a kranz reference

So exciting! So a kranz is a piece of jewelry you see a lot. Well not a lot a lot but enough to recognise that they are definitely for unmarried people and that regionally it differs aesthetically but also real wreaths seem to be for very specific events. Rosemary is directly related to marriage but I have seen donor family portraits where every child is wearing wreaths. Also some very sad portraits of children alone.

So. The portrait I have recreated has two girls in the same dress and haube and with matching krantz that are clearly strung pearls. It’s hard to say they are wired as they hang rather than sit.

The sumptuary law does mention pearled kranz specifically and how much it could be worth according to rank. So that’s a really nice piece of documentation for what I had assumed was going on.

So far I have also seen warnings about gold chains and of the knife sets you see in the de Bruyn costume book and lots of wall paintings all over the place.

Okay and now I find the gold kranz. Hmm. I need to properly format this to translate properly. Ooh a bride could have twelve linen haube. Two gold haube. There is mention of one gold knitted haube. And other kinds of twisted haube. Wow.

Most of this is specific to marriage, including basically a description of what happens all day including dancing.

Of specific importance is the use of the word “rock” to mean dress. Over and under dresses. I’m better at translating than google but even so lots of items that are basically “lengths of cloth” are going to need a little more work- mostly they mean veil but I think I skimmed past an apron. And there is a fair amount of fur and linings. Silk is often used alone as a description and then also damask and and different kinds of weaves. okay I think I was right, mostly veils.

But I do have a few more inventories to also transcribe to put into my spreadsheet. This is just great because it’s a document that had to be more carefully written and have more consistent spelling than the personal documents I have been going through. 

Oh these are gold. Gah. It would have been brilliant to have had this as  start. I can now tell what kind of headwear is made of linen if not named. *flails*I could make an entire wardrobe from this!!!!!!!! AIEEEE!!!!!

And in weird coincidence I’m about to write “but it’s not Cologne” and The Chase question what city is [x km] south of Cologne.. Bonn. The answer was Bonn.

Anyway. This is still not a perfect match to pick apart the more western North Rhine garments as it’s later and terms had already shifted. But, it is probably the equivalent of a Rosetta stone for me.

printing plates

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]

Publisher : [Alessandro Paganini] (Italie)

Publication date : 1532

Description : Référence bibliographique : Courboin, 1041-1042

Rights : public domain Identifier : ark:/12148/btv1b10537222v

Source : Bibliothèque nationale de France, département Estampes et photographie, RESERVE 4-LH-102

Relationship : http://catalogue.bnf.fr/ark:/12148/cb40354751t

Provenance : Bibliothèque nationale de France

Date of online availability : 09/05/2016

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:

PAGANINI, Paganino
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.


cleves bodice fitting

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!