The symbol of the lily crucifix would have had increased resonance on these days, possibly believed to protect the Church and the community, in the light of a popular belief that these coincidences in the calendar were unlucky days for England. As a consequence, the Lily Crucifix is seen in the most public parts of church, on stained glass, altar frontals, and with Campion Hall's example, a priest's vestment. The Reformation ended this distinctively English Catholic iconography, but its geographical dispersal across the country indicates that it was well-known and commonly seen in medieval churches.
The orphreys on the chasuble are English work of the 15th century, with the vestment showing traces of at least two campaigns of repair. The iconography of the Lily Crucifixion confirms its English origins. It appears possible that it was once two separate vestments—the East Anglian saints and the Crucifixion belonging to different vestments—which were subsequently combined.
The first repairs of the vestment, were probably undertaken in the mid 16th century, and consisted of reusing the severely damaged opus anglicanum figure of a Saint-King, possibly Edward the Confessor, on the front orphrey, and the addition of a continental silk figure of perhaps St. John. The very damaged state of the Saint-King, suggests that few options were open to the repairer, perhaps working in haste during the reign of Queen Mary.
The second wave of interventions saw the orphreys applied to a fiddle-back chasuble, on high quality gold brocade, probably reclaimed from another vestment. This likely dates from the penal times, perhaps the work of a recusant family still practicing their faith, but with limited means of doing so.
The tortured history of this vestment tells in itself the history of the English Reformation: from its beginnings as two opus anlicanum vestments, one with the lily crucifix, the other with the East Anglian saints, to a repair, possibly during Queen Mary's reign, and a final re-laying in circumstances of recusant constraint. Three hundred years of ecclesiastical history are visible within this one vestment.
Bibliography
Cristina Maria Cervone, Poetics of the Incarnation: Middle English Writing and the Leap of Love (Philadelphia: University of Pennsylvania Press, 2012).
John Edwards, 'Lily-Crucifixions in the Oxford District', in Oxford Art Journal, Vol. 2, Art and Society (Apr., 1979), pp. 43-45.
W.L. Hildburgh, FSA, 'Some further Notes on the Crucifix on the Lily', in The Antiquaries Journal, Vol. XII (January, 1932), No. 1, pp. 24-6.
Long Melford Church, Suffolk: www.english.cam.ac.uk/medieval/zoomtest.php?id=522 (accessed: 23/5/17)
Sawston Hall altar frontal: http://www.mallams.co.uk/news/early-altar-frontals/ (accessed: 23/5/17)
Godshill wallpainting: http://www.paintedchurch.org/godshill.htm (accessed: 23/5/17)