Portrait of Uriel Septim VII at the age of 87. Imperial City. Year: Winter—Spring 3E 433.

On 27th Last Seed (August) the Emperor was assassinated by (supposedly) Daedric Cultists.

P.S: Cyrodiil is a jungle.

Fooduary Day 4: Mixed Berry Tart

Tarts are an old, old, old kind of food. However it wasn’t until the invention of enriched dough (shortcrust) in the 1550s that the pastry outside (previously called coffin because it was effectively a box-plate for the edible center) was meant to be eaten with the filling. With this one it's more about the colors being a mixed berry palette than something more literal like some of the others but this is supposed to be a for fun challenge so I'm not sweating over it. Maybe the others are too cheesy?

I am the artist! Do not post without permission & credit! Thank you! Come visit me over on: instagram, tiktok or check out my coloring book available now \ („• ֊ •„) /

https://linktr.ee/ellen.artistic

The Venetian Lovers by Paris Bordone repainted with the lovely (ineffable) ladies of the court, tudor designs courtesy of @dingledraw!!

i haven’t been able to stop thinking about the tudor wives since i read the comics of featuring their character designs, hope i did it justice!

Alternate Yule ball outfits for my mc and Sebastian, inspired by Tudor fashion.

I know the time setting is the Victorian era but just hear me out- okay— please.

Tudor Barbie (Princess and the Pauper)

Why tudor era, you may ask? Isn't everyone making her a rococo queen since the movie is visually set during that era?

Well... I went in a different direction because of this lil note

Commission sketch for @theladyelizabeth .

AU: Robert and Elizabeth at their wedding. Scene from White Bear, Red Rose.

Historical sewing adventures with Jensen time!

I made this jerkin FOREVER ago (before I moved in February), finally made some trunk hose to go with it and wore it out to the local Ren Faire today!

I do have a doublet of the same mustard wool broadcloth I’ve been steadily working on as well that’s almost done, but it’s missing its sleeves and closures, and I made the executive decision last night at around midnight that the local faire was not worth staying up until the wee hours to make about 16 buttons and hand sew just as many buttonholes, and honestly the outfit was fine without. It’s not like most people at an average Faire here in America are going to know as much as I do about men’s fashion during the reign of Elizabeth I, and it’s really not the point of them. I just wanted an excuse to finally have punkin pantss.

I want to make a cape eventually too. For peak cuntitude.

Though I gotta say, the little dangly earring was doing a lot for me in that department.

black clothing art details

sources: 1 2 3 4 5 6

What Rhaenyra Targaryen would have worn... (TUDOR PERIOD)

Can you answer this?

So the post reads:

So like ... did french hoods have a chin strap or nah? Because some portraits show the wearer as having one. And some don’t. One wonders if the portraits with the missing straps is evidence of the artist taking creative liberties to create a more streamlined look or if perhaps there was another was to secure the hood to the head? Pins maybe?

There's no hard evidence either way, but it seems to me more probable that there were french hoods without the chin strap.

The modern understanding of french hoods is that it's made up from two separate parts. There's the cap and the hood. The cap is the part that has stiffening (especially in 1540s) while the hood is folded on top of it. The earlier French hoods show the construction clearer as they were not yet as stiff and smoothly folded. This portrait from 1520s shows pretty nicely the cap and the hood.

Under everything is the white linen cap of which only the edge is showing. On top of it is the red cap made from a fashion fabric and secured clearly with a chin strap. It has very little stiff structure if at all. The black hood is then pinned into the cap and it's edge is turned to reveal the white lining, which creates the iconic (though still understated at this point in time) crescent shape of french hood. Here in this statue from around the same time the folding of the hood is seen even clearer.

The fold shows a small crescent of the brownish lining. The half-folded strip of fabric along the edge of the hood with the gold trimming is probably what people at the time called billiments. Billiments were either just the gold or jewel trimming along the hood edge or strip of fabric with the trimmings attached to it, that would then be attached probably with pins or baseting stitches to the hood. The fabric billiments made it possible to change the adornments of the hood to change it's look. In this depiction I think it's safe to say that the white cap into which the hood is attached to was very much not secured with chin strap, but with a tape that probably goes around the head under the hood. The cap seems already to have a bit of structuring on it's visible edge.

Here's a portrait with just the cap from around 1520s or 1530s. It's edge clearly is stiffened and probably secured with the stiffening and white tape that goes around the hair and would be hidden by the hood. Because the edge of the cap is stiffened it doesn't need the chin strap to keep it's shape. Possibly, if the weight of the hood would be added here and pinned to the cap, it might need a chin strap to keep it well secured.

Later in 1540s the crescent of the hood becomes larger, it becomes more structured and the points of the cap in the jawline start curving more dramatically. Here's example of that version of the French hood, first one from 1535-40, second from 1544.

Here the structuring is so sleek, it's very hard see that the crescent is the lining of the hood turned very carefully. Some theories suggest that the lining at this point has become a separate piece from the hood, but if you look really closely, you can see that in the first picture there is a thin line that suggests that the white cap is under the white crescent that's likely still the folded lining. In the second example the cap itself is white, and the lining is red. In these portraits the billiments have also become very stiffened and almost like thin hair band that probably also keeps the folded lining smooth and in shape.

I go into detail about the construction, because the curving stiff shape of the cap might be the key here. If the earlier cap that had it's points on the jawline straight, could hold the cap alone secured, the newer curved and even stiffer (likely added wire too along the edge) might have been able to keep the hood too secured on it's own (and with the help of the tape that's under the hood). In fact dress historian Samantha Bullat says in her video, where she recreates French hood, that her 1540s French hood probably wouldn't even need the chin strap she added to it. Her video is super great if you want to understand some probable ways of how the hood was constructed (I've learned most of the information here from it).

So in conclusion, there was at least one way to secure the hood without chin strap, but that was with a visible headband, though possibly 1540s more structured French hoods didn't require the chin strap. If I would guess why some of them didn't need the strap, I'd say the hood itself was probably made from a lighter material, maybe lighter lining, and therefore it would have been easier for the strapless cap to hold it's weight. Maybe during summer they had lighter hoods. This is though purely speculation, I haven't read any evidence from that.

Miss Gallagher~

In England the women go to market for household provisions; if gentlewomen, they are preceded by two men servants. Their usual vesture is a cloth petticoat over the shift, lined with grey squirrel's or some other fur; over the petticoat they wear a long gown lined with some choice fur. The gentlewomen carry the train of their gown under the arm; the commonalty pin it behind or before, or at one side. The sleeves of the gowns sit as close as possible; are long, and unslashed throughout, the cuffs being lined with some choice fur. Their head gear is of various sorts of velvet, cap fashion, with lappets (coste) hanging down behind over their shoulders like two hoods; and in front they have two others, lined with some other silk. Their hair is not seen, so is unable to say whether it be light or dark. Others wear on their heads muslins, which are distended, and hang at their backs, but not far down. Some draw their hair from under a kerchief, and wear over the hair a cap, for the most part white, round, and seemly; others again wear a kerchief in folds on the head: but be the fashion as it may, the hair is never seen. Their stockings are black and their shoes doubly soled, of various colours, but no one wears “choppines,” as they are not in use in England. When they meet friends in the street, they shake hands, and kiss on the mouth, and go to some tavern to regale, their relatives not taking this amiss, as such is the custom. The women are very beautiful and good tempered.

Feb. Sanuto Diaries, v. xv. p. 572–5. [dated 23 January 1513]

Details of Details of Crow's Eye Productions "Getting Dressed - Royal Tudors" ft Queen Catherine Parr

‘ZOUNDS !

I call this look ‘fairy peasant goes to market’. I was inspired by several centuries’ worth of fashion- I just couldn’t choose! I made everything except the boots, fichu, and belt 🍃✨🥀

Commission sketch for @theladyelizabeth .

AU: Elizabeth I & her daughter Anne from White Bear, Red Rose.

I don't know who needs to hear this but Victorian patterns are literally free on the internet. You can find most pre-1920s clothing patterns for free. Look into archives for any scanned pattern books