ENGL I S H CO ST U M E

- D OR T R III . TU AND S UA T D I ON CLAYTON CALTH ROP

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H E E F E RY V A M AN OF T TIM O H N III . — ( 1 50 9 1 547)

H E we ars th e cl ub-te e sh oe s th e wh ite sh irt e m d , broi e re in bl ack silk th e a e sh oul ers an d d d , p dd d d , th fl h ch th I s re i n is easil m em be re e at cap by w i g y re d .

ENG LI S H COST U M E

DI ON CALTH ROP

I I I , TU DOR AND STUART

L O ND ON ADAM AND CH ARLES BLACK

1 9 0 6

Con te n ts

HENRY T HE S EV ENTH

HENRY EI GH TH

EDWARD T H E

‘ M EN AND WOM EN

M ARY

Ti m M EN ANDI v i

PAG E

CHARLES

M EN AND List Of Ill u stration s

f r V 1 5 0 —1 5 4 1 A M an o th e o f e n . 7 is i . Time H y III 9 Fr on t p ece

I:AGI NG PAGE A M an of th of n r V I I 1 4 85- 1 5 0 e Time He y . 9

A Wom an of th e of n r V I I Time He y .

A M an of th o f e n r V 1 5 0 -1 5 4 e Time H y III . 9 7

A W m an f h of n r V o o t e Time He y III .

W f h of n r V A om an o t e Time He y III .

A M an a n d Wom an of th e Time of

E ar d V I dw .

A M n of th e of M ar 8 . a Time y

A Wom an of th e Time of Mary

A M an of th e Time of Elizabe th 1 55 8-1 60 3

A Wom an of th e Time of Elizabe th

A Wom an of th e Tim e of Elizabe th

f am e s I 1 60 3-1 625 A M an of th e Tim e o J .

I A Wom an of th e Tim e o f Jam e s .

1 625—1 64 A M an of th e Tim e of Ch arl e s I . 9 V I I I LI ST OF ILLUSTRATIONS

W - 4 A om an of th e Tim e of Cha rl e s I . 1 625 1 6 9

En g ravin gs by Holl ar

A Crom w e ll ian M an 1 649 -1 660

A Wom an of th e Tim e

Crom w e ll s

A Wom an of th e Tim e

Crom w e ll s HENRY THE S EV ENTH

Re n e d 24 rs : 1 48 —l 5o ig yea 5 9 .

orn 1 456. arr ed 1 486 l zabeth of r B , M i , , E i Yo k .

TH E M EN

EV E RY ONE has felt that f curious aint aroma, that

of ft n W sensation li i g, hich proclaims the first day of Sprin g and the burial of

W in ter. Although nothing

tangible has taken place, there is in the atmosphere a full-charged suggestion of

m of - pro ise, green sickness ; there is a quickening of

of h the pulse, a thrumming the eart, and many

for an eager, quick glance around the first buds of the new order of thin gs .

V OL . I I I . 2 ENGLI S H COSTUM E

England ’s winter was buried on Bosworth Field ’ if i i England s spring, as by mag c , commenced w th

’ Henry s entry into London .

Th e fir st picture of the reign shows the mayor , ' r ff , the sh e i s, and the aldermen, clothed in violet waiting at Shoreditch for the coming of the victor . ’ The same day shows Henr y in St. Paul s , hearing a Te D e um in the Cathedral church , packed to i w its l mit, three new banners aved , one bearing a f of . G o figure St eorge, another a dragon red on white and green sarcenet , and the third showed a dun cow on yellow tarte r n e .

of Spring, course, does not, except in a poetic

f in sense, burst orth a day, there are long months o f preparation, hints , signs in the air, new notes from the throats of bir ds . The springtime of a country takes ’ more than the preparation of months . Nine year s before Henry came to the throne Caxton was learning to print in the little room of Coll ard Mansion

’ h e of was to print his Facts Arms , joyous tales

sa of and plea nt histories chivalry, by especial desire f of Henry himsel .

l of Later sti l , towards the end the reign , the first book of travel in the W est began to go from

4 ENGLISH COSTUM E

: in the Court cards take the jacks , knaves , valets

call them as you will, and you will see the costume of this reign but slightly modified into

of - of a design , the cards to day and the cards that day are almost identical . Some years ago the modification was less noticeable ; I can remember playing Pope Joan with cards printed

f - with ull length figures , just as the illustrations to Alice in W onder

’ land are drawn . In the knave you will see the peculiar square hat which

came in at this time , and the petti

cote, the long coat, the big sleeve ,

- Y u and the broad toed shoes . o will

see the long hair , undressed and flowing o ver the shoulders (the pro

fe ssion al classes , as the lawyer , cut their hair close , so also did the peasant). Over this flowing hair a dandy would wear a little cap

-u with a narrow, rolled p brim , and over this . on

of f occasions , an enormous hat elt, ornamented

of f with a prodigious quantity eathers .

of : There was , indeed , quite a choice hats the be rr e tin O— a square hat pinched in at the corners ; many round hats , some with a high , tight brim ,

T H E TIME OF HENRY

HENRY TH E SEVENTH 5 some w ith the least brim possible ; into these n i brims, or i to a band round the hat, one m ght f stick eathers or pin a brooch . f The chaperon , be ore described , was still worn G K i f by arter n ghts at times, and by o ficial, legal , civic , and college persons .

W of hat a choice coats the gentlemen had , and stil l might be in the fashion ! Most common among these was the long coat like a dressing gown, hanging upon the ground all round , with

wi n a de collar, square behi d, and turning back in the front dow n to the waist— this was the general

of ll shape the co ar, and you may vary it on this idea in every way : turn it back and show the ff f stu to the eet, close it up nearly to the neck,

off for of cut it completely. Now the sleeves such

I in ll s a coat . have shown the i ustration many varieties , the most common was the wide sleeve,

n narrow at the shoulder, and hangi g over the hand f i t in olds . The slashes, which show the white sh r , f of . are usual, and every order The shirt itsel was often ornamented with fine gathers and fancy

n stitchi g , and was gathered about the neck by a ribbon . As the years went on it is easy to see that the shirt was worn nearer to the neck, the COATS

The Little cap

S wm a cher

l with ta m ed up

“7 d th e Coif a n d la zy e h a t w ith

Il /1 m l e e . a 9 g s e v fea th e rs ned so tw , m e w s

u nde r th e ch in .

8 ENGLISH COSTUME

About the waists of these coats was a short f sash , or a girdle, rom which hung a very elaborate

purse, or a dagger .

Stick in hand, jewel in your hat, dandy ! extravagant, exquisite dandy All ages know f of you, rom the day you choose your covering

of leaves with care, to the hour your white duck

— r of motoring suit : a very bi d a man, rejoicing in your plumage, a very human ass, a very narrow l hr individua , you stride, strut, simper t ough the

of 3 f of story the universe , per ect monument the

of m of of Fall Man, a gorgeous sy bol the decay

’ manhood . In this our Henry s reign, your hair bu sh e th pleasantly, and is kembed prettily over

’ the ear, where it glimmers as gold i the sun — pretty fellow Lord ! how your feathered bonnet becomes you, and your satin stomacher is brave f over a padded chest . Your white hands , reed from any nasty brawls and clean of an y form of work, lie in their embroidered gloves. Your pride f of orbids the carriage a sword, which is borne — — behind you much use may it be by a mincing f v r if— ellow in your dainty li e y. And oh , rare l— r ff disguise you coi ure hides a noble brow, or - f your little, neat rimmed coi a clever head, less SLEEVES

slash e —w

Wh i te 1 0 ENGLISH COSTUME honour be to you who dr ess your limbs to imitate

an d the peacock, hide your mind beneath the f weight o scented clothes .

In the illustrations to this chapter and the next, my drawings are coll ected and redrawn in my scheme from works so beautiful and highl y finished that every student should go to see them for

f . himsel at the British Museum My drawings ,

I 0 t h pe , make it qui e clear what was worn in the end of the fifteenth century and the first nine

of an d l years the sixteenth , anyone with a s ight knowledge of pictures will be able to supply

of themselves with a large amount extra matter.

1 6 . 2 I would recommend M S . Roy , F ; MS . 8 1 9 . . 4 425 Roy , C ; and especially Harleian M S . Of the lower classes, also, these books show quite a number. There are beggars and peasants , whose dress was simply old-fashioned and very plain ; they wore the broad shoes and leather belts f f and short coats , worsted hose, and cloaks o air ’ cloth . Poverty, the old woman with the spoon

of in her hat, is a good example the poor of the time . When one knows the wealth of material of the

of time, and has seen the wonder the stuffs, one HENRY TH E SEVENTH 1 1 knows that within certain lines imagination may f l . ff of have ul scope Stu s silk, embroidered with

r f coupled bi ds and branches, and flowers ollowing out a prescribed line, the embroideries edged and w l se n with go d thread ; velvet on velvet, short f ff napped ustian , damasked stu s and diapered stuffs — what pictures on canvas , or on the stage, may be made ; what marvels of colour walked about the streets in those days ! It was to the eye an age of — — elaborate pattern s mostly large and all this broken colour and glitter of gold thread must have made the streets gay indeed .

l rf Imagine, shal we say, Co e Castle on a day when a party of ladies and gentlemen assembled to course a

’ sta e gg , when the huntsmen , in green, gathered in the outer ward , and the grooms , in

fin e h coloured liveries , eld the gaily decked f l horses ; then, rom the walls ined with archers ,

of would come the blast the horn, and out would walk my lord and my lady, with knights, and squires , and ladies , and gallants , over the the bridge across the castle ditch , between the 2— 2 1 2 ENGLISH COSTUME

n round towers . Behind them the dungeo tower,

of — all and the great gray mass the keep a fitting, an impressive background to their bravery.

in of f The gentlemen, long coats all wonder ul colours and devices, with little hats, jewelled and f n of f eathered, with boots to the k ee so t leather, turned back in colours at the top ; on their left hands the thick ha wk

in g glove on which , jessed and

for hooded, sits the hawk some who will not go w ith the houn ds will fly the hawk on the Isle of

Purbeck . w Below, in the to n over the moat, a crowd is gathered to see them off

— in r merchants grave colou s , and

fur coats turned back with , their

ink- horns slung at their waists, with l pens and dagger and purse ; beggars ; pi g rims , f rom over seas , landed at Poole Harbour, in long w wi go ns , worn th penitence and dusty travels,

in ff in shells their hats , sta s their hands ; wide eyed children in smocks ; butchers in blue ; men of all guilds and women of all classes .

The drawbridge is down, the portcullis up , and HENRY TH E SEVENTH 1 3

of the party, gleaming like a bed flowers in their

- multi coloured robes , pass over the bridge, through

the town , and into the valley.

The sun goes in and leaves the grim castle, gray

of and solemn , standing out against the green the hill s of f r And Henry himsel , the g eat Tudor, greater, f more arseeing than the eighth Henry, a man ll who so dominates the age, and fi s it with his

al spirit, that no ment picture is complete without

fin e f him . His , humorous ace, the quizzical eye ,

h in . the firm mouth , s ow g his character The great

of of i lover art , Engl sh art, soon to be pulverized by pseudo-classic influences ; the man who pulled down the chapel at the west end of W estminster

’ Abbey w ith the house by it— Chaucer s house to make way for that superb triumph of ornate

building, his chapel, beside which the mathe m atical squares and angles of classic building show as would boxes of bricks by a gorgeous

flower.

The stories against him are , in reality, stories for him, invented by those whom he kept to their

of - work, and whom he despoiled their ill gotten H e f gains . borrowed , but he paid back in ull ; 1 4 ENGLISH COSTUME

d he came into a disordered, distressed king om , ruled it by fear— as had to be done in those days and left it a kingdom ready for the fruits of his ordered works— to the fleshy beast w h o so nearly W ruined the country . hat remained, indeed, was

’ the result of his father s genius .

T H E WOMEN

Take up a pack of cards and look at the queen . You may see the extraordinary head-gear as worn by ladies at the end of the fifteenth century and

of in the first years the sixteenth, worn in a f f modified orm all through the next reign , a ter which that description of head-dress vanished for

ever, its place to be taken by caps , hats, and

bonnets . The richest of these head-dresses were made of

a black silk or some such black material, the top

ff h e of - f th e sti ened to_ t shape a sloping house roo , edges fall ing by the face on either side— made

ff e — n sti , so as to stand parall l these were sew

with gold and pearls on colour or white . The end of the hood hung over the shoulders and down the back ; this w as surmounted by a stole

1 6 ENGLISH COSTUM E

f ft of shoulders . It was placed over a coi , o en

of white linen or black material, was turned over f f f f rom the orehead , olded , and pinned back ; o ten it was edged wi th gold . On either side of the hood were hangin g ornamental metal-tipped tags to tie back the hood fr om the shoulders , and this became, in time

of — i that is , at the end the reign the ord nary

of manner wearing them, till they were finally made up so .

- of The ordinary head dress was white linen, crimped or embroidered in white, made in a piece to hang over the shoulders and down the back , folded back and stiffened in front to that peculiar triangular shape in fashion ; this was worn by the older women over a white hood .

f -fittin l The plain coi , or close g inen cap, was the most general wear for the poor and middle classes . The hair w as worn long and naturally over the shoulders by young girls, and plainly parted in the centre and dressed close to the head by

- women wearing the large head dress .

A f of - m n nother orm head dress, less com o , was

a — a of the turb n loose bag silk , gold and pearl HENRY TH E SEVENTH

f embroidered , fitting over the hair and orehead tightly, and loose above . The gowns of the women were very simply

n cut , havi g either a long train or no train at all , these last cut to show the underskirt of some

of fine material, the bodice which showed above the over gown at the shoulders . The ladies who wore th e long gown ge n e ra l ly had it lined with some f i n f u r e , and to pre v e nt thi s dragging in the mud , as also to show

of f f the elegance their urs, they astened the train to a button or brooch placed at the back of the waistband This , in time , developed into the looped skirts of Elizabethan times . The bodice of the gown was square cut and not

of fur very low , having an ornamental border ,

n embroidery, or other rich coloured material sew on 3 V OL . I I I . 1 8 ENGLISH COSTUM E

to it. This border went sometimes round the shoulders and down the front of the dress to below the knees . Above the bodice was nearly always seen the V-shaped opening of the under petticoat bodice, and across and above that, the white embroidered or crimped chemise. The sleeves were as the men ’s— tight all the w way down from the shoulder to the rist, the cuffs coming well over the fir st joints of the fin gers (sometimes these cuffs are turned back to show

r elaborate linings), or they we e made tight at the shoulder and graduall y looser until they became very full

over the lower arm , edged or lined

fur f with or so t silk, or loose and baggy all the way from shoulder to

hand . At this time Bruges became world -fam ed for her silken texture ; her satins were used in England for church garments and other

. l clothes The damask si ks were greatly in use, and were nearly always covered with th e peculiar

- of semi Spanish pattern, the base which was some

of contortion the pomegranate . Some of these HENRY T H E SEVENTH 1 9

w on de rq patterns were small and y fine, depend ing on their wealth of detail for their magnificent

fe w appearance, others were huge, so that but

of repeats the design appeared on the dress . Block printed linens were also in use, and the samples in South Kensington w ill show how beautiful and

f r o . artistic they were, all their simple design As w Bruges supplied us ith silks , satins, and velvets , f e the last also beauti ully damasked , Ypr s sent

of her linen to us , and the whole Flanders sent us painters and ill umin ators who worked in England

of th e at the last great illuminated books , but this art di ed as prin ting and illustrating by wood-blocks came in to take its place .

ow n m Nearly every lady had her com on linen ,

e ff and often oth r stu s , woven in her own house , and the long winter evenings were great times for the sew in g chambers, where the lady and her

- maids sat at the looms . To day one may see in Bruges the women at the cottage doors busy over

- their lace making, and the English women by the sea making nets - so in those times was every woman at her cottage door making coarse linens and other stuffs to earn her daily bread , while ' my lady was sitting in her chamber weaving, or 3 —2 920 ENGLISH COSTUME embroidering a bearing cloth for her child against her time.

of W of However, the years the ars the Roses had had their effect on every kind of English

n work, and as the most elegant books were pai ted

r and w itten by Flemings , as the finest linen came f e f rom Ypr s , the best silks and velvets rom Bruges,

of f the great masters painting rom Florence,

Germany, and Belgium , so also the elaborate and

fu for wonder l embroidery, which we had been so f amous, died away, and English work was but t coarse at the best, un il, in the early sixteen

n of n hundreds , the new style came i to use raisi g figures some height above the ground -work of

of the design, and the rich embroidery the Stuart times revived this art. I have shown that this age was the age of fine

of patterns , as some ages are ages quaint cut , and

of - of n some jewel laden dresses, and some dai ty needlework . A fe w ladies wore their gowns open to the waist to show the stomacher, as the men did , i and open beh nd to the waist, laced across , the waist bein g embraced by a girdle of the shape so long in use, with long ends and metal

A W OM AN OF T H E TIME H ENRY

NOTI E th e iam on -sh a e h ea - res s th e w i e C d d p d d d , d . f - w n h it full le ve s ur edged go Wit s s e .

HENRY TH E SEVENTH 21 ornaments ; the girdle held the purse of the lady. The il lustrations given wi th this chapter show

of very completely the costume this time, and, except in cases of royal persons or very gorgeously apparelled ladies , they are complete enough to need no description . l The shoes, it wil be seen , are very broad at

c the toes, with thick soles , sometimes made mu h in of — the manner sandals that is, with only a toecap, the rest flat, to be tied on by strings .

W for As this ork is entirely use, it may be said,

for that artists who have costumes made them,

for and costumiers who make the stage, hardly ever allow enough material for the gow ns worn by men and women in this and other reigns, where the heaviness and richness of the folds was the

of great keynote . To make a gown , such a kind t as these good ladies wore , one needs, at leas ,

w of fift - t elve yards material, y two inches wide , to give the right appearance . It is possible to acquire at many of the best shops nowadays

of ff actual copies embroidered stu s , velvets , and

of of ff damask silks this time, and stu s up to

n an d for Early Victorian patter s, this makes it easy 22 ENGLISH COSTUM E

painters to procure what, in other days , they were f orced to invent . Many artists have their costumes m ade of

Bolton sheeting , on to which they stencil the patterns they wish to use— this is not a bad f thing to do , as sheeting is not dear and it alls if f into beaut ul olds . The older ladies and widows of this time nearly all dressed in very simple , almost con

ve n tu al of garments , many them wearing the

’ of barbe pleated linen , which covered the lower — part of the face and the chin a sort of linen beard — it o reached to the breast , and is still w rn by

of some religious orders women .

Badges were still much in use, and the servants always wore some form of badge on their left

— of sleeve either merely the colours their masters,

or a small silver, or other metal, shield . Thus, f V I I the badge worn by the servants o Henry .

would be either a greyhound, a crowned hawthorn

bush , a red dragon , a portcullis , or the red and

white roses joined together. The last two were

used by all the Tudors , and the red rose and the

portcullis are still used . From these badges we

of of get the signs many our inns , either started HENRY TH E SE VENTH 23

’ w h o by servants , used their master s badge for a v de ice, or because the inn lay on a certain property of the lord which carried chequers, or a red dragon ’ or a tiger s head . I mentioned the silks of Bruges and her velvets without giving enough prominence to th e fin e

of of velvets Florence, a sample which , a cope, W once used in estminster Abbey, is preserved at

S ton yh urst College ; it was left by Henry V I I . ’ of W of to Our Monastery estminster , and is

f — a beauti ul design gold ground, covered with boughs and leaves raised in soft velvet pile of

of ruby colour, through which little loops gold thread appear.

n of I imagi e Elizabeth York , Queen to

n of e — He ry VI I . , the subtle countenanc gentle

i di - r — El zabeth , who ed in child bi th proceeding f W through London, rom the Tower to est minster, to her coronation ; the streets cleansed ,

th e ar and houses hung with tapestry, ras and

fin e - of gold cloth, the coloured dresses the crowd , the armoured soldiers , all the rich estate of the company about her, and the fine trappings of the horses. Our Queen went to her coronation

an d with some Italian masts , paper flowers , some 24~ ENGLISH COSTUM E hundreds thousands of yards of bunting and cheap flags ; the people mostly in sombre clothes ; ff the soldiers in ugly red , sti coats , were the only

of W colour note passing down hitehall , past the hideous green stuck with frozen Members of f Parliament , to the grand , wonder ul Abbey, which has seen so many Queen s crowned . HENR Y THE EI G HTH

Re ign e d th irty-e igh t ye ars 1 509

orn 1 49 1 . arr e d 1 509 Ka th ar n e of Ara on B , M i , , i g ; 1 532 An n e ol e n 1 53 Jan e e m our 1 540 , B y ; 6, S y ; , n n e o f le v e s 1 540 Ka th ar n e o w a rd 1 543 A C ; , i H ; , Kath e r n e ar i P r .

TH E M EN

V ERSES BY H ENRY TH E EIGHTH I N PRAIS E OF CONS TANCY

As th e h ol y grouth gre n e w ith iv ie a ll al on e Wh ose flo w erys can n ot be se e n a n d gre n e w ode l e vys be gon e

Now u n to m l ad rom se to h e r m a e y y, p y I k From a ll o e o l I m e be th r n y to h e r take .

de w m n e o w n e l ad e ade w m s e c a ll A y y , y p y ’ W h o h a h m h a t e wl be sure and e v e r sh ll t rt r a . y y, ,

“ S o of , with songs and music his own composition , comes th e richest man in Europe to the throne f f of . o England Gay, brave , tall , ull conceit in his own strength , Henry, a king, a Tudor, a

l of f handsome man , abounding in excel ence cra t f f and art, the inheritance rom his ather and 25 V OL . I I I . 26 ENGLISH COSTU ME

mother, figures in our pageant a veritable symbol of the Renaissance in England .

He had, in common with the marvellous

of characters of that Springtime History, the quick intelligence and all the personal charm

that the age brought forth in abundance . In his reign the accumulated mass of brain all over the world budded and flowered ; the time gave to us a succession of the most remarkable people in any

a of of historic l period, and it is one the triumphs f n alse reasoni g to prove this , in England, to have been the result of the separation from the Catholic

Church . For centuries the Church had organized and prepared the ground in which this tree of the

’ world s knowledge was planted, had pruned, cut

back, nursed the tree, until gradually it flowered ,

ri r its branches spread over Ch stian Eu ope, and when the flowering branch hanging over England

f first-f of gave orth its ruits, those men who ate the fr uit and benefited by the shade were the first

to quarrel with the gardeners .

In these days there lived and died Botticelli ,

D il r e r Leonardo da Vinci , Raphael, , Erasmus;

Holbein, Copernicus , Luther, Rabelais, and f w Michael Angelo, to mention a e men of

28 ENGLISH COSTUM E

A M AN OF TH E TIME OF ENRY V 1 11 . — H ( 1 50 9 1 547)

TH I S is th e e xtre m e G e rm an -English I n Ge rm a-ny and Switze rland th is was carrie d to g reate r le n g th s.

HENRY TH E EIGHTH 29

i bl nd, the insane had no home but the overhun g back all eys where the foulest diseases might

- of accumulate and hot beds vice spring up , while in the main streets Harry Tudor was carried to

- of his bear baiting, a quivering mass jewels shaki n g on his corrupt body, on his thumb that wonderful of f diamond the Regale France, stolen by him rom

r of the desec ated shrine St . a Thomas Becket . There are two distinct

of f e classes ashion to be se n , the German - Swiss fashion f and the English ashion, a natural evolution of the national dress . The Ger f man ashion is that slashed . extravagant looking crea tion which we kn ow so well from the drawings of Albert Durer and the more

of Th e German designs Holbein . garments which were known as blistered clothes are excessive growths on to the most extravagant designs of the

Henry VII . date . The shirt cut low in the neck , and sew n with black embroidery ; the little waist coat ending at the waist and cut straight across from 30 ENGLISH COSTUME

“ of shoulder to shoulder, tied with thongs leather or coloured laces to the breeches , leaving a gap between which showed the shirt ; the universal pouch on the breeches often highly decorated and jewelled . From the lin e drawings you will see that the f sleeves and the breeches took every orm , were

f of o any odd assortment colours , ff were cut , pu ed , and slashed all

over, so that the shirt might be d pushe through the holes , looking ’ indeed blistered .

of The shoes were many shapes ,

as I have shown, agreeing in one point only— that the toes should f be cut very broad , o ten , indeed ,

quite square.

n Short or hangi g hair, both f li were the ashion , and ttle flat

caps with the rim cut at intervals ,

of or the large flat hats the previous reign , covered f with eathers and curiously slashed , were worn

with these costumes .

Cloaks , as you may see , were worn over the

dre ss, and also those overcoats shaped much like

d - the mo ern dressing gow n .

32 ENGLISH COSTUM E

n neck, with the hem draw together with laces l these laces pul ed more tightly together, thus ki ruc ng the material into closer gathers, caused the cut of the shirt to be altered and made so

f — a that the hem rilled out round the neck collar, f in fact . That this collar took all orms under ll certain limitations wi be noticed , also that thick necked gentlemen — Henry himself must have invented this— wore the collar of the shirt turned ff down and tied with strings of linen . The cu s of the shirt , when they showed at the wrist , were ft w o en , as was the collar, sewn ith elaborate designs in black thread or silk .

Now we take the waistcoat B . As you may see from the drawing showing the German form of — dress , this waistcoat was really a petti cote ,

- - a waist coat with sleeves . This waist coat was generally of richly ornamented material (Henry r in pu ple satin , embroidered with his initials and the Tudor rose ; Henry in brocade covered with posies

of made in letters fine gold bullion). The material ff was slashed and pu ed or plain , and dependent for its effect on the richness of its embroidery or design of the fabric . I t was worn with or without sleeves in most cases the sleeves were detachable .

34 ENGLISH COSTUM E

w as The coat C. This coat made with bases

fr f like a ock, a skirted coat, in act ; the material

of used was generally plain, velvet, fine cloth , silk,

of or satin . The varieties cut were numerous , — and are shown in the drawings open to the waist, f — open all the way in ront, close to the neck every way ; where the coat was open in fr ont it generally

bra e tto . parted to show the g , or jewelled pouch It was a matter for choice spirits to decide whether or no they should wear sleeves to their coats , or

of show the sleeves their waistcoats . No doubt Madame Fashion saw to it that the changes were rung sufficiently to make hay while the sun shone on extravagant tastes . The coat was held at the w aist with a sash of silk tied in a bow with short

. of f ends Towards the end the reign , oreshadow ing the Elizabethan jerkin or jacket, the custom grew more universal of the coat with sleeves and the high neck , the bases were cut shorter to show f the ull trunks , and the waistcoat was almost wi l entirely done away th , the col ar grew in pro

of r portion, and spread, like the tail an ang y turkey, f f ’ in ru fle and olded pleat round the man s neck . The overcoat D is the gown of the previous n for ff reig cut, the dandy, into a shorter a air , HENRY TH E EIGHTH 35 reaching not far below the knee ; for the grave

for all l man it remained long, but, , the col ar had changed to a wide affair stretching well over the f . o ff shoulders It was made , this collar, such stu

of fur of as lined the cloak, maybe it was , or satin, of f o of . f silk , or cloth gold The tremendous olds of these overcoats gave to the persons in them a sense of splendour and dignity ; the short sleeves of the fashionable over ff coats , pu ed and swollen , barred with rich app liqu !

of fu r designs or bars , reachin g only to the elbow , there to end in a hem of fu r or some ff rich stu , the collar as wide as these padded ff shoulders , all told in e ect as garments which gave a great air of well-bein g and richness to their owner .

Of course , I suppose one must explain, the

: sleeves varied in every way were long, short,

f . full , medium ull , according to taste Sometimes 5 — 2 36 ENGLISH COSTUME

the overcoats were sleeveless . Beneath these — garm en ts the trunks were w om loose little

c in G s bree hes, which, the erman tyle, were ff bagged, pu ed, rolled, and slashed in infinite u of varieties . Let it be noticed that the c tting

in slashes was hardl y ever a straight slit, but the

r of cu ve an elongated S or a double 8 curv e.

Other slashes were squared top and bottom . All ff men wore tight hose, in some cases pu ed n f at the k ee ; in act, the bagging, sagging , and slashing of hose suggested the separate breeches of or trunks hose .

a The shoes were very bro d , and were sometimes ff stu ed into a mound at the toes, were sewn with

E E ENRY V1 1 1 A WOMAN OF TH TIM OF H . — 0 50 9 1 547)

I N b ri h in r s Th e e cul iar h ea A PL A ut c look g d e s. p d dress h as a pad of silk m fro nt to h old I t fr om th e - f ea Th e h alf sle e ve s are well sh ow n . oreh d .

HENRY TH E EI GHTH 37

precious stones , and, also, were cut and puffed with silk . The little flat cap w ill be seen in all its varieties

w n in the dra i gs . The Irish were forbidden by law to wear a

ke r ch or n e cke rch or m ocke t shirt, smock, , bendel , ,

h an dke rch or (a ), or linen cap coloured or dyed with saffron ; or to wear in shirts or smocks above seven yards of cloth . To wear black genet you must be royal ; to wear sable you must rank above a Viscount to wear martin or velvet trim ming you must be worth over two hundr ed marks a year. Short hair came into fashion 1 5 21 about . So well known is the story of Sir Philip Calthrop and John Drakes the

of N w shoemaker or ich , who tried to ape the f l u ashion, that I must here al de to this ancestor

of of of mine who was the first the dandies note, among persons not of the royal blood . The story

f of itsel , retold in every history costume, is to this 38 ENGLISH COSTUME

ff : e ect Drakes, the shoemaker, seeing that the

’ of ir l county talked S Phi ip s clothes, ordered a gown from the same tailor. This reached the ears of S ir Philip, who then ordered his gown to be cut as full of slashes as the shears coul d make it. The ruin of cloth so staggered the shoemaker

that he vowed to keep to his own humble fashion f ’ in uture . No doubt Sir Philip s slashes were

cunningly embroidered round, and the gown made rich and sparkling w ith the device of seed pearls so

’ much in use. This man s son , also Sir Philip, married

of S ir W of Amy, daughter illiam Boleyn, Blickling, f Nor olk . She was aunt to Queen Anne Boleyn . HENRY TH E EIGHTH 39

TH E WOM EN

One cannot call to m i nd pictures of this time

n f o f without , in the first instance, seei g the orm Henry rise up sharply before us followed by his

of fat company wives . The , uxorious giant comes

fr of n straight to the ont the picture , he domi ates l the age pictorial y ; and , as a fitting background , one sees the six women who were sacrificed on the political altar to pander to his vanity . Katherine of Aragon— the fin e and noble lady

— a of off f tool political desires, cast a ter Henry ft had searched his precious conscience, a er eighteen

of f years married li e, to find that he had scruples

of as to the spirituality the marriage. Anne

f of Boleyn, tainted with the li e the Court , a pitiful figure in spite of all her odious crimes ; ft how o en must a ghost, in a black satin night dress edged with black velvet, have haunted the

of h royal dreams . And the rest t em, clustered

n round the vai king, while in the background the great figures of the time loom hugely as they play with the crowned puppets .

of The note the time, as we look at it with our eyes keen on the picture, is the final evolution 40 ENGLISH COSTUME of the hood . Bit by bit, inch by inch , the plain f abric has become enriched, each succeeding step in an elaboration of the simple form ; the border f next to the ace turned back, then the hood is

lined w ith fine stuff and the turnover shows this to advan tage ; then the sides are split and the back is made more full ; then a tag is sewn on to the sides by which means the ou t side may HENRY TH E EIGHTH 41

f ff fr be astened o the shoulders . The ont is now ff f sti ened and shaped at an angle , this ront is f sewn with jewels , and , as the angle orms a gap

f of between the orehead and the point the hood, a pad is added to fill in the vacant space . At last one arrives at the diamond-shaped head -dress

in worn this reign, and , in this reign, elaborated in every way, elaborated, in f of act, out existence . In order to make the head -dress in its 1 5 09 state you must make the white lin ing with the jewelled turnover as a separate cap .

However, I think that the drawings speak for themselves more plainly than I can write . Every device for crow ding jewels together was

- of , used , criss cross , in groups small numbers in great masses . Pendants were worn, hung upon jewell ed chains that wound twice round the neck, once close to the neck, the second loop loose 6 V OL . 1 1 1 . 42 ENGLISH COST UM E

f and passed , as a rule , under the lawn shi t. Large brooches decorated the bodices, brooches with drop

of of ornaments, the body the brooch fine gold

of . workmanship , many them wrought in Italy ft l The shi , delicately embroidered with black si k ,

Of of had ten a band jewellery upon it, and this

f f of shi t was square cut, ollowing the shape the bodice. The bodice of the gown was square cut and

ff - k much sti ened to a box li e shape . The sleeves of the gown were narrow at the shoulders , and after fitting the arm for about six inches down f rom the shoulders, they widened gradually until , just below the elbow, they became square and very full in this way they showed the false under

- l sleeve . This under sleeve was genera ly made of

- a fine rich patterned silk or brocade, the same — stuff which formed the under gown ; the sleeve was a binding for the very full lawn or ca mbric sleeve which showed in a ruffle at the wr ist and ff f in great pu s under the orearm . The under sleeve was really more like a gauntlet, as it was generally held together by buttoned tags ; it was ff i pu ed with other coloured s lk, slashed to show f the shi t , or it might be plain .

ENGLISH COSTUM E

sewn in ribs, swollen , and altogether so queer, are beyond the furious dashes that my pen makes

Of at truth and millinery. The costumes the people of this age have grow n up in the min ds of most artists as bein g in separable from the

‘ drawings of Holbein and D ii re r . f Surely, I say to mysel , most people who will

l D ii re r read this wil know their Holbein and , betwee n wh om th ere ff lies a vast di erence , but who between them

show, the one , the estate

o f E ngl and , and t h e

other, those most Ger man fashions which had so powerful an influence

upon our own . Both these men show the pro

fu of sion richness, the

f of of extravagant ollies the dress their time ,

of i : W e how, to use the words Pl ny penetrate

of of into the bowels the earth , digging veins

of gold and silver, and ores brass and lead ; we

for seek also gems and certain little pebbles .

Driving galleries into the depths , we draw out the

W M N F TH E E F ENRY I I I A O A O TIM O H V .

NOl’ I CE th e wi e cuffs cove re with ol n e tw or d d g d k , l f a nd th e rich pane o th e un de rskirt.

HENRY TH E EIGHTH 45

of bowels the earth , that the gems we seek may be worn on the finger . How many hands are wasted in order that a single joint may sparkle ! I f any hell there were, it had assuredly ere now been disclosed by the borings of avarice and luxury

r of ll Or in the w itings Tertullian, ca ed by Sigis m u n d F e y e r a bendt, citizen and printer o f Frank f a ort, most strict censor who most s everely blame s wom en C ome

’ now, s ays T er ‘ i f f tullian, rom the fir st both the Milesians sheared sh eep , and th e Chinese spun fr om the tree , and the

r Ty ians dyed and the Phrygians embroidered, and the Babylonians inwove ; and if pearls shone if f f and rubies flashed, gold itsel , too , came up rom

for if the earth with the desire it ; and now, too, i ’ no ly ng but the mirror s were allowed , Eve, I 46 ENGLISH COSTUM E

suppose , would have desired these things on her expulsion from Paradise , and when spiritually

’ dead . One sees by the tortured and twisted German fashion that the hair was plaited , and so , in

- curves and twists , dropped into coarse gold web s w nets , thrust into web net ith velvet pouches to them , so that the hair stuck out behind in a great knob , or at the side in two protuberances ; over all a c ap like to th e

’ man s , but that it was infinitely more feathered

and j ewelled . Then ,

again, they wore those hideous barbes or beard li like nen cloths , over the

fi of of chin , and an in nite variety caps linen upon their heads— caps which showed always the

of form the head beneath .

In common with the men, their overcoats and if cloaks were voluminous , and needed to be so those great sleeves had to be stuffed into them fur i f collars or s lk collars , with acings to match ,

48 ENGLISH COSTUM E

Four and a half gallons of ale ! I wonder did h ! t ey drink it all themselves All this , and down f in the mornings in velvets and silks , with aces as fresh as primroses . It is the fate of all articles of clothing or adorn l f ment , natura ly tied or twisted, or olded and

of f f pinned by the devotees ashion, to become, a ter some little time, made up , ready made , into the

’ shapes which had before some of the owner s mood and personality about them . These hoods worn by the women , these wide sleeves to the gowns , these i hanging sleeves to the overcoats , the velvet sl p of all f underdress , , in their time , became alsified - W into ready made articles . ith the hoods you can see for yourselves how they lend themselves by their shape to personal taste ; they were made

n up, all ready sewn ; where pi s had been used , the f of f olds velvet at the back were made stead ast ,

of the crimp the white linen was determined , the angle of the side -flap ruled by some unw ritten law f of . o mode In the end , by a process evolution , the diamond shape disappeared, and the cap was f placed urther back on the head , the contour being circular where it had previously been pointed . The velvet hanging-piece remained at the back HENRY TH E EIG HTH 49 of the head , but was smaller, in one piece, and was never pinned up , and the entire shape l l gradual y altered towards , and fina ly into , the

ll - n of - we know Mary Queen Scots head dr ess,

r f i . with , which eve y reader must be amil ar It has often occurred to me while writing this book that the absolute history of one such head dress would be o f more h elp than these iso lated rem ark s , which have to be dropped only to be taken up

in another reign , but I have felt f th at, a ter all , th e a rrange ment is best as it

f l if , stands , because we can ol ow, we are willing the

complete wardrobe of one reign into the next,

u f w ithout mixing the two p. It is di ficult to f ke ep two in terests runn ing together, but I mysel

have felt, when reading other works on the sub

j cet, that the way in which the various articles 7 V OL . 1 1 1 . 50 ENGLISH COSTUME of clothing are mixed up is more disturbing than useful.

wi n The de sleeve to the gow , once part and

of n parcel the gow , was at last made separate from it— as a cuff more than a sleeve naturall y i — widen ng and in the next reign, among the most f ft . ashionable, le out altogether The upper part of the dress, once cut low and square to show

- of ff the under dress, or a vest other stu , was now

th e of wi f s made, towards end the reign, th a al e

of ff l - top other stu , so rep acing the under dress .

Lacing was carried to extremes, so that the body was pin ched into the hard roll-like appearance always identified with this time ; on the other

e hand , many, wiser women I should say, wer this

for f the place morals, pre erred to lace loose, and i f show, beneath the lac ng, the colour o the under dress .

t e of dl Many were h varieties gir e and belt, fr om plain silk sashes with t asselled ends to rich jewelled chain girdles ending in heavy ornaments . For detail one can do no better than go to

of d - Holbein, the master etail, and to day, when

of i photographs pictures are so cheap, and l ves of a l p inters, copiously il ustrated , are so easily HENRY TH E EIGHTH 5 1

t e — i study h master that master who touched , w th ED W AR D THE S I XTH

e n e d six e a s — 5 R ig y r : 1 547 1 5 3 .

orn 1 53 B , 7

TH E M EN AND WOM EN

E E H R we have a reign which , f rom its very shortness , can hardly be expected to yield

of us much in the way change,

yet it shows, by very slight

f of movements , that orm growth which preludes the great changes

to come .

I think I may call a halt here , and proceed to tell you why this volume is commenced with

Henry VII . , called the Tudor and Stuart volume , and ends with the Cromwells .

n It is because , between these reig s , the tunic

achieves maturity, becomes a doublet , and dies , 52 EDWARD TH E SIXTH 53 practically just in the middle of the reign of

. of Charles II pungent memory . The peculiar garment, or rather, this garment peculiar to a

of certain time , runs through its various degrees cut . It is, at first, a loose body garment with i f skirts the sk rts become arranged in precise olds, f the olds on the skirt are shortened , the shorter they become the tighter becomes the coat ; then we run through with this coat in its periods of

u ffin s n th e p g , slashi gs, this , that, and other sleeve, all coats retainin g the small piece of skirt or

th e basque , and so to straight , severe Crom w e ll ian jerkin with the piece of skirt cut into

h e ! tabs , until the volume ends, and y presto there marches into history a Persian business

a frock coat, straight, trim, quite a near cousin to our ow n garment of afternoon ceremony. For a sign of the times it may be mentioned that a boy threw his cap at th e Host just at the

time of the Elevation . To Queen Elizabeth has been given the palm for the wearing of the first silk stockings in k England , but it is nown that Sir Thomas Gres

ham gave a pair of silk stockings to Edward VI . W e now see a more general appearance in the 54 ENGLISH COSTUME

streets of the flat cap upon the heads of citizens .

- The hood , that eminently practical head gear, took

of f long to die, and , when at last it went out ashion , except among the labouring classes , there came in th e cap that now remains to us in the cap of the Beefeaters at the Tower of

London . I t is th e time of jerkin

o r j a c k e t , d o u b l e t o r

coat , and hose g e n e r a l l y w o r n w i t h

trunks , which ff were pu ed, short knicker h ockers . Th e ft flat cap , a erwards the statute cap as ordered by Elizabeth , became , as I say, the ordinary head wear, though some , no doubt, kept hoods upon their heavy travelling cloaks . This cap , which some of f the Bluecoat Boys still wear, was en orced upon the people by Elizabeth for the encouragement

56 ENGLISH COSTUM E

n of ff in painti g Edward , and the pu the shoulders not so rotund .

of The doublet this reign shows no change , but the collar of the shirt begins to show signs of

ff of . the ru later years It is no larger, but is generally left untied with the ornamental strings hanging. ft Antiquarian research has , as it o en does , muddled us as to the meaning of the word

’

r . Fairh olt pa tlet , who is very good in many

n : ways , puts dow in his glossary, Partlet A

’ gorget for women . Then he goes on to say that a partlet may be goodness knows what else .

’ M in sh e in says they are ‘ part of a man s attire

of as the loose collar a doublet, to be set on or

off f taken by itsel , without the bodies , as the

’ icadill ie s daie s p now a , or as mens bands, or ’ f womens neckerchie s , which are in some, or at

’

a m l . least h ve been within emorie, ca led partlets

: S ir F . Madden says The partlet evidently appears to have been the corset or habit-shirt

worn at that period , and which so commonly

of occurs in the portraits the time, generally made

’ of velvet and ornamented with precious stones .

’ of 1 5 9 8 of Hall, the author Satires , , speaks a

AND WOM AN OF T H E TIME OF ED D 1 — WAR V I . ( 547 1 553)

c h an ge fro m th e d re ss of th e pre vious re ig n sh o ul be e asil n ot ce es e cia ll in th e case of th e d y i d , p y w o m a n . Th s re ss 15 o f course of th e l a n e st I n i d , p i th is t m e i ,

EDWARD TH E SIXTH 57

ff i man, an e em nate dandy , as wearing a partlet strip . It appears to me , who am unwillingly forced into judgi ng between so many learned

f all persons , that, rom I have been able to gath f rom contemporary records and papers , the partlet

M in sh e in ‘ l of is indeed, as says, the loose col ar a

’ doublet, in reality the same thing as a shirt band .

Henry VIII . wore a band about his neck , the

of forer unner of the ruff. Some his bands were of l ff si ver cloth with ru s to them, others, as I

w f . have sho n, were wonder ully embroidered 8 V OL . I I I . 58 ENGLISH COSTUME

of In this case, then , the partlet is head the f t amily ree to our own collar, to be set on or

’ off lf of ff taken by itse , and so by way ru , valued at threescore pound price apiece , to plain bands , f — to alling bands , laced neckcloth , stock to the nine pennyworth of misery we bolt around our necks .

Dress , on the whole, is much plainer, sleeves

f of are not so ull cuts and slashes , and they fit more closely to the arm . The materials are rich , but the ornament is not so lavish ; the portrait of Edward by Gwill im S tre te s is a good example o f ornament, rich but simple . Shoes are not cut about at the toe quite with the same splendour, but are still broad in the toe.

For the women , it may be said that the change towards simplicity is even more marked . The

- f very elaborate head dress, the olded, diamond shaped French hood has disappeared almost entirely,

for f f and, the rich , the hal hoop , set back rom the forehead with a piece of velvet or silk to hang — down the back , will best describe the head gear — From that to the centre pointed hoop shows the

’ f of ti e n d of the shape. This latest orm woman s

of f head apparel was born, I think, out the olds

60 ENGLISH COSTUME

The most notable change is the collar of the

n . gown, which suddenly springs i to existence It h f i is a igh collar and very open in ront, show ng

of - h ll is a piece the u nder dress . On t is co ar

’ n — — sew what I shall call the woman s partlet, as the embroidery is often detachable and answers the same purpose as the man ’s partlet this later became - w i a separate article, and was under propped th i f w res to hold it out sti fly. ff- The same sti bodied appearance holds good , but in more simple dresses the skirts were not

n f quite as volumi ous as hereto ore. W ith overcoats in general the hanging sleeve

of is being worn , the arm the wearer coming out

- just below the puffed shoulder piece . W ith these remarks w e may safely go on to the reign of Mary ; another reign which does not

in of yield us much the way clothes . M AR Y

e n e d fiv e e ars 1 53—1 58 R ig y : 5 5 . '

orn 1 51 6. arr e d 1 554 h l of a n . B , M i , , P i ip Sp i

TH E M EN AND M E WO N .

I CANNOT do better than commence this chapter

of A 3 by taking you back to the evening ugust ,

1 5 5 3 f- . Mary , with her hal sister Elizabeth , entered

London on this date . At Aldgate she was met b of y the Mayor London, who gave her the City sword . From the Antiquarian Repertory comes this account

’ f First, the citizens children walked be ore her magnificently dressed ; after foll owed gentlemen in of habited velvets all sorts, some black, others l in white , yel ow, violet, and carnation ; others ff of wore satins or ta ety, and some damasks all of f colours, having plenty gold buttons ; a terwards f ll o owed the Mayor, with the City Companies , and the chiefs or masters of the several trades ; after 61 62 ENGLISH COSTUM E

them, the Lords , richly habited , and the most n co siderable knights ; next came the ladies , married of and single , in the midst whom was the Queen f l hersel , mounted on a small white amb ing nag, the housings of which were fr inged with gold thread ; about her were six lacqueys , habited in o vests f gold . f The Queen hersel was dressed in Violet velvet , f of and was then about orty years age , and rather fresh coloured . f Be ore her were six lords bareheaded , each c arrying in his hand a yellow mace , and some others bearing the arms and crown . Behind her f l of r ol owed the archers , as well the fi st as the

second guard . f l is She was o lowed by her s ter , named Madame in f Elizabeth , truth a beauti ul Princess , who was also accompanied by ladies both married and ’ single . In the crowds about the city waiting to stare l at the new Queen as she passed by, one cou d

recognise the various professions by their colours . The trained bands in white doublets with the City arms before and behind ; law yers in black ; sheriffs and aldermen in furred gowns with satin sleeves citizens in brow n cloaks and workers in cloth o r

64 ENGLISH COSTUME

A change has come over the streets , the town f of is ull Spaniards come over with Philip, and s in the e br g with them many innovations in dress . The most noticeable is the high-peaked Spanish

r hat, a velvet bag with a narrow brim, wo n on

of . one side the head There is, - w also, a hard cro ned hat, round the crow n-base of which is a gold cord clasped by a jewel ; f a eather is stuck into this hat. Yet the mass of citizens wear

of the flat cap, some them, the f older men , have a coi tied

under their chins , and over this

the flat cap . Again, older men

wear black velvet skull caps .

W a m ith these Spani rds co es,

of also, the first appearance

ff l . the ru , very neat and sma l ’ Although the overcoats of Henry s and Edwards f reigns still orm the principal wear, the short f l f Spanish cloak has come in, cut in ul olds , and reaching not far below the waist . They also brought in the cloak with a turned up high collar ; and some had sleeves to their cloaks .

A M AN OF T H E TIM E OF M ARY — ( 1 553 1 558)

T H E h al f-w ay be tw e e n th e dre ss of r530 and cl oa ve r m uch of th e e rro d an d a tunic in th e A k y p , i n ow ar s th e oubl e t state of e volut o t d d .

MARY 65

One sees more beards and moustaches, short i cl pped beards, and beards with two points .

of Shoes are now more to the shape the foot,

“ n and high boots strapped up over the k ee, also

f- v hal boots with the tops turned o er to be seen . f O ten, where the hose meet the trunks, these are turned down . The doublets become shaped more closely to the body, all showing the gradual change towards the Elizabethan cos

ll n tume, but sti retaini g the

r of characte istics earlier times , as th e long skirt t o t h e doublet , and th e op ening

r of to show the colla the shirt, or partlet strip . f Ladies now show more hair, parted, as be ore,

in ff . the centre, but now pu ed out at the sides f - The new shape o head dress becomes popular, an d the upstanding coll ar to the gown is almost universal .

n The gow s themselves, though retaining the fo f ki same appearance as be re , ull s rts, no trains , - big sleeves, and split to show the under gown, 9 V OL . 1 1 1 . 66 ENGLISH COSTUM E have the top part of the gown covering the bosom

for n made of a separate material, as , i stance, a gow n of fin e cloth wil l have collar and yoke of velvet . W i omen wear neat l nen caps, made very plain

- an d a . close to the he d, with small ear pieces On the shoulders there is a fashion of wearing

f of lk kerchie s linen or si , white as a rule ; white,

f f for for in act, is requently used dresses , both men and women . The custom of carrying small posies of flowers

n comes in , and it is interesti g to see the Queen ,

r in her portrait by Antonio More, car ying a bunch

68 ENGLISH COSTUME quiet change that could take place in those fe w ’ f years , and alter man s exterior rom the appearance of - ff -f a playing card, sti , square , blob ooted , to the doublet and hose person with a cartwheel of a

ff . ru , which recalls to us Elizabethan dress EL I ! ABETH

Re igne d 45 ye ars 1 558 -1 603

TH E M EN

HE RE we are in the middl e of

r W great discove ies ith adventurers ,

n with Calvi and Michael Angelo , i living and dying, and Gal leo and Shakespeare seeing light— in the very

of centre and heart these things , and we and they discussing the relations

of . the law to linen How, they and

- we ask , are breeches , and slop hose

in ! cut panes , to be lined In such writings we are bound to concern ourselves with the little things that matter, and in this reign we meet

i i fu a hundred l ttle th ngs , little ssy things , the

- like of which we leave alone to day . But this

- is not quite true . To day a man , whether he cares 69 70 ENGLISH COSTUM E

for to admit it or no, is ever choosing patterns ,

s h is colours , shade , styles to suit own peculiar per son alit y . From the cradle to the grave we are

w — a fr decked ith useless ornaments bibs , s shes, ills , ff little jackets, neat ties , di erent coloured boots ,

h of clot es ceremony, clothes supposed to be in harmony with the country, down, at last , to the

of clothes an old gentleman, keeping a vague

of reminder twenty, thirty years ago in their style , — and then grave clothes . How well we know the Elizabethan ! He is a stock figure in our imagination ; he figured in our

first schoolboy romances , he strutted in the first plays we saw . Because it was an heroic time we hark back to it to visualize it as best we may so that — we can come nearer to our heroes Drake , Raleigh ,

of and the rest . The very names the garments — ff arouse associations ru , trunks , jumper, doublet ,

i - of j erk n, cloak , bone bobbin lace , and lace Flanders

’ they almost take one s breath away. ff Here comes a gentleman in a great ru , yellow

- f . starched , an egg shaped pearl dangles rom one ear

One hand rests on his padded hip, the other holds a case of toothpicks and a napkin ; he is going to his tavern to dine. His doublet is bellied like a

72 ENGLISH COSTUM E

m of across our emory the picture a lighted stage, a

of - n w row shops , a policeman , and then a well k o n l !’ voice cal ing, Hello , Joey, here we are again Here we are again after all these centuries clown and pantaloon, the rustic with red health on f his ace , the old man in Venetian slops St . Panta

— as loone just as Elizabethan , humour included, anything can well be .

r of Then, ente Harlequin in his clothes gorgeous t k f pa ches ; the quic , almost invisible thie , the instigator of all the evil and magic . His patches and rags have grown to symmetrical pattern, his — loose doublet has become this tight fittin g lizard

of skin flashing gold and colours , but his atmosphere recalls the great days . — — To these enter 1 830 Columbine an early Vic torian lady, who contrives to look sweetly modest in the shortest and fril liest of skirts she looks like a rose , a rose on two pink stalks . She , being so

ff of in di erent, gives the picture just the air magic congruity. Once, years ago, she was dressed in

of rags like Harlequin , but I suppose that the age sentim ent clothed her in her ballet costume rather than see her in her costly tatters .

W e ow n are a conservative nation , and we like our ELI! ABETH 73 old jokes so much that we have kept through the ages this extraordinary pleasing entertainment

all fr straight down, clothes and , om the days of

Queen Elizabeth .

of Even as we dream this, and the harlequinade

— a dazzles our eyes, the dream changes new sound

f W e is heard , a sound rom the remote past, too . listen eagerly, clown, pantaloon, harlequin, and columbine vanish to the sound of the pan-pipes and

of the voice Punch .

- - r oOtit - Root ti toot, y toot There, by the

of u corner the q iet square, is a tall box covered i ’ w th checkered cloth . Above a man s height is an i open ng, and on a tiny stage are two figures , one in ff i ff a doublet sti ened out l ke a pea pod , with a ru

r hanging loose about his neck, bands at his w ists ,

— in a cap on his head Punch . The other with a l en — ff . cap and a ru round her neck Judy Below, on the ground by the gentleman who bangs a drum - f and blows on the pan pipes stuck in his mu fler, is — a dog with a ruff round his neck Toby. And we — — kn ow delightful to think of it that a box hidden by the check covering, contains many curiously

fi u re s— all f of dressed g riends ours , The world is certainly curious, and I suppose that an Elizabethan

v or 1 1 1 . 1 0 74 ENGLISH COSTUME revisiting us to-day would find but one thing the

of same, the humour the harlequinade and the

Punch and Judy show . l I f i Now let us get to the dul part. you w sh to swim in a sea of allusions there are a number of books into which you may dive

’ ic ic M rocyn on . ’ e w an l ed l w Pl e asan t Quippes for Upsta r t N f g Ge nt e om en . ’ ’ Hall s Satires. ’ ’ Stu bbes Anatom ie of Abuses . ’ ’ Th e Cobbl er s Proph e sie . ’ w e en r de an d L ow l n e ss Th e De bate bet P i i . ’ h n of um ours ood in th e e ad Va n e T e Letti g H Bl H i . ’ Th e Wits Nu se rie . ’ ’ e ie Euph ues Golden L gac . ” v u of h is u m our E e ry M an o t H .

I f you do n ot come out from these saturated

u w l with detail then yo i l never absorb anything.

-fittin For the shapes, the doublet was a close g if f garment , cut, in the Italian ashion, down to a long peak in front. They were made without sleeves , like a waistcoat, and an epaulette overhung the armhole . The sleeves were tied in to the doublet by means of points (ribbons with metal tags). These doublets were for a long time

76 ENGLISH COSTUM E

Both doublet and jerkin had a little skirt or base . The very wide breeches known as trunks were worn by nearly everybody in the early part of the

vi e for reign, until they ed with Ven tian breeches fashion . They were sometimes made of a series of wide bands of different colours placed alternately

Te u u a

of ff sometimes they were bands , showing the stu ed

nk ff tru hose underneath . They were stu ed with t — any hing that came handy wool , rags , or bran and were of such proportions that special seats were put in the Houses of Parliament for th e f gentlemen who wore them . The ashion at its

height appears to have lasted about eight years .

A M AN OF T H E TI M E OF EL I! ABETH — ( 1 558 1 60 3)

H E w ea rs a ouble lin e n colla r nearl as usual at d , y H is tr u n h ose w ill be se e n th I s tim e as th e ruff. k f His boots are th rough th e ope ning s o h is trunks. th r s H is cloa is an h el d up by two l e a e tra ps. k I ta l ian fashion .

EL I ! ABETH 7'7

The Venetian breeches were very full at the top and narrowed to the knee ; they were slashed and ff pu ed, or paned like lattice windows with bars of ff coloured stu s or gold lace . The French breeches were tight and ruffled in ff pu s about the thighs .

of The stockings were yarn , or silk, or wool .

They were gartered about the knee , and pull ed up over the breeches ; but the man most proud of his leg wore

but e no garters , d pended on the shape of his leg and the fit of his stocking to keep the position . These stockings were sewn with clocks at the ankles , and had various patterns

t m of on them , some i es gold or silver

- in thread . Open work stock gs were known . The stockings and breeches were

if r called , the breeches were sho t and the stockings if all the way up the leg, trunk hose and trunks ; the breeches came to the knee and the stockings w just came over them , they were kno n as upper stocks and nether stocks . f of The shoes were shaped to the oot, and made 78 ENGLI S H COSTUME various leathers or stuffs ; a rose of ribbon some

times decorated the shoes . There were shoes with Of high cork soles called moyles . course , there were gall ants w h o did things no one else thought of — - e for doing wearing very square t ed shoes , a f inst nce , or cock eathers in their hair. The stu rtops were boots to

the ankle . As for the

hair, we have the love lock tied with rib

bons , the very same that we see caricatured in the wigs of clown and pan

W e ft f taloon . have , also , hair le airly long and f f brushed straight back rom the orehead , and short

an d cropped hair . Beards moustaches are worn by most . w They wore little cloaks covered ith embroidery,

W for lace, sometimes even with pearls . For inter or

r hard travellin g the jo n e t or loose cloak was wo rn .

80 ENGLI SH COSTUME

coloured laces ; his bonnet is green, and has a copper brooch with the picture of St . Dennis . And to want nothing that might make him

f r - amorous in his old days , he had a ai shirt band

l cke r am of white o , whipt over with Coventry blue

’ of no small cost . ELI ZABETH 81

The hats worn vary in shape from steeple - im crowned, narrow br med hats, to flat, broad crowned hats ; others show the com ing tendency

- towards the broad brimmed Jacobean hat . Round

of these hats were hatbands every sort, gold chains , ffl ru ed lace, silk or wool. I think we may let these gallants rest now to

f ! a c e -2 0 0 N

— walk among the shades a walking geography of

clothes they are, with French doublets , German ff hose, Spanish hats and cloaks , Italian ru s , Flemish f f shoes ; and these with chalked aces , uzzed peri

of f r r wig s alse hai , partlet st ips , wood busks to il a keep straight slim waists, w l m ke the shades 1 1 V OL . 1 1 1 . 82 ENGLI SH COSTUME

for laugh perhaps, or perhaps only sigh , there are m any in that dim wardrobe of fashions who are f f still more oolish , still more alse, than these

Elizabethans .

THE W OMEN

Now this is the reign of the ruff and the monstrous hoop and the wired hair. As a companion to her

f of wi lord, who came rom the hands his barber th i his hair after the Ital an manner, short and round

f f z a and curled in ront and ri zed, or like a Spani rd, long hair at his ears curled at the two ends, or with a French love lock dangling down his

— — of shoulders , she his lady sits under the hands

r of f hair her maid, and t ies various attires alse ,

of l principally a yel ow colour. Every now an d again she consults the looking-glass hanging on her girdle ; sometimes she dresses her hair with

of f - chains gold, rom which jewels or gold work tassels hang ; sometimes she, too, allows a love f l lock to rest upon her shoulder, or a l negligently on her ruff. Even the country girl eagerly waits for news f f l of the town ashions, and ol ows them as best sh e may.

84 ENGLI SH COSTUME

f in of the shoulders , ull sleeves ending bands cam bric over the hands (these sleeves slit to show puffs

of ri fr fu camb c om the elbow to the wrist) , the skirt ll

an and long, but without y train ; the whole fitted

ELI ZABET H 85

l far wel to the figure as as the waist, and very

ff fr sti in ont . Over this a second gown , generally of V - plain material, split above in a shape, split below at the waist, and cut away to show the

. of undergown The sleeves this gown were wide , and were turned back or cut away just by the elbow . Both gowns were laced up the back.

l n This second gown had , as a ru e, a high, standi g

e collar, which was lin d with some rich silk or with lace. This shape gave way to a more exaggerated

f n all an of . orm, and fi y to m y varieties exaggeration The lady might wear a jerkin like in shape to a ’ ft man s, except that o en it was cut and low square ff over the bosom, and was not stu ed quite so much in front ; every variety of rich material was used for k an d d this jer in, the sleeves were as varie as 86 ENGLI SH COSTUME

’ were the man s , split and tied with ribbons . f False sleeves attached at the shoulders , and le t ff to hang loose, pu ed, slashed all over , with or without bands of cambric or lace at the wrists ;

f stif these bands sometimes were rills , sometimes

u fe ed and turned back . No person except royalty

- might wear crimson except in under garments , and the middle class were not allowed to wear velvet except for sleeves .

This jerkin was sometimes worn buttoned up,

’ like a man s , to the neck , and when the hoops came f into ashion and were worn high up near the waist, the basque or flou n ce at the bottom of the jerkin

f l of was made long, and pleated ul to the top the hooped petticoat . The plainer fashion of this was a gown buttoned — high u p to the ruff— and opened from the waist to the feet to show a full petticoat of rich material ; this was the general wear of the more sober minded . Sometimes a cape was worn over the head and shoulders , not a shaped cape , but a plain , oblong piece of stuff. The ladies sometimes wore the shaped cape, with the high collar that the men wore . The French hood with a short liripipe was worn by

88 ENGLI SH COSTUME this fashion was more common to men than

. e s e ci women Hats were interchangeable , more p f ally the trim hat with a eather, in shape like those

of . worn by the Yeoman the Guard , but smaller

of n ff The shoulder pinions the jerki s were pu ed , slashed, and beribboned in every way . The wing

f all sleeves, open rom the shoulder the way down, were so long sometimes as to reach the ground , ft f and were le hanging in ront , or thrown back over the shoulders , the better to display the rich undersleeve .

- - The ladies shoes were cork soled , high heeled,

- of ff and round toed . The girdles were every stu , f rom gold cord, curiously knotted , to twisted silk ; f - rom these hung looking glasses, and in them were

stuck the embroidered and scented gloves . Ladies went masked about the streets and in the if theatres , or they wished to be unconventional , they sat in the playing booths unmasked , their i f pa nted aces exposed to the public gaze . i The shoes w th the high cork soles , to which

I have just alluded , were in common use all over

of — f Europe, and were all heights rom two inches

' — h zn to seven or eight and they were called c op es. They were not such a foolish custom as m ight ELI ZABETH 89

for f appear, they protected the wearer rom the

f l n appalling filth o the streets . The tal chopi es that Hamlet mentions were really very high -soled

n - slippers , i to which the richly embroidered shoes were placed to protect them when the ladies

of walked abroad . The shoes were made leather w i and velvet stitched with silk, embroidered th gold , or stamped with patterns, slashed sometimes , l and sometimes laced with coloured si k laces .

Some ladies wore bombazines , or a silk and ff cotton stu made at Norwich , and bone lace made

of at Honiton , both at that time the newest English

f in goods , although be ore made Flanders ; and they ff imported Italian lace and Venetian shoes , stu ed f their stomachers with bombast, and wore a rontlet

bon mce on their French hoods , called a g , to keep f f their aces rom sunburn . f Cambric they brought rom Cambrai in France , and calico from Calicut in India— the world was hunted high and low for spoil to deck these

ff k all gorgeous , sti , buc ramed people, so that under this load of un iversal goods one might hardl y hope f to find more than a clothes prop in act , one might more easil y imagine the overdressed figu re to be a

marvellous marionette than a decent Englishwoman . 1 2 V OL . 1 1 1 . 90 ENGLI SH COSTUME

F alstaff will not wear coarse

d owlas s hirts, dandies call for f ostrich eathers, ladi es must have Coventry blue g o w n s a n d I t a l i a n fl a g shap ed fans everybody is in the fashion from

of milkmaids to ladies the court, each as best as they

may manage it. The Jew moves about the streets

in his l on l ca i _ g gaberdine and yel ow p, the lady pads

92 ENGLI SH COSTUME of W burnished metal shine. ith great care this ’ f ‘ wig is astened on to the Queen s head, and she watches the process with her bright eyes and

ll f in m sti eatures the great irror. w Then , hen this wig is fixed to her mind , she

n rivie rises , and is helped i to the p coat of bones and buckram, which is laced tightly by the women at her back . Now comes the moment when they are about to fasten on her whalebone hips the great farth in g al e w ov e r w h ich her voluminous i petticoats and sk rts will fall . The wheel of bone is tied with ribbons about her waist, and f there securely fastened . A ter some delay in h choosing an undergown, she t en puts on several linen petticoats, one over another, to give the required fulness to her figure ; and then comes — the stiffly-embroidered undergown in this case but a petticoat w ith a lin en bodice which has no sleeves . W ith great care she seats herself on a broad

f of ff chair, and a per ect army ru s is laid before h r - i i u ff e . As the tire woman is d splay ng the r s l she talks to the Queen, and tel s her that peculiar

of of story, then current , the Lady Antwerp , who was in a great way because she could not get

WOM AN OF T H E T I M E OF EL I! ABETH — ( 1 558 1 60 3)

COM PARE o s te fash i on ppo i .

ELI ZABETH 93

ff in her ru to set aright , and when a passion she l if cal ed upon the devil to take it, as in answer to the summons a young and handsome gentleman

. ff appeared Together they tried the ru , and the young gentleman suddenl y strangled the lady and i van shed . Now when they came to carry away

ffin of the co the lady some days later , it was f f ound that no one could li t it, so , in the end , it w as O Of pened , and there, to the surprise every

ff. body , sat a great black cat setting a ru The

’ i for Queen s eyes tw nkle on this story, she has

f of — a great und dry humour and so , to the

Of ff r business the ru s . Fi st one and then another is discarded ; and finally the choice falls between

of one great size , shaped like a catherine wheel Of d and starched blue, and the other three epths f but not Of such great circum erence, starched f f Of . yellow, a ter the receipt Mrs Turner, a terwards hung at Tyburn in a ruff of the same colour.

- r e com The Queen wavers, and the tire woman

l : mends the smal er bands This , madame , is one of those ruffs made by Mr . Higgins, the tailor J ’ near to St . ames s , where he has set up an — establishment for the making of such affair s it

icadillie is a p , and would 94s ENGLI SH COSTUME

The Queen stops her and chooses the ruff ; it f W is very much purled into olds , and it bristles ith points . The women approach w ith a crimson over-gown ’ — a nd slips it over the Queen s head it is open in f ront to show the rich petticoat, and it has great

ff m ah oitre s stu ed wings , epaulettes , or on the

—fittin c Of shoulders . The tight g bodi e the gown ff is buttoned up to the throat, and is stu ed out in front to meet the fall of the hoops ; it has fal i l ng sleeves, but the real sleeves are now brought and tied to the poin ts attached to the shoulders

of Of the gown . They are puffed sleeves the - w f same material as the under go n , and the alling sleeves of the upper gown are now tied with one or two bows across them so that the effect of the sleeves is much the same as the effect of the skirts ; an embroidered stuff showing in the Open

of ing a plain material . These are call ed Virago

sleeves .

Of This done , the strings pearls are placed

’ around the Queen s neck , and then the under propper or supportasse of wire an d holland is

f icadillie ff astened on her neck , and the p ru laid

for over it . The Queen exchanges her slippers

96 ENGLI SH COSTUME

for . example, Coriolanus Here are the clothes all usions in that play

t n n re as ca s Wh e n you cast your s i ki g g y p , Y ou h a v e m ade ood w or g k , ’ n -m e n Y ou an d you r a pr o .

’ Go to th e m w ith th is bon ne t in yo ur h an d.

’ En te r Coriol an us in a gow n of h u m ility .

M atr on s fl n l ov e s l ad e s a n d m a ds th e r scarfs an d i g g , i i i ’ h an dke r ch e rs.

! ’ Th e kitch e n m a lkin pins h e r r ich e st l ockra m bout h e r ’ re e ch y n e ck .

’ ur ve l e d da m e s O i . ‘ Co m m it th e w ar of w h ite and da m ask in th e ir n ice l y ’ gaw de d ch e e ks to th e w an ton an d spoil of Ph oe bu s burn in g ’ sse s ki .

Doubl e ts th at h angm e n w ould bury w ith th e se th at w ore "

th e m .

I have not kept the lines in verse , but in a con

v e n ie n t l way to show their a lusions .

In Pericles we have mention of ruffs and bases . Pericles says

” m v e of a a of base s I a pro id d p ir . Certainly the bases might be made to appear

if of Roman , one accepts the long slips cloth or

c ra m is c arse l n e n Lo k o i . ELI ZABET H 97 leather in Roman military dress as being bases ; — but Shakespeare is really as in the case of the — r uffs alluding to the petticoats of the doublet of his time worn by grave persons . Bases also apply to silk hose . In Titus Andronicus we have

’ An d o h o lds h i i i t s ba ubl e for h is God.

Julius Cw sar is mentioned as an Elizabethan

” H e l uc e d o e h is doubl et p k p .

’ The Carpenter in Julius Cae sar is asked

’ Wh e re is th y l eath e r apron a n d th y rul e P

’ - The mob have sweaty n ight caps .

Cleopatra, in Anthony and Cleopatra, says

’ ” I v u f l ll gi e th e e a n ar m o r a ll o go d.

’ ’ W Of The inter s Tale , the action which occurs

f r f l of . o in Pagan times , is ul anachronisms As, W instance, hitsun pastorals, Christian burial, an

of fifte e n th - Emperor Russia , and an Italian century

: painter . Also

Law n as w h ite as dri ve n sn ow ; ! Cypr us bl ack a s e re w as crow ; Gl o ve s a s sw e e t as dam as k rose s Masks for face s an d for n ose s

’ v Thin stuff for w om e n s e il s.

V OL . I I I . 98 ENGLI SH COSTUM E

u l e -brace le t n e c ace am ber B g , kl , ’ Pe rfum e for a l ady s ch am be r ;

olde n uo fs and sto m ach e rs G qi , ’ - Pin s an d pol kin g sticks of ste e l .

of So , you see, Autolycus , the pedlar these early

of r — w times , is spoken as car ying polking sticks ith ff which to sti en ru ffs .

’ of Shylock, in The Merchant Venice, should wear an orange-tawn y bonn et lined with black

ffe for Of ta ta, in this way were the Jews Venice

n disti guished in 1 581 . In The Tempest one may hear of rye-straw ’ of i f hats, gaberd nes , rapiers , and a pied ool s

costume .

’ In The Two Gentlemen of Verona we hear

’

Wh th en our l ad sh m ust cut our h a r . y, , y y ip y i

’ No rl I ll tie it u in s l en str n s , gi p i k i g With tw e n ty odd con ce ite d true -l ov e kn ot; To be fantastic m ay be com e a youth ’ m h a I sh all s ow o be Of greater ti e t n h t . Also

n ce sh e did n e l e ct h er l oo n - l ass Si g ki g g , - ’ An d th re w h e r sun e x pellin g m ask a w ay .

Many ladies at this time wore velvet masks . The Merry W ives of Windsor gives us a

1 00 ENGLI SH COSTUME

Again of a gown

l oth of o d an d cuts an d l ace d w th s lv e r se t w th C g l , , i i i earl s down s de s s de sl e e v e s and s r ts round un de r born e p i , i , ki , ’ w th a bl u sh n l i i ti se .

’ In As You Like It one may show a careless desolation by ungartered hose, unbanded bonnet, unbuttoned sleeve, and untied shoe . The Taming Of the Shrew tells of serving men :

I n th e r n e w fust an and th e r w h te ac ets L e t i i i i j k . th e r bl ue coats be bru sh e d an dth e r arte rs of an n dffe ren i , i g i i t ’ n k it.

’ Also we have a cap moulded on a porringer.

’ ’ Love s Labour s Lost tell s of

’ Your h at pe n th ouse -like o e r th e sh op of your e ye s ; w ith your ar m s crosse d on your th in be lly doubl et like a rabbit on a spit ; or your h an ds in your pocke t l ike a m an ’ n afte r th e old pain ti g . All ’s W ell that Ends W ell ’

’ W hy dost th ou garte r up th y ar m s 0 th is fa sh ion ! Dost m a ke a h ose of th y sl e e v e s ’ ’ ‘ Yon de r s m y l ord your son w ith a patch of v e l v e t on s ’ w h eth e r th e re be a sca r un der t or n o th e v e l ve face : , t ’ ’ w s Th e re s a dozen of e m w th del cate fin e h ats kn o . , i i

courte ous fe ath e rs wh ch bow th e h e ad an d n od at an d m ost , i ’ e v e ry m an . ELI ZABETH 1 01

In Henry IV Part II there is an allusion

to the blue dress of Beadles . Also

’ bout th e sat n for m sh l sl s A i y ort c oak an d op . Th e sm ooth - a te s do n ow w e ar n o h n but h h sh oe s p t i g ig , ’ an d bun ch e s of e s at th e r r dl e s k y i gi . To take n otice h ow m an y pa ir of sil k stockin gs th ou ’ h ast or be ar h e v to t n e n or of h sh r ts. , i t y t y i There are small and unimportant remarks upon

r e — d ess in oth r plays, as dancing shoes in Romeo i ’ and Jul et and in Henr y VIII .

’ ran ce Th e re m ain s of fool and fe ath e r th at th e y got in F .

Te n n s an d tal l stoc n s i ki g , ’ l s e ch d h se e s of trav e l Sh ort b i tere d bre e s an t o typ .

But in Ham l et we find more all usions than in f the rest . Hamlet is ever be ore us in his black

Tis n ot al on e m n cl oa ood m oth e r y i ky k, g , ’ su f s l e m n l a c Nor custom ar y its o o b k .

L ord am l e t w th h is doubl e t a ll un brace d H , i ; h is h e ad h is stoc n s foul ed No h at u pon ; ki g , n arter e d an d do w n - oe s to his an cl e U g , g ; ’ Pal e as h is sh ir t.

You r l adysh ip is n e are r to h e a ven th an w h en I saw you l a st b th e alt tude of a , y i

0 it offen ds m e to th e soul to h e ar a r obust ous e r w , i p i ig ’ o ers pate d fe ll ow te ar a passion int tatt .

h sol e s Sh oe s w ith v ery h ig . 1 02 ENGLI SH COSTUME

W th two rov n c a ose s on m ra e d sh oes i p i i l r y gg , ’ sea- wn m e My go sca rfe d about .

v n ll Ha i g read this, I think it wi be seen that there is no such great difficulty in costuming any

a . play, except perhaps this l st There have been many attempts to put Hamlet into the clothes of of the date his story, but even when the rest of the characters are dressed in skin s and cross

t in gar ered trousers, when the Vik g element is

ll abso strongly insisted upon, sti there remains the

l in i l ute y Elizabethan figure nky black, with his l very E izabethan thoughts , the central figure,

' almost the great symbol of his age .

1 04 ENGLI SH COSTU ME

In the first place , one must endeavour to show how a Carolean gentleman , meeting a man in the street, might say immediately, Here comes one who still

’ ff a a ects J cobean clothes . Or how an Elizabethan

f n lady might come to li e, and, meeti g the same

! v man, might exclaim, Ah these are e idently f ’ the new ashions . The Carolean gentleman w ould

r of ff notice at fi st a certain air sti ness, a certain f padded arrangement , a sti f hat , a crisp ornament

ri of feathers . He would see that the doublet va ed f rom his own in being more slashed , or slashed in many more degrees . He would see that it was ff sti ened into an artificial figure, that the little

of cu t of skirt it was very orderly, that the the sleeves was tight . He would notice also that the ’ f man s hair was only hal long , giving an appear

of for ance not being grown long beauty, but

for merely that it had not been cut some time .

He would be struck with the preciseness , the cor

Of rect air the man . He would see , unless the f l stranger happened to be an exquisite e low, that his shoes were plain , that the roses on them were

. W O small and neat His trunks , he ould bserve , f ff. were wide and ull, but sti Mind you , he would be regarding this man with seventeenth -century JAM ES T HE FI RST 1 05 eyes -e yes which told him that he was himself an

f in of elegant , careless ellow, dressed the best taste and comfort—eyes which showed him that the

Jacobean was a nice enough person in his dress, -f f but old ashioned, grand atherly .

i a r of f To us , meet ng the p i them , I am a raid that a certain notion we possess nowadays of clean lin e ss and such habits woul d oppress us in the com

of f pany both , despite the act that they changed

l . their inen on Sundays , or were supposed to do so

w on And we, in our absurd clothes , ith hard hats ff our heads , and sti collars tight about our necks , creases in our trousers , and some patent invention f f of the devil on our eet , might eel that the Jaco bean gentleman looked and was untidy, to say the w f lea st of it, and had better be vie ed rom a dis tance . To the Elizabethan lady the case would be r e f versed . The man would show her that the ashions for men had been modified since her day ; she would see that his hair was not kept in, what she ff would consider, order ; she would see that his ru was sm aller, and his hat brim was larger . She

of would , I venture to think, disapprove him , ’ thinking that he did n o t look so smart .

V OL . I I I . 1 06 ENGLI SH COSTUME

For ourselves, I think we should distinguish him at once as a man who wore very large knicker h ockers tied at the knee, and, in looking at a

of of company men this time, we should be struck by the padding of these garments to a preposterous

There has come into fashion a form of ruff cut f square in ront and tied under the chin, which can

be seen in the drawings better than it can be

described ; indeed, the alterations in clothes are f not easy to describe , except that they ollow the general movement towards looseness . The trunks have become less like pumpkins and more like

of ff loose , wide bags . The hats , some them sti and

1 08 ENGLI SH COSTUME down the street across a Scotch plaid saddle cloth and pass by a beggar dressed In clothes Of

’ fri r V I I I . s Hen y time, or pass a end looking truly Elizabethan — but he would

find generally that the short , swollen trunks were very little — worn , and also another point — that a number of men had

taken to walking in boots ,

of . tall boots, instead shoes As he rides along in his ff velvet cloak , his pu ed and

slashed doublet, his silken w hose, his hands gloved ith

embroidered gloves , or bared

n of to show his ri gs , smelling

scents , a chain about his neck , he will hear the many street cries about him

’ W ll ou bu an san d m str ess ! i y y y , i room s br oom s for old sh oe s ! ouch -r n s boots or B , P i g , , buskin gs ! Will ye buy an y n e w broom s Ne w o ste rs n e w o sters ! Ne w n e w coc l e s y , y , k

Fre sh h e rr n s cocke l s n e i g , y ’ Will you buy an y straw ! ’ H a e e an tch e n stuff m a ds ! y y y ki , i ’ n s fine ! h err e r e r e r e ! Pippi C i ip , ip , ip

M I A M AN OF TH E T I M E OF JA ES . — ( 1 60 3 1 625)

H E sh ows th e m e rgin g of th e Elizabe th an fash ion Ch arle s I Th e stiff oubl e t an d in to th e fash ion of . d l h e s th e l an t collar and th e r bbons th e oose breec , p , i

t th e nees. On 11 15 h aw in l ove is a h aw a k k g g k , h ooded and jesse d .

JAMES TH E FI RST 1 09

And he will pass apprentices , most of them stil l

in flat caps, blue doublets, and white cloth breeches

i in and stock ngs , sewn all one piece, wi th dagger

on their backs or at their sides . And then, travel i i i ling w th his man , he will come to h s nn . For f of i the li e me, though it has little to do w th dress ,

I must give this picture of an inn from Fyn e s

M or son w i f y , which ll do no harm, despite the act

W Of that Sir alter Besant quoted some it .

As soon a s a asse n er com e s to an I n n th e se r v ants run p g , ’ to h im ( th e se w ould be in dou ble t an d h ose of som e pl ain col our w th sh rt-coll ars to th e doubl e ts turn e d dow n l oose , i i ; th e tru n s w ould be w de an dto th e n e e a n dth e re button ed k i k , ) ,

an d on e ta ke s h is h orse an d w al s h im t ll h e be cool th en k i , 1 1 0 ENGLI SH COSTUME

r ubs h im a n d v e s h im m e at e t I m ust sa th at th e a re gi , y y y n ot m uch to be tr uste d in th s l a st o n t w th out th e e e of i p i , i y th e a s e r or h i se r van o o v e h m An oth e r ser van t M t s t t rse e t e . v e s th e assen er h is r v ate ch am ber an d n dle s h is fire gi p g p i , ki , ’ th e th ird pulls off h is boots and m a ke s th e m cl e an (th e se tw o se rv an s w ou ld be w e ar n a r on s Th e n th e ost or t i g p ) . H oste ss v s ts h im an d if h e w ll e at w th th e ost or at a H i i , i i H , com m on tabl e w th th e oth e r s h is m e a l w ll cost h im six i , i

e n ce or in som e l a ce s bu t fou r e n ce e t th s cour se is l e ss p , p p , y i h onou rable an d n ot u se d by Ge n tl e m en ; but if h e w ill e at in h is ch a m be r h e w ll re ta n h is h at w th n th e h ouse h e ( i i i i ), com m an ds w h at m e ats h e w ll a ccord n to h is a et te an d i i g pp i , as m uch a s h e th n s fit for h im an d h is com an e a th e i k p y, y ,

tch e n is o e n to h im to com m an d th e m e a t to be re sse d ki p , d as h e l e s be st an d w h e n h e s ts at tabl e th e ost or ik ; i , H oste ss w ll acco m an h im if th e h a v e m an ue sts w ll H i p y , y y g , i at l e ast v s t h im ta n it for courte s to be bid sit dow n i i , ki g y ; w h l e h e e ats if h e h av e com an e s e c a ll h e sh all be i , p y p i y, offe re d m us c w h ch h e m a fr e e l ta e or re fuse an d if h e i , i y y k , be sol itar y th e m usician s w ill giv e h im good day w ith m usic in th e m orn n i g . I t is th e custom and in n o w ay disgra ce ful to se t up part of su e r for h is bre a fas pp k t. ‘ Lastl a M an ca nn ot m ore fre e l com m a y, y n d at h o m e in h is ow n h ouse th an h e m a do in h is I n n an d at ar i y , p ting f h e give som e fe w pe n ce to th e Ch am be rlin an d Ostl e r th e y ’ w sh h im a h a ou e i ppy j rn y .

Beyond this and the drawings I need say no more . The drawings w ill show how the points Of a

1 1 2 ENGLI SH COSTUME Yet so difficult do I find it to lead her tripping out of the wardrobe into the world, I would remind myself Of the laws for servants in this time

‘ An d n o se r van t m ay toy w ith th e m a ids un de r pain of ’ four en ce p .

It is a salutary warning, and one that must be

’ kept in the mind s eye, and as I pluck the lady f rom the old print , hold her

by the Dutch waist, and twirl her round until the Catherine wheel fardin gl e is a blurred

circle , and the pickadell a mist

Of f for white linen , I eel , my

prying, like one who has toyed

under pain of fourpence . There are many excell ent people with the true historical mind who would pick up my lady and strip her in so passionless a way as to leave her but a mass Of Latin names

—so — many bones , tissues , and nerves and who would then label and classify her wardrobe under

Old so many English and French , Dutch and

Spanish names , bringing to bear weighty argu ments several pages long over the derivation of JAMES TH E FI RST 1 1 3

’ cartoose the word or pickadell , write in note

of fin e rie s books her little secret , bear down on one another with thundering eloquence upon the rela f tion o St . Catherine and her wheel upon seven te e n th — f century dressmaking, and so con use and bewilder the more simple and less learned folk tha t we should turn away from the Eve of the seven te e n th century and from the heap of clothes upon the floor no whit the wiser for all their pains . 1 Not that would laugh , even smile, at the dili gence of these learned men who in their day puzzled the father Of Tristram Shandy over the

of im question breeches , but , as it is in my mind possible to disassociate the clothes and the woman , f f I find it di ficult to ollow their dissertations , how

- ever enlightening, upon Early English cross stitch . ft f And now, a er I have said all this , I find mysel doing very n early the same thing. if ’ You will find , you look into the lady s ward f robe, that she has other ashions than the close

: sleeve she has a close sleeve as an under sleeve, with a long hanging sleeve falling from the elbow ;

u ff of she has r s at her wrist pointed lace, more f uff ff . c s than ru s , indeed She does not always ollow

f of the ashion the short Dutch waist as she has , we 1 5 V OL . I I I . 1 1 4 ENGLI SH COSTUME

can see, a dress with a long waist and a tapering

of front to the bodice . Some dresses hers are divi ded in the skirts to show a barred petticoat , or i a petticoat with a broad border of embro dery.

Sometimes she is covered with little bows, and at others with much gold lacing ; and now and again she wears a narrow sash round her waist tied with a bow in front .

’ She is taking more readily to the man s hat, f f eathered and banded, and in so doing is orced to dress her hair more simply and do away w ith

l f e ft jewe lery on her or head ; but , as is o en the

r case , she dresses her hai with plumes and jewels

li ff of and little nen or lace ru s , and atop all wears a linen cap with side wings to it and a peak in the centre .

ff f of Her ru is now , most generally, in the orm

in f an upstanding collar to her dress , open ront, finishing on her shoulders with some neat bow or

l t of other ornament. is lace of very fine work

n manship , edged plain and square , or in all man er of f ancy scallops , circles , and points . i ff l Sometimes she w ll wear both ru and col ar, the ruff underneath to prop up her collar at the back to the required modish angle. Sometimes

1 1 6 ENGLI SH COSTU M E

ff silk , cloth , or velvet has a ected both men and women ; and the countries which gave a name to the cuts of the garments are evidenced in the

’ literature of the time. How a man s breeches or

’ are slops Spanish his waist, like the lady s, Dutch ; his doublet French his and her sleeves and wings on the shoulders French ; their boots Polonian, G f cloaks erman, hose Venetian , hats rom every i where . These spruce coxcombs . w th looking glasses set in their tobacco boxes , so that they may privately confer with them to see

H ow h is ban d u m eth w th h is ccadll j p i pi i y, Wh e th er h is ban d-stri n s ba l e n ce e uall g qy, ’ Wh ch wa h is fe ath e r w a s i y g ,

- strut along on their high heeled shoes , and ogle any lady as she passes . Another fashion common to those in the high mode was to have the bodice below the ruff cut so low as to show all the breast bare, and this , to

w of f gether ith the painting the ace, gave great

- offence to the more sober minded . The ruffs and collars of lace were starched in

r — - many colou s purple, goose green, red and blue , yellow being completely out of the fashion since the murder of Sir Thomas Overbury by Mrs . Anne

A WOM AN OF TH E T I M E OF JAM ES I — ( 1 60 3 1 625)

H ERE is se e n th e w i e fardin al e or farth in al e th e d g , g , e l aborate un e rs irt a n d th e l on h an l n sle eve s d k , g g g h o l o th e ver tal l u stan in ff or of t e wn . s ru g A . y p d g collar of lace .

JAMES TH E FI RST 1 1 7

f Of of Turner, the riend the Countess Somerset ; and this because Mrs . Turner elected to appear at the gallows in a yellow ruff. f or fardin al e . As the g , it was having its last fling — This absurd garment had its uses once so they

of say who write scandal a Spanish Princess , and served to conceal her state upon a certain time but when ladies f f orsook the ashion ,

al they wore a loose , most shapeless , gown, Open from the waist f to the eet , and a plain, unstiffened jerkin or jacket underneath . Such a conglomera tion is needed (if you remember we are look ’ f in g over a lady s wardrobe) to make a lady o ff ff aro a the time : such stu s as rash , ta eta p p , n ov ats sh a e filize tta m och ado . , gg , , damask , Rash ff ff m och ado is silk and stu , ta eta is thin silk , f l an is mock velvet . There , again , one may a l into antiquarian trap ; whereas m och ado is a m an u fac 1 1 8 ENGLI SH COSTUME

of m okkadoe ture silk to imitate velvet, is a woollen cloth , and so on there is no end to it. Still, some may read and ask themselves what is a re batoe .

- ff It is the collar like ru worn at this time. In this

of f medley things we shall see purles, alles , squares , bu ske s f i , tires , ans , palisadoes (this is a w re to hold ff the hair next to the first or duchess knot), pu s,

ff frisl e ts l e n dul e ts ru s, partlets , , fi lets , p , bracelets , h - - usk points, shoe ties , shoe roses , bongrace bonnets , and whalebone wheels— Eve

for ! All this . what purpose To turn out one of those extraordinary creatures with a cart-wheel

of round the middle their persons . f As the reign died , so did its ashions die also

Of r ff padded breeches lost some their bombast, u s

Of far din al e s of much their starch , and g much f their circum erence, and the lady became more

Elizabethan in appearance, wore a roll under her f hair in ront, and a small hood with a jewelled f f rontlet on her forehead . It was the last o the

of Tudor dress , and came, as the last flicker a f ’ candle , be ore the new mode, Fashion s next f ootstep .

1 20 ENGL I SH COSTUME

f collars ell down, and shirts lounged through great open spaces in the S leeves . It was the time of an immaculate carelessness ; f f the hair was ree , or seemed ree, to droop in

’ languid tresses on men s shoulders , curl at pretty l ’ f f wil on men s oreheads . Shirts were le t open at the neck, breeches were loosed at the knee . Do

I revile the time if I say that the men had an

Of air, a certain supercilious air, being dukes dis guised as art students 7

W e all Of know, us, the Vandyck beard, the Carolean moustache brushed away from the lips ;

’ we know Lord Pembroke s tousled carefully

’ — Kil i r w s tousled hair ; g e elegant locks . — From the head to the neck is but a step a CHARLES THE FI RST 1 21 — sad step in this reign and here we find our friend

u ff ll of the r utterly tamed ; pickadi ies , now out ’ f request, writes one, tamed into the alling band ,

f of - the Vandyck collar, which orm neck dress has never left the necks an d shoulders of our modern

f at fu youth ul prodigies , indeed, one time, no youth l

wi t of genius dare be thout one . The varia ions this coll ar are too well known ; of such lace as edged them and of the man ner of their i ty ng, it would waste

e l time to t l , except that in some in stances the strings are secured by a rin g. Such a chan ge has come over the doublet as to make it hardly the same garm ent ; the little sla shes have become two or three

, wide cuts, the sleeves are wide and loose with as a

of , rule, one big opening on the inside the arm with ff this Openin g embroidered round . The cu s are like

- . little coll ars , turned back with point lace edges The actual cut of the doublet has not altered a

of great deal, the ordinary run doublet has the poin ted front, it is tied round the waist with a 1 6 V OL . I I I . 1 22 ENGLI SH COSTUME little narrow sash ; but there has arrived a new

ft O f of jacket , cut round, le pen rom the middle the breast, sometimes cut so short as to show the shirt below bulged out over the breeches . Some times you will see one of these new short jackets i with a sl t in the back , and under this the man

’ w ill be the round trunks of his father s

time . The breeches are mostly in two classes— the

of long breeches the shape bellows, tied at the knee with a number of points or a bunch of coloured ribbons ; or the breeches cut the same

M ~ T I M E H R A AN OP TH E OF C A LES I . — ( 1 625 1 649 )

H E h as w ra e h i s bl u e cl oa over his arm a usu al pp d k , m th o of carr in th e cl oa . H e is sim l resse e d y g k p y d d , t f I'l b II S or om ts Wi th ou bunch es o p .

CHARLES TH E FI RST 1 25 turned in all manner Of ways by those who cared to give thought to it . The insides of the tops of these boots were

n w r li ed ith lace or silk , and the dandy tu ned — them dow n to give full Show to the lining this turning of broad tops was such an inconvenience that he was forced to use a straddled walk when he wore his boots thus . wi Canes were carried th gold , silver, or bone f heads , and were ornamented urther by bunches

Of ribbon .

Coming again to the head , we find ribbon also in use to tie up locks Of hair ; delicate shades of ribbon belonging to some fair lady were used to tie up locks to show delicate Shades of love . Some men wore two long love-locks on either

of f - side the ace , others wore two elaborately curled locks on one side only.

The hats , as the drawings will show, are broad in the brim and Of an average height in the crown, but a dandy, here and there , wore a hat with next to no brim and a high crown . Most hats were feathered . There is a washing tally in existence of this of time belonging, I think , to the Duke Rutland, 1 26 ENGLI SH COSTUM E

of which is very interesting. It is made beech w wood covered ith linen , and is divided into

ft of fi een squares . In the centre each square there is a circle cut, and in the circle are numbers . Over the number is a plate with a pin for pivot in th e

an d centre, a handle to turn , a hole to expose a

of number. Above each circle are the names the articles in this order

ffs an des a u . e C es. uffe s and erch r . R B . C . H k pp

Sh irte s. H alfsh irts oote ose To s S ockes. . B H . pp . h ee s Pill ow Tow ell ts Na n s. s. . beres Ta e l o h e s b . S . l C t pki

-f ll h alfsh irts Topps are linen boot ri s, and are

stomachers . There remain s little to be said except that black

w as f for a avourite dress men, also light blue and

- cream coloured satin . Bristol paste diamonds were

in great demand , and turquoise rings were very

fashionable .

’ V an d ck For the rest, y s pictures are available

of to most people, or good reproductions them,

i of and those, w th a knowledge how such dress

n came i to being, are all that can be needed .

1 28 ENGLI SH COSTUME

Early in the reign the high -dressed hair was abandoned, and to take its place the hair was dressed so that it was gathered up by the ears , ft le parted on the crown, and twisted at the back f to hold a plume or eather. Time went on , and hairdressing again altered ; the hair was now taken in four parts : first the hair was drawn well

Off f back the orehead, then the two side divisions were curled neatly and dressed to fall Over the

f r of ears, the ourth g oup hair was neatly twisted and so made into a small knot holding the front f hair in its place . Later on came the ringe of

l of smal curls, as in the portrait Queen Henrietta

W n at i dsor by Vandyck .

W e ff see at first that while the ru , or rather — the r e batoe that starched lace high collar

fardin al e remained , the g having disappeared ,

f for le t, the upper gown, an enormous quantity of waste loose material that h ad previously been stretched over the far dingal e and parted in front to show the satin petticoat From this

n there sprung, firstly, a wide, loose gow , open all the way down and tied about the middle with a narrow sash, the opening showing the boned bodice of the under-dress with its pointed protruding CHARLES THE FI RST 1 29

’ f stomacher, the woman s ashion having retained

’ f of the orm the man s jerkin . Below this showed the satin petticoat w ith its centre strip or band f o of . embroidery, and the wide border the same

In many cases the long hangi ng sleeves were kept . Then there came the fal l of the r e batoe and

of the decline the protruding figure, and with this the notion of tying back the full upper skirt

S l to how more plain y the satin petticoat, which was now losing the centre band of ornament and the border. W ith this revolution in dress the di sappearing ruff became at first much lower and then finally f vanished, and a lace collar, alling over the k shoulders, too its place . This gave rise to two

f in distinct ashions collars, the one as I have f described, the other a collar rom the neck , like

’ a large edition of the man s collar of that time . This col lar came over the shoulders and in two points over the breast , sometimes completely hiding the upper part of the dress . The stiff-boned bodice gave place to one more

of easily cut , shorter, with , in place the long

of point, a series long strips , each strip ornamented round the hem .

V OL . I I I . 1 30 ENGLI SH COSTUME

ff f At this time the sleeves , di erent rom the

Old-f ful ashioned tight sleeves , were very l indeed , and the sleeve of the loose over-gown was made

i in w der proportion , and was tied across the

d -S k of un er leeve above the elbow by a not ribbons,

ff of the whole ending in a deep cu lace . Then\ - the over gown disappeared , the bodice became a

. f S short jacket laced in ront, openly, so as to how the Sleeveless bodice of the same material and ! colour as the petticoat ; the sleeves were not made so wide, and they were cut to come just below f n w . the elbow, leavi g the rists and orearm bare In win ter a lady often wore one of those loose f Dutch jackets , round and ull , with sleeves just

- long enough to cover the under sleeves , the whole lined and edged with fu r ; or she might wear a S h ort circular fur -lined cape wi th a small turned

i Of Over coll ar. In summer the l ttle jacket was ten discarded , and the dress was cut very simply but

an d very low in the bust, they wore those voluminous silk wraps in common with the men .

The little sashes were very much worn, and orna

of k of ments nots ribbon or points (that is, a ribbon with a metal tag at either end) were universal. The change of fashion to short full sleeves gave

1 32 ENGLI SH COSTUME

- o These ladies wore shoe roses upon their sh es,

of and these bunches ribbon , very artificially made f up, cost sometimes as much as rom three to

r r thi ty pounds a pai , these very expensive roses

n bei g ornamented with jewels . From these we

’

f . derive the saying, Roses worth a amily

In the country the women wore red , gray, and

for black cloth homespun , and riding they put w on safeguards or outer petticoats . The ide brimmed beaver hat was in general wear, and a lady riding in the country would wear such a hat or a hood and a cloak and soft top boots . Womens ’ petticoats were call ed plackets as well as petticoats . W ith the careless air that was then adopted by everybody, which was to grow yet more care

f l of . ul y careless in the reign Charles II , the hair was a matter which must have undivided atten

of tion , and centuries tight dressing had not improved many heads , so that when the loose love-locks and the dainty tendrils became the f ashion, many good ladies and gentlemen had recourse to the wigmaker. From this time until f but an hundred years ago, rom the periwig

for f of . bought Sexton , the ool Henry VIII , down

A WOM AN OF T H E T I M E OF C HA RL ES I . — (1 625 1 649 )

l ff Th e re ss NOT I CE th e broad col ar a n d de e p cu s. d Th e bo ce l S lace w ith th e is S i m pl e but rich . di d r Th e h air is arran e sam e col our as th e n a ro w sash . g d te c url s ve r th e foreh e a I n a serie s of e l abora o d .

CHARLES TH E FI RST 1 33

’ ’ to the scratches and bobs of one s grandfather s

- youth , the wigmaker lived and prospered . To day,

of more secretly yet more surely, does the maker

f i th e trans ormations l ve and prosper, but in days when to be vvigl e ss was to be undressed the perruquier was a very great person .

of This was the day, then, satins , loosened hair, f elbow sleeves , and little orehead curls . The

ff Of sti ness the older times will pass away, but it had left its clutch still on these ladies ; how far ft l it vanished, how entirely it le costume , wi l be seen in the next royal reign, when Nell Gwynne was favourite and Sir Peter Lely painted her .

THES E exce ll e nt dr a wings by Hollar n e e d T e a e I cl d i h n o e x pl an ation . h y r n ude n t is book be ca use of th e ir great v al ue a s accu r ate con te m porary dra win gs of costu m e .

THE CROMW ELLS

1 — 649 1 660 .

TH E M EN AND W N OME .

I l e ft m ure m s ress for a s ace y p i t p , An d to a sn ip -sn a p barbe r straigh t w e nt I

I cut m h a r an d did m cor y i , y ps u n e ase ’ ’ Of a l s p re pr ide th at did offe n d th e eye ; h h crow n e d h at m l ttl e be ard a l so My ig , y i ,

M e e ke d h an d m sh oe s w e re sh a r at' toe y p , y p .

on e w as m sw ord m be lt w as l a d as de G y , y i i , And I tran sfor m e d both in l ooks a n d spe e ch ’ M are l l a n m cl oa w a s vo d of r de y p p i , y k i p i ,

l ttle s rts m m e tam or h ose d bre e ch My i ki , y p , stoc n s bl ac m arte rs w e re t ed sh orte r My ki g k , y g i , ’ l ov e s n o sce nt th us m arch e d I to h e or e r My g ; r p t .

I T of ‘ of is a question, in this time restraint , f ormalism, where anything could be made plain , f cut in a cumbrous ashion, rendered inelegant, it w as done . The little jackets were denuded of

f of fri all orms ppery, the breeches were cut straight, 1 37 V OL . I I I . 1 8 1 38 ENGLI SH COSTUME

e if of and the ornam nts, any, were the most severe order . Hats became broader in the brim, boots f wider in the tops , in act, big boots seemed almost f S o f . a ign heavy religious eeling The nice hair,

- love locks, ordered negligence all vanished , and

plain crops or straight hair, not

m over long, arked these extra I t ordinary people . was a natural

n revolt against extravage ce, and in some more sensible minds it was not carried to excess ; points w and bows ere allowable, though l Of sombre colours . Sashes sti l

of held good , but larger size,

ff r ru s at the w ists were worn ,

but of plain linen . The bands or collars varied in S ize according to the religious enthusiasm of the

all wearers , but were plain with i out lace edg ngs, and were tied with plain strings . Black , dark brown , and dull

r g ay were the common colours , relieved some if times, the man was wearing a sleeveless coat, by the yellow and red -barred sleeves of the under jacket, or possibly by coloured sleeves sewn into

Nb'rICE th e care ful lainne ss ofh is re ss andhis v er p d , y w i -to ts de ppe d bOO .

1 40 ENGLI SH COSTUME with the difference in colour and in ornament

for ff that made severity . It had an e ect on the country insomuch as the country people ceased to be extravagant in the materials for garments f and in many like ways , and so lay by good ortunes — for their families these families coming later into the gay court of

Charles II . had all the more to lav ish on the foll ies of his

fashions . The Puritan is as well-known a figure as any in history ; an intelligent child could draw you a picture or describe you a Puritan as well

’ as he could describe the Noah of Noah s Ark . He has become part of the stock for an Academy

humourist , a thousand anecdote pictures have been f painted of him ; very O ten his nose is red , generally

r he has a book in his hand, laughing maids b ing f him jacks O ale, jeering Cavaliers swagger past

h im : his black cloak , broad shoes , wide Geneva

A WOM AN OF TH E TI M E OF TH E — CROM W EL LS (1 649 1 660 )

T HI S ts -not one of th e m ost Puritan ical dresses but sh ows h ow th e r ich n e ss of th e re ig n of Ch arle s I . was tone own . S h e ca ri e s a m uff in h er h an d d r d , we ars a oo W e col la r and cuffs an d n eat roses on g d id , h e r sh oes.

TH E CROMWELLS ban ds are as much part of our national picture as Punch or Harlequin . l The Puritaness is also known . She is genera ly represented as a sly bird in sombre clothes ; her

f S r i town garments, ull ki ts, black hood, deep l nen

- collar are shown to hide a merry eyed lady, her country clothes , apron, striped petticoat, bunched u p s k i r t linen c ap , h e r l i t t l e

fl a u n t o f

curl s S h ow her still mis

c h i e V o u s . The pair of t h e m , i n reality relig f ious anatics, pr epared a — harvest that they little dreamt of a harvest of

n extravagant clothes and extravagant man ers , when f th e country broke loose from its false bondage o

, texts, scriptural shirts , and religious petticoats and f of launched in to a bondage, equally alse, low cut dresses and enormous periwigs. 1 42 ENGLI SH COSTU M E

In the next reign you will see an entirely new

Of — era clothes the doublet and jerkin , the trunks ff i and ru s have their last eccentric fl ng, they

of h a ll become caricatures t emselves , they do the fo olish things garments can do , and then, all of — a sudden , they vanish never to be taken up - f again . Hair, long neglected , is to have its ull

w for sway, igs are the note two centuries , so utterly different did the man become in the short

of -fiv e of space thirty years , that the buck the Restoration and the beau of the Jacobean order i would stare helplessly at each other , wonder ng each to himself what manner fool this was f standing be ore him .

E ND OF V OL . I I I .

A WOM AN OF T H E TI M E OF T H E — CROM W ELL S ( 1 649 1 660 )

TH IS sh ow s th e m odification of th e dress of th e ti m e

f Ch arles I . Not an e tre m e ch an e but o x g , xm l rcu e n deavour towards s p y.

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-' - E S T S . L S T T P in te a n d D e scrIbe d b 2: T I AC.E ILLU RA IONS IN COLOUR a d y FULL PAG ILLU RA ION IN W H W E E RS . T U R BAYNE M . R S AT IVE BoRD BY A A. RS ILLING A M A N L Y By OLIVE R GOLDS M IT H T h e Ne w Fo r e s t I tad by H FU L L E Y LOV E , R . I . ‘ JO N T h e l e x t by ROS AI I NE MA S S ON 20 - E S T T S FULL PAG ILLU RA ION IN COLOUR V i c a r o f W a k e fne Edi n b u r gh

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PR I C E E H 68 . A C S ize S I x 6

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S TT R . H o w; Ii th e R EV . . I By A CO y R. C G LLI ’ Gu l l i v e r s T r a v e l s T h e T h e S to r y o f S to r - -' dv e n tu r e s o f Pu n c h 1 6 l U LL I AG E ILLUS TRAT ION S I N COLOUR 32 - E S T T S ( BY S T E PH EN BAG H OT D E LA II E RE FULL PAG ILLU RA ION F E E ) L o PAGE S T T \ LC I C C ILLU RA ION S l . CU U PI IN OLOUR S TE H E BAG H OT D E HERE P N LA BY H JO N BUNYAN By th e R E \’ R C GILLI AN/M A AUTOBI OGRAP ’ ’ L H ES T h e Pi l r i m s Pr o r e s s g g T h e K i n s fo l k a B l a c “ e a r B . 8 FULL-PAGE ILLUS T RAT IONS IN COLOUR Fr i e n ds o f J e s u I D H PER I V E T E D E H D , . . By , “ 11 0 ,"w G R RU MAIN AM MON R I x6 FULL-PAGE ILLUS T RAT IONS I N ‘ Ca t. V l L H AND S E By O E l UN I W PIA By P. G O D EHOUS E D o g . By G E M m o u Wi l l i a m T e l l T o l d By ST o R a t By G . M . A H EWE I T A g a n u n c l e T o m 8 Ca b CONT AINING 1 2 FULL-PAG E I LLus T RAT l ONS I N - - COLOUR x6 I U LL rAG E ILLUS T RAT IONS IN COLOUR 3 g u b u g g “ L ug RA1 1 0 ,“ m oth er : r e d r a m H D DD AND T H E I N ‘ H E T fi / a” . BY P ILIP A MANY O RS I

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’ S E E OcT Av o T H T T OI x 8 I NCH Es . PRI E 0 5 . NET. QUAR I M P RIAL , CLO , GIL ( I I § ) C 4 . l-U LL-PAG B S T T S AND T T o r WH S T E - RS W TE - S pAe LS 5 ILLU RA ION IN COLOUR IN I L R OIL COLOU , A R COLOUR , , AI ET CH INGS

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