13th Century: mantel

Capa Leonis. Cope, which was used during Sigismund’s coronation in 1414, Aachen Cathedral Treasury.

The magnificent choir robe is one of the most valuable textiles in the Aachen Cathedral Treasury.

Not only are the 100 silver bells that adorn the lower hem of the coat, originally made of dark red velvet, unusual, but also the decoration of the border: embroidered, silver-gilt rosettes are applied to a gold background, the centre of which is decorated with pearls or precious stones. Tiny, crocheted parrots sit on the branches and foliage that stretches like a net over the entire fabric of the border.

Local tradition sees the robe as the choir robe that Pope Leo III wore at the legendary consecration of St. Mary’s Church in Aachen in 805. The garment is definitely not that old; it probably only dates back to the 14th century. It is assumed that the robe was used at the coronation and enthronement of King Charles IV in 1349, Sigismund in 1414 and Charles V in 1520 in St. Mary’s Church in Aachen, the German coronation church.

Cologne, 14th century

(Unable to tell, but I think the “daisies” are beads or possibly french knots)

 

15th Century: linen and silk with brakteats, likely a stole end?

14th Century: border with brakteats

15th Century: altar border with seed beads and brakteats

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

 

14th Century?: border with bratkeats

Need to find info.

15th Century: mitre

15th Century: mitre

 

14th Century: Borders with brakteats and plaques

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)

15th Century: mitre

15th Century: mitre

14th Century: Christ child cloak

14th Century: Christ child cloak

14th Century: Christ child cloak

 

14th Century: brakteats

 

14th Century: Christ child cloak

14th Century: Crist child cloak

14th Century: Marienmantelchen

14th Century: silk brakteats hanging

 

15th Century: Sarnan Child with Bezants/Brakteats

11th Century: reliquary cross

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

17th Century: waxblossed reliquary figures

Wax Reliquary figures of St. Tiburtius & St. Valerianus
Munich, Germany, Early 17th century


Artist: Hans Krumper, 1570(?) – 1634

Material: Wax figure, glass eyes, real hair, silk, gold lamé, tulle, gold embroidery, pearls, oak wood, ebony pads, gold enamel, copper, gold-plated or painted, steel, gold-plated brass

St. Tibertius


INV. NO. Treasury, GS D 71 : www.khm.at/de/object/99040/

DIMENSIONS H. 36 cm, W. 22.5 cm
LABELING “S.TIBVRTIVS”; “S. Crispini M.”
IMAGE RIGHTS Vienna Art History Museum, Spiritual Treasury

 

St. Valerianus


INV. NO.Treasury, GS D 70:www.khm.at/de/object/99039/

DIMENSIONS H. 36 cm, W. 22.5 cm, D. 19.5 cm
LABELING “S. VALERIANVS”; “S: Maurity”
IMAGE RIGHTS Vienna Art History Museum, Spiritual Treasury

13th Century: possible stole end

Gold, silk, 1300-99, German

V&A Accession number 8565-1863 | link to item page @ V&A

Possibly connected to German stole @ the V&A


13th Century: Stole

“Manipel”, First half of 13th Cen.

V&A Accession number 8588-1863 | link to item page @ V&A

Possible companion piece at V&A here


The maniple has been part of liturgical dress for Roman Catholic deacons, priests and higher clergy since the 9th century. It is worn hung over the left forearm and was probably carried as a formal sign of office. It echoes the shape and decoration of the longer stole which is usually worn around the neck.

A long narrow band, broadening at the ends to a trapezoid shape and finished with fringes, it usually has a device at each end. In this case, the beaded embroidery comprises a striking geometric pattern. Specifically religious references are evident in the small painted image of the Virgin and Child on the left end, and the wording woven into the strip that went round the neck.

On the far right and left is written: O SPES DIVINA VIA TUTA POTENS MEDICINA PORRIGE SUBSIDIUM MISERIS O SANTA MARIA PROTOGE SALVA BENEDIC SANCTIFICA

Closeups are from my visit to the V&A visit, read notes here.

 

16th Century: Portrait of Anne of Cleves


Anne of Cleves by Holbein, c.1539 @ The Louvre

13th Century: Ciborium/Ziborium (Host Box)

Beaded container for the Holy Host

Second half of the 13th Century, Schnutgen Museum, Köln (Cologne) Germany


In german: Ziborium mit perlstickerei, Niedersachen, 2, Halfte 13 JH

Translated: Wooden core, embroidery with glass beads, freshwater pearls, and metal bead appliqué on parchment. H. 29.5 cm, Dia. 10 cm (Inv. N 42)This precious and extremely rare vessel of extraordinary artistic quality was created to store the consecrated host for the Eucharist.

Read More

Cat. Kunsthistorische Ausstellung 1876, 58, no. 364 (A. Schnütgen) – Kleinschmidt 1903,332 – Witte 19116 – von Bock 1963, 287-288- Cat. Schatzkammer 1991, 143-144, no. 42 (L. von Wilckens) – von Euw 1993b, 40-41 – Sporbeck 1996, 18-19 – Depierraz 2012, 10-11 – Roth 2018, 45-46, 61.

From: Museum Schnütgen in Cologne: A Survey of the Collection (2017) Edited by Moritz Woelk and Manuela Beer

Some Color Pictures from “Stadt im Wandel: Kunst und Kultur des Bürgetums in Norddeutchland 1150-1650”

Some pictures from: https://www.bildindex.de/document/obj05071467?medium=rba_c005536
Some photos are copyright courtesy the most gracious Racaire at www.racaire.com

13th Century: Fredrick II Gloves

Gloves of the Holy Roman Emperor, Frederick II

Early 13th century, before 1220
Vienna, Weltliche Schatzkammer


Circumference of the wrist opening: 24 (25) cm Length from the wrist to the point of the middle finger: 25.5 (27) cm

Read More

OBJECT LOCATION: Imperial Treasury Vienna, room 10

OBJECT LABEL Textile; liturgical garment; coronation regalia

CULTURE; PalermoDATING; before 1220

DIMENSIONS; L. 26.3 or 27.7 cm, W. 12 cm

INVENTORY NO. Treasury, WS XIII 11


Some Images kindly provided by Prof Michael Greenhalgh, and Kunsthistorisches Museum Vienna, Secular Treasury

14th Century: Cheb Antependium

 


Antipendium (altar hanging) of Cathderal/Chapel of Cheb*
Approx. 1300 AD.

Okay, I freely admit I’m extremely interested in this piece since it seems to have stayed in the very cathedral/town where it was made, and lived, and is still in such great shape. I have some research on Cheb and these locations mentioned in the plate descriptions, see it after the pictures below.

Four pictures from Jessica Grimm who has this blog entry, that you must really go to as she has done a great write up on it.

*also known as Eger (see note after plate description) Dimensions: 88cm x 228cm. Museum der stadt Cheb, Czechoslovakia.
SOURCE: “La Riqueza del Bordado Eclesiastico en Checoslovaquia”, by Zoroslava Drobna, 1949

Plate info in spanish:
Antipendium bordado con abalorios multicolores (perlitas de cristal) y con coralitos rosáceos. En dos filas, una encima de la otra, que constan de diez arcadas semicirculares, tiene colocadas las figuras de la Vírgen María, de Cristo, de santos y de santas. En su parte superior consta de una tira o franja, en la cual se hallan sobrepuestas o aplicadas cabezas, pintadas y más recientes, de santos y una tira con una inscripción mulitada por restauraciones posteriores. las figuras y las arcadas han sido borodadas sobre pergamino, borado que años más tarde ha aplicado o cosido sobre una tela de seda roja. Probablemente ha sido confeccionado por las monjas del convento de Santa Clara de Cheb para la cahilla del castillo de Cheb. Proximiades del año 1300 Dimensiones 88cmx228cm Museo Municipal de Cheb.

Plate info in English – to the best of my talents and using an online translator:
Altar hanging embroidered with multicolored glass beads (glass pearls?) and with rosaceous coralitos. In two rows, one upon the other of ten semicircular arches around the figures of the Virgin Maria, Christ, saints. In the top part it consists of a border which has overlapping or applied heads, painted and more recent, of saints and a strip with an inscription mutilated by later restorations. The figures and the arches have been embroidered on parchment, embroidered over years and applied or sewn on red silk fabric. Probably was made by the nuns of the convent of Saint Klara of Cheb for chapel of the castle of Cheb. Approx. 1300 AD. Dimensions 88cm x 228cm. City Museum of Cheb, (Czechoslovakia.)

 

RESEARCH ON THIS PIECE’S ORIGINS

Notes About Cheb, Czech Republic: during the Middle Ages, and even into fairly modern times, Cheb (which is directly on the modern German/Czech border) has changed hands to and from Germany many times. Map of modern Czech Bohemian Province: Cheb can be seen almost extreme right, junst under the little finger section that shoots into Germany, right along the border. Youc an see how this could have changed hands many times. (another map has Cheb clearly marked extreme west point of Czech.)As a result, Germany calls it Eger and Czechoslovakia calls is Cheb.

You will see this listed more often as being from “Eger (Cheb)” more than “Cheb” alone. To make this even more confusing – There is also a Eger, Hungary It’s made my researching this piece a bit difficult, added to that all, Czechoslovakia was called “Bohemia” in period. Here is a period map of Cheb when it was Eger, Germany – the chapel of St. Klara is clearly marked in the high res pic entitled “De germania, Egrana ciuitas, olimde imperio Romanorum hodie uero regno Bohemiae subiecta”That last link calls Cheb “Located on Ohre river near the German border; town fell to Bohemian king Otakar I in 13th cen.; was often damaged by war, including in Hussite wars (1419-1436), Thirty Years’ War (1618-1648) & War of Austrian Succession (1740-1748). ”

The Czech.cz history page, mentions German Colonization inthe 13th Century. Now, Locating the piece’s orgin in Cheb (Then named “Eger”):The plate description above says this was: “Probably was made by the nuns of the convent of Saint Klara of Cheb for chapel of the castle of Cheb.” Let’s break this down.

You can see some of these Cheb locations, as they stand now that are mentioned above, at Cheb’s Wepage and the above map link which I think shows them in period as well. So does this page.

The convent was founded as a Franciscan church, and functioned as such for a couple hundred years, but converted to a Minorite (“Minores”) order in the 1500’s – which is whwen this map was made. (go about half way across) *right* next to the what we conclude to be the very Convent of St Klara (“S:Klara”) Cheb’s page even notes the order change: “Franciscan church: The Minorite church was built simultaneously with a convent after 1247 when Franciscans settled in Cheb. A vestry and adjacent portion of walling has been preserved from the original building from the mid-13th Century. A cloister of the convent from the 1st half of the 14th Century is one of the most beautiful landmarks in the town’s historical center.” So we know it was there at the right time, and we know it’s still there. Now, If you look at the modern pic of the Minorite churchand the period map of Cheb when it was Eger, Germany, you can see a definite resemblance of the modern and to the towers of “S:Klara” and the adjacent”Minores” in the map, which would be the Minorite Church.

In the 15th Century a bunch of Franciscan monasteries converted sub order called Minorite, who I thinks were a little more conservative, even more than the “Poor Clare’s” who were founded by St Clare and who’s tenants included strict cloistering away from the world and devout poverty.

We know that the the Convent of St Klara was adjacendt to the “Minorite” church from the map. We’re at the very least in the right area of town, and it’s really cool to at least see in period where it came from, if it is from where they say.

John Moorman, MEDIEVAL FRANCISCAN HOUSES, St. Bonaventure (NY): The Franciscan Institute, 1983:[page 169:] FRANCISCAN FRIARY AT “EGER (Cheb): Franciscan Province of Saxony or Bohemia, Leipzig.”Before 1256 (AFH v, 362). In 1270 the town was burnt down, including the church of the friars. Four friars and ten others were burnt to death in the church (AF ii, 83). It became Observant in due course, but the date of this is uncertain. Some say 1463 (“Beiträge Sächs. 1907, 9); others give 1465 (AFH v, 362) or 1472 (FS i, 239).”[page 582] POOR CLARES at Eger “Founded c. 1270 being built next to the friars’ convent (AFH v, 362-3). Some put the date as 1264 and say that the house was affiliated to Seusslitz (S. Chiara 438). In 1465 some sisters were sent from Nuremberg to carry out reforms (AF ii, 417-8).”Abbesses: “c. 1270: Adelheit von Lobhaus (Wauer, Entstehung 141n); 1469: Felicity Trautmann (AF ii, 418, 477); 1469 Margaret Grunther (Priorissa) AFii, 418, 477)”

And who was it made for?
It says in the plate description… ” …for chapel of the castle of Cheb” (again, it was Eger)Cheb’s page shows them too. Here’s the castle and here’s the castle’s chapel interior (and A detail picture). Here’s a modern Map of Cheb , you an see the castle (#4) up in the the northern bend of the river.
#8 is the convent.
#3 is where the piece lives now, the Musem of Cheb.

The Beads: Where did they come from?

Cheb is located less than 40 Kilometers from the small bavarian town of Bischofsgrun, Germany, which is just a few miles on the other side of the modern Czech/German Border.Bischofsgrun is important in many ways. It is one of the first glassmaking capitols in that part of Europe. A “glass hut” (translation from web) was found dating from 900. “Bischofesgrune” was first mentioned in 1242. The tradition of glass-making was first mentioned in 1340 (*1). by 1536 they had 39 glass houses (*2). Duke Albrecht V requested the court cartographer to a map of Bavaria in 1554-1561. In it he included the desctiption as: “Here there are many Glassworks, (producing) blown glass, exceptional mirror glass, and glass beads.” (*3). Modernly Bischofsgrun is famed for it’s history as a medieval stained glass center, and is part of many “glass tours” for those who study glass history. I think it’s a good possibility the beads may have come from Bischofsgrun, or even perhaps there was an even closer factory. Glass makers were considered a reputable and desirable industry.

(*1).source: Bischofsgrun, Germany glass tour website
(*2) source: Bischofsgrun, Germany website
(*3) source: Sibyll Jorgstaff, Glass Beads Of EuropeNEW Text about Cheb History: Following text from this page on Cheb:

The history of Cheb, one of Bohemia’s oldest towns, dates from the 9th century. The remains of a Slavonic settlement have been found on the site of todays castle, in its strategic location above the Ohre river. The first reference to Cheb was in a document by Germany king Heinrich IV., in 1061. The town was then called Egre, derived from “Agara”, the Celtic name of the river running through it and taken into German as “Eger”. The Czech name goes back at least to 1322. During the 12th century, Cheb came under the administration of the margraves of Vohburg and German colonization followed. In 1149, Cheb came under the House of Hohenstauf. Friedrich Barbarossa, the emperor and the most significant member of the family, made Cheb a stronghold of his power politics aimed against the Principality of Bohemia. Czech rulers, however, also proved interested in the regions strategic location. Using the claim to inheritance as a pretext, Premysl Otakar II invaded the once Slavonic territory in 1266 and temporarily annexed it to Bohemia. Until 1305 the region was administered by Vaclav II, Otakars son, who gained control over it as part of the dowry of his wife Guta, a daughter of the Emperor Rudolph of Hapsburg. Although the town was repeatedly taken by the German Empire after Vaclavs death, the inhabitants of Cheb maintained good relations with Bohemia and, after the Premyslid dynasty, became growingly concerned about stability. The permanent annexation of Cheb to the Bohemian Crown Lands came in 1322. John of Luxembourg, the Czech king, acquired the region from Ludwig the Bavarian as a hereditary pledge in recognition of service in the fight for the Emperors throne.

In the 14th century, Cheb was one of the leading towns in the kingdom, being the fourth biggest in Bohemia with a population of 7300. It received many privileges: the Golden Bull made Cheb inhabitants free of duties and tolls throughout the Empire, they had a provincial parliament, a provincial high court, and the minting right (1235). An important trade route, the Via Regia, led through town. During the Hussite wars, the town sided with Catholics and was the point of departure for the 1421 and 1427 crusades. History records the diplomatic negotiations of the Basel Ecclesiastic Council and the Hussites over the conditions of the latters attendance. Chebs faith in Jiri of Podebrady, the “Hussite” king, was confirmed not only by this many visits but also by his childrens weddings taking place in the town.

During the Thirty Years War, Cheb suffered attacks by Swedish, Saxon and imperial troops. The town went down in European history on the bloodstained date of 25 February 1634, when Albrecht of Wallenstein, the Emperors high commander, died at the hands of the Irish captain Deveroux.

Because of the war and the general decline of towns, the economy became stagnant. By a 1652 decree issued by Ferdinand III, Cheb was converted into a military fortress. When completed in 1740, however, the mighty Baroque structure was outdated and challenge to French troops laying siege two years later. An imperial contract brought leading Baroque architects to Cheb: K.Dienzenhofer, P.Bayer, G.Alliprandi, A.Pfeffer and others. Thanks to them the town boasts some marvelous buildings, e.g. St Clares Church, the Dominican monastery, the town hall, etc. The towns appearance was dramatically changed by the early 19th century. The fortifications were pulled down and a large part of the original Gothic town wall together with the gates was demolished. And still another event, deprived Cheb of its medieval features: the great fire of 1809. It destroyed more than 100 houses. Chebs oldest church, St John the Baptist, included.

Industrial development brought revival, in both economy and culture. In 1938, came the Munich agreement, followed by World War II. The ultimate displacement of German residents, eventually depopulated Chebs historical center, accelerating a catastrophic decay of monuments. Only resolute refurbishment put an end to such dilapidation (1956-1969). Since 1989 Cheb has become a notable culture and bussines center. International activities, like Euroregio Egrensis, have restored the tradition, and the unique character of the region.

13th Century: Halberstadt Antependium

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Some pics below from: http://fraubevin.blogspot.com

13th Century: Halberstadt Antependium

 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

17th Century: Game Bag

Embroidered game bag: silk, silver, and gold on velvet (Dresden 1609)

16th C Pearled Panels

(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

 

16th Century: Portraits of sisters, and family.

Family Portrait of Armgard and Walburgis, Countesses of Rietberg and parents, Count John II of Rietberg and Agnes of Bentheim-Steinfurt in Rietberg. Piece was mutilated in 19th-century and reassembled from 3 pieces.Detail: Armgard and Walburgis, Countesses of Rietberg
Portraits by Tom Ring

 

16th Century: Portraits of Susanna of Bavaria

Artist: Peter Gertner (attr.) – Unknown

Susanna of Bavaria (2 April 1502 – 23 April 1543)
Susannah of Bavaria on Wikipedia

Suzanna of Bavaria, Margravine of Brandebourg-Culmbach by Barthel Beham

16th Century: Portraits of Sophie of Mecklenburg

Sophie of Mecklenburg-Güstrow (4 September 1557 – 14 October 1631)

16th Century: Portrait 1511

Portrait of the Margrave Casimir of Brandenburg
1511, lime panel, Pinakothek at Munich

16th Century: Portrait

Portrait of Felicitas von Wallbrunn, 1539 : Mittelrhein-Museum, Koblenz. Germany  by Hans Abel the Younger (1506-1567)

16th Century: Portrait Wilhelm IV of Bavaria and his wife Jacoba of Baden, 1525

Duke Wilhelm IV of Bavaria and his wife Jacoba of Baden (1526) by Hans Schwab von Wertinger

Museum Veste Coburg

16th Century: Portrait 1545

Conrad Faber Portrait of Anne von Glauburg1545

16th Century: Portrait 1518

 1518 Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Anna Buchner

16th Century: Portrait 1513

Lucas Cranach (Northern Renaissance Painter, 1472-1553)  and his workshop  Portrait of a Woman 1513

16th Century: Portrait

Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Princess Maria of Saxony

16th Century: Portrait

Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Portrait of a Young Lady Holding Grapes

16th Century: Portrait of Saxon Princesses

Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Portrait of a Young Woman 1530

16th Century: Portrait 1530

Lucas Cranach (Northern Renaissance Painter, 1472-1553) and his workshop Portrait of a Young Woman 1530

16th Century: Portrait 1541

LUCAS CRANACH (1472 – 1553) | A Lady in a green velvet and orange dress and a pearl-embroidered black hat – 1541.

16th Century: German-Saxon Portrait

Hans Krell (before 1586). 16th C: Early German-Saxon (Cranach) Gown

14th Century: Sudarium with Spangles

photo from: http://www.wkneedle.org/stars-spangles-studs/

I am seeking more info on this piece, I am guessing it to be 13-14th century.

Unlike Bezants (brakteats) which are like one sided stamped coins with intricate designs, spangles are usually plain and are hung from holes and sparkle.

16th Century: Painting


Lucretia by Lucas Cranach the Elder,1512

14th Century: Christ child cloak

Clothing for a Child Christ Statue(?)
Second half of 14th Cen.
In German: Bildbekleidung aus der Marktkirche Hannover, Mitte bis 2. Halfte 14 Jh.

17th Century: Flinderhaube

This is from a SCA researcher, who did a rather spectacular bit of research into those amazing gold German cauls you see often. Sometimes they look like beads, but sometimes they don’t, and here is a bit of info on what they are!

I will just send you there since it’s not entirely beads, even though a decorative thing with a hole technically qualifies, but it is late to post period so – off you go!

Flinderhaube – project documentation

15th Century: Halberstadt mitre with four saints

 

Miter With Four Saints. c. 1401/1500. Dom und Domschatz Halberstadt. Halberstadt, Germany. Bildindex der Kunst und Architektur. 7 Jul 2011.

15th Century: Portrait

UNKNOWN 
from the”Medieval European Jewelry” by Ronald Lightbowen.
Victoria & Albert Musuem, London
Thanks to Roxelana for this one.

15th Century: Portrait

UNKNOWN
from the”Medieval European Jewelry” by Ronald Lightbowen.
Victoria & Albert Musuem, London

15th Century: Portrait

Hemma von Gurk wearing the Order of the Swan by Sebald Bopp,c. 1490

Artist active at the court of Ansbach (?) c 1490, Thyssen-Bornemisza CollectionSource: the book Early German Painting 1350-1550