A woman of the time of Henry VI.
There were striped stuffs, piled velvet, rich-patterned silks, and homespun cloths and wool to choose from. Long-peaked shoes, of course, and wooden clogs out of doors.
A woman of the time of Henry VI.
The town and country maids, the merchants’ wives, and the poor generally, each and all according to purse and pride, dressed in humbler imitation of the cut of the clothes of the high-born, in quite simple dresses, with purse, girdle, and apron, with heads in hoods, or twisted wimples of coarse linen.
Well, there you lie, ladies, on the tops of cold tombs, stiff and sedate, your hands uplifted in prayer, your noses as often as notknocked off by later-day schoolboys, crop-headed Puritans, or Henry VIII.’s sacrilegious hirelings. Lie still in your huge head-dresses and your neat-folded gowns—a moral, in marble or bronze, of the pomps and vanities of this wicked world.
Reigned twenty-two years: 1461-1483.
Born 1441. Married, 1464, Elizabeth Woodville.
A man of the time of Edward IV.
I invite you to call up this reign by a picture of Caxton’s shop: you may imagine yourself in the almonry at Westminster, where, in a small enclosure by the west front of the church, there is a chapel and some almshouses. You will be able to see the rich come to look at Mr. Caxton’s wares and the poor slinking in to receive alms.
‘If it please any man, spiritual or temporal, to buy any pyes of two or three commemorations of Salisbury use emprynted after the form of this present letter, which be well and truly correct, let him come to Westminster into the Almonry at the red pale, and he shall have them good cheap.’
‘If it please any man, spiritual or temporal, to buy any pyes of two or three commemorations of Salisbury use emprynted after the form of this present letter, which be well and truly correct, let him come to Westminster into the Almonry at the red pale, and he shall have them good cheap.’
This was Caxton’s advertisement.
As you watch the people going and coming about the small enclosure, you will notice that the tonsured hair has gone out of fashion, and that whereas the merchants, citizens, and such people wear the roundlet hat, the nobles and fine gentlemen are in black velvet caps, or tall hats with long-peaked brims, or in round high hats with fur brim close to the crown of the hat, or in caps with little rolled brims with a button at the top, over which two laces pass from back to front, and from under the brim there falls the last sign, the dying gasp of the liripipe, now jagged and now with tasselled ends.
We have arrived at the generally accepted vague idea of ‘medieval costume,’ which means really a hazy notion of the dress of this date: a steeple head-dress for ladies, a short waist, and a train; a tall, sugar-loaf hat with a flat top for the men, long hair, very short and very long tunics, long-pointed shoes, and wide sleeves—this, I think, is the amateur’s idea of ‘costume in the Middle Ages.’
You will notice that all, or nearly all, the passers-by Caxton’s have long hair; that the dandies have extra-long hair brushed out in a cloud at the back; that the older men wear long, very simple gowns,which they belt in at the waist with a stuff or leather belt, on which is hung a bag-purse; that these plain gowns are laced across the front to the waist over a vest of some coloured stuff other than the gown.
Two men of the time of Edward IV.
You will see that the poor are in very simple tunics—just a loose, stuff shirt with sleeves about 8 inches wide, and with the skirts reaching to the knees, a belt about their middle—rough, shapeless leather shoes, and woollen tights.
You will remember in the early part of the reign, before the heraldic shield with the red pale, Caxton’s sign, caught your eye, that the fashionable wore very wide sleeves, great swollen bags fitting only at shoulder and wrist, and you may recall the fact that a tailor was fined twenty shillings in 1463 for making such wide sleeves. Poulaines, the very long shoes, are now forbidden, except that an esquire and anyone over that rank might wear them 2 inches beyond the toes; but I think thedandies wore the shoes and paid the fine if it were enforced.
A MAN OF THE TIME OF EDWARD IV. (1461-1483)
Notice the jagged ribbon falling from the brim of his hat; this is the last of the liripipe.
See Caxton, in a sober-coloured gown, long, and laced in the front, showing a plain vest under the lacing, talking to some of his great customers. The Duchess of Somerset has just lent him ‘Blanchardine and Eglantine’; Earl Rivers, the Queen’s brother, talks over his own translation of ‘The Sayings of the Philosophers’; and Caxton is extolling that worshipful man Geoffrey Chaucer, and singing praises in reverence ‘for that noble poet and great clerke, Vergyl.’
Edward himself has been to the shop and has consented to become patron of an edition of Tully—Edward, with his very subtle face, his tall, handsome appearance, his cold, elegant manners. He is dressed in a velvet gown edged with fur; the neck of the gown is low, and the silk vest shows above it. Across his chest are gold laces tapering to his waist; these are straight across the front of his gown-opening. His hair is straight, and falls to the nape of his neck; he wears a black velvet cap upon his head. The skirts of his gown reach to his knees, and are fur-edged; his sleeves are full at the elbows and tight over hiswrists; he is wearing red Spanish leather tall boots, turned over at the top.
A man of the time of Edward IV.; lacing on a cut sleeve
As he stands talking to Caxton, one or two gentlemen, who have also dismounted, stand about him. Three of them are in the height of the fashion. The first wears a velvet tunic, with fur edges. The tunic is pleated before and behind, and is full and slightly pursed in front; the sleeves are long, and are cut from shoulder to wrist, where they are sewn together again; cuff and border of the cut or opening are both edged with fur. The neck is high, but there is no collar. The length of the tunic is quite short; it comes well above the knees. His under-sleeves are full, and are of rich silk; his shoes are certainly over the allowed length; his tights are well cut. His peaked hat has gold bands round the crown.
The second gentleman is also in a very short tunic, with very wide sleeves; this tunic is pleated into large even folds, and has a belt of its own material. His hair is long, and bushed behind;his tights are in two colours, and he wears an eighteen-penny pair of black leather slops or shoes. His hat is black, tall, but without a peak; a long feather is brooched into one side of it.
A man of the time of Edward IV.; three types of boot
The third man is wearing a low black cap, with a little close brim; a jagged piece of stuff, about 3 feet long, hangs from under the brim of his hat. He is wearing long, straight hair. This man is wearing a little short tunic, which is loose at the waist, and comes but an inch or two below it; the sleeves are very loose and wide, and are not fastened at the wrist; the tunic has a little collar. The shortness of his tunic shows the whole of his tights, and also the ribbon-fastened cod-piece in front. His shoes are split at the sides, and come into a peak before and behind.
Now, our gentlemen of this time, having cut open their baggy sleeves, and made them to hang down and expose all the under-sleeve, must now needs lace them up again very loosely. Then, by way of change, the tight sleeve was split at theelbow to show a white shirt. Then came the broad shoulders, when the sleeves were swelled out at the top to give an air of great breadth to the shoulders and a more elegant taper to the waist. Some men had patterns sewn on one leg of their tights. The gown, or whatever top garment was being worn, was sometimes cut into a low,Vshape behind at the neck to show the undergarment, above which showed a piece of white shirt.
A man of the time of Edward IV.
A long gown, in shape like a monk’s habit, wide sleeves, the same width all the way down, a loose neck—a garment indeed to put on over the head, to slip on for comfort and warmth—was quite a marked fashion in the streets—as marked as the little tunic.
Twelve types of head-gear for men
If you are remembering Caxton’s shop and a crowd of gentlemen, notice one in a big fur hat, which comes over his eyes; and see also a man who has wound a strip of cloth about his neck and over his head, then, letting one end hang down, has clapped his round, steeple-crowned hat over it.
You will see high collars, low collars, and absence of collar, long gown open to the waist, long gown without opening, short-skirted tunic, tunic without any skirt, long, short, and medium shoes, and, at the end of the reign, one or two broad-toed shoes. Many of these men would be carrying sticks; most of them would have their fingers covered with rings.
Among the group of gentlemen about Edward some merchants have pressed closer to see the King, and a girl or two has stolen into the front row. The King, turning to make a laughing remark to one of his courtiers, will see a roguish, pretty face behind him—the face of a merchant’s wife; he will smile at her in a meaning way.
A head-dress for a woman
France, at this date, shows us a sartorial Savonarola, by name Thomas Conecte, a preaching friar, who held an Anti-Hennin Crusade, which ended in a bonfire of these steeple head-dresses. The flames of these peculiar hats lit up the inspired devotees, and showed their headswrapped in plain linen wimples or some little unaffected caps. But the ashes were hardly cold before the gray light of the next day showed the figure of the dreaded preacher small upon the horizon, and lit upon the sewing-maids as they sat making fresh steeples for the adornment of their ladies’ heads.
Joan of Arc is dead, and another very different apparition of womankind looms out of the mists of history. Whilst Joan of Arc is hymned and numbered among the happy company of saints triumphant, Jane Shore is roared in drinking-songs and ballads of a disreputable order, and is held up as an awful example. She has for years been represented upon the boards of West End and Surrey-side theatres—in her prime as the mistress of Edward IV., in her penance before the church door, and in her poverty and starvation, hounded from house to house in a Christian country where bread was denied to her. I myself have seen her through the person of a stout, melancholy, and h-less lady, who, dressed in a sort of burlesque fish-wife costume, has lain dying on the prompt-side of the stage, in a whirl of paper snow, while, to the edification of the twopenny gallery, she hasbewailed her evil life, and has been allowed, by a munificent management, to die in the arms of white-clad angels. There is a gleam of truth in the representation, and you may see the real Jane Shore in a high steeple head-dress, with a thin veil thrown over it, with a frontlet or little loop of black velvet over her forehead; in a high-waisted dress, open in aVshape from shoulder to waist, the opening laced over the square-cut under-gown, the upper gown having a collar of fur or silk, a long train, broad cuffs, perhaps 7 inches long from the base of her fingers, with a broad, coloured band about her waist, a broader trimming of the same colour round the hem of her shirt, and in long peaked shoes. In person of mean stature, her hair dark yellow, her face round and full, her eyes gray, and her countenance as cheerful as herself. The second real picture of her shows you a haggard woman, with her hair unbound and falling about her shoulders, shivering in a shift, which she clutches about her with one hand, while the other holds a dripping candle; and the third picture shows an old woman in dirty wimple and untidy rags.
Six types of head-dress for women
There are many ways of making the steeplehead-dress. For the most part they are long, black-covered steeples, resting at an angle of forty-five degrees to the head, the broad end having a deep velvet band round it, with hanging sides, which come to the level of the chin; the point end has a long veil attached to it, which floats lightly down, or is carried on to one shoulder. Sometimes this steeple hat is worn over a hood, the cape of which is tucked into the dress. Some of these hats have a jutting, upturned piece in front, and they are also covered with all manner of coloured stuffs, but not commonly so. All persons having an income of £10 a year and over will have that black velvet loop, the frontlet, sewn into their hats. There is another new shape for hats, varying in height from 8 to 18 inches. It is a cylinder, broader at the top than the bottom, the crown sometimes flat and sometimes rounded into the hat itself; this hat is generally jewelled, and covered with rich material. The veils are attached to these hats in several ways; either they float down behind from the centre of the crown of the hat, or theyare sewn on to the base of the hat, and are supported on wires, so as to shade the face, making a roof over it, pointed in front and behind, or flat across the front and bent into a point behind, or circular. Take two circles of wire, one the size of the base of your hat and the other larger, and dress your linen or thin silk upon them; then you may pinch the wire into any variations of squares and circles you please.
A WOMAN OF THE TIME OF EDWARD IV. (1461-1483)
She wears the high hennin from which hangs a wisp of linen. On her forehead is the velvet frontlet, and across her forehead is a veil stretched on wires.
The veil was sometimes worn all over the steeple hat, coming down over the face, but stiff enough to stand away from it. Towards the end of the reign the hats were not so high or so erect.
Remember, also, that the horned head-dress of the previous reign is not by any means extinct.
A woman of the time of Edward IV.
There remain two more forms of making the human face hideous: one is the head-dress closely resembling an enormous sponge bag, which for some unknown reason lasted well into the reign of Henry VII. as a variety to the fashionable head-gear of that time, and the other is very simple, being a wimple kept on the head by acircular stuffed hoop of material, which showed, plain and severe across the forehead. The simple folk wore a hood of linen, with a liripipe and wide ear-flaps.
A woman of the time of Edward IV.
The dresses are plain in cut; they are all short-waisted if at all fashionable. The most of them have a broad waist-belt, and very deep borders to their skirts; they have broad, turned-back cuffs, often of black. These cuffs, on being turned down over the hand, show the same colour as the dress; they are, in fact, the old long cuff over the fingers turned back for comfort.
It is by the variety of openings at the necks of the gowns that you may get change. First, let me take the most ordinary—that is, an opening of aVshape from shoulders to waist, the foot of theVat the waist, the points on the top of the shoulders at the join of the arm. Across this opening is seen, cut square and coming up to the base of the bosom, the under-gown. You may now proceed to vary this by lacing theVacross, but not drawing it together, by having theVfur-edged, or made to turn over in a collar ofblack upon light material, or its opposite, by showing a vest of stuff other than that of the under-gown, which will then make a variety of colour when the skirt is held up over the arm. Or you may have your dress so cut that it is high in front and square cut, and over this you may sew a falseVcollar wither to or above the waist. I have said that the whole neck-opening may be covered by a gorget of cloth, which was pinned up to the steeple hat, or by a hood of thin stuff or silk, the cape of which was tucked into the dress.
A woman of the time of Edward IV.
The lady, I think, is now complete down to her long-pointed shoes, her necklet of stones or gold chain, with cross or heraldic pendant, and it remains to show that the countrywoman dressed very plainly, in a decent-fitting dress, with her waist in its proper place, her skirt full, the sleeves of her dress turned back like my lady’s, her head wrapped in a wimple or warmed in a hood, her feet in plain, foot-shaped shoes, and wooden clogs strapped on to them for outdoor use or kitchen work; in fact, she looked much like any old body to-day who haslived in a village, except that the wimple and the hood then worn are out of place to-day, more’s the pity!
No doubt ladies were just human in those days, and fussed and frittered over an inch or so of hennin, or a yard or two of train. One cut her dress too low to please the others, and another wore her horned head-dress despite the dictates of Fashion, which said, ‘Away with horns, and into steeples.’ No doubt the tall hennins, with their floating veils, looked like black masts with silken sails, and the ladies like a crowd of shipping, with velvet trains for waves about their feet; no doubt the steeples swayed and the silks rustled when the heads turned to look at the fine men in the days when hump-shouldered Richard was a dandy.
Reigned two months: April and June, 1487.
Reigned two years: 1483-1485.
Born 1450. Married, 1473, Anne Neville.
Three men of the time of Edward V. and Richard III.
Fashion’s pulse beat very weak in the spring of 1483. More attune to the pipes of Fate were the black cloaks of conspirators and a measured tread of soft-shoed feet than lute and dance of airy millinery. The axe of the executioner soiled many white shirts, and dreadful forebodings fluttered the dovecots of high-hennined ladies.
The old order was dying; Medievalism, which made a last spluttering flame in the next reign, was now burnt low, and was saving for that last effort. When Richard married Anne Neville, in the same year was Raphael born in Italy; literature was beginning, thought was beginning; many of the great spirits of the Renaissance were alive and working in Italy; the very trend of clothes showed something vaguely different, something which shows, however, that the foundations of the world were being shaken—so shaken that men and women, coming out of the gloom of the fourteenth century through the half-light of the fifteenth, saw the first signs of a new day, the first show of spring, and, with a perversity or an eagerness to meet the coming day, they began to change their clothes.
It is in this reign of Richard III. that we get, for the men, a hint of the peculiar magnificence of the first years of the sixteenth century; we get the first flush of those wonderful patterns which are used by Memline and Holbein, those variations of the pine-apple pattern, and of that peculiar convention which is traceable in the outline of the Tudor rose.
The men, at first sight, do not appear very different to the men of Edward IV.’s time; they have the long hair, the general clean-shaven faces, open-breasted tunics, and full-pleated skirts. But, as a rule, the man, peculiar to his time, the clothes-post of his age, has discarded the tall peaked hat, and is almost always dressed in the black velvet, stiff-brimmed hat. The pleated skirt to his tunic has grown longer, and his purse has grown larger; the sleeves are tighter, and the old tunic with the split, hanging sleeves has grown fuller, longer, and has become an overcoat, being now open all the way down. You will see that the neck of the tunic is cut very low, and that you may see above it, above the black velvet with which it is so often bound, the rich colour or fine material of an undergarment, a sort of waistcoat, and yet again above that the straight top of a finely-pleated white shirt. Sometimes the sleeves of the tunic will be wide, and when the arm is flung up in gesticulation, the baggy white shirt, tight-buttoned at the wrist, will show. Instead of the overcoat with the hanging sleeves, you will find a very plain-cut overcoat, with sleeves comfortably wide, and with little plain lapels to the collar. It is cut wide enough in theback to allow for the spread of the tunic. Black velvet is becoming a very fashionable trimming, and will be seen as a border or as under-vest to show between the shirt and the tunic. No clothes of the last reign will be incongruous in this; the very short tunics which expose the cod-piece, the split-sleeve tunic, all the variations, I have described. Judges walk about, looking like gentlemen of the time of Richard II.: a judge wears a long loose gown, with wide sleeves, from out of which appear the sleeves of his under-tunic, buttoned from elbow to wrist; he wears a cloak with a hood, the cloak split up the right side, and fastened by three buttons upon the right shoulder. A doctor is in very plain, ample gown, with a cape over his shoulders and a small round cap on his head. His gown is not bound at the waist.
A MAN OF THE TIME OF RICHARD III. (1483-1485)
Here one sees the first of the broad-toed shoes and the birth of the Tudor costume—the full pleated skirts and the prominence of white shirt.
The blunt shoes have come into fashion, and with this the old long-peaked shoe dies for ever. Common-sense will show you that the gentlemen who had leisure to hunt in these times did not wear their most foppish garments, that the tunics were plain, the boots high, the cloaks of strong material. They wore a hunting-hat, with a longpeak over the eyes and a little peak over the neck at the back; a broad band passed under the chin, and, buttoning on to either side of the hat, kept it in place. The peasant wore a loose tunic, often open-breasted and laced across; he had a belt about his waist, a hood over his head, and often a broad-brimmed Noah’s Ark hat over the hood; his slops, or loose trousers, were tied below the knee and at the ankles. A shepherd would stick his pipe in his belt, so that he might march before his flock, piping them into the fold.
A man of the time of Edward V. and Richard III.; a hat
To sum up, you must picture a man in a dress of Edward IV.’s time, modified, or, rather, expanded or expanding into the costume of Henry VII.’s time—a reign, in fact, which hardly has a distinct costume to itself—that is, for the men—but has a hand stretched out to two centuries, the fifteenth and the sixteenth; yet, if I have shown the man to you as I myself can see him, he is different from his father in 1461, and will change a great deal before 1500.
A woman of the time of Edward V. and Richard III.
Here we are at the end of an epoch, at the close of a costume period, at one of those curious final dates in a history of clothes which says that within a year or so the women of one time will look hopelessly old-fashioned and queer to the modern woman. Except for the peculiar sponge-bag turban, which had a few years of life in it, the woman in Henry VII.’s reign would look back at this time and smile, and the young woman would laugh at the old ideas of beauty. The River of Time runs under many bridges, and it would seem that the arches were low to the Bridge of Fashion in 1483, and the steeple hat was lowered to prevent contact with them. The correct angle of forty-five degrees changed into a right angle, the steeple hat, the hennin, came toppling down, and an embroidered bonnet, perched right on the back of the head, came into vogue. It is this bonnet which gives, from our point of view, distinction to the reign. It was a definite fashion, a distinct halt.It had travelled along the years of the fourteenth century, from the wimple and the horns, and the stiff turbans, and the boxes of stiffened cloth of gold; it had languished in the caul and blossomed in the huge wimple-covered horns; it had shot up in the hennin; and now it gave, as its last transformation, this bonnet at the back of the head, with the stiff wimple stretched upon wires. Soon was to come the diamond-shaped head-dress, and after that the birth of hair as a beauty.
In this case the hair was drawn as tightly as possible away from the forehead, and at the forehead the smaller hairs were plucked away; even eyebrows were a little out of fashion. Then this cylindrical bonnet was placed at the back of the head, with its wings of thin linen stiffly sewn or propped on wires. These wires were generally of aVshape, theVpoint at the forehead. On some occasions two straight wires came out on either side of the face in addition to theV, and so made two wings on either side of the face and two wings over the back of the head. It is more easy to describe through means of the drawings, and the reader willsoon see what bend to give to the wires in order that the wings may be properly held out.
Beyond this head-dress there was very little alteration in the lady’s dress since the previous reign. The skirts were full; the waist was high, but not absurdly so; the band round the dress was broad; the sleeves were tight; and the cuffs, often of fur, were folded back to a good depth.
The neck opening of the dress varied, as did that of the previous reign, but whereas the most fashionable opening was then from neck to waist, this reign gave more liking to a higher corsage, over the top of which a narrow piece of stuff showed, often of black velvet. We may safely assume that the ladies followed the men in the matter of broad shoes. For a time the old fashion of the long-tongued belt came in, and we see instances of such belts being worn with the tongue reaching nearly to the feet, tipped with a metal ornament.
A WOMAN OF THE TIME OF RICHARD III. (1483-1485)
The great erection on her head is made of thin linen stretched upon wires; through this one may see her jewelled cap.
Not until night did these ladies discard their winged head erections; not until the streets were dark, and the brass basins swinging from thebarbers’ poles shone but dimly, and the tailors no longer sat, cross-legged, on the benches in their shop-fronts—then might my lady uncover her head and talk, in company with my lord, over the strange new stories of Prester John and of the Wandering Jew; then, at her proper time, she will go to her rest and sleep soundly beneath her embroidered quilt, under the protection of the saints whose pictures she has sewn into the corners of it. Matthew, Mark, Luke, and John, bless the bed that she lies on.
So we come to an end of a second series of dates, from the First Edward to the Third Richard, and we leave them to come to the Tudors and their follies and fantastics; we leave an age that is quaint, rich, and yet fairly simple, to come to an age of padded hips and farthingales, monstrous ruffs, knee-breeks, rag-stuffed trunks, and high-heeled shoes.
With the drawings and text you should be able to people a vast world of figures, dating from the middle of the thirteenth century, 1272, to nearly the end of the fifteenth, 1485, and if you allow ordinary horse-sense to have play, you will be able to people your world with correctly-dressed figuresin the true inspiration of their time. You cannot disassociate the man from his tailor; his clothes must appeal to you, historically and soulfully, as an outward and visible sign to the graces and vices of his age and times.
Reigned 24 years: 1485-1509.
Born, 1456. Married, 1486, Elizabeth of York.
A man of the time of Henry VII.; hose
Everyone has felt that curious faint aroma, that sensation of lifting, which proclaims the first day of Spring and the burial of Winter. Although nothing tangible has taken place, there is in the atmosphere a full-charged suggestion of promise, of green-sickness; there is a quickening of the pulse, a thrumming of the heart, and many an eager, quick glance around for the first buds of the new order of things.
England’s winter was buried on Bosworth Field: England’s spring, as if by magic, commenced with Henry’s entry into London.
The first picture of the reign shows the mayor, the sheriffs, and the aldermen, clothed in violet, waiting at Shoreditch for the coming of the victor. The same day shows Henry in St. Paul’s, hearing aTe Deum; in the Cathedral church, packed to its limit, three new banners waved, one bearing a figure of St. George, another a dragon of red on white and green sarcenet, and the third showed a dun cow on yellow tarterne.
Spring, of course, does not, except in a poetic sense, burst forth in a day, there are long months of preparation, hints, signs in the air, new notes from the throats of birds.
The springtime of a country takes more than the preparation of months. Nine years before Henry came to the throne Caxton was learning to print in the little room of Collard Mansion—he was to print his ‘Facts of Arms,’ joyous tales and pleasant histories of chivalry, by especial desire of Henry himself.
Later still, towards the end of the reign, the first book of travel in the West began to go fromhand to hand—it was written by Amerigo Vespucci, cousin to La Bella Simonetta.
Great thoughts were abroad, new ideas were constantly under discussion, the Arts rose to the occasion and put forth flowers of beauty on many stems long supposed to be dead or dormant and incapable of improvement. It was the great age of individual English expression in every form but that of literature and painting, both these arts being but in their cradles; Chaucer and Gower and Langland had written, but they lay in their graves long before new great minds arose.
The clouds of the Middle Ages were dispersed, and the sun shone.
The costume was at once dignified and magnificent—not that one can call the little coats great ideals of dignity, but even they, by their richness and by the splendour of the persons they adorned, come into the category.
The long gowns of both men and women were rich beyond words in colour, texture, and design, they were imposing, exact, and gorgeous. Upon a fine day the streets must have glittered when a gentleman or lady passed by.
The fashions of the time have survived for usin the Court cards: take the jacks, knaves, valets—call them as you will, and you will see the costume of this reign but slightly modified into a design, the cards of to-day and the cards of that day are almost identical. Some years ago the modification was less noticeable; I can remember playing Pope Joan with cards printed with full-length figures, just as the illustrations to ‘Alice in Wonderland’ are drawn. In the knave you will see the peculiar square hat which came in at this time, and the petti-cote, the long coat, the big sleeve, and the broad-toed shoes. You will see the long hair, undressed and flowing over the shoulders (the professional classes, as the lawyer, cut their hair close, so also did the peasant). Over this flowing hair a dandy would wear a little cap with a narrow, rolled-up brim, and over this, on occasions, an enormous hat of felt, ornamented with a prodigious quantity of feathers.
A man of the time of Henry VII.
There was, indeed, quite a choice of hats: the berretino—a square hat pinched in at the corners; many round hats, some with a high, tight brim,some with the least brim possible; into these brims, or into a band round the hat, one might stick feathers or pin a brooch.
A MAN OF THE TIME OF HENRY VII. (1485-1509)
The chaperon, before described, was still worn by Garter Knights at times, and by official, legal, civic, and college persons.
What a choice of coats the gentlemen had, and still might be in the fashion! Most common among these was the long coat like a dressing-gown, hanging upon the ground all round, with a wide collar, square behind, and turning back in the front down to the waist—this was the general shape of the collar, and you may vary it on this idea in every way: turn it back and show the stuff to the feet, close it up nearly to the neck, cut it off completely. Now for the sleeves of such a coat. I have shown in the illustrations many varieties, the most common was the wide sleeve, narrow at the shoulder, and hanging over the hand in folds. The slashes, which show the white shirt, are usual, and of every order. The shirt itself was often ornamented with fine gathers and fancy stitching, and was gathered about the neck by a ribbon. As the years went on it is easy to see that the shirt was worn nearer to the neck, thegathers became higher and higher, became more ornamented, and finally rose, in all extravagant finery, to behind the ears—and we have the Elizabethan ruff.
Three types of coat and five types of hat
Next to the shirt a waistcoat, or stomacher, of the most gorgeous patterned stuff, laced across the breast sometimes, more often fastened behind. This reached to the waist where it met long hose of every scheme of colour—striped, dotted, divided in bands—everything—displaying the indelicate but universal pouch in front, tied with coloured ribbons.
On the feet, shoes of all materials, from cloth and velvet to leather beautifully worked, and of the most absurd length; these also were slashed with puffs of white stuff. Many of these shoes were but a sole and a toe, and were tied on by thongs passing through the sole.
Of course the long coat would not alone satisfy the dandy, but he must needs cut it off into a short jacket, or petti-cote, and leave it open to better display his marvellous vest. Here we have the origin of the use of the word ‘petticoat’—now wrongly applied; in Scotland, to this day, a woman’s skirts are called her ‘coats.’
About the waists of these coats was a short sash, or a girdle, from which hung a very elaborate purse, or a dagger.
Stick in hand, jewel in your hat, dandy—extravagant, exquisite dandy! All ages know you, from the day you choose your covering of leaves with care, to the hour of your white duck motoring-suit: a very bird of a man, rejoicing in your plumage, a very human ass, a very narrow individual, you stride, strut, simper through the story of the universe, a perfect monument of the Fall of Man, a gorgeous symbol of the decay of manhood. In this our Henry’s reign, your hair busheth pleasantly, and is kembed prettily over the ear, where it glimmers as gold i’ the sun—pretty fellow—Lord! how your feathered bonnet becomes you, and your satin stomacher is brave over a padded chest. Your white hands, freed from any nasty brawls and clean of any form of work, lie in their embroidered gloves. Your pride forbids the carriage of a sword, which is borne behind you—much use may it be!—by a mincing fellow in your dainty livery. And if—oh, rare disguise!—your coiffure hides a noble brow, or your little, neat-rimmed coif a clever head, lesshonour be to you who dress your limbs to imitate the peacock, and hide your mind beneath the weight of scented clothes.
Eight types of sleeve
In the illustrations to this chapter and the next, my drawings are collected and redrawn in my scheme from works so beautiful and highly finished that every student should go to see them for himself at the British Museum. My drawings, I hope, make it quite clear what was worn in the end of the fifteenth century and the first nine years of the sixteenth, and anyone with a slight knowledge of pictures will be able to supply themselves with a large amount of extra matter. I would recommend MS. Roy 16, F. 2; MS. Roy 19, C. 8; and especially Harleian MS. 4425.
Of the lower classes, also, these books show quite a number. There are beggars and peasants, whose dress was simply old-fashioned and very plain; they wore the broad shoes and leather belts and short coats, worsted hose, and cloaks of fair cloth. ‘Poverty,’ the old woman with the spoon in her hat, is a good example of the poor of the time.
When one knows the wealth of material of the time, and has seen the wonder of the stuffs, oneknows that within certain lines imagination may have full scope. Stuffs of silk, embroidered with coupled birds and branches, and flowers following out a prescribed line, the embroideries edged and sewn with gold thread; velvet on velvet, short-napped fustian, damasked stuffs and diapered stuffs—what pictures on canvas, or on the stage, may be made; what marvels of colour walked about the streets in those days! It was to the eye an age of elaborate patterns—mostly large—and all this broken colour and glitter of gold thread must have made the streets gay indeed.
A man of the time of Henry VII.
Imagine, shall we say, Corfe Castle on a day when a party of ladies and gentlemen assembled to ‘course a stagge,’ when the huntsmen, in green, gathered in the outer ward, and the grooms, in fine coloured liveries, held the gaily-decked horses; then, from the walls lined with archers, would come the blast of the horn, and out would walk my lord and my lady, with knights, and squires, and ladies, and gallants, over the bridge across the castle ditch, between the roundtowers. Behind them the dungeon tower, and the great gray mass of the keep—all a fitting and impressive background to their bravery.
The gentlemen, in long coats of all wonderful colours and devices, with little hats, jewelled and feathered, with boots to the knee of soft leather, turned back in colours at the top; on their left hands the thick hawking glove on which, jessed and hooded, sits the hawk—for some who will not go with the hounds will fly the hawk on the Isle of Purbeck.