A Favorite Queen: Queen Anne

Queen Anne by Sir Godfrey Kneller

Around 1690, Sir Godfrey Kneller painted the portrait of Queen Anne of England, Scotland, and Ireland, which during her reign these nations would become the United Kingdom. This portrait is 92 inches by 56 1/4 and is oil on canvas. Sir Godfrey was German born and a Dutch trained painter. In 1676, Kneller traveled to England to see Van Dyck’s works who dominated English art for more than 30 years. He became principal painter to the King–William III of William and Mary and the Glorious Revolution. This portrait of Queen Anne was not his first portrait of this Stuart Queen. His other works date circa 1686 portraits. This portrait can be seen in the Primary Collection at the National Portrait Gallery in London. That is after the coronavirus pandemic ends.

On February 6 1665 at St. James’s Palace, Anne was born to her mother Anne Hyde and her father, James, heir presumptive to Charles II. She was the second daughter. On 6 February 1685, James, the Duke of York, became King of England, Scotland and Ireland but in 1688, the Glorious Revolution happened and James was deposed. His eldest daughter, Mary, who was married to William III of Orange became the isle nation’s monarchs.

By this Anne was married to Prince George of Denmark who she wed in 1683. Since Mary and William did not have children, Anne was the heir apparent. Roughly a year later, Anne gave birth to her first child, a daughter who was stillborn. This would be the beginning of tragedy for the Stuart Queen. She was pregnant seventeen times in life. None of her children survived, either she miscarried, the child was stillborn or lived for a month or a couple of years. Only one child lived the longest–Prince William, Duke of Gloucester, died at eleven on July 30 1700Her last child–a stillborn–was born fourteen years before her death. A woman who never enjoyed great health these losses must have destroyed her body, heart and soul with each loss.

As a child, Anne was suffered an eye condition that caused excessive watering. She was sent to France for medical treatment. And her health never improved. She developed gout, which impaired her mobility so she was carried around on a sedan chair, and she grew obsese. Modern doctors speculated about possible causes for her health issues but certainly the pregnancy wrecked her body as well as the loss of her children. That must have ripped pieces of her.

Nevertheless, Queen Anne changed history. On March 8, 1702, Anne became Queen of England, Scotland and Ireland. She was crowned on 23 April 1702. In May of that year, England entered the War of Spanish Succession. But the most enduring act she had committed was the Acts of Union. Wales formed part of the English crown. Scotland was independent sovereign state. In 1707, the Acts of the Union was signed and these nations became known as the United Kingdom.

In October 1708, her husband died. Then in 1713, the queen lost the ability to walk. By March she was seriously ill and all awaited her. She still attended to her state duties but cancelled on in July 1714. She suffered a stroke on 30 July and died on 1 August 1714.

Anne was buried beside her husband and children in Henry VIII chapel in Westminster Abbey on 24 August 1714.

In the 1690s Queen’s Anne’s style of costume was at the height of fashion. Nothing less is expected of a monarch.

Anne has donned a mantua, a style that would exist at the height of fashion for more than fifty years in different variations. The woman’s overdress or gown was worn over an underskirt. The unboned bodice, loosely fitted, attached to the overskirt with a long train. The overskirt parted in the front to reveal the petticoat. This outfit was worn on social and formal occasions.

Let’s dissect her costume. The mantua is a gold pattern silk, bejeweled by pearls and a black stone, onyx perhaps or even black diamonds (She is queen after all) The train is lined in ermine, the royal fur.

Her body is tightly corseted and the gold silk is cut to fit precisely over the corset. It feels as if we have caught still dressing and the costume has a more relaxed feel to it. The deeply scooped neckline of the bodice seems to barely hang onto her shoulders and hanging from the arms is the scalloped sleeve with black, teardrop jewels on each scalloped edge and dotted with a pearl. The shape of the sleeve has an Roman quality to it as if Queen Anne is telling the world that the UK is the new empire, which it would transform into one day.

Beneath her bodice, she has a done a lace trimmed chemise. The lace probably Flanders lace peeks out from the bodice edge and hangs from the full, loose sleeves to drape to her forearm.

Anne would also have donned stocking and shoes which cannot be seen in the portrait. In this time period, her shoes would have been heeled and constructed of matching material. She would have spent the money on such a luxury.

And a luxury she could have enjoyed was to be dripping in jewels. Yet, she has no necklace, earrings, or rings. However, this time period, less jewelry was worn than before and the jewelry of choice was pearl.

Anne has pearls on. A pearl and black stone slash cuts across from her left shoulder to her waist. A rosette or brooch of black gems holds or simulates the holding of her long train draped about her lower body, which would dragged behind her and require servants to hold. Another Roman influence, perhaps. But on the pedestal, we can see a crown, golden and jeweled, just to remind people she is the monarch.

If Anne wanted to put on that crown, I think it would have been fitting for her hairstyle. The fashionable one of the era. Her dark hair is brushed back from her face and piled high on her head. The top would be curled and pinned and long curls draped over her shoulder, the fashion length.

Queen Anne was a fascinating woman with a tragic life. I hope this post and the fictional movie The Favorite and novel by the same name sparks your interest in this queen.

The Lady Wore

This portrait of Madame de Senonnes is my second favorite work of art. It is also painted by Jean-Auguste-Dominique Ingres (who painted our previous historical fashion post).

Before our sitter was Madame de Senonnes, this lady was Marie-Genevieve-Marguerite Marcoz. Marie was born to a wealthy family and in 1802, she married a merchant draper named Jean Marcoz. In 1803, the couple moved to the eternal city, Rome and had a daughter that same year.

But the marriage was an unhappy one and by 1809, the couple separated. During this time, Marie mixed in artistic circles and she met Alexandre de la Motte-Barace, Viscount of Senonne. They married in 1815 and returned to France.

In France, the Bourbon Restoration had occurred first in 1814 when Napoleon was defeated in Russia and the Peninsular War. Even though in June 1815, Napoleon had escaped from Elba and again, raised an army. He was defeated at Waterloo and exiled to the island of St. Helena where Louis XVIII of France once again claimed the French throne.

This time period was experiencing a Romantic movement as well as a Neoclassical one. Both influences are very much on display in this portrait. The Grecian style dress silhouette and hairstyles were fashionable until the mid-1820s. But the romantic movement that was at its height and can be seen in the gown’s details.

Before we deconstruct her gown, let’s determine what she has underneath it all. Beneath her gown, she would be wearing garments that every woman would have don. First she would have put on her chemise. That garment would have be constructed of linen or cotton. Then she would have had put on stays. This undergarment would have been stiffened to support her breast. And she would have slipped on her stockings (not seen in the portrait). These could have been of silk or wool and held up by a garter.

The Romantic movement looked to the past especially the middle ages and the renaissance. Madame de Senonnes is wearing an afternoon dress. This is determined by the lower neckline with long sleeves and made of silk or fancier fabric than a morning dress would have been made of.

Madame de Senonnes’ dress is made of red or maroon velvet. It has long sleeves with attached dove blue silk slashes to simulate the historical Renaissance fashion of the sixteenth century. In 1815, the fashion was for heavier fabrics than a couple of years before. The silhouette of the garment would have had a flatter front and would be fuller in back of skirts (that cannot be seen in portrait). Another style choice of the romantic movement is the white lace cuff that imitates the ruffs of the sixteenth century. Her neckline is square and constructed of fine white sheer fabric and finished with a three tier lace neck ruff. Her high-waisted gown has a matching dove blue silk or satin sash.

Madame de Senonnes accents her gown with her accessories. She has donned numerous gold necklaces with charms that include a cross and another that resembles a hourglass. She has a brooch of jade and perhaps ruby pinned just below the sash. She is wearing stacked jeweled rings on four fingers while the middle finger of the right hand has one ring. Clutched In her hand is a white handkerchief. On her ears, she is wearing ruby earring that might be silver or white gold. And tucked in her twisted up hair is a hair comb made of gold and red jewels most likely rubies. These accessories reflect an afternoon style through in a portrait the sitter would wear their best garments and jewels.

Another accessory that I just love is her shawl that drapes behind her and wraps around her to the left of her. It’s is made of ivory cashmere with a wide embroidered edge. The designs reminds me of something found in an illuminated manuscript from medieval times or a design from India or another foreign country whose styles centers on a natural design. The embriodery is of a red, blue and mustardy-yellow floral print and accented with scrolls.

Madame de Senonnes died in 1828. This is what remains of her.

Dressing a 13th Century Historical Romance Heroine

You may not know this but I love fashion especially historical costume. I studied fashion design at the Fashion Institute of Technology so it is natural that I blend my two passions together: Writing and fashion.

In my medieval Highlander Romance, The Laird’s Right, my heroine Portia de Mowbray is an English woman who finds herself kidnapped by Laird Alec Cameron. Portia may be surrounded by Highlanders but she sticks to her English styled garments. The Laird's Right Cover A Medieval Scottish Romance

During the medieval times, the style is different from our modern day style but both function and fashion play an important part. After all, that is what clothing must do.

For Portia, she would be wearing numerous items both under and outer garments. First off, our tough Portia would have worn hose and garters with fancy buckles to hold them up (after all there was no elastic) and a chemise with long sleeves and a high neckline. The chemise would have been constructed of linen. And she would not be donning any underwear. No panties or bra for Portia.

Now Portia would slip her côte over her head. The côte was a wide garment. It was wide at the shoulder and narrowed at the wrist. It’s the image we all have the medieval princess that is plastered around us. The natural waist was usually belted. Portia would have worn two layers one made of a linen then a wool or silk one even a velvet one to show off her status.

She’s not finished getting dressed yet.

Of course, Portia isn’t walking away yet because she needs shoes. In the 1250s, her shoes would be a soft shoe with more of a pointed toe that could have been embroidered in a floral motif or scrolls. Anything that she thought was fashionable or like. Back then, there was no right or left foot shoe so it would look odd to our eyes. Also it would have been constructed of leather.

Now she would choose some accessories. A belt for her côte, one made of silver or gold even with jewels, depending on what she might afford. Portia could put on a brooch or a jeweled collar or pendant to add a little flash. She might have taken gloves and her drawstring purse and dirk that may have jewels on the hilt.

Now with Portia dressed, she must do something with her hair. Perhaps, she has better skills than me or her maid does better than Portia. Her long blonde hair would be parted in the center and plaited. She might have her braids twisted into a bun since she is a widow. Her head would be covered with a coif, wimple or barbette even a gold or silver chaplet to give her that romantic look.

So, Portia is ready to face the day but if it was a chilly one, she would have had a cloak, which would have been a long mantle trailing on the ground and fastened in the front with a brooch. That too would have reflected her status and her fashion choices. It would have been wool or velvet. It could have been trimmed in fur and even fur-lined.

Maciejowski_Bible_Woman
The most basic of what Portia may have looked it once dressed. Though, with more flair as she has a bit more coin.

 

To your modern eyes and sensibilities, would you don these garments? Sounds pretty comfortable to me.