A VISUAL

HISTORY OF
COSTUME

VALERIE CUMMING

B T BATSFORD LTD, LONDON

DRAMA BOOK PUBLISHERS,
NEW YORK
©Valerie Cumming 1984 I would like to thank Aileen Ribeiro who suggested the
First published 1984 idea of costume picture books to Batsford, and then
All rights reserved. No part of this publication allowed me the opportunity to prepare the volume on the
may be reproduced, in any form or by any means, seventeenth century. My early interest in the dress of this
without permission from the publishers. period developed under the guidance of Stella Newton
at the Courtauld Institute, and to her, and to Kay
ISBN 0 7134 4093 7
Staniland, with whom I worked on surviving
Typeset by Tek-Art Ltd West Wickham Kent seventeenth-century costume and textiles at the
and printed in Great Britain by Museum of London, I extend my gratitude for fostering
Buder & Tanner Ltd my interest in what was then a less-than-popular area of
Frome, Somerset
English dress.
for the publishers Many colleagues in museums and galleries have
B. T. Batsford Ltd provided useful information and fruitful discussions on
4 Fitzhardinge Street this subject in subsequent years, and recently I have been
London W1H0AH
patiently assisted by the publications officers of all the
Published in USA by institutions which provided illustrations. In particular I
Drama Book Publishers would like to acknowledge the help of Celina Fox, Judith
821 Broadway Prendergast and Harry Matthews.
New York, New York 10003 Olivia Bland, as always, provided invaluable
ISBN 0 89676 078 2 secretarial help and informed criticism of a less-than-
legible manuscript. My husband encouraged me
throughout this enterprise, and patiently ignored the
social isolation which my books seem to create for both
of us.
Lasdy, but wholeheartedly, I want to thank Tim
Auger, Mimi Rolbant and Clare Sunderland of Batsford
who helped with editorial and pictorial problems, and
transformed a typescript with pictures into a coherent
and stylish book.
Acknowledgment of permission to reproduce the
individual illustrations is made in the List of
Illustrations.
Acknowledgments 2
Preface 4
List of Illustrations 5
Introduction 12
Plates & Captions 17
Select Bibliography 141
Glossary/Select Index 143
 A Visual History of Costume is a series devised for those
who need reliable, easy-to-use reference material on the
history of dress.
The central part of each book is a series of
illustrations, in black-and-white and colour, taken from
the time of the dress itself. They include oil paintings,
engravings, woodcuts and line drawings. By the use of
such material, the reader is given a clear idea of what was
worn and how, without the distortions and loss of detail
which modern drawings can occasionally entail.
Each picture is captioned in a consistent way, under
the headings, where appropriate, ‘Head’, ‘Body’ and
‘Accessories’; the clothes are not just described, but
their significance explained. The reader will want to
know whether a certain style was fashionable or
unfashionable at a certain time, usual or unusual - such
information is clearly and consistently laid out. The
illustrations are arranged in date order, and the colour
illustrations are numbered in sequence with the black-
and-white, so that the processes of change can be clearly
followed.
The pictures will be all the better appreciated if the
reader has at least some basic overall impression of the
broad developments in dress in the period concerned,
and the Introduction is intended to provide this.
Technical terms have been kept to a reasonable
minimum. Many readers will use these books for
reference, rather than read them straight through from
beginning to end. To explain every term each time it is
used would have been hopelessly repetitive, and so a
Glossary has been provided. Since the basic items of
dress recur throughout the book, a conventional, full
Index would have been equally repetitive; therefore the
Glossary has been designed also to act as a selective
Index; after each entry the reader will find the numbers
of those illustrations which show important examples of
the item concerned, and the earliest and latest example
of each item.

4
 cCist ofIllustrations
Note The subject is followed by the artist, where 9 Queen Anne
known, then the medium, and then the collection. An After Marcus Gheeraedts, c. 1610
Asterisk * indicates a colour illustration, to be found Oil on canvas
between pages 96 and 97. Private Collection

1 Henry 3rd Earl of Southampton 10 Henry, Prince of Wales

Unknown artist, c. 1600 Robert Peake, c. 1610
Oil on canvas Oil on canvas
Private Collection on loan to National Portrait National Portrait Gallery, London
Gallery, London
11 Phineas Pett
Unknown Dutch artist, c. 1612
2 The Cholmondeley Sisters Oil on canvas
Unknown artist, 1600 - 1605 National Portrait Gallery, London
Oil on wood
The Tate Gallery, London 12#Edward Sackville, 4th Earl of Dorset
W. Larkin, 1613
3 Unknown woman Oil on canvas
Nicholas Hilliard, 1602 Suffolk Collection, Greater London Council
Miniature
Victoria & Albert Museum, London 13 Queen Anne
Attributed to William Larkin, c. 1612-1613
4 Sir Walter Ralegh and his son Oil on panel
Unknown artist, 1602 National Portrait Gallery, London
Oil on panel
14 Richard Sackville, 3rd Earl of Dorset
National Portrait Gallery, London
William Larkin, 1613
Oil on canvas
5 Edward, 1st Baron Herbert of Cherbury Suffolk Collection, Greater London Council
Perhaps after Isaac Oliver, 1603 - 1605
Oil on canvas 15 Execution of Edmund Geninge
National Portrait Gallery, London Unknown ardst, 1614
Engraving
6 The Gunpowder Plot Conspirators Batsford
Unknown artist, 1605
Engraving 16 Mary, Lady Scudamore
National Portrait Gallery, London Marcus Gheeraedts, 1614-1615
Oil on panel
National Portrait Gallery, London
7 Anne Vavasour
Marcus Gheeraedts, c. 1605 17 Dudley, 3rd Baron North
Oil on canvas Unknown artist, 1614-1615
Private Collection Oil on canvas
Victoria & Albert Museum, London
8 James I & VI
John de Critz, c. 1605 18 Catherine Knevet, Countess of Suffolk
Oil on canvas William Larkin, c. 1615
Permission of the Governors of Dulwich Picture Oil on canvas
Gallery Suffolk Collection, Greater London Council

5
19 Anne Cecil, Countess of Stamford 31 George Carew, Earl of Totnes
William Larkin, c. 1615 After an unknown artist, 1619 - 1620
Oil on canvas Oil on canvas
Suffolk Collection, Greater London Council National Portrait Gallery, London

20 Lady Dorothy Cary 32 Elizabeth, Countess of Southampton

William Larkin, c. 1615 Unknown artist, c. 1622
Oil on canvas Oil on canvas
Suffolk Collection, Greater London Council National Portrait Gallery, London

21 Anne Wortley, later Lady Morton 33 Lady Emily Howard

Manner of Paul van Somer, 1615-1616 School of Marcus Gheeraedts, 1623
Oil on canvas Oil on canvas
The Tate Gallery, London Suffolk Collection, Greater London Council

22 Richard Sackville, 3rd Earl of Dorset 34 1st Duke of Hamilton as a youth

Isaac Oliver, 1616 Daniel Mytens, 1624
Miniature Oil on canvas
Victoria & Albert Museum, London The Tate Gallery, London

23 1st Earl of Monmouth and his family 35 Lady Anne Carleton

Attributed to Paul van Somer, c. 1617 Studio of Michael Jansz van Miereveldt,
Oil on canvas 1624- 1625
National Portrait Gallery, London Oil on panel
National Portrait Gallery, London
24 Charles, Prince of Wales
Attributed to Abraham van Blijenberch, 36 Sir Nathaniel Bacon
1617-1618 Self portrait, 1624 - 1625
Oil on canvas Oil on panel
National Portrait Gallery, London National Portrait Gallery, London

25*Unknown lady 37 Called George Puleston

Marcus Gheeraedts, 1618 John Souch, 1625-1627
Oil on canvas Oil on panel
Ferens Art Gallery, Hull The Tate Gallery, London

26 2nd Earl of Arundel 38 1st Earl of Carlisle

Daniel Mytens, 1618 Unknown artist, 1628
Oil on canvas Oil on canvas
National Portrait Gallery, London National Portrait Gallery, London

27 Countess of Arundel 39 Unknown couple

Daniel Mytens, 1618 Unknown artist, 1628
Oil on canvas Oil on panel
National Portrait Gallery, London Victoria & Albert Museum, London

28 Lady Elizabeth Grey, Countess of Kent 40 1st Duke of Buckingham and his family
Paul van Somer, c. 1619 After Gerard Honthorst, 1628
Oil on canvas Oil on canvas
The Tate Gallery, London National Portrait Gallery, London

29 Lady Aston 41 Unknown woman

Attributed to Marcus Gheeraedts, c. 1619 Cornelius Johnson, 1629
Oil on canvas Oil on canvas
The Tate Gallery, London The Tate Gallery, London

30 Elizabeth Howard, Countess of Banbury 42 Unknown man

Daniel Mytens, 1619 - 1620 Cornelius Johnson, 1629
Oil on canvas Oil on canvas
Suffolk Collection, Greater London Council The Tate Gallery, London
43 The Needles Excellency 55 Catherine Bruce, Countess of Dysart
James Taylor, 1631 After Sir Anthony van Dyck, c. 1638
Engraving Oil on canvas
Victoria & Albert Museum, London Victoria & Albert Museum, London

44 Charles I 56 Diana Cecil, Countess of Elgin

Daniel Mytens, 1631 Cornelius Johnson, 1638
Oil on canvas Oil on canvas
National Portrait Gallery, London Suffolk Collection, Greater London Council

45 Margaret Hallyday, Lady Hungerford 57 1st Earl of Elgin

Cornelius Johnson, 1631 Cornelius Johnson, 1638
Oil on panel Oil on canvas
Suffolk Collection, Greater London Council Suffolk Collection, Greater London Council

46 1st Earl of Holland 58 Earl of Newport and Lord Goring

After Sir Anthony van Dyck, 1638- 1639
Studio of Daniel Mytens, 1632- 1633
Oil on canvas
Oil on canvas
National Portrait Gallery, London
National Portrait Gallery, London
59 A lady of the Spencer family
47*Queen Henrietta Maria
Sir Anthony van Dyck, 1638 - 1639
Unknown artist, c. 1634
Oil on canvas
Oil on canvas
The Tate Gallery, London
National Portrait Gallery, London
60 An English lady
48 French nobleman Wenceslas Hollar, 1639
Unknown artist, 1634 Engraving
Drawing, body colour Private Collection
Victoria & Albert Museum, London
61 1st Baron Capel and his family
49 Queen Henrietta Maria Cornelius Johnson, 1639 - 1640
After Sir Anthony van Dyck, 1634 - 1635 Oil on canvas
Oil on canvas National Portrait Gallery, London
Greater London Council
62 Servant
50 2nd Earl of Warwick Wenceslas Hollar, 1640
Studio of Daniel Mytens, 1635 - 1636 Engraving
Oil on canvas Batsford
National Portrait Gallery, London
63 John Evelyn
51 William Style of Langley Hendrick van der Borcht, 1641
Unknown artist, 1636 Oil on canvas
Oil on canvas Private Collection on loan to the
The Tate Gallery, London National Portrait Gallery, London

52 Unknown woman 64 The Saltonstall family

After Sir Anthony van Dyck, 1636 - 1637 David des Granges, c. 1641
Oil on canvas Oil on canvas
Victoria & Albert Museum, London The Tate Gallery, London

53 Prince Rupert 65 Elizabeth, Queen of Bohemia

Studio of Sir Anthony van Dyck, c. 1637 Gerard Honthorst, 1642
Oil on canvas Oil on canvas
Reproduced by courtesy of the Trustees, Reproduced by courtesy of the Trustees,
The National Gallery, London The National Gallery, London

54 Sir John Backhouse 66 English gentlewoman

Unknown artist, signed V M, 1637 Wenceslas Hollar, 1643
Oil on canvas Engraving
National Portrait Gallery, London Batsford
67 English gentlewoman 79 Mayor of London’s wife
Wenceslas Hollar, 1643 Wenceslas Hollar, 1649
Engraving Engraving
Private Collection Private Collection

68 Endymion Porter 80 Merchant’s wife

William Dobson, c. 1643 Wenceslas Hollar, 1649
Oil on canvas Engraving
The Tate Gallery, London Private Collection

69 English noblewoman 81 The execution of Charles I

Wenceslas Hollar, 1644 Unknown artist, c. 1649
Engraving Detail from a Dutch engraving
Batsford
82 2nd Duke of Hamilton
70 Cornelia Veth After Adriaen Hanneman, 1650
Cornelius Johnson, 1644 Oil on canvas
Oil on canvas National Portrait Gallery, London
The Tate Gallery, London
83 Elizabeth Murray, Countess of Dysart
71 The Royal Exchange Sir Peter Lely, c. 1651
Wenceslas Hollar, 1644 Oil on canvas
Engraving Victoria & Albert Museum, London
Museum of London
84 Walter Strickland
72 Ballad Seller Pieter Nason, 1651
From Chambers Book of Days, 1644 Oil on canvas
Woodcut National Portrait Gallery, London
Batsford
85 Oliver St John
73 Richard Neville Pieter Nason, 1651
William Dobson, c. 1644 Oil on canvas
Oil on canvas National Portrait Gallery, London
National Portrait Gallery, London
86 John Tradescant
74 Mrs Hester Tradescant and her stepson John Attributed to Emmanuel de Critz, 1652
John de Critz the Younger, 1645 Oil on canvas
Oil on canvas National Portrait Gallery, London
Ashmolean Museum, Oxford
87 Unknown woman
75 Sir Henry Gage Unknown artist, 1653
Perhaps after William Dobson, c. 1645 Oil on panel
Oil on canvas Victoria & Albert Museum, London
National Portrait Gallery, London
88 Thomas Chiffinch
76*3rd Viscount Fairfax of Emley and his wife Attributed to Sebastien Bourdon, c. 1656
Gerard Soest, c. 1646 / Oil on canvas
Oil on canvas National Portrait Gallery, London
National Portrait Gallery, London
89 Mrs Elizabeth Claypole
77 French gentleman John Michael Wright, 1658
Unknown artist, 1646 Oil on panel
Drawing with wash National Portrait Gallery, London
Victoria & Albert Museum, London
90 Colonel the Honourable John Russell
78 English noblewoman John Michael Wright, 1659
Wenceslas Hollar, 1649 Oil on canvas
Batsford Victoria & Albert Museum, London
91 Lady Jane Fisher 103 Lord David Hay
Unknown artist, c. 1660 David Scougall, c. 1667
Oil on canvas Oil on canvas
National Portrait Gallery, London Whereabouts unknown

92 Two ladies of the Lake family 104 Mary Beale

Sir Peter Lely, c. 1660 Self portrait, c. 1668
Oil on canvas Oil on canvas
The Tate Gallery, London National Portrait Gallery, London

93*James, Duke of York 105 Jane Monins, Lady Knatchbull

Sir Peter Lely, c. 1661 John Michael Wright, c. 1669
Oil on canvas Oil on canvas
Scottish National Portrait Gallery, Edinburgh Private Collection

94 Charles II entering the City of London 106 Figures a la Mode

Dirck Stoop, 1661 R. de Hoogh, c. 1670
Oil on canvas Engraving
Museum of London Victoria & Albert Museum, London

95 James, Duke of York 107 William Legge

Samuel Cooper, 1661 After Jacob Huysmans, c. 1670
Miniature Oil on canvas
Victora & Albert Museum, London National Portrait Gallery, London

96 Lady Castlemaine,later Duchess of Cleveland 108 Unknown woman

Samuel Cooper, 1664 Unknown artist, 1671
Miniature Miniature
Victoria & Albert Museum Victoria & Albert Museum, London

97 Sir William Bruce 109 Thomas Sydserff

John Michael Wright, c. 1664 John Michael Wright, c. 1672
Oil on canvas Oil on canvas
Scottish National Portrait Gallery, Edinburgh Owned by the Church of Scotland Committee
Social Responsibility
98 9th Earl of Argyll and his countess
Unknown artist, 1664- 1665 110 The family of Sir Robert Vyner
Oil on canvas John Michael Wright, 1673
National Portrait Gallery, London Oil on canvas
In the Collection of Henry Vyner
99 Queen Catherine of Braganza
Attributed to Jacob Huysmans, c. 1664 111 Habit deville
Oil on canvas J. D. de St. Jean, 1673
Suffolk Collection, Greater London Council Fashion plate
Private Collection
100 Sir John Harman
After Sir Peter Lely, c. 1666 112 2nd Viscount Brouncker
Oil on canvas After Sir Peter Lely?, c. 1673
National Portrait Gallery, London Oil on canvas
National Portrait Gallery, London
101 Sir Norton Knatchbull
By G. P. Harding after Samuel van Hoogstraaten, 113 Duke and Duchess of Lauderdale
1667 Sir Peter Lely, c. 1674
Drawing Oil on canvas
National Portrait Gallery, London Victoria & Albert Museum, London

102 Unknown couple 114 Mary of Modena, Duchess of York

Unknown artist, c. 1667 Sir Peter Lely, c. 1674
Drawing and wash Oil on canvas
Victoria & Albert Museum, London Suffolk Collection, Greater London Council
 115 The Baths at Bath 127 Frost Fair on the Thames
T. Johnson, 1675 Unknown artist, 1684
Engraving Sketch plan
By courtesy of the Trustees of the British Museum Museum of London

116 1st Earl of Bath 128 Dame en escharpe

John Michael Wright, 1676 N. Bonnart, 1685
Oil on canvas Fahion plate
In a Private Scottish Collection Private Collection

117 Habit deville 129 Lady of quality

N. Bonnart, 1676 Unknown artist, 1685 - 1686
Fashion plate Engraving
Private Collection Private Collection

118 Charles II receiving a pineapple from Rose

130 Homme de qualite en habit d’espee
the gardener
Unknown artist, c. 1685
After N. Danckerts, c. 1676
Fashion plate
Victoria and Albert Museum, London
Private Collection

119 La dame de grand air

N. Bonnart, 1677 131 Coronation Procession of James II
Fashion plate Engraving from Sandford’s History of the
Private Collection Coronation of fames II, 1686
Museum of London
120*Dame en habit de ville
J. le Pautre, 1678 132 The Chariot of the Virgin Queen, Lord
Fashion plate Mayor’s Pageant
Private Collection Unknown artist, 1686
Pen, ink and wash
121 Homme de qualite en habit d’hiver Museum of London
J. D. de St. Jean, 1678
Fashion plate 133 Femme de qualite en habit d’este
Private Collection N. Amoult, 1687
Fashion plate
122 Dame en deshabille de ville Private Collection
J. le Pautre, 1678
Fashion plate
134 Homme de qualite
Private Collection
J. D. de St. Jean, 1687
Fashion plate
123 Sir Leoline Jenkins Private Collection
Herbert Tuer, 1679
Oil on canvas
National Portrait Gallery, London 135 Frances Stuart, Duchess of Richmond
and Lennox
William Wissing and Jan van der Vaart, 1687
124 Charles II and Queen Catherine
Oil on canvas
Engraved frontispiece from Ogilby and Morgan’s
National Portrait Gallery, London
Map of London, 1682 /
Museum of London
136 Dame de qualite a Veglise
125 Duchess of Portsmouth G. Jollain, 1688
Pierre Mignard, 1682 Fashion plate
Oil on canvas Private Collection
National Portrait Gallery, London
137 Arrival of Queen Mary of Modena in Calais
126 An English couple Unknown artist, 1688
Engraving from Description de I’Univers. . . Detail from a Dutch engraving of the flight of
Unknown artist, 1683 James II
Victoria & Albert Museum, London Museum of London

10
138 The Squire of Alsatia 149 1st Earl of Halifax
Marcellus Laroon II, 1688 Sir Godfrey Kneller, 1693 - 1694
Engraving from Pierce Tempest’s Cries of London Oil on canvas
Museum of London National Portrait Gallery, London

139 Old Satten, Old Taffety or Velvet 150 Homme de qualite en habit de Teckeli
Marcellus Laroon II, 1688 J. D. de St. Jean, 1694
Engraving from Tempest’s Cries of London Fashion plate
Museum of London Victoria and Albert Museum, London

140 Old Cloaks, Suits or Coats 151 Femme de qualite en deshabille d ’hyver
Marcellus Laroon II, 1688 J. D. de St. Jean, 1694
Engraving from Tempest’s Cries of London Fashion plate
Museum of London Private Collection

141 * Homme de qualite gamy de rubans 152 The Mercers’ Chapel, Mercers Hall
J. D. de St. Jean, 1689 Unknown artist, c. 1695
Fashion plate Detail from an engraving
Private Collection Museum of London

142 Femme de qualite allant incognito par la ville 153 Habit de cavalier
J. D. de St. Jean, 1689 J. Mariette, 1695
Fashion plate Fashion plate
Batsford Private Collection

143 Robert Boyle, 154 Prince James Stuart (the ‘Old Pretender’)
After Johann Kerseboom, 1689 - 1690 with his sister
Oil on canvas Nicholas de Largilliere, 1695
National Portrait Gallery, London Oil on canvas
National Portrait Gallery, London
144 Church of St Mary Overy, Southwark
Unknown artist, 1689 - 1690 155 John Dryden
Detail from an engraving James Maubert, 1696 - 1697
Museum of London Oil on canvas
National Portrait Gallery, London
145 The Holbein Gate, Whitehall Palace
Unknown artist, 1690 - 1692 156 6th Earl of Dorset
Engraving Sir Godfrey Kneller, 1697
Museum of London Oil on canvas
National Portrait Gallery, London
146 Dame de la plus haute qualite
J. D. de St. Jean, 1693 157 Studies of head-dresses
Fashion plate B. Picart, published 1703, drawn 1698 - 1701
Private Collection Engraving
Private Collection
147 Homme de qualite en habit gamy d’agremens
J. D. de St. Jean, 1693 158 Choir of St Paul’s Cathedral
Fashion plate Unknown artist, 1698 - 1700
Victoria & Albert Museum, London Detail from engraving
Museum of London
148*Marie Sophie Palatine, Reyne de Portugal
Unknown artist, 1694
Fashion plate
Private Collection

11
 Introduction
A visual survey of costume is bound to be subjective. It However, in essence the majority of the pictures in
would be feasible, by searching assiduously through all this book show the changing fashions wrorn by wealthier,
the known visual sources, to provide dated images, one city-based members of society, although certain
for each year of the century, eked out, within the allotted exceptions have been made. Personal adornment is one
number of illustrations, by familiar or important of the most immediate forms of communication. It is
pictures. This might give a spurious structure to this possible to admire, ridicule, modify, copy, accept or
book but it would not confront the major problems with reject the style of dress of another person without
which costume historians work, nor would it provide an knowing or speaking to him. Fashions changed relatively
accurate reflection of the difficult spots in the century, slowly in the seventeenth century, but examples are
when illustrations, which add some real strength to die included to indicate how quickly new styles were
understanding of the dress of the seventeenth century, assimilated at all social and age levels. This social
are sparse in number or non-existent. digestion of fashion is perhaps easier for a twentieth-
In the course of this introduction, which is divided century observer to understand than another problem
into three sections, the problems, the visual evidence, area, that of stylized artistic dress. Admiration for the
and the costume, it should become clear to the reader classical and pastoral worlds, seemingly so far removed
that a definitive visual survey of seventeenth-century from the busy, complicated world in which fashionable
English costume would be difficult to provide in a book men and women competed for attention, favour and
of this size. This book is therefore intended as an patronage, was reflected in many seventeenth-century
appreciation of seventeenth-century costume which will portraits. A timeless, ‘other worldly’ and intellectually
stimulate further exploration. satisfying personal image became popular. Van Dyck
had begun the process in the 1630s by reducing details in
The problems his paintings, concentrating on shimmering, lyrical folds
Dated illustrations containing clothed figures, whether of material, rather than producing a literal copy on
portraits, engravings or drawings, can be more deceptive canvas of how his sitters really appeared. This process
than those to which art historians examining the work of was continued and accelerated by Lely, Kneller and
a particular artist ascribe a circa date. It is the role of the other major artists working in England from the 1640s
costume historian to analyse the clothed figures within onwards. Examples are included in this survey, placing
the framework of knowledge about the vagaries and sitters into their chronological context, for no matter how
uncertainties which surround fashion and the artistic much the artist wished to omit the ephemeral elements
interpretation of dress. A painting dated 1665, for of fashionable dress, the sitter never wholeheartedly co¬
example, may be fraught with problems. Are the figures operated. Hairstyles, jewellery, the fit of sleeve, these
depicted in it fashionable city dwellers or provincial and other small details place each individual firmly into a
conservatives? Are they elderly, wearing a style of dress particular period. Ironically, children who were treated
once fashionable which they cling to for sentimental in so many other ways like miniature adults, were
reasons, or have they adopted a current fashion to fit this subjected to stylised portraiture less frequently than
‘fly in amber’ image of themselves? Are they young, rich, their parents. So although this book includes few
experimental? Are they from th£ lower orders in society, children, leaving the detailed study of seventeenth-
or do they practise a profession which dictates a certain century children’s dress for others, some are included
style of dress which overlays or distorts a contemporary because they provide accurate evidence, on a small scale,
fashion? Or are they subscribing to an artistic and social of a fashion which their elders wore but preferred to
admiration for a form of stylized dress, perhaps pseudo- discard when being recorded for posterity.
classical or ‘antique’ or pastoral, which they and/or their At certain points in the survey even the selective use of
chosen artist wish to translate into a timeless fashion, children as miniature models for adult fashion is not
thus conveying to posterity their ability to transcend the enough to provide a comprehensive survey of
ephemeral styles of a particular year, decade or era? fashionable dress. There are difficult decades: in the
These are some of the many problems which have to be seventeenth century the 1650s and the 1690s are
faced, and they are discussed within their chronological particularly bare of useful illustrations. Little can be
context throughout this book. done about the 1650s, but what is provided creates an
evolutionary link between the 1640s and the 1660s. By included fine stitching, the pattern of silk or lace, the fold
the 1690s, it is possible to refer to French fashion plates of a collar or cuff, the decoration of a shoe or a fan, and
to fill some of the gaps. Such fashion plates began to are testament to the provincial English sitter’s delight in
appear in the 1670s and they are included because the accurate personal portraiture.
post-Restoration English Court looked to France for There is no major work which discusses the subject of
styles in dress, supplies of materials and accessories even seventeenth-century English portraiture as a whole. The
when prohibitions were imposed (Charles II banned the story has to be pieced together from the published
import of French lace in 1675) or when the country catalogues on major artists and the general catalogues of
under William and Mary from 1688 onwards was British and foreign museum and art galleries. The
politically in opposition to France. majority of portraits included in this book are selected
The aim in the compilation of this book has been to from major collections on view to the public, for black-
ensure that the reader can understand what he or she is and-white photographs are no substitute for the colour,
looking at. Describing costume is never easy, and a scale and impact of the original paintings.
head-to-toe description can be tedious when repeated Other illustrative sources are woodcuts and
over 150 times. Certain aspects of dress or appearance, engravings taken from books or broadsheets about
obvious to the eye and unequivocal in use or topical events which captured the public’s interest: the
construction, are omitted or described only at a point Gunpowder Plot, executions, a Frost Fair on the
when a change occurs and attention should be focused Thames. Such illustrations are often crudely executed
on that particular area of a garment or an accessory. The but they capture the overall look of the participants and
descriptions are written so that a minimum amount of the line of their clothes if not the small details of
reference to the Glossary is required. The vocabulary of individual appearance. Sophisticated engravings, often
costume history is as problematical as its illustrations. published in a series, provide more detailed information,
Words were coined to describe particular fashions, and although it is necessary to exercise caution over the
the proliferation of novelties each with their own publication date given by the printer. For example,
contemporary name, can, if the original names are used engraved portraits of distinguished people were often
excessively, reduce short descriptions to arcane copied from earlier paintings, or a series might be re¬
nonsense. Therefore only the essential seventeenth- published with later additions and the entire contents
century words are used, and those readers who wish to given the second date. Pierce Tempest’s Cries of London
perfect their vocabulary in this area should consult the are usually described as published in 1711, the date of
Bibliography which suggests a number of sources which the second edition, but the first edition appeared in
concentrate more fully on the specialist terminology. 1688, and the majority of engravings date from then.
Other engravings record major events: coronation
The visual evidence processions, the flight of James II and his queen to
One major source of illustrations for anyone interested France, the arrival of William III. It is doubtful whether
in seventeenth-century costume is portraits. Painting in these are more than fleetingly accurate representations
England during this century was primarily concerned of the event, but the dress of the major personalities will
with portraiture. There are exceptions to this, but accord with what was generally worn at the time, even if it
portraits were the main stock-in-trade of all artists may not be a correct record of a particular individual’s
working in England, whether they were natives or style of dress.
visiting foreigners. Van Dyck, working for Charles I in This caveat also extends to the engravings of churches
the 1630s, introduced landscape backgrounds into and houses which appeared towards the end of the
English portraits, and Lely, working from the late 1640s, century. Figures are often included in these, usually to
painted a number of sitters in pastoral settings, but the indicate the scale of the building, but also to enliven the
religious subjects, the landscapes and seascapes of Italy, architectural precision of the overall design. Some of
Spain, Holland and the Spanish Netherlands were not these tiny figures, when enlarged, provide evidence of
subjects which the average English client required from how an artist, whose primary interest was in something
an artist. Individual portraits, family groups and delicate quite different, viewed the lines, the exaggerations, the
miniatures were executed in profusion to meet the movement of particular styles of dress.
seemingly insatiable demand for personal images. By the The individual statement about personal appearance
middle of the century artists of stature had evolved from is provided by portraits, and it is not difficult to assess
craftsmen into men of influence and social consequence. which sitters were in the vanguard of fashion and which
Alongside this evolution came the changed attitude ones trailed behind. Curiosity about the fashions of other
towards the sitter’s appearance which was mentioned parts of England or of other countries could be partly
earlier. Fortunately for the costume historian, within the satisfied by looking at recent paintings. Travellers and
social categories of those who could afford portraits and diplomats could provide first-hand descriptions and
among the range of artists from influential Court occasionally brought home examples of what was worn
painters to provintial journeymen, there were many elsewhere; and in London foreign merchants, embassies
artists and sitters who preferred to provide literal and couriers wore the styles of their own countries.
interpretations of contemporary fashions. The detailed Wenceslas Hollar, the artist, who travelled widely,
observation of the cut of men’s and women’s clothes produced several series of engravings of English and
 European female fashions. They were records rather is seen alongside that of van Dyck.
than attempts to influence fashion, and caution should Menswear became tubular in silhouette in the 1640s
be exercised regarding their accuracy, as Hollar suffered and 1650s, a line broken by the busy surface decoration
from poor sight! and billowing linen which accompanied it. Women’s
Later in the century, in Paris, a number of artists dress grew ever more rigid around the upper torso, and
began to produce what we think of today as fashion this dichotomy in style between the sexes prevailed until
plates: annual, sometimes seasonal, illustrations of new the mid-1680s. The easier, more relaxed style of
styles of dress for both men and women. These plates menswear developed into the vest and tunic of the mid-
were hand-coloured and accompanied by a brief 1660s, settling down, after an experimental period, into
description of the types of dress. Given the frequency of the happy combination of coat and waistcoat worn with
their appearance and the number of artists involved, it breeches. Women, however, in the words of Thomas
may be assumed that they did not merely record fashion, Mace, 1676, were ‘... so pent up by the straightness, and
but in alliance with tailors, sempstresses and milliners, stiffness of the gown-shoulder-sleeves, that they could
suggested new styles or variants of existing fashions. not so much as scratch their heads for the necessary
Some of the plates include samples of material, carefully remove of a biting louse; nor elevate their arms scarcely
cut to fit within the outline of certain items of dress; to feed themselves handsomely . . .’. Such discomfort
other plates survive in several colour-ways. They are was alleviated eventually by the introduction of the
witty and well drawn but perhaps more akin to modern mantua, a gown which had evolved from the informal
fashion photographs in glossy magazines than to styles of nightgown.
dress which were generally worn. The easy, almost smock-like looseness of the early
Lastly there are pencil-and-wash sketches, drawings men’s coat was replaced by a more fitted line in the late
and designs which include figures. They are not 1680s, with the coat skirts stiffened by inter-lining and
primarily fashion statements; they may have been the fullness arranged into pleats at both sides and
intended for a variety of purposes. Within this category is centre-back. This increased width was matched in
an exquisite fan leaf of 1686, identified by the Lord female dress by the emergence of a shallow bustle or
Mayor’s pageant triumphal car contained within it. At hoop, placed under the petticoats to support the looped-
the time that it was executed it constituted a superior up fullness of their mantua skirts. So, by the end of the
form of ephemera, an amusing novelty, a topical century, a restrained rigidity of style was once more
accessory. apparent in the dress of both sexes, preparing it for the
However, fortunately for posterity the significant developments of the eighteenth century.
portraits and highly treasured miniatures, are balanced, The major changes in costume, throughout the
complemented and extended by the wide range of century, were an exploitation of all the possible
illustrations on paper. These were comparatively permutations of existing styles, and the gradual evolution
inexpensive at the time, but they survive in large enough of new fashions. Fashion does not change suddenly; it is
quantities to provide a variety of sources to which a not only hindsight which allows us to expect the vest and
costume historian can refer. tunic to appear in the 1660s, and then to expect further
evolution of these two garments into the w aistcoat and
The costume coat. Doublets, breeches and the earlier trunkhose had
At the beginning of the seventeenth century the developed in every possible way: lengthening,
exaggerated and constricting fashions of the late shortening, widening, becoming tighter or looser until
Elizabethan period were still worn. Women were ingenuity had been exhausted. The bulky petticoat
dressed in elongated, tightly boned bodices worn with breeches and billowing shirts of the early 1660s were
wide, tilted-wheel farthingales which encased the lower ready for a longer, looser coat as a replacement for the
halves of their bodies like enormous cages. Men wore short, box-like jacket which had evolved from the
padded doublets with distended ‘peascod bellies’, with doublet. Similarly, women’s dress had explored all of the
either wide trunkhose and canions or with breeches. variants which were possible based upon a bodice, a skirt
Distortion of the natural shape of the body was admired. and a petticoat, until the one-piece gown, belted at the
Throughout the century these distortions increased waist and fitting smoothly but comfortably over stays and
and decreased in turn; the emphasis shifted but always petticoat, seemed a natural development which
emphasized one area of the body at the expense of the complemented the easier, less constricting lines of the
others. As the exaggerated bulk around the hips of both menswear. Once established, these two basic styles were
sexes disappeared in the mid-to-late teens of the able, in the eighteenth century, to follow a fresh voyage
century, the waistline rose, creating an elongated line of development and change.
which, when married to the lustrous plain satins and When examining the visual evidence of costume it is
discreet jewellery recorded by van Dyck in the 1630s, the details which are often overlooked, although they
provided the Caroline elegance which was perhaps the frequently provide the clues which establish a close date.
essence of the most discreet period of English dress in Hairstyles, head-dresses, hats, jewellery, collars,
the seventeenth century. Whether this discretion was necklines, shirts, smocks, belts, sashes, gloves, fans,
genuine or the elliptical vision of a great artist can be stockings and shoes all contribute information. If an
judged when the more literal work of provincial painters illustration contains enough of these details they are as

14
significant, in some instances more significant, than the Prohibited imports were few in the seventeenth
type of costume worn by a sitter or group of sitters. The century, although Charles II tried to ban both French
designs of brocaded silks, of lace, of embroidery and the and Flemish lace in 1675 (the Flemish lace was
small surface trimmings all contribute to understanding exempted when retaliation against English wool exports
of the taste of a particular period, and make it possible to to the Netherlands was mooted). However, during the
discern whether the costume is typical or unusual of the century the English ability for absorbing new ideas,
period to which an illustration belongs. newcomers and changed circumstances led to a
The first 25 years of the seventeenth-century broader-based native textile industry. Thriving linen
demonstrated an almost childlike delight in contrasting and cotton industries using imported flax and yarn
pattern and applied decoration. A period of restraint developed in the north of England; an embryonic luxury
followed, during which novelties were tempered by silk industry was established in Spitalfields by Huguenot
discretion until with the Restoration of the monarchy in refugees; and competent lace was being produced in
1660, a joyful exuberance, carefully controlled during South Devon and the East Midlands. The strength of
the Commonwealth, erupted. Decoration overwhelmed these industries was constantly tested by the fashionable
all articles of dress once more, exciting the astonished pursuit of exotic novelties, but by the end of the
ridicule which accompanied fashion throughout much of century there was a much wider choice of both English
the century. John Evelyn’s description of a young man of and imported goods than could have been foreseen in
1661 is typical of this derision: ‘It was a fine silken fop 1600.
which I spied the other day through Westminster-Hall, London was the major shopping centre for anyone
that had as much ribbon about him as would have with pretensions to be a member of the fashionable
plundered six shops, and set up twenty country pedlars: world, but during the century, as other cities prospered,
all his body was dressed like a maypole, or a Tom-a- a wider range of shops appeared outside the capital. In
Bedlam’s cap.’ 1699 Celia Fiennes was impressed on a visit to
Decoration was important in a century when tailoring Newcastle because, ‘Their shops are good and of
was relatively unsophisticated. Bedecking with ribbons, distinct trades, not selling many things in one shop as is
braids and lace, the extravagant use of collars, cravats the custom in most country towns and cities.’ There was
and sleeve ruffles, the addition of small accessories like a thriving secondhand market in both clothes and
fans, muffs and walking sticks are understandable materials, more than occasionally fuelled by the many
because attractive or interesting variants were easier to thefts of clothes which were regularly reported in the
fabricate on a small scale. The production of these London Gazette. Clothes were a valuable commodity in an
accessories was distributed amongst various specialist age when social position was usually associated with the
tradesmen, although the majority of the softer items, ability to afford a fashionable wardrobe, and the
such as collars, cravats and ruffles were made by judicious re-sale of rich garments could help payment of
sempstresses who, by the end of the century, had evolved a large tailor’s bill.
into mantua makers with a large new clientele of female There were many variations of clothing in the
customers. For the first 75 years of the century men’s wardrobe of a fashionable man or woman. Diaries,
and women’s outer garments were usually made by letters, accounts record expenditure on items of dress
tailors, and even after the evolution of sempstresses into which were intended to suit many occasions, from the
dressmakers (to use a modern term), tailors continued to informality of private apartments through to the most
make the more structural female garments such as stays magnificent Court occasions. Privately, both men and
and riding habits. women could relax in informal loose gowns, worn over
Both sexes wore identical materials and could choose their shirts and breeches or over smock and stays. On
from a range of colours which relied on natural dyes for semi-formal family occasions like weddings,
their richness. Materials and trimmings were selected on christenings and funerals certain styles of dress were
visits to drapers, linen and silk merchants and milliners, worn, and small accessories like gloves and scarves were
so called because many small trimmings originally came presented to guests. There was no agreed colour for
from Milan. Imported materials were an expensive but bridal wear in the seventeenth century, but a death and a
integral element of fashionable dress. Silk materials, period of mourning required black clothes, and this
satin, velvet and brocade, were designed and woven in sombre colour might be worn by an elderly widow for the
Italy and France, and many of the decorative trimmings, remainder of her life. Clothes for travelling and riding
much of the lace and some accessories also came from were essential elements in a complete wardrobe, and
these countries. Linen, used for shirts and smocks, was made use of the fine wool cloth at which the English
imported from the Netherlands and Germany early in excelled. At Court, the round of public ceremonies and
the century, although a native industry grew up around private parties dictated fine clothes and magnificent
Manchester in the second half of the century, using jewellery, and courtiers spent a great deal of money on
imported flax. England produced excellent wool cloth in the newest materials, colours and styles of dress.
a variety of grades and widths, but such cloth was not It was a century of restless exuberance, partly
much worn by fashionable people until late in the explained by the political upheavals, but also prompted
century when it proved excellent material for men’s by the increased travel and communication between
coats. countries. The English were fascinated by novelties,
 often adopting a foreign style, a new accessory simply
because it was available, although this eagerness for
change frequently mitigated against elegance. If the
contemporary commentators are to be believed, the
century saw one absurd fashion after another, exciting
derision and ridicule from the balanced and sombre-
minded ‘average Englishman’. However, this is not a
phenomenon just of the seventeenth century; it is a
concomitant of all fashions throughout history. Those
who believe that there are more important
considerations than the minute details of personal
appearance will always mock exquisitely dressed
contemporaries. Fashion may be ephemeral nonsense,
but it also humanizes the protagonists of periods other
than our own, and reminds us that individuality will
always be expressed in the most personal of our
possessions, our clothing.

16
‘PLATES &
G HA 10. VIV
1 Henry, 3rd Earl of
Southampton,
c. 1600
Unknown artist

Note The fashions of

the late Elizabethan
period produced wide
shoulders and hips
which enhanced a
narrow waistline.

Head Long hair was

unusual, although
certain poetically and
artistically inclined
courtiers affected it.

Body A plain shirt

collar is visible under
a lace falling band.
The doublet has deep
shoulder wings and
longer tabs usually
associated with jerkins
(see 4), and the last
vestiges of a peascod
belly. Stiffened
trunkhose and knee-
length canions are
decorated with applied
braid. Fashioned hose
are pulled over the
canions and held with
ribbon garters.

Accessories The
flat-heeled shoes
usually had light cork
soles. Gauntlet gloves,
a belt and sword
hanger are
embroidered with
popular flower and
leaf motifs.

18
2 The Cholmondeley Sisters, 1600 - 1605
Unknown artist

Note This naive but literal depiction of female dress illustrates the
fashionable distortion of the anatomy which was admired.

Head The hair is rolled back from the face and contained within heart-
shaped caps, a motif continued by the wide, pleated linen halo ruffs pinned
to the cap fronts. The shallow inner ruffs are worn as standing half-collars
with inner borders of ruched linen.

Body Padded sleeves with wide upper arms and broad, ribbon-decorated
shoulder wings increase the top-heaviness of the upper torso. Blackwork
embroidery decorates the stiffened stomachers, and all of the lace edging is
en suite.

Accessories The pearl, enamel and gemstone necklaces are typical of the
inexpensive, delicate chains made by jewellers in this period.

19
 3 Unknown woman, 1602
N. Hilliard

Note A young woman dressed in the fashions of

the merchant class or country gentry.

Head The full hairstyle owes its bulk to a

padded roll, and is emphasized by the gauze and
lace wired cap. A shallow-brimmed, high-
crowned hat is held in place by hat pins.
Head Short hair worn with a neat moustache
Body The full ruff is softening into a collar and spade beard was usual for mature men. The
revealing the neck and throat. The dark, round-brimmed hat trimmed with an aigrette is
stiffened sleeves and edge of the bodice provide tipped at a fashionable angle.
a frame for the sofdy fitted central bodice; above
the blackwork embroidery the ruched linen Body Shallow ruffs and falling bands were
smock is visible. The combination of ruching interchangeable, and are matched by appropriate
and pinking on the bodice is more typical of cuffs. Sir Walter’s jerkin is fastened only at the
sixteenth-century dress. waist to display the doublet beneath. Shorter,
rounder trunkhose are worn with plain canions,
Accessories The delicate chain necklace and with the stockings rolled above the knee, held by
flowers provide simple ornaments. tight garters. The younger Ralegh wears an
alternative fashion of doublet and matching

/ breeches.

4 Sir Walter Ralegh and his son, 1602 Accessories The boy’s gloves have embroidered
Unknown artist tabs. Both father and son wear swords. Although
Ralegh senior was a soldier the carrying of a
Note The early-seventeenth-century delight in sword is equally associated with gentlemanly
decoration (pinking, embroidery, applied braid, rank, and is thus appropriate for a boy. This
and lace) are clearly evident in this double wearing of swords is found throughout the
portrait. century.

20
5 Edward, 1st
Baron Herbert of
Cherbury, 1603 -
1605
Perhaps after I. Oliver

Note An informal
portrait revealing
small constructional
details of dress.

Head Shoulder-
length hair and small
beards were often
worn by younger men.

Body The inside of

the shirt reveals the
neckband and the
attachment to it of the
linen falling band, a
type of collar. The
matching cuffs
complete a set of lace;
these accessories were
expensive, costing as
much as £7 per set for
imported lace at this
date. The
embroidered doublet,
with tabbed shoulder
wings, is partly
masked by the
shoulder cape, often
worn in this manner
across one side of the
body (see 6).

21
CoNCILIVM SEPTUM NOBIL1VM ANGL ORVMCONIV RANT TVM IN' NEC EM I AC OBI
MAGNA BRITANNIA REGIS TOTIV5P, ANGLIC I CONVOCATI PARLEMENTI •

6 The Gunpowder Plot Conspirators, 1605

Unknown artist

Note An informal group of men from the middle of the social spectrum.

Head All of the men have long hair, full over the ears, and both beards
and moustaches. Their hats have crowns of various heights, but with wider,
softer brims.

Body Plain, falling bands are open at the neck. Robert Winter’s pose
shows how the band needed to be supported on a metal support: a pickadil.
The doublet and jerkins with contrasting sleeves may be of buff, much
worn by military men. Both Winter and Catesby wear their capes over the
right shoulder, holding its fullness folded back over the arm.

Accessories Bates wears a pendant earring, Winter a ring and several

have imposing jewels in their hats.

22
7 Anne Vavasour, c. 1605
M. Gheeraedts

Note This style of dress was expected at Court.

Queen Anne, like Queen Elizabeth, admired the
formality of the farthingale.

Head An upswept, formal hairstyle, its

structured braids elaborately decorated, marks a
temporary elongation of the female appearance.

Body A small halo ruff sits between ornately

8 James I & VI, c. 1605
trimmed shoulder wings. The stiffened bodice,
J. de Critz
worn over stays, has a more rounded decolletage.
A wheel farthingale is worn under the skirt, its Note The conservative fashions of the mature man, but with suitable
open front held by rosettes, but revealing richness of decoration.
something of the scallop-edged petticoat
beneath. The gathered upper panel of the skirt Head The hairstyle and hat, although the crown is higher and the jewel
is, in reality, a long basque from the bodice, more splendid, echo fig. 4. The ties of the falling band are seen below the
blurring the edge of the farthingale. beard.

Accessories Rich jewels, lavish and unusual Body The lines of the doublet are easier, with shallower shoulder wings,
embroidery, ribbons and lace trimmings, and the narrow sleeves, shallow tabs and moderate padding at the waist. The points
fan suspended at the waist, provide suitable attaching doublet to the paned trunkhose are tied in bows at the waist.
embellishments for a formal style of dress. Short canions follow the line of the leg. The shoulder cape is fur-lined: a
winter fashion of the wealthy.

Accessories Rich jewellery is in contrast to the plain gloves, which are

functional rather than handsome.

23
 10 Henry, Prince of Wales, c. 1610
R. Peake

Note The contemporary interest in noticeable

display, in the form of unmatched pattern and
decoration is well illustrated.

Head Short hair and smooth complexion wrere

the marks of the very young man.

Body The standing collar frames the head

revealing the straight shoulder line. The
shoulder wings of the jerkin are so shallow that
they allow the doublet shoulder wings to form a
9 Queen Anne, c. 1610 stepped effect from beneath. The short
After M. Gheeraedts trunkhose are much fuller, almost oval in shape,
but with long stockings and not canions.
Note A state portrait illustrating the richness, formality and over-decorated
qualities of Jacobean female dress. / Accessories The shoes have a shallow heel and
are decorated with large, spangled rosettes. The
Head This soft, full, halo hairdressing was fashionable for about 10 years, hat and gloves are of the fashionable shape,
and is complemented by a deep standing collar. made richer by the addition of jewelled
trimmings.
Body The false hanging sleeves extend the shoulder line, and the small
waist is emphasized by the wide oval neckline and tip-tilted fullness of the
farthingale; both bodice and skirt are made from Italian brocaded silk. The
decolletage is masked by fine linen.

Accessories The exquisite and delicate lace, the ribbon favour on the
arm, the feather fan and the lavish pearls and jewels are accessories of
great formality.

24
11 Phineas Pett, c. 1612
Unknown Dutch artist

Note A skilful and successful shipbuilder,

following the main trends of fashion but unable
to afford its richest elements.

Head Over his short hair Pett is wearing a

nightcap, an inappropriately named informal
alternative to a hat. These were made from
linen, richly embroidered and edged with lace 13 Queen Anne, 1612 - 1613
and spangles. W. Larkin (attr.)

Body The standing collar has a feature of Note The Queen is dressed in mourning for her son, Henry, Prince of
decorative pleats which reduce the material to fit Wales.
the neck; the matching cuffs are similarly made.
The doublet is decorated with long slashes to Head The full hairstyle is arranged in softly curving waves, with a lock of
reveal the lining material. The breeches are very hair brought over one shoulder. The method of supporting the cap is
full, padded with bombast to create a bulky visible, but is both decorative and functional.
silhouette.
Body The deep decolletage is broken by the lace-edged ties of the full,
Accessories The belt and sword hanger have tail-collared cloak. The quality and structure of the lace is very clear.
embroidery similar, but not identical, to the
braid on the breeches. Accessories Both the pendant earrings and the jewelled brooch are
appropriately sombre.

12 Edward Sackville, 4th Earl of Dorset, 1613

See colour plates, between pp. 96 and 97.

25
 \

14 Richard Sackville, 3rd Earl of Dorset,

1613
W. Larkin

Note The painstaking care taken in achieving

this appearance is matched only by its
extraordinary brashness.

Head The short hairstyle is accompanied by a

wispier beard and moustache, allowing more of
the wide lace standing collar to be seen.

Body The doublet is close-fitting, but the

matching gauntlet gloves are wide and deep, to
cover but not crush the lace cuffs. The breeches
are fuller at the lower edge, balancing the collar
width. The cape is lined with shag, and the hat,
in the background, has a matching band.

Accessories The garters are lavishly decorative.

The clocks on the stockings contrast with all the
other embroidery, but the shoes match the
doublet and gloves.

15 Execution of Edmund Geninge, 1614

Unknown artist

Note This naive illustration is full of the small

variations present in dress worn at any one time.

Head The majority of the figures are short-

haired and bearded. They wear high-crowned
hats, some with shallow, firm brims, others with
full, soft brims.

Body Small standing collars and ruffs

predominate. The older men, or those with an
official function, wear ankle-length, fur-lined
gowns; others wear capes of thigh or knee
length. The doublets and jerkins are mainly
accompanied by full breeches, but one man
wears trunkhose.

Accessories Shoes are fairly flat, but a slighdy

raised heel can be seen on the right of the
middle row of figures.

26
27
16 Mary, Lady
Scudamore, 1614-
1615
M. Gheeraedts

Note Informal dress

was easily as rich in
appearance as the
formal dress worn by
women, although
more comfortable.

Head The hair, full

at the sides, but flatter
on the crown, allows
the cap of wired linen
and lace to fit forward
over the head. Deep
cuffs match the cap,
but a plain ruff, with
tasselled tie strings,
creates a break
between patterned cap
and dress.

Body A full-length
gown is worn loose,
but its buttons and
loops could fasten.
The blackwork
embroidery of the
linen jacket has a
sinuous design
complemented by the
bolder pattern on the
petticoat.

Accessories The
black ribbon bracelet
is a use of ribbon
found among much
jewellery at this
period. Plain gloves
with contrasting cuffs
were popular with
men and women.

28
 17 Dudley, 3rd
Baron North, 1614 —
1615
Unknown artist

Note A glittering
young courtier
combining the
elegance and
brashness which
characterized the
fashionable world.

Head The softly

waving, fuller hairstyle
echoes that of women
at this date.

Body The small,

densely pleated ruff
was still fashionable;
the choice between
styles of neckwear was
left to individual taste.
mm

An embroidered
jerkin with false
hanging sleeves
matches the stiff
trunkhose worn with a
plain doublet. Deep
cuffs mirror the
decoration and
pleating of the ruff.
The stockings are
magnificently
embroidered with rich
clocks at both sides of
each leg.

Accessories Low-
heeled shoes are
dwarfed by glittering
rosettes of spangled
ribbon. The hat, high-
crowned, is a plain
beaver.

29
30
18 Catherine Knevet, Countess of Suffolk,
c.1615
W. Larkin

Note One of the many styles of dress worn by

fashionable women in this transitional period
before the farthingale disappeared.

Head The hair is softer, drawn away from the

sides of the face.

Body The high, tiered ruff stands away from

the bodice emphasizing the wide shoulder line
with its shoulder wings containing both main and
hanging sleeves. The bodice has buttons and
tabs like a man’s doublet; below it a short,
gathered basque echoes the bodice construction
worn with a farthingale. The open-fronted skirt
reveals a richly embroidered petticoat edged
with metal lace.

Accessories The low-heeled shoes with

glittering rosettes are similar to male footwear
(see 17). A formal rope of pearls and narrow,
deep cuffs reinforce the elongated but more
naturalistic line.

19 Anne Cecil, Countess of Stamford,

c. 1615
W. Larkin

Note An unusual use of material provides a

focus of attention for another transitional
fashion.

Head A smooth roll of hair gives depth to the

head while the cut-work lace ruff provides a
frame for the face.

Body Hanging sleeves billow out around the

main sleeve, but are attached and turned back at
the elbow to reveal the lining silk. The skirt has a
flattering, natural line, but the smooth pattern of
applied embroidery and slashing on the bodice
and side skirts is given a three-dimensional
quality on the hanging sleeves and central area of
skirt by pattern realignment and extravagent use
of material.

Accessories The ribbon bracelets (one

attached to a ring), the pearl rope and plain fan
appear secondary to the large, lace-edged
handkerchief which is an accessory rather than a
functional necessity.

31
 21 Anne Wortley, later Lady Morton, 1615 —
20 Lady Dorothy Cary, c. 1615 1616
W. Larkin Manner of P. van Somer

Note A warm gown, an informal jacket and Note This type of formal Court dress prevailed
petticoat are transformed by rich surface throughout the lifetime of Queen Anne but looks
decoration into garments of exuberant grandeur. rigid and clumsy beside other contemporary
fashions.
Head A full hairstyle seems essential for this
type of wired gauze cap, and is as effective with a Head The width of the hairstyle is dwarfed by
standing collar of lace as with a plain ruff (see the wired standing collar and deep ruff.
16).
Body The fitted sleeves, with their decorative
Body The way the gown is held across the body hanging panels, and the stiffened bodice create a
reveals its fullness and sinuous metal embroidery, frame for the low decolletage. The pleated and
but partly masks the embroidered linen jacket gathered basque and open-fronted skirt with
with a deep basque which is fastened by ribbon petticoat below, worn over the farthingale,
ties. The ankle-length satin petticoat allows the balance the shape of the standing collar.
shoes to be seeri to advantage. The deep cuffs
make a feature of the use of two tiers of lace. Accessories The formal arrangement of pearls,
as ropes, bracelets and individual decorations,
Accessories The only items of jewellery are contrasts with the delicate enamelled chain and
pendant pearl earrings. thin silk ribbons worn round the neck, one w rist
and in the ears.

32
22 Richard
Sackville, 3rd Earl of
Dorset, 1616
I. Oliver

Note An archetypal
fashionable young
courtier, whose
interest in dress is a
well-documented
feature of his interests.

Head The hair is

short, brushed
upwards on the crown
of the head;the beard
and moustache are
lighter and carefully
groomed.

Body A shallower
standing collar
reduces the emphasis
on the upper torso, as
do the closely fitted
doublet and sleeve
with vertical braid
decoration. The
waistline is rising
slightly to
accommodate the
growing bulk of the
trunkhose; the
embroidered panes of
the trunkhose are
matched, in a reduced
version, by the belt
and sword hanger.
Embroidered clocks
on the hose and
substantial rosettes on
the shoes draw
attention to the lower
legs and feet.

33
34
23 1st Earl of Monmouth and his family,
c. 1617
P. van Somer (attr.)

Note A rare family group whose clothes reflect

their personal tastes, and the variations imposed
by income and age.

Head The similarity in the shape of the

hairstyles of the younger men and the women
are noticeable: moderately full, brushed away
from the face; whereas the father prefers the
shorter hair and spade beard of his youth.

Body All of the neckwear is different; from the

left: a standing collar, a full ruff, a wide layered
ruff unpinned at the front, a falling ruff, and a
shallow layered ruff. The pose and sombre
colouring allows only the younger men to be
clearly seen. Their fitted doublets have higher
waisdines and substantial tabs; full breeches are
worn to just above the knee and shoulder capes
fall over one arm. Spangled lace garters
complement their shoe rosettes.

Accessories Jewellery is sparse: only earrings

and the young woman’s pearl head-dress. The
earl holds his wand of office as Chamberlain to
the Prince of Wales.

24 Charles, Prince of Wales, 1617-1618

A. van Blijenberch (attr.)

Note A restrained example of the evolving

triangular outline of men’s fashions.

Head Short hair and a smooth, beardless face

are encompassed by a fashionable layered ruff
which, in this instance, has points of similarity
with the shoe rosettes.

Body The high-waisted doublet suits a young

man’s figure, as do the matching breeches. The
brocaded silk has been slashed to enhance rather
than detract from the sprig motifs, and the
applied braid provides an elongation of line to
balance the bulkiness of the lower torso. The
fur-lined shoulder cape is pushed up the arm to
reveal the delicate lace of the cuffs. The prince
wears Garter orders.

25 Unknown lady, 1618

M. Gheeraedts

See colour plates, between pp. 96 and 97.

35
 26 2nd Earl of Arundel, 1618 27 Countess of Arundel, 1618
D. Mytens D. Mytens

Note A sombre style of dress reflecting the Note An elegant foretaste of changes in
wearer’s official role. women’s dress which developed in the 1620s.

Head The hair is brushed back at the sides and Head The hairstyle is a softer, more naturalistic
upwards on the crown of the head and is worn version of the curled and waved style of the later
with a neat moustache and pointed beard. Jacobean period.

Body The layered ruff is of linen edged with Body A standing lace collar is widened, half¬
lace. A full-length, fur-lined gown with short circular in form, and placed inside the bodice
upper and long hanging sleeves is worn over neckline. The low decolletage and rising
plain dark doublet and breeches. The cuffs are waistline shorten the upper torso. The sleeves
plain linen, and the shoes are tied with the and front of the skirt, although the arrangement
simplest of bows. The emphasis is placed on the of folds creates a distorted view, are decorated
earl’s Garter orders, wand of office and with the tags associated with points on men’s
collection of sculptures in the background. doublets. The layered lace cuffs are less conical
and fit closer over the sleeve.

Accessories The fine array of jewellery

includes a pearl coronet, earrings and pendant,
ebony beads on the bodice neckline and
substantial gemstone bracelets, ring, brooch,
cross and hair ornament.

36
28 Lady Elizabeth Grey, Countess of Kent,
c. 1619
P. van Somer

Note Queen Anne died in 1619 and this

portrait is of one of her ladies in mourning dress.
Black was not synonymous with mourning, but
the details of dress are correct for mourning in
this instance.

Head The hairdressing is of the formal, earlier

style associated with Court dress and is
surmounted by a small cap trimmed with
feathers.

Body The standing ruff and deep, matching

cuffs are also of the traditional size and
construction. A high waistline draws extra
attention to the low decolletage, but an elongated
line is created by the additional length of skirt
and the long, hanging over sleeves.

Accessories The ebony beads are held in

position by ties on the shoulder and the central
rosette. A signet ring is tied around one wrist by
a silk ribbon point; the brooch on the left bosom
contains the emblem of Queen Anne.

37
 29 Lady Aston, c. 1619
M. Gheeraedts (attr.)

Note The late transitional phase of fashionable

Jacobean female dress with a high waistline but
no agreed style of collar or neckwear.

Head A rather straggling hairstyle, brushed

over the ears, appears in the later Jacobean
period; it is more naturalistic than seen in
previous years, and appears curiously unkempt.
A jewelled band with feathers adds height.

Body The small ruff stands high at the back of

the head. The narrower, elongated line of the
dress is emphasized by the higher waisdine,
relative lack of bulk in the skirt and long,
pendant oversleeve. The regular geometrical
design of the brocaded silk is usual at this date.
Textile patterns changed fairly slowly, but faster
than lace designs.

Accessories The delicate black jewellery is

knotted silk or possibly small beads knotted onto
silk.

30 Elizabeth Howard, Countess of Banbury,

1619-1620
D. Mytens

Note A restrained elegance characterizes the

dress of this fashionable young aristocrat.

Head The straggling hairstyle is a curious

contrast to the neat head-dress and embroidered
linen ruff.

Body The dress is in two distinguishable layers:

an embroidered jacket and petticoat worn under
a tabbed jerkin with hanging sleeves and
matching skirt. The two materials are similarly
embroidered, and the use of a pale belt,
decorative loops on the skirt and rosettes on the
sleeves creates a harmonious unity between light
and dark fabrics. The narrower line of the dress
is heightened by the transparent gauze veil which
is brought from the head-dress to the waist of
the skirt.

Accessories A dark feather fan and white

handkerchief continue the themes of contrasts,
and the jewellery is a delicate mixture of pearls,
gemstones and ribbon.

38
39
 31 George Carew, Earl of Totnes, Body A layered ruff is worn above a gorget: a
1619-1620 component of a suit of armour often depicted in
After an unknown artist portraits of military men or those with military
aspirations. The high-waisted doublet is
Note A mature courtier, keeping in step with balanced by its deep tabs. The paned trunkhose
fashion, but preferring the rich embroidery and are full, almost oval in shape, and lavishly
contrasting materials of his youth rather than the embroidered with metal thread. Layered cuffs
more discreet ensembles of younger men. match the ruff, and knotted to the ruff ties, seen
under the gorget, is a ring.
Head The smooth short hair is worn with a
pointed beard and neat moustache.

40
32 Elizabeth, Countess of Southampton,
c. 1622
Unknown artist

Body The layered ruff and deep cuffs are of

transparent embroidered gauze over linen. The
high-waisted bodice features panes of material
on the upper bosom and sleeves which display 33 Lady Emily Howard, 1623
the linen smock or a contrasting lining. The School ofM. Gheeraedts
continued practice of outlining seams and
binding edges with braid or ribbon add vertical Note This awkwardly dark portrait contains
interest to a lightly patterned material. features of dress which not only look backwards
but also reflect current developments.
Accessories The jewellery includes double
earrings, a rope of pearls with pendant monogram Head Lady Emily’s hairstyle is neat and full
jewel and miniature case, and a ring. under its two-tier dark lace cap brought forward
over the brow, as in 32.

Body Behind the traditional full ruff (although

barely visible in this illustration) is a wide
standing collar of the same lace as the cap,
reaching at its widest to the bodice shoulder
wings. A sleeveless gown is worn over a bodice
and skirt. The bodice with tabs and a horizontal
waisdine was equally as fashionable as the
shallow, pointed front. The plain material of all
of the garments is enlivened by slashing and
applied embroidery. Rings tucked into clothing
were worn as tokens of affection or
remembrance.

41
34 1st Duke of
Hamilton as a youth,
1624
D. Mytens

Note A transitional
style of men’s dress
which, although
narrow in line, appears
top-heavy and
cumbersome.

Head Longer hair

was newly fashionable
for young courtiers.

Body The falling ruff

is small, and matches
the cuffs. A shoulder
cape is worn over the
doublet which has
deep tabs and a purely
decorative arrange¬
ment of ribbon points
(doublet and hose
were held together by
hooks from the late
teens of the century
onwards). The shorter
breeches almost have
the appearance of
softly gathered trunk-
hose. The wrinkled
stockings are only
partly held up by the
decorated ribbon
garters.

Accessories The
punched decoration
on shoes was well-
established and
echoes the shape of
the rosette. Plain
gloves and a soft-
brimmed beaver hat
were usual
accessories.

42
35 Lady Anne Carleton, 1624 - 1625 Body The standing collar is of a type seen
Studio of M. Jansz van Miereveldt earlier (see 27), and is complemented by a deep
lace collar which masks the decolletage of the
bodice. The paned sleeves reveal a patterned
Note A formal array of jewellery, rich materials lining which adds to the richly decorated effect
and lace indicate the type of dress worn by a created by the brocaded silk bodice trimmed
mature woman at Court. with metal braid.

Accessories Lady Anne’s splendid array of

Head The simple hairstyle with its one loose jewellery demonstrates the limitations of design
tendril is dramatized by the pearl band and impose on jewellers before gemstone cutting
feather head-dress. became more sophisticated.

43
36 Sir Nathaniel
Bacon, 1624-1625
Self-portrait

Note A sophisticated
country gentleman
and renowned
amateur artist, with
fashionable tastes.

Head The longer

hairstyle, brushed
behind the ears, but
shorter and fuller
above the forehead, is
worn with a carefully
groomed, pointed
beard and horizontal
moustache.

Body The falling ruff

is closer in style to a
collar, although still
layered like a ruff (see
34). Pinking and
panes relieve the plain
material of the
doublet, and the
vertical line of the
appearance is
enhanced by discreet
tinsel braid. The
panes on men’s
doublets invariably
revealed their linen
shirts rather than a
contrasting material.

44
 37 Called George
Puleston, 1625 -
1627
J. Souch

Note A provincial
sitter of some
substance, aware of
changing fashions, but
adopting them more
slowly, as his
circumstances allow.

Head Shorter hair

was worn by older
men and those outside
London, but the
fashionable pointed
beard and moustache
were more readily
adopted than longer
hair.

Body The design of

the lace on the falling
band is painted with
great clarity. Slashing,
pinking and narrow
braid relieve the
simplicity of the
doublet satin, and the
stitches holding the
shoulder wing tabs in
line are clearly visible.
The metal tags on the
ribbon points, the
weave of the check
ribbons, the sleeve
buttons, the
arrangement of the
cuffs and the
embroidery and
fastening of the belt
are all revealed in
some detail.

45
 38 1st Earl of Carlisle, 1628
Unknown artist

Note The elegant, narrower line of men’s dress

in the late 1620s created a harmonious unity
previously lacking.

Head The fuller, longer hairstyle favoured by

the King but varying in length according to the
age of the wearer (mature men were rather
conservative), was established in fashionable
circles, as were the pointed beard and
moustache.

Body The wide standing collar, held by a

pickadil, and long matching cuffs were less
popular by this date. In the mid/late 1620s the
waistline lengthened and the doublet tabs
reduced in number forming a deep basque.
Sleeve panes also lengthened revealing more
shirt linen. The embroidery creates a harmony
between doublet and breeches; the latter are
longer, bulkier at the waist and hips but
narrower at the knee.

Accessories The applied braid and fringe

decoration on the gaundet glove appeared in the
late 1620s.

39 Unknown couple, 1628

Unknown artist

Note A provincial couple’s dress reflects the

time lag in adopting the latest fashions, and
indicates the elements of change which were
absorbed as being suitable for their status and
social circumstances.

Head The hairstyles are simple. The man has

adopted a pointed beard, but in a fuller form.
The woman’s hair is taken back from her face
and into a roll which is covered with embroidered
linen; the lace of her cap is en suite with her ruff,
smock and cuffs. Broad-brimmed beaver hats
were worn by many women of the merchant
classes, or by country gentlewomen.
/
Body The man wears a falling ruff, and a short-
sleeved, fur-edged gown over slashed doublet
and breeches. The woman’s ruff is a traditional
round one. Although her bodice and skirt are
plain they reflect the divergence between men’s
and women’s waistlines at this date; women’s
remained higher.

46
47
40 1st Duke of Buckingham and his family, 1628
After G. Honthorst

Note An influential and wealthy family dressed in keeping with their

important role in the fashionable world.

Head The similarity between male and female hairstyles is apparent: long,
softly waving, full at the shoulder, although the duchess’s has a slight fringe
and a knot of longer hair behind.

Body Her deep lace collar is wide over the shoulder with matching tiered
cuffs. The high-waisted bodice and skirt are of satin, embroidered in part
with spangles and metal thread, with a new style of sleeve: elbow-length
panes in two tiers held by ribbons. The duke wears a small falling band of
lace over a paned doublet with unusually long tabs, and matching breeches.
His fur-lined shoulder cape carries a Garter star.

Accessories The duchess’s pearls set the mood for the simpler jewellery
which was fashionable from the 1620s.

48
41 Unknown woman, 1629 42 Unknown man, 1629
C.Johnson C.Johnson

Note This bust-length portrait of a country Note A fashionable young man wearing the
gentlewoman provides a detailed view of the new longer, curling hairstyle always associated with
style of collar and sleeve. the Caroline period.

Head The longer hairstyle is curled loosely Head The longer hair, with a fringe and with a
round the face and over the forehead. curling lock asymmetrically longer over one
shoulder, is worn with a wispy moustache.
Body The detailed construction of the wide
lace collar can be clearly seen, including the join Body The falling collar matches that worn by a
between the narrower scallops of the neck edge woman in its depth and exuberant use of lace; it
and the larger-patterned lace of the main collar. is tied at the front with tasselled cords. Plain
The full panes of the sleeves, with ribbons satin was increasingly popular for men’s and
holding the billowing material between the two women’s dress. Patterned textiles were worn but
tiers are emphasized. a growing restraint in the choice of material and
decoration was a feature of the period from the
Accessories Pearl decorations on the dress, in late 1620s onwards.
addition to a strand of pearls round the neck and
pendant pearl earrings, were a feature of
women’s dress at this date.

49
 Jhe Needle*? Excellency
lis* ArIni liable
muaital and
‘xhulufl nous.

€ .*^1
1 ■

r\
* .«
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V 'NJC'iS’DOMF NDVSTRIE OL1.IE

43 The Needles Excellency, 1631

J. Taylor

Note Taken from an earlier German illustration,

this scene affords a rare opportunity to see an
attempt at recording past and contemporary
fashions.

Body The figure on the left is dressed in the

manner of Queen Anne (see 9). On the right is a
figure wearing the fashions of the late teens or
early 1620s (see 27, 35). However the central,
seated figure, represented as industry, is
intended to appeal to domestic needlewomen,
such as wives and daughters of merchants and
country gentlemen; it is a crude but recognizably
accurate reflection of what was worn in 1628
(see 39). This style of dress would not have
changed dramatically over three years.

50
44 Charles I, 1631
D. Mytens

Note The King was

the epitome of
restrained masculine
elegance, and his
wardrobe accounts
demonstrate a genuine
interest in fashion.

Head The softly

waving hair, longer at
one side, is
complemented by a
pointed beard and an
upward curling
moustache.

Body The lace of the

collar is a dominant
feature, providing
curving, sinuous lines
in contrast to the
elongated line of the
doublet and breeches.
A three-dimensional
quality is given to the
doublet by full sleeves,
lines of metal braid
and decorative points,
matched by similar
points at the knees of
the moderately full
breeches.

Accessories A
glimpse of stocking is
visible above the
tighdy fitting boots
which are folded back
into deep tops. The
front flap of the boots
afforded a handsome
strap to which spurs
were fastened.

51
52
45 Margaret Hallyday, Lady Hungerford,
1631
C. Johnson

Note A country gendewoman, with London

connections, dressed in her finest clothes.

Head Curling hair frames the face and a fringe

curls over the forehead. A pearl head-dress
holds a group of flowers to one side of the head.

Body A wired, standing collar edged with lace

is combined with a wide collar over the bodice;
the awkward assimilation of the patterned lace of
each collar is seen on the outer shoulder. A fine
linen pardet, attached to the smock, modesdy
covers the bosom. The ribbons restraining the
panes and the ruffled lace cuffs enhance the
decorative effect. The stomacher at the front of
the bodice matches the embroidered sleeves, but
the main bodice is plain.

Accessories The asymmetrical arrangement of

jewellery was a feature of the time.

46 1st Earl of Holland, 1632 - 1633

Studio of D. Mytens

Note Various small but significant changes in

men’s fashions are recorded in this portrait.

Head The asymmetrical hairstyle invariably had

the longer lock of hair falling over the left
shoulder, partly masking the small collar.

Body The doublet has lost its tabs and has

gained a deep basque, adding emphasis to the
rising waisdine. More shirt is revealed where the
doublet is left unbuttoned. The breeches are
longer and bulkier.

Accessories High-heeled boots with

contrasting cuffs and boot tops draw attention to
the lower leg. The wearing of overshoes with
boots was briefly fashionable in the 1630s. The
earl’s gloves recall others of the 1620s (see 37)
and his wide-brimmed hat was a universal men’s
fashion.

47 Queen Henrietta Maria, c. 1634

Unknown artist

See colour plates between pp. 96 and 97.

53
 I

48 French nobleman, 1634

Unknown artist

Note The fashions of the French Court usually

influenced the English, although after a time lag,
and with some variations introduced by English
tailors.

Head The hairstyle, beard, moustache and

lace-edged collar would not have appeared out
of place in England.

Body However, this style of doublet, beginning

to take on the appearance of a short coat,
casually unbuttoned, and with flamboyant
rosettes, took longer to be accepted. The wide
breeches with extravagant looped ribbons at the
waist did not appear in this form in England
until the 1640s.

Accessories The softly concertinaed leather

boots with wide tops and lace linings appeared in
England in the late 1630s, but the high-crowned,
shallow-brimmed hat was not seen until the
1640s.

54
49 Queen Henrietta
Maria, 1634- 1635
After Sir A. van Dyck

Note The Queen

wears hunting dress
and is accompanied by
her dwarf, whose
dress is a perfect
miniature of
contemporary male
fashions.

Head The full, softly

curling hair with a
lock arranged over one
shoulder mirrors the
male hairstyles of this
date, as does the low-
crowned, wide-
brimmed hat and deep
lace collar fastened at
the neck.

Body The bodice

collar is brought down
to the waist and held
by the looped belt.
The bodice has deep
side tabs and a central,
stiffened stomacher.
Skirt and bodice are of
matching material
which has been
pinked. Narrow rows
of braid create the
impression of a
narrower vertical line,
although the skirt is
full, worn over hip
pads. The cuffs are of
tightly gathered layers
of linen.

55
50 2nd Earl of
Warwick, 1635 —
1636
Studio of D. Mytens

Note A portrait
containing elements of
martial dress,
leavened by
fashionable features
acceptable in non¬
military circles.

Head The relatively

short hair of the older
man is still worn with
a lock of hair over the
left shoulder.

Body A wide collar

disguises the join of
the breast-plate at the
shoulder, but the long
ties hang free. A
sleeveless buff jerkin
edged with metal
braid is worn over the
doublet. The
patterned silk sash is
tied in a full knot at
the left side of the
waist. The long, full
breeches are tucked
into close-fitting
boots.

Accessories Plain
leather gloves and a
distinctly civilian
walking stick are the
only accessories.

56
51 William Style of
Langley, 1636
Unknown artist

Note A sophisticated
country gentleman
dressed in keeping
with the bulkier
fashions of the mid-
1630s.

Head As if to keep in
step with the fuller,
longer hairstyle of the
later 1630s, the collar
has gradually widened
and grown in depth to
hide the shoulders.

Body The bulkier

sleeves, high waist and
deep basque of the
doublet are balanced
by the breeches which
are widening at the
knee (see 48). The
points at waist and
knee have become
stylized rosettes (see
48), and in order not
to crush them the
sword is suspended
from a shoulder
hanger, not a belt. All
of the garments,
including the cape on
the chair, are of
matching satin pinked
and edged with
narrow braid.

Accessories The
accessories are plain
gloves, soft boots with
contrasting tops and
lace boot-tops, a wide-
brimmed hat and a
walking stick.

57
52 Unknown
woman, 1636 -1637
After Sir A. van Dyck

Note A fashionable
young woman wearing
the lustrous satin and
expensive,
sophisticated lace
which created a
restrained elegance in
women’s dress.

Head The
hairdressing is softer,
pendant at the side of
the head, rather than
curled away from it,
and the knot of hair
behind is entwined
with pearls and
ribbons.

Body Although deep

and wide in the usual
manner, this collar
illustrates another
style of the 1630s
which can be fastened
modestly but still
reveals some bosom;
the matching cuffs are
attached to the sleeve
and fall forwards
echoing the edge of
the collar. The bodice
fits the upper body
and divides into deep
tabs to accomodate the
fullness of the high-
waisted skirt.

Accessories The
jewellery consists of
fashionable pearls and
two gemstone
brooches.

58
53 Prince Rupert,
c. 1637
Studio of Sir A. van
Dyck

Note A young prince

with both British and
Continental European
connexions, adapting
his taste to suit the
English Court.

Head Full curls,

fashionably long, and
no beard were worn by
young men in their
late teens.

Body A small collar,

tied with a flourish of
loops, reveals most of
the gorget under
which a buff jerkin is
partly laced. The
doublet is also open
revealing the shirt.
The decorative
buttons and loops on
the doublet front and
open sleeves could be
fastened if required.
The sleeves have a
contrasting turn-back
cuff. Long, looser
breeches are similarly
decorated and have
discreet ribbon loops
at the waist.

Accessories The soft

boots are developing
the baggy creases and
full tops of the
European fashion (see
48).

59
 55 Catherine Bruce, Countess of Dysart,
c. 1638
After Sir A. van Dyck

Note A partly accurate, partly stylized form of

dress hinting at classical draperies, which
appeared in the 1630s and causes confusion for
54 Sir John Backhouse, 1637 costume historians, intermittently, for the rest of
Unknown artist, signed V.M. the century.

Note A sombre study of a successful merchant. Head Soft ringlets became fashionable as the
shape of the hairdressing moved towards extra
Head A short hairstyle was preferred by many men outside Court circles, length at the sides of the head.
although they adopted the pointed beard and turned-up moustache worn
with the longer hair. Body The low decolletage, with no collar to
modify it, was typical of this pastoral/classical
Body The plain linen collar is of the shape and size worn at the item, but style of depiction. The drapery sleeves are held
undecorated except for the knotted tassels on the ties; the matching cuffs to the bodice with brooches, but the emphasis is
are also devoid of decoration. The dark doublet, breeches and cape seem on the soft billows of silk, which have little to do
to merge together, but the high waistline i^ marked by a band of ruched with fashionable appearance. The lavish use of
loops created from the traditional points (just visible in the very dark material, with the play of light and shade on
original painting). silken folds, was intended to create a sense of
timeless informality, but the hairdressing and
waistline place the countess in the late 1630s.

60
56 Diana Cecil,
Countess of Elgin,
1638
C. Johnson

Note A realistic
representation of the
dress of the late 1630s
with its changing
neckline and soft,
bulky silhouette.

Head The curling

hair is long and full,
and is decorated with
flowers.

Body The squarer-

shaped neckline of the
late 1630s is
emphasized by the
gauze collar, cut low
across the bosom and
revealing the smock.
The smock sleeves are
rolled up below the
full, gathered cuffs.
Ribbons across the
bodice front hold the
stomacher and side
panels of the bodice in
place. The long skirt
trails on the ground in
a manner
characteristic of the
1630s.

Accessories A
charming painted fan
is held open to show
the flora and fauna of
its decoration.

61
57 1st Earl of Elgin,
1638
C. Johnson

Note The darkness

of the dress
emphasizes the
narrow, elongated line
of men’s fashions at
this date.

Head The shoulder-

length hair is all one
length, but worn with
a slight fringe.

Body A deep lace

collar and matching
cuffs are foils to the
dark, paned doublet,
breeches and cape, all
of which are edged
with black lace. The
breeches are
somewhat narrower
than the fashion.

Accessories The
shoes have much
sturdier heels, a
development of the
mid/late 1630s. The
gloves have the black
gauntlets associated
with mourning, and
the broad-trimmed
hat still has a shallow
crown.

62
58 Earl of Newport (left) and Lord Goring, 1638 - 1639
After Sir A. van Dyck

Note A softer, more informal style of dress contrasts with the severity of
the armour worn by these two men.

Head The shorter, less full hairstyles (see 57) seem appropriate with the
martial breast-plates.

Body Both men wear small collars, although Lord Newport’s is an

improvisation, with a wider collar pulled closer into the neck and pinned
into an impromptu ruffled cravat. The sleeves are full with cuffs turned
well back above the shirt sleeves, a style made possible, as Lord Goring’s
sleeve illustrates, by partial unbuttoning of the sleeve. Buff jerkins, shorter
in length than before, are worn over satin doublets, and both men wear the
loosely knotted silk sashes which were worn with armour.

63
59 A lady of the
Spencer family,
1638-1639
Sir A. van Dyck

Note Atypical
example of the
restrained elegance of
women’s dress in the
late 1630s.

Head The loosely

arranged, softer
hairdressing
diminishes the
importance of the
head, placing
emphasis on the wide
expanse of bosom.

Body Bands of lace

edge the bodice and a
glimpse of smock is
seen over each
shoulder, mirrored by
the rolled-up sleeves
glimpsed beneath the
deep, pendant lace
cuffs. The bodice is in
one section, laced at
the back, although the
stomacher point
appears at the front as
an additional tab.

Accessories The
jewellery consists of
the usual earrings,
necklace and bracelets
of pearls.

64
60 An English lady,
1639
W. Hollar

Note A fascinating
example of the way a
famous engraver
found his source
material in the work of
another artist (see 59),
but subtly altered it.
Hollar’s work is of
great importance in
the 1640s as he was
one of the few artists
who was interested in
variations of dress.

Body It is worth
noting that although
he apparently only
reverses the figure
from looking left to
looking right, he also
moved the sash bow to
the opposite side of
the waist where it
could be more clearly
seen, and he turned
the smock edges at the
neckline into part of
the collar. Such
variants may have
existed, but any
copyist, even Hollar,
should always be
regarded with some
caution when details
of dress are involved.

65
61 1st Baron Capel and his family, 1639 - 1640
C.Johnson

Note A detailed family group in which all of the children, with the
exception of the two youngest, are dressed as miniature adults.

Head Lord Capel’s hairstyle and dress recall the portrait of Lord Elgin
(see 57) and Lady Capel’s hair is formally curled but closer to the head.

Body His collar has less depth, and more linen is seen, but the dark
doublet and breeches trimmed with matching lace are very similar to Lord
Elgin’s, although the sleeves are of a different design. The unbuttoned
doublet was a feature of the 1640s. Her linen-and-lace collar is a square,
folded to display two depths of lace, and pinned at the throat. Her bodice is
identical, in every detail, to those of her daughters. The stomacher is
separate, held by ribbon lacing.

66
62 Servant, 1640
W. Hollar

Note One of Hollar’s

invaluable illustrations
which record other
dresses in society
apart from the rich
and fashionable.

Head The hair loops

round the ears and
under a lace-edged
hood which has been
loosely rolled and
pinned up on the top
of the head.

Body A plain square,

folded into a triangular
shawl, is worn over the
shoulders. The side
view affords evidence
of the fullness of the
sleeves, and the deep
basque of the bodice
above the hip pads
which are worn under
the skirt and petticoat.

Accessories Over
low-heeled shoes are
pattens: a type of
wooden-soled
overshoe with an iron
ring at the base to
raise the wearer above
the mud and filth of
the streets.

67
 63 John Evelyn? 1641 Body The collar is in keeping with the smaller
H. van der Borcht size which appeared as the sleeves became fuller.
The billowing display of shirt linen was retained
with the new fashions but the panes on the upper
Note The young scholar is rather provincial and part of the doublet and the sleeves were being
old-fashioned in his style of dress. superseded by one open seam on the sleeve and
an unpaned doublet body, left unbuttoned.

Head The hairstyle retains the asymmetrical Accessories Plain leather gloves were always
fashion of the 1630s. appropriate.

68
64 The Saltonstall family, c. 1641
D. des Granges

Note A provincial family group with money to spend on good clothes, but
not in step with the newest fashions.

Head The seated women is dressed similarly to Lady Capel (see 61) but
her hairstyle lacks a fringe. The man wears the newly fashionable high-
crowned hat over his shoulder-length hair, and is clean-shaven.

Body His collar is of a moderate size, with the narrowest of lace edging.
The high waistline of the open-fronted doublet and the fuller sleeves
follow the fashionable line, but the breeches are not so full and short as
would be seen in London.

Accessories The shoes are tied with a ribbon rather than a rosette, a
change of the 1640s.

69
65 Elizabeth,
Queen of Bohemia,
1642
G. Honthorst

Note A sombre
illustration of the
emerging line of
fashionable dress in
the 1640s.

Head The hair is

smooth at the temples
and the longer side
hair falls in loose
curls, with the knot on
the back of the head.

Body The neckline is

rounder, closely
mirrored by the curve
of the deep lace collar.
The waisdine is
longer, terminating in
a substantial boned
peak which pushes the
fullness of the skirt to
the sides and back of
the waist. The sleeves
are less bulky, and a
type of turned-back
cuff is appearing,
pinned back over the
rolled-up smock
sleeve.

Accessories Pearl
and gemstone
jewellery retains its
importance but is
discreet in its size and
quantity.

70
66 English
gentlewoman, 1643
W. Hollar

Note A rare
illustration of a woman
of substance, but not
of the most fashionable
circles, dressed in
outdoor clothes.

Head A plain hood

covers nearly all the
hair.

Body A kerchief over

the shoulders almost
totally obscures the
triangular collar,
fastened at the neck,
which is worn over the
bodice. Narrower
sleeves are edged with
plain linen cuffs, and a
moderately full skirt is
seen under the linen
apron, which is
decorative rather than
practical.

Accessories The
small feather fan and
the smoothly fitting
gloves indicate social
status.

71
 67 English gentlewoman, 1643
W. Hollar

Note An interesting back view of the style of

outdoor dress worn in winter by moderately
wealthy women.

Head The style of hood seen in fig. 66 is seen

from behind, with tendrils of hair escaping onto
the neck.

Body A plain linen square is folded into a

triangular collar worn over a warm kerchief. The
natural waistline and the double sleeves were
new features of the mid-1640s. The open-fronted
skirt is arranged carefully behind with a pin or
clasp, providing a type of bustle which allowed
ease of movement as well as revealing the
petticoat.

Accessories Large muffs were popular winter

accessories amongst those who could afford
them.

68 Endymion Porter, c. 1643

W. Dobson

Note The fuller line of the 1640s is broken by

billows of linen and ruffles of lace and ribbon.

Head The shoulder-length hair is now rather

tousled, as if perpetually windswept, but the
small beard and moustache are neatly groomed.

Body The collar could have been worn in the

1630s, but the unstarched cuffs are typical of the
1640s. The high-waisted doublet, with its deep
basque, has fewer buttons, allowing a ruffle of
lace on the shirt front to assume prominence
alongside the ribbon loops at the top of the
breeches. The full cape is so bulky that it is
probably knee-length.
?
i

(
/

72
73
69 English
noblewoman, 1644
W. Hollar
’t/ rhji (sen tie
i * * . „,
k . V//. >//
Note The dress of
the mid-1640s has
evolved a line which is
distinctive but retains
some 1630s features.

Head The
hairdressing recalls
the style worn by
Elizabeth of Bohemia
(see 65), but the dress
is more modest.

Body A square
kerchief, folded
triangularly, but
shallower than earlier
ones, is worn above a
square-necked bodice
with a long, stiffened
stomacher. The two-
tier sleeves have
shallow, horizontal
cuffs above gloved
hands. The softer, less
bulky skirt is looped
back to reveal a
scallop-edged
petticoat.

W.' Hbtl^fecdt

Mixli er Generofa iAix^lica.. ^ i)

74
70 Cornelia Veth,
1644
C.Johnson

Note Gentlewomen
enlivened their plain
dress by indulging in a
prodigal use of lace
and jewellery.

Head The hairstyle

of the early/mid 1640s
teased the hair softly
onto the face, a style
particularly flattering
to the more mature
woman.

Body A broad linen

and lace collar,
fastened at the front
and extending to the
outer shoulder, is
worn under a loosely
held square kerchief,
folded triangularly.
The bodice is plain,
and high-waisted, with
double-tier sleeves
and shallow, gauntlet
shaped cuffs.

Accessories The
bodice provides foils
for a discreet but
impressive array of
pearl and gemstone
jewellery.

75
 71 The Royal Exchange, 1644 72 Ballad Seller, from Chambers Book of Days,
W. Hollar 1644

Note A mixed group of merchants, foreigners Note The re-use of images, recorded earlier in
and fashionable men, congregated in an Hollar’s use of a van Dyck portrait, is continued
important commercial area of London. by a broadsheet illustrator who copied Hollar.
This crude figure, copied from the Royal
Head The majority of men wore hats out-of- Exchange (71) wears the modest dress of the
doors, ranging from the traditional wide- humbler women in society.
brimmed, low-crowned beaver, to the newly
fashionable high-crowned hat with narrow, Body A wide-brimmed hat, plain kerchief and
curling brim. cuffs, simple bodice with a deep basque, a
moderately full skirt and apron recall the
Body Various styles of collar are worn, either appearance of the servant of 1640 (see 62). In
plain linen or lace-edged, and a few ruffs are this instance such simplicity of dress reflects
seen, worn by older men. Cloaks of varying social circumstances, but it also indicates the
length are worn across the shoulders or casually style of dress worn by Puritans, adopted to show
wrapped over one arm. Most men still wear their disdain of worldly splendour.
buttoned doublets with breeches, but second
from the right can be seen the new style of short
jacket and full breeches. Open-topped boots
seem to be more fashionable than shoes. The
ballad seller, to the left, is dressed rather like the
servant (see 62) \vith the additions of wide-
brimmed hat and apron.

76
73 Richard Neville c. 1644
W. Dobson

Note The ever-present symbols of warfare of the 1640s are softened by

certain fashionable elements of dress.

Head The windswept hairstyle is accompanied by a smudge of hair below

the bottom lip and a downward-curving moustache.

Body The neckwear is of interest: apparendy a roll of linen, like a cravat,

held within a soft, plain collar decorated with a loosely tied knot of black
ribbons falling over the breast-plate. A buff jerkin is worn over a doublet
with full sleeves, from which a swathe of shirt sleeve and plain cuff emerge.
The coloured silk sash was an important means of identification in the
Civil War, differentiating the wearers and their allegiances on the
battlefield.

77
78
74 Mrs Hester Tradescant and her stepson
John,1645
J. de Critz the Younger 1645

Note The provincial simplicity of dress in the

mid-1640s was not without fashionable features.

Head Mrs Tradescant’s demure cap allows

tendrils of hair to escape onto the face. Her
high-crowned beaver hat is held in place by a
band which passes under the edge of her cap
and ties under the chin.

Body The bodice, pardy obscured by the

kerchief, has the new style of elongated front,
with decorative laces, and the skirt is worn over
the bodice side tabs, but the sleeves are fuller
than the current fashion. The skirt could be
looped back over an embroidered linen petticoat
intended for show. The boy’s doublet/jacket and
breeches are simpler, miniature versions of the
bulky dress worn by men.

75 Sir Henry Gage, c. 1645

Perhaps after W. Dobson

Note The contrast between the exigencies of warfare and the rich dress of
many of its combatants was a feature of the Civil War period.

Head The hairdressing is neater and fuller than before, bushing away
from the sides of the head and from under the small, informal skull cap.

Body A small linen collar is tied with a lavishly tasselled pair of strings.
The doublet sleeves are very full, allowing the linen shirt sleeves to be
pulled out from, and also below the turned-back cuffs. The richness of the
doublet sleeves are a noticeable contrast to the plain buff jerkin enlivened
only by the gilded laces suspended below the breast-plate. The full
breeches have decorated side seams.

76 3rd Viscount Fairfax of Emley and his wife, c. 1646

G. Soest

See colour plates, between pp. 96 and 97.

79
77 French
gentleman, 1646
Unknown artist

Note A similar style

of dress was
caricatured in a
broadsheet cartoon of
a London fop issued a
year earlier.

Head A high-
crowned beaver with
moderate brim is worn
over long, curling hair
and accompanied by a
tiny smudge of beard
and a moustache.

Body A full, deep-

collared cape is slung
loosely over a doublet
now reduced to a
short, box-like jacket,
open-fronted and
sleeved to display the
linen shirt. The
breeches are short and
tubular, decorated
with lavish loops of
ribbon.

Accessories The soft

leather boots have
wide tops, echoing the
curve of the hat brim,
and frothing with lace
boot-tops.

80
78 English noblewoman, 1649
W. Hollar

Note A narrower, more elongated style of dress

emerged for women at the end of the 1640s,
with fullness concentrated at the back of the
figure.

Head Smooth top hair and pendant ringlets are

balanced by a full top knot.

Body The low decoiletage is edged by a lace

collar, deeper over the shoulders, fitting around
the neckline rather than masking it. The 79 Mayor of London’s wife, 1649
stomacher is long and laced, with additional W. Hollar
bones increasing the rigidity, on each side of the
bodice. The two tiers of sleeve are differentiated, Note Only the wealthiest and most prominent London merchants became
between a short, fitted upper sleeve and full, Mayor; his wife’s dress reflects both wealth and social propriety.
paned lower section. The scallop-edged skirt has
all of its fullness taken to the sides and back of Head The hair is taken back smoothly over the ears under the curving
the waist. brim of the high-crowned beaver hat.

Accessories Leather gloves, a fan and pearl Body The survival of the deep-tiered ruff and cuffs amongst the merchant
jewellery complete the appearance. classes demonstrate a conservative grandeur similar to that of the Regent
class in Holland. A wide curving collar, not clearly observed, and rather
sketchily drawn, is in keeping with the styles of the late 1640s, as are the
boned bodice with long-fronted stomacher, and double-tier sleeves. The
skirt is looped back to display a fine petticoat.

81
 80 Merchant’s wife, 1649
W. Hollar

Note Subtle distinctions in dress between social

classes were carefully observed in the seventeenth
century.

Head The smooth hairstyle and deep-brimmed

hat are similar to those worn by the Lord
Mayor’s wife (79).

Body A plain linen kerchief is worn over the

shoulders and fastened at the throat. Much of
the bodice is masked, but the sleeves are in one
piece, fairly full, with plain cuffs. These and the
embroidered petticoat revealed by the looped-up
skirt but partly hidden by the apron, recall the
dress of Mrs Tradescant (74).

Accessories The high-heeled shoes are

trimmed with modest rosettes.

81 The execution of Charles I (detail from a

Dutch engraving), c. 1649
Unknown artist

Note This rather grim scene provides evidence

of the dress of ordinary London citizens in the
late 1640s.

Head Headwear varies between skull caps and

high-crowned hats with shallow brims, some
with ribbon bands, others with jaunty feathers;
all are worn over straggling shoulder-length hair.

Body There are varied forms of dress, with

some men in deep-collared capes, others in
jerkins and doublets with full breeches. The
woman wears the style of dress depicted by
Hollar (80). The executioner on the right,
holding the King’s head, and the royal servant,
second from the left, wear fashionable loose
fitting, tubular breeches.

Accessories In the foreground, the men wear

low-heeled shoes with simple tie fastenings, but
the platform group mostly prefer wide-topped
/ boots.

82
83
 83 Elizabeth Murray, Countess of Dysart,
c. 1651
Sir P. Lely

Note An early example of one of Lely’s many

female portraits which simplify and distort
fashion to create a supposedly timeless pastoral
or classical informality.

Head The hairstyle is now softer, less obviously

curled and arranged.

Body The bodice is dominated by large

‘classical’ sleeves, an artistic convention, with a
scarf tucked carelessly under the arms. An edge
of the linen smock falls over the bodice, which
has lost its smooth, flat-fronted elegance, by the
removal of the stays, and the pinning together of
the front sections with jewelled clasps. Such
informality might have been seen in the privacy
of the home, but was not seen in fashionable
society.

Accessories The jewellery is the conventional

mixture of pearls and gemstones.

82 2nd Duke of Hamilton, 1650

After A. Hanneman

Note A dark, elusive portrait in which the

Garter orders predominate, but it also provides
other small details of fashion.

Head The hair, parted in the middle, is longer

over the shoulders, but still rather straggling and
lacking a distinctive style. The beard is a mere
wisp and the moustache has dwindled into a thin
line.

Body A small, plain linen collar is tied with

heavily tasselled strings. Under the deep-collared
shoulder cape the doublet sleeves are fuller and
shorter, allowing the shirt sleeves edged with
discreet plain ruffles to be displayed.

84
85
84 Walter
Strickland, 1651

ism
P. Nason

Note The severely

vertical appearance of
menswear increased in
the 1650s as the
traditional doublet and
breeches changed in
form.

Head The hair is

shoulder-length but
shorter on the top of
the head.

Body The collar is

smaller with the
emphasis on the
decoratively tasselled
strings rather than the
discreet lace. The
cape masks much of
the body, but cannot
disguise the boxy,
less- fitted line of the
short brocaded silk
doublet with its full,
open sleeves. The
tubular line is
continued by the wide
breeches, edged with
deep loops of ribbon.

Accessories The
high-crowned hat has
a shallow brim, and
the gloves are
decorated with applied
braid, bows and
fringe. The
unnaturally long-
fronted shoes have a
distinctive V-shaped
break at the un-used
toe.

86
85 Oliver St John, 1651
P. Nason

Note Sobriety of tone is lightened by an interest

in fashionable fripperies.

Head There are inevitable similarities between

this portrait and that of Walter Strickland (84),
but the older St John has carefully groomed hair,
a small beard and moustache.

Body His doublet is more traditional, the

sleeves edged with crisp double-tier lace cuffs.
The lining of his cape matches the doublet, but
the breeches are even wider than Strickland’s,
decorated with braided button fastenings and
ribbons.

Accessories Matching ribbons add interest to

fia
his hat and gloves. The soft boots have elongated
toes and high, sloping heels, and the boot tops
use both swathes of silk and lace to provide
width to the lower leg.

86 John Tradescant, 1652

E. de Critz (attr.)

Note An informal portrait of the distinguished

gardener who is seemingly uninterested in
changing fashions.

Head The full, thick hair, just on the shoulders,

and the pointed beard and moustache owe little
to fashion.

Body A loose cape is pulled across the body.

The full linen shirt with its attached collar, soft
cuffs and narrow lace edging are in pace with
newer styles. Separate collars and cuffs of fine
linen and lace were worn alongside this type of
shirt, but the ease and convenience of this style
must have suited many men of greater
consequence than Tradescant.

87
87 Unknown
woman, 1653
Unknown artist

Note The rigid line

of the bodice was
softened by fuller
sleeves in the 1650s.

Head The curls and

ringlets are becoming
wider and fuller at the
sides of the head,
whilst the knot is
slipping down from
the crown of the head.

Body The full

sleeves, pinned to the
bodice with brooches,
owe something to the
artistic conventions
(see 83), but sleeves
were increasing in size
in the 1650s. The
bodice is straight and
long, worn over stays
and laced at the back,
and the simple swathe
of linen along the
neckline marks the
move away from heavy
lace collars.
88 Thomas Chiffinch, c. 1656
S. Bourdon (attr.)

Note Men were also shown in informal dress,

but as with their female counterparts there were
always fashionable elements in their appearance.

Head The hair is brushed out from a central

parting into a full, bushy style to just shoulder
level.

Body The high collar of the doublet is 89 Mrs Elizabeth Claypole, 1658
unbuttoned but indicates the height which J. M. Wright
allowed a linen collar to sit so smoothly under
the chin. A short row of buttons allows the Note Daughter of Lord Protector Cromwell, Mrs Claypole is dressed in a
doublet to fall away from the centre of the chest manner befitting a ci-devant princess, in a breast-plate, and surrounded by
to reveal the shirt. Very full shirt sleeves were allegorical symbols.
usual. The panes of the doublet sleeve are
attached to a broad band loosely knotted at the Head The position of the knot of hair can be seen at the back of the head
inner arm. with some of the curls pinned away from the face up to the knot.

Body A loosely held cloak reveals the edge of the smock and the full,
layered ruffles around the sleeves. The skirt is held up, partly obscuring
the central band of decoration but showing the braid at the hem and the
lining beneath.

Accessories The jewellery is the traditional mixture of pearls and

gemstone clasps.

89
90 Colonel the
Honourable John
Russell, 1659
J. M. Wright

Note The
accoutrements of war
and the commander’s
coloured sash do not
detract from the
nonchalant, billowing
elegance of the dress.

Head The hair is

longer, but still fairly
full. A pencil-thin
moustache is barely
visible on an otherwise
clean-shaven face.

Body The shallow

collar is shorter at the
front, raised above the
ornate tassels. The
buff jerkin has a
natural waistline and
its front lacing is
matched by decorative
lacing around the
armholes. The wide
doublet sleeves are
tied in a bow on the
inner arm, at a
distance which allows
the lower shirt sleeve
edge to pouch over the
wrist, with the wide,
starched lace cuff
standing away from
the arm like a halo.
The top of the
breeches indicates that
they are wide and
loose-fitting.

90
91 LadyJane
Fisher, c. 1660
Unknown artist

Note An example of
the mixture of
formality and
simplicity of dress
which owes something
to the much admired
‘timeless’ draperies.

Head The side hair is

full, worn in ringlets of
varying length and
complemented by
curls around the
forehead and temples.

Body The low oval

neckline of the stiff
bodice is edged with a
gauzy scarf. The
armhole has dropped
from the shoulder to
the upper arm, and
the full sleeve, taken
in above the elbow to
create a ruffle below,
is loosely fitted, with
the smock sleeve
pouching out below it.
The obliquely round
centre front of the
bodice, seen below the
arm, flattens the front
of the skirt, pushing
all fullness to the sides
and back of the waist.
A gauze scarf is
looped round the right
shoulder.

91
92
 92 Two ladies of the Lake family, c. 1660
Sir P. Lely

Note The informal pose and both artist’s and

sitters’ attachment to soft draperies are
exemplified in this portrait.

Head Both women wear softly cascading

ringlets, with a looser hairdressing at the front
which breaks the severe line of hair taken back
from the forehead.

Body The bodice neckline is very wide, broken

only by a glimpse of smock, and the lower inset
of the sleeves emphasizes this horizontal line.
The woman with the lute wears a smoothly
fitting bodice over stays, but her companion is
dressed in a looser, informal bodice held by
clasps over the smock. Full sleeves and billowing
smock sleeves are partly hidden by soft scarves.

93 James, Duke of York, c. 1661

Sir P. Lely

See colour plates, between pp. 96 and 97.

94 Charles II entering the City of London,

1661
D. Stoop

Note Although many of the men are wearing

ceremonial uniforms, the group around the King
are dressed in the height of fashion for the time.

Head The long, full, centrally parted hair may

by now already be enhanced with pieces of false
hair. 95 James, Duke of York, 1661
S. Cooper
Body Shaped collars with ornate tassels are
worn over short, loosely fitting jackets with open Note A closer view of the men’s hairdressing and neckwear of the early
sleeves, caught above the wrist and edged with Restoration period.
loops of ribbon. The wide ‘petticoat’ breeches
are worn above the knee, braided or edged at Head Men’s hair is now longer and fuller than was fashionable earlier in
waist and bottom edge with ribbons. the seventeenth century. It is coaxed here into soft waves and ringlets,
arranged carefully to fall in symmetrical locks over the chest and back.
Accessories Deep falls of linen are a new,
exuberant style of garter. High-heeled shoes Body The linen collar, edged with lace is broad and deep but constructed
with long narrow toes are tied with soft bows and to be shorter at the front and to curve under itself when tied. The full open
the tall crowned hats are decorated with feathers sleeves of the jacket are of a brocaded silk edged with deep bands of braid.
or more ribbons.

93
 96 Lady Castlemaine, later Duchess of
Cleveland, 1664
S. Cooper
97 Sir William Bruce, c. 1664
Note The easy informality of everyday dress is J. M. Wright
in contrast to the lavish fashions worn by women
at Court. Note A Scottish gentleman architect dressed in
the informal Indian gown, a precursor of the
Head The ringlets framing the face escape modern dressing gown.
from beneath a carefully arranged hood which is
wide and deep enough not to crush the hairstyle. Head In the early 1660s it is often hard to
The long sides of the hood are brought round differentiate between thick natural hair carefully
and tied beneath the chin, and a pin probably dressed to give bulk and the newly fashionable
secures it at the back of the head. periwig. Sir William’s hair may be his own, with
the addition of some false pieces. A thin
Body The smock is pulled casually over the moustache was an optional fashion, but one
edge of the stiffened bodice and folded and favoured by the King.
pinned to provide a simple collar. A soft scarf is
draped loosely round the arms. Body Around the neck is knotted a long length
of linen, tied in a loose bow with the lace edges
displayed at the front. The striped robe is one of
the loose Indian gowns, of the type purchased by
Pepys at about this time. They were popular for
informal wear over a shirt and breeches.

94
98 9th Earl of Argyll and his countess, 1664 - 1665
Unknown artist

Note A fashionable couple whose interest in dress has transcended any

urge to be informally draped in the classical manner.

Head The earl’s hair is a wig with his natural hair brushed out over the
forehead. The countess’s ringlets are rising higher towards the temples
and away from the face.

Body The lace of the earl’s collar is different in design but compatible
with the embroidery on the wide flaring cuffs. The jacket is short, partly
unbuttoned, highly decorated, revealing the shirt and the beribboned top
of the petticoat breeches. Lady Argyll is dressed in a tighdy fitted, long-
fronted bodice with full sleeves, and a matching skirt. Her smock has a
gathered top, a formal edge above the bodice, complemented by crisp
gathered ruffles attached to the sleeves.

95
99 Queen
Catherine of
Braganza, c. 1664
J. Huysmans (attr.)

Note A semi-formal
state portrait of
Charles IPs queen
which owes more to
fashion than to artistic
conventions.

Head The hair is full

and higher at the sides
of the head, presenting
a structured width
softened by tendrils of
hair on the face.

Body The smock top

is glimpsed over the
decolletage of the
stiffened bodice, with
its long narrow front.
The paned sleeves
billow loosely over the
full smock sleeves, but
fit closely on the upper
arms. The skirt is
narrower, with no
obvious bulk of
material around the
waist. A loose, gauzy
scarf, shot with metal
thread, possibly Indian
in origin, is worn
asymmetrically around
the neckline.

Accessories The
jewellery is the
traditional mixture of
pearls and gemstones.

96
12 Edward Sackville,
4th Earl of Dorset,
1613
W. Larkin

Note Even the most

subdued colour
scheme could be
transformed into rich
flamboyance by the
addition of surface
decoration and lavish
accessories.

Head The full

hairstyle, brushed
away from the face,
echoes the hair¬
dressing worn by
women at this date
(see 13).

Body The wide

standing collar,
supported on a
piclcadil, is of the
finest Italian lace, so
transparent that the
doublet cuff can be
glimpsed beneath the
matching cuffs. A
closely fitting doublet,
open to display a few
inches of linen shirt, is
matched in silk, and in
the scale of
embroidery, by the
high-heeled shoes.
The heavy shoulder
cape and wide
breeches also reflect
similar colour,
material and
decoration.

Accessories The
flamboyantly lace-
edged garters are en
suite with the shoe
rosettes, only the
jewellery of narrow
black cords is subdued
and discreet. The
ornately decorated hat
on the table is a
ceremonial accessory.
25 Unknown lady,
1618
M. Gheeraedts (the
inscription is later,
and inaccurate)

Note The narrower

line of later Jacobean
women’s dress was
matched by a
diminution of
decoration, and a
stronger reliance on
lustrous materials.

Head An aigrette
adds height to the
flatter, less formal
hairstyle, and a
shallow lace ruff
isolates the head from
the low decolletage of
the bodice.

Body The deep oval

neckline, edged with
rosettes, recalls the
formal style of bodice
associated with Court
dress (see 21),
although the higher
waistline distorts the
balance of bodice and
skirt. Contrasting
fitted sleeves, and
richly lined hanging
over-sleeves focus
attention on the upper
part of the body and
balance the elongated
line of the skirt.

Accessories Discreet
applied decoration
and subtle textile
motifs are enlivened
by the deep lace cuffs,
feather fan and
rosette-trimmed
shoes. The delicate
jewellery is in
harmony with the
plain, everyday gloves
on the chair.
47 Queen Henrietta
Maria, 1633-1635
Unknown artist

Note The elegance of

dress associated with
female fashions at the
Caroline Court owed
more to simplicity of
decoration and
richness of colour
than to ease of style.

Head The Queen’s

hair is teased into
small curls which
frame the sides of the
face, and the knot at
the back is surmounted
by a delicate pearl
tiara.

Body The low-cut

bodice is edged by a
deep collar which
partly disguises the
awkward set of the
bulky sleeves, but the
tension on the satin
created by the high
waistline is evident in
the creases above the
curved stomacher tab.
The fullness in the
skirt is drawn to the
back of the waist and
supported on hip
pads. The applied
pearl decoration adds
interest and elongation
of line to the essentially
simple construction of
bodice and skirt.

Accessories Pearl
earrings and necklace
complement the
applied decoration on
bodice and skirt. The
coloured fan leaf is
linked to the dress by
the use of matching
ribbons on the bosom
and at the waistline.
76 3rd Viscount Fairfax of Emley and his Body His shallow collar tied with tasselled
wife, 1645-1648 cords is at variance, in its practicality, with the
G. Soest full shirt sleeves which fall below the doublet
cuffs. Her bodice has a dropped shoulder line
Note The loose draperies which swag the dress which restrains the movements of the arms and
of these two sitters do not disguise an interest in upper body, but draws attention to the broad
fashion seemingly unaffected by the exigencies sweep of bosom and shoulders. The simplicity of
of the Civil War. the dress, with short sleeves and plain, untrimmed
smock, is compensated for by the richly coloured
Head Lord Fairfax’s hair is of the intermediate satin and pretty jewelled clasps.
length worn by the majority of young men in the
mid-late 1640s. Lady Fairfax wears the loose,
full side curls and smooth top hair which,
growing in width, distorts the natural shape of
the head.
93 James, Duke of
York, c.1661
Sir P. Lely

Note The military

elements of the
Duke’s dress are
diminished and
masked by the
exuberant use of
material which
characterized
Restoration costume.

Head The
combination of
straggling hair over
the forehead, and the
long, thick, waving
side locks suggest a
judicious use of false
hair to increase the
natural bulk.

Body A long linen

band is loosely knotted
at the neck, its fullness
complemented by
billowing shirt sleeves
framed by the silk of
the doublet sleeves. A
broad silk military
sash masks much of
the breast plate which
is worn over a buff
coat. Full satin
breeches are edged
with ribbon loops
similar to those which
trim the doublet
sleeves, and the plain
stockings are obscured
by broad, tiered
garters. Yet more
ribbons are found as
ties on the high-
fronted shoes. The
most overt military
symbol is the military
commander’s baton.
 120 Dame en habit
deville, 1678
J. le Pautre

Note A fashionably
dressed young woman
in outdoor clothes is
attended by a page in a
typical servant’s livery.

Head A lace hood is

arranged loosely over
the upswept hairstyle,
and an extra effect is
created by the floating
gauze scarf pinned
over the hood.

Body The side view

of the bodice displays
the horizontal layers of
collar, the shallow
sleeve and the
gathered tiers and
ruffles of the smock
rendered three-
dimensional by the
addition of ribbon
loops. The trained
skirt is looped back to
reveal two contrasting
petticoats, the lower
one narrower and
lacking a train. The
page’s dress has all the
fashionable elements
but in a stylized
combination which
does not allow for
personal preference in
details.

Accessories Elbow-
length gloves and a
bracelet muff provide
the young woman with
accessories which are
practical and
decorative.
 141 Homme de
qualite en habit
gamy de rubans,
1689
J. D. de St Jean

Note The exquisite

grooming which
French Court protocol
demanded from
courtiers is epitomized
in this fashion plate.

Head The tighdy

curled wig is much
higher above the
forehead, carefully
framing the face and
falling back over the
shoulders and away
from the tiered cravat
with its stiffened
ribbon wings.

Body The body of

the coat is fitted with
the fullness of the
skirts taken into side
pleats. The pleated,
pendant sleeves reveal
a proportion of the
rich brocade of the
narrower waistcoat
sleeves. Plain
breeches, stockings
and shoes do not draw
attention away from
the cascade of ribbons
and the lace-edged
sword hanger which
decorate the upper
half of the torso.

Accessories The hat

is edged with feathers
and more ribbons, and
the gloves are worn to
show the way the
bullion fringe falls,
either in a line with
the glove, or over the
wrist.
148 Marie Sophie
Palatine, Reyne de
Portugal, 1694
Unknown artist

Note An example of
the type of fashion
plate which
incorporated pieces of
appropriate material
cut to fit within the
outline drawing of a
dress.

Head The increasing

height of the fontange
required an upswept
hair-style to balance it;
this example has long
lace streamers or
lappets.

Body The velvet

mantua has elbow-
length, loosely fitted
sleeves with
contrasting silk cuffs
which match the
bodice facings and
skirt lining. The lace
edge of the smock is
displayed above the
brocaded silk
stomacher, and is
complemented by
deep, pendant lace
sleeve ruffles. The
upper petticoat is of a
Chinese silk damask
and the tiered effect is
enhanced by the
scalloped lower edge
with its deep fringe,
beneath which a
striped brocade
petticoat is worn.

Accessories Plain
gloves and a fan are
the only accessories.
Patches on the face,
depending on their
placement, could
convey unspoken
messages or, more
mundanely, disguise
blemishes.
100 Sir John Harman, c. 1666
After Sir P. Lely

Note There were no naval uniforms in the

seventeenth century, and this illustration shows
the sitter wearing an early form of coat. 101 Sir Norton Knatchbull, 1667
G. P. Harding after S. van Hoogstraaten
Head The hair appears to be Sir John’s own,
with some additional bulk added below the Note A lawyer in a modified, almost Quaker-like version of the new style
temples. of men’s dress.

Body The loosely knotted linen cravat and the Head The natural hair is worn long.
somewhat shapeless coat are reminiscent of Sir
William Bruce (see 97), but the narrower lines of Body Plain collars were worn by those unable to afford lace, or unwilling
this coat, with cuffs which could be turned back, to waste money on such luxuries. A closely fitted waistcoat, with fuller
indicate that this is a version of the Persian vest skirts, buttoned to the waist is worn under a loose coat with shallow cuffs.
(an early style of long coat) introduced to the The coat lining is revealed, and on the coat edge, on the upper-left-hand
English Court in 1666. In its early form it was side of the chest, are a row of fastenings.
rather experimental and various combinations of
coat and waistcoat were tried, settling down into
an accepted combination in the late 1670s.

97
102 Unknown Couple, c. 1667 103 Lord David Hay, c. 1667
Unknown artist D. Scougall

Note In a pastoral setting, a fashionable young couple wear clothes which Note A young man dressed in the height of
are adopted to suit her passive and his active pursuits. fashion.

Head The woman’s hairstyle is very full at the sides of the head, with the Head Although still a beardless youth, Lord
ringlets suspended away from the face. Flat-brimmed straw hats protect David wears a full, curling wig, from under
the face from sunshine. The man wears a full wig under a broad beaver which tendrils of his natural hair escape onto his
hat. forehead.

Body The woman’s dress has a long, stiffened bodice, a soft scarf round Body A deep, curving lace collar is worn with
the neck and shorter sleeves; the skirt is pushed back revealing a decorated the straight unbuttoned tunic (coat) with short,
petticoat. The man’s coat is semi-fitted, buttoned to the waist, with deep deep cuffed sleeves which reveal the matching
cuffed full sleeves decorated with a knot of ribbons on the right shoulder. buttoned vest (waistcoat). The richly metallic
brocade is woven with a vertical stripe which
Accessories Below the full breeches the riding boots still have wide, emphasizes the long, straight lines of this style.
decorated tops. The looped ribbons on the sleeves and the
billowing shirt sleeves alleviate the shapeless
vertical line.

98
99
 105 Jane Monins, Lady Knatchbull, c. 1669
J. M. Wright

Note A rare but visually accurate depiction of

the informal nightgown.

Head Lady Knatchbull’s hair is softer, less

artificially ordered than was usual on formal
occasions.
104 Mary Beale, c. 1668
Self-portrait Body She is dressed in a low-necked, informal
nightgown, with a closed bodice over boned
Note A self-portrait in which the sitter, as artist, prefers the relaxed, stays. The fullness of the sleeves and easy, semi-
informal draperies to the rigid lines of fashionable dress. fitted line of the skirt were understandably
popular when formal dress required rigid,
Head The hairstyle is full over the temples and above the forehead, constricting fit. The smock sleeves are pushed
reflecting the style of the fashionable world, but not attempting its pendant above the elbows and held by jewelled bands
ringlets. which complement the brooches holding the
gauzy scarf around the neckline.
Body The loose, easily fitting dress with moderately full short sleeves,
could be a deliberate artistic attempt to eliminate the stiffened bodice, or it
may be a nightgown, a loose gown worn informally, offering greater
comfort and ease of movement than the formal styles. The silk scarf is an
accepted way of trimming the neckline, but its additional length transforms
it here into a piece of drapery consistent with the pseudo-classical genre of
portraiture.

100
106 Figures ala
Mode, c. 1670
R. de Hoogh

Note One of a series

of illustrations of the
fashionable world by a
Dutch engraver,
possibly inspired by a
visit to France.

Head The women’s

curls and ringlets
emerge from the
edges of the
unfastened hood; the
man’s long curls are
naturalistic enough to
be his own hair.

Body The rigidity of

the woman’s bodice,
with its long narrow
front, and constricting
short sleeves, is in
contrast to the long,
softly gathered skirt
and petticoat. The
man is dressed in the
traditional style of
long cape, short
doublet and full,
petticoat breeches.
The ribbon decoration
on the clothes is a
reflection of the
popularity of
exuberant surface
decoration. The
figures in the
background display
varying silhouettes, all
sharing a swaggering
fullness.

101
 108 Unknown woman, 1671
Unknown artist

Note This crudely painted but informative

miniature records the tradition of sitters who
wished to emulate the semi-formal appearance
and manner of fashionable beauties.

Head The hairstyle lacks the upward movement

and fullness at the sides and on the crown of the
head which were popular in fashionable circles.

Body The shorter sleeves of the bodice and its

overall narrow line, boned but worn directly over
the smock rather than with stays, are a modest
attempt at informality as is the discreet width of
scarf, which imitates the fashionable accessory.
The sleeves of the smock, caught in two places,
demonstrate the tiered fashion which directed
attention to this part of the dress.

107 William Legge, c. 1670

After J. Huysman

Note The dress of the soldier kept in step with fashion and provides
small, but significant evidence of details for anyone attempting to reconstruct
a broad view of men’s fashions.

Head The full wig is exuberantly curled and fairly long.

Body The shirt collar is just visible over a billowing cravat which echoes
the fullness of the shirt sleeves. The buff coat is similar in shape to the
newly fashionable civilian coat, with open sleeves edged with ribbon loops.
Below the military sash the ribbons are in keeping with the decoration
usually found at the waist of breeches worn with an open tunic.

102
103
 109 Thomas Sydserff, c. 1672
J. M. Wright

Note A Scottish bishop dressed in a comfortably simple version of the

tunic and vest (see 103).

Head The wig is looser, more informally dressed than was fashionable in
London.

Body Various styles of neckwear were worn in the 1670s, but the shorter,
tiered lace cravat was increasingly popular from the early 1670s. Sir
Thomas appears to be wearing a sleeveless tunic over his buttoned vest,
which is made from the striped silk which appeared in this decade. The
cuffs of the vest are not caught back, although the fold line is apparent.
The waistband of the shirt sleeves is edged with a ribbon tie complementing
the ribbon around the cravat.

104
 110 The family of Sir Robert Vyner, 1673
J. M. Wright

Note This group illustrates the importance of children in late-seventeenth-

century portraits, as their dress reflects current fashions often more
accurately than that of their elders.

Head Lady Vyner’s hair is dressed in a mass of curls and ringlets and Sir
Robert’s wig is longer but equally full at the sides of the head.

Body Both adults wear loose robes; hers is held by one clasp, pardy
revealing the stiffened bodice and striped brocaded silk of her skirt; his is a
robe, tied with a sash, worn over a linen shirt with lace collar and cuffs.
The girl’s dress has the formal fashionable elements of wide neckline, flat,
stiff bodice and short sleeves over full, tiered smock sleeves. The lace is
delicate and complementary to the pale silk. The boy wears a loose-fitting
vest with short, ribbon-bedecked sleeves, with matching ribbons at the
waist.

105
 112 2nd Viscount Brouncker, c. 1673
After Sir Peter Lely?

Note Although apparently timeless, and

classically severe in its draperies, the sitter’s
usual dress is not wholly disguised.

Head A full wig and narrow moustache were

affected by many courtiers in emulation of the
Ill Habitdeville, 1673 King.
J. D. de St. Jean
Body A simple linen and lace cravat is worn
Note The French fashion plates which appeared in the 1670s have no with a long coat, with the short sleeves and
English equivalent, but are crucial sources of information for fashionable loosely turned back cuffs of the early 1670s. The
dress in both countries. button-holes of the coat, reaching to the hem,
can be seen, as can the full breeches with their
Head The formal curls, assisted by false hair, stand away from the face, knots of ribbons at the knee. The raised right
and their width is exaggerated by the frilled band and veil pinned to the hand reveals the narrow wrist band of the shirt
back of the head. sleeve to which the deep ruffled cuff is attached.

Body A broad lace collar masks the decolletage of the rigid bodice and
much of the short sleeve. The tiered effect of the sleeves is constructed
from lace ruffles, ruched smock sleeves and ribbon bows. The skirt is
looped back to display the rich brocade petticoat.

Accessories Elbow-length gloves, a painted fan and high-heeled shoes

were essential accessories at this time.

106
113 Duke and Duchess of Lauderdale, Body He is wearing a coat, only partly buttoned
c. 1674 under the deep, lace-edged collar, with short
Sir P. Lely sleeves buttoned back in a cuff, and a knot of
ribbons on the right shoulder. His breeches are
Note Contrasting styles of dress: the man decorated with looped ribbons at waist and knee.
proudly formal, wearing Garter insignia, the The duchess is informally dressed in a nightgown,
woman in the informal dress of her own buttoned low over the smock. The latter has the
apartments. fashionable short, tiered sleeves.

Head The duke is wearing a formal wig, still Accessories A light gauze scarf is her only
fairly flat on the crown, but now full at the sides. accessory.
The duchess’s hair is loosely dressed, but is
fairly wide.

107
 115 The Baths at Bath, 1675
T. Johnson

Note Drinking the waters or bathing at spas w as

popular with men and women of all social classes
in the seventeenth century.
114 Mary of Modena, Duchess of York, c. 1674
Sir P. Lely Head The majority of the men wear wide-
brimmed hats over their hair, which ranges from
Note An informal portrait, but not wholly lacking the rigidity of fashionable the natural, straggling variety to the full, long
dress. wigs. All of the women wear hoods.

Head The hair has been carefully curled but then allowed to spring Body The rather shapeless, inelegant line of
loosely away from the head in calculated informality. men’s coats is well illustrated by the rows of
figures watching the bathing. Breeches vary
Body The long-fronted bodice is much stiffer than is usual when the between the wide tubular style edged with
smock is revealed between the front clasp^.' The soft, full sleeves with the ribbon loops and the closer-fitting style with a
panes held together with jewelled clasps are an artistic convention, which knee-band. The short-sleeved, fitted bodices
might have been worn informally, but owe little to either high fashion or and open skirts of the women’s dress are all
nightgown styles. taken back to display the petticoats, and provide
a backview of fashions similar to 111.
Accessories The gauze scarf and simple jewellery were accepted
accessories in the post-Restoration period.

108
 116 1st Earl of Bath, 1676
J. M. Wright

Note The sitter was Keeper of the Wardrobe to Charles II and an

influential and fashionable courtier.

Head The long, smooth wig and narrow moustache are insignificant foils
to the grandeur of the earl’s dress.

Body The tiered cravat is composed of layers of fine linen overlaid with
lace. His richly embroidered coat, with its deeply cuffed sleeves, is so
ornately decorated that the loose, inelegant line of cut is barely noticeable.
No waistcoat distracts attention from the lace-edged shirt front, or from
the wide petticoat breeches with their ribbon points at the waist. Matching
ribbons decorate the cuffs and form a shoulder knot.

Accessories The broad embroidered sash, en suite with the coat, acts as a
sword hanger, and the earl’s key of office is suspended from the rosette at
his waist.

109
117 Habit de ville, 1676
N. Bonnart

Note The formality of fashionable female dress owed more to the style of
bodice than to other, less restricting elements.

Head A light scarf is pinned casually to the back of the tightly curled hair.

Body The vertical line of the bodice is emphasized by wide bands of braid
which stress its angular narrowness. The smock sleeves are decorated with
additional ruffles and ribbons which create a softer silhouette. The long,
trained skirt was, by now, invariably looped back into a low bustle,
revealing the petticoats, in this instance, two contrasting ones.

Accessories The gloves have a shallow frill, complementing the sleeves’

ruffles, whilst the shoes reflect the narrow, attenuated shape of the bodice,
but are softened by ribbon ties.

110
118 Charles II receiving a pineapple from Rose the gardener,
c. 1676
After N. Danckerts

Note The two main characters wear the new style of coat, and only the
details of their dress distinguish King from gardener.

Head Both men wear full wigs, but only the King wears a hat: wide
brimmed, but with a shallow crown.

Body Their neckwear, bands of fabric, not quite cravats, are of linen for
the gardener, lace for the King; and the latter has matching sleeve ruffles.
Their plain coats, loosely fitting with low set buttoned pockets, have
contrasting cuffs decorated with ribbons, and each man has a knot of
ribbons on the right shoulder. The King’s full breeches are fairly short,
revealing a good deal of leg covered with plain stockings.

Accessories The King wears narrow-fronted shoes with a deep flap or

tongue above the fastening and buckle.

Ill
 119 La dame de grand air, 1677
N. Bonnart

Note A fashionable woman dressed warmly for

winter weather.

Head A hood is tied under the chin, with curls

brought forward over the temples.

Body A fur tippet, matching the muff, is worn

over a shoulder cape edged with lace. The bustle
effect of the skirt is emphasized by an
arrangement of ribbons which look too permanent
for the skirt to be worn in any other manner.
The contrasting materials of the skirt and its
dramatic lining, and the patterned petticoat
edged with deep lace flounces, draw attention to
the lower area of the body.

Accessories Leather gloves are worn in

addition to the fur muff.

i 120 Dame en habit de ville, 1678

J. le Pautre

See colour plates, between pp. 96 and 97.

121 Homme de qualite en habit d’hiver, 1678

J. D. de St. Jean 1678

Note Fashion plates provide invaluable

information regarding seasonal variations in
dress.

Head The young man’s wig is full at the sides

of the head, narrows at the neck and descends in
two long ringlets onto his chest. The shape of his
hat foreshadows the later tricorne as the brim is
shaped and begins to turn up at front and back.

Body The lace band is enlivened by a wide bow

partly masking the collar of the long cape. The
coat is worn open to reveal the fully buttoned,
contrasting long-sleeved waistcoat, the cuffs of
which are taken back over the coat cuffs. The
breeches are fairly narrow, with the fullness
above the knee.

Accessories Fringed gloves are worn for extra

warmth with the large fur muff.

112
 122 Dame en deshabille de ville, 1678
J. le Pautre

Note Fashionable and acceptable informal

dress.

Head Full curls are pushed over the forehead,

and a shallow-frilled cap is worn under the
hood.

Body A lace-edged shoulder cape is pulled

round the bodice, of a length to provide warmth 123 Sir Leoline Jenkins, 1679
but without masking the line of the skirt. The H. Tuer
evolution of a contrived busde arrangement is
now almost complete, with the skirt looped up Note A diplomat and statesman of mature years, dressed sombrely but in
and back and held so that the pattern of the skirt keeping with fashionable taste.
material and its lining are seen to advantage.
The petticoat is en suite with the skirt, but with a Head Sir Leoline’s curling wig is shorter, falling to the shoulder.
deep band of lace attached at the hem.
Body His linen and lace collar is of the traditional full shaped variety. The
large, sinuous floral motifs of the lace are well recorded by the painter on
both collar and cuffs. The coat is plain and narrow, with deep, turned-back
cuffs, and a large knot of ribbons on the right shoulder. Full shirt sleeves
remained an important feature of men’s dress until the coat sleeves
lengthened in the next decade.

113
 IS

mi
lidrl
t'K ^(dE

124 Charles II and Queen Catherine, 1682 Body Softly gathered cravats, full shirts with
Engraved frontispiece from Ogilby’s and ruffled cuffs, and full breeches are worn with the
Morgan’s Map of London ubiquitous loose coats with their assemblage of
buttons. Coat sleeves are longer, but retain wide
Note A Court private presentation in which all cuffs. Stiff, long-fronted bodices are worn with
of the figures wear semi-formal dress. looped up, trained skirts over patterned
petticoats.
Head All the men, with the exception of Ogilby
(kneeling), wear curled wigs, but only the King
wears a hat. The universal fashion of wearing
hats indoors disappeared around c. 1680. The Accessories All the women wear elbow-length
broad, tightly curled hairstyles of the ladies echo gloves and pearl jewellery. Their narrow-toed
the shape, if not the length of the male styles. shoes are similar in style to those of the men.

114
125 Duchess of Portsmouth, 1682
P. Mignard

Note An elegantly informal Court beauty, one

of Louis XIV’s ‘subsidies’ to Charles II, whose
mistress she became.

Head The arrangement of the duchess’s hair is

carefully calculated: tight curls, softened by a
coiled ringlet and a knot of hair entwined with
pearls.

Body The smock is edged at the neck and

sleeve edges by delicately wrought lace, almost
certainly French in origin. The richly brocaded
formal silk of the dress is at variance with the
semi-informal style: lightly boned but lacking the
rigidity' of fashionable formal dress. The
contrasting sleeves are in keeping with the
pseudo-classical/pastoral genre.

Accessories The jewellery is discreet but

impressive in its mixture of pearls and
gemstones.

115
 126 An English couple, 1683 127 Frost Fair on the Thames, 1684
Engraving from Description de I’Univers. .. Unknown artist

Note Distinctions in dress between European Note Crude sketches, like cartoons, often
countries existed throughout the seventeenth capture the essentials of personal appearance,
century, although France provided much although they lack detail.
inspiration for English fashions.
Head In this large group of mixed social
Head The flamboyantly curling wig of the man background, all the men wear or hold shallow-
is balanced by a broad-brimmed beaver hat. The brimmed hats. Some wear wigs, others have
woman’s hair is brought forward over the shorter natural hair. The women all wear hoods.
forehead beneath the light scarf.
Body Small cravats are worn by all the men
Body The combination of cravat and flat bow with their semi-fitted coats, some of which have
was popular for men in the 1680s, masking the horizontal pocket flaps. The coats are worn
flat, insignificant coat neckline. Vertical or low- closed against the cold above moderately full
level horizontal slits were equally acceptable breeches. The women wear short capes or
pocket openings. Full breeches, a sword hanger shawls above their skirts, and, in essentials, they
and a decorative sash enliven the plain coat. The have a bulkier, less balanced silhouette than the
woman’s dress is typical of the style of the early men.
1680s (see 124) with the skirt held up to prevent
staining.

Accessories Both wear plain gloves, the

woman’s with a frilled edge. The walking stick
and fan were fashionable optional accessories.

117
128 Dame en escharpe,
1685
N. Bonnart

Note This
exaggerated French
fashion was not copied
in England, although
certain elements of the
dress were more
widely popular.

Head The hair is

smoother, taken back
from the forehead and
decorated with
stiffened bows, a large
gauze scarf framing
the head and
shoulders.

Body A lace cape

with long front panels
masks the bodice. The
trained skirt is looped
up in complex folds,
held with bows, and
would have needed a
frame or substantial
pad to achieve this
height. The top
petticoat is
complementary, in its
looped folds, to the
skirt, but the under¬
petticoat trails on the
ground.

Accessories Masks
were convenient
disguises as well as,
supposedly, protecting
the complexion.

118
129 Lady of quality, 1685 - 1686
Unknown artist

Note One of the few English fashion plates of

the late seventeenth century, but obviously much
influenced by its French counterparts.

Head The hair is taken back from the face in

soft waves, surmounted by ribbons and lightly
held within a loosely knotted scarf.

Body The dress, perhaps glimpsed earlier (128)

is the new style of gown or mantua. This
developed from the loose-fitting informal gown. CSV
The bodice and skirt are attached at the normal
waistline, with the excess bodice material pleated
on each front to fit over the stays beneath. A 130 Homme de qualite en habit d'espee, c. 1685
contrasting stomacher, or decorated stays panel, Unknown artist
was pinned to the bodice and held by a narrow
belt. The overskirt has formalized into neat folds Note The more structured line of men’s coats is a feature of the mid/late
around the hips. 1680s, when loose-fullness was gradually giving way to a defined
silhouette.
Accessories One gloved hand draws attention
to the watch suspended from the waist. Head Short curly hair or short wigs seem to have been a passing, little-
copied fashion.

Body The carefully arranged cravat and upturned ribbons suit the closer¬
fitting line of the coat, the vertical emphasis reinforced by narrower sleeves
and breeches. The residual swagger, baroque decoration, knot of shoulder
ribbons, loose cuffs, diagonal sword hanger and billowing shirt sleeves are
retained.

Accessories The narrower, upward-curling brim of the hat is closer to a

tricorne, and the long-fronted leather shoes have coloured heels in the
French manner.

119
131 Coronation Procession ofjames II, 1686
Engraving from Sandford’s History of the Coronation of fames II

Note A scene of state ceremonial in which, apart from the figures in

traditional robes, the grandest male fashions are worn.

Head The line of men in the foreground all wear shallow brimmed hats,
lavishly trimmed with feathers, over their full wigs.

Body The unfitted line of their coats, falling from the shoulders like
smocks, is broken only by open side seams and vertical lines of braid and
embroidery. Horizontal pockets are higher, but lack flaps. The sleeves
have deep cuffs, above ruffled shirt sleeves. Only the man to the far left has
adopted the more fitted, shorter coat with minimal side pleats and angled
cuffs.

Accessories All the men wear high-fronted shoes held by buckles.

120
132 The Chariot of the Virgin Queen, Lord Mayor’s Pageant, 1686
Unknown artist

Note A festive, outdoor event, affording a lively but unusual London

street scene.

Head A sea of men’s hats with up-turned brims, worn over wigs and
shorter natural hair, is leavened by female hoods over upswept hair, and
one high-crowned woman’s hat (right, centre front).

Body The change in men’s coat design is carefully recorded; the upper
body more fitted, the skirt width absorbed into full pleats at sides and back.
Pockets vary between vertical and horizontal slits, with some horizontal
flaps in evidence. Stockings are rolled over the knees of the closer fitting
breeches. The women wear short-sleeved mantuas, with the skirts swagged
back over the hips to display one or more petticoats.

121
 133 Femme de qualite en habit d’este, 1687
N. Arnoult

Note The easy, but elegant line of the mantua

quickly established it as the most important style
for women.

Head Head-dresses were increasingly important

in the late 1680s; composed of ribbons, tiers of
lace frills and streamers, this style was called a
cornet.

Body The mantua has a stomacher masked by

ribbon bows: echelles. The trained skirt is
looped round the hips and, held by ties or pins,
falls in a cascade of folds from the back of the
waist. The petticoat has a decorated open pocket
slit, beneath which a separate pocket, tied round
the waist, might hold a handkerchief. Striped
materials remained popular often arranged in
vertical and horizontal combinations.

Accessories Elbow-length gloves and pretty

fans were essential accessories.

134 Homme de qualite, 1687

J. D. de St. Jean

Note This young exquisite embodies the

decorative flamboyance which could be
superimposed on the fairly severe lines of men’s
dress.

Head The very full wig is probably powdered;

its width allied to fashionable impulse dictates
the rakish angle of the ornately trimmed hat.

Body A semi-fitted, long-sleeved waistcoat is

worn with the coat; both garments are lavishly
decorated with bands of applied metal lace and
bullion fringe. Broad, pendant coat cuffs acted
as a frame for waistcoat sleeves or, in other
circumstances, the billow of shirt sleeves and
ruffles. Moderately full breeches are worn to the
knee.

Accessories The waterfall effect of the cravat

over the knot of ribbons is echoed by the fringed
gloves, with the weighted bullion fringe falling
gracefully over the hand.

122
123
 135 Frances Stuart, Duchess of Richmond
and Lennox, 1687
W. Wissing and J. van der Vaart

Note ‘La Belle Stuart’, a famous beauty of

Charles II’s reign, is depicted in informal dress.

Head The backswept hair with tendrils around

the face was also worn with more formal styles of
dress (see 132), but the loose undressed hair
falling over the shoulder is in character with the
informality of dress and pose.

Body The duchess is dressed in a loose gown

over a low-necked smock, and it is possible to
deduce how, in the hands of a skilful sempstress,
this type of garment had evolved into a mantua:
opened at the front, the bodice pleated to fit over
stays and stomacher, with the fullness of the skirt
looped up around the hips. The robe and
coronet probably refer to the duchess’s presence
at James IPs coronation in 1686.

136 Dame de qualite a l ’eglise, 1688

G. Jollain

Note When fashionable men and women

attended church they wore their finest clothes
and considered the occasion a social event.

Head Tight curls are crowned by a tiered lace

cap over which two hoods, an inner, lightweight
striped one, and an outer contrasting plain, are
knotted.

Body The mantua bodice is masked by a lace

shoulder cape and fur tippet, and a lace
handkerchief is suspended from the waist. The
page is a miniature, less flamboyantly dressed
version of the young exquisite (134). Although to
modern eyes such rich dress seems at odds with
the idea of service, the page would have been
recognized immediately by his contemporaries,
identified by the livery colours of his master or
mistress.

124
 137 Arrival of Queen Mary of Modena in 138 The Squire of Alsatia, 1688
Calais (detail), 1688 M. Laroon II
Unknown artist
Note The Cries of London, from which this
Note The easy, sketchy depiction of this scene engraving is taken, are the longest series of
captures the essence of late 1680s fashions in English late-seventeenth-century engraved
movement. figures which concentrate on variations in dress.

Head The Queen’s male attendants have the Head The asymmetrical style of wig had
short hair and skull caps of professional men: appeared in France (see 134) and was copied in
physicians, clerks, priests. The two Frenchmen England. The squire’s hat concentrates attention
are wearing wigs (the flatness of the back hair, on the curved brim, braid-edged and feather-
around which the curls are arranged, is trimmed; no crown is visible.
noticeable). The Queen and her ladies have
upswept curls with low knots at the back of the Body The plainness of the coat and w aistcoat
hair, or high head-dresses. are alleviated by the still popular row's of buttons:
on the waistcoat, coat front, cuffs and pockets.
Body The male refugees are bundled up in
travelling capes, in contrast to the Frenchmen Accessories The lace and ribbon cravat,
who wear the decorated coats and the swords of bullion-fringed gloves, walking stick and sword
gendemen courtiers. A maid of honour carries are the discreet but distinctive accessories of a
the Queen’s train but the other ladies have to gentleman.
hold or pin up their skirts to assist movement.

126
127
 139 Old Satten, Old Taffety or Velvet, 1688 140 Old Cloaks, Suits or Coats, 1688
M. Laroon II M. Laroon II

Note There was an important secondhand Note The trade in secondhand clothes operated
market in materials in the seventeenth century, at all levels, from the imperceptibly worn clothes
reflecting the high cost of the luxurious imported of the fashionably rich through to the worn
silk textiles. oddments of the poor.

Head The street seller wears the traditional Head The clothes-seller wears his own hair
conical crowned, wide-brimmed hat of the lower under the assortment of old-fashioned wide-
classes, over her plain hood. brimmed hats divested of their decoration.

Body Her dress is a modest version of the Body A scrap of linen is tied at his throat as a
mantua. The pleating of the material to fit the semblance of a cravat. A skimpy cape is worn
torso and to sit smoothly over the shoulders, and over a bedraggled coat: the loose, long-sleeved
the set of the short sleeves, are easier to see than variety with fewer and larger buttons, which was
in French fashion plates. Her skirt is floor-length worn by working men. The plain breeches and
and does not require careful arrangement of unmatched shoes are derived from even more
folds, but hangs free, only a little longer than the unsaleable stock than the oddments for sale that
petticoat. The linen apron echoes the crisp are held in the seller’s hand.
simplicity of the modestly ruffled smock sleeves.
Accessories Only the two swords suggest that
Accessories The shoes are plain, not gentlemen, or those with pretensions to gentility,
exaggeratedly long-fronted, but tied with were likely to be amongst his customers.
ribbons, perhaps from the seller’s own stock.

128
141 Homme de qualite en habit gamy de rub am,
1689
J. D. de St. Jean

See colour plates, between pp. 96 and 97.

142 Femme de qualite allant incognito par la ville,

1689
J. D. de St. Jean

Note Disguise, usually in the form of a mask,

was adopted by fashionable women when they
wished for anonymity; it might imply a secret
errand or meeting.

Head Tiered caps, called fontanges, supposedly

named after a mistress of Louis XIV, increased
in height at the end of the 1680s, producing a
distorted shape to the head when both cap and
hair were covered by a hood.

Body The mantua sleeves were longer and

looser, and the fit of the bodice was improving,
although in this illustration it is partly obscured
by a lace cape. The manner in which the skirt is
looped up suggests, rather unusually, a closed
front to the skirt, but the rich petticoat was
evidently chosen to be displayed rather than
concealed.

Accessories A tiny muff is pushed back over

the wrist of one gloved hand, and a black, paper
mask is held against the face.

129
 144 Church of St Mary Overy, Southwark
143 Robert Boyle, 1689 - 1690 (detail), 1689- 1690
After J. Kerseboom Unknown artist

Note The comparative ease and comfort of men’s coats did not diminish Note Groups of people, seen in conjunction
the appeal of the loose robe for informal dress. with a building, often contain a cross section of
the population, and a context is provided for
Head Boyle’s wig is long and luxuriandy curled; its length is balanced by a their dress.
raised, double row of curls springing up from the central parting above the
forehead. Head Both women in the foreground wear
fontanges, but of differing heights.
Body The plain cravat, tied like a scarf, has narrow silk strips woven into
the linen, and silk fringe trimming. The informal silk robe is worn over Body The silhouettes of the men (with the
shirt and breeches. It was a perennially popular garment for gentlemen in exception of the beggar) demonstrate the
the privacy of their home. A quick transformation could be achieved by importance of personal taste in the progress of
discarding the robe and replacing it with a waistcoat and coat. new styles of dress. The man in the centre
foreground wears the loose-fitting coat of the
mid-1680s whilst the men in the background
have adopted the closer-fitting coats, with
distinctive side pleats which had appeared
subsequently. The mantua skirts of the two
women in the foreground are looped up and
back, and one has the additional warmth of a
shoulder cape over her bodice. The two young
girls (left foreground) wear the uniforms of
charity schools.

130
145 The Holbein Gate, Whitehall Palace, 1690 - 1692
Unknown artist

Note Architectural draughtsmen usually deliniate the figures within their

compositions sketchily, but manage to convey the essence of the prevailing
fashions.

Head The women wear double-tiered forward-tilting fontages, with their

hoods masking the small cap at the back of the head to which the wired
lace frills were attached.

Body The men’s coats are closely fitting with the fullness of the skirts
taken into pleats at the sides and back. Their deep-cuffed sleeves are
longer, allowing only the shirt-sleeve ruffles to be seen. The bulkiness
around their knees is caused by the rolling of the stocking tops over the
breeches, like a cuff. Both women wear capes and their skirts are pinned
up high at the back of the waist to prevent the material trailing on the
ground. They wear short aprons - decorative accessories made of lace,
embroidered silk, gauze or linen - over their petticoats.

131
 147 Homme de qualite en habit gamy d’agremens,
1693
J. D. de St. Jean

Note A studied informality characterizes the

dress of this young nobleman.

Head A moderate-sized hat is enlarged by deep

plumes decorating the curving brim. The wig is
146 Dame de la plus haute qualite, 1693 worn casually pushed back over the shoulders.
J. D. de St. Jean
Body An insouciant air is reinforced by the
Note A young noblewoman dressed in the richest fashions of the early expanse of linen shirt pouching over the top of
1690s. the breeches. A long linen cravat is worn in the
Steinkerk fashion: loosely twisted with its ends
Head Above upswept hair the lace fontange has four tiers, decreasing in pushed through a buttonhole of the coat. No
width. Lace streamers or lappets fall from the sides of the cap around the waistcoat is worn under the coat, and the latter is
face to the middle of the back. decorated with a new arrangement of buttons.
They continue to run from neck to hem but are
Body The silk mantua has loosely fitting elbow-length sleeves and a grouped in threes on metal lace. Loose-fitting
stomacher decorated with echelles. The skirt is looped up and folded to breeches are balanced at the knees with rolled
display the contrasting lining and the border embroidery. The striped, stocking tops pushed above the garters.
brocaded silk petticoat is further enriched with applied bands of metal
fringe. Accessories Lace-edged gloves and high-
heeled shoes are fairly plain accessories,
Accessories In addition to the usual pearl necklace and earrings, a locket although of distinctive cut.
or miniature is tied onto the left wrist.

132
148 Marie Sophie Palatine, Reyne de
Portugal, 1694
Unknown artist

See colour plates, between pp. 96 and 97.

149 1st Earl of Halifax, 1693 - 1694

Sir G. Kneller

Note Another version of informal dress draws on a simplified version of a

real garment and marries it to swaggering, semi-classical draperies.

Head Lord Halifax’s wig has the pronounced height above the forehead
which was fashionable in the 1690s.

Body His plain linen cravat is arranged in the Steinkerk fashion (see 147)
which reflects an attitude of studied informality. The close-fitting garment
is cut like, and has all the features of, a waistcoat, but the decorative clasps
are atypical, giving a familiar garment an unexpected, conservative
grandeur.

Accessories A sword belt and hanger are worn round the waist, in the
usual manner, under the coat, but over the waistcoat. A deep swag of silk
drapery enhances the effect of supposed timelessness.

133
 150 Homme de qualite
en habit de Teckeli,
1694
J. D. de St. Jean

Note The warfare in

which France engaged
at the end of the
seventeenth century
influenced men’s
dress: a military aspect
overlaid the casual
elegance.

Head The hat brim is

curled close to the
crown at the left side,
improving the vision
of the wearer, and the
wig is less luxuriant,
its ends twisted and
knotted to shorten the
impractical length.

Body A variant of the

Steinkerk cravat is
worn pushed under
the striped waistcoat.
The full-skirted coat 151 Femme de qualite en deshabille d ’hyver, 1694
has broad contrasting J. D. de St. Jean
facings decorated with
frogging (a style which Note Seasonal variations in dress revolved
continued to be around the type and weight of silk, and fur
associated with accessories in winter-time; wool was not much
soldiers long after it worn by fashionable women.
passed out of general
fashion). Head The tiered fontange is surmounted by
two small silk horns, and the hair is swept up
Accessories Only into two oblique horns.
the large fur muff,
suspended from the Body The mantua sleeves are fairly full and
waist on a belt, and sleeve ruffles fall in graduated folds from below
the snuffbox suggest a the cuffs. The skirt is pinned back over a pad or
gentleman playing at
cage which emphasizes the bustle effect, and a
being a soldier rather long train trails behind. The brocaded silk
than the genuine petticoat is trimmed with applied fringe set in
article.
straight and scalloped horizontal bands.

Accessories Elbow-length gloves and a fan are

joined by the winter accessories of a fur tippet
and a small muff decorated with a silk bow.

134
152 The Mercers’ Chapel, Mercers Hall contained in a cap to which the fontange
(detail), c. 1695 decoration of tiered frills is attached.
Unknown artist
Body The men’s coats are well cut, fitting
closely to the upper torso, with swaggering skirts,
Note Fashionable dress is placed here within
enlarged by full side pleats, and wrist-length
the context of an architecturally elegant London
sleeves broadened by deep cuffs. The back of
street. the woman’s bodice is close-fitting above the
looped bustle arrangement of the long skirt.
Head The two men in the foreground, although
sketchily drawn, have the two horn-like pyramids Accessories Both carry the newer style of hat: a
of hair above the temples which were a fashion¬ tricorne, which gradually replaced the earlier
able feature of 1690s wigs. The woman’s hair is styles of wide, curving-brimmed beavers.

135
 154 Prince James Stuart (the ‘Old
Pretender’) with his sister, 1695
N. de Largilliere

Note Children were exquisitely dressed as

miniature adults, but their portraits were less
susceptible to informal, classical or drapery
styles of painting.

Head The prince wears his own hair, shorter

than a fashionable wig, but brushed up into
peaks above the temples. The construction of his
sister’s fontange, with its graduated tiers of lace
attached to a cap, is clearly visible.

Body The lace and ribbon cravat was accepted

formal wear; the studied elegance of the
brocaded waistcoat with cuffs turned over the
coat cuffs, the stiff-skirted coat, buttoned just
enough to display its fine cut, the leather shoes
with contrasting tongue lining, the modified
tricorne and the Garter orders and sword reflect
the stylish rigidity of French Court circles. The
princess’s dress is a child’s version (complete
with leading strings) of the stiff-bodied gown
which French royal ladies wore on great
occasions in preference to a mantua.

153 Habit de cavalier, 1695

J. Mariette

Note Another version of the semi-martial fashions associated with

professional soldiers, and briefly with the fashionable world.

Head The new style of tricorne hat evolved from the shallow, curving-
brimmed, low-crowned hats which had been easing towards a change in
shape for some time. The wig is pushed back from the face over the back
shoulders, a more practical arrangement for a soldier.

Body The coat has unusually full sleeves, as wide as the deep cuffs. The
facings on the body of the coat are displayed, in the manner of revers, but
from waist to hem the coat is fastened by buttons submerged within
braided and tasselled frogging.

Accessories A large muff is worn almost as a decoration, suspended from

the waist by a carefully tied ribbon sash.

136
137
 Note Men’s dress had evolved into a stylish,
155 John Dryden, 1696 - 1697 easy elegance by the end of the seventeenth
J. Maubert century despite the pomposity of their wigs.

Note A rare full-length portrait of a man in formal dress. Head The fullness of the wig above the
forehead is no longer discernably in two sections
Head The long wig appears somewhat disordered, as if in need of the but massed together, with the bulky length
ministrations of its maker; the pyramids of hair above the temples are pushed back over the shoulders.
disarranged and lop-sided.
Body Lord Dorset’s cravat is twisted around
Body A fringed linen cravat is worn with a plain shirt with unadorned the throat and worn in a modified Steinkerk
cuffs. The comfortable bulk of the satin robe, its wide sleeves, easy diagonal swathe below the velvet coat. The line
wrapover front and warm, ankle length are clearly displayed. of the coat neck is seen curving gently into the
front edge. The braided fastenings and large
Accessories Dryden wears mules on his feet: low-heeled for ease of buttons, grouped rather than in a long row',
movement, but bullion-fringed to indicate taste and expense. These indoor reflect the influence of French semi-military
slippers were popular, following the prevailing shape of shoe fronts but fashions (see 150, 153).
more comfortable to wear.
Accessories Lord Dorset holds his wand of
office as Lord Chamberlain in his left hand.

138
157 Studies of head-dresses, published gathered caps, one with loose streamers (top
1703, drawn 1698 - 1701 right), one with the streamers pinned up (bottom
B. Picart left). The tiered structures all curve forward but
vary in their angle, height and width. The
Note Variations in a style of dress are illustrated material is pleated and wired into its tiered
by this group of five different head-dresses. designs.

Head The five hairstyles are all subtly different: Body The two top drawings show the folded
upswept smooth rolls of hair, upswept horns edge of the mantua, pinned to a stomacher with
above the temples, curls teased onto the the smock frills framing the neckline, the lower
forehead, short ringlets and plain knots covered left drawing is of a robe de chambre with ruched
by caps. All of the fontanges are attached to trimming.

139
158 Choir of St Paul’s Cathedral (detail), 1698 - 1700
Unknown artist

Note By the end of the century men’s and women’s dress had evolved into
the elegant but easy styles which were modified, refined but not dramatically
changed until the late eighteenth century.

Head All of the men wear the full broad wigs of the turn of the century,
with the considerable length pushed back over their shoulders. The
women’s fontanges are diminishing in height (see 157).

Body The men’s coats have the wider sleeves and proportionately
shallower cuffs from which only the sleeve ruffles emerge. The stiffly
pleated coat skirts were interlined to achieve this rigid line. All of the
pockets are horizontal, with flaps, and the tricorne hat is proving an easier
accessory; it can be pushed comfortably under one arm (foreground,
second left). The women’s mantuas have fuller sleeves and their petticoats
are widening and developing a tiered, frilled silhouette.

140
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Whinney, M. & Millar, O., English Art 1626 - 1714,
Oxford University Press, 1957

Yung, K.K., National Portrait Gallery Complete

Illustrated Catalogue, National Portrait Gallery, 1981

142
 (glossary andSelect Judex
Note This lists costume and textile terms which are not Gorget a piece of armour worn to protect the throat. (1)
fully explained elsewhere. It also gives the numbers of (22) (31) (53)
those illustrations showing important examples, and the
Jerkin a sleeveless male garment usually worn over the
earliest and latest examples of each item.
doublet and similarly constructed but with a longer
basque. (4) (30) (53) (73) (90)

Aigrette a tuft of feathers, originally of the egret, held in Kerchief a square of material folded triangularly and
place by a spray of gems. (4) (9) (23) (25) worn round the neck and shoulders by women. (66) (72)
(80)
Basque a deep, shaped band or bands of material
attached below the waist of a doublet or bodice. (7) (20) Lappets two linen or lace streamers which were attached
(38) (57) (72) to the back of a woman’s cap. (133) (157)
Mantua a loose gown which developed into the semi-
Beaver a short-hand term meaning a hat made of
formal fitted gown of the 1680s, held at the waist with a
expensive beaver fur. (17) (34) (39) (71) (79)
sash or belt. (129) (146) (158)
Blackwork a type of embroidery of Spanish origin, using
Nightcap a man’s informal cap constructed from four
black silk to embroider stylized or naturalistic motifs on
conical sections of material with a turn-up border; usually
linen or silk. (2) (3) (16)
of embroidered linen. (11)
Bombast a type of padding originally made from cotton
Nightgown a loose fitting gown or wrap worn by women
wadding. (11)
informally over a smock and petticoat. (104) (105) (113)
Breeches a term applied to men’s knee-length clothing. (135)
(4) (23) (85) (113) (158)
Panes strips of material, similar to broad ribbons, caught
Canions the short, fitted extension sometimes worn with at either end into the main construction of a sleeve,
trunkhose (q.v.). (1) (4) (8) doublet or bodice. (1) (22) (40) (63) (114)

Clocks an embroidered design on the inner and outer Peascod belly the distortion of the main body of a man’s
legs of stockings. (14) (17) (22) doublet by the addition of extra padding above the
waistline. (1)
Cornet a women’s cap, fitting the back of the head with
long lappets framing the face. (133) Periwig an anglicization of the French word for a man’s
wig, a peruke (perruque). (97) (102) (118) (134) (158)
Doublet one of the main male garments until c. 1670, the
doublet was a type of fitted jacket with sleeves, usually Persian vest a loose man’s coat held by a sash or belt and
buttoned at the front. (1) (25) (47) (88) (106) introduced by Charles II in 1666. (100)

Echelles a decorative arrangement of rows of ribbon Petticoat breeches primarily a Court fashion, of
bows placed in diminishing size over the front of a immensely wide legs pleated into a waistband but not held
stomacher. (133) (146) at the knee. (94) (106) (118)

Falling band a turned-down collar held at the centre Pickadil a standing frame with horizontal tabs, attached
front by ties. (1) (4) (5) to the back of the doublet and used to support a ruff or
standing collar. (6) (12) (38)
Farthingale a hooped petticoat made from wood or,
more rarely, whalebone, which gave a distinctive wheel Pinking a decorative pattern of small holes or slits on
shape to the skirt worn over it. (7) (9) (21) (43) material and leather. (3) (36) (51)

Fontange a high, tiered head-dress of wired lace or linen Points tagged ribbon or lace ties used to attach doublet to
frills attached to a small linen cap worn at the back of the hose or as a decorative conceit. (8) (34) (51) (116)
head. (142) (148) (158) Ruching a decorative form of gathering and pleating
Frogging decorative rows of loops, buttons and braids material to enhance its three-dimensional qualities.
arranged down the front of a garment. (150) (153) (3)
 Ruff radiating stiffened pleats of linen or lace attached to
a neckband, often constructed in multiple layers. (2) (16)
(24) (39) (79)

Shag a long-haired cloth with some rough fur in its

composition, used to line garments. (14)

Smock a woman’s undergarment made from widths of

linen in a simple T shape but often embroidered or edged
with lace. (3) (39) (76) (125) (157)

Spangles small, thin pieces of me tal used to decorate

dress in the manner of sequins. (10) (17) (23) (40)

Steinkerk a very long cravat loosely tied, twisted casually

and with its end passed through a button-hole or pinned to
one side; named after a battle of 1692. (147) (156)

Stomacher a triangular, stiffened item of dress placed

between the edges of an unclosed bodice and held by ties
orpins. (2) (45) (61) (129) (157)

Tabs the arrangement of small sections of material

around the lower edge of a doublet or bodice, also on
shoulder wings, gaundet gloves, etc.

Tippet a waist-length cape or, in the case of fur, a narrow

stole or scarf.

Tricorne a man’s hat cocked into an equilateral triangle

with the point worn at the front of the head.

Trunkhose short, substantially padded round breeches,

often worn with canions (q.v.)

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A Visual history of costume.
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1T57 ODIDSDTD

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costume: the seven¬
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Cumming

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