Chasubleof Silk Damask, green and fawn-coloured, freckled in white with small flowers, inscriptions, and other ornaments; the pattern, in bands, consists of a large fan-like flower-bearing plant, and a double-handled vase, from which shoots up the thin stem of a tree between two hunting leopards collared, and addorsed, with an Arabic inscription beneath the vase, both plant and vase occurring alternately; these bands are separated by a narrower set of bands divided into squares enclosing birds of prey alternately gardant segeant. Syrian, late 13th century. 9 feet 5 inches by 4 feet.
This stuff betrays a few lingering traditions of the Persian style of design, and some people will see in the little tree between those hunting leopards the “hom,” or sacred tree of the olden belief of that country. The material of it is thin and poor, and in width it measures twenty-one inches. The characters under the vase holding the leopards and “hom,” are but an imitation of Arabic, and hence we may presume that it was woven by Jewish or Christian workmen for the European market, and to make it pass better, as if coming from Persia, inscribed as best they knew how, with Arabic letters, or imitations of that alphabet.
This stuff betrays a few lingering traditions of the Persian style of design, and some people will see in the little tree between those hunting leopards the “hom,” or sacred tree of the olden belief of that country. The material of it is thin and poor, and in width it measures twenty-one inches. The characters under the vase holding the leopards and “hom,” are but an imitation of Arabic, and hence we may presume that it was woven by Jewish or Christian workmen for the European market, and to make it pass better, as if coming from Persia, inscribed as best they knew how, with Arabic letters, or imitations of that alphabet.
Backof a Chasuble, blue silk wrought all over with beasts and birds in gold beneath trees. The orphrey of crimson silk is embroidered with flowers and armorial shields. The blue silk, Italian, 14th century; the orphrey, German, 15th century. 3 feet 8½ inches by 2 feet 5 inches.
The birds that are shown on this blue-grounded piece of rather shining silk are peahens, standing on green turf sprinkled with whiteflowers, and three very much larger flowers stand high above their heads; the beasts are leopards, with their skin well spotted, and they seem to be, as it were, scenting and scratching the ground. The orphrey, cross-shaped, and 5½ inches wide, is overspread with gracefully intertwined rose-branches, the leaves of which are of gold shaded green, and the flowers in silver, seeded and barbed. It is blazoned all over with armorial bearings, seemingly of two houses, of which the first is a shield, tincture gone, charged with a lion rampantor, langued and armedgules; the second, a shield, barry of twelve,gulesandor, with a lion rampant,argent, langued and armedazure, in the dexter canton. There are three of each of these shields, and all six are worked on canvas, and afterwards sewed on. On the upright stem of the cross may be read in places the name of “Lodewich Fretie,” the individual who bore those arms and gave the chasuble.
The birds that are shown on this blue-grounded piece of rather shining silk are peahens, standing on green turf sprinkled with whiteflowers, and three very much larger flowers stand high above their heads; the beasts are leopards, with their skin well spotted, and they seem to be, as it were, scenting and scratching the ground. The orphrey, cross-shaped, and 5½ inches wide, is overspread with gracefully intertwined rose-branches, the leaves of which are of gold shaded green, and the flowers in silver, seeded and barbed. It is blazoned all over with armorial bearings, seemingly of two houses, of which the first is a shield, tincture gone, charged with a lion rampantor, langued and armedgules; the second, a shield, barry of twelve,gulesandor, with a lion rampant,argent, langued and armedazure, in the dexter canton. There are three of each of these shields, and all six are worked on canvas, and afterwards sewed on. On the upright stem of the cross may be read in places the name of “Lodewich Fretie,” the individual who bore those arms and gave the chasuble.
Dalmaticof blue silk damasked with gold; the pattern consists of alternate rows of oxen, and pelican-like birds amid flowers and foliage. North Italian, late 14th century. 7 feet 7½ inches by 4 feet.
A rather showy piece, and very effective in its pattern, though the gold about the thread with which the design is brought out is sparingly employed, so that it looks more yellow than metallic. The sleeves now but eleven inches long, are slit quite up, and were very likely shortened when the slitting was inflicted on them, and that, within the last hundred years, in compliance with the somewhat modern practice that took its rise in France.
A rather showy piece, and very effective in its pattern, though the gold about the thread with which the design is brought out is sparingly employed, so that it looks more yellow than metallic. The sleeves now but eleven inches long, are slit quite up, and were very likely shortened when the slitting was inflicted on them, and that, within the last hundred years, in compliance with the somewhat modern practice that took its rise in France.
Pieceof Embroidery of our Lord upon His mother’s lap. Florentine, 15th century. 8¼ inches by 5½ inches.
The Blessed Virgin Mary is robed in the usual crimson tunic, and sky-blue flowing mantle, and bearing, as is customary in the Italian schools of art, a golden star figured on her left shoulder. Sitting upon a tasseled cushion, and holding a little bird in His left hand, we haveour Lord quite naked, with His crossed nimb about His head. Those who bring to mind that lovely picture of Raphael’s, the so-called “Madonna del Cardellino,” or our Lady of the gold-finch, will see that such an idea was an old one when that prince of painters lived. This piece of needlework was originally wrought for the purpose of being applied, and shows on the back proofs that, in its last use, it had been pasted on to some vestment or altar-frontal.
The Blessed Virgin Mary is robed in the usual crimson tunic, and sky-blue flowing mantle, and bearing, as is customary in the Italian schools of art, a golden star figured on her left shoulder. Sitting upon a tasseled cushion, and holding a little bird in His left hand, we haveour Lord quite naked, with His crossed nimb about His head. Those who bring to mind that lovely picture of Raphael’s, the so-called “Madonna del Cardellino,” or our Lady of the gold-finch, will see that such an idea was an old one when that prince of painters lived. This piece of needlework was originally wrought for the purpose of being applied, and shows on the back proofs that, in its last use, it had been pasted on to some vestment or altar-frontal.
SmallPiece of Silk; ground, purple; pattern, boughs of green leaves twining amid rosettes, green, some with crimson, some with yellow centres. Sicilian, late 14th century. 6½ inches by 3 inches.
Good in material and pretty in design, though the colours are not happily contrasted.
Good in material and pretty in design, though the colours are not happily contrasted.
Pieceof Silk; ground, purple; pattern, circles inclosing, some a tree which separates beasts and birds, some a long stripe which seemingly separates birds, all in yellow. Syrian, 14th century. 1 foot 1½ inches by 7½ inches.
The piece is so faded that with much difficulty its design can be traced, but enough is discernible to show the Persian feelings in it. No doubt the beasts are the cheetah or spotted hunting leopard addorsed and separated by the traditional “hom,” and the birds over them, put face to face, but parted by the “hom,” are eagles.
The piece is so faded that with much difficulty its design can be traced, but enough is discernible to show the Persian feelings in it. No doubt the beasts are the cheetah or spotted hunting leopard addorsed and separated by the traditional “hom,” and the birds over them, put face to face, but parted by the “hom,” are eagles.
Pieceof Yellow Silk; pattern, a broad oval, filled in and surrounded with floriations. Florentine, 15th century. 11 inches by 7½ inches.
The once elaborate design, now indiscernible, was brought out not by another coloured silk but by the gearing of the loom; some one, very recently, has tried to show it by tracing it out in lead-pencil.
The once elaborate design, now indiscernible, was brought out not by another coloured silk but by the gearing of the loom; some one, very recently, has tried to show it by tracing it out in lead-pencil.
Pieceof White Silk; pattern, within circles, two birds addorsed, regardant, and separated by a tree. Syrian, 14th century. 12¼ inches by 9 inches.
The satin-like appearance and the creamy tone of this piece make it very pleasing, and in it we find, as inNo. 8562, the same Persian influences; here, too, we have the mystic “hom,” put in, no doubt, by Christian hands.
The satin-like appearance and the creamy tone of this piece make it very pleasing, and in it we find, as inNo. 8562, the same Persian influences; here, too, we have the mystic “hom,” put in, no doubt, by Christian hands.
Pieceof Silk Tissue; ground, red; pattern, embroidery in various-coloured silks, gold thread, and coloured small beads. German, 14th century. 3-⅝ inches by 3¾ inches.
In most of its characters this end of a stole is just like those attached to the fine specimen noticed under No. 8588.
In most of its characters this end of a stole is just like those attached to the fine specimen noticed under No. 8588.
Pieceof Silk Damask; ground, red; pattern, squares filled in alternately with a pair of animals and flower-like ornaments. Syrian, 13th century. 7 inches by 2 inches.
The old Persian tradition of the “hom” may be seen here dividing the two addorsed regardant lionesses, and the whole design is done with neatness.
The old Persian tradition of the “hom” may be seen here dividing the two addorsed regardant lionesses, and the whole design is done with neatness.
Pieceof Silk Damask; ground, red; pattern, two popinjays divided by a bowl or cup looking much like a crescent moon, in an octagonal frame-work, all yellow. Spanish, 13th century. 8½ inches by 6 inches.
This stuff is of very light material, which has, however, kept its colour very well.
This stuff is of very light material, which has, however, kept its colour very well.
Pieceof Gold Tissue, embroidered with the needle; ground, gold; pattern, the Archangel Gabriel, with his head, hands, folds of his dress, and lines in his wings done by needle in different coloured silks. Italian, 14th century. 8½ inches by 5 inches.
This beautiful and rare kind of textile, combined with needlework, merits the particular attention of those occupied with embroidery. The loom has done its part well; not so well, however, he or she who had to fill in the lines, especially the spaces for the hands and head, on which the features of the face are rather poorly marked.
This beautiful and rare kind of textile, combined with needlework, merits the particular attention of those occupied with embroidery. The loom has done its part well; not so well, however, he or she who had to fill in the lines, especially the spaces for the hands and head, on which the features of the face are rather poorly marked.
TwoPortions (joined together) of Gold Tissue; ground, gold; pattern, in various-coloured silks, of birds, beasts, monsters, and foliage. English or French, 13th century. 13 inches by 2 inches.
Among the monsters, we have the usual heraldic ones that so often occur upon the textiles of that period; but the recurrence of the unmistakable form of the fleurs-de-lis, though sometimes coloured green, persuades us that this piece, entirely the produce of the loom, came from French, very likely Parisian hands, and was wrought for female use, as a band or fillet to confine the hair about the forehead, just as we see must have been the fashion in England at the time from the marked way in which that attire is shown in the illuminations of MSS. and sepulchral effigies of our Plantagenet epoch. Our countryman, John Garland, tells us, as we noticed in our Introduction, that women-weavers, in their time, wove such golden tissues, not only for ecclesiastical, but secular uses; and these two pieces seem to belong to the latter class.
Among the monsters, we have the usual heraldic ones that so often occur upon the textiles of that period; but the recurrence of the unmistakable form of the fleurs-de-lis, though sometimes coloured green, persuades us that this piece, entirely the produce of the loom, came from French, very likely Parisian hands, and was wrought for female use, as a band or fillet to confine the hair about the forehead, just as we see must have been the fashion in England at the time from the marked way in which that attire is shown in the illuminations of MSS. and sepulchral effigies of our Plantagenet epoch. Our countryman, John Garland, tells us, as we noticed in our Introduction, that women-weavers, in their time, wove such golden tissues, not only for ecclesiastical, but secular uses; and these two pieces seem to belong to the latter class.
Portionof an Orphrey; ground, crimson silk; pattern, foliage with fruit and flowers in gold. German, 14th century. 9½ inches by 3¾ inches.
So sparingly was the gold twined about the yellow thread, and of such a debased amalgamation that it has almost entirely disappeared, or where it remains has turned black.
So sparingly was the gold twined about the yellow thread, and of such a debased amalgamation that it has almost entirely disappeared, or where it remains has turned black.
Portionof Gold Tissue, figured with birds and beasts in gold upon a crimson ground. French or English, late 12th century. 9 inches by 2⅛ inches.
When new this textile must have been very pretty; but so fugitive was its original crimson, that now it looks a lightish brown. Within circles, divided by a tree made to look like a floriated cross, stands a lion regardant, and upon the transverse limbs of the cross, as upon the boughs of a tree, are perched two doves; while the spandrils or spaces between the circles are filled in with fleurs-de-lis growing out of leafed stalks. Though, in after times, it may have been applied to church use, it seems, like the specimen underNo. 8569, to have been at first intended for female dress, either as a girdle or head attire.
When new this textile must have been very pretty; but so fugitive was its original crimson, that now it looks a lightish brown. Within circles, divided by a tree made to look like a floriated cross, stands a lion regardant, and upon the transverse limbs of the cross, as upon the boughs of a tree, are perched two doves; while the spandrils or spaces between the circles are filled in with fleurs-de-lis growing out of leafed stalks. Though, in after times, it may have been applied to church use, it seems, like the specimen underNo. 8569, to have been at first intended for female dress, either as a girdle or head attire.
TwoPortions of Embroidery (joined together), the one showing, on a reddish purple silk ground, figures of birds and animals within circles, all embroidered in gold; the other, a similar ground and pattern within lozenges. German, 14th century. 2 feet 1½ inches by 2 inches.
The figures are heraldic monsters with the exception of the three birds, and are all done with great freedom and spirit; like the preceding piece, this looks as if it had originally been wrought for a lady’s girdle. The present two portions seem from the first to have formed parts of the same ornament, and to have been worked by the same needle.
The figures are heraldic monsters with the exception of the three birds, and are all done with great freedom and spirit; like the preceding piece, this looks as if it had originally been wrought for a lady’s girdle. The present two portions seem from the first to have formed parts of the same ornament, and to have been worked by the same needle.
SmallFragment of Red Silk, having a narrow border of purple with lozenge pattern, in gold. English or French, 13th century. 2 inches by ¾ inch.
Alike, in its original use, to the foregoing pieces.
Alike, in its original use, to the foregoing pieces.
TwoFragments (joined together) of Purple Silk, much faded, with a cotton woof. Byzantine, 12th century. 2½ inches by 1¼ inches.
TwoFragments (joined together) of Silk and Gold Tissue; ground, light crimson, now quite faded, bordered green; pattern, an interlacing strap-work, in gold. English or French, 13th century. 2 inches by 2 inches.
Like, for use, to the other similar specimens.
Like, for use, to the other similar specimens.
Verysmall Fragment of Gold Tissue on a red ground. 13th century. 1⅜ inches by ½ inch.
This cloth of gold must have been showy from its richness.
This cloth of gold must have been showy from its richness.
Twosmall Pieces of Silk, Tyrian purple. Byzantine, 12th century. Each 1¼ inches square.
TwoRosettes, in small gold thread on deep purple silk, bordered by an edging of much lighter purple. 14th century. 1½ inches square; 1 inch square.
Pieceof Silk and Linen Damask; ground, green; pattern, a monster animal within a circle studded with full moons, and a smaller circle holding a crescent-moon studded in like manner. Syrian, 13th century. 1 foot 8¼ inches by 1 foot 2 inches.
This bold and effective design is somewhat curious, exhibiting, as it does, a novel sort of monster which is made up of a dog’s head and fore-paws, wings erect, and a broad turned-up bushy tail freckled with squares, in each of which is an ornament affecting sometimes the shape of an L, sometimes of an F, at others of an A. Around the neck of this imaginary beast is a collar which, as well as the root of the wing, shows imitations of Arabic characters.
This bold and effective design is somewhat curious, exhibiting, as it does, a novel sort of monster which is made up of a dog’s head and fore-paws, wings erect, and a broad turned-up bushy tail freckled with squares, in each of which is an ornament affecting sometimes the shape of an L, sometimes of an F, at others of an A. Around the neck of this imaginary beast is a collar which, as well as the root of the wing, shows imitations of Arabic characters.
Portionof Gold Embroidery; ground, dark blue silk; pattern, large griffins in gold. Early 13th century. 1 foot 4½ inches by 12½ inches.
Pity it is that we have such a small part, and that so mutilated, of what must have been such a fine specimen of the needle. Though the whole pattern may not be made out, enough remains to show that the griffins, which were languedgules, stood in pairs and rampant, both figured with two-forked tails ending in trefoils, all worked in rich gold thread.
Pity it is that we have such a small part, and that so mutilated, of what must have been such a fine specimen of the needle. Though the whole pattern may not be made out, enough remains to show that the griffins, which were languedgules, stood in pairs and rampant, both figured with two-forked tails ending in trefoils, all worked in rich gold thread.
Portionof an Orphrey; ground, crimson silk; pattern, stars of eight points, within squares, both embroidered in gold. 14th century. 5½ inches by 2 inches.
This is one of the very few specimens which have pure gold, or perhaps only silver-gilt wire, without any admixture of thread in it, employed in the stars and narrow oblong ornaments in the embroidery,the wire itself being stitched to its grounding by thin linen thread. The large and small squares, as well as the borders, are executed in gold-twisted thread, very poor of its kind. The glittering effect of the pure metal-wire is very telling.
This is one of the very few specimens which have pure gold, or perhaps only silver-gilt wire, without any admixture of thread in it, employed in the stars and narrow oblong ornaments in the embroidery,the wire itself being stitched to its grounding by thin linen thread. The large and small squares, as well as the borders, are executed in gold-twisted thread, very poor of its kind. The glittering effect of the pure metal-wire is very telling.
Pieceof Silk Damask; ground, crimson; pattern, conventional peacocks and foliage, in yellow. Syrian, 13th century. 13 inches by 9½ inches.
A good design bestowed upon very thin materials.
A good design bestowed upon very thin materials.
Portionof Gold Tissue; ground, light crimson, now quite faded, edged green; pattern, a diaper of interlacing strap-work. English or French, 13th century. 2½ inches by 1½ inches.
Portionof Gold Tissue; ground, green, edged crimson; pattern, lozenge-shaped diaper in gold. English or French, 13th century. 7½ inches by 1 inch.
Portionof Gold Tissue; ground, green, now quite faded; pattern, in gold, almost all worn away, a lozenge diaper. English or French, 13th century. 5 inches by 1½ inches.
This, as well as the other two pieces immediately preceding, were woven by female hands for the binding of the hair.
This, as well as the other two pieces immediately preceding, were woven by female hands for the binding of the hair.
Fragmentof Silk Tissue; ground, purple; pattern, small squares, green and black, enclosing a black disk voided in the middle. Byzantine (?), 12th century. 7 inches by 2 inches.
This stuff, which was thin in its new state, is now very tattered and its colours dimmed.
This stuff, which was thin in its new state, is now very tattered and its colours dimmed.
Fragmentof Silk Tissue; ground, purple; pattern, a rosette within a lozenge, with a floral border. Italian, 14th century. 4 inches by 2 inches.
Stoleof Gold Tissue, figured with small beasts, birds, and floriated ornaments, bordered on one side by a blue stripe edged with white and charged with ornamentation in gold, on the other, by a green one of a like character, as well as by two Latin inscriptions. The ends, four inches long, are of crimson silk, ornamented with seed-pearls, small red, blue, gold, yellow, and green beads, pieces of gilt-silver, and have a fringe three inches long, red and green. Sicilian, 13th century. 6 feet by 3¼ inches.
As a piece of textile showing how the weavers of the middle ages could, when they needed, gear the loom for an intricacy of pattern in animals as well as inscriptions, this rich cloth of gold is a valuable specimen. Among the ornaments on the middle band we find doves, harts, the letter M floriated, winged lions, crosses floriated, crosses sprouting out on two sides with fleurs-de-lis, four-legged monsters, some like winged lions, some biting their tails, doves in pairs upholding a cross, &c.; and above and below these, divided from them by gracefully ornamented bars, one blue the other green, may beread this inscription,—“O spes divina, via tuta, potens medicina ☩ Porrige subsidium, O Sancta Maria, corp. (sic) consortem sancte sortis patrone ministram. ☩ Effice Corneli meeritis (sic) prece regna meri. ☩ O celi porta, nova spes mor. (sic) protege, salva, benedic, sanctifica famulum tuum Alebertum crucis per sinnaculum (sic) morbos averte corporis et anime. Hoc contra signum nullum stet periculum. ☩ O clemen. (sic) Domina spes dese’erantibus una.”The ends of this stole, German work of the 14th century, widen like most others of the period, and in their original state seem to have been studded with small precious stones, the sockets for which are very discernible amid the beads; and in each centre must have been let in a tiny illumination, as one still is there showing the Blessed Virgin Mary with our Lord, as a child, in her arms; and this appears to have been covered with glass. Amid the beads are yet a few thick silver-gilt spangles wrought like six-petaled flowers. As a stole, the present one is very short, owing, no doubt, to a scanty length of the gold tissue; in fact, it might easily be taken for a long maniple. When it is remembered that the Suabian house of Hohenstaufen reigned in Sicily for many years, till overthrown in the person of the young Conradin, at the battle of Tagliacozzo, by the French Charles of Anjou,A.D.1268, we can easily account for Sicilian textiles of all sorts finding their way, during the period, into Germany. In his “Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung, pt. xviii. fig. 3, Dr. Bock has given a figure of this stole.
As a piece of textile showing how the weavers of the middle ages could, when they needed, gear the loom for an intricacy of pattern in animals as well as inscriptions, this rich cloth of gold is a valuable specimen. Among the ornaments on the middle band we find doves, harts, the letter M floriated, winged lions, crosses floriated, crosses sprouting out on two sides with fleurs-de-lis, four-legged monsters, some like winged lions, some biting their tails, doves in pairs upholding a cross, &c.; and above and below these, divided from them by gracefully ornamented bars, one blue the other green, may beread this inscription,—“O spes divina, via tuta, potens medicina ☩ Porrige subsidium, O Sancta Maria, corp. (sic) consortem sancte sortis patrone ministram. ☩ Effice Corneli meeritis (sic) prece regna meri. ☩ O celi porta, nova spes mor. (sic) protege, salva, benedic, sanctifica famulum tuum Alebertum crucis per sinnaculum (sic) morbos averte corporis et anime. Hoc contra signum nullum stet periculum. ☩ O clemen. (sic) Domina spes dese’erantibus una.”
The ends of this stole, German work of the 14th century, widen like most others of the period, and in their original state seem to have been studded with small precious stones, the sockets for which are very discernible amid the beads; and in each centre must have been let in a tiny illumination, as one still is there showing the Blessed Virgin Mary with our Lord, as a child, in her arms; and this appears to have been covered with glass. Amid the beads are yet a few thick silver-gilt spangles wrought like six-petaled flowers. As a stole, the present one is very short, owing, no doubt, to a scanty length of the gold tissue; in fact, it might easily be taken for a long maniple. When it is remembered that the Suabian house of Hohenstaufen reigned in Sicily for many years, till overthrown in the person of the young Conradin, at the battle of Tagliacozzo, by the French Charles of Anjou,A.D.1268, we can easily account for Sicilian textiles of all sorts finding their way, during the period, into Germany. In his “Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung, pt. xviii. fig. 3, Dr. Bock has given a figure of this stole.
Pieceof Silk and Linen Tissue; ground, yellow, with a band of crimson; pattern, crowned kings on horseback amid foliage, each holding on his wrist a hawk, and having a small dog on the crupper of his saddle. Sicilian, early 13th century. 1 foot 4½ inches by 7 inches.
From a small piece to the left, figured with what looks like an English bloodhound or talbot, it would seem that we have not the full design in the pattern of this curious stuff, which speaks so loudly of the feudalism of mediæval Italy and other continental countries. Seldom was a king then figured without his crown, besides carrying his hawk on hand and being followed by his dogs, like any other lord of the land.The little hound behind him is somewhat singular. To us it appears curious that such an elaborate and princely design, meant evidently for the hangings of some palace, should have been done in the rather mean materials which we find. Parts seem to have been woven in gold thread; but so thin and debased was the metal that it is now quite black, and the linen warp far outweighs the thin silken woof.
From a small piece to the left, figured with what looks like an English bloodhound or talbot, it would seem that we have not the full design in the pattern of this curious stuff, which speaks so loudly of the feudalism of mediæval Italy and other continental countries. Seldom was a king then figured without his crown, besides carrying his hawk on hand and being followed by his dogs, like any other lord of the land.The little hound behind him is somewhat singular. To us it appears curious that such an elaborate and princely design, meant evidently for the hangings of some palace, should have been done in the rather mean materials which we find. Parts seem to have been woven in gold thread; but so thin and debased was the metal that it is now quite black, and the linen warp far outweighs the thin silken woof.
Pieceof Silk Tissue; ground, green; pattern, a so-called pomegranate of elaborate form, amid flowers of white and light purple, now faded, both largely wrought in gold. Spanish, 15th century. 1 foot 11 inches by 1 foot 2 inches.
Not only is the design of the pattern very effective, but the gold, in which the far larger part of it is done, looks bright and rather rich; yet, by examining it with a powerful glass, we may discover an ingenious, not to say trickish, way for imitating gold-covered thread. Skins of thin vellum were gilt, and not very thickly; these were cut into very narrow filament-like shreds, and in this form—that is, flat with the shining side facing the eye—afterwards woven into the pattern as if they were thread, a trick in trade which the Spaniards learned from the Moors.The warp is of a poor kind of silk not unlike jute, and the woof is partly of cotton, partly linen thread, so that with its mock gold filaments we have a showy textile out of cheap materials; a valuable specimen of the same sort of stuff from a Saracenic loom will be found underNo. 8639, &c.
Not only is the design of the pattern very effective, but the gold, in which the far larger part of it is done, looks bright and rather rich; yet, by examining it with a powerful glass, we may discover an ingenious, not to say trickish, way for imitating gold-covered thread. Skins of thin vellum were gilt, and not very thickly; these were cut into very narrow filament-like shreds, and in this form—that is, flat with the shining side facing the eye—afterwards woven into the pattern as if they were thread, a trick in trade which the Spaniards learned from the Moors.
The warp is of a poor kind of silk not unlike jute, and the woof is partly of cotton, partly linen thread, so that with its mock gold filaments we have a showy textile out of cheap materials; a valuable specimen of the same sort of stuff from a Saracenic loom will be found underNo. 8639, &c.
TwoPieces of Silk Tissue; ground, a bright green; pattern, not complete, but showing a well-managed ornamentation, consisting of the so-called pomegranate with two giraffes below, the heads of which are in gold, now sofaded as to look a purplish black. Sicilian, early 14th century. 7½ inches by 4½ inches; 4½ inches by 4½ inches.
This is a specimen interesting for several reasons. When new and fresh, this stuff must have been very pleasing; the elaborate design of its pattern, done in a cheerful spring-like tone of green upon a ground of a much lighter shade of the same colour, makes it welcome to the eye. The giraffes, tripping and addorsed, with their long necks and parded skins, have something like a housing on their backs. From such a quadruped being figured on this stuff, he who drew the design must have lived in Africa, or have heard of the animal from the Moors; he must have been a Christian, too, for green being Mohammed’s own colour, and even still limited, in its use, to his descendants, no Saracenic loom would have figured this stuff with a forbidden form of an animal. Yet, withal, there may be seen upon it strong traces of Saracenic feeling in its pattern. That singular ornament, made up of long zero-like forms placed four together in three rows, which we find upon other examples in this curious collection (No. 8596, &c.), seems distinctive of some particular locality; so that we may presume this fine textile to have been wrought at the royal manufactory of Palermo, where the giraffe might have been well known, where Saracenic art-traditions a long time lingered; and people cared nothing for the prohibition of figuring any created form, or of wearing green in their garments, or hanging their walls with silks dyed green; in some specimens the zero-like ornamentation takes the shape of our letter U; moreover the large feathers in the bird’s long tail are sometimes so figured.
This is a specimen interesting for several reasons. When new and fresh, this stuff must have been very pleasing; the elaborate design of its pattern, done in a cheerful spring-like tone of green upon a ground of a much lighter shade of the same colour, makes it welcome to the eye. The giraffes, tripping and addorsed, with their long necks and parded skins, have something like a housing on their backs. From such a quadruped being figured on this stuff, he who drew the design must have lived in Africa, or have heard of the animal from the Moors; he must have been a Christian, too, for green being Mohammed’s own colour, and even still limited, in its use, to his descendants, no Saracenic loom would have figured this stuff with a forbidden form of an animal. Yet, withal, there may be seen upon it strong traces of Saracenic feeling in its pattern. That singular ornament, made up of long zero-like forms placed four together in three rows, which we find upon other examples in this curious collection (No. 8596, &c.), seems distinctive of some particular locality; so that we may presume this fine textile to have been wrought at the royal manufactory of Palermo, where the giraffe might have been well known, where Saracenic art-traditions a long time lingered; and people cared nothing for the prohibition of figuring any created form, or of wearing green in their garments, or hanging their walls with silks dyed green; in some specimens the zero-like ornamentation takes the shape of our letter U; moreover the large feathers in the bird’s long tail are sometimes so figured.
Pieceof Silk Damask; ground, red; pattern, the castle of Castile and fleur-de-lis, both in yellow. Spanish, 13th century. 10 inches by 6¼ inches.
Though of poor and somewhat flimsy silk, this stuff is not without some merit, as it shows how exact were the workmen of those days to be guided by rule in the choice of colour; for instance, the tinctures here are correct, so far that metaloris put upon colourgules. It was woven in stripes marked by narrow blue lines.
Though of poor and somewhat flimsy silk, this stuff is not without some merit, as it shows how exact were the workmen of those days to be guided by rule in the choice of colour; for instance, the tinctures here are correct, so far that metaloris put upon colourgules. It was woven in stripes marked by narrow blue lines.
Portionof some Liturgic Ornament (?); ground, deep blue; pattern, fleurs-de-lis embroidered in gold. French, 14th century. 7 inches by 3½ inches.
Whether this fragment once formed a part of maniple, stole, or orphrey for chasuble, cope, dalmatic, or tunicle, it is impossible to say; heraldically it is quite correct in its tincture, and that is its only merit.
Whether this fragment once formed a part of maniple, stole, or orphrey for chasuble, cope, dalmatic, or tunicle, it is impossible to say; heraldically it is quite correct in its tincture, and that is its only merit.
Pieceof Silk Damask; ground, fawn-colour; pattern, birds and beasts amid foliage, all in green. Sicilian, early 14th century. 10¼ inches by 4 inches.
Though every part of the design in the pattern of this charming stuff is rather small, the whole is admirably clear and well rendered, and we see a pair of hawks perched, a pair of lions passant, a pair of flags tripping, a pair of birds (heads reversed), a pair of monster-birds (perhaps wyverns), and a pair of eagles (much defaced) with wings displayed. The lions are particularly well drawn.
Though every part of the design in the pattern of this charming stuff is rather small, the whole is admirably clear and well rendered, and we see a pair of hawks perched, a pair of lions passant, a pair of flags tripping, a pair of birds (heads reversed), a pair of monster-birds (perhaps wyverns), and a pair of eagles (much defaced) with wings displayed. The lions are particularly well drawn.
Fragmentof Silk Tissue; ground, crimson and gold, with three white and green narrow stripes running down the middle, and an inscription on each side the stripes. Spanish, 14th century. 7 inches by 6 inches.
The warp is of thick cotton thread, the woof of silk and gold. Though very much broken, the inscription is Latin, and gives but a very few entire words, such as “et tui amoris in eis,” with these fragments, “—tus. Re—— le tuoru—.” From this, however, we are warranted in thinking this textile to have been wrought, not for any vestment—for it is too thick, except for an orphrey—but rather for hangings about the chancel at Whitsuntide. See Introduction, § 5.
The warp is of thick cotton thread, the woof of silk and gold. Though very much broken, the inscription is Latin, and gives but a very few entire words, such as “et tui amoris in eis,” with these fragments, “—tus. Re—— le tuoru—.” From this, however, we are warranted in thinking this textile to have been wrought, not for any vestment—for it is too thick, except for an orphrey—but rather for hangings about the chancel at Whitsuntide. See Introduction, § 5.
Pieceof Silk Damask; ground, light crimson; pattern, in deep brown, vine-leaves within an ellipsis which has on the outer edge a crocket-like ornamentation, and on both sides a cluster as if of the letter U, arranged four in a row, one row above the other. Sicilian, 14th century. 8½ inches by 6 inches.
As we saw inNos. 8591, 8591A, so here we see that very curious and not usual ornamentation, in the former instances like an O or zero, in the present one like another letter, U. The same crispiness in the foliage may be observed here as there; and in all likelihood both silks issued from the same city, perhaps from the same loom, but at different periods, as the one before us does not come up, by any means, in beauty with those fragments atNos. 8591, 8591A. In some instances the feathers in a bird’s tail are made in the shape of our capital letter U.
As we saw inNos. 8591, 8591A, so here we see that very curious and not usual ornamentation, in the former instances like an O or zero, in the present one like another letter, U. The same crispiness in the foliage may be observed here as there; and in all likelihood both silks issued from the same city, perhaps from the same loom, but at different periods, as the one before us does not come up, by any means, in beauty with those fragments atNos. 8591, 8591A. In some instances the feathers in a bird’s tail are made in the shape of our capital letter U.
Pieceof Silk Damask; ground, blackish purple; pattern, conventional foliage in greyish purple. Italian, 14th century. 1 foot 8 inches by 1 foot 6 inches.
The foliage, so free and bold, is quite of an architectural character, and shows a leaning to that peculiar scroll-form so generally to be seen on Greek fictile vases. Perhaps this stuff was wrought at Reggio in South Italy; but evidently for secular, not ecclesiastical use.
The foliage, so free and bold, is quite of an architectural character, and shows a leaning to that peculiar scroll-form so generally to be seen on Greek fictile vases. Perhaps this stuff was wrought at Reggio in South Italy; but evidently for secular, not ecclesiastical use.
Pieceof Silk Damask; ground, purple; pattern, large monster birds, and, within ovals, smaller beasts, all in gold thread, relieved with green silk. Sicilian, 14th century. 2 feet 4 inches by 10 inches.
The design is bold and very effective, and consists of an oval bordered very much in the Saracenic style, within which are two leopardsaddorsed rampant regardant. Above this oval stand two wyverns with heads averted and langued green orvert. This alternates with another oval enclosing two dog-like creatures rampant addorsed regardant; above this two imaginary birds, well crested, languedvert, with heads averted, and seem to be of the cockatoo family. From the shape of this piece, as we now have it, no doubt its last use was for a chasuble, but of a very recent make and period; and sadly cut away at its sides.
The design is bold and very effective, and consists of an oval bordered very much in the Saracenic style, within which are two leopardsaddorsed rampant regardant. Above this oval stand two wyverns with heads averted and langued green orvert. This alternates with another oval enclosing two dog-like creatures rampant addorsed regardant; above this two imaginary birds, well crested, languedvert, with heads averted, and seem to be of the cockatoo family. From the shape of this piece, as we now have it, no doubt its last use was for a chasuble, but of a very recent make and period; and sadly cut away at its sides.
Pieceof Silk Damask; ground, green; pattern, in light purple or violet, an ellipsis filled in with Saracenic ornamentation, having below two split pomegranates in gold, and above, two giraffes, which alternate with a pair of long-necked gold-headed birds that are flanked by an ornament made up of letters like U. Sicilian, 14th century. 1 foot 10½ inches by 2 feet 2 inches.
Though this specimen has been sadly ill-used by time, and made out of several shreds, it evidently came from the hands that designed and wrought other pieces (Nos.8591,8591A,8596) in this collection. Upon this, as upon them, we have the same elements in the pattern—the ellipsis, the giraffes, and that singular kind of ornamentation, a sort of letter U or flattened O, not put in for any imaginary beauty of form, but to indicate either place or manufacturer, being a symbol which we have yet to learn how to read and understand. That in time we shall be able to find out its meanings there can be little or no doubt.Though of so pleasing and elaborate a design, the stuff, in its materials, is none of the richest.
Though this specimen has been sadly ill-used by time, and made out of several shreds, it evidently came from the hands that designed and wrought other pieces (Nos.8591,8591A,8596) in this collection. Upon this, as upon them, we have the same elements in the pattern—the ellipsis, the giraffes, and that singular kind of ornamentation, a sort of letter U or flattened O, not put in for any imaginary beauty of form, but to indicate either place or manufacturer, being a symbol which we have yet to learn how to read and understand. That in time we shall be able to find out its meanings there can be little or no doubt.
Though of so pleasing and elaborate a design, the stuff, in its materials, is none of the richest.
Pieceof Silk Damask; ground, yellow; the pattern, in violet, an ellipsis filled in with Saracenic ornamentation. Sicilian, 14th century. 10 inches by 2¼ inches.
There can be little doubt that this inferior textile, showing, as it does, the same feelings in its pattern, came from Palermo.
There can be little doubt that this inferior textile, showing, as it does, the same feelings in its pattern, came from Palermo.
Pieceof Silk Damask; ground, yellow; pattern, a broad stripe of gold with narrow stripes, two in green, two in blue, and yellow bands charged with birds and flowers in gold. Spanish, late 14th century. 13 inches by 8 inches.
The narrow stripes running down the broad one, and constituting its design, are ornamented with square knots of three interlacings and a saltire of St. Andrew’s cross alternatingly. The bands display birds of the waterfowl genus—a kind of crested wild-duck—very gracefully figured as pecking at flowers, one of which seems of the water-lily tribe.Here, as atNo. 8590, we have the same substitution for gold thread, of gilt vellum cut into thread-like filaments, and so woven up with the silk and cotton of which the warp and woof are composed. This, like its sister specimen, so showy, is just as poor in material; and, from its thinness, if may have served not so much for an article of dress as for hangings in churches and state apartments.
The narrow stripes running down the broad one, and constituting its design, are ornamented with square knots of three interlacings and a saltire of St. Andrew’s cross alternatingly. The bands display birds of the waterfowl genus—a kind of crested wild-duck—very gracefully figured as pecking at flowers, one of which seems of the water-lily tribe.
Here, as atNo. 8590, we have the same substitution for gold thread, of gilt vellum cut into thread-like filaments, and so woven up with the silk and cotton of which the warp and woof are composed. This, like its sister specimen, so showy, is just as poor in material; and, from its thinness, if may have served not so much for an article of dress as for hangings in churches and state apartments.
SixFragments of Silk Damask; ground, fawn-colour; pattern, a floriated ellipsis enclosing a pair of eagles, with foliage between the elliptical figures. Sicilian, 14th century. Dimensions, all small and various.
In many respects these fragments of the same piece of tissue closely resemble the fine stuff under No. 8594; the ground, fawn-colour, is the same; the same too—green, and of the same pleasing tone—is the colour of its pattern, which, however, gives us the peculiarity of a knot of two interlacings plentifully strewed amid the foliage. It is slightly freckled, too, with white.
In many respects these fragments of the same piece of tissue closely resemble the fine stuff under No. 8594; the ground, fawn-colour, is the same; the same too—green, and of the same pleasing tone—is the colour of its pattern, which, however, gives us the peculiarity of a knot of two interlacings plentifully strewed amid the foliage. It is slightly freckled, too, with white.
Pieceof Silk Damask; ground, fawn-colour; pattern, birds in pairs amid foliage (all green) and flowers, some blue, some gold, now faded black. Italian, 14th century. 18 inches by 12¾ inches.
Not a satisfactory design, as the birds are in green and hard to be distinguished from the heavy foliage in which they are placed. The materials, too, are poor and thin, the warp being cotton.
Not a satisfactory design, as the birds are in green and hard to be distinguished from the heavy foliage in which they are placed. The materials, too, are poor and thin, the warp being cotton.
Fragmentof Silk Damask; ground, deep fawn-colour; pattern, birds pecking at a flower-stem amid foliage, all yellow, occasionally shaded deep green. Sicilian, 14th century. 6½ inches by 4½ inches.
As far as it goes, the design is neat and flowing, with the peculiarity of the deep green, now almost blue, shadings both in the birds and foliage. The warp is fine cotton, and the whole speaks of a Sicilian origin.
As far as it goes, the design is neat and flowing, with the peculiarity of the deep green, now almost blue, shadings both in the birds and foliage. The warp is fine cotton, and the whole speaks of a Sicilian origin.
Pieceof Damask; ground, light purple; pattern, in yellow, a net-like broad ribbon, within the meshes of which are eight-petaled conventional flowers. Italian, 14th century.
8605SILK DAMASK.Italian, 14thcentury.Vincent Brooks Day & Son, Lith.
8605SILK DAMASK.Italian, 14thcentury.Vincent Brooks Day & Son, Lith.
8605
SILK DAMASK.
Italian, 14thcentury.
Vincent Brooks Day & Son, Lith.
The texture of the specimen is somewhat thin, but the tones of its two harmonious colours are good, and its pattern, in all its parts, extremely agreeable; upon those broad ribbon lines of the net, the branches, sprouting out into trefoils, are gracefully made to twine; and an inclination to figure a crowned M on every petal of the flower inside the meshes is very discernible. Possibly Reggio, south of Naples, is the town where this showy stuff was wrought, serviceable alike for sacred and secular employment.
The texture of the specimen is somewhat thin, but the tones of its two harmonious colours are good, and its pattern, in all its parts, extremely agreeable; upon those broad ribbon lines of the net, the branches, sprouting out into trefoils, are gracefully made to twine; and an inclination to figure a crowned M on every petal of the flower inside the meshes is very discernible. Possibly Reggio, south of Naples, is the town where this showy stuff was wrought, serviceable alike for sacred and secular employment.
Pieceof Silk Damask; ground, black; pattern, not easily discernible, though evidently elaborate. Italian, 14th century. 10 inches by 6¼ inches.
So much has damp injured this piece that its original black has become almost brown, and its pattern is well nigh gone. In its fresh state, however, the design, traces of which show it to have been sketched in the country and about the time mentioned, was thrown up satisfactorily, for it was woven in cotton from the silken ground of the piece.
So much has damp injured this piece that its original black has become almost brown, and its pattern is well nigh gone. In its fresh state, however, the design, traces of which show it to have been sketched in the country and about the time mentioned, was thrown up satisfactorily, for it was woven in cotton from the silken ground of the piece.
Pieceof Silk Damask; ground, fawn-colour; pattern, trefoils and vine-leaves, in green. Sicilian, 14th century. 8¾ inches by 4½ inches.
8607.SILK DAMASK.Sicilian, 14thcentury.Vincent Brooks Day & Son, Lith.
8607.SILK DAMASK.Sicilian, 14thcentury.Vincent Brooks Day & Son, Lith.
8607.
SILK DAMASK.
Sicilian, 14thcentury.
Vincent Brooks Day & Son, Lith.
Like all the other specimens of this kind, the present one is pleasing in its combination of those favourite colours—fawn and light green—as well as being remarkable for the elegance with which the foliage is made to twine about its surface; the materials, too, are thick and lasting.
Like all the other specimens of this kind, the present one is pleasing in its combination of those favourite colours—fawn and light green—as well as being remarkable for the elegance with which the foliage is made to twine about its surface; the materials, too, are thick and lasting.