5 Famous Witches Who Wore the Inky Black Velvet Witch Hat

The inky black velvet witch hat is a classic and iconic accessory that is synonymous with Halloween and witchcraft. This hat is made from luxurious velvet fabric, which gives it a rich and elegant appearance. The deep black color adds to its mystique and makes it a perfect choice for those who want to embrace their inner witch. One of the standout features of the inky black velvet witch hat is its shape. The hat has a tall, pointed crown and a wide brim that curves slightly upwards. This shape is not only visually striking but also serves a practical purpose.

Witches are stereotypically shown wearing a tall, pointed hat. This dates from the time when the new religion (Christianity) was trying to discredit the Old Religion and make it look undesirable.

Whether Baldung intended his woodcut to not only reflect a real-life representation of witches but, more importantly, influence how they would be depicted by their persecutors in the future is debatable. My main focus was the early modern European witch trials and witches how they were depicted in art and popular culture and they survived into modern times.

This shape is not only visually striking but also serves a practical purpose. The tall crown adds height and drama to the wearer's silhouette, while the wide brim provides both style and protection from the elements. The inky black velvet witch hat is a versatile accessory that can be styled in various ways.

Where Did the Witch's Hat Come From? The Checkered Past of a Pointy Icon

In this essay, I deal with the Welsh national costume for women as a possible source and inspiration for what is now the familiar image of the Witch's hat, and delve into the ale-wives' tall hat, a millinery device to advertize their wares in crowded markets and street fairs. The 17th and 18-centuries' positive fashion influences on

Related Papers

Yvonne Owens. Abject Eroticism in Northern Renaissance Art: The Witches and Femmes Fatales of Hans Baldung Grien. Foreword by Joseph Leo Koerner. London & New York, Bloomsbury. 2020. 312 pages. 47 Illustrations. Hardcover. ISBN-10 : 1784537292, ISBN-13 : 978-1784537296

Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Dürer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from-and contributed to-the contemporary understanding of witchcraft as a heresy that stemmed from natural 'feminine defect,' a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung's iconic witchcraft imagery, this book is essential reading for historians of art, culture and gender relations in the late medieval and early modern periods.

Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Dürer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body.

Images of Sex and Desire in Renaissance Art and Modern Historiography edited by Angeliki Pollali, Berthold Hub

In 2007, the Städel Museum presented ‘Witches’ Lust and the Fall of Man: the Strange Fantasies of Hans Baldung Grien.’ Curated and documented by Bodo Brinkmann, the show exhibited Baldung’s ‘Witch’s Sabbath’ works alongside his ‘Fall of Man’ themed images. This juxtaposition gave an overwhelming impression of the threatening allure with which Baldung imbued his graphic, nude representations of the dangerous, eroticized, feminine body. For the sixteenth-century Northern humanists who were the primary clients and collectors for these works, it seems that erotica just wasn’t sexy without the implicit, deeply affective threat of imminent physical and moral danger. Positing the womb as a kind of “Pandora’s Box,” classical and medieval antifeminist tropes fed into a coherent, elite discourse of the seductions and pollutions of witchcraft being firmly rooted in phlegmatic, feminine physiology. One image among Baldung’s idiosyncratic oeuvre stands out, however, as embodying a stunning range of discourses, emblems and tropes informing Renaissance ideas around toxic, feminine physiology and Woman’s ‘natural’ ability to inflict her fatal ‘witchcraft’ through sex. The youthful woman of a highlighted pen and ink drawing created in 1515, most often recognized by the title of The Witch and Dragon (Fig. 1), presents a comprehensive ‘buffet’ of sixteenth-century medical and theological figures informing the idea of the dangerous, female, sexual ingénue. Just setting out on her nefarious career as seductive enchantress and horrific nemesis, the adolescent ‘witch’ in this image represents the quintessential siren, irresistibly calling men’s virtue to its demise.

Baldung’s figurations of blood and fire, feminine hair, and the feminine body as poisonous vessel, negotiate this multivalent semiotics with both irony and verisimilitude. Within the complex codification that relies upon Death/Menstruation as the hermeneutic of the Fall, the Fall itself is presented as premier among Woman’s natural and inevitable maleficia. The dominant role Baldung’s witch takes in the production of visible maleficium echoes Hugh of St. Victor, who quotes from Augustine, and who is in turn echoed in the Malleus Maleficarum. Hugh paints Woman’s concupiscence conventionally, as the result of constitutional ‘weakness’ and ocular desire; the precipitous Fall of Man results from the Devil’s successful appeal to the lustful feminine gaze, as per the Augustinian trope. In the assertion that feminine malice outstrips even that of the Devil, Hugh glossed upon Augustine’s historical reading of Holy Scripture. This interpretation includes the punitive concepts of female concupiscence in bringing about the debasement of “mortal corruption” afflicting corporeal flesh through the Fall.

Preternature, Vol. 3, No. 1, 2014

"Scholarship on fifteenth- and sixteenth-century discourses of witchcraft has not focused to any great degree on the connection between the persecution of Jews and that of witches in Germany during this period, though the construction of Jews as Saturn-ruled, melancholic, phlegmatic, and physiologically toxic contributed much to the debates on witches. Typed according to simi- lar figures of “pollution,” Jews and witches were subjected to similar court procedures and suf- fered comparable “cleansings,” tests, and tortures at the hands of the Inquisition. This article argues that such concepts of the “polluted blood” of women, witches, Jews, and effeminate men may have influenced the witchcraft iconography of the sixteenth-century artist of Strasbourg, Hans Baldung Grien (1484/86–1545)."

The construction of ‘sorcerers’ in the Formicarius, Malleus Malificarum, Die Emeis and other treatises presented a comparatively impoverished imagery, whereas imaging the male victims of feminine witchcraft, like the harridan-ridden Aristotle, the mortified Adam, or the stable groom victimized by hippomanes, came near to approaching the affective, abject power of feminized witch iconography—which is to say, the naked and eroticized feminine body. More importantly, descriptions of male witches in the Malleus were based on specific, formulaic or ceremonial acts and not on grand theories of Natural Philosophy, which painted pictures of polluted physicality or sexually corrupted essential nature. Passages dealing with elite, masculine magic tended to present technical, imagistically boring reading compared to the richer, more dramatically detailed, sensationalistic sections on witches. They feature as less dramatic subjects for visual interpretation with far fewer classical antecedents and a far less universal symbol set. The closest exemplars of masculine iniquity, or ‘pollution,’ were to be found in the tropes surrounding ‘cuckolds,’ Jewish males, and addictive, ‘Faustian’ magicians – men who had lost control to the devil or his prime agent, Woman. And even these tropes relied, for their effect, upon the assignment of ‘effeminate’ attributes and the emotive language of contamination or pollution. Male witches deemed culpable for the usual, feminine stamp of maleficium were figured as woman-like in that they were constructed as ‘weak minded,’ or as ‘fools’ subject to demonic delusions and folly

Paper done for my senior History Seminar class at Indiana University Southeast in Spring 2014. Theme of the paper was history and memory; basically says to describe a certain historical event and how it is remembered. My main focus was the early modern European witch trials and witches how they were depicted in art and popular culture and they survived into modern times. My main point was that female witches were presented in three archetypes in early modern art: the hag, the seductress, and the inverted woman. I showed this through the various paintings and how said paintings reflected descriptions from the Malleus Maleficarum (The Witches' Hammer) and the Compendium Maleficarum and how they survived into modern popular culture. Please note that this was an undergraduate project. Both my writing style and research methods were very basic at the time.

Journal of Literature and Art Studies

Witches’ Sabbath offers an overload of the emblematic characteristics which were attributed to witches during the early modern period, underpinned by the complete nudity of the witches. Naked witches were not often depicted in the illustrations of respectable, cautionary literary works concerning witches, hence this artistic choice on Baldung's part is a rather innovatory. Interestingly only a year after the unveiling of Witches' Sabbath in 1510, Die Emeis - which preocuppied itself with the Lenten sermons of Johann Geiler von Kaysersberg - was published in Strasbourg similarly depicting naked witches. Although we cannot say whether the inclusion of naked witches in Die Emeis was solely the result of Baldung’s depiction, it is very likely that Geiler would have been familiar with Baldung's work due to its popularity and this woodcut could have indeed influenced his own opinions and artistic choices. Whether Baldung intended his woodcut to not only reflect a “real-life” representation of witches but, more importantly, influence how they would be depicted by their persecutors in the future is debatable. Much of the debate surrounding this piece centres on this point: was it Baldung's intention to realistically depict witches or should Baldung’s work be viewed as satirical. Either way, there is much that this woodcut can tell us about what those who genuinely believed in the existence of witches and the way fear of witchcraft was constructed for public consumption.

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In the fifteenth century, the tall conical hat was very much in fashion for women of the court and with the upper classes. Eventually it went out of fashion. In those days it took time for fads and fashions to travel from the cities and towns to the villages and country folk. Long after the tall, pointed hat had become démodé in town, it was still being worn in the country. This was the time that the Church was trying to draw people away from the old Pagan religion and into Christianity. At that time, followers of the Old Religion were usually depicted wearing the nolonger-fashionable tall, pointed hats to subtly suggest that the Old Religion itself was out of fashion. It also tied in with the Church's view that all pointed hats were associated in some way with the pointed horns of the Devil.

One popular way to wear it is with a long, flowing black dress, creating a dramatic and enchanting look that is perfect for Halloween parties or costume events. Alternatively, it can be paired with a sleek black suit or dress for a more subtle and sophisticated witchy style. Beyond its aesthetic appeal, the inky black velvet witch hat holds symbolic meaning as well. In witchcraft and Wiccan traditions, black is associated with mystery, power, and protection. Wearing a black velvet witch hat can be seen as a way to tap into these energies and connect with one's magical potential. In conclusion, the inky black velvet witch hat is a timeless and enchanting accessory that embodies the spirit of Halloween and witchcraft. Its elegant and alluring design, combined with the symbolic meaning it holds, makes it a must-have item for anyone looking to embrace their inner witch and make a stylish statement..

Reviews for "The Popularity of the Inky Black Velvet Witch Hat: A Trend or Timeless Fashion?"

1. John - 2 stars:

I was really disappointed with the Inky black velvet witch hat. The material felt cheap and didn't have the plushness I was expecting from a velvet hat. The stitching was also really poorly done, with loose threads sticking out all over. Overall, the quality just didn't meet my expectations and I would not recommend this hat.

2. Emily - 1 star:

I bought this Inky black velvet witch hat for my Halloween costume, but it ended up being a total letdown. First of all, the hat was way too small for my head, despite the product description stating it was one size fits all. Additionally, the color of the velvet looked faded and worn out, not the deep black that was advertised. Save your money and look elsewhere for a better quality witch hat.

3. Sarah - 2 stars:

The Inky black velvet witch hat looked really stylish in the product photos, but the reality was quite different. The shape of the hat was completely off and didn't sit properly on my head. It kept sliding down and I had to constantly readjust it. The material also felt awkward and uncomfortable to wear. I regret buying this hat and wouldn't buy from this brand again.

The Inky Black Velvet Witch Hat in Literature and Mythology