Table of Contents

Cover.
Contents.
Preface.
List of Illustrations.
Chapter 1 Defining Beauty in Renaissance Culture.
Beautys red and virtues white58; Treatises on Beauty.
The Poetry of Love44; Beauty and Courtship.
Beauty in Pictures58; Plays and Emblem Books.
Chapter 2 Early Modern Cosmetic Culture.
The Devils craft58; The Opposition to Cosmetics.
She Shal Appeare to be the Age of Fifteene Yeares.
Painting the Queen.
Conclusion.
Chapter 3 Cosmetic Restoration in Jacobean Tragedy.
The artificial shine58; Painted Language.
Cosmetic Revenge Tragedy.
Dainty preserved flesh58; Fetishising the Painted Body.
Catholic Ritual and Cosmetics.
Conclusion.
Chapter 4 John Webster and the Culture of Cosmetics.
Beautified and Heroic58; Websters Painted Ladies.
Rethinking Websters Imagery.
Conclusion.
Chapter 5 Jonsons Cosmetic Ritual.
Pieced beauty58; Cosmetics as Prosthetics.
Constructing Gender in Jonsonian Comedy.
Jonson and the Cosmetics Debate.
Ingredient Culture.
Conclusion.
Chapter 6 Cosmetics and Poetics in Shakespearean Comedy.
Painting Players.
Beautifying Poetic Drama.
Chapter 7 Deceived with ornament58; Shakespeares Venice.
Cosmetic Materials in The Merchant of Venice.
Cosmetic Symbolism and Othello.
Conclusion.
Chapter 8 Flattering Unction58; Cosmetics in Hamlet.
Appearances and Realities58; Painted Faces in Hamlet.
Mousetraps.
Cosmeticised Bodies and the Female Interior.
Conclusion.
Epilogue.
Bibliography.
Index.
Last Page. This original study examines how the plays of Shakespeare and his contemporaries dramatise the cultural preoccupation with cosmetics. Farah Karim-Cooper analyses contemporary tracts that address the then contentious issue of cosmetic practice and identifies a 'culture of cosmetics', which finds its visual identity on the Renaissance stage. She also examines cosmetic recipes and their relationship to drama as well as to the construction of early modern identities.