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A quite obvious pattern seems to have been a very rare or even non-existant part of landsknecht fashion. I'm talking about chequered patterns. My question is why?
It seems to be avery obvious and easy way to make decorations. Actually I cannot find a single genuinely chequered doublet. Please observe that I'm not talking about the gambeson type doublets that can give similar impressions (debated here andhere).
One example in the this general direction, a simple geometric pattern, but in this case actually rhombic is to be found in Jacob Koebel's Wapen. Des Heyligen Römischen Reichs Teutscher nation, printed by Cyriacus Jacob in Frankfurt am Main in 1545, woodcuts by Jacob Kallenberg:
Another fairly far-fetched example is from Jacob Mennel's Seel unnd heiligen Buch Kaiser Maximilians Altfordern, commissioned by Maximilian but published in 1522 after his death. The woodcuts of the work were originally thought to have been the exclusive work of Hans Burgkmair (1473-1531), but are now variously attributed to Burgkmair and two additional two artists closely associated with the Court of Maximilian, Leonard Beck (1480-1542) and Hans Schäuffelein (1480-1540); or to Beck exclusively. What we see is a braided application at the back of a shaube, and squares seems to form between the bands:
And perhaps, if one really wants to stretch it, a third example would be the chequered bands found in this detail from Hans Holbein the Elder's The martyrdom of St. Sebastian from 1516 (discussed here):
So the question is why, when so many other patterns and combinations seem to have been around? Has anyone seen images of landsknechts with chequered doublets?
Well, maybe he has never had a checkered fabric uses for lansquenets ...
Exactly my point. So the question is why?
Albrecht Altdorfer, 1506, The Beheading of St. Catherine: