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dresshistorynerd · 4 months

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Ranking Men's Costumes in Renaissance Period Dramas - Part I: The Bad

Part II: The Good

I have a bone to pick with Renaissance costuming of male characters. Films and TV never seem to understand French hoods or the concept of tied up hair but the crimes committed with female characters costuming seem to pale in comparison with those committed with male characters costuming. It would be easy to find some atrocities that should be brought in front of the Hague from the bottom of the barrel shows like Da Vinci's Demons and Reign, both of which costuming is basically black leather jackets, pants and boots. If we're lucky, they have some vaguely Renaissance details imitating doublet or jerkin. But these shows make absolutely no effort, even the women's costumes are straight from modern fast fashion shelves (often literally). But I have noticed that even costuming that has some effort otherwise put behind it, still costumes male characters with the most boring costumes and minimal effort. The Tudors didn't have good costumes, but there's some effort towards historical immersion, even if quite lackluster, but the men's costumes are still so sloppy.

My theory is that they think men's Renaissance fashion was too goofy and embarrassing to fit their cool and sexy main male characters. Also men dressing up and taking care of their appearance? That's obviously homosexual behavior, and these hot men who the main female characters are fawning over are Manly and Heterosexual. So they don't dress up in fancy clothing or colour!

To give a fair change to the costuming, I will be selecting only shows and movies which have good costuming for the female characters. If they are not even trying, it feels kinda pointless to point that out. I have selected 10 period dramas. I haven't seen all of them so I'm not going to analyse the costuming any deeper than how good and well made they look and how well they evoke the historical setting. I don't demand historical accuracy, but I will be more harsh on that front if the women's costumes are succeeding in that. But one of the point of period dramas is to immerse into a historical setting, so if the costumes can't evoke that feeling, I think they have failed. Obviously this is not some objective ranking, but my opinions. This is in two parts (because of Tumblr image limits), so I'll start with the five worst costumes in order of best to worst.

5. Ever After (1998)

Ever After is supposedly set in Renaissance France, but the costuming resembles late 15th century and early 16th century Italy much more. It's not very historical, and clearly not really trying to be, going for more of a fantastical style. It works, I think because they make it cohesive and very pretty.

Men's costumes resemble also resemble Italian styles. The Lombardian style sleeves, short doublets and tight pants land it right there. The men's costumes are much more boring than the fun and fantastical women's costumes, but they got the least worse spot in this worst costumes list for several reasons. The pants are actually tight and they have codpieces. The sleeves are actually really great I love them. And there's no leather pants or doublets.

And look at this, at least one doublet is closed with lacing!! (I apologize for the very low image quality, it was the only picture I found of that costume.)

The biggest gripe I have with the costumes are the boots. Just let these male characters show of their calves. At least not everything is black but the lack of colour is still disappointing too.

4. Becoming Elizabeth (2022)

The female characters have quite excellent costuming. The fabrics are rich and gorgeous, the bodices are extremely smooth and crisp, some of the best I've seen, partlets are on point and correctly used. My only complained is the occasional open hair and yet another case of the weird upward pointing crown-like French hoods.

French hood didn't have any crown shaped thing, it was a hood and the headpiece is actually several headpieces made to reveal the lining of the hood in a crescent shape. So it is very much flat against the head. (I've written about French hood's construction before.) And sure they look more early Tudor fashion, the sleeves should be much more dramatic and the bodice elongated. Like here's a portrait of the actual young Elizabeth. But I think the detailing, great construction and good looking materials make the costuming beautiful and feeling enough like Tudor era.

So how does the men's costuming hold up? Pretty okay, which is why this show is so high up in the list. I haven't seen any leather pants on anyone. Leather jerkins were an actual thing, they just weren't black, and though the leather jerkin in the show was dark brown and not smooth hide, it was not black so that's something. Edward VI does have actual stockings and Renaissance shoes, which is great, but he is a kid and I didn't see any grown man rocking that style which is very cowardly behavior imo. There's some colourful silk jerkins in there too. And they even could get away with all black since that was very fashionable at the time. They are all wearing slashed trunk hose. AND! They have actual accurate codpieces sticking up! That is so rare especially in this period when the codpiece was not just a flat piece of fabric.

Unfortunately this is where the good things I have to say end. All of these court people are for some reason wearing riding boots inside and everywhere all the time. The hose are way too long and the jerkins are way too short. The hose should be just peaking under the hem of the jerkin. Obviously none except the kid uses thigh high stockings. One of the worst things though imo is the lack of structuring in the men's costumes. The women's costumes are so well structured, but the men's costumes are just wet rags hanging on them? The doublets were heavily structured to create a pigeon chest and hourglass effect.

In conclusion, there's clearly some effort made, some very nice historical details, but the overall look is very costumy and sloppy because of the lack of structuring and lacks the historical silhouette.

3. Mad Love (2001)

The movie is set around 1500 Neatherlands (and Spain). I think many of the costumes are gorgeous (like the examples below), though overall the costuming is quite inconsistent. Most of it fits at least okay to the time period and setting, though the red dress here is more along Italian styles, but not entirely off either for early 1500s Low Countries. Some costumes though are 50 years from future. Of the women's costumes alone, this would probably be the worst costuming on this list, though I think better than most Renaissance costuming, which is why it still ended up on this list.

The men's costumes resemble more early 16th century German fashion than Low Countries fashion, which was more similar to French fashion than German. In the red ensemble there's some weird jerkin looking overgarment, but jerkins were not a thing yet and they were never in this style. I will excuse the lack of codpiece since in Low Countries' fashion it was hidden under longer overgarments, even though in this more German style it would have been left in view. The hose are no where near fitted enough, and the boots should not be here at all. Overall this is kind of a mess, but it is better than the last two. We have skirt, we have weird sleeves, open neckline and most importantly, we have colour. Also while this shoulder-length curly hair wasn't in fashion outside Italy at the time, I still appreciate the sluttiness of it.

2. The Borgias (2011-2013)

Now we are getting to the territory, where the lack of effort is starting to be very obvious. Like the costumes till now were not particularly good, but clearly they at least attempted, even if not very hard. So, The Borgias. The show is set in the early 1500s Italy. The women's costumes are gorgeous. Not always the most historically accurate, but at least close enough and very pretty.

The men's costumes however... a deep sigh. Some of them are not that bad, like this first one has kinda Lombardian sleeves and a too small doublet showing off the lacing (in Italy the lacing was almost always ladder-lacing though regardless of gender, but it's something I guess). Most of it though, especially of the leading men, who are supposed to be cool and hot, is absolutely garbage. The same black leather jackets and pants seen in the bottom of the barrel shows. Like the costumes of the female characters and some of the male characters feel like they are from two completely different shows. Like sure they have codpieces, but their pants are so loosely fitted they wouldn't even need the codpieces. (I explain the use of codpieces in this post). And of course they have boots. Of course. In Italy it was even common to not wear shoes at all, they just sewed leather soles at the bottom of the hose. And even the men's costume that have tiniest bit of effort, are so dark and lacking in colour, when the most fashionable young men at the time wore these wildly multicoloured hose and doublets. The feeling I get the showrunners were so god damn afraid of giving the cool male characters any elements or details that could in anyway seen as feminine today, they stripped all the historical elements away. Like they couldn't even give Cesare lacing, they had to make it Manly Buckles?? It's such an insecure performance of masculinity. I admit the last image here is the worst offending example and there were some with a bit of color even, but in other ways most of it is exactly this bad. I will have to hand one thing to them though. They did manage to get the slutty shoulder-length hair right.

If this man is supposed to be sexy, prove it to me by showing his ass with lovingly fitted hose.

1. Rosaline (2022)

This is roughly set in the same time in Italy too as The Borgias, based on women's costumes, I'd say at the very end of 15th century. And those women's costumes are honestly great. They even have hand-sewn eyelets, ladder-lacing and cartridge pleats. Even some of the most high effort costumes don't get these details right. Honestly I only have issue with the hair, the hair goes from okay or outright terrible. They even made this super historically accurate Renaissance apron for a maid.

This got the lowest ranking so you know what comes next. The men's costuming is absolutely unacceptable. I feel like it would be excessive to even describe all the ways these costumes fail since to me they are so obviously bad. The difference between these women's dresses with such gorgeously crafted details and these men's costumes that give absolutely nothing is so stark and gives such a massive dissonance. They are just wearing modern skinny-ish pants, all the colors are so muted and dark, there's no shape, no structure, no codpieces, just sloppy bland jackets and pants. Even less effort than men's costumes in The Borgias have. Except one thing they have over The Borgias, they were able to ladder-lace that doublet. Otherwise these are just bland, boring and actively ugly. And it's so weird that they took this "gritty gruff "realistic"" route, when it's a comedy about Romeo and Juliet? You afford to be a little goofy with a comedy and yet you did this.

Extreme disappointment, do better.

Part II: The Good

#historical fashion #period drama #historical costuming #costuming #period film #costume drama #renaissance fashion #renaissance costuming #historical fiction #ever after #becoming elizabeth #the borgias #rosaline 2022

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xxemosceneacidscumxx · 2 months

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Dark link x FEM! Reader

~Puzzling~ Part 7

(Song: Slept So Long, Jay Gordon)

All coherent thoughts left my mind. “I.. um.” I scooted back farther. He raised an eyebrow, awaiting my answer. I thought a second more. I should probably respond. “… yes sir..” he stood back up. “Good. It’s been hours since I brought you here, you must need the lavatory, yes?” He began to untie me. “There will be no running, no going anywhere without me, and most certainly no speaking without being spoken to.” He says looking dead at me. “Unless you have a question, that is.” Shooting me one of those fake smiles that you obviously can’t trust.. I just nodded in response. He grabs my now untied wrists and leads me to the left side off the bed, opens the door there and reveals a big and I mean BIG bathroom. With a bunch of stuff in there too. I am drowning in confusion. He goes over all the way to the end of the room, and points to the toilet, with a faucet next to it and a cup. I guess to wash? “Well go ahead” he said looking impatient. My face flickered up to him in disbelief. “.. I cant use the bathroom with yo-“ a stinging pain went across my face, as my eyes watered. I looked up at his upset face. He just slapped me. He then grabs the collar of my dress and pulls me up by it, putting his face less than in inch closer to mine. “ you do not speak unless spoken to. UNDERSTOOD?” I closed my jaw which was hanging open, and I immediately nodded.he lets go, dropping me to the floor. “Good.” I stand up and sit on the toilet, and start to go. Now i finish and gotta clean off. He’s still here. I Look Away and do it as fast as possible. After I stand up and flush he pulls me to the actual sink and shows me the soap and I wash my hands. He then guides me to the tub. Points to different products. “This vanilla soap is yours, and so is the pink loofah. This purple razor is yours, all the period products under the sink are obviously yours, and we share a hairbrush it doesn’t matter.” He says pulling me back to the bedroom. He goes in the drawer and gets me something else to wear. He pulls out a nightgown. It looks very expensive. He tosses it to me and I immediately know what that means. I close my eyes briefly and take a deep breath as I remove all layers of clothing I’m wearing. Kirtle, bodiced petticoat, petticoat, partlet… I paused a moment. Inhaling as deep as my lungs will allow me I take off my chemise and stockings, completely naked I pick up the nightgown and put it on. I Look back at him waiting for him to say what to do now.. he looks awful smug. I Look Away feeling the most uncomfortable I’ve felt in a while. He picks up my other clothes and puts them in a pouch in the corner of the room. Dirty clothes I guess. I look out the window again. It’s dark now. He picks me up like a baby, pulls down the blankets, and plops me down on the bed. I stay still for a sec as he walks away. “Should I Sleep now..?” He chuckled. “Well what else is the bed for, hm?” My mind immediately went to the worst possible answer so I went under the blankets covering my head. For the next 5 to 10 minutes I heard the rustling of his clothes being changed. I feel him get in the bed too and he pulls me closely, in a death grip. I cant move. I try to roll over on my stomach. He lets up but just enough for me to do so. Exhaling under his weight, I let a few tears fall as I fall asleep. I’m scared.

#cringe warning #don’t like don’t read #just for fun #creepypasta smut #creepypasta x reader #creepypasta #x female reader #dark link #x fem!reader #idk wtf this is #im going to kms #Spotify

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marythequeen · 2 years

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But such hesitancy was only temporary. Mary became a fashion trendsetter. In her twenties, she favoured French gowns with turned-up sleeves which often revealed a rich velvet facing. The square, open neck of the French gown could be filled in with a partlet, either in the same silk or in a contrasting colour and texture. Mary’s gowns were often of cloth of gold and silver and were already high-collared by 1544 and open at the neck to show ‘a wrought lining of coloured silk embroidery on linen’. The earliest visual evidence we have of this style depicts it a good ten years later, so Mary was definitely leading, not following, fashion in the 1540s.

Mary Tudor: The First Queen by Linda Porter

#mary i of england #mary tudor #good queen mary #house of tudor #mary i #we stan a fashion queen!!!

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alter-aeon · 1 year

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#IFTTT #FacebookPages

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beinmybonnet · 4 years

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29th June 1613 - London, England

“Remind me again why we’re doing this?

“He went to the trouble to have a draft carried all the way to Brandenburg for me, the least I can do is attend the opening night.”

Andromache rolls her shoulders into her partlet. “The least you can do maybe. Why am I doing this?”

“Because you missed me. And because you cried when we saw Othello.” Yusuf replies, looking sideways at her. Curbing the inevitable objection, Quynh squeezes Nicolò’s arm and strides forwards to overtake them. He lets himself be dragged after her, taking care not to tread on her skirts.

“I love the theatre. Plus, we’ve spent the last week sleeping in a shack in the Dales. This,” Quynh waves her free arm over the bridge rail, “is a nice change of scenery.”

London Bridge is teeming with people, the warmth of the bustle settling like cinders into his skin. The city writhes in its haste. Against the far bank of the Thames tall buildings strike against the horizon, the old Southwark Priory still reaching high in spent pride. Buildings are painted pale with dark beams striking bold across them. It is beautiful in its own way, Nicolò thinks. Inelegant, but unique.

“It wasn’t that bad. I still think we should have stayed a little longer, at least until-

“Andromache we’ve slept in nicer caves.”

Quynh glances back over her shoulder meaningfully, brow rising. Andromache shrugs. A smile, although few would recognise it. They step down onto the riverbank as one, turning east.

Nicolò nudges his shoulder into Yusuf as they pass the gardens. “You fail to mention you sent that script back with corrections.”

“Revisions. Small ones.” Yusuf’s voice is low, his expression impish. “Barely noticeable.”

“Ah, here we are.” Yusuf waves Andromache forward into their usual first-floor booth and steps back to allow Quynh to pass. Nicolò pauses, peering up the stairwell.

“Full house.”

“First performance. Trust me, this will be one to remember.” Yusuf is bouncing slightly on the balls of his feet, and it makes Nicolò want to tuck his chin over a bobbing shoulder.

“You’d think the city would be a bit more subdued,” Andromache settles herself on the bench tucking thick plum skirts around her calves. She happily accepts a bag of roasted hazelnuts from Yusuf as he passes her to stand at the balcony. “They’ve only just recovered from their last bout of plague.”

“Exactly! This is the power of art.” Yusuf beams, arm sweeping wide. “Look at these people.” All around them the crowd is seething with anticipation, the noise growing as the wait goes on. Children scramble in the lower level of the yard for better vantage points, clawing their way up the beams supporting the lower galleries. People are shouting and laughing and drinking, the sound cocooned tight within the impressive structure. A man swings a laughing boy up over the mass, and a small group of women pressed against the stage begin shouting a suspicious sounding rhyme, pointing across the pit. Before they can finish a man in the gallery beneath them roars his response across the yard.

Nicolò’s brow furrows. “Clot-pole? I don’t…”

“She’s calling him an idiot,” Andromache supplies, “and insulting his hat.”

“It is a bit much.” Quynh’s leaning over the balcony to get a better look. “I think she’s accusing him of, err – short-changing her. Last night.”

Still grinning, Yusuf peers over beside her. “Oh, she’s quite angry. Here we go.” He sounds delighted. What looks like a parsnip sails over the head of the crowd. “A pity, she’ll want those for the third act.”

Quynh’s now bent almost double over the bannister and Andromache reaches to steady her without looking. “Isn’t this sort of thing that made the man move half of the troupe over to Blackfriars?”

Yusuf shakes his head in fond exasperation. “Ah, William has become far too prudish in his success. The engagement of the audience is the nature of theatre.”

“Engagement?” Nicolò smirks as something below meets its mark with a splat and a shout.

“Well, you cannot deny their enthusiasm-”

Quynh reappears with a whoop of triumph clutching her prize; a browning cabbage intercepted in the air. She rotates the rotten vegetable in careful examination. “Excellent.”

Yusuf raises his hand in hopeless protest as Nicolò leans back in his seat, eyeing Quynh. “10 crowns says you can’t hit the stage from here.”

She snorts derisively.

“20 if you can take King Henry off his feet.” Andromache counters, rising slightly to gauge the distance. Done, Quynh agrees happily, settling beside her and tucking her cabbage under the bench. Yusuf mutters an exasperated appeal for help to the heavens and Nicolò quickly tugs him down into the remaining space with a hand over his knee.

The parting of the stage curtain prompts the dropping of remaining projectiles and an enthusiastic cheer from the crowd. The herald clears his throat, steps to the edge of the stage and spreads his arms.

The first and happiest hearers of the town,

I come no more to make you laugh; things now,

That bear a weighty and a serious brow,

Sad, high, and working, full of state and woe,

Such noble scenes as draw the eye to flow,

We now present. Those that can pity, here

May, if they think it well, let fall a tear;

Be sad, as we would make ye

“Oh, so a comedy?” Quynh says brightly and Yusuf shushes her.

The first actors emerge from the wings in their velvets and the tale takes flight.

In all this noble bevy, has brought with her

One care abroad; he would have all as merry

As, first, good company, good wine, good welcome,

Can make good people. O, my lord, you're tardy:

Yusuf is mouthing the words soundlessly, engrossed.

There are many things Nicolò has enjoyed about visiting theatres over the years. He will readily admit this performance is an enjoyable one - the young man playing Buckingham is particularly charismatic, the audience viscerally immersed in his indignation. The actors proudly deliver their lines and their story to an increasingly hypnotised audience.

But the play itself has never been what really draws Nicolò to this place. He glances sideways again and immediately, expectedly, loses the thread of the plot. In this moment the talent on the stage could never hope to hold his interest as he sits beside this man. Yusuf has lost himself entirely to the unfolding tale, gaze flitting from figure to figure calling below. Passion alight in his eyes. The arts do this to him in a way Nicolò has seen nothing else in all their time together. They have walked familiar paths in gallery halls for hours on end, Yusuf’s eyes roving walls of painted expression. They’ve sat in houses of the dying and listened to children bringing comfort with songs of naivety. Literature, dance, poetry, music; in all their changing forms they have always arrested Yusuf in his entirety.

These things give people freedom Nicolò, true freedom, he had once said. Free of limitation and expectation, in art people reveal their true selves. It is beautiful.

For Nicolò, that beauty is reflected blindingly in Yusuf’s own experience. To watch him like this for the rest of his given days would see him depart this earth achingly grateful to his God.

But Yusuf feels his distraction and leans toward him. “You’re missing it,” he murmurs, smile pulling impossibly wider. Unbridled delight is etched at the edges of his eyes, and Nicolò wants to trace his fingertips over the creases. He only realises he has reached out and done so when Yusuf captures and kisses his palm. “Watch the play.”

“It is a story still within living memory, I know how it ends,” Nicolò whispers.

Yusuf will not have it, nodding towards the actors. “Watch them tell it.”

Anne Boleyn is drifting across the stage, hand at her chest and Nicolò turns dutifully back to the performance.

Was he mad, sir?

O, very mad, exceeding mad, in love too:

But he would bite none; just as I do now,

He would kiss you twenty with a breath.

This time it’s Yusuf’s eyes that flicker back towards him and Nicolò hears silent words in the curl of his lip. Twenty kisses in a single breath. A risky venture, no?

Nicolò hums, his thoughts mirrored beside him. We shall see.

Good lord chamberlain,

Go, give 'em welcome; you can speak the French tongue;

And, pray, receive 'em nobly, and conduct 'em

Into our presence, where this heaven of beauty

Shall shine at full upon them. Some attend him.

You have now a broken banquet; but we'll mend it.

A good digestion to you all: and once more

I shower a welcome on ye; welcome all!

King Henry VIII emerges from the curtains with a flourish, the actor clearly taking great pains not to stumble in breeches that billow around his knees. The theatre bursts into applause as a round of trumpets sound, and they shout their approval at the blast of a canon from the rafters. The actors move to their marks to begin the scene in earnest, and Andromache leans forward with interest for the first time.

“See, I told you! With the funding now available, they’ve really spared no expense,” Yusuf is still clapping. Andromache hums noncommittally sitting back, but her eyes are suddenly bright with curiosity.

“Quynh, if you’re going to win your money, I suggest you do it now.”

“Why? I was going to wait until the trial scene,” she replies, confused.

From his place beside her Nicolò can see clearly that Andromache is struggling to suppress a smirk. “Well, there won’t be much left by then.”

“What?” Quynh looks down the bench at him. He shrugs. Andromache sighs around her growing amusement.

Seconds pass before she speaks again.

“They’ve set the roof on fire.”

He doesn’t need long to piece together what’s happened. There’s a thin plume of smoke rising from the inner curve of the roof and within, a flicker of light no bigger than that from a candle waving gently in the rafters. The canon. They wadded the canon, he realises. The little flame wafts higher in the breeze. The crowd is oblivious, too focused on the stage to be looking upwards. He taps Yusuf’s thigh.

It does take a moment. “Oh dear.” Yusuf looks back and forth between the roof and the stage, face falling. “Well maybe-

There’s a loud pop as the flame meets eager fuel. It dances up into the thatch lining the hooped roof and flares wide and greedy. Whip fast, it licks across the reeds consuming them in crunches and cracks that have people now looking skywards and shouting. Those in the highest galleries rear back as the fire completes its rapid circuit of the roof. By the time the actors have abandoned their attempts at continuing and stand dumbstruck on the stage, the theatre is ringed in an ominous halo of flame.

“Yusuf, unless your intention is a repeat of ’54…” Quynh trails off sadly, holding her cabbage.

Clumps of lit thatch are beginning to drift into the standing audience and the pushing and shoving follows in earnest. One man charges through the crowd braying, his breeches alight. Andromache stands looking decidedly more cheerful. “Come on, we’ll help them clear the pit.”

Nicolò follows suit, a hand falling to Yusuf’s shoulder. He has to work to quell an absurd urge to laugh; Yusuf is glaring at the roof with all the stubbornness of a chastised child. He squeezes gently, sympathy winning out. “I’m sorry.”

“Canons, who on earth thought canons in a wooden building was…” Yusuf trails off, glancing up. “Nothing to be done I suppose.” He holds out his other hand. “Shall we?”

Drawing Yusuf up behind him, Nicolò moves out into the stairwell twisting up into the higher galleries where people are starting to pile down in haste. An older man stumbles in the rush and he reaches out to steady him. “Careful, sir. Head out towards the river.”

The man nods and quickly hurries on pressing his handkerchief to his mouth. The next woman through the door snatches her arm up to her chest before he can move to offer any assistance. Dirty papist she spits as she veers away. Yusuf tenses, a hard line pressed at his back. Nicolò just dips his head.

“Please hurry.”

By the time the flow of people has ebbed the flames are beginning to consume the ornate stage pillars. The curtains masking backstage catch like parchment and blaze furiously. “We should make sure the galleries are clear,” he says, “you take the east, I the west?”

Yusuf eyes the roof timbers warily. “Five minutes. No more.”

In the end it only takes Nicolò four minutes to usher the last stubborn gamblers from the gentleman’s room. The fact that the smoke has now crept down to waist level speeds this along nicely, and they hurry to the stairwell hunched and coughing. Nicolò stays low, following them down the last steep flight when his foot catches on something in the darkness, almost putting his hand through the adjacent wall in an attempt to steady himself. There’s a man slouched in the corner, limbs sprawled wide and snoring. An empty bladder clutched to his chest. The strength of the brandy fumes punch through the dense smoke to further sting at his eyes and his irritation almost threatens to outweigh his conscience. Almost.

By the time he staggers out into clear air dragging his oblivious charge Nicolò know he’s been much longer than five minutes. Behind him there’s a crash which sounds very much like the galleries have finally given in and collapsed. Sounds like, because his eyes are clenched shut, burning and watering. Pressing his hands to his knees, he tries not to gag on the tar in his throat.

A hand settles on the back of his neck whilst another cups a palmful of water to his face. Nicolò winces.

“I’m sorry,” he rasps, “He’s heavier than he looks.”

He can hear Yusuf grinding his teeth but his response is surprisingly placid. “Rinse your eyes.”

Yusuf presses a water skin into his hands and moves away. When Nicolò’s vision has cleared he spots him back near the eastern entrance, patiently shepherding two enraptured boys further from the fire as they gape at the sky. Even for one who has seen much, Nicolò must admit, it is quite a sight.

The playhouse’s cylindrical shape has moulded the fire into a twirling steeple of flame inside the structure, now reaching twenty feet clear of the building itself. The Globe resembles an enormous cauldron struggling to hold its roiling contents. It belches clouds of thick black smoke as its rim splinters and cracks under the pressure and heat. What’s left of the thatch continues to feed the furnace, keeping the flames bright and fierce.

Quynh appears, sliding her hand into the crook of his elbow to steer him away. She leads him to a grassy curve of the riverbank where people are congregating in groups and beginning to resettle on the ground. From one muse to another, the audience remain eager spectators, gasping and whooping as the bones of the building begin to break, sending up showers of sparks. Yusuf and Andromache join them just as the walls start to keel inwards.

“You were right, definitely one of his more memorable works,” Andromache announces as they sit. “Perhaps my favourite.”

“Yes, I’m so very glad you enjoyed yourself.” Yusuf’s tone is flat, but his eyes roll indulgently.

Quynh settles herself back against Andromache’s bent knees, facing the playhouse. “We can still make a night of it. We get a bottle of wine, some pastries. Watch the sunset.” Her voices softens slightly and she levels her gaze at them. “You really must go so soon?”

He looks to Yusuf, who nods. “We have passage on a ship to Antwerp. She leaves on the tide tomorrow morning.”

Quynh’s sigh is dejected. “You won’t consider staying just a little longer? We’re moving on to…” she trails off, peering up at Andromache – Devon, she supplies, “We could use your help relocating these women. The trials are becoming barbaric.”

Yusuf shakes his head, surveying the crowd. “I’d prefer not to tempt fate. London is not at its most welcoming for us presently.

Nicolò quirks his lip. “You mean for me.” Ah, he sees now. The woman from earlier is stood just a little further up the bank, clutching at well-dressed man and pointing at them. Yusuf stares back unflinchingly. Nicolò feels him shift to further block her line of sight to him.

Then he turns back to meet Nicolò’s eye and speaks firmly. “For us. If a place does not welcome you, it does not welcome me.”

Quynh has watched the exchange carefully and suddenly sits up. She clears her throat and calls out loudly enough for those nearest to turn. “Thou art a boil, madam, a plague sore!”

Andromache snorts and the woman raises her fan to her face appalled, tugging on her husband’s arm. It has the intended effect on Yusuf though and his grin returns to its proper place. Nicolò feels a familiar rush of affection for Quynh and her unfailing ability to put people at ease.

“King Lear,” Yusuf says proudly. “I didn’t think you were paying attention.”

“Of course she was,” Andromache interjects, “It’s a magnum opus of insults.”

Quynh grins up at her. “Oh, you worsted-stockinged knave.”

The retort is instant. “Brazen-faced varlet.”

“Ancient ruffian.”

Andromache shrugs. “Accurate.”

Their laughter comes in easy unison and Yusuf’s expression is unbearably soft as he watches them. “It won’t be for long,” he promises.

Quynh pulls her eyes from Andromache and nods. “Probably a sensible choice at the moment. You do look violently Venetian Nicolò.

He wrinkles his nose, affronted. “I do not-”

Yusuf is reaching for his face, so he pauses his protest for the gentle pass of a thumb over the bridge of his nose. “It’s your profile my love.” Yusuf’s tongue darts out over the pad of his thumb before it returns to rub more firmly at his nose. “Which currently is very sooty.”

With his hands still upon Nicolò’s face he murmurs. “Oh but what a piece of work is this man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel,” Yusuf blinks, his sincerity blinding, “in apprehension how like a god.”

It’s all Nicolò can do not to rub his flushed cheeks into Yusuf’s palms like an alley cat.

Andromache arches a refined brow at Quynh. “Nicolò gets a Hamletian ode to his soul, and I get ‘ruffian’?”

Quynh rocks onto her elbow in the grass without missing a beat. “Shall I compare thee to a summer’s day? Mayhap a smouldering playhouse, ablaze in righteous flame?

“Likened to a smoking wreckage, how romantic.”

Nicolò would laugh but Yusuf is still holding his gaze and his face, everything else muting around him. He does this; bestows his love in soft declarations that leave Nicolò stunned, and then holds him steady until the words perfuse. Nicolò loves him so much he feels he might combust, with all the ferocity of the fire at his back.

Centuries before, he had allowed his disbelief to ask a question once, and only once. The intensity frightening him. Could a gift such as this truly be his eternal?

Nicolò smiles at his world and whispers.

So long as men can breathe or eyes can see,

So long lives this, and gives life to thee.

held in the embers on ao3 at theexistentialteapot

part one of this series can be found here

#god this one took years off me #but it's done!#thank you bones for the final shove over the finish line #i am so soft for this found family #and they deserve happy memories #yusuf would 1000% have been a theatre kid #the headcanon is lodged #userbones #usermarwan #tusermj #tuserceleste #the old guard fic #the old guard #mine

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unusually-omegaverse · 4 years

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Another historical A/B/O consideration

How do yall think collar/ruff fashion might be affected by dynamics social standards?

Like partlets

Would they be worn in public to hide a bond mark due to modesty? Maybe some circles consider is giving too much into your instincts or being too lustful. Only people in polite society wearing them. While unmarried youngsters can proudly show off that they are unbonded and open for courting/proposals.

Alternatively unmarried omegas wearing them as a way of 'protection', hiding the pure unblemished flesh, maybe to show their status as someone unmarried. While married omegas may proudly show them off, or bare them as a way to say they're already married and should not be approached by a suitor.

Would betas hsve any standard of this fashion? Most aus it's just the Alpha who can mark and sometimes only omegas who can take it. Would a female beta show off or hide her mark? Would an omega married to a beta show their neck off even if they cant be marked?

Further I like to consider people who may have to pass as married covering their neck for travel on the road. Or a widow covering their neck again to hide the previous bond mark from future potential suitors.

It could go either way but I think ruffs would be the extreme of either once fashion developed that far lmao

Let me know what you think! I'm super interested to hear either way or on one I hadn't considered! :)

#obviously might be affected region by region #but whateves #a/b/o #abo #omegaverse #abo dynamics #historical omegaverse #alpha #beta #omega #fashion #omegaverse culture #alpha/beta/omega #alpha/beta/omega dynamics

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blog-oddeyecircle · 5 years

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Fanfic Au (calling it classic fantasy au) where Bruno is a dragon and Griselda becomes a knight that decided to go slay him, but she ends up failing in love with him. (decided to put my own spin on it) Part one.

The royal court gathered in the court of the Crimson Castle. Even the lowly servants, the knights and the jester were gathered to hear what the Chief Advisers to the King Cioccolatta, Secco, Tiziano and Squalo. The royal advisers stood in front of the court and gazed down at them. Tiziano cleared his throat.

“The royal court of the Crimson King, Princess Trish was travelling to see the King for a ceremony yesterday, but we have some terrible news, but we have some bad news…” Tiziano announced before being cut off by Cioccolata. “The dragon has kidnapped Princess Trish! I repeat the dragon has kidnapped Princess Trish!” hollered Cioccolatta to the court as they were sent in a frenzy of hysteria. The-Lady-in-Waiting Griselda Streusel tried to remain calm, but she struggled not to burst into hysteria along with the court.

“Settle down! Settle Down!” Sqaulo ordered. “I gathered these three monster men that will do our work for us instead of using our precious knights so settle down!”. The court calmed down when he said that the three monsters would come in to rescue the princess. “How could we even trust the monsters? What if they take the princess for themselves?” One servant muttered.

“If you have any concerns don’t worry, they sighed a contract to slay the dragon and bring back the princess, if they disobey the contract they will be tracked down and sentenced to death,” Sqaulo reassured the court. He turned his head to the door. “You three monsters may come into this court but take great care to not damage the room and don’t gaze at the court,” Cioccolatta ordered as the three monsters came in.

The three monsters came in. The first one was a centaur with a huge dark horse body and a long tail. His name was Mista and his hooves clopped across the group as he walked in. The second one was a feathered harpy with brilliant blond feathers, known as Fugo, he flew in and landed on the front of the court. Finally, a young and youthful elf boy named Narancia walked in the court.

They all wore dark brown tunics that resembled rags and they kept their head down to avoid looking at the court. They didn’t dare to look up. The entire court looked disgusted to see the three monsters and they turned their gaze on them. Griselda gazed at them as deep down she wasn’t disgusted with the monsters. “These are the three men that will complete our objective and now leave,” Sqaulo explained to them and he made some shooing motions to the three monsters to leave the hall. They left the court quickly.

The court was dismissed from the hall. Griselda left and she was making her way to the quarters. Squalo was discussing with the three monsters about their contract and he noticed her. He beckoned her to come which she walked slowly towards them. “What do you mean Chief Adviser Sqaulo?” she inquired him. “Lady Griselda, since you are princess Trish’s companion, could you please describe exactly what she resembles since a painting won’t be enough for their simple minds,” Sqaulo requested.

“I will complete the task; I will take them to my quarters, and I will dismiss them myself Chief Adviser Sqaulo,” she responded. “But these are monsters, they can’t go into your quarters from a lady like yourself!” Sqaulo protested. Griselda responded with a firm and harsh look as she walked past him leading the monsters to the quarters.

Griselda took them to her quarters, she led them to her study, and she gestured for them to sit on three stools in front of her, she was being a little ignorant on how monsters worked, and she was unaware that Mista couldn’t sit on stools. Narancia and Fugo sat on the stools while Mista just stood there. She was embarrassed as she quickly moved the stool away and gave him a rug to sit on. Mista sat down comfortably on the rug.

They kept their heads down as they dared not to look at her. “You can gaze at me as well as speak to me if you wish, I will treat you with basic respect and dignity,” she spoke up as she wanted to reassure them that her views on monsters were different from the rest of the royal court. They didn’t look up though. She sighed as she knew that they wouldn’t believe that her views on them were any different and they were not going to be easily convinced.

“As you may know, Princess Trish has long and thick bright pink hair, her beautiful hair is tied in long braids with strands of white ribbons, her dress is dark red with fine pearls on it with a crimson brooch shaped like a devil representing our kingdom Passione,” she described to them, she pointed at her brooch shaped like a white devil to show what the brooch looked like. She carefully described Trish to them but taking great care to not speak to them like they were obtuse. They nodded silently. She wanted to find a way to speak to them and she decided to ask them some questions.

“So how were you recruited by Chief Adviser Sqaulo?” she asked them. “The Chief Adviser went to our village and told us about the kidnapped princess, promising riches if we completed it, we decided to do it,” Fugo seemed to mutter. “But aren’t you afraid of the dragon?” she asked them. “We will do anything for money lady,” Mista mumbled. “Do you have anything to defend yourself against the dragon?” she asked them as she knew the dragon was a powerful creature. “We have farming equipment,” Narancia piped up.

Griselda was shocked that they had nothing to defend themselves against the dragon. “That won’t do, here have 1000 crowns to buy yourself some weapons, armour and some food for your travels,” she offered kindly as she walked to her treasure chest and she opened it. She took out a beige silk bag and filled it with coins. She handed it to Mista. “Make sure to hide it well,” she advised them as she knew that everyone in the castle would assume, they stole the money. Mista nodded as he hid it in his tunic.

“We need to go, Lady,” Fugo spoke up as he nodded at Mista and Narancia as they got up. “Before you go, my name is Griselda, what are your names?” she asked them as she led them down the halls to the portcullis (sliding door) of the castle as it opened. “Well my name is Fugo,” harpy Fugo responded. “This is Mista,” he said pointing at centaur Mista. “And this is Narancia,” he finally finished pointing at elf Narancia. “Thank you Fugo, Mista and Narancia, I wish you great luck on your quest and please, please, please bring back Trish,” she told as she looked at them seriously because she desperately wanted Trish to come back. The three monsters nodded as the draw bridge by the moat was down and they left the castle.

Griselda waited days and days for them to return with the princess. She paced around her bedchamber wondering when those three monsters were going to come back and she fiddled with her hands anxiously. She kept wondering if the three monsters were killed by the dragon and she blamed herself for not providing them with at least a small team of knights to protect them.

She even wondered if they abandoned the mission and she ended up taking out her frustrations on her embroidery by destroying it. She ripped it apart and she stomped on the ripped rags as she imagined them to be the three monsters’ bodies. She eventually calmed herself down and sat on her bed. She started to think about Trish and how much she missed her as her companion. Her own mother became the-lady-in-waiting of Trish and she knew her as she was just a few years older than her. They both become close friends and eventually Griselda would become her lady in waiting after her mother retired.

She started to long for her so much that she couldn’t bear it. She was going to rescue Trish herself. She left her bedchambers, she went down to the great hall where the map to the Dragon’s Den was located and she took it. Then she went down to the storeroom where all of the knights’ armour and weapons were stored. She removed her fine dress taking off her kirtle (part of the petticoat), farthingale, detached her sleeves and stays (an early version of the corset) until she was just in her white smock and stockings. She removed her partlet, ruff, her jewellery and she let her long blond curls down.

She put on the suit of armour, but she decided to leave the helmet out. She walked out into the castle grounds, she pulled a chain that would open the portcullis and the drawbridge. She went down to the stables of the castle, she went to her horse named Joan, climbed on the horse and she galloped out of the castle grounds to rescue Trish from the evil clutches of the dragon.

#JoJo's Bizarre Adventure #jojo golden wind #jojo vento aureo #bruno buccerati #griselda #jojo part 5 oc #fantasy fic #fantasy au

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pendragoncostumes · 4 years

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Green and Purple Guenievre Sleeve and Shakespeare Doublet set

One of a kind set featuring floral silk brocade and embroidered and sequin lace trim.

Men’s outfit is the Shakespeare doublet in our standard size with brocade breeches, Italian pants and capelet.

The Shakespeare doublet has a silk brocade body with eggplant pig suede accents and green brocade insets in the sleeves. This doublet is lined in black cotton and laced closed on the sides. Laced completely closed, the measurements are: 42” chest, 37” waist, 22” back length, 23” sleeve length. The sides can be opened to add up to 8” to chest and waist. Side panels can be purchase to add width to the doublet, if needed. The sleeves tie on and are removable. The body will button all the way up with purchaser’s choice of buttons.

The green brocade breeches have a drawstring waistband and drawstring knee closures. The Italian pants are the silk brocade and have a leather belt that acts like a waistband. Each pane of the Italian pants in edged by alternating trim of either green pig suede or eggplant pig suede.

The capelet is dark purple silk with the silk brocade collar. The body of the capelet features the embroidered trim and the color has green braid trim.

The ladies outfit is our Guinevere sleeve design. The suede bodice can be any color and size. The sleeves lace on are are reversible. On one side of the sleeve is the beautiful floral silk brocade with green braid trim. The reverse side is dark purple silk doupioni with natural color braid trim. The outfit comes with two stomachers that lace onto the bodice. One is floral silk brocade, the other the green brocade. The overskirt is the green brocade has a drawstring waistband. The underskirt is the floral silk forepart sewn to the black cotton lining and has as drawstring waistband. Both are completed with the embroidered and sequin lace trim. (Partlet and hoop skirt are not included, but can be ordered separately).

As a special treat, we commissioned matching pouches from A Wardrobe in Time for both outfits. ($80 value)

These outfit are truly unique and one of a kind masterpieces.

We recommend:

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the-fisher-queen · 7 years

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An Italian Lady by Pier Francesco di Jacopo Foschi, 1530s. She wears a pink gown with puffed upper sleeves and contrasting velvet lower sleeves, both trimmed with fur. She wears a high-necked chemise (or possibly partlet) trimmed with blackwork embroidery at the neck and front opening. Her girdle of knotted cord has a tassel at the end.

#Art #1530s

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cindafalcon6-blog · 7 years

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hughmxb09305699-blog · 7 years

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Do You Crave White Delicious chocolate?

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saisew · 3 years

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Hamilton Costume Analysis - Eliza (2)

Lauren’s Interlude - Take a Break

Eliza wears her first dress with the addition of a sheer partlet and a velvet ribbon belt in a teal color (she doesn’t wear the belt until Take a Break). Partlets were used to fill low necklines, this makes Eliza’s dress more appropriate for daytime.

Schuyler Defeated - Burn

Eliza is wearing a regency era style dress featuring an empire waistline, square neckline, cap sleeves, and an aqua ribbon tied at the waistline. The dress is made of a swiss dot like fabric, with the lighting it's hard to tell what color the dress is but I believe is has a blue underlayer with a white swiss dot fabric over layer.

Its Quiet Uptown

Eliza wears a pelisse, a fitted overcoat or coat dress, with an empire waistline. Pelisses were usually worn open at the front with a light-colored gown underneath, Eliza wears her burn dress underneath. The dress features fitted sleeves with a puff at the shoulder and trimmed with lace, a mandarin collar trimmed with lace, and four button tabs across the chest.

#hamilton #hamilton musical #hamilton an american musical #eliza schuyler #eliza schuyler hamilton #fashion #fashionhistory #historical fashion #fashionanalysis #costumes #costuming #costume analysis #regency #regency era #regencyera

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ydeneya · 5 years

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Month 1

Item completed Camicia

pair of handkerchiefs accessory

The camicia was based on an extant historical item held in the Prado museum which features a squared neckline with attached lace and very full sleeves that are tightly gathered at the cuffs, again with lace added. The extant example shows goes added to give the fullness in the body however the fabric I chose was wide enough that I could simply cut the width rather than add it in.

I have attempted to stay as true to the extant example as I could.

The pair of handkerchiefs were simply off cuts from the camicia, and some of the lace that was left over. It is seen in a number of 16th century portraits that ladies did use lace edged hand kerchiefs.

Items completed in month 2

Sottana with optional removable sleeves in the style of Eleanora di Toledo

Beaded girdle belt- accessory 2

This sottana serves multiple purposes. It will be worn as an under gown as it is padded and boned as a supportive layer to wear with the veste and giubonne over the top in the style Lavinia Fontana’s self portrait of 1575. The sottana can also be worn with it’s optional removable paned sleeves in the style of the portrait Eleanora di Toledo of 1545. This style of Sottana spanned a number of years and styles in the 16th century ladies styles, beginning as an under gown, then becoming a gown in it’s own right with removable, optional and interchangeable sleeves, and then it moved back to being an under gown again with the incoming veste and giubonne styles later in the century. I look forward to wearing this very comfortable gown with or without sleeves, and also under it’s over layers, it will be a very flexible addition to my ever growing renaissance wardrobe. The design and pattern was originally based upon an Alcega that I adapted over time to best fit my ample proportions ans alter over different gowns to be most comfortable but still in keeping with the period design, with it’s side back lacing being reachable and able to be laced on my own without assistance when necessary. The skirt on this gown was not cut with the additional side gores as per Alcega due to the minimal amount of fabric I had, however the skirt if still very full and in keeping with the style I was trying to achieve. The skirt has been hand gathered onto the bodice and carefully enclosed between layers as it was very frayable and was worried it may give way without support. The hem has been thickened with an added layer of felted wool and some beige fabric I had on hand. I have always found this to be very helpful in keeping moisture from wicking up skirts and also to keep skirts from wrapping around ankles causing tripping which I am inclined to do. Both the front and back of the bodice were boned and padded to given the nice flat stiffed look and be very supportive giving a good base for the over layers to come.

The sleeves were created by using a normal straight sleeves pattern which was divied into several pieces, cut and sewn together with it’s lining. These panes are then turned in the right way and ironed, then the long process of hand sewing these panes together and adding the beading at each catch point. There is also lace with hand beaded added at the wrists and the tops of the panes are gathered onto tapes and then again sewn to each other to create the scrunchy baragoni. The ties for the sleeves are made from folded hand cut silk bias tape, I prefer these on the sleeves not the gown,they also feature lovely cast brass aiglets from the style of the 16th century, these pass through brass rings sewn on the underside of the straps of the gown, making them very easy to put on and take off and very secure once on. The construction and beading of these sleeves took a lot of hand work and tie but they are certainly work the effort.

#gallery-0-17 { margin: auto; } #gallery-0-17 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 33%; } #gallery-0-17 img { border: 2px solid #cfcfcf; } #gallery-0-17 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Items completed month 3

giubonne with much handworking

accessories 3 Jewellery set consisting of two short necklaces, one pair of earring and a long coral necklace. One necklace to be worn with the sottana and sleeves option, the other two, being the real pearl and real coral ones, for the multi layered outfit. Earrings obviously can be worn for both

The third, but not final layer of my Lavinia Fontana inspired outfit is the giubonne (doublet) layer. It is based on a blend of a Alcega pattern and the waist coat pattern from the Tudor Tailor.I made a giubonne in last years IRCC and I started with that pattern but then I went on drafting several patterns to get this one sitting just as I wanted it to but without being overly tight as I find it too constricting due to health issues. It also needs to to be able to be buttoned up completed or left with the collar open depending on which style I am opting for on that day. For this outfit it will be worn collar open. The sleeves in the Fontana portrait are shown with quite full tops coming down to tight forearm so I added flare to my sleeve pattern and made the forearm into a style that is buttoned almost to the elbow.

The sleeve pattern was drawn up onto a piece of calico and I then drew the cutting pattern onto this. It features diagonal cuts in a star pattern and small holes in lines. It was difficult to make out the actual pattern from the portrait but this seemed fairly close. I cut the silk for the sleeves, NOT on the bias but on the straight grain this time. The three pieces were pinned down to a sheet of plywood and I cut the slashes with a small wood chisel, new so that it was very sharp. The small hole were punched through with a paper hole cutter I had in my kit from paper crafting days. It did not cut very well but enough that I could then careful trim the holes with small scissors. I then hand beaded small groups of seed beads into the middle of the slashing pattern. This was a very long piece of hand working but again very worth the time and effort. he more the silk has been manipulated during the sewing process the more the slashes and hoes have started to fray and open up showing the lovely cutting pattern and also the gold silk I used as a middle layer in the sleeves. The internal layer is simply a cotton. The cuffs of or the giubonne feature hand made slashed binding in the same silk as the body of the piece. this just gives a nice finish to the cuffs and reflects those shown in the portrait. the buttons for the sleeves and front are small pearl buttons carefully chosen to tone in with the ivory silk. This layer is very comfortable and I am glad I took the extra time to get the fit as I wanted it as another tight layer would have not worked for me. I am especially pleased with how the hand working had added subtle interest to this middle layer, those many hours were worth it.

The giubonne does not fit over the optional sottana paned sleeves these have to be removed when the outer layers are worn, so two outfits in one really depending on how many layers you want to wear.

The giubonne took a lot of my limited hand strength so in between layers I played making up the jewellery sets fro this outfit. I have a collection of jewellery making supplies which include old pieces that I pull apart and remake in renaissance styles. The necklace and earring for the sottana alone set were made in this fashion. I disassembled some items and played around until I got the look I was after. The short real two colour pearls and very long real coral pieces were simply strung from pearls and coral I bought for this particular purpose. They are strung on very strong wire to ensure no breakages.

I did begin on the put layer veste by starting the cutting out and making the hand cut bias for the edging.

So the final parts of my outfit

The overgown or veste- extra layer

the lace collared partlet – extra layer

the woven garters acessory 4

The outer most layer of this ensemble is the pinkish silk veste, with it’s two layered ruffled and pointed baragoni and very long hanging sleeves. This is a mixture of two portraits, the Lavinia Fontana one and one by Zuccari of alady seated in a yellow veste. The two portraits ar of a very close time frame and both artists were active in the same area so it stand to reason the styles are very similar, both have the ruffles but one has the long sleeves and the other the second row of baragoni, I have simply added both extra features into one gown.The Zuccari veste shows a loose back to the gown but it is hard to make out the fit in the Fontana portrait but it looks like a fitted back, for my own comfort and preference I have opted for the loose mongil style back as I already made this style and had previously drafted my pattern from one in Alcega I simple use this rather than reinvent the wheel. I had also previously mage the hanging sleeves and had a pattern for those saving myself a lot of time. Time that I sued to careful hand bead and attach the many many metres of trim that went onto this veste. The beading took a couple of days of many hours to complete but really made the trim much nicer. Again though the extra time and pain I put my hands through is well worth the effort and it really adds interest to the piece.

The baragoni themselves did not take too long to actually create. The ruffles were simple box pleated and the points were cut in half oval shape, sewn turned, ironed and more beading. I sewed the two layers together to stablise them before fitting them in the armhole along with the hanging sleeves, this did give many layers to sew through but thankfully my machine is made for the heavier duty sewing. This year I chose to completely line the veste and I hand sewed this lining in with invisible stitches. The body is lined with a cotton/linen blend that tones in with the silk, the handing sleeves are lined with a golden silk. All the edge seams also feature hand made and slashed binding. The top front of the sleeves have a hanging pearl where they finish in a point.

I had intended on make silk button for the veste but on making a few I did not like the ook of them, so I went rummaging around my stasha nad found some pearl cluster beads, caps and eye pins, and created 42 buttons for the front of the gown, As these are purely decorative they did not need to be be very strong. The gown is closed in front with hidden hooks and eyes.I really enjoyed hand making the buttons and already have plans to make more for future projects. The veste has very small openings in the side seams to allow the belt to be worn without holding the loose back in.

IRCC9 All the final write up Month 1 Item completed Camicia pair of handkerchiefs accessory The camicia was based on an extant historical item held in the Prado museum which features a squared neckline with attached lace and very full sleeves that are tightly gathered at the cuffs, again with lace added.

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arts-dance · 6 years

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Symbolism in Elizabeth’s Portraits

April 11, 2016 by Rebecca Larson Symbolism in Elizabeth’s portraits has been there all along, but some of us have chosen not to see it until now. It wasn’t until I recently watched a documentary that talked about the symbolism in Elizabeth’s “Rainbow” portrait that I started looking for them. In this article I will cover three portraits with obvious symbols. If you happen to find more portraits with symbols please feel free to share with me!

Elizabeth “Rainbow” Portrait

Elizabeth had lots of symbolism in her portraits that is easy to overlook.

For example, this “Rainbow” portrait is loaded with symbolism and I’m not sure how I never noticed it before.

“Mon Sine Sole Iris” means No Rainbow Without the Sun. Only the queen’s wisdom can ensure peace and prosperity.

Notice the eyes and the ears? This is something I’ve overlooked and I’m not sure how I could have missed it! Clearly this is symbolizing that she is always watching and listening, or that she has eyes and ears everywhere.

The snake/serpent symbolizes fertility while the heart at the top right hanging from the snake symbolizes love.

In Elizabeth’s hand it looks like she is holding a clear tube – this is indeed a rainbow, however the colors have faded from the portrait. She hold the rainbow in her hand. The rainbow in this portraits symbolizes peace. She’s holding it – does that mean without her there is no peace?

We can also note that there are lots of pearls in this portrait…The pearls symbolize virginity. Isn’t it amazing how one portrait can hold so many symbols!?

The “Phoenix” Portrait

Here’s another portrait, the “Phoenix” portrait. Again, not sure how I missed the symbolism.

Note the phoenix. In the full image it’s easy to overlook. A phoenix is (in classical mythology) a unique bird that lived for five to six centuries in the Arabian desert. After this time it consumed by fire and born again, rising from the ashes with renewed youth to live through another cycle. Only one phoenix can live at a time so it symbolizes it uniqueness and longevity.

Elizabeth is holding a red rose. A red rose has religious connotations – it was the medieval symbol of the Virgin Mary. It also symbolized that Elizabeth was the Virgin Queen.

Pearls. Again we see the pearls. They symbolize her virginity and purity.

The “Ermine” portrait.

Here are more symbols “hidden” within her portraits. From now on, every time you see a portrait of Elizabeth you’ll look a little closer.

This portrait shows her royalty, purity, wealth, prosperity and power.

1. The ermine. Ermine represents royalty and nobility along with purity.

2. The pearls. This time the pearls look black to me. Black pearls represent wealth and prosperity.

3. The Sword of State. Elizabeth would use this in her portraits, sometimes small, sometimes large to symbolize power.

http://www.tudorsdynasty.com/symbolism-elizabeths-portraits/

Markiza The Rainbow Portrait: The theme is that of Elizabeth as the Queen of Love and Beauty. The theme is that flower decked spring. The spring flowers are an allusion to the springtime and Elizabeth as Flora and Empress of Flowers. Elizabeth’s gown is embroidered with English wildflowers, thus allowing the queen to pose in the guise of Astraea, the virginal heroine of classical literature. Her cloak is decorated with eyes and ears, implying that she sees and hears all. Above her crown is a crescent-shaped jewel which alludes to Cynthia, the goddess of the moon. A jeweled serpent is entwined along her left arm, and holds from its mouth a heart-shaped ruby. Above its head is a celestial sphere. The serpent symbolizes wisdom; it has captured the ruby, which in turn symbolizes the queen’s heart. In other words, the queen’s passions are controlled by her wisdom. The celestial sphere echoes this theme; it symbolizes wisdom and the queen’s royal command over nature 🙂 Reply * Markiza The Phoenix Portrait: This gown is described as a “strait-bodied” gown, or a “French Gown”, with “french sleeves”. A French Gown–another example of Elizabeth’s love for foreign fashion–was apparantly a front-closing gown with a narrow, tight-fitting bodice, a low, square neckline and a wide skirt tightly cartridge-pleated to the waistline. the term “strait-bodied”, which meant tight-fitting, was another word for the same thing. The embroidery pattern on the gown reveals that the bodice is cut on the bias–that is, with the weave of the fabric at a 45 degree angle, rather than going vertically and horizontally. Fabric cut on the bias stretches more than fabric cut on the straight, which may have helped this French bodice fit more tightly and smoothly to the torso. Either the Queen is wearing a boned corset (known then as a “pair of bodies”) underneath her gown, or the bodice itself is stiffened with reeds or perhaps even whalebone. Both items–a separate pair of bodies worn under a bodice, and boned bodices themselves–are documented in Elizabeth’s wardrobe at this time. This French Gown is worn in conjunction with “French Sleeves”. This foreign style, which became quite popular in England, was a sleeve with a large, padded sleeve-head which tapered smoothly down to a small wrist. The shape of the dress as a whole–narrow sleeves with broad tops, tight-fitted, front-opening bodices with very full overskirts and low, cuved necklines–echoes that of many woodcuts of French Noblewomen created during the same decade. What truly sets this gown apart from any other is its incredible decoration; the ruff is edged with fine lace, the partlet is intricately embroidered with blackwork, and the gown itself is completely covered in gold embroidery and pearls. Cleverly placed puffs accentuate the breadth of the shoulders and the slender waist. The heavy, elaborate jewelry makes it even more breathtaking. Clearly, this was a portrait meant to impress. By this point in time, the typical Elizabethan gown had become very “busy”–covered with embroidery, trim, beads or pearls or other fabric treatments, such as pinking or slashing. A far cry indeed from the simplicity of Tudor garb, when the fabric itself was, for the most part, a gown’s main decoration. The queen’s head is completely uncovered, and her hair is dressed in her signature curls. Frizzing and curling the hair became quite fashionable during her reign, as people sought to emulate Elizabeth as much as possible. She wears only a small headdress and transparent veil. One interesting quirk: This Gown is of blue velvet. Blue was, by the elizabethan period, considered a color worn mostly by servants, due to the cheap cost of indigo dye. Who knows? Perhaps the queen was trying to make one more symbolic point 😉

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