A chasuble is worn by a priest during the celebration of the Mass. On the back, which would have been visible as he faced the altar, are the Crucifixion of Jesus, with the Virgin Mary, his mother, and Saint John the Evangelist. Jesus' outpouring of blood is dramatized by the use of embroidery. The spear and sponge by which he was tormented, and the scourges from his Flagellation on the front add to the theme of sacrifice. This simple and provincial vestment is unusual for its use of applied leather and of plain wool rather than cut velvet.
Carl von Weinberg German, 1861–1943, Frankfurt am Main (from about 1920–1938?) ; Baron Richard von Szilvinyi, Frankfurt (von Weinberg's son-in-law; restituted 1950?) ; [ Wilhem Henrich, Frankfurt (sold 1957)]
Farcy, Louis de. La broderie du XIe siècle jusqu'à nos jours, d'après des spécimens authentiques et les anciens inventaires.. 2nd supplement ed. Angers: Belhomme, 1919. fig. 214.
Schuette, Marie. Gestickte Bildteppiche und Decken des Mittelalters: Volume 2, Braunschweig. Die Kloster Ebstorf und Isenhagen. Wernigerode. Kloster Drübeck Halberstadt. Leipzig: Karl W. Hiersemann, 1930. fig. 9.
Branting, Agnes, and Andreas Lindblom. Medieval embroideries and textiles in Sweden. Uppsala, Sweden: Almqvist & Wiksell International, 1932. p. 60, 127, fig. 179-181.
The Metropolitan Museum of Art. "Eighty-Seventh Annual Report of the Trustees for the Fiscal Year 1956-1957." The Metropolitan Museum of Art Bulletin, n.s., 16, no. 2 (October 1957). p. 65.
Hayward, Jane. "Sacred Vestments as They Developed in the Middle Ages." The Metropolitan Museum of Art Bulletin, n.s., 29, no. 7 (March 1971). p. 307, fig. 14.
Husband, Timothy B. "Ecclesiastical Vestments of the Middle Ages." The Metropolitan Museum of Art Bulletin, n.s., 29, no. 7 (March 1971). p. 289, fig. 7.
Staniland, Kay. Embroiderers. Medieval Craftsmen. Toronto: University of Toronto Press, 1991. pp. 33-34, fig. 32.