I’m finding both scans and transcriptions and condensed notes that at least include original terms.
So today I have a much better way to sort my information, I even have a much better understanding of the items I thought were quite specific, but.. NO HATS!!!
I think I might have found one as it is described as golden. I know the name of the trade, I can find veils and cloths galore but nothing at all related to a hat.
Which is odd.
But I found green and red clothing. The red is expected the green a really nice bit of supportive evidence of a stained glass window I’m interested in.
I do have some several hundreds of pages of personal papers to go through. One is magnificent for mens gear. It is described with enough detail when the writer describes his graduation, and what all the burghers wear. He includes clothing purchases, and even handily writes a top to toe descriptions that we can use as is.
So this is why I haven’t deep dived men’s wear. I collect information about the craft and the trade but the challenge in finding women’s dress is very much harder.
There is one top to nearly toe description of a dress for a girl about to go into the orders, and I think also a dress for her a year before.
The list of items for her actually entering orders is really interesting too.
Not my own plates this time, though I did get my spiral sleeves sorted.
Collecting modelbooks and books of trades really helps with interpreting art. Today after tracking back an image in a document (reverse image search is getting very good!) and then finding the original I was able to find even more images of people in hand crafts.
The book today is often refered to a book on lacework, but it’s clear the patterns are quite far reaching.
Title : [Libro primo-Libro secondo] De rechami per elquale se impara in diuersi modi lordine e il modo de recamare, cosa no mai piu fatta ne strata mostrata, elquale modo se insegna al lettore voltando la carta. Opera nova. : [estampe, livre de modèles]
This is by Paganino Paganini and according to Wikipedia he pretty much lived and worked all his life in Italy (Brescia then Venice) along with his son.
The works suggest a great deal of contact with German engravers. These scenes of transfering a design to fabric are quite a neat mix of elements one would expect of a German and Italian engraver.
The low slung braids and shaped skirts of one and the evenly rounded linen headdress of the other.
However there is a plate that appears a few times that gets down right Cologne! It is entirely probable the plates were created separately to the text that fills the space.
The timing is perfect for a mixing of cultures, Venice attracted a lot of German printers, and Durer famously traveled and recorded dress of women from the region.
Exactly why there are women in extremely North Rhine clothing has not been able to be uncovered in an afternoon, however the sculptural strip of linen at the front of the headdresses are so very iconic. The key feature being the wings and square frame effect.
This figure even has the braids of an unmarried woman at the front her her headdress but there appears to be a tail to the back that does not appear in North Rhenish dress.
And there is a family connection:
di Angela Nuovo – Dizionario Biografico degli Italiani – Volume 80 (2014)
Sposò Cristina, figlia di Francesco Della Fontana (Franz Renner da Heilbronn), stampatore tedesco attivo a Venezia dal 1471 al 1486, una parentela insolita nel panorama della stampa veneziana, dove la tendenza era a legarsi e imparentarsi secondo la provenienza geografica.
He married Cristina, daughter of Francesco Della Fontana (Franz Renner from Heilbronn), German printer active in Venice from 1471 to 1486, an unusual kinship in the panorama of the Venetian press, where the tendency was to bind and relate according to geographical origin.
I have been trying to work out a way to have fancy chemise sleeves as per my Cleves dress and just was getting very lost. Until I remembered that I already have the solution. pins!
This is my c1560s woolen Cologne gown. This is taken pretty much from the de Bruyn Trachtenbuch. So the skirt overlaps at the front to allow it to be worn open or closed. The sleeves are half length with matching hanging sleeves. The sleeves are actually half length and then matching hanging sleeves pinned on.
This is not totally interpretive. Hanging sleeves are listed separately in inventories and it is possible to see the pins in the woodcuts.
(A. de Bruyn, citizens from Cleves.)
Okay so they look more like thumbtacks here, on the far left, but that curvy line is also seen in obviously pinned on fitted sleeves (also found in inventories.)
Note also the watered silk lining on the far left. And what is a likely glossy lining on the far right. Note the turn backs of the sleeves and skirt. And the short sleeves over fitted sleeves. This is a fantastically modular wardrobe,
(A. de Bruyn, citizens of Cologne)
So you can see my wool gown is much more Colone in style but uses the Cleves plate for the pins information. I think other plates show pins used horizontally, which is how I use mine.)
The sleeves for my earlier Cleves dress are probably held on in a similar way. I’m assembling my current cache of images and documents to see if it does have support not just makes sense. It is also helping me figure out how to use my decorative under sleeves as well. No one puts brocade or heavy embroidery on something direct to the skin or part of a washing chemise.
So, very excited, I’ll be able to make more sets of hanging and under sleeves for my earlier dresses which makes them possible to be worn for a week long event.
I started with taking a copy of my Braunchweig gown and a transfer of my “german” kirtle to make my two bodices.
This is the Braunchweig copy as it is regionally close but also able to swing into the more dutch bodice shape.
I did also keep the Mary of Hungary bodice in mind.
How this works is the edge is on the grain so you have to smooth and stretch the fabric from there under the arm and to the waist. So yes the waist is off the grain. This is how the Mary of Hungary gown works too- if the edge was taken off the grain you get stretch going around the neckline that needs to be stabilised.
The down side to this is it makes fitting the armscye a nightmade.
But I kept going.
Ugh, look at how that now sits. Oh the back fits beautifully but where the excess fabric is moved to shows I needed a longer narrower back to be able to support this open neckline.
So my options were to remake the back panel or put in a seam. I dislike putting seams in the CB of my German gear but I am also running out of this fabric!
But it worked.
Then of course I had to copy the seam placement from one side to the other.
Side back matching, and shoulder matching.
SIde front matching.
The silk has almost no give! So I also also had to do a few tweaks on the form. I smoothed the left shoulder up and pushed the excess to fold over the shoulder seam.
As can be seen the armscye is very tight in the front of the arm, this will be clipped but only after I have properly assembled the kirtle layer and have the support this gown needs.
So I may see if I can get the kirtle underneath already to fit the way I need it!