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

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

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

 

13th Century: German Panels

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 (the one with the more colorful halo) and the other (still attached to the edging) is in a museum in Germany.

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.”