QUEEN ELIZABETH.
From an engraving by William Rogers.
The legend at the foot of the plate runs as follows:—
"The admired Empresse through the worlde applauded
For supreme virtues rarest imitation,
Whose Scepters rule fame's loud-voyc'd trumpet lawdeth
Into the eares of every forraigne nation.
Cannopey'd under powerfull angells winges
To her Immortall praise sweete Science singes."
The great wheel farthingale was worn by the nobility during the latter half of the reign of Elizabeth, and during the whole of the succeeding reign. The engraving by Renold Elstracke of James I. and his Queen, Anne of Denmark, shows the latter in a farthingale, which in size and general structure is identical with that worn by Elizabeth. It is, however, box pleated round the top of the drum, the farthingale being divided in front and discovering the kirtle underneath.
The following story is told by Bulwer in his "Pedigree of the English Gallant": "When Sir Peter Wych was sent ambassador to the Grand Seignor from James I., his lady accompanied him to Constantinople, and the Sultaness having heard much of her, desired to see her; whereupon Lady Wych, attended by her waiting women, all of them dressed in their great vardingales, which was the Court-dress of the English ladies at that time, waited upon her highness. The Sultaness received her visitor with great respect, but, struck with the extraordinary extension of the hips of the whole party, seriously inquired if that shape was peculiar to the natural formation of English women, and Lady Wych was obliged to explain the whole mystery of the dress, in order to convince her that she and her companions were not really so deformed as they appeared to be."
JAMES I. AND HIS QUEEN, ANNE OF DENMARK.
From an engraving by R. Elstracke.
In the reign of Charles I. the farthingale, although still worn by the lower gentry and citizens' wives, is discarded by the upper classes, and disappears entirely; and it is not until the latter part of the reign of Queen Anne that it rises again, like the Phœnix from its own ashes, but in another form, however, that of the enormous hoop, which grew to such portentous proportions during the reigns of George I. and II., the outstanding steel or whalebone foundation being mainly at the bottom of the skirt instead of at the hips. Sir Roger de Coverley thus expresses the difference between the earlier hooped petticoats and those of the era of the Spectator: "You see, sir, my great-great-grandmother has on the new-fashioned petticoat, except that the modern is gathered at the waist; my grandmother appears as if she stood in a large drum, whereas the ladies now walk as if they were in a go-cart."