brendan maddenfashion and textiles essay

Charles (Coote), 1st Earl of Bellamont dressed in the robes of the most honorable order of the Bath

by Sir Joshua Reynolds, PRA.

object analysis - page zero

Charles (Coote), 1st Earl of Bellamont dressed in the robes of the most honourable order of the Bath

by Sir Joshua Reynolds, PRA.

Illustration 1 - Pearce, Edward Lovett, (1730) ‘Bellamont Forest, Cootehill, Co. Cavan,’ - family home of Sir. Charles Coote KB, Earl of Bellamont, and original home of painting

Illustration 2 - (also Front Cover) - Reynolds, Sir Joshua, PRA, ( 1773) ‘Charles (Coote), 1st Earl of Bellamont, dressed in the robes of the most honorable order of the Bath,’

Dublin, National Gallery of Ireland

Illustration 3 - The Henry VII Chapel at Westminster Abbey - Spiritual Home of the Order of the Bath. Houses banner of every Knight Grand Cross:

(A) Ede and Ravenscroft Version, (B) Version on Painting

Illustrations 4, 9 - Lewis, N, (1831) 'Robes of the Order of the Bath: Knight Grand Cross' - An identical costume to that worn by Charles Coote in the painting. (4) Front, (9) Rear.

Illustration 5 - The Collar of the Order of the Bath - Gold with Green, Rose, Navy and White inlay enamel: (A) Lewis Robe, National Maritime Museum, (B) Version on Painting

Illustration 6 - Detail View of tassels of the robe - crimson silk and gold metal thread: (A) Lewis Robe, National Maritime Museum, London, (B) Version on Painting

Illustration 7 - Emblem of the order - three crowns in Maltese cross in silver eight point star:(A) Lewis Robe, National Maritime Museum, London, (B) Version on Painting

Illustration 8 - Prince Charles - Grand Master of the Order of the Bath in Ceremonial Robes, May 2006

Illustration 9 - (See Illustration 4) Rear view of Mantle (Robe) of the Order of the Bath

Illustration 10 - Reynolds, Sir Joshua, PRA, (1771-72) ‘Sir Joseph Banks,’ London, National Portrait Gallery

Illustration 11 - Hunter, Robert, (after 1783) George Nugent-Temple-Grenville, 2nd Earl Temple (1753-1813),

Dublin, National Gallery of Ireland

Illustration 12 - Reynolds, Sir Joshua, PRA, (1758), ‘William Augustus, Duke of Cumberland,’Chatsworth, Derbyshire, The Devonshire Collection

Illustration 13 - Reynolds, Sir Joshua, PRA, (1787) George Augustus Eliott, Lord Heathfield, London, National Gallery

fashion and textiles seminar group - object analysis - page one

list of illustrations

The 18th Century Painting that I have chosen to study for this essay is one of my favourites, “Charles

(Coote), First Earl of Bellamont” by Sir Joshua Reynolds PRA. This painting, purchased in 1875 from

Christie's in London (Cullen, 2004, p.37), was one of the National Gallery of Ireland’s first major ac-

quisitions and is currently displayed in the British Rooms of the National Gallery in Dublin.

In it we see its sitter, Sir Charles Coote KB, MP, 1st Earl of Bellamont in the Ceremonial robes of the

Most Honorable Order of the Bath, the second-highest order of British Chivalry. In this essay, we

analyse the dress of the sitter and examine what it says about him, what mood or appearance the artist

and sitter were trying to convey through the clothes and how that matches up with the available bi-

ographical evidence from both primary and secondary sources.

This magnificent work, described as ‘one of Reynolds’s most spectacular portraits’ in a book published

by the Royal Academy of Arts (Penny (ed.), 1986, p.261), was painted in 1773, the year of the sitter’s

marriage to Lady Emily Maria Fitzgerald, daughter of the 1st Duke of Leinster (Lundy, 2007 ) for the

main saloon of Bellamont Forest, which was designed in 1730 by Sir Edward Lovett Pearce for the

Earl’s family. Pearce had also designed the Irish Parliament House in College Green, Dublin. The paint-

ing, which measures a handsome 241 x 161 cm was intended to be part of the architecture of the

house and so was set into the plasterwork as a panel. The Information panel in the National Gallery be-

side the picture states that ‘The picture was originally displayed in a plaster wall surround in the Saloon

at Bellamont forest, Co. Cavan. The present frame is an earlier Palladian design and enlarged to fit the

picture in the early 19th century.’ (NGI, 2007) A matching painting of the Countess, Lady Emily (also by

Reynolds) faced this one from the other side of the Saloon. The paintings were such a major part of the

house that they warranted note in a topographical dictionary of Ireland in 1837 by Samuel Lewis:

fashion and textiles essay - object analysis - page two

object analysisbrendan madden

The seats in the neighbourhood are very beautiful, especially Bellamont Forest, the residence ofC. Coote, Esq., which derived its name from the title of Earl of Bellamont enjoyed, until the year1800, by the ancient family of Coote. The house is of brick, two stories high, with a noble Doricportico of stone, and the rooms of the lower story are strikingly grand; it contains some fine paint-ings, among which is the death of Dido, by Guercino, also full-length portraits of the late Earl andCountess of Bellamont by Sir Joshua Reynolds, the former in the full costume of a Knight of theBath, a fine painting in excellent preservation. The demesne comprises above 1000 plantationacres, of which nearly one-half is occupied with woods; it includes several lakes and a spa, andcommands beautiful views from Dismond Hill and its several eminences. (Lewis, 1837, p. 398)

When we look at the painting with no prior knowledge of its sitter, we see firstly a man dressed in

elaborate pink silk satin robes, on his left shoulder area there is a very large star shaped emblem

of silver and gold. The robe is lined with a white silk material. Silk cords hold the robe in place and

at the end of these cords are magnificent golden tassels. ‘two bulbous gold tassels dangle down be-

tween his thighs’ (Hollander, 2002, p.96). Under the robe he wears a light coloured silver silk knee-

length coat and tight waistcoat that is fastened from the shoulder line to the waistline and curves

away from the waist and ends at mid-thigh length. He leans on a sword in its sheath.

His long, well kept flowing dark brown hair cascades over his shoulder showing both his youth and

his good keeping. Interestingly, and oddly for the period he does not wear a wig. On his head is a

most magnificent hat bearing a full coat of arms and decorated with an immense plumage of os-

trich feathers. A gold and silver chain appears to be tied at the shoulders by huge white silk ribbons.

The sitter wears a shirt with lace ruffle cuffs and a lace ruffle edge is visible at the bottom of the shirt.

Around the neck area the shirt is plain and tight and has no collar. It goes halfway up his neck. The

sitter wears culottes of the same light silky material as the coat and waistcoat. Stockings of the

same colour but of a different material - presumably cotton - come up from the feet to just below

the knees and these are tied to the culottes with garter rosettes in a pink silk similar to the outside

of the robe. On his feet are gold-coloured shoes with a small heel and a rounded toe. These also

are the same pink silk rosettes as at the knee here on the shoes. Decorative gold metal spurs are

fastened to the middle of the shoe by gold metal spur straps. Above the earl’s head is a theatrical

backdrop of a slightly paler pink silk than the robes, tied back with gold coloured cords and edged

with a gold fringe trim. To the sitter’s Right Hand Side, his vast banner on which a Coote bird is de-

picted. It also displays his title,

Earl of Bellamont. This is at-

tached to its flagpole with a piece

of red silk cloth. The flagpole rests

on a classical pillar, - a doric col-

umn. Beneath the banner, also

the the sitter’s right is another

piece of fabric similar to the back-

drop but without fringe. At its cor-

ner is a large gold tassel.

fashion and textiles essay - object analysis - page three

fashion and textiles essay - object analysis - page three

Bellamont Forest, Cootehill, Co. Cavan - family home of Sir Charles Coote01

Underneath this piece of cloth is another sword, this time unsheathed and on top of this sword,

leaning against the banner and flagpole is a piece of a mediaeval knight’s body armour - a helm -

in black with a gold edge. The floor is of large plain and worn flagstones. Behind the sitter’s right

shoulder we see a architecturally classical setting with banners and helms (knights’ helmets) under

a romanesque arch.

The earl’s pose is incredibly casual for such a formal portrait. It is interesting because it shows a

comfortable confidence. The pose is one adopted from Classical portraiture by Reynolds and

this clash between the more informal lifestyle of the provinces and the strict etiquette and formality

of London will be discussed in greater depth later in this essay.

The robes we see here are the robes of the Order of the Bath, the second-highest order of chivalry

of the British Empire and the highest military honour. The order is an ancient one, the origins of which

go back to the Eleventh Century but it lapsed and was revived in 1725 by King George II because

‘at the time, only the Orders of the Garter and the Thistle were available to reward chivalry. Only

Scots were eligible for the Thistle, however, and the Garter allowed for just 24 knights. The new

order of the Bath therefore provided 36 additional high

ranking knighthoods’ (Royal Insight, 2006).

The wearing of this robe shows that Charles Coote

was a member of the Order and hence had shown

sufficient military services and loyalty to the King to

warrant a reward with an honour.

Every four years the order meet in the Lady Chapel

(Henry VII Chapel) in Westminster Abbey, and it is

there that investiture takes place. ‘The Chance to

see the Knights in their full regalia is relatively rare.

Their service occurs only once every four years at

their spiritual home, the King Henry VII Chapel at

Westminster Abbey. (Ede and Ravenscroft, 2007)

The Banners of all current and previous Knights

Grand Cross are displayed there above the stalls.The display of banners in the background of the

fashion and textiles essay - object analysis - page four

fashion and textiles essay - object analysis - page four

Reynolds, Joshua, ‘Charles Coote, Earl of Bellamont’02

painting (Illustration )is presumably a depiction of the banners in the Henry VII Chapel,

‘Beyond the pulled-back drape we view a great hall with the banners and regalia of other newmembers of the Order.’ (Cullen, 1997, p.84), although interestingly, the architecture in the paint-ing differs totally from that of the actual Chapel, which is flamboyantly gothic as opposed to therestrained classicism of the portrait.

The Mantle shown in Illustration No.3 dates from 1830, sixty years later than the one shown in the

painting (illustration No. 1). It is described as being of of silk, gold thread, silk thread, metal thread, and

wood, and was made by N. Lewis in London. It is identical to the robe in the painting. Ede and Raven-

scroft, the London firm with an unbroken line of royal warrants as Robemakers to the Sovereign since

1689 (Coronation of King William III and Queen Mary), have created Robes for Knights of the Order of

the Bath since 1725 (the year of its foundation), and in their book, Robes of the Realm, they describe

one: ‘The mantle of the order is of crimson satin lined with white taffeta and has cordons and tassels

of crimson and gold.’ (Campbell, 1989, p.77). Prince Charles, the current Grand Master of the Order

shown in illustration wears a gown made by Ede and Ravenscroft which is very similar to the outfit of

the Knights Grand Cross, of which Bellamont would have been a member, (as well as Admiral Sir Ben-

jamin Hallowell Carew, the original owner of the robe shown in illustration).

By comparing the elements of the costume as depicted in the painting with the same elements shown

in photographs of existing garments, we can learn more about the materials and construction of the

costume that Charles Coote wears in the painting we are studying.

fashion and textiles essay - object analysis - page five

fashion and textiles essay - object analysis - page five

The Henry VII Chapel at Westminster Abbey - Home of the Order of the Bath. Houses banner of every Knight Grand Cross03

BA

Each stall displays the knight’s helm or helmet) which bears his crest, his mantling symbolising the cloththat would have helped protect his armour from the rain or sun; and his banner bearing his coat ofarms, which was often worn in battle as a tabard. There is also a half drawn sword above each stall,representing each knight’s duty to be constantly ready to defend his Sovereign. (Royal Insight, 2006)

fashion and textiles essay - object analysis - page six

fashion and textiles essay - object analysis - page six

Robes of the Order of the Bath (a garment identical to that worn by the sitter in the painting)04

If you look at the face ofCharles Coote, you can seethat the reds of his complex-

fashion and textiles essay - object analysis - page seven

fashion and textiles essay - object analysis - page seven

In the Painting, the collar of the

order appears at first glance to

be of silver and gold. However,

on careful analysis, we discover

that what appears to be silver is,

in fact, white enamel inlaid on

gold knots. We can also see that

every second chain-link is either

a crown with no inlay, or a floral

arrangement showing a pink

rose on the left and a navy blue

thistle on the right connected

shamrocks. This could possibly

represents the three kingdoms of

England, Ireland and Scotland.

The badge suspended from the

chain shows three crowns in an

oval shape encircled by the

Motto of the Order, “Tria Juncta

in Uno”, or ‘Three Joined in

One’. These three crowns do

represent the three kingdoms

(Royal Insight, 2006)

The tassels in the painting have

faded considerably, as has the

cloak which would originally have

been the colour of the robes de-

picted in the photograph. The

Audioguide in the National

Gallery tells you that:

tassels of the robe - crimson silk and gold metal thread06

emblem of the order - three crowns in Maltese cross in silver eight point star07

BA

BA

The Collar of the Order - Gold with Green, Rose, Navy and White inlay enamel05

BA

When we imagine the painting in its unfaded original hues, the bril-liance of it is truly breathtaking.This is also discussed in JohnSimes biography of Reynolds:

Next, we will look at the Eight point star. In its centre is a maltese cross at the centre of which again is

the badge depicting the three crowns and the motto of the order, this badge is identical to the one

hung from the collar.

In the recent photograph of Prince Charles dressed in the robes of the order (Illustration , we see him wear-

ing contemporary military clothing underneath the Mantle which is the current tradition. In a 1974 photograph

fashion and textiles essay - object analysis - page eight

fashion and textiles essay - object analysis - page eight

Reynolds objected to the use of vermillion in flesh-tints. Northcoteone day urged on him the use of Vermillion for the sake of dura-bility, instead of the more brilliant but fleeting lakes and carmines.Reynolds, looking on his hand said, "I can see no vermillion inflesh." Northcote responded, "But did not Sir Godfrey Kneller al-ways use vermillion?" "What signifies what a man used who couldnot colour? But you may use it if you will," retorted Reynolds. In his later work, however, under thestress of seeing his transparent colours fade like roses in autumn, he was reluctantly compelled to usethe opaque but more durable colours. For many years he experimented in colour to find if possiblethe secret - "the Venetian secret" - by which durability could be combined with the brilliancy of nature.His experiments ruined many canvases. To Northcote he once despairingly said, "There is not a mannow on earth who has the least notion of colouring. we all of us have it equally to seek for and findout, as at present it is totally lost to the art." He even analysed some valuable paintings by Venetianmasters, bought for the purpose, in the hope of discovering the composition of their grounds, and totrace the progress of laying on colour; in short, to find the secret of their durability. Though it is truethat many of his pictures have suffered from his passion for experiment, the great mass of his work,where it has escaped the ravages of the picture-cleaner, or where it has been properly protected fromthe effects of artificial light and heat, and dust and dirt, retains its original loveliness, and it "mellows"rather than fades. (Sime, 2007, p.50)

-ion are still strong, they were painted using a vermillion red, butReynolds used a different pigment, carmine for the earl's robes.Carmine is fugitive meaning that it fades over time. In order to vi-sualize how this portrait would have appeared in its original dayswe need to formulate a more intense red less pinkish colouringof the robe. (NGI, 2007)

Prince Charles - Order Grand Master08

The star is typically of chipped silver and at its centre is a medallion showing the same theme as thebadge. The star is restricted to the two highest ranks of an order. (The forms worn by the two ranksare usually identical except in size) It is worn on the left breast of the coat. In full dress, up to fourstars may be worn at the same time (in a specified geometry). (C.U.H.A.G.S., 2007)

The Star [of the Order] is composed of rays of silver charged with an eight pointed (Maltese) cross. Inthe centre, on a silver background, are three imperial crowns within a band of red enamel inscribedwith the motto of the order. The device is surrounded by two branches of laurel; where the stemscross is placed a blue scroll inscribed Ich dien (‘I serve’) (The Royal Household, 2007)

fashion and textiles essay - object analysis - page nine

fashion and textiles essay - object analysis - page nine

of Prince Charles ((Campbell, 1989, p.85) not illustrated here) , we can

see him again wearing the Mantle over contemporary military wear.

During the Nineteenth-Century, however, the tradition was to wear the robes over 17th century Tudor style

dress. It is unclear if the clothes that our sitter is wearing are intended to be contemporary or classical

but we can however ascertain that they would have fitted broadly into the fashionable dress of the 1770s.

This is consistent with the suit worn by the sitter in this portrait.

There are a number of interesting facts relating to the portrait, some of which have been discussed al-

ready in this essay and some of which are discussed in more detail in the appendix to this essay by other

authors: Anne Hollander, Fintan Cullen and an unknown author of the Eighteenth Century.

Interestingly, Charles Coote, 1st Lord Bellamont was not actually the first Lord Bellamont,but the third Lord

Bellamont in the same line in the Irish Peerage (Debrett, 2002, p.1067). The title, First Lord Bellamont was

in the English Peerage, and would therefore have been his senior title. As his senior title, it was the one

he was required to go by. He also acquired by special favour of the king, another title in the peerage of

the United Kingdom which he was able to pass onto his illegitimate son by special condition. Known as

The mention of military uniforms leads naturally to anotherfunction of decoration, namely, the indication of the wearer'srank or office. Certain special ornaments or special colours(e.g. crown, scepter, royal purple) have always been the pre-rogative of royalty or of other high dignitaries - military, civil, orreligious - and, with the establishment of military or ecclesias-tical hierarchies, an elaborate system of ranks has found itscounterpart in an equally elaborate system of sartorial or dec-orative differentiation, the general principle being that the higherthe rank the more elaborate and the more costly is the orna-mentation. (Fluegel, 1971, p.31)

The most characteristic dress for men in the eighteenth century was the suit. ...Throughout this pe-riod [1770-1800] the full dress suit was becoming more stereotyped in both its cut and its embroi-dered decoration. The designs for the embroideries were of trailing plants and sprays of flowers whichsometimes became very fanciful and were often enriched by the addition of coloured foils and pastes....The suits of 1770-80 are of light shades whereas those of 1790s and early nineteenth century areuniformly of rich dark colours. (Rothstein, 1984, pp.55-57)

By the early 1770's suits of one colour were worn, and 'drab' (a light brown) was a particularly popularshade. The waistcoat continued to be the focal point of decoration in the male wardrobe but it be-came both shorter and straighter in the second half of the century. (Byrde, 1979, p.80)

Back of Robe09

fashion and textiles essay - object analysis - page ten

fashion and textiles essay - object analysis - page ten

a womaniser, and dubbed by some ‘the Hibernian Seducer’, Bellamont was a proud man, but he was

a noble one, and he was committed to his country, which was Ireland. At the same time, he desired so-

cial recognition, and was concerned about his reputation about town in London, where regardless of his

regional origins and his strenuous opposition to the 1801 Act of Union, he was highly regarded.

His dress in this picture, may indeed at a first glance, appear to be somewhat ridiculous in our present

fashion climate, but the dress is no more ridiculous than any other court dress or robes of the orders of

chivalry. The only questions that can be asked really about the apparent excesses here are: Firstly, why

did the Earl choose to be painted in the costume at all? and secondly, Why, when he chose to be painted

in such a costume did he adopt such a nonchalant and incredibly casual pose. Both questions can be

answered with a little more study of both the painting and contemporary as well as secondary sources.

Sartorial magnificence was not, however, forbidden. Despite the marked simplicity of their appear-ance, observed Saussure, "the English are magnificent when necessary... Lords and other persons ofrank" respected the etiquette that distinguished casual morning dress from official attire for prome-nades, the theater [sic] and court, "especially on state occasions" when they appeared "richlydressed" in "the most magnificent attire and garments".(Byrde, 1979, p.9)

It is necessary to be aware of the fact that fashionable people, and this includes the country squire orgentry of the Eighteenth-Century, were very pre-occupied with the correct dress for different occa-sions. As well as undress and formal day wear, there was also full dress for Royal Birthdays, wed-dings, balls, etc, which required first class fabrics whether of wool or silk with the attendantaccessories, particularly lace and fine linen and good quality fashionable braid trimmings... The fash-ions for the remaining years of the century, 1770 - 1800, became increasingly casual and careless andwere a reflection of the social changes taking place. (Hart, 1980s, pp.9-10)

In Discourse IV in which Reynolds discusses the main characteristics of the 'Grand Style' and historypainting, he considers the importance of 'expression' to denote rank: 'Those expressions aloneshould be given to the figures which their respective situations generally produce. Nor is this enough;each person should also have that expression which men of his rank generally exhibit.' Not surpris-ingly the issue of rank is associated with the male subject. Whether these conventions were those ofhistory painting, or were applied as in many of Reynolds's commissions to masculine portraiture, thedisplay of political, military or hereditary rank was part of the public culture of the upper classes. Fol-lowing Van Dyck's models of aristocratic portraiture, Reynolds often used dress to denote rank orsuggest status as in the elaborate Hungarian military uniform (as fancy dress) worn by Mr Peter Lud-low (1755, Marquess of Tavistock) or the gorgeous ceremonial robes of the Knight of Bath worn byClarles Coote, Earl of Bellomont [sic] (1774, National Gallery of Ireland). (Perry, 1994, p.21)

We see from these three quotes that dressing according to rank was something that was at the heart of

Eighteenth-Century Fashion. Also if one had to choose what clothes they would wear for their portrait with

the leading artist of the day, this portrait being a status symbol in and of itself, surely they would choose

an outfit that reflected their status and rank in society. In fact, the pose adopted by Reynolds and Coote

for this portrait reflects, if not humility, then certainly a groundedness and a sense of not really being all

that bothered by the pomp and grandeur of the court. In addition to this, Reynolds, as the President of

the Royal Academy and the most prominent portraitist in 18th Century England, clearly brought his own

ideas to the table and depicted the sitter in a manner that he considered to be appropriate to the rank

and personality of the sitter. Bellamont had fought a duel (see ap-

pendix c) to defend his honour and to enforce his stern belief in the

due course of the laws of the realm and although losing, this had

given him much respect from others who shared in his belief in the

system. Perhaps he desired to counter this image with something a

little more relaxed, to show that although he held himself to be a

man of honour, he also knew how to have a good time.

When we turn to other portraits of Knights of the Bath by Reynolds,

we can see a similarity between ours and the portrait of Prince

William, Duke of Cumberland, the younger son of the King of Eng-

land who is painted here in his robes of the Order of the Garter.

In contrast to the Portrait of Bellamont, the heavy feathered hat of the

Order of the Garter is sitting on an adjacent table, as is to be found

with most portraits depicting elaborate costumes and heavy crowns

or hats. The same theatrical backdrop focuses the viewer’s gaze on

the face of the sitter and he is no less decadently dressed. His pos-

tural pose, however, is more formal and traditional than the Earl of

Bellamont’s. This makes him appear to be slightly ‘stiffer’ in person-

ality and less relaxed, but also more regal. There is a striking similarity

between this and the portrait of ‘George Nugent-Temple-Grenville,

2nd Earl Temple’ by Robert Hunter. This painting from 1783 shows

Temple in the Robes of the Order of the Garter and here we see the same rosettes between the stock-

ings and breeches and again on the shoes as we do in the portraits of Bellamont and Cumberland.

I have selected two other paintings of Members of the Order of the Bath by Reynolds, those of George

fashion and textiles essay - object analysis - page eleven

fashion and textiles essay - object analysis - page eleven

Reynolds, J, ‘Sir Joseph Banks KB’10

Hunter, R, ‘George, 2nd Earl Temple’11

Eliott and Joseph Banks. In both we see a contrast with the theatri-

cal portraits of Bellamont and Cumberland due to an absence of

pomp and glamour. The sitters are shown in their field of occupation

and it is suggested subtly by this that they are of a lower standing in

the social hierarchy than Bellamont and Cumberland, that’s not to

say they go shown to be without merit though. Banks is shown as

an intelligent planner and Eliott a brave leader in the battlefield.

In summing up his analysis of Reynold’s painting of Charles Coote,

Fintan Cullen describes Bellamont as being, although a Protestant,

tainted by what Oliver Goldsmith called 'long conversation with the

original natives'. He goes onto describe the Irish Protestant as a vic-

tim of cultural confusion.

I disagree with Cullen’s opinion on Coote, I see the clash of casual posture with formal dress not as

confusion and a struggle for cultural identity, but as a representation of Coote’s hybrid personality.

He was a man who was well respected in the London court and also by his Irish peers, a man who was

loyal to the King but loyal to Ireland and who strongly opposed the Act of Union, a man with a strong

sense of tradition and chivalry, but also a weakness for women and a relaxed more provincial attitude to

life. This painting by Reynolds brings out all these diverse characteristics of the sitter,

Sir Charles Coote, 1st Earl of Bellamont.

Word Count: 2483

fashion and textiles essay - object analysis - page twelve

fashion and textiles essay - object analysis - page twelve

On the one hand, Bellamont fulfilled the expectation of a gentle-man of his position in obtaining a likeness from the leading Lon-don portraitist of the day, while, on the other, he had himselfportrayed in a most extravagant fashion. That portrayal, notcommon in Reynolds's wide range of poses, suggests alterna-tive explanations. The Irish connection is thus a vital one. Theneed to travel to London and sit for Reynolds is proof... of thecultural interaction that is an important element in the relationshipbetween centre and periphery... That confusion is visualised by amember of the Anglo-Irish élite fulfilling the stereotypical expecta-tions of the Irish in England, while at the same time being paintedby the most celebrated sponsor of universal classicism in Lon-don. Bellamont's outlandish display invokes a regionalist response and not the lack of specificity andtimelessness expected of a Reynolds portrait. (Cullen, 1997, p.90)

Reynolds, J, ‘George Eliott, Lord H~’13

Reynolds, J, ‘Prince William, Duke C~’12

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Charles (Coote), 1st Earl of Bellamont dressed in the robes of the most honorable order of the Bath

by Sir Joshua Reynolds, PRA.

fashion and textiles essay - bibliography - page thirteen

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fashion and textiles essay - bibliography - page fourteen

fashion and textiles essay - bibliography - page fourteen

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Prothero, Rowland Edmund, Earl of Sheffield, (2006) Private Letters of Edward Gibbon 1753-1794 Volume 1, Whitefish, MT, Kessinger Publishing

Reynolds, Joshua, (2004) Seven Discourses on Art, Whitefish, MT, Kessinger Publishing

Ribeiro, Aileen, (1984) Dress in Eighteenth-Century Europe, 1715 - 1789, London, Batsford

Ribeiro, Aileen & Valerie Cumming, (1989) The Visual History of Costume, London, Batsford

Robinson Planché, James, (2005) History of British Costume: From the Earliest Period to theClose of the Eighteenth Century, Boston, Adamant Media Corporation

Rooney, Brendan and Nicola Figgis, (2001) Irish Paintings in the National Gallery of Ireland,Dublin, National Gallery of Ireland

Rothstein, Natalie (Ed.), (1984) Four Hundred Years of Fashion, London, William Collins, Sons & Co.

Scott, Robert, (2007) History Of The Reign of George III - Vol III, Paris, France Press

Sime, John, (2007) Sir Joshua Reynolds, Whitefish, MT, Kessinger Publishing

Unknown Author (1804) Public Characters of 1801-1802, London, Richard Phillips

Waugh, Nora, (1987) !e Cut of Men's Clothes: 1600-1900, London, Theatre Art Books.

Wendorf, Richard, Sir Joshua Reynolds: The Painter in Society, Boston, Harvard University Press

books

articles

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robes of the most honorable order of the Bath,’ Dublin, National Gallery of Ireland

Reynolds, Sir Joshua, PRA, (1771-72) ‘Sir Joseph Banks,’

London, National Portrait Gallery

Reynolds, Sir Joshua, PRA, (1787) George Augustus Eliott, Lord Heathfield,

London, National Gallery

Reynolds, Sir Joshua, PRA, (1758), ‘William Augustus, Duke of Cumberland,’

Chatsworth, Derbyshire, The Devonshire Collection

Reynolds, Sir Joshua, PRA, (1772), ‘Oliver Goldsmith,’ Dublin, National Gallery of Ireland

Hunter, Robert, (after 1783) George Nugent-Temple-Grenville, 2nd Earl Temple (1753-1813),

Dublin, National Gallery of Ireland

Mannings, David and Nicholas Penny, (1986) 'Arising from the Reynolds Exhibition,'

The Burlington Magazine, Vol. 128, No. 1003, Special Issue devoted to British Art from 1500

to the Present Day. (Oct., 1986), pp. 760-763

websites

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of the Bath,’ Orders of Chivalry,Available: http://www.societies.cam.ac.uk/cuhags/orderofc/bath.htm

(05.12.2007)

Royal Insight Magazine, (2006) ‘The Order of the Bath’ May 2006,

Available: http://royal.gov.uk/output/pages5296.asp

(24.11.2007)

fashion and textiles essay - bibliography - page fifteen

fashion and textiles essay - bibliography - page fifteen

paintings

fashion and textiles essay - bibliography - page sixteen

fashion and textiles essay - bibliography - page sixteen

websites

Lundy, Darryl, (2007) 'Sir Charles Coote, 1st Earl of Bellomont: Person Page 5841,' A genealogical survey of the peerage of Britain as well as the royal families of Europe,

Available: http://www.thepeerage.com/p5841.htm#i58403 (01.12.2007)

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(01.12.2007)

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http://www.virtualmuseum.info/collections/themes/costume_gallery/html/order_bath.html (01.12.2007)

Ede and Ravenscroft, (2007) 'The Most Honourable Order of the Bath,' About Us: Orders of Chivalry,

Available: http://www.edeandravenscroft.co.uk/about-us/OrdersOfChivalry3.htm (15.11.2007)

Clerkin, Paul, (2007) 'Sir Edward Lovett Pearce (1699-1733),' Architects of Ireland, Available: http://www.irish-architecture.com/architects_ireland/pearce.html

(02.12.2007)

The Uk Honours System, (2007) 'The Orders of Chivalry,' Types of Honour, Available: http://www.honours.gov.uk/honours/chivalry.aspx

(03.12.2007)

Robertson, Alex, (2007) 'Insignia of the Most Honourable Order of the Bath,' British Medals,

Avaiable: http://www.medals.org.uk/united-kingdom/united-kingdom006.htm (03.12.2007)

National Maritime Museum, (2007) 'Robe of a Knight Grand Cross of the Order of the Bath(UNI0168)' Collections Online, Available:

http://www.nmm.ac.uk/collections/explore/object.cfm?ID=UNI0168&picture=2#content(30.11.2007)

Telegraph.co.uk Arts Section, (2002) 'Lots of information - and a few very pretty pictures,' Arts,

Available: http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2002/06/26/bagayf26.xml(30.11.2007)

fashion and textiles seminar group - appendix a - page seventeen

An extract from the analysis of the Painting as published in Anne Hollander’s Book, Fabric of Vision: Dressand Drapery in Painting, which accompanied an exhibition of the same name in the National Gallery, London

appendix a

Portrait painters had always obliged a sitter who wanted to record the formal signs of his rank.

Clearly such a one was Charles Coote, 1st Earl of Bellamont, as painted by Joshua Reynolds

in 1773. This image of the sitter in the robes of a Knight of Bath has an instant theatrical au-

thority, imposed by the lateral swing of the stage drape, visibly held up by stage rope, which

forms a background for the earl's immense headpiece - a metre-high array of plumes worthy

of Louis XIV playing the Sun King. This hat and its dozen upright feathers is not on the floor or

a nearby table, where the overbearing crown or heavy helmet usually sit in ceremonial royal

and noble portraits. It irses straight up from the sitter's head as if he were indeed the god or

hero in a masque.

His hero's armour is on the floor instead, backed up by a large banner bearing his title in gold

letters. Over his shoulders flows the order's double-layered, rose-pink cloak, mantling his fig-

ure down to the floor near the armour and the banner. Balancing the upward thrust of the

feathers on his head, the thick silken ropes holding the cloak at his neck fall to the waist to

form an enormous loosely hanging, double-looped knot, from which two bulbous gold tassels

dangle down between his thighs.

Magnificance is at a peak in this portrait, where Reynolds has employed the devices of French

artists such as Rigaud, who were recording its glories earlier in the century for Louis XIV and

Louis XV, and blended them with Van Dyck's inventions early in the previous one. Cloak, cur-

tain and banner billow pictorially around the young earl whose dark hair flows forwards over

one shoulder in another suggestion both of the Sun King's curls and of the hanging locks on

Van Dyck's dandies. The earl's suit, however, with its knee-level garter-bows, shoe roses and

complete system of a bodily wrinkles, is very like the one worn by the comedian in the Watteau

painting we saw earlier - its ceremonial, pageant-like function can't help giving it stage associ-

ations, emphasised in this painting. Only the earl's greek statue pose, often used in England at

this period, strikes a modern Neoclassical note.

The overall tone is one of perfect conviction about rendering noble splendour as a theatrical

artifact, largely made out of the painterly draping of rich fabric in stagy ways; but such convic-

tions began to subside along with the century. (Hollander, 2002, p.96)

fashion and textiles seminar group - appendix b - page eighteen

An extract from the analysis of the Painting and what it says about the earl from Fintan Cullen’s Book,

Visual Politics: !e Representation of Ireland, 1750-1930,

appendix b

The Irish earl is certainly spectacular in appearance: his fine figure is emphasised by the deli-

cate turn of the body and the casual crossing of the legs, his handsome face fully lit and

framed by the costume and plumed hat. The military capability of the sitter is reinforced by the

surrounding paraphernalia of standard, helmet and sword. Equally, from what we know of Bel-

lamont, his personality was distinctly idiosyncratic. His early education in Geneva and a fond-

ness for French ways led him to be allowed to deliver his maiden speech to the Irish House of

Commons in that language, while a contemporary claimed that his 'ruling passion was

women,' another calling him 'the Hibernian seducer'. His sartorial tastes ran to diamond shoe

buckles and he was a stickler for hierarchical precedence and formality, yet another contem-

porary referring to him as 'a personage of disgusting pomposity'. His vanity indeed led him to

challenge Lord Townshend, the former Lord Lieutenant of Ireland to a duel in London's Maryle-

bone Fields in February 1773, where Bellamont was duly wounded in the groin. Although du-

elling was on the decline in 1770s England, this was not teh case in Ireland, where it acquired

the dimension of what Joep Leerssen has called a national characteristic. It could also carry a

patriotic dimension, for, as James Kelly has recently shown in his study of duelling in Ireland,

Bellamont's quarrel with Townshend may well have ended in the former Lord Lieutenant's

favour but Bellamont, on return to Ireland, was hailed as a hero. The Hibernian Journal of 22

October 1773 claimed that:

The duel occurred some six months before Bellamont's first recorded sittings for Reynolds.

What lay behind the commissioning of the portrait? Was it a personal celebration by Bellamont

of his current popularity or a form of public distraction from what was also a private humiliation

and an ethnic embarrassment?

(Cullen, 1997, p.86-88)

The call which brought him to the field of honour was not the idle whim of a modern duellist, nor theinstantaneous spirit of blood thirsty revenge; it was the cool deliberation of many months; it was thedetermined result of serious thought, actuated by a love of his country, which would not bear thateven the representatives of majesty should, unpunished insult the dignity of a subject.

An Account of the events leading up to the Duel fought between Lord Bellamont and Lord Townshend

from: Unknown Author (1804), Public Characters of 1801-1802, London, Richard Phillips, (Pages 177-184)

fashion and textiles seminar group - appendix c - page nineteen

appendix c

[Lord Townshend,] having given some umbrage to Lord Bellamont during his residence in Ireland; thatnobleman followed him to England, and a duel ensued in which the latter was wounded.As this dispute between these two noblemen occasioned much noise at the time, and the wholebreathes the spirit of ancient chivalry, it may not be uninteresting to detail the particulars in this place. OnLord Townshend's return from his government, Lord Bellemont repaired to England and employed LordCharlemont, a nobleman of great respectability, to wait on the Ex-Viceroy with the following paper, ex-planatory of the nature of the offence given at the castle of Dublin, in February 1770: "I wait upon yourLordship by desire of Lord Bellamont: First, to return your Lordship his thanks for the recommendationsto the King with which you honoured him, and for which it was his intention to have thanked you in per-son, if you had done him the favour to receive him the last time that he attended by your Lordship's ap-pointment for a private audience. I am further to acquaint your Lordship, that Lord Bellamont thought ithis duty not to break in upon your Lordship upon an earlier day, lest he should interrupt you in giving anaccount of your high commission to the King, or in taking an account of your own important affairs. Butas your Lordship has now been twelve days in town, he conceives that he may with propriety remindyour Lordship of the disrespect thrown upon him by the message delivered to him from your Lordshipby your Aide-de-Camp, of which Lord Bellamont makes no doubt that your Lordship retains a perfectrecollection; it having been of that force as to have obliged him to resign his appointment in the army, inorder that he might be at liberty to call upon your Lordship for an adequate apology, without incurringthe King's displeasure. But lest your Lordship should not have a minute recollection of that transactionat this distance of time, Lord Bellamont has stated as follows:When Lord Bellamont, after several repeated attendances by appointment, on all which occasions hehad been put off without seeing your Lordship, did again wait upon your Lordship by appointment: TheAide-de-Camp in waithing having gone down to your Lordship and returned, addressed Lord Bellamontin an audible voice, and acquainted him that he need not wait any longer, for that your Lordship wouldnot be at leasure to see him that day; and at the same time turning to several other persons of differentranks and professions, he told them that your Lordship requested they would wait as your Lordshipwould see them, however late it might be before you could finish with them, or words to that effect.Lord Bellamont replied to the Aide-de-Camp, 'His Excellency will be pleased to ascertain at what timehe will see me. I have already waited several times by appointment, and have been sent away eachtime.' To which the Aide-de-Camp brought back the following message to Lord Bellamont: 'His Excel-lency commands me to tell your Lordship, that he usually does military business on Wednesdays andany other business on Thursdays: that if your Lordship comes on either of those days, and that his Ex-cellency shall be at leisure, he will see you among others in your turn.' To which Lord Bellamont replied,'Sir, you will be so good as to inform his Excellency, that as a Peer of the realm, I have a right to an audi-ence: but if his Excellency does not know what he owes to me, I know what I owe to myself, and there-fore will not wait upon him here or elsewhere; I will write a letter to his Excellency stating my business, towhich I expect he will show due attention, as it nearly concerns a respectable corps of officers. This, my

Lord, is, as Lord Bellamont conceives, an exact state of the reciprocal messages which passed be-tween your Lordship and Lord Bellamont: but as he did not take them down in writing, he cannot pos-tively aver each syllable. This, however, he can positively affirm, that such was the matter of themessage, and the terms in which it was conceived, though manifestly softened by the Aide-de-Camp,that the idea which it conveyed to every person present was that of an intentional indignity, wantonlycast on my Lord Bellamont by your Lordship."Lord Bellamont conceives that an Aide-de-Camp is the authentic messenger of his superior, and, there-fore, that the message delivered by the one, is as the litera scripta of the other. Lord Bellamont consid-ers your Lordship alone responsible to him, and your Lordship is the only person with whom he is toaccount. The injury is of public notoriety, and therefore an affront upon record, which does not admit ofany negotiation."

Lord Townshend having asked what apology Lord Bellamont required; Lord Charlemont read the follow-ing article: "The only apology which the nature of the offence will admit of, is, that of asking Lord Bellam-ont's pardon. Lord Bellamont does not mean to hurry your Lordship in any thing, but expects yourLordship's answer in a reasonable time, at all events one day at least before your Lordship leaves town."Lord Townshend made answer: "I cannot ask pardon, as it would be an acknowledgement of an of-fence I never intended."Lord Charlemont replied: "I am not at liberty to take back any other answer to Lord Bellamont than, thatyour Lordship asks his pardon, or desires to take time to consider of asking it. I therefore intreat yourLordship will reflect before you lay me under the absolute necessity of delivering another message toyour Lordship, which Lord Bellamont sends with the utmost regret, and which I deliver with equal reluc-tancy."Lord Townshend having persisted in his refusal, Lord Charlemont read to Lord Townshend the followingmessage:"I am enjoined by Lord Bellamont to tell your Lordship from him, that he considers you divested of everyprinciple that constitutes the character of a man of honour."Upon Lord Charlemont's delivery of this last message, Lord Townshend begged his permission to call ina friend to be witness of it. Colonel Frazer having come in, Lord Townshend requested that LordCharlemont would again read this last message. Lord Charlemont then read the entire paper a secondtime, and being requested by Lord Townshend to carry back an answer to Lord Bellamont, LordCharlemont, comformable to his private instructions from Lord Bellamont, replied, that any messageLord Townshend might have to send, might be sent by a messenger of his own.On Saturday the 26th, at half an hour after eleven o' clock, Lord Bellamont received the following letterfrom Lord Ligonier:"My Lord,I have a message to deliver to your Lordship from Lord Townshend, and beg to know when i may be al-lowed to wait on you. I have the honour to be,My Lord,Your Lordship's most obedient,Most humble servant,Ligonier. Dec. 26, 1772, North Audley Street

To which Lord Bellamont sent the following answer.

fashion and textiles seminar group - appendix c - page twenty

fashion and textiles seminar group - appendix c - page twenty one

My Lord,I this morning received the honour of your Lordship's letter, communicating to me that you have a mes-sage to deliver to me from Lord Townshend, and desiring to know when I shall be at home to receiveyour Lordship. I shall not go abroad to-morrow, but will wait at home to have the honour of receivingyour Lordship, and any commands you may have for me. I have the honour to be,My Lord,Your Lordship's very humble,And obedient servant,BellamontCurzon Street, Saturday night, half past 11 o' clock

Note - On Sunday morning, at eleven o'clock, Lord Ligonier waited on Lord Bellamont, who anticipatingLord Ligonier, said, 'Before I receive the message your Lordship has to deliver to me, I must beg leave tocall in Lord Charlemont, in order that, as Colonel Frazer was present at the delivery of my message toLord Townshend, Lord Charlemont may be present at the delivery of Lord Townshend's message tome:' to which Lord Ligonier immediately consented.Lord Charlemont being called in, Lord Bellamont said, the transaction had, he supposed, been relatedto Lord Ligonier on the part of Lord Townshend. He wished that it should be related by Lord Charlemonton the part of himself, for he should be concerned to be misconcieved by Lord Ligonier, for whom hehad a high respect; and the moment Lord Ligonier should have delivered my Lord Townshend's mes-sage, he did not think it proper for himself or friend to speak another word; of which Lord Ligioner havingexpressed his approbation, Lord Charlemont read the paper to Lord Ligonier, which he had by Lord Bel-lamont's desire read to Lord Townshend. Lord Ligioner then addressing Lord Bellamont, said, 'What willyour Lordship say, when, notwithstanding the force of this message, I tell you I am authorized by LordTownshend to assure your Lordship he never meant to offend you?' Lord Bellamont, after a little pause,replied, 'I confess, my Lord, this is more than I expected; But since then Lord Townshend's first care isto justify his intentions towards me, even under his present situation, let him do it in such a manner as tojustify me in releasing him from that situation. The apology your Lordship has now delivered to me is notyet entirely sufficient.'Lord Ligonier desired leave to go back to my Lord Townshend, and shortly returned with the followingmessage:' Lord Townshend has already assured your Lordship he never meant to offend you. He furtherassures you he is sorry for the affair.'Lord Bellamont then said, 'Before I proceed any further, I must desire that Lord Ancram be sent for, ashe has this morning accepted the office f being my friend in the field, if I should be called upon.' LordAncram being arrived, and informed by Lords Charlemont and Ligonier of what had passed, the LordsCharlemont and Ancram declared, that nothing more could be demanded; and then, with Lord Ligonier,said, that Lord Bellamont could not surely require that Lord Townshend should ask his pardon for an of-fence which he had now in the most satisfactory manner declared he had never committed. Lord Bella-mont made answer, 'My Lords, I feel as you do, that every thing is implied in this apology, but it isnecessary that it be fully expressed;' and having desired leave to retire into another room to consider thematter more clearly, he returned with the following written paper, which he gave to Lord Ligonier, tellinghim at the same time, that eh did not tie down to the letter, but that was the purport of the only repara-tion he could receive, viz 'Lord Townshend does admit, that the message delivered to Lord Bellamont byhis Aide-de-Camp was highly offensive; he therefore disavows it as such, and declares that it was not inhis intention to give Lord Bellamont any offence, and that he is very much concerned for the mistake.'

fashion and textiles seminar group - appendix c - page twenty two

Lord Ligonier accordingly waited on my Lord Townshend with the said paper, and brought back to LordBellamont an apology consonant to the full and entire purport of it, conceived in the most satisfactoryterms. Lord Bellamont immediately requested Lord Ligonier would assure Lord Townshend, that as LordTownshend had, by that last apology, done away the foundation of the message delivered from him toLord Townshend by Lord Charlemont, he had very great pleasure in declaring it cancelled and annulled.

Lord Ligonier then wrote:"I cannot refuse signing the paper delivered to me this morning without assigning my reasons for it, and Iflatter myself the motive of my declining it will justify me to the world. I assent to the facts and progres-sions as stated but i was misunderstood if what i said relative to Lord Townshend was considered as amessage from him. It certainly was not Lord Townshend's intentions it should be so, though I was au-thorized to say it from Lord Townshend to Lord Bellamont, which distinction I did not make to Lord Bel-lamont. As I wished, from motives of humanity, to bring the affair to an honourable conclusion, withoutcoming to extremeties, I proposed returning to Lord Townshend: my view in doing so was that of pro-moting an accomodation honourable to both. If I conveyed any other ideas to the Lods on my returnfrom Lord Townshend, then a confirmation that his Lordship had intended no affront or injury to LordBellamont, and that he disapproved the manner of the Aide-de-Camp, I have to regret that i had not thegood fortune to explain myself according to my own ideas and those of Lord Townshend.In justice to my Lord Townshend, I must beg leave to observe, that whatever expressions of concern hemight make use of on this misunderstanding, arose from the regret every man of honour must feel undera supposition of having given offence. This is what I understand from Lord Townshend, and what Imeant to convey.I cannot but persevere in declining to sign the paper, as I find, upon consideration, thatwhat I thought an explanation equally honourable to both, may be construed into a submissive apology,which must appear humiliating to my Lord Townshend.What impressions may have been received from any expressions of mine, in the many private conversa-tions I have had on this painful event, I will not presume to determine; but I declare, upon my honour, Ihave had no other view than to terminate this affair to the honour of all parties, and shall lament if my en-deavours should be frustrated. -Ligonier

On Sunday morning Lord Ligonier waited on Lord Bellamont, and the explanation alluded to above tookplace; but, owing to some unfortunate misconception, the affair was not made up. According to agree-ment, therefore, the parties met on the afternoon of February 2, 1773, between four and five o' clock inMary-le-bone fiends, and, after the usual ceremonies had taken place, Lord Townshend fired first, andwounded Lord Bellamont with a ball in the right side of his belly, near the groin, while the latter dis-charged his pistol immediately without effect.Their Lordships behaved to each other in the field with a politeness denoting the most refined gallantry.Each was armed with a case of pistols and a small-sword, but it was determined to use the former first.When they had taken their ground, Lord Bellamont pulled off his hat; the salute was immediately re-turned by Lord Townshend, who asked his antagonist which of them he would wish to fire first? On thishe desired Lord T who instantly complied. Mr. Bromfield extracted the ball, and his Lordship not only re-covered but lived to a good old age.The seconds were - for Lord Bellamont, the Hon. Mr. Dillon and for Lord Townshend, Lord Ligonier.