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.
Minister of the Gospell at Sutton Valance in Kent. This is the frontispiece from his tome entitled An exposition, or, A short, but full, plaine, and perfect epitome of the most choice commentaries upon the Revelation of Saint John, published in 1650. Amongst other bombshells, the book revealed that the end of the world was 216 years away. A comforting result for Hezekiah, but not so much for us. The Reverend Holland was originally from Ireland and an independent cleric who had been appointed a living by Parliament when the previous incumbent Robert Smith was ousted for his Royalist leanings.
The engraving shows a few quirky details, not least the overlarge hand emerging from the folds of his gown holding a book and the odd way his plain falling band corners cross over. Perhaps this is a bit more true to life than the perfect versions we usually see. It gives the minister a bit more character I think. He is also wearing a plain black day cap and a short tabbed doublet of the kind that had been generally worn, but had not been the height of fashion, since the 1630s at least. The tassels on his band strings are nice too.
Painting by William Dobson from around 1645, though it was probably finished by another artist after Dobson’s death. The painting is thought to be Richard Streatfield and his family. There are several pointers in the picture to indicate that the family had recently lost members, probably children. The skulls top right and the half clothed child bottom right suggest this, as does the bunch of cherries that the youngest child holds. The two adults are dressed in their best blacks, Richard in a doublet fashionably unfastened at the bottom and a plain band with decorative band strings around his collar. His wife in a black bodice with a lace edged coif, gathered cuffs to her smock and a complicated arrangement of linen around her shoulders fastened with black strings. The child on the left could be dressed in brown doublet and breeches with a cloak, or possibly a dress with hanging sleeves (to be used as leading reins) and plain linen. The smaller child in a kind of all-in-one garment with hanging sleeves and a matching cap. To see this painting you need to go to the Yale Centre for British Art, New Haven, Connecticut, USA
This detail shows the understated decoration of the linen on the two grown-ups.
And here the child in closer detail.