GOTHIC 1200-1450
Early Gothic1200-1350
Late Gothic 1350-1450
From Tudor Pattern Book, 1520
Gothic
1200-1450
Gothic Revival
(“Romantic”)
Mid 19th century
Goth
Last 20 yrs
Don’t be fooled!!!
Influential People
• • • • • • • • •
St Louis V11, V11, X1
Eleanor of Aquitane.
King John (weak King).
Henry 1V, V, V1.
Eleanor of Aquitaine
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.
Events
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
• 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.
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
Le Jeu de la Hache, c. 1400
• 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
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.
Codex Manesse, c. 1305-1315
256v: Hartmann von Starkenberg
• Traveling troubadours -- spread news.
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
Palau Real Gothic Stained Glass Window
Barcelona, Spain
Barcelona, Spain
Santa Maria del Mar Church
Barcelona, Spain
Art
Style or Movement
• Extremely elongated style
• The "Gothic Arch” also appeared in artwork
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
Court Costumes
Pisanello
PRIMARY SOURCES
• • • • • • • •
Illuminated manuscripts
Monumental Brasses
Stained glass
Statuary
Frescoes
Tapestries
Virgin and Child With Saints Detail
Gerard David, 1509
Psalters (psalm books)
Books of Hours (Les Tres Riches Heures et Les Petites Heures de Duc de Berry)
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
Alphabet based on human forms
From Tudor Pattern Book, 1520
Parchment Manuscript
Parchment Manuscript
From Lives of the Philosophers
By Diogenes Laertis c.a. 1450 C.E.
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”
The next phases for the tunic…….
Fit it in with DARTS, re-name it: COTE-HARDIE
(Keep lacing it,
but more for show
than for fit)
Cote-Hardie
Dart
Detail The Mocking of Christ
Detail St. Eligius
“A Goldsmith in His Shop”
Detail Les Vendages, le Fouloir Tapestry
Amico Aspertini, Portrait of a Lady 1500
Pisanello
xxx
Edward 1 of England
Board of British Library
Pourpoint de Charles de Blois
c 1340-60
Musee des Tissus, Lyon
The next phases for the tunic…….
Add a low waist
And flare it out with a circle or Godet
*
*
*GODET
The next phases for the tunic…….
Make it extra long: Sleeves & Women’s skirts
Or short: as in men’s skirts)
The next phases for the tunic…….
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
xxxMartini
Painted by Simone
Elenco Fotocolors
Black & Garland
A show of blazoned helmets of knights.
Conrad Grunenberg Roll of Arms. 1483
Flemish gothic allegorical narrative tapestry panel
(Detail)
th c.a. early 16 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.a. 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 particolouring 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
The next phases for the tunic…….
Dag it!
Replica of dagger
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
The Devils Cast Out of Arrezo
Giotto
Les très riches heures du Duc de Berry
c. 1416
Illumination on vellum
Musée Condé, Chantilly
The Alhambra
Granada, Spain
The Seige of Acre
Dominique Papety, c. 1840
The Alhambra
Granada, Spain
Dagging
DETAIL, Otto, Count of Nassau and His Wife Adelheid van Vianen, 1530–35 Bernaert van Orley
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.a. 1567
Kunsthistorisches Museum, Vienna
Ink drawing, Staatliche Museen, Berlin
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 Blind Leading the Blind
c. 1568
Pieter Bruegel
The Mocking of Christ c. 1503 by Matthias Grünewald
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
Arrival of the English Ambassadors (Detail)
By Vittore Carpaccio, c.a. 1496
Venice, Galleria dell’ Accademia
Tarot Card
c.1432
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)
Louis II of Anjou
Titular king of Naples
Portrait of a Young Man
By Masaccio, 1425
National Gallery of Art
Portrait of man in a turban
By Jan van Eyck, 1433
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
http://yoshdance.blogspot.com/2008_11_01_archive.html
Archivo Mondadori
Poulaine Clipart
Etc.usf.edu/clipart
Detail of Gothic Armour
15th Century Poulaines
c.a. 1900
Museum of London
Detail from The Marriage of Renaud of Montauban and Clarisse
kuhlcat.hubpages.com
www.wornthrough.com
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
Dance crew
From Matehuala
Dance crew
From Buenavista
Current popular style in Mexico
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
From an Italian breviary
c.a. 1380
The National Library of France, Paris
Re-Drawing
from Hill & Bucknell
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
GODET
Drawing showing added bottom width
Through insertion of godet
Slits for Godet
http://www.theweebsite.com/ sewing/sewing/godet.html
Modern skirt with Godet at Center Back
Cheerleader skirts with contrasting Godet
McCall’s 2006
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
Les Très Riches Heures du duc de Berry
The illustration for April
c.a. 1416, Musée Condé, Chantilly, Fr.
The Birth of the Virgin Fra Carnevale (MMA,New York)
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 th 13 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
Escultaras de Chartres
Santa Barbara Tilman Riemenschneider
Effigy of Catherine Beauchamp, Countess of Warwick, c 1370-1375, St Mary's Church.
Joan de la Tour (left), weeper from the tomb of Edward the III, c 1377-86
Hose and hood shop
A milk maid from late 14th century London, England, cast in pewter
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.
p/
http:
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
p/
http:
Detail of
St. George & the Princess of Trebizond
St George & the Princess of Trebizond
Pisanello 1436-38
Pelligrini Chapel, Verona
Portrait of a Princess
of the House of Este
Pisanello
1436-38
Detail of Lady with an Ermine
Leonardo da Vinci c.a. 1489-1490
Musee du Louvre
Czartoryski Museum, Crackow
Fra Angelico
The Psalter of Mary de Bohun and Henry Bolingbroke
John de Teye, c. 1380-85
The Palace of Justice in Poitiers
http://maldr.livejournal.com/77520.html
http://www.lizachristi.gr/gallery.php
A metal Snood
Bust of Marie de France
Jean de Liège, c.a. 1381
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)
Detail
Meister Heinrich Frauenlob
From the Codex Manesse
A Woman
By Robert Campin, c.a. 1435
http://www.gluckliche-eme.com/13chairandhats.htm
Rogier van der Weyden
detail
Giotto
The Descent from the Cross detail
By Roger van der Weyden
c.a. 1435-1438
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
Shrine of St. Elisabeth
c. 1235, Elisabeth Church, Marburg, Germany
St. Elisabeth
c. 1235, Elisabeth Church
HENNIN There were 4 major types of hennin that became more exaggerated as the period progressed.
• Regular (single horn) Hennin
• Two-horned
• Truncated
• Butterfly
4 Gothic Hennin Silhouettes
Single-horned
Two-horned
Truncated
Butterfly
B a s i c
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 from The Marriage of Renaud of Montauban and Clarisse
By Loyset Liedet
Detail from The Donne Triptych
By Hans Memling, c.a. 1478
Detail of Christ Discovered in the Temple
By Hans Holbein, c.a. 1500-1501
Portrait of Barbara van Vlaendenbergh
By Hans Memling, c.a. 1480
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 a Lady
Rogier van der Weyden, c.a. 1460
Portrait of a Woman
Rogier van der Weyden, c.a. 1464
Detail; Boccaccio, Decameron
c.a. 15th Century
Paris, Arsenal, manuscript 5070
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”
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
The Lion in The Winter (1968)
20th century movies
Robin Hood (2010)
Smallville
Robin and Marian (1976)
Robin Hood (1973)
The Adventures of Robin Hood (1938)
Robin Hood (2010)
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.
Female Saints, standing in a landscape
By Hugo van der Goes
St. Barbara
By Jan van Eyck, c.a. 1437
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 stirrupshaped 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