![]() In order to display the textile to best advantage, this côte-hardie has no sleeves, but rather straight uncut panels hanging from the shoulder and trailing on the ground. Silk and gold textiles with intricate velvet weaves, made in Italy, were some of the greatest luxuries of the age. The painter took great care to depict her second côte-hardie, using two shades of blue to indicate a silk voided velvet (Fig. The fiancée in the scene also wears layered côte-hardies, the first painted with gold pigment to indicate a cloth-of-gold, woven with actual gold fibers on a silk foundation. Hanging from the elbow-length sleeves of the black côte-hardie are strips of fabric called tippets, that would trail behind the wearer and flutter when she moved (Van Buren and Wieck 318). One of the women picking flowers wears two layered côte-hardies, the first in cobalt blue with long fitted sleeves, and the second in black with sleeve and hemline borders in white. This alliance caused supporters of the Orléans branch of the family to be known as “Armagnacs.” The ladies depicted here wear luxurious and elaborate fashions. ![]() 2) represents an engagement in the French royal family, likely of Jean de Berry’s granddaughter Bonne d’Armagnac to his nephew, Charles Duke of Orléans, an event which took place in April 1410 (Van Buren and Weick 335). ![]() Both women are barefoot, having removed their hose their headgear consists of pieces of linen, draped around their heads to absorb perspiration and deflect the light of the sun. Although dyed textiles were no longer entirely unaffordable to the lower classes, (Piponnier and Mane 88) a peasant possessing a cobalt blue côte-hardie would likely save it for a special occasion. The woman on the right wears a deep cobalt blue côte-hardie with bright red laces, and her companion wears a delicate, lighter shade of blue. Other features, however, such as the low scoop necklines, reflect the power of fashion and the artists’ desire to make the painting as beautiful as possible by using the most expensive pigments. Their côte-hardies have short rather than full-length sleeves. These women have loosened the laces and raised the hemlines of their côte-hardies, tucking up the extra length over belts, in order to move more freely. The côte-hardie was a long dress with a fitted bodice and a voluminous skirt (Van Buren and Weick 302). We can see their chemises, the basic undergarment of undyed linen worn by all women (Boucher 445), which would normally be hidden under the next layer, the côte-hardie. The two women in the foreground have adapted their dress to their work and the heat of the day. Germain-des-Prés, on the left bank of the Seine. It depicts peasants raking hay in the fields that belonged to the Abbey of St. The most celebrated pages are the twelve calendar scenes where we see a range of figures and activities, from the labor of peasants to the favorite pastimes of aristocrats, with the Duke’s castles and other landmarks in the distance. Most of the book’s miniature paintings are the work of the Dutch Limbourg brothers (Paul, Jean and Herman), and are dated between 14 (Van Buren and Wieck 335). O ur best source for the fashions of this decade is Les Très Riches Heures du duc de Berry, a beautiful illuminated prayer book commissioned by Jean, Duke of Berry, the uncle of King Charles VI of France.
0 Comments
Leave a Reply. |