Note 1 — John L Nevinson
Reading edition
Vyvyan Holland, Hand Coloured Fashion Plates, 1770-1899 (Boston: Boston Book and Art Shop, Inc., 1955).
2 Alessandro Piccolomini, Dialogo de la bella creanza de le donne (Venice, 1540). The dialogue is reprinted in G. Zonta, Trattati del Cinquecento sulla donna (1913), but it deserves a modern translation and editing.
3 Sir Henry Hake, “The English Historic Portrait.” Lecture for the British Academy, 1943.
4 Malcolm Letts, The Diary of Jörg von Ehingen (1929).
5 Sigrid F. Christensen, Die männliche Kleidung in der süddeutschen Renaissance (1934), pl. 21.
6 Sir Karl T. Parker, The drawings of H. Holbein at Windsor Castle (1945), pls. 16, 19, 24.
7 This book, Klaidungsbüchlein, in the Herzog Anton-Ulrich Museum, Brunswick, Germany, was edited by August Fink and published in full in 1963 by the Deutscher Verein für Kunstwissenschaft, Berlin.
8 For a general account, see J. L. Nevinson, “Sigmund von Herberstein: Notes on 16th century dress,” Zeitschrift der Gesellschaft für historische Waffen- und Kostum-Kunde (1959), new ser. 1, p. 86.
9 Sigmund von Herberstein, Gratae Posteritati . . . (Vienna, 1560).
10 Sigmund von Herberstein, Rerum Moscoviticarum Commentarii, expanded ed. (Basel: Oporinus, 1556).
11 Juan de Alcega, Libro di geometria y traca (1589). See also, Tailor and cutter (London, 1933), no. 68. A copy of the 1588 edition was acquired by the Folger Shakespeare Library, Washington, D.C., in 1964.
12 “Supplication to the King.” Printed by the Early English Text Society, extra ser. (1871), p. 52.
13 Letters and Papers of Henry VIII, vol. 1 (2), on. 3326.
14 Andrew Boorde, Fyrst Boke of the Introduction of Knowledge (1542). Reprinted by the Early English Text Society, extra ser., vol. 10 (1870), p. 116.
15 Recueil de la diversité des habits . . . (1562). The book was reissued in 1564 and 1567.
16 Translated, this reads: “. . . our predecessors of old . . . were more careful about sumptuous dress than rare virtue . . . for as the monk was recognized by his frock, the jester by his cap, and the soldier by his arms, so the wise man was known by his moderate habit.”
17 A. M. Hind, Engraving in England in the 16th and 17th centuries (Cambridge: Cambridge University Press, 1952), vol. 1, pl. 34.
18 F. Bertelli, Omnium fere gentium nostrae aetatis habitus . . . (Venice, 1563).
19 For the origin of this Spanish fashion in 1470, see Carmen Bernis Madrazo, Indumentaria medieval espanola (1956), p. 50, pl. 158.
20 There are two editions of the book by Cesare Vecellio: De gli habiti antichi e moderni . . . (Venice: Zenaro, 1590 [Italian text]); Habiti Antichi e Moderni (Venice: Sessa, 1598 [Italian and Latin text]). The quality of the woodblocks and impressions varies considerably.
21 Translated, this reads: “Underneath, the habit of the ladies [who imitate the Duchess] is to wear the farthingale or pleated frock, which skillfully holds the petticoat out wide like a bell. This fashion is extremely convenient for walking or dancing, and nowadays, ladies throughout all Italy wear this pleated frock mentioned above.” (1590 ed., folio 187.a.)
22 Translated, this reads: “The originator of these beautiful fabrics in Venice is Master Bartholomew Bontempele at the sign of the ‘Chalice.’ From time to time at exhibitions he makes of these materials he has created, he shows the greatness of his intellect, which is accompanied by an incomparable generosity and kindness for which he is greatly loved by the Venetian nobility, by many princes of Italy, and in particular by his Serene Highness the Duke of Mantua. In his store, to which many gentlemen and princes send orders, even the Seraglio of the Grand Turk, are to be seen brocades worked in all manners of gold and silver.” (1590 ed., folio 139.)
23 There is an excellent reprint of Buytewech’s book with an introduction by W. Bruhn (1926).
24 C. le Blanc, Manuel de l’amateur des estampes (1854), no. 549-560.
25 For examples, see A. Blum, L’oeuvre gravé de Abraham Bosse (1924), nos. 957-961; the plate “Pompe funèbre de la Mode,” by A. Blum (in Les Modes au XVII siècle, 1927), p. 21; and F. P. Wilson, “Funeral obsequies of Sir All-in-new-fashions” (in Shakespeare Survey, 1958), p. 98.
26 J. L. Nevinson, “Fashion Plates and Fashion, 1625-35,” Apollo (1950) vol. 51, pp. 138-140.
27 Gustave Parthey, Kurzes Verzeichniss der Hollarschen Kupferstichen (1853), nos. 606-609.
28 Gustave Parthey, Kurzes Verzeichniss der Hollarschen Kupferstichen (1853), nos. 1908-12, 1930-33.
29 Parthey, ibid., nos. 1946-51.
30 John Evelyn, Tyrannus or the Mode (1661). Facsimile reprint with introduction by J. L. Nevinson (Oxford: Luttrell Society, 1951), no. 11.
31 E. S. de Beer, “King Charles II’s own fashion,” Warburg Institute Journal (1935), vol. 2, no. 2, p. 105.
32 Translated, this reads: “. . . nothing is more pleasing than the styles born in France . . . . This is why much relating to dress is imported from France into all the provinces of the world, though the final dress is not exactly French.”
33 Emile Magne, Images de Paris sous Louis XIV (1939). In this book, the social historian Dr. Magne devotes the best part of a chapter to the Mercure Galant and gives a listing of all fashion articles up to 1700.
34 See J. L. Nevinson, “The ‘Mercury Gallant’ or European Fashions in the 1670’s,” Connoisseur (1955) vol. 136, p. 87.
35 See F. G. Roe, “Prints and Tinsel,” Connoisseur (1932), vol. 89, p. 302.
36 The Cryes of the City of London, Drawne after the Life, delineated by M. Lauron, engraved by P. Tempest (London: H. Overton, 1711).
37 A new Drawing book of Modes, by Mons B. Picart (printed for Richard Ware at the Bible & Sun in Amen Corner, Warwick Lane, London; no date).
38 R. Colas, Bibliographie du costume (1933), nos. 2502, 2503.
39 G. Paston, Social Caricature in the 18th Century (1905), pl. facing p. 10.
40 J. Le Gros, L’Art de la coiffure (1768). James Stewart, Plocacosmos or the whole Art of Hairdressing (1782).
41 C. L. Regnault de Savigny, Les almanachs illustrées du XVIII siècle (1909).
42 Justus Möser of Osnabruck, a prolific writer in the 1770s, discussed, in his Patriotische Fantasien, not only national dress but whether magazines should deal with ladies’ fashions.
43 Eva Bergman, Nationella Dräkten (Stockholm, 1938).
44 J. C. Ryge, Ideer til en national Smag i dansk Klaederdragt (Copenhagen, 1827).
45 Grasset de Saint-Sauveur, Costume des Représentans du peuple (Paris, 1795).
46 H. Le Blanc, The Art of Tying the Cravat, 3rd ed. (1828). The whole Art of Dress, by a Cavalry officer (1830). Both of these small books contain fashion plates.
47 Vyvyan Holland, op. cit. (footnote 1), chap. 5 ff. C. Willett Cunnington, English Women’s Clothing in the Nineteenth Century (1937). James Laver, Nineteenth Century Costume (1947). C. H. Gibbs-Smith, The Fashionable Lady in the 19th Century (1960).
The text for figures 6 and 11-14 was printed as blocks of verse below the illustration. The remaining text (figures 16-22, skipping 20) was printed within the body of the illustration. As with all original (pre-1967) text, the spelling, capitalization and punctuation are unchanged.
Figure 6.
L’angloyse. Ainsi vestue est une femme Angloise Par le dessus son bonnet est fourré, On la cognoist (biẽ qu’ aux lieux on ne voise) Facilement à son bonnet carré.
Figure 11.
Que ce m’est vne chose estrange De remarquer combien me change Cet habillement reformé: Que i’ay de mal à m’en defendre, Et q’uil me fache de le preendre, Pour ne l’avoir accoustumé: Je violente ma nature; Me voyant en cette posture, Et demeure tout interdit, Mais dequoy me sert cette pleinte, Si par raison ou par contreinte Il faut obeir à l’Edit! Il est iuste qu’on s’accommode Au temps, au pais, à la mode, Suivant le sainct decret des loix Sans chercher de preuue plus ample Que celle qui luit dans léxample De Lovys le plus grand des Rois
Figure 12.
Tout ce que l’Art humain a jamais inuenté Pour mieux charmer les sens par la galanterie, Et tout ce qu’ont d’appas la Grace et la beauté, Se descouure à nos yeux dans cette Gallerie. Icy les Caualiers les plus aduantureux En lisant les Romans, s’ániment à combatre; Et de leur passion les Amans langoureux, Flattent les mouuements par des vers de Theatre. Icy faisant semblant d’acheter deuant tous Des gands, des Euantails, du ruban, des danteles; Les adroits Courtisans se donnent rendez-vous, Et pour se faire aimer, galantisent les Belles. Icy quelque Lingere a faute de succez A vendre abondamment de colere se picque Contre des Ciccaneurs qui parlant de procez Empeschent les Chalands d’aborder sa Boutique.
Figure 13.
The bottom edge of the caption is cut off in the (1967) original.
Not soe quick sighted, is the EAGLE for her pray As I new fashions spie to make mee gay.
Figure 14.
Winter The cold, not cruelty makes her weare In Winter, furrs and Wild beasts haire For a smoother skinn at night Embraceth her with more delight
Figure 16.
Habit d’Hyuer Tour de plumes a deux pointes Castor gris blanc Perruque noüée Colet rond Brodé Manteau de drap de Hollande couleur de feu double de vetours noir ou plúche de couleur Manchon de pluche de couleur Iuste-au-corps gris brodé de soye de couleur doublé de satin et la veste de mesme Broderie plate d’Or et d’argent Canons a la Royale brodez coupez en botte tenant au bas Soutiers noirs lustrez et lizerez d’Or
Figure 17.
Habit d’Hyuer Grande coeffe de gaze brodée Palatine de Marte Brasselets ou nœuds de Diamans Manchon de pluche de couleur Robe de velours noir et les nœuds de diamans Hermine sur vne Iupe de dessous noire
Figure 18.
Habit d’Hyuer Ruban large brodé de Soye Castor ras noir Iuste-au-caorps de drap de Hollande couleur de noisette Baudrier brodé couleur de la pluche double renuers de manches sans-veste frange forte couleur de Prince pluche de couleur Bas routér couleur de lhabit lEcharpe de point d’espagne ou de raiseau Or et Argent
Figure 19.
Deshabillé d’Hyuer Coeffe de Soye ecruë Coeffe noire Palatine de Point Manchon de pluche couleur de feu Manche Sereé de pluche. Manche de Chemise. Menchettes de point. Ceinture de tissu d’Or. Manteau de brocart a fleurs d’Or doublé de pluche couleur de feu. Iupe de pluche couleur de feu. trois rangs de grande dentelle Or et Argent-vollante. Iupon de brocart a fleurs d’argent bordé d’ermine.
Figure 21.
Habit d’Esté Ruban large tabizé ou brodé avec de la frange Juste au Corps destamine Couleur de Prince. La Veste aussy longue que le Juste au Corps de toile blanche garnie de dentelle ou point. Tour de manche double. Les Gans garnis de dentelle. Le Baudrier à fons blanc et des grans fleurons brodes de la Couleur de l’habit.
Figure 22.
Habit d’Esté A graphe de Piereries. Gans de point d’Angleterre. Manchettes doubles. Manteau de gaze. Jupe de point d’Angleterre sur un fons de couleur. d’entelle d’Angleterre plissée.