March 12, 2015
Painted by an unknown artist, Francis Hammond was a career soldier who had fought on the Continent and even though he was getting on, in the Civil War, noteably leading the royalist Forlorn Hope at Edgehill in 1642. We have already seen his brother, Robert Hammond who was involved in the Kentish Uprising.
He’s clad in what looks like full armour with gilt rivets, though often this was something that was reserved for portraits rather than something you’d wear on the field. His scarf is nicely embroidered and fringed and his falling band, though plain has very fine hems and a nicely knotted bandstring tassel. The portrait is part of the Canterbury Museums Collection.
February 6, 2015
King Charles painted in a smaller version of the picture that would eventually become the famous portrait in his robes for the Order of the Garter. It’s earlier than our period, but worth looking at for the detailing of his clothes which I’m pretty sure are accurate given the way Mytens (or one of his followers) has also rendered the texture of the carpet and the sheen on the table covering.
His hat is generously plumed and his falling band (that is almost completely lace) lies over the red and white robes of the order. His shot silk doublet is high waisted and of the 1630s style with sharply angled tabs and ribbon points. You can see how stiff the tabs are by the fact that the right hand edge of his robes are held back behind the right front tab. The sleeves are slashed and gathered in a way that accentuate his slender arms but also shows the fine linen of his shirt beneath. His matching breeches are quite closely cut and the silk seems to have been slashed or pinked as an extra decoration. He’s also wearing a very fine pair of white shoes with jewelled rosette ties and some oddly mismatched blue hose on his lower legs. Yet again many thanks to Phillip mould and Co for permission to use this copywrite image from their website
February 6, 2015
By Sir Peter Lely, painted sometime in the 1640s. She’s wearing a black bodice or waistcoat (difficult to see any detail in the way Lely has depicted it) with her smock showing above the neckline and a plain linen kerchief pinned over the top. It’s a very sober portrait, but she has dressed her hair with a string of pearls and at least one drop earring. This picture came up for sale via Phillip Mould and Co who were also kind enough to grant permission for me to use this image.
February 3, 2015
Painted by a follower of Gilbert Jackson in 1634. This unnamed dapper gentleman of 30 is looking at us with a real ‘devil may care’ gaze, with his hand securely in the pocket of his breeches, an unusual stance in a painting from this date. He is wearing a neatly tailored grey doublet. If the painter’s depiction is accurate, this is a well made garment with sharp lines and very neat seams. The sleeve seams are open to display his shirt and ribbon points around his waist presumably hold his breeches up, though at this point, cord points were becoming decorative. The attachment to the breeches was more often than not achieved with metal hooks and eyes with the eyes being sewn to a girdle-stead fixed inside the doublet. He’s also wearing a plain-ish wide falling band with a narrow lace decoration (with matching cuffs) and pom pom decoration on his bandstrings. Nice row of closely spaced buttons down the front. The picture is in the Chequers Collection.
January 6, 2015
or, New preachers new! Green the felt-maker, Spencer the horse-rubber, Quartermine the brewer’s clarke, with some few others … With an authentic portrait and memoir of Mr. Praise-God Barebone ..by John Taylor the Water Poet, London 1642
Here the splendidly named Praisegod Barebone (though not as splendid as his brother who went by the almost unbelievable name of ‘If Christ Had Not Died, Thou Hads’t Been Damned’, known to his friends for short as ‘Damned Barebone’) is expounding the word from his tub to an assembled group of London citizens. He’s wearing doublet and breeches with a neat little hat. The ‘congregation’ are mostly smartly dressed in doublet and cloak whilst a goodwife at the top has petticoat and waistcoat with a kerchief over the top.
Praisegod, as well as being a leather seller as we can see was active in politics after the war, being returned in 1653 to the nominated assembly that replaced the Rump Parliament. Barebones was also heavily involved in the turmoil surrounding the return of the monarchy. He was against it!
October 27, 2014
Painted sometime before 1638 by an unknown British artist, Sir John Stanhope of Elvaston Castle was member of parliament early in the King’s reign and active in politics right through the 1630s until his death in 1638. He incurred the wrath of the Sherrif of Derbyshire John Gell by refusing to pay Ship Money. Gell revenged himself in the Civil War by defacing Stanhope’s monument in Elvaston Church.
Sir John is wearing a black doublet slashed both in the body and sleeves so the linen of his shirt is easily seen. His falling band is neatly darted and adorned with some sober lace and subtle bandstrings. Notice the wedding ring worn on a string around his neck. The painting is kept at the National Trust property of the Old Manor Norbury in Derbyshire.
October 26, 2014
Painted in 1635, I guess as a companion piece to the portrait of her husband Edward, and also by Cornelis Janssens van Ceulen. Elizabeth is pictured in a sober black satin bodice with just a tiny strip of her white smock peeping out above the neckline and a black lace scarf or sash draped across her right shoulder. Her hair is dressed but uncovered and she is staring straight out of the picture with the same gaze as her husband. Picture is in the collection of the Birmingham Museums Trust
October 23, 2014
Painted by Cornelis Janssens van Ceulen in 1635, Edward was Groom of the Bedchamber to the King, wounded at Edgehill and died of fever during the Siege of Oxford in 1643. He is pictured in some kind of drapy velvet thing, t(he kind of clothing that artists like for composition, but which do nothing for the wearer) over his gatherd shirt of fine, almost see-through linen tied at the neck by a black ribbon. The picture is in the collection of the Birmingham Museums Trust.
June 4, 2014
Painted sometime before 1650 by an unknown artist, One Eye (as he was presumably known to his friends) fought on the royalist side during the war and reputedly lost an eye at the Siege of Lathom. Consequently his roguish gaze has nothing to do with his character and everything to do with his war service.
He is bareheaded (with a thin comb-over) in this portrait and is wearing a leather lined gorget around his throat over a brown doublet that is decorated with some kind of cord piping around his waist echoing an earlier fashion of decorated points that would originally have connected to the breeches. His falling band is decorated with a thin edging of bone lace and an understated set of strings. The picture hangs in the Astley Hall Museum, Chorley.