Plate No. 14.
Plate No. 14.
Part of a hanging of linen, embroidered with coloured silks. Spanish, seventeenth century [342 - 1885]. The design consists of conventionally knotted scrolls, from which spring tulips, roses, poppies, and foliage, with birds holding branches of cherries and tendrils. The scrolls are worked with pink, blue, and yellow silk in satin stitch, edged with black silk in stem stitch. The flowers are mostly in satin stitch; the stems are in herring-bone stitch, the buds in chain stitch, and the birds are in embroidery, or long-and-short stitch.
Plate No. 15.
Altar-frontal. White satin, embroidered in coloured silks and gold threads. Spanish, sixteenth century. The banded ornament, and heart pierced with an arrow (the emblem of contrition, deep repentance, and devotion in trial), worked in gold basket stitch. The foliage in coloured silk, and worked in stem stitch chiefly. Between each line of silk the ground is clearly visible. All the lines radiate nicely from the centre fibre of the leaves to the outer edge. This open kind of stitchery is very effective; there is practically as much ground seen as silk stitchery on all the light leaves. The whole of the embroidery is outlined with a silk cord (couched).
Plate No. 15.
Altar-frontal. White Satin, embroidered in Coloured Silks and Gold Threads.
Spanish, 16th Century.
Plate No. 16.
Coronation Robe of His Majesty King Edward VII.
Plate No. 16.
The whole foundation of the robe, belt, and stole is cloth-of-gold. The only ornament upon the supertunica or dalmatic is embroidered in old-gold-coloured silk with a dark brown outline, and consists of two bands of an interlacing pattern down the front. There is no embroidery on the belt. The armilla, or stole, is a band of cloth-of-gold 3 inches wide and about 5 feet 7 inches long, with bullion fringe at each end. It is heavily embroidered with silver thread, sequins, and a little coloured silk. The centre ornament at the back is a pink rose with two leaves; the remaining ornaments are silver imperial eagles, silver and green shamrocks, silver, green, and purple thistles, and pink roses. Between each emblem is a silver coronet; at each end is a square panel - with a blue and white torse above and below - worked with a red cross of St. George on a silver ground. The imperial mantle is covered with silk embroidery, composed of eagles in white silk outlined with purple, Tudor roses in red and white silk with green leaves, purple and green thistles with green leaves, green shamrocks, coronets in white outlined with purple, and white flowers with gold centres, the latter symbolising Divine power. There is a pattern of branched laurel conventionally trailed around each emblem. The mantle is lined throughout with deep rose-coloured silk. To the upper edge is attached a gold morse or clasp, on which is embroidered an eagle and two roses, and a light leaf ornament in gold purl with rubies introduced.
Plate No. 17.
Letter-bag. Gold embroidery, with groups of pearls for the flowers, on a velvet foundation. The flowers are worked with clusters of pearls in little concave disks of gold ; the leaves are in raised bullion, and the stems in gold cord, which is continued round the leaves.
Figure from an orphrey embroidered with coloured silks and gold bread. German, middle of the fifteenth century [8670 - 1863]. On a ground of red silk is a diaper pattern of circles with radiating spirals, in laid gold threads couched with red silk. Upon this (worked on linen and applied) is a figure representing St. Catherine. Her cloak is embroidered in green silk - in short stitch - with dark blue silk lining. The dress, the halo, and crown are in gold thread, couched flatly. The lozenge-shaped piece of ground upon which she stands is in silver thread, couched. The background is elaborate, and when the gold was bright and new, the effect, though somewhat restless, must have been very rich. The figure, simple and dignified, holds in the left hand the well-known emblem of St. Catherine - i.e. the wheel armed with knives.
Plate No. 18.
Figure from an Orphrey, embroidered in Coloured Silks and Gold Thread. German, middle of the 15th Century [8670 - 1863]
Plate No. 19.
Portion of Orphrey. From the Premonstratensian Abbey of Tronchiennes, near Ghent. Early 16th Century.
Portion of an orphrey. From the Pre-monstratensian Abbey of Tronchiennes, near Ghent. Early sixteenth century. One of three worked with numerous legendary subjects, from the lives of saints *; portions of ecclesiastical vestments. The background and framing to this subject is chiefly worked in bullion; the figures and boat in silk, the water in gold passing, and from the water-line upwards is a diaper formed with string interlaced and worked over in gold passing. The framework is in gold basket-work.
* This example illustrates the passage "In the midst of the sea, tossed with waves: for the wind was contrary."