{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1175390"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1175390/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2018KV7533/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2018KV7533/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2018KV7533","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KV7535","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KV7536","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KV7537","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX2157","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX1143","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX3615","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX3613","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX3614","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX1135","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX1136","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX1137","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX1138","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX1139","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX1140","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX1141","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false},{"assetRef":"2018KX1142","copyright":"©Victoria & Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O1175390/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O1175390","accessionNumber":"S.2795:1 to 4-2010","objectType":"Theatre costume","titles":[{"title":"Costume for Irving in 'Much Ado About Nothing'","type":"generic title"}],"summaryDescription":"Henry Irving (1838-1905) wore this costume as Benedick in <i>Much Ado About Nothing</i> by William Shakespeare (1564-1616).  Produced in 1882, this beautifully staged production helped to bring the play back into favour with theatre audiences.  Irving and Ellen Terry (1847-1928), who played Beatrice, had one of their greatest successes in a production which stayed in their repertory of plays until 1895.  The mixture of gentility, comedy and humanity that they brought to their roles appealed to a respectable Victorian theatre audience.\r\n\r\nIrving became a professional actor in 1856, and learned his trade in regional theatres until 1866, when he came to London.  He joined the Lyceum Theatre company under the management of H. L. Bateman in 1871, winning great acclaim that year for his psychologically developed characterisation of the guilt-ridden inn-keeper Mathias in Leopold Lewis’s melodrama <i>The Bells</i>.  He took on the responsibilities of ‘actor-manager’ in 1878 when he assumed the management of the Lyceum, and remained there until 1902, enjoying star status with his leading lady Ellen Terry.  Irving produced a diverse range of old and new plays at the Lyceum, including Shakespeare, historical drama, and literary adaptations.  His tireless work to elevate the status of the theatrical profession was rewarded in 1895 when he became the first actor ever to receive a knighthood for services to the Theatre.\r\n\r\nIrving specialised in spectacularly staged productions with large casts of performers. He commissioned designers and composers to create appropriate scenery, costume and incidental music, played by a full orchestra.  Although electric lighting was available from the 1880s, Irving preferred the softer effects of gas, with lime light to focus attention at key points in the play.  Irving toured complete productions outside London, taking the full company, scenery and costumes throughout the United Kingdom and across the United States and Canada.   The development of the railway system made his the first generation able to achieve this level of touring productions.","physicalDescription":"Costue consisting of:\r\nDoublet of pale blue silk flowered damask cut to create the 'peascod' shape fashionable in late Elizabethan England. The doublet is ornamented with silver braid, suggesting lines of small slashes down body and sleeves. Further section of false slashing at both elbows with exposed area of white cotton. Double scalloped wings on shoulders, small braid-edged linen pleated ruffles at neck and wrists. Fastening at centre front with a row of small silver coloured buttons stamped with an anchor design. Lined with cream silk with sections of quilted padding under the arms to add bulk. Two rings bound in cotton have been sewn to the shoulders (one on each side), possibly to hold a cloak.\r\nBreeches, paned round-hose of pale blue silk flowered damask over cream silk lining. The damask panes are ornamented with sections of silver braid to imitate slashing. Fall front effect with five button holes at front waistband. Two functional pearl on right hand side with two further metal buttons directly behind and above possibly to secure braces. There are no button holes on the back waistband but there are two metal buttons, again potentially to attach braces. There is also a buckle and fabric tab or strap to adjust the fit of the waistband.\r\nCream silk jersey knitted tights. Previous records suggest they may have faded from pale blue. Six buttons at waist to take braces (back buttons strengthened with tape).\r\nFlat Tudor cap of blue/green damask with stiffened brim and white ostrich plume caught up with a diamante clasp and chain.\r\nPair of shoes of blue/green leather with applique slashed decoration on instep and high slashed tongues. Slashing has blue/green satin infill. Edged in gold braid. The braid has been scalloped around shoe edge but sewn in a straight line around the appliqued slashing. Braid is now tarnished. Obvious repair to toe with a patch of dyed leather which covers the toe and extends around the outer edge, up to the instep. The dye is now faded to a bright blue on a white background.","artistMakerPerson":[{"name":{"text":"Unknown","id":"A1848"},"association":{"text":"","id":""},"note":""}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"silk (textile)","id":"AAT243428"},{"text":"damask","id":"AAT163295"},{"text":"braid","id":"AAT232186"},{"text":"cotton (textile)","id":"AAT14067"},{"text":"linen (material)","id":"AAT14069"},{"text":"jersey","id":"x40212"},{"text":"leather","id":"AAT11845"},{"text":"satin","id":"AAT132902"}],"techniques":[{"text":"sewing","id":"AAT53658"}],"materialsAndTechniques":"","categories":[{"text":"Entertainment & Leisure","id":"THES48959"},{"text":"Theatre 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Company","dimensions":[{"dimension":"Length","value":"80","unit":"cm","qualifier":"","date":{"text":"09/07/2018","earliest":"2018-07-09","latest":"2018-07-09"},"part":"Part 1","note":"Coat length neck to wrist"},{"dimension":"Width","value":"41","unit":"cm","qualifier":"","date":{"text":"09/07/2018","earliest":"2018-07-09","latest":"2018-07-09"},"part":"Part 1","note":"Coat width waist"},{"dimension":"Length","value":"56.5","unit":"cm","qualifier":"","date":{"text":"09/07/2018","earliest":"2018-07-09","latest":"2018-07-09"},"part":"Part 2","note":"Breeches waist to hem"},{"dimension":"Width","value":"60","unit":"cm","qualifier":"","date":{"text":"09/07/2018","earliest":"2018-07-09","latest":"2018-07-09"},"part":"Part 2","note":"Breeches width waist"},{"dimension":"Weight","value":"4.30","unit":"kg","qualifier":"","date":{"text":"09/07/2018","earliest":"2018-07-09","latest":"2018-07-09"},"part":"Parts 1 & 2","note":"Coat and breeches weight 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