English Costume Part 4

When one regards the ma.s.s of material in existence showing costume of the tenth and eleventh centuries, it appears curious that so little fabric remains of this particular period.

The few pieces of fabric in existence are so worn and bare that they tell little, whereas pieces of earlier date of English or Norman material are perfect, although thin and delicate.

There are few illuminated ma.n.u.scripts of the twelfth century, or of the first half of it, and to the few there are all previous historians of costume have gone, so that one is left without choice but to go also to these same books. The possibilities, however, of the ma.n.u.scripts referred to have not been exhausted, and too much attention has been paid to the queer drawing of the illuminators; so that where they utilized to the full the artistic license, others have sought to pin it down as accurate delineation of the costume of the time. In this I have left out all the supereccentric costumes, fearing that such existed merely in the imagination of the artist, and I have applied myself to the more ordinary and understandable. As there are such excellent works on armour, I have not touched at all upon the subject, so that we are left but the few simple garments that men wore when they put off their armour, or that the peasant and the merchant habitually wore.

Ladies occupied their leisure in embroidery and other fine sewing, in consequence of which the borders of tunics, of cloaks, the edgings of sleeves, and bands upon the shoes, were elegantly patterned. The more important the man, the finer his shoes.

[Ill.u.s.tration: A MAN OF THE TIME OF STEPHEN (1135-1154)

He is wearing a cloak with hood attached; it is of skin, the smooth leather inside. He has an ankle gaiter covering the top of his shoes. On the arm over which the cloak hangs can be seen the white sleeve of the s.h.i.+rt.]

As will be seen from the drawings, the man wore his hair long, smoothly parted in the centre, with a lock drawn down the parting from the back of his head. As a rule, the hair curled back naturally, and hung on the shoulders, but sometimes the older fas.h.i.+on of the past reign remained, and the hair was carefully curled in locks and tied with coloured ribbon.

Besides the hood as covering for the head, men wore one or other of the simple caps shown, made of cloth or of fur, or of cloth fur-lined.

[Ill.u.s.tration: {A man of the time of Stephen; two types of shoe; a boot}]

[Ill.u.s.tration: {Two types of tunic; two types of cloak; four types of sleeve showing cuff variations}]

Next to his skin the man of every cla.s.s wore a s.h.i.+rt of the pattern shown--the selfsame s.h.i.+rt that we wear to day, excepting that the sleeves were made very long and tight-fitting, and were pushed back over the wrist, giving those wrinkles which we notice on all the Bayeux tapestry sleeves, and which we see for many centuries in drawings of the undergarment. The shape has always remained the same; the modes of fastening the s.h.i.+rt differ very slightly--so little, in fact, that a s.h.i.+rt of the fourth century which still remains in existence shows the same b.u.t.ton and loop that we notice of the s.h.i.+rts of the twelfth century. The richer man had his s.h.i.+rt embroidered round the neck and sometimes at the cuffs. Over this garment the man wore his tunic--of wool, or cloth, or (rarely) of silk; the drawing explains the exact making of it. The tunic, as will be seen, was embroidered at the neck, the cuffs, and round the border. One drawing shows the most usual of these tunics, while the other drawings will explain the variations from it--either a tight sleeve made long and rolled back, a sleeve made very wide at the cuff and allowed to hang, or a sleeve made so that it fell some way over the hand. It was embroidered inside and out at the cuff, and was turned back to allow free use of the hand.

Over the tunic was worn the cloak, a very simple garment, being a piece of cloth cut in the shape of a semicircle, embroidered on the border or not, according to the purse and position of the owner.

Sometimes a piece was cut out to fit the neck.

Another form of cloak was worn with a hood. This was generally used for travelling, or worn by such people as shepherds. It was made for the richer folk of fine cloth, fur-lined, or entirely of fur, and for the poorer people of skin or wool.

The cloak was fastened by a brooch, and was pinned in the centre or on either shoulder, most generally on the right; or it was pushed through a ring sewn on to the right side of the neck of the cloak.

The brooches were practically the same as those worn in the earlier reigns, or were occasionally of a pure Roman design.

As will be seen in the small diagrams of men wearing the clothes of the day, the tunic, the s.h.i.+rt, and the cloak were worn according to the season, and many drawings in the MSS. of the date show men wearing the s.h.i.+rt alone.

On their legs men wore trousers of leather for riding, bound round with leather thongs, and trousers of wool also, bound with coloured straps of wool or cloth.

[Ill.u.s.tration: {A man of the time of Stephen; an alternative hat for a man}]

Stockings of wool were worn, and cloth stockings also, and socks.

There was a sock without a foot, jewelled or embroidered round the top, which was worn over the stocking and over the top of the boot in the manner of ankle gaiters.

The country man wore twists of straw round his calf and ankle.

For the feet there were several varieties of boots and shoes made of leather and stout cloth, now and again with wooden soles. As has been said before, the important people rejoiced in elegant footgear of all colours. All the shoes b.u.t.toned with one b.u.t.ton above the outside ankle. The boots were sometimes tall, reaching to the bottom of the calf of the leg, and were rolled over, showing a coloured lining.

Sometimes they were loose and wrinkled over the ankle. They were both, boot and shoe, made to fit the foot; for in this reign nearly all the extravagances of the previous reign had died out, and it is rare to find drawings or mention of long shoes stuffed with tow or wool.

During the reign of Stephen the nation was too occupied in wars and battles to indulge in excessive finery, and few arts flourished, although useful improvements occurred in the crafts.

There is in the British Museum a fine enamelled plate of this date which is a representation of Henry of Blois, Stephen's brother, who was the Bishop of Winchester. Part of the inscription, translated by Mr. Franks, says that 'Art is above gold and gems,' and that 'Henry, while living, gives gifts of bra.s.s to G.o.d.'

Champleve enamel was very finely made in the twelfth century, and many beautiful examples remain, notably a plaque which was placed on the column at the foot of which Geoffrey Plantagenet was buried. It is a portrait of him, and shows the Byzantine influence still over the French style.

This may appear to be rather apart from costume, but it leads one to suppose that the ornaments of the time may have been frequently executed in enamel or in bra.s.s--such ornaments as rings and brooches.

It is hard to say anything definite about the colours of the dresses at this time. All that we can say is that the poorer cla.s.ses were clothed princ.i.p.ally in self-coloured garments, and that the dyes used for the clothes of the n.o.bles were of very brilliant hues. But a street scene would be more occupied by the colour of armour. One would have seen a knight and men-at-arms--the knight in his plain armour and the men in leather and steel; a few merchants in coloured cloaks, and the common crowd in brownish-yellow clothes with occasional bands of colour encircling their waists.

The more simply the people are represented, the more truthful will be the picture or presentation. Few pictures of this exact time are painted, and few stories are written about it, but this will give all the information necessary to produce any picture or stage-play, or to ill.u.s.trate any story.

The garments are perfectly easy to cut out and make. In order to prove this I have had them made from the bare outlines given here, without any trouble.

THE WOMEN

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

Though many parts of England were at this time being hara.s.sed by wars, still the domestic element grew and flourished.

The homes of the English from being bare and rude began to know the delights of embroidery and weaving. The workroom of the ladies was the most civilized part of the castle, and the effect of the Norman invasion of foreign fas.h.i.+ons was beginning to be felt.

As the knights were away to their fighting, so were the knights'

ladies engaged in sewing sleeve embroideries, placing of pearls upon shoes, making silk cases for their hair, and otherwise st.i.tching, cutting, and contriving against the return of their lords.

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

It is recorded that Matilda escaped from Oxford by a postern in a white dress, and no doubt her women sympathizers made much of white for dresses.

The ladies wore a simple undergarment of thin material called a sherte or camise; this was bordered with some slight embroidery, and had tightish long sleeves pushed back over the wrist. The garment fell well on to the ground. This camise was worn by all cla.s.ses.

The upper garment was one of three kinds: made from the neck to below the breast, including the sleeves of soft material; from the breast to the hips it was made of some elastic material, as knitted wool or thin cloth, stiffened by criss-cross bands of cloth, and was fitted to the figure and laced up the back; the lower part was made of the same material as the sleeves and bust.

[Ill.u.s.tration: A WOMAN OF THE TIME OF STEPHEN (1135-1154)

Her dress fits to her figure by lacing at the back. Her long sleeves are tied up to keep them from trailing upon the ground. Her hair is fastened at the end into silken cases. She has a wimple in her hands which she may wind about her head.]

The second was made tight-fitting in the body and bust, all of one elastic material, and the skirt of loose thin stuff.

The third was a loose tunic reaching half-way between the knees and feet, showing the camise, and tied about the waist and hips by a long girdle.

The sleeves of these garments showed as many variations as those of the men, but with the poor folk they were short and useful, and with the rich they went to extreme length, and were often knotted to prevent them from trailing on the ground.

The collar and the borders of the sleeves were enriched with embroidery in simple designs.

In the case of the loose upper garment the border was also embroidered.

In winter a cloak of the same shape as was worn by the men was used--_i.e._, cut exactly semicircular, with embroidered edges.

The shoes of the ladies were fitted to the foot in no extravagant shape, and were sewn with bands of pearls or embroidery. The poorer folk went about barefoot.

The hair was a matter of great moment and most carefully treated; it was parted in the centre and then plaited, sometimes intertwined with coloured ribbands or twists of thin coloured material; it was added to in length by artificial hair, and was tied up in a number of ways.

Either it was placed in a tight silk case, like an umbrella case, which came about half-way up the plait from the bottom, and had little ta.s.sels depending from it, or the hair was added to till it reached nearly to the feet, and was bound round with ribbands, the ends having little gold or silver pendants. The hair hung, as a rule, down the front on either side of the face, or occasionally behind down the back, as was the case when the wimple was worn.