Tompos Lilla: A dolmányszabás módosulása a 16. századtól a 18. századig. Ars Decorativa, 10. (1990). 1990. – 71-98:72. Radvánszky Béla: Magyar családélet és háztartás a XVI-XVII. században. I. (Reprint). Helikon Kiadó, Budapest, 1986. – 255. kép Historic Hungarian Costume From Budapest. Whitworth Art Gallery (Manchester), Manchester, 1979. – p. 7. Szerk.: Domanovszky Sándor: Magyr és törökös viseletformák a XVI–XVII. században. Magyar művelődéstörténet. III. A kereszténység védőbásttyája. Magyar Történelmi Társulat, Budapest, 1940. (Höllrigl József) Höllrigl József: Magyar viselettörténeti kállítás. Leíró lajstrom. Iparművészeti Múzeum, Budapest, 1938. – Nr. 144. Végh Gyula: Régi magyar könyvkötések Végh Gyula színes rajzaiban. Magyar Bibliophil Társaság, Budapest, 1936. – 23.1.
The gown has been dated to the 1520s based on the fabric weave, the style, and probable connection to Mary of Hungary and Louis II. This connection is not yet substantiated by physical, written, or visual evidence outside the aforementioned style and the potential for the garments to have been presented as gifts to the Mariazell shrine by the royal couple while on a pilgrimage around the time of their wedding.
Höllrigl József: Történelmi ruhák a Magyar Nemzeti Múzeumban, pg 208K. F. Dózsa: Mária királyné esküvői öltözéke az újabb kutatások tükrében
Rough dimensions of the gown are given by J. Höllrigl and V. Ember Mária as follows:
Waist 73 cm Skirt front is 107 cm Skirt back 124 cm Skirt hem 780 cm Sleeve (inc. cuff) 71 cm Neckline border 7cm Cuff 19cm Bodice length front 30cm (possibly to the join in the guarding rather than the shoulder?) Bodice back length 36cm (possibly to the join in the guarding rather than the shoulder?) Skirt hem strip 1.5cm
The gown is made of a green damask, the guarding a gold lampas.
The guarding is lined in a coarse linen canvas.
The skirt is approximately a circle made from four full widths of fabric (58cm) joined selvage to selvage, the sides extended by narrow matching pieces. It is lined from waist to nearly knee in white flannel wool, and lined fully in a coarse canvas with a woolen strip that protects the hem.
The bodice is not entirely symmetric according to K F Dózsa’s line art, with a strip of damask missing under the guarding on the left hand side. The bodice is lined in a green wool.
In total there are three pattern drafts of the gown.
The simplest was published by V. Ember Mária (1962, after Höllrigl?)
Simplified pattern diagram for the gown, V. Ember Mária: Folia archeologica 14 . pg 149
The most accurate appears to be K.F. Dózsa (1984.)
And a diagram that retains the principles of Dózsa while making them symmetric by N. Tarrant (1994.)
The chemise is made of 6 trapezoid panels 40cm at the tops, 60cm at the hem,
V. Ember Mária: Folia archeologica 14 . pg 147K. F. Dózsa: Mária királyné esküvői öltözéke az újabb kutatások tükrébenV. Ember Mária: Folia archeologica 14 . pg 149
The first published work is Höllrigl József, Történelmi ruhák a Magyar Nemzeti Múzeumban, Magyar Művészet 5, 1929, pgs 205-216
Höllrigl apparently had fuller notes than this article had room for including a pattern draft. This pattern draft was included in a much later article published in Folia archeologica 14
I have translated bluntly the information as it relates directly to the items.
The shirt: The women’s shirt has a curved, deep cut in the chest and back. . Where the very loose shirt is in contact with a strap wider than a fingertip lining the cut-out, the dense, tiny wrinkles on the front and back are equal to two fingers wide, embroidered with silver geometric embellishment, geometric embellished with a silver embroidery of semicircles embracing the wrinkles of the loose fingers at the wrist, converging into a narrow cuff.
The gown fabric: The material of the women’s dress is Italian green silk damask, the width of which corresponds to the width of the fabric of the mantle[? i.e. the corresponding mantle of Louis] , i.e. 58 cm. Pomegranates, surrounded by fantastic flowers pattern, alternate in rows, framed from late Gothic roses and combined with floral tendrils. The crosses of tendrils and their motives are surrounded by small crowns. I managed to find an almost identical replica of this fabric on two mass dresses at the Schnütgen-Museum in Cologne. 1 The only difference between the fabrics, which match exactly in the material, color and pattern, is that while in our case the floral tendrils connecting the pomegranates are simple, the Cologne fabrics are braided from two branches. 1 Franz Witte, Die lithurgisch Gewänder und kirchlichen Stickereien des Schniitgenmuseums Köln. Table 6. Kasel. Köln, zweite Hälfte des 15. Jahrh. and Table 29. Kasel, Suddeutschland, um 1500.
Gown cut and construction: The women’s dress is tight, close-fitting, with a short waist and a very rich, bouncing, bell-shaped skirt falling down in large folds. The only ornament on the bodice is a strap made of 7 cm wide gold-fiber fabric, which borders the curved cut-out of the back and, running over the shoulders, runs slightly in front from the front to the belt of the skirt, leaving the chest wide at a good width; and the long sleeves are stretched so long at their ends by a funnel-shaped handle made of the same gold cloth that only the tips of the fingers of the hand could be seen. It is very interesting to design the inside of the dress, which is not visible from the outside, so that the skirt can wrinkle as heavily as possible, it is lined with a fairly thick, strong fabric, for the same purpose the upper third of which is very thick white flannel. The base of the waist is a green cloth, a sleeve stripe made of the same material protects and borders the skirt. The dimensions of the dress, supplemented by the dimensions of the baby made for it, give an idea of its proportions, these are: 30 cm from front to neck to the belt, 36 cm at the back, ie the belt slopes backwards, its abundance is 73 cm, the length of the skirt is 107 cm, 124 cm, the lower circumference of the skirt is 780 cm, the length of the sleeves is 71 cm.
1e. vollständige Ausg., nach der HS. J … by Albrecht Dürer Publication date 1884 Collection europeanlibraries Digitizing sponsor Google Book from the collections of Oxford University Language German Book digitized by Google from the library of Oxford University and uploaded to the Internet Archive by user tpb.
The full text which includes expenses. This pattern is a bit different from a scan I’ve seen. The half circle diagram is correct but in the wrong place.
Renowacja powtórna sztuk krawieckich, 1747 r. – Archiwum Państwowe, Poznań, 1954 r.
https://szukajwarchiwach.pl/53/636/0/23/253#tabJednostka Renowacja powtórna sztuk krawieckich – – 1747 wystawiona. [Statut cechowy 1581 i przerysowane sztuki mistrzowskie od 1628] Collection: 53/636/0 Cechy miasta Poznania » Series:: 23 Cech krawców (Poznań) » File/unit:: 253
This manuscript is a copy from 1747 and conatins statutes from 1581 and patterns from 1628- these may have been copied directly but I cannot confirm.
This manual does not appear to be scanned but four plates can be found in two documents:
Title : Le Tailleur sincère, contenant ce qu’il faut observer pour bien tracer, couper et assembler toutes les principales pièces qui se font dans la profession de tailleur, par le sieur B. Boullay Author : Boullay, Benoît. Auteur du texte Publisher : A. de Raffle (Paris) Publication date : 1671 Type : textType : monographie impriméeLanguage : frenchLanguage : françaisFormat : In-8° , XII-94 p., portr.Format : Nombre total de vues : 112Description : Contient une table des matièresDescription : Avec mode texteRights : public domainIdentifier : ark:/12148/bpt6k58176028Source : Bibliothèque nationale de France, département Littérature et art, V-29414 Relationship : http://catalogue.bnf.fr/ark:/12148/cb301427103 Provenance : Bibliothèque nationale de France Date of online availability : 15/03/2010
Includes a “camisolle et pantalon” which is basically.. a bodysuit. There is an extant striped velvet example from I think the 15thC so this is a really fascinating book!
23 Meisterstückbuch des Schneiderhandwerks Nittenau, 17. Jahrhundert Handschrift, 6 Bl., Papier, Feder, Tinte, geschlossen H. 23 cm, B. 17 cm, aufgeschlagen fol. 5v/6r: Mantel und Wams der Bürgersfrau, Bauernrock, Kleid der Bauernbraut
I have roughly translated this and tried to make it easier to read:
23 Meisterstückbuch des Schneiderhandwerks Nittenau, 17th century Manuscript, 6 sheets, paper, quill, ink, closed H. 23 cm, W 17 cm, opened fol. 5v / 6r: coat and jerkin of the citizen woman, peasant skirt, dress of the farmer bride HA, WK Nittenau, tailor 1682 Cross-sectional drawings are “models” of garments.
Early examples can be found in the masterpiece books of the tailoring industry from the 16th and 17th centuries with exam papers to obtain the master’s degree.
In a hierarchical hierarchy, they show greatly reduced cuts of ecclesiastical robes, followed by men’s and women’s clothing for nobility, citizens, peasants and servants.
Inscriptions name the garments and their individual parts as well as dimensions, materials and quantities. The cuts are positioned on webs in the respective fabric widths and also served as a guide to economic trimming. For cutting one used original sized cuts.
The tailor constructed them according to the customer measurements taken with paper strips with Elle and compass and transferred them with chalk or soap on the fabric.
In addition, patterns of linen were in use, and at the latest in the late 17th century, one worked already with paper cuts.
The pattern book of the tailors of Nittenau (Upper Palatinate) was created when they were asked to set their masterpieces. They asked for the help of the tailors from the Bruck, seven kilometers away, who told them their own masterpieces in the booklet with the inscription “SchneiderInnung / Nittenau” by another hand.
The year “1600” was later corrected to “1608” on the title, another dating at the end of the dedication on the last page is no longer clearly legible (16 [00 ligiert?] 2). The clothes on display date back to the first half of the 17th century.
The andwerk books are important sources of historical clothing research, however, the long-term masterpieces often lagged behind the current fashions.
The following references that discuss this document are in their original language so as to be able to track them
-JZS Lit.: Gustav von Bezold: Ein schnittmusterbuch aus dem 17. Jahrhundert. In: Mitteilungen aus dem Germanischen Nationalmuseum 1898,
– Johannes Pietsch: Das Schneiderhandwerk im 17. Jahrhundert. In: Johannes Pietsch, Karen Stolleis: Kölner Patrizier- und Bürgerkleidung des 17. Jahrhunderts. Die Kostümsammlung Hüpsch im Hessischen
Landesmuseum Darmstadt (Riggisberger Berichte 15). Riggisberg
2008, S. 59–125, bes. 66–68.
Title Geometria Y Trazas Pertenecientes Al Oficio De Sastres Publisher Alonso Perez, 1640 Original from Austrian National Library Digitized 16 Oct 2013
Title Geometria y trazas pertenecientes al oficio de sastres [Texto impreso] : donde se contiene el modo y orden de cortar todo genero de vestidos … / escritas por Martin de Anduxar … Author Andújar, Martín de Pérez, Alonso (ca. 1560-1647) – ed. Imprenta del Reino (Madrid) Date 1640 Edition En Madrid : en la Imprenta del ReynoTypeLibroPhysical description[1], 10, [1], 67 h. : il.; Fol. Call number R/2493 PID bdh0000178274DescriptionSign.: [ ]±1÷, a±11÷, A -H±8÷, I -L±1÷ Port. con orla tip. Grabs. xil. en A÷1±, H÷8±, I÷1±, K÷1± y L÷1±, las tres últimas son h. pleg.
Absolutely incredible range of garments and varying elements.
Geometria y traça perteneciente al oficio de sastres :donde se contiene el modo y orden de cortar todo genero de vestidos españoles y algunos franceses y turcos… / por Francisco de la Rocha Burguen… Author Rocha Burguen, Francisco Mey, Pedro Patricio (fl. 1582-1623) – impresor Date 1618
El libro Llibre de Geometría del ofici de sastres donde se han de tragar y tallar los demes géneros de Tobes, del Principat de Catalunya y Comptats de Rofello y Cerdenya, es una obra de Baltasar Segovia, sastre oriundo de la villa de Perpiñán, que compone en dicha localidad^’^, pero que escribe en lengua catalana por ser en Barcelona donde ejercería el oficio. Impresa por la Compañía de Jesús en la estampa de Esteve Libreros de Barcelona el año 1617, la obra sale a la luz un año antes que la de F. de la Rocha (1618). COPIA MANUSCRITA EN MUY BUEN ESTADO VER MAS FOTOS
This book was published one year before the printed work of Rocha/Burguen. Whoever purchased this book has quite a treasure and I hope there will eventually be more information.
Teil einer Handschrift aus 55 handgeschr. Bl. (inkl. Titel) mit 44 Schnittmustern und 20 meist kolor. Kostümfigurinen in Federzeichnung, Einband aus Pergamenthandschrift
While there is no persistent url for the full collection the entire book is freely available on the Staatliche Muzeen zu Berlin site.
Of particular interest is the use of dotted lines at the waist of gowns assumed to be full length- my observation of dotted lines in other tailors manuals is that it could be an optional cutting line ( body seams of Jubon) or folds (on a few jubon sleeves.) It is of interest th
This book is however perhaps the easiest to “read” of all the extant manuals of this era due to the use of lines to illustrate trimmings and of the use of a colour wash for waste fabric.
Author: Katherine Barich; Marion McNealy Publisher: Kennewick Nadel und Faden Press 2015 Edition/Format: Print book : EnglishView all editions and formats
http://bdh.bne.es/bnesearch/detalle/bdh0000178273 Libro de geometria, pratica y traça [Texto impreso] :el qual trata de lo tocante al oficio de sastre, para saber pedir el paño, seda, o otra tela que sera menester para mucho genero de vestidos … y para saber como se han de cortar los tales vestidos, con otros muchos secretos y curiosidades, tocantes a este arte / compuesto por Iuan de Alcega … Author Alcega, Juan de (fl. 1580) Drouy, Guillermo (fl. 1578-1599) – imp. Date 1589
Geometria y traça para el oficio de los sastres : para que sepan como an de cortar qualesquier generos de ropas, assi de seda, como de paño, tela de oro y de plata, lanilla, y rajeta batanada, y de otra qualquier tela, assi para hombres, como para mugeres, clerigos y frayles / compuesto y traçado por Diego el Freyle, natural de la ciudad de Granada, y vezino de la ciudad de Seuilla, examinado del dicho officio. Who: Arias y López Izquierdo … (94) Diaz, Fernando, 16th/17t … (94) Source Created or Published: 1588
Author: Katherine Barich; Marion McNealy Publisher: Kennewick Nadel und Faden Press 2015 Edition/Format: Print book : EnglishView all editions and formats
I have collected as many examples of extant tailoring and dressmaking books as I can to create a virtual timeline very easily accessed by the public.
The archive pages for the “historic guides” tag puts all posts into the order of the date the work was published.
Where there is a single source this is linked in the first paragraph so that readers may go directly to the document.
Where the book is found in parts the title is in the first paragraph and the links are to be found inside the blog post.
I have tried to create a primary image to illustrate what to expect from the book, some of these are images that are combined, some are screencaps of the book as archived, some are single landscape diagrams.
My hope is to drive traffic directly to these open access archives as they have been a vital part of my own understanding of the history of costume, and have allowed me to use these resources I never could otherwise access.
In some cases my images might be easier to pin, in which case I recommend pinning from the individual blog post rather than one of the archive pages as these will change as more books are linked.
Polish Tailor’s Cutting Guide from Germany, Breslau 1567, AC 1992.243.1.
https://collections.lacma.org/node/173816 Polish Tailor’s Cutting Guide Germany, Breslau, mid-16th century Ink on vellum Costume Council Fund (AC1992.243.1) Not currently on public view
Natomiast niesłychanie interesujące świadectwo przekazywania informacji z cechu do cechu wynika z korespondencji pomiędzy krawcami Wrocławia i Bytomia zachowanej z 1567 r. Rękopis trafił do Los Angeles County Museum of Art. Anna Berdecka odczytała trudny polski tekst kopii przysłanej przez kuratora Edwarda Maedera w 1992 г., a ja zrobiłam uwagi fachowe. Będzie on zapewne wydany w Stanach Zjednoczonych. Można jednak tu poda ogólny opis najważniejszych informacji i wykrojów. Najpierw podano dane o ilości tkanin przeznaczonych na te stroje z podkreśleniem, że sukno „ma bicz stąpione”. Przysłano dziewię wykrojów. Na ornat przeznaczano 9 miar aksamitu, na dwie dalmatyki 16 miar tegoż, na płaszcz kapłański „czo w nym kadza” (kapa) 11 miar. Inne stroje były z sukna: kapłańska szata wymagała 9 miar lundyszu, „żeński płaszcz” tyle tej tkaniny; był to wykrój z półkola. Ubiór „ku polowaniu” wymagał cztery miary sukna machelskiego (czyli pochodzącego z Niderlandów), był to krój wamsa z krótkimi bufiastymi spodniami. „Formańska kythla” miała mie długoś 6 ćwierci i szyto j z ośmiu miar barchanu. „Kukla rajtarska” była obszernym, zachodzącym na plecy kapturem i wymagała pół miary lundyszu, albo miar sukna stępowanego. Ostatnia sztuka to „nastolka” czyli okrycie na siodło wykonane z czterech miar lundyszu. 25
25 Opisywany rękopis jest własnością Los Angeles County Museum of Art i mam nadzieję, że będzie tam w całości opublikowany wraz z opisywanymi wykrojami. Tu mogłam jedynie podać dane z własnych i dr Anny Berdeckiej zamówionych przez tę instytucję ustaleń.
An extremely interesting testimony of the transfer of information from guild to guild results from correspondence between tailors of Wrocław and Bytom preserved from 1567. The manuscript went to the Los Angeles County Museum of Art. Anna Berdecka read the difficult Polish text of the copy sent by curator Edward Maeder in 1992 and I made professional comments. It will probably be released in the United States. However, you can give a general description of the most important information and patterns here. First, data on the amount of fabrics intended for these outfits was given, emphasizing that the cloth “has a scuffed whip”. Nine patterns were sent. The chasuble was allocated 9 measures of velvet, two dalmatics 16 measures of the same, for the priest’s cloak “the foremost vat” (capa ) 11 measures Other costumes were made of cloth: the priest’s robe required 9 measures of lundsz, the “female coat” so much of the fabric; it was a semi-circle pattern. The garment “for hunting” required four measures of Machel cloth (that is, from the Netherlands), it was a Wams a cut with short puffy pants. “Forman’s kythla” was six-quarter long and sewn from eight measures of barchan. “Kukla rajtarska” was a voluminous hood overlapping the back and required half a measure of lundysz, or a measure of blunt cloth. The last piece is a “nastolka” or a saddle cover made of four measures of lundyszu.
25 This manuscript is owned by the Los Angeles County Museum of Art and I hope that it will be published in its entirety together with the described patterns. Here, I could only provide data from my own and Dr. Anna Berdecka’s findings ordered by this institution.
Hopefully interest in this document may help bring some more of these notes to the public.
Several sketches taken from a viewing of the book can be found at the following address:
This very important article includes a few scans of several tailor books including: Nidermayr, 1545, Innsbruck, Tiroler Landesmuseum Ferdinandeum F.B. 4240
The scans are cited as “aus der Schneider Mattery von 1566.” This date appears on one of the plates but this section is dated as 1568 in Drei Schnittbücher.
Author: Katherine Barich; Marion McNealy Publisher: Kennewick Nadel und Faden Press 2015 Edition/Format: Print book : EnglishView all editions and formats
http://www.digishelf.de/objekt/77488794X/1/ Structure type: Monograph Collection:Kunstbibliothek Berlin URN:urn:nbn:de:gbv:601-3222 Title:Meisterstückbuch der Schneiderzunft zu Schwabach gefertigt von Joh. Georg Schuster Publicationplace:Berlin Publisher:null Ausgabebezeichnung:[Electronic ed.] Size:2° Persistente Url:http://www.digishelf.de/piresolver?id=77488794X Structure type:Cover Collection:Kunstbibliothek Berlin
Completely fabulous full scan.
It appears Karl Kohler used this book in his History of Costume as a basis for some of his text and pattern diagrams. Compare the following to the above image.
A tailor’s book : from the Fondazione Querini Stampalia in Venice Author: Alessandra Mottola Molfino; Istituto di studi rinascimentali (Ferrara, Italy); Fondazione scientifica Querini Stampalia. Publisher: Modena, Italy : Edizioni Panini, [1987] Edition/Format: Print book : Biography : EnglishView all editions and formats
