Ghost
Frederick Henry, Prince of Orange, with His Wife Amalia van Solms and Their Three Youngest Daughters by Gerard van Honthorst, ca 1647 the Netherlands, Rijksmuseum Amsterdam

Frederick Henry, Prince of Orange, with His Wife Amalia van Solms and Their Three Youngest Daughters by Gerard van Honthorst, ca 1647 the Netherlands, Rijksmuseum Amsterdam

(Source: rijksmuseum.nl)

Portrait of Anna Boudaen Courten, attributed to Saloman Mesdach, 1619 the Netherlands, Rijksmuseum Amsterdam (Supposedly.  It’s not in the museum’s online archives.)
I love the fabric

Portrait of Anna Boudaen Courten, attributed to Saloman Mesdach, 1619 the Netherlands, Rijksmuseum Amsterdam (Supposedly.  It’s not in the museum’s online archives.)

I love the fabric

Portrait of Susanna Reael by Isaack Luttichuys, 1656 the Netherlands, Rijksmuseum Amsterdam
The pattern on the lace is amazingly detailed.

Portrait of Susanna Reael by Isaack Luttichuys, 1656 the Netherlands, Rijksmuseum Amsterdam

The pattern on the lace is amazingly detailed.

(Source: rijksmuseum.nl)

Kitchen interior with the parable of the rich man and the poor Lazarus, attributed to Pieter Cornelisz van Rijck, 1610’s the Netherlands, Rijksmuseum Amsterdam

Kitchen interior with the parable of the rich man and the poor Lazarus, attributed to Pieter Cornelisz van Rijck, 1610’s the Netherlands, Rijksmuseum Amsterdam

(Source: rijksmuseum.nl)

Portrait of Isabella Coymans by Frans Hals, 1650-52 the Netherlands, private collection

Portrait of Isabella Coymans by Frans Hals, 1650-52 the Netherlands, private collection

Das Konzert (The Concert) by Gerard Terborch the Younger, 1655 the Netherlands, Gemäldegalerie

Das Konzert (The Concert) by Gerard Terborch the Younger, 1655 the Netherlands, Gemäldegalerie

The Artist’s Sisters, Gesilda And Catharina, Dressed As Shepherdess by Gerard Terborch the Younger, 1651 the Netherlands

The Artist’s Sisters, Gesilda And Catharina, Dressed As Shepherdess by Gerard Terborch the Younger, 1651 the Netherlands

Stays and busk, 1660’s England, the V&A Museum

Stays (a stiff corset) were essential garments in the fashionable woman’s wardrobe throughout the 17th century. Some sort of stiffening of a woman’s gown had been part of dress construction since the early 16th century. Sometimes it was added to the outer bodice; sometimes it was in the form of separate stays worn under the gown. Originally the stiffening served the purpose of preventing the expensive and elaborately decorated fabric of the gown from wrinkling. However, because stays could mould the female torso, they became essential for producing whatever shape was considered fashionable.

Stays and busk, 1660’s England, the V&A Museum

Stays (a stiff corset) were essential garments in the fashionable woman’s wardrobe throughout the 17th century. Some sort of stiffening of a woman’s gown had been part of dress construction since the early 16th century. Sometimes it was added to the outer bodice; sometimes it was in the form of separate stays worn under the gown. Originally the stiffening served the purpose of preventing the expensive and elaborately decorated fabric of the gown from wrinkling. However, because stays could mould the female torso, they became essential for producing whatever shape was considered fashionable.

Anna of Austria by Bartolomé González y Serrano, 1616 Spain, Museo del Prado

Anna of Austria by Bartolomé González y Serrano, 1616 Spain, Museo del Prado

La Demande en Mariage by Frederic Soulacroix, unknown date

La Demande en Mariage by Frederic Soulacroix, unknown date

Portrait of Maria Serra Pallavicino by Peter Paul Rubens, 1606 Italy

Portrait of Maria Serra Pallavicino by Peter Paul Rubens, 1606 Italy

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