Marion McNealy

The Curious Frau

  • Recipes
    • Sabina Welserin Reconstructions
    • Medieval and Renaissance Reconstructions
  • Patterns
    • Pattern Drafting
    • Knitting Patterns
  • Tutorials
  • Resources
    • Extant Objects
    • Book Reviews
    • Manuscripts
    • Research
  • Diaries
  • About
You are here: Home / Resources / Research / Deciphering Juan de Alcega’s Tailor’s Pattern book of 1589

Research

Deciphering Juan de Alcega’s Tailor’s Pattern book of 1589

Introduction

Juan de Alcega was a Master Tailor in Spain in the late 16th century. In 1589, after much struggle, his book of “The Practice of Tailoring, Measuring and Marking Out” was finally published (Alcega, p. 15). We know this book today as Juan de Alcega’s Tailors Pattern Book.

His goal was to provide a resource to journeyman and master tailors to reduce the hassle of knowing how much fabric they needed to have the customer purchase for their garments, and to provide to the tailors a guide to layout the pattern pieces in the most efficient way possible with minimal wastage of fabric.

    The book is divided into three parts:

  • First, there are conversion tables showing the equivalent lengths of different width fabrics, for instance 2 bara wide fabric converted into 2/3 bara wide fabric.
  • Second, there are the patterns for men’s, women’s, and other garments, with different layouts that take the different fabric widths into consideration.
  • Third, there are tables for different types of garments that show generally how much fabric is needed for a particular type of garment in a multitude of widths.

In the 1970’s, almost four hundred years after the original publication, Ruth Bean published a facsimile of the original manuscript with a translation. The costuming work owes her and her team of translators a huge debt for this invaluable resource. If one is creating costumes from Western Europe between 1560-1600, it is truly a must own resource.

Influence of Spanish Fashion

Due to Spain’s political and monetary might during the 16th century, Spain had a large influence over the look and shape of garments throughout Europe. In England, France, Germany, the Netherlands and some parts of Italy, we see the influence of the Spanish lines and shapes in men’s and women’s clothes.

Resources

Tailor’s Pattern Book 1589, by Juan de Alcega, translated by Jean Pain and Cecilia Bainton. ISBN 0896762343 Originally published by Ruth Bean Publishers, now published by Costume and Fashion Press ISBN 0896762343

Patterns of Fashion, The cut and construction of clothes for men and women c 1560-1620 by Janet Arnold, ISBN 0333382846 Published by Costume and Fashion Press, ISBN 0333382846 A detailed analysis of surviving garments with construction details, close-up pictures and other great little goodies. Several garments in this book are very close to garments in Alcega.

The Costume Technician’s Handbook by Rosemary Ingham and Liz Covey.

While not a technical handbook on how to draft patterns in a period fashion, it is a good resource on pattern drafting and tailoring basics.

Extant garments in museums similar to garments in Alcega

Besides the many garments in Patterns of Fashion, 1550-1620 that are very similar in style to the garments in Alcega’s Tailor’s Pattern Book:

Woman’s Brown voided velvet jerkin, ca. 1580; very similar to jerkin mentioned in f.65a – f.66a, except without sleeves.

 

Symbols and interpretation

While the translators use ell in the text instead of the Spanish term of bara, I have chosen to use bara to eliminate confusion with other measurements also known as ell, but which had different lengths.

b is the symbol used for the Castilian bara, 1 bara =33 inches. Bara are calculated just like Roman numerals, the numbers are written left to right, with smaller numerals subtracting or adding to the larger one (Alcega, p 20).

Example:
ob = 1 bara – 1/8 bara
bo = 1 bara + 1/8 bara
If the symbols are repeated, the amounts are added together.
Example:
ooo = 1/8 + 1/8 +1/8 = 3/8.

In the text, the symbol iii, may appear to be written as iij, and the symbol ii may look like an n.

We are told by Alcega (p.17) that Castilian bara are only divided into parts that are perfect fractions of the ell itself: such as twelfths, eighths, sixths, quarters, thirds and halves. It is not divided up into fifths, sevenths, ninths, since they are uneven numbers and do not have an exact half.

This table shows the symbols that Alcega uses in his pattern diagrams to represent measurements in Castilian bara.

Table 4: Symbols used in the diagrams for measurements in Castilian bara

Symbol Fraction of a Bara Inches?
i 1/48 5/8
ii 1/24 1 3/8
d 1/12 2 ¾
o 1/8 4 1/8
s 1/6 5 ½
Q ¼ 8 ¼
t 1/3 11
ooo 3/8 12 3/8
m ½ 16 ½
mo 5/8 20 5/8
tt 2/3 22
QQQ 3/4 24 ¾
sb 5/6 27 ½
ob 7/8 28 7/8
db 11/12 30 ¼
iib 23/24 31 ½
b 1 33
bii 1 1/24 34 3/8
bd 1 1/12 35 3/4
bo 1 1/8 37 1/8
bs 1 1/6 38 1/2
bQ 1 1/4 41 1/4
bt 1 1/3 44
booo 1 3/8 45 3/8
bm 1 1/2 49 1/2
bmo 1 5/8 53
btt 1 2/3 55
bQQQ 1 3/4 57 3/4
bsb 1 5/6 60 1/2
bob 1 7/8 61 7/8
bb 2 66
bbt 2 1/3 77
bbm 2 1/2 82 1/2
bbQQQ 2 3/4 90 3/4
V 5 165 (4.6 yds)
Vb 6 198 ( 5.5 yds )
x 10 330 (9.16 yds)
xb 11 363 ( 10 yds)

Patterns by Gender and Type

Alcega often gives many different examples of the same style of garment, but with different widths of fabric, or with just a slightly longer length of skirt or body of the garment, both factors in calculating how much fabric was needed and changing the layout of the garment pieces on the fabric. What I have attempted with these tables is to categorize the different patterns available into groups based on garment name and identical pattern shapes and number of pieces.

I have also translated the original fabric amount given in Castilian bara into modern fabric widths and yards and added the original finished measurements to some of the garments.

The most common fabric widths given in Alcega are 2/3 bara, 1 1/3 bara, 1 1/2 bara, 1 2/3 bara, 1 3/4 bara and 2 bara widths.

The conversion process to modern fabric widths and lengths is two fold, first you must convert the width to the modern width, and then the bara to the yard

To covert 3 1/2 bara length of 2/3 bara wide fabric to 45″ wide fabric
1 bara =33″
3.5/2 = 1.75 (To convert it into a similar width of fabric)
1.75* 33 = 57.75 (To get the number of inches of fabric)
57.75/36 (To convert it into yards)
= 1.6041666666666666666666666666667 which I round to
1.625 or 1 5/8
Formula version, where X is number of bara in 2/3 b width
X/2*33/36

Formulas for widths
2/3b to 45″ wide = ((X/2)*33)/36
2/3b to 58″ wide = ((X/2.625)*33)/36
2b width to 45″ wide = ((X*1.44)*33)/36
2b width to 58″ wide = ((X*1.14)*33)/36

Hopefully these tables will assist you in understanding what types of patterns are covered by Alcega and a general idea of how much fabric is needed.

Table 1: Women’s Garments

Garment Name Folio numbers Est. Yardage -45″ wide Est. Yardage -58″ wide Measurements in inches
Skirt for a woman (1/2 circle skirt) 55, 55a, 56, 56a, 57 2 3/4 2 1/8
Kirtle of cloth or silk (A-line skirt) 58, 58a, 60, 61a, 62, 62a 2 3/4 2 1/8 Waist: 27.5
Farthingale 67 2 3/4 2 1/8
Laced mourning coat 64a, 65a 4.5 5
Doublet for a woman 14, 14a 1.25 1 Bust: 44″, Waist:30.25″
Kirtle with low cut bodice 59, 59a, 60, 61 2 3/4 2 1/3 Bust: 33″,Waist: 27.5″
Skirt with bodice and puffed sleeves 63, 63a, 64 with 2 ell wide fabric, 1.5 with 2/3 ell wide fabric 7 1/3 5 3/4
Skirt and little jerkin of silk 65a, 66, 66a 6 5 1/3
Gown of cloth, damask or silk 68, 68a, 69, 69a, 70, 70a, 71, 71a, 72 3 3/4 3 1/3
Mantle of serge, kersy or silk 72a, 73, 73a, 74, 74a, 75, 75a 6 5 1/8
Silk skirt with bodice and full-length pointed sleeves 1.6 7 2/3 6 5/8

Table 2: Men’s Garments

Garment Name Folio numbers Est. Yardage -45″ wide Est. Yardage -58″ wide Measurements in inches
Doublet 13, 13a 1 3/8 1 1/8
Cloak of cloth and cloth rash 15, 15a, 16, 16a, 17, 17a, 18, 18a, 19, 19a 4 – 7 1/3 3 ¼ – 5 ¾ Length from 38.5″ to 55″
Cassock 29a, 29a, 30 2 1 ¾ Length of front 24 ¾”
Jerkin 30 2 1 ¾
Cloak and jerkin 20, 20a, 21, 21a, 22, 24 4 1/8 – 8 ½ 3 1/3 – 5 2/3 Cloak length 27.5 – 49.5″ Jerkin front length 24 ¾” Sleeve length 24 ¾” Skirts length 8-16.5″
Cloak and cassock 22a, 23, 23a, 24a, 25, 25a, 26, 26a, 27, 27a 4 ½-7 1/8 3 ½- 5 ½ Cloak length 27.5-44″ Cassock front length 24 ¾ Sleeve length 24 ¾ Skirts length 8-11″
Herreruelo cloak and cassock 28, 28a, 29 4 ½- 5 ½ 4 – 4 1/3 Cloak length 33-38.5 Cassock front length 24 ¾ Sleeve length 24 ¾ Skirts length 8-11″
Herreruelo cloak and jerkin 30a 4 ½ 3 ½
Herreruelo cloak 32, 32a, 33, 33a, 34, 34a, 35, 35a ,36, 36a 2 ¼ – 6 1 ¾ – 4 5/8 Cloak length from 29-49.5″
Bohemian cloak 31, 31a 3 for taffeta 2 ½ for silk 2 ½ for taffeta, 2 for silk
Clerical cloak 36a, 37, 37a, 38, 38a, 39, 39a, 40, 40a, 41, 41a 6 ¾ – 10 5 ½ -8 Cloak length 55-66″
Clerical cloak and soutane 44, 44a 11-12 9-9 ½
Turkish morning gown 45a, 46, 47 4 ½ – 5 3 ½ -4 Gown length 55″, Back hem width 66-88″
Spanish morning gown 46a, 4 5/8 3 ¾ Gown length 57 ¾ “
Spanish gown 47a 4 ½ 3 ½ Gown length 55″
Roman gown 48, 48a 5 5/8 – 6 1/8 4 ½ – 5 Gown length 57 ¾
Learned man’s gown 49, 49a 6 4 ¾ Length 57 ¾
Felt travel cloak with skirts 52 4 1/3 3
Felt travel cloak without skirts 52a 4 1/3 3
Balandran cloak 53, 53a, 54 8 6

Table 3: Special Garments

Garment Name Folio numbers Est. Yardage -45″ wide Est. Yardage -58″ wide Measurements in inches
Christening cloak 54a 2 ¼ 1 5/8
Bishops mantle and Castillan amice 1.1 10 ¾ 8 ½
Bishops mantle and amice 42 10 ½ 8 ½
Chapter mantle for Knight Commanders of the Order of St. John 42a 4 ½ 3 1/3
Chapter mantle for the Order of St. John 43 2 1/3 2
Chapter mantle for Knight Commanders of the Order of Santiago 45 9 ¼ 6 1/8
Silk chapter mantle for Knight Commanders of the Order of Santiago 1.2 9 ¼ 7
Silk chapter mantle for Knight Commanders of the Order of Calatrava 1.4 6 ¼ 4 ¾
Moorish cassock for game of canes 51 2 5/8 2
Burnous for game of canes 51a 3 2 ¼
Saddle trappings for jousting (horse barding) 50 3 2/3 2 ¼
Saddle trappings for royal jousts (horse barding) 50a 5 1/8 4

Understanding the Pattern Diagrams

The pattern layout diagrams are quite easy to figure out, once you know the secret.

Here in Diagram 1 we have a redrawing of f.58: Kirtle of silk for a woman. It is marked with small letters to indicate the measurements, and large capital letters, A and B, to indicate where there will be piecings needed. The piecings are also marked with an A or a B so that you know which one goes with which. But notice, that there are no measurement marks for the piecings , that’s because Alcega gives the measurements for the whole pattern piece and leaves it up to the tailor to figure out how much they need to piece depending on fabric width.

 

f_58_raw Diagram 1: Re-drawing of the original pattern layout for f.58: Kirtle of silk for a woman
f_58_raw2 Diagram 2: Re-drawing with piecing added. Using tracing paper, I traced over the pattern lines, then moved the paper to match the piecing marked B with the line marked B on the main skirt. Then I did the same thing for A.

 

Diagram 3: Finished pattern layout for f.58: Kirtle of silk for a woman Here I have re-drawn diagram 2 to have smoother lines. The lines aren’t to scale.

f_58_finished

 

Worksheet for f.58: Kirtle of silk for a woman

Diagram 4: Re-drawn pattern layout for f.58: Kirtle of silk for a woman
Skirt Front:
bm – along front center- 49 1/2″
t – at waist- 11″
sb – at hem – 27 1/2″

Skirt Back:
bm – at back center – 49.5″
m – at waist – 16 1/2″
b – at hem – 33″

All of the skirt pieces are cut on the fold, we have to double the width measurements to get the finished size.
f.58 -Skirt waist: Front 22″ + Back 33″ = Total skirt waist 55″
f.58 -Skirt hem: Front 55″ + Back 66″ = Total skirt hem 121″

Division of skirt waist between front and back
f.58 -Skirt waist : Front 22″ + Back 33″ = Total skirt waist 55″
% in Front: 22/55 = 0.4
% in Back: 33/55 = 0.6

Division of skirt hem between front and back
f.58 – Skirt hem: Front 55″ + Back 66″ = Total skirt hem 121″
% in Front: 55/121 = 0.45
% in Back: 66/121 = 0.55

There is no recommended waist size for this kirtle, but upon comparing it to the kirtle f59a – Kirtle and low cut bodice of silk, I notice that the kirtle measurements are the same. So I have used the bodice measurements from 59a to calculate what the original waist measurement was for 58.
f. 59a- Waist: Front 16.5″ + Back 11″ = Total waist 27.5″

To adjust the pattern to the right measurements, we calculate the multiplier factor between the bodice waist, skirt waist and skirt hem.
Skirt waist/Waist: 55 / 27.5 = 2
Skirt hem/Waist: 121 / 27.5 = 4.4

Your waist measurement: _____________ (A)
Length of skirt: _____________ (L )
Your skirt total waist measurement: A * 2 =___________ (B)
Your skirt front waist measurement: B* 0.4 = ___________ / 2 = ____________ (FW)
Your skirt back waist measurement: B* 0.6 = ____________ / 2 = ___________ (BW)
Your skirt total hem measurement: A * 4.4 = __________ (C)
Your skirt front hem measurement: C * 0.45 = ____________ /2 = _____________ (FH)
Your skirt back hem measurement: C * 0.55 = _____________ / 2 = _____________ (BH)

Diagram 5: Kirtle made to your measure.

Finished pattern

 


Originally a class handout, May 2005. Webbed April 2007. Updated 2009


Leave a Comment

Previous Post: « Research: The Good, the OK and the Awful!
Next Post: Online Art Research »

Reader Interactions

Leave a Reply Cancel reply

Primary Sidebar

Recent Posts

  • Heraldic Flag and Bearer from Augsburg, 1545
  • Advent 2020 Day 3: 16th century Embroidered Song Books
  • Advent 2020 – Day 2: 16th c Green Silk Knitted Bag
  • Advent 2020 Day 1
  • Planning a Research Vacation to Europe

Categories

  • Advent 2019
  • Advent 2020
  • Blog
  • Book Reviews
  • Diaries
  • Extant Objects
  • Extras
  • Knitting Patterns
  • Manuscripts
  • Medieval and Renaissance
  • Pattern Drafting
  • Research
  • Resources
  • Sabina Welserin Reconstructions
  • Tutorials

Recent Comments

  • Kes Robinson on Heraldic Flag and Bearer from Augsburg, 1545
  • Sophie Laing on Recreating the Gagiana Barett – Knitting Pattern For a Barrett or Flat Cap
  • ikicreations on Recreating the Gagiana Barett – Knitting Pattern For a Barrett or Flat Cap
  • Ed Williams on Recreating the Gagiana Barett – Knitting Pattern For a Barrett or Flat Cap
  • M.McNealy on Recreating the Gagiana Barett – Knitting Pattern For a Barrett or Flat Cap

Archives

  • February 2021
  • December 2020
  • December 2019
  • August 2019
  • July 2019
  • March 2019
  • February 2019
  • December 2018
  • May 2016
  • July 2015
  • March 2014
  • September 2013
  • August 2012
  • July 2012
  • January 2012
  • December 2011
  • December 2009
  • August 2009
  • April 2009
  • 0

Meta

  • Log in
  • Entries feed
  • Comments feed
  • WordPress.org

Copyright © 2023 · Divine theme by Restored 316

Copyright © 2023 · Divine Theme on Genesis Framework · WordPress · Log in