Category Archives: Research

A Day of Decadent Research – A View Backwards in Time

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The other day I got lost on the internet. Well, not really lost, just sort of tucked away into some sort of strange time warp. This started as a research project, of course. I had gone on a quest for portraits that showed dress pins in use in women’s clothing. Projects like this can take hours as each picture is downloaded and scanned visually for any likely pins. But the project became much more.

I went to the Web Gallery of Art. Now this website collects pictures of art from all over Europe and makes it available for people to see, purchase prints, or send as postcards. It can be very dangerous location for me because it is easy to just start browsing. It is also unique because it covers such a broad range of time and has such a huge number of pieces of art. But this time I was determined to take a particular approach, and I did.

The search functions on the website allow the user to search by medium: painting, sculpture, etc., artist, dates, school of art, and many other things. I choose to look for portraits, beginning in the 1300’s. The search function works in fifty year blocks, so I was able, for instance, to tell the search engine to show me all of the paintings that were portraits, from any location or school, for the years 1301 through 1350. I would scan down the thumbnails of paintings that the computer presented me with, and choose which picture to look at in greater detail. If I spotted something that interested me, a simple click would present me with a large zoomable view.

Now I have gone to this website many times, usually on a quest for the work of some specific artist. But I am not sure that I had ever stepped through half centuries systematically before.

The results? I was fascinated. Not only was I looking at a panorama of faces, frozen in time, but I was seeing a snapshot of what they wanted to look like at their best. We know that some of the late Renaissance artists painted multiple portraits using the same dress – sort of a studio prop approach to portraits. But many of the faces in this collection, especially in the 1400 and 1500s belong to the emerging “middle class”. Call them Bergermeisters, donors, or minor dignitaries, they were wearing their best outfits. And there they were, warts and all.

Stepping though time gave me a much better understanding of the progression of fashions and the variations between the fashions that were popular at any given time. I would highly recommend it to anyone who would like a “bird’s eye view” of European fashion through the ages.

I am not a costumer, but I am interested in getting the right “look”. Of course I found a bunch of outfits that I would really love to have and a few that I am very thankful that I will never have to wear. I viewed each outfit as a whole, not just a dress, or a hat, or a belt, but the entire “package”. I think I see more “browsing” in my future. I might even get a little lost.

This portrait

This portrait (Photo credit: Wikipedia)

But What Do I Do With Those Dress Pins Part 2

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So last time we discussed a little about dress pins and started looking at portraits that show pins in use as a dress accessory. One of the most important things that we have to look for when researching the use of pins is artists who do very precise and detailed portraits.

Rogier van der Weyden is definitely one of those artists. He painted a portrait known as Lady Wearing a Gauze Headdress (1445) that shows at least two pins being used for a complex headdress.

He also painted the Braque Family Triptych (1450). The right wing of the triptych shows Mary Magdalene, and it also clearly shows the use of a pin to hold a sleeve in place.

Another Rogier van der Weyden painting, also known as Portrait of a Lady (1455), shows several pins being used to anchor a fine veil to the top of a tall cap.

And this Portrait of a Lady by Rogier van der Weyden (1460) shows pins being used on both her headress to hold her veils in place and to anchor the sheer fabric of her neckline.

You may have noticed all of the paintings entitled “Portrait of a Lady” – all that means is that the name of the person in the painting has not been determined.

Ercole dé Roberti painted a portrait of Ginevra Bentivoglio (1480) that shows exactly one pin at the very top of her bun. You will definitely need to hit the “200%” button, but it is clearly there.

This portrait of Mary of Burgundy (1490), by Michael Pacher, shows a pin being used to attach a decorative pendant to her headdress.

Quentin Massy’s portrait, The Moneylender and His Wife (1514) shows a pin used to hold a veil in place under a hat.

Lucas Cranach the Younger painted a portrait of Katharina von Mecklenburg (1545), that shows a number of pendants or earrings hanging off the bottom of her hat. Unfortunately it is impossible to tell how these items are attached, but there are other portraits that show pins holding the pendants/earrings in place. My friends and I used to joke about the Italian women sending earrings to their cousins in Germany, but they didn’t have pierced ears, so they would just hang them on their hats. There is no way to know if this is true or not, but the lack of women in German portraits without earrings is notable.

A Portrait of Martha Thannstetter by Bernhard Strigel (1515) shows a pin being used to hold a wrapped veil.

And of course there are tons of portraits where we assume that there is a pin being used, but the artist has not painted them. Pieter Aertsen’s and Joachim Beuckelaer’s paintings of women working in the marketplace show several examples of what appears to be pins in use to hold on sleeves and partlets, but there are no actual pins showing in the paintings.

And then this post 1600’s painting by Louise Moillon shows two women in a marketplace. Both of them have pins holding their partlets in place.

We know that pins could also be used to pin the front plackets into women’s dresses. I could not find any portraits that show this, but records show that they were still doing this in Colonial America.

People used dress pins to close or decorate their clothing the same way that we would use safety pins, or velcro, or even a zipper.

But What Do I Do With Those Dress Pins?

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For anyone who follows me on Facebook, my Etsy shop, or in my actual shop, you probably already know that one of my big selling items is dress pins. I have been getting enough questions about these pins lately that I decided it was time to write another blog about them. I originally wrote a basic blog about dress pins a couple of years ago, called Pins, Pins and More Pins, and another called Authentic Dress Pins about the fact that we make spiral headed dress pins.

Now I do make the early period dress pins that are three to five inches long – the kind that are usually used to clothes shawls and brats and such. But right now I am talking about the small wire spiral headed dress pins that appear in the archaeological record in the 1200’s and are made the same exact way solidly into the Victorian era.

For those who may not be certain exactly what I am talking about, here is a picture of the two sizes of dress pins that I sell in my shop. In pre-1600 Europe they came in a virtually infinite selection of sizes, from really short (about 3/4 of an inch) to ridiculously long (three or four inches long), but these two sizes seem to work for most people.

two pinsAnd here is a link to some pre-1600 pins that were found in Great Britain. They find thousands of these all over Europe.

So the most common question that I am asked is, “what are they used for?” And my semi-wise-guy answer is: holding your clothes together. This is actually an understatement, since they are used for holding clothing, hats, veils, and just about any other dress accessory that you can think of in place.

How do we know what pins were actually used for? Well, they show up in inventories, but they also show up in a fair number of paintings and portraits. The earliest portrait that I could find is dated to about 1410 – A Portrait of a Lady. If you zoom in on her head coverings there is no attempt to disguise the use of pins to hold everything in place.

I should mention, that several people have told me that men also used these dress pins to hold their clothing in place. I have not spent a lot of time actually looking for pins in men’s portraits, but so far I have not found any. This does not, of course mean that they did not use pins, only that they did not either show, or that the artists did not paint the pins into the portraits.

The Portrait of Marie de Pacy (1425) also clearly shows the use of pins, a fancy one in the middle and many smaller pins on other parts of her headcovering.

The Master of Flémalle painted the Merode Alterpiece in 1427 and this detail of the left wing of the alterpiece shows a woman with several pins in her headpiece. A couple of years later he painted a Portrait of a Woman (1430) which shows several pins being used to hold a lady’s complex, multi-layered veil system in place.

Next time we will look at a couple of very prolific artists and some of the things that they showed pins being used for!