In a message dated 4/11/2009 7:41:19 A.M. Eastern Daylight Time,
[email protected] writes:

In  message <[email protected]>, [email protected]  writes
>In Aileen Ribiero's book about 17th century fashion, and in  other books
>there is reference to one Ann Turner who went to her  hanging in yellow
>starched
>lace.

As I emailed Devon last  night, I remembered quoting the passage
referring to yellow starched lace  from JR Planché's "History of British
Costume" (pub. Charles Knight, 1836)  some time ago. The following quotes
from this book may be of some use - it  would appear that the portrait
painters who painted so much in white did  little justice to the
colourful costumes of the times!
How do you have access to this book? Is it on the web, or is it only
available in library cages, locked up? Thank you for this information. It is
very interesting. I would love to see a portrait with one of the colors other
than yellow being used for starch. If anyone sees one, please let me know.

Since posting my notice last night, I found, oddly enough on my front
hallway floor a book I had ordered from Amazon called Renaissance Clothing
and
the Materials of Memory. It has a chapter on Yellow Starch in it. (I did not
 order it knowing that it had this chapter, but because I was seeing its
title in  a number of other sources and it seemed to be destined to fly into
my library.)  Unfortunately, while there is a lot about yellow starch in it,
it has some kind  of academic perspective vis a vis gender identity issues
of the 17th century  which I do not yet perceive as being of interest to me.
(Give me time.) The  quotes and original source material is largely
contradictory. Especially the  concept that the yellow starch ceased to be
worn
after Mrs. Turner's death  or originated in any way with her. It would appear
that it was worn  into the 1620s. The historical writing of the time, much of
it done in the time  around 1650 seems more oriented toward associating
yellow starch with all things  bad, the devil, sexual deviancy, pro-Spanish
sentiments and pro-Catholic  sentiments, this being the time of the Puritan
factions overthrowing  Charles I, so it seems to be as biased as the present
treatment, but in a  different way. The closer you look at the phenomenon,
the
less you are able to  understand it, as in so many things.

Susan has provided some interesting recipes and I am tempted to someday try
 the potato one,since I don't know what gum arabic is. I don't know if I
can  successfully frost a potato after buying it at the grocery store, of
course. Oddly enough, that is the one starch not mentioned in the Materials
of
Memory, while wheat and bran and a variety of other things are. Also, there
 is some mention that this became a class issue while some people were
starving  for lack of food, and others were using food to stiffen their
ruffs.
In the  course of my reading, I have come across the interesting diary
reference by  someone named Fiennes who traveled in Italy and said that they
didn't seem to be  very good starchers, so that they had to have limp
neckwear.
One of these days,  I should read all these diaries, since they sound very
informative, ie. Pepys  and De Foe.

This intense issue in the mechanism by which starch influenced fashion has
been brought on by the need to give a little talk about 17th century lace
fashions. I know that starch was mentioned before, but I had not realized
how  important it was in fashion, or had, at any rate not realized that I
should  become much better informed about it. It would be interesting to know
more about  Mrs. Vander Plasse and her starching activities. Some of these
17th and 16th  century contrivances are such that I, familiar only with spray
starch, cannot  imagine can hold their shape. I wonder how rigid they really
were.

Devon



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