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A jerkin is a man's short close-fitting jacket, made usually of light-coloured leather, and often without sleeves, worn over the doublet in the 16th and 17th centuries. The term is also applied to a similar sleeveless garment worn by the British Army in the 20th century. A buff jerkin is an oiled oxhide jerkin, as worn by soldiers.
Jean de Dinteville, French ambassador to England, wears a fur-lined calf-length overgown over a black jerkin and a slashed doublet of rose-colored silk. His shoes are very square at the toes, 1533. Charles de Solier, Sieur de Morette wears a high-necked doublet under darker jerkin and an overgown. His sleeves are paned (made in strips) and ...
A history of costume. Translated by Alexander K. Dallas. New York: Dover Publications. ISBN 978-0-486-21030-8. Koslin, Désirée (2009). "Value-Added Stuffs and Shifts in Meaning: An Overview and Case-Study of Medieval Textile Paradigms". In Désirée G. Koslin; Janet E. Snyder (eds.). Encountering medieval textiles and dress: Objects, texts ...
French gendarmes wearing bases as part of a doublet – bases composed only of a skirt (that is, from the waist down) were very common as well.. Bases are the cloth military skirts (often part of a doublet or a jerkin), [1] generally richly embroidered, worn over the armour of later men-at-arms such as French gendarmes in the late 15th to early 16th century, as well as the plate armour skirt ...
In medieval Norse, the garment was known as vápntreyja, literally 'weapon shirt', or panzari/panzer. [3] Treyja is a loan from (Middle) Low German. [ 4 ] Panzari/panzer is probably also a loan from Middle Low German , though the word has its likely origin in Italian, and is related to the Latin pantex , meaning 'abdomen', [ 5 ] cognate with ...
Authenticity can apply to other things. For example, a card game, song, or military tactic is authentic if known to be used during the period. The quest for authentic clothes and equipment often requires archaeological evidence, archival research, and other historical sources that reveal what was used at the time.
In England from the 1630s, under the influence of literature and especially court masques, Anthony van Dyck and his followers created a fashion for having one's portrait painted in exotic, historical or pastoral dress, or in simplified contemporary fashion with various scarves, cloaks, mantles, and jewels added to evoke a classic or romantic mood, and also to prevent the portrait appearing ...
The Visual History of Costume: The Sixteenth Century. 1983 edition (ISBN 0-89676-076-6), 1994 reprint (ISBN 0-7134-6828-9). Edge, David: Arms and Armor of Medieval Knights: An Illustrated History of Weaponry in the Middle Ages. Hearn, Karen, ed. Dynasties: Painting in Tudor and Jacobean England 1530–1630. New York: Rizzoli, 1995.