Burgundian Noblemen's Underclothes c1445-1475

Burgundian Noblemen’s Underclothes c1445-1475 

1468-9 Pair of Lovers in a Medieval Garden from Renaut de Montauban, illustrated by Loyset Liédet 

Constanza de Mendoza (Sunny Buchler) 

sunny_buchler@sbcglobal.net 

http://sbuchler.livejournal.com 

November, 2010 

1

Burgundian Noblemen’s Underclothes c1445-1475 ........................................................... 1 

Overview ......................................................................................................................... 2 

The Fashionable Silhouette ......................................................................................... 3 

Layers and Fashion Terms .......................................................................................... 4 

Underwear ....................................................................................................................... 6 

Underpants .................................................................................................................. 6 

Shirt ............................................................................................................................. 8 

Informal wear/Middle Layer ......................................................................................... 15 

Hose/Hosen ............................................................................................................... 15 

Doublet ...................................................................................................................... 26 

Bibliography ................................................................................................................. 41 

Table of Illustrations ..................................................................................................... 42 

Overview 

Figure 1.1 North-Western Europe in 1475 

The dark gray areas show the possessions of the Dukes of Burgundy in 1475 under Charles the Bold. In 

1475 the Burgundian territories were at their greatest extent. With the death of Charles in 1477 the 

Duchy of Burgundy itself passed to France and the remaining territories to the Holy Roman Empire. 1 

The style I’m analyzing is generally called Burgundian, although most accurately it is 

termed a Franco-Flemish style as it is seen throughout France and the Burgundian 

territories (including Flanders). The term Burgundian is usually applied because the 

style’s popularity roughly coincides with the brief dominance of the court of Burgundy. 

Elements of the Burgundian style appear in English fashion, but there are enough quirks 

to the English fashions that I have not included English examples in this study. 

1 Dunkerton et al. 15 

2

The Fashionable Silhouette 

Figure 2.1 

1447-8 fontpiece to Rogier van der Weyden’s Les Chroniques de 

Hainaut 

Figure 2.3 

1457 King Rene's Book of Love, Folio 51v 

Figure 2.2 

1450s Burgundy, Guy Parat’s Three Treatises on the Preservation of 

Health 

Figure 2.4 

1465 Loyset Liédet’s Renaud de Montauban , “the Marriage of 

Renaut de Montauban and Clarisse” 

3

Figure 2.5 

1470 frontpiece to Loyset Liédet’s Livre des fais d’Alexandre le 

grant, “Vasco de Lucena Presents Book to Charles the Bold of 

Burgundy” 

Figure 2.6 

1475 Loyset Liédet and Pol Fruit’s Histoire du Charles Martel 

Layers and Fashion Terms 

Decoding Burgundian layers and levels of formality can be confusing if you’re not 

already familiar with the layers involved. It may help to compare the layers of a man's 

modern business suit to the layers in a Burgundian nobleman's formal get-up: 

Modern men's business wear Burgundian noble's formal attire 

Undershirt (optional) Shirt (not optional) 

Underwear (e.g. briefs or boxers) Underwear 

Dress shirt Doublet 

Dress pants Hose/hosen 

Suit coat Houppelande/over-gown 

Hat (optional, uncommon) Hat 

Shoes (not optional) Shoes (optional, but common) 

This analogy works relatively well from a formality standpoint; a fellow in a modern 

office may remove the jacket and tie and even roll up his sleeves, but that's decidedly less 

formal then wearing the full get-up, just like a Burgundian fellow may remove his overgown 

and belt/pouch etc. and go about in his doublet and hose to do athletic activities, 

but it's decidedly less formal and you wouldn’t want to wear either variation in a formal 

situation. 

The analogy does break down if you look at it from a construction standpoint; the 

Burgundian shirt is more similar to a modern dress shirt then to any of the other 

garments, while a doublet is tailored more like a suit coat. I could’ve drawn the analogy 

that an over-gown was like a modern overcoat but that implies something that is only 

4

worn outside. Since buildings did not have modern heating systems there doesn’t seem to 

have been much difference between what was worn indoors and outdoors: 

Figure 3.1 

A winter scene from a fifteenth century French Book of Hours 

The men in this snowball fight mostly wear the full ensemble of doublet, hose and over-gown, but the 

fellow in the center rolling the large snowball has stripped to his doublet, and has even unlaced his hose 

from the back of his doublet. 

5

Underwear 

Underpants 

Figure 4.1 

Paris, muse du petit palais 

L Dut 456 fol18v, Bourgogne 

Figure 4.4 

1491 Hans Memling, The Passion Triptych 

(Gerverade Triptych), center Crucifixion 

Figure 4.7 

1490 Toledo Museum 

Figure 4.2 

1470-71 Hans Memling, Scenes from 

the Passion of Christ (detail) 

Figure 4.5 

1485-90 Hans Memling, Triptych with the 

Resurrection, left wing showing the 

Martyrdom of St. Sebastian 

Figure 4.8 

Ca. 1430-40 Boccaccio’s Decameron. 

Bibliotheque de l’Arsenal, MS 5070. 

Figure 4.3 

Master of the Bruges 

Passion Scenes, found 

in Calvary, Bruges, St 

Savior’s Church 

Figure 4.6 

Master of St. Sebastian, St Irene 

Healing St Sebastian's Wounds 

Figure 4.9 

After the Master of Flémalle, 

Triptych with the Decent from 

the Cross (left panel) 

6

*Note, half of these pictures are not from the 1445-75 period, because it’s hard to find good pictures of 

underwear. Based on the similarities from before and after our period of interest there doesn’t look like 

there’s a huge shift in style or construction. 

To start with the obvious observations, just to make sure they’re stated: 

� Every illustration I’ve found shows white underpants (so they really are medieval 

tighty-whiteies!) 

� I see two styles depicted, one type looks similar to modern briefs; the other is 

more like shorts with a slit at the side of the leg. Since one image (Figure 2) 

shows both being worn, my assumption is that it’s a personal preference thing, 

much like boxers vs. briefs today. 

� The brief style (and possibly the shorts style, but the pictures of those are less 

clear) has some sort of drawstring that gathers the front pouch and ties in the 

center front. 

� Both styles fit tightly (and smoothly) around the leg and butt. 

As a side note, Christ never seems to be depicted in underwear – only a swath of fabric. 

However, the thieves crucified with him frequently have underpants, as does St. 

Sebastian. This difference is probably due to the story of the soldiers casting lots for 

Christ’s clothes. 

Master Emrys Eustace, hight Broom suggests a possible construction that I’m rather 

enamored of (but have not tried yet): 

“The breeches [underpants’] … hem fully enclosed the cord. Wrapping 

around more than a full circle of the waistline and overlapping in front, the 

ends were pulled back together, gathering the front center. In this way, the 

breeches could be well-fitted behind, while there was enough give when 

open to make them easy to don. This also created the pouch seen in most 

15th c depictions of men stripped to their underclothes.” 2 

This pattern that Master Lorenzo Petrucci suggests for Italian brache (Italian boxers from 

the same timer period we’re looking at) would work well with using this technique: 

Figure 4.10 

Master Lorenzo Petrucci’s construction diagram for brache 

2 http://www.greydragon.org/library/underwear1.html 

7

Shirt 

Figure 5.1 



Figure 5.4 

Gawain in the Cart 

BNF Richelieu Manuscrits 

Français 115, Fol. 420 

Lancelot du Lac, France, 

Ahun, 15 th century, by 

Évrard d'Espinques and 

collaborators 

Figure 5.2 

Ca. 1460 P. de Crescens, Le 

Rustican 

This is a 15th century French 

illustration of an agricultural 

treatise by a 14th century Italian 

naturalist, Peter of Crescenzi 

Figure 5.5 

Ca. 1465-70 Burges. 

Master of the Harley 

Froissart, Jean Foissart’s 

Chroniques. 

Figure 5.6 

1470-71 Hans Memling, 

Scenes from the Passion 

of Christ (detail) 

Figure 5.3 

Ca. 1450 MS76/1362. Hours of the 

Duchess of Bourgogne. 

Spectators on the river banks enjoy 

scenes of water-tilting 

Figure 5.7 




8

Figure 5.8 

Ca. 1454 Master of the Privileges of 

Ghent and Flanders, Surrender of 

the Burghers of Ghent in 1453 from 

the Privileges and Statutes of Ghent 

and Flanders, Cod. 2583, fol. 349v 

Figure 5.9 

Ca. 1473-5 The 

Justice of the 

Emperor Otto III: 

The Execution of 

the Innocent Man 

by Dirk Bouts 

Here is the shirt as it’s worn under other garments: 

Figure 5.12 



Figure 5.13 

1453-55 Rogier Van Der 

Weyden, St. John Alterpiece 

Figure 5.10 

Ca. 1473-5 The Justice of 

the Emperor Otto III: The 

Execution of the Innocent 

Man by Dirk Bouts 

Figure 5.11 

Bohort l'Essillié helping 

Lambegue 


Français 115, Fol. 402 

Lancelot du Lac, France, 

Ahun, 15 th century, by 

Évrard d'Espinques and 

collaborators 

Figure 5.14 

P. de Crescens, Le 

Rustican, about 1460. 

This is a 15th century 

French illustration of 

an agricultural 

treatise by a 14th 

century Italian 

naturalist, Peter of 

Crescenzi 

9

Figure 5.15 

Late 15th - Early 16th 

cent Book of Simple 

Medicine F109r 

“Aloe and 2 Kinds of 

Celery” 

Figure 5.16 

Ca.1470-75 “Life of St. Sebastian” (Detail of three 

archers). In the style of Jean Canavesio and Jean 

Baleison. Wall painting at the chapel of Saint Sebastian, 

Saint-Étienne-de-Tinée, Côte d'Azur, France 

The neckline of the shirt, as seen through the lacings of the doublet: 

Figure 5.18 

1447-8 Miniature from page 1 of 

Les Chroniques de Hainaut by 

Rogier van der Weyden 

Figure 5.21 

Ca. 1467/70 Portrait of 

Anthony of Burgundy 

by Hans Memling 

Figure 5.22 

1462 Dirk Bouts Portrait of an 

Unknown Man 

Figure 5.19 

Ca. 1450 Portrait of Duke Philip 

the Good of Burgundy by Rodger 

van der Weyden 

Figure 5.23 

Before 1478, Hans Memling 

(possibly), Portrait of 

Jacques of Savoy 

Figure 5.17 

Ca. 1473-5 The Justice of the 

Emperor Otto III: The Execution of 

the Innocent Man by Dirk Bouts 

Figure 5.20 

1469 St. Eligius, as a Goldsmith, 

Hands the Wedding Couple a Ring by 

Petrus Christus. 

Figure 5.24 

Ca. 1445-48 Rogier van der 

Wyden, Middeburg Altarpiece 

(central panel) 

10

Again, let’s start with the obvious observations: 

� Every illustration I’ve found shows a white shirt 

� The length comes to between mid-thigh and mid-calf (note that Figures 12-14 

showing the length under a short doublet are the shorter length) 

� The sleeves are loose, but not too full, and they end at the wrist. 

� There is no obvious gathering at the sleeve head. The sleeve might be eased into 

the armhole or it might be constructed with a gusset. 

� The shirt is loose, and hangs relatively straight (there are probably side gores, but 

there are not any front gores.) 

� The shirt does not appear to be gathered at the neck or wrists in any way 

� A center front opening cannot be seen when it’s worn under the doublet (an 

important observation for figuring out how the neckline works) 

Most extant shirt and tunics have round necklines, however, I have had no luck using 

round necklines to replicate the neckline seen through the lacings at the clavicle (or 

higher) in many of the Burgundian portraits (Figures 16-21). In my experience, round 

necklines that are big enough to slip over the head have a tendency to dip lower on the 

neck then the pictures show. This leads me to look at other possible constructions: 

– The shirt has a very small round neckline (necessitating a slit opening 

someplace other then center front (such as the shoulder seam or a side 

front opening). 

– The shirt has a horizontal slit opening (a.k.a. a shallow “boat” neckline). 

– The shirt has a neckline with a gusset similar to Master Lorenzo Petrucci’s 

reconstruction of Italian shirts from the same period. 

Arguments for the “boat” neckline: 

There is an extant shirt with a “boat” neckline, the Rogart shirt (see figure 25 below). 

This shirt is not from this time and place (it’s from 14 th century Scotland), but it does 

suggest a potential neck-hole construction to try, which was at least used once in 

medieval Europe. 

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Figure 5.25 

Image Copyright © I. Marc Carlson 1999 

The Rogart shirt which was found in a grave near Springhill, Knockan, Parish of 

Rogart, Sutherland (Scotland) and has been tentatively dated to the 14th century 

A couple of the shirts could arguably be showing a boat neckline (although it’s very hard 

to differentiate a boat neck from a round neck when it’s all loose…) 

Figure 5.26 

Ca. 1450 MS76/1362. Hours of the Duchess of 

Bourgogne. 

Spectators on the river banks enjoy scenes of watertilting 

Figure 5.27 


L Dut 456 fol18v, 

Bourgogne 

12

Arguments for the high round neckline with an off-center slit 

I found multiple pictures of a shirt that looked like it had a slit slightly to the (wearer’s) 

front left (see pictures below). 

Figure 5.28 



This may be showing a neckline 

with a slit or it may be showing a 

fold of fabric at the neck. 

Figure 5.29 

P. de Crescens, Le Rustican, 

about 1460. 

This is a 15th century French 

illustration of an agricultural 

treatise by a 14th century 

Italian naturalist, Peter of 

Crescenzi 

Figure 5.30 

Folie de Lancelot 


Français 116, Fol. 598v 

Lancelot du Lac, France, Ahun, 

XVe siècle, Évrard d'Espinques 

et collaborateurs 

There are two extant garments that have an off-center slit in the neck hole, but neither of 

them is remotely close to the Burgundian time-period: 

Figure 5.31 


Front panels of the Gown of St. Elizabeth of Thuringia, 

dated to about 1230. 

Figure 5.32 


This shirt was supposedly owned by Thomas Becket (1120-1170) 

and is now in the Cathedral of Arras 

13

Arguments for a gusseted neckline 

There is persuasive visual evidence for a shirt with a gusseted neckline in Italy during 

this period; however, most of the Burgundian portraits that show the characteristic foldover 

are after 1475. This construction could provide the flat expanse across the 

collarbones (beneath the top lacing) without slipping down. 

Figure 5.33 

Master Lorenzo Petrucci’s construction diagram for an 

Italian camicia 

Figure 5.36 

1480 Hans Memling, Portrait of a Man with a Roman Coin 

Figure 5.34 

1452-66 Italy. Piero della Francesca, 

Discovery of the True Cross (detail) 

Figure 5.37 

1480 Hans Memling, Portrait of a man 

with a Letter 

Figure 5.35 

1475 Italy. Antonello da Messina, 

Portrait of a Man 

Figure 5.38 



This may be showing a neckline 

with a slit or it may be showing 

the gusset folded over. 

14

Informal wear/Middle Layer 

Hose/Hosen 

Hose is the term I use for leggings whose legs are sewn together. I use the term hosen to 

indicate leggings whose legs are separate, and joined only by attaching the codpiece. 

Sometimes it’s hard to tell which version is being worn in the illustrations, if I cannot tell 

I default to using the term hose to describe the leggings.. 

Figure 6.1 

1465 Loyset Liédet’s Renaud de 

Montauban , “the Marriage of 

Renaut de Montauban and 

Clarisse” 

Figure 6.2 


Montauban 

Figure 6.3 

1470-71 Hans Memling, Scenes 

from the Passion of Christ 

(detail) 

Figure 6.4 

Ca. 1465-70 Burges. Master of 

the Harley Froissart, Jean 

Foissart’s Chroniques. 

15

Figure 6.5 



Figure 6.8 

Mid-15th century France. Le Livre 

des Simples Medecines 

Figure 6.6 

1453-55 Rogier Van Der Weyden, 

St. John Alterpiece 

Figure 6.9 

1452-60 Jean Fouquet’s Hours of 

Etienne Chevalier. “The Martyrdom 

of St Apollonia” 

Figure 6.7 




Figure 6.10 




16

Figure 6.11 


Altarpiece of Saint John the 

Baptist and Saint John the 

Evangelist. Left panel, “Beheading 

of Saint John the Evangelist.” 

Figure 6.13 

Late 15th - Early 16th cent Book 

of Simple Medicine F109r 

“Aloe and 2 Kinds of Celery” 

Figure 6.12 

Figure 6.14 

Note, there is no change to 

the color of the sole, as one 

might expect from leather 

soles. 

Figure 6.15 

1473 Paris, Maitre Francois, St Augustine's 

City of God 

Here are the questions about hose that I started with: 

1. Are the legs separate or sewn together across the butt? 

2. Do the hose have attached feet? 

3. Do the hose feet have soles that are reinforced so that they can be worn outside 

without shoes (e.g. is there a leather sole)? 

4. Where are the lacing holes that attach the hose to the doublet placed? 

17

5. What is the shape of the codpiece? 

6. What is the shape of the feet? 

7. Where are the seams and how are the hose constructed? 

I’ll take each of these in order: 

1. Are the legs separate or sewn together across the butt? 

Figures 5-9 obviously have one leg separate from the other (they can be removed 

separately or rolled down. However figures 10-12 are just as obviously joined hose 

(separate legs would fall down like in Figure 7 if the center back point was released). 

Since figures 7 and 10 come from the same painting, I conclude that this time period was 

a transition era between the styles and both could be found. I hypothesize that earlier in 

this era the split hose were more common and later the joined hose were more common. 

My reasoning is due to joined hose being predominate at the turn of the 16 th century, and 

that there was an impetus towards the hose covering the butt due to the rise in the 

hemline of the over-gown from mid-thigh to mid-butt between 1445 and 1475. If you 

choose to do split hose, be aware that the underwear will show occasionally, as in this 

Italian picture: 

Figure 6.16 

1452-66 Piero della Francesca, Battle 

between Heraclius and Chosroes (detail) 

2. Do the hose have attached feet? 

Hose are worn with shoes in the majority of the pictures showing feet, making this 

question difficult to be sure of the answer. I have found no pictures that show hose being 

cut off at the ankle (although there are some in Italian art). Figure 12 shows a stirrup 

rather then a full foot. If shoes are not worn over the hosen, then almost always the hose 

have feet attached, as in Figure 5, 13, 14 & 15. There are a number of fragments of extant 

hose (although I know of none from this period for northern Europe); most of the extant 

pieces have feet (or the remains thereof). See Marc Carlton’s website for a summary: 

18

http://www.personal.utulsa.edu/~marc-carlson/cloth/hose.html . Occasionally there is the 

suggestion of socks being worn with hose (the white ring around the top of the shoe in 

figure 1) but those may be worn for warmth and so we cannot use them to say whether 

the hose beneath them has feet attached. 

3. Do the hose feet have soles that are reinforced so that they can be worn 

outside without shoes? (I.E. is there a leather sole?) 

Most of the time the hose are worn with shoes, so there would be no need of a reinforced 

sole, and it might be uncomfortable when worn with shoes. However, there are a 

relatively small number of pictures showing hose intentionally worn without shoes while 

outside doing work (figures 13-15) and it is logical to assume that these hose have 

reinforced soles. Figure 14 shows the bottom of the foot, and if there was reinforced 

leather soles you would expect there to be a difference in color; there is no color 

difference. I have found no pictures that show a sole that is markedly different from the 

body of the hose. 

4. Where are the lacing holes that attach the hose to the doublet placed? 

There aren’t very many pictures showing the points (laces between hose and doublet), 

and there is some variation between the depictions. However, joined hose mostly seem to 

have center back points, and side or side-back points, and side-front points: 

Figure 6.17 


Scenes from the Passion of 

Christ (detail) 

Figure 6.20 

Ca. 1473-5 The Justice of 

the Emperor Otto III: The 



Figure 6.18 

Figure 6.21 

Hercule participant aux jeux 

BNF Richelieu Manuscrits Français 59, Fol. 

111v 

Raoul Lefèvre, Histoires de Troyes, 

Belgique, XVe siècle 

Figure 6.19 

Late 15th - Early 16th cent Book of Simple 

Medicine F109r “Aloe and 2 Kinds of Celery” 

Figure 6.22 

Ca. 1470-75 “Life of St. Sebastian” (Detail 

of three archers). In the style of Jean 

Canavesio and Jean Baleison. Wall painting 

at the chapel of Saint Sebastian, Saint- 

Étienne-de-Tinée, Côte d'Azur, France 

19

Figure 6.23 

1465 Loyset Liédet’s 

Renaud de Montauban 

Figure 6.26 

Late 15th-early 16th cent 

France. Book of Simple 


Figure 6.24 

Ca. 1465-70 Burges. Master of the Harley 

Froissart, Jean Foissart’s Chroniques. 

Figure 6.25 

1473 Paris, Maitre Francois, St Augustine's 

City of God 

A random observation: most of the time that the points (lacing between 

hose and doublet) are visible the individual is engaged in some strenuous 

activity (like beheading someone). In the vast majority of these cases when 

we can see the center back point, it is undone. This makes sense as releasing 

the center back point makes it much easier to bend over. 

Another thing to point out, the points do not look to be tied with bow ties. 

See http://www.florentine-persona.com/tying_bows.html for how to tie 

them. 

5. What is the shape of the codpiece? 

Figure 6.27 

Ca. 1470-75 “Life of St. Sebastian” (Detail of three 

archers). In the style of Jean Canavesio and Jean 

Baleison. Wall painting at the chapel of Saint Sebastian, 

Saint-Étienne-de-Tinée, Côte d'Azur, France 

Figure 6.28 

1471 France, Loyset Liédet, 

“Tree of Consanguinity” from 

Somme rurale de Jean 

Boutillier. 

MS Fr. 202, fol. 15v 

Bibliothèque Nationale, Paris 

Figure 6.29 

Ca. 1473-5 The Justice of the 

Emperor Otto III: The 



20

Figure 6.30 

Late 15th-early 16th century, France. Book of Simple 


Figure 6.31 

1465 Loyset Liédet’s Renaud 

de Montauban , “the Marriage 

of Renaut de Montauban and 

Clarisse” 

Figure 6.32 

1473 Paris, Maitre Francois, 

St Augustine's City of God 

The shape of the codpiece varies quite a bit; figure 27 looks like an un-seamed, roughly 

triangular flap, whereas figures 28-31 have a seam down the center and appear to be 

much more sports-cup-like in shape. Figure 32 has yet a different shape, being a wider 

triangle then figures 28-31 but having a suggestion of the shaped item that the codpiece 

becomes in the Tudor era. However, the most common shape depicted is similar to 

figures 28- 31. 

6. What is the shape of the feet? 

Figure 6.33 

1475 Loyset Liédet and Pol 

Fruit’s Histoire du Charles 

Martel 

Figure 6.34 

1447-8 Miniature, illustration from page 1 of Les 

Chroniques de Hainaut by Rogier van der Weyden 

Figure 6.35 

Ca. 1450 MS76/1362. Hours of the Duchess of 

Bourgogne. 

Spectators on the river banks enjoy scenes of watertilting 

Figure 6.36 

1465 Loyset 

Liédet’s Renaud de 

Montauban , “the 

Marriage of Renaut 

de Montauban and 

Clarisse” 

21

Figure 6.37 

1465 Loyset Liédet’s Renaud 

de Montauban , “the Marriage 

of Renaut de Montauban and 

Clarisse” 

Figure 6.40 

late 15th century Egerton MS 

2019f5 Book of Hours 

Is this a picture of hose with 

spurs attached? 

Figure 6.38 



Figure 6.41 

Late 15th - Early 16th century. Book of Simple 

Medicine F109r “Aloe and 2 Kinds of Celery” 

Figure 6.42 

1473 Paris, Maitre Francois, St Augustine's City of 

God 

(Left) Detail of a laborer’s foot. 

(Right) Detail of nobles foot. 

Figure 6.39 

Reconstruction de 

Troie 

Français 59 , Fol. 

238 

Raoul Lefèvre, 

Histoires de 

Troyes, Belgique, 

XVe siècle 

Figure 6.43 

Alexandre malade 

Cote : Français 47 

, Fol. 46v 

Quinte-Curce, 

Histoire 

d'Alexandre le 

Grand (traduction 

de Vasque de 

Lucène), Belgique, 

Flandre, XVe siècle 

* the assumption in all these pictures is that if the feet match the legs, then the feet are part of the hose; 

this may not be accurate, especially with the black hose (as the most common color for shoes seems to be 

black). 

The foot shape seems to vary: figures 33-37 have extremely pointy toes. Figures 38 and 

39 have mildly pointed toes and figures 41 & 43 have blunt, feet-shaped toes. Not enough 

of these pictures have specific dates attached to be sure, but it is my belief that the shape 

of the toes (on the noblemen) varies over time – that they start out in the 1450s being 

very pointed and by the end of the century have become blunt. Regardless, working 

men’s feet and shoes tend to be noticeably blunter then noblemen’s feet (figure 42). 

22

Construction-wise, if you have a separate sole for the hose, it’s very easy to do rounded 

or “blunt” toes. If you use the more common (in the extant hose fragments) leg-stirrup 

piece with a second piece for the toes it’s very easy to get pointy toes. (See figure 44 

below.) Using this construction it’s actually very difficult to get non-pointy toes. 

Figure 6.44 


An example of Nockert Hose Type 4: 

"Short hose with a strap. This hose is cut in one piece with a seam at the back, and an 

opening for the foot at the bottom. The two side pieces thus formed at the bottom were 

sewn together to make a strap beneath the foot." 3 

7. Where are the seams and how are the hose constructed? 

There is no pictorial evidence for how the foot of the hose were constructed. There are 

occasional pictures that show center back leg seams: 

3 I. Marc Carlson, http://www.personal.utulsa.edu/~marc-carlson/cloth/hstype4.html [Nov. 7, 2010] 

23

Figure 6.45 

Fouquet miniature showing the trial of the duc d'Alencon 

Figure 6.46 

1453-55 Rogier Van Der Weyden, St. John Alterpiece 

Notice the seam allowance showing at the center back of the hosen on 

the right. 

There are some lovely pictures from the early 1500s showing the butt seams for joined 

hose, but I have found none from the period we’re discussing. 

As far as lining goes, figures 46-48 clearly show that at least the top part of the hosen was 

lined. However, figures 46 and 49 show cases where the top part of the hose was not 

lined. There is an Italian picture that shows the lining only being at the top of the hose 

(figure 51) but I have not found an equivalent picture for northern Europe. 

24

Figure 6.47 

Mid-15th century, France. Le Livre des 

Simples Medecines 

Figure 6.50 

Late 15th-early 16th century, 

France. Book of Simple Medicine 

F140r 

Figure 6.48 

1452-60 Jean Fouquet’s Hours of 

Etienne Chevalier. “The Martyrdom 

of St Apollonia” 

Figure 6.51 

1455 Italy. Piero della Francesca, Burial of 

the Holy Wood 

Figure 6.49 


from the Passion of Christ (detail) 

In general, I recommend Master Emrys Eustace, hight Broom’s work for a much more 

comprehensive look at constructing hose then I have done: 

http://www.greydragon.org/library/underwear3.html 

25

Doublet 

Body 

Figure 7.1 


Montauban , “the Marriage of 


Clarisse” 

Figure 7.3 

1465 Loyset Liédet, Bertha 

Duchess of Burgundy building a 

church 

Figure 7.2 

Ca. 1470-75 “Life of St. Sebastian” (Detail of three archers). In the style of Jean 

Canavesio and Jean Baleison. Wall painting at the chapel of Saint Sebastian, Saint- 

Étienne-de-Tinée, Côte d'Azur, France 

Figure 7.4 

Ca. 1465-70 Burges. Master of 

the Harley Froissart, Jean 


Figure 7.5 

Ca. 1450 Hours of the Duchess of Bourgogne, 

youths playing hockey 

26

Figure 7.6 

Figure 7.7 

Ca. 1473-5 Dirk 

Bouts, The Justice of 

the Emperor Otto 

III: The Execution of 

the Innocent Man 

Figure 7.8 


Altarpiece of Saint John 

the Baptist and Saint 

John the Evangelist. 

Left panel, “Beheading 

of Saint John the 

Evangelist.” 

Figure 7.9 



Figure 7.10 

Fouquet miniature showing the 

trial of the duc d'Alencon 

27

Figure 7.11 

1466-7 Loyset Liédet, Gerard de 

Roussillon and his wife Berthe 

are presented to Charles the 

Bold 

Figure 7.12 

Ca. 1450, MS76/1362. Hours of the Duchess of 

Bourgogne. Spectators on the river banks enjoy 

scenes of water-tilting 

Figure 7.13 



Some basic observations: 

1. The vast majority of doublets where the front can be seen, the front opening is a 

narrow open V. In fact, in the two figures which seem to depict a closed doublet 

(figure 10 and 11) I’m not sure the garment we’re looking is the doublet rather 

then an over-gown that is similar in shape to a doublet. In pictures where the front 

is covered by an over-gown and only the collar is visible, it is rare for the edges of 

the collar to meet (for example, figure 14), which in my mind is suggestive of the 

hidden doublet beneath having a V front, as are the number of pictures showing 

the over-gown open and displaying a white shirt (figure 15). 

Figure 7.14 

Ca. 1465-70 Burges. Master of the 

Harley Froissart, Jean Foissart’s 

Chroniques. 

Figure 7.15 

1447-8 Miniature, illustration from page 1 of Les Chroniques 

de Hainaut by Rogier van der Weyden 

2. The lacing down the V front is decorative in nature, frequently having a pair of 

lacing cords at the neck followed by a space. There may or may not be ties 

28

etween the neck tie and the waist tie. The waist tie is frequently not shown but 

the tapering closure plus the tight fit at the waist leads me to believe that there is a 

waist tie, even if it’s not shown. 

3. The waist is (by current fashion standards) quite high; seemingly just below the 

ribcage. The vast majority of doublets seem to have a well defined waist 

(probably with a waist seam) and a peplum that goes over the hips. Figure 13 

doesn’t have these characteristics, but the figure portrayed is torturing Christ and 

so probably doesn’t classify as a nobleman. I believe the waist-seam-less version 

of the doublet is a holdover from the earlier “cotehardie” styles that were worn 

right up until the start of the Burgundian period. The waist-seam-less style is seen 

commonly on Italian noblemen of this period, but not so much on Burgundian 

nobles. 

4. The silhouette is quite barrel-chested (sometimes referred to as pigeon breasted). 

Since most men are not that barrel-chested, it suggests padding to me, especially 

with the exaggerated curve towards the waist. The pourpoint of Charles of Blois is 

heavily quilted, and there are multiple padded doublets described by Janet Arnold 

in Patterns of Fashion, so it is not unreasonable to assume the technique was 

available to Burgundian tailors. 

5. The collars in figures 2, 4, 5, 7, 9, and 12 are a different color from the body of 

the doublet, suggesting that they could be a decorative and/or contrasting element. 

However, figure 2 also shows a doublet whose collar is the same color as the 

body, so it is not required that the collar be a different color. 

6. Most of these pictures do not suggest seam-lines, but figure 2 clearly indicates 

both a V-shaped base to the collar and a center back seam. The few pictures that 

show the inside of the doublet confirm this interpretation: 

Figure 7.16 

1485-90 Hans Memling, Triptych with the Resurrection, left wing showing the Martyrdom of St. Sebastian 

These are the same picture, just from two different books. 

29

Figure 7.17 

1453-55 Rogier Van Der Weyden, St. John Alterpiece 

7. The shape of the front of the collar can be many different shapes, from a gentle 

curve to a sharp boxy angle. See figures 20-23 for examples. 

8. Look at figures 6.17-6.26 (page 19) in the hose section to see where on the 

peplum the points attach. Generally it looks like the eyelets are at the bottom edge 

of the doublet, on the hips and definitely below the waist. 

30

9. Most illustrations obscure the bottom front of the doublet, however there are at 

least 3 shapes seen: 

� An inverted V (figure 18) 

� Straight across the front (figure 19) 

� Open (figure 20) 

Figure 7.18 



Figure 7.19 

Ca. 1450, MS76/1362. Hours of the 

Duchess of Bourgogne. Spectators on 

the river banks enjoy scenes of watertilting 

Figure 7.20 

Ca. 1473-5 Dirk Bouts, 

The Justice of the 

Emperor Otto III: The 


Man 

10. Figures 16-18, 21 and 24 suggest that the doublets were laced though eyelet holes, 

however figures 22 and 23 suggest the use of eyelet rings, both were probably 

used. 

Figure 7.21 

1475? Hans Memling, Martyrdom of St. 

Sebastian 

Figure 7.23 

1462 Dirk Bouts Portrait of 

an Unknown Man 

Figure 7.24 

Before 1478, Hans Memling 

(possibly), Portrait of 

Jacques of Savoy 

Figure 7.22 

Ca.1467/70 Portrait of Anthony of Burgundy 

by Hans Memling 

Figure 7.25 

Ca. 1445-48 Rogier van der 

Wyden, Middeburg Altarpiece 

(central panel) 

31

11. Figures 16-18 and 21 all show that the doublet was lined. From the artwork alone 

we can’t say what they were lined with (although all 4 are lined with a light 

color). However, 

“some ordinances of 1520s from the Spanish city of Seville regulated what types 

of fabrics could be used in completing a doublet…Expensive outer cloths, such as 

brocades, required three linings: ‘one of linen colored like the [fabric], another of 

coarse canvas and a third of white linen.’ [5] Doublets of ‘minor silks’ had only 

two linings, one canvas and one linen for the body and a white linen and fabriccolored 

linen for the sleeves. [6] Cotton was used to stuff the expensive doublets, 

but cheaper fustian doublets could be stuffed with wool. Given the body-shaping 

function and the need for a strong support for the hose, it is quite likely that the 

requirements for 15th century doublets were similar to these given here.” 4 

Sleeves 

It is my contention that the sleeves are the key to the Burgundian nobleman’s silhouette, 

namely the very high poof at the top of the arm. It is my belief that this sleeve-puff is 

padded and is what supports the over-gown in the super-broad shoulder look which 

characterizes Burgundian style c.1445-75. After 1475 you start seeing instances of 

noblemen wearing doublets without sleeve puffs and the silhouette moves to a much 

more narrow look; but during this period, most of the men (with visible sleeves) that do 

not have the puff at the top are obviously working-class fellows. 

There are very few nobles in the 1445-75 era that are shown without sleeve puffs. The 

silhouette in both illuminations and portraiture suggest a larger-then-normal shoulder 

breadth (although most individuals’ sleeve heads were obscured by the over-gown). Here 

are examples showing the sleeve puff: 

4 http://www.nachtanz.org/SReed/doublets.html Susan Reed, “15th-Century Men’s Doublets: An 

Overview”. Both references are to Anderson, Ruth M. Hispanic Costume: 1480-1530. New York: Hispanic 

Society of America, 1979. Page 55. 

32

Figure 7.26 

late 1440s-late 1460s Louis of Savoy, 

from a statuette on the tomb of Louis 

de Mâle 

Figure 7.29 

Ca. 1460 from Chronique a brégée 

des empereurs 

Figure 7.27 

Ca. 1450 Hours of the Duchess of 

Bourgogne, youths playing hockey 

Figure 7.30 


Montauban , “the Marriage of Renaut 

de Montauban and Clarisse” 

Figure 7.28 

Ca. 1460 from Chronique a brégée des 

empereurs 

Figure 7.31 

1446 Petrus Christus, Portrait of 

Eddward Grimston 

33

Figure 7.32 

pre-1466 Wavrin Master's cartoons for 

L'histoire de Girart de Nevers 

Girart is drinking poison 

Figure 7.35 

1470 Loyset Liédet, Vasco de Lucena 

Presents Book to Charles the Bold of 

Burgundy 

Figure 7.33 


Roussillon and his wife Berthe are 

presented to Charles the Bold 

Figure 7.36 

1471 France, Loyset Liédet, “Tree of 

Consanguinity” from Somme rurale 

de Jean Boutillier. 

MS Fr. 202, fol. 15v 

Bibliothèque Nationale, Paris 

Sleeve Puff 

The shape of the sleeve puff varies quite a lot: 

Figure 7.38 


Montauban 

Figure 7.39 


Bourgogne, youths playing 

hockey 

Figure 7.34 

1470 Loyset Liédet, Vasco de Lucena 

Presents Book to Charles the Bold of 

Burgundy 

Figure 7.37 

1475 from Histoire du Charles Martel 

Figure 7.40 



34

Figure 7.41 



church 

Figure 7.44 



church 

Figure 7.42 

1470 Loyset Liédet, Vasco de 

Lucena Presents Book to Charles 

the Bold of Burgundy 

Figure 7.45 

late 1440s-late 1460s Louis of 

Savoy, from a statuette on the 

tomb of Louis de Mâle 

Figure 7.43 


Montauban , “The Marriage of 


Clarisse” 

Figure 7.46 

pre-1466 Wavrin Master's 

cartoons for L'histoire de Girart 

de Nevers 

Some observations: 

1. The sleeve puff never comes lower then mid-bicep, and tends to be a bit higher. 

2. The puff doesn’t stand up much, mostly is stands out, to the side of the arm, its 

aim is to give width rather then height. (Be careful about this when stuffing your 

puffs, it’s very easy to get off.) 

3. In figures 38-40 the shape of the puff around the arm is not evenly distributed – it 

arches around the arm. In figures 41-46 the puff does appear to be gathered 

evenly around the arm. 

4. How full/stuffed the puff is varies considerably. 

Sleeve Closures 

All of the sleeves in the pictures above are very tight from the wrist to the uppers arm. 

So, how are the sleeves fastened to achieve this? I see two options: 

� A discreet fastening method at the wrist. 

� A slit up the back of the arm held closed by decorative lacing. 

Figure 7.47 


Bourgogne, youths playing hockey 

Figure 7.48 

1457 King Rene's Book of Love 

Folio 51v 

Figure 7.49 


Montauban 

35

Figure 7.50 

1465 Loyset Liédet, Bertha Duchess of 

Burgundy building a church 

Figure 7.53 


Roussillon and his wife Berthe are 

presented to Charles the Bold 

Figure 7.56 



Figure 7.51 


Montauban , “The Marriage of 


Clarisse” 

Figure 7.54 

1470 Loyset Liédet, Vasco de 

Lucena Presents Book to Charles 

the Bold of Burgundy 

Figure 57 

1487 Hans Memling, Diptych of 

Maarten van Nieuwenhove 

Figure 7.52 

1465 Loyset Liédet, Bertha Duchess of 

Burgundy building a church 

Figure 7.55 

1470 Le Mesnagier de la ville et des 

champs 

Figure 58 

1453-55 Rogier Van Der Weyden, St. John 

Alterpiece 

36

Figures 47-56 above have no visible fastening. These may be fastened with discrete 

lacing like in figure 57 (which is slightly later then our period of interest) or they may 

have small self-fabric button closures. Figure 58 shows a man with a single button 

closure at the wrist. There are multiple pictures of women with skin tight sleeves that 

have a row of small buttons along their outer arm; buttons that are only noticeable when 

the picture is enlarged farther then is usually seen in modern art books. Men’s fashion 

may have employed this option as well. 

Figure 7.59 

Ca. 1440-45 Rogier van der Weyden, Visitation of Mary (detail) 

There is an almost equally common option for achieving the skin-tight sleeve: a slit up 

the side/back of the arm that is held closed with a decorative lacing pattern: 

Figure 7.60 

1457 King Rene's Book of Love Folio 

25v 

Figure 7.63 

1460-70 Flanders, Histoire de la Belle 

Helene 

Figure 7.61 

1457 King Rene's Book of Love 

Folio 31v 

Figure 7.64 

Figure 7.62 

Brussles, Master of the 

Legend of St Barbara, 

unknown couple 

37

Figure 7.65 

1460-65 Livres des Tournois du roi 

Rene, king-at-arms presenting a 

sword to the Duke of Bourbon 

Figure 7.68 

Ca. 1460 from Chronique a brégée 

des empereurs 

Figure 7.66 

Mid-fifteenth century. Roman de 

la Violette. Paris, Bib. Nat. ms fr. 

24376 f. 5,8. 

Figure 7.69 

late 1440s-late 1460s Louis of 

Savoy, from a statuette on the 

tomb of Louis de Mâle 

Figure 7.67 

Ca. 1465-70 Burges. Master 

of the Harley Froissart, Jean 


Most of the time (when the full sleeve is visible) the slit goes from the wrist nearly to the 

sleeve puff (figures 62-69). In figures 65 the slit seems to disappear just above the elbow. 

In all cases except 68 the slit appears narrow, as if a seam were left open, rather then a 

portion of the sleeve that has been removed. Because of the prevalence of the slit, I 

conjecture that there is a seam running up the outer arm, as there is in the extant 14 th 

century Charles of Blois' pourpoint (figure 70). 

There are many possible ways to construct the tight portion of the sleeve; you could use 

the Charles of Blois’ multi-piece sleeve as a guide: 

38

Figure 7.70 


Pourpoint of Charles of Blois, Duke of Brittany. It probably post-dates 

Charles’ death in 1364. 

However, I prefer the simpler 2-piece sleeve construction (a.k.a. a “coat” sleeve) which is 

seen in Elizabethan sources. 

Figure 7.71 

Ca. 1610 Sleeve of a Padded Doublet. 

From a garment construction point of view, I find it necessary to construct a full sleeve 

and then apply the puff on top of that. If you attach the lower sleeve directly to the sleeve 

39

puff, with nothing to stabilize the puff then the fullness gets pulled down and you only 

get a gathered section at the top of the sleeve but no poof adding width. You see this in 

the Italian fashions of the time, but the Burgundian fashions use the more aggressive poof 

as shown above. 

Doublet materials 

The artwork can’t say much about what the doublets were made of; other then they’re 

usually a solid color. 

“Jacqueline Herald cites that the outer fabric of Italian doublets could range from 

elegant fabrics such as silk brocades and velvet or to simple linen. Published 

information about the materials used to make doublets in Burgundy or France is 

limited. Margaret Scott notes that many doublets worn by the nobility in the 

1470s were made of silk or velvet, and there is also mention of fine worsted 

(wool) being used as well. Spanish doublets were made from silks, woolens or 

fustian (a linen-cotton blend). Although I could not find specific references to 

linen or linen-blend doublets in France or Burgundy, the presence of linen or 

linen-blend doublets in Spain and Italy, the close cultural ties that Spain had with 

Burgundy, and the ample availability of linen fabrics in France and Burgundy 

suggest that linen or linen-blend doublets were likely to have been made there. 

The only evidence I have found for English doublet materials were the wardrobe 

accounts for one year during the reign of Edward IV. The fabrics allotted for his 

doublets were generally silk satin or velvet for the outer layer and linen for 

linings. Allotments of fabrics for doublets for his family and servants included 

silks for the family and high-ranking officials and wool cloth for the lowerranking 

servants or servants involved with manual labor.” 5 

5 

http://www.nachtanz.org/SReed/doublets.html [Nov. 7, 2010] Susan Reed, “15th-Century Men’s 

Doublets: An Overview” 

40

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Frontspiece: Jennings 31. 

Figure 1.1: Durnkerton, et al. 15. 

Figure 2.1: Vos, Rogier van der Weyden 250. 

Figure 2.2: Voronova 119. 

Figure 2.3: Unterkircher f51v 

Figure 2.4: Batterberry 86. 

Figure 2.5: Payne 218. 

Figure 2.6: Batterberry, 89. 

Figure 3.1: Scott, Medieval Clothing and Costumes 27. 

42

Figure 4.1: I’ve lost the source 

Figure 4.2: Vos, Hans Memling 108. 





Figure 4.7: http://www.greydragon.org/library/underwear1.html [Nov. 7, 2010] 

Figure 4.8: Tarrant 53. 


Figure 4.10: www.houseofpung.net/sca/15c_mens_italian.pdf [Nov. 7, 2010] 


Figure 5.2: Collins and Davis 28. 


Figure 5.4: http://gallica.bnf.fr/scripts/mediator.exe?F=C&L=08100103&I=000036 [Feb. 2008] 

Figure 5.5: Scott, Medieval Dress and Fashion 155. 



Figure 5.8: Kemperdick 11. 

Figure 5.9: Frère 107. 






Figure 5.15: Voronova, 169. 

Figure 5.16: http://www.culture.gouv.fr/culture/medieval/en/b047.htm [Nov. 7, 2010] 





Figure 5.21: http://www.wga.hu/art/m/memling/6copies/0149burg.jpg [Nov. 7, 2010] 


Figure 5.23: http://www.medievalproductions.nl/compagnie_de_ordonnance/doubletpattern.html [Feb. 

2008] 


Figure 5.25: http://www.personal.utulsa.edu/~marc-carlson/cloth/rogart.html [Nov. 7, 2010] 






Figure 5.31: http://www.personal.utulsa.edu/~marc-carlson/cloth/elizabeth.htm [Nov. 7, 2010] 

Figure 5.32: http://www.personal.utulsa.edu/~marc-carlson/cloth/arras.html [Nov. 7, 2010] 

Figure 5.33: www.houseofpung.net/sca/15c_mens_italian.pdf [Nov. 7, 2010] 

Figure 5.34: http://www.wga.hu/art/p/piero/2/7/7find07.jpg [Nov. 7, 2010] 

Figure 5.35: http://www.wga.hu/art/a/antonell/portra_m.jpg [Nov. 7, 2010] 

43





Figure 6.2: Evans, plate 37. 





Figure 6.7: Vos, Hans Memling 106-7. 


Figure 6.9: Hallam, 138. 




2008] 



Figure 6.15: Scott, Late Gothic Europe 181. 

Figure 6.16: http://www.wga.hu/art/p/piero/2/8/8herac15.jpg [Nov. 2010] 



2008] 










Figure 6.28: Fox, June. 





Figure 6.33: 

http://www.medievalproductions.nl/compagnie_de_ordonnance/pictures/mansclothingback.jpg [Feb. 

2008] 








44




Figure 6.44: http://www.personal.utulsa.edu/~marc-carlson/cloth/london.html [Nov. 7, 2010] 







Figure 6.51: http://www.wga.hu/art/p/piero/2/3/3burial1.jpg [Nov. 7, 2010] 



Figure 7.3: Scott, Fourteenth & Fifteenth Centuries 99. 



Figure 7.6: http://www.medievalproductions.nl/compagnie_de_ordonnance/pictures/mensdoublet.jpg 

[Feb. 2008] 










Figure 7.16: (Left) Vos, Hans Memling 269. (Right) Scott, Late Gothic Europe 161. 






Figure 7.22: http://www.wga.hu/art/m/memling/6copies/0149burg.jpg [Nov. 7, 2010] 



2008] 




Figure 7.28: Blanc 6. 



Figure 7.31: http://www.wga.hu/art/c/christus/2/grimston.jpg [Nov. 7, 2010] 



45



Figure 7.36: Fox, June. 





























2010] 


Figure 7.66: Boucher 208. 




Figure 7.70: http://personal.utulsa.edu/~marc-carlson/cloth/blois.html [Nov. 7, 2010] 

Figure 7.71: Arnold 81. 

46

Burgundian Noblemen's Underclothes c1445-1475

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