HangingPlace of origin: Germany (made)

Date: 1516 (made)

Artist/Maker: Unknown (production)

Materials and Techniques: Wool embroidery on a linen ground

Museum number: 289-1876

Gallery location: In Storage

Public access description

This large embroidery used to hang in the choir of the church of the convent of the Canonesses Regular of the order of Saint Augustine atHeiningen. It is an example of excellent craftsmanship. The subject embroidered reveals the theological and classical education received in anunnery on the eve of the Reformation. All the inscriptions refer to the christianization of classical learning.

Embroidery was a usual occupation for nuns. The entire convent was evidently involved in making this hanging as their 58 names appear onthe outer band. The addition of these names suggests that the nuns expected future generations of canonesses to remember them in theircommemorative prayers.

Physical description

This embroidery depicts the seated figure of Philosophy in the centre, surrounded by five smaller figures representing the branches ofphilosophical learning: theory, logic, practical science, mechanical science and physics. An outer ring shows the figures of the seven LiberalArts alternating with the Virtues and the gifts of the Holy Spirit. The seated men in the corners represent the four wise men of Antiquity: Ovid,Boethius, Horace and Aristotle. Numerous inscriptions in Latin refer to the figures.

The inscription on the double band enclosing the outer ring is taken from works by Saint Bernard of Clairvaux. The name of the prioress,'D[omi]na Elisabet', the date 1516 and the names of 58 nuns appear on the two outermost bands.The border inscription also lists theAugustinian canons Arnold Stenwick, Anton Colhof and Heinrich Hovensse.

Museum number

289-1876

Object history note

Originally hung in the Convent of the Canonesses Regular of the order of Saint Augustine at Heiningen (Hanover), it remained in the churchuntil the dissolution of the convent in 1810. The additions of the Papal arms and the shield of Innocent XII suggessts additions were madeduring the years 1721-4. A comparable textiles later entered the collection of the bishop of Hildesheim, Eduard Jakob Wedekin, where thetextiles collector Canon Franz Bock cut a large piece from the upper left corner of the Sibyl embroidery which depicts Alburgis, the firstabbess. This section was sold by Bock to the South Kensington Museum in 1863 (V&A: 8712-1863), while the rest is now housed in theMoravian Gallery in Brno.

Historical significance: A rare piece of Renaissance embroidery with a known provenance

Historical context note

This large embroidery used to hang in the choir of the church of the convent of the Canonesses Regular of the order of Saint Augustine atHeiningen. It is an example of excellent craftsmanship and of the theological and classical education in a nunnery on the eve of theReformation. The annals of the convent for the year 1516 recorded the tapestry: Item eodem anno ward ock geneiget de grote tapetphilosphia.

Design and inscriptions The design of the embroidery was probably based on a twelfth-century model, since it does not provide a narrative scene and neglectscompletely any perspective.The inscription on the double band enclosing the outer ring is taken from works by Saint Bernard of Clairvaux. Allthe inscriptions reflect the christianization of classical learning. The name of the prioress, 'D[omi]na Elisabet', the date 1516 and the names of58 nuns appear on the two outermost bands. The naming of the nuns is quite exceptional although embroidery was a typical occupation forthem; it means not only that the entire convent was involved in making this hanging, but also that they expected that future generations ofcanonesses should remember them in their commemorative prayers. The border inscription also lists their spiritual mentors, the Augustiniancanons Arnold Stenwick, Anton Colhof and Heinrich Hovensse.

The nunnery in context The Heiningen nunnery was established in 1013 to commemorate its founders, Hildeswid and Alburgis, and provide a spiritual home for theunmarried daughters of aristocrats. From the twelfth century onwards, nunneries in Lower Saxony as well as on the Middle and Upper Rhine had become centres of embroidering and weaving textiles, mainly for religious purposes. By about 1260, an

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embroidered altar frontal (now in the Marienberg convent in Helmstedt) had already been made in Heiningen featuring Hildeswid and Alburgis.

In 1517 the convent embarked on another wallhanging that was finished two years later. The central section originally depicted the figures ofEcclesia (the Church) and Synagogue surrounded by Sibyls. It was also duly recorded in the annals, identified by these last figures: 1517 wardgeneyhet de tapet myt den Sibellen (in 1517 the hanging with the Sibyls was stitched).

URL

http://collections.vam.ac.uk/item/O101766/hanging-unknown/

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