COLUMBIAN HISTORICAL EXPOSITION AT MADRID. 77 



alternating tints of gold, green, red, and white, which appear to be but little affected 

 by time, is very rich and harmonious. 



The display of church vestments is naturally very large, but for the most part 

 they are of an uninteresting period, viz, the end of the sixteenth and beginning of 

 the seventeenth century, rich in effect but too heavily charged with gold and raised 

 embroidery to produce a pleasing result. A good series of the kind is shown by the 

 Marquis de Cubas (room 23). 



In agreeable contrast to these later developments of embroidery are a few earlier 

 examples of the highest quality. First of these comes a cope of opus anglicanum 

 of the end of the thirteenth century belonging to the Cathedral of Toledo, and 

 stated to have been the property of Cardinal Gil de Albornoz (1367). It is of the 

 usual semicircular shape, embroidered in many colors with sacred subjects and figures 

 of saints under canopies. Along the straight side are six figures of bishops, a king 

 and queen, and the rest of the surface is entirely covered with a radiating design, 

 the central subjects being the coronation and assumption of the Virgin, the nativity, 

 the annunciation, and the Virgin and Child, and on either side of the outer edge 

 figures of the following saints: John the Evangelist, Edward the Confessor, Lau 

 rence, Mary Magdalen, Ethelbert, Dunstan, Margaret, Catherine, Thomas of Canter 

 bury, Olave, Stephen, Helen, Dionysius, Edmund the King, John the Baptist, and a 

 bishop without name. The inner circle is composed of eight figures of Apostles 

 SS. Paul, Simon, Philip, James, Andrew, Thomas, Bartholomew, and Peter. The 

 names are inscribed upon scrolls in Lombardic capitals. In the spandrils are placed 

 birds, executed in brilliant colors. It will be seen that certain of the saints are 

 especially English, and thus help to confirm the cardinal s description of his own 

 cope, as well as the internal evidence of the design and method of work, both of 

 which point to the conclusion that the cope is of English work. 



The Arclueological Museum of Madrid exhibits (room 12, 219) a similar &quot; capa 

 pluvial&quot; of the same date and work, but neither so rich in design nor so interesting, 

 nor is it in such a good state of preservation. This example has, moreover, been 

 described and figured in Lady Marion Alford s Needlework as an Art (London, 1886, 

 pi. 59.) The Diocese of Vich sends, among other choice objects, a very perfect and 

 beautiful abbatial miter (room 8, 100) of silk, embroidered with the Annunciation, 

 the two figures of the subjects being inclosed in quarterfoils on the two sides of the 

 front of the miter, with a border of crockets along the upper edge, and of fylfots 

 along the lower. The composition and drawing are of the refined style found at the 

 beginning of the fourteenth century, and the work was probably executed in France. 

 Except for the fading of the colors it seems in perfect preservation, even the iufula} 

 being complete. 



From the Cathedral of Mondofiedo have been sent the pastoral staff and sandals 

 of the Bishop Don Pelayo II of Cedeira (1199-1218), which are of interest from the 

 date being fixed. The former is of Limoges champleve enamel, of the usual simple 

 crook form, the head inclosing a figure of St. Michael killing the dragon, and having 

 a large flattened knop supported by gilt scrolls. The shoes are of somewhat inele 

 gant outline, reaching to the ankle, made of stuff, originally purple in color, with 

 bands of gold thread across the instep and down the middle of the foot to the toe. 

 The soles are nearly two inches thick, somewhat like a Chinese shoe, and the edges 

 are ornamented with stiff interlacing floral scrolls of the style usually found in 

 works of art at this period. 



Although they are not church vestments, it may be well to mention here the 

 mantle, berretta, and piece of the coat of the Infante Don Felipe of Castile, brother 

 of Alfonso the Wise and of Eleanor of Castile. These objects were taken from the 

 tomb of the infante at Villalca&quot;zar de Serga (Valencia). The mantle is of a rich 

 woven pattern, in gold and silk, of Moorish design, made in Granada, with the word 

 &quot;blessing&quot; in ornamental Cufic. The cap is very different in design, though it still 

 retains much of the Moorish character. It is cylindrical in form, somewhat longer 



