3 Both the falconer and the object of his/her desire are dressed in gold both have capes that are lined with green and yellow silk both have wavy gold hair.
Although it is not evident to us today, these two birds (a raptor and its meal) were originally portrayed with a ground of blue linen that had been embroidered with brown and white stitches on the side of the heads, along the underbellies, on the legs, and on the tips of the tail the original coloring suggests that the birds were sparrow hawks. In the right hand of this lover we can detect a dismembered bird’s leg-which may have belonged to the lower of the two birds on the left arm. Above his or her left arm, which is now protected with a falconer’s glove, the lover holds two birds to his/her chest one of the birds mounts the other, and at least one of them is attached to the falconer’s jesses. Depicted in a second panel, which originally had a rounded top, an indication that this panel occupied the top half of the original purse, an individual of uncertain gender-most likely the crowned lover from the first panel-wears the green chaplet ( Figure 2). 2 The falconer in this panel stretches his/her arms around both sides of a lover while reaching up to crown the lover with a green chaplet. On one panel, which apparently occupied the bottom half of the purse, a falconer wears a falconer’s glove and clutches a falconer’s jesses, which once led to a raptor that was perched above the glove, albeit that raptor is now visible only in its absence ( Figure 1). Sometime around 1340, a French painter, most likely one who resided in Paris, collaborated with an embroiderer in order to create a stunningly beautiful alms purse out of red velvet, fine linen cloth, gilded silver thread, and silk threads of various colors.
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