Album Amicorum in the Early Modern Period

While interning at LACMA in 2017, I came across a curious collection of 16th c. illustrations during an inventory project for special collections resources related to Costume & Textiles. This grouping of illustrations immediately struck me— one because of their small pocketbook-like size, and because of their depicted content:
preserved together in an archival box, the illustrations portrayed people and various scenes across the (mostly) upper echelons of society in Europe during the later half of the 16th century. Ascribed to each hand-colored illustration was a description for the viewer to contextualize the images:

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Venetian Courtesan, from Album Amicorum of a German Soldier, Italy, 1595. LACMA (M.91.71.1-.101)

Album/alba amicorum (also known modernly as Stammbuch), grew to popularity in German universities of the 16th century as an autograph book and friendship album between students and scholars. This is the origin of our modern yearbook tradition in primary school education in the United States, as German immigrants imported this custom in the 18th century. [1]

Moving outside of the sphere of universities in the early modern period, the album amicorum served a purpose that was not unlike our modern social media as a means of recording, and in a sense— a way of maintaining a recorded social network across Europe to gain favor and display social capital. Just like a Facebook timeline, these books took on a collaborative nature in terms of text. As Raashi Rastogi states in his essay Early Modern Alba Amicorum and Collaborative Memory: [2]

“[…] June Schlueter, the definitive authority on early modern alba amicorum, explains, the album was traditionally passed around among students and teachers at university; it would “accompany its owner on his travels or was sent by messenger to a friend, an acquaintance, a nobleman, or a king with an invitation to sign.” Each contributor would reproduce a commonplaced quotation, offering the album owner advice or a meditation on friendship, together with a short dedication, the contributor’s signature, and the date and/or location of the autograph. In his treatise on alba amicorum, Philip Melanchthon describes the friendship album as a memory-aid, designed to “remind the owners of people.”

Beyond these textual relationships and recorded sentiments, album amicorum also served as a visual travelogue for the wandering scholar, soldier, and aristocrat to preserve memories of foreign places. For us, this can help serve as a looking glass into the past when it comes to a visual aid for the purposes of historic costume. However, this is not without its flaws: album amicorum of the period often contained professionally illustrated and pre-printed “stock” characters that one would expect to see on their travels— such as the Venetian courtesan, papal figures, and nobles in various continental dress. [3] The 16th century saw the emergence and popularity of the costume book, and it was no coincidence that these two genres became interrelated and vastly popular; as Western Europe at the end of the century became invested in printed works that created visual taxonomies of people, social strata, geographical areas, and professions to neatly arrange social knowledge in a rapidly expanding world. [4]

It is hard to delineate truth versus constructed perception in these visual travel narratives, and in a way they all serve as a curious curation of the reality of the book owner. This is not dissimilar to the way in which many social media “influencers” of our current world carefully craft a visual narrative about their lives to gain social capital; posing with cars they sometimes don’t own, being seen with people they are barely acquainted with, and posting photos of places they have never been. It is likely that many album amicorum creators participated in a construction of a similar idealized account.

As an example, note the similarities of the Gentlewoman of Venice depicted in the Album Amicorum of a German Soldier with the salacious interactive engraving of a Venetian Courtesan by Ferrando Bertelli in 1563:

(Images courtesy of Los Angeles County Museum of Art, and The Metropolitan Museum of Art)

The Album Amicorum of a German Soldier was produced in approximately 1595, while this widely-circulated engraving by Bertelli was made in 1563 (note the same Chopine posture, overall silhouette, fan, hairstyle, and kerchief.) I suspect that this image created by the German Soldier was likely a copy of Bertelli’s work, with some liberties taken for originality’s sake.

These images of costumes (both national and international) became widely available by the mid-to-late 16th century, and would have been an easy resource for traveling scholars and courtiers to fill up the pages of their album amicorum. These images often contained exoticized stereotypes of other nations, and served as an early form of a highly problematized ethnographic survey. [5]
(Note even the visual hierarchy in Jost Amman’s Costumes of the Visual Nations of the World and how Europe is framed above the other continents (which include scenes of cannibalism)):

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Image from Jost Amman’s Costumes of the Nations of the World, 1577. Image Courtesy of the British Museum. For a full and detailed view, follow this link: https://www.britishmuseum.org/collection/object/P_1854-1113-173

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‘Mauritana in Domestico’ From Trachtenbuch von Nurnberg (Costume Book of Nurnberg), co. CLXIII. Jost Amman (Switzerland, Zurich, active Germany 1539-1591) Germany, 1577. LACMA (Gift of Mr. and Mrs. Marvin M. Chesebro (M.87.164.3)

This image from Jost Amman’s Trachtenbuch is another example of the classification of people through printed works that came about in the late 16th century. This book contains images of people from around their known world, but with a heavy emphasis on individuals living across Europe. These costume books are heavily flawed in terms of their depiction of non-european cultures through a eurocentric and orientalized lens, so it is always best to view these sources with a heavy amount of skepticism in mind.

Keep in mind that for nearly 100 years before Amman’s Costumes of the Nations of the World Africans were being captured and enslaved by Portugal on account of their “Moorishness”, which was soon followed the enslavement of other ethnic groups. The first enslaved African Peoples were forcibly brought to the newly established colonies in North America by the English in 1619, but the slave trade was alive and well in England beginning in the 1560’s when Sir John Hawkins began his capturing of slaves with the support of elite English merchants.[6] These proto-ethnographic illustrations to classify the “other” served as a visual reminder to reinforce burgeoning ideas of white supremacy that manifested into the classifications of peoples, and the destructive scientific racism of the 17th through 20th centuries.

I am digressing here from the original topic and into the realm of the costume book, but I think it needed to be said that every source should be approached with these points of caution: what purpose does this image serve? who was the intended audience for this image? and who was the “authority” behind the image? These questions should continuously be asked when evaluating primary sources.

That being said, let us return to album amicorum.

Some of my favorite viewable album amicorum online offer up a wealth of delights:

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Album Amicorum of a German Soldier, LACMA.

Since it has been the focus of this blog article, I recommend viewing the complete Album Amicorum of a German Soldier, which is available online through this link.

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Album Amicorum of Jean le Clercq. 1576 – 1589

This Album, available for full viewing on HathiTrust is a beautiful example of an Album Amicorum being illustrated within an earlier printed work. There are many full-color illustrations throughout, including that of some delicious heraldry. (As an aside, I am very much not a fan of French styles of this period. The super-high plucked hairline, and wasp-waisted look is a bit much.)

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Venetian Courtesan peering out from behind a veil. Album Amicorum of Paul Van Dale, 1576. The Bodleian Library, Oxford University. MS. Douce d. 11

This album made by Paul Van Dale is available online through the Bodleian Library at Oxford university, and includes beautiful illustrations of people across (mainly) Italy.

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Album Amicorum of Jacob Heyblocq, 1645 – 1678. National Library of the Netherlands

This album is later than the period I am focusing on in this blog post, but it is a perfect example of an album amicorum: it contains hundreds of signatures and quotes from students and scholars of the period, with many in Hebrew, Greek, and Latin. It also contains beautiful pencil and ink illustrations of Jacob’s travels as well, and I am a complete sucker for 17th century landscape studies— there’s just something so distant and moody about them.

[1] https://www.kettererkunst.com/dict/album-amicorum-stammbuch-memory-book-or-friendship-book.php

[2] RASTOGI, RAASHI. “Early Modern Alba Amicorum and Collaborative Memory.” Shakespeare Studies (0582-9399) 45 (January 2017): 151–58.

[3] Keller, Vera. “Forms of Internationality: The Album Amicorum and the Popularity of John Owen.” In Forms of Association : Making Publics in Early Modern Europe, edited by Paul Yachnin and Marlene Eberhart, 220–34. University of Massachusetts, 2015.

[4] Ibid, 224.

[5] Carvalho, Larissa. “Contact, Perception and Representation of the “American Other” in Sixteenth-Century Costume Books.” in The Myth of the Enemy: Alterity, Identity, and Their Representations, edited by Irene Graziani and Maria Vittoria Spissu, 235 – 244. Edizione Minerva, 2019.

[6] Thomas, Hugh. The Slave Trade : The Story of the Atlantic Slave Trade, 1440-1870. Simon & Schuster, 1997.

 

Resurrecting the Blog, Pt. II.

Well, it’s certainly been awhile.

Throughout 2018 through 2019, I got very busy with finishing graduate school, scrambling to establish my new career, and dealing with heavy issues related to the terminal illness and loss of a beloved pet.

Thus my blog project took a leap onto the backburner.

To follow up on the last costuming project I blogged about during my two year absence:

Yeah, remember my 1630’s project? I finished it will little time to spare, and It came out okay-ish! I will have to say that if you’re a top-heavy person like myself, the 1630’s bodice pattern from the V&A needs a heavy amount of guesswork and modification. I think in the future I will remake the stomacher with more boning, and perhaps pad it more with a linen base. The chemise also needs some work as well, which I admit was a bit of a rushed job.

The bodice definitely needs a falling linen band and some pearls— perhaps even large sash. If I have an opportunity to wear mid-17th century again, I will definitely pursue these improvements.

Currently, I am working on slowly chipping away at a Trossfrau-inspired ensemble, starting with the Hemd. For those that are not familiar with German or the German Renaissance period in general, the hemd is their equivalent of the smock/shirt worn beneath clothes. Drafting a similar Hemd based on Katafalk’s (Cathrin Åhlén), I have managed to squeeze about 100″ of linen into a smocked redwork collar:

The hemd is 100% hand-sewn, and the linen is Burnley & Trowbridge‘s shirt weight linen which has such a lovely drape. The collar lining is stiffened with a band of their Cambric linen, and the sleeves are a current work in progress. I have made the Hemd a bit multipurpose: it is not as long as a standard women’s smock would be, as I would also like to be able to eventually fence in this while wearing menswear… Someday, when Covid-19 allows us to gather again.

The goal of my ensemble is to make a complete look that is inspired by these images:

(Basel Woman Turned to the Left by Hans Holbein the Younger: Which I admit is decidedly not Trossfrau in origin, the Wulsthaube, Hemd, and overall look is what I am aiming for.)


(Artist is unknown to me, style appears to me as likely 1510-1530)

While keeping stash-busting in mind, I plan on using some claret-brown/russet colored worsted wool for the main body of the dress, and perhaps some bright red velvet of wool felt to make the contrasting bands similar to the picture.

My last German Renaissance dress I made was about 6 years ago, and there are many things I hope I can improve upon.

Anyways, on a completely different note (and to keep the momentum going) I plan on writing about Album Amicorum in my next post!

In hope,

Sibylla de Haze (Tanya Yvette)

A Hollar-inspired dress for a grand party

Well, it has certainly been quite some time since I have last made an entry—nonetheless sewed! (Ahh, graduate school.) But as I have been approached by my boss to make and wear an ensemble for the Grand Reopening of the William Andrews Clark Memorial Library, as well as run a booth on early modern material culture, I naturally agreed to do so with much excitement; because geeking out over material culture is something I simply live for.
As I wanted my ensemble to reflect the early modern holdings within the Clark Library’s collection—many of which are printed matter and manuscripts from the 17th century, I naturally looked to one well-known set of bound plates that has proven indispensable for Caroline and Stuart-era costume research; Wenceslaus Hollar’s Ornatus Muliebris Anglicanus. 

A few weeks prior, I had stumbled upon this volume of plates in the stacks, and Hollar seems to follow me everywhere it seems. It was as if the the universe (or Hollar’s ghost) was screaming at me to summon up enough resolve and finally make wearable dedication to my most beloved era of costume history; the late 1630’s, as I have been yearning and meaning to do for the last few years. For the sake of this project, I have decided to not stick with a faithful reproduction of a single plate, but draw up my inspiration from these two plates in particular:

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Loving the jacket-style bodice and falling band on the left, but I also love the muted simplicity of the one on the right…

Another inspiration is this painting of Queen Henrietta Maria by an unknown artist after Van Dyck:

Copyright Warwick Shire Hall / Supplied by The Public Catalogue Foundation

The lace! the pearls!

I could seriously get lost in the 17th century. But as I’ve spent most of this week stumbling about in imagery and research-ville, I had to get seriously started on this.

I have acquired 7 yards of heavyweight dark silver silk taffeta, and a few yards of look-alike bobbin lace for the falling collar:
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I am basing this bodice after the fantastic and rare 1630’s example in the V&A, and patterned out in Susan North and Jenny Tiramini’s Seventeenth-Century Women’s Dress Patterns v.1:

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I am however taking some liberties: I will not be slashing the silk since most events I do are outdoors and it would be liable to snag. I am also on the fence over whether I want to have open tabs or a closed-peplum style with gores.

While the bodice itself is a simple construction of only 3 pieces (two fronts, one back) I have spent the majority of today trying to get the fitting just right—which I must say, is a hard thing to do when you’re full-figured and drafting from an extant example. I will have to draft my own stomacher (easy-peasy) as none have survived with this dress example. Maybe I will add some pearl swags in the style of Queen Henrietta…

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After 7 attempts, we have a working foundation! Hurrah!

More to come tomorrow…

Introductions, and things

Hello world!

So, I created this blog a few years back with the goal to post things related to the history of costume, as well as history in general. I have now resurrected it hopes that I can document research, costume history, and my own costume constructions; as well as history in general to better contextualize the periods in which I am invested in.
A little about myself:

I’m a 30 year old student in UCLA’s MLIS program with a specialization in rare books and manuscripts. More specifically, I am in interested in 17th century print and material culture; especially with material related to costume history.
I have been costuming for 15 years, with a focus in historical costume construction for the past 13 years. I am an active reenactor across many periods of history– from 200 to about 1880 CE, though I find myself particularly enamored with the late renaissance through early modern period. I am a semi-active member of the SCA where you may know me as Sibylla de Haze (that’s pronounced hah-zeh for all you non-Germanic language speakers).
While I enjoy handicraft, handsewing, and constructing things according to the period; I am a firm believer in making things that make you happy. I enjoy using my sewing machine when I can, whenever I can, despite it being a modern invention. I hand-sew garments when I can, and aim to make things appear period by hand-finishing seams and hiding the sinful liberties of using a machine. Truthfully, wearing the finished product is what makes me the most happy; there is nothing quite like sliding on a garment and feeling yourself being transported back in time.