getting there

I have finally made my way into my written references again after taking a short break. I have a few Really Big ideas about some things. So I will continue to get the timeline sorted, because that then helps figure out how much trust to put in Weiditz’s books (hint, lots, really lots even if there is some fudging and errors.)

Meanwhile I have started putting the lining into my Maria of Cleves gown because it’s so gorgeous and because it’s basically everything in my pattern book is going to be a really good example of what it is about 16thC tailoring that has my focus.

Ultimately it’s pretty much the start of large scale production. I mean the dowry of marie Leonore includes fully cut robes, partially cut robes, and fabric for robes.

To me this is absolutely evidence of what I suspected which is that by this stage garments were not as tailor made as we think. All the Spanish manuals give specific layouts and most extant garments have uneven seam allowances in specific places. And these pretty much are the same right up until the 1920s or so when S’ports” clothing became our standard. No fit, all on a straight front line.

Before then you see curved fronts, often with a facing carefully shaped and then sides where the front and back seam allowances do not match.

So what Marie Leonore’s dowry is an outcome of tailors using measurements to get fabric cut to approximate size, sent to embroiderers/trimming or for journeymen to sew down guarding.

Then it’s mostly assembled and final fitting happens at quite specifically side/sideback, and shoulder.

My pattern book is pretty much all based on a well fitting kirtle made from a 4 gore skirt, a single back bodice piece, two front bodice pieces and really importantly separate straps. All of the kirtles in all the books I have are cut off right where I cut mine. I do use a separate shoulder for my sleeved dresses too as it makes for the most amazing stable neckline.

a halsband

I am currently making over all my jewelry for my Cleves ensemble so these are the references I am using.

One of the accessories Anne of Cleves wears is a striking collar like necklace made from wide stylised flowers set with large round gold beads between.

1539 nrw holbein anne portrait halsband
1539 nrw holbein anne portrait halsband
1539 nrw holbein anne portrait miniature halsband
1539 nrw holbein anne portrait miniature halsband
1539 nrw bbda anne bernel halsband
1539 nrw bbda anne bernel halsband

This last version is most interesting as it matches so very closely to several other halsbander worn in cologne. Here are similar examples in chronological order.

1520 nrw unbek flugel frau mit 8 tochter 1 halsband
1520 nrw unbek flugel frau mit 8 tochter 1 halsband (Also a wide kette around the gown opening)
1520 nrw bbda beweinung christi halsband
1520 nrw bbda beweinung christi halsband (a more standard kette worn over her shoulders as well.)
1540 nrw bbda sibylla kessel halsband
1540 nrw bbda sibylla kessel halsband (A very wide ribbon type of kette outside her neckline)
1538 nrw bbda flugel wolff frau mit 4 tochtern 1 halsband
1538 nrw bbda flugel wolff frau mit 4 tochtern 1 halsband (compare her longer kette here to the extant examples below.)
1565 nrw bbdj catharina von seigen geb kannegeisser halsband
1565 nrw bbdj catharina von seigen geb kannegeisser halsband
1575 nrw geldorp elisabeth von hackney halsband
1575 nrw geldorp elisabeth von hackney halsband
1587 nrw geldorp katharina von gail halsband
1587 nrw geldorp katharina von gail halsband

Of these most use a floral centre of some sort (passionflower maybe?) in a rounded/squared open worked gold with round gold beads/balls, at the points that the sections connect to.

Of the extant collars and gurdeln in the Nordrhein several use a hinge join between sections.

guertel heiligin anna
hinge: guertel heiligin anna, c1500 Dueren, St Anna
Hinge: schuetzenkette, Goch, St Antonius, Emmerich

While others, usually the more open worked pieces, use a loop and ring.

schuetzenkette sankt georgs bruderschaft 2
Loop and ring: schuetzenkette sankt georgs bruderschaft, Kleve
svhuetzenkette sankt antoius bruderschat
Loop and ring: schuetzenkette sankt antonius bruderschaft, Kleve
loop and ring: Schuetzenkette St Michael Bruderschaft, Goch

One final example uses loop and ring but further stabilises the pieces with stitches to a fabric base.

ketter sebastians bruderschaft 1
holes in each corner, thread in upper right corner and lower right corner: kette sebastians bruderschaft, Kalkar
ketter sebastians bruderschaft 2
thread stitched through each loop at each corner: kette sebastians bruderschaft, Kalkar

I can’t seem to find the same kind of fastening between sections as used in the portraits but I hope also that these images help illustrate how very fine gold and silverwork was in this region and it was especially on display in these halsbander whether for personal or religious use. I also believe this kind of work was used on other accessories and my next post will deal with this.

Also of note, in this region a long kette (chain necklace) was worn but was usually of a single chain, occasionally of the latribbon type seen elsewhere but more often a simple solid oval ring, or ring with a slight twist to lay flat.

new information

Oh! While I’m here.. it’s so funny. As soon I wrote, somewhere not sure where, that I hadn’t seen a mitred corner in shirt collars… I find one.

Amazing to be able to see that. The majority of my images are not clear but there are enough really good ones now to be able to do this.

So I’ve seen eased around a corner, butted corners and now a mitred corner. Not seeing a pattern as to date or type but well, it’s great because I have used all of these 🙂

Fibro has currently made itself felt today (starts being tender like a bruise all over and moves into muscle spasms fairly quickly after) so I am having a very forced break.

But I am about ready to convert a couple of chemises into Lemberg style garments. There is just too much circumstantial evidence that these were actually used a lot.

We have all the imagery for one, but also the Poysdorf finds basically include a single layer sleeveless and skirted garment as well as two cropped shirts. Also several ‘little” shirts as well as other kinds in the 1519 inventory. It makes so much sense cost wise as well and comfort. My sheer chemise bunched up under my skirts and my heavier shirts with very little fullness stay put and are much cooler in summer and warmer in winter to wear.

It’s kind of an interesting situation to be in. I’m effectively doing what Elsabeth Horns did which is to make over over garments rather then buy new.


Who wouldn’t use academia if I was to upload my research there?

This is not a rhetorical question I am trying to find the best option based on multiple considerations.

I use it a fair bit to get access to articles otherwise hidden behind paywalls. But I know it’s not possible to search for articles (I need to actually start using it properly though.) And I know a PDF has limitations for text to speech readers.

I just am finding a blogging platform not ideal for scholarly articles.

Also, wow. So gold everywhere. It’s not just a case of valuing the gold itself but also having as many different techniques as possible. And I think I have spotted a few repeated articles which is amazing. With the written guild records and personal accounts it’s a bit more of a glimpse into daily life by being able to image how that comes to be. A workshop with several people working in different ways and records and work books.

I Do frocks not just the aesthetic but as a launch to understand people. I get annoyed when costume is treated as unimportant or frivolous. It’s so deeply personal and yet is the direct result of thousands of years of human history. We can rebel against fashion or use it. But it still is a super complicated subject.

Also I am starting to feel a connection to the people. This is both through the art (I have several portraits of the same women, or relatives, through several decades) and written work. Even stripped down summaries of legal proceedings have had an impact. Emotional too. Harsh a lot of the time.

I’m having trouble with galleries and search/tag/category options in themes here so my timeline of images is stalling again. So I may have to spend a bit of time with alt text and media settings. It would be great if there was a way to use attachment pages only for certain media types but that’s not how WP works. And I’m not totally confident in mixing other databases and front end content.

new year

It’s been quiet here for a bit I realise and that is partly due to being absolutely shattered and partly due to trying to also play catch up with everything.

But I have finally created a time-line of North Rhine images ready to use to teach. Oh boy. Oh boy is it both really easy and really complicated.

I know there are sumptuary rules but there seem to be a few un-written rules about accessories that goes like this: All the Techniques.

Not even kidding. The aim seems to be to show more than one way of using gold especially. And I have found more examples of what I was looking for.

But I need a really good method of sorting by tags. Basically there are several techniques and several parts of accessories and together they make for so much variation.

Also two portraits with a dull red on a dull blue and that is amazing!

One last post

But I think one is worth it. This is my single most favourite jerkin ever. At the Uffizi just listed as a Flemish Bride. I am making a doublet to wear under my spanish gear and it is covered in silver braid. So I am super tempted to see if I can get my narrow gold braid into this.

More Flemish goodness

So this is my all time favourite dress from a tapestry. Hooray for museums including data in their images:

Working Title/Artist: The Triumph of Fame, from a set of The Triumphs of Petrarch Department: ESDA Culture/Period/Location: HB/TOA Date Code: Working Date: ca. 1502-4 photography by mma 1999, transparency #3B scanned by film and media (jn) 8_8_02

Everything. I just want to make this so very much.

For a long time I kept my eye open for a gold woven in a lattice weave because of this portrait of Isabel of Denmark (followed by a few other portraits of her.)

But I am so so very happy with the Margaretha fabric 🙂 And to round out the gold gown post here is Anne of Brittany and a Saint by Cranach.

not tube sleeves

So while looking through the tapestry images I did spot two more half length bishop style sleeves. Well… one that appears to be:

And another that I think is a gathered upper to a fitted lower- but it is in a cloth of gold that is so close to mine :):

So I am going to fit and cut the bodice and sleeves this week of my Maria of Cleves gown. But I am also *this* close to making the flaming orange dress because why not.

New frock

I’m really wanting to make a bright orange frock. I might actually just overdye some more of my linen into a red so I can make one of the dresses with the half length hanging sleeves.

Super obsessed by them as they are like the sleeves in a few tapestries I adore. Lets take a detour from my NRW files to my Flemish and extant folders.

One more of the short form from an allegorical figure (I think.) This is I think though well in keeping with the NRW images and is why i initially thought the Kalkar figure above was not based on reality.

But tube sleeves. I’ve loved them since the start of this costume journey, even when I could mainly access books that were redrawings.

These are from photocopies I made waaaaaaaay back when. I did not cite the first though, I wish I had. She is figure 66. and the caption is ” Young Flemish lady-in-waiting, from a 16th-century tapestry. Long artistically draped dress with wide sleeves revealing inner sleeves; headdress with gauze, pearls and hanging ribbons.” She is most definitely from the David and Bathsheba tapestries, though this particular one is not well documented online.

The second of these is from Historic Costume by Francis M. Kelly and R. Schwabe. And I have found the source (incredible zoom function, I highly recommend clicking through).

And the small figures around her also come from this same series (ditto, there is one more in the series on this site as well as a whole lot of others save the link because it’s amazing.)

And these seams are found on other figures of the same tapestry series, and more, as well as in Bruegel.

And this is even seen in some fitted sleeves. These are from Cite de Dieux and Bruegel’s Harvest.

Some examples of tube sleeves to be found online though include these three from a single tapestry.

Another in the series of Bathsheba, and a tapestry at Hampton Court.

So I now need a break. This was supposed to be a short detour. I can also find orange all over the place too so I could just wear the orange and be shocking…..

after 1575, Cologne. Fig. 2, ill. 61, Kostüme und Sittenbilder des 16. Jahrhunderts [...] BSB Cod.icon. 361
after 1575, Cologne. Fig. 2, ill. 61, Kostüme und Sittenbilder des 16. Jahrhunderts […] BSB Cod.icon. 361

I mean I also found a huge amount of orange silk in one of the inventories….

more curating and a purse frame beginning

I have now only 43 images to try and track down. There is one that was recently sold at auction and it is the only listing not left on the original auction site. I am not guessing why but it means the full sized image is now only for sale from those auction aggregation sites.

But I have all my bildindex images sorted, and that was tough. The new site doesn’t seem to have most NRW images back. But the old site loads faster now so there are definitely improvements behind the scene. I seem to have lost how to get the full sized images but hey, screencaps.

Also the first layer of knead-it has been applies to my purse. Next step, sand that back, including the metal as there is still a gloss on the outer edges.

The linen for the Maria gown has had as much colour removed as is humanly possible. I really need a bluing agent, or it may be a soak in napisan.

So I had a lot of concern with the bleach. From other people. So to explain. I have been using the stuff for a long time as did my parents, as did theirs.

But that means respect and a lot of time practicing with the stuff.

I only do this outside. For two reasons, one it speeds up the process in the sun, but also fumes.

I did wash my fabric immediately but it still probably needs a good hand wash with extra soap. So I’ll get something with a bluing agent for this next step.

This is still cheaper than the cost this fabric would have been at full retail.