| P3 has note
| - This chasuble is made of two different velvets (front and back), both probably dating from the fifteenth century, two different plain-weave linen linings (front and back), and column orphrey on the front, a Y-shaped cruciform (<i>Gabelkreuz</i>) orphrey on the back. The orphreys seem to match each other in style and technique, though they have been cut down from longer pieces at some point before being applied to these velvets. A pink linen is used to line the back and an undyed linen the front. There is some evidence of a red dye staining the back. (During conservation, blue linen was found stitched into the seams at the neck, possibly evidence of a previous lining, and some very hard linen crin.) Some wax adheres to the front (that on the back was removed during conservation).
The red cut velvet of the front has a less complex design than that on the back. The symmetrical pattern is built up around a simple pomegranate motif on the front, and a more complex composition comprising both pomegranate and flowers on the back. Both velvets belong to the type described as ferronerie because of the finely delineated motifs which look like ironwork. On the back it is clear that prior to the application of this particular orphrey, a simple Latin cross had been stitched to the velvet. The front of the chasuble is heavily pieced, so that no single repeat of the very long motif is present (no less than eleven pieces of velvet have been cobbled together to create the front).
The orphreys are made of linen, embroidered with silver, silver-gilt and polychromatic silks (shades of blue, green, red, yellow). They are very worn in areas, thus making visible the linen ground and the inked outline drawn for the embroiderer to follow. Some areas of the design have been built up into raised work, providing a three-dimensional effect. Couched work and split stitch are the main forms of stitching, though there is also evidence of knotting (possibly not original).
The front column orphrey is embroidered with two full-length figures under Gothic canopies: the Virgin and child at the top, a saint with a crown below, holding a chalice and wafer (the Host). The figures are mainly embroidered in colours, though their attributes, the edge of their garments and their haloes are in metal thread. The background is of metal thread couched down.
The Y-shaped orphrey on the back has a ground of metal thread couched down. The dominant feature is the figure of Christ crucified on the cross (this figure is at least ten inches longer than any other on the band). At the foot of the cross stand the Virgin (hands in a gesture of prayer) and St John (a book in his hand). These figures have been cut down to fit the chasuble. The figure of Christ is long and emaciated, the original shading of the embroidery clearly showed the rib cage, and the contrast of the blood spouting from the wounds inflicted by the gruesomely large metal nails which pierce his feet and hands, and raised work emphasising his facial features and his halo. The halo is not only lavish in embroidery but also has three triplets (glass; see below) incorporated to highlight the cross embedded in the design (one triplet is now missing).* These must have caught the light. To the left and right of the cross, within the arms of the orphrey are small-scale, bust-length figures of angels, two on each side, all with haloes and wings. On the right, the figure with its head covered with its mantle, points to the cross (probably an older woman to go by the attire), while below the figure with long golden tresses, a diadem and peacock feather wings holds out a three-dimensional chalice to catch the blood of Christ. The chalice is formed in such a way that the blood can actually drip into it. On the left are two completely bare-headed angels, the lower one holding a chalice in the same way as his counterpart on the right hand side. Above the cross is a scroll containing the inscription INRI (the initials almost entirely worn away). A bird (eagle), wings spread, rests its claws on the scroll while behind him two peacock-winged angels swing hanging censers made of raised gold thread work The cross is very realistically depicted, some attempt at perspective being introduced through the use of plain versus 'grained' planes of the wood.
* Triplets are gems made from three different components which can be a broad spectrum of materials. In the case of the chasuble, the intention appears to have been to simulate cabochon rubies. The triplets here are made from two pieces of colourless transparent glass, each in cabochon form, the bases in contact, between the two is a transparent red cement. The joint is covered by the fabric 'setting'. As the red colour is reflected around the colourless glass the overall appearance is that of a gem with a red body colour. The cement has oxidised over time and so contracted and crizzled towards the edges and the colour is now largely lost. (Information provided by Joanna Whalley, Senior Metals Conservator) (en)
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