Pl. 61.
Altar Frontal from Anagni, Italy.
Signor Galletti, Professor of Embroidery to the Pope, says it is undoubtedly of the eighth century. It has been suggested that the design is of the date of the Exarchate. It is, however, something of infinitely finer style; it is noble, simple Greek.
Charlemagne’s dalmatic is embroidered mostly in gold—the draperies in basket-work and laid stitches; the faces in white silk split-stitch, flat, with finely-drawn outlines in black silk. The hair, the shadowy part of the draperies, and the clouds are worked in fine gold and silver thread with dark outlines. The hands, feet, and draperies have a fine bas-relief effect. (Plate [53], [54], [55]).
The “pluvial of St. Silvester,” in the church of St. John Lateran at Rome, is probably, from its Gothic style, of the time of Boniface VIII. (thirteenth century).[509] It never served St. Silvester, except as being perhaps dedicated to him. On seeing it, one is convinced that it is English. It has one peculiarity of English Gothic design in the canopies being supported by twisted pillars of vine-stems, in this case intersected by green shoots, and carrying leaves. The angels, the two cherubim clothed in peacocks’ feathers, the fine split-stitch, the gold grounding, and the drawing are also distinctly English.
I give an outline of the pluvial from photographs,[510] and a finished woodcut of the centre to show the style and condition of the work. The design is most beautiful, and we can only regret the loss of the border, which has been entirely cut off. This shows how elaborate is the design, yet how artistically arranged as a whole composition. (Plate [56], [57].)
It is difficult to settle the precedence between this splendid piece of church decoration and the rival pluvial of Bologna in the Museo Civico, said to have come from the church of San Giacomo. It resembles in style and execution that of St. Silvester, but its architectural arrangement contains six circles of subjects, worked like the other in silk and gold, with gold groundings; and both are embroidered on linen. On careful examination of this splendid work of art, I have come to the conclusion that it is English. (Plate [58].)
The Daroca cope (lately belonging to the Archæological Museum at Madrid) is undoubtedly English. We can claim it by its peculiar shrine-work, and the twined columns on the orphreys; by the cherubim, by the peacock-feathered angels, and by the form of the panels enclosing the different subjects, from the “Life of Our Lord.” (Plate [59].)
The cope of Boniface VIII. in the Vatican came from the church of his native place, Anagni (plate [60]), where are still very curious old embroideries (see Hon. and Rev. I. Clifford’s list of embroideries in [Appendix 5]). Some appear extremely ancient, but there is no sign by which they may be dated. Some are probably of the thirteenth century, and are very coarse Italian work, though finely designed (plate [61]). There are doubtless many interesting specimens still to be found in the sacristies of Italian churches. But they have generally been transferred to museums.