This sumptuous panel of velvet was originally part of a chasuble, which explains its shape. A chasuble was the main vestment (a ceremonial church garment) worn by the priest at the Christian service of Mass. Silk velvet, particularly red, was highly desirable and used for church vestments and for dress and furnishings. Before about 1600 there was little distinction between materials made for hangings or for furnishings and dress. Many paintings of the period show velvets with large-scale floral patterns used in various ways. Italy was the main producer of velvets in Europe, although Spain also had a substantial silk-weaving industry. The velvets were exported all over Europe.

This piece is woven with the pile cut to two different heights, which gives an almost three-dimensional effect. The pattern is formed by areas of the ground being left free of velvet, which gives the impression of an 'incised' design. The pattern itself consists of formal floral or vegetal shapes, 'pomegranates' or ‘pineapples’ in various guises. These patterns became characteristic of Renaissance textile design. Such large-scale motifs were particularly suited to velvets.