Discovering Treasures: by Richard Hawker

Pre-Reformation and a Touch of Restoration

Richard Hawker, Head Sacristan

The Chalice Veil and the Stole, featuring 19th century embroidery work

So far our forays into the Cathedral treasures have focussed on church plate. This month I want to look at a set of vestments. Those who know something of embroidery will instantly recognize something of the mediaeval about this set, and you would be right: it is one of several sets of pre-Reformation vestments in the Cathedral’s possession. They come to us from the home of the Blount (latterly Riddell-Blount) family: Mapledurham House, near Pangbourne.

Of course, not all of the set is pre-Reformation. The orphreys, that is the two embroidered panels, front and back, as well as the front of the burse (the purse used to hold the corporal), are most likely late 15th / early 16th century. Though much restored in the 19th century, possibly at the time they were made into the current set of vestments, which are of red silk velvet, made in a ‘Pugin’ style.

The embroidered figures themselves carry scant iconography, meaning a bit of guesswork is required as to the characters’ identity. However, we can guess one or two. The back depicts the crucifixion, with the two other Persons of the Trinity above, and angels around, holding chalices to catch the Precious Blood. Below are two figures: a woman, and a young man; presumably Our Lady and St John, so often depicted with the Cross. The front gives us St Helena, mother of the Emperor Constantine, in the centre holding the Cross of Christ. Above and below are two male saints: the top possibly St Bartholomew with his skinning knife, the lower saint holding a staff, but with no other signs: could this be St James of Compostela?

The story of these vestments does not end with the ancient embroideries. In making this set, more embroidery was added, most notably to the chalice veil, depicting two angels adoring a chalice, as well as the crosses on the stole and maniple, in gold silk thread, possibly by a member of the Riddell-Blount family, as they had become by this point. With a different hand at work on the burse from the rest of the vestments, as well as additional work, and remaking, the set as a whole presents a delightful example of ‘Unity by Inclusion’.

The Burse, to contain the Corporal The front of the Chasuble; St Helena, in the centre, holds the Holy Cross

The back of the Chasuble, featuring the Crucifixion with attendant angels