![]() It was worn in various ways, either fastened with a brooch on the right shoulder (this method more commonly by men), or was wrapped round the figure in various ways, and it was occasionally worn with the opening at centre front. In the thirteenth century it was gradually superseded by a circular or almost circular garment. and continuously till the thirteenth century. This is the semicircular cloak worn by both sexes, at least as early as the sixth century A.D. The points to note in this as giving the date are : first, the broadbanded decoration at neck second, the comparatively tight fit of the upper part third, the long hanging cuffs, a survival of the period of the exaggeratedly long sleeves of the eleventh and twelfth centuries.įig. Here we have a full length woman’s tunic. The wide armhole persisted till the middle of the century.įig. This tunic was also worn full length and in the latter form was worn by women as well as by men. The points distinguishing it as of early date are : first, the wide decorated band at neck second, the large gusset at the armhole, extending almost to the waist. ![]() This is the plan of a man’s tunic, reaching to the middle of the calf. 1 to 6 are taken from types in wear about the year 1200.įig. Though there is little real difference between Ecclesiastical and Civil Dress at this period as far as the cutting out is concerned, it will be found more convenient to refer to the two types apart from one another. Undoubtedly this extreme simplicity of construction gives the great dignity of line which is the outstanding feature of thirteenth-century costume and which is only equalled by that of the dress of ancient Greece-Ecclesiastical Costume of the century will be treated of separately. In general the costumes of this century are cut on the simplest geometric plans and, except for a few very early examples, there is no attempt to fit the figure as was seen in the twelfth and again in the fourteenth and fifteenth centuries. IT will help towards a clearer understanding of the style, if the illustrations of the flat patterns are studied, previously to those illustrations showing the costumes in wear, and when these latter are described, each drawing will be referred back to the flat pattern to which it pertains. Read moreĬHAPTER I THE CONSTRUCTION OF THIRTEENTH-CENTURY COSTUME Indispensable for students of costume history, medievalists, illustrators, and fashion historians, Medieval Costume in England and France will delight anyone interested in the medieval period and its dress. ![]() The clear, succinct text is splendidly documented by 350 black-and-white line illustrations based on contemporary books and manuscripts as well as representations in paintings and sculpture. Also examined is a wide variety of accessories and ornaments, jewelry, armor, textiles, embroidery, coiffures, and other items. Included are elaborate royal, academic, and legal costumes Eucharistic vestments and garments of religious orders working class apparel civilian dress and more. Houston provides detailed descriptions and illustrations of actual apparel worn by all classes and sectors of society. Following an illuminating discussion of the style and construction of costumes worn in the thirteenth, fourteenth, and fifteenth centuries, noted costume historian Mary G. This carefully researched volume offers lovers of both costume and the medieval period a meticulously researched and accurately detailed study of the clothing of the Middle Ages.
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