for more images see: Anderson, Ruth Matilda. Hispanic Costume, 1480-1530. Hispanic notes & monographs. New York: Hispanic Society of America, 1979. ISBN:0875351263 9780875351261 OCLC:4858873 http://www.worldcat.org/search?q=isbn%3A0875351263
Note that the shape is different from the later cone shaped "Elizabethan" Spanish farthingale (that I've always rather liked. Antonio Moro (Anthony More, Antonis Mor van Dashorst) did a lovely full sized standing portrait of the Infanta Clara Eugenia that is part of the Houston Museum of Fine Arts collection. It had an impact on me years ago... Beth >Date: Tue, 10 Jun 2008 10:43:20 -0500 >From: [EMAIL PROTECTED] > >I was looking at the painting of Salome (top left, >http://www.elizabethancostume.net/farthingale/history.html ) that is >generally accepted as one of the earliest forms of >farthingale/virtugarde/verdugados. I've heard the "Look, first the >hoops were worn on the outside, but very quickly they became an >underskirt and hidden" interpretation. I was thinking about the >allegorical aspect of religious art. > >Salome was supposed to have danced naked before she asked for the head >of John the Baptist. > >Is it possible that the artist depicted Salome in her underwear to >hint at this nakedness, and that hoops were never actually worn on the >outside? (if that's true, why are hoops also visible on the ladies >behind her?) Are there any other depictions, anywhere, of hoops on >the outside? > >Any thoughts? > >Emma _______________________________________________ h-costume mailing list [email protected] http://mail.indra.com/mailman/listinfo/h-costume
