and still more so by the inscriptions on the imperial robes now preserved at Vienna . The most remarkable ofthese is the alb, upon which are embroidered these words: “ Operatum felici urbe Panormi XV anno dni’ W de’gra’ regis Sicilie ducat* Apulie et Principat cap’ filii regis W indictione XIII (a.d. 1181).” There is, likewise,a Cufic inscription, but unhappily illegible, the ingenuity of the German antiquaries having as yet only beenable to decipher the name of Otho.
M. Potier, to whom we are indebted for these details, also mentions an inscription in similar characterson the cope, containing the information that it w r as made in the year of the Hegira 528 (a.d. 1133), in
the capital of Sicily , and finishing with wishes for the health of the king, Roger. The whole of these imperial
robes are well deserving of the study of the antiquary and artist, inasmuch as they present at one view thewhole processes of "weaving and embroidery in the precious metals, with the application of pearls and jewels,an art in great request during the Byzantine period and throughout the whole of the middle ages.*
We learn from the MSS. that the practice of ornamenting the borders of vestments with jewels wascommon with the nobility and higher classes in Byzantium ; and it is by no means improbable that in nearlyall these cases the jewels were false, as we find them employed in the same profusion in the representationsof furniture, See.; while the extensive manufactories of glass, which were principally employed in the productionof the mosaic work, would offer great facilities for carrying into practice that process of making false gems,so accurately described by Theophilus.f
The commerce of Greece in precious textile fabrics had probably become very nearly extinct before the
end of the Crusades , as most of the patterns we meet with after that time present us with decidedly Gothic
types. An exception must, however, be made with regard to Venice and Genoa, the former of which retainedtraces of Byzantine influence down to a very late period, more especially in the profuse employment ofprecious stones and pearls (or their substitutes) in most of the works where embroidery was required.
The other countries of Europe either made their own stuffs or imported them from a nearer emporiumthan Byzantium; and when we consider the various apparels and orfreys required in a single set of priest’svestments, we can easily believe that the trade of the “ Broudeurs” was by no means an idle one. These“ Broudeurs,” as their name implies, were only employed upon the orfreys, and do not appear to havecompleted entire vestments, which latter branch of the trade was occupied by the “ Chasubliers,” “ Etoliers,”&c., who most probably dealt in but one kind of vestment.^
M. Redet has disinterred from the archives of Poitiers § the bill of Colin Joyle for making theembroidered orfreys of a cope for the use of Charles VII. , and for which he was to be paid the sum ofthirty-five crowns; by no means an extravagant price, considering that the work was composed almost entirelyof figures, and that two centuries before Philip III. confessed to Joinville that some of his embroidered garmentshad cost him as much as 800 livres Parisis.
We must not omit to mention that St. Gregory sent sundry vestments and altar furniture intoEngland for the use of the new church which St. Austin had just established. These, no doubt, in the firstinstance, became models for the imitation of the Anglo-Saxon ladies, and so successfully did they pursue theart, that early historians especially praise our nation as excelling in three things: viz., goldsmith’s work, theilluminating of manuscripts, and the embroidery of vestments. While we are obliged to doubt whether animpartial writer would say as much for us in the present day, we cannot but hope, considering the impulsegiven to these arts of late years, that at no very distant period the dead text may become a living reality.
* When the tomb of Edward I. was opened by the Society of Antiquaries in the last century, the stole was found to be decorated alternatelywith seed pearls and “plaques” of metal, containing false jewels.
f “ Schedula diversarum artium.”
t See le Dit de la Queue de Renart in “Jubinal’s Dits et Contes.” § “Annales Archeologiques,” vol. i. p. 27 .