NarrowOrphrey of Web; ground, red and gold diapered; pattern, armorial shields with words between them. German, 15th century. 1 foot 10 inches by 2 inches.
One of the shields isazure, two arrowsargentin saltire; the other shield isargent, three estoils, two and one,azure; and on a chiefor, two animals (indiscernible)sable: the words between the shields are so worn away as not to be readable.
One of the shields isazure, two arrowsargentin saltire; the other shield isargent, three estoils, two and one,azure; and on a chiefor, two animals (indiscernible)sable: the words between the shields are so worn away as not to be readable.
Linen,block-printed; ground, white; pattern, two eagles or hawks crested, amid floriations of the artichoke form, and a border of roving foliage; all in deep dull purple. Flemish, late 14th century. 1 foot 8 inches by 6¾ inches.
The design is good, and evidently suggested by the patterns on silks from the south of Europe. Further on, we have another piece, No. 8303.
The design is good, and evidently suggested by the patterns on silks from the south of Europe. Further on, we have another piece, No. 8303.
Orphreyof Web; ground, red and gold, figured with a bishop-saint. German, 15th century. 5 inches by 4½ inches.
The spaces for the head and hands are left uncovered by the loom, so that they may be, as they are here, filled in by the needle. In one hand the bishop, who wears a red mitre—an anomaly—and a cope with a quatrefoil morse to it, holds a church, in the other a pastoral staff.
The spaces for the head and hands are left uncovered by the loom, so that they may be, as they are here, filled in by the needle. In one hand the bishop, who wears a red mitre—an anomaly—and a cope with a quatrefoil morse to it, holds a church, in the other a pastoral staff.
Embroidery,in coloured silks upon fine linen damask. Flemish, 16th century. 10 inches by 2½ inches.
The fine linen upon which the embroidery is done, is diapered with a lozenge pattern: on one side of a large flower-bearing tree are the words:—“Jhesu Xpi,” and the other, “O crux Ave,” on each side of the tree is a shield unemblazoned but surrounded by a garland of flowers. Most likely this piece served to cover the top of the devotional table in a lady’s bed-room.
The fine linen upon which the embroidery is done, is diapered with a lozenge pattern: on one side of a large flower-bearing tree are the words:—“Jhesu Xpi,” and the other, “O crux Ave,” on each side of the tree is a shield unemblazoned but surrounded by a garland of flowers. Most likely this piece served to cover the top of the devotional table in a lady’s bed-room.
Embroidery,in coloured silks upon white linen; pattern, symbols of the Passion, flowers, and birds, with saints’ names. German, 17th century. 20½ inches by 6 inches.
Within a green circle, overshadowed on four sides by stems bearing flowers, stands a low column with ropes about it and a scourge at one side, and divided by it is the word Martinus, in red silk; amid the flower-bearing wide-spread branches of a tree are the names Ursula, Augustinus; within another circle like the first we see the cross with the sponge at the end of a reed, and the lance, having the name of Barbara in blue and crimson; and, last of all, another tree with the names Laurentius—Katerina. It is edged with a border of roses and daisies, and has a parti-coloured silk fringe. No doubt this piece served as the ornament of a lady’s praying-desk in her private room, and bore the names of those for whom she wished more especially to pray.
Within a green circle, overshadowed on four sides by stems bearing flowers, stands a low column with ropes about it and a scourge at one side, and divided by it is the word Martinus, in red silk; amid the flower-bearing wide-spread branches of a tree are the names Ursula, Augustinus; within another circle like the first we see the cross with the sponge at the end of a reed, and the lance, having the name of Barbara in blue and crimson; and, last of all, another tree with the names Laurentius—Katerina. It is edged with a border of roses and daisies, and has a parti-coloured silk fringe. No doubt this piece served as the ornament of a lady’s praying-desk in her private room, and bore the names of those for whom she wished more especially to pray.
Orphreyof Web; ground, gold; pattern, two stems intertwined and bearing leaves and flowers, in crimson silk. German, 15th century. 9 inches by 2½ inches.
Linen,block-printed; ground, white; pattern, crested birds and foliage, just like another piece,No. 8615, in this collection. Flemish, late 14th century. 14 inches by 2¾ inches.
SmallPiece of Orphrey; ground, yellow silk stitchery upon canvas, embroidered, within barbed quatrefoils in cords of gold, and upon a gold diapered ground, with the busts of two Evangelists in coloured silks, and the whole bordered by an edging of gold stalks, with trefoils. Italian, the middle of the 15th century. 10 inches by 5½ inches.
The quatrefoils are linked together by a kind of fretty knot, as well as the lengths in the two narrow edgings on the border by a less intricate one, all of which looks very like Florentine work. Most likely this orphrey served for the side of a cope.
The quatrefoils are linked together by a kind of fretty knot, as well as the lengths in the two narrow edgings on the border by a less intricate one, all of which looks very like Florentine work. Most likely this orphrey served for the side of a cope.
Pieceof a Liturgical Cloth, embroidered in white thread, very slightly shaded here and there in crimson silk, upon linen, with a quatrefoil at top enclosing the Annunciation and four angels, one at each corner swinging a thurible, and lower down, with St. Peter and St. Paul, St. James the Less and St. Matthias, St. James the Greater and St. Andrew; amid the leaf-bearing boughs, roving all over the cloth, may be seen an occasional lion’s head cabossed and languedgules. German, late 14th century. 2 feet 9½ inches by 1 foot 10½ inches.
This is but a small piece of one of those long coverings or veils for the lectern, of which such fine examples are in this collection.The lion’s head cabossed would seem to be an armorial ensign of the family to which the lady who worked the cloth belonged, although suchan ornament does sometimes appear, without any heraldic meaning, upon monuments of the period. In the execution of its stitchery the specimen before us is far below others of the same class.
This is but a small piece of one of those long coverings or veils for the lectern, of which such fine examples are in this collection.
The lion’s head cabossed would seem to be an armorial ensign of the family to which the lady who worked the cloth belonged, although suchan ornament does sometimes appear, without any heraldic meaning, upon monuments of the period. In the execution of its stitchery the specimen before us is far below others of the same class.
Pieceof a Stole or Maniple; ground, crimson silk (much faded); and embroidered with green stems twining up and bearing small round flowers in gold, and large oak leaves in white. Italian, 16th century. 13¾ inches by 3 inches.
The leaves, now so white, were originally of gold, but of so poor a quality that the metal is almost worn off the threads.
The leaves, now so white, were originally of gold, but of so poor a quality that the metal is almost worn off the threads.
SilkRibbon; ground, green and gold; pattern, squares and lozenges on one bar, spiral narrow bands on another, the bars alternating. Italian, early 17th century. 8 inches by 8¼ inches.
Both silk and gold are good in this simple pattern.
Both silk and gold are good in this simple pattern.
SilkDamask; ground, crimson; pattern, a square enclosing a floriation; both in bright yellow. Spanish, 15th century. 8 inches by 4½ inches.
Designed on Moorish principles, and coarse in its workmanship.
Designed on Moorish principles, and coarse in its workmanship.
SilkTexture; ground, yellow; pattern, net-work, with flowers and mullets, all in dark blue. Sicilian, late 14th century. 10 inches by 3½ inches.
Of a simple design and poor in texture, and probably meant as the lining for a richer kind of stuff.
Of a simple design and poor in texture, and probably meant as the lining for a richer kind of stuff.
SilkDamask; ground, crimson silk; pattern, in gold thread, two very large lions, and two pairs, one of very small birds, the other of equally small dragons, and an ornament like a hand looking-glass. Oriental, 14th century. 2 feet 4 inches by 2 feet.
The large lions, which strongly resemble, in their fore-legs, the Nineveh ones in the British Museum, are placed addorsed regardant and looking upon two very small birds, while between their heads stands what seems like a looking-glass, upon a stem or handle; at the feet of these huge beasts are two little long-tailed, open-mouthed, two-legged dragons. The whole of this design now appears to be in coarse yellow thread, which once was covered with gold, but so sparingly and with such poor metal that not a speck of it can now be detected anywhere in this large specimen. The probability is that this stuff was wrought in some part of Syria, for the European market; at the lions’ necks are broad collars bearing two lines or sentences in imitated Arabic characters. Copes and chasubles for church use during the Middle Ages were often made of silks like this. Dr. Bock has figured this very piece in his “Geschichte der Liturgischen Gewänder des Mittelalters,” t. i. pl. iv.
The large lions, which strongly resemble, in their fore-legs, the Nineveh ones in the British Museum, are placed addorsed regardant and looking upon two very small birds, while between their heads stands what seems like a looking-glass, upon a stem or handle; at the feet of these huge beasts are two little long-tailed, open-mouthed, two-legged dragons. The whole of this design now appears to be in coarse yellow thread, which once was covered with gold, but so sparingly and with such poor metal that not a speck of it can now be detected anywhere in this large specimen. The probability is that this stuff was wrought in some part of Syria, for the European market; at the lions’ necks are broad collars bearing two lines or sentences in imitated Arabic characters. Copes and chasubles for church use during the Middle Ages were often made of silks like this. Dr. Bock has figured this very piece in his “Geschichte der Liturgischen Gewänder des Mittelalters,” t. i. pl. iv.
Silkand Linen Texture; ground, crimson; pattern, star-like flowers. Spanish, 15th century. 5¾ inches by 2½ inches.
Poor in design as well as material.
Poor in design as well as material.
SilkDiapered, with a man wrestling with a lion repeated; ground, crimson, the diaper in various colours, and the waving borders in creamy white, edged black, and charged with crimson squares, and fruits crimson and deep green. Byzantine, 12th century. 15¾ inches by 12½ inches.
This is one among the known early productions of the loom, and therefore very valuable. The lion and man seem to be meant for Samson’s victory over that animal, though, for the sake of a pattern, the same two figures are repeated in such a way that they are in pairs and confronted. Samson’s dress is after the classic form, and he wears sandals, while a long narrow green scarf, fringed yellow, flutters from off his shoulder behind him; and the tawny lion’s mane is shown to fall in white and black locks, but in such a way that, at first sight, the black shading might be mistaken for the letters of some word. This stuff is figured by Dr. Bock in his “Geschichte der Liturgischen Gewänder des Mittelalters,” t. i. pl. ii.
This is one among the known early productions of the loom, and therefore very valuable. The lion and man seem to be meant for Samson’s victory over that animal, though, for the sake of a pattern, the same two figures are repeated in such a way that they are in pairs and confronted. Samson’s dress is after the classic form, and he wears sandals, while a long narrow green scarf, fringed yellow, flutters from off his shoulder behind him; and the tawny lion’s mane is shown to fall in white and black locks, but in such a way that, at first sight, the black shading might be mistaken for the letters of some word. This stuff is figured by Dr. Bock in his “Geschichte der Liturgischen Gewänder des Mittelalters,” t. i. pl. ii.
Silkand Linen Damask; ground, pale dull yellow-coloured linen; pattern, circles enclosing tawny foliation, in the midst of which is a purple cinquefoil, and the spandrils outside filled in with other foliations in the same tawny tone. Byzantine, 14th century. 13½ inches by 13 inches.
Of poor stuff, but of a rather pleasing design.
Of poor stuff, but of a rather pleasing design.
SilkTexture; ground, crimson; pattern, geometrical figures, mostly in bright yellow, filled in with smaller like figures in blue, green, and white. Moorish, 15th century. 1 foot 10½ inches by 1 foot 2¼ inches.
Most likely this garish and rather staring silk was woven either at Tangier or Tetuan, and found its way to Europe through some of the ports on the southern coast of Spain.
Most likely this garish and rather staring silk was woven either at Tangier or Tetuan, and found its way to Europe through some of the ports on the southern coast of Spain.
SilkDamask; ground, purple; pattern, lozenges, with so-called love-knots, one on each side, enclosing a flower and a lozenge chequered with Greek crossesalternately, all in yellow. Byzantine, 14th century. 8½ inches by 4 inches.
7039SILK FABRIC,Byzantine—— 14thcentury.Vincent Brooks Day & Son, Lith.
7039SILK FABRIC,Byzantine—— 14thcentury.Vincent Brooks Day & Son, Lith.
7039
SILK FABRIC,
Byzantine—— 14thcentury.
Vincent Brooks Day & Son, Lith.
Though poor in material this silk is so far interesting as it gives a link in that long chain of traditional feeling for showing the cross about stuffs, meant, as most likely this was, for ritual uses, and known among both the Latins and the Greeks as “stauracina.” To this day the same custom is followed in the East of having the cross marked upon the textiles employed in liturgical garments.
Though poor in material this silk is so far interesting as it gives a link in that long chain of traditional feeling for showing the cross about stuffs, meant, as most likely this was, for ritual uses, and known among both the Latins and the Greeks as “stauracina.” To this day the same custom is followed in the East of having the cross marked upon the textiles employed in liturgical garments.
WhiteLinen, diapered with a small lozenge pattern, and a border of one broad and two narrow bands in black thread. Flemish, 15th century. 12 inches by 11½ inches.
A good example of Flemish napery with the diaper well shown.
A good example of Flemish napery with the diaper well shown.
Silkand Linen Texture; ground, blue; pattern, a large petaled flower within a park fencing, upon the palings of which are perched two birds, and another somewhat like flower enclosed in the same way with two quadrupeds rampant on the palings. Italian, 15th century. 16 inches by 12¾ inches.
The birds seem to be meant for doves; and the animals for dogs. In design, but not in richness of material, this specimen is much like No. 7020.
The birds seem to be meant for doves; and the animals for dogs. In design, but not in richness of material, this specimen is much like No. 7020.
SilkDamask; ground, deep blue; pattern, floriated lozenges, enclosing chequered lozenges in deep yellow. South of Spain, 14th century. 12 inches by 7¾ inches.
A tissue showing a Saracenic feeling.
A tissue showing a Saracenic feeling.
SilkDamask; ground, tawny; pattern, a cone-shaped floriation amid foliage and flowers. Sicilian, 15th century. 13½ inches by 13 inches.
7043.SILK DAMASK,Sicilian—15th century.Vincent Brooks Day & Son, Lith.
7043.SILK DAMASK,Sicilian—15th century.Vincent Brooks Day & Son, Lith.
7043.
SILK DAMASK,
Sicilian—15th century.
Vincent Brooks Day & Son, Lith.
Both around the cone, as well as athwart the flowers, there are attempts at Arabic sentences, but in letters so badly done as easily to show the attempted cheat.
Both around the cone, as well as athwart the flowers, there are attempts at Arabic sentences, but in letters so badly done as easily to show the attempted cheat.
SilkDamask; ground, deep blue; pattern, six-sided panels filled in with conventional floriations, all in orange yellow. Spanish moresque, 15th century. 7 inches by 3½ inches.
If not designed and wrought by Moorish hands, its Spanish weaver worked after Saracenic feelings in the forms of its ornamentation.
If not designed and wrought by Moorish hands, its Spanish weaver worked after Saracenic feelings in the forms of its ornamentation.
SilkDamask; ground, amber, diapered in small lozenges; pattern, parrots in pairs outlined in blue and crimson, both which colours are almost faded, and having a border consisting of narrow parallel lines, some dark blue with white scrolls, others of gold thread, with deep blue scrolls. Oriental, late 12th century. 9 inches by 5¾ inches.
SilkBorder, torn off from the foregoing number. Both the one and the other are valuable proofs of the care taken by the Greek weavers, in the Greek islands, Greece proper, and in Syria, to give an elaborate design to the grounds of their silks.
SilkBrocade; ground, deep crimson; pattern, a diapering, in the same colour, of heart-shaped shields charged with a fanciful floriation, amid wavy scrolls bearing flowers upon them. South of Spain, 14th century. 6½ inches by 4¼ inches.
The fine rich tone of colour, so fixed that it is yet unfaded, is remarkable.
The fine rich tone of colour, so fixed that it is yet unfaded, is remarkable.
SilkCrape, deep crimson, thickly diapered with leaves upon the items. Syrian. 8¾ inches by 5¾ inches.
Not only the mellow tone, but the pretty though small pattern is very pleasing.
Not only the mellow tone, but the pretty though small pattern is very pleasing.
Silkand Cotton Texture; ground, white cotton; pattern, lozenges filled up with a broken fret of T-shaped lines and dots, and a cross in the middle; and with similar markings in the intervening spaces. Byzantine, 14th century. 14 inches by 5 inches.
Though of such poor materials this specimen is rather interesting from its design where the narrow-lined lozenges with their T’s and short intervening lines are all in green silk, now much faded; and the cross, known as of the Greek form, with those little dots are in crimson silk. Most likely it was woven in one of the islands of the Archipelago, and for liturgical use, such as the broad flat girdle still employed in the Oriental rituals.
Though of such poor materials this specimen is rather interesting from its design where the narrow-lined lozenges with their T’s and short intervening lines are all in green silk, now much faded; and the cross, known as of the Greek form, with those little dots are in crimson silk. Most likely it was woven in one of the islands of the Archipelago, and for liturgical use, such as the broad flat girdle still employed in the Oriental rituals.
SilkDamask; ground, fawn-colour; design, parrots and giraffes in pairs amid floriated ornamentation, all, excepting the portions done in gold, of the same tintwith the ground. Sicilian, 13th century. 15 inches by 8 inches.
Like the specimen underNo. 1274, where it is fully described.
Like the specimen underNo. 1274, where it is fully described.
SilkDamask; all creamy white; pattern, net-work, the oval meshes of which show floriations in thin lines upon a satiny ground. Syrian, 13th century. 11½ inches by 6 inches.
This fine rich textile is, in all probability, the production of a Saracenic loom, and from the eastern part of the Mediterranean.
This fine rich textile is, in all probability, the production of a Saracenic loom, and from the eastern part of the Mediterranean.
SilkTissue; ground, amber; pattern, a reticulation, each six-sided mesh filled in with alternate flowers and leaves, with here and there a circle enclosing a pair of parrots, addorsed, regardant; and between them a lace sort of column having, at top, a crescent all in dark blue. Oriental, late 12th century. 12½ inches by 6½ inches.
A good specimen, when fresh and new, of the eastern loom.
A good specimen, when fresh and new, of the eastern loom.
WhiteSilk Damask, diapered with a chequer charged with lozenges, bearing the Greek gammadion, and sprinkled with larger flowers. Oriental, 14th century. 7½ inches by 5½ inches.
The pattern of this curious stuff is very small; and from the presence of the gammadion upon it, we may presume it was originally wrought for Greek liturgical use, somewhere on the coast of Syria.
The pattern of this curious stuff is very small; and from the presence of the gammadion upon it, we may presume it was originally wrought for Greek liturgical use, somewhere on the coast of Syria.
SilkDamask; green; the pattern, an oval, enclosing an artichoke, and the spaces between filled in with foliations and pomegranates. Spanish, 16th century. 23 inches by 12½ inches.
Beautiful in tone of colour, and of a pleasing design, well shown by a shining satiny look of the silk; this is a specimen of a rich stuff.
Beautiful in tone of colour, and of a pleasing design, well shown by a shining satiny look of the silk; this is a specimen of a rich stuff.
DiaperedSilk; ground, yellow; pattern, a large conventional foliation, in rows, alternating with rows of armorial shields, all in blue. Spanish, early 17th century. 20 inches by 17 inches.
A very effective design for household use: the shield is a pale, the crest a barred closed helmet topped by a demy wyvern.
A very effective design for household use: the shield is a pale, the crest a barred closed helmet topped by a demy wyvern.
SilkDiaper; ground, gold; pattern, flowers and fruits in crimson, slightly shaded in blue and green silk. Spanish, 16th century. 12½ inches by 8½ inches.
Though the gold on the ground be so sparingly put in, this stuff has a rich look, and the occurrence of the pomegranate points to Granada as the place of manufacture of this and other tissues of such patterns.
Though the gold on the ground be so sparingly put in, this stuff has a rich look, and the occurrence of the pomegranate points to Granada as the place of manufacture of this and other tissues of such patterns.
SilkTissue, now deep amber, once bright crimson, diapered with a modification of the meander, and over that sprigs of flowers. Oriental, 13th century. 8 inches by 4½ inches.
To see the raised diapering of this piece requires a near inspection, but when detected, it is found to be of a pleasing type.
To see the raised diapering of this piece requires a near inspection, but when detected, it is found to be of a pleasing type.
SilkDamask; ground, purple; pattern, a quatrefoil, within another, charged with a cross-like floriation, with a square white centre, surmounted by two eagles with wings displayed, upholding in their beaks a royal crown, all in green. Italian, early 15th century. 14 inches by 11½ inches.
Though the silk be poor the design is in good character, and the stuff would seem to have been wrought either at Florence or Lucca, for some princely German house.
Though the silk be poor the design is in good character, and the stuff would seem to have been wrought either at Florence or Lucca, for some princely German house.
Pieceof Silk Damask; ground, red and gold; pattern, a pair of ostrich feathers, springing from a conventional flower, and drooping over an artichoke-like floriation, of a tint once light green, and shaded dull white. Spanish, 15th century. 14¾ inches by 7½ inches.
A curious mixture of silk, wool, linen thread and gold very sparingly employed. The ostrich feather is so unusual an element of ornamental design, especially in woven stuffs, that we may deem it a kind of remembrance of the Black Prince who fought for a Spanish king, Don Pedro the Cruel, at the battle of Navaretta, or Najarra, if not having a significance of the marriage of Catherine of Arragon, first with our Prince Arthur, eldest son of Henry VII, and after his death, with his younger brother, Henry VIII, each of whom was in his time Prince of Wales, whose badge became one or more ostrich feathers. In old English church inventories drawn up towards the middle and the end of the 15th century, mention is often found of vestments made of a Flemish stuff, called Dorneck, from the name in Flanders for the city of Tournay, where it was made, but spelt in English various ways, as Darnec, Darnak, Darnick, and even Darnep. Such an inferior kind of tissue woven of thin silk mixed with wool and linen thread, was in great demand, for every-day wear in poor churches in this country. Though not wrought at Tournay, the present specimen affords a good example of that sort of stuff called Dorneck, which, very probably, was introducedinto Flanders from Spain. Besides the present textile, another, figured in the “Mélanges d’Archéologie,” t. iii. pt. xxxiii, furnishes an additional instance in which the ostrich feather is brought into the design.
A curious mixture of silk, wool, linen thread and gold very sparingly employed. The ostrich feather is so unusual an element of ornamental design, especially in woven stuffs, that we may deem it a kind of remembrance of the Black Prince who fought for a Spanish king, Don Pedro the Cruel, at the battle of Navaretta, or Najarra, if not having a significance of the marriage of Catherine of Arragon, first with our Prince Arthur, eldest son of Henry VII, and after his death, with his younger brother, Henry VIII, each of whom was in his time Prince of Wales, whose badge became one or more ostrich feathers. In old English church inventories drawn up towards the middle and the end of the 15th century, mention is often found of vestments made of a Flemish stuff, called Dorneck, from the name in Flanders for the city of Tournay, where it was made, but spelt in English various ways, as Darnec, Darnak, Darnick, and even Darnep. Such an inferior kind of tissue woven of thin silk mixed with wool and linen thread, was in great demand, for every-day wear in poor churches in this country. Though not wrought at Tournay, the present specimen affords a good example of that sort of stuff called Dorneck, which, very probably, was introducedinto Flanders from Spain. Besides the present textile, another, figured in the “Mélanges d’Archéologie,” t. iii. pt. xxxiii, furnishes an additional instance in which the ostrich feather is brought into the design.
GreenSilk Damask; pattern, floriations and short lengths of narrow bands arranged zig-zag. Italian, 17th century. 8 inches by 6½ inches.
An extraordinary but not pleasing pattern.
An extraordinary but not pleasing pattern.
Silkand Linen Damask; ground, creamy white; pattern, in light brown, once pink, a conventional artichoke. Italian, 16th century. 1 foot 5 inches by 9½ inches.
The warp is thread, but still the texture looks well.
The warp is thread, but still the texture looks well.
Silkand Gold Damask; ground, light green silk; pattern, large vine-leaves and stars, with a border of griffins and fleur-de-lis, in gold. Sicilian, 14th century. 10¼ inches square.
This beautiful stuff was, in all likelihood, woven at the royal manufactory at Palermo, and meant as a gift to some high personage who came from the blood royal of France. The griffins, affronted or combatant, are drawn with much freedom and spirit, and though the gold be dull, the pattern still looks rich.
This beautiful stuff was, in all likelihood, woven at the royal manufactory at Palermo, and meant as a gift to some high personage who came from the blood royal of France. The griffins, affronted or combatant, are drawn with much freedom and spirit, and though the gold be dull, the pattern still looks rich.
GoldWeb, diapered with animals in green silk. French, late 13th century. 14¼ inches by 2¼ inches.
Probably wrought in a small frame, at home, by some young woman, and for personal adornment. So much is it worn away, that the greenbeardless lion, with a circle of crimson, can be well seen only in one instance. A narrow short piece of edging lace, of the same make and time, but of a simple interlacing strap-pattern, is pinned to this specimen.
Probably wrought in a small frame, at home, by some young woman, and for personal adornment. So much is it worn away, that the greenbeardless lion, with a circle of crimson, can be well seen only in one instance. A narrow short piece of edging lace, of the same make and time, but of a simple interlacing strap-pattern, is pinned to this specimen.
Greenand Fawn-coloured Silk Diaper; pattern, squares, green, filled in with leaves fawn-coloured, and beasts and birds, green. Sicilian, late 13th century. 8 inches by 3¼ inches.
Another of those specimens, perhaps of the Palermitan loom: all the animals look heraldic, and are lions, griffins, wyverns, and parrots. The stuff itself is not of the richest.
Another of those specimens, perhaps of the Palermitan loom: all the animals look heraldic, and are lions, griffins, wyverns, and parrots. The stuff itself is not of the richest.
GoldLace, so worn by use that the floriation on the oblong diaper is obliterated. French, 13th century. 9 inches by 1¼ inches.
GoldLace; pattern, interlacing strap-work. French, 13th century. 7 inches by 1½ inches.
Equally serviceable for personal or ecclesiastical use.
Equally serviceable for personal or ecclesiastical use.
BlackSilk Damask; figured with a tower surrounded by water, over which are two bridges; in the lower court are two men, each with an eagle perched upon his hand; from out the third story of the tower springs a tree, bearing artichoke floriations. Italian, 15th century. 11 inches by 8 inches.
Another piece of this identical damask occurs atNo. 8612, but there the design is by no means so clear as in the piece before us.
Another piece of this identical damask occurs atNo. 8612, but there the design is by no means so clear as in the piece before us.
GreenSilk; pattern, a lozenge reticulation, each mesh filled in with four very small voided lozenges placed crosswise, in pale yellow. Oriental, 14th century. 5¼ inches by 4-⅝ inches.
Silkand Gold Damask; ground, green silk; pattern, conventional floriation, with a circular form of the artichoke. Spanish, early 15th century. 1 foot 3¾ inches by 4 inches.
One of those samples of that poor texture which came from the Spanish loom, with the sham gold, which we have before observed in other examples, of thin parchment gilt with a much debased gold.
One of those samples of that poor texture which came from the Spanish loom, with the sham gold, which we have before observed in other examples, of thin parchment gilt with a much debased gold.
SilkDamask; straw-colour; pattern, lozenge-shaped net-work, each mesh enclosing a flower. Spanish, 15th century. 13¾ inches by 12 inches.
So worn is this piece that it is with difficulty that its simple design can be made out.
So worn is this piece that it is with difficulty that its simple design can be made out.
SilkDamask; straw-colour; pattern, an imaginary eagle-like bird, enclosed by a garland full of ivy leaves. Sicilian, 14th century. 7¾ inches by 6 inches.
The ground is completely filled in with the well-designed and pretty diapering; but damp has sadly spoiled the specimen.
The ground is completely filled in with the well-designed and pretty diapering; but damp has sadly spoiled the specimen.
SilkDamask; ground, purple; pattern, heraldic figures, birds, and oval floriations, in gold thread. Oriental, 14th century. 16 inches by 9 inches.
On an oval, floriated all round, and enclosing two lionesses addorsed rampant regardant, are two wyvern-like eagles with curious feathered tails, regardant; below, are two cockatoos addorsed regardant, all in gold. The oval floriation is outlined with green. When new, this stuff must have had a brave appearance, and shows a Persian tradition about it.
On an oval, floriated all round, and enclosing two lionesses addorsed rampant regardant, are two wyvern-like eagles with curious feathered tails, regardant; below, are two cockatoos addorsed regardant, all in gold. The oval floriation is outlined with green. When new, this stuff must have had a brave appearance, and shows a Persian tradition about it.
Linen,embroidered in silk; ground, fine linen; pattern, a zigzag, alternating in light blue and brown. German, 15th century. 14 inches by 3½ inches.
The zigzag may be termed dancette, and all over is parted into lozenges, each lozenge charged with a cross made of mascles, and the spaces between the brown and the blue zigzags, filled in with others of a light brown coloured diapering.
The zigzag may be termed dancette, and all over is parted into lozenges, each lozenge charged with a cross made of mascles, and the spaces between the brown and the blue zigzags, filled in with others of a light brown coloured diapering.
SilkDamask; ground, violet or deep purple; pattern, angels with thuribles, and emblems of the Passion, in yellow and white. Florentine, late 14th century. 18¼ inches by 15¾ inches.
This truly artistic and well-executed stuff displays a row of angels in girded albs, all flying one way, as with the left hand they swing thuribles, and another row kneeling, each with a crown of thorns in his hands, alternating, with a second set of angels, in another row, each bearing before him a cross. All the angels are done in yellow, but with face and hands white, and the whole ground is strewed with stars. It is likely that this fine stuff was woven expressly for the purple vestments worn in Passion time, at the end of Lent.
This truly artistic and well-executed stuff displays a row of angels in girded albs, all flying one way, as with the left hand they swing thuribles, and another row kneeling, each with a crown of thorns in his hands, alternating, with a second set of angels, in another row, each bearing before him a cross. All the angels are done in yellow, but with face and hands white, and the whole ground is strewed with stars. It is likely that this fine stuff was woven expressly for the purple vestments worn in Passion time, at the end of Lent.
CrimsonSilk and Gold Brocade; ground, a diaper of crimson; pattern, an oval reticulation, in the meshes of which is an artichoke flower, all in gold. Genoese, 16th century. 16¾ inches by 9 inches.
The design of this rich stuff is well managed, and the diapering in dull silk upon a satin ground throws out the gold brocading admirably; the meshes which enclose the flowers are themselves formed of garlands.
The design of this rich stuff is well managed, and the diapering in dull silk upon a satin ground throws out the gold brocading admirably; the meshes which enclose the flowers are themselves formed of garlands.
RaisedCrimson Velvet, damasked in gold; pattern, the artichoke and small floriations in gold. Genoese, 16th century. 15¾ inches by 11½ inches.
A specimen of what, in its prime, must have been a fine stuff for household decoration, though of such a nature as to have freely allowed it to be employed for ecclesiastical purposes. It has seen rough service, so that its pile is in places thread-bare, and its gold almost worn away.
A specimen of what, in its prime, must have been a fine stuff for household decoration, though of such a nature as to have freely allowed it to be employed for ecclesiastical purposes. It has seen rough service, so that its pile is in places thread-bare, and its gold almost worn away.
RaisedVelvet on Gold Ground; pattern, a very large rose with broad border in raised crimson velvet, filled in with a bush of pomegranates, in very thin lines of raised crimson velvet; the rest of the ground is diapered all over with the pomegranate tree in very thin outline. Genoese, early 16th century. 2 feet 9 inches by 2 feet.
The gold thread was so poor that the precious metal has almost entirely disappeared; but when all was new, this stuff must have looked particularly grand. The large red rose, and the pomegranate, make it seem as if it had been wrought, in the first instance, for either our Henry the Seventh, or Henry the Eighth, after the English marriage of Catherine of Arragon.
The gold thread was so poor that the precious metal has almost entirely disappeared; but when all was new, this stuff must have looked particularly grand. The large red rose, and the pomegranate, make it seem as if it had been wrought, in the first instance, for either our Henry the Seventh, or Henry the Eighth, after the English marriage of Catherine of Arragon.
RaisedVelvet and Gold; pattern, conventional flowers in gold, upon tawny-coloured velvet. Genoese, late 15th century. 12 inches by 8 inches.
The gold of the design is, in parts, nicely diapered; and the gold thread itself thin, and now rather tarnished.
The gold of the design is, in parts, nicely diapered; and the gold thread itself thin, and now rather tarnished.
RaisedCrimson Velvet; pattern, an artichoke amid flowers. Genoese, late 15th century. 16½ inches by 11½ inches.
The pile is rich; and when it is borne in mind how the Emperor Charles V. honoured Andrea Dorea, it is not surprising that his countrymen had a partiality for the Spanish emblem of their great captain’s admirer.
The pile is rich; and when it is borne in mind how the Emperor Charles V. honoured Andrea Dorea, it is not surprising that his countrymen had a partiality for the Spanish emblem of their great captain’s admirer.
RaisedBlue Velvet; ground, deep blue; pattern, within an outlined seven-petaled floriation in silk, an artichoke, with sprigs of flowers shooting out of it. Genoese, late 15th century. 17½ inches by 10¼ inches.
Though much worn by hard usage, this stuff is of a pleasing effect, owing to its agreeable design, which not unfrequently occurs perfect, and consists of a kind of circle in narrow lines, somewhat in the shape of a flower, but having at the tips of its prominent feathering cusps of florets.
Though much worn by hard usage, this stuff is of a pleasing effect, owing to its agreeable design, which not unfrequently occurs perfect, and consists of a kind of circle in narrow lines, somewhat in the shape of a flower, but having at the tips of its prominent feathering cusps of florets.
FiguredBlue Velvet; embroidered in gold thread, with cinquefoils, enclosing a floriation of the artichoke form, with smaller ones around it. Spanish, 15th century. 15 inches by 9½ inches.
By the shape of this piece it must have been cut off from the end of a chasuble. Though the velvet is rich, the embroidery is poor, done as it is in thin outline, but still of a good form.
By the shape of this piece it must have been cut off from the end of a chasuble. Though the velvet is rich, the embroidery is poor, done as it is in thin outline, but still of a good form.
OrphreyWeb, silk and gold; ground, crimson; pattern, on a gold diapering, conventional floriations and scrolls, in one of which is the bust of St. Peter, with his key in one hand and a book in the other. Florentine, late 15th century. 21 inches by 8 inches.
Like many other samples, this rich web of crimson silk and fine gold thread was wrought for those kinds of broad orphreys needed for chasubles and copes; and sometimes worked up into altar-frontals.
Like many other samples, this rich web of crimson silk and fine gold thread was wrought for those kinds of broad orphreys needed for chasubles and copes; and sometimes worked up into altar-frontals.
SilkDamask; ground, yellow; pattern, net-work, the meshes, which are looped to each other, filled in with a conventional floriated ornament, all in green. Italian, 16th century. 16½ inches by 10¾ inches.
Intended for household adornment. This stuff must have had an agreeable effect, though the green has somewhat faded.
Intended for household adornment. This stuff must have had an agreeable effect, though the green has somewhat faded.
SilkDamask; ground, yellowish pale green; pattern, a diapering of very small leaves and flowers. Oriental, 13th century. 6½ inches by 5¾ inches.
Just likeNo. 7056, and needing the same near inspection to find out its small but well-managed delicate design.
Just likeNo. 7056, and needing the same near inspection to find out its small but well-managed delicate design.