It often had the virago sleevefull at elbow and shoulder and drawn in at intervals by strings of narrow ribbonthat appears in most 17th-century portraits of American women and children. The decoration along the top of the bodice and down the front of the bodice, as well as down the skirt, is very similar to the style of a surviving dress from Pisa (Figs. He studied the works of Francisco de Zurbarn, and Francisco de Goya to reinvent Spanish fashion and create his primary collection in 1936. WebSPANISH DRESS. In 1851 Bloomer traveled to London and Dublin to publicize this dress reform. WebSpanish military fashion in the 17th century (1600-1650) lex Claramunt Soto Desperta Ferro Ediciones The clothing and defensive equipment of the soldiers of the Hispanic Dresden: Residenzschloss Dresden, Rustkammer, inv. Her research and writing interests include nineteenth- and twentieth-century art and literature, visual and material culture, modernism and fashion. From the 1840s mens dress lost most of its colour: black, shades of gray, blue, and white were the norm. In the iconographic sources we find a few soldiers protected with rerebraces (pieces that covered the shoulders), while the vambraces and mittens (which protected the forearms and hands) had already fallen into disuse. Backless slippers were worn indoors. Fig. Fig. Farthingales were bell-shaped 8). Today, designers from all over the world continue to look to Spain for inspiration. Childrens clothes varied according to their age. Followers of the Aesthetic movement in England wore looser garments with enormous sleeves supposed to resemble those worn by women in early Florentine paintings. 2 - After Anthonis Mor (Netherlandish, 1512-1576). 10 above). The Romantic age of the 1830s brought back more colour, a tighter waistline at a more natural level, fuller skirts, leg-of-mutton sleeves, and complex high coiffures surmounted by large-brimmed hats or bonnets. In the series of portraits of field masters commissioned by the Marquis of Legans, governor of Milanesado and captain general of the Lombardy Army, in the late 1630s we observe that all wear robes and breeches made of gold and silver threads, with Walloon collar and golillas, and who wear riding boots with butterfly-shaped decorations. She has red embroidery at her chemise cuffs reminiscent of the red embroidery at the collar frill of Catherine de Medici (Fig. His paned trunk hose are bombasted (padded) and his doublet sleeves narrow and rather plain. In America, as in England, plain dress and rich dress became, in effect, the respective symbols of the Puritan and the Cavalier, respectively. Many colonists thought it important to preserve class distinctions in all areas. WebMay 27, 2014 - Explore Nicolin Bray's board "16th Century Spanish Clothing", followed by 354 people on Pinterest. WebFind many great new & used options and get the best deals for 17th And 18th Century Art Painting Sculptures In Architecture Book By Julius at the best online prices at eBay! Designed by Elegant Themes | Powered by WordPress. From 1630 onwards, long manes abounded, at the same time that some soldiers, under French influence, changed the moustache with chin puff for a thin and curled moustache without complement in the chin, a fashion that would become popular throughout the 1650s and 1660. Read on to take a trip down lane of Spanish history with me, to witness the growth and evolution of Spanish fashion from middle age to the 21st century. Best clothes were kept for Sundays and holidays; such garments lasted a long time, and most colonists were therefore wearing styles considered old-fashioned in England. The 4 - Artist unknown (British). Oil on wood; 59.7 x 48.3 cm. The climate in Spain has suited itself to the growth of a diverse range of raw materials for textile production and craft skills. 10). Such practical and decorative garments were highly fashionable from the mid-1500s: and those made from Spanish leather were particularly prized. Commentdocument.getElementById("comment").setAttribute( "id", "a4a6dd5b29856361f82e9b08b54ff52a" );document.getElementById("g033a35a37").setAttribute( "id", "comment" ); Save my name, email, and website in this browser for the next time I comment. Royal Collection Trust, RCIN 406044. 7 - Artist unknown (English). These boots had a very wide shaft and could have butterfly-shaped decorations on the instep. Daggers are less frequently seen than previously. Mary I of England, 1554. Neckwear was plainer, consisting of a collar with neck scarf. Free shipping for many products! The era of Charles presented the austere black and white garments symbolizing religious influence. 4 - Titian (Venetian, 1488-1576). These garments were made by civilian tailors from the province where the army operated, who manufactured them in large quantities. 1530-1610). 5), the knitted silk trunkhose of Duke August of Saxon, have regular openings that reveal the yellow taffeta inner hose. Oil on canvas; 95.6 x 69.1 cm. The veil can be either lace or a silk scarf on a high comb worn over the head and shoulders. Hose, which generally became longer, were fastened to the trunk hose (upper stocks) and made of knitted silk instead of tailored cloth. (235). It was only briefly fashionable in France, where a padded roll or French farthingale (called in England a bum roll) held the skirts out in a rounded shape at the waist, falling in soft folds to the floor. Mary Tudor, 1553. The first assumption led to the definitive disappearance of the greguescos, who in the 1620s began to give way to narrower pants, fitted to the thigh. Bruyn, Abraham de. Catherine introduced and popularised the wearing of hoop skirts (a type of farthingale that gave dresses a wider shape) and Spanish blackwork lace in England. Thtre de tous les peuples et nations de la terre avec leurs habits et ornemens divers, tant anciens que modernes, 16th century. The outfit, consisting of a jacket and knee-length skirt worn over Turkish-style trousers, was regarded as immodest and unfeminine. They were attached to mens breeches by points, or strings, which were also used to secure other garments; later, sashlike garters replaced points. Oil on wood; 75 x 57.5 cm (29.5 x 22.6 in). Historically, they were fitted and embroidered, nowadays the jackets are designed in a contemporary style and worn for warmth. Principis Venetiarum. Biblioteca Digital Hispnica, 1594. The Turks adopted this richness of attire with such enthusiasm that, by the 16th century, sultans were trying to stem the tide of luxury in dress, as western Europe had long been attempting to do, by the passing of sumptuary laws forbidding the wearing of these materials and decoration except by the privileged few. Women of all ages wore a French hood, especially in winter, when it was made of heavy cloth or fur-lined; this hood, tied loosely under the chin, is seen in many portraits of the time. Along with these, designer Spanish brands like Paco Rabanne, Carolina Herrera, Manolo Blahnik, and Miguel Adrover have all left their imprint on the international fashion landscape. Men also wore French falls, a buff leather boot with a high top wide enough to be crushed down. Cristobal Balenciaga and Coco Chanel were a breath of fresh air for the Spanish fashion industry. Last updated Oct 10, 2019 | Published on Mar 24, 2017, Last updated Aug 13, 2018 | Published on Mar 24, 2017, Last updated Aug 13, 2018 | Published on Feb 24, 2017, Last updated May 15, 2019 | Published on Mar 24, 2017. Oil on canvas; 122 x 106.5 cm (48 1/16 x 41 15/16 in). Such boots will become part of everyday dress in the 17th century. In the early years of the new century, fashionable bodices had high necklines or extremely low, rounded necklines, and short wings at the shoulders. Source: V&A. Oil on canvas; 229 x 155.5 cm. This is a classic example of a traditional style adapted to modern. Read next: Japanese Fashion: A Journey from Ancient to Modern. The width and sag of the wing of the moriones, as well as the height of the moriones and the capacetes could be variable, with a clear tendency towards a flatter and less pointed helmet than the moriones of the 16th century. 3 - Jooris van der Straeten (Netherlandish, active 1527-1598). 1550 portrait (Fig. 10) again shows her wearing a French hood, but this time with a low-cut bodice with the neckline filled in by a jeweled partlet that ends in a ruffled collar edged in red embroidery. It had been adopted by the Puritans, whose version was generally lined with cotton and fastened with hooks and eyes. WebSpanish court fashion of c. 1690 shows a long, rigidly corseted line with a broad neckline and long sleeves. 9), where the sleeves are instead lined with ermine (note the tails). Obradoiro de Historia Moderna, 26, pp. Traje de Flamenca (flamenco dresses), worn by female flamenco dancers are long dresses with a defined neckline that hug the waist and then open at the hip and up to the ankles with the skirt and sleeves embellished with ruffles. Oil on canvas; 194 110 cm (76.4 43.3 in). Amman, Joost. (1993), La uniformidad y las banderas, en VV.AA. In the latter half of the 16th and the beginning of the 17th-century, Spanish elite wore silk clothing that was vividly colored and embroidered, brocaded, or She also has a PG Diploma in Media and Public Relations from St. Xaviers College. Wigs, also of French origin, were not common in the armies of the Hispanic Monarchy until the last two decades of the century, and always restricted to official status. 12-13). Portrait of a Lady, perhaps Contessa Lucia Albani Avogadro, ca. Pinterest. Army officers of the United Provinces portrayed around 1611 by Jan van Ravensteyn (1572-1657), Mauritshuis, The Hague. The appearance of two great fashion icons in the 1900s heralded the beginning of a new era in Spanish fashion. Fig. Portrait of a Gentleman, probably of the West Family, 1545-60. It is when it became the consistent champion of Catholicism which heralded the Spanish empires golden age. Both of these portraits feature black gowns, which contrast dramatically with the white of their flared, standing chemise collars decorated with embroidery. A musketeer and a pikeman in separate plates from the Wapenhandelingen (1608) by Jacob de Gheyn II (1565-1629), Rijksmuseum, Amsterdam. 2). Consistent with this mission, the Timelines written commentary, research, and analysis provided by FIT students, faculty, and other members of the community is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Source: Prado, Philip II ruled during the Spanish Golden Age and controlled a vast number of countries; he was, King of Castile and Aragon (155698), King of Portugal (158198, as Philip I, Filipe I), King of Naples and Sicily (both from 1554), and jure uxoris King of England and Ireland (during his marriage to Queen Mary I from 1554 to 1558). Chanels original and modern styles were as revolutionary as Picassos cubism and the duo created a wonderful and historical amalgamation of art and fashion. Source: Tate, Fig. In the last twenty years, wigs, long and with curls, would be present, and golilla collars would give way to ties. Why Do Tennis Players Wear White at Wimbledon? John, Prince of Portugal (1537-54), ca. Although they were never the main footwear of infantrymen, we often see them in the works of Pieter Snayers, a Flemish painter of battles in the service of Cardinal Infante Fernando and Marshal Octavio Piccolomini. Soldiers liked to dress ostentatiously, to such an extent that an anonymous document from 1610, entitled Las rdenes que paresce que se podrian dar para restaurar la reputacion y disciplina que solia haber en la infantera espaola (The Apparent Orders That Could Be Given to Restore the Reputation and Discipline that Used to Be in the Spanish Infantry), advises to become preeminent about the quality of the weapons and clothing to be used in the said infantry, since it is known that of the surplus and excess that there is particularly in this, very many damages and inconveniences occur in it because they want to take advantage of the others, in the habit and costumes, more than in the service and works. Spain has always been a country of contrasts. Oil on panel. After Catholicism became the prevalent religion in Spain, fashion and styles adapted accordingly. 5) wears a black jerkin or doublet and black Spanish cape, both adorned with lines created by gold cording. Spanish fashion was ascendant in the 1550s, from the loose womens gownthe ropa and the Spanish farthingale in womens dress to the narrow-cut 2), Philp also wears black and white, but here there is no extra padding from a fur lining and the open seams are instead held closed by broaches. When she isnt staring at a screen, you can find her spending way too much time writing poetry or trying out new outfits. Both men and women wore stout leather shoes with medium heels. In the latter half of the 16th and the beginning of the 17th-century, Spanish elite wore silk clothing that was vividly colored and embroidered, brocaded, or adorned in silver or gold. (L to R): 17th Century Brocade Grown, Late 17th Century Spanish Costume, 1650-1700 Western European Fashion. Painted Cloth: Fashion and Ritual in Colonial Latin America focuses on the 1700s, a time when Spain was tightening its grip on its territories in the face of increasing French influence. Contact us! Another interesting example is found in the Jos de Pellicers Avisos (Notices), when in 1644 Felipe IV dressed as a soldier on the occasion of the visit to the headquarters and parade ground of the Army of Catalonia, in Fraga. Oil on oak panel; 104 x 78.5 cm (41 x 31 in). For daywear, tailcoats of various types were worn with a waistcoat and the new looser style of trousers over boots. Rodini, Elizabeth, Elissa Weaver, and Kristen Ina Grimes. Source: The Met, Fig. Oil on canvas; 184 x 100 cm. 1550-1600. The newly dominant rigid silhouette created by stiffening the bodice and wearing the conical Spanish farthingale remained in place. Diego Velazquez (1599-1660): Prince Baltasar Carlos as a hunter. 8 - Bronzino (Italian, 1503-1572). 14 - Giovanni Battista Moroni (Italian, 1520/4 - 11579). Oil on oak; 35 x 21 cm (13.7 x 8.2 in). She is currently completing a book on discourses surrounding fashion and feminine types in works exhibited at the Paris Salon (1864-1884). The small prayer book that hangs from the girdle in figure 6 and is held open in figure 7 had become a fashionable accessory. 6-7). Cambridge Journals publishes over 250 peer-reviewed academic journals across a wide range of subject areas, in print and online. Oil on canvas; 106.1 x 77.4 cm. Catherine de Medici, Queen of France, wears the more traditional French hood in a 1559 portrait (Fig. Source: The Met, Fig. From Portugal it spread to Spain and was soon adopted by Mary I of England, as Daniel Delis Hill explains in A History of World Costume and Fashion (2011): In 1554, Mary I, daughter of Henry VIII and Catherine, married the future Spanish king, Philip II. Only in the 1890s did the skirt return to a relatively slender silhouette, but there was no letup in the constrictive corset, which was then at its most painful and harmful stage. The 17th Century saw a major change in men's fashions, and fashions more easily viewed as modern developed. Clothes for everyday wear were plainer versions of those worn back in England. Early French settlers made their own fabrics and clothes and bartered with indigenous peoples for animal skins and pelts, with beaver predominating in Canada and deer in Louisiana. Renaissance Velvet Textiles. The Mets Heilbrunn Timeline of Art History, n.d. Breiding, Dirk H. The Decoration of European Armor. The Mets Heilbrunn Timeline of Art History, n.d. Arnold, Janet, Jenny Tiramani, and Santina M. Levey. Joanna of Austria, raised in Spain and future Princess of Portugal, reflects the somber fashions of the Spanish court, as the Royal Collection Trust explains: Joanna wears a formal black velvet gown, probably her bridal clothing from her marriage to John of Portugal in 1552 [See Fig. Black clothing was particularly expensive, an intense deep black colour being costly to produce and hard to maintain over time. 3 - Anthonis Mor (Netherlandish, 1516-1576). The cap was made part of the national dress of the Turks during the 19th century and remained so until it was proscribed when Turkey became a republic in 1923. North America was colonized by settlers from northern and western Europe. 16. While the rest of his ensemble is black, his doublet is a dull crimson color. This was a flexible steel framework joined by tapes and having no covering fabric. It was during this period (c. 181120) that English modes for men became everywhere accepted as correct, even in Napoleonic France (the top hat, for example, became almost universal). Fig. Also popular at this time for sports and country wear in Britain was the deerstalker cap immortalized in the illustration for Sir Arthur Conan Doyles Sherlock Holmes stories. Davenport describes his dress further, noting that Maximillian wears the: highest possible Spanish collar, finished with a scalloped picadill edge bound in gold to match its cap sleeves and double skirts. We can truly witness the influence and reflection of Spanish painter Salvador Dalis surrealistic style in designer Elsa Schiaparellis works. El uniforme militar espaol desde los Reyes Catlicos hasta Juan Carlos I. Mlaga: Summa. A French musketeer and pikeman in the treatise Le mareschal de bataille, contenant le maniment des armes (1647) by the lord of Lostelneau; engravings of Petrus Rucholle (1618-1647), Rijksmuseum, Amsterdam. Fig. Catherine of Austria, Wife of King John III of Portugal, 1552-53. Edward VI of England in a ca. 3). (1972): Military Fashion: A Comparative History of the Uniforms of the Great Armies from the 17th Century to the First World War. Catherine de'Medici (1519-1589), ca. The Thirty Years' War (161848) was They were covered with wide-brimmed felt hats often decorated with feathers. 3), the daughter of Duke Cosimo de Medici and Eleanora of Toldeo, was painted by Bronzino when she was eleven. 2) both still wear short gowns, but as well see the Spanish cape becomes the more popular piece of outerwear in the 1550s. Photo by M.McNealy. In turn, it has influenced the world by selling their cultural products and clothing on a large scale to its occupied or former colonies. Prerna Sharma writes about the latest fashion, beauty and dressing. In general, the styles of the late 19th century were feminine and elegant but not easy to wear. Stockings were either knitted or cut from woven cloth and sewn to fit the leg. Accessed July 5, 2019. Source: RCT, Fig. After being partially occupied by the Moors for over 700 years, it saw the coexistence of various faiths like Jewish, Muslim, and Christian until 1492. It is the cuirass, formed by the breastplate and the backplate, two different pieces assembled by means of straps with buckles. Anthonis Mor (1512-16-c. 1576) Joanna of Austria (1535-73). Accessed July 5, 2019. For more information, visit http://journals.cambridge.org. Source: Wikipedia. While every attempt at accuracy has been made, the Timeline is a work in progress. Like Mary, an unknown woman also painted by Eworth (Fig. It became the target for cartoonists, who took full advantage of all possible ludicrous situations, but this in no way lessened its popularity. Womens hair, always worn long during the century, was from about 1840 to 1870 dressed in a severe style in which it was drawn back tightly from a centre parting into a bun at the back. These high-street brands have become household names and cater to a plethora of clients that range from teenagers to middle-aged professionals globally. Outdoors the enveloping cloak (tcharchaf) and veil (yashmak) were obligatory, and decorative pattens (kub-kobs) kept the elegant slippers out of the mud of the streets. English Embroidery of the Late Tudor and Stuart Eras. The Mets Heilbrunn Timeline of Art History, n.d. Breiding, Dirk H. Fashion in European Armor. The Mets Heilbrunn Timeline of Art History, n.d. Breiding, Dirk H. Fashion in European Armor, 15001600. The Mets Heilbrunn Timeline of Art History, n.d. Victoria and Albert Museum. This is explained by the pcaro (rogue) soldier Estebanillo Gonzlez in his alleged novelized autobiography: We arrived in Alexandria de la Palla, where, seeing us defeated (and not from battles or encounters), they gave us munition clothes, which in Latin are called mortuary dresses and in Spanish mortajas []; for not appearing to be inexperienced being an old soldier and having done particular services (which if necessary will give me certifications, for being merchandise that has never been denied to any one), I pretended to be sick and I went to a hospital using the ruse of the tooth of garlic. 1550. Neither wears a helmet, but we do observe some lobster among the accessories, from which we can deduce that the most complete armor, as well as heavier helmets and closed burgonets, more bulky, were relegated, from the end of the 1630s, to mere aesthetic ornaments for portraits. Some of the common traditional Spanish styles worn today that have survived the changing times and climate differ by regions and cultural customs. Creating a timeline of fashion trends and styles in Spain through the centuries is easier said than done. Millers garment was also the inspiration for rationals (sometimes also known as bloomers), the knickerbockers worn by women for cycling and sport in the 1890s. Edward VI (1537-53), ca. His golden trunk hose are paned and reveal a white satin lining. Source: Instagram, Fig. His style of dress exemplified Spanish taste and sobriety. WebThe Century in a Nutshell. From 1555 he was lord of the Seventeen Provinces of the Netherlands. (Wikipedia). The uses so far described were largely indebted to the Spanish-Dutch military school, from where they spread to the rest of Europe from 1570. Watercolor on vellum; 60 x 44 cm. Oil; 103 x 82 cm. The straw boater, originally meant to be worn on the river, became popular for all summer activities. Corsets became less restrictive or were abandoned. In the last two decades of the century a more countrified attire consisting of Norfolk jacket and knickerbockers became popular. The gold and silver threads were habitual: He honored [his men] with dressing as a soldier, fair breeches, silver embroidery, sleeves of the same, plain buckskin coleto, red band, silver embroidery, red hooded cloak, silver cords, silver dress sword and spurs, fallen Valona (Walloon collar) and black hat with crimson feathers. Despite the guardainfantes high level of visibility, most notably in court portraits by Diego Velzquez, very little is known about the historical experiences of the women who wore it. Source: Instagram, Fig. WebWomen's clothing was longer than mens so they could hide their feet. Portrait of Count Giuseppe da Porto with his son, Adriano, ca. The clothing of the commanders, like that of the troops, was influenced by civilian clothing. New York: The Metropolitan Museum of Art, 45.128.12. The black dress has large rolls at the shoulder and is clearly fur-lined as the regular openings reveal tufts of white fur. The distinguishing characteristic of all clothes listed in the inventories of the colonization companies is their wearing quality, and the terms heavy cloth and strong durable stuff are often encountered. Triunfo Del Emperador Maximiliano I, Rey de Hungra, Dalmacia y Croacia, Archiduque de Austria, 1501. Note the cutwork and needle lace on his white shirt collar, which the stark black of the doublet/jerkin throws into relief. In Spain, the cone-shaped Spanish farthingale remained in fashion into the early 17th century. Ashelford notes that this was a common decorative choice: Contrasting the dark material of the gown with a soft fur lining was a fashion that appears in many portraits of the 1550s and 1560s (59). 11) wears a typical Spanish hairstyle, as the Royal Collection Trust notes: Joannas hairstyle, which is frizzed and set on the sides of the head beneath her masculine style bonnet, is distinctively Spanish and was known as toca de cabos. The continuing adoption of menswear style elements continues trends wed seen in the 1540s. This article demonstrates that real women really did wear the guardainfante in a variety of contexts outside of portraiture and the theater. The grandeur of Spanish fashion is now known all over the world. The styles worn by men and women acted as foils to one anotherthe mens dress sombre, dignified, and only slowly changing, the womens dress colourful and changing ever faster in a kaleidoscope of modes. The Englishman Charles Frederick Worth, who had emigrated to Paris in 1845, was the first of the great couturiers and one of the most influential. Holford and Sir George Holford by nine members of their family 1927. Spain has also been considered unique with its great collaboration between fashion and art for the last 500 years. Hair was dressed in Classical fashion, usually in a chignon bound with ribbons. In 1453, Constantinople itself fell to the Turks. The costume she designed was enthusiastically advocated by her friend Amelia Jenks Bloomer, a journalist and writer. Newly arrived recruits not only often require clothing, but also armor. It would come to confirm the appearance of the officiality in the pictures of Pieter Snayers. Boucher elaborates further on the extent of the French silk industry at the time: The weaving of silk kept 8,000 looms occupied in Tours in 1546, and employed 12,000 people in Lyons, at about the same time. Wool from the plains of Castile, flax grew abundantly in Galicia and the introduction of sericulture and silk weaving in Valencia and Andalusia. Phillip II (1527-1598), King of Spain, 1554-58. This experience fostered her awareness around travel and tourism, and creative writing, but her keen eye for trends made her transition into fashion writing. The arquebusiers and musketeers wore no armor other than the coleto and, at most, a gorget to protect the neck. In France, haute couture had taken over control of the fashion-design world. He also wears knee-high leather boots, another Spanish trend, as Hill explains: High-quality leather riding boots that extended to the knees and even mid-thigh were adopted by elite classes from the Spanish during the 1540s. (375). 2 - Workshop of Anthonis Mor (Netherlandish, 1518-1576). 2 in the Menswear section below]. 2448. Bought, 1876. LACMA Collections. Renaissance Quarterly is the leading American journal of Renaissance studies, encouraging connections between different scholarly approaches to bring together material spanning the period from 1300 to 1700 in Western history. The broad silhouette is conservative for the time, unlike the narrow lines of the more fashion-forward Philip II discussed above. only 400 years of use can give such rough beauty. For the 1660s and beyond, we had the meticulous paintings of Adam Frans van der Maulen Snayers most outstanding disciple, in the service of Louis XIV, Lambert de Hondt the Younger and Pieter Wouwerman. 1550-1559 Portraits of Men, 1550s. The humorous journals of the period made great play with the contrast between fashionable and Aesthetic modes. The cuts of women's clothing in the second half of the 17th century are strongly influenced by Versailles. Francisco De Goya: The Duchess of Alba (1797) Manzano Lahoz, A. From the 15th century until the modernization of Turkey soon after 1918, the basic garments of the general population changed comparatively little. Such boots will become part of everyday dress in the 17th century. Boucher summarizes the key transformations in menswear in this period: from 1540 to 1575, male costume underwent a slow transformation, borrowing details from Flemish and Spanish fashion, while Italian influence decreased The chamarre was replaced by the Spanish cape. Titians portrait of a general (Fig. French colonists, like the Dutch, were assisted by their home government with provisions and equipment to found settlements. His natural form white shoes still have slashing across the vamp. An earlier attempt to introduce a more comfortable, practical attire for women had been made by the American Elizabeth Smith Miller. The jacket was a short one, worn open, and was decoratively embroidered. Men and boys wore comfortable, durable jackets and breeches, for example, made from deerskin and buckskin tanned to the consistency of fine chamois with the use of animal brains, a process the colonists had learned from the Indians. Paned trunk hose, in their early form shown here, have bombast (stuffing) used only below the line of the crotch. (461). By an ordinance of 18 July 1540, foreign cloths of gold and silver and silk could enter France only through certain towns and were then sent to Lyons for the levying of import taxes. (238). The paper includes a revealing reply: never among the Spanish infantry has there been a pragmatic for clothing or weaponry, because it would take away the courage and spirit that soldiers [gente de guerra] need to have.