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Burgundian Noblemen’s Underclothes c1445-1475

1468-9 Pair of Lovers in a Medieval Garden from Renaut de Montauban, illustrated by Loyset Liédet

Constanza de Mendoza (Sunny Buchler)[email protected] http://sbuchler.livejournal.com

November, 2010



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Burgundian Noblemen’s Underclothes c1445-1475 ........................................................... 1Overview ......................................................................................................................... 2

The Fashionable Silhouette ......................................................................................... 3Layers and Fashion Terms .......................................................................................... 4

Underwear ....................................................................................................................... 6

Underpants .................................................................................................................. 6Shirt ............................................................................................................................. 8Informal wear/Middle Layer ......................................................................................... 15

Hose/Hosen ............................................................................................................... 15Doublet ...................................................................................................................... 26

Bibliography ................................................................................................................. 41Table of Illustrations ..................................................................................................... 42

Overview

Figure 1.1 North-Western Europe in 1475The dark gray areas show the possessions of the Dukes of Burgundy in 1475 under Charles the Bold. In

1475 the Burgundian territories were at their greatest extent. With the death of Charles in 1477 theDuchy of Burgundy itself passed to France and the remaining territories to the Holy Roman Empire.1

The style I’m analyzing is generally called Burgundian, although most accurately it istermed a Franco-Flemish style as it is seen throughout France and the Burgundianterritories (including Flanders). The term Burgundian is usually applied because thestyle’s popularity roughly coincides with the brief dominance of the court of Burgundy.Elements of the Burgundian style appear in English fashion, but there are enough quirksto the English fashions that I have not included English examples in this study.

1 Dunkerton et al. 15



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The Fashionable Silhouette

Figure 2.1

1447-8 fontpiece to Rogier van der Weyden’s Les Chroniques deHainaut

Figure 2.2

1450s Burgundy, Guy Parat’s Three Treatises on the Preservation oHealth

Figure 2.3

1457 King Rene's Book of Love, Folio 51vFigure 2.4

1465 Loyset Liédet’s Renaud de Montauban , “the Marriage ofRenaut de Montauban and Clarisse”



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Figure 2.5

1470 frontpiece to Loyset Liédet’s Livre des fais d’Alexandre legrant , “Vasco de Lucena Presents Book to Charles the Bold ofBurgundy”

Figure 2.6

1475 Loyset Liédet and Pol Fruit’s Histoire du Charles Martel

Layers and Fashion Terms

Decoding Burgundian layers and levels of formality can be confusing if you’re notalready familiar with the layers involved. It may help to compare the layers of a man'smodern business suit to the layers in a Burgundian nobleman's formal get-up:

Modern men's business wear Burgundian noble's formal attire

Undershirt (optional) Shirt (not optional)Underwear (e.g. briefs or boxers) UnderwearDress shirt DoubletDress pants Hose/hosenSuit coat Houppelande/over-gownHat (optional, uncommon) HatShoes (not optional) Shoes (optional, but common)

This analogy works relatively well from a formality standpoint; a fellow in a modernoffice may remove the jacket and tie and even roll up his sleeves, but that's decidedly lessformal then wearing the full get-up, just like a Burgundian fellow may remove his over-

gown and belt/pouch etc. and go about in his doublet and hose to do athletic activities, but it's decidedly less formal and you wouldn’t want to wear either variation in a formalsituation.

The analogy does break down if you look at it from a construction standpoint; theBurgundian shirt is more similar to a modern dress shirt then to any of the othergarments, while a doublet is tailored more like a suit coat. I could’ve drawn the analogythat an over-gown was like a modern overcoat but that implies something that is only



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worn outside. Since buildings did not have modern heating systems there doesn’t seem tohave been much difference between what was worn indoors and outdoors:

Figure 3.1 A winter scene from a fifteenth century French Book of HoursThe men in this snowball fight mostly wear the full ensemble of doublet, hose and over-gown, but thefellow in the center rolling the large snowball has stripped to his doublet, and has even unlaced his hosefrom the back of his doublet.



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Underwear

Underpants

Figure 4.3

Master of the BrugesPassion Scenes, foundin Calvary, Bruges, StSavior’s Church

Figure 4.1

Paris, muse du petit palaisL Dut 456 fol18v, Bourgogne

Figure 4.2

1470-71 Hans Memling, Scenes fromthe Passion of Christ (detail)

Figure 4.41491 Hans Memling, The Passion Triptych(Gerverade Triptych), center Crucifixion

Figure 4.51485-90 Hans Memling, Triptych with theResurrection, left wing showing theMartyrdom of St. Sebastian

Figure 4.6Master of St. Sebastian, St IreneHealing St Sebastian's Wounds

Figure 4.7

1490 Toledo Museum

Figure 4.8

Ca. 1430-40 Boccaccio’s Decameron.Bibliotheque de l’Arsenal, MS 5070.

Figure 4.9

After the Master of Flémalle,Triptych with the Decent fromthe Cross (left panel)



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*Note, half of these pictures are not from the 1445-75 period, because it’s hard to find good pictures ofunderwear. Based on the similarities from before and after our period of interest there doesn’t look likethere’s a huge shift in style or construction.

To start with the obvious observations, just to make sure they’re stated: Every illustration I’ve found shows white underpants (so they really are medieval

tighty-whiteies!) I see two styles depicted, one type looks similar to modern briefs; the other is

more like shorts with a slit at the side of the leg. Since one image (Figure 2) shows both being worn, my assumption is that it’s a personal preference thing,much like boxers vs. briefs today.

The brief style (and possibly the shorts style, but the pictures of those are lessclear) has some sort of drawstring that gathers the front pouch and ties in thecenter front.

Both styles fit tightly (and smoothly) around the leg and butt.

As a side note, Christ never seems to be depicted in underwear – only a swath of fabric.However, the thieves crucified with him frequently have underpants, as does St.Sebastian. This difference is probably due to the story of the soldiers casting lots forChrist’s clothes.

Master Emrys Eustace, hight Broom suggests a possible construction that I’m ratherenamored of (but have not tried yet):

“The breeches [underpants’] … hem fully enclosed the cord. Wrappingaround more than a full circle of the waistline and overlapping in front, the

ends were pulled back together, gathering the front center. In this way, the breeches could be well-fitted behind, while there was enough give whenopen to make them easy to don. This also created the pouch seen in most15th c depictions of men stripped to their underclothes.”2

This pattern that Master Lorenzo Petrucci suggests for Italian brache (Italian boxers fromthe same timer period we’re looking at) would work well with using this technique:

Figure 4.10

Master Lorenzo Petrucci’s construction diagram for brache

2 http://www.greydragon.org/library/underwear1.html



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Shirt

Figure 5.1


Figure 5.2

Ca. 1460 P. de Crescens, LeRustican This is a 15th century Frenchillustration of an agriculturaltreatise by a 14th century Italiannaturalist, Peter of Crescenzi

Figure 5.3

Ca. 1450 MS76/1362. Hours of theDuchess of Bourgogne.Spectators on the river banks enjoyscenes of water-tilting

Figure 5.4

Gawain in the Cart

BNF Richelieu ManuscritsFrançais 115, Fol. 420Lancelot du Lac , France,Ahun, 15th century, byÉvrard d'Espinques andcollaborators

Figure 5.5

Ca. 1465-70 Burges.Master of the HarleyFroissart, Jean Foissart’sChroniques.

Figure 5.6

1470-71 Hans Memling,Scenes from the Passionof Christ (detail)

Figure 5.7




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Figure 5.8

Ca. 1454 Master of the Privileges of

Ghent and Flanders, Surrender ofthe Burghers of Ghent in 1453 fromthe Privileges and Statutes of Ghentand Flanders, Cod. 2583, fol. 349v

Figure 5.9

Ca. 1473-5 The

Justice of theEmperor Otto III:The Execution ofthe Innocent Man by Dirk Bouts

Figure 5.10

Ca. 1473-5 The Justice of

the Emperor Otto III: TheExecution of the InnocentMan by Dirk Bouts

Figure 5.11

Bohort l'Essillié helping

Lambegue

BNF Richelieu ManuscritsFrançais 115, Fol. 402Lancelot du Lac , France,Ahun, 15th century, byÉvrard d'Espinques andcollaborators

Here is the shirt as it’s worn under other garments:

Figure 5.14

P. de Crescens, Le

Rustican, about 1460.This is a 15th centuryFrench illustration ofan agriculturaltreatise by a 14thcentury Italiannaturalist, Peter ofCrescenzi

Figure 5.12


Figure 5.13

1453-55 Rogier Van DerWeyden, St. John Alterpiece



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Figure 5.15

Late 15th - Early 16thcent Book of SimpleMedicine F109r

“Aloe and 2 Kinds ofCelery”

Figure 5.16

Ca.1470-75 “Life of St. Sebastian” (Detail of threearchers). In the style of Jean Canavesio and JeanBaleison. Wall painting at the chapel of Saint Sebastian,Saint-Étienne-de-Tinée, Côte d'Azur, France

Figure 5.17

Ca. 1473-5 The Justice of theEmperor Otto III: The Execution ofthe Innocent Man by Dirk Bouts

The neckline of the shirt, as seen through the lacings of the doublet:

Figure 5.18

1447-8 Miniature from page 1 ofLes Chroniques de Hainaut byRogier van der Weyden

Figure 5.19

Ca. 1450 Portrait of Duke Philipthe Good of Burgundy by Rodgervan der Weyden

Figure 5.20

1469 St. Eligius, as a Goldsmith,Hands the Wedding Couple a Ring byPetrus Christus.

Figure 5.21

Ca. 1467/70 Portrait of Anthony of Burgundy by Hans Memling

Figure 5.22

1462 Dirk Bouts Portrait of anUnknown Man

Figure 5.23

Before 1478, Hans Memling(possibly), Portrait of

Jacques of Savoy

Figure 5.24

Ca. 1445-48 Rogier van derWyden, Middeburg Altarpiece (central panel)



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Again, let’s start with the obvious observations: Every illustration I’ve found shows a white shirt

The length comes to between mid-thigh and mid-calf (note that Figures 12-14

showing the length under a short doublet are the shorter length)

The sleeves are loose, but not too full, and they end at the wrist.

There is no obvious gathering at the sleeve head. The sleeve might be eased intothe armhole or it might be constructed with a gusset.

The shirt is loose, and hangs relatively straight (there are probably side gores, butthere are not any front gores.)

The shirt does not appear to be gathered at the neck or wrists in any way A center front opening cannot be seen when it’s worn under the doublet (an

important observation for figuring out how the neckline works)

Most extant shirt and tunics have round necklines, however, I have had no luck using

round necklines to replicate the neckline seen through the lacings at the clavicle (orhigher) in many of the Burgundian portraits (Figures 16-21). In my experience, roundnecklines that are big enough to slip over the head have a tendency to dip lower on theneck then the pictures show. This leads me to look at other possible constructions:

– The shirt has a very small round neckline (necessitating a slit openingsomeplace other then center front (such as the shoulder seam or a sidefront opening).

– The shirt has a horizontal slit opening (a.k.a. a shallow “boat” neckline). – The shirt has a neckline with a gusset similar to Master Lorenzo Petrucci’s

reconstruction of Italian shirts from the same period.

Arguments for the “boat” neckline:There is an extant shirt with a “boat” neckline, the Rogart shirt (see figure 25 below).This shirt is not from this time and place (it’s from 14th century Scotland), but it doessuggest a potential neck-hole construction to try, which was at least used once inmedieval Europe.



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Figure 5.25

Image Copyright © I. Marc Carlson 1999The Rogart shirt which was found in a grave near Springhill, Knockan, Parish ofRogart, Sutherland (Scotland) and has been tentatively dated to the 14th century

A couple of the shirts could arguably be showing a boat neckline (although it’s very hardto differentiate a boat neck from a round neck when it’s all loose…)

Figure 5.26

Ca. 1450 MS76/1362. Hours of the Duchess ofBourgogne.Spectators on the river banks enjoy scenes of water-tilting

Figure 5.27

Paris, muse du petit palaisL Dut 456 fol18v,Bourgogne



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Arguments for the high round neckline with an off-center slit

I found multiple pictures of a shirt that looked like it had a slit slightly to the (wearer’s)front left (see pictures below).

Figure 5.28


This may be showing a necklinewith a slit or it may be showing afold of fabric at the neck.

Figure 5.29

P. de Crescens, Le Rustican,about 1460.This is a 15th century Frenchillustration of an agriculturaltreatise by a 14th centuryItalian naturalist, Peter ofCrescenzi

Figure 5.30

Folie de LancelotBNF Richelieu ManuscritsFrançais 116, Fol. 598vLancelot du Lac, France, Ahun,XVe siècle, Évrard d'Espinqueset collaborateurs

There are two extant garments that have an off-center slit in the neck hole, but neither of

them is remotely close to the Burgundian time-period:

Figure 5.31

Image Copyright © I. Marc Carlson 2003

Front panels of the Gown of St. Elizabeth of Thuringia,dated to about 1230.

Figure 5.32


This shirt was supposedly owned by Thomas Becket (1120-1170)and is now in the Cathedral of Arras



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Arguments for a gusseted neckline

There is persuasive visual evidence for a shirt with a gusseted neckline in Italy duringthis period; however, most of the Burgundian portraits that show the characteristic fold-over are after 1475. This construction could provide the flat expanse across thecollarbones (beneath the top lacing) without slipping down.

Figure 5.33

Master Lorenzo Petrucci’s construction diagram for anItalian camicia

Figure 5.34

1452-66 Italy. Piero della Francesca,Discovery of the True Cross (detail)

Figure 5.35

1475 Italy. Antonello da MessinPortrait of a Man

Figure 5.36

1480 Hans Memling, Portrait of a Man with a Roman Coin Figure 5.37

1480 Hans Memling , Portrait of a manwith a Letter

Figure 5.38


This may be showing a necklinewith a slit or it may be showingthe gusset folded over.



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Informal wear/Middle Layer

Hose/Hosen

Hose is the term I use for leggings whose legs are sewn together. I use the term hosen to

indicate leggings whose legs are separate, and joined only by attaching the codpiece.Sometimes it’s hard to tell which version is being worn in the illustrations, if I cannot tellI default to using the term hose to describe the leggings..

Figure 6.3

1470-71 Hans Memling, Scenesfrom the Passion of Christ (detail)

Figure 6.11465 Loyset Liédet’s Renaud deMontauban , “the Marriage ofRenaut de Montauban andClarisse”

Figure 6.21465 Loyset Liédet’s Renaud deMontauban

Figure 6.4Ca. 1465-70 Burges. Master ofthe Harley Froissart, JeanFoissart’s Chroniques.



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Figure 6.5


Figure 6.6

1453-55 Rogier Van Der Weyden,St. John Alterpiece

Figure 6.7

1470-71 Hans Memling,Scenes from the Passion

of Christ (detail)

Figure 6.8

Mid-15th century France. Le Livredes Simples Medecines

Figure 6.9

1452-60 Jean Fouquet’s Hours ofEtienne Chevalier . “The Martyrdomof St Apollonia”

Figure 6.10




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Figure 6.11

1474-79 Hans Memling, Altarpiece of Saint John theBaptist and Saint John theEvangelist . Left panel, “Beheadingof Saint John the Evangelist.”

Figure 6.12

Figure 6.13

Late 15th - Early 16th cent Bookof Simple Medicine F109r

“Aloe and 2 Kinds of Celery”

Figure 6.14

Note, there is no change tothe color of the sole, as onemight expect from leathersoles.

Figure 6.15

1473 Paris, Maitre Francois, St Augustine'sCity of God

Here are the questions about hose that I started with:1.

Are the legs separate or sewn together across the butt?2. Do the hose have attached feet?3. Do the hose feet have soles that are reinforced so that they can be worn outside

without shoes (e.g. is there a leather sole)?4. Where are the lacing holes that attach the hose to the doublet placed?



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5. What is the shape of the codpiece?6.

What is the shape of the feet?7. Where are the seams and how are the hose constructed?

I’ll take each of these in order:

1. Are the legs separate or sewn together across the butt?

Figures 5-9 obviously have one leg separate from the other (they can be removedseparately or rolled down. However figures 10-12 are just as obviously joined hose(separate legs would fall down like in Figure 7 if the center back point was released).Since figures 7 and 10 come from the same painting, I conclude that this time period wasa transition era between the styles and both could be found. I hypothesize that earlier inthis era the split hose were more common and later the joined hose were more common.My reasoning is due to joined hose being predominate at the turn of the 16 th century, andthat there was an impetus towards the hose covering the butt due to the rise in thehemline of the over-gown from mid-thigh to mid-butt between 1445 and 1475. If you

choose to do split hose, be aware that the underwear will show occasionally, as in thisItalian picture:

Figure 6.16

1452-66 Piero della Francesca, Battlebetween Heraclius and Chosroes (detail)

2. Do the hose have attached feet?Hose are worn with shoes in the majority of the pictures showing feet, making thisquestion difficult to be sure of the answer. I have found no pictures that show hose beingcut off at the ankle (although there are some in Italian art). Figure 12 shows a stirruprather then a full foot. If shoes are not worn over the hosen, then almost always the hosehave feet attached, as in Figure 5, 13, 14 & 15. There are a number of fragments of extanthose (although I know of none from this period for northern Europe); most of the extant pieces have feet (or the remains thereof). See Marc Carlton’s website for a summary:



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http://www.personal.utulsa.edu/~marc-carlson/cloth/hose.html . Occasionally there is thesuggestion of socks being worn with hose (the white ring around the top of the shoe infigure 1) but those may be worn for warmth and so we cannot use them to say whetherthe hose beneath them has feet attached.

3. Do the hose feet have soles that are reinforced so that they can be wornoutside without shoes? (I.E. is there a leather sole?)

Most of the time the hose are worn with shoes, so there would be no need of a reinforcedsole, and it might be uncomfortable when worn with shoes. However, there are arelatively small number of pictures showing hose intentionally worn without shoes whileoutside doing work (figures 13-15) and it is logical to assume that these hose havereinforced soles. Figure 14 shows the bottom of the foot, and if there was reinforcedleather soles you would expect there to be a difference in color; there is no colordifference. I have found no pictures that show a sole that is markedly different from the body of the hose.

4. Where are the lacing holes that attach the hose to the doublet placed?There aren’t very many pictures showing the points (laces between hose and doublet),and there is some variation between the depictions. However, joined hose mostly seem tohave center back points, and side or side-back points, and side-front points:

Figure 6.171470-71 Hans Memling,Scenes from the Passion ofChrist (detail)

Figure 6.18 Figure 6.19Late 15th - Early 16th cent Book of SimpleMedicine F109r “Aloe and 2 Kinds of Celery”

Figure 6.20Ca. 1473-5 The Justice ofthe Emperor Otto III: TheExecution of the InnocentMan by Dirk Bouts

Figure 6.21Hercule participant aux jeuxBNF Richelieu Manuscrits Français 59, Fol.111vRaoul Lefèvre, Histoires de Troyes,Belgique, XVe siècle

Figure 6.22Ca. 1470-75 “Life of St. Sebastian” (Detailof three archers). In the style of JeanCanavesio and Jean Baleison. Wall paintingat the chapel of Saint Sebastian, Saint-Étienne-de-Tinée, Côte d'Azur, France



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Figure 6.23

1465 Loyset Liédet’sRenaud de Montauban

Figure 6.24

Ca. 1465-70 Burges. Master of the HarleyFroissart, Jean Foissart’s Chroniques.

Figure 6.25

1473 Paris, Maitre Francois, St Augustine'sCity of God

A random observation: most of the time that the points (lacing betweenhose and doublet) are visible the individual is engaged in some strenuousactivity (like beheading someone). In the vast majority of these cases whenwe can see the center back point, it is undone. This makes sense as releasingthe center back point makes it much easier to bend over.

Another thing to point out, the points do not look to be tied with bow ties.See http://www.florentine-persona.com/tying_bows.html for how to tiethem.

Figure 6.26 Late 15th-early 16th centFrance. Book of SimpleMedicine F140r

5. What is the shape of the codpiece?

Figure 6.27

Ca. 1470-75 “Life of St. Sebastian” (Detail of three

archers). In the style of Jean Canavesio and JeanBaleison. Wall painting at the chapel of Saint Sebastian,Saint-Étienne-de-Tinée, Côte d'Azur, France

Figure 6.28

1471 France, Loyset Liédet,

“Tree of Consanguinity” fromSomme rurale de JeanBoutillier .MS Fr. 202, fol. 15vBibliothèque Nationale, Paris

Figure 6.29

Ca. 1473-5 The Justice of the

Emperor Otto III: TheExecution of the InnocentMan by Dirk Bouts



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Figure 6.30

Late 15th-early 16th century, France. Book of SimpleMedicine F140r

Figure 6.31

1465 Loyset Liédet’s Renaudde Montauban , “the Marriageof Renaut de Montauban andClarisse”

Figure 6.32

1473 Paris, Maitre Francois,St Augustine's City of God

The shape of the codpiece varies quite a bit; figure 27 looks like an un-seamed, roughlytriangular flap, whereas figures 28-31 have a seam down the center and appear to bemuch more sports-cup-like in shape. Figure 32 has yet a different shape, being a widertriangle then figures 28-31 but having a suggestion of the shaped item that the codpiece becomes in the Tudor era. However, the most common shape depicted is similar tofigures 28- 31.

6. What is the shape of the feet?

Figure 6.34

1447-8 Miniature, illustration from page 1 of LesChroniques de Hainaut by Rogier van der Weyden

Figure 6.33

1475 Loyset Liédet and PolFruit’s Histoire du CharlesMartel

Figure 6.35

Ca. 1450 MS76/1362. Hours of the Duchess ofBourgogne.Spectators on the river banks enjoy scenes of water-tilting

Figure 6.36

1465 LoysetLiédet’s Renaud deMontauban , “theMarriage of Renautde Montauban andClarisse”



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Figure 6.39

Reconstruction deTroieFrançais 59 , Fol.238Raoul Lefèvre,Histoires deTroyes, Belgique,XVe siècle

Figure 6.37

1465 Loyset Liédet’s Renaudde Montauban , “the Marriageof Renaut de Montauban and

Clarisse”

Figure 6.38


Figure 6.41

Late 15th - Early 16th century. Book of SimpleMedicine F109r “Aloe and 2 Kinds of Celery”

Figure 6.43

Alexandre maladeCote : Français 47, Fol. 46vQuinte-Curce,Histoired'Alexandre leGrand (traductionde Vasque deLucène), Belgique,Flandre, XVe siècle

Figure 6.40

late 15th century Egerton MS2019f5 Book of Hours

Is this a picture of hose withspurs attached?

Figure 6.42

1473 Paris, Maitre Francois, St Augustine's City ofGod (Left) Detail of a laborer’s foot.(Right) Detail of nobles foot.

* the assumption in all these pictures is that if the feet match the legs, then the feet are part of the hose;this may not be accurate, especially with the black hose (as the most common color for shoes seems to beblack).

The foot shape seems to vary: figures 33-37 have extremely pointy toes. Figures 38 and39 have mildly pointed toes and figures 41 & 43 have blunt, feet-shaped toes. Not enoughof these pictures have specific dates attached to be sure, but it is my belief that the shapeof the toes (on the noblemen) varies over time – that they start out in the 1450s beingvery pointed and by the end of the century have become blunt. Regardless, workingmen’s feet and shoes tend to be noticeably blunter then noblemen’s feet (figure 42).



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Construction-wise, if you have a separate sole for the hose, it’s very easy to do roundedor “blunt” toes. If you use the more common (in the extant hose fragments) leg-stirrup piece with a second piece for the toes it’s very easy to get pointy toes. (See figure 44 below.) Using this construction it’s actually very difficult to get non-pointy toes.

Figure 6.44


An example of Nockert Hose Type 4:

"Short hose with a strap. This hose is cut in one piece with a seam at the back, and anopening for the foot at the bottom. The two side pieces thus formed at the bottom were

sewn together to make a strap beneath the foot."3

7. Where are the seams and how are the hose constructed?

There is no pictorial evidence for how the foot of the hose were constructed. There areoccasional pictures that show center back leg seams:

3 I. Marc Carlson, http://www.personal.utulsa.edu/~marc-carlson/cloth/hstype4.html [Nov. 7, 2010]



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Figure 6.45

Fouquet miniature showing the trial of the duc d'AlenconFigure 6.46

1453-55 Rogier Van Der Weyden, St. John Alterpiece

Notice the seam allowance showing at the center back of the hosen onthe right.

There are some lovely pictures from the early 1500s showing the butt seams for joinedhose, but I have found none from the period we’re discussing.

As far as lining goes, figures 46-48 clearly show that at least the top part of the hosen waslined. However, figures 46 and 49 show cases where the top part of the hose was notlined. There is an Italian picture that shows the lining only being at the top of the hose(figure 51) but I have not found an equivalent picture for northern Europe.



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Figure 6.47

Mid-15th century, France. Le Livre desSimples Medecines

Figure 6.48

1452-60 Jean Fouquet’s Hours ofEtienne Chevalier . “The Martyrdomof St Apollonia”

Figure 6.49

1470-71 Hans Memling, Scenesfrom the Passion of Christ (detail)

Figure 6.50

Late 15th-early 16th century,France. Book of Simple MedicineF140r

Figure 6.51

1455 Italy. Piero della Francesca, Burial ofthe Holy Wood

In general, I recommend Master Emrys Eustace, hight Broom’s work for a much morecomprehensive look at constructing hose then I have done:http://www.greydragon.org/library/underwear3.html



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Doublet

Body

Figure 7.2

Ca. 1470-75 “Life of St. Sebastian” (Detail of three archers). In the style of JeanCanavesio and Jean Baleison. Wall painting at the chapel of Saint Sebastian, Saint-Étienne-de-Tinée, Côte d'Azur, France

Figure 7.1

1465 Loyset Liédet’s Renaud deMontauban , “the Marriage ofRenaut de Montauban andClarisse”

Figure 7.4

Ca. 1465-70 Burges. Master ofthe Harley Froissart, JeanFoissart’s Chroniques.

Figure 7.5

Ca. 1450 Hours of the Duchess of Bourgogne, youths playing hockey

Figure 7.3

1465 Loyset Liédet, BerthaDuchess of Burgundy building achurch



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Figure 7.6

Figure 7.7Ca. 1473-5 DirkBouts, The Justice ofthe Emperor OttoIII: The Execution ofthe Innocent Man

Figure 7.81474-79 Hans Memling,

Altarpiece of Saint Johnthe Baptist and Saint

John the Evangelist .Left panel, “Beheadingof Saint John theEvangelist.”

Figure 7.9Paris, muse du petit palaisL Dut 456 fol18v, Bourgogne

Figure 7.10 Fouquet miniature showing thtrial of the duc d'Alencon



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Figure 7.11

1466-7 Loyset Liédet, Gerard deRoussillon and his wife Bertheare presented to Charles theBold

Figure 7.12

Ca. 1450, MS76/1362. Hours of the Duchess ofBourgogne. Spectators on the river banks enjoyscenes of water-tilting

Figure 7.13

1470-71 Hans Memling, Scenesfrom the Passion of Christ

Some basic observations:1. The vast majority of doublets where the front can be seen, the front opening is a

narrow open V. In fact, in the two figures which seem to depict a closed doublet(figure 10 and 11) I’m not sure the garment we’re looking is the doublet ratherthen an over-gown that is similar in shape to a doublet. In pictures where the frontis covered by an over-gown and only the collar is visible, it is rare for the edges ofthe collar to meet (for example, figure 14), which in my mind is suggestive of thehidden doublet beneath having a V front, as are the number of pictures showingthe over-gown open and displaying a white shirt (figure 15).

Figure 7.14

Ca. 1465-70 Burges. Master of theHarley Froissart, Jean Foissart’sChroniques.

Figure 7.15

1447-8 Miniature, illustration from page 1 of Les Chroniquesde Hainaut by Rogier van der Weyden

2. The lacing down the V front is decorative in nature, frequently having a pair oflacing cords at the neck followed by a space. There may or may not be ties



29

between the neck tie and the waist tie. The waist tie is frequently not shown butthe tapering closure plus the tight fit at the waist leads me to believe that there is awaist tie, even if it’s not shown.

3. The waist is (by current fashion standards) quite high; seemingly just below theribcage. The vast majority of doublets seem to have a well defined waist

(probably with a waist seam) and a peplum that goes over the hips. Figure 13doesn’t have these characteristics, but the figure portrayed is torturing Christ andso probably doesn’t classify as a nobleman. I believe the waist-seam-less versionof the doublet is a holdover from the earlier “cotehardie” styles that were wornright up until the start of the Burgundian period. The waist-seam-less style is seencommonly on Italian noblemen of this period, but not so much on Burgundiannobles.

4. The silhouette is quite barrel-chested (sometimes referred to as pigeon breasted).Since most men are not that barrel-chested, it suggests padding to me, especiallywith the exaggerated curve towards the waist. The pourpoint of Charles of Blois isheavily quilted, and there are multiple padded doublets described by Janet Arnold

in Patterns of Fashion, so it is not unreasonable to assume the technique wasavailable to Burgundian tailors.5.

The collars in figures 2, 4, 5, 7, 9, and 12 are a different color from the body ofthe doublet, suggesting that they could be a decorative and/or contrasting element.However, figure 2 also shows a doublet whose collar is the same color as the body, so it is not required that the collar be a different color.

6. Most of these pictures do not suggest seam-lines, but figure 2 clearly indicates both a V-shaped base to the collar and a center back seam. The few pictures thatshow the inside of the doublet confirm this interpretation:

Figure 7.16

1485-90 Hans Memling, Triptych with the Resurrection, left wing showing the Martyrdom of St. SebastianThese are the same picture, just from two different books.



30

Figure 7.17


7.

The shape of the front of the collar can be many different shapes, from a gentlecurve to a sharp boxy angle. See figures 20-23 for examples.

8. Look at figures 6.17-6.26 (page 19) in the hose section to see where on the peplum the points attach. Generally it looks like the eyelets are at the bottom edgeof the doublet, on the hips and definitely below the waist.



31

9. Most illustrations obscure the bottom front of the doublet, however there are atleast 3 shapes seen:

An inverted V (figure 18) Straight across the front (figure 19) Open (figure 20)

Figure 7.18

1470-71 Hans Memling, Scenesfrom the Passion of Christ

Figure 7.19

Ca. 1450, MS76/1362. Hours of theDuchess of Bourgogne. Spectators onthe river banks enjoy scenes of water-

tilting

Figure 7.20

Ca. 1473-5 Dirk Bouts,The Justice of theEmperor Otto III: The

Execution of the InnocentMan

10. Figures 16-18, 21 and 24 suggest that the doublets were laced though eyelet holes,

however figures 22 and 23 suggest the use of eyelet rings, both were probablyused.

Figure 7.21

1475? Hans Memling, Martyrdom of St.Sebastian

Figure 7.22

Ca.1467/70 Portrait of Anthony of Burgundyby Hans Memling

Figure 7.23

1462 Dirk Bouts Portrait ofan Unknown Man

Figure 7.24

Before 1478, Hans Memling(possibly), Portrait of

Jacques of Savoy

Figure 7.25

Ca. 1445-48 Rogier van derWyden, Middeburg Altarpiece (central panel)



32

11.

Figures 16-18 and 21 all show that the doublet was lined. From the artwork alonewe can’t say what they were lined with (although all 4 are lined with a lightcolor). However,

“some ordinances of 1520s from the Spanish city of Seville regulated what typesof fabrics could be used in completing a doublet…Expensive outer cloths, such as brocades, required three linings: ‘one of linen colored like the [fabric], another ofcoarse canvas and a third of white linen.’ [5] Doublets of ‘minor silks’ had onlytwo linings, one canvas and one linen for the body and a white linen and fabric-colored linen for the sleeves. [6] Cotton was used to stuff the expensive doublets, but cheaper fustian doublets could be stuffed with wool. Given the body-shapingfunction and the need for a strong support for the hose, it is quite likely that therequirements for 15th century doublets were similar to these given here.”4

Sleeves It is my contention that the sleeves are the key to the Burgundian nobleman’s silhouette,namely the very high poof at the top of the arm. It is my belief that this sleeve-puff is padded and is what supports the over-gown in the super-broad shoulder look whichcharacterizes Burgundian style c.1445-75. After 1475 you start seeing instances ofnoblemen wearing doublets without sleeve puffs and the silhouette moves to a muchmore narrow look; but during this period, most of the men (with visible sleeves) that donot have the puff at the top are obviously working-class fellows.

There are very few nobles in the 1445-75 era that are shown without sleeve puffs. Thesilhouette in both illuminations and portraiture suggest a larger-then-normal shoulder breadth (although most individuals’ sleeve heads were obscured by the over-gown). Hereare examples showing the sleeve puff:

4 http://www.nachtanz.org/SReed/doublets.html Susan Reed, “15th-Century Men’s Doublets: AnOverview”. Both references are to Anderson, Ruth M. Hispanic Costume: 1480-1530. New York: HispanicSociety of America, 1979. Page 55.



33

Figure 7.26 late 1440s-late 1460s Louis of Savoy,from a statuette on the tomb of Louis

de Mâle

Figure 7.27 Ca. 1450 Hours of the Duchess ofBourgogne, youths playing hockey

Figure 7.28 Ca. 1460 from Chronique a brégée desempereurs

Figure 7.29

Ca. 1460 from Chronique a brégéedes empereurs

Figure 7.30

1465 Loyset Liédet’s Renaud deMontauban , “the Marriage of Renautde Montauban and Clarisse”

Figure 7.31

1446 Petrus Christus, Portrait ofEddward Grimston



34

Figure 7.33

1466-7 Loyset Liédet, Gerard deRoussillon and his wife Berthe are

presented to Charles the Bold

Figure 7.34 1470 Loyset Liédet, Vasco de LucenaPresents Book to Charles the Bold ofBurgundy

Figure 7.32 pre-1466 Wavrin Master's cartoons for

L'histoire de Girart de NeversGirart is drinking poison

Figure 7.35 1470 Loyset Liédet, Vasco de LucenaPresents Book to Charles the Bold ofBurgundy

Figure 7.361471 France, Loyset Liédet, “Tree ofConsanguinity” from Somme ruralede Jean Boutillier .MS Fr. 202, fol. 15vBibliothèque Nationale, Paris

Figure 7.371475 from Histoire du Charles Martel

Sleeve Puff

The shape of the sleeve puff varies quite a lot:

Figure 7.38 1465 Loyset Liédet’s Renaud deMontauban

Figure 7.39 Ca. 1450 Hours of the Duchess ofBourgogne, youths playinghockey

Figure 7.40 Fouquet miniature showing thetrial of the duc d'Alencon



35

Figure 7.41 1465 Loyset Liédet, Bertha

Duchess of Burgundy building achurch

Figure 7.42 1470 Loyset Liédet, Vasco de

Lucena Presents Book to Charlesthe Bold of Burgundy

Figure 7.43 1465 Loyset Liédet’s Renaud de

Montauban , “The Marriage ofRenaut de Montauban andClarisse”

Figure 7.44 1465 Loyset Liédet, BerthaDuchess of Burgundy building achurch

Figure 7.45 late 1440s-late 1460s Louis ofSavoy, from a statuette on thetomb of Louis de Mâle

Figure 7.46

pre-1466 Wavrin Master'scartoons for L'histoire de Girartde Nevers

Some observations:1. The sleeve puff never comes lower then mid-bicep, and tends to be a bit higher.2. The puff doesn’t stand up much, mostly is stands out, to the side of the arm, its

aim is to give width rather then height. (Be careful about this when stuffing your puffs, it’s very easy to get off.)

3. In figures 38-40 the shape of the puff around the arm is not evenly distributed – itarches around the arm. In figures 41-46 the puff does appear to be gatheredevenly around the arm.

4. How full/stuffed the puff is varies considerably.

Sleeve Closures

All of the sleeves in the pictures above are very tight from the wrist to the uppers arm.So, how are the sleeves fastened to achieve this? I see two options: A discreet fastening method at the wrist. A slit up the back of the arm held closed by decorative lacing.

Figure 7.47 Ca. 1450 Hours of the Duchess ofBourgogne, youths playing hockey

Figure 7.48

1457 King Rene's Book of Love Folio 51v

Figure 7.49

1465 Loyset Liédet’s Renaud deMontauban



36

Figure 7.50 1465 Loyset Liédet, Bertha Duchess ofBurgundy building a church

Figure 7.51

1465 Loyset Liédet’s Renaud deMontauban , “The Marriage ofRenaut de Montauban andClarisse”

Figure 7.52 1465 Loyset Liédet, Bertha Duchess ofBurgundy building a church

Figure 7.53

1466-7 Loyset Liédet, Gerard deRoussillon and his wife Berthe are

presented to Charles the Bold

Figure 7.54 1470 Loyset Liédet, Vasco deLucena Presents Book to Charlesthe Bold of Burgundy

Figure 7.55

1470 Le Mesnagier de la ville et deschamps

Figure 7.56 Fouquet miniature showing thetrial of the duc d'Alencon

Figure 57

1487 Hans Memling, Diptych ofMaarten van Nieuwenhove

Figure 58




37

Figures 47-56 above have no visible fastening. These may be fastened with discretelacing like in figure 57 (which is slightly later then our period of interest) or they mayhave small self-fabric button closures. Figure 58 shows a man with a single buttonclosure at the wrist. There are multiple pictures of women with skin tight sleeves thathave a row of small buttons along their outer arm; buttons that are only noticeable when

the picture is enlarged farther then is usually seen in modern art books. Men’s fashionmay have employed this option as well.

Figure 7.59

Ca. 1440-45 Rogier van der Weyden, Visitation of Mary (detail)

There is an almost equally common option for achieving the skin-tight sleeve: a slit upthe side/back of the arm that is held closed with a decorative lacing pattern:

Figure 7.60

1457 King Rene's Book of Love Folio25v

Figure 7.61

1457 King Rene's Book of Love Folio 31v

Figure 7.62

Brussles, Master of theLegend of St Barbara,unknown couple

Figure 7.63 1460-70 Flanders, Histoire de la BelleHelene

Figure 7.64



38

Figure 7.65

1460-65 Livres des Tournois du roiRene, king-at-arms presenting asword to the Duke of Bourbon

Figure 7.66

Mid-fifteenth century. Roman dela Violette. Paris, Bib. Nat. ms fr.24376 f. 5,8.

Figure 7.67

Ca. 1465-70 Burges. Masterof the Harley Froissart, JeanFoissart’s Chroniques.

Figure 7.68 Ca. 1460 from Chronique a brégéedes empereurs

Figure 7.69 late 1440s-late 1460s Louis ofSavoy, from a statuette on thetomb of Louis de Mâle

Most of the time (when the full sleeve is visible) the slit goes from the wrist nearly to thesleeve puff (figures 62-69). In figures 65 the slit seems to disappear just above the elbow.In all cases except 68 the slit appears narrow, as if a seam were left open, rather then a portion of the sleeve that has been removed. Because of the prevalence of the slit, I

conjecture that there is a seam running up the outer arm, as there is in the extant 14th

century Charles of Blois' pourpoint (figure 70).

There are many possible ways to construct the tight portion of the sleeve; you could usethe Charles of Blois’ multi-piece sleeve as a guide:



39

Figure 7.70


Pourpoint of Charles of Blois, Duke of Brittany. It probably post-datesCharles’ death in 1364.

However, I prefer the simpler 2-piece sleeve construction (a.k.a. a “coat” sleeve) which isseen in Elizabethan sources.

Figure 7.71 Ca. 1610 Sleeve of a Padded Doublet.

From a garment construction point of view, I find it necessary to construct a full sleeveand then apply the puff on top of that. If you attach the lower sleeve directly to the sleeve



40

puff, with nothing to stabilize the puff then the fullness gets pulled down and you onlyget a gathered section at the top of the sleeve but no poof adding width. You see this inthe Italian fashions of the time, but the Burgundian fashions use the more aggressive poofas shown above.

Doublet materialsThe artwork can’t say much about what the doublets were made of; other then they’reusually a solid color.

“Jacqueline Herald cites that the outer fabric of Italian doublets could range fromelegant fabrics such as silk brocades and velvet or to simple linen. Publishedinformation about the materials used to make doublets in Burgundy or France islimited. Margaret Scott notes that many doublets worn by the nobility in the1470s were made of silk or velvet, and there is also mention of fine worsted(wool) being used as well. Spanish doublets were made from silks, woolens orfustian (a linen-cotton blend). Although I could not find specific references to

linen or linen-blend doublets in France or Burgundy, the presence of linen orlinen-blend doublets in Spain and Italy, the close cultural ties that Spain had withBurgundy, and the ample availability of linen fabrics in France and Burgundysuggest that linen or linen-blend doublets were likely to have been made there.The only evidence I have found for English doublet materials were the wardrobeaccounts for one year during the reign of Edward IV. The fabrics allotted for hisdoublets were generally silk satin or velvet for the outer layer and linen forlinings. Allotments of fabrics for doublets for his family and servants includedsilks for the family and high-ranking officials and wool cloth for the lower-ranking servants or servants involved with manual labor.”5

5 http://www.nachtanz.org/SReed/doublets.html [Nov. 7, 2010] Susan Reed, “15th-Century Men’sDoublets: An Overview”



41

Bibliography

Arnold, Janet Patterns of Fashion. The cut and Construction of Clothes for Men and

Women c1560-1620. New York: Macmillan, 1985.

Batterberry, Michael and Ariane Batterberry. Fashion the Mirror of History.2nd

Edition.Hong Kong; Greenwich House, 1982.

Blanc, Odile. Parades et Parures. L’invention du corps de mond à la fin du Moyen Age .Éditions Gallimard, 1997.

Boucher, François. 20,000 Years of Fashion. The History of Costume and Personal

Adornment. New York: Harry N. Abrams, Inc.

Carlson, I. Marc. Some Clothing of the Middle Ages. Historical Clothing from

Archaeological Finds. http://www.personal.utulsa.edu/~marc-

carlson/cloth/bockhome.html [Nov. 7, 2010]

Collins, Marie and Virginia Davis. A Medieval Book of Seasons. New York: HarperCollins Publishers, 1992.

Dellaluna, Vangelista di Antonio. “How to Tie Bows”. http://www.florentine- persona.com/tying_bows.html [Nov. 7, 2010]

Dunkerton, Jill, et al. Giotto to Dürer. Early Renaissance Painting in The National

Gallery. London: National Gallery Publications Limited, 1991.

Eustace, Emrys. “Shirts, Trewes, & Hose.i.: A Survey of Medieval Underwear”.http://www.greydragon.org/library/underwear1.html [Nov. 7, 2010]Eustace, Emrys. “Shirts, Trewes, & Hose.iii.: Chosen Hosen”.

http://www.greydragon.org/library/underwear3.html [Nov. 7, 2010]

Evans, Joan. Dress in Mediaeval France. Oxford: The Clarendon Press, 1952.

Fox, Sally. The Medieval Woman an Illuminated Calendar 1997. New York: WorkmanPublishing, 1996.

Frère, Jean-Claude. Early Flemish Painting. Trans. Peter Snowdon. Italy: The Art Book

Subsidiary of Bayard Presse SA, 1997.

Hallam, Elizabeth, ed. The Chronicles of the Wars of the Roses. Spain: CLBInternational, 1988.

Jennings, Anne. Medieval Gardens. London: English Heritage and Museum of GardenHistory, 2004.



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Kemperdick, Stephan. Masters of Netherlandish Art. Rogier van der Weyden. Trans.Anthea Bell. Germany: Könemann Verlagsgsellschaft mbH, 1999.

Payne, Blanche. History of Costume from the Ancient Egyptians to the Twentieth

Century. New York: Harper Collins Publishers, 1965.

Petrucci, Lorenzo. An Overview of Men’s Clothing in Northern Italy c. 1420-1480.

www.houseofpung.net/sca/15c_mens_italian.pdf [Nov. 7, 2010]

Reed, Susan. 15th-Century Men’s Doublets: An Overview

http://www.nachtanz.org/SReed/doublets.html [Nov. 7, 2010]

Scott, Margaret. The History of Dress Series. Late Gothic Europe, 1400-1500. HongKong: Publishers Mills & Boon Ltd, 1980.

Scott, Margaret. Medieval Clothing and Costumes. Displaying Wealth and Class in

Medieval Times. New York: The Rosen Publishing Group, Inc., 2004.

Scott, Margaret. Medieval Dress & Fashion. London: The British Library, 2007.Scott, Margaret. A Visual History of Costume. The Fourteenth & Fifteenth Centuries.London: B.T. Batsford Ltd., 1986.

Tarrant, Naomi. The Development of Costume. 2nd Edition. New York: Routledge, 1996.

Unterkircher, F. King Rene’s Book of Love (Le Cueur d’Amours Espris). 3rd Edition.Trans. Sophie Wilkins. New York: George Braziller, Inc. 1989.

Voronova, Tamara and Andrei Sterligov. Western European Illuminated Manuscripts 8 th

to 16 th

Centuries. London: Sirrocco, 2006.

Vos, Dirk de. Rogier van der Weyden. New York: Harry N. Abrams, Incorporated, 1999.Vos, Dirk de. Hans Memling. Ghent: Ludion Press, 1994.

Table of Illustrations

Frontspiece: Jennings 31.

Figure 1.1: Durnkerton, et al. 15.

Figure 2.1: Vos, Rogier van der Weyden 250.

Figure 2.2: Voronova 119.Figure 2.3: Unterkircher f51vFigure 2.4: Batterberry 86.Figure 2.5: Payne 218.Figure 2.6: Batterberry, 89.

Figure 3.1: Scott, Medieval Clothing and Costumes 27.



43

Figure 4.1: I’ve lost the sourceFigure 4.2: Vos, Hans Memling 108.Figure 4.3: Vos, Hans Memling 108.Figure 4.4: Vos, Hans Memling 328.Figure 4.5: Vos, Hans Memling 269.

Figure 4.6: Vos, Rogier van der Weyden 294.Figure 4.7: http://www.greydragon.org/library/underwear1.html [Nov. 7, 2010]

Figure 4.8: Tarrant 53.Figure 4.9: Vos, Rogier van der Weyden 28.Figure 4.10: www.houseofpung.net/sca/15c_mens_italian.pdf [Nov. 7, 2010]

Figure 5.1: I’ve lost the source

Figure 5.2: Collins and Davis 28. Figure 5.3: Collins and Davis 58. Figure 5.4: http://gallica.bnf.fr/scripts/mediator.exe?F=C&L=08100103&I=000036 [Feb. 2008]

Figure 5.5: Scott, Medieval Dress and Fashion 155.

Figure 5.6: Vos, Hans Memling 32.Figure 5.7: Vos, Hans Memling 108.Figure 5.8: Kemperdick 11.Figure 5.9: Frère 107.Figure 5.10: Frère 107. Figure 5.11: http://gallica.bnf.fr/scripts/mediator.exe?F=C&L=08100103&I=000021 [Feb. 2008]

Figure 5.12: I’ve lost the source

Figure 5.13: Vos, Rogier van der Weyden 123. Figure 5.14: Collins and Davis 28. Figure 5.15: Voronova, 169. Figure 5.16: http://www.culture.gouv.fr/culture/medieval/en/b047.htm [Nov. 7, 2010]

Figure 5.17: Frère 107. Figure 5.18: Vos, Rogier van der Weyden 250. Figure 5.19: Frère 8. Figure 5.20: Frère 89. Figure 5.21: http://www.wga.hu/art/m/memling/6copies/0149burg.jpg [Nov. 7, 2010]

Figure 5.22: Durnkerton, et al. 97. Figure 5.23: http://www.medievalproductions.nl/compagnie_de_ordonnance/doubletpattern.html [Feb.2008] Figure 5.24: Kemperdick 64.Figure 5.25: http://www.personal.utulsa.edu/~marc-carlson/cloth/rogart.html [Nov. 7, 2010] Figure 5.26: Collins and Davis 58. Figure 5.27: I’ve lost the source

Figure 5.28: I’ve lost the source Figure 5.29: Collins and Davis 28. Figure 5.30: http://gallica.bnf.fr/scripts/mediator.exe?F=C&L=08100104&I=000004 [Feb. 2008]

Figure 5.31: http://www.personal.utulsa.edu/~marc-carlson/cloth/elizabeth.htm [Nov. 7, 2010]

Figure 5.32: http://www.personal.utulsa.edu/~marc-carlson/cloth/arras.html [Nov. 7, 2010]

Figure 5.33: www.houseofpung.net/sca/15c_mens_italian.pdf [Nov. 7, 2010]

Figure 5.34: https://reader009.{domain}/reader009/html5/0725/5b577148f02c4/5b57718d0cedb.jpg [Nov. 7, 2010]

Figure 5.35: http://www.wga.hu/art/a/antonell/portra_m.jpg [Nov. 7, 2010]



44

Figure 5.36: Vos, Hans Memling 191. Figure 5.37: Vos, Hans Memling 195. Figure 5.38: I’ve lost the source

Figure 6.1: Batterberry 86.

Figure 6.2: Evans, plate 37.Figure 6.3: Vos, Hans Memling 32.Figure 6.4: Scott, Medieval Dress and Fashion 155.Figure 6.5: I’ve lost the sourceFigure 6.6: Vos, Rogier van der Weyden 123.Figure 6.7: Vos, Hans Memling 106-7.Figure 6.8: Voronova 114.Figure 6.9: Hallam, 138.Figure 6.10: Vos, Hans Memling 32.Figure 6.11: Vos, Hans Memling 152.Figure 6.12: http://www.medievalproductions.nl/compagnie_de_ordonnance/doubletpattern.html [Feb.2008]

Figure 6.13: Voronova 169.Figure 6.14: I’ve lost the sourceFigure 6.15: Scott, Late Gothic Europe 181.Figure 6.16: http://www.wga.hu/art/p/piero/2/8/8herac15.jpg [Nov. 2010]

Figure 6.17: Vos, Hans Memling 32.Figure 6.18: http://www.medievalproductions.nl/compagnie_de_ordonnance/doubletpattern.html [Feb.2008] Figure 6.19: Voronova 169.Figure 6.20: Frère 107. Figure 6.21: http://gallica.bnf.fr/scripts/mediator.exe?F=C&L=08100062&I=000027 [Feb. 2008]

Figure 6.22: http://www.culture.gouv.fr/culture/medieval/en/b047.htm [Nov. 7, 2010]

Figure 6.23: Evans, plate 37.Figure 6.24: Scott, Medieval Dress and Fashion 155.Figure 6.25: Scott, Late Gothic Europe 181.Figure 6.26: Voronova 167.Figure 6.27: http://www.culture.gouv.fr/culture/medieval/en/b047.htm [Nov. 7, 2010] Figure 6.28: Fox, June.Figure 6.29: Frère 107.Figure 6.30: Voronova 167.Figure 6.31: Batterberry 86.Figure 6.32: Scott, Late Gothic Europe 181.Figure 6.33:

http://www.medievalproductions.nl/compagnie_de_ordonnance/pictures/mansclothingback.jpg [Feb.2008]

Figure 6.34: Vos, Rogier van der Weyden 250.Figure 6.35: Collins and Davis 58.Figure 6.36: Batterberry 86.Figure 6.37: Batterberry 86.Figure 6.38: I’ve lost the sourceFigure 6.39: http://gallica.bnf.fr/scripts/mediator.exe?F=C&L=08100062&I=000050 [Feb. 2008]

Figure 6.40: Collins and Davis 36.



45

Figure 6.41: Voronova 169.Figure 6.42: Scott, Late Gothic Europe 181.Figure 6.43: http://gallica.bnf.fr/scripts/mediator.exe?F=C&L=08100011&I=000013 [Feb. 2008]

Figure 6.44: http://www.personal.utulsa.edu/~marc-carlson/cloth/london.html [Nov. 7, 2010]

Figure 6.45: Scott, Late Gothic Europe 161.

Figure 6.46: Vos, Rogier van der Weyden 123.Figure 6.47: Voronova 114.Figure 6.48: Hallam, 138.Figure 6.49: Vos, Hans Memling 106-7.Figure 6.50: Voronova 167.Figure 6.51: https://reader009.{domain}/reader009/html5/0725/5b577148f02c4/5b577191b9509.jpg [Nov. 7, 2010]

Figure 7.1: Batterberry 86. Figure 7.2: http://www.culture.gouv.fr/culture/medieval/en/b047.htm [Nov. 7, 2010] Figure 7.3: Scott, Fourteenth & Fifteenth Centuries 99. Figure 7.4: Scott, Medieval Dress and Fashion 155.

Figure 7.5: Collins and Davis 117. Figure 7.6: http://www.medievalproductions.nl/compagnie_de_ordonnance/pictures/mensdoublet.jpg [Feb. 2008] Figure 7.7: Frère 107.Figure 7.8: Vos, Hans Memling 152. Figure 7.9: I’ve lost the source

Figure 7.10: Scott, Late Gothic Europe 161.Figure 7.11: Scott, Fourteenth & Fifteenth Centuries 100. Figure 7.12: Collins and Davis 58. Figure 7.13: Vos, Hans Memling 106-7. Figure 7.14: Scott, Medieval Dress and Fashion 155. Figure 7.15: Vos, Rogier van der Weyden 250. Figure 7.16: (Left) Vos, Hans Memling 269. (Right) Scott, Late Gothic Europe 161. Figure 7.17: Vos, Rogier van der Weyden 123. Figure 7.18: Vos, Hans Memling 32. Figure 7.19: Collins and Davis 58. Figure 7.20: Frère 107. Figure 7.21: Vos, Hans Memling 36.Figure 7.22: http://www.wga.hu/art/m/memling/6copies/0149burg.jpg [Nov. 7, 2010]

Figure 7.23: Durnkerton, et al. 97. Figure 7.24: http://www.medievalproductions.nl/compagnie_de_ordonnance/doubletpattern.html [Feb.2008] Figure 5.25: Kemperdick 64.

Figure 7.26: Scott, Late Gothic Europe 159.Figure 7.27: Collins and Davis 117.Figure 7.28: Blanc 6.Figure 7.29: Blanc 6.Figure 7.30: Batterberry 86.Figure 7.31: https://reader009.{domain}/reader009/html5/0725/5b577148f02c4/5b577192d3572.jpg [Nov. 7, 2010] Figure 7.32: Scott, Late Gothic Europe 169.Figure 7.33: Scott, Fourteenth & Fifteenth Centuries 100.



Figure 7.34: Payne 218. Figure 7.35: Payne 218. Figure 7.36: Fox, June.Figure 7.37: Batterberry 89.Figure 7.38: Evans, plate 37.

Figure 7.39: Collins and Davis 117.Figure 7.40: Scott, Late Gothic Europe 161.Figure 7.41: Scott, Fourteenth & Fifteenth Centuries 99. Figure 7.42: Payne 218.Figure 7.43: Batterberry 86.Figure 7.44: Scott, Fourteenth & Fifteenth Centuries 99. Figure 7.45: Scott, Late Gothic Europe 159.Figure 7.46: Scott, Late Gothic Europe 169.Figure 7.47: Collins and Davis 117.Figure 7.48: Unterkircher f51vFigure 7.49: Evans, plate 37.

Figure 7.50: Scott, Fourteenth & Fifteenth Centuries 99.Figure 7.51: Batterberry 86.Figure 7.52: Scott, Fourteenth & Fifteenth Centuries 99.Figure 7.53: Scott, Fourteenth & Fifteenth Centuries 100. Figure 7.54: Payne 218.Figure 7.55: Evans, plate 56.Figure 7.56: Scott, Late Gothic Europe 161.Figure 7.57: Vos, Hans Memling 281.Figure 7.58: Vos, Rogier van der Weyden 123.Figure 7.59: Vos, Rogier van der Weyden 102.Figure 7.60: Unterkircher f25vFigure 7.61: Unterkircher f31vFigure 7.62: Scott, Late Gothic Europe 178.Figure 7.63: Hallam, 27.Figure 7.64: http://www.medievalproductions.nl/compagnie_de_ordonnance/doubletpattern.html [Feb.2010] Figure 7.65: Evans, plate 60. Figure 7.66: Boucher 208. Figure 7.67: Scott, Medieval Dress and Fashion 155. Figure 7.68: Blanc 6.Figure 7.69: Scott, Late Gothic Europe 159.Figure 7.70: http://personal.utulsa.edu/~marc-carlson/cloth/blois.html [Nov. 7, 2010]

Figure 7.71: Arnold 81.

burgundian-men-underwear.pdf

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