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1843 Dresses and Decorations of The Middle Ages Volume 1 PDF
1843 Dresses and Decorations of The Middle Ages Volume 1 PDF
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WILLIAM PICKERING
1843
&. a.
PRINTED BY
C.
WUITTIKCHAM, CHISWICK.
3fntrotiuctton.
ERHAPS*
civilization
The
different tribes
Empire, after
who
and
final dislocation,
appear in general
is
more
fashion.
Roman
have
costume of the conquered Romans, whilst they
probably retained with tenacity the arms and military customs
adopted the
its
to
civil
with very
The
little
alteration,
till
in its character.
and
Anglo-Saxon
syrce, the origin of the more modern word sark), which was generally of
linen
of breeches (in Anglo-Saxon bruc, pi. brec, the origin of the modern
name) which appear also to have been commonly of linen and of a tunic of
woollen or linen (called rooc, or roc), which descended to the knee, and was
It consisted, as far as
shirt (called in
bound round the body with a girdle. Over this was thrown a mantle (mentel), a
short cloak which was fastened at the breast or on the shoulders with brooches.
On the legs were worn hose (hos) which joined the breeches a little below the
knee, which were frequently bound round with fillets, called hose-bendas (hose;
bands
),
The form
(leg-clothings).
nearly uniform
is
they cover the foot to the ancle, are tied with a thong, having
an opening down the instep, and are generally painted black, except in the
;
case of princes
with gold.
in the earliest
Anglo-Saxon
poetry.
The form
of the articles of dress was the same for all classes of society, difby the richness of the material or by the greater profusion of
ornament.
The leg-bands were used chiefly when the wearer was engaged in
the more active pursuits of life, and particularly in travelling and in war. Rich
fering only
* The initial letter is from the remarkable manuscript in the British Museum (MS. Cotton. Nero
D. IV.), commonly known by the title of the Durham Book, written and illuminated in the latter years
of the seventh century in the isle of Lindisfarne.
INTRODUCTION,
people,
tunic,
when
in full dress, or
descending to the
The
feet.
Labourers and peasants appear frequently without hose, and sometimes without
In the Illustrations of Prudentius, and in the twelve pictures of The
shoes.
Seasons,
we
Anglo-Saxon costume
Among
most of the
in
dif-
month
of April, the persons seated at the festival wear the large ceremonial tunic.
In
the second subject from Prudentius the soldier's mantle appears to be orna-
mented by jagging
at the border,
somewhat
They also
armed
full
The
which became
so
II.
it is
made
for
war or travelling.
Anglo-Saxons
that the
among
persons of
Saxon
cyrtel
is
same
which
the Angloand next to
tunic,
;
this,
is
his
cap
Perhaps the
made
name
of celts.
name
much
of the
effect
the Anglo-Saxons.
The
The bow
Danish axe.
among
It
may
also
foot.
the Anglo-Saxons.
in precious metals
and
stones.
Their ornaments were in general richer in the materials than in the design. The
Anglo-Saxons appear to have been devoid of taste in the arts their drawings
The specimens
are, with a few exceptions, exceedingly rude and incorrect.
given in the present work are much superior to those which are found in the
;
INTRODUCTION,
greater number
of contemporary manuscripts.
The
the arts of
life
Saxons, they had on the contrary undergone a great change on the Continent.
the
Franks.
The costume
of the
differed
most widely
It
who (with the exception of the round shield) are dressed exactly like
Normans in the Bayeux Tapestry. To the neck of this tunic was attached
century,
the
a cowl, which covered the head, and over which was placed the conical helm,
The shield of the Normans
with the long nasal guard descending in front.
was long and kite-shaped, and often bore the figure of a dragon, lion, or some
other device.
The Norman lance had a flag attached to it, and was called a
gonfanon. The bow and the sling were also formidable instruments in the
lands of the Norman soldiers.
Before the end of the eleventh century, several
changes had been made in the form and construction of defensive armour, and
1
it
The cowl
of
the nasal
defence was thrown away at the beginning of the twelfth century, and a pointed
iron cap was adopted
helmet took
first
same century
the
with a surcoat,
it
The
it
became shortened
in
had been.
its
flat,
was charged
To offensive weapons, was added,
Under Richard
owner.
till
form
I.
the shield
INTRODUCTION.
Anglo-Normans differed not widely from
the same tunic and mantle, and nearly
the same shoes and leg-bands, but the mantle was attached with cords and
The Anglo-Normans wore long pantaloons with feet to them, which
tassels.
The head is sometimes covered with a flat round cap.
they called chausses.
Towards the end of the century, the tunic was made fuller and longer, so that
At
first
it
They wore
sometimes trailed on the ground. The shoes were also constructed difand were profusely ornamented, as was every part of the dress.
ferently,
Knights and people of fashion wore long pointed shoes, which were sometimes
In travelling a cape, which covered the head, was
added to the dress. The mantle, throughout the twelfth century, was very
turned up at the points.
richly decorated.
which
it
is
pointed Phrygian cap was the most usual covering of the head in
of society, except
society
when
sleeves,
all classes
classes of
shoes, or sometimes
short boots.
Under the Anglo-Normans the costume of the ladies was far more splendid
and varied than under the Anglo-Saxons. Instead of the flowing tunic of the
latter, the Norman dames wore a robe which was laced close, so as to show
The head-covering was arranged more gracefully, and
the form of the body.
was thrown partly over the shoulders and back it was called a couvre-chef.
The hair of the ladies appears to have been frequently platted in two or more
Our information relating to
divisions, which hung down behind or before.
:
among
is
defective.
fashion, examples of
lines
jewels, of fasting
and bleeding
themselves in order to look pale, of tightening their waists and breasts in order
to mend their shape, and of colouring their hair to give it a yellow tint
" Femina, fax Sathanoe,
gemmis
radiantibus, auro,
Quod
natura
Quicquid
reformat,
sic
INTRODUCTION.
Nam
J lie
'
Hec
quoque
Seil
qusque
videtur,
quare inelior
Arte supercilimu
In
sihi rustics
qii:tritur
arte color?
minimum mammas
membra movere
loco.
Ut quicquid nota
At
A. xxi,
8.
during
this period,
as that of Becket.
first it
We
for
their
skill in
drawing or
ment but after that event they progressed very rapidly towards perfection,
and the twelfth century may be considered as the most brilliant period of the
arts in England during the Middle Ages.
The drawings in manuscripts are
generally spirited, and the outline tolerably correct, but they are much less
;
is
Che
The
the
year 1200
first
is
Chirtccntf) Ccnturg.
art,
for
The armour
of the reign of
I.
weapon came
for
it
The helmet
hammer, used
a barrel,
crest.
In
INTRODUCTION,
the time of
Edward
introduced
have been
much earlier period, a cross appears in the situation occupied by the aillette.
Our plate of Knights Fighting is taken from a foreign MS., which may
account for some apparent anomalies, particularly the kite-shaped shields,
which were not used in England at this period.
Several new and rich stuffs were introduced early in the thirteenth century,
brought generally from the east.
The siclaton, which preserved its Arabic
name, is supposed to have been a sort of fine silky woollen; the baudequin, a
woven with gold, is said to have taken its name from Baldak, or
Bagdad. Siclaton, or Siglaton, was chiefly employed in a super-tunic, or
outward gown, which was known by the name of the stuff, and is frequently
mentioned in the earlier poets
it was worn indiscriminatelv by persons of
both sexes. Besides these, there were a great variety of costly furs, silks, &c.
and we now find mention of velvet. Among the stuffs mentioned in the reign
of Edward I. are sendel (which appears to have come from India or Persia),
sarcenet (which is said to have derived its name from the Saracens), tiretain,
or tartan, a woollen cloth of a scarlet colour (its name derived by some writers
rich silk
The
to
Gaza
at
in Palestine),
Henry
III. are
From
Edward
I,
would appear that it was then sometimes bound up in the shape of horns, a
fashion which became more famous at a later period these horns are alluded
to by the writer of the Roman de la Rose
and a Latin song of the reign of
it
Edward
I speaks of
"
quaedam
nobilis,
cum
capite cornuto,
auro circumvoluto."
The head was still covered with the head-cloth, or kerchief (couvre-chef )
and the neck was enveloped with a wimple. In the Anglo-Norman romance
of Tristan, composed probably in the reign of Henry III, the following description
"
is
La
Mantel,
bliault, tot
li
Bende
Un
The
a ligne sor or
traine.
si
Her
crin
Banded in
She had a
fin.
bliault
fitted close
her.
on
fine gold.
circle of
One
innovation
N T It O D U C T 1
which appears
X.
this century,
among
I.
to
and
Que pend
en
]iur la
femme
F.
"
bowe,
la
on account of
pesnuncie
And
sowe
fet la
de poun ou de pye."
attire
its
woman makes
The male
weigh)
hers
tail
of peacock or of pie."
it
richly ornamented.
The
(which had remained nearly the same since the time of the Conquest), was the
addition of a coarse outer garment resembling the
The
In
modern smock-frock.
many newly
The
and
latter part of
the century are less correct in outline, and deficient in spirit, but
and
so varied
fantastic,
that
it
is
its
characteristics in
limited phraseology.
&c
The
reign of
tume
it
.fourteenth Ccnturp.
nothing very decided in the character of its cosas a period of transition between the reign of
Edward
I.
III.
The male
dress continued
to
reign of
Edward
II.
in the
INTRODUCTION.
III. the
long garments of nobles and knights were changed for a shorter and
closer vest
sleeves of
large flowing mantle, buttoned over the shoulder, the edges frequently jagged,
or, as it was then termed, (lagged, and cut into the form of leaves, &c.
This
mantle was in general thrown over the back so as to leave the front of the
body uncovered. The cotte-hard/e was richly embroidered, and the whole
costume was composed of the most costly materials and of the gayest colours
the " paynted hoodes" and " gay cotes" were the subject of
To
many
a popular
addition of a feather.
The middle
began
to vie
first
enacted in the
reign of the third Edward, and were frequently repeated in succeeding times.
The
reign of Richard
II.
host of
contemporary writers inveigh bitterly against the vain foppery of the times.
The writer of the remarkable alliterative poem on the Deposition of Richard
II. describes these costly fashions as the immediate causes of most of the mis-
He
And
The
satirist
it
coin that
their hands,
Chepe hangeth,
seimtes (? girdles) and horns." *
goes on to say,
That hangeth on
And
cometh to
evil to thrive,
his hips
And
And
They
made
*****
only
down
to the heels,
May
in the
The language
of these extracts
is
modernised.
it
INTRODUCTION.
He
" blame
And
And
to,
new
gui
Some idea of the costume of this time will be given by our plate of Courtiers
of the time of Richard II., especially of the dogging of the edges of the
mantle, or rather of the gown, for that was the name by which this part of the
Many of the fashions of this reign appear to have
dress was now designated.
been brought from German}-, which is probably the meaning- of the term Dutch
coats given to
them
: " Their
is thus described by a contemporary writer
hoods are small, tied under the chin, and buttoned like those of the women,
Their lirripipes or tippets pass
but set with gold, silver, and precious stones.
round the neck, and hang down before to the feet, all jagged. They have
The
call a pedtock.
tie to
the paltocks,
they
call
common
to both sexes.
in the
i.
Another
p. 41.) gives
" Thus
flesh,
and
drinks,
and so
to
garlands
devil beareth
folk,
and
them up upon
the pillar,
he
unless they are as sorry therefor as ever they were glad, they shall leap
from the
down
the kerehef,
gown
ami not un frequently with the same long slips at the elbows. At a later
period a kind of spencer or waist-coat came into fashion, worn over the gown,
reaching to the hips, and bordered with rich furs. This waist-coat came into
more general use towards the latter part of the century. The hair was still
INTRODUCTION,
bound up in a caul of fret or net-work. Chaucer's account of the Wife
is a good picture of a well-dressed dame of the reign of Richard II.
"
Of
cloth
and of Gaunt.
of Ipres
Upon an amhler
Y-wimpled
wel,
brode as
is
hire hede.
and shoon
streite y-teyed,
ground
ful fine of
I dorste
As
Bath
Ful
of
esily
ful
she
sat,
a bokeler or a targe.
And
on hire
Many of the gay female fashions of the reign of Richard II. are said to have
been introduced by Queen Anne of Bohemia. A similar revolution was in the
same age effected in France by the love of splendour and gaiety which was
the characteristic of
Queen Anne
of Austria.
The
but
much more
An
a dress
"
With
gris,
hood under
his
bond
of the lond.
his chinne,
And
finest
Now
was a fayre
certainly he
prelat."
Hire nose
tretis
Hire mouth
*
Ful
fetise
ful smale,
and therto
*
gauded
is
and red
all
was ware.
soft
pair of bedes,
And
Of smale
ful
shene."
may
His own
portrait.
INTRODUCTION.
would require a volume to give a minute aceount of all the changes in the
military costume of our forefathers during the fourteenth century.
One of the
most remarkable innovations was the introduction of plate armour, winch began
to be used extensively in the reign of Edward II.
The construction of the
whole armour becomes more complicated. The helmet, in the reign of Edward
It
II.
more or
less
covered by a guard of chain, called a camau. Crested helmets were used chiefly
in tournaments.
Aillettes are
The
and
To
at others semi-cylindrical
sometimes flat
weapons were added the Turkish
As we advance in the reign of Edward
is
offensive
we
find the
many
fantastical alterations
being found
less
among much
that
is
very inferior.
The
writings of manuscripts
The
is
initial
great elegance.
After the accession of Henry IV., various attempts were made to reform the
extravagant fashions and expensive apparel of the preceding reign, and new
and severe sumptuary laws were repeatedly enacted, but with very partial
The dagged and slashed garments were especially forbidden, and all
garments " cut in the form of letters, rose-leaves, and posies of various kinds,
success.
Among
the
the reigns of
a pilche.
The
One
condemned by
INTRODUCTION.
"a robe
of scarlet
For which,
bet.''
as he said, if the
left,
Now
To sweep away
the
filth
little
need of brooms
Will
With
the reign of
tume.
The male
of extravagance,
teristics
it
up
Henry
be
lick,
VI.,
it
dry or wet."
we come
to a
new period
infinitely varied.
feet,
Among
by every species
sometimes boots reaching to the middle of the thigh, called galoches ; or very
long toed shoes, with high fronts and backs that turn over each way with a
;
vest of
The mantle
appears in every fantastic variety of form, as well as the hat or cap, which
now
Our
plates contain
numerous
is
illus-
articles of
attire,
continued under
remarkable than during the reign of Henry VII. Men of fashion wore very
broad-brimmed hats or caps, with a profusion of large feathers. The sleeve of
the jacket or purpoint is formed of two or more slips, attached to each other
by points or laces, leaving openings through which the embroidered shirt is
The upper part of the hose is sometimes slashed and puffed.
seen protruding.
The mantle is sometimes elegantly bordered, or dagged sometimes it is made
;
of a square form, reaching hardly to the thighs, but with long square sleeves
which nearly touch the ground, and holes through which the arms pass. But
the most remarkable characteristic of the latter part of the fifteenth century is
the ridiculous broadness of the toes of the shoes, which suddenly usurps the
An old French writer,
place of the long pointed toes of the preceding reigns.
Paradin, describing the manners of this century, says that at first " the men
wore shoes with a point before, half a foot long the richer and more eminent
personages wore them a foot, and princes two feet long, which was the most
ridiculous thing that ever was seen
and when men became tired of these
pointed shoes, which were called poulaines, the}' adopted others in their place
;
duck-bills,
having a
bill or
beak
INTRODUCTION.
Afterwards, assuming a contrary fashion, they wore shoes so very
in length.
in front as to
broad
Roman
de
la
Rose
Henry VII.
The female costume
also
good
idea of the
Our
foot."
fifteenth
In the earlier years of the century the dress of the ladies differs little
The hair is
from that of the reign of Richard II., except in the head-dress.
still gathered into a gold caul, hut is stretched out laterally like two barrelends, and is flattened at the top, and appears sometimes to lie crowned with a
century.
veil.
to
have
tight, in
century, gives us
some curious
traits of
The battlements
to
are, the
works of
silk,
the
beautiful figures, the gold, the silver, the pearles, sometimes precious stones,
"
The
French
itetes,
satirical
printed in
we are now
treating,
we may
poem, probably of the end of the thirteenth century, on the subject entitled
M.
hastilj
( 'or-
INTRODUCTION.
the
little pins.
The
shield
The second
is
flag
their
back
and
body
their
small.
And
if it is
it,
can
make
in order to
cover their breast and neck with their robes, they cover it with something
else, I answer that the covering is only vanity, for they cover it with a stuff so
loose that one
the
tail.
The
first
may
it.
The
third evil
is
in
that I see in
of that
which drags on the ground, and is often the cause of the loss of
the robe, and of the time which must be employed to clean these long tails,
and of
silk
cause to be
made
The
fourth evil
is
when they
feet
full
of
corns."
Under Richard
III. a
confined in a lower cap of gold net, projecting horizontally from the back of
and covered with a kerchief. In the reign of Henry VII., the gown
and less tightly laced the sleeves full, sometimes slashed, and
The hair is now suffered to escape from under the
otherwise ornamented.
cap or caul, and to hang loosely over the back. There appears, however,
towards the end of the century, and in the beginning of the next, to have been
no exclusive form of head-dress among the fair sex, for we meet with an infinite
the head,
appears
fuller,
alterations in defensive
helmet, some changes in the form of the helmet itself; the absence of the jupon
surcoat,
globular breast-plate.
frequently remarkable for the fantastic forms given to the different parts of
the
suit,
were added
to the offensive
forms.
The
* It
appear larger.
in this
it
make
it
INTRODUCTION.
and the
The
fine arts.
hitter
Artists of
first
rate talent
were employed in adorning manuscripts with deli, ate miniatures; and many
of those now preserved are gems of art.
The best school of miniature- was
The most elegant initial letters during this period are found
manuscripts executed in Italy. Cups, and similar articles, were also at this
time ornamented in exquisite taste by excellent artificers. Several remarkal.le
examples will he found in the present volume.
that of Flanders.
in
Che
With
of
the reign
costume and of
art,
%irtccntfj Ccnturp.
entirely
new
period of
preceded.
expiring-,
of
may
It
be best conceived by
consisted of a
full
brimmed
cap, with
embroidered
shirt,
To
this
and
it,
having frequently
fur.
head
hose) continued in use; but the doublet was lengthened considerably in the
skirts.
till
I.
changes
in the details,
breeches, stuffed with hair like wool-sacks, which remained in fashion during
James I.
female costume were the same
The
different
Henry VIII.
articles
of
in the reign of
as in the latter part of the preceding century, hut from this time
many changes
of form
The
quantity of jewels.
Elizabeth,
and the
Most readers
will
INTRODUCTION.
teristics
to all classes of
society.
Earlv in
this
it was
embossed and engraved in the most splendid and expensive manner. A fine
example of embossed armour is given in our plate of Francis the First.
Puffed and ribbed armour came into fashion in the reign of Henry VIII.
Pistols (or dags), pikes, and long musquets, were among the weapons in common use. In Elizabeth's reign, the armour was confined to the body and head,
use,
with the arms partly or wholly covered, but seldom descended below the hips.
Among offensive weapons, we now find a considerable variety of different
fire-arms.
The increased
The
first
till
at last
it
was reduced
more
to a simple breast-plate
and
and
of
the great masters in painting and carving, was a splendid period for even-
my work
In bringing
Gentlemen
for
To
and
for
many
Sir
To Mr. Willement,
Heraldic Illustrations.
And
to the
37,
and accurate
valuable suggestions.
following-
Southampton" Row,
June 1, 1843.
me
LIST OF ENGRAVINGS.
VOL.
1.
'2.
I.
Title.
3.
Illustrations of Prudentius.
4.
3.
ti.
Cut.
Cut.
Cut.
Side of a Cross.
MS.
at Paris,
MS.
in the British
janglo-.iponrum pcrfoD
7.
Spanish Warriors.
8.
Clovis
Cuts.
Museum.
(106G 1200).
I.
Cuts.
Clotilda.
Cut.
K).
Cuts.
1
1.
Chess-men of
Female Oisi
Museum, and
the
Museum
at Paris.
mi>.
Figures, Utensils,
&c, and
a Devil in female
attire.
P2.
Figures of Ecclesiastics,
L3.
Mitre of Becket.
14.
1").
Ornament on Chasuble.
Cuts.
Cuts.
Cuts.
in
I".
18.
19.
Candlesticks.
Cut.
at Paris.
16.
Cuts.
Duguc,
skim..
Shields, from a
Sceptre.
MS.
at Paris
The
at Chartres.
LIST OF ENGRAVINGS.
20.
William Longuespee.
21.
Knights fighting.
22.
23.
24.
Cut.
Cuts.
Cut.
Cimabue
the Painter,
and a
Man
on horseback.
End
in the
same
collection.
of Margaret of Provence.
of Pastoral Staff.
Chalice.
Cut.
Font of
Pisjoia.
cEl)c ifottrrcmtlj
25.
26.
27.
Ccnturp.
Royal Repast.
Cut.
28.
Gilbert de Clare.
29.
Incised Slab.
30.
Edward
Cuts.
III.
nal, at
32.
Richard
33.
34.
Head Dresses.
35.
Processional Cross.
36.
37.
Chair of Silver.
Cuts.
A Monk
Cuts.
Cut.
Cut.
Cut.
Cuts.
in the British
Museum.
Cup, from
the origi-
31.
at Oxford.
II.
Bishop preaching.
Cibory, from a
MS.
collection.
at Paris.
Figures in Armour.
a house at Barcelona.
38.
MSS.
Geoffry Chaucer.
in
Bed, from a
MS.
in the British
Museum.
Knocker, from
T\i
msm
---
- -
>3*C+EJLl-EU
EW
relics
of antiquity
are
connected
ations
The
our engraving.
represented in
inscription on the
face,
KELFRF.U MIX
IIEIIT
DKUYRCKN,
i.e.
the
isle
of Athelney
in
Somersetshire, leave no
ing that
the
it
was
lowest
tunes,
lost
when he took
for-
is
given in
that they
burn not
He
Hound
is
a purfied
This remarkable ornament has been generally accounted to be an enamelled
it must be admitted that the rarity of existing specimens of so early
work, but
a date
is
such,
made
art
employed
at
with confidence.
when
work was
the
is
in
is
England.
The
whom
Alfred
is
both are
it is flat,
it
has been concluded that the ornament was destined to be worn attached to a
collar
but as the design would in that case have been seen reversed, some
other intention must be sought, which, from our slender acquaintance with the
is
not obvious.
a very large
folio
and
richly
ornamented
It is
On
initial letters.
this
made under
istius
quot
shit in
some
the superintend-
corpore sancto
eum
Munera de
Nominis ad laudem
Quam
fifty
pounds.
Museum
full
description
in
9tl
ILLUSTRATIONS
Century.
()!
PRUDF.NTIUS.
ILLUSTRATIONS OF l'RLDFNTILS.
MILARLY
the
manuscripts of
illuminated
The
in several collections.
seum
possesses one
British
another
is
Mu-
found
and we believe
that there
is
one
each
in
Universities.
of the
ing plate represents three of the drawings which illustrate the copy in
Museum (MS.
British
the
Cotton. Cleopat.
They
may he observed
cestors
It
we can
judge by the illuminations which have
come down to us, the dress of our andid not vary much during the Anglo-Saxon period.
that, as far as
which
made them
is
prefer,
above the
rest of the
cenalle-
all
is
clothed in
human
attributes.
attacked by Anger,
whom
In the course
nam
Telorum nimboa,
of Anger,
et
ranks, accompanied
picture,
in the
which belongs
nam proximus
Ibb
et
The
refers to line
Virtues having
obtained the victory, Peace makes her appearance, and drives away Fear,
This
the
is
plate,
" His
Et
dictis curae
seelus,
el.
emotae
metus, et labor, et
vis,
Peace
is
Temperat
et
feet,
The approach
to the city is
Yentum
artum
(Prudent. Psi/chom.
665.)
Our initial (or rather our two initials, for it represents two letters, S and I,
common occurrence in the earlier manuscripts) is taken from a fragment
some other fragments in the British Museum.
was stolen at the begining of the last century,
It
the Royal Library at Paris, and was written for Charles le Chauve.
be lamented that the fragment, which is in the Harleian Library, has not
The
is
t.
in
is to
been restored
to the
it
manuscript.
8
A"
E F
R E
the
Christian
era,
Mount Athos
was celebrated
for the length
of
shadow
its
(ingenti
tellu-
rem proximus
umbra vestit.
which
Stat.),
was
said
to
reach as far as
the isle of Lemnos,
for
the
multitude of its
hares (quot
le-
pores in Atho.
Ovid.),
and
for
of Xerxes,
who
in his invasion
of
Greece
is
passage
for
mass of mountains.
Christian Emperors of Constantinople,
this vast
on which account
it
received the
it was called
These monasteries are singularly interesting to the antiquary,
because in them are preserved the manners and the arts which
One
of these,
Greek Church
It
is
by the bishops of
Epiphany,
for the
purpose
**
;t>
supposed
is
to
It is
generally
known
Our
and we
find
initial letter is
to a
comparatively
and other
articles
which generally accompany them (MS. Harl. No. 2821.). Its illuminations
are richly gilt on purple vellum, and consist chiefly of figures of the Evangelists,
Some blank leaves
with one or two similar subjects, and ornamental initials.
(as far as regards writing) are covered with elegant mosaics, which remind us
sometimes of the patterns found in Roman tesselated pavements. The canons
at the
commencement
manner
in
which
ornaments of churches
were painted and gilt. In some instances there are evident representations
These early manuscripts of the Latin Gospels, more or
of marble columns.
and in some instances, appear
less illuminated, are by no means uncommon
One of
to have been copied from one another, or from the same original.
these stands next to the volume just mentioned on the shelves of the Harleian
Library, where it is marked as MS. Harl. No. 2820. It is nearly of the same
date, and is equally curious, containing similar illuminations and mosaics,
;
volume
relief,
is
a relic of
its
style of execution.
On
the angel, eagle, and two animals, emblematical of the four evangelists," and
thus alluding to the contents of the book.
.We may
II.,
King Athelstan.
,'"'il
ancient
manuscript calendars
life
furnish many
among our an-
ill
drawn.
These drawings
are very valuable illustrations of the costume and manners of our Saxon
forefathers,
original
1.
of ploughing
and sowing.
Among
much used
in
was only indeed at a very late period that the custom of using
them to draw the plough became prevalent. In some parts, even at the present
The name given to this month by
day, oxen are employed for this purpose.
the unconverted Saxons was seftera geola, or giula, the second yule or month
which follows Christinas. It then began on what is now Christmas-day, but
which, according to Bede, was called moedre-nacht, or the night of mothers, probablv from some superstitious ceremonies which were performed on that night.
2. In February the husbandmen are employed in pruning trees, apparently
vines.
The Anglo-Saxon name of this month was Sol-monaB, which Bede
interprets the month of cakes, which he says were in this month offered
farming
it
to their gods.
is
a remnant of
this
ancient superstition.
3. The month of March was dedicated
by the pagan Saxons to their goddess Hneda,
and was on that account named Hned-monaS.
It was also called HLyd-monaB, or the stormy
it.
In
the
picture,
having now effaced the memory of the old pagan ceremonies. There can
be little doubt that the drinking party in our engraving was intended to
represent the festivities which according to Bede were held in this month in
honour of the goddess just mentioned (cui in illo festa celebrabant, Beda de
Temp., p. 68). The feasting was probably continued long after the worship
of the goddess
had been
forgotten.
This picture
On
the
is
a remarkable illustration
an attendant
left
is
filling
the drinking-horn.
feast,
of ceremony, such as
we
MS.
in the
of agriculture.
The
British
initial letter
Museum,
is
the
month
of July the
Anglo-Saxon husbandmen
mowing and making
hay.
It was for this reason called by the AngloSaxons msed-monaS, or mede-monaft, the meadow-month.
It was also known by the name of aeftera-liSa, the second
which are
written
verse,
in
and published in a
Fox, speaks of the harvest
Rev.
S.
Swa
Jises
Saestmum hladen
wlitig
harfest cymj>,
<).
on foldan.
Nevertheless, the
wealth
fair in
name
is
produced,
the land.
picture this
mon name
whilst
they were heathens paid in this month their tribute to the devil."
10.
month
The name
of October.
winter-fyUeS,
or
to
October was
this month.
October in ancient
have been devoted to the pleasures of the chase.
From the earliest period of Anglo-Saxon history to the seventeenth century,
the favourite diversion of our forefathers was hawking.
times, as at present,
11.
With
the
seems
month
to
of
November
in.
The
and the severity of the weather put a stop to the labours
and the annual crops having now been gathered in, and the
season of warlike or commercial expeditions past, people gave themselves up
It was also the month of sacrificing a portion of the
to feasting and rejoicing.
shortness of the clay
of agriculture
And
Jjees
Then
ofstum bring]?
embe feower
folce ge-nihtsum,
(plentiful to people)
BlotmonaS on tun
beornum to wiste,
Blood-month
good cheer to men,
November,
Novembris,
in
niSa bearnum
eaddignesse,
blessedness,
as no other
monaS
does more,
niaran,
In these
festivities,
open
in the
month
miltse Drihtnes.
made
speedily brings in
niht,
air,
shown
as
still
Acci-
dental circumstances alone have identified these fires with the rejoicing in
remembrance
can be
little
gun-powder
plot)
for there
antiquity.
The increasing rigour of the season is indicated in the picture by the men
who hasten to the bonfire to warm their hands.
12. December was generally termed midwynter-monaS, or the month in
which was celebrated the pagan festival of mid-winter or Yule (iula, geola),
which held the place of the modern Christmas. In ancient times, yule or
Christmas-day was the point of division of the year, and the month of December was frequently called serra geola, or the first yule month, or before yule,
as January was named the second or after yule month, on account of their
respective position with regard to
the ceremony.
still
The name
yule
is
Our
land.
illumination represents
month
in thrashing
and winnowing
his corn.
Our
initial is
chair,
MS.
taken from a
The
and candlestick, on
table,
this page,
SPANISH WARRIORS.
SPANISH WARRIORS.
FROM A
M.S.
VERY
step
in the history of
of costume.
through that quick vicissitude of change which characterizes modern times, till towards the thirteenth
century.
We
can trace
little
and not much between that of the AngloAs people became more
distinctly separated from each other by national
history,
jealousies,
in
one
country were more slowly communicated to another, and thus the similarity of
so entirely estranged from each other during a long period, that the resem-
The
figures
lost.
eleventh
the
markable resemblance
Anglo
Norman
on
soldiers
celebrated
eaux
the
to
-
the
Bay-
Tapestry.
This resemblance
is
observable
in
the costume. It
is
period were
in part
from
cens
borrowed
the
and
supposition
Sarathis
is
latter part
One
of the tenth and eleventh centuries.
armour of our Spanish warriors is the round shield, with the
We give in the margin a specimen of one of
elegant ornaments on the disc.
these shields on a larger scale, from another part of the manuscript from which
German and Frankish barons
peculiarity of the
11,695) is one of the most valuable of the treasures of that kind recently
It is a large folio on vellum, in a beautiful
acquired by the British Museum.
Apocalvpse, that
fruitful
interpretation of the
artists.
It
was
during the abbacy of Nunnus (Nunez), and completed in the time of abbot
John, in the year 1109. This information we obtain from the manuscript
itself;
and
as
it
we may
it
as representing
The
drawings in
style of the
this
manuscript
is itself
The
half Saracenic.
elegance of the ornaments contrasts strongly with the unskilful rudeness in the
designs of men and animals, a circumstance which reminds us of the repugnance
among
valuable
monument
men and
It is in
living beings.
many
respects a
between the Moors and the Christians in Spain. Throughout the volume the
the walls covered with
architecture of the buildings is altogether Moorish
arabesque ornaments, and the remarkable horse-shoe arches, appear on almost
every page, and show the accuracy of the term Saracenic adopted by archi-
The
tectural writings.
example
is
many
of our
article,
century.
One
is
They appear
stilts.
for sup-
existed in Christian
Europe
it
during the twelfth and thirteenth centuries, was of Arabian origin, as are
without doubt many of the tales and stories which they were in the habit of
rehearsing
and these
their appearance, are a valuable addition to our materials for the history of
the
plate is taken from folio 223 of the manuscript just described
and sword belong to a large ill-drawn figure on folio 19-1 the minstrels
and the initial letter from folio 25.
are from folio 86
Our
shield
CLOVIS
I.
OR
supposed
we are indebted to
who placed them in his museum of national antiThey formerly stood, with four others,
quities.
at the portal of the ancient
at
Corbeil,
south-east of Paris.
rished with
church of Notre
Dame
But
their
companions peand
its
to
be placed
at the
entrance to
the vaults of the magnificent church of St. Denis, the resting place
of the long line of sovereigns of whose
power Clovis
dation.
It
is,
which seems
it.
names
statues
to
The initial at
MS. Bible
large
the
commencement
now
is
taken from a
in the possession
of Messrs.
--""'
are
Dame
at Chartres,
and are
QUEEN CLOTILDA.
AVING
about
queen
ish
is
The costume
it.
simple
is
common
in the regal
The
figures at the
chessmen
represent
One
of
the
twelfth
article
century,
illustrate
We
meet with various early allusions to the game of chess, which seems
show that it was a favourite amusement of the Northmen, and that
Our king forms
it was introduced by them into France and England.
one of the large collection of chessmen discovered in 1831, in digging in
a sandbank, in the parish of Uig in the Isle of Lewis (North of Scotland).
to
sets.
It
five
(or, as Sir
queens,
Frederick
their hair
crowns on their
heads and their dress consists of an upper and an under robe, the former of
which (the mantle, claniys) is thrown in folds over the left arm, and left open
on the right side as high as the shoulder, where it is fastened by a clasp.
trefoil
Each
of the figures holds a sword with both hands across his knee.
They
on chairs of a square form, with high backs, which are very elegantly
carved.
The queens are similarly seated in chairs, and crowned one of
sit
them holds
among
in her
the northmen,
Of
husband's court.
The
posture.
on
it
being her
the bishops,
office to
some arc
seated,
and others
in a standing-
with the singular kite-shape shield which was used in the twelfth
foot,
century
one of them
is
Sir Frederick
Madden,
many
figures,
one of the volumes of the Arcluvologia, believes that they were made in
Iceland.
The
The
originals are
other figure
is
now
in the British
Museum.
were,
we
set,
They
Tresor
at the
had belonged
HE
figures on
the present
plate are
The
New
Testament
the
Virgin
These
Mary on
first
half of the
characteristic
home for their families many of the rich dresses
The long plaited hair resembles, in some degree,
Queen Clotilda from the church of Corbeil, in France,
The
The
script.
lower compartment,
riage at
is
Cana.
is
Christ
is
he holds in his hand in a large drinking horn, the only vessel for liquids which
appears on the table. In the lower compartment, represented in our cut, the
servants appear taking the water vessels from the cupboard, drawing the
water from the well, and carrying
guests are assembled at dinner.
in
it
up
Anglo-Norman
the words,
The
form
ascending or descending.
purpose of a
Our
it
appears to be
wood
in
which
made
of a solid
rail.
initial letter is
ECCLESIASTICS OF THE
TWELFTH CENTURY.
illu-
were
illuminators
al-
we
with
regard to
characteristics.
contains
plate
very
good
prelates
Our
some
figures
of
of the earlier
They
early
probably written about the middle of the twelfth century, possibly a little
earlier.
The bishops, who are in their full dress, are remarkable as representing specimens of the low formed mitre which was characteristic of the earlier
pontifical costume.
as
ation
of the
last
judgment,
in
four contains in the upper part a numerous group of heads of the different
mankind, from kings and queens to the lowest orders of the people,
and beneath a separate group of whole-length figures of bishops and monks.
classes of
Above
God
is
inscribed in
at the
shall
judgment,"
Jcist scvunt a la Dtstre 33cu al juise.
The
On
hand
from
this page.
Lord God
at the
is
judgment,"
ilcist
sttunt a la scnestrc
Batn=U=Dtu
all
left
have an
al juisc.
and higher
serious countenance,
and bearing
all
orders,
The
the insignia of
office,
as being entirely
as objects of pride
office,
and
closely shaven.
fat,
history of the
manners of the
clergy of the age to which these drawings belong, we can hardly avoid
believing that the illuminator intended to depict some of the sleek worldly
ecclesiastics of his time.
The handsome
pastoral
staff,
part
is
Our
initial letter,
illustration of early
armour,
is
taken from a foreign manuscript in the possession of the Hon. Robert Curzon,
The Manuscript appears to have been written also about the twelfth
Junior.
century, or perhaps a
little earlier.
FIGURES OF ECCLESIASTICS.
FltOM
HARTRES
is
back
and
it
has been pretended by some of the old antiquaries that its splendid cathedral stands on
the site of an ancient Druidical temple.
The
many
is
remarkable
has sustained.
M.
city,
for the
misfortunes
it
title,
Des
858, the
Norman
invaders, having
It
the ground.
entirely burnt to
this
appears,
In
of the place,
In
962 or
1)63, this
it
required a large
The
it is
The
adorned appears
to
vast
mass of statuary
five centuries
had passed since the disaster of 1020, in the July of 1506, the tower of the
cathedral was struck by lightning, and the fire committed great ravages, but
the most important and interesting parts of the building were happily saved.
In 153<), the tower was again fired by lightning.
Another fire was caused in
1(374 by the imprudence of one of the watchmen.
The last, and one of the
most deplorable of the modern disasters of the Cathedral of Chartrcs, was the
great fire which was caused by accident, on the 4th of June, 183(5, when some
workmen were employed in the tower. This calamity destroyed many important portions of the cathedral, but it spared some of the more ancient and
ornamental parts.
Among
sculptures of the portals, which, beside their excellence as works of art, are
and
The
first
archbishop, and
singular on
is
account of the form given to the mitre, which bears a close resemblance to the
tiara seen on the head of the pope in an illumination given by Gerbertus (De
Cantu
et
Musica Sacra,
torn.
last plate).
i.
The archbishop
He
is
destroyed.
On
its
The second
is
is
giving his
crosier, the
dressed as a deacon.
arm he wears
but continuous.
As
it is
book
his left
of the Gospels
on his breast
stole,
and
alb.
URING
the twelfth
century,
the bish-
ops and
higher ecclesiastics
combined
in
them-
selves the
double
character
of temporal barons
church.
What was
power which
claimed a feudal superiority over all the kings and princes of
and its bishops had their castles garrisoned by their
the earth
armed dependants, and they led their armies into the field in
the various contentions between the different orders of the state.
The civil power was frequently at war with that of the church
it was, in fact, utterly impossible that the two could live at
political
The
two centuries;
more than
acknowledge the
lasted
to
interruption
till
the
&.-.&
the
Edward
During
this
power, was
Thomas
of Canterbury, of
rial
is
whom
the
its
the
claims to
Beckct, Archbishop
a remarkable
memo-
little
long period,
forced
this
Henry
English throne.
war and
difficulty,
injustice
on every
him
side,
he placed a
to
ecclesiastics
place that the ceremonial vestments of this celebrated martyr are preserved.
ONG
commemorated
in
a particular
he continued to be
manner
in
all
the
he was known
article
had no claim
may
to the
at
Sens as the
robes of
St.
Tho-
mas
of
Canterbury.
With
re-
gard
to
many
of
them,
however,
it is
pro-
bable
that the
tradition
is
The
is
correct.
what was
fine
linen,
in
is
usually fastened to
it
in such a
manner
The Apparel
By
is
now
Thomas
Becket,
it
would
appear that it was tied round the neck after all the other vestments had been
put on though it is supposed by a person deeply acquainted with the subject
In the margin of the preceding
that the strings are comparatively modern.
page the two examples of the Apparel of the Amice preserved at Sens are
;
;
a portion of each is given on our plate on a scale one
than the dimensions of the originals.
Our initial letter is taken from a manuscript at Rouen, said to be of the
It appears to represent St. Michael vanquishing the dragon.
twelfth century.
The mode in which the long hair of the archangel is plaited, or bound up, is
represented complete
fifth less
remarkable.
The
shield also
is
The other wood-cut represents a very elegant cover of a book, taken from
one of the sculptures of the Cathedral of Chartres. These early designs of
book-covers are interesting, for few of the covers themselves have been preThey were frequently adorned with rich metals and valuable
which excited the rapacity of plunderers and iconoclasts.
served.
stones,
Date 1165.
ORNAMENT ON CHASUBLE.
SENS.
HE
subject
ing
is
ano-
ther of the
bury
is
it
represented
as
which
it
leave no doubt of
The
now remains
of this chasuble.
The
is
all
that
is left,
still
few of
remain, as shown
An
of the higher
sumptuous
being of glass.
It is said to
Romish
Saints.
Our
initial letter is
Museum (No.
mouth
and
91))
is
interesting as
The instrument
in the
of the larger figure (which holds the two harps) appears to be a kind
of flute.
The
is
very remarkable.
Unfortunately,
the books
and the
difficulty in
doing so
is
names given
in
to
imaginary repre-
Vx/A
As we go
//
.:
AN ARCHBISHOP.
FTER
retaining a certain
we
Over
extremity.
knees.
raised
the
left
arm,
hung from
is
The
stole, stola,
which
the shoulders, and descended nearly to the feet over the albe
prelate.
The
subject below
twelfth century,
of Winchester,
We
neither stole nor maniple are visible, the vittse do not appear behind attached
to the mitre
The
he carries
in his
hand the
pastoral
staff.
is a very elegant
pix of the twelfth century, now in the possession of S. P. Cox, Esq. ; it is
made of copper, gilt, and the ornaments relieved in with blue and green
Limoge enamel.
The
initial letter is
twelfth century.
taken from a
MS.
in the British
Museum,
also of the
ceremony
of
occasions,
for
particu-
changes
those in
plate
common
than
Our
use.
represents a king
of
we may probably
but
take
it
as a
good example
Both the
turies.
Reg. 2 A.
figures
XX.
The
monu-
mental
effigies
He
of this period.
clad
is
in the long
dalmatica
with fleurs-de-lis.
The
dress
The one
He
he was a crusader.
over
it
is
makes
all
va-
the character-
to
show
that
a surcoat, probably of
I.
before us exhibits
its
silk,
ornamented with
appearance about
This
crosses.
this time,
and
is
latter
supposed
to
have been brought from the east, its primary use having been to hinder the
armour from being too much heated by the sun's rays in a hot climate. His
legs are clad in the chausses, and the spur, a simple spike, is attached by a
Beneath the coat of mail, we see, over
single strap of leather, and a buckle.
the chausses, the chausson, or breeches, an article of the knight's dress which
is less
came
Even
The
Richard
I.
The
form which
ventail, or aventaille, a
moveable grating which protected the face in the hour of combat, is here
At the period to which this figure belongs, the ventail
was fixed by a hinge on one side and a pin on the other, and opened exactly
in the same manner as a wicket
and as the hinge was moveable, it might be
represented as closed.
taken
off at pleasure.
The
is
preceding page
is
of that
conquest
narrow
till
kite-like
first
shield
at Paris
is
and
Norman
The form of the
Henry
II. of
England.
the gothic
window
above.
The
Initial
Letter
is
taken from
to the
same period
as the
(in the
British
CORONATION SPOON.
HE
narchs
century, and which
is
is
the
the
twelfth
Tower
Its style of
orna-
prove that
to
since
preserved
that period.
it
It
in
broadest
the
The
handle.
part of the
bowl, which
is
an elegant arabesque
pattern engraved on its surthin, has
face.
or
wilfully,
visable to represent
original state.
its
It is
oil for
it
in
anoint-
The
serving as a
The
also of
be of the
latter
oil, is
lid.
figure in
supposed
but
its
burg.
It is
made
to the imperial
of bronze, gilt
gilt.
The knob
the handle
silver, the
is
surround-
and orna-
tury, in
Germany
spiritual order.
it
is
MZS
It
England had
new
Charles
It
II.
set
was made
in the time of
its
antiquity
and
it is
not at
all
Our
initial letter is
first
Roman
The
91)-
According
figures repre-
to this legend,
it
was
man
The
To
At
stem of the
letter
men
probably
of Luxurius
are throwing the two Christians into the sea, both enclosed in one sack.
Dale the
:..
T.ESTICES.
ARIOUS
allusions
in
old
writers
of candles, such as
mm
we
of considerable antiquity.
They
An-
are exhibited in
glo-Saxon illuminations,
least as tar
century.
period
word
at
the
At an earlier
Anglo-Saxon
ctuidcl
had probably a
rodora
del
candle
(the
ven), wyn-candel
liana
is
restricted
termed
of the
sense
word we have
saint
In the
the
candel-bora,
Ju-
more
candle-
names
These words, particularly the last, would lead us to
conclude that the earlier candlestick- were made of wood, probably little
more than a stick tapering at the upper end to a point, and this would
candlestick.
Roman
candelabra,
into use.
The
say
at
by fixing
a
oldest examples
known are
of the time of
Edward
;i
lamp.
first
III.
came
But
is
Louvre
in the
The two
with figures.
same
date,
The taller
They are also of copper, enamelled.
semblance to them.
candlestick was the one in general use ; the shorter one is the small candlestick used for the altar.
verse,
British
tions
Museum (MS.
under
head
this
"
"
century, preserved
fifteenth
Sloane,
No. 1986,
fol.
Now
Of tho
speke
tortes
undertake
plate of irne
upon bose.
Bot of wax,
Of
men kenne
To Candelmesse,
Our
Letter
Initial
twelfth century,
of St.
Mary
of the
first
MS.
is
as
yow
chapter of Isaiah.
same chapter,
v. 10,
say."
11
The
Worms
inscription
dicit
it
first letter
rum vestrarum,
on the label
victima-
"
UCH
of romantic interest
is
attached to the
heroine of romance.
who found
London.
money and
life,
he threw
but
the earl:
he,
however, attributed
Blessed Virgin, by
-=g
it
brought a taper to her altar, to be lighted every day at mass, when the
canonical hours used to be sung, and to the intent that for this terrestrial light
he might enjoy that which is eternal."
William Longuespee died in 1226, not long after his return from the Gascon
During his wanderings, the Countess Ela, like another Penelope, was
wars.
persecuted by the advances of a suitor no less a person than Hugh de Burgh,
who was
After
had founded,
her daughters also was a nun.
the Earl's death, Ela retired to the abbey of Lacock, which she
The
and
is
it
may
still
of painting
in 1240,
among
and died
the moderns.
in 1310.
He
He
is
Cimabue
MS.
of the
Cimabue
the painter,
by the senate
to paint
is
The
cut below
Bibl.
du Roi
is
from an
at Paris.
KNIGHTS FIGHTING.
LIETXKSS
judicious
and
efficient
laws,
people
were
own
strength, than
At
that
most beautiful
in our plate.
script of the
Reg.
ears
"20
D,
for
it
middle or
I.), is
century (MS.
the heroes of
men in
MS. Reg. 16 G, VI. a chrofourteenth century.
One of them
other side of the picture, similar expedients are adopted to raise the
the ships.
nicle of
The
France written
at the
end of the
represents a machine used for throwing great stones at the walls, or into the
castle
while in the other we see the assailants, under cover of a kind of shed
which has been moved by wheels up to the walls, and which the besieged are
attempting to destroy with stones and Greek fire, undermining the tower.
This instrument was called, perhaps under different forms, by the different
names of, a sow, a vine, or a cat. The latter name was also given sometimes
;
to a
machine
The
for
throwing stones.
fort,
the
ill
"
E
E
fai
mala vezina,
He
And
He
his other
machines
for
ill
neighbour,
The machine
stones.
According
to
the siege of Rochester, garrisoned by the partisans of the king (Hen. III.),
he used against the castle a machine which threw stones of the weight of
upwards of a hundred pounds.
The initial letter at the beginning of the present article is taken from a
MS.
in the
Royal Library
of
Cambridge, there
no
is
inte-
illuminated volume
subject of our plate.
contains a
It
life
of
King Edward the Confessor, written in Anglo-Norman verse, probably a translation from the Latin liftby Ailred of Rievaux, and has a miniature at the top of each
page, representing some scene in the history. The press mark
of this volume (which appears to have been written about the
middle of the thirteenth century)
is
Ee,
3,
59.
The
miniature
which we have here selected represents the ceremony of depositing the body
of the Saint King in his tomb at Westminster.
It is a good picture of the
clerical costume of the period, and an interesting illustration of the ceremonies
Edward
fifth
of
kingdom
believing that
it
in our engraving.
The two
wood-cuts,
an altar
and the end of a shrine,
representing
miniatures
in
the
fur-
Our
initial
from
letter
is
taken
manuscript of
the thirteenth
preserved
in
century
the
Li-
The
is
a portrait of Margaret of
St.
Margaret was the eldest daughter of Raymond Berenger IV. count of Provence, whose court was in the earlier half of the thirteenth century the resort
of all that was beautiful and accomplished in the south of Europe, the head
quarters of the most skilful troubadours.
Margaret was married to King
Louis on the 2?th of May, 1234, and carried with her to the court of her
husband the tastes and fashions which had flourished in that of her father.
In 1250, she accompanied her husband to Egypt, and partook in all his
anxieties and dangers during that disastrous expedition.
When the army of
the Crusaders was destroyed, and the king made prisoner by the infidels at
the fatal battle of Mansourah, Margaret was left in command of the town of
Damietta, where, amid the alarm and terror which that event occasioned, and
while the ramparts of the town itself were attacked by the Saracens, she gave
During the life of St. Louis, the piety and charity of
birth to a child.
Margaret shone no less than his own and after his death, she retired from
public life to end her days in the tranquillity of a monastery.
She died in
1295, in the convent of the nuns of St. Clair, which she had herself founded
;
in the
The
faubourg Saint-Marcel.
old historians relate several anecdotes of Margaret's courage
and con-
trials to
he would give his word to perform a request she had to make and, as soon
as he had promised to do this, she said, " Sir, what I have to request, on the
faith which you have pledged, is, that if Damietta should be taken by the
;
be obeyed
my
head, that I
so."
i'V,
ij
f Jjtw
VERY
LYS.
time we examine a
we
are struck by
ornamental
used
articles
among
with those
iii
the laity),
especially
use
du-
The
centuries.
and
ceremo-
croziers, the
lent
specimens
The
ment.
excel-
of
orna-
beautiful Pas-
is
now-
is
It
belonged
formerly to the abbey de Lys, near Melun, in France (called in Latin Liliinii
Beatce .Warier, or Beata Maria Regalis), founded in 1230, by queen Blanche
of Castile,
St.
Louis
and
our plate,
by an abbess
The
is
is
staff is blue,
and
queen Blanche,
double the size in which it
at the funeral of
original
it.
The head
plate.
who founded
is
is
1253.
in
is
represented on our
the abbey
and
France.
It is
of
its
covered in
its
whole length by
The
silver
>/\\t,
The
as represented
by the cut
in the
staff
spike of
The
with six turrets, which surmounts the royal crown formed by nine
fleurs-de-lys alternately with nine parsley leaves.
The
other pastoral
staff, to
also a
head of rock
crystal,
resembling that of the abbess of Lys in design, but the crockets are of
staff is of the same material, seme with thistles.
The archi-
and the
silver,
thickness
its
is
pastoral staff
buried.
The
is
staff of
achism, p. 145.) observes that there were established rules indicating on what
The
occasions and at what moment it was to be carried or laid aside.
going to the
altar, or in
"
He
the convent in processions, but by no means carry his staff through the midst
of the choir
choir,
Our
the
his chaplain
and carry
left
hand
shall take
it
Museum (No.
Hours
on the
initial letter is
British
psalter,
it
157), containing a
of the Virgin,
and other
similar works,
It furnishes
and said
to
be of the
In the manuscript
it
forms the
Sumite psalmum
dum cum
et date
Deo Jacob
cythara
instru-
A CHALICE.
MONG
mens
preserved
is
It
of silver
is
at
u'ilt,
presenting figures
The
the
date
of
name
its
of the
saints,
&c.
fabrication,
and
are
pre-
artist,
inscription
first
rhe second
is
on a blue ground.
jrbj&3<!B
D(E
se-fuis
.f
e3
is
name
of the
is
The
of Guccio.
is
was.
his
It
so that the
round
is,
as follows
c.ncoas
letters,
it
art
are not
artist of
is
We
Sienna
second name
it
originally
name being
inscribed
upon
Chalice,
this
that
it
was
The
font,
Our
art.
initial letter
It is
still
remains
at the
as the
at Pisjoia.
taken from
MS.
present
of an old
IW
\
chapter
is
the diseases of
women
to
the
subsequent to child-birth.
The
doctor
is
monkish orders,
as
monk
monastery.
is
little
indulging in solitary
against the
which is given in
and large potations
initial
5a.te
th.e
'beginning, of
OSTUMEj
in
the thirteenth
and fourteenth
centuries,
was
simultaneous in them
we
all.
AVhcn, however,
we
warm
find the
musical instruments.
amusements of the
The
Triumph of
is the work
is
of
mentioned.
members
of a
generations.
This
similar organ
is
girl,
St.
Cecilia bv
Raphael.
In our
initial letter,
the west.
It is
century (MS.
Sloane,
Gamier de Met/,
classes or
we come again
to the
castes of society
the
in
England.
husbandman
nicety.
The
The costume
or labourer.
which our
forth the doctrine of our forefathers on
general science)
is
that to
of each class
is
Image du Monde (a
forms the
initial
this subject.
'
Ne
Fors que
.iij.
manieres de gens,
As
Chou que
Pour
vivre
lor estouvoir,
.ij.
il
au mont honestement
li
Dont
il
Ensi peussent
.iij.
maniere
it
right
The
And
By which he
Of men
poetical treatise
illustration,
and
on
sets
r^
A ROYAL REPAST.
FROM "QUEEN MARY'S PSALTER."
NDER
the
title
just
mentioned
is
known
is
pictures
1,
a series of pictorial
French
was then written and spoken in England 2, a calendar, with
illuminations at the heads of the pages
3, the Psalter and Litany, in Latin,
which occupy the greater part of the book, and each page of which has a
drawing in the margin at the foot. These last mentioned drawings form two
distinct series, the first consisting chiefly of burlesque designs and illustrations
of natural history, fables, sports and pastimes, &c, and the second series
formed of pictures illustrative of the lives of the saints.
The history of this manuscript is somewhat curious. In the unsettled times
of the Reformation, it was on the point of being carried over to the continent,
but it was seized at the Custom House, and presented to Queen Mary, who
had then (1553) newly come to the throne. A contemporary inscription at
the end of the volume states this circumstance
language as
it
et
primo.
uncommon
is
life
in ancient manuscripts,
in
former days.
The
and form
cm-
subject on our
The
figures in the
drawings at the
feet of the
amuse the
romances of
to
The harper
or of his family.
feast
guests.
this
When
manner.
sang laughable
description.
are
still
preserved.
The
gestures,
fourteenth centuries
and applauded
stories
of a
very
equivocal character.
The
minstrels
also
called to
may
but we
the
religious
common in
The first of
also
our engraving
of dulcimer
old manuscripts.
the four figures in
is
playing on a kind
and the
The
page
initial letter
is
on the preceding
MS.
of
MS.
tury,
The
fourteenth
century,
guay
at Paris.
CATACOMBS AT
ST. DENIS.
the series of
that
monumental
effigies
at
Musee des
the
Pet its
plate
is
specimens.
It
had been
originally
was destroyed
been removed
and
it
the
to
of princes
of the
has
now
Catacombs
memorials
blood
royal,
brought together in that place from the different desecrated monasteries, where,
tomb, as
Reign of Terror,
it
their remains
this,
the
commencement
of the fourteenth
century, was the second son of Louis, son of Philippe lc Hardi, upon
whom,
Denis, was described and represented by the late Mr. Kerrich, in Archaeologia, vol. xviii. plate xvi.
to that
On
and
in
1333, at variance with the Earl of Flanders, Charles took the field to aid the
and
in that
The
effigy
The costume
is
somewhat
of a
is
at
is
componne d'argent
et
Seme de
fleurs
de lys
effigies will at
demise
and a comparison
The
against the weight of the hauberk, or prevented the rings of which that de-
The gamboison
appears also just below the skirt of the hauberk, over which is worn a loose
In several effigies of earlier date
sleeveless surcoat, reaching to the knees.
the adoption of plate armour is indicated by the occurrence of greaves ; but
One peculiarity
here the legs are protected only by chausses de mailles.
must not be overlooked, as throwing some light on the nature of the defences,
was the intention to represent by parallel rows of rings placed edgehas been conjectured that these were formed by sewing upon cloth
but it may be
or leather rows of disunited rings, without interlacement
noticed here that the inner surface of the hauberk, where it is perceptible at
the neck and hands, presents exactly the same appearance as the exterior.
It is therefore obvious that whether a conventional mode of representing
interlaced mail were or were not here intended, some other mode of explaining
the formation of such defences must be sought, for had there existed a groundwork of cloth or leather, it must have been visible on the inner surface. This
peculiarity is uniformly the same in French and other continental effigies of
which
wise.
it
It
end
in
the spurs are formed with the short prick issuing from a plain round ball.
is
and
It
this,
or several contemporary
French
effigies,
con-
and personal
reality,
UR
Engraving
is
windows
abbey church of Tewkesbury, re-
the
of
presenting different
family of Clare,
monastic establishment.
All the Earls of Gloucester of this family
The
members
earlier
by
wars against the
Welsh.
Gilbert de Clare, the first Earl of
Gloucester of the name, was one of the principal barons who took up arms
against King John, and was one of the twenty-five appointed to enforce the
their activity in the border
to the cause,
till
baronial banner.
Magna
He was
at first
battle of
influence of
to
His desertion of the cause, and his activity among the royalists, mainly
liroiight on the disaster at Evesham, in which battle he commanded a
The
occasion
him out
Anglo-Norman, on
Sire
'
Hue
le fer, ly
Despencer,
tresnoble justice,
(
he
es) a tort
a trop
lyvre a mort,
male guise.
cuens de Leycestre,
le
cuens de Gloucestre."
Wrights
Political Songs,
p.
126.
on
tbi>
;;
He
afterwards returned during a short time to the cause of his old confederates,
but he remained unshaken in his fidelity to the crown through the reign of
Edward I.
The son
and
is
manded
in 1313,
and was
slain
on the
named
He
this
army
field.
is
danger
in
him
represents
it
enemy
as
is
printed
said to have
com-
Bannockburn,
who ran
engaged almost
Acteus
prosiliit
Comes heu
invictus,
fit
derelictus.
The few
knights
by
fell
his side
Ipsum a
Et
prostrati vario
modo
ceciderunt
Cum
secum corruerunt
Hostibus resistere
This Gilbert, as
it
whom
non valuerunt."
has been just observed, was the last of the male line of the
tot
sisters,
them was derived the claims of the house of York to the throne of England.
The windows were probably executed not many years after the death of
Gilbert de Clare on the field of Bannockburn, and our engraving may be
considered as a good and authentic example of the armour of that period, or
of the beginning of the reign of
The
Initial
in the British
Edward
III.
is
the fourteenth century, and further described in our account of the Triumphal
is
curious as a
sag
hbmbs.
ommmLAQ
wt>
*$
mjioa
o~ifl*fB|
INCISED SLAB.
PALAIS DES BEAUX ARTS, PARIS.
^/ANY
rials of
the field
memo-
less costly
explained.
artist
LETAROVS,
had even
a curious evidence
In England, incised
attained.
little
Beaux Arts
at Paris.
MMM
He
is
represented
vested in the Alb, which has a rich parure of fieurs de lys and roses, and the
Chasuble, probably of cloth of Baudekyn " embroudez avec mermyns de mier"
or sirenes, a very prevailing ornament in the fourteenth century, cocks, and
lions.
among which
occurs
which
lining of
mouth and
tail
intro-
allusive to the
Over the
Infidelity.
feet rest
be distinguished
is to
principal figure,
is
patron
saint,
J*
quondam canonicus
On
mea
diocesis Pictauensis
M.CCC. quinquasimo
vivit et in
videbo
Deum
Marie Noviomensis
Credo
salvatorem
sum
meum.
relics
On
terly, 1st
and
4th, a
human head
The wood-cut
is
at the
it,
as
effigy of
EDWARD
MONG
III.
the ancient palace of Westminster, were those of the paintings on the walls of St. Stephen's chapel
which from
this characteristic
^~p
The
arched canopies like the one in this plate, containing the figures of
St. George, Edward III., and his five sons.
St. George is represented as leading the king, to present him to the virgin.
On
the
other side of the altar a similar series represented the female part of
the royal family.
A set of engravings in
diminished in
In
size,
we
this picture
have, in
all probability,
a tolerably accurate
portrait of the king, taken soon after the year 1355, the date of the
about
eighteen
armour.
gilt
gilt.
gilt.
arms
lions
The
inches
His crown
is
figures, if erect,
Edward
high.
embossed and
The
The
rim
its
is
England
and France
the
being embossed and gilt on a red
of
field.
The wood
preserved at
Pembroke
gilt,
Colli
Lit',
festival
to the
would be
is
in the original
represented
in
full
college
by
its
foundress,
Mary de
Valentia,
Round
countess
of
Pembroke
the
the
following inscription
Savn Denes v' es me dere,
For lies lof drenk and mak gud
And
below
is
cher.
inscribed
M.
V.
God
help at ned.
EDWARD
III.
MONG
which from
this characteristic
room
known by
Frequent discoveries
the name of the Painted Chamber.
made of late years combine to show how much painting
was used in the Middle Ages for architectural decoration, particu-
larly in churches
cr
George, Edward
St.
III.,
and
St.
George
is
repre-
On the
sented as leading the king, to present him to the virgin.
other side of the altar a similar series represented the female part ol
the royal family.
A set
diminished in
size,
we have,
In this picture
in all probability,
The
about
eighteen
armour.
gilt
gilt.
gilt.
arms
lions
inches
His crown
is
figures, if erect,
Edward
high.
embossed and
The
The
its
rim
is
the
red
field.
The wood
preserved
at
Pembroke
days.
gilt,
College,
festival
to
the
a tolerably accurate
13.")."),
would be
is
represented
in
full
St.
Stephen's
Chapel
at
furnished us with the portrait of his royal father, Edward III., already given.
Prince Edward occupies the compartment of the picture immediately behind
that of his father,
Virgin,
who
and
is,
in the original
is
Part of
the figure of the prince, as well as of those behind him, was cut off in the
painting by a square place, apparently subsequent to the original design, and
which seems to have been intended for the insertion of a table or shelf. The
was probably made about the time of the battle of Poitiers, when the
prince was twenty-six years of age and he is, accordingly, represented as a
His
beardless youth, bearing strong traits of resemblance to his father.
helmet, surrounded by a coronet resembles that on the effigy at Canterbury.
In other respects his armour varies but little from that of King Edward.
He is said to have gained his name of the Black Prince by the colour of the
armour which he wore in battle. In our painting he is not so distinguished
but he perhaps did not introduce this peculiarity in the armour which he wore
on pompous occasions, and in which he is no doubt here represented. Three
portrait
only of the end of his name are preserved at the foot of the picture,
which are a convincing proof that the mutilations were made after its com-
letters
pletion.
The two
figures
The
Edward
initial letter
III.
is
Romance
"^sss?
^^^Jlh
KING RICHARD
EUIIAPS
II.
cir-
though
his
infancy,
led
away by
this
the
in his grasp,
before
evil
abuses
own
his
of his favourites,
to
inclination
increase the
and by the
number
of
new
taxes to
a finishing stroke to
as
the general
dis-
which led
reign, a period
which
is
it is
of Geoflrey Chaucer;
it
also
and
in literature
tablets,
patron
boasts of the
Chevy Chase.
is
saints,
John the
painting (which
it
it
original paintings of
two
in religious
former Wycliffe
name
Wat Tyler
is
Baptist, St.
Edmund
the King,
it), is
oil
l>v
his
The
date of this
invention of that
however,
it
art,
by John ab Eyck.
in 1410,
On
closely
examining
it,
oil.
painted on a bright golden ground, and the colours are extremely fresh.
An
it
the British
century, or
make and
treats
En
The
cut below
is
fourteenth century.
taken from
MS.
si
"
rj
AUH) 2^
TIME OF RICHARD
COURTIERS OF THE
history,
chard
that of the
II.
weak Rifor
was remarkable
The
fashions.
satirists
its
and
and loud
against
the
in their outcries
extravagance
who wrote
of
Chaucer,
at this period,
in
which pre-
::
!;:
II.
ring,
vanitee
but ther
is
maken
soning of chesel to
holes, so
moche poun-
as wel of
foot,
moche dagging
man
as of
woman,
damage
rather than
it
is
to gret
and that in
The "gowns" alluded to in this passage of Chaucer, as worn both by men
and by women, are exhibited in the figures given, in the accompanying plate,
from two MSS. of the period (MS. Reg. 15 D. Ill, and MS. Harl. No. 1319).
folk,
The
gown of the knight at the lower part of the plate, as well as that
who is making obeisance to him, will explain what Chaucer
means by pounsoning and (lagging. The edges of the sleeves, hoods, &c. were
rich
of the person
gown was
Among
has,
The two
first figures,
tration of the
Song
in the
MS. from which they are taken, form the illusThe Harleian MS. (1319), is well known as
of Solomon.
The
author, neither of
the latter
paying his respects to the knight, who had sent for him to accompany him to
England. We quote the passage mentioning this interview, both as a specimen
is
of the poem,
and because
it is
Que ehascun
Un
chevaler,
moult doulcement
Me
dit,
'
amy, je vous
Qu'en Albion
much
me
joyeusement
proehainnement
vueil aler."
day of May," he
gentleness,
'
whom
says, "
I intend to
with
go thither shortly.'"
is taken from a MS. of the
reign of Richard
me
The
first
pri chierement,
vueilliez
II.,
UITE
At
is
the variety
exhibit.
al-
Duke
of Roxburghe,
and
it
has lately
posed in the
Italian
thirteenth century by an
named
is
common
sufficiently
all
the brave
acts
of Meliadus
originated from
no other
non de force
De
sa propre bonte
d' amours."
It is
thus not at
vint de
all sur-
The
pictures in this
states of progress,
an earlier period.
Our initial letter is taken from a manuscript in the British Museum (M.S.
Reg. 13 E. ix), written towards the end of the fourteenth century.
by the
PROCESSIONAL CROSS.
T
Sea,
is
still
It
it
its
and execution.
It
has more of
and in
The ornament
After the
is
extended on the
In the
cross.
of Bonaparte,
fall
peace to Europe,
still
body
this cross
popish clergy.
same church, larger than the one described above ; but it had
not the same good fortune as the other, for being intrusted to the
keeping of the sacristan and a priest, their cupidity was excited
to the
by the value
it
and
sold,
They form
is
interpretations.
Rheims
in France.
'
PROCESSIONAL CROSS.
REVERSE.
ONTINUING
we
inferior in
four Evangelists.
At
the top
is
jf
Trinity College, Cambridge, and written about the end of the reign of
III. or at the
of the
mode
gives us a very
Edward
good idea
and
beams of
used,
/
It
II.
is
husbandman.
In one of the
The drawing
is
accom-
:froit
ipeitf ye
In the
;;
poem
of Richard
;;
entitled
II.,
this cut
And
With
his
Clouted
knoppede shon
ful
thykke
As
out,
On
his
hok-shynes
everich a syde,
Al beslomered
in fen,
And
ful of fen
honged.
Almost
to the ancle
Foure rotheren
That
feble
hym
byforne,
were worthi
Men myghte
The
initial letter at
B. VII. so well
known by
the
title
of
is
taken from
Queen Mary's
Psalter.
less
MS. Reg. 2
The figures
splendid as well as
French Romance of Alexander the Great. Its shelf mark is Bodley, No.
it was written in the year 1338, as we learn from the following entry
at the end, Romans da boin roi Alixandre, quifu perescript le xviij. jor de DeThe margins of this volume are filled with
cembre, Van m. ccc. xxxviij.
It was from this manuscript
grotesque figures and other popular subjects.
that Joseph Strutt obtained his most valuable illustrations of ancient English
games and pastimes.
the
264, and
itv
PROCESSIONAL CROSS.
REVERSE.
)NTINUING
diil
176
repre-
<>t'
The
Around him
four
At
the
Evangelists.
the top
is
the two Maries appear again at the extremities of the arms of the cross; and
bottom
at the
The
is
of the celebrated
poem
of Piers Ploughman,
Trinity College, Cambridge, and written about the end of the reign of
III. or at the
of the
mode
/
II.
It
Edward
beams
of the plough
is
The drawing
is
accom-
^oT^fyc^to^lgE^b^nc^] ueh
and
it
'
GEOFFREY CHAUCER.
AN
Chaucer, as he
is
period
of English
poetry
The
par
considered
Middle Ages.
Poet,
may
indeed he
excellence, of the
be
English
characters in ages
when
society
life
life
time,
We
many
of the most
have no memorials
latter
has
been a subject almost as much disputed as the celebrated question of the birthThe date of Chaucer's birth has been placed in the year
place of Homer.
1328; we have his own authority for stating that it took place in London.
The place of his education has also been a matter of controversy, but from
in his works it seems probable that he studied in Cambridge.
and his old biographer
he afterwards entered at the Temple
and editor Speght, informs us that there was there a record of his having
In
been "fined two shillings for beating a Franciscane frier in Fleet Street."
the records of the reigns of Edward III. and Richard II., we find evidences
some expressions
It is said that
many payments
to
fifth
He
of October, 1400.
We
arc
informed by
ct
fama
poesis,
Although the poet was certainly wrong who called Geoffrey Chaucer a
he wrote at the period when our language
was most corrupted by the introduction of Gallicisms, yet he was certainly the
first writer, since the breaking up of the Anglo-Saxon language, who gave
His ear ami taste
absolute elegance and smoothness to the English tongue.
In
clime.
Lydgate
this respect
he
fully
only to enlumine,
That
in
like.
above the
flight of those
centuries after
nobody came
heavy and
his followers
spiritless versification,
His
He
was, indeed, the sun of the firmament, whose light overwhelmed the twinkling
of the small stars around.
Under
Of him
That
his life
me so fresh liyelines,
men in remembraunce
that hath in
to put other
Of his person,
Doe make, to
By
this peiuture
may
lost
Copies of this portrait are found in one or two MSS. of Occleve's book ;
and one of them was engraved to illustrate Tyrwhitt's edition of the Canterbury Tales.
A different picture, representing the poet on horseback, is
given in Todd's Illustrations of Gower and Chaucer, from a MS. now in
the library of
is
good, but
the body
room
to
The
is
initial letter
is
correct.
is
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