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 a piece of blue silk 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 YouTube, 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 on blue silk 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.

Literature
Stolleis, K., 1992. Der Frankfurter Domschatz Band I Die Paramente. Kramer, Frankfurt.

During my break from blog writing and after the success of the first online goldwork course, I have come up with a new online course: Medieval goldwork techniques - a journey through 500-years of embroidered history. In this new ten-week online course we will explore different forms of couching: underside couching, pattern couching, couching over padding and the queen of couching techniques: or nue. We will explore each technique in its (art) historical setting. In each sample worked we will use as authentic materials as feasible. The beautiful goldwork techniques of the Middle Ages deserve precious gilt threads and real silk!

Over the past five years, I have travelled extensively to visit museum exhibitions, research facilities and libraries in Germany, the Netherlands, France, Austria, England, Italy and Lithuania. Many of these trips were covered on this blog. The resulting research now forms the basis of the course. By attending the course you will gain in-depth knowledge of how medieval goldwork embroideries were made. What technical inventions revolutionised the process and the workshop setup. What inspired the stylistic language? You will learn about the close relationships between embroiderers, goldsmiths, painters and sculptors. Who were these embroiderers? Did they see themselves as artists? How were they organised? Who did they work for?

The core of the course form the embroidery samples you will work. They are all inspired by actual medieval embroideries. You will handle luxury fabrics like samite and silk twill, as well as high-quality gilt threads and different kinds of beautiful silk yarn. After taking this course, you will know the benefits of using madder, sienna and iron gall ink. This course is directed at embroiderers of all levels. With the possible exception of or nue, none of the techniques are (technically) difficult. The techniques covered will form the basis for future (online) historical goldwork embroidery course I am developing.

The medieval goldwork course will start February 2021 (registration will start 1st November). This enables me to assemble a full kit and get it shipped in time to all participants. Class size will be limited to 15 to enable me to give proper attention to each of the students. Each lesson will comprise of a PDF-download with all the historical and technical information on the particular technique explored, a video abstract of that information, a video of me working the sample and giving tips, a zoom-meeting where you can meet fellow students and discuss the lesson and a classroom on NING where you can find all the course material and keep in touch with your fellow students. And as always, I am only an email away!

Updates on the course and registration will be disseminated through this blog, my newsletter and on Instagram. Looking forward to sharing my enthusiasm for medieval goldwork embroidery with you in this new course!

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!

If you are after a book with lots of pretty pictures of medieval embroidery on vestments, this is not it. Yes, there are some pretty pictures in there, but it is not what the book is all about. Why do I still think it is worth your time? It has a very interesting chapter on the role of women in making vestments and donating them. As the author places their making into the wider context of church reform during the Middle Ages, it explains a lot about the position of women today in the Western world.

From the late 12th-century onwards, increased urbanisation leads to a dominance of the textile trades by men. Especially the 'higher end' of the market is dominated by them. That's why I have written in several blog posts that certain vestments I saw in museums were most likely made by men. The written data for the Late medieval period and beyond from the Netherlands does, for instance, not mention one female embroiderer. But this had not always been the case. The author, Maureen Miller, writes that when we know the name of the maker of earlier vestments, it is always a woman. And here the labour is divided up too: slaves for the 'hard labour' of growing, spinning, weaving, dying etc. and elite women for the fashioning of the vestment. For the more elaborate vestments, male religious would assist with the designing.

Why would women spend time and money on creating (and maintaining) these elaborate vestments? Maureen Miller comes up with several explanations. Firstly, from the ninth century, ecclesiastical legislation prohibited women from entering the church sanctuary or come near the altar. By providing vestments, these women were present at the altar. Secondly, by cultivating such a relationship with clergy, these women could exercise some influence for themselves, but most likely for their families. Maureen Miller thus rightly asks how freely were these gifts really given?

In addition, these relationships between elite women and clergy were always viewed with suspicion. On the one side, elaborate stories about the piety of the women who worked these vestments were drawn up (reciting scripture or singing psalms whilst working). On the other hand, there were plenty of stories in which the 'lewdness of the female maker' transferred through the vestments onto the wearer. These poor clergy felt mightily uneasy when it came to women making and maintaining their intimate clothing.

At the same time, there is a wider reform going on in the church. In order to claim status and visualise hierarchy, an ornate style of vestments started to emerge in the 9th century in Anglo-Saxon England and Francia (modern-day Normandy and parts of Belgium). By the 11th-century it had spread throughout Europe. The makers of this new ornate style were women. They (unwittingly?) provided part of the means with which the Gregorian reforms could be implemented (most notably clerical celibacy). These were particularly bad for the position of European women as they emphasised extreme notions of purity. These ideas live on in particular in the Catholic church till today.

And those poor holy men? They were relieved when they could order their splendid vestments from men in urban centres. They no longer needed to foster close relationships with women to obtain and maintain their vestments. For the visualisation of their status, they no longer depended on women. Women lost a way to exercise their influence. But they lost so much more. Till today, in many Christian traditions, women are not seen as pure enough to serve at the altar. Argue in the other direction and time might have come to strip these holy men of their fancy clothes in order to restore some much-needed balance between the sexes!

Literature
Miller, M.C. (2014): Clothing the clercy. Virtue and power in Medieval Europe, c. 800-1200. Cornell University Press.

Today I am going to share some more medieval eye-candy with you. This time we are going to explore some of the goldwork embroideries made in France during the 13th-15th centuries. Particularly Paris enjoyed a boom in embroidery during the 13th-14th centuries as the royal court resided there. Written guild regulations from 1292-1295 and 1316 suggest that female embroiderers were the norm and that the apprenticeship lasted eight years. However, the embroiderers attached to the King and the princes have names such as Robert de Varennes or Sandre Lappert. So was the situation in medieval Paris really so different from that in the Low Countries? I doubt it. Prestigious commissions from the French King and his princes were likely given to male embroiderers.

The first piece I would like to draw your attention to is a mitre worn by the abbot of the ancient abbey of Sixt, Upper-Savoy. The very fine silk- and gold embroidery is executed on white silk (either samite or serge) backed by linen. The silk embroidery is executed in split stitch and stem stitch. The goldwork embroidery is all done in couching. Although the embroidery was executed by embroiderers from Paris, the drawings were likely made by Jean le Noir, a famous illuminator who had a daughter, called Bourgot, who assisted him. I particularly like how the wings of the angel are placed so that they fit the sloping side of the mitre just perfectly.

Another piece that blew my mind was the mitre created for Sainte-Chapelle around 1375-1390. There's so much going on on this relatively small object. And the scenes are adorable. Look at the ox and the ass. They make me smile :). The amount of padding on this piece is rather incredible too. And I just love the tiny seed pearls. It makes it all looks so over the top, yet so coordinated. The treatment of the garments is quite different from the usual or nue or pattern couching seen on so many of these pieces. Instead, the different parts (folds) of the garments are created by laying separate strands pairs of passing thread in different directions. The folds are accented with couched dark brown silk. Very clever indeed.

The last pieces of embroidery I would like to draw your attention to are known as the embroidered cycle of the legend of Saint Martin. This impressive, but incomplete, collection of embroidered orphreys was made for a single altar in a church or chapel. They thus show the medieval opulence when it comes to liturgical vestments. Due to the fact that these pieces were created at the court of Rene of Anjou (1409-1480) we know the painter of some of the designs: Barthelemy d'Eyck and the embroiderer who executed them: Pierre du Billant. It probably helped that both men were related.

The embroidered orphreys are now dispersed over four museums in Paris, Lyon, Baltimore and New York. Their original layout has been lost due to more modern up-cycling. Have a look at the very fine silk shading on the drapery of the clothing on some of the figures (there's definitely more than one embroiderer at work as there are marked differences in quality between the orphreys). The brightness of the colours after nearly 600 years is simply incredible!

I hope you liked seeing some more of the temporary exhibition at Musee Cluny in Paris! If you would like to try your hand at recreating your own medieval orphrey with diaper couching and or nue, then I am pleased to tell you that I have a few kits left for sale from the Crewelwork Company needlework retreat in Stratford upon Avon. Go to my webshop to secure your kit!

Literature
Descatoire, C., 2019. L'art en broderie au moyen age. Musee de Cluny. ISBN: 978-2-7118-7428-6 .

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

At the beginning of January, I and my husband were lucky enough to be able to visit the embroidery exhibition in Paris. Today I'll show you some stunning pieces from the Opus Anglicanum section. The term for this type of embroidery from the 12th-14th centuries translates as 'work from England' and usually consists of very fine silken split stitches and underside couching. It was greatly valued throughout Europe especially, but not solely, for religious purposes. Therefore, you will find these stunning pieces of embroidery in museums all over Europe. But beware: not all Opus Anglicanum embroidery was actually made in England or by English hands. Medieval Europe was already so well connected that both ideas and people travelled a lot.

The graves of bishops are a great place to search for medieval embroidery. Bishops were usually laid to rest in their finery in a grave with better preservational conditions than Joe Average. Antiquarians from the 19th century knew that too and when these graves were opened for whatever reason, they brought their scissors along. This is illustrated for instance on a pair of liturgical sandals from a grave from the Cathedral of Saint-Front in Perigueux: three different museums own pieces of the same pair of sandals.

Today, many museum visitors turn their noses up when they see these brownish fragments of textile. They are mostly not 'pretty' in the usual sense. But I was very pleased to see that Musee de Cluny devoted a whole display case to these extraordinary finds. For obvious reasons, the levels of lighting were lower than in the rest of the exhibition so my pictures are sometimes a little dark. Nevertheless, look at these stunning patterns of birds and scrolling in very fine underside couching!

Another stunning piece of embroidery on display was the above panel with the martyrdoms of the saints. There is a second panel too with female saints. Both are kept in different museums in Belgium but originate from the same church in Namur, Belgium. It was in use as an altar frontal but might have originally been a vestment. The embroidery on this piece is absolutely immaculate and very fine. I particularly love the different goldwork couching patterns in the background and the immense detail on the horse. Although only the above panel was on display in Paris, both panels were displayed at the Opus Anglicanum exhibition in the Victoria & Albert Museum in London a few years ago.

One of the biggest pieces of embroidery on display were the fragments of a horse trapper (a protective garment for a horse in battle or tournament). It was unfortunately impossible to capture all (over 20, many quite small) fragments in one picture. The detail of the goldwork embroidery is amazing. The lion's mane and hairy claws are so full of movement through laying the goldthreads in different directions. In amongst the bodies of the lions are many small human figures in courtly dress. They clearly show how to embroider on such a difficult fabric as velvet: cover it with a thin piece of silk. When the embroidery is finished, cut the excess silk away.

Although this piece of embroidery comes under Opus Anglicanum it does not show any underside couching and only small areas of split stitch (the silken parts of the claws). Instead, the goldwork is all 'normal' couching and the small figures and the foliage are stitched in running stitch (hence you can see the silk that was used to keep the hairs of the velvet at bay when stitching). It is said that in using these two embroidery methods the actual embroidery would take much less time then when split stitch and underside couching were used. I agree when it comes to the split stitch versus the running stitch. The latter is much quicker as it covers more ground with fewer stitches. However, I am not so sure that normal couching is that much quicker than underside couching. I now practice both and the only marked difference for me is that underside couching is harder on your body due to the slight extra force you need to apply with every stitch.

By the way, these fragments have an interesting 'upcycling' story to them. The horse trapper was probably originally made for King Edward III. He was a guest at the Reichstag (Imperial Diet) at Koblenz, Germany, in AD 1338. The horse trapper probably remained in Germany as a royal gift. It was turned into a set of vestments for the Altenberg Abbey. These were dismantled in 1939 to once more show the original horse trapper.

There were many more beautiful pieces on display in this part of the exhibition. For those of you who were not able to visit in person, I can highly recommend the exhibition catalogue. It is packed full with good quality pictures and many close-ups. More on my textile adventures in Paris in further blog posts!

Please note: there won't be a blog post next week as I am away teaching for the Crewelwork Company. Stay tuned as I will name the next two winners of a thread pack in the first blog post after my return!

Literature
Browne, C., G. Davies & M.A. Michael (eds.), 2016. English medieval embroidery Opus Anglicanum. Yale University Press. ISBN: 978-0-300-22200-5.
Descatoire, C., 2019. L'art en broderie au moyen age. Musee de Cluny. ISBN: 978-2-7118-7428-6 .
Michael, M. (ed.), 2016. The age of Opus Anglicanum (= Studies in English medieval embroidery 1), Harvey Miller Publishers. ISBN: 978-1-909400-41-2.

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

P.P.S. Don't forget to sign up for my newsletter so you'll have a chance of winning a selection of embroidery threads each month!

This is the last article in the series accompanying the conference 'Über Stoff und Stein' in Munich. The other three articles can be found here: part I, part II and part III. For my last goldwork embroidery sample, I choose a letter from the Sternenmantel of Holy Roman Emperor Henry II held at Bamberg. You can read about my visit to the museum where it is housed here. As one of the conference organisers, Dr. Tanja Kohwagner-Nikolai, is also head of the research team for the embroideries held at the Diocesan Museum in Bamberg, I was able to ask very specific questions about the embroidery. I was even given a high-resolution picture of the particular letter (for obvious copyright reasons, I can't publish that picture here). Join me in my musings on recreating part of a very elaborate 'R' from a stunning piece of embroidery that's a 1000-years old.

The original goldwork embroidery was worked on a dark purple samite. This is a specific twill-type weave for silk fabric which was popular in the Middle Ages. I only once had a small piece in my hand which was found during an archaeological excavation in the medieval parts of Emden in northern Germany. Samite is hard to get hold of nowadays. Czech-based company Sartor recreates historical samites for the re-enactment scene. Fortunately for my purse, they don't have a dark purple one in stock. Instead, I had a look in my fabric stash and came up with a paisley patterned silk damask.

Next up was transferring the pattern. The drawing of the 'R' is very intricate and can only be transferred onto the fabric once simplified. I made a pricking of the simplified drawing and used white pounce powder for the transfer. The white dots were then connected with watered-down watercolour Raw Siena (see video above). As the drawing is so intricate, I did my utmost best to keep the paint lines as fine as possible. NB: From the high-resolution picture I could tell that the letter is 9.5 cm tall. As I worked with my original pictures and some crude maths, my copy is about a centimetre taller.

The Sternenmantel has undergone major alterations since it was first stitched around AD 1020. The first major re-make took place in the 15th century when the gold embroideries were cut out from the old mantle and appliqued onto the blue silk damask we see today. The thick red and white embroidered lines along the edges of the lettering date to this re-make. The original lettering looked indeed very different.

The goldthread used for the lettering is a kind of very fine passing thread. The strips of gold foil wrapped around the silk core are less than half a millimetre wide and have a near pure gold content. In comparison, most ordinary gilt goldthreads used today have a gold content of 0.3% -2%. There are about 46 goldthreads per centimetre and this makes each goldthread around 0.21 mm. This is comparable to a modern-day Stech vergoldet CS 70/80 or a smooth passing #3. The goldthread is couched down as a single thread with red silk yarn. I've used DeVere Yarns Carmine #666. There is no regular couching pattern.

Although the high-resolution picture is much better than my original pictures, I still am unable to tell if the tails of the goldthreads are plunged and tied back on the reverse of the fabric or if the ends are simply cut off and secured with an extra couching stitch. It is highly likely that the answers lie beneath the thick white and red contour lines which were added in the 15th century when the goldwork was taken off the original mantle (or mantles) and appliqued onto this 'new' one. I was also told by the head of the research team that the restoration in the 20th century now makes it impossible to inspect the reverse of the embroidery. This is very unfortunate indeed, but also shows the great strides made in textile conservation since then. In my reconstruction, I did not plunge my ends in accordance with the later Gothic embroideries from the Low Countries where there was no plunging either. I know that this is a long stretch both in time and area. However, the goldthread used is so pure that it would have been far too costly to waste any of it on the back.

During the conference, I had a lovely discussion with both Tanja and Dr. Holger Kempkens on who made the Sternenmantel and the other magnificent goldwork embroideries held at the Diocesan Museum Bamberg. We readily agreed that it was not noblewomen or nuns, but men in professional workshops. Probably travelling with the highly mobile imperial court. And with connections to both the Western world and the Islamic world. Modern-day professional commercial goldwork embroidery is often executed by men (for instance the cover for the Kaaba in Mecca). The first mentions in the historical records of women doing goldwork embroidery either as creators or repairers are from the 17th century in this part of the world (the situation is different in England).

And then there is the embroidery itself. The couching on the lettering is done in a very specific way. Although the couching stitches are placed randomly, the goldthread is by no means laid randomly. The embroiderer made sure that this very precious thread was laid down in the most economic way with as little starts and stops as possible. This is easy to do on the straight parts, but far less easy on the 'knotty' bits. Although I stared long and hard at the picture, I found out halfway through the actual stitching that I had it wrong. In comparison, my husband needed very little time to figure out the correct 'path'. Now please don't get me wrong or accuse me of sexism, but there are things in life MOST men can do better than women and vice versa. Not ALL men or ALL women. And this is not to say that there aren't women out there that can do this job perfectly. But I get the feeling that this particular embroidery job suits men better than women. Please don't hate me.

Demonstrating historical goldwork embroidery techniques to the conference delegates was very enjoyable. They were tremendously interested and had lots of questions. It is so important to get both 'head' people and 'hands' people in the same room talking to one another. Tanja's idea of doing just that for this conference was brilliant and I certainly hope that it will get copied like mad by others.

Literature
Baumgärtel-Fleischmann, R. 1983. Diözesanmuseum Bamberg ausgewählte Kunstwerke, Bayerische Verlagsanstalt Bamberg. ISBN 3-87052-380-8.
Kohwagner-Nikolai, T., S. Ruß & U. Drewello, 2016. Goldgestickte Vergangenheitsinszenierung, Restauro 5, pp. 48-53.
Kohwagner-Nikolai, T., 2014. O Decus Europae Cesar Heinrice? Die Saumumschrift des sogennanten Bamberger Sternenmantels Kaiser Heinrichs II., Archiv für Diplomatik, Schriftgeschichte, Siegel- und Wappenkunde 60, pp. 135-1646.

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

P.P.S. My effort to raise money for the relief fund of the Australian Red Cross in the aftermath of the bushfires amounted to € 80. I've decided to up that to € 100 and this has now been donated. Mabel Reedijk won the embroidered coaster. Congratulations and a huge thank you to Anja Deijl, Jackie Ayres and my parents who also generously donated!

Today we are going to have a look at two more modern examples of lettering in goldwork embroidery. One can be found on the burial shroud of a princess from Romania and the other is part of a dedication on an orthodox podea or icon cover. They were both part of a temporary exhibition on Romanian embroidery in the Louvre Museum last summer. You can read all about that trip here. In recreating these samples, I had to use common padded goldwork embroidery techniques I am no longer very familiar with. And I made a rookie mistake. Read on so you'll learn from that mistake. I for my part have made a big yellow mental post-it :).

First up is the burial shroud of Maria of Mangup, second wife of Prince Stephen the Great of Moldavia. The shroud measures 191 x 103 cm and shows Maria laying in her tomb. She is richly dressed in Ottoman clothing and adorned with precious jewellery. The embroidery is executed with silver and gilt threads as well as coloured silks on red silk fabric. Maria likely died on the 19th of December AD 1477 and is buried at Putna monastery in Romania. The church Slavonic text surrounding the depiction of Maria is written in Cyrillic lettering. The four corners show monograms and double-headed eagles in order to point to Maria's family links with the Byzantine empire.

For the epigraphy conference 'Über Stoff und Stein' in Munich next week, I decided to recreate Maria's first name. The embroidery technique used for the lettering seems to be gimped couching over string padding. This means that passing thread is laid over the padding and secured on both sides of the padding with a small couching stitch. The passing thread is folded forwards and backwards over the string padding until all of the padding is covered. Think of it as a satin stitch over padding, but without going through the fabric with the passing thread.

Although I know I should have used linen string padding to be historically correct, but I was unable to find some. If anyone knows of a good source, I am all ears! First, I tried soft string padding as it is easier to manipulate. However, when applying the passing thread they would shift and sit on top of each other as the padding was just not firm enough (see on the letter M in the picture above). Then I used white string and that was much better. I also noticed that the widened ends of the letters had less height than the 'body' of the letters. This made me think that the embroiderers must have untwisted the padding thread they were using in order to create this effect.

The hardest thing with this lettering sample is the joints and the widening at the ends. For what I can see in the original, the embroiderers fudged until it looked pleasing enough. I have used Stech vergoldet 80/90 CS which is comparable to passing thread #4 and DeVere yarns silk Hessian #18267 for my couching thread. Not bad for a first attempt, but certainly not as smooth as the original :). This has likely to do with the modern passing thread having slightly different properties than the original thread used. And I do apologize for the cat hairs visible in the picture; Sammie cat is poorly and clings to me a lot!

The youngest sample I included is this magnificent podea or icon cover made in AD 1681. The amount of Greek lettering in cutwork embroidery is unbelievable. The podea measures 120 x 99 cm and shows in the centre the monastery church it has been intended for and the donors: Serban Cantacuzino and his family. Although this particular embroidery piece sits just outside the time frame of the conference (Middle Ages until AD 1650), I included it as it makes use of different materials and a different technique: cutwork over string padding using gilt bright check.

For my recreation, I choose the top Greek word to the left of the Madonna with Child medallion. Unfortunately, I can't make out what it says. The first letter seems to be an Iota, then maybe a Pi, then a Lambda it seems, another Pi maybe, then maybe a Tau and then a Ny. This part of the dedication does not seem to be covered in the exhibition catalogue.

The lettering on the podea is simple cutwork over string padding. How hard can that be? Very hard when you are me. I absolutely detest cutwork. Not being able to see the world in 3-D, means that cutting purl to the required length is nearly impossible. Why did I still do it? Every so often one of my dear students WANTS to do cutwork. In order to be at least able to explain the technique well, I do need to practice every once in a while. So off I went with putting in the soft string padding. That was a little fiddly with all the tiny bits on some of the letters. But once all the padding was applied, the word still looked rather good. That was not to last.

Although I had remembered to place my padding within the design lines of the lettering, it was by no means enough to prevent the above catastrophe happening. The padding on the original piece is quite high, but clearly much narrower than mine. Once I applied the bright check #8, it all went pear-shaped. Not helped by the fact that the size of the original bright check is smaller than a #8 (sizes #9 and #10 do exist, but are not commonly used and I don't have them in my stash). Why didn't I re-do the sample? Why should I? Due to my eye-condition, I can't do a good job. In addition, the conference delegates do get a good impression of how the cutwork technique works. And that's the main thing. I also felt even more admiration for the embroider of the original podea: Master Gherasim de Galata (his name suggests he was from modern-day Istanbul). He must have had a lot of practice to make the tremendous amount of lettering look so regular. Master Gherasim would never have employed me in his workshop :).

Literature
Durand, J. & E. Cernea, 2019. Broderies de tradition Byzantine en Roumanie du XVe au XVIIe Siecle. Musee du Louvre. ISBN 978-2-902302-02-4.

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

Before we continue the series, I'll better announce the winners of the selection of embroidery threads. The winner amongst the new subscribers to my newsletter is Ruth Kleiber. And the winner amongst my existing subscribers is Launa Sprouls. Both winners have been notified and will receive their thread packs shortly. For your chance of winning next month, be sure you are on my newsletter mailing list!

For the epigraphy conference held in Munich next week, I am working on several samples of lettering in goldwork embroidery. More information on the conference can be found in part I of this series. Today we will look at the goldwork lettering on the Vic cope made in England between AD 1350-75. The cope was probably made for, but certainly worn by, Bishop Ramon de Bellera of Vic in Spain. It is all worked in underside couching, typical of Opus Anglicanum. When looking for online information on this particular cope, I found the excellent website of the Museu Episcopal de Vic. The website is in English and there is an abundance of information on their textile collection. Amongst which is a lovely video on the Vic cope (see below). This was my first foray into underside couching and I am going to share my explorations with you below.

Unfortunately, my stash did not contain a piece of silk velvet, so I opted for red silk with a twill weave. The original underside couching on the Vic cope is done on three layers of fabric: linen, velvet and plain silk. After the embroidery was finished, the plain silk was carefully cut away. My reconstruction omits the layer of velvet. Although the article (see below for a link to the download) on the recent conservation of the cope mentions a lot of details on the materials used, it does not disclose the width of the gold threads used. However, the pictures in the literature suggest a very fine thread. I decided to go with Stech vergoldet 50/60 CS, which is finer than smooth passing #3. It has a width of 0.12 mm.

I started by transferring the lettering of the word 'Epiphania' by using the prick and pounce method. This is the original method for pattern transfer and it would probably have been used by the makers of the Vic cope in the 14th century. I deliberately left my Siena water paint a little thick so that I could scrape off mistakes easily.

From the pictures, I could tell that the gold threads were actually couched down in pairs. The couching pattern used for the lettering is the traditional basket weave. I would start with a long stretch down the length of the letter and use the twill pattern of the silk to get my spacing correct between the couching stitches. I found this not too easy as you'll need a rather large needle for the linen couching thread. For the first four letters ('epip') I used Fil de lin glace, au Chinois, #40 colour #363 (yellow), which I bought at Maison Sajou when I was in Paris. It is rather thick and not very strong. Even when I changed from a needle #7 to a chenille needle #22, it broke frequently. No matter how carefully I tried to guide the thread through the fabrics. What else could I use?

First up was Londonderry linen thread #5070 cornflower 50/3. It is only slightly thinner than the Maison Sajou thread used before. On stitching the 'H', the thread broke three times. This is far less than when I used the Maison Sajou thread.

One other thing that eludes me at the moment: what does one do with the tails of the goldthreads? After consulting with a re-enactment lady on Instagram, she said she plunges them and ties them back with the linen couching thread. Sounds reasonable, don't you think? Except for the fact that the stitches on the back are rock solid and I can't weave any thread tails through them at all. Maybe I should use a finer linen thread?

Next up was Goldschild 50/3. Although the numbers suggest the thread is comparable in thickness to the Londonderry, it is actually less thick. It did break easily, especially on the small bar-like parts of the 'A'. These parts are really tricky to do as you can't keep the basket weave pattern going. You'll end up with a kind of underside couching satin stitch. The quick turns for both the gold threads and the linen couching threads take their toll.

I had one more brand of linen threads I could test: Bockens Knyppelgarn. I started with the rather thin Nel 90/2 and this was no good as it broke every other stitch. But when I tried the thicker Nel 35/2, it was much better. A similar amount of breaks to the Londonderry thread. But again, I am unable to tie back the goldthreads with the linen couching thread on the back. Since I know that medieval stitchers were not averse to using knots, I did the same. Works a treat.

So what did I learn from this experiment? Quite a lot actually! Firstly, turning your threads at the design line is done with an underside couching stitch. There is no additional 'normal' couching stitch on top to achieve this. Secondly, underside couching is a bit like constantly plunging. No matter how drum taut your slate frame is, it will lose a bit of tension. Thirdly: my silk did not take the stitching very well. Fibres of the weft were pulled out. Fourth: the stitching is rather harsh on your body. My fingers are all swollen and my back aches (muscle ache). How the flip did they do it back then? They worked through three layers of fabric. That puts even more strain on your body and on the linen threads. I must have some of the parameters wrong. Suggestions are greatly appreciated!

Literature
Brow, C, G. Davies & M.A. Michael (eds.), 2016. English medieval embroidery. Yale University Press. ISBN: 978-0-300-22200-5.
Calonder, N. & A. Wos-Jucker, 2008. Conservation of the Cope of Bishop Ramon de Bellera, Quaderns del Museu Episcopal de Vic 2, pp. 83-99.

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!

From 12-14 February, the Bavarian Academy of Sciences will host the 15th international conference on medieval and early modern epigraphy. They have asked me to demonstrate the various ways in which lettering can be represented in goldwork embroidery during this long period. I've decided to concentrate my efforts on five different historical pieces: 1) the Sternenmantel of Henry II Holy Roman Emperor, dating to AD 1010-20, 2) the Bamberger Antependium from AD 1300, 3) the Vice cope from AD 1350-75, 4) the funeral pall of Maria of Mangup AD 1477 and 5) a podea (icon cover) donated by Serban Cantacuzino in AD 1671. I have seen all these pieces in the past couple of years and taken my own pictures. However, determining how the lettering was stitched, proved to be difficult. In order to keep a log of my findings and to teach you a thing or two about goldwork embroidery, I am going to write four blog posts on this project.

First up is preparation. Apart from the Bamberger Antependium, all these goldwork letters were stitched on very luxurious silk fabric. So I dressed my slate frame with Zweigart Bergen linen and kept the tension a bit slack. Then I applied pieces of my silk fabrics using herringbone stitch. It is important to orientate the fabric pieces on the grain of the linen fabric. Once the pieces are applied, the frame is stretched to drum taut. In the two short videos above, you'll see slack on the left and drum taut on the right.

I'd like my lettering to be as close to the originals as possible. The first thing to do is to determine how large the lettering in question is. Lighting in the textile department of the Bayrische Nationalmuseum is rather poor and I had to take all of my pictures under an angle. Not suitable. Luckily, I found a perfect picture in a book. It had the whole height of the Antependium on there and since I knew that height in centimetres, basic math led me to an approximation of their size. The word Baltasar measures about 25 cm from B to S. Since the goldwork was stitched directly onto the linen, I used a pencil and a lightbox for the transfer. The original transfer was probably done free-hand: look at the irregular spacing between the individual letters and the irregular shape of the three As.

Next up I tried to determine the size of the gold threads used. Without actually measuring them, this is a rather wild guess. Since the piece is quite old, the gold thread used is probably very fine. But from my memory, it was not as fine as what I recently saw in Bamberg. So I originally went for a gilt passing thread #3 (but had to later change to the even finer gilt Stech 50/60 CS as my edges became too round compared to the original). From the literature, I knew that couching in goldwork embroidery went from single thread to pairs of thread being couched down in one go, somewhere in the 12th century. Since the Bamberger Antependium was stitched around AD 1300, it could well be that this newer and faster method of couching down pairs of thread was employed. And I think the picture above proves this. From the literature, I knew that yellow silk was used for the couching stitches. I went with DeVere Yarns Chamoix #682.

One of the things I can't tell from my pictures nor is it mentioned in the literature: what happened to the tail of the goldthread? Was it plunged? Did they simply secure them on the surface and clip them close? The latter method is used in the orphreys from the 15th and 16th centuries, so I went with that.

The couching pattern used is not our now very common bricking pattern. Instead, it is a slanted line or slash. And since the ground fabric is linen, the couching process becomes a counted thread embroidery technique. I opted for five fabric threads between each couching stitch.

As stated above, I did stitch the first letter twice as I couldn't copy the sharp turns of the original with the ticker thread. The way the letter is shaped also meant that I had to start and stop my goldthreads several times as just bending them would not have accommodated the shape of the letter. Once I was happy with how my R turned out, I needed to stitch a black silken outline around it. As all of the silk embroidery in this piece is done in stem stitch (yup, everything! Rows and rows of alternating stem stitch to fill every design element that's not filled with couched goldthreads), I used stem stitch for the outline too. I used four plies of black Chinese flat silk.

That's all for now! Next week I'll review my textile tour of Paris with Rebecca Devaney!

Literature
Durian-Ress, S., 1986. Meisterwerke mittelalterliche Textilkunst aus dem Bayrischen Nationalmuseum. Schnell & Steiner. ISBN 3-7954-0636-6.
Müller-Christensen, S. & M. Schuette, 1963. Das Stickereiwerk. Wasmuth. No ISBN.

P.S. Did you like this blog article? Did you learn something new? When yes, then please consider making a small donation. Visiting museums and doing research inevitably costs money. Supporting me and my research is much appreciated ❤!