Should be right on that page on the righthand side.
He's wearing a buttery tan outfit. If for some reason
it still doesn't come up you could try the Google
image search. It is the only full length portrait of
him.
With a gun in his hand, right? I've seen the portrait, but couldn't get to
it by the wiki page.
Conventional wisdom says to knife pleat the ruff material then like
cartridge pleat it to the neck band piece. This produces a "mill wheel"
ruff, like the ones in the 16th century and painted by folks like Reubens,
but does not produce a ruff like Frobisher wears.
The best example of Frobisher's kind of ruff is found in portraits of Mary,
Queen of Scots. In some of these you can see the same ruff from the side
as well as from straight on to the edge, since the shirt with the ruff on
it is worn open at the neck. These Mary portraits show the ruff material
gathered super-tightly at the inner edges and coaxed into the shape we
recognize at the outer edges. The inner edge of these ruffs is narrow, and
you can see this inner-edge narrowness in some other portraits showing
ruff-wearers. Compare this inner-edge narrowness with the inner-edge
thickness of the later ruffs and you'll see what I mean.
Compare also the way the artist paints the inside of the pleats of the
ruff. In the earlier ones the insides scrunch up to nothing, while in the
later ones the insides make flat vertical pleats.
Compare also the angle at which the two kinds of ruff sit relative to the
body, especially at the wrists. The "mill-wheel" kinds sit perpendicular
to their nearest body part, while the earlier ones sit at an angle to them.
Try the two methods out in sample pieces and compare them. Also remember
that these ruffs were held stiff as cardboard by the use of starch.
CarolynKayta Barrows
dollmaker, fibre artist, textillian
www.FunStuft.com
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