1666
The following four pictures are details from a large painting which
hangs in Rosenborg castle in Copenhagen, Denmark. It shows the acclamation
of Frederick III and is very truthful in its realistic, almost naive
style. Note the stockings and bare knees of the girl that fell to
the floor. |
1666
All of the clothes shown are citizens of Copenhagen, and show
the 'Sunday best' clothing of the people of different wealth. Here
the ladies wear fur muffs and red ribbons in the shoes. Both wear
long, waisted jackets and linen and lace berthas round the shoulders,
covering the usually large neck opening. |
1666
All women wear long aprons of differing width, which doesn't necessarily
denote them as working women. Aprons were widely used and worn, as
skirt protection and they became so popular that towards the end of
the 17th c. they were worn short, in silk and embroidered over mantuas
by society ladies. |
1666
The woman with the green apron is wearing the red bodice without
sleeves, the other is wearing a long jacket. This very charming painting
was made by the deaf-mute artist Wolfgang Heimbach and not a single
woman is without a head covering, 90% with different hoods or coifs
and only a very few with hats over coifs. |
1660
One of the rare examples of a split overskirt, which had been
fashionable in the 1640s and 50s, but came out of fashion in the 60s
to become almost compulsory in the 70s. The petticoat appears to be
a silk satin with gold lacing, the bodice and skirt a black silk with
black braid along the seams of the bodice. |
1660
One of the few views of a dress from the back. The woman has
pinned the skirt up, which can be seen in the back, similar to the
girl on the picture on the left. It is impossible to say if the skirt
could be split. |
1660
Ivory knife handle, beautifully showing the details of a dress. The
lacing can be seen in the back view, another proof that criss cross
lacing was not used, which doesn't provide enough strength of pulling
tight as this method. A lace bertha is worn around the low shoulder
line of the bodice. The petticoat is decorated but not the skirt,
which is worn tucked up, another method, which could have been used
by the woman in the preceding picture. |
Ivory/white
silk satin dress decorated richly with several rows of broad goldlace.
Two rows on the skirt, running down the centre front and then all
along the hem. Three rows down the outside of the sleeves, and rows
all along the typical seams of the bodice. Centre front and along
the outside curving seams.Lace Bertha worn with jewel in the centre
front. No chemise shows neither at neckline nor at lower arms. |
Red dress with charcoal or black petticoat. The sleeves are wide and
gathered in the fashionable short length and appear to be split down
the centre front, which is a rare occurrence. The petticoat is richly
decorated with two rows of lace. It is important to note that skirts
always show the lace running down the centre front and from there
along the hem, but if the skirt is not split and not decorated, but
the petticoat is instead, there are never centre rows down the front,
but only along the hem. The chemise sleeves have several tires of
lace. |
Two
ladies from the same painting. Interesting to note that in this English
painting all ladies have undecorated bodices but split sleeves, it
seems this is more an artistic rendition than reality. In my opinion
the artist shows the same style of dress and showed it in different
colours, red, blue, rose, yellow, grey and black. The lady in blue
has rows of lace on her skirt and is wearing a rolled neckerchief
along the neckline of her bodice, held down with pearls. The lady
in pink has lace flounces attached to the sleeves, probably on the
inside. It is unlikely the first row of lace flounce is attached to
the chemise. |
More ladies from the same painting. The red petticoat is decorated
with lace, while the lady in grey with white petticoat shows understated
elegance without lacing. |
Another
of the few split skirts. Ribbon bows on the centre front at the tip
of the bodice busk and the along the edge of the bodice. Black silk
ribbons are tied around the sleeves of the chemise, emphasising the
lace frills. |
Barbara
Palmer by Lely. Note the difference in clothing between what she is
wearing and the others so far. This is a fine example of clothes which
are worn for the famous portraits of the court painter Lely, who painted
all the beauties of Charles II's Restoration court. This means that
what she is wearing is not an actual dress, but a means of showing
her beauty in casual undress. Most beauties wear yellow / yellow golden
/ brown golden silk robes, proof that the look and beauty was not
individual but what was considered to be beautiful. |
Lady in black silk dress with numerous black silk ribbon bows along
the centre front of her bodice. She is holding a closed ivory fan
and a sheer translucent silk neckerchief casually knotted around the
neckline of the bodice. The difference in colour between the linen
of her chemise and the neckerchief shows that it must be silk. A pendant
on a necklace is tucked half away in the linen of a bertha or inset. |
1661
Narrow gold lace adorns the bodice and skirt of this yellow dress.
Red ribbons on the sleeves and along the bodice at the waist line.
The skirt appears to be red inside and might be lined. She is wearing
ribbon adorned gloves. |
1661
Mary, sister of Charles II dancing at the ball in The Hague on
the evening of his embarkation to England. Her blue dress is decorated
with many roes of narrow silver lace and salmon coloured ribbon bows
on her gloves, waist and lace bertha. A doubled string of pearls is
suspended from a brooch to a ribbon bow. |
1662
One of the fewer examples of a bodice with tabs or skirt worn
over the skirt. In this elegant ensemble gold lace decorates the skirt
and bodice. Broad lace on the skirt, narrower on bodice and along
the hem of its skirt. A sheer silk neckerchief is worn along the neckline. |
1662
Another view from behind, and she, too has pinned up her skirt.
This time it is pinned up in the front, falling elegantly in a curved
line, the skirt is probably tucked under the busk of the bodice and
held in place. |
1662
The bodice shows very vividly how the silk fabric lies in horizontal
folds, being so tautly stretched over the rigidly boned bodice, which
has a curious little flounce along its edge. The split sleeve is not
gathered but falls open, revealing a fine chemise which is gathered
with a jewelled band. It is not certain if this type of dress was
actually worn or is more like the portrait-garments |
1662-65
The lovely peach coloured skirt is adorned with only one row
of narrow gold lace and worn with a yellow fur edged jacket. The fur
imitating ermine, a common practice. |
1663
Undecorated silver silk dress with wide sleeves gathered in knife
pleats on top and bottom. |
1664-65
The wife of the 9th Earl of Argyll wears an elegant undecorated
dress with very wide chemise sleeves, gathered into deep flounces.
There is no drawstring, the gathers are static. |
1665
Elizabeth Nodes wears one of the rare brocaded bodices and petticoat.
In the 1660s brocades were not worn often, and usually, if they are,
in France or after the French fashion. Her shoes are embroidered with
slap soles, and the skirt is embroidered as well, it doesn't seem
to be a lace, which is once again out of the ordinary. She also wears
jewels along the waistline of her bodice. It doesn't seem to be a
portrait-garment, because of her pose and the setting, the whole portrait
as well as the dress are different from most others. |
1668
Dutch lady sitting with her skirt hiked up revealing a gold laced
petticoat. Her sleeves have narrow turn back cuffs lined in red and
the silk ribbon on her upper arm gathers the chemise in an additional
place and is of the matching red colour. She appears to have some
red piping at the neckline of her bodice. |
1669
The sister of James Stuart, the 'Old Pretender' wears still the
childhood wings, these are the streamers hanging from her shoulders.
The blue dress is actually made from a silver blue brocade or silver
tissue woven with blue silk and richly adorned with white lace which
seems to be a Binche, a bigger patterned bobbin lace or even a needle
lace. |
1669
Lady Knatchbull wears a dress similar to that of Elizabeth Nodes
insofar that she is wearing t made from brocade, and even a striped
one There are not many examples of striped dressed, a few in the 1670s
and 80s and more towards the later period, but it is very rare in
the 1660s. It might be that she is wearing rather an informal gown
than a dress. |
Skirt
with train and understated decoration with lace. Red ribbons on the
sleeves and a red silk ribbon tied around the sleeve of the chemise. |
1665
Child in a silk dress with apron and carrying a doll which is
clad in the latest fashion of the day. |
Very
narrow goldlacing on the bodice, but several roes of it. Broad lace
on the skirt. She is wearing a black shawl or cape over her shoulders. |
Frances
Stewart, one of the most famous of all court beauties, courted by
Charles II, but legend has it she never gave into his advances. It
is highly unlikely that any of these pearl fastened dresses with flowing
silks everywhere were ever worn outside of sessions for paintings.
Interesting to note that Samuel Pepys remarks in his diaries he saw
Lely painting Lady sandwich, and that there was no resemblance, the
painting of Samuel's wife by another artists showed a lot more resemblance
and he was happier with it. |
This
larger lady has her red dress richly decorated with very wide goldlace
on the skirt and three rows of it. She is wearing a linen and lace
bertha. |
Marquise
de Sevigne in another of the portrait-gowns which are open in the
front and held together by pearls. The question with those is, they
always ever show a chemise underneath but at the same time show the
typical rigidity of a pair of stays or boning in the garment, how
this is physically achieved with flimsy pearls as closing is uncertain.
She is wearing a jewelled bow, probably enamelled and jewelled brooches
at the sleeves. |
1662
Dutch Protestant lady in the typical black gown. It is interesting
to see that she not only wears a grey petticoat but a bright red one
beneath it. |
Lady
with broad brimmed head and blue dress on her horse. The only time
ladies are seen wearing hats, which copy the male fashion with their
plumes. |
1662
Lady wrapped in a long, simple semi circular shawl with the train
of her skirt held by a page who also carries her parasol. |
Backview
of a bodice with skirts in a very fine glazed wool, showing how the
sleeves are set in very low and the deep pleats. |
Dress
very similar to the one from 1662, it might even be the same one.
Painters often used the same clothes and props when they chose to
paint interior scenes. |
Mademoiselle
de Valliere, mistress of Louis XIV here shown as Diana, goddess of
the hunt. She, too wears a bodice held closed in the front with jewels
while the bodice is very heavily boned. Her head dress is purely fantastical
and tying in with the theme of the painting. |
The
rich bright colour of her dress is adorned with gold lace on the bodice
but not on the skirt. She wears a linen inset in her neckline to cover
the cleavage. |
|
|
|