Dress accessories

The dissertation is a fundamental comprehensive research. According to archaeological and iconographic data the costume of the Chernyakhiv – Sîntana de Mureş Culture bearers that had not been systematically studied before was reconstructed. In particular the composition of burial equipment categories was determined on a basis of a representative sample of burials - the details of the outfit, their probable purpose by localization in burial complexes were defined; the difference in costume of different sex representatives was proved; changes in the costume of different chronological phases were observed; elements of the costume those were added by bearers of different ethno-cultural traditions into the general Chernyakhiv costume were found; by the results of sociological analysis of burials the potential of costume details as a social marker was determined; the preserved textile residues from the clothes were analyzed; according to analysis of iconographic data, possible prototypes and analogies of the costume of the culture bearers were found; the main scientific tendencies in the study of costume were determined by the results of paleocostumological literature review; the costume of the population of CSM culture was reconstructed and perspective directions for further researches were outlined.

À la fois familier et méconnu, l’éventail allie savoir-faire et création artistique. Accessoire du costume et objet d’art, soumis à la fugacité des modes, il se renouvelle sans cesse.

Importé d’Asie, au milieu des cargaisons d’épices et de soies, l’éventail est adopté en France sous le règne de Louis XIV. Sous l’impulsion d’une corporation spécifique, celle des éventaillistes, Paris devient la capitale européenne de l’éventail aux XVIIe et XVIIIe siècles.

Objet de luxe et de virtuosité, il se pare de matières raffinées et la grande diversité de ses décors suit la production des peintres à la mode. Tout peut y être représenté : la mythologie, l’histoire antique et religieuse, les scènes galantes, les faits d’actualité, comme l’envol du ballon, les victoires militaires, les naissances et les mariages royaux…

Les soixante-neuf éventails reproduits dans cet ouvrage, souvent inédits, offrent une plongée exceptionnelle au coeur de l’histoire de France et de l’histoire du goût.

Les auteurs

Docteur en histoire de l’art et expert en éventails, Georgina Letourmy-Bordier a soutenu la première thèse en France consacrée aux éventails français des XVIIe et XVIIIe siècles. Passionnée par cet objet d’art, elle contribue à sa redécouverte grâce à des expositions et à des publications régulières.

Conservateur en chef du patrimoine, spécialiste de l’art français et italien du XVIIIe siècle, José de Los Llanos a dirigé le musée Cognacq-Jay de 2007 à 2012. Il est actuellement directeur du musée des Beaux-Arts de Bordeaux.

Sommaire

- Le siècle d’or de l’éventail - Du Roi-Soleil à Marie-Antoinette
- Watteau, Boucher, Diderot et le cousin Pons - De la difficulté à apprécier des chefs-d’oeuvre anonymes
- Catalogue
- Glossaire - Bibliographie

https://dai.ly/x1ae37h

Here is only table of contents, introduction and few pages of catalogue. Full, paper version available here: https://ypp.com.pl/en/jakub-sawicki-ang

Nowy Targ Square is an important place on the map of medieval Wrocław, which is one of the most thoroughly studied medieval cities in modern Poland. In 2010–12, rescue excavations covering approximately 0,4 ha were conducted, recording more than 4 m of stratified deposits. 

In the course of the fieldwork 515 artefacts, made of both non-ferrous metals as well as iron, which can be attributed to dress accessories were discovered. It is one of the largest collections of this kind of artefacts from this part of Europe.   

This book presents a full catalogue of finds with colour photographs from this interesting site. It covers brooches, buckles, strap ends, belt mounts as well as other similar items and presents their basic typology and information about production and ornamentation techniques. Artefacts are analysed in relation to the organization of space, routes, possible stalls and places of production and discussed against broad European background.

The burial dress of Chernyakhov — Sântana de Mureș Culture is represented by the following categories of finds: fibulae,
belt details, beads, pendants, rings, temple rings, bracelets, earrings, torcs. The latter five categories of finds are not numerous
and do not form series. Their inclusion in Chernyakhov costume is supposed to be a manifestation of foreign cultural
traditions and rules. The aim of this work is to find analogies to Chernyakhov’s finds of rare categories, to determine their
origin and to interpret the reason why they are found in the Chernyakhov area. The study allowed to conclude that, in fact, it
is impossible to establish the one reason why those rare categories of dress accessories could be found in the Chernyakhov
culture area. Some of them are trophies of Scythian wars, some are items popular with the Late Scythian, Sarmatian population
of Northern Black Sea region, and most of them are jewelry articles popular over a wide territory.

This article is an exploration of medieval sheath fittings and a call for metal detector users

Object identification and classification

Sheath fittings were metal bands riveted to the leather of a knife, dagger or sword scabbard or sheath. They are divided into chapes to shield the point and mounts to decorate the leather or protect the flanks. Fittings were usually bronze alloy, cast in a singular or dual mould with two faces. Closed work and open work styles were produced and folded nearly one hundred and eighty degrees before being chiselled with a sharp tool. Subsequently they were riveted to a leather sheath or composite scabbard.

There are six classes, A, B, C, D, E and F, in the typology. These are based on the form of the fitting, types within each class are specific to shape. Most are slender, measuring between twenty and sixty millimetres in height and between twenty and forty millimetres in width. Many sheath and scabbard fittings are not recovered intact, but survive as fragments of the scabbard plate. The arm extension is the most common point of fracture. Some types are distinctive and currently composed of singular finds.
Current Knowledge

Fittings of this style currently date from the tenth to thirteenth centuries and are found in Austria, Belgium, Czech Republic, Demark, England, Finland, France, Germany, The Netherlands, Poland, Sweden and Switzerland. Minute differences, such as style of chiselling, suggest local styles and cultures effected design . Höxter, Germany and Lund, Sweden appear to be workshops .

Motifs range from simple geometric shapes or curvilinear lines to zoomorphic and anthropomorphic imagery. The most decorative are birds, bridled horses, copulating beasts, winged horses and mythical creatures. The fold could be used to produce the face of the beast or man that is portrayed in profile on each side. They are a diverse group, with many unique elements like terminals and attachment arms. 
Aims of the Chapes Research Project

The purpose of the project is to advise and enthral those interested in medieval fittings. The aim is to create a typology and analyse folded medieval fittings from medieval Europe. Evaluation of the distribution, iconography and manufacture in relation to deposition context are key objectives.

Several papers are currently underway by the Chapes Research Project and a full manuscript in due course. The results of the project provide greater indications for trade and influence of cultures as well as European and local social patterns. Few fittings have been recovered from Belgium or the Netherlands. The singular recorded find from Belgium was a class E chape from Michem, West Flanders.

Classification will greatly improve the knowledge of not only Belgian finds and medieval society, but also European material and how the region related to neighbouring districts.

If you have discovered any yourself it would be fascinating to have your input for future publications. If you would like any more information on the project please let us know. All support will be acknowledged and recognition provided for theories and objects offered. If you know of any published, unpublished, or excavated examples or have any suggestions feedback will be gratefully received.

Der Fund eines kleinen Komplexes von mittelalterlichen Steingießformen an der Alten Brücke im Stadtkern von Zerbst konnte mit naturwissenschaftlichen Methoden eingehend untersucht werden. Dadurch war es gegenüber den ansonsten weitgehend archäologischen Betrachtungen solcher Fundstücke möglich, die Art ihrer Verwendung eindeutig zu bestimmen. Danach setzte man zumindest einen Teil der Dauerformen nachweislich zur serienmäßigen Herstellung profaner Kleinobjekte aus Zinn-Bleilegierungen ein. Zwar liefern die meisten anderen Stücke des Fundes keine eindeutigen Anhaltspunkte für die Art ihres Gebrauchs, jedoch ist durch den Vergleich mit den sicher zu bestimmenden Formen für sie eine gleichartige Verwendung anzunehmen. Dagegen konnten keine Hinweise gefunden werden, die eine Ansprache der Gießformen als Werkzeuge von Gelb- oder Rotgießern, wie vormals behauptet, gestatten würden. Auch eine unmittelbare Verwendung durch Edelmetallschmiede scheidet den Untersuchungsergebnissen zufolge aus. Das legt allein schon der verwendete feinkristalline Kalkstein bzw. Dolomit nahe, der für das Ausgießen mit hochschmelzenden Metallen völlig unbrauchbar ist. Damit wird mit den Fundstücken aus Zerbst unmissverständlich ein Teil des Werkstattinventars eines Metallhandwerkers charakterisiert, der sich wohl überwiegend mit dem Gießen von Weißmetall beschäftigte und die Formen nach ihrem Unbrauchbarwerden in der vorgefundenen Abfallgrube entsorgte. Die Werkstatt des Gießers dürfte sich in unmittelbarer Nähe der Grube befunden haben, Hinweise dafür fanden sich allerdings nicht. Dennoch macht allein der Fund der Gießformen deutlich, dass an der Stelle der Alten Brücke 47 ehemals Weißmetall womöglich in größerem Stil für profane Bedürfnisse verarbeitet wurde. Allerdings erlaubt diese wichtige Feststellung keine konkrete Aussage darüber, inwieweit in diesen Arbeitern bereits echte Zinngießer oder doch nur gelegentlich zinngießende Handwerker zu suchen sind, zumal der eigentliche Werkstattbefund fehlt. Außerdem ist das Wirken von Zinngießern in Zerbst aus Schriftquellen nur bis auf das Jahr 1533 zurückzuverfolgen (Friedrich 1981), was aber keineswegs gegen eine frühere Anwesenheit sprechen muss. Gerade vor dem Hintergrund des aufkeimenden Zinnbergbaus im sächsisch-böhmischen Erzgebirge, könnten sich vielerorts bereits im 13. Jahrhundert spezialisierte Zinngießer angesiedelt haben, die von günstigeren Zinnpreisen als zuvor profitierten und diese auch an ihre Kunden weitergaben (Wilsdorf u. a. 1988). Verkehrsgünstige und in Marktnähe liegende Orte dürften hierbei zweifellos bevorteilt gewesen sein. Leider bleiben Nachweise wie dieser in Zerbst und auch der großen Zinngießerei in Magdeburg als besonders frühe Vertreter die seltenen Ausnahmen. Allerdings ist abzusehen, dass die anderenorts zumeist als Einzelfunde aufgetauchten und überwiegend aus Kalkstein bestehenden Gießformen des beginnenden Spätmittelalters höchstwahrscheinlich generell als Werkzeuge für den Weißmetallguss aufzufassen sind, was jedoch durch archäometallurgische Untersuchungen geprüft werden muss. Folglich wird man mit einer weitaus größeren Zahl an Belegen für zinngießende Handwerker rechnen können, die bislang nicht als solche verstanden werden konnten. Als wichtigstes Indiz bei der Suche danach könnten sich die oft noch an den Steinformen vorhandenen Passstifte aus Weißmetall erweisen, zumal echte Gießreste fast immer fehlen und Passstifte aus Weißmetall offenbar charakteristisch für Gießformen für den Zinnguss sind.
Zum Abschluss soll noch einmal auf die vielen und auffälligen Gemeinsamkeiten der Zerbster Gießformen mit den Stücken aus Magdeburg hingewiesen werden. Nicht nur in der Wahl des Rohstoffs und seinem Abbaugebiet stimmen die Fundkomplexe augenscheinlich überein, auch im Repertoire der Gussstücke offenbaren sich Parallelen. Allerdings weichen die Zerbster Exemplare in der Gravurqualität zum Teil erheblich von den exzellent gearbeiteten Magdeburgern ab. Zudem hat man es in beiden Werkstätten mit der Anwendung gleichartiger Gießtechnologien zu tun. Vor allem die Praktizierung der bisher nur an wenigen mittelalterlichen Gießformen beobachteten Entlüftungstechnik mit internen Entlüftungsröhren ist ohne eine intensivere Kommunikation zwischen beiden Betrieben kaum vorstellbar. Vielleicht ließ sich in Zerbst ein Zinngießer nieder, der nach der Aufgabe der Magdeburger Gießerei in den 80er Jahren des 13. Jahrhunderts neue Wege gehen musste. Auf diese Art und Weise könnte das Wissen der Magdeburger Werkstatt als Tradition in Zerbst bis in das 14. Jahrhundert hinein fortgeführt worden sein.

In addition to some post-medieval flat- and hollow glass finds (lamp, Kuttrolf), very special, filigree, gilded buttonbeads came to light here. Chemical analyzes show a composition of different, partly unclear materials.

Manuskripterstellung 2009. Bei der Drucklegung wurden einige "Tippfehler" verursacht sowie die zugehörige Tafel vergessen, daher hier im Anhang.

,,This article presents 22 strap-ends recovered during the course of excavation work carried out at 73–74 Chmielna Street, Gdańsk. For the purposes of this study, the items in this assemblage have been divided into three groups based on shape: oblong strap-ends, oval strap-ends, and others. The third group is represented by solitary specimens which differ in shape from the remainder. Most of the strap-ends are made of copper alloy, with only three exceptions made of pewter. In this analysis attention is drawn to the techniques used to manufacture individual strap-ends, and descriptions are given of decorative motifs. An attempt is also made to decipher the mottos and Gothic letters present on several of the finds. The items in this assemblage were recovered from levelling deposits, meaning that they were found in secondary contexts. This makes it difficult to determine a precise chronology for them. They have been dated based on analogies from Poland and abroad, and with the help of iconographic sources. The eight oblong strap-ends can be linked to the type of belt known as a girdle. Girdles typically featured a very elongated metal strap-end, and a buckle with a very long hasp. They were also worn in a distinctive manner, the tip of the belt with its metal fitting hanging down to the knees. Women’s belts sometimes even reached down to the hem of their dresses, as evidenced by iconographic sources. The oblong strap-ends are dated to the late 14th century. Eight of the finds in this assemblage were classified as oval strap-ends. They had a wide range of uses, featuring on suspension straps, accessory straps, sword belt straps, bag straps, and various leather elements of horse harnesses. The characteristic features of the artefacts in this assemblage include openwork decoration and various lugs. Both archaeological and iconographic evidence reveals that they are of later date than the oblong strap-ends, having been made in the 15th century. The last group is represented by six solitary strap-ends of various shapes and ornate styles. They date from the 15th century. This assemblage provides evidence on which to base conclusions regarding dress accessories worn by Gdańsk’s inhabitants. Oblong and oval strap-ends occurred synchronously in Gdańsk in the 15th century, and possibly even in the early 16th century.''

In this article, the authors discuss the standard of living in medieval villages in central Europe on the basis of accessibility to dress, which is usually represented by the only archaeological material remaining—dress accessories, including buckles, strap ends, and rings. They attempt to establish a method of determining the value of the finds based on the different technological qualities of their material, decoration, and types of artefacts, and then discuss the dress accessories from selected village sites with complementary data from rural cemeteries dating from the thirteenth to the fifteenth century. Their overview shows that there was a large degree of similarity between the finds from rural areas and typical urban assemblages.

The aim of this paper is to continue the analysis of a collection of objects from the late antique necropolis of Carthago Spartaria (Cartagena, Spain). The study of these materials has permited to recompose a quite complete portrait of the funerary offering between the fifth and seventh centuries, which includes different types of pendants, bracelets, necklaces or clothing accessories. These materials are related with other finds, specially in the South East of Spain, and the authors debate their cultural and chronological significance.

A good fit of clothing to the body mainly depended on the perfect cut. Another way to fit clothes to the body shape was to use lacing. In the Middle Ages, women’s gowns could be fitted with laced slits at the sides or in front of the dress. In men’s medieval attire, lacing mainly concerned the fastening of doublets and it was always placed at the front. Strings had one more special task – they supported a pair of hose tied to the doublet. In the course of time, the laces became more visible, gradually gaining a decorative function. An interesting collection of laces from archaeological excavations is stored in the Museum of Archaeology and History in Elbląg. The earliest lace is dated back to the 13th century, and another medieval find in this collection is a metal lace chape. Other artefacts are silk laces dated to the 16th, 17th and 17-18th centuries. The Elbląg collection documents the development of this part of clothing. It certainly constitutes an important part of a relatively small assemblage of surviving European fashion accessories of this type.

Pewter artefacts are rare so far among small medieval metal finds especially from Germany. Therefore every new find is an important jigsaw piece in the reconstruction of the early pewter craft in the growing cities of the High and Late Middle Ages. The present paper investigates some tin-lead artefacts scientifically that were found in the city of Halle (Saale), Germany, and that were misconstrued as bronze objects since their excavation in 1998. This demonstrates the pressing necessity of clear visual indications in the recognition of pewter finds which to give is the aim of this publication.

,,The article presents a collection of fifty three metal mounts obtained in the course of archaeological excavations conducted on a site at Grząska Street in Gdańsk. The objects are dated to a period of half of the 14th till the 16th century. Discussed artefacts were divided into six groups of shape: oval, flower, octagon, bar mounts, mounts with cross plate and single examples of different shapes. Most of them were made of brass. Exceptions are five artefacts of an alloy of tin and lead. The techniques which were used to make the artefacts are casting, cutting in piece of metal and striking. These kind of mounts are known from other excavation sites in Gdańsk, so they were commonly used by the residents of this city as elements of an outfit. The author presented the variaty of forms and showed the collection on a broader background, using analogies from Poland and abroad. It also confirms their versatility.''

contributions in the volume mentioned below:

VIII.62 Gussform für Zeichen mit Kreuzigungsszene und Dreiecksspange
VIII.63 Gussform für Applikationen in Blütenform
VIII.64 Gussform für eine achtpassförmige Spange mit Tierdarstellungen
VIII.65 Gussform für eine achtpassförmige Spange mit imitiertem Schneckenfiligran
VIII.69 Gussform für Segmente eines Kopfschmuckes (Wappenschilde und Lilien)
VIII.70 Gussform für Segmente eines Kopfschmuckes (Reigen)
VIII.71 Gussform für Segmente eines Kopfschmuckes (Bogenarchitektur mit gekrönte Häuptern)
VIII.73 Gussform für eine Pfauenplastik
VIII.76 Gussform für eine Reiterplastik
VIII.79 Gussform für Spangen in Form zweier Löwen
VIII.80 Gussform für eine Riechkugel
VIII.84 Gussform für einen Löffel

Cet article étudie l’articulation entre la figure de la marchande de modes et la circulation des « petites brochures » au XVIIIe siècle, en montrant comment une poétique des modes permet de renégocier les valeurs respectives de la littérature et de la mode.

This paper analyses the articulation between the figure of the 'marchande de modes' and the circulation of small brochures in eighteenth-century France, in order to show how a poetic of fashion revaluates both fashion and literature.

,,The article presents a collection of eleven metal objects connected with a costume obtained from a site 11 John of Kolno Street in Gdańsk. The collection makes it possible to develop an issue of dress accessories worn by the residents of Gdańsk. The metarial is important because the results of conducted research have not hitherto been published.''

Human emotion is of interest across a wide range of disciplines, but in the field of archaeology it has received attention only very recently. This article contributes to the archaeology of emotion through a focus on later medieval objects in Britain. It identifies ‘emotants’ within the archaeological record, defined as evidence that can communicate, create or intensify emotion(s). By exploring emotants in the form of inscribed later medieval finger rings and brooches, and an iron plough coulter, the author aims to introduce a neologism that can be employed to advance
this challenging yet untapped field of study.

Il volume, curato da Sara Paci Piccolo e Alessio Francesco Palmieri Marinoni, esplora i molti significati delle corone delle castellane del Palio di Legnano. Solo le castellane indossano una corona nel corteo - con più di mille figuranti, che da settant'anni precede il Palio di Legnano, e questa presenza non è casuale nè senza significato. I vari saggi del volume esplorano diversi aspetti della corona, sia nel medioevo - dalle corone bizantine a quelle sacrali, da quelle poetiche a quelle iconografiche - che nel presente collegato alla manifestazione, nè mancano aspetti importanti quali quelli del restauro e della catalogazione, della moda, del teatro. Completa il volume un ricco apparato iconografico di schede illustranti oltre cinquanta delle corone delle castellane legnanesi, databili dalla fine dell'Ottocento ad oggi.

Článek seznamuje se souborem kamenných částí licích forem na odlévání drobných předmětů, především oděvních doplňků. Původ je znám pouze u jediného předmětů, který pochází z Dobřenic, ostatní ne-jsou lokalizované. Lze však předpokládat, že mohou pocházet z Hradce Králové. Orientačně datovat lze jen kadlub na odlévání minuskulních gotických písmen, v případě předmětu z Dobřenic se snad jedná o doklad z novověkého období.  -  The article presents a collection of parts of stone moulds used for casting small objects such as cloth accessories. We only know the origin of one specimen, which comes from Dobřenice, the others are unlocalized. We may suppose that they come from Hradec Králové. Only one mould for casting minuscule Gothic letters can be roughly dated. The object from Dobřenice possibly dates from the modern period.

MEDIEVAL PEWTER BADGES, decorated spoon bowls and parts of diadems are very rare finds in modern Poland, and have not featured prominently in academic study because many were not identified until recently. They were introduced during what is sometimes referred to as a ‘revolution’ in 13th-­century Silesia, when legal changes saw the reorganisation of society and its culture and encouraged an influx of settlers from Germany and Flanders. These artefacts provide rich information about complex cultural changes, informing us about how urban populations responded to influences that originated in western Europe.

Every girl knows accessories make the final touch to any outfit. Shop Women's Accessories Online including necklaces, bracelets, body jewelry, purses, clutches, hairpins, and so much more. With a wide variety of colors and designs to select, you can make yourself as fashionable as you are. Shop the latest trends for women's accessories at Switch Fashion!

I eventyret kan man lese om skatten som ligger nedgravd i sanden på en eksotisk sydhavsøy. Den skipbrudne ser noe som glitrer og begynner å grave i strandkanten. Til slutt sitter han der med fanget fullt av fine, dyrebare smykker og edelsteiner. Det var kanskje noe slikt småguttene fra Ervik på Stadlandet så for seg da de etter en storm tidlig på 1800-tallet oppdaget et område der vinden og sjøen hadde gravd frem små metallgjenstander.

This study analyses a distinctive group of strap-fittings, united by their use of a boss-capped rivet and incised roundel scheme, which have been found in Viking and Hiberno-Norse contexts across the British Isles. It is thought that by understanding the function of these objects, i.e. what kind of strap-assemblies they belonged to, we might gain a better understanding of how these objects were employed to convey meaning and perhaps by whom. To accomplish this, a descriptive catalogue containing eighty-seven artefacts which belong to this group was compiled, then a typology based on major morphological features was constructed in order facilitate study of the group as a whole and to identify patterns in the dataset. Using this typology, an analysis of the width of the artefacts was performed in order to ascertain potential function within the group and its classes. The results of the study provide support to suggestions that this group originate from the Irish Sea region, and that a range of functions are represented within the group. Additionally, comparisons are drawn with contemporary Insular and Carolingian artefacts in order to ascribe function, and suggestions are made regarding the possible social implications of this material. Future research would benefit from broadening the study and comparanda, and including other forms of analysis, such as art-historical and scientific analysis.