Modus: Prace z historii sztuki (20.2020)

18. Man’s ensemble, ca.
1635-1645, Victoria & Al-
bert Museum in London,
inventory no. t.58 to b-1910.
Photo after: <https://tinyurl
.com/9c3cwdc>
->see p. 67

19. Doublet, 1635-1640,
Victoria & Albert Museum in
London, inventory no. 177-
-1900. Photo after: <https://
tinyurl.com/tyr45mu9>
->see p. 68
20. Fragment of a bobbin
lace, linen thread, Flanders,
ca. 1630-1650, The Natio-
nal Museum in Warsa w,
inventory no.szt1544
mnw. Photo after: <https://
cyfrowe.mnw.art.pl/pl/
katalog/460895>
^seep. 69

to show the white shirt being worn underneath. The broad, shoulder-length collar
and cuffs are madę of needle lace. White stockings are decorated with ribbons and
lace at the connection with the hose. Among the accessories, we notę fine white
gloves, and black high-heeled boots decorated with large, lace rosettes.100
When comparing the two portraits of Radziwiłł, which were created within
the time-span of about four years, the most striking aspect is the change in the pro-
portions of the małe figurę obtained by heightening the waistline, lengthening
the basque, and replacing the pointed end with a straight one. With time, the caftan
was no longer decorated with dense vertical slits, and only one opening was left
on the sleeve. The collar became morę spread, and it fell over the shoulders.101
The garment in Strobefs portrait is almost identical in cut to that worn by
John Belasyse in the National Portrait Gallery in London, portrayed by Gilbert
Jackson in 1636.102 The Englishmans caftan, however, has a slightly pointed end
at the waistline, and an open basque. Also similar is the pourpoint on the portrait
of an unknown officer by Jan Antonisz van Ravesteyn at The Weiss Gallery in
London, painted in 1634, i.e. at the time of introducing the above-mentioned
changes into Western European fashion.103
Looking for analogies among the historical costumes and accessories preserved
to this day, we should point to an ensemble in the collection of the Victoria and
Albert Museum in London, madę in England, consisting of a caftan, trousers, and
a coat, and dated to 1635-1645 (see: Fig. 18).104 In the case of this ensemble,the simi-
larities to Radziwiłłs outfit are noticeable both in the cut and in the fabric itself,
which bears a zigzag pattern. The caftan of the Polish magnate is also almost identical
in form to the English doublet from the second half of the 1630S, also belonging to
the London Victoria and Albert Museum collection (see: Fig. 19).105 When it comes
to lace details, a slightly similar pattern of bobbin lace decorating a large collar can
be found in the collection of the National Museum in Warsaw (see: Fig. 20).106 Also,
in the collection of the Rijksmuseum in Amsterdam there are several examples
of decorative cuffs, which the cuffs in Strobefs work very much resemble.107

100 A. Sieradzka, Kostiumologia polska, pp. 105-106; M. Możdżyńska-Nawotka, Geopolityka mody,
p. 46.

101 M. Możdżyńska-Nawotka, Geopolityka mody, p. 50; A. Drążkowska, Historia obuwia,
PP- 90-93-

102 M. Możdżyńska-Nawotka, Geopolityka mody, p. 52.

103 J.A. van Ravesteyn, Portret nieznanego oficera, 1634; until recently in the collection of The Weiss
Gallery in London; present location unknown. Information on the work and illustrative mate-
riał obtained courtesy of The Weiss Gallery.

104 Mans ensemble, ca. 1635-1645, Victoria & Albert Museum in London, inventory no. T.58
to B-1910; information according to the web catalogue of the Victoria & Albert Museum,
see: <http://collections.vam.ac.uk/item/O13918/mans-ensemble-unknown/> (accessed on
10.11.2020).

105 Doublet, 1635-1640, Victoria & Albert Museum in London, inventory no. 177-1900; information
according to the web catalogue of the Victoria & Albert Museum, see: <http://collections.vam
.ac.uk/item/O77444/doublet-unknown/> (accessed on 10.11.2020).

106 Fragment of a bobbin lace, linen thread, Flanders, ca. 1630-1650, The National Museum in War-
saw, inventory no. szt 1544 MNW; information according to the web catalogue of the National
Museum in Warsaw, see: <http://cyfrowe.mnw.art.pl/dmuseion/docmetadata?id=22828&show_
nav=true&full_screen=true#> (accessed on 10.11.2020).

107 Cuff, ca. 1640, Rijksmuseum in Amsterdam, inventory no. BK-1978-463-A; information ac-
cording to the web catalogue of the Rijksmuseum, see: <http://hdl.handle.net/10934/RM0001
,COLLECT.294i55> (accessed on 10.11.2020).

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Joanna Kazubowska