THTR 307 Costume History

THTR 307 Costume History
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Place each slide in its proper period and give 2 reasons that you can tell its period. (20 points)
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2. Place each slide in the correct period. (5 points)
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8. Place each item in its proper period and describe who or what it is. (If a sketch will help you
describe it better, please use one, but there must be a narrative) (30 pts.)
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The RENAISSANCE 1450-1550
The Tudor Rose
Means Rebirth
Generally believed to have started in Italy
first (around 1300), sweeping to the rest of
Europe for the next couple of hundred
years.
Leonardo da Vinci
Vitruvian Man
Botticelli
The Birth of Venus
1485-86; painted for the villa of Lorenzo di Pierfrancesco de' Medici; Tempera on canvas
Galleria degli Uffizi in Florence.
From the
Andy Warhol
series
Influential People
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Henry VIII
Francois Premier
Charles V (Holy Roman Emperor)
Richard III
Louis VII
Christopher Columbus
Thomas More (English humanist and —wrote Utopia , later executed)
•  Machiavelli (Ital.--political theorist and historian)
•  Lucrezia Borgia (Ren bad girl )
statesman
Lucrezia Borgia (Detail)
Lucrezia Borgia
by Bartolomeo Veneto 16th cent. In 2008, this portrait was REIDENTIFIED as Borgia. A painting
purchased for around 8,000 pounds
suddenly became worth millions
Painted by Dosso Dossi
Events
•  1520— Field of Cloth of Gold meeting between Henry
and Francois (Calais)
•  Protestant Reformation vs. Catholicism
•  1520 Martin Luther ex-communicated
•  1455-1487 -- The War of the Roses (English family
war)
•  Heightened trade speeds international communication
•  ***1476—Puffing and Slashing born Swiss
mercenaries vanquish Charles the Bold, Duke of Burgundy
Philosophy
Humanism—
a new view of the individual—more
realistic—more centered on Man than God.
Religious reform, and the Protestant /
Catholic issue were major concerns.
Most Representative Statement of
Period
Called the Renaissance because it brought
about a re-birth of man after the long,
dark ages. It was a period of new ideas and
attitudes, curiosity, adventure, creativity, study
and discovery—science and the arts. Life was
embraced with exuberance.
Discoveries / Inventions
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1455—Gutenberg bible
1470—Gold Coast, Africa discovered (unfortunately, slavery soon to follow)
1480—Leonardo invents parachute
1490—Beginnings of Ballet (in Italy)
1492—Columbus sailed the Ocean Blue 1500—First Caesarean section (performed by a pig gelder)
1500--First black lead pencils (in England)
1509—First licensing of doctors
1512—Copernicus says: Earth rotates around sun
1516—Indigo (dye) comes to Europe
1531—Haley’s Comet 1533—Elizabeth I (England) is born
1541—Coronado in New Mexico!!!
1547—first Nostradamus predictions
1550—Rhaeticus develops trigonometry
Everyday Life / Society
•  Craftsman s guilds were solidified at this time
•  Middle Class became wealthier and more powerful
•  Shift from feudal estates to Cities (surrounded by stone
walls)
•  The silk industry became a major economic factor at this
time.
•  Prices and standards began to be regulated.
Visual Style
Architecture
•  Tudor style-- solid, massive
•  Castles
•  Abbeys
Little Moreton Hall
England
Tudor bacon-striping Golden Fleece Inn
http:// York, England
Somersal Herbert Hall
England
www.eriding.net/
media/
photosistory/
york/
060509_cbrown
_mp_geo_york0
62.jpg
Santa Maria Novella, Florence
St Peter’s Basilica, Rome
Gate of Hever Castle in Kent
Anne Boleyn’s Childhood home
AESTHETICS
•  Magnificent textiles and patterns, which indicated
an Asian influence were commonly used for decor
and interiors.
•  The desirable look goes from the elongated style
of the Gothic period to a very wide, square and
boxy style. Everything was bold and masculine,
and extremely ornamental.
Art
Style or Movement
•  More realistic representation of man, but still had classical
and religious influence
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Artists
Leonardo
Holbein
Botticelli
Titian
Michelangelo
*Raphael
*Breughel
*Durer
*Clouet
The Mona Lisa By Leonardo da Vinci
c. 1503-1519
Leodardo da Vinci Self Portrait
c. 1512
Photograph of space After she was stolen in 1911,
retrieved in 1913
Also:
1956– Acid thrown
1956—Rock thrown
Bulletproof glass added
1974—Red Spray paint
2009—Teacup thrown Marcel Duchamp 1919
The Garden of Earthly Delights
c 1480-1505
Jheronimus Bosch
Museo del Prado, Madrid
Period Movement: •  A wide stance is popular in this period,
particularly with men. One can study the
portraits and notice that the man stands (a
la Henry) boldly with hands on hips and
legs apart with shoes pointing outward.
PUFFING AND SLASHING
•  in 1476, the Swiss vanquished Charles the Bold, Duke of Burgundy.
Their clothing was torn from battle, and some soldiers grabbed
some of the brightly colored silks from the spoils and stuffed them
in the holes in their clothes as festive decoration for victory
celebration. This was adopted as style and began to spread across
Europe. German mercenaries were the first to popularize it, and
then it was worn at a wedding in France. By 1500, it was a
predominant factor, and its most common manifestation was cutting
or burning holes in garments and accessories, and then pulling the
voluminous shirt or chemise through as decoration. Large expanses
of clothing as well as codpieces, hats and shoes were ultimately
puffed and slashed--women not as much, mostly above the waist.
Evidence of this style remains with us through the Cavalier period. Porträt des Herzogs Heinrich der
Fromme von Sachsen
Cranach d A, Lucas
1514
Dresden
Anbetung der der Drei Heiligen Könige
Detail: Gefolge der Könige
By Giorgione, c. 1500-1510
National Gallery, London
Jost Amman woodcut of
German Mercenaries
mid-16th century
Landesknecht (German mercenary soldier)
with puffed and slashed clothing. in Stibbert
The Soldier and his Wife
Etching by Daniel Hopfer
Die fünf Landsknechte c. 1530
Etching by Daniel Hopfer
SILHOUETTE
Redrawn from Hill & Bucknell
Slightly later female
transition
Early Ren…transition from Gothic
Pure Renaissance
FABRICS
•  Richly brocaded, magnificently
colored, heavy silks were the
fabrics generally used. Silk velvet
was extremely popular and could
be intricately cut to achieve the
rich textures common in
Renaissance dress. It is believed
that silk velvet was first
conceived as an imitation of fur. Portrait of Henry VIII
Hans Holbein
After 1537
Walker Art Gallery
Liverpool
MEN
HOSEN
•  Men’s hosen at this time were divided
into upper and lower leg portions. Any
items above the knee were known as
UPPER STOCKS and any below the
knee were known as NETHER
STOCKS. These could be divided
many ways and could be striped and
PARTI-COLOURED. They still tied in
at the waist and still necessitated the
use of a CODPIECE, which was built to
extremes in this period.
Lined hose found at Kloster
Alpirsbach, Germany
1490-1529
The Tudor Tailor Sleeping Grave Gards
with Mace and Sword”
Bernhard Strigel
SHIRT/CHEMISE
• 
Both men and women wore a garment next to their bodies made of
extremely lightweight fabric. The volume of fabric used was immense.
The neck and sleeves were generally gathered (probably by a drawstring)
and the excess amount of fabric formed a ruffle at the neck and wrist.
This began to be used decoratively and will play prominently in the next
period. The lightweight voluminous fabric also served well as the puff to
pull through the slashes in the outer garments. Additionally, as these
garments became more visible, they were embroidered with decoration
known as BLACK, RED or GOLD WORK, depending on the color. This
work tended to be along visible edges and could be re-embroidered as
well.
Salome (Detail)
By Bernardino Luini, c. 1527-1531
Examples of Black,
Doublet\
Red or Gold-work Jerkin
Salome (Detail)
By Bernardino Luini, c. 1527-1531
Portrait of Catherine Parr (Detail)
By Master John, c. 1545
Portrait of Man with a Parrot
(Detail) Francesco Melzi
c. 1525
Shirt
Doublet
Jerkin
Portrait of Henry VIII (Detail) Hans Holbein
Gown
Jean de Dinteville 1533
From The Ambassadors
(Detail) Hans Holbein
The Younger
DOUBLET
•  The Renaissance man wore multiple clothing layers to display bulk
and width. The order of these garments was considered important
to the well-dressed man. After donning SHIRT and stocks, the
man dressed in a garment known as the DOUBLET. The doublet
developed from the cote-hardie and will remain the major male
garment until the advent of the cassock coat in the Restoration.
There was infinite variety in the doublet itself. The neckline could
be a variety of shapes, including the bateau from the previous
period, and the extremely wide shape commonly attributed to this
period. The doublet generally had a waistline seam and could have
a skirt or peplum attached to it. Sleeves were still tied in so there
was obvious variety there. The doublet as well as the other layers
generally fell to approximately knee length.
JERKIN
•  The next layer was the JERKIN, which was very
similar to the doublet in shape and size, but almost
always had a skirt attached which was generally
pleated. The front of the jerkin tended to be cut away
wide to reveal the doublet. Sleeves could be tied in to
match either of these garments.
GOWN
•  The outer layer was known as the GOWN, and it was
quite large and bulky. It tended to have a wide collar
(often fur), which covered the shoulder area
completely, and was generally worn open to reveal the
other layers underneath. The fullness was pleated in at
the shoulders. This garment also tended to have an
additional tied in sleeve, which was often short and
puffy or a hanging sleeve. Shirt
Jerkin
Portrait of Henry VIII Hans Holbein
Doublet
Francois 1
Jean Clouet 1525-30
Louvre
Shirt
Doublet
Jerkin
Portrait of Henry VIII Hans Holbein
Henry s last armor
c. 1890 armour king henry
Gown
costume helmet glaive-blade
Portions of a Costume Armor
ca. 1525, Kolman Helmschmid, (German Augsburg)
The Metropolitan Museum of Art
Shirt
Sir Nicholas Carew in full jousting armour
Hans Holbein the Younger
ca. 1532-33
German Armor
16th century
From Dorling Kindersley
Shirt
Most complete extant set of men’s clothing from this period. Belonged to Elector Moritz of Saxony,
As his “Dresden Armory Parade Costume”. 1521-1553.
Took 7 (2002-2009) years to restore. Currently displayed at Dresden Palace
Portrait of Henry VIII
Holbein 1536
Museo Thyssen-Bornemisza, Madrid
Henry VIII
c 1509, unknown artist. This is the earliest surviving portrait of Henry as king of
England. Denver Art Museum.
Henry VIII, c1535, attributed
to Joos van Cleve. This was painted during his
brief marriage to his second
wife, Anne Boleyn. Henry
holds a scroll inscribed 'Go ye
into all the world, and preach
the Gospel to every
creature' (Mark 16.15). This portrait is part of the
Royal Collection.
Henry VII c. 1500
by Michael Sittow. This portrait shows Henry clutching the red
rose of the house of Lancaster
Henry VIII, c1520, unknown artist. This portrait shows the king placing a ring upon his
right hand, a symbol of his devout piety.
Jean de Dinteville and Georges de Selve (`The Ambassadors')
Holbein 1533
National Gallery, London
One of Holbein's
preparatory sketches
for the mural has also
survived
Henry VIII and the BarberSurgeons, 1540, by Hans
Holbein the Younger. This painting was
commissioned by the Barbersurgeons and has since been
damaged and altered. In 1537, King Henry VIII
commissioned Hans Holbein
the Younger to create a mural
of the Tudor dynasty to
commemorate the birth of his
son and heir, Edward. It was
the only mural which
Holbein made in England. It originally occupied an entire
wall in Whitehall Palace, which
had been designated the official
residence of the monarch just a
year earlier. The mural was
destroyed during a palace fire in
1698. Luckily, King Charles II
had already commissioned a
small copy thirty years before by
the Flemish artist van
Leemput.
Henry VIII
Holbein c1540
The king faces us
directly, one hand
clutching a glove and the
other resting above a
jeweled sword. Galleria Nazionale d'Arte
Antica in Rome.
Henry VIII, c1542,
unknown artist. The jewelry, lavish
embroidery, and fur are
proof of Henry's great
wealth and authority. It
was painted during his
brief marriage to his fifth
wife, Catherine Howard. NPG
London.
c. 1547-53
c. 1546
King Edward VI
Both artists unknown
Portrait of a Gentleman
Bartolomeo Veneto, c. 1520
National Art Gallery, Washington D.C.
Portrait of Thomas Howard
3rd Duke of Norfolk
Hans Holbein the Younger, c. 1539-40
Portrait of Cezare Borgia
C 1500-1524
Altobello Melone
Portrait of Ferdinand 1
1521
Hans Maler
L: Portrait of Georg Zelle 1519
R: Portrait of Charles V Both by Bernaerd van Orley
Portrait of a Man
1512
Sebastiano del Piombo
Budapest Museum of Fine Arts
Portrait of Karl V (Charles V) 1548
traditionally attributed to Titian,
today attributed to Lambert Sustris
Portrait of Thomas Morus
1527
Hans Holbein
Frick Collection, NYC
Portrait of Bindo Altoviti
By Raphael, c. 1515
Portrait of a Young Man
By Andrea del Sarto, c. 1517
Portrait of Andrea Quaratesi
By Michelangelo, c. 1532
Portrait of a Youth (Antonio Broccardo)
By Giogione, c. 1508-10
R: Portrait de Francesco Giamberti c 1500-1510
L: Portrait de jeune homme
Both by Piero di Cosimo
HATS and HEADRESSES
Men
•  Flat Cap- a cap with a stiffened brim that goes all the way around, and
the part which coves the hair is soft. The brim can be worn either up
or down depending on the taste of the wearer. These were often
heavily decorated, could be puffed and slashed, and could have
baubles and feathers. It was often worn at a jaunty angle.
•  Biretta- was based on an ecclesiastical hat and was later worn
predominantly by scholars and gentlemen. It has a squared-off or
pointed stiffened brim-like front with a soft or molded top and often
had a coif component. There was much variety in this style. It's most
common appearance is on Christopher Columbus. •  Coifs and hoods are still commonly worn as well as a variety of soft,
nondescript hats worn by the peasant class.
Portrait of a Young Man
Possibly by Jacopo de’ Barbari, c. 1505
National Gallery of Art
Raphael Self Portrait
c. 1504-06
The Uffizi Gallery
Portrait of a Young Man
By Hans Holbein the Younger
c. 1506 National Gallery, D.C.
Portrait of Pietro Bembo
By Raphael c. 1506
Museum of Fine Arts
Joris van Zeile
By Bernard van Orley c. 1519
Pietro Perugino
1495
Man with a Medal of Cosimo the Elder
By Sandro Botticelli c. 1474-75
The Uffizi Gallery
Portrait of Galeazzo Sanvitale
Parmigianino 1524
National Museum of Capodimonte
Albrecht Dürer
"Selbstporträt 1498
SHOES
•  The common shoe style of the period for both men
and women was a soft leather or fabric shoe called
the DUCK-BILLED SHOE, obviously named for
its shape. This shoe was extremely wide at the toe
and could either resemble a pump or have a strap.
It had a bulge at the toe area. These could be
extremely decorative with beads, embroidery, and
puffing and slashing.
Shoe for a young woman found in the
River Thames, assembled 1975.
Fragment of a leather shoe, England
1545-1550
Probably a worker s shoe in leather,
England 1520-1530.
The Tudor Tailor
WOMEN
•  In addition to the basic chemise and hosen, women in this period
wore a restrictive undergarment later named a CORSET. The
shape sought in this period was a complete negation of the chest, so
the front of the garments had a very rigid appearance. It is
important to note that while in other periods, the object was to
push the chest up; in this period, the object was to flatten. The
neckline in this period was similar to the men in that any visual
reinforcement of width was desirable. •  The dress bodices followed this same shape. The two most common
styles were the extremely wide, low, squared -off neckline as well
as the bowed angular style. More often than not, the chemise
served as a modesty piece, since the rigid necks were extremely low
as well as wide. The bodice pointed at the center front waist, and
multiple sleeves could also be tied in. There were generally two
skirts; an overskirt which was split down the center front to reveal
an underskirt. These skirts, while relatively ornate, were probably
the least ornamented of common garments.
The Victoria and
Albert Museum
Early 16th century Iron Corsets
The Wallace Collection
The Portrait of Mary I
By Master John c. 1544
The Portrait of a Young Woman
By Raphael c. 1506
musée du Louvre
Margaret Tudor
By Daniel Mytens c. 1620-1638
Katherine Parr
By Master John c. 1547
Elisabeth of Valois
By Sofonisba Anguissola c. 1565
Elizabeth at age 13
By Unknown, c. 1546
.
Uffizi Gallery, Florence
Königin Eleonore von Frankreich
Joos van Cleve
C 1530
Kunsthistorisches Museum Wien,
Gemäldegalerie
Marguerite de
Navarre
Jean Clouet
c. 1527
Catherine de Medici
C 1555
Uffizi Gallery
Two Venetian Ladies
By Vittore Carpaccio c. 1490
Museo Correr, Venice, Italy
Portrait of a Young Woman
By Girolamo di Benvenuto c. 1508
National Gallery of Art, Washington
Detail of…
The Preaching of St John the
Baptist
1520
Bacchiaca
La Nascita del Battista (detail)
By Domenico Ghirlandaio, Santa Maria Novella, Firenze
La Bella
By Titian, c. 1536
Bianca Maria Sforza
By Ambrogio de Predis, c. 1493
National Gallery of Art, D.C.
Portrait of Giovanna Tornabuoni
By Domenico Ghirlandaio
1490, Thyssen-Bornemisza Collection, Madrid
Portrait of Elenor of Toledo and Her Son
Portrait of a Lady
c. 1510-20 National Gallery, London
By Bronzino c. 1545
Uffizi Gallery
Elenora di Toledo
By Bronzino c. 1543
Unknown artist
SanDiego Museum
of Art
Portrait of Maria de
Medici
Unknown artist
The National
Gallery, London
Double Portrait of a
Lady and Her Dog
Sofonisba Anguissola
Herodias
1527-1531
Bernardino Luini
Portrait of a Young Woman
1540
Moretto
Alexander McQueen
Fall 2010/2011 Collection
Alexander McQueen
Fall 2010/2011 Collection
Young Lady with Unicorn
By Raphael, c. 1506
Galleria Borghese, Rome
Portrait of a Young Woman
By Raphael, c. 1507-08
Galleria Nazionale delle Marche,
Urbino
Donna con veste nera
Giustiniana Barbaro and
Nurse
1528
Veronese
1531-1532
The Cook
Pieter Aertsen
1550
The Tudor Tailor
Palazzo Bianco, Genoa
Splendor Soils, School of Nuernberg
HAIR and MAKEUP
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There was a fascination (particularly with the Italians) with
blonde and strawberry blonde hair, which reportedly
could be achieved through putting urine on ones hair
and sitting in the sun.
Frizzed hair was also quite popular.
Men generally wore shorter hair, beards were popular
because they provided an illusion of width.
Women's hair was generally covered by a hat or ornament
of some type, but some hair showed outside.
Makeup was not a major factor at this time
HATS and HEADRESSES
Women
•  Women wore architecturally shaped head pieces. There
was slight variety in the shapes and names, but generally,
they were a stiffened decorated shape which was worn at
the face edge that gave a very structured silhouette to the
head. They often had veils hanging from the stiffened part
down the back. Some common types-- which echo their
names-- were: kennel, gabled, pedimental and crescent
(also commonly called the Tudor ). •  Women also continued to wear coifs and hoods, though
often more decorated than men.
Anne Boleyn
Holbein 1507-36
Kunsthistorisches Museum, Vienna
Jane Seymour, Queen of England
Holbein 1536
Kunsthistorisches Museum, Vienna
Marriage Feast at Cana (detail)
By Gerard David c. 1500-1510
Portrait of Catherine Howard
Holbein 1540-41
Toledo Museum of Art, Toledo, Ohio
Elizabeth of York (Mother of Henry the 8th)
c. 1500, unknown artist. This is the only surviving contemporary
portrait of Henry VII's wife.
Lady Margaret Beaufort c. 1500 by Rowland Lockley
Lady Margaret Beaufort Sketch showing a box-back gable hood
Portrait of Dorothea Meyer
Hans Holbein c. 1538-30
Hans Holbein c. 1516
ACCESSORIES
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JEWELRY
Extensive jewelry was worn by both men and women, and the
most common was the necklace. These tended to be thick, heavy,
and ornamented, often medallions or rectangles chained together,
but the most distinctive feature was that they were worn hanging
from the center or outer edge of the shoulder rather than coming
from the neck edge. This helped to create the illusion of width so
desirable in the Renaissance.
Rings and earrings were also commonly worn by both men and
women. Women are also seen with beaded chains (resembling rosaries) tied
around their waists and hanging down.
GLOVES
Gloves became quite popular for both men and women,
especially toward the end of the period.
Lais of Corinth
Holbein 1526
Kunstmuseum, Öffentliche Kunstsammlung, Basle
Portrait of a Lady with a Squirrel and a Starling
Holbein 1527-28
National Gallery, London
Isabella of Portugal
1548
Titian
Princess Margaret Tudor
unknown date and artist
Detail of Sisters Playing Chess by
Sofonisba Anguissola, 1555 Cremona ©Muzeum Narodowe,
Poznan, The Raczynski Foundation
Portrait of a Gentlewoman
By Antonio da Correggio c. 1517-19
The Hermitage, St. Petersburg
Portrait of A Young Woman
1500
Giovanni Boltraffio
The Nun
1510
Ridolpho del Ghirlandaio
Prince Arthur Tudor, c.1500, unknown artist
The Lady Eliot
Holbein 1532-33
Royal Windsor Collection
Princess Mary Tudor
c.1515, unknown artist
Two Sisters and a Brother
Sofonisba Anguissola
Pieter Aertsen
Princess Mary Tudor
and Charles Brandon,
Duke of Suffolk,
c.1515,
unknown artist
Henry VIII in old age.
This anonymous
engraving is an
unattractive but accurate
portrayal of Henry in his
mid-50s.
Hans Eworth, c.1555-58
This portrait was
painted in 1554 and is
perhaps the most famous
image of the queen. She
holds a red rose. It was a
personal symbol,
referring both to the
Tudor rose and her
Christian name. Portrait of Jane Seymour
Holbein c. 1537
Mauritshuis, The Hague
Portrait of Anne of Cleves
Holbein c. 1539
Musée du Louvre, Paris
British School, c.1550
'Lady in Black' (formerly titled 'Mary I').
This portrait was once
assumed to be of Queen
Mary I. Full-length
portraits from this period
are quite rare. The style of
her gown can be dated to
1550-54, and is in the
French fashion Christina of Denmark, Duchess of Milan, in mourning
Hans Holbein, c. 1538, National Gallery
Anthonis Mor, 1554
The queen wears a wedding ring and a jewel
given to her by Philip II. Mary was 38 years old
when this portrait was done. A follower of Anthonis Mor c.1555-58
This is an English copy of the famous
portrait of Mary from previous slide.
Mary I and Philip II of
Spain, from 'The Family
of Henry VIII: An
Allegory of the Tudor
Succession', c1572,
attributed to Lucas de
Heere. This painting can be
viewed at Sudeley Castle.
Mary and Philip are
followed by Mars, the
god of war.
Detail of Family of Sir Thomas More
1592
Hans Holbein
A Woman c 1510
Andrea Solario
A rare portrait of Mary as
queen of England, date unknown
Katharine of Aragon, c1500, by Juan de Flandes. Katharine of Aragon, c1502, by Michael Sittow
This portrait was formerly titled 'Portrait of an Infanta'; most
historians believed it portrayed Katharine's older sister, Juana
(Joanna). However, it has recently been identified as
Katharine.
Queen Joanna of Castile
“Joanna the Mad”
Katharine of Aragon with a monkey, c1525, by Lucas Horenbout / Horenbolte. This is the largest miniature of Henry VIII's first wife.
Katharine of Aragon, c1525, by Lucas Horenbout. This miniature portrait captures the queen
around the time Anne Boleyn first appeared at
the English court.
Katharine of Aragon, c1530, unknown artist. This is the most recognizable portrait of Katharine,
painted during the last years of her marriage to
Henry VIII.
National Portrait Gallery
London
Portrait of Anne Boleyn, c.1520s,
by Lucas Horenbout / Horenbolte. This is a rare miniature portrait of Anne
Boleyn in her mid-twenties, before she became
queen of England.
Portrait of Catherine Parr
by Lucas Horenbout Catherine Parr
By William Scrots c. 1545
National Portrait Gallery, London
Portrait Miniatur of Henry FitzRoy
By Lucas Horenbout c. 1534-35
Museum of Fine Arts, Vienna
The Royal Library at Windsor
Queen Jane Seymour
By Hans Holbein c. 1536-37
Miniature Portrait of Anne Boleyn
By Unknown, c. 1533
Etching of Queen Jane Seymour c. 1648
By Wenceslaus Hollar, after Hans Holbein
National Portrait Gallery London
Portrait of an Unknown Lady
Holbein c. 1541
(on playing card)
Royal Collection, Windsor
Anne Boleyn c. 1533-36
Unknown, copy of lost original
National Portrait Gallery, London
Anne of Cleves line engraving
Jacobus Houbraken after Hans Holbien
National Portrait Gallery, London
Catherine Parr
Unknown, c. 16th century, Lambeth Palace
Anne of the Thousand Days
1969
The Taming of the Shrew
1967
A Man for All Seasons
1966
Romeo & Juliet
1968
Romeo & Juliet
2013
The Tudors
2007-2010
The Borgias
2011
The Other Boleyn Girl
2008
Snow White & The Huntsman
2012
Mirror Mirror
2012
Snow White
1937
Portrait of Prince Edward (King Edward VI)
By Hans Holbein, c. 1538
National Gallery of Art
Engraving, c. 1590
Glued skirt can be raised to see underneath
Metropolitan Museum, Italy
Primavera
By Sandro Botticelli, c. 1482
The Uffizi Gallery, Florence
Philosopher
By Michelangelo,
c. 1495-1500
Madonna and Child Reading in a Landscape
By Raphael, c. 1500-1521
Musée du Louvre, Paris
Portrait of a Lady in Yellow
By Alesso Baldovinetti, c. 1465
National Gallery of Art, London
Portrait of a Young Venetian Woman
By Albrecht Dürer, c. 1505
Museum of Fine Arts, Vienna
Lucrezia Sommaria
By Ridolfo Ghiriandaio, c. 1510
National Gallery of Art, D.C.
Ginevra de’ Benci
By Leonardo da Vinci, c. 1474
National Gallery of Art, D.C.
JEWELRY
A gold enameled hat-jewel, depicting the Conversion of St.
Paul set with diamonds and rubies
mid-16th century AD. Tait, Hugh. Jewelry 7000 Years. An English gold pendant depicting Joseph in the well surrounded by
seven of his envious brothers
c. 1550-60. Tait, Hugh. Jewelry 7000 Years
Necklace of linked segments of
amethyst, gold, agate, emerald,
rock crystal and pearl, probably Nuremberg, c. 1530. Germanisches Nationalmuseum,
Nuremberg. Gregorietti, Guido.
Jewelry Through the Ages
Diana on an onyx cameo in a gold and enamel frame
16th century. Kunsthistorisches Museum, Vienna.
Gregorietti, Guido. Jewelry Through the
Ages. The Canning Jewel, a pendant of gold,
enamel, precious stones and baroque pearls,
late 16th century. Victoria and Albert Museum, London. Gregorietti, Guido. Jewelry Through the
Ages
ARMOR