Piece of very rich Crimson Silk and gold Tissue; the large pattern represents a palm-tree rising from a close palisade, within which is a lion seated; from one side shoots a slender branch, to which clings a bird. Italian, late 14th century. 31 inches by 14 inches.
A fine bold pattern, but the gold so tarnished that it looks as if the threads had always been brown. The down-bent eagles, and the shaggy-maned lion couchant regardant at the foot of a palm-tree in a park palisaded, make this heraldic design very pleasing.
8301.
Portion of Linen; border, probably of an altar-cloth, stamped in red and yellow with a geometric pattern composed of circles and leaves. Flemish, 15th century.
The design and colouring of this old piece of printed cloth are so very like those employed upon the glazed paving tiles of the mediæval period, that the idea of the potter’s work immediately suggests itself; though of such poor material, it is a valuable link in the history of textiles.
8302.
Piece of Purple Silk and Gold Tissue; the pattern is formed of angels holding a monstrance, beneath which is a six-winged cherub’s head. Florentine, 14th century. 18 inches by 16 inches.
This is one of the most elaborate and remarkable specimens of the mediæval weavers’ works, and shows how well, even with their appliances, they could gear their looms. The faces of the six-winged cherubic heads, as well as the hands and faces of the seraphim, vested in long albs, were originally shaded by needlework, most of which is now gone. The Umbrian school of design to be seen in the gracefully floating forms of the angels, is very discernible. This rich stuff must have been purposely designed and woven for especial liturgical use at the great Festival of Corpus Christi, and its solemn processions. It may have been employed for hanging the chancel walls, or for altar-curtains; but most likely it overspread the long wooden frame-work or portable table upon which stood, and was thus carried all about the town by two or four deacons, the Blessed Sacrament enclosed in a tall heavy gold or silver vessel like the one shown in this textile, and called a “monstrance,” because, instead of shutting up from public gaze, it displayed the consecrated host as it was borne about among the people. Dr. Bock has figured this stuff in his “Geschichte der Liturgischen Gewänder des Mittelalters.”