Table-coverof white linen, figured in thread, with the “Agnus Dei,†or “Holy Lamb,†in the middle, and the symbolic animals of the four Evangelists, one at each corner. German, late 16th century. 6 feet 3 inches by 5 feet 8 inches.
For its sort and time there is nothing superior to this fine piece of needlework. About the evangelic emblems, as well as the Lamb in the centre, there is a freedom and boldness of design only equalled by the beauty and nicety of execution, making the piece altogether quite an art-work. The little dogs chasing the young harts, as well as the rampant unicorns, but especially the bird of the stork-kind preening its feathers, and the stag looking back at the hound behind, all so admirably placed amid the branches so gracefully twining over the whole field, show a master’s spirited hand in their design. Unfortunately, however, none of its beauty can be seen unless, like a piece of stained glass, it be hung up to the light. Its use was most likely liturgic, and occasions for it not unfrequently occur in the year’s ritual round; and on Candlemas-day and Palm Sunday it might becomingly have been spread over the temporary table on the south side of the altar, upon which were put, for the especial occasion, the tapers for the one service, and the palm-branches for the other, during the ceremony of blessing them before their distribution.
For its sort and time there is nothing superior to this fine piece of needlework. About the evangelic emblems, as well as the Lamb in the centre, there is a freedom and boldness of design only equalled by the beauty and nicety of execution, making the piece altogether quite an art-work. The little dogs chasing the young harts, as well as the rampant unicorns, but especially the bird of the stork-kind preening its feathers, and the stag looking back at the hound behind, all so admirably placed amid the branches so gracefully twining over the whole field, show a master’s spirited hand in their design. Unfortunately, however, none of its beauty can be seen unless, like a piece of stained glass, it be hung up to the light. Its use was most likely liturgic, and occasions for it not unfrequently occur in the year’s ritual round; and on Candlemas-day and Palm Sunday it might becomingly have been spread over the temporary table on the south side of the altar, upon which were put, for the especial occasion, the tapers for the one service, and the palm-branches for the other, during the ceremony of blessing them before their distribution.
LinenNapkin; the four corners embroidered in crimson thread. German, 17th century. 3 feet by 2 feet 6½ inches.
The design consists of a stag at rest couchant, and an imaginary figure, half a winged human form, half a two-legged serpent, separated by a flower of the centaurea kind. This is repeated on the other side of the square, up the middle of which runs an ornamentation made out of a love-knot, surmounted by a heart, sprouting out of which is a stalk bearing a four-petaled flower, and then a stem with the usual corn-flower at the end of it. To all appearance, this linen napkin was for household use.
The design consists of a stag at rest couchant, and an imaginary figure, half a winged human form, half a two-legged serpent, separated by a flower of the centaurea kind. This is repeated on the other side of the square, up the middle of which runs an ornamentation made out of a love-knot, surmounted by a heart, sprouting out of which is a stalk bearing a four-petaled flower, and then a stem with the usual corn-flower at the end of it. To all appearance, this linen napkin was for household use.
LinenCradle-Coverlet; ground, fine white linen; pattern, the Crucifixion, with Saints and the Evangelists’ emblems, all outlined in various-coloured silk thread; dated 1590. German. 6 feet by 6 feet 6 inches.
This piece of needlework is figured with the Crucifixion in the middle, and shows us, on one side, the Blessed Virgin Mary and St. Christopher; on the other, St. John and the Blessed Virgin Mary holding our Lord in her arms, and, at her feet, a youthful virgin-saint, most likely St. Catherine of Sienna. From the cross itself flowers are in some places sprouting out, and three angels are catching, in chalices, the sacred blood that is gushing from the wounds on the body of our Lord. At each corner is an evangelist’s symbol, and the whole is framed in a broad border in crimson and white silk, edged by crochet-work, and at the corners are the letters A. H. A. R. Though the figures are in mere outline they are well designed, but poorly, feebly executed by the needle. Another specimen of a cradle-quilt, much like this, isNo. 1344, and under No. 4644 notice is taken of feeling for the employment of the four Evangelists’ symbols at the corners of this nursery furniture.
This piece of needlework is figured with the Crucifixion in the middle, and shows us, on one side, the Blessed Virgin Mary and St. Christopher; on the other, St. John and the Blessed Virgin Mary holding our Lord in her arms, and, at her feet, a youthful virgin-saint, most likely St. Catherine of Sienna. From the cross itself flowers are in some places sprouting out, and three angels are catching, in chalices, the sacred blood that is gushing from the wounds on the body of our Lord. At each corner is an evangelist’s symbol, and the whole is framed in a broad border in crimson and white silk, edged by crochet-work, and at the corners are the letters A. H. A. R. Though the figures are in mere outline they are well designed, but poorly, feebly executed by the needle. Another specimen of a cradle-quilt, much like this, isNo. 1344, and under No. 4644 notice is taken of feeling for the employment of the four Evangelists’ symbols at the corners of this nursery furniture.
LinenNapkin; embroidered at one end with two wreaths of flowers above a narrow floral border; it is edged with lace, and bears the date 1672, and the initials A. M. W. German, 3 feet 6 inches by 1 foot 6 inches.
Probably meant to hang in the sacristy for the priest to wipe his fingers on after washing the tips of them, before vesting for mass.
Probably meant to hang in the sacristy for the priest to wipe his fingers on after washing the tips of them, before vesting for mass.
LinenTable-Cover; pattern, a wide floriation done in white and yellow threads; in the centre, a flag couchant within a wreath. German, late 16th century. 5 feet 4 inches by 4 inches.
Free in design and easy of execution.
Free in design and easy of execution.
Embroideryon Silk Net; ground, crimson; pattern, branches twined into ovals, and bearing flowers and foliage, in various-coloured silks, and heightened, in places, with gold and silver thread. Italian, late 17th century. 2 feet 8 inches by 9 inches.
A very pleasing and exceedingly well-wrought specimen of its style. Like in manner, but much better done than the examples at Nos.623,624. No doubt it was meant for female adornment.
A very pleasing and exceedingly well-wrought specimen of its style. Like in manner, but much better done than the examples at Nos.623,624. No doubt it was meant for female adornment.
Altar-frontal;embroidered in the middle with nine representations of the birth, &c. of our Lord; and four passages from the Saints’ lives on each side, all in gold and various-coloured silks, upon fine linen. Italian, 14th century. 4 feet 3 inches by 1 foot 8 inches.
This frontal is said to have been brought from Orvieto; but in it there is nothing about the celebrated relic kept in the very beautiful and splendid shrine in that fine cathedral. So very worn is this piece of embroidery, that several panels of it are quite indistinct. It may be, however, distinguished into three parts—the centre and the two sides. In the first we have, in nine compartments, the Annunciation, the Nativity, the coming of the Wise Men, the Blessed Virgin Mary, with St. Joseph, going to the temple and carrying in a baskether pair of turtle-doves, which she is giving to Simeon; the Last Supper; our Lord being taken in the garden; the Crucifixion; the burial; the Resurrection of our Saviour; on the right side, the legend of St. Christopher, mixed up with that of St. Julian Hospitaler; on the left are passages from the life of St. Ubaldo, bishop of Gubbio in the middle of the 12th century. In the first square is the saint mildly forgiving the master-mason who carried the new walls of the city across a vineyard belonging to St. Ubaldo, and, when reproved about the wrong thus done to private property, knocked down the saint; in the second we behold the saint at the bedside of a converted sinner, whose soul, just breathed forth, an angel is about to waft to heaven; in the third we have before us the saint himself, upon his dying bed, surrounded by friends, one of whom—a lady—is throwing up both her arms in great affright at the sudden appearance of a possessed man who has cast himself upon his knees at the bedfoot, and, with one hand outstretched upon the bed, is freed from the evil spirit, which is flying off over head in shape of a devil-imp; in the last the saint is being drawn in an open bier, by two oxen, to church for burial, followed by a crowd, among whom is his deacon.From the subjects on this much-decayed frontal, figured, as it is, with the life of St. Ubaldo, known for his love of the poor, his kindness to wayfarers and pilgrims, and his healing of the sick, as well as with the legends of St. Julian and St. Christopher, remarkable for the same virtues, we may infer that this ecclesiastical appliance hung at the altar of some poor house or hospital, in by-gone days, at Orvieto.
This frontal is said to have been brought from Orvieto; but in it there is nothing about the celebrated relic kept in the very beautiful and splendid shrine in that fine cathedral. So very worn is this piece of embroidery, that several panels of it are quite indistinct. It may be, however, distinguished into three parts—the centre and the two sides. In the first we have, in nine compartments, the Annunciation, the Nativity, the coming of the Wise Men, the Blessed Virgin Mary, with St. Joseph, going to the temple and carrying in a baskether pair of turtle-doves, which she is giving to Simeon; the Last Supper; our Lord being taken in the garden; the Crucifixion; the burial; the Resurrection of our Saviour; on the right side, the legend of St. Christopher, mixed up with that of St. Julian Hospitaler; on the left are passages from the life of St. Ubaldo, bishop of Gubbio in the middle of the 12th century. In the first square is the saint mildly forgiving the master-mason who carried the new walls of the city across a vineyard belonging to St. Ubaldo, and, when reproved about the wrong thus done to private property, knocked down the saint; in the second we behold the saint at the bedside of a converted sinner, whose soul, just breathed forth, an angel is about to waft to heaven; in the third we have before us the saint himself, upon his dying bed, surrounded by friends, one of whom—a lady—is throwing up both her arms in great affright at the sudden appearance of a possessed man who has cast himself upon his knees at the bedfoot, and, with one hand outstretched upon the bed, is freed from the evil spirit, which is flying off over head in shape of a devil-imp; in the last the saint is being drawn in an open bier, by two oxen, to church for burial, followed by a crowd, among whom is his deacon.
From the subjects on this much-decayed frontal, figured, as it is, with the life of St. Ubaldo, known for his love of the poor, his kindness to wayfarers and pilgrims, and his healing of the sick, as well as with the legends of St. Julian and St. Christopher, remarkable for the same virtues, we may infer that this ecclesiastical appliance hung at the altar of some poor house or hospital, in by-gone days, at Orvieto.
Bandof Gimp Openwork, crimson and gold thread. German (?), 18th century. 1 foot 10 inches by 1 inch.
Evidently for ladies’ use, but how employed is not so clear; from a little steel ring sewed to it, perhaps it may have been worn hanging from the hair behind the neck.
Evidently for ladies’ use, but how employed is not so clear; from a little steel ring sewed to it, perhaps it may have been worn hanging from the hair behind the neck.
Cradle-quilt;ground, green satin, embroidered with armorial bearings, the four Evangelists, and flowers, all in coloured silks, and dated 1612. German. 2 feet 5 inches by 1 foot 9 inches.
Within a narrow wreath of leaves and flowers there are two shields, of which the first bearsgulesa wheelor, surmounted by a closed helmet, having its mantlings oforandgules, and on a wreathgulesa wheeloras a crest; the second,azure, a cross coupedargentbetween a faced crescent and a ducal coronet, bothor, and all placed in pile, surmounted by a closed helmet having its mantlings oforandazure, and on a wreathor, a demy bear proper with a crossargenton its breast, crowned with a ducal coronetor, and holding in its paws a faced crescentor. At each of the four corners is the emblem of an evangelist with his name, and shown as a human personage nimbed and coming out of a flower, with his appropriate emblem upholding an open volume which he has in his hands, thus calling to mind those nursery rhymes:—“Matthew, Mark, Luke, and John,Guard the bed I lie upon,†&c.;which seem to be as well known in Germany as they were, and yet are, in England. See “Church of Our Fathers,†t. iii. p. 230.
Within a narrow wreath of leaves and flowers there are two shields, of which the first bearsgulesa wheelor, surmounted by a closed helmet, having its mantlings oforandgules, and on a wreathgulesa wheeloras a crest; the second,azure, a cross coupedargentbetween a faced crescent and a ducal coronet, bothor, and all placed in pile, surmounted by a closed helmet having its mantlings oforandazure, and on a wreathor, a demy bear proper with a crossargenton its breast, crowned with a ducal coronetor, and holding in its paws a faced crescentor. At each of the four corners is the emblem of an evangelist with his name, and shown as a human personage nimbed and coming out of a flower, with his appropriate emblem upholding an open volume which he has in his hands, thus calling to mind those nursery rhymes:—
“Matthew, Mark, Luke, and John,Guard the bed I lie upon,†&c.;
“Matthew, Mark, Luke, and John,Guard the bed I lie upon,†&c.;
“Matthew, Mark, Luke, and John,Guard the bed I lie upon,†&c.;
“Matthew, Mark, Luke, and John,
Guard the bed I lie upon,†&c.;
which seem to be as well known in Germany as they were, and yet are, in England. See “Church of Our Fathers,†t. iii. p. 230.
Cradle-quilt;centre, crimson silk, embroidered with flowers in coloured silk, mostly outlined with gold thread, and here and there sprinkled with gold ornamentations, and surrounded by a broad satin quilting edged with a gold lace-like border. German, late 17th century. 2 feet 7 inches by 2 feet 2 inches.
The cradle-cloths, or quilts, are of common occurrence, and afford occasions for much elegance of design.
The cradle-cloths, or quilts, are of common occurrence, and afford occasions for much elegance of design.
Cradle-quilt;ground, brown silk; pattern, a wreath of green leaves encircling two armorial shields, and filled in with flowers outside the spandrils; the whole surrounded by a border of flowers, all in various-coloured flos-silk. German, late 16th century. 3 feet by 2 feet 5 inches.
Of the two shields the first is party per fessazureandsable, a griffin rampantorholding three ears of wheat; the shield itself surmounted by a helmet closed, having green mantlings and crested with a ducal coronet out of which issues a demi-griffin rampant holding three ears of wheator. The second shield is party per fesssableandor, a lion rampantornoued, and languedgules, counterchangedorandsable, surmounted by a closed helmet with green mantlings, and crested with a demy-lion rampantor, languedgulesissuing from a wreathsableandor(now faded). By means of a long slit with hooks and eyes to it a blanket might be introduced to make this coverlet warmer.
Of the two shields the first is party per fessazureandsable, a griffin rampantorholding three ears of wheat; the shield itself surmounted by a helmet closed, having green mantlings and crested with a ducal coronet out of which issues a demi-griffin rampant holding three ears of wheator. The second shield is party per fesssableandor, a lion rampantornoued, and languedgules, counterchangedorandsable, surmounted by a closed helmet with green mantlings, and crested with a demy-lion rampantor, languedgulesissuing from a wreathsableandor(now faded). By means of a long slit with hooks and eyes to it a blanket might be introduced to make this coverlet warmer.
SatinBed-quilt; the middle a silk brocade diapered with a large floriation within a broad wreath-like band, all bright amber upon a crimson ground; the broad border is of crimson satin, quilted, after an elaborate pattern shown by a cording of blue and gold. French, 17th century. 6 feet by 5 feet 6 inches.
SatinBed-quilt; the middle, silk brocade diapered with a somewhat small floriation, in bright amber and white upon a crimson ground. The wide border, in crimson satin of rich material and brilliant tone, is quilted after an agreeable design with yellow cord. French, 17th century. 7 feet 10 inches by 5 feet 4 inches.
LiturgicalScarf; ground, white silk; pattern, bunches of leaves and flowers, in various-coloured silk thread. French, 18th century. 11 feet 5 inches by 1 foot 4 inches.
Such scarves are used for throwing on the lectern, and to be worn by the sub-deacon at high mass; and, from its appearance, this one must have seen much service. All its flowers, as well as its two edgings, are worked in braid, nicely sewed on and admirably done.
Such scarves are used for throwing on the lectern, and to be worn by the sub-deacon at high mass; and, from its appearance, this one must have seen much service. All its flowers, as well as its two edgings, are worked in braid, nicely sewed on and admirably done.
LongPiece of Silk Brocade; ground, light maroon; pattern, creamy white scrolls, dotted with blue flowerets, and placed so as to form a wavy line all up the warp amid bunches of red and blue flowers and leaves. Lyons, late 17th century. 8 feet 6 inches by 1 foot 7 inches.
The colours are faded somewhat, and though showy, this stuff is not so glaring in its design as were the silks that came, at a later period, from the same looms.If used in the liturgy, it must have been for covering the moveable lectern for holding the Book of the Gospels, out of which the deacon at high mass chants the gospel of the day. It might, too, have served as a veil for the sub-deacon for muffling his hands while he held the paten after the offertory.
The colours are faded somewhat, and though showy, this stuff is not so glaring in its design as were the silks that came, at a later period, from the same looms.
If used in the liturgy, it must have been for covering the moveable lectern for holding the Book of the Gospels, out of which the deacon at high mass chants the gospel of the day. It might, too, have served as a veil for the sub-deacon for muffling his hands while he held the paten after the offertory.
Pairof Lady’s Gloves of kid leather, with richly embroidered cuffs. French, late 17th century. 13 inches by 7½ inches.
The hands are of a light olive tone, and embroidered on the under seams in gold; the cuffs are deep, and embroidered in gold and silver after a rich design upon crimson silk, and are united by the novelty of a gusset formed of three pieces of broad crimson ribbon.
The hands are of a light olive tone, and embroidered on the under seams in gold; the cuffs are deep, and embroidered in gold and silver after a rich design upon crimson silk, and are united by the novelty of a gusset formed of three pieces of broad crimson ribbon.
Pursein gold tissue, embroidered with flowers in pots, and bound with ribbons in silver and colours. French, 18th century. 5 inches by 4½ inches.
Some of the flowers are springing up from silver baskets; others are tied up with silver ribbons, and the whole pleasingly done.
Some of the flowers are springing up from silver baskets; others are tied up with silver ribbons, and the whole pleasingly done.
Pursein gold and silver embroidery, with gilt clasp. English, 19th century. 4½ inches by 4 inches.
The design of this is pretty, and consists of small gold and silver disks wrought in thread, and linked together by a strong green silk netting.
The design of this is pretty, and consists of small gold and silver disks wrought in thread, and linked together by a strong green silk netting.
VelvetHanging; ground, black; pattern, a frieze made up of a flower-bearing vase between two broad horns of plenty, full of fruits, and two imaginary heraldic monsters, one on each side, like supporters, fashioned as red-tongued eagles, with wings displayed in the head, but having a tailless haunch, and cloven-footed legs of an ox; the fimbriations are edged with green fringe, and the spaces filled with a conventional floriation; and the greater parts done in yellow satin, smaller parts in other coloured satins, all edged with gold cording and silver thread, and applied to the ground of black velvet. French, early 17th century. 25 inches by 12 inches.
The whole of this curious piece is designed with great boldness and spirit, and most accurately wrought.
The whole of this curious piece is designed with great boldness and spirit, and most accurately wrought.
FourPieces of Raised Velvet, sewed into one large square; ground, yellow and crimson silk; pattern, a bold floriation in raised crimson velvet. Genoese, 16th century.
A fine specimen of the Genoese loom, showing a well-managed design composed of a modification of the artichoke, mixed with pomegranates, ears of corn (rather an unusual ornament), roses, and large liliacious flowers. Not unlikely this stuff was ordered by some Spanish nobleman for hangings in the state halls of his palace. Such stuffs are sometimes to be seen on the canopy in the throne-room of some Roman princely house, whose owners have the old feudal right to the cloth of estate.
A fine specimen of the Genoese loom, showing a well-managed design composed of a modification of the artichoke, mixed with pomegranates, ears of corn (rather an unusual ornament), roses, and large liliacious flowers. Not unlikely this stuff was ordered by some Spanish nobleman for hangings in the state halls of his palace. Such stuffs are sometimes to be seen on the canopy in the throne-room of some Roman princely house, whose owners have the old feudal right to the cloth of estate.
Setof Bed Hangings complete, in green cut velvet raised upon a yellow satin ground, diapered in gold. Genoese, 16th century.
The foliated scroll pattern of this truly rich stuff is executed in a bold and telling manner; and the amber satin ground is marked with a small but pleasing kind of diaper, which is done in gold thread. To give a greater effect to the velvet, which is deep in its pile, a cord of green and gold stands stitched to it as an edging.
The foliated scroll pattern of this truly rich stuff is executed in a bold and telling manner; and the amber satin ground is marked with a small but pleasing kind of diaper, which is done in gold thread. To give a greater effect to the velvet, which is deep in its pile, a cord of green and gold stands stitched to it as an edging.
TwoPieces of Embroidery; ground, light purple, thin net lined with blue canvas; pattern, nosegays of white and red flowers and large green branches tied up in bunches, with white and with yellow ribbons alternately; the narrow borders, which are slightly scolloped, are figured with sprigs of roses; and the whole is done in bright-coloured untwisted silks, and has throughout a lining of thin white silk.French, late 16th century. 10 feet 9½ inches by 2 feet 9¾ inches.
Each piece consists of two lengths of the same embroidery sewed together all along the middle; and served for some household decoration.
Each piece consists of two lengths of the same embroidery sewed together all along the middle; and served for some household decoration.
EmbroideredTable-cover; ground, green cloth; pattern, within a large garland of fruits and flowers, separated into four parts by as many cherubic heads, two armorial shields and a scroll bearing the date 1598, and the four sides bordered with an entablature filled in with animals, fruits, flowers, and architectural tablets having about them ornaments of the strap-like form, and each charged with a female face. South Germany, 16th century. 5 feet 7 inches by 5 feet 3 inches.
The design of the embroidery, done in various-coloured worsteds, is admirable, and quite in accordance with the best types of that period; nor ought we to overlook the artistic manner in which the colours are everywhere about it so well contrasted. The animals are several, not forgetting the unicorn and monkey; though, from the frequency of the Alpine deer kind, it looks as if this fine piece of work had been sketched and executed by those familiar with the Alps. The shields are, first, barry of sixargentandazure, with mantlings about a helmet closed and crested with a demi-bloodhound collared and langued, and, from the neck downward, barry like the shield; second, quarterly 1 and 4orcharged with a pair of pincerssable; 2 and 3sable, a lion rampantor, and mantlings about a helmet closed and crested with a demi-lion rampantor, upon a wreathsableandargent. The silver has now become quite black.
The design of the embroidery, done in various-coloured worsteds, is admirable, and quite in accordance with the best types of that period; nor ought we to overlook the artistic manner in which the colours are everywhere about it so well contrasted. The animals are several, not forgetting the unicorn and monkey; though, from the frequency of the Alpine deer kind, it looks as if this fine piece of work had been sketched and executed by those familiar with the Alps. The shields are, first, barry of sixargentandazure, with mantlings about a helmet closed and crested with a demi-bloodhound collared and langued, and, from the neck downward, barry like the shield; second, quarterly 1 and 4orcharged with a pair of pincerssable; 2 and 3sable, a lion rampantor, and mantlings about a helmet closed and crested with a demi-lion rampantor, upon a wreathsableandargent. The silver has now become quite black.
Table-cover;ground, dark green serge; pattern, embroidered in silk and thread, the four seasons and their occupations, &c., and in the centre the Annunciation.German, early 17th century. 5 feet 3 inches by 4 feet 6 inches.
This piece, though much resembling the foregoing,No. 5665, is far below it as an art-work, and, by its style, betrays itself as the production of another period. Within a wreath, the Annunciation is figured, after the usual manner, but without gracefulness, in the middle of the cloth; at one corner Winter is shown, by men in a yard chopping up and stacking wood; then, by the inside of a room where a woman is warming herself before one of those large blind stoves still found in Germany, and a bearded man, seated in a large chair, doing the same at a brazier near his feet, while outside the house a couple are riding on a sledge drawn by a gaily caparisoned horse. At the corner opposite we have Spring—a farm-house, with its beehives, and a dame coming out with a jug of milk to a woman who is churning, near whom is a hedger at his work, and other men pruning, grafting, and sowing. For Summer, two gentlemen are snaring birds with a net; a woman and a man, each with a sickle in hand, are in a cornfield; two people are bathing in a duck-pond before a farm-house, on the roof of which is a nest with two storks sitting, one of which has caught a snake; and in a meadow hard by a man is mowing and a woman making hay. For Autumn, we see a vineyard where one man is gathering grapes and another carrying them in a long basket on his shoulders; and near, a man with a nimb, or glory, about his head, and lying on the ground with one leg outstretched, which a dog is licking above the thigh—perhaps the shepherd St. Rock, and, while a gentleman is walking past behind him, a girl, with a basket of fruit upon her head, is coming towards the spot. Between the seasons, and within circular garlands, are subjects akin to these parts of the year; in a boat, upon the water, a young couple are beginning the voyage of life together; a lady on a grey horse is, with hawk on hand, disporting herself in the flowery fields; a young lady is caressing a lamb with one hand and carries a basket of young birds in the other; last of all, another lady is kneeling at her prayers, with a book open before her on a table over-spread with a nicely worked cloth. A deep gold fringe runs all round the four sides of this table-cover.
This piece, though much resembling the foregoing,No. 5665, is far below it as an art-work, and, by its style, betrays itself as the production of another period. Within a wreath, the Annunciation is figured, after the usual manner, but without gracefulness, in the middle of the cloth; at one corner Winter is shown, by men in a yard chopping up and stacking wood; then, by the inside of a room where a woman is warming herself before one of those large blind stoves still found in Germany, and a bearded man, seated in a large chair, doing the same at a brazier near his feet, while outside the house a couple are riding on a sledge drawn by a gaily caparisoned horse. At the corner opposite we have Spring—a farm-house, with its beehives, and a dame coming out with a jug of milk to a woman who is churning, near whom is a hedger at his work, and other men pruning, grafting, and sowing. For Summer, two gentlemen are snaring birds with a net; a woman and a man, each with a sickle in hand, are in a cornfield; two people are bathing in a duck-pond before a farm-house, on the roof of which is a nest with two storks sitting, one of which has caught a snake; and in a meadow hard by a man is mowing and a woman making hay. For Autumn, we see a vineyard where one man is gathering grapes and another carrying them in a long basket on his shoulders; and near, a man with a nimb, or glory, about his head, and lying on the ground with one leg outstretched, which a dog is licking above the thigh—perhaps the shepherd St. Rock, and, while a gentleman is walking past behind him, a girl, with a basket of fruit upon her head, is coming towards the spot. Between the seasons, and within circular garlands, are subjects akin to these parts of the year; in a boat, upon the water, a young couple are beginning the voyage of life together; a lady on a grey horse is, with hawk on hand, disporting herself in the flowery fields; a young lady is caressing a lamb with one hand and carries a basket of young birds in the other; last of all, another lady is kneeling at her prayers, with a book open before her on a table over-spread with a nicely worked cloth. A deep gold fringe runs all round the four sides of this table-cover.
SevenChair-seat Covers; ground, yellow satin; pattern, birds, flowers, and a mask of an animal, all embroidered in various-coloured flos-silk. French, late 17th century. 2 feet 6 inches by 2 feet.
The satin is rich, and all the embroideries done in a bold effective manner; in some of these pieces the beak of each green parrot holds a strawberry or arbutus-fruit; and the lily and fleur-de-lis here and there betray a French feeling. It should be noticed, too, that much botanical knowledge is shown in the figuration of the flowers, which are more pleasing and effective from being thus done correctly.
The satin is rich, and all the embroideries done in a bold effective manner; in some of these pieces the beak of each green parrot holds a strawberry or arbutus-fruit; and the lily and fleur-de-lis here and there betray a French feeling. It should be noticed, too, that much botanical knowledge is shown in the figuration of the flowers, which are more pleasing and effective from being thus done correctly.
TwoPieces of Raised Silk Brocade; ground, yellow; pattern, the artichoke amid strap-work ornamentation, all of a large bold character, in raised crimson. Italian, 16th century. 10 feet 1 inch by 4 feet 2 inches.
A rich stuff, and made up for household decoration, perhaps for the throne-room of some palace.
A rich stuff, and made up for household decoration, perhaps for the throne-room of some palace.
Cradle-coverlet,green silk, brocaded in gold and silver; pattern, imitation of Oriental design in gold and silver flowers, after a large form, lined in red. French, 18th century. 3 feet 6 inches square.
A specimen of a rich and telling, though not artistic, stuff.
A specimen of a rich and telling, though not artistic, stuff.
Pieceof Raised Velvet; green, on a light amber-coloured ground. Genoese, late 16th century. 7 feet 10 inches by 1 foot 8 inches.
The pattern, rich in its texture and pleasing in its colours, consists of large stalks of flowers springing out of royal open crowns, all in a fine pile of green velvet, and, no doubt, was meant for palatial furniture.
The pattern, rich in its texture and pleasing in its colours, consists of large stalks of flowers springing out of royal open crowns, all in a fine pile of green velvet, and, no doubt, was meant for palatial furniture.
AMissal-Cushion; ground, white satin; pattern, flowers and fruit embroidered in coloured silks, amid an ornamentation of net-work, partly in gold; it has four tassels of green silk and gold thread. French, 17th century. 1 foot 5 inches by 10 inches.
One of those cushions once so generally used for supporting the Missal at the altar. It is figured only on the upper side, and underneath is lined with a silk diapered in a pleasing pattern, in amber-colour. Its tassels are rather large and made of several coloured silk threads and gold.
One of those cushions once so generally used for supporting the Missal at the altar. It is figured only on the upper side, and underneath is lined with a silk diapered in a pleasing pattern, in amber-colour. Its tassels are rather large and made of several coloured silk threads and gold.
Afigure of St. Mark, seated; embroidered, in part by the hand, in part woven. Florentine, early 16th century. 1 foot 3 inches by 8½ inches.
Beneath a circular-headed niche, with all its accessories in the style of the revival of classic architecture, sits St. Mark, known as such by the lions at his side. Within his right arm the Evangelist holds a large cross; and on his lap lies an open book, both pages of which are written with the words:—“Gloria in excelsis Deo, et in tēa.†Much of the architecture, as well as of the drapery of this personage, is loom-wrought, assisted in places by needle-embroidery. The head, the hands, the feet, are all done by the needle; but the head, neck, and beard are worked upon very fine linen by themselves, and afterwards applied, and in such a manner that the long white beard overlaps the tunic. His chair, instead of legs, is upheld upon the backs of two lions lying on the ground. The head is done with all the fineness and delicacy of a miniature on ivory, and the way in which the massive folds of his full wide garments are thrown over his knees is noteworthy and majestic.
Beneath a circular-headed niche, with all its accessories in the style of the revival of classic architecture, sits St. Mark, known as such by the lions at his side. Within his right arm the Evangelist holds a large cross; and on his lap lies an open book, both pages of which are written with the words:—“Gloria in excelsis Deo, et in tēa.†Much of the architecture, as well as of the drapery of this personage, is loom-wrought, assisted in places by needle-embroidery. The head, the hands, the feet, are all done by the needle; but the head, neck, and beard are worked upon very fine linen by themselves, and afterwards applied, and in such a manner that the long white beard overlaps the tunic. His chair, instead of legs, is upheld upon the backs of two lions lying on the ground. The head is done with all the fineness and delicacy of a miniature on ivory, and the way in which the massive folds of his full wide garments are thrown over his knees is noteworthy and majestic.
SilkDamask Orphrey Web; ground, crimson; pattern, the Resurrection. Venetian, 16th century. 1 foot 4 inches by 8¾ inches.
One of those numerous examples of woven orphrey-work for vestments such as copes and chasubles. Our Lord is figured as uprising from the grave, treading upon clouds, giving, with His right hand, a blessing to the world, and holding the triumphal banner in the left. Glory streams from His person, and a wreath of Cherubim surrounds Him; while, from the top part of this piece, we know that two Roman soldiers were sitting on the ground by the side of the sepulchre, which they were charged to guard.
One of those numerous examples of woven orphrey-work for vestments such as copes and chasubles. Our Lord is figured as uprising from the grave, treading upon clouds, giving, with His right hand, a blessing to the world, and holding the triumphal banner in the left. Glory streams from His person, and a wreath of Cherubim surrounds Him; while, from the top part of this piece, we know that two Roman soldiers were sitting on the ground by the side of the sepulchre, which they were charged to guard.
Boxfor keeping the linen corporals used at mass, in the vestry. It is covered with fine linen, of a creamy brown tint, embroidered with crimson silk and gold. Inside it is lined, in part green, on the lid crimson, where a very rude print of the Crucifixion, daubed with colour, has been let in. German, 17th century. 8½ inches by 7½ inches, 1¾ inches deep.
Such boxes seem to have been much used, at one time, throughout Germany, for keeping, after service, the blessed pieces of square fine linen called corporals, and upon which, at mass, the host and chalice are placed.Before being employed all the year round as the daily repository for laying up the corporals after the morning’s masses, this sacred appliance, overlaid with such rich embroidery, and fitly ornamented with the illumination of the Crucifixion inside its lid, would seem to have been originally made and especially set aside for an use assigned it by those ancient rubrics, which we have noticed in our Introduction, § 5. As such, it is, like No. 8327 further on, a great liturgical rarity, now seldom to be found anywhere, and merits a place among other such curious objects which give a value to this collection.At the mass on Maundy Thursday, besides the host received by theofficiating priest, another host is and always has been consecrated by him for the morrow’s (Good Friday’s) celebration; and because no consecration of the Holy Eucharist, either in the Latin or in the Greek part of the Church, ever did nor does take place on Good Friday, the service on that day is by the West called the “Mass of the Pre-sanctified,†by the East, “ΛειτουÏγία τῶν Ï€Ïοηγιασμενῶν.â€Folded up in a corporal (a square piece of fine linen), the additional host consecrated on Maunday Thursday was put into this receptacle or “capsula corporalium†of the old rubrics, and afterwards carried in solemn procession to its temporary resting-place, known in England as the sepulchre, and there, amid many lights, flowers, and costly hangings of silk and palls of gold and silver tissue, was watched by the people the rest of that afternoon, and all the following night, till the morning of the next day, when, with another solemn procession, it was borne back to the high altar for the Good Friday’s celebration.
Such boxes seem to have been much used, at one time, throughout Germany, for keeping, after service, the blessed pieces of square fine linen called corporals, and upon which, at mass, the host and chalice are placed.
Before being employed all the year round as the daily repository for laying up the corporals after the morning’s masses, this sacred appliance, overlaid with such rich embroidery, and fitly ornamented with the illumination of the Crucifixion inside its lid, would seem to have been originally made and especially set aside for an use assigned it by those ancient rubrics, which we have noticed in our Introduction, § 5. As such, it is, like No. 8327 further on, a great liturgical rarity, now seldom to be found anywhere, and merits a place among other such curious objects which give a value to this collection.
At the mass on Maundy Thursday, besides the host received by theofficiating priest, another host is and always has been consecrated by him for the morrow’s (Good Friday’s) celebration; and because no consecration of the Holy Eucharist, either in the Latin or in the Greek part of the Church, ever did nor does take place on Good Friday, the service on that day is by the West called the “Mass of the Pre-sanctified,†by the East, “ΛειτουÏγία τῶν Ï€Ïοηγιασμενῶν.â€
Folded up in a corporal (a square piece of fine linen), the additional host consecrated on Maunday Thursday was put into this receptacle or “capsula corporalium†of the old rubrics, and afterwards carried in solemn procession to its temporary resting-place, known in England as the sepulchre, and there, amid many lights, flowers, and costly hangings of silk and palls of gold and silver tissue, was watched by the people the rest of that afternoon, and all the following night, till the morning of the next day, when, with another solemn procession, it was borne back to the high altar for the Good Friday’s celebration.
Pieceof Green Satin; pattern, an arabesque stenciled in light yellow, and finished by touches done by hand. Italian, very late 18th century. 3 feet 1½ inches by 1 foot 6½ inches. (Presented by Mr. J. Webb).
This piece may have been part of a frieze, round the head of a bed; and have had a good effect at that height, though, in a manner, an artistic cheat, pretending to be either wrought in the loom or done by the needle. The design, in its imitative classicism, is bold and free, and the touches of the pencil effective. To this day stencil ornamentation upon house-walls is very much employed in Italy, where papering for rooms is seldom used even as yet, and not long ago was in many places almost unknown.
This piece may have been part of a frieze, round the head of a bed; and have had a good effect at that height, though, in a manner, an artistic cheat, pretending to be either wrought in the loom or done by the needle. The design, in its imitative classicism, is bold and free, and the touches of the pencil effective. To this day stencil ornamentation upon house-walls is very much employed in Italy, where papering for rooms is seldom used even as yet, and not long ago was in many places almost unknown.
Pieceof Silk Damask; ground, crimson; pattern, wheat-ears, flowers, and conventional foliage in gold, shaded white. Italian, late 16th century. 11 inches by 10¾ inches.
7004.SILK DAMASK,Italian, 16thcentury.Vincent Brooks Day & Son, Lith.
7004.SILK DAMASK,Italian, 16thcentury.Vincent Brooks Day & Son, Lith.
7004.
SILK DAMASK,
Italian, 16thcentury.
Vincent Brooks Day & Son, Lith.
A pleasing design, but the gold is very scant.
A pleasing design, but the gold is very scant.
Woollenand Thread Stuff; ground, white; pattern, sprigs of artichokes and pomegranates. Spanish, 16th century. 11 inches by 7½ inches.
The warp is white linen thread, rather fine; and the weft of thick blue wool; and, altogether, it is a pleasing production, and the design nicely managed.
The warp is white linen thread, rather fine; and the weft of thick blue wool; and, altogether, it is a pleasing production, and the design nicely managed.
SatinBrocade; ground, bright green satin; pattern, sprigs of gold flowers. Genoese, late 16th century. 7½ inches by 6½ inches.
The flowers upon this rich and showy stuff are the lily, the pomegranate, and the artichoke in sprigs, each after a conventional form; and the gold in the thread is of the best, as it shows as bright now as almost on the first day of its being woven in the satin, which so seldom happens.
The flowers upon this rich and showy stuff are the lily, the pomegranate, and the artichoke in sprigs, each after a conventional form; and the gold in the thread is of the best, as it shows as bright now as almost on the first day of its being woven in the satin, which so seldom happens.
SilkDiaper; ground, creamy white; pattern, small bunches of leaves, flowers, and fruit, in white, green, and brown silk. Spanish, 16th century. 4¾ inches by 3½ inches.
Though the warp is woollen, the silk in the weft is rich and the pattern after a pretty design, where the pomegranate comes in often.
Though the warp is woollen, the silk in the weft is rich and the pattern after a pretty design, where the pomegranate comes in often.
Pieceof Silk Damask of the very lightest olive-green; pattern, a diaper of large sprigs of flowers. Italian, late 16th century. 1 foot 2¼ inches by 9¼ inches.
Pleasing in its quiet tone, and good design.
Pleasing in its quiet tone, and good design.
DamaskedSilk; ground, light red, with lines of gold; pattern, leaves and flowers in deeper red. Sicilian, late 14th century. 10 inches by 6½ inches.
Very like several other specimens in this collection from the looms of Sicily, Palermo especially, in the pattern of its diapering, usually in green upon a tawny ground.
Very like several other specimens in this collection from the looms of Sicily, Palermo especially, in the pattern of its diapering, usually in green upon a tawny ground.
SilkDamask; ground, crimson; pattern, bunches of flowers of the pink and lily kinds, mingled with slips of the pomegranate. Spanish, 15th century. 12 inches by 10 inches.
The colour has much faded; but the design of the pattern, which is a crowded one, is very pretty; and the stuff seems to have been for personal wear.
The colour has much faded; but the design of the pattern, which is a crowded one, is very pretty; and the stuff seems to have been for personal wear.
SatinDamask; ground, green; pattern, an acorn and an artichoke united upon one small sprig, in yellow silk. Genoese, 16th century. 8 inches by 3½ inches.
Though small, this is a pretty design; and, perhaps, the great family of Della Rovere belonging to the Genoese republic may have suggested the acorn, “rovere†being the Italian word for one of the kinds of oak.
Though small, this is a pretty design; and, perhaps, the great family of Della Rovere belonging to the Genoese republic may have suggested the acorn, “rovere†being the Italian word for one of the kinds of oak.
SatinDamask; the diapering is a sprig fashioned like the artichoke, and, in all likelihood, was outlined in pale pink. Italian, late 16th century. 1 foot 4½ inches by 9¼ inches.
A texture for personal attire which must have looked well.
A texture for personal attire which must have looked well.
SilkDamask; ground, crimson; pattern, a large artichoke flower bearing, in the middle, a fleur-de-lis. Genoese, late 16th century.
The design in the pattern is rather singular; and may have been meant for some noble, if not royal French family, connected with a house of the same pretensions in Spain.
The design in the pattern is rather singular; and may have been meant for some noble, if not royal French family, connected with a house of the same pretensions in Spain.
SilkBrocade; ground, dull purple silk; pattern, flowers in gold, partially relieved in white silk. Spanish, late 16th century. 10 inches by 6 inches.
The flowers are mostly after a conventional form, though traces of the pomegranate may be seen; the gold thread is thin and scantily employed, and always along with broad yellow silk. With somewhat poor materials, a stuff rather effective in design is brought out.
The flowers are mostly after a conventional form, though traces of the pomegranate may be seen; the gold thread is thin and scantily employed, and always along with broad yellow silk. With somewhat poor materials, a stuff rather effective in design is brought out.
SilkWeb, on linen warp; ground, deep crimson; pattern, a quatrefoil with flowers at the tips of the barbs or angles at the corners, in gold thread, and filled in with a four-petaled flower in gold upon a green ground. German, 15th century. 14½ inches by 4½ inches.
Intended as orphreys of a narrow form; but made of poor materials, for the gold is so scant that it has almost entirely disappeared.
Intended as orphreys of a narrow form; but made of poor materials, for the gold is so scant that it has almost entirely disappeared.
Endof a Maniple; pattern, lozenges, green charged with a yellow cross, and red charged with a white cross of web; the end, linen embroidered with a saint holding a scroll, and fringed with long strips of flos-silk, green blue white and crimson. German, early 15th century. 15½ inches by 3 inches.
As this piece is put the wrong side out in the frame, the figure of the saint cannot be identified, nor the word on the scroll read.
As this piece is put the wrong side out in the frame, the figure of the saint cannot be identified, nor the word on the scroll read.
LinenWeb; ground, crimson and green; pattern, on the crimson square, a device in white; on the green, two narrow bands chequered crimson, white, and green, with an inscription (now illegible) between them. German, 15th century. 16 inches by 2½ inches.
Poor in every respect, and the small band of gold is almost black.
Poor in every respect, and the small band of gold is almost black.
OrphreyWeb; ground, gold; pattern, a flower-bearing tree in green, red, and white; and the sacred Name in blue silk. German, 15th century. 13½ inches by 3¾ inches.
The same stuff occurs at other numbers in this collection.
The same stuff occurs at other numbers in this collection.
OrphreyBand; ground, gold thread; pattern, flowers in various-coloured silks. Flemish, 16th century. 19¾ inches by 2¾ inches.
The whole of this pretty piece is done with the needle, upon coarse canvas, and, no doubt, ornamented either a chasuble, dalmatic, or some liturgical vestment.
The whole of this pretty piece is done with the needle, upon coarse canvas, and, no doubt, ornamented either a chasuble, dalmatic, or some liturgical vestment.
Crimsonand Gold Damask; ground, crimson; pattern, a diaper of animals in gold. Italian, 15th century. 14¾ inches by 4 inches.
Exactly like another piece in this collection; a winged gaping serpent, with a royal crown just above but not upon its head, occupies thelowest part of the design; over it is the heraldic nebulée or clouds darting forth rays all about them, and above all, a hart, collared, and with head regardant lies lodged within a palisade or paled park.
Exactly like another piece in this collection; a winged gaping serpent, with a royal crown just above but not upon its head, occupies thelowest part of the design; over it is the heraldic nebulée or clouds darting forth rays all about them, and above all, a hart, collared, and with head regardant lies lodged within a palisade or paled park.