspicuous. It was wrought in four strips joined together by narrow linen bands, and the whole edged with a shallow fringe.
Piecesof Stuff for Silk Sashes; pattern, perpendicular bars, some whity-brown figured with gold and silver flowers, some plain olive green, and bordered on both edges of the stuff with bands of whity-brown ornamented with sprigs of gold flowers. Oriental, 16th century. 2 feet 4½ inches, by 11 inches.
The trimming and cross, done in tinsel, show that its last European use was for the church; in the East, such silken stuffs, in long lengths, are worn about the waist by men and women as a sash or girdle.
The trimming and cross, done in tinsel, show that its last European use was for the church; in the East, such silken stuffs, in long lengths, are worn about the waist by men and women as a sash or girdle.
Chasuble-back;ground, green satin; design, scrolls in raised red silk thread. 18th century. Satin, French. 3 feet 8 inches by 2 feet 2 inches.
Very likely the satin formed some part of a lady’s gown, and for its richness was given to the church for making vestments. As a ritual garment it could not have looked well, nor is its gaudy red embroidery in good taste for any ecclesiastical purpose.
Very likely the satin formed some part of a lady’s gown, and for its richness was given to the church for making vestments. As a ritual garment it could not have looked well, nor is its gaudy red embroidery in good taste for any ecclesiastical purpose.
Waistcoat-pattern, embroidered and spangled. Second half of the 18th century. French. 10 inches by 7½ inches.
Of such stuffs were gentlemen’s vests made in Paris under Louis XV., and in London at the beginning of George III.’s reign.
Of such stuffs were gentlemen’s vests made in Paris under Louis XV., and in London at the beginning of George III.’s reign.
Orphreysfor a Chasuble; ground, crimson silk; design, an angel-choir in two rows amid wreaths, of which the flowers are silver and the leaves gold, some shaded green; on the back orphrey are two heraldic bearings. German, very late 15th century.
This beautifully-wrought specimen of Rhenish needlework, mostlikely done at Cologne, consists of twenty-six small figures of winged angels robed in various liturgical vestments, and playing musical instruments of all sorts—some wind, some stringed. Of these celestial beings several wear copes over their white albs; others have over their albs narrow stoles, in some instances crossed upon the breast as priests, but mostly belt-wise as deacons: other some are arrayed in the sub-deacon’s tunicle, and the deacon’s dalmatic: thus vested they hold the instrument which each is playing; 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 music. On the front orphrey are ten of such angels; on the one made in the shape of a cross, for the back of the chasuble, there are sixteen. At both ends of the short beam or transom of this cross we find admirably-executed armorial bearings. The first blazon—that to the left—shows a shieldgulesan inescutcheonargent, over all an escarbuncle of eight raysor, forCleves; dimidiated by,ora fess checkyargentandgules, forMarck; surmounted by a helmetargentcrested with a buffalo’s head cabosedgules, having the shut-down bars of the helmet’s vizor thrust out through the mouth of the animal, which is crowned ducallyorthe attireargentpassing up within the crown; and the mantlingsgules. As if for supporters, this shield has holding it two angels, one in a tunicle, the other in a cope. The second shield—that on the right hand,—showsgulesan inescutcheonargent, over all, an escarbuncle of eight raysor, crested and supported as the one to the left, thus giving, undimidiated, the blazon of the then sovereign ducal house ofCleves.All these ornaments, armorial bearings, angels, flowers, and foliage, are not worked into, but wrought each piece separately, and afterwards sewed on the crimson silk ground, which is the original one; they are “cut work.” The angels’ figures are beautifully done, and their liturgic garments richly formed in gold, as are the leaves and stems of the wreaths bearing large silver flowers. From its heraldry we may fairly assume that the chasuble, from which these handsome orphreys were stripped, belonged to the domestic chapel in the palace of the Dukes of Cleves, and had been made for one of those sovereigns whose wife was of the then princely stirring house of De la Marck.As was observed, while describing the beautiful Syon Cope,No. 9182, the nine choirs of angels separated into three hierarchies is indicated here also; and the distinction marked by the garments which they are made to wear in these embroideries; some are clothed in copes, others in tunicles, the remainder, besides their narrow stoles, in long-flowing white albs only—that emblem of spotless holiness in which all of themare garmented, as with a robe of light. The bushiness of the auburn hair on all of them is remarkable, and done in little locks of silk.For a student of mediæval music, this angel-choir will have an especial interest; but, to our thinking, neither this, nor any other production of the subject, whether wrought in sculpture, painting, or needlework, hitherto found out on the Continent, at all comes up in beauty, gracefulness, or value, to our own lovely minstrel-gallery in Exeter Cathedral, or the far more splendid and truly noble angel-choir sculptured in the spandrils of the triforium arches in the matchless presbytery at Lincoln Minster. A cast of the Exeter minstrel-gallery is put up here on the western wall of the north court, and among the casts lent by the Architectural Society are those of the angels in Lincoln.Of the musical instruments themselves, we see several in these two pieces of cut-work. Beginning with the back orphrey, marked No. 1194 at top, the first of the two angels is playing with the fingers of both hands an instrument now indiscernible; the second, the lute; below them one is beating a tabour with a stick; the other is turning the handle of the gita, our hurdy-gurdy. After these we have an angel blowing a short horn, while his fellow angel strikes the psaltery. Then an angel robed as a deacon in alb, and stole worn like a belt falling from his right shoulder to under his left arm, sounding the sistrum or Jew’s harp, and his companion fingers with his right hand a one-stringed instrument or ancient monochord. In the last couple, one with a large bow is playing the viol, a long narrow instrument with several silver strings.On the orphrey,—made in the shape of a cross and worn on the back of the chasuble,No. 1195,—the first angel plays the pan-pipes; the second, a gittern, or the modern guitar; the next two show one angel, as a deacon in dalmatic, jingling an instrument which he holds by two straps, hung all round with little round ball-like bells; and his companion, robed in alb and stole crossed at the breast like a priest, ringing two large hand-bells; lower down, of the two angels both vested as deacons, one blowing a large, long curved-horn, like that of the aurochs, the other, the shalmes or double-reeded pipe. Below these, one in alb and stole, belt-wise as a deacon, blows a cornamuse or bag-pipe; the other, as deacon, the aurochs’ horn. Then a deacon angel has a trumpet; his fellow, a priest in alb and crossed stole, is playing a triangle; last of all, one plays a tabour, the other the monochord. So noteworthy are these admirable embroideries, that they merit particular attention.
This beautifully-wrought specimen of Rhenish needlework, mostlikely done at Cologne, consists of twenty-six small figures of winged angels robed in various liturgical vestments, and playing musical instruments of all sorts—some wind, some stringed. Of these celestial beings several wear copes over their white albs; others have over their albs narrow stoles, in some instances crossed upon the breast as priests, but mostly belt-wise as deacons: other some are arrayed in the sub-deacon’s tunicle, and the deacon’s dalmatic: thus vested they hold the instrument which each is playing; 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 music. On the front orphrey are ten of such angels; on the one made in the shape of a cross, for the back of the chasuble, there are sixteen. At both ends of the short beam or transom of this cross we find admirably-executed armorial bearings. The first blazon—that to the left—shows a shieldgulesan inescutcheonargent, over all an escarbuncle of eight raysor, forCleves; dimidiated by,ora fess checkyargentandgules, forMarck; surmounted by a helmetargentcrested with a buffalo’s head cabosedgules, having the shut-down bars of the helmet’s vizor thrust out through the mouth of the animal, which is crowned ducallyorthe attireargentpassing up within the crown; and the mantlingsgules. As if for supporters, this shield has holding it two angels, one in a tunicle, the other in a cope. The second shield—that on the right hand,—showsgulesan inescutcheonargent, over all, an escarbuncle of eight raysor, crested and supported as the one to the left, thus giving, undimidiated, the blazon of the then sovereign ducal house ofCleves.
All these ornaments, armorial bearings, angels, flowers, and foliage, are not worked into, but wrought each piece separately, and afterwards sewed on the crimson silk ground, which is the original one; they are “cut work.” The angels’ figures are beautifully done, and their liturgic garments richly formed in gold, as are the leaves and stems of the wreaths bearing large silver flowers. From its heraldry we may fairly assume that the chasuble, from which these handsome orphreys were stripped, belonged to the domestic chapel in the palace of the Dukes of Cleves, and had been made for one of those sovereigns whose wife was of the then princely stirring house of De la Marck.
As was observed, while describing the beautiful Syon Cope,No. 9182, the nine choirs of angels separated into three hierarchies is indicated here also; and the distinction marked by the garments which they are made to wear in these embroideries; some are clothed in copes, others in tunicles, the remainder, besides their narrow stoles, in long-flowing white albs only—that emblem of spotless holiness in which all of themare garmented, as with a robe of light. The bushiness of the auburn hair on all of them is remarkable, and done in little locks of silk.
For a student of mediæval music, this angel-choir will have an especial interest; but, to our thinking, neither this, nor any other production of the subject, whether wrought in sculpture, painting, or needlework, hitherto found out on the Continent, at all comes up in beauty, gracefulness, or value, to our own lovely minstrel-gallery in Exeter Cathedral, or the far more splendid and truly noble angel-choir sculptured in the spandrils of the triforium arches in the matchless presbytery at Lincoln Minster. A cast of the Exeter minstrel-gallery is put up here on the western wall of the north court, and among the casts lent by the Architectural Society are those of the angels in Lincoln.
Of the musical instruments themselves, we see several in these two pieces of cut-work. Beginning with the back orphrey, marked No. 1194 at top, the first of the two angels is playing with the fingers of both hands an instrument now indiscernible; the second, the lute; below them one is beating a tabour with a stick; the other is turning the handle of the gita, our hurdy-gurdy. After these we have an angel blowing a short horn, while his fellow angel strikes the psaltery. Then an angel robed as a deacon in alb, and stole worn like a belt falling from his right shoulder to under his left arm, sounding the sistrum or Jew’s harp, and his companion fingers with his right hand a one-stringed instrument or ancient monochord. In the last couple, one with a large bow is playing the viol, a long narrow instrument with several silver strings.
On the orphrey,—made in the shape of a cross and worn on the back of the chasuble,No. 1195,—the first angel plays the pan-pipes; the second, a gittern, or the modern guitar; the next two show one angel, as a deacon in dalmatic, jingling an instrument which he holds by two straps, hung all round with little round ball-like bells; and his companion, robed in alb and stole crossed at the breast like a priest, ringing two large hand-bells; lower down, of the two angels both vested as deacons, one blowing a large, long curved-horn, like that of the aurochs, the other, the shalmes or double-reeded pipe. Below these, one in alb and stole, belt-wise as a deacon, blows a cornamuse or bag-pipe; the other, as deacon, the aurochs’ horn. Then a deacon angel has a trumpet; his fellow, a priest in alb and crossed stole, is playing a triangle; last of all, one plays a tabour, the other the monochord. So noteworthy are these admirable embroideries, that they merit particular attention.
Astole; ground, very pale yellow silk; design, an interlacing strap-work in the greater part; for the expanding ends, a diamond in gold thread, with a fringe of silk knots alternately crimson and green; the lining, thin crimson silk. English or French, 13th century. 9 feet 9 inches by 1¾ inches in the narrow parts, and 2½ inches in the expanded ends.
Another of those specimens of weaving in small looms worked by young women in London and Paris, during the 13th century, which we have met in this collection. As the expanded ends are formed of small pieces of gold web they were wrought apart, and afterwards sewed on to the crimson silk ground. The design of the narrow part has all along its length, at its two edges, a pair of very small lines, now brown, enclosing a dented ornament. As a liturgical appliance, this stole, for its perfect state of preservation, is valuable; Dr. Bock says that a stole called St. Bernhard’s, now in the church of our Lady at Treves, as well as another curious one in the former cathedral at Aschaffenburg, are in length and breadth, just like this.
Another of those specimens of weaving in small looms worked by young women in London and Paris, during the 13th century, which we have met in this collection. As the expanded ends are formed of small pieces of gold web they were wrought apart, and afterwards sewed on to the crimson silk ground. The design of the narrow part has all along its length, at its two edges, a pair of very small lines, now brown, enclosing a dented ornament. As a liturgical appliance, this stole, for its perfect state of preservation, is valuable; Dr. Bock says that a stole called St. Bernhard’s, now in the church of our Lady at Treves, as well as another curious one in the former cathedral at Aschaffenburg, are in length and breadth, just like this.
Tissueof Silk and Cotton; the warp, cotton; the woof, silk; ground, green; design, so imperfect that it can hardly be made out, but apparently a monster bird in yellow, lined and dotted in crimson; standing on a border of a yellow ground marked with crosses and mullets of four points. Syrian, late 12th century. 6¾ inches by 4½ inches.
When perfect this stuff must have been somewhat garish, from its colours being so bright and not well contrasted.
When perfect this stuff must have been somewhat garish, from its colours being so bright and not well contrasted.
Tissueof Silk and Cotton; the warp, silks of different colours; the woof, fawn-coloured fine cotton; design, stripes, the broader ones charged with wild beasts,eagles, and a monster animal having a human head; the narrow bands showing a pretended Arabic inscription. Syrian, 13th century. 13 inches by 2 inches.
So very torn and worn away is this piece that the whole of its elaborate design cannot be made out; but enough is discernible to prove an Asiatic influence. The monster, with the human face staring at us, calls to mind the Nineveh sculptures in the British Museum.
So very torn and worn away is this piece that the whole of its elaborate design cannot be made out; but enough is discernible to prove an Asiatic influence. The monster, with the human face staring at us, calls to mind the Nineveh sculptures in the British Museum.
SilkDamask; ground, crimson silk; pattern, in gold thread, two very large lions, and two pairs, one of very small birds, the other of equally small dragons, and an ornament not unlike a hand looking-glass. Oriental, 14th century. 2 feet 5½ inches by 2 feet ½ inch.
A piece of this same stuff is described under No. 7034 in this catalogue; and Dr. Bock, in his useful work, “Geschichte der Liturgischen Gewänder des Mittelalters,” t. i. plate iv. has figured it.
A piece of this same stuff is described under No. 7034 in this catalogue; and Dr. Bock, in his useful work, “Geschichte der Liturgischen Gewänder des Mittelalters,” t. i. plate iv. has figured it.
Tissueof Silk; ground, dull reddish deep purple; design, a lozenged diapering. South Italian, 13th century. 6½ inches by 5½ inches.
So thin is this web that we may presume it was meant as a stuff for lining garments of a richer texture.
So thin is this web that we may presume it was meant as a stuff for lining garments of a richer texture.
Pieceof Linen, or the finest byssus of antiquity. Egyptian. 5½ inches by 3 inches.
Whether this very curious example of that rare and fine tissue known in classic times, and later, as byssus, was of mediæval production in Egypt, or found in one of the ancient tombs of that land, would behard to determine. Another equally fine and no less valuable specimen may be seen in this collection, No. 8230.From Dr. Bock we learn that the sudary of our Lord, given to the Abbey of Cornelimünster, near Aix-la-Chapelle, by the Emperor Louis the Pious, circaA.D.820, was much like the present example.
Whether this very curious example of that rare and fine tissue known in classic times, and later, as byssus, was of mediæval production in Egypt, or found in one of the ancient tombs of that land, would behard to determine. Another equally fine and no less valuable specimen may be seen in this collection, No. 8230.
From Dr. Bock we learn that the sudary of our Lord, given to the Abbey of Cornelimünster, near Aix-la-Chapelle, by the Emperor Louis the Pious, circaA.D.820, was much like the present example.
Pieceof Silk Damask; ground, creamy white; design, broad-banded lozenges, enclosing a two-headed displayed eagle, and a pair of birds addorsed, each within an oval. Greek, 11th century. 10¾ inches by 7½ inches.
It is said to have been a fragment of the imperial tunic belonging to Henry II, Emperor of Germany; and not unlikely. If wrought for the occasion, and a gift from his imperial brother-Emperors of Constantinople, Basil and Constantine, worthy was it for their sending and of his acceptance, since the silk is rich, the texture thick, and the design in accordance with the ensigns of German royalty. In shreds, and ragged as it is, we may prize it as a valuable piece.
It is said to have been a fragment of the imperial tunic belonging to Henry II, Emperor of Germany; and not unlikely. If wrought for the occasion, and a gift from his imperial brother-Emperors of Constantinople, Basil and Constantine, worthy was it for their sending and of his acceptance, since the silk is rich, the texture thick, and the design in accordance with the ensigns of German royalty. In shreds, and ragged as it is, we may prize it as a valuable piece.
Pieceof Silk and Cotton Damask; ground, a yellowish green; design, large elliptical spaces filled in with Saracenic figurations. The warp is of green cotton, the woof, of pale yellow silk. South of Spain, 14th century. 16½ inches by 4¾ inches.
This strong stuff most likely came from the looms of Granada.
This strong stuff most likely came from the looms of Granada.
Pieceof Silk and Cotton.
Another piece of the same texture.
Another piece of the same texture.
Silkand Cotton Damask; ground, blue; design, circles filled in with conventional ornamentation in crimson (now faded). Greek, 13th century. 15¼ inches by 7½ inches.
In some very small parts of the pattern, at first sight, indications appear of four-footed animals, but the outlines are a fortuitous combination. This stuff is poor in material, and the design not very artistic.
In some very small parts of the pattern, at first sight, indications appear of four-footed animals, but the outlines are a fortuitous combination. This stuff is poor in material, and the design not very artistic.
Silkand Cotton Damask; ground, light green; design, a Saracenic pattern formed by lines in long lozenges. South of Spain, 14th century. 9¾ inches by 7 inches.
Much like in tint and style of pattern the fine specimen at No. 1240. In both the Moslem’s sacred colour of green may be noticed, and the two pieces may have been woven at Granada.
Much like in tint and style of pattern the fine specimen at No. 1240. In both the Moslem’s sacred colour of green may be noticed, and the two pieces may have been woven at Granada.
Damask,silk and linen; ground, crimson and yellow stripes; design, on the crimson stripes, circles enclosing a lion rampant, and six-petaled flowers, in yellow; on the yellow, one stripe with flowers in white silk, the other with flowers in gold, now faded black. Syrian, 14th century. 7½ inches by 6¾ inches.
The quality of this damask is coarse, from the great quantity of thread of a thick size wrought up in it. The design has no particular merit.
The quality of this damask is coarse, from the great quantity of thread of a thick size wrought up in it. The design has no particular merit.
Piecesof Damask; ground, gold; design, in crimson silk, broad round hoops, marked with a golden floriation, and enclosing a lion passant, the spaces between the hoops filled in with a floriated square topped by fleur-de-lis. Sicilian, 14th century. Each piece about 4½ inches square.
When whole the design of this rich stuff must have been effective, and the fragments we here have prove it to have been sketched in a bold free style. Unfortunately, so bad was the gold that, in places, it has turned green. The warp is of a thick linen thread, but, though it gives a strength to the texture, is not to be perceived upon its face.
When whole the design of this rich stuff must have been effective, and the fragments we here have prove it to have been sketched in a bold free style. Unfortunately, so bad was the gold that, in places, it has turned green. The warp is of a thick linen thread, but, though it gives a strength to the texture, is not to be perceived upon its face.
Pieceof Silk and Gold Damask; ground, crimson silk; design, a net-work formed by cords twined into circles enclosing four V’s, put so as to form a cross, and the meshes filled in alternately with a flower and a leaf, each surrounded by a line like an eight-petaled floriation, all in gold thick thread. Sicilian, 14th century. 5 inches by 4¾ inches.
The way in which the pattern affects the form of a cross in its design is remarkable.
The way in which the pattern affects the form of a cross in its design is remarkable.
SilkDamask; ground, brick-red; design, within broad-banded squares, ornamented with stars and flowers, a large double-headed eagle with wings displayed. Greek, 13th century. 12½ inches by 8 inches.
Being so very thin in texture, it is not surprising that this stuff is in such a tattered condition. When new, it must have been meant, not for personal wear, but rather for church purposes, or household use, as the hanging of walls. Its design is not happy, and the ornamentation about the eagle thick and heavy.
Being so very thin in texture, it is not surprising that this stuff is in such a tattered condition. When new, it must have been meant, not for personal wear, but rather for church purposes, or household use, as the hanging of walls. Its design is not happy, and the ornamentation about the eagle thick and heavy.
NarrowWeb for Orphreys; ground, a broad stripe of crimson silk between two narrow ones of green; design, a succession of oblong six-sided spaces in gold, filled in with a sort of floriated cross having sprouting from both ends of the upright beam, stalks bending inwards and ending ina fleur-de-lis, all in red silk. French, 13th century. 3¾ inches by 1-⅞ inches.
Of this kind of textile, wrought by women in a small loom, we have before us in this collection several specimens; and what was done by poor females at the time in England and France, it is likely was performed by industrious women elsewhere. The fleur-de-lis upon this fragment leads us to think of France; but Dr. 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 burial, when their graves were opened in the cathedral of Palermo.
Of this kind of textile, wrought by women in a small loom, we have before us in this collection several specimens; and what was done by poor females at the time in England and France, it is likely was performed by industrious women elsewhere. The fleur-de-lis upon this fragment leads us to think of France; but Dr. 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 burial, when their graves were opened in the cathedral of Palermo.
Pieceof Silk and Gold Brocade; ground, blue silk; design, a broad border with large pretended Arabic letters, and a griffin(?) segreant, both in gold. Sicilian, early 13th century. 8¼ inches by 4-⅞ inches.
The heraldic monster-bird here, supposed to be a griffin, is drawn and executed in a very spirited manner.
The heraldic monster-bird here, supposed to be a griffin, is drawn and executed in a very spirited manner.
Linen,embroidered, in gold and silk, with the figure of a king. German, late 12th century. Diameter 6¾ inches.
The figure of this grim-bearded personage is carefully worked, and the gold employed is good though thin. Upon his head he wears a crown, such as are figured upon the monuments of the time; the face is badly drawn, but the ermine lining of his mantle is carefully represented.
The figure of this grim-bearded personage is carefully worked, and the gold employed is good though thin. Upon his head he wears a crown, such as are figured upon the monuments of the time; the face is badly drawn, but the ermine lining of his mantle is carefully represented.
AnOrphrey; ground, gold; design, various subjects from Holy Writ, with borders; the whole length figured with monsters, floriations, and an inscription. French, 13th century. 4 feet 2 inches by 7 inches.
In all probability this orphrey belonged to the back of a chasuble, and, as such, the subjects figured in it would find an appropriate place there; but it ought to be observed that, in reality, it is made up of four portions, the two narrow bands, besides the long and the short lengths of the middle or broad parts which they border. At top we have the Crucifixion, wherein each of our Lord’s feet is fastened by its own separate nail. On one side of His head is the sun, on the other the moon; St. Mary and St. John are standing on the ground beside Him; and, at the cross’s foot, looks out a head, that of Adam, which, whether from accident or design, has very much the shape of a lion’s with a shaggy mane; one of the symbols belonging to our Lord is a lion, in token of the resurrection. Some way down a female, crowned and wimpled, bears in both her hands, which are muffled in a veil, a golden-covered cup,—very likely Mary Magdalen, with her vessel full of costly spikenard for anointing our Saviour’s feet against the day of His burying. Opposite to her is St. Michael, spearing Satan, an emblem of the great atonement, as is shown underNo. 9182, while describing the Syon Cope. Lower down we have the three women or, as they are sometimes called, Maries, with their sweet spices, and the angel telling them of the uprising of our Redeemer. Lower yet, our Lord’s Ascension is represented by showing Him seated in majesty with both His arms outstretched, within an almond-shaped glory. On the second or shorter length, and, as far as the Gospel history is concerned, out of its due place, we behold the Annunciation, and a little under that subject a row of four nimbed and seemingly winged heads, like those of the cherubim, may be symbols of the four evangelists. At each side of these subjects runs a border of gold wrought with lions crowned, and imaginary winged monster-animals separated by graceful floriations; and on one of these borders, at the lower end, is worked this inscription—“Odilia me fecit,” in nicely shaped letters. This female name was common in Auvergne, where St. Odilo, the sixth abbot of Cluni, was born, a son of the noble house of Mercœur, and, to our thinking, it is very likely this Odilia was a daughter of one of the lords of that once great family in the South of France.So worn away is this curious orphrey that often the several subjects figured on in the loom, and not by the needle, can be hardly made out till held in various lights.
In all probability this orphrey belonged to the back of a chasuble, and, as such, the subjects figured in it would find an appropriate place there; but it ought to be observed that, in reality, it is made up of four portions, the two narrow bands, besides the long and the short lengths of the middle or broad parts which they border. At top we have the Crucifixion, wherein each of our Lord’s feet is fastened by its own separate nail. On one side of His head is the sun, on the other the moon; St. Mary and St. John are standing on the ground beside Him; and, at the cross’s foot, looks out a head, that of Adam, which, whether from accident or design, has very much the shape of a lion’s with a shaggy mane; one of the symbols belonging to our Lord is a lion, in token of the resurrection. Some way down a female, crowned and wimpled, bears in both her hands, which are muffled in a veil, a golden-covered cup,—very likely Mary Magdalen, with her vessel full of costly spikenard for anointing our Saviour’s feet against the day of His burying. Opposite to her is St. Michael, spearing Satan, an emblem of the great atonement, as is shown underNo. 9182, while describing the Syon Cope. Lower down we have the three women or, as they are sometimes called, Maries, with their sweet spices, and the angel telling them of the uprising of our Redeemer. Lower yet, our Lord’s Ascension is represented by showing Him seated in majesty with both His arms outstretched, within an almond-shaped glory. On the second or shorter length, and, as far as the Gospel history is concerned, out of its due place, we behold the Annunciation, and a little under that subject a row of four nimbed and seemingly winged heads, like those of the cherubim, may be symbols of the four evangelists. At each side of these subjects runs a border of gold wrought with lions crowned, and imaginary winged monster-animals separated by graceful floriations; and on one of these borders, at the lower end, is worked this inscription—“Odilia me fecit,” in nicely shaped letters. This female name was common in Auvergne, where St. Odilo, the sixth abbot of Cluni, was born, a son of the noble house of Mercœur, and, to our thinking, it is very likely this Odilia was a daughter of one of the lords of that once great family in the South of France.
So worn away is this curious orphrey that often the several subjects figured on in the loom, and not by the needle, can be hardly made out till held in various lights.
PrintedSilk Taffeta; ground, very light purple; design, a scroll, block-printed in deeper purple, and edged black. Sicilian, 13th century. 8¾ inches by 6 inches.
The boughs, sprouting into a sort of trefoil, are gracefully twined with a bold free hand; and the scroll reminds us of much of the like sort of ornament found, in this country, on various art-works of its time. As an early specimen of block-printing upon silk, it is valuable and rare.
The boughs, sprouting into a sort of trefoil, are gracefully twined with a bold free hand; and the scroll reminds us of much of the like sort of ornament found, in this country, on various art-works of its time. As an early specimen of block-printing upon silk, it is valuable and rare.
Partof an Altar-Frontal, embroidered, in coloured threads, upon coarse canvas; design, within a medallion, the ground, light blue and broad border, fawn-colour, a figure, seated, holding in his left-hand a staff, and having on his knee an open book inscribed,—“Ego sum Liber Vite.” The figure is clothed in a girded white tunic, and a mantle now fawn-coloured; but the head is so damaged that the personage cannot be recognized; the probability is that it represents our Lord in majesty, having the staff of a cross in one hand and giving His blessing with the other. German, early 12th century, 12¾ inches by 10 inches.
Partof an Altar-Frontal; design, the busts of two winged and nimbed angels, within round arches, bearing between them a white scroll with these words—“Deus Sabaoth.” This was a portion of the frontal mentioned above. German, early 12th century. 17 inches by 7¼ inches. In both pieces the parts now fawn-coloured have faded into such from crimson.
SilkDamask; ground, fawn-colour; design, in light green, a sprinkling of fleur-de-lis amid griffins, in pairs, rampant, regardant. Sicilian, 14th century. 10 inches by 8 inches.
The pattern is not of that spirited character found on many of the earlier specimens of the Sicilian loom; the griffins, especially, are weakly drawn. The fleur-de-lis would signify that it was wrought for some French family or follower of the house of Anjou.
The pattern is not of that spirited character found on many of the earlier specimens of the Sicilian loom; the griffins, especially, are weakly drawn. The fleur-de-lis would signify that it was wrought for some French family or follower of the house of Anjou.
SilkDamask; ground, crimson; design, a diapering of birds pecking at a cone-like ornament ending in a fleur-de-lis, all in yellow. Sicilian, 14th century. 5 inches by 4 inches.
A very thin stuff with a pattern of a small but pretty design. What the birds are with their long square tails is hard to guess; so, too, with respect to the ornament between them, like a fir-cone purfled at its sides with crockets, and made to end in a flower, which may have some reference to the French family of Anjou, once reigning in Sicily. The stuff itself is poor and may have been woven for linings to richer silks.
A very thin stuff with a pattern of a small but pretty design. What the birds are with their long square tails is hard to guess; so, too, with respect to the ornament between them, like a fir-cone purfled at its sides with crockets, and made to end in a flower, which may have some reference to the French family of Anjou, once reigning in Sicily. The stuff itself is poor and may have been woven for linings to richer silks.
Shredof Silk Damask; ground crimson; design, seemingly horsemen separated by a large circular ornament in one row, and the gable of a building in the other, in yellow and blue. Greek, 12th century. 8 inches by 6¼ inches.
Though this stuff be thin and poor, the design, could it be well seen, would be curious. The circle seems a leafless but branchy tree, with a low wall round it; and the gable is full of low pillared arches with voids for windows in them.
Though this stuff be thin and poor, the design, could it be well seen, would be curious. The circle seems a leafless but branchy tree, with a low wall round it; and the gable is full of low pillared arches with voids for windows in them.
Fragmentsof Narrow Orphrey Web; ground, crimson; design, in gold ramified scrolls, with beasts and birds. English or French, 13th century, 10½ inches by 3 inches.
This very handsome piece is another specimen of the small loom worked by young women, as before noticed; and may have served either for sacred or secular use. The band is parted into spaces by a thin chevron, and each division so made is filled in with tiny but gracefully-twined boughs, among which some times we have a pair of birds, at others a pair of collared dogs; at top another arrangement took place, but no more of it remains than the body of a lion.
This very handsome piece is another specimen of the small loom worked by young women, as before noticed; and may have served either for sacred or secular use. The band is parted into spaces by a thin chevron, and each division so made is filled in with tiny but gracefully-twined boughs, among which some times we have a pair of birds, at others a pair of collared dogs; at top another arrangement took place, but no more of it remains than the body of a lion.
Silkand Thread Tissue; ground, stripes of red, green, and yellow; design, rows of circles, large and small, with a conventional flower between, the large circles red, the small ones merely outlined in white. Greek, 13th century. 8¼ inches by 6 inches.
Even when new it must have been flimsy, and could have served but for a lining. Of exactly the same design, but done in other and fewer colours, a specimen now at Paris is figured in the “Mélanges d’Archéologie,” tome iii. plate 15.
Even when new it must have been flimsy, and could have served but for a lining. Of exactly the same design, but done in other and fewer colours, a specimen now at Paris is figured in the “Mélanges d’Archéologie,” tome iii. plate 15.
Silkand Cotton Damask; ground, yellow; design, a net-work with six-sided meshes, each filled in with flowers and foliage in deep dull purple. Italian, late 13th century. 14 inches by 10 inches.
The well-turned and graceful foliation to be seen in architectural scroll-work, on monuments raised at the period, enters largely into the design; and for its pattern, though poor for the quantity of its silk, this specimen is very good.
The well-turned and graceful foliation to be seen in architectural scroll-work, on monuments raised at the period, enters largely into the design; and for its pattern, though poor for the quantity of its silk, this specimen is very good.
Pieceof a Napkin; ground, nicely diapered in lozenges, all white; design, horizontal dark brown stripes, with a lined pattern in white upon them. Flemish, 16th century. 24 inches by 13 inches.
Most likely Yprès sent forth this pleasing example of fine towel linen.
Most likely Yprès sent forth this pleasing example of fine towel linen.
Embroideryfor liturgical use; ground, dark blue silk; design, our Lord, as the “Man of Sorrows,” within a quatrefoil flowered at the barbs in gold thread sewed on with crimson silk. Italian, 15th century. 6 inches square.
The figure of our Redeemer, wrought upon linen with white silk, much of which is worn away, is holding His wounded hands cross-wise, and a scourge under each arm. From His brows, wreathed with thorns, trickle long drops of blood; and the whole, with the large bleeding gaping wound in His side, strikingly reminds us of the wood-cut to be found at the beginning of our Salisbury Grails, or choir-books, with those anthems sung at high mass, called graduals. In England such representations were usually known under the name of “S. Gregory’s Pity,” as may be seen in “The Church of our Fathers,” t. i. p. 53. This embroidery is figured by Dr. Bock, in his “Geschichte der Liturgischen Gewänder des Mittelalters,”I.Band,11.Lieferung, pl. 14.
The figure of our Redeemer, wrought upon linen with white silk, much of which is worn away, is holding His wounded hands cross-wise, and a scourge under each arm. From His brows, wreathed with thorns, trickle long drops of blood; and the whole, with the large bleeding gaping wound in His side, strikingly reminds us of the wood-cut to be found at the beginning of our Salisbury Grails, or choir-books, with those anthems sung at high mass, called graduals. In England such representations were usually known under the name of “S. Gregory’s Pity,” as may be seen in “The Church of our Fathers,” t. i. p. 53. This embroidery is figured by Dr. Bock, in his “Geschichte der Liturgischen Gewänder des Mittelalters,”I.Band,11.Lieferung, pl. 14.
TheEmbroidered Apparel for an Amice; ground, crimson flos-silk, now faded; design, large and small squares, green, blue, and purple, filled in with gold, and modifications of the gammadion, in white or crimson silks. German, 14th century. 14 inches by 5¼ inches.
This apparel is made out of three pieces, and stiffened with parchment; and is bordered by a narrow but effective lace of a green ground,bearing circles of white and red, parted by yellow. The brown canvas upon which it is worked is very fine of its kind; and the gold, which is of a good quality, is of narrow tinsel strips. From age, or use, the design is worn away from a great portion of the ground, and the pattern was a favourite one for liturgical appliances up to the 16th century.
This apparel is made out of three pieces, and stiffened with parchment; and is bordered by a narrow but effective lace of a green ground,bearing circles of white and red, parted by yellow. The brown canvas upon which it is worked is very fine of its kind; and the gold, which is of a good quality, is of narrow tinsel strips. From age, or use, the design is worn away from a great portion of the ground, and the pattern was a favourite one for liturgical appliances up to the 16th century.
Maniple;embroidered, in various-coloured silk, upon brown canvas; design, a net-work in bright crimson, the lozenge-shaped meshes of which, braced together by a fret, are filled in with a ground alternately yellow charged with modifications of the gammadion in blue, and green, with the same figure in white voided crimson. The extremities are cloth of gold, both edged with a parti-coloured fringe, and one figured with a lion in gold on a crimson field. German, 14th century. 3 feet 11 inches by 3 inches.
Napkinof linen embroidered in white thread; ground, plain white linen; design, a conventional rectangular floriation, filled in with other floriations, and in the middle an eight-petaled flower, and in the square intervening spaces outside a fleur-de-lis shooting out of each corner, all in white broad thread. German, late 14th century. 23 inches by 13¼ inches.
Like many other examples of the kind, the present one can show its elaborate and beautifully-executed design only by being held up to the light, when it comes forth in perfection.
Like many other examples of the kind, the present one can show its elaborate and beautifully-executed design only by being held up to the light, when it comes forth in perfection.
SilkDamask; ground, crimson; design, a net-work in broad bands of yellow silk and gold wrought like twisted cords, and the meshes, which are wreathed inside with a green garland bearing green and white flowers, filled inwith a conventional artichoke in yellow silk mixed with gold thread, and edged with a green and white border. Spanish, early 16th century. 17 inches by 15½ inches.
As a furniture-stuff, this must have been very effective; and from the under side being thickly plastered with strong glue, the last service of the present piece would seem to have been for the decoration of the wall of some room.
As a furniture-stuff, this must have been very effective; and from the under side being thickly plastered with strong glue, the last service of the present piece would seem to have been for the decoration of the wall of some room.
SilkDamask; ground, deep blue, or violet; design, a sprinkling of small stars and rows of large angels, some issuing from clouds and swinging thuribles in the left hand, others kneeling in worship with uplifted hands, bearing crowns of thorns, and the last row kneeling and holding up before them a cross of the Latin shape. Florentine, late 14th century. 21½ inches by 13 inches.
From its form this piece seems to have been cut off from a chasuble; and the stuff itself, it is likely, was woven expressly for the purple vestments worn in Lent, and more particularly during Passion time. At No. 7072 another portion of the same damask is described.
From its form this piece seems to have been cut off from a chasuble; and the stuff itself, it is likely, was woven expressly for the purple vestments worn in Lent, and more particularly during Passion time. At No. 7072 another portion of the same damask is described.
TriangularPiece of Yellow Silk; ground, light yellow; design, a netting filled in with eight-petaled roses and circles enclosing other flowers, all in white. Greek, 14th century. 9½ inches.
Lined as it is with stout blue canvas, this piece may have been in liturgical use, and, in all likelihood, served as the hood to some boy-bishop’s cope.About the boy-bishop himself and his functions, according to our old Salisbury Rite, see “Church of Our Fathers,” t. iv. p. 215.
Lined as it is with stout blue canvas, this piece may have been in liturgical use, and, in all likelihood, served as the hood to some boy-bishop’s cope.
About the boy-bishop himself and his functions, according to our old Salisbury Rite, see “Church of Our Fathers,” t. iv. p. 215.
Tissue,silk upon linen; ground, white; design, broad circles filled in with floriated ornamentation, bearing in the middle a five-petaled purple flower. Italian, early 14th century. 7 inches by 3 inches.
AnotherPiece of the same Tissue. 12¼ inches by 2¼ inches.
The thread in the warp of this stuff is more than usually thick; and so sparingly is the silk employed on its pattern, that in its best days it could have looked but poor.
The thread in the warp of this stuff is more than usually thick; and so sparingly is the silk employed on its pattern, that in its best days it could have looked but poor.
Silkand Cotton Damask; ground, yellow silk mixed with cotton; design, a sprinkling of eight-rayed voided stars, in dusky purple. Italian, 14th century. 5 inches by 2½ inches.
A thin stuff for linings.
A thin stuff for linings.
Silkand Gold Damask; ground, light fawn-colour in silk; design, a large conventional flower enclosing another flower of the same character, which is filled in with a double-headed eagle displayed, and the spaces between the large flowers diapered with foliage shooting from a sort of fir-cone, at the top of which are birds in pairs hovering over the plant and having a long feather drooping from the head, all in gold thread. Sicilian, early 14th century. 10¾ inches by 9¾ inches.
1269.SILK AND GOLD DAMASK. Sicilian, 14thcentury.Vincent Brooks Day & Son, Lith.
1269.SILK AND GOLD DAMASK. Sicilian, 14thcentury.Vincent Brooks Day & Son, Lith.
1269.
SILK AND GOLD DAMASK. Sicilian, 14thcentury.
Vincent Brooks Day & Son, Lith.
Though not so spirited in the drawing of its pattern, and the gold so poor and bad that it has become almost lost to the eye, this stuff is a valuable item in the collection. The eagle, with its double head, andwings displayed, would lead to the belief that it had been wrought to the order of some emperor of Germany, or for some Sicilian nobleman who cherished a love for the house of Hohenstaufen.
Though not so spirited in the drawing of its pattern, and the gold so poor and bad that it has become almost lost to the eye, this stuff is a valuable item in the collection. The eagle, with its double head, andwings displayed, would lead to the belief that it had been wrought to the order of some emperor of Germany, or for some Sicilian nobleman who cherished a love for the house of Hohenstaufen.
Partof a Maniple; ground, cloth of gold; design, in needlework, St. Blase and St. Stephen. English or French, 13th century. 12 inches by 6½ inches.
Both with regard to its golden cloth, and the figures upon it, this piece is very valuable. The stuff is of that kind which our countryman, John Garland, tells us was wrought by young women at his time, and shows, in its grounding, a pretty zig-zag pattern. The two kneeling figures, though done in mere outline of the scantiest sort, display an ease and gracefulness peculiar to the sculpture and illuminations in England and France of that period. St. Blase is shown us vested in his chasuble and mitre—low in form—with a very long grey beard, and holding a comb in one hand—the instrument of his martyrdom; St. Stephen is robed as a deacon, and kneeling amid a shower of large round stones, pelted at him on all sides.
Both with regard to its golden cloth, and the figures upon it, this piece is very valuable. The stuff is of that kind which our countryman, John Garland, tells us was wrought by young women at his time, and shows, in its grounding, a pretty zig-zag pattern. The two kneeling figures, though done in mere outline of the scantiest sort, display an ease and gracefulness peculiar to the sculpture and illuminations in England and France of that period. St. Blase is shown us vested in his chasuble and mitre—low in form—with a very long grey beard, and holding a comb in one hand—the instrument of his martyrdom; St. Stephen is robed as a deacon, and kneeling amid a shower of large round stones, pelted at him on all sides.
Silkand Gold Damask; ground, light green silk; design, griffins passant and fleur-de-lis in one row, fleur-de-lis and slipped vine-leaves arising from two tendrils formed like the letter C, and put back to back, all in gold. Sicilian, 14th century. 12 inches by 7½ inches.