Veitstanz

1. A doublet in deep reddish-plum-coloured satin decorated with narrow stone-coloured silk braid and rows of pinking… The pinking may have been done after the layers were tacked together as some of the black linen and black silk [interlining] are cut as well. A layer of black wool is pad-stitched to the linen over the shoulders to prevent wrinkles around the armholes. It is layered to prevent any ridges showing through the satin. The doublet is lined with natural linen, the side seam set back from those in the satin, presumably to avoid bulk. A stiffened linen strip with worked eyelet holes for points to attach the breeches is stitched inside the waist… A strip of braid, folded in half to make a loop, is stitched on the belly-piece on both fronts, to be tied across, holding both sides together before buttoning the doublet.

c1615-20 Lord Middleton Collection, Museum of Costume and Textiles, Nottingham

2. A doublet in ivory silk with thin silver strip in the weft and a woven pattern of stylized floral motifs in heavier metal thread… The doublet is completely interlined with heavy linen canvas, with a narrow strip of linen pad-stitched down both fronts for extra stiffness beneath buttons and buttonholes. Over the shoulders, under the arms and across the back is a layer of brown woollen cloth, slightly felted, which is pad-stitched to the linen interlining. The doublet is lined with pink silk.

3. …Eyelet holes for points to attach the breeches are worked in the tabs forming the skirts of the doublet, instead of a waist strip. The ribbon points would have been tied in decorative bows. This drawing shows the present appearance of the doublet [missing wings, buttons, loops and braid].

c1600-5 Grimsthorpe and Drummond Castle Trust Ltd, on loan to the Victoria and Albert Museum, London

1-2. A suit consisting of doublet and trunk-hose… The suit is made from uncut velvet on a voided satin ground. The colour is now purple brown and was probably originally murrey or mulberry.

3. The doublet is decorated with woven braid of purple-brown silk and metal thread… The collar is very stiff. It is made of a layer of coarse natural-coloured linen, heavy in weight, with another layer of linen and one of heavy wool pad-stitched on top of it, cut away at the front for the buttonholes… The collar is then lined with purple-brown silk. An underpropper, or supportasse, would have been worn with this collar to hold up a linen band bordered with lace, or made entirely of lace.

4. The doublet is completely backed with a layer of white woollen cloth. Inside this is the lining of white fustian, padded with what feels like wool… The padding, or bombast, thickens towards the front and a long fustian gusset is stitched between the outside of the padding and the edge of the left front by the buttonholes.

5. The trunk-hose are interlined with white wool, fairly open in weave and quite springy. The velvet and wool are worked together as one layer… large fustian pocket bags hang between fustian lining and woolen interlining.

6. The doublet skirts are lifted to show points threaded through eyelet holes at the waist… The doublet skirts would have concealed the ribbon ties. The cod-piece has been discarded and the front opening fastens with points through worked eyelet holes, backed with a large velvet flap. The opening is almost completely hidden by folds of material.

7. Velvet and interlining of white wool worked together as one layer makes the long darts above knee level very stiff. This helps to hold out the rounded shape of the trunk-hose.