Textiles for the Coronation of Edward III

References

• D. King, ‘Sur la Signification de “Diasprum” Bulletin de Liaison du C.I.E.T.A., n (1960 ) pp. 42–47; ‘Two Medieval textile terms, “draps d’ache”, “draps d’arrest” ‘, Bulletin de Liaison du C.I.E.T.A., 27 (1968), 26–30; D. and M. King, ‘Silk Weaves of Lucca in 1376’, in I. Estham and M. Nockert eds, Opera Textilia Variorum Temporum, to honour Agnes Geijeron her ninetieth birthday … (Stockholm, 1988), pp. 67–76.
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• P. E. Schramm, The History of the English Coronation (Oxford, 1937), p. 79; Calendar of the Close Rolls of Edward III, 1, 1327–30 (London, 1896), p. 100.
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• J. Wickham Legg, Three Coronation Orders, Henry Bradshaw Society 19, (London, 1900), Appendix XI, henceforth CJ, pp. 121–24; see also ‘Edward III and the first known Ceremonial’, in C. Blair ed., The Crown Jewels, The History of the Coronation Regalia in the Jewel House of the Tower of London, 2 vols, 1, H.M.S.O. (1998), henceforth CJ, pp. 138–144. For a very detailed discussion of the Coronation of Richard III, see A. F. Sutton and P. W. Hammond, The Coronation of Richard III, the Extant Documents (Gloucester/New York, 1983–84).
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• PRO, E 101/383/6. For John de Feriby, see CPR, Edward II 1324–27 (1904 ), pp. 57, 59; Edward III 1327–30 (1891), pp. 28, 171, p. 412 (clerk of the works in Westminster Palace and the Tower, grant for life of the office, 19 July 1329), p. 169 (vicar of Crondall); Edward III 1330–34 (1893), p. 15 (clerk of the works at Westminster Palace and the Tower of London), pp. 176, 440, 500, 533, 547; Edward III 1334–38 (1895), p. 578 (attorney of the abbot at Rievaulx), pp. 130, 322 (controller of customs at Boston) pp. 6, 23, 518 (keeper of the King’s Wardrobe), pp. 522, $26 (retiring allowance for); Edward III 1338–40 (1898), pp. 22, 69, 102, 108, 284; Edward III 1340–43 (1900), pp. 77, 202, 232; Edward III 1343–45 (1902), pp. 72, 410, 568, 579; Edward III 1345–48 (1903), pp. 157, 494; Edward III 1350–54 (1907), pp. 508, 509, 516, (prebendary of York), 517.
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• E. W. Brayley and J. Britton, The History of the Ancient Palace and late Houses of Parliament (London, 1836), pp. 141–46.
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• PRO, E 361/3, Enrolled account of the Great Wardrobe; PRO, E 101/382/2, Roll of Purchase, Thomas de Useflete, 1327; PRO, E 101/383/2, Roll of receipts of Thomas de Useflete clerk and purveyor of the Great Wardrobe, 24 January 1327–24 January 1328; PRO, E 101/383/3, Roll of expenses, Thomas de Useflete, 1327/8; PRO, E 101/383/4 Roll of liveries of new knights; PRO E 101/ 383/5, Subsidiary documents to the accounts of Thomas de Useflete; PRO, E 101/383/9, Roll of receipt of Thomas de Useflete, 23 January 1330–24 January 1331.
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• Edward III was knighted on the day of the Coronation by Henry, Earl of Lancaster, W. Longman, The History of the Life and Times of Edward III, 2 volumes, (London, 1896), I, p. 6.
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• In the enrolled account of the Great Wardrobe, compiled some time after the Feriby Roll, some of the textiles from the Feriby Roll are listed, with the proviso, ‘tam p[ro] coronac[i]o[n]e Rfegis] & apparament’ novo [rum] milit\ quam p[ro] exequis d[i]c[t]i R[egis] Efdwardi] defuncti’, PRO, E 361/3, m. 8 dors. For example, not all of the cindon recorded on the Feriby Roll was used for the Coronation: of the c. 32 pieces of cindon de tripl’ and the c. 148 pieces of cindon ajforc’ listed by Feriby (Appendix A 40–43, 45–50), the use of only ten pieces of cindon afforc’ is specified in this account: 4 to form the valance of a canopy in Westminster Hall (Appendix A, 93), and 6 pieces to form part of the decoration of the wooden stage in Westminster Abbey (Appendix A, 69). The way in which all of the cindon was used, and how much remained at the end of the year, is detailed in PRO, E 361/3, m .10 dors.
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• T. Rymer, Foedera …, 3 volumes, 1816–25, 11 (1) (1818), pp. 33–36, henceforth O.
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• Earl Beauchamp, Liber Regalis… e codice Westmonasterii (Roxburghe Club, London, 1870), (Latin text), W. H. Bliss, L. G. Wickham Legg eds, English Coronation Records (London, 1901), pp. 81–112 (Latin), pp. 112–30 (English translation), henceforth LR; P. Binski, ‘The Liber Regalis, its date and European context’, in D. Gordon, L. Monnas and C. Elam eds, The Regal Image of Richard II and the Wilton Diptych (London, 1997), pp. 233–46.
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• Compare the purchases detailed in Thomas de Useflete’s roll of purchases, PRO, E 101/382/2.
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• PRO, E 101/383/3.
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• Anthony/Antonino, Bache/Bachino, CPR, Edward II 1324–27 (1904 ), p. 299; Edward III 1330–34 (1893), pp. 32, 117, 180, 397, 482; Edward III, 1334–38 (1895), pp. 93, 470, 53; Edward III 1338–40 (1898), pp. 128, 389, 403–04, 534; Edward III 1340–43 (1900), p. 159; Edward III 1343–45 (1902), p. 556; Edward III 1345–48 (1903), pp. 77, 171; Edward III 1348–50 (1905), pp. 222, 563; Edward III 1350–54 (1907), pp. 230, 400; Edward III 1354–58 (1909), pp. 475, 476. See also F. Devon, Issues of the Exchequer from King Henry III to King Henry VI inclusive (London, 1837), pp. 227–28, an entry relating to substantial royal debts to Anthony Bache, 1384/5.
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• James Nicholas, CPR, Edward II, 1324–27 (1904 ), p. 299; Edward III 1327–30 (1891), pp. 23, 102, 124, 140, 141, 168, 230, 231, 254, 333, 338, 344, 380; Edward III 1330–34 (1893), p. 397.
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• A. Wardwell, ‘Panni Tartarici: Eastern Islamic Silks woven with Gold and Silver (13th and 14th Centuries)’, in Islamic Art, III (1988 –89), 95.
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• L. Douet d’Arcq, Nouveau Recueil de Comptes de l’Argenterie des Rois de France (Paris, 1874), Account of Geoffroi de Fleuri, 1317, pp. 2–4.
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• A. Evans ed., Francesco Balducci Pegolotti, La Pratica della Mercatura, (Cambridge Mass., 1936 ), Nachetti, pp. 23, 36, 139, 216, Nacchi, pp. 36, 79, 139; for Marco Polo’s description of nasich and nac, see Wardwell, op. cit. n. 15 above, pp. 95–173, p. 95. See also J. C. Y. Wyatt and A. Wardwell, When Silk was Gold, Central Asian and Chinese Textiles, The Metropolitan Museum of Art in co-operation with the Cleveland Museum of Art (New York, 1977), pp. 14–15318, 127, 130–31.
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• See Wardwell, op. cit. (1988 –89), n. 15 above, passim.
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• PRO, E 101/383/8, p. 28a, a list of jewels and plate received into the charge of Robert de Wodehous, 1327, includes among other ecclesiastical ornaments: Due cape chor’ de una secta de quod’ panno de Nassich’ pouddella de g [ri[ffon’ & pavon ‘.
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• See Wardwell, op. cit. (1988 –89), n. 15 above, p. 144, who includes the ‘parmi de Tharse’ described in the St Paul’s Inventory of 1295, and in the 1315 inventory of Canterbury Cathedral, among the so-called ‘Tartar’ cloths.
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• E. Crowfoot, F. Pritchard, and K. Staniland, Medieval Finds from Excavations in London: 4, Textiles and Clothing c. 1150–1450 (London, 1992), p. 100.
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• Crowfoot et al., op. cit. n. 21 above, pp. 98–100.
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• Crowfoot et al., op. cit. n. 21 above, p. 100.
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• PRO, E 361/2, 4 r. and dors. Account of Robert de Tawton, Keeper of the Wardrobe of Edward III, of jewels, vessels of gold and silver and diverse other things remaining in his charge 29 September, 1332. These include ecclesiastical vestments, among which: j tunica de pann[o] tarsen’ cu[m] magnis st[ra]g[u]lis div[er]simode textis, jdalmatica depann[o] tarcen’ de div[er]si bestiis aur’ in sing[u]lis st[ra]gulis cu[m] flor[ibus] aur’ text’, j casula de panno de turky st[ra]g[ul]ata de div[er]si’ color’ cu[m] tunic’ dalmatic’ etc .…j casula de pann’ virid’ tarsen’ aurib[us] pise’ & flor’ aur’ pulv[er]izat’… j casula de panno de Turk’ st[ra]g[u]lat’ de auro avib[us] &flor[ibus]… j casula de rub[eo]pann[o] tarcen’ div[er]s[is] avi[bus] &florib[us] aur[eis] pulv [er] izat[o]. See also: PRO, E 101/385/19.
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• See Wardwell, op. cit. (1988 –89), n. 15 above, p. 144, for a list oïpanni de tharse or panni tarsici from inventories 1295–1315.
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• PRO, E 361/2, 4 dors.
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• For the silks from Cangrande della Scala’s tomb, see L. Magagnato, Le Stoffe di Cangrande (Verona, 1983); see also Wardwell, op. cit. n. 15 above (1988–89), figs. 5, 14, 15, 23–25, 41, 42.
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• For the French account, see Douet d’Arcq, op. cit. n. 16 above; for the English account, see PRO, E 361/2, 4 dors.
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• See F. Michel, Recherches sur le commerce et la fabrication et l’ usage des étoffes de soie, d’or et d’argent et autres tissus precieux en occident principalement en France pendant le Moyen Age, 2 vols., (Paris, 1852–54), 1, pp. 206, 236–41, 258, 11, p. 38; F. Fischbach, Ornament of Textile Fabrics (London, 1883), pl. 21 and accompanying text. V. Gay, Glossaire Archéologique du Moyen Age et de la Renaissance, 2 vols. (Paris, 1887), pp. 550–51. For diasper silks woven in Lucca, see also O. von Falke, Kunstgeschichte der Seidenweberei, 2 vols. (Berlin, 1913), 11, pp. 31–55, figs. 274–77; idem, Decorative Silks (London, 1936), p. 31, figs. 229–34; for diaspers from Antioch, see Falke, op. cit. 1913, p. 31, n. 2. See also the lengthy discussion by B. Tietzel in Italienische Seidengewebe des 13, 14, und 15 Jahrhunderts, Deutches Textilmuseum Krefeld (Cologne, 1984), p. 27ff.
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• Michel, op. cit. n. 29 above, pp. 236–41.
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• See Fischbach, Gay, Falke, loc. cit. n. 29 above.
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• King, op. cit. (1960 ), n. 1 above.
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• King, op. cit. n. 1 above (1988 ), pp. 68–69.
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• The high quality diaspers in the Victoria and Albert Museum are 1. T. 68–1910, 33.5 cm x 20.7 cm. Design of parrots, basilisks and stylized foliage. Brocading weft of gilt metal strip wound in S around a bright orangey-yellow S-twisted silk core; 2. T. 66–1910, 32 cm × 22 cm. Design of parrots, basilisks and stylized foliage. Brocading wefts of i) gilt silvered membrane wound in S around an S-twisted yellow silk core ii) red silk, Continuous pattern wefts of i) green silk, Discontinuous pattern wefts of i) black silk ii) white silk. Another piece of this silk is illustrated in D. Devoti, L’Arte del Tessuto in Europa (Milan, 1974), fig. 12, Lyon, Musée Historique des Tissus no. 27593, ascribed by Devoti, op. cit. n. 21 above, ascribes this to Italy, thirteenth century, and identifies the gold thread as ‘dark brown’. 3. 591–1884, composite fragment, 87.5 cm × 22.5 cm. Design’, parrots, lambs, stylized foliage. Brocading weft: gilt, silvered membrane wound in S around S-twisted yellow silk core.
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• King. op. cit. n. 1 above (1960 ), pp. 44–45.
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• Variant diasper, cf. Devoti, op. cit. n. 34 above, fig. 11, Florence, Museo del Bargello, no. 604 lampas silk, design of birds, quadrupeds and foliage, with heads and feet, and other details brocaded in gold; lampas weave, pattern formed by a continuous pattern weft of silk bound in tabby and by a brocading weft gilt membrane filé bound in weft-faced twill, on a satin ground, attributed by Devoti to Lucca, second half thirteenth century, but attributed by Tietzel, op. cit. n. 19 above, p. 44, to the early fifteenth century. However, the presence of a satin ground need not in itself prove that this silk is later than the fourteenth century, when various lampas silks with a satin ground were woven. For another ‘variant’ diasper, see Devoti, op. cit. n. 20 above, fig. 14, Lyon, Musée Historique des Tissus, no. 21990 (attributed by Devoti to Lucca, end thirteenth century), lampas silk, similar design to fig. 11, with a continuous pattern weft of silk and a silver membrane filé brocading weft, on a warp-faced twill ground.
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• Huggate was controller of the Wardrobe for eighteen months, and was succeeded by Thomas Garton in June, 1328, see T. F. Tout, Chapters in the Administrative History of Medieval England, iv (1928 ), pp. 74, 76.
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• Falke, op. cit. n. 29 above, 11, pp. 31–35, figs. 274–77, idem, Decorative Silks (London, 1936), p. 31, figs. 229–34.
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• Dyaspinus featured prominently at the Coronation of Philippa of Hainault and at her uprising following the birth of her son, 1330/1, see ‘Silk Cloths Purchased for the Great Wardrobe of the Kings of England, 1325–1462’, L. Monnas and H. Granger-Taylor eds, Ancient and Medieval Textiles, Studies in honour of Donald King, Textile History, xx (2), 1989, 283–308, 290; see also ‘iij dyapres sus champ vert et vermeil a oysiaus goutes d’or’, issued for the chapel of the Queen of France, 1320, or the ‘ij dyapres d’or de Lucques a oysiaus don’t les testes et les elles sunt d’or9 delivered to the same Queen, 1321, Douet d’Arcq, op. cit n. 16 above, pp. 15, 16.
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• Wardwell, ‘The Stylistic Development of 14th- and 15th- Century Italian Silk Design’, Aachener Kunstblätter, XLVII (1976 –77), 177–222, 182. In that article, a starting point for this particular group is suggested ‘in the second decade or so’ of the fourteenth century, which seems to be over twenty years too late. Falke, op. cit. n. 29 above correctly points to the remote antecedent of the design in the remarkably fine lampas silk from the tomb of Emperor Henry VI (d. 1197), in the British Museum, London, which has a design formed by a continuous pattern weft of gold thread, illustrated by Devoti, op. cit. n. 21 above, fig. 7.
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• L. Monnas, ‘The Price of Camacas Purchased for the English Court During the Fourteenth Century’, in S. Cavacciochi ed., La Seta in Europa Secc. XIII–XX, Jstituto Intemazionale di Storia Economica “F. Datini” Prato,Serie II — Atti delle “Settimane di Studi” e altri Convegni (Prato, 1993), pp. 741–53
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• King, op. cit. n. 1 above, 1988, p. 68. For examples of camacas excavated from fourteenth-century deposits in London, see Crowfoot, et al. n. 21 above, pp. 211–15.
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• Monnas, op. cit. n. 41 above, pp. 744, 749.
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• Wardwell, op. cit. n. 40 above, p. 182.
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• For camacas, see Monnas, op. cit. n. 41 above, passim.
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• During the Middle Ages, cindon or sindon was sometimes used to denote a linen textile and sometimes silk. In some texts, it was used interchangeably with cendal, which was a lightweight plain silk, see N. Harris Nicholas, ‘Observations on the Institution of the Order of the Garter’, Archaeologia, XXXI (1846 ), compare the entries on p. 12 with those on pp. 16 and 17. See the discussions of C. du Fresne Du Cange, Glossarium Mediae et Infimae Latinitatis ... 8 vols. (Paris, 1840–50), VI, p. 261, and Michel, op. cit. n. 19 above, 1, pp. 158–59, D. Jacoby, ‘Silk in Western Byzantium before the Fourth Crusade’, Byzantinische Zeitschrift, LXXXIV/V (1991/2), 2, pp. 452–500, esp. pp. 458–60.
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• King, op. cit. n. 1 above (1988 ), p. 74.
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• C.I.E.T.A., Notes Techniques (Lyon, 1957), pp. 23–24; G. Vial, Traces Techniques Français-Anglais, C.I.E.T.A. (Lyon, 1979), figs. 68, 69.
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• King, op. cit. n. 1 above (1988 ), p. 74.
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• See Jacoby, op. cit. n. 46 above, p. 464. Three 1:2 weft-faced compound twills excavated in London from deposits dating to the fourteenth century, some of which are ascribed to Islamic Spanish manufacture, have been published by Crowfoot, et al. op. cit. n. 21 above, pp. 101–03.
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• For a samite with part of a design of birds and other motifs excavated in London, from a context dated to the first quarter of the fourteenth century, see Crowfoot et al., op. cit., n. 21 above, pp. 101–02.
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• For the Coronation regalia, see n. 96 below.
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• King, op. cit. n. 1 above (1960 ), pp. 44–45.
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• Some of the tapets obtained for the Coronation were unpaid for several years later PRO, E 101 /383/9.
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• Crowfoot et al., op. cit. n. 21 above, pp. 69–71.
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• /Jew, op. cit., p. 70.
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• L. Monnas, ‘Fit for a King: Figured Silks shown in the Wilton Diptych’, in Gordon, et al. eds, op. cit. n. 10 above, pp. 165–77, esp. p. 172 and n. 44.
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• C. Wilson, ‘Rulers, Artificers and Shoppers: Richard II’s Remodelling of Westminster Hall, 1393–99’, Gordon, et al. eds, op. cit. n. 10 above, pp. 33–60, esp. p. 45 and n. 56, citing tapet’ as hangings.
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• LR, pp. 82/113.
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• For the Painted Chamber, see P. Binski, The Painted Chamber at Westminster (London, 1986).
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• For the state of St Stephen’s Chapel in 1327, see H. M. Colvin ed., The History of the King’s Works, i-vi (London, 1963–1982), 11 (1963), pp. 514–15 and p. 522. Clothing was ordered for the King for the ceremony of his receiving knightly orders: ‘Una tunic [a] j cappa de pann [o] pers’ ingrano iijs vjd. j tunic’j mantell’j capa de panno veluet’ purpur’ ad milicia Regis’, PRO, E 101/383/3, Roll of expenses, Thomas de Useflete.
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• O, p. 33.
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• ‘iiijpann’ adaur’pro bain’ regis coop[er]iend’, PRO, E 101/383/3.
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• The King probably wore a pair of buskins, CR, ‘il doyt est[re] chauce sanz soulers’; p. 121; O. ‘caligis tantum modo calciato’ p. 33; LR, ‘caligis tantum modo calciato’, pp. 83/114.
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• O, p. 33; the provision of striped cloth or burrell is first mentioned in the account of the Coronation of Eleanor of Provence in 1235/6, CJ, p. 118.
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• L. Wickham Legg, English Coronation Records (London, 1901), for the Coronation of Richard I, pp. 46–53, for the procession starting in the royal bedchamber, pp. 48/51.
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• Liber Regalis advises: ‘a lofty seat shall be prepared in the royal hall, and be suitably adorned with silken cloths of gold, on which the king that is to reign is to be raised with all gentleness and reverence, after having first bathed …’, LR, pp. 83/114; LR, pp. 108/129, mentions ‘the ray cloth to be laid under the feet of the king and queen as they go from the hall or their chamber to the stage in the church of Westminster …’ For Edward II, see Wilson, op. cit. n. 58 above, p. 276, n. 15.
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• CR, p. 167.
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• F. 44b. of the Coronation Book of Charles V, written in 1370s, shows the French King being ceremonially raised from his bed, E. S. Dewick ed., The Coronation Book of Charles V of France (Cottonian MS. Tiberius B. VIII) (London, 1899), fig. 3, pl. 11. For the dating of the Coronation Book of Charles V, see Paris, Réunion des Musées Nationaux, Les Fastes du Gothique (1981), catalogue no. 279, pp. 324–25, with thanks to Jenny Stratford for this reference.
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• CJ, p. 164, for the unrolling of ray cloth for Richard II’s procession (1377). LR, pp. 108/129, mention is made of ‘the ray cloth to be laid under the feet of the king and queen as they go from the hall or their chamber to the stage in the church of Westminster …’ CJ, p. 119, points out that the cloth was not always laid before the ceremony, citing a prescription for Elizabeth of York’s Coronation (1494) by which ‘yeomen holding ray cloth in their arms were to precede the queen, unrolling it before her all the way to the scaffold In the Abbey’.
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• LR, pp. 108/129.
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• CJ, p. 141, describes the King’s throne in the Great Hall as ‘covered with cloth of gold and Turkey silk’.
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• PRO, E 361/2, 4 dors., account of Robert de Tawton 1333–34, ‘u pann’ adaur’ in canab[o] pulv [er] izat’ de Arrnis R[egis] Angl[ie] & v de armis R[egis] Francie. ij pann’ de aur’ in canab[o] pulv [er] izat’ de div’sflor[i]b[us] & avibus…’
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• Brayley/Britton, op. cit. n. 5 above, p. 146, misleadingly describe the canopy thus, ‘The same day for a veil, on the side of the king’s seat, cloth of gold of linen ... 12 cloths, the same day, for 1 piece of velvet, for a veil, with labels, hanging before the table of the king strengthened with red and grey lawn ... 4 pieces’. Brayley/Britton have translated celura (a ‘ceeler’ or canopy in English) as a veil, and volettu (here interpreted as a valance) as a piece of velvet. Confusion is compounded by their interpretation of cindon rub’ et glauc afforc’ (red and yellow cindon ajforc’ to indicate that the confection was ‘strengthened with red and grey lawn’.
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• For the procession, see LR pp. 84–85 /115; see also CJ, p. 139.
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• O, p. 33;LR, p. 85/115.
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• O, p. 33; CR, p. 122; The Liber Regalis describes how the prince should first ascend the platform, where he would be enthroned, then the Archbishop should turn to each of the four sides of the stage in turn, showing the prince to the people who would give their consent to his Coronation, shouting ‘So be it, So be it’ and ‘Long live the King’, LR, pp. 85/116.
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• LR, pp. 81, 84/112, 114.
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• H. M. Colvin ed. op. cit. n. 70 above, 11, p. 507 and p. 1044, no. 40 (PRO, E 101/468/15), referring to the Royal seat ordered and made in [Westminster Abbey] in the middle of the choir in which the King and Queen were crowned, a memorandum ‘quod eadem sedes fuit lambruschiata circiter & ita alta quod homines ad arma videlicet comites Barones milites & alii nobiles possent equitare subtus eandem, et memorandum de diversis scansubus & meatubus factis ad eandem pro ascendendo & descendendo. ‘
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• CJ, p. 142 gives a misleading account of the decoration of the scaffold derived from the Brayley- Britton translation, op. cit. n. 5 above, p. 143.
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• The Coronation of Henry IV is depicted in BL, Harley 4380, f. 186v, reproduced in CJ, p. 169. This shows the King seated upon a throne covered in a silk cloth of gold displaying his royal arms, before a dorser of similarly decorated silk, with a canopy over his head. The floor of the stage is covered in a carpet with a striped border enclosing a geometric decoration of squares. The sides of the stage appear covered in mille-fleurs tapestries, and the stage is much lower than the prescription for Edward II’s stage which allowed room for horsemen to ride underneath it. For the dating of the Coronation Book of Charles V of France, see n. 69 above.
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• LR, pp. 84/114.
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• ‘St. Edward’s Chair’ was made for Edward I, to contain the Stone of Scone. During the reign of Edward II, it was placed near to the shrine of St Edward, as a reminder of Edward I’s achievement, Ronald Lightbown has suggested that it may have been perceived more as a memorial than a Coronation chair, see the discussion in CJ, pp. 144–47; by the late fifteenth century, it was firmly associated with the Coronation: Sutton and Hammond, op. cit. n. 3 above, p. 38, have concluded that St Edward’s chair was used upon the stage for the Coronation of Richard III. For the Coronation of Edward VI in 1547, St Edward’s chair was set upon a stage (how high is not known, but probably not as high as that for Edward III) called the ‘seege royall’. The stage was covered in 18 pieces of red saye of the largest assise, and five yards of red and green ‘changeable’ damask were issued to cover the step ‘whereon Sainte Edward chayre dothe stand upon the Seege Royall in the myde’, PRO, LC 2/3/Pt.1, pp.32–33.
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• The depiction of an English Coronation in the fourteen century in MS. 20, Corpus Christi College, Cambridge, shows the King seated on an elaborately carved, gilt and painted Gothic throne, that is equipped with cushions of cloth of gold but is undraped, ill. Wickham Legg, op. cit. n. 64 above, frontispiece. Even the portrait of Richard II enthroned in Westminster Abbey shows the King seated upon an undraped throne, with one cushion on the seat and none at his feet, ill. Gordon, et al. op. cit. n. 10 above colour plate 23.
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• Dewick, op. cit. n. 67 above, figs. 13, 14–16, 18–24, BL Cottonian MS Tiberius BVIII, ff. 50b–54b, 55b–59b. In fig. 24, f. 59b, showing the spiritual and temporal peers supporting the crown, Charles V’s faldstool is draped in silk with a cushion upon it.
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• For a discussion of the Tartar silks used in this painting, see L. Monnas, ‘Dress and Textiles in the St. Louis Altarpiece: A new light on Simone Martini’s working practice’, in Apollo, CXXXVII, No. 373 (1993), 167–74, esp. pp. 169–71.
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• O, p. 33; CR p. 122; LR, p. 117.
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• Cushions for the prostrations are mentioned in Liber Regalis, LR, p. 117.
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• CJ, p. 142, asserts that the Archbishop’s throne was set with two ‘chamber’ cushions. ‘Chamber’ was a mistranslation in the Brayley/Britton text (op. cit. n. 5 above) for camacas. There is an illustration in the Coronation book of Charles V, BL Cotton MS Tiberius B vm, f. 51b, reproduced in Dewick op. cit. n. 67 above, fig. 15, showing the archbishop reciting the prayer Te invocamus, seated upon his faldstool near to the High Altar, opposite the King, who in this case is kneeling at his faldstool.
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• CR, p. 122.
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• LR, pp. 92/118.
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• O, p. 33; CR, p. 122; LR, pp. 92/118.
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• PRO, LC 2/3/1.
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• PRO, E 361/3, m. 10 dors mentions two tapet’ for the cubit’ regi’i
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• Brayley and Britton op. cit. n. 5 above, p. 144: Cubiculum is there translated as chamber, camacas is also mis-translated as chamber.
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• The coif was to remain in place for seven days, after which time, the King’s hair would be washed by a bishop in a ceremony known as the dealbatio, see CJ, p. 100.
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• CR, p. 123. During the reign of Edward III, there were Coronation vestments stored in the Tower of London, which were distinct from the regalia associated with Edward the Confessor which remained in the Abbey, see CJ, pp. 265–67 see also F. Palgrave, The Antient Kalendars & Inventories of the Treasury of His Majesty’s Exchequer, in (1836 ), pp. 225, 253–54, 267, 274; see also Wickham Legg, op. cit. (1901), op. cit. n. 66 above.
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• LR, pp. 91–96 /119–20.
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• For St Edward’s ring, see CJ, p. 140.
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• CR, p. 123.
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• PRO, E. 361/3, mems. 8r–10 dors.
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• PRO, E 101/383/3. This seems to be an excessive amount of sindon for a normal coif which was a close-fitting cap.
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• This is described in LR, pp. 121–22, but CR, p. 123, does not describe this, merely referring to the Archbishop solemnly blessing the King and the people while the King sat enthroned upon the stage.
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• PRO, E 361/3, m. 8 dors.
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• LR, pp. 84/114, for the precedent of Queen Eleanor’s Coronation (1236), see CJ, p. 124.
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• CR, p. 121; LR, pp. 85/115; for precedents, see CJ, p. 124.
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• LR, pp. 85/115–116.
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• PRO, E 361/3, m. 8 dors. & ior, 3 cloths of gold of Nak, 4 1/4 cloths of diasper, 1 Rajfata cloth of gold, 24 canvas cloths of gold, 6 ells of velvet, 1 cloth of ‘ samitell paleat destive’i 2 cloths 1 ell of Tars, 6 pieces of cindon ajforc’i 44 tapet’, 2 cushions of samitell, and 12 of camacas.
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• PRO, E 101/382/2, Roll of Receipts, Thomas de Useflete, January 24, 1327/January 24, 1328: De Simone Fraunceys, Thoma’ Godchep’, Hugo’ de Garton & Joh’e de Perers m[er]cenar’ London’ Will’o de Thorp &Joh’e de Walmesford m[er]cenar’ Ebor’ de p’do’. Xijpann’ ad aur’ in serico de Nak p[re]c’pann’ Lvs, ixpann’Raffac’p[re]c’pann’ Ixs, xviijpann’ dyaspyn’p[re]c’pann’Liijs iiijd. iijpann’ dyaspynp[re]c’ pann’ Ixs, xxxij pann’ dyaspin’ p[re]c’ pann’ xls, xxiij dyaspyn’ p[re]c’ pann’ xiijs, vij pann’ ad aur’ in canab’ p[re]c’ pann’ xvs, x pann’ adaur’ in canab’ p[re]c’ pann’ xiijs, vij pann’ ad aur’ in canab’ p[re]c’ pann’ xijs, ijpec’ samitell’ alb’, p[re]c’pec’ xls, vjpec’ de tars’p[re]c’pec’ xls, xxj manuterg’ de Roan p[re]c’ pec’ xjd, xxix uln’ de straill’* (sic) p[re]c’ uln’ iiijd, vendic’ eisde[m] ad id[e]m p[re]c’ sicutprius emebat sicut cont’ in ro[tujlo dep[ar]tic[u]lis qui intitulât rotulus empc[i]o[n]is que[m] lib[er]avit in the[sau]ro… ccxlviij li ijs xijd. Information repeated PRO, E 361/3, m.9r. ‘straill’* is scarl’ in that text.
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• PRO, E 361/3, m. 10 dors. Only 48 of the tapets were used for the Coronation, the rest were used for the funeral of Edward II, and for furnishings attending the creation of knights.
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