15th Century: O’Dea Mitre

The O’Dea Mitre, ca. 1420. Made in Dublin, the name of the artist is engraved – Thomas O’Carryd, artifex faciens. The infulae or pendants appear to have suffered much as they are devoid of most of the ornaments that once adorned them. This image is the property of the Dean and Chapter of Limerick Cathedral.

15th Century: Kettil Karlsson’s Mitre

Photo by: https://www.flickr.com/photos/catrijn/3590055281/

 

Kettil Karlsson (Vasa) (c. 1433 – 11 August 1465)

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: Montecassino mitre

Photo credit: http://thefarsight2.blogspot.com/2009/11/mighty-mitres.html

 

A 15th-century mitra preciosa that was commissioned by Pope Leo X. From the treasury of Montecassino.

 

Photo credit: http://thefarsight2.blogspot.com/2009/11/mighty-mitres.html

15th Century: Minden Mitre

The Annunciation worked on a mitre from Minden of c.1400
Silk, pearls, and silver-gilt motifs; the scene on the reverse is the Virgin Enthroned.

“Medieval Craftsmen: Embroiderers,” by Kay Staniland,
University of Toronto Press, 1991, p. 48. ISBN: 0-8020-6915-0

15th Century: Kreuzlingen Mitre

Kreuzlingen – Mitra (15th century)

The monastery Kreuzlingen was founded around 1125 by the Constance Bishop Ulrich I as Augustinian Monastery. The Mitra, a magnificent goldsmith work with translucent enamels and elaborate beadwork, now in the inventory of the Historical Museum Thurgau in Frauenfeld, is so far attributed to the Abbot Erhard Lind.

Legend has it that Pope John XXIII. as a gift on the occasion of an overnight stay of the Pope and his more than 600-member allegiance in the monastery Kreuzlingen on October 27, 1414 on the way to the Constance Council to the Abbot handed over.

The Mitra is an exquisite late medieval goldsmith’s work of outstanding importance. It will be presented for the first time after the restoration in 2014 at the Constance Council outside the premises of the Historisches Museum Thurgau. In collaboration with the scientific management and textile restorers of the Abegg Foundation, the Competence Center for Textile Restoration in Riggisberg, the showpiece will be extensively examined and conserved art historically and art-technologically.

Text via: http://hj-bleier.de/projekte-metallrestaurierung/kreuzlingen-mitra-15-jh/

14th Century: Amalfi Mitre

All Photos by Carlo Raso

 

14th Century: Cathedral of San Lorenzo Mitre

 

Photo Credit: Carlo Raso

Photo Credit: Carlo Raso

 

Mitre – Cathedral of San Lorenzo at Scala/Ravello – Southern Italian Goldsmiths – 13th-14th century – Red silk with pearls and golden plates with enamelled Apostles – Angevin Naples – Temporary exhibition – Museum of the Treasure of Saint January in Naple

 

14th Century: Blue Silk Mitre

Mitre of Saint Isidoro ~ Embroidered with gold, pearls and precious stones 14th century ~ Bologna ~ Museo Davia Bargellini.

Mitra di s. Isidoro, ricamo in oro, perle e pietre preziose, 14th century, Bologna, Museo Davia Bargellini.

This is all I have on this, if I find more it will be here.

16th Century: Russian Mitre


Mitra ШИТЬЕ/Митра Век: XVI-XVII Место хранения: Государственный музей искусств Грузии Размер: 28,5 х 19,5 Edit
Mitra SHIT'Ye/Mitra Vek: XVI-XVII Mesto khraneniya: Gosudarstvennyy muzey iskusstv Gruzii Razmer: 28,5 kh 19,5

Mitra SEAT / Mitra Century: XVI-XVII Location: State Museum of Art of Georgia Size: 28.5 x 19.5

14th Century: Nola Mitre

“Mitre” – Sienese and Southern Italian Goldsmiths, about 1330-1355 – Nola, Cathedral – Angevin Naples – Temporary exhibition – Museum of the Treasure of Saint January in Naples

Color Pictures via flickr user *Karl* – clicking will take you to the pic

 

14th Century: Amalfi Mitre

Mitre – Amalfi, Museo Diocesano – Neapolitan Workmanship – first quater of the 14th century – Pearls and golden plates with precious stones – Angevin Naples – Temporary exhibition – Museum of the Treasure of  Saint January in Naples

Color Pictures via flickr user *Karl* – clicking will take you to the pic

14th Century: San Lorenzo Mitre

BeadedMitre-full

Mitre – Cathedral of San Lorenzo at Scala/Ravello – Southern Italian Goldsmiths – 13th-14th century – Red silk with pearls and golden plates with enamelled Apostles – Angevin Naples – Temporary exhibition – Museum of the Treasure of Saint January in Naples

flickr_gallery user_id=”83186333@N00″ id=”72157650799103938″]

Color Pictures via flickr user *Karl* – clicking will take you to the pic

13th Century: Halberstadt Mitre

Info from : http://www.lda-lsa.de

A mitra with animal symbolism from the Halberstadt cathedral treasure

The bishop’s headdress from the Halberstadt cathedral treasure embroidered on the most sumptuous of pearls impressively demonstrates the magnificence of the medieval church service as well as the great craftsmanship of contemporary textile art. The Mitra is almost completely preserved except for two formerly hanging on the back, wide bands and looks amazingly fresh in the color of the jewelry elements. In addition to gilded jewelery sheets and colored stones in golden versions, the variety of small pearls made of red coral, colorful glass flows and gilded metal and combined with river pearls is particularly impressive.

For a long time it was thought that these pearls were imported. However, there is evidence that freshwater pearl mussels were more abundant in native waters before being almost completely eradicated by depletion in the 18th century. Therefore, for the Lower Saxony beadwork – to which the Mitra belongs – pearls from the provenances of the Lüneburg Heath may well have been used.

The background for the beadwork, which is embroidered on pattern-precise parchment, is a thin gold foil. The two decorative bands, called Circulus and Titulus, are particularly broad and elaborate on this Miter . Horizontally, the Mitra move around many entwined tendrils with vine leaves, into which two quadruple-shaped medallions are integrated on the front and back. In miniature they depict representations of medieval animal symbolism, which was recorded in the compendium of the Physiologus, which has been immensely popular since early Christian times: On the detail illustration of the obverse, an eagle flies out of its nest with a young bird in its capture.

In the interpretation of salvation history, the eagle Christ immediately approaches the sun, the symbol of God, to whom he feeds a human child. In the neighboring medallion, the pelican, animating and nurturing the young with his blood, is shown. On the opposite side, the Phoenix rises from its ashes with its wings spread wide , and a lion bends over its still-born, unbroken boy to bring it to life with his breath . All four motifs are allegories of the resurrection of Christ and symbolize the Christian hope of the resurrection of the dead. This central content of faith finds a visible expression in a special way in the celebration of Easter, for which occasion the precious miter was probably determined.

Text: Dorothee Honekamp-Könemann
Internet: Dorothee Menke