LAUSR

for so long. According to Döberl, a lack of space in the old depot hampered visual inspection of the object. Moving to a larger space in 2012 resulted in its rediscovery. It is important to realize that there are more extenuating circumstances. Linen damask is a serious curatorial challenge, not only because of the size of tablecloths, but also because it is hard to distinguish, let alone photograph, the decorative motifs woven into the fabric, because they only show up when viewed at the right angle. Bearing this in mind, the importance of this publication becomes paramount. The photographs of the tablecloths and napkins are impeccable, facilitating elaborate iconographical analysis, which is further aided by schematic depictions of the layout of all three tablecloths. In the appendix all relevant written sources, ranging from bills and inventories to the menu of a chapter banquet, are transcribed, all depicted coats of arms are described, and weave analyses of all objects are included. The same thoroughness is reflected in the text, which not only deals with the table linens themselves but also highlights the importance of banqueting within the Order of the Golden Fleece, the archival documents, the biography of Jacob Hoochboosch that was complemented with newly discovered archival evidence, the popularity of the plus oultre motif in later table linen, other linens belonging to the order, and, last but not least, the broader context of sixteenth-century linen damask production. The rediscovery of the table linens of the Order of the Golden Fleece is not only of the greatest importance to the study of linen damask, and even early modern textile production in general, but also to court studies. It is a pity, therefore, that the book is published only in German, as it deserves a wider audience. Linen damask is a subject still largely understudied, and this volume offers an excellent starting point to the study of its role in early modern court culture.