It’s 1811 and George III is mad and his son, George has gone from the Prince of Wales to the Prince Regent. And George did as George loved to do—he decided to throw a grand fête at Carlton House. As the invites went out, Charlotte waited for her own to appear on her table. She waited in vain. Public favor and attention couldn’t be ripped off the Prince Regent and set upon his daughter or worse, her mother. Charlotte wasn’t his daughter and heir but his rival. Yet, the people expected her attendance at the June 5 occasion. The public favored the young princess and the Prince Regent believed a glimpse of Charlotte would increase the unpopularity even more than it was. According to one lady, the Prince Regent was “avoiding everything which could look like a recognition of her as the heir presumptive to the crown.”
If she had attended, society would have seen the young Princess changed. Now, fifteen-years-old, Charlotte was described as “…grown and improved in looks.” Charlotte was described as “very graceful” as well as “forward, dogmatic on all subjects, puckish about horses, and full of exclamations very like swearing.” Even in a letter, Charlotte wrote, she described her temperament as Marianne Dashwood from Sense and Sensibility. This young lady also was very aware of her political position. She was a Whig who was “sincere, committed, and above all radical.”
Life As Before
Sadly, for the lively Charlotte, life continued much as it had before, being watched by her father’s household spies and hidden away from the outside but for few moments of freedom. In November when she visited Oatlands and experienced her first whirlwind of society. Two balls were given and even her father was in attendance. He welcomed her with great joy and warmth then, proceeded to ignore her until she was learning the dance entitled Highland Flurry, the Prince Regent forced himself into the instruction.
The Princess’s social world was expanding beyond her rooms. At the end of the year, the Prince Regent opened Parliament and invited his daughter. The only reason he issued the offer was because otherwise her absence would reflect badly on him. On his return to Carlton House, the crowds chanted, “Down with the Regent” while Charlotte received cheers and shouts of her name. That must have riled the narcissistic Prinny.
In February 1812, she attended the opera and with youthful enthusiasm, she waved at everyone she knew. So, people that was improper but most loved her freshness. And her open demeanor endeared her even more to the people.
Freedom Delayed
January 1813, the Princess turned seventeen and her gift was a new governess. At this age, the proper protocol was for her to have ladies-in-waiting. When she raised her objections, her father responded with “Depend upon it, as long as I live you shall never have an establishment, unless you marry.” Her only route to freedom started at a church’s aisle.
At least, Charlotte began to have more of a social life even attending the February 5, 1813 ball at Carlton House. She had hoped to dance with the Duke of Devonshire. She had enjoyed his company when she met him before and even got the shy duke (who was deaf so isolated himself) to “talk a great deal.” Instead, she danced with her uncles and older men but she was free of her apartments.
While all this was happening, the nation was at war—The Peninsula War—and she was still dealing with the war between her parents. Her mother’s letter to her father was published by the Morning Chronicle, which stated the curtailment of the visits with her daughter. This letter started The Delicate Investigation. This hoopla had Charlotte all but locked away since it wouldn’t be proper for her to be seen and her social life only included events that occurred in her father or uncle’s homes or strolls or drives in her carriage. The Prince Regent even prohibited Charlotte from sitting for a painting.
Meanwhile, the Prince Regent was seeking to arrange a marriage between Charlotte and the Hereditary Prince of Orange.
The lone child of the Prince of Wales and his utterly unwanted wife resided above her parent’s apartments in the nursery of Carlton House. When Charlotte was a year old, her mother moved out of Carlton House and to a place five miles away in Blackheath.
Charlotte, Princess Of Wales
Not that either parent could be describe as tentative yet, she saw more of her father than her mother since she lived at Carlton House, the Prince’s residence though his attendance there was spotty at best. Charlotte’s staff raised her. When she was an eight-year-girl, Charlotte left behind that place and moved into Warwick House. With this move as well, the staff that had been with her since her first days were replaced. Warwick House was east of Carlton House and nothing more than a crumbling old brick building.
Her new governess was dowager Lady de Clifford. This fifty plus woman was in charge of the “…temperamental tomboy…” The good-natured woman couldn’t discipline her effectively since the princess who may not behave as a princess yet she knew her position and used it to her benefit. Like children everywhere still do.
Nevertheless, the two ladies grew fond of each other and Lady de Clifford did all to make Charlotte’s life less lonely. She had one of her grandsons, the Honorable George Keppe befriend her, a friendship that would last through her lifetime. These two kids got up to much trouble. Later in Keppe’s life when he became the Earl of Albemarle, he wrote a memoir of their childhood. In his memoir, he shared stories which include stories of “..fisticuffs, bolting horses and tears.” He even shared the time that when Charlotte and George visited his parents at their home named Earl’s Court. She slipped through a side gate and joined in the back of the crowd that had gathered outside the house to see the princess.
Yet, it was all fun. Children especially Princess’s must be educated. That task fell to Retired Reverend Dr. John Fisher, Bishop of Exeter. The man had tutored the Duke of Kent and had a long list of court positions. “He was sincerely pious and a connoisseur of painting and drawing. But he was pompous, homourless, dogmatic, willful and absurdly old-fashioned.” The man “…still wore a wig and spoke affectedly.” That man pronounced bishop as “bishup”. At nine, Charlotte graced him with the nickname “the Great UP.”
Charlotte, described as blue-eyed and with peculiarly blonde hair with beautifully shaped hands and feet, had a great talent for acting and mimicry. So, when Lady de Clifford and the “Great Up” argued about Charlotte’s lessons, the Princess would stand behind the bishop and mock him. Lady de Clifford struggled to hold back her laughter while trying to best the man. She would stand behind him, “…jutting out her lower lip, waving her arms and generally ridiculing his expressions and mannerisms in an exaggerated mime.”
This young Princess was educated in religious studies, English, Latin, ancient history, and religious instruction as well as reading, writing, French, German, modern history, and music, dancing, drawing, and writing. For her excellent education, the young princess was much like other children. If in trouble, she wasn’t about a little lie to get out of trouble or her studies.
In 1806, Charlotte saw one of her household writing and asked her what she was doing and was told that she was making her will. The Princess declared that she would too. She left many of her belonging to various staff and her birds to a Mrs. Gagrin and her dog or dogs to Mrs. Anna Hatton, her chambermaid.
In 1809, Charlotte’s tutor was replaced because Dr. Nott, tutor to the Princess had written to Princess Caroline. And no pleading save him, the man who was an “adoptive parent” and Charlotte wrote, “If we never meet again, keep for me your regard and affection.”
Yet, she met another who would love her–the Duke of Brunswick, her uncle William. He is describe as “bluff but dignified and patient.” The loving uncle listened to Charlotte’s “lisping chatter” and never tired of hearing it. The princess loved him so that she returned home and “painted a black moustache on her face and marched up and down in military manner barking guttural expletives, which she hoped very much sounded like German swear words.” Just like her uncle.
Also came the Honorable Margaret Mercer Elphinstone, a companion and confidante for the Princess.
As she grew older, Charlotte learned that she would have to be careful in deed and word, whether written or spoken. Now fifteen, her life would change. In January 1811, the government presented the Regency Bill. On February 6, the Prince of Wales was sworn in as Prince Regent.
The idiom goes the clothes make the man. In the 1600s that was certainly true. Through fabric, colors, and style, a person’s position in society was announced without a word.
In this installment of What Was Worn, we are continuing with Renaissance Artemisia Gentileschi’s work of art entitled Esther Before Ahasuerus.
The last installment centered around Esther’s garments and accessories. This month will focus on Ahasuerus and his rich clothing.
What Is He Wearing: A Stylish Man
This post is all about male fashion. And Ahasuerus can only be described as fashionable. This work of art was painted c.1630. During this time, male fashion was shifting. Yet, Ahasuerus clothing reveals the timeline of this era.
Let’s start at the top of this rich outfit. On his neck is an untrimmed, crisp yet soft, white ruff of accordion pleats. It was fashionable at this time period for some to be trimmed with lace as well. He is wearing a rich, green velvet doublet with a long row of small, gold buttons. The armhole is a rolled sleeve that matches the doublet. Both the fabric and color were expensive and not easy to care for. Those big sleeves are paned, leg-of-mutton sleeves of green velvet trimmed in gold with a white silk lining. Beneath his luxurious clothing would be a linen shirt to protect the outer garments from sweat.
Detail of Ahasuerus Doublet
Ahasuerus’ bottoms certainly catch the eye. He is wearing trunk hose, which are padded hose with strips of fabric or panes as they are called over a full, inner layer or lining that reach mid-thigh. The trunk hose are fastened to the doublet by ties or points (short laces or ribbons pulled through matching sets of worked eyelets) . These points are not seen in the painting. At the era, men were also wearing breeches but not our man.
Seventeenth Century Bling: The Finer Touches
The accessories of Ahasuerus clothing are minimal. He isn’t wearing jewelry but he isn’t without finishing touches. First off is his hat. A matching, green velvet hat that flops. It’s reminiscent of a beret but larger. Men had been wearing a variation of this style since the sixteenth century. Two large feathers–a gold one and a white one–that flutter to the right side. He also seems to be wearing a diadem upon that hat. The golden pyramid appearing from the fullness of the hat.
The next accessory is his wine-hued scarf trimmed in gold embroidery with green details. It seems to be a wrap around scarf and from the draping of the garment it is a satin made of silk. A fancy item that still works in this day and age.
Next on our fashionable man is the bottom half of his outfit. Those boots. When I took notice of them, I couldn’t stop thinking of Nancy Sinatra’s song, These Boots Are Made For Walking. The soft, white leather boots are calf-height with a small heel and trimmed with black, short hair fur. Perhaps, mink, squirrel and trimmed with a gold and ruby brooch in the center.
The last item are white stockings. Even in this day and age, it is a trial to keep whites bright and clean. So in the seventeenth century such a task was even harder and only the rich wore such a color. I feel for the poor laundry maid who cared for those things. Those stocking are probably constructed like modern day leggings so they are pulled up with pants and tied so they remained smooth and upright.
During my education, I took many Art History classes. I learned about the old masters—Dutch, English, Spanish, and Italian. Yet, I never learned about my favorite artist. Artemisia Gentileschi.
I first learned about this female baroque Italian artist from a historical fiction novel entitled, The Passion of Artemisia by Susan Vreeland. After reading this book, I had to learn more about this woman and her art. That is why the next two months Historical Costume posts center on this grand dame
Artemisia Lomi Gentileschi was born on July 8, 1593 in Rome. She was the eldest child of Prudenzia di Ottaviano Montoni and Tuscan painter, Orazio Gentileschi. In 1605, her mother died and she began painting in her father’s workshop. In those times, an artist learned by apprenticing with an artist. Artemisia showed talent and love for art that her siblings lacked. There she learned drawing, how to mix color, and how to paint.
By her later teenage years, she showed great talent and her father proclaimed she had no peer.
She took after her father’s style which was inspired by Caravaggio. Yet, this great talent had a style of her own. She was highly naturalistic.
In 1611, her father was working with Agostino Tassi to decorate the vaults of Casino delle Muse located inside the Palazzo Pallavicini-Rospigliosi in Rome. In May of that year, Tassi visited the household where he raped Artemisia. In those days, a rape survivor had to marry her rapist to restore (I write that with a sneer, snort, and great derision) her reputation and secure her reputation. Her father pressed charges against Tassi but not for the rape but his failure to marry Artemisia.
The trial lasted seven months. During the trial, Artemisia was tortured to discover if she was lying. Thumbscrews were used on her hands, which could have destroyed her artist life. During the torture, it is recorded that she cried out repeatedly, “It’s true. It’s true.”
Tassi was found guilty and banished from Rome, a sentence that was never carried out thanks to the pope who wanted him to stay so he could continue creating art for him.
During this time, her father was trying to save his daughter from ruin. He wrote to the Grand Duchess of Tuscany pleading for her to intervene in the trial. He also found a husband for his daughter.
On November 29, 1612, Artemisia married a Florentine named Pierantonio di Vincenzo Stiattesi in Rome. Soon after her marriage, she and her husband departed for Florence where with the Grand Duchess’s—Christina of Lorraine— support she found a place in the Medici court and thrived as a court painter. In 1613, on September 21, Artemisia gave birth to her first child, a son named Giovanni Battista. During her seven years in Florence, Artemisia produced great works of art that I encourage you to seek out as well as three more children. On November 9, 1615, she gave birth to her second son Cristofano and on August 2, 1617, her daughter, Prudenza, was born and October 13, 1618, her last child, Lisabella, made her appearance. Sadly, Lisabella died less than a year later.
Artemisia continued to create art and sold to the great collectors of the time period throughout Europe. And her works brought much recognition. Artemisia was the first woman to be accepted in the Accademia delle Arti del Disegno on July 19, 1616.
Yet, she did not remain in Florence. In 1621, Artemisia and her family returned to Rome where she continued to paint. In 1623, her husband leaves and she lost all contact with the man.
Her works were so in demand that she traveled to Venice, Naples and even joined her father in England and Charles I’s court. She departed England as the English Civil War began. She continued to paint even to an old age. It is believed she died around 1656.
Esther Before Ahasuerus By Artemisia Gentileschi c.1630
This month’s work of art is entitled Esther Before Ahasuerus. For this month’s Historical Costume post, I will be focusing on the female named Esther or the Queen’s outfit. Next month, I will be breaking down the king’s garments.
Esther Before Ahasuerus is dated to 1630 and the garments confirm that date. The style of the sixteenth century changed at this time from the decades before this time.
Esther’s garment is soft and shimmering satins (made of silk) of the luxurious golden yellow or a bright mustard yellow. The robin’s blue egg sash is of the same material and reflects the light on our fainting figure. The upper half of the sleeves, which are called Virago Sleeves are the same yellow satin of the dress. The lower half of the sleeves are damask and embroidered with gold flower and leaf pattern. Lace peeks out at the end of the sleeves and along the bodice. She’s donned a bejeweled belt and with a jeweled- brooches pinned at the virago sleeve.
Beneath this striking gown, Esther must be wearing a chemise made of linen and corset that is shorter than the bodice, that are a looser design than the style of the previous decade’s stiff style that ended lower on the waist. The gown’s natural bodice is high waisted and styled with a jeweled belt. The undergarments that gave the previous decades that wide-hipped, stiff look has vanished. The soft and natural look is all the rage. Yet, women are donning a padded roll or the French Farthingale so the skirt, now closed all around, has a rounded, soft shape that falls at folds to the ground. According to my research, the garment called an unfitted gown. An unfitted gown’s silhouette is loose and with long hanging sleeves, which brush against the floor. (Bottom left of the painting). The bodice has a low square neckline with white lace trim.
Naturally, the rest of the look changed. Esther’s hair is curled and wavy hair in a style and most likely, uncovered as was fashionable during this era. She wears a gold crown with spikes.
I encourage you to research the tale behind Esther Before Ahasuerus to learn the story behind this great work of art.
In May 1499, months after the birth of the Tudor’s sixth child, Prince Arthur married by proxy Katherine of Aragon, Infanta to King and Queen of Spain, Ferdinand and Isabella. Henry, now, had his connection to the powerful Spanish nation. Katherine would arrive in England when she reached fourteen in December along with ladies who were beautiful in order to make “English” connections.
Those connections were endangered with the arrival of another pretender appeared on the scene and though, Henry took care of him quickly, the Spanish King and Queen’s faith on Henry’s hold on the English throne. Especially since there was a very true threat to Henry’s crown, that threat was the Earl of Warwick.
Henry had to rid himself of the claimant to the throne, one who had a better claim than Henry since he was the son of the Duke of Clarence (brother to Edward IV and uncle to Elizabeth of York). Alison Weir writes in Elizabeth of York, “the likelihood is that Ferdinand warned Henry VII that while Warwick lived, the Infanta would not be coming to England.”
How was Henry to accomplish this when Warwick committed no crime and was locked up in the Tower of London? But Henry needed the Spanish alliance and wasn’t the king the law? He just had to find a way.
Robert Cleymound met with Lord Warwick in his cell and plotted to “fire and seize the Tower, thus facilitating his escape to Flanders, whence he would make war upon Henry VII.” Then contact was made with Warbeck who was locked in the Tower and just below Warwick’s own cell. The plot was that Warbeck and Warwick would escape from the tower and Warbeck was told that Warwick would make him king whereas Warwick was told he would be king. But Cleymound claimed Warbeck informed the king of the plot.
Warwick was tried on November 19 in Westminster Hall. He plead guilty perhaps because he did not understand since he was considered simple-minded (as his contemporaries called him). He was sentenced to a traitor’s death.
On November 29, Warwick was beheaded on Tower Hill. He was twenty-four years old. He was buried in Bisham Priory beside his grandfather, Warwick the Kingmaker. Years later, Katherine was said to say, that her marriage to Prince Arthur had been made in blood.
After the executions, Henry fell ill and recovered by the middle of December. That same year, the plague so to over the pandemic the King and Queen traveled to Calais. This was the first and last time Elizabeth had traveled abroad. While in English-held territory in France, Elizabeth and Henry met with the Archduke Phillip and his Archduchess Juana of Castile, sister to Katherine of Aragon. Forty days after departing England, Elizabeth and Henry returned to the realm.
Upon the arrival at Greenwich, they received distressing news. Prince Andrew’s health was a concern yet the worse was the death of their infant son Prince Edmund at fifteen months. The baby prince was given a state funeral, provisions which Henry VII had laid down.
During this time, Katherine departed Spain. She arrived in England on October 2, 1501. Prince Arthur and the King traveled to with the future Queen of England.
Preparations for the marriage began. On November 9, Katherine met Prince Henry. Then on the 12th, Katherine entered the city of London to bells ringing, banners fluttering about and crowded streets where music played and wine ran free. The next day, Elizabeth met her future daughter-in-law. “During her audience, she and Elizabeth both spoke in Latin, and they enjoyed ‘pleasant and goodly communication, dancing, and disports. Thus, with honor and mirth, this Saturday was expired and done,’ and it was late when Katherine departed for Lambeth Palace to make ready for her wedding day.”
On November 14, 1501, Arthur and Katherine were married in St. Paul’s Cathedral. Their wedding night would play an importance years later when Henry VIII sought a divorce.
The young royal couple departed for Ludlow Castle on December 21, 1501. That royal marriage wasn’t the only one being arranged. In January 1502, Henry arranged a treaty of marriage with James IV of Scotland. His daughter, Margaret would become Queen of Scots but would not travel across the border until September 1503.
The good cheer of the wedding wouldn’t last. In February, Prince Arthur sickened. And another threat reared up. Henry dealt with the menace but the King’s power meant nothing with his son’s health. Prayers were said, pilgrimage was made by two priests Elizabeth hired, and offers were given to the church.
Arthur’s health improved enough that he was well enough to wash the feet of fifteen men on Maundy Thursday on March 24.
Four days into April, the worse happened. Arthur, Prince of Wales and future King, died. The fifteen-year-old was buried at Worcester and not Westminster Abbey. According to Weir, it has been suggested that Arthur died of something contagious since his body had to be buried as swiftly as possible.
Alison Weir says of forty-five-year-old Henry’s reaction, “‘When the King understood these sorrowful, heavy tidings, he sent for the Queen, saying that he and his wife would take their powerful sorrow together.’ Thus it was the Elizabeth heard the shattering news every parent dreads to hear, that her child was dead in the flower of his youth.”
Elizabeth reacted as any mother would. She collapsed. Henry rushed to her and comforted her. Her son’s death impacted her health. There are reports of the Queen’s health taking a turn for the worse.
Katherine, widow of Arthur afterward stayed with the King and Queen then went on to reside at Croydon Palace. The young Prince Henry Tudor was now being groomed as the heir to the English and Irish throne. But that’s another story.
Dressed in her mourning attire that Henry set down in his ordinances, the royal couple decided they were still capable of bearing more children. Elizabeth and Henry had always lived together. She accompanied him on his journeys yet on 1502 Elizabeth departed from Windsor and Henry’s side. By the end of September, Henry reunited with his wife.
Royal duties resumed but Elizabeth was with child again. She wasn’t due until February and preparations being made for her confinement.
Elizabeth, meanwhile, celebrated the Christmas season. Meanwhile, Henry was consumed with the construction of the new Lady Chapel. In January 1503, Elizabeth came by river to Westminster to reunite with the King. They, then, traveled onto the Tower.
On February 2, 1503, Elizabeth was still at the Tower (her father’s favorite residence) when the baby arrived ten days early. After the difficult birth, the daughter was christened Katherine on the Saturday after her birth at the parish church of the Tower.
That same time, Elizabeth fell ill. She worsened swiftly. The king sent a man for the physician and paid a boatman to wait for the doctor along with horses and guides to get him to the queen’s side through the dark night.
Elizabeth of York–the Bloom of the House of York–died in the early morning of Saturday, February 11. Her thirty-seventh birthday. Henry was at her side along with priests for last rites and her attendants and servants.
Henry was heartbroken. He traveled to Richmond to mourn his wife alone. For six weeks he was so low with grief that he sickened and was said near death. Tradition decreed that he would not attend her funeral. He ordered a new velvet cloth of estate of blue, the color of royal mourning. Books were bound in this fabric and mourning attire in black and blue. He slowly came out of mourning ten months later. He also abandoned the Tower, which led to the decline as a royal residence. Future royals only stay there for their coronations as tradition had set.
Elizabeth of York Funeral Effigy
In London, six-hundred and six masses were offered by the king and fifty-six pounds of wax candles burned at Walsingham for the monks while they prayed for her.
Henry now the lone king became even more of a miser than he was before along with being suspicious and harsh since Elizabeth’s influence was now absent. He never married again.
Henry VII died on April 21, 1509 at Richmond Palace of tuberculosis.
Yet the blood of Elizabeth flowed through Stuart monarchs, Hanoverians monarch and the House of Windsor and her namesake, Queen Elizabeth II, her sixteenth generation descendant.
Mageela Troche 