PART THE FIRST.Church-vestments, Silk-stuffs, Needlework, and Dresses.

ChineseMandarin’s Tunic of Ceremony embroidered in various coloured flos-silks and gold upon an orange-red satin. Chinese. 4 feet high by 6 feet round, modern.

Sprawling all in gold and lively colours, both before and behind, upon this rich garment of state, is figured, with all its hideousness, the imperial five-clawed dragon, before which, according to the royal fancies of that land, the lion turns pale and the tiger is struck with dumbness. In the ornamentation the light blue quantity of silk is very conspicuous, more especially upon the broad lower hem of this robe.

Chasubleof crimson velvet, with both orphreys embroidered; the velvet, pile upon pile, and figured with large and small flowers in gold and colour, and other smaller flowers in green and white; the orphreys figured with the Apostles and the Annunciation. Florentine, late 15th century. 4 feet 3½ inches by 2 feet 5½ inches.

Like most other chasubles, this has been narrowed, at no late period, across the shoulders. The velvet is very soft and rich, and of thatpeculiar kind that shows a double pile or the pattern in velvet upon velvet, now so seldom to be found. On the back orphrey, which is quite straight, is shown St. Peter with his keys; St. Paul with a sword; St. John blessing with one hand, and holding a chalice, out of which comes a serpent, in the other; St. James with a pilgrim’s hat and staff: on the front orphrey the Annunciation, and St. Simon holding a club, but his person so placed, that, by separating the archangel Gabriel from the Blessed Virgin Mary, a tau-cross is made upon the breast; St. Bartholomew with a knife, and St. James the Less with the fuller’s bat. For their greater part, the Gothic niches in which these figures stand, are loom-wrought; but these personages themselves are done on separate pieces of fine canvas and are applied over spaces left uncovered for them. Another curious thing is that in these applied figures the golden parts of the draperies are woven, and the spaces for the heads and hands left bare to be filled in by hand; and most exquisitely are they wrought, for some of them are truly beautiful as works of art.

Cope, crimson velvet, with hood and orphrey embroidered, &c. Florentine, late 15th century. 9 feet 5½ inches by 4 feet 6 inches.

This fine cope is of the same set a part of which was the beautiful chasubleNo. 78, and, while made of precisely the same costly materials, is wrought with equal care and art. Its large fine hood is figured with the coming down of the Holy Ghost upon the infant Church, represented by the Blessed Virgin Mary amid the Apostles, and not merely this subject itself, but the crimson colour of the velvet would lead us to think that the whole set of vestments was intended for use on Witsunday. On the orphrey, on the right hand, the first saint is St. John the Baptist, with the Holy Lamb; then, Pope St. Gregory the Great; afterwards, an archbishop, may be St. Antoninus; after him a layman-saint with an arrow, and seemingly clad in armour, perhaps St. Sebastian; on the left side, St. George with banner and shield; under him St. Jerome, below whom, a bishop; and lowermost of all St. Onuphrius, hermit, holding in one hand a cross on a staff, in the other a walkingstick, and quite naked, saving his loins, round which he wears a wreath of leaves. All these subjects are admirably treated, and the heads done with the delicacy and truth of miniatures.

Hoodof a Cope, figured with the Adoration of the Wise Men. Flemish, 16th century. 1 foot 8½ inches wide, 1 foot 4½ inches deep.

This is one of the best preserved and the most beautiful works of the period in the collection, and is remarkable for the goodness of the gold, which is so plentifully bestowed upon it. It is somewhat large, and the three long hooks by which it used to hang are still attached, while its fine green and yellow silk fringe is a pleasing specimen of such a kind of decoration.

Pursein crimson velvet, embroidered with comic masks, and mounted in chased steel damascened in gold. Attached is a crimson Band with a Buckle of cut and gilt steel. Milanese, 16th century. 11½ inches by 11 inches.

The rich crimson velvet is Genoese; the frame, an art-work of the Milan school, is figured with two monsters’ heads, and two medallions, one containing a naked youth seated, the other a nude female figure standing. On the front of the bag are applied two embroideries in gold and coloured silk, one an owl’s head, the other that of a full-faced grotesque satyr; on the back is another satyr’s side-face. At one time, such bags or ornamental purses, under the name of “gibecières” in France and England, but known in Italy as “borsa,” were articles of dress worn by most people; and “the varlet with the velvet pouch” will not be forgotten by those who have read Walter Scott’s novel of “Quentin Durward.” The expressions, in English of “cut-purse,” in Italian “taglia borse,” for a pickpocket, are well illustrated by this gay personal appendage.

Pieceof Edging; ground, purple thread-net; pattern, bunches of flowers, of two sorts alternated, in various coloured flos-silks. Italian, 18th century. 5 feet 5 inches by 5 inches.

Intended for a border to a dress or to a bed-quilt, and no attention shown to the botanical exactness of the flowers, most of which are seemingly tulips. A large coverlet is edged with a broad piece of needlework, after this manner, in the collection.

Pieceof Edging; ground, purple thread-net; pattern, large flowers, mostly the same, embroidered in various coloured flos-silks, within scrolls and foliage. Italian, 18th century. 8 feet 3 inches by 11 inches.

Probably by the same hand as the foregoing piece, and equally care-less of botanical exactness in the flowers.

Cushion-cover,oblong, centre in striped cherry-coloured silk, the border of open work embroidered in various coloured flos-silks upon a net of purple thread. Italian, 18th century. 2 feet 6 inches by 2 feet.

The only difference in the way of the stitchery is that the geometrical pattern shows the same on both sides.

Quiltfor a Bed; ground, an amber-coloured cotton, figured with a net-work of ovals and squares in diapered raised crimson velvet, the ovals filled in with a floriation of crimson and green raised velvet; the squares, with a small vase having a flower-bearing tree, crimson raised velvet. This is the centre, which is bordered by a like kind of stuff 11 inches deep; the ground, primrose yellow; the pattern, ovals, enclosing a foliage bearing crimson and amber-tinted flowers, and placed amid boughs bearing the same coloured flowers; on both edges this border has three stripes—two crimson raised velvet, thethird and broader one a pattern in shades of purple—all on a light yellow ground; at the ends of the quilt hangs a long party-coloured fringe of linen thread; the lining of it is fine Chinese silk of a bright amber, figured with sprigs of crimson flowers, shaded yellow and white. Genoese, 17th century. 5 feet 11 inches by 3 feet 10½ inches.

Quiltfor a Bed; ground, brown canvas; pattern, all embroidered scales or scollops jagged like a saw, and overlapping each other in lines, some blue and green shaded white or yellow, some amber. The border is a broad scroll of large flowers, among which one at each corner, the fleur-de-lis, is conspicuous. This again has a scollop edging of flowers separated by what seem two Cs interlaced. French, 17th century. 7 feet 8 inches by 5 feet 8 inches.

Chasubleof green silk, figured with animals and scrolls in gold, with an embroidered orphrey at back, and a plain orphrey in front. Sicilian, early 13th century. 3 feet 9¾ inches by 2 feet 2 inches.

This very valuable chasuble is very important for the beauty of its stuff; but by no means to be taken as a sample in width of the fine old majestic garment of that name, as it has been sadly cut down from its former large shape, and that, too, at no very distant period. Though now almost blue, its original colour was green. The warp is cotton, the woof silk, and that somewhat sparingly put in; the design showing heraldic animals, amid gracefully twining branches all in gold and woven, is remarkably good and free. The front piece is closely resembling the back, but, on a near and keen examination, may be found to differ in its design from the part behind; on this we see that it must have consisted of a lioncel passant gardant, langued, and a griffin; on that on the part in front, a lioncel passant, and a lioncel passant regardant. When thechasuble was in its first old fulness, the design on both parts came out in all its minuteness; now, it is so broken as not to be discernible at first. In front the orphrey is very narrow, and of a sort of open lace-work in green and gold; on the back the orphrey is very broad, 1 foot 1½ inches, and figured with the Crucifixion, the Blessed Virgin Mary standing on our Lord’s right hand, St. John the Evangelist on His left; below, the Blessed Virgin Mary crowned as a queen and seated on a royal throne, with our Lord as a child sitting on her lap; lower still, St. Peter with two keys—one silver, the other gold—in his left hand, and a book in the right; and St. Paul holding a drawn sword in his right, and a book in his left; and, last of all, the stoning of St. Stephen. All the subjects are large, and within quatrefoils; as much of the body of our Lord as is uncovered on the Cross, and the heads, hands, and feet in the other figures, as well as those parts of the draperies not gold, are wrought by needle, while the golden garments of the personages are woven in the loom.This very interesting chasuble has a history belonging to it, given in “The Gentleman’s Magazine,” t. lvi. pp. 298, 473, 584, by which we are taught to believe that it has always been in England; belonging once to it were a stole and maniple, upon which latter appliance were four armorial shields, which would lead to the idea that it had been expressly made for the chapel of Margaret de Clare, Countess of Cornwall, who is known to have been aliveA.D.1294. That time quite tallies with the style of the stuff of which this chasuble is made; and though now so worn and cut away, it is one of the most curious in this or any other country, and particularly valuable to an English collection.

This very interesting chasuble has a history belonging to it, given in “The Gentleman’s Magazine,” t. lvi. pp. 298, 473, 584, by which we are taught to believe that it has always been in England; belonging once to it were a stole and maniple, upon which latter appliance were four armorial shields, which would lead to the idea that it had been expressly made for the chapel of Margaret de Clare, Countess of Cornwall, who is known to have been aliveA.D.1294. That time quite tallies with the style of the stuff of which this chasuble is made; and though now so worn and cut away, it is one of the most curious in this or any other country, and particularly valuable to an English collection.

Pieceof the Bayeux Tapestry; ground, white linen; design, two narrow bands in green edged with crimson (now much faded) with a very thin undulating scroll in faded crimson, and green between them. English, 11th century. 3¼ inches by 2½ inches.

Though done in worsted, and such a tiny fragment of that great but debated historical work, it is so far a valuable specimen as it shows the sort of material as well as style and form of stitch in which the whole was wrought. In the “Vetusta Monimenta,” published by the Societyof Antiquaries, plate 17, shows, in large, a portion of this embroidery where the piece before us is figured; and, from the writing under it, we learn that it was brought away from Bayeux by Mrs. Stothard, when her husband was occupied in making drawings of that interesting record. There is not the slightest reason for believing that this embroidery was the work of Matilda, or any of her ladies of honour, or waiting maids; but all the probabilities are that it was done by English hands, may be in London by order, and at the cost, of one or other of three knights from Bayeux, who came over with William, on whom he bestowed much land in England, as we have already shown in the Introduction to this Catalogue, § 4.

Door-curtain,ground, yellow and gold; pattern, in rich raised green velvet, two small eagles with wings displayed, and between them a large vase, out of which issues a conventional flower showing the pomegranate, surmounted by a modification of the same fruit amid wide-spreading foliations. Milanese, 16th century. 8 feet 8 inches by 6 feet 6 inches.

Though the golden threads of the ground in this magnificent stuff are much tarnished, still this piece is very fine, and may have been part of some household furniture wrought at the order of the Emperor Charles V, whose German eagle is so conspicuous in the design, while the pomegranate brings to mind Spain and Granada.

Pieceof Embroidery; ground, a brown fine linen, backed with strong canvas; pattern, female figures, monkeys, flowers, shells, &c. in coloured worsteds. French, late 17th century. 8 feet 9 inches by 8 feet 3 inches.

This large work is admirably done, and a fine specimen both of the taste with which the colours are matched, and the stitchery executed; and it may have been intended as the hanging for the wall of a small room.

Lady’sdress, white silk; embroidered with flowers in coloured silks and gold and silver threads. Chinese, 18th century. 4 feet 2½ inches.

Worked by order, very probably of some European dame, at Macao or Canton, and exactly like No. 713 in design and execution. The gold and silver, as in that, so in this specimen, are much tarnished.

Lady’sDress, sky-blue satin; brocaded with white flowers, in small bunches. French, late 18th century. 4 feet 7 inches.

ChristeningCloak of green satin, lined with rose-coloured satin. Chinese. 5 feet 8½ inches by 3 feet 6¾ inches.

A fine specimen, in every respect, of Chinese manufacture; the satin itself is of the finest, softest kind; whether we look at the green or the light rose-colour, nothing can surpass either of them in tone and clearness. Few European dyers could give those tints.In its present form this piece constituted an article to be found, and even yet seen, in very many families in Italy, Germany, and France, and was employed for christening occasions, when the nurse or midwife wore it over her shoulders, like a mantle, for muffling up the new-born babe, as she carried it, in state, to church for baptism. In this, as in other specimens of the Museum, there was a running string at top by which it might be drawn tight to the neck. Those who have lived abroad for even a short time must have observed how the nurse took care to let a little of this sort of scarf hang out of the carriage-window as she rode with baby to church. The christening cloth or cloak was, not long since, in use among ourselves.

In its present form this piece constituted an article to be found, and even yet seen, in very many families in Italy, Germany, and France, and was employed for christening occasions, when the nurse or midwife wore it over her shoulders, like a mantle, for muffling up the new-born babe, as she carried it, in state, to church for baptism. In this, as in other specimens of the Museum, there was a running string at top by which it might be drawn tight to the neck. Those who have lived abroad for even a short time must have observed how the nurse took care to let a little of this sort of scarf hang out of the carriage-window as she rode with baby to church. The christening cloth or cloak was, not long since, in use among ourselves.

ChristeningCloak of bright red satin. Italian, 18th century. 5 feet by 5 feet 11 inches.

The material is rich, and of a colour rather affected for the purpose in Italy.

ChristeningCloth or Cloak of murrey-coloured velvet. Italian, 17th century. 8 feet by 5 feet 5 inches.

The pile is soft and rich, and its colour, once such a favourite in the by-gone days of England, of a delicious mellow tone. Like Nos.702and703, it robed the nurse as she went to the baptismal font with the new-born child, and has the string round the neck by which it could be drawn, like a mantle, about her shoulders.

Lady’sDress of brocaded satin; ground, dull red; pattern, slips of yellow flowers and green leaves. Italian, late 18th century. 4 feet 10½ inches.

The satin is rich, but the tinsel, in white silver, tawdry.

Skirtof a Lady’s Dress of brocaded silk; ground, white; pattern, bunches of flowers in pink, blue, yellow, and purple, amid a diapering of interlaced strap-design in white flos-silk. French, 18th century. 3 feet 3 inches.

Good in material, but in pattern like many of the stuffs which came from the looms of the period at Lyons.

ChristeningScarf of white brocaded silk. Lucca, 17th century. 5 feet square.

Of a fine material and pleasing design.

Pieceof green Silk Brocade; pattern, lyres, flowers, ribbons with tassels. French, 18th century. 5 feet 6 inches by 1 foot 8 inches.

Skirtof a Lady’s Dress; ground, bright yellow, barred white; pattern, a brocade in small flowers in gold, green, and red sparingly sprinkled about. Italian, 18th century. 7 feet 8 inches by 3 feet 4 inches.

A pleasing specimen of the time.

Pieceof White Silk, brocaded with flowers in white flos-silk, and in silver, between bands consisting of three narrow slips in white. French, 17th century. 5 feet by 4 feet 6 inches.

When the silver was bright and untarnished, the pattern, so quiet in itself, must have had a pleasing effect.

ChristeningScarf of silk damask; ground, light blue; pattern, flowers in pink, white, and yellow. Levant, 18th century. 5 feet 5 inches by 5 feet.

Garish in look, still it has a value as a specimen of the loom in the eastern parts of the Mediterranean; the blue diapering on the blue ground shows, in the architectural design, a Saracenic influence.

Pieceof Damask Silk; ground, crimson; pattern, flowers and vases in white and green. Italian, 17th century. 8 feet 9 inches by 1 foot 9 inches.

Rich in substance, and intended for hangings in state rooms.

Skirtof a Lady’s Dress; white silk embroidered with flowers in coloured silks, and gold and silver. Chinese, 18th century. 3 feet.

Though well done, and by a Chinese hand, very likely at Canton or Macao, for some European lady, it is far behind, in beauty, the Chinese piece No. 792.

ChristeningCloak of yellow silk damask; pattern, bunches of flowers. Lucca, 17th century. 7 feet 10 inches by 5 feet.

Like other such cloaks, or scarves, it has its running string, and is of a fine rich texture.

Pieceof Silk Damask; ground, dove-coloured white; pattern, large foliage in pale green. Italian, 18th century. 4 feet 8 inches by 3 feet 8 inches.

A fine material, and the bold design well brought out.

ChristeningCloak of pink satin damask. Italian, 18th century. 4 feet 8 inches by 4 feet 6 inches.

The little sprigs of fruits and flowers are well arranged; and the pomegranate is discernible among them.

Pieceof Silk Brocade; ground, stone-white chequered silk; pattern, deep blue garlands and bunches of flowers, both dotted with smaller flowers in silver. Italian, 17th century. 3 feet 8 inches by 3 feet.

Pieceof Embroidered Silk; ground, sky-blue; pattern, leaves, flowers, and fruit, in white silk. Italian, 18th century. 3 feet 8 inches by 3 feet.

The embroidery is admirably done, and the pomegranate is there among the fruit.

Door-curtain,crimson worsted velvet; pattern, flowers and foliage. Italian, 17th century. 10 feet 3 inches by 4 feet 3 inches.

A very fine and rich specimen of its kind, and most likely wrought at Genoa.

Pieceof Silk; ground, white; pattern, flowers and foliage, embroidered in gold thread and coloured silks. Chinese, 18th century. 3 feet 2½ inches by 1 foot 6½ inches.

Another specimen of Chinese work done for Europeans, and most likely after an European design; in character resembling other examples in this collection from the same part of the world.

Pieceof Silk; ground, white; pattern, flowers and pomegranates embroidered in gold and coloured silks. Neapolitan, 17th century. 3 feet 3 inches by 1 foot 5 inches.

The design is rich, the flowers well-raised, and the gold unsparingly employed.

Cradle-coverlet;white satin quilted, after a design of fruits, and branches of leaves upon a chequer pattern. French, 18th century. 3 feet 2½ inches by 3 feet.

Among the fruits the symbolic pomegranate is not forgotten, perhaps as expressive of the wish that the young mother to whom this quilt may have been given by a lady friend, might have a numerous offspring, hinted at by the many pips in the fruit.

Door-curtainof silk damask; ground, crimson; pattern, scrolls in gold foliage, and flowers in coloured silks. Italian, early 17th century. 6 feet 7 inches by 3 feet 5 inches.

This is a fine rich stuff; it is lined with purple satin, and must have been very effective when in use.

Chasubleof woven silk; ground, white; pattern, floral scrolls in green, and lined pink; the cross at the back and the two stripes in front in gold lace of an open design. French, 18th century. 4 feet 2 inches by 2 feet 5 inches.

The open-worked lace is good of its kind.

Altar-frontalof crimson velvet, ornamented on three sides with a scroll ornamentation in gold, and applied; and with seven armorial bearings all the same. French, 17th century. 6 feet 1 inch by 2 feet 6½ inches.

The armorial shield, as it stands at present, is—azurea cross ankredsablebetween two fleur-de-lisargent. On looking narrowly at the azure velvet on which these charges are worked, it is evident that something has been picked out, and, in its place, the sable-cross has been afterwards wrought in, thus explaining the anomaly of colour upon colour not in the original bearing. The applied ornaments in gold are in flowers and narrow gold lace, and of a rich and effective manner.

Cradle-coverletof white satin; embroidered in white, with a roving border of flowers, and fringed. French, 18th century. 3 feet 5½ inches by 2 feet 8 inches.

Rich in its material, and nicely wrought.

Skirtof a Lady’s Dress; sky-blue satin, quilted round the lower border with a scroll of large palmate leaves, and bunches of flowers, with an edging of fruits, in which the pomegranate may be seen. Italian, 18th century. 8 feet 9 inches by 3 feet.

The pattern in which the quilting comes out is very tasteful; and the body of this skirt has an ornamentation in quilting of a cinquefoil shape, and made to lap one over the other in the manner of tiles.

Pieceof Silk Damask; ground, bright yellow silk ribbed; pattern, white plumes twined with brown ribbons, and bunches of white flowers. Lucca, 17th century. 8 feet 10 inches by 7 feet.

Of rich material and wrought for household use.

Door-curtainof yellow silk damask; pattern, strap-work and conventional foliage. Italian, 17th century. 7 feet 2 inches by 5 feet.

A bold design, and wrought in a good material.

Copeof brocaded silk; ground, orange-red; pattern, foliage, and bunches of flowers amid white garlands, in coloured silks. French, 18th century. 10 feet 10 inches by 5 feet 6 inches.

The hood and morse are of the same stuff, which was evidently meant to be for secular, not liturgical, use.

Door-curtainof crimson damask silk; pattern, a large broad conventional floriation. Italian, 17th century. 10 feet by 8 feet 10 inches.

Curtainof pale sea-green damask; pattern, large leaves and flowers. Italian. 17 feet 8 inches by 13 feet 7 inches.

The satiny ground throws up the design in its dull tone extremely well; and the whole is edged with a border of narrow pale yellow lace, figured with small green sprigs.

Table-cover;ground, fine ribbed cream-coloured linen; pattern, flowers, butterflies, and birds, embroidered in various-coloured flos-silks. Indian, 17th century. 7 feet by 5 feet 6 inches; fringe 3 inches deep.

The curiosity of this piece is that, like many such works of the needle from India, the embroidery shows the same on both sides; and there is evidently a Gothic feeling in the edgings on the borders of the inner square.

Scull-capof white satin; quilted after an elaborate running design. English, 17th century, 10½ inches diameter.

Tradition tells us that this scull-cap belonged to our King Charles the First, and says, moreover, that, at his beheading, it was worn by that unfortunate King. The style of design would not, as far as art-worth can speak, invalidate such a history of this royal ownership. Its lining is now quite gone.

Pieceof Chinese Embroidery; ground, greyish white satin; pattern, girls, flowers, birds, fruits, and insects in various-coloured flos and thread silks, and gold. 11 feet by 1 foot 7 inches.

Justly may we look upon this specimen as one among the best and most beautiful embroideries wrought by the Chinese needle known, not merely in this country, but in any part of Europe. Putting aside the utter want of perspective, and other Chinese defective notions of art, it is impossible not to admire the skilful way in which the whole of the piece before us is executed. In the female figures there seems to be much truthfulness with regard to the costume and manners of that country; and the sharp talon-like length of finger-nails affected by the ladies there is conspicuously shown in almost every hand. The birds, the insects, the flowers are all admirably done; and the tones of colour areso soft and well assorted, and there is such a thorough Chinese taste displayed in the choice of tints—tints almost unknown to European dyers—that the eye is instantly pleased with the production. The embroidery itself is almost entirely well raised.

Pieceof Velvet Hanging; ground, crimson velvet; pattern, large conventional flowers and branches in yellow applied silk. Italian, 17th century. 6 feet 4 inches by 1 foot 8 inches.

This piece is rather a curiosity for the way in which its design is done. On the plain length of velvet a pattern was cut, and the void spaces were filled in with yellow silk, and the edges covered with a rather broad and flat cording, and the whole—that is, velvet and silk—gummed on to a lining of strong canvas, having the cord only stitched to it.

Pieceof Applied Work; ground, crimson velvet; pattern, large conventional flowers in yellow satin. Italian, 17th century. 2 feet 6 inches by 2 feet 3 inches.

Here the same system is followed, but the ground is yellow satin uncut, the crimson velvet being cut out so as to make it look the ground, and the real ground the design, both are, as above, gummed on coarse canvas.

Pieceof Velvet Hanging; ground, yellow silk; pattern, scrolls and flowers in applied crimson velvet. Italian, 17th century. 6 feet 4 inches by 1 foot 9 inches.

Executed exactly as No. 840. In all likelihood these three pieces served as hangings to be put at open windows on festival days—a custom yet followed in Italy.

Pieceof Raised Velvet; ground, pale yellow silk; pattern, in raised velvet, a fan-like floriation in crimson and green. Florentine, 16th century. 3 feet 2 inches by 2 feet 1 inch.

A specimen of rich household decoration.

RaisedVelvet; ground, creamy white satin; pattern, the artichoke amid wide-spreading ramifications in crimson raised velvet. Genoese, 17th century. 2 feet 1 inch by 1 foot 8½ inches.

Intended for household furniture. When hung upon the walls of a large room this stuff must have had a fine effect.

Skirtof Female Attire; ground, coarse white linen; pattern, a broad band of blue worsted, figured with flowers and animals in white thread, and the broad edging of crochet work. German, 17th century. 3 feet 8½ inches by 2 feet 8 inches deep.

This piece of embroidery must have been for secular personal use, and not for any ecclesiastical employment, and very likely was part of the holyday dress of some country girl in Germany or Switzerland. The blue embroidery, though of a bold well-raised character, is coarse; so, too, is the lace below it.

AnAlgerine Embroidered Scarf; ground, very thin canvas; pattern, a modification of the artichoke form, and ramifications in various-coloured flos-silks, and parted by short bands of brace-like work in white flos-silk. 2 feet 3¾ inches by 1 foot 3¾ inches.

Neither old, nor remarkable as an art-work.

Table-coverof linen, embroidered in white thread, with flowers, vases, trophies, and monograms. French, 18th century. 4 feet 4 inches by 3 feet 10 inches.

This beautifully-executed piece of needlework is richly deserving a notice from those who admire well-finished stitchery, which is here seen to advantage. In the centre is a basket with wide-spreading flowers, upon each side of which is a military trophy consisting of cannon-balls, kettle-drums, other drums, knights’ tilting-lances, halberts, swords, cannon, trumpets, all gracefully heaped together and upholding a herald’s tabard blazoned with a leopard rampant, by the side of which, and drooping above, are two flags, one showing the three fleurs-de-lis of France, and the other with a charge that is indistinct; and the whole is surmounted by a full-faced barred helmet wreathed with a ducal coronet, out of which arises a plume of ostrich feathers; on the other sides are two elegantly-shaped vases full of flowers. At each of the four corners of this inner square is the monogram A. M. V. P. T. between boughs, and surmounted by a ducal coronet; and at every corner of the border below is a flaming heart pierced by two arrows, while all about are eagles with wings displayed and heads regardant, seemingly heraldic.

Pieceof Silk Brocade; ground, white; pattern, large red flowers seeded yellow, and foliage mostly light green. Lyons, 18th century. 2 feet 10 inches by 1 foot 9 inches.

A specimen of one of those large showy flowered tissues in such favour all over Europe during the last century, as well as in the earlier portion of the present one, for church use. The example before us, in all probability, served as a bishop’s lap-cloth at solemn high mass; for which rite, see “The Church of our Fathers,” i. 409.

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