Part 4

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 pass 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

[Illustration: {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.

[Illustration: 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 shore, a thief of a sailor being carried through the streets with his head shaven, tarred and feathered.

THE WOMEN

[Illustration: {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.

The long cloak with the cord that held it over the shoulders; the long, loose gown of fine colours and simple designs; the soft, low, heelless shoes; the long, unbound hair, or the hair held up and concealed under an untied wimple--these gave a touch of something foreign to the dress.

Away in the country there was little to dress for, and what clothes they had were made in the house. Stuffs brought home from Cyprus, from Palestine, from Asia Minor, were laboriously conveyed to the house, and there made up into gowns. Local smiths and silver-workers made them buckles and brooches and ornamental studs for their long belts, or clasps for their purses.

A wreck would break up on the shore near by, and the news would arrive, perhaps, that some bales of stuff were washed ashore and were to be sold.

[Illustration: A WOMAN OF THE TIME OF RICHARD I. (1189-1199)

Her very full cloak is kept in place by the cord which passes through loops. A large buckle holds the neck of the gown well together. The gown is ornamented with a simple diaper pattern; the hem and neck are deeply embroidered.]

The female anchorites of these days were busy gossips, and from their hermitage or shelter by a bridge on the road would see the world go by, and pick up friends by means of gifts of bandages or purses made by them, despite the fact that this traffic was forbidden to them.

So the lady in the country might get news of her lord abroad, and hear that certain silks and stuffs were on their way home.

The gowns they wore were long, flowing and loose; they were girded about the middle with leathern or silk belts, which drew the gown loosely together. The end of the belt, after being buckled, hung down to about the knee. These gowns were close at the neck, and there fastened by a brooch; the sleeves were wide until they came to the wrist, over which they fitted closely.

The cloaks were ample, and were held on by brooches or laces across the bosom.

The shoes were the shape of the foot, sewn, embroidered, elaborate.

The wimples were pieces of silk or white linen held to the hair in front by pins, and allowed to flow over the head at the back.

There were still remaining at this date women who wore the tight-fitting gown laced at the back, and who tied their chins up in gorgets.

JOHN

Reigned seventeen years: 1199-1216.

Born 1167. Married, in 1189, to Hadwisa, of Gloucester, whom he divorced; married, in 1200, to Isabella of Angouleme.

THE MEN

There was a garment in this reign which was the keynote of costume at the time, and this was the surcoat. It had been worn over the armour for some time, but in this reign it began to be an initial part of dress.

Take a piece of stuff about 9 or 10 yards in length and about 22 inches wide; cut a hole in the centre of this wide enough to admit of a man's head passing through, and you have a surcoat.

[Illustration: {A simple surcoat pattern}]

[Illustration: A MAN OF THE TIME OF JOHN (1199-1216)]

Under this garment the men wore a flowing gown, the sleeves of which were so wide that they reached at the base from the shoulder to the waist, and narrowed off to a tight band at the wrist.

These two garments were held together by a leather belt buckled about the middle, with the tongue of the belt hanging down.

Broad borders of design edged the gowns at the foot and at the neck, and heraldic devices were sewn upon the surcoats.

King John himself, the quick, social, humorous man, dressed very finely. He loved the company of ladies and their love, but in spite of his love for them, he starved and tortured them, starved and beat children, was insolent, selfish, and wholly indifferent to the truth. He laughed aloud during the Mass, but for all that was superstitious to the degree of hanging relics about his neck; and he was buried in a monk's cowl, which was strapped under his chin.

Silk was becoming more common in England, and the cultivation of the silkworm was in some measure gaining hold. In 1213 the Abbot of Cirencester, Alexander of Neckham, wrote upon the habits of the silkworm.

Irish cloth of red colour was largely in favour, presumably for cloaks and hoods.

The general costume of this reign was very much the same as that of Henry II. and Richard I.--the long loose gown, the heavy cloak, the long hair cut at the neck, the fashion of beards, the shoes, belts, hoods, and heavy fur cloaks, all much the same as before, the only real difference being in the general use of the surcoat and the very convenient looseness of the sleeves under the arms.

[Illustration: {A man of the time of John; an alternative cuff}]

There is an inclination in writing of a costume one can visualize mentally to leave out much that might be useful to the student who knows little or nothing of the period of dress in which one is writing; so perhaps it will be better to now dress a man completely.

First, long hair and a neatly-trimmed beard; over this a hood and cape or a circular cap, with a slight projection on the top of it.

Second, a shirt of white, like a modern soft shirt.

Third, tights of cloth or wool.

Fourth, shoes strapped over the instep or tied with thongs, or fitting at the ankle like a slipper, or boots of soft leather turned over a little at the top, at the base of the calf of the leg.

[Illustration: {A man of the time of John}]

Fifth, a gown, loosely fitting, buckled at the neck, with sleeves wide at the top and tight at the wrist, or quite loose and coming to just below the elbow, or a tunic reaching only to the knees, both gown and tunic fastened with a belt.

Sixth, a surcoat sometimes, at others a cloak held together by a brooch, or made for travelling with a hood.

This completes an ordinary wardrobe of the time.

THE WOMEN

As may be seen from the plate, no change in costume took place.

The hair plaited and bound round the head or allowed to flow loose upon the shoulders.

Over the hair a gorget binding up the neck and chin. Over all a wimple pinned to the gorget.

A long loose gown with brooch at the neck. Sleeves tight at the wrist. The whole gown held in at the waist by a belt, with one long end hanging down.

Shoes made to fit the shape of the foot, and very elaborately embroidered and sewn.

A long cloak with buckle or lace fastening.

In this reign there were thirty English towns which had carried on a trade in dyed cloths for fifty years.

[Illustration: A WOMAN OF THE TIME OF JOHN (1199-1216)

One may just see the purse beneath the cloak, where it hangs from the belt. The cloak itself is of fine diaper-patterned material.]

HENRY THE THIRD

Reigned fifty-six years: 1216-1272.

Born 1207. Married, 1236, to Eleanor of Provence.

THE MEN

[Illustration: {A man of the time of Henry III.}]

Despite the fact that historians allude to the extravagance of this reign, there is little in the actual form of the costume to bear out the idea. Extravagant it was in a large way, and costly for one who would appear well dressed; but the fopperies lay more in the stuffs than in the cut of the garments worn.

It was an age of draperies.

This age must call up pictures of bewrapped people swathed in heavy cloaks of cloth of Flanders dyed with the famous Flemish madder dye; of people in silk cloaks and gowns from Italy; of people in loose tunics made of English cloth.

This long reign of over fifty years is a transitional period in the history of clothes, as in its course the draped man developed very slowly towards the coated man, and the loose-hung clothes very gradually began to shape themselves to the body.

The transition from tunic and cloak and Oriental draperies is so slow and so little marked by definite change that to the ordinary observer the Edwardian cotehardie seems to have sprung from nowhere: man seems to have, on a sudden, dropped his stately wraps and mantles and discarded his chrysalis form to appear in tight lines following the figure--a form infinitely more gay and alluring to the eye than the ponderous figure that walks through the end of the thirteenth century.

Up to and through the time from the Conquest until the end of Henry III.'s reign the clothes of England appear--that is, they appear to me--to be lordly, rich, fine, but never courtier-like and elegant.

[Illustration: A MAN OF THE TIME OF HENRY III. (1216-1272)

Heavy cloak and fulness of dress characteristic of this time.]

If one may take fashion as a person, one may say: Fashion arrived in 1066 in swaddling-clothes, and so remained enveloped in rich cloaks and flowing draperies until 1240, when the boy began to show a more active interest in life; this interest grew until, in 1270, it developed into a distaste for heavy clothes; but the boy knew of no way as yet in which to rid himself of the trailings of his mother cloak. Then, in about 1272, he invented a cloak more like a strange, long tunic, through which he might thrust his arms for freedom; on this cloak he caused his hood to be fastened, and so made himself three garments in one, and gave himself greater ease.

Then dawned the fourteenth century--the youth of clothes--and our fashion boy shot up, dropped his mantles and heaviness, and came out from thence slim and youthful in a cotehardie.

Of such a time as this it is not easy to say the right and helpful thing, because, given a flowing gown and a capacious mantle, imagination does the rest. Cut does not enter into the arena.

Imagine a stage picture of this time: a mass of wonderful, brilliant colours--a crowd of men in long, loose gowns or surcoats; a crowd of ladies in long, loose gowns; both men and women hung with cloaks or mantles of good stuffs and gay colours. A background of humbler persons in homespun tunics with cloth or frieze hoods over their heads. Here and there a fop--out of his date, a quarter-century before his time--in a loose coat with pocket-holes in front and a buttoned neck to his coat, his shoes very pointed and laced at the sides, his hair long, curled, and bound by a fillet or encompassed with a cap with an upturned brim.

[Illustration: {Two men of the time of Henry III.}]

The beginning of the coat was this: the surcoat, which up till now was split at both sides from the shoulder to the hem, was now sewn up, leaving only a wide armhole from the base of the ribs to the shoulder. This surcoat was loose and easy, and was held in at the waist by a belt. In due time a surcoat appeared which was slightly shaped to the figure, was split up in front instead of at the sides, and in which the armholes were smaller and the neck tighter, and fastened by two or three buttons. In front of this surcoat two pocket-holes showed. This surcoat was also fastened by a belt at the waist.

In common with the general feeling towards more elaborate clothes, the shoes grew beyond their normal shape, and now, no longer conforming to the shape of the foot, they became elongated at the toes, and stuck out in a sharp point; this point was loose and soft, waiting for a future day when men should make it still longer and stuff it with tow and moss.

Of all the shapes of nature, no shape has been so marvellously maltreated as the human foot. It has suffered as no other portion of the body has suffered: it has endured exceeding length and exceeding narrowness; it has been swelled into broad, club-like shapes; it has been artificially raised from the ground, ended off square, pressed into tight points, curved under, and finally, as to-day, placed in hard, shining, tight leather boxes. All this has been done to one of the most beautiful parts of the human anatomy by the votaries of fashion, who have in turn been delighted to expose the curves of their bodies, the round swelling of their hips, the beauties of their nether limbs, the whiteness of their bosoms, the turn of their elbows and arms, and the rotundity of their shoulders, but who have, for some mysterious reasons, been for hundreds of years ashamed of the nakedness of their feet.

Let me give a wardrobe for a man of this time.

A hood with a cape to it; the peak of the hood made full, but about half a hand's breadth longer than necessary to the hood; the cape cut sometimes at the edge into a number of short slits.

A cap of soft stuff to fit the head, with or without an upturned brim. A fillet of silk or metal for the hair.

A gown made very loose and open at the neck, wide in the body, the sleeves loose or tight to the wrist. The gown long or short, on the ground or to the knee, and almost invariably belted at the waist by a long belt of leather with ornamental studs.

A surcoat split from shoulder to hem, or sewn up except for a wide armhole.

A coat shaped very slightly to the figure, having pocket-holes in front, small armholes, and a buttoned neck.

A great oblong-shaped piece of stuff for a cloak, or a heavy, round cloak with an attached hood.

Tights of cloth or sewn silk--that is, pieces of silk cut and sewn to the shape of the leg.

Shoes with long points--about 2 inches beyond the toes--fastened by a strap in front, or laced at the sides, or made to pull on and fit at the ankle, the last sometimes with a V-shaped piece cut away on either side.

There was a tendency to beads, and a universal custom of long hair.

In all such clothes as are mentioned above every rich stuff of cloth, silk, wool, and frieze may be used, and fur linings and fur hats are constant, as also are furred edges to garments.

There was a slight increase of heraldic ornament, and a certain amount of foreign diaper patterning on the clothes.

THE WOMEN

Now the lady must needs begin to repair the ravages of time and touch the cheek that no longer knows the bloom of youth with--rouge.

This in itself shows the change in the age. Since the Britons--poor, simple souls--had sought to embellish Nature by staining themselves blue with woad and yellow with ochre, no paint had touched the faces of the fashionable until this reign. Perhaps discreet historians had left that fact veiled, holding the secrets of the lady's toilet too sacred for the black of print; but now the murder came out. The fact in itself is part of the psychology of clothes. Paint the face, and you have a hint towards the condition of fashion.

Again, as in the case of the men, no determined cut shows which will point to this age as one of such and such a garment or such an innovation, but--and this I would leave to your imagination--there was a distinction that was not great enough to be a difference.

The gowns were loose and flowing, and were gathered in at the waist by a girdle, or, rather, a belt, the tongue of which hung down in front; but as the end of the reign approached, the gowns were shaped a little more to the figure.

A lady might possess such clothes as these: the gowns I have mentioned above, the sleeves of which were tight all the way from the shoulder to the wrist, or were loose and cut short just below the elbow, showing the tight sleeves of the under-gown.

Shoes very elaborately embroidered and pointed at the toes.

A rich cloak made oblong in shape and very ample in cut.

A shaped mantle with strings to hold it together over the shoulders.

[Illustration: A WOMAN OF THE TIME OF HENRY III. (1216-1272)

This will show how very slight were the changes in woman's dress; a plain cloak, a plain gown, and a wimple over the head.]

For the head a wimple made of white linen or perhaps of silk; this she would put above her head, leaving the neck bare.

A long belt for her waist, and, if she were a great lady, a pair of gloves to wear or stick into her belt.

THE COUNTRY FOLK

From the Conquest to the reign of Edward I.