A brief history of eyeglasses from 1000 C.E. through the Middle Ages and to the Present. At about the turn of the first millenium, a Muslim scientist referred to in Latin as Alhazen, wrote a treatise titled The Book of Optics which became a foundational text in the study of, among several things, optics and experimental physics. He is thought to be the first person to have written about the use of a magnifying tool for improving vision through the convex shaping of glass. The use of glass or crystals to improve clarity of vision existed in various rudimentary forms from earlier points in history but was only documented and described in a more technical manner in the early part of the 11th century.
By the end of the 13th century this early evidence of corrective glass called a reading stone (often held at a distance from the eye, for example pressed directly against text to be enlarged) gave way to the first spectacles to be used on the face. These first quartz crystal lenses would be set in frames linked by a bridge to hold on the nose but did not have framing to hold the spectacles to the face so that ribbon or some other make-shift device would be devised to keep them in place. 
The ruff, an extension of a simple collar, that appeared in the 16th century was a form in fashion that grew in length and breadth after its introduction and took on symbolic as well as aesthetic meaning.
It grew out of the gathering of fabric at the neckline of the typical chemise, or undergarment, worn under outer layers of clothing. The chemise served to protect the outer garments from excessive wear and washing and were usually made of sturdier linen that could be bleached and cleaned with frequency. The collection of fabric at the neckline, that would be tied or cinched and form a small collar, would often stand out in its whiteness and in its fabric composition against the features of the wearer’s outer garments. By virtue of this initial distinction, it came to have an importance in its own right and the aesthetic language of the collar, or more elaborate ruff, broadened accordingly.
The ruff survived longest as an accessory in Holland, after evolving quickly and becoming a form separate from the chemise, where it also grew to the most extravagant sizes– cartwheel ruffs were popular there up until the mid-17th century and were often so wide, up to a foot and a half, as to require wiring to retain their shape. Otherwise, the shape of ruffs was maintained by use of starch. The rigidity of the ruff thus ensured that the wearer projected a dignified pose that, because of hindered movement, suggested a life of leisure and attendance to.
| Women as well as men adorned themselves with the exaggerated ruffs, and it was women’s fashion that led to further adaptations in its style such as the opening of the form at the center to enhance femininity, if not to facilitate eating and movement. Eventually, the ruff gave way to the standing collar and gradually less expansive collars, but essentially paved the way for centuries of further enhancements and embellishments at the neckline. |
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**image–”The Ermine Portrait”. Painted in 1585 by Nicholas Hilliard
**image–Frans Hals (Antwerp 1581/5-1666 Haarlem) Portrait of Conradus Viëtor (1588-1657)
**image–Lady with lace collar. Scipioni Pulzone (before 1550-1598).Oil on copper. Italy, ca. 1580
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