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Needle-lace chasuble

81.6 x 108.9 cm

Museum Collection

This chasuble, an ecclesiastical vestment worn by a priest officiating at a mass, was intended for rare and solemn occasions. The flowers and foliage volutes of the "point de Venise" needle lace are carefully worked to fit the shape of the garment. The motifs themselves do not seem to have any religious significance. Instead, the silk ground corresponds to a liturgical color. Although today it is a light salmon pink, the silk may once have been a deeper pink hue. Until the early twentieth century, the color pink was usually worn once during the church year, on the fourth Sunday of Lent, which was called Laetare Sunday or Rose Sunday in honor of the pope's blessing of the golden rose on that day. From the early twentieth century this chasuble belonged to the Viennese Gutmann family, who owned banks and large businesses in Austria. In 1938. the Jewish family had to flee Austria and their art collection was subsequently confiscated by the Nazis. Part of the collection, including this chasuble, was returned to Rudolf von Gutmann (1880-1966) in 1954. His heirs later sold the chasuble on the art market and in 2004 Textilmuseum St. Gallen purchased it with the support of Iklé-Frischknecht-Foundation.

Threads of Power

Lace from the Textilmuseum St. Gallen

Two contrasting perspectives inform this exhibition’s title. In the first, lace is an exalted handmade commodity signifying the wealth, taste, and prestige of its wearers—men and women at the pinnacle of the European social hierarchy from the sixteenth century onward. In the second, lace shows us the unequal balance of power between those who design, sell, and wear lace and the lacemakers themselves. Surviving examples of costly handmade lace thus enable us to envision the material worlds of the powerful, as well as connect us to the lives of the highly skilled, poorly paid lacemaking women whose names are no longer known to us. Crafted from expensive materials like linen and silk thread, and incorporating many hours of painstaking labor, early lace proved so inherently valuable that it was passed down through generations and modified when fashions changed. Since the mid-nineteenth century, antique lace patterns have been faithfully copied using machine technologies. The threads of lace thus link past and present and trace a network that runs through cities, nations, empires, and continents. Throughout the five centuries since its inception, despite transformations in use, form, fashion, and manufacture, lace has persisted as a global textile. St. Gallen, located in eastern Switzerland, has been an important center of textile production since the fifteenth century. The city is home to the Textilmuseum St. Gallen, established in 1878, which houses an extensive collection of historical lace, thanks in large part to early twentieth-century donations from Leopold Iklé (1838–1922), a local textile manufacturer. Drawing on this rich repository, Threads of Power traces the history of European lace in fashion from its sixteenth-century origins to today.

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