The sixteenth Century Flashcards

1
Q

Codpiece

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A

The codpiece was a section of cloth placed in the crotch area. This pouch, small at first, but later padded and stuffed to grotesque proportions, was meant as a container or imitation of the male sexual organ. It can clearly
be seen in figures 74, 83 and 87. The codpiece lost its prominence during the 1570s because the pumpkin breeches worn during that time were so puffed that the codpiece was overshadowed. In 1574 Henry III became king of France. He was very effeminate in both behaviour and dress, and under his influence as fashion leader the masculine look diminished.

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2
Q

Slashing of garments

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A

Sixteenth-century clothing can be recognised by the use of slashes (for men), the codpiece or a variety of different and strange-looking breeches, and ruffs and lace collars round the neck.

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3
Q

Bases

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A

Henry VIII of England was not as well built as he would have liked to be. Rather than to expose his less-than- perfect lower body in tight-fitting hose, he wore a garment called bases. This military skirt consisted of a skirt with pleats or folds, but open in front (the codpiece had to show through!). The bases could either just be tied at the waist or attached to a sleeveless top with a low U-shaped neckline, looking very much like a jumper or pinafore. Figure 83 shows Henry VIII with his jumper-like variation.

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4
Q

Fitted trunk hose

A

By the 1540s the trunkhose fitted smoothly over the hips but bloused moderately at mid-thigh. By this time the lower hose were knitted and not made from woven fabric any more. They therefore fitted much better and without wrinkles

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5
Q

 Pumpkin breeches

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A

Breeches, for the purpose of this course, will refer to a man’s garment similar to trousers but coming only to the knees. By the 1570s the breeches had enlarged to the shape and size of large pumpkins

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6
Q

Venetian (knee) breeches

A

During the last quarter of the century a type of garment called Venetians or knee breeches became popular. These fitted loosely around the hips and thighs but were close fitting (not gathered) at the knee (figure 99).

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7
Q

 Canions

A

In figure 95 we can see another variation with short, skirt-like trunkhose with extensions reaching to the knee. These were called canions.

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8
Q

 Galligaskins

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A

In figure 104 breeches called galligaskins are shown. These look very much like pumpkin breeches but without stuffing, or what we would recognise as old-fashioned bloomers.

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9
Q

Peascodbellydoublet

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A

From 1550 onward but particularly by 1570 a doublet known as the peascod belly doublet developed. The front of the doublet bulged, particularly just above the waistline

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10
Q

Ruff

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A

Slowly over the years the neckline of the shirt rose higher and developed a little frill. By 1570 this was a full- sized ruff (figure 89 in Laver).

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11
Q

Spanish cape

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A

During the second half of the century the Spanish cape was worn as an outer garment.

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12
Q

Mandilion

A

By the last quarter of the century a variation called the mandilion was seen. The mandilions had sleeves but they were seldom worn (figure 103 in Laver).

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13
Q

 Four-cornered academic cap

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A

*

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14
Q

Spanish farthingale

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A

The Spanish farthingale, a hooped underskirt shaped like a cone, was introduced into England by the Spanish Katherine of Aragon (first wife of Henry VIII) at the beginning of the sixteenth century. The gown hung over this, with or without very small folds and created a stiff and rigid effect (figure 88 in Laver). This cone- or A-shaped dress remained popular.

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15
Q

French farthingale

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A

During the last quarter of the sixteenth century the French farthingale came into use. It had a drum shape.

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16
Q

Wheel farthingale

A

Sometimes a pleated flounce, of the same size as the top of the drum, rested on this drum. This version of the French farthingale was known as a wheel farthingale.

17
Q

 Vasquine with breastless look

A

The neckline of the outer dress was for the most part square. It also made the women look as if they had no breasts. This effect was created by a tight-fitting corset called a vasquine.

18
Q

 Ornamental underdress

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A

Two other features of sixteenth-century dress are very noticeable. The first is that most dresses were open from the waist down to show an ornamental petticoat or underdress. The triangular shape of the petticoat usually shows the same fabric as the undersleeves. The oversleeves were often either turned back or otherwise wide and open, to reveal the undersleeve

19
Q

Pointed bodice front (stomacher)

A

The second interesting feature of sixteenth-century gowns is the deep point formed by the bodice front at the waist. This can be seen in figures 95, 99 and 101 in Laver. Queen Elizabeth I was particularly fond of wearing an exaggerated version of this pointed stomacher.

20
Q

 Leg-of-mutton sleeves

A

During the last quarter of the sixteenth century the women wore, with their French farthingales, huge padded leg-of-mutton sleeves and shoulder-wide ruffs.

21
Q

 Lacework

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A

Their ruffs and collars contained extremely beautiful lacework (figure 95 in Laver).

22
Q

Spanish blackwork

A

Another Spanish influence, brought to England by Katherine of Aragon, was the use of Spanish blackwork embroidery on undersleeves.

23
Q

 French hood

A

A variation of the French hood, known as the Mary, Queen of Scots cap or Mary Stuart cap, was set more forward on the head; it dips slightly in the centre and curves sharply outward over the temples and back in again, covering the ears

24
Q

 MaryQueenofScotscap

A

A variation of the French hood, known as the Mary, Queen of Scots cap or Mary Stuart cap, was set more forward on the head; it dips slightly in the centre and curves sharply outward over the temples and back in again, covering the ears