1371.

Though now so rough and tattered this almost unique piece of “cut-work” (which French people would call appliqué, but better described by the English words), of so large a size, is valuable for its use in showing how, with cheap materials and a little knowledge of drawing, a very pleasing, not to say useful, article of decoration may be made, either for church appliance or household furniture.Unfortunately the heads of the personages in the upper row are all cut away, but lower down we plainly see the history meant to be represented. Upon the first pane, to the left, we have a regal throne, upon which are sitting, evidently in earnest talk, a king, crowned and sceptred, and a knight, each belted with a splendid military girdle falling low down around the hips. Behind the knight stands his ’squire. In the next pane the enthroned king is giving his orders to the standing knight, toward whom his ’squire is bringing his sword, his shield, (argenta fessazure, surmounted by a demi-oxazure,) and a bascinet mantled and crested with the head of the same demi-ox or aurochs and its tall horns. After this we behold the knight with lance and shield, and his ’squire on horseback riding forth from the castle, at the gate of which stands the king, outstretching his hand and bidding farewell to the knight, who is turning about to acknowledge the good-bye. Going first upon the road, the knight, followed by the ’squire, seems asking the way to the dragon’s lair, from a gentleman whom they meet. The monster is then found in a wood, and the knight is tilting his spear into its fire-red maw. The next pane carrying on the romance is the first to the left in the second or lower series. Here the knight is unhorsed, and his good grey steed is lying on the field; but the knight himself, wielding his sword in both hands, is about to smite the dragon breathing long flames of fire towards him. Afterwards he catches hold of his fiery tongue, and is cutting it off. It would look as if the dragon, though wounded to the loss of its tongue, had not been worsted; for in the following compartment we behold the same knight all unarmed, but well mounted, galloping forth from a castle gate with a hound and some sort of bird, both with strings to them, by his horse’s side, and having found the dragon again, appears holding an argument with the beast that, for answer, shows the fiery stump of his tongue in his gaping mouth. But the dragonwill not give himself up and be led away captive. Now, however, comes the grand fight. In a forest, with a bird perched on high upon one of the trees, the knight, dismounted from his horse, cuts off the head of the dragon, which, to the last, is careful to show his much shortened yet still fiery tongue to his victor. Now have we the last passage but one in the story. Upon his bended knee the triumphant knight is presenting the open-mouthed, tongueless, cut-off dragon’s head to the king and queen, both throned and royally arrayed, the princess, their daughter, standing by her mother’s side. The young maiden, no doubt, is the victor’s prize; but now—and it is the last chapter—the knight and lady, dressed in the weeds of daily life and walking forth upon the flowery turf, seem happy with one another as man and wife. The two panes at this part, and serving as a border, seem out of place, and neither has a connection with the other; in the first, just outside a castle wall, rides a crowned king followed by a horseman, evidently of low degree; and a column separates him from a large bed, lying upon which we observe the upper part of a female figure, the head resting upon a rich cushion; next to this, but put in anglewise to fill up the space, we have a crowned lady and a girdled knight, sitting beneath a tree, each with a little dog beside them.The costume of both men and women in this curious piece of cut-work is that of the end of the 14th century. The parti-coloured dress of the men, their long pointed shoes, and the broad girdles, worn so low upon their hips by the king and knight, as well as the bascinet and helmet of the latter, with the horses’ trappings, all speak of that period; nor should we forget the sort of peaked head-dress, as well as the way in which the front hair of the ladies is thrown up into thick short curls. All the human figures, all the beasts, as well as the architecture, are outlined in thin leather or parchment once gilt, but now turned quite black. With the same leather, too, were studded the belts of the king and knight, and the spangles and golden enrichments of the ladies’ dress were of the same material. Saving here and there a few stitches of silk, everything else was of worsted, and that none of the finest texture. With such small means a good art-work was produced, as we see before us. The way in which each figure over the whole of this curious piece of cut-work is outlined by the leather edging strongly reminds us of the leadings in stained glass; in fact, both the one and the other are wrought after the same manner, and the principal difference between the window and the woollen hanging is the employment of an opaque instead of a transparent material. If the personages are dressed sometimes in blue, at others in crimson, it will be found thatthese colours alternate with the alternating tints of the panes upon which they are sewed.So often do the passages in the romance here figured correspond with certain parts in the wild legend of our own far-famed “Sir Guy of Warwick,” that, at first sight, one might be led to think that as his renowned story was carried all through Christendom, we had before us his mighty feats and triumph over the dragon in Northumberland, set forth in this handiwork of some lady-reader of his story.

Unfortunately the heads of the personages in the upper row are all cut away, but lower down we plainly see the history meant to be represented. Upon the first pane, to the left, we have a regal throne, upon which are sitting, evidently in earnest talk, a king, crowned and sceptred, and a knight, each belted with a splendid military girdle falling low down around the hips. Behind the knight stands his ’squire. In the next pane the enthroned king is giving his orders to the standing knight, toward whom his ’squire is bringing his sword, his shield, (argenta fessazure, surmounted by a demi-oxazure,) and a bascinet mantled and crested with the head of the same demi-ox or aurochs and its tall horns. After this we behold the knight with lance and shield, and his ’squire on horseback riding forth from the castle, at the gate of which stands the king, outstretching his hand and bidding farewell to the knight, who is turning about to acknowledge the good-bye. Going first upon the road, the knight, followed by the ’squire, seems asking the way to the dragon’s lair, from a gentleman whom they meet. The monster is then found in a wood, and the knight is tilting his spear into its fire-red maw. The next pane carrying on the romance is the first to the left in the second or lower series. Here the knight is unhorsed, and his good grey steed is lying on the field; but the knight himself, wielding his sword in both hands, is about to smite the dragon breathing long flames of fire towards him. Afterwards he catches hold of his fiery tongue, and is cutting it off. It would look as if the dragon, though wounded to the loss of its tongue, had not been worsted; for in the following compartment we behold the same knight all unarmed, but well mounted, galloping forth from a castle gate with a hound and some sort of bird, both with strings to them, by his horse’s side, and having found the dragon again, appears holding an argument with the beast that, for answer, shows the fiery stump of his tongue in his gaping mouth. But the dragonwill not give himself up and be led away captive. Now, however, comes the grand fight. In a forest, with a bird perched on high upon one of the trees, the knight, dismounted from his horse, cuts off the head of the dragon, which, to the last, is careful to show his much shortened yet still fiery tongue to his victor. Now have we the last passage but one in the story. Upon his bended knee the triumphant knight is presenting the open-mouthed, tongueless, cut-off dragon’s head to the king and queen, both throned and royally arrayed, the princess, their daughter, standing by her mother’s side. The young maiden, no doubt, is the victor’s prize; but now—and it is the last chapter—the knight and lady, dressed in the weeds of daily life and walking forth upon the flowery turf, seem happy with one another as man and wife. The two panes at this part, and serving as a border, seem out of place, and neither has a connection with the other; in the first, just outside a castle wall, rides a crowned king followed by a horseman, evidently of low degree; and a column separates him from a large bed, lying upon which we observe the upper part of a female figure, the head resting upon a rich cushion; next to this, but put in anglewise to fill up the space, we have a crowned lady and a girdled knight, sitting beneath a tree, each with a little dog beside them.

The costume of both men and women in this curious piece of cut-work is that of the end of the 14th century. The parti-coloured dress of the men, their long pointed shoes, and the broad girdles, worn so low upon their hips by the king and knight, as well as the bascinet and helmet of the latter, with the horses’ trappings, all speak of that period; nor should we forget the sort of peaked head-dress, as well as the way in which the front hair of the ladies is thrown up into thick short curls. All the human figures, all the beasts, as well as the architecture, are outlined in thin leather or parchment once gilt, but now turned quite black. With the same leather, too, were studded the belts of the king and knight, and the spangles and golden enrichments of the ladies’ dress were of the same material. Saving here and there a few stitches of silk, everything else was of worsted, and that none of the finest texture. With such small means a good art-work was produced, as we see before us. The way in which each figure over the whole of this curious piece of cut-work is outlined by the leather edging strongly reminds us of the leadings in stained glass; in fact, both the one and the other are wrought after the same manner, and the principal difference between the window and the woollen hanging is the employment of an opaque instead of a transparent material. If the personages are dressed sometimes in blue, at others in crimson, it will be found thatthese colours alternate with the alternating tints of the panes upon which they are sewed.

So often do the passages in the romance here figured correspond with certain parts in the wild legend of our own far-famed “Sir Guy of Warwick,” that, at first sight, one might be led to think that as his renowned story was carried all through Christendom, we had before us his mighty feats and triumph over the dragon in Northumberland, set forth in this handiwork of some lady-reader of his story.

WorstedWork; ground, green; design, conventional flowers in yellow, with, at one end, a border of foliated boughs, the leaves of which are partly green, partly red, and an edging of a band made up of white, green, yellow, scarlet straight lines on the inner side; on three sides there is a narrow listing of bluish-green lace. German, 15th century. 4 feet 3¼ inches by 1 foot 10 inches.

In all probability this was intended and used as a carpet for some small altar-step. It is worked upon coarse canvas.

Pieceof Needlework; pattern, upon bell-shaped spaces of silver thread, flowers mostly white and shaded yellow, divided by a sort of imperial high-peaked cap of blue shaded white, arising out of a royal crown. 17th century. 12½ inches by 7½ inches.

Borderto an Altar-cloth, embroidered; ground, crimson silk; design, animals and birds amid branching foliage and fleurs-de-lis, well raised in white and gold; the upper part linen, wrought into lozenges alternately crimsonand yellow, braced together by a fret, and filled in with narrow bars saltire wise. German, 15th century. 3 feet 10¼ inches by 11½ inches.

Among the animals is the symbolic lamb and flag, with a chalice underneath its head. From the exact similarity of style in the ornamentation and needlework, there can be no doubt but the same hand which wrought the stole,No. 1322, worked this piece, and probably both formed a portion of the same set of ornaments for the chantry chapel of some small family.

Cope;ground, green raised-velvet; design, amid leaves of a heart-shape or cordate, freckled with a kind of check, large conventional artichokes. The orphreys are of web, figured, on a golden ground, with saints, inscription, and flower-bearing trees; the hood is ornamented with applied cut-work and needle embroidery, and the morse is of plain velvet. The raised velvet is Italian, 16th century; the orphrey web, German, 16th century; the embroidery of the hood, 16th century. 9 feet 2 inches by 3 feet 11¼ inches.

The raised velvet, though now so torn and stitched together, is of a very fine pile, and pleasing elaborate design. The hood is figured with the Annunciation, and the faces are applied pieces of white silk with the features and hair brought out by the needle in coloured silks; the other parts of the embroidery are coarse but effective. On the orphreys are shown, on one side, St. Peter and St. Katherine, on the other, St. Paul and St. Barbara. The ground for the name of the last saint looks very bright and fresh in its gold; but the gold is, so to say, a fraud. It is put, by the common gilding process, upon the web after being woven, and not twined about the thread itself. The fringe all round the lower part is rather unusual.

AppliedEmbroidery; ground, green silk; pattern, a flower-vase between two horns of plenty with flowers coming out of them, and separated by a conventional floral ornament, mostly done in amber-coloured cord. French, late 17th century. 2 feet 3 inches by 6½ inches.

Tame in its design, and easy in its execution.

Chasubleof Silk Damask; ground, purple; design, a quatrefoil within another charged with a cross-like floriation, having a square white-lined centre, surmounted by two eagles with wings displayed and upholding in their beaks a royal crown, all in green. Italian, early 15th century. 4 feet 6 inches by 2 feet 7 inches.

By some unfeeling hand a large piece was, not long ago, cut out from the front of this fine old ample chasuble; and, very likely, the specimen of the same stuff,No. 7057, is that very portion.

Chasuble;ground, very rich velvet; design, in the middle of a large five-petaled flower, a pomegranate, and another pomegranate in the spaces between these flowers. The orphreys are, before and behind, of rich diapered cloth of gold, the one behind of the Y form, figured in embroidery with the Crucifixion; the one before on a piece of velvet of a different diapering from the back, with the Blessed Virgin Mary and our Lord, as a child, in her arms; and below, the figure of Religion. Spanish, late 15th century. 3 feet 2 inches by 2 feet 4¾ inches.

This chasuble must have been truly grand and majestic when new, and seen in all its sumptuous fulness, for it has been sadly cut away about the shoulders. It must, originally, have measured, on that part, at least some inches beyond four feet. The Y cross orphrey on the back is figured with the crucifixion, done after a large and effective manner, for the person of our Redeemer measures more than 1 foot 9 inches in length, and His, as well as all the other faces are thrown up in low relief. At the ends of the transom of the cross are four winged angels—two at each side, of whom one is catching, in a golden chalice, the sacred blood spirting from the wounds in the hands, the other flying down in sorrow from the clouds. High above the cross are two angels with peacock-feather wings, swinging two golden thuribles, which are in low relief; and between these angelic spirits, a golden eagle in high relief, with wings displayed, armed and beakedgulesand holding in his once crimson talons a scroll which, from the letters observable, may have been inscribed with the motto, “(Respice) in fi(nem).” The front of the chasuble is made of a piece of velvet of another and much broader design—a large flower of five petals and two stipulæ—but equally remarkable for its deep mellow ruby tone and soft deep pile. Its orphrey of fine diapered gold-thread embroidery, but much worn away through being long rubbed by its wearers against the altar, is worked with the Blessed Virgin Mary carrying in her arms our Saviour, as a naked child, caressing His mother’s face; and, lower down, with a female figure crowned and nimbed, bearing in her right hand a golden chalice, at the top of which is a large eucharistic particle marked with a cross-crosslet; this is the emblem of the Church. Both figures are large and of a telling effect; and, like the other figures, have more of a naturalistic than ideal type of beauty about them.

Chasuble;ground, raised crimson velvet with concentric circles in cloth of gold, within garlands of which the leaves are green, the flowers gold. The orphreys are woven in coloured silks on cloth of gold, with inscriptions. The velvet, Florentine, late 15th century; the orphrey web, German, late 15th century. 3 feet 10¾ inches by 2 feet 10¼ inches.

1376.PART OF THE ORPHREY OF A CHASUBLE. German 15thcentury.Vincent Brooks Day & Son, Lith.

1376.

PART OF THE ORPHREY OF A CHASUBLE. German 15thcentury.

Vincent Brooks Day & Son, Lith.

1376.PART OF THE ORPHREY OF A CHASUBLE. German 15thcentury.Vincent Brooks Day & Son, Lith.

1376.

PART OF THE ORPHREY OF A CHASUBLE. German 15thcentury.

Vincent Brooks Day & Son, Lith.

The very rich stuff of this vestment far surpasses in splendour the orphreys, which ought to have been better. On the one behind, we have the Crucifixion with the words below, in blue silk, “O Crux Ave.” Further down an angel is holding a sheet figured with all the instruments of the Passion. After the word Maria, a second angel is shown with another sheet falling from his hands and figured with the Holy Lamb, having, beneath it, the words “Ecce Agnus Dei;” then a third angel, with the word, but belonging to another piece, “Johan.” On the orphrey in front a fourth angel is displaying a chalice surmounted by a cross and standing within a fenced garden, and beneath the sheet the word “Maria.” Lower down a fifth angel is showing the column and two bundles of rods, with “Jhesus.” Last of all there is an angel with a napkin marked with the crown of green thorns and two reeds placed saltire-wise, and the word “Maria.”

Saddle-bagof Persian carpeting; ground, deep crimson; pattern, stripes in various colours running up the warp. Persian. 3 feet 4 inches by 1 foot 5 inches.

The warp and weft are of a strong coarse texture, and not only at the corners but upon each pouch there are tassels.

Travelling-bag,of the same stuff, but varying in pattern. Persian. 1 foot 8 inches by 1 foot 7 inches.

Bagof woven worsted; ground, deep crimson; pattern, narrow stripes figured with diversified squares in different colours. Persian. 1 foot 3¾ inches by 1 foot 2¼ inches.

From the string of worsted lace attached to the side it would seem that this bag was meant to be slung across the person of the wearer. None of these three articles are very old.

Bagof woven silk and worsted; ground, deep crimson worsted; pattern, horizontal bands in silk figured, in places, with four-legged beasts, white, yellow, red, and green, and with vertical bands figured with a green net-work filled in with what look like birds, crimson, separated by a tree. Persian. 11¾ inches by 10 inches.

Most Persian in look is this bag, which, from the thick cord attached to it, seems to have been for carrying in the hand. It is lined with brown linen, and has two strings for drawing the mouth close up. The two birds repeated so often on the lower part, and separated by what looks like a tree, may be an ornament traditionally handed down from the times when the Persian sacred “hom” was usual in the patterns of that country. No great antiquity can be claimed by the textile before us.

TwoEscutcheons of the Arms of France, surmounted by a royal crown, and encircled with the collars of two orders—one St. Michael, the other the Holy Ghost—embroidered upon a black ground, in gold and silver, and the proper blazon colours. French, 17th century.

All well and heraldically done.

Pieceof Printed Chintz. Old English, presented by F. Fellingham, Esq.

Framefor enamels; ground, purple velvet; pattern, scrolls in raised gold embroidery. French, late 17th century. 8 inches by 7 inches.

The velvet is put on pasteboard. In the centre, left uncovered, a larger enamel must have been let in; upon the four small circular and unembroidered spaces of the velvet, lesser enamels, or precious stones, were sewed.

Framefor enamels; ground, crimson velvet; pattern, scrolls in raised gold embroidery. French, late 17th century. 8 inches by 7 inches.

Though differing in its colour, this is evidently the fellow to the one just mentioned.

Mitre;crimson and gold velvet. Florentine, 15th century. 1 foot 10½ inches by 11 inches.

This liturgical curiosity is of that low graceful shape which we find in most mitres before the 16th century; in all probability this one was made not for real episcopal use, but to be employed in the service of the so-called boy-bishop who used, for centuries, to be chosen every year from among the boys who served in the cathedral, or the great churches of towns, at Christmas-tide, as well in England as all over Christendom; (see “Church of our Fathers,” t. iv. p. 215). As the rubrical colour for episcopal mitres is white, or of cloth of gold, a crimson mitre is of great rarity. The one before us is made of those rich stuffs for which Florence was so famous, as may be instanced in the gorgeous vestments given to Westminster Abbey by our Henry VII. The mitre itself is of crimson velvet, freckled with gold threads, raised in a rich pile upon a golden ground, with green fringed lappets; but the “titulus,” or upright stripe before and behind, along with the “corona,” or circular band, are all of a kind of lace or woven texture of raised velvet, green, white, and crimson, after a pretty design, upon a golden ground. The mitre is lined throughout with light-blue silk.

Bed-quilt;ground, cherry-coloured satin; pattern, birds amid flowers and foliage, in the centre a double-headed eagle, displayed. East Indian (?), early 17th century. 8 feet 6 inches by 6 feet 10 inches.

The satin is poor, and its colour faded; but the embroidery, with which it is plentifully overspread, is of a rich, though not tasty, kind. Birds of extraordinary, and, no doubt, fanciful plumage are everywhere flitting about it, among flowers as unusual as themselves; but the glowing tones of the many-coloured silks in which they are wrought must strike every one’s eye. From the double-headed eagle, done in gold, with wings blue, yellow, and green, displayed, it would appear that this quilt was wrought for some (perhaps imperial) house in Europe.

State-cap,of crimson velvet turned up with white satin, which is faced with crimson velvet, and all embroidered in gold and silver threads. German (?), late 17th century. 14½ inches by 10 inches.

By a very modern hand the words “King Charles” are written upon the green silk lining; what Charles, however, is not mentioned. There is much about the shape of the cap itself, and especially in the design of its embroidery, to induce the belief that it was wrought and fashioned by a German hand, and for German and not English use. In a piece of tapestry once belonging to the famous Bayard, and now in the Imperial Library at Paris, the same form of high-crowned crimson velvet cap is worn by Pyrrhus while he is being knighted, as may be seen, plate 42, in Shaw’s “Dresses and Decorations of the Middle Ages,” t. ii, borrowed from Jubinal’s fine work on “Early Tapestries.”

Altar-frontal; ground, crimson satin; subjects, five apostles, each under a Gothic canopy, with bunches of flowers between them wrought in coloured silks and gold thread. Italian, late 15th century. 7 feet 3 inches by 2 feet.

Beginning at the left-hand we have St. Paul holding a sword, then St. James the Greater with the pilgrim-staff; in the middle, St. Thomas holding in one hand a spear, and giving his blessing with the right, St. Andrew with a cross of large size leaning against his shoulder; and, last of all, St. John with an eagle at his feet. The figures are better done than the niches about them, which are very heavy and bad in taste, as are the bunches of flowers. The whole is applied, and upon a more modern piece of crimson satin. The back is lined with leaves of a printed book relating to the Abbey of Vallombrosa, near Florence.Hanging behind this frontal, and put together as a background to it, are Numbers:—

Hanging behind this frontal, and put together as a background to it, are Numbers:—

FringedPanels of Domestic Furniture; ground, deep maroon velvet; pattern, a small arabesque within a square of the same design, in cloth of gold edged with gold cord. Italian, 16th century. Nos. 4513 and 4515, each 4 feet 6 inches by 1 foot 4 inches; Nos. 4514 and 4516, each 3 feet 7 inches by 1 foot 4 inches.

Bedsteads in Italy are so large that these pieces look far too small to have ever been applied to such a purpose as bed-furniture. They were, probably, the hangings for the head of a canopy in the throne-room of a palace during the year of mourning for the death of its prince.

Chasuble;the ground, tawny-coloured velvet; pattern, angels and flowers in coloured flos-silks and gold thread, the orphreys before and behind figured with saints. English, 15th century. 7 feet by 3 feet.

Though the needlework upon this chasuble is effective at a distance, like much of the embroidery of the time, both in this country and abroad, it is found to be very rude and coarse when seen near. The style of the whole ornamentation is so very English that there is no mistaking it. The back orphrey is in the shape of a cross; and on it, and figured at top, Melchisedek with three loaves in his hand; beneath him, the prophet Malachi, on the left of whom we have Abraham with a large broad sacrificial knife in his hand, on the right, King David and his harp; these three form the transom of the cross. Going downward, we see St. John the Evangelist with the chalice; below this apostle, David again; and, last of all, half the person of some saint. On the front orphrey are given St. James the Greater, and two prophets of the Old Law. This chasuble, with its stole and maniple, is said to have been found at Bath, hidden behind the wainscot of a house there. Certain it is that the chasuble has been much cut down. The original size was far larger.

Stoleand Maniple; ground, tawny-coloured velvet, embroidered with flowers in gold and coloured silks. English, 15th century. Stole, 8 feet 6 inches by 2¾ inches; maniple, 3 feet 3 inches by 2¾ inches.

The embroidery is quite of the style of the period, and in character with that usually found upon the commoner class of English vestments, done in flos-silk and gold thread, after a large design. The velvet is Italian, and this tone of colour seems to have been then in favour.

Pieceof Woven Orphrey; ground, crimson silk; subject, the Assumption of the Blessed Virgin Mary, in yellow silk. Florentine, 15th century. 2 feet 9 inches by 8¾ inches.

This favourite subject of all art-schools in the mediæval period is treated here much after other examples in this collection, asNo. 8977, &c., but with some variations, and better design and drawing. The Eternal Father, with glory round Him, and two cherubim, is putting a crown upon the head of St. Mary, who is seated upon sunbeams surrounded by angels, while she drops her girdle to St. Thomas as he kneels at her late grave, now filled with new-blown lilies, and bearing on its front the words “Assunta est.” “Assunta” for “Assumpta” is the weaver’s own blunder. Dr. Bock gives a plate of it in his “Geschichte der Liturgischen Gewänder des Mittelalters,” 1 Band, 2 Lieferung, pl. xvi.

Pieceof Raised Velvet; ground, pale yellow silk; pattern, in raised velvet, a large oblong square, having within a border of corn-flowers a large star-like inflorescence, and each square separated by a border or band charged with liliaceous flowers, in crimson raised velvet, in part upon a silver ground, now blackened, surrounded by an ornament in amber-streaked green in raised velvet. Italian, late 16th century. 4 feet by 1 foot 1 inch.

Another of the several specimens of the rich raised velvet for furnishing purposes.

Pursein Green Velvet, embroidered with gold and silver threads, and at bottom emblazoned with a ducal crown and two shields of arms. French, 18th century. 4½ inches in diameter, 3 inches high.

Though so small, this little purse is tastefully and richly wrought, and has nicely worked double strings, with gold-covered knobs at their ends for drawing its mouth close, and two other like knobs for opening it. At bottom it is very richly ornamented with a golden mantle, upon which are two shields, the one on the man’s side isazuretwo lions passant gardant, royally crownedor; that on the woman’s side,azurea chevronor, between two four-petaled and barbed flowers, in chief, and a double transomed cross in baseargent; over both shields is a ducal coronet. No doubt this purse, which is lined with white kid-leather, was one of those still used by ladies in France, and held in their hands as they stand at the doors or go about the church at service-time to collect the alms of the congregation, for the poor or other pious purposes; this one may have belonged to an heiress married to a duke.

Stripof Raised Velvet; ground, silver and white silk; pattern, a large crimson and green flower seeded gold, alternating with a floriation having flowers of crimson, tawny, and purple on green stems. North Italy, 16th century.

4068.VELVETSilver ground, raised floriated pattern, in various colours. Genoese, 16thcentury.

4068.

VELVET

Silver ground, raised floriated pattern, in various colours. Genoese, 16thcentury.

This fine specimen of raised velvet is of a deep pile and rich mellow colouring. The silver threads of the ground have become quite dimmed, while the gold in the flower is fresh and glowing. Seemingly, this piece last served as the hanging of a bed.

Pieceof Raised Velvet on a gold ground; pattern, large conventional flowers and ears of corn issuing out of a ducal coronet. Genoese, early 17th century. 8 feet by 4 feet.

The gold of the ground is now so tarnished, and was, at first, so sparingly used that now it is almost invisible; but the pile of the velvet is deep and the pattern bold. Doubtless this stuff was for household decoration.

Pieceof Silk Brocade; purple; pattern, in gold and silver, a large vase out of which spring two ramifications and two eagles, one on each side, alternating with a floriation bearing at top a pomegranate seeded; in the narrow border at top and bottom the fleur-de-lis is the chief ornament, while the tasseled fringe, designed at bottom, shows that this texture must have been intended as a hanging for a frieze. Lyons, late 16th century. 12 feet by 1 foot 10 inches.

The occurrence of birds or animals of any sort in stuffs of the period is unusual; and, in all likelihood, the last use of this piece was as a hanging in some large hall.

Piecesof White Brocaded Silk. Lyons, 18th century, 1 foot 4 inches by 11 inches.

The manufacture of this stuff is rather remarkable, not so much for that satin look, produced by flos-silk, in some parts of its design of flower-bearing branches, as by the way in which portions of it are thrown up in little seed-pearls.

Pieceof Needlework figured with a female saint at her prayers before a picture of our Saviour, and a crowd of men standing behind her near a belfry, in which are swinging two bells. Italian, early 15th century. 1 foot 4½ inches by 11½ inches.

By the costume this work would seem to have been done in Tuscany, and it shows the bed-room of some saintly noble dame, wimpled and clad in a crimson mantle embroidered with gold. At the foot of her bed there is, wrought and diapered in gold, a praying desk on which lies open a book in silver having a large M in red marked on its first page; above is a picture of our Redeemer, known by His crossed glory, in theact of giving His blessing, before whom the saint is praying. At her knees are two green snakes, and above her two angels are carrying her soul, under her human form, up to heaven. Behind her, and close to a belfry, where the bells are swinging and the ropes of which are hanging down, is a group of men, one a tonsured cleric, seemingly, from his dalmatic, a deacon, with both hands upraised in surprise; near him other clerics tonsured, two of whom are reading with amazement out of a book held by a noble layman. This work contains allusions to several events in the life of St. Frances, widow, known in Italy, as Santa Francesca Romana; but a very remarkable one is here especially sketched forth. She is said to have often beheld the presence of her guardian angel, clothed as a deacon, watching over her. Such was the obedience and condescension yielded by her to her husband that, though wrapped in prayer, or busied in any spiritual exercise, if called by him or anywise needed by the lowliest servant in her family, she hastened to obey at the moment. It is told of her, that one day, being asked for as many as four times in succession, just as she was, each time, beginning the same verse again, of a psalm in the Office of the Blessed Virgin, on coming back for the fifth time she found that verse written all in gold. Here then we have the loving husband showing this prayer-book, with its golden letters, to a crowd of friends, among whom is his wife’s angel hidden under a deacon’s dalmatic; while the saint herself is at her devotions, foreseeing in vision the evils that are to befall Italy, through civil strife, shown by those serpents and the swinging bells betokening alarm and fright.

Table-cover;ground, coarse canvas; design, armorial bearings, symbolical subjects, fruits, and animals, besides five long inscriptions in German, datedA.D.1585. German. 6 feet by 6 feet 6 inches.

The whole of this large undertaking was worked by some well-born German mother as an heirloom to her offspring. At the right hand corner, done upon a separate piece of finer canvas and afterwards applied to the ground, is a shield of arms,sable, three lions rampantorarmed and languedgulestwo and one between a fessargent; at another corner, but worked upon the canvas ground itself, a shield,gulesthree bars dancettéargent; upon a third shield,argent, a fessdancettésable; on the last corner shield, quarterlyorandgules, a fessargent; upon a smaller shield in the middle of the border,sablea pair of wings expandedargent; on the border opposite, party per fesssableandor, two crescentsargent; in the centre of the next border,gulestwo bars (perhaps)sablecharged, the upper one with three, the lower with one, bezants or plates; and last of all, upon the other border,or, a lion rampant,guleswith chief vair,sable, andor. Repeated at various places are a vase surmounted by a cross with two birds, half-serpent, half-dove, sipping out of the vessel; and below this group another, consisting of two stags well “attired,” each with one hoof upon the brim of a fountain out of which they are about to drink. This latter symbol is evidently a reference to the Psalmist’s hart that panteth after the fountains of water, while the former one is a representation of the union of the serpent’s wisdom with the simplicity of the dove. In many ancient monuments the upper half of the bird is that of a dove, the lower ends in a snake-like shape with an eye shown at the extremity of the tail. There are five long rhythmical inscriptions on this cloth, in German, one at every corner, and the longest of all in the middle; considering the period at which they were written, these doggerel verses are very poor, and run nearly as follows:—“ALS . mAn . ZALT . FunFZEHN . HunDERT . JAHR .DARZu . nOCH . ACHTZiG . unD . FunF . ZWAR .HAT . DER . EDEL . unD . VEST . HEinRiCH .vOn . GEiSPiTZHEim . DiE . TuGEnTREiCH .AnnA . BLiCKin . Zum . GmAL . ERKORn .WELCHE . vOn . LiGTEnBERG . GEBORn .BEiD . ALTES . ADELiCHS . GESCHLECHT .ZuSAmmEn . SiCH . VERmEHLT . RECHT .DAmiT . nuHn . in . iHREm . EHESTAnDT .VLEiSiG . HAuSHALTunG . WuRDT . ERKAnDT .HAT . SiE . iHREm . TunCKERn . Zu . EHRn .DEn . HAuSRAHT . WOLLEn . ZiRn . unD . mEHRn .DARumB . miT . iHRER . EiGnEN . HAnDT .DiES . unD . nOCH . ViEL . ZiERLiCHS . GEWANDT .Zu . iHRER . GEDACHTniS . GEmACHT .miT . BEiDER . nECHSTEn . AnGHEn . ACHT .miT . GOTT . iHRH . TunCKERn . D . KinDER . ZART .AuCH . SiE . ERHALTE . BEi . WOHLFAHRTH .DARnEBEn . VERLEiHEn . GEDuLT .DAS . WiR . BEZAHLn . DER . nATuR . SCHuLT .nACH . VOLLPRACHTEm . LANGEn . LEBEn .unS . ALLEn . DiE . EWiG . FREuD . GEBEn .AmEn .OBGmELTER . HEinRiCH . DiCHTET . miCH .“When one wrote the year Fifteen hundred and Eighty five, the noble and true Henry von Geispitzheim had chosen for his spouse the virtuous Anna Blickin von Lichtenberg. Both of them were of ancient noble descent. And she, to honour the esquire, her husband, wished to adorn and increase the house furniture, and there has worked with her own hand this and still many other pretty cloths, to her memory. Praying that God may preserve the esquire, and the tender children, and herself also, and that they may pay the debt of nature at the end of a long life, and eternal joy may be granted them.Amen.The aforesaid Henry has composed me (i.e. the doggerel verses).”“nun . FOLGET . AuCH . BEi . DiE . ZEiT . unD . JAHR .DARin . iCH . ZuR . WELT . GEPOHREN . WAR .DES . WEn . mEin . DREi . DOCHTERLEin .AuCH . SOnn . ZuR . WELT . GEPOHREN . SEin .ALS . mAn . ZALTT . FuNFF . ZEHEn . HunDERT . Lii .ERFREuWET . mEin . muTTER . mEin . GESCHREi .An . DEm . JAR . ACHTZiG . FunFF . HER . nACH .iCH . mEinEm . JunCKERn . Ein . DOCHTER . PRACHT .EmiLiA . CATHARiEnA . iST . iHR . nAHm .vOn . JUGEnT . GERECHT . unD . LOBESAm .ZWEi . JHAR . DAR . nACH . im . JAnnER . HART .miCH . GOT . WiEDERum . ERFREuET . HAT .miT . EinER . DOCHTER . ZART . unD . FEin .SiE . DRinCKT . WASER . unD . KEinEn . WEin .mAGDALEnA . ELiSABETH . GEnnAnT .JHREm . VATER . WERTH . GAR . WOHL . BEKAnnT .nACH . GEHEnTS . JAHR . ACHTZIG . ACHT .mEinEn . SON . REiCHART . An . DAS . LiCHT . GEPRACHTDAS . WAR . DEm . VATER . GROSSE . FREuWDT .GOT . SEi . GELOBT . in . EWiGKEiT .DAS . VOLGT . JAHR . ACHTZiG . unD . nEun .BRACHT . iCH . ZUR . WELT . DiE . ZWiLinG . mEin .HAnS . CASPARn . ERST . DRAuFF . EmiCHEn . BALDT .DAS . SICH . ERFREUDT . DER . VATER . ALT .DAS . GESCHACH . DEn . iZ . HORnunGS . DAG .GOTS . ALLmACHT . nOCH . ViEL . mEHR . VERmAG .zu . LETZ . im . JAHR . nEunTZIG . unD . DREi .AnnA . mARGARETHA . KAm . AuCH . HERBEi .DEn . ZWOLFFTEn . FEBRuARiuS .DAMiT . iCH . DiSSE . SACH . BESCHLUSZ .O . iHR . HERTZ . LiEBE . KinDTER . mEIn .iCH . LASZ . EuCH . miR . BEFOHLEn . sEin .BEHTET . ALLEns . mORGENS . OHn . unDER . LASZ .in . FROLiGKEiT . HALT . GnAE . mASZ .ACH . iHR . HERTZ . LiEBE . KinDTER . mEin .mACHT . EUCH . miT . GOTTES . WORT . GEmEin .SO . WiRT . EUCH . GOT . DER . HER . ERHALTEn .DAS . iHR . EWEREm . VATER . nOCH . miT . EHRn .[some letters wanting]DiSEN . SPRUCH . mERCKT . EBEn .SO . WiRT . EUCH . GOT . GLiCK . unD . SGEn . GEBn .“Now follows here my own birthday. When one wrote 1552 my mother’s heart was gladdened by my first cry. In the year 1585 I gave birth myself to a daughter. Her name is Emilia Catharina, and she has been a proper and praiseworthy child. Two years later, in a cold January, has God again gratified me with a daughter tender and fine, she drinks water and no wine, her name is Magdalena Elizabeth. In 1588 my son Richard came into this world, whose birth gave great pleasure to his father. In the following year, in February, I gave birth to my twins, Hans Caspar and Emich (Erich?). At last, in 1593, on the 12th of February, my daughter Anna Margaretha was born.—O you truly beloved children, I commend myself to your memory. Do not forget your prayers in the morning. And be temperate in your pleasures. And make yourselves acquainted with the Word of God. Then God will preserve you, and will grant you happiness and bliss.”“DiSZ . HAB . iCH . EuCH . LiEBE . KinDER . mEin .in . REimEn . BRinGEn . LASZEn . FEiN .AuFF . DAS . iR . WuST . EuWERS . ALTERS . ZEiT .DuRCH . DiESE . MEiNER . HAnDT . ARBEiT .WELCHS . iCH . EuCH . ZuR . GEDECHTniS . LAS .unD . BiTT . EUCH . FREunDLiCH . ALLER . mASS .SEiDT . uFFRiCHTiG . in . ALLEn . SACHEn .DAS . WiRT . EUCH . GOSZ . unD . HERLiCH . MACHn .THuT . iEDEm . EHR . nACH . SEinEm . STAnDT .DAS . WiRT . EuCH . RumLiCH . mACHEn . BEKAnDT .unD . iHR . HERTZ . LiEBE . SOnE . mEin .WOLT . EuCH . HuTEn . VOR . VERiGEm(Feurigem).WEin .DRinCKT . DEn . WEin . miT . BESCHEiDEnHEiT .DA . SiCHS . GEBuRTT . DAS . PEHuT . VOR . LEiDT .unD . iHR . HERTZ . LiEBE . DOCHTER . mEin .LAST . EuCH . ALLE . TuGEnT . BETOLEn . SEin .BEWART . EuHER . EHR . HAPT . EuHR . GuT . ACHT .BEDEnCKT . Zu . VOR . JDE . SACH .DAn . VOR . GETHAn . unD . nACH . BEDRACHT .HAT . mAnCHEn . WEiT . ZuRuCK . GEBRACHT .DAS . miTELL . DiS . ALLES . Zu . GEPEn .iST . DiE . FORCHT . GOTTES . mERCKT . miCH . EBEN .GOTTS . FORCHT . BRinGT . WEiSHEiT . unD . VERSTANT .DAR . DORCH . GESEGnET . WiRDT . DAS . LANDT .GOTS . FORCHT . mACHT . REICH . BRinGT . FRED . u . muHT .ERFRiSCHT . DAS . LEBEn . unD . DAS . BLuT .GOTES . FORCHT . BEHuTT . VOR . ALLEm . LEiDT .unD . iST . Ein . WEG . ZuR . SELiGKEiT .GOTTES . FORCHT . iST . DAS . RECHT . FunDAmEnT .DARuFF . DES . mEnSCHEn . GLiCK . BEWEnDT .unD . iST . Ein . HAuPTmiTTEL . ALLER . DuGEnT .WER . SiCH . DER . AnimPT . in . DER . JuGEnT .DEm . GEHT . SEin . ALTER . An . miT . EHREn .unD . SEin . GLiCK . WiRD . SiCH . TAGLiCH . mEHREn .DAR . DuRCH . DER . mEnSCH . Zum . SELiG . EnDT .LETZLiCH . GELAnGT . ACH . HER . unS . SEnDT .DEin . HEiLiGER . GEiST . DER . unS . THuT . EinFREn .Zu . SOLCHER . FORCHT . DiE . WOL . EuCH . RiHREn .EWER . HERTZ . unD . Sin . iHR . SOLiCH . FORCHT .ERGREiFFEn . KOnT . unD . GOT . GEHRCHT .AmEn . DAS . WERDT . WARH . G . GOTT . DiE . ERH .“This, O my dear children, has at my wish been put into rhymes, in order that you may know your age by this work of my own hand, which I leave to you as a memorial. I beseech you to be sincere in all matters; that will make you great and glorious. Honour everybody according to his station; it will make you honourably known. You, my truly beloved sons, beware of fiery wine, and drink with moderation; that will preserve you from evil. And you, my truly beloved daughters,let me recommend you to be virtuous. Preserve and guard your honour; and reflect before you do anything; for many have been led into evil by acting first and reflecting afterwards. The way to get to this end is the fear of God, mark me well! The fear of God brings wisdom and understanding. The fear of God makes rich, and gives joy and courage, refreshes life and blood. The fear of God protects us from all evil; and is the way to the state of bliss. The fear of God is the foundation on which the happiness of man rests; and is the chief way to all virtues. He who seeks it in his youth will live with honour till his old age; and his happiness will daily increase.“Amen. Give to God all honour.”“ALS . mAn . ZALT . FuFZEHn . HunDERT . JAHR .unD . nEunTZiG . nEun . DARZu . JST . WAR .DEn . ERSTEn . APRiL . nACH . miTnACHT .GLEiCH . umB . Ein . uHR . OFFT . iCHS . BETRACHT .DER . ALLERLiEBSTE . JunCKER . mEin .GEnAnDT . HEiNRiCH . VOn . GEiSPiTZHEim .ZU . DiR . O . GOTT . AUS . DiESER . WELT .ERFORDERT . WiRT . ALS . DiRS . GEFELLT .SEiN . ALTER . WAR . SECHZiG . unD . ACHT .DiE . WASSER . SUCHT . iHn . umGEPRACHT .DEn . WOLLEST . O . GOTT . GnED . GEBEn .SEin . PFLEGEn . nACH . DEm . WiLLEN . DEin .JCH . SEin . BETRuEBTE . nACHGELASSEn . Ann .BLiCKin . VOn . LiECHTEnPERG . GEnAnDT .HAB . miT . niCHT . unDER . LASSEn . WOLLEn .SOnDERn . Ein . SOLiCHES . HiE . mELDEn . SOLLEn .in . DiESEm . TuCH . miT . mEinER . HAnDT .DAmiT . ES . WERD . mEinEn . KinDERn . BEKAnDT .DiESES . mEin . GROSSES . LEiD .WELCHES . miR . VOn . GOTT . WARD . BEREiT .“When one wrote the year Fifteen hundred and ninety-nine, on the first of April after midnight, just at one o’clock—often I think of it—my truly beloved husband, the Squire Henry von Geispitzheim, was called to Thee, O God! from this world, according to Thy will. His age was sixty and eight years. The dropsy has killed him. To him grant, O God! Thy mercy, after Thy will. I, his afflicted Anna Blickin von Liechtenperg who was left behind, have related it with myhand in this cloth, that it might be known to my children—this my great sorrow, which God has sent me.”“DEn . FunFFTEn . AuGuST . BALDT . HERNACH .WiEDERum . SiCH . FUGT . EiN . LEiDiG . SACH .mEin . JUnGSTER . SOn . EimCH . Ein . ZWiLLinG .VOn . DiESER . WELT . ABSCHiEDT . GAB . GEHLinGS .DARDuRCH . WARDT . miR . mEin . LEiD . GEmERT .unD . ALLE . HOFFNUNG . umBGEKERTH .ACH . GOTT . LAS . DiCHS . miEnER . ERBARmEn .unD . KOm . ZU . TROST . unD . HiLFF . miR . ARmEn .HiLF . TREuWER . GOT . unD . STEH . BEi . miCH .TROST . miCH . miT . DEinEm . GEiST . GnEDiGGLiCH .unD . BEHuT . miR . mEin . LiEBE . KinDT .SO . BiSZ . nOCH . GESunD . uEBRiG . SinT .unD . SCHAFF . O . GOT . DAS . WiR . ZuGLiCH .DiCH . SCHAu . DEn . im . HimmEL . EWiGLiCH .DARZu . HiLFF . unS . GnEDiGKLiCH .ACH . HER . VER . GiEB . ALL . unSER . SCHuLT .HiLFF . DAS . WARTEn . miT . GEDuLT .BiES . unSER . STunTLin . nACHT . HERBEi .AuCH . unSER . GLAuBE . STETZ . WACKER . SEi .DEin . WORT . Zu . DRAuWEn . TESTiGKLiCH .BiS . WiR . EnDT . SCHLAFFEn . SELiGKLiCH .“On the fifth of August soon afterwards another sorrowful event happened. My youngest son Eimah (Erich?), one of my twins, suddenly departed from this world; and therefore my sorrow was increased, and all hope overthrown. O God! have mercy upon me, and come to comfort and help me, poor one. Help, true God! and assist me, comfort me with Thy Spirit, and protect me and my dear children who are still left in good health. And grant, O God! that we then may behold Thee in Heaven eternally. O Lord! forgive us our trespasses, help that we may wait with patience until our last hour may come; and also that our faith may be true, to believe in Thy Word steadfastly until we sink into the slumber of death.”

“ALS . mAn . ZALT . FunFZEHN . HunDERT . JAHR .DARZu . nOCH . ACHTZiG . unD . FunF . ZWAR .HAT . DER . EDEL . unD . VEST . HEinRiCH .vOn . GEiSPiTZHEim . DiE . TuGEnTREiCH .AnnA . BLiCKin . Zum . GmAL . ERKORn .WELCHE . vOn . LiGTEnBERG . GEBORn .BEiD . ALTES . ADELiCHS . GESCHLECHT .ZuSAmmEn . SiCH . VERmEHLT . RECHT .DAmiT . nuHn . in . iHREm . EHESTAnDT .VLEiSiG . HAuSHALTunG . WuRDT . ERKAnDT .HAT . SiE . iHREm . TunCKERn . Zu . EHRn .DEn . HAuSRAHT . WOLLEn . ZiRn . unD . mEHRn .DARumB . miT . iHRER . EiGnEN . HAnDT .DiES . unD . nOCH . ViEL . ZiERLiCHS . GEWANDT .Zu . iHRER . GEDACHTniS . GEmACHT .miT . BEiDER . nECHSTEn . AnGHEn . ACHT .miT . GOTT . iHRH . TunCKERn . D . KinDER . ZART .AuCH . SiE . ERHALTE . BEi . WOHLFAHRTH .DARnEBEn . VERLEiHEn . GEDuLT .DAS . WiR . BEZAHLn . DER . nATuR . SCHuLT .nACH . VOLLPRACHTEm . LANGEn . LEBEn .unS . ALLEn . DiE . EWiG . FREuD . GEBEn .AmEn .OBGmELTER . HEinRiCH . DiCHTET . miCH .

“ALS . mAn . ZALT . FunFZEHN . HunDERT . JAHR .

DARZu . nOCH . ACHTZiG . unD . FunF . ZWAR .

HAT . DER . EDEL . unD . VEST . HEinRiCH .

vOn . GEiSPiTZHEim . DiE . TuGEnTREiCH .

AnnA . BLiCKin . Zum . GmAL . ERKORn .

WELCHE . vOn . LiGTEnBERG . GEBORn .

BEiD . ALTES . ADELiCHS . GESCHLECHT .

ZuSAmmEn . SiCH . VERmEHLT . RECHT .

DAmiT . nuHn . in . iHREm . EHESTAnDT .

VLEiSiG . HAuSHALTunG . WuRDT . ERKAnDT .

HAT . SiE . iHREm . TunCKERn . Zu . EHRn .

DEn . HAuSRAHT . WOLLEn . ZiRn . unD . mEHRn .

DARumB . miT . iHRER . EiGnEN . HAnDT .

DiES . unD . nOCH . ViEL . ZiERLiCHS . GEWANDT .

Zu . iHRER . GEDACHTniS . GEmACHT .

miT . BEiDER . nECHSTEn . AnGHEn . ACHT .

miT . GOTT . iHRH . TunCKERn . D . KinDER . ZART .

AuCH . SiE . ERHALTE . BEi . WOHLFAHRTH .

DARnEBEn . VERLEiHEn . GEDuLT .

DAS . WiR . BEZAHLn . DER . nATuR . SCHuLT .

nACH . VOLLPRACHTEm . LANGEn . LEBEn .

unS . ALLEn . DiE . EWiG . FREuD . GEBEn .

AmEn .

OBGmELTER . HEinRiCH . DiCHTET . miCH .

“When one wrote the year Fifteen hundred and Eighty five, the noble and true Henry von Geispitzheim had chosen for his spouse the virtuous Anna Blickin von Lichtenberg. Both of them were of ancient noble descent. And she, to honour the esquire, her husband, wished to adorn and increase the house furniture, and there has worked with her own hand this and still many other pretty cloths, to her memory. Praying that God may preserve the esquire, and the tender children, and herself also, and that they may pay the debt of nature at the end of a long life, and eternal joy may be granted them.

Amen.

The aforesaid Henry has composed me (i.e. the doggerel verses).”

“nun . FOLGET . AuCH . BEi . DiE . ZEiT . unD . JAHR .DARin . iCH . ZuR . WELT . GEPOHREN . WAR .DES . WEn . mEin . DREi . DOCHTERLEin .AuCH . SOnn . ZuR . WELT . GEPOHREN . SEin .ALS . mAn . ZALTT . FuNFF . ZEHEn . HunDERT . Lii .ERFREuWET . mEin . muTTER . mEin . GESCHREi .An . DEm . JAR . ACHTZiG . FunFF . HER . nACH .iCH . mEinEm . JunCKERn . Ein . DOCHTER . PRACHT .EmiLiA . CATHARiEnA . iST . iHR . nAHm .vOn . JUGEnT . GERECHT . unD . LOBESAm .ZWEi . JHAR . DAR . nACH . im . JAnnER . HART .miCH . GOT . WiEDERum . ERFREuET . HAT .miT . EinER . DOCHTER . ZART . unD . FEin .SiE . DRinCKT . WASER . unD . KEinEn . WEin .mAGDALEnA . ELiSABETH . GEnnAnT .JHREm . VATER . WERTH . GAR . WOHL . BEKAnnT .nACH . GEHEnTS . JAHR . ACHTZIG . ACHT .mEinEn . SON . REiCHART . An . DAS . LiCHT . GEPRACHTDAS . WAR . DEm . VATER . GROSSE . FREuWDT .GOT . SEi . GELOBT . in . EWiGKEiT .DAS . VOLGT . JAHR . ACHTZiG . unD . nEun .BRACHT . iCH . ZUR . WELT . DiE . ZWiLinG . mEin .HAnS . CASPARn . ERST . DRAuFF . EmiCHEn . BALDT .DAS . SICH . ERFREUDT . DER . VATER . ALT .DAS . GESCHACH . DEn . iZ . HORnunGS . DAG .GOTS . ALLmACHT . nOCH . ViEL . mEHR . VERmAG .zu . LETZ . im . JAHR . nEunTZIG . unD . DREi .AnnA . mARGARETHA . KAm . AuCH . HERBEi .DEn . ZWOLFFTEn . FEBRuARiuS .DAMiT . iCH . DiSSE . SACH . BESCHLUSZ .O . iHR . HERTZ . LiEBE . KinDTER . mEIn .iCH . LASZ . EuCH . miR . BEFOHLEn . sEin .BEHTET . ALLEns . mORGENS . OHn . unDER . LASZ .in . FROLiGKEiT . HALT . GnAE . mASZ .ACH . iHR . HERTZ . LiEBE . KinDTER . mEin .mACHT . EUCH . miT . GOTTES . WORT . GEmEin .SO . WiRT . EUCH . GOT . DER . HER . ERHALTEn .DAS . iHR . EWEREm . VATER . nOCH . miT . EHRn .[some letters wanting]DiSEN . SPRUCH . mERCKT . EBEn .SO . WiRT . EUCH . GOT . GLiCK . unD . SGEn . GEBn .

“nun . FOLGET . AuCH . BEi . DiE . ZEiT . unD . JAHR .

DARin . iCH . ZuR . WELT . GEPOHREN . WAR .

DES . WEn . mEin . DREi . DOCHTERLEin .

AuCH . SOnn . ZuR . WELT . GEPOHREN . SEin .

ALS . mAn . ZALTT . FuNFF . ZEHEn . HunDERT . Lii .

ERFREuWET . mEin . muTTER . mEin . GESCHREi .

An . DEm . JAR . ACHTZiG . FunFF . HER . nACH .

iCH . mEinEm . JunCKERn . Ein . DOCHTER . PRACHT .

EmiLiA . CATHARiEnA . iST . iHR . nAHm .

vOn . JUGEnT . GERECHT . unD . LOBESAm .

ZWEi . JHAR . DAR . nACH . im . JAnnER . HART .

miCH . GOT . WiEDERum . ERFREuET . HAT .

miT . EinER . DOCHTER . ZART . unD . FEin .

SiE . DRinCKT . WASER . unD . KEinEn . WEin .

mAGDALEnA . ELiSABETH . GEnnAnT .

JHREm . VATER . WERTH . GAR . WOHL . BEKAnnT .

nACH . GEHEnTS . JAHR . ACHTZIG . ACHT .

mEinEn . SON . REiCHART . An . DAS . LiCHT . GEPRACHT

DAS . WAR . DEm . VATER . GROSSE . FREuWDT .

GOT . SEi . GELOBT . in . EWiGKEiT .

DAS . VOLGT . JAHR . ACHTZiG . unD . nEun .

BRACHT . iCH . ZUR . WELT . DiE . ZWiLinG . mEin .

HAnS . CASPARn . ERST . DRAuFF . EmiCHEn . BALDT .

DAS . SICH . ERFREUDT . DER . VATER . ALT .

DAS . GESCHACH . DEn . iZ . HORnunGS . DAG .

GOTS . ALLmACHT . nOCH . ViEL . mEHR . VERmAG .

zu . LETZ . im . JAHR . nEunTZIG . unD . DREi .

AnnA . mARGARETHA . KAm . AuCH . HERBEi .

DEn . ZWOLFFTEn . FEBRuARiuS .

DAMiT . iCH . DiSSE . SACH . BESCHLUSZ .

O . iHR . HERTZ . LiEBE . KinDTER . mEIn .

iCH . LASZ . EuCH . miR . BEFOHLEn . sEin .

BEHTET . ALLEns . mORGENS . OHn . unDER . LASZ .

in . FROLiGKEiT . HALT . GnAE . mASZ .

ACH . iHR . HERTZ . LiEBE . KinDTER . mEin .

mACHT . EUCH . miT . GOTTES . WORT . GEmEin .

SO . WiRT . EUCH . GOT . DER . HER . ERHALTEn .

DAS . iHR . EWEREm . VATER . nOCH . miT . EHRn .[some letters wanting]

DiSEN . SPRUCH . mERCKT . EBEn .

SO . WiRT . EUCH . GOT . GLiCK . unD . SGEn . GEBn .

“Now follows here my own birthday. When one wrote 1552 my mother’s heart was gladdened by my first cry. In the year 1585 I gave birth myself to a daughter. Her name is Emilia Catharina, and she has been a proper and praiseworthy child. Two years later, in a cold January, has God again gratified me with a daughter tender and fine, she drinks water and no wine, her name is Magdalena Elizabeth. In 1588 my son Richard came into this world, whose birth gave great pleasure to his father. In the following year, in February, I gave birth to my twins, Hans Caspar and Emich (Erich?). At last, in 1593, on the 12th of February, my daughter Anna Margaretha was born.—O you truly beloved children, I commend myself to your memory. Do not forget your prayers in the morning. And be temperate in your pleasures. And make yourselves acquainted with the Word of God. Then God will preserve you, and will grant you happiness and bliss.”

“DiSZ . HAB . iCH . EuCH . LiEBE . KinDER . mEin .in . REimEn . BRinGEn . LASZEn . FEiN .AuFF . DAS . iR . WuST . EuWERS . ALTERS . ZEiT .DuRCH . DiESE . MEiNER . HAnDT . ARBEiT .WELCHS . iCH . EuCH . ZuR . GEDECHTniS . LAS .unD . BiTT . EUCH . FREunDLiCH . ALLER . mASS .SEiDT . uFFRiCHTiG . in . ALLEn . SACHEn .DAS . WiRT . EUCH . GOSZ . unD . HERLiCH . MACHn .THuT . iEDEm . EHR . nACH . SEinEm . STAnDT .DAS . WiRT . EuCH . RumLiCH . mACHEn . BEKAnDT .unD . iHR . HERTZ . LiEBE . SOnE . mEin .WOLT . EuCH . HuTEn . VOR . VERiGEm(Feurigem).WEin .DRinCKT . DEn . WEin . miT . BESCHEiDEnHEiT .DA . SiCHS . GEBuRTT . DAS . PEHuT . VOR . LEiDT .unD . iHR . HERTZ . LiEBE . DOCHTER . mEin .LAST . EuCH . ALLE . TuGEnT . BETOLEn . SEin .BEWART . EuHER . EHR . HAPT . EuHR . GuT . ACHT .BEDEnCKT . Zu . VOR . JDE . SACH .DAn . VOR . GETHAn . unD . nACH . BEDRACHT .HAT . mAnCHEn . WEiT . ZuRuCK . GEBRACHT .DAS . miTELL . DiS . ALLES . Zu . GEPEn .iST . DiE . FORCHT . GOTTES . mERCKT . miCH . EBEN .GOTTS . FORCHT . BRinGT . WEiSHEiT . unD . VERSTANT .DAR . DORCH . GESEGnET . WiRDT . DAS . LANDT .GOTS . FORCHT . mACHT . REICH . BRinGT . FRED . u . muHT .ERFRiSCHT . DAS . LEBEn . unD . DAS . BLuT .GOTES . FORCHT . BEHuTT . VOR . ALLEm . LEiDT .unD . iST . Ein . WEG . ZuR . SELiGKEiT .GOTTES . FORCHT . iST . DAS . RECHT . FunDAmEnT .DARuFF . DES . mEnSCHEn . GLiCK . BEWEnDT .unD . iST . Ein . HAuPTmiTTEL . ALLER . DuGEnT .WER . SiCH . DER . AnimPT . in . DER . JuGEnT .DEm . GEHT . SEin . ALTER . An . miT . EHREn .unD . SEin . GLiCK . WiRD . SiCH . TAGLiCH . mEHREn .DAR . DuRCH . DER . mEnSCH . Zum . SELiG . EnDT .LETZLiCH . GELAnGT . ACH . HER . unS . SEnDT .DEin . HEiLiGER . GEiST . DER . unS . THuT . EinFREn .Zu . SOLCHER . FORCHT . DiE . WOL . EuCH . RiHREn .EWER . HERTZ . unD . Sin . iHR . SOLiCH . FORCHT .ERGREiFFEn . KOnT . unD . GOT . GEHRCHT .AmEn . DAS . WERDT . WARH . G . GOTT . DiE . ERH .

“DiSZ . HAB . iCH . EuCH . LiEBE . KinDER . mEin .

in . REimEn . BRinGEn . LASZEn . FEiN .

AuFF . DAS . iR . WuST . EuWERS . ALTERS . ZEiT .

DuRCH . DiESE . MEiNER . HAnDT . ARBEiT .

WELCHS . iCH . EuCH . ZuR . GEDECHTniS . LAS .

unD . BiTT . EUCH . FREunDLiCH . ALLER . mASS .

SEiDT . uFFRiCHTiG . in . ALLEn . SACHEn .

DAS . WiRT . EUCH . GOSZ . unD . HERLiCH . MACHn .

THuT . iEDEm . EHR . nACH . SEinEm . STAnDT .

DAS . WiRT . EuCH . RumLiCH . mACHEn . BEKAnDT .

unD . iHR . HERTZ . LiEBE . SOnE . mEin .

WOLT . EuCH . HuTEn . VOR . VERiGEm(Feurigem).WEin .

DRinCKT . DEn . WEin . miT . BESCHEiDEnHEiT .

DA . SiCHS . GEBuRTT . DAS . PEHuT . VOR . LEiDT .

unD . iHR . HERTZ . LiEBE . DOCHTER . mEin .

LAST . EuCH . ALLE . TuGEnT . BETOLEn . SEin .

BEWART . EuHER . EHR . HAPT . EuHR . GuT . ACHT .

BEDEnCKT . Zu . VOR . JDE . SACH .

DAn . VOR . GETHAn . unD . nACH . BEDRACHT .

HAT . mAnCHEn . WEiT . ZuRuCK . GEBRACHT .

DAS . miTELL . DiS . ALLES . Zu . GEPEn .

iST . DiE . FORCHT . GOTTES . mERCKT . miCH . EBEN .

GOTTS . FORCHT . BRinGT . WEiSHEiT . unD . VERSTANT .

DAR . DORCH . GESEGnET . WiRDT . DAS . LANDT .

GOTS . FORCHT . mACHT . REICH . BRinGT . FRED . u . muHT .

ERFRiSCHT . DAS . LEBEn . unD . DAS . BLuT .

GOTES . FORCHT . BEHuTT . VOR . ALLEm . LEiDT .

unD . iST . Ein . WEG . ZuR . SELiGKEiT .

GOTTES . FORCHT . iST . DAS . RECHT . FunDAmEnT .

DARuFF . DES . mEnSCHEn . GLiCK . BEWEnDT .

unD . iST . Ein . HAuPTmiTTEL . ALLER . DuGEnT .

WER . SiCH . DER . AnimPT . in . DER . JuGEnT .

DEm . GEHT . SEin . ALTER . An . miT . EHREn .

unD . SEin . GLiCK . WiRD . SiCH . TAGLiCH . mEHREn .

DAR . DuRCH . DER . mEnSCH . Zum . SELiG . EnDT .

LETZLiCH . GELAnGT . ACH . HER . unS . SEnDT .

DEin . HEiLiGER . GEiST . DER . unS . THuT . EinFREn .

Zu . SOLCHER . FORCHT . DiE . WOL . EuCH . RiHREn .

EWER . HERTZ . unD . Sin . iHR . SOLiCH . FORCHT .

ERGREiFFEn . KOnT . unD . GOT . GEHRCHT .

AmEn . DAS . WERDT . WARH . G . GOTT . DiE . ERH .

“This, O my dear children, has at my wish been put into rhymes, in order that you may know your age by this work of my own hand, which I leave to you as a memorial. I beseech you to be sincere in all matters; that will make you great and glorious. Honour everybody according to his station; it will make you honourably known. You, my truly beloved sons, beware of fiery wine, and drink with moderation; that will preserve you from evil. And you, my truly beloved daughters,let me recommend you to be virtuous. Preserve and guard your honour; and reflect before you do anything; for many have been led into evil by acting first and reflecting afterwards. The way to get to this end is the fear of God, mark me well! The fear of God brings wisdom and understanding. The fear of God makes rich, and gives joy and courage, refreshes life and blood. The fear of God protects us from all evil; and is the way to the state of bliss. The fear of God is the foundation on which the happiness of man rests; and is the chief way to all virtues. He who seeks it in his youth will live with honour till his old age; and his happiness will daily increase.

“Amen. Give to God all honour.”

“ALS . mAn . ZALT . FuFZEHn . HunDERT . JAHR .unD . nEunTZiG . nEun . DARZu . JST . WAR .DEn . ERSTEn . APRiL . nACH . miTnACHT .GLEiCH . umB . Ein . uHR . OFFT . iCHS . BETRACHT .DER . ALLERLiEBSTE . JunCKER . mEin .GEnAnDT . HEiNRiCH . VOn . GEiSPiTZHEim .ZU . DiR . O . GOTT . AUS . DiESER . WELT .ERFORDERT . WiRT . ALS . DiRS . GEFELLT .SEiN . ALTER . WAR . SECHZiG . unD . ACHT .DiE . WASSER . SUCHT . iHn . umGEPRACHT .DEn . WOLLEST . O . GOTT . GnED . GEBEn .SEin . PFLEGEn . nACH . DEm . WiLLEN . DEin .JCH . SEin . BETRuEBTE . nACHGELASSEn . Ann .BLiCKin . VOn . LiECHTEnPERG . GEnAnDT .HAB . miT . niCHT . unDER . LASSEn . WOLLEn .SOnDERn . Ein . SOLiCHES . HiE . mELDEn . SOLLEn .in . DiESEm . TuCH . miT . mEinER . HAnDT .DAmiT . ES . WERD . mEinEn . KinDERn . BEKAnDT .DiESES . mEin . GROSSES . LEiD .WELCHES . miR . VOn . GOTT . WARD . BEREiT .

“ALS . mAn . ZALT . FuFZEHn . HunDERT . JAHR .

unD . nEunTZiG . nEun . DARZu . JST . WAR .

DEn . ERSTEn . APRiL . nACH . miTnACHT .

GLEiCH . umB . Ein . uHR . OFFT . iCHS . BETRACHT .

DER . ALLERLiEBSTE . JunCKER . mEin .

GEnAnDT . HEiNRiCH . VOn . GEiSPiTZHEim .

ZU . DiR . O . GOTT . AUS . DiESER . WELT .

ERFORDERT . WiRT . ALS . DiRS . GEFELLT .

SEiN . ALTER . WAR . SECHZiG . unD . ACHT .

DiE . WASSER . SUCHT . iHn . umGEPRACHT .

DEn . WOLLEST . O . GOTT . GnED . GEBEn .

SEin . PFLEGEn . nACH . DEm . WiLLEN . DEin .

JCH . SEin . BETRuEBTE . nACHGELASSEn . Ann .

BLiCKin . VOn . LiECHTEnPERG . GEnAnDT .

HAB . miT . niCHT . unDER . LASSEn . WOLLEn .

SOnDERn . Ein . SOLiCHES . HiE . mELDEn . SOLLEn .

in . DiESEm . TuCH . miT . mEinER . HAnDT .

DAmiT . ES . WERD . mEinEn . KinDERn . BEKAnDT .

DiESES . mEin . GROSSES . LEiD .

WELCHES . miR . VOn . GOTT . WARD . BEREiT .

“When one wrote the year Fifteen hundred and ninety-nine, on the first of April after midnight, just at one o’clock—often I think of it—my truly beloved husband, the Squire Henry von Geispitzheim, was called to Thee, O God! from this world, according to Thy will. His age was sixty and eight years. The dropsy has killed him. To him grant, O God! Thy mercy, after Thy will. I, his afflicted Anna Blickin von Liechtenperg who was left behind, have related it with myhand in this cloth, that it might be known to my children—this my great sorrow, which God has sent me.”

“DEn . FunFFTEn . AuGuST . BALDT . HERNACH .WiEDERum . SiCH . FUGT . EiN . LEiDiG . SACH .mEin . JUnGSTER . SOn . EimCH . Ein . ZWiLLinG .VOn . DiESER . WELT . ABSCHiEDT . GAB . GEHLinGS .DARDuRCH . WARDT . miR . mEin . LEiD . GEmERT .unD . ALLE . HOFFNUNG . umBGEKERTH .ACH . GOTT . LAS . DiCHS . miEnER . ERBARmEn .unD . KOm . ZU . TROST . unD . HiLFF . miR . ARmEn .HiLF . TREuWER . GOT . unD . STEH . BEi . miCH .TROST . miCH . miT . DEinEm . GEiST . GnEDiGGLiCH .unD . BEHuT . miR . mEin . LiEBE . KinDT .SO . BiSZ . nOCH . GESunD . uEBRiG . SinT .unD . SCHAFF . O . GOT . DAS . WiR . ZuGLiCH .DiCH . SCHAu . DEn . im . HimmEL . EWiGLiCH .DARZu . HiLFF . unS . GnEDiGKLiCH .ACH . HER . VER . GiEB . ALL . unSER . SCHuLT .HiLFF . DAS . WARTEn . miT . GEDuLT .BiES . unSER . STunTLin . nACHT . HERBEi .AuCH . unSER . GLAuBE . STETZ . WACKER . SEi .DEin . WORT . Zu . DRAuWEn . TESTiGKLiCH .BiS . WiR . EnDT . SCHLAFFEn . SELiGKLiCH .

“DEn . FunFFTEn . AuGuST . BALDT . HERNACH .

WiEDERum . SiCH . FUGT . EiN . LEiDiG . SACH .

mEin . JUnGSTER . SOn . EimCH . Ein . ZWiLLinG .

VOn . DiESER . WELT . ABSCHiEDT . GAB . GEHLinGS .

DARDuRCH . WARDT . miR . mEin . LEiD . GEmERT .

unD . ALLE . HOFFNUNG . umBGEKERTH .

ACH . GOTT . LAS . DiCHS . miEnER . ERBARmEn .

unD . KOm . ZU . TROST . unD . HiLFF . miR . ARmEn .

HiLF . TREuWER . GOT . unD . STEH . BEi . miCH .

TROST . miCH . miT . DEinEm . GEiST . GnEDiGGLiCH .

unD . BEHuT . miR . mEin . LiEBE . KinDT .

SO . BiSZ . nOCH . GESunD . uEBRiG . SinT .

unD . SCHAFF . O . GOT . DAS . WiR . ZuGLiCH .

DiCH . SCHAu . DEn . im . HimmEL . EWiGLiCH .

DARZu . HiLFF . unS . GnEDiGKLiCH .

ACH . HER . VER . GiEB . ALL . unSER . SCHuLT .

HiLFF . DAS . WARTEn . miT . GEDuLT .

BiES . unSER . STunTLin . nACHT . HERBEi .

AuCH . unSER . GLAuBE . STETZ . WACKER . SEi .

DEin . WORT . Zu . DRAuWEn . TESTiGKLiCH .

BiS . WiR . EnDT . SCHLAFFEn . SELiGKLiCH .

“On the fifth of August soon afterwards another sorrowful event happened. My youngest son Eimah (Erich?), one of my twins, suddenly departed from this world; and therefore my sorrow was increased, and all hope overthrown. O God! have mercy upon me, and come to comfort and help me, poor one. Help, true God! and assist me, comfort me with Thy Spirit, and protect me and my dear children who are still left in good health. And grant, O God! that we then may behold Thee in Heaven eternally. O Lord! forgive us our trespasses, help that we may wait with patience until our last hour may come; and also that our faith may be true, to believe in Thy Word steadfastly until we sink into the slumber of death.”

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