16th Century Clothing Survivals

It is well known that clothing was frequently repurposed in the 16th Century due to it's great value, and because of this it would be easy to think that there are no extant examples in existence. Earlier on today I watched a video on youtube regarding sumptuary laws and they mentioned that there was only one example in existence, the burial gown of Eleonora di Toledo, which fortunately for us is not true. 

Below are just some complete extant examples within existence, which have survived better than Elenora's gown (there are of course individual pieces still in existence which would warrant a blog post on it's own):

1) Gown of the Countess Palatine Dorothea Sabina of Neuberg c.1598

This beautiful gown is made from an olive green silk velvet, and features a gold trim which has tarnished over time. It has hanging sleeves with a yellow slashed atlas silk lining. The underskirt is made from a green taffeta, and is decorated with silver lace. Dorothea Sabina of Palatinate-Neuberg died at the young age of 21, and was buried in this gown. Although in an Italian cut which was popular in Bavaria at the time, it embodies Spanish courtly fashion which was prevalent in Europe.

Image is copyright to the Bayerisches National Museum

Image is copyright to the Bayerisches National Museum

Image is copyright to the Bayerisches National Museum

2) The Pisa gown, c.1560

This beautiful Italian gown was made for one of the ladies in waiting of Eleonora of Toledo. It has been made from very fine crimson cut velvet, which has then been embroidered with gold trimmings and finished with red satin ribbons.

Image is copyright to the Museo Nazionale di Palazzo Reale in Pisa.

Image is copyright to the Museo Nazionale di Palazzo Reale in Pisa.

Image is copyright to the Museo Nazionale di Palazzo Reale in Pisa.

3) Burial clothes of Don Garzia de'Medici c. 1562

Garzia de'Medici was a son of Cosimo de'Medici and Eleonora di Toledo, the Duke and Duchess of Florence, and subsequently died of malaria on a journey of the Tuscan coast. He was buried in this crimson satin doublet, which has been heavily embellished with gold thread, and red velvet/silk trunk hose, also heavily embellished in gold thread to match.

Image copyright to the Uffizi Gallery

4) The Wedding Dress of Queen Mary of Haspburg, c.1520

This dress is made from two different silk damask fabrics and features long narrow sleeves. The open bodice shows a pleated chemise with silver embroidery at the neckline.

Image is copyright to the Hungarian National Museum

Thanks to these rare survivors we are able to get a better idea as to the type of fabrics they used for clothing back in the 16th Century, and the cut of them. We can also see how they were constructed, which we wouldn't be able to get from portraiture/inventories etc. alone. 

Sources Consulted:

1) https://www.bayerisches-nationalmuseum.de/en/collection/highlights/00224872

2) https://www.facebook.com/Museo-Nazionale-di-Palazzo-Reale-Pisa-119376494902105

3) https://www.uffizi.it/en/artworks/burial-clothes-of-don-garzia-de-medici-doublet-with-breeches-surcoat

4) https://mnm.hu/en/collections/historical-repository/textile-collection

Cleanliness is Next to Godliness - Part One

It's a popular misconception that the Tudors were unclean individuals, who wore flea ridden garments, that were caked in dirt and stunk to high heaven. This is quite simply not true. In social historian Ruth Goodman's book 'How to be a Tudor, A Dawn to Dusk Guide to Everyday Life' she mentions that it was considered to be socially unacceptable back then to '..stink like a beast..', especially if you wanted to lead a socially respectable life. How then did they keep the dirt at bay, and ensure they smelt sweet to their contemporaries, especially when they could wear many layers of clothing, and wore textiles that were difficult to clean such as silks, and wools?

The Tudors secret weapon in the fight against dirt and odour is linen fabric. Garments that were to touch your skin were made from this fabric in differing thickness/coarseness - the most finest of linens being 'Holland' or 'Lawn'. The reason for this was because linen was absorbent, meaning when you removed a linen layer from your body be it a coif, or shirt etc. you removed the layer of dirt, sweat and grease that had built up on your skin and had been absorbed by the linen touching it. Also linen could withstand being regularly washed. Most people had at least two linen shirts, the idea being that you could launder one, whilst wearing the other. So you had a clean shirt each day. The exceptionally wealthy sometimes changed their linen under garments as much as several times a day.

It should be noted that the exceptionally poor sometimes struggled to even obtain a linen undergarment to cloth themselves in due to the cost and required aid from charitable groups to be able to obtain one.

Without the use of modern day washing machines and tumble dryers, how were clothes cleaned back then? The below picture from the 'Splendour Solis' shows women laundering linens, with each working on a different stage of the cleaning process. The basic process is:

1. Water or a lye-water based solution was made, and is shown being heated over the fire in the below picture.

2. The linens were then soaked and moved around the lye solution. As shown by the lady with her hands in the wooden tub to the right of the fire. She could also use a wooden corrugated board to scrub the linens.

3. The linens would then be beaten, either against stones on the river bank or with a wooden washing bat/paddle. There are two women pictured with these wooden bats in their hands.

4. The linens would then be rinsed in a clean water source. In this case you can see a woman rinsing some linen in the the river.

5. The linens were stretched and hung out to dry, or laid out flat across the fields to dry and bleach in the sun.

Page detail from the 'Splendour Solis' created in Germany 1582. Image is copyright to the British Library.

The whole process was quite laborious, and was entrusted to women only. So what sorts of stains were these women removing, and how did they achieve this? Aside from techniques and recipes passed around from women to women, and generation to generation. There were some manuals containing cleaning recipes/instructions which could be consulted.

In her paper entitled “Ye Shall Have It Cleane”: Textile Cleaning Techniques in Renaissance Europe' by clothing historian Drea Leed, she examines one such manual called the 'Nuremberg Kunstbuch',  which was originally written for the sisters of St. Catherine's convent in Nuremburg, Germany. The paper contains the 12 original cleaning recipes in German and their translation into English. Some of the most interesting are below:

'How one gets dirt out of clothing.

xxii. Item if you want to get dirt out of fabric, take the yolk of an egg and beat it well and spread it on the spot and rub it in, until it goes through [the fabric]. Then spread it on the other side [of the fabric] and again rub it very well in; then let it dry, and take then good soap and a bit of water and wash it, and it will go away.'   

'How one gets a spot out of clothing.

xxiii. Item to get a spot out of fabric, which is colored, take peas and boil them until the coating disappears, and with the same water wash it, and it will go out.'

'How one gets wagon grease out of clothes.

xxviii. Item if you want to get wagon grease out of clothing, take clay and put it in a pot and pour water thereon, and let it boil until it becomes like mud and paint it on the stain, but in such a way that it does not burn the cloth; and lay it in the hot sun until it becomes dry and then rub it out, and it [the stain] will go away.'

'How one restores green clothing, that is stained with wine etc.

xxix. Item if you want to restore green clothing, which is stained with wine, take fresh woad ashes and put them in a new basin and pour foul water thereon and let it stand half a day and take then the same solution and sprinkle the stain therewith and hang it up in the air, that the sun does not shine thereon, and let it dry, and it will be good.'                      

'How one shall wash an undergown.

xxxiii. If you want to wash an undergown, take three measures of ashes and put them in a great open vessel and pour first hot boiling water thereon and then cold water so that the vessel is full and let it become strong, and sieve it then through a cloth and dunk the gown therein and wash it when cool, otherwise it will be yellow, and rub it well with soap on the collar and the sleeves, and where it is sweaty. If you think that the lye solution is too strong, mix it well with water or pour more water on the ashes and mix it with the first.'

Overall, the nuns were cleaning clothes that had been soiled with wine, dirt, urine and wagon grease. It's not too much of a stretch to think that these were just some of the most common issues being tackled/cleaned by the laundresses of the time. 

The clean linens would then have been stored away with some kind of sweet herb, lavender for example. Therefore, just from your clean linens you could smell quite sweet indeed.

Part two in the series will focus on how the Tudors bathed and groomed themselves to maintain good hygiene.

Sources consulted:

Goodman, R, How to be a Tudor, A Dawn to Dusk Guide to Everyday Life (UK, 2015)

British Library, Splendour Solis (Germany 1582), BL Harley 3469 f.32.v.

Leed, D, “Ye Shall Have It Cleane”: Textile Cleaning Techniques in Renaissance Europe' (Paper Undated)

Sir Edward Carey - Queen Elizabeth's Master of the Jewels

Sir Edward Carey was Queen Elizabeth I's Master of the Jewels from 1595 - 1603, and joint Master of the Jewels with his son Henry Carey, 1st Viscount Falkland (b.1575 - d.1633), for King James I from 1603 - 1618. His family was well known within court circles. His father John Carey served as Groom of the Privy Chamber to Henry VIII, and he was the step brother of Francis Walsingham, through his mother Joyce Denny's second marriage to William Walsingham.

Henry Carey, 1st Viscount Falkland. Image Copyright to the National Trust, Hardwick Hall.

Soon after his appointment Edward was handed some of the queens jewels and goods by some commissioners on 5th August 1595 that had been in the possession of his predecessor John Astley, Esquier). It was decided that the jewels and goods of Elizabeth I that were in John's possession would be noted in way of an inventory. Work began on the inventory on 20th February 1596, which was copied into two books, one of which was given to Sir Edward Carey, the other book was signed by two commissioners being Lord Burghley, High Treasurer, and Sir John Fortescue, Chancellor of the Exchequer. 

Inventory Book Cover Entitled 'Queen Elizabeth Jewels and Plate, Signed by S.Edw.Carey. It is thought to be a later 17th/18th Century Addition. Image copyright to the British Library. Stowe MS 566


Close Up Detail of The Inventory Book Cover. Image copyright to the British Library. Stowe MS 566

One of the first entries on the inventory (which must be taken as one of the most important items) is the Kings Crown, which is described in great detail:

‘Firste the kinges Crowne of golde, the border garnished with seaven Ballaces, eighte Sapheres, fire poynted Dyamondes, twentie Rubies twoe of them being crased nynetene pearles, And one of the crosses of the same Crowne garnished with a greate Sapher, an Emeralde crased, fower Ballaces and nyne pearles not all of one sorte’.


Image from the Inventory Book Listing the Kings Crown. Image Copyright to the British Library. Stowe MS 566

But the inventory wasn't just full of listings for glamorous items, within the inventory, we also see gold toothpicks being listed which were in regular use at the courts of the Tudor monarchs. It also lists broken jewellery. Given the value of items - broken or not, it is not surprising to see them listed within the inventory.

Image from the Inventory Book Listing Some Gold Toothpicks. Image Copyright to the British Library. Stowe MS 566

All pages on the inventory have been signed by Sir Edward Carey himself, he no doubt triple checked everything before signing his name to every page. The listed items were also probably valued by the team of goldsmiths working for the queen, which were at Edward's disposal. There was a great need for different goldsmiths to value the items, as each could value items differently from one another, fashions changed and so might the value of the items with it, and also as a collective they might be able to spot any counterfeit jewels/stones etc. 

Signature of Sir Edward Carey, Master of the Jewels for Queen Elizabeth I. Image Copyright to the British Library. Stowe MS 566.

He would have looked after an impressive collection of jewels on behalf of the queen. Imagine the items he would have seen, and even perhaps held. What an exciting job he had...

Book Review: Jewels of the Renaissance by Yvonne Hackenbroch and Gonzague Saint Bris

Front of the Book's Case - Copyright to 'A Tudor Wardrobe Examined'

Back of the Book's Case - Copyright to 'A Tudor Wardrobe Examined'

Front Cover - Copyright to 'A Tudor Wardrobe Examined'

This book had always been on my radar (with it having picqued my interest with the sheer beauty of it's covers),  but I'm always a little more cautious when it comes to buying the more expensive books. I like to do my homework to make sure the prices are justified for what I am getting. 

I managed to buy this book new for around £60, which is a good deal. I had been tracking this book for a few months, and the prices were coming up around the £100 mark, but most academic books cost a pretty penny, so this didn't surprise me all that much. Is this book worth the investment though?

In some of the reviews I checked out on both Amazon and Goodreads, a reviewer mentioned that the images contained within the book were a little blurry. So when the book finally arrived I was wondering what I had let myself in for. Whilst reading the book some pictures were a bit blurred around the edges. The same couldn't be said for the remaining images throughout the book, which to me where perfectly clear and very acceptable.

Page Details from the Book - Copyright to 'A Tudor Wardrobe Examined'

Page Details from the Book - Copyright to 'A Tudor Wardrobe Examined'

The book's size is a novelty at first. Once you have slipped it out of it's enticing casing and have begun to actually read it, it is made somewhat more difficult due to the fact the book is very large, and weighty. With smaller books you can position yourself on the sofa or arm chair to read with some comfort, but with this I was leaning it on the arm of my sofa, or had it laid flat on the dining room table (the chairs of which aren't designed for long periods of sitting at any one time).

If I remember correctly (writing this review a good few days after completing the book) one error stood out to me within the book, which is an error whereby Juana of Castile is mentioned as being the only daughter of the Catholic Kings, Queen Isabella of Castille and King Ferdinand of Aragon. Which we know to be false. I imagine this would be changed in later editions though as is normal custom.

So, so far this doesn't sound like a very good investment if you were thinking about purchasing the book. However, I believe this book to be an excellent addition to my bookcase and well worth the money I spent on it.

The reason I think this, is because the book in itself is very well researched (yes, there was quite a significant mistake, but we are all human. I imagine it to be a typo not spotted by the proof reader), beautifully illustrated, and extremely informative. I learnt a lot (and I mean a lot) that I hadn't known before, and that is truly the worth and measure of any book. If you wanted an easy read this book is not for you.

The book itself covered the differences in jewellery design, and craftsmanship in various countries (Italy, France, Germany, The Netherlands, England & Scotland, and Spain & Portugal), and at various stages throughout the Renaissance. It mentions various craftsman that went into making jewellery, and their patrons for example. You track the influence of the Italians throughout what we now realise to be modern day Europe, with them introducing humanism into their jewellery designs instead of the more traditional religious designs that had been favoured throughout the middle ages. You also get to see the effects of the new faith being introduced, (brought about by Martin Luther) on trade, and jewellery design, with many artisans/goldsmiths fleeing to other countries for protection against this religious upheaval. It meant jewellery design could be spread further afield.

With this book I would have liked to have seen some maps, showing the different countries throughout the period, as this would have been very useful, also a glossary of jewellery terms would have been a great addition as I was looking them up on my phone. Lastly, I also wished to see a better list where all the jewels pictured etc. were located, as this was somewhat lacking.

Despite all this it will remain a great addition to my ever growing book shelf. I am giving it an overall score of 4/5.

Survivors from the Field of Cloth of Gold

The Field of Cloth of Gold event in 1520 remains one of the most extravagant and lavish events to have ever taken place in English history.  The famous portrait of the Field of Cloth of Gold event in the property of the Royal Collection Trust (that currently hangs in Hampton Court Palace) was created in c.1545 - some 25 years after the famous meeting between the English and the French. Also, the painting holds some anomalies, for example Henry VIII is pictured 3 times within the portrait, and there is a dragon in the top left corner (which we now understand to be a firework). Therefore, it's not a painting we can solely rely on for accuracy, but it gives us a good indication of what the event was actually like, and what people wore/adorned themselves with.

Image Copyright of the Royal Collection Trust. The Field of Cloth of Gold c.1545 RCIN 405794 

Whilst paintings are good visual sources, they don't always make you feel as if you were really there, and in this case it can be difficult to truly get a feel for the splendour that this event was known for. There are a few items that have stood the test of time from the event though, and they are below:

1) The Stonyhurst Vestments - Cope and Chasuble

Originally commissioned by Henry VII for use in his chantry at Westminster Abbey, the Cope and Chasuble (pictured below) formed part of a set of matching 29 copes and chasubles that were at the famous event. They were noted by Edward Hall the Tudor Historian as being used within the chapel housed in Henry's temporary palace. 

In his chronicle 'The Union of the Two Noble and Illustre Families of Lancastre and Yorke', when writing about the Field of Cloth of Gold. Hall writes '.. and all the Coopes and Vestementes so riche as might be prepared or bought in the city of Florens, for all the Coopes and Vestementes were but of one piece, so woven for the purpose, cloth of Tissue and powdered with red Roses purled with fine gold..'   (Book Section: The Triumphant Reign of King Henry VIII, the XII Yere).

Image 1 - The Stonyhurst Cope - Copyright to the Author

Image 2 - Detail of the Cope  - Copyright to the Author

Image 3 - The Stonyhurst Chasuble - Image copyright of Eleri Lynn/Historic Royal Palaces.

At the time of writing the chasuble can be viewed at Stonyhurst College, and the cope at the Victoria and Albert Museum, in London.

2) Henry VIII's Tonlet Armour

Henry wore this armour during the foot combat tournaments at the Field of Cloth of Gold. This armour was made in just 3 months, and used existing pieces along with a couple of new pieces - the tonlet (the French word for skirt) and the pauldrons being newly made.

Image 1 - Front View of the Tonlet Armour - Image Copyright to the Royal Armouries Museum

Image 2 - Front View of the Tonlet Armour - Image Copyright to the Royal Armouries Museum

It has been intricately decorated, having Tudor roses, saints, and the collar and garter of the Order of the Garter. As the armour was decorated a mistake was made on the tonlet, where one section has been etched and shouldn't have been. The etching was then gilt, and the entire armour heat treated, which gave off a wonderful rich peacock blue colour. The tonlet was essentially a chequerboard of gold and blue, and Henry would have worn a great plume of coloured feathers on the top of his helmet.

3) English Poleaxe

It is thought that this poleaxe adorned one of Henry VIII's bodyguards at the event (very likely to be the Yeomen of the Guards, who were originally founded by Henry VII). The guard would place their hand underneath the Tudor rose decoration, which not only served as a nod to the Tudor dynasty, but provided protection for the hand/hands of the guardsman should it be required.

Image 1 - Side of the Poleaxe. Image Copyright to the Musee de l'Armee, France.

Image 2 - Close up view of the Side of the Poleaxe. Image Copyright to the Musee de l'Armee, France.

Image 3 - Tudor Rose Handle Decoration of the English Poleaxe. Image is copyright to the Musee de l'Armee, France.

4) Henry VIII's Buckler

In England it was common for the English to fence using a broadsword and a buckler. The buckler was a form of miniature shield. This one is made from metal and wood, and is decorated with Henry VIII's royal arms, a pomegranate (Queen Katherine of Aragon's personal symbol), the portcullis (a nod to  Henry's paternal grandmother, Margaret Beaufort) and a Tudor rose. Henry would certainly have used this during one of the many tournaments,,when displaying his masculinity and kingship.

Image 1 - Front of Henry VIII's Buckler. Image Copyright to the Musee de l'Armee, France.

Image 1 - Back of Henry VIII's Buckler. Image Copyright to the Musee de l'Armee, France.

5) Francis I's Ceremonial Sword

King Francis I of France would have worn this by his side at the event, when looking to impress his English counterparts. The sword is highly impracticable with the grip of the sword being made from gold leaf, with red, gold and blue enamelling, and is fixed on a bronze base. It is decorated with salamanders - the symbol of the Angouleme house, from which we was a descendent. Although they aren't crowned, which means this may have been made for him before he became king. The quote on the sword is taken from the Magnificat, and means 'it gives strength to his arm'. Francis then subsequently lost this sword when at the Battle of Pavia in 1525.

Image 1 - Francis I's Ceremonial Sword. Image Copyright to the Musee de l'Armee, France.

Image 2 - Close Up of the Handle Decoration from Francis I's Ceremonial Sword. Image Copyright to the Musee de l'Armee, France.

These items (though small), when put together give you an idea (on a small scale) just how vivid, bright, luxurious and magnificent the event truly was. Imagine Henry attending mass in the chapel with his courtiers, and having a chaplain walk towards him in the gold 'Stonyhurst' cope, or Henry (whilst wearing his tonlet armour) being accompanied to a foot tournament by his Yeoman of the Guard, carrying their gold Tudor rose decorated poleaxes. It just gives you shivers down your spine to think about it!

Sources:

Field of Cloth of Gold Portrait - https://www.rct.uk/collection/405794/the-field-of-the-cloth-of-gold

Tonlet armour - https://collections.royalarmouries.org/object/rac-object-20.html

Stonyhurst Cope/Chausable - https://www.blogger.com/blog/post/edit/6552767298010521602/5681474123050870504

English Poleaxe - https://basedescollections.musee-armee.fr/ark:/66008/201301193?posInSet=3&queryId=N-EXPLORE-5f663630-d46e-4050-bef8-f8cd38618aba

Henry VIII's Buckler - https://basedescollections.musee-armee.fr/ark:/66008/20190621?posInSet=2&queryId=N-EXPLORE-5f663630-d46e-4050-bef8-f8cd38618aba

Francis I Ceremonial sword - https://basedescollections.musee-armee.fr/ark:/66008/993I?posInSet=4&queryId=f8f40561-7148-4d6e-89b7-4ab8e12b9b27

Book Review: Tudor Power and Glory: Henry VIII and the Field of Cloth of Gold by Keith Dowden and Scot Hurst

I recently stumbled across the Royal Armouries digital exhibition for the 500th anniversary of the Field of Cloth of Gold event held back in 1520 between the English and the French over in France.

The digital exhibition drew on items within the Royal Armouries extensive collection, and sources located elsewhere to determine the role armour/weapons played within the Field of Cloth of Gold event, and how they were used by Henry VIII and Francis I to display their great wealth and status, and their respective courtiers/entourages, within the subsequent tournaments etc. 

A link to the digital exhibition is here if you want to check it out: https://royalarmouries.org/tudor-power-glory/

My previous knowledge of Henry VIII's existing armour was that of his 1540's garniture armour and his heavily decorated and intricate field armour from around 1510-1520 housed within the White Tower of The Tower of London (it remains to this day one of my favourite items associated with Henry). Therefore this digital exhibition was a breath of fresh air for me in terms of providing me with items associated with Henry VIII that I hadn't seen previously. The exhibition allowed me to examine these items up close from the comfort of my own home, and the sense of awe I felt knowing that they were used, or were mostly likely to have been used at the Field of Cloth event - well, it just blew my mind! Almost overwhelmingly so!

Normally exhibitions have an accompanying book of some kind, and having been blown away by the sheet brilliance of the digital exhibition I decided to buy the book. I hoped the book would be as informative as the exhibition, and contain close ups of the armour/weapons etc. I parted with my money and it arrived through my letterbox a couple of days later.

Front Cover - Image copyright of ‘A Tudor Wardrobe Examined’

Back Cover - Image copyright of ‘A Tudor Wardrobe Examined’

The book itself is short, being a grand total of 68 pages, and having been split into 8 chapters. Which are:

1. Introduction

2. Background

3. The Negotiations

4. Greenwich and the Development of the Armourer's Craft

5. The Preparations

6. The Feat of Arms

7. Tiltyard Diplomacy

8. Conclusion

I read the whole book in just over an hour. It's very informative, providing me with some information that wasn't contained in the exhibit (which is good) and it is extremely well illustrated as I had hoped. I believe illustrations are so important in helping an audience understand the subject being written about. The price of the paperback book is £7.99. Which I think is a reasonable price given the amount of information it gives you and the illustrations.

I can't fault the book in anyway and it will remain a great addition to my ever growing book shelf. I am giving it an overall score of 5/5.

If you are interested in buying this book, it can be purchased here (an e-book is also available at a cheaper price):

https://shop.royalarmouries.org/collections/royal-armouries-publications/products/tudor-power-glory

Book Review: Tudor Textiles by Eleri Lynn

Following on from the success of her first book (within the Tudor series) 'Tudor Fashion', which was previously released on 22nd August 2017, this second volume from Eleri promises to primarily focus on the textiles (cloth, tapestries etc.) used at the Tudor court throughout the Tudor period. The book covers the period from Henry VII's ascent as King of England at the Battle of Bosworth in 1485 to the death of Elizabeth I in 1603 as with 'Tudor Fashion'.

Released on 14th April 2020, it is evident of the authors initial intent to release the book ahead of the 500 year anniversary date of the Field of Cloth of Gold event (June 2020 - with the original event taking place in 1520). Her reason for this is due to the large volume of textiles used at the event, but also I think it's due to her employment links with Historic Royal Palaces, who were researching into the tents used at the event (which Eleri alludes to within the book). So a book release now makes sense.

Front Cover - Image copyright of ‘A Tudor Wardrobe Examined’

Back Cover - Image copyright of ‘A Tudor Wardrobe Examined’

Overall, much like 'Tudor Fashion' the book is well illustrated, which is a must given the subject focus. The structural layout of the book mimics that used within 'Tudor Fashion', but as the structure flows well why change something that works. I am glad she didn't change it. Subjects covered by chapter by the author include:

• Tudor Textiles in Context
• Textiles and Meaning at the Tudor Court
• The Textiles of the Privy Chamber
• The Administration of Royal Textiles
• Material and Techniques

Eleri's style of writing is fairly fluid, and you can easily understand what she is appertaining too. As is expected a glossary of textile terms was included and helped tremendously. I do think if you are a beginner in relation to the subject, the terms can be somewhat challenging.

In all the book is well researched, and Eleri's noted bibliography is extensive. However, the author can sometimes repeat the same facts as used previously, not only within  previous chapters, but also of that used in her previous book 'Tudor Fashion'. Despite this my interest was held throughout the book and I still learnt some facts about Tudor textiles that I hadn't known previously, which is what you are looking for when reading a book like this.

Whilst the cost of the book isn't cheap, retailing at £35.00, I think it fair given the amount of images in the book and the amount of information you are being presented with.

Overall, I am impressed with the book, and think it will make a fine addition to my bookcase right next to 'Tudor Fashion'. I am giving it an overall score of 5/5.

If you are interested in buying this book, it can be purchased here from Amazon:

https://www.amazon.co.uk/Tudor-Textiles-Eleri-Lynn/