As Germany stumbles out of the lockdown we have been in since December, I and my husband took the opportunity to visit the exhibition of the "Kaisergewänder" in the Diocesan Museum Bamberg. Although I visited this museum before, this time the latest research results on the goldwork embroidery were on display. Luckily, my husband was so kind to come on a 660 km round trip with me (promising him cake always works!). If you would like to visit this exhibition yourself, you will have to do so before the end of the month or before the rate of infections rises above the threshold again. You will need to make an appointment through the museum website and fill out a form. So, what new things did we see?
First of all, I was really impressed with the amount of information now available for each vestment on display. The original captions were VERY short and that was a major disappointment on my first visit. Secondly, there was a whole room devoted to the "raw data" of the research project. This will probably all become available in the three monographs I have on pre-order. Looking at the tracings and other study results, many of my own assumptions were confirmed. And I learned so much more about these goldwork embroideries that you just cannot see with the naked eye or learn from the pictures I took and enlarged on my computer.
A rather interesting piece on display was a copy of the Regensburger rationale. This is a special vestment awarded by the pope to some bishops and was modelled on the ephod of the Jewish high-priest. It is hardly being worn today. The original was stitched in AD 1314-1325, probably in Regensburg. The copy was made for Bishop Franz Wilhelm von Wartenberg (AD 1649-1661) and is now held at the Bayrische Nationalmuseum in Munich (T 178). The copy was likely made to be used by the bishop to spare the original. As you can see, the stitching on the original rationale is made with much finer goldthreads than that on the copy.
And now the stalking :). As always, I take many pictures, when allowed. At some point, two women sneaked up to me as they were curious to know who this lady-with-a-Canon-stuck-to-her-face is. It turned out that I knew one of them, Dr Ludmila Kvapilová, scientific associate of the museum (recognising people with a facemask is an art I have not yet mastered). The other lady turned out to be the new head of the museum: Carola Schmidt. Carola trained as a technical weaver before studying art history. The three of us had a lovely conversation and at some point, I mentioned that I had stitched a small sample based on the lettering seen on the Sternenmantel for the conference "Über Stoff und Stein" (you can find my blog on this reconstruction here). They asked if they could display the sample as part of the exhibition. Sure! So, today I mounted the sample and send it to them. This way they can also use it as a teaching aid. I am looking forward to staying in touch with them and to sharing my expertise.
If you would like to learn to professionally mount your finished embroidery, you can find downloadable instructions in either English or German in my webshop.
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