headwear7-2-97

From: DUNHAM Patricia R
To: Charlene Charette , h-costume
Subject: Re: H-COST: 13th(?) C. Headdress Question
Date: Mon, 16 Jun 1997 12:15:00 -1000

-Poster: DUNHAM Patricia R

Sorry this is long, folks, I thought others might be interested too...

Charlene, here's a bunch of citations from the local university
library...

Manessische Handschrift

as a uniform TITLE seems to be the magic wording for finding this thing.
I know I've seen an edition that was just the ill.s that was, like,
12x18 inches, huge, full color.

Patsy
*********************************
001 937367
090 PT1419.H4|b.J3
100 1 Jammers, Ewald,|d1897-
245 14 Das Konigliche Liederbuch des deutschen Minnesangs;|beine
Einfuhrung in die sogenannte Manessische Handschrift
260 Heidelberg,|bL. Schneider,|c1965
300 307p.|billus.|c24cm
504 "Benutzte Literatur": p. 292-297
650 0 Minnesingers
740 00 Manessische Handschrift
********************************
001 14095511
090 PT1419.H4P4 1984
130 00 Manessische Handschrift
245 14 Die grosse Heidelberger Liederhandschrift :|b(Codex
Manesse) /|cin getreuem Textabdruck herausgegeben Pfaff
250 2. verb. und erg. Aufl. /|bbearbeitet von Hellmut Salowsky
260 0 Heidelberg :|bC. Winter,|c1984
300 xii, 1601 p., [7] p. of plates :|bfacsims. ;|c23 cm
500 Includes index
650 0 German poetry|yMiddle High German, 1050-1500
650 0 Minnesingers
700 10 Salowsky, Hellmut
700 10 Pfaff, Fridrich,|d1855-1917,|eed
*********************************
010 75537245
015 GFR75-A
020 3458017887
090 ND3399.H4K67
130 0 Manessische Handschrift
245 10 Minnesinger in Bildern der Manessichen Liederhandschrift /
|cmit Erl. hrsg. von Walter Koschorreck
250 1. Aufl
260 Frankfurt (am Main) :|bInsel-Verlag,|c1974
300 119 p. :|b24 col. ill. ;|c18 cm
490 0 Insel-Taschenbuch ; 88
500 Includes bibliographical references
650 0 Minnesingers in art
650 0 Illumination of books and manuscripts, Gothic
700 Koschorreck, Walter
*******************************
010 77357398
050 ND3399.H4|bM32
082 096/.1/0943
090 |rx|aND3399.H4M32
130 00 Manessische Handschrift
245 10 Minnesanger;|bvierundzwanzig farbige Wiedergaben aus der
Manessischen Liederhandschrift.|cMit einer Einleitung von
Kurt Martin. [Franzosische Ubersetzung: Mme Pernecker-
Gousse; Englische Ubersetzung: Theodor Gang]
260 0 [Baden-Baden]|bW. Klein|c[1964-77]
300 4 v.|billus. (part col.), facsims., 48 col. plates.|c35 cm
500 Each volume includes 24 plates, with description in German,
French, and English
500 Vol. 1:3 Aufl. 1966; v. 2: 3., auf 3 Bander erw. Aufl.
1971
504 Includes bibliographies
650 0 Minnesingers
700 10 Martin, Kurt,|d1899-,|eed
*******************************
| > until the form it reached as seen in the Manesse MS from about
1305-20. The
|
| Since it was mentioned....does anyone have a citation for a facsimile
| reprint of this MS? I've seen pictures from it in lots of books, but
| they're usually cropped and the same one or two. While I would prefer
| English or French text, it really isn't too terribly important, as I
am
| primarily interested in the pictures.
------------------------------------------------------------------------------
Date: Tue, 13 May 1997 06:21:34 -1000
From: Amy Wilson
Subject: snood request
To:

Here is the crocheted snood pattern you requested! Please contact me at
[email protected]
if you have any questions.

Cheers,
Catelin
=====================================
Snood

Yarns and hooks: Almost any kind of yarn or crochet thread will work for this pattern. For a finer texture, use crochet cotton, knit-cro-sheen, or pearl cotton, with a "3" or "B" size crochet hook. Heavier yarns (wool, acrylic, and blends) yield a lovely, rough texture. Use a "G" sized hook with heavier yarns.

Finished size: Approximately 17" in diameter. Comes to about the nape
of the neck when worn; for a longer snood, repeat Row 15 until desired
diameter is achieved.

Round 1: Ch 6, slip-stitch to first ch to form a ring.

Round 2: Ch 4, [DC into center of ring, Ch 1] 11 times, slip-stitch into
third ch of Ch 4 strand to join.

Round 3: Ch 5, DC into first Ch 1 space, *Ch 2, DC into next Ch 1 space,
Ch 2, DC into same Ch 1 space,* repeat from * around circle, Ch 1, slip-stitch
into third ch of beginning Ch 5 strand to join (24 posts around circle).

Round 4: Slip-stitch into center of first Ch 2 space, *Ch 5, SC into
center of next Ch 2 space,* repeat from * around circle, Ch 5, slip-stitch into base of first Ch 5 strand to join.

Round 5: Slip-stitch in first 3 ch of Ch 5 strand (to the center chain of
the strand), *Ch 6, SC into center of next Ch 5 space,* repeat from * around
circle, Ch 6, slip-stitch into base of first Ch 6 space to join, making 24 loops around circle.

Round 6: Slip-stitch to center of first Ch 6 loop, *Ch 7, SC into center
of next loop,* repeat from * around circle, Ch 7, slip-stitch into base of
first loop to join (24 loops around).

Round 7-9: Repeat as for round 6, increasing loops by one ch each round
(Round 7 will have Ch 8 loops; Round 8 will have Ch 9 loops; Round 9 will have
Ch 10 loops).

Round 10: Slip-stitch into first 3 ch of Ch 10 loop, Ch 5, SC into same
Ch 10 loop, *Ch 5, SC into next Ch 10 loop, Ch 5, SC into same Ch 10 loop,*
Repeat from * around circle, Ch 5, slip-stitch into base of first Ch 5 loop (48 loops around).

Round 11: Slip-stitch to center of first Ch 5 loop, *Ch 6, SC into center
of next Ch 5 loop,* Repeat from * around circle, Ch 6, slip-stitch into base
of first Ch 6 loop.

Round 12: Repeat as for Round 6.

Round 13-15: Repeat as for Rounds 7-9 (Round 13 will have Ch 8 loops,
Round 14 will have Ch 9 loops, Round 15 will have Ch 10 loops).

Round 16: Slip-stitch to center of first Ch 10 loop, *Ch 5, SC into
center of next Ch 10 loop,* Repeat from * around circle, slip-stitch into base of first Ch 5 strand.

Round 17: To make bars for drawstring: Ch 4, *[DC into Ch 5 strand, Ch 1] 3 times,* repeat from * in each Ch 5 space around circle, Ch 1, slip-stitch into third ch of starting strand to finish. Cut yarn and pull loop through. Weave end in.

Drawstring: Use a braided length of the same yarn, or ribbon, or
elastic, long enough to fit around head plus 12". Weave drawstring through posts of final round of crocheting. Fit to head size. Sew ends of elastic together or if using drawstring, tie in a bow.

--====57545153535049494955===1
Content-Type: text/html; charset="US-Ascii"
Content-Transfer-Encoding: 7bit

FACE="Geneva" SIZE=1 COLOR="#000000">Here is the crocheted snood pattern you requested! Please contact
me at SIZE=1 COLOR="#0000FF">[email protected] COLOR="#000000">
if you have any questions.

Cheers,
Catelin

=====================================

Snood

Yarns
and hooks: Almost any kind of yarn or crochet thread will work
for this pattern. For a finer texture, use crochet cotton, knit-cro-sheen,
or pearl cotton, with a "3" or "B" size crochet hook. Heavier yarns
(wool, acrylic, and blends) yield a lovely, rough texture. Use
a "G" sized hook with
heavier yarns.

Finished size: Approximately
17" in diameter. Comes to about the nape of the neck when worn;
for a longer snood, repeat Row 15 until desired diameter is achieved.

Round
1: Ch 6, slip-stitch to first ch to form a ring.

Round 2: Ch 4,
[DC into center of ring, Ch 1] 11 times, slip-stitch into third
ch
of Ch 4 strand to join.

Round 3: Ch 5, DC into first Ch 1 space,
*Ch 2, DC into next Ch 1 space, Ch 2,
DC into same Ch 1 space,*
repeat from * around circle, Ch 1, slip-stitch into
third ch of
beginning Ch 5 strand to join (24 posts around circle).

Round
4: Slip-stitch into center of first Ch 2 space, *Ch 5, SC into
center of
next Ch 2 space,* repeat from * around circle, Ch 5,
slip-stitch into base of
first Ch 5 strand to join.

Round 5: Slip-stitch
in first 3 ch of Ch 5 strand (to the center chain of the
strand),
*Ch 6, SC into center of next Ch 5 space,* repeat from * around
circle, Ch 6,
slip-stitch into base of first Ch 6 space to join,
making 24 loops around circle.

Round 6: Slip-stitch to center
of first Ch 6 loop, *Ch 7, SC into center of
next loop,* repeat
from * around circle, Ch 7, slip-stitch into base of first
loop
to join (24 loops around).

Round 7-9: Repeat as for round 6, increasing
loops by one ch each round (Round
7 will have Ch 8 loops; Round
8 will have Ch 9 loops; Round 9 will have Ch 10
loops).

Round 10: Slip-stitch
into first 3 ch of Ch 10 loop, Ch 5, SC into same Ch 10
loop,
*Ch 5, SC into next Ch 10 loop, Ch 5, SC into same Ch 10 loop,*
Repeat from * around
circle, Ch 5, slip-stitch into base of first
Ch 5 loop (48 loops around).

Round 11: Slip-stitch to center of
first Ch 5 loop, *Ch 6, SC into center of
next Ch 5 loop,* Repeat
from * around circle, Ch 6, slip-stitch into base of
first Ch
6 loop.

Round 12: Repeat as for Round 6.

Round 13-15: Repeat
as for Rounds 7-9 (Round 13 will have Ch 8 loops, Round 14
will
have Ch 9 loops, Round 15 will have Ch 10 loops).

Round 16: Slip-stitch
to center of first Ch 10 loop, *Ch 5, SC into center of
next Ch
10 loop,* Repeat from * around circle, slip-stitch into base
of first
Ch 5 strand.

Round 17: To make bars for drawstring: Ch
4, *[DC into Ch 5
strand, Ch 1] 3 times,* repeat from * in each
Ch 5 space around circle, Ch 1,
slip-stitch into third ch of starting
strand to finish. Cut yarn and pull loop
through. Weave end
in.

Drawstring: Use a braided length of the same yarn, or ribbon,
or elastic, long enough
to fit around head plus 12". Weave drawstring
through posts of final round of
crocheting. Fit to head size.
Sew ends of elastic together or if using drawstring,
tie in
a bow.

Hosted by www.Geocities.ws

--====57545153535049494955===1--
------------------------------------------------------------------------------
Date: Mon, 3 Feb 1997 14:23:37 -1000
From: Maggie Percival
Subject: Hennins

Hi everyone,

Sarahj wrote>
>
>I was sitting her playing with my string and wire, and i was curious as
>to the 'infamous loop' I know it was there.. but I was wondering if it
>could have been twisted, in order to tighten the circumfrence to the
>hennin to hold it on the head.
> Being places directly under the back of the skull ( as a
>'catch' then when tightened to the middle of the head.

While on this subject has anyone else seen the Portrait of a Lady by
Rogier van der Weyden? The truncated hennin worn by the lady in this
painting is interesting in that it appears to have a wired tie that
starts near the top of the hennin and then comes down the side ending
up neatly fitting around the base of the ear. I've looked at a number
of other similar portraits of the period to see if any other lady has
this type of arrangement but have yet to find one. The van der Weyden
lady still has the little loop at the front of the hennin as well,
incidentally. Portrait of a Woman (by the same artist) also shows pins
that appear to be used to hold the veil in place, but given that the
hair would be bundled up inside the hennin it is not implausible that
such pins may have gone through to the hair and acted in the same way as
a hatpin.
--
Maggie Percival
------------------------------------------------------------------------------
Date: Mon, 3 Feb 1997 06:03:39 -1000
From: David Key
Subject: Re: Hennin Construction
To: Multiple recipients of list H-COSTUME
Status: RO
X-Status:

Quick thoughts ...
> On Sun, 2 Feb 1997, Sara J. Davitt wrote:
>>
>> Hello!
>>
>> I was sitting her playing with my string and wire, and i was curious as
>> to the 'infamous loop' I know it was there.. but I was wondering if it

> Has anyone else ever heard/read that the 'infamous loop' was _not_ a
> counterbalance or understructure for the hennin?
>
> ... Some of the women's headdresses have the loop and some don't and she
> mentioned the ponytail girl with the black band with the loop all by
> itself. I've come across several other pictures with loops but no big
> headdresses since then.

> The one that I have at hand is Italian--c. 1465, Alesso Baldovinetti's
> _Portrait of a Lady in Yellow_. It's a profile with the loop going
> straight back into the woman's hair; perhaps to the scarf wrapped around
> her head like a headband. Since one can find loops with no hennins
> and almost as many pictures of hennins without a loop as with one, do you
> think there could be anything to that idea that they didn't really have
> anything to do with the structure or wearing of a hennin but were a
> totally separate accessory?
>
> Just wondering,
> lisa
I tend to agree with Lisa that the loop so often 'built-in' to the henin
in modern reconstructions is in fact a discrete piece of attire. However
I believe it IS an important element in the wearing of the henin.
In one of Memlinc's patinings (sorry can't remember which at the moment)
a number of young women/girls are shown with just the headband and the
central loop.

When you stop and think about it this all makes perfect sense ... if you
assume that the loop is the front of what is in essence a hat pin ...

1. The hairband holds the long hair back ... giving the high forehead
which was so fashionable.
2. The hairband also provides a secure basis on which to hold the henin
and kerchiefs.
3. The loop is the front portion of a pin (a pin which would fit this
description is included in the Museum of London's Dress Accessories
Book) which is pushed through the hennin, hairband and into the hair.
This would hold even this unstable headwear securely.

This is only a theory ... so any views ???

Cheers,
Dave
------------------------------------------------------------------------------
Date: Sun, 2 Feb 1997 13:26:17 -1000
From: "Sara J. Davitt"
Subject: hennin construction.
To: Multiple recipients of list H-COSTUME

Hello!

I was sitting her playing with my string and wire, and i was curious as
to the 'infamous loop' I know it was there.. but I was wondering if it
could have been twisted, in order to tighten the circumfrence to the
hennin to hold it on the head.
Being places directly under the back of the skull ( as a
'catch' then when tightened to the middle of the head.
___
-- ---.-
- /
[ / <--- kinda like that is the ascii is decipherable.
\/ (it being the back of the head, the diagonal being where
| the wire would go.

I tried this, and I managed to keep it on without any discomfort or pins
through a great deall of household chores. It also would help to have
the hair up so that it wouldn't slip around.

Has anyone tried this?.. has it worked?

*curious*
Sarahj
------------------------------------------------------------------------------
Date: Tue, 4 Feb 1997 11:27:00 -1000
From: Cynthia Virtue
Subject: Re: Hennin Construction

At 11:03 AM 2/3/97, David Key wrote:
>3. The loop is the front portion of a pin (a pin which would fit this
> description is included in the Museum of London's Dress Accessories
> Book) which is pushed through the hennin, hairband and into the hair.
> This would hold even this unstable headwear securely.

That is a very interesting idea! However, I'm not convinced that the pin
in Dress Accessories is that sort of pin, for two half-reasons. 1: Unless
I remember wrongly (my copy is loaned out at the moment) the pin in Dress
Accessories is not pointed/sharpened at the ends like a pin meant to go
through fabric. 2: I have seen pins exactly like this from China, recent
enough to be sold in antique stores, of gold, which are meant to be
'hairpins' -- also with blunted ends. Just prior to getting my copy of
Dress Accessories, I bought from the local drug store a metal hairpin meant
to be the main support for a chignon, which looks almost exactly like the
one in Dress Accessories, minus a few stylistic details.

So these reasons are "half-reasons" because I know they are not entirely
convincing; I'm not entirely convinced of them either. The idea of the
loop being a pin remains exceedingly intriguing, especially if combined
with the idea of the "headband" base arrangement -- which would make the
loop unneeded for counterbalancing.

As a side note, I do have a few pictures from the time which show the loop
as a triangle/angle rather than a loop.

Cynthia
------------------------------------------------------------------------------
Date: Tue, 1 Jul 1997 05:27:45 -1000
To: [email protected]
From: Melanie Schuessler
Subject: H-COST: Re: Wimples and Veils during the middle ages

-Poster: Melanie Schuessler

Here are a couple of pieces of information that I remember from a research
paper and project that I did a few years ago on twelfth century gowns:

>>What was the reason for this custom [wearing wimple and veil]?

One of the reasons besides fashion that helped this headgear to stick
around was the Church's insistence that women's uncovered and flowing hair
was liable to incite lust. Remember that the Church was very powerful in
the centuries around this time--this was the era of the Crusades (I believe
the first one was in 1095, and they continued for a couple of centuries
thereafter).

>>What were the rules for this custom?

In some places there were sumptuary laws dealing with who might wear what.
The one law that I remember was in 12th-century France (sorry I can't be
more specific--the sources for this paper are several hundred miles away!).
It specified the length of the veil--the higher your rank, the longer it
could be. I remember that a queen could have hers at least to her knees,
and perhaps longer.

If anyone is interested in the paper, it can be found on my website at
http://labweb.soemadison.wisc.edu/users/schuessler
I haven't scanned a picture of the gown I made yet, but I plan to do so soon.

Cheers!
Melanie Schuessler
[email protected]
------------------------------------------------------------------------------
Date: Tue, 1 Jul 1997 05:28:50 -1000
From: Melanie Schuessler
Subject: H-COST: Re: veils and wimples

-Poster: Melanie Schuessler

> the thing I'd also add is that in order to get those complicated shapes the
>veils were frequently pinned in place (using straight pins).
<...>
>she says that the trick to doing this is to wear another strip of cloth wrapped under the chin and pinned at the top of the head, and then pin the veil/wimple to that.

This is absolutely true--this is what I did for my "reconstruction" project
(mentioned in earlier post on this subject). The trick is to keep the
foundation band from slipping around on (or off!) your head. If you have
long hair, tie your hair back tightly and put some straight pins through
the band that catch some hair underneath before you start pinning the veil.
To get it really solid, put two pins in a "cross" so that both catch hair
underneath (do this on each side of your head and once on top). If you
have short hair (like me), don't wash it the night before so that it will
be a little stickier (yuck, I know, but it works, and it's period, too!).
Pin it down with bobby pins as much as you can (not period, I know, but
neither is short hair on women), and then hair spray generously to improve
the stickiness. If you feel that straight-pinning through your hair will
help (depends on how long your hair is), go ahead and do that. Can't hurt
(as long as no one pats you on the head).

By the way, (I'm sure this has been said at some point, but I'll say it
again) the expression "pin money" dates from this era. Straight pins were
relatively expensive, but they were necessary to hold headdresses together,
so some women got an allowance from their husband or father to buy them,
thus "pin money."

There is a painting that very clearly shows straight pins in a headdress
(later than the period discussed above, as there weren't many portrait
paintings done before the 13th century), but after much searching, I can't
find it! Does anyone know the one I'm thinking of??? A redrawing of Van
der Weyden's "Portrait of a Young Woman" (1435) in Blanche Payne's _History
of Costume_ suggests a straight pin. It's on page 242 of my edition (fig.
259), if anyone wants to look it up.

Cheers again!
Melanie Schuessler
[email protected]
------------------------------------------------------------------------------
Date: Tue, 1 Jul 1997 10:08:47 -1000
From: Ninni M Pettersson
Subject: Re: H-COST: Re: veils and wimples

-Poster: Ninni M Pettersson

At 16.28 +0100 97-07-01, Melanie Schuessler wrote:

>There is a painting that very clearly shows straight pins in a headdress
>(later than the period discussed above, as there weren't many portrait
>paintings done before the 13th century), but after much searching, I can't
>find it! Does anyone know the one I'm thinking of??? A redrawing of Van
>der Weyden's "Portrait of a Young Woman" (1435) in Blanche Payne's _History
>of Costume_ suggests a straight pin. It's on page 242 of my edition (fig.
>259), if anyone wants to look it up.

Perhaps you're thinking of the painting of a young woman attributed to
Robert Campin, from sometime late 14th - early 15th century? (I don't know
what it's called, the inferior Swedish book it's printed in doesn't list
such trivial things, but claims that it is located in the National Gallery
in London.) It shows a young woman completely swathed in several layers of
veil and wimple, and on her forehead you can clearly see two straight pins.

/Ninni Pettersson
------------------------------------------------------------------------------
Date: Wed, 2 Jul 1997 05:35:31 -1000
Subject: Re: H-COST: Re: veils and wimples
Sender: [email protected]

-Poster: [email protected]

In a message dated 97-07-02 02:11:21 EDT, [email protected] (Melanie
Schuessler) writes:

> There is a painting that very clearly shows straight pins in a headdress
> (later than the period discussed above, as there weren't many portrait
> paintings done before the 13th century), but after much searching, I can't
> find it! Does anyone know the one I'm thinking of??? A redrawing of Van
> der Weyden's "Portrait of a Young Woman" (1435) in Blanche Payne's
_History of Costume_ suggests a straight pin. It's on page 242 of my edition (fig. 259), if anyone wants to look it up.
>
The actual Van der Weyden (as opposed to a re-drawing) is reproduced in huge
closeup (of the face and immediate surroundings) on the cover of "The Art of
the Portrait" by Norbert Schneider (Taschen, 1994). There is definitely one
pin showing in that, with a little gold ball for the pin head. The whole
thing is reproduced rather smaller (but still in color) on page 40 of the
same book. You can still see several straight pins creating the elaborate
drape to the headdress. (The same page includes the other van der Weyden of
the lady (1465) with the black gown and red belt, and a transparent veil
pinned to her hair over a black caul.

MaggiRos
------------------------------------------------------------------------------
Date: Wed, 2 Jul 1997 06:16:46 -1000
Subject: H-COST: c15th Veils & Pins - online pictures

-Poster: [email protected]

Dear All

Melanie Schuessler wrote:

>There is a painting that very clearly shows straight pins in a headdress
>(later than the period discussed above, ...

>... Does anyone know the one I'm thinking of??? an

Melanie one of these may be what you were thinking of ...
http://www.yawp.com/cjackson/weyden/p-weyden12.htm
or
http://www.yawp.com/cjackson/weyden/p-weyden16.htm

...which both show potraits of Young women in fashionable dress with
a truncated hennin & veil pinned in place.

> Perhaps you're thinking of the painting of a young woman attributed to
> Robert Campin, from sometime late 14th - early 15th century?

Ninni,
I think the picture you are referring to by Campin (Master of Femalle)
is online at ...
http://www.yawp.com/cjackson/c/p-campin5.htm
You can clearly see the pins going across the top of the kerchief
Campin was born in th c14th but ther pictures are definitely c15th

As a by-the-way the online pics come from the excellent CJFA Virtual
Art Museum maintained by Carol Gerten-Jackson

Cheers
Dave

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