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GOTHIC 1200-1450���
Early Gothic- 1200-1350 Late Gothic 1350-1450
From Tudor Pattern Book, 1520
Gothic Revival (“Romantic”)
Mid 19th century
Goth Last 20 yrs
Gothic 1200-1450
Don’t be fooled!!!
Influential People • St Louis V11, V11, X1 • Eleanor of Aquitane. • King John (weak King). • Henry 1V, V, V1. • Charles V, V1, V11. • Jeanne d'Arc (martyred 1431). • The de Medici family. • Popes: Innocent III, Gregory IX, Clement V. • 1375- Robin Hood appears in literature.
Eleanor of Aquitaine
Events • 1214 Dominican and Franciscan orders
established. • 1215—Magna Carta (citizen’s rights)
established. • 1227—The Inquisition (Pope Gregory
IX). • Crusades continue until 1291. • 1260-1295—Marco Polo voyages to
China. • 1334-1354--”Black Death” plague kills
nearly 75% of the population of Europe and Asia.
Saint Sebastian Interceding for the Plague Stricken
Josse Lieferinxe, p. 1497-99 Walters Art Muesum
The Three Living and the Three Dead Psalter of Robert de Lisle, c. 1310
Philosophy
• Nature and Magic still common notions.
• Clergy extraordinarily powerful.
• CHIVALRY- Romantic Notions - “Courtly Love”.
• Very simple and devout existence at beginning of period. As time progresses, a move toward "humanism" develops which makes way for the Renaissance (Rebirth) of the next period.
• People at this time believed that the soul and spirit were good, but the body was evil, which tremendously influenced clothing.
Most Representative Statement of Period
The Middles Ages
The Medieval Period
Eleanor of Aquitaine on wall of Sainte Radegonde chapel Eleanor and Louis VII
Discoveries/ Inventions���
• First bible in English • 1287-First eyeglass (only one) • 1337 first scientific weather
forecasts • Heraldry • Guilds are established • Tailors become common • First attempts at standardization
of mercantile goods
Le Jeu de la Hache, c. 1400
Everyday Life/ Society • The Feudal system continues, which
causes class distinction. Royalty and wealthy land owners are powerful, as are religious figures.
• The “Middle Class” emerges.
• Life expectancy under 30 yrs.
• Traveling troubadours -- spread news. Codex Manesse, c. 1305-1315
256v: Hartmann von Starkenberg
Visual Style Architecture
• Cathedrals • The Gothic Arch • Castles - had “Great Halls” where everything happened.
Motifs • Religion • Everyday life
Furniture/ Interiors • Tapestries on walls and tables
Chartres Cathedral Interior Chartres, France
National Museum of the Middle Ages Paris, France
Palau de la Generalitat Barcelona, Spain
Palau Real Gothic Stained Glass Window Barcelona, Spain
Santa Maria del Mar Church Barcelona, Spain
Art Style or Movement
• Extremely elongated style • The "Gothic Arch” also appeared in artwork • Paintings told “backstories” Artists
• Giotto (early) • Fra Angelico • Piero della Francesca • Jan Van Eyck • Pisanello (The “Father of Costume Design”)
The Marriage of Renaud of Montauban and Clarisse By Loyset Liedet
Pisanello Court Costumes
PRIMARY SOURCES • Illuminated manuscripts • Monumental Brasses • Stained glass • Statuary • Frescoes • Tapestries • Psalters (psalm books) • Books of Hours (Les Tres Riches Heures et Les Petites
Heures de Duc de Berry)
Virgin and Child With Saints Detail Gerard David, 1509
Tres Riches Hueres du Duc de Barry Limbourg Brothers
The Lady and the Unicorn Tapestries Musee de Cluny, Paris c.a. 15th Century C.E.
The Offering of the Heart 1410
Musee de Cluny, Paris
The Unicorn in Captivity (from the Unicorn Tapestries) The Cloisters Museum
MMA 1495-1505
Alphabet based on human forms From Tudor Pattern Book, 1520
Parchment Manuscript From Lives of the Philosophers
By Diogenes Laertis c.a. 1450 C.E.
Parchment Manuscript From Bestiary c.a. 1225-1250 C.E.
AESTHETICS • The general aesthetic feeling in the period was
a logical progression from the Romanesque. • The elongated quality in combination with the
gothic arch personified the look. This elongation grew--particularly in regard to clothing--more exaggerated as the period progressed. It manifested in a “trailing elegance”. You may note the “bend” in some of the figure poses.
The next phases for the tunic……. • Fit it in with DARTS, rename it: COTE-HARDIE • Keep lacing it, but more for show than for fit • Add a low waist • And flare it out with a circle or Godet • Make it extra long (or extra short as in men’s skirts) • Parti-colour it • Dag it Women also:
* Cut the layers WAY away * Give it two “waists”
Fit it in with DARTS, re-name it: COTE-HARDIE (Keep lacing it, but more for show than for fit)
Cote-Hardie
Dart
Detail Les Vendages, le Fouloir Tapestry
Detail St. Eligius “A Goldsmith in His Shop”
Detail The Mocking of Christ
Amico Aspertini, Portrait of a Lady 1500
Lacing as decorative element
Pisanello
Tight fitting through darts
xxx
Pourpoint de Charles de Blois c 1340-60
Musee des Tissus, Lyon
Edward 1 of England
Board of British Library
Add a low waist
And flare it out with a circle or Godet
*GODET *
*
Make it extra long: Sleeves & Women’s skirts Or short: as in Men’s skirts)
Shorten the “skirt”
Pair it with crazy striped hosen
The Arundel Tomb 1313
Parti-colour it
The popularity of heraldry and the coat of arms became evident on clothing as���
���PARTI-COLOURING���
���became a dominant decorative feature.
Album of Tournaments and Parades in Nuremberg Late 16th-mid 17th century Metropolitan Museum of Art
Arms of Stamford, Lincolnshire Town Council
Calvert coat of arms: Lord Baltimore The Parti-Colouring is used in Maryland’s flag
University of Maryland 2011 Football Uniforms
Coat of Arms At the Alcazar of Seville
Tournament Knight Sheild
Renaud de Montauban and Charlemagne 742-814 By Loyset Liedet
The Challengers Facsimile printed in Munich, 1817
By Friedrich Schlichtegroll
Italian street musicians from a fresco in Assisi
Black & Garland
Guidoriccio da Fogliana Painted by Simone Martini
Elenco Fotocolors Black & Garland
A show of blazoned helmets of knights.
Conrad Grunenberg Roll of Arms. 1483
Flemish gothic allegorical narrative tapestry panel
(Detail) c. early 16th Century
A Falconer with Two Ladies and a Foot Soldier (Detail)
c. 1500. France or Flanders
Presentation of Flags and Helms Barthelemy d’ Eyck c.1460
The Codex Manesse and the Discovery of Love
Servant Supper in the House of the
Pharisee Giotto
The Romance of Alexander Bodleian Library
Bedchamber showing parti-colouring and dagging
Les Arts Decoratifs, Musee du Louvre
Codex Manesse Johannes Hadlaub 1305-1315
Detail from “The Romance of Alexander” Tapestry 13th century
The Bodleian Library
Dag it!
DAGGING: ���Dagged Edges��� ���Echoing the architecture and ���furniture styles, these cut-out ���shapes were prominent on ���clothing edges. ������Some common shapes were: ���
Castellations��� Foliations��� Scallops
Replica of dagger
Les très riches heures du Duc de Berry c. 1416
Illumination on vellum Musée Condé, Chantilly
The Devils Cast Out of Arrezo Giotto
The Alhambra Granada,
Spain
The Seige of Acre Dominique Papety, c. 1840
The Alhambra Granada, Spain
DETAIL, Otto, Count of Nassau and His Wife Adelheid van Vianen, 1530–35���
Bernaert van Orley
Dagging
Otto, Count of Nassau and His Wife Adelheid van Vianen, 1530–35���Bernaert van Orley
Pieter Bruegel���The Adoration of the Kings���1564, The National Gallery, London
The Tacunium Sanitas of Paris, late 14th century
Fountain of Youth
Jacguerio, La Manta, Turin, Scala
These figures are from an allegorical fresco in Northern Italy
Black & Garland
Detail from The Conversation of St. Paul By Pieter Bruegel c. 1567 Kunsthistorisches Museum, Vienna
Ink drawing, Staatliche Museen, Berlin
The Cloisters
Knight Modena Archaeological Museum
Detail Saint Lawrence receives the treasures of the Church
By Fra Angelico, c. 1447
GOTHIC CLOTHING STYLE • Basic tunic forms continue from previous period, but fabrics, decor, layering accessories, etc. become
increasingly elaborate as the period progresses. As the desire for elongation begins to affect clothing, edges of garments seem to grow, particularly hemlines and sleeve hems. It was very common to have to carry ones garment folds in ones hands to be able to move from place to place, and hanging sleeves often had to be tied up to keep from dragging on the ground.
• Some form of next-to-the-body tunic is still worn, whether it is in sherte/chemise form or is the layer worn closest to the body.
• The body is still covered, and some form of gartered hosen are still worn by both men and women. Gartering often comes from strips of fabric tied around. At the height of PARTI-COLOURING, it was popular for legs to be different colors and patterns worn at odds.
• Sleeves begin to be tied in as a decorative element. Sleeve edges and armhole edges have small holes and sleeves are actually tied in or on with various forms of string with decorative edges known as points. Evidence of the sherte or chemise at the tie point was considered attractive. Sleeves could be worn in combination, and did not necessarily have to match with the COTE-HARDIE or gown.
GOTHIC CLOTHING TYPES���Men
• COTE-HARDIE - FIRST FITTED GARMENT-- the next progression of the T-shaped tunic, (also the cote and surcote) and the distinguishing feature is that through the use of triangular shaped tucks in the fabric called DARTS, there is an attempt to have some body contour. The garment is worn in a variety of lengths, depending on age and status and is still worn in layers.
• The BATEAU or boat neckline is the most popular, and the edge of the chemise can sometimes be seen out of the neck edge. Sleeve layering is common, and since sleeves are beginning to be tied in, this can get fairly elaborate. Additionally, sleeve shapes are becoming exaggerated and elongated, and sometimes drag the floor and have to be tied up. The part of a sleeve that hangs down is called the TIPPET. Sleeve variety provided much of the look. Hanging sleeves were common as well as BAGPIPE or BELLOWS. One still sees the exaggerated armhole, which is still known as the OPEN-SIDED SURCOTE. Some tunics begin to feature a waistline seam and elaborate lacing and layering.
• Armor followed the same lines as fashion and went from chain mail to hardened metal. This was done be incorporating pieces or plates into the chain mail and as technology progressed, more and more sections became hardened, shaped metal. The hardened metal necessitated the need for articulations which were graduated, bolted sections which would allow movement more readily than a solid surface.
T-Shaped Tunic Cote-Hardie
Dart
Philip the Good, Duke of Burgundy Rogier van der Weyden, 1400-1464
Tailors had not become sophisticated enough in cutting to achieve hosen that could cover the crotch area, so hosen came up the leg but left a triangular shaped void at the crotch. This space began to be filled with a triangle of
cloth, which was tied in, called a ������
CODPIECE. ��� ���
These began to be of alternate colors and the tie-ing became quite decorative. Eventually these became stuffed,
ornamented and quite focal, but the true exaggeration comes in the next period.���
���
Pieter Bruegel���The Harvesters���
1565 ������
MMA ���New York
���Land Of Milk And Honey���
Breughel, 1567���Alte PinakothekMunchen (Munich), Germany ���
���The Peasant Wedding���
Pieter Breueghel the elder���
���St Eustace from the Paumgartner Altar���Albrecht Dürer, c. 1503���
Alte Pinakothek, Munich���
Detail Saint George and the Princess and sketch c. 1436-38
Pisanello
Pieter Bruegel--Peasant wedding���c. 1568 ���
Kunsthistorisches Museum, Vienna
The Wedding Dance���c. 1566 by Pieter Bruegel
The Mocking of Christ���c. 1503 by Matthias Grünewald
The Blind Leading the Blind c. 1568
Pieter Bruegel
Detail from “Les Vendages, le Fouloir” Tapestry 13th century
Musee Cluny
RE-Drawing Il Costume di tutti popoli, vol V!!, Europa,plate 125
From Men’s Coats, Buzzaccarini
Tarot Card c.1432
Arrival of the English Ambassadors (Detail) By Vittore Carpaccio, c.a. 1496
Venice, Galleria dell’ Accademia
HAIR and MAKEUP HAIR
• Men wore longer hair MAKEUP
• Makeup was not commonly worn and the facial aesthetic of the period was extremely plain. No eyebrows, no eyelashes, and an extremely high forehead were considered beautiful, and both men and women would pluck these areas to achieve the desired look.
HATS and HEADDRESSES���MEN
• HOODS and COIFS continued to be worn in various forms *Armour styles followed the shape of fashion hat styles, the early chainmail ones were hood/coif-like, while the later ones were hardened metal versions of hats.
Detail Knight Modena Archaeological Museum
Portrait of Petrarch By Altichiero da Zevio
c. 1379, from “De Viris Illustribus” Portrait of Dante Alighieri
By Italian Miniaturist, c.a. 1436
The sarcophagus of a professor who dies in 1383 features a relief of a
Bologna University Lesson. Life Magazine
Tapestry weavers, Padua ca 1400
Portal Sculpture, c.a. 1280-1300 Strasbourg Cathedral, Strasbourg, France
Arthurian chivalric cycle detail By Pisanello
CHAPERON major head covering, began as simple hood shape, then became more shaped to the head, then began to develop a tail-like extension known as a LIRIPIPE (University hoods developed from here).
The liripipe could be coiled around (turban-like) to form the “wrapped” chaperon. These became oversized and excessively wrapped as the style progressed and the liripipe could have dagged edges.
Antonio Pisani Pisanello ���The Vision of Saint Eustace, ���
circa 1438-42 ���(Egg Tempera on Wood) ���
���National Gallery, London
Jan van Eyck - Man in a Blue Turban 1430-1433, oil on wood
Art Museum, Bucharest, Romania (Sibiu, National
Brukenthal Museum)
Portrait of a Young Man By Masaccio, 1425
National Gallery of Art
Portrait of man in a turban By Jan van Eyck, 1433
Louis II of Anjou Titular king of Naples
Portrait of Jan van Eyck By Dominicus Lampsonius
Details from The Conversation of St. Paul By Pieter Bruegel c.a. 1567
Kunsthistorisches Museum, Vienna
RONDELL
Doughnut shaped stuffed hat could have fabric piece in the "hole" or could be bare
head. These also got quite exaggerated and decorated as the period progressed, and
could also have a liripipe and be wrapped
Detail Courtiers in A Rose Garden Tapestry 1450-1455
A Jewish Wedding ���Illustration from a manuscript
Jacob ben Essen, Vatican Library, Rome
ACCESSORIES • Shoes- both men and women wore a style of soft cloth or
leather shoes known as POULAINES or CRACKOWS. These start out as modestly pointed, but ultimately by the end of the period are very elongated, so much so that some dandified persons have to tie their shoe points to their knees. Also as the gowns become longer in length, a PATTEN / Chopin is developed which is like a platform sandal to keep ones feet, and hopefully, hem off the ground.
Detail The Arnolfini Portrait
15th Century “poulaines”
Altar piece for the Shoemaker’s Guild of Barcelona Arnau Bassa
1346
Detail from The Marriage of Renaud of Montauban and Clarisse By Loyset Liedet
Detao; Philip the Good, Duke of Burgundy Rogier van der Weyden, 1400-1464
Archivo Mondadori
http://yoshdance.blogspot.com/2008_11_01_archive.html
Detail from The Marriage of Renaud of Montauban and Clarisse
kuhlcat.hubpages.com www.wornthrough.com
Detail of Gothic Armour c.a. 1900
Poulaine Clipart Etc.usf.edu/clipart
15th Century Poulaines Museum of London
xxx
Spotted in a storefront on the Champs Elysees, Paris Spring 2004
Spotted on the plaza in front of the Cathedral in Chihuahua
City, CH, Mexico Spring 2006
Current popular style in Mexico
Dance crew From Buenavista
Dance crew From Matehuala
Dance crew www.chuntaritos.com
GOTHIC CLOTHING TYPES���Women
• COTE / SURCOTE- The basic T-shaped tunic exists for women , but the darting, layering, lacing, and parti-colouring, etc, elements are carried over. Within this, a tremendous amount of variety exists.
• The OPEN-SIDED SURCOTE is very popular, and these armholes often reach all the way to the hip. Also it is quite common to belt or girdle these gothic gowns at the hip area.
• Toward the end of the period, a second belt might be added to the underbust area, so that for a time, there were 2 “waists”. Ultimately, the hip area girdle disappeared, leaving only the high waist leading into the next period.
More things to do to a tunic…. • Cut the layers WAY AWAY….
• Make it really full at the bottom
• Make the hem and sleeves REALLY LONG
• Give it TWO waists – (sometimes separately, sometimes together…)
More things to do to a tunic….
• Cut the layers WAY AWAY….
xxx
Re-Drawing from Hill & Bucknell
From an Italian breviary c.a. 1380
The National Library of France, Paris
Detail Marienkrönung���Fra Angelico, c. 1434���
Louvre, Paris
Image 1 above, from Belles Heures de Duc du Berry, 1408-09 Image 2 Speculum Historiale, 1463 Image 3, From Tristan de Léonoi, first quarter of the 15th century (Pinterest)
More things to do to a tunic….
• Make it really full at the bottom
Slits for Godet
GODET
Drawing showing added bottom width Through insertion of godet
Cheerleader skirts with contrasting Godet McCall’s 2006
Modern skirt with Godet at Center Back
http://www.theweebsite.com/sewing/sewing/godet.html
More things to do to a tunic….
• Make the hem and sleeves REALLY LONG
L: The Marriage of Giovanni Arnolfini���
(double-portrait—check out the mirror)���
Jan Van Eyck���1434������
National Gallery���London
Detail from The Lady and the Unicorn Tapestries
The Birth of the Virgin ���Fra Carnevale (MMA,New York) ���
Les Très Riches Heures du duc de Berry The illustration for April
c.a. 1416, Musée Condé, Chantilly, Fr.
Love and Not
Detail from “The Romance of Alexander” Tapestry 13th century, The Bodleian Library
The Death of St Clare���1410���
National Gallery of Art, Washington
Kalvarienberg der Gerber Brugger Meister
1400
Detail from “The Romance of Alexander” Tapestry ���
���13th century, The Bodleian Library
Hortus Deliciarum
More things to do to a tunic…. Give it TWO waists
– (sometimes separately, – sometimes together…
Film costume design Lady Edith
King Richard and the Crusaders c. 1954
The Month of April Detail from “The Allegory of the
Constellations” Hall of the Palazzo Comunale, Padua
Black & Garland
Escultaras de Chartres
Santa Barbara���Tilman Riemenschneider
Joan de la Tour (left), weeper from the tomb of Edward the III, c 1377-86
Effigy of Catherine Beauchamp, Countess of Warwick, c 1370-1375,
St Mary's Church.
A milk maid from late 14th century London, England, cast in
pewter
Hose and hood shop
Eleynore Corp, granddaughter of J. Corp
1361 or 1391
Courtiers in A Rose Garden Tapestry 1450-1455
***
Marriage of Margaret of Britain and Francis II c.a. Late 15th century
HAIR and MAKEUP HAIR
• Men and Women both wear longer hair, but women began to braid, coil and coif quite extensively. Women sometimes braided their hair at the sides and coiled gold threads around in a decorative fashion. This is known as a RETICULATED HEADDRESS. Hair was also fashioned to echo the silhouette of the popular hat styles.
MAKEUP • Makeup was not commonly worn and the facial
aesthetic of the period was extremely plain. No eyebrows, no eyelashes, and an extremely high forehead were considered beautiful, and both men and women would pluck these areas to achieve the desired look.
http:
p/
Unknown Artist Florentine School Portrait 1460-70 Fra Filippo Lippi c 1406–1469) Portrait of a Woman
HATS and HEADDRESSES���WOMEN
MISC head-banding, and hair-wrapping
RETICULATED HEADDRESS Wires or coils around “buns” or braids worn in back or on the sides
http:
p/
Portrait of a Princess of the House of Este
Pisanello 1436-38
Musee du Louvre
St George & the Princess of Trebizond Pisanello 1436-38
Pelligrini Chapel, Verona
Detail of St. George & the Princess
of Trebizond
Detail of Lady with an Ermine Leonardo da Vinci c.a. 1489-1490
Czartoryski Museum, Crackow Fra Angelico
Bust of Marie de France Jean de Liège, c.a. 1381
A metal Snood
The Psalter of Mary de Bohun and Henry Bolingbroke John de Teye, c. 1380-85
http://maldr.livejournal.com/77520.html
The Palace of Justice in Poitiers
http://www.lizachristi.gr/gallery.php
Women wore close fitting body covering combinations which could encompass one or more of the following three:
Gorget (covers neck and partially shoulders) • Wimple (covers face and partially neck)
• Veil (covers head)
(Nuns head-wear derived from here)
A Woman By Robert Campin, c.a. 1435
Detail Meister Heinrich Frauenlob
From the Codex Manesse
http://www.gluckliche-eme.com/13chairandhats.htm
Giotto
The Descent from the Cross detail By Roger van der Weyden
c.a. 1435-1438
Rogier van der Weyden detail
Shrine of St. Elisabeth c. 1235, Elisabeth Church, Marburg, Germany
St. Elisabeth c. 1235, Elisabeth Church
Detail Life and Miracles of the
Virgin By Gautier de Coincy, c.a.
1260-1270
Detail: The Murthly Hours National Library of Scotland
c.a. 1260-1280
• Regular (single horn) Hennin
• Two-horned
• Truncated
• Butterfly
HENNIN ���There were 4 major types of hennin that became more
exaggerated as the period progressed.���
4 Gothic Hennin Silhouettes
Basic
Two-horned
Truncated Butterfly
Single-horned
Detail from The Marriage of Renaud of Montauban and Clarisse By Loyset Liedet
Detail of Meister des Jouvenel des Ursins By Barthélémy d'Eyck c.a.. 1460
Detail of miniture of the marriage between Edward II and Isabella
c.a. 1475
Detail of Christ Discovered in the Temple By Hans Holbein, c.a. 1500-1501
Detail from The Donne Triptych By Hans Memling, c.a. 1478
Detail from The Donne Triptych By Hans Memling, c.a. 1478
Maria Maddalena Portinari By Hans Memling, c.a. 1470 Metropolitan Museum of Art
Portrait of Barbara van Vlaendenbergh By Hans Memling, c.a. 1480
Portrait of a Lady Rogier van der Weyden, c.a. 1460 Portrait of a Woman
Rogier van der Weyden, c.a. 1464
Above: “Joueurs d’echecs” (failure of players) stained glass, Villefranche-sur-Saône, hotel
from Bessée, 1430-1440, Musee Cluny Her headdress is referred to as “horns out of
split bread”
Detail; Boccaccio, Decameron c.a. 15th Century Paris, Arsenal, manuscript 5070
Portrait of Margareta van Eyck By Jan van Eyck, c.a. 1439
Christine de Pizan Presenting her Book c.a. 1410-1411
The British Library
Detail Devonshire Hunting Tapestry Netherlands, 15th Century
Victoria and Albert Museum
Unknown Artist Florentine School Portrait 1475
OUTERWEAR HOUPPELANDE
• worn by both men and women, this was worn as an outer garment or sometimes by itself. It is voluminous and generally closed down the front. It could have a standing collar and generally had very large, full, and long sleeves. It was often belted or girdled fairly high on the waist and is very often seen with dagged edges. It generally took 13-16 yards of fabric to make one.
• This was mostly a full length garment, but shorter ones did exist and one shorter variety had slits at the sides to accommodate horseback riding and was known as a riding houppelande.
PELICON • an outer garment that is somewhat circular and capelike, but is generally closed across
the front and back with the openings at the side. These could vary from knee to floor length. It was often fur lined
• Capes and cloaks continued to be worn as outer wear and could be rectangular or circular.
Master of life Utrechtse Marie (Courtly Society)
Women’s costumes, drawing Early 15th century
Louvre, Paris
20th century movies The Lion in The Winter (1968)
Robin and Marian (1976)
Robin Hood (1973)
Robin Hood (2010)
Smallville
Robin Hood (2010) The Adventures of Robin Hood (1938)
Monty Python and the Holy Grail
Star Wars
20th century movies
Excalibur (1981)
Shrek 2 (2004)
A Knights Tale
Tristan and Isolde
Princess Bride
Robin Hood: Prince of Thieves (1991)
Additional Visual References
A Nobleman Greeting a Lady with his Servants c.a. 1420 , Musée de Cluny The Birth of Mary
c.a. 1470, Alte Pinakothek, Munich
18th century statues in Jardin du Luxembourg, Paris, of the Queens of France indicate examples of draping and fullness.
18th century statues in Jardin du Luxembourg, Paris, of the Queens of France indicate
examples of draping and fullness.
18th century statues in Jardin du Luxembourg, Paris, of the Queens of France indicate
examples of draping and fullness.
St. Barbara By Jan van Eyck, c.a. 1437
Female Saints, standing in a landscape By Hugo van der Goes
The Virgin of Chancellor Rolin By Jan van Eyck c.a. 1435
Musée du Louvre, Paris
The Madonna of Canon van der Paele By Jan van Eyck, c.a. 1436
The Crucifixion, The Last Judgment By Jan van Eyck, c.a. 1426
Metropolitan Museum of Art, New York
St. Eligius “A Goldsmith in His Shop” By Petrus Christus, c.a. 1449 Metropolitan Museum of Art
HERALDRY���Supplementary Information
• During the Gothic period, chivalry was a major form of behavior for the upper class. Knights defended honor by battle and out of this came "heraldry" as a way for knights to be identified because the face and body were covered. They developed a symbol or device by which they could be identified and it was incorporated onto the shield, armor and flags, etc. These encompassed the knight or family's colors and the subject they wished to be identified with, often animals or objects from nature. This concept went from military to civilian wear eventually. These colors and symbols became known as the coat-of-arms and families began to use them for all sorts of identification. The family servants and court jester even began to wear this (which is the origin of the traditional jester ensemble.) Heraldry continues to be used for official functions. The College of Arms and The Order of the Garter were official bodies formed in the period to recognize and establish heraldic traditions. These organizations are still with us and the 13 members are appointed by Parliament. Their motto is: "honi soit qui mal y pense"(which translates "cursed be he who thinks evil of it") This is embroidered into the official garter.
• The first coats had two colors, and divided the shield in half. As the next generation became involved, the colors got more complex, and the shield had to be divided into fourths. The multiplicity of color gave way to the practice of parti-colouring, based on the specifics of the coat-of-arms.
(Heraldry continued) • The shield is the actual base for the coat-of-arms. The heater is the shape, the top is called the
chief, the bottom , the base, the left side, the dexter, and the right, the sinister. The actual symbol on the shield is called the device. The field, which is the surface of the shield is divided by lines into partitions (parti-)The tinctures or colors are added and then the device. A barry is a bar which divides the shield horizontally, and a bend divides it diagonally from left to right. (a sinister bend divides it from right to left and indicated a bastard) An animal used on the device could be walking on all fours which was passant, or standing on hind legs which was rampant. The subject chosen for the device could be a play on words or have some significant meaning to the family. Each son could add his own personal adaptations,called differencing, so the family history represented on one shield could be quite extensive. Any study of heraldry materials available reveals astonishing amounts of technical terms, specific requirements and variety.
Jewelry
Gold lozenge-shaped brooch set with spinels and
sapphires, of north-west European origin, 14th of
15th century AD.
Tait, Hugh. Jewelry 7000 Years
English medieval stirrup-shaped ring set with a
sapphire from Wittersham, Kent, c. 1200
AD.
Tait, Hugh. Jewelry 7000 Years
Star-shaped brooch set with pearls and
precious stones, northern Italian, mid 14th century. Museo
Civico, Verona. .
Gregorietti, Guido. Jewelry Through the
Ages
Gold and enamel pendant decorated with ivy leaves, France, 14th century. Museo Civico, Cividale del Friuli.
Gregorietti, Guido. Jewelry Through the Ages
A large brooch with gold foliage, sapphires and rubies
13th century.
Phillips, Clare. Jewelry: From Antiquity to the
Present