Guard of the king. The Corps of the 200 Gentlemen. 16th century military.
Garde du Roi, Corps des 200 Gentilshommes. 1570.
Garde du Roi, Corps des 200 Gentilshommes. 1570.
Don Juan de Austria (Knight John of Austria; born February 24, 1547 Regensburg; † 1 October 1578 in Bouge, part of today Namur) was commander of the Spanish fleet and governor of the Habsburg Netherlands. He was the illegitimate son of Emperor Charles V and civil Barbara Blomberg of Regensburg.
Spanish court dress. 16th century baroque era.
Portrait of a lady of the Pallavicini family. From the painting by Juan Pantoja de la Cruz 1553-1608. Elizabethan court dress. Queen Elizabeth Style of about 1530-1600 a special form of the so-called Tudor style (Renaissance costume period). Lavinia Biglia (Maid of honor of Spanish Queen Anne of Austria 1549-1580) was descended from the Milan branch of the ancient noble family of the Pallavicini. The Pallavicini are an ancient aristocratic family from Italy whose oldest line dates back to the 10th century. It was founded by originating from Germany Count Adalbert (Lineage adalbertino obertenga which were also part of the Marquis of Massa, Corsica, Parodi, Lupis and Gavi.), whose wife, Adelhaid was related to the Roman emperors. Adalbert went to Italy, accompanied by the Emperor Otto II., Where he was settled in the valley of the Po, between Piacenza and Cremona in 981. The first Pallavicino fief was created by Oberto II, who received it from emperor Frederick Barbarossa in 1162. Albert the son of the Marquis Oberto I was called “Pelavicino” (perhaps not even joking nickname in reference to his rapacity). This nickname was hereinafter inherited by his descendants, becoming the surname of the family in the form Pallavicino (or Pallavicini). The grandson William, who died in 1217, was the progenitor of all the notes of the branch so-called ‘Lombardo’, which emerged from grandchildren Oberto II,. The Pallavicini family spread as time goes on, and reached Bavaria, Austria (Czech Republic) and Hungary.
The wars of religion — The fashions of Italy are brought across the Alps, and are welcomed in France — Effects of the expeditions into Italy — Articles from Venice and Genoa are very fashionable — A cloud of sugar-plums, and a shower of scents — Effeminate style of dress — Charles IX. and his Edicts against extravagant display — Fashion rebels against sumptuary laws — Women of high rank, bourgeoises, widows, and spinsters — Wedding dresses — Observations of a Venetian ambassador — “Corps piqué” — Drawers—Pain — Cosmetics — Breast mirrors, girdle mirrors — Court dresses — “Arcelets.”
Top row left: Noblewomen and noblemen in Spanish fashion of the years 1565-1570 Right: Knight and General in armor and armament under Emperor Charles V,. German lady in the Spanish fashion of 1560.
Bottom row left to right: German nobleman in the fashion of 1570. Citizen of Nuremberg in festive costume from the year 1588. Right: Standard bearer and flutist in Spanish pants and doublet, ballad singer to 1570.
On the history of costumes. Münchener Bilderbogen. Edited by Braun and Schneider 1860.
XVI Century – German Armor Art. Armeria Real Madrid. Armor blackened steel veneer.
“Modes et Costumes Historiques“. Drawing by Xavier Willemin. Edited and steel engraving by Hippolyte Louis Emile and Polidor Jean Charles Pauquet. Published by Cassell, Petter & Galpin London, 1864.
The man is wearing the typical, short, loose-fitting coat, called the Spanish cape, loose over his shoulders. This, a waist-length, quilted jacket with slit sleeves, which was called “goose belly”. A carefully pleated ruff, which is in the form of late no longer attached to the doublet, but is worn as a standalone fashion utensil. At this size, the shape of the collar was produced by wires and stiff linen, silk. High set Harem pants with a padded waist. Buckled shoes and stockings. On his head a little beret, a full beard. For this purpose, a long rapier.
The woman is in stiff corset bodice with drop waist. The narrow sleeves and collar are also completed by ruffles cuffs. The shoulders are padded bead. The style is worn high. She wears a Stuart hat, decorated with fine lace. The skirt is floor length and a short-term novelty at that time, in the form of the bustle or the later barrel Verdugado (guardians of virtue), bulked. She wears like the man a large ruff.
The cervical collar (also Fraise, millstone ruff) evolved as part of the clothing in the 16th Century from the the small fabric ruffle at the drawstring neck pulled in frilly collar. The ruff was usually emerge from white linen, with a curling iron tubular romped (pipe collar) and partly very expansive (hence millstone collar). Especially under the influence of Spanish fashion the the Frill is an integral part of the clothing for both men and women.
Time of the late Renaissance, the Thirty Years War, marked by the Counter-Reformation, with the associated dominance of the Spanish Baroque. Beret, cutlasses, buckled shoes, crinoline (Verdugado), ruff, gold and silver brocade.
The men wears a typical element of the Spanish fashion, the short, loose-fitting cloak, called the Spanish cape with large collar. This was not buttoned and was loose over her shoulders.
This he wears a waist-length jacket, camisole, which was named after its final form “goose belly”. It is closed by a central row of buttons. It was padded and formed beads on the sleeves. The sleeve cuffs are finished of frills. The slit harem pants has a high waist and is, like the quilted jacket and produced a wide hip. This he wears buckled shoes and stockings. The high cap is decorated with silk ribbon and feather. Gloves, beard, and a long rapier perfect the equipment.
The clothes of the woman meets the men’s. A stiff corset bodice with drop waist. The narrow sleeves and collar are also completed by ruffles cuffs. The slotted sleeves with long cloth ribbons, which look like a throwback to the Burgundian fashion of Houppelande. The style is worn high, given the limited range of motion. The skirt, Verdugado, forerunner of the crinoline is floor length and richly ornamented. At the end of the 16th century was that, having regard as pictured here, through a framework of whalebone and iron. In her hand she holds a fan made of feathers. Jewelry serves as a valuable, simple necklace.
Under the skirt, several stiff petticoats were worn in linen, who were usually also richly embroidered. The Shiloette is a cone.
The shoes, called Kothurne, were made of wood or cork allowed the only reduced movements. The collar is decorated with fine lace, and is now, with both costumes, worn as a stand alone decorative element. The hair is styled smooth and is studded with precious diadems.
Italian renaissance costumes 16th century.
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