No. I. Orphrey, or border to an orphrey altar-frontal. Spanish, about 1550 [248 - 1880]. Ground of crimson velvet, with repeating conventional ornaments, alternated with roundels respectively containing cyphers cut out of yellow satin, outlined with pale blue silk cord and gold thread, and applied (applique) to the ground. The monograms are "couched" in gold threads; parts of the roundels are worked with layings of blue and white silk cords.
No. II. Orphrey of antependium, or altar-frontal. Spanish, about 1530 [246 - 1880]. Consists of foliated strap work, ornamented in gold and silver thread with coloured silk, and knitted gold fringe at the lower edge.
No. III. Orphrey, or border. Spanish, sixteenth century [261 - 1880]. Ground of dark green velvet, with conventional acanthus scroll and other ornament cut out of yellow silk applied (applique), outlined and veined with gold thread.
Plate No. 7.
No. I. - Orphrey. Spanish, about 1550 [248-1880]. No. II - Orphrey. Spanish, about 1530 [246 - 1880]. No. III. - Orphrey. Spanish, 16th Century [261-1880].
Plate No. 8.
Altar-frontal, green silk ornamented with an applique pattern. Spanish, sixteenth century. The property of Sir W. Drake. In this interesting example a number of strongly contrasting coloured materials have been successfully brought together. The forms are edged and fibred with strands of silk, couched, the stems being crossed at right angles with silk cord in pairs at regular intervals of an inch. This method of breaking up the surface, gives, by change of texture, value to the broader pieces.
Plate No. 9.
Border of blue satin. Spanish, sixteenth century [1162 - 1877]. The large details are in yellow satin applied (applique); these are connected with a yellow silk cord, which runs through, and completes the pattern. The applied forms are enriched by a couched outline of orange silk, which is utilised outside the yellow silk cord. The marginal bands are treated in the same way, with silk threads laid in pairs at intervals of one inch.
Border of Blue Satin. Spanish, 16th Century, 8 3/4 inches wide [1162 - 1877].
Plate No. 10.
Wall or Pilaster Hanging, Applique. Italian, 16th Century [841 - 1847].
Plate No. 10.
Wall or pilaster hanging, applique. Italian, sixteenth century [841 - 1847]. Of red velvet and yellow silk mounted on canvas, cut out and fitted together so as to form a repeating balanced pattern of scrolls and flowers in yellow upon a red ground. In the example on the left-hand side of plate, the various forms are outlined with yellow silk and silk gimp couched. The example on the right-hand side of this plate (dark ornament on light ground) is the portion cut away from the example on the left - viz. pattern in red on a yellow ground. The various forms are also outlined with yellow silk and silk gimp couched.
Plate No. 11.
Hanging of silk and velvet patchwork, applique. Spanish, sixteenth century [266 - 1880]. Worked in grey-green silk, dark red velvet, and small pieces of white silk, outlined with a pale, string-coloured cord. This is an interchange pattern, one band having a red velvet ground with the ornament in green silk, and the other a green silk ground with the ornament in red velvet. These bands alternate. White pieces of silk are used for the berries, centres of large leaf forms, and ties or collars throughout the whole of the design.
Plate No. 11.
Hanging of Silk and Velvet Patchwork, Applique. Spanish, 16th Century [266 - 1880]
Plate No. 12.
Portion of a Hanging, Patchwork Applique. English, 14th Century.
Plate No. 12.
Portion of a hanging, patchwork applique. English, fourteenth century. This method of patchwork applique in coloured cloths is admirably suited to the rendering of broadly treated design of this character. Experts assign this specimen to the fourteenth century, and say it is English; while others see no reason why it should not be accepted as an example of French work of an earlier date. In fact, this latter was the view taken by the late Dr. Rock. He intimates that the design mostly represents incidents corresponding to those in the legend of Sir Guy of Warwick, an old English romance written in the thirteenth century; but the costumes here employed are considerably later. The width of the lower panel in the illustration is 2 feet 6 inches. This will enable the reader to form some idea of the scale of the work. The piece on the right-hand side of this reproduction, turned sideways, is obviously out of place; it was never intended to be so arranged.
Plate No. 13.
Patchwork inlay panel. Made at Resht. Persian, eighteenth century [858 - 1892]. On a ground of ivory-coloured cloth. The whole of the design is inlaid - with the exception of the stems - in crimson, cinnamon, pink, black, turquoise, and sapphire coloured cloths. The outline and stems are executed in chain stitch - i.e. the stems have three rows of chain stitch side by side. At the bottom of the design is a finial in the form of a conventional flower springing from a shaped panel, ending in birds' heads regardant; this device is embroidered in gold and silver thread and coloured silks with forms resembling peacocks' feathers, the eyes of the feather-like parts being worked in marigold and green silk. From this panel spring branches, with flowers and leaves, with a bird perched on one of the branches.
Plate No. 13.
Patchwork Inlay Panel. Persian, 18th Century [858 - 1892].