English Costume Part 18

The women commonly wear the semicircular mantle, which they fasten across them by cords running through ornamental brooches.

They wear very rich metal and enamel belts round their hips, the exact ornamentation of which cannot be described here; but it was the ornament of the age, which can easily be discovered.

In the country, of course, simpler garments prevail, and plain surcoats and cotehardies are wrapped in cloaks and mantles of homespun material. The hood has not fallen out of use for women, and the peaked hat surmounts it for riding or rough weather. Ladies wear wooden clogs or sandals besides their shoes, and they have not yet taken to the horns upon their heads; some few of them, the great dames of the counties whose lords have been to London on King's business, or returned from France with new ideas, have donned the elaborate business of head-boxes and wires and great wimples.

As one of the ladies rides in the country lanes, she may pa.s.s that Augustine convent where Dame Petronilla is spiritual Mother to so many, and may see her in Agincourt year keeping her pig-tally with Nicholas Swon, the swineherd. They may see some of the labourers she hires dressed in the blood-red cloth she has given them, for the dyeing of which she paid 7s. 8d. for 27 ells. The good dame's nuns are very neat; they have an allowance of 6s. 8d. a year for dress.

This is in 1415. No doubt next year my lady, riding through the lanes, will meet some st.u.r.dy beggar, who will whine for alms, pleading that he is an old soldier lately from the field of Agincourt.

NOTE

As there is so little real change, for drawings of women's dress see the numerous drawings in previous chapter.

HENRY THE SIXTH

Reigned thirty-nine years: 1422-1461.

Born 1421. Dethroned 1461. Died 1471. Married, 1446, Margaret of Anjou.

THE MEN

[Ill.u.s.tration: {A man of the time of Henry VI.; two types of sleeve}]

What a reign! Was history ever better dressed?

I never waver between the cardboard figures of the great Elizabethan time and this reign as a monument to lavish display, but if any time should beat this for quaintness, colour, and variety, it is the time of Henry VIII.

Look at the scenes and characters to be dressed: John, Duke of Bedford, the Protector, Joan of Arc, Jack Cade, a hundred other people; Crevant, Verneuil, Orleans, London Bridge, Ludlow, St.

Albans, and a hundred other historical backgrounds.

Yet, in spite of all this, in spite of the fact that Joan of Arc is one of the world's personalities, it is difficult to pick our people out of the tapestries.

Now, you may have noticed that in trying to recreate a period in your mind certain things immediately swing into your vision: it is difficult to think of the Conquest without the Bayeux tapestry; it is difficult to think of the dawn of the sixteenth century without the dreamy, romantic landscapes which back the figures of Giorgione; and it is not easy to think of these people of the Henry VI. period without placing them against conventional tapestry trees, yellow-white castles with red, pepper-pot roofs, gra.s.s luxuriant with needlework flowers, and all the other accessories of the art.

[Ill.u.s.tration: {A man of the time of Henry VI.}]

The early times are easily imagined in rough surroundings or in open air; knights in armour ride quite comfortably down modern English lanes. Alfred may burn his cakes realistically, and Canute rebuke his courtiers on the beach--these one may see in the round. Elizabeth rides to Tilbury, Charles II. casts his horoscope, and George rings the bell, each in their proper atmosphere, but the Dark Ages are dark, not only in modes of thought, but in being ages of grotesque, of ornamentation, of anything but realism.

One has, I think, a conventional mind's eye for the times from Edward I. to Richard III., from 1272 to 1485, and it is really more easy for a Chinaman to call up a vision of 604 A.D., when Laot-sen, the Chinese philosopher, was born. Laot-sen, the child-old man, he who was born with white hair, lived till he was eighty-one, and, having had five million followers, went up to heaven on a black buffalo. In China things have changed very little: the costume is much the same, the customs are the same, the att.i.tude towards life has not changed. But here the semicivilized, superst.i.tious, rather dirty, fourteenth and fifteenth century person has gone. Scratch a Russian, they say, and you will see a Tartar; do the same office by an Englishman, and you may find a hint of the Renaissance under his skin, but no more. The Middle Ages are dead and dust.

We will proceed with that congenial paradox which states that the seat of learning lies in the head, and so discuss the most distinctive costumery of this time, the roundlet.

[Ill.u.s.tration: {A man of the time of Henry VI.; two types of head-gear}]

Now, the roundlet is one of those things which delight the clothes-hunter or the costume expert. It is the natural result of a long series of fas.h.i.+ons for the head, and its pedigree is free from any impediment or hindrance; it is the great-grandson of the hood, which is derived from a fold in a cloak, which is the beginning of all things.

I am about to run the risk of displeasure in repeating to some extent what I have already written about the chaperon, the hood, and the other ancestors and descendants of the roundlet.

A fas.h.i.+on is born, not made. Necessity is the mother of Art, and Art is the father of Invention. A man must cover his head, and if he has a cloak, it is an easy thing in rain or suns.h.i.+ne to pull the folds of the cloak over his head. An ingenious fellow in the East has an idea: he takes his 8 feet--or more--of material; he folds it in half, and at about a foot and a half, or some such convenient length, he puts several neat and strong st.i.tches joining one point of the folded material. When he wraps this garment about him, leaving the sewn point in the centre of his neck at the back, he finds that he has directed the folds of his coat in such a manner as to form a hood, which he may place on or off his head more conveniently than the plain unsewn length of stuff. The morning sun rises on the sands of Sahara and lights upon the first burnoose. By a simple process in tailoring, some man, who did not care that the peak of his hood should be attached to his cloak, cut his cloth so that the cloak had a hood, the peak of which was separate and so looser, and yet more easy to pull on or off.

Now comes a man who was taken by the shape of the hood, but did not require to wear a cloak, so he cut his cloth in such a way that he had a hood and shoulder-cape only. From this to the man who closed the front of the hood from the neck to the edge of the cape is but a quick and quiet step. By now necessity was satisfied and had given birth to art. Man, having admired his face in the still waters of a pool, seeing how the oval framed in the hood vastly became him, sought to tickle his vanity and win the approbation of the other s.e.x, so, taking some shears, cut the edge of his cape in scallops and leaves. A more dandified fellow, distressed at the success of his brother's plumage, caused the peak of his hood to be made long.

[Ill.u.s.tration: A MAN OF THE TIME OF HENRY VI. (1422-1461)

His hair is cropped over his ears and has a thick fringe on his forehead. Upon the ground is his roundlet, a hat derived from the twisted chaperon of Richard II.'s day. This hat is worn to-day, in miniature, on the shoulder of the Garter robes.]

Need one say more? The long peak grew and grew into the preposterous liripipe which hung down the back from the head to the feet. The dandy spirit of another age, seeing that the liripipe can grow no more, and that the shape of the hood is common and not in the true dandiacal spirit, whips off his hood, and, placing the top of his head where his face was, he twists the liripipe about his head, imprisons part of the cape, and, after a fixing twist, slips the liripipe through part of its twined self and lets the end hang down on one side of his face, while the jagged end of the hood rises or falls like a c.o.c.ks...o...b..on the other. c.o.c.ks...o...b.. there's food for discussion in that--fops, beaux, dandies, c.o.xcombs--surely.

I shall not go into the matter of the hood with two peaks, which was not, I take it, a true child of fas.h.i.+on in the direct line, but a mere cousin--a junior branch at that.

As to the dates on this family tree, the vague, mysterious beginnings B.C.--goodness knows when--in a general way the Fall, the Flood, and the First Crusade, until the time of the First Edward; the end of the thirteenth century, when the liripipe budded, the time of the Second Edward; the first third of the fourteenth century, when the liripipe was in full flower, the time of the Third Edward; the middle of the fourteenth century, when the liripipe as a liripipe was dying, the time of the Second Richard; the end of the century, when the chaperon became the twisted c.o.c.ks...o...b..turban. Then, after that, until the twenty-second year of the fifteenth century, when the roundlet was born--those are the dates.

[Ill.u.s.tration: {A man of the time of Henry VI.}]

We have arrived by now, quite naturally, at the roundlet. I left you interested at the last phase of the hood, the chaperon so called, twisted up in a fantastical shape on man's head. You must see that the mere process of tying and retying, twisting, coiling and arranging, was tedious in the extreme, especially in stirring times with the trumpets sounding in England and France. Now what more likely for the artist of the tied hood than to puzzle his brains in order to reach a means by which he could get at the effect without so much labour!

Enter invention--enter invention and exit art. With invention, the made-up chaperon sewn so as to look as if it had been tied. There was the twist round the head, the c.o.c.ks...o...b.. the hanging piece of liripipe. Again this was to be simplified: the twist made into a smooth roll, the skull to be covered by an ordinary cap attached to the roll, the c.o.c.ks...o...b..converted into a plain piece of cloth or silk, the liripipe to become broader. And the end of this, a little round hat with a heavily-rolled and stuffed brim, pleated drapery hanging over one side and streamer of broad stuff over the other; just such a hat did these people wear, on their heads or slung over their shoulder, being held in the left hand by means of the streamer. There the honourable family of hood came to a green old age, and was, at the end of the fifteenth century, allowed to retire from the world of fas.h.i.+on, and was given a pension and a home, in which home you may still see it--on the shoulders of the Garter robe. Also it has two more places of honourable distinction--the roundlet is on the Garter robe; the chaperon, with the cut edge, rests as a c.o.c.kade in the hats of liveried servants, and the minutest member of the family remains in the foreign b.u.t.tons of honourable Orders.

[Ill.u.s.tration: {Six types of head-gear}]

We have the roundlet, then, for princ.i.p.al head-gear in this reign, but we must not forget that the hood is not dead; it is out of the strict realms of fas.h.i.+on, but it is now a practical country garment, or is used for riding in towns. There are also other forms of head-wear--tall, conical hats with tall brims of fur, some brims cut or scooped out in places; again, the hood may have a furred edge showing round the face opening; then we see a cap which fits the head, has a long, loose back falling over the neck, and over this is worn a roll or hoop of twisted stuff. Then there is the sugar-loaf hat, like a circus clown's, and there is a broad, flat-brimmed hat with a round top, like Noah's hat in the popular representations of the Ark.

[Ill.u.s.tration: {Two men of the time of Henry VI.}]

Besides these, we have the jester's three-peaked hood and one-peaked hood, the cape of which came, divided into points, to the knees, and had arms with bell sleeves.

Let us see what manner of man we have under such hats: almost without exception among the gentlemen we have the priestly hair--that queer, shaved, tonsure-like cut, but without the circular piece cut away from the crown of the head.

[Ill.u.s.tration: {A man of the time of Henry VI.}]

The cut of the tunic in the body has little variation; it may be longer or shorter, an inch above or an inch below the knee, but it is on one main principle. It is a loose tunic with a wide neck open in front about a couple or three inches; the skirt is full, and may be cut up on one or both sides; it may be edged with fur or some stuff different to the body of the garment, or it may be jagged, either in regular small scoops or in long fringe-like jags. The tunic is always belted very low, giving an odd appearance to the men of this time, as it made them look very short in the leg.

The great desire for variety is displayed in the forms of sleeve for this tunic: you may have the ordinary balloon sleeve ending in a stuff roll or fur edge for cuff, or you may have a half-sleeve, very wide indeed, like shoulder-capes, and terminated in the same manner as the bottom of the tunics--that is, fur-edged tunic, fur-edged sleeve, and so on, as described; under this shows the tight sleeve of an undergarment, the collar of which shows above the tunic collar at the neck. The length of these shoulder-cape sleeves varies according to the owner's taste, from small epaulettes to heavy capes below the elbow. There is also a sleeve tight from wrist to below the elbow, and at that point very big and wide, tapering gradually to the shoulder.

You will still see one or two high collars rolled over, and there is a distinct continuance of the fas.h.i.+on for long-pointed shoes.

There is an almost new form of overcoat which is really a tunic of the time, unbelted, and with the sleeves cut out; also one with short, but very full, sleeves, the body very loose; and besides the ordinary forms of square, oblong, and round cloak, there is a circular cloak split up the right side to the base of the biceps, with a round hole in the centre, edged with fur, for the pa.s.sage of the head.

[Ill.u.s.tration: {Two men of the time of Henry VI.}]

Velvet was in common use for gowns, tunics, and even for bed-clothes, in the place of blankets. It was made in all kinds of beautiful designs, diapered, and raised over a ground of gold or silk, or double-piled, one pile on another of the same colour making the pattern known by the relief.

The ma.s.sed effect of well-dressed crowds must have been fine and rich in colour--here and there a very rich lady or a magnificent gentleman in pall (the beautiful gold or crimson web, known also as bandekin), the velvets, the silks of marvellous colours, and none too fresh or new. I think that such a gathering differed most strongly from a gathering of to-day by the fact that one is impressed to-day with the new, almost tinny newness, of the people's clothes, and that these other people were not so extravagant in the number of their dresses as in the quality, so that then one would have seen many old and beautifully-faded velvets and sun-licked silks and rain-improved cloths.

Among all this crowd would pa.s.s, in a plain tunic and short shoes, Henry, the ascetic King.