English Costume Part 12

Among the knights you will notice the general tendency to parti-coloured clothes, not only divided completely into halves of two colours, but striped diagonally, vertically, and horizontally, so giving a very diverse appearance to the ma.s.s of colour.

Here and there a man is riding in his silk surcoat, which is embroidered with his coat of arms or powdered with his badge.

Here are cloth, velvet, silk, and woollen stuffs, all of fine dyes, and here is some fine silk cotehardie with patterns upon it gilt in gold leaf, and there is a magnificent piece of stuff, rich in design, from the looms of Palermo.

Among the merchants we shall see some more sober colours and quieter cut of clothes; the archers in front are in leather tunics, and these quiet colours in front, and the respectable merchants behind, enclose the brilliant blaze of colour round the King.

Behind all come the peasants, minstrels, mummers, and wandering troupes of acrobats; here is a bearward in worn leather cloak and hood, his legs strapped at the ankle, his shoes tied on with thongs; here is a woman in a hood, open at the neck and short at the back: she wears a smocked ap.r.o.n; here is a beggar with a hood of black stuff over his head--a hood with two peaks, one on either side of his head; and again, here is a minstrel with a patched round cloak, and a mummer with a two-peaked hood, the peaks stuffed out stiff, with bells jangling on the points of them.

Again, among this last group, we must notice the old-fashioned loose tunics, the coif over the head, tied under the chin, wooden-soled shoes and pouch-gloves.

[Ill.u.s.tration: {Three men of the time of Edward III.}]

There are some Norfolk merchants and some merchants from Flanders among the crowd, and they talk as best they can in a sort of French-Latin-English jargon among themselves; they speak of England as the great wool-producing country, the tax on which produced 30,000 in one year; they talk of the tax, its uses and abuses, and how Norfolk was proved the richest county in wool by the tax of 1341.

The people of England little thought to hear artillery used in a field of battle so soon as 1346, when on August 26 it was used for the first time, nor did they realize the horrors that were to come in 1349, when the Great Plague was to sweep over England and kill half the population.

[Ill.u.s.tration: {A man of the time of Edward III.}]

There is one man in this crowd who has been marked by everybody. He is a courtier, dressed in the height of fashion. His cotehardie fits him very well: the sleeves are tight from elbow to wrist, as are the sleeves of most of his fellows--some, however, still wear the hanging sleeve and show an under-sleeve--and his sleeve is b.u.t.toned from wrist to elbow. He wears the newest fashion upon his arm, the tippet, a piece of silk which is made like a detachable cuff with a long streamer hanging from it; his cotehardie is of medium length, jagged at the bottom, and it is of the finest Sicilian silk, figured with a fine pattern; round his hips he wears a jewelled belt. His hood is parti-coloured and jagged at the edge and round his face, and his liripipe is very long. His tights are parti-coloured, and his shoes, b.u.t.toned up the front, are long-toed and are made of red-and-white chequered leather. By him rides a knight, also in the height of fashion, but less noticeable: he has his cotehardie skirt split up in front and turned back; he has not any b.u.t.tons on his sleeves, and his belt about his waist holds a large square pouch; his shoes are a little above his ankles, and are buckled over the instep. His hair is shorter than is usual, and it is not curled.

[Ill.u.s.tration: {A man of the time of Edward III.; three types of head-gear}]

As we observe these knights, a party of armed knights come riding down the road towards the cavalcade; they have come to greet the King.

These men have ridden through the rain, and now, as they come closer, one can see that their armour is already red with rust.

[Ill.u.s.tration: {A hat}]

So the picture should remain on your mind, as I have imagined it for you: the knights in armour and surcoats covered with their heraldic device; the archers; the gay crowd of knights in parti-coloured clothes; the King, in his cotehardie of plain black velvet and his black beaver hat, just as he looked after Calais in later years; the merchants; the servants in parti-coloured liveries of their masters'

colours; the tattered crowd behind; and, with the aid of the drawings, you should be able to visualize the picture.

Meanwhile Edward will arrive at his destination, and to soothe him before sleep, he will read out of the book of romances, ill.u.s.trated by Isabella, the nun of Aumbresbury, for which he had paid 66 13s. 4d., which sum was heavy for those days, when 6 would buy twenty-four swans. 66 13s. 4d. is about 800 of our money to-day.

THE WOMEN

'I looked on my left half as the lady taught me, And was aware of a woman worthily clothed, Trimmed with fur, the finest on earth, Crowned with a crown, the King had none better.

Handsomely her fingers were fretted with gold wire, And thereon red rubies, as red as any hot coal, And diamonds of dearest price, and double manner of sapphires, Orientals and green beryls....

Her robe was full rich, of red scarlet fast dyed, With bands of red gold and of rich stones; Her array ravished me, such richness saw I never.'

_Piers the Plowman._

There are two ma.n.u.scripts in existence the illuminations in which give the most wonderfully pictorial idea of this time; they are the ma.n.u.script marked MS. Bodl., Misc. 264, in the Bodleian Library at Oxford, and the Loutrell Psalter in the British Museum.

The Loutrell Psalter is, indeed, one of the most notable books in the world; it is an example of illumination at the height of that art; it has for ill.u.s.trator a person, not only of a high order of intelligence, but a person possessed of the very spirit of Gothic humour, who saw rural England, not only with the eyes of an artist, but with the eyes of a gossiping philosopher.

[Ill.u.s.tration: A MAN OF THE TIME OF EDWARD III. (1327-1377)

Round his arms you will see the curious tippet, the jagged ends of which hang down; these are the remains of the pendant sleeves. His shoes are b.u.t.toned in front.]

Both this book and the book in the Bodleian Library were ill.u.s.trated by persons who were charged to the brim with the spirit of their age; they were Chaucerian in their gay good-humour and in their quaint observation, and they have that moral knowledge and outspoken manner which characterize William Langland, whose 'Piers the Plowman' I have quoted above.

With Chaucer, Langland, and these illuminators we have a complete exhibition of English life of these times. The pulse of rural England is felt by them in a most remarkable way; the religion, language, thought, politics, the whole trend of rural, provincial, and Court life may be gathered from their books.

The drawings in the Loutrell Psalter were completed before the year 1340, and they give us all that wonderful charm, that intimate knowledge, which we enjoy in the 'Canterbury Pilgrims' and the 'Vision of Piers Plowman.'

There seems to be something in road-travelling which levels all humanity; there is no road in England which does not throb with history; there is no poem or story written about roads in England which does not in some way move the Englishness in us. Chaucer and Langland make comrades of us as they move along the highway, and with them we meet, on terms of intimacy, all the characters of the fourteenth century. With these illuminators of the Loutrell Psalter and the Bodleian MS. we see actually the stream of English life along a crowded thoroughfare.

In these books we may see drawings of every form of agricultural life and manorial existence: we see the country sports, the bear-baiting, and the c.o.c.k-fighting; we see the harvesters with straw hats, scythes, and reaping-hooks; we see carters, carriers, and great carriages, all depicted in a manner which we can only compare, in later years, to the broad humour of Hogarth; and, as we turn the priceless pages over, the whole fourteenth-century world pa.s.ses before our eyes--j.a.pers and jugglers; disours and jesters; monk, priest, pilgrim, and pardoner; spendthrift and wench; hermits, good and evil; lords, ladies, and Kings.

I have written of the men and their dress--how they were often--very often--dirty, dusty, and travel-stained--of the red-rusted armour and the striped and chequered clothes, and now I must write of the women and the manner of their dress.

Of the time, you must remember that it was the time of chivalry, when there was a Round Table of Knights at Windsor, founded in 1345; when the Order of the Garter was founded; when tiltings and all manner of tournaments were at their height; and you listen to the minstrels of King Edward's household playing upon the trumpet, the cytole, the pipe, the taberet, the clarion, and the fiddle.

St. George, the Primate of Egypt in the fourth century, had now risen to public esteem and notice, so that he became in this time not only the patron saint of chivalry, but the tutelar saint of England.

Boys were taken from the care of the ladies of the household at the age of seven, when they became pages to knights, and were sworn to devote themselves to the graces and favours of some girl. At fourteen the boy became a squire, and at twenty-one, if he were possessed of a rental of 20 a year in land, he made his fast and vigil, and was afterward dubbed knight and given his spurs.

[Ill.u.s.tration: {Twelve hair arrangements for women}]

The noteworthy point about a woman of this reign was her hair. The Queen herself wore an elaborate mode of coiffure for that time; she wore a metal fillet round her head, to which was attached two cases, circular in shape, of gold fretwork, ornamented with precious stones.

She wore her hair unplaited, and brought in two parts from the back of her head, and as far as one can see, pushed into the jewelled cases.

[Ill.u.s.tration: {Five sleeve types for women}]

The most general form of hair-dressing was an excess on the mode of the previous reign, a richness of jewel-work, an abundance of gold wire. It was usual to divide the hair into two plaits, and arrange these on either side of the face, holding them in their place by means of a fillet; they might be worn folded straight up by the face, or at an angle, but they were never left hanging; if hair was left loose it was not plaited, but flowing.

The gorget, or throat cloth, was still in general use, and it was attached to the hair by very elaborate-headed pins. Sometimes the hair, dressed with the gorget, was divided into four plaits, two on either side of the face, and fastened horizontally.

The wimple of silk or linen was very generally worn. A caul of gold net came into fashion, but not until the end of the reign. The ladies were great upon hunting and hawking, and this must have been a convenient fashion to keep the hair in order. Some wore a white silk or linen cap, so shaped as to include and cover the two side-plaits and combine a gorget and wimple in one. Pointed frontals of pearls were worn across the forehead, and fillets of silk or linen were so tied that long ends hung down the back.

[Ill.u.s.tration: {Four women of the time of Edward III.}]

Yellow hair was much esteemed, and ladies who were not favoured by Nature, brought saffron to their aid, and by such efforts brought Nature into line with Art.

There was the general custom of wearing the surcoat in imitation of the men, a garment I have described frequently--a slightly-fitting garment without sleeves--you will see how this grew later into a gorgeous affair. These surcoats were sometimes of fine cloth of gold covered with an intricate, delicate pattern in which beasts, birds, and foliage mingled in arabesque. Under this surcoat was a plainer, better-fitting garment, made sometimes of the barred and rayed material so common to the men, or of velvet, cloth, or silk, in plain colours, green and red being then very favourite; ermines and many other furs were used to border these gowns. Sometimes you may see that this gown had sleeves short at the elbow, exposing a different coloured under-sleeve, b.u.t.toned from elbow to wrist; at other times--in fact, among all fashionable persons--the curious fashion of the tippet, or long streamer, was worn. I have carefully described this fashion in the previous chapter.

[Ill.u.s.tration: {A woman of the time of Edward III.}]

The plain gown with tight sleeves was most in use, and the skirts of this gown were very voluminous, and had either pockets or holes in the front of them; the holes enabled the wearer to reach the purse hanging from a girdle which encircled the waist of the under-dress. These gowns were generally b.u.t.toned in front, from neck to waist, or they were laced.

They also wore a heavier gown which reached just below the knee, showing the skirts of the under-gown; the heavy gowns were often fur-lined, and had loose wide sleeves to the elbow.

There was at this time a curious fur or cloth cape in use, longer behind than in front--in fact, it varied with the taste of the owner.

It was cut in even scallops all round; I say even to show that they were sewn-edged, not jagged and rough-edged. Any pair of these scallops might be longer than any other pair. Ladies wore these capes for hunting, and ornamented the ends with bells.

The shoes of the women were not very exaggerated in length, but, as a rule, fitted well to the foot and came out in a slight point. You may use for this reign shoes buckled across the instep, laced at the side, or b.u.t.toned up the front.