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Image for Embroidered Altar Frontal with Standing Saints
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Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail
Embroidered Altar Frontal with Standing Saints Thumbnail

Embroidered Altar Frontal with Standing Saints

Florentine (Italian) (?) (Artist)
before 1369 (Medieval)
silk and silver thread on linen
(Medieval Europe , Textiles and Furniture )

This tapestry frontal from the fourteenth century was made in Italy, but found its way to England, where it was owned by John Grandisson, bishop of Exeter (r. 1327-1369). Grandisson was an avid patron of the arts who had traveled widely in Europe, and he often imported works of art from continental Europe to England. His coat of arms was added to the panel in two places, to the garments of Saints Stephen and Lawrence (the second and fifth saints on the panel). By adding his heraldry to the garments of Stephen and Lawrence, both deacons, Bishop Grandisson associated himself with these revered servants of the Church. The cloth is made of linen cord wrapped in silver, and the vines surrounding the saints were embroidered to create a raised pattern, enhancing the reflective quality of the panel. It shows a parade of martyrs who would have probably flanked a central image of the Virgin, now lost. The references to the sacrifices of these saints would have called to mind the Eucharist, a rite celebrated in remembrance of Christ's sacrifice.

Provenance
Provenance (from the French provenir, 'to come from/forth') is the chronology of the ownership, custody, or location of a historical object. Learn more about provenance at the Walters.

John Grandisson, Bishop of Exeter (1292-1369); Bacri Antiquaire, Paris [date and mode of acquisition unknown]; Walters Art Museum, 1973, by purchase.

Conservation

Date Description Narrative
10/11/1973 Examination examined for condition
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Geographies

Italy, Florence (Place of Origin)

Measurements

Overall (panel 1) : H: 32 5/16 × W: 38 3/16 in. (82.1 × 97 cm)
Overall (panel 2): H: 29 15/16 × W: 36 1/4 in. (76 × 92.1 cm)
Overall: H: 39 × W: 64 5/8 × D: 1 in. (99.1 × 164.1 × 2.5 cm)

Credit Line

Museum purchase in memory of Dorothy Miner with funds provided by the Laura F. Delano Fund, 1973

Location in Museum

Not on view

Accession Number

In libraries, galleries, museums, and archives, an accession number is a unique identifier assigned to each object in the collection.

83.716

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Related Objects

Image for Embroidered Altar Frontal with Saints Margaret, Stephen, and John the Evangelist

Embroidered Altar Frontal with Saints Margaret, Stephen, and John the Evangelist

Florentine (Italian) (?)
before 1369 (Medieval)
view details
Image for Embroidered Altar Frontal with Saints Paul, Lawrence, and Catherine

Embroidered Altar Frontal with Saints Paul, Lawrence, and Catherine

Florentine (Italian) (?)
before 1369 (Medieval)
view details

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