1400sPosted by Sara Mon, October 22, 2012 18:12:43
They come in red and black and have a long tail...
Picture: Bible historiale by Guiard des Moulins
Detail from Dancing Peasants 1470
Detail from Shepherds 1430
Detail from Annunciation with dancing shepherds (fol 20v) the Hours of Charles d’Angoulême (BNF Latin 1173) c 1475-1500_f50
Detail from July (fol 4r) the Hours of Charles d’Angoulême (BNF Latin 1173) c 1475-1500_f17
Detail from June (fol 3v) the Hours of Charles d’Angoulême (BNF Latin 1173) c 1475-1500_f16
They have the same colour utside and inside.
Detail from Roman de la Rose Bodleian Library MS Douce 195 page 138
To make the pattern I used a pattern for a female hood and had in mind that the hood would lie onto the back head and shoulders and continue a bit further then the forehead.
On images the neck part ends about where your cheek starts.
I chose a rather short tail and lined the hood with the same fabric. Next time I'll use a thinner fabric, this fabric is 435 gram per square meter.
1400sPosted by Sara Sat, October 13, 2012 17:52:14
The Tailed cap is surrounded with different solutions on the pattern.
Detail Arachne from Boccaccio's De Mulieribus Claris (Bibliotheque national de France, Francais 599, fol17v). We se the ears hanging down to the sholders. Much fabric is wrinkled in the neck.
This small detail is from December, the Great Hours of Anne of Brittany (Bibliotheque national de France, Latin 9474 fol 15). It looks like it's a seperate ties over the cap. This is one of the reasons to maybe believe that the tailed cap is sewn like the Birgitta cap: wrinkled fabric in the neck with two tails sewn to the neck. (The medieval tailors assistant, page 199). But I think otherwise.
In this detail from November, the Hours of Charles d’Angoulême (Bibliotheque national de France, Latin 1173, fol 6r) you see that in the neck the tail runs to the front but the wrinkles going under the tail runs slightly to the back.
In this detail from Roman de la rose (Bodleian Library MS Douce 195, page 128) you can presume that the tails is needled on to the head.
The pattern from Sophie's ateljé uses two triangles sewn together to the base. This will give the cap ears but not so much fabric in the neck to cover hair,
I combined the Birgitta cap with the Sophies triangle theory.
Again because of my short hair I didn't need so long tails. With this you can chose if you want the ears dragged away from the face ore loosen the tails for making the ears come forward to the face.
Underneath the tailed cap I'm wearing the Birgitta cap.
Flemish kerchief Heather's pages
Flemish kerchief Medieval threads
Tailed cap aka Flemish kerchief Research Dumping Grounds
White hood ore coif Sevenstarwheel
1400sPosted by email@example.com Tue, August 28, 2012 13:49:42
During the same period as
the Burgundian fashion you find these dresses in illuminated books.
This is a part of "Illustration of
mining" by Robinet Testard. The same dress you can find in manuscripts
like Giovanni Boccaccio De Mulieribus Claris (Bibliotheque national de France,
Francais 599) and Roman de la Rose (Bodleian
Library MS Douce 195)
She wears lined over-kirtle with long sleeves.
Under the over-kirtle she has a kirtle with a hem flounce. We can see a purse
hanging from a belt underneath the over-kirtle. She has a scarf pinned in the
neckline and she wears a tailed cap.
Sarah Thursfield (the Medieval Tailors
Assistant) describes the kirtle seen under the garment as a sleeveless flat
fronted kirtle, with waist-seem and side lacing (page 91). The flat-fronted,
S Thursfield says, was worn under the tighter revealing gowns. Its construction
created the characteristic high cleavage.
On the other hand she presents another
type (page 85) shown in the illustration of Dancing Peasants.
The women to the left is dressed like the
previous female miner with the only difference that she has a round neckline
and no scarf. In the middle a women dancing without her over-kirtle and we can
see a regular front-laced fitted kirtle with short sleeves and a hem
flounce. We can also see that the men wear a looser doublet.
Probably miners had more status and money
then peasants and therefore not the same type of dress.
On every image with this kind of dress you
see this close-fitted over-kirtle but rarely showing what kind of lacing the
kirtle has. In Boccaccio's De Mulieribus Claris (Bibliotheque
national de France, Francais 599) you'll get a hint.
The first is Thisbe reading a book, having
a front-laced shirt with a nearly invisible lacing. Then its Veturie in red,
which has loosen her lacing on her front-laced kirtle. Epicharis in green
has a side-laced dress and at last Arachne, which you don’t se any lacing
at all, but at the side you see a hint of a seam. Arachne's dress is also interesting
because it’s a short-sleeved over-kirtle. The sleeve of her smock is tight and
you can see a short seam at the wrist, could it be a lacing? The red kirtle shown must be a sleeveless
kirtle and then probably a flat-fronted one.
Another illustration from Roman de la Rose
shows a short-sleeved over a long-sleeved kirtle.
I can’t find any image of a short-sleeved over a long-sleeved kirtle that reveals if
they wear three layers of kirtles or if it’s just the smock underneath.
This illustration from Roman de la Rose
shows two layers: the smock and a long-sleeved kirtle. Probably they weren’t always
wearing the flat-fronted kirtle in between the layers, it was surely depending
on the weather.
Here we can see some more
of the accessories they were wearing. She's wearing a par of female hose, some form of
sandals and on the floor lays an open hood with a long liripipe.
On this last illustration from Roman de la Rose you see a black partlet covering the neckline and an fabulous turban on her head.
To do list for the french 1450-1500s style:
- Flat-fronted kirtle with a hem flounce
- Long-sleeved kirtle with lining
- Short sleeved kirtle with lining
- Female hose
- Tailed cap
- Open hood