![]() ![]() Mary Curzon, Countess of Dorset, takes the fashions perhaps even further in her portrait (Fig. The décolletage is masked by fine linen.” (24) As Valerie Cumming remarks in her Visual History of Costume: The Seventeenth Century (1984): “The false hanging sleeves extend the shoulder line, and the small waist is emphasized by the wide oval neckline and tip-tilted fullness of the farthingale both bodice and skirt are made from Italian brocaded silk. Here her lace cuffs are made more visible by the contrasting carnation color beneath them she has an enormous red velvet rosette tied to her left upper arm and carries a dramatic red and black ostrich feather fan. Similar fashions can be seen on Anne of Denmark, Queen Consort of England, in a portrait circa 1611-14 (Fig. Her dress continues trends of the previous decade. ![]() The skirt has shortened such that her shoes are visible. The drum shape of her skirt is created by the French farthingale she wears below it, the top edge of the now tilted cage is softened by an elaborately pinned ruffled top. 1) shows the standard fashion of 1610 in her portrait: long narrow dress bodice with tight cylindrical sleeves and vestigial hanging sleeves behind, a low rounded neckline and lace standing collar. ![]()
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