Burlington Fine Arts Club 
 
 EXHIBITION 
 
 OF 
 
 ENGLISH EMBROIDERY 
 
 f^^^^^M EXECUTED PRIOR TO 
 
 THE MIDDLE OF THE XVI CENTURY 
 
 S^Wp^^pC;.:";., LON DON o 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB 
 
From the Library o* 
 Frank Simpson 
 
ENGLISH EMBROIDERY 
 
 EXECUTED PRIOR TO THE 
 MIDDLE OF THE XVI 
 CENTURY 
 
Burlington Fine Arts Club 
 EXHIBITION 
 
 OF 
 
 ENGLISH EMBROIDERY 
 
 EXECUTED PRIOR TO 
 
 THE MIDDLE OF THE XVI CENTURY 
 
 LONDON 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB 
 
 I905 
 
CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. 
 TOOKS COURT, CHANCERY LANE, LONDON. 
 
COMMITTEE FOR THIS EXHIBITION 
 
 SIR C. PURDON CLARKE, C.I.E., F.S.A. 
 
 CYRIL DAVENPORT, ESQ., F.S.A. 
 
 EVERARD GREEN, ESQ. (Rouge Dragon), F.S.A. 
 
 SIR HERBERT JEKYLL, K.C.M.G. 
 
 A. F. KENDRICK, ESQ. 
 
 LEONARD C. LINDSAY, ESQ., F.S.A. 
 
 LIEUT.-COL. CROFT LYONS, F.S.A. 
 
LIST OF CONTRIBUTORS 
 
 The Rector and Churchwarden of 
 Baunton, Cirencester. 
 
 R. C. Adams Beck, Esq. 
 
 R. V. Berkeley, Esq., of Spetchley. 
 
 Church of SS. Peter and Paul, 
 Brailes, Warwickshire. 
 
 H. H. Prince George of Solms- 
 Braunfels. 
 
 MusEe Royal, Brussels. 
 
 The Rector and Churchwardens of 
 Buckland, Broadway, Worcester- 
 shire. 
 
 The Marquess of Bute. 
 Colonel J. E. Butler- Bowdon. 
 G. Troyte Chafyn-Grove, Esq. 
 The Vicar and Churchwardens of 
 
 Chipping Campden. 
 The Vicar and Churchwardens of 
 
 Cirencester. 
 The Pro-Cathedral of the Apostles, 
 
 Clifton. 
 The Duke of Devonshire, K.G. 
 Downside Abbey, Bath. 
 St. Thomas's Abbey, Erdington. 
 J. J. Eyston, Esq. 
 The Fishmongers' Company. 
 Lady Gibson-Carmichael. 
 W. Gordon-Canning, Esq. 
 St. Dominic's Priory, Haverstock 
 
 Hill. 
 The Lord Herries. 
 
 The Rector and Churchwardens of 
 
 Hessett, Bury St. Edmunds. 
 W. H. St. John Hope, Esq. 
 Right Reverend Bishop Knight. 
 Hon. Mrs. Charles Lawrence. 
 Lieut. -Colonel Croft Lyons. 
 The Rector and Churchwardens of 
 
 Lyng. 
 Rev. E. McClure. 
 The Lady O'Hagan. 
 Oscott College, Birmingham. 
 The Church of the Holy Trinity, 
 
 Radford, Enstone, Oxford. 
 The Vicar and Churchwardens of 
 
 Romsey, Hants. 
 The Dean and Chapter of Salisbury. 
 St. George's Cathedral, Southwark. 
 The Rector and Churchwardens of 
 
 Steeple Aston. 
 The Lady Abbess, Syon Abbey, Chud- 
 
 leigh. 
 
 Sir William Throckmorton, Bt. 
 
 Ushaw College, Durham. 
 
 The Victoria and Albert Museum. 
 
 Miss Weld, of Leagram. 
 
 The Metropolitan Cathedral of 
 Westminster. 
 
 The Dean and Chapter of West- 
 minster. 
 
 The Lord Willoughby de Broke. 
 The Dean and Chapter of Worcester. 
 
Digitized by the Internet Archive 
 in 2014 
 
 http://archive.org/details/exhibitionofenglOOburl 
 
INTRODUCTION 
 
 MONG the arts which flourished in England in mediaeval 
 times, none was more in repute than that of embroidery. 
 English work was specially valued abroad, and was fre- 
 quently recorded as such by the scribes who penned the 
 wills of ecclesiastics and inventories of church goods as 
 early as the thirteenth and fourteenth centuries. The term opus anglicanum 
 is found in French, Italian, and Spanish documents of this class, and it 
 was certainly regarded not only as denoting the country of origin, but as 
 indicating also the value and excellence of the work. 
 
 But English embroidery was seen and appreciated on the continent 
 of Europe before the thirteenth century. William of Poitiers, the chronicler 
 and chaplain of William the Conqueror, states that that monarch, on his 
 return to Normandy after the conquest of England, caused such astonish- 
 ment among his countrymen by the splendour of his embroidered state 
 robes, and of those of his chief nobles, that all that they had before beheld 
 of the same kind seemed mean by comparison. The chronicler also states 
 that Englishwomen were highly skilled in embroidery and weaving. 
 
 Farther back still we have the most conclusive evidence of the skill of 
 Anglo-Saxon embroiderers. Some examples dating from a century and a 
 half before the Norman Conquest, and indisputably of Anglo-Saxon work, 
 
 B 
 
io English Embroidery 
 
 have survived the long interval and may now be seen in the library of 
 Durham Cathedral. They are a stole and maniple, found in 1827 in the 
 tomb of St. Cuthbert in the cathedral. Painted photographs of these 
 are exhibited. The skill which these beautiful fragments display could 
 hardly have been a sudden and spontaneous growth. If any proof is 
 necessary that such achievements were the result of long practice in the 
 art, it is to be found in the statements of old chroniclers. 
 
 Before the end of the seventh century, St. Aldhelm, Bishop of Sherborne, 
 celebrated in verse the skilful work of the Anglo-Saxon embroideresses. 
 What this work was like, or where the models were obtained, it is now 
 impossible to say. That ornamental needlework was among the accomplish- 
 ments of the Anglo-Saxon women when they first settled in England is 
 highly improbable. 
 
 The religious houses, which increased rapidly in number as Christianity 
 spread among the Anglo-Saxons, appear to have been largely dependent at 
 first upon foreign nations for their handicraftsmen and for their ornaments. 
 St. Bennet Biscop, for example, while building the twin monasteries of 
 J arrow and Wearmouth, made several journeys to the continent; he visited 
 Rome no less than five times, bringing back with him vestments, manuscripts 
 and other treasures, and engaging skilled handicraftsmen to work for him. 
 
 The convents soon became very productive in works of embroidery. 
 Aedelfleda, abbess of Whitby at the beginning of the eighth century, is 
 recorded to have devoted much time to needlework, and other names of 
 skilful embroiderers have come down to us from those early times. Indeed, 
 the Council held at Clovesho in the year 747 endeavoured to check the 
 tendency, prevailing at that time in convents, to spend so many hours in 
 needlework, and recommended that the reading of books and psalm singing 
 should instead receive greater attention. 
 
 But it was not only in religious houses that needlework was a favourite 
 employment. Anglo-Saxon ladies of all ranks spent a great part of their time 
 in such occupation. Even a queen might enrich with embroidery the festal 
 
Introduction 
 
 1 1 
 
 robes of her lord, or make vestments to be given to some favoured abbey, 
 or to be sent as an offering to the pope. 
 
 There are several early instances on record of embroideries being taken 
 abroad. As early as the year 855 the Anglo-Saxon King Aethelwulf, when 
 journeying to Rome, took with him silken vestments richly ornamented 
 with gold, and Edith, the wife of Edward the Confessor, made a gift of 
 vestments to the abbot of St. Riquier. 
 
 It is probable that the art flourished more especially in particular locali- 
 ties. Winchester, for example, appears to have been a centre of considerable 
 activity. St. Aethelwold, Bishop of Winchester (963-984), whose name is 
 well known in connection with the famous Benedictional in the Library of the 
 Duke of Devonshire, was a patron of embroiderers as well as of illuminators. 
 He endowed the monastery of Medeshamstede (afterwards Peterborough), 
 which he had reconstructed after its demolition by the Danes, with vest- 
 ments and other articles. 
 
 At the beginning of the century in which St. Aethelwold lived, Edward 
 the Elder (901-925) King of the West Saxons, had his daughters taught to 
 exercise themselves with the distaff and needle. The most famous name, 
 however, in the history of Anglo-Saxon needlework is that of Edward's 
 queen Aelfflaeda. Under this lady's auspices were produced the stole and 
 maniple, already alluded to as having been found in the tomb of St. Cuthbert 
 at Durham. 
 
 A description of these celebrated fragments is given in the catalogue 
 (Writing-room, Nos. 5 and 6), but a few facts of interest in connection with 
 their history should be briefly mentioned. Had these wonderful em- 
 broideries borne upon them no record of the date or the locality of their 
 origin, it would have been hard to believe that such work could have been 
 produced in Anglo-Saxon England. But the inscriptions which they bear, 
 so fully explained through the exhaustive researches of Canon Raine, set 
 both questions happily at rest. At the ends of the stole and maniple alike, 
 on the reverse side, occur the following inscriptions, "/ELFFLAED fieri 
 
12 
 
 English Embroidery 
 
 precepit," and " pio episcopo fridestano." Bishop Fridestan presided over 
 the see of Winchester from 905 to 931, and Aelfflaeda was undoubtedly the 
 queen above referred to. She died about the year 916. 
 
 There are many causes which might have accounted for these vestments 
 being carried at an early date so far from Winchester, but Canon Raines 
 investigations have rendered speculation again unnecessary. 
 
 St. Cuthbert, Bishop of Lindisfarne, in whose tomb they were found, 
 died at Holy Island in 687. His relics, removed from thence, had many 
 wanderings, until they found in the year 833 a more lasting resting-place 
 at Chester-le-Street. More than a century after, they were taken thence to 
 Durham, where, with one brief interval, they have since remained. The 
 shrine at Chester-le-Street was visited by Aethelstan, Edward's successor 
 to the throne of Wessex, in the year 934. He made many offerings, and 
 among these were a stole and maniple. As Aethelstan was stepson of 
 Aelfflaeda, whose name is embroidered on the vestments, Canon Raine 
 had justification for the theory that the stole and maniple found in St. 
 Cuthbert's tomb are those offered by King Aethelstan. 
 
 It should perhaps be stated that, as in the case of St. Cuthbert, vest- 
 ments found in the shrines of saints are frequently of a later period than that 
 of the personage whose relics they enshroud. Upon translation or exhuma- 
 tion, it was a prevalent custom to wrap the bodies in vestments of later 
 date before reburial. The Durham stole and maniple may have been placed 
 in St. Cuthbert's tomb in 1104, tne year of the translation of the saint. 
 
 The names of the designer and the embroiderer of these Durham vest- 
 ments are not recorded. In mediaeval times, designs for tapestry and 
 embroidery, if taken from the Gospel history or from the legends of the 
 saints, were occasionally copied from illuminated manuscripts. The appro- 
 priate treatment of such subjects could be best indicated by the clergy and 
 monks, and it is probable that the larger number of designs were obtained 
 from the religious houses. An examination of the worn parts of early em- 
 broideries generally reveals the fact that the subjects had been first boldly 
 
IntroduElion 
 
 x 3 
 
 outlined in ink upon the material to be embroidered, and it is probable that 
 this practice was usual from the earliest times. 
 
 Among ecclesiastical designers and craftsmen in England, the name of 
 St. Dunstan, Archbishop of Canterbury, is one of the earliest, and perhaps 
 the most celebrated of all. Not only such objects as censers, crosses, and 
 bells (for he was a skilful metal-worker) are to be found ascribed to him in 
 old inventories, but even some vestments at Glastonbury were said to have 
 been his handiwork. It is, moreover, on record that he designed embroid- 
 eries to be worked by Aedelwyrm, a noble Anglo-Saxon lady. 
 
 The materials for vestments were sometimes provided by coronation 
 robes, mantles, and such articles of apparel, given by kings, queens, and 
 nobles for the purpose. King Edgar (956-978) gave a purple and gold 
 mantle to the monks of Ely to be transformed into a vestment, and he gave 
 also his coronation robe to the Abbey of Glastonbury to form a decoration for 
 the altar. At a later time, three copes were made out of the wrappings 
 taken from the body of Edward the Confessor at the translation in the year 
 1 163. The copes are mentioned in an inventory of 1388. The practice of 
 making vestments out of such articles of apparel continued onwards to the 
 era of the Reformation. 
 
 The names of several early embroiderers of royal dignity are recorded. 
 King Cnut, in the first years of the eleventh century, presented altar-cloths 
 worked by his first wife to the abbeys of Croyland and Romsey. William of 
 Malmesbury states that Edith, the queen of Edward the Confessor, em- 
 broidered with her own hands the robes worn by the King at festivals. 
 Later in the same century Margaret, the Anglo-Saxon queen of Malcolm 
 of Scotland, is expressly said to have tried to encourage the art of needle- 
 work at her court. 
 
 Both William the Conqueror and his queen, Matilda, paid high compli- 
 ments to the handicrafts of their vanquished subjects in despoiling so many 
 religious houses in order to enrich the churches of France, Aquitaine, 
 Burgundy, and Auvergne. From Ely, Waltham Abbey, and other places, 
 
English Embroidery 
 
 William took many vestments, and Matilda treated the Abbey of Abingdon 
 in the same high-handed manner. These perhaps may be the rich vestments 
 which the queen presented to the church of St. Evroult, in Normandy. 
 
 At her death Matilda bequeathed to the Abbey of the Holy Trinity, at 
 Caen, which she had founded, her mantle embroidered with gold to make 
 a cope, a casula worked at Winchester by Alderet's wife, and another 
 vestment worked in England. 
 
 A grant of half a hide of royal domain, recorded in the Conqueror's 
 great survey, is of some interest. It was made by Godric, the Sheriff, to a 
 maiden whose name appears as Aluuid, in payment for teaching his daughter 
 embroidery in gold. The views of our native chroniclers as to the relative 
 merits of English and foreign embroideries must not be accepted without 
 reserve. It is, however, interesting to recall the fact that Eadmer, the monk 
 of Canterbury, takes special care to mention a cope which he saw when he 
 went with St. Anselm, Archbishop of Canterbury, to a council held at Bari 
 in the year 1098. This cope had been presented by Archbishop Aethelnoth 
 (d. 1038) to an archbishop of Benevento, who was visiting England. 
 Eadmer says that the cope was unequalled in beauty by any other vestment 
 he saw in Italy. 
 
 The survival of so few early embroideries with subjects drawn from 
 other sources than the Sacred History, or the lives of the Saints, is to be 
 regretted. Small plaster casts, taken from two figures upon the Bayeux 
 tapestry, are exhibited. The claims of this famous embroidery, representing 
 the Norman conquest of England, to rank as an English work maybe disputed, 
 but that works of such nature were produced in England earlier than the 
 conquest is certain. 
 
 A curtain depicting the deeds of Brihtnoth, ealdorman of the East 
 Saxons, who died in battle with the Danish invaders in the year 991, was 
 embroidered by his wife, and presented by her to the church at Ely, where 
 he lay buried. 
 
 Embroideries continued to be sent abroad in the twelfth and thirteenth 
 
IntroduElion 1 5 
 
 centuries. When Robert, Abbot of St. Albans, was visiting Rome, he took 
 with him many rich offerings. The Pope (Adrian IV, 1154-59) would, 
 however, only accept three mitres and a pair of sandals, of wonderful work- 
 manship we are told, embroidered by Christina, Princess of Markgate. 
 Matthew Paris, the chronicler to whom we owe this record, also relates that 
 when Pope Innocent IV, in the year 1246, was informed that some gold- 
 embroidered vestments which he admired were of English workmanship, he 
 forthwith caused messages to be sent to abbots of the Cistercian Order in 
 England that he desired to have some gold embroideries sent to him. 
 English needlework had at last gained recognition abroad, and from that 
 time its fame increased, until it had, to quote the words of Mr. Everard 
 Green " won for itself the praise of Christendom." 
 
 Two embroideries exhibited, a mitre lent by the Roman Catholic 
 Cathedral of Westminster (Case H), and an amice apparel lent by 
 Erdington Abbey (Case P), are connected with one of our national saints, 
 Thomas of Canterbury. At Sens, where he spent six years of his exile 
 from England, there are in the cathedral treasury several vestments said 
 to have been worn by this saint a chasuble, a mitre, and an amice collar of 
 similar design to that in the exhibition. They all undoubtedly belong to 
 the twelfth century, but it is impossible to say whether they are of English 
 workmanship. The time when strongly-marked characteristics separated 
 the work of different schools had not yet come, and we must be content 
 to admire these beautiful embroideries without undertaking to decide a 
 point which probably will never be definitely settled. 
 
 Some fragments of vestments, lent by the Dean and Chapter of 
 Worcester (Case Y, No. 2), belong to the same century as the vestments of 
 St. Thomas of Canterbury. They were removed in 1870 from the stone 
 coffin of a bishop, supposed to be William of Blois (12 18-1236), beneath 
 the floor of the cathedral. Some of the shreds may be of that bishop's 
 time, but the stole and maniple, of which portions are preserved, bear every 
 indication of having been embroidered in the preceding century. The 
 
1 6 English Embroidery 
 
 figures upon them are of greatly exaggerated length, and are of the ex- 
 pressionless type so generally prevalent in the later Byzantine age. 
 
 If we may take these and the Durham vestments as typical examples 
 of the respective periods to which they belong, the conclusion is obvious that 
 the art had greatly declined in England between the early part of the tenth 
 century and the twelfth. 
 
 Some fragments from the tomb of Walter de Cantelupe (i 236-1 266), 
 the bishop who succeeded William de Blois at Worcester, are also shown 
 (Case Y, No. 1). These fragments, together with another recently acquired 
 by the Victoria and Albert Museum, are probably contemporary with the 
 bishop in whose tomb they were found. 
 
 In Canterbury Cathedral are preserved some remarkably fine fragments 
 of rather an earlier date than those from the tomb of Bishop Cantelupe at 
 Worcester. The vestments are illustrated .in the " Vetusta Monumenta " 
 (vol. vii), and described by Mr. W. H. St. John Hope (see Nos. 10 and 1 1, in 
 Writing-room). They were removed in the year 1890 from a Purbeck marble 
 tomb in the cathedral, considered to be that of Archbishop Hubert Walter 
 (1 193-1205). The embroidered pieces removed are the apparel of an amice, 
 the buskins, the sandals, and portions of the stole. The amice apparel was 
 of red damask, though now much discoloured, embroidered with gold and silver 
 thread. It has seven circles, embroidered with a figure of Christ in majesty 
 seated on a throne, in the middle, the symbols of the Evangelists on either 
 side of the central figure, and the archangels Michael and Gabriel at the 
 ends. The buskins and sandals were both of green silk (now discoloured), 
 embroidered with gold and silver thread. The former are embroidered on 
 the legs with eagles and cross-shaped and other devices within lozenge-shaped 
 spaces, and on the feet with star-shaped and cross-shaped ornaments. On 
 the sandals are eagles, lions, dragons, and looped devices, and small stones. 
 The stole is of linen, wrought with primitive fret patterns in coloured silks. 
 The amice apparel, buskins and sandals are most probably of the arch- 
 bishop's time. The stole appears to be earlier in date. Its ornament is of a 
 
Introduction 
 
 l 7 
 
 type rarely found in England, and may be of foreign origin. These em- 
 broideries are now kept in a small chapel near the tomb of Henry IV. 
 
 The blue satin chasuble from the Victoria and Albert Museum (Case 
 A, No. i) has been greatly injured by cutting down to a modern and ugly 
 shape. More than a century ago it was in Wales, and at that time there were 
 a stole and maniple belonging to it, which, according to the " Gentleman's 
 Magazine" for the year 1786 (vol. Ivi), pointed to Margaret de Clare, wife 
 of Edmund Plantagenet, Earl of Cornwall, as the possessor or donor of the 
 vestments. The chasuble, while still retaining traces of the early stiffness 
 in design, is of great beauty. 
 
 The highest level of excellence in English embroidery was reached 
 in the later part of the thirteenth century. The greater number of the fine 
 examples of opus anglicanum to be found in England, France, Italy, Spain, 
 and elsewhere, belong approximately to the period between the years 1270 
 and 1330. The examples preserved are almost invariably copes, many of 
 which are in a mutilated state, owing to their having been cut to serve 
 other purposes. 
 
 The subjects represented cover a wide range, nevertheless a careful 
 examination will show that certain subjects are frequently repeated, and when 
 they recur, they usually conform somewhat closely to a recognized type. 
 Scenes from the life of our Lord, and of the Blessed Virgin, often cover the 
 whole vestment. Especially frequent is the Coronation of the Virgin, which 
 generally forms the principal subject — with others such as the Annunciation, 
 the Nativity, the Adoration of the Magi, the Crucifixion, or the Assumption 
 of the Virgin — of a series stretching from the hood down the middle of the 
 cope. This arrangement is found on the cope lent by Col. Butler-Bowdon, 
 on the Syon cope, and on others at Anagni, Toledo, Pienza, and the Lateran, 
 which will be described later in these introductory pages. Such copes are 
 referred to occasionally in inventories of church goods. In 1388 there was 
 at Westminster Abbey a blue satin cope with the Coronation of the Virgin, 
 the Nativity of Christ and the Annunciation in the middle, and other figures 
 within vine-stems. 
 
 c 
 
i8 
 
 English Embroidery 
 
 The Stem of Jesse is another favourite scheme. The beautiful fragment 
 in the Musee des Tissus at Lyons, and a mutilated cope in the Victoria 
 and Albert Museum, have this subject, and numerous others are recorded to 
 have existed. Among them may be mentioned a cope and chasuble which 
 were at St. Paul's Cathedral in the year 1245, and three centuries later 
 there was at Westminster a " cope of blewe velvett, rychely embrothered 
 with a Jesse, the ymages of the Jesse beyng garnysshed with perle." At 
 the dissolution, three copes "called the Jhesses" in the monastery of 
 Westminster were delivered into the King's hands, and a " cope of red 
 velvat embrothered withe Radix Jesse" at Winchester suffered the same 
 fate. A series of the Apostles forms a prominent feature in the decoration 
 of the cope lent by Col. Butler-Bowdon, as in that of the Syon cope and 
 several others of the period. 
 
 Among saints and martyrs those of English nationality are naturally 
 prominent. SS. Thomas of Canterbury, Edward the Confessor, and Edmund 
 the King occur frequently, and SS. Ethelbert, Dunstan, Alban, Helen 
 (claimed as a native saint by early writers), and Etheldreda or Audrey, are 
 also found. Many vestments at Westminster were embroidered with figures 
 of the royal saints Edmund and Edward, and on several the martyrdom of 
 St. Thomas of Canterbury was represented. 
 
 As regards the figures, there are certain peculiarities which may be 
 pointed out. Most important of all is the treatment of the faces, which are 
 generally worked in a spiral formation starting from the centre of the cheek. 
 Dr. Rock held the opinion that this was the chief distinguishing feature of 
 opus anglicanum. We have also this learned expert's authority for the view 
 that the effect of the spiral treatment was emphasized by the pressure of a 
 heated iron instrument. It is not only in the faces that the embroiderer 
 endeavours to express the modelling of the flesh by the arrangement of the 
 stitches. The same intention is evident throughout the figures. The beautiful 
 fragments lent by Mr. Berkeley, of Spetchley (Case N, No. 2), are good 
 examples, as well as other embroideries of the period in the exhibition. It 
 
IntroduSiion 
 
 10 
 
 will also be remarked that the figures are generally bearded, and shaven 
 round the mouth, and that the foreheads are abnormally high and broad. 
 The hair and beard are often of a conventional colour, such as blue or green. 
 The names of the subjects and personages are sometimes indicated in bold 
 Lombardic characters. 
 
 Foliated masks, leopards' heads with protruding tongues, and birds of 
 many kinds are very frequently represented. The last are usually seen in 
 pairs above the niches or canopies. The columns supporting the arches are 
 frequently twisted. The favourite type of foliage is the vine, sometimes 
 mingled with the oak or ivy. Few examples of opus anglicanum fail to present 
 one or more of the peculiarities just enumerated. At the same time, it should 
 be remembered that tests of this kind must always be applied with caution, 
 and it will be, probably, many years before the vexed questions relating to 
 the subject are finally cleared up. 
 
 The evidence of heraldry is of great importance. Where the shields 
 of donors or benefactors are emblazoned, as in the case of the Syon cope, 
 the cushions from Catworth (Case D, No. 2), and the chasuble lent to the 
 exhibition by the Marquess of Bute, they are invaluable as establishing the 
 date and nationality of the work. 
 
 But it is not merely in points of design that the embroideries of the 
 period are remarkable. Their execution is marvellous, and the amount of 
 patient toil required to complete one of these sumptuous vestments must 
 have been very great. Dr. Rock mentions, as an instance, a frontal given 
 to the Abbey of Westminster in the year 1271, which took four women 
 three and three-quarter years to make. This high technical skill is often 
 combined with great simplicity of treatment. The figures are grave, dignified, 
 and venerable. It will be seen that the figures introduced are restricted in 
 number to those required to illustrate the subject, while no effort is made to 
 produce a showy effect at little cost of thought and labour. The neglect of 
 rules of perspective is of course shared with all the art of the time. 
 
 Both men and women occupied themselves with needlework. Abbots 
 
20 English Embroidery 
 
 and abbesses are mentioned as skilled embroiderers, and the names of other 
 workers of both sexes are recorded. King Henry III made payment to one 
 Adam de Basinges for a cope to be given to the Bishop of Hereford, and 
 for two chasubles intended for the royal chapel. In the following century 
 John Wigmore, Abbot of St. Peter's Abbey, Gloucester (1329-1337), gave to 
 his monastery a suit of vestments embroidered by his own hands. A little 
 later, Edward III paid a sum of money to Thomas Chenier for an em- 
 broidered vestment for his chaplain. The King also employed another male 
 embroiderer, Stephen Vigner, who afterwards became chief embroiderer to 
 Richard II, and received a pension from Henry IV. In the wardrobe 
 accounts of Richard II further names of men designated as "king's em- 
 broiderers " occur. Two more embroiderers, Thomas Carleton and Thomas 
 Selmiston, may be mentioned. The former, described as a " Citizen and 
 Brodrer of London," bequeathed ten marks a year to the Merchant Taylors' 
 Company in order that the fraternity might find a priest to pray for his soul 
 for ever within the Taylors' Chapel at St. Paul's. Selmiston's name is 
 recorded in a memorandum book written by John Stone, a monk of 
 Canterbury; the embroiderer, who died in 141 9, is there said to have been 
 so skilful, that there was none like him in the whole kingdom. Among 
 women, the names are recorded of Mabilia of Bury St. Edmund's, who 
 embroidered a cope for King Henry III, and Rose, wife of John de 
 Bureford (citizen and mercer of London), who embroidered a cope purchased 
 by Edward II 's queen as a present to the Pope. 
 
 It is probable that many of the early English vestments now abroad 
 left this country very soon after they were completed. It is not difficult to 
 account for such having been the case. Edward I made a gift to Pope Boniface 
 VIII of a pluviale de opere anglicano, and we have just had occasion to speak 
 of a cope made by command of Edward IPs queen, to be presented to the 
 Pope. Bishop Grandisson of Exeter bequeathed a rich cope and an orphrey 
 to Pope Urban V; and other prelates, when journeying to Rome, took 
 richly embroidered vestments with them as offerings. Pope Boniface VIII 
 
IntroduElion 
 
 21 
 
 has just been mentioned as the recipient of a cope from Edward I, and 
 references to English embroideries are included in the inventory of this 
 Pope's vestments. His name again occurs as the donor of some English 
 embroideries to the cathedral at Anagni, no doubt the vestments still 
 preserved there. The cope in the Lateran is reputed to have been in Rome 
 from the fourteenth century onwards, and the cope at Pienza was certainly 
 in Italy in the fifteenth century. The embroidered panel at the British 
 Museum was in Rome in 1390. The Ascoli cope was given by Pope 
 Nicholas IV in 1288. Turning to Spain, the cope at Toledo is mentioned 
 in a will of 1367. The two English copes at St. Bertrand de Comminges 
 were given by Pope Clement V in 1309. 
 
 Besides these still existing vestments, others of English workmanship are 
 mentioned in early wills and inventories abroad. The Bishop of Tournai, 
 for example, in 1343, bequeathed to his cathedral an old English cope and 
 corporal, and two years later a bishop of Marseilles mentions in his will an 
 alb wrought with English orphreys. 
 
 As regards the possessions of our English cathedrals and parish 
 churches, the lists of the vestments, many evidently of the richest work- 
 manship, that were at one time in this country are astonishing. St. Paul's 
 Cathedral, in London, possessed many hundreds of vestments ; the total 
 belonging to Lincoln Cathedral exceeded six hundred; and the Abbey of 
 Westminster had in 1388 an even greater number. The cathedrals of 
 York, Exeter, Canterbury, and Peterborough were also particularly rich 
 in vestments. 
 
 The descriptions of many correspond somewhat closely to existing 
 examples. Others were decorated in a manner now rare to find ; we read of 
 pearls, precious stones and plates of enamelled gold, and special reference 
 is occasionally made to glass stones. One chasuble at St. Paul's Cathedral 
 in the year 1295 was embellished with forty-three stones, another with 
 thirty-five, and an amice had for its adornment "glass stones." 
 
 Vestments of the period in question may conveniently be placed in 
 
22 
 
 English Embroidery 
 
 three classes, according to the manner in which the surfaces are divided 
 to receive the subjects. In one class may be included those of which the 
 whole field is partitioned into formal spaces — circles, quatrefoils, and ovals. It 
 need hardly be said that this is an early method, and vestments of the type 
 as a rule are not later than the year 1300. The best known is the Syon 
 cope ; others similar in design are the copes of Anagni, Ascoli, Madrid, and 
 St. Bertrand de Comminges. Two fragments, evidently cut from a cope of 
 this class, are lent by Mr. Berkeley of Spetchley (Case N). 
 
 Another class has successive bands, or zones (as they would appear 
 when the cope was worn) of gothic arcading — almost invariably three in 
 number — following the contour of the vestment, and forming niches or 
 tabernacles for the figures. This type is illustrated in the cope lent to the 
 exhibition by Colonel Butler- Bowdon (Case K), and others are at Toledo, 
 Vich, Bologna, Pienza, and the Lateran. 
 
 The latest of the three types is that in which the field is covered by 
 foliated stems inclosing the various figures. The Steeple Aston em- 
 broideries exhibited (Cases O and U) belong to this class, as well as a cope 
 at St. Bertrand de Comminges and the "Jesse" copes. 
 
 It should be pointed out that the vestments of this period are fre- 
 quently embroidered all over, so that the linen ground is nowhere visible. 
 Others are on a ground of silk, satin, or velvet, the last-named material not 
 occurring before the closing years of the thirteenth century. 
 
 The subjects represented on the examples lent to the exhibition will 
 be given in the catalogue. There are many interesting points of comparison 
 with others not exhibited. A short description is therefore given of the 
 most famous among the latter. 
 
 The Syon cope is named from the Bridgettine monastery of Syon near 
 Isleworth, where it appears to have been taken at an early date. At the 
 suppression of the monastery the cope was taken by the nuns in their 
 wanderings through Flanders, France and Portugal. It was brought back 
 to England when the nuns returned in the year 1830, and was placed in the 
 
IntroduElion 
 
 2 3 
 
 South Kensington Museum in 1864. The embroidery is in gold, silver and 
 silks, completely concealing the linen ground. The cope is covered with 
 interlacing barbed quatrefoils in red, outlined with gold, and green inter- 
 vening spaces inclosing seraphim, all except two standing upon wheels. The 
 subjects down the middle are as follows : The Coronation of the Blessed 
 Virgin, the Crucifixion of Christ, and the Archangel Michael transfixing 
 the Dragon. To the right and left of the first subject are the Death and 
 Burial of the Virgin; beyond these, Christ meeting St. Mary Magdalene in 
 the Garden, and the Incredulity of St. Thomas. In the other quatrefoils 
 are the apostles SS. Peter, Paul, Andrew, James the Greater, Bartholomew, 
 Philip, Thomas and James the Less. Two kneeling figures of a layman and 
 a cleric are placed near the orphrey. There are an orphrey and morse, and 
 a border running round the curved side, the last, as Mr. St. John Hope 
 has pointed out, made from a stole and maniple. This border and the orphrey 
 are embroidered with heraldic shields, which are described in Dr. Rock's 
 "Catalogue of Textile Fabrics in the South Kensington Museum" (1870). 
 The hood is missing. The cope has been at some time cut, and the outer 
 edge repaired with fragments of the parts cut away. 
 
 At Anagni, near Rome, are preserved four vestments having every 
 indication of an English origin, a cope, a chasuble and two dalmatics, the 
 last three being evidently made from two copes. 
 
 Pope Boniface VIII is recorded to have given some English embroi- 
 deries to the cathedral at Anagni, and an entry in an inventory of this 
 Pope's vestments, made in the year 1295, mentions the cope, stating that 
 the subjects are from the history of our Lord, beginning with the Annuncia- 
 tion and the Nativity, and ending with the Resurrection and the Assumption 
 of the Virgin. It is embroidered in coloured silks on a ground worked 
 with gold thread. The subjects are in thirty circles, with censing angels 
 in the intervening spaces. There is a small triangular hood representing 
 the Virgin and Child. Immediately beneath are two angels with censers. 
 The principal subjects, in the middle, are: — the Death, the Assumption 
 
2 4 
 
 English Embroidery 
 
 and the Coronation of the Virgin. On the left are: — the Annunciation, 
 the Visitation, the Angel appearing to the Shepherds, the Nativity, the 
 Journey of the Magi, the Magi before Herod, the Adoration of the Magi, 
 the Dream of the Magi, the Flight into Egypt, the Pursuit of the Holy 
 Family frustrated by the Miracle of the Cornfield, the Massacre of the 
 Innocents, the Presentation of Christ in the Temple, and Christ among the 
 Doctors. On the right are: — the Betrayal of Christ, the Mocking, the 
 Scourging, Pilate washing his hands, Christ bearing his Cross, the Cruci- 
 fixion, the Descent from the Cross, the Entombment, the Harrowing of Hell, 
 the Maries at the Sepulchre, Christ meeting St. Mary Magdalene in the 
 Garden, Christ and the two disciples on the way to Emmaus, and the 
 Ascension. The cope has not been cut down. 
 
 One of the other copes represented the Story of St. Nicholas, the 
 subjects being inclosed in circles; the following may be recognized in the 
 chasuble: — on the front, his consecration; he brings back to life the three 
 children; the father and the three daughters; the saint saves mariners in a 
 storm ; he refuses the breast on Fridays ; his death : on the back, the saint 
 puts gold through a window; the father of the boy offers a second cup to 
 St. Nicholas ; the son offers the cup at the altar; the saint saves the three 
 condemned princes ; he casts out a devil. Other subjects from the cope 
 are on the dalmatics, as follows : — the saint raises a dead child; the son, 
 while filling the cup, falls into the sea ; Diana gives magic oil to seamen ; the 
 saint bids them cast it into the sea, and it burns ; he rescues Deusdedit 
 from slavery ; he destroys idols ; the mother laments her scalded child ; a 
 figure kneeling before the saint ; the Jew beats the image of the saint. The 
 intervening spaces contained angels and leaf ornaments. On the third cope, 
 the subjects being inclosed within barbed quatrefoils, were represented the 
 martyrdoms of saints. The greater part, although in a very fragmentary con- 
 dition, is preserved in the two dalmatics. The following scenes may be 
 recognized : — (i) St. John the Evangelist in a cauldron of oil ; the martyr- 
 dom of St. Thomas of Canterbury ; St. Edmund the King beheaded with an 
 
Introduction 
 
 2 5 
 
 axe, a wolf guards his head ; figures of SS. Barbara (?), Catherine, Margaret, 
 Philip, James and Barnabas. (2) The Holy Trinity, the Crucifixion, the 
 martyrdoms of SS. Agatha, Blaise, Dionysius, George ; SS. Peter and 
 Andrew. The intervening spaces had figures of saints, and angels with 
 crowns, sceptres and musical instruments. 
 
 The Ascoli cope was given to the cathedral there by Pope Nicholas IV, 
 a native of Ascoli, in the year 1288. 
 
 The document in which the Pope offers the cope to the chapter of 
 Ascoli Cathedral, for use at festivals, is dated 28th July, 1288. The cope 
 is embroidered in coloured silks and gold and silver thread on a ground of 
 gold embroidery. The document above referred to mentions the pearls with 
 which the cope was at one time adorned, but these were stripped off at the 
 time of the Napoleonic wars to pay a war contribution. The subjects are in 
 eighteen circles, which are lobed on the inner side. The principal subjects, 
 in the middle, are : — a nimbed Head of Christ, on a large scale; the Crucifixion, 
 with a figure of Longinus the centurion; and the Blessed Virgin and Child, 
 with two angels holding candelabra. In the upper row of compartments are re- 
 presented the martyrdoms of the apostle St. Peter and earlypopes as follows : 
 St. John, slain with a sword; St. Marcellus, harnessed to a harrow; St. Peter, 
 crucified; St. Clement, thrown into the sea with a millstone round his neck; 
 St. Stephen, beheaded at the altar; St. Fabian, pierced with arrows. In the 
 next row are popes (doctors and confessors), each between an archbishop 
 and a bishop: — SS. Leo the Great, Hilary, Silvester, Gregory the Great, 
 Lucius, and Anastasius. In the third row are four popes of the thirteenth 
 century: — Innocent IV (1243-1254), Alexander IV (1254-126 1), Urban IV 
 (1261-1265), and Clement IV (1265-1268). The names of all the popes are 
 inscribed in Lombardic letters. The cope must have been executed between 
 1 268, the year in which Clement IV died, and 1 288, when it was given to the 
 chapter of Ascoli. 
 
 M. Emile Bertaux, in "Melanges d'Archeologie " (xvii, p. 79), main- 
 tains the theory that the lower edge of the cope has been cut. This, how- 
 
 D 
 
26 
 
 English Embroidery 
 
 ever, is not the case. The embroidery abruptly terminates at the braided 
 edging, and the plain linen beneath the edging is of one piece with that on 
 which the subjects are embroidered. There is an orphrey of interlaced circles 
 and lozenges, and a small triangular hood, with two angels censing. 
 
 The cope from Daroca College, now in the Madrid Museum, is em- 
 broidered on a gold ground. The subjects are in barbed quatrefoils, linked 
 by coiling dragons, with angels in the intervening spaces. They represent: — 
 the six days of the Creation and the Sabbath rest; the Creation of Eve; 
 God meeting Adam and Eve in the Garden; their Temptation and Expul- 
 sion from the Garden; Adam delving and Eve spinning; Cain and Abel; 
 the Annunciation ; and the Crucifixion. The orphreys have figures of royal 
 and episcopal saints under canopies adorned with leopards' heads. There is 
 no hood. 
 
 The cope in the cathedral at Toledo is on a gold ground; it is said to 
 have belonged to the Cardinal Gil de Albornoz (d. 1367), who mentions a 
 cope of English work in his will. 
 
 The principal subjects, in the middle, are: — the Coronation of the 
 Blessed Virgin, the Nativity of Christ, and the Annunciation. In the inner 
 zone of arcading are: — the Virgin and Child enthroned, the Holy Trinity, the 
 Assumption of the Virgin, the Angel announcing to the Virgin her ap- 
 proaching death. In the middle zone are : — SS. Paul, Simon, Philip, James 
 the Greater, Andrew, Thomas, Bartholomew, Peter. In the outer zone 
 are : — a bishop (unnamed), SS. John the Evangelist, Edward the Confessor, 
 Lawrence, Mary Magdalene, Ethelbert, Dunstan, Margaret, Catherine of 
 Alexandria, Thomas of Canterbury, Olave, Stephen, Helen, Denis, Edmund 
 the King, and John the Baptist. All the saints in this row are trampling 
 upon prostrate figures. The names of the saints are indicated in Lombardic 
 lettering on scrolls. On the orphrey are royal and episcopal saints under 
 canopies, and angels. There is no hood. (See No. 2 in Writing-room.) 
 
 The cope in the Episcopal Museum at Vich is embroidered in gold 
 and silver thread and silks on red velvet. It has been cut in pieces. The 
 
IntroduSiion 
 
 2 7 
 
 cope appears to be alluded to in an inventory of the treasury of Vich in 
 the fifteenth century, which mentions a cope of crimson velvet, with images, 
 foliage and saints, given by Bishop R. de Ballera (i 353-1 377). 
 
 The figures are in three zones of arcading, outlined by branches of 
 foliage, with twisted stems for columns, and foliated masks on lozenges for 
 capitals. The principal subjects, in the middle, are: — the Coronation of the 
 Blessed Virgin, the Nativity of Christ, and the Adoration of the Magi. In 
 the inner zone, parts only of two figures remain, SS. Peter and Paul. In 
 the middle zone are : — SS. Simon, Matthew, James the Greater, John the 
 Baptist, John the Evangelist, James the Less, Philip, and Thomas the 
 apostle. In the outer zone are: — SS. Edward the Confessor, Clement, 
 Mary Magdalene, Nicholas, Lawrence, Margaret, (one missing), Stephen, 
 Thomas of Canterbury, Agatha, Alban, and Edmund the King. The 
 subjects and the names of the saints are indicated in Lombardic lettering. 
 The orphrey and hood are missing; there is a blank space for the latter, 
 with an angel on either side. 
 
 The cope in the Civic Museum at Bologna was formerly in a church in 
 that city. It has two zones of arcading, the outer containing the following 
 subjects : — the Annunciation, the Visitation, the Nativity, the Angel appearing 
 to the Shepherds, the Journey into Egypt, the Massacre of the Innocents, the 
 Presentation in the Temple, the Magi before Herod, the Journey and the 
 Adoration of the Magi, the Angel warning the Magi in a dream, and the 
 Martyrdom of St. Thomas of Canterbury. In the other zone are: — the 
 triumphal entry into Jerusalem, the Betrayal, the Scourging, the Crucifixion, 
 the Resurrection, the Harrowing of Hell, and Christ meeting St. Mary 
 Magdalene in the garden. Between these zones are busts of saints. The 
 spandrels are occupied by angels, some with instruments of music, others 
 holding crowns. The hood, which is missing, probably represented the Virgin 
 and Child, as there are two censing angels on either side of the space which 
 it should cover. 
 
 The cope at Pienza, near Siena, was given to the cathedral there by 
 
28 English Embroidery 
 
 Pope Pius II (1458- 1 464), a native of that place. It has aground worked 
 with animals, birds, and foliage, in gold thread. The principal scene, in the 
 middle, is the Coronation of the Blessed Virgin. In the inner zone of arcading 
 are: — the Angel announcing to the Virgin her approaching death, her Death, 
 the Assumption of her Soul, and the Apostles around her vacant bier. In the 
 middle zone are : — the Angels appearing to the Apostles after the Ascension 
 of Christ, the Presentation of the Virgin, her Marriage, the Annunciation, 
 the Nativity, the Angel appearing to the Shepherds, the Adoration of the 
 Magi, the Presentation of Christ in the Temple, the Burial of the Virgin. 
 In the outer zone are six scenes from the legend of St. Margaret, and 
 seven scenes from the legend of St. Catherine of Alexandria. The columns 
 are formed of twisted stems. In the spandrels of the arches are Old 
 Testament kings, the twelve Apostles holding scrolls inscribed with their 
 verses of the Creed, and birds. On the orphrey and border are birds and 
 animals, in some instances superimposed. There is a small hood with two 
 angels holding crowns. 
 
 The cope in the Basilica of St. John Lateran, that "of St. Silvester," is 
 embroidered on a gold ground. The subjects in the middle are the Corona- 
 tion of the Virgin, the Crucifixion, and the Nativity. In the inner zone of 
 arcading are: — the Ascension of Christ, the Descent of the Holy Spirit, 
 the Assumption of the Virgin, and the Angel announcing to the Virgin her 
 approaching death. In the middle zone: — the Betrayal of Christ, Pilate 
 washing his hands, the Scourging, Christ carrying His Cross, the Resur- 
 rection, the Maries at the Sepulchre, Christ meeting St. Mary Magdalene 
 in the Garden, and the Incredulity of St. Thomas. In the outer zone: — the 
 Last Supper, the Martyrdom of St. Andrew, the Martyrdom of St. Edmund 
 the King, the Martyrdom of St. Lawrence, the Martyrdom of St. Mar- 
 garet (?), the Annunciation, the Adoration of the Magi, the Martyrdom 
 of St. Catherine, the Stoning of St. Stephen, the Martyrdom of St. Thomas 
 of Canterbury, the Martyrdom of St. Bartholomew, Christ and the Disciples 
 at Emmaus. Between the zones are angels, some playing instruments of 
 
IntroduSlion 
 
 29 
 
 music. The columns are formed of twisted stems, and in place of capitals 
 are octagons with birds. On the orphrey are the following subjects : — Christ 
 enthroned (in the centre), Angels with the symbols of the Four Evangelists, 
 and royal and episcopal saints. There is a small hood, with two winged 
 animals; on either side of the hood are a pelican and a phoenix. 
 
 In the Textile Museum at Lyons is a piece of a very fine English cope, 
 embroidered in coloured silks on a ground of gold embroidery. The subject 
 was a Tree of Jesse. A broad strip from the centre of the cope remains, 
 with the recumbent figure of Jesse, figures of David and Solomon, the 
 Virgin and Child, and the Crucifixion. At the sides are small figures of 
 prophets, inclosed by the lesser stems of the vine. This beautiful fragment 
 was formerly in the Spitzer collection, and is known to have been in England 
 at an earlier date. 
 
 A mutilated red silk cope in the Victoria and Albert Museum, of which 
 a restored painting is shown (Writing-room, No. 3), has also for its subject 
 a Tree of Jesse. 
 
 The two English copes at St. Bertrand de Comminges were given in 
 1309 by Pope Clement V, who at one time was bishop of the diocese. One 
 of the copes is embroidered on a ground worked with animals and birds in 
 gold thread. It is covered with foliated stems, forming circles and ovals. 
 The cope has been badly mutilated. The subjects now remaining are : — the 
 Last Supper, Christ washing the Disciples' feet, the Betrayal, Christ before 
 Pilate, the Buffeting, the Scourging, Christ bearing the Cross, the Cruci- 
 fixion, the Descent from the Cross, the Harrowing of Hell, the Ascension, 
 and the Descent of the Holy Spirit. Various animals crouch on the out- 
 lining stems, and birds of many kinds are represented in the ovals. The 
 subject in the middle is the Coronation of the Virgin. Within the circles 
 are figures of prophets, and in the larger intervening spaces are the scenes 
 in the Passion of Christ. The hood is missing. 
 
 The other cope has a plain silk ground. Interlacing stems of ivy, oak, 
 and vine, with foliated masks and leopards' heads, cover the whole field. 
 
3<d English Embroidery 
 
 Upon the stems stand figures of the Apostles and St. John the Baptist. The 
 central position is occupied by the Virgin and Child, with two angels above 
 playing instruments of music. The cope has been cut down. The hood is 
 of French brocade, dating from the time of Louis XV. 
 
 The cope from Harlebeke, lent by the Brussels Museum (Case B, No. i), 
 does not belong to any of the three classes above enumerated, nor is it similar 
 in arrangement to any cope we have described. For delicacy of execution, 
 it would be hard to match this beautiful vestment, which forms one of the 
 most striking features of the exhibition. The embroidery is confined to 
 the orphreys and hood, the one representing the martyrdoms of the Apostles, 
 and the other the Crucifixion. It should be stated that the authorities of 
 the Brussels Museum are of the opinion that this cope is of French origin, 
 but the view of the Exhibition Committee, that we have in this vestment 
 a fine example of opus anglicanum, is shared by an eminent French authority, 
 M. de Farcy of Angers. 
 
 Numbers of the vestments at one time in cathedrals and abbeys in this 
 country, more especially at Westminster and Canterbury, are recorded to 
 have been royal gifts, but many cathedrals owed a large proportion of their 
 treasures to the liberality of successive bishops. 
 
 A chasuble, lent by the Marquess of Bute (Case B, No. 2), is em- 
 broidered with the arms of Bishop John de Grandisson (1327-1369). The 
 benefactions of this munificent bishop to his cathedral of Exeter were very 
 numerous. On his elevation to the See he found that there was a lack of 
 books and vestments, and when in later years he inherited considerable 
 wealth, owing to the death of his brother, he did much to supply the de- 
 ficiency. Indeed, one inventory, mentioned in Oliver's " Lives of the Bishops 
 of Exeter," records that he gave so many vestments and ornaments that they 
 were not all accounted for in any document. This bishop's arms are em- 
 broidered on a fine cope still remaining in the Azores. Many of the vestments 
 at Exeter — albs, copes, chasubles, and altar-frontals — bore his arms. His 
 benefactions, moreover, were not confined to his diocese, nor even to his own 
 
IntroduEiion 31 
 
 country. He gave a frontal to Westminster Abbey, and made bequests of 
 vestments to the Archbishop of Canterbury, and to Windsor College. To 
 Pope Urban V he bequeathed a rich cope of purple velvet embroidered 
 with figures, and a noble orphrey. 
 
 It would be a mistake to suppose that the disappearance or destruction 
 of almost all the vestments mentioned in old inventories of church goods is 
 to be attributed to the zeal of the sixteenth-century reformers. Old vest- 
 ments were used at all times to bury ecclesiastics in, or were cut up to 
 serve as wrappings for relics, or for other purposes. Sometimes a worn-out 
 vestment suffered a worse fate, and was burnt in order to secure by an easy 
 method the gold used in the embroidery. The treasurers' accounts of 
 Canterbury Cathedral in the years 1371 and 1373, quoted by Messrs. 
 Wickham Legg, and St. John Hope in " Inventories of Christchurch, 
 Canterbury," record this fate to have overtaken some chasubles and copes 
 of Archbishop Lanfranc's, as they were too worn for use, and there are 
 records at Westminster Abbey of similar cases of destruction at a later time. 
 
 Whatever may have been the fate of embroideries designed for church 
 purposes, it is as nothing in comparison with the destruction which has 
 overtaken almost every vestige of the richly embroidered garments habitually 
 worn by the wealthy in England during mediaeval times. The embroidered 
 robes in which King Edward the Confessor appeared at festivals, and those 
 of Chaucer's young Squire, which the poet compares to " a meede, al ful of 
 fresshe floures whyte and rede," have alike perished. The knight's surcoat 
 or jupon, emblazoned by the needle with the armorial bearings of the wearer, 
 and the lady's supertunic, often enriched in a similar way, are now chiefly 
 to be recalled by means of brasses and monumental effigies. We still have 
 in England a well-known and important example of the military surcoat of 
 the fourteenth century, suspended above the monument of Edward the 
 Black Prince in Canterbury Cathedral (see photographs in Writing-room, 
 Nos. 12 and 13). It is of red and blue velvet (now much faded), with the 
 royal arms of England embroidered in gold. 
 
32 English Embroidery 
 
 There are many references to embroidered garments in the wardrobe 
 accounts of Edward III. A velvet tunic, made for the King to wear at a 
 tournament, was embroidered with trees and birds and the royal arms; and 
 a white doublet, also for the king's use, was worked with clouds and birds 
 of gold. 
 
 The prevalence of embroidery as a decoration of costume is also attested 
 to by the sumptuary enactments of the fourteenth and fifteenth centuries. To 
 all whose income was below 400 marks a year Edward III, in 1363, forbade 
 by statute the wearing of cloth of gold or embroidery. Another statute was 
 framed in the last year of the fourteenth century against divers persons who 
 made counterfeit works having the appearance of embroidery but untruly 
 wrought. Such counterfeits, it was afterwards enacted, were to be forfeited 
 to the King. Statutes directed against the importation of foreign embroideries 
 were more than once promulgated during the fifteenth century. 
 
 Ceremonial robes in mediaeval times were sometimes richly embroidered. 
 The distinctive robes of the Knights of the Garter were thus adorned. 
 They originally consisted of a mantle, tunic, and hood, all of blue woollen 
 cloth, the two latter being powdered with garters of blue and gold embroidery. 
 Edward III, the founder of the order, had 168 garters embroidered on his 
 robes. The garter itself was also embroidered. 
 
 Mediaeval embroideries for domestic use, such as hangings, bed-cover- 
 ings, and cushions have suffered the same fate as the articles of costume of 
 the time. 
 
 The period during which embroidery maintained its high level of 
 excellence was all too short. With the advance of the fourteenth century, a 
 distinct decline becomes evident, in point of execution as well as of design. 
 Compared with the splendid work of the earlier period, the figures are ill- 
 drawn and coarsely embroidered. The features lose their expression, the 
 draperies are clumsy and heavy, and the characteristic emblems of the saints 
 are sometimes omitted altogether, rendering their identification a matter 
 of impossibility. On the orphreys of a fifteenth-century chasuble belonging 
 
Introduction 
 
 33 
 
 to Mr. Gordon Canning the same two figures are repeated five times, no 
 doubt to represent ten of the Apostles. The details of the architecture are no 
 longer worked out with such scrupulous care. The crockets and finials upon 
 the canopies grow larger, at the same time losing their gracefulness, while 
 the angelic figures and birds are altogether crowded out from the spandrels. 
 A chasuble lent by Ushaw College (Case Z, No. n), is a typical example. 
 There were exceptions, no doubt, but such was the general tendency. 
 
 A change, in some respects for the better, took place in the latter half 
 of the fifteenth century, when simpler schemes of decoration were adopted, 
 and embroidery of a characteristic and beautiful type did something towards 
 restoring the credit of English needlework. The special features of this last 
 stage before the downfall of ecclesiastical embroidery at the Reformation, 
 will be referred to later. 
 
 It will be seen from the examples illustrating the intermediate period, 
 that, although not equal to the work of the earlier time, they are still marked 
 by an effect of richness. The ground was still embroidered with gold, and 
 precious stones and pearls were added to enrich the effect of the embroidery. 
 The vestments given by the Duchess of Clarence to St. Alban's Abbey, in 
 the year 1429 were remarkable for the splendour of the gold, the beauty of 
 the jewels, and the skill of the embroidery. 
 
 The early custom of presenting ceremonial and other robes to be made 
 into vestments was still prevalent. Philippa, queen of Edward III, gave to 
 the Bishop of Ely the velvet gown she wore at her churching after the birth 
 of the Black Prince, and of this three copes were made. In the following 
 century a mantle of cloth of gold, worn by Henry V as he rode in state 
 through London on the day of his coronation, was given by Elizabeth, Lady 
 Beauchamp to St. Alban's Abbey, and was made into vestments. 
 
 There is no type of design more peculiar to this country than that 
 applied to the adornment of vestments and other embroidered church orna- 
 ments during the later part of the fifteenth century, and the first half of the 
 sixteenth. A glance at the vestments of this period exhibited will show 
 
 E 
 
34 
 
 English Embroidery 
 
 that they are generally of velvet, though not infrequently of satin or silk 
 damask. Upon this ground, at intervals, are placed large devices — double- 
 headed eagles, roses, fleurs-de-lys, and other floral designs, generally worked 
 upon linen, and applied. The slender spangled tendrils and rays which 
 surround these devices, relieve the contrast between the ground material 
 and the heavy gold which forms the principal substance of the embroidery. 
 
 The copes generally have a central group — frequently representing 
 the Assumption of the Blessed Virgin, round which the devices radiate so 
 as to fall into position when the vestment is worn. The velvet cope lent by 
 Lady O'Hagan (Case F, No. 2) is of this class. Very characteristic features 
 are the six-winged seraphim, with wheels beneath their feet. These angelic 
 forms are sometimes to be seen in earlier English embroidery {e.g., the Syon 
 cope, the Madrid cope), but in the later period they are seldom omitted, 
 and they almost invariably hold scrolls inscribed with the words "Da 
 Gloriam Deo"; occasionally is found, instead, "Gloria in excelsis Deo," 
 or " Gaudete in Domino." In one embroidery exhibited (Case BB), from 
 Cirencester, the inscription is " Gloria tibi Trinitas," but there was a 
 special reason for this, as the vestment was worn by a chantry-priest of 
 Holy Trinity Chapel. 
 
 In this later work the ornament is generally bolder, and on a larger 
 scale, requiring far less labour than the earlier work, and designed rather 
 for distant effect. Examined closely, there is much more of monotony and 
 repetition. 
 
 The orphreys and hoods are embroidered with figures, beneath 
 canopies heavy in design, upon a ground of linen. The figures are almost 
 invariably Apostles and Old Testament prophets. The former are usually 
 identified by their symbols. The latter occasionally are named, as in the 
 chasuble from Radford exhibited, but they are usually to be recognized by 
 the absence of the nimbus. The orphreys of the cope lent by Sir W. Throck- 
 morton (Case G, No. 1) have prophets alternating with Apostles. On the 
 chasuble lent by the Dominican Priory at Haverstock Hill (Case F, No. 1), 
 
IntroduEiion 
 
 35 
 
 the figures are in pairs, an Apostle and a prophet standing side by side under 
 each canopy. 
 
 There are many references in inventories to vestments which must 
 have been almost precisely similar to several in the present exhibition. 
 
 An inventory of Exeter Cathedral made in the year 1506 mentions as 
 a gift of Master Thomas Austell a " Casula de purpyll velvet cum floribus 
 et angelis tenentibus scripturam in manibus scilicet ' Da Gloriam Deo ' ac 
 cum ymagine Crucifixi in le orfrais cum 2 angelis tenentibus calices ad 
 suscipionem sanguinis Christi, cum Spiritu Sancto in summitate dicti crucis." 
 This description may be compared with the back of a chasuble exhibited 
 (Case D, No. 4.) Another chasuble, included in the same inventory, was em- 
 broidered with the Crucifixion, and three angels around the Cross holding 
 chalices, such as may be seen on several chasubles exhibited. The description 
 of certain copes is also of interest. Two were of blue satin, with golden angels, 
 having wings over their heads and bodies, and wheels beneath their feet ; 
 another cope was embroidered with angels, holding scrolls inscribed " Gloria 
 in excelsis." 
 
 Six copes in Lincoln minster were embroidered with angels "having 
 this scripture ' Da Gloriam Deo.' " Numerous vestments at Canter- 
 bury were embroidered with "angelis," " floures de lyces," " egels," or 
 roses. 
 
 The device of the eagle as the symbol of power and authority is of very 
 ancient and almost universal use. There is probably no special reason for 
 its frequent employment on English vestments. Several such are in the 
 exhibition. Among the many inventories in which embroideries with eagles 
 are mentioned, two or three may serve as illustrations. The church of 
 St. Laurence, Norwich, possessed a " suit of vestments ... of blue colour, 
 powdered with eagles of gold"; and another church in that city, S. Andrew's, 
 possessed a cloth of gold for the high altar, paled with velvet, and powdered 
 with golden eagles ; a black cloth for the high altar, powdered with silver 
 eagles ; and an old suit of red velvet, powdered with splayed eagles. Some 
 
36 English Embroidery 
 
 copes of white damask in Canterbury Cathedral were embroidered with 
 "lyllye pottes and the splayed Eagle of golde," It may be a question what 
 the " water floures " so often mentioned in the Canterbury inventories may 
 be, but one can hardly fail to recognize the style of ornament on the two 
 albs, "of blewe velvet w' flowers of gold sett out licke the sonne beames" 
 (Inventory of Canterbury, 1563). 
 
 The arms of the donor are less frequently emblazoned on vestments of 
 this period than on those of earlier times. They are, however, occasionally 
 found, and the donor's name more frequently. The beautiful hanging from 
 Cirencester exhibited bears a shield of arms and the inscription : " Orate 
 pro anima Radulphi Parsons." A chasuble from St. George's Cathedral, 
 Southwark (Case M, No. 3), is inscribed " Pray for [the] sowlls of Thorns 
 Sales and Helene hys wyfe," and another from Salisbury Cathedral (Case 
 M, No. 1 1) is inscribed " Orate pro anima Iohany Baldwyn." The cope at 
 East Langdon was similarly inscribed, but the name can no longer be read. 
 Two crimson velvet copes given to Exeter Cathedral bore the donor's name, 
 " Orate pro anima Willielmi Elyott," and a cope and chasuble given by 
 Hugh Oldham to Manchester College were each inscribed in English, 
 " Praye for the soul of Huogh Oldham." The initials of the original 
 possessor are embroidered upon the black velvet chasuble lent by the 
 Victoria and Albert Museum, and the custom of representing the name 
 by means of a rebus is illustrated by a cope lent by Oscott College, 
 the frontal from Baunton Church, the altar-cloth from Buckland, and the 
 " Glover" chasuble. 
 
 It is possible that the rich velvet of some of the later vestments in the 
 exhibition may at one time have formed part of a lady's gown or robe of 
 ceremony. Contemporary wills show that even in the sixteenth century 
 bequests for such purposes were made. The following is extracted from the 
 will of Sir Ralph Verney, proved in the year 1525 : " I will that the gownes 
 of dame Anne Verney, late my wife, doo make vestiments to be given to 
 Churches, according to the discrecion of myne Executours." 
 
Introduction 
 
 37 
 
 It will be noticed that a very large proportion of the vestments be- 
 longing to this period have been cut up or mutilated to serve purposes for 
 which they were not originally intended. 
 
 We have had occasion to state that it was a general custom in 
 mediaeval times for old and worn vestments to be converted to other 
 uses, and in parish accounts of later date, records of such a practice are 
 frequent. A cope, when it had become shabby through use, might still 
 provide enough good material for making a chasuble or dalmatic, and the 
 odd fragments could be patched together to make hangings, or could be 
 used for cushions, and such articles. 
 
 At the Reformation there were additional excuses for such destruction. 
 The use of embroidered vestments no longer suited the views of the day, 
 and if not removed from the churches, the vestments were often ruthlessly 
 cut to serve as altar-frontals, pulpit or desk hangings, and herse-cloths, 
 parts of several vestments being sometimes used for one of these last. 
 
 Some fragments were no doubt thus put together for their preservation 
 in the time of Charles I, when the first destructive enthusiasm of the 
 Reformation era was over, and men began again to see beauty and 
 usefulness in the embroideries done with such skill and patience at earlier 
 times. 
 
 At the seizures of church treasures in the times of Henry VIII and his 
 successor vast numbers of vestments were sold or taken away from the 
 churches and monasteries. Many were cut up to make patchwork hangings 
 for domestic use, altar-cloths decorated private rooms, and copes were turned 
 into table-covers and bed-spreads. Some were burnt for the sake of the 
 gold in the embroidery, or were otherwise destroyed. 
 
 An illustration of one amongst the varied uses to which vestments were 
 put in later times is to be found in a MS. written by Sir Henry Herbert, 
 Master of the Revels under Charles I. It is printed in Edward Malone's 
 " Historical Account of the Rise and Progress of the English Stage." (" The 
 Plays and Poems of William Shakespeare," etc., vol. iii (182 1), p. 237.) 
 
38 English Embroidery 
 
 Herbert writes: " I committed Cromes, a broker in Longe Lane, the 16 of 
 Febru. 1634, to the Marshalsey, for lending a church-robe with the name 
 of jesvs upon it, to the players in Salisbury Court, to present a Flamen, a 
 priest of the heathens. Upon his petition of submission, and acknowledg- 
 ment of his faulte, I releasd him the 17 Febr. 1634." Numbers of English 
 vestments of the later period are to be found in churches and museums on 
 the continent:. Many of these were bought at the public sales of church 
 goods in the reigns of Henry VIII, Edward VI, and Elizabeth, or were 
 taken abroad by refugees at the suppression of the religious houses. 
 
 To the last, men belonging to the religious communities were accus- 
 tomed to the work of embroidery. A letter written to Thomas Cromwell by 
 one of the commissioners for the suppression of the monasteries gives proof 
 of this. In describing the suppression of the religious house at Woolsthorpe, 
 he states that there was " not oon religious person thear butt that he can 
 and doth use eyther imbrotheryng, wrytyng books with very fair hand, 
 making their own garments, karvyng, payntyng or graffyng." 
 
 When it is remembered that, in addition to all the forces of destruction 
 in operation during the reigns above referred to, there was the further 
 ordeal through which the surviving pieces had to pass during the civil war 
 of the seventeenth century, it is not so much a matter of surprise that a 
 comparatively small number are now in existence. 
 
 There are many vestments of the period in the exhibition. Among 
 others in the possession of cathedrals and parish churches may be mentioned 
 those in Ely and Carlisle Cathedrals, at St. Thomas's Church, Salisbury, at 
 Chipping Campden, Littledean, Winchcombe, and Minsterworth in Glouces- 
 tershire, at East Langdon in Kent, at Skenfrith in Herefordshire, at Careby 
 in Lincolnshire, at Stoulton in Worcestershire, at Lutterworth in Leicester- 
 shire, at Culmstock in Devonshire, at Chedzoy and Pilton in Somersetshire, 
 at Wool in Dorsetshire, at Sutton Benger and Hullavington in Wiltshire, at 
 Forest Hill in Oxfordshire, at St. Gregory's church, Norwich, at Warrington 
 in Lancashire, at Stonyhurst and Oscott Colleges, and at Wardour Castle. 
 
IntroduSlion 
 
 39 
 
 Numbers of palls or herse-cloths, such as that lent by the Fishmongers' 
 Company to the exhibition, are preserved in the halls of City Guilds, or 
 are kept in churches. These palls were commonly laid over the bier at 
 funerals. Those belonging to the Guilds were kept for use at the funerals of 
 members, which generally took place from the halls of their companies. 
 The palls now preserved are the richer sort; others of plainer type and 
 coarser make were also kept for use at the burial of humbler personages. 
 
 It was customary at the funerals of distinguished personages for the 
 principal mourners to offer palls, which were laid one over another upon 
 the bier. 
 
 Besides the Fishmongers' pall exhibited, those belonging to the Sad- 
 dlers, Vintners, Brewers, Ironmongers, and Merchant Taylors are important. 
 
 Other palls of note are in the possession of the municipality of Sudbury, 
 the Vicar of Dunstable, the church of St. Mary the Virgin, Oxford, and the 
 church of St. Gregory at Norwich. 
 
 Among palls made from old vestments may be mentioned those be- 
 longing to the Clothiers' Company of Worcester, and to the church of St. 
 Petrock, Exeter. 
 
 The greater number of these palls are composed of an oblong piece of 
 velvet and cloth of gold, with flaps at the sides and ends ; others are entirely 
 of velvet. They usually bear the arms of the company and other devices 
 appropriate to their use. 
 
 A. F. Kendrick. 
 
CATALOGUE 
 
 CASE A 
 
 1 Chasuble. 
 
 Blue satin, embroidered in gold thread and coloured silks. On the back is 
 a broad orphrey filled with barbed quatrefoils, which inclose the following 
 subjects: (i) the Stoning of St. Stephen; the saint kneels with his hands held 
 together in prayer; behind him is a Jew casting stones, many of which he holds 
 in the folds of his tunic: (2) SS. Peter and Paul, both standing, the former 
 holding a key and book, and the latter a sword and book: (3) the Blessed Virgin 
 crowned and seated on a throne, with the Infant Saviour on her left knee: 
 (4) The Crucifixion, with the Blessed Virgin and St. John standing on either side 
 at the foot of the Cross. The spaces between the quatrefoils are embroidered 
 on the conventional scrollwork of a very beautiful type. The rest of the chasuble 
 is covered with bold leafy scrolls inclosing lions or leopards and griffins. Down 
 the middle is a lace band in gold thread and blue silk of later date. The chasuble 
 has been cut and much altered. (See Introduction, p. 17.) 
 
 Second half of XHIth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 2 Cope. 
 
 Of purple velvet, with embroidery in gold and silver thread and coloured 
 silks. It is enriched with spangles. The orphrey and hood are embroidered in the 
 same materials upon linen. In the middle is represented the Assumption of the 
 Blessed Virgin, borne aloft by angels; three seraphim around are holding scrolls in- 
 scribed with the words "GLORIA IN EXCELSIS DEO" in gothic characters ; above are 
 two fleurs-de-lys, and below are two roses. The remainder of the field is covered 
 
 F 
 
42 
 
 English Embroidery 
 
 [Cases A, B 
 
 with floral devices. Upon the hood is a seated figure of God the Father holding 
 three souls in a napkin. On the orphrey are figures of apostles alternating with 
 Old Testament prophets, each represented beneath a canopy, on a ground of 
 diapered gold. The apostles are as follows: — St. Thomas with spear and book, 
 St. Peter with keys and book, St. Paul with sword and book, and St. Bartholomew 
 with flaying-knife and book. Upon the canopies are fleurs-de-lys issuing from roses. 
 There is a narrow morse worked with two angels bearing a shield (now much worn). 
 Circa 1 500. 
 
 Lent by the Victoria and Albert Museum. 
 
 3 Chasuble. 
 
 Black velvet, the orphreys of crimson velvet. The applied embroidery is in 
 coloured silks and gold and silver thread. It is embroidered with two angels 
 blowing trumpets, with scrolls beneath them inscribed, " svrgite mortvi " 
 (Arise ye dead) and " venite ad ivdicivm " (Come to judgment), and seraphim 
 having scrolls above their heads with the inscriptions "IVSTORVM ANIME" (The 
 souls of the just) and " IN manv DEI SVNT " (Are in the hand of God) (" Book 
 of Wisdom," iii, 1). Half-length figures of the rising dead are also represented. 
 All these designs are surrounded by rays partly formed of spangles. In the middle 
 of the orphrey at the back are the initials " R T " looped by a tasselled cord to a 
 pastoral staff passed through a mitre. The same initials with the staff and mitre 
 are carved upon the tombstone of Robert Thorneton, twenty-second abbot of 
 Jervaulx (1510-1533) at Middleham Church, Yorkshire. On the stone is a barrel 
 or "tun " underneath the monogram, and traces of a similar object may be seen 
 on the orphrey of the vestment in the same position. It evidently forms part of a 
 rebus of the abbot's name. The stone is illustrated in Whittaker's " History of 
 Richmondshire," p. 334, and in the Rev. W. Atthill's "Collegiate Church of 
 Middleham," p. xx. A copy of the latter work, lent by the Rev. E. McClure, is 
 exhibited with the vestment. 
 
 Early XVIth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 CASE B 
 
 1 Cope. 
 
 Red velvet ; the orphrey and hood embroidered in gold and silver thread 
 and coloured silks on linen. Upon the hood is represented the Crucifixion, with 
 the Blessed Virgin and St. John standing at the foot of the Cross, and beyond 
 them a soldier in armour bearing a lance, and a Jew. The hood has been subse- 
 quently increased in size, by the addition of two rows of braid, and a border of 
 
Case B] 
 
 English Embroidery 
 
 43 
 
 gold lace. Upon the orphrey are the martyrdoms of the apostles, the name of 
 the apostle being in each case inscribed in gothic characters. Beginning at the 
 bottom on the left, the figures are as follows: St. Matthew (S: MATOCE) kneeling 
 on the ground and stoned by two men; St. Thomas (SCE: TOMA) kneeling before 
 a heathen altar, upon which is an idol which falls in pieces; behind him is a king, 
 who is about to behead him with a sword, and an attendant; St. James the Less 
 (SCE: IACOBE MINO) kneeling upon the ground, and beaten to death by two men 
 with clubs; St. Bartholomew (SCE: bartolome) tied to a post, and flayed by 
 two men, one of whom holds his knife in his mouth; St. Andrew (SCE: ANDREA) 
 bound to a transverse cross by two men, one of whom wears a winged or 
 feathered cap; St. Paul (SCE: PAVLE) beheaded by an executioner with a sword, 
 a man holding a mace or sceptre stands behind; St. Peter (SCE: PETRE) be- 
 headed, 1 a similar group to the last; St. John the Evangelist (SCE: IOIIANNES) 
 in a cauldron of boiling oil, one executioner pours oil into the cauldron, while 
 another stirs the fire beneath; St. Matthias (SCE: math I a) standing before an 
 altar, upon which is a crucifix, and attacked by two men in armour, one of 
 whom plunges a dagger into his back; St. James the Greater (SCE: IACOBE ma) 
 beheaded by an executioner with a sword, behind them stands a man with a 
 mace or sceptre; St. Philip (SCE: PHILIPPE) tied to a cross by two executioners; 
 SS. Simon and Jude (sc. SIMOS E IVD) lying on the ground, behind are two men 
 stoning them, and a third with a club. Each subject is inclosed by an archi- 
 tectural canopy on a ground of diapered gold; angels playing musical instruments 
 are within niches upon the pillars; in the spandrels are small half-length figures, 
 probably representing Old Testament prophets. The needlework in this orphrey 
 is remarkable for intricacy of design and delicacy of execution. 
 
 The cope was formerly in the church at Harlebeke, Belgium. 
 
 The orphreys and hood, circa 1300; the rest is of later date. 
 
 Lent by the Muse'e Royal, Brussels. 
 
 2 Chasuble. 
 
 White satin, the orphreys embroidered in gold thread and coloured silks 
 upon linen. On the orphreys are represented half-length figures within barbed 
 interlaced quatrefoils, alternately red and blue upon a diapered gold ground. 
 The figures on the front orphrey are: St. Andrew, with transverse cross and 
 book; St. John the Baptist, with the Agnus Dei upon a book; St. John the 
 Evangelist holding a pen and inkhorn, with his symbol the eagle; St. Paul, with 
 sword and book. The lowest quatrefoil on this orphrey incloses a shield, on which 
 are the arms of John Grandisson, Bishop of Exeter (1327- 1369). On the back 
 orphrey are the following figures : St. Osyth, or St. Mary of Egypt, with three 
 
 ' A very unusual method of representing the martyrdom of St. Peter, who is usually upon 
 a cross. 
 
44 English Embroidery [Cases B, C 
 
 loaves (?) ; St. Margaret, with cross and book ; St. Catherine, with wheel and 
 sword; the Blessed Virgin with the Infant Saviour, the former holding a flower 
 and the latter a bird ; Christ, with the banner of the Resurrection. At the bottom 
 of this orphrey is a fragment of another figure, reversed. The spaces between 
 the quatrefoils are filled with foliated sprays, and there is a narrow border down 
 each side of the orphrey with a vine-stem and leaves. 
 Middle of the XlVth century; the satin, modern. 
 
 Lent by the Marquess of Bute. 
 
 CASE C 
 
 1 Chasuble. 
 
 Gold brocade, with a woven pattern of diagonal bands alternately filled with 
 flowers in red, green, and white, and knotted cords passing through crowns in 
 gold. The orphreys are embroidered in gold and silver thread and coloured silks 
 on linen. The subjects are represented beneath turreted canopies on a ground of 
 diapered gold. On the front orphrey are the following subjects : (i) the Massacre 
 of the Innocents; two infants are transfixed, one with a spear and the other 
 with a sword, by soldiers in mediaeval armour; (2) the Flight into Egypt; the 
 Blessed Virgin bearing the Holy Child in her arms is riding on an ass, and 
 St. Joseph walks beside them; (3) the Rest during the Flight; above the Holy 
 Child the palm-tree bends to enable Him to pluck the fruit; behind stands St. 
 Joseph. The subjects on the cross-shaped orphrey at the back are as follows: 
 (1) the Blessed Virgin and St. Joseph; (2) the Visitation; (3) the Nativity of 
 Christ; the Virgin reclines on a couch, with the Holy Child in a manger and 
 St. Joseph behind, and an ox and an ass in the background; (4) the Blessed 
 Virgin seated on a throne and holding the Infant Saviour; in the left arm of the 
 cross are the three Magi, and in the right arm the angel bearing a scroll appears 
 to the shepherds. 
 
 XVth century; the brocade, eighteenth century; the narrow woven border, 
 fifteenth century. 
 
 Lent by the Lady O'Hagan. 
 
 2 Dalmatic. 
 
 Of the same material as the chasuble. On the front orphrey are the following 
 subjects: (1) the Marriage of Joachim and Anna; (2) the angel appearing to 
 Joachim as he tends his sheep ; (3) the meeting of Joachim and Anna before the 
 Golden Gate. The subjects on the orphrey at the back are as follows: (1) the 
 Birth of the Blessed Virgin; (2) the childhood of the Virgin Mary, who is 
 wheeling a go-cart, with Joachim and Anna standing behind ; (3) the presentation 
 
Cases C, D] English Embroidery 45 
 
 of the Blessed Virgin in the Temple ; she ascends the steps towards an altar, 
 behind which is the high priest. 
 
 Maniple. 
 
 Of the same material as the chasuble and dalmatic. 
 
 Lent by the Lady O'Hagan. 
 
 CASE D 
 
 1 Burse or Corporal Case. 
 
 Embroidered in coloured silks on linen. On the front is a lozenge-shaped 
 panel with a head of Christ, and a bird in each corner, set in a dark blue border 
 wrought with crosses on stars, edged beyond with fleurs-de-lys (subsequently 
 painted over to look like crosses). In each corner is an eagle displayed on a red 
 ground. On the back is a panel of similar form with the Agnus Dei, and a cross 
 in each corner. The red border is worked with peacocks and fleurs-de-lys, and 
 is edged beyond with smaller fleurs-de-lys. In each corner is a large star 
 inclosing a rosette, on a green ground. 
 
 XlVth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 2 Two Cushions. 
 
 The upper sides covered with portions of the orphrey of a vestment ; these 
 are of red (faded) satin damask, embroidered in gold and silver thread and 
 coloured silks with standing figures of a pope, and St. Philip the apostle with three 
 loaves and a book, beneath Gothic canopies. They bear the shields of arms of 
 Clinton and Leyburne. William de Clinton, Earl of Huntingdon, married Juliana 
 de Leyburne in the year 1329. 
 
 These cushions, together with three others, were acquired from Catworth 
 church, Huntingdonshire. The figures on the other cushions are St. Edward the 
 Confessor, holding a sceptre and the model of a church; St. Thomas with spear 
 and book, and St. Simon with short club and book. 
 
 First half of the XlVth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 3 Portion of an Orphrey. 
 
 Embroidered in gold thread and coloured silks on linen, with saints in pairs 
 beneath canopies on a background of diapered gold. They are as follows: St. 
 Helen with St. James the Less, the former crowned and nimbed, and holding a 
 
+ 6 
 
 English Embroidery 
 
 [Case D 
 
 cross, and the latter holding a club and book ; and St. Paul with St. Faith, the 
 former holding a sword, and the latter a gridiron and book. The canopies are 
 supported by twisted columns, and have foliated crockets and pinnacles. In each 
 spandrel is a bird. 
 
 (Another portion of this orphrey in the Museum has figures of St. 
 Bartholomew with St. Catherine of Alexandria, and a virgin martyr (unidentified) 
 with St. Andrew.) 
 
 First half of the XlVth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 4 Back of a Chasuble. 
 
 Red velvet, the embroidery executed in gold thread and coloured silks ; the 
 cross-shaped orphrey is embroidered in the same materials upon linen. The 
 ornament consists of seraphim standing upon wheels, holding scrolls inscribed 
 " da GLORIAM DEO," in gothic characters, and conventional flowers ; they are 
 surrounded by rays and tendrils, which are dotted with spangles. Upon the 
 orphrey is represented the Crucifixion, with the Holy Spirit in the form of a Dove 
 hovering above the Cross, and attendant angels bearing chalices. Below are two 
 figures, possibly the Blessed Virgin and St. John the Evangelist, beneath canopies. 
 Two pinnacles on either side of the Cross, are surmounted by flags bearing the 
 Five Wounds of Our Lord. 
 
 Early XVIth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 5 Portions of the Orphreys of a Chasuble. 
 
 Embroidered in coloured silks, and gold and silver thread on linen. The 
 largest piece, from the cross-shaped orphrey at the back of the chasuble, represents 
 the Crucifixion; the Blessed Virgin and St. John the Evangelist stand at the foot 
 of the Cross; above them are four angels, issuing from clouds, three of whom 
 are holding chalices. The other pieces have figures of St. John the Evangelist 
 holding a chalice and a palm-branch, St. Osyth with three loaves (?), and St. 
 Thomas the Apostle with a spear. The figures are placed beneath canopies having 
 large foliated crockets and finials, and there is a diapered gold background 
 throughout. 
 
 Late XlVth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 6 Four Panels with scenes from the Life of the Blessed 
 
 Virgin. 
 
 Embroidered in coloured silks and gold thread on linen. The subjects are as 
 follows: (i) the Birth of the Virgin; (2) St. Anne teaching the Blessed Virgin 
 
Cases D, E] 
 
 English Embroidery 
 
 47 
 
 (3) the Presentation of the Blessed Virgin in the temple; (4) the Blessed Virgin 
 enthroned, with the Infant Saviour standing on her knee. Each subject is placed 
 beneath a double-arched gothic canopy, with foliated crockets and finials upon a 
 ground of diapered gold. 
 
 Second half of the XlVth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 CASE E 
 
 Front and Back Orphrey from a Chasuble. 
 
 Embroidered in gold and silver thread and coloured silks on linen. On 
 the pillar orphrey are the Resurrection and Ascension of Christ, and the Descent 
 of the Holy Spirit. On the cross-shaped orphrey are the Annunciation, the 
 Nativity, and the Coronation of the Blessed Virgin, within a mandorla supported 
 by four angels ; above is God the Father and the Holy Spirit in the form of a 
 dove. The subjects are upon a gold ground, beneath canopies with large foliated 
 crockets and twisted columns. The colours of these orphreys are remarkably 
 well preserved. 
 
 Late XlVth century. 
 
 Lent by the Musee Royal, Brussels. 
 
 Maniple. 
 
 Embroidered in coloured silks upon linen, with shields of arms on alternate 
 squares of red and green; some of these it is impossible to determine, as age has 
 made the sable and azure, and the or and argent, somewhat uncertain. 
 
 The blazons of the eighteen shields on the maniple, with suggested names: 
 
 Down from centre. 
 
 1. Or, on a fess gules three water 
 
 bougets argent. John Roos 
 de Bingham. 
 
 2. Argent, two bars azure, in chief 
 
 three torteaux. ROGER DE 
 Grey of Ruthen. 
 
 3. Or, a bend between six martlets 
 
 gules. Gerard Furnival of 
 Munden. 
 
 4. Azure, two chevrons argent. Cha- 
 
 WORTH. 
 
 Up from centre. 
 
 1. Argent, a chief azure and a label of 
 
 five points or. 
 
 2. Argent, a saltire and chief gules. 
 
 Robert de Bruce. 
 
 3. Azure, an escutcheon and an orle of 
 
 martlets argent. Walcot. • 
 
 4. Or, three chessrooks gules. Colvill. 
 
English Embroidery 
 
 [Case E 
 
 5. Cheeky or and gules, a chief vair. 
 Fleming. 
 
 6. Argent, an eagle displayed azure. 
 
 [In base of panel two fleurs- 
 de-lys argent.] Sir William 
 Montgomery. 
 
 7. Or, on a fess azure, between three 
 
 fleurs-de-lys in chief and one in 
 base gules, three fleurs-de-lys 
 argent. [In base of panel two 
 popinjays, each with a bird upon 
 his back argent.] John D'Ey- 
 vile. 
 
 8. Or, a lion rampant double-queued 
 
 azure within an orle gules, on a 
 bordure argent twelve lozenges? 
 of the second. [In base of panel 
 two lions rampant argent.] 
 
 9. Or, a lion rampant within a double 
 
 tressure flory counter flory gules. 
 [In base of panel two lions pas- 
 sant gardant or.] SCOTLAND. 
 
 Early XlVth century. 
 
 5. Vairy or and gules, on a bordure 
 
 azure eight horseshoes argent. 
 William de Ferrers, Earl of 
 Derby. 
 
 6. Or, a fess gules, over all six mascles 
 
 3, 2, 1, counter-changed. [In base 
 of panel two cocks or.] D'Eyvile. 
 
 7. Argent, a saltire between four mullets 
 
 of six points azure. [In base of 
 panel, two Holy Lambs.] Wot- 
 TON. 
 
 Gules, fretty or. [In base of panel 
 two fleurs-de-lys or.] Audley. 
 
 Quarterly or and gules, a bordure 
 vair. [In base of panel two stags 
 argent] Richard Fitz-John. 
 
 Lent by Miss Weld, of Leagram. 
 
 Stole. 
 
 Embroidered in coloured silks upon linen, with shields of arms on alternate 
 squares of red and green ; some of these it is impossible to determine, as age has 
 made the sable and azure, and the or and argent, somewhat uncertain. 
 
 The blazons of the forty-six shields on the stole, with suggested names : 
 
 1. Gules, a cross patonce argent. WIL- 
 LIAM de Latimer of Corby. 
 
 2. Or, a fess between three mullets of 
 
 1. Quarterly per fess dancetty azure 
 
 and or. PEROT. 
 
 2. Or, two chevronels gules and a 
 
 chief vair. St. Quintin. 
 
 3. Gyronny of eight azure and or. 
 
 Bassingbourne. 
 
 4. Gules, four fusils conjoined in fess, 
 
 in chief as many mullets argent. 
 Daubeny. 
 
 4- 
 
 six points azure. 
 Or, three bars gules, a label of five 
 
 points azure. 
 Vairy or and azure. BEAUCHAMP. 
 
Case E] 
 
 English Embroide 
 
 49 
 
 5. Azure, a fess between six cross- 
 
 crosslets or. Haversham. 
 
 6. Paly of six gules and vair. Amon- 
 
 DEVILE. 
 
 7. Azure, three breys barwise or, on a 
 
 chief ermine a demi-lion issuant 
 gules. Genevile. 
 
 8. Gules, fretty argent. HUDDLE- 
 
 STON. 
 
 9. Chevrony or and azure, on a chev- 
 
 ron argent seven torteaux. 
 
 10. Argent, billety and a fess dancetty 
 
 gules. De LA Laund. 
 
 11. Barry of six argent and azure, over 
 
 all on an escutcheon gules a 
 goat salient argent. 
 
 12. Lozengy gules and vair. BURGH. 
 
 13. Barry of six or and azure, a canton 
 
 argent. 
 
 14. Gules, a fess between three hel- 
 
 mets argent. Covelay. 
 
 15. Argent, on a fess gules, between 
 
 two crescents in chief and three 
 in base azure, three escallops 
 argent. 
 
 16. Argent, threecastles triple-towered 
 
 gules. Castell. 
 
 17. Or, three chessrooks azure. Abe- 
 
 LYN. 
 
 18. Quarterly argent and gules, a bend 
 
 sable between two frets or. De 
 Spencer. 
 
 19. Azure, a bend between six cross- 
 
 crosslets or. FlTZ EUSTACE. 
 
 20. Gules, an eagle displayed argent. 
 
 2 1 . Azure, a bend argent couple-closed 
 
 or between six lioncels of the 
 last. De Bohun. 
 
 5. Gules, three fleurs-de-lys or. Can- 
 
 TILUPE. 
 
 6. Lozengy or and azure. GORGES. 
 
 7. Quarterly or and cheeky argent and 
 
 gules, a bend azure. 
 
 8. Azure, a cross argent, fretty gules, 
 
 between four popinjays respect- 
 ant or. 
 
 9. Argent, a bend between six crosses 
 
 couped gules. EUSTACE. 
 
 10. Or, five fusils conjoined in fess azure. 
 
 Percy. 
 
 11. Argent, on a cross gules five escal- 
 
 lops of the field. Bygod. 
 
 12. Azure, a chevron between three 
 
 mullets of eight points or, pierced 
 gules. CHETWOOD. 
 
 13. Argent, a fess between two chev- 
 
 rons gules. Peche. 
 
 14. Azure, a chevron between three 
 
 cross-crosslets or. 
 
 15. Gyronny of eight gules and vair. 
 
 Bassingbourne. 
 
 16. Azure, three lions rampant or. 
 
 17. Gules, a chevron between three 
 
 escallops argent. 
 
 18. Azure, three fleurs-de-lys or. 
 
 Chauncy. 
 
 19. Quarterly gules and vair, a bend 
 
 or. Constable. 
 
 20. Argent, a chevron gules, within a 
 
 bordure azure bezanty. PECHE. 
 
 21. Argent, on an escutcheon gules a 
 
 lion rampant argent, within anorle 
 of roses of the second. Patrick, 
 Earl of Dunbar. 
 
5° 
 
 English Embroidery 
 
 [Case E 
 
 22. 
 
 23- 
 
 Paly of six argent and gules, on a 
 chief of the last three escallops 
 argent. BAYHONS. 
 
 Vairy or and gules, on a bordure 
 azure twelve horse-shoes argent. 
 [In the base of the panel two 
 popinjays or.] WILLIAM DE 
 Ferrers. 
 
 Early XlVth century. 
 
 22. Azure, billety a fess dancetty or. 
 
 DEINCOURT. 
 
 23. Gules, a lion rampant double-queued 
 
 argent. [In base of panel two mul- 
 lets of eight points or pierced 
 gules.] MONTFORT. 
 
 Lent by Miss Weld. 
 
 4 Stole. 
 
 Embroidered in gold and silver thread and coloured silks upon linen, with 
 shields of arms on alternate squares of red and green; some of these it is impos- 
 sible to determine, as age has made the sable and azure, and the or and argent 
 somewhat uncertain. 
 
 In the centre of the stole is a square per pale gules and azure, over all a 
 cross of St. Julian or. Then follow nineteen shields. 
 
 1. Azure, a chevron or between three 
 
 bezants. HuTTOLFE. 
 
 2. Gules, three sexfoils or, pierced 
 
 azure. D'Arcy. 
 
 3. Quarterly and per fess dancetty or 
 
 and azure. PEROT. 
 
 4. Gules, a fess between three martlets 
 
 or. ROOSE. 
 
 5. Sable, three bars argent, in chief 
 
 three plates. FitzJohn (Hun- 
 
 GERFORD). 
 
 6. Gules, three water bougets or. 
 
 Roos. 
 
 7. Azure, two chevrons or. Cha- 
 
 WORTH. 
 
 8. Gules, a fess between three mullets 
 
 of eight points or, pierced azure. 
 
 OXENHAM. 
 
 9. Azure, five fusils conjoined in fess 
 
 or. Percy. 
 10. Gules, three leopards' faces fessant 
 de lys or. CANTILUPE. 
 
 1. Quarterly or and gules, a bendlet 
 
 sable. ? FitzRoger, Lord of 
 Clavering. 
 
 2. Azure, three pallets or. ? G0URNEY. 
 
 3. Gules billety, a fess dancetty or. 
 
 ? BEAUCHAMP. 
 
 4. Azure, a cross between four cross- 
 
 crosslets or. 
 
 5. Gules, a chevron between three 
 
 fleurs-de-lys or. PICKERING OF 
 
 OSWALDKIRKE. 
 
 6. Azure, a cross between four escallops 
 
 or. 
 
 7. Gules, a chevron between three 
 
 water bougets or. ROOS. 
 
 8. Barry of six, or and azure, a chief 
 
 dancetty argent and gu'es. 
 
 9. Gules, a cross patonce or. Laty- 
 
 MER. 
 
 10. Azure, a chevron between three 
 mullets of six points, or, pierced 
 gules. Chetwynde. 
 
Case E] English Embroidery 5 1 
 
 ir. Azure, three palets or, over all a ir. Gules, a fess between three fleurs- 
 bend gules, three escallops ar- de-lys or. 
 
 gent. Grandison. 
 
 12. Gules, three round buckles or. 12. Azure, an eagle displayed or. 
 
 Sapye. Sarnefeld of Sarnefeld. 
 
 13. Gyronny azure and or. BASSING- 13. Gules, three round buckles or. 
 
 bourne. Sapye. 
 
 14. Gules, three mullets of six points 14. Azure, a chevron between three 
 
 or, pierced azure. RYDMORE. escallops or. 
 
 15. Vaire or and azure. BLOUNT. 15. Gules, a fess between three escallops 
 
 or. Chamberleyn. 
 
 16. Gules, three escallops or. DACRE. 16. Azure, five fusils conjoined in fess 
 
 or. Percy. 
 
 17. Barry, nebuly of six or and azure. 17. Gules, a chevron between three 
 
 Blount. cross-crosslets or. 
 
 18. Gules, three fleurs-de-lys or. CAN- 18. Azure, three cinquefoils or. Bar- 
 
 TELOWE. DOLPH. 
 
 19. Azure, a lion rampant or. Bre- 19. Gules, a bend between six martlets 
 
 OUSE. or. MOUNTENAY. 
 
 Early XlVth century. 
 
 Lent by Lord Willoughby de Broke. 
 
 5 Portions of an Orphrey. 
 
 Embroidered in gold and silver thread and coloured silks on linen, with 
 scenes in the life of St. John the Evangelist. The subjects are on a ground of 
 diapered gold, beneath canopies with large foliated crockets and finials, and angels 
 with harps above the finials. The subjects are as follows: (1) The apostle holding 
 a chalice from which issues a demon, while a man before him has fallen to the 
 ground after drinking of the cup which lies at the apostle's feet; (2) the apostle 
 assisting at the consecration of a bishop; (3) the apostle, with ink-horn, scroll 
 and pen, in the isle of Patmos ; (4) Christ and the apostles appearing to St. John 
 before his death; (5) the apostle before the Emperor Domitian. 
 
 Second half of the XlVth century. 
 
 Lent by the Musce Royal, Brussels. 
 
 6 Portion of an Orphrey. 
 
 Embroidered in gold thread and coloured silks upon linen. It represents the 
 heads of three saints beneath an arcade, on a ground of diapered gold. Above the 
 arcade are two angels. 
 
 XlVth century. 
 
 Lent by the Mus/e Royal, Brussels. 
 
5 2 
 
 English Embroil 
 
 [Cases E, F 
 
 7 Two Panels from a Vestment (sewn together). 
 
 Embroidered in gold and silver thread and coloured silks on linen. They 
 represent St. James the Greater, with pilgrim's staff, book, and wallet on which 
 is seen a design of a scallop-shell, and St. John the Baptist, clad in a garment 
 of camel's hair, holding a sphere with the Agnus Dei ; each figure stands beneath 
 a canopy, on a gold ground diapered with fleurs-de-lys. Stems of ivy in gold are 
 embroidered above the canopies. 
 
 Circa 1300. 
 
 Lent by the Musce Royal, Brussels. 
 
 8 Portion of an Orphrey. 
 
 Embroidered in gold and silver thread and coloured silks on linen, with two 
 saints (probably St. James the Greater with staff, and St. Osyth with three 
 loaves (?) ). They are represented beneath a canopy with twisted columns and 
 large foliated crockets, on a ground of diapered gold. 
 
 XVth century. 
 
 Lent by the Musee Royal, Brussels. 
 
 CASE F 
 
 1 Chasuble. 
 
 Red velvet and cloth of gold; the orphreys are embroidered in gold and 
 silver thread and coloured silks upon linen. They represent pairs of figures, in 
 each case an apostle and an Old Testament prophet, beneath triple-arched 
 canopies, upon a ground of diapered gold. The prophets have no individual 
 characteristics for their identification. The apostles are as follows: upon the 
 front orphrey, St. James the Less with club and book, and St. Thomas with 
 spear; upon the cross-shaped orphrey at the back, St. Simon with fish and book, 
 St. Bartholomew with flaying-knife and book, an apostle with book, St. Andrew 
 with transverse cross, St. John with a demon issuing from a chalice, and another 
 apostle with upraised hand. The chasuble has a woven pattern of conventional 
 floral devices in gold thread, partly looped, within lobed panels, upon a ground 
 of red velvet. 
 
 Middle of the XVth century; the velvet, Italian weaving of the same period. 
 Stole, maniple, chalice veil and burse or corporal case of the same material. 
 
 Lent by St. Dominic's Priory, Haverstock Hill. 
 
 2 Cope. 
 
 Dark brown figured velvet; the embroidery executed in gold thread and 
 coloured silks on linen ; the orphrey, hood and morse are embroidered in the 
 
Cases F, G] English Embroidery 53 
 
 same materials. In the middle is the Assumption of the Blessed Virgin. The 
 ground is powdered with seraphim standing upon wheels, double-headed eagles 
 displayed, fleurs-de-lys and conventional flowers, surrounded by tendrils and rays, 
 which are dotted with spangles. On the hood is a figure of St. Paul the Apostle, 
 seated upon a throne, with sword and book. On the orphrey are canopies with 
 figures of apostles and Old Testament prophets. The figures are as follows : a 
 prophet ; St. James the Less (with club) ; a prophet ; St. James the Greater (with 
 staff) ; St. Jude (with cross) ; St. Bartholomew (with flaying-knife) ; St. Simon 
 Zelotes (with saw) ; St. Philip (with loaves of bread). On the morse is a figure of 
 Christ holding the orb. The finials of the canopies are each formed of a fleur-de- 
 lys issuing from a rose. 
 
 Late XVth century. The velvet is Italian weaving of the same century. 
 
 Lent by the Lady O'Hagan. 
 
 CASE G 
 
 1 Cope. 
 
 Deep purple velvet ; the embroidery executed in gold thread and coloured 
 silks upon linen; the orphrey, hood, and morse are embroidered in the same 
 materials. There is a border formed of a strip of red Florentine velvet. In the 
 middle is represented the Assumption of the Blessed Virgin; the ground is 
 powdered with double-headed eagles displayed and floral devices, surrounded by 
 tendrils and rays, which are dotted with spangles. On the hood is the Blessed 
 Virgin seated upon a throne, with the Infant Saviour on her knee. On the 
 orphrey are canopies with figures of apostles alternating with Old Testament 
 prophets; the apostles represented are SS. Philip (with loaves of bread), James 
 the Greater (with staff and book), Jude (with cross and book), and Bartholomew 
 (with flaying-knife and book). On the morse is the word " MARIA " in monogram, 
 upon which rests an eagle. 
 
 Late XVth century. 
 
 Lent by Sir W. Throckmorton^ Bt. 
 
 2 Chasuble. 
 
 Red satin, the orphreys of green satin. On the cross-shaped orphrey at the 
 back the following inscription is embroidered in gothic characters: "Orate p(ro) 
 a(n)I(m)a fa(m)uli tui p. (a glove) R " (Glover). The remaining surface of the 
 chasuble is sprinkled with the letters " P " and " R," and gloves. The letters are 
 all embroidered in gold thread, and the gloves are cut out of white satin and 
 applied. 
 
 Middle of the XVIth century. 
 
 Lent by Downside Abbey, Bath. 
 
54 
 
 English Embroide 
 
 [Cases H, I 
 
 CASE H 
 
 Mitre of St. Thomas of Canterbury. 
 
 Cream-white silk, embroidered in gold thread with conventional scrolls of 
 very beautiful design, inclosing circular medallions, which appear to have once 
 contained gems or pearls. One of the fanons is embroidered with a design of a 
 similar character; the other fanon, which bears a figure of a saint, fleurs-de-lys 
 and rosettes, appears to have been added from another mitre of the same date. 
 The orphreys are now of plain red silk, but were probably covered originally 
 with a gold braid or with jewels. St. Thomas a Becket was Archbishop of 
 Canterbury from 1162 to 1170. 
 
 The figure on the fanon may be compared with those on the stole from the 
 tomb of William de Blois at Worcester (No. 2, Case Y). 
 
 Xllth century. 
 
 Lent by the Archbishop of Westminster. 
 
 CASE I 
 
 Chasuble. 
 
 Red velvet, embroidered in gold thread, partly applied, and coloured silks, with 
 the three leopards or lions of England upon aground covered with an intricate design 
 of foliated scrolls,amongst which are seen small figures of men and women, reclining 
 in various attitudes, and jewels consisting of cabochon crystals, foiled with gold, 
 in circular frames of black silk embellished with seed pearls. The eyes of the 
 lions are embroidered in black silk and gold thread, and covered with small circular 
 discs of crystal, some of which are missing. Round the opening at the top of the 
 chasuble is sewn an edging embroidered with trefoils in red, green, and white 
 silks. There is a narrow orphrey down the front, woven in gold thread and green 
 and red silks with conventional designs. At the top of the orphrey is placed a 
 quatrefoil-shaped morse, in the centre of which is the Agnus Dei formed of seed 
 pearls and small coral beads, and surrounded by four compartments containing 
 the symbols of the evangelists, and their names Iohanes, Mathe[us], Marcus, and 
 Lucas. This chasuble appears to have been made from a horse-trapper. Tradition 
 has assigned an English origin to this superb example of mediaeval art. The lions 
 upon the back show great similarity to those upon the well-known shield of John 
 of Eltham, second son of Edward II. It is of interest to note that Eleanor, sister 
 of this prince, was married in 1332 to Rainald, second Duke of Guelders (1326- 
 1 343), which may perhaps explain the vestments being in the possession of a noble 
 
Cases I, J, K] English Embroidery 55 
 
 German House. On the top pane of the orphrey are woven the arms of the House 
 of Solms — or, a lion rampant, azure. 
 
 Apparel of the Alb, Stole and Maniple. 
 
 Formed of fragments of the same mantle. 
 Second half of the XlVth century. 
 
 Lent by H. H. Prince SohnS'Braunfels. 
 
 CASE J 
 
 Pyx Veil. 
 
 Made of drawn linen, the remaining threads being worked over to form a 
 star-shaped mesh. In the middle is a circular hole, through which was passed the 
 chain for suspending the pyx. A wooden ball, covered with gesso and gilt, with a 
 long red and yellow silk tassel, is attached to each of the four corners, and the 
 veil is bordered by a silk fringe of the same colours as the tassels. 
 
 XVIth century. 
 
 Lent by the Rector and Churchwardens of Hesse tt. 
 With the pyx veil is exhibited a 
 
 Burse or Corporal Case from the same church. 
 
 It is of linen, painted in colours and gold. On the front is a head of Christ, 
 represented within a quatrefoil; the corners are filled with the symbols of the 
 evangelists with scrolls bearing their names in gothic characters — lOHANNES, 
 Matheus, MARCUS, and Lucas. On the back is a barbed quatrefoil, inclosing a 
 representation of the Agnus Dei. Both sides are bordered with a corded design 
 of twisted red and white. There are red silk tassels at two of the corners. 
 
 XVth century. 
 
 Lent by the Rector and Churchwardens of Hesse tt. 
 
 CASE K 
 
 Cope. 
 
 Crimson velvet, embroidered in gold and silver thread and coloured silks; 
 the orphreys are embroidered in the same materials upon a linen ground. The 
 cope has been profusely enriched with pearls, some of which still remain upon 
 the lions' masks, the stars, and the acorns. The cope is divided into three bands 
 or zones of gothic arcading, the columns being formed of twisted oak stems, 
 
English Embroidei^y 
 
 [Case K 
 
 with lions' heads in the place of capitals. In the middle of the cope are the 
 three following subjects: — (i) The Annunciation; the Blessed Virgin stands on the 
 right, her left hand placed upon an open book, which bears the word AMEN, and 
 rests upon a prayer-desk ; above her hovers the Holy Dove. The archangel 
 Gabriel, to the left, holds a scroll inscribed with the salutation, "AVE MARIA 
 GRACIA " in Lombardic characters ; between the two figures is a vase of lilies. 
 (2) The Adoration of the Magi ; the Blessed Virgin is seated on a gothic throne, 
 with the infant Saviour, clad in a long tunic, standing upon her knee ; she holds 
 a rose-stem in her right hand. The foremost of the Magi kneels to offer a cup, 
 the other two stand behind, one holding a vase and the other an incense-boat ; 
 the former points to the star above the head of the Virgin. (3) the Coronation 
 of the Blessed Virgin; Christ is seated on a long arcaded gothic throne, His left 
 hand resting upon an orb, and His right hand stretched out towards the Virgin, 
 who is seated near Him, in the attitude of devotion. In the inner zone are the 
 following figures: — St. Lawrence with gridiron and book; St. Mary Magdalene 
 with vase and book ; St. Helen with cross and book ; St. Stephen with stones 
 and book. In the middle zone are : — St. Edward the Confessor holding a church ; 
 a bishop with pastoral staff and mitre ; St. Margaret with cross and book, 
 trampling upon a dragon ; St. John the Evangelist with a palm branch and 
 book ; St. John the Baptist with a sphere inclosing the Agnus Dei ; St. Catherine 
 of Alexandria with wheel and sword ; an archbishop with cross and mitre ; St. 
 Edmund the king with an arrow. In the outer zone are the apostles : — St. Matthew 
 with sword; St. Simon Zelotes with saw and book; St. Thomas with spear 
 and book ; St. Andrew with transverse cross and book ; St. James the Greater 
 with pilgrim's staff, wallet, and book ; St. Peter with keys and book ; St. Paul 
 with sword and book ; St. Matthias with halberd and book ; St. James the Less 
 with cross ; St. Philip with loaves and book ; St. Jude with boat and book ; and 
 St. Bartholomew with flaying-knife. Within the spandrels between the zones are 
 figures of angels seated upon thrones and holding stars ; the spandrels are 
 arched over, and have lions' masks as finials. The pillars in the outermost arcade 
 rest upon the backs of lions. On the orphrey are figures of kings, queens, bishops, 
 and an archbishop beneath canopies on a gold ground, diapered with fleurs-de- 
 lys, eagles displayed, lions, rosettes and trefoils. The spandrels contain griffins, 
 and between the canopies are narrow bands with heraldic lions and rosettes. 
 The two parts of the small triangular hood, embroidered with two angels censing, 
 are stitched to the orphrey ; these should fill the vacant space above the Corona- 
 tion of the Blessed Virgin. There is a narrow border round the cope, embroidered 
 with stems of roses and columbines, separated by rosettes, upon a gold ground. 
 The cope has been cut, but the pieces have now been replaced in their original 
 position. 
 
 Early XlVth century. 
 
 Lent by Colonel J. E. Butler-Bowdon. 
 
Cases L, M] 
 
 English Embroidery 
 
 57 
 
 CASE L 
 
 Chasuble. 
 
 Watered red silk, the orphreys embroidered in gold thread and coloured silks 
 upon linen. On the orphreys are represented figures beneath canopies upon a 
 background of diapered gold. Those on the front orphrey are: St. Simon the 
 apostle (Santus Symon) with halberd, 1 and the prophet Daniel (Daniel ppheta). 
 The orphrey is incomplete ; below was originally a figure of the prophet Isaiah 
 (Ysaias ppheta). On the cross-shaped orphrey at the back is represented the 
 Crucifixion, with the Holy Spirit in the form of a Dove hovering above the Cross, 
 and the prophet Haggai (?) on the left, and another prophet on the right ; below 
 is a figure of St. John the Baptist (Sancti Johannes baptis), holding a scroll with 
 the words " ECCE AGNUS DEI." The orphrey is incomplete ; at the bottom was 
 a figure of the prophet Elijah (Elias ppheta). Figures of angels appear within 
 the openings of the canopies. 
 
 Second half of the XVth century; the red silk, modern. 
 
 Lent by the Church of the Holy Trinity, Radford, Enstone. 
 
 CASE M 
 
 1 Chasuble. 
 
 Dark green velvet. The orphreys embroidered in gold thread and coloured 
 silks upon linen. On the front orphrey are the following figures beneath canopies 
 on a diapered gold ground: Moses with the Tables of the Law (incomplete); 
 St. Simon Zelotes with saw; and an Old Testament prophet. 
 
 On the cross-shaped orphrey at the back is the Crucifixion with attendant 
 angels bearing chalices, with God the Father and the Holy Spirit in the form of 
 a dove above the Cross. Below are figures of St. Matthew with axe (incomplete), 
 and St. Jude with cross and book, beneath canopies. 
 
 Late XVth century, mounted on modern velvet. 
 
 Lent by Oscott College, Birmingham. 
 
 2 Cope. 
 
 Yellow damask ; the hood and orphreys are embroidered in gold and silver 
 thread and coloured silks upon linen. The hood is formed from part of the back 
 orphrey of a chasuble; it represents the Blessed Virgin, seated on a throne 
 beneath a canopy, with the Infant Saviour standing on her knee; to the left are 
 the three Magi who bring their offerings, and to the right is the angel appearing 
 to the shepherds. On the orphrey are subjects beneath canopies on a background 
 
 1 An error of the embroiderer; the halberd should be held by St. Matthias. 
 
 H 
 
English Embroide 
 
 [Case M 
 
 of diapered gold. They are as follows: — the Presentation of Christ in the Temple; 
 the Rest during the Flight into Egypt; an apostle (unidentified); St. John the 
 Evangelist, with a demon issuing from a chalice; a prophet; a prophet, with 
 scroll; St. Peter, with keys; St. Paul, with sword; a prophet, with scroll; an 
 apostle (unidentified); the prophet Jeremiah, with scroll inscribed " IEREMIAS " ; 
 the prophet Isaiah, with scroll inscribed " YSAIAS" ; the Flight into Egypt. 
 XVth century, the damask modern. 
 
 Lent by the Pro-Cathedral of the Apostles, Clifton. 
 
 Chasuble. 
 
 Velvet of deep violet colour, with embroidery in gold and silver thread, and 
 coloured silks ; the orphreys are worked in the same materials upon a linen ground. 
 The ornament consists of seraphim standing upon wheels, and conventional 
 flowers, surrounded by rays and tendrils which are dotted with spangles. On the 
 front orphrey are figures of Moses and the Tables of the Law, St. Andrew with 
 transverse cross, and St. Bartholomew with flaying-knife and book, beneath 
 canopies. On the cross-shaped orphrey at the back is represented the Crucifixion, 
 with attendant angels bearing chalices, and the Holy Spirit in the form of a Dove 
 hovering above the Cross. Beneath the Cross is a scroll bearing the inscription 
 " Pray for [the] sowlls of Thorns Sales and Helene hys wyfe." Below are St. 
 Bartholomew with flaying-knife and book (repeated) and the prophet Habakkuk 
 holding a horn, beneath canopies. 
 
 The orphreys have been patched with fragments of eighteenth century em- 
 broidery, and the chasuble has been extensively restored. 
 
 Early XVIth century. 
 
 Lent by St. George's Cathedral, Southward. 
 
 Chasuble. 
 
 Green velvet; the embroidery executed in gold thread and coloured silks on 
 linen. On the front are floral devices. On the back, in the middle, is a seraph 
 standing upon a wheel, with a scroll above inscribed in gothic characters, 
 "DA gloria(m) DEO." Around are double-headed eagles displayed and con- 
 ventional flowers. Some of the devices are surrounded by rays and tendrils, 
 which are dotted with spangles. This vestment has been made from portions of 
 a cope. 
 
 Circa 1500. 
 
 Lent by the Church of SS. Peter and Paul, Brailes. 
 
 Chasuble. 
 
 Red velvet, the embroidery executed in gold and silver thread and coloured 
 silks. The orphreys are embroidered in the same materials upon linen. The 
 ornament consists of seraphim issuing from clouds and holding scrolls inscribed, 
 " DA GLORIAM DEO," double-headed eagles displayed, seeded pomegranates, roses, 
 
Case M] 
 
 English Embroidery 
 
 59 
 
 fleurs-de-lys, and conventional flowers. The devices are surrounded by rays and 
 tendrils, which are dotted with spangles. On the orphreys are standing figures 
 beneath canopies on a background of diapered gold. Those on the front orphrey 
 are St. James the Greater with pilgrim's staff, wallet, and book, an Old Testament 
 prophet, and St. Thomas with carpenter's square. On the cross-shaped orphrey 
 at the back is the Crucifixion, with the Holy Spirit in the form of a dove 
 hovering above the Cross, and attendant angels bearing chalices; below are 
 figures of the Blessed Virgin and Child, and St. Michael slaying the Dragon. 
 The rose and the pomegranate, the badges of Henry VIII and Catherine of 
 Aragon, were embroidered on some of the vestments at one time belonging to 
 Westminster Abbey. 
 
 Early XVIth century; the velvet of the front has been renewed. 
 
 Lent by the Rt. Reverend Bishop Knight. 
 
 6 Strip of blue Velvet. 
 
 Embroidered in gold thread with conventional flowers. This strip has been 
 made from portions of vestments. 
 Second half of XVth century. 
 
 Lent by the Duke of Devonshire, K.G. 
 
 7 Altar Frontal. 
 
 Formed of ten vertical bands or " panes " of red and yellow satin alternately, 
 the embroidery executed in gold thread and coloured silks on linen and satin. 
 In the middle is the Crucifixion, with the Blessed Virgin and St. John at the foot 
 of the Cross, standing upon a patch of ground sprinkled with flowers. Below is a 
 rebus, formed of an eagle on the back of an ass, and a barrel or tun below, from 
 which issue two stems with berries. The rest of the frontal, with the exception of 
 the pane at each end, which is plain, is seme' with, double-headed eagles displayed. 
 
 Second half of the XVth century. 
 
 Lent by the Rector and Churchwarden of Baunton. 
 
 8 Altar Cover. 
 
 Made from fragments of three velvet vestments, with embroidery executed 
 in gold and silver thread and coloured silks. The centre part is made from a 
 blue velvet cope, worked with conventional flowers. Part of the lower border 
 is made from a vestment of red velvet; it is embroidered with the Crucifixion; 
 the figures of the Blessed Virgin and St. John, originally standing on either 
 side, have been reapplied beneath the Cross. The upper border is from the same 
 vestment; it bears the following figures: a bishop, nimbed, with mitre and 
 pastoral staff; St. Paul (?), with book; St. Peter, with keys and book; St. 
 Michael slaying the dragon with a sword. The figures are separated by con- 
 ventional flowers, and in the middle is a rebus, formed by the letters why, and 
 
6o 
 
 English Embroidery 
 
 [Case M 
 
 a perspective view of a church, with the pinnacles of a canopy between. The 
 remainder of the lower border is made from a fragment of red figured velvet, 
 with embroidery of similar type to that on the last vestment; it has a figure of a 
 bishop, nimbed, wearing a mitre, and holding a pastoral staff, and two conven- 
 tional flowers. The rebus above described is believed to represent the name of 
 William Whychurch, Abbot of Hayles, near Buckland, in 1470. 
 Second half of the XVth century 
 
 Lent by the Rector and Churchwardens of Buckland Broadway. 
 
 9 Portion of the Orphrey of a Vestment. 
 
 Embroidered in gold thread and coloured silks on linen, with figures beneath 
 canopies, upon a ground of diapered gold. They are as follows : — King David with 
 a sceptre and harp (represented twice), St. James the Greater with staff and book, 
 an Old Testament prophet, and St. Thomas with spear and book. 
 
 Early XVIth century. 
 
 Lent by Syon Abbey, Chudleigh. 
 
 10 Portions of the Orphrey of a Vestment. 
 
 Embroidered in gold thread and coloured silks on linen, with figures of 
 apostles and Old Testament prophets, beneath canopies, upon a ground of diapered 
 gold. They are as follows: — St. Simon Zelotes with saw, a prophet, St. Matthew 
 with axe, King David with a sceptre and harp, a prophet, and St. John the Evange- 
 list with a cup. Upon some of the canopies are fleurs-de-lys issuing from red or 
 white roses. 
 
 Early XVIth century. 
 
 Lent by Syon Abbey, Chudleigh. 
 
 1 1 Chasuble. 
 
 Blue-green velvet and cloth of gold, the orphreys embroidered in gold thread 
 and coloured silks on linen. On the orphreys are represented figures beneath leafy 
 canopies upon a background of diapered gold. Those on the front orphrey are: 
 two prophets, and St. Andrew with transverse cross and book. On the cross-shaped 
 orphrey at the back is represented the Crucifixion, with God the Father and the 
 Holy Spirit in the form of a Dove above the Cross; below are figures of 
 St. Matthew (with an axe) and St. Thomas (with a spear). Above the last figure 
 is the inscription, " ORATE p(ro) a(n)i(m)a JOHANY BALDWYN." The orphrey is 
 enriched with spangles. 
 
 XVth century; the velvet is Italian weaving of the same period. 
 
 Lent by the Dean and Chapter of Salisbury. 
 
Cases N, O] English Embroidery 61 
 
 CASE N 
 
 i Two Portions of the Orphrey of a Vestment. 
 
 Embroidered in gold and silver thread and coloured silks. 
 
 One represents St. Etheldreda (St. Audrey), the royal abbess of Ely. The 
 saint is standing, crowned and nimbed, clad in a long cloak, and wearing a 
 wimple. With her left hand she holds a pastoral staff. 
 
 The other represents St. Anne instructing the Blessed Virgin, or St. Ebba, 
 Abbess of Coldingham, instructing St. Etheldreda. 
 
 Each subject is represented beneath a canopy, with large foliated crockets 
 and finials, upon a background of diapered gold. The ground beneath the feet 
 of the saints is sprinkled with flowers. 
 
 Second half of the XlVth century. 
 
 Lent by Mr. R. V. Berkeley, of Spetchley. 
 
 2 Two Panels from a Cope. 
 
 Each is of barbed quatrefoil shape, embroidered in coloured silks upon a 
 gold ground diapered with lions within quatrefoils. One panel represents the 
 Coronation of the Blessed Virgin. Christ is seated upon a throne of gothic design, 
 crowned and nimbed, and holding the orb with His left hand. He stretches His 
 right hand in the act of benediction towards the Virgin, who is seated beside 
 Him, crowned and nimbed, in the attitude of prayer. 
 
 The other panel represents the Crucifixion. The figure of Christ is bowed 
 in death upon the Cross, the feet nailed together, and the spear-wound visible in 
 the side; at the foot of the Cross stand the Blessed Virgin and St. John the 
 Evangelist. 
 
 Late XHIth century. 
 
 Lent by Mr. R. V. Berkeley, of Spetchley. 
 
 CASE O 
 
 Super- Frontal (made from the Middle Portion of a Cope). 
 
 Silk (now faded to cream-colour), embroidered with gold and silver threads 
 and coloured silks. It is divided into compartments by curving stems of oak and 
 ivy in gold thread, connected by foliated masks. The principal subject, represented 
 in the middle at the top, is the Coronation of the Blessed Virgin ; Christ is seated, 
 holding the orb, on a long throne of gothic design; beside Him is seated the 
 
62 English Embroidery [Cases O, P 
 
 Virgin crowned, and holding out her hands in the attitude of devotion. Beneath 
 this subject is the Crucifixion, with the Blessed Virgin and St. John standing at 
 the foot of the Cross. At the bottom is Christ bearing His Cross, urged by two 
 executioners, one of whom carries a hammer and nails. In the other com- 
 partments are the martyrdoms of saints, the names being indicated in Lombardic 
 characters. On the right are: St. Peter (S: petrvs) being tied to the cross, head 
 downwards, by two executioners; St. Stephen (S: STEPHANVS), vested as a 
 deacon, stoned by two Jews; and St. Margaret (SCA: margareta), issuing from 
 the back of a dragon, an angel appearing before her. On the left are: St. 
 Andrew (S: ADEAS) being tied to a transverse cross by two executioners; St. 
 Lawrence (S: LAVRECi), holding the gridiron, and tormented by two men, one 
 with a rake and the other with a club; and St. Bartholomew (S: bartholome) 
 holding a flaying-knife and book, and led by two executioners, one of whom 
 carries a sword. Lions are embroidered in the intervening spaces. 
 
 It has been patched with fragments from the other parts of the cope. The 
 morse has been let in above the central subject; it is embroidered with the Agnus 
 Dei within a lobed circle, and with the symbols of the evangelists at the corners. 
 
 The other remaining parts of this cope, with portions of the orphrey, have 
 been made into an altar-frontal (also exhibited, Case U). 
 
 Early XlVth century. 
 
 Lent by the Rector and Churchwardens of Steeple Aston. 
 
 CASE P 
 
 Amice Apparel of St. Thomas of Canterbury. 
 
 The ground is of deep purple silk, embroidered in gold thread with cross- 
 shaped ornaments, varying slightly in design, but the arms all terminating in 
 foliations. Between the arms of the crosses are small lobed-shaped ornaments 
 and pellets, which vary in each instance. The crosses are inclosed within circular 
 compartments formed by four shuttle-shaped panels connected by small discs. 
 The collar is surrounded by a border consisting of two narrow strips of green 
 braid, and an outer edging of crimson silk. It is contained in a hermetically 
 sealed case of copper, with three panels of glass, which is again inclosed in a gothic 
 reliquary of carved wood, coloured and gilt, and having on either side two shields, 
 one of which is that of the see of Canterbury, and the other of Becket. 
 
 This apparel was preserved for many centuries in the treasury of the cathedral 
 at Sens, and was presented to the Abbey of Erdington by the Rev. Daniel Haigh. 
 
 Xllth century. 
 
 Lent by St. Thomas's Abbey, Erdington. 
 
Cases Q, R] 
 
 English Embroil 
 
 63 
 
 CASE Q 
 
 Panel. 
 
 Purple silk, embroidered in gold and silver thread and coloured silks. In 
 the centre, beneath a gothic arch, is a figure of Christ, seated upon a golden 
 throne; His left hand rests on an orb, inscribed with the names of the continents, 
 EVROPA, affca, and ASIA, and His right hand is raised in the attitude of 
 benediction. He wears a red tunic with bands of purple embroidered with gold 
 threads. The bands at the neck and lower part of the tunic are ornamented with 
 lions rampant and eagles displayed; that round the waist has scrolls between 
 chevrons, and the bands at the wrists are ornamented with dragons. The long 
 golden mantle, falling to the feet, has a border with designs of lions passant and 
 dragons. The background is^w/with lions rampant in goldthread. The nimbus 
 is embroidered to represent jewels, and the cross on the nimbus is covered with 
 small pearls. In the spandrels are represented the sun and moon, with dragons 
 above, and lions below, and on the entablature is the inscription, " IOHANNIS DE 
 thaneto" in Lombardic characters. At the top is the Annunciation, the angel 
 Gabriel standing beneath a gothic arch on the left, and the Blessed Virgin, with 
 the Holy Dove hovering above her, within a similar arch on the right. The inter- 
 vening space has a sloping arcade, the arches being alternately red and green. 
 This embroidery was the central panel of a series of figures beneath an arcade, 
 forming an altar-frontal. 
 
 Late Xlllth or early XlVth century work. 
 
 The name Johannes de Taneto occurs in an inventory of Canterbury 
 Cathedral of the year 1321: "Item. Alba Johannis de Taneto cum paruris de 
 rubea sindone de tripe brudatis cum rosis " (see " Inventories of Christchurch, 
 Canterbury," by J. Wickham Legg and W. H. St. John Hope, p. 59). 
 
 Lent by St. Dominic's Priory, Haverstock Hill. 
 
 CASE R 
 
 1 Chasuble. 
 
 Dark purple velvet; the embroidery executed in gold thread and coloured 
 silks upon linen. The orphreys are embroidered in the same materials. The 
 ornament consists of seraphim standing upon wheels, and conventional flowers, 
 surrounded by tendrils and rays, which are dotted with spangles. The orphreys 
 are embroidered with figures beneath canopies on a ground of diapered gold. On 
 the front are King David (?) with sceptre and harp, an Old Testament prophet, 
 and St. James the Less with club. On the cross-shaped orphrey at the back is the 
 
6 4 
 
 English Embroidery 
 
 [Case R 
 
 Crucifixion, with the Holy Spirit in the form of a dove hovering above the Cross, 
 and attendant angels who bear chalices. Below are an Old Testament prophet 
 and St. Philip with three loaves. 
 Early XVIth century. 
 
 Lent by Mr. W. Gordon- Canning. 
 
 2 Cope. 
 
 Brownish red velvet, the embroidery executed in gold thread and coloured 
 silks on linen ; the hood and orphreys are embroidered in the same materials. In 
 the middle is represented the Assumption of the Blessed Virgin; she is borne 
 aloft by three angels; below are three seraphim standing upon wheels, and a 
 double-headed eagle displayed ; the rest of the space is covered with fleurs-de-lys 
 and conventional flowers. The devices are surrounded by rays and tendrils, 
 which are dotted with spangles. Upon the hood is represented the Blessed Virgin 
 holding in her arms the Infant Saviour, and St. John the Evangelist with a 
 chalice, from which a demon is issuing. The group is inclosed by a canopy, on a 
 ground of diapered gold. On the orphreys are figures of apostles and Old 
 Testament prophets under canopies, as follows: two prophets; St. Andrew, with 
 transverse cross; a prophet; Moses with the Tables of the Law; St. Paul, with 
 sword and book ; a prophet ; St. Thomas with spear and book ; two prophets. 
 
 Circa 1500. 
 
 Lent by Oscott College, Birmingham. 
 
 3 Chasuble. 
 
 Rose-coloured brocade (for Gaudete and Laetare Sundays); the orphreys 
 embroidered in gold and silver thread and coloured silks on linen, with figures 
 of apostles and Old Testament prophets beneath canopies on a ground of 
 diapered gold. On the front orphrey are: — a prophet; an apostle (emblem uncer- 
 tain); and a prophet. On the cross-shaped orphrey at the back is the Crucifixion, 
 with the Holy Spirit as a dove hovering above, and attendant angels holding 
 chalices ; below are a prophet, and St. Simon Zelotes with saw. 
 
 The brocade has a floral pattern woven in gold thread and coloured silks on 
 a damasked ground. 
 
 Circa 1500; the brocade French, early eighteenth century. 
 
 Lent by Oscott College, Birmingham. 
 
 4 Cope. 
 
 Crimson velvet, with embroidery executed in gold thread and coloured silks 
 upon linen. The hood and orphrey are embroidered in the same materials. In 
 the middle, beneath the hood, is an eagle resting upon a tun or barrel, evidently 
 a rebus; the main surface of the cope is powdered with seraphim standing upon 
 wheels, fleur-de-lys, and conventional flowers. The devices are surrounded by 
 
Case R] 
 
 English Embroidery 
 
 65 
 
 rays and tendrils, which are dotted with spangles. On the hood is a figure of God 
 the Father seated on a throne and holding three souls in a napkin ; this subject 
 is inclosed by an architectural canopy on a ground of diapered gold. On the 
 orphreys are figures of apostles and Old Testament prophets beneath canopies on 
 a gold ground. They are as follows: St. Thomas with spear and book ; a prophet; 
 St. Peter with key; a prophet; St. John holding a chalice from which issues a 
 demon; St. Philip with three loaves; a prophet (Haggai?); St. Simon Zelotes 
 with saw; and two prophets. 
 
 The morse is of eighteenth century brocade. 
 
 Circa 1500. 
 
 Lent by Oscott College, Birmingham. 
 
 5 Chasuble. 
 
 Blue velvet, the embroidery executed in gold thread and coloured silks 
 upon linen. The orphreys are embroidered in the same materials. 
 
 The chasuble is powdered with conventional flowers surrounded by tendrils, 
 which are dotted with spangles. There is a broad border of plain red velvet. 
 Upon the orphreys are figures of saints beneath canopies on a ground of diapered 
 gold. Those on the front orphrey are: a king, crowned and nimbed, wearing a 
 cloak lined with ermine, and holding a sceptre in his left hand; St. Simon with a 
 fish; St. James the Less with club and book. On the cross-shaped orphrey at the 
 back is represented the Crucifixion, with the Holy Spirit in the form of a dove 
 hovering above, and two attendant angels bearing chalices; below is a pope with 
 tiara and nimbus, holding a staff surmounted by a double cross. 
 
 Late XVth century. 
 
 Lent by Oscott College, Birmingham. 
 
 6 Upper Frontal or Dossal for an Altar. 
 
 Cream-white satin damask, the embroidery executed in gold and silver thread 
 and coloured silks upon linen. In the middle is the Assumption of the Blessed 
 Virgin; she is borne aloft by five angels; the one below her feet holds a scroll 
 inscribed "assu(m)pta e(st) MARIA IN CELU " in gothic characters. Above her 
 head is a cloud from behind which rays descend. This group is chiefly worked 
 in gold and silver. The rest of the frontal is powdered with conventional flowers 
 surrounded by tendrils. 
 
 Second half of the XVth century. The damask, Italian of the same period. 
 
 Lent by the Vicar and Churchwardens of Chipping Campden. 
 I 
 
66 
 
 English Embroidery [Cases R, S, T 
 
 7 Nether Frontal for an Altar. 
 
 Of the same material as the last. The central subject, which has been 
 defaced, represented the Annunciation. The rest of the frontal is powdered with 
 conventional flowers similar to those on the upper frontal. 
 Second half of the XVth century. 
 
 Lent by the Vicar and Churchwardens of Chipping Campden. 
 
 CASE S 
 
 Altar Frontal. 
 
 Made from a cope of green velvet, with borders of faded red velvet. The 
 green velvet is seme with stars, embroidered in gold thread upon linen, with red 
 satin centres. Upon the borders are applied floral devices, embroidered in gold 
 and silver thread and coloured silks. 
 
 Second half of the XVth century; the green velvet with a lobed pattern is 
 Italian weaving of the same period. 
 
 Lent by the Vicar and Churchwardens of Romsey. 
 
 CASE T 
 
 The Fishmongers' Pall. 
 
 The centre is of cloth of gold. The lappets are embroidered in gold and 
 silver thread on a ground of diapered gold. On either end is a figure of St. 
 Peter enthroned, wearing the papal tiara. In his left hand he holds two keys, 
 and his right hand is uplifted in the act of benediction. On his knee rests an open 
 book, inscribed with the first words of the Creed, "CREDO IN DEO PATRE 
 OMNIPOTEN CREATO." On either side of the apostle kneel angels swinging 
 censers, and holding incense boats. 
 
 In the middle of the sides is a representation of Christ delivering the keys 
 to St. Peter. Our Lord is standing, holding the orb in one hand, and stretching 
 out the other to give the keys to the apostle, who kneels to receive them. A scroll 
 between the figures is inscribed as follows, " TIBI DABO CLAVES regni CELORU." 
 On either side are the arms of the Fishmongers' Company, with supporters. 
 
 The middle of the pall has a bold floral pattern, woven in gold loops, and 
 edged with red silk pile, on a gold ground. The pall is bordered with a fringe 
 of silk and gold. 
 
 XVIth century. 
 
 Lent by the Fishmongers' Company. 
 
Cases U, V] 
 
 'is/i Embroii 
 
 6 7 
 
 CASE U 
 
 Altar Frontal (made from Portions of the Cope, Case O). 
 
 The saints represented are Barnabas (S: BARnABAS) beaten to death by a 
 negro with a club; St. Catherine of Alexandria (SCA: KATERINA) holding her 
 wheel, beheaded; St. James the Greater (s. IACOBVS) with pilgrim's staff, wallet, 
 and hat, beheaded; St. James the Less (S: IACOB MINOR) holding a cross on the 
 head of a staff, held by two executioners; St. Paul (S: pavl), beheaded; 
 St. Thomas (S: Thomas), pierced through the breast with a lance. Along the 
 lower border are fragments of other figures, the names being IOHES thade, et 
 IVDA, and SYMO. At the sides are portions of the cope orphrey, embroidered with 
 angels on horseback playing musical instruments, and barbed quatrefoils inclosing 
 animals, birds, and fishes, on a diapered gold background. Beyond these, on each 
 side, is a piece of Lucchese brocade, woven in silk and Cyprian gold, of the same 
 date as the embroidery. 
 
 The narrow border on three sides is embroidered with various animals and 
 stems of ivy. 
 
 Early XlVth century. 
 
 Lent by the Rector and Churchwardens of Steeple Aston. 
 
 CASE V 
 
 Back, and parts of the Front, of a Chasuble. 
 
 Red velvet and cloth of gold; the orphreys are embroidered on linen, in 
 gold and silver thread and coloured silks, with a background of diapered gold. 
 On the cross-shaped orphrey is represented the Crucifixion, with God the Father 
 and the Holy Spirit above the Cross, and the Blessed Virgin and St. John standing 
 below. In the lower part of the orphrey are two canopies; beneath the one are 
 figures of St. John the Baptist with the Agnus Dei and St. Francis of Assisi with 
 a cross; and beneath the other an episcopal saint with pastoral staff and mitre, 
 and St. Clara with a monstrance. In each arm of the orphrey is an angel who 
 bears a shield, with the arms of Henry de Beauchamp, Duke of Warwick 
 (d. 1445), impaling those of his wife Cicily, daughter of Richard Nevil, Earl of 
 Salisbury; with a bear muzzled and chained, and a griffin, for supporters. The 
 pillar orphrey from the front of the chasuble has been cut vertically into two 
 parts, which are sewn to the sides; that on the left bears the figures of St. 
 Catherine of Alexandria with a sword, and St. Thomas with spear and book, 
 and that on the right, St. James the Less with staff (?), and St. Margaret with 
 
68 
 
 English Embroidery 
 
 [Cases V, W 
 
 cross (?) and book. The velvet is woven with a bold floral pattern in gold loops 
 and velvet of two thicknesses, on a gold ground. 
 
 XVth century; the velvet, Florentine, of the same period. 
 
 Lent by Mr. R. C Adams Beck. 
 
 CASE W 
 
 1 Velvet Bag. 
 
 The front is mainly formed of a cope morse, with a head of Christ, on a 
 background of diapered gold. The rest of the bag is formed of green velvet, with 
 traces of a floral pattern. 
 
 Late XVth century. 
 
 Lent by Oscott College, Birmingham. 
 
 2 Burse or Corporal Case. 
 
 Upon the front has been stitched a fragment of a vestment embroidered in 
 gold and silver thread and coloured silks upon a ground of diapered gold. The 
 fragment evidently formed part of a Tree of Jesse; it represents a standing 
 figure of King David, crowned and playing upon a harp; above his head is a 
 silver scroll with an inscription now illegible. Around him is a vine stem with 
 leaves and fruit. There is a red satin border, with the sacred monogram " I H S," 
 the date 1658, and the name " AGNES MEYNELL" in silver thread. The back of 
 the burse is of plain green satin. 
 
 The embroidered fragment is of the second half of the XlVth century. 
 
 Lent by Ushaw College, Durham. 
 
 3 Seal Bag, belonging to a Charter of Edward I at West- 
 
 minster Abbey, dated Woodstock, 1 July, 19 Henry III 
 (1235)- 
 
 The bag is of green woollen cloth, with a shield of red inlaid, on which are 
 embroidered the arms of England — gules, three lions passant gardant, or. The 
 shield is surrounded by a border of trefoils in red cloth connected by a scrolled 
 stem embroidered in yellow thread. Both sides of the bag are similar. The lower 
 part was embellished with a number of small tassels, nine of which still remain. 
 
 Probably XVth century. 
 
 Lent by the Dean and Chapter of Westminster. 
 
 4 Velvet Bag. 
 
 Formed of two fragments of a vestment, with embroidery executed in gold 
 thread and coloured silks. On the front is represented the Crucifixion, with the 
 
Cases W, X] 
 
 English Embroide 
 
 69 
 
 Blessed Virgin and St. John standing at the foot of the Cross. From the ground 
 beneath rise two tall stems, dotted with spangles. On the back of the bag is a 
 conventional flower. 
 
 Late XVth century. 
 
 Lent by St. George's Cathedral, Southwark. 
 
 5 Burse or Corporal Case. 
 
 The front is formed of two figures from the orphrey of a vestment, em- 
 broidered in gold and silver thread and coloured silks upon linen. They represent 
 the Apostles SS. Peter and Paul, the former holding a gold and a silver key, and 
 a book, and the latter a sword and a book. Each stands beneath a crocketed 
 canopy, on a gold ground diapered with lions. Within each spandrel is also 
 a lion. 
 
 The back of the burse is of brocade, with a pattern of flowers, leaves, and 
 knotted cords woven in gold thread and coloured silks on a blue satin ground. 
 There is a red and green silk fringe. 
 
 Circa 1300. The brocade is Italian of the fifteenth century. 
 
 Lent by Oscott College, Birmingham. 
 
 CASE X 
 
 1 Chasuble. 
 
 Brocaded blue satin ; the cross-shaped orphrey, of red velvet, is embroidered 
 in gold thread and coloured silks with the arms of Henry Stafford, Duke of 
 Buckingham : 1 — In the centre Plantagenet, on the left Clare, on the right Stafford, 
 on the top de Bohun, below the centre Clare (repeated), de Bohun (repeated), 
 Fitz Walter, and Plantagenet (repeated). Each shield has for supporters two 
 swans ducally gorged (two of which no longer remain), and is inclosed by slender 
 stems bearing small leaves and conventional flowers, amongst which that of the 
 columbine is noticeable. The stems are united between the shields by the Stafford 
 knot. The brocade is woven with a diagonal pattern of conventional foliage and 
 flowers, the stems of which are entwined by ribbons ; between these bands are 
 falcons, which issue from clouds, swooping on peahens. 
 
 Circa 1474; the brocade more recent. 
 
 Lent by Colonel J. E. Butler-Bowdon. 
 
 1 On 18 February, 1474, Henry Stafford, 2nd Duke of Buckingham, was authorized to bear 
 the Arms of Thomas of Woodstock alone, viz., Quarterly France and England within a bordure 
 argent. He was also Earl of Stafford, Earl of Hereford, and Lord of Brecknock, and was created 
 K.G. the same year. 
 
7° 
 
 English Embroidery 
 
 [Cases X, Y 
 
 2 Altar Frontal. 
 
 Cream-white satin damask, divided into three panes by two upright bands 
 of red velvet. The embroidery, which consists of conventional flowers surrounded 
 by tendrils, is executed in gold thread and coloured silks upon canvas, and 
 applied. The frontal is enriched with spangles. The damask is woven with floral 
 designs within panels of lobed form. 
 
 Second half of the XVth century; the damask Italian weaving of the same 
 period. 
 
 Lent by Colonel J. E. Butler-Bowdon, 
 
 3 Chasuble. 
 
 Blue figured velvet, the cross-shaped orphrey of red velvet; the embroidery 
 is executed in gold thread and coloured silks upon linen. Upon the blue velvet 
 are conventional flowers, surrounded by tendrils, which are dotted with spangles. 
 The orphrey bears a monogram of the Virgin " MARIA," surmounted by a crown ; 
 below are a fleur-de-lys and a conventional flower. 
 
 Late XVth century ; the blue velvet is Italian weaving of the same period. 
 
 Lent by Colonel J. E. Butler-Bowdon. 
 
 4 Orphrey. 
 
 Green velvet; the embroidery, which consists of eagles resting upon clasped 
 books, and conventional flowers, within alternate panels, is executed in gold 
 thread and coloured silks and spangles upon linen and applied. 
 
 Second half of the XVth century. 
 
 Lent by Colonel J. E. Butler-Bowdon. 
 
 CASE Y 
 
 i Fragments of Vestments. 
 
 Taken in the year 1861 from the stone coffin of Bishop Walter de Cantelupe 
 (1236- 1 266) in Worcester Cathedral. 
 
 Fragments of red silk, embroidered in gold, with five seated figures of kings 
 crowned and holding sceptres, inclosed by foliated scrollwork of a conventional 
 type. Along the top there remains a portion of a scrolled border. 
 
 Described by Mr. W. H. St. John Hope, in " Proceedings of the Society of 
 Antiquaries" (Second Series, Vol. xiv, p. 199), and in the "Archaeological 
 Journal," Vol. xx, pp. 275-277. 
 
 XII Ith century. 
 
 Lent by the Dean and Chapter of Worcester. 
 
Cases Y, Z] 
 
 English Embroidery 
 
 2 Fragments of Vestments. 
 
 Taken in the year 1870 from the stone coffin of a bishop, apparently William 
 de Blois (1218-1236), at the east end of Worcester Cathedral. 
 
 Frame 2. Portions of a red silk stole, embroidered in gold thread and 
 coloured silks (now much discoloured), with full-length figures of apostles, with 
 their names above their heads in Lombardic characters. The figures in this 
 frame are St. James (iaCOBBVS), St. Andrew (ANDRE), St. Paul (PAVLVS) — the 
 name only occurs in the second row, the figure being to the left — and St. Thaddeus 
 (tadevs). 
 
 Frame 3. Embroidered fragments with the Agnus Dei (probably from the 
 back of the glove), scallop shells and scrolled ornament. This frame also includes 
 a few woven fragments. 
 
 Frame 4. Other portions of the stole, and portions of the maniple. The re- 
 maining names of the apostles are those of St. John (IHOAN) and St. Bartholomew 
 (bartolomevs); the latter figure is reversed in the frame, showing the back. 
 The fragments of the maniple consist of the central cross patee and a figure of 
 the prophet Daniel (daniel). 
 
 Frame 5. Three embroidered fragments; one having a seated figure of a 
 king crowned and holding a sceptre, the name ADELBERTVS being inscribed 
 above his head ; another having a standing bishop with pastoral staff and mitre, 
 inscribed Nicolavs; the third fragment (now very imperfect) had the figure of a 
 king. Mr. St. John Hope suggests that these fragments may have been the 
 apparels of the alb. In the frame are also portions of two figures from the stole 
 or maniple. 
 
 The fragments in frames 1 to 3 appear to be earlier than the bishop's time, 
 and may be of the Xllth century; those in frame 4 are perhaps early XII Ith 
 century work. 
 
 These embroideries, together with those from the coffin of Bishop Walter de 
 Cantelupe, have been described by Mr. W. H. St. John Hope in the " Proceedings 
 of the Society of Antiquaries " (Second Series, Vol. xiv, p. 197). 
 
 Lent by the Dean and Chapter of Worcester. 
 
 CASE Z 
 
 1 Chasuble. 
 
 Brocaded red satin, with a design of a twisted thorn and foliage, and a hawk 
 swooping upon a quail, woven in gold thread and coloured silks. The orphreys are 
 embroidered in gold and silver thread and coloured silks on linen. The subjects 
 are represented beneath turreted canopies on a ground of diapered gold. On the 
 front orphrey are the following subjects: (1) the Meeting of Joachim and Anna 
 
7 2 
 
 English Embroidery 
 
 [Case Z 
 
 at the Golden Gate, (2) the Birth of the Blessed Virgin, (3) the Presentation of 
 the Blessed Virgin in the Temple; she ascends the steps towards an altar, behind 
 which is the high priest. The subjects on the orphrey at the back are as follows : 
 (1) the betrothal of Joachim and Anna; Joachim clasps the hand of Anna, and in 
 his left hand he holds a ring; behind them is the high priest, (2) Joachim and 
 Anna at the marriage feast, (3) their offering rejected by the high priest; Joachim 
 and Anna turn away, and a man kneels to offer two doves to the high priest 
 standing behind an altar; upon this altar, as well as on that in the front orphrey, 
 are depicted the consecration crosses. 
 
 At the bottom of the orphrey at the back is an embroidered fragment from 
 a vestment of the fourteenth century. 
 
 XVth century; the brocade, of more recent date. 
 
 Lent by Mr. W. Gordon-Canning. 
 
 2 Chasuble. 
 
 Cream-white satin damask, the embroidery executed in gold thread and 
 coloured silks upon linen. The orphreys are embroidered in the same materials 
 upon linen. The ornament consists of seraphim standing upon wheels, fleurs-de- 
 lys, and conventional flowers surrounded by rays and tendrils, which are dotted 
 with spangles. 
 
 The orphreys are embroidered with figures of apostles and Old Testament 
 prophets beneath canopies, on a ground of diapered gold. On the front orphrey 
 are: St. Andrew with transverse cross, a prophet, and St. John the Evangelist 
 with a chalice. On the cross-shaped orphrey at the back are: St. John (repeated), 
 a prophet, St. Paul, with sword and book, St. Andrew (repeated); and on the 
 arms, St. James the Less with cross and book, and St. Matthew, with axe. 
 
 Early XVIth century; the damask, Italian, of the same period. 
 
 Stole and Maniple. 
 
 Of the same material as the chasuble. 
 
 Lent by Mr. G. Troyte Chafyn-Grove. 
 
 3 & 5 Two Orphreys from a Chasuble. 
 
 Green velvet, the embroidery executed in gold thread and coloured silks 
 upon linen. On the front orphrey are two conventional flowers and a fleur-de-lys. 
 On the back orphrey are similar devices and a figure of a bishop, nimbed and 
 wearing a mitre; he is seated upon a throne and holds a pastoral staff, and 
 beneath the throne are the initials " I w " worked in silver thread. 
 
 Late XVth century. 
 
 Lent by Oscott College, Birmingham. 
 
Case Z] 
 
 English Embroidery 
 
 73 
 
 4 Hanging. 
 
 Formed of three vertical " panes " of cream-white silk damask, and two of 
 green velvet ; on each of the latter is a row of conventional flowers, embroidered 
 in gold thread and coloured silks. The damask is woven with conventional 
 floral designs inclosed within compartments of lobed outline. This hanging, 
 which has been formed of fragments of vestments, was formerly in a church in 
 Norfolk. 
 
 Late XVth century. 
 
 Lent by St. George's Cathedral, Southwark. 
 
 6 Cope. 
 
 White satin, the orphreys and hood embroidered in gold thread and coloured 
 silks upon linen. On the hood is a figure of Christ seated upon a throne, 
 crowned and nimbed; with His left hand He holds the orb, which rests upon a 
 book, and His right hand is raised in the attitude of benediction. The ground 
 beneath the throne is sprinkled with flowers ; the figure is inclosed by a domed 
 canopy, upon a diapered gold background. On the orphrey are represented saints 
 and Old Testament prophets beneath canopies upon a ground of diapered gold. 
 The figures are as follows: St. Andrew, with transverse cross; St. Margaret, with 
 cross and book, issuing from the back of a dragon ; St. James the Greater, with 
 pilgrim's staff, hat, and book ; St. Andrew, with transverse cross ; two prophets ; 
 St. John the Evangelist, with a demon issuing from a chalice ; St. Peter, with key 
 and book ; St. Catherine of Alexandria, with broken wheel and sword ; St. Apollonia, 
 with a tooth in a pair of pincers. 
 
 The jewelled morse is modern. 
 
 Circa 1 500 ; the satin, modern. 
 
 Lent by St. Dominic's Priory, Haverstock Hill. 
 
 7 Cope. 
 
 White satin, the orphreys and hood embroidered in gold thread and coloured 
 silks upon linen. On the hood is represented the Coronation of the Blessed Virgin. 
 Christ is seated upon a throne, crowned and nimbed, and holding the orb with 
 His left hand. His right hand is outstretched in the act of benediction towards 
 the Blessed Virgin, who is seated beside Him, crowned and nimbed, in the attitude 
 of prayer. The ground beneath the throne is sprinkled with flowers. The group 
 is inclosed by a broad canopy upon a diapered gold background. 
 
 On the orphrey are represented saints beneath canopies, upon a ground of 
 diapered gold. Beneath the lowest canopy, on the left-hand side, is a nimbed 
 figure of a bishop, with cope, mitre, and pastoral staff, resting his hands on the 
 shoulders of the " boy bishop," who wears a mitre. A label issuing from the 
 mouth of the latter figure is inscribed with the words, " GLORIA TIBI DOMINE." 
 
 K 
 
74 
 
 English Embroidery 
 
 [Case Z 
 
 Beneath the other canopies are the following figures: St. Paul, with sword and 
 book; St. Mary Magdalene, with vase of ointment and palm-branch; St. Andrew, 
 with transverse cross; St. Simon Zelotes, with saw; an Old Testament prophet; 
 St. Matthew, with an axe; St. Margaret, with cross and book, trampling on a 
 dragon; St. Andrew, with transverse cross; and St. Thomas, with spear. The 
 morse is of plain white satin. 
 
 Circa 1500; the satin, modern. 
 
 Lent by St. Dominic's Priory, Haverstock Hill. 
 
 8 Three Portions of the Orphrey of a Vestment. 
 
 Embroidered in gold and silver thread and coloured silks on linen. Upon 
 the first is a standing figure of the Blessed Virgin, holding the Infant Saviour on 
 her right arm, and having a fruit in her left hand. The second has a figure of 
 St. John the Baptist with the Agnus Dei, and upon the third is St. Helen with 
 the Cross. Each figure is inclosed by a canopy, on a ground of diapered gold, 
 (now much worn). From the apertures of each canopy project the head and 
 hands of an angel. 
 
 XVI Ith century. 
 
 Lent by the Honourable Mrs. Charles Lawrence. 
 
 9 Altar Cover. 
 
 Made from parts of three different vestments: 
 
 (a.) A cope of blue velvet, with embroidery executed in gold thread and 
 coloured silks upon linen; the decoration consists of a six-winged seraph, and 
 two four-winged cherubim standing upon wheels, with scrolls bearing traces of 
 the inscription : " DA gloriam deo," double-headed eagles displayed, and floral 
 devices, all surrounded by rays and tendrils. The orphreys of this cope were 
 embroidered with figures of saints and Old Testament prophets under canopies. 
 Portions of these remain, the figures being as follows: a prophet; St. Olave, 
 crowned and nimbed, holding an axe and sceptre; St. Paul, holding a sword; 
 St. John the Evangelist, holding a chalice; St. James the Greater (?), the figure 
 is nimbed, and appears to wear a pilgrim's hat; a prophet; and St. Philip with 
 three loaves. 
 
 (b.) A cope of red velvet; only small portions of this vestment were used; 
 one fragment (in a corner) is embroidered in gold thread and coloured silks with 
 a half-length figure of the prophet Daniel, within the petals of a large flower, 
 holding a scroll inscribed with his name. 
 
 (C.) A vestment of orange velvet, of which there are five fragments, used in 
 the border; four are embroidered in gold thread and coloured silks with floral 
 devices, and the fifth with the Crucifixion. 
 
 Second half of the XVth century. 
 
 Lent by the Rector and Churchwardens of Lyng. 
 
Case Z] 
 
 English Embroidery 
 
 75 
 
 10 Fragment of a Chasuble. 
 
 Of brown figured velvet, embroidered in gold thread and coloured silks with 
 a seraph standing upon a wheel, a double-headed eagle displayed, a fleur-de-lys, 
 and conventional flowers. 
 
 Late XVth century. 
 
 Lent by the Lady O'Hagan. 
 
 1 1 Chasuble. 
 
 Red velvet and cloth of gold ; the orphreys are embroidered in gold thread 
 and coloured silks upon linen, with standing figures of saints and Old Testament 
 prophets on a ground of diapered gold, beneath canopies having large foliated 
 crockets and finials. On the front orphrey are the following figures: St. Andrew 
 with transverse cross and book, a prophet, and St. Thomas with spear and book. 
 The figures upon the orphrey at the back are: a prophet, St. Barbara with her 
 tower, and another prophet. The chasuble has a bold floral pattern woven in gold 
 loops and red silk pile on a gold ground. The orphreys appear to have been 
 taken from a cope. 
 
 Early XVth century; the velvet is Italian weaving of the middle of the same 
 century. 
 
 Lent by Ushaw College, Durham. 
 
 12 Chasuble. 
 
 Formed of fragments of several vestments. The ground is of faded red 
 velvet, embroidered in gold and silver thread and coloured silks. The orphreys 
 are worked in the same materials on linen. Upon the velvet on the front of the 
 chasuble are figures of the Blessed Virgin and Child, and St. Catherine of Siena 
 receiving a ring from heaven (?); and on the back, St. Simon Zelotes with a saw, 
 St. John the Evangelist with a chalice, and St. Apollonia with a tooth in a pair 
 of pincers. The velvet is further embroidered with conventional flowers, and 
 dotted with spangles. On the front orphrey is represented the Crucifixion, with 
 attendant angels bearing chalices, and St. Mary Magdalene kneeling at the foot of 
 the Cross; below is a figure of St. Peter, holding a key and book, standing under 
 a canopy. On the orphrey at the back are figures of St. Catherine of Alexandria 
 with wheel and sword, St. Andrew with transverse cross, and the Blessed Virgin 
 and Child, beneath canopies. At the top of this orphrey is a reversed fragment 
 with a figure of God the Father, and the Holy Spirit in the form of a dove; this 
 fragment has been detached from above the figure of Christ, now on the front 
 orphrey. The back of the chasuble has been extended by the addition of frag- 
 ments of another orphrey down each side; that on the left is embroidered with 
 figures of St. Catherine of Alexandria with wheel and sword, and St. Bartholomew 
 with flaying-knife and book, and that on the right with St. Paul with sword and 
 
7 6 
 
 English Embroil 
 
 [Case Z 
 
 book, and St. Margaret with cross. At the lower left-hand corner is a fragment 
 of red silk, embroidered with an equestrian figure of a knight in armour, bearing 
 a shield ; this fragment is of the fourteenth century. The woven fragments added 
 to the front of the chasuble are of the eighteenth century. 
 XVth century. 
 
 Lent by St. George's Cathedral, Southwark. 
 
 13 Stole and Maniple. 
 
 Formed of fragments of a vestment of red silk velvet, embroidered with 
 floral devices in gold thread and coloured silks, and enriched with silver-gilt 
 spangles. 
 
 Late XVth century. 
 
 Lent by the Lady CHagan. 
 
 14 Back of a Chasuble. 
 
 Red velvet, embroidered in gold and silver thread and coloured silks. In the 
 middle is represented the Assumption of the Blessed Virgin, who is surrounded by 
 rays and supported by three angels; above is a cross, and around are seraphim 
 standing upon wheels, and conventional flowers; at the bottom is a double-headed 
 eagle. The devices are surrounded by rays and tendrils, which are dotted with 
 spangles. 
 
 Late XVth century. 
 
 Lent by Oscott College, Birmingham. 
 
 15 Fragments of Embroidery from a Vestment. 
 
 Embroidered in gold and silver thread and coloured silks. The middle 
 fragment represents the Resurrection of Christ, who steps from the tomb, holding 
 a cross to which is attached a banner. Around is a guard of four men, three of 
 whom are in armour. 
 
 The other four fragments represent seraphim with scrolls above their heads, 
 inscribed, " DA GLORIAM DEO." They have been applied to a modern piece of 
 white silk. 
 
 Early XVI th century. 
 
 Lent by Lieut.- Colonel Croft Lyons. 
 
 16 Portion of an Orphrey. 
 
 Embroidered in gold thread and coloured silks on linen, with figures of 
 St. Thomas the Apostle with a spear, and an Old Testament prophet, beneath 
 canopies, on a background of diapered gold. The finials of the canopies are 
 formed of fleurs-de-lys issuing from roses. 
 
 Late XVth century. 
 
 Lent by Mr. J. J. Eyston. 
 
Cases Z, A A, BB] English Embroidery 
 
 77 
 
 17 Portion of the Orphrey of a Chasuble. 
 
 Embroidered in gold thread and coloured silks with the Crucifixion. At the 
 foot of the Cross is a patch of ground sprinkled with flowers. Below are the arms 
 of John de Vere, restored 10 Edward IV, as 13th Earl of Oxford (d. 1513), impaling 
 those of his second wife Elizabeth, daughter of Sir Richard Scrope and widow of 
 William Viscount Beaumont (De Vere quartering Howard impaling Scrope 
 quartering Tibetot). The embroidery has been applied to a modern piece of red 
 velvet. 
 
 Early XVIth century. 
 
 Lent by Lieut.-Colonel Croft Lyons. 
 
 CASE AA 
 
 Two Panels. 
 
 Red velvet, embroidered in coloured silks and gold thread, with the following 
 subjects within barbed quatrefoils: — (1) The Annunciation; the Blessed Virgin 
 stands on the right, with the Holy Spirit in the form of a Dove hovering above; 
 the archangel Gabriel holds a scroll with the inscription AVE MARIA. Between 
 the two figures is a vase of lilies. (2) Standing figures of St. Margaret holding a 
 cross and book, and trampling on a dragon ; and St. Catherine of Alexandria 
 with sword and wheel. 
 
 Circa 1300. 
 
 Lent by Lady Gibson-Cannichael. 
 
 CASE BB 
 
 Hanging (made from parts of two Vestments). 
 
 The middle is of blue velvet, with a border of faded red velvet down each 
 side; the embroidery is executed in gold thread and coloured silks on linen. 
 Upon the blue velvet are rows of floral devices and seraphim standing 
 upon wheels and holding scrolls inscribed in gothic characters, "GLORIA TIBI 
 trinitas"; one seraph supports the shield of arms of Ralph Parsons, ob. 1478, 
 with a scroll beneath inscribed "ORATE p(ro) a(n)i(m)a DOM RADI PSOS.'. 
 Upon the borders are seraphim standing upon wheels, with scrolls above their 
 heads inscribed " DA GLORIAM DEO," and floral devices. 
 
 Made from parts of the vestment of Ralph Parsons (d. 1478), chantry-priest 
 of Holy Trinity chapel in the church of Cirencester. 
 
 Latter part of the XVth century. 
 
 Lent by the Vicar and Churchwardens of Cirencester. 
 
78 
 
 English Embroidery [Cases CC, DD, EE 
 
 CASE CC 
 
 Red Velvet Burse. 
 
 Embroidered in gold thread and coloured silks. This burse, which measures 
 II in. by 10 in., was found by the well-known Lincoln antiquary, Mr. Edward 
 James Willson, F.S.A., (who died in 1854), at Sixhills, a Lincolnshire village 
 between Louth and Horncastle. These two places were intimately connected 
 with the Pilgrimage of Grace, on the banners of which were painted " The Chalice 
 and Host"; " The Five Wounds of our Lord, and His Croivn of Thorns!' — " The 
 Chalice and Host in remembrance of the Spoliation of the Church, and the Five 
 Wounds to the encouraging of the people to fight in Christ's cause" (Philip Trotter's 
 Examination: Rolls House MS., A2, 29.) 
 
 These three devices are embroidered within a shield on the burse, and it is 
 worthy of note that Christ's wounded heart is represented as within the Host, 
 and Christ's pierced hand and feet issue from clouds, and are placed saltire-wise. 
 Outside the shield is a semee of stars, and the letters J. G., which possibly stand 
 for Insignia Gratiae. 
 
 XVIth century. 
 
 Lent by Lord Herries. 
 See Speed, 1033; Herbert, 480; Lingard, sub anno 1536; Froude, sub 
 anno 1536. 
 
 CASE DD 
 
 Panel. 
 
 Embroidered in coloured wools and silks on canvas {petit-poinf). It repre- 
 sents the Judgment of Solomon; the various figures composing the group are in 
 the dress of the courtiers of Queen Elizabeth's time. 
 
 Second half of XVIth century. 
 
 Lent by the Duke of Devonshire. 
 
 €1 CASE EE • 
 
 Panel. 
 
 Embroidered in coloured wools and silks on canvas (petit-point). It repre- 
 sents Abraham stayed by the angel from sacrificing Isaac. Elizabeth, Countess 
 of Shrewsbury (" Bess of Hardwick "), with two ladies in attendance, is represented 
 on the right. 
 
 There is a border of flowers and birds. 
 
 Second half of XVIth century. 
 
 Lent by the Duke of Devonshire. 
 
Case FF] English Embroidery 
 
 CASE FF 
 
 Panel. 
 
 Embroidered in gold and silver thread and coloured silks on canvas. In the 
 centre is an oval compartment embroidered with two frogs on the head of a well ; 
 this compartment is also worked with a monogram of the name MARIA, sur- 
 mounted by a crown. Two other oval compartments, in the upper and lower 
 left-hand corners, are embroidered with an animal attacking a bird, and bird 
 attacking a snake. The ground is covered with a pattern of interlacing knotted 
 cords, which inclose roses, thistles, and lilies, emblematical of England, Scotland, 
 and France. This panel is believed to have been worked by Mary, Queen of 
 Scots, while in the custody of the Earl of Shrewsbury, whose Countess, Elizabeth 
 (" Bess of Hardwick "), built Hardwick Hall, where the panel has since been 
 preserved. 
 
 Second half of XVIth century. 
 
 Lent by the Duke of Devonshire. 
 
 EXHIBITED IN THE WRITING-ROOM 
 
 i Painted Photograph of the Ascoli Cope. 
 
 Embroidered in gold and silver thread and coloured silks upon linen. The 
 principal subjects, in the middle, are: — the Virgin and Child, the Crucifixion, a 
 nimbed Head of Christ. In the upper row of circles are represented the martyrdoms 
 of St. Peter the apostle and the following popes: — SS. John, Marcellus, Clement, 
 Stephen, and Fabian. In the next row are the popes SS. Leo the Great, Hilary, 
 Silvester, Gregory, Lucius, and Anastasius. In the third row are the popes 
 Innocent IV (1243-1254), Alexander IV (1254-1261), Urban IV (1261-1265), 
 and Clement IV (1265-1268). The cope was given to Ascoli Cathedral by 
 Pope Nicholas IV in the year 1288, it was stolen thence in the year 1902, and 
 acquired in 1904 by Mr. Pierpont Morgan, by whom it has been presented to the 
 Italian Government. 
 
 Late XHIth century. 
 
 Lent by the Victoria and Albert Museum. 
 
8o 
 
 English Embroidery 
 
 [Writing-Room 
 
 2 Painted Photograph of Portion of a Cope in Toledo 
 
 Cathedral. 
 
 It represents the three following saints, the names being inscribed upon 
 scrolls on Lombardic characters: — Andrew (SANCTE ANDREAS), with transverse 
 cross, Catherine of Alexandria (SCA CATERINS [sic]), with wheel and sword, 
 trampling on the Emperor Maximin, Thomas of Canterbury (SCE TOMAS), 
 wearing a pall and mitre, and holding a cross, trampling on a knight in armour. 
 Each figure is placed beneath a gothic canopy on a background of diapered 
 gold. 
 
 A small photograph of the cope is framed below. (See Introduction, p. 18.) 
 Late Xlllth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 3 Painting of a Cope. 
 
 Red silk, embroidered in gold and silver thread and coloured silks with a 
 " Tree of Jesse." A vine, bearing leaves and fruit, springs from the recumbent 
 figure of Jesse at the bottom of the cope. Above this figure, and inclosed by the 
 branches of the vine, are seated figures of David with a harp, Solomon with a 
 sceptre, and the Virgin and Child. Among the stems on either side are figures 
 of Old Testament kings and prophets, the name of each being worked in bold 
 Lombardic characters. Those on the left are as follows : — Abias rex, Iacob pphe, 
 Phares pphe, Abrahal (sic) pphe, Eliachim pphe. On the right are: — Roboas rex, 
 Moyzes pphe, Isaye pphe, Zorobabel, Ieremias pphe, Daniel. The cope, which 
 has been much mutilated, is preserved in the Victoria and Albert Museum. 
 
 Early XlVth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 4 Painted Photograph of a mutilated Cope in the Church 
 
 at East Langdon, near Dover. 
 
 Red velvet, embroidered in gold thread and coloured silks. The archangel 
 Gabriel appears to the Blessed Virgin who kneels at a prayer desk; above his head is 
 a scroll with the salutation: "AVE GRA PLENA DNS TECU " in gothic characters* 
 the scroll above the Virgin's head is inscribed with her response: "ECCE ANCILLA 
 dni FIAT MICHI SECUN." Between the two figures is a vase of lilies, the ground 
 beneath is sprinkled with flowers. Below the group is a scroll, now only partly 
 
 legible, inscribed : " ORATE PRO ANIMA 10 . HIS DD . . . ." The rest of 
 
 the cope is powdered with conventional flowers, some of which bear the monogram 
 IHS and others the monogram MARIA. 
 
 Late XVth century. 
 
 Lent by the Victoria and Albert Museum. 
 
Writing-Room] English Embroidery 
 
 81 
 
 5 & 6 Painted Photographs of a Stole and Maniple, found 
 in the tomb of St. Cuthbert in Durham Cathedral in 1827. 
 
 They are embroidered in gold thread and red, green, blue, and purple silks 
 (now discoloured) upon a linen ground, and lined with silk. 
 
 The stole is now in five pieces. In the middle was the Agnus Dei (agnv Di) 
 with six prophets on either side. The remaining figures are Isaiah (esaias), 
 Jeremiah ( .... IAS prophet), Daniel (DANIEL propheta), Amos (AMOS 
 propheta), Obadiah (abdi ....), Hosea (ose propheta), Joel (iohel pro- 
 pheta), Habakkuk (ABA ), Jonah (ionas PROPHETA), Zechariah (ZACHA . . .), 
 
 Nahum (NAWM propheta), and another (. . . . propheta). At the ends are 
 half-length figures of St. James (iacobvs apost) and St. Thomas (thomas 
 apost). 
 
 The maniple has in the middle the Hand of the Almighty (dextera di) 
 issuing from clouds, with St. Sixtus (SCS SYXTVS EPISCOP) and St. Lawrence 
 (lavrentivs diaconvs) on the right, and St. Gregory the Great (SCS GREGORivs 
 PAP . . .) and Peter the Deacon (PETRVS DIACONVS) on the left. At the ends 
 are half-length figures of St. John the Evangelist (iohannes EVT) and St. John 
 the Baptist (iohannes B). 
 
 At the ends of both stole and maniple, on the reverse sides, are inscriptions 
 recording that Aelfflaeda had them made for Bishop Fridestan (AELFFLAED 
 FIERI PRECEPIT and PIO EPISCOPO FRIDESTANO). Aelfflaeda was queen of 
 Edward the Elder, and Fridestan was Bishop of Winchester from 905 to 931 (see 
 Introduction, p. 11). 
 
 The originals, preserved in the Library of Durham Cathedral, date from the 
 beginning of the Xth century. They are the earliest known examples of English 
 embroidery. 
 
 Lent by the Victoria and Albert Museum. 
 
 7 Treasurer's Accounts of the Abbey of Westminster for 
 the XHIth year of the reign of Queen Elizabeth [1571]. 
 
 The third paragraph on folio 5 has the following entries : — 
 
 (Line 6) " Thome Holmes upholster for thaltering of certen coapes in to 
 Quisshions Chaires etc. and for the workemanship and stuffe therunto as apperith 
 by a bill — xj li. viij sh. vij d." 
 
 (Line 16) "To Mr Greme goldsmyth for a sylver pott parcell guylt prepared 
 for the Comunyon waing li oz at vi s. le oz the summe of xv li vjs. Towards w ch 
 charge ther went xxxiiij 01 iij qrts of sylver that cam of the buring (sic) of certen 
 coapes at vs. the oz amounting to viij li xiijs. ixd." 
 
 (Line 39) " To the goldsmyth in regard for burnyng the said coapes etc 
 vjs. viijd." 
 
 Lent by the Dean and Chapter of Westminster. 
 L 
 
82 
 
 English Embroidery [Writing-Room 
 
 8 Book. Documents relating to the Foundation and Antiquities 
 
 of the Collegiate Church of Middleham, in the county of 
 York. By the Rev. William Atthill. 
 
 Opposite p. xx is an illustration of the gravestone of Robert Thorneton, 
 22nd Abbot of Jervaulx. The devices upon this stone should be compared with 
 those on the chasuble exhibited in Case A (No. 3). 
 
 Lent by the Reverend E. McClure. 
 
 9 Photograph of a fragment of the " Bayeux Tapestry," with a 
 
 seated figure of King Edward the Confessor. 
 
 Lent by the Victoria and Albert Museum. 
 
 10 Coloured Illustrations of the amice-apparel, the buskins, 
 
 and sandals from the tomb of Archbishop Hubert 
 Walter (1 193-1205) in Canterbury Cathedral. 
 
 Lent by Mr. W. H. St. John Hope. 
 
 1 1 Coloured Illustrations of portions of the stole and pastoral 
 
 staff from the tomb of Archbishop Hubert Walter (1 193- 
 1205) in Canterbury Cathedral. 
 
 Lent by Mr. IV. H. St. John Hope. 
 
 12 & 13 Photographs of the front and back of the embroidered 
 
 surcoat of Edward, Prince of Wales (" Edward the 
 Black Prince"), suspended above his monument in Can- 
 terbury Cathedral. 
 
 Lent by Mr. W. H. St. John Hope. 
 
 14, 15, 16, & 17 Photographs of details of the cope, known as 
 that " of St. Silvester," in the Basilica of St. John 
 Lateran, Rome (see Introduction, p. 21). 
 
 18 Two Coloured Plaster Casts of Details from the 
 Bayeux Tapestry. 
 
 They represent parts of the figures of William the Conqueror and King 
 Harold. The so-called " Bayeux Tapestry " is a long band of embroidery in 
 
Writing- Room] 
 
 English Embroil 
 
 83 
 
 wools upon a linen ground. It represents the Norman Conquest of England, 
 with explanatory inscriptions. It was no doubt executed shortly after the 
 Conquest (A.D. 1066), but the locality of its origin is uncertain. 
 Second half of the Xlth century. 
 
 Lent by the Victoria and Albert Museum. 
 
 19 Rubbing from the monumental brass of Ralph Parsons 
 (d. 1478), chantry-priest of Holy Trinity Chapel in the 
 Church of Cirencester. A hanging made from parts of 
 the vestments of Ralph Parsons, and bearing his arms, 
 is exhibited (Case BB). 
 
 Lent by the Reverend E. McClure. 
 
CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. 
 TOOKS COURT, CHANCERY LANE. LONDON. 
 
GETTY RESEARCH INSTITUTE