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Early Modern Knitting at the Clothworkers’ Centre for the Study and Conservation of Textiles and Fashion

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On Friday I visited, The Clothworkers' Centre for the Study and Conservation of Textiles and Fashion, with a group from the Knitting History Forum. The Clothworkers’ Centre is the Victoria and Albert Museum’s storage facility in London, and any group can make an appointment to see material in store. There were about eight of us and some of us had made suggestions as to what knitted items we would like to see, ranging from the 16thcentury to the 20th century. We saw five items that I was particularly interested in. Because of copyright restrictions I can’t post the photographs that I took, but I have made links to the museums records, and to the right is a photograph looking across one of the tables that had been laid out for us, with the early 17th century jacket and the mid 17th century boothose. I recommend anyone, or group, with an interest in a particular area of clothing or fashion to make an appointment to see things that are in store, they are incredibly helpful. All the details are on the website. The items we saw included:

From the 16th century, the Triple layer cap No 1562&A-1901. I’ve seen lots of these knitted caps, but I don’t think I’ve seen one with three layers before, and the colour is a beautiful rich brown. The museum says it was found in a house in Worship Street, London. Worship Street runs from City Road east towards Spitalfields. If it was found then I assume it was not excavated. The Museum of London has a considerable collection of these types of cap mostly excavated. 

From the early 17th century an Italian silk knitted jacket  473-1893. The museum dates this to 1600-20, while Sandy Black in her book (2012) dates it to 1625-1650. It is very fine knitted in blue silk, blue silk covered with silver and yellow silk covered with silver. It is sized for a small person, under the armpits it is only about 78 cm (31 inches) round, at the bottom it is about 102 cm (40 inches). In length it is about 65 cm ( 25.5 inches). The bottom edging is a basket weave created by knitting alternate blocks of stocking stitch and reverse stocking stitch. Up the front of the jacket there is a linen strip containing the buttonholes for the 42 buttons.The turnback cuffs are kept in place with a stitch.


From the mid 17th century a pair of knitted woollen boot hose, T.63 & A-1910. These were knitted in two ply wool from the top down. In required casting on 375 stitches. The decoration of the boot hose top includes bands of cream wool alternating with bands of dark blue wool. The cream bands also have diamond patterns worked in purl stitch. After about 30cm the width of the boot hose top is brought down to leg size with rapid decreasing. Then at the top of the leg there is a roughly 10cm deep band of what looks like 4k, 5 purl rib.  At the ankle some of the blue decoration is knitted and some is embroidered. The foot is about 25-26cm (10 inches) long. Sandy Black has the gauge as 11 stitches and 21 rows to 2.5cm.

From the second half of the 17th century we had a cotton baby jacket  T.30-1932. This looks like you could go out and buy it from a baby shop today. Several of these early knitted baby jackets survive and there is a table of survivals with references in Ruth Gilbert’s article (2012) on a similar garment. There are decorative panels in knit and purl stitch along the bottom, either side of the centre front, at the centre back, along the length of the sleeves, and around the armholes.

From the early 18th century we had a Dutch petticoat T.177-1926, hand knitted in 2 ply wool. So, first cast on 2650 stitches, I would think that is enough to put anyone off. The finished garment is 312cm (10 feet 5 inches) round, and 77.5cm (10 inches) deep.  It is knitted at 88 stitches to 10 cm (4 inches). (Rutt, 1987) The petticoat is covered in motifs, the group stood around it pointing out obvious peacocks, camels, lions, monkeys, horses, toucans, and several less identifiable animals. 

Black, S., 2012. Knitting: fashion, industry, craft. London: V&A Publishing.
Gilbert, R., 2012. A knitted cotton jacket in the collection of the Knitting and Crochet Guild of Great Britain. Textile History, 43(1), pp. 90-106.
Rutt, R., 1987. A history of handknitting.. London: Batsford.

Book Review: Portrait Gallery of the Golden Age.

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Portrait Gallery of the Golden Age. M Hell et al. Amsterdam: Museumshop Hermitage, 2014. ISBN 978 90 78653523. (English language version) €19.95

I suppose everyone has heard of the Nightwatch, but Rembrandt’s masterpiece is only one of a series of group portraits that were unique to the Netherlands. This book is a result of a collaborative exhibition of such portraits organised at the Hermitage Museum in Amsterdam in 2014. 

These portraits were mainly done for the civic guards and charitable institutions of various Dutch cities. The earliest civic guard group in the book is the 1529 painting by Dirck Jacobsz of the seventeen man squad of harquebusiers’ militia, two side panels were added in 1559 portraying a further fourteen men. The book charts and rise, function and ultimate decline of the group portrait. The most recent painting in the book is the 1705 Regents of the Oudezijds Huiszittenhuis, though a few commission continued to be made as late as the nineteenth century. The book ends with an Epilogue containing photographs of some current boards.

There is a chapter on the city in the Dutch “Golden Age”, defined for this as 1588-1700. There are illustrations of paintings of Amsterdam and Haarlem, often containing a vast amount of detail, for example the 1656 painting of Dam Square with the new town hall under construction, there is also a painting of the destruction of the old town hall by fire in 1652. In the painting of the new town hall you can see details of all levels of society; to the bottom right are foreign merchants in long flowing robes, a man in a bright red cloak draws the eye to the centre of the painting, and behind him is a wheelbarrow pushing member of the working class. 

There is a chapter on the prosperous burgher families that controlled the Republic. The book discusses how marriage, money, and appointments to various boards of governors or civic guards created a route to the top for such men. This is followed by a chapter on law and order and the heyday of the civic guard piece, by this point in time often painted while the group appear to be in the middle of a banquet. The book moves on to discuss the importance of trade to the Republic, illustrated both with paintings of various markets, such as the vegetable market at Leiden, and with group paintings of guildsmen and surgeons.

The work of the burgher families in supporting a range of charities is shown through various group portraits of the regents and regentesses of orphanages and almshouses. When men and women are depicted together the women are seated separately and off to one side. Where the women appear on their own they have their account books in front of them. 

This is a fascinating little book (128 pages), sumptuously illustrated and well priced at €19.95. it can be mined for a wealth of costume details.

Seventeenth and Eighteenth century whalers’ knitted caps

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Figure 1
In the Nova Zemlya gallery at the Rijksmuseum is a case of seventeenth and eighteenth century whalers’ knitted caps which come not from Nova Zemlya but from Spitsbergen. Between 1979 and 1981 there were a series of archaeological expeditions to sites of Dutch whaling camps in the Arctic. Excavations took place at Smeerenburg on Amsterdam Island in the north-west corner of the Spitsbergen archipelago and at the nearby cemetery at Zeeuwse Uitkijk.   The sites produced a large quantity of textiles, including whole garments and a number of knitted caps. (Hacquebord, 2005)
 
Figure 2
The whaling camps in Spitsbergen were first used by the Noordsche Compagnie (Northern Company), which operated in the area of Smeerenburg from 1614 to 1642 when the company was dissolved. Dutch whalers continued in the area.  The museum has given the caps a broad dating range, as it was not possible to accurately date the burials, but the graves excavated date from approximately 1600 to 1750. The whalers were not just Dutch nationals, in the early years many Basques were also involved, and later there are references to Danes, English and Germans among the crews. 

Figure 3
The caps come from a later period than the collection over 30 sixteenth century caps and cap fragments found at various sites in London, and now held by the Museum of London. There are also a number of sixteenth and seventeenth century caps excavated from the sites of old canals in Copenhagen. The canals were mainly filled in the 1660s and the material is now in the Nationalmuseet. Two late seventeenth century caps were found on the Gunnister man and are now in the National Museums of Scotland. The seven caps shown here are the ones that are in the case in the Rijksmuseum. Better photographs are available via the Rijksmuseum website and permalinks to these are given below. Although the Rijksmuseum website offers a choice of Dutch or English, if you chose English the description of the garment will still be in Dutch. I have tried here to offer a description based on what the Dutch says and my own observations. You will note that there is a considerable difference between the colours in the photographs I took in the museum and the photographs of the same caps on the museums website.
Figure 4

The textiles from both sites were examined by Vons-Comis, who has written extensively on the subject. (Vons-Comis S. Y., 1984)(Vons-Comis S. , 1987 a) (Vons-Comis S. ,  1987 b)(Comis, 2005) At  Zeeuwse Uitkijk  there were 31 knitted caps, and leather cap trimmed with fur from 50 graves. Vons-Comis identified five types of cap. Some have been double knit, double knitting is a method by which two layers are knitted at once giving a double thickness with stocking stitch showing on both the inside and the outside.  Some have a finer outer with a coarser knit inner, the two then being sewn together. Sometimes there is a single layer the cap. Caps come with or without a turned up brim, and the brims may or may not have ear-flaps, the ear flaps are unfortunately impossible to see in these photos.
Figure 5

The colours vary considerably; there is a difference between caps from the Smeerenburg site and the Zeeuwse Uitkijk site. The caps from Smeerenburg have lost their original dyed colours and have taken a uniform brown from the soil, while the conditions at Zeeuwse Uitkijk mean that the colours have been retained. Some of the knitting yarns appear to have been tie-dyed using the ikak technique.

The caps on display, with their permalinks, are listed below

Date: ca. 1650 - ca. 1800
Size:  Circumference 60 cm by 25 cm tall
Description: This looks much redder in my photo than in the Rijksmuseum one. A dark brown cap, with a slight upturned brim, a tail at the top, and ear flaps.  Knitted in the round in stocking stitch the cap is double knitted. 
Figure 6



Figure 2: -

Date: 1600-1800
Size:  Circumference 48cm by 24cm tall
Description: This is knitted with a thicker yarn than some of the others. The wool according to the Rijksmuseum site appears to have originally been green for the body of the cap; however they describe the 5 cm deep brim as having darkandlight brownhorizontal stripesand dark bluerectangular blocks, but in the photo they look to be in the same colour as the main body. It is described as having earflaps.

Figure 3:-
Date: 1700-1800
Size: circumference 60 cm by 28 cm tall
Description: Cap in red, blue, green, black and light brown horizontal stripes of different widths. It is double thickness and the inner cap has the same stripes, it is described as having earflaps. According to the Rijksmuseum site this is not double knit but consists of two parts sewn together, each part is cut up at the top and sewn. Knitted in the round in stocking stitch, with forty-five rows per ten centimetres.



 
Figure 7
Figure 4:-
Date: 1650-1700
Size: Circumference 52cm by 22cm tall
Description: This is knitted in the round in stocking stitch. The Rijksmuseum site describes it as, light brown andfine knitwithfolded rim anda small tailat the top.

Figure 5:-

Date: ca. 1642 - ca. 1800
Size: Circumference 65 cm by 23cm tall
Description: Double knitin the round in stockingstitchin a fine, lightbrown wool.The brim is partiallyfolded, and is between two inches and four wide depending on whether it was fully or partially turned up, ithastwohorizontal bluestripes inside.Described as with ear flaps.

Figure 6:-


Date: 1700-1800
Size: Circumference 30cm by 26cm tall
Description: Again knitted in the round in stockingstitch, and intwo partssewntogether. The outer is in fineknitmulticolouredwoolwith light brown, light green, dark green and bluehorizontal stripes indifferent widthsandobliquesquares. The innercapis a thinker yarn andlight brown. Described as with ear flaps. Multiplerepairsare visible.

Figure 7:- 

Date: 1650-1800
Size: Circumference 60cm by 24cm tall
Description: Cap double knit in the round in stocking stitch, with ear flaps. The thicker yarn is a somewhat random blue and white pattern with the yarn described by Rijksmuseum as ikat dyed.

There are other caps in the Rijksmuseumcollection which are not on display, but there are photos and records on their website, for example:
Another Spitzbergen cap
Date: ca. 1650 - ca. 1700
Size:  circumference  58 cm by h 23 cm tall
Description: Cap in blue and orange striped  multicoloredwoolwith ear flaps. It has a slight brim. Knit in the round in stocking stitch.
And another
Date: ca. 1650 - ca. 1800
Size:  circumference  61 cm by h 30 cm tall
Description: Cap in a dark blue thickerwool.Knit in the round in stocking stitch. The turned up brim has stripes in red, light brown and blue.



Bibliography
Comis, S. (2005). Onderzoek van zeventiende- en achttiende-eeuwse kleding opgegraven op Spitsbergen: mogelijkheden en onmogelijkheden [Investigation of seventeenth and eighteenth-century clothing unearthed Svalbard: possibilities and impossibilities]. In N. Boschman, L. Hacquebord, & J. W. Veluwenkamp, Het Topje Van De Isberg: 35 Jaar Arctisch Centrum (1970-2005) (pp. 61-69).
Hacquebord, L. (2005). Twenty five years of multi-disciplinary research into the17th century whaling settlements in Spitsbergen. In N. Boschman, L. Hacquebord, & J. W. Veluwenkamp, Het Topje Van De Ijsberg: 35 Jaar Artisch Centrum (1970-2005)(pp. 53-60).
Vons-Comis, S. (1987 b). Seventeenth century garments from grave 579, Zeeuwse Uitkijk, Spitsbergen. In P. a. Walton, Textiles in northern archaeology: NESAT 3. London: Archetype.
Vons-Comis, S. (1987 a). Workman's clothing or burial garments? seventeeth and eighteenth century clothing remains from Spitsbergen. Norsk Polarinstitutt Rapportserie, 38.
Vons-Comis, S. Y. (1984). Seventeenth and eighteenth century clothing remnants from Spitsbergen. . Kostuum , pp. 32-36.

A Visit to South Devon

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I recently visited south Devon and some museums and costume collections in the area. 

Part of the Corsets and Crinolines Exhibition at Totnes
The museum is housed opposite the market square in Totnes. It has the Devonshire Collection of Period Costume. There are three rooms upstairs which have an exhibition that changes every year. The exhibition for 2015 is Corsets and Crinolines; it ends on the 2nd October. The display shows on one mannequin an outfit, and on the next mannequin what would be worn underneath to produce that shape. The earliest garments in the exhibition are mid 18th century. Unfortunately the museum is not open at weekends; you can tell when the museum is open by the “dancing” puppets in the window, if they are moving the museum is open.


Although not a costume museum the Elizabethan House, built c.1575, just down the road does have some clothing in its exhibits, including this “window” display shown left of Thomas and Company who were local tailors. The theme garden outside has a bed of plants used as dyes.

The F word at Killerton
Killerton is an 18th century house with large gardens that has been owned by the National Trust since the middle of the 20thcentury. The fashion collections held there include the Paulise de Bush costume collection. The upstairs has an exhibition of clothing which changes every year, this year’s exhibition 'The F-word: The changing language of fashion' explores how revolutionary innovations in fabric, cut and fastenings have changed the shape of fashion. The items on display run from the 18thcentury through to the 1990s. There are some fascinating film clips showing on a loop including a 1940s film showing how zip fasteners were made and a 1920s clip showing how early plastic buttons were made. For more information about the exhibition have a look at the article on the website. The photograph above shows one of the cases.

Hats: felts, demi-castors, castors and beavers.

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Who wore hats
Livrustkammaren1647. Survival number 11 in the list 

While the questions of when and where hats were worn are not addressed here, almost everyone, male and female, wore a hat or a cap in the seventeenth century. Even boys too young to be breeched could be depicted wearing or holding a hat, as in a 1630s painting in the Colchester collection. How ubiquitous the hat was can be seen in this Hollar engraving of the execution of the earl of Strafford in 1641, the man standing on the pile of blocks who isn’t wearing a hat, has his hat in his hand. Hats were owned at all levels of society from the poorest to the richest, the value, what they were made from and the styles were what changed.

Values
The cost of the most expensive hats was always a matter of discussion. In the same decade, the 1580s, that Philip Stubbs was complaining that Beaver hats might cost 20, 30 or 40 shillings, the petty chapman William Davies had hats in stock valued at 6d, 8d, 1 shilling, 1s. 6d and 1s 8d. (1, 2) Eighty years later in 1661 Pepys wrote that “Mr. Holden sent me a bever, which costs me £4-5s-0d., this at a time when Spufford reckoned the average price of a hat was around 2s 6d. (3, 4) Even those lower down the social scale might own more than one hat, in the 1630s Joane Furnell a widow had “two old hats” worth 5s, while John Sessions, a carpenter,  had 2 hats worth only 1s 6d. (5)
Much of the value of a hat was in the material used to make it. As Fenner commented, “Your four-shillings Dutch felt shall be converted to a three pound beaver.”(6)

Materials
According to Kerridge the art of making felt hats was brought to England by French and Walloon immigrants to Norfolk. When the first hatters guild was founded in Norwich in 1543 the comment was made that, “they have inventyd and begune the craft of hattes making within the same cyte, whiche they can now make as well and as good as ever came owte of France or Flanders or any other realm.”(7)
Generally speaking the cheapest hats were a felt made of sheep’s wool. Different types of felt were available depending on the type of sheep’s wool used and whether it was mixed with other fibres, so we have references as in Fenner above to a Dutch felt, there are references to a cordiback and a Carolina felt in Holme, the hatter Gilbert Lymberge had Spanish felts and estridge felts (8, 9). Estridge refers to an eastern European wool, described in the 1720 edition of Stow’s Survey of London as “The Estridge Wools, that is the Wools imported from the East Countries, a coarser sort, amounted not to two hundred Weight.”
A step above entirely sheep’s wool felts was French felt, which Randle Holme described as “between a Felt and a Caster.” Castors and demicastors were usually made of a mixture of fibres. This assumes that a castor hat is not the same as a beaver hat, despite castor (an animal) being another name for a beaver (animal). By the mid 17th century there is a differentiation, a 1650 quote in Howell indicates that people might try to pass off “Demicastors for Bevers”. (10) Holme describes a castor as “made of Coney [rabbit] Wool, mixt with Polony Wooll”. Polony is Polish wool. There was also a Vigone, which Blount describes as “a kind of Demicaster, or Hat, of late so called, from the fine Wool, which for the most part they are made of, borne by a kinde of sheep of Spain of that name.” (11)
Above the caster is the beaver made, not unsurprisingly of felted beaver hair. The original beaver hats, as mentioned by Chaucer, came from Russia often via Flanders, but by the end of the sixteenth century European beaver had been hunted almost to extinction. With the discovery of the Americas, Russian beaver was replaced by North American beaver. There are also different levels of quality in the beaver fur itself so imports are separated into parchment beaver (castor sec – dry beaver), or coat beaver (castor gras – greasy beaver) (12) When James I ascended the throne of England in 1603 he purchased twenty beavers hats and, possibly because the court was in mourning for Elizabeth I, seventeen of these hats were black, lined with taffeta and trimmed with black bands and feathers. (13)

Frans Hals - Rev John Livingstone (1603-72)
Shape
In the 1580s Stubbs, the original grumpy old man, made the following observations on the styles that were around. “Some times they were them sharp on the crowne, pearking up like a sphere, or shafte of a steeple, standing a quarter of a yard above the crowne of their heades; some more, some less, as please the phantasies of their mindes. Othersome be flat and broad on the crowne, like the battlements of a house. Another sort have round crowns, sometimes with one kind of bande, sometime with an other.” (1)
By the 1660s it is Samuel Butler taking on Stubbs mantle, “Sometime whear hats like pyramids, And sometimes flat like pipkin lids: With broad brims, sometimes like umbrellas. And sometimes narrow as Punchinellos.” (14)
The range of these styles is reflected in the heights of the crowns of the surviving hats listed below, which are from around 12cm (4.75 inches) (survival 9) to 36cm (14.25 inches) (survival 2) tall. A selection of styles, including some worn by foreigners (note the Muscovy merchants in the left hand corner), can be seen by using the zoom to bring up the detail in Hollar’s wonderful 1644 engraving of the Royal Exchange.
Hats were usually worn with the brim flat but they could be cocked, that is turned up to one side, so we have a 1642 quote of a “A youngster gent, With bever cock't.” (16)  This style can be seen in the c.1620 painting of Nathaniel Bacon, and in survivals 7 and 9 below.
It is John Bulwer in 1653 who speaks of the problems involved in wearing a “classic” sugar loaf hat, “Sugar loaf hats which are so mightly affected of late both by men and women, so imcommodious for use that every puff of wind deprives us of them. Requiring the employment of one hand to keep them on.” (15)

Lining, colours, re-dying and repairs
That hats could be both lined and coloured can be seen in the list of Ben Frewen a haberdasher, in 1632 he has both “a color’d fealt lyn’d in ye brimes” and “a fine colerd fealt lyn’d in the head” What colour these linings might have been we don’t know, but there is a magnificent 1663 effigy to the Somerset family in Brent Knoll church which is painted. John Somerset’s wife is shown wearing a red lined hat.   Most hats are black, there are mentions of grey and very occasionally white hats, but we don’t really know what colour the hats were dyed.
Hats, like other garments were often repaired and/or re-dyed. Joyce Jefferies in Herefordshire paid in 1644, 2s 6d for having a beaver hat dressed and a further 6d to have the brim stiffened. (17) In 1647/8 James Master paid one shilling “For new dying my hat” When they were no longer of use they might be cannibalised for other purposes, the whalers in Spitsbergen appear to have cut foot shaped pieces out of their old hats to line the insides of their shoes. (18)

A Few Survivals
Survival 1 -Victoria and Albert Museum. c.1590-1660. A hat and hat box associated with the Cotton family of Etwall Hall, Derbyshire. http://collections.vam.ac.uk/item/O234640/hat-unknown/

Survival 2 - Victoria and Albert Museum. c.1590-1660. A hat with a very tall, 36 cm, crown. http://collections.vam.ac.uk/item/O98558/hat-unknown/

Survival 3 -Victoria and Albert Museum. c.1590-1670. A hat with a lower crown 17cm. This is the hat that features in North, Susan and Jenny Tiramani, eds, Seventeenth-Century Women’s Dress Patterns, vol.2, London: V&A Publishing, 2012, pp.144-145. http://collections.vam.ac.uk/item/O357644/hat/

Survival 4 -The Cromwell Museum, Huntingdon. A hat supposedly owned by Oliver Cromwell himself. https://mercuriuspoliticus.files.wordpress.com/2009/11/cromwells-hat.jpg

Survival 5 - Pilgrim Hall Museum, Plymouth, MA. c.1615-1640 A hat traditionally association with Mayflower passenger Constance Hopkin http://www.pilgrimhallmuseum.org/images/collections/per_hopkin_beaver_hat_1.jpg

Survival 6 -Rijksmuseum, Amsterdam,  the hat belonging to Ernst Casimir of Nassau-Dietz (1573-1632) He was wearing this hat at the Siege of Roermond when he was killed by a shot to the head.  https://www.rijksmuseum.nl/en/search/objecten?p=1&ps=12&title=hat&yearfrom=1550&yearto=1700&ii=1#/NG-NM-7445,1
 
Survivals 7 and 8 – Vasa Museum, Stockholm. These two are from the ship the Vasa which sank in 1628. http://farm6.static.flickr.com/5580/14300577343_a424a15b90_z.jpg

Survival 9- Skokloster Castle,Sweden.  c.1676  and associated with Nils Bielke (1644-1716) and the Battle of Lund. The edge that is cocked up has residues of thread either for fastening up or attaching decoration. There are also the remains of a black silk lining. http://emuseumplus.lsh.se/eMuseumPlus?service=ExternalInterface&module=collection&objectId=34157&viewType=detailView

 Survival 10 - Livrustkammaren, Stockholm. A view from above of a hat listed in 1671 as being owned by Charles X of Sweden (1622-1660) (19) http://emuseumplus.lsh.se/eMuseumPlus?service=ExternalInterface&module=collection&objectId=67993&viewType=detailView and the same hat seen sideways on http://emuseumplus.lsh.se/eMuseumPlus?service=ExternalInterface&module=literature&objectId=2599&viewType=detailView  

Survival 11 - Livrustkammaren, Stockholm. This is a prototype hat proposed in 1647 by Magnus Gabriel de la Gardie for Queen Christina's bodyguard, you can just see the wording written on the brim " Prof Hatt för Drottning Christina Hof Guarde ".    http://emuseumplus.lsh.se/eMuseumPlus?service=ExternalInterface&module=literature&objectId=5100&viewType=detailView, There is a hatband and two loops of silk braid to hold plumes, there are also fragments of a pale grey-brown silk braid around the edge, as can be seen in this image http://emuseumplus.lsh.se/eMuseumPlus?service=ExternalInterface&module=literature&objectId=28390&viewType=detailView   Here is the hat seen from underneath where you can see a leather loop. http://emuseumplus.lsh.se/eMuseumPlus?service=ExternalInterface&module=collection&objectId=42735&viewType=detailView


Bibliography
1. Stubbes, Philip. 1583. Anatomie of Abuses
2. Spufford, Margaret. 1984. The Great Reclothing of Rural England: Petty Chapmen and Their Wares in the Seventeenth Century. London: Hambledon Press
3. Pepys, Samuel. Diary 27th June 1661
4. Spufford, Margaret. 2000. The Cost of Apparel in Seventeenth Century England and the Accuracy of Gregory King. Economic History Review, 53 (4) 677-705
5. Williams, L. and Thomson, S. 2007. Marlborough probate inventories 1591-1775. Chippenham: Wiltsire Recod Society.
6. Fenner, William. 1616. The counter’s commonwealth.
7. Kerridge, Eric. 1985. Textile Manufactures in Early Modern England. Manchester: Manchester U. P.
8. Holme, Randle, 1688. The Academy of Armory
9. Cited in Cunnington, C. W. and P.1970. Handbook of English Costume in the Sixteenth Century. London: Faber
10. Howell, James, 1908. Epistolae Ho-Elianae or The Familiar Letters of James Howell (1594?-1666).  Boston: Houghton Mifflin.
11. Blount, Thomas. 1656. Glossographia; or, A dictionary interpreting all such hard words, …as are now used in our refined English tongue. London
12. Carlos, Ann and Frank Lewis. 2008, The Economic History of the Fur Trade: 1670 to 1870. In: EH.Net Encyclopedia, edited by Robert Whaples. March 16, 2008. URL http://eh.net/encyclopedia/the-economic-history-of-the-fur-trade-1670-to-1870/ Accessed 10 September 2015
13. Ginsburg, Madeleine. 1990. The hat: trends and tradition. London: Barrons
14. Butler, Samuel. c.1663. Satire upon Our Ridiculous Imitation of the French
15. Bulwer, John. 1653. Anthropometamorphosis: Man Transform’d, or the Artificial Changeling. London.
16. More, H. 1642. Psychodoia Platonica. London
17. Quoted in Gaunt, Peter. 2014. The English Civil War: a Military History. Tauris
18. Vons-Comis, S.Y. 1987. Workman's Clothing or Burial Garments? Seventeenth and Eighteenth Century Clothing Remains from Spitsbergen. In: Norsk Polarinstitutt
Rapportserie, nr.38, p.78-87
19. Rangström, Lena. 2002.  Modelejon. Manligt mode 1500-tal 1600-tal 1700-tal. Stockholm: Livrustkammaren

Historic Clothing Day at the Weald & Downland Museum

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The gridshell building at Weald & Downland

On Sunday I attended the Weald and Downland Museum’s Historic Clothing Day held in the site’s incredible Gridshell building, see right. For those who do not know the Weald and Downland Museum, it is an open air museum with more than 40 buildings that were in danger of destruction, and which have been rebuilt on a 40 acre site. The buildings run from a 14th century flint cottage, reconstructed from archaeological evidence, to an early 20th century “tin” church. In many of these buildings the museum has costumed interpreters and volunteers, and the project that clothed these people was the subject of the last presentation of the day.

The day started with a presentation on Henry VIII’s clothing from Maria Hayward author of, among other works, Dress at the Court of King Henry VIII (2007), Rich Apparel: Clothing and the Law in Henry VIII's England (2009), and The 1547 Inventory of King Henry VIII: Volume 2: Textiles and Dress (2012). I am still coming to terms with the proposition that it is possible, to an extent, to “let out” a suit of armour when your waist grows. Although this was done for some of Henry’s armour he had many sets and they show his increase in size from a 34 inch waist as a young man to a 51 inch waist in this last years. Maria showed items other than armour associated with Henry including a hawking glove now in the Ashmolean, and clothes similar to those he would have worn, such as the splendid outfit that belonged to Maurice of Saxony. She noted that by the end of his reign he owned many pairs of glasses. 

The second presentation was from Danae Tankard on Fashionable clothing in late seventeenth century Sussex. Danae looked at the clothing choices and purchases of several middling people in Sussex including Samuel Jeake and his wife of Rye. Jeake was a merchant and a dissenter and his correspondence from London to his wife in the provinces, includes fashion comments, for example on a mantua that was to be drawn with India sprigs, presumably indicating that it was to have a pattern drawn on it for her to embroider. Another person was Edward May (1663-86), his father dying when he was young, the payments for his clothes were made by a trustee Walter Roberts, and there are letters between Roberts and a tailor John Heath. 

After a break Grace Evans, curator of the Chertsey Museum, gave a presentation on 18thand early 19th century items from the Olive Matthews bequest that are now in the museum. Grace discussed how Olive Matthews started as a collector of historical dress as young as aged twelve, using her allowance to purchase from the Caledonian Road Market before the Second World War. Grace showed some of the highlights of the collection including an embroidered man’s night cap of c1600-20, and a 1690s collar of point de neige lace. There was also an open robe of 1734-4 silk that had been remake sometime in the 1750s with the addition of two other silks. Frugal indeed.

There was long break for lunch where we could go around the buildings and see some of the demonstrations as in the photograph to the left where the process of creating linen from flax was being presented by a costumed interpreter.

After lunch Vivienne Richmond author of Clothing the poor in 19thcentury England, spoke on the subject. She talked about the problems of assessing evidence, she regards the painting that is used for the cover of her book as a romanticised image, and queried to what extent photographs of the ragged childrenof the time might have been sent up by the photographer. She spoke of the concept of Sunday best (something I remember from my own childhood), and quoted from someone reminiscing that, because they did not have Sunday best clothing, their pious mother had taken them to a church some distance from where they lived so they would not be seen attending church in ragged clothes.

The final presentation of the day came from Barbara Painter, who was the clothing consultant for, and heavily
involved in, the
Historic Clothing Project at Weald and Downland. We were treated to a catwalk display of some the garments worn by the interpreters. The garments are matched to the buildings in which they are to be worn, so the Tudor period clothing is worn in the Bayleaf Farmstead which is displayed as it would have been around 1540. Similarly the West Wittering School is presented as it would have been around 1890.

A 1623 tailor and seven other Marlborough tailors 1592-1691

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Quirijn van Brekelenkam - Tailor's workshop c.1661
This post looks particularly at the 1623 probate inventory of the tailor Ambrose Pontin of  Marlborough, in the county of Wiltshire, and at the seven other Marlborough tailors with probate inventories made between 1592 and 1691.(1) Pontin’s inventory is perhaps unusual in that it gives an idea of his equipment, and also shows the wares of an early craftsman retailer. There hasn’t been a vast amount of research done on how ordinary people purchased clothing at this time, but he may well be typical as a supplier. In market towns such as Marlborough the population, of about a thousand people, would be swollen on weekly market days, and it has been suggested that by 1660 the market places were surrounded by retail and craft shops. (2)

 
Relative values

Looking at the other, non farming, men of Marlborough who had inventories taken in the period 1620-1642, Pontin, with a total worth given as £90-18s-2d is near, but by no means at the top, of the range. John Cole, a 1626 tanner, was worth considerably more, £143-10s-4d, and two men worth a lot more were William Brewtie, a 1640 innholder, £279-8s-0d and Walter Jeffrys, a 1641 baker, £225-13s-0d. Pontin’s worth is similar to that of Anthony Gunther, a 1624 glover, £89-2s-6d, and John Heath, a 1637 innholder, £95-0s-7d. Below these with values of more than £50 are a barber, shoemaker, haberdasher and baker. With values between £30 and £50 are a dyer, a parchment maker, a glover and a barber. Those with values between £10 and £30 are two weavers, a cooper, a tanner, a heelmaker, mercer, butcher, carpenter, glazier, and shoemaker. Right at the bottom end,with values under £10, are a buttonmaker, baker, tailor and carpenter. This shows that tailors could run from the poorest to the richest of tradesmen. 

In the century from 1591 to 1691 there are eight Marlborough tailors listed in the inventories. Thomas Cockye 1592, Ambrose Pontin 1623, William Dawnce 1632, Robert Millington 1678, William Cornish 1685, Thomas Have 1689, John Mundy 1691 and Francis Smith 1691. Their values range from the £4-2s of Dawnce to £94-14s-6d for Millington. The total worth given is not necessarily an indication of how rich or otherwise they were, or how successful as tailors. 

Robert Millington 1678 for example, is the richest at £94-14s-6d, however £80 of this is in “debts due to the deceased.” William Cornish 1685, is another high value tailor worth £87-7s-0d, however although described as a tailor he is obviously functioning as a farmer, as he has harrows and ploughs and £31 of his worth is “corne upon the ground,” that is a crop in the fields. Francis Smith in 1691 appears to be doubling as brewer, he has his own brewhouse and cellar and owns eleven keevors (mash tubs), a furnace, boiler, 9 vessels and 3 horses for beer (in this sense it is a  horse as a frame, as in a saw-horse or a clothes horse).

Cloth

Pontin is the only one who lists any cloth in stock, and he kept a considerable amount having, 104 yards of ordinary woollen cloth (£13), 357 yards of coarse woollen cloth (£26- 5s), 13 yards of fustian (13s), 40 yards of broad list (in this sense list is a strip of fabric, or a edge of cloth, or an edging fabric (OED)) (2s), and 5 yards of linen cloth (6s). The amount of coarse cloth he had would seem to indicate that he is making for the ordinary working man. He purchases his cloth in the city of Salisbury, just over 25 miles away, as he owes £6 4s for cloth bought there.

Tools of the trade and point of sale

Most tailors use chests for storage. Pontin appears to store his cloth in chests as he had “nine coffers 10s” Thomas Cockye 1592, also has, “In the shoppe 2 great chests £1 13s 4d”, even Dawnce the poorest tailor had “one chest, three coffers, one box.” Thomas Have, another poor tailor has “1 chest, 1 truncke, cofer and 4 boxes.”  From Cockye’s inventory we gather he has a shop, Francis Smith also has a shop, but we do not know what was in it, as the appraisers value only what is in the “chamber over the shop.”

From the Nuremberg House Books (4)
Pontin, in another part of his building, and unfortunately with this inventory the appraisers do not specify rooms, has a chest, a shopboard, 2 irons and 3 pairs of shears, together worth 7s. The OED has two definitions for shopboard, either or both of which might be applicable here. Firstly “A counter or table upon which a tradesman's business is transacted or upon which his goods are exposed for sale,” and secondly “A table or raised platform upon which tailors sit when sewing.” Three other tailors, Cockye, Dawne and Have, also own shopboards, while irons and shears appear in the inventories of both Cockye and Dawnce, Dawnce’s being specified as a pressing iron. 

Then Pontin has the odds and ends, not worth enough for a full listing; “girdles, laces, gartering and pinnes” worth 5s-8d. There are “silke lase and remnants of taffety” worth another 5s, another “little box, a remnant of cotton, 1 paire of stokins (stockings) and 4 yards to measure cloth” totalling 1s.  He has 11 yards of loom work, which may well be what we would call braid, and “more in little remnants of woollen cloth, 4s.” 

To get around Pontin has a horse, and with it two pack saddles and one riding saddle. The only other tailor to own as horse is William Cornish, but I think his horses, he has five, are for his farming, not his tailoring.

Ready to wear

Pontin is the only one who has sale items of clothing in stock, “20 sale dubletts, £5,” “12 pair sale breeches £3” and “6 sale jerkins 17s,” but it was not just woollen items, which these would have been. He also had “10 dozen and 10 falling sale bands” worth £3 5s., that is 130 falling bands at 6d per band. These prices are very similar to those in the 1628 inventory of the chapman John Uttinge of Great Yarmouth.(3) Uttinge had laced falling bands at 8d each, plain bands at 7d each and 27 bands for men at 3d each.  Pontin also has “2 dozen and a half of small made wear, 8s,” we don’t know what these are.

The tailors’ own clothes

For most of the tailors a simple figure is given for their wearing apparel, and often this includes other items. Millington, the richest has wearing apparel worth £2 as does Cornish, Pontin’s clothes are worth £1, while poor Dawnce has clothes worth only 1s. Have’s wearing clothes are lumped in with the money in his pocket at £2 10s. Smith’s wearing apparel is lumped together with his books and is worth £5. Mundy has wearing apparel and linen listed as worth £7, often wearing apparel relates only to the woollen clothing, and wearing linens are either not listed or are listed separately. The earliest tailor,Thomas Cockye 1592, is the only one whose apparel is listed, he has; “2 dubletes, 2 pare of hose, a cloke, a felt hatt, a pare of shooes and a jirkin £1”

Bibliography

1. Williams, Lorelei and Thomson, Sally.Marlborough probate inventories 1591-1775. Chippenham : Wiltshire Record Society, 2007.
2. Cox, N. and Dannehl, K.Perceptions of retailing in early modern England. Farnham : Ashgate, 2007.
3. Spufford, M.The great reclothing of rural England: petty chapmen and their wares in the seventeenth century. London : Hambledon Press, 1984.
4.  Die Hausbücher der Nürnberger Zwölfbrüderstiftungen. The illustration of a tailor in his workshop is taken from the House books of the "Twelve Brothers" an almshouse in Nuremberg, each man entering the almshouse was painted starting with its foundation in the middle ages and ending in 1806. The complete set has been digitised and is available at http://www.nuernberger-hausbuecher.de/

The Gunnister Man Project

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 From the Shetland Museums leaflet (3)

Last month I attended the Knitting History Forum conference, and one of the speakers was Dr. Carol Christiansen, Textile Curator at the Shetland Museum and Archives, she spoke on the re-construction of the Gunnister Man clothing. The project to re-construct the clothing was a joint venture involving, among others, Carol Christiansen, Martin Ciszuk, of the School of Textiles, University of Borås, Sweden, and Lena Hammarlund, craftsperson and textile researcher, from Göteborg, Sweden, and was completed in 2009. Some of this was reported at NESAT XI (1) and some at the European Textile Forum. (2)   Also the Shetland museum service has produced a leaflet, which shows the re-created clothing, complete with mends, patches, etc. (3)

Background
A lone burial containing the body of a man, or to be more precise the clothing of a man the body having disappeared, was found at Gunnister in Shetland in 1951. As Carol said most of the report written at that time by Henshall and Maxwell (4) still stands. The body probably dates to the very end of the 17th century, early 18th century. The purse he was carrying contains three coins, one Swedish dated 1683, and two Dutch from 1681 and 1690. Gunnister Voe, itself was one of a number of extremely small ports operating at the end of the Hanseatic League period. It is about two miles distant from the burial, and it traded with Dutch, Swedish and German merchants. The site at Gunnister Voe has been excavated, but very little was found there. (5, 6)

The burial
The bulk of what survived in the burial is the woollen clothing, which is very heavily patched, so that there are 20 different fabrics represented. The non-clothing items were a wooden stick, a small wooden bucket (16.25 cm diameter by 14.5 cm high), two other small pieces of wood, a wooden knife handle, a horn spoon and another piece of horn, a quill (analysis showed that it had ink on it), and the coins.  Non fabric items of clothing were, four pieces of a leather belt with a brass buckle, and a very few fragments where rivlin type shoes would have been.

The clothing
The clothing is with the National Museums of Scotland, but was returned to Shetland for the period of the project and the exhibition that followed. They are now back with the NMS.The garments were all closely examined in order to decide what wools to use, and various wools were tested including Shetland, Herdwick and Gammelnorsk (an old Scandinavian breed). A dye analysis proved inconclusive. One conclusion was that the clothing had been obtained over a considerable period of time, and from many different places. As has already been mentioned the clothing was heavily patched and the feet on the stockings had been completely replaced.
For the reconstruction of the clothing Lena worked on the spinning and weaving of yarn and cloth. Martin worked on the cutting and sewing of the woven items, and Carol and Lena worked on reproducing the knitted items. As Carol was talking mainly about the knitted items some garments were hardly mentioned, however I have linked to the SCRAN – the National Museums of Scotland – database entries for each garment below:

The shirt
This was not mentioned by Carol in her talk. It is of wool and fastens from the waist to neck with ten buttons of wool covered in cloth. (4) All the buttons on the Gunnister clothing were wool covered with cloth.

The jacket and coat
The shorter jacket was being worn over the longer coat. The low decorative pocket slits on the coat were sewn shut, and the turn back cuffs on the coat were rolled down. Carol also mentioned that the stockings appeared to have been sewn to the bottom edge of the coat. She conjectured that these alterations may have been against the cold, and pointed out that the 1690s saw some very bad weather.

The breeches
The breeches had had pocket bags on either side, which had disappeared and therefore were probably made of linen or leather. The waist had been altered by taking in 5 inches. The breeches had a fly front, fastened with only one button at the waist.

The stockings
As mentioned before the stockings appear to have been attached to the lower edge of the coat with thick two ply wool. The stockings had been mended at the knees, but more obviously the feet had been replaced, in one case with the leg of another, finer knit, stocking. Carol said that the knitting on the main stocking legs was 2.9 to 3.2 stitches to the cm, and 4 to 5 rows to the cm. They had a decorative false seam at the back, and the calf shaping was worked every four rows.

The cap with a brim
This was the cap he was wearing. This was white and, according to Carol, the pattern in Henshall is incorrect. The cap was 56 cm in circumference and 17 cm from crown to edge. It was knitted at 3.5 stitches to the cm and 3.75 to 4.5 rows to the cm.

The cap without a brim.
This was the cap that was in a breast pocket of the coat. The shaping, which produces a sort of cross at the crown, is similar to that of a Svabald example. The cap has a boucle effect inside. Testing produced the same boucle effect when a Shetland wool was mixed with primitive Scandinavia wool, and then fulled. This cap was knitted at 3 to 3.25 stitches and 4 to 4.5 rows to the cm.

The purse

The purse is grey-brown with a pattern in white and red. It is 10cm by 13.5cm and was knitted in the round with the bottom being knit together. It has 4.5 stitches and 6 rows to the cm. There is a cast on row, then a knit row, before the 13 loops that carry the drawstring. My attempt at the Gunnister purse, done before I attended the talk, is shown right.

The gloves
The gauge given in Henshall for knitting the gloves is incorrect The gloves were knitted at 3 stitches and 4.5 rows per cm in white wool. They have a decorative design of three lines on the back of the hand. The gauntlet has a decorative design involving rows of garter stitch, stocking stitch and purl stitch. Henshall gives this as “6 rows of garter stitch, 5 of stocking stitch, 5 of garter stitch, 6 of stocking stitch, 3 purl rows separated by 2 plain rows, 8 of stocking stitch, 5 of garter stitch, with decreases along the outer side.”


Bibliography

1.  North European Symposium for Archaeological Textiles, 10-13 May 2011, Esslingen am Neckar, Germany. Carol’s abstract is available from;   http://www.nesat.de/nesat_11_esslingen/abstracts/lecture_christiansen.pdf

2. Ciszuk, M and Hammarlund, L. 2013. Tracing Production Processes and Craft Culture: the reconstruction of the Gunnister Man costume. In: Ancient textiles, modern science : re-creating techniques through experiment : proceedings of the First and Second European Textile Forum 2009 and 2010;  edited by Heather Hopkins. Oxford: Oxbow

3..Shetland Museums and Archives. 2009. Gunnister Man A life reconstructed. (Watch it, because it is designed to fold into a leaflet the first bit is upside down.)

4.  Henshall, A. S. and Maxwell, S.  1952. Clothing and other articles from a late
17th-century grave at Gunnister, Shetland.  Proceedings of the Society of Antiquaries of Scotland, 1951-52, 30-42. Available from: http://archaeologydataservice.ac.uk/archiveDS/archiveDownload?t=arch-352-1/dissemination/pdf/vol_086/86_030_042.pdf link)

5. Queen’s University Belfast. 2010. Gunnister: excavations of a German trading site at Gunnister Voe, Shetland. Available from:

6. Gardiner, M. and Mehler, N. 2010. The Hanseatic trading site at Gunnister Voe, Shetland
Post Medieval Archaeology, 44 (2) 347-349. Available from: https://www.academia.edu/690244/Excavations_at_the_hanseatic_trading_site_at_Gunnister_Shetland._Post-Medieval_Archaeology_44_2_2010_347-349

The decline and fall of frieze and russet?

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Frieze and russet appear to be two of the main fabrics for the outer clothing of the generality of lower classes in the sixteenth century. Peachey’s (2014) table of wool fabrics covering the period 1558-1660 shows frieze as 37% and russet as 38% of the fabrics used. This would seem to indicate 75% of clothing for the lower classes was frieze or russet. Peachey’s figures are obtained mainly from wills and probate inventories and are for fabrics used for the outer layer of a garment, for those he describes as common civilians. One problem with his figures is that they cover an entire century and he does not show how this usage changed over time.

What were these two fabrics?
Re-enactors, and I’m one so I can be rude, often want things nailed down. Garment x was made with fabric y, and fabric y was made to the following rules and cost z. Unfortunately it doesn’t work like that, firstly because it is very, very rare to find a piece of fabric with a contemporary label attached saying I am a piece of Devonshire dozen or Manchester cotton, then because fabric terminology changes over time, and also because the same word can be used to describe quite different fabrics.

Frieze
Mikhaila and Malcolm-Davies (2006) describe frieze as, “very thick, heavy, plain weave, well-fulled cloth, with raised hairy surface on one or both sides. Made from cheaper fleeces, unfit for finer cloth.” Fuller (1660) speaks of it as a coarse kind of cloth manufactured in Wales, "than which none warmer to be worn in winter, and the finest sort thereof very fashionable and gentile. Prince Henry (1594-1612) had a friese sute out of it.” 

Frieze is sometimes regulated by law. An Act of 1551, speaking like Fuller of Welsh friezes, gives them as being a minimum of 30 yards long, three quarters (27 inches) wide and “being so fullie wrought shalle waye ev'ye” (love the spelling of heavy). A whole piece, that is the 30 yards, to weigh 48 pounds at the least. 

However not all frieze was the same. Spufford (2003) examining the prices of fabrics has a table showing the price of frieze ranged from 7d to 5s 8d a yard in the period 1560-1610, and 2s to 6s in the period 1610-1660. She has no examples of frieze in her table for the period after 1660. 

Russet
Mikhaila and Malcolm-Davies (2006) describe russet as “a coarse narrow wool, undyed and unfinished; broad russet, better quality, might be dyed; London russet as wide and costly as broadcloth.” Both Delaney in hisThomas of Reading from 1612, and Hall in his Satires of 1598 describe russet as the wear of country folk. 

Spufford (2003) shows that russet, like frieze and other fabrics, could vary enormously in price for “a yard of [any] fabric with the same name at the same date throughout our period (1560-1705).” Russet varies from 5d to 4s 5d a yard in 1560-1610, and 1s 6d to 3s 10d in 1610-1660. Like frieze she has no examples of russet after 1660.

Part of the problem with describing russet is that the term was being used not only for a fabric, but also for a colour from before the beginning of the sixteenth century. The colour russet is described in 1573 as, “If you will mingle a litle portion of white with a good quantitie of redde, you may make thereof a Russet, or a sadde Browne, at your discretion.” 

Probate accounts
As pointed out above Spufford’s (2003) paper shows no frieze or russet, in the accounts she examined, after 1660. Spufford was looking at probate accounts, these were produced by the administrator or the executor of a will, often the widow. When there was a child orphaned the accounts can show, among other things, the provision of clothes for the orphaned child/ren until they were, apprenticed or 21 in the case of boys, and married or 18 in the case of girls. These are often more detailed in the final year when the accounts are being wound up.  Spufford analysed 820 accounts from which she extracted 8,974 garments. These accounts are not from the very rich, they reflect, she says “the lives and clothes of labourers, husbandmen and yeomen below the gentry level.”

Cloth
Cloth is a very general term usually referring to a fabric made of wool. In the probate accounts it is the most used fabric for making doublets, jerkins, waistcoats and breeches for boys, and waistcoats and petticoats for girls. However it is also listed as providing a large number of the shirts and smocks, which might indicate that it may be being used just as a general term for any type of fabric, wool or linen. Spufford refers to it as “the ambiguous and universal” cloth, and it is interesting that in his list Peachey does not mention it at all, maybe because of its ambiguity.

The changing use of cloth types
As well as dividing what was provided by garment and gender, Spufford also split her results by 40-45 year time periods; 1560-1610, 1610-1660 and 1660-1705, this enables us to infer that perhaps certain fabrics were declining in use, while others were rising. The declining fabrics would appear to be russets, friezes and cottons: 90% of russets, 82% of cottons (wool) and 76% of friezes are pre 1610. Other declining fabrics that appear pre 1660, but rarely post 1660, are fustians and canvas: 64% of fustians are pre 1610 with 36% in the 1610-1660 period and none post 1660; with canvas this is 74% pre 1610, 24% 1610-1660 and only 2% post 1660. Other fabrics go along in a more or less steady state, like cloth, stuff and kersey, and among the linens, lockeram. 

Remember that these are clothes provided for young adults and children, by comparison the garments appearing in wills belong to older people. It would be interesting to compare an analysis of the fabric of garments in both early and late seventeenth century wills and probate inventories, with those in the probate accounts. We could then see whether this would show the same change in fabric use, but perhaps coming through later. Certainly John Dale, a yeoman, still had one gray frieze coat in his 1682 probate inventory, to go with his serge, cloth, and two worsted camlet coats. (Williams and Thompson, 2007)

Social status and the fabric used
The obvious thing to say is that the poorer, coarser cloths are worn by the poorer classes, and yet there is this enormous difference in price for fabrics of the same name. While friezes have been identified as being worn by the poor, they are also, as shown by John Dale and Prince Henry, being worn by the middle and upper classes.

Spufford’s (2003) analysis appears to bear this out. She points out that the heavyweight and cheap canvas appears across all her income groupings for doublets, though the owners of canvas breeches are predominantly in the poorest group. On the other hand four of her poorest boys had doublets of the supposedly expensive broadcloth. With the girls more of the poorest were wearing russet waistcoats and petticoats, whereas none of the richest group did so. The richest group’s waistcoats and petticoats were mainly of cloth, kersey, mockado [a fake velvet style of cloth] or fustian.

How much was spent
In Gregory King’s 1688 calculations, variation in the amounts spent by families on their clothing range from, ‘almost £3’ a year for  the lowest income groups to, ‘about £1000’ for those with the highest of incomes. (Spufford 2000)   If you think this is any different from today consider that you can buy a pair of cheap jeans for £5 in a supermarket, while an “off the peg” top of the range pair of Gucci jeans cost over £2000. 

Spufford (2003) produced a table showing how the cost of a basic wardrobe changed over the period. For a boy the wardrobe she uses consists of a shirt, jerkin/doublet, breeches, coat, stockings, shoes and a hat, the median for 1610-1660 was £1 3s 3d. For girls her wardrobe is a smock, waistcoat, petticoat, stockings, shoes and headwear (she did not include a gown although she had records for 137 of them, as most were in her top income group); for 1610-1660 the cost of this wardrobe was 14s 9d. She did not unfortunately do a cost by time period analysis of the gowns.

Bibliography
Anon. 1573. A very proper treatise, wherein is briefly sett for thethe art of limming, 1573. The 1596 edition is available at https://archive.org/details/verypropertreati00impr
Fuller. T. 1660 The history of the worthies of England, Volume 3. London:Tegg, 1840 edition.
Mikhaila, N. and Malcolm-Davies, J. 2006. The Tudor tailor. London: Batsford.
Peachey, S. (ed.) 2014. Clothes of the common people in Elizabethan and early Stuart England. 1558-1660: the user’s manual. Bristol: Stuart Press.
Spufford, M. 2000. The cost of apparel in seventeenth-century England, and the accuracy of Gregory King.  Economic history review, 53 (4) 677-705
Spufford, M. 2003. Fabric for seventeenth-century children and adolescents’ clothes. Textile History, 34 (1), 47–63
Williams, L. and Thompson, S. eds. 2007. Marlborough probate inventories 1591-1775. Wiltshire Record Society, vol 59, 165-6

Women’s Hoods 1600-1690

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Fig 1 From Hollar's Ornatus
In the first half of the seventeenth century the main linen headwear for women was the coif. The coif came in several forms but most were close fitting. Hoods were around from the beginning of the century and, from the 1640s to the 1680s, they slowly, but never completely, replaced the coif both as a fashion item and among the lower classes. 

Another name for a hood can be chaperon, and this is the term Cunnington (1972) uses to refer to them. Cotgrave draws the term very wide, defining it thus ‘Chaperon, a hood, or French hood (for a woman); also any hood, bonnet, or lettice cap.” (Cotgrave, 1611)The OED has several references to chaperons from the first half of the 17thcentury including, most explicitly, this from 1623 “Their White Hoods or Chapperons.” (OED, 2016)

These earlier hoods may be different to the later ones. There are a few of survivals of early hoods, two in the V&A have been dated to 1600-1625, and 1600-1630,  both have scrolling blackwork embroidery, as did some of the coifs of that period. Another hood in the V&A collection is dated to 1610-1620 and is of linen with insertion work at the seams and a bobbin lace edging, a detailed examination and pattern has been produced for this. (Lucas, 2011) There are also two hoods, that Janet Arnold took patterns from, in the Gallery of Costume at Manchester, they are dated between 1610 and 1625, one is of linen and the other of fustian. (Arnold, 2008)  In wear these might well look like the hood won in Vermeer’s painting the Procuress, 1656, they have no gathering at the back but are simply worn loose. There is also a hood in the Metropolitan Museum in New York, this they date to c.1640 and, it is very fine, almost transparent, cotton with a bobbin lace edging. There is very little further information on it, but the photograph of the back view gives an indication of the construction, which is very unlike that of the earlier hoods. 

The hood, like the coif, comes in various types, in later examples it is usually gathered at the back. Some early depictions show this style as dark and worn with winter wear. There are two like this in Hollar’s 1640 work Ornatus Muliebris, or the Habits of Englishwomen. One depicts a lady in full winter mode with a face mask, cape or shawl and a muff as well as her hood, in the second example the lady has a muff, and her hood appears to have very large ties at the front.(Fig. 1) Hollar’s series of the Four seasons which date from 1644 show, in the full length versions, both Autumn and Winter wearing hoods, the Winter appearing to have a light coloured lining to the hood and a lighter hood/coif being worn underneath. The three quarter length seasons also show Autumn and Winter with hoods. Hollar’s two works from later in the 1640s, his Theatrum Mulierum and Aula Veneris, which depict dress of women across Europe, Hollar was very good at picking up regional differences in clothing, have only three women with hoods. Two of these are English, a noble woman and a gentlewoman. The third, which gives a good rear view of a hood is dated 1648 and is a lady from Brabant, and here it looks as though a veil maybe being worn over it.

All the above are dark fabrics, being worn as outerwear, presumably instead of a hat. In English images this dark fabric type may be seen in Marmion’s Smell in his Four Senses series of c.1653 , and being worn two women on the servants’ side of the 1671 painting of the Titchborne Dole, while the servant in front of them wears a white coif, and the ladies of the family have no head covering. Another is the portrait of Elizabeth Cromwell, mother of Oliver, who died in 1654, it is difficult to see in the image whether her widow’s peak is worn as part of a coif under the hood, or as part of a veil over the hood.  

However hoods were also worn in light fabrics, and the earliest English depiction of this may be William Dobson’s portrait of his second wife Judith, which is dated to 1635-40. There is a later enamel portrait of Barbara Palmer, Lady Castlemaine in a hood, it has a broad lace edging and the fastening bow is obviously fixed to the linen rather than the lace, so that the lace goes all the way around the face, this has to have been heavily starched or wired to keep its shape. Even young girls wore these hoods, and in the c.1670 portrait of the Mason children the girls appear to be wearing some form of biggin or coif underneath. 

By 1688 hoods seem to have overtaken coifs as headwear. Laroon’s wonderful Cries of London published in that year has 28 illustrations of women from the lowest classes in London, of these 18 are wearing hoods, and only 3 obvious coifs. (Shesgreen, 1990)There are 6 where it is difficult to determine whether a coif or hood is being worn, and there is one headwrap. To pick up on the dark/light question 9 of the hoods in Laroon are dark and 9 are light. However by the time hoods had reached the lowest classes, fashion in headwear among the elite had moved on to top knots, the commode, the tour, the fontange, etc. (McShane & Backhouse, 2010), as shown in the super cap of the doll Lady Clapham from the 1690s. The hood, where it survived, had mostly morphed into a cap with the ties becoming long lappets as in this example from c1690 in the Metropolitan Museum, there is something similar in the Bowes Museum but unfortunately there is no detailed image online. 
Where the hoods in Hollar are outdoor wear, they may be worn over a coif. When you get to Larroon, 4 of the dark hoods and 2 of the light hoods are being worn with a hat over the top, and not necessarily in winter as two are wearing a straw hat over a hood. Likewise John Michael Wright’s 1676 painting of Mrs Salesbury with her grandchildren depicts her wearing a high “sugar loaf” style hat over a dark hood, and an unknown artist’s depiction of Catherine Davenant in the 1660s shows her wearing something similar.

Fig 2. Detail from Steen's 1658 painting
In accounts it can be difficult to work out the difference between the terms hood and coif. There is an assumption that the coif will be white linen, while the hood will be a sturdy fabric in a range of colours, this is not always the case.  The 1641-2 household accounts of the Marquis of Hertford shows the daughters of the family receiving hoods, Lady Jane got 2 white sarcenet hoods at 3s 6d each, and Lady Francis 2 black taffeta hoods also at 3s 6d each, they also received hoods with no material listed, which were cheaper at 2s 4d each. (Morgan, 1945) These upper class hoods were obviously of silk, but there were cheaper ones around. Richard Riddings, a chapman, had in 1680 a dozen calico hoods for children at 2d each, he also had in stock three black serge coifs at 8d each. (Spufford, 1984) The black serge coifs sound as though they might be hoods rather than coifs, having said that a Dutch survival in the museum at Antwerp is much more coif like in design, than hood like. Another chapman Wlliam Mackerell in 1642 had large blue coifs at 5½d each and smaller blue coifs for 3d each, perhaps these were more like the Antwerp coif.  

Fig 3 - Detail from Laroon's Merry Song
When looking at the possible construction of these later hoods, lacking a survival we need to look at illustrations. Most of the English illustrations of hoods are linked above, however the best source of middle and lower class illustrations of mid to late 17th century hoods are in Dutch genre paintings. Below are a series of links, organised by date from c1650 to c1678. This is by no means a comprehensive listing. On the construction, those with a rear view as in de Hooch’s 1658 painting (Fig. 2) and Hollar’s lady of Brabant, show the gathering at the back.  This gathering can also be seen in two sideways views, Metsu’s 1658painting and Roestraten’s 1678 painting. The ties at the front of the hoods range in size from narrow ribbons, to huge things that look as though the whole side of the hood extends down. In Lady Castlemaine’s portrait there are narrow red ribbon ties, similar red ribbons are used on the white hood in Ter Borch’spainting the Letter (1660-5), and Metsu’s 1662-3 painting. In several of Laroon’s drawings such as Old Satin, Crab, merry new, song (detail right), poor Jack etc., the ties are large. It is often difficult to tell if the hoods with large ties are shaped hoods, or just a fabric scarf knotted under the chin.

The decline in the hood as a fashion item can be seen through the fashion engravings that were published in France between 1675 and 1700, and a discussion of their usefulness can in found in Davis (2014). The hood can still be seen the Jean LePautre engraving Dame en habit d’ete of 1676-8, but by the 1680s  it has become more like a large scarf covering the tall fashionable headdress underneath, as in the 1689Femme de qualite allant incognito par la ville, and this 1682-6  French fashion plate  by Nicholas Bonnart, La Belle Plaideuse.

Dutch genre painting with hoods
Woman peeling an apple (c.1650) by Gerard Ter Borch (1617-81) An almost transparent hood worn with a shoulder cape/rail
The procuress (1656) by Johannes Vermeer (1632-75) Very loose, ungathered hood, like the earlier English survivals.
Girl drinking with men 1658 by Pieter de Hooch 1629-84. A good rear view of the hood showing the gathers.
The doctor’s visit (1658-62) by Jan Steen c.1625-1679. There are lots of different versions of paintings with this title by Jan Steen. This one is chosen because the patient is obviously wearing something like a forehead cloth under the hood. The English author Fynes Moryson commented in 1617, “...such crosse-clothes or forehead clothes as our women use when they are sick.” It is interesting to note that this tight cloth across the forehead also appears in van Hoogstraten’s painting of a doctor’s visit – link below,
A Girl Receiving a Letter, (c.1658)  by Gabriel Metsu, 1629-1667. A sideways on view. The way the front of the hood is rolled, and the gathering at the back can be seen. She also has a little linen shoulder rail/cape.
Musical Party (1659) by Gabriel Metsu, 1629-1667. This lady’s hood appears to be falling off the back of her head.
The letter (1660-5) by Gerard Ter Borch (1617-81) You have to use the zoom to see a loose dark hood over tied light hood.
The doctor’s visit (1660s) by Gabriel Metsu, 1629-1667. As in the Steen and the Hoogstraten paintings of a doctor’s visit, the patient has some form of forehead cloth.
Young woman composing music. (1662-3) by Gabriel Metsu, 1629-1667. There is a dark veil on the back of the head, worn over a white hood. The hood appears to be fastened with a red ribbon.
Effects of intemperance (1663-5) by Jan Steen c.1625-1679. A tied hood
The Life of Man (c1665)  by Jan Steen c.1625-1679. The woman in the middle wears an untied hood.
Woman reading letter (c. 1665) by Gabriel Metsu 1629-1667. The lady wears a close hood, while her maid wears a coif
The proposal (1665-70) by Gerritsz van Roestraten (1630–1700) Large ties to the hood.
Girl peeling apple. (pre 1667) by Gabriel Metsu 1629-1667. The hood is left loose and untied, the length of what in later headwear will turn into lappets can be seen.
Feast of St Nicholas (1665-8) by Jan Steen c.1625-1679. Here as well as the fabric at the front of the hood being rolled back, the excess fabric at the side appears to form a roll.
The doctor’s visit (c.1667), by Samuel van Hoogstraten 1627–1678. see note under Steen’s Doctor’s visit above
Baptism “Soo de ouden soungen, so pypen de jongen” (1669) by Jan Steen c.1625-1679. In the three women by the cradle there are 3 types of headwear,  the woman in the middle wears a hood.
Two women by a cradle (c1670) by Samuel van Hoogstraten 1627–1678. The painting shows the mother of the newborn in what can best be described as a dressing gown, her hood is untied, while her visiting friend appears to have several layers of hood and coif.
Woman making pancakes 1678 by Gerritsz van Roestraten (1630–1700) A side view of a hood, use the zoom for the detail, you can see that it is gathered at the back 

Bibliography
Arnold, J., 2008. Patterns of Fashion 4 : the cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women. London: Macmillan.
Cotgrave, R., 1611. A Dictionarie of the French and English tongues. London: Islip.
Cunnington, C. W. & Cunnington, P., 1972. Handbook of English costume in the seventeenth century. 3rd ed.. London: Faber.
Davis, E., 2014. Habite de qualite: seventeenth century French fashion prints as sources for dress history. Dress, 40(2) pp.117-44
Lucas, A., 2011. Linen Hood , London: V&A Publishing, 2011, pp.120-123. In: Seventeenth-Century Women’s Dress Patterns, vol.1. London: : V&A Publishing pp.120-123.
McShane, A. & Backhouse, C., 2010. Top knots and lower sorts:print and promiscuous consumption in the 1690s. In: M. Hunter, ed. Printed Images in Early Modern Britain: Essays in Interpretation. Farnham: Ashgate, pp. 337-58.
Morgan, F. C., 1945. Private purse accounts of the Marquis of Hertford, Michaelmas 1641-2. Antiquaries Journal, 25 pp.12-42.
OED, 2016. "chaperon, n.". OED Online. December 2015. Oxford University Press.. [Online] Available at: http://www.oed.com/view/Entry/30576?rskey=Uawe9x&result=1&isAdvanced=false [Accessed 15 January 2016].
Shesgreen, S., 1990. The criers and hawkers of London, engravings and drawings by Marcellus Laroon. Aldershot: Scholar Press.
Spufford, M., 1984. The great reclothing of rural England: petty chapmen and their wares in the seventeenth century. London: Hambledon Press.

A waistcoat, a nightcap and a pair of slippers from the 1640s.

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 Provenance
The collector Sir William Burrell (1861-1958) purchased these three items in 1937. They, with his collection, were gifted by Sir William and his wife to the City of Glasgow. The Burrell Purchase Book states that these were purchased from a direct descendant of Colonel Thomas Veel (1591-c1663) of Alverstone near Bristol. The comment is that Charles left them, perhaps as a gift or memento, after he had stayed with the Colonel in 1645. At that time Charles had travelled from Oxford as head of the Western Association, and it is known that the army stopped at both Bridgewater and Bristol. Whether they actually belonged to Charles is not provable. They are described by the curator as “relatively small for a man. However, Charles was only 15 in 1645.” (Quinton, 2013)
 
The waistcoat
The waistcoat is a vibrant pink/red silk satin with an interlining of wool and linen, and was lined with a tabby weave pink/red silk, of which little remains except around the buttonholes. I have not seen the interior, thought the plain linen interlining can be seen inside the sleeves at the wrist. It is edged, and the seams are covered, with a narrow silk braid. It looks as though the buttons, which are somewhat flat, are covered with the same silk braid. It is quilted with zig zag lines worked in running stitch.


The Burrell’s online description http://collections.glasgowmuseums.com/starobject.html?oid=36161says that the lack of a waist seam is unusual at this date, but it is certainly not unknown. The back and front panel of a 1630s doublet in the Victoria and Albert Museum, doesn’t have a waist seam, the pattern for this is diagram VIII in Waugh (1964). Also the 1644 burial doublet of Pfalzgraf Johann Friedrich has the front and back panels cut in one piece. (Stolleis, 1977) The suggestion made by the museum is that it was perhaps made to be worn under a buff coat. There is a cream worsted waistcoat/coat of a similar date (1630-1650) in the V&A, but the museum’s online description is not very helpful. The sleeves of the waistcoat are cut with a curve, and fasten with four buttons at the wrist. There are 25 buttons down the front of the waistcoat.

The nightcap and slippers
The nightcap and its matching backless slippers are made in pink silk satin. They are embroidered with a design which has been identified as a pineapple. (Quinton, 2013)

The nightcap
The nightcap is made from eight panels and has no brim. This brimless style is similar to others of the middle decades of the seventeenth century. Another also in the Glasgow collection  is reputed to have belonged to Major Hugh Buntine, who was part of Leslie’s army in the Civil War.  The embroidery on the nightcap involves couched loops of silver and silver-gilt thread, and spangles. It is lined with a tabby weave yellow silk.
 
The slippers
The slippers are backless, and heeled, a fairly common style in the mid 17thcentury. There is another, but plain, pair in the V&A, that were originally salmon pink. Later pairs, like these in the Museum of London, have a squarer toe. Other pairs of slippers exist from the seventeenth century, for example the pair owned by Sir Francis Verney that are at Claydon House. 

References
Quinton, R., 2013. Glasgow Museums: Seventeenth Century Costume. Glasgow: Glasgow Museums.
Stolleis, K., 1977. Die Gewänder aus der Lauinger Fürstengruft. Munchen: Deutscher Kunstverlag.
Waugh, N., 1964. The cut of men's clothes 1600-1900.. London: Faber.

Samuel Pepys: Plague, Fire, Revolution - Book review

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Samuel Pepys: Plague, Fire, Revolution, edited by Margarette Lincoln. London: Thames and Hudson, 2015. ISBN 978-0500518144, 288 pages. £29.95

This book was published to coincide with an exhibition of the same name at the National Maritime Museum, which was superb. The book looks at the late Stuart period through the prism of Samuel Pepys, who aged 15 witnessed the execution of King Charles I. It covers from that point to his death in 1703.

The book is divided into five sections, each section has three or four chapters and ends with “Objects in Focus”. The five sections are: 

1. Turbulent Times - for which the objects in focus include among other things, the iconic painting of the Execution of Charles I, a set of medical instruments for performing a lithotomy, a nice set of pikeman’s armour, the gloves that Charles is supposed to have given Bishop Juxon, and from the Museum of London a knitted waistcoat that Charles is supposed to have worn to the scaffold. 

2.  The Restoration – here the objects in focus include the painting of Charles II’s Embarkation at Scheveningen, and Charles’s cavalcade through the City of London. On the costume front you have Edmund Verney’s 1662 wedding suit, on loan from the National Trust, it is a supreme example of the heigh of the fashion for short doublets and petticoat breeches. There is an article online on its conservation by Rosemary Weatherall (2014). Matching this splendour is the silver tissue dress from the Museum of Fashion at Bath. It the book it is pictured by itself, but for the exhibition it was displayed with a stunning lace collar from the Bowes Collection at the neck. 

3. Pepys and the Navy – the chapters here cover not only the whole debacle of the Medway, but also Pepys work in Tangier. The objects in focus include a pair of his green tinted spectacles, a variety of naval instruments and new fangled tea and coffee pots.
4. Scientific Enquiry – This was the time of the foundation of the Royal Society, and the objects in focus include Napier’s bones, and Morland’s calculating machine (which Pepys described as “very pretty, but not very useful”), there are also sundials and quadrants, microscopes and telescopes.

5. Revolution and Pepys’s Retirement – Here the objects in focus include the wedding suit worn by James II when, as Duke of York, he married Mary of Modena in 1673, coved in silver and silver-gilt thread the base fabric is wool. There is also James II’s armour (breastplate, helmet and gauntlet) and buff coat made for him in 1686, the last suit of armour made for an English monarch.

The book is a delight, well worth the price, and I am very glad I actually got to see the exhibition. 

Rosamund Weatherall  2014 A Hidden History at Claydon House: The elaborate 17th-century wedding suit of Edmund Verney.  National Trust, Arts, Building, Collections Bulletin, Autumn issue http://www.nationaltrust.org.uk/documents/abc-bulletin-autumn-2014.pdf, article pages 14 to 15.

A History of Fashion in 100 Objects– New exhibition

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This recently opened exhibitionat the Fashion Museum Bath is on until the 1st January 2018, and includes considerably more than one hundred objects. This is because the cases of accessories are not included in the total, so for example the first case contains several 16thand 17th century gloves from the Spence Collection. As can been seen from the photograph the light levels are very low because of the fragility of the fabric displayed. 

The first case of large garments contains the wonderful late 16th/early 17th century embroidered jacket, which appears in the centre of the advertising for the exhibition. It is followed by a rare 1690s crewel embroidered petticoat, which shows how English embroiderers were copying the designs of the painted calicoes that were coming into the country in even increasing numbers at that time. The next garment is a lady’s sleeveless waistcoat, worn underneath for warmth; it is embroidered with a stunning design of crane-like birds. It can be seen in greater detail in the image gallery on the museum’s website, which has images of 36 items in the exhibition. The c1700 man’s sleeved waistcoat, which is displayed behind these two garments, is rather too far way to be seen in detail. 
 
The exhibition is well worth seeing, though if your interest is early modern it is, unsurprisingly, very heavy on the 19th and 20thcenturies, with only about 25 garments that are pre 1800. You can take photographs, but the glass is very reflective, as you can see from mine here, and the lighting levels are very low.

Framing the Face: collars and ruffs – at the National Portrait Gallery

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Having an hour to spare before a meeting in London this week, I popped into the National Portrait Gallery. Unfortunately they do not allow photography, however I have put links below to many of the paintings on the NPG website. Although there are several of these works on Wikimedia Commons I have not included them in this post because the NPG is extremely sensitive about its rights in reproduction of the paintings, and Wikimedia has the comment that “third parties have made copyright claims against Wikimedia Commons.”

One of the first rooms on the top floor in the museum has about 15 paintings and miniatures from the period c1560-c1630, exploring the concept “Framing the face – collars and ruffs.” This little exhibitionis on from 19 February to 31 December 2016. 

First there is the lovely portrait that was previously believed to have been Mary, Queen of Scots, but is now listed as an unknown woman. It dates to around 1570, apart from the ruff, it has a wonderful sleeves and forepart set, the pattern looks almost like an old fashioned punched card (you have to be of a certain, pre modern computer, age to get that). 

There is a case of small paintings, not small enough to be miniatures, which include a painting thought to be Lady Arabella Stuart, c.1595-1600, and her cousin James VI & I, c.1590 in an incredibly tall hat. With them, to continue the Scottish theme, is James’s mother Mary, Queen of Scots. This painting is now considered to be from the second half of the 16th century after tree ring dating of the wood it is painted on. It was previously believed to be an eighteenth century copy. 

There is a case of miniatures, which is covered to protect the paintings from light. Among the paintings displayed there are a couple of Nicholas Hilliard portraits including a 1578 Francis Bacon, in a very austere ruff, and by contrast Mary Herbert, Countess of Pembroke, c.1590, in a very over the top standing collar. There is an interactive display which allows you to bring these miniatures up and examine every tiny detail.

Among the final wall of paintings is the 1631 portrait of Edward Cecil, Viscount Wimbledon, wearing a very fine lace edged falling band and, military type note, a pink military scarf (sash) with silver embroidery and a silver lace edging.

If you are in London it is worth going and having a look.

Seventeenth century clothing at Platt Hall Gallery of Costume, Manchester

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Figure 1 - Collar from the 1630s
At the weekend I visited Platt Hall for the first time, I had never been to Manchester before but always wanted to visit the Gallery of Costume. At the moment the 20th century exhibitions are closed, however the rest of the museum is open, as is the Schiaparelli exhibition. The Museum has an excellent collection of 17th century garments, many having belonged to the Filmer family, and these by themselves are worth a detour. Below I give a flavour of what is on display, the collection extends well beyond these.
Figure 2 - Whatcombe bodice

There are two cases of linens covering 1600-1630 and 1630-1660, with whitework and lace collars, sleeves, coif and forehead cloths. Figure 1 shows one corner of the 1630-1660 case, with a bobbin lace collar from the 1630s. 


The garments include the Whatcombe bodice (c1650-1660) (Figure 2) with interactive information on the project to “digitally restore” the bodice. Research done for the reconstruction indicates that the garment may originally have belonged to the first wife of Bussy Mansel (1623–1699), a Welsh parliamentarian who served under Fairfax, and was appointed to the Barebones Parliament by Cromwell in 1653.
Figure 3 -Detail of 1630s waistcoat

The heavier embroidered patterns of the late 16thand early 17th century, often with flowers but in this case mainly with bunches of grapes,  that appear on the girl’s jacketfrom c1610, contrast with the more open embroidery of a woman’s waistcoat from c1630-40 that is displayed near it. A detail of the 1630s embroidery is shown in Figure 3. Slightly later still is a 1670-1700 bodice, which repeats in an Indian painted cotton the very fanciful flower patterns that became popular for embroidery in the second half of the century.  

Figure 4 - Pocket detail 1685-95 coat
In men’s wear there is a natural linen doublet from around 1625-35, heavily embroidered in the same thread with couching and French knots, and a heavily embroidered man's nightcap of about the same date, which is only one of several in the collection. There is a wool/silk mix coat from about 1685-1695, which  has 103 silk thread covered buttons. Figure 4 shows the buttons on one of the pockets of the coat, and figure 5 below shows the splendid 1680s lace cravat displayed with it. 

Figure 5 - 1680s cravat
As can been seen from the links Manchester Museums have put much of the collection online, but it is worth going to the museum to see them, and much more on display. 

Two 1620s tombs at Salisbury Cathedral

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The Mompesson Tomb 

This magnificent tomb is of Sir Richard Mompesson (d1627) and his third wife Katherine (d.1622). The colours are tremendous, but not original as the tomb was overpainted in the 1960s.(1) A coat of arms in its original colours, now somewhat faded, has been found on the underside of the tomb, showing how it was originally coloured. (2)

Sir Richard Mompesson was a younger son of minor gentry, however his first wife Margaret, was the daughter of the first Lord Howard of Effingham, and  therefore sister to the second, both were Lord High Admiral of England.(3) The lady buried with him is however his third wife. He isn’t of interest to clothing people, because he is shown wearing a set of armour. I’m sure people who are interested in armour would have more to say.

Katherine Mompesson is depicted wearing a gown with long hanging sleeves reaching to the calves of her legs. This style of gown is very similar to the type in some of the paintings by William Larkin (1585-1619), for example that of Katherine Howard, Countess of Suffolk, whose hanging sleeves are not as long as Katherine Mompesson’s, and being slightly earlier still has the frill remnants of a skirt designed to be worn over a wheel farthingale. The use of a similarly pattern fabric may be seen in Gheeraerts 1615 portrait of Mary Throckmorton. The arched hood she wears is usually associated with mourning, and something similar can be seen in the 1622 portrait of Marie de Medici painted by Rubens. Her shoes have nicely defined heels.
 

The Elihonor Sadler Tomb

Elihonor was a resident of Salisbury Cathedral Close, and her tomb dates from 1622/3. She was, according to the inscription, “aged upon LXXX [80] years” when she died. Thomas Sadler was her second husband, her first having been Hugh Powell.(4) Both her husbands had owned the building in the Cathedral Close that now houses the Salisbury Museum.

The sculpture is not as accomplished as that on the Mompesson tomb, and was overpainted at the same time in the 1960s. Elihonor wears as similar arched mourning hood to Katherine Mompesson, but it is much more stylised, and her hair looks very strange. Her gown is considerably less detailed than Katherine’s and shows the frill remnants of a skirt designed to be worn over a wheel farthingale.



1. Peter Martindale Conservation. Salisbury Cathedral: Polychromy associated with five monuments.

2. Hazard, Ruth (2012) Conservator at Salisbury Cathedral discovers painting on underside of Mompesson Tomb. Available from: http://www.culture24.org.uk/history-and-heritage/art380155

3. Bindoff, S. T. (1981) Mompesson, Richard (d.1627), of Salisbury, Wilts. IN: The History of Parliament: the House of Commons 1558-1603. Available from: http://www.historyofparliamentonline.org/volume/1558-1603/member/mompesson-richard-1627
 
4. Redwood, P. (1990-2) Life in Elizabethan Breconshire as portrayed in contemporary wills. Brycheiniog, Vol. 24, 43-66

Rachel, Countess of Bath: Accessories for a “super-rich” lady of the 1640s.

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1870s photo of the Van Dyck portrait
Everyone is aware of the modern idea of the super-rich woman being someone who thinks nothing of spending on a handbag, what for most people is a year’s income. As part of my researches for The Stuart Tailor I have been looking at the General Account Book of Rachel, Countess of Bath, for 1639-54, and she counts as mid seventeenth century super-rich, hubby is Charles I’s Lord Privy Seal. She was also one of the last people to have her portrait painted by Van Dyck, he returned to England in May of 1641, and was already ill. In her June 1641 accounts are two payments, “to Sir Anthony Vandick in part for my picture £10” and “to Sir Anthony Vandick for my picture £10, for the frame £4, to his man £1.” (1) Van Dyck died in November 1641. The whereabouts of this painting are unknown, meaning that it is probably in a private collection somewhere. The picture on the right is from a 1870s photograph of the painting. 

In some respects it is difficult to compare what Rachel is spending with the income of an ordinary woman of the time. A 1645 list of the servants at the Baths’ Tawstock estate shows three female servants being paid £2 a year. Women who were employed on an annual basis by the gentry Le Strange family of Hunstanton received between £1 10s and £2 a year, while the two female servants listed in the 1642 memorandum book of yeoman farmer Henry Best were paid £1 4s and £1 8s.  However as has been pointed out servants were provided with board, lodging and clothing in addition to this money. Day labourers also received food and drink as part of their remuneration and there was a statutory equivalent of the “minimum wage”. In Suffolk in 1630, for female reapers and binders of corn, this was 4d a day. (2)

Hollar's Winter 1644
So what, for Rachel, was the mid 17th century equivalent of a modern Hermes Birkin handbag? Here left is Hollar’s Winter from his 1644 seasons, and this lady is wearing examples of several items that Rachel buys, a muff, a fur stole, a hood, and shoes roses. 

Apart from jewellery, which is discussed at the end, furs are among her most expensive purchases. In 1650 she pays for “a rich sable muff” £22, while in 1640 she had purchased “a sable for my neck” for £8 10s 0s. 

She buys a large number of hoods ranging in price from 3s for a black hood in 1639, to 12s in 1640 for a tiffany hood laced. In 1644 she buys three hoods for a total of 13s, of love, described by the OED as a thin crape or gauze material, of ducape, described by the OED as a plain-wove stout silk fabric of softer texture than Gros de Naples, and of sarcenet, which is a fine, soft silk fabric.

Looking at Winter’s feet the front of her shoe is covered by a shoe rose. In 1643 Rachel purchases “a pair of roses and 3 yards of pink coloured ribbon for your Ladyship bought at Mr Gumbletons 5s” The ribbon is probably for gartering, in 1644 she buys “gartering ribbons 7s”, and in 1650 “3 yards of blue gartering for my Lady 5s.” The shoes on the other hand are a lot less expensive, in 1644 “for a pair of shoes for your Ladyship 3s 6d”, even decorated shoes as in 1646 “for a pair of laced shoes for your Ladyship 4s” and in 1646 her slippers were 2s 6d. 

 In the winter engraving you can’t see the stockings, but Rachel’s are usually of silk at around £1 2s to £1 5s a pair. In 1639 we have “for 3 pair silk stockings £3 15s” and in 1649 “2 pair of silk stockings 46s,” there are other stockings listed. These silk stockings are in the Livrustkammeren in Stockholm and date from 1654.  

 You can’t tell if Hollar’s winter is wearing gloves but Rachel buys lots, “paid my glover 6th May 1641 £4 10 0,” and a 1646 bill has “paid for 12 pair of white and 11 pair of brown gloves Mrs Everatt 19s.”  These are probably the plain elbow length gloves that can be seen in this Van Dyck portrait of Anne Carr where the glove is shown carried. A slightly later (c1685-1700) pair, with a little decoration, survives in the Glovers’ Collection.

She buys fans. In 1647 she buys one for 2s and another for 3s. She also buys them with other things, for example “for gloves & a fan £1 0s 6d,” and in 1647 in a small spending spree, “for a fair laced scarf and hood & 2 pair of pearl pendants & a screen fan £3.” The assumption is that a screen fan is a solid fan, as opposed to a folding fan. This folding brise fanin the collection of the V&A dates to the 1620s.


For her neckwear she has gorgets, these are deep, usually circular, cape like collars, as can be seen in this rear view from another Hollar engraving right. In 1640 she pays for a tiffany gorget 10s, in 1641 for making 2 gorgets & tiffany to one of them Miss Antony £1. Tiffany is a kind of thin transparent silk. Her neckwear wasn’t always of silk, in 1649 we have “for 2 handkerchiefs, cuffs and a gorget of plain Holland £2”  

Rachel also purchases a sweet bag in 1640 for the sum of £6 10s. Sweet bags are small purses often given as gifts, and sometimes containing a scented “sweet powder,” enabling them to be put with clothing in the same way as lavender bags are used today.  Shortly after buying her sweet bag she spends £1 6s 8d on “silver and gold lace for my best sweet bag.” The Victoria and Albert Museum has an excellent collection of examples from the first half of the 17th century. Jacqui Carey has written a book on the whole subject of sweet bags. (3)
 
Finally we have Rachel’s jewellery. Her largest expense is in 1652 for “for one fair diamond £40,” but she buys a fair number of small, cheaper items. Some of these items must have been similar to what was found in the Cheapside Hoard. She buys pendants together with a mask for 10s in 1640, and in 1642 she spends 14s on “a cornelian ring & crystal pendants.” The Cheapside Hoard contains several pendants, for example in amethystand emerald, plus a much cruder crystal pendant.  Two pair of pearl pendants where mentioned above in her 1647 shopping spree, and there is a pearl and wirework pendant in the Cheapside Hoard. (4) In 1649 she spends £2 5s for “3 great pearls.” In 1652 she buys “two lockets £4 1s 6d”, and one can speculate as to whether the lockets might have been of the type circulating among royalist supporters after Charles’s death. The final entry for jewellery actually mention her jeweller, and goes into some detail as to what he is making for her, “£30 to Mr Grumbleton for 4 diamonds and making two pair of lockets the one 18 diamonds and the other 25 and 17 & a little ring 5s with 5 diamonds.”

Rachel often mentions where she purchases her items, the Exchange and Paternoster Row in London are mentioned. This engraving of the Royal Exchange, and with more detail Abraham Bosse’s engraving of one of the shops in the Galerie du Palais, show the sort of shop involved. However looking at some of her purchases, if you didn’t know, you wouldn’t realise, that most of the time there is a civil war going on.  Oh and the Hermes Birkin equivalent? I think it has to be the sable muff. 

Bibliography
1. Gray, Todd. Devon Household Accounts 1627-59. Part 2. Devon and Cornwall Record Society, new series, vol. 39. 1996.
2. Whittle, J. and Griffiths, E.Consumption and gender in the early seventeenth century household: the world of Alice Le Strange. Oxford : O.U.P., 2012.
3. Carey, Jacqui.Sweet bags: an investigation into 16th and 17th century needlework. Ottery St Mary : Carey Company, 2009.
4. Forsyth, Hazel.The Cheapside Hoard: London's lost jewels. London : Philip Wilson , 2013.

Exhibition – French portrait drawings: Clouet to Courbet

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Currently there is a temporary exhibition at the British Museum in Room 90, on the 4th floor, of some beautiful drawings dating from the sixteenth century through to the nineteenth century, some have not been exhibited before.  The exhibition, French portrait drawings from Clouet to Courbet,  is on until the 29th January 2017. 

As well as the drawings themselves there is also a case of medals and enamels, so that the earliest item in the exhibition is a medal by Jean Lepère, showing King Louis XII of France and his wife Anne of Brittany, 1499.

To the right is the first drawing that appears in the exhibition. It is  by Jean Clouet  (c.1485/90–1540) of an unknown man of c.1535 inscribed, the uncle of the Seigneur de Tavannes, but no longer identified as Jean de Tavanenes. You can just see sketched the gatherings around the top of his shirt and the ties to it. 

Here to the left is another unknown, this time a young girl c.1615 by Daniel Dumonstier (1574-1646). Lovely details are how the collar lays, the bows on her sleeves, and that lovely and unusual necklace. 

For each drawing in the exhibition if you go to the museum’s illustrated handlist, available here, you get the drawing with its description and a link to the Museum’s catalogue record for further information. Do click through, the museum's images are of far better quality than my photographs

Finally below, just to prove it is not all nobility, though most of it is, here is an old man in working dress, attributed to Pierre Biard II (1592–1661).





Musée du Costume – Chateau Chinon

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For those travelling to the east of France this year, I recommend a visit to the Musée du Costume at Chateau Chinon, in the Nièvre departement of France. It is usually closed from Christmas to sometime in February, and it does have its own websitewhere you can get further information.

The museum was based originally on the collections of Jules Dardy, though it has grown since then, and has been open to the public in the mansion house of the Buteau-Ravizy family, since 1992.

The collection consists of over 5,000 items ranging in date from the late 17thcentury to the 1970s. The two photographs shown here are from the guide Voyage au Coeur des Collections, by Francoise Tetart-Vittu and others, published in 2011 (ISBN 978 2 914003 05 6; €15). The guide is recommended and well worth the money. It is well written and extremely well illustrated in colour,  but is not unfortunately available in English. 

The top photograph shows three men’s nightcaps or “bonnets d’interieur”, the top example is c.1690, the middle example is from the the first quarter of the 18thcentury, and the bootom example has just been dated generally to the 18th century.

The lower photograph is of a robe a l’anglaise of about 1785, in linen embroidered with silk.

An article on the museum, again in French, is available here.

Women of 1640s Western Europe – Theatrum Mulierum and Aula Veneris.

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Dutch Sailor's Wife
Those who study English clothing of the mid 17thcentury are very aware of Hollar’s Ornatus Muliebris the Habits [clothing] of Englishwomen, published in 1640. Perhaps less well known are his engravings of women from across the whole of Europe, and parts of North Africa, which he published in two series Theatrum Mulierum and Aula Veneris. The Latin subtitle of the Theatrum can be translated as, “the variety and differences of the female habits of the nations of Europe.” The publication history of these two is incredibly complex, and the plates come in various states, not least because they were being reprinted until well into the eighteenth century. For those wishing to untangle the publication, the place to go is Pennington. (1) The links given above are to the University of Toronto, Hollar Digital Collection, which has most, but not all, the prints.

Hollar was well travelled in Europe. He was born in Prague in 1607, by the late 1620s he was studying in Frankfurt, by 1630 he had travelled through Strasbourg, Mainz and Koblenz.  His first book was published in Cologne in 1635 and by 1637, under the patronage of the Earl of Arundel, he was living in London. Sometime after the Civil War started in 1642, he moved to Antwerp. He returned to London in 1652 and died there in 1677. 

Woman of Cologne
Some of his engravings are of upper class women, but many are of “ordinary” women, tradesmen and merchants’ wives and daughters, and sometimes countrywomen. They show regional diversity in the use of garments like huiks, they show how long ruffs continued to be worn by the middle and lower classes, long after they had gone out of fashion, and also the ubiquity of other garments, such as the waistcoat.

In the first example we have a Dutch sailor’s wife, wearing one of those hats that are often teamed with a huik in Dutch paintings, as seen in this late 16th century painting by Lucas van Valckenborch. The huik was worn widely in north western Europe, and Du Mortier has suggested that it may have its origins in Spanish fashions.(2) In the second image, a woman of Cologne you again have huik. As Fynes Morison described them, “all women, in generall, when they goe out of the house, put on a hoyke or vaile which covers their heads and hangs downe upon their backs to their legges; and this vaile in Holland is of a light stuffe or kersie, and hath a kind of horne rising over the forehead, not much unlike to old pummels of our women’s saddles. ... but the women of Brabant and Flanders wear vailes altogether of some fine light stuffe, and fasten then about the hinder part and sides of their cap, so as they hang loosely not close to the body....and these caps are large round and flat to the head....like our potlids, used to cover pots in the kitchin.” (3) This last is an excellent description of the sailor’s wife’s hat.
Woman of Franconia

The third image is a woman of Franconia. She wears not a starched ruff, as in the two previous images, but a ruff which falls to the shoulders. Descriptions of the construction of surviving ruffs of all types are given in Arnold. (4) The garment (waistcoat/jacket) she is wearing is buttoned like a male doublet, much like the garment worn in the monument to Lady Elizabeth Finch, now in the V&A.  Similar buttoned garments can be seen in Hollar’s Woman of Vienna, and several of his women from Augsburg.

In the fourth image is a woman from Antwerp. She wears a falling collar and, since it appears to be summer, a straw hat. Her top is patterned, while her skirt is plain.

As a final example let’s add in Hollar’s English countrywoman. There are lots of differences between the Englishwoman and the other examples, but some things do carry across. All five women wear aprons and, as four appear to be marketing, they carry some form of basket, be it split wood, wicker or rush. All wear some form of headwear, and in three of the five you can see a coif under the hat. Discarding the lady from Cologne, whose huik covers too much of her garments, all wear some type of bodice/waistcoat/jacket which finishes at the hips, and skirts that finish short of the ground at the ankle bone.
Woman of Antwerp

If you go through the links to explore the collection you will find women from France, Spain, Italy and Greece. The further afield the subjects of Hollar’s drawings are, the less likely he is to have seen, or known, what was actually being worn. His Irish woman, for example, is copied from John Speed’s map of Ireland , and his “Virginian” is copied from a Theodor de Bry’s drawing in Thomas Hariot’s A briefe and true report of the new found land of Virginia. De Bry's drawing is itself based on John White’s originals made when he was with the Roanoke colony.

English Countrywoman

1. Pennington, Richard.A descriptive catalogue of the etched work of Wenceslaus Hollar. . Cambridge : CUP , 2002.
2. Du Mortier, B.In search of the origins of the huik. Arte Nuevo : Revista de estudios áureos . 2014, Vol. 1.
3. Moryson, Fynes.An Itinerary: Containing His Ten Years Travel Through the Twelve Dominions of Germany, Bohemia, Switzerland, Netherland, Denmark, Poland, Italy, Turkey, France, England, Scotland and Ireland. London : John Beale, 1617.
4. Arnold, J.Patterns of Fashion 4 : the cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women . London : Macmillan, 2008.
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