Of the subject contained in the quatrefoil of the corresponding division no memorandum has been preserved.
The divisions at the ends are covered with branching scrolls of foliage, intermixed with which are figures, representing in one, the adoration of the three kings, and in the other, the discovery of St. Genevieve in the forest. A small part of the first which was not required for the subject contains a figure of an unicorn taking refuge with a maiden from the hunter, according to the well-known legend.
The letters throughout are Lombardic, elegantly formed, and branching out into little sprigs of foliage in a very pretty manner. The form of these letters is much like (exception made of the accessorial foliage) that of the letters of the inscription of the great brass of Abbot Thomas of St. Albans. The human figures are quaintly drawn, the horses and dogs with some spirit. The most remarkable points of the costumes are the extremely long toes of the boots, and the thick belts worn over the hips. The first, it is well known, were introduced into England from Germany at the time of the marriage of Richard the Second with Anne of Bohemia. Here they were called "crackowes" it is believed from the city of Cracow. In Germany they seem to have been in use considerably earlier than in this country. The heavy belt worn over the hips is another well-known 14th century fashion. In this instance it is worn at the extremity of the surcoat, which garment is here represented with sleeves widely puffed out as far as the elbows, and tight from thence to the wrists.
The antependium is of velvet, now of a very dark colour, but probably once blue or purple; it is ornamented with wreaths and trees cut out of cloth (once scarlet?) and sewn on, which are placed alternately. In the middle of each wreath is a nondescript animal, sometimes like a tiger, and sometimes rather like a horse; and at the foot of each tree is a figure probably meant for a stag. These animals are also formed of cloth sewn on, and are studded with thickly set silver spangles. From the style of the foliage, the forms of the letters, the diapering of grotesque monsters, the costumes, and the general character of the work, it seems probable that this piece of embroidery dates from about the middle of the 14th century.
Mr. Nesbitt also gave the following notices of the curious incised effigy of a bishop, exhibited by him, with some other rubbings of incised slabs existing in Germany.
The slab on which the effigy of Otto or Otho[1] twelfth bishop of Bamberg, is incised, is of a hard grey limestone or marble, and forms the top of a raised tomb, which stands in the middle of the eastern choir of the cathedral of that city, and measures 6 ft. 7 in. by 2 ft. 5 in. This prelate died in the year 1192, and as this memorial probably dates from that period, it would seem to be an earlier example of a work of the kind than any which has hitherto been noticed by English antiquaries.[2] The head and mitre, hands and feet were engraved on pieces of metal or of stone or marble let into the slab; these unfortunately have been lost; and only the matrices remain. The rest of the figure is expressed by incised lines.
