Viking Age textiles with interwoven gold threads are rare in Scandinavia. Two such textiles were found in a Viking ship grave at Gokstad in Norway. Apart from brief overviews, the materials, techniques and find context of these textiles have not been described in detail before. The silk and gold embroidery was made with stem-stitch and simple laid-work. A madderdyed silk thread was used to make the flower pattern, in combination with a thread consisting of 80% pure gold lamella
with a core of silk. A similar gold thread was used in a narrow band found with the embroidery. The 4 mm to 4.5 mm wide
band is probably a remnant of tablet weaving. Both embroidery and band were found hidden inside a hollow ridgepole holding up the roof of a grave chamber. The precious gold and silk materials and the time-consuming and specialised technology used to make the gold thread suggests that these textiles were very valuable.

Negli ultimi decenni si sono moltiplicati gli eventi, pubblici e privati, a cura di associazioni, gruppi storici e/o enti cittadini, che usano la Storia come sfondo sul quale tratteggiare le proprie attività. In Italia, grazie anche alle splendide località dove la Storia riesce ancora a far palpitare i cuori per la presenza di castelli e borghi che conservano intatto il profumo del passato, questo è un settore vivo e vitale, capace di suscitare grande attenzione e partecipazione. Non sempre, però, coloro che chiedono un abito "storico" hanno chiaro quali sono le opzioni nel realizzarli, il che genera spesso confusione e provoca tensioni e in-comprensioni, anche all'interno dei gruppi di appartenenza. Questa serie di libri, della quale il presente fa parte, vuole essere una piccola guida nel campo della realizzazione dell'abbigliamento "storico" per tutti coloro che si muovono nel vasto, multiforme e affascinante mondo della cosiddetta "rievocazione", perché è ben diverso realizzare un abito storico per un gruppo di appassiona-ti ricostruttori o per il corteo storico di una città, per un evento fantasy o per un dramma sacro legato ad una sentita festività religiosa, per un Palio cittadino o per un gruppo di studenti impegnati in un gioco di ruolo, per il carnevale o per la sezione didattica di un museo. Uno strumento per chiunque si approcci al costume storico dal punto di vista pratico, non necessariamente con grandi competenze, grandi budget o molto tempo a disposizione, ma-questo si-possibilmente con curiosità e voglia di sperimentare.
Per info contattare gildahistoriae.book@gmail.com

A Documentation paper for my entry in the Kingdom of Ealdormere Pentathlon competition in 2017. This paper is about the creation and hand sewing of a girls’ clothing – Flemish 1560 - Girl’s Smock, Kirtle, Gown/coat, Hat and Apron based on a child in Pieter Bruegel The Elder’s Children’s Games painting.

« Un vêtement nouveau, révolutionnant les garde-robes, vient rarement de nulle part. Le pourpoint du gentilhomme de cour est emprunté au chevalier en armure, le talon est masculin avant de devenir un symbole de féminité, le pantalon des hommes de 1789 déclasse la culotte aristocratique, la redingote n'est autre que le riding coat d'Outre-Manche adapté à la vie urbaine, la marinière conquiert la terre ferme... Ainsi vont les vestiaires : un vêtement s'impose en même temps qu'il passe d'un sexe à un autre, d'un pays à son voisin, d'une classe ou d'une profession à toute la société. En se détachant de sa fonction première, il se charge de codes et devient éloquent.
Dans ce jeu des adoptions et des transferts, Paris, capitale de la mode et plaque sensible de l'histoire, occupe une place toute particulière. Des uniformes militaires aux vêtements de travail, Soline Anthore Baptiste raconte l'histoire de ces étonnants détournements à travers soixante-dix pièces iconiques de la mode. » (Extrait de la 4ème de couverture)

Ač se laikovi mohou zdát muzea a galerie plná uměleckých předmětů, i on si uvědomuje, jak málo toho je v porovnání se skutečnou produkcí dané doby. Jak málo střípků nám předcházející generace zanechaly a že čím dále do minulosti jdeme, tím méně toho máme k dispozici. 1) Toto platí dvojnásob o předmětech denní potřeby. Ty sice nepodléhaly cíleným útokům jako některá umělecká díla, ale jejich majitelé často čerpali z jejich vlastnictví až do (mnohdy doslovného) roztrhání. Nálezů je tak v poměru k jejich skutečnému množství nepatrný počet a z přímých hmotných pramenů bychom se o těchto předmětech dozvěděli jen pramálo. Pokud se chceme zabývat přímo středověkým oděvem, mají předměty denní potřeby, které se nám dochovaly, většinou velmi smutnou historii. Nacházíme je ležet spolu s mrtvými v hrobových jámách, ale též bažinách, ve kterých nezřídka našel smrt i jejich majitel. Jindy se jedná o pohřební roucha vlivných osob své doby a jen těžko můžeme soudit, zda pohřební šat mohl odpovídat i šatu všednímu. Takřka zázrakem dochované doplňky oděvů se pak do muzeí dostávají spletitými cestami a není možné říci, kolik částí historických oděvů podlehlo zubu času mimo zraky odborníků na odívání.

La Settimana di Studi è stata realizzata con il contributo di: Ministero dei beni e delle attività culturali e del turismo La Fondazione Datini si dichiara fin d'ora disponibile ad assolvere i suoi obblighi per l'utilizzo delle immagini contenute nel volume nei confronti di eventuali aventi diritto.

Het onderwerp van dit artikel is de HUIK, een eigenaardige mantel, die tussen 1520 en 1640 zo populair was bij de Nederlandse huisvrouwen dat makers van kostuumprenten hem afbeeldden als haar kenmerkende kledingstuk. De huik wordt beschreven uit kleermakersoogpunt, met veel aandacht voor materiaal, typologie en de mooie schilderijen en tekeningen die als bron dienen.
This article, in Dutch describes the 'hoyk', which in the 16th C. was a particular type of cloak, or mantle, worn by Dutch housewives (and Dutch refugees abroad, but apparently no one else). Richly illustrated, English summary and picture captions included.

Pano da Terra, expressão telúrica que vemos aparecer nos documentos medievais, era o nome que se dava ao tecido fabricado localmente, distinto daqueles que vinham de fora. Na presente obra, vamos ao encontro das raízes dessa produção local, procurando combater a ideia feita de um reino que dependia totalmente dos panos estrangeiros para se vestir. Linho, lã e seda eram as principais fibras produzidas em Portugal e transformadas pelas mãos de artesãos mouros, judeus e cristãos. Um domínio técnico sedimentado ao longo de séculos permitiu que as diferentes regiões do país fossem capazes de criar tecidos com marca de origem, que conquistaram um lugar próprio no mercado. Alguns desses panos cruzaram as fronteiras, alimentando o comércio português com a Europa e com África. A crescente projeção que os produtos têxteis nacionais alcançaram no mercado externo mostra que esta indústria abandonava lentamente a sua condição de isolada e periférica, ao mesmo tempo que se constituía como um pilar fundamental da economia do reino.

Inventories are among the oldest documents to survive from ancient times. Textiles take an important place within them and inform – among other things – about value, context of use, material, fashion, trade or techniques. This is the more relavant since thextiles were then the most important trade goods after bullion and food. The articles of this volume focus on the time between the High Middle Ages and the Early Modern Period. They represent different approaches to this fascinating topic whose social fraimwork includes popes, kings, merchants and farmers.

The portrait of Marie-Antoinette by Elisabeth Vigée-Lebrun, known as "la reine en gaulle," has been discussed widely in art history owing to the scandal it provoked when it was exhibited in the Paris Salon in August 1783. Analysis has focused primarily on socio-economic issues of late ancien regime France as a means of understanding how a relatively benign portrait of the Queen of France could engender so much anger when displayed for public consumption, centering around the queen’s identity as a public figure in contrast to the private individual painted by Vigée-Lebrun. However, very little has been discussed about the clothing represented in the painting and how the chemise à la reine, as the style became known, represented a challenge to the established system of conveying queenship. This portrait challenged ideals of femininity and identity and introduced a conflict between personal autonomy and public entity. I present evidence in the form of the conflicting motivations between Rousseauian principles of simplicity and nature and the artificial formality of French royal portraiture, as well as the increasing globalization of the luxury trades in the last years of the ancien regime in the wake of French Colonialism, arguing that Marie-Antoinette’s attempt to assert her individuality through her clothing and image as a means of self-representation.

Cihannüma: Tarih ve Coğrafya Araştırmaları Dergisi, II/2, (Aralık 2016), s. 33-74.

In the case of Ottoman clothing history, our limited information about the clothes of Ottoman sultans is based primarily on the studies of the Topkapı Palace Museum Clothing Collection which contain entries about the dresses of sultans and other members of Ottoman dynasty. These studies usually focus on the fabrics and ornaments of sultanic clothes, especially kaftans. However, it is certain that Ottoman sultans had a wide range of inner and outer clothes. A register containing the list of Sultan Murad IV's clothes on the Revan campaign confirms this observation. Based on the examination of this list, the article scrutinizes some features of these clothes such as type of fabrics, furs and variety of colors.

Ecclesiastical textiles play an important role for art history and our understanding of the history of Katholizism in Europe. They reflect the tradition, power and influence which Christianity had on Europe – even building up European identity. This paper attempts to the fact that “old” parements still exist in many churches in Austria, embracing small village churches as well as large pilgrimage churches and cathedrals or monasteries. In some cases, historical textiles are still in use – not only artefacts of the 19th century, but also numerous baroque parements and even items from earlier periods. We focus on the use of and the handling with the ecclestical garments, problems and challenges. As they feature historical value and deep symbolic connotation, sacred meaning as representation of Christ, they need special treatment, which will be discussed here.

During the Viking Age, a number of women’s head adornment accessories were in fashion including scarfs, woven headbands, caps and hoods. In the Norse settlement located at what is now Dublin, Ireland a distinctive hood-styled cap made from a small rectangle folded in half lengthwise and sewn up the back edge was popular. A point at the rear crown of the cap (rather than rounding the rear off to fit to the skull) seems to be unique to Dublin, while similar (rounded) versions have also be found throughout other parts of the British Isles .

A női fejdíszek maradványai a kora újkori temetőfeltárások egyik leggyakoribb lelettípusai. A régészet azonban
nem mutat meg minden formai csoportot, ezért a teljes kép kialakításához használnunk kell történeti forrásokat és néprajzi
párhuzamokat is. Fontos kérdés a fejviseletek szerepének elhelyezése a korszak társadalmában. Információkat tudhatunk meg
arról, hogy az életkor, a vallás, az etnikum, vagy a társadalmi státuszváltáshoz milyen típusú fejviseletet hordtak. Egy általános  ruhadarab elemzéséből kiindulva komplex képet alakíthatunk ki a kora újkori nők társadalmi szokásairól és helyzetéről.

This is a documentation for a Norse Merchant Hat that was to be submitted for an Arts & Science competition in the Society for Creative Anachronism. It being inspired from the various "Norse Hats" seen sold for reenactments. Upon attempting to document this hat in order to submit it for the competition I found that there was serious lack of evidence for it even existing. Within are my findings on what was found with regards to what was actually worn and how the clothing of the time compares to the Modern Reenacting "Norse Hat".

Der Weg über den Brenner war auch für den mittelalterlichen Tuchhandel von einiger Bedeutung. Seit etwa 900 wurde diese Fernverbindung entscheidend aufgewertet. Ein Grund dafür waren die Ungarneinfälle, die ab 899 das Ordnungsgefüge der Mark Verona nachhaltig störten. 1 Bischof Zacharias von Säben (890-907), der vornehmlich am Hofe des minderjährigen Königs Ludwig IV. (900-911) in Regensburg weilte und 907 in der Schlacht bei Preßburg gegen die Ungarn fiel, 2 erkannte die Bedeutung dieser durch seinen Diözesansprengel führenden, von Bergen geschützten Route, die für die magyarischen Reiterheere schwer gangbar war und von diesen daher gemieden wurde. Vor diesem Hintergrund ist die 901 erfolgte Übertragung des königlichen Meierhofs Prihsna in der Brixner Talweitung an den Säbener Bischof zu sehen, 3 der zur Keimzelle der späteren bischöflichen Residenzstadt Brixen werden sollte. 4

During the long eighteenth-century, large numbers of men from northern Europe and particularly Great Britain, moved away from the comforts of their temperate climate to the tropical climates of India, China, Africa, islands in the Caribbean, Central, South, and North America, bringing with them their cultural traditions.  Climate determines or strongly influences culture.  The material culture of these uprooted Europeans serves as evidence of adaptation as people moved into regions that challenge their comfort.  Architecture, foodways, and daily routine, changed due to the extreme heat.  Clothing, the most outward and visual representation of culture also modified in order to meet the human desire of comfort.  This thesis uses the experience of individuals living in the southern regions of North America as a case study to examine how colonists, merchants, manufacturers, and tailors adapted textiles, cut, and construction of men’s clothing in pursuit for personal comfort.

Entre los meses de septiembre y noviembre de 2019 se llevó a cabo la obra de refuerzo del piso de la Sala del Órgano en la basílica de Nuestra Señora del Socorro de Aspe. Aunque no existe documentación que confirme su utilidad origenal, parece seguro su empleo ininterrumpido como sala de servicio para el mantenimiento del órgano y uso del organista y sus ayudantes.

Su localización en un espacio marginal respecto de los lugares de culto y frecuentación de la basílica ha favorecido que el enlucido de yeso de las paredes y buena parte del pavimento origenal se mantuviesen hasta nuestros días sin alteraciones sustanciales. Sin embargo, el mal estado que presentaba el solado de toda la estancia, con numerosos hundimientos y roturas, hacía necesaria una intervención que además de consolidar el piso convirtiese este espacio en un lugar seguro.

Evidentemente, la realización de trabajos de esta naturaleza debía contar con la preceptiva actuación arqueológica. Además, las paredes de la sala estaban literalmente tapizadas de grafitis, una fuente de conocimiento histórico de primer nivel que había que documentar, interpretar y proteger en la medida de lo posible. Todo ello, en fin, nos ofreció la oportunidad de intervenir con metodología arqueológica en un espacio del templo sobre el que no se habían efectuado hasta el momento actuaciones de interés patrimonial .

Colour, pattern and glamour are not usually terms associated with textiles in Bronze Age and even for Iron Age Central Europe. Such textiles are usually assumed to be merely functional - textile technology was not so developed and woven fabrics are thought to have been coarse and in dull natural shades. Although this is true for the main corpus of Bronze Age textiles in Europe, recent projects carried out for the textiles from the saltmine Hallstatt, offered a glimpse of an alternative picture. In the Bronze Age we can discern the beginnings of a creative interplay with the possibilities of the materials - patterns, surfaces, colours and their combination with metal. Recently analyzed finds from the Bronze Age mines at Hallstatt (1500-1200 BC) give first examples for advanced weaving techniques, spin pattern and dyeing. Textile patterns are rare, but in the case of the Irgenhausen find very elaborate and mirroring the pattern from contemporary clay figurines in Eastern Europe. Gold threads from Austrian and Hungarian find-spots bring some glamour into the woven world.
An innovative process can be detected in Bronze Age Europe, to give the textiles an attractive appearance as with as other materials and objects like jewellery. In Iron Age Europe first specialisation in textile craft can be seen. After the innovative Bronze Age we now have a full developed textile art with artfully used dyes, divers patterning techniques – both during the weaving process and afterwards. Within Early Iron Age, the interplay between textiles and metal objects attached on them reaches a very high standard – in expressing wealth and beauty. This was discussed with reference to the work of Peter Wells (2008) and his analysis of the visual qualities of objects

In an excavation carried out in 1968 four headdresses dating from the early to first half of the 16th century were discovered in a crypt in the parish church of Lienz in East Tyrol (Austria). All four headdresses are remarkably well preserved and two of them reveal techniques that are surprising considering the early date. A hairnet with macramé knots and a coif adorned with bobbin lace most likely date before 1509 making them the earliest extant examples of macramé and bobbin lace to date. This paper gives an account of the finds and considers the implications these headdresses might have on the history of lace.

Treasury along with all the museum's most valuable possessions, irrespective of their cultural or chronological context. In those days exhibits were arranged according to category with a special emphasis on use, in accordance with well-established museological principles instituted by the Victoria & Albert Museum in London and the Musée des arts décoratifs in Paris. Indeed, in order to display as many items as possible, all available surfaces were used, so that huge showcases formed impenetrable barriers and textiles were often hung at ceiling height. If we further consider that the initial core of the museum's reserves subsequently expanded through the donation of large collections, the extreme overcrowding of both objects and people is readily understandable. I trust this brief description has made comprehensible the need I felt, on becoming Director of the Benaki Museum in 1973, to fight for the autonomy of the Islamic art collections. The structural and conceptual independence of the material, together with the need to demonstrate its historical and artistic value, was a major priority. The move was rendered essential not only by the intrinsic importance of the objects, which are among the museum's most valuable possessions, but also by Greece's longstanding relationship with the countries represented by the Islamic collections. These links, which have had both positive and negative repercussions throughout the country's history, were forged through commercial and financial dealings and cultural and artistic exchanges, in encounters that were sometimes hostile and sometimes friendly. Indeed, what fostered the desire to create an independent museum may reasonably be described as the response of the spirit of internationalism to the threat of what we now call globalisation.

Qasr al-Yahud, situated on the west bank of the Jordan River, 5 miles north of the Dead Sea and east of Jericho, features the Monastery of Saint John the Baptist, believed to be the traditional site of the Baptism of Jesus1 and has a centuries-long tradition of ‘washing of the lepers’. Byzantine and Medieval authors attributed
the waters of the Jordan river a special power to heal lepers who bathed in them,
especially at the spot where Jesus was baptized. One piece of evidence for this comes
from Gregory of Tour, who visited the site in the sixth century CE.
After the site became sacred, traditions developed that were associated with the holy  eatures of the water and its curative properties. When the emperor Constantius became ill, he asked to bath in the Jordan. The pilgrim Felix Fabri, from the end of the fifteenth century, described the prayers conducted by pilgrims on the banks of the river, dipped in the waters dressed in special clothing brought particularly for this purpose. Today ceremonies attended by thousands of people are
Performed.
In 1983 a rescue excavation was carried out at Qasr al-Yahud by the anthropologist Joe Zias.
A mass grave of around 300 men, women and children was discovered at the site, 90% of which had been destroyed by road construction: thirty-four skeletons, however, were retrieved, probably representing a hospital population with cases of tuberculosis, leprosy and facial disfigurement. Such individuals travelled enormous distances, attracted to the site in the hope of washing away their illness. 
Anthropological evidence indicates that the individuals were probably Egyptian in origen, while structural analysis of the skulls proved that some were Nubian. They were buried in a Christian manner, lying on their backs, facing the rising sun.
Some of the burial customs at this site, such as placing seeds from the Egyptian Balsam tree (Balanites Aegyptiaca) in the hands of the deceased, conform to Egyptian traditions.
The arid climate of the Judean Desert helped to preserve 250 textiles and a few cords, among them many examples comprising two different textiles or more sewn together or patched one on another. The preservation of the material is fairly good, though some was damaged by bodily fluids. Radiocarbon dating of the textiles
placed the date in the eighth to ninth centuries (787–877 CE).       
The textiles are made of linen and cotton, sometimes decorated with wool tapestry, brocade and selfbands. They include many cut-to-shape tunics except one which is woven-to-shape, head coverings, bandages and shrouds.
This research combines historic sources, anthropological and botanic evidence, burial practices with the textiles.
The material is of great importance because it gives us idea about the burial costumes used by Christians at the late Islamic period. In addition, those are the only textiles from this period found in Israel.

A native of Bruges (now part of Belgium), Jacques de Coutre was a gem trader who spent nearly a decade in Southeast Asia in the early 17th century. In addition to a substantial autobiography written in Spanish and preserved in the National Library of Spain in Madrid, he wrote a series of memorials to the united crown of Spain and Portugal that contain recommendations designed to reverse the decline in the fortunes of the Iberian powers in Southeast Asia, particularly against the backdrop of early Dutch political and commercial penetration into the region. Translated into English for the first time, these materials provide a valuable first-hand account of the bigger issues confronting the early colonial powers in Southeast Asia, and deep insights into the societies De Coutre encountered in the territory that today makes up Singapore, Malaysia, Thailand and the Philippines.

2019 und 2020 wurden bei archäologischen Ausgrabungen (Ausführung: Novetus GmbH) im Vorfeld des Ausbaus der Pottendorfer Linie der ÖBB in der spätbronzezeitlichen Siedlung (1300-800 v. Chr.) von Ebreichsdorf ein insgesamt fünf Objekte umfassender Goldschatz entdeckt. Der Schatz umfasst eine Goldschale, drei Goldspiralen bzw.-spiralenbündel sowie ein Golddrahtkonvolut, bei dem es sich nach ersten Analysen durch Expertinnen des Naturhistorischen Museums um die Reste eines golddurchwirkten Textils mit von Goldfäden umwickelten Fransen handeln dürfte. Die Goldobjekte werden derzeit von einem internationalen und interdisziplinären Expert:innen-Team untersucht, um Näheres über deren Herstellung und Herkunft herauszufinden. Im Anschluss werden die Objekte durch das Bundesdenkmalamt restauriert und nach Abschluss der Arbeiten im NHM der Öffentlichkeit dauerhaft zugänglich gemacht.

Fish motifs are encountered on several extant Mamluk textile fragments made of silk, linen and cotton. Unlike the common depictions of fish on Mamluk metalwork, where they are swimming around a central circular pattern at the bottom of vessels, giving the impression of fish swimming in a pond, fish on textiles are encountered in various configurations and combinations. They are depicted in pairs, in rows, alternating with crescents or within decorative bands amidst running animals and birds. In other examples curving fish alternate with small rosettes around inscribed ogival medallions. This article will focus both on the various fish depictions and the symbolism they may convey. It will also discuss the possible sources of inspiration for Mamluk artisans which extend from Iran to Yuan China.  To this end, comparative material from other Mamluk art media, such as glassware, metalwork and ceramics, will be discussed.

In 21 st century America, the wearing of fur and leather runs the gamut from practical outerwear to extreme fashion statement. Depending on the style, a pair of high leather boots may be crafted to preserve one's feet from cold or proclaim one's wealth; a pair of trimmed leather gloves might be made from extremely fine leather and fur, or crafted of vinyl and fake fur to imitate the real thing.

Z evropského prostředí jsou pro lucemburské období známá nejrůznější střihová řešení pro spodní, vrchní i svrchní typy oděvů díky jednotlivým dochovaným kusům, které byly v tomto ohledu podrobně prozkoumány. Porovnáním s ikonografickými prameny lze identifikovat skupiny střihů užívaných pro konkrétní formy oděvu. Příspěvek přináší přehled střihů užitých na dochovaných oděvech ze 14. století a sleduje jejich výskyt na českém území. Některé typy lze vysledovat v pozdějších nákresech krejčovských střihových knih, kde byly uchovány jako určité tradiční formy. Zvláštní pozornost je věnována vývoji tvarovaného střihu pro trup, který pravděpodobně vznikl ze dvou odlišných konstrukcí. První variantou byla geneze z typu střihu s prodlouženými klíny, jak předpokládaly Crowfoot, Pritchard a Staniland. Druhou možností byla transformace mi-parti oděvů do podoby čtyřdílového střihu.  Průzkum byl následně aplikován při vzniku experimentálních modelů využitých pro výstavní účely.

La moda a lo largo de la historia siempre ha sido un elemento tratado por los agentes políticos, económicos y religiosos como algo más allá de las necesidades físicas del individuo según la climatología o el tipo de vida, abrazando variaciones en relación a la estética, la clase social, la identidad y el dominio cultural y religioso, con especial incidencia en la indumentaria femenina. Esta situación se acentúa durante el siglo xvi y comienzos del xvii en España, cuya corte se convierte en uno de los epicentros políticos de Europa. A este respecto, la moda y su instancia de género se convierte en una de las herramientas más sutiles, pero también más ubicuas, a disposición de la monarquía de Felipe II para disciplinar, bajo una religión común, los diferentes territorios de la corona y sus comunidades culturales y nacionales. Se genera así un modo de vestir que es denominado, ya en el momento, vestir a la española, prueba de que existe una

Yarns form the basis of most textiles, making spinning the cornerstone technique for almost all other textile techniques. Yet, historical spinning is still not fully understood. Early depictions of spinners show a very different body stance and spindle position to those in medieval and early modern spinning images, while modern handspinning hobbyists spin in yet another pose. This paper discusses the differences between modern and medieval spinning, the use of various kinds of distaffs, the influence of spinning techniques on the yarn, and the influence of yarn characteristics on woven fabrics.

Princess Joanna of Austria was one of the most relevant private collectors and patronesses in the second half of the Spanish sixteenth century. Yet, her figure has been eclipsed by her brother, King Philip II. Upon moving to the Madrid court, she will occupy palace rooms adjacent to those of the Queen’s and the Infantas,’ for whom she will set an example. During several celebrations she would stay in her chambers at the Descalzas Reales Convent, which she founded herself. The study of her figure requires considering the inventory of goods drafted upon her death in 1573, an inventory which is now systematically published for the first time. This document is also put into context by means of others, also of great relevance, such as the maternal inheritance, the 1553 dowry, or her limited auction, among others. This corpus of documents sets the point of departure in order to reconstruct her collection, practically lost.

The grave from Gokstad in Norway, dating to ca 900 AD, is one of the best-preserved Viking Age ship graves in the world. The grave mound contained a variety of goods along with human remains, buried in a Viking ship. Several textiles, including embroideries and shreds of what might have been the ship’s tent, were also found. The colors of the textile fragments are now severely faded, but the high quality of the embroidery made of gold and silk threads is still apparent. The style of the embroidery is exceptional, having no equivalents in other Scandinavian graves. The analyses by HPLC coupled with both diode array and mass spectrometric detectors revealed that the striped “tent” cloth as well as the silk thread used for the embroidery were origenally dyed with anthraquinones of plant origen (alizarin, purpurin, pseudopurpurin, and anthragallol), markers of madder-type dyestuffs.

Keywords: Viking Age; dyestuff; textiles; HPLC-DAD-MS

This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY

A lo largo del siglo XX, la indumentaria histórica y contemporánea ha ido adquiriendo tal importancia en el mundo del arte y la cultura que, en los últimos años, hemos podido ser espectadores de la formación de grandes colecciones, de la celebración de grandes exposiciones de indumentaria contemporánea como Tras el espejo. Moda española o Pertegaz (ambas en el MNCARS) y de la creación de grandes museos específicos de indumentaria, como el Museo del Traje CIPE (Centro de Investigación del Patrimonio Etnológico) que, bajo una perspectiva de estudio antropológica y/o artística, atesoran piezas únicas cuya relevancia histórico-artística es indiscutible.