Book Ref: 'The Artificial Face, A History of Cosmetics', Fenja Gunn, David & Charles, October 1973
Book Ref: 'Fashions in Makeup - From Ancient to Modern Times', Richard Corson, 1965, Peter Owen Revived Edition, 2010.
Critics such as John Knox state that "women prefer vanity to virtue", an idea evidently true within Northern Europe as the conventions of beauty during the Tudor and Elizabethan era began changing dramatically. Compared to the late Elizabethan's, Tudor makeup was far more subtle in application favouring creams of beeswax, honey and sesame seed oil to soften the skin (influenced heavily by the cosmetics of the Middle East), however the conventions of a pale complexion, reddish blonde hair and blue/grey/green eyes remained prominent features within exemplary beauty standards of the wealthy. For this reason it can be seen how Elizabeth's mother Anne Boleyn may not have been considered a Tudor beauty for both her eyes and hair were black, despite her pale features.
In fact it was not until Elizabeths reign (1558-1603) that the use of heavy cosmetics and dyes were introduced into the female regime.
Within Britain there became an emphasis on an almost unnatural white complexion with hints of rouge and pink, fine bone structure set the standards at English court and because of this attention was drawn to the face and cheeks rather than heavy eye makeup. If eye makeup was work it was a light pink tint made from henna powder that was placed on the lids as it was important for the eyes to be large and bright, not deep set or hidden. Elizabeth I was considered an elite beauty during the second half of the century and her white face was enhanced by pointed blue veins on the temples made from a mixture of wood or indigo mixed with ceruse. The eyebrows were barely visible, often completely plucked from the face and the skin of the lips and cheeks tinged with rouge. Natural beauty couldn't compete with the intensity of the costuming within the period therefore a face of wealth was enhanced and unnatural in appearance. The ornate costuming was quoted by William Averell (1588) as "Marvellous combat of constrantities" "Great sleeves and combusted shoulders, squared in breadth to make their wastes smaller". Everything within the wardrobe of the wealthy was false, enhanced and heavily decorated.
Elizabeth I was considered herself an "exaggerated definition of femininity as the Virgin Queen" and the heavy use of white within both her cosmetics and wardrobe was reflective of this. The pearl jewellery was a symbol of virginity and chastity and her white makeup was too a reflection of this concept. The most widely used cosmetic within this period was that of ceruse (a lead based white makeup) that was made by exposing lead to the vapour of vinegar. It was a highly poisonous substance that became popular purely because of its smooth application and finish, regardless of its skin corroding properties. Powders made from crushed alabaster or Mother of Pearl were also available, these despite being less dramatic in effect, were delicately perfumed and had almost no negative consequences for the skin.
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| Young Woman, 1569 British School, Tate London http://www.tate.org.uk/art/images/work/T/T00/T00400_10.jpg An exemplary image of the Elizabethan ideal of Virginal beauty. |
Rouge also became another statement cosmetic within the Elizabethan period, however it was a product also used within the Tudor makeup of the wealthily and regal. To redden the cheeks, a rouge known as Vermillion was used. This was a mixture of lead ceruse and dyes such as henna, ochre, sandalwood and during the Elizabethan era red basil wood tree (from South America) could create shades of pink on the cheeks. The most famous red was cochineal, made from the dried bodies of a Mexican beetle, first seen in 1519 by the conquistadores of Spain which was then traded across Europe. Cochineal was then mixed with alabaster or plaster of paris to create a cream rouge which during the Elizabethan period was rolled into pencils for the face and lips. By the late 16th century rouge was regarded as an essential in artificial beauty.
Masks were often worn over the face during the late 16th century to protect the makeup whilst outside. A full mask with small eye holes made from black or green silk was often work and this too was a concept first brought in by Elizabeth herself. These masks were often held on a by a fastening that sat between the teeth and it was believed that by wearing these masks while outside both the makeup and skin would be protected from sun damage and ageing. Although in Elizabeth's case the effectiveness of these methods to cling to youthful beauty may have fallen flat as by the time she was in her 60's she demanded all mirrors were removed from her sight, for in the words of John Knox her eyes had become "small, yet black... her oblong face fair but wrinkled" and the once full rouged lips were now "narrow and her teeth black". Evidently it shows that even Elizabeth one day fell from the extreme standards of beauty that she herself had set through cosmetic enhancement.
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