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he Arnegunde Project:

Conjectural Merovingian clothing construction of the mid 6th century

by Suvia ilia Hereberti

althea@alfalfapress.com

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Introduction

In 1959, archaeologists excavating under the Cathedral of Saint Denis in Paris, resting place of the Kings and Queens of France, found a sarcophagus containing the body of a

woman. he woman bore a ring inscribed with the name “Arnegundis.” She is thought to be Arnegunde, wife to Clotaire I (511–561) and mother of King Chilperic († 584) (Perin et al. 2007, 182).

This project brings together current research to gain a better understanding of the context of her burial and the textiles that comprised her burial garments. his project

focuses on the garment called the Robe or Katan in current publications. he gold thread embroidery on the sleeves stands out as a unique textile apart from the Germanic tradition suggesting an extra-Merovingian origin. he author does not contend that the garments are exact replicas of the garments in which Arnegunde was buried, but every attempt was made to make sure that they would be familiar to Arnegunde and acceptable to one of her station.

Background of Merovingian Period

The period from the late 5th century to the late 8th century northern Gaul is known as the Merovingian, ater the semi-mythical ruler, Merovech. We know very little

about their daily lives, having to rely on the few written texts that survive and emerging archaeological evidence. he Franks were a group of Germanic tribes -- the Chatti, the Ripuarians, and the Salians -- who shared similar laws and customs. In the 4th and 5th centuries AD, they began settling in the Roman region of Gaul (which included what is now Belgium, France, Luxembourg, and some of Germany and Italy). At irst they lived in Belgium; eventually most of Gaul would belong to the Frankish empire. (Geary, 1988)

Very little is known about the early rulers of the Franks. A Salian king named Merovech (or Merovee) founded the royal Merovingian dynasty, whose kings were

notable for their long hair. At that time the Franks were allies of Rome, and Merovech is said to have fought with the Romans against Attila the Hun.

The time period of this study was the mid-to-late sixth century and is based on a set of grave goods associated with Arnegunde, queen and wife to Clothar. he Merovingian

period was one of warfare, on the ield and in the palace. Clothar came to power through violence and married the royal widow, Guntheuca, taking the widow as he took the kingdom. At this time, women were a temporary accessory in the king’s bed, and only through the bearing of an heir found any hold on position and power. As Staford (1983) says, “his wives were taken up and put aside as political shits demanded rather than passions prevailed.” (p. 51-2)

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Between the 530s and the 550s, Clothar had a succession of wives and concubines: Radegund, daughter of King Bertacharius; Ingunde was in favor in the 520s, and

again mid-530s; by 537 she was replaced by her own sister Arnegunde; before 540 he had another mistress, Chunsina. Very little is known about the origins of the sisters Ingunde and Arnegunde, and the concubine Chunsina. (Staford, 1983)

Arnegunde, as the mother of the future king, Chilperic, was aforded a burial place in the Basilica of Saint Denis, to the north of Paris.

Archeological Evidence

The Basilica of Saint-Denis was the burial location of many of the Merovingian dynasty starting in the east end of the Basilica, near the grave of Saint-Denis, around 475.

(Fleury & France-Lanord, 1998) he Merovingian graves were excavated over a period of about 30 years, starting in the 1950s by Eduard Salin and Michel Fleury. he archeological inds were published in French and German publications over the years and only recently have articles been published in English. (Rast-Eicher, 2010)

At Saint-Denis, a principal burial place for Frankish kings, a large stone sarcophagus was found under the choir. he contents of this tomb consisted in great part of a

mass of precious textiles, silks, and other organic materials. he large limestone coin was found to contain the remains of a woman’s body which had been embalmed before burial, so part of the lungs survived. She was about ive feet tall, of slight build, and blonde hair. (France-Lanord, 1979; Fleury & France-Lanord, 1998; Perin, 2007) A monogrammed gold inger-ring, ARNEGUNDIS REGINE, identiied the female buried inside as Queen Arnegunde. (Rast-Eicher, 2010) She is believed to have died around 580. (Périn & Calligaro, 2005) New studies have been completed both on the skeletal remains and the conserved textiles. Rast-Eicher (2010) explains that Arnegunde was older at the time of her death than originally thought and probably died from a dysentery outbreak. She had childhood poliomyelitis leaving her with a damaged right leg.

Burial customs of the middle to late sixth century provide a wealth of metal artifacts, but textiles are far more rare. For this reason, the extraordinary preservation of the

Arnegunde artifacts provides a rare glimpse into the textiles, and provides clues to a conjectural clothing construction. By the seventh centuries, burial custom were changing and grave goods become much more rare. (Owen – Crocker, 1986; Efros, 2002) he stone sarcophagus provided a protected environment, which allowed the preservation of some of the textiles, both as fragments and as pseudomorphs (mineralized ibers) on the metallic objects. (Marzinzik, 2008)

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The following sections will discuss selected garment fragments found in Arnegunde’s tomb. Additional textiles, possibly shrouds, were also found but will not be discussed

in this article. Please see Rast-Eicher (2010) for a longer description of the most recent investigations into the textiles. Following this section on the extant textiles, I will discuss the project Katan.

Arnegunde’s Burial Clothing

Katan

Working from the outermost garment, the katan, we will talk about some of the most recent theories of iber, textile and construction. Sadly, the garment is

incomplete so there is much let to conjecture. (Perin & Calligro; Rast-Eicher, 2010) he garment was a front closing katan or robe, probably loor length. Rast-Eicher (2010) calls this garment a “mantle”. For the purposes of this research project we will use “katan.” he front opening was edged with tablet woven bands and the sleeves had a gold embroidered band. he hose and garters found with Arnegunde have led to a great deal of specualation about the length of the outer layers of clothing. Owens-Crocker (1986) comments that the decorative nature of the garter and shoe beuckles indicate the clothing would have had a lower length of just below the knee. We now know that the outer layers were nearly loor length. (Rast-Eicher, 2010)

The textile of this garment is described by Rast-Eicher as “the so-called ‘violet’ piece, a textile with one system made of animal iber, the other system is of plant iber, but

mostly not preserved.” (2010, p. 209) She does not deine the textile structure or colors of the ibers. However, past publications have described this garment as reddish or purple. (France-Lanord, 1979; Marzinzik, 2008)

The lower portion of the sleeve was diferent fabric than the body. Rast-Eicher describes it as “ samite 2/1 Z … with a warp proportion of 2:1.” (2010, p. 210) she goes on to

further describe the embroidered gold band as being 7 cm. below the cuf seam. he textile underlying the gold embroidery has not survived, although a few red threads are visible.

Although Rast-Eicher (2010) describes the iber content of the textiles as animal or plant, other researchers have described the iber content as silk, linen or wool.

(France-Lanord, 1979; Marzinzik, 2008) Just how these various layers of textiles actually were worn is still highly conjectural.

When it comes to colors used in the textiles, again much is not known. France-Lanord calls this textile “violet”. (1979) An under layer has been called “reddish”.

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(France-Lanord, 1979; Marzinzik, 2008) Both the silk textile and the purple to red dyes were imports to the Merovingian territories. hese would have been imported along the Rhone or Rhine trade routes from the Byzantine empire. he presence of these luxury items as grave goods marks the high status of the individual buried in sarcophagus 49. (Marzinzik, 2008)

The front edge of the katan was decorated with a brocaded tablet woven band made of at least 100 tablets and is approximately 6.5 cm wide. Rast-Eicher describes the band

as “ brocaded with a triple silk thread (z-spun) and displays a pattern of diagonals and lozenges (Fig. 33.3).” (2010, p. 210) A second band in a simple tabby/repp, 16 warp threads wide is sewn to the “violet” textile. he wet has not survived, except for one brocading wet stitch. he wider band was key in identifying the layers as it lay under the belt and was found along the skeletal remains down to the lower leg. (Rast-Eicher, 2010)

Walton Rogers (2007) suggests similarities between the Arnegunde katan and the Woman’s garment found at Sutton Hoo. Both had ornamented cufs, although in

Sutton Hoo the ornamentation was tablet woven bands. he style of a front opening katan had correlations in other garments of the period from cultures to the east and in artwork from the period.

Two round brooches were found on the body in a position suggesting their use as a closure along the center axis above the waist. he period of the later sixth century

is one of fashion change for Merovingian women. he earlier Continental tradition of four brooches was giving way to the Byzantine-inluenced style of a single brooch at the neckline holding a mantle over a brooch-less tunic. (Rogers, 2007; Perin, 2000)

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he Project Katan Reconstructed

The katan is the outermost layer of the ensemble I created for this project. It also took the most time because of the various time-consuming pieces such as the gold

embroidery and embroidery edging the front opening. It actually assembled pretty quickly once the components had been inished. It was mostly machine sewn where the seam would be hidden in order to save time with a lot of hand inishing on visible portions of the garment.

The fashion textile is a tabby with a dark red linen warp and a black silk wet. he lining is silk twill with a gold warp and a purple wet. he garment is bag lined, with

a couple areas that were pieced together because I didn’t have quite enough fabric. he sleeves are lined in the turquoise tafeta that is also on the lower cuf of the sleeves.

The pattern was drated using the rectangular construction method. I made a compromise on design between a lattering it and a more period style represented

by the Grande Robe of Bathilde. his front-closing garment is the most similar extant garment available.

Figure 1. Pattern and cutting diagram for the Grande Robe of Bathilde (Laporte & Boyer, 1991)

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There is some question about whether this garment could be attributed to Bathilde, due to its size being much larger than would it Bathilde (personal communication,

Wamers, 2013). And there is some discussion on whether it is actually from a couple centuries later, but until new information is published, we are using the current designation at Bathilde’s Grande Robe. If the academic community makes a deinitive decision otherwise, I will be happy to make the change to this publication.

The project katan has wedges on each side starting at the sleeve and ending at the hem. Bathilde’s Robe has side gores that start at or below the waist, so there is some

diference between the two garments in silhouette. I chose this style because it was more lattering on my Rubenesque igure.

Running along the front opening edge of the project katan, there is a band of silk embroidery on a silk/linen tabby woven fabric. he silk embroidery loss is recycled

yarn from silk sweaters purchased at thrit stores.

The design of the embroidery is inspired by the card woven bands in the Chelles museum. In the original Arnegunde katan, this was card woven, but the technique

is beyond my current skill level. So, taking a cue from Bathilde who used embroidery on a garment as a representation of her royal jewels, I replaced the card weaving with embroidery.

Around the neckline, is a second embroidered band that I had to create to make up for the fact that I didn’t have enough of the irst embroidered band to go all the

way around the neckline. I used diagonals which are common in Migration period card weaving as a main design element. he outside edge of the embroidered band is bound with the same turquoise tafeta that lines the sleeves.

Figure 2. Design for embroidery edging the front opening. Based on the card weaving in the Chelles Museum.

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Embroidery on Arnegunde katan sleeve

The gold embroidery stands out as separate in look and technique from what is currently known about western Migration era textile traditions. It is possible that the

embroidery was imported as a complete piece, either as trade or as a git, from Imperial Byzantium. (Crowfoot and Chadwick Hawkes, 1967, p. 55). he gold embroidery on the cufs was made of a ine spiral wrapped thread. he gold foil was wrapped around a core of silk, .25 mm thick and .8 mm wide. here were about 13 to 14 turns to an inch. he diameter of the threads of gold reached about 0.45 mm with a length of up to 150 mm. he gold was couched down using a very thin silk thread in very small stitches that were more or less close to one another, depending on the type of pattern. (France-Lanord, 1962)

The decoration is composed of a series of rosettes, which are inscribed in a rectangular box and are accompanied by spherical triangles. On a single page or a frieze runs

with triangles that are ofset from each other like roof tiles and inlaid with a spiral, which follows the contour of the triangle. (France-Lanord, 1962)

he rosettes show three variants:• Heart lower with round petals and eight trapezoidal-shapes;• Heart lower with round and six pointed oval leaves, which are separated by spherical

triangles inscribed spiral from one another;• Circle whose inner edge is decorated with small triangles, which are designed with a

spiral; inside the circle are (from let to right): a small, vertical almond, a large, well vertical half almond (with the straight side let) and three small seeds that are spread like a fan in the right half of the circle. (France-Lanord, 1962)

Only 17 of the rosettes survived, although there were originally 18 or 19 in total. Parallel gold threads run along the edge of the band. he band was 30 mm wide and

about 37-38 cm long. (France-Lanord, 1962)

Figure 3. he extant gold embroidery. (France-Lanord, 1998)

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Images of the gold embroidery on the project katan

These images, starting with the pattern of the embroidery, were taken by the author of the project katan.

The base fabric of the embroidery was a natural linen warp and a red silk wet in a tabby weave. his linen/silk fabric is conjecturally very similar to the textile found in

Arnegunde’s grave. I used a synthetic metal thread for cost savings and ease of use. he threads were couched onto the textile using a silk sewing thread.

The same turquoise tafeta used to line the sleeves was used as an edging on the embroidered band. Narrow bands were cut and hand sewn to the embroidered band

to give it a clean inish. We don’t know that the bands would have been bound, but I liked the clean inished edges.

The design of the roundels was altered

slightly to make one of the designs look more like bees, which are a part of my heraldic device.

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Conclusion

This project was the culmination of a multi-year process. he katan is one part of the ensemble, and the irst one completed. Future projects include learning the card

woven brocade technique for the front opening edge, the leather belt with gold leaf and embroidery, shoes and garters, gold brocaded vitta, and if I feel particularly daring, the metal buckles for the garter and shoes.

One of the constraining elements of this project is that very little of the published resources is in English or accessible to non-academic researchers. It took time to

track down and translate many of the resources used for this project. And there was always the dangerous distraction of the most recent publication ind.

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Bibliography

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Staford, Pauline, (1983). Queens, Concubines, and Dowagers: he King’s Wife in the Early Middle ages. Athens, GA: he University of Georgia Press.