Woman as Decoration Part 9

In the fourteenth century the Gothic costume was perhaps at its most beautiful stage. The long robe, the upper part following the lines of the figure, with long close sleeves half covering hands, or flowing sleeves, that touched the floor. About the waist was worn a silk cord or jewelled girdle, finely wrought and swung low on hips; from the end of which was suspended the money bag, fan and keys.

The girdle begins now to play an important part as decoration. This theme, the evolution of the girdle, may be indefinitely enlarged upon but we must not dwell upon it here.

In some cases we see that the tunic opened in the front and that the large, square, shawl-like outer garment of Greece now became the long circular cape, clasped on the chest (one or two clasps), made so familiar by the art of the Gothic and Renaissance periods. Turn to the illuminated ma.n.u.scripts of those periods, to paintings, on wood, frescoes, stained gla.s.s, stucco, carved wood, and stone, and you will find the Mother of G.o.d invariably costumed in the simple one-piece robe and circular clasped cape.

In most of the sacred art of the tenth, eleventh, twelfth, thirteenth, fourteenth and fifteenth centuries, the Virgin and other saints are depicted in the current costume of woman. The Virgin was the most frequent subject of artists in every medium, during the ages when the Church dominated the State in Europe.

The refurnis.h.i.+ng of the Virgin's wardrobe has long been and still is, a pious task and one clamoured for by adherents to the churches in which the Virgin's image is displayed to wors.h.i.+ppers. We regret to say, for aesthetic reasons, that there is no effort made on the part of modern devotees to perpetuate the beautiful mediaeval type of costume.

In some old paintings which come under the head of Folk Art, the Holy Family appears in national costume. The writer recalls a bit of eighteenth century painting, showing St. Anne holding the Virgin as child. St. Anne wears the bizarre fete attire of a Spanish peasant; a gigantic head-dress and veil, large earrings, wide stiff skirts, showing gay flowers on a background of gold. The skirt is rather short, to display wide trousers below it. Her sleeves have filmy frills of deep white lace executed with skill.

PLATE XXI

Mrs. Conde Nast in a garden costume. She wears a sun-hat and carries a flower-basket, which are decorative as well as useful.

We have chosen this photograph as an example of a costume made exquisitely artistic by being kept simple in line and free from an excess of tr.i.m.m.i.n.g.

This costume is so decorative that it gives distinction and interest to the least pretentious of gardens.

[Ill.u.s.tration: _Mrs. Conde Nast in Garden Costume_]

To return to the girdle, as we have said, it slipped from its position at the waist line, where it confined the cla.s.sic folds, and was allowed to hang loosely about the hips, clasped low in front. From this clasp a chain extended, to which were attached the housewife's keys or purse and the dame of fas.h.i.+on's fan. In fact one can tell, to a certain extent, the woman's cla.s.s and period by carefully inspecting her chatelaine.

The absence of waist line, and the long, straight effect produced in the body of gown by wearing the girdle swung about the hips, gives it the so-called Moyen Age silhouette, revived by the fas.h.i.+on of to-day.

In the thirteenth century the round collarless neck, low enough to admit a necklace of links or beads, persists. A new note is the outer sleeve laced across an inner sleeve of white.

Let us remember that the costume of the thirteenth and fourteenth centuries was distinguished by a quality of beautiful, sweeping line, ma.s.sed colour, detail with _raison d'etre_, which produced dignity with graceful movement, found nowhere to-day, unless it be on the Wagnerian stage or in the boudoir of a woman who still takes time, in our age of hurry, to wear her negligee beautifully.

In the fourteenth century the round neck continued, but one sees low necks too, which left the shoulders exposed (our 1830 style).

Another new note is the tunic grown into a garment reaching to the feet, a one-piece "princess" gown, with belt or girdle. Sometimes a Juliet cap was worn to merely cover the crown of head, with hair parted and flowing, while on matrons we see head coverings with sides turned up, like ecclesiastical caps, and floating veils falling to the waist.

Notice that through all the periods that we have named, which means until the fourteenth century, the line of shoulder remains normal and beautiful, sloping and melting into folds of robe or line of sleeve. We see now for the first time an inclination to tamper with the shoulder line. An inoffensive scallop appears,--or some other decoration, as cap to sleeve. No harm done yet!

The fifteenth century shows another style, a long sleeveless overgarment, reaching to the floor, fastened on shoulders and swinging loose, to show at sides the undergown. It suggests a priest's robe. Here we discover one more of the Moyen Age styles revived to-day.

The fourteenth century gowns, with necks cut out round, to admit a necklace with pendants, are still popular. The gowns are long on the ground, and the most beautiful of the characteristic head-dresses--the long, pointed one, with veil covering it, and floating down from point of cap to hem of flowing skirt behind, continues the movement of costume--the long lines which follow one another.

When correctly posed, this pointed head-dress is a delight to the eye.

We recently saw a photograph of some fair young women in this type of Mediaeval or Gothic costume worn by them at a costume ball. Failing to realise that the _pose_ of any head-dress (this means hats as well) is all-important, they had placed the quaint, long, pointed caps on the very tops of their heads, like fools' caps!

The angle at which this head-dress is worn is half the battle.

The importance of every woman's cultivating an eye for line cannot be overstated.

In the fifteenth century we first see puffs at the elbow, otherwise the outlines of gown are the same. The garment in one piece, the body of it outlining the form, its skirts sweeping the ground; a girdle about the hips, and long, close or flowing sleeves, wide at the hem.

Despite the fourteenth century innovation of necks cut low and off the shoulders (berated by the Church), most necks in the fifteenth century are still cut round at the throat, and the necklace worn instead of collar. Some of the gowns cut low off the shoulders are filled in with a puffed tucker of muslin. The pointed cap with a floating veil is still seen.

Notice that the restraint in line, colour and detail, gradually disappears, with the abnormal circulation of wealth, in those departments of Church and State to which the current of material things was diverted. We now see humanity tricked out in rich attire and staggering to its doom through general debaucheries.

Rich brocades, once from Damascus, are now made in Venice; and so are wonderful satins, velvets and silks, with jewels many and ma.s.sive.

Sometimes a broad jewelled band crossed the breast from shoulder diagonally to under arm, at waist.

The development of the petticoat begins now. At first we get only a glimpse of it, when our lady of the pointed cap lifts her long skirts, lined with another shade. It is of a rich contrasting colour and is gradually elaborated.

The waist-line, when indicated, is high.

A new note is the hair, with throat and neck completely concealed by a white veil, a style we a.s.sociate with nuns and certain folk costumes. As fas.h.i.+on it had a pa.s.sing vogue.

Originally, the habit of covering woman's hair indicated modesty (an idea held among the Folk), and the gradual shrinking of the dimensions of her coif, records the progress of the peasant woman's emanc.i.p.ation, in certain countries. This is especially conspicuous in Brittany, as M.

Anatol Le Braz, the eminent Breton scholar, remarked recently to the writer.

Note the silk bag, quite modern, on the arm; also the jewelled line of chain hanging from girdle down the middle of front, to hem of skirt,--both for use and ornament.

To us of a practical era, a mysterious charm attaches to the long-pointed shoes worn at this period.

In the fifteenth century, the marked division of costume into waist and skirt begins, the waist line more and more pinched in, the skirt more and more full, the sleeves and neck more elaborately trimmed, the head-dresses multiplied in size, elaborateness and variety. Textiles developed with wealth and ostentation.

In the sixteenth century the neck was usually cut out and worn low on the shoulders, sometimes filled in, but we see also high necks; necks with small ruffs and necks with large ruffs; ruffs turned down, forming stiff linen-cape collars, trimmed with lace, close to the throat or flaring from neck to show the throat.

The hair is parted and worn low in a snood, or by young women, flowing.

The ears are covered with the hair.

PLATE XXII

Mrs. Conde Nast wearing one of the famous Fortuny tea gowns.

This one has no tunic but is finely pleated, in the Fortuny manner, and falls in long lines, closely following the figure, to the floor.

Observe the decorative value of the long string of beads.

[Ill.u.s.tration: _Mrs. Conde Nast in a Fortuny Tea Gown_]

_The Virgin in Art_

When writing of the Gothic period in _The Art of Interior Decoration_, we have said "... Gothic art proceeds from the Christian Church and stretches like a canopy over western Europe during the late Middle Ages.

It was in the churches and monasteries that Christian Art, driven from pillar to post by wars, was obliged to take refuge, and there produced that marvellous development known as the Gothic style, of the Church, for the Church and by the Church, perfected in countless Gothic cathedrals, crystallised glorias, lifting their manifold spires to heaven; ethereal monuments of an intrepid Faith which gave material form to its adoration, its fasting and prayer, in an unrivalled art...."

"Crystallised glorias" (hymns to the Virgin) is as concise a defining of the nature and spirit of this highest type of mediaeval art--perfected in France--as we can find. Here we have deified woman inspiring an art miraculously decorative.

Chartres Cathedral and Rheims (before the German invasion in 1914) with Mont Saint Michel, are distinguished examples.