1586 Lauenberger Fuerstengruft: silk velvet and metal embroidered coat

1586 coat of Duke Duke Wilhelm V, silk velvet, heavily embroidered with a variety of gold and silver threads. Found in the Lauenburger crypt and displayed in the Bavarian National Museum in Munich. Tradition has it that Duke Wilhelm wore this coat at his wedding with Duchess Renata of Lorraine.

1586 coat Lauenburg 11 1586 coat Lauenburg 10 1586 coat Lauenburg 01

Please note that photos have been adjusted via increased highlight and brightness. Full set on Flickr:

1501 portraits of Nuremberg Muenzmeister and wife

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.

1501 Muenzmeister and wife 07

Flickr set:

c.1455 Columba Altar details, Rogier van der Weyden (Alte Pinakothek, Munich)

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:

footwear04 footwear03 footwear02 footwear01

Details of fabric (two Kings on centre panel, one priest on right wing):

fabric 01 fabric 02 fabric 03

The complete set of photographs can be found on Flickr.

Museum photos: 1535-40 Passion shrine sculpture (Schnuetgen Museum, Cologne)

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.

Museum photos: 1549 panel of Colonel Wilhelm Froelich (Landesmuseum Zuerich)

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.

Museum info:
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)

Freely available for download: Jutta Zander-Seidel’s book “Textiler Hausrat: Kleidung und Haustextilien in Nürnberg von 1500 – 1650”

zander textiler hausratThis is amazing news for everyone interested in historical 16th century German dress (and later). Jutta Zander-Seidel’s book Textiler Hausrat: Kleidung und Haustextilien in Nürnberg von 1500-1650, which was impossible to get hold of (believe me, I tried) was digitised by the Universitäts Bibliothek Heidelberg in June and uploaded to their ART-Dok server (Digital Repository Art History).

It is freely available for PDF download in two parts:

PDF, German (Teil 1 (bis Seite 251)) Download (93Mb) | Lizenz: Creative Commons LizenzvertragCreative Commons Attribution-NoDerivs 3.0 Deutschland

PDF, German (Teil 1 (ab Seite 252)) Download (70Mb) | Lizenz: Creative Commons LizenzvertragCreative Commons Attribution-NoDerivs 3.0 Deutschland

This is not the only publication to download. They have 21 by Jutta Zander-Seidel: http://archiv.ub.uni-heidelberg.de/artdok/view/schriftenreihen/sr-44.html

Take a look at their list in the ‘Decorative Arts‘ for example, or at the list of ‘Nürnberg, Germanisches Nationalmuseum‘.

Museum Photos: late 16th and early 17th c. textile armour (Warwick Castle)

Photos taken in May 2001 in Warwick Castle.

Dress Reconstruction Visual Workshop: 1530s German Renaissance

My research aims to reconstruct historic Dress at a specific time-location-point, to create an artefact that no longer exists (the recreated artefact/object). To summarise the approach I am taking: the process of reconstruction of this artefact will be object-driven (see Material Culture), and the reconstructed object – the experience of it / discourse with it – will be explored in an object-centred approach. The reconstruction of the object i.e. the re-creation of the historic Dress will be a means to conduct the research, not a research outcome in itself.

I am in the early stages of research into the recreation of Object A, which is not determined through publication or manuscript dates (more on this approach at a later date). It must, however, reflect the description in the Six Swans fairy tale. For an explanation of the role of the Brothers Grimm’s fairy tale, see the page Research background: fairy tales.

The first edition from 1812 (Volume 1) of Die Kinder- und Hausmärchen – Handexemplar states on p.223:

Die sechs Schwäne

“…, weil es ihnen nun nicht antworten durfte, wollte es sie mit Geschenken befriedigen, und warf ihnen seine goldene Halskette herab. Sie riefen aber noch immer, da warf es seinen Gürtel, als auch dies nichts half seine Strumpfbänder endlich, alles, was es entbehren konnte, herunter, so daß es nichts mehr als sein Hemdlein anbehielt.”

The six Swans

… since she was not allowed to answer, she decided to appease them with gifts and threw down her golden necklace. But they still called out, thus she threw her belt, and as this did not help either, her garters. Finally, she had thrown down everything she could go without, so that she wore nothing but her shift.
(my own literal – not literary – translation)

I will leave this passage standing as it is for now, as an aid to reflect on the visual (art) sources from 4 distinctive German regions in the 1530s (leeway +/- 5 years):

  • Lower Rhenish-Westphalia, Cologne, artist Barthel Bruyn the Elder
  • Hesse, Frankfurt, artist Conrad Faber von Kreuznach
  • Bavaria, Nuremberg & Munich, artist Barthel Beham
  • Saxony, Dresden, artist Lucas Cranach the Elder

4 very distinctive styles – but do they realistically depict ‘fashion’ or a combination thereof with artist’s idiosyncratic style, artistic period convention, allegory demands, etc. This will be part of my research. As for now, I would like to share the comparisons with you, I personally find visuals of this type most helpful.

Comparison-tables with images behind the cut