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Image 1:  The Dance of Herodias by Israel van Meckenem

I think these two images are particularly interesting because they illustrate that the transition from one style to its successor is not smooth nor is it complete and revolutionary.

In van Meckenem’s engraving, you can see piked shoes on one young blade (center front) while the fellow ahead of
him has round-toed shoes, even though their doublets are almost identical.  The ladies’ hennins all show the lappets that will outlast the pointy-hat and become a feature on the next era’s hoods.  High-waisted gowns, low-waisted gowns and no-waisted gowns all co-exist, and the open kirtle on one lady (center front) will continue to be used into the 1530’s – although on very differently shaped gowns.
Image 2:  British Museum
“Dance of Mirth in a Garden”, Flemish, Late Fifteenth Century, From Romance of the Rose, MS. 4425,  Folio 14th


In the Dance of Mirth in a Garden, the process is further along.  Most of the men wear the wide bump-toed shoes of the northern renaissance style, but the fellow at the left of the picture (at the 9 o’clock position) still has pikes.  The Lady at 8 o’clock wears the open kirtle, but the shape has changed considerably.  The lappets are still around, but the hennin’s have vanished, and been replaced by close-to-the head caps.
Notes on Two
Gothic-to-Renaissance Transition Era Pictures
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This page last updated  on 09/30/01