DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68501#0143
THE TOILETTE IN ENGLAND.
123
Flanders’ lace, and russet leather boots. To this was
added a breastplate of highly-polished steel, partly
concealed by a falling collar of broad and costly lace,
and a sash of silk and gold.
In those days, however strange it may appear, the
military garb was frequently assumed with other rich
attire, and it was a common thing to see steel corselets
and breastplates overshadowed by lace and embroidery.
Dark and quiet colours were, however, the fashion,
particularly buff and brown, and the high-crowned
beaver and drooping feather still continued in use.
An old author asserts that “ short cloaks, short hair,
short bands, and long visages,” were often observed
in the portraits of the day. In a print of a fashion-
able man of the year 1652, we find the brim of the
hat extending horizontally, and the feather drooping so
much over the left side that it seems as though falling
off. The hair is very long, the ruffles double and full,
the doublet reaches to the waist, the trunk-hose are
puffed at the knees like bladders, the boots are very
short, with tops as broad as the brim of the hat, and
an enormous sword is suspended to his side by a rich
belt across the shoulders. Some authors distinctly
assert that men wore patches at this time, but we
find no instance of this in any old painting.
Mr. Benlowe has in his work two prints of ladies
in the same year (1652). The hair of one is combed
like a wig in front, the back hair braided, and
fastened in a knot; her neck is covered with a hand-
kerchief richly ornamented with deep lace, and her
cuffs are trimmed the same ; her sleeves are slashed
with fine linen or silk, and her fan is large. The
other has a sable tippet, and a large muff, which en-
123
Flanders’ lace, and russet leather boots. To this was
added a breastplate of highly-polished steel, partly
concealed by a falling collar of broad and costly lace,
and a sash of silk and gold.
In those days, however strange it may appear, the
military garb was frequently assumed with other rich
attire, and it was a common thing to see steel corselets
and breastplates overshadowed by lace and embroidery.
Dark and quiet colours were, however, the fashion,
particularly buff and brown, and the high-crowned
beaver and drooping feather still continued in use.
An old author asserts that “ short cloaks, short hair,
short bands, and long visages,” were often observed
in the portraits of the day. In a print of a fashion-
able man of the year 1652, we find the brim of the
hat extending horizontally, and the feather drooping so
much over the left side that it seems as though falling
off. The hair is very long, the ruffles double and full,
the doublet reaches to the waist, the trunk-hose are
puffed at the knees like bladders, the boots are very
short, with tops as broad as the brim of the hat, and
an enormous sword is suspended to his side by a rich
belt across the shoulders. Some authors distinctly
assert that men wore patches at this time, but we
find no instance of this in any old painting.
Mr. Benlowe has in his work two prints of ladies
in the same year (1652). The hair of one is combed
like a wig in front, the back hair braided, and
fastened in a knot; her neck is covered with a hand-
kerchief richly ornamented with deep lace, and her
cuffs are trimmed the same ; her sleeves are slashed
with fine linen or silk, and her fan is large. The
other has a sable tippet, and a large muff, which en-