This hood is based on an illustration of the Count of Flanders in J. R. Planché's 'A Complete History of the Dress of the Inhabitants of the British Isles,' published in 1834 and reprinted in 1847 and 1874. Brown copied the hood and liripipe from Planché onto a sheet of tracing paper in the Birmingham collection (1906P737). He describes making this drapery study in his diary. On 25 September 1847 he noted, 'got up Early - & got to work late, fumbled till 12 o'clock over the Hood of the left hand corner figure of the 'knight' made a lirlipipe for it.' The next day he, 'finished the drawing of the Hood & a drawing of the cloak for one of the Men next to him, 'the chamberlain' (Virginia Surtees, ed., 'The Diary of Ford Madox Brown,' p.7).This figure is in the same pose in a compositional study at the Cecil Higgins Art Gallery, Bedford, and in an oil study at the Ashmolean Museum, Oxford. In the final painting 'Chaucer at the Court of Edward III' (1851, oil on canvas, Art Gallery of New South Wales, Sydney) the figure is bending down further with his head twisted towards the viewer.LM

  • Purchased and presented by subscribers, 1906.
  • © Birmingham Museums and Art Gallery


Association Artist Organisation
Artist Ford Madox Brown -


Type Position(s) Method Date(s) Notes
Ford M Brown London/47
Signature and date bottom right Handwritten 1847 Brown ink.


Catalogue No. Venue Date(s)
Ford Madox Brown: The Unofficial Pre-Raphaelite
12 Birmingham Museum & Art Gallery 2008-08-27 - 2008-12-14


Author(s) Date(s) Publisher Pages
City of Birmingham Museum and Art Gallery: Catalogue of the Permanent Collection of Drawings
A E Whitley 1939 Bemrose & Sons Ltd, Derby p. 35
The Diary of Ford Madox Brown
Virginia Surtees 1981 Yale University Press p. 7
Ford Madox Brown: The Unofficial Pre-Raphaelite
Laura MacCulloch, Tessa Sidey 2008 D. Giles Limited, London pp. 51, 65: repr. pp. 2, 43

Associated people

Name Type
Geoffrey Chaucer Relates to

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