The whole of this pattern is thrown off with great freedom, and an heraldic eye will see the boldness of the griffins. The vine-leaves are as crispy as any ever seen upon such stuffs, and the whole does credit to the royal looms of Palermo, where it was probably wrought at the command of the prince, for himself, or as a gift to some French royalty. An exactly similar stuff to this may be found at No. 7061; and it is said that the robes now shown at Neuburg, near Vienna, are traditionally believed to have been worn, at his marriage, by Leopold the Holy.
The whole of this pattern is thrown off with great freedom, and an heraldic eye will see the boldness of the griffins. The vine-leaves are as crispy as any ever seen upon such stuffs, and the whole does credit to the royal looms of Palermo, where it was probably wrought at the command of the prince, for himself, or as a gift to some French royalty. An exactly similar stuff to this may be found at No. 7061; and it is said that the robes now shown at Neuburg, near Vienna, are traditionally believed to have been worn, at his marriage, by Leopold the Holy.
Silkand Cotton Stuff; ground, light purple cotton; design, small but thick foliage, interspersed with birds of various kinds, in pairs and face to face, in amber-coloured silk. Sicilian, 14th century. 9½ inches by 7 inches.
Though so small in its elements, this is a pleasing design, and extremely well drawn, like all those from Palermo.
Though so small in its elements, this is a pleasing design, and extremely well drawn, like all those from Palermo.
Silkand Cotton Damask; ground, of cotton, a light orange; design, within a ten-cusped circle, and divided by the thin trunk of a tree, two cocks, face to face, all in gold thread, upon a purplish crimson ground, and between the circles an ornamentation in which a small crown tipped with fleur-de-lis, over a lion passant gardant, is very frequent in gold. Sicilian, late 14th century, 10¼ inches by 3 inches.
Though such a mere rag, this piece is so far valuable, as it shows that France then got her silken stuffs from Sicily, and, in this instance, perhaps sent her own design with her Gallic cock, and her fleur-de-lis mingled so plentifully in it. How or why the lion is there cannot be explained.
Though such a mere rag, this piece is so far valuable, as it shows that France then got her silken stuffs from Sicily, and, in this instance, perhaps sent her own design with her Gallic cock, and her fleur-de-lis mingled so plentifully in it. How or why the lion is there cannot be explained.
SilkDamask; ground, fawn-colour; design, parrots, and giraffes in pairs, amid floriated ornamentation, all, excepting the parts done in gold, of the tint of the ground. Sicilian, 13th century. 20½ inches by 10½ inches.
Upon an egg-shaped figure, nicely filled in with graceful floriated ornaments, stand two parrots, breast to breast, but with heads averted, which (as well as their pinion-joints, marked by a broad circle crowded with little rings on their wings, and legs and claws) are wrought in threads of gold, all now so tarnished as to look as if first worked in some dull purple silk. Their long broad perpendicular tails have the feathers shown byU shaped lines, looking much like the kind of ornamentation noticed under Nos.8591,8596,8599. Below, and back to back, or—as some may choose to see them—affronted, and biting the stems of the foliage, are two giraffes, with one leg raised—may be better described as tripping. They are specked all over with quatrefoil spots, and have head and hoofs done in gold, now faded to black. This stuff is as beautiful in design as substantial in its material, being all of good fine silk; though so poor and sparing was the gold upon the thread, that it has quite faded. From the curve at the upper end, this piece seems to have been cut out of an old chasuble.
Upon an egg-shaped figure, nicely filled in with graceful floriated ornaments, stand two parrots, breast to breast, but with heads averted, which (as well as their pinion-joints, marked by a broad circle crowded with little rings on their wings, and legs and claws) are wrought in threads of gold, all now so tarnished as to look as if first worked in some dull purple silk. Their long broad perpendicular tails have the feathers shown byU shaped lines, looking much like the kind of ornamentation noticed under Nos.8591,8596,8599. Below, and back to back, or—as some may choose to see them—affronted, and biting the stems of the foliage, are two giraffes, with one leg raised—may be better described as tripping. They are specked all over with quatrefoil spots, and have head and hoofs done in gold, now faded to black. This stuff is as beautiful in design as substantial in its material, being all of good fine silk; though so poor and sparing was the gold upon the thread, that it has quite faded. From the curve at the upper end, this piece seems to have been cut out of an old chasuble.
SilkDamask (made up of four pieces); ground, brown, once purple; design, in gold thread and coloured silks, griffins, eagles, and flowers. Sicilian, early 13th century. 19½ inches by 19¼ inches.
At top we have a row of griffins looking to the east, mostly wrought in gold, but relieved on coloured silks, and having at the pinion-joints of the wing that singular circle, filled in with a small design; then a row of conventional flowers in red, crimson, green, and white, and, last of all, a row of eagles at rest, done mostly in gold, slightly shaded with green, and looking west. The beasts and birds are admirably drawn, and when the stuff was new it must have been very fine and effective, though now the gold looks shabby.
At top we have a row of griffins looking to the east, mostly wrought in gold, but relieved on coloured silks, and having at the pinion-joints of the wing that singular circle, filled in with a small design; then a row of conventional flowers in red, crimson, green, and white, and, last of all, a row of eagles at rest, done mostly in gold, slightly shaded with green, and looking west. The beasts and birds are admirably drawn, and when the stuff was new it must have been very fine and effective, though now the gold looks shabby.
Stole,of silk and gold damask; ground, purple silk; design, mostly in gold, pricked out with green silk, a floriated oval, filled in with a pair of young parded leopards, addorsed regardant, and wyverns regardant in couples. Sicilian, late 13th century. 8 feet 4 inches by 3 inches, not including the expanded ends.
This is a magnificent stuff; but the stole itself could have been made out of it only in the middle of the 17th century.
This is a magnificent stuff; but the stole itself could have been made out of it only in the middle of the 17th century.
TheHood of a Cope; silk and gold; ground, fawn-coloured silk; design, bands, in gold thread, alternately broad, figured with harts couchant, and flowers with an oblique pencil of rays darting down; and narrow, marked with rayless flowers. Underlying the latter gold band is a very broad one of silk, figured in green, with collared dogs running at speed towards a small swan, with sprigs of flowers, green and white, between them. Sicilian, late 13th century. 14½ inches by 13½ inches.
The very pointed shape of this hood is somewhat unusual in the form of this part of a cope, as made during mediæval times, in England. The stuff is of a spirited design, and shows a curious element in its pattern, in those golden flowers with their pencils of rays.
The very pointed shape of this hood is somewhat unusual in the form of this part of a cope, as made during mediæval times, in England. The stuff is of a spirited design, and shows a curious element in its pattern, in those golden flowers with their pencils of rays.
Silkand Cotton Damask; ground, black; design, a lion rampant amid trees, all in light green. Sicilian, 14th century. 15 inches by 7¾ inches.
Very few examples occur with ground coloured black, yet the bright green of the design goes well upon its sombre grounding. The animal and also the leaves and trees around him are all admirably and spiritedly drawn, and one regrets that a pattern of such merit should have been lost upon such poor materials.
Very few examples occur with ground coloured black, yet the bright green of the design goes well upon its sombre grounding. The animal and also the leaves and trees around him are all admirably and spiritedly drawn, and one regrets that a pattern of such merit should have been lost upon such poor materials.
Silkand Gold Damask; ground, bright green silk; design, in gold, conventional artichokes, large and small, and harts, and demi-dogs with very large wings, both animals having remarkably long manes streaming far behind them. Sicilian, 14th century. 27 inches by 14 inches.
This beautifully and richly wrought stuff, with its fantastic designdrawn with such spirit, must have been, when seen in a large piece, very pleasing. Its last use was in a chasuble of rather modern cut, to judge from its present shape.
This beautifully and richly wrought stuff, with its fantastic designdrawn with such spirit, must have been, when seen in a large piece, very pleasing. Its last use was in a chasuble of rather modern cut, to judge from its present shape.
SmallBag to hold relics; ground, gold; design, all embroidered by needle, white rabbits(?) segreant, peacocks in couples, face to face, with the rabbits between them, two hearts and rows of black or purple spots, like women’s heads, one in the middle surrounded by a wreath of eight crimson stars, with small green flower-bearing trees, and the whole field sprinkled with letters, now, from the ill condition of the embroidery, not to be read. German, 16th century. 4½ inches square.
Partof a Liturgical Ornament; silk upon linen; ground, crimson, faded; design, in yellow flos-silk, beasts and birds. Syrian, late 13th century. 2 feet 6 inches by 7½ inches.
It does not seem to have last served as either stole or maniple, but, apparently, was part of an altar curtain of which two were hung, one at each side of the sacred table. Lions and dogs seated and eagles perched amid flowers and foliage form the pattern, which is not as well figured as those usually are which came from the eastern shores of the Mediterranean.
It does not seem to have last served as either stole or maniple, but, apparently, was part of an altar curtain of which two were hung, one at each side of the sacred table. Lions and dogs seated and eagles perched amid flowers and foliage form the pattern, which is not as well figured as those usually are which came from the eastern shores of the Mediterranean.
Silkand Cotton Damask; ground, green; design, large ovals filled in with foliation, enclosed with a net-work of garlands, the fruits of which might be mistaken for half-moons. North Italy, 14th century. 13½ inches by 7½ inches.
On better material, for the quantity of its silk is small, and in happier colours, this stuff might have been very pretty.
On better material, for the quantity of its silk is small, and in happier colours, this stuff might have been very pretty.
SilkDamask; ground, amber yellow; design, a hart, in gold, lodged beneath green trees in a park, the paling of which is light green, with a bunch of the corn-flower, centaurea, before it. Sicilian, 14th century. 7½ inches by 5½ inches.
SilkDamask; ground, amber yellow; design, the sun in its splendour, an eagle in gold, a green tree. Sicilian, 14th century. 7¼ inches by 5½ inches.
SilkDamask; ground, amber yellow; design, a hart, in gold, lodged beneath green trees in a park, the paling of which is light green, with a bunch of the corn-flower before it. Sicilian, 14th century. 7 inches by 6½ inches.
SilkDamask; ground, amber yellow; design, a running hart, in gold, amid foliage. Sicilian, 14th century. 8 inches by 4½ inches.
The last four pieces are, in fact, but fragments of the same stuff, and when put together make up its original pattern, and beautiful it must have seemed when beheld as a whole; the bird and animals are done with much freedom and spirit; so likewise the foliage: but two of the portions, by being more exposed to the light, are much faded, in such a manner that the green in them has almost fled. As usual, so poor was the golden thread that the bird and animals now look almost black, but here and there, with a good glass, shimmerings of gold may be found upon them. To some eyes the sun may look like a rose surrounded by rays. At one time or another an unfeeling hand has most plentifully sprinkled all these four pieces with flowers made from gilt paper stamped out, and pasted on the staff with stiff glue. The silk, especially the yellow, of this tissue was mixed with very fine threads of cotton.
The last four pieces are, in fact, but fragments of the same stuff, and when put together make up its original pattern, and beautiful it must have seemed when beheld as a whole; the bird and animals are done with much freedom and spirit; so likewise the foliage: but two of the portions, by being more exposed to the light, are much faded, in such a manner that the green in them has almost fled. As usual, so poor was the golden thread that the bird and animals now look almost black, but here and there, with a good glass, shimmerings of gold may be found upon them. To some eyes the sun may look like a rose surrounded by rays. At one time or another an unfeeling hand has most plentifully sprinkled all these four pieces with flowers made from gilt paper stamped out, and pasted on the staff with stiff glue. The silk, especially the yellow, of this tissue was mixed with very fine threads of cotton.
Oneof the Ends of a Stole, embroidered in beads; ground, dark blue; design, very likely the head of an apostle, in various coloured and gold beads. Venetian, late 12th century.
So like both in design, execution, and materials to the portion of an orphrey,No. 8274, that it would seem this piece was not only worked by the self-same hand, but formed a part of the self-same set of vestments. The places, now bare, in the nimb and neck, were, no doubt, once filled in with fine seed-pearls that have been wantonly picked out. The other end of the same stole to which this belonged is the following.
So like both in design, execution, and materials to the portion of an orphrey,No. 8274, that it would seem this piece was not only worked by the self-same hand, but formed a part of the self-same set of vestments. The places, now bare, in the nimb and neck, were, no doubt, once filled in with fine seed-pearls that have been wantonly picked out. The other end of the same stole to which this belonged is the following.
Exactlylike the foregoing; but if in its fellow piece seed-pearls are not to be seen, here they are left in part of the nimb, but especially over the left eye. Of the large piece with the head of the Blessed Virgin Mary, we have spoken at length, No. 8274.
Silkand Cotton Damask; ground, light yellow silk; design, a reticulation of vine-branches bearing grapes and leaves, and enclosing butterflies, an armorial shield having a royal crown over it, all in light purple cotton. Sicilian, early 14th century. 17½ inches by 15½ inches.
The design in all its elements is so like many other specimens wrought by the looms of Palermo at the period, that we are warranted to presume it came from that great mart of silken stuffs during the middle ages. So thin in its texture, it must have been meant for the lining of a heavier material. Père Martin has figured, in his very valuable “Mélanges d’Archéologie,” t. iv. plate xxii, a piece of silk, now in the Museum ofthe Louvre, almost the same in pattern, but differing much in colour, from the specimen before us. In the specimen at Paris little dogs and dragons, both in pairs, come in, but here they are wanting; so that we may learn that, to give variety to the pattern, parts were changed. Upon the shield there is a charge not unlike a star, rather oblong, of six points.
The design in all its elements is so like many other specimens wrought by the looms of Palermo at the period, that we are warranted to presume it came from that great mart of silken stuffs during the middle ages. So thin in its texture, it must have been meant for the lining of a heavier material. Père Martin has figured, in his very valuable “Mélanges d’Archéologie,” t. iv. plate xxii, a piece of silk, now in the Museum ofthe Louvre, almost the same in pattern, but differing much in colour, from the specimen before us. In the specimen at Paris little dogs and dragons, both in pairs, come in, but here they are wanting; so that we may learn that, to give variety to the pattern, parts were changed. Upon the shield there is a charge not unlike a star, rather oblong, of six points.
Damask,silk and cotton; ground, deep bluish green; design, pairs of monsters, half griffin, half elephant, in gold, a conventional flower in light green, enclosing a pair of wings in gold, and pairs of birds amid foliation, with short sentences of imitated Arabic here and there. Sicilian, early 14th century. 14 inches by 11 inches.
This is a fine and noteworthy production of the Palermitan loom, and shows in its pattern much fancy and great freedom of drawing; for whether we look at those very singular griffin elephants, sitting in pairs—and gazing at one another, or the two birds of the hoopoe family, with a long feather on the head, or the two gold wings conjoined and erect, so heraldically tricked, with that well-devised flower ending in a honeysuckle scroll, an ornament sprinkled all about, we cannot but be pleased with the whole arrangement. The combination of elephant and griffin in ornamentation is almost, perhaps quite, unique. The pretended Arabic points to a locality where once Saracenic workmen laboured, and left behind them their traditions of excellency of handicraft. In Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung, pl. ix. may be seen this curious stuff figured.
This is a fine and noteworthy production of the Palermitan loom, and shows in its pattern much fancy and great freedom of drawing; for whether we look at those very singular griffin elephants, sitting in pairs—and gazing at one another, or the two birds of the hoopoe family, with a long feather on the head, or the two gold wings conjoined and erect, so heraldically tricked, with that well-devised flower ending in a honeysuckle scroll, an ornament sprinkled all about, we cannot but be pleased with the whole arrangement. The combination of elephant and griffin in ornamentation is almost, perhaps quite, unique. The pretended Arabic points to a locality where once Saracenic workmen laboured, and left behind them their traditions of excellency of handicraft. In Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung, pl. ix. may be seen this curious stuff figured.
Partof a Maniple, silk damask; ground, fawn-coloured; design, an ovate foliation amid monster beasts and birds, all in light blue silk, excepting the heads of the birds; the feet and heads of the animals done in gold. Sicilian, late 13th century. 13¼ inches by 7 inches.
Partof a Maniple, silk damask; ground, fawn-coloured; design, an ovate foliation amid small lions and large monster beasts and birds, in light blue silk, excepting the small lions all in gold, and the heads and claws of the others in the same metal. Sicilian, late 13th century. 21½ inches by 6½ inches.
The two articles were evidently parts of the same maniple; 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 stuff, out of which it was cut originally. From what is before us we perceive that there were a pair of small lions, face to face, all in gold, a pair of wyverns segreant in green, a pair of griffins passant, with heads of gold, and a pair of other large animals, antelopes, with their horned heads and cloven hoofs in the same metal; slight indications of the fleur-de-lis here and there occur.
The two articles were evidently parts of the same maniple; 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 stuff, out of which it was cut originally. From what is before us we perceive that there were a pair of small lions, face to face, all in gold, a pair of wyverns segreant in green, a pair of griffins passant, with heads of gold, and a pair of other large animals, antelopes, with their horned heads and cloven hoofs in the same metal; slight indications of the fleur-de-lis here and there occur.
Abishop’s Liturgical Shoe, of silk and gold damask; ground, crimson silk; design, eagles, in couples, at rest, in gold, amid foliations in green silk; a small piece on the left side of the heel is of another rich stuff in gold and light green. Italian stuff, 14th century. 11½ inches.
Such old episcopal liturgic shoes are now great rarities; and a specimen once belonging to one of our English worthies, Waneflete, is given in the “Church of our Fathers,” t. ii. p. 250; it is of rich silk velvet, wrought with flowers, and still kept at Magdalen College, Oxford, built and endowed by that good bishop of Winchester. In the present example we have, in its thin leather sole for the right foot, a proof that making shoes right and left was well known then.
Such old episcopal liturgic shoes are now great rarities; and a specimen once belonging to one of our English worthies, Waneflete, is given in the “Church of our Fathers,” t. ii. p. 250; it is of rich silk velvet, wrought with flowers, and still kept at Magdalen College, Oxford, built and endowed by that good bishop of Winchester. In the present example we have, in its thin leather sole for the right foot, a proof that making shoes right and left was well known then.
Silkand Gold Damask; ground (now very faded), crimson silk; design, animals, all in gold, and flowers in gold, pricked out, some in green, others in purple silk. Sicilian, 14th century. 14½ inches by 8½ inches.
The animals are large antelopes couchant, and smaller ones in the like posture, within flowers, along with large oddly-shaped wyverns with the head bent down; the flowers are roses, and a modification of the centaurea, or corn-flower. Though the gold be tarnished, the pattern is still rich.
The animals are large antelopes couchant, and smaller ones in the like posture, within flowers, along with large oddly-shaped wyverns with the head bent down; the flowers are roses, and a modification of the centaurea, or corn-flower. Though the gold be tarnished, the pattern is still rich.
Taffeta,silk and cotton; ground, dull crimson cotton; design, reticulated foliage with a conventional artichoke in the meshes, all in pale blue. Spanish, 15th century. 7½ inches by 6¾ inches.
Taffeta,silk and cotton; ground, dull crimson cotton; design, reticulated foliage with a conventional artichoke in the meshes, all in pale blue. Spanish, 15th century. 5½ inches by 5¼ inches.
As poor in material as in design, and evidently manufactured for linings to silks of richer substances.
As poor in material as in design, and evidently manufactured for linings to silks of richer substances.
Silkand Cotton Damask; ground, bright crimson silk; design, floriated circles filled in with a pair of griffins rampant, addorsed, regardant, and the spaces between the circles ornamented with a floriated cross, all in yellow cotton. Sicilian, 14th century. 9¼ inches by 7 inches.
A good design bestowed upon somewhat poor materials. At first the yellow parts of the pattern had their cotton thread covered with gold, but of such a debased quality and so sparingly, too, that it has almost all disappeared, and, where seen, has tarnished to a dusky black.
A good design bestowed upon somewhat poor materials. At first the yellow parts of the pattern had their cotton thread covered with gold, but of such a debased quality and so sparingly, too, that it has almost all disappeared, and, where seen, has tarnished to a dusky black.
SilkDamask; ground, purple; design, large fan-like leaves, between small fruits of the pomegranate, in dead purple. Spanish, late 15th century.
Upon this specimen there was sewed an inscription, now so broken as not to make sense, and from the style of letter, of the floriated form, done in red and gold thread upon purple canvas, as is all the scroll-work about it, some German hand must have wrought it.
Upon this specimen there was sewed an inscription, now so broken as not to make sense, and from the style of letter, of the floriated form, done in red and gold thread upon purple canvas, as is all the scroll-work about it, some German hand must have wrought it.
Tissueof Cotton Warp and Silk and Gold Woof; ground, now yellow; design, eagles in pairs, divided by rayed orbs, amid foliage all in gold. Sicilian, middle 14th century. 6½ inches by 5½ inches.
The eagles are about to take wing, and are pecking at the rays of, seemingly, the sun which separates them. The foliage is much like, in form, that which so often occurs on works from the looms of Palermo; and, in all likelihood, the ground, now yellow, was once of a fawn-colour. Though good in design, this stuff is made of poor materials, the silk in it is small, and the gold of such a base quality that it has become a dusky brown.
The eagles are about to take wing, and are pecking at the rays of, seemingly, the sun which separates them. The foliage is much like, in form, that which so often occurs on works from the looms of Palermo; and, in all likelihood, the ground, now yellow, was once of a fawn-colour. Though good in design, this stuff is made of poor materials, the silk in it is small, and the gold of such a base quality that it has become a dusky brown.
Tissueof Flaxen Thread Warp and Silk and Gold Woof; ground, fawn-coloured; design, eagles in pairs affronted, with a pencil of sun-rays darting down upon their heads, and resting amid flowers all in gold. Sicilian, middle 14th century. 8 inches by 4¼ inches.
What we said of No. 1295 is equally applicable to this specimen, in which, however, may be seen, the corn-flower, centaurea, so often met with in Palermitan textures of the time.
What we said of No. 1295 is equally applicable to this specimen, in which, however, may be seen, the corn-flower, centaurea, so often met with in Palermitan textures of the time.
SilkDamask; ground, light green; design, within a heart-shaped figure, a large vine-leaf, at which two very small hoopoes, one at each side, are pecking; outside the ovals, from which large bunches of small-fruited grapes are hanging, runs a scroll with little vine-leaves, all now of a fawn-colour, but at first in a rosy crimson hue. Italian, late 14th century. 15 inches by 5¼ inches.
The design for this tasteful stuff was thrown off by an easy flowing hand; and Dr. Bock has given a good plate, in his “Dessinateur des Etoffes,” 3 Livraison, of a silk almost the very same, the differences being some very slight variations in parts of its colours.
The design for this tasteful stuff was thrown off by an easy flowing hand; and Dr. Bock has given a good plate, in his “Dessinateur des Etoffes,” 3 Livraison, of a silk almost the very same, the differences being some very slight variations in parts of its colours.
SilkDamask; ground, purple; design, amid foliage and small geometrical figures, birds in pairs, all in rosy red, and beasts in gold. Sicilian, 14th century. 9½ inches by 3¾ inches, and 4½ inches by 4 inches.
Putting these two pieces together we make out this beautiful, elaborate, though small pattern. What the birds may be is hard to guess, but the beasts seem lionesses, with bushy tails, and bold spirited griffins. Dr. Bock has figured this stuff in the before-mentioned large work.
Putting these two pieces together we make out this beautiful, elaborate, though small pattern. What the birds may be is hard to guess, but the beasts seem lionesses, with bushy tails, and bold spirited griffins. Dr. Bock has figured this stuff in the before-mentioned large work.
Damask,gold, silk, and thread; ground, dull purple; design, two broad horizontal bands, the first charged with a hound, green, collared, armed, and langued white, lying down with head upturned to a large swan in gold,with foliage all about them; on the second, a dog chasing a hart, both in gold, and between two cable ornaments in gold, and two scrolls of roving foliage, in light green pricked with white. Sicilian, late 14th century. 18 inches by 12 inches.
The beautiful and boldly-drawn pattern of these beasts and birds in pairs, and succeeding each other, is not duly honoured by the materials used in it; the quantity of thread is large, and the gold of the poorest sort.
The beautiful and boldly-drawn pattern of these beasts and birds in pairs, and succeeding each other, is not duly honoured by the materials used in it; the quantity of thread is large, and the gold of the poorest sort.
SilkDamask; ground, blue; design, in yellow, a net-work done in ovate geometrical scrolls, and the meshes filled in with geometrical lozenges, and others showing an ornamentation of singular occurrence, somewhat like the heraldic nebule. Lucca, early 15th century, 10½ inches by 7½ inches.
After a pattern that seldom is to be found on mediæval stuffs.
After a pattern that seldom is to be found on mediæval stuffs.
Silkand Gold Damask; ground, bright crimson silk; design, in gold, fruit of the pomegranate, mingled with flowers and leaves of another plant. South of Spain, 15th century. 9 inches by 8¾ inches.
At a distance this stuff must have shown well, but its materials are not of the first class; though lively in tone, the silk is poor, and its gold made of that thin gilt parchment cut into flat shreds, like other examples here—Nos.8590,8601,8639, &c.
At a distance this stuff must have shown well, but its materials are not of the first class; though lively in tone, the silk is poor, and its gold made of that thin gilt parchment cut into flat shreds, like other examples here—Nos.8590,8601,8639, &c.
Silkand Gold Damask; ground, fawn-coloured faded from crimson, in silk; design, large eagles perched in pairs, with a radiating sun between them, and beneath the rays dogs in pairs, running with heads turned backand looking on the foliage separating them, all in gold. Sicilian, 14th century. 17 inches by 8½ inches.
The fine and spirited pattern of this piece is now very indistinct, owing to the bad colour of the ground, which has so much faded, and the inferior quality of the gold upon the thread.
The fine and spirited pattern of this piece is now very indistinct, owing to the bad colour of the ground, which has so much faded, and the inferior quality of the gold upon the thread.
SilkDamask; ground, a rose-coloured tint; pattern, in a dull tone of the same, broad strap-work, in reticulations enclosing a circular conventional floriation. Moresco-Spanish, 14th century. 6 inches by 5½ inches.
The tone of the colour has changed from its first brightness, and the stuff is of a very thin texture.
The tone of the colour has changed from its first brightness, and the stuff is of a very thin texture.
Silkand Gold Damask; ground, crimson silk much faded; design, harts collared and flying eagles amid foliage, all in gold. Sicilian, 14th century. 2 feet 8 inches by 1 foot.
In this spirited pattern the running harts in the upper row have caught one of their hind-legs in the cord tied to their collar, and an eagle swoops down upon them; in the second row, the same animal has switched its tail into the last link of the chain fastened to its collar, and an eagle seems flying at its head, as it screams with gaping beak. The last use of this specimen of so magnificent a stuff appears to have been as part of a curtain (with its 15th century poor parti-coloured thread fringe) for hanging at the sides of an altar.
In this spirited pattern the running harts in the upper row have caught one of their hind-legs in the cord tied to their collar, and an eagle swoops down upon them; in the second row, the same animal has switched its tail into the last link of the chain fastened to its collar, and an eagle seems flying at its head, as it screams with gaping beak. The last use of this specimen of so magnificent a stuff appears to have been as part of a curtain (with its 15th century poor parti-coloured thread fringe) for hanging at the sides of an altar.
EmbroideredLappet of a Mitre; ground, linen; design, beneath a tall niche, a female in various coloured silks and gold; and under her, within a lower-headed niche, a male figure after the same style. German, late 14th century. 17½ inches by 3 inches.
The high-peaked canopy, with its crocketing and finial well formed and once all covered with gold, holds a female figure, crowned like a queen, with the banner of the Resurrection in one hand and a chalice, having on it the sacred host, in the other, which may be taken for the person of the Church, 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 Law. In the embroidery of the figures this piece very much resembles the style of needlework in the part of an orphrey, No. 1313. In his “Geschichte der Liturgischen Gewänder des Mittelalters,” 2 Lieferung, pl. xii. Dr. Bock has given figures of this curious lappet.
The high-peaked canopy, with its crocketing and finial well formed and once all covered with gold, holds a female figure, crowned like a queen, with the banner of the Resurrection in one hand and a chalice, having on it the sacred host, in the other, which may be taken for the person of the Church, 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 Law. In the embroidery of the figures this piece very much resembles the style of needlework in the part of an orphrey, No. 1313. In his “Geschichte der Liturgischen Gewänder des Mittelalters,” 2 Lieferung, pl. xii. Dr. Bock has given figures of this curious lappet.
SilkDamask; ground, fawn-coloured; design, amid sunbeams, raindrops, and foliage, large birds clutching in their talons a scroll charged with a capital letter R thrice repeated, all in light green. Sicilian, late 14th century. 13 inches by 6½ inches; and 8 inches by 3¾ inches.
The design of this stuff is rather curious from the inscribed scroll, the letter R of which is very Italian.
The design of this stuff is rather curious from the inscribed scroll, the letter R of which is very Italian.
Silkand Gold Damask; ground, fawn-colour; design, amid a conventional foliation shooting out in places with large fan-like flowers in gold, braces of small birds on the wing and pairs of running dogs with two antelopes, couchant, biting a bough, both in gold. Sicilian, 14th century. 12½ inches by 8½ inches.
A very good design well drawn, but unfortunately not quite perfect in the specimen, the golden parts of which are much tarnished.
A very good design well drawn, but unfortunately not quite perfect in the specimen, the golden parts of which are much tarnished.
SilkDamask; ground, rosy fawn-coloured; design, within a wreath made up mostly of myrtle-leaves and trefoils, a lion’s head cabosed, above which is a bunchof vine-leaves shutting in a blue corn-flower, and at each side, in white, a word in imitated Arabic; excepting the blue centaurea and two white flowers in the wreath, all the rest is in light green. Sicilian, 14th century. 22 inches by 10¾ inches.
This well-varied pattern is nicely drawn, and shows the traditions of the Saracenic workmen who once flourished at Palermo.
This well-varied pattern is nicely drawn, and shows the traditions of the Saracenic workmen who once flourished at Palermo.
Embroideryof Thread upon Linen; design, in raised stitchery, the hunting of the unicorn. German, late 14th century. 26½ inches by 13½ inches.
This fine piece of needlework shows us a forest where a groom is holding three horses, on two of which the high-peaked saddles are well given; running towards him are two hunting dogs, collared. In the midst of the wood sits a virgin with her long hair falling down her back, and on her lap an unicorn is resting his fore-feet; behind this group is coming a man with a stick upon his shoulder, from which hangs, by its coupled hind-legs, a dead hare. Not only the lady, but the men wear shoes with remarkably long toes, 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 England. In another number (8618) the same subject is noticed as significative of the Incarnation, and fully explained. No doubt, like the other piece of fine Rhenish needlework, this also formed but a part of a large cloth to hang behind an altar as a reredos. Those very long-toed shoes brought into fashion here by Ann of Bohemia, our Richard II.’s queen, were called “cracowes.”
This fine piece of needlework shows us a forest where a groom is holding three horses, on two of which the high-peaked saddles are well given; running towards him are two hunting dogs, collared. In the midst of the wood sits a virgin with her long hair falling down her back, and on her lap an unicorn is resting his fore-feet; behind this group is coming a man with a stick upon his shoulder, from which hangs, by its coupled hind-legs, a dead hare. Not only the lady, but the men wear shoes with remarkably long toes, 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 England. In another number (8618) the same subject is noticed as significative of the Incarnation, and fully explained. No doubt, like the other piece of fine Rhenish needlework, this also formed but a part of a large cloth to hang behind an altar as a reredos. Those very long-toed shoes brought into fashion here by Ann of Bohemia, our Richard II.’s queen, were called “cracowes.”
Manipleof Crimson and Gold Damask; ground, bright crimson; design, stags and sunbeams. Sicilian, late 14th century. 3 feet 7½ inches by 4 inches.
Under No. 8624 there is a specimen of silk damask, without gold in it, of a pattern so like this that, were the present piece perfect in its design, we might presume both had come from the same loom, anddiffered only in materials. In that, as in this, we have a couple of stags well attired, with their heads upturned to a large pencil of sunbeams darting down upon them amid a shower of raindrops.
Under No. 8624 there is a specimen of silk damask, without gold in it, of a pattern so like this that, were the present piece perfect in its design, we might presume both had come from the same loom, anddiffered only in materials. In that, as in this, we have a couple of stags well attired, with their heads upturned to a large pencil of sunbeams darting down upon them amid a shower of raindrops.
Silkand Gold Damask; ground, deep violet; design, St. Mary of Egypt, with her own hair falling all over her, as her only garment, on her knees before an altar on which stands a cross; behind her, a tree, upon which hovers a bird with a long bough in its beak; and high up over against her an arm coming from a cloud with the hand in benediction, and rays darting from the fingers, between two stars, one of eight, the other of six points, all mostly in gold. Venetian, 15th century. 12 inches by 11½ inches.
The materials and the weaving of this valuable tissue are both good, and figure a saint once in great repute in Oriental Christendom as well as among those Europeans who traded with the East, as an example of true repentance. A part of the design is, so to say, ante-dated, and to understand the whole of it we ought to know something of the life of this second Magdalen.In the latter half of the fourth century St. Mary of Egypt, then a girl of twelve, fled to Alexandria, where she led an abandoned life.It chanced that she went in a certain ship full of pilgrims to Jerusalem, where, on the feast of the Elevation of the Cross, she was hindered by a miracle from entering the church. Then, coming to herself, she made a vow of penance, and withdrew to the desert beyond the Jordan. There she lived unseen for forty years, till all her garments fell away and she had nothing wherewith to clothe herself but her own long hair.On the stuff before us the anachronism of its design will be soon perceived from this rapid sketch of St. Mary’s life. Instead of being, as she must have been, arrayed in the female fashion of the time when she went to Jerusalem, the great penitent is represented so far quite naked that her own long tresses, falling all around her, are her only mantle—just as she used to be more than forty years afterwards. But yet the design well unfolds her story; the hand darting rays of lightsignifies the revelation given her from heaven, and the blessing that followed it; while the two stars tell of Jerusalem, as also does the elaborately-fashioned cross that is standing on the altar, the frontal to which, in the upper border, seems ornamented in purple, with an inscription, now unreadable, but the last letters of which look as if they are R L I. The bird, perhaps a dove, has no part in the saint’s history, but is a fancy of the artist. In Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 1 Band, 1 Lieferung, pl. xi. is a figure of this stuff.
The materials and the weaving of this valuable tissue are both good, and figure a saint once in great repute in Oriental Christendom as well as among those Europeans who traded with the East, as an example of true repentance. A part of the design is, so to say, ante-dated, and to understand the whole of it we ought to know something of the life of this second Magdalen.
In the latter half of the fourth century St. Mary of Egypt, then a girl of twelve, fled to Alexandria, where she led an abandoned life.
It chanced that she went in a certain ship full of pilgrims to Jerusalem, where, on the feast of the Elevation of the Cross, she was hindered by a miracle from entering the church. Then, coming to herself, she made a vow of penance, and withdrew to the desert beyond the Jordan. There she lived unseen for forty years, till all her garments fell away and she had nothing wherewith to clothe herself but her own long hair.
On the stuff before us the anachronism of its design will be soon perceived from this rapid sketch of St. Mary’s life. Instead of being, as she must have been, arrayed in the female fashion of the time when she went to Jerusalem, the great penitent is represented so far quite naked that her own long tresses, falling all around her, are her only mantle—just as she used to be more than forty years afterwards. But yet the design well unfolds her story; the hand darting rays of lightsignifies the revelation given her from heaven, and the blessing that followed it; while the two stars tell of Jerusalem, as also does the elaborately-fashioned cross that is standing on the altar, the frontal to which, in the upper border, seems ornamented in purple, with an inscription, now unreadable, but the last letters of which look as if they are R L I. The bird, perhaps a dove, has no part in the saint’s history, but is a fancy of the artist. In Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 1 Band, 1 Lieferung, pl. xi. is a figure of this stuff.
SilkDamask; ground, crimson; design, a complication of geometric lines and figures in yellow, blue, green and white. Moresque, 15th century. 22½ inches by 18½ inches.
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 stuff, the silk of which is so good, and the colours, particularly the crimson, so warm.
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 stuff, the silk of which is so good, and the colours, particularly the crimson, so warm.
Partof an Orphrey; ground, deep crimson satin, edged with a narrow green band; design, three apostolic figures beneath Gothic canopies, all wrought in gold thread and coloured silks upon canvas and applied. German, early 15th century. 30 inches by 7¼ inches.
Each figure is nicely worked; and the first, beginning at the top, holding a sword erect in his right hand, is St. James the Greater; beneath him, with a halbert, St. Matthew; and last of all, holding in one hand a book, in the other a sword, St. Paul. The flowery crocketing running up the arches of the niches is particularly good.
Each figure is nicely worked; and the first, beginning at the top, holding a sword erect in his right hand, is St. James the Greater; beneath him, with a halbert, St. Matthew; and last of all, holding in one hand a book, in the other a sword, St. Paul. The flowery crocketing running up the arches of the niches is particularly good.
SilkDamask; ground, crimson (now faded); design, two golden lions with their fore-paws resting on a white scroll, looking down upon an orb darting straight down its rays upon the heads of two perched eagles, amid foliation, all in green. Italian, late 14th century. 26 inches by 9¾ inches.
A fine design, and sketched with great freedom; but the silk and gold employed in it are not of the best.
A fine design, and sketched with great freedom; but the silk and gold employed in it are not of the best.
SilkTaffeta; ground, brown; design, broad bands made up of eight red-edged orange stripes within two white ones. Egyptian, 10th century. 26 inches by 9¾ inches.
SilkTaffeta; ground, purple; design, narrow stripes made up of white purple and green lines. Egyptian, 10th century. 24 inches by 3½ inches.
These scarce examples of Oriental ability in the production of very thin substances for personal adornment and dress, under such a sun as even the north of Africa has, were originally wrought for ordinary, not religious use. They were brought to Europe as precious stuffs, and given as such to the Church and used for casting over the tombs of the saints, as palls, or as linings for thicker silken vestments. That these or any of the following specimens of gauze or taffeta were ever put to the purpose of making stockings, or rather leggings like boots, still worn by bishops on solemn occasions during the celebrations of the liturgy, cannot for a moment be thought of. Such appliances are, and always were, made either of velvet or strong cloth of gold or silver.
These scarce examples of Oriental ability in the production of very thin substances for personal adornment and dress, under such a sun as even the north of Africa has, were originally wrought for ordinary, not religious use. They were brought to Europe as precious stuffs, and given as such to the Church and used for casting over the tombs of the saints, as palls, or as linings for thicker silken vestments. That these or any of the following specimens of gauze or taffeta were ever put to the purpose of making stockings, or rather leggings like boots, still worn by bishops on solemn occasions during the celebrations of the liturgy, cannot for a moment be thought of. Such appliances are, and always were, made either of velvet or strong cloth of gold or silver.
SilkGauze; ground, light green; design, broad bands composed of white, black, and orange stripes. Egyptian, 10th century. 13 inches by 4 inches.
Taffeta, Silk and Cotton; ground and design, broad stripes of crimson, green, crimson and orange, separated by narrow lines of white; the warp is of brown fine cotton. Egyptian, 10th century. 12 inches by 2½ inches.
Of such stuffs the Orientals make their girdles to this day; and for such a purpose we presume this taffeta was woven at Cairo and for Moslem use, as the green of the so-called prophet is one among its colours.
Of such stuffs the Orientals make their girdles to this day; and for such a purpose we presume this taffeta was woven at Cairo and for Moslem use, as the green of the so-called prophet is one among its colours.
SilkGauze; ground, a light green. Egyptian, 10th century. 10 inches by 3½ inches.