Manners, Customs, and Dress During the Middle Ages and During the Renaissance Part 33

As we approach the fourteenth century--an epoch of the Middle Ages at which, after many changes of fas.h.i.+on, and many struggles against the ancient Roman and German traditions, modern national costume seems at last to have a.s.sumed a settled and normal character--we think it right to recapitulate somewhat, with a view to set forth the nature of the various elements which were at work from time to time in forming the fas.h.i.+ons in dress. In order to give more weight to our remarks, we will extract, almost word for word, a few pages from the learned and excellent work which M. Jules Quicherat has published on this subject.

"Towards the year 1280," he says, "the dress of a man--not of a man as the word was then used, which meant _serf_, but of one to whom the exercise of human prerogatives was permitted, that is to say, of an ecclesiastic, a bourgeois, or a n.o.ble--was composed of six indispensable portions: the _braies_, or breeches, the stockings, the shoes, the coat, the surcoat, or _cotte-hardie,_ and the _chaperon_, or head-dress. To these articles those who wished to dress more elegantly added, on the body, a s.h.i.+rt; on the shoulders, a mantle; and on the head, a hat, or _fronteau_.

[Ill.u.s.tration: Fig. 417.--Costumes of the Common People in the Fourteenth Century: Italian Gardener and Woodman.--From two Engravings in the Bonnart Collection.]

"The _braies_, or _brayes_, were a kind of drawers, generally knitted, sometimes made of woollen stuff or silk, and sometimes even of undressed leather. .... Our ancestors derived this part of their dress from the ancient Gauls; only the Gallic braies came down to the ankle, whereas those of the thirteenth century only reached to the calf. They were fastened above the hips by means of a belt called the _braier_.

"By _chausses_ was meant what we now call long stockings or hose. The stockings were of the same colour and material as the braies, and were kept up by the lower part of the braies being pulled over them, and tied with a string.

"The shoes were made of various kinds of leather, the quality of which depended on the way in which they were tanned, and were either of common leather, or of leather which was similar to that we know as morocco, and was called _cordouan_ or _cordua_ (hence the derivation of the word _cordouannier_, which has now become _cordonnier_). Shoes were generally made pointed; this fas.h.i.+on of the _poulaines_, or Polish points, was followed throughout the whole of Europe for nearly three hundred years, and, when first introduced, the Church was so scandalized by it that it was almost placed in the catalogue of heresies. Subsequently, the taste respecting the exaggerated length of the points was somewhat modified, but it had become so inveterate that the tendency for pointed shoes returning to their former absurd extremes was constantly showing itself. The pointed shoes became gradually longer during the struggles which were carried on in the reign of Philippe le Bel between Church and State.

"Besides the shoes, there were also the _estiviaux_, thus named from.

_estiva_ (summer thing), because, being generally made of velvet, brocade, or other costly material, they could only be worn in dry weather.

"The coat (_cotte_) corresponded with the tunic of the ancients, it was a blouse with tight sleeves. These sleeves were the only part of it which were exposed, the rest being completely covered by the surcoats, or _cotte-hardie,_ a name the origin of which is obscure. In shape the surcoat somewhat resembled a sack, in which, at a later period, large slits were made in the arms, as well as over the hips and on the chest, through which appeared the rich furs and satins with which it was lined.... The ordinary material of the surcoat for the rich was cloth, either scarlet, blue, or reddish brown, or two or more of these colours mixed together; and for the poor, linsey-woolsey or fustian. The n.o.bles, princes, or barons, when holding a court, wore surcoats of a colour to match their arms, which were embroidered upon them, but the lesser n.o.bles who frequented the houses of the great spoke of themselves as in the robes of such and such a n.o.ble, because he whose patronage they courted was obliged to provide them with surcoats and mantles. These were of their patron's favourite colour, and were called the livery (_livree_), on account of their distribution (_livraison_), which took place twice a year. The word has remained in use ever since, but with a different signification; it is, however, so nearly akin to the original meaning that its affinity is evident."

[Ill.u.s.tration: Fig. 418.--Costume of English Servants in the Fourteenth Century.--From Ma.n.u.scripts in the British Museum.]

[Ill.u.s.tration: Fig. 419.--Costume of Philip the Good, with Hood and "c.o.c.kade."--From a Miniature in a Ma.n.u.script of the Period.]

An interesting anecdote relative to this custom is to be found in the chronicles of Matthew Paris. When St. Louis, to the dismay of all his va.s.sals, and of his inferior servants, had decided to take up the cross, he succeeded in a.s.sociating the n.o.bles of his court with him in his vow by a kind of pious fraud. Having had a certain number of mantles prepared for Christmas-day, he had a small white cross embroidered on each above the right shoulder, and ordered them to be distributed among the n.o.bles on the morning of the feast when they were about to go to ma.s.s, which was celebrated some time before sunrise. Each courtier received the mantle given by the King at the door of his room, and put it on in the dark without noticing the white cross; but, when the day broke, to his great surprise, he saw the emblem worn by his neighbour, without knowing that he himself wore it also. "They were surprised and amused," says the English historian, "at finding that the King had thus piously entrapped them....

As it would have been unbecoming, shameful, and even unworthy of them to have removed these crosses, they laughed heartily, and said that the good King, on starting as a pilgrim-hunter, had found a new method of catching men."

"The chaperon," adds M. Quicherat, "was the national head-dress of the ancient French, as the _cucullus_, which was its model, was that of the Gauls. We can imagine its appearance by its resemblance to the domino now worn at masked b.a.l.l.s. The shape was much varied during the reign of Philippe le Bel, either by the diminution of the cape or by the lengthening of the hood, which was always sufficiently long to fall on the shoulders. In the first of these changes, the chaperon no longer being tied round the neck, required to be held on the head by something more solid. For this reason it was set on a pad or roll, which changed it into a regular cap. The material was so st.i.tched as to make it take certain folds, which were arranged as puffs, as ruffs, or in the shape of a c.o.c.k's comb; this last fas.h.i.+on, called _c.o.c.kade_, was especially in vogue (Fig.

419)--hence the origin of the French epithet _coquard_, which would be now expressed by the word _dandy_.

"Hats were of various shapes. They were made of different kinds of felt, or of otter or goat's skin, or of wool or cotton. The expression _chapeau de fleurs_ (hat of flowers), which continually occurs in ancient works, did not mean any form of hat, but simply a coronet of forget-me-nots or roses, which was an indispensable part of dress for b.a.l.l.s or festivities down to the reign of Philippe de Valois (1347). Frontlets (_fronteaux_), a species of fillet made of silk, covered with gold and precious stones, superseded the _chapeau de fleurs_, inasmuch as they had the advantage of not fading. They also possessed the merit of being much more costly, and were thus the means of establis.h.i.+ng in a still more marked manner distinctions in the social positions of the wearers.

[Ill.u.s.tration: Fig. 420.--Costumes of a rich Bourgeoise, of a Peasant-woman, and of a Lady of the n.o.bility, of the Fourteenth Century.--From various painted Windows in the Churches of Moulins (Bourbonnais).]

[Ill.u.s.tration: Saint Catherine Surrounded by the Doctors of Alexandria.

A miniature from the _Breviary_ of the cardinal Grimani, attributed to Memling.

Bibl. of Saint-Marc, Venice.

(From a copy belonging to M. Ambroise Firmin-Didot.)]

"There were two kinds of mantles; one was open in front, and fell over the back, and a strap which crossed the chest held it fixed on the shoulders; the other, enveloping the body like a bell, was slit up on the right side, and was thrown back over the left arm; it was made with a fur collar, cut in the shape of a tippet. This last has been handed down to us, and is worn by our judges under the name of _toge_ and _epitoge_.

"It is a very common mistake to suppose that the s.h.i.+rt is an article of dress of modern invention; on the contrary, it is one of great antiquity, and its coming into general use is the only thing new about it.

"Lastly, we have to mention the _chape_, which was always regarded as a necessary article of dress. The _chape_ was the only protection against bad weather at a period when umbrellas and covered carriages were unknown.

It was sometimes called _chape de pluie_, on account of the use to which it was applied, and it consisted of a large cape with sleeves, and was completely waterproof. It was borne behind a master by his servant, who, on account of this service was called a _porte-chape._ It is needless to say that the common people carried it themselves, either slung over their backs, or folded under the arm."

If we now turn to female attire, we shall find represented in it all the component parts of male dress, and almost all of them under the same names. It must be remarked, however, that the women's coats and surcoats often trailed on the ground; that the hat--which was generally called a _couvre-chef,_ and consisted of a frame of wirework covered over with stuff which was embroidered or trimmed with lace--was not of a conical shape; and, lastly, that the _chaperon_, which was always made with a tippet, or _chausse_, never turned over so as to form a cap. We may add that the use of the couvre-chef did not continue beyond the middle of the fourteenth century, at which time women adopted the custom of wearing any kind of head-dress they chose, the hair being kept back by a silken net, or _crepine_, attached either to a frontlet, or to a metal fillet, or confined by a veil of very light material, called a _mollequin_ (Fig.

420).

With the aid of our learned guide we have now reached a period (end of the thirteenth century) well adapted for this general study of the dress of our ancestors, inasmuch as soon afterwards men's dress at least, and especially that of young courtiers, became most ridiculously and even indecently exaggerated. To such an extent was this the case, that serious calamities having befallen the French nation about this time, and its fas.h.i.+ons having exercised a considerable influence over the whole continent of Europe, contemporary historians do not hesitate to regard these public misfortunes as a providential chastis.e.m.e.nt inflicted on France for its disgraceful extravagance in dress.

[Ill.u.s.tration: Fig. 421.--Costumes of a young n.o.bleman and of a Bourgeois in the Fourteenth Century.--From a painted Window in the Church of Saint-Ouen at Rouen, and from a Window at Moulins (Bourbonnais).]

"We must believe that G.o.d has permitted this as a just judgment on us for our sins," say the monks who edited the "Grande Chronique de St. Denis,"

in 1346, at the time of the unfortunate battle of Cressy, "although it does not belong to us to judge. But what we see we testify to; for pride was very great in France, and especially amongst the n.o.bles and others, that is to say, pride of n.o.bility, and covetousness. There was also much impropriety in dress, and this extended throughout the whole of France.

Some had their clothes so short and so tight that it required the help of two persons to dress and undress them, and whilst they were being undressed they appeared as if they were being skinned. Others wore dresses plaited over their loins like women; some had chaperons cut out in points all round; some had tippets of one cloth, others of another; and some had their head-dresses and sleeves reaching to the ground, looking more like mountebanks than anything else. Considering all this, it is not surprising if G.o.d employed the King of England as a scourge to correct the excesses of the French people."

And this is not the only testimony to the ridiculous and extravagant tastes of this unfortunate period. One writer speaks with indignation of the _goats' beards_ (with two points), which seemed to put the last finis.h.i.+ng touch of ridicule on the already grotesque appearance of even the most serious people of that period. Another exclaims against the extravagant luxury of jewels, of gold and silver, and against the wearing of feathers, which latter then appeared for the first time as accessories to both male and female attire. Some censure, and not without reason, the absurd fas.h.i.+on of converting the ancient leather girdle, meant to support the waist, into a kind of heavy padded band, studded with gilded ornaments and precious stones, and apparently invented expressly to enc.u.mber the person wearing it. Other contemporary writers, and amongst these Pope Urban V. and King Charles V. (Fig. 422), inveigh against the _poulaines_, which had more than ever come into favour, and which were only considered correct in fas.h.i.+on when they were made as a kind of appendix to the foot, measuring at least double its length, and ornamented in the most fantastical manner. The Pope anathematized this deformity as "a mockery of G.o.d and the holy Church," and the King forbad craftsmen to make them, and his subjects to wear them. All this is as nothing in comparison with the profuse extravagance displayed in furs, which was most outrageous and ruinous, and of which we could not form an idea were it not for the items in certain royal doc.u.ments, from which we gather that, in order to trim two complete suits for King John, no fewer than six hundred and seventy martens' skins were used. It is also stated that the Duke of Berry, the youngest son of that monarch, purchased nearly ten thousand of these same skins from a distant country in the north, in order to trim only five mantles and as many surcoats. We read also that a robe made for the Duke of Orleans, grandson of the same king, required two thousand seven hundred and ninety ermines' skins. It is unnecessary to state, that in consequence of this large consumption, skins could only be purchased at the most extravagant prices; for example, fifty skins cost about one hundred francs (or about six thousand of present currency), showing to what an enormous expense those persons were put who desired to keep pace with the luxury of the times (Fig. 424).

[Ill.u.s.tration: Fig. 422.--Costume of Charles V., King of France.--From a Statue formerly in the Church of the Celestins, Paris.]

[Ill.u.s.tration: Fig. 423.--Costume of Jeanne de Bourbon, Wife of Charles V.--From a Statue formerly in the Church of the Celestins, Paris.]

We have already seen that Charles V. used his influence, which was unfortunately very limited, in trying to restrain the extravagance of fas.h.i.+on. This monarch did more than decree laws against indelicate or unseemly and ridiculous dress; he himself never wore anything but the long and ample costume, which was most becoming, and which had been adopted in the preceding century. His example, it is true, was little followed, but it nevertheless had this happy resuit, that the advocates of short and tight dresses, as if suddenly seized with instinctive modesty, adopted an upper garment, the object of which seemed to be to conceal the absurd fas.h.i.+ons which they had not the courage to rid themselves of. This heavy and ungraceful tunic, called a _housse_, consisted of two broad bands of a more or less costly material, which, starting from the neck, fell behind and before, thus almost entirely concealing the front and back of the person, and only allowing the under garments to be seen through the slits which naturally opened on each side of it.

A fact worthy of remark is, that whilst male attire, through a depravity of taste, had extended to the utmost limit of extravagance, women's dress, on the contrary, owing to a strenuous effort towards a dignified and elegant simplicity, became of such a character that it combined all the most approved fas.h.i.+ons of female costume which had been in use in former periods.

The statue of Queen Jeanne de Bourbon, wife of Charles V., formerly placed with that of her husband in the Church of the Celestins at Paris, gives the most faithful representation of this charming costume, to which our artists continually have recourse when they wish to depict any poetical scenes of the French Middle Ages (Fig. 423).

[Ill.u.s.tration: Fig. 424.--Costumes of Bourgeois or Merchant, of a n.o.bleman, and of a Lady of the Court or rich Bourgeoise, with the Head-dress (_escoffion_) of the Fifteenth Century.--From a Painted Window of the Period, at Moulins (Bourbonnais), and from a Painting on Wood of the same Period, in the Musee de Cluny.]

This costume, without positively differing in style from that of the thirteenth century, inasmuch as it was composed of similar elements, was nevertheless to be distinguished by a degree of elegance which hitherto had been unknown. The coat, or under garment, which formerly only showed itself through awkwardly-contrived openings, now displayed the harmonious outlines of the figure to advantage, thanks to the large openings in the overcoat. The surcoat, kept back on the shoulders by two narrow bands, became a sort of wide and trailing skirt, which majestically draped the lower part of the body; and, lastly, the external corset was invented, which was a kind of short mantle, falling down before and behind without concealing any of the fine outlines of the bust. This new article of apparel, which was kept in its place in the middle of the chest by a steel busk encased in some rich lace-work, was generally made of fur in winter and of silk in summer. If we consult the numerous miniatures in ma.n.u.scripts of this period, in which the gracefulness of the costume was heightened by the colours employed, we shall understand what variety and what richness of effect could be displayed without departing from the most rigid simplicity.

One word more in reference to female head-dress. The fas.h.i.+on of wearing false hair continued in great favour during the middle of the fourteenth century, and it gave rise to all sorts of ingenious combinations; which, however, always admitted of the hair being parted from the forehead to the back of the head in two equal ma.s.ses, and of being plaited or waved over the ears. Nets were again adopted, and head-dresses which, whilst permitting a display of ma.s.ses of false hair, hid the horsehair or padded puffs. And, lastly, the _escoffion_ appeared--a heavy roll, which, being placed on a cap also padded, produced the most clumsy, outrageons, and ungraceful shapes (Fig. 424).

At the beginning of the fifteenth century men's dress was still very short. It consisted of a kind of tight waistcoat, fastened by tags, and of very close-fitting breeches, which displayed the outlines of the figure.

In order to appear wide at the shoulders artificial pads were worn, called _mahoitres_. The hair was allowed to fall on the forehead in locks, which covered the eyebrows and eyes. The sleeves were slashed, the shoes armed with long metal points, and the conical hat, with turned-up rim, was ornamented with gold chains and various jewels. The ladies, during the reign of Charles VI., still wore long trains to their dresses, which they carried tucked up under their arms, unless they had pages or waiting-maids (see chapter on Ceremonials). The tendency, however, was to shorten these inconvenient trains, as well as the long hanging and embroidered or fringed sleeves. On the other hand, ladies' dresses on becoming shorter were trimmed in the most costly manner. Their head-dresses consisted of very large rolls, surmounted by a high conical bonnet called a _hennin_, the introduction of which into France was attributed to Queen Isabel of Bavaria, wife of Charles VI. It was at this period that they began to uncover the neck and to wear necklaces.

[Ill.u.s.tration: Fig. 425.--Italian Costumes of the Fifteenth Century: Notary and Sbirro.--From two Engravings in the Bonnart Collection.]

[Ill.u.s.tration: Fig. 426.--Costumes of a Mechanic's Wife and a rich Bourgeois in the latter part of the Fifteenth Century.--From Windows in the Cathedral of Moulins (Bourbonnais).]

Under Louis XI. this costume, already followed and adopted by the greatest slaves of fas.h.i.+on, became more general.

"In this year (1487)," says the chronicler Monstrelet, "ladies ceased to wear trains, subst.i.tuting for them tr.i.m.m.i.n.gs of grebe, of martens' fur, of velvet, and of other materials, of about eighteen inches in width; some wore on the top of their heads rolls nearly two feet high, shaped like a round cap, which closed in above. Others wore them lower, with veils hanging from the top, and reaching down to the feet. Others wore unusually wide silk bands, with very elegant buckles equally wide, and magnificent gold necklaces of various patterns.

"About this time, too, men took to wearing shorter clothes than ever, having them made to fit tightly to the body, after the manner of dressing monkeys, which was very shameful and immodest; and the sleeves of their coats and doublets were slit open so as to show their fine white s.h.i.+rts.

They wore their hair so long that it concealed their face and even their eyes, and on their heads they wore cloth caps nearly a foot or more high.

They also carried, according to fancy, very splendid gold chains. Knights and squires, and even the varlets, wore silk or velvet doublets; and almost every one, especially at court, wore poulaines nine inches or more in length. They also wore under their doublets large pads (_mahoitres_), in order to appear as if they had broad shoulders."

Under Charles VIII. the mantle, trimmed with fur, was open in front, its false sleeves being slit up above in order to allow the arms of the under coat to pa.s.s through. The cap was turned up; the breeches or long hose were made tight-fitting. The shoes with poulaines were superseded by a kind of large padded shoe of black leather, round or square at the toes, and gored over the foot with coloured material, a fas.h.i.+on imported from Italy, and which was as much exaggerated in France as the poulaine had formerly been. The women continued to wear conical caps (_hennins_) of great height, covered with immense veils; their gowns were made with tight-fitting bodies, which thus displayed the outlines of the figure (Figs. 427 and 428).

Under Louis XII., Queen Anne invented a low head-dress--or rather it was invented for her--consisting of strips of velvet or of black or violet silk over other bands of white linen, which encircled the face and fell down over the back and shoulders; the large sleeves of the dresses had a kind of turned-over borders, with tr.i.m.m.i.n.gs of enormous width. Men adopted short tunics, plaited and tight at the waist. The upper part of the garments of both men and women was cut in the form of a square over the chest and shoulders, as most figures are represented in the pictures of Raphael and contemporary painters.

[Ill.u.s.tration: Italian Lacework, in Gold Thread.

The cypher and arms of Henry III. (16th century.)]

[Ill.u.s.tration: Fig. 427.--Costume of Charlotte of Savoy, second Wife of Louis XI.--From a Picture of the Period formerly in the Castle of Bourbon-l'Archambault, M. de Quedeville's Collection, in Paris. The Arms of Louis XI. and Charlotte are painted behind the picture.]