See captionFig. 36.
Fig. 36.
A long coat came in at the later part of this time, with a deepV-shaped collar meeting at the waist; it was also cut into a square shape at the shoulders, as in Fig.43(see p.119). A loose bell-shaped sleeve usually went with this, often opened in the front of the upper arm. A short square cape is at times seen in conjunction with this. A low square or round neck shape came in during the last quarter of this century, filled in with a fine gathered lawn and a tight-fitting coat with a pleatedskirt and full padded sleeves, or a tight sleeve with a full puff or spherical upper part.
See captionFig. 37.Nos. 1, 2, 3, 4, 5, 6, 7, 8, second half of 15th century.Nos. 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, variety of shapes from 1490 to 1630.
Fig. 37.Nos. 1, 2, 3, 4, 5, 6, 7, 8, second half of 15th century.Nos. 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, variety of shapes from 1490 to 1630.
See captionFig. 38.14th century.15th century.15th century.Late 16th cent.1580-1610.1580-1610.1605-1640.1600-1625.1550-1600.1610-1640.1590-1620.1605-1630.1675-1695.1670-1690.1680-1700.1690-1720.1680-1700.1700-1750.1700-1780.1700-1760.1740-1780.1745-1780.1770-1800.1730-1760.1700-1780.1830-1860.1780-1800.1840-1870.1840-1870.
Fig. 38.
See captionlarger imagePlate IX.—(a) Lady's Embroidered Silk Jacket. 1605-30. (b) Lady's Bodice of Silk Brocade. 1680-1700.
larger image
Plate IX.—(a) Lady's Embroidered Silk Jacket. 1605-30. (b) Lady's Bodice of Silk Brocade. 1680-1700.
Comb case—purse—Cut leather. 15 cent.—Pierced leather, 16 cent.—Bronze studs 15 or 16 cent.—Incised lines with metal studs 15 cent.Fig. 39.—Decorated Leather, 15th and 16th centuries.
Fig. 39.—Decorated Leather, 15th and 16th centuries.
Shoes and boots were still worn with very long pointed toes till about 1465, when a proclamation was issued for beaks or piked shoes not to pass two inches, and after this time a broad round-toed shoe began to appear. Soft high boots to the top of the thigh, with folded top, belong to this century, as well as the fashionable boot to the calf. The sword or dagger was carried towards the front or side, and a small dagger across the belt at the back. The pouch or purse was also used as a dagger support.
Before the 16th century we find the art of decoration in costume had been confined chiefly to applied ornamental bands at the neck, waist, and borders of skirt and cloak. They had up till this time utilised, with great artistry of design (no doubt partly due to the heraldic study), the patterns of the finely decorated damasks and velvets. The counter colour effects and relative proportions, such as a small-patterned, dull-coloured silk setting off a large full-coloured design was ably considered, as well as the introduction of a nicely-balanced black note or setting, which proved these designers were highly skilled in judgment of style. They also discovered the art of giving enrichment and lightness to the effect by means of thevarious serrated edgings to the materials, which also gave a flutter to the movement. A preference of lacing for fastening added to the charm of the dress, but the long rows of close buttons were also a feature of the clinging robes, the clasps and brooches, neck-chains, girdle, belt, and wallet being further very important items of enrichment to the effect.
On coming to the 16th century we enter what may be termed the slashed and puffed period. The sleeves of Henry VIII's reign are very rich in design and jewel-setting, the design of the sleeve as in Fig.40giving a striking effect, the angle of the top sleeve being held out by the stiffness of the under silk one. The neck-setting and festooning of the jewel-chains play an important part in the design on the plain velvet corset bodices. The head-dress is one of the most remarkable, and gave a great chance for individual arrangement in binding the back fall to set at various angles on the shaped cap piece, combining severity with a big loose draping which is extremely picturesque. With Edward VI commences what may be termed the braided period of decoration. This latter came suitably with the stiffercorsage and set up. Mary's reign was not of attractive severity, but the over-robe with the short circular sleeve at the shoulder and high collar was a graceful creation, and was retained by many as late as 1630. There was little to admire in the Elizabethan age as regards design, except the beauty of the materials and the exquisite needlework. The proportions of the dresses were exceedingly ugly, and the pleated farthingale an absurdity. The male dress had much interest and often beauty of setting and decorative effect. The slashed materials gave a broken quality to what would otherwise be a hard effect, and it also cleverly introduced another colour change through the suit. There will be found many examples in these illustrations of the pricked and punctured designs on leather-work which are worth examining for modern treatment.
Quilting and pleating were ably combined with the braiding, and we see the clever adaptation of straw patterns sewn on (a feature of the late 16th century), which harmonised with the gold braidings or gold lace, or resembled the same effect.
The trimmings of braid were often enriched with precious or ornamental stonesand pearls, the stomacher, waist, front band down the skirt, and borders of most garments. The points of slashes were often held by jewelled settings, and the long slashes were caught here and there with the same.
Another important item was the black stitchwork on linen, sometimes mingled with gold, so highly prized now for its beauty of design and effect, but beginning probably in the reign of Henry VII.
Short coats of this type of the Elizabethan age are marvels of skill, and many caps are still in existence. Fine linen ruffs and collars were often edged with this work, as well as with gold lace.
Jackets and caps, both male and female, bearing geometrical and scroll designs in gold, filled in with coloured needlework of flowers, birds, or animals have happily been preserved for our admiration.
Sequins appear on work from Henry VIII's time, and were much appreciated by the Elizabethan workers, who no doubt found the trembling glitter added much to the gold-lace settings and delicate veilings: long pear-shaped sequins were favoured for this. Sleeves were often separate, and could be changed at will.
The hair at this period was parted in the centre and gathered into a plait at the back; it was also seen rather full and waved at the sides of the head, and a small circlet was often carried across the brow. A cap of velvet or gold brocade, sometimes with a padded front, curved over the ears to the neck, keeping the shape of the head. Over this again a velvet fall was turned back from the front or shaped as in the illustration, reaching to the shoulder. These falls were also bound into set-out shapes, which gave many picturesque effects.
Dress had now taken a new phase, and the set bodice became a lasting feature. At this period the waist was rather short, and the neck, arranged in a low square or round form, generally filled in with gathered lawn. The upper part of the sleeve was often divided from the bodice by ties with lawn puffs, and was made in a full circular form, slashed or puffed and banded, with a tight-fitting sleeve on the forearm. Another type divided the upper and lower part of the arm at the shoulderand elbow, the forearm being effectively tied or laced, and the under lawn sleeve pulled through; small slashings are also seen on these. At times a bell-shaped sleeve was worn, showing a slashed or puffed under one. Many dresses were still cut in one, and were often high-necked; with these usually a girdle or band of drapery was worn, and some skirts opened up the front, showing a rich underskirt.
See captionFig. 40.—Sixteenth century, 2nd quarter.
Fig. 40.—Sixteenth century, 2nd quarter.
See captionFig. 41.—Period Henry VIII.
Fig. 41.—Period Henry VIII.
Full skirts, heavily pleated at the waist, were worn in the earlier part of this reign, banded in varying widths of designs to about the knee; but a new development was in progress—a stiff, bell-shaped dress, set on hoops over a rich underskirt which usually bore a jewelled band down the centre, the upper one being divided in front to display this feature. The bodice with this type becomes longer in the waist, and was made on a stiff corset. Gloves are occasionally seen, serrated at the cuff-end. Shoes of the slashed character and square toes were also worn by the ladies, but many preferred a shoe with a moderately rounded toe.
The first mention of a leather umbrella is 1611, but this is a rare instance, as they were not in use till the 18th century here,though they are noted in continental prints during the 17th century.
See captionFig. 42.—Sixteenth-century modes, 1st half Henry VIII.
Fig. 42.—Sixteenth-century modes, 1st half Henry VIII.
The modes at the end of the last century now developed into a heavier character of design. The long hair soon began to be closely cut, and a short beard came into fashion. A flat type of hat was worn, with serrated brim, or tabs which could be turned down at times, and others were kept in place by a lacing cord through holes. There was also a flat "Tam o' Shanter" shape, generally worn well tilted on one side, and amongst the upper classes mostly adorned with feathers.
TheV-shaped collar, or opening to the belt, was still retained on the jerkin, and plain or pleated skirts are seen, also a square close-fitting vest, with a low square neck, filled with gathered lawn, or one with a high neck and short collar, on which a very small ruff appeared for the first time, and at the wrist as well. These were now decorated with long slashes or gathered puffs: heraldic design was still seen on the breast, and even parti-colourwas worn, but this character was now treated more by decorating with coloured bands on the tunics or tights.
See captionlarger imagePlate X.(a) Black Velvet Bodice. 1600-25.Pattern, see p.292.(b) Five Embroidered Waistcoats. Between 1690 and 1800.
larger image
Plate X.
See captionFig. 43.—Period Henry VIII.
Fig. 43.—Period Henry VIII.
See captionFig. 44.—Cap shapes. Period Henry VIII.
Fig. 44.—Cap shapes. Period Henry VIII.
See captionFig. 45.—Variety of shapes and slashing. Henry VIII.
Fig. 45.—Variety of shapes and slashing. Henry VIII.
Long coats were still worn of the shape described at the end of the 15th century, but a short surcoat was the mode, reaching just below the knee, sleeveless, or with the various hanging sleeves of this period, the fronts usually turned back to form a wide collar, either round or square in shape on the shoulder, or at times falling to a deep square at the back.
The sleeves were full in the upper part, tightening to the wrist, sometimes open up to the elbow and laced, or they were pleated into a full round shape at the shoulder. Puffs and slashings increased in these designs, and by 1520 we find the sleeves mostly divided into puffed and slashed forms, which grew to fantastic proportions.
Very short, tight breeches or trunks, with a front flap or codpiece, were decorated to match the body design and colour schemes; they increased in length to the knee, or just below, during this reign, and usually finished in a serrated roll.
See captionlarger imagePlate XI.—16 Leather Boots and Shoes. Between 1535 and 1860.1740-1780.1535-1550.1680-1700.1645-1690.1665-1685.1690-1710.1845-1860.1790-1820.1665-1670.1800-1820.1820-1840.1820-1840.1815-1850.1760-1780.1650-1670.1630-1660.
larger image
Plate XI.—16 Leather Boots and Shoes. Between 1535 and 1860.
See captionFig. 46.—Footwear, 1510-1540.
Fig. 46.—Footwear, 1510-1540.
Shoes were of the square form, some very short in front, held on by a strap across the instep, others with fronts to the instep.The corners were often brought out to a point on each side of the toes, and the mode of decorating with slashing and punctures made them very interesting. The sides of these shoes are very low, from ¾ to 1 inch, and no heels are seen. A big, round shape was also favoured, which increased in width till a proclamation forbade it exceeding 6 inches. Chains were still a decorative feature round the neck, and the belt carried a sword and pouch, or, amongst the working classes, other necessities.
In the reign of Edward VI, which was so short, as also in that of Mary, there was little time to form a real character. These reigns form developing links to the Elizabethan era, so I have taken them in one chapter.
See captionFig. 47.See captionFig. 48.See captionFig. 49.Elizabethan modes.
Fig. 47.
See captionFig. 48.
Fig. 48.
See captionFig. 49.
Fig. 49.
Elizabethan modes.
See captionFig. 50.—Costumes, 1554-1568.
Fig. 50.—Costumes, 1554-1568.
See captionFig. 51.—Costumes, 1568-1610.
Fig. 51.—Costumes, 1568-1610.
With Edward VI the same shaped cap is seen as that of Henry VIII, and with Mary's accession, the head-dress is curved to the head in a like manner, but it now became more of a hat form and took a brim curved in on the brow; this wasoften worn over the little tight curved cap, or showed the hair waved out at the sides, often netted with gold and pearls. A fall of velvet, silk, or veiling was still retained till the very high ruff or collar came in the Elizabethan days. A small-crowned hat, with a brooch and feather in front, and a full gathered crown came in before Elizabeth's time, when we see many eccentric shapes, such as the tall hat with a feather at the side, and the witch-like hats towards the end of her reign.
The bodice, which became longer in the first reign, still retained the full belled oversleeve or the full puffed sleeve to the end of Mary's reign, also the same square neck shape with curved-up front, now often filled with silk quilted with pearls up to the neck. High-necked dresses set with a small ruff became general in Mary's reign. We also find a tight sleeve gathered in a circular puff at the shoulder or set in a rolled epaulet.
The same shaped skirt of the hooped bell form (sometimes very pleated in Mary's reign) or divided in front to show the underskirt as described under Henry VIII, was worn.
The short square shape and the heavyround shoe is seen in Mary's reign, but fashion then preferred a rather pointed oval shoe, well up the instep with higher sides, decorated with characteristic slashing. Gloves are seen in many portraits up to this period, but of a plain make minus embroidery, and a circular fan of feathers was carried.
With Edward VI and Mary a more refined and sober type of style set in. The hair was now worn short and combed backwards. The flat hat of the earlier shapes lasted to Elizabeth's reign; becoming smaller in width, with a turned-down, curved brim and a fuller crown encircled with a gold band or set with a feather worn at the right-hand side. A small tight-fitting round hat with a rolled brim and a feather in front is also of this later mode. Through these reigns a small square turned-over collar or a very small ruff set on a high collar came into use, which increased to a larger ruff in Mary's reign. A small ruff was also worn at the wrist, many of these wereedged with black-stitch designs. The heavy puffed sleeves became tight and started from a small epaulet or puffed roll; some of these had a small cuff at the wrist or a frill. Braided designs became very elaborate on a close-fitting, padded, and round-shaped jerkin with a short skirt, which appeared in the first reign, and this skirt was often long enough to fasten just under the codpiece. Short trunks at times worn half-way down the thigh were slashed, banded, and puffed for decoration. No parti-colour was now worn or striped effects on tights, except amongst the soldiers in the reign of Mary. Short capes to the length of the trunks of a plain round form sloping from the shoulders, or a square type with a high square collar and loose sleeves, are seen; a tunic also of the earlier character with aV-shaped collar and full sleeve comes into this reign, and we note the earlier types of shoes mingling with the newer pointed oval-shaped shoe which now continued for the remainder of this century.
See captionFig. 52.—Costumes, 1554-1580.
Fig. 52.—Costumes, 1554-1580.
See captionFig. 53.—Costumes, 1570-1605.
Fig. 53.—Costumes, 1570-1605.
In Mary's reign the round-shaped doublet began to protrude from the breast to the waist in a round form with slightly longer skirts or small tabs, while the trunksassumed large circular proportions and were sometimes set on tight knee-breeches. The capes remained about the same.
The costly splendour of attire is well known in Elizabeth's reign, which began with the same form of hair and head-dress as with Mary, the hat being set rather higher on the hair. The ruffs, which were imported already starched from Holland, assumed larger proportions and complications when the methods of starching became known in England about 1564. Stow describes ruffs growing to a quarter of a yard deep; these were no doubt supported by piccalilloes, though they are not actually mentioned till after 1600, but they surely came with the fan-shaped structures of these later days. White, red, blue or purple colours were used in the starching, and yellow in the latter days of this century. The introduction of this curved fanlike collar setting became a grand and complicated feature right into the 17th century. "Make up" became very apparent on the faces at this time,for Bishop Hall censured the fashion in a choice sermon, saying, "Hear this, ye plaster-faced Jezabels! God will one day wash them with fire and brimstone."
See captionFig. 54.—Elizabethan modes.
Fig. 54.—Elizabethan modes.
See captionlarger imagePlate XII.(a) Lady's Outdoor Costume. 1785-95.(b) Costume. Early 18th Century.(c) Silk Brocade Dress. 1760-80.
larger image
Plate XII.
1585-1610—1600-1620—1595-1605—1605-15—1589-1600Fig. 55.
Fig. 55.
The bodices grew very long and pointed in the waist, the neck setting being mostly treated in the sameVshape, even open down to the waist point was filled with a decorated stomacher, and a deep oval-shaped neck was seen at the end of the reign. An outer opened sleeve was now favoured, caught in front at the elbow and hanging to the knee over a fairly tight undersleeve with a turned-back lace cuff or ruffle. With this came the high-set fan ruff on its wooden support at the back of the neck, and consequently a higher coiffure.
See captionFig. 56.Nos. 1, 2, 3, 1540-50, and other shoe forms worn in the reign of Elizabeth.
Fig. 56.Nos. 1, 2, 3, 1540-50, and other shoe forms worn in the reign of Elizabeth.
The same character of skirt continued as in the earlier reigns on hoops at the lower part, but they became much fuller and rounder at the hips till about 1590, when the full pleated skirt was supported on a farthingale or hoop which was set with a gathered circle in the same goffered design as the ruffs at the edge. These reached their extreme dimensions at the end of this reign, when the sleeves also assumed a full padded shape and largeepaulets also came in. An overdress with a full pleated back (like the Watteau dress) was in fashion from the middle of this reign, and we are lucky to possess some specimens in the Victoria and Albert Museum of which I am able to give the dimensions. Small looking-glasses were carried, and were also inset on the round feather fans. Perfumed gloves, elaborately embroidered, were introduced during this reign. Silk stockings were worn by Elizabeth for the first time in 1560, and worsted stockings were made in England in 1564. Corsets of pierced steel are seen in France from the late 16th and 17th century, and may have been in use here, though wood, cane, and whalebone were the chief supports. Shoes became narrow and even pointed, while the heel began to increase to considerable heights. The buskins of Queen Elizabeth now at Oxford are raised to 3 inches in height by the aid of a thick sole, and shoes A and B, Fig.61, are also reported to have belonged to her. Chopins for heightening the stature were in use on the Continent, but I believe did not appear here; but very thick corked soles and high heels were introduced for this purpose.
See captionlarger imagePlate XIII.(a) Silk Coat. 1735-55.(b) Brocade Silk Coat. 1745-60.Pattern, see p.308.(c) Embroidered Cloth Coat. 1770-90.
larger image
Plate XIII.
In this reign a very neat small-pointed beard was the fashion, the hair being brushed up as high as possible and often fulled out at the sides, and a "chic" appearance was sought after. A stiff belled top-hat with an egret at the right side made its first appearance with a curved brim, also one of a tapered shape with a smallish round brim, and another very small round hat with a curved brim, a clasp and feather being mostly worn on the front of each. The brims of all the hats began to enlarge at the end of the century when the very high crowned wide brimmed hat made its appearance, sometimes with a peaked top, and beaver is first mentioned in their make.
Large circular ruffs became all the rage besides the small turned-over collar. The round doublet with protruding front became tighter at the waist, the protuberance taking a punchlike pointed form curving to almost between the legs and sloping sharply up the hips to the back. This was set with a very short tab or tabs onpadded breeches tightening to the knee, which usually had very small trunks on the upper part, and large, stuffed trunk hose also appeared. The stockings were brought over these in a roll above the knee. Up to this time tights were made of wool, worsted, fine cloth, frieze, and canvas. The slashings, pleating, and gatherings of the period were of a much neater character, and punched patterns and pricked materials came into use.
Close-fitting high boots, generally with serrated tops and thick soles curving into a short heel, are features of this time. The shoe had a long front decorated with slashings (often caught with jewels), and an oval toe which became almost pointed in the last years of this century. A short top-boot rising to the calf was also in use, mostly with a little fur edge at the top, and these were often pricked with patterns.
See captionFig. 57.—Elizabethan modes.
Fig. 57.—Elizabethan modes.
The braiding and small slashing continued of a similar character to the end of the Elizabethan age. The slashing now began to be treated with a larger effect and less elaboration, but pricking and punching were still much used for enriching surfaces. An improved style of design was evident.
The female bodice was arranged with a long stomacher, often shaped into curved forms at the point, and this was set with jewels or embroidery, otherwise the bodice was decorated with braiding and jewels as in Elizabeth's reign. The full sleeves were embellished with small slashes (making diamond squares), puffs, orpricked and punched designs. A turned-up cuff or ruff of pointed lace finished the wrist, braided epaulets formed a beautiful feature of the effect, and the front of the underskirt was decorated with a jewelled band or conventional design, as was also the border of the overskirt. Caps of an interesting curved form beautifully embroidered in gold and coloured silks are seen, of which I give patterns; also loose jackets of the same work were in use when not in full dress.
Many beautifully embroidered caps, jerkins, jackets, and shirts are seen at this period in gold and black or coloured silks. Slashings of this reign, though in fashion, had commenced to go out; and those retained were of a large character, mostly from the neck or shoulder to the breast. The favoured sleeves were cut into straps to the elbow or wrist, and were often edged with braid, either side meeting together and lining the forearm, the body being treated in the same way. The open-fronted sleeve was set with buttonsand loops or long braided buttonholes with frayed or knotted ends, though these were not generally fastened. The tight undersleeve was often set with gold or silver narrow braids down the front and back seams, and close lines of small braids horizontally round the arm, or vertically when the outer sleeve was treated horizontally, this gave a beautiful counterchanged effect.
Many of the ladies' caps of this time had beautiful gold scrolls, with flowers and birds embroidered in coloured silks, also loose jackets of the same were in use. The bodice was banded with braids or lace on the front and seams, and the stomacher was often of fine embroidery; set rosettes or bows were placed at the waist. Other finishing effects of collar or sleeve, and the button and buttonhole decorations were made important features on both male and female sleeves, and even down the front of the outer skirt when it was not treated with lace. Red heels to shoes began to be worn and continued to the end of the 18th century in marked favour.
During this short period the character and placing of braiding was the same as in the latter part of last reign; slashing had almost completely gone out, except for the treatment of some ladies' sleeves cut into bands. A very sober effect was assumed in colour schemes, besides a plainer treatment in decoration, and a deep plain collar or a small turn-over one was chiefly worn by the men, while the hat of the Puritan rose to an absurd height, with a wide flat brim.
This may be named the period of ribbon trimmings, though braiding was treated in broad lines on the short jackets and sleeves, and down the sides of the breeches. A preference is shown for gold and silver lace, or amongst the élite purfled silk edges; the new mode being a decoration of groups of ribbon loops placed about the suit or dress. The notable feature with the female dress was the gathering of drapery by means of jewelled clasps, and groups of ribbon loops were also used,as with the male dress. The edges of the materials were sometimes cut into scalloped or classic forms, and a very simple voluminous character was fashion's aim.
With the later type of long-skirted coat which began in Charles II's reign, a heavy style of braiding and buttoning came into vogue, all the seams of the coat besides the pockets and cuffs and fronts being braided, which fashion continued to the end of the century. Many coats began to be embroidered in the later reign, and waistcoats became a special feature for the display of fine needlecraft on the fronts and pockets, while quilting or imitations of it in various needlework designs are often seen. In the female dress a more elaborate interest was again taken in the stomachers and the jewelled claspings, while lengths of soft silk gathered into long puffs often edged the outer skirts or were used in smaller trimmings, and "classical" shapings of the edges of materials and sleeves are often seen, also heavy bands of rich embroidery bordered the underskirt or train.
We find much the same high forms of set-up head-dress continuing in fashion as in the later years of Elizabeth's reign; but the hair began to take a fuller shape, rather round, done up in tight frizzled curls, with the usual decorations of jewels, pearls, or set bows of this period. Hats with high crowns and small straight brims, with an upright set of small plumes, gradually assumed a larger brimmed character—often turned up on one side. The same absurd pleated hoop, with its hanging skirt, continued for some time (worn rather short); but we also see the longer and very full hooped-out skirt, with an overskirt opened in the front. The stomacher front became much enlarged during this reign, many having shaped designs at the point. Most bodices took a very deep curved front at the neck, and large padded sleeves narrowed at the wrist still continued, besides the high fan collar at the back of the neck, and large ruffs were used by many. There also appeared, later in the reign, a stiff round collar, set high in the neck, cut off straight acrossthe front, and the bodice took a very low square-cut neck, with a raised curved shape at the centre of neck. The tighter sleeve was also worn throughout this time, with the overdress and sleeve hanging almost to the ground, which often had a very angular cuff. A little later some sleeves began to be gathered at intervals into puffy forms. The waist also showed signs of shortening.
See captionFig. 58.
Fig. 58.
See captionFig. 59.—Costumes. Period, James I.
Fig. 59.—Costumes. Period, James I.
Shoes with rounded toes and latchets holding large rosettes were chiefly worn, and heels of various heights are seen. Chopins, still worn on the Continent, do not seem to have appeared here.
The hat was of the high-crowned type, perhaps higher than in the last reign. The brim had broadened, and feathers were placed upwards fantastically at the back and sides of crown. Brims were often fastened up on the right side with a jewel; otherwise a band was buckled in front. The hair was now allowed to fall longer again, and a pointed or square-shaped beard with a brushed-up moustache was the mode. Ruffs both large and small surrounded theneck, and a flat fan-shaped collar was seen in the earlier years.
See captionlarger imagePlate XIV.(a) Embroidered Silk Dress with Pannier. 1765-80.Pattern of bodice, p.322.(b) Brocade Dress and Quilted Petticoat. 1750-65.
larger image
Plate XIV.
See captionFig. 60.—Costumes. Period James I.
Fig. 60.—Costumes. Period James I.
The jerkin was close fitting and the length of the waist more normal, with less tendency to being tightened in, and not so deep in the front point, so as to set better over the very full trunks or breeches. The square tabs of the jerkin increased in size, and soon formed large flaps divided into three or four, to the centre of the back. Sleeves were fairly tight and started from slightly larger epaulets, and were usually set at the wrist, either with a small ruff or turned-up lawn cuff, edged with lace.
The trunks were padded in a very full shape and were much longer, just above the knee. Also full padded-out breeches tapering to the knee or just above, where a large tie and bow hung at the side, and full square breeches not tied in, are also a feature of these days, usually banded with wide braids at ends and sides. Upright pockets were made on either side towards the front, about two inches from the side seams. They fastened up the front in a pleated fold, many being decorated with punched, pricked, or slashed design of a smallish character.
See captionFig. 61.—Shapes of Shoes from 1590-1650.
Fig. 61.—Shapes of Shoes from 1590-1650.
Cloaks were worn longer to the knee,retaining the same shapes and braid decoration as in the Elizabethan period, and hanging sleeves were still worn on them, as well as on some of the jerkins.
Shoes became fuller and rounder at the toes, mostly with thick welted soles and short heels, or none. They were fastened with a large rosette of gold lace or ribbon on the front, and the latchets were set back to show an open side. The top-boots were close fitting and took squarer toes; the spur flap being rather small. Beautifully embroidered clocks are seen on the tights and stockings of this period.
The hair was now allowed to fall in ringlets round the back and sides, with a few flat curls on the brow, and a bow and pearls were caught in at the sides. Short feathers may also be noted in use. A plait was often coiled at the back after 1630.
See captionlarger imagePlate XV.(a) White Cloth Coat. 1775-90.(b) Silk Dress. 1740-60.(c) Embroidered Velvet Coat.1755-75.
larger image
Plate XV.
See captionFig. 62.
Fig. 62.
See captionFig. 63.Collar and Bodice types. Period Charles I.
Fig. 63.Collar and Bodice types. Period Charles I.
See captionFig. 64.Collar and Bodice types. Period Charles I to 1660.
Fig. 64.Collar and Bodice types. Period Charles I to 1660.
In the early part of this reign the ladies were wearing the long corset-bodice, with a richly decorated stomacher which curved outwards to set on the very full skirts; this often finished with a curved or foliatedshape at the point. Square starched collars, rounded at the back, sometimes set up at the back of the neck or flat on the shoulder, and ruffs were still seen round the neck with collars as well, but they were seldom met with after 1635. A plainer, deep collar, flat, round, orV-shaped at the back, coming well over the shoulders, was caught together by a bow or ornament in front. About 1630 shorter waisted bodices came in, with full, loose sleeves set in epaulets: the neck shape was rounded or square. The bodices were often slashed, and the full sleeves, cut into bands, were sometimes gathered by cross bands from one to three times. Full plain sleeves, opened in the front seam, were also clasped at the elbow in a like manner. Outer short sleeves became a feature, opening in the front, showing the full under one or a tight one; the waist became very short and its tabs larger. A waistband fastened in the stomacher with a bow either side and bows with long gold tags decorated the waist as in the male jerkin. The skirt decorated by a band of ornament down the front was often tied upon the corset-bodice, the front point being left outside. Shoes of the same shape as the male illustrations,with very square toes, were frequent, but an oval toe, rather pointed, is seen in many pictures, with the large lace rosettes in front. Muffs are first noticed in these days, though they were seen much earlier on the Continent.