Pl. 66.
Portion of the Coronation Mantle of Henry II. of Germany, embroidered by the Empress Kunigunda. From Bock’s “Kleinodien.”
It appears that Queen Gisela had personally embroidered this many-figured, richly-embroidered representation of the “Ibi et Ubi”—The Saviour in His glory as Victor over death and hell, seated on the bow of heaven, surrounded by choirs of angels and saints, and prophets of the Old Testament; below on thrones, are the twelve Apostles. The figures are worked in Oriental gold thread on Byzantine crimson silk.
In contrast to the Ubi, the heavenly hereafter, the queen, in the lowest broad hem (border) has represented the Present, the then “Ibi,” by the leaders of the Hungarian magnates and the half-figures of the royal givers in large gold-embroidered medallions.
The next finest specimen of eleventh century needlework was the gift of Henry II., Emperor of Germany, and his wife Kunigunda, to the cathedral of Bamberg, where it still exists[516] (plate [66]).
This, again, consists of medallions great and small, of which the borders, gracefully intertwined, form a large composition[517] covering the whole surface of the imperial pallium it once adorned. But in the fifteenth century it was transferred from its original purple silk ground to one of dark-blue damask, and altered to the form of a chasuble, as we see it now. The general design resembles that of the mantle of Gisela.
Bock calls the style of these works Romanesque; and he thinks that they show a Saracenic influence. They appear, however, as I said before, to be rather Lombardic than anything else. The reader is referred to Dr. Bock’s preface for further lists of Continental works and workers.
Abbé Martin considers that in the thirteenth century the opening out of Gothic art was extended to the laity, and was really the sign of a great social revolution. Gothic art had till then only served the Church, and had been by circumstances closed to the people, who were yet unfitted, by their want of education, for artistic life.[518]