On June 29, 1613 during the first on-stage production of Henry VIII, the Globe Theater of Shakespeare fame burned to the ground. Quickly erected and quickly raised, the theater reminds fans of the Elizabethan era that even the best figures from history had their problems.
Shakespeare and his band of thespians known as “The Chamberlain’s Men” performed theater in the round which meant that the audience and the actors had the intimate experience of close proximity. There were no female actors at the time as such a practice was illegal and viewed as obscene. So whether the character was Romeo or Juliet, the actor was male and this was not strange. In fact, the tradition of male actors playing female leads continues today in British pantomime (Christmas Plays) performances.
As theater developed into its modern form, the plays, performances and skills of the various actors and writers were a constant source of conversation. Those who performed best, created the most drama and put on the most captivating stories were rewarded with packed houses and good reviews in the morning papers. For this reason, special effects played a large role in productions and Shakespeare and his company were no exception to this as during his life, he was just another writer trying to improve his credentials.
Without modern safety equipment such as fire extinguishers and smoke alarms and without the close proximity of a municipal fire brigade, devastating structural fires were common during the period. In fact it would be only a few decades later that the Great Fire of London (1666) would take place, raising a vast portion of the capital to the ground.
The term “Renaissance”, or rebirth, was coined by historians in the mid 19th century to describe the period in Western European history that was characterized by a resurgence of ideas, philosophies, and culture from the classical period. A golden age of cultural, intellectual and ideological movements occurred between roughly the early 14th to the late 16th century in Europe that drew on many elements of classical Greek and Roman history. From the decadence of the Middle Ages and the fall of the Roman Empire, the Catholic Church increasingly exerted a dominant influence on European life and became the defacto broker of power in Europe. So it was that within this cultural setting, the dominant ideas of the Renaissance emerged from the collection of city-states in Italy and proliferated throughout Europe via the well connected commercial routes of the time.
Florence, in particular, was emerging as a powerful city-state through its commercial strength as a textile producer and banking center. Its burgeoning economy and growing mercantile class made it a focal point for the cultural transformations that would be associated with the Renaissance. The fall of the Byzantine Empire also fueled change in Western Europe as exiled Greek scholars established themselves in the west, bringing with them copies of classical philosophical texts, literature, and salvaged art works and opening to the Europeans a door to the riches of the classical Greek and Roman periods that had been lost through the centuries of internal tribal warfare and barbaric invasions.
Money from the new middle classes went towards commissioning artists and architects to create masterpieces in quantity and scale unmatched till then. Artists such as Giotto, Ghiberti, Brunelleschi, Donatello, Masaccio, Lippi, Ghirlandaio, Botticelli, Lotto, da Vinci, Michelangelo, to name a few, elevated art to a new level and form of cultural expression. The Renaissance began to flourish in the kingdoms to the north of Florence as well, with new ideas and momentum of change spreading along trade routes. Venetian Italy and the regions of the Netherlands also were transformed by new ideas, aesthetics, and commerce.
New intellectual movements stirred Western Europe as well. Authors such as Sir Thomas More and Erasmus of Rotterdam made notable contributions to a growing canon of western intellectual thought on humanism and the capacities of the individual to reason and contend for themselves with the depths of the human spirit. A growing intellectual need arose to balance a world image dominated and guided by religion with a concept of a mankind’s experience on earth as a breathing, thinking being exercising a measure of self determinism.
| The Renaissance looked to the past, to the classical period, in order to push itself forward. A fascination with art and literature and thought from a previous era contributed to an era of new literary, artistic, and intellectual development for the Europeans. |
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The man who had come to be known as “Queen Elizabeth’s Merlin,” John Dee, was born in London in 1527 but, by the age of fifteen, had already moved on to the halls of Cambridge University. There he established a routine that he would maintain until his death the age of eighty-one: two hours for meals, four hours for sleep and eighteen hours for study.
Following Elizabeth’s ascension to the throne, Dee spent the next twenty years as royal authority on matters of both astrology and science for the Queen– then viewed as intertwined fields – and even provided advice on exploration of the New World, coining the term, “the British Empire,” in the process. It’s even said that Elizabeth chose her 1559 coronation date on the advice of her personal mystic.
In 16th century Europe, Spanish fashion set the pace for trends among the noble classes. Both men and women took to the Spanish style of close-fitted doublets, narrowed sleeves and waists and a general austerity in color choice. One accessory of clothing that came from Spain and lived a brief life of popularity in fashion circles was the berne or sbernia (Italian.) This rectangular mantle would have been worn by women as a covering over the head and shoulders or wrapped under one arm and knotted at the opposite shoulder in an ‘apostolic’ fashion. Its male counterpart was a cloak worn in the military and of similar style though constructed of coarse wool and imported from Ireland (Hibernia)– suggesting another etymology for the word. 
Essentially the berne or sbernia was a draped cloak meant to adorn the feminine posture, reminiscent of the classical period and somewhat incongruous to a contemporary fashion of wide farthingales and bolstered shoulder padding. Nonetheless it had its moment: a woman of the mid-1500s wearing her berne and paired with a nobleman in his Spanish cape, who donned high collar and trim doublet and wore his swept hilt rapier at his side, made a stately image.
Considering the ubiquity of pants in contemporary costume throughout the West and more and more visibly in the East, it is interesting to note that they were not a staple in men’s fashion until very late in recorded history. Pants or trousers really only became a feature of fashion after developing from the hose and breeches of the 15th through 18th centuries. What we see men and women wearing today is a variation of something quite different that evolved in men’s costume as tunic’s became shorter in the medieval period. 
In the 12th century the tunic dropped to about knee-length and men would wear often loose-fitting hose underneath. The hose would rise above the knee and would fasten to drawers (called braies) or be held in place by leg bands, thus providing warmth and coverage but still not considered a separate garment. By the middle of the 1300s hose were made of progressively tighter knits and as they became more fitted they also rose in length to compensate for the shortening of the tunic. As the tunic shortened and gave way to the more form-fitted doublet (that initially was worn under the tunic but soon dominated as a form) the hose gained in length and would be fastened to the doublet. The doublet narrowed at the waist and flared slightly at the hips to accentuate a certain ideal of figure and the well-fitted hose complemented this. By the 14th century it was typical for hose to form a single garment (as opposed to the separate pieces for each leg) and since the doublet had become even shorter with time the hose would be refitted for modesty by the attachment of a codpiece.
Towards the 1500’s the hose again transformed and evolved to become a single garment that ended at the knee and which the wearer would complement with separate stockings held up over the knee with garters. This shorter version of the hose would lead to the padded hose which would express, in their girth, a flamboyance and degree of excess compatible with the spirit of Western Europe in the 16th and 17th centuries. The padded hose then gave way to rich silk and satin breeches that would dominate until the period of the French Revolution and the dissolution of certain class ideals and distinctions. 
