burgundian-hood

Typical winged hood with long & large liripipe

Flat and square shaped

Slightly winged

Pointed up on forhead. No liripipe, it's cut like a carp-fish

Winged and molded to the neck. Very long and narrow liripipe

Hood is worn over a white coif

Butterfly shape over wires creating a brim. Worn with a loop

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Winged type. Here you can clearly see how it's pined

Weirdly pined as a butterfly shape. Worn with a loop and possibly over horns

Long front flaps and large liripipe

Purple cap with black trimmed brim

References for burgundian costuming

Hoods, chaperons, coifs and beggins

Variations of the opened-hood, otherwise known as winged hood, chaperon or gonelle

These types of headdresses were worn by every social class either for outdoor wear or for everyday wear.

Bliss' No Right Clicking

Staight cut, long narrow liripipe

Trimmed with a long & narrow liripipe

Straight cut, long & large liripipe

With liripipes

Liripipe folded towards the front and pinned folded in a loop-style. The last one is lined in a different color.

Worn over a coif, the liripipe is torsaded like a turban over the wings. The tip hangs in the back.

Winged hoods with or without liripipes

Narrow & pronounced wings

Buttoned and slighly winged. Isn't made to be adjusted.

Straight angle creating wings. Isn't meant to be adjusted.

Very fitted and very defined wings

Buttoned hood. The buttons at the neckline are bigger than the others

Split liripipe creating small ears.

Early century exemples

The wings aren't folded back and the liripipes are very short and narrow

Fabric folded & pinned to create a hooded shape

Square shape either stiffened by interlining or supported by wires

Color veil worn in different styles over templets

Pined in bonnet style but left hanging in the back

These could either be actual hoods too big for the children's heads but the lenght suggests pinned fabric.

The fabric is double-folded on itself and in the front as well in order to create a brim. This is possibly supported either by a truncated form, by horns or by the pleats itself.

Pinned in a beggin-style with center fold. Apears to be worn over a gollared-hood with large liripipe but it could just be a heavy veil type of coif pinned in an odd manner.

Fitted-cap type of hood

With a liripipe and worn with a loop. Note that the headband is obvious.

Worn with a loop, apears to have a liripipe

The open-hood is buttoned-up and the wings are creating a "box" effect

The cap hood is made of two distinct pieces ; The cap, that's either made of a single round gathered shape or 4 pannels creating a cup. The cap is then sewn to the flap, which is folded on itself in order to create a brim.

Hoods of various colors, one is worn with a loop

Hoods either of a single color or of two different colors

Wide brim double-folded on itself. Worn over a white coif.

Very narrow brim. The seams and overstitches on the cap are visible.

Late exemple

The hood is worn over an embroided-brim-coif and a loop-band. A brooch is attached to the brim, the cap is heavily trimmed.

The beggins or béguines

Asside from the religious headform, the secular beggin was mainly in style during the last quarter of the century. It's generaly made of 2 or 3 pieces, which are cut to either fit the head or to form a particular shape.

Non-fitted cap, worn over loose hair. Nice brooch on the brim.

White beggin-coif, very long at the back

Very late exemples

The liripipe is torsaded like a turban over the wings.

Very late winged exemple

Worn over a veil and topped with a feather. The neck flap is very long and narrow.

Center-seam with incuts on the sides

The back pannel is cut in a circular way instead of straight to create a veil effect

Worn over a white coif, the trapezoïd brim is overlapping the back pannel

Made in 3 pannels. Very narrow brim

Worn over a veil and coif. The edge is either trimmed or pearled

Heavily embroidered. It's worn over a regular coif and a pleated headdress.

Light fabric, slightly winged.

Straight cut

Rarely seen

Squarish shape, lined in white

Short liripipe with an incut in the brim. It's worn over a hooded mantle which apears to be gathered on a string against the face.

The type of coifs that are worn underneat the hoods

Note that a headband and sometimes a loop can also be worn underneat

The strips are pined on the top of the head

A black band is apparent

A wite headband is apparent

Longer styles that are generaly worn without additional headdresses

-Images 1-2-3 and 7 are from Guillaume de Lorris & Jean de Meung's "Le Roman de la Rose" (made for Louise of Savoy late15th)
-Images 4-5 are from Boccace's "de mulieribus claris" around 1490
-Image 6 is from "Oeuvre de Hantone" (possibly represents Louise de Laval's maid) 1475

-Image one is possibly from Vincent de Beauvais's "Le miroir historial" but I'm not 100% sure
-Image 2 is a background detail from the Portinary triptych by Hugo Van der Goes (central pannel)

-Image one is from Barthélemy l'Anglais's "Le Livre des propriétés des choses" (les poires)
-Image 2 is from Anne of France's book of hours 1473
-Image 3 is from the manuscript "Augustine, la cité Dieu" illuminated by maître François 1475-1480
-Image 4 is from Oeuvre de Hantone 1475 (possibly represents Louise de Laval)
-image 5-6 are from The romance of the rose (The carol of the God of love) between 1490-1500
-Image 7 is from Bourdichon's "Les quatre états de la societe" (le travail)
-Image 8 represents Anne of Brittany and her suites
-Image 9 is from Ovide's "Heroides" 1496-1498

-Image one is a close-up of the effigy of Anne, Lady Bradbourne 1490
-Image 2 is from "Choses mémorables" (for Charles of Angouleme) illuminated by Robinet Testard
-Images 3-4 are from Martial dAuvergne's "Vigiles de Charles VII" late 15th c.
-Image 5 is a portrait of Jeanne de Laval
-Image 6 is from Charles of Angoulême's book of hours
-Image 7 is from Henri IV's book of hours
-Image 8 is from an english version of "Le roman de la rose" 1490

-Image one is from Christine de Pisan's "Épistre à Othea"
-Image 2 is from "Terence des ducs" (cinetique du deplacement) 1410
-Image 3 is from Boccace's "de mulieribus claris" around 1490
-Image 4 , I don't know, I'll get back to you on this one
-Image 5 is from Boccace's "Le Décameron" 1475 (Efigenia and Cimone)
-Image 6 is from Barthélemy l'Anglais's "Le Livre des propriétés des choses" (les poires)
-Image 7 is from a medalion at the Albert & Victoria museum
-Image 8 is from Hans Memling's Passion (Greverade) Altarpiece (central panel) 1491
-Image 9 , I don't have a clue
-Image 10 is from Guillaume de Saint-Pathus' "Vie et miracles de Saint-Louis"

-Image one represents a group of dancers but I'm not sure of the manuscript
-Image 2 is from Guiard des Moulins' "La bible historiale" early 15th c.
-Image 3 is from Boccace's "Le Decameron" (trad. Laurent de Premierfait) 1425-50
-Image 4 is from Boccace's "de-casibus" (trad. Laurent de Premierfait) 1425-50
-Image 5 is from Boccace's "Le Decameron" (La desserte) 1435
-Image 6 is from Giard des moulins' "La bible historiale" (Mort des enfants de Job) mid 15th c.
-Image 7 is from Boccace's "Des cleres et nobles femmes" fist half of the century
-Image 8-9 are from Boccace's "de claris mulieribus" (early version from Gallica)
-Image 10 , I'm still looking for that source, sorry
-Image 11 is from " Le Roman de Girart de Roussillon" (former duc of Burgundy and his wife, Berthe) 1416
-Image 12 is from the manuscript "Livre des échecs amoureux" late 15th c.

-Image one is from Boccace's "Le Decameron" 1435
-Image 2 if from "Les grandes heures du duc de Berry" (september)
-Image 3 is from Jean Chartier's (death of Queen Isabella)
-Image 4 is from young Henry VIII's book of hours
-Image 5 is from Jean Boutillier's "Somme rurale" 1471
-Image 6 is from the manuscript "Augustine, la cité Dieu" illuminated by maître François 1475-1480
-Image 7-8-9 are from Guillaume de Lorris & Jean de Meung's "Le Roman de la Rose" (made for Louise of Savoy late15th)
-Image 10 is from "Les Grandes heures de Rohan"
-Image 11 is from the alterpiece "The seven sacraments" (right wing) by Rogier Van der Weyden
-Image 12-13 are from the manuscript "Augustine, la cité Dieu" illuminated by maître François 1475-1480
-Image 14 is from the flemish tapestry called "rabbit hunting with ferrets" (wool and silk 120"x143" Tournai-factory) 1460-1470