17th Century: Purple velvet purse

Purse of purple velvet, comprising four sides bearing alternately the crowned monogram ‘DG’ or ‘ML’ or two intertwined hands under a burning heart, embroidered with multicolored silk, gold thread, pearls, sequins and rubies, anonymous, c. 1600 – c. 1625
Rijksmuseum – more info

(Google translated) Purple velvet Pouch, consisting of four chips on which alternately the crowned monogram ‘DG’ or ‘ML’ or two entwined hands under a burning heart, embroidered with multicolored silk, gold thread, pearls, lovers and rubies. Model: Each patte ends in tip and has five holes through which a cord of braided silk – ending in spheres and acorns – is pulled through. Lined with red silk; now fades to pink. Decoration: in the middle of each fries a shield at the top ending in a tip and crowned with a floral ornament of (originally gilded?) Silver canetille, freshwater pearls and a ruby in the middle. At the bottom, the shield flares into a point and the same lines form two curls in which a violet is made up of (gilt?) Silver canetille, freshwater pearls and a ruby in the middle. A monogram of freshwater pearls and gold thread is embroidered under a three-point crown. The seams between the different pattes are covered with a trimming of braided gold wire. The purse ends at the bottom center in a stepped ornament of braided gold wire (probably around a wooden core) ending in four braids with a ball. The drawstring ends in acorns and balls of braided gold wire

15th Century: Crib of the Infant Jesus

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

14th Century: Mitre of St. Isidoro

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.

Showing at the Complex of the Seven Churches in Bologna, Italy.

Photos below graciously provided by Alison Petrisek of Running With Scissors:

17th Century: Beaded bellows

A pair of silver mounted bellows with working mechanism, decorated on both sides with small glass beads; on other side in a floral pattern and on the other with a central cartouche with a scene of a lack and gentleman in a landscape.

English, cira 1690)
Length: 22 in / 36 cm
Width: 10in/233 cm

From: The Needle’s Excellency and Other Textiles (Publisher: Mallett, London, 1997)

18th Cetury: Beaded panel

English, circa 1700. Framed: 39 x 45cm

From: The Needle’s Excellency and Other Textiles (Publisher: Mallett, London, 1997)

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

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. The utilisation of different materials in this ciborium, originally from Hildesheim Cathedral, is particularly exceptional. Parchment is wrapped over the wooden core in the shape of a chalice, which is closed with a lid, and the object is entirely adorned with freshwater pearls and glass beads as well as metal appliqués. Various scenes from the history of salvation are depicted against a blue background: the Annunciation, the Crucifixion with Mary and John, and the Coronation of the Virgin by Christ can be seen in medallions on the body of the ciborium. Symbols of the four evangelists adorn the lower part of the chalice and white lilies its base. Scenes from the Passion are embroidered on the cone-shaped lid: the Flagellation and the Carrying of the Cross. A gilded cross crowns the entire vessel.

Kleinschmidt and later von Bock mentioned the ciborium in connection with a portable altar from the church treasury of St. Paul’s Cathedral in Münster, whose side walls are adorned with technically as well as stylistically similar pearl embroidery. According to von Bock, “the style and technique of the embroidery [demonstrate] the earliest phase of glass beads embroidery, which before the 13th century does not evidence figural representation filling the entire space”. She dated the ciborium and the portable altar to the second half of the 13th century (von Bock, p. 288). Witte referred to an antependium from the church treasury of Halberstadt Cathedral with several medallions embroidered with true pearls, dated to 1200, together with the ciborium from the Museum Schnütgen, as persuasive examples of “evidence for the very invention of pearl embroidery” (Witte, p. 1). Von Euw likewise dated the liturgical vessel to the second half of the 13th century and located it in Lower Saxony (Hildesheim?).

Sporbeck followed this attribution both chronologically and geographically (Sporbeck, p. 18). Confirmation of this attribution is supplied by a container for the host, which has a similar blue background and is from Lower Saxony, from the church treasury of Halberstadt Cathedral, dated by Schorta to the second half of the 13th century (Meller/ Mundt/Schmuhl 2008, pp. 136-137, no. 37).

In 2011-2012 extensively cleaned and conserved in the Abegg-Stiftung, Riggisberg (CH).

Documented in the church treasury of Hildesheim Cathedral from the early 15th century; likely arrived after 1833 as part of the collection of the Hildesheim bishop Eduard Jakob Wedekin (1796-1870; see Roth); acquired in 1876 by Alexander Schnütgen from the collection in Hildesheim.

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: 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

17th Century: Drawstring Bag, 1610-1650

Drawstring bag

English, 1610–50

Item info from: https://collections.mfa.org/objects/119711

DESCRIPTION: Red silk satin embroidered with gold metallic threads, seed pearls, metal purl, spangles, and bits of colored glass. Baroque design. Embroidery stitches include laid and couching, beading, bullion knots, braid stitch. Green and metallic braided cords and strap at top; two wood-core drawstring pull tassels covered in seed pearls, with silk, metallic thread and spangles. Green silk lining.
PROVENANCEEx-Seligman Coll. (London); Elizabeth Day McCormick collection; Gift to the MFA, October 14, 1943
DIMENSIONS: Overall (without tassels and cord): 6 x 6 cm (2 3/8 x 2 3/8 in.)
CREDIT LINE: The Elizabeth Day McCormick Collection
ACCESSION NUMBER: 4:3.1080
CLASSIFICATIONS: Costumes

17th Century: Hungarian wedding dress

WOMAN’S CORSET-BODICE AND SKIRT
Mid-17th Century
MAGYAR NEMZETI MÚZEUM
(Hungarian National Museum)
Budapest, Hungary

Earlier researches attributed the costume to Pál Esterházy’s (1635–1713) first wife Orsolya Esterházy (1641–1682) and later to his second wife Éva Thököly (1659–1716). The original owner can no longer be traced but the cut and the embroidery ascertain that either could have worn it at her wedding. Contrary to Western European customs, in Hungary later generations gladly donned the ornate costumes of their forebears on some festive occasion. The suite was restored by Mrs Sándor Borsi between 1969 and 1971.

The skirt and the attached bodice constitute an outstanding ensemble of old Hungarian costume, a harmonious alloy of the exotic oriental traditions of earlier centuries and elements of the fast-changing Western European fashions.

(Note from Jen: I’m going to guess the red beads are Coral, I have many such examples of coral beads from Germany in earlier centuries. I’m trying to find more on this.)

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: Bostocke Sampler

 

 

All photos Copyright: © Victoria and Albert Museum, London 2017. All Rights Reserved

From the V&A page:

Linen sampler embroidered with silk and metal thread with pearls and beads.In the area above the inscription are the following motifs: an owl in a tree, a dog with collar and lead, a lion passant guardant, a chained and muzzled bear in a field of daisies, a tree with a squirrel and a pelican in her piety, a crouching hind, a spray of cowslips and a small dog with ‘IVNO’ above it. There are also three small motifs that have been unpicked, which appear to be a castle on an elephant, a squirrel cracking a nut, and a raven. All of these motifs are worked in cross stitch except for the large dog which is filled in with closely worked arrowhead stitch. There are also two tiny examples of metal thread interlacing in the top right corner. The rest of the sampler is filled with formal geometrical and floral repeating patterns. These are worked mainly in back stitch, but there are examples of work in more complicated stitches showing that the back stitch was intended to be a grounding for further elaboration. Other stitches include satin, chain, ladder, buttonhole and detached buttonhole filling, couching in patterns, coral, speckling, two-side Italian cross, bullion and French knots and beadwork. The colours are brown, greens, red, pink, blue, white and yellow.
Place of Origin England (made)

Date: 1598 (made)
Artist/maker: Bostocke, Jane (maker)
Materials and Techniques” Embroidered linen with coloured silk and metal threads, seed pearls and beads

Marks and inscriptions” ‘JANE BOSTOCKE 1598 / ALICE LEE WAS BORNE THE 23 OF NOVEMBER BE / ING TWESDAY IN THE AFTER NOONE 1596’
The lettering of the inscription is worked in back stitch with Algerian eye stitch punctuation except for the letters ‘BOSTOC’ which are worked in seed pearls over a back stitch foundation.

Dimensions Length: 42.6 cm, Width: 36.2 cm

Object history note: According to research published by Martyn Freeth (see bibliography), Alice Lee and Jane Bostocke were first cousins, both grandchildren of Thomas Lee (1500-62) of Langley and Jane Corbet of Moreton Corbet in Shropshire. The 3 motifs which have been unpicked are crests or badges from Jane’s side of the family, while those still in place are from Alice’s.

Descriptive line: Sampler of embroidered linen with coloured silk and metal threads, seed pearls and beads, made by Jane Bostocke, England, dated 1598.

Bibliographic References:
(Citation, Note/Abstract, NAL no) Browne, Clare and Jennifer Wearden, eds. Samplers from the Victoria and Albert Museum. London : V&A Publications, 1999. 144 p., ill. ISBN 1851773096.
Clabburn, Pamela. Samplers. Princes Risborough : Shire Publications, 1998. ISBN 07478 0365 X, pp.7-9
Roach, Audrey. Secrets of the Sampler. Country Life, 1 May 2003
Tarrant, Naomi, ‘The Jane Bostocke Sampler’ in Shropshire Family History Society Journal vol.29 part 4, p.151
Freeth, Martyn, ‘The Bostocke Sampler – A postcript’ in Shropshire Family History Society Journal March 2009
King, Donald, The Earliest Dated Sampler (1598) : Jane Bostocke’s gift to Alice Lee, Connoisseur, CXLIX, 234 (1962)

Materials Linen; Silk; Metal thread; Pearls; Beads

Techniques Weaving; Embroidery

16th: Drawstring Bag

Pictures & info from: https://www.mfa.org/collections/object/drawstring-bag-119706

Drawstring bag
English
late 16th–early 17th century

Overall (without tassels and cord): 13.3 x 13 cm (5 1/4 x 5 1/8 in.

Silk satin emroidered with silk, gold metallic threads, metal purl, and seed pearls Braided silk and metallic cords and tassels

Small square drawstring bag. White silk satin embroidered with polychrome silk, gold metallic threads, metal purl, and seed pearls. Design of flower flanked by birds and cornicopias; floral motifs fill out ground. Stitches include laid and couching, scroll couching, satin stitch, raised work, and knots.

Salmon/white/metallic cords with two silk and metallic covered-wood tassels; three similar tassels at base. Pink silk lining. White satin is fraying at top and bottom to reveal vertical pink and green wefts.

15th Century: Mantle of the Order of the Golden Fleece

THE VESTMENTS OF THE ORDER OF THE GOLDEN FLEECE

Netherlands, Brussels (?), second and third quarter of the 15th century
Vienna, Schatzkammer A complete set for a chapel:
two hangings for the altar, i.e. frontal and dossal (Frontier, Dossier).

Both 117 x 327 cm; chasuble, 147 x 131 cm; dalmatic and tuncile, both 154 x 125 cm; three large copes, each 164 x 330 cm Stout linen ground. The frames of the pictorial panels are of red velvet with gold bands. Embroidery in gold thread, pearls, topazes, sapphires. Coloured silks in a great variety of shades; red, bluish, pink, brownish red, carmine, flame red, blue in various shades, apple green shading to olive green, ochre, lilac, violet, greyish brown, and various shot tones. Or nue’; heads and hands in needle painting; split and satin stitches and couched work. Each of the panels were then sewn together and framed with the gold borders. Extraordinarily good state of preservation. The age of the work is apparent only in the occasional detachment of the embroidery from the background, some loose threads and very slight losses of pearls.

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.

From: “Medieval Craftsmen: Embroiderers,” by Kay Staniland, University of Toronto Press, 1991, pp. 46-48. ISBN: 0-8020-6915-0

Elaborate medieval embroideries were often further enhanced by the addition of pearls and other precious and semi-precious stones, gold or silver ornaments, enameled plaques or, very occasionally at this period, glass beads or discs, whilst some are almost exclusively composed of these ornaments and might not properly be considered as embroideries. These powerful symbols of class and wealth were at least as widely seen in the church as in royal or aristocratic courts: many of these rich creations were the gift of wealthy patrons seeking influence or favors. However, it would eventually be this very enrichment which ensured the destruction of these pieces, for once the gold, jewels, and pearls were removed, the ground would quickly be recycled. So much of this work has disappeared that it can now be difficult to envisage the extravagance involved, though the imagination is aided by fifteenth-century paintings which, with their naturalistic and precise approach, frequently portray these jewel-enriched garments. Coupled with the boldly designed and colored Italian silks and velvets the effect must indeed have been sumptuous and impressive.

Pearls were very popular in the Middle Ages, especially tiny seed pearls, which were much used in place of jewels in crowns, or to form haloes, birds, masks, or other decorative motifs. English royal accounts of the fourteenth century reveal that these pearls cost between £1 and £2 per ounce. Together with a range of other, larger pearls, some colored, originating from the East or from Scotland, they were frequently employed upon festal or jousting garments at the French and English courts and often massed together to form decorative motifs. In 1345-9, for example, Edward III’s armourer John de Cologne made five hoods of white cloth for the King and his friends, each worked with blue dancing men and fastening at the front with buttons of large pearls. They required 2350 large pearls, together with velvet, silk and gold thread. These richly embroidered hoods were fashionable at the time and there are many entries listing the expensive requirements for them.

The mitre from Minden, a rare and almost complete survival from the Middle Ages, shows the technique used in an ecclesiastical context, combined with plaques and golden ornaments, whilst the single mask and few acorns of pearls still in place on the Butler-Bowden cope show something of the original richness of the embroideries.

The incorporation of gold ornaments similarly enlivened the decoration, catching the light and adding an impressive three-dimensional quality. The ornaments, as with pearls, could simply be assembled and sewn into place and did not therefore demand the services of skilled embroiderers. Rather, they involved goldsmiths to create them in specially carved moulds, drawing these craftsmen into the large embroidery workshops. Also catching the light in embroideries were “doublets” — tiny discs of glass of a type still seen in Indian embroideries — which appear to have come from Venice.

Countless similar examples are described in both the English and French royal accounts of the fourteenth century, none of which, sadly, have survived. For the Christmas and New Year festivities in 1393-4, two gloriously extravagant and light-hearted concoctions of this kind were created for Richard II: a white satin doublet embroidered in gold with orange trees on which hung one hundred silver-gilt oranges, and a “hancelyn” (believed to be a loose outer garment), also of white satin which was embroidered with leeches, water and rocks, and amongst which were placed fifteen silver-gilt mussels and fifteen silver-gilt whelks. How these must all have sparkled in the subdued lighting of the medieval royal halls. Late medieval taste was particularly attracted to light-reflecting ornaments on clothing and horse-harness where movement would produce a multitude of glinting reflections. Consequently gold and silver motifs of all shapes and sizes were incorporated into embroidery. In 1441 the Goldsmiths Company confirmed and renewed their Ordinance for Making Spangles which fixed prices. These “spangles” were the equivalent of modern sequins, mall, round, thin pieces of glittering metal with a hole in the centre to admit a thread; some were rectangular in shape and sewn at one end only, whilst ohers survive in situ on embroideries but a number have turned up in archaeological contexts, perhaps the small lost hoards of people in flight from invaders.

15th Century: Kreuzlingen Mitre

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/

 

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: Altar Edging

fmc511248a-full

First half of 14th Cen.
Coral, Gold and Glass beads.

In German: Furlegeraus Kloster Isenhagen Niedersachsen 2, Viertel des 14 Jh.

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

13th Century: Orphrey


In some sources this pointed orphrey end is often paired with two bead saints heads, from the same museum since they are similar in time frame, and materials. Since they are not from the same piece I am seperating them.

All but the first picture were taken by myself, Jen Segrest.

12th Century Byzantine pearled decorative circle

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11th Century: Reliquary Bag with plaques and pearls


Reliquienbeutel, Trier, around 993

IN GERMAN: “Beutel für eine Kreuzreliquie, Vorderseite, Stickerei mit Perlen, vergoldeten Appliken und Spiralknoten. Trier, nm 993. Nürnberg, Germanisches Nationalmuseum (KG 562)
Auch noch aus dem späten 10.Jahrhundert stammt der mit bunter Seide in Ketten-, Stiel- und versetztem Flachstich auf Leinen gestickte Alexanderflug in Würzburg, der dort lange mit der großen bemalten seidenen Kiliansfahne verbunden gewesen ist.

Der wohl von Anfang an für Hildesheim bestimmte, wahrscheinlich aber noch in Trier um 993 gearbeitete Beutel für eine Kreuzreliquie in Germanischen Nationalmuseum, Nürnburg, ist aus rotem, ungermustertem Samit. Auf seiner Vorderseite wirkt die Aufnäharbeit mit Perlenkränzen um vergoldete Appliken in Kreuz- und Herzform, teilweise mit eingelassenen Glasflüssen, rot gefärbtem Bernstein oder gefaßten Almandinen sowie mit vier Goldspiralknoten wie Goldschmiedewerk, während auf der Rückseite Goldfäden in versenkter Anlegetechnik verarbeitet sind.



IN ENGLISH
(translated via internet):

Bags for a Kreuzreliquie, front, embroidery with beads, gilded Appliken and spiral knots. Trier, Nm 993. Nuernberg, Germanic national museum (kg of 562) Also still from the late 10. century originates the Alexanderflug in peppering castle, gestickte with multicolored silk in chains -, handle and transferred flat pass on linen, which was connected for a long time with the large painted be-being those Kiliansfahne there.

Probably from the outset for Hildesheim the determined, probably however still in Trier around 993 bags worked for a Kreuzreliquie in Germanic national museum, Nuernburg, is from red, ungermustertem Samit. Its front the sewing on work with bead rings affects around gilded Appliken in cross and heart form, partly with let in glass rivers, red colored amber or calm Almandinen as well as with four gold spiral knots such as gold forging work, while on the back gold threads are finished in sunk putting on technology.

Bag for a cross relic, front, embroidery with pearls, gilded Appliken and Spiralknoten. Trier, nm 993rd Nuremberg, germanic national museum (KG 562)
Also yet out of the late 10. century the Alexanderflug embroidered with colorful silk in chains, handle and staggered flat sting on lines in Würzburg, that comes painted been is there long with the large silk Kiliansfahne connected.

That probably from the beginning for Hildesheim determined, probably however yet in Trier around 993 worked bags for a cross relic in germanic national museums, Nürnburg, is out of red, ungermustertem Samit. On its front, the Aufnäharbeit with pearl wreaths influences gilded around Appliken in Kreuz- and heart form, partial with admitted glass rivers, red colored amber or calm Almandinen as well as with four Goldspiralknoten as well as gold smith work, during the back gold threads in sunk designed technology processed are.

Thanks to Roxelana Bramante for her typing this for me.