...Ann Rosalind Jones In Cesare Vecellio's costume books, Degli Habiti antichi et moderni di diverse parti del mondo (1590) and Habiti antichi et moderni di tutto il Mondo (1598), the basic premise of the costume book—that it recorded styles of dress being worn at the moment of publication in Europe...

...Bronwen Wilson Duke University Press 2007 a Foggie diverse di vestire de’ Turchi: Turkish Costume Illustration and Cultural Translation Bronwen Wilson...

...Ashley Denham Busse This essay explores the early modern stage convention of the discovery space and use of other curtained and costumed spaces to argue that such conventions performed and materialized the experience of abjection, those terrifying reminders of man’s material origins and his destiny...

.... Fashion, clothing, dress, and costume, then, must be understood as elements of sign systems produced by historically specific material condi- tions. Each part of the system acted in different ways in negotiations between dominant groups and cultures and the lower echelons of society. It is the aim...

.... From this perspective, clothing becomes “costume” as derived from the Latin word consuetudo, implying the function or use of dress in larger cultural contexts that precede the making of specific items of clothing. This special issue will explore these multiple, even contradictory...

... of specific regions, countries, or cities. From this perspective, clothing becomes “costume” as derived from the Latin word consuetudo, implying the function or use of dress in larger cultural contexts that precede the making of specific items of clothing. This special issue will explore...

... and adapted non-Roman identities to claim the fierceness long associated with barbarian people in Graeco-Roman ethnography, possibly taking on some supposedly non-Roman costumes and customs too. Study of the late Roman list of offices, the Notitia Dignitatum, reveals a large number of regiments...

... which the soul is corrupted by sin and then restored through divine grace to its original state in God’s image. Through a series of costume changes, the play visually charts Anima’s progression from her initial state of purity tainted by original sin through her fall into sin and her return...

... album amicorum, or album of friends, is a singular visual example of early modern travelers’ fascination with swiftly changing fash- ions, regional customs, family lineage, and manuscript decoration.1 A prede- cessor of the sixteenth-century printed costume book, the illustrated album preserves...

... delicious cup took its rightful place in the documentation of trades. One pictorial source comes from the first visual compendium of artisanal trades, and it adds to the image of a thriving bev- erage practice a healthy dose of humor. In a series of engravings published under the title Costumes...

..., clergy, civic officials, and many others played crucial roles. It is equally misguided, how- ever, to overlook the incredible amount of labor that was invested in props, costumes, and staging materials. As Davidson explains, “the performance of drama in pre- industrial England was an activity...

... and large- scale engravings of parts 4 to 6 of their America or India Occidentalis series; and the Venetian artist Cesare Vecellio, who reframed the Mexicans and Peruvians of America into a costume book, a set of woodblock prints assembled to illustrate the clothing worn by people around the world...

... Starodubskii at their weddings, probably for use during the many proces- sions that make up a Muscovite wedding.19 Clearly, Ivan III expected Alex- ander to wear traditional Muscovite costume, as least during some points of the wedding celebrations. He expected him to take the ritual bath and dress...

... crowd at Middle Temple Hall.1 On this anniversary, the Globe Company granted the audience an intimate view of their “original practices” used in that night’s staging of the play: audi- ence members were given access to the candlelit dressing room where actors donned their costumes, applied makeup...

... vol. 217 (Paris, 1855), cols. 773B – 916A. See also Anko Ypenga, “Innocent III’s De Missarum Mysteriis Reconsid- ered: A Case Study on the Allegorical Interpretation of Liturgy,” in Innocenzo III, ed. Sommerlechner, 1:323 – 39. 23 Catholic Encyclopedia, s.v. “clerical costume...

... with the relationships between the picto- rial representations of Native American peoples in the De Bry series and visualizations of cultural difference in other illustrated works of the period. Ann Jones and Walter Mignolo deal with the visual filiations between the De Bry plates and Cesare Vecellio’s costume...

... Neptune” is a series of four welcoming speeches by costumed “savages.” Each accepts the sovereignty of the French, unmistakably and unreservedly. Costumed savages were no new thing in civic entertainments at the turn of the seventeenth century. Yet these natives proclaim allegiance to the French...

..., but the behind-­the-­scenes work of female artisans who sewed and starched costumes for the “all-­male” playing companies. It thereby suggests that England’s players and playwrights, like its shoemakers and sempstresses, have set to work producing newfangled commodities that draw on patterns imported...

... of the different peoples encountered by Linschoten on his voyage, arranged in a hierarchy moving upwards from the savage to the civilized. As Ernest van den Boogaart notes, the De Brys’ ethnography rarely veers from “visual and conceptual” codes that probably originated in sixteenth- century costume books...

...: early modern bodies participated in a more visibly ritualized structure of public behavior, not only in terms of daily costume (clothing identifying trade, sumptuary laws) and the gestures of polite social interaction, but also in the many parades, progresses, allegorical festivities, and requisite...