[v] Harte lists these as Lords, knights, esquires, and gentlemen, yeomen and servants of husbandry, common labourers and servants to artificers dwelling out of a city or borough. Those earning above £40 a year, or with possessions to the value of forty shilling a year, or above, are a class in their own right. See p. 136 for further information.
[xvii] Hooper: p 439-40 ‘It is ordained … that no Taylour, Hosier, or other person whatever he shall be, after the day of the proclamation hereof, shall put any more cloth in any one payre of hosen for the outside, then one yarde & a halfe, or at the moste, one yarde & three quarters of a yard of karsey or of any other clothe, lether, or any other kinde of stuff above that quantitie’
[xxx] Stone, Lawrence, The Family, Sex and Marriage in England, 1500 – 1800, (Harmondsworth: Penguin Books, 1977; repr. 1990), Gurr, A., Playgoing in Shakespeare’s London, (Cambridge: Cambridge University Press, 1987; repr. 1997), Gurr, A., The Shakespearean Stage 1574 – 1642, (Cambridge: Cambridge University Press, 1992; repr. 1997), Manley, L., Literature and Culture in Early Modern England, (Cambridge: Cambridge University Press, 1995; repr. 1997)
[xxxv] ‘Portraits frequently derived from or were supplementary to the sitter’s clothes. The clothes and jewels were inordinately expensive; by comparison, portraits were relatively cheap. £25 was the usual price for a Van Dyke portrait.’ Jones, R. A. & P. Stallybrass, Renaissance Clothing and the Materials of Memory, p38
[xxxvi] Pepys rented a gown of figured silk when he had his portrait painted by Hayls. See Jones, R. A. & P. Stallybrass, Renaissance Clothing and the Materials of Memory, p40. See also p191 for any analysis of the second hand / rental market, and p190 for a description of items which had obviously been obtained second hand from someone at court.
[xliv] See the opening passages of Beaumont’s Knight of the Burning Pestle, where the citizen’s wife hoists herself onto the stage to sit with the gallants. See also Andrew Gurr’s Playgoing in Shakespeare’s London for an extensive account of the social composition of audiences, and their corresponding seating within the playhouses.
[xlviii] Dekker, Thomas, The Guls Hornbook, p53. Dekker states that ‘if the writer be a fellow that hath either epigrammed you, or hath had a flirt at your mistris, or hath brought either your feather, or your red beard, or your little legs &c. on the stage, you shall disgrace him worse then by tossing him in a blancket, or giving him the bastinado in a Taverne, if, in the middle of his play, (be it Pastoral or Comedy, Morall or Tragedie) you rise with a screwd and discontented face from your stoole to be gone’
[xlix] Middleton, Thomas, and Thomas Dekker, The Roaring Girl, ed. Elizabeth Cook, (London: A &C Black, 1997; repr. 2000), II.i.79-83
[liii] Jonson, Ben, ed., Gordon Campbell, The Alchemist and Other Plays, (Oxford: Oxford University Press, 1995; rev. 1998), p319
[liv] Deuteronomy 22:5 specifically stated that ‘The woman shall not wear that which pertaineth unto a man, neither shall a man put on a woman's garment: for all that do so [are] abomination unto the LORD thy God.’