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I'm full of plans for a new gown, based on a series of illuminations in the Taymouth Hours, a manuscript from early 14th century England. The illuminations that caught my eye feature a series of noblewomen hunting with everything from dogs to nets to bows to hawks. In the main manuscript, these illuminations start around page 68. In these four close ups, you can see the gist of the style. There's a long, tight sleeved gown, with a shorter, split sided, tippeted (if it's not a word, it should be) overdress. Several of the ladies have fur lining in the overgown, and several wear veils. One has a hood folded and set aside on a hawk's perch. The expression on the rabbit's face in that last one cracks me up every time... Planning for this gown is underway - I've got some lovely linen in a gorgeous mid blue, and a fantastic brick red, though I'm still deciding between a blue over red color scheme, or red over blue. The current tangle is figuring out construction and fit of both dresses. The overdress seems fairly loose and flowing all over, but it looks to me like the bodice of the undergown would be fairly close fitting, with very tight fitting sleeves. Blocking out a general pattern is next, and then the fun of a more exact draft. My goal is to have this dress completed by Crown List in May, which is incredibly ambitious between my field work for my degree, and wedding planning (June 18th can't get here soon enough!). We'll see how much I can get done, though!

Today, I’m going to show you how to make one of the simplest and most versatile of medieval garments: the tabard. Knights, heralds, guards, clergy, peasants… darn near every type of med…

Above: The dining room at Chatsworth, laid for Christmas. I think that red is the perfect colour for a dining room. The colour red heighten...

I'm full of plans for a new gown, based on a series of illuminations in the Taymouth Hours, a manuscript from early 14th century England. The illuminations that caught my eye feature a series of noblewomen hunting with everything from dogs to nets to bows to hawks. In the main manuscript, these illuminations start around page 68. In these four close ups, you can see the gist of the style. There's a long, tight sleeved gown, with a shorter, split sided, tippeted (if it's not a word, it should be) overdress. Several of the ladies have fur lining in the overgown, and several wear veils. One has a hood folded and set aside on a hawk's perch. The expression on the rabbit's face in that last one cracks me up every time... Planning for this gown is underway - I've got some lovely linen in a gorgeous mid blue, and a fantastic brick red, though I'm still deciding between a blue over red color scheme, or red over blue. The current tangle is figuring out construction and fit of both dresses. The overdress seems fairly loose and flowing all over, but it looks to me like the bodice of the undergown would be fairly close fitting, with very tight fitting sleeves. Blocking out a general pattern is next, and then the fun of a more exact draft. My goal is to have this dress completed by Crown List in May, which is incredibly ambitious between my field work for my degree, and wedding planning (June 18th can't get here soon enough!). We'll see how much I can get done, though!

For many years I have been fond of pattenred or coloured veils - fro insance I'm wearing a striped veil on this photo of me in my pink cotte...

Our16th century Renaissance women, heroines all, in a number of mise en scene- are actually Greek Goddesses, Sappho, Oenone, Dido, Briseis, et alia. the bath, the peeping King... the texts, the well meaning "friend" the intrigue, the occasional Dragon, the slips and falls from grace, the lament, the mayhem, the murder, & it starts all over again. ...all in the Day of a Life. manuscripts: Français 874, fol. 170v. at the Bibliothèque nationale de France, & Mandragore

So, you have probably noticed that the one style/time period that I shy away from is the 14th century, say after 1330. It has not always bee...

The diversity of styles and colors of headgear increased greatly in the 1300’s. Although there are still uncovered heads shown in the manuscripts, it really does complete the outfit more when…

This photo is by Peter Hubert

Ultimate Kirtle Pattern Lady Asrune Russtikus-dotta Pennsic [email protected] Kirtle : (Kyrtel) is a fitted tunic-like d...

Продолжаю выкладывать страницы из книги Кэтрин Стрэнд Холкебоер "Выкройки для театральных костюмов и отделки одежды и аксессуаров от Древнего Египта до 1915 года". Книге, в которой дан самый простой крой, который подойдет для театральных постановок, а так же рекотструкторам той или иной эпохи. Книгу для показа и лучшего восприятия информации разбила на несколько частей, добавив от себя немного дополнительной информации и картинок для наглядности. Начало: Книга: К. Холкебоер: "Выкройки для театральных костюмов..." : Часть 1: пояснения, Древний Восток, головные уборы, разные костюмы. Книга: К. Холкебоер: "Выкройки для театральных костюмов..." : Часть 2: Костюм Древнего мира до XI века. Крой костюмов XII-XIII вв по книге Кэтрин Холкебоер: "Выкройки для театральных костюмов..." Часть 3. В этой 4-ой части речь пойдет о позднем Средневековье - XIV - XV веках. Для периода позднего средневековья характерны легкие, изящные формы, стремящиеся ввысь подобно готической архитектуре. В основе женского костюма лежит силуэт, подчеркивающий узкие покатые плечи и тонкую талию. К низу одежда значительно расширяется за счет расклешенных юбок с дополнительными вставными клиньями. Развитие мужского костюма в позднее средневековье (14-15вв) происходит на основе двух силуэтов: - свободного расширенного к низу романского периода и - прилегающего готического, для которого характерна расширенная линия плеча, достигаемая за счет массивного присборенного оката рукава со специальным ватным валиком. Декоративные линии и конструктивные особенности мужского костюма призваны подчеркивать грудь и тонкую заниженную талию, которая оформлялась поясом. Прилегающая одежда в основном, по длине доходит до середины бедра. В эпоху всего средневековья следует помнить,что именно мужчины начали диктовать моду и модные линии в одежде. Женщинам по религиозным соображениям, следовало до 13-14 веков быть скромными и не показывать линии своего тела,дабы не возбуждать мужскую плоть... ---- Часть 4: Крой и рисунки узоров к костюмам XIV - XV вв. - Позднее Средневековье. * PS. При скачивании картинок кроя из книги Кэтрин Х. выйдет точное описание файла на английском языке. Все картинки даны в большом разрешении. * Крой театральных костюмов на XIV век: --- Крой костюмов на XV век. ---------------------------------------------------- Продолжение: Книга К.Холкебоер:"Выкройки театральных костюмов..." : Часть 5: крой на XVI век. Книга К.Холкебоер:"Крой театральных костюмов...": Часть 6: XVII век. Крой и вид одежды. Книга К.Холкебоер "Крой театральных костюмов...": Часть 7: XVIII век. Крой, вид одежды ----------------------------------------------------------- ВСЮ книгу можно посмотреть и СКАЧАТЬ ТУТ ------------------------------------------------------------------------ Читайте так же: Крой и мода XIV - XV вв. эпохи позднего Средневековья. Стиль экревисс. Построение и крой 15-20 вв по Мюллеру. ПУГОВИЦЫ. История, магия, интересное. Название видов одежды XIII-XX вв. Основные стили и направления в искусстве и обществе X-XX в. Часть 1:X-XVIII вв. Основные стили и направления в искусстве и обществе X-XX вв.Часть 2:XVIII-нач XIX вв Костюм в России XV-нач - XX в. Книга.Иллюстрации из неё. Изготовление одежды в древности.История кроя. ВОРОТНИК. Часть 1: фреза,брыжи,раффы, оплечье и др. МК, подлинники ЖЕНЩИНЫ - ВОИНЫ. Часть 2: XI - XVI вв. История костюма Средневековья XI-XIII вв. - кратко. История костюма позднего Средневековья (XIV-XV вв) в картинках. Мужская ОБУВЬ 13-19 вв.История.подлинники.Гравюры Книга "Секреты шитья" - автор Анна Краузе.

This combination is explored in detail by Anna Attiliani of Tacuinum Medievale. Read her full blog post here For a partial repost, I’d like to show you a few sources from Larsdatte…

Guillaume de Deguileville, Pilgrimage of Human Life, in French and Latin, France, 1348

One of the things that I really like about the 13th-early 14th century are the many varied ways to wear you hair - and headwear. Contrary to popular ideas hair was not always totally cover4d, not even on married women. I've written some about it on the page about my 13th century outfit with a Barbie pink gardecorps, but I thought that it would be nice with a blog post which focuses on this and show some more period examples. Unmarried women I'll start with (presumably) unmarried women, who are often seen with their hair hanging or, much more rarely, braided. Braid with gold ribbons and a circlet from the end of the 13th century, ow maybe her hair is just wrapped in ribbons and not braided. In any case it's not hanging loosely. Lausanne, Bibliothèque Cantonale et Universitaire U 964 - Biblia Porta fol. 178r On of the young women ion this awesome French 13th century image of the Devil tempting both sexes to have fun same-sex sexuality, also has a single braid or possibly unbraided hair wrapped in ribbons. Wavy/slightly curly hair was popular. Here with a circlet. ca 1300. Codex Manesse/Grosse Heidelberger Liederhandschrift Here we see mother and daugher, showing the difference between a married woman with her chin strap and fillet and the daughter with a circlet in gold, tied with red ribbons. Codex Manesse/Grosse Heidelberger Liederhandschrift Loose hair and circlets in France c 1250. The Maciejowski Bible It is of course hard to be sure about the marital status of all these women, but this woman wearing a hairnet is also probably unmarried, like her friends, since she's wearing only a circlet with her hairnet. It appears that the white wavy fillet and chin strap was a thing for married women. And don't be fooled by all the women with white fillets and/or veils being courted by knights - adoring a married woman was a thing in Courtly Culture. (A book tip: Courtly Culture by Joachim Bumke, a German historian. It is really,really good.) This image show the death of Nabal and what I presume is his wife and daughter, indicating that the white cap today mostly referred to as the St. Birgitta cap, was worn also by unmarried women. You also see that already in France c. 1250 married women wore a chin strap and fillet with loose hair under it. But, really, "everyone" already knows that unmarried women wore their hair uncovered in the Middle ages. The most interesting thing may be the image of the woman at the top with her hair braided in one single braid. This is not a style that we generally associate with the 13th and early 14th century, and one that I will get back to now that I turn to the married women. Married women I promised myself that this post wouldn't be about veils, so I will try to refrain from showing images just because I like the veils, filelts or chin straps. there has to be some hair too. We have already seen that a white fillet, often with a wavy or decorated edge (I write more about that here) was worn by many women together with either a chin band/barbette, or maybe a Birgitta cap under it; the image above could for instance show a cap insted of a strip of linen. On the other hand there are written sources telling about long strips of linen, called gebende, wound many times around the head (Bumke 2000 p 152) and the image may well show this instead. This is a lovely detail shot of Markgrafin Uta from the Naumburg cathedral, showing her wide gebende decorated with gold, but also some of her wavy hair at the temples. Photo from Wikimedia commons A much less well-known figure from the same cathedral is countess Gerburg von Brehna. She's not as pretty, but she has a braid! So, like Uta she has a crown with a pill box cap, a gebende wrapped around her head, and wavy hair showing at the temples, but, since we can see her from the side we also see that she has a single braid hainging down her back. Furthermore, if you look at my favourite of the Naumberg ladies: the happily smiling Reglindis you see that she also probably has a hanging braid. Image from wikimedia commons Oh, what I would give for a side view of Uta's head :) Narrower chinstraps were worn with a fillet and hanging hair as you have seen in the example of the motehr and daughter from the Grosse Heidelberger Liederhandschrift above. The Weingartner Liederhandschrift, which is contemporary to it, but much less fancy seem to favour a slightly...sloppy approach to the white linen fillet. Image from wikimedia commons You also find many examples of hanging hair under a veil in the Grosse Heidelberger Liederhandschrift. With veil and a circlet on top of it. And another one: And one with a pink veil draped over what appears to be a gold coloured band of some kind. No chinstraps as you can see on these images, but veils indicating married status anyway. Hair nets came in many colours, and were frequently worn with chinstrap and white fillet. Two examples from the Murthly Hours, a French mansucript fro the 1280s, show a green and a blue net respectively. And we also see that while prossibly shaped it is defintiely not a cap the woman with the green hairnet is wearing, which makes it less likely that it's a cap in the image of Nabal's death from the Maciejowski bible, since it looks just the same, except that we can't see the top of her head. Detail from fol 6 recto This is a gorgeous manuscript, which can be seen in its entirety at the web site of the national Library of Scotland. Lots of inspiration for illumination there. Another be-netted, fillet wearing...snake. From MS K26 at St.John's College, Cambridge. And a Norwegian early 14th century example, showing decorated hairnet, chin strap and fillet. So, hairnets are definitely an option, for married as well as for unmarried women - there are also quite a few of them preserved. This one is from the church of St. Truiden in Belgium, dated to the 13th century (link to museum site): And the same goes for this one, from the cathedral of St. Paul (link to museum site). As you see, they are first knotted and then embroidered. I'm ending this post with an image from the Rheims Missal 1285-1297, showing maybe a "Birgitta cap" with a fillet with wavy or dagged edge and a gebende. And wavy hair at the temples.

Cassamus and his chess-players, f. 128v. Colloquial name(s): The Romance of Alexander, The Roman d'Alexandre Official name(s): Oxford, Bodleian Library, MS. 264 Date: 1338-1344 (source) with two sections added c. 1400 (source) Origin: Tournai, Flanders (source); Flanders with two sections added later in England (source) Online facsimile available via: LUNA (high-quality, zoomable facsimiles of the majority of the illustrations) and The Bodleian Library (much poorer quality, non-zoomable facsimile of the complete manuscript) Bodl. 264 contains foliate borders, numerous exquisite illuminations that illustrate the legends of Alexander the Great and marginal scenes depicting everyday life. The Romance of Alexander and the everyday scenes were completed in the workshop of the Flemish illuminator Jehan de Grise between 1338 and 1344; c. 1400, Alexander and Dindimus (Alexander Fragment B) and Marco Polo's Li Livres du Gruant Caam were added in England (source). The later additions comprise ff. 209r-215v and f. 1r and ff. 218r-271v and f. 2v, respectively. There are also gilt foliate borders throughout, populated by the most incredibly realistic collection of native birds. Bodl. 264 is my favourite manuscript. <3 Basic descriptions of the illustrations are provided by LUNA in the left-hand information bar upon clicking upon each illustration.

At the beginning of last October, I was part of the 14th century team at Medieval days at the open air museum Bad Windsheim, Germany. My colleague Thomas (who played the barber/bathhouse owner) and…

Following the events which disrupted social stability in fourteenth and fifteenth-century England, individuals from a variety of social contexts demonstrated a particular necessity to see order visibly displayed in society.

One of the few extant pieces of early 16th century female garb (1521) remaining today is Mary of Hapsburg's wedding dress. Mary was the granddaughter of Holy Roman Emperor Maximillian. The gown and chemise are housed in the Hungarian National Museum. The hemd (chemise) may or may not go with the gown (according to museum docents), but it is believed that the hemd is from the 16th century. I...