15th Century

Das Grabmal Kaiser Friedrichs III. (1415–1493) im Wiener Stephansdom ist eines der bedeutendsten Kunstwerke des Spätmittelalters in Österreich. Durch eine interessante Stilvielfalt gekennzeichnet ist es zu einem einzigartigen Memorialdenkmal geworden, das in seiner Gesamtheit jedoch bisher kaum erforscht wurde. Lediglich die Deckplatte, die eines der wenigen archivalisch gesicherten Werke des berühmten Bildhauers Niklas Gerhaert van Leyden darstellt, wurde immer wieder thematisiert.
Die 500. Wiederkehr des Jahres 1517, in dem das Hochgrab endgültig fertiggestellt wurde, bot den Anlass für eine von Grund auf neue Analyse nach modernen methodischen Ansätzen. Die Herausgeberin hat eine Expertengruppe von Historikern, Kunsthistorikern, Epigraphikern, Heraldikern und Theologen versammelt, die im vorliegenden, opulent ausgestatteten und reich bebilderten Band eine wissenschaftliche Neubewertung dieses singulären Monuments vorlegen.

In Lengberg Castle, East Tyrol, a perplexing textile fragment made of humble fabric but with exquisite detail was found beneath the floorboards among thousands of objects. It is of white linen cloth with a variety of decorative elements in linen thread. These decorative elements include needlelace, loop braids, and most strikingly, sprang. The complex tree of life pattern of the sprang suggests this is a noteworthy garment. It was meant to be seen.
Since the original function of this textile could not be determined with certainty by merely investigating the extant garment, a reconstruction was attempted in order to produce a copy with which wearer trials could be conducted. Thanks to a grant from the Janet Arnold Foundation, new light can now be shed on this mysterious textile, and how it was worn. After frustrating failed attempts, a surprising solution was determined: the textile is headwear.

Note: Parts of this article will go into a chapter of a book (work in progress) on the reconstruction of the garment fragments from Lengberg Castle. Complete with cuts and patterns. Therefore you are welcomed to comment on the article and how helpful (or unhelpful) you find the instructions, cuts and patterns, especially if you want to make such a headdress for yourself.

This article was uploaded on 12 January 2019, to commemorate the 500th anniversary of the death of Emperor Maximilian I, who died on 12 January 1519.

Among the textile fragments discovered at Lengberg Castle in East-Tyrol, Austria, were a few almost completely preserved pieces of garments such as several nearly complete linen bras and fragments of possibly skirted bodices. Before the finds at Lengberg Castle, no physical evidence of supportive undergarments, so-called ‘breast bags’, had been discovered, although garments of this type were mentioned in several written sources of the time. There were also fragments of linen linings for three gowns: two for a small girl (one of blue wool and one of red silk) and one blue woollen example for an adult woman. These linen linings are most noteworthy for the techniques applied to their tailoring.
The Lengberg lining fragments demonstrate that 15th century tailors had a highly-advanced understanding of the bias properties of fabrics, far beyond anything expected, and not to be duplicated in fashion until the 1930s. In the creation of the fashionable 15th century gowns with under-bust pleating, the tailors used the bias collapse and drape of the fabrics to provide the shaping around the individual breasts, instead of using straight grain panels and gores, as is seen in the Greenland finds – a dramatic revolution in tailoring techniques. While this design augmented the shape of the breasts, it provided no support, and thus separate supportive garments were worn under the gown to support, shape and lift the breast. With the transition to Italian style garments at the beginning of the 16th century, these bias techniques of women’s tailoring were no longer needed, and thus were lost, with bias-cut hose and stockings being the only remnant of this tailoring revolution.
The aim of this research is to draw a correlation between supportive undergarments and the tailoring of the gowns worn over them. The bra allows for looser tailoring of the gown, which accentuates two separate breasts, as opposed to supportive kirtles which result in a monobosom (one curving mound). One garment requires the other. The three gowns, the supportive underwear and smocks are under reconstruction to better understand the tailoring methods used, how the single garments worked individually and as layers (supportive undergarment – smock – gown), and contribute to the study of female apparel of the second half of the 15th century.

Among the more than 2700 textile fragments discovered in 2008 at Lengberg Castle in East‐Tyrol, Austria, were a few almost completely preserved pieces of garments. Amid them were several nearly complete linen bras and fragments of possibly skirted corselettes, some elaborately decorated with plaited borders and sprang worked parts. The fragments of three gowns, two dresses of a small girl (one of blue wool and one of red silk) and one blue woolen dress of an adult woman, all three with linen lining, are most noteworthy for the techniques applied in their tailoring. Thanks to the support of the Janet Arnold Award it was possible to study the undergarments in detail and attempt their reconstruction. In order to complete a female apparel of the second half of the 15 th century the three gowns and some of the shirts are too being reconstructed. Up till now, the reconstruction paradigm for 15th century German and Austrian Gothic garments has been based on the Greenland finds, gowns made from panels and gores, with a sudden transition to Italian style garments with shaped panels around 1500. However, when this method of panels and gores was used to create Gothic style gowns, all reconstructive efforts have failed. This is because the use of bias grain in garments was not just limited to men's hose in the Gothic Era, but also included women's gowns, as demonstrated by the 15th century dress linings found at Lengberg. The Lengberg dress lining remnants demonstrate that the tailors had a highly advanced understanding of the bias properties of the fabrics that they worked with, far beyond anything expected, and not to be duplicated in fashion until the 1930s. Instead of using straight grain panels and gores, the tailors used the bias collapse and drape of the fabrics to provide the shaping around the individual breast mounds, which the fashion required, a dramatic revolution in tailoring techniques. While this design augmented the shape of the breasts, it provided no support, and thus separate supportive garments were worn under the gown to support, shape and lift the breast. With the transition to Italian style garments at the beginning of the 16th century, these bias techniques of women's tailoring were lost, with bias cut hose and stockings being the only remnant of this tailoring revolution. The intention of this paper is to disseminate the results of the reconstruction project to the scientific community as well as to the broader public.

Corpus Draculianum reunește întreaga bază documentară publicată și nepublicată a izvoarelor de orice gen de la și despre cel mai cunoscut român pe plan internațional, voievodul Vlad III Țepeș Drăculea (cca. 1431–1476), din perioada 1437-1650. Nu mai puțin de 20% dintre aceste izvoare prezintă surse necunoscute până acum cercetării românești și internaționale, ceea ce face ca fiecare volum să aducă, fără excepție, noutăți semnificative. Textele reunite aici și editate critic cuprind 17 limbi europene și orientale, traduse și comentate pe larg în română, acoperind o arie geografică vastă ce merge din Peninsula Iberica până în inima Imperiului Safavid din Persia și din nordul Germaniei până în sudul Greciei.
Volumul de față cuprinde toate izvoarele provenite din cele mai de seama cancelarii regionale, precum cele din Transilvania, Ungaria, Polonia, Caffa, Moldova și Imperiul Otoman. La acestea se adaugă toate izvoarele cu origine în Europa sudică și apuseană, pornind din Italia și ajungând până în Austria, Germania și chiar Franța. O bună parte dintre cele 122 de documente sunt aduse pentru prima dată în atenția publicului și au potențialul de a elimina multe lacune din biografia voievodului. Având în vedere toate acestea, volumul abundă, în special în cea de-a doua sa parte, în imagini color ale documentelor originale.