In our collection, for more than a hundred years,
In our collection, for more than a hundred years,

we have fragments of the funerary robe and mitre of King Henry VI
we have fragments of the funerary robe and mitre of King Henry VI

who was a German King but who became King of Sicily when he married the daughter of
who was a German King but who became King of Sicily when he married the daughter of

King Roger.
King Roger.

This textile came to me because it's planned to be included in the Sicily exhibition
This textile came to me because it's planned to be included in the Sicily exhibition

They're 12th Century textiles and they're part of his mitre which was worn on his head
They're 12th Century textiles and they're part of his mitre which was worn on his head

so you can see here a diagram of what the headpiece would have looked like,
so you can see here a diagram of what the headpiece would have looked like,

there would of been a crown piece here
there would of been a crown piece here

and the two pieces dangling down the back
and the two pieces dangling down the back

and that's what you can see here.
and that's what you can see here.

It's his funerary robe and mitre that were actually found in his tomb
It's his funerary robe and mitre that were actually found in his tomb

that is still in the cathedral of Palermo
that is still in the cathedral of Palermo

but it was opened in the 18th century
but it was opened in the 18th century

and as was very common then; the clothes, the robes were taken out
and as was very common then; the clothes, the robes were taken out

and were distributed among the most famous collectors of the time.
and were distributed among the most famous collectors of the time.

And after a while some of these pieces came to the British Museum.
And after a while some of these pieces came to the British Museum.

It was in a very bad state, even when it came to us it was already in a very bad state
It was in a very bad state, even when it came to us it was already in a very bad state

because it had been entombed for several centuries
because it had been entombed for several centuries

and through different conditions,
and through different conditions,

moisture but also actual bodily fluids,
moisture but also actual bodily fluids,

it had been damaged quite a lot.
it had been damaged quite a lot.

So to do this exhibition gave us another opportunity to re-conserve it
So to do this exhibition gave us another opportunity to re-conserve it

So our conservators, especially Anna
So our conservators, especially Anna

worked tirelessly to piece together the mitre back again
worked tirelessly to piece together the mitre back again

so that visitors can understand what it originally looked like.
so that visitors can understand what it originally looked like.

We thought possibly at the beginning
We thought possibly at the beginning

that it might just be a question of fairly simple re-mounting.
that it might just be a question of fairly simple re-mounting.

It was in quite an old, what we call a pressure mount before
It was in quite an old, what we call a pressure mount before

which means that it was lying on this board
which means that it was lying on this board

and a piece of perspex was on top
and a piece of perspex was on top

and the perspex was clipped around the sides and it held it in place.
and the perspex was clipped around the sides and it held it in place.

Although it hadn't held it that well because the small pieces had moved around,
Although it hadn't held it that well because the small pieces had moved around,

as you can see it's in quite a poor condition.
as you can see it's in quite a poor condition.

So what I had to do was have a look at this textile, think about re-mounting
So what I had to do was have a look at this textile, think about re-mounting

and actually as I was examining it I realised that the pieces were in the wrong position
and actually as I was examining it I realised that the pieces were in the wrong position

so we've got this central ribbon which runs down the length of the lappets...
so we've got this central ribbon which runs down the length of the lappets...

which have alternating lions and eagles inside the roundels.
which have alternating lions and eagles inside the roundels.

and actually, they don't alternate as it is at the moment.
and actually, they don't alternate as it is at the moment.

So what this has turned into has been a question of me really examining what remains
So what this has turned into has been a question of me really examining what remains

and trying to figure out where the pieces actually go.
and trying to figure out where the pieces actually go.

What it represents is the art of textile that emerged on Sicily.
What it represents is the art of textile that emerged on Sicily.

Sicily was very famous for embroidery during the Arab period,
Sicily was very famous for embroidery during the Arab period,

but when the Normans conquered it they wanted to become more successful in it
but when the Normans conquered it they wanted to become more successful in it

so Roger actually kidnapped, lets say imported Byzantine weavers to the island,
so Roger actually kidnapped, lets say imported Byzantine weavers to the island,

so from that moment onwards, they could weave their own textiles.
so from that moment onwards, they could weave their own textiles.

What the fragment of the robe actually represents
What the fragment of the robe actually represents

is this combination of styles that we then start finding on the island.
is this combination of styles that we then start finding on the island.

The actual decoration pattern,
The actual decoration pattern,

which is a very repetitive pattern of different animals is very Western,
which is a very repetitive pattern of different animals is very Western,

it's Byzantine and Western.
it's Byzantine and Western.

But the actual embroidery style and even the weaving style is still very Islamic,
But the actual embroidery style and even the weaving style is still very Islamic,

so its that combination of styles that emerges on Sicily.
so its that combination of styles that emerges on Sicily.

I've spent a lot of time looking through the microscope
I've spent a lot of time looking through the microscope

to try and see any features that can help me show the positioning of the different pieces
to try and see any features that can help me show the positioning of the different pieces

when I reposition them.
when I reposition them.

So for example stitch holes, any stitching.
So for example stitch holes, any stitching.

So what I did was photograph the textile,
So what I did was photograph the textile,

almost blown up to the proper size, so that I could use those images.
almost blown up to the proper size, so that I could use those images.

So what I was able to do with my photocopies was cut them up,
So what I was able to do with my photocopies was cut them up,

I've taken out the bits that I think are possibly in the wrong position
I've taken out the bits that I think are possibly in the wrong position

and moved them around and worked out where they go.
and moved them around and worked out where they go.

Having worked out the new position of all the fragments
Having worked out the new position of all the fragments

according to my diagrams,
according to my diagrams,

I made a fabric covered board,
I made a fabric covered board,

and very carefully transferred the pieces on to the new board
and very carefully transferred the pieces on to the new board

into the position that they should in fact be in.
into the position that they should in fact be in.

It was a difficult process because obviously the pieces are extremely fragile.
It was a difficult process because obviously the pieces are extremely fragile.

So the way that I am going to secure these on to the board
So the way that I am going to secure these on to the board

so that they can then be put on display safely
so that they can then be put on display safely

is to use nylon net over the top of the fragments.
is to use nylon net over the top of the fragments.

And what we do is dye the nylon net to the colour we need
And what we do is dye the nylon net to the colour we need

and lay it over the top.
and lay it over the top.

And I can stitch all around the fragment and it holds it in place
And I can stitch all around the fragment and it holds it in place

and doesn't actually mean I've stitched into the fragment at all.
and doesn't actually mean I've stitched into the fragment at all.

and it's a very reversible way of securing a textile which has got lots of holes in it.
and it's a very reversible way of securing a textile which has got lots of holes in it.

And once the nylon net is secured over the top of the fragments,
And once the nylon net is secured over the top of the fragments,

you don't really see the net, but you do see the textile beneath.
you don't really see the net, but you do see the textile beneath.