A farthingale is one of several structures used under Western European women's clothing - especially in the 16th and 17th centuries - to support the skirts in the desired shape and to enlarge the lower half of the body. The fashion originated in Spain in the fifteenth century. Farthingales served important social and cultural functions for women in Renaissance Europe as they expressed, primarily when worn by court women, high social position and wealth.
A doublet is a man's snug-fitting jacket that is shaped and fitted to a man's body. The garment was worn in Spain, and spread to the rest of Western Europe, from the late Middle Ages up to the 17th century. Until the end of the 15th century, the doublet was usually worn under another layer of clothing such as a gown, mantle, or houppelande when in public. In the 16th century it was covered by the jerkin. Women started wearing doublets in the 16th century, and these garments later evolved as the corset and stay. The doublet was thigh length, hip length or waist length and worn over the shirt or drawers.
A visard, also known as a vizard, is an oval mask of black velvet which was worn by travelling women in the early modern period to protect their skin from sunburn. The fashion of the period for wealthy women was to keep their skin pale, because a tan suggested that the bearer worked outside and was hence poor. Some types of vizard were not held in place by a fastening or ribbon ties, and instead the wearer clasped a bead attached to the interior of the mask between their teeth.
The Vision of the Twelve Goddesses was an early Jacobean-era masque, written by Samuel Daniel and performed in the Great Hall of Hampton Court Palace on the evening of Sunday, 8 January 1604. One of the earliest of the Stuart Court masques, staged when the new dynasty had been in power less than a year and was closely engaged in peace negotiations with Spain, The Vision of the Twelve Goddesses stood as a precedent and a pattern for the many masques that followed during the next four decades.
Costume and gold and silver plate belonging to Elizabeth I were recorded in several inventories, and other documents including rolls of New Year's Day gifts. Arthur Jefferies Collins published the Jewels and Plate of Queen Elizabeth I: The Inventory of 1574 from manuscripts in 1955. The published inventory describes jewels and silver-plate belonging to Elizabeth with detailed references to other source material. Two inventories of Elizabeth's costume and some of her jewellery were published by Janet Arnold in Queen Elizabeth's Wardrobe Unlocke'd.
A partlet was a 16th-century fashion accessory. The partlet was a sleeveless garment worn over the neck and shoulders, either worn over a dress or worn to fill in a low neckline.
Lady Audrey Walsingham was an English courtier. She served as Lady of the Bedchamber to queen Elizabeth I of England, and then as Mistress of the Robes to Anne of Denmark from 1603 until 1619.
Dorothy Speckard or Speckart or Spekarde was a courtier, milliner, silkwoman, and worker in the wardrobe of Elizabeth I of England, Anne of Denmark, Prince Henry, and Henrietta Maria. Her husband, Abraham Speckard, was an investor in the Somers Isles Company which colonised Bermuda.
Robert Jousie was a Scottish textile merchant, financier, and courtier. He was involved in the collection and administration of the English subsidy of James VI.
Mary Radcliffe or Ratcliffe (1550-1617) was a courtier of Queen Elizabeth I of England.
The jewels of Anne of Denmark (1574–1619), wife of James VI and I and queen consort of Scotland and England, are known from accounts and inventories, and their depiction in portraits by artists including Paul van Somer. A few pieces survive. Some modern historians prefer the name "Anna" to "Anne", following the spelling of numerous examples of her signature.
Giovanni Carlo Scaramelli (1550-1608) was a Venetian diplomat based in London at the end of the reign of Elizabeth I and the beginning of the reign of James VI and I.
Aura Soltana, also known as Ipolitan the Tartarian or Ipolita or Ippolyta, was a Tartar woman at the court of Elizabeth I after arriving from Russia to England, apparently as a slave.
Peter Rannald was a Scottish tailor who worked for Anne of Denmark, the wife of James VI of Scotland.
Oes or owes were metallic O-shaped rings or eyelets sewn on to clothes and furnishing textiles for decorative effect. Made of gold, silver, or copper, they were used on clothing and furnishing fabrics and were smaller than modern sequins. They were made either from rings of wire or punched out of a sheet of metal.
Christopher Shawe or Shaw was an English embroiderer and textile artist who worked on masque costume for Anne of Denmark. He was a member of the Worshipful Company of Broderers.
A silkwoman was a woman in medieval, Tudor, and Stuart England who traded in silks and other fine fabrics. London silkwomen held some trading rights independently from their husbands and were exempted from some of the usual customs and laws of coverture. The trade and craft of the silkwoman was encouraged by a statute of Henry VI of England as a countermeasure to imports of silk thread, and a suitable occupation for "young gentlewomen and other apprentices".
A chamberer was a female attendant of an English queen regnant, queen consort, or princess. There were similar positions in aristocratic households.
Walter Fyshe was a London tailor who worked for Elizabeth I until 1582. He also made some of her farthingales. Fyshe made the queen's ceremonial clothes and coronation robes, altering robes made for the coronation of Mary I of England.
A safeguard or saveguard was a riding garment or overskirt worn by women in the sixteenth and seventeenth centuries. Some safeguards were intended to protect skirts or kirtles worn beneath. Mary Frith, dramatised as the character Moll Cutpurse in The Roaring Girl, wore a black safeguard over breeches.
