Report on the Textiles from Burgos Cathedral - Middelalder Centret
headwear can be found in most parts of Europe in 13th and 14th century. 6 Some of which, at least the early styles of the 13th and early 14th century, may have been made with the same methods as used for the frilled headwear from 13th century Burgos. Fig. 19-20 The exact placement and arrangement of the headwear in situ is in far most cases no longer known, as this was not documented during excavation. However, most of the long, narrow strips of cloth were merely wrapped around the crown of the head covering the forehead or around the chin and cheeks framing the face. Some of the pieces were apparently folded around an understructure. Gomez-Moreno notes that there was an understructure (hat) of animal skin or parchment lined with linen on which the lengthwise folded frilled band had been wrapped around several times and pinned on, found in one of the graves (Queen Eleonor’s) 7 , however, no such was seen at the visite in Patrimonio Nacional. A few pins from Queen Eleanor´s grave are now kept at the Patrimonio Nacional in Madrid. 8 The characteristic headwear known as Toque/Toca in 13th century Spain would need a tall understructure on which the long streamers of silk or linen would be folded around layer after layer leaving only the frills visible. 9 Much like the appearance of the extant pieces when folded together (Fig. 18b) Although the Burgos-textiles appear as to be more or less the same in regard to style and type, and the overall method of constructing frilled edges are basically the same (thicker edges on a thinner midsection), the chosen samples shows great variation in details. Technical details such as colours, thread thickness and thread quality various 31 from piece to piece. The four main types that the textiles could be grouped into in terms of technical construction and visual appearance, shows that many different methods, from simple crimping to complicated weaves or combinations of the two, could be used to create textiles with basically the same look and appearance. 6 A. Gardner: Hair and head-dress 1050-1600. The Journal of the British Archaeological Association, Third Series, Vol. XIII, 1950. London, 1950, pp. 4-13, E. Grönke & E.Weinlich: Mode aus Modeln. Kruseler- und andre Tonfiguren des 14. Bis 16. Jahrhunderts aus dem Germanischen National Museum und andren Sammlungen. Verlag des Germanischen Nationalmuseum, Nürnberg, 1998; A. Liebreich: Der Kruseler im 15. Jahrhundert. Zeitschrift für Historische Waffen- und Kostümkunde. 1. Band der neuen Folge, Jahrgang 1923-1925. p. 218 – 223, C. L. Dahl: Kruseler og Krusedug, Herolden, årg. 9, nr. 2, 2005, pp. 14-19, S. M. Newton, Stella Mary & M. M. Giza: Frilled Edges. Textile History, vol. 14: 2, 1983. The Pasold Research Fund. Leeds, 1983, pp. 141-152, O. Rady, Ottilie: Der Kruseler. Zeitschrift für Historische Waffen- und Kostümkunde. 1. bd, Neuen Folge, Hft. 5. Jahr. 1923-25, p. 131-136, C. Tilghman: Giovanna Cenami’s Veil: A Neglected Detail. Medieval Clothing and Textiles, vol. I, 2005. (Eds.) R. Netherton & G. R. Owen-Crocker. Woodbridge, 2005, p. 155-172. 7 Manuel Gomez-Moreno: El Panteón Real de las Huelgas de Burgos. Madrid, 1946, 27-28. 8 Information given by Concha Herrero Carretero. 9 Ruth Mathilda Anderson: Pleated Headdresses of Castilla and León, 12 th and 13 th centuries. Notes Hispanic. The Hispanic Society of America, vol. II, 1942. New York, 1942, p. 67, Amalia Descalzo: El vestido entre 1170 y 1340 en el Panteón Real de las Huelgas. In Vestiduras Ricas. Patrimonio Nacional, Madrid, 2005, 117-118..