Last week and the week before, we looked at beautifully pearl-embroidered mitres from Italy and France. Today, we will look at probably the most spectacular pearl-embroidered mitre of them all: the mitre made by Hans Plock for Cardinal Albert of Brandenburg in AD 1514 in Halle, Germany. The piece is permanently displayed at the Rüstkammer in Dresden, Germany (Inv. Nr. i. 0086). Apart from the outstanding embroidery, the real treat is that we know quite a bit about Hans. He was an interesting character who lived at most interesting times. Let’s get acquainted!

The sumptuously decorated mitre shows on the front the Annunciation and on the back the Nativity. The mitre’s lappets are decorated with floral motives heavily encrusted with pearls and precious stones. The mitre weighs an impressive two kilos and is 42,5 cm high. It is not fit for a wearer with a delicate frame. Although no direct documentary evidence exists, it is commonly accepted that silk embroidered Hans Plock (c. AD 1490-1570) made the mitre around AD 1514 in Halle (Germany) for Cardinal Albert of Brandenburg (AD 1490-1545).

All the embroidery you see in the above picture is executed on linen. The figures were made separately and appliqued onto the linen background. The elevation off the ground fabric is quite impressive and would definitely go by the name of stumpwork. I would love to know how Hans was able to model the delicate faces. What kind of padding is in there? The hands are more conventional stumpwork made by wrapping wire with silk. You can find instructions in most modern-day stumpwork project books.

The embroidery materials are also very cleverly used to imitate other materials. For instance, look at Mary’s undergarment. Hans has imitated a heavy patterned silk fabric by placing the dark-blue couching stitches just so. By grouping the fresh-water pearls according to their size, Hans was able to accentuate the folds and recesses.

The background behind Mary is quite typical and has all the ingredients we see in gold-embroidered orphreys of the time. There’s the tiled floor and the diaper pattern background (a basket weave). It is just over the top embellished with pearls and gemstones (turquoise, garnet, amethyst, tourmaline, aquamarine, and rock crystal).

While there’s no shortage of images depicting Cardinal Albert (above, even with a pearl-embroidered mitre not unlike the one I am showing you!), we don’t have an image of Hans Plock. But we do have his Luther bible. And he used his bible as a kind of diary. In the margins, it contains comments on the political situation or on scripture. Just think of this: Hans became a staunch Protestant whilst working at the court of Cardinal Albert in Halle. Albert left Halle in 1541 when the town became protestant. Hans decides not to come with Albert and stays in Halle.

What do we know about Hans’ career as a silk embroiderer? He was born around AD 1490 in Mainz, Germany. He probably learnt the trade of silk and pearl embroiderer in Mainz. Between AD 1509 and 1512, he is a journeyman in Trier (Germany). He became a master in AD 1515 and entered the court of Albert. He followed Albert in AD 1521 to Halle (Germany) and produced beautiful goldwork and pearl embroideries for Albert until at least AD 1532. But they end up on either side of the religious divide. Hans remains in Halle when Albert returns to Mainz in AD 1541.

Hans was part of a circle of artists and artisans. Matthias Grünewald (who painted Albert multiple times) was a close friend. However, his bible also contains drawings and engravings made by Albrecht Dürer (AD 1471-1528), Martin Schongauer (c. AD 1450-53 – 1491) and Lucas Cranach the Elder (AD 1472-1553). You can find pages of this exceptional document of a silk embroiderer here. His friendship and acquaintance with his time’s leading painters and engravers show that embroidery artists did not work in isolation.