Non-clerical Seventeenth-century Garment

Non-clerical seventeenth-century garment

The cassock can also refer to a loose-fitting, pullover, hip-length jacket worn by ordinary soldiers in the 17th century. A cassock has attached sleeves and is open down the sides, similar to a mandilion. Such garments are popularly recognized as the formal uniform of the Musketeers of the Guard in The Three Musketeers - though this is suspect historically.

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Seventeenth century

By the seventeenth century the fashion for portraiture had spread down the social order to lairds such as Colin Campbell of Glenorchy and John Napier of Merchiston. Adam de Colone, perhaps the son of Adrian Vanson and probably trained in the Netherlands, was working in England in the 1620s. In 1623 he painted his portrait of George Seaton, 3rd Earl of Winton and his sons and another of Seaton's wife Anne Hay with her two daughters. The first significant native artist was George Jamesone of Aberdeen (1589/90-1644), who, having trained in the Netherlands, became one of the most successful portrait painters of the reign of Charles I. He trained the Baroque artist John Michael Wright (1617-94), who also studied in Rome with Poussin and Velzquez. Wright painted both Scottish and English subjects, including his sensitive portrait of the architect William Bruce (1664) and styled himself as "king's painter". His full-length painting of Lord Mungo Murray in Highland dress (c. 1680) is an early example of what became a standard format of Scottish portrait. The Commonwealth period saw the emergence of David Scougall (c.1610-1680), mainly noted for his portrait of the Covenanter leader Archibald Campbell. Also important was the miniaturist David Paton (fl. 1668-1708), who worked mainly in plumbago, but also painted portraits in oil. Visiting artists included Jacob de Wett (c. 1610-c. 1691), who was commissioned in 1684 to paint images of 110 kings for Holyroodhouse and similar work at Glamis Castle. After the Glorious Revolution, Wright, a Jacobite, fell out of favour at the royal court. The Flemish-Spanish painter John Baptist Medina (1659-1710) came to Scotland in 1693 and became the leading Scottish portrait painter of his generation. Among his best known works are a group of about 30 oval bust-lengths, including a self-portrait, in Surgeons' Hall, Edinburgh. He trained his son, also John, and William Aikman (1682-1731), who became the leading Scottish portrait-painter of the next generation. Aikman migrated to London in 1723, and from this point until the late eighteenth century, most Scottish painters of note followed him.

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Sixteenth and seventeenth centuries

In the period of French intervention in the 1540s and 1550s, at the end of the Rough Wooing, Scotland was given a defended border of a series of earthwork forts and additions to existing castles. These included the erection of single bastions at Edinburgh, Stirling and Dunbar. The unique style of great private houses in Scotland, later known as Scots baronial, has been located in origin to the period of the 1560s. It kept many of the features of the high walled Medieval castles that had been largely made obsolete by gunpowder weapons and may have been influenced by the French masons brought to Scotland to work on royal palaces. It drew on the tower houses and peel towers, with their parapets, corbels, and bartizans. The new estate houses built from the late sixteenth century by nobles and lairds were primarily built for comfort, not for defence, although they were often called castles. They retained many of these external features which had become associated with nobility, but with a larger ground plan. This was classically a "Z-plan" of a rectangular block with towers, as at Colliston Castle (1583) and Claypotts Castle (1569-88). Particularly influential was the work of William Wallace, the king's master mason from 1617 until his death in 1631. He worked on the rebuilding of the collapsed North Range of Linlithgow from 1618, Winton House for George Seton, 3rd Earl of Winton and began work on Heriot's Hospital, Edinburgh. He adopted a distinctive style that applied elements of Scottish fortification and Flemish influences to a Renaissance plan like that used at Château d'Ancy-le-Franc. This style can be seen in lord's houses built at Caerlaverlock (1620), Moray House, Edinburgh (1628) and Drumlanrig Castle (1675-89), and was highly influential until the baronial style gave way to the grander English forms associated with Inigo Jones in the later seventeenth century, which were used to produce classically inspired and comfortable country houses.