Gothic Author Kenneth Clark described the Gothic period: “a world of chivalry, courtesy and Virginia S. Wimberley romance, a world in which serious things CTD 448: History of were done with a sense of play.” Costume Textiles and Interior Design

Romance Dates Power of love can enlist and subdue all the forces of nature Period can be divided into Early and Late Two emblems of lust and ferocity - or High Gothic unicorn and lion Dates vary among sources: Russell Chapter 8 – A. D. 1150-1325 Notion of ideal love - irresistible power of Russell Chapter 9 – A. D. 1325-1425 gentleness and beauty Others Utter subjection to an almost Early Gothic 1200 – 1350 unapproachable woman; belief that no Late Gothic 1350 - 1485 sacrifice was too great; whole lifetime devoted to paying court or suffering for her

Courtship Stages with colors Cult of the Virgin

Green- secretly languishing - (Feignaire) One hardly knows if a medieval love lyric White - declared his love but pays is addressed to the poet’s mistress or the attention to another in hopeful longing Virgin Mary (Preiaire) Madonnas of the 13th Century are Red - favorable hearing and services ravishingly beautiful and delicate accepted - as vassal of love (Entendaire) Yellow -Returned favors from the lady to what extent concerns no one

1 Marriage Courtly Love

Love match is the invention of the 18th Subject of lyrics and long, long stories in Century prose and verse Medieval marriage was entirely a matter Gothic literature added to European of property consciousness that cluster of ideas and Manual on how to treat women or bring sentiments which surround the words up daughters by the Knight of the Tower “romantic” and “romance” Landry was written in 1370 and was read as a sort of textbook till the 16th C.

Patrons of the Arts and Learning Sumptuary Legislation Laws during reign of English King Edward III made quite clear that a man could Four brothers were the greatest patrons decorate his person only according to his Builders, bibliophiles, collectors status Charles V - King of France “all esquires and every gentleman under Duke of Burgundy - slyest and most the estate of knighthood, and not ambitious possessed of lands or tenements to the Louis d’Anjou yearly amount of 200 marks, shall use in Duke du Berry - arts were his life their such cloths as does not exceed the value of 4marks and a half the whole cloth;

Sumptuary Legislation - Cont.. Sumptuary Legislation

They shall not wear any cloth of gold, of Simple folk had to be content with silk, or of silver, not any sort of homespun such as fustian - a twilled embroidered garment, nor any ring, mixture of cotton and linen or sackcloth of buckle, rouche, riban or girdle, nor any natural grey or cheap dyes of russet and indigo ornaments of precious stones, nor furs of any kind; their wives and children shall be Merchants were allowed a long robe bordered with fur to accentuate his subject to the same regulations dignity but he was limited to only fox, coney or cat fur

2 Sumptuary Legislation Sumptuary Legislation

In France Philippe le Bel prohibited the In Italy coloured silks were reserved for wearing of miniver, grey fox or ermine to upper classes and middle class had to bourgeoise and they had one year to rid wear black silk their wardrobes of it. In France the imported black silks were Dukes, counts and barons with 6,000 livre perceived as something new without the per year could have 4 pairs of per stigma and upper class individuals are year-their wives too seen wearing them

Tuchman – A Distant Mirror Crusades First crusade was called by Pope Urban II Read pages 18 -21 in 1095 Reading from journal: Dufresne, Laura R. Ninth crusade ended in failure in 1272 (1990). A Woman of Excellent Character: A Many kings, barons, and knights case study of dress, reputation and the squandered their wealth to mount and changing costume of Christine de Pizan in finance these crusades the fifteenth century. Dress, Volume 17, pp. 104-117. Power which rested with nobility - temporal and ecclesiastical-disappeared with their wealth

Effect of the Crusades Effect of Crusades New standards in intellectual endeavors, religious concepts, personal heroism and Previously put down rushes on the floor honor and removed in the spring; now wealthy used carpets following the Moorish New trade routes custom Money system replaced barter Rooms better furnished Architecturally the pointed arch came Chimneys replaced the hole in the roof from East Four poster bed with canopies, valances Power of papacy contested by rulers and curtains Rulers and tradesmen formed alliances

3 Crusades’ influence on Costume Guilds Eastern pomp and splendor increased Guilds and corporations formed in trading circles Europeans’ taste for opulent and In 13th C guilds were well established sumptuous personal adornment Guilds had written set of rules and regulations- Art of stitchery and its extensive use on number of pattern books and pattern blocks clothing outgrowth of long days while have been preserved men away at crusades Guild production allowed the development of Rich fabrics special event clothing, marked differences Family colors on clothing between secular and clerical dress married women from singles by variations in clothing Military garments move to civilian garb

Women’s Costume- Inner Women’s Costume - Outer

Cotehardie - long gartered at the knee flowing gown, oval neckline, tiny buttons along forearm and center front fichets - slits at hip level Tippets - hanging portions from elbows, wrists or shoulders

Cotehardie with tippets Detail of buttons on sleeve and hands in fichets

Cotehardie with tippets at elbows and two fichets through which the woman has inserted her hands Headdress has two side wire cages holding braids on each side of the face- nebule headdress

4 Surcote derived from Women’s Costume - Outer cyclas Surcote - sleeveless, side-less gown worn style with on of the open side seams cotehardie has two characterized the parts: cyclas plastron - center section often decorated with non- functioning buttons - divided at upper hip; skirt may be divided at center and multicolored

Women’s Costume - outer wraps Women’s Headdress

Pelicon - fur lined Hair in plaits or coils over the ears or suckeny - same across the head or length as garment, low chignon slits instead of Young girls - hanging sleeves loose

Women’s Headcoverings Early Gothic Braided hair was Headcoverings for Women coiled at sides of the head Barbette - chin band Coffer, Reticulated, under jaw and Nebule -all refer to fastened near top of netting structures head with widest part covering the hair covering the ears Ramshorn - length of If pleated called a fabric laid across top barbe and back of head and ends wrapped round coils of hair on each side

5 Early Gothic Veil and Whimple Headcoverings for Women compared to Barbe

Whimple - piece of linen or silk draped around throat and pinned to hair above the ears Whimple Whimple Whimple Worn from late 12th C with kerchief expanded to mid-14th C. or veil over the Became part of nun’s temple habit hair curls

Gorget Women’s Headcoverings

Gorget - variant of Barbette combined the whimple pulled with turban down to uncover the Sideless gown or top of the head and surcote fastened to coils of long sleeved hair over the ears cotehardie

Women’s Dress - Women’s Headcoverings LateGothic

Nebule - stiff wire Houppelande-long cages on each side of pleated at front gown the head, joined by Padded roll for decorative band headcovering called a across forehead, bourrelet, evolves confining hair in these into heart-shaped cages headcovering

6 Late Gothic Head Late Gothic Headcoverings Coverings for Women for Women

Steeple - tall Escoffin - heart shaped cone with or without veiling falling from Steeple - tall cone with frontlet point. Butterfly - transparent veil wired at one edge Frequently worn with and bent into M shape frontelet at forehead ⌧Flower pot Liripipe - like a tippet, long, narrow length of fabric attached to hennins

Steeple Hennins/ houppelandes Gothic Castle Scene

Note central female in escoffion hennin, ermine trimmed gold surcote and green cotehardie The women behind have steeple hennins

Women’s Headcoverings - Truncated steeple hennin Late with veil-flowerpot hennin Hennins Butterfly - transparent veil wired at one edge and bent into M shape

7 Hennins- butterfly and Neckline with modesty piece escoffion/heart- shaped/bourrelet

Flowerpot hennin without veiling

Color version of Christine presenting Wife of Jean Juvenal des book to Queen Isabelle Ursins

French version of horned headdress circa 1445 stiff, jeweled structure

Isabella of Portugal, 1445, Wife of Philip the Good of Burgundy Women’s Accessories

Bourrelet- padded roll Jeweled girdles is sharply angled to loose cords/gloves rounded point on rings forehead, velvet- patterned cloth of aumonieres gold handkerchiefs Fur trimmed neckline scissors- hanging of houppelande from girdle pomanders

8 Pomanders Men’s Costume

12 and 13th C simplicity or men with bliaud or cotehardie ungirdled till 1340 Edges of and hanging sleeve flaps were cut into pointed or squared scallops called dagging

Dagging in wool broadcloth Dagged Sleeve Treatments which does not ravel easily

Women’s houppelandes with wide sleeves decorated by dagging as were men’s

Men’s Costume Men’s Costume Surcote/cyclas - first introduced as cloth Cotehardie - became poncho worn over shortened, tight- armor to protect fitting garment against glare of the sun; no sleeves or side seams later surcote - closed side seams, deep armholes, hem trimmed with fur

9 Cotehardie with castellated edges Pourpoint

Chaperone hood Padded to protect body from armour; points ot ties on inside for attaching hose. Worn from 14th th 17th C. Also called gippon, paltock and eventually Girdle

Poulaines for

Doublet with points attaching hose - 1350 Removing hose for baptism

Note points and zigzag seam for contrast lower foot

Men’s Costume - Late Gothic Interior pleats for houppelande

Houppelande - voluminous outer garment with enormous conical sleeves, neckline close at neck, deep rolled pleats from shoulders to hemline, sleeves trimmed with fur or dagged scallops

10 Haincelin with pipe-organ pleats Men’s Costume

Chaperone - hooded shoulder cape with peak of hood elongated

Chaperone worn as hat Haincelin with chaperone

Roundelet - donut shaped circle worn with chaperone’s shoulder cape coming out of the center

Chaucer’s Parson on the wasteful Chaperones and expense of rich men’s clothes Houppelandes “On the one hand is the sin of extravagance in clothing, which is of harm to the people because Note aumoniere or it is so costly. There is not only the expense of alms bag on right embroidery with its elaborate heraldic design of hand figure zig-zags, bars, waves, stripes vertical or Shorter haincelin on horizontal band and such wastefulness of left figure material through vanity; but there is also the expense of the fur linings for their …n the Left figure also shows other hand is the sin of disgusting and mi-parti on hose and inordinate scantiness in clothing in such shoes garments as smocks and jackets which are so short that they do not cover a man’s shameful members which leads to wicked designs.”

11 Men’s Costume - Late Gothic Bagpipe sleeve

Haincelain - short Haincelin with vesion of the bagpipe sleeve houppelande for variation young men

Haincelin with bagpipe sleeve Men’s Costume

Ganache - long or 3/4 Note “bowl” cut hair loose gown with side style seams opened from shoulder to hip- bottom row in pink

Guardcorps Costume - Footwear

Overcoat cut like Pointed toe shoes - cyclas but poulaines or Sleeves pleated over crackowes the shoulder length of toes Sleeves slit in front for regulated by laws arms to pass through Wooden protection for shoes - pattens or

12 MI-PARTI OR PARTI- Footwear Poulaines or COLOURED crackowes - stuffed toes or The sides on the garment on either side of wired and stuffed center front are treated differently to get the long points Full length houppelandes Haincelin-named for Charles VI’s jester Haincelin Coq

White clothing - whether a Mi-Parti on male figure dream or theme event

Pick out the haincelins, houppelandes chaperones

Accessories for Men Bibliography

Gloves Tuchman, Barbara W. (1978). A Distant Mirror. Hat style is called New York: Ballantine Books bycocket, which Holkeboer, Katherine S. (1984). Patterns for has the high Theatrical : Garments, Trims and rounded , Accessories from Ancient Egypt to 1915 brim pulled flat at Thursfield, Sarah. (2001). the Medieval tailor’s front and back assistant: making common garments 1200-1500 cocked up in back and on sides

13