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Anne of Denmark had her gowns altered in 1603 to suit English fashions, and employed Robert Hughes to make farthingales from 1603 to 1618. [28] Robert Naunton thought that Anne's farthingale might conceal a pregnancy in October 1605, writing, "The Queen is generally held to be pregnant, but no appearance eminent by reason of the short vardugals ...
A long gown with a train has fur at the cuffs and neckline and is worn with a wide belt, c. 1460. An attendant in the same illustration wears a red hood with a long liripipe. Her blue dress is "kirtled" or shortened by poufing it over a belt, c. 1460. Woman wears a simple headdress of draped linen and a red houppelande trimmed with white fur ...
The high-waisted gown of the late medieval period evolved in several directions in different parts of Europe. In the German states and Bohemia, gowns remained short-waisted, tight-laced but without corsets or stays. The open-fronted gown laced over the kirtle or a stomacher or plackard. Sleeves were puffed and slashed, or elaborately cuffed.
Nowadays, it might also be worn as a push-up bra under a low-backed dress or as a camisole for outerwear. The bustier can also be worn as a half-slip under sheer upper garments if a bold display of the midriff is not desired. [1] A bustier resembles a basque, but it is shorter. It reaches down only to the ribs or waist.
The English Renaissance was a cultural and artistic movement in England during the late 15th, 16th and early 17th centuries. [1] It is associated with the pan-European Renaissance that is usually regarded as beginning in Italy in the late 14th century.
Line art drawing of a bodice. A bodice (/ ˈ b ɒ d ɪ s /) is an article of clothing traditionally for women and girls, covering the torso from the neck to the waist.The term typically refers to a specific type of upper garment common in Europe during the 16th to the 18th century, or to the upper portion of a modern dress to distinguish it from the skirt and sleeves.
Byzantine dress changed considerably over the thousand years of the Empire, [1] but was essentially conservative. Popularly, Byzantine dress remained attached to its classical Greek roots with most changes and different styles being evidenced in the upper strata of Byzantine society always with a touch of the Hellenic environment.
This article about the development of themes in Italian Renaissance painting is an extension to the article Italian Renaissance painting, for which it provides additional pictures with commentary. The works encompassed are from Giotto in the early 14th century to Michelangelo 's Last Judgement of the 1530s.