garde-robe
Language: English
Part of speech: noun
Forms: form: garde-robes
Senses: examples: text: “The cardinal having expired,” says Brienne, “the king entered his garde-robe, leaning on the shoulder of Marshal de Grammont, embraced the Marshal, saying, ‘Marshal, we have just lost a good friend,’ and wept; the marshal sobbed out in reply—he could do no less—‘Truly, yes sire.’” […] Louis XIV. having observed it, invited him to a tête-à-tête in his garde-robe, barred the door, so frightened him that his passion oozed away in a maudlin fit of tears, (“car j’avais,” says he “les yeux et le cerveau fort humides,”) and had Mademoiselle La Vallière painted as Diana, with poor Brienne in the background as Actæon.
ref: 1836 April, The British and Foreign Review; or, European Quarterly Journal, volume II, number IV, London: James Ridgway and Sons, […], pages 409–410:
text: The north and south sides of the court are of the middle of that period; the former has three large porches with rooms over them; the latter have a range of garde-robes of the earlier date.
ref: 1861 August 17, “British Archæological Association at Exeter”, in The Literary Gazette. […], volume VII, new series, number 164 (2324), London, page 162, column 1:
text: The monastic buildings all lie in this same direction, and were of considerable extent, the principal portions being the monks’ day-room, down the centre of which ran a row of pillars; and the kitchen, which, according to some antiquarians, was the garde-robe of the Abbey.
ref: 1881, G[eorge] Phillips Bevan, “Railway Excursions. V. Southampton to Netley, Titchfield, and Fareham.”, in Tourist’s Guide to Hampshire, Including the Isle of Wight, London: Edward Stanford, […], page 62:
text: The garde-robes of the castle are numerous, and placed in the most private and yet convenient situations.
ref: 1887, George Hardcastle, C. Horner, “Bolton Castle”, in Wanderings in Wensleydale, Yorkshire, Ripon: […] William Harrison, […], page 9:
text: There will be observed in succession—the eastern transept or the nine altars, the choir, the chapter house, the tower and the graceful Perpendicular arch of the north transept, the hall of pleas or court house, and the calefactory beneath it with its lofty chimney; the monks’ refectory or dining hall through its stately lancet shaped lights; the kitchen, the south end of the cellarium known as the great cloister, above which is the far-extending floor of the lay brethren and guests’ dormitory or dorter; range of garde-robes above the rivulet; and still further, the infirmary of the conversi, the hospitium and numerous other buildings, the several uses of which have not been satisfactorily ascertained.
ref: 1900, G[eorge] Parker, “The South Elevation”, in Historic Ripon: Studley Royal, Fountains Abbey […], Ripon: G[eorge] Parker, […], pages 77–78:
text: The sonnets of Shakespeare were not scattered broadcast—rapidis ludibria ventis. They were never intended to form the gossip of the garde-robe of the theatre, or to supply matter of scandal for the tavern.
ref: 1902, [Thomas Ebenezer] Webb, “Note E: Of Shake-speare’s Sonnets”, in The Mystery of William Shakespeare: A Summary of Evidence, London; New York, N.Y.; Bombay: Longmans, Green, and Co., […], pages 263–264:
text: Clothes were changed and kept in the Garde-robe, a small room adjoining; […] The crown timber of James I., felled in such quantities and sold at so low a price, cheapened the production of what had hitherto been expensive pieces of furniture, and added to the number of chests which at that date still fulfilled the office of holding clothes and linen, and frequently formed part of a marriage dowry; the use of a hanging cupboard forming part of the wainscot being confined to the garde-robes of the large houses.
ref: 1904, Percy Macquoid, A History of English Furniture […]: The Age of Oak, London: Lawrence & Bullen, Limited, […], pages 5 and 160:
text: On the southern rampart, between two of the towers, a long range of garde-robes projects beyond the face of the wall, on stone corbels. […] The castle is plentifully supplied with garde-robes. […] All the curtain walls contain mural passages. In a large extent of the walls they are double, that on the ground floor receiving the shafts from the garde-robes, an arrangement which would doubtless add to the pleasantness of the outer ward, but would require frequent attention to maintain good sanitary conditions.
ref: 1913, H. Harold Hughes, “The Castles of North Wales”, in E[dward] Alfred Jones, editor, Memorials of Old North Wales (P. H. Ditchfield, editor, Memorials of the Counties of England), London: George Allen & Company, Ltd., […], pages 148 and 151:
text: Woven in Somersetshire, smeared with the tar of the ships, last washed in cold brine, it was stiff and coarse—a sordid garment as inferior to those left in her garde-robe at Roebury as this loathsome settler was to Gilbert.
ref: 1959, C[icero] T[heodore] Ritchie, Black Angels, London; New York, N.Y.: Abelard-Schuman, page 64:
text: The frescoes in the Garde-Robe of the Palace of the Popes at Avignon are the only surviving examples of this art, but it is uncertain whether they are French or Italian.
ref: 1969, Germain Bazin, translated by Simon Watson Taylor, The Avant-Garde in the History of Painting, London: Thames and Hudson, page 44:
text: Owen hesitated; he knew only too well that Henry spent a good part of the day in his garde-robe but found he did not want to speak of it to the matter-of-fact Guillemote. […] He discovered that he had been allocated the most pleasant apartment he had had since entering the royal service; as well as a separate bedchamber he had been given a private garde robe^([sic]) furnished with a stout wardrobe and two iron-banded chests.
ref: 1977, Betty King, Owen Tudor, London: Robert Hale, →ISBN, pages 90–91 and 113:
text: From her garde-robe of seaweed, she kept track of the world, how it came and went, flat then round, its roads to nowhere, and those leading back, deep into the soul – these she loved best, painted them brown, embroidered in twine with reef-knotted ends, should they ever forget their beginnings.
ref: 2000, Rhian Saadat, “Window Dressing”, in Poetry Wales, volume 36, pages 9–10:
glosses: Alternative form of garderobe.