http://collections.mfa.org/collections/objectsrdf/314121;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCETextileshttp://collections.mfa.org/internal/media/dispatcher/961859/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961814/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEBedcover18th–19th centuryLinen plain weave, embroidered with silkThree panels of linen worked in running, double running, darning, and cross stitches in polychrome silk threads and joined together with striped yellow and blue silk ribbon. Border design of large fantastical, peacock-like birds and jars of flowers (tulips, carnations etc.) on which small birds are perched. Center floral medallion flanked by stylized birds and flowers, and four men smoking pipes, worked in pastel colors (center panel probably added later). Finished at ends with buttonhole stitch in green silk, and small points of needle lace stitch with red silk.http://collections.mfa.org/objects/detailsrdf/66276;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961854/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEBedcoverabout 1895Charles Francis Annesley VoyseySilk plain weave, block-printedHanging consisting of 2 loom widths intended to be sewn together thereby creating central field with border running along 2 sides and bottom. Design of field: large yellow tulips with green intertwining stems and leaves against orange ground; rows of upright tulips alternating with rows of downward hanging tulips. Border: small yellow buds with long spiralling green stems. Band of white silk along lower edge. Condition very good except for tears along top and bottom. Designed for G.P. & J. Bakerhttp://collections.mfa.org/objects/detailsrdf/272966;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/965101/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCECoverlate 17th to early 18th centuryWool, silk, cotton, and linen interlocked and dovetailed tapestryTapestry-woven cover with design of Chinese-influenced motifs: large fantastic birds, animals, and flowers, woven with yellow, green, blue, violet, white and pink wool, with a little silk, on a crimson wool ground. Three borders with designs similar to main field.http://collections.mfa.org/objects/detailsrdf/68440;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/965098/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCECovermid-18th century or laterWool and cotton interlocked tapestry and dovetailed tapestry with eccentric weftsWarp: cotton. Weft: wool. Design: main field, dark blue with baskets of fruit urns of flowers, with oblong panels at both ends in each of which are human beings, or whom four appear to be Europeans in 18th-century costumes with swords. Four conventionalized floral borders surround the field, colors blue, pink, yellow, olive green, and white.http://collections.mfa.org/objects/detailsrdf/72960;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/979163/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCECrazy quilt1875–1900Celestine BachellerSilk plain weave, velvet, and satin, pieced and embroideredBrilliantly colored bits of silk and plush pieced to form twelve rectangular compartments, each showing a landscape and said to represent houses in the area of Wyoma, Massachusetts (near Lynn). Details worked in brilliantly colored silk yarns. A number of details worked in the round may be lifted. Bordered with purple plush, lined with russet-red satin (worn).http://collections.mfa.org/objects/detailsrdf/115539;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961837/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCECrib quiltabout 1744Silk satin, backed with silk plain weave and quiltedWhole cloth quilt of yellow silk satin, medallion quilted in center with quarter medallions in the corners, ground quilted with scallops; hand-quilted with about 9 stitches per inch, ivory silk lutestring backing, wool fleece batting. According to donor, quilt probably belonged to Mary Cooper, born in Boston in 1744. There are about 6-9 quilting stitches per inch.http://collections.mfa.org/objects/detailsrdf/48250;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961829/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCECushion cover1580–1630Linen plain weave, embroidered with silk and metallic threads, peacock-feathers, and spanglesPillow cover with scenes from Ovid's Metamorphoses. Intertwined vines with flowers and leaves form rosettes enclosing insects, with figures and animals filling the spaces, including harpies, Pan, Apollo and Daphne.http://collections.mfa.org/objects/detailsrdf/117884;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/1203817/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEEmbroidered overmantel with original frame1745–50Eunice BourneLinen plain weave, embroidered with wool, silk, metal-wrapped thread, and glass beadsEmbroidered overmantel with three scenes: spinning lady, fishing lady, and strolling couple. Worked in polychrome wool and silk in tent and knot stitches, with glass beads and metallic yarn. Original frame, wooden slats dividing scenes missing.http://collections.mfa.org/objects/detailsrdf/67723;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/844023/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEEmbroidered panel14th centuryLinen plain weave, embroidered with silk and metal-wrapped threadEntombment of Saint Vigiliushttp://collections.mfa.org/objects/detailsrdf/49020;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961843/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEEmbroidered picture1739Ann PeartreeLinen plain weave embroidered with wool and silkLinen plain weave, embroidered with wool and silk (brown, blue and white silk in tent stitch). Grassy, hilly landscape with seated figure of a woman holding a bouquet of flowers in left hand and a sickle in her right, possibly Summer; oak trees left and right. In foreground, Cupid, dogs, lamb, bird and flowers. Narrow strip of finer linen sewn across bottom, embroidered with blue silk in cross stitch "Ann Peartree 1739". Faded, true colors on back, some crewels gone in small areas.http://collections.mfa.org/objects/detailsrdf/114007;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/786640/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEFragment with wrestling lions and harpiesEarly 12th centurySilk lampas with supplementary discontinuous metal-wrapped patterning weftsFragment of shroud believed to have been part of the shroud of a bishop of Burgo de Osma. Design of pairs of lions attacking human-headed birds within circles connected by smaller circles containing inscriptions, woven with red, green, and light brown silk (weft) and gold thread (brocaded). The inscription has been translated by R. Guest as follows "This was made in the town of Baghdad, may God guard it."http://collections.mfa.org/objects/detailsrdf/66254;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961846/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCELength of furnishing fabric1761Robert JonesCotton plain weave, copperplate-printedCopperplate printed in red by Robert Jones (inscribed: R. JONES 1761"). Design shows woman spinning and sheperd seated on stone wall playing flute. Print source is the etching by Nicholas Berghem, dated 1652 (MAF# HDP 8338).http://collections.mfa.org/objects/detailsrdf/114345;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961859/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCELength of furnishing fabricabout 1927Maurice DufrèneRayon and cotton jacquardCubist-inspired Art Deco furnishing fabric in grays, pink and cream in large scale, abstract, geometric pattern.http://collections.mfa.org/objects/detailsrdf/272195;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961863/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCELength of furnishing fabric: "Trapeze"1950–54Laverne Inc.Linen plain weave, screen-printedWhite linen handprinted with yellow and green right triangles overlapped with black vertical-striped right triangles and overprinted with black horizontal stripes.http://collections.mfa.org/objects/detailsrdf/445135;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/965097/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCELength of velvetfirst half of 16th centurySilk cut and voided velvet with supplementary metal-wrapped patterning weftsSilk velvet length probably the sleeve of a caftan; red ground of cut silk pilewith voided design of cintamani, or "tiger stripes" and "three balls," brocaded with metal thread (metal wound on yellow silk).http://collections.mfa.org/objects/detailsrdf/73248;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/978932/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEMariner's compass bed quilt1840–50Cotton; plain weave, printed, pieced and quilted, plain weave backingMariner's Compass (term in use since 1790s) patterned quilt of nine squares with thirty two points each. White cotton background printed with small brown chevrons, squares bordered with red cotton printed with yellow and brown flowers, Mariner's Compass made of yellow, red, and indigo small-patterned chintzes. Reverse applique in center of compass, hand-pieced and quilted.http://collections.mfa.org/objects/detailsrdf/128991;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961852/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEOne face of a cushion cover18th or 19th centuryLinen and cotton plain weave, embroidered with silkOne face of a cushion cover, probably made from a larger piece cut down. Worked in satin stitch with blue silk yarns on probably a linen and cotton ground. Scrolling floral design includes birds, double-headed eagle, insects, and double-tailed mermaid whose fish tails merge with carnations; scrollwork border along one edge.http://collections.mfa.org/objects/detailsrdf/123588;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/965105/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEPanels from a bed tent18th or 19th centuryLinen plain weave, embroidered with silkhttp://collections.mfa.org/objects/detailsrdf/52031;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/965115/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEPictorial carpetabout 1590–1600Cotton warp and weft with wool knotted pileWarp, white cotton; weft pinkish brown cotton(?) apparently two threads between each row of knots. One hundred Persian (Sehna) knots to a square centimeter; pile, wool. The ground of the main field is of dark red. The design main field is dark red. The design of houses, men, real and imaginary, birds, and animals is of light tan, dark blue, greens, yellow, white and red. The ground of the main border is light neutral tan, on this is a design of palmettes filled with masks and separated filled with masks and separated by flowers and Chinese looking birds. The inner guard band has a floral design; the outer one has a reciprocal design.http://collections.mfa.org/objects/detailsrdf/71487;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/1624163/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEPictorial quilt1895–98Harriet PowersCotton plain weave, pieced, appliqued, embroidered, and quiltedAppliqué quilt, dyed and printed cotton fabrics applied to cotton. The quilt is divided into fifteen pictorial rectangles. Worked with pieces of beige, pink, mauve, orange, dark red, gray-green and shades of blue cotton.This extraordinary quilt was created by Harriet Powers, an African American woman who was born into slavery in Clarke County, Georgia on October 29,1837. This quilt (together with Powers's descriptions and small portrait photograph) was presented by a group of "faculty ladies" at Atlanta University to a trustee by 1898. Powers had created a similar quilt around 1886, which had been exhibited at the Cotton States Exposition in Atlanta in 1895.The following are Powers' descriptions of all fifteen blocks starting in the upper left and moving to the right.FIRST ROW: 1. Job praying for his enemies. Job crosses. Job's coffin. 2. The dark day of May 19, 1780. The seven stars were seen 12 N. in the day. The cattle wall went to bed, chickens to roost and the trumpet was blown. The sun went off to a small spot and then to darkness. 3. The serpent lifted up by Moses and women bringing their children to look upon it to be healed. 4. Adam and Eve in the garden. Eve tempted by the serpent. Adam's rib by which Eve was made. The sun and the moon. God's all-seeing eye and God's merciful hand. 5. John baptizing Christ and the spirit of God descending and resting upon his shoulder like a dove. SECOND ROW: 6. Jonah cast over board of the ship and swallowed by a whale. Turtles. 7. God created two of every kind, male and female. 8. The falling of the stars on Nov. 13, 1833. The people were frightened and thought that the end had come. God's hand staid the stars. The varmints rushed out of their beds. 9. Two of every kind of animal continued...camels, elephants, "gheraffs," lions, etc. 10. The angels of wrath and the seven vials. The blood of fornications. Seven-headed beast and 10 horns which arose of the water. THIRD ROW: 11. Cold Thursday, 10 of February, 1895. A woman frozen while at prayer. A woman frozen at a gateway. A man with a sack of meal frozen. Icicles formed from the breath of a mule. All blue birds killed. A man frozen at his jug of liquor. 12. The red light night of 1846. A man tolling the bell to notify the people of the wonder. Women, children and fowls frightened by God's merciful hand caused no harm to them. 13. Rich people who were taught nothing of God. Bob Johnson and Kate Bell of Virginia. They told their parents to stop the clock at one and tomorrow it would strike one and so it did. This was the signal that they had entered everlasting punishment. The independent hog which ran 500 miles from Georgia to Virginia, her name was Betts. 14. The creation of animals continues. 15. The crucifixion of Christ between the two thieves. The sun went into darkness. Mary and Martha weeping at his feet. The blood and water run from his right side.http://collections.mfa.org/objects/detailsrdf/116166;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/1822362/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEPortière made from Morris & Co. Oak damask (one of four)1892–93May MorrisSilk damask, embroidered with silk in darning, satin, stem, long-armed cross, buttonhole and couching, with silk fringe and cotton liningSilk yarns embroidered on green floral damask "Oak" designed by William Morris for Morris & Co., 1880-1881. Signed "MM" (May Morris, daughter). Eight long-trunk fruit trees bearing plums, pomegranates, apples, oranges(?), cherry blossoms; climbing vines. Inscription at top of panel: LO SILKEN MY GARDEN and SILKEN MY SKY AND SILKEN MY APPLE BOUGHS HANGING ON HIGH.http://collections.mfa.org/objects/detailsrdf/156016;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/928909/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEQuilt1835-40Wool plain weave, pieced, quilted, and embroidered with wool and cottonPieced wool quilt in green, orange, and black with appliqued figures of people, animals, floral elements, and geometric motifs. Scalloped edges with cut-outs at bottom corners for bedposts.http://collections.mfa.org/objects/detailsrdf/462617;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/961865/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEReconstituted Commercial Textile1960Ed RossbachBleached commercial printed cotton plain weave, encased in polyethylene tubing, and re-woven in a plain weaveReproduced with permission.http://collections.mfa.org/objects/detailsrdf/447939;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/920689/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCERug (Chinle revival)1920–40Handspun wool tapestry weave with diagonal and dovetailed joinsChinle revival blanket, could be used as a bed cover, soft vegetable dyed) with natural white and synthetic experimental Dupont red dyehttp://collections.mfa.org/objects/detailsrdf/443365;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/813468/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCESampler1771Sally JacksonLinen plain weave, embroidered with silk in cross, eyelet, split, French knot and stem stitchesLarge pictorial sampler with elaborate floral border embroidered primarily in satin stitch; central portion of sampler includes an alphabet, a moral verse, and a pastoral scene in the center with stag and parrot in a tree.Moral verse: "From My Beginning May The / Almighty Powers Blessings Bestow / In Never Clearing Showers May / Plenty Dissipate All Worldly Cares / And Smiling Peace Bless My / Revolving Years" "Sally Jackson Her Sampler 1771"http://collections.mfa.org/objects/detailsrdf/336736;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/977843/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCETapestry: CoverLate 16th–17th century or laterCotton and wool interlocked and dovetailed tapestryCotton warp, wool wefts. The field shows a latticework formed of ribbons tied in pairs at their tangent points, against a pinkish red ground. Each compartment contains a motif showing stylized leaf or flower forms. The border shows an undulating leafy vine in which birds and footed urns appear. In the center of each segment of the border is an oval compartment; two contain single lions; the other two contain single crane-like birds. Narrow guard bands flank the border. The entire piece shows only shades of red, yellow and white.http://collections.mfa.org/objects/detailsrdf/116430;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/1494357/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCETapestry: Narcissusabout 1500Wool and silk tapestryThis tapestry illustrates the tale of Narcissus, taken from Ovid's Metamorphoses. The story of Narcissus tells of a beautiful young man whom the gods caused to fall in love with his own reflection as punishment for his cold-hearted rejection of the love of others. Narcissus was a popular subject in the art and poetry associated with the medieval tradition of courtly love. In this tapestry, he is presented as a fashionably-dressed young man gazing at his reflection in the stone fountain set within a beautiful garden filled with birds and small animals. http://collections.mfa.org/objects/detailsrdf/37423;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/900924/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCETapestry: "Penelope at Her Loom" a fragment from "The Story of Penelope and The Story of the Cimbri Women" (from the series, "The Stories of Virtuous Women")about 1480–83Wool tapestryIn the center foreground, a richly dressed woman (Penelope) is seated at a carpet-covered table. Only the upper half of her figure is visible. A small loom rests on the table before her. In her right hand she holds a shuttle while her left hand manipulates the harnesses of the loom. The entire composition is framed by a delicate cusped arch supported on a pair of slender columns. Across the front edge of the table is the following inscription: PENELOPE COIVNX SEPER VLIXIS ERO. The tapestry is woven using wool yarns in rich blues, greens, reds, and yellows with 5-6 warp threads per centimeter. "Multiple hand drawn objects" are woven across the lower part. This is the third tapestry in a series bearing arms of Ferry de Clugny.http://collections.mfa.org/objects/detailsrdf/67035;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/813462/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCETapestry: The First Four Articles of the Creedabout 1475–1500Wool and silk slit tapestryJeweled columns divide the tapestry into four bays. Each bay encloses a scene illustrating a text from the Old or New Testament. The theme running through all four scenes is the divine harmony between the prophets' promises and the fulfillment of them as stated in the Apostles' Creed. In the first scene, God the Father raises His hand in benediction before Eve who rises from the sleeping Adam's side. A chorus of angels stands behind the three main figures. In the foreground are a pair of seated figures, each identified by the name inscribed on the scroll held in his hand. The prophet Jeremiah (JEREMIAS) sits at the left holding a scroll inscribed as follows: PATREM INVOCABIMUS QUI TERAM FECIT ET CONDIDIT CELOS("we shall call upon the Father who made the earth and founded the heavens.") The Apostle Peter sits at the right. The scroll falling over and behind his right leg is inscribed as follows: CREDO IN DEUM PATREM OMNIPOTE TEM CREATOREM CELI ET TERRE [Apostles' Creed] ("I believe in God the Father Almighty, maker of heaven and earth.") In the next section of the tapestry, John the Baptist is shown in the act of baptizing Christ. The upper half of the figure God the Father appears in an aura between two groups: angels and men. The dove of the Holy Spirit descends from the aura toward the figure of Christ standing below. King David, identified by an inscription written accross his robe, holds in his right hand a scroll inscribed with the following words: DOMINUS DIXIT AD ME FILIUS MEUS ES TU ("The Lord said to me, Thou art my son.") Saint Andrew, The Apostle, sits in the lower right corner holding his cross and a small scroll inscribed ANDREAS. A larger scroll rising from his right hand is inscribed as follows: ET IN IHESUM XPRISTUM FILIUM EIUS UNICU DOMIUM NOSTUM [Apostles' Creed] ("And Jesus Christ, His only Son, our Lord.") The third main section of the tapestry shows the Nativity. The Christ Child lies in a pool of light in the center foreground. Joseph and Mary kneel on either side of him, in adoration. Two angels kneel in prayer in the middle distance while a third, holding a scroll inscribed GLORIA IN EXSEXLIS DEO ET IN TER ("Glory to God in the highest and on earth") appears in the sky before a group of shepherds. In the foreground at the left is the prophet Isaiah, identified by the inscription YSAYAS. His scroll reads: ECCE VIRGO CONCIPIET ET PARIET FILIUM ("Behold the virgin conceived and brought forth a son"). The Apostle James the Elder, identified by an inscription JACOPUS, sits in the lower right corner of this section and holds a scroll with these words: QUI CONCEPTUS EST DE SPIRITU SANCTO NATUS EX MARIA VIRGINE [Apostles' Creed] ("Who was conceived of the Holy Spirit, born of the Virgin Mary") The Crucifixtion is represented in the fourth and final section of the tapestry. The figure of Christ on the cross accupies the center of the space; behind it at left and right the two theives hang on their crosses. Joseph of Arimathea, in the center distance, covers the body of Christ with a cloth. In the foreground, the figures of Mary Magdalene, John the Evangelist, and the swooning Virgin occupy the space at the left of the cross. The prophet Hosea, identified by the inscription OZEAS on his scroll, sits in the lower left corner. The inscription on the major portion of his scroll reads as follows: O MORS ORO MORS TUA MORSUS TUUS ERO INFERNE ("O Death, I shall be your death; I will bite you into destruction, infernal one") Opposite Hosea, and serving as a pendant to the figure of Jeremiah at the left end of the tapestry, is the seated figure of John, labeled JOHANES. The scroll held in his right hand reads: PASSUS SUB PONCIO PYLATO CRUCIFIXUS MORTUUS ET SEPULT [Apostles' Creed] ("Suffered under Pontius Pilate, was crucified, dead and buried") The event represented in each of the four panels expresses the content of each pair of inscriptions. The narrow border shows a repeating pattern of symmetrical bunches of fruits and leaves set within the large ovoid openings of a fretwork resembling delicate stone tracery. The colors used are blues, reds, yellow and touches of green.http://collections.mfa.org/objects/detailsrdf/37377;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/1098466/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEWearing blanketabout 1885Wool tapestry weave with dovetail and interlocked joins; 2/2 twined green, top-dyed green cords on endsMoki step-patterned blanket with red lattice and crosses; round of black and dark blue stripes; design consists of light pink and red stripes forming diamonds and enclosing two red and white crosses. Blue, brown, and white handspun, red commercial Germantown yarnhttp://collections.mfa.org/objects/detailsrdf/72337;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/785699/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEWearing blanket (Germantown Eyedazzler)1895–99Wool tapestry weave with diagonal joinsTransitional fancy double saddle blanket, known as a Germantown eyedazzler, to be doubled and used with tassels hanging down horse's back, also very popular trade item. Three zones with pair of serrate diamonds between two serrate diagonals at each end, vertical serrate lines across center, on red ground.Bright red ground through the middle of which are groups of serrated stripes in bright yellow, green, dark blue and white; across the ends narrow green and blue stripes mark off a space in which are two diamonds and two diagonal stripes in yellow, green, dark blue and white; red fringe on ends, and tassels on corners.http://collections.mfa.org/objects/detailsrdf/69405;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEhttp://collections.mfa.org/internal/media/dispatcher/1203852/resize%3Aformat%3Dfull;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCEWrapping cloth (sangpo)early 20th centurySilk plain weave; pieced and hand sewnTriangular red, green, tan, white, brown, black, orange, yellow and gray textiles pieced and hand sewn, red ribbon at the center. Natural colored silk border and backing.http://collections.mfa.org/objects/detailsrdf/527604;jsessionid=51C1900F67BB7C6ACDB6BF7BDF2BFBCE