English Costume Part 10

There was an increase of heraldic ornament in this age, and the surcoats were often covered with a large device.

These surcoats, as in the previous reign, were split from shoulder to bottom hem, or were sewn up below the waist; for these, thin silk, thick silk (called samite), and sendal, or thick stuff, was used, as also for the gowns.

The shoes were peaked, and had long toes, but nothing extravagant, and they were laced on the outside of the foot. The boots came in a peak up to the knee.

The peasant was still very Norman in appearance, hooded, cloaked, with ill-fitting tights and clumsy shoes; his dress was often of bright colours on festivals, as was the gown and head-handkerchief of his wife.

Thus you see that, for ordinary purposes, a man dressed in some gown which was long, loose, and comfortable, the sleeves of it generally tight for freedom, so that they did not hang about his arm, and his shoes, hat, cloak, everything, was as soft and free as he could get them.

The woman also followed in the lines of comfort: her under-gown was full and slack at the waist, the sleeves were tight, and were made to unb.u.t.ton from wrist to elbow; they stopped short at the wrist with a cuff.

Her upper gown had short, wide sleeves, was fastened at the back, and was cut but roughly to the figure. The train of this gown was very long.

They sought for comfort in every particular but one: for though I think the gorget very becoming, I think that it must have been most distressing to wear. This gorget was a piece of white linen wrapped about the throat, and pinned into its place; the ends were brought up to meet a wad of hair over the ears and there fastened, in this way half framing the face.

[Ill.u.s.tration: {Four types of hairstyle and head-dresses for women}]

The hair was parted in the middle, and rolled over pads by the ears, so as to make a cus.h.i.+on on which to pin the gorget. This was the general fas.h.i.+on.

Now, the earlier form of head-dress gave rise to another fas.h.i.+on. The band which had been tied round the head to keep the wimple in place was enlarged and stiffened with more material, and so became a round linen cap, wider at the top than at the bottom. Sometimes this cap was hollow-crowned, so that it was possible to bring the wimple under the chin, fasten it into place with the cap, and allow it to fall over the top of the cap in folds; sometimes the cap was solidly crowned, and was pleated; sometimes the cap met the gorget, and no hair showed between them.

[Ill.u.s.tration: A MAN AND WOMAN OF THE TIME OF EDWARD I. (1272-1307)

The sleeves of the man's overcoat through which he has thrust his arms are complete sleeves, and could be worn in the ordinary manner but that they are too long to be convenient; hence the opening.]

What we know as 'the true lovers' knot' was sometimes used as an ornament sewn on to dresses or gowns.

You may know the effigy of Queen Eleanor in Westminster Abbey, and if you do, you will see an example of the very plainest dress of the time. She has a shaped mantle over her shoulders, which she is holding together by a strap; the long mantle or robe is over a plain, loosely-pleated gown, which fits only at the shoulders; her hair is unbound, and she wears a trefoil crown upon her head.

[Ill.u.s.tration: {Two women of the time of Edward I.}]

The changes in England can best be seen by such monuments as Edward caused to be erected in memory of his beloved wife. The arts of peace were indeed magnificent, and though the knight was the man of war, he knew how to choose his servant in the great arts.

Picture such a man as Alexander de Abyngdon, 'le Imaginator,' who with William de Ireland carved the statues of the Queen for five marks each--such a man, with his gown hitched up into his belt, his hood back on his shoulders, watching his statue put into place on the cross at Charing. He is standing by Roger de Crundale, the architect of that cross, and he is directing the workmen who are fixing the statue.... A little apart you may picture Master William Tousell, goldsmith, of London, a very important person, who is making a metal statue of the Queen and one of her father-in-law, Henry III., for Westminster Abbey.

At the back men and women in hoods and wimples, in short tunics and loose gowns. A very brightly-coloured picture, though the dyes of the dresses be faded by rain and sun--they are the finer colours for that: Master Tousell, no doubt, in a short tunic for riding, with his loose coat on him, the heavy hood back, a little cap on his head; the workmen with their tunics off, a twist of coloured stuff about their waists, their heads bare.

It is a beautiful love-story this, of fierce Edward, the terror of Scotland, for Eleanor, whom he 'cherished tenderly,' and 'whom dead we do not cease to love.'

The same man, who could love so tenderly and well, who found a fantastic order of chivalry in the Round Table of Kenilworth, could there swear on the body of a swan the death of Comyn, Regent of Scotland, and could place the Countess of Buchan, who set the crown upon the head of Bruce, in a cage outside one of the towers of Berwick.

Despite the plain cut of the garments of this time, and the absence of superficial tr.i.m.m.i.n.gs, it must have been a fine sight to witness one hundred lords and ladies, all clothed in silk, seated about the Round Table of Kenilworth.

EDWARD THE SECOND

Reigned twenty years: 1307-1327.

Born 1284. Married, 1308, Isabella of France.

MEN AND WOMEN

Whether the changes in costume that took place in this reign were due to enterprising tailors, or to an exceptionally hot summer, or to the fancy of the King, or to the sprightliness of Piers Gaveston, it is not possible to say. Each theory is arguable, and, no doubt, in some measure each theory is right, for, although men followed the new mode, ladies adhered to their earlier fas.h.i.+ons.

Take the enterprising tailor--call him an artist. The old loose robe was easy of cut; it afforded no outlet for his craft; it cut into a lot of material, was easily made at home--it was, in fact, a baggy affair that fitted nowhere. Now, is it not possible that some tailor-artist, working upon the vanity of a lordling who was proud of his figure, showed how he could present this figure to its best advantage in a body-tight garment which should reach only to his hips?

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

Take the hot summer. You may or may not know that a hot summer some years ago suddenly transformed the City of London from a place of top-hats and black coats into a place of flannel jackets and hats of straw, so that it is now possible for a man to arrive at his City office clad according to the thermometer, without incurring the severe displeasure of the Fathers of the City.

It seems that somewhere midway between 1307 and 1327 men suddenly dropped their long robes, loosely tied at the waist, and appeared in what looked uncommonly like vests, and went by the name of 'cotehardies.'

It must have been surprising to men who remembered England clothed in long and decorous robes to see in their stead these gay, debonair, tight vests of pied cloth or parti-coloured silk.

Piers Gaveston, the gay, the graceless but graceful favourite, clever at the tournament, warlike and vain, may have inst.i.tuted this complete revolution in clothes with the aid of the weak King.

[Ill.u.s.tration: {Two types of cotehardie}]

[Ill.u.s.tration: {Two types of tunic; two types of collar}]

Sufficient, perhaps, to say that, although long robes continued to be worn, cotehardies were all the fas.h.i.+on.

There was a general tendency to exaggeration. The hood was attacked by the dandies, and, instead of its modest peak, they caused to be added a long pipe of the material, which they called a 'liripipe.'

Every quaint thought and invention for tying up this liripipe was used: they wound it about their heads, and tucked the end into the coil; they put it about their necks, and left the end dangling; they rolled it on to the top of their heads.

[Ill.u.s.tration: {Four types of shoe; two types of hat}]

The countryman, not behindhand in quaint ideas, copied the form of a Bishop's hood, and appeared with his cloth hood divided into two peaks, one on either side of his head.

[Ill.u.s.tration: {Four types of hood}]

This new cotehardie was cut in several ways. Strictly speaking, it was a cloth or silk vest, tight to the body, and close over the hips; the length was determined by the fancy of the wearer. It also had influence on the long robes still worn, which, although full below the waist to the feet, now more closely fitted the body and shoulders.

The fas.h.i.+onable sleeves were tight to the elbow, and from there hanging and narrow, showing a sleeve belonging to an undergarment.

The cloak also varied in shape. The heavy travelling-cloak, with the hood attached, was of the old pattern, long, shapeless, with or without hanging sleeves, loose at the neck, or tightly b.u.t.toned.

Then there was a hooded cloak, with short sleeves, or with the sleeves cut right away, a sort of hooded surcoat. Then there were two distinct forms of cape: one a plain, circular cape, not very deep, which had a plain, round, narrow collar of fur or cloth, and two or three b.u.t.tons at the neck; and there was the round cape, without a collar, but with turned back lapels of fur. This form of cape is often to be seen.

The boots and shoes were longer at the toes, and were sometimes b.u.t.toned at the sides.

The same form of hats remain, but these were now treated with fur brims.

Round the waist there was always a belt, generally of plain black leather; from it depended a triangular pouch, through which a dagger was sometimes stuck.

[Ill.u.s.tration: A MAN AND WOMAN OF THE TIME OF EDWARD II. (1307-1327)