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This document examines depictions of sleeves in 15th century artwork to determine how common the "pin-on sleeve" fashion was. After analyzing 115 images showing 178 women in fitted kirtles, the author finds that 80% depicted long sleeves, 8% showed short sleeves over a smock or long sleeves, 1% had ambiguous sleeves, and 11% appeared to have pin-on sleeves. However, upon closer examination, many of the purported pin-on sleeve depictions were ambiguous or showed women in private/undressed settings, leaving only a few clear examples of pin-on sleeves being worn in public. The author thus questions whether pin-on sleeves were truly as widespread a fashion as often believed.
This document examines depictions of sleeves in 15th century artwork to determine how common the "pin-on sleeve" fashion was. After analyzing 115 images showing 178 women in fitted kirtles, the author finds that 80% depicted long sleeves, 8% showed short sleeves over a smock or long sleeves, 1% had ambiguous sleeves, and 11% appeared to have pin-on sleeves. However, upon closer examination, many of the purported pin-on sleeve depictions were ambiguous or showed women in private/undressed settings, leaving only a few clear examples of pin-on sleeves being worn in public. The author thus questions whether pin-on sleeves were truly as widespread a fashion as often believed.
This document examines depictions of sleeves in 15th century artwork to determine how common the "pin-on sleeve" fashion was. After analyzing 115 images showing 178 women in fitted kirtles, the author finds that 80% depicted long sleeves, 8% showed short sleeves over a smock or long sleeves, 1% had ambiguous sleeves, and 11% appeared to have pin-on sleeves. However, upon closer examination, many of the purported pin-on sleeve depictions were ambiguous or showed women in private/undressed settings, leaving only a few clear examples of pin-on sleeves being worn in public. The author thus questions whether pin-on sleeves were truly as widespread a fashion as often believed.
Will the Real Fifteenth Century Sleeve Please Stand Up?
Charlotte Johnson (Lady Mathilde Bourette)
mathilde@mathildegirlgenius.com Atlantia Kingdom Arts and Science Festival March, 2006 1 Will the Real Fifteenth Century Sleeve Please Stand Up?
Charlotte Johnson (Lady Mathilde Bourette) Atlantia Kingdom Arts and Science Festival March, 2006
Introduction
In reenacting and SCA circles, the ubiquitous 15 th century womens casual outfit consists of a short-sleeved fitted kirtle, with long sleeves pinned on at the shoulders. While this fashion certainly existed to some extent in 15 th century Western Europe, was it as common as many modern-day reenactors and medieval recreationists believe? What was the most common fashion, as depicted in art? What options are there other than the pin-on sleeve?
The Evolution of the Overdress
To place the pin-on sleeve in context, we must look at the garments that accompany this dress feature. In the mid- to late 14 th and early 15 th centuries, a new, voluminous garment appeared called a houppelande. This garment was worn over a fitted under- dress, or kirtle, which sometimes shows in various illustrations at the sleeve, neck, or hem. The sleeves of early houppelandes were large, and sometimes open, so the under-sleeves were often visible. Presumably, one could wear decorative sleeves over a plain dress, to give the appearance that the entire under-dress was of a much richer fabric. During the mid-15 th century, the houppelande evolved into what is commonly
Fig. 1 Mary of Burgundys Book of Hours; sterreichische Nationalbibliothek, Vienna; Illumination on parchment; ca. 146780 2 known as the v-neck, or Burgundian gown, with the neckline becoming wider, the collar flattening, the sleeves tightening, and the waistline becoming trimmer. By 1470 to 1480, the sleeves were very snugly fitted (fig. 1). It is likely that it would have been very uncomfortable to wear this gown over pinned-on sleeves, and unnecessary, as the sleeves of the under-dress would not be visible at the tight wrists of the over-dress. The question remains: was a plain kirtle often worn with pin-on sleeves, without the houppelande, or as the century wore on, v-neck gown? If it was worn at all, was it as common a style as one might deduce from a general survey of modern reenactor wardrobes?
A Survey of Sleeve Types
With a perusal of period artwork, it is possible to determine what was common and realistic fashion in the mid- to late fifteenth century. While the v-neck gown was a much more popular fashion for almost all social levels, that is not the subject of this paper, and the data only focuses on the fitted gown, or kirtle. If the sample size of kirtles seems small, that is due to the more common nature of the v-necked gown in the mid- to late 15 th century, and not due to a small amount of artwork searched.
Sources
The data is focused on the mid- to late fifteenth century. The earliest well-known pin- on sleeve example is from ca. 1435, so that is the beginning point 1 . At the end of the century, there is an overlap of styles between the fitted kirtle, and the more straight-line early Tudor fashions, including their square necklines. If a particular image was from the 1480s or 90s, it was only included if the kirtle was more in the mid-15 th century style. Tudor-style kirtles were not included. Most of the images come from France or the Low Countries. English art of the 15 th
century is very rare, mostly depicting women in funeral brasses wearing v-neck gowns. German, Italian, and Spanish fashions are different enough that they would not apply to this study. The data includes a few German images, however, as there are examples of pin-on sleeves therein. While there are certainly additional examples of pin-on sleeves
1 Please see fig. 8 for an early example, Rogier van der Weydens Deposition. 3 that were not included, it also stands to reason that there are examples of long and short sleeves not included as well. The sample size is large enough to give a reasonably accurate picture of trends in art. For a complete listing of all of the images used, please see the appendix starting on page 15. The source pool does not include documentary evidence such as inventories and wills, due in part to the scope of this project, and the relevance of the information. If Agnes left two pairs of sleeves to her maid in her will, that would not tell us whether or not she ever wore the sleeves in public without another gown over them. Documentary evidence may be able to tell what items were worn and existed, but, in relation to the question at hand, not necessarily the social context in which they were worn.
Results
In 115 separate images, 178 women are wearing some form of fitted kirtle. Out of these, eighty percent (143) of the women are wearing a simple long sleeve, or a long sleeve visibly over another long sleeve. Eight percent (14) are wearing a short sleeve over a smock, or short sleeve over long. One percent (2) wear ambiguous sleeves in which there is no way to guess whether it belongs in the short-over-long, or pin-on category. Eleven percent (19) clearly wear pin-on sleeves. Fig. 2 illustrates the breakdown.
Distribution of Sleeve Types in Art Long Short Pin on Ambiguous
Fig. 2
It might seem from this illustration that, while certainly not the most common, the pin-on sleeve was easily a valid fashion for this time. Lets look closer at the pin-on sleeve examples, and see how they hold up to scrutiny. 4
The Pin-On Sleeve
An extensive search of period artworks has revealed almost twenty instances of the pin-on sleeve in 15 th century artwork. This number would seem adequate to term this a common fashion; however, there are inherent issues with most of these examples. The problem sleeves can be grouped into four categories for discussion: ambiguous images, private space, Mary Magdalene, Saint Barbara. Lastly, there are a few sleeves grouped into a fifth, non-problem category.
Ambiguous Images
The first category is populated with ambiguous representations of the sleeves. These dresses appear to have pin-on sleeves, and if the observer wishes to interpret the image as representing a pin-on sleeve, they may do so. Upon closer examination, there is no definite way to determine if the sleeve is pin-on, or a long- sleeved dress worn under a short-sleeved one. In some cases, the under-hem is visible and, if the same color as the sleeve, it is likely part of another fitted layer under the visible one. The detail from Heures de Marguerite dOrleans (fig. 3) is one such example. Some believe that the women in this illustration are wearing pin-on sleeves. The women depicted in the margins of this work are wearing various examples of everyday 15 th
century fashion. The woman on the far right is wearing a pink dress, and has blue sleeves. Are these sleeves pin-on? Notice that her hem is also blue, making it likely the artist was depicting a woman wearing a pink dress over a blue dress. Of course, it may be a pin-on sleeve, with a sewn-on hem of the same shade of blue. This uncertainty leaves this image Fig. 3 Heures de Marguerite dOrlans; Bibliothque Nationale de France, Paris; Latin 1156 B, fol. 161v; 15 th cent. 5 somewhat ambiguous, though for the purposes of the survey, the sleeves were considered short. The woman in the pink over-dress with red sleeves likewise has the same configuration of matching hem and sleeve. A third woman, on the far left, is wearing a blue dress and has white sleeves. These could either be pin-on sleeves, or she may be wearing a short-sleeved dress worn only over a long-sleeved linen smock. Again, this image cannot be used as reliable evidence of pin-on sleeves used in this context. The shepherdess in the Rohan Hours (fig. 4) is also ambiguous, though it seems more likely that her sleeves are pin-on. It appears that the sleeves on her pink dress are encased by the dark blue over sleeves. There also appears to be a white area on the inside of her left arm, which could be explained by a gap between a short sleeve and the pinned-on sleeve. When looking at these ambiguous dresses, one must look for other clues to help determine whether the sleeve may be pinned-on. Is there a hem showing in the same color as the sleeves? Is there any indication that there might be an under- dress? Is there any hint of smock showing between the sleeve and the rest of the dress? Does the sleeve come up in a point, indicating that it might be pinned, or is the color demarcation straight across?
Fig. 4 Grandes heures de Rohan; Bibliothque Nationale de France, Paris; Latin 9471, fol. 85.v; ca. mid- 15 th cent.
Fig. 5 Birth of Mary; Master of the Life of the Virgin; Alte Pinakothek, Munich; ca. 1460 6 Private Space
In two instances in the sample collection, the pin-on sleeve is shown on women who are occupied in private space, or in various states of dressing or undress. The Birth of Mary (fig. 5) depicts two women wearing pin-on sleeves while attending in a birth chamber. This is one of the few German images included in the survey, as it is a very clear example of the pin-on sleeve. The artist may have been using this particular state of undress to demonstrate that they were in a private space. The central figure even has one sleeve off, thus showing that she is not fully dressed in any sense. While this figure may be used as evidence that pin-on sleeves existed, this scene may not constitute evidence that it is appropriate to wear pin-on sleeves in the public domain. The next image under study is that of a woman in the process of abusing her husband with a distaff (fig. 6). This image also has its problems. It shows the woman putting on a pair of mens braies, or underwear, indicating that she is the one wearing the pants in that house, a popular way to depict male/female role-reversal in the 15 th century. The fact that she is in the process of dressing leaves doubt as to whether her pin-on sleeve would be covered by another gown, or is actually meant to be worn in public.
Mary Magdalene
There are several very famous examples of the pin-on sleeve, most notably those of Mary Magdalene painted by Rogier van der Weyden. Figs. 7 and 8 are oft-cited references for this fashion.
Fig. 6 Henpecked Husband; Israhel van Meckenem; Lehrs 649; ca. 147580 7 Fig. 7 Braque Family Triptych (right wing); Weyden, Rogier van der; Muse du Louvre, Paris; ca. 1450 Fig. 8 Deposition; Weyden, Rogier van der; Museo del Prado, Madrid; ca. 1435
Out of the nineteen pin-on sleeve images found, ten of them are of Mary Magdalene. Why was she so often depicted dressed in this manner? What was so special about Mary that might make this garment one of her unofficial symbols? One theory is that Mary, so distressed and overwrought at the death of Christ, was not fully dressed. Details of her dress, such as missed eyelet holes with the lace, the pin-on sleeves, the lack of an overdress, could all have been ways for artists to show her extreme distress. Her clothes might be acceptable for private wear, but somebody more in their right mind wouldnt wear such an outfit in public 2 .
2 This idea has been tossed around costuming circles for several years, and was introduced and popularized by Robin Netherton. 8 Though the Bible does not specifically mention the connection, popularly Mary was often known of as the sinner of Luke 7:3650, and was often referred to as a fallen woman 3 . Perhaps a woman of less repute might wear the garments of private space in public. For whatever the reasons, this combination of kirtle and pin-on sleeve is very often shown on Mary Magdalene, and with other clues, can be used as an identifying feature in Deposition scenes. This association with Mary doesnt lend credibility to the fashion being worn in public by the average woman, any more than one would expect an average woman to carry around an urn (one of Marys other well-known iconographic symbols). Figures 9 and 10 are two more examples. While the woman in the red dress is certainly Mary Magdalene, figure 10 is questionable. There is another Mary figure in the Deposition painting that is not shown here, leaving the woman in blue to be a mystery. Does that mean that a non- Mary figure is wearing possible pin-on sleeves? Fox points out in his work on Rogier van der Weyden that the artist of the Deposition pulled all of his figures directly from van der Weyden 4 . Even though she is not intended to be Mary Magdalene, she is still a copy; note the striking similarity between her and the Magdalene in the Seven Sacraments altarpiece (fig. 9).
3 Grssinger, p. 34. 4 Fox, p. 129.
Fig. 9 Seven Sacraments (central panel); Weyden, Rogier van der; Koninklijk Museum voor Schone Kunsten, Antwerp; 145550
Fig. 10 Deposition; Master of the Legend of St. Catherine; Wallraf- Richartz-Museum, Cologne; ca. 14701480 9 Saint Barbara
Saint Barbara (figs. 11 and 12) was another popular female saint during the Middle Ages, often depicted carrying the tower in which she was imprisoned as her identifying symbol. In the early Christian era, the legendary Barbara was locked in a tower by her father, to prevent her from seeing men, or to prevent her from learning Christian doctrine, depending on the legend. She converted to Christianity, and her father had her beheaded 5 . For most of her life, Barbara lived alone in that tower, never entering the public sphere. Considering that we have other examples of the sleeves in a private space, could the artist have been giving a nod to her captivity?
Fig. 11 Memling, Hans; The Donne Triptych; National Gallery, London; ca. 1475 Fig. 12 Memling, Hans; Triptych of the Family Moreel; Groeninge Museum, Bruges; ca. 1484
5 Grssinger, p. 33. 10 Non-Problem Sleeves
There are a few unambiguous images left of pin-on sleeves that dont have any apparent problems. For the purposes of the sleeve survey, the shepherdess in the Rohan Hours (fig. 4) is considered a pin-on sleeve.
Fig. 13 Lidet, Layset, Gerard and Bertha Find Sustenance at a Hermitage, Histoire de Charles Martel; J . Paul Getty Museum, Los Angeles; ca. 1460s Fig. 14 Les douze dames de rhtorique; Montferrant; Bibliothque Nationale, Paris; MS. Fr. 1174, f. 29r; 15th c. Fig. 15 Bibliothque Nationale, Paris; MS. Arsenal 5073, f. 336; 4th quarter, 15th c.
Figs. 1315 show women who are not saints, and who are not apparently in a private space, wearing a pin-on sleeve. Its possible that there is some reason for it, or it could have been a rare fashion. Fig. 15 does seem to be some sort of allegorical image, as one of the Twelve Women of Rhetoric, though without more background, she is not inherently a problem image. As an aside, note that they are all wearing a similar headdress. It may also be noted, however, that the shepherdess (fig. 4) and the women in figs. 14 and 15 are laboring and may be in some form of undress, as men of the period in 11 similar functions are often depicted wearing only shirts or doublets, without the proper gown, which is worn where they are considered fully-dressed.
A Survey of Sleeve Types Redux
What happens to the sleeve breakdown when images depicting Mary Magdalene, Saint Barbara, and women in private space are removed from consideration? When looking closer at the images, many pin-on sleeves fall in the categories described above. As shown in fig. 16, over half (10) of the images are of Mary Magdalene. Three of the women depicted are in a private space, or are in the process of dressing. There are two images of St. Barbara, which leaves four non-problem sleeve images.
If you remove the problem sleeves from the equation, the big picture changes. As shown in fig. 17, eighty-eight percent of the sleeves are long, nine percent are short, still only one percent are ambiguous, but now only two percent of the sleeves are pin-on. Distribution of Pin on Sleeve Wearers Magdalene Private Space Barbara Other
Fig. 16 12
Even without taking the problem sleeves into consideration there are many more depictions of a simple long sleeve. When removing the problem sleeves from the mix, the pin-on sleeve becomes a very small subset of the total. In either case, it appears that the norm is a plain long sleeve.
Long Sleeves and Layers in the 15 th Century
What other options are there in sleeve styles? Long sleeve or short, there are plenty of ways to wear sleeves aside from pin-on. Take into consideration that short sleeves are also not as common as long, and its possible to achieve a wide mix of styles within a particular group of women. Fig. 18 shows a simple long sleeve, worn over another long sleeve. The black barely visible at her cuffs is the same black showing below her hem. Presumably, she is wearing a long-sleeved dress over another long-sleeved dress. Distribution of Sleeve Types without Problem Subjects Long Short Pin on Ambiguous
Fig. 17
Fig. 18 Last Judgment and the Wise and Foolish Virgins; Staatliche Museen, Berlin; 1450s and ca. 1480 13 Fig. 19 shows an image like many in mid- to late 15 th century art. Viviane is wearing a plain long sleeve, and it is unclear whether she is wearing anything else under that layer. She could be wearing another dress under, or it could be a single layer. A single visible layer does seem to be the most common depiction of this time period. In the St. John Altarpiece, another woman wears a long sleeve over another long sleeve. The under sleeves are buttoned tight at the wrist, with at least four or five buttons. The long sleeves of the over-dress are not particularly tight, as she is able to push them up to her elbows.
Though short sleeves dont seem nearly as common as long, they certainly existed and were about as common as the pin-on sleeve, as shown by the survey above. In fig. 3, it appears that several of the women are wearing a short sleeve over a long sleeve, as the sleeve matches the hem of the under dress. Fig. 21 shows a woman who is simply wearing a short sleeve dress over a smock. Often, like the pin-on sleeve, short-sleeved dresses seem also to be worn in private space, or casual circumstances.
Fig. 19 vrard dEspiniques, Lancelot Enlev Par Viviane; Bibliothque Nationale, Paris; MS Franais 113, fol. 156v; mid-to late 15 th cent.
Fig. 20 Weyden, Rogier van der; St John Altarpiece (left panel); Staatliche Museen, Berlin; 145560 14
Summary
Whether one considers sleeves worn by Mary Magdalene, Saint Barbara, or in private space to be valid or not, certainly a long-sleeved dress is much more common than a pin-on sleeve outfit. The ratio is anywhere from 8:1, to 44:1, depending on which arguments are accepted. While the pin-on sleeve may have existed, it doesnt seem to have been normal public attire for most women. Even in the few examples we do have of a normal woman wearing it in a non- private space, she is generally undertaking some sort of work or heavy labor. Wearing it may be akin to a 24 th
century person reenacting the late 20 th century by wearing a bustier to an office scenario.
Fig. 21 Memling, Hans; Advent and Triumph of Christ; Alte Pinakothek, Munich; 1480 15 Appendix:
These images are listed by source. For more details on the sources, please see the bibliography below. All images from the Bibliothque Nationale de France are listed in one subsection, though are broken out in the bibliography for ease of reference. The website <http://gallica.bnf.fr>can be difficult to navigate for a non-French speaker.
Bibliothque Nationale
Mose et Dieu. Mose frappant le rocher; Antiquits judaques; MS Fr 11, Fol. 64 Chtiment de Cor; Antiquits judaques; MS Fr 11, Fol. 90 Rahab et les espions de Josu. Prise de Jricho. Samson et le lion, Antiquits judaques; MS Fr 12, Fol. 111 Onction de Sal. David dcapitant Goliath, Antiquits judaques; MS Fr 12, Fol. 135v Philosophe abus par un dmon, De civitate Dei; MS Fr 27, Fol. 259v Enlvement des Sabines, De civitate Dei; MS Fr 27, Fol. 28 Conception d'Alexandre. Naissance d'Alexandre, Histoire d'Alexandre le Grand; MS Fr 47, Fol. 16 Saturne l'oracle de Delphes. Naissance de Jupiter, Histoires de Troyes; MS Fr 59, Fol. 1 Confession de la mre de Merlin, Histoire de Merlin; MS Fr 91, Fol. 1 Mort du fils de Meliadus, Tristan de Lonois; MS Fr 102, Fol. 26v Mariage de Pellias et d'Arcade, Lancelot du Lac; MS Fr 112, Fol. 28v Gahari recevant le chapel, Lancelot du Lac; MS Fr 112, Fol. 45 Guenivre la Roche as Saisnes, Lancelot du Lac; MS Fr 112, Fol. 152v Tristan et Iseut buvant le philtre, Lancelot du Lac; MS Fr 112, Fol. 239 Naissance de Lancelot, Histoire du saint Graal; MS Fr 113, Fol. 1 Ban de Benoc, Bohort et leurs familles, Histoire du saint Graal; MS Fr 113, Fol. 150v Mort de Ban de Benoc, Histoire du saint Graal; MS Fr 113, Fol. 154v Lancelot enlev par Viviane, Lancelot du Lac; MS Fr 113, Fol. 156v Lancelot embrassant Guenivre, Lancelot du Lac; MS Fr 114, Fol. 244v Combat de Gauvain et de Gloadain, Lancelot du Lac; MS Fr 114, Fol. 280v Lancelot Soulevant Drian, Lancelot du Lac; MS Fr 114, Fol. 329 Gauvain prisonnier de Caradoc le Grant, Lancelot du Lac; MS Fr 114, Fol. 336v Gauvain et la demoiselle, Lancelot du Lac; MS Fr 115, Fol. 361v 16 Guenivre confrontant les anneaux, Lancelot du Lac; MS Fr 115, Fol. 370v Galinde devant sa nice, Lancelot du Lac; MS Fr 115, Fol. 386v Lancelot et Griffon del Mal Pas, Lancelot du Lac; MS Fr 115, Fol. 409 Lancelot et les enchanteresses, Lancelot du Lac; MS Fr 115, Fol. 456v Lancelot la carole magique, Lancelot du Lac; MS Fr 115, Fol. 476 Guenivre bannissant Lancelot, Lancelot du Lac; MS Fr 115, Fol. 568v Perceval prsent son frre, Qute du saint Graal; MS Fr 116, Fol. 593v Mort de Gaharis, Qute du saint Graal; MS Fr 116, Fol. 692v Naissance de Jupiter, ; MS Fr 137, Fol. 3v Tirsias prdisant la fin de Narcisse, Metamorphoseon libri XV; MS Fr 137, Fol. 35 Minyades mprisant Bacchus, Metamorphoseon libri XV; MS Fr 137, Fol. 42v Mde rajeunissant Aeson, Metamorphoseon libri XV; MS Fr 137, Fol. 91 Philomle, Procn et Tre, Metamorphoseon libri XV; MS Fr 137, Fol. 80v Mtamorphose des bergers lyciens, Metamorphoseon libri XV; MS Fr 137, Fol. 78v Arachn dfiant Minerve. Mtamorphose d'Arachn, Metamorphoseon libri XV; MS Fr 137, Fol. 73v Enlvement de Proserpine, Metamorphoseon libri XV; MS Fr 137, Fol. 68v Perse dlivrant Andromde, Metamorphoseon libri XV; MS Fr 137, Fol. 61
Camille
p. 93; A castle of unbridled female desire, The Housebook, fols 23v-24r; Frstlich Leinningensche Sammlungen Heimatismuseum; ca. 1475-85
Campbell
p. 39; Bouts, Dirk; The Entombment; London, National Gallery; ca. 1450-55 p. 306; Marmion, Simon; Scenes from the Life of Stain Bertin; Berlin, Staatliche Museen; ca. 1450s p. 377; Memling, Hans; The Virgin and Child with Saints and Donors (The Donne Triptych); London, National Gallery; ca. 1478 p. 421; Master of the Prado Redemption; Saint Helena discovering the True Cross; Madrid, private collection; mid-fifteenth century
Davenport
p. 309; Tapestry: Hawking; Hardwick Hall, Mansfield; ca. 1445 17 p. 311; Wauquelin, J ean; Chronicles of Hainault; Bibliothque Royale, Brussels; MS. 9242-4; ca. 1447 p. 316; Wauquelin, J ean; Ystoire de Helayne; Bibliothque Royale, Brussels; MS. 9967; ca. 1448 p. 327; Milot, J ean; Epitre dOthea; Bibliothque Royale, Brussels; MS. 9392; ca. 1461 p. 331; Froissart; Chronicles of England, France, and Spain; Bibliothque Nationale, Paris; MS. Fr. 2644; mid-15th century p. 339; Hours of Anne de Beaujou; Morgan Library; MS 667; ca. 1480
Fox
Cover; Heures de La Duchesse de Bourgogne, Harvesting Fruit; Muse Cond, Chantilly; ca. 1450 J anuary 1; Livre des symples medichines, autrement dit Arboriste; Bibliothque Nationale, Paris; MS. Fr. 9136, f. 344; 4th quarter, 15th c. J anuary 19; Livre des proprits des choses; Bibliothque Nationale, Paris; MS. Fr. 9140, f. 107; 4th quarter, 15th c. May 13 detail; Bibliothque Nationale, Paris; MS. Arsenal 5073, f. 336; 4th quarter, 15th c. J une 13; Histoires des nobles princes de Hainaut; J acques de Guise; Bibliothque Municipale, Boulogne/s/Mer; MS. 149, tome 3, f. 119; second half, 15th c. J une 19; Les douze dames de rhtorique; Montferrant; Bibliothque Nationale, Paris; MS. Fr. 1174, f. 29r; 15th c. August 7; Tractabus de herbis; Dioscorides; Miblioteca Estense, Modena; MS. Lat. 993, f. 142r; 15th c. September 13; Quart volume de histoire scolastique; J . du Ries; British Library, London; MS. Royal 15 Di, f. 18; 1470
Grssinger
p. 32; Moser, Lucas: Altarpiece of St Magdalene; Tiefenbronn, Parish Church; ca. 1432 p. 116; Henpecked Husband, Israhel van Meckenem, engraving, ca. 1475-80, Lehrs 649
Kemperdick
p. 13; Deposition; Rogier van der Weyden; Prado, Madrid; ca. 1435-1440 18 p. 20; Nativity Triptych; Anonymous; Metropolitan Museum of Art, New York; ca. 1460-70 p. 26; Trajan and Herkinbald Tapestry; Anonymous; Bernisches Historiches Museum, Berne; before 1461 p. 45; Abegg Triptych; Workshop of Rogier van der Weyden; Abegg-Stiftung, Riggisberg near Berne; ca. 1445 p. 47; Seven Sacraments Altarpiece; Rogier van der Weyden; Koninklijk Museum voor Schone Kunsten, Antwerp; ca. 1445-50 p. 51; Crucifixion; Workshop or circle of Rogier van der Weyden; Gemldegalerie, Staatliche Museen zu Berlin; ca. 1440-50 p. 70; Last Judgment, and the Wise and Foolish Virgins; Anonymous; Gemldegalerie, Staatliche Museen zu Berlin; ca. 1450-60 p. 74; Braque Triptych; Rogier van der Weyden; Louvre, Paris; ca. 1450 p. 81; Columba Altarpiece; Rogier van der Weyden; Staatsgemldesammlunger, Munich; ca. 1455 p. 93; Deposition; Anonymous; Staatsgemldesammlunger, Munich; ca. 1460 p. 97; Hunting Stags and Herons; Victoria and Albert Museum, London; ca. 1440 p. 113; St. John Altarpiece; Rogier van der Weyden; Gemldegalerie, Staatliche Museen zu Berlin; ca. 1455-60 p. 128; Deposition; Master of the Legend of St. Catherine; Wallraf-Richartz-Museum, Cologne; ca. 1470-80
Marks and Williamson
p. 291; The Buxton Achievement; Strangers Hall, Norwich; ca. 1470
Pierce
p. 103; St. Agatha, fromThe Hours of Catherine of Cleves; Master of Catherine of Cleves; ca. 1440 p. 125; Anger; Robinet Testard; ca. 1475 p. 126; Avarice; Robinet Testard; ca. 1475 p. 127; Gluttony; Robinet Testard; ca. 1475 p. 128; Sloth; Robinet Testard; ca. 1475 p. 128; Lust; Robinet Testard; ca. 1475 p. 181; City Youths Dancing from The Hours of Anne de France; J ean Colombe; ca. 1473 19 p. 193; Livre des prouffis champestres et ruraux; Master of Margaret of York; ca. 1470
Scott
p. 87; The Story of Patient Griselda, Master of Mansel, post 1451
Sinclair
Plate 2; The Adoration of the Magi Plate 7; The Visitation Plate 8; The Nativity Plate 16; The Road to Calvary Plate 19; The Piet Plate 29; The Birth of Saint John the Baptist Plate 39; St. Veranus Curing the Insane Plate 41; The Magdalene Wiping Christ's Feet Plate 44; St. Anne and the Three Marys
Tanis
p. 77; Book of Hours for Rouen Use, The Visitation; Workshop of the Master of the chevinage de Rouen; The Library Company of Philadelphia; MS 5 fol. 39v; ca. 1470 p. 79; Book of Hours for Rome Use, Nativity; Master of the Collins Hours; Philadelphia Museum of Art; fols. 73v-74; ca. 1445-50 p. 84; Leaf From a Book of Hours, Annunciation to the Shepherds; Master of Guillaume Lambert; Free Library of Philadelphia; ca. 1485 p. 107; Book of Hours for Sarum Use, Verionica with Her Veil; miniature inside clasp; Free Library of Philadelphia; ca. 1460-70 p. 138; Raising of Lazarus; Free Library of Philadelphia; ca. 1490-1500 p. 162; Leaf from an Antiphonary; Historiated Initial H with the Nativity; Free Library of Philadelphia; ca. 1440 p. 211; Idleness and the Dreamer-Lover in the Garden of Pleasure, Roman de la Rose; Philadelphia Museum of Art; fol. 143; ca. 1440-1480 p. 214; Venus Aiming her Arrow at Fear and Shame, Roman de la Rose; Philadelphia Museum of Art; fol. 143; ca. 1440-1480
20 Bibliography:
Augustine, Saint. De civitate Dei. Translated by Raoul de Presles. Bibliothque Nationale de France, Franais 27, <http://gallica.bnf.fr/scripts/Notice.php?O=08100056>; (1 J anuary 2006).
Backhouse, J anet. The Illuminated Page: Ten Centuries of Manuscript Painting.
Camille, Michael. The Medieval Art of Love. London: Harry N. Abrams, 1998.
Campbell, Lorne. The Fifteenth Century Netherlandish Paintings. London: National Gallery Company Limited, 1998.
Davenport, Milla. The Book of Costume; New York: Crown Publishers, 1976
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Acknowledgements
Thank you to Melanie Cozad and Kim Barker for pointing me in the direction of some useful images.
Thank you to Brent Hanner for providing a large repository of high quality images of 15 th
century art.
Thank you to my editorial readers who provided me with useful comments and constructive feedback.