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A conical hennin with black velvet lappets (brim) and a sheer veil, 1485–90. The hennin (French: hennin / ˈ h ɛ n ɪ n /; [1] possibly from Flemish Dutch: henninck meaning cock or rooster) [N 1] was a headdress in the shape of a cone, steeple, or truncated cone worn in the Late Middle Ages by European women of the nobility. [2]
Barbara wears a truncated hennin, a damask silk dress with a white collar, and a wide red belt with a golden buckle. They are presented by Saint Barbara , patron of the donor's wife, [ 12 ] who is shown standing before the tower where she was, by legend, imprisoned, which through innovative use of perspective , she seems to hold in her hand.
Most commonly worn in Burgundy and France by women of the nobility, the hennin appears from about 1430 onwards. Later, though, this hat spread more widely, especially in the truncated form. Typically, the hennin was 12 to 18 inches (30 to 45 cm) high, generally accompanied by a veil that usually emerged from the top of the cone and was allowed ...
Mary of Burgundy wears a headdress comprising a truncated-cone hennin, a jewelled padded roll, and a sheer veil. Women's fashions of the 15th century consisted of a long gown, usually with sleeves, worn over a kirtle or undergown, with a linen chemise or smock worn next to the skin. The sleeves were made detachable and were heavily ornamented. [20]
Portrait of Barbara van Vlaendenbergh, c. 1480, 37 × 27 cm (14.6 × 10.6 in).Royal Museums of Fine Arts of Belgium. Portrait of Barbara van Vlaendenbergh is a small c.1470–72 oil on wood painting by Hans Memling in the Royal Museums of Fine Arts of Belgium.
Before the hennin rocketed skywards, padded rolls and truncated and reticulated headdresses graced the heads of fashionable ladies everywhere in Europe and England. Cauls, the cylindrical cages worn at the side of the head and temples, added to the richness of dress of the fashionable and the well-to-do.
The headdress is a variant of the truncated or bee-hive hennin, then fashionable at the Burgundian court. A very similar style, with no tail, is seen on the older of two girls in the donor panels of Presentation of Christ by the Master of the Prado Adoration of the Magi, a pupil of Rogier van der Weyden. [13]
The frame's lower border containeds a carved banderole with an inscription reading SIBYLLA SAMBETHA QUAE / EST PERSICA; associating the woman with the Persian Sibyl.A painted metal cartouche placed at the top left of the picture is a later addition, and contains the words "SIBYLLA SAMBETHA QVAE ET PERSICA, AN: ANTE CHRIST: NAT: 2040" (The Sibyl Sambetha, the Persian, in the year 2040 BC).