SIXTEENTH CENTURY. CHARACTER OF TRIMMINGS.
Before the 16th century we find the art of decoration in costume had
been confined chiefly to applied ornamental bands at the neck, waist,
and borders of skirt and cloak. They had up till this time utilised,
with great artistry of design (no doubt partly due to the heraldic
study), the patterns of the finely decorated damasks and velvets.
The counter colour effects and relative proportions, such as a
small-patterned, dull-coloured silk setting off a large full-coloured
design was ably considered, as well as the introduction of a
nicely-balanced black note or setting, which proved these designers were
highly skilled in judgment of style. They also discovered the art of
giving enrichment and lightness to the effect by means of the various
serrated edgings to the materials, which also gave a flutter to the
movement. A preference of lacing for fastening added to the charm of the
dress, but the long rows of close buttons were also a feature of the
clinging robes, the clasps and brooches, neck-chains, girdle, belt, and
wallet being further very important items of enrichment to the effect.
On coming to the 16th century we enter what may be termed the slashed
and puffed period. The sleeves of Henry VIII's reign are very rich in
design and jewel-setting, the design of the sleeve as in Fig. 40 giving
a striking effect, the angle of the top sleeve being held out by the
stiffness of the under silk one. The neck-setting and festooning of the
jewel-chains play an important part in the design on the plain velvet
corset bodices. The head-dress is one of the most remarkable, and gave a
great chance for individual arrangement in binding the back fall to set
at various angles on the shaped cap piece, combining severity with a big
loose draping which is extremely picturesque. With Edward VI commences
what may be termed the braided period of decoration. This latter came
suitably with the stiffer corsage and set up. Mary's reign was not of
attractive severity, but the over-robe with the short circular sleeve at
the shoulder and high collar was a graceful creation, and was retained
by many as late as 1630. There was little to admire in the Elizabethan
age as regards design, except the beauty of the materials and the
exquisite needlework. The proportions of the dresses were exceedingly
ugly, and the pleated farthingale an absurdity. The male dress had much
interest and often beauty of setting and decorative effect. The slashed
materials gave a broken quality to what would otherwise be a hard
effect, and it also cleverly introduced another colour change through
the suit. There will be found many examples in these illustrations of
the pricked and punctured designs on leather-work which are worth
examining for modern treatment.
Quilting and pleating were ably combined with the braiding, and we see
the clever adaptation of straw patterns sewn on (a feature of the late
16th century), which harmonised with the gold braidings or gold lace, or
resembled the same effect.
The trimmings of braid were often enriched with precious or ornamental
stones and pearls, the stomacher, waist, front band down the skirt, and
borders of most garments. The points of slashes were often held by
jewelled settings, and the long slashes were caught here and there with
the same.
Another important item was the black stitchwork on linen, sometimes
mingled with gold, so highly prized now for its beauty of design and
effect, but beginning probably in the reign of Henry VII.
Short coats of this type of the Elizabethan age are marvels of skill,
and many caps are still in existence. Fine linen ruffs and collars were
often edged with this work, as well as with gold lace.
Jackets and caps, both male and female, bearing geometrical and scroll
designs in gold, filled in with coloured needlework of flowers, birds,
or animals have happily been preserved for our admiration.
Sequins appear on work from Henry VIII's time, and were much appreciated
by the Elizabethan workers, who no doubt found the trembling glitter
added much to the gold-lace settings and delicate veilings: long
pear-shaped sequins were favoured for this. Sleeves were often separate,
and could be changed at will.
SIXTEENTH CENTURY. HENRY VIII. FEMALE.
The hair at this period was parted in the centre and gathered into a
plait at the back; it was also seen rather full and waved at the sides
of the head, and a small circlet was often carried across the brow. A
cap of velvet or gold brocade, sometimes with a padded front, curved
over the ears to the neck, keeping the shape of the head. Over this
again a velvet fall was turned back from the front or shaped as in the
illustration, reaching to the shoulder. These falls were also bound into
set-out shapes, which gave many picturesque effects.
Dress had now taken a new phase, and the set bodice became a lasting
feature. At this period the waist was rather short, and the neck,
arranged in a low square or round form, generally filled in with
gathered lawn. The upper part of the sleeve was often divided from the
bodice by ties with lawn puffs, and was made in a full circular form,
slashed or puffed and banded, with a tight-fitting sleeve on the
forearm. Another type divided the upper and lower part of the arm at the
shoulder and elbow, the forearm being effectively tied or laced, and
the under lawn sleeve pulled through; small slashings are also seen on
these. At times a bell-shaped sleeve was worn, showing a slashed or
puffed under one. Many dresses were still cut in one, and were often
high-necked; with these usually a girdle or band of drapery was worn,
and some skirts opened up the front, showing a rich underskirt.
[Illustration: FIG. 40.--Sixteenth century, 2nd quarter.]
[Illustration: FIG. 41.--Period Henry VIII.]
Full skirts, heavily pleated at the waist, were worn in the earlier part
of this reign, banded in varying widths of designs to about the knee;
but a new development was in progress--a stiff, bell-shaped dress, set
on hoops over a rich underskirt which usually bore a jewelled band down
the centre, the upper one being divided in front to display this
feature. The bodice with this type becomes longer in the waist, and was
made on a stiff corset. Gloves are occasionally seen, serrated at the
cuff-end. Shoes of the slashed character and square toes were also worn
by the ladies, but many preferred a shoe with a moderately rounded toe.
The first mention of a leather umbrella is 1611, but this is a rare
instance, as they were not in use till the 18th century here, though
they are noted in continental prints during the 17th century.
[Illustration: FIG. 42.--Sixteenth-century modes, 1st half Henry VIII.]
SIXTEENTH CENTURY. HENRY VIII. MALE.
The modes at the end of the last century now developed into a heavier
character of design. The long hair soon began to be closely cut, and a
short beard came into fashion. A flat type of hat was worn, with
serrated brim, or tabs which could be turned down at times, and others
were kept in place by a lacing cord through holes. There was also a flat
"Tam o' Shanter" shape, generally worn well tilted on one side, and
amongst the upper classes mostly adorned with feathers.
The =V=-shaped collar, or opening to the belt, was still retained on the
jerkin, and plain or pleated skirts are seen, also a square
close-fitting vest, with a low square neck, filled with gathered lawn,
or one with a high neck and short collar, on which a very small ruff
appeared for the first time, and at the wrist as well. These were now
decorated with long slashes or gathered puffs: heraldic design was still
seen on the breast, and even parti-colour was worn, but this
character was now treated more by decorating with coloured bands on the
tunics or tights.
[Illustration: Plate X.--
(_a_) Black Velvet Bodice. 1600-25.
(_b_) Five Embroidered Waistcoats. Between 1690 and 1800.
_Pattern, see p. 292._]
[Illustration: FIG. 43.--Period Henry VIII.]
[Illustration: FIG. 44.--Cap shapes. Period Henry VIII.]
[Illustration: FIG. 45.--Variety of shapes and slashing. Henry VIII.]
Long coats were still worn of the shape described at the end of the 15th
century, but a short surcoat was the mode, reaching just below the knee,
sleeveless, or with the various hanging sleeves of this period, the
fronts usually turned back to form a wide collar, either round or square
in shape on the shoulder, or at times falling to a deep square at the
back.
The sleeves were full in the upper part, tightening to the wrist,
sometimes open up to the elbow and laced, or they were pleated into a
full round shape at the shoulder. Puffs and slashings increased in these
designs, and by 1520 we find the sleeves mostly divided into puffed and
slashed forms, which grew to fantastic proportions.
Very short, tight breeches or trunks, with a front flap or codpiece,
were decorated to match the body design and colour schemes; they
increased in length to the knee, or just below, during this reign, and
usually finished in a serrated roll.
[Illustration: Plate XI.--16 Leather Boots and Shoes. Between 1535 and
1860.
1. 1740-1780.
2. 1535-1550.
3. 1680-1700.
4. 1645-1690.
5. 1665-1685.
6. 1690-1710.
7. 1845-1860.
8. 1790-1820.
9. 1665-1670.
10. 1800-1820.
11. 1820-1840.
12. "
13. 1815-1850.
14. 1760-1780.
15. 1650-1670.
16. 1630-1660.]
[Illustration: FIG. 46.--Footwear, 1510-1540.]
Shoes were of the square form, some very short in front, held on by a
strap across the instep, others with fronts to the instep. The
corners were often brought out to a point on each side of the toes, and
the mode of decorating with slashing and punctures made them very
interesting. The sides of these shoes are very low, from 3/4 to 1 inch,
and no heels are seen. A big, round shape was also favoured, which
increased in width till a proclamation forbade it exceeding 6 inches.
Chains were still a decorative feature round the neck, and the belt
carried a sword and pouch, or, amongst the working classes, other
necessities.
SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY.
FEMALE.
In the reign of Edward VI, which was so short, as also in that of Mary,
there was little time to form a real character. These reigns form
developing links to the Elizabethan era, so I have taken them in one
chapter.
[Illustration: FIG. 47.
FIG. 48.
FIG. 49.
Elizabethan modes.]
[Illustration: FIG. 50.--Costumes, 1554-1568.]
[Illustration: FIG. 51.--Costumes, 1568-1610.]
With Edward VI the same shaped cap is seen as that of Henry VIII, and
with Mary's accession, the head-dress is curved to the head in a like
manner, but it now became more of a hat form and took a brim curved in
on the brow; this was often worn over the little tight curved cap,
or showed the hair waved out at the sides, often netted with gold and
pearls. A fall of velvet, silk, or veiling was still retained till the
very high ruff or collar came in the Elizabethan days. A small-crowned
hat, with a brooch and feather in front, and a full gathered crown came
in before Elizabeth's time, when we see many eccentric shapes, such as
the tall hat with a feather at the side, and the witch-like hats towards
the end of her reign.
The bodice, which became longer in the first reign, still retained the
full belled oversleeve or the full puffed sleeve to the end of Mary's
reign, also the same square neck shape with curved-up front, now often
filled with silk quilted with pearls up to the neck. High-necked dresses
set with a small ruff became general in Mary's reign. We also find a
tight sleeve gathered in a circular puff at the shoulder or set in a
rolled epaulet.
The same shaped skirt of the hooped bell form (sometimes very pleated in
Mary's reign) or divided in front to show the underskirt as described
under Henry VIII, was worn.
The short square shape and the heavy round shoe is seen in Mary's
reign, but fashion then preferred a rather pointed oval shoe, well up
the instep with higher sides, decorated with characteristic slashing.
Gloves are seen in many portraits up to this period, but of a plain make
minus embroidery, and a circular fan of feathers was carried.
SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. MALE.
With Edward VI and Mary a more refined and sober type of style set in.
The hair was now worn short and combed backwards. The flat hat of the
earlier shapes lasted to Elizabeth's reign; becoming smaller in width,
with a turned-down, curved brim and a fuller crown encircled with a gold
band or set with a feather worn at the right-hand side. A small
tight-fitting round hat with a rolled brim and a feather in front is
also of this later mode. Through these reigns a small square turned-over
collar or a very small ruff set on a high collar came into use, which
increased to a larger ruff in Mary's reign. A small ruff was also worn
at the wrist, many of these were edged with black-stitch designs. The
heavy puffed sleeves became tight and started from a small epaulet or
puffed roll; some of these had a small cuff at the wrist or a frill.
Braided designs became very elaborate on a close-fitting, padded, and
round-shaped jerkin with a short skirt, which appeared in the first
reign, and this skirt was often long enough to fasten just under the
codpiece. Short trunks at times worn half-way down the thigh were
slashed, banded, and puffed for decoration. No parti-colour was now worn
or striped effects on tights, except amongst the soldiers in the reign
of Mary. Short capes to the length of the trunks of a plain round form
sloping from the shoulders, or a square type with a high square collar
and loose sleeves, are seen; a tunic also of the earlier character with
a =V=-shaped collar and full sleeve comes into this reign, and we note the
earlier types of shoes mingling with the newer pointed oval-shaped shoe
which now continued for the remainder of this century.
[Illustration: FIG. 52.--Costumes, 1554-1580.]
[Illustration: FIG. 53.--Costumes, 1570-1605.]
In Mary's reign the round-shaped doublet began to protrude from the
breast to the waist in a round form with slightly longer skirts or small
tabs, while the trunks assumed large circular proportions and were
sometimes set on tight knee-breeches. The capes remained about the same.
SIXTEENTH CENTURY. ELIZABETH. FEMALE.
The costly splendour of attire is well known in Elizabeth's reign, which
began with the same form of hair and head-dress as with Mary, the hat
being set rather higher on the hair. The ruffs, which were imported
already starched from Holland, assumed larger proportions and
complications when the methods of starching became known in England
about 1564. Stow describes ruffs growing to a quarter of a yard deep;
these were no doubt supported by piccalilloes, though they are not
actually mentioned till after 1600, but they surely came with the
fan-shaped structures of these later days. White, red, blue or purple
colours were used in the starching, and yellow in the latter days of
this century. The introduction of this curved fanlike collar setting
became a grand and complicated feature right into the 17th century.
"Make up" became very apparent on the faces at this time, for
Bishop Hall censured the fashion in a choice sermon, saying, "Hear this,
ye plaster-faced Jezabels! God will one day wash them with fire and
brimstone."
[Illustration: FIG. 54.--Elizabethan modes.]
[Illustration: Plate XII.--
(_a_) Lady's Outdoor Costume. 1785-95.
(_b_) Costume. Early 18th Century.
(_c_) Silk Brocade Dress. 1760-80.]
[Illustration: FIG. 55.
1585-1610
1600-1620
1595-1605
1605-1615
1589-1600]
The bodices grew very long and pointed in the waist, the neck setting
being mostly treated in the same =V= shape, even open down to the waist
point was filled with a decorated stomacher, and a deep oval-shaped neck
was seen at the end of the reign. An outer opened sleeve was now
favoured, caught in front at the elbow and hanging to the knee over a
fairly tight undersleeve with a turned-back lace cuff or ruffle. With
this came the high-set fan ruff on its wooden support at the back of the
neck, and consequently a higher coiffure.
[Illustration: FIG. 56.
Nos. 1, 2, 3, 1540-50, and other shoe forms worn in the reign of
Elizabeth.]
The same character of skirt continued as in the earlier reigns on hoops
at the lower part, but they became much fuller and rounder at the hips
till about 1590, when the full pleated skirt was supported on a
farthingale or hoop which was set with a gathered circle in the same
goffered design as the ruffs at the edge. These reached their extreme
dimensions at the end of this reign, when the sleeves also assumed a
full padded shape and large epaulets also came in. An overdress with a
full pleated back (like the Watteau dress) was in fashion from the
middle of this reign, and we are lucky to possess some specimens in the
Victoria and Albert Museum of which I am able to give the dimensions.
Small looking-glasses were carried, and were also inset on the round
feather fans. Perfumed gloves, elaborately embroidered, were introduced
during this reign. Silk stockings were worn by Elizabeth for the first
time in 1560, and worsted stockings were made in England in 1564.
Corsets of pierced steel are seen in France from the late 16th and 17th
century, and may have been in use here, though wood, cane, and whalebone
were the chief supports. Shoes became narrow and even pointed, while the
heel began to increase to considerable heights. The buskins of Queen
Elizabeth now at Oxford are raised to 3 inches in height by the aid of a
thick sole, and shoes A and B, Fig. 61, are also reported to have
belonged to her. Chopins for heightening the stature were in use on the
Continent, but I believe did not appear here; but very thick corked
soles and high heels were introduced for this purpose.
[Illustration:
Plate XIII.--
(_a_) Silk Coat. 1735-55.
(_b_) Brocade Silk Coat. 1745-60.
(_c_) Embroidered Cloth Coat. 1770-90.
_Pattern, see p. 308._]
SIXTEENTH CENTURY. ELIZABETH. MALE.
In this reign a very neat small-pointed beard was the fashion, the hair
being brushed up as high as possible and often fulled out at the sides,
and a "chic" appearance was sought after. A stiff belled top-hat with an
egret at the right side made its first appearance with a curved brim,
also one of a tapered shape with a smallish round brim, and another very
small round hat with a curved brim, a clasp and feather being mostly
worn on the front of each. The brims of all the hats began to enlarge at
the end of the century when the very high crowned wide brimmed hat made
its appearance, sometimes with a peaked top, and beaver is first
mentioned in their make.
Large circular ruffs became all the rage besides the small turned-over
collar. The round doublet with protruding front became tighter at the
waist, the protuberance taking a punchlike pointed form curving to
almost between the legs and sloping sharply up the hips to the back.
This was set with a very short tab or tabs on padded breeches
tightening to the knee, which usually had very small trunks on the upper
part, and large, stuffed trunk hose also appeared. The stockings were
brought over these in a roll above the knee. Up to this time tights were
made of wool, worsted, fine cloth, frieze, and canvas. The slashings,
pleating, and gatherings of the period were of a much neater character,
and punched patterns and pricked materials came into use.
Close-fitting high boots, generally with serrated tops and thick soles
curving into a short heel, are features of this time. The shoe had a
long front decorated with slashings (often caught with jewels), and an
oval toe which became almost pointed in the last years of this century.
A short top-boot rising to the calf was also in use, mostly with a
little fur edge at the top, and these were often pricked with patterns.
[Illustration: FIG. 57.--Elizabethan modes.]