QUEEN of England Fashion Elizabeth Isabelle Women

Description: LEGEND TO THE ILLUSTRATIONS IN THE PRINT BELOW Print Specifics: Type of print: Lithograph - Original French antique print.Year of printing: not indicated in the print - actual 1888 Publisher: Albert Racinet, Imp. Firmin Didot Condition: 1 (1. Excellent - 2. Very good - 3. Good - 4. Fair). Colors in the print include shiny metallic gold (appears as brownish color in the photo). Dimensions: 7 x 8.5 inches (18 x 21 cm) including blank margins around the image. Paper weight: 2 (1. Thick - 2. Heavier - 3. Medium heavy - 4. Slightly heavier - 5. Thin)Reverse side: BlankNotes: (1) Green color around the print in the photo is a contrasting background on which the print was photographed. (2) The print detail is sharper than the photo of the print. (3) The uneven tone of the photo was caused by the light coming from one side when photographing the print. Legend: AS THE INFLUENCE OF ITALIAN STYLES WANED, and low-cut bodices and slashed sleeves began to decline in popularity, a fashion emerged that aimed to cover all but the hands and face almost completely. First, for example, the collar became attached to the base of the neck; later it circled it entirely, and became tighter and more restrictive. Women affected this tight clothing in order to achieve what was called a "Spanish" figure. The espoitrinement of women (literally, the "imprisonment of women's chests"), in Henri Estienne's term, was carried to such an extent that some actually died, so Montaigne says, from the cuts they received from metal and wooden splints. ORDER OF FIGURES: 1 2 3 4 5 This adjustment of the shape of the upper body, common to both sexes, was first a characteristic of men's costume and was picked up by women later. The fashion of wearing the combination of close-fitting bodices and riding-habits has been attributed to the ladies of the court of Catherine of Medici, who followed her on horseback. The nature of this costume made deportment an art. The essential items comprised: a ruff around the neck; a corset known as a corps pique', a skirt with hoops; a long robe that hid the feet so that women could pretend to be taller than they were by wearing high heels; and a skirt tucked up so that petticoats could be shown on special occasions. It was in around 1575 that such fashions reached their high point, as did the ruff. Generally, French ruffs were the largest, but individuals in some other countries were extravagant beyond the wildest fancies of the French. Queen Elizabeth I of England, for example, had more than 3,000 dresses. All were decorated with the finest lace and spangled with jewels. Walpole said of one of her portraits: "It is as if one is seeing an idol of crowns and diamonds and a huge quantity of pearls." Later, the rutt was replaced by the fan-shaped collar, which rose out of the corsage like a facing. More lacy than a ruff, but made from a single layer of material, it was held up by a linen frame. A great deal of jewellery was worn in the 16th century, importance being given both to the size of the stones and to the new discovery of transparent enamelling. This innovation meant that jewellery could become brighter and more colourful than ever before. It was fashionable to wear pearl earrings and pearls in the hair. The short necklace, or choker, which became redundant because of the ruff, was replaced by a single string of pearls or beads that hung down over the bodice. 1 & 2 Anonymous portraits, 3. Young Isabelle, the wife of arch-duke Albert of Austria, born 1566, died 1633, 4. Parisian woman in a wedding dress, 5. Parisian lady around 1610. Martin2001 Satisfaction Guaranteed Policy! Any print purchased from me may be returned for any (or no) reason for a full refund including all postage. Internet seller since 1998.Five-star service.

Price: 17.87 USD

Location: Manassas, Virginia

End Time: 2024-10-29T22:05:23.000Z

Shipping Cost: 4.45 USD