RE: [h-cost] Re: Mus. of London... knit question
At 10:18 23/11/2005, you wrote: Is there anything out there about knitted garters? Italian preferably, but English , French or German will do. If there is a reference out there , please let me know. There is a discussion on garters, knitted and otherwise on another list... Thanks, Dame Catriona MacDuff There is a garter, (don't remember the date) but I think it is made of wool fabric. It appears to be tied and to have a fringe made from the slashed edge of the fabric. I feel that it is actually displayed upside down, and would have been worn with the fringe hanging down, not sticking up, but that is a personal opinion. It would be difficult, though not impossible, to display it the other way up. But what do I know - I'm only the practical one who makes these things!! Suzi ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
RE: [h-cost] Re: Mus. of London... knit question
Is there anything out there about knitted garters? Italian preferably, but English , French or German will do. If there is a reference out there , please let me know. There is a discussion on garters, knitted and otherwise on another list... Thanks, Dame Catriona MacDuff -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Suzi Clarke Sent: Wednesday, November 23, 2005 1:13 AM To: Historical Costume Subject: Re: [h-cost] Re: Mus. of London... knit question At 03:23 23/11/2005, you wrote: I would *love* to know what the dates and assumed origins are (if any) for the knit garments. So far, the earliest I've heard verified made in England (other than Monmouth caps which are coarse-knit then felted/fulled) has been in the 1550s. (I'm guessing that they're the youngest of the items in the display, but... :-) As far as I remember, the stocking foot is Italian mid 1500's, and the child's knitted vest and mitten, not a set as I remember, are 1300's. (Dated from the context of the dig.) However, I will be making proper notes next week and will pass them on. Suzi ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] More Tudor Questions (next step - bodice)
1. No farthingale - just a stiffened petticoat, a pleated undergown and a pleated overgown should give oomph enough I didn't catch what dates you are looking at. The later styles are very conical and often have skirts fitted smoothly over the front of the hooped skirt. I had a look in my deleted emails, but I seem to have completely lost the first post... sigh. If you are looking at later then hooped skirts are the only thing that will give that shape (escept maybe layers and layers of netting layers and layers and layers..). For earlier (Jane Seymore, Margaret Tudor etc etc) then a supportive underskirt is probably better. 2. No corset - bodice lined with canvas and I'm not going to bone it since I don't need THAT much support and the stiffened stomacher should provide the appropriate front line. I would make sure you can add boning at a later date, simply because I know from personal experience of not needing much support that I won't conform to shape unless I do somehting more drastic;) I had a really good example at the end of September when I wore my Victorian corset laced as close as it can. My shape was suddenly ideal for the period (it lowered my waistline considerably). Same with my effigy stays for my 1560 Spanish gown. Is there anything in Corsets and Crinolines from this period? I was focused post 1550 when I last looked at the book. And the Richard III society has privy purse accounts from before 1510 (canvas is mentioned for upperbodices.) 3. Using a 2 kirtle setup - as in the Cecilia Heron picture, pinned stomacher on outermost gown as in the Jane Seymour I have some nice close ups of two of the Jane Seymour portraits, and one of a miniature to show the pins quite clearly. http://glittersweet.com/1seymorebodice1.jpg http://glittersweet.com/1seymorebodice2.jpg http://glittersweet.com/2seymore1.jpg http://glittersweet.com/2seymore2.jpg http://glittersweet.com/holbainsmall.jpg Lovely typo in his name.. sigh. I have two big quandaries right now. The first is how should the undergown fasten? Looking at the sketches of Cecilia Heron and the More family, the undergown is definitely NOT front-fastening. Is side-lacing period-appropriate or would it be back-laced? I'm trying to find images from earlier/later periods, even in other countries, particularly of lower-class dress but I'm having little success. I'm pretty sure one of the vasquina y cuerpo baxo (skirt with bodice) patterns in Alcega has the front and backs cut on the fold so that the only way to fasten it is at the side seams, which are only slightly shifted to the back. My book is buried in my sewing room with no chance of rescue tonight. My second question is what pattern should I use for the skirt portion? I see skirts of just a few panels all the way to multiple gored pieces (like Alcega's farthingale or kirtle for a fat woman f.58a patterns). Looking at the skirts in Alcega and Patterns of Fashion I'd use a gored pattern with a wider back skirt section to allow for pleats at the back. The rounder the waist is cut and the wider the side seam angles the more flare you'll get. You are probably going to do well adapting Eleanora di Toledo's skirt. It's got a nice drape without too much skirt flare. The train can be cut shorter if needed. michela de bruce http://costumes.glittersweet.com -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.362 / Virus Database: 267.13.5/178 - Release Date: 22/11/2005 ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Re: Mus. of London... knit question
Dame Catriona... Hey there... I don't know of any knitted garters. I've looked at lots of inventories and wills and not seen them mentioned. Of course, that doesn't mean that they don't exist, just that I haven't seen any in about 7 years of historic knit research. Have you tried over on the historic knit list? Those folks are a font of information. Good luck in your search. I'll keep an eye out and if I see any I'll certainly post to HKnit, and try to remember to post here as well. Please, if you find anything do share, I'd love to see an example of these. Sincerely, Mari / Bridgette On 11/23/05, monica spence [EMAIL PROTECTED] wrote: Is there anything out there about knitted garters? Italian preferably, but English , French or German will do. If there is a reference out there , please let me know. There is a discussion on garters, knitted and otherwise on another list... Thanks, Dame Catriona MacDuff ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Re: Mus. of London... knit question
Since working all knit stitches is known as garter stitch, knitted garters must have been common at some period! Kate Bunting Librarian and 17th century reenactor [EMAIL PROTECTED] 23/11/2005 11:56 Dame Catriona... Hey there... I don't know of any knitted garters. I've looked at lots of inventories and wills and not seen them mentioned. Of course, that doesn't mean that they don't exist, just that I haven't seen any in about 7 years of historic knit research. Have you tried over on the historic knit list? Those folks are a font of information. Good luck in your search. I'll keep an eye out and if I see any I'll certainly post to HKnit, and try to remember to post here as well. Please, if you find anything do share, I'd love to see an example of these. Sincerely, Mari / Bridgette __ ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Re: Mus. of London... knit question
On 11/23/05, Kate M Bunting [EMAIL PROTECTED] wrote: Since working all knit stitches is known as garter stitch, knitted garters must have been common at some period! Hey Kate - It is indeed possible. Most of my research is in the pre-1600 time frame, so that is the only area on which I can comment. I only said I hadn't seen any, not that they didn't exist. : I would be very interested to learn when they were common. And please - if you know of anything, or find anything do share. I would very much like to learn more. Thanks, Mari / Bridgette ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Re: Mus. of London... knit question
Kate M Bunting wrote: Since working all knit stitches is known as garter stitch, knitted garters must have been common at some period! Kate Bunting Librarian and 17th century reenactor My theory on that is that garter stitch refers to a chunk of stitching that's above the garter and keeps the stocking from falling through better than a rolling edge does. And a small section of garter stitch at the top of the stocking does do this very well. This is only a theory and is based entirely on the fact that it works and not on historical evidence. - Ynes ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] New Medieval Gallery at the Museum of London
That's interesting, since in June of this year I was at the Museum of London and took many pictures while there and no one said anything. I don't know that there was a change in policy or they were being lax in enforcing it. I certainly wasn't hiding that I was taking photos. alex Danielle Nunn-Weinberg [EMAIL PROTECTED] wrote: Hello, The last time I was at the MoL, you are not allowed to take photos unless you have express permission from the curatorial staff and have signed the appropriate waivers. This is a fairly new policy that had been instituted while they were doing all that work in the museum a year or two ago. One of the curators told me their main reason was to gain copyright control over the spread of the images and the quality of the images being passed around. Too many people were taking pictures on their trips there and slapping them on their websites, or even publishing them, without consulting the museum so to put a stop to this, they stopped allowing general photography. Cheers, Danielle At 08:02 AM 11/22/2005, you wrote: At 13:50 22/11/2005, you wrote: Do you have an approximate date for the stocking? and if pre-1600, can I beg photos? Please? pretty please! alex Suzi Clarke wrote: Oh, and the best thing was a black silk knitted stocking foot, probably Italian. As the last date in the gallery is 1558, I guess it must be early to mid 1500's - I can take the date off the label next time I go, and will try to take photos if allowed - should not be a problem as far as I know. Suzi ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Flemish Workingwomen -Black Partlets -a question
I have made several of these in both black and white. I line the black wool ones in black linen and the white ones with self fabric. I am trying to remember where I saw it, but there is a painting/drawing of a woman with a black partlet and red lining. It might have been a Breughel, but most of those collars aren't like this...my brain remembers that it was an allegorical painting of woman riding a horse or something?? Maybe when the rest of me wakes up I will be able to put my finger on it. Oh and if any of you decide to make the pointy Breughel ones, I know where to get the reproduction dresshooks. :) Sg ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] New Medieval Gallery at the Museum of London
They also weren't allowing photography in 2002, when I went over there, and then later that year, apparently they were. The policy seems to change often, which I guess, for us, means hope for the best and plan as best as you can (getting permission, etc.). --Sue, who remembers some guy being dumb enough to try it while she was there, and he was using a flash on his camera, and boy, did that bring the security guards. - Original Message - From: Danielle Nunn-Weinberg [EMAIL PROTECTED] To: Historical Costume [EMAIL PROTECTED] Sent: Wednesday, November 23, 2005 12:12 AM Subject: Re: [h-cost] New Medieval Gallery at the Museum of London Hello, The last time I was at the MoL, you are not allowed to take photos unless you have express permission from the curatorial staff and have signed the appropriate waivers. This is a fairly new policy that had been instituted while they were doing all that work in the museum a year or two ago. One of the curators told me their main reason was to gain copyright control over the spread of the images and the quality of the images being passed around. Too many people were taking pictures on their trips there and slapping them on their websites, or even publishing them, without consulting the museum so to put a stop to this, they stopped allowing general photography. Cheers, Danielle ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] Re: Mus. of London... knit question
We've discussed it over there, as well. Despite the (current) knitting nomenclature including the phrase garter stitch, I don't recall anyone on the h-knit list coming up with examples of actual garters made from that stitch (or other knitting). At least, certainly not pre-17th century European. --Sue - Original Message - From: Marie Stewart [EMAIL PROTECTED] To: Historical Costume [EMAIL PROTECTED] Sent: Wednesday, November 23, 2005 4:56 AM Subject: Re: [h-cost] Re: Mus. of London... knit question Dame Catriona... Hey there... I don't know of any knitted garters. I've looked at lots of inventories and wills and not seen them mentioned. Of course, that doesn't mean that they don't exist, just that I haven't seen any in about 7 years of historic knit research. Have you tried over on the historic knit list? Those folks are a font of information. Good luck in your search. I'll keep an eye out and if I see any I'll certainly post to HKnit, and try to remember to post here as well. Please, if you find anything do share, I'd love to see an example of these. Sincerely, Mari / Bridgette ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] theater opera costumes in general
Bjarne, I'm with you on this basically. It seems to me that the music, or the words (in the case of a play), should be seen as part of a whole world being created, and that world also includes what the eye sees--costumes, set, even the actor's gestures. Once in a while a production comes along where the beauty of the language or the music or something in the theme is highlighted by, or given a new focus by, costumes or setting from another time, or from no time at all (that is, maybe black slacks and sweaters on all the actors, set made of movable cubes, etc.)--but most of the time when the production designer or director changes the time period of the set and costumes, the music or language sounds odd or the audience is confused or distracted by the changes. I blame a few things. --First of all, it's hard to raise money to do a production if all you're planning to do is the show as written. Every time I get ready to direct a Shakespeare play, people ask me What's your concept? and they mean, how are you going to change things to make this different and new? Investors probably are more eager for that than the general public. --Second, some directors don't consider it very creative to just do the show as it was originally conceived by the playwright or composer. They want to make their mark on it. --Third, unfortunately, there's a lot of condescension on the part of the art community toward the general public. A British actor was in residence at Williams College here a few years ago and directed a production of Richard Brinsley Sheridan's The Rivals (1775). I went because I had just done a production of that myself and was curious as to how ours would measure up. Well, I HATED his production--it was camped up, a broad sex scene was put in, a lot of slapstick and sight gags were added. The audience did laugh a lot, but I and the actors who had come along with me were very disappointed. The show itself is very very funny--it doesn't need all that low comedy thrown in. When I got home I looked at the program and noticed that he had given a talk there at the theater one day, called Adapting The Rivals for the Modern Audience. So you see he obviously believed that a modern audience wouldn't get The Rivals as originally conceived. But I can tell you that the audiences! that came to see MY The Rivals laughed and laughed and said the play was wonderful. They didn't need to be condescended to. Well, I do think that experimenting is a healthy thing in art. But I also think people have to keep in mind what they're doing it for, and also remember that the piece they're working with has been around for a long time without their interference. What a shame that such a rare opportunity to see a Monteverdi opera wasn't used to show the audience what the original experience was really like. This isn't to say that older works of art should be treated like museum pieces, but just that they should be respected in themselves, and audiences should be respected enough to be trusted with them. Well, that's my opinionated opinion, anyway! --Ruth Anne Baumgartner scholar gypsy and amateur costumer -Original Message- From: Bjarne og Leif Drews [EMAIL PROTECTED] Sent: Nov 23, 2005 3:04 PM To: [EMAIL PROTECTED] Subject: [h-cost] theater opera costumes in general Hi the list. I went to an opera with the oldest opera ever performed, Monteverdis Olysses. Music and orchestra was very impressive but the costumes! I would like to ask you who might makes costumes for stage, why does it have to be modern and artistic? I have the feeling it is an intempt to try to drag more people to come to theaters, that they make the costumes modern and artistic. I am totally disagreable in this, i hate the very guts of those stupid, and tedious scenografers, who destroys my want to go and have a fantastic time, i was so disapointed and i could just as well have gone to a cd shop and buy the opera, and stay home. What are your oppinons about this, why in heavens name dont they make period costumes, what is wrong with this, and would the modern audiense hate this? Bjarne... Bjarne Drews www.my-drewscostumes.dk http://home0.inet.tele.dk/drewscph/ ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] theater opera costumes in general
In a message dated 11/23/2005 3:05:08 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: What are your opinions about this, why in heavens name don't they make period costumes Well, it depends on the production. The concept, if not period, need not have period costumes. And I assure you the original 17th century production of this Greek myth didn't have period Greek costumes. Or did you mean Baroque costumestheir modern version of what they thought the costumes should look like in the 17th century? You see the problem here. I love Monteverdi! My favorite production of L'Orfeo [which is actually older than Il ritorno d'Ulisse in patria] that is on film is Jean-Pierre Ponnelle's late 1970's production. It is Baroque with the gods and goddesses dressed in court costume with farthingales and stiff wired collarsbut with bits of allegorical stufflike the words La Musica in the spirit of music's hair. Charon looks like a Baroque grotesque off some architectural element. The shepherds look like a dream from a Milton poem. Ponnelle did all 3 of the big Monteverdi operas [the 3rd one being L'incoronazione di Poppea] in this Baroque style. Alas, none of them are on DVD to my knowledge. On DVD is another version of LOrfeo dressed in ancient Greek clothingsorta. It still has ample Baroque elements...especially in the scenery. Great singing too! It's on BBC Opus/Arte with Le Concert des Nations and La Capella Reial de Catalunya doing the music. There's also a great Ulisse with Samuel Ramey singing the title role on DVDbut I don't have that one. Anyway... if the production calls for period costumes, then they should have them. If the concept is not to make it look periodthe costumes will not be period. The costumes must serve the vision of the director's concept. [My biggest problem with much costuming is, it's just bad... modern or period. Costuming gets no respect in America. They'll hire the Producer's niece to do the clothes because she needs a summer job!] There is a great GREAT version of an opera, Les Indes Gallantes [1735] by French baroque composer Rameau on DVD that is fantastic! I love it. It has great respect for Baroque traditions but is completely modern. And a lark. It is light entertainment and the costumes are a hootthough not truly periodstill their roots are evident. They are costumes all the way, but work so well with the concept of the show. There are lots of Baroque stage effects in it: A storm at sea, a volcano eruptingit's great fun! The last act takes place among American Indians! Of course the music is divine! Also on BBC Opus/Arte. ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] theater opera costumes in general
why in heavens name dont they make period costumes, what is wrong with this, and would the modern audiense hate this? I think frequently they do modern sets and costumes because it's cheaper. Janet ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] theater opera costumes in general
In a message dated 11/23/2005 4:11:34 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: I think frequently they do modern sets and costumes because it's cheaper Not always...especially with big-wig companies. It's more to do with making it relevant to modern audiences. It's why we have films like Clueless ...or Great Expectations in modern times. Even War of the Worlds should take place in 1898. Sometimes it works and sometimes it's misguided. I don't think is a necessity, that's for sure. ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
[h-cost] OT - Pin Cushion
I'm wanting to make a decorative pin cushion for a Christmas gift., but not sure what to fill it with. Does anyone have any suggestions besides sand or fiberfill? Roscelin ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] OT - Pin Cushion
At 01:19 PM 11/23/2005, you wrote: I'm wanting to make a decorative pin cushion for a Christmas gift., but not sure what to fill it with. Does anyone have any suggestions besides sand or fiberfill? Roscelin I'd recommend wool. If you can get some fleece with some lanolin left in, it helps prevent rust. Joan Jurancich [EMAIL PROTECTED] ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
[h-cost] Apparently the 1990's are Now Considered Period Costume
http://www.nytimes.com/2005/11/20/magazine/20style_90s.html#articleBodyLi nk ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] theater opera costumes in general
[EMAIL PROTECTED] wrote: In a message dated 11/23/2005 4:11:34 P.M. Eastern Standard Time, [EMAIL PROTECTED] writes: I think frequently they do modern sets and costumes because it's cheaper Not always...especially with big-wig companies. It's more to do with making it relevant to modern audiences. It's why we have films like Clueless ...or Great Expectations in modern times. Even War of the Worlds should take place in 1898. Sometimes it works and sometimes it's misguided. I don't think is a necessity, that's for sure. I saw Henry V at Stratford festival in Ontario, Canada many years ago that was done up in Edwardian. I was initally irritated, but then I got into it and it is now one of my favorite theatre memories. liz young ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] theater opera costumes in general
Mmm, I'm always impressed by McKellen's Richard III set in a 1930s dictatorship, -C. That's a very strange notion to take a HISTORY and put it in ANOTHER PERIOD. This email was sent from Netspace Webmail: http://www.netspace.net.au ___ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
Re: [h-cost] More Tudor Questions (next step - bodice)
Kimiko Small wrote: At 09:08 PM 11/22/2005, you wrote: have two big quandaries right now. The first is how should the undergown fasten? Looking at the sketches of Cecilia Heron and the More family, the undergown is definitely NOT front-fastening. Is side-lacing period-appropriate or would it be back-laced? I'm trying to find images from earlier/later periods, even in other countries, particularly of lower-class dress but I'm having little success. My second question is what pattern should I use for the skirt portion? I see skirts of just a few panels all the way to multiple gored pieces (like Alcega's farthingale or kirtle for a fat woman f.58a patterns). I want to take an authentic bent so I've been scouring portraits but I just can't tell and I need to figure this out NOW so I can purchase fabric, hopefully this weekend. I do remember one earlier portrait (from Spain?) showing a tapestry fabric kirtle pieced as in an Alcega gored pattern. And what proportions should I do it in? Do I just figure out an appropriate circumferance for the hem and take up the rest in pleating? I'm a little leery of doing that since I have 50 of waist to deal with and I need plenty of fabric to pleat at the back as in the style of the Holbein back view sketch. Some quick thoughts. http://costume.dm.net/fabuse.html is a website that details amounts of fabrics used for 16th c. women's clothes. I just happened to be reading it as your question came over the list. It might help you. On the kirtle (undergown) and how it fastens, that's something I am trying to determine as well. The Cunningtons in _Handbook of English Costume in the 16th Century_ mentions Fastened down the front to waist invisibly, probably by hooks and eyes. Occasionally buttoned or laced. They also mention stomachers (1516/1517) and placards (1547) that are suitably vague enough to maybe covering the actual fasteners under the gown. Most images I have seen are not detailed enough to know for sure what was done under the gown. As to the amount of fabric for the skirt to pleat in the back, if you have even two panels of 45 material, you will have more than plenty to pleat at the back in that style. I really wouldn't go with more fabric, and may even consider doing less. It might be something you might want to drape onto a form and see what gives you the right look. Kimiko I wish that the website could help, but not a lot of women back then were ever my size, at least not any pictured (which is why I like Lady Guildford's portrait - she's plump and she's only a little younger than I am - 27). That's why I was really interested to see the Alcega layout for a fat woman. Here's what I've found so far for depictions of fastening: Front of overgown tied shut, no depiction of undergown fastening, but is not front-fastened Elizabeth Dauncey, 1526-8, http://www.uvm.edu/~hag/sca/tudor/dauncey.jpg Cecilia Heron, 1527, http://www.uvm.edu/~hag/sca/tudor/cecilia.jpg Margaret Grigg, 1527, http://www.uvm.edu/~hag/sca/tudor/holb5.jpg More Family, 1527, http://www.uvm.edu/~hag/sca/tudor/morefamily.jpg More Family, 1593 copy, http://www.uvm.edu/~hag/sca/tudor/moregirls.jpg Front of overgown widely laced shut, no depiction of undergown fastening, but is not front-fastened Catherine of Aragon, 1509, http://www.uvm.edu/~hag/sca/tudor/aragon.jpg More Family, 1530 copy, http://www.uvm.edu/~hag/sca/tudor/lockley.jpg Anne Boleyn?, ?, http://www.tudorplace.com.ar/images/Boleyn,Anne03.jpg Overgown with placard/stomacher, probably covering up front-tying, probably attached with pins Jane Seymour, 1537, http://www.uvm.edu/~hag/sca/tudor/redjane.jpg Mrs. Pemberton, 1540, http://www.uvm.edu/~hag/sca/tudor/pemberton.jpg Front of overgown closely front-fastened, not laced, probably hook-and-eye (see Margaret) Elizabeth Broughton, 1525, http://www.uvm.edu/~hag/sca/tudor/trivick04.jpg Wife of Thomas Pownder, 1525, http://www.uvm.edu/~hag/sca/tudor/norris01.jpg Lady with a Squirrel, 1527-28, http://www.uvm.edu/~hag/sca/tudor/holbsq.jpg Elizabeth Payne, 1528, http://www.uvm.edu/~hag/sca/tudor/trivick03.jpg Portrait of a Woman, 1532-35, http://www.uvm.edu/~hag/sca/tudor/1532woman.jpg Margaret Marchioness of Dorset, 1541, http://www.uvm.edu/~hag/sca/tudor/margaret.jpg (possibly) Princess Mary, 1544, http://www.uvm.edu/~hag/sca/tudor/prinmary2.jpg No visible means of closing gown Woman and her children, ?, http://www.uvm.edu/~hag/sca/tudor/holb-fam.jpg Lady Henegham, ?, http://www.uvm.edu/~hag/sca/tudor/henegham.jpg Mary Tudor, 1514-15, http://www.tudorplace.com.ar/images/Tudor,Marysketch.jpg Mary Tudor, 1515, http://www.uvm.edu/~hag/sca/tudor/marytudor.jpg Unknown Woman (was Margaret Tudor), 1520, http://www.npg.org.uk/live/OC_Data/images/weblg/0/2/mw04202.jpg Catherine of Aragon, 1525, http://www.uvm.edu/~hag/sca/tudor/cathyold1.jpg Anne Boleyn, 1525-27, http://www.uvm.edu/~hag/sca/tudor/boleyn1525.jpg Anne Cresacre,
