The warp is of linen thread, the woof of silk, and as the two materials have not taken the dye in the same degree, the ground is of quite another tone from the pattern, which is, in a manner, fortunate, as thus a better effect is produced.Not for a moment can we look upon this piece as a specimen of real imperial purple wrought at Byzantium for royal use, and so highly spoken of by Anastasius Bibliothecarius, and called by him “blatthin,” with the distinguishing adjunct of “holosericus,” or made entirely of silk, and sometimes noticing it as “porphyreticum,” while enumerating the gifts of rich silks bestowed upon the churches at Rome by pontifical and imperial benefactors.
The warp is of linen thread, the woof of silk, and as the two materials have not taken the dye in the same degree, the ground is of quite another tone from the pattern, which is, in a manner, fortunate, as thus a better effect is produced.
Not for a moment can we look upon this piece as a specimen of real imperial purple wrought at Byzantium for royal use, and so highly spoken of by Anastasius Bibliothecarius, and called by him “blatthin,” with the distinguishing adjunct of “holosericus,” or made entirely of silk, and sometimes noticing it as “porphyreticum,” while enumerating the gifts of rich silks bestowed upon the churches at Rome by pontifical and imperial benefactors.
Pieceof Yellow Silk, with pattern of circles enclosing griffins, the interspaces filled in with hawks. Byzantine, 11th century. 12 inches by 10½ inches.
This well woven and thickly bodied stuff shows its Byzantine origin in that style of ornamentation seen in the circles so characteristic of a Greek hand, as may be found in the Byzantine MSS. of the period. What makes this specimen somewhat remarkable, is the rare occurrence of finding the birds and animals figured in lines of silver thread. Dr. Bock tells us that the chasuble of Bishop Bernward, who died in the 11th century, is decorated with a similar design.
This well woven and thickly bodied stuff shows its Byzantine origin in that style of ornamentation seen in the circles so characteristic of a Greek hand, as may be found in the Byzantine MSS. of the period. What makes this specimen somewhat remarkable, is the rare occurrence of finding the birds and animals figured in lines of silver thread. Dr. Bock tells us that the chasuble of Bishop Bernward, who died in the 11th century, is decorated with a similar design.
Pieceof Silk, Tyrian purple, diapered with palmette pattern. Oriental, 11th century. 1 foot 4 inches by 8½ inches.
The hundreds of years that have passed over this remnant of the Eastern looms have stolen from it that brightness of tone which once, no doubt, shone about its surface.
The hundreds of years that have passed over this remnant of the Eastern looms have stolen from it that brightness of tone which once, no doubt, shone about its surface.
Portionof Silk Border, crimson wrought in gold, with circles containing grotesque animals. Italian (?), middle of the 13th century. 1 foot 5½ inches by 3½ inches.
This well filled piece contains birds and beasts, among the latter two dogs addorsed, embroidered with circles, upon plain red silk. Bythe ornamentation, the embroidery must be about the middle of the 13th century, and is of that general character which hinders national identification, though there can be no doubt it must have been wrought by some hand in Western Europe.
This well filled piece contains birds and beasts, among the latter two dogs addorsed, embroidered with circles, upon plain red silk. Bythe ornamentation, the embroidery must be about the middle of the 13th century, and is of that general character which hinders national identification, though there can be no doubt it must have been wrought by some hand in Western Europe.
ThreePieces of Silk, discoloured to dull olive, diapered with a closely foliated pattern. Sicilian, 13th century. Respectively 6 inches by 4 inches, 4½ inches by 4 inches, and 6 inches by 3 inches.
The design of the pattern is very elaborate and worthy of attention for the tasteful way in which it is arranged.
The design of the pattern is very elaborate and worthy of attention for the tasteful way in which it is arranged.
Pieceof Silk, with lilac pattern, enclosing grotesque animals. Sicilian, 13th century. 3¾ inches by 1¾ inches.
There is no reason for assuming that this piece of woven stuff formed the orphrey of a stole or any other liturgical ornament. It is, however, a fine specimen in its kind, and is one of the very many proofs to be found among the textiles and embroideries in the Museum, of the influence exercised by heraldry upon the looms of Western Europe. The beasts and birds are evidently heraldic, and are heraldically placed, especially the beasts, which are statant regardant.
There is no reason for assuming that this piece of woven stuff formed the orphrey of a stole or any other liturgical ornament. It is, however, a fine specimen in its kind, and is one of the very many proofs to be found among the textiles and embroideries in the Museum, of the influence exercised by heraldry upon the looms of Western Europe. The beasts and birds are evidently heraldic, and are heraldically placed, especially the beasts, which are statant regardant.
Maniplein Crimson Silk, embroidered in colours and gold with emblematical animals. The ends contain within circles, one the lion, symbolical of Christ, the other the initial M, but of much later work. The silk, Oriental; the embroidery, German, early 14th century. 3 feet 8 inches by 7 inches.
This valuable specimen of mediæval church-embroidery is very curious, inasmuch as it contains three distinct periods of work; themiddle part of the earliest portion of the 14th century, embroidered with so many fantastic figures; the lion passant with the human head, at the left end, of the beginning of the 13th; and the green letter M, poorly worked on the red garment laid bare at the right end by the loss of the circular piece of embroidery once sewed on there, no doubt in the style and of the same period of the human-faced lion, of the latter part of the 15th century.The whole of the middle piece is of needlework, and figured with sixteen figures, four-legged beasts in the body, and human in the heads, all of which are seen, by the hair, to be female. All are statant gardant or standing and looking full in the face of the spectator. Eight of them are playing musical instruments, most of which are stringed and harp-shaped, one a clarionet-like pipe, another castanets, and two cymbals, and are human down to the waist; the other eight seem meant for queens wearing crowns, and having the hair very full, but reaching no further than the shoulders, while the minstrel females show a long braid of dark brown hair falling all down the back. The queens have wings, and are human only in head and neck; the musical figures are wingless, and human as far as the waist. All these monsters display large tails, which end in an open-mouthed head like that of a fox, and are all noued. Each of these figures stands within a square, which is studded at each corner with the curious four-pointed love-knot, and in the ornamentation of its sides the crescent is very conspicuous; besides which, upon the bodies of these figures themselves numerous ring-like spots are studiously marked, as if to show that the four-legged animal was a leopard. Grotesques like those in this curious piece of embroidery abound in the MSS. of the 14th century; and those cut in stone on the north and south walls outside Adderbury Church, Oxon, bear a strong likeness to them. These fictitious creatures, made up of a woman, a leopard—the beast of prey, a fox—the emblem of craftiness and sly cunning, wielding too the power of wealth and authority, shown in those regal heads, and bringing those siren influences of music, love, and revelry into action, lead to the belief that under such imagery there was once hidden a symbolic meaning, which still remains to be found out, and this embroidery may yield some help in such an interesting study.All the figures are wrought on fine canvas in gold thread, and shaded with silk thread in various colours, the ground being filled in, in short stitch, with a bright-toned crimson silk that has kept its colour admirably. The narrow tape with a gold ornament upon a crimson ground, that encloses the square at each end of this liturgical appliance,is very good, and perhaps of the 13th century, as well as the many-coloured fringe of the 15th. There is no doubt this maniple, for such it is, was made out of scraps of secular adornments of various dates; and gives us remarkable examples of embroidery and weaving at various periods. One end of it is figured in Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 1 Band, 2 Lieferung, part vi.
This valuable specimen of mediæval church-embroidery is very curious, inasmuch as it contains three distinct periods of work; themiddle part of the earliest portion of the 14th century, embroidered with so many fantastic figures; the lion passant with the human head, at the left end, of the beginning of the 13th; and the green letter M, poorly worked on the red garment laid bare at the right end by the loss of the circular piece of embroidery once sewed on there, no doubt in the style and of the same period of the human-faced lion, of the latter part of the 15th century.
The whole of the middle piece is of needlework, and figured with sixteen figures, four-legged beasts in the body, and human in the heads, all of which are seen, by the hair, to be female. All are statant gardant or standing and looking full in the face of the spectator. Eight of them are playing musical instruments, most of which are stringed and harp-shaped, one a clarionet-like pipe, another castanets, and two cymbals, and are human down to the waist; the other eight seem meant for queens wearing crowns, and having the hair very full, but reaching no further than the shoulders, while the minstrel females show a long braid of dark brown hair falling all down the back. The queens have wings, and are human only in head and neck; the musical figures are wingless, and human as far as the waist. All these monsters display large tails, which end in an open-mouthed head like that of a fox, and are all noued. Each of these figures stands within a square, which is studded at each corner with the curious four-pointed love-knot, and in the ornamentation of its sides the crescent is very conspicuous; besides which, upon the bodies of these figures themselves numerous ring-like spots are studiously marked, as if to show that the four-legged animal was a leopard. Grotesques like those in this curious piece of embroidery abound in the MSS. of the 14th century; and those cut in stone on the north and south walls outside Adderbury Church, Oxon, bear a strong likeness to them. These fictitious creatures, made up of a woman, a leopard—the beast of prey, a fox—the emblem of craftiness and sly cunning, wielding too the power of wealth and authority, shown in those regal heads, and bringing those siren influences of music, love, and revelry into action, lead to the belief that under such imagery there was once hidden a symbolic meaning, which still remains to be found out, and this embroidery may yield some help in such an interesting study.
All the figures are wrought on fine canvas in gold thread, and shaded with silk thread in various colours, the ground being filled in, in short stitch, with a bright-toned crimson silk that has kept its colour admirably. The narrow tape with a gold ornament upon a crimson ground, that encloses the square at each end of this liturgical appliance,is very good, and perhaps of the 13th century, as well as the many-coloured fringe of the 15th. There is no doubt this maniple, for such it is, was made out of scraps of secular adornments of various dates; and gives us remarkable examples of embroidery and weaving at various periods. One end of it is figured in Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 1 Band, 2 Lieferung, part vi.
TwoPieces of Silk Border; red purple, embroidered with monsters, birds, and scroll patterns. To No. 8240 is attached a portion of edging, embroidered in gold, with the rude figure of a saint, on a blue-purple ground. Sicilian, 13th century. 8240, 1 foot 3¼ inches by 5 inches; 8240A, 1 foot 11 inches by 2 inches.
Among the animals figured on these pieces may be discerned a wolf passant, the fabulous heraldic wyvern, an eagle displayed, and a stag. The figure, however, of the saint, done in gold now much faded, is of the 12th century.
Among the animals figured on these pieces may be discerned a wolf passant, the fabulous heraldic wyvern, an eagle displayed, and a stag. The figure, however, of the saint, done in gold now much faded, is of the 12th century.
Pieceof Tapestry, the warp cotton, the woof partly wool, partly silk; in the centre, a grotesque mask, connecting scroll-patterns in blue, bordered with Tyrian purple. Sicilian, late 12th century. 1 foot 2¾ inches by 6 inches.
This is a rare as well as valuable specimen of its kind, and deserves attention, not only for the graceful twinings of its foliage, but the happy contrast of its colours.
This is a rare as well as valuable specimen of its kind, and deserves attention, not only for the graceful twinings of its foliage, but the happy contrast of its colours.
Portionof Gold Embroidery, on red-purple silk, over a dark blue cotton ground, figure of St. Andrew within an arch. German work, 12th century. 9¾ inches by 5¼ inches.
Pieceof Silk, dark Tyrian purple ground, with dark olive pattern of angular figures, and circles enclosing crosses, composed of four heart-shaped ornaments. Byzantine, beginning of the 12th century. 6 inches by 6 inches.
Pieceof Silk Border, ground alternately lilac, purple, and yellowish, with figures of animals within the spaces of the patterns; edging, green. Sicilian, 13th century. 3¼ inches by 1 inch.
Though small, this is a beautiful sample of textile excellence; on it various animals are figured, of which one is the heraldic wyvern.
Though small, this is a beautiful sample of textile excellence; on it various animals are figured, of which one is the heraldic wyvern.
TwoPieces of Crimson, embroidered, in gold, with a scroll-pattern. Sicilian, 13th century. 8244, 6½ inches by 2½ inches; 8244A, 6¼ inches by 2½ inches.
Pieceof Silk Tissue; the ground of pale purple, woven in a diaper with stripes of yellow and blue; the pattern formed of parrots perched in pairs. Sicilian, 12th century. 1 foot 6½ inches by 10 inches.
It is said that St. Bernard, abbot of Clairvaux, when his grave was opened, was found vested in a chasuble made of a stuff much like this.
It is said that St. Bernard, abbot of Clairvaux, when his grave was opened, was found vested in a chasuble made of a stuff much like this.
Pieceof Tissue, like the foregoing (No. 8245), with a centre stripe woven with gold thread and dark blue, and two side-stripes with figures of parrots. Sicilian, early 13th century.
Though seemingly so slight and insignificant, these two pieces will richly repay a close examination, exhibiting, as they do, great beauty of design.
Though seemingly so slight and insignificant, these two pieces will richly repay a close examination, exhibiting, as they do, great beauty of design.
Pieceof Border, of silk and gold thread, pale purple ground, with pattern of animals and flower (?) ornament. Sicilian (?). 10½ inches by 1¼ inches.
From age, the design of the pattern is so very indistinct that it becomes almost a puzzle to make it out.
From age, the design of the pattern is so very indistinct that it becomes almost a puzzle to make it out.
ThreePieces of Silk, orange-red ground, with yellow pattern, apparently composed in part of grotesque animals. Oriental, 13th century. 6 inches by 4½ inches; 3 inches by 2½ inches; 4½ inches by 2 inches.
This last piece shows signs of having been waxed, and probably is the fragment of a cere-cloth for the altar, to be placed immediately on the stone table, and under the linen cloths.
This last piece shows signs of having been waxed, and probably is the fragment of a cere-cloth for the altar, to be placed immediately on the stone table, and under the linen cloths.
Pieceof Tissue, woven of silk and linen; ground, Tyrian purple, with a Romanesque pattern in white. Moresco-Spanish, 13th century.
The design of this specimen is very effective; and, as the materials of this stuff are poor and somewhat coarse, we may perceive that, even upon things meant for ordinary use, the mediæval artisans bestowed much care in the arrangement and sketching of their patterns.
The design of this specimen is very effective; and, as the materials of this stuff are poor and somewhat coarse, we may perceive that, even upon things meant for ordinary use, the mediæval artisans bestowed much care in the arrangement and sketching of their patterns.
Pieceof Silk; purple ground, and yellowish pattern in lozenge forms, intersected by interlaced knots. Byzantine, end of the 12th century. 6½ inches by 5 inches.
The knots in this piece are somewhat like those to be found upon Anglo-Saxon work, in stone, and in silver and other metals; and the lozenges powdered with Greek crosses, and stopped at each of the four corners of the lozenge by a three-petaled flower ornament—not, however, a fleur-de-lis,—make this piece of stuff remarkable.
The knots in this piece are somewhat like those to be found upon Anglo-Saxon work, in stone, and in silver and other metals; and the lozenges powdered with Greek crosses, and stopped at each of the four corners of the lozenge by a three-petaled flower ornament—not, however, a fleur-de-lis,—make this piece of stuff remarkable.
Pieceof Broad Border of Gold Tissue, portion of a vestment. Sicilian, 13th century. 6 inches by 5 inches.
This was once part of the orphrey of some liturgical garment, and is figured with lions rampant combatant, and foliage in which a cross flory may be discovered.
This was once part of the orphrey of some liturgical garment, and is figured with lions rampant combatant, and foliage in which a cross flory may be discovered.
Pieceof Silk; green ground, with a stripe diapered in silver. Byzantine, end of 12th century. 4¾ inches by 2 inches.
The design of the stripe not only shows the St. Andrew’s cross, or saltire, but, in its variety of combination, displays other forms of the cross, that make this stuff one of the kind known among Greek writers as “stauracinus” and “polystauria,” and spoken of as such by Anastasius Bibliothecarius in very many parts of his valuable work.
The design of the stripe not only shows the St. Andrew’s cross, or saltire, but, in its variety of combination, displays other forms of the cross, that make this stuff one of the kind known among Greek writers as “stauracinus” and “polystauria,” and spoken of as such by Anastasius Bibliothecarius in very many parts of his valuable work.
Portionof a Maniple, linen web with an interlaced diamond-shaped diapering, in silk. 12th century. Byzantine. 1 foot 9 inches by 2¾ inches.
This curious remnant of textiles, wrought on purpose for liturgical use, shows in places another combination of lines, or rather of a digamma, so as to form a sort of cross: and stuffs so diapered were called by Greek, and after them by Latin, Christian writers, “gammadia.” It was a pattern taken up by the Sicilian and South Italian looms, whence it spread so far north as England, where it may be found marked amid the ornaments designed upon church vestments figured in many graven brasses. From us it got the new name of “filfod” through the idea of “full foot,” which by some English mediæval writers was looked upon as an heraldic charge, and is now called “cramponnée.” During the 13th century, in this country, ribbon-like textiles, for the express purpose of making stoles and maniples to be worn at the altar, were extensively wrought, and constituted one of the articles of trade in London, for a distinguishedcitizen of hers, John de Garlandia, or Garland, tells us:—“De textis vero fiunt cingula, et crinalia divitum mulierum et stole(ae) sacerdotum.” These “priests’ stoles,” in all likelihood, were figured with the gammadion or filfod pattern; and, perhaps, many of them which are to be found in foreign sacristies to this day came from London.The piece before us is figured in Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung, pt. iii. fig. 3.
This curious remnant of textiles, wrought on purpose for liturgical use, shows in places another combination of lines, or rather of a digamma, so as to form a sort of cross: and stuffs so diapered were called by Greek, and after them by Latin, Christian writers, “gammadia.” It was a pattern taken up by the Sicilian and South Italian looms, whence it spread so far north as England, where it may be found marked amid the ornaments designed upon church vestments figured in many graven brasses. From us it got the new name of “filfod” through the idea of “full foot,” which by some English mediæval writers was looked upon as an heraldic charge, and is now called “cramponnée.” During the 13th century, in this country, ribbon-like textiles, for the express purpose of making stoles and maniples to be worn at the altar, were extensively wrought, and constituted one of the articles of trade in London, for a distinguishedcitizen of hers, John de Garlandia, or Garland, tells us:—“De textis vero fiunt cingula, et crinalia divitum mulierum et stole(ae) sacerdotum.” These “priests’ stoles,” in all likelihood, were figured with the gammadion or filfod pattern; and, perhaps, many of them which are to be found in foreign sacristies to this day came from London.
The piece before us is figured in Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung, pt. iii. fig. 3.
Pieceof Silk and Gold Tissue, lilac-purple with fleur-de-lis diapering in gold. South Italian, end of 14th century. 5 inches by 4½ inches.
This stuff seems to have been made expressly for French royalty, perhaps some member of the house of Anjou.
This stuff seems to have been made expressly for French royalty, perhaps some member of the house of Anjou.
Pieceof Dark Blue Silk, with pattern in yellow, consisting of centre ornaments surrounded by four crowned birds like parrots. South Italian, 14th century. 9 inches by 7 inches.
Pieceof Silk Net, embroidered with crosslets and triangular ornaments charged with chevrons in lilac and green. North Italian, 14th century. 7 inches by 5 inches.
This is a good specimen of a kind of cobweb weaving, or “opus araneum,” for which Lombardy, especially its capital, Milan, earned such a reputation at one time.
This is a good specimen of a kind of cobweb weaving, or “opus araneum,” for which Lombardy, especially its capital, Milan, earned such a reputation at one time.
Pieceof Silk, crimson ground, with pattern in violet and green, consisting partly of wyverns. Sicilian, end of 13th century. 10 inches by 5 inches.
Another good specimen of the Sicilian loom, and very likely one of those “cendals” for which Palermo was once so famous.
Another good specimen of the Sicilian loom, and very likely one of those “cendals” for which Palermo was once so famous.
Pieceof Silk, pink-buff colour, with pattern, in green, of vine-leaves and grapes. South Italian, middle of 14th century. 8 inches by 5½ inches.
The design of this silk is remarkably elegant, and exemplifies the ability of the weaver-draughtsmen of those times.
The design of this silk is remarkably elegant, and exemplifies the ability of the weaver-draughtsmen of those times.
Pieceof Crimson Silk, damasked with a pattern in which occur leopards and eagles pouncing upon antelopes. Sicilian, end of 13th century.
The design of this piece of what must have been such a beautiful stuff is very skilfully imagined, and the whole carried out in a spirited manner. The leopards are collared, and from the presence of, as well as mode of action in, the eagles stooping on their prey, a thought may cross the mind that some political or partisan meaning is hidden under these heraldic animals.
The design of this piece of what must have been such a beautiful stuff is very skilfully imagined, and the whole carried out in a spirited manner. The leopards are collared, and from the presence of, as well as mode of action in, the eagles stooping on their prey, a thought may cross the mind that some political or partisan meaning is hidden under these heraldic animals.
Pieceof Silk; ground, lilac-purple; pattern, in bright yellow, composed of stags, parrots, and peacocks, amid foliage. Italian, 14th century. 10 inches by 4½ inches.
A pretty design, in cheerful colours, and a pleasing example probably of the Lucca loom towards the close of the 14th century.
A pretty design, in cheerful colours, and a pleasing example probably of the Lucca loom towards the close of the 14th century.
Pieceof Tissue, with hemp warp and silk woof; ground, dark blue; pattern, yellowish, representing a tree imparked, with eagles, and leopards having tails noued or tied in a knot. Italian, early 15th century. 1 foot 7 inches by 1 foot.
Though somewhat elaborate, the design of this piece is rather heavy.
Though somewhat elaborate, the design of this piece is rather heavy.
Pieceof Silk and Gold Tissue, lilac-purple ground, with a green pattern, showing eagles statant regardant, with wings displayed. Sicilian, 14th century. 7 inches by 4¾ inches.
The design is very good.
The design is very good.
Pieceof Silk, lilac-purple ground with green pattern, and gold woven border, exhibiting an antelope courant regardant. Sicilian, early 14th century. 6½ inches by 3½ inches.
Good in design.
Good in design.
TwoPieces of Silk, green ground and lilac-purple pattern, with dragons and cranes. Sicilian, early 14th century. 4½ inches by 4 inches; and 4½ inches by 2½ inches.
A pleasing design.
A pleasing design.
Portionof an Orphrey embroidered in silk and gold, with figures of two Apostles beneath crocketed canopies. German, early 14th century.
Pieceof Silk, rose-coloured ground, with pattern of eagles rising from trees, both green, and wild beasts spotted (perhaps leopards) in gold, and lodged in a park, paled green. South Italian, 14th century. 2 feet by 10½ inches.
Pieceof Silk, rose-coloured ground, pattern in green and gold, of two female demi-figures addorsed, gathering date-fruit with one hand, with the other patting a dog rampant and collared with bells, and other two female demi-figures holding, with one hand, a frond of the palm-tree out of which they are issuing, and with the other hand clutching the manes of lions rampant regardant and tails noued. Sicilian, 14th century. 1 foot 9 inches by 1 foot 2 inches.
This valuable and important piece displays an intricate yet well-managed and tastefully arranged pattern. One must be struck with the peculiar style of assortment of pink and green in its colours, the somewhat sameness in the subjects, and the artistic and heraldic way in which these silks (very likely wrought at Palermo) are woven. Dr. Bock has given a fine large plate of this stuff in his “Dessinateur pour Etoffes,” &c. Paris, Morel.
This valuable and important piece displays an intricate yet well-managed and tastefully arranged pattern. One must be struck with the peculiar style of assortment of pink and green in its colours, the somewhat sameness in the subjects, and the artistic and heraldic way in which these silks (very likely wrought at Palermo) are woven. Dr. Bock has given a fine large plate of this stuff in his “Dessinateur pour Etoffes,” &c. Paris, Morel.
Pieceof Silk and Gold Tissue; the ground black, with pattern, in gold, of a rayed star, with eagles statant and swans naiant (swimming) upon water on a foliated scroll. Sicilian, early 14th century. 1 foot 2 inches by 1 foot 1½ inches.
8264SILK AND GOLD TISSUE,Sicilian, 14thcentury.Vincent Brooks Day & Son, Lith.
8264SILK AND GOLD TISSUE,Sicilian, 14thcentury.Vincent Brooks Day & Son, Lith.
8264
SILK AND GOLD TISSUE,
Sicilian, 14thcentury.
Vincent Brooks Day & Son, Lith.
The design of this piece is as easy and flowing as it is bold; and the specimen affords us a very choice example of fine manufacture.
The design of this piece is as easy and flowing as it is bold; and the specimen affords us a very choice example of fine manufacture.
Pieceof Linen and Silk Textile; the ground, dark blue; the pattern, yellow, consisting of arcades beneath which are rows of parrots and hawks alternately, both gardant, and perched upon a vine; the initial M surmounted by a crown or fleur-de-lis in gold thread is inserted in the alternate range of arches. Southern Spanish, late 14th century. 1 foot 6 inches by 10 inches.
8265LINEN AND SILK TEXTILE,Spanish, 14thcentury.Vincent Brooks Day & Son, Lith.
8265LINEN AND SILK TEXTILE,Spanish, 14thcentury.Vincent Brooks Day & Son, Lith.
8265
LINEN AND SILK TEXTILE,
Spanish, 14thcentury.
Vincent Brooks Day & Son, Lith.
As a specimen of the Andalusian loom, and wrought by Christian hands, perhaps at Granada, while that part of Spain was under Moorish rule, this piece has a peculiar interest about it.
As a specimen of the Andalusian loom, and wrought by Christian hands, perhaps at Granada, while that part of Spain was under Moorish rule, this piece has a peculiar interest about it.
Maniple,embroidered in silk, inscribed in Gothic letters with “Gratia + plena + Dom ...” German, end of 14th century. 3 feet 10 inches by 2 inches.
Pieceof Tissue, of cotton warp, of silk and gold woof, with pattern of birds and stags amid foliated ornamentation. Spanish, 14th century.
Pieceof Silk and Gold Tissue; the ground, lilac-purple; the pattern in gold, symmetrically arranged and partly composed of birds, upon which hounds are springing. Sicilian, 14th century. 2 feet 3½ inches by 11 inches.
A very effective and well-executed design.
Pieceof Silk; ground, blue, diapered in yellow with mullets of eight points and eight-petaled flowers, within lozenges. Sicilian, early 15th century. 6 inches by 4¼ inches.
Pieceof Silk and Cotton Border; ground, crimson, now much faded; pattern, a diaper of the fleur-de-lis within a lozenge, both yellow; the stuff which it edged has a deep blue ground powdered with fleurs-de-lis, and eight-petaled flowers within lozenges, both yellow. South Italian, late 13th century. 4 inches by 2½ inches.
Though from its pattern we may assume that this stuff was made for the requirement of the Sicilian Anjou family or one of its adherents, the poorness of its materials forbids us from thinking it could have served for any other than common use.
Though from its pattern we may assume that this stuff was made for the requirement of the Sicilian Anjou family or one of its adherents, the poorness of its materials forbids us from thinking it could have served for any other than common use.
Pieceof Silk and Gold Tissue; pattern, consisting of diaper and leaves interspersed with small circles, within each of which is a conventional flower expanded. South Italian, 14th century. 11 inches by 10 inches.
Pieceof Silk, with portions of the pattern in gold; ground, green, on which are parrots (?) and little dogs, amid a sprinkling of quatrefoils. Sicilian, beginning of 14th century. 10½ inches by 4 inches.
Pieceof Silk and Gold Tissue; ground, green; the pattern in gold seems to have been divided by bars, and consists of an interlaced knot, on which rest birds. Southern Spanish, early 14th century. 8½ inches by 4¼ inches.
The knots in this piece are somewhat like our own Bouchier one; but the four ends of the English badge are not shown in this Andalusian ornament, perhaps meant to be really an heraldic charge peculiar to Spanish blazon.
The knots in this piece are somewhat like our own Bouchier one; but the four ends of the English badge are not shown in this Andalusian ornament, perhaps meant to be really an heraldic charge peculiar to Spanish blazon.
Pieceof Silk; ground, lilac-purple; pattern, yellow, diapered with crescents, within the horns of which are two very small wyverns addorsed. Sicilian, late 13th century. 7½ inches by 4½ inches.
The design is so indistinct that it requires time to unpuzzle it.
The design is so indistinct that it requires time to unpuzzle it.
Portionof an Orphrey, embroidered on parchment with glass, coral, gold beads, and seed pearls, having also small bosses and ornaments in silver-gilt. The ground is dark blue, on which is figured the B. V. Mary nimbed and crowned within an oblong aureole terminated by scrolls ending in trefoils and cinquefoils. Venetian, late 12th century.
That this curious and elaborate piece of bead embroidery must have been part of an orphrey for a chasuble, and not a maniple, is evident from the pointed shape in which it ends. From its style, and the quantity of very small beads and bugles which we see upon it, it would seem to have been wrought either at Venice itself, in some of its mainland dependencies, or in Lower Styria. Then, as now, the Venetian island of Murano wrought and carried on a large trade in beads of all kinds; and the silversmith’s craft was in high repute at Venice. Finding, then, this remnant of a liturgical vestment so plentifully adorned with beads, bugles, and coral, besides being so dotted with little specks of gold, and sprinkled with so many small but nicely worked silver-gilt stars, we are warranted in taking this embroidery to have been wrought somewhere in North East Italy or South West Germany, upon the borders of the Adriatic. Those fond of ecclesiastical symbolism will look upon this old piece of needlework with no small interest, and observe that it was by intention that the ground was blue. It is figured in Dr. Bock’s “Geschichte der Liturgischen Gewänder Mittelalters,” 1 Band, 2 Lieferung, pt. x. s. 275.
That this curious and elaborate piece of bead embroidery must have been part of an orphrey for a chasuble, and not a maniple, is evident from the pointed shape in which it ends. From its style, and the quantity of very small beads and bugles which we see upon it, it would seem to have been wrought either at Venice itself, in some of its mainland dependencies, or in Lower Styria. Then, as now, the Venetian island of Murano wrought and carried on a large trade in beads of all kinds; and the silversmith’s craft was in high repute at Venice. Finding, then, this remnant of a liturgical vestment so plentifully adorned with beads, bugles, and coral, besides being so dotted with little specks of gold, and sprinkled with so many small but nicely worked silver-gilt stars, we are warranted in taking this embroidery to have been wrought somewhere in North East Italy or South West Germany, upon the borders of the Adriatic. Those fond of ecclesiastical symbolism will look upon this old piece of needlework with no small interest, and observe that it was by intention that the ground was blue. It is figured in Dr. Bock’s “Geschichte der Liturgischen Gewänder Mittelalters,” 1 Band, 2 Lieferung, pt. x. s. 275.
Pieceof Linen Tissue, with pattern woven in gold; the design consists of bands curving to a somewhat lozenge form and inclosing an ornament composed of intersecting circles with a three-pointed or petaled kind of conventional flower (not a fleur-de-lis) radiating from the centre. Sicilian, 14th century. 5 inches by 4½ inches.
Pieceof Silk; ground, pinkish purple; pattern in dark blue, or rather green, divided by four-sided compartments and formed of conventional flowers and salamanders, the borders of a running design. Sicilian, 14th century. 10½ inches by 6 inches.
Most likely woven at Palermo, but no good sample of dyeing, as the colours have evidently changed; what is now a pinkish purple hue was of a light cheerful crimson tone, and the dark blue pattern must have originally been a warm green.
Most likely woven at Palermo, but no good sample of dyeing, as the colours have evidently changed; what is now a pinkish purple hue was of a light cheerful crimson tone, and the dark blue pattern must have originally been a warm green.
Pieceof Crimson Silk and Gold Tissue; the pattern, in gold, of conventional ornaments and circles containing birds and animals; the border consists of a repetition of a wyvern, an eagle displayed, and an elephant and castle. Italian, early 14th century. 11 inches by 4 inches.
This fine costly specimen of old silken stuff cannot fail in drawing to itself a particular attention from the heedful observer, by its gracefully elaborate design, so well carried out and done in such rich materials, but more especially by the symbols figured on it.Though now unable to read or understand the meaning of all those emblematic hints so indistinctly uttered in its curious border, made up, as it is, of a wyvern, a stork embowed and statant on an elephant and castle, and a displayed eagle, we hopefully think that, at no far-off day, the key to it all will be found; then, perhaps, the piece before us, and many other such textiles in this very collection, may turn out to be no little help to some future writer while unravelling several entanglements in mediæval history.Not for a single moment can we admit that through these heraldic beasts and birds the slightest reference was intended to be made to the four elements; heaven or the air, earth or its productions, fire and water, were quite otherwise symbolized by artists during the middle ages, as we may see in the nielli on a super-altar described and figured in the “Church of Our Fathers,” t. i. p. 257.
This fine costly specimen of old silken stuff cannot fail in drawing to itself a particular attention from the heedful observer, by its gracefully elaborate design, so well carried out and done in such rich materials, but more especially by the symbols figured on it.
Though now unable to read or understand the meaning of all those emblematic hints so indistinctly uttered in its curious border, made up, as it is, of a wyvern, a stork embowed and statant on an elephant and castle, and a displayed eagle, we hopefully think that, at no far-off day, the key to it all will be found; then, perhaps, the piece before us, and many other such textiles in this very collection, may turn out to be no little help to some future writer while unravelling several entanglements in mediæval history.
Not for a single moment can we admit that through these heraldic beasts and birds the slightest reference was intended to be made to the four elements; heaven or the air, earth or its productions, fire and water, were quite otherwise symbolized by artists during the middle ages, as we may see in the nielli on a super-altar described and figured in the “Church of Our Fathers,” t. i. p. 257.
ASINDON or kind of Frontal, of Crimson Silk, on a linen or canvas lining, embroidered in silk and silver thread, with a large figure of our Lord dead, two standing angels, and, at each of its four corners, a half-lengthfigure of an evangelist; the whole enclosed in a border inscribed with Sclavonic characters. Ruthenic work, middle of 17th century. 4 feet 6½ inches by 2 feet 10 inches.
In the centre of this curious ecclesiastical embroidery (for spreading outside the chancel, at the end of Holy Week, among the Greek,) our dead Lord, with the usual inscription, IC, XC, over Him, is figured lying full length, stretched out, as it were, upon a slab of stone which a sheet overspreads. His arms are at His sides as far as the elbows, where they bend so that His hands may be folded downward cross-wise upon His stomach, from which, to His knees, His loins are wrapped in a very full-folded cloth done in silver thread, but now nearly black from age. His skin is quite white, His hair and beard of a light brown colour, and His right side, His hands and feet are marked each with a blood-red wound; and the embroidery of His person is so managed as to display, in somewhat high relief, the hollows and elevations of the body’s surface; all around and beneath His head goes a nimbus marked inside with a cross very slightly pattee, the whole nicely diapered and once bright silver, but now quite black. Two nimbed angels, beardless and, in look, quite youthful, are standing, one at His head, the other at His feet, each, like the other, vested, as is the deacon at the present day, for mass, according to the Greek and Oriental rites; they wear the “chitonion” or alb, over that the “stoicharion” or dalmatic, and from the right—though it should have been from the left—shoulder falls the “orarion” or stole, upon which the Greek word “agios,” or holy, is repeated, just as a Greek deacon is shown in “Hierurgia,” p. 345; in his right hand each holds extended over our Lord, exactly as Greek deacons now do, at the altar, after the consecration of the Holy Eucharist, a long wand, at the end of which is a large round six-petaled flower-like ornament, having within it a cherub’s six-winged face; this is the holy fan, concerning which see the “Church of our Fathers,” iv. 197; and each has his left hand so raised up under his chin as to seemingly afford a rest for it. At each of the four corners of the frontal is the bust of an evangelist with a nimb about his head; in the upper left, “Agios o Theologos,” for so the Greeks still call St. John the Evangelist: in the lower left, St. Luke; in the upper right, St. Matthew; in the lower right, St. Mark; each is bearded, and the hair, whether on the head or chin, is shown in blue and white as of an aged man. While the heads and faces of all four evangelists are red, with the features distinguished by white lines, the angels have white faces and their hair is deep red with strokes in white to indicatethe curly wavings of their locks. There are two crosses, rather pattee, done in silver thread, measuring 2½ inches, one above, the other below our Lord, in the middle of the ground, which is crimson, and wrought all over with gracefully twined flower-bearing branches; and each evangelist is shut in by a quarter-circle border charmingly worked with a wreath of leaves quite characteristic of our 13th century work. All the draperies, inscriptions, and ornamentation, now looking so black, were originally wrought in silver thread that is thus tarnished by age.Among the liturgical rarities in this extensive and precious collection of needlework, not the least is the present Russo-Greek “sindon,” or ritual winding-sheet, used in a portion of the Eastern Church service on the Great Friday and Great Saturday, as the Orientals call our Good Friday and Holy Saturday.The colour itself—purplish crimson—of the silk ground upon which our Lord’s dead body lies, as it were, outstretched upon the winding-sheet in the grave, is not without a symbolic meaning, for amongst the Greeks, up to a late period, of such a tint were invariably the garments and the stuffs employed on every occasion any wise connected with the dead, though now, like the Latins, the Muscovites at least use black for all such functions.All around the four borders of this sindon are wrought in golden thread, now much tarnished, sentences of Greek, but written, as the practice is among the Sclaves, in the Cyrillian character, thus named from St. Cyrill, the monk, who invented that alphabet a thousand years ago, as one of the helps for himself and his brother St. Methodius, in teaching Christianity to the many tribes of the widely-spread Sclavonian people, as we noticed in our Introduction, § 5.Beginning at the right-hand side, from that portion of the silk being somewhat torn, the words are not quite whole, but those that can be read, say thus:—“Pray for the servant of God, Nicolaus....and his children. Amen;” here, no doubt, we have the donor’s name, and the exact time itself of this pious gift was put down, but owing to the stuff being, at this place too, worn away, the date is somewhat obliterated, but seems to be the year 1645.All the other sentences are borrowed from the Greek ritual-book known as the Ὡρολόγιον or Horologium, in the service for the afternoon on Good Friday and Holy Saturday. Along the lower border runs this “troparion,” or versicle:— Ὁ εὐσχήμων Ἰωσὴφ ἀπὸ τοῦ ξύλου καθελὼν τὸ ἄχραντόν σου Σῶμα, σινδόνι καθαρᾷ εἰλήσας καί ἀρώμασιν ἐν μνήματι καινῷ κηδεύσας ἀπεθέτο. “The comely Joseph (of Arimathea) having taken down from the wood (of the cross) the spotless body of Thee (O Jesus),and having wrapped it up in a clean winding-sheet together with aromatics, taking upon himself to afford it a becoming burial, laid it in a new grave.” Upon the left hand side comes this versicle:— Ταῖς μυρόφοροις γυναιξὶ παρὰ τὸ μνῆμα ἐπιστάς, ὁ Ἄγγελος ἐβόα: Τὰ μύρα τοῖς θνητοῖς ὑπάρχει ἁρμόδια, Χριστὸς δὲ διαφθορᾶς ἐδείχθη ἀλλότριος—Τροπάρια τοῦ Τριαδίου. Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ. “Seeing at the grave the women who were carrying perfumes, the Angel cried out, ‘The ointments fitting (to be used in the burial) for mortal beings are lying here, but Christ, having undergone death, has shown Himself (again) after another form.’”According to the rite followed by the Russians and Greeks, on the afternoon of Good Friday, as well as that of Holy Saturday, a sindon or liturgical winding-sheet, figured just like the one before us, is brought into the middle of the church, and placed outside the sanctuary, so that it may be easily venerated by all the people in turn. First come the clergy, making, as they slowly advance, many low and solemn bows, and bendings of the whole person. Reaching the sindon, each one kisses with great devotion the forehead of our Lord, and the place of the wounds in His side, His hands, and feet. Then follow the congregation, every one approaching in the same reverential manner, and going through the same ceremonial like the clergy; all this while are being sung, along with other versicles, the ones embroidered round this piece of needlework. But this is not all, at least in some provinces where the Greek ritual obtains. As soon as it is dark on Good Friday evening, upon a funeral bier is laid the figure of our Lord, either wrought in low relief, painted on wood or canvas, or shown in needlework like this sindon. Lifted up and borne forwards, it is surrounded by a crowd carrying lights. Then follow the priests vested in chasubles and the rest of the garments proper for mass; after them walk the lower clergy, and the lay-folks of the place come last. Then the procession goes all through and about the streets of the town, singing the cxviiith Psalm, the “Beati immaculati in via,” &c. of the Vulgate, or cxixth of the authorized version, between each verse of which is chanted a versicle from the Horologium. Everywhere the populace bow down as the bier comes by, and many times it halts that they may kiss the figure of our dead Saviour, whose image is overspread by the flowers sprinkled upon it as it is carried past, and afterwards these same flowers are eagerly sought for by the crowd, who set much store by them as the bringers of health to their bodies and a blessing on their homesteads all the after year. Now it should be observed that, even in the present piece, what is the real sindon or white linen winding-sheet shown open
In the centre of this curious ecclesiastical embroidery (for spreading outside the chancel, at the end of Holy Week, among the Greek,) our dead Lord, with the usual inscription, IC, XC, over Him, is figured lying full length, stretched out, as it were, upon a slab of stone which a sheet overspreads. His arms are at His sides as far as the elbows, where they bend so that His hands may be folded downward cross-wise upon His stomach, from which, to His knees, His loins are wrapped in a very full-folded cloth done in silver thread, but now nearly black from age. His skin is quite white, His hair and beard of a light brown colour, and His right side, His hands and feet are marked each with a blood-red wound; and the embroidery of His person is so managed as to display, in somewhat high relief, the hollows and elevations of the body’s surface; all around and beneath His head goes a nimbus marked inside with a cross very slightly pattee, the whole nicely diapered and once bright silver, but now quite black. Two nimbed angels, beardless and, in look, quite youthful, are standing, one at His head, the other at His feet, each, like the other, vested, as is the deacon at the present day, for mass, according to the Greek and Oriental rites; they wear the “chitonion” or alb, over that the “stoicharion” or dalmatic, and from the right—though it should have been from the left—shoulder falls the “orarion” or stole, upon which the Greek word “agios,” or holy, is repeated, just as a Greek deacon is shown in “Hierurgia,” p. 345; in his right hand each holds extended over our Lord, exactly as Greek deacons now do, at the altar, after the consecration of the Holy Eucharist, a long wand, at the end of which is a large round six-petaled flower-like ornament, having within it a cherub’s six-winged face; this is the holy fan, concerning which see the “Church of our Fathers,” iv. 197; and each has his left hand so raised up under his chin as to seemingly afford a rest for it. At each of the four corners of the frontal is the bust of an evangelist with a nimb about his head; in the upper left, “Agios o Theologos,” for so the Greeks still call St. John the Evangelist: in the lower left, St. Luke; in the upper right, St. Matthew; in the lower right, St. Mark; each is bearded, and the hair, whether on the head or chin, is shown in blue and white as of an aged man. While the heads and faces of all four evangelists are red, with the features distinguished by white lines, the angels have white faces and their hair is deep red with strokes in white to indicatethe curly wavings of their locks. There are two crosses, rather pattee, done in silver thread, measuring 2½ inches, one above, the other below our Lord, in the middle of the ground, which is crimson, and wrought all over with gracefully twined flower-bearing branches; and each evangelist is shut in by a quarter-circle border charmingly worked with a wreath of leaves quite characteristic of our 13th century work. All the draperies, inscriptions, and ornamentation, now looking so black, were originally wrought in silver thread that is thus tarnished by age.
Among the liturgical rarities in this extensive and precious collection of needlework, not the least is the present Russo-Greek “sindon,” or ritual winding-sheet, used in a portion of the Eastern Church service on the Great Friday and Great Saturday, as the Orientals call our Good Friday and Holy Saturday.
The colour itself—purplish crimson—of the silk ground upon which our Lord’s dead body lies, as it were, outstretched upon the winding-sheet in the grave, is not without a symbolic meaning, for amongst the Greeks, up to a late period, of such a tint were invariably the garments and the stuffs employed on every occasion any wise connected with the dead, though now, like the Latins, the Muscovites at least use black for all such functions.
All around the four borders of this sindon are wrought in golden thread, now much tarnished, sentences of Greek, but written, as the practice is among the Sclaves, in the Cyrillian character, thus named from St. Cyrill, the monk, who invented that alphabet a thousand years ago, as one of the helps for himself and his brother St. Methodius, in teaching Christianity to the many tribes of the widely-spread Sclavonian people, as we noticed in our Introduction, § 5.
Beginning at the right-hand side, from that portion of the silk being somewhat torn, the words are not quite whole, but those that can be read, say thus:—“Pray for the servant of God, Nicolaus....and his children. Amen;” here, no doubt, we have the donor’s name, and the exact time itself of this pious gift was put down, but owing to the stuff being, at this place too, worn away, the date is somewhat obliterated, but seems to be the year 1645.
All the other sentences are borrowed from the Greek ritual-book known as the Ὡρολόγιον or Horologium, in the service for the afternoon on Good Friday and Holy Saturday. Along the lower border runs this “troparion,” or versicle:— Ὁ εὐσχήμων Ἰωσὴφ ἀπὸ τοῦ ξύλου καθελὼν τὸ ἄχραντόν σου Σῶμα, σινδόνι καθαρᾷ εἰλήσας καί ἀρώμασιν ἐν μνήματι καινῷ κηδεύσας ἀπεθέτο. “The comely Joseph (of Arimathea) having taken down from the wood (of the cross) the spotless body of Thee (O Jesus),and having wrapped it up in a clean winding-sheet together with aromatics, taking upon himself to afford it a becoming burial, laid it in a new grave.” Upon the left hand side comes this versicle:— Ταῖς μυρόφοροις γυναιξὶ παρὰ τὸ μνῆμα ἐπιστάς, ὁ Ἄγγελος ἐβόα: Τὰ μύρα τοῖς θνητοῖς ὑπάρχει ἁρμόδια, Χριστὸς δὲ διαφθορᾶς ἐδείχθη ἀλλότριος—Τροπάρια τοῦ Τριαδίου. Τῷ ἁγίῳ καὶ μεγάλῳ Σαββάτῳ. “Seeing at the grave the women who were carrying perfumes, the Angel cried out, ‘The ointments fitting (to be used in the burial) for mortal beings are lying here, but Christ, having undergone death, has shown Himself (again) after another form.’”
According to the rite followed by the Russians and Greeks, on the afternoon of Good Friday, as well as that of Holy Saturday, a sindon or liturgical winding-sheet, figured just like the one before us, is brought into the middle of the church, and placed outside the sanctuary, so that it may be easily venerated by all the people in turn. First come the clergy, making, as they slowly advance, many low and solemn bows, and bendings of the whole person. Reaching the sindon, each one kisses with great devotion the forehead of our Lord, and the place of the wounds in His side, His hands, and feet. Then follow the congregation, every one approaching in the same reverential manner, and going through the same ceremonial like the clergy; all this while are being sung, along with other versicles, the ones embroidered round this piece of needlework. But this is not all, at least in some provinces where the Greek ritual obtains. As soon as it is dark on Good Friday evening, upon a funeral bier is laid the figure of our Lord, either wrought in low relief, painted on wood or canvas, or shown in needlework like this sindon. Lifted up and borne forwards, it is surrounded by a crowd carrying lights. Then follow the priests vested in chasubles and the rest of the garments proper for mass; after them walk the lower clergy, and the lay-folks of the place come last. Then the procession goes all through and about the streets of the town, singing the cxviiith Psalm, the “Beati immaculati in via,” &c. of the Vulgate, or cxixth of the authorized version, between each verse of which is chanted a versicle from the Horologium. Everywhere the populace bow down as the bier comes by, and many times it halts that they may kiss the figure of our dead Saviour, whose image is overspread by the flowers sprinkled upon it as it is carried past, and afterwards these same flowers are eagerly sought for by the crowd, who set much store by them as the bringers of health to their bodies and a blessing on their homesteads all the after year. Now it should be observed that, even in the present piece, what is the real sindon or white linen winding-sheet shown open