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Queen Elizabeth's wardrobe unlock'd : the inventories of the Wardrobe of Robes prepared in July 1600, edited from Stowe MS 557 in the British Library, MS LR 2/121 in the Public Record Office, London, and MS V.b.72 in the Folger Shakespeare Library, Washington DC
This work on the wardrobe of Queen Elizabeth I is illustrated with photographs of portraits, minatures, tomb sculptures, engravings, woven textiles and embroiders. Two indexes are provided: the first of paintings, persons, places and events; the second offering information on fashionable dress.
Book
The Language of Clothing and the Law
Elizabeth I’s portraits span more than 40 years of her reign: during this time her courtiers commissioned paintings that developed both her own image and a complex set of symbols that transmitted her power. These paintings, together with other iconological representations of her sovereignty, embody her personal way to advertise her own power and keep her subjects within the fascination of her figure. By commissioning portraits of the Queen her courtiers both expressed their loyalty to her and helped to develop the wide range of emblems and visual devices through which her propaganda could be promulgated. The analysis of the symbols interwoven with the dresses which enwrapped the Queen in her portraits conveys both the social situation of the period and Elizabeth’s will to impose her figure as divine so as to stress her legitimacy to the throne. The problem of power, legitimacy and legality are all intertwined in the dresses: the yarn that is spun by the painter’s brush represents the rules that keep society together. It symbolises the legal system with all its paraphernalia and anticipates an awareness for those in power to advertise their image which typifies our age. The fundamental function of clothing in making or unmaking a person’s status within society is often used in Renaissance plays. In many passages of Shakespeare’s
, for example, clothing is clearly connected to authority and it becomes the central device in the taming process itself.
Journal Article
‘Last of the Poore Flock of Hatfield’ Sir Thomas Benger's Biography
Sir Thomas Benger was appointed Master of the Revels in 1560 partly as a reward for his loyalty to Elizabeth. As her auditor and member of her household at Hatfield he had been imprisoned several times by Mary's Council. During his tenure as Master of the Revels Benger produced an average of six masques, four plays, and other entertainments each year at court. Some of his masques and entertainments were connected to the factional intrigues surrounding the queen's marriage negotiations between 1560 and 1572. Of the forty-six plays he produced, only eleven were performed by adult playing companies; the rest were performed by boys. The preponderance of boy players in his revels schedule, together with Benger's use of three-dimensional scenery and his emphasis on verisimilar effects, defined a unique period in the history of Elizabeth I's revels. Benger's family was not wealthy, and the financial burden of undertaking a court office proved disastrous. Despite several attempts by the Crown to ease his situation, Benger died so heavily in debt that he made a special plea to the queen: as ‘one of the last of the poore flock of Hatfield’ he requested that one of the grants he had received be exercised by his executors in order to pay his bills and legacies.
Journal Article
Your Humble Handmaid: Elizabethan Gifts of Needlework
The Stowe inventory of the contents of the Wardrobe of Robes gives us a privileged glimpse into the closets of Queen Elizabeth in 1600. There could be found over one thousand clothing items: gowns, robes, kirtles, foreparts, petticoats, cloaks, safeguards, and doublets, plus two hundred additional pieces of material, as well as pantofles, fans, and jewelry. Many of these were gifts presented to the queen at the New Year, on progresses, at Accession Day tilts or other events. Items of embroidered clothing come to dominate the existing gift rolls. The 1588-89 New Year's gifts include, in addition to £795 in gold, almost six dozen gifts of clothing, most of them richly embroidered, plus sixteen items of jewelry, several pieces of gold- or silverplate, and a dozen gifts of embroidered furnishings.
Journal Article
Painting and Poetry of the Cult of Elizabeth I: The Ditchley Portrait and Donne's \Elegie: Going to Bed\
Labriola examines the cult of Elizabeth I with reference to two works--the Ditchley portrait and John Donne's 'Elegie: Going to Bed.\" The painting exalts and idealizes the aging queen while the poem satirizes the excesses of the cult of Elizabeth.
Journal Article
All the world's a stage And Elizabeth's gowns may have ended up on it
Jenny Tiramani, the equally cash-strapped present-day design director of the reconstructed Globe on London's South Bank, believes the players also acquired a treasure trove: that some of [Elizabeth]'s legendary 2,000 gowns were given by [James VI] to be recycled as stage costumes. After Elizabeth's death her gowns vanished. There was malicious gossip that James smuggled them to Holland and sold them for pounds 100,000, or that they were cut up and remodelled for his chunkier wife, Anne of Denmark. Certainly, James ordered the sale of \"stoffes of sondry kindes, olde Roabes and Garmentes of former Queenes of this Realme . . .\" No inventories survive from the Globe, unlike [Philip Henslowe]'s careful accounts at the [Rose]. However, Ms Tiramani has unearthed clues that the Globe company may have benefited before James's royal jumble sale.
Newspaper Article
Elizabethan Costuming Page.(Brief article)
[Visited Aug'07] Well-organized, informative, and user friendly, this Web site focuses on a broad variety of topics related to clothing in the rime of Queen Elizabeth I. Leed is a serious costume enthusiast, so the site covers a huge amount of information (some later than the Elizabethan period) through numerous links to articles within the site and to other solid Elizabethan/Renaissance Web sites (this said, a number of links no longer work).
Magazine Article