PLATE 47.
(Fig. 1): Costume of a gentleman of the time of Charles I., from a contemporary print. (Fig. 2): An exquisite of 1646, from a rare broadside, entitled “The Picture of an English Antick,” with all details of the costume exaggerated, patches on the face, and two love-locks tied with bows of ribbon. (Fig. 3): Head of George, Earl of Albemarle, showing the voluminous periwig of the time of James II. (Fig. 4): A Roundhead, from a print of 1649, showing the plainness and simplicity of costume adopted by the Puritans. (Fig. 5): Neckcloth which succeeded the ruff and band, and was generally worn by the courtiers during the reign of Charles II., by whom it was introduced from France. (Figs. 6, 7 and 8): “Petticoat breeches,” three types, as worn in 1656, 1658, and 1659, from Holmes’s “Contemporary Notebook on Costume,” preserved in the British Museum. (Fig. 9): Head of Sir Thomas Meautys, secretary to Sir Francis Bacon, showing a waved love-lock reaching to the elbow. (Fig. 10): King James I. in hunting costume, from “A Jewell for Gentrie,” published in 1614. He is shown wearing the stuffed or “bombasted” breeches. (Fig. 11): Costume of a Cavalier in the early part of Charles II.’s reign, from Ogilvie’s “Book of the Coronation.” (Fig. 12): A shoe (introduced from France), worn by the courtiers of Charles II., from a contemporary work, 1670. (Fig. 13): A boot with wide tops, worn in 1646, from a print of the time. (Fig. 14): A Jack-boot of the time of William III., such as was worn by the Cavalry of the time, from Meyrick’s “Arms and Armour.” (Fig. 15): Winter costume of a gentleman of the time of William III.
FEMALE COSTUMES.
James I.
The female costume of this reign presents few variations from that in use at the end of Elizabeth’s reign. The portrait of Anne of Denmark, Queen of James I. (Pl. [49], Fig. 1), in the general character of the dress, resembles that of Queen Elizabeth painted by Holbein. The enormous farthingale was worn throughout this reign by the nobility, the ruffs and collars worn at this time by the ladies being generally stiffened with yellow starch, like those of the gentleman.
“The fondness of ladies for painting their faces and exposing the bosom was severely reprimanded by the divines and satirists at the early part of the 17th century. While a ruff or band of immoderate size stretched forth from the neck, the front of the dress was cut away immediately beneath it, nearly to the waist, which made the fashion more noticeable, as all the other part of the bust was over-clothed, while the bosom was perfectly bare.”
Masks were worn by ladies on all public occasions, and it was considered a sign of impropriety to appear without them (Fig. 2).
The ruff went out of fashion during this reign, because Mrs. Annie Turner, a starcher of ruffs, who was executed for poisoning Sir Thomas Overbury, wore a starched ruff of the approved colour at her execution.