Another riedel

Mmm, another riedel as found on Youtube I wanted to share. A dance of paradise and hell, if I’m correct. It can also be found on Spotify but the live version is more powerful.

Kleren maken de man

Wat je op je hoofd en om je lijf draagt is blijkbaar al minstens 400 jaar een issue. En niet vergeten, vrouwen moeten zich reguleren naar de staat en conditie van hun man, lolhaha…

Uit een wetboek uit de 1e helft van de 16e eeuw, wetten ingesteld door oa. Filips de Goede:

The art of recycling

Yesterday and today I’ve spent most of the time drawing sketches based on paintings and photographs, to improve my drawing skills. One of the paintings in the queue was the painting ‘The Flight of Charles the Bold’ by Eugene Burnand, dated around 1895, because horses and suits of armour are a struggle:

The painting depicts the flight of the Burgundians after losing the battle of Morat against the Swiss army in 1476.

Apart from the fact that Charles the Bold in the painting doesn’t quite look like the real Charles the Bold, I get the impression that his face was reycled in the back of the train:

Maybe it’s the doppler effect.


Yeah, it’s a slow day.


So I’ve finally spent some time on researching the boot incident. It seems that during a hunting event, Charles the Bold slapped Philippe de Commines in the face with a boot, after which Philippe’s nickname became Tête Bottée. Some claim this may have the reason why he defected to Louis XI, the king of France, but that seems a bit fickle.

I have started synthesising the information about Charles the Bold, starting with his birth. I will add this to the pages later on. Almost two years worth of document gathering turned into a big pile.

Due to a back injury I have not been able to train with swords the past couple weeks. But today I felt better and I hope I can continue next Tuesday as there are some major events in summer. One of the reasons I am studying all that history, it is part of the reenactment.

In art class I am working – apart from other stuff – on a modern interpretation of the Gossaert portrait of a gentleman. As discussed before, the identity of the man is not clear at all, though likely a Burgundian. I made the unfortunate decision to paint on the backside of a rejected piece of canvas. It is way too rough so I don’t know where it will go. While I was working on it, at least three people, one of my classmates and two random men who wandered into the atelier claimed they knew the man, they were quite adamant, which was odd, lol.

Today I’ve spent some time on sketches based on medieval manuscripts, mostly by Loyset Liedet and workshop. He has some scathing reviews but I love his work because it looks so modern.

But what is the point? Everything will be lost eventually…

What’s the point?



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