15 Th Cent Sleeves

8/11/2019 15 Th Cent Sleeves

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Will the Real Fifteenth Century Sleeve Please Stand Up?

Charlotte Johnson (Lady Mathilde Bourette)[email protected]

Atlantia Kingdom Arts and Science Festival

March, 2006


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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 15thcentury 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 15thcentury 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 14thand

early 15thcenturies, 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 theappearance that the entire under-dress was

of a much richer fabric.

During the mid-15thcentury, the

houppelande evolved into what is commonly

Fig. 1Mary of Burgundys Book ofHours; sterreichischeNationalbibliothek, Vienna; Illuminationon parchment; ca. 146780


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known as the v-neck, orBurgundiangown, 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 andrealistic 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

15thcentury, 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 point1. 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 thcentury 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

1Please see fig. 8 for an early example, Rogier van der WeydensDeposition.


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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.

ResultsIn 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.


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The Pin-On Sleeve

An extensive search of period artworks has revealed almost twenty instances of the

pin-on sleeve in 15thcentury artwork. This number would seem adequate to term this acommon 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. Thesedresses 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 fromHeures 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 15th

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 maybe a pin-on

sleeve, with a sewn-on hem of the same shade of blue. This uncertainty leaves this image

Fig. 3Heures de Marguerite dOrlans; BibliothqueNationale de France, Paris; Latin 1156 B, fol. 161v; 15thcent.


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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 theRohan 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. 4Grandes heures de Rohan;Bibliothque Nationale de France,Paris; Latin 9471, fol. 85.v; ca. mid-15thcent.

Fig. 5Birth of Mary; Master of the Life ofthe Virgin; Alte Pinakothek, Munich; ca.1460


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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. TheBirth of

Mary(fig. 5) depicts two women wearing pin-on sleeves while attending in a birthchamber. 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 thepants in that house, a popular way to depict

male/female role-reversal in the 15thcentury. 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. 6Henpecked Husband;Israhel van Meckenem; Lehrs

649; ca. 147580


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Fig. 7Braque Family Triptych (rightwing); Weyden, Rogier van der; Muse duLouvre, Paris; ca. 1450

Fig. 8Deposition; Weyden, Rogier vander; 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 public2.

2This idea has been tossed around costuming circles for several years, and was introduced and popularizedby Robin Netherton.


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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 woman3. 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

Depositionpainting 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

theDepositionpulled all of his figures directly from van der

Weyden4. 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).

3Grssinger, p. 34.4Fox, p. 129.

Fig. 9Seven Sacraments (central panel);Weyden, Rogier van der; KoninklijkMuseum voor Schone Kunsten, Antwerp;145550

Fig. 10Deposition;Master of the Legend ofSt. Catherine; Wallraf-Richartz-Museum,Cologne; ca. 14701480


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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 herfather, 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. 11Memling, Hans; The DonneTriptych; National Gallery, London; ca.1475

Fig. 12Memling, Hans; Triptych of theFamily Moreel; Groeninge Museum,Bruges; ca. 1484

5Grssinger, p. 33.


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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 FindSustenance at a Hermitage,Histoire de Charles Martel;J. Paul Getty Museum, LosAngeles; ca. 1460s

Fig. 14Les douze dames derhtorique; Montferrant;Bibliothque Nationale, Paris; MS.Fr. 1174, f. 29r; 15th c.

Fig. 15 BibliothqueNationale, 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 notinherently 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


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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 o f Pin on Sleev e Wearer s

Magdalene

Private Space

Barbara

Other

Fig. 16


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Even without taking the problem sleeves into

consideration there are many more depictions of asimple 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 15th

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.

Distribut ion of Sleeve Types without Problem

Subjects

Long

Short

Pin on

Ambiguous

Fig. 17

Fig. 18Last Judgment and theWise and Foolish Virgins;Staatliche Museen, Berlin;1450s and ca. 1480


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Fig. 19 shows an image like many in mid- to

late 15thcentury 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 isable 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. 19vrard dEspiniques,Lancelot Enlev Par Viviane;Bibliothque Nationale, Paris; MSFranais 113, fol. 156v; mid-to late15thcent.

Fig. 20 Weyden, Rogier van der; St JohnAltarpiece (left panel); Staatliche Museen,Berlin; 145560


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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 ofwork or heavy labor. Wearing it may be akin to a 24th

century person reenacting the late 20thcentury by

wearing a bustier to an office scenario.Fig. 21Memling, Hans;Advent and Triumph of Christ;Alte Pinakothek, Munich;1480


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Appendix:

These images are listed by source. For more details on the sources, please see thebibliography below. All images from the Bibliothque Nationale de France are listed inone subsection, though are broken out in the bibliography for ease of reference. The

website 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, Antiquitsjudaques; 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; MSFr 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. 28vGahari 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. 156vLancelot 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


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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; MSFr 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; FrstlichLeinningensche 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, StaatlicheMuseen; ca. 1450s

p. 377; Memling, Hans; The Virgin and Child with Saints and Donors (The Donne

Triptych); London, National Gallery; ca. 1478p. 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


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p. 311; Wauquelin, Jean; Chronicles of Hainault; Bibliothque Royale, Brussels; MS.9242-4; ca. 1447

p. 316; Wauquelin, Jean; Ystoire de Helayne; Bibliothque Royale, Brussels; MS.9967; ca. 1448

p. 327; Milot, Jean; 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

January 1;Livre des symples medichines, autrement dit Arboriste; BibliothqueNationale, Paris; MS. Fr. 9136, f. 344; 4th quarter, 15th c.

January 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.

June 13;Histoires des nobles princes de Hainaut;Jacques de Guise; BibliothqueMunicipale, Boulogne/s/Mer; MS. 149, tome 3, f. 119; second half, 15th c.

June 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, Lehrs649

Kemperdick

p. 13;Deposition; Rogier van der Weyden; Prado, Madrid; ca. 1435-1440


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p. 20;Nativity Triptych;Anonymous; Metropolitan Museum of Art, New York; ca.1460-70

p. 26; Trajan and Herkinbald Tapestry; Anonymous; Bernisches HistorichesMuseum, 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 Museumvoor 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, StaatlicheMuseen 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 ofCleves; 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 Dancingfrom The Hours of Anne de France; Jean Colombe; ca.1473


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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 thechevinage 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 ofGuillaume Lambert; Free Library of Philadelphia; ca. 1485

p. 107; Book of Hours for Sarum Use, Verionica with Her Veil; miniature insideclasp; 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; FreeLibrary 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; PhiladelphiaMuseum of Art; fol. 143; ca. 1440-1480


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Bibliography:

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Backhouse, Janet. The Illuminated Page: Ten Centuries of Manuscript Painting.

Bibliothque National, (1 January 2006)

Camille, Michael. The Medieval Art of Love. London: Harry N. Abrams, 1998.

Campbell, Lorne. The Fifteenth Century Netherlandish Paintings.London: NationalGallery Company Limited, 1998.

Davenport, Milla. The Book of Costume; New York: Crown Publishers, 1976

Flavius, Josphe.Antiquits judaques (traduction anonyme). Bibliothque Nationale deFrance, Franais 11, ; (1 January2006).

Flavius, Josphe.Antiquits judaques (traduction anonyme). Bibliothque Nationale deFrance, Franais 12, ; (1 January2006).

Fouquet, Jean. The Hours of Etienne Chevalier. Translated by Marianne Sinclair. NewYork: George Braziller, 1971.

Fox, Sally, ed. The Medieval Woman. Little, Brown and Company, 1985.

Grssinger, Christa. Picturing Women in Late Medieval and Renaissance Art.Manchester: Manchester University Press, 1997.

Kemperdick, Stephan.Masters of Netherlandish Art: Rogier van der Weyden. Cologne:Knemann Verlagsgesellschaft, 1999.

Landsberg, Sylvia. The Medieval Garden. London: British Museum Press.

Lefvre, Raoul.Histoires de Troyes. Bibliothque Nationale de France, Franais 59,; (1 January 2006).

Marks, Richard and Williamson, Paul, eds. Gothic Art for England, 1400-1547.London:Victoria and Albert Museum, 2003.

Ovid.Metamorphoseon libri XV. Bibliothque Nationale de France, Franais 137,; (1 January 2006).


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Pierce, Jr., Charles.Illuminated Manuscripts: Treasures of the Pierpont Morgan Library,New York.New York, Abbeville Press, 1998.

Quinte-Curce.Histoire d'Alexandre le Grand. Bibliothque Nationale de France, Franais

47, ; (1 January 2006).Scott, Margaret.A Visual History of Costume: The Fourteenth and Fifteenth Centuries.London: B. T. Batsford, 1986.

Tanis, James.Leaves of Gold: Manuscript Illumination from Philadelphia Collections.Philadelphia: Philadelphia Museum of Art, 2001.

Unknown.Histoire de Merlin. Bibliothque Nationale de France, Franais 91,; (1 January 2006).

Unknown.Histoire du saint Graal. Bibliothque Nationale de France, Franais 113,; (1 January 2006).

Unknown.Lancelot du Lac. Bibliothque Nationale de France, Franais 112,; (1 January 2006).

Unknown. Tristan de Lonois. Bibliothque Nationale de France, Franais 102,; (1 January 2006).



Unknown. Qute du saint Graal. Bibliothque Nationale de France, Franais 116,; (1 January 2006).

Acknowledgements

Thank you to Melanie Cozad and Kim Barker for pointing me in the direction of someuseful images.

Thank you to Brent Hanner for providing a large repository of high quality images of 15 thcentury art.

Thank you to my editorial readers who provided me with useful comments andconstructive feedback.

15 Th Cent Sleeves

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