John Goodall looks at the architecture of late-Tudor and Jacobean homes in the period 1560-1630, taking a look at Engoish homes through the eyes of Shakespeare.
Cover-title: Jacobean embroidery and traditional designs
SCHUMACHER INDIAN ARBRE JACOBEAN LINEN FABRIC 10 YARDS HYACINTH LAVENDER BLUE CLICK ON PHOTOS TO ENLARGE COLORWAY: HYACINTH LAVENDER BLUE MULTI REPEATS: V 46" H 52" 100% LINEN WIDTH: 52" IMPORTED FROM THAILAND SUITABLE FOR ALL HOME DECOR AND UPHOLSTERY....... RETAILS FOR $350 A YARD VIA DESIGNERS..... PLEASE EMAIL WITH ANY QUESTIONS YOU MAY HAVE....AS THERE ARE NO RETURNS
Attributed to Marcus Gheeraerts the Younger (c1561-1635) - Anne of Denmark. Rex Harris / Flickr There is bling, and then there is ye olde embroidery. Seventeenth century needlework was to the rich what, say, Alexander McQueen was for contemporary fashion. An injection of fairytale whimsy into ev
Brand: ThibautDesign: ChatelainHeritage CollectionRoll size: 8.22m x 68.6cm / Pattern Repeat: 68.6cm straight matchMaterial: PaperApplication: Paste the PaperDelivery time: Please allow approx. 3-4 weeks for all Thibaut rolls.
Exquisite Dutch Jacobean Style Tiger House Sells for $1.8M in Hudson, NY SOLD | Built 1906 | 7,738 Sq. Ft. | 7 Beds | 6 Baths | 0.39 Acres 317 Allen Street, Hudson, New York, United States, 12534 Arguably one of the finest homes in Hudson, New York, Tiger House recently sold for $1.8 million […]
Attributed to Marcus Gheeraerts the Younger (c1561-1635) - Anne of Denmark. Rex Harris / Flickr There is bling, and then there is ye olde embroidery. Seventeenth century needlework was to the rich what, say, Alexander McQueen was for contemporary fashion. An injection of fairytale whimsy into ev
Attributed to Marcus Gheeraerts the Younger (c1561-1635) - Anne of Denmark. Rex Harris / Flickr There is bling, and then there is ye olde embroidery. Seventeenth century needlework was to the rich what, say, Alexander McQueen was for contemporary fashion. An injection of fairytale whimsy into ev
Many things can shape a city—its culture, history, social life, or food scene. But perhaps the most distinctive feature would be architecture. Some buildings can completely fascinate you with their astonishing design and pure aesthetics. Through careful urban planning and understanding of the cultural background, the structure of a city can carry you through time while still leaving you in a very particular place.
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Leslie Banker Pamela Nina Campbell English Country Style Interior Design Think like a Decorator Jacobean Manor House for sale
Through mainly a New Historicist critical approach, this book explores how Shakespeare and Achebe employ supernatural devices such as prophecies, dreams, gods/goddesses, beliefs, and divinations to create complex characters. Even though these features indicate the preponderance of the belief in the supernatural by some people of the Elizabethan, Jacobean, and traditional Igbo societies, Shakespeare and Achebe primarily use the supernatural to represent the states of mind of their protagonists. Both writers appropriate supernatural features to mirror tragic flaws such as ambition, arrogance, impulsiveness, and fear that contribute to the downfall of Macbeth, Lear, Okonkwo, and Ezeulu. We relate to some of these characters because they project our inner minds, principal drives that may be hidden within us. Therefore, Shakespeare and Achebe's preoccupation with the supernatural adds subtlety to their characterization and enhances their readability by situating their art beyond time, place, or particularity. | Author: Kenneth Usongo | Publisher: Routledge | Publication Date: May 31, 2023 | Number of Pages: 152 pages | Language: English | Binding: Paperback | ISBN-10: 0367710935 | ISBN-13: 9780367710934
Source Source Probably a waistcoat worn over a petticoat. Source Although the garment has been finished for over a week, I've been putting off writing this post because there is SO much to say! Support garments in the 16th (and early 17th; to the 1620s for my purposes) century are a very complex, tricky subject. Part of the problem is that there are so few extant garments, compared to the 18th century for example, to work from. Elizabethans also weren't always clear in some of their terminology, much to the frustration of clothing historians! One thing that is clear--or I should say, has become clear in the past few years--is that most women in the Elizabethan period probably did not wear a separate boned garment under their gowns, at least until the very end of the century (and then by mainly fashionable women--well get into that later!). I know, I know. If you made an outfit for a Renaissance faire in the past 20... 30 years, you probably made a boned corset for your outfit. I did! But current research now suggests that this probably was not the most likely garment for women to be wearing in this period. It's probably more common for a woman to wear a petticoat and/or kirtle consisting of a bodice attached to a skirt (we'll get into petticoat vs. kirtle later as well!). The bodice--often called "upperbodies" or "bodies" in period document--most likely did not rely on boning for support and shape in the way that boning is used later in the 17th century and on into the 18th and 19th centuries. Instead, layers of padstitched canvas and buckram and a proper fit could provide support for the female figure. It's certainly possible that other forms of stiffening were being used, perhaps bents (dried sea grass), pasteboard, or cording, since we see them in other applications like whalebone and bents in the large "farthingale" sleeves of the 1590s. Today we associate "petticoat" with just a skirt, but for Elizabethan women it most likely had an attached bodice. In the written record, authors specifically mention when petticoats are "without bodies" instead of the other way around. Even though the bodies and skirt were attached, wardrobe accounts and tailors bills often talk about making the pieces separately, or enlarging or making new bodies as a woman's body changed. Bodies and skirt did not have to be of the same fabric. For example, clothing was provided for the poor of Ipswich, and this entry mentions canvas for the bodies of petticoats: "More, payde for ii yardes iii qtrs. of canves for iii upper bodies for iii of the grete wenches' petticottes and for the strengthening of ther wastcottes, at xd. per yarde iis iiid" The woman in the middle of the painting with her back to us wear a petticoat with a brown bodice and red skirt. Red was an extremely common color for petticoats (but that's a discussion for another day!). Kirtles could also feature expensive fabric for the parts that would show and cheaper fabric for those that would not. Now let's discuss petticoat vs. kirtle. They both seem to consist of a bodice and skirt. The bodices may or may not have been the support layer. I mean to say that if you had a supportive petticoat, your kirtle didn't need to be supportive as well--or vice versa. If your kirtle bodies are supportive, your petticoat doesn't need a supportive bodice. The Tudor Tailor by Jane Malcolm-Davies and Ninya Mikhaila puts the issue of petticoat vs. kirtle better than I ever could, so I will quote from them directly: "A woman's outer clothes consisted of various combinations of petticoat, kirtle, gown, and jacket. Which of these she wore, and how many of them at one time, depended on her rank, the weather, the occasion, and the gradual evolution of fahsion through the century." (Mikhaila and Malcom-Davies, pg. 20) "The garment worn by all women over the smock consisted of a fitted bodice with attached skirt. In the early Tudor period, this was called a kirtle. By the 1550s, the word 'petticoat' was being used to describe this item of clohthing and 'kirtle' referred to a garment that was worn over, or instead of, a petticoat by wealthier, more fashionable women."(Mikhaila and Malcolm-Davies, pg 64) The last page of Kimiko's article quotes an online discussion with Ninya Mikhaila further elaborating the evolution of petticoat and kirtle terminology. So what about the Elizabeth I "effigy" bodies, or the Pzalgrafin bodies in Patterns of Fashion? Yes, boned support garments did exist. But you'll notice that both of those garments come from the very end of the 16th century and beginning of the 17th century, and they belonged to royal women. The Tudor Tailor notes that in their survey of Essex wills, only four pairs of bodies are mentioned in the last quarter of the 16th century, almost all of them belonging to women of the upper classes (Mikhaila and Malcolm-Davies, pg. 23). At that time period, boned bodies are becoming fashionable among the elite and working their way down through society. Those bodies could be tied or "pointed" to a skirt-only petticoat (also becoming more fashionable in this period). If you zoom in on the portrait of Elizabeth Vernon en dishabille, you'll be able to make out the pretty matching pink points tying her bodies to her gorgeous petticoat. It's a bit tricky because she has a sheer apron tied around her waist, but they're there! I did this on my silk bodies and scarlet broadcloth petticoat, which will be the foundation garments for the silk 1610s gown I have fabric for... There are paintings of women in the early 17th century, just about all Flemish, working in kitchens with bodies that clearly have stitching lines to possibly hold some kind of boning. It's been pointed out in discussions in the Elizabethan Costuming group on Facebook (a really excellent community, by the way! Lots of very knowledgeable and kind folks) that these are often allegorical paintings. And many of the women are also wearing pretty fashionable neckwear which doesn't seem terribly practical for doing kitchen work! I do want to acknowledge those images, although I don't feel they are the norm for common women of the period. That is of course not to say that lower and middle class women couldn't have had such a garment, but it seems less likely than their having a petticoat or kirtle. Other lovely folks have written some great stuff on this subject, so I will post links to their work at this time: http://www.elizabethancostume.net/petticoat.html https://www.facebook.com/media/set/?set=a.953475971345501.1073741850.697208360305598&type=3 If you want more primary accounts describing petticoats, search "petticoat bodies" in the killer Elizabethan wardrobe account database! And please check out the amazing people at The Tudor Tailor for books, patterns, supplies, information, and inspiration! Petticoats didn't disappear with the new century, though. They were definitely worn into the first few decades 17th century by common women. The women who came to Jamestown in Virginia in 1621 were provided some clothing by the Virginia Company, including one petticoat, one waistcoat, and two smocks. There is no mention of a separate pair of bodies, though, so it's my belief that they were given typical petticoats with attached supportive upperbodies. So of course I had to have one! This will serve as my supportive layer for my forthcoming 1560s ensemble, and for a set of common woman's clothing for my interpretive work at early 17th century Virignia sites like Henricus and Jamestown. I have a 17th century event coming up next month, and I hope to have a low-neck smock, partlet, and waistcoat finished for that! Easy, right? ;-) My petticoat is made of wool and has two layers of heavyweight, coarse linen padstitched together for the bodies, then lined in linen--no boning! Skirt was squeezed out of two yards of red wool flannel (yay piecing!) and bound in black wool tape. Eyelets and skirt opening. The skirt top edge is folded over and whipped to the bottom edge of the bodies, which have been completely finished by stitching the lining in. More eyelets :) A bit of the piecing, and the wool tape binding. I purposefully chose to do all of the stitching in unbleached linen thread. A shot of the "guts". The seam allowance is stitched down with a herringbone stitch. I only did padstitching on the fronts, and then only on half of each side. I could have done more, but... meh!
Declared ‚˜the most impressive country house in Devon‚„ by the architectural critic Nikolaus Pevsner, Saltram House is a Jacobean mansion, completed in the 18th century for John Parker, 1st Baron Boringdon. An early Georgian makeover included two rooms styled by the most revered interior designer of the time, Robert Adam. This green from the Dining Room was, in all likelihood, chosen to match a pair of urns he designed himself to display in this room.
History Poseidon Hall was built in a Tudor style in the 16th Century for a wealthy family. Several extensions were added since the original build most notably in the...
With its own minstrels gallery, 18th century classical library and Italianate gardens, Apethorpe Hall, near Oundle, Northamptonshire, has all the trappings of a mansion fit for a king.
A list of selected works on early renaissance architecture in England: p. 267-270
This design is called Zula and comes from our Modern Jacobean Collection.
So painstakingly detailed, you could easily mistake these photographs for real life-sized rooms straight out of a decorating magazine or a coffee table book for ‘grand home design’. These are miniature models made on a scale of one inch to one foot– that includes the upholstery, textiles, rugs, curtains, hand-painted wall-paper and hanging miniature art. They were…
Figurative painting is having a renaissance, so we say commission a modern portrait from our favorite masters of the craft.
For the new season, House of Hackney delved the vast archives of iconic French wallpaper house ZUBER to reimagine a selection of their designs. This 'Majorelle' floral print references Jacobean-era designs but was first crafted later in 1890. To update the design, we have infused it with shades of petrol and burgundy and finished it with iridescent turquoise accents. Our wallpaper is produced using PVC-free, eco-friendly materials and promises minimal environmental impact at every stage of production.
Just 15 miles from Cambridge, chock full of beautiful Medieval and Tudor timbered homes, Saffron Walden makes for a lovely day out in Essex!
Mapperton House & Gardens, Dorset - England
Made with a polyester cover and feather filling 300 thread count Machine washable Coordinating bedding and curtains available Complete your bedding with our Dorma Love Birds cushion, printed Jacobean blooms to combine with a subtly contrasting pattern on the reverse, finished with a stunning frilled edge. This cushion is printed on a 300 thread count cotton sateen cover fabric with a feather filling for cushioning and comfort. Good things come to those who coordinate, so why not pair this cushion with the matching Bampton bedding and curtains available to purchase separately? This product is OEKO-TEX® MADE IN GREEN certified, meaning it was produced in OEKO-TEX® STeP certified factories - verifying environmental, social, and chemical standards in the facility. It has also been certified to OEKO-TEX® STANDARD 100, the original safety standard for everyday confidence. To offer full visibility, the production stages throughout the supply chain can be traced. Dorma Established in 1921, Dorma is a British heritage brand synonymous with quality, luxury and impeccable attention to detail. Dorma; our name is your guarantee.
Explore iandjbannerman's 3856 photos on Flickr!
Here's how to make a simple (and very inexpensive) electrified fire/embers/coals unit for your dollhouse. Tic Tacs are a pretty worldwide candy. If you live somewhere where the orange Tic Tac box is orange (and the mints are white - like Canada) then you have an almost instant source of the right coloured material to make a fire! (This will also work if you only have clear boxes -- get some transparent or translucent glass paint and paint the plain plastic the colour or colours you want your glowing embers.) You'll also need black paint and a 12 volt bulb -- I'm using a pre-wired frosted grain of rice bulb. Cut off the bottom 1/2 inch or so (15 mm) of the candy box with a saw or even scissors. (You can also cut one of the sides down, if you need a shorter unit -- the one I actually made for my kitchen grate needed about 1/4 of an inch taken off one side. ) Cut a slot or drill a hole where the wires will exit at the back of the unit. I just dabbed it with thick globs of artist's black acrylic paint for coals, but you could also glue on logs or bits of real coal or even black beads for verisimilitude :) Let it dry. I drilled a hole in the back of the kitchen grate and placed the bulb inside. I then put the fire unit on top of the bulb inside the grate and taped the wires securely at the outside back of the grate. Then I fed the wires through a hole in the back of my fireplace nook and added an electrical plug and plugged it into my electrical board.
It’s official: Needlework Pop Art needs a seat at the table in contemporary art. Remember the artist who revived an abandoned corner shop and filled it with over 4,000 hand-sewn grocery products? Well here’s another artist equally as mad and talented. Ulla-stina Wikander is a Swedish designer who, for the past 5 years, has been covering…
Surrounded by green forests and large fields in the beautiful area of Gloucestershire, England, lies the picturesque manor house Avening Court. The place has roots dating back to the 11th century and has most recently housed a family that decorated the interior with primarily 18th-century antiques. The second part of this interior is now up for Live Auction in Copenhagen.
marble flooring design cutting by CNC water jet machine for luxury new york home by marvelous marble design Inc.
New RSC Classics series highlights rarely performed Tudor and Jacobean plays.
Рукоделие XVII века было для богатых тем, примерно то, что, скажем, Александр МакКуин для современной моды. Инъекция сказочной прихоти в повседневную жизнь; рукодельные единороги на вашем гобелене в праздничном зале и розы на заднем. Нанизанное золото на тапочках, и драгоценные камни по манжету…
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