This is another of those liturgical ornaments, valuable, because so rare, of which we have spoken under No. 8279A. But in the specimen before us we find it in much diminished form—half only of its usual size. The design of the raised velvet, in its cap, is as unusual as curious.
This is another of those liturgical ornaments, valuable, because so rare, of which we have spoken under No. 8279A. But in the specimen before us we find it in much diminished form—half only of its usual size. The design of the raised velvet, in its cap, is as unusual as curious.
LinenCloth, embroidered in coloured silks with sacred emblems and hagiological subjects, and inscribed with names amid trees and flowers. German, 15th century. 1 foot 1¾ inches by 4 inches.
In all likelihood this needlework was meant as the covering for a table in the vestry of some church, or oratory in some lady’s room. On the left is figured St. George slaying the dragon; next, the pelican in its piety, above which is the “vernicle,” and over this the word “Emont,” with a ducal coronet above it. Then the names “Ihs,” “Maria,” and, above them, the word “Eva” crowned. In the middle of the cloth is a cross with all the emblems of the Passion around it, as well as a star and crescent. Then an animal spotted like a panther and chained to a tree; this is followed by the name“Meltinich;” last of all we find the name “Amelia,” and beneath, a half-figure of a woman having long hair with a large comb in her right hand, altogether resembling a mermaid. At bottom runs a narrow parti-coloured thread fringe.
In all likelihood this needlework was meant as the covering for a table in the vestry of some church, or oratory in some lady’s room. On the left is figured St. George slaying the dragon; next, the pelican in its piety, above which is the “vernicle,” and over this the word “Emont,” with a ducal coronet above it. Then the names “Ihs,” “Maria,” and, above them, the word “Eva” crowned. In the middle of the cloth is a cross with all the emblems of the Passion around it, as well as a star and crescent. Then an animal spotted like a panther and chained to a tree; this is followed by the name“Meltinich;” last of all we find the name “Amelia,” and beneath, a half-figure of a woman having long hair with a large comb in her right hand, altogether resembling a mermaid. At bottom runs a narrow parti-coloured thread fringe.
Frontletto an Altar-Cloth, embroidered in coloured silks upon fine linen, with flower-bearing trees and a shield of the Passion, along with saints’ names, &c. German, 16th century. 1 foot 1¾ inches by 4 inches.
The shield in the middle is charged with a chalice and consecrated host, and four wounds (hands and feet) of our Lord. Under one tree occur the names “Jhesus,” “Maria;” under another, “Andreas,” “Anna.” From amid the grass on the ground spring up tufts of daisies.
The shield in the middle is charged with a chalice and consecrated host, and four wounds (hands and feet) of our Lord. Under one tree occur the names “Jhesus,” “Maria;” under another, “Andreas,” “Anna.” From amid the grass on the ground spring up tufts of daisies.
Pieceof Embroidery, done upon fine linen in coloured silks and gold thread. German, middle of the 15th century. 7½ inches square.
The subject of this piece is the death of the Blessed Virgin Mary, figured according to the traditional manner much followed by the mediæval schools of art in most parts of Christendom. It is, however, to be regretted that this embroidery has been at some time mutilated; in its original state it may have, perhaps, served as an apparel to an alb, and occupied the place of one of those to be seen at No. 8710.
The subject of this piece is the death of the Blessed Virgin Mary, figured according to the traditional manner much followed by the mediæval schools of art in most parts of Christendom. It is, however, to be regretted that this embroidery has been at some time mutilated; in its original state it may have, perhaps, served as an apparel to an alb, and occupied the place of one of those to be seen at No. 8710.
Fragmentof thin Silk Damask; pattern, a lozenge-shaped diaper; colour, a much faded crimson. Oriental, 13th century. 8½ inches by 4½ inches.
Though small, the pattern is pretty, and much resembles a stuff of silk and gold very lately found in the tomb of one of the Archbishops of York, in that cathedral.
Though small, the pattern is pretty, and much resembles a stuff of silk and gold very lately found in the tomb of one of the Archbishops of York, in that cathedral.
Portionof an Orphrey, wrought partly in the loom, partly by the needle, and figured with an angel-like youth holding before him an armorial shield, as he stands within a Gothic niche, with an inscription below his feet. German, very late 15th century. 10½ inches by 5½ inches.
8667.EMBROIDERY, SILK & GOLDUnder a Gothic canopy &c. __ German, late 15thcentury.
8667.EMBROIDERY, SILK & GOLDUnder a Gothic canopy &c. __ German, late 15thcentury.
8667.
EMBROIDERY, SILK & GOLD
Under a Gothic canopy &c. __ German, late 15thcentury.
This instructive piece deserves the attention of those who study embroidery. The loom was geared in such a manner that the spaces for the head, face, neck, and hands were left quite empty, so that they might be filled in by the needle. But this was not all the hand had to do; the architectural features of the canopy, its shading in red, the nimb, and nicely floriated diapering all over the angel’s golden alb, were put in by the needle.The inscription, woven in, reads “Johā vā geyē,” and the piece is figured in Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 2 Lieferung, pl. xv.
This instructive piece deserves the attention of those who study embroidery. The loom was geared in such a manner that the spaces for the head, face, neck, and hands were left quite empty, so that they might be filled in by the needle. But this was not all the hand had to do; the architectural features of the canopy, its shading in red, the nimb, and nicely floriated diapering all over the angel’s golden alb, were put in by the needle.
The inscription, woven in, reads “Johā vā geyē,” and the piece is figured in Dr. Bock’s “Geschichte der Liturgischen Gewänder des Mittelalters,” 2 Lieferung, pl. xv.
Partof an Orphrey, mostly loom-woven, and figured with the Crucifixion, on one side of which stands the Blessed Virgin Mary, on the other, St. John the Evangelist, German, late 15th century. 12¼ inches by 5 inches.
Like the preceding piece, the greater part is woven, even the body itself of our Lord, so that in His figure, as in those of His mother and the beloved disciple, the only embroidered portions are the head and face, besides those blood-spots all over His person, the tricklings from His five wounds, and the crossed nimb about His head.
Like the preceding piece, the greater part is woven, even the body itself of our Lord, so that in His figure, as in those of His mother and the beloved disciple, the only embroidered portions are the head and face, besides those blood-spots all over His person, the tricklings from His five wounds, and the crossed nimb about His head.
Portionof a Maniple, in much faded tawny silk; pattern, a rose-like floriation. Flemish, 16th century. 1 foot 10½ inches by 3¼ inches.
Though peculiar, the pattern in the design of this silken stuff is very pretty; the piece of parti-coloured silken fringe that edges the end of this maniple is older than the textile to which it is sewed.
Though peculiar, the pattern in the design of this silken stuff is very pretty; the piece of parti-coloured silken fringe that edges the end of this maniple is older than the textile to which it is sewed.
Thehind Orphrey for a Chasuble, with embroidered figures applied upon a ground red and gold. The figures are a knight bareheaded and kneeling in prayer, with his helmet and shield before him, St. Catherine of Alexandria, and St. Anthony of Egypt reading a book. German, middle of the 15th century. 2 feet 11 inches by 5¼ inches.
The figures are well done, and all show the varieties of process then brought into use; they were worked on canvas, of which the portions for the face and hands were left untouched, saving by the few slight stitches required for indicating the hair and features of the countenance and indications of the fingers. Some of the dress was cut out of woven cloth of gold and sewed on; other parts worked with the needle, as were such accessories as books, instruments of martyrdom, and other such emblems. The knight, probably the giver of the chasuble, is meant to be indicated by his blazon, which is a shieldorcharged with eighttorteauxin orle, and this is surmounted by a golden helmet with mantling, and a crest, consisting of golden horns fringed with fourtorteauxeach. The ground upon which the embroideries are set is rich, and woven with golden wheel-like circles with wavy, not straight, spokes upon a bright red field.
The figures are well done, and all show the varieties of process then brought into use; they were worked on canvas, of which the portions for the face and hands were left untouched, saving by the few slight stitches required for indicating the hair and features of the countenance and indications of the fingers. Some of the dress was cut out of woven cloth of gold and sewed on; other parts worked with the needle, as were such accessories as books, instruments of martyrdom, and other such emblems. The knight, probably the giver of the chasuble, is meant to be indicated by his blazon, which is a shieldorcharged with eighttorteauxin orle, and this is surmounted by a golden helmet with mantling, and a crest, consisting of golden horns fringed with fourtorteauxeach. The ground upon which the embroideries are set is rich, and woven with golden wheel-like circles with wavy, not straight, spokes upon a bright red field.
Fragmentof an Orphrey, woven in gold and coloured silks; pattern, intertwining brambles of the wild rose, bearing flowers seeded and barbed. German, beginning of the 16th century. 7¾ inches by 4½ inches.
Though the ground is, or rather was, of gold, so sparingly was the precious metal bestowed upon the thread, that it has been almost entirely worn away. The same may be said of the very narrow tape with which, on one of its edges, it is still bordered.
Though the ground is, or rather was, of gold, so sparingly was the precious metal bestowed upon the thread, that it has been almost entirely worn away. The same may be said of the very narrow tape with which, on one of its edges, it is still bordered.
Partof an Orphrey, embroidered upon linen, in coloured silks, and figured with St. Anthony and a virgin martyr-saint, both standing beneath Gothic canopies. Rhenish, late 15th century. 1 foot 9 inches by 3¾ inches.
Notwithstanding the embroidery be somewhat coarse, like much of the same kind of work at the period, it is so far valuable as it instructs us how three methods were practised together on one piece. The canvas ground was left bare at the faces and hands, so that the features of the one and the joints of the other might be shown by appropriate stitches in silk. Pieces of golden web, cut to the right size, were applied for the upper garments of the figures, and the folds shaded by hand in red silk, and the borders of the robe edged with a small cording, while all the rest of the work was filled in with needlework. The closely fitting scull-cap, but more especially the staff ending in a tau-cross, indicate St. Anthony, but the female saint cannot be identified; her long hair flowing about her shoulders signifies that she was a virgin, and the green palm-branch in her right hand indicates that she underwent martyrdom.
Notwithstanding the embroidery be somewhat coarse, like much of the same kind of work at the period, it is so far valuable as it instructs us how three methods were practised together on one piece. The canvas ground was left bare at the faces and hands, so that the features of the one and the joints of the other might be shown by appropriate stitches in silk. Pieces of golden web, cut to the right size, were applied for the upper garments of the figures, and the folds shaded by hand in red silk, and the borders of the robe edged with a small cording, while all the rest of the work was filled in with needlework. The closely fitting scull-cap, but more especially the staff ending in a tau-cross, indicate St. Anthony, but the female saint cannot be identified; her long hair flowing about her shoulders signifies that she was a virgin, and the green palm-branch in her right hand indicates that she underwent martyrdom.
Pieceof Raised Velvet; ground, yellowish pink, the raised velvet, bright crimson; pattern, a large compound floriation within a circle formed by small hooked lines having flowers at the cusps, and the round itself springing out of a somewhat smaller floriation. Flemish, 16th century. 2 feet 3 inches by 1 foot 1¾ inches.
Pieceof Raised Velvet; the ground, orange, the raised velvet, green; the pattern, of pomegranate form, within crocketed circles, and alternating with a large floriation. Flemish, 16th century. 2 feet 4½ inches by 11 inches.
The raised pattern, from its rich pile, stands up well, and was hung upon walls, or employed for curtains and other household appliances, for which such stuffs were generally produced.
The raised pattern, from its rich pile, stands up well, and was hung upon walls, or employed for curtains and other household appliances, for which such stuffs were generally produced.
Pieceof Worsted Needlework; pattern, lozenges after several forms, and done in various colours. Flemish, 16th century. 18½ inches by 12 inches.
Worked after the same fashion, and with the same materials, that our ladies at this day employ upon their Berlin wool work.
Worked after the same fashion, and with the same materials, that our ladies at this day employ upon their Berlin wool work.
Pieceof Linen Damask; pattern, artichoke and pomegranate forms. Flemish, 16th century. 1 foot 3 inches by 1 foot 1¾ inches.
The design is carefully elaborated; and the piece itself is evidence of the beauty of old Flemish napery.
The design is carefully elaborated; and the piece itself is evidence of the beauty of old Flemish napery.
ASmall Cloth for an Oratory, of fine linen, embroidered with sprigs of flowers in their proper colours, in silk, and with I. H. S. in red gothic letters, within a thorn-like wreath in green. Flemish, 16th century. 2 feet 6 inches by 1 foot 10 inches.
That this cloth has been cut down is evident; the sacred monogram is not in the middle, and the higher row of flowers is shortened. Though hemmed with tape on one side, and edged on two sides by very narrow strong lace, and on the fourth or front border by a broader lace, its last use was as a covering for some sort of table, not an altar properly so called; it is by far very much too small for any such purpose. In all likelihood, this cloth was made to overspread the top of a praying desk, or some little table strewed with devotional objects in a bed-room or private oratory.
That this cloth has been cut down is evident; the sacred monogram is not in the middle, and the higher row of flowers is shortened. Though hemmed with tape on one side, and edged on two sides by very narrow strong lace, and on the fourth or front border by a broader lace, its last use was as a covering for some sort of table, not an altar properly so called; it is by far very much too small for any such purpose. In all likelihood, this cloth was made to overspread the top of a praying desk, or some little table strewed with devotional objects in a bed-room or private oratory.
Portionof Worsted Embroidery upon light brown linen; the pattern, a scroll of flowers and foliage in colours German, late 16th century. 1 foot 5¾ inches by 4¼ inches.
The design is made to run along well, and the colours are nicely contrasted.
The design is made to run along well, and the colours are nicely contrasted.
Pieceof Silk Damask, of a light red and straw colour; pattern, two varieties of the pomegranate mixed with large artichokes and small crowns, and separated by thick branches, which are purpled with broad ivy-like leaves. Italian, 16th century. 2 feet 10 inches by 1 foot 11 inches.
A bold pattern, remarkable for the originality of some parts of its design.
A bold pattern, remarkable for the originality of some parts of its design.
TwoPieces of Raised Velvet, green and gold; pattern, a modification of the favourite pomegranate and its accompanying intertwining foliage; very large and incomplete. Florentine, early 16th century. 2 feet 1 inch by 9½ inches; 1 foot 3 inches by 10½ inches.
These two pieces give us specimens of those gorgeous stuffs so often sent forth to the world from the looms of Tuscany, and afford, in portions of the design, samples of velvet raised upon velvet so very rarely to be found. The little short loops, or spots, of gold thread, with which the velvet is in some parts freckled, ought not to go unnoticed.
These two pieces give us specimens of those gorgeous stuffs so often sent forth to the world from the looms of Tuscany, and afford, in portions of the design, samples of velvet raised upon velvet so very rarely to be found. The little short loops, or spots, of gold thread, with which the velvet is in some parts freckled, ought not to go unnoticed.
Pieceof Embroidery, wrought with a running pattern of leaves and flowers in coloured threads upon a golden ground, now much tarnished. German, 16th century, 1 foot 6 inches by 4½ inches.
Embroidery in thread is of somewhat rare occurrence.
Embroidery in thread is of somewhat rare occurrence.
Partof a Web for church use, wrought in thread and silk upon a golden ground, now much faded. The pattern, trees bearing white flowers, bunches of white lilies, wheels with stars, and the words “Jhesus, Maria.” Cologne, late 15th century. 6 feet by 5 inches.
That it once formed a frontlet or border to the front edge of an altar-cloth is very likely, not only from the spots of wax with which it is in some parts sprinkled, but more especially from the way in which its pattern is wrought, so as to be properly seen when stretched out horizontally.
That it once formed a frontlet or border to the front edge of an altar-cloth is very likely, not only from the spots of wax with which it is in some parts sprinkled, but more especially from the way in which its pattern is wrought, so as to be properly seen when stretched out horizontally.
TwoSpecimens of Web for church use; woven in silks, upon a golden ground; the first with the sacred name “Jhesus,” and a tree bearing white and red flowers, with daisies at its foot, and the name “Maria,” beneath which is a garland of white and red flowers twined about the letter M; the second, with a round ornament, having red and gold starsupon a tawny white ground between each of its eight radii, and underneath the sacred name, in dark blue silk. German, late 15th century. 1 foot 7½ inches by 2½ inches; 7 inches by 3¼ inches.
Like several other examples of the same kind to be found in this collection, and wrought for the same liturgical purposes.
Like several other examples of the same kind to be found in this collection, and wrought for the same liturgical purposes.
Pieceof Raised Velvet, dark blue; pattern, one of the several varieties of the pomegranate. Italian, 16th century. 1 foot 3½ inches by 1 foot 3 inches.
Rich neither in material nor design, this velvet may have been wrought not for ecclesiastical but personal use.
Rich neither in material nor design, this velvet may have been wrought not for ecclesiastical but personal use.
Pieceof Silk Damask, purple; pattern, the pomegranate. Italian. 2 feet 5 inches by 11¾ inches.
Like the preceding, meant for personal use, but exhibiting a much more elaborate design, and the variety of the corn-flower (centaurea) springing forth all round the pomegranate, which itself grows out of a fleur-de-lis crown.
Like the preceding, meant for personal use, but exhibiting a much more elaborate design, and the variety of the corn-flower (centaurea) springing forth all round the pomegranate, which itself grows out of a fleur-de-lis crown.
Pieceof Embroidery, on canvas; ground, figured with St. John the Baptist and St. John the Evangelist. Rhenish, 16th century. 1 foot 4 inches square.
To the left is seen St. John the Baptist, clothed in a long garment of camel-hair and his loins girt with a light-blue girdle, preaching in the wilderness on the banks of the Jordan. In his left hand he holds a clasped book, upon which rests the “Lamb of God,” and just over, a flag, the white field of which is ensigned with a red cross; his upraised right hand, with the first two fingers elevated as in the act of blessing,is pointed to the lamb. To the right we have St. John the Evangelist, holding a cup in one hand, while with the other he makes the poisonous drug in it harmless by a blessing.The grounding has been filled in mostly with golden thread, but of so poor a quality that the thin metal on it is scarcely discernible. In both figures the whole of the person, the fleshes, as well as clothing, are all done in woven white silk cut out, shaded, and featured in colours by the brush, with some little needlework here and there upon the garments and accessories. The figures of the saints are “applied;” and one cannot but admire the effect which a few stitches of rich green silk produce upon the canvas ground, while a piece of applied silk, slightly shaded by the brush, is an admirable imitation of a rocky cliff. The two tall trees and green garlands between them are telling in their warm tones. Altogether this is a precious specimen of applied work, and merits attention. It seems to have been the middle piece of a banner used for processions, and may have once belonged to some church at Cologne dedicated to the two SS. John.
To the left is seen St. John the Baptist, clothed in a long garment of camel-hair and his loins girt with a light-blue girdle, preaching in the wilderness on the banks of the Jordan. In his left hand he holds a clasped book, upon which rests the “Lamb of God,” and just over, a flag, the white field of which is ensigned with a red cross; his upraised right hand, with the first two fingers elevated as in the act of blessing,is pointed to the lamb. To the right we have St. John the Evangelist, holding a cup in one hand, while with the other he makes the poisonous drug in it harmless by a blessing.
The grounding has been filled in mostly with golden thread, but of so poor a quality that the thin metal on it is scarcely discernible. In both figures the whole of the person, the fleshes, as well as clothing, are all done in woven white silk cut out, shaded, and featured in colours by the brush, with some little needlework here and there upon the garments and accessories. The figures of the saints are “applied;” and one cannot but admire the effect which a few stitches of rich green silk produce upon the canvas ground, while a piece of applied silk, slightly shaded by the brush, is an admirable imitation of a rocky cliff. The two tall trees and green garlands between them are telling in their warm tones. Altogether this is a precious specimen of applied work, and merits attention. It seems to have been the middle piece of a banner used for processions, and may have once belonged to some church at Cologne dedicated to the two SS. John.
Portionof an Orphrey, crimson satin, embroidered with flowers in coloured silk and gold thread. 17th century. 1 foot 3½ inches by 2 inches.
From what liturgical vestment this was taken it would be hard to guess, but there is no likelihood that it ever ornamented a mitre. The yellow flowers, of the composite kind, and heart’s-eases are very nicely done, whether the work of an Italian, French, or German hand. They have much about them that speaks of France.
From what liturgical vestment this was taken it would be hard to guess, but there is no likelihood that it ever ornamented a mitre. The yellow flowers, of the composite kind, and heart’s-eases are very nicely done, whether the work of an Italian, French, or German hand. They have much about them that speaks of France.
Pieceof Raised Velvet, brown, with floriated pattern in gold thread. North Italy, early 16th century. 1 foot 1½ inches by 6½ inches.
Most likely from the looms of Lucca, and with a pretty diapering in the gold ground where it is bare of the velvet pile.
Most likely from the looms of Lucca, and with a pretty diapering in the gold ground where it is bare of the velvet pile.
Pieceof Green Velvet, spangled with gold, and embroidered with three armorial shields in gold thread and coloured silks. German, 17th century. 10 inches by 9¾ inches.
All the shields are very German, especially in their crests. The shield on the right hand will attract notice by its anomaly; on a fieldazureit gives a rosegulesbarbedgreen, or colour upon colour; the crest, too, is a curiosity, at least in English blazon, displaying an Elector’s cap with very tall bullrushes, five in number, and coloured proper, issuing from between the ermine and the crimson velvet.
All the shields are very German, especially in their crests. The shield on the right hand will attract notice by its anomaly; on a fieldazureit gives a rosegulesbarbedgreen, or colour upon colour; the crest, too, is a curiosity, at least in English blazon, displaying an Elector’s cap with very tall bullrushes, five in number, and coloured proper, issuing from between the ermine and the crimson velvet.
LinenNapkin, for liturgic use, embroidered, in coloured silks, with conventional flowers. German, end of the 16th century. 2 feet ½ inch by 1 foot 11 inches.
This is another of those liturgical rarities—Corpus Christi cloths—of which we have spoken atNo. 8342, under the name of Sindons, or Pyx-cloths. Such appliances were employed for mantling the pyx or ciborium when shut up in the tabernacle—that little temple-like erection on the table, or rather step, on the wall-side of the altar—when the custom ceased of keeping the pyx hanging up beneath a canopy.
This is another of those liturgical rarities—Corpus Christi cloths—of which we have spoken atNo. 8342, under the name of Sindons, or Pyx-cloths. Such appliances were employed for mantling the pyx or ciborium when shut up in the tabernacle—that little temple-like erection on the table, or rather step, on the wall-side of the altar—when the custom ceased of keeping the pyx hanging up beneath a canopy.
Hoodof a Cope, silk damask, red and yellow, with the subject of the Assumption of the Blessed Virgin Mary woven in it. Florentine, late 15th century. 1 foot 5 inches by 1 foot 4½ inches.
Uprising from her grave, and amid rays of glory and an oblong or elliptic aureole, the Virgin Mary is being wafted to heaven by four angels, who are not, as of yore, vested in long close albs like deacons, but in flowing garments so slit up as to show their naked arms, bare legs, and lower thighs. Upon the empty tomb, from out of which are springingup lilies, is written “Assunta est;” and at one corner kneels the apostle St. Thomas who, with head uplifted and both his arms outstretched, is receiving from the mother of our Lord her girdle, which she is holding in her hands and about to let drop down to him. “La Madonna della cintola”—this subject—may often be met with in Italian, more especially Florentine, art of the middle ages, and is closely linked with the history of the fine old church of Prato, as we gather from Vasari, in his “Vite dei Pittori,” t. i. p. 279, Firenze, 1846; and the English translation, t. ii. p. 75.
Uprising from her grave, and amid rays of glory and an oblong or elliptic aureole, the Virgin Mary is being wafted to heaven by four angels, who are not, as of yore, vested in long close albs like deacons, but in flowing garments so slit up as to show their naked arms, bare legs, and lower thighs. Upon the empty tomb, from out of which are springingup lilies, is written “Assunta est;” and at one corner kneels the apostle St. Thomas who, with head uplifted and both his arms outstretched, is receiving from the mother of our Lord her girdle, which she is holding in her hands and about to let drop down to him. “La Madonna della cintola”—this subject—may often be met with in Italian, more especially Florentine, art of the middle ages, and is closely linked with the history of the fine old church of Prato, as we gather from Vasari, in his “Vite dei Pittori,” t. i. p. 279, Firenze, 1846; and the English translation, t. ii. p. 75.
LinenNapkin, for liturgic use, embroidered in white, brown, and blue thread, with figures of our Lord and the twelve Apostles. German, 4 feet 8 inches by 1 foot 4½ inches.
Like the valuable specimen of the needle described atNo. 8358, the example before us served the purpose of covering the lectern in the chancel at the celebration of the liturgy.As in the usual representations of the Jesse-tree, the bust of each of the thirteen figures is made to rest within a circular branch upon its tip, where it sprouts out like a wide flower. At the top of this tree we behold our Lord with His right hand uplifted in the act of benediction, His left rested upon a mund, and, about His head a scroll inscribed “Pax F(V)obis.” To the right is St. Peter—so inscribed—holding a key; to the left, St. John, as a beardless youth—inscribed “S. Johnis;” then St. Anderus (Andrew), with a cross saltire-wise; and St. Jacob (James), with his pilgrim’s staff in hand, and on his large slouched hat turned up in front he has two pilgrim-staves in saltire; St. Jacobi (James the Less), with fuller’s bat; St. Simonus (Simon), beardless, with a long knife or sword jagged or toothed like a saw; St. Thomas, with his spear; St. Bartlyme (Bartholomew), with the flaying knife; St. Judas Tadvs (Jude or Thaddeus), with a knotted club; St. Matheus (Matthew), with a hatchet, and beardless; St. Philippe, with a cross bottony, and beardless; St. Mathias, with a halbert. At bottom is marked, in blue ink, 1574; but it may be fairly doubted if this date be the true one for this embroidery, of which the style looks at least fifty years older.
Like the valuable specimen of the needle described atNo. 8358, the example before us served the purpose of covering the lectern in the chancel at the celebration of the liturgy.
As in the usual representations of the Jesse-tree, the bust of each of the thirteen figures is made to rest within a circular branch upon its tip, where it sprouts out like a wide flower. At the top of this tree we behold our Lord with His right hand uplifted in the act of benediction, His left rested upon a mund, and, about His head a scroll inscribed “Pax F(V)obis.” To the right is St. Peter—so inscribed—holding a key; to the left, St. John, as a beardless youth—inscribed “S. Johnis;” then St. Anderus (Andrew), with a cross saltire-wise; and St. Jacob (James), with his pilgrim’s staff in hand, and on his large slouched hat turned up in front he has two pilgrim-staves in saltire; St. Jacobi (James the Less), with fuller’s bat; St. Simonus (Simon), beardless, with a long knife or sword jagged or toothed like a saw; St. Thomas, with his spear; St. Bartlyme (Bartholomew), with the flaying knife; St. Judas Tadvs (Jude or Thaddeus), with a knotted club; St. Matheus (Matthew), with a hatchet, and beardless; St. Philippe, with a cross bottony, and beardless; St. Mathias, with a halbert. At bottom is marked, in blue ink, 1574; but it may be fairly doubted if this date be the true one for this embroidery, of which the style looks at least fifty years older.
Fragmentof Silk and Cotton Tissue, green, with small flower pattern. Italian, late 16th century. 6½ inches by 4¼ inches.
A pleasing specimen, rich in material, and bright in its tones, very likely from the South of Italy.
A pleasing specimen, rich in material, and bright in its tones, very likely from the South of Italy.
Pieceof Silk Damask, crimson and yellow; pattern, scroll and foliage. French, end of 16th century. 1 foot 7¾ inches by 1 foot 9 inches.
This piece, intended for household use, is not without effect in its design. Though the warp is silk, in the woof there is linen thread, though not easily perceived.
This piece, intended for household use, is not without effect in its design. Though the warp is silk, in the woof there is linen thread, though not easily perceived.
Pieceof Fine Linen, with broad border of flowers in coloured silks. Syrian (?), 15th century. 12¼ inches by 1 foot 7 inches.
This very fine linen has all the appearance of having been wrought in some country on the eastern shores of the Mediterranean, and reminds us of those thin textures for which India was, and yet is, so celebrated. The embroidery, too, is but a timid imitation of flowers, and is so worked as to be equally good on both sides. To all appearance it is she end of a woman’s scarf.
This very fine linen has all the appearance of having been wrought in some country on the eastern shores of the Mediterranean, and reminds us of those thin textures for which India was, and yet is, so celebrated. The embroidery, too, is but a timid imitation of flowers, and is so worked as to be equally good on both sides. To all appearance it is she end of a woman’s scarf.
Pieceof Needlework in coloured worsteds, upon a canvas ground; pattern, zig-zag lozenges, containing tulips and other liliacious flowers. German, middle of 16th century. 1 foot 4¾ inches by 1 foot 1 inch.
Seemingly, this is but a small piece of a foot-cloth for the upper step of an altar.
Seemingly, this is but a small piece of a foot-cloth for the upper step of an altar.
LinenDamask Napkin; pattern, scrolls enclosing a pomegranate ornamentation; border, at two sides, rich lace. Flemish, 16th century. 4 feet 3 inches by 2 feet 3½ inches.
This napkin probably served for carrying to the altar the Sunday “holy loaf,” as it was called in England, the use of which is still kept up in France, and known there as the “pain benit.” For an account of this ancient rite, see the “Church of our Fathers,” i. 135.
This napkin probably served for carrying to the altar the Sunday “holy loaf,” as it was called in England, the use of which is still kept up in France, and known there as the “pain benit.” For an account of this ancient rite, see the “Church of our Fathers,” i. 135.
SmallBag, silk and linen thread, embroidered in quadrangular pattern. German, 15th century. 3½ inches square.
Very like the one under No. 8313. It may have been used as a reliquary, or, what is more probable, for carrying the rosary-beads of some lady. Concerning the form of prayer itself, see the “Church of our Fathers,” t. iii. p. 320.
Very like the one under No. 8313. It may have been used as a reliquary, or, what is more probable, for carrying the rosary-beads of some lady. Concerning the form of prayer itself, see the “Church of our Fathers,” t. iii. p. 320.
Pieceof Embroidery, upon an older piece of white silk, brocaded in gold, three armorial shields in their proper tinctures, all within a golden wreath. German, late 16th century. 4 inches square.
Pieceof Black Raised Velvet, with small flower pattern. Italian, 16th century. 1 foot by 7 inches.
A pleasing example of the Genoese loom.
A pleasing example of the Genoese loom.
Pieceof Damask, silk and linen, tawny and yellow; pattern, a modification of the pomegranate within oblong curves, and other floriations. Florentine, 16th century. 2 feet 11½ inches by 1 foot 1½ inches.
8702DAMASK, SILK AND LINEN,Florentine, 16thcentury.Vincent Brooks Day & Son, Lith.
8702DAMASK, SILK AND LINEN,Florentine, 16thcentury.Vincent Brooks Day & Son, Lith.
8702
DAMASK, SILK AND LINEN,
Florentine, 16thcentury.
Vincent Brooks Day & Son, Lith.
Of a large bold design, though not rich in material.
Of a large bold design, though not rich in material.
Pieceof Damask, silk and linen, tawny and yellow; pattern, a slight variation of the foregoing, No. 8702. Florentine, 16th century. 3 feet 4 inches by 9½ inches.
So much alike are these two specimens, that at first sight they look parts of the same stuff; a near and close inspection shows, however, that for one or other there was a slight alteration in the gearing of the loom. Both may have originally been crimson and yellow: if so, the first colour has sadly faded. From the shape of this piece, its last use must have been for a chasuble, but of a very recent period, judging from its actual shape.
So much alike are these two specimens, that at first sight they look parts of the same stuff; a near and close inspection shows, however, that for one or other there was a slight alteration in the gearing of the loom. Both may have originally been crimson and yellow: if so, the first colour has sadly faded. From the shape of this piece, its last use must have been for a chasuble, but of a very recent period, judging from its actual shape.
Chasuble,cloth of gold, diapered with a deep-piled blue velvet, so as to show the favourite artichoke pattern after two forms, with embroidered orphreys and armorial shields. Flemish, very late 15th century. 4 feet 4½ inches by 3 feet 10½ inches.
8704.PART OF THE ORPHREY OF A CHASUBLE.Flemish, 15thcentury.Vincent Brooks Day & Son, Lith.
8704.PART OF THE ORPHREY OF A CHASUBLE.Flemish, 15thcentury.Vincent Brooks Day & Son, Lith.
8704.
PART OF THE ORPHREY OF A CHASUBLE.
Flemish, 15thcentury.
Vincent Brooks Day & Son, Lith.
This chasuble, rare, because not cut-down, has been lately but properly repaired. The back orphrey, in the form of a cross, is figured with the Crucifixion, the B. V. Mary fainting and upheld by St. John; a shieldgules, with chaliceor, and hostargent, at top; another shield at bottom,gules, a columnargent, twined with cordsor; the front orphrey is figured with the B. V. Mary crowned, and carrying our infant Lord in her arms; beneath her, the words inscribed in blue, “Salve Regina;” lower down, St. John the Evangelist blessing a golden chalice,out of which is coming a dragon, and having the inscription at his feet, “Sanctus Iohannes.” Lower still, St. Catherine with a book in her right hand, and in the left a sword resting on a wheel.The front orphrey is done in applied work; the back orphrey consists of a web with a ground of gold, figured with green flower-bearing boughs, and having spaces left for the heads and hands to be filled in with needlework. The shield of armsor, with a chiefazure, charged with three square bucklesargent, we may presume to be the blazon of the giver of this gorgeous vestment.
This chasuble, rare, because not cut-down, has been lately but properly repaired. The back orphrey, in the form of a cross, is figured with the Crucifixion, the B. V. Mary fainting and upheld by St. John; a shieldgules, with chaliceor, and hostargent, at top; another shield at bottom,gules, a columnargent, twined with cordsor; the front orphrey is figured with the B. V. Mary crowned, and carrying our infant Lord in her arms; beneath her, the words inscribed in blue, “Salve Regina;” lower down, St. John the Evangelist blessing a golden chalice,out of which is coming a dragon, and having the inscription at his feet, “Sanctus Iohannes.” Lower still, St. Catherine with a book in her right hand, and in the left a sword resting on a wheel.
The front orphrey is done in applied work; the back orphrey consists of a web with a ground of gold, figured with green flower-bearing boughs, and having spaces left for the heads and hands to be filled in with needlework. The shield of armsor, with a chiefazure, charged with three square bucklesargent, we may presume to be the blazon of the giver of this gorgeous vestment.
Frontletto an Altar-Cloth of diapered linen. The frontlet itself is the broad border of purple cloth on which is figured a Latin inscription within wreaths of flowers done in white linen. German, late 15th century. 10 feet 9 inches by 6½ inches; the linen, 9 inches.
This is another liturgical appliance, once so common everywhere, and so often mentioned in English ecclesiastical documents, which has now become a very great rarity. From the shred of the altar-cloth itself to which it is sewed, that linen, with its fine diapering and its two blue stripes, diapered, too, and vertically woven in, must have been of a costly kind, and large enough to overspread the whole table of the altar, so that this blue frontlet fell down in front. The Latin inscription, each word parted by a wreath, from four parts of which shoot sprigs of flowers, reads thus:—“O Gloriosum lumen ec(c)lesiarum funde preces pro salute populorum.” The letters, as well as all the floral ornamentation of this short prayer, are wrought in pieces of linen stitched on with red thread; and below is a worsted parti-coloured fringe, 1¾ inches deep. For the use of the frontlet in England, during the mediæval period, the reader may consult the “Church of our Fathers,” i. 238.
This is another liturgical appliance, once so common everywhere, and so often mentioned in English ecclesiastical documents, which has now become a very great rarity. From the shred of the altar-cloth itself to which it is sewed, that linen, with its fine diapering and its two blue stripes, diapered, too, and vertically woven in, must have been of a costly kind, and large enough to overspread the whole table of the altar, so that this blue frontlet fell down in front. The Latin inscription, each word parted by a wreath, from four parts of which shoot sprigs of flowers, reads thus:—“O Gloriosum lumen ec(c)lesiarum funde preces pro salute populorum.” The letters, as well as all the floral ornamentation of this short prayer, are wrought in pieces of linen stitched on with red thread; and below is a worsted parti-coloured fringe, 1¾ inches deep. For the use of the frontlet in England, during the mediæval period, the reader may consult the “Church of our Fathers,” i. 238.
AnAltar-Frontal in very dark brown coarse cloth, on which are applied armorial shields, and the ground is filled in with flower-bearing branches, in worsted andsilk. German, beginning of 16th century. 7 feet 8 inches by 4 feet 1 inch.
Though of so late a period, this altar-frontal can teach those studious of such appliances how readily and effectively such works may be wrought. The whole is divided into eight squares; in the middle of each is put a shield alternating with another in its blazon, the first beingor, three heartsgules, two and one, between three bendletssable; the second,argent, an eaglesableon an arched bough ragulyazurein the dexter base. The ramifications twining all over the ground are done in light brown broad worsted threads stitched on with white thread; and the flowers, all seeded and barbed, some white, some yellow, as if in accordance with the tints of the two shields, are done in silk. At bottom this frontal has been edged with a deep fringe, parti-coloured white and black.
Though of so late a period, this altar-frontal can teach those studious of such appliances how readily and effectively such works may be wrought. The whole is divided into eight squares; in the middle of each is put a shield alternating with another in its blazon, the first beingor, three heartsgules, two and one, between three bendletssable; the second,argent, an eaglesableon an arched bough ragulyazurein the dexter base. The ramifications twining all over the ground are done in light brown broad worsted threads stitched on with white thread; and the flowers, all seeded and barbed, some white, some yellow, as if in accordance with the tints of the two shields, are done in silk. At bottom this frontal has been edged with a deep fringe, parti-coloured white and black.
Chasuble,blue cut velvet; pattern, one of the pomegranate forms, with orphreys. German, late 15th century. 9 feet 5 inches by 4 feet 9 inches.
To the liturgical student fond of vestments in their largest, most majestic shapes, this chasuble will afford great satisfaction, as it is one of the few known that have not been cut down. The front orphrey is a piece of narrow poor web, once of gold, but not much worn; the hind orphrey is a long cross, raguly or knotted, with our Lord nailed to it; above is the Eternal Father wearing an imperial crown of gold lined crimson, and in the act of blessing, between whom and our Saviour is the Holy Ghost in shape of a silver dove with outspread wings. At foot is the group of the Blessed Virgin Mary fainting, and hindered from falling by St. John.
To the liturgical student fond of vestments in their largest, most majestic shapes, this chasuble will afford great satisfaction, as it is one of the few known that have not been cut down. The front orphrey is a piece of narrow poor web, once of gold, but not much worn; the hind orphrey is a long cross, raguly or knotted, with our Lord nailed to it; above is the Eternal Father wearing an imperial crown of gold lined crimson, and in the act of blessing, between whom and our Saviour is the Holy Ghost in shape of a silver dove with outspread wings. At foot is the group of the Blessed Virgin Mary fainting, and hindered from falling by St. John.
TheBlue Linen Lining of a Dalmatic, with the parti-coloured fringe bordering the front of the vestment, and some other fragments. 4 feet 1½ inches by 5 feet 7 inches. The silk Sicilian, 14th century.
The silk is much like the specimen fully described under No. 8263.
The silk is much like the specimen fully described under No. 8263.
Altar-Frontalof grey linen, figured in needlework, with flowers, stars, and heraldic animals, on alternating squares of plain linen and net-work. German, 15th century. 9 feet 5½ inches by 4 feet 2½ inches.
This important piece of stitchery was never meant for a covering to the table or upper part of the altar; it served as a frontal to it, and was hung before, and at each corner of the altar so as to cover it and its two sides down to the ground. From all its ornaments having an armorial feeling about them, this elaborate piece of needlework would seem to have been wrought by the hands of some noble lady, who took the blazon of her house for its adornment. At the lower part, in the middle, is a shield of armsargent, charged with two bars oncegules; high above, a star of eight points voidedgules; below, a fleur-de-lis barredargentandgules; at each of the four corners of the square a maneless lion rampant barredargentandgules. To the right, on the same level, a square filled in with fleurs-de-lis; then a square with birds and beasts unknown to English heraldry: the birds, natant, have heads of the deer kind, horned, and the beasts a beaked head with a single arched horn coming out of the forehead with the point of the bow in front; both birds and beasts are paledargentandgules. On the next square are stars of eight points, and flowers with eight petals, within quatrefoils allargent, upon a field (the netting)gules. The last square is separated into three pales each charged with a flower-like ornament alternatelyargentandgules. Above this square is another of netgules, charged with four flowersargent; and, going to the left, we have a square showing two bears combatant barredargentandgules; still to the left, birds at rest, and stars alternatingargentupon a square of netgules. Next to this a large antelope tripping paledargentandgules; then a square having lions rampant within lozenges with a four-petaled flower at every point, allargent, on a field (of net)gules. Following this is a large dog, maned and rampant barredargentandgules; to this succeeds a square of netgulescharged with lozenges, having over each point a mascle, and within them stars of eight points allargent. The last square to the left on this middle row is charged with a heart-shaped ornament voided in the form of a fleur-de-lis, and put in three piles of four with flowers between. The only other squarediffering from those just noticed are the two charged with an animal of the deer kind, with antlers quite straight. The narrow borders at the sides are not the least curious parts of this interesting specimen; that on the left hand is made up of a dog running after a bearded antelope, which is confronted by a griffin so repeated as to fill up the whole line. The border on the right hand is made up of the beast with the one horn.
This important piece of stitchery was never meant for a covering to the table or upper part of the altar; it served as a frontal to it, and was hung before, and at each corner of the altar so as to cover it and its two sides down to the ground. From all its ornaments having an armorial feeling about them, this elaborate piece of needlework would seem to have been wrought by the hands of some noble lady, who took the blazon of her house for its adornment. At the lower part, in the middle, is a shield of armsargent, charged with two bars oncegules; high above, a star of eight points voidedgules; below, a fleur-de-lis barredargentandgules; at each of the four corners of the square a maneless lion rampant barredargentandgules. To the right, on the same level, a square filled in with fleurs-de-lis; then a square with birds and beasts unknown to English heraldry: the birds, natant, have heads of the deer kind, horned, and the beasts a beaked head with a single arched horn coming out of the forehead with the point of the bow in front; both birds and beasts are paledargentandgules. On the next square are stars of eight points, and flowers with eight petals, within quatrefoils allargent, upon a field (the netting)gules. The last square is separated into three pales each charged with a flower-like ornament alternatelyargentandgules. Above this square is another of netgules, charged with four flowersargent; and, going to the left, we have a square showing two bears combatant barredargentandgules; still to the left, birds at rest, and stars alternatingargentupon a square of netgules. Next to this a large antelope tripping paledargentandgules; then a square having lions rampant within lozenges with a four-petaled flower at every point, allargent, on a field (of net)gules. Following this is a large dog, maned and rampant barredargentandgules; to this succeeds a square of netgulescharged with lozenges, having over each point a mascle, and within them stars of eight points allargent. The last square to the left on this middle row is charged with a heart-shaped ornament voided in the form of a fleur-de-lis, and put in three piles of four with flowers between. The only other squarediffering from those just noticed are the two charged with an animal of the deer kind, with antlers quite straight. The narrow borders at the sides are not the least curious parts of this interesting specimen; that on the left hand is made up of a dog running after a bearded antelope, which is confronted by a griffin so repeated as to fill up the whole line. The border on the right hand is made up of the beast with the one horn.
Albof White Linen appareled at the cuffs, and before and behind at the feet, with crimson and gold stuff figured with animals and floriations of the looms of Palermo. Sicilian, 14th century. 5 feet 7 inches long, 4 feet across the shoulders, without the sleeves.
For those curious in liturgical appliances this fine alb of the mediæval period will be a valuable object of study, though perhaps not for imitation in the way in which it is widened at the waist. Its large opening at the neck—1 foot 4½ inches—is somewhat scalloped, but without any slit down the front, or gatherings, or band. On each shoulder, running down 1 foot 3¾ inches, is a narrow piece of crochet-work inscribed in red letters with the names “Jesus,” “Maria.” The full sleeves, from 1 foot 6 inches wide, are gradually narrowed to 6¼ inches at the end of the apparels at the cuffs, which are 4 inches deep and edged with green linen tape. At the waist, where it is 3 feet 10 inches, it is made, by means of gatherings upon a gusset embroidered with a cross-crosslet in red thread, to widen itself into 6 feet, or 12 feet all round. Down the middle, before and behind, as far as the apparels, is let in a narrow piece of crochet-work like that upon the shoulders, but uninscribed. The two apparels at the feet—one before, the other behind—vary in their dimensions, one measuring 1 foot 1 inch by 1 foot 1¾ inches, the other, which is made up of fragments, 1 foot by 11¾ inches. Very elaborate and freely designed is the heraldic pattern on the rich stuff which forms the apparels. The ground is of silk, now faded, but once a bright crimson; the figures, all in gold, are an eagle in demi-vol, langued, with a ducal crown, not upon, but over its head; above this is a mass of clouds with pencils of sun-rays darting from beneath them all around; higher up again, a collaredhart lodged, with its park set between two large bell-shaped seeded drooping flowers, beneath each of which is a dog collared and courant. For English antiquaries, it may be interesting to know that upon the mantle and kirtle in the monumental effigy of King Richard II, in Westminster Abbey, the hart as well as the cloud with rays form the pattern on those royal garments, and are well shown in the valuable but unfinished “Monumental Effigies of Great Britain,” by the late brothers Hollis. This alb is figured, but not well with regard to the apparels, by Dr. Bock, in his “Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung, pl. iii, fig. 1.
For those curious in liturgical appliances this fine alb of the mediæval period will be a valuable object of study, though perhaps not for imitation in the way in which it is widened at the waist. Its large opening at the neck—1 foot 4½ inches—is somewhat scalloped, but without any slit down the front, or gatherings, or band. On each shoulder, running down 1 foot 3¾ inches, is a narrow piece of crochet-work inscribed in red letters with the names “Jesus,” “Maria.” The full sleeves, from 1 foot 6 inches wide, are gradually narrowed to 6¼ inches at the end of the apparels at the cuffs, which are 4 inches deep and edged with green linen tape. At the waist, where it is 3 feet 10 inches, it is made, by means of gatherings upon a gusset embroidered with a cross-crosslet in red thread, to widen itself into 6 feet, or 12 feet all round. Down the middle, before and behind, as far as the apparels, is let in a narrow piece of crochet-work like that upon the shoulders, but uninscribed. The two apparels at the feet—one before, the other behind—vary in their dimensions, one measuring 1 foot 1 inch by 1 foot 1¾ inches, the other, which is made up of fragments, 1 foot by 11¾ inches. Very elaborate and freely designed is the heraldic pattern on the rich stuff which forms the apparels. The ground is of silk, now faded, but once a bright crimson; the figures, all in gold, are an eagle in demi-vol, langued, with a ducal crown, not upon, but over its head; above this is a mass of clouds with pencils of sun-rays darting from beneath them all around; higher up again, a collaredhart lodged, with its park set between two large bell-shaped seeded drooping flowers, beneath each of which is a dog collared and courant. For English antiquaries, it may be interesting to know that upon the mantle and kirtle in the monumental effigy of King Richard II, in Westminster Abbey, the hart as well as the cloud with rays form the pattern on those royal garments, and are well shown in the valuable but unfinished “Monumental Effigies of Great Britain,” by the late brothers Hollis. This alb is figured, but not well with regard to the apparels, by Dr. Bock, in his “Geschichte der Liturgischen Gewänder des Mittelalters,” 4 Lieferung, pl. iii, fig. 1.