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Chemise of Balthild
Balthild’s ornate chemise both expresses her dedication to the church, as well as her status as a queen to Clovis II. The sleeveless tabard was likely crafted by either Balthid herself, or nuns of Chelles Abbey, and measures 84 centimeters wide and 117 centimeters tall [12]. It intended to loosely hang over the front and back of the body [13] over a dress, although the back portion is currently lost. The garment consists of simple linen as a gesture of humility towards the church, as linen was a fabric commonly worn by lower classes of the time. The silken details make up a large bejeweled Christian cross 17.5 centimeters tall [14], small human and bird portraits, as well as several patterned rings around the collar mimicking studded golden necklaces [14]. These embroidered necklaces were sewn in the exact likeness of the jewelry Balthild wore during her status as queen, and were also a symbol of Balthild’s devotion, trading her actual jewelry for sewn replica as a member of the Abbey of Chelles.

There are conflicting claims on this history of this garment, centred on whether it was ever worn by Balthild herself in life, in death, or at all. The common argument is that it was a burial shirt [12][13] that followed Balthild into her tomb. This is challenged by claims that the shirt was worn frequently by Balthild during her life in service at Chelles but not during her death [13]. These arguments have surfaced due to the dubious history of the dress and Balthild’s body, which have been disturbed multiple times muddying attempts at accurate documentation. Balthild’s body and dress have been relocated two documented times. The first time they were moved, they were moved behind the Chelles Abbey alter as relics [13] in 833, likely in hopes of attracting Christians on pilgrimages. The dress was said to be found once again hidden inside a sixteenth-century reliquary [13] in attempts of saving it from destruction during the french revolution.

Sources:
[12] da Silva, Renato Rodrigues. “The Aristocracy of Northumbria in the Long Eighth-Century: Production, Circulation, Consumption.” Leicester Research Archive: Home, School of Archaeology and Ancient History, 27 June 2017, pp. 222-228. hdl.handle.net/2381/39990.

[13] Gajewski, Alexandra, and Stefanie Seeberg. “Having Her Hand in It? Elite Women as Makers of Textile Art in the Middle Ages.” Journal of Medieval History, vol. 42, no. 1, 18 Nov. 2015, pp. 38–43., doi:10.1080/03044181.2015.1106970.

[14] “The Social Life of Hagiography in the Merovingian Kingdom.” The Social Life of Hagiography in the Merovingian Kingdom, by Jamie Kreiner, Cambridge University Press, 2014, pp. 157–158.