The Ornamented Being

V&A: This is a magnificent example of English court dress of the mid-18th century. It would have been worn by a woman of aristocratic birth for court events involving the royal family. The style of this mantua was perfectly suited for maximum display of wealth and art; this example contains almost 10lb weight of silver thread worked in an elaborate ‘Tree of Life’ Design. The train is signed ‘Rec’d of Mdme Leconte by me Magd. Giles’. The name Leconte has been associated with Huguenot embroideresses working in London between 1710 and 1746. The Huguenots were French Protestants who, following the repressive measures against them that the Catholic monarch Louis XIV of France restarted in 1685, emigrated to Britain and elsewhere.

c. 1740-45

(Source: collections.vam.ac.uk)

Court Dress or Mantua 1770, French, Made of silk and lace

MFA

“Pink silk brocaded with reds, browns, greens, and white in floral sprays and multi-width silver stripes. Overdress: open coat-style front bodice; square back neckline; front panels trimmed with silver galloon and silk flowers; sack (Watteau) back; elbow length fitted sleeves with double asymmetrical ruffles trimmed same as front; wide panier accomodating skirt with slits at hipline. Petticoat: U-shape waistline; trimmed with deep swags of silver net with silk flowers and gilt details; drawstrings at waist. White silk partial linings.”

V&A: This is a magnificent example of English court dress of the mid-18th century. It would have been worn by a woman of aristocratic birth for court events involving the royal family. The style of this mantua was perfectly suited for maximum display of wealth and art; this example contains almost 10lb weight of silver thread worked in an elaborate ‘Tree of Life’ Design. The train is signed ‘Rec’d of Mdme Leconte by me Magd. Giles’. The name Leconte has been associated with Huguenot embroideresses working in London between 1710 and 1746. The Huguenots were French Protestants who, following the repressive measures against them that the Catholic monarch Louis XIV of France restarted in 1685, emigrated to Britain and elsewhere.

c. 1740-45

(Source: collections.vam.ac.uk)

V&A: This 18th century mantua and petticoat are examples of the very grandest style of court dress. The wide skirt sits over pannier hoops and though it forced the wearer to go sideways through doors, it had the advantage of displaying a large area of lavish decoration. This mantua is made from cream silk and has been embroidered with coloured silk and silver threads. Elaborate flower designs such as these were typical of the rococo style of the 1740’s and 1750’s in England. Not only designed to impress the beholder, they were also botanically very accurate.

(Source: vandaprints.com)

V&A: This richly brocaded ensemble illustrates the style of dress worn by women at court in England. Known as a mantua, the gown consists of a bodice with a train at the back. A very wide petticoat of matching silk completes the ensemble along with a triangle of silk known as a stomacher, in the centre front.

Although considered stylish daywear in the early 18th century, the mantua had become very old-fashioned by the 1750s and was worn only for court dress. Wide hoops were beginning to go out of style, but kept their extreme width at court. To make up for its conservative cut, court dress was always made from the most fashionable as well as expensive fabrics and trimmings.

This example is made from an ivory silk brocaded in a pattern of stylised flowers and leaves. The abstract form of the motifs is accentuated by the non-naturalistic colours of the precious metal threads. Such a design is typical of French silk weavers and the fabric was probably imported. However it could also have been woven in London, as English weavers copied French designs very closely.

(Source: collections.vam.ac.uk)

Panel of glazed tiles by Jorge Colaço (1922) depicting an episode from the battle of Aljubarrota (1385) between the Portuguese and Castillian armies. A piece of public art in Lisbon, Portugal.

Dress c. 1700 Italy, I believe LACMA

The V&A says: “The tangled garden of chenille decoration on this court mantua enhances the white silk satin fabric. It is tamboured (chain stitched with a hook instead of a needle) with coloured silk and chenille threads, in a meandering pattern of flowers and leaves. A fly fringe (braid) of chenille threads, wound into the shapes of more flowers and leaves, trims the mantua. Bobbin lace of blonde (silk) and chenille edges the fringe and neckline.

The quality of the needlework suggests French production. In style, the design reflects the woven silk patterns of the 1750s, designs that remained fashionable in embroidery until the 1790s. The mantua was probably made in the late 1770s and the bodice modified slightly in the 1780s. Its petticoat of matching fabric suffered extensive alterations for fancy dress in the late 19th century.”

The first photo is what the Mantua looks like with a stomacher. Here is what was on display today.

And here is what the V&A says: “The shell, the quintessential Rococo motif, constitutes the basis of the embroidery pattern. Leafy scrolls, latticed arcades and tassels are also featured, as well a profusion of realistically rendered flowers, including jasmine, morning glory and honeysuckle, peonies, roses, poppies, anemones, auriculas, hyacinths, carnations, cornflowers, tulips and daffodils. The pattern of the silver shells and scrolls has been arranged symmetrically at the hem, but the layout of the flowers, while balanced, does not match exactly on either side. This ensemble recalls a garment worn by the Duchess of Queensbury in 1740: ‘her cloathes were embroidered upon white satin; Vine leaves, Convulvus and Rosebuds shaded after Nature …’.”