Kelsea Vance

The early sixteenth century showed little change in fashion from the late fifteenth century. In women’s clothing, a smock/chemise made up the foundation of a woman’s dress. These were easy to wash and were often adorned with embroidery near exposed parts such as the wrist or neck. A petticoat (kirtle) was then joined to the bodice or skirt. It was often made of more decorated fabric as it was the most visible. Sleeves had large openings at the wrist and cuffs were often folded back to contrast with the fur lining. Girdles/belts were very common and, with garters, these held up stockings.

Square necklines were very in fashion as well as extravagant trains and big skirts. In the figure above, you can see the fur lining inside the sleeves as mentioned above.

Under Henry VIII (1485-1509), women wore low waisted gowns, square necklines, and long tight sleeves. Of Henry’s six wives, different trends influenced english nobility. Jane Seymours scalloped sleeves are seen in many other noble portraits of the time. each queen wears a different headpiece in their portraits.

https://www.theartstory.org/movement/high-renaissance/artworks/

https://fashionhistory.fitnyc.edu/category/16th-century/

Early Renaissance/Late Gothic

Depicted is Christ’s time of prayer in the Garden of Gethsemane and Bellinis depiction is often compared to his brother in law, Mantegna’s interpretation of the same scene.

Christ is being held up by Mary and Joseph. this piece was a crucial turning point in Bellini’s work as he begins to move away from the traditional styles of Mantegna and the Paduan school.

The middle ages developed new systems of warfare in pitched and sieged. New weapon technology such as cross-bows and plate armour replaced more archaic technology like chain mail.

Plate amour consisted of many different parts. These pieces were often connected with leather straps. Underneath, chainmail was worn as a kind of padding. Chain mail was near impossible to slice through and protected and un-armoured areas such as joins or the neck. This also made heavy plate armour more comfortable as it stopped pinching.

Medieval architects did not encase iron ties in lead like the Greeks and Romans did. Medical warfare is best known for its collection of weapons and armour and many of these relics have survived today. Many handheld fantasy weapons are drawn from the period of time such as the:

• Battle axe
• Long sword
• Dagger
• Crossbow
• Lance
• Mace

Larger more complicated technology, also born from war, appeared in the era such as the:

• Catapult
• Ballista
• Trebuchet

This sudden advancement in technology is often compared to the arms race of WWI as humanity’s desire to kill each other is the leading factor in technological advancement. The 14th century was the beginning of guns in naval warfare and the build of battleships was quickly revamped to accommodate for the heavy machinery. Gunpowder warfare became increasingly common in the late 14th century and indispensable in the 15th century.

https://www.ancient.eu/article/1230/siege-warfare-in-medieval-europe/

http://www.medievalwarfare.info

http://www.medievalwarfare.info/weapons.htm#crossbows

High Renaissance & Mannerism

Artemisia Gentileschi was born in the Papal States in 1593, daughter to the painter Orazio Gentileschi.

Both her and her father interpreted many of Caravaggio’s paintings and his dramatic realism is seen in both their works; although, her work was much more realistic than that of her father or Caravaggio and her compositions more dramatic. Artemisia was one of the few female artists to succeed in the 17th century. She made female figures the focus of her work giving the women depicted power and importance. Her experience with sexual assault as a teenager impacted many of the themes in her work, as she was likely working through her trauma this way.

The term ‘Celt’ originated in writing by Edward Lhuyd in 1707. Two major language groups were used BCE: Insular Celtic and Continental Celtic. Much of their culture has translated into our modern day, such as: Halloween and May Day. These holidays were known as Samhain and Beltane and the traditions surrounding them remain the same. Female roles in Celtic culture were incredibly progressive for the time. Women had political and spiritual power, and some acted as Druids, warriors, and judges in their society.

The Gundestrup Cauldron (base plate)- First century B.C.E.
This was a religious vessel made of 97% pure silver. There are five inner plates and seven (formerly eight) outer plates with the base plate pictured above. A woman is carved on the base plate wielding a sword. There are three other goddesses pictured around the plates of the cauldron confirming female roles in Celtic society.

The Celtic people lived in small settlements with no central government. They were a nature-based people with many deities. Many places of water had a holy association such as: Sulis, goddess of the hot springs. These places were brought offerings such as artifacts and sacrifices. Animals had a place in religion and bulls were worshipped and sacrificed. Not only were animals sacrificed, but people as well. They believed in an afterlife and were buried with many belongings and symbols of status.

The Vix Torc – found at the Lady of Vix’s grave in 1953
Torc or torques were worn by people of a high ranking and were designed for permanent use. Often clasping at the front, torcs were worn as necklaces. The graves inhabitant had almost entirely decomposed and the only reason she was deemed a lady was due to the lack of weapons in this grave site. ‘Her’ skeleton was in too poor a shape to determine a gender.

The Desborough Mirror – 50 BC
Similar to a torc, a mirror was proof of status. A reflection would only ever be made available by waters reflection otherwise. The complex pattern is said to be a lyre and stands out due to hatching in the carving.

https://www.shoreline.edu/faculty/rody/archives/celts/outline2.htm, http://www.native-science.net/Gundestrup-Cauldron.htm, http://www.thehistoryblog.com/archives/37147, https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=828309&partId=1