1039:
1239:
976:
939:
177:
604:
1146:
1060:
1114:
1020:
1258:
999:
1134:
956:
1095:
1173:
1079:
1193:
1220:
34:
1208:
209:, put on by pulling over the head, or fastening at the front. The hood could be pulled off the head to hang behind, leaving the short cape round the neck and shoulders. The edge of the cape was often trimmed, cut or scalloped for decorative effect. There were woolen ones, used in cold weather, and lighter ones for summer. In this form it continued through to the end of the Middle Ages, worn by the lower classes, often by women as well as men, and especially in Northern Europe. The hood was loose at the back, and sometimes ended in a tail that came to a point.
1038:
691:
800:
165:
1613:
408:
774:
434:, hanging loose from the top of the head. This became fashionable, and chaperons began to be made to be worn in this style. Some authorities only use the term chaperon for this type, calling the earlier forms hoods – which was certainly their usual name in English. This is a categorisation for modern discussions only; there is no dispute over whether chaperon was the contemporary term. See the wearing
491:, they are worn in the original form by the peasants working in the fields, both men and women (February, March and September), and huntsmen (December), and in the new form by some of the courtiers (January and May), who wear coloured and scalloped ones, probably of silk. However, the Duke himself, and the most prominent courtiers, do not wear them. In the
1059:
1019:
765:(see gallery). An advisor to the Medici told them in 1516 that they should get as many young men to wear "the courtier's cap" rather than the cappucci. A cappucci was more practical; in urban areas, such as Florence, when seeing a person of higher rank on the street it was simply touched deferentially or pushed back on the head slightly.
975:
1238:
1145:
998:
1053:: Baptism, Confirmation, and Penance, 1445–50. The man on the extreme left gives a clear view of his dagged patte. The father of the baby above him is wearing his in church. The three boys being confirmed also have chaperons. The old man confessing has a cut hood chaperon as well as a hat on the floor.
1677:
645:
has his patte wrapped round the back of his neck, and the man on the extreme right has his bourrelet further than usual down his back, with the patte hanging down from it. Most of the chaperons are black, although the man in blue has one in salmon-pink; black was having one of its earliest periods of
869:
By about 1480 the chaperon was ceasing to be fashionable, but continued to be worn. The size of the bourrelet was reduced, and the patte undecorated. St Joseph could, by this stage, often be seen with the evolved form. By 1500 the evolved chaperon was definitely outmoded in
Northern Europe, but the
560:
The cornette now stretched nearly to the ground, and the patte had also grown slightly; both were now plain and undecorated by cutting or dagging at the edges. Bourrelets could be very large, or quite modest; some were clearly made round a hollow framework (a drawing survives of an
Italian block for
457:
became much longer, and gradually more scarf-like in shape, until by the 1430s it was usually straight at the sides and square-ended. Especially in Italy, the cornette was sometimes dispensed with, leaving just an un-flared tubular patte fixed to the bourrelet all round and hanging down to one side
860:
is especially useful, as it is never part of his depiction to be fashionably dressed, and it is part of his character in the period that he is often shown quite dishevelled (see examples below). The shepherds are the lower-class figures most often shown in a large scale in paintings of the period.
552:
By the middle of the 15th century the evolved chaperon (worn on top of the head, with bourrelet) had become common wear for males in the upper and middle classes, and were worn in painted portraits, including those of the Dukes of
Burgundy. The amount of cloth involved had become considerable, and
874:
for lawyers, academics and the members of some knightly orders, such as the Order of the Garter. In these uses it gradually shrank in size and often became permanently attached to the clothing underneath, effectively just as an ornament, in its present form, as a part of academic dress, called an
565:
analogy is hard to resist) with an open centre, and sometimes the opening seems to be at least partly covered with fixed cloth. Because the bourrelets were usually the same shape all the way round, several different parts of it could be worn facing forward. Probably for this reason, chaperons are
495:
they are most often worn by the lower huntsmen on foot in the original form, though they and mounted hunters also wear them on top of the head. Figures often have a hood chaperon and a hat as well. Only the original form (trimmed with fur in one case - fol.51V) is worn by the very highest-ranking
586:
F) when the chaperon needed to be removed, in warm weather, or in the presence of a person much higher in rank (and, usually, in church) it could be put over the shoulder with the patte and cornette hanging on opposite sides, or round the shoulders. Which came forward and which went back varies
938:
1257:
582:
E) the patte could be worn to the rear, loose or tucked into the other clothes at the back of the neck, whilst the cornette was wrapped round over the top of the head and under the chin a couple of times and secured. This was suitable for cold or windy weather, especially when
343:
for men. As with all aspects of medieval costume, there are many contemporary images of clothing, and many mentions of names for clothing in contemporary documents, but definitively matching the names to the styles in the images is rarely possible. In
Italian the word was
1113:
1685:
148:), and then developed into a complex, versatile and expensive item of headgear after what was originally the vertical opening for the face began to be used as a horizontal opening for the head. The chaperon was especially fashionable in mid-15th century
955:
501:
By the 1430s most chaperons had become simpler in the treatment of the cloth, and the cornette is long and plain, although the patte may still be elaborately treated with dagging. A perhaps overdressed courtier in a Van der Weyden workshop
1133:
525:
1094:
1072:, 1446. St Joseph wears a small unevolved chaperon, pulled back off the head. The richly dressed donor has his evolved chaperon hanging behind him, with a large bourrelet and the long cornette trailing on the ground above his feet.
1172:
1032:, 1437–44. The father's patte, or possibly cornette, appears to be wound vertically through the bourrelet, which is rather flat. He wears a matching cloak. The companion who restrains him has a chaperon that looks like a turban.
641:. But as far as can be seen, all have hats. The man in grey seems to be carrying another sort of hat, but all the other ones visible are chaperons worn in style F, mostly with the cornettes to the front. The young
709:
Chaperons were used in France and
Burgundy to denote, by their colour, allegiance to a political faction. The factions themselves were also sometimes known as chaperons. During the captivity in England of King
553:
although chaperons seem to have normally been of a single colour at this period, a silk or damask one would have been a conspicuous sign of affluence. A Florentine chaperon of 1515 is recorded as using sixteen
753:
at her trial in 1431. This was apparently a hat rather than a hood, as she was stated to have taken it off in front of the
Dauphin – this was cited as further damning evidence of her assuming male behaviours.
1192:
653:
wearing one, although in this he may be deliberately avoiding ostentatious dress (see gallery section). They are more characteristic of merchants and lawyers in these countries, for example in the images of
622:
613:
1078:
301:) could form part of the assemblage. Patte, cornette and bourrelet were the usual terms in the French of the 15th century Burgundian court, and are used here. In Italian the equivalent terms were
649:
The chaperon never became quite this dominant in Italy or France; nor does it seem to have been worn as often by grand personages, although this is sometimes the case. There is a famous bust of
1013:, c. 1440. The dandyish saint wears an especially voluminous chaperon in style A. As with some other hats by Pisanello, the depiction may be rather exaggerated compared to hats worn in reality.
1219:
637:, next to Rolin, all the other men are bare-headed, even Philip's young heir, despite the fact that several of them are high-ranking intimates who, like the Duke, wear the collar of the
570:
A) the cornette and patte could be tied together on top of the head, to create a flamboyant turban-like effect, sometimes with a short tail of cornette or patte hanging to the rear.
510:
NG 783) from this decade still has a very elaborately cut and dagged patte. A figure behind him is wearing his in church, which is unusual (both figures can be paralleled in the
391:
for the hood placed over a hawk's head when held on the hand to stop it wanting to fly away. It is either this or the headgear meaning that later extended figuratively to become
573:
B) the patte could be looped under the chin and tied or pinned to the bourrelet on the other side of the face, whilst the cornette hung behind or in front, or was tied on top.
557:
of cloth, over ten yards (9 metres). Chaperons are nearly always shown in art as plain-coloured at this period, but painting a patterned one would have been a daunting task.
1706:
834:
portraits by virtue of being the fashion of the day, the
Italian cappuccio was of interest because the mazzocchio's shape made it a good subject for the developing art of
1579:
Dictionnaire universel d'histoire et de géographie contenant l'histoire proprement dite, la biographie universelle, la mythologie, la géographie ancienne et moderne
1251:, c. 1507. By now the chaperon is back to being work clothing. St Joseph has his over his shoulder, and all the shepherds have them, with the hood pulled back.
48:. The chaperon is worn in style A with just a patch of the bourrelet showing (right of centre) through the cornette wound round it (practical for painting in).
1774:
1541:
1139:
Friedrich Herlin, 1462–5. Typically for
Germany, the highest status men (with kneelers) have fur (?) hats, whilst the sons with chaperons kneel on the floor.
870:
original hood form still remained a useful headgear for shepherds and peasants. By this time the evolved chaperon had become fixed in some forms of civilian
587:
considerably, but more often the bourrelet went behind. Possibly the chaperon was secured to the shoulder, as the assemblage often looks rather precarious.
426:
About 1300 the chaperon began to be worn by putting the hole intended for the face over the top of the head instead; perhaps in hot weather. This left the
152:, before gradually falling out of fashion in the late-15th century and returning to its utilitarian status. It is the most commonly worn male headgear in
1207:
1198:
1784:
1628:
1822:
1757:
1608:"Elle s'arrête en face de Charles VII, ote son chaperon, met un genou en terre et incline la tète. Dieu vous donne bonne vie, gentil dauphin!"
633:, using a less exuberant version of style B; only he has sufficient status to wear his chaperon indoors in the Duke's presence. Apart from the
566:
rarely seen adorned by badges or jewellery. There were now many ways of wearing, and indeed carrying, this most complex and adaptable of hats:
1542:"Medal by [[Pisanello]]of Don Iñigo d'Avalos, d. 1484, Grand Chamberlain of Naples from 1442, Metropolitan Museum of Art"
1502:
Carole
Collier Frick, Dressing Renaissance Florence: Families, Fortunes, and Fine Clothing, p 231, 2002, Johns Hopkins University Press,
992:, c. 1438. The chaperon is worn with cornette tied on top of the head, and the patte hanging behind (style C). The bourrelet is twisted.
949:, January (detail), c. 1410. The two courtiers standing behind the table to the left wear elaborately cut and dagged patterned chaperons.
701:, later than 1478, wearing a rather simple chaperon. The larger styles are now outdated, plus he is projecting a political message as
591:
in religious paintings always wear their chaperons in this way, as they are figuratively in the presence of the saints or the
Madonna.
981:
682:
they were generally less common, & appeared lower down the social scale. They were apparently never worn by the clergy anywhere.
1747:
945:
1590:
Many references throughout the proceedings (often translated as "hat" in English versions). See Articles 12–17 of the Charges etc.
1770:
of Gaston Phoebus, c 1400, from Ms Fr 616 from the Biblitheque Nationale, Paris. Feature with many illustrations, texts in French.
561:
making them). The largest bourrelets are worn by very high ranking men around 1445–50. Sometimes they seem to be just a ring (the
603:
176:
1107:, c. 1450. St Joseph carries his purple chaperon in a tangle in his hand, with the cornette vanishing into his other clothes.
969:, c. 1435. Two citizens wear their pattes behind in style C. The cornette of the one on the left can be seen in front of him.
483:
856:
and other scenes of the early life of Christ. It is of course always winter, when the chaperon was most likely to be worn.
1427:
1289:
37:
478:
1842:
852:
Apart from portraits, many of the best, and least formal, depictions of the chaperon in art come from paintings of the
524:
1447:
1123:, 1460. The near courtier has a chaperon over his shoulder as well as a hat. Behind the bed some Eastern princes wear
576:
C) the patte could be worn to the loose to the rear, with the cornette tied on top, or hanging loose to front or rear.
1728:
1652:
1529:
1507:
1395:
1344:
1330:
1312:
803:
1753:
Chaperon section of 1929 book by Adrien Harmond - in French, with many pictures and reconstructed cutting patterns
1593:
1545:
380:, and French depictions of the story naturally favour the chaperon over the long riding-hood of ones in English.
168:
The original form of chaperon, worn with the hood pulled back off the head. Many were shorter than this example.
879:. In Italy it remained more current, more as a dignified form of headgear for older men, until about the 1520s.
831:
353:
1166:
wears a working-mans chaperon in the original style, whilst the relative at right wears a simple evolved one.
738:
wearing white chaperons. White was also worn in factional disturbances in Paris in 1413, by opponents of the
411:
153:
1049:
1005:
735:
595:
Examples of these styles are shown in the illustrations to the article and in the Gallery section below.
512:
1186:
c. 1470. St Joseph now wears an evolved but simple chaperon with a short cornette around his shoulders.
638:
27:
1267:
1827:
1625:
20:
1667:
Emmer, Michele. "Art and Mathematics: The Platonic Solids." Leonardo 15(4): 277-282 (Autumn, 1982).
845:
782:
507:
1817:
835:
466:
842:
studied the perspective of the mazzocchio and incorporated it in some of his paintings (e.g. in
749:
The chaperon was one of the items of male clothing that featured in the charges brought against
1832:
1088:
c. 1450. The chaperon is carried over the shoulder, with the cornette to the front, in style F.
368:
1798:
Some related headresses of the 15th Century: theories on construction by Cynthia du Pré Argent
1069:
1044:
898:
727:
694:
658:
from the mid-century. In England, on the other hand, almost all the non-royal members of the
650:
626:
608:
579:
D) conversely the patte could be tied above, whilst the cornette hung loose to front or rear.
415:
743:
33:
8:
1837:
1029:
807:
715:
659:
144:. Initially a utilitarian garment, it first grew a long partly decorative tail behind (a
1248:
985:
723:
663:
392:
1724:
1648:
1566:
1525:
1503:
1391:
1340:
1326:
1308:
1229:
853:
714:
in 1356, the participants in a popular uprising in Paris against his son, the future
711:
671:
634:
320:
149:
1510:
1490:
1477:
1464:
487:
chaperons are to be seen worn by many figures. In the famous Calendar scenes of the
1522:
Illuminating the Renaissance - The Triumph of Flemish Manuscript Painting in Europe
739:
642:
629:
shows Philip the Good wearing a chaperon in style B. Next to him stands Chancellor
377:
91:
59:
45:
181:
1766:
1632:
1597:
1431:
1232:, 1480. The figures holding back the curtain wear chaperons with short cornettes.
1104:
1085:
667:
497:
357:
202:
129:
1789:
1201:, Florence c. 1469. The cornette draped round at the front is typically Italian.
923:, or hoods, worn by those horses with their other coverings of state. (See also
528:
The carried chaperon (style F) of the lower man shows clearly (from bottom) the
1797:
1322:
690:
588:
474:
328:
137:
1424:
799:
1812:
1806:
1274:. French depictions of the story naturally favour the chaperon over the long
966:
839:
786:
758:
630:
121:
1752:
1183:
1163:
1159:
989:
962:
857:
655:
186:
169:
41:
1388:
National Gallery Catalogues: The Fifteenth Century Netherlandish Paintings
164:
750:
141:
1591:
1356:, The Compleat Anachronist, No. 133, SCA monograph series (August 2006)
698:
361:
240:
1448:
Constructing the Headdresses of the Fourteenth and Fifteenth Centuries
1307:, National Gallery of Art, Washington (catalogue) /Cambridge UP,1986,
773:
1778:
1465:
Dressing Renaissance Florence: Families, Fortunes, and Fine Clothing.
1010:
439:
364:
being named after them (it also means the cap of a pen in Italian).
924:
762:
679:
562:
388:
270:
145:
1213:
German peasant (of c. 1470) with a hat over a hood-style chaperon.
407:
189:, 1432, National Gallery. A relatively simple wool chaperon, with
902:
876:
871:
1421:
From Chaperones to Chaplets:Aspects of Men's Headdress 1400–1519
1292:
From Chaperones to Chaplets:Aspects of Men's Headdress 1400–1519
1681:
1271:
1124:
906:
894:
778:
106:
74:
792:
731:
719:
675:
1349:
Edmond Pognon, Les Trés Riches Heures du Duc de Berry, Liber
819:
235:
229:
206:
156:, but its complicated construction is often misunderstood.
77:
109:
97:
65:
1791:
15th and early 16th Century Headress: A Literature Review
905:
devices, placed on the foreheads of horses that drew the
726:
as they supported the claim to the French throne of King
356:, whose distinctive white hood and brown robe led to the
324:
259:
223:
133:
100:
68:
1467:
Johns Hopkins University Press (2002). pp. 304–305.
757:
In 15th century Florence, cappucci were associated with
19:
This article is about the headgear. For other uses, see
399:) meaning a protective escort, especially for a woman.
265:
The tail of the hood, often quite long, was called the
1758:
CORSAIR database from the Morgan Library - search for
1785:
The NGA bust of Lorenzo de' Medici, after restoration
777:
Above: A mazzocchio, perhaps worn by himself, in the
112:
80:
844:
The Counterattack of Michelotto da Cotignola at the
103:
71:
1762:
gives 25 results from 2 French manuscripts, 1420–35
1718:
768:
548:
tied under the chin (1445–50, detail from gallery).
94:
62:
1199:Portrait of a Young Man (Botticelli, Pitti Palace)
1793:-updated (1997) section from SD Reed thesis above
453:) evolved, which sat around the head, whilst the
1804:
442:for an analogous development in a type of coat.
26:"Cappuccio" redirects here. For other uses, see
882:
646:being the most fashionable colour at the time.
662:are shown wearing them in their portraits in "
1748:History of the chaperon, with simple diagrams
1645:A Cultural History of Hair in the Renaissance
1423:, M.S. Thesis, 1992, University of Maryland,
887:In a later related use of the term, the name
1524:, Getty Museum/Royal Academy of Arts, 2003,
1450:, Paper by Marie Vibbert (Lyonnete Vibert),
910:
909:to processional funerals. These were called
888:
826:off to the left. On his head he wears a cap.
718:, wore parti-coloured chaperons of red, for
1721:Pisanello, Painter to the Renaissance Court
1294:, M.S. Thesis, 1992, University of Maryland
730:. In 1379 the ever-difficult citizens of
1354:Headdresses of the 14th and 15th Centuries
919:, as they were originally fastened to the
1610:La mission et le martyre de Jeanne d'Arc,
1478:Key Monuments of the Italian Renaissance.
1452:Known World Costume Symposium Proceedings
1436:Hoods, Chaperones, & (some) Sack Hats
1298:Hoods, Chaperones, & (some) Sack Hats
614:Philip the Good of Burgundy and courtiers
458:of the head. Reed (see refs) calls these
1663:
1661:
798:
772:
689:
602:
598:
523:
406:
319:was sometimes used in English, and also
175:
163:
32:
1319:The Fifteenth Century Italian Paintings
212:
1805:
1614:references from Chronicles (in French)
1491:Renaissance Art: A Topical Dictionary.
946:Les Très Riches Heures du duc de Berry
830:In addition to being featured in many
685:
376:in the earliest published version, by
136:worn by men and women in all parts of
1823:History of clothing (Western fashion)
1781:, from a medal in the NGA, Washington
1709:, a publication in the public domain.
1658:
465:By 1400–16, the period of the famous
402:
331:, where there are many references to
327:). But the word never appears in the
1723:. London: National Gallery Company.
1457:
1415:
1413:
1411:
1409:
1407:
1405:
1403:
1382:
1380:
1378:
1376:
1374:
1372:
1370:
201:The chaperon began before 1200 as a
1626:"Civic Humanism: Republican Dress."
623:only surviving manuscript miniature
519:
323:, for both the hood and hat forms (
13:
1719:Syson, L.; Dillian Gordon (2001).
1337:The Hunting Book by Gaston Phoebus
540:. The man above has a much larger
484:Très Riches Heures du Duc de Berry
418:, c. 1450, has an unusually large
281:in French. The cape element was a
221:, which derives, like the English
14:
1854:
1741:
1520:T Kren & S McKendrick (eds),
1514:
1434:-NB Headgear Reed categorises as
1400:
1367:
1296:-NB Headgear Reed categorises as
804:William Cecil, 1st Baron Burghley
422:, surely hollow, worn in style D.
412:Philip the Good, Duke of Burgundy
159:
1300:are all covered by this article.
1256:
1237:
1218:
1206:
1191:
1171:
1156:Master of the Prado Annunciation
1144:
1132:
1112:
1093:
1077:
1058:
1037:
1018:
997:
974:
954:
937:
769:The cappuccio in Renaissance art
736:Duke Philip the Bold of Burgundy
293:when fancily cut. Later a round
90:
58:
1712:
1699:
1670:
1647:. Bloomsbury Publishing, 2020.
1637:
1618:
1602:
1584:
1571:
1567:the images on Wikimedia Commons
1559:
1438:are all covered by this article
1026:St Francis renounces his father
822:, tucked under a belt, and the
810:robes, c. 1595, with vestigial
795:by Paolo Uccello, c. 1430–1440.
1534:
1496:
1493:Greenwood Press: 1987. p. 189.
1483:
1470:
1441:
1121:Master of Jouvenel des Oursins
791:Below: Perspective study of a
395:(in UK English, almost always
132:or, later, a highly versatile
1:
1317:National Gallery Catalogues:
1283:
479:Bibliothèque Nationale, Paris
1480:Westview Press: 2000. p. 67.
1305:Early Netherlandish Painting
883:Funerary ornaments on horses
217:Chaperon is a diminutive of
154:Early Netherlandish painting
7:
1050:Seven Sacraments Altarpiece
1006:The Vision of Saint Eustace
664:William Bruges' Garter Book
513:Seven Sacraments Altarpiece
246:, which already could mean
10:
1859:
1678:"The Battle of San Romano"
1631:February 24, 2007, at the
1577:M-N Bouillet, A Chassang,
1339:, Heritage Books, London,
1303:J.O. Hand & M. Wolff,
1180:Presentation at the Temple
1152:Presentation at the Temple
930:
864:
728:Charles the Bad of Navarre
639:Order of the Golden Fleece
617:(styles B and F; see text)
481:Ms Français 616), and the
28:Cappuccio (disambiguation)
25:
18:
1843:Medieval European costume
893:passed to certain little
285:in French and in English
21:Chaperon (disambiguation)
1775:Another stylish chaperon
1360:
783:The Battle of San Romano
670:, Stowe MS 594). In the
508:National Gallery, London
1581:, Hachette, Paris, 1878
1463:Frick, Carole Collier.
1268:Fleury François Richard
1264:Le Petit Chaperon Rouge
504:Exhumation of St Hubert
467:illuminated manuscripts
374:Le Petit Chaperon rouge
1684:Museum. Archived from
1266:by the French painter
911:
889:
827:
796:
706:
618:
549:
516:; see Gallery below).
423:
369:Little Red Riding Hood
352:, from which come the
198:
173:
49:
38:Probable self-portrait
1070:Rogier van der Weyden
1045:Rogier van der Weyden
802:
776:
742:, during one of King
693:
627:Rogier van der Weyden
609:Rogier van der Weyden
606:
599:The height of fashion
527:
430:tail and the cape or
416:Rogier van der Weyden
410:
387:was also the term in
179:
167:
36:
846:Battle of San Romano
348:, or its diminutive
213:Terms and derivation
1624:Hornqvist, Mikael.
1278:of ones in English.
808:Order of the Garter
686:Political chaperons
660:Order of the Garter
445:A padded circular
172:, mid 13th century.
1768:Le Livre de Chasse
1596:2011-07-16 at the
1430:2011-03-08 at the
986:Giovanni Arnolfini
984:presumed to be of
828:
818:worn as a sort of
797:
746:bouts of madness.
707:
695:Lorenzo de' Medici
651:Lorenzo de' Medici
619:
550:
489:Trés Riches Heures
436:Colley-Weston-ward
424:
403:Wearing variations
199:
174:
50:
16:Type of head cover
1230:Hugo van der Goes
1119:Miniature by the
712:John II of France
672:Holy Roman Empire
635:Bishop of Tournai
1850:
1828:Hoods (headgear)
1735:
1734:
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1544:. Archived from
1538:
1532:
1518:
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1500:
1494:
1487:
1481:
1474:
1468:
1461:
1455:
1445:
1439:
1425:available online
1417:
1398:
1386:Lorne Campbell,
1384:
1325:, London, 2003,
1260:
1249:Hans Schäufelein
1241:
1222:
1210:
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1084:Donor figure by
1081:
1062:
1041:
1022:
1001:
978:
958:
941:
914:
892:
761:, as opposed to
734:rose up against
666:" of 1430–1440 (
643:Charles the Bold
520:Evolved chaperon
378:Charles Perrault
360:and the type of
273:in English, and
197:hanging forward.
128:) was a form of
119:
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1598:Wayback Machine
1589:
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1519:
1515:
1501:
1497:
1488:
1484:
1476:Adams, Laurie.
1475:
1471:
1462:
1458:
1446:
1442:
1432:Wayback Machine
1418:
1401:
1385:
1368:
1363:
1321:, Volume 1, by
1286:
1279:
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1233:
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1187:
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1105:Petrus Christus
1098:
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1086:Petrus Christus
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979:
970:
959:
950:
942:
933:
885:
867:
790:
789:, c. 1435–1440.
771:
722:, and blue for
688:
668:British Library
601:
522:
493:Livre de Chasse
471:Livre de Chasse
405:
354:Capuchin friars
289:, or sometimes
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162:
93:
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61:
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31:
24:
17:
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1818:Dutch clothing
1815:
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1743:
1742:External links
1740:
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1698:
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1643:Snook, Edith.
1636:
1617:
1601:
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1489:Earls, Irene.
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138:Western Europe
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1730:1-85709-946-X
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1688:on 2007-09-30
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1653:9781350122819
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1612:1913, p. 23.
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1548:on 2010-11-08
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1530:1-903973-28-7
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967:Rolin Madonna
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848:
847:
841:
840:Paolo Uccello
837:
833:
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787:Paolo Uccello
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631:Nicolas Rolin
628:
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607:Miniature by
605:
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589:Donor figures
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205:with a short
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182:Léal Souvenir
178:
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122:Middle French
117:
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55:
47:
43:
39:
35:
29:
22:
1790:
1767:
1759:
1720:
1714:
1701:
1690:. Retrieved
1686:the original
1672:
1644:
1639:
1620:
1609:
1604:
1586:
1578:
1573:
1561:
1550:. Retrieved
1546:the original
1536:
1521:
1516:
1498:
1485:
1472:
1459:
1451:
1443:
1435:
1420:
1387:
1353:
1352:M. Vibbert,
1336:
1318:
1304:
1297:
1291:
1275:
1263:
1244:
1225:
1184:Hans Memling
1179:
1160:Hans Memling
1155:
1151:
1120:
1100:
1065:
1048:
1025:
1004:
990:Jan van Eyck
963:Jan van Eyck
944:
920:
916:
901:, and other
886:
868:
858:Saint Joseph
851:
843:
829:
823:
815:
811:
756:
748:
744:Charles VI's
708:
702:
656:Jean Fouquet
648:
620:
612:
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200:
194:
190:
187:Jan van Eyck
180:
170:Morgan Bible
125:
53:
51:
42:Jan van Eyck
1707:Cyclopaedia
1276:riding-hood
921:chaperonnes
917:shafferoons
899:escutcheons
836:perspective
832:Renaissance
781:portion of
759:republicans
751:Joan of Arc
239:, from the
142:Middle Ages
1838:Horse tack
1807:Categories
1692:2007-03-27
1552:2006-12-31
1284:References
961:Detail of
912:chaperoons
699:Verrocchio
611:(1447–8).
383:In French
350:cappuccino
311:mazzocchio
241:Late Latin
1779:Pisanello
1655:. p. 57.
1419:SD Reed,
1290:SD Reed,
1164:St Joseph
1162:, 1470s.
1011:Pisanello
890:chaperoon
812:bourrelet
763:courtiers
740:Armagnacs
716:Charles V
542:bourrelet
534:bourrelet
496:figures.
460:sack hats
447:bourrelet
440:mandilion
420:bourrelet
397:chaperone
346:cappuccio
307:becchetto
295:bourrelet
291:cockscomb
191:bourrelet
1760:chaperon
1629:Archived
1594:Archived
1428:Archived
1390:, 1998,
1245:Nativity
1226:Nativity
1178:another
1101:Nativity
1066:Nativity
1030:Sassetta
982:Portrait
925:Frentera
872:uniforms
854:Nativity
816:cornette
680:Portugal
563:doughnut
544:and his
538:cornette
455:cornette
428:cornette
393:chaperon
389:falconry
385:chaperon
317:Chaperon
279:cornette
275:liripipe
271:liripipe
195:cornette
150:Burgundy
146:liripipe
126:chaperon
54:chaperon
44:, 1433,
1154:by the
1125:turbans
931:Gallery
907:hearses
903:funeral
895:shields
877:epitoge
865:Decline
806:in his
724:Navarre
583:riding.
555:braccia
469:of the
438:of the
341:bonnets
140:in the
1727:
1682:Louvre
1651:
1528:
1506:
1454:(2005)
1394:
1343:
1329:
1311:
1272:Louvre
814:, the
779:Louvre
697:after
451:rondel
414:after
362:coffee
358:monkey
321:German
309:, and
303:foggia
299:rondel
267:tippit
193:, and
1705:1728
1361:Notes
1158:, or
897:, or
824:patte
793:torus
732:Ghent
720:Paris
676:Spain
546:patte
530:patte
432:patte
337:hoods
283:patte
244:cappa
219:chape
1813:Hats
1725:ISBN
1649:ISBN
1565:See
1526:ISBN
1504:ISBN
1392:ISBN
1341:ISBN
1327:ISBN
1309:ISBN
820:sash
678:and
621:The
536:and
449:(or
339:and
333:hats
297:(or
287:cape
256:hood
252:cape
236:cope
233:and
230:cape
207:cape
203:hood
130:hood
1777:by
1247:by
1228:by
1182:by
1103:by
1068:by
1047:'s
1028:by
1009:by
988:by
965:'s
927:.)
915:or
849:).
785:by
625:by
473:of
372:is
325:OED
277:or
269:or
262:).
260:OED
254:or
248:cap
224:cap
185:by
134:hat
88:or
40:by
1809::
1680:.
1660:^
1402:^
1369:^
674:,
532:,
462:.
335:,
313:.
305:,
250:,
227:,
124::
120:;
107:ər
78:oʊ
75:ər
52:A
1733:.
1695:.
1555:.
1127:.
705:.
506:(
477:(
258:(
116:/
113:n
110:ɒ
104:p
101:æ
98:ʃ
95:ˈ
92:/
84:/
81:n
72:p
69:æ
66:ʃ
63:ˈ
60:/
56:(
30:.
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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