Part 6

Among the knights you will notice the general tendency to parti-coloured clothes, not only divided completely into halves of two colours, but striped diagonally, vertically, and horizontally, so giving a very diverse appearance to the mass of colour.

Here and there a man is riding in his silk surcoat, which is embroidered with his coat of arms or powdered with his badge.

Here are cloth, velvet, silk, and woollen stuffs, all of fine dyes, and here is some fine silk cotehardie with patterns upon it gilt in gold leaf, and there is a magnificent piece of stuff, rich in design, from the looms of Palermo.

Among the merchants we shall see some more sober colours and quieter cut of clothes; the archers in front are in leather tunics, and these quiet colours in front, and the respectable merchants behind, enclose the brilliant blaze of colour round the King.

Behind all come the peasants, minstrels, mummers, and wandering troupes of acrobats; here is a bearward in worn leather cloak and hood, his legs strapped at the ankle, his shoes tied on with thongs; here is a woman in a hood, open at the neck and short at the back: she wears a smocked apron; here is a beggar with a hood of black stuff over his head--a hood with two peaks, one on either side of his head; and again, here is a minstrel with a patched round cloak, and a mummer with a two-peaked hood, the peaks stuffed out stiff, with bells jangling on the points of them.

Again, among this last group, we must notice the old-fashioned loose tunics, the coif over the head, tied under the chin, wooden-soled shoes and pouch-gloves.

There are some Norfolk merchants and some merchants from Flanders among the crowd, and they talk as best they can in a sort of French-Latin-English jargon among themselves; they speak of England as the great wool-producing country, the tax on which produced L30,000 in one year; they talk of the tax, its uses and abuses, and how Norfolk was proved the richest county in wool by the tax of 1341.

The people of England little thought to hear artillery used in a field of battle so soon as 1346, when on August 26 it was used for the first time, nor did they realize the horrors that were to come in 1349, when the Great Plague was to sweep over England and kill half the population.

There is one man in this crowd who has been marked by everybody. He is a courtier, dressed in the height of fashion. His cotehardie fits him very well: the sleeves are tight from elbow to wrist, as are the sleeves of most of his fellows--some, however, still wear the hanging sleeve and show an under-sleeve--and his sleeve is buttoned from wrist to elbow. He wears the newest fashion upon his arm, the tippet, a piece of silk which is made like a detachable cuff with a long streamer hanging from it; his cotehardie is of medium length, jagged at the bottom, and it is of the finest Sicilian silk, figured with a fine pattern; round his hips he wears a jewelled belt. His hood is parti-coloured and jagged at the edge and round his face, and his liripipe is very long. His tights are parti-coloured, and his shoes, buttoned up the front, are long-toed and are made of red-and-white chequered leather. By him rides a knight, also in the height of fashion, but less noticeable: he has his cotehardie skirt split up in front and turned back; he has not any buttons on his sleeves, and his belt about his waist holds a large square pouch; his shoes are a little above his ankles, and are buckled over the instep. His hair is shorter than is usual, and it is not curled.

As we observe these knights, a party of armed knights come riding down the road towards the cavalcade; they have come to greet the King.

These men have ridden through the rain, and now, as they come closer, one can see that their armour is already red with rust.

So the picture should remain on your mind, as I have imagined it for you: the knights in armour and surcoats covered with their heraldic device; the archers; the gay crowd of knights in parti-coloured clothes; the King, in his cotehardie of plain black velvet and his black beaver hat, just as he looked after Calais in later years; the merchants; the servants in parti-coloured liveries of their masters' colours; the tattered crowd behind; and, with the aid of the drawings, you should be able to visualize the picture.

Meanwhile Edward will arrive at his destination, and to soothe him before sleep, he will read out of the book of romances, illustrated by Isabella, the nun of Aumbresbury, for which he had paid L66 13s. 4d., which sum was heavy for those days, when L6 would buy twenty-four swans. L66 13s. 4d. is about L800 of our money to-day.

THE WOMEN

'I looked on my left half as the lady taught me, And was aware of a woman worthily clothed, Trimmed with fur, the finest on earth, Crowned with a crown, the King had none better. Handsomely her fingers were fretted with gold wire, And thereon red rubies, as red as any hot coal, And diamonds of dearest price, and double manner of sapphires, Orientals and green beryls.... Her robe was full rich, of red scarlet fast dyed, With bands of red gold and of rich stones; Her array ravished me, such richness saw I never.'

_Piers the Plowman._

There are two manuscripts in existence the illuminations in which give the most wonderfully pictorial idea of this time; they are the manuscript marked MS. Bodl., Misc. 264, in the Bodleian Library at Oxford, and the Loutrell Psalter in the British Museum.

The Loutrell Psalter is, indeed, one of the most notable books in the world; it is an example of illumination at the height of that art; it has for illustrator a person, not only of a high order of intelligence, but a person possessed of the very spirit of Gothic humour, who saw rural England, not only with the eyes of an artist, but with the eyes of a gossiping philosopher.

Both this book and the book in the Bodleian Library were illustrated by persons who were charged to the brim with the spirit of their age; they were Chaucerian in their gay good-humour and in their quaint observation, and they have that moral knowledge and outspoken manner which characterize William Langland, whose 'Piers the Plowman' I have quoted above.

With Chaucer, Langland, and these illuminators we have a complete exhibition of English life of these times. The pulse of rural England is felt by them in a most remarkable way; the religion, language, thought, politics, the whole trend of rural, provincial, and Court life may be gathered from their books.

The drawings in the Loutrell Psalter were completed before the year 1340, and they give us all that wonderful charm, that intimate knowledge, which we enjoy in the 'Canterbury Pilgrims' and the 'Vision of Piers Plowman.'

There seems to be something in road-travelling which levels all humanity; there is no road in England which does not throb with history; there is no poem or story written about roads in England which does not in some way move the Englishness in us. Chaucer and Langland make comrades of us as they move along the highway, and with them we meet, on terms of intimacy, all the characters of the fourteenth century. With these illuminators of the Loutrell Psalter and the Bodleian MS. we see actually the stream of English life along a crowded thoroughfare.

In these books we may see drawings of every form of agricultural life and manorial existence: we see the country sports, the bear-baiting, and the cock-fighting; we see the harvesters with straw hats, scythes, and reaping-hooks; we see carters, carriers, and great carriages, all depicted in a manner which we can only compare, in later years, to the broad humour of Hogarth; and, as we turn the priceless pages over, the whole fourteenth-century world passes before our eyes--japers and jugglers; disours and jesters; monk, priest, pilgrim, and pardoner; spendthrift and wench; hermits, good and evil; lords, ladies, and Kings.

I have written of the men and their dress--how they were often--very often--dirty, dusty, and travel-stained--of the red-rusted armour and the striped and chequered clothes, and now I must write of the women and the manner of their dress.

Of the time, you must remember that it was the time of chivalry, when there was a Round Table of Knights at Windsor, founded in 1345; when the Order of the Garter was founded; when tiltings and all manner of tournaments were at their height; and you listen to the minstrels of King Edward's household playing upon the trumpet, the cytole, the pipe, the taberet, the clarion, and the fiddle.

St. George, the Primate of Egypt in the fourth century, had now risen to public esteem and notice, so that he became in this time not only the patron saint of chivalry, but the tutelar saint of England.

Boys were taken from the care of the ladies of the household at the age of seven, when they became pages to knights, and were sworn to devote themselves to the graces and favours of some girl. At fourteen the boy became a squire, and at twenty-one, if he were possessed of a rental of L20 a year in land, he made his fast and vigil, and was afterward dubbed knight and given his spurs.

The noteworthy point about a woman of this reign was her hair. The Queen herself wore an elaborate mode of coiffure for that time; she wore a metal fillet round her head, to which was attached two cases, circular in shape, of gold fretwork, ornamented with precious stones. She wore her hair unplaited, and brought in two parts from the back of her head, and as far as one can see, pushed into the jewelled cases.

The most general form of hair-dressing was an excess on the mode of the previous reign, a richness of jewel-work, an abundance of gold wire. It was usual to divide the hair into two plaits, and arrange these on either side of the face, holding them in their place by means of a fillet; they might be worn folded straight up by the face, or at an angle, but they were never left hanging; if hair was left loose it was not plaited, but flowing.

The gorget, or throat cloth, was still in general use, and it was attached to the hair by very elaborate-headed pins. Sometimes the hair, dressed with the gorget, was divided into four plaits, two on either side of the face, and fastened horizontally.

The wimple of silk or linen was very generally worn. A caul of gold net came into fashion, but not until the end of the reign. The ladies were great upon hunting and hawking, and this must have been a convenient fashion to keep the hair in order. Some wore a white silk or linen cap, so shaped as to include and cover the two side-plaits and combine a gorget and wimple in one. Pointed frontals of pearls were worn across the forehead, and fillets of silk or linen were so tied that long ends hung down the back.

Yellow hair was much esteemed, and ladies who were not favoured by Nature, brought saffron to their aid, and by such efforts brought Nature into line with Art.

There was the general custom of wearing the surcoat in imitation of the men, a garment I have described frequently--a slightly-fitting garment without sleeves--you will see how this grew later into a gorgeous affair. These surcoats were sometimes of fine cloth of gold covered with an intricate, delicate pattern in which beasts, birds, and foliage mingled in arabesque. Under this surcoat was a plainer, better-fitting garment, made sometimes of the barred and rayed material so common to the men, or of velvet, cloth, or silk, in plain colours, green and red being then very favourite; ermines and many other furs were used to border these gowns. Sometimes you may see that this gown had sleeves short at the elbow, exposing a different coloured under-sleeve, buttoned from elbow to wrist; at other times--in fact, among all fashionable persons--the curious fashion of the tippet, or long streamer, was worn. I have carefully described this fashion in the previous chapter.

The plain gown with tight sleeves was most in use, and the skirts of this gown were very voluminous, and had either pockets or holes in the front of them; the holes enabled the wearer to reach the purse hanging from a girdle which encircled the waist of the under-dress. These gowns were generally buttoned in front, from neck to waist, or they were laced.

They also wore a heavier gown which reached just below the knee, showing the skirts of the under-gown; the heavy gowns were often fur-lined, and had loose wide sleeves to the elbow.

There was at this time a curious fur or cloth cape in use, longer behind than in front--in fact, it varied with the taste of the owner. It was cut in even scallops all round; I say even to show that they were sewn-edged, not jagged and rough-edged. Any pair of these scallops might be longer than any other pair. Ladies wore these capes for hunting, and ornamented the ends with bells.

The shoes of the women were not very exaggerated in length, but, as a rule, fitted well to the foot and came out in a slight point. You may use for this reign shoes buckled across the instep, laced at the side, or buttoned up the front.

For riding and sport the ladies wore the hood, and sometimes a broad round hat over it, or the peaked hat. The countrywoman wore an ill-fitting gown with tight sleeves, an apron, and an open hood.

Imagine London in the year of the third great pestilence, 1369. It is October, and the worst of the pestilence is over; John Chichester, the Mayor, is riding through the streets about some great affairs; many knights and ladies pass by. It is raining hard after the long drought of the summer, but, despite the rain, many citizens are abroad to see the doings in the City, and one may see the bright parti-coloured clothes of the lords and ladies, and here and there, as a cloak is blown back, a glimpse of rich-patterned cloth of gold.

Perhaps Will Langland--Long Will--a gaunt man of thirty-seven, is brushing past a young man of twenty-nine, Chaucer, going to his work.

Silk dresses and frieze gowns, velvet and homespun, hurry along as the rain falls more heavily, and after a while the street becomes quite deserted. Then nothing but the dreary monotony of the rain falling from the gables will come to the room of the knight's lady as she lies sick of small-pox. John de Gaddesden, the King's doctor, has prescribed for her that she must lie clothed in scarlet red in a room of that colour, with bed-hangings of that same colour, and so she must lie, without much comfort, while the raindrops, falling down the wide chimney, drip on the logs in the fire and make them hiss.

RICHARD THE SECOND

Reigned twenty-two years: 1377-1399.

Born 1366. Married, 1381, Anne of Bohemia; 1395, Isabella of France.

THE MEN

The King himself was a leader of fashion; he had by grace of Nature the form, face, and manner which go to make a dandy. The nobles followed the King; the merchants followed the nobles after their kind; the peasants were still clothed in the simplest of garments, having retained the Norman tunic with the sleeves pushed back over the wrist, kept the loose boots and straw gaiters, and showed the improvement in their class by the innovation of gloves made as a thumb with a pouch for the fingers, and pouches for money of cloth and leather hung on a leather belt. This proved the peasant to be a man of some substance by need of his wallet. Everyone wore the chaperon--a cap and cape combined.

We have now arrived at the reign which made such a difference to the labourer and workman--such as the blacksmith and miller--and in consequence altered and improved the character of his clothes. The poll-tax of 1380 brought the labourer into individual notice for the first time, and thus arose the free labourer in England and the first labour pamphlets.

We have two word-pictures of the times of the greatest value, for they show both sides of the coin: the one by the courtly and comfortable Chaucer, the other by Long Will--William Langland, or Piers the Plowman. Picture the two along the Strand--Long Will singing his dirges for hire, and Chaucer, his hand full of parchments, bustling past.

One must remember that, as always, many people dressed out of the fashion; that many men still wore the cotehardie, a well-fitting garment reaching half-way down the thigh, with tight sleeves coming over the hand, decorated with buttons under the sleeve from the elbow to the little finger. This garment had a belt, which was placed round the hips; and this was adorned in many ways: principally it was composed of square pieces of metal joined together, either of silver, or enamel in copper, or of gold set with precious stones.

The cotehardie was generally made of a pied cloth in horizontal or diagonal bars, in silk or other rich fabric. With this garment the chaperon (to be more fully described) was worn as a hood; the legs were in tights, and the feet in pointed shoes a little longer than the foot. A pouch or wallet depended from the belt, and a sheath containing two daggers, an anelace, and a misericorde. The pouch was a very rich affair, often of stamped gilded leather or sewn velvet--ornamented, in fact, according to the purse of the wearer. In winter such a man as he of the cotehardie would wear an overcoat with an attached hood. This coat was made in various forms: one form with wide sleeves the same width all the way down, under which were slits in the coat to enable the wearer to place his hands inside, as in the modern Raglan coat-pocket. Another form was made very loose and without sleeves, but with the same slits at the side; it was buckled round the waist on occasion by a broad leather belt, very plain. The common heavy travelling-coat was made in this way, and it was only the very fashionable who wore the houppelande for riding or travelling. Sometimes such a man would wear in winter about the town a cloak fastened over the right shoulder with three or four buttons, leaving the right arm free; such a cloak is seen in the brass of Robert Attelathe, Mayor of Lynn.

In travelling, our gentleman would wear, often in addition to his chaperon, a peaked hat of cloth, high in the crown, with a brim turned up all round, ending in a long peak in front--the same hat that we always associate with Dick Whittington.

His gloves would be of leather, often ornamented with designs on the back, or, if he were a knight, with his badge.

On this occasion he would wear his sword in a baldric, a long belt over his right shoulder and under his left arm, from which hung also his daggers. Although I am not dealing even with personal arms, one must remember, in representing these people, that daggers were almost as necessary a part of dress as boots or shoes, and that personal comfort often depended upon a skilful use of that natty weapon; the misericorde was used to give the _coup de grace_.

The farmer in harvest-time wore, if he did not wear a hood, a peaked hat or a round, large-brimmed straw hat.

We may now arrive at the fashionable man, whose eccentricities in clothes were the object of much comment. How the houppelande or pelicon actually was originated I do not know, but it came about that men suddenly began to clothe themselves in this voluminous and awkward garment. It was a long loose-fitting robe, made to fit on the shoulders only, having very long loose sleeves, varying according to the whim of the owner. These sleeves were cut at the edges into the forms of leaves or other designs, and were lined, as the houppelande, with fur or silk. It will be seen that such a garment to suit all weathers and temperatures must be made of various materials and lined accordingly. These materials were almost invariably powdered with badges or some other device, sometimes with a flowing pattern embracing an heraldic design or motto. The sleeves turned back disclosed the sleeve of a cotehardie underneath, with the little buttons running from the elbow to the first knuckle of the little finger. The houppelande had a very high collar, coming well up to the middle of the back of the head; it was buttoned up to the chin in front, and the collar was often turned down half-way, the two top buttons being left undone. It was fastened about the middle by a thin leather belt, very long; this was buckled, and the long end turned under and brought over to hang down; the end was ornamented with many devices--figures of saints, heraldic figures, or other ornaments. Sometimes the entire belt was sewn with small devices in precious metal or enamels.

Now, to be in the height of fashion, one either wore the houppelande extremely long in the skirt or extremely short--so short, in fact, as to leave but a frill of it remaining below the waist--leaving the sleeves still their abnormal length. Pretty fads, as tying a dagger round the neck, or allowing it to hang low between the legs, or placing it in the small of the back, were much in vogue.

Every form of beard or moustache was used, and the hair was worn long to the nape of the neck. By the dandy it was elaborately pressed and curled at the ends. Bands of real or artificial flowers encircled the heads of the dandies, the artificial flowers made in enamels or gold. Rings were worn of great size on thumb and finger; long staffs with elaborate heads were carried.

Under the houppelande was the skirt and the cotehardie of thin material, and on the legs hose, pied or powdered, made of silk or cloth cut to the form and sewn.

The shoes were of great length, with long points; rarely we find examples of the absurd fashion of wearing the points so long that they were tied back to the knees, but often they were so long that the points came out 6 inches beyond the toe. They were made of every material, sewn with pearls on cloth or velvet, stamped with gold on leather, or the leather raised. The toes were sometimes stuffed hard, sometimes allowed to hang limp.

For walking in the streets high clogs of wood were used, made with long pointed ends to support the shoes.

I may add that the hose were gartered below the knee to hold them taut with rich garters, but if a man were a Garter Knight he wore but the garter of his Order.

Much in favour with this court of gallants were rich chains about the neck, having for pendant their badge or some saint's figure in gold or silver.