| P3 has note
| - This collar would have complemented a dalmatic, the priestly garment worn by deacons involved in Christian ceremonies. In Spain it became established in the 16th century in place of the amice (Pauline Johnstone. <i>High Fashion in the Church</i>. Leeds: Maney, 2002, p.142). The five wounds gushing blood, embroidered on this collar, represent the Five Wounds of Christ, or the stigmata. These wounds were the marks from his crucifixion - one to each hand and each foot where he was nailed to the cross, and one on his right side where he was pierced with a lance. They drew attention to the suffering he experienced on behalf of mankind. It was probably made in a professional embroidery workshop or in a convent where nuns engaged in the making of ecclesiastical vestments.
Collars such as this one are often depicted in paintings of St Lawrence who died before becoming fully ordained as a Catholic priest; the combination of dalmatic and collar indicate his status as a deacon. Such depictions show that the collar fitted high around the neck of the wearer, curving round the neck so that the maximum height was at the back; the rounded front edges tied together by means of cords attached at each end and completed by a large tassle. Often the imagery or decoration on the collar echoed that of the panels on the front, back and sleeves of the dalmatic, although in miniature because of its size. Good examples appear in two paintings of St Lawrence by Francisco de Zurbaran, the first (1636) is a front view in The Hermitage, St Petersburg and the second (1638-9) is a side view in the Museo Provincial de Bellas Artes, Cadiz. The depth of colour of the dalmatic in the first of these paintings suggests it may represent quite closely the original ensemble which this collar would have complemented. Both are illustrated in Jonathan Brown. <i>Zurbaràn</i>. New York: Harry N. Abrams, Inc., 1991, pp.24 & 100.
During the Counter-reformation in the second half of the sixteenth century and thereafter, the expression of intense emotion was expressed through a variety of religious artefacts, from painting and sculpture to ecclesiastical vestments. The Council of Trent (1545-63) revitalised religious art in order to arouse religious fervour. The imagery on vestments was therefore part of a wider movement in the plastic arts. For example, in Spain, the great power at the forefront of the Counter-reformation and the likely source of this collar, the Holy Week processions which immediately preceded Easter used sculpture of Christ crucified and taken down from the cross to excite emotion in the ordinary people who lined the streets. For much of the year, these sculptures were kept in their own chapels within churches, where they could be venerated. In such pieces, the agony of Crucifixion was evident because the wounds were so realistically depicted on carefully carved representations of human bodies with horrendous gashes of red wounds. The wounds on this collar are an evocative shorthand of this vivid three-dimensional imagery and would have been easily understood by a largely illiterate popular audience. (See for example some of the work of the Castilian sculptor Gregorio Fernandez in Juan Jose Martìn Gonzalez. <i>Escultura Barroca Castellana</i>. Madrid: Fundaciòn Làzaro Galdiano, 1959, p. 155, Fig. 88 Christ on the cross (Valladolid, Iglesia del Carmen); p. 56, Fig. 89 and 90 Cristo yacente (Segovia Cathedral and Valladolid, Museo Nacional de Escultura Policromada, originally from San Neri, Madrid; p. 157 fig. 91, Cristo yacente (Valladolid, Convento de Santa Ana) For Andalusia, see Susan Verdi Webster, <i>Art and Ritual in Golden-Age Spain</i>. Princeton: Princeton University Press, 1998, p. 96, Francisco Antonio Gijòn, Cristo de la Expiraciòn, 1682; p. 115, Fig. 40 Cristòbal de Morales, El entierro de Cristo, early 16th century) (en)
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