signifies the revelation given her from heaven, and the blessing that followed it; while the two stars tell of Jerusalem, as also does the elaborately-fashioned cross that is standing on the altar, the frontal to which, in the upper border, seems ornamented in purple, with an inscription, now unreadable, but the last letters of which look as if they are R L I. The bird, perhaps a dove, has no part in the saint's history, but is a fancy of the artist. In Dr. Bock's "Geschichte der Liturgischen Gewänder des Mittelalters," 1 Band, 1 Lieferung, pl. xi. is a figure of this stuff.
1312.
Silk Damask; ground, crimson; design, a complication of geometric lines and figures in yellow, blue, green and white. Moresque, 15th century. 22-1/2 inches by 18-1/2 inches.
Those who know the ornamentation on the burned clay tiles and
the gilt plaster ceilings in the Alhambra at Granada will recognize the
same feeling and style in this showy stuff, the silk of which is so good,
and the colours, particularly the crimson, so warm.
1313.
Part of an Orphrey; ground, deep crimson satin, edged with a narrow green band; design, three apostolic figures beneath Gothic canopies, all wrought in gold thread and coloured silks upon canvas and applied. German, early 15th century. 30 inches by 7-1/4 inches.
Each figure is nicely worked; and the first, beginning at the top,
holding a sword erect in his right hand, is St. James the Greater;
beneath him, with a halbert, St. Matthew; and last of all, holding in
one hand a book, in the other a sword, St. Paul. The flowery crocketing
running up the arches of the niches is particularly good.
