What did they wear in Turku Castle in 1563?
New Year, New Era?
So, at the beginning of the new year my mind began to shift from the visual anarchy of medieval illuminated manuscripts to more somber, self aware and darkly clad ladies from around 1560's. As it happens, this was also the heyday of the ducal renaissance court in Turku Castle, Finland. In fact, the starting point and inspiration for this shift of interests begins with this lady:
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| Portrait of the princess. Lucas Cranach the Younger school, c. 1555-1560. |
She was a polish princess called Katarzyna Jagiellonka. (In Finland she is called Katariina Jagellonica.) As a sister to the king of Poland and daughter of Bona Sforza, a member of one of the most influential Milanese families of the era, she was well connected with the new fashions of the era. She married duke Johan of Finland, the second son of king Gustav Wasa, and became the duchess of Finland. She arrived to Turku on Christmas Eve 1562, where the couple held a lavish court. The duchess is actually credited for bringing renaissance to Finland, and with it, the Spanish fashion: the first international style in the history of fashion.
Sadly, the glory days of the ducal court lasted only eight months. In August 1563, after a few weeks siege, the castle surrendered to Johan's half-brother king Erik XIV of Sweden, with whom Johan had fallen out with for political reasons. As a duke he was not allowed to practice foreign policy. It is often suggested that one of the reasons for the quarrel was Johan's marriage, which could be interpreted as a political alliance with Poland, with whom Erik was at war. The ducal couple was arrested and imprisoned in Stockholm, Sweden. Luckily, for us, when all their belongings were confiscated, they were also painstakingly cataloged.
These records are probably the most comprehensive and detailed, but also lavishly extravagant in the history of fashion in Finland. Although they do not represent the everyday fashions of lower-class people at the time, they do offer us a window to the well connected European upper class world: the world of court and castles.
Katarzyna's wardrobe
The duchesses wardrobe consisted of outerwear, dresses, undergarments and headwear. The clothes are cataloged as "Hennes Nådes gånge cläder" (Her Highness's walking dresses) and "Jomfru cläder" (Maiden clothes), which the latter apparently refers to Katarzyna's ladies in waiting. I will list these with the Swedish terms with and English translations.
In this post I'll focus on the types of garments she had and their materials. Personally I'm most interested in the woolen clothes she had, for the simple reason that wool is more affordable and more readily available for my purposes than silks and can be interpreted for non-noble characters. However, the majority of her clothing were made of finer materials. I'll leave the description of headwear and accessories, such as jewels and bonnets for another time.
In this post I'll focus on the types of garments she had and their materials. Personally I'm most interested in the woolen clothes she had, for the simple reason that wool is more affordable and more readily available for my purposes than silks and can be interpreted for non-noble characters. However, the majority of her clothing were made of finer materials. I'll leave the description of headwear and accessories, such as jewels and bonnets for another time.
Outerwear
Wijde kiortler
18 are listed.
The direct translation is wide or loose kirtle, dress or gown. This is interpreted to mean a Spanish style gown, ropa, like the one in Alcegas pattern book from 1589. The pattern of the Flemish Gown from Reconstructing History is similar to this one.
A brocade gown lined with fur and a brocade kirtle similar to the one described belonging to Katarzyn's winter wardrobe. Those that were intended for winter use, were lined with fur - mostly sable. This style is most similar with Alcegas pattern and Riitta Pylkkänen's interpretations of the duchesses' official court gown. It's also similar to many tomb effigies of Swedish nobles. The hat, or bonnet is also very similar to the one the duchess wears in her portrait.
The direct translation is wide or loose kirtle, dress or gown. This is interpreted to mean a Spanish style gown, ropa, like the one in Alcegas pattern book from 1589. The pattern of the Flemish Gown from Reconstructing History is similar to this one.
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| Black brocade kirtle and golden gown with fur lining. Archduchess Maria of Austria with her eldest daughter Marie Eleonore. Jakob Seisenegger, c. 1555. |
A brocade gown lined with fur and a brocade kirtle similar to the one described belonging to Katarzyn's winter wardrobe. Those that were intended for winter use, were lined with fur - mostly sable. This style is most similar with Alcegas pattern and Riitta Pylkkänen's interpretations of the duchesses' official court gown. It's also similar to many tomb effigies of Swedish nobles. The hat, or bonnet is also very similar to the one the duchess wears in her portrait.
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A more fitted and richly decorated style showing the bright orange kirtle underneath. It's not clear weather this gown has a waist seam. It could be hidden beneath the decoration. Gold clasps and "passements" are frequently mentioned to have decorated Katarzyna's gowns. Duchess Margaret of Parma. Anthonis Mor, c. 1562.
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This portrait of a middle class bourgeoisie lady shows a simpler style. The black fabric looks like silk or very fine wool that's decorated with black velvet strips. She also wears red velvet sleeves and what I interpret to be a black buttoned partlet. Portrait of a Lady. Anthonis Mor, c. 1555-1560.
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Although silks were mainly reserved for the nobility, we know that the wealthy bourgeois ignored the sumptuary legislation. In Turku at least two wealthy bourgeois women, namely Valpuri Henrikintytär and merchant Valpuri Eerikintytär Innamaa had several silk damask and velvet dresses that were confiscated when king Erik XIV attacked Turku in August 1563. This might not come as such a surprise, since Valpuri Innamaa had had first hand experience of the fashionable Polish court, since she had accompanied Johan on his trip to Poland. Perhaps she had orered some of her clothes there.
Kassiacks
The latter is A loose short cape-like jacket that was borrowed from men's wardrobe as well. The jacket usually had (open) decorative sleeves. The name implies a Russian origin.
Two kassiak's are listed under "Jomfru cläder", which means that they were used by the duchesses ladies in waiting:
- one made of gold bliant
- the second one of
- one was made of red gold tobin
- the second one is not specified, but it's mentioned with a pair of hose made of red silk atlask
- the third one is made of black velvet and has gold borders
- the fourth one of black damask.
Both were adapted from male wardrobe.
The Dress and Skirts
Lijfkiortler
The list includes 95 kirtels.
The list includes 95 kirtels.
Vest or bodice kirtle e.g. kirtle with a bodice attached to it. Katarzyna had many of these. Most were made of silk damask, silk brocade or velvet. Eight woolen ones are mentioned under "Jomfru cläder" and 17 under lijfkiortles. The terminology is often complex and leaves some room for interpretation.
Some are mentioned with sleeves, but it's unclear weather those sleeves were attached to the kirtle or just made to match it. For example number 70 is described as follows. Please take my translation with a pinch of salt, since I'm by no means fluent in the old Swedish:
"A violet-brown broadcloth kirtel, decorated(?) with black velvet, hemmed with white taffeta, overvest/bodice and sleeves of black velvet, lined/dissected(?) with white gauze."
("Ett fiolenbrun clädes kiortel, besatt med swart sammet, brämmet med huit cartek, öffuelijffuet med ärmene aff swartt sammet, genomdragen med schirduch.")
Some are mentioned with sleeves, but it's unclear weather those sleeves were attached to the kirtle or just made to match it. For example number 70 is described as follows. Please take my translation with a pinch of salt, since I'm by no means fluent in the old Swedish:
"A violet-brown broadcloth kirtel, decorated(?) with black velvet, hemmed with white taffeta, overvest/bodice and sleeves of black velvet, lined/dissected(?) with white gauze."
("Ett fiolenbrun clädes kiortel, besatt med swart sammet, brämmet med huit cartek, öffuelijffuet med ärmene aff swartt sammet, genomdragen med schirduch.")
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| Fur lined kirtles/petticoats at Furrier's shop. Jost Amman, 1568. |
Compared to the former examples, a more German style kirtle is shown here:
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| This intriguing portrait is one of my favorites from the period, although it leaves a lot of room for interpretation. To me it looks like a knife pleated red kirtle. It has a short waist seem unlike the ones in Alcega's patterns. It's decorated with black strips of fabric. It seems that she is wearing a black puff sleeved partlet, that lends a Spanish flair to her outfit. The embroidered sleeves are simply exquisite! The same decorations are repeated on her apron. Portrait of a Lady. Lucas Cranach the Younger, 1564. |
The accounts mention that Katarzyna had about ten aprons (försärck). Three of them were white. Most of them were embroidered with blackwork, two with gold thread and one with red silk. The narrow smocked apron was a German fashion phenomenon, that took root in fashion in the 16th century and it's often shown in Jost Ammans' pictures. Thus, it can be interpreted that at least some of her Spanish fashions were interpreted or put together in a somewhat "German-ish" style. Perhaps this was the Polish way of interpreting the international style?
Schörtte
or skiortte, skörtte. Red seemed to have been the colour du jour. The bourgeois women were not allowed to make this garment out of silk.
- In the 1563 catalog Katarzyna had three red woolen skirts lined with squirrel that were intended for winter use.
- The dowry catalog included also skirts intended for summer use. One was made of see through golden velvet and lined with red taffeta.
- Another one was made of red twoply red and corded silk fabric, lined with skin color linen
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| Image: tudortailor.com |
It's notable, that these garments are interpreted to be foundation garments, that were meant to give the fashionable silhouette. Since there are no mention of farthingales (or any other garments stiffened with either baleen, cord etc.), it could be concluded that the duchess was following the Italian style of dressing, although the layered linings imply that they aimed to create the fashionable cone shape.
It is not clear weather this garment was a separate skirt without a bodice, since there is also a mention of a nederdell, a lower half, that was most likely similar to the Spanish basquinna, that was not complete without a bodice. Once again the line between a kirtle and a petticoat is blurred.
Kiortell ärmer
Separate kirtle sleeves. Although 22 (which three are some sort of partlets (one brysteduk and two öffuerlijff) are cataloged under this category, there are mentions of sleeves under other categories as well and it's not certain weather the other sleeves are separate or attached to the kirtle they are mentioned with.
As to materials, most of them were made of velvet or silk. They were often richly decorated with embroidery and pearls. No separate woolen sleeves are mentioned, although at least one pair was lined with grey wool. Those meant to be worn with a woolen kirtle were mostly made of velvet.
The colors include gold, violet-brown,black, white and ash-colored pairs.
Janet Arnold has depicted several pairs in her publication Patterns of Fashion 3.
As to materials, most of them were made of velvet or silk. They were often richly decorated with embroidery and pearls. No separate woolen sleeves are mentioned, although at least one pair was lined with grey wool. Those meant to be worn with a woolen kirtle were mostly made of velvet.
The colors include gold, violet-brown,black, white and ash-colored pairs.
Janet Arnold has depicted several pairs in her publication Patterns of Fashion 3.
Undergarments
Serck, särck
Women's shirts were similar to men's, althoug they were usually longer and widened by gores on the sides. In 1560's the shirt became high necked and it usually had a ruffled collar and wrists, that could have been embroidered with blackwork, golf or red silk.
Hosser & strumpor
Hose and socks. At the time hose were usually made of cloth and were similar to the ones used already in the middle ages. Socks came to refer to knitted socks.
It's not clear weather Katarzyna had any knitted sock, but silk, broadcloth and even leather hose are mentioned under "Durege cläder". The latter were perhaps used for riding.
Sources
Arnold, Janet: Patterns of Fashion 3. The cut and construction of clothes for men and women c1560-1620. Macmillan. London, 1985.
Hausen, Reinhold: Hertig Johans lösegendom 1563. Förteckning öfver hertig Johans och hans gemål Katarina Jagellonicas lösegendom 1563. Kejserliga senatens tryckeri. Helsingfors, 1909.
Pylkkänen, Riitta: Renessanssin puku Suomessa 1550-1620. WSOY. Helsinki, 1956.
Images
Wikimedia Commons
Phone camera pictures from Renessanssin puku Suomessa.
