About forty sets of splendid vestments exist at this cathedral which are embroidered with the most exquisite taste, belonging to the 15th and 16th centuries. Each set generally includes a chasuble, dalmatic, cope, altar frontal, covers for the gospel stands, and other smaller pieces. The embroideries on the orphreys, which are formed of figures of saints, are as perfect as the miniatures on illuminated MS. The manga, or case which hangs round the processional cross given by Cardinal Ximenez, is one of the most splendid specimens of this collection. As a fine specimen of embroidery on a large scale must be mentioned the dosel or canopy called the tent of Ferdinand and Isabel, also at the cathedral of Toledo, which is interesting as being the same which was used in the reception of the English envoys Thomas Salvaige and Richard Nanfan who were sent in 1488 to Spain to arrange the marriage of Prince Henry with the Infanta Dna. Catalina. The ambassadors describe it in the following manner: "After the tilting was over, the kings returned to the palace, and took the ambassadors with them, and entered a large room: and there they sat under a rich cloth of state of rich crimson velvet, richly embroidered with the arms of Castile and Aragon, and covered with the device of the king, which is a ... (blank in original), and his motto, written at length, which is 'Tanto Monta.'" ("Memorials of King Henry the Seventh," Gairdner, Lon. 1858, p. 348.)
The most remarkable specimen of embroidery which exists in Spain, not so much on account of its artistic merit as for the enormous value of the materials employed, is the mantle of the Virgin del Sagrario at Toledo. It is completely covered with pearls and jewels forming a most effective ornamentation. This embroidery was made in the beginning of the 17th century, during the lifetime of Cardinal Sandoval, who presented it to the church. Sr. Parro in his exhaustive volume of "Toledo en la Mano," [vol. i., p. 574,] describes it in the following manner: "It is made of twelve yards of silver lama, or cloth of silver, which is entirely covered with gold and precious stones. In the centre there is a jewel of amethysts and diamonds. Eight other jewels appear on each side of enamelled gold, emeralds and large rubies; a variety of other jewels are placed at intervals round the mantle, and at the lower part are the arms of Cardinal Sandoval enamelled on gold and studded with sapphires and rubies. The centre of this mantle is covered with flowers and pomegranates embroidered in seed-pearls of different sizes. Round the borders are rows of large pearls. Besides the gems which were employed in this superb work of art, no less than 257 ounces of pearls of different sizes, 300 ounces of gold thread, 160 ounces of small pieces of enamelled gold, and eight ounces of emeralds were used."
A fine altar frontal of a similar kind embroidered in corals may be seen in the same room where this mantle of the Virgin is kept at the cathedral of Toledo.
We find in Madame de Villars' letters, [p. 39, Paris, 1823,] the description of a similar embroidery. Writing in 1680 she says, "Ce que j'ai vu de plus riche, de plus doré, de plus magnifique, est l'appartement de la reine. Il y a entre autres meubles dans sa chambre, une tapisserie, dont ce qu'on y voit de fond, est de perles. Ce ne sont pas des personnages, on ne peut dire que l'or y soit massif, mais il est employé d'une manière et d'une abondance extraordinaires. Il y a quelques fleurs: ce sont des bandes de compartimens; mais il faudrait être plus habile que je ne suis pour représenter les choses, pour vous faire comprendre la beauté que compose le corail employé dans cet ouvrage. Ce n'est point une matière assez précieuse pour en vanter la quantité; mais la couleur et l'or qui paraissent dans cette broderie, sont assurément ce qu'on aurait peine à décrire."
From the period when these embroideries were made until the middle of the 18th century, Spanish embroideries lost much of their artistic character, although the work itself continued equally excellent. During the whole of the 17th century, a style of embroidery became very general in Spain, which appears to have been copied from eastern importations by the Portuguese or the Spanish possessions in America. The specimens most generally met with in Spain are chiefly bed covers, the ground of which is either linen or satin, embroidered in chain stitch, with figures and exotic birds and animals. Their effect is very rich, and the ornamentation is arranged generally in circles. Specimens exist in England of this kind of work; for example, a quilt, said to have been made for an Archbishop of Toledo, lent by Lady Cornelia Guest to the Special Exhibition of Embroidery held at South Kensington in 1873.
At the Mus. Arq., Madrid, is a fine quilt of this kind embroidered with maize-coloured silk on linen, with representations of figures and animals.
Embroideries were made in Spain to cover furniture. Sedan chairs, coffers, &c., were ornamented in this manner. At the Kensington Museum there is an interesting example of a trunk with silver lock, covered with embroidery, which was given towards 1680 by Count Olivares to the nuns at Loeches. Some fine embroidered tapestries belonging to the same collection are at the Museo Arqueleogico, Madrid. A varied collection of ecclesiastical vestments of the kinds described may also be studied at the museum. (V. Nos. 78, 79, 84, 673, 1194, 1195, 1250, &c., in Dr. Rock's Catalogue.)
The sumptuary laws, and especially the Decrees issued by Philip IV. in 1622, prohibited any display or ostentation in costume, and embroideries were confined to ecclesiastical purposes. In the middle of the 18th century embroideries were introduced in the costumes of men and women when French fashions were imported into Spain. Although many of them came from France, they were imitated in Spain to a large extent. A guild of embroiderers was formed in 1779, who submitted their statutes to the Tribunal of Commerce. We find that Madrid was the principal centre of this industry, and that French designs were universally copied, as was the case in the whole of Europe. The splendid curtains and embroidered hangings for apartments which exist at the royal palaces of Madrid, the Escorial and Aranjuez, are admirable specimens of this industry.
The following list of Spanish embroiderers is taken from Cean's "Dic. de Prof de las Bellas Artes;" Martinez, "Hist. del Templo Cat. de Burgos;" Suarez de Figueroa, "Plaza Universal," etc.