If you like to embellish your embroidery with beads you are a part of a very old tradition. Especially goldwork embroideries have been made even more exquisite by adding fresh-water pearls, beads made of precious stones, coral or metal. Those of you who use beads in your embroidery will know that you need to secure them well or else you run the risk of them coming off. Small wonder that many beads have now vanished from medieval embroideries. However, they have left traces on the original pieces and in contemporary sources. Let's explore!
On the medieval embroideries themselves, you often see these areas of thick white string padding. Sometimes identified in the literature as silk, cotton or linen. Especially fresh-water pearls would have been attached on top of this white string padding. Not only does this mean that texture is added to the embroidery but it also ensures that the light catches the pearls first and makes them stand out even more. After all, when you are spending a lot of money on these extra embellishments you want the onlookers to take note of your generosity.
Another source of medieval bead embroidery forms the many paintings which depict clergy in their finery. Some painters were specialised in faithfully rendering the costly embroideries on vestments. Possibly because they were also the ones who made the design drawings for these embroideries. For instance, painter Mathias Grünewald faithfully painted the pearl embroidered mitre his friend the silk embroiderer Pflock made (Halm 1957).
And our third source is a collection of books written by the monk Theophilus in the 12th-century on a range of crafts: Schedula diversarum artium. You can find a collection of all the known versions of this manuscript together with three translations (Dodwell for English, Ilg for German and Ecalopier for French) on the website of the University of Cologne. The English translation of the passage on the use of fresh-water pearls reads as follows: "Pearls are found in shells of the sea and other waters. They are pierced through with a fine steel drill, which is fixed in a wooden shaft and a block of wood [at the top]. On the shaft is a small lead wheel and, attached to it is a bow by which it is rotated. If it is necessary for the hole of any pearl to be made larger, a wire is inserted in it together with a little fine sand. One end of the wire is held in the teeth, the other in the left hand, the pearl is moved up and down with the right, and sand is meanwhile applied so that the hole becomes wider. Mother of pearl is also cut up into pieces. These are shaped into pearls with the file they are most useful on gold and are polished as above." The pearls are so small (1-1.5 mm ), and their holes thus even smaller, that loose pearls can only be reattached during restoration with the help of fine surgical needles (Herrmann 1975).
You can get a better idea of how beads were being made by looking at the drawings of the Hausbücher of the Nürnberg Zwölfbrüderstiftungen. There are three depictions of brethren working a lathe borer to drill beads for a rosary. The oldest one dates from before AD 1414. From the same Hausbücher, we have a depiction of brother Alexander Hohlfelder. He was taken into the almshouse on the 3rd of April AD 1626 when he was 80-years old. Alexander had lost his speech and likely had dementia when they took him in. He died after two more years in the almshouse. Alexander had been a Seidensticker (silk embroiderer) and is depicted with a bead dish filled with what looks like fresh-water pearls.
Halm, P., 1957. Matthias Grünewald: Die Erasmus-Mauritius-Tafel. Reclam, Stuttgart.
Hermann, H., 1975. Die Restaurierung einer spätmittelalterlichen Perlenstickerei, Maltechnik restauro 81 (3), p. 113-115.
Research into professional embroidery goes in and out of fashion. At the moment, it is clearly in fashion with many new exciting publications becoming available in Germany, France and Italy. In many cases, their analysis of the embroidery trade in the medieval period depends on a few older sources. One of these famous sources is Goetz 1911 on the silk embroiderers of Munich. Unfortunately for most of us, it is written in German with the added difficulty of being printed in Frakturschrift. And since it was written more than a hundred years ago, it is quite difficult to get hold of. A few weeks ago, I was able to buy a second-hand copy! And I started to translate it into English. Being originally written in old-fashioned German with at least half of it in medieval and early-modern German, translation was slow. And since these older versions of German are even more fond of VERY long sentences, the resulting English is not always pretty. But it will do! A PDF of the result is available at the end of this blog article :).
So far, I have not been able to find out who the writer, Ms Gertrud Goetz, was. Since her article was published in the Journal of the Historical Society of Upper Bavaria, she was probably a member there. And the fact that she had access to the original historical sources and could decipher them, points at her being a historian or similar. The resulting article is really informative and quite lovely to read. One gains a lot of insight into the lives of embroiderers from the 15th- till the 18th-century.
Throughout the centuries, three main adversaries tried to mess with the official embroiderers of Munich: women, people from Augsburg and the French. Some things never change, LOL. No seriously: this is actually really sad. Although the guild regulations of Munich are often quoted to prove that women were allowed to embroider, when you read the original texts, a different picture emerges. One we already know from the guild regulations in the Netherlands. Women were not excluded from the embroidery guilds, but in real-life they just did not become master craftswomen nor do we see them individually in official documents related to the guilds. Only one of the Munich historical sources mentions a woman: a master's widow with her son. And guess what: she is not playing by the rules. Neither are the others. But she is perceived as a problem.
From what I deduct from the sources, the picture that emerges is this: In the beginning, the professional embroiderers of Munich were all male and they worked for the elite and the church. Since Munich was rather a large village than a metropolis, there was never really enough of this employment. The male embroiderers needed to supplement their schedule with 'simpler' work. Unfortunately for them, this was already the realm of women. One such item made by women was the Riegelhaube. This is a heavily gold-embroidered bonnet typical for the folk dress of the upper-middle class. In 1793, the only leftover embroidery master of Munich, Jakob Gelb, tries to forbid these practices by pressing the city council to hold a police raid. He even hands in a list with the addresses of the culprits. All women and a single man. And Jakob is not an unreasonable man: he demands that he can pull any of these illegal embroiderers in as workers when his workload demands it. Instead of giving them the same full rights to exercise the embroidery trade as he holds them, he wants these women to work for him when he so desires... Only three decades later, this results in new trade regulations for Bavaria. From now on, embroidery is a free trade exclusively executed by women. The reason for this: just like with other female occupations, embroidery is an occupation that does not require training nor learning. Just so you know!
In order for you to study the original sources for yourself and to draw your own conclusion, please find a PDF of the original publication and my crude translation below:
Goetz, G., 1911. Die Münchener Handstickerei zur Zeit der zünftigen Gewerbeverfassung (1420-1825), Altbayerische Monatsschrift 10 5/6, p. 107-114.
Wetter, E., 2012. Mittelalterliche Textilien III Stickerei bis um 1500 und figürlich gewebte Borten. Abegg Stiftung: Riggisberg.
P.S. The publication mentions a roll of coats which contains eight coats of arms of embroiderers. These coats of arms display broche/brodse/Bretsche. Unfortunately, the name of the document is so vague, that the librarian of the Bayrische Nationalmuseum so far could not identify it.
As part of my research into medieval goldwork embroidery, I read many collection and exhibition catalogues. Most are written by art historians and only a small proportion by, or with the help of, textile curators/conservators. Most texts are therefore only partly useful to the embroiderer. The gold-standard, in my opinion, are the books published by the Abegg-Stiftung. One of the aspects of medieval embroidery that particularly interests me is the pattern transfer. As far as I know, there has never been a systematic review of the substances found on these textiles that result from the initial pattern transfer onto the fabric. More recently, detailed chemical analysis did take place for some of these medieval embroideries (for instance the vestments from Bamberg, soon to be published). More commonly, you will find vague references in these catalogues to the materials used for pattern transfer. Either ink or paint. But last week, I came across the silverpoint.
The silverpoint consists of a piece of pure silver mounted on a handle. You can buy them from well-sorted art supply shops. Silverpoints were used by medieval scribes and have been used by some artists till the present day. Silverpoints are the predecessors of our modern lead pencil. But contrary to a lead pencil, the silverpoint will not work on normal paper. The paper, or for that matter vellum, needs to be prepared with chalk and/or egg yolk (or similar products). The chalk makes the surface rough so that small particles of silver are shaved off the silverpoint and the egg yolk contains sulfur that oxidises these particles so they turn from faintly visible grey to dark brown or black. The air oxidises the silver particles too, but the egg yolk seems to speed up the process.
The silverpoint intrigued me and I wondered if it could indeed be used to transfer a pattern onto fabric. Linen is a little raw, so I hoped that I could just scribble onto it. Nope. No lines visible. No further oxidation on the air after a few hours or even days. And I am not at all keen to go the sulfur (egg yolk) road. Because the sulfur will also tarnish my goldthreads as a large part of their composition is silver too. Does this mean the silverpoint could not be used for pattern transfer? Or does it mean that I need to prep my linen in a different way? Any ideas more than welcome!
I read about the silverpoint in the catalogue on the collection of the Schnütgen Museum in Cologne. It was published nearly 20 years ago by Dr Gudrun Sporbeck, an art historian. Apparently, the body of Christ on a chasuble cross with inventory number P223 is drawn with a silverpoint onto the linen. Did she determine this? Or did she copy from the older literature stated? The older literature in which this particular chasuble cross has been described dates from 1888 till 1938. Was it just something that was assumed? Did somebody do some chemical analyses? Only one way to find out: ask her. So that's what I am going to do. Will keep you posted.
Update: I contacted Dr Gudrun Sporbeck repeatedly, but never received an answer. In addition, Enikö Sipos also experimented with the silverpoint on textile and came to the same result as I have: it doesn't work.
Sipos, E., 2005. Proportions and measurements. The making of the chasuble. In: Kovacs, T. (ed.), The Coronation Mantle of the Hungarian Kings, Hungarian National Museum: Budapest, p. 91-107.
Sporbeck, G., 2001. Die liturgischen Gewänder 11. bis 19. Jahrhundert (=Sammlungen des Museum Schnütgen Band 4), Museum Schnütgen: Köln.
Wow, my course filled up within three minutes last night. That's brilliant for me :). But I do realise that quite a number of people, unfortunately, missed out. Many of you have sent me an email to ask when the course will re-run, if they can be put on the waiting list or if they may attend without a kit. I have emailed all of them individually but I think it would be a good idea to publish the answers here as well.
First: Will there be a re-run of the course? Honestly, I don't know yet. The interest is there and this is not the problem! But sourcing the materials during a pandemic is. Although I started placing orders more than a month ago I cannot ship out the kits today. Normally, Zweigart linen fabric is on next day delivery as it is being produced here in Germany. As it did not arrive more than a month ago, I started calling them. The phone wasn't picked up for days. Finally, they emailed me to say that delivery will not be before the middle of November! Still plenty of time to send out the kits :). Another example: paint produced in Germany. To get 15 tubes, I had to order from five different sources. One source being particularly cheecy as it turned out they did not have the stuff and had to order in from the manufacturer! Brushes the same thing. Some silks too. And, oh yes, the freshwater pearls too. Even with a four months period between ordering the materials and the start of the course, I probably could not have sourced all materials for more than 15 kits.
Second: Will there be a waiting list? No there won't. Because of the above pointed out supply difficulties I simply cannot say if the course can run again in its present form. And I do not want to give out promises I cannot keep.
Thirdly: Will you allow students to attend without a kit? No, I won't. From the questionnaire send out after the Imperial Goldwork Course it became clear that students did not like the fact that there was no kit. Sourcing your own materials during a pandemic (and even without!) is a nightmare. They also stated that the small classes on Zoom were a blessing and very much appreciated. I, as a tutor, never liked larger classes. You have no idea what some people are up too when you turn your back on them for only a very brief moment :). For 'live and in the flesh teaching', I limit the numbers to about 10. When organisers push me to take on more, I am not a happy bunny. As a student, I do not like to sit in big classes either. I am far too polite :). The ones who scream the most and the loudest get their money's worth of teaching. I, as a student, end up figuring it out for myself. No matter how experienced the teacher is, there is a limit to the number of people you can teach successfully.
So what is the way forward? As long as the pandemic rages: take it step by step and don't plan too far ahead. I don't know about you, but I found these past seven months exhausting! Learning so many new things in such a short span of time. Not knowing if I would be able to find a way to earn money when all the teaching was cancelled was scary. The many extra hours and worries took their toll. My body didn't like me punishing it that much and started to rebel. My body is way wiser than I am! I stopped working all hours, set some boundaries and I quit Instagram. Instead, I try to make sure that I get enough exercise, work on my art (I haven't seen St. Nick in over a year!) and support my husband as much as I can as he is presently swamped in work.
What that will mean for you? Excellent news in fact! It means that my head is free again to come up with fresh ideas for future classes. But the classes will not be taught back to back. There will always be enough breathing space for me in between classes. I need that. I am not a machine.
So get on my mailing list for my newsletter and keep an eye on this blog for announcements of future courses. They will always have limited spaces and come with a kit. This will ensure that you don't have the stress of sourcing hard to get items and in class, you will not have to shout for attention either :).
Last week, I and my husband visited the Diocesan Museum of St Afra in Augsburg. That's possibly the closest church museum with textiles in relation to where we live, but we had never been there. And that's a shame as it is a charming little museum. Besides ecclesiastical art and historical pieces, you can also see parts of Roman Augsburg below your feet. The excavations have been left open for you to admire. The museum itself is a combination of modern architecture and the historical cathedral cloisters. So what is on display?
Quite spectacular are two chasubles dating to the 10th-century. These vestments are associated with bishop Ulrich of Augsburg (AD 890-973). Ulrich lived during turbulent times. He was a friend of Emperor Otto I and successfully defended Augsburg against the marauding Magyars from Hungary. Apparently, he also wrote a treatise on celibacy stating that it was not supported by the bible. All this made Ulrich famous during his lifetime and he became a saint soon after his death. Vestments associated with him became important relics and were held in high esteem. But there was a small problem. Ulrich liked simple clothing. Nothing flashy. His mantle made of local linen was just too plain for the average 12th-century believer. Thus, tiny appliques of silk with goldwork embroidery were added. That's rather cute, don't you think?
The museum houses several quite old embroidered textiles. As they need to be displayed at low lighting levels, photographing them is near impossible. However, as I have shown the spectacular embroideries from Bamberg before, I would like to show the above. This small reliquary pouch made of dark purple or blue silk (samite?) with gold embroidery was made in Southern Germany in the 12th-century. Roughly a hundred years later than the pieces on display in Bamberg. But the embroidery technique of couching down very pure goldthreads and hammering them flat is the same. I think the pouch displays two birds (peacocks?) amongst some foliage and maybe a coat of arms. Unfortunately, there was hardly any information on the piece available.
The last piece I would like to show is a small reliquary casket. I have never seen anything like it. It looks like an orphrey being glued to a small wooden box. The saint depicted is St Agnes. She is stitched in brick stitch with silks. The background displays a diaper couching pattern; one I haven't seen before. The casket was made in the 13th-century, possibly in Cologne. Quite an unusual piece. And a reminder that embroidery was probably much more widely used. It simply did not survive until the modern-day.
Sadly, this will be my last field trip for a while. Corona numbers are going up in Germany as well. Since I am living in an area with a rather low rate of infections, I don't want to introduce the virus. My husband and I have decided to avoid travelling and gatherings as much as we can until the numbers go down again. Hope you are all safe!
P.S. I am being featured in the latest issue of Metier magazine! The article, in Dutch, talks about me and my historically inspired goldwork embroideries.
Looking for some small embroidery kits to learn some new stitches and work with speciality threads? Learn a new skill with my petite needlepoint kits stitched on 40ct natural linen! Each kit contains all the materials needed to complete the design (bar hoop and scissors) and comes with downloadable instructions. The kits are packaged in such a way that they can be shipped all over the world in a padded envelope. Postage is included in the kit price. Let's examine each kit in a bit more detail! The finished designs are about 8,5 x 8,5 cm.
The autumn pumpkin kit contains three gorgeous colours of hand-dyed House of Embroidery raw silks. This is spun silk and very easy to work with. If you are used to stranded cotton, you will have a similar stitching experience. The kit further contains a skein of hand-dyed House of Embroidery perle #12 and a piece of DMC memory thread. Apart from learning 11 needlepoint stitches, you will also explore chain stitch, couching and beading!
The winter snowman kit also contains three beautifully hand-dyed House of Embroidery raw silks and a skein of hand-dyed House of Embroidery perle #12. You will learn a total of six needlepoint stitches based on the Hungarian stitches. Chain stitch, French knots and beading are also covered. A hand-painted enamel carrot completes your charming snowman!
The Spring is in the Air kit contains three bobbins with lovely hand-dyed raw silk and two skeins of hand-dyed perle #12 by House of Embroidery. Apart from learning chain stitch and seven needlepoint stitches, this kit will ensure that you become a pro when it comes to French knots. You will also practice regular beading and making beaded daisies!
There has been a summer kit in the planning stages for some time now, but it will not be released until next year due to the Corona pandemic. You can order your petite needlepoint kits here. Happy Stitching!
Organising the Imperial Goldwork Course during the lock-down posed a real challenge. I couldn't send out course materials due to international mail not going out. I needed to invest in a high-spec webcam and software at a time when our household income was low due to the pandemic. Teaching live on Zoom for an international crowd in which often three languages were spoken, was new for me too. But I tremendously enjoyed sharing my knowledge and skills. And I learned a lot. Which changed the way I will do similar things in the future.
As my husband lost 40% of his already meagre income at the start of the lock-down, I was very aware of the struggle many people were in. Especially those who do not live in a welfare state like Germany. That's why I came up with a donation payment structure for the course. The idea is that people with disposable income donate when they take the course and those who lost (part) of their income can join for free (as explained in this blog post). As the warmth and the solidarity of the embroidery community is so often praised, it should not have been a problem for me to draw an income from my efforts. But it was and still is.
Of the 108 stitchers who have taken the course to date, 30 made a donation. Donations range from €10 to €265, with an average of €59. Producing each lesson and supporting students via email took me to date about 3,5 days per lesson. If we subtract the cost for the webcam and the software, I am left with €484. If we divide this by the working hours I invested, I worked for €2,16 per hour before taxes.
As most people took the course during or immediately after the live zoom classes, I sent out a survey to those who downloaded the PDF-handouts. After all, I wanted to learn from my mistakes. And I thank all who took the trouble to respond and provide me with valuable feedback.
One of the questions asked why people did or did not pay for the course. And the replies where illuminating. Reasons for not paying in order of their frequency: 1) others don't pay so why should I?, 2) when I cannot attend (all) of the live zoom classes and need to watch (some of) the recordings, I am not really participating in the course so I do not need to pay and 3) only wanted to see how you do it so that I can use your format for my own offerings/report format back to my organisation.
From the above, it becomes clear that the donation payment structure does not work. Thanks to Social Media, I could watch people, who took my course without paying, showing-off their latest buys and sign-ups for embroidery courses. I will thus not use this payment structure again. For all future courses, I will make a proper costing. If you want to take the course, that is what you will need to pay. I am aware that some will probably not be able to afford my future courses. However, if all 108 students, who have taken the course so far, would each have donated €32,64, I would have earned the German legal minimum wage of €10 per hour. That's for a person without qualifications and experience, by the way.
Before the pandemic, but certainly now during the pandemic, some colleagues and stitchers have started to 'shop' for ideas from my blog, Instagram and YouTube channel. Thank you to those of you who have warned me. I had seen it with my own eyes too. As you probably have noticed, I am posting very sparingly on Instagram and I am not sure if I will make more FlossTube videos. I am also struggling with how much detail to post on my blog. It is a real dilemma. On the one hand, I need to be engaging so that I keep myself in the picture and sell my products and services. But on the other hand, it is soul-destroying to see others turn your ideas into blockbusters.
My academic background and language skills should give me an edge over many of my colleagues. But this only works if the potential costumers are able to distinguish the difference in quality. But fake news and alternative facts show that increasingly people are unable to do so. Quality news outlets suffer and so do quality embroidery tutors.
Last year I visited the Dommuseum in Fulda and was struck by a particular goldwork orphrey. It sported a beautiful rendition of Saint John in or nue with a rather unusual background. Not one of these typical golden backgrounds with architectural features and a cloth of gold in diaper couching. Nope. His background consisted of blue silk satin stitches with some basic architectural features and less gold. What was going on here? There wasn't much information displayed in general in this museum and the information on Saint John was even more basic. But this wasn't the end of the story. Those who have watched my latest FlossTube with the Acupictrix video on Vimeo, already know that I found Saint John's identical twin in a book on the Frankfurter Domschatz. But that's not all. Here comes the rest of the story.
The chasuble that sports the identical twin of Saint John in the Frankfurter Domschatz is part of a set consisting of one chasuble and two dalmatics. The cope, which would have made the set complete, is missing. Although the set is now housed in Frankfurt, it probably originated in the church Klein St. Martin in Cologne. Below the orphrey with Saint John are the names 'Merten' and 'Drutgen' stitched. The beneficiaries of this set of vestments. Merchant and member of the city council, Merten Moench and his wife Drutgin von der Groeven. Merten was born in 's-Hertogenbosch in the Netherlands, but his wife was from Cologne. She died in AD 1451 and he died in AD 1466. This is slightly too early for the set of vestments; they were made around AD 1475. What happened? Merten had a niece, Alheit van Buckhoven, she was the executrix of his testament. Her coat of arms is also displayed on one of the vestments. From the written sources, we know that Alheit spent a perpetual mass for the souls of her uncle Merten and his wife, her own soul and the souls of her parents at the altar of Mary Magdalene in the church Klein St. Martin from AD 1476 onwards. This fits the date of the vestments perfectly and it seems that she paid for this mass including all the thrills and frills.
The chasuble is made of red velvet shot with goldthreads. It is one of these famous red velvets made in Florenz, Italy sporting pomegranates. The orphreys on the front show: Paul, Peter and Mary Magdalene. The ones on the back show: God, Mary with child, John the Baptist and our Saint John. All of them sport high-quality or nue figures set in a golden architectural background with blue silk stitches with a similar tiled floor stitched in yellow, red and green silks. Whilst the figures look very Dutch, the backgrounds don't. The blue vaguely reminds of the 'Kölner Borte'. These were mass-produced woven orphreys that sometimes showed additional stitching for the details.
The two dalmatics are made of the same red velvet. But this time the orphreys are 'right'. High quality or nue figures sitting in a proper golden background so typical of the Dutch style.
What is going on here? We know from the historical records that the vestments were extensively restored in 1842/43 by the painter and 'parament worker' Edward von Steinle in Cologne, with the help of another painter and conservator, Johann Anton Ramboux. It took Edward, with the help of his two daughters, about a year to clean the vestments up and make them presentable again. They were paid 100 Taler for their work. That's about €4860 in today's money according to Google. I really hope they had additional income ... Anyway, although the vestments were extensively restored, the difference in backgrounds between the chasuble and the dalmatics is a medieval one and not the result of these restorations.
How does the single orphrey from Dommuseum Fulda fit into this story? As this orphrey has the same figure and background as the ones on the chasuble from Frankfurt, he is very likely part of the original set of vestments from the church Klein St. Martin. Beneath the original orphrey, another coat of arms is displayed. On the chasuble, the names of the beneficiaries are stitched beneath the orphrey of Saint John.
Looking closely at the figures on the chasuble, we see that they either look to the left or to the right. Furthermore, the orphreys are significantly wider than those on the dalmatics. This is a typical convention. Orphreys on a chasuble, but also on a cope, are wider than those on a dalmatic. The orphreys on a cope sit opposite each other at the front when the cope is being worn. The orphrey figures face each other: one faces to the right and the other faces to the left. This means that both the orphreys on the chasuble and the single orphrey from the Dommuseum Fulda were originally made for a cope. God would have sat opposite of Mary with child, Peter and Paul, Mary Magdalene and Saint John and John the Baptist is missing his partner in crime.
Now, this can mean several things:
1) Merten and his family were merchants with connections to the (Southern) Netherlands. They knew this type of goldwork embroidery well and valued it. Getting it from the Netherlands instead of opting for locally produced 'Kölner Borte' shows that these vestments were quite valuable and perfect to show off.
2) They were able to lay their hands on a number of loose orphreys and figures from the Netherlands and velvet from Italy.
3) These orphreys, figures and precious velvet were turned into vestments in Cologne by local craftsmen. These saw the 'complete' Dutch orphreys and worked orphrey backgrounds in a similar style, but with local influences to go with the loose Dutch figures. Names and coats of arms were added to make clear who bestowed these riches onto the church.
4) Orphreys intended to go onto a cope were instead applied to a chasuble. Or were they moved from a cope to the chasuble between AD 1476 and AD 1842/43? Does Saint John from the Dommuseum Fulda come from the original missing cope or copes? Or were so many figures bought at the same time and turned into 'Cologne-style' orphreys by the same workshop and then spread within Germany? Is the orphrey of Saint John in the Dommuseum Fulda the only remnant of a whole different set of vestments made in Cologne? One way of finding out is by identifying the coat of arms on the loose Saint John orphrey. I intend to write to both museums to ask if they know more. So exciting! I will keep you posted.
Stolleis, K., 1992. Der Frankfurter Domschatz Band I Die Paramente. Kramer, Frankfurt.
Due to the pandemic, we won't do much travelling this year. However, I did want to visit at least one museum new to me that has some medieval embroidery on display. As my husband cannot get time off work due to, you guessed it, the pandemic, we decided to visit the Germanisches Nationalmuseum in Nuremberg. It is huge, so we will need to return. This time we concentrated on the medieval embroidery on display. There's not much, but the pieces that are on display are rather magnificent!
What to think of this hairnet (Inv. Nr. GEW 2980) from the 13th-century? It was apparently found in the grave of a Hessian landgrave. Very fine filet embroidery on silk net.
Look at this reliquary pouch made in Trier around AD 993 (Inv. Nr. KG 562). It was my favourite piece on display. Extremely hard to photograph as it is placed on a glass plate above a mirror as the back looks very different. The pouch consists of silk fabric embroidered with metallic threads, metal shapes, glass, gemstones and silk threads. Unfortunately, it does not come across well in the pictures, but this piece has a real presence. It never ceases to amaze me how long ago these pieces were made and how well they have survived. It's like somebody blogging about St. Laurence in AD 3047 :).
This rather large piece of very fine silk embroidery on fine linen (Inv. Nr. GEW 2464) was probably used as an altar cloth or antependium. It shows Christ in the winepress and the Seat of Mercy. It was embroidered in a Nuremberg convent around AD 1370. Look how fine the split stitches are and the use of colour and shading is superb. You can even see the design drawing on the very fine linen.
This tiny medallion shows John the Baptist in very fine silk and pearl embroidery (Inv. Nr. GEW 2430a). It was made in the 13th or 14th-century in Byzantium.
That's enough eye-candy for now! I hope you enjoyed seeing some beautiful embroidery from so long ago. During August, I am taking a break from blogging. See you again in September with, hopefully, more details on the next online goldwork embroidery course!
Before we come to the biscornu, there are just a few other things I need to share with you. First: there is now a dedicated page for my online embroidery class 'the Imperial Goldwork Course'. Here you will find all the PDF-handouts for download as well as all the Vimeo videos of the live-zoom-meetings. You can start the course any time you want.
And now: the biscornu! I was delighted when Gina sent me pictures of her biscornu showing some of the long-armed cross-stitch patterns from my latest eBook. Gina filled her biscornu with dried lavender. This is an excellent way of using these beautiful medieval patterns and stitch!
For those of you who would love to learn more about the long-armed cross-stitch, you can find the English version of my eBook here. And I have recently teamed up with Claire de Pourtales of Le Temps de Broder to come up with a French version of the eBook. Since Claire and I split the proceeds equally, you can either purchase your French copy from my website or from hers :).
Want to keep up with my embroidery adventures? Sign up for my weekly Newsletter to get notified of new blogs, courses and workshops!
Liked my blog? Please consider making a donation so that I can keep up the good work and my blog ad-free!