Ahah! I’m following a line of thought in regards to the use of gold in Cologne and it appears I may be correct:
“The new valuation of craft, by contrast, implied a higher evaluation of how materials were transformed. Peter Martyr in 1521 thus praised the artistry of the people of Yucatan and Mexico by writing to his humanist friends: “I wonder not at all the gold and gemstones, but at the skill and workmanship which far exceeds the value of the materials. I am amazed.”
Renaissance Dress, Cultures of Making and the Period Eye, Ulinka Rublack, Cambridge University, 2016
The whole lecture is fascinating but this part here is very much what I have been seeing in the portraits of women of Cologne. It’s not just that gold was prized, it was also the craft that turned it into art. So it wasn’t enough to have gold it was important that it be worked in many ways, each requiring a different set of skills.
But I’m not just seeing this, I am also reading about the value of various items based on how they were recorded, and it shows a very similar pattern. In fact at least one garment has the pattern worked in pearls recorded which also then reflect the patterns in the Quentel Kunstlichbuch in particular.
I’m not just looking into the evidence as depicted in written and pictorial information but also understanding the mediums used so I am also reading about how gold was painted in art.
I have exactly too much information that is not general knowledge which meant I was not really able to explain why I do the stuff I do. I thought my frock straight from the title page of Quentel (or more commonly Il Burato) was something that lots of people would already know about. But apparently not.
These images in particular show the Lowlands engineering on clothing used in this region which relies on a lot of pinning or ties but with the particular aesthetics of the region.
The other very useful piece of information from these is how important narrow goods weaving was to this region. It’s the dominant form of decoration as it is used on the forehead piece of the headdress, occasionally on the body of the headgear, but also as belts, and finally reasonably frequently on the chest piece that shows through the neckline of the gowns. It is also used extremely frequently on linen items around the neck.
On the other hand embroidery is not very common. It is most commonly found as whitework on forehead bands under the linen type of headddress, and can sometimes be seen as a very narrow edging on linen items worn around the neck. It can be seen as a second band behind the woven gold forehead band and in these instances are nearly always gold. The standout exception is on a belt that appears to be woven with a polychrome embroidery worked over that.
So I need to get my reference images imported here. Also if anyone knows how to make an ipad show images in any other order than date I’d love to know. I keep being told it’s being sorted by meta data but I also know meta data is not just date and time so there has to be someway to sort them.
I also need to thus spend a couple of days tidying my media files and putting meta date into them. I think I have a cunning plan for working around the limitations of WP.
There are days my voice is Glinda clear, I mean bubbly and floaty and I can do trills and decorations. And then there are days like today. I think it is the RA. Inflammation seems to fit the bill.
I can at least sing early music. It just does not sound like me. It sounds somewhat appropriate if you think of reed instruments, but it’s not what I trained to get.
But, there are days where my voice is what I trained it to be. So I guess I have two voices due to RA. I have to think of it like that because I can’t predict exactly what day will be what voice and it’s not ideal for singing for an audience. I miss theatre so much. So much.
I did also spend a long time putting all my info for each and every portrait I have. And I still have a few hundred unattached files.
I also cut my Maria of Cleves gown lining, it’s been de-coloured and I will need to put it through a bluing wash after it’s washed properly.
I’m a bit behind my schedule for both my research and my pattern book. I have a wee set back because I think my harddrive is failing and while I do have everything backed up I’m not keen on reinstalling my OS. So I’m trying to work around that. Also I’m making so many back ups but also adding to my research so it’s still a bit messy.
But I did manage to take the brocade off my most recent hat and put a new cover on. I may want to do a little bit of adjusting of the edges. There are a very few images that suggest the hat is a very thin shell indeed and the way i tidied the edges made them a bit bulky. But that said it is a different shape and that style does curve back in, so I think I may be okay.
I think I know how to tackle the new galleries I need to do for the Nordrheinwestfalen pages. It seems that if I caption an image in a galelry on a page that remains and is used whenever that image is added to another page. So if I can caption the images first i can use them on multiple pages.
And I do now how to frame the hat research. It has taken so long to trust my own instincts, but what that meant was that I wound up posing a challenge to my hypothesis on multiple fronts and that I think led me to being more secure.
I still am not entirely sure about some specifics. But that can be a later project.
Meanwhile. I need yet another nap. So very tired and sore and very overheated. Hello humidity.
So I finally managed to organise all the Aldegrever prints (there are three sets of dancers.)
Aldegrever was active in Soest which technically makes him in the Nordrhein-Westfalen area. Which is great as some of the features seem to support the use of Weiditz as there is a very strong Saxon feeling with headgear that is more of a blend between Saxony and NRW.
So three different types are present.
The first three are drawn with the ties drawn right up to the belt (gurdel). Then there are two that are drawn but have a separate tie to the gurdel (might be a circular frame? There is an extant purse with what looks like a soft frame.) And finally an arch frame purse that has hardware to attach it to the gurdel.
Brilliant! I can happily make an arch frame after all. But I may also make a circular/loop style as well while I figure out a way to really get the purseframe of my dreams.
I do have a knife case and set of mother of pearl handled knife and fork. I want to upgrade that as well as I used very recognisable filligree brass pieces to decorate the case!