For both sexes a pale complexion remained, as in the Middle Ages, a desired feature of their appearance. A light white powder and blush of rouge may have been used by a few women to enhance their complexions, but cosmetics were not generally used until Elizabeth's reign [...].
Although cosmetics were not much used in the early Tudor period, perfume was popular with both sexes. Scents were imported from the Continent, but men and women also created their own recipes chiefly based on herbal properties [...]. Perfume was an aesthetic necessity in Tudor and Elizabethan times, acting as a deodorant. An additional "deodorant" was provided by the pomander.
Pomanders (pommes d'ambre, literally "amber apples") were introduced to England about 1500. The "apple", which was frequently attached to the sash ends of a girdle, contained scents and herbs, including nutmeg, rosewater, aloes and ambergris. [...] Pomanders continued to be fashionable throughout the reign of Elizabeth I. Apart from their aromatic quality, men and women believed in their medicinal value. Presumably they felt that no disease could flourish in the proximity of such a delightful scent."
Pomander or scent case in gilt set with small enamels, Dutch, c. 1600
"Enghlish women, under Elizabeth's leadership, adopted every new cosmetic fashion from the Continent. The fashionable face was achieved by a whole series of preparations. Bearing in mind that the queen's pale complexion was the inspiration for contemporary beauty, it is not surprising that white powder was the foundation on which the rest of the cosmetic treatment was applied. Unfortunately, one of the most successful means of creating a white powder was by using ceruse, or white lead, which was extremely dangerous for the complexion and, if used constantly, has a harmful toxic effect on the individual. This substance formed the basis for cosmetics for several centuries with drastic results [...]. White powder was also made from ground alabaster or starch with perfume added as an ingredient. After the face was powdered, rouge was applied to che cheeks; at this period red ochre was the most popular colourant. Rouge was also made from a white lead base with a colouring dye included in the compound. In either form contemporary rouge had none of the subtetly of its modern equivalent. The lips were paintedwith a 'pencil' made from ground alabaster or plaster of Paris which was powdered down and mixed into a paste with a colouring ingredient. The mixture was rolled into a crayon shape, then allowed to dry and solidify in the sun.
White powder, rouge and lip colouring formed the basic cosmetic equipment of the fashionable Elizabethan lady. After applying this make-up, the preserved her 'face' by covering her skin with a thin glaze of egg-white and, should she venture out of doors, her artificial complexion was further protected by a mask. The wearing of masks during the Elizabethan period had a dual purpose, first to preserve the face in its original cosmetic perfection and, secondly, to provide protection against the sun which was the chief enemy of a fashionable white complexion. The mask was cut in an oval shape with holes for the eyes, and kept in position by a button held in the teeth.
[...] The high standard of perfection demanded by fashion depended on a variety of preparations. ointments and lotions were conconted from ingredients such as ass's milk, hog lard, honey and beeswax, with added embellishments of cherries, rose petals and herbs. Elizabethan ointments and lotions seem to have contained relatively harmless ingredients. Hog lard, honey and beeswax may not have improved the condition of contemporary skins but, unlike ceruse-based cosmetics, they were not dangerous. Turpentine and rosin were used to cure blemished complexions. In the latter part of the sixteenth century, bear's grease formed a basis for some cosmetics. This was a much safer ingredient than white lead, but proved too expensive for general use. Olive oil was employed as a basis for ointments and other cosmetic potions but, although quantities of oil were imported from Spain and Italy, it never achieved a lasting popularity. Possibly oil-based skin lotions attracted the sun's rays and caused the skin to lose its fashionable whiteness.
As trade expanded, ingredients for cosmetics and perfumes came from farther afield and by the middle of the sixteenth century cargoes of cosmetic materials were imported from all over the Continent and the Levant. Cochineal and saffron flowers, henna, Arabian gum and exotic dyes and spices poured into the country from Marseilles, Italy, Baghdad and Cyprus. [...] Soap was also imported, mainly from Spain and Italy. Castile soap was considered the finest, with Venetian an excellent alternative. English manufactured soap was not fashionable although there were home recipes for making what was frequently described as a "washing ball" [...].
Although soap was popular at this period, the standards of hygiene were low.
[...] Elizabeth proved no exception to the general rule concerning baths and, according to contemporary sources, resorted to this drastic means of cleanliness once a month. She probably used one of the many contemporary perfumes and, although historians write that she preferred a light scent, it is possible that a heavier scent with lasting qualities was not available at this period. She made liberal use of rose water which was imported for her from Antwerp, but her own special scent was a delicate mixture of herbs with a predominance of marjoram."
Perfume burner in embossed copper, Italian, sixteenth century
"Teeth were cleaned by rubbing them with a linen cloth, after which the mouth was rinsed out with a mouth wash. [...] Mouth washes, dentrifrices and sucking jewels were employed to keep the mouth fresh, but the most popular and expedient form of dental care was the toothpick. Elizabethan toothpicks were made of gold, silver, ivory or hartshorn. A New Year's gift to Elizabeth included a selection of gold toothpicks and linen rubbing cloths edged in black and silver. A toothpick was frequently carried on the person, [...]."
"The most popular method of cleaning hair was by use of 'lye', a compound of wood ash and water. [...] Dyes were used to colour hair 'a fair yellow or golden colour' [...]"
"White Face Paints
To create a really white complexion as seen in Elizabeth’s portraits, Tudor people would need to mix together the following ingredients to form a face paint:
- Egg whites
- Powdered egg shells
- Alum
- Borax
- White poppy seeds
As this lotion would bleach the skin, it would be applied no more than three times a week; otherwise it would harm or irritate the skin. It was common for the neck, breasts and hands to be painted and sometimes little blue veins were drawn on top, to shown how clear and fine the skin was.
Red Lips and Cheeks
Lips and cheeks were emphasised us lip salves and cheek rogues made with the following ingredients;
- Vermillion (red crystalline mercuric sulphite)
- Gum Arabic
- Egg white
- Milk from figs
This would have been quite harmful on the skin. Elizabeth possibly used a lip salve made from cochineal (Mexican beetles blood), which is a harmless colouring used in food.
Red Hair Dyes
It was thought the Elizabeth dyed her hair before she started to wear wigs. Redhair dye would have been made with lye, a mixture of wood ash and water."
References:
- Gunn, F. (1975) Artificial face: A history of cosmetics. New York: Hippocrene Books.
- Explore Elizabeth I Tudor make-up (no date) Available at: http://www.npg.org.uk/assets/files/pdf/exploring-elizabeth/npg_tudor_makeup.pdf (Accessed: 2015).
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