Ultimate Kirtle Pattern Lady Asrune Russtikus-dotta Pennsic [email protected] Kirtle: (Kyrtel) is a fitted tunic-like dress with variations found from the 1350s all the way up to 1650s. It was a staple of the medieval wardrobe.The Kirtle was worn by all different classes of women all over Europe. Typically, a chemise, or underdress, is worn underneath. An overdress such as a “houplandie” or “cotehardie” would be worn on top when needed. The kirtle acts like a bra. The body of the dress can be 2, 4, 8 or more pieces. They can be lined, or not. They can have long, short, or no sleeves. They can have a waist seam, or not. They can be laced or buttoned, on the side or in front. They can be elaborate or simple, heraldic or plain. In short, there are a lot of options to work with when it comes to Kirtles that are all “period,” and can be made with just one pattern! The Pattern (Draping method) Fabric- Linen (most common), Silk, or Wool. Leather is also period, but rare. Avoid synthetic fabrics. You will need 3-8yds of fabric to make a kirtle. You will need 1-3yds to make the pattern. American Size Yards for dress Yards for pattern Size 2-6 3-4 1 Size 8-14 5-6 2 Size 16-24 6-8 3 Before you start- Make sure you have · Lots of pins! · 1-3yds of linen (the lighter the color the better, so you can write on it) · Scissors · A sharpie or fabric marker · A friend to pin you up · And a good bra on Step 1: Take your measurements Bust (A) Waist (B) Hip (C) Sleeve (H) Upper Arm (O) Wrist (N) Waist to floor (K-M) 1. Divide you Hip measurement (C) by 4, add two inches and cut 4 rectangles of fabric of that width. This should make four large bits of fabric, that combined are large enough to cover your back and front. They should be long enough to cover your bottom. Hip/4 + 2in = Rectangle width 2. Pin 2 rectangles together to form the back of your pattern. Pin the other 2 together to make the front. 3. Get a friend to center and pin the back and front pieces together at the shoulders on you. 4. Have you friend pin the sides closed, being careful to keep both sides even. You should look like this: 5. Pinch the fabric on the pined “seams,” to tighten the fabric around you and re-pin. Work slowly, be careful to keep the sides even, and the front and back centered. 6. Tighten the shoulder until you feel “lifted”. You should look something like this: 7. Get a sharpie or fabric marker, and mark: l Your natural waist line. (An easy way to do this is hold a string around you, it will automatically go to the smallest part of your waist.) l Where you want your neckline(s) to be. High(neck), low(normal), and sexy (boobs) are the three I usually mark. TIP: if you leave the neck high, you can use this pattern for a doublet too! l The joint where your arm meets your shoulder. This is where your sleeve should start. 8. Trace all the pinned seams on both sides with your marker. Make sure you get front, back, sides and shoulders, both sides. 9. Remove all the pins. 10. Compare the two front pieces and the two back pieces by laying them out. There will be slight differences between them. Chose the front and back you like best, or try to mediate between them. This will be your final pattern. 11. Cut the pattern out, leaving 5/8in (or whatever you like to use) seam allowance. 12. Put your name, the date and your seam allowance on the pattern. Label back and front and viola! You’re done! The Sleeve 1. Make a “T” with your Sleeve measurement. One line horizontal. One line vertical. 2. Center your wrist measurement at the bottom. 3. Center your Upper arm measurement at the top. 4. Add seam allowance 5. Measure 1 in down and 2 in up from the top of your “T” and draw a curve OR… 6. Better yet, take a piece of string, measure the sleeve hole on your new made pattern and cut to the exact length on string. Then move the string to fit a curve like the one above on your horizontal “T” line. The Chemise Use the same pattern as you did for the kirtle, but cut it on the bias for more stretch and no closures. If you don’t have the fabric to do this, then add 1-3in to the width of the pattern. You may also want a slightly looser sleeve. Modifications: 1. You can shorten the sleeves, simply cut off the sleeve pattern where you want it. 2. You can add gores to make a fuller skirt. I usually add 4 gores; front, back, and sides, for the full “princess effect” 3. You can also make it into more pieces, this makes a more fitted garment and can help when you have narrow fabric width. It also serves to allow you to add more gores. (think princess seams) 4. Adjust the neckline shape. 5. Use buttons instead of laces, you’ve got a cotehardie! TIP: wrap pennies in bits of scrape fabric from your dress for the perfect buttons! 6. Try hand sewing your button holes by pushing a hole through the linen and working your way around, you’ll be surprised how easy it is! (on that note, try to avoid using metal grommets, they were not used on dresses in period) 7. Cut the pattern off at the waist and make a doublet! How you can use your kirtle pattern drawings by Heather Morgan for this class, all right reserved Kirtles in History (in broad sweeping terms, not an end all be all) Kirtles begin to appear in the early 1300s all over Europe. The fashion seems to have started in the north and worked its way south to Italy by 1400. Like all fashions Kirtles are first worn by the upper class only, but work their way down to the lower classes fairly rapidly. 1350-1400: The most commonly seen kirtle style from this time has short sleeves, a wide scoop neckline, no waist seam and closes in the front, usually with laces. Solid colors. (This style of Kirtle stays in fashion up until the 1450s with the lower classes of women.) 1400-1450: Long sleeves become more common. Wide scoop neckline, no waist seam, closes at the front usually with laces. They were mostly of solid color, but can also be found in heraldic styles (such as quartering), cloth of gold, and other patterned fabrics. 1400-1450: the neckline seems to narrow into a closed scoop or a “V” shape, and side closures become more popular. We also start to see the sleeveless kirtles, often with detachable sleeves. So you can “dress up” your look. 1450-1500+: brings the waisted kirtle into vogue. At first, the skirts attached to these kirtles were pieced skirts that were wider at the hem and narrowed into the waist. However, there is a rapid progression to gathered and then pleated skirts. The waisted kirtle is used in many forms, for many styles all the way into the 1650s. Kirtles in Action Front laced, classic Kirtle. Notice the fake sleeves. German style, the yellow kirtle is likely a side laced kirtle with a wide square neckline. The overdress or kampfrau uses the same pattern with a scoop neckline and a closed front lacing or hooks. waisted square neck sleeveless Kirtle, working class . Notice the wide lacing. Two short sleeved working class kirtles. The left is a looser pull over gown, the right kirtle is front laced with a wide scoop neckline. You get a good look at the Chemise here too. Waisted Kirtle Waisted Kirtle with short sleeves and box pleats Split Skirt Wide front lacing and cloth of gold underskirt with metal eyelets Heraldic Kirtles Bi-colored Kirtle. Alternative Pattern theories: The Quick and Dirty Geometric Method-Some people will swear by this method as the “most period” due to its simplicity, and there are some extant examples....but there are extant examples of other styles as well. It is a perfectly wonderful way to make a early period kirtle, it is NOT however form fitting enough to be a bra substitute. In my opinion it's a less flattering method as a result, but great for looser wear-around-the-camp dresses. 1. Fold you fabric lengthwise. 2. Divide your Hip measurement by 4 use that for width of rectangles 3. Cut either 2 large rectangles (leave the fold), OR 4 smaller rectangles (cut on fold)* 4. Cut 4 gores, the height of your waist to floor (W-F) measurement, and width desired. 5. Cut 2 rectangular sleeves the width of your arm-2 +1 in. 6. For long sleeves, make sleeve as long as arm-1 + 1in, and narrow to wrist + 1in 7. Cut 2 diamond shaped gussets 2-4in across. *if you would like a front lacing kirtle, you must cut at lease the front into 2 pieces. Measure and draft Method 1. Patterning the good old fashion way! Instead of draping, take all of your measurement form the first chart and plot them out on graph paper. Continue as before. This method is great if you don't have a buddy. If you measure very carefully, you'll get something very close to the form-fitting Kirtle like you would get from draping. I find that this method doesn't always produce the support that I want, and generally has more wrinkles but they still look nice!
In my review of German renaissance paintings of women, I've seen many upper class ladies with lovely beaded chokers around their necks. I took these chokers first to be jewelry. Later, I noticed that some of these chokers appeared with a fine, translucent material that covered the bare skin between the top of a gown and the neck. Closer looks revealed that these were not so much chokers but...
The steuchlein is quintessential headwear for 16th c. German women of virtually all classes. You see steuchlein on Landsknecht trossfrau, farmer's wives, and burger's wives—in other words, married German women. I am wearing a steuchlein in the image on the right. A steuchlein is composed of four parts: Umbinderlein - linen strip at hairline Unterhauben – linen undercap Wulst – round or ovoid...
The Kirtle Fabric: Silk Weight: Light with a medium weight lining Color: Green Yardage: 4.5 yards So I have a drapped Kirtle partern that I can pretty much make in my sleep at this point. Below is an image from the class I teach on drafting a kirtle pattern, drawn by my friend Heather. The second image from the left is the one I will use to modify my 13th C kirtle pattern to at 15th C German appropriate kirtle pattern. The Kampfrau will also be based on this. Alterations to be made: Square and lower the neckline in front an back. Side lacings instead of front lacings as pictured. I want the front to be a solid peice of fabric too, so I'll have to move my "boob bump" from the inside edge to the outside edge of the pattern. Sleeveless and thin strapped (maybe 1 in)
Pink frocks at Stowe Faire.
The medieval tradition of covering the hair with a haube, a hood, as a sign of marital status continued in Germany during the 16th century. ...
German patricians. Renaissance fashion in 1530. Costumes of the 16th century. Münchener Bilderbogen. On the history of costumes.
When I began my adventure down the rabbit hole to 16th century Germany, the first image that really captured my interest was Dorothea Meyer in her 1515 painting by Hans Holbein. Her intricately pleated hemd (smock/shirt) with the little tufts and tassels was just fascinating to me. I set out then to learn how to pleat linen (what we mundanely call smocking), but it was a long journey. Along the...
Muskateer and Encampment detail German Landsknecht wife, Erhard Shoen 1500-1550, Max 1500-1550, Max Geisberg 1535 […]
Catherine of Saxony, Archduchess of Austria as Salome,1468 Portrait of a Woman of the Hofer Family,c. 1470 Ernest,Elector of Saxony and his wife Elisabeth of Bavaria,c. 1470s Albrecht I,Duke of Saxony and his wife Zdenka of Bohemia,c. 1470s Ulrich der Vielgeliebte and his wives Margarethe of Cleve,Elisabeth von Bayern-Landshut and Margarethe of Savoy,1470-80 Portrait of Ursula Tucher by Michael Wolgemut,1478 Portrait of Kunigunde of Austria,1465-1520 "The Gotha Lovers" by Master Of The Housebook,c. 1480 "The seven women are forced into idolatry" by a Swabian painter,1480-90 Portrait of Kunigunde of Austria,Duchess of Bavaria,c. 1485 Hemma von Gurk wearing the Order of the Swan by Sebald Bopp,c. 1490 Portrait of a married couple by Wolfgang Beurer,c. 1480-1500 Portrait of a married couple,det. Christine of Saxony,Queen of Denmark,c. 1492 Posthumous portrait of Margaret of Mosbach,Countess Palatine,1490s Margaret of Saxony, Duchess of Brunswick-Lüneburg,c. 1495 Portrait of a woman holding a flower by Mair von Landshut,active c. 1485 – 1510 Detail from the Mater Dolorosa altarpiece by Albrecht Dürer,1494-1497 Detail from the Mater Dolorosa altarpiece by Albrecht Dürer,1494-1497 The Ill-Assorted Couple by Albrecht Dürer,c. 1496 "The four witches" by Albrecht Dürer,1497 Detail of praying ladies from a German painting of Mary with the infant Jesus Detail of praying ladies from a German painting of Mary with the infant Jesus,det. Detail of praying ladies from a German painting of Mary with the infant Jesus,det. Albrecht III Burgrave of Neuremberg and his wives Elisabeth of Luxemburg and Beatrix von Zollern,1497 Portrait of a Young Fürleger Albrecht Dürer,c. 1497 Self-Portrait at 26 by Albrecht Dürer,1498 Wedding portrait from Jakob Fugger the rich and his wife Sibylla Artzt by Thomas Burgkmair,1498 Young Couple Threatened by Death or the Promenade by Albrecht Dürer,c. 1498 Portrait of Felicitas Tucher Albrecht Dürer,1499 Portrait of Elisabeth Tucher Albrecht Dürer,c. 1499 Woman fron Nürnberg in a dancing dress by Albrecht Dürer,1500 Barbara Wespach by an unknown Ulm Master, 1500 Woman from Nuremberg dressed for Church by Albrecht Dürer,c. 1500 Ursula Greckin by an unknown Ulm Master,c. 1500 Portrait of a young woman as allegory warning against foolishness and false love attr.to the Master of the portraits of the Princes,1485-1500 Bust of a woman from the workshop of Veit Stoss,c. 1500 Couples dancing in the dance house of Augsburg,1500 Couples dancing in the dance house of Augsburg,1500 Detail from the Bieselbach Altar,c. 1501 Presentation of Christ in the Temple by Hans Holbein,1502 Portrait of the Walther family from Augsburg,1502 Jadwiga Jagiellonka,Duchess of Bavaria by Mair von Landshut,1502 Portrait of Anna Cuspinian by Lucas Cranach the Elder,c. 1502 "Phyllis riding Aristotle" print made by Master MZ,c. 1500-03 Detail of a saint form the Paumgartner altar by Albrecht Dürer,1503 Detail of praying women from the Paumgartner altar by Albrecht Dürer,1503 Piper and Drummer Albrecht Dürer,1503 Design for a Coat of arms with a Skull by Albrecht Dürer,1503 Portrait of Ulrich Schwarz and his family by Hans Holbein the Elder,c.1503 Polyptych of John the Merciful The Miracle at the tomb of the Patriarch by Jan Goraj,1504 Portraits of Claus Stalburg and Margarete von Rhein by the Master of the Stalburg portraits,1504 Detail of the portrait of Margarethe von Rhein Basilica San Paolo by Hans Holbein the Elder,1504 Basilica San Paolo by Hans Holbein the Elder,det. Basilica San Paolo by Hans Holbein the Elder,det. Basilica San Paolo by Hans Holbein the Elder,det. Fortune by the Master MZ,1505 Detail from the altar of Sts. Sigismund and Sebastian by Hans Burgkmair the Elder,1505 St. Catherine altarpiece by Lucas Cranach the Elder,1506 St. Catherine altarpiece,det. St. Catherine altarpiece,det. St. Catherine altarpiece,det. St. Catherine altarpiece,det. Portrait of Sibylla von Freyberg by Bernhard Strigel ,by 1515 The Visitation by the Master MS,1506 Sts. George and Agnes by Hans Baldung,1506 Sketch of Bianca Maria Sforza,Holy Roman Empress Sketch of Bianca Maria Sforza,Holy Roman Empress,died in 1510 Bianca Maria Sforza,Holy Roman Emperess by Bernard Stigel,1507 Sts. Dorothy and Apollonia from the St.Sebastian Altar by Hans Baldung, 1507 Portrait of Hendrik,Count of Mecklenburg by Jacopo de Barbari,1507 Portrait of a woman,16th c. Duke Sigmund of Tyrol with his wife Eleanor of Austria and two unknown females in the Schloss Tratzberg, 1507-08 Bianca Maria Sforza,Holy Roman Emperess by Bernard Stigel,1505-10 Judith and Holofernes by Albrecht Altdorfer,1508 The Adoration of the Magi by Master MS,1506-10 Portrait of Johann Friedrich the Magnanimous by Lucas Cranach the Elder,1509 Portrait of Johann the Steadfast,Elector of Saxony by Lucas Cranach the Elder,1509 Frederick the Wise,Elector of Saxony and a saint from an altarpiece of the Holy Family,1509 Ottilie von Katzenelnbogen and her daughters by Hans Baldung,1509-10 The martyrdom of St. Barbara by Lucas Cranach the Elder,c. 1510 Altar painting from Western Pomerania,c. 1510 Portrait of Casimir,Margrave of Brandenburg-Kulmbach by Hans von Kulmbach,1511 "Lucretia",workshop of Lucas Cranach the Elder "Judgment of Paris" by Lucas Cranach the Elder,c. 1512-14 Lucretia by Lucas Cranach the Elder,1512 Drawings of man in costume from 1512 in the background, a shop with shopkeepers from the Nuremberger Schonbart Martyrdom of St. Katharine by Hans Holbein the Elder, 1512 Group sculpture with a knight,lady and child from Tyrol,c. 1510-15 Katharina von Braunschweig-Lüneburg being presented with a book in a print ascribed to Martin Kaldenbach or Conrad Merckel,1513 Portrait of a Lady by Lucas Cranach,c. 1513 Duke Heinrichs des Frommen and his wife Katharina von Mecklenburg by Lucas Cranach the Elder,1514 Detail of the Crucifiction by Albrecht Altdorfer,1509-16 "Battle of Emperor Maximillian" by Albrecht Altdorfer,1513-15 Sigismund von Dietrichstein by Hans Maler,c. 1515 Detail from Barbara Altar by Jerg Ratgeb in the town church in Schwaigern Three Dancing Couples Led by Two Knights in Room with a Column, c. 1515 Three Couples in a Circle Dance, c. 1515 Joachim I Nestor,Elector of Brandenburg by Lucas Cranach the Elder Portrait of a man by Lucas Cranach the Elder,first half of 16th c. Portrait of a lady by Bernhard Strigel,1465-1528 Saint George killing the dragon by Leonhard Beck, c. 1515 Saint George killing the dragon,det. Dorothea Meyer by Hans Holbein the Younger,1516 The Martyrdom of Saint Sebastian Hans Holbein the Elder, c. 1516 Beheading of St. Dorothea by Hans Krell, 1516 Count Philip by Hans Baldung,1517 Main altar of St. Blasius, Kaufbeuren, Germany,c. 1518 Anna Buchner by Lucas Cranach the Elder,1518 The Vöhlin family prayer by Bernhard Strigel,1519 Codex Durlach prayer book of the Margravine of Brandenburg,1520 Johanna von Berselle by the Meister of Meßkirch,1520 Christ taking leave of his Mother by Albrecht Altdorfer,c. 1520 The judgement of Paris by Niklaus Manuel Deutsch,c. 1520 Miniature portrait of a Lady by circle of Hans Holbein the Younger Kunigunde,Countess of Sonnenberg Portrait of a lady,after Hans Krell Magdalena of Saxony Margravine of Brandenburg by Lucas Cranach the Elder,c. 1520 Portrait of a man by Hans Brosamer,1521 Freco with members of the Welf family in the Stiftskirche St. Johannes in Steingaden Oberried Altarpiece, left interior wing with the "Adoration of the Magi" by Hans Holbein the Younger,1522 The Whore Babylon by Hans Burgkmair,1523 Basel Woman Walking towards the Left, Costume Study by Hans Holbein the Younger, 1523 1524 Basel Woman with Ostrich Feather Hat, Costume Study from the workshop of Hans Holbein the Younger, 1523-26 The von Bubenhofen family by the Master of Meßkirch,before 1523 Portrait of Maria Welzer by Hans Maler,1524 Detail of a carving of the Ten Commandments from Nuremberg,1524 Detail of a carving of the Ten Commandments from Nuremberg,1524 Portrait of Ferdinand I,Holy Roman Emperor by Hans Maler,1524-25 "Young woman and death" by Hans Baldung Ursula Weix by Barthel Beham,c. 1520s Martyrdom of St. Ursula by the Master of the legend of St. Philip,1520-30 Cupid complaining to Venus by Lucas Cranach the Elder,1525 Portrait of a Man by Christoph Amberger,1525 Portrait of a man by a German Augsburg painter,c. 1525 History of Cloelia by Melchior Feselen Duke Wilhelm IV of Bavaria by Hans Schwab von Wertinger Jakobaea of Baden,Duchess of Bavaria by Hans Schwab von Wertinger Sketch portrait of Anna Meyer by Hans Holbein the Younger,1526 The Mayer Madonna by Hans Holbein,1526-28 Ana Meyer,detail from the Mayer Madonna David and Bathsheba by Lucas Cranach the Elder,1526 Sybille of Cleves,Electress Saxony by Lucas Cranach the Elder,1526 Two nobles by Hans Holbein the Younger,c. 1526 Young woman with a red hat by Lucas Cranach the Elder,1525-30 Female Musician by Hans Baldung,Musician,c. 1525-30 Margarethe Rott by Bernhard Strigel,1527 Portrait of Anna Durer,1527 Portrait of a Lady,c. 1528 Anna of Rožmitál by Jacob Seisenegger,1529 Zacharias of Hradce by Jacob Seisenegger , 1529 August of Saxony as a bridegroom,1529 Wolfgang Ronner by Hans Maler,1529 Portrait of Magdalena of Saxony, Electress of Brandenburg by Lucas Cranach the Elder, c. 1529 Susanna of Bavaria,Margravine of Brandenburg-Bayreuth by Peter Gertner,1529-30 Phyllis and Aristotle by Lucas Cranach the Elder,1530 Christine of Saxony, Landgravine of Hesse by Jost von Hoff, c. 1530 Judith at the table of Holofernes by Lucas Cranach the Elder,1531 Sybille of Cleves by Lucas Cranach the Elder,c. 1531 The whore of Babylon by Matthias Gerung,1530-31 St. Barbara by the Master Meßkirch,1531- 32 St. Ursula by the Master Meßkirch,1531- 32 Portrait of Princess Emilia of Saxony by Hans Krell,1532 Dances in the Open Air by Hans Durer,1532 Portrait of a woman by Barthel Bruyn the Elder,1533 Christiana Eulenau by Lucas Cranach the Elder,1534 Dr. Johann Scheiring by Lucas Cranach the Elder,1534 Portrait of Princesses Sybille, Emilia and Sidonia of Saxony by Lucas Cranach the Elder,c. 1535 Sibylle of Saxony,Duchess of Saxe-Lauenbourg,c. 1535 Portrait of a lady in a velvet dress by Peter Gertner Justinian von Holzhausen and Anna von Holzhausen,1536 Katarina Merian by Hans Brosamer,c. 1530s Sybille of Cleves,Electress of Saxony in Coburg dress by Lucas Cranach the Elder Albrecht VII,Duke of Mecklenburg,died 1547 Portrait of Philip I, Landgrave of Hesse by Hans Krell,1534-39 Margareta Eriksdotter Vasa by Master Hillebrandt,16th c. Portrait of a Lady by Barthel Beham,1537 Suzanna of Bavaria, Margravine of Brandebourg-Culmbach by Barthel Beham Portrait of Felicitas Seiler by Christoph Amberger,1537 The Sermon of St. John the Baptist by Lucas Cranach the Elder,1537 Portrait of a Lady with her daughter by Bartholomäus Bruyn the Elder,1530-45 Elisabeth Bellinghausen by Bartholomäus Bruyn the Elder,c. 1530s Portrait of Cleophea Holzhalb by Hans Asper,1538 Kissing Couple by Heinrich Aldegrever, 1538 Dancing couple by Heinrich Aldegrever, 1538 Cimmerian Sibyl by Ludger tom Ring the Elder after Robert Campin, c. 1538 Anne of Cleves by Hans Holbein the Younger,1539 Noli me Tangere by Hans Baldung,1539 Portrait of Margarethe von der Saale,1539 Portrait of a Lady by Lucas Cranach the Younger,1539 Sybille of Cleves,Elertess of Saxony by a follower of Lucas Cranach the Elder Feast of Herod by Lucas Cranach the Elder,1539 Portrait of a mother and her two daughters Maria Jacobäa of Baden,Duchess of Bavaria by Hans Schöpfer,c. 1540 Anne of Cleves by Barthel Bruyn,c. 1540 Portrait of a woman by Hans Mielich,1540 Portrait of a lady by Lucas Cranach the Elder, 1540 Detail from "Hunting near Hartenfels Castle" by Lucas Cranach the Elder,1540 Portrait of a Lady in a green velvet and orange dress and a pearl embroidered black hat by Lucas Cranach the Younger,c. 1541 Anna tom Ring by Ludger tom Ring,1541 Sybille of Cleves by Lucas Cranach the Younger Lady and Death by Sebald Beham,1541 Elisabeth of Austria , Queen of Poland by Monogrammist PF,c. 1540s Anna von Minckwitz by Lucas Cranach the Younger,1543 Maximilian II,Holy Roman Emperor by Jakob Seisenegger,1545 Archduchess Anna of Austria,Duchess of Bavaria by Jakob Seisenegger,1545 Maria and Margaret of Saxony,daughters of John the Steadfast,Elector of Saxony John Ernest,Duke of Saxe-Coburg son of John the Steadfast, Elector of Saxony,as a young boy John Ernest of Saxony,Duke of Saxe-Coburg and his wife Katharina John Frederick I,Elector of Saxony and his wife Sybille of Cleves Detail from the painting "The Fountain of Youth" by Lucas Cranach the Elder,1546 Detail from the painting "The Fountain of Youth" by Lucas Cranach the Elder,1546 Detail from the painting "The Fountain of Youth" by Lucas Cranach the Elder,1546 "The nobles of Deutschland" from the Códice de Trajes,1547 Ursula von Fugger and her husband Joachim von Ortenburg from the Fugger Ehrenbuch by Jorg Breu the Younger ,1545-9 Katherine of Mecklenburg,Duchess of Saxony by Lucas Cranach the Younger,1547 Archduke Ferdinand II of Austria by jakob Seisenegger,1548 Anna of Denmark,Electress of Saxony by Lucas Cranach the Younger,1550 Portrait of a Lady,c. 1550 Barbara Radziwiłl,Queen of Poland,c. 1550 Detail from the Croy tapestry with portraits of the Ducal family of Saxony and Pomerania,1554-56 Detail from the Croy tapestry Portrait of Anna Jagiellonka by a Polish court painter, follower of Lucas Cranach the Younger,1555 Portrait of Katharina Jagiellonka by a Polish court painter, follower of Lucas Cranach the Younger,1555 Archduchess Maria of Austria, Duchess of Jülich - Cleve - Berg by Hans Besser,c. 1555 Detail from "Baptism of Christ" by Lucas Cranach the Younger,1556 Archduchess Anna of Bavaria by Hans Muelich,1556 Detail from the "Allegory of Redemption" by Lucas Cranach the Younger,1557 Gravestone of Countess Kunigunde Hojos,1557 Coronation of Ferdinand I,Holy Roman Emperor in Frankfurt,1558 Sabina of Brandenburg-Ansbach,Electress of Brandenburg,c. 1560 Ermengarde and Walburgis Countesses of Rietberg by Hermann tom Ring,1564 Portrait of a Lady by Lucas Cranach the Younger,1564 Elisabeth of Saxony, Countess Palatine of Simmern by Lucas Cranach the Younger,c. 1564 Jadwiga Jagiellonka of Poland by Hans Krell,1560s Portrait of a woman Anna of Denmark,Duchess of Saxony,c. 1560s Barbara Radziwill by Lucas Cranach the Younger,1565 Miniature of Elisabeth of Habsburg by Lucas Cranach the Younger,1565 Portrait of a woman by Bartholomaus Bruyn the Younger,1560-70 Christine of Hesse,Duchess of Holstein Gottorp,1560-70s Portrait of Mette von Munchhausen by Ludger tom Ring the Younger ,c. 1572 Detail from Christ Blessing, Surrounded by a Donor and His Family by Ludger tom Ring the Younger, c. 1575–80 Christ Blessing, Surrounded by a Donor and His Family,det. Margarethe Elisabeth von Ansbach-Bayreuth by Lucas Cranach the Younger,1579 Portrait of a noblewoman after the manner of Ludger tom Ring,1580s
On the history of costumes. Thirty-eighth arch. XV. and XVI. century. German Citizen in Arms. First third of the 16th century.
When I began my adventure down the rabbit hole to 16th century Germany, the first image that really captured my interest was Dorothea Meyer in her 1515 painting by Hans Holbein. Her intricately pleated hemd (smock/shirt) with the little tufts and tassels was just fascinating to me. I set out then to learn how to pleat linen (what we mundanely call smocking), but it was a long journey. Along the...
