Medieval Clothing and Textiles 2

Medieval Clothing and Textiles 2

ROBIN NETHERTON
GALE R. OWEN-CROCKER
Copyright Date: 2006
Edition: NED - New edition
Published by: Boydell and Brewer,
Pages: 204
https://www.jstor.org/stable/10.7722/j.ctt9qdkht
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  • Book Info
    Medieval Clothing and Textiles 2
    Book Description:

    Historical dress and textiles, always a topic of popular interest, has in recent years become an academic subject in its own right, transcending traditional genre boundaries. This annual journal includes in-depth studies from a variety of disciplines as well as cross-genre scholarship, representing such fields as social history, economics, history of techniques and technology, art history, archaeology, literature, and language. The contents cover a broad geographical scope and a range of periods from the early Middle Ages to the Renaissance. Papers in this latest volume discuss clothing descriptions in an early Irish poem in relation to archaeological finds; the Latin inscription embroidered on the Bayeux Tapestry; clothmaking in twelfth-century French romances; medieval Paris as an international textile market; the cost of sartorial excess in England as attested by sumptuary laws and satire; textile cleaning techniques at a German convent in the fifteenth century; the use of jewelled animal pelts as fashion accessories in the Renaissance; and the social significance of the embroidered jacket in early modern England. Also included are reviews of recent books on dress and textile topics. ROBIN NETHERTON's research focuses on medieval Western European clothing and its interpretation by artists and historians; GALE R. OWEN-CROCKER is Professor of Anglo-Saxon Culture, The University of Manchester. Her most recent books are Dress in Anglo-Saxon England (2004), and King Harold II and the Bayeux Tapestry (2005). Contributors: Niamh Whitfield, Gale R. Owen-Crocker, Monica L. Wright, Sharon Farmer, Margaret Rose Jaster, Drea Leed, Tawny Sherrill, Danielle Nunn-Weinberg

    eISBN: 978-1-84615-491-1
    Subjects: Archaeology

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-vi)
  3. Illustrations
    (pp. vii-viii)
  4. Tables
    (pp. ix-x)
  5. Contributors
    (pp. xi-xii)
  6. Preface
    (pp. xiii-xiv)
  7. 1 Dress and Accessories in the Early Irish Tale “The Wooing Of Becfhola”
    (pp. 1-34)
    Niamh Whitfield

    Ireland possesses one of the most extensive vernacular literatures in Europe, some stories going back at least to the seventh century. Heroic tales, especially, contain many descriptions of the dress and equipment of their aristocratic protagonists. The question of how seriously these should be taken as accurate depictions of ancient artefacts has been discussed by J. P. Mallory, in a study of the Ulster Cycle of Tales.¹ The stories in this cycle purport to describe a distant past, and it has been famously claimed that they provide a “window on the Iron Age.”³ However, when the objects described in the...

  8. 2 The Embroidered Word: Text in the Bayeux Tapestry
    (pp. 35-60)
    Gale R. Owen-Crocker

    The Bayeux Tapestry, at 68.38 metres long (224 feet 4 inches), is the largest surviving medieval textile. This embroidered narrative frieze,¹ almost certainly designed in Canterbury, England,² and generally believed to have been made there,³ was probably commissioned for Odo, bishop of Bayeux, the half-brother of Duke William of Normandy,⁴ between 1066 and the 1080s.⁵ Its pictorial record of events leading up to the Norman Conquest of England is accompanied by an explanatory inscription,⁶ mostly taking the form oftituli(surtexts along the top of the main register), comprising 2,226 characters and symbols, the longest known text of its kind.7...

  9. 3 “De Fil d’Or et de Soie”: Making Textiles in Twelfth-Century French Romance
    (pp. 61-72)
    Monica L. Wright

    Cloth and clothing held a privileged place in the romances of twelfth-century France. The writers from this period, which marked the birth of romance as a literary genre, used textiles in a great many ways and for a great many narrative purposes, providing lengthy descriptions of characters’ clothing, depicting scenes of dressing and undressing, and even including scenes in which characters make cloth. Yet cloth and clothing do not appear to be simply ornaments in these literary works. Cloth and clothing were so important for these writers, and the writers were able to use them so inventively, precisely because textile...

  10. 4 Biffes, Tiretaines, and Aumonières: The Role of Paris in the International Textile Markets of the Thirteenth and Fourteenth Centuries
    (pp. 73-90)
    Sharon Farmer

    Historians of Western medieval textiles tend to emphasize two major centers of production in the thirteenth and fourteenth centuries: the Low Countries and Northern Italy. From the twelfth century until the first quarter of the fourteenth, the towns of Flanders, Artois, Brabant, and Champagne dominated international markets in the production of luxury and middle-level wool cloth.¹ By the twelfth century, luxury silks from the Northern Italian town of Lucca were being sold at the Champagne fairs of Northern France. By the early fourteenth century, Lucchese silks dominated the northern aristocratic market for silks, and Lucca had been joined by three...

  11. 5 “Clothing Themselves in Acres”: Apparel and Impoverishment in Medieval and Early Modern England
    (pp. 91-100)
    Margaret Rose Jaster

    As he pontificates against the sin of disdain in hisChrist’s Teares Over Jerusalem, first published in 1593, Thomas Nash offers us an illustration of status groups in early modern London, and his opinion of the contention between and among the groups. The groups were differentiated from one another by such characteristics as dialect and deportment, but the most accessible signifier of status in early modern English society was clothing.

    Most students of medieval and early modern culture are aware that a body of legal and social texts assigned precise signifiers to various items of apparel with the goal of...

  12. 6 “Ye Shall Have It Cleane”: Textile Cleaning Techniques in Renaissance Europe
    (pp. 101-120)
    Drea Leed

    Thus opens the text of the manuscript known as the NurembergKunstbuch, written as an instructional manual for the sisters of the convent of St. Catherine’s in Nuremburg, Germany. The manuscript, consisting of sixty-nine parchment folios in Gothic halfcursive, was bound into book form in the last half of the fifteenth century. It was apparently in the possession of lay sister Margaret Bindterin in 1596, the year St. Catherine’s was dissolved by order of the Nuremberg council. When she died in the following year, theKunstbuchwas handed over to the Nuremberg Stadtbibliothek, which had earlier received the other manuscripts...

  13. 7 Fleas, Fur, and Fashion: Zibellini as Luxury Accessories of the Renaissance
    (pp. 121-150)
    Tawny Sherrill

    Perhaps one of the most curious fashions of all time is the luxury fur piece of the late fifteenth and sixteenth century. In its simplest form, this was the pelt of a marten or sable worn draped over the wearer’s shoulders or arm, or carried in the hand. At its most extravagant, the animal’s skin featured a jeweled head, and often paws, of gold or crystal, and the whole was generally attached by a ring on the muzzle to a chain and worn on a girdle.¹ The first known mention of this luxurious item occurs in 1467 in the inventory...

  14. 8 The Matron Goes to the Masque: The Dual Identity of the English Embroidered Jacket
    (pp. 151-174)
    Danielle Nunn-Weinberg

    The dawn of the seventeenth century was a time of transition, in art as well as life, from the rigid and stately societal model of the late Elizabethan period to the less formal and more relaxed culture of the Stuart reign. This change is apparent in a group of portraits in which the sitter is wearing a distinctive item of clothing: a highly embellished, embroidered jacket. The depictions of the jackets are stylistically consistent with extant examples, and in one case, a portrait depicts a known surviving garment.¹

    A surprising number of these embroidered upper-body garments (which modern scholars also...

  15. Recent Books of Interest
    (pp. 175-180)
  16. Index
    (pp. 181-190)
  17. Back Matter
    (pp. 191-191)