. "Red silk cardinal's hat with wool tassel, worn by Henry Irving as Wolsey in 'Henry VIII', 1892, at the Lyceum under Irving's own management."@en . "1892, United Kingdom" . . "1892, United Kingdom" . "0.55250000953674316406"^^ . "Cardinal's hat. Wide brimmed hat covered in dark red ribbed silk with a shallow crown trimmed with cotton cord, brim edged in narrow red velvet ribbon. Interior of crown edged in red felt. The cotton cord is wound round the crown and then hangs through holes in the brim to fall in bunched tassels on either side of the head."@en . . . . . . . . "This Cardinal\u2019s hat was made for Henry Irving (1838-1905) as part of his costume for Cardinal Wolsey in Henry VIII by William Shakespeare (1564-1616). In keeping with leading actors before him, Irving chose the role of the Cardinal for its complex and arresting character, heightened visually by his costume of a vivid pink colour. Irving\u2019s Wolsey was a mixture of asceticism and malignity, a religious man who rose from humble beginnings to attain a position of great influence as the King\u2019s Lord Chancellor. It was this, coupled with Wolsey\u2019s eventual loss of power and status, that attracted Irving to the part. To ensure historical accuracy, Irving employed John Seymour Lucas (1849-1923), a Royal Academician and Fellow of the Society of Antiquaries, to oversee the design of the costumes.\n\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\u2019s melodrama The Bells. He took on the responsibilities of \u2018actor-manager\u2019 in 1878 when he assumed the management of the Lyceum, and remained there until 1902, enjoying star status with his leading lady Ellen Terry (1847-1928). 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.\n\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."@en . . . . . . . "Red silk cardinal's hat with wool tassel, worn by Henry Irving as Wolsey in 'Henry VIII', 1892, at the Lyceum under Irving's own management."@en . . "0.58490002155303955078"^^ . . "Cardinal's hat. Wide brimmed hat covered in dark red ribbed silk with a shallow crown trimmed with cotton cord, brim edged in narrow red velvet ribbon. Interior of crown edged in red felt. The cotton cord is wound round the crown and then hangs through holes in the brim to fall in bunched tassels on either side of the head."@en . "S.2719-2010" . "This Cardinal\u2019s hat was made for Henry Irving (1838-1905) as part of his costume for Cardinal Wolsey in Henry VIII by William Shakespeare (1564-1616). In keeping with leading actors before him, Irving chose the role of the Cardinal for its complex and arresting character, heightened visually by his costume of a vivid pink colour. Irving\u2019s Wolsey was a mixture of asceticism and malignity, a religious man who rose from humble beginnings to attain a position of great influence as the King\u2019s Lord Chancellor. It was this, coupled with Wolsey\u2019s eventual loss of power and status, that attracted Irving to the part. To ensure historical accuracy, Irving employed John Seymour Lucas (1849-1923), a Royal Academician and Fellow of the Society of Antiquaries, to oversee the design of the costumes.\n\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\u2019s melodrama The Bells. He took on the responsibilities of \u2018actor-manager\u2019 in 1878 when he assumed the management of the Lyceum, and remained there until 1902, enjoying star status with his leading lady Ellen Terry (1847-1928). 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.\n\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."@en . . . . .