A long rectangular orphrey or embroidered band divided into four sections, each depicting a scene from the story of the crucifixion of Christ. Bottom scene: The Flagellation. Christ, clothed only in a loincloth, is shown tied to a column, his body turned toward the viewer. On each side a man stands with one hand on his upper arm/shoulder and another holding a whip. The whip thongs are difficult to see due to the deterioration of the dark silk threads. The post and low arch overhead are worked in dark or tarnished silver thread. The floor/ground is covered with couched silk floss. Additional patterning is made with couched metallic threads in a pavement pattern, now mostly gone. Second from bottom: Christ carrying the cross. Christ carries the full cross (here worked in light brown threads) to the place of execution. Here he is dressed in a full gown, worked in coral silk with a border of gold metallic threads. Armed soldiers with helmets and spears worked in silver and blue threads (one also carries a blue and green shield) stand in the background and another prevents intervention from a woman in a blue cloak (perhaps Mary, mother of Christ) and others, visible only by their halos), who stand in a narrow doorway of a castellated building along the route. Small flowers grow along the path. Second from top: The Crucifixion. Christ is nailed to the cross (here depicted in dark blue silk threads), beneath which is a skull, symbolizing the mound called "Golgotha" (commonly translated "place of a skull") on which the cross rests. The under drawing is clearly visible in this area due to the loss of threads. Haloed figures, including a woman on one side and man on the other, stand to either side of the cross. Top, first: The final scene, positioned at the top of the panel depicts the resurrection of the dead at the time of Last Judgment whereupon the faithful will be granted eternal life. Christ greets the dead as they rise from their graves. Christ is clothed in multiple colored robes and is crushing a demon or devil beneath his feet. An elderly bearded man, a woman wearing a veil and whimple, a man wearing a crown, and others only partially visible are emerging from what may be a partially destroyed tomb or tombs before him. Christ appears to hold a flagpole with a triangular white flag with a large cross in beige (once coral?) threads that fliew at the top left corner of the scene. With his other hand he helps one of the resurrected from the tomb. The embroidery is worked in multiple threads on a linen ground. [Note: Sight i.d. Some published examples mention linen and cotton ground.] The figures are worked in silk threads using virtually all split stitches. Clothing is most often in several shades of green or blue, coral, beige, and white. Darker colors are used to show folds, etc. Black silk threads used for shoes and outlines have deteriorated and broken off, leaving only small black pinpoint marks in the ground. Small white silk threads apparently used for the faces and body parts of the individuals, have been lost in all but a few places. A faint outline of pink threads is found around some faces, hands, or other areas depicting flesh. Buildings, armor, and landscape are rendered in silver threads couched with lines of white, blue, or coral colored silks. The ground is covered in laid and couched gold threads. Scrolling vines ending in fleurs-de-lys are found throughout the background. These were created by cords laid beneath the gold threads and couched down on either side with small stitches that zigzag across the reverse. This feature is characteristic of work performed in Florence, referred to as "opus florentinium". The four scenes of this orphrey each have very limited space in terms of architectural framework above and around the figural scene. The ornamental borders consist of couched metallic threads over straight and twisted cords. The orphrey is surrounded by an outer border fashioned from approx. 2 inch wide remnants of red silk velvet pieced together and applied in a somewhat haphazard manner resulting in wrinkles, puckers, and creases. The corners of the border are improperly mitered, so the seams do not end at the precise corners.