Tag Archives: altar

14th Century: border with brakteats

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14th Century: silk brakteats hanging 15th Century: altar border with seed beads and brakteats 14th Century: Borders with brakteats and plaques 14th Century?: border with bratkeats 14th Century: Christ child cloak 14th Century: Christ child cloak 14th Century: Christ child cloak 14th Century: Christ child cloak 14th Century: brakteats 14th Century: Altar Edging 14th Century: Crist child cloak 14th Century: Christ child cloak 14th Century: Marienmantelchen 14th Century: Marienwerder Antependium 14th Century: Cheb Antependium

15th Century: altar border with seed beads and brakteats

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Lüneburg * Art collection in the Lüne Monastery near Lüneburg * Lüneburg, 15. Jh. ?: Border * Silk, glass beads, linen and metal

 

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14th Century: Borders with brakteats and plaques 14th Century: border with brakteats 14th Century: Altar Edging 15th Century: linen and silk with brakteats, likely a stole end? 13th Century: Halberstadt Antependium 15th Century: mitre 15th Century: Lamb Of God 15th Century: Sarnan Child with Bezants/Brakteats 13th Century: Ciborium/Ziborium (Host Box) 15th Century: Minden Mitre 14th Century?: border with bratkeats 14th Century: silk brakteats hanging 15th Century: Crib of the Infant Jesus 14th Century: Marienwerder Antependium 13th Century: German Panels

14th Century: Borders with brakteats and plaques

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Date:1401/1500?
Type:Textile ArtMaterial
Technique:green velvet; Linen; Pearl; Gold sheet; Silver plate; Edelstein; embroidered; applied
Dimensions:22.5 x 204 cm
Collection:Wienhausen, Kloster Wienhausen
Description:The crest border (14th century), which was once sewn on the upper edge

Link to this page:https://www.bildindex.de/document/obj20017930

Bildarchiv Foto Marburg

Translated from photo D1:

Wienhausen * Kloster Wienhausen * Jewelry border *

15. Century?? * Velvet (green); Linen: Pearl: Gold sheet:

Silver plate: gemstone * embroidered; applied * 22.5 x 204 cm * The coat of arms border (14. Century)) * Neckline

Neg. No. LAC 7.091/5 * color * Picture taken 1942/1944

Translated from photo D18:

IFDN 11 168 (13×18)

Wienhausen, former Cistercian monastery, Aurifrisia, above pearl embroidery on linen background with gold and silver sheet metal, 15. Century. (?) , below green velvet with pearl embroidery and decorative sheets, 15. Century. (?) .(Recording 1939)

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13th Century: Halberstadt Antependium 14th Century: Marienwerder Antependium 15th Century: Lamb Of God 14th Century: Altar Edging 13th Century: Ciborium/Ziborium (Host Box) 11th Century: Reliquary Bag with plaques and pearls 14th Century: Cheb Antependium 15th Century: Minden Mitre 15th Century: Crib of the Infant Jesus 13th Century: German Panels 15th Century: mitre 14th Century: Christ child cloak 15th Century: Sarnan Child with Bezants/Brakteats 14th Century: silk brakteats hanging 15th Century: Kloster Ebstorf Panels

11th Century: reliquary cross

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The Reich Cross, dated 1024/25, 1325

Reliquary: West German; Foot: Prague

Oak core, fabric, gold sheet, precious stones, antique cameos, pearls; RS and sides: niello, iron pin for use as a lecture cross; Foot: silver, gold-plated, enamel

Item page at Vienna Art History Museum

The Imperial Cross represents a highlight of medieval goldsmith’s art and was created during the reign of Emperor Conrad II (1024-1039). The front is densely decorated with gemstones and pearls, while the back shows a niello drawing of the twelve apostles, the apocalyptic lamb and the four evangelist symbols.

H. 77.5, W. 70.8 cm

Total height: 92.5 cm

Foot: H. 17.3 cm

Side panels: “ECCE CRVCEM DOMINI FVGIAT PARS HOSTIS INIQVI. HINC, CHVONRADE, TIBI CEDANT OMNES INIMICI”; Cross base: “ANNO MILLENO TERCIO QVINQVAGENO SECVNDO KAROLVS AVGVSTVS ROMANVS REXQVE BOHEMVS HOC LIGNVM DOMINI TALI PEDE SIC DECORAVIT”

Like the imperial crown, the imperial cross is also filled with deep symbolic meaning. First of all, it is a symbol of Christian triumph, since Christ overcame his death on the cross through the resurrection. Since Emperor Constantine won his victory at the Milvian Bridge (312) under the protection of the cross, the cross was also considered a national emblem of the Roman Empire, an idea that was consciously continued by Charlemagne and to which the Ottonian and Roman Empire also relied early Salal rulers. The Imperial Cross can therefore be interpreted as a sign of Christian triumph, victory and imperial representation. It is part of a series of famous imperial foundations, at the beginning of which is a jeweled triumphal cross (crux gemmata), which Theodosius II had erected on Golgotha ​​Hill before 450. The Imperial Cross is not only a triumphant crux gemmata, but also a relic container. Parts of the front can be removed in panels and reveal the recesses inside in which the imperial relics were once kept: in the cross arm the Holy Lance (inv. no. SK_WS_XIII_19) and in the shaft the cross particles (inv. no. SK_WS_XIII_20) . These extremely valuable passion relics were considered a pledge of the “royal salvation” and the victorious power of the ruler. The meaning of the relics finds a perfect correspondence in the shape of the shell that contains them, which surpasses all secular symbols of power in terms of symbolic power.

Vienna Art History Museum, Secular Treasury

INV. NO. Treasury, WS XIII 21, Imperial Treasury ViennaRoom 11

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11th Century: Reliquary Bag with plaques and pearls 17th Century: waxblossed reliquary figures 15th Century: Crib of the Infant Jesus 16th C Pearled Panels 11th Century: Chalice Base 13th Century: Halberstadt Antependium 13th Century: Ciborium/Ziborium (Host Box) 14th Century: Borders with brakteats and plaques 14th Century: Reliquary Bag 13th Century: Square Reliquary Box 13th Century: German Panels 14th Century: Cheb Antependium 14th Century: Altar Edging 17th Century: Reliquary Crown of St Walburga 15th Century: Mantle of the Order of the Golden Fleece

15th Century: Crib of the Infant Jesus

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Crib of the Infant Jesus

15th century, South Netherlandish

The pillow and blanket of the crib, are embroidered with with gold work, enameled pieces and pearl work.
Made in Brabant, South Netherlands

Met Museum NYC, Gift of Ruth Blumka, in memory of Leopold Blumka, 1974 Accession Number: 1974.121a–d

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14th Century: Borders with brakteats and plaques 15th Century: Mantle of the Order of the Golden Fleece 11th Century: reliquary cross 15th Century: Kreuzlingen Mitre 15th Century: Minden Mitre 15th Century: Lamb Of God 15th Century: The Linköping Mitre 11th Century: Reliquary Bag with plaques and pearls 17th Century: waxblossed reliquary figures 15th Century: mitre 15th Century: Montecassino mitre 15th Century: Kloster Ebstorf Panels 16th C Pearled Panels 13th Century: Halberstadt Antependium 13th Century: German Panels

13th Century: Halberstadt Antependium

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 german12thAltar frontal of the high altar of Halberstadt Cathedral

Lower Saxony, second half of the 13th century, Halberstadt, Cathedral Museum, No. 203
Throne: about 58 cm high

(Some pictures from Bevin Butler’s blog post)

Detail. Red satin faded to old rose. Bead embroidery on parchment and linen. Coral and glass beads of cylindrical and spherical form, opaque and transparent. Predominant colors: coral red, two shades of green, dark blue shading, to light blue, turquoise, aubergine (i.e. eggplant purple), gold, black.

All the seed pearls and most of the violet glass beads and the gilded plaques are now missing. The outer edge and inner fields of the throne had metal plaques with Romanesque foliage and palmettes (their imprints remain on the material). The effect of the whole is impaired by the white patches left where the seed pearls and gold plaques have disappeared.

Pictoral History of Embroidery, M. Schuette (Library of Congress # 64-13379) [Gestickte Bildteppiche des Mittelalters (in english: Art of Medieval Tapestry), Leipzig1930.] Frederick A. Praeger, Inc, Publisher, New York 1964, 64 University Place, New York 3, New York

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13th Century: Ciborium/Ziborium (Host Box) 14th Century: Marienwerder Antependium 13th Century: Halberstadt Antependium 13th Century: German Panels 14th Century: Cheb Antependium 13th Century: Halberstadt Mitre 14th Century: Altar Edging 14th Century: Borders with brakteats and plaques 15th Century: altar border with seed beads and brakteats 13th Century: Orphrey, 1220-1224 13th Century: Square Reliquary Box 13th Century: Reliquary hanging 15th Century: Lamb Of God 11th Century: Reliquary Bag with plaques and pearls 15th Century: Minden Mitre

16th C Pearled Panels

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(The last three pics seem to be from a third panel i can so far not find a whole pic of)

From: https://archive.org/details/geschichtederli03bock/page/89/mode/1up?view=theater

Bild 37.
Albenparura. Prag, Domschatz.(Aus Podlaha u. Sittler, Der Domschatz zu Prag) ist bloß eine mit einem solchen ausgestattet, die aus der Neustädter St Johannes-Kirche zu Hannover stammende, mit M. XX 6 bezeichnete Albe im Pro-vinzialmuseum daselbst. Die Bordüre setzt sich aus Vierpässen zusammen,Welche mit einem Wappenschild gefüllt sind und durch Blattwerk voneinandergeschieden werden. Bemerkenswert ist, daß aber auch hier in der Mitte desSaumes die Paruren nicht fehlen. In der Neuzeit ging es den Albenparuren ähnlich wie dem Besatz desAmiktes. Während indessen bei letzterem die Verzierung ganz aufhörte, be-

Bild 38.
AlbeDparura. Prag, Domschatz.(Aus Podlaha u. Sittler, Der Domschatz zu Prag.) 90 Erster Abschnitt. Die liturgischen Untergewänder. gann bei der Albe eine rückläufige Bewegung, indem wieder Vollbordürenan Stelle der Paruren traten. Ein gutes Beispiel einer solchen Albe, eine Schöpfung des 16. Jahr-hunderts, findet sich in der ehemaligen Stiftskirche zu Goß in Steiermark.Der breite Besatz, der sich um den ganzen Eand derselben hinzieht, ist teilsin mehrfarbiger Seide teils in Goldstickerei ausgeführt1. Im allgemeinen hielt das Außermodekommen der Alben- und Amiktparuragleichen Schritt, wie sie ja auch so ziemlich zur gleichen Zeit aufgetretenwaren und in gleichem Maß sich verbreitet hatten. Freilich auch nur imallgemeinen. Denn wie wir noch gegen Ende des 16. Jahrhunderts dort Amikt-besätze antreffen, wo die Zierstücke der Alben, wie es scheint, schon außerGebrauch gekommen waren, so begegnen uns umgekehrt diese hie und danoch, nachdem jene bereits eine Weile von de

 

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13th Century: German Panels

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On parchment with beads and seed pearls
German, 13th Century Blue glass, red coral, gold and seed pearls (most salvaged/looted) on parchment with linen thread.

The two detached pieces are in the V&A collection (below)

The other (still attached to the edging) is in a museum in Germany.

Link to V&A page Link to V&A page

The pair in the V&A appear for all intents and purposes to have been removed from the German piece and were sold in the late 40’s (war happens). I have worked up a comparison, they are as best I can deduce made by the same hand. You can find my notes on them here.

This selection of pictures is to compare contrast the  items as they they are assumed to have originated from the same piece.

While they are technically two different pieces, I have decided to  present them together as they are from the same work.

Beadwork, (Shire Album #57), by Pamela Clabur

“The american indians… here the beads are threaded and laid on the ground material. The attaching thread is quite separate and is brought up from below and catches down the thread between the two beads. this is in effect, a form of couching.” “Exactly the same method of attachment was used in the german beadwork of the 12th Century. Here it is combined with with the sewing on of single beads where the design required it, but it can be seen that are long strands of the same colours and only a very few single colors even in such detailed parts of the design as the faces. Six hundred years later the method was still being used”

Bead Embroidery By Joan Edwards.

“Long before needlewomen of the nineteenth century discovered the possibilities of beadwork, comparatively coarse beads had been used in various parts of Europe for embroidery for a very long time indeed. A great deal of work was done, for example, during the thirteenth and fourteenth centuries in Lower Saxony, examples of which can be seen in Hanover and Darmstadt. The beads were usually attached to vellum, and it has been suggested that the existence of this beadwork might-like the German whitework or “opus teutonicum” of the Middle Ages-be interpreted as a sign of poverty amongst the German convents at this time, and that the beads were perhaps a substitute for work in pearls, precious metals, and the coveted Byzantine enamels. Nevertheless, the vestments and hangings must have gleamed with considerable beauty in the dark, candle lit cathedrals and churches, shining through the dimness like the stained glass in the windows, and there seems little doubt that the designs were good and well drawn.”

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13th Century: Halberstadt Antependium 13th Century: Ciborium/Ziborium (Host Box) 13th Century: Orphrey, 1220-1224 13th Century: Halberstadt Antependium 13th Century: Halberstadt Mitre 14th Century: Marienwerder Antependium 14th Century: Borders with brakteats and plaques 14th Century: Cheb Antependium 14th Century: Altar Edging 13th Century: Reliquary hanging 13th Century: Stole 13th Century: Square Reliquary Box 15th Century: altar border with seed beads and brakteats 11th Century: Reliquary Bag with plaques and pearls 15th Century: Lamb Of God