 1612-55
Shirt of the Duke of Richmond. What marks it as a shirt of the
first half of the 17th c. is the lace inset strips at all seams. A
falling lace collar is added to the shirt and so is the lace at the
cuffs. The bottom of the side seams is open and the hem appears to
be embroidered all around. The lace insertion is a geometrical reticella. |
 1648
Shirt of King Christian IV of Denmark, who was wounded in 1648
in a naval battle. The blood stained shirt, handkerchief, lace collar,
silk velvet brocade doublet were all kept in the hope they might become
reliquaries and symbols of Denmark's power against the Swedish kingdom.
It turned out to be futile.
1 After Denmark had been weakened
by Christian IV’s unsuccessful intervention in the Thirty Year
War (1618-1648), the conflict developed into a struggle for survival
on Denmark’s part, and for a while the country was on the point
of becoming part of a large Swedish Baltic empire. This fate was only
avoided because the Netherlands and England intervened, but the price
was the ceding of all Scanian provinces east of the Oresund in 1658.
The total area of the kingdom was thus reduced by almost a third and
the population declined from 800,000 to 600,000. The catastrophe caused
a political crisis which in 1660-1661 brought about a new form of
government. By coup-like means, the old elective monarchy dominated
by the aristocracy was replaced by a hereditary monarchy. The new
hereditary king, Frederik III, and his successors gained absolute
power. |
 1648
The shirt is closed with ties at two points and the neckline opening
is edged with lace. When seeing the shirt up close the minuscule superb
stitching can be seen and the tiny stroked gathered with which the
width of the neckline is gathered into the neckband. |
 1648
This old photo shows the state of the garment before it was washed
and conserved. |
 1660-80
Fine soft lace on collar and cuffs adorns this shirt from the
period between 1660 and 1680, though it tends to be more towards the
1660s, due to the attached falling band. Taking into consideration
the change of shape of falling bands, this shirt could be from the
late 1660s, early 1670s, when the periwigs were becoming almost compulsory
and the long locks hid the sides of the collars, therefore they became
narrower and longer in front. |
 1650-60
Coat of a brown silk/wool which is said to have been worn by Prince
Rupert. It shows the typical shape of the earlier coats, which are
not as long yet and are not waisted at all but lose. The sleeves are
slit and the coat is adorned with parchment lace which is made by
tightly winding silk threads around strips of parchment, which is
the incorporated into the lace design. |
 1650-60
The same coat in a colour photo. The many small round buttons
are clearly visible. |
 1654
Coronation suit of the Swedish king Carl X Gustaf (Charles X Gustavus),
who became king when Queen Christina I abdicated in 1654. Brown worsted
embroidered allover with gold thread. Silver and metal ribbons at
the waist and the typical short doublet with slit sleeves of the period
late 50s to early 60s. The suit was made in France and assembled in
Sweden. |
 1654
Suit of the Swedish king Carl X Gustaf, made from scarlet worsted,
embroidered in silver. He breeches are open-kneed like the ones of
the brown suit and decorated with ribbon bows at the sides. Made in
France, assembled in Sweden. |
 1660
Suit with petticoat breeches made from reseda coloured brocaded
silk. Many ribbon loops at the hem of the doublet, hanging over the
waist and also at the cuffs. |
 1665
Suit with wide breeches made from cloth of silver and adorned
with silk silver ribbons in abundance and silver lace. |
 Buffcoat
of the first half of the 17th century, closed with leather ties and
embroidered wide, open sleeves. Loose, unfitted cut. |
 Buffcoat
of the mid 17th century. The sleeves are decorated with silver gilt
braid, as can be seen in many portraits of officers. The shape has
become more fitted. |
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Part 1 
