|ANNE WANNER'S Textiles in History / book reviews, articles|
und H÷lle in Gold und Seide
Der "Goldene Ornat des Aymon de Montfalcon aus der Kathedrale von Lausanne"
Annemarie Stauffer, Photos Stefan
64 pages, 55
also the exhibition:
|In 1536, with the conquest of the Swiss canton Vaud and with reformation religious objects, reliquaries, textiles of the cathedral of Lausanne went over to Berne. The objects were partly sold or melted down. The golden vestment was at first preserved in the city hall of Berne, in 1795 in the cathedral of Berne and since 1894 in the Bernese Historic Museum.|
|The coat of arms embroidered
on the golden vestment refer to Bishop Aymon de
Montfalcon (1491-1517) as a donor. He was a member of an
old aristocratic family. And as a council of the Savoy
Court he participated at the wedding of Philibert II of
Savoy with Margaret of Austria in Brussles in 1501.
As bishop of Lausanne he established the chapel of St. Mauritius and here he was buried in 1517. The figurative program of this chapel shows close coherence with the program of the golden vestment. The virigin Mary has a central position and this is connected with Mary's patronage over the cathedral of Lausanne. The cathedral was a place of pilgrimage for parents of children who died without being baptised.
ornamentation of vestments originated in the middle of
15th c. and they were executed by men embroiderers in
professional embroidery worhshops. Pattern and also
direct drawings on fabric were supplied by painters. They
still can be found below the embroideries. According to
the figurative program several pattern could also be
Drawings of Rogier van der Weydens workshop and embroideries made after them habe been preserved.
|Representations of the
virgins life were very popular in the 16th c. and widely
spread by graphic reproductions. The embroideries of the
golden vestment seem to be inspired by several sources,
especially of works by Gerard David or Barend van Orley.
The Presentation of the Virgin has similarities with an
Altarpiece of van Orley from 1520, H˘pital St.Pierre,
The espescially big heads of Joachim and
Anna point to a second and different pattern which must
have been in use at the same time.
Presentation of the Virgin
front of the Cope
|The embroidered wedding of
Cana, especially the figure of the servant in the front,
can be compared to a painting by Gerard David of 1503
with the same subject and with the art of Brussles as
The author of the book, Annemarie Stauffer, dates the golden fabric around 1513 and the embroideries in the last years of Aymon's life. The bishop must have ordered the vestment in a workshop of Brussles between 1513-1517.
|home content||Last revised October 12, 2001||
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