<<04-506149.jpg>> Notice the way the codpiece is attatched to the breeches.

Another examination of 16th century guards/knights/lords/nightwatchme, again with a focus on the footgear.

Again, for the guards, lords, nightwatchmen.  Look at Caiphphas’ slippers, and everyone’s footgear. 

For the liveried guards/night watchmen costumes.  Love Brueghel’s sense of humour (look carefully)

<<3marytud.jpg>> The painting represents Mary Tudor, the bride of Philip II, King of Spain. This is the masterpiece of the artist, painted in England.

Philip II and Mor became acquainted during the prince’s visit to the Netherlands in the early 1550s. In 1554, when Philip went to London for his marriage to Mary Tudor, he brought Mor to paint the queen’s portrait, a representative work that reveals the essence of his style. In keeping with the prevailing manner of court portraiture, Mor is concerned with physiognomic accuracy but not with expression. This is a reticent image that emphasizes the social distinction of the sitter instead of her personality, although it is subtly encoded with a complex set of allusions. However, the austerity is somewhat relieved by the attention paid to the costume and jewelry, which are rendered with a technique of dazzling exactitude.

Self-Portrait

after 1588
Oil on canvas
Galleria degli Uffizi, Florence

Another example of late 16th chains of office, a possible character study for Polonius?

A Durer painting, circa 1503 ( I know, early 16th) for consideration of the costumes for the night watchmen or other guards, from the Web Gallery of Art

Paumgartner Altar (detail of right wing)
c. 1503
Oil on lime panel
Alte Pinakothek, Munich

I like the detail of his scarf/neck wrap