cavalier - NMSU Theatre Arts

CAVALIER 1625-1660
Also known as Charles I or Commonwealth.
“a Cavalier is both a man’s man AND a
lady’s man. . .”
Influential People
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England- Charles I (inept son of James I Stewart, a Protestant, beheaded in 1649).
between 1649-1660- England had no King, was ruled by Parliament and the
Commonwealth.
Charles II returned to rule in 1660.
Roundheads, followers of Cromwell.
France-
Louis XIII (weak ruler).
Catherine de Medici (his mother).
Anne of Austria (his wife).
Cardinal Richelieu (wanted power over France).
Spain- loses control of the Netherlands.
•  busy with colonization of New World.
the Netherlands- The Dutch “Golden Age”.
Events
•  1618-1648 -- The “30 Year’s War” –  (series of wars in central Europe)
•  1642-1651– “English Civil War”
–  Cavaliers supported the King
–  Roundheads supported Parliament (they won)
•  1626—The Island of Manhattan –  purchased for $24 worth of beads.
•  1630--Pirates settle in Tortuga.
•  **1642- Closure of Theatres.
Philosophy
•  Sir Francis Bacon-- scientific method, inductive reasoning,
“knowledge is power”
•  Descartes-- founder of modern mathematics and philosophy,
methodological skepticism, deductive reasoning, dualism, “Cogito ergo
sum” (“I think, therefore I am”)
•  John Milton-- Paradise Lost, monism (Unity in a given field,
even unexpected), republicanism
•  Blaise Pascal - formalism, later opposed rationalism
Most Representative Statement of
Period
•  A Short transitional period, that has elements of
both the period before (Elizabethan) and the
period after(Restoration). •  There are specific differences in Spain which was
doing its own thing at this time…. –  If you are looking at images that look different from the
lecture materials—its probably Spain!
Discoveries/ Inventions
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1635—First speed limit (on carriages in London).
1636—Harvard College established.
1642—First property and income tax (Eng).
1647—First newspaper advertisement (Eng).
1652—First opera house in Vienna.
1652--The Minuet (France).
“Women have an infinite multitude of defects, says 1600s
guide to the sexes”
The 17th century book was an early forerunner to the famous
Men Are From Mars, Women Are From Venus metro.co.uk
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The book, The Art How To Known Men, was
written in 1665, translated from French into
English by John Davies. The book spent years gathering dust on a shelf
at a house in Dorset.
The owner had no idea what it was until he took
it to Duke’s Auctioneers of Dorchester.
Amy Brenan, of Duke’s, said: ‘It is a really
early piece of social history.
The book was sold at auction in 2014
Artists
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English-
Sir Anthony Van Dyck (court painter to Charles I)
German-
Wenceslaus Hollar (engraver)
French
Jaques Callot (engraver)
Abraham Bosse (engraver) Spanish
Velasquez Zurbaran Dutch- (The “Golden Age”) Rubens
Rembrandt
Frans Hals
Jan Steen (end of period, lower classes)
The Lute Player
Abraham Bosse, c. 1640
Museum of Fine Arts, Boston
An Old Woman: The Artist's Mother
REMBRANDT, c. 1629
Royal Collection, Windsor
Aristotle with a Bust of Homer (detail)
REMBRANDT, 1653
Metropolitan Museum of Art, NY
Titus
REMBRANDT, Harmenszoon van Rijn, 1655
Museum Boijmans Van Beuningen, Rotterdam
Present –day statue of Valasquez
Near the entrance of Museo del Prado,Madrid
Self-Portrait. Velasquez
Galleria degli Uffizi, Florence, Italy.
AESTHETICS
•  Although there are Elizabethan elements, it is as though
the starching and bombasting are removed, and a new, soft,
comfortable feeling replaces it. The ornate-ness
disappears, and a much simpler silhouette and less
decorated style emerges.
•  The popular fashion is for SOLID colors rather than the
rich patterns previously seen, and the decoration goes
mainly TO EDGES of clothing pieces, rather than covering
the entire garment. Silhouette
(re-drawn from Hill & Bucknell)
FABRICS
•  SATIN is a favorite fabric at this time, so “shiny” is a distinctive
Cavalier look.
•  LACE is a major factor and appears at every available spot on the
garments on both male and female, particularly at the neck, wrist and
boot top. There is little starch used however, so even these lacy
elements have a soft and casual appearance.
•  LEATHER figures prominently into the look at this time,
particularly worn in conjunction with lace.
A Lady Spencer
Sir Anthony Van Dyck
1633-38
Queen Henrietta Maria
1635
HAIR
•  Hair was an important element of Cavalier style. Men
wore it long and curly if possible. •  It was a common practice to grow one strand of hair longer
-or- at least separate a lock of hair, to braid or curl and tie
with a ribbon. This ribbon could signify one's family
colors, or the colors of one's love interest, thus the name
LOVELOCK.
•  Facial hair was important, most notably the VAN DYCK
BEARD popularized in the paintings of the Dutch masters.
The Duke of Buckingham ! (Detail)
Henri II de Lorraine (detail)
Sir Anthony van Dyck, 1634
HATS and HEADRESSES
•  The CAVALIER COPETAINE is the major hat style. It is
a large floppy hat with a very wide brim and is invariably
decorated with large flowing plumes.
•  The PURITAN style remains popular as well.
•  It is interesting to note that some women adopted the habit
of wearing men's hats. Small fabric coifs and soft caps
were commonly worn.
Frederik Dircksz Alewijn
Yonker Ramp and his Sweetheart
Engraving of Back View of Man
Queen Henrietta Maria
Prince Rupert
Merry Company
FOOTWEAR
•  Boots are a major fashion statement. They came in an infinite variety of
shapes and sizes, some had heels (which still could be red) and some did
not. A most interesting note about the shoes and boots in this period is
the flat, square toe. They could come up quite high on the thigh and
could be worn with the cuff turned up, called a FUNNEL BOOT, or
this could be turned down and used as a folded cuff. Often times, the
sock-like hosen had a cuff that was turned to the outside over the boot
cuff as decoration. These were called BOOT HOSEN, and also served a
practical purpose, because the boots were leather and had to be regularly
oiled. Additionally, it was quite popular to wear spurs (often VERY
elaborate for “show”), and they were held onto the boots by use of
added on and elaborate SPUR LEATHERS. Some boots appear to be
on a wedged platform.
•  Women continued to wear a pump like, often heeled slipper.
Tiburcio Redin Cruzat
Juan Andres Rizi, c. 1635
Louis XIII
Henri II de Lorraine
The Meagre Company
1st Duke of Hamilton
Henry Rich
Charles I
A Cavalier Time of Louis XIII
By Jean-Louis Ernest Meissonier
c. 1861
Lord John and Lord Benard Stuart
Funnel Boots---
-------Boot hosen
-----------Spur leathers
COLLARS
•  The ruff and falling collar continue to be worn,
but they are relaxed and more casual. The
WHISK is a major collar form and is worn by
both men and women. A popular version is
squared off and covers the front and back shoulder
areas. This helps to create the desired illusion of
width in that area. Sometimes this even arcs
slightly, or points downward.
Example of transition from Elizabethan period ruff to the
“falling collar” of the Cavalier period
(Detail) Robert Devereux, 2nd Earl of Essex
By Marcus Gheeraerts, c. 1596
NPG, London
Portrait of Frederik Dircksz Alewijn
Dirck Santvoort, 1640 Rijksmuseum, Amsterdam
Portrait of Agatha Geelvinck
Dirck Santvoort, 1637 Rijksmuseum, Amsterdam
Portrait of Pieter van den Broecke
By Frans Hals, c. 1633
Kenwood House, London
Unknown
By Dirck Dircksz. Santvoort
Portrait of a Lady Holding a Fan
By Dirck Dircksz. Santvoort
Period Movement
•  An interesting note is that at this time, men's boots had
very large cuffs-- which necessitated taking a wider, bolder
step. This, in combination with the movement style of
sword-fighting, as well as the sweeping appearance from
bowing with ones' large plumed hat and throwing ones
cape over ones shoulder gave the Cavalier gentleman his
swashbuckling demeanor.
•  For the first time, we have a shorter sleeve, so therefore the
wrist and forearm area are exposed and this area becomes
the erogenous zone.
CAVALIER CLOTHING STYLE
•  An illusion of width at the collar and head area was desirable, so the
women's bodices and hair were styled to reinforce this and the men's
hair and hat style echoed this.
•  They had a fondness for diagonals, so sashes and baldrics of all
descriptions are commonly seen on both males and females.
•  Elements of garments and undergarments are still tied in, the difference
is that these ties become a decorative element and are often of ribbon
tied in large bows.
•  Accessories played an important role in Cavalier clothing. They
reinforced the desire for finish and detail. BASIC CLOTHING TYPES
Men
•  Men continue to wear a shirt and hosen, although the hosen are more
knee-sock-like.
•  The DOUBLET remains the primary male garment, although some
fairly major changes occur. It is much more short-waisted, the angle
comes from much higher on the sides, the point at the center front goes
a lot deeper, and the peplum becomes considerably longer and follows
the angle of the CF point. The puff is gone from the sleeve and it
becomes shorter and more tubular in shape. •  Venetians emerge as the major leg covering, and are more
sophisticated in cut. They fit in the crotch area and are laced up the
back, so the codpiece disappears. NOT relevant for test….
•  Capes remain the outer garment of choice and are
worn with tremendous variety and finesse. Large
semi-circular ones that could be dramatically
thrown about were very popular. They favored a
style known as “Colley Weston Ward” in which
the cape was worn at a diagonal.
•  Armor is restricted to only pieces now,
particularly the neck gorget. Many extant models
are found to be quite ornate.
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Portrait of Henri II de Lorraine, Duc de Guise
by Sir Anthony van Dyck, 1634.
“ In his court portraits Van Dyck established a style
of characterization that was to persist all over the
Europe for more than two centuries: in his visions of
tall and aloof, yet relaxed, elegance, he showed the
most subtle ability to bring a precise physical likeness
into compositions of fluent and elaborate Baroque
splendor.” The National Gallery of Art, Washington DC.
(text from the exhibit)
Burgomeister Dirck Jacobsz and His Family
by Dirck Santvoort
1635 Rijksmuseum, Amsterdam.
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Detail of Burgomeister Dirck Jacobsz
and His Family
by Dirck Santvoort
1635 Rijksmuseum, Amsterdam.
Detail of Burgomeister Dirck Jacobsz and His Family
by Dirck Santvoort
1635 Rijksmuseum, Amsterdam.
***
Yonker Ramp and his Sweetheart
Frans HALS
1623
Metropolitan Museum of Art
New York
A member of the Haarlem guard
By Frans Hals, c. 1636
National Gallery of Art, D.C.
Prince Rupert, Count Palatine
By Anthony Van Dyck, c. 1637
National Gallery, London
Henry Rich, First Earl of Holland
by D. Mytens. National Portrait Gallery, London. Henri II of Lorraine
Henri II of Lorraine by F Elle, 1631. Museum, Rheims.
Doublet, early 1620s
French
silk; Length at CB: 19 3/4 in. The Costume Institute Fund, in memory of Polaire Weissman
Jerkin
Rogers Fund
The Metropolitan Museum of Art
Charles I, King of England at the
Hunt
DYCK, Sir Anthony Van
c. 1635
Musée d’Orsay, Paris
Doublet and breeches, English about 1830.
Stamped white satin. Victoria and Albert Museum, London.
Suit of yellow braided satin comprising doublet,
breeches, and cloak. English about 1630. Swordbelt
of embroidered velvet, French, about 1630. Victoria and Albert Museum, London.
Engraving of Back View of
Man
French engraver Abraham
Bosse, 1629. Biblioteque Nationale, Paris.
The Laughing Cavalier
Frans HALS
1624
Wallace Collection, London
Nicolaes Hasselaer
Frans HALS
1630-35
Rijksmuseum, Amsterdam
The Meagre Company (detail)
Franz HALS 1633-37
Rijksmuseum, Amsterdam
Merry Company
Dirck HALS
Private collection
Willem van Heythuysen
Frans HALS
c. 1638
Musées Royaux des Beaux-Arts,
Brussels
Claes Duyst van Voorhout
Frans HALS
c. 1638
Metropolitan Museum of Art, New York
George Villiers, 2nd Duke of Buckingham
and His Brother Lord Francis Villiers
By Anthony van Dyck c. 1635
The Royal Collection, London
Albert and Nicolaas Rubens
Pieter Pauwel RUBENS
1626-27
Sammlungen des Fürsten von und
zu Lichtenstein, Vaduzz
Charles I, King of England, from Three Angles (aka “Triple Portrait”)
By Anthony Van Dyck, c. 1636
Charles I of England and Henrietta of France
Sir Anthony Van DYCK
Galleria Palatina (Palazzo Pitti), Florence
Lord John and Lord
Bernard Stuart
Sir Anthony Van DYCK
c. 1638
National Gallery,
London
Vermeer
Willem Coymans
By Frans Hals c. 1645
National Gallery of Art, D.C.
The Nightwatch (detail)
REMBRANDT Harmenszoon van Rijn
1642
Rijksmuseum, Amsterdam
John Belasyse
Gilbert Jackson
1636
Jan Six
EMBRANDT Harmenszoon van Rijn
1654
Six Collection, Amsterdam
Portrait of Andries de Graeff
REMBRANDT Harmenszoon van Rijn
1639
Staatliche Museen, Kassel
William Shakespeare
By Louis Coblitz, c. 1847
The French Museum Collection (RMN)
As played by Simon Ward in the 1973 Richard Lester film—
”The Three Musketeers” George, Villiers, The Duke of Buckingham
Pieter Pauwel RUBENS
c. 1625
Galleria Palatina (Palazzo Pitti), Florence
By Michiel Jansz. Van Miereveld, c. 1625-26
Art Gallery of South Australia
!!!
Something seems amiss
Photoshopped?
The Duke of Buckingham
Paulus Van Somer
Museum of Fine Arts, Houston
Orlando Bloom as the Duke of
Buckingham in 2011’s remake of
the Three Musketeers.
Can you spot the non-period
items?
An Elegant Company Playing Music
Dirck HALS
1637
Private collection
***
From Le Costume Historique
Both figures are from engravings By Abraham Bosse, c. 1630s & 1640s
Far Left: Plate 2 of 18
Originally by Jean de Saint-Igny
Museum of Fine Arts, Boston Left: a Widow with a conch/coque
Worn mostly by widows in France
Louis XIII, Crowned by Victory
By Philippe de Champaigne, c. 1635
Musée Du Louvre, Paris, France
Portrait of Prince Charles Louis,
Elector Palatine
Sir Anthony Van DYCK, c. 1641
Private collection
Charles 1
Daniel Mytens 1631
D Williamson
The First Duke of Hamilton
Daniel Mytens 1629
Self-Portrait
Sir Anthony Van DYCK
1625-30
The Hermitage, St. Petersburg
DYCK, Sir Anthony Van
Thomas Killigrew and William, Lord Croft
1638
Royal Collection, Windsor
Prince Rupert
By Gerrit van Honthorst, c. 17th Century
Wilton House, Wilts
Juan de Pareja. Velasquez 1649/50 The Metropolitan Museum of Art, New York
Count Dwarf Don Antonio el Inglés By Diego Velazquez c. 1640-42
Museo del Prado, Madrid
Portrait of a Gentleman
Johannes Cornelisz. Verspronck
1970s Richard Lester adaptation of “The Three Musketeers”
2011 Adaptation
HAIR and MAKEUP
•  Hair was an important element of Cavalier style. Women
wore frizzy bangs, and wringlets or frizz at the sides for
horizontal emphasis, while the back was worn up in a bun. •  It was a common practice to grow one strand of hair longer
-or- at least separate a lock of hair, to braid or curl and tie
with a ribbon. This ribbon could signify one's family
colors, or the colors of one's love interest, thus the name
LOVELOCK.
Garden of Love (detail)
RUBENS, Pieter Pauwel c. 1633
Museo del Prado, Madrid
Engraving by Wenceslaus Hollar, c. 1640
National Museum, Nurenberg
BASIC CLOTHING TYPES
Women
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The corset is not as prevalent in this period because a stiff look was undesirable. It was
a common practice to bone the actual garments. The bolster and bumroll remains in use,
and quilted and heavily embroidered petticoats become popular.
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The bodice style in this period is very high-waisted, and the neck area is very wide, low
and off the shoulder. This area can be covered by some form of ruff or collar or by a
modesty piece. There is generally a longer peplum, and the stomacher often has a very
wide, blunt point. There is often a wide horizontal belt or a diagonal sash or both worn
in conjunction with this bodice. • 
The sleeve is shorter and more tubular in shape.
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The skirt is more vertical looking as it rounds out over the bolster and falls softly. The
over/underskirt combo disappears. • 
Capes with hoods are commonly worn as outer wear and are often fur lined. ***
Queen Henrietta Maria with Sir
Jeffrey Hudson by Anthony Van Dyck, 1633 Samuel H. Kress Collection. Queen Henrietta Maria. Sir Anthony Van Dyck, 1635. Private Collection, New York, USA
Doña Polyxena Spinola Guzman de Leganés
Sir Anthony Van Dyck, circa 1628
Samuel H. Kress Collection Agatha Bas
REMBRANDT Harmenszoon van Rijn
1641
Royal Collection, London
Marie de Raet
Sir Anthony Van Dyck 1631
Wallace Collection, London
Henrietta of Lorraine
By Van Dyck, c. 1634
Kenwood house, London
Portrait of an Unknown Woman
By Van Dyck, c. 1630
Arkhangelskoye Palace Museum
The Capel Family
Cornelius Johnson, c. 1640
NPG, London
Isabella Coymans
Frans HALS
1650-52
Private collection
Portrait of a Lady
Sir Anthony Van DYCK
1634-35
Pinacoteca di Brera, Milan
Lady Borlase
Anthony van Dyck, c. 1638
Kingston Lacy
Helena Fourment with a Carriage
Pieter Pauwel RUBENS
1639
Musée du Louvre, Paris
Diana Cecil, Countess of Oxford
Sir Anthony Van DYCK
1638
Museo del Prado, Madrid
St. Elizabeth (Isabel) of Portugal
Francisco de Zurbarán, 1640
Museo del Prado
The Wife and Daughter of Colyn de Nole
Sir Anthony Van DYCK
Alte Pinakothek, Munich
Portrait of Anna van Craesbecke
Sir Anthony Van DYCK
1635
Staatliche Museen, Kassel
Maria de Tassis
By Anthony van Dyck, c. 1629-30
Liechtenstein, the Princely Collections
Princess Henrietta Maria of France
By Anthony van Dyck, c. 1632
Royal Collection, UK
Anne, Countess Clanbrassil
Sir Anthony Van Dyck, c. 1636
Frick Collection, NYC
Queen Henrietta
Sir Anthony Van Dyck, c. 1636-38
San Diego Museum of Art
Portrait of a Standing Woman
Frans HALS
1643-45
National Gallery of Scotland,
Edinburgh
Little Girl in Blue
Johannes Verspronck, c. 1641
Rijksmuseum Amsterdam Portrait of a young child
holding an orange
All Painted by
Dirck Dircksz. Santvoort
Dirck Alewijn
Boy in White
c. 1641
Netherlands
private collection
Geertruyt Spiegel
with a Finch
c. 1639
National Gallery, London
Children’s court dresses
Left: Satin embroidered with gold
thread and colored silks; trimmed with
tinsel galloon. Spanish, late 16th
century.
Right: Silk faille shot with gold;
trimmed with silver tinsel braid.
Spanish, 17th century
Vanity Fair
Both Paintings
Queen Mariana by Diego Velasquez c. 1652-53
Museo del Prado, Madrid, Spain.
Kunsthistorisches Museum
St Margaret
Francisco de Zurbarán. 1631
National Gallery, London
St Rufina
Francisco de Zurbarán. 1635-40
Prado Museum, Madrid, Spain
Portrait of the children of Charles the 1st
Sir Anthony Van DYCK c. 1635
Portrait of Philadelphia and
Elisabeth Cary
Sir Anthony Van DYCK
1635-38
The Hermitage, St. Petersburg
Artemisia
REMBRANDT Harmenszoon van Rijn
1634
Museo del Prado, Madrid
Girl at a Window
REMBRANDT Harmenszoon
van Rijn
1651
Nationalmuseum, Stockholm
Artemisia
Portrait of the Young Saskia
REMBRANDT Harmenszoon van Rijn
1633
Gemäldegalerie, Dresden
Portrait of a Woman Holding a Fan
Frans HALS
c. 1640
National Gallery, London
Artemisia
Portrait of the Young Saskia
REMBRANDT Harmenszoon van Rijn
1633
Gemäldegalerie, Dresden
The Artist and His First Wife, Isabella
Brant, in the Honeysuckle Bower
RUBENS
1609-10
Alte Pinakothek, Munich
Engraving Plate 16 of 18
Originally by Jean de Saint-Igny
After: Abraham Bosse, c. 1630s
Museum of Fine Arts, Boston Engraving French Nobleman
Originally by Jean de Saint-Igny
After: Abraham Bosse, c. 1629-36
The Beggar on Crutches
Plate 10 from The Beggars, c. 1622
By Jacques Callot
National Gallery of Canada
Lady with fan and mirror. State 2
Wenzel Hollar
Thomas Fisher Rare Book Library
Sovereign Duchess Francoise of Longueville
JEWELRY
•  Both men and women continue to wear
rings and earrings extensively. •  Bracelets come into popularity, because the
female wrist is exposed (!) for the first time
since the ancients.
Gold, enamel and diamond brooch
French or German, c. 1630
Victoria and Albert Museum, London
Gregorietti, Guido. Jewelry Through the Ages. Bodice ornament in the cosse-de-pois style,
of enameled gold and diamonds c. 1630
Phillips, Clare. Jewelry: From Antiquity to
the Present
The Grenville Jewel, gold enameled locket containing the
miniature portrait of Sir Bevil Grenville, English, c. 163540. Tait, Hugh. Jewelry 7000 Years
Locket, Painted enamel on gold. Front,
navel engagement; Inside, scene of Diana
and Actaeon, 1636. Tait, Hugh. Jewelry 7000 Years
OTHER ACCESSORIES
•  Gloves continue to be popular, and the new shorter sleeve
helps to popularize the gauntlet.
•  Fans are seen extensively in this period. Women regularly
wore them tied on ribbons and attached to their garments.
The Spanish used a spoked variety.
•  Large lace handkerchiefs were widely used.