The images are in no particular order, though they are roughly chronological.
Sources are listed below. Most of the original drawings and paintings are
by Hans Holbein the Younger of whom Langdon says:
"The examination of intellectual or ideological stance or status was
not much sought after by the subjects of most of the English court and
society portrayals Holbein undertook. That was more the domain of his German
merchants and scientists. The pragmatic accuracy of 'warts and all' delineation
was what fascinated the English clients most, and such interest in detail
can be traced back to the national traits in medieval manuscript illumination,
where natural forms rather than abstract or geo-metrical patterns abound.
Sometimes, the sitters were happy enough with Holbein's preparatory chalk
drawing, and finished paintings did not ensue. . . . The native perplexity
over perspective and foreshortening, which partly explains why the miniature
became so favoured in later Tudor times (since it precludes much of either),
must have made Holbein's mastery of both appear astounding."
 |
Catherine of Aragon in middle age, c. 1525
(Williams, p. 53)
Queen Catherine wears the gable headdress with lappets turned up.
Note the length of the front jewelled portion. In its early form this
extended below the chin. In later years it was at chin length or
higher. Note also that the black drape in the back hangs down. In later
hoods one or both "tails" were turned up and pinned to the top of the
bonnet. |
 |
Sketch, c. 1540,
(Williams, p. 203)
Includes a rare view of the back of this headdress which raises some
interesting questions: the back appears to contain structural elements,
that is, it appears to be a stiffened box. The veil does not appear to
be cast over the back of the headdress, but affixed or sewn to it in some
way. |
 |
Lady Guildford, c. 1527
(Batschmann, p. 167)
This preliminary sketch for the formal portrait, below, shows Lady
Guildford in a less stylized manner. |
 |
Lady Guildford, 1527
(Langdon, p. 72)
In this case, the over lappet does not show its lining. Also the peak
at the back of the hat suggests that the back as well as the front, contained
stiffened elements. |
 |
The Lady Ratclif
(Dvorák,, pl. 26) |
 |
Portrait of an English Lady, c. 1527, Holbein
(Rowlands, p. 75) |
 |
Elizabeth Dauncey, 1526-28, Holbein
(Hearn, p. 146)
"Elizabeth, second daughter of Sir Thomas More, born 1506; married William,
son of Sir John Dauncey, Knight of the Body to Henry VIII, 1525. The Lady
Berkeley, wrongly named in the inscription, was Sir John Savage's daughter
who, in 1533, married Thomas, Lord Berkeley, and died in I564, aged 58.
The two ladies were therefore the same age, which may to some extent explain
the confusion between them." (Parker, p. 36) |
 |
Detail of Margaret Roper from 1593 version
of Holbein painting.
(Rupp, Plate 45)
As this is a copy of the lost Holbein painting, the details may not
be trustworthy. Nevertheless, the geometric pattern of the overlappets,
and general color scheme of browns/black, is similar to the other examples. |
 |
Margaret, Marchioness of Dorset, Holbein.
(Starkey, p. 103)
Elizabeth I's godmother, the sketch was proabably done at the time of
her christening. |
 |
(Dvorák,, pl. 27) |
 |
(Dvorák,, pl. 31) |
 |
(Dvorák,, pl. 55) |
 |
Lady Elyot, Holbein, 1532-3.
(Langdon, pl. 34)
"The starchy headdress Lady Eliot wears seems to have been of a design
baffling even to Holbein (he had had trouble depicting Lady Guildford's
in 1527), probably because of the way in which it prevents that definition
of the back of the head which allows the face to jut into the picture space
convincingly." (Langdon) |
 |
Jane Seymour, 1537
The preliminary sketch for the famous painting, below. |
 |
Jane Seymour, 1537
(Langdon, p. 90) |
 |
Frances, Countess of Surrey, c. 1535
(Parker, pl. 18) |
 |
Jane, Lady Lister
(Parker, pl. 20) |
 |
Joan, Lady Meutas
(Parker, pl. 21) |
 |
Elizabeth, Lady Vaux
(Parker, pl. 25) |
 |
Lady, Unknown
(Parker, pl. 27)
Parker states that the original drawing has been retouched, particularly
in the veil area. |
 |
Elizabeth, Lady Rich
(Parker, pl. 55) |
 |
Margaret, Lady Butts
(Parker, pl. 67) |