Materialized Identities in Early Modern Culture, 1450–1750: Objects, Affects, Effects

Cover
Table of Contents
Acknowledgements
Introduction: Materializing Identities: The Affective Values of Matter in Early Modern Europe
	Susanna Burghartz, Lucas Burkart, Christine Göttler, and Ulinka Rublack
Part 1: Glass
	1. Negotiating the Pleasure of Glass: Production, Consumption, and Affective Regimes in Renaissance Venice
		Lucas Burkart
	2.	Shaping Identity through Glass in Renaissance Venice
		Rachele Scuro
Part 2: Feathers
	3.	Making Featherwork in Early Modern Europe
		Stefan Hanß
	4.	Performing America: Featherwork and Affective Politics
		Ulinka Rublack
Part 3: Gold Paint
	5.	Yellow, Vermilion, and Gold: Colour in Karel van Mander’s Schilder-Boeck
		Christine Göttler
	6.	Shimmering Virtue: Joris Hoefnagel and the Uses of Shell Gold in the Early Modern Period
		Michèle Seehafer
Part 4: Veils
	7.	“Fashioned with Marvellous Skill”: Veils and the Costume Books of Sixteenth-Century Europe
		Katherine Bond
	8.	Moral Materials: Veiling in Early Modern Protestant Cities. The Cases of Basel and Zurich
		Susanna Burghartz
Index
List of Illustrations
	Figure 0.1: Hieronymus Francken II and Jan Brueghel the Elder (attributed to), Archduke Albert and Archduchess Isabella visiting the Collection of Pierre Roose, ca. 1621–1623. Oil on panel, 94.0 × 123.3 cm, detail. Baltimore, Walters Art Gallery, inv. no.
	Figure 0.2: Glass bowl, Murano, around 1500. D: 25.50 cm, H: 7.0 cm. London, British Museum, museum number: S.375. Image © The Trustees of the British Museum.
	Figure 0.3: Jean Jacques Boissard, Gentil’ donne venetiane/ Quando portano bruno et Vedoé, costume book [Trachtenbuch] for Johann Jakob Fugger, 1559, fol. 63. Pen and ink drawing. Herzogin Anna Amalia Library, Cod. Oct. 193. Image © Klassik Stiftung Weima
	Figure 0.4: High felt hat with silk pile and ostrich feathers, of the kind sourced by Hans Fugger during the second half of the sixteenth century. H: 22.5 cm. Nuremberg, German National Museum. Image © Germanisches Nationalmuseum, Nürnberg. Photo: M. Rung
	Figure 0.5: Karel van Mander, Before the Flood, 1600. Oil on copper, 31.1 × 15.6 cm. Frankfurt am Main, Städel Museum, inv. no. 2088. Image © Städel Museum. Photo: U. Edelmann / Artothek.
	Figure 1.1: Trading route through Eastern Mediterranean Sea taken by Santa Maria delle Grazie in 1590. Image © Nicolai Kölmel.
	Figure 1.2: Cargo list of Santa Maria delle Grazie. Fol. 3v. Venice, Archivio di Stato di Venezia, Miscellanea Gregolin, shelf no. b. 14, reg. D. ­Image © Archivio di Stato di Venezia.
	Figure 1.3: Bunch of red enamelled seed beads, around 1800. D: 0.5 mm, Venice or Murano, Private Collection. Image © Julia Burkart.
	Figure 1.4: Map of the Dalmatian Coast with locations of Gnalič and Koločep shipwrecks. Image © Nicolai Kölmel.
	Figure 1.5: Window panes from the Gnalič shipwreck with straw, which served as protection against breaking during transport, end of the sixteenth century. Murano, D: 21 cm. Biograd na Moru, Zavičajni Muzej Biograd na Moru, inv. no. G42. Image © Ivana Asić
	Figure 1.6: Glass beads from the Gnalič shipwreck, end of the sixteenth century. Murano, L: 0.4–0.9 cm. Biograd na Moru, Zavičajni Muzej Biograd na Moru, inv. no. G250. Image © Ivana Asić.
	Figure 1.7: Ewer of chalcedony glass, ca. 1500–1525. Blown, with added spout, handle and foot from Murano, 30.5 cm × 19.5 cm max. London, Victoria and Albert Museum, inv. no. 1828-18255. Image © Victoria and Albert Museum, London.
	Figure 1.8: The Rothschild Bowl, 1500–1510. Lattimo with colour enamelling. Murano, H: 5.9 cm, Rim D: 14.1 cm, Foot D: 6.3 cm. Corning, NY, The Corning Museum of Glass, inv. no. 76.3.17. Image © The Corning Museum of Glass.
	Figure 1.9: Three steps of replicating/blowing a goblet and the corresponding original three-bubble goblet, ca. 1550. Murano, H: 16.6 cm, Rim D: 10.3 cm, Foot D: 8.5 cm. Corning, NY, The Corning Museum of Glass, inv. no. 68.3.64. Images © Courtesy of The
	Figure 1.10: Paolo Veronese, The Wedding Feast at Cana, 1563. Oil on canvas, 677 × 994 cm. Image © RMN-Grand Palais (musée du Louvre) / Michel Urtado.
	Figure 1.11: Venetian crystal goblet, end of sixteenth century. H: 14.6 cm. Murano, Museo del vetro, inv. no. Cl. VI n. 01092. Image © Photo Archive - Fondazione Musei Civici di Venezia.
	Figure 1.12: Paolo Veronese, The Wedding Feast at Cana, detail of Fig. 1.10: A young man contemplating the transparency of an elevated crystal goblet filled with water transformed into wine.
	Figure 1.13: Titian, Pietro Aretino, ca. 1537. Oil on canvas, 102.0 × 85.7 cm. New York, Frick Collection, Henry Clay Frick Bequest, inv. no. 1905.1.115. Image © The Frick Collection.
	Figure 1.14: Glass dildo found in Trier, first half of the sixteenth century. L: 17.5 cm, Shaft D: ca. 4 cm. Trier, Rheinisches Landesmuseum Trier, inv. no. GG 735; 1910,645. Image © GDKE/Rheinisches Landesmuseum Trier / Thomas Zühmer.
	Figure 1.15: Glass dildo from Flanders or Italy, first half of the seventeenth century. L: 26.5 cm. Paris, Musée de Cluny, Musée national du Moyen Âge, inv. no. NNI619. Image © RMN-Grand Palais (musée de Cluny - musée national du Moyen Âge) / Franck Raux.
	Figure 1.16: Marcantonio Raimondi, Woman with a Dildo, ca. 1525. Engraving 14.1 × 7.0 cm. Stockholm, Nationalmuseum, inv. no. NMG B 1169/1990. Image © Cecilia Heisser / Nationalmuseum.
	Figure 1.17: Plate with a Woman and a Basket of ‘Fruits’, ca. 1530. Tin-glazed earthenware (maiolica), D: 34.5 cm. Paris, Musée du Louvre, inv. no. O.A. 1256. Image © RMN-Grand Palais (musée du Louvre) / Stéphane Maréchalle.
	Figure 2.1: Jacopo de Barbari, View of Venice, 1500. Woodcut, detail: The island of Murano. In the lower part, crossed by three bridges, is the canal called the “rio dei verieri” with its workshops overlooking the two quays. Venice, Museo Correr, inv. Cl.
	Figure 2.2: Giuseppe Maria Mitelli, Fornace da vetri, 1698. Etching, 211 × 311 cm. Milan, Castello Sforzesco, inv. no. RM m. 2-1. Image © Civica Raccolta delle Stampe Achille Bertarelli - Castello Sforzesco - Milano.
	Figure 2.3: Blown colourless glass beaker, seventeenth century. H: 8.6 cm, Rim D: 7.2 cm. Corning, NY, The Corning Museum of Glass, inv. no. 2009.3.89. Image © The Corning Museum of Glass.
	Figure 2.4: Albrecht Dürer, Saint Jerome in His Study, 1514. Engraving, 25 × 20 cm. Karlsruhe, Staatliche Kunsthalle, inv. no. I 834. Image © Staatliche Kunsthalle Karlsruhe.
	Figure 2.5: Diamond-engraved glass dish, with opaque white threads, cold-painted and gilded, ca. 1560s. W: 27.0 cm max. London, Victoria and Albert Museum, inv. no. C.178-1936. Image © Victoria and Albert Museum, London.
	Figure 2.6: Ewer of filigree glass (“a retortoli” and “a fili”), ca. 1575–1600. H: 11.5 cm, W: 9.0 cm max. London, Victoria and Albert Museum, inv. no. 1914A-1855. Image © Victoria and Albert Museum, London.
	Figure 2.7: Reticello goblet, ca. 1575–1600. H: 30.5 cm, W: 15.3 cm. London, Victoria and Albert Museum, inv. no. 1816-1855. Image © Victoria and Albert Museum, London.
	Figure 2.8: Ice glass aspersorium, seventeenth century. H: 11.4 cm, W: 16.8 cm, D: 13.9 cm. Corning, NY, The Corning Museum of Glass, inv. no. 2000.3.5. Image © The Corning Museum of Glass.
	Figure 2.9: Scheme of the relations existing among the members of the Bortolussi family (in grey) and their relatives. The model depicts only the individuals mentioned in the chapter, and not the full family tree. Image © Rachele Scuro.
	Figure 3.1: Unknown artist, Nuremberg feather-worker Johann Wurmbein. Water colours and tempera on paper, 226 × 166 mm. In Hausbuch der Mendelschen Zwölfbrüderstiftung, 1667, fol. 151v. Nuremberg, Stadtbibliothek im Bildungscampus Nürnberg, Amb.317b.2°, f
	Figure 3.2: Unknown artist (Nicolas de Larmessin II?), French feather-worker advertising his products, after 1695. Print, 277 × 185 mm. France, Musée Carnavalet Paris, shelf no. G.5067. Image © Musée Carnavalet / Roger-Viollet.
	Figure 3.3: Unknown artist, “Plumassier panachier.” Engraving, 418 × 267 mm. In Denis Diderot and Jean-Baptiste le Rond d’Alembert, Encyclopédie, vol. 8, Paris: Briasson etc., 1771, plate II. Cambridge, Library of St John’s College, Kk.7.59. Image © By pe
	Figure 3.4: German hat with partially destroyed ostrich feathers, late sixteenth century. Felt, woven silk satin, and ostrich feathers, c. 170 × 290 × 280 mm. Hannover, Historisches Museum Hannover, inv. no. L 1436. Image © Historisches Museum Hannover. P
	Figure 3.5: Cartouche used to attach panaches onto a leather hat, ca. 1600. Leather, starched parchment, animal hair, and threads, 268 mm diameter and 190 mm height of the entire hat. Nuremberg, Germanisches Nationalmuseum, inv. no. T1593. Image © Germani
	Figure 3.6: Lucas Cranach the Elder, Portrait of John Frederick I, Elector of Saxony, unknown date. Oil on panel, 628 × 397 mm. Private collection. Image © Christie’s Images/Bridgeman Images.
	Figure 3.7: The feather-beret of Christoph Kress zu Kressenstein, 1530. Silk satin, ostrich feathers, wires and spangles, 550 mm diameter. Nuremberg, Germanisches Nationalmuseum, inv. no. T3784. Image © Germanisches Nationalmuseum, Nürnberg. Photo: Monika
	Figure 3.8: Niklaus Manuel, Back View of a Confederate, 1514–1515. Ink drawing, 272 × 191 mm. Bern, Graphische Sammlung, Kunstmuseum Bern, inv. no. A1979.100. Image © KMBern.
	Figure 3.9: Urs Graf, Mercenary’s Feather Costume, 1523. Ink drawing, 215 × 153 mm. Basel, Kunstmuseum Basel, U.X.95. Image © Bilddaten gemeinfrei Kunstmuseum Basel.
	Figure 3.10: Unknown artist, “Plumassier panachier”: A Parisian feather-workshop and some of its instruments. Engraving, 418 × 267 mm. In Denis Diderot and Jean-Baptiste le Rond d’Alembert, Encyclopédie, vol. 8, Paris: Briasson etc., 1771, plate 1. Cambri
	Figure 3.11: Carving ostrich feathers while remaking feather-work at The School of Historical Dress in London. Image © Stefan Hanß.
	Figure 3.12: Dyed blue and yellow ostrich feathers sewn together at The School of Historical Dress London. Image © Stefan Hanß.
	Figure 3.13: George Gower, Queen Elizabeth I, ca. 1588. Oil on canvas, 1010 × 978 mm. The Leicester Galleries, no signature. Image © The Leicester Galleries.
	Figure 3.14: The Messel feather fan. South American and Dutch origin, ca. 1665. Feathers on woven panels, 340 × 230 mm. Cambridge, Fitzwilliam Museum, inv. no. M.358-1985. Image © The Fitzwilliam Museum, Cambridge.
	Figure 3.15a–b: The Messel feather fan. South American and Dutch origin, ca. 1665, detail of Fig. 3.14: Showing vibrantly coloured feather mosaics of flowers. Dino-Lite USB microscope AM7013MZT. Image © Stefan Hanß.
	Figure 4.1: Procession at the Württemberg Court in Stuttgart, 1599: The sixth scene with Duke Frederick as Lady America. Watercolour, pigment, and gold on paper, 29.9 × 53.3 cm. Weimar, Graphische Sammlungen, Klassik Stiftung Weimar, inv. no. KK 207. Imag
	Figure 4.2: Theodor de Bry after Jacques le Moyne de Morgues, The queen-elect is brought to the king. Engraving. In Theodor de Bry, Der ander Theyl, der newlich erfundenen Landtschafft Americæ, Frankfurt am Main: Johann Feyerabendt, 1591, Plate XXXVII. Un
	Figure 4.3: Red and Yellow Feather Aztec / Mexica Warrior Shield. Stuttgart, Landesmuseum. Image © Landesmuseum Württemberg, Hendrik Zwietasch.
	Figure 4.4: Procession at the Württemberg Court in Stuttgart, 1599: The second scene. Watercolour, pigment, and gold on paper, 30.5 × 49.8 cm. Weimar, Graphische Sammlungen, Klassik Stiftung Weimar, inv. no. KK 203. Image © Stiftung Weimarer Klassik und K
	Figure 4.5: Procession at the Württemberg Court in Stuttgart, 1599: The third scene. Watercolour, pigment, and gold on paper, 29.9 × 45.5 cm. Weimar, Graphische Sammlungen, Klassik Stiftung Weimar, inv. no. KK 204. Image © Stiftung Weimarer Klassik und Ku
	Figure 4.6: Procession at the Württemberg Court in Stuttgart, 1599: The fourth scene. Watercolour, pigment, and gold on paper, 29.8 × 41.0 cm. Weimar, Graphische Sammlungen, Klassik Stiftung Weimar, inv. no. KK 205. Image © Stiftung Weimarer Klassik und K
	Figure 4.7: Procession at the Württemberg Court in Stuttgart, 1599: The seventh scene. Watercolour, pigment, and gold on paper, 29.8 × 42.0 cm. Weimar, Graphische Sammlungen, Klassik Stiftung Weimar, inv. no. KK 208. Image © Stiftung Weimarer Klassik und
	Figure 4.8: Costume image of an Ottoman soldier with a striking feather-headdress. Gouache and brown ink on paper, 15.5 × 11.5 cm. In album amicorum of Bernardus Paludanus, 1575–1630, fol. 294r. The Hague, Koninklijke Bibliotheek, shelf no. 133 M 63. Imag
	Figure 4.9: Procession at the Württemberg Court in Stuttgart, 1599: The final scene. Watercolour, pigment, and gold on paper, 29.6 × 38.6 cm. Weimar, Graphische Sammlungen, Klassik Stiftung Weimar, inv. no. KK 209. Image © Stiftung Weimarer Klassik und Ku
	Figure 4.10: Procession at the Württemberg Court in Stuttgart, 1599: The fifth scene. Watercolour, pigment, and gold on paper, 30.0 × 50.9 cm. Weimar, Graphische Sammlungen, Klassik Stiftung Weimar, inv. no. KK 206. Image © Stiftung Weimarer Klassik und K
	Figure 5.1: Karel van Mander, Emblematic Depiction, 1600 (reverse of Fig. 0.5 – see the “Introduction” to this volume). Oil on copper, 31.1 × 15.6 cm. Frankfurt am Main, Städel Museum, inv. no. 2088. Image © Städel Museum. Photo: U. Edelmann / Artothek.
	Figure 5.2: Karel van Mander, The Continence of Scipio, 1600. Oil on copper, 44 × 79 cm. Amsterdam, Rijksmuseum, inv. no. SK-A-4690. Image © Rijksmuseum.
	Figure 5.3: Karel van Mander, Allegory of Nature, 1600 (reverse of Fig. 5.2). Oil on copper, 44 × 79 cm. Amsterdam, Rijksmuseum, inv. no. SK-A-4690. Image © Rijksmuseum.
	Figures 5.4a–c: Karel van Mander, Allegory of Nature, details of Fig. 5.3: Painted imitation of red-veined stone to the left (Fig. 5.4a) and the right (Figs. 5.4b and c) of the central scene with traces of fingerprints. Photo: Private archive.
	Figure 5.5: Rembrandt, Belshazzar’s Feast, about 1636–38. Canvas, 167.6 × 209.2 cm. London, The National Gallery, NG 6350. Image © The National Gallery, London.
	Figure 5.6: Rembrandt, Belshazzar’s Feast, detail of Fig. 5.5: Both the gold lettering and the light yellow accents on the embroidery were made with lead-tin yellow.
	Figure 5.7: Hendrick Goltzius, Without Ceres and Bacchus, Venus Would Freeze (Sine Cerere et Libero friget Venus), 1599–1602. Pen and brown ink, brush and oil, on blue-grey prepared canvas, 105.1 × 80.0 cm. Philadelphia, Philadelphia Museum of Art, inv. n
	Figure 5.8: Hendrick Goltzius, “Eer boven Gold” (Honour above gold), 1600. Pen in brown ink, 18.4 × 12.4 cm. Vienna, The Albertina Museum, inv. no. 8076. Image © The Albertina Museum.
	Figure 5.9: The emblems of the painterly arts, painted or carved by Peter Paul Rubens on a spandrel of his garden loggia. Detail from: Jacobus Harrewijn after Jacques van Croes, View of the Garden of the Rubenshuis, 1692. Engraving. Antwerp, Museum Planti
	Figure 5.10: Mercury with maulstick on top of the garden screen. Detail from Jacobus Harrewijn after Jacques van Croes, View of the Courtyard of the Rubenshuis. Engraving. Antwerp, Museum Plantin-Moretus, inv. no. PK.OP.17876. Image © Collectie Stad Antwe
	Figure 5.11: Hendrick Goltzius, Mercury, 1611. Oil on canvas, 214 × 120 cm. Haarlem, Frans Hals Museum, on long-term loan from the Royal Cabinet of Paintings, Mauritshuis, The Hague, inv. no. 44. Image © Frans Hals Museum, photo: René Gerritsen.
	Figure 5.12: Hendrick Goltzius, Mercury, detail of Fig. 5.11: Full of wit and sexual innuendo, the detail playfully alludes to the potency of Goltzius’s brushwork.
	Figure 5.13: Hendrick Goltzius, Allegory of the Arts, 1611. Oil on canvas, 181.0 × 256.8 cm. Basel, Kunstmuseum Basel, Birmann-Sammlung 1859, inv. no. 252. Image © Kunstmuseum Basel.
	Figure 5.14: Hendrick Goltzius, Allegory of the Arts, detail of Fig. 5.13: Golden caduceus escaping from the furnace held by the Venus-like figure.
	Figure 5.15: Hendrick Goltzius, Allegory of the Arts, detail of Fig. 5.13: An alchemist’s alembic and the painter’s palette.
	Figure 6.1: Joris Hoefnagel, Allegory of the Rule of Duke Albert V of Bavaria, 1579. Gouache on parchment, 23.5 × 18.0 cm. Berlin, Kupferstichkabinett der Staatlichen Museen Berlin, inv. no. KdZ 4804. Image © Kupferstichkabinett, Staatliche Museen Berlin.
	Figure 6.2: Joris Hoefnagel, Allegory of the Rule of Duke Albert V, detail of Fig. 6.1: Panoramic view of Landshut and inscription.
	Figure 6.3: Joris Hoefnagel, Allegory of the Rule of Duke Albert V, detail of Fig. 6.1: Central part of the ­composition with two nymphs.
	Figure 6.4: Joris Hoefnagel, Allegory of the Rule of Duke Albert V, detail of Fig. 6.1: Golden initial of Albert V, the ducal hat, and the two double-headed eagles.
	Figure 6.5: Joris Hoefnagel, Allegory of the Rule of Duke Albert V, detail of Fig. 6.1: Signum showing a lion protecting a lamb.
	Figure 6.6: Joris Hoefnagel, Allegory of the Rule of Duke Albert V, detail of Fig. 6.1: Shield showing Hercules fighting the Nemean lion.
	Figure 6.7: Joris Hoefnagel, Allegory of the Rule of Duke Albert V, detail of Fig. 6.1: The honouring of the musical arts.
	Figure 6.8: Joris Hoefnagel, Allegory of the Rule of Duke Albert V, detail of Fig. 6.1: The honouring of the visual arts.
	Figure 6.9: Joris Hoefnagel, Allegory for Abraham Ortelius, 1593. Pen and black ink and gouache, heightened with gold on parchment, 11.8 × 16.5 cm. Antwerp, Museum Plantin-Moretus, Prentenkabinet, inv. no. PK.OT.00535. Image © Collectie Stad Antwerpen, Mu
	Figure 6.10: Joris Hoefnagel, Allegory for Abraham Ortelius, detail of Fig. 6.9: Sea shells serving as containers for various pigments.
	Figure 6.11: Joris Hoefnagel, Allegory for Abraham Ortelius, detail of Fig. 6.9: The owl holding a caduceus with a brush as its central staff.
	Figure 6.12: Photograph from the reconstruction of the recipe of the Liber illuministarum, showing the grey granular mass after grinding. Image © Michèle Seehafer.
	Figure 6.13: Photograph from the reconstruction of the recipe of the Liber illuministarum, showing the pouring off of the water from the mussel shell. Image © Franca Mader.
	Figure 6.14: Photograph from the reconstruction of the recipe of the Kunstbüchlin, showing the mixture of gold leaf, sea salt, honey, and “ayr weyß.” Image © Michèle Seehafer.
	Figure 6.15: Photograph of reconstructed shell-gold paint (nos. 1–3 from the reconstruction of the recipe of the Liber illuministarum and 5–6 from the reconstruction of the recipe of the Kunstbüchlin) and modern pearlescent pigments (no. 4). Image © Michè
	Figure 6.16: Joris Hoefnagel, Guide for Constructing the Ligature ffi, 1591–1596. Watercolours, gold and silver paint, and ink on parchment, 16.6 × 12.4 cm (sheet). In Joris Hoefnagel and Georg Bocskay, Mira calligraphiae monumenta, 1561–1562 and 1591–159
	Figure 7.1: Cesare Vecellio, Gentildonne ne’ Regimenti. Woodcut, 16.7 × 12.5 cm. In Cesare Vecellio, Degli habiti antichi, et moderni di diverse parti del mondo, Venice: Damian Zenaro, 1590, plate 135. Gentlewomen in Venetian Outposts and Territories. Düs
	Figure 7.2: Jean Jacques Boissard, Women of Padua. Engraving on paper, 27.9 × 76.5 cm. In Habitus variarum orbis gentium. Habitz de nations estranges. Trachten mancherley Völcker des Erdskreytz, Mechelen: Caspar Rutz, 1581, fol. 15. Paris, Bibliothèque na
	Figure 7.3: Cesare Vecellio, Citelle Nobili. Woodcut, 16.7 × 12.5 cm. In Cesare Vecellio, Degli habiti antichi, et moderni di diverse parti del mondo, Venice: Damian Zenaro, 1590, plate 199. Noble Girls of Bologna Going from Home to Church. Düsseldorf, Un
	Figure 7.4: (After Jean Jacques Boissard), Venetian Gentlewomen. Gouache on paper. In Trachtenbuch. Darinen viller Volckher unnd Nationen Klaidung [...], 1580, ill. 55. Berlin, Lipperheidesche Kostümbibliothek, inv. no. Lipp Aa 20. Image © Lipperheidesche
	Figure 7.5: Cesare Vecellio, Donzelle. Woodcut, 16.7 × 12.5. In Cesare Vecellio, Degli habiti antichi, et moderni di diverse parti del mondo, Venice: Damian Zenaro, 1590, plate 125. Maidens and Girls of Venice. Düsseldorf, Universitäts- und Landesbiblioth
	Figure 7.6: Cesare Vecellio, Donzelle Contadine. Woodcut, 16.7 × 12.5 cm. In Cesare Vecellio, Degli habiti antichi, et moderni di diverse parti del mondo, Venice: Damian Zenaro, 1590, plate 192. Girls of the Peasantry and Artisan Class in Parma. Düsseldor
	Figure 7.7: Cesare Vecellio, Matrone Vedove Moderne. Woodcut, 16.7 × 12.5 cm. In Cesare Vecellio, Degli habiti antichi, et moderni di diverse parti del mondo, Venice: Damian Zenaro, 1590, plate 29. Noble Widows of Modern Rome. Düsseldorf, Universitäts- un
	Figure 7.8: Jean Jacques Boissard, Women of Verdun. Engraving on paper, 27.9 × 76.5 cm. In Habitus variarum orbis gentium. Habitz de nations estranges. Trachten mancherley Völcker des Erdskreytz, 1581, fol. 31. Paris, Bibliothèque nationale de France, inv
	Figure 7.9: Woman of San Sebastián. Pen and ink, gouache, watercolour, and gold on paper. In Costumes de femmes de diverses contrées, sixteenth century, ill. 24. Paris, Bibliothèque nationale de France, inv. no. RESERVE 4-OB-23. Image © Bibliothèque natio
	Figure 7.10: Women from Astorga, Spain. Pen, ink, and gouache on paper, 20 × 20 cm. In Códice de Trajes, ca. 1550, ill. 19. Madrid, Biblioteca Nacional de España, inv. no. Res/285. Image © Biblioteca Nacional de España.
	Figure 7.11. Woman from Saint-Jean-Pied-de-Port. Pen, ink, and gouache on paper. In Recueil. Costumes de Femmes de diverses contrées, late fifteenth century, ill. 19. Paris, Bibliothèque nationale de France, inv. no. RESERVE OB-55-4. Image © Bibliothèque
	Figure 7.12: Christoph Weiditz, Wealthy Women in Biscay. Pen and gouache, gold and silver, 15 × 20 cm. In Christoph Weiditz, Trachtenbuch, Augsburg, 1530–1540, ill. 121. Nuremberg, Germanisches Nationalmuseum, inv. no. Hs 22474. Image © Germanisches Natio
	Figure 8.1: Albrecht Dürer, A Woman of Nuremberg Dressed for Church, 1500. Pen in black-grey ink and watercolour, 32 × 20.4 cm. Vienna, The Albertina Mu­seum, inv. no. 3069. Image © The Albertina Museum, Vienna.
	Figure 8.2: Albrecht Dürer, Women of Nuremberg and Venice, ca. 1495. Pen in dark-grey brown ink on paper, 24.5 × 15.9 cm. Frankfurt am Main, Graphische Sammlung Städelsches Kunstinstitut, inv. no. 696. Image © bpk / Städel Museum / Ursula Edelmann.
	Figure 8.3: Hans Holbein the Younger, A Woman of Basel Turned to the Right, ca. 1523. Pen and brush in black ink, grey wash, 29.0 × 19.7 cm. Basel, Kupferstichkabinett, Amerbach-Kabinett 1662, Kunstmuseum Basel, inv. no. 1662.142. Image © Kunstmuseum Base
	Figure 8.4: Hans Holbein the Younger. Madonna des Bürgermeisters Jakob Meyer zum Hasen (‘Schutzmantelmadonna’), 1525/26 and 1528. Oil on limewood, 146.5 × 102 cm, detail: At left Magdalena Bär, late wife of Jakob Meyer zum Hasen, at right Dorothea Kanneng
	Graph 8.1: Income from fees for veil stalls in Basel 1582–1647 (Source: StaBS Finanz X 4.1)
	Figure 8.5: Falkner Stammbücher (hereafter FS) I–IV, details: (from left, row one): 1. wife of Heinrich Falckner (fifteenth century), FS I, fol. 8r, added 1574 (attributed to Hans Hug Kluber); 2. Ursula Falcknerin (d. 1552), FS I, fol. 16r, added 1574 (at
	Figure 8.6: Noble and burgher women wearing veils and chin-cloths, in Johan Carolus, Evidens Designatio, Strasbourg 1606, from left: plate 49: Nobilis Foemina vestitu in Luctu; plate 53: Foemina Argentinensis pulla veste induta; plate 42: Foemina mediocri
	Figure 8.7, left: Hans Heinrich Glaser, A Woman Wearing Mourning Dress for her Husband. Etching. In Hans Heinrich Glaser, ‘Habitus solennes hodie Basiliensibus …’, 10.4 × 6.1 cm, Basel, 1624. Historisches Museum Basel, inv. no. 1983.641.31. Image © Histor
	Figure 8.8, left: Johann Rudolf Huber, Basler Trachten von Anno 1700, Nr. 13: Woman Wearing the Sturz, ca. 1700. Pencil and crayon on paper, 31.9 × 21.2 cm. Kunst Museum Winterthur, Graphische Sammlung, Geschenk von Johann Rudolf Schellenberg d.J., 1849;
	Graph 8.2: Number of mandates with clothing regulations for the city and canton of Zurich per decade, sixteenth to eighteenth centuries.
	Note: Data on which the graph is based come from a database of all surviving sixteenth- to eighteenth-century mandates in Zurich, which Sandra Reisinger from the Staatsarchiv Zurich was kind enough to provide for me.
	Figure 8.9, left: Anna Waser, Portrait of Regula Escher-Werdmüller, Wife of Mayor Heinrich Escher, 1690. Oil on canvas, 25.7 × 22 cm. Zurich, Zentralbibliothek Zurich, inv. no. 378. Image © Zentralbibliothek Zürich, Graphische Sammlung und Fotoarchiv; Fi
	Graph 8.3: Offences of clothing and pride before the Zurich Reformation Chamber, 1709–1797
	Note: While no transcripts survive for the years 1730–1733, in 1749, 1757, 1759, 1768, 1771, 1789 and 1792–1794 no cases involving haughtiness or violations of the sumptuary laws came before the Zurich Reformationsherren.
	Figure 8.10: David Herrliberger, Communion in the Zurich Fraumünster. Engraving. In David Herrliberger, Kurze Beschreibung der Gottesdienstlichen Gebräuche, Wie solche in der Reformirten Kirchen der Stadt und Landschaft Zürich begangen werden, Zurich: Dan
	Figure 8.11: Veil and bodice from the Gottenkleid of the Edlibach Family, 1600–1700. Zurich, Schweizerisches Nationalmuseum, inv. no. DEP-1008.7 + DEP-1008.1. Image © Schweizerisches Nationalmuseum.
	Figure 8.12: Johann Andreas Pfeffel, Noblewoman in her church-wear (left), and Burgher woman in her church-wear (right). Engraving. In Johann Andreas Pfeffel, Schweizerisches Trachten-Cabinet, Augsburg, ca. 1750, plates 8 and 10. Schweizerische Nationalbi