A, JEWISH WEDDING RING, GERMAN, 17TH CENTURY; B, MODERN ITALIAN; C, ITALIAN, 14TH CENTURY; D, VENETIAN, 16TH CENTURY; E, ENGLISH, 1706; F, ENGLISH BRONZE BETROTHAL RING, 17TH CENTURY.A, JEWISH WEDDING RING, GERMAN, 17TH CENTURY; B, MODERN ITALIAN; C, ITALIAN, 14TH CENTURY; D, VENETIAN, 16TH CENTURY; E, ENGLISH, 1706; F, ENGLISH BRONZE BETROTHAL RING, 17TH CENTURY.
A wedding ring of the Shakespearian era has a portrait of Lucretia holding the dagger, the reverse side of the circle being formed by two clasped hands. This is a very common shape, and is shown in the illustration of the English wedding-ring E, dated 1706, where white enamel fingers support a rose diamond. The modern Italian peasant wedding-ring B is of gold in raised bosses, while C is of silver; F, bearing initials on vezet, is of bronze. A is a handsome Jewish wedding-ring, bearing the ark, and D also has a Hebrew inscription.
The gimmal betrothal ring was formerly a favourite pattern, and consisted of three circlets attached to a spring or pivot, and could be closed so as to appear like one solid ring. It was customary to break these asunder at the betrothal, the man and woman taking the upper and lower ones, and the witness the intermediate ring. When the marriage took place these were joined together and used at the ceremony. During the sixteenth and seventeenth centuries it was a common practice to engrave these emblems of affection with some appropriate motto. It was from Pagan Rome that European nations derive the wedding-ring, as they were used in their betrothals long before there is any trace of them elsewhere.
AN EASTERN BRIDE.AN EASTERN BRIDE.
In describing the bridal costumes ofdifferent nations, it should be distinctly borne in mind that a large majority of the upper classes wear on such occasions the traditional white satin and orange blossoms with which we are all familiar. Many, however, prefer the picturesque national costume associated with the land of their birth, and it has been my principal object, in selecting the illustrations, to make them as typical as possible.
GARMENT FORMERLY WORN BY GREEK BRIDES. (From South Kensington Museum)GARMENT FORMERLY WORN BY GREEK BRIDES.(From South Kensington Museum)
The Greek marriage service is full of symbol, and the sketch gives a good idea of the bridal costume. The bridesmaid is attired in a gold embroidered jacket, a skirt of brilliant colouring, and the crimson fez—the usual head-gear of a Greek maiden. She is depicted scattering corn, an ancient rite always performed at the conclusion of the ceremony. As she gracefully sways backwards and forwards, to the accompaniment of the jingling coins, which do double service as dowry and trimming, it is a pose and dress at once graceful and free. Formerly a wedding garment was often passed down from mother to daughter, and such an example is given in the soft yellow silk robe, lined with white and enriched with elaborate embroidery. Tiny stars in delicate shades of red, blue, and green, divided by black lines form the design and proclaim the industry and skill of the worker. These robes, however, have not been used in Greece since the beginning of the seventeenth century.
In Japan, the beautiful land of the lily and chrysanthemum, the bride usually takes little more to her husband's home than her trousseau, which is ample enough, as a rule, to satisfy even a woman's passion for dress. The nuptials take place in the evening, and the bride is garbed in virgin white robes, figured with a lozenge design. These garments are the gift of the bridegroom, and in them she passes from the home of her girlhood to that of her husband. The household gods of both families are assembled before an altar decked with flowers and covered with offerings. Near stands a large table, with a dwarf cedar; it also holds the Japanese Adam and Eve, and the mystic turtle and stork. The two special attendants of bride and bridegroom are called butterflies, and in their dress and colouring rival these beautiful insects, which in this country are the symbol of conjugal felicity. The most solemn part of the marriage ceremony is the scene of the two-mouthed vase. At a signal, one butterfly fills the vase, and the other offers it to the kneeling couple, the husband drinking first, and afterwards the wife. This draught signifies that henceforward they are to partake equally of the bitters and sweets of the coming years. Rice is thrown from either side, so as to mingle, and the wicks of two candles are placed together, to symbolize the joining of body and soul.
The marriage processions of other Oriental nations have already been referred to, and in India it is customary to perform the ceremony under a species of canopy richly ornamented and lighted by lamps. The bride wears, in addition to the native costume, a curious veil composed of strings of gold beads and tassels. In Hindu marriages the sacred fire oroman(which is constantly renewed by throwing upon it scented oils, sandalwood, incense, and other aromatic perfumes) is a prominent feature, and the union of a couple is consecrated by sprinkling a handful of saffron, mixed with rice flour, on their shoulders. Finally, the husband presents his wife with a little golden image calledtalee, a substitute for the wedding ring, and worn by Indian women as their symbol of matrimony.
A missionary thus describes a Buddhist marriage:—"The bride, loaded with jewellery, accompanied by women richly attired, entered the room, and sat down with the bridegroom on the floor. A number ofcandles were then lighted, and the company saluted and congratulated the happy couple, and expressed their kind wishes by blowing smoke towards them, while a band of string instruments discoursed sweet music. Two cushions were placed before the bridegroom, on which a sword was laid, and food was also near them. Next the hands of each were bound together, then the two to each other with silken threads. This act was performed by the nearest relative present, and completed the ceremony." Brief, indeed, are the forms of marriage indulged in by the people of Borneo. Each of the contracting parties chews a betel nut; an elderly woman mutters some sort of incantation, and brings the heads of bride and bridegroom in close contact, after which they are declared man and wife, and are no longer regarded as twain, but one flesh. The Cherokee form of marriage is perhaps the most simple. The two join hands over a running stream, emblematic of the wish that their future lives, hopes, and aspirations, should flow on in the same channel. A peculiar custom of the Lascars is the putting of a ring on the great toe when they marry. Mrs. Bishop, who has explored Tibet and studied the habits and customs of the people, informs us that polyandry is favoured by the women of that country. The heir of the land and eldest son appears to be the only member of the family who can contract a marriage in the legal sense as we understand it, but all his brothers are accepted by the wife as inferior or subordinate husbands. By this means they are kept well under the control of the superior husband, whom they regard as the "Big Father," and, as a matter of form, any children who may be born are accepted by him.
HINDU BRIDEGROOM'S PROCESSION.HINDU BRIDEGROOM'S PROCESSION.
Thus the whole family are attached to the soil, and seem to work in concord, and the women have the satisfaction of knowing that in the average course of Nature they can never become widows, and that there will always be someone to work for them and their offspring. "It is the custom for the men and women of a village to assemble when a bride enters her home with her husbands, and for each of them to present her with three rupees. The Tibetan wife, far from spending these gifts on personal adornment, looks ahead, contemplating possible contingencies, and immediately hires a field, the produce of which is her own, and accumulates from year to year, so that she may not be portionless should she desire a divorce."
The African tribes, of course, differ materially in their marriage customs, but some form of exchange for the services of the woman are insisted on, and often take the shape of a present of cattle to the bride's father. On the West Coast, in the neighbourhood of Gaboon, where slavedom is recognised, there is an understanding that a wife may be purchased for a slave bundle, valued at about £6 in English money, and there appears to be no sliding scale as to youth, beauty, form, or degree. A bundle contains specimens of every article sold by a general storekeeper. The most important features of a slave bundle are a Neptune, or brass pan used for making salt, which is a current article of commerce, and a piece of native cloth, manufactured by these people for dress purposes, from a species of palm which grows on the river banks in great luxuriance. Both sexes anoint themselves with palm oil and other greasy substances, and no greater compliment can be paid to an African belle than to say she looks "fat and shining."
HINDU MARRIAGE CEREMONY.HINDU MARRIAGE CEREMONY.
VEIL OF HINDU BRIDE.VEIL OF HINDU BRIDE.
Mr. Hutchinson, in his interesting work, "Ten Years in Æthiopia," gives a quaint and amusing account of the toilet of a Fernandian bridegroom: "Outside a small hut, belonging to the mother of the bride expectant, I soon discovered the happy bridegroom undergoing his toilet at the hands of his future wife's sister. A profusion of Tshibbu strings being fastened round his body, as well as his legs and arms, the anointing lady, having a short black pipe in her mouth, proceeded to rub him over with Tola pomade. He seemed not altogether joyous at the anticipation of his approaching happiness, but turned a sulky gaze now and then on a piece of yam which he held in his hand, and which had a parrot's red feather fixed on its convex side. This was called 'Ntshoba,' and is regarded as a protection against evil influences on the important day. The bride was borne down by the weight of rings and wreaths and girdles of Tshibbu. Tola pomatum gave her the appearance of an exhumed mummy, save her face, which was all white; not from excess of modesty, for the negro race are reported to blush blue, but from being smeared over with a white paste, the emblem of purity." What a hideous substitute for the classical wreath of orange blossoms, and what a contrast must be offered when the cosmetic peels off and displays the dusky skin upon which it is laid!
According to Russian law, no man canmarry before he is eighteen years of age, or a woman before she is sixteen; nor after he is eighty, and she is sixty. Priests are permitted to marry once. Secret marriages without witnesses are regarded as invalid, and both bride and bridegroom must be baptized persons. If a Russian takes a foreigner for a wife, she must bind herself in writing to bring up any children she may have in the Greco-Russian faith. According to an ancient custom the bridegroom presents his bride with the costume and jewellery worn at the marriage. The dowry comes from her family, and consists of a complete wardrobe, silver, linen, and household furniture of all kinds. The hair of an unmarried woman of the peasant class in Russia is dressed in a single plait hanging loose upon the shoulders, and tied with ribbon. After marriage it is arranged in two braids coiled round the head, covered with a cap tied behind, or with a cotton or silk handkerchief and a little lappet of linen rests on the forehead, and is considered an inevitable symbol of marriage. Marriages are performed after banns, and much of the finery used by the lower classes is hired for the occasion; and the crowns used in the Russian ceremony are generally the property of the Church. Formerly they were worn for a week, but this practice has been discontinued.
A RUSSIAN BRIDE.A RUSSIAN BRIDE.
NORWEGIAN PEASANT BRIDE AND BRIDEGROOM.NORWEGIAN PEASANT BRIDE AND BRIDEGROOM.
There are three distinct periods in the life of a Norwegian woman, and each one has marked characteristics, particularly as regards dress. During girlhood, up to the time of confirmation, a solemn occasion for which there is much preparatory training, girls do not usually go from home to work, or earn their own living. Among the poorer classes this ceremony takes place when they are about fifteen. Their petticoats are short and their hair is arranged in two long plaits. After confirmation they are supposed toregard life from its more serious aspect, and to engage themselves with various duties, according to their station. The third stage, of course, is married life, and it should be stated that neither men nor women can enter upon the holy contract unless they can bring proof of their confirmation, and can show ample evidence of sufficient means to provide for a household. The marriage is preceded by a betrothal ceremony, when the young couple go to the church, accompanied by their friends, and exchange rings of plain gold and presents of jewellery and apparel, which must be worn on the wedding day. At her marriage the peasant bride wears the crown. It has a rim of brass to fit the head, and the upper portion is of silver and gold, sometimes embellished with precious stones. Such crowns are generally heirlooms, and it is not uncommon for all the brides of one family for centuries to wear the same adornment for the head. A very usual dress on such an occasion is a plain skirt of some woollen material, with a bodice and full sleeves of snowy linen, a corselet of red and green, ornamented with bands and buckles, and a white apron trimmed with embroidery. A silver-gilt breast ornament is worn by Swedish brides. The band is wrought with bosses, and depending from it are small beaten discs, and a medallion bearing the sacred initials I.H.S. The bridegroom's hat in the illustration was probably an heirloom too, from its shape and fashion. He wears a red waistcoat cut short and fastened with brass buttons, and a loose cloth coat ornamented with embroidered revers. The black small clothes show to advantage a well-shaped leg, and on the feet are low shoes. Usually the festivities in connection with a peasant wedding in Norway are kept up for three days, and during the time there is much feasting and merrymaking among the friends of bride and bridegroom.
ORNAMENT WORN BY SWEDISH PEASANT BRIDE.ORNAMENT WORN BY SWEDISH PEASANT BRIDE.
A BRIDEGROOM'S TOILET AT FERNANDO PO.A BRIDEGROOM'S TOILET AT FERNANDO PO.
Gipsies are, as a rule, married at a very early age. A girl is generally betrothed at fourteen, and becomes a wife two years later. The marriage ceremony is performed by a priest wearing a ram's horn as a sign of office, and, as becomes a nomadic race, the four elements—fire, air, earth, and water—take a prominent position. The horn is the symbol of authority, and is often made use of in Scripture. So much were rams' horns esteemed by the Israelites that their priests and Levites used them as trumpets in the taking of Jericho; and modern Jews when they confess their sins announce the ceremony by blowing a ram's horn. In ancient Egypt and other parts of Africa, Jupiter Ammon was worshipped under the figure of a ram, and to this deity one of these animals was sacrificed annually. It seems to have been an emblem of power from the remotest ages. It would therefore appear that thepractice of the gipsy priest wearing a ram's horn suspended from a string round his neck at a marriage is derived from the highest antiquity, and undoubtedly points to the Oriental origin of the gipsy race.
Various expedients have been resorted to by different rulers of sparsely populated kingdoms to encourage men to enter the married state. In ancient Rome the law forbade that a bachelor should inherit any legacy whatever, and in Sparta, under the rule of Lycurgus, they were not permitted to have a part in the government, nor might they occupy any civil or military post. They were excluded from participation in public festivals, except on certain fixed occasions, and then the women had the right to lead them to the altars, where they were beaten with rods to the sound of scornful songs. As late as the reign of William and Mary, widowers were taxed in England at the following rates:—Dukes, £12 10s.; lower peers a smaller sum, and commoners one shilling each, if they elected to remain in a state of single blessedness. Widows also, especially those of high degree and fortune, were encouraged to dip again in the matrimonial lottery, and children were betrothed at a very tender age.
AN ENGLISH BRIDE.AN ENGLISH BRIDE.
Bridesmaids in Anglo-Saxon times attended on the bride, and performed specified duties, particularly in the festivities which usually followed on such occasions. Even during the earlier portion of the present century it was a common custom for one to accompany the bridal couple on their honeymoon; and it was also her duty to prepare and present the "benediction posset," which is referred to by Herrick in "Hesperides:"—
"A short sweet prayer shall be said,And now the posset shall be madeWith cream of lilies not of kineAnd maiden blush for spiced wine."
The fashion of brides wearing spotless white is a comparatively modern one. From accounts of bridal gowns in bygone times, we find rich brocades, golden tissues, and coloured silks were employed for this purpose; and at the present day white is considered only appropriate to the virgin, and is absolutely dispensed with by those women who have been married before.
Of modern marriage customs in England there is no occasion to speak, for what woman is there among us who has not made an exhaustive and complete study of this vital matter? It may, however, comfort those who are beginning to wonder if marriage and giving in marriage is going out of fashion, to know that during the first quarter of 1894, 95,366 persons were joined together in the British Islands, an increase of 18 per cent. over the first three months of the previous year, 1893 and 9 per cent. over the mean rate for the same quarter for the preceding ten years. Figures are incontrovertible facts, so our ears need no longer be assailed by the bitter cry of
"Darkest Spinsterdom."
"The air is full of farewells to the dyingAnd mourning for the dead."—Longfellow.
"The air is full of farewells to the dyingAnd mourning for the dead."—Longfellow.
ANCIENT JEWISH FUNERAL PROCESSION.ANCIENT JEWISH FUNERAL PROCESSION.
LAYING OUT AND MOURNING THE DEAD.LAYING OUT AND MOURNING THE DEAD.
The signs of mourning in ancient times were by no means confined to the apparel. Fasting, laceration of the flesh, throwing dust on the head, and shaving the hair, were outward and visible signs of grief, accompanied by piercing cries of the most heartrending description. It was also customary to abstain from ornaments, to rend the clothing, and to put on filthy garments of sackcloth. This fabric was, and is still in the East, made of hair, which has an irritating effect upon the skin, and was for this purpose adopted as a penitential dress by the early Roman Church. The covering of the head was another manifestation of sorrow—a practice indicated by the hoods worn by female mourners, and the flowing hat-bands for men, so common at funerals a few years ago. In "A History of Mourning," by Richard Davey, from which many interesting facts on this subject may be gathered, we learn that the Egyptians, over three thousand years ago, selected yellow as the colour for mourning garments. The Greeks chose black as the most appropriate—a fashion followed by the Romans. The women of Rome had robes of black cloth, with veils of the same shade; but by a wise dispensation, young children were not compelled to adopt the symbols of woe. A year was the usual period for mourning a husband, wife, father, mother, sister, or brother; but relations who had been outlawed, imprisoned, or bankrupt, were not accorded this mark of respect. Numa published certain laws for the guidance of mourners, including one forbidding womento scratch their faces, or to make an exceptional display of grief at funerals. The Emperor Justinian (A.D. 537) also turned his attention to this subject, and regulated the expenses at funeral ceremonies, so as to secure those who remained from the double calamity of losing their friends and, at the same time, incurring heavy pecuniary liabilities on their account. Provision was made for burying each person free of cost, and for protecting the survivors from various extortions. Funds were appropriated for the purpose of interments, which were conducted by those appointed for the purpose. All persons were to be buried in the same manner; though those who desired to do so could, at their own cost, indulge in certain display, but this additional expense was limited. On state occasions, as, for example, on the death of an Emperor or a great defeat, the whole nation assumed the mourning garb. The defeat of Cannæ, the conspiracy of Catalina, and the death of Julius Cæsar, were all considered of sufficient importance for the observance of this custom. Private mourning could be broken among the Romans by certain domestic events, as the birth of a son or daughter, the marriage of a child, or the return of a prisoner taken in war. Both sexes were expected to abstain from going to public ceremonies and places of amusement; and women were not allowed to marry till a year had elapsed from the husband's death, without the special permission of the Emperor. History, however, does not record that their lords and masters applied this rule to their own conduct.
THE MODE OF ENFOLDING THE DEAD.THE MODE OF ENFOLDING THE DEAD.
The Greeks buried their dead before sunrise, so as to avoid ostentation. Mourning women took part in the procession, and accompanied the chief female mourner in her visits to the grave, on the seven days following interment. This custom, which was derived from the East, was a usual feature in Jewish, Roman, and Egyptian, as well as in Greek funerals.
THE CUP OF CONSOLATION.THE CUP OF CONSOLATION.
AN ANGLO-SAXON WIDOW.AN ANGLO-SAXON WIDOW.
PRIEST OF THE 10TH CENTURY, WEARING A BLACK DALMATIC EDGED WITH FUR, READY TO SAY REQUIEM MASS.PRIEST OF THE 10TH CENTURY, WEARING A BLACK DALMATIC EDGED WITH FUR, READY TO SAY REQUIEM MASS.
The funeral feast was a common practice among the classical ancients, and was kept up to a comparatively recent period, in various European countries. The Cup of Consolation consisted of light refreshments prepared and sent in by the friends of mourners, who were not supposed to busy themselves with domestic affairs at such a time. The illustration gives a good idea of the mourning habit adopted by the immediate family of the deceased. Caves were used for the disposal of the dead, as well as elaborately constructed sepulchres, of which many remain to thisday. Earth burial was in favour with some nations, but in time of war or pestilence cremation was resorted to. The practice of embalming we owe to the Egyptians, who carried it to a great state of perfection. One of the earliest embalmments on record is that of Joseph, whose body accompanied the Israelites on their journey through the Wilderness. He was placed in a coffin, a distinction in the East only accorded to those of the highest rank, the usual mode being to simply swathe the corpse closely in wrappers and bandages, thus retaining the shape of the human form. The Jews largely used spices and perfumes, which were employed both for anointing and for wrapping up the body—a very necessary precaution in hot climates. The Egyptians, on the death of a relative or sacred animal (the cat, for instance), attired themselves in yellow garments and shaved off their eyebrows. Their funeral processions were magnificent. When a king quitted this mortal sphere, the temples were closed for seventy-two days, and there were no sacrifices, solemnities, or feasts. Companies of two or three hundred men and women, in mean attire paraded the streets, singing plaintive songs and reciting the virtues of him they had lost. They ate no meat, or food dressed by fire, and omitted their customary baths and anointings. Every one mourned as for the death of a favourite child, and spent the day in lamentations. The Pyramids, those wonderful monuments to Egyptian monarchs, are memorials of the reverence and industry of the nation, whose high state of civilization is attested to by their works.
HIRED MOURNERS.HIRED MOURNERS.
Burial clubs were common among the Anglo-Saxons, and heavy fines were inflicted on those who did not attend the funeral of a member. The corpse was placed on a bier, and on the body was laid the book of theGospels, a code of belief and a cross as a symbol of hope. A silken or linen pall was used, according to the rank of the dead person. The clergy bore lighted tapers and chanted the psalter, the mass was performed, and a liberal offering made to the poor.
From a 9th century MS. in the National Library, Paris, is given a sketch which clearly defines the mourning habit of that period. The gown is evidently of black woollen cloth, trimmed with black and white fur; and a gauze veil of the same sombre tint envelops the head. From the same source a drawing of an Anglo-Saxon priest is given, on account of his wearing a black dalmatic, edged with fur, a vestment only adopted when a requiem mass was performed.
MOURNING IN SACKCLOTHMOURNING IN SACKCLOTH
WIDOW'S DRESS OF QUEEN KATHERINE DE VALOIS, IN THE YEAR 1422WIDOW'S DRESS OF QUEEN KATHERINE DE VALOIS, IN THE YEAR 1422
In the Middle Ages black was used for mourning as a rule, though purple and brown were occasionally substituted. Chaucer, in "The Knight's Tale," speaks of "clothesblackall dropped with tears," and, again, of "widdowes habit of samitebrown." In many cases, on the death of her husband, the wife retired for a year to a convent, when she assumed the nun's dress, of which the widow's weeds of the present day are a symbol. The mourning adopted by Katherine of Valois, wife of Henry V., the hero of Agincourt, who died at Vincennes in 1422, may be regarded as the typical widow's dress of that period. It consisted of a black brocade cote hardi, edged with white fur, and further embellished with black glass beads, which were also usedfor ornamenting the winged head dress. Her black woollen gown has a deep bordering of white fur. Some mourning habits of this period are represented in a splendid manuscript "Liber Regalis," still preserved in Westminster Abbey. They are composed of black fabrics in the prevailing fashion, and are furred with ermine. Froissart relates that the Earl of Foix, on hearing of the death of his son, Gaston, sent for his barber, and was close shaved, and clothed himself and his household in black. At the funeral of the Earl of Flanders, all the nobles and others present were attired in black gowns; and on the death of John, King of France, the King of Cyprus clothed himself in black mourning.
COSTUMES WORN BY KING PHILIP II. OF SPAIN AND HIS ATTENDANTS AT THE FUNERAL PROCESSION OF HIS FATHER.COSTUMES WORN BY KING PHILIP II. OF SPAIN AND HIS ATTENDANTS AT THE FUNERAL PROCESSION OF HIS FATHER.
GENTLEMAN'S MOURNING—TIME OF HENRY VII.GENTLEMAN'S MOURNING—TIME OF HENRY VII.
At the end of the fifteenth century, it was considered necessary in England to pass sumptuary mourning laws, owing to the extravagance of the nobility in the superfluous usage of cloth and other items at funerals. Habits and liveries were limited to certain quantities. Planché tells us dukes and marquises were allowed sixteen yards for their gowns, sloppes (or mourning cassocks) and mantles; an earl, fourteen; a viscount, twelve; a baron, eight; a knight, six; and all inferior persons, two yards only; but an archbishop had the same privilege as a duke. Hoods were only permitted to those above the degree of esquire of the king's household.
Margaret, Countess of Richmond, the mother of King Henry VII., issued, in the eighth year of his reign, an ordinance for "the reformation of apparell for great estates of women in the tyme of mourninge." "They shall have their surcottes with a trayne before and another behynde, and their mantles with traynes. The queen is to wear a surcotte, with the traynes as aforesaid, and playne hoode, and a tippet at the hoode lying a good length upon the trayne of the mantell, being in breadth a nayle and an inche. After the first quarter of a year, the hood to be lined with black satin, or furred withermine; and all ladies down to the degree of a baroness, are to wear similar mourninge, and to be barbed at the chin." The surcotte, with trayne, hood, barbe, and tippet, are visible in the sketch of a lady of the sixteenth century, taken from Pietro Vercellio's famous work on costume. The gentleman's mourning of black cloth and fur, is reproduced from a contemporary MS.
Among the obsolete funeral customs, may be mentioned the Death Crier, the lying-in-state of all classes, and the waxen effigies of those of royal rank. Before newspapers published obituary notices, it was customary for the Death Crier, armed with a bell and attired in a black livery, painted or embroidered with skulls and cross-bones, to announce to the townspeople, and inhabitants of surrounding villages, that another had gone over to the majority. This functionary was in the employ of the Corporation, or civil authorities, and on the death of a member of the Royal Family, he was usually accompanied by the Guild of Holy Souls, who walked in procession, bearing lighted tapers and other religious emblems. Lying-in-state usually lasted for three days, by which time the arrangements for a simple interment were completed, and the body was placed reverently in the ground. The obsequies of kings and queens, however, were carried over a protracted period, consequently a waxen figure was prepared, which was dressed in regal robes, and substituted for the body as soon as decomposition set in. This fashion was in vogue till the time of William and Mary, and in Westminster Abbey there is a collection of waxen effigies, which may be viewed by permission of the Dean. As likenesses they are interesting, and they are also useful as costume studies.
FRENCH LADY OF 16TH CENTURY IN WIDOW'S WEEDS.GERMAN WIDOW'S DRESS OF TO-DAY.FRENCH LADY OF 16TH CENTURY IN WIDOW'S WEEDS.GERMAN WIDOW'S DRESS OF TO-DAY.
Of late years, in this country, mourning has been considerably modified, particularly for the male sex, who often content themselves with a black hat-band and another on the left sleeve of dark-coloured clothes. By Scotch law, whether a man dies solvent or insolvent, his widow may claim out of his estate, sufficient for mourning suitable to her rank, and the same privilege applies to each of her children, who are old enough to be present at their father's funeral. This right takes precedence over any debts the dead manmay have contracted, and is a distinction not accorded to English, Welsh, or Irish widows.
In most European countries black is the accepted colour for mourning; though in different parts of the globe white, yellow, red, brown, and even blue garments are prescribed by custom as the emblem of death.
These shades have been selected for the following reasons:—Black is symbolical of the gloom which surrounds one when those who are nearest and dearest are taken. Black and white express sorrow mixed with hope, and white alone the light which follows the night of mourning. Blue, the tint of the heavens, to which it is hoped the spirit forms have taken flight. Yellow is typical of the dead autumn leaf, and brown the earth to which the body returns. Violet, a royal colour, is generally used for the mourning of kings and high dignitaries of the Church. Scarlet is also used for royal mourning occasionally.[A]
THE DEATH CRIER.ENGLISH WIDOW'S DRESS OF TO-DAY.THE DEATH CRIER.ENGLISH WIDOW'S DRESS OF TO-DAY.
[A]For permission to reproduce some of the drawings from Davey's "History of Mourning," I am indebted to Messrs. Jay, Regent Street, London.
[A]For permission to reproduce some of the drawings from Davey's "History of Mourning," I am indebted to Messrs. Jay, Regent Street, London.
"The fashion wears out more apparel than the man."—Much Ado about Nothing."Through tattered clothes small vices do appear,Robes and furred gowns hide all."—King Lear.
"The fashion wears out more apparel than the man."—Much Ado about Nothing.
"Through tattered clothes small vices do appear,Robes and furred gowns hide all."—King Lear.
BRITON CLAD IN SKINS.BRITON CLAD IN SKINS.
BRITON AT THE TIME OF THE ROMAN INVASION.BRITON AT THE TIME OF THE ROMAN INVASION.
"Vanity, thy name is woman," "As vain as a woman," and similar epithets, are hurled at our defenceless heads by our teachers and masters; yet how few of them pause for a moment to consider whether they are altogether free from this human weakness or exempt from that love of dress which they so strongly condemn in others. It does not require a deep study of the history of costume to reveal some curious anomalies in this respect, and the sketches chosen for the purpose of illustrating this chapter will only give a faint idea of what has been considered appropriate and becoming to the manly form at different epochs. In Pelautier's "Histoire des Celtes," we learn that "the toilet of the ancient inhabitants of Britain, somewhat resembled that of the North American Indian of the present day, and consisted of a series of elaborate paintings over the whole surface of the body, which were no doubt originally intended to protect the skin, from the inclemencies of the weather, but were afterwards used as a mode of embellishment and a means of distinguishing the different classes, for it was reserved to freemen, and strictly forbidden to slaves. The lower classes confined themselves to small designs drawn at a considerable distance from each other; but the nobles had the privilege of ornamenting their persons with large figures, chiefly of animals, subsequently transferred to their shields, after they adopted a less scanty costume, and this may be looked upon as the origin of family arms." The Picts, who inhabited the north of Britain, were remarkable for their pictorial decorations, hence their name, derived from an ancient word,picti, which signifies painted. Our remote ancestors also added to their other charms (which were doubtless irresistible to the belles of that period), by deepening the tone of their naturally ruddy locks, by washing them in water boiled with lime. Their clothing was of skins of animals killed in the chase, and they were armed with implements of bone and flint. The Tyrian traders taught them how to construct various weapons of war from a composition of copper and tin, and their flat wicker shields were superseded by those of metal ornamented with concentric circles. After the Roman Conquest of Britain, the skin garments were laid aside for dyed tunics and close trousers. Over the tunic was worn a sagum, or short cloak, so named by theRomans fromsaic, a word of Celtic origin, which signified a skin or hide. When the head was covered it was with a cap, from the Britishcab, a hut, which, from its circular shape, it somewhat resembled, for the dwelling-places were composed of wattles firmly fixed in the ground and fastened together at the top. A curious remnant of this fashion is the horn-like cap of rushes still made by Welsh children. The hair was usually long and flowing. Men of rank shaved the chin and allowed the moustache to grow to an extraordinary length.
CANUTE.CANUTE.
WILLIAM THE NORMAN, FROM BAYEUX TAPESTRY.WILLIAM THE NORMAN, FROM BAYEUX TAPESTRY.
The Saxons and Danes are spoken of as wearers of "scarlet, purple, and fine linen," and the latter combed their hair once a day, bathed once a week, and frequently changed their clothing. By these means they found favour in the eyes of the women, and delighted the wives and daughters of the nobility. In a curious MS., written in the reign of King Canute, the monarch is represented in a tunic and mantle embellished with cords and tassels. The tops of his stockings are embroidered, but he wears simple leather shoes. A vestment presented by Canute to Croyland Abbey was of silk, embroidered with golden eagles, and the rich pall which he ordered to be laid over the tomb of Edmund Ironside, was "embroidered with the likeness of golden apples and ornamented with pearls." From this, we see that the needle played an important part in the ornamentation of clothing, and to it we also owe the splendid Bayeux tapestry, worked by Matilda, wife of William the Conqueror. This priceless curiosity is not only remarkable as a magnificent piece of workmanship, but affords a good idea of the dress of that period—the 11th century. A tunic reaching to the ankle, leg bandages and shoes, a flowing mantle and flat cap, were the chief characteristics of the civil dress of this and succeeding reigns. The Normans, however, were clean-shaven.
PARLIAMENT ASSEMBLED IN THE REIGN OF RICHARD II.PARLIAMENT ASSEMBLED IN THE REIGN OF RICHARD II.
GENTLEMAN OF THE 14TH CENTURY.GENTLEMAN OF THE 14TH CENTURY.
A CAPUCHON OR HOOD, TIME OF EDWARD II.A CAPUCHON OR HOOD, TIME OF EDWARD II.
During the Middle Ages extravagance prevailed in both male and female costume. Handsome furs were in great request, and several times sumptuary laws were passed. Men wore eight indispensable articles of dress, the shirt, breeches, stockings, shoes, coat, surcoat or cotehardie, mantle, and head dress. The coat or under-dress corresponded with the tunic of the ancients, and was entirely hidden, with the exception of the sleeves, by the surcoat. There were two kinds of mantles, one open in the front, the two sides connected by a strap resting on the chest, the other was open on the right side and had one end thrown over the left shoulder. Head coverings were of variousdescriptions; but many adopted hoods with long points, which were used to attach them to the belt when not in use. The assembling of Parliament in the reign of Richard II. gives the lay, spiritual, and legal peers in their usual costumes, and is reproduced from Planché's "History of British Costume." The Bishops are in cowls near the throne, the judges in coifs and furred robes, the Earls of Westmorland and Northumberland stand in front. The Duke of Hereford, in high cap, is to the left of the throne, and Exeter, Salisbury, and other peers are seated opposite the judges. During the reign of Richard II., which lasted over twenty years (1377 to 1399), there were many curious fashions in masculine attire. The peaked shoes, chained to the knee, were not more ridiculous than the deep, wide sleeves commonly called pokeys, which were shaped like a bagpipe and were worn by all classes. Many writers refer to them as the devil's receptacles, as whatever could be stolen was hidden away in their folds. Some were wide and reached to the feet, others to the knee, and they were full of slits. Hose were often of different colours. Parti-coloured suits were also in favour, and these were frequently scalloped at the edges and embroidered with mottoes and other devices. Chaucer, who wrote the "Canterbury Tales" towards the end of Richard's reign, describes in the most graphic manner the apparel of his contemporaries. "The haberdasher, carpenter, weaver, dyer, and tapestry worker, all wealthy burghers of the City of London, were clothed in a livery, and the handles of their knives, pouches, and girdles were ornamented with silver. The clergy were not to be distinguished from the laity, and rode on horseback, glittering with gold, in gowns of scarlet and green, fine with cut work. Their mitres embellished with pearls like the head of a queen, and staffs of precious metals set with jewels." Even the parish clerk is said to be "spruce and foppish in his dress." The author of an anonymous work called the "Eulogium," of this date, says:—"The commoners were besotted in excess of apparel. Some in wide surcoats reaching to their loins, some in a garment reachingto their heels, closed before and sticking out at the sides, so that at the back they make men seem like women, and this they call by the ridiculous namegowne. Their hoods are little, and tied under the chins. Their lirri-pipes (tippets) pass round the neck, and hanging down before, reach to the heels."