Unusual Artifacts: A Pair of Men's Stockings, 1660-70

Linen Stockings for Men, 1660-1670
The Victoria & Albert Museum

Before the art of knitting became prevalent in England, in the Fifteenth Century, all hosiery products were made from woven fabrics--either linen or wool. However, even though by the beginning of the Seventeenth Century, knitted stockings were the most popular and convenient form of hose, but cut linen versions like the example that we see here were continued to be worn.

These linen stockings have been cut to follow the shape of the leg as closely as possible.  This was by design, to prevent sagging. Embroidered edgings in green silk jazz up the pair, giving a gentleman a chance to be a little jaunty.

These were made in England between 1660 and 1670.  

Unusual Artifacts: A Pair of Men's Stockings, 1660-70

Linen Stockings for Men, 1660-1670
The Victoria & Albert Museum

Before the art of knitting became prevalent in England, in the Fifteenth Century, all hosiery products were made from woven fabrics--either linen or wool. However, even though by the beginning of the Seventeenth Century, knitted stockings were the most popular and convenient form of hose, but cut linen versions like the example that we see here were continued to be worn.

These linen stockings have been cut to follow the shape of the leg as closely as possible.  This was by design, to prevent sagging. Embroidered edgings in green silk jazz up the pair, giving a gentleman a chance to be a little jaunty.

These were made in England between 1660 and 1670.  

Object of the Day, Museum Edition: A Heraldic “Swete Bag,” 1540

Swete Bag
1540
The Victoria & Albert Museum

To find an object such as this from the Sixteenth Century is quite rare. Here, we see a very formal, heraldic purse which was often used as part of a marriage ceremony to hold gifts of money for the betrothed couple. However, this purse would later have a more practical use than simply being a receptacle for coins.

Purses such as this one of four linen panels (cut in a shield shape) and embroidered in silks were called “swete-bags” and were used for carrying perfumed herbs to scent the air. Such purses were carried by both men and women either on the arm, in the hand over around the waist.

This example appears to have been intended to hang from the waist. Though we tend to think of objects from the Sixteenth Century as being somewhat rough, that’s not the case. We can see from this swete bag that the workmanship is extremely fine and features 1,250 silk stitches per square inch.

These bags and other personal items also offered a wonderful opportunity to display the family coat of arms as a way of not only proclaiming ownership, but reinforcing station and lineage. Here, we see the arms of the Calthorpe family, and we can tell by associated records that the purse was used in four wedding ceremonies. 

Object of the Day, Museum Edition: A Linen Nightcap, 1600-1624

Nightcap
The Victoria & Albert Museum

A beautiful work of linen, embroidered with silver-gilt, silver and silk thread and trimmed with silver-gilt bobbin lace seems quite foreign to modern eyes. It is, in fact, a cap. And, odd as it may seem to us now, it was designed to be worn by a man.

Headwear was a significant part of Seventeenth Century fashion. Not only did caps and hats offer another opportunity for personal adornment, they served to keep the head warm and clean. Both men and women had a variety of caps for different occasions and times of the day. A cap such as this was meant to be worn informally and only at home—in private. Even though it’s a nightcap, it was still made to be quite luxurious—adorned with silver and metal spangles (the Seventeenth Century word for sequins) which would have reflected the light of candles and the fire in the hearth.

The embroidery is neatly finished in a pattern of flowers, strawberries, and leaves inspired by the botanical picture books which were popular at the time.

Unusual Artifacts: Italian Ruff Edging, 1600-1620

Click image to enlarge.
Ruff Edging
Italy, 1600-1620
The Victoria & Albert Museum

A delicate pattern cut into fine linen creates this handsome bit of edging which was once a part of a fine ruff. Made between 1600 and 1620, the ruff comes from Italy and shows the ingenuity of early Seventeenth Century cutwork. Needle lace stitches around the cut edges complete the pattern and keep the cut ends of the linen from fraying.

Ruffs such as this were the height of fashion in the late Sixteenth and early Seventeenth Centuries. They were used to adorn daily dress and were especially meant to draw attention to a person’s face and throat, acting like a white frame.

Though only the edging remains, the V&A has recreated how it was used by displaying it on the edge of a newly created linen ruff in the style of Seventeenth Century Italian fashion. It really is an elegant bit of work, this remnant of edging with its row of cutwork squares featuring two alternating geometric designs. An outer row of cutwork pointed scallops and a narrow bobbin lace heading finish the piece. 

The Art of Play: Voyage of Discovery, 1836

(A) Voyage of Discovery/The Five Navigators
Lefevre & Kohler, 1836
The Victoria & Albert Museum

“Voyage of Discovery” was considered a “race game” wherein five players followed different tracks that had dangers and advantages incidental to sailors. Each track is marked as a different color and the players/”sailors” must stay on the path of their own designated color.

Instructions are printed in circles along the tracks. Islands, seas and ships form the background to the game board.

This was made in 1836 in London by William Spooner (1795-?) for Lefevre & Kohler.  The board is hand-colored linen mounted on board.  The game is also known as "The Five Navigators."

Object of the Day, Museum Edition: An Italian Linen Handkerchief, 1600

Italian Linen Handkerchief
1600
The Victoria and Albert Museum

Plain linen handkerchiefs have been around almost literally forever and have long served the same purpose that they do to this day.  However, in the Sixteenth Century, a fashion arose wherein decorative handkerchiefs carried purely as fashionable accessories.  These delicate articles were popularly given as fashionable gifts, especially on New Year’s Day.  This was a habit which was especially enjoyed by Queen Elizabeth I.  However, the gift of a handkerchief usually carried romantic significance.  During courtship, the couple exchanged symbolic gifts such as gloves, ribbons, rings and handkerchiefs. The acceptance of such a gift indicated a binding commitment and, as the V&A reminds us, “could be used as proof of betrothal in the case of any disputes.

This Italian example dating to the early Seventeenth Century (about 1600, actually) has whitework embroidery which has been worked in detached buttonhole and satin stitches, needle lace and cutwork decoration.

Cutwork adornment is the earliest form of needle lace and was originally based on a woven ground, from which areas have been cut away. Elaborate cutwork was an important decoration on fashionable dress for both men and women from about 1570 to 1620.  As was the style of this era, the cutwork decoration is located at the handkerchief’s four corners .

The handkerchief has survived all of these centuries because it was intended as an accessory and was never used for less-elegant purposes.  Somehow, it ended up in the collection of  the English lace dealer Samuel Chick from whom it was purchased by the V&A in 1906.

Unusual Artifacts: A Pair of Men's Stockings, 1660-70

Linen Stockings for Men, 1660-1670
The Victoria & Albert Museum

Before the art of knitting became prevalent in England, in the Fifteenth Century, all hosiery products were made from woven fabrics--either linen or wool. However, even though by the beginning of the Seventeenth Century, knitted stockings were the most popular and convenient form of hose, but cut linen versions like the example that we see here were continued to be worn.

These linen stockings have been cut to follow the shape of the leg as closely as possible.  This was by design, to prevent sagging. Embroidered edgings in green silk jazz up the pair, giving a gentleman a chance to be a little jaunty.

These were made in England between 1660 and 1670.  

Unusual Artifacts: A Nightshirt, 1874



The Victoria & Albert Museum




Nineteenth Century nightshirts remained relatively unchanged throughout the century. All had a plain turned-down collar, buttoned at the neck, with a central opening extending down the front. Think about Ebenezer Scrooge's nightshirt. You can picture it with short slits up the side, reinforced with gussets, made of white cotton or linen.

During this period men's shirts were almost as long as nightshirts. So, it's easy to confuse them. Nightshirts, until the 1860s, were worn with nightcaps, but that fashion quickly went out of style.

Ultimately, nightshirts went out of style, too--replaced during the 1880s with pajamas based on Indian designs. By the 1890s, the nightshirt was so out of fashion that the "Tailor and Cutter" of 1897 reported:

"The doom of the sleeping shirt is written. Those possessed of any ought to preserve them carefully so that they can show to succeeding generations the wonderfully and fearfully made garments their forefathers slept in ... The pyjama sleeping suit is to take its place ... of oriental origin, of silks, etc., generally striped."

This cotton nightshirt from 1874 is an excellent example of the latest stage of the fashion with its small stand collar fastened with a pearl button, a front placket closed with a matching button, and cuffs each fastened with a button. This nightshirt is marked in ink with the wearer's name and the date, " R. McAntrim 1874.". This was done so that maids and laundresses could identify them when doing them. Sometimes names were embroidered in silk thread.

Unusual Artifacts: A Linen Nightcap, 1600-1624

Nightcap
The Victoria & Albert Museum

A beautiful work of linen, embroidered with silver-gilt, silver and silk thread and trimmed with silver-gilt bobbin lace seems quite foreign to modern eyes. It is, in fact, a cap. And, odd as it may seem to us now, it was designed to be worn by a man.

Headwear was a significant part of Seventeenth Century fashion. Not only did caps and hats offer another opportunity for personal adornment, they served to keep the head warm and clean. Both men and women had a variety of caps for different occasions and times of the day. A cap such as this was meant to be worn informally and only at home—in private. Even though it’s a nightcap, it was still made to be quite luxurious—adorned with silver and metal spangles (the Seventeenth Century word for sequins) which would have reflected the light of candles and the fire in the hearth.

The embroidery is neatly finished in a pattern of flowers, strawberries, and leaves inspired by the botanical picture books which were popular at the time.

Object of the Day, Museum Edition: A Heraldic “Swete Bag,” 1540

Swete Bag
1540
The Victoria & Albert Museum

To find an object such as this from the Sixteenth Century is quite rare. Here, we see a very formal, heraldic purse which was often used as part of a marriage ceremony to hold gifts of money for the betrothed couple. However, this purse would later have a more practical use than simply being a receptacle for coins.

Purses such as this one of four linen panels (cut in a shield shape) and embroidered in silks were called “swete-bags” and were used for carrying perfumed herbs to scent the air. Such purses were carried by both men and women either on the arm, in the hand over around the waist.

This example appears to have been intended to hang from the waist. Though we tend to think of objects from the Sixteenth Century as being somewhat rough, that’s not the case. We can see from this swete bag that the workmanship is extremely fine and features 1,250 silk stitches per square inch.

These bags and other personal items also offered a wonderful opportunity to display the family coat of arms as a way of not only proclaiming ownership, but reinforcing station and lineage. Here, we see the arms of the Calthorpe family, and we can tell by associated records that the purse was used in four wedding ceremonies.