Manners, Customs, and Dress During the Middle Ages and During the Renaissance Part 34

[Ill.u.s.tration: Fig. 428.--Costume of Mary of Burgundy, Daughter of Charles the Bold, Wife of Maximilian of Austria (end of the Fifteenth Century). From an old Engraving in the Collection of the Imperial Library, Paris.]

The introduction of Italian fas.h.i.+ons, which in reality did not much differ from those which had been already adopted, but which exhibited better taste and a greater amount of elegance, dates from the famous expedition of Charles VIII. into Italy (Figs. 429 and 430). Full and gathered or puffed sleeves, which gave considerable gracefulness to the upper part of the body, succeeded to the _mahoitres_, which had been discarded since the time of Louis XI. A short and ornamental mantle, a broad-brimmed hat covered with feathers, and trunk hose, the ample dimensions of which earned for them the name of _trousses_, formed the male attire at the end of the fifteenth century. Women wore the bodies of their dresses closely fitting to the figure, embroidered, trimmed with lace, and covered with gilt ornaments; the sleeves were very large and open, and for the most part they still adhered to the heavy and ungraceful head-dress of Queen Anne of Brittany. The princ.i.p.al characteristic of female dress at the time was its fulness; men's, on the contrary, with the exception of the mantle or the upper garment, was usually tight and very scanty.

We find that a distinct separation between ancient and modern dress took place as early as the sixteenth century; in fact, our present fas.h.i.+ons may be said to have taken their origin from about that time. It was during this century that men adopted clothes closely fitting to the body; overcoats with tight sleeves, felt hats with more or less wide brims, and closed shoes and boots. The women also wore their dresses closely fitting to the figure, with tight sleeves, low-crowned hats, and richly-trimmed petticoats. These garments, which differ altogether from those of antiquity, const.i.tute, as it were, the common type from which have since arisen the endless varieties of male and female dress; and there is no doubt that fas.h.i.+on will thus be continually changing backwards and forwards from time to time, sometimes returning to its original model, and sometimes departing from it.

[Ill.u.s.tration: Figs. 429 and 430.--Costumes of Young n.o.bles of the Court of Charles VIII., before and after the Expedition into Italy.--From Miniatures in two Ma.n.u.scripts of the Period in the National Library of Paris.]

During the sixteenth century, ladies wore the skirts of their dresses, which were tight at the waist and open in front, very wide, displaying the lower part of a very rich under petticoat, which reached to the ground, completely concealing the feet. This, like the sleeves with puffs, which fell in circles to the wrists, was altogether an Italian fas.h.i.+on.

Frequently the hair was turned over in rolls, and adorned with precious stones, and was surmounted by a small cap, coquettishly placed either on one side or on the top of the head, and ornamented with gold chains, jewels, and feathers. The body of the dress was always long, and pointed in front. Men wore their coats cut somewhat after the same shape: their trunk hose were tight, but round the waist they were puffed out. They wore a cloak, which only reached as far as the hips, and was always much ornamented; they carried a smooth or ribbed cap on one side of the head, and a small upright collar adorned the coat. This collar was replaced, after the first half of the sixteenth century, by the high, starched ruff, which was kept out by wires; ladies wore it still larger, when it had somewhat the appearance of an open fan at the back of the neck.

If we take a retrospective glance at the numerous changes of costume which we have endeavoured to describe in this hurried sketch, we shall find that amongst European nations, during the Middle Ages, there was but one common standard of fas.h.i.+on, which varied from time to time according to the particular custom of each country, and according to the peculiarities of each race. In Italy, for instance, dress always maintained a certain character of grandeur, ever recalling the fact that the influence of antiquity was not quite lost. In Germany and Switzerland, garments had generally a heavy and ma.s.sive appearance; in Holland, still more so (Figs.

436 and 437). England uniformly studied a kind of instinctive elegance and propriety. It is a curious fact that Spain invariably partook of the heaviness peculiar to Germany, either because the Gothic element still prevailed there, or that the Walloon fas.h.i.+ons had a special attraction to her owing to a.s.sociations and general usage. France was then, as it is now, fickle and capricious, fantastical and wavering, but not from indifference, but because she was always ready to borrow from every quarter anything which pleased her. She, however, never failed to put her own stamp on whatever she adopted, thus making any fas.h.i.+on essentially French, even though she had only just borrowed it from Spain, England, Germany, or Italy. In all these countries we have seen, and still see, entire provinces adhering to some ancient costume, causing them to differ altogether in character from the rest of the nation. This is simply owing to the fact that the fas.h.i.+ons have become obsolete in the neighbouring places, for every local costume faithfully and rigorously preserved by any community at a distance from the centre of political action or government, must have been originally brought there by the n.o.bles of the country. Thus the head-dress of Anne of Brittany is still that of the peasant-women of Penhoet and of Labrevack, and the _hennin_ of Isabel of Bavaria is still the head-dress of Normandy.

[Ill.u.s.tration: Fig. 431.--Costumes of a n.o.bleman or a very rich Bourgeois, of a Bourgeois or Merchant, and of a n.o.ble Lady or rich Bourgeoise, of the Time of Louis XII.--From Miniatures in Ma.n.u.scripts of the Period, in the Imperial Library of Paris.]

[Ill.u.s.tration: Fig. 432.--Costume of a rich Bourgeoise, and of a n.o.ble, or Person of Distinction, of the Time of Francis I.--From a Window in the Church of St. Ouen at Rouen, by Gaignieres (National Library of Paris).]

Although the subject has reached the limits we have by the very nature of this work a.s.signed to it, we think it well to overstep them somewhat, in order briefly to indicate the last connecting link between modern fas.h.i.+ons and those of former periods.

[Ill.u.s.tration: Figs. 433 and 434.--Costumes of the Ladies and Damsels of the Court of Catherine de Medicis.--After Cesare Vecellio.]

Under Francis I., the costumes adopted from Italy remained almost stationary (Fig. 432). Under Henri II. (Figs. 433 and 434), and especially after the death of that prince, the taste for frivolities made immense progress, and the style of dress in ordinary use seemed day by day to lose the few traces of dignity which it had previously possessed.

Catherine de Medicis had introduced into France the fas.h.i.+on of ruffs, and at the beginning of the fourteenth century, Marie de Medicis that of small collars. Dresses tight at the waist began to be made very full round the hips, by means of large padded rolls, and these were still more enlarged, under the name of _vertugadins_ (corrupted from _vertu-gardiens),_ by a monstrous arrangement of padded whalebone and steel, which subsequently became the ridiculous _paniers_, which were worn almost down to the commencement of the present century; and the fas.h.i.+on seems likely to come into vogue again.

[Ill.u.s.tration: Fig. 435.--Costume of a Gentleman of the French Court, of the End of the Sixteenth Century.--Fac-simile of a Miniature in the "Livre de Poesies," Ma.n.u.script dedicated to Henry IV.]

Under the last of the Valois, men's dress was short, the jacket was pointed and trimmed round with small peaks, the velvet cap was trimmed with aigrettes; the beard was pointed, a pearl hung from the left ear, and a small cloak or mantle was carried on the shoulder, which only reached to the waist. The use of gloves made of scented leather became universal.

Ladies wore their dresses long, very full, and very costly, little or no change being made in these respects during the reign of Henry IV. At this period, the men's high hose were made longer and fuller, especially in Spain and the Low Countries, and the fas.h.i.+on of large soft boots, made of doeskin or of black morocco, became universal, on account of their being so comfortable.

We may remark that the costume of the bourgeois was for a long time almost unchanged, even in the towns. Never having adopted either the tight-fitting hose or the balloon trousers, they wore an easy jerkin, a large cloak, and a felt hat, which the English made conical and with a broad brim.

Towards the beginning of the seventeenth century, the high hose which were worn by the northern nations, profusely trimmed, was transformed into the _culotte_, which was full and open at the knees. A division was thus suddenly made between the lower and the upper part of the hose, as if the garment which covered the lower limbs had been cut in two, and garters were then necessarily invented. The felt hat became over almost the whole of Europe a cap, taking the exact form of the head, and having a wide, flat brim turned up on one side. High heels were added to boots and shoes, which up to that time had been flat and with single soles.... Two centuries later, a terrible social agitation took place all over Europe, after which male attire became mean, ungraceful, plain and more paltry than ever; whereas female dress, the fas.h.i.+ons of which were perpetually changing from day to day, became graceful and elegant, though too often approaching to the extravagant and absurd.

[Ill.u.s.tration: Figs. 436 and 437.--Costumes of the German Bourgeoisie in the Middle of the Sixteenth Century.--Drawings attributed to Holbein.]