Work
The uniform of
the working poor
Work
A skilled surgeon
instructs his class
This extraordinary outfit, worn by a sailor
or fisherman in the late 16th or early
17th century, provides a rare link to the
world of the working poor. These are the
people who served in the army or the
navy, swept the streets, washed clothes
or carried water – the kind of men and
women of whom no portraits or
images exist.
This loose-fitting outfit has been heavily
worn, is spotted with tar, and has been
regularly patched. The full breeches
would have allowed for ease of movement
climbing up and down rigging. The garment
owes its survival to generations of painters,
who kept it in a dressing-up box.Painted in 1581, this image shows a doctor,
John Banister, delivering an anatomy lecture
for students at Surgeon’s Hall, London.
Changes in society, such as increased
education and literacy, had a considerable
impact on working life for the ‘middling sort’.
Working people, such as lawyers, clergymen
and doctors, cultivated a new sense of their
own importance, and some chose to be
depicted in portraits that highlight their skills.
This painting reveals how the thirst for
knowledge was slowly starting to play a
part in the development of education, and
is a subject matter more frequently found in
portraiture of the 17th century.
Well-known figures such as Shakespeare
and Sir Walter Ralegh are usually credited with
the great achievements of the Elizabethan
age. Yet many less-celebrated men and
women contributed to both economic
prosperity and advances in knowledge.Work
The actor’s wife
flaunts her wealth
This painting of 22-year-old Joan Alleyn, wife
of actor Edward Alleyn and stepdaughter of
theatre owner Philip Henslowe, provides
artistic evidence of the growing wealth of the
Elizabethan middle classes.
In 1596, when Joan posed for this portrait,
England’s economy was flourishing and, as
a result, merchants and traders of all sorts
were finding opportunities to expand their
businesses and improve their lifestyles. They
soon began commissioning portraits not only
of themselves, but also of their wives – who
were often critical to their success – doing the
accounts and other administrative tasks.
Joan’s portrait probably hung in the
couple’s house as evidence of their rising
status. She is shown here wearing typically
middle-class clothes, including a tall
black hat (possibly of felt or velvet) and
embroidered gloves.TRUSTEESOF^ DULWICHPICTURE^ GALLERY,^ LONDON/MUSEUMOF^ LONDON/MARQUESS^ OF^ SALISBURY,^HATFIELD^ HOUSE/^ GLASGOWUNIVERSITYLIBRARY,^SPECIAL^ COLLECTIONSDEPARTMENT–NPGElizabethan lives / Home, work and play