Skip to Main Content
Have library access? Log in through your library
Medieval Clothing and Textiles 11

Medieval Clothing and Textiles 11

with the assistance of MONICA L. WRIGHT
Copyright Date: 2015
Edition: NED - New edition
Published by: Boydell and Brewer,
Pages: 208
  • Cite this Item
  • Book Info
    Medieval Clothing and Textiles 11
    Book Description:

    The second decade of this acclaimed and popular series begins with a volume that will be essential reading for historians and re-enactors alike. Two papers consider cloth manufacture in the early medieval period: Ingvild ye examines the graves of prosperous Viking Age women from Western Norway which contained both textile-making tools and the remains of cloth, considering the relationship between the two. Karen Nicholson compliments this with practical experiments in spinning. This is followed by Tina Anderlini's close examination of the details of cut and construction of a thirteenth-century chemise attributed to King Louis IX of France (St Louis), out of its shrine for the first time since 1970. Three papers consider fashionable clothing and morality: Sarah-Grace Heller discusses sumptuary legislation from Angevin Sicily in the 1290s which sought to restrict men's dress at a time when preparation for war was more important than showy clothes; Cordelia Warr examines the dire consequences of a woman dressing extravagantly as portrayed in a fourteenth-century Italian fresco; and Emily Rozier discusses the extremes of dress attributed by moral and satirical writers to the men known as "galaunts". Two textual studies then show the importance of textiles in daily life. Susan Powell reveals the austere but magnificent purchases made on behalf of Lady Margaret Beaufort, mother of King Henry VII, in the last ten years of her life (1498-1509); Anna Riehl Bertolet discusses in detail the passage in Shakespeare's A Midsummer Night's Dream where Helena passionately recalls sewing a sampler with Hermia when they were young and still bosom friends.

    eISBN: 978-1-78204-477-2
    Subjects: History, Art & Art History

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-v)
  3. Illustrations
    (pp. vi-viii)
  4. Tables
    (pp. ix-ix)
  5. Contributors
    (pp. x-xii)
  6. Preface
    (pp. xiii-xiv)
  7. 1 Production, Quality, and Social Status in Viking Age Dress: Three Cases from Western Norway
    (pp. 1-28)
    Ingvild Øye

    Textiles have been, and continue to be, indispensable necessities, but they are also able to signify status. In Norway, traces of textiles and textile production become especially apparent in the Viking Age (ca. 800–1050) through the burial custom of inhumation graves, where the deceased were buried according to their rank, and in women’s graves, in their dress, with dress accessories and often with textile tools among the grave goods. In some cases there are still traces of clothes—representing one of the few find contexts with preserved textiles from this period in Norway. As concrete remains of products and...

  8. 2 The Effect of Spindle Whorl Design on Wool Thread Production: A Practical Experiment Based on Examples from Eighth-Century Denmark
    (pp. 29-48)
    Karen Nicholson

    The drop spindle is a tool that has been used to facilitate thread production for many thousands of years. It has two key components: a central shaft and a stabilizing weight called a whorl. Before spinning, prepared fibers are usually arranged on a stick called a distaff, which enables the person doing the spinning to carry a large amount of fiber and keep it from becoming tangled. To turn the fiber into thread, the spinner attaches a leading end of the fiber to the spindle shaft, and then, with a flick of the fingers, sets the spindle in motion. As...

  9. 3 The Shirt Attributed to St. Louis
    (pp. 49-78)
    Tina Anderlini

    The thirteenth-century shirt attributed to Saint Louis, King Louis IX of France,¹ is one of the most interesting items of underwear to survive from the Middle Ages. In the treasury of the cathedral of Notre Dame in Paris, the garment was kept in a glass reliquary from 1970 to 2012, during which time its shape and characteristics were the subject of many questions and hypotheses, with greater and lesser degrees of accuracy.² Since 2012, the shirt has been in a showcase, making access easier. The author had the opportunity to study the garment, out of its shrine for the first...

  10. 4 Angevin-Sicilian Sumptuary Statutes of the 1290s: Fashion in the Thirteenth-Century Mediterranean
    (pp. 79-98)
    Sarah-Grace Heller

    On July 5, 1290, a sumptuary law aimed at regulating consumption during the miseries of the long Sicilian war was promulgated in Naples by the vice-regents of the reigning king of Sicily and Naples (together known as the Regno), Charles II, prince of Salerno.¹ These two Angevin-French “justiciars” were Robert II, Count of Artois, and the king’s son and heir apparent Charles Martel (Carlo Martello). The statutes were promulgated at least two other times in Provence and the Regno: We know of instances in 1292 and 1293, and other documents may have been lost, as the Neapolitan archives have suffered...

  11. 5 The Devil on My Tail: Clothing and Visual Culture in the Camposanto Last Judgment
    (pp. 99-118)
    Cordelia Warr

    At the bottom right of theLast Judgmentin the Camposanto in Pisa (figs. 5.1 and 5.2), probably painted in the 1330s,¹ a richly dressed woman clings desperately to another woman standing next to her (figs. 5.3 and 5.4). She is being dragged inexorably towards hell by the blackened and disembodied hands of a devil who grabs at the clothing of his victim. The frescoes were badly damaged when the Camposanto was bombed in 1944.² However, it is possible to study the depiction of the doomed woman thanks to painstaking restoration work on the frescoes, thesinopie(underpaintings) separated from...

  12. 6 “Transposing þe shapus þat God first mad them of”: Manipulated Masculinity in the Galaunt Tradition
    (pp. 119-138)
    Emily J. Rozier

    Whilst in modern parlance the term “gallant” has come to be associated with chivalric virtues and courteous behaviour, it was first used, in Middle English, to describe a stereotype of fashionably dressed young men synonymous with licentiousness and delinquency. The galaunt figure is extremely prevalent in the literature of late medieval England. It is referred to in a variety of literary sources, from verse satire to drama, and is even mentioned in material as disparate as personal letters, legal cases, and guild accounts. The earliest extant description of the galaunt that refers to the figure by name can be found...

  13. 7 Textiles and Dress in the Household Papers of Lady Margaret Beaufort (1443–1509), Mother of King Henry VII
    (pp. 139-158)
    Susan Powell

    After the Battle of Bosworth in 1485, when Henry Tudor took the crown from Richard III, his mother Lady Margaret Beaufort became the most powerful woman in England.¹ Her son, from whom she had been separated for most of his life but whose right to the throne she had fiercely fought for and eventually achieved (in preference to a claim for herself), rewarded her with land, property, status, and responsibility.

    From Collyweston in Northamptonshire, which Lady Margaret developed as her home after 1498, she ruled as quasi-regent of the East Midlands with the aid of her council at Stamford, four...

  14. 8 “Like two artificial gods”: Needlework and Female Bonding in A Midsummer Night’s Dream
    (pp. 159-178)
    Anna Riehl Bertolet

    In her speech to Hermia in act 3, scene 2 ofA Midsummer Night’s Dream, Helena seeks to reclaim Hermia’s friendship by recreating a scene of their childhood bonding and by evoking needlework objects associated with intimacy and femininity. An inquiry into Helena’s rhetorical strategies in this speech is incomplete without recognition of its investment in material culture that, as Karen Harvey defines it, “encapsulates not just the physical attributes of an object, but the myriad and shifting contexts through which it acquires meaning.”² The object, in turn, becomes a meaning-making conduit through which characters are able to process and...

  15. Recent Books of Interest
    (pp. 179-184)
  16. Contents of Previous Volumes
    (pp. 185-189)
  17. Back Matter
    (pp. 190-190)