Photos taken in December 2015 in the Bavarian National Museum, Munich.
This is an interesting example of what many call the ‘Hausbuch’ dress and shows the transition period well.
c. 1455 Altar triptych by Rogier van der Weyden (1399-1464)
The altar triptych got its name from its place of origin, the church of St Columba in Cologne. The central panel shows the Adoration of the Magi, the left wing depicts the Annunciation, and the right wing the Presentation in the Temple.
Details of footwear:
Details of fabric (two Kings on centre panel, one priest on right wing):
The complete set of photographs can be found on Flickr.
It is rare to find three-dimensional depictions of clothing, but with this wood-sculpted shrine from 1535-40 (Lower Rhine area) we have access to a variety of angles and views of dress of the period. Depicted is the Passion of Christ, with protagonists dressed in high fashion.
I am planning to return to the Museum Schnuetgen, which is truly a treasure trove for late medieval textiles, plus so much more, and when I do I will make sure my camera’s battery does not run out midway through. As it was, the photos were taken by my usual camera and also by my phone. Fortunately the quality of the latter was better than I had feared.
Enjoy the top, back, front, side, upwards and downwards views of sculpted dress-details.
Goodness, where did the last two months and a bit go? In a work-mad blur of the new academic year! Anyway, here are some close-up photos of the Swiss Colonel Wilhelm Froelich, who ignored Zwingli’s Reisläufer ban and went to war for the French side. This meant that he lost his status as a Zürich citizen, but in 1556 he was ennobled by the French king.
Tafelgemälde. Herrenporträt Wilhelm Frölich. Ganzfiguriges Bildnis mit Wappen und Oberwappen der Familie Frölich. Maler Hans Asper. Öl auf Holz, Tempera;; Rahmen: Holz. Datiert 1549. Masse: Höhe 213 cm, Breite 111 cm. (LM-8622)
1660-80 pink silk stays, Victoria & Albert museum. Photos taken in April 2003.
Place of origin: Holland (possibly, made)
Date: 1660-1680 (made)
Materials and Techniques: Watered silk, silk ribbon, linen, baleen, silk thread, hand sewn, hand embroidered
Museum number: T.14&A-1951
Reliquary bust with Kruseler veil, around 1350. Cologne, walnut wood.
Photos taken on 18th April 2003 in the Victoria & Albert Museum, London. Wedding suit:
Master of the Lyversberg Passion (active in Cologne, c. 1450 – c. 1490): Two wings of a Passion Altar (Lyversberg Passion), c. 1464–1466. Oak, 92 x 67 cm (each scene). Acquired in 1864 with funds from the Richartz-Fonds. WRM 0143 – 0150.
The altar panels are in the Wallraf-Richartz museum, Cologne, Germany. Further information: http://www.wallraf.museum/en/collections/middle-ages/floorplan/gallery-7/
The photos below in this post are from the bottom left panel of the left wing of the Lyversberg Passion altar, taken by myself on 18th August 2015. The figures below are secular ones in a religious altar piece.
Detail of spiral-laced calf opening to fit clothes skintight, and seam line at back of leg.
Construction details of seam placement in doublet A, and buttoned side closure in B.
Pin fastening on woman’s head veil.
Construction detail of man’s doublet C. Triangulate this secondary visual source with the primary source of the 14th century pourpoint of Charles de Blois, and the similarity of sleeve/shoulder seam placements becomes evident despite the fact the pourpoint dates from the 4th quarter of the 14th century, thus 100 years prior.
Photos of pourpoint from Joconde: Portail des collections des musées de France.
Doublet D appears to be velvet, cut and laid in two directions.