The velvet, both for its ruby tone and richness of pile, is remarkable, while its design of the pattern is efficiently shown.
The hood which, it should be observed by those curious in liturgical garments, runs right through the orphreys quite up to the neck, is an elaborate and well-wrought piece of needlework; and strongly reminds one of the picture of the same subject—the death-bed of the Mother of our Lord—by Martin Schön, now in the National Gallery. All the Apostles are supposed to be gathered round her; to the right of the spectator stands St. Peter sprinkling her with holy water from the silver sprinkle in his right hand; next to this chief celebrant is St. John, the acolyte, with the holy water stoop in his left hand, and in his right the lighted taper, which he is about to put into the hand of his adopted mother—an emblem of the lighted lamp with which each wise virgin in the Gospel awaited the coming of the bridegroom. Behind him again, and with his back turned, is another apostle, blowing into the half-extinguished thurible, which he is raising to his mouth; the rest of the Apostles are nicely grouped around. The ground of this hood is of rich gold thread, and the figures of the scene are separately wrought and afterwards “applied.” The orphreys, that are rather narrow, measuring only 5½ inches in breadth, are of a golden web and figured, on the right hand side, with St. Mary Magdalen, carrying a box of ointment in her hands; St. Bernadin of Siena, holding a circular radiated disc inscribed with I.H.S. in his right hand, and in his left a Latin cross; St. Bicta—for so the inscription seems to read—bearing the martyr’s branch of palm in her right hand, and a sword thrust through her throat; and St. Kymbertus in a cope, with a crozier in his right hand, and in his left a closed book: on the left hand orphrey, St. Elizabeth, the Queen of Hungary, with a child’s article of dress in one hand, and a royal crown upon her head; St. Severinus, wearing a mitre and cope, and holding in his right hand a crozier, in his left a church; St. Ursula, with the martyr’s palm in one hand; in the other a long large silver arrow, and having six of her martyred virgins at her sides; and St. John Baptist, with the “Lamb of God” on the palm of his left hand, and the forefinger of the right outstretched as pointing to it. The heads of all these figures are done in silk and “applied,” but the hands and diapering of the garments, as well as the emblems, are wrought by the needle, in gold or in silk, upon the golden web-ground of these orphreys. At the lower part of the hood is “applied” a shield—no doubt the armorials of the giver of this fine cope—party per pale—gules two chevronels argent, a chief or—azure three garbs (one lost), argent, two and one.
8355.
Chasuble of Damask Cloth of Gold; the orphreys figured with arabesques in coloured silk upon a golden ground, and busts of saints embroidered in coloured silks within circles of gold. There is a shield of arms on the body of the vestment, on the left side. French, 17th century. 7 feet 3 inches by 2 feet 4 inches.
The cloth of gold is none of the richest, and may have been woven at Lyons; but the orphreys are good specimens of their time: that on the back of this vestment, 4¾ inches in width, and made in a cross, shows a female saint holding a sword in her right hand, and in her left a two-masted boat—perhaps St. Mary Magdalen, in reference to her penitence and voyage to France; St. John with a cup, and the demon serpent coming up out of it; the Empress Helen carrying a cross (?). The orphrey in front, three inches broad, gives us, in smaller circles, St. Simon the apostle with his saw; a female saint (Hedwiges?) holding a cross; and two prophets, each with a rolled-up scroll in his hand. On the back, and far apart from the orphrey, is a shield argent (nicely diapered), a chevron sable between three leaves slipped vert, hanging as it does on the left hand, it may be presumed there was another shield on the right, but it is gone. This chasuble, small as it is now, must have been sadly reduced across the shoulders, from its original breadth.
8356.
Piece of Carpet, of wool and hemp; ground, red; pattern, boughs, and flowers, in blue, and the so-called pomegranate, blue with a large yellow flower in the middle; border, two stripes blue barred with yellow, one stripe yellow barred red. Spanish, 16th century. 3 feet 10 inches by 3 feet 7 inches.
In every way like the following specimen of carpeting, with its warp of hempen thread; and originally employed for the same purpose of being spread up the steps leading to the altar, but more especially upon the uppermost or last one for the celebrant to stand on.