Lancaster (1415-1422): Horned Headdresses

Horned- the side cauls eventually grew to such large proportions that they became horns. The metal mesh that had
encased the cauls became decorative surface for the fabric horns.

Lancaster (1430-1460): Heart-shaped and Turban Headdresses
Heart-Shaped- over time the horned headdresses rose in verticality, eventually forming a heart shape. They were
crafted by goldsmiths, using rich fabrics and a gold mesh, usually set with needlework and jewels. The headdresses
were so rich they were often mentioned in wills. Fig. 51 and 52 showcase a style in which a padded roll of fabric
frames the face.
Turban- this style was popular throughout the 15th century. Its influence was Turkish, probably after the capture of
Constantinople. They were light, made of wire mesh and fabric.

York (1460-1485): Butterfly and Hennin
Hennin- eventually the horns became so tall and vertical they merged into one tall horn. In England, the cone had a
flat top and would not exceed a height of nine inches. Compared to the 2-3 feet of Continental styles, this was
modest. Transparent veils were attached to the top, or draped, sometimes to the ground.
Butterfly- consisted of a cap which resembled an inverted flowerpot, set at an angle orginally resembling the hennin,
and then eventually becoming completely horizontal. The veil arrangement was important and structural. Sometimes
the veil was starched into its folds, but often it was supported by wires. The V-shape was desirable.
Both styles would sometimes feature a band of cloth, usually black, framed around the face. This front band would
eventually become the hoods of the Tudor period.

Lancaster and York ( 1425-1480): Barbe, Loose Hair
Barbe- a pleated linen bib, which went out of fashion, along with the wimple, in the sixteenth century. Sumptuary laws
of mourning made the barbe mandatory for Court.
Loose Hair- was only worn by young girls, unmarried, and queens during coronation ceremony and brides. Often a
circlet was worn.

Beatrice d'Este (c. 1480s-1490s) Attributed to Giovanni Ambrogio de Predis (Pinacoteca Ambrosiana, Milan, Italy)
tempera and oil on panel, 51 x 34 cm

Marie, Wife of Potinari (1470) Hans Memling