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Medieval Clothing and Textiles 10

Medieval Clothing and Textiles 10

with the assistance of MONICA L. WRIGHT
Copyright Date: 2014
Edition: NED - New edition
Published by: Boydell and Brewer,
Pages: 219
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  • Book Info
    Medieval Clothing and Textiles 10
    Book Description:

    The usual wide range of approaches to garments and fabrics appears in this tenth volume. Three chapters focus on practical matters: a description of the medieval vestments surviving at Castel Sant'Elia in Italy; a survey of the spread of silk cultivation to Europe before 1300; and a documentation of medieval colour terminology for desirable cloth. Two address social significance: the practice of seizing clothing from debtors in fourteenth-century Lucca, and the transformation of the wardrobe of Margaret Tudor, daughter of King Henry VII, upon her marriage to the king of Scotland. Two delve into artistic symbolism: a consideration of female headdresses carved at St Frideswide's Priory in Oxford, and a discussion of how Anglo-Saxon artists used soft furnishings to echo emotional aspects of narratives. Meanwhile, in an exercise in historiography, there is an examination of the life of Mrs. A.G.I. Christie, author of the landmark Medieval English Embroidery. Robin Netherton is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; Gale R. Owen-Crocker is Professor of Anglo-Saxon Culture at the University of Manchester.BR> Contributors: Michelle L. Beer, Elizabeth Coatsworth, Valija Evalds, Christine Meek, Maureen C. Miller, Christopher J. Monk, Lisa Monnas, Rebecca Woodward Wendelken

    eISBN: 978-1-78204-277-8
    Subjects: History, Art & Art History

Table of Contents

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  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-vi)
  3. Illustrations
    (pp. vii-viii)
  4. Tables
    (pp. ix-ix)
  5. Contributors
    (pp. x-xi)
  6. Preface
    (pp. xii-xiv)
  7. 1 Behind the Curtains, Under the Covers, Inside the Tent: Textile Items and Narrative Strategies in Anglo-Saxon Old Testament Art
    (pp. 1-24)
    Christopher J. Monk

    It is easy to dismiss representations of textile items in Anglo-Saxon manuscript art as incidental: A pair of curtains, bedclothes, or a tent might be read as nothing more than decorative embellishments. When examined more closely, however, such items may take on an important role in the structuring of a visual narrative, or their deployment may even become, in effect, commentary or discourse. Moreover, it can be demonstrated that some textile items are used strategically to compel the viewer toward interacting intellectually and/or emotionally with what is on the page.

    The research of Catherine Karkov has done much to dispel...

  8. 2 Some Medieval Colour Terms for Textiles
    (pp. 25-58)
    Lisa Monnas

    During the Middle Ages, the broad spectrum of textile colours was described by a correspondingly wide range of names intended to beguile the customer. Some captured the nuances of delicate shades such as “dove grey” and “old rose,” while others, like “crimson,”croceus, oralessandrino, signalled the commercial value or exotic origin of the dyestuffs involved. Some terms were mainly used for wool, with others reserved for silk, reflecting the different dyestuffs used on the two fibres. The subject of textile colours is too enormous to be treated comprehensively here, and this paper will discuss a limited selection of colour...

  9. 3 Wefts and Worms: The Spread of Sericulture and Silk Weaving in the West before 1300
    (pp. 59-78)
    Rebecca Woodward Wendelken

    Silk has historically been associated with wealth, power, authority, social status, diplomacy, religion, exoticism, and comfort. Silk itself seems mysterious and almost magical—a textile produced by an insect larva, capable of being dyed brilliant colors, strong enough to be used in warfare, smooth and light enough for the most diaphanous garment. In antiquity the peoples of Western Europe believed silk came from the distant land of Seres, somewhere in the East, where it grew on trees.¹ It was traded from east to west along the long, difficult trans-Eurasian overland trade routes, later romantically named the Silk Road.² Eventually some...

  10. 4 The Liturgical Vestments of Castel Sant’Elia: Their Historical Significance and Current Condition
    (pp. 79-96)
    Maureen C. Miller

    Most liturgical garments surviving from the Middle Ages come down to us as ensembles recovered from burials or as single garments, the latter often preserved because of their association with a venerated cleric.¹ These are often spectacularly beautiful and technically impressive, but they are hardly representative. The elite bias of preservation and recovery tends to be compounded by the interests of collectors and museums in garments made of rare silks or decorated with precious materials. What a medieval church may have owned in the way of vestments can be reconstructed with the help of inventories, but these valuable texts give...

  11. 5 Clothing Distrained for Debt in the Court of Merchants of Lucca in the Late Fourteenth Century
    (pp. 97-128)
    Christine Meek

    The records of the Court of Merchants in the archives of Lucca, a commercial and manufacturing centre in Tuscany, central Italy, contain two extensive lists of clothing, textiles, and other articles that were distrained for debts in 1370 and 1380. Mentions of items distrained in such circumstances are quite common in Lucchese court records generally, but they tend to be single scattered examples. It is unusual to find many together, and the fact that the court in question was the Court of Merchants, which had oversight of wholesale trade, banking, the manufacture of silk and woollen cloth, leatherworking, and a...

  12. 6 Sacred or Profane? The Horned Headdresses of St. Frideswide’s Priory
    (pp. 129-150)
    Valija Evalds

    The sentiment expressed in this fourteenth-century poem, “Des Cornetes,” is typical of that found in many songs and sermons of the late Middle Ages lambasting ornamental female headgear.² A favorite target for censure, headdresses resembling horns—whether simple plaits coiled at the temples or the more elaborate structures that sometimes topped them—were especially offensive in the eyes of critics.³ Moralists regularly compared them to the horns of rams, cows, and devils, and predicted hellfire for the women who wore them. Given this common religious response, it is surprising to find sculpted heads with horned headdresses adorning the vaulting shafts...

  13. 7 “Translating” a Queen: Material Culture and the Creation of Margaret Tudor as Queen of Scots
    (pp. 151-164)
    Michelle L. Beer

    In October 1504, the tailor of Margaret Tudor, Queen of Scots, was paid 20s. Scots to “translate” a gown of cloth of gold of tissue for the queen.¹ Translating a gown, in this case, meant altering the outside cut of the gown and giving it a new lining of taffeta.² The translated cloth-of-gold gown was likely one of a handful of rich gowns that her father Henry VII gave her before she left England in 1503 to marry James IV, King of Scots. Cloth of gold of tissue was the most expensive form of cloth of gold, incorporating gold and...

  14. 8 “A formidable undertaking”: Mrs. A. G. I. Christie and English Medieval Embroidery
    (pp. 165-194)
    Elizabeth Coatsworth

    A. F. Kendrick began his review of A. G. I. Christie’sEnglish Medieval Embroidery¹ by congratulating her on her “formidable undertaking” involving “no less than visiting, examining and (where necessary) photographing every known example ofopus anglicanumin Europe. With an exemplary thoroughness and experience in stitchery few can rival, and, it seems, regardless of expense, she has laid all students of the beautiful art under a lasting debt.”² This judgment, written in the year the book came out, surely still stands. There was a major exhibition ofopus anglicanumin the Victoria and Albert Museum in 1963, with a...

  15. Recent Books of Interest
    (pp. 195-200)
  16. Contents of Previous Volumes
    (pp. 201-205)
  17. Back Matter
    (pp. 206-206)