84.
Hood of a Cope, figured with the Adoration of the Wise Men. Flemish, 16th century. 1 foot 8-1/2 inches wide, 1 foot 4-1/2 inches deep.
This is one of the best preserved and the most beautiful works of the
period in the collection, and is remarkable for the goodness of the gold,
which is so plentifully bestowed upon it. It is somewhat large, and the
three long hooks by which it used to hang are still attached, while its fine
green and yellow silk fringe is a pleasing specimen of such a kind of
decoration.
540.
Purse in crimson velvet, embroidered with comic masks, and mounted in chased steel damascened in gold. Attached is a crimson Band with a Buckle of cut and gilt steel. Milanese, 16th century. 11-1/2 inches by 11 inches.
The rich crimson velvet is Genoese; the frame, an art work of the
Milan school, is figured with two monsters' heads, and two medallions,
one containing a naked youth seated, the other a nude female figure
standing. On the front of the bag are applied two embroideries in gold
and coloured silk, one an owl's head, the other that of a full-faced
grotesque satyr; on the back is another satyr's side-face. At one
time, such bags or ornamental purses, under the name of "gibecières" in
France and England, but known in Italy as "borsa," were articles of
dress worn by most people; and "the varlet with the velvet pouch"
will not be forgotten by those who have read Walter Scott's novel of
"Quentin Durward." The expressions, in English of "cut-purse," in
Italian "taglia borse," for a pickpocket, are well illustrated by this gay
personal appendage.
623.
Piece of Edging; ground, purple thread-net; pattern, bunches of flowers, of two sorts alternated, in various coloured flos-silks. Italian, 18th century. 5 feet 5 inches by 5 inches.
