English Costume Part 6

The skull of Arthur is covered with wounds; his bones are enormous.

The Queen's body is in a good state of preservation, and her hair is neatly plaited, and is of the colour of gold. Suddenly she falls to dust.

They bury them again with great care. So lay our national hero since he died at the Battle of Camlan in Cornwall in the year 542, and after death was conveyed by sea to Glas...o...b..ry, and all traces of his burial-place lost except in the songs of the people until such day as Henry found him and his Queen.

THE WOMEN

[Ill.u.s.tration: {A woman of the time of Henry II.; a circular pin}]

About this time came the fashion of the chin-band, and again the glory of the hair was hidden under the wimple.

To dress a lady's hair for this time the hair must be brushed out, and then divided into two parts: these are to be plaited, and then brought round the crown of the head and fastened in front above the forehead.

The front pieces of hair are to be neatly pushed back from the forehead, to show a high brow. Now a cloth of linen is taken, folded under the chin, and brought over the top of the head, and there pinned. Then another thin band of linen is placed round the head and fastened neatly at the back; and over all a piece of fine linen is draped, and so arranged that it shall just cover the forehead-band and fall on to the shoulders. This last piece of linen is fastened to the chin-band and the forehead-strap by pins.

[Ill.u.s.tration: {Four steps to dress a woman's hair}]

This fashion gave rise in later times to a linen cap; the forehead-strap was increased in height and stiffened so that it rose slightly above the crown of the head, and the wimple, instead of hanging over it, was sewn down inside it, and fell over the top of the cap. Later the cap was sewn in pleats.

The gown of this time was quite loose, with a deep band round the neck and round the hem of the skirts, which were very full. So far as one can tell, it was put on over the head, having no other opening but at the neck, and was held at the waist by an ornamental girdle.

The chemise showed above the neck of the gown, which was fastened by the usual round brooch.

[Ill.u.s.tration: A WOMAN OF THE TIME OF HENRY II. (1154-1189)

There is a chin-band to be seen pa.s.sing under the wimple; this band is pinned to hold it round the head.]

The sleeves were well fitting, rather loose at the elbow, and fell shaped over the wrist, where there was a deep border of embroidery. It is quite possible that the cuffs and hem may have been made of fur.

The shoes were, as usual to the last two reigns, rather blunt at the toe, and generally fitting without buckle, b.u.t.ton, or strap round the ankle, where they were rolled back.

Above the waist the tied girdle was still worn, but this was being supplanted by a broad belt of silk or ornamented leather, which fastened by means of a buckle. The tongue of the belt was made very long, and when buckled hung down below the knee.

The cloaks, from the light way in which they are held, appear to have been made of silk or some such fine material as fine cloth. They are held on to the shoulders by a running band of stuff or a silk cord, the ends of which pa.s.s through two fasteners sewn on to the cloak, and these are knotted or have some projecting ornament which prevents the cord from slipping out of the fastener.

In this way one sees the cloak hanging from the shoulders behind, and the cord stretched tight across the breast, or the cord knotted in a second place, and so bringing the cloak more over the shoulders.

The effigy of the Queen at Fontevraud shows her dress covered with diagonal bars of gold, in the triangles of which there are gold crescents placed from point to point, and no doubt other ladies of her time had their emblems or badges embroidered into their gowns.

RICHARD THE FIRST

Reigned ten years: 1189-1199.

Born 1157. Married, 1191, to Berengaria of Navarre.

THE MEN

[Ill.u.s.tration: {A man of the time of Richard I.; a hood; a shoe}]

The King had but little influence over dress in his time, seeing that he left England as soon as he was made King, and only came back for two months in 1194 to raise money and to be crowned again.

The general costume was then as plain as it had ever been, with long tunics and broad belts fastened by a big buckle.

The difference in costume between this short reign and that of Henry II. is almost imperceptible; if any difference may be noted, it is in the tinge of Orientalism in the garments.

There is more of the long and flowing robe, more of the capacious mantle, the wider sleeve.

No doubt the many who came from the Crusades made a good deal of difference to English homes, and actual dresses and tunics from the East, of gorgeous colours and Eastern designs, were, one must suppose, to be seen in England.

Cloth of gold and cloth of gold and silks--that is, warf of silk and weft of gold--were much prized, and were called by various names from the Persian, as 'ciclatoun,' 'siglaton.'

Such stuff, when of great thickness and value--so thick that six threads of silk or hemp were in the warf--was called 'samite.'

Later, when the cloth of gold was more in use, and the name had changed from 'ciclatoun' to 'bundekin,' and from that to 'tissue,' to keep such fine cloth from fraying or tarnishing, they put very thin sheets of paper away between the folds of the garments; so to this day we call such paper tissue-paper.

Leaf-gold was used sometimes over silk to give pattern and richness to it.

[Ill.u.s.tration: A MAN OF THE TIME OF RICHARD I. (1189-1199)]

A curious survival of this time, which has a connection with costume, was the case of Abraham Thornton in 1818. Abraham Thornton was accused of having drowned Mary Ashford, but he was acquitted by the jury. This acquittal did not satisfy popular feeling, and the brother of Mary Ashford appealed. Now Thornton was well advised as to his next proceeding, and, following the still existent law of this early time of which I write, he went to Westminster Hall, where he threw down, as a gage of battle, an antique gauntlet without fingers or thumb, of white tanned skin ornamented with silk fringes and sewn work, crossed by a narrow band of leather, the fastenings of leather tags and thongs.

This done, he declared himself ready to defend himself in a fight, and so to uphold his innocence, saying that he was within his rights, and that no judge could compel him to come before a jury.

This was held to be good and within the law, so Abraham Thornton won his case, as the brother refused to pick up the gauntlet. The scandal of this procedure caused the abolishment of the trial by battle, which had remained in the country's laws from the time of Henry II. until 1819.

It was a time of foreign war and improvement in military armour and arms. Richard I. favoured the cross-bow, and brought it into general use in England to be used in conjunction with the old 4-foot bow and the great bow 6 feet long with the cloth-yard arrow--a bow which could send a shaft through a 4-inch door.

For some time this military movement, together with the influence of the East, kept England from any advance or great change in costume; indeed, the Orientalism reached a pitch in the age of Henry III.

which, so far as costume is concerned, may be called the Age of Draperies.

To recall such a time in pictures, one must then see visions of loose-tuniced men, with heavy cloaks; of men in short tunics with sleeves tight or loose at the wrists; of hoods with capes to them, the cape-edge sometimes cut in a round design; of soft leather boots and shoes, the boots reaching to the calf of the leg. To see in the streets bright Oriental colours and cloaks edged with broad bands of pattern; to see hooded heads and bared heads on which the hair was long; to see many long-bearded men; to see old men leaning on tan-handled sticks; the sailor in a cap or coif tied under his chin; the builder, stonemason, and skilled workman in the same coif; to see, as a whole, a brilliant shifting colour scheme in which armour gleamed and leather tunics supplied a dull, fine background. Among these one might see, at a town, by the sh.o.r.e, a thief of a sailor being carried through the streets with his head shaven, tarred and feathered.

THE WOMEN

[Ill.u.s.tration: {A woman of the time of Richard I.; a pouch}]

It is difficult to describe an influence in clothes.

It is difficult nowadays to say in millinery where Paris begins and London accepts. The hint of Paris in a gown suggests taste; the whole of Paris in a gown savours of servile imitation.

No well-dressed Englishwoman should, or does, look French, but she may have a subtle cachet of France if she choose.

The perfection of art is to conceal the means to the end; the perfection of dress is to hide the milliner in the millinery.

The ladies of Richard I.'s time did not wear Oriental clothes, but they had a flavour of Orientalism pervading their dress--rather masculine Orientalism than feminine.