Lithuania, late 17th – early 18th c.
17th c. Golden floral Baroque
In the 17th century, the theme of the suffering of Christ in church art gave way to the idea of praising the glory of God with grandeur and sensuality, glitter of gold and richness of details. However, the greatest change in the decoration of liturgical vestments was the so far unprecedented dominance of floral ornaments. Liturgical vestments turned into magnificent flower gardens almost devoid of religious symbols.
Liturgical textiles for altar and church decoration
Sets of liturgical vestments were often supplemented by sumptuous textile implements of the altar. The veil and burse are coverings that conceal the chalice of the Holy Mass at certain moments in the liturgy. Antependia decorating the frontal part of the mensa were made from expensive materials: silk, brocade and velvet, and were embroidered with gold and silver threads and decorated with appliqué and painting.
The appliqué technique is one of the earliest means of decoration. It was used for the purpose of prolonging the time of wear and became an expressive embroidery technique. Ornaments were created by couching pieces of fabric onto the base with a stitch.
Symbols of faith, floral ornaments
Christogram IHS is known since the times of early Christianity and is one of the most popular Christian symbols. These are the first three letters of the Greek name of Jesus. In the 15th century, St. Bernardine of Sienna popularized the monogram in a sunburst, thus promoting the veneration of the Most Holy Name of Jesus.