8609.

Fragmentof Silk Damask; ground, dark blue; pattern (very imperfect in the specimen), an ellipsis filled in with ornamentation and topped by a floriation, out of which issue birds’ necks and heads, all in lighter blue, edged with white, and two conventional wild animals in gold, but now black with tarnish. Sicilian, 14th century. 6 inches by 6 inches.

Pieceof Silk Damask; ground, fawn-colour; pattern, wreaths of white flowers, green boughs bearing white flowers, forming part of a design in which an ellipsis in green constitutes a leading portion; and a broad band figured with scroll-work and an Arabic sentence, all in gold. Sicilian, 13th century. 1 foot 5½ inches by 5¾ inches.

Probably in the sample before us we behold a work from the royal looms or “tiraz”—silk-house—of Palermo, when Sicily was under the sway of France, in the person of a prince belonging to the house of Anjou. In the first place, we have the fawn—a tone of the murrey colour of our old English writers—and the light joyous green; in the second place, the ellipsis was there, though our specimen is too small to show it all. Those narrow borders that edge the large golden lettered band present us with a row of golden half-moons and blue fleurs-de-lis on one side; on the other, a row of golden half-moons and blue cross-crosslets: on the band itself we find, alternating with foliage, an oblong square, within which is written a short sentence in Arabic—a kindly word, a wish of health and happiness to the wearer—such as was, and still is, the custom among the Arabs. Sure is it that this textile, if wrought by Saracenic hands, was done under a Christian prince, and that prince a Frenchman.

Pieceof Silk Damask; ground, fawn-colour; pattern, birds and dogs in green. Sicilian, 14th century. 1 foot 4½ inches by 10¼ inches.

Like so many other specimens of the Palermitan loom, both in colours and design, this piece is rather poor in its silk, which is harsh and somewhat thin. The birds are a swan ruffling up its feathers at the presence of an eagle perched just overhead, amid branches and foliage in which the trefoil abounds.

Pieceof Silk Damask; ground, red; pattern, foliage in green, wild dogs in blue, gold, and white. South Italian, 14th century. 15 inches by 12½ inches.

The wild dogs are segeant face to face, in pairs; one blue, the other gold; one white, the other gold: and below are flowers blue, gold, and white, alternating like the animals. The warp is cotton, the woof silk, and altogether the stuff is coarse.

Fragmentsof Silk Damask; ground, black; pattern, a tower surrounded by water and a figure holding a hawk, and hawks perched, in pairs, on trees. Italian, 15th century. 9 inches by 5½ inches; 9 inches by 4½ inches.

Pity that this curious piece is so fragmental and decayed that its singular design cannot, as in another specimen of the very same tissue, all be made out. Whether it be man or woman standing on high outside the tower with a bird at rest on the wrist is here hard to say. The castle is well shown, with its moat, and its draw-bridges—for it has more than one—all down. LikeNo. 8606, it shows its pattern by the difference of material in the warp and woof. All over it has been thickly sprinkled with thin gilt trefoils that were not sewed but glued on; many have fallen off, and those remaining have turned black. See No. 7065.

Pieceof Silk Damask; ground, black; pattern, in gold thread, birds amid foliage. Italian, 14th century. 14 inches by 7¼ inches.

The bold and facile pattern of this piece is very conspicuous, with its eagles stooping upon long-necked birds perched on waving boughs; to much beauty in design it adds, moreover, richness in material.

Pieceof Silk Damask; ground, light brown; pattern, the same colour, palmettes and rosettes, with Arabic sentences repeated. Attached is a piece of green silk wrought with gold. Sicilian, 14th century. 16¼ inches by 15½ inches.

A quiet but rich stuff, and especially noticeable for its Arabic or imitated Arabic inscriptions, one within the rosettes, the other all round the inner border of the palmettes or elliptical ornamentations. The cloth of gold is plain.

Pieceof Linen, block-printed in a pattern composed of birds and foliage. Flemish, late 14th century. 1 foot 9 inches by 3 inches.

Of this kind of block-printed linen, with its graceful design in black upon a white ground, there are other good examples (Nos.7027and8303) in this collection. From the marks of use upon its canvas lining, this long narrow strip would seem to have once served as an apparel to an amice in some poor church.

Portionsof Crimson Silk, brocaded in gold; the pattern, angels holding crescents beneath crowns, from which come rays of glory, and hunting leopards seizing on gazelles. Italian, end of 14th century. 2 feet 8¾ inches by 2 feet.

This rich stuff betrays in its design an odd mixture of Asiatic and European feeling; we have the eastern hunting lion spotted and collared blue, pouncing on the gazelle or antelope, which is collared too; so far we have the imitation, but without lettering, of a Persian or Asiatic pattern. With this we find European, or at least Christian, angels,clothed in white, but with such curious nebule-nimbs about their heads as to make their brows look horned, more like spirits of evil than of good. The open crowns are thoroughly after a western design; and the head and shoulders of a winged figure, to the left, show that we have not the entire design before us. From the graceful way in which the figures are made to float, as well as from several little things about the scrolls, we may safely conclude that the designer of the pattern lived in upper Italy, and that this costly and elegant brocade was wrought at Lucca. Of the Oriental elements of this pattern we have said a few words at No. 8288.

Stoleof deep purple silk, brocaded in gold and crimson; pattern, a long flower-bearing stem, and large flowers. Italian, early 15th century. 9 feet 6 inches by 4 inches.

Like all the old stoles, this is so long as almost to reach down to the feet, and is rather broader than usual, but does not widen at the ends, which have a long green fringe. The stuff is of a rich texture, and the pattern good.

Partof a Linen Cloth, embroidered with sacred subjects, and inscribed with the names, in Latin, of the Evangelists. German, end of the 14th century. 6 feet by 4 feet.

Unfortunately, this curious and very valuable sample of Rhenish needlework is far from being complete, and has lost a good part of its original composition on its edges, but much more lamentably on the right hand side. Not for a moment can we think it to have been an altar-cloth properly so-called, that is, for spreading out over the table itself of the altar; but, in all likelihood, it was used as a reredos or ornament over but behind the altar, as a covering for the wall. Another beautiful specimen of the same kind has been already noticed underNo. 8358, for throwing over the deacon’s and subdeacon’s lectern at high mass; and, from the fact that, in both instances, the subjects figured are in especial honour of the B. V. Mary, it would seem that, in many German churches, and following a very ancient tradition that the Blessed Virgin wrought during all her girlhood days ornaments for the Temple of Jerusalem with her needle, the custom was to have for the “Mary Mass,” and for altars dedicated under her name, as many liturgical appliances as might be of this sort of white needlework, and done by maidens’ hands.In the centre we have the coronation of the B. V. Mary, executed after the ordinary fashion, with her hair falling down her shoulders, and a crown upon her head; she is sitting with arms uplifted in prayer, upon a Gothic throne, by her Divine Son, who, while holding the mund in His left, is blessing His mother with raised right hand; over-head is hovering an angel with a thurible; at each of the four corners is an Evangelist represented, not only by his usual emblem, but announced by his name in Latin. At first sight the angel, the emblem of St. Matthew might be taken for Gabriel announcing the Incarnation to the B. V. Mary. Above and around are circles formed of the Northern Kraken, four in number, put in orb, and running round an elaborately floriated Greek cross, symbolizing the victory of Christianity over heathenism. In many places, within a gracefully twining wreath of trefoil leaves and roses barbed, is the letter G, very probably the initial of the fair hand who wrought and gave this beautiful work to our Lady’s altar; and the spaces between the subjects are filled in with well-managed branches of the oak bearing acorns. To the left is seen a hind or countryman hooded, carrying, hung down from a long club borne on his shoulder, a dead hare; and further on, still to the left, an old man who with a lance is trying to slay an unicorn that is running at full speed to a maiden who is sitting with her hair hanging about her shoulders, and stroking the forehead of the animal with her left hand. The symbolism of this curious group, not often to be met with, significative of the mystery of the Incarnation, is thus explained by the Anglo-Norman poet, Phillippe de Thaun, who wrote his valuable “Bestiary” in England for the instruction of his patroness, Adelaide of Louvaine, Queen to our Henry I:—“Monoceros is an animal which has one horn on its head; it is caught by means of a virgin: now hear in what manner. When a man intends to hunt it and to take and ensnare it, he goes to the forest where is its repair, there he places a virgin with her breast uncovered, and by its smell the monoceros perceives it; then it comes to the virgin and kisses her breast, falls asleep on her lap, and so comes to its death: the man arrives immediately, and kills it in itssleep, or takes it alive and does as he likes with it.... A beast of this description signifies Jesus Christ; one God he is and shall be, and was and will continue so; he placed himself in the virgin, and took flesh for man’s sake: a virgin she is and will be, and will always remain. This animal in truth signifies God; know that the virgin signifies St. Marye; by her breast we understand similarly Holy Church; and then by the kiss it ought to signify that a man when he sleeps is in semblance of death; God slept as a man, who suffered death on the cross, and His destruction was our redemption, and His labour our repose,” &c.—“Popular Treatises on Science written during the Middle Ages, &c., and edited for the Historical Society of Science by T. Wright,” pp. 81, 82.The figure of the countryman carrying off the hare is brought forward in illustration. As the rough coarse clown, prowling about the lands of his lord, wilily entraps the hare in his hidden snares, so does the devil, by allurements to sin, strive to catch the soul of man. These interesting symbolisms end the left-hand portion of the reredos. Going to the right, we find that part torn and injured in such a way that it is evidently shorn of its due portions, and much of the original so completely gone that we are unable to hazard a conjecture about the subject which was figured there.

In the centre we have the coronation of the B. V. Mary, executed after the ordinary fashion, with her hair falling down her shoulders, and a crown upon her head; she is sitting with arms uplifted in prayer, upon a Gothic throne, by her Divine Son, who, while holding the mund in His left, is blessing His mother with raised right hand; over-head is hovering an angel with a thurible; at each of the four corners is an Evangelist represented, not only by his usual emblem, but announced by his name in Latin. At first sight the angel, the emblem of St. Matthew might be taken for Gabriel announcing the Incarnation to the B. V. Mary. Above and around are circles formed of the Northern Kraken, four in number, put in orb, and running round an elaborately floriated Greek cross, symbolizing the victory of Christianity over heathenism. In many places, within a gracefully twining wreath of trefoil leaves and roses barbed, is the letter G, very probably the initial of the fair hand who wrought and gave this beautiful work to our Lady’s altar; and the spaces between the subjects are filled in with well-managed branches of the oak bearing acorns. To the left is seen a hind or countryman hooded, carrying, hung down from a long club borne on his shoulder, a dead hare; and further on, still to the left, an old man who with a lance is trying to slay an unicorn that is running at full speed to a maiden who is sitting with her hair hanging about her shoulders, and stroking the forehead of the animal with her left hand. The symbolism of this curious group, not often to be met with, significative of the mystery of the Incarnation, is thus explained by the Anglo-Norman poet, Phillippe de Thaun, who wrote his valuable “Bestiary” in England for the instruction of his patroness, Adelaide of Louvaine, Queen to our Henry I:—“Monoceros is an animal which has one horn on its head; it is caught by means of a virgin: now hear in what manner. When a man intends to hunt it and to take and ensnare it, he goes to the forest where is its repair, there he places a virgin with her breast uncovered, and by its smell the monoceros perceives it; then it comes to the virgin and kisses her breast, falls asleep on her lap, and so comes to its death: the man arrives immediately, and kills it in itssleep, or takes it alive and does as he likes with it.... A beast of this description signifies Jesus Christ; one God he is and shall be, and was and will continue so; he placed himself in the virgin, and took flesh for man’s sake: a virgin she is and will be, and will always remain. This animal in truth signifies God; know that the virgin signifies St. Marye; by her breast we understand similarly Holy Church; and then by the kiss it ought to signify that a man when he sleeps is in semblance of death; God slept as a man, who suffered death on the cross, and His destruction was our redemption, and His labour our repose,” &c.—“Popular Treatises on Science written during the Middle Ages, &c., and edited for the Historical Society of Science by T. Wright,” pp. 81, 82.

The figure of the countryman carrying off the hare is brought forward in illustration. As the rough coarse clown, prowling about the lands of his lord, wilily entraps the hare in his hidden snares, so does the devil, by allurements to sin, strive to catch the soul of man. These interesting symbolisms end the left-hand portion of the reredos. Going to the right, we find that part torn and injured in such a way that it is evidently shorn of its due portions, and much of the original so completely gone that we are unable to hazard a conjecture about the subject which was figured there.

Pieceof Silk Damask; ground, rose-coloured; pattern, peacocks, eagles, a small nondescript animal, and a lyre-shaped ornament, all in green, touched with white. Italian, late 14th century. 11 inches by 10½ inches.

A curious design, in which the birds are boldly and freely drawn. Each horn of the lyre-shaped ornament ends, bending outwardly with what to herald’s eyes seems to be two wings conjoined erect.

Pieceof Silk and Gold Damask; ground, dark blue, in some places faded; pattern, a band charged with squares in gold, every alternate one inscribed with the same short Arabic word, lions in gold beneath a tree in lightblue shaded white, and cockatoos in gold. Syrian, 14th century. 19 inches by 13½ inches.

So strong is the likeness between this and the stuff atNo. 8359, both in the texture of the silk and the treatment of the beasts and birds, that we are led to suppose them to have come from the same identical workshop. That tree-like ornament, under which the shaggy long-tailed lion with down-bent head is creeping, seems the traditionary form of the Persians’ “hom.” The gold is, in most parts, very brilliant, owing to the broadness of the metal wrapped round the linen thread that holds it; and, altogether, this is a rich specimen of the Syrian loom.

Pieceof Silk Damask; ground, fawn-colour; pattern, foliage in green, flowers, some white, some in gold, and lions in gold. Sicilian, late 14th century. 22½ inches by 10 inches.

The warp is of linen, and the silken woof is thin; so sparingly was the gold bestowed, that it has almost entirely faded; altogether, this specimen shows a good design wasted upon very poor materials. In the expanding part of the foliage there seems to be a slight remembrance of the fleur-de-lis pattern, and the lions are sejant addorsed regardant.

TwoPortions of Silk Damask; in both, the ground, fawn-colour; the pattern, in the one, ramified foliage, amid which two lions sejant regardant, in gold; in the other, two eagles at rest regardant, in green, divided by a large green conventional flower, including another such flower in gold. Sicilian, 14th century. 11 inches by 5¼ inches; 9½ inches by 4¾ inches.

Very likely from the same loom asNo. 8621, and every way corresponding to it.

Pieceof Silk Damask; ground, pale brown; pattern, in a lighter tone, stags and sunbeams, and below eagles within hexagonal compartments. Sicilian, late 14th century. 18 inches by 14 inches.

The stags, well attired, are in pairs, couchant, chained, with heads upturned to sunbeams darting down on them, with spots like rain coming amid these rays; beneath these stags are eagles. The material is very thin and poor for such a pleasing design. In a much richer material part of this same pattern is to be seen at No. 1310.

Pieceof very fine Linen. Oriental. 2 feet 4 inches by 1 foot 5 inches.

This is another of those remarkably delicate textiles for which Egypt of old was, and India for ages has been, so celebrated. A fine specimen has been already noticed at No. 8230; but to indicate the country or the period of either would be but hazarding a conjecture. Surplices were often made of such fine transparent linen, as is shown by illuminated MSS. See “Church of our Fathers,” t. ii. p. 20.

Pieceof Silk Damask; ground, fawn-colour; pattern, flowers and birds, both in green. Italian, end of 14th century. 11 inches by 8½ inches.

8626SILK DAMASK.Italian, 14thcentury.Vincent Brooks Day & Son, Lith.

8626

SILK DAMASK.

Italian, 14thcentury.

Vincent Brooks Day & Son, Lith.

The birds are in two pairs, one at rest, the other on the wing darting down; between them is an ornament somewhat heart-shaped, around which runs an inscription of imitated Arabic. Most likely this silk is of Sicilian work.

Pieceof Silk Damask; ground, dark blue; pattern, lozenge-shaped compartments, filled in with quadrangular designs varying alternately. Spanish, late 14th century. 10½ inches by 8 inches.

There is a Moorish influence in the design, which leads to the supposition that this stuff was wrought somewhere in the South of Spain.

TwoFragments of Silk Damask; ground, light yellow; pattern, flowers and birds, with the letters A and M crowned, all in pale red. Italian, late 14th century. 6 inches by 5 inches; 6 inches by 3½ inches.

A very pleasing design, in nicely toned colours, and evidently wrought for hangings, or perhaps curtains, about the altar of the B. V. Mary, as we have the whole sprinkled with the crowned letters A M, significative of “Ave Maria.”

Fragmentof Silk Damask; ground, purple; pattern, four green hares in a park walled, with conventional flowers, yellow. Italian, late 14th century. 5 inches by 4¾ inches.

The colours, both of the ground and design, of this piece are much faded, so that it becomes hard, at first sight, to make out the pattern, especially the four green hares tripping within a park, which, instead of being shown with pales, has a wall round it.

Fragmentof Silk Damask; ground, red; pattern, foliage and flowers in green, with animals, alternately in gold and dark blue. Italian, late 14th century. 5 inches by 4 inches.

Though the materials be thin, the design is interesting and displays taste. The animals, seemingly fawns, are lodged, but so sparingly was the gold bestowed upon its cotton thread that it has almost entirely disappeared from the would-be golden deer.

Fragmentof Silk Damask; ground, deep purple; pattern, a circle inclosing a heart-shaped floral ornament, in red, with an indistinct ornament, once gold. South of Spain, 14th century. 6¼ inches by 5½ inches.

The colours of what may have been a rich stuff, as well as the brightness of the gold, are much dulled.

Pieceof Silk Damask; ground, pale yellow; pattern, vine-leaves and grapes, with the letter A, all in light purple. Italian, late 14th century. 11¾ inches by 3 inches.

One of those cheerful designs which are to be found in this collection; and had the specimen been larger, very likely an M would have been shown under the A.

Pieceof Silk Damask; ground, purple; pattern, within interlacing strapwork forming a square, two parrots addorsed alternating with two dogs addorsed, all yellow, with ornamentations of small circles and flowers, once gold, butnow so tarnished that they look black. Sicilian, 14th century. 5½ inches by 5 inches.

One of those specimens which will be sought by those who want examples of stuffs figured with animals. This stuff is shewn in Dr. Bock’s “Dessinateur pour Etoffes,” &c. 3 Livraison.

Pieceof Silk Damask; ground, fawn and green; pattern, small squares enclosing leaves, birds, and beasts alternately. Italian, 14th century. 7½ inches by 3 inches.

Though small, the pattern is good and comes from either a Sicilian or a Reggio loom. Lions, and stags with branching horns, eagles, parrots, and undecipherable birds, in braces with necks crossing one another, are to be found upon it; among the foliage the vine-leaf prevails.

AltarFrontal of Linen, embroidered with the filfot in white thread freckled with spots in blue and green silk, and lozenge-shaped ornaments in blue, green, and crimson silk. German, 14th century. 3 feet 10 inches square.

There can be little doubt but this piece of needlework was originally meant for an altar frontal, and its curious but coarser lining, may have been wrought for the same separate but distinct purpose. The filfot or gammadion, a favourite object upon vestments, is its chief adornment, while its lining, a work of a century later, is worked with a palm-like design in thick linen thread. At a later time, it seems to have been employed as a covering to the table itself of the altar, and is plentifully sprinkled with spots of wax-droppings.

Pieceof Linen Cloth, embroidered with filfots, some in white, some in blue silk. German, 14th century. 1 foot 11 inches by 9 inches.

This handsome piece of napery was evidently woven for the service of the church, and may have been intended either for frontals to hang in front of the altar, or as curtains to be suspended away from, but yet close to, the altar-table on the north and south sides. The favourite gammadion appears both in the pattern of the loom-work and in the embroideries wrought by hand, sometimes in blue, sometimes in white silk, upon it.

Pieceof Silk and Gold Damask; ground, green; pattern, flower-bearing stems, in gold, amid foliated tracery of a deep green tone, all enclosed by a golden elliptical border. Italian, early 15th century, 11½ inches by 7½ inches.

This rich and pleasing stuff is most likely from the loom of some workshop in Lucca and was manufactured for secular purposes, and deserves attention not only for the goodness of its materials, but for the beauty of its design.

PIECEof Thread and Silk Damask; ground, purple slightly mixed with crimson; pattern, vine-branches bearing grapes and tendrils all in green, amid which are wyverns in gold, langued green. South Italian, 15th century, 1 foot 1 inch by 9½ inches.

The warp is of thread, and the woof of silk. Such was the poverty of the gold thread in the wyverns, that it has almost entirely dropped off or turned black. This specimen shows how, sometimes, a rich pattern was thrown away upon mean materials. Its uses seem to have been secular.

Pieceof Silk Damask; ground, gold; pattern, a circle showing, in its lower half, a crescent moon and an eight-petaled flower, in the round centre of which is an Arabic inscription, all in black, and the spaces filled in with aSaracenic scroll in light blue, light green, and crimson (now faded). Moresco-Spanish, 14th century. 1 foot 1¾ inches by 5¾ inches.

This unmistakeable specimen of a Saracenic loom would seem to have been wrought somewhere in the south of Spain, may be at Granada, Seville, or Cordova.As a sample of its kind it is valuable, showing, as it does, that the same feelings which manifested themselves upon Moorish ornamentation for architecture were displayed in the patterns of textiles among that people. The fraud, so to say, of gilt shreds of parchment for threads covered with gold is exemplified here; and hence we may gather that the Spaniards of the mediæval period learned this trick from their Saracenic teachers in the arts of the loom. As inNo. 8590, &c., so here, the gold ground is wrought, not in thread twined with gold foil, but with gilt vellum cut into very narrow filaments, and worked into the warp so as to lie quite flat.

This unmistakeable specimen of a Saracenic loom would seem to have been wrought somewhere in the south of Spain, may be at Granada, Seville, or Cordova.

As a sample of its kind it is valuable, showing, as it does, that the same feelings which manifested themselves upon Moorish ornamentation for architecture were displayed in the patterns of textiles among that people. The fraud, so to say, of gilt shreds of parchment for threads covered with gold is exemplified here; and hence we may gather that the Spaniards of the mediæval period learned this trick from their Saracenic teachers in the arts of the loom. As inNo. 8590, &c., so here, the gold ground is wrought, not in thread twined with gold foil, but with gilt vellum cut into very narrow filaments, and worked into the warp so as to lie quite flat.

Pieceof Silk Damask; ground, light blue; pattern, a circle elaborately filled in with a wreath of leaves edged with a hoop of fleur-de-lis, and enclosed in an oblong garland made up of boughs and flowers, in a slightly deeper tone of the same blue. Italian, early 15th century. 1 foot by 8½ inches.

So very like in design toNo. 8637, that we may presume it to have been wrought at Lucca.

Partof an Orphrey; ground, once crimson, but now faded to a light brown colour; pattern, quatrefoils, with angles between the leaves, embroidered with male saints in various colours upon a golden ground. Each quatrefoil is separated by a knot of three interlacings, and the sides filled in with a pair of popinjays, gold and green, and two boughs of theoak bearing acorns, alternately. On both sides runs a border formed of a scroll of vine-leaves, done alternately in gold and silver, upon a green silk ground. North Italian, 15th century. 2 feet 7 inches by 5½ inches.

The whole of this elaborate piece of needlework has been done with much care, and in rich materials; but as the saints have no peculiar emblems given them, their identification is beyond hope. Whether for cope or chasuble—for it might have served for either vestment—this embroidery must have been very effective, from the bold raised nature of much of its ornamentation.

TwoPieces of Silk Damask; ground, green and fawn; pattern, intertwining branches of the vine, with bunches of grapes. Sicilian, 14th century. 9¾ inches by 4½ inches; 6 inches by 4 inches.

Another of those graceful green and fawn-coloured silks almost identical in pattern with others we have seen from the same country.

Pieceof Net-work; ground, reticulated pale brown silk; pattern, a sort of lozenge, in green and in brown silk, hand-embroidered. German, 14th century. 7 inches by 5 inches.

From the circular shape of this piece it seems to have been a portion of female attire, most likely for the shoulders. One of its ornaments looks very like a modification of one form of the heraldic mill-rind, with the angular structure.

Portionof an Orphrey; ground, gold; pattern, a shield of arms, and an inscription in purple letters, repeated. German, 15th century. 1 foot 9 inches by 2¼ inches.

This specimen of the German loom may have been woven at Cologne, probably for the narrow orphreys of a whole set of vestments given to the church by some Duchess of Cleves, of the name of Elizabeth Vancleve, since, to such a lady, the blazon and the inscription point. The shield is party per palegules, an escarbuncleor; andpurpure, a lion rampantargent, barredgules, ducally crowned and armedor.

Pieceof Linen; ground, light brown; pattern, small blue squares or lozenges, separated into broad bands by narrow stripes, once ornamented with green lozenges and bordered all along by red lines. German, 15th century. 1 foot by 7 inches.

The warp and woof are linen thread; the green of the narrow stripes, from the small remains, appears to have been woollen.

Fragmentof a Piece of Silk and Gold Embroidery on Linen; ground, as it now looks, yellow; pattern, interlacing strapwork, forming spaces charged with the armorial bearings of England, and other blazons, rudely worked. 14th century. 5 inches by 3½ inches.

So faded are the silks, and so tarnished the gold thread used for the embroidery of this piece, that, at first sight, the tinctures of the blazon are not discernible. In the centre we have the three golden libards or lions of England, and the silk of the ground or field, on narrow examination, we find to have been scarlet orgules; immediately below is a shield quarterly, 1 and 4or, a lion rampantgules, 2 and 3sable, a lion rampantor; immediately above, a shieldgules, with three palesazure(?), each charged with what are seemingly tall crosses (St. Anthony’s)or; above, the shield of England; but to the right hand, on a field barry of twelveazureandor, a lion rampantgules; below this shield, another, on a fieldor, two barssable; these two shields alternate on the other side. The strapwork all about is frettyor, on a fieldgules.

Pieceof Silk and Gold Damask; ground, crimson, sprinkled with gold stars; pattern, the Annunciation. Italian, 14th century. 1 foot 1¼ inches by 8 inches.

In this admirable specimen of the Florentine loom we have shown us the B. V. Mary not quite bare-headed, but partly hooded and nimbed, as queen-like she sits on a throne, with her arms meetly folded on her breast, the while she listens to the words of the angel who is on his knees before her, and uplifting his hand in the act of speaking a benediction, while in his left he holds the lily-branch, correctly—which is not always so in artworks—blooming with three, and only three, full-blown flowers. Above the archangel the Holy Ghost is coming down from heaven in shape of a dove, from whose beak dart forth long rays of light toward the head of St. Mary. The greater part of the subject is wrought in gold; the faces, the hands, and flowers are white, and a very small portion of the draperies blue. The drawing of the figures is quite after the Umbrian school, and, therefore, not merely good, but beautiful. In his “Geschichte der Liturgischen Gewänder des Mittelalters,” 1 Lieferung, pl. xiii. Dr. Bock has figured it.

AnEmbroidered Figure of St. Ursula, within a Gothic niche, which with much of the drapery, was done in gold, on a ground now brown. Rhenish, 14th century. 8¾ inches by 3¾ inches.

So sadly has the whole of this embroidery suffered, apparently from damp, that the tints of its silk are gone, and the gold about it all become black. That this is but one of several figures in an orphrey is very likely; it gives us the saint with the palm-branch of martyrdom in one hand, a book in the other, and an arrow slicking in her neck, the instrument of her death; being of blood royal, she wears a crown; emblem of heaven and paradise, the ground she treads is all flowery.

Pieceof Woollen Carpet; ground, red; pattern, a green quatrefoil bearing three white animals. Spanish, late 14th century. 1 foot 11 inches by 1 foot 1 inch.

A most unmistakeable piece of mediæval carpeting; the lively tone of its red is yet bright. The quatrefoils are quite of the period, and look like four-petaled roses barbed, that is, with the angular projection between the petals. So unlion-like are the animals, that we may not take them as the blazon of the Kingdom of Leon.

Pieceof Silk Damask; ground, crimson; pattern, the so-called artichoke in yellow and green, lined white, and foliage of green lined white. Spanish, 15th century. 1 foot 9 inches by 1 foot 4½ inches.

A good example of this showy pattern, once so much in favour, and of which the materials are very good and substantial; much of the yellow portions of the design was in gold thread, the metal of which has, however, almost all gone. From the quantity of glue still sticking to the hind part of this silk, its last destination would seem to have been the covering of some state room.

The“Vernicle,” embroidered in silk, and now sewed on a large piece of linen. Flemish, middle of 15th century. 9½ inches by 7½ inches; the linen, 2 feet 10½ inches by 2 feet 9 inches.

To the readers of old English literature, especially of Chaucer, the term of “Vernicle” will not be unknown, as expressing the representation of our Saviour’s face, which He is said to have left upon a napkin handed Him to wipe His brows, by one of those pious women who crowded after Him on His road to Calvary. It is noticed, too, in the “Church of our Fathers,” t. iii. p. 438. This piece of needlework seems to have been cut off from another, and sewed, at a verymuch later period, to the large piece of linen to which it is now attached; for the purpose of being put up either in a private chapel, or over some very small altar in a church, as a sort of reredos; or, perhaps, it may have originally been one of the apparels on an alb: never, however, on an amice, being much too large for such a purpose. One singularity in the subject is the appearance of crimson tassels, one at each corner of the napkin figured with our Lord’s likeness, which is kept with great care still, at Rome, among the principal relics in St. Peter’s, where it is shown in a solemn manner on Easter Monday. It is one of those representations of a sacred subject called by the Greeks ἀχειροποίητος, that is, “not made by hands,” or, not the work of man, as was noticed in the Introduction to the present Catalogue.

LinenTowel, with thread embroidery; pattern, lozenges, some enclosing flowers, others, lozenges. German, 15th century. 3 feet 11 inches by 1 foot 6½ inches.

Most likely this small piece of linen was meant to be a covering for a table, or may be the chest of drawers in the vestry, and upon which the vestments for the day were laid out for the celebrating priest to put on. In the pattern there is evidently a strong liking for the gammadion—a kind of figuration constructed out of modifications of the Greek letter gamma. In England the gammadion became known as the “filfot,” and seems to have been looked upon as a symbol for the name Francis or Frances, and is of frequent occurrence in our national monuments—especially in needlework—belonging to the 14th and 15th centuries. From the presence of that large eight-petaled flower in this cloth we are somewhat warranted in thinking that the same hand that wrought the fine and curious frontal,No. 8709, worked this, and that her baptismal name was Frances.

TenFragments of Narrow Laces for edgings to liturgical garments, woven, some in gold, some in silk, and some in worsted. 8658 is a specimen of parti-coloured fringe; 8659 shows a two-legged monster as part of its design;

and in 8661 and 8661Awe find a knot much like the one to which Montagu gives the names of Wake and Ormond, in his “Guide to the Study of Heraldry,” p. 52.

TheNapkin for a Crozier, of fine linen ornamented with two narrow perpendicular strips of embroidery of a lozenge pattern in various-coloured worsteds, and having, at top, a cap-shaped finishing made of a piece of green raised velvet, which is figured with a bird, like a peacock, perched just by a well, into which it is looking. At each corner of this cap is a small parti-coloured tassel, and, at the top, the short narrow loop by which it hung from the upper part of the crozier-staff. German, 15th century. 2 feet 2½ inches by 1 foot 8½ inches.

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