Cardinal Richelieu

Published/Created:
ca. 1639
Physical Description:
222 x 155 cm
Date Depicted:
1975
1500 AD - 1699 AD
Materials:
oil on canvas
Notes:
Cardinal Richelieu in a wide, square collar. Draped over the shoulder is the train of the cappa magna.
Abstract:
In a style largely determined by Louis XIV himself, separates are heavily decorated, arranged loosely, and worn with a variety of accessories. The most characteristic elements, in addition to the monumental wigs, are ribbons, lacy fabrics, large plumes, softly draped and ruffled shirts, and high-heeled shoes. The well-dressed man, sporting a tall, beribboned walking stick and wide-plumed hat, looks like a rooster out on a stroll. The doublet is cut into an open bolero. Sleeves are shortened to just above the elbow. The shirt, more important than ever before, is highly visible and full throughout. Made of white cambric, it is gathered into puffs down the arms, then casually bloused over petticoat breeches, which are full-gathered trousers. Ribbons, the favorite decoration, are massed, arranged in ladders at the sides and center front, or placed in rows along the horizontal lines of the garment. Petticoat breeches (or Rheingraves) are a divided skirt which is gathered at the waist or, simply, a gathered skirt. They are full, knee length, and normally over another pair of knee length breeches. Gradually they are replaced by knicker-like breeches which are fastened with buttons or buckles at the sides. A wide flounce of lace-edged fabric is just below the knee. The cassock, an important new garment, is generally adopted by 1680. From this time the history of men's dress is largely a record of its changes. First worn ever the shirt, the top and slightly flaring knee-length skirt are cut-in-one. It is collarless and fastens all the way down the front with a row of closely spaced buttons. Pockets are positioned a few inches from the hem; they are marked on the outside with flaps and buttons but actually entered from the inside. The short sleeves are turned back into a cuff and finished with buttons. By the 1690s the cassock skirt is more flared and stiffened. Pleats are set into the side back seams. The sleeves lengthen to below the elbow, retaining a wide cuff which is finished with buttons and buttonholes. Gradually the waistcoat comes into fashion. Similar in shape to the cassock, it is under it and a few inches shorter. A long row of buttons finish the front. Full capes remain popular.
Associated Names:
Champaigne, Phillippe de, 1602-1674 [Painter]
Topics:
Costume -- Europe -- History -- (LC)
Painting -- France -- 17th century -- (YVRC)
Period/Style:
Louis XIV style
Culture:
French
Accession Number:
4391-065
Genre:
costume (mode of fashion) (AAT)
paintings (AAT)
Format:
Image
Content Type:
Clothing & Accessories
Paintings & Drawings
Rights:
The use of this image may be subject to the copyright law of the United States (Title 17, United States Code) or to site license or other rights management terms and conditions. The person using the image is liable for any infringement.
Access Restrictions:
Yale Community Only
Source Creator:
Button, Jeanne and Sbarge, Stephen
Source Title:
History of Costume, In Slides, Notes and Commentaries: Volume 4
Source Created:
New York, NY
Theatre Arts Slide Presentations
1975
Call Number:
GT513 +B87 4 (LC)
Orbis Barcode:
39002051938463
Yale Collection:
Visual Resources Collection
Digital Collection:
Visual Resources Collection
Original Repository:
Paris, France: Musée du Louvre
OID:
10608621
PID:
digcoll:1805619