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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 ...
With England and France mired in the Hundred Years War and its aftermath and then the English Wars of the Roses through most of the 15th century, European fashion north of the Alps was dominated by the glittering court of the Duchy of Burgundy, especially under the fashion-conscious power-broker Philip the Good (ruled 1419–1469).
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 ...
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 ...
Early medieval European dress, from about 400 AD to 1100 AD, changed very gradually. The main feature of the period was the meeting of late Roman costume with that of the invading peoples who moved into Europe over this period.
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. ISBN 0-8478-1940-X. Bodemer, Brett: "Pantagruel's Seventh Chapter:The Title as Suspect Codpiece Archived 2011-06-29 at the Wayback Machine."