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104 Lister, Margot. Costumes of Everyday Life: An Illustrated History of Working Clothes from 900 to 1910. London: Barrie & Jenkins, 1972. 178 pages. Bibliography (of other costume books): [178]. Glossary: 7-9. ISBN: 021465348X. Numerous B&W line redrawings. A collection of line drawings redrawn from other costume books, each with short descriptive text. Brief summary of the history and clothing of each period at the start of each chapter. No specific sources are given for the sets of clothes depicted: many seem to have suffered in redrawing, or accept uncritically the statements of other costume writers. [SURVEYS; COMMONERS] Lucas, Catherine. See Cunnington, Phillis. Charity Costumes of Children, Scholars, Almsfolk, Pensioners. Lucas, Catherine. See Cunnington, Phillis. Costume for Births, Marriages & Deaths. Mane, Perrine. See Piponnier, Françoise. Dress in the Middle Ages. 105 Mann, James. An Outline of Arms and Armour in England: From the Early Middle Ages to the Civil War. London: H.M.S.O., 1960. 44 pages. “Works for Reference”: 43-44. ISBN: none. 21 plates—4 of them colour—showing armour from the Armouries of the Tower of London and artworks of the times. 4 figures of detailed B&W line drawings showing weapons. A short, sound introduction to English arms and armour, with reference to surviving examples. Illustrations include the (rebuilt) gear of Edward (the Black Prince), a variety of helms (bascinet, armet, sallet, jousting), complete armours, late 16th- or early 17th-century brigandine jerkin, diagrams of daggers, photographs of swords, a Viking bearded axehead and representations of fighting gear in illuminations. [ENGLAND – SURVEYS; WEAPONS; ARMOUR] Mansfield, Alan. See Cunnington, Phillis. English Costume for Sports and Outdoor Recreation from the Sixteenth to the Nineteenth Centuries. 106 Maxwell, Stuart. and Robin Hutchison. Scottish Costume, 1500-1850. London: Adam & Charles Black, 1958. 184 pages. “Sources” (chief sources, not comprehensive bibliography): 178-179. Index: [181]-184. ISBN: none. 4 colour plates and 24 B&W drawings, all redrawn from artworks. “You will not find here a complete guide enabling you to dress a play taking place in a particular year. For one thing that would need more space than we have; for another it would need a great deal more research.” (p. 1) Although there is still no authoritative guide to Scottish dress, this is another work in the right direction. “One result of the research for this book is the compilation of a source book of Scottish costume (in manuscript), which has been deposited in the National Museum of Antiquities and will be available for reference there. The making of it has not stopped with the publication of the book, and additions and information about sources will be welcomed.” (p. 1) Even as it is, the book is worth a read by those interested in late-period Scottish dress, because where possible it gives descriptions of dress from the written records of the times, and looks at artworks to see what clues are offered there. Chapters by time, each covering roughly 50 years, followed by chapters on weapons, Highland dress, and “jewellery”. [SCOTLAND; 16th CENTURY; 17th CENTURY; WEAPONS] 107 Mayo, Janet. A History of Ecclesiastical Dress. New York: Holmes & Meier, 1984. 192 pages. Glossary: 129-178. Bibliography: 185-186. Index: 187-192. ISBN: 0841909830. 102 B&W and 6 colour illustrations of artworks and artifacts. Good explanation of the historical development of ecclesiastical dress, including summaries of the distinctive clothing of the monastic orders. Extensive glossary, which is of great help in understanding the specific terms applied to ecclesiastical gear. Illustrations include examples of Opus Anglicanum embroidery. Useful for snippets: the Franciscans wore grey habits for the first century or more of the order, only changing to their now-familiar brown habits in the late Middle Ages. [ECCLESIASTICAL] McLean, Will. See Singman, Jeffrey L. Daily Life in Chaucer’s England. 108 Morse, Harriet Klamroth. Elizabethan Pageantry: A Pictorial Survey of Costume and its Commentators from c.1560-1620. London and New York: Studio, 1934. 128 pages. Glossary: 101-125. List of authors and works cited: 126-127. Index to the illustrations: 128. ISBN: none. 80 B&W plates of artworks, mostly portraiture. A first section of long quotations from writers of the late 16th and early 17th centuries is interesting for its description of Queen Elizabeth’s regular procession to prayers, as well as summaries of the clothing observed in parts of Europe. The middle section is made up of the plates, each accompanied by a pithy quote or two. The Glossary is a significant work in itself. The plates and comments evidence a number of uncommon features including pierced ears for men, doubly-pierced ears for women, and the extreme of the grand décolletage of 1610-1615. Inspires one to find out more. [ENGLAND; VENICE; ITALY; EASTERN EUROPE; NETHERLANDS; GERMANY; ECCLESIASTICAL; 16th CENTURY; 17th CENTURY; ELIZABETHAN; STUART; ILLUSTRATIONS; GLOSSARIES] 109 Munro, John H. “The Medieval Scarlet and the Economics of Sartorial Splendour.” In Cloth and Clothing in Medieval Europe: Essays in Memory of Professor E.M. Carus-Wilson. Edited by N.B. Harte and K.G. Ponting. London: Heinemann Educational Books, 1983. 13-70. ISBN: 0435323822. No illustrations. 16 tables. Scarlet cloth is mentioned frequently in medieval records, but there is considerable debate among scholars about what made a cloth “scarlet”. Since there are records of blue scarlets and even white scarlets it is unlikely to have been colour. Scarlets are, however, always fine woollen cloths, so attention has focused on the new ways of treating woollen cloth that came in about the 11th century, when the earlier aesthetic of finely woven cloth with a visible patterned weave started to be replaced by an aesthetic which valued cloths which were fulled, brushed and shorn until the weave was no longer visible. Munro first improves on the argument that scarlets are “shear-cloths”, which may have been brushed and shorn more often and more thoroughly than cheaper cloths. Then, by examining the amounts of money spent at various stages of scarlet production, he develops a thesis that scarlets are necessarily dyed with kermes: “in grain”. Although kermes can indeed produce a bright red dye, the records Munro examines show it was also used to add depth and richness to a range of other colours. All cloths dyed with sufficient kermes were “scarlets”, and only over time did the highest value come to be placed on cloths which were wholly dyed in grain without other dyestuffs, giving our modern colour meaning to the word. A thought-provoking article about an issue that turns up frequently in medieval records. [DYES and DYEING; TEXTILES] Murrell, V.J. See Strong, Roy. Artists of the Tudor Court. Neergaard, Margrethe de. See Grew, Francis. Shoes and Pattens. Nevinson, J.L. See Alcega, Juan de. Tailor’s Pattern Book 1598. 110 Newton, Stella Mary. The Dress of the Venetians, 1495-1525. Aldershot, Eng.: Gower; Brookfield, Vermont: Gower, 1988. (Pasold studies in textile history; 7). Bibliography: 179-185. Index: 186-195. ISBN: 0859677354. 36 Illustrations (mainly B&W). “Stella Mary Newton has specialized in the history of dress, with particular reference to the dating of paintings.” (blurb) This extensively footnoted work examines the distinctive clothing worn in Venice over a period of 30 years, with reference to civic and personal documents, and artworks. Illustrations are discussed in the text, but this is primarily a descriptive narrative of changing fashions, the form of civic processions, and the colours and styles appropriate to the sex, age, social status and place of birth of the wearer. Excellent background information and detail about the context and significance of clothing in the time and place covered. [15th CENTURY; 16th CENTURY; ITALY; VENICE] 111 Newton, Stella Mary. Fashion in the Age of the Black Prince: A Study of the Years 1340-1365. Woodbridge, Eng: Boydell Press; Totowa, NJ: Rowman & Littlefield, 1980. vii, 151 pages. Bibliography: 140-145. Index: 145-151. ISBN: 0851151256 (UK); 0847669394 (US). 40 B&W illustrations of artworks of the time. Colour frontispiece from the Romance of Alexander. The most detailed review of English clothing of the mid-14th century, concentrating on the changes in fashion which brought in a range of new styles and techniques. Not, however, a guide to sewing clothing from the time, since you tend to come away with more questions than answers. The focus is particularly on the royal household of England, with mention of the French royal household, court dress, tournaments and the orders of chivalry, livery and the dress of the poor, actors, minstrels and fools, as well as discussion of the styles after Crécy and again after Poitiers. Appendices give extracts from the English Great Wardrobe Accounts, sumptuary regulations and other writing regarding clothing. Newton works largely from textual sources, including household accounts and chronicles, and her vision of clothing is significantly different to that of authors who work predominantly from visual sources. Words have changed their meanings over time, and it is only when someone like Newton points out the materials which went into a corsettus or pelisson, and the occasions when these garments were worn, that we realise they were most probably different garments to the more recent corset or pelisse. [14th CENTURY; ENGLAND; WARDROBE ACCOUNTS] 112 Nicolle, David. Arms and Armour of the Crusading Era, 1050-1350. White Plains, N.Y: Kraus International Publications, 1988. 2 volumes: v. 1. Commentary, [xii], 573 pages; v. 2. Illustrations, [xiv], [575]-1038 pages. Dictionary of terms: 576-627. Bibliographies: 964-1017. Index: 1019-1038. ISBN: 0527671282. 1630 B&W line drawings from original sources of arms and armour. A substantial work. The illustrations are plentiful, the documentation of sources is excellent, and the geographical scope–covering most parts of Europe as well as most of the regions that were “crusaded against”–makes this a most useful work. The one drawback is that the use of line drawings does occasionally mean that significant information is lost. Excellent to get an idea of shapes and trends in fighting gear, and good as a first contact point, since the commentary annotates and gives the origin of each illustration. [WEAPONS; ARMOUR; 11th CENTURY; 12th CENTURY; 13th CENTURY; 14th CENTURY; BYZANTINE; SPAIN; PORTUGAL; FRANCE; ENGLAND; WALES; IRELAND; SCOTLAND; SCANDINAVIA; GERMANY; EASTERN EUROPE; ITALY] 113 Nicolle, Patrick. A Book of Armour. Harmondsworth: Penguin Books, 1954. [30] pages. Puffin picture book; no. 97. ISBN: none. Each page is a mixture of text with redrawings, many coloured and most from recognisable sources. A children’s book, with a slightly cartoony feel to it and a surprisingly high level of accuracy. I recognised sources for most of the illustrations of armour and weapons, which are drawn from well-known surviving examples and illustrations of the times. The text explains the parts and developments of armour clearly, with no fear of the appropriate terminology. A good introduction to armour, whatever your age. [WEAPONS; ARMOUR; 11th CENTURY; 12th CENTURY; 13th CENTURY; 14th CENTURY; 15th CENTURY; 16th CENTURY; 17th CENTURY] 114 Nockert, Margareta. Bockstensmannen och hans Dräkt. 2nd ed. Boras: Hallands Länsmuseer, 1997. First edition published 1985. 158 pages. Bibliography: 156-158. ISBN: 9185720305. ISSN: 00835536. 103 illustrations: 19 of them colour. Most of surviving garments and skeletal remains from Bocksten, and surviving garments from other finds including Herjolfsnes, Moselund, Rönbjerg, Fragelund and Skjoldehamn. Some illustrations from artworks of the time. Very useful examination of the Bocksten garments: a complete set of men’s clothing from the first half of the 14th century, including a kirtle, inner and outer hose with foot wrappings, hood and mantle. The original reconstructions by Sandklef are shown, as well as the unpicked costume pieces and the revised reconstructions by Nockert. There is also a sizable section showing photographs and diagrams of comparable garments from other finds. This is particularly interesting for the repeated comments that certain diagrams of the Herjolfsnes garments–taken from the canonical description of the Herjolfsnes find by Poul Norlund–show curved side-seams where the garments themselves have straight seams. Since these diagrams have permeated the consciousness of reconstructors, and since the flare of some garments recreated to these patterns does not looks quite right, it would be informative to know more about the grounds for this assertion. Good detailed pictures. Text in Swedish, with captions and summary in English. [SCANDINAVIA; ARCHAEOLOGY; 13th CENTURY; 14th CENTURY; SURVIVING GARMENTS; CONSTRUCTION; PATTERNS – FROM SURVIVING GARMENTS; HEADGEAR; FOOTWEAR; COMMENTARY] Nockert, Margareta. See also Harte, N.B. Cloth and Clothing in Medieval Europe. 115 Norlund, Pöul. “Buried Norsemen at Herjolfsnes”. In Meddelelser om Grønland. 67. Copenhagen: C.A. Reitzel, 1924. 1-270, of which the costume section is [87]-192. 137-53 B&W photographs, diagrams and line drawings of garments, textile techniques and artworks. The authoritative publication on the garments found during excavation of the Herjolfsnes cemetery in Greenland, where 70 items of clothing were found from the 14th and early 15th centuries. Each article is described, gathered in classes with other similar items in categories such as “Close-bodied Slip-over Dresses, having Centre Gores”. The items include a range of kirtles and gowns, hoods, caps, hose and accessories. Some of the garments are sized for children. The photographs and diagrams showing the arrangement of pieces have become very widely known in recreationist circles, and have had considerable impact on the construction of clothing. Note, however, the comments of Nockert about likely inaccuracies in some of the diagrams, where straight seams are drawn as though they are curved to give a more waisted shape to the fitted garments. [SCANDINAVIA; ARCHAEOLOGY; 14th CENTURY; 15th CENTURY; SURVIVING GARMENTS; CONSTRUCTION; PATTERNS; ACCESSORIES; CHILDREN] 116.1 Norris, Herbert Costume and Fashion. Vol. 1. The Evolution of European Dress Through the Earlier Ages. London, Toronto, New York: J.M. Dent and Sons, 1924 (reprinted with slight revision in 1931) xvi, 300 pages. General Index: 287-295. Index of Names: 297-300. 116.2 Norris, Herbert Costume and Fashion. Vol. 2. Senlac to Bosworth: 1066-1485. London, Toronto, New York: J.M. Dent and Sons, 1927. xxviii, 485 pages. General Index: 469-479. Index of Names: 480-485. 116.3 Norris, Herbert Costume and Fashion. Vol. 3. The Tudors. Book I: 1485-1547. London: J.M. Dent and Sons, 1938. xx, 377 pages. 116.4 Norris, Herbert Costume and Fashion. Vol. 3. The Tudors. Book II: 1547-1603. London: J.M. Dent and Sons, 1938. xii, 381-832 pages. General index: 803-817. Index of Names: 819-832. All volumes have general indexes and indexes of names. Also, the Dover reprint of both books of volume 3: 116.5 Norris, Herbert. Tudor Costume and Fashion. With a new introduction by Richard Martin. Mineola, New York: Dover, 1997. xx, 832 pages. “Authorities Quoted”: xx. “General Index”: 803-817. “Index of Names”: 819-832. ISBN: 0486298450 (pbk). 46 colour plates and 960 B&W illustrations. Herbert Norris looms large as the author of one of the most influential English-language works on costume history. Opinions of his four-volume Costume and History series are mixed and often passionate. He has the knack, as one commentator puts it, of being so right and yet so wrong at the same time. Norris gives detail that is otherwise difficult to find: drawings of buttons and watches from the late 16th century and the draping of veils. The text is gossipy, relating anecdotes about Henry VII’s stinginess and Queen Mary Tudor’s short-sightedness, and listing the English heralds in the order of their creation. If you are interested in the chit-chat—some of it now known to be false—which still colours perceptions of Western history, this is a Good Read. However—and it's a big "however"—it is more than just Norris’s anecdotes which are coloured by the beliefs and fashions of his time. All the pictures in the earlier volumes and most in the later are re-drawings. Some are quite competently handled. Some, particularly the colour plates, are infamously misleading or inaccurate, and have had a lasting bad influence on the popular concept of medieval clothing. Examples include Norris’s much-repeated assertion that Norman women wore corsets (v. 2, p. 37), supported by a disembodied diagram and description of a “Corse” (fig. 30) from MS BM Nero, C. IV. Reference to the manuscript itself, however, shows that Norris seems to have mistaken the sidelacing of a soft gown on a twisting body for the back-lacing of a rigid corset. A form of loose, side-laced surcote often seen in costume books dated to the reign of Edward II may also owe its origins to Norris (v. 2, Plate IX), and the “Ruritanian Purple Feathers” plate of Joanna, Queen of Castile (v. 3, Plate V) seems to combine the original gown and surcote into a single garment. In other words, be wary. Norris gets better as he progresses through the centuries and has more source material to work from. These books are a powerful force, but not always for good and accurate research. Norris begins each section with a list of “Contemporary Sovereigns” and a timeline of important events. For each period there are narratives on topics like “The Fan” or “Embroidery” which pick up from the previous instalment and continue on to a later one somewhere further on in the book or in another volume. This creates a jerky stop-start style, where you're not sure whether to continue vertically through the ages or horizontally through the subjects. Also, although Norris gives pattern designs for various garments, be very cautious unless the garment in question is a named surviving piece, since many of these are attempts at reconstruction which bear no relation to what we know of the cut of actual garments. [ENGLAND – SURVEYS; EARLY – GERMANIC; 11th CENTURY; 12th CENTURY; 13th CENTURY; 14th CENTURY; 15th CENTURY; 16th CENTURY; TUDOR; ELIZABETHAN] 117 Nunn, Joan. Fashion in Costume: 1200-1980. New York: Schocken, 1984. 256 pages. “Select bibliography”: 248-249. Index: 250-256. ISBN: 0805239057. B&W redrawings from original sources. Text and annotated drawings vie for space in this browser of a book. Only the early chapters in p. 9-51 deal with our period. Drawings tend to be repeated from other costume books—usually the better ones—although some confusions seem to have been magnified in transmission. Watch for modernised poses and blurring of detail. The text is interesting, although brief. Best used as a first-contact browser. [SURVEYS] 118 Owen-Crocker, Gale R. Ill. Christine Wetherell. Dress in Anglo-Saxon England. Manchester: Manchester University Press, 1986. Bibliography: 227-234. Index: 235-241. “Appendix of Old English garment names”: 203-208. ISBN: 0719018188 cased only. Illustrated with B&W photographs of surviving items and line drawings. The book on Anglo-Saxon clothing from the 5th to the 11th centuries, with reference to the preceding Germanic tradition and to contemporary Viking styles found in England. Chapters take two centuries at a time, and alternate between the costume of women and of men. Much well-annotated and cross-disciplinary discussion. Could have benefited from greater use of photographs rather than line drawings, and from some use of colour. Interpretations in this field are subject to change as new evidence comes to light: thinking on Viking women’s clothing has changed at least twice since this book was published. [ANGLO-SAXON; TEXTILES; VIKING] Paddock, John Miles. See Edge, David. Arms and Armour of the Medieval Knight. Page, R.I. See Batey, Colleen. Cultural Atlas of the Viking World. 119 Payne, Blanche, Geitel Winakor, and Jane Farrell-Beck. The History of Costume: From Ancient Mesopotamia Through the Twentieth Century. 2 ed. New York: Harper Collins, 1992. (First edition 1918.) [x], 659 pages. “Supplementary Bibliography”: 635-638. Name Index: 639-643. Subject Index: 644-659. ISBN: 0060471417. Numerous B&W photographs and drawings showing original garments, artworks, and good redrawings from named sources. One of the best of the costume surveys on the market at present. Although the paper is not of the finest and doesn’t do justice to some of the illustrations, the information is generally reliable, uses named primary sources and sound secondary sources well, and is far more comprehensive than is commonly the case with surveys. The portion of the book devoted to medieval and Renaissance clothing is substantial, and the information generally solid. Aimed at students of costume history, each chapter discusses the sources of costume information which survive from that time. There are a few pattern drafts for clothing, including a graphed draft of the Charles de Blois pourpoint. [SURVEYS; EARLY – ROMAN; BYZANTINE; EARLY – GERMANIC; 12th CENTURY; 13th CENTURY; 14th CENTURY; 15th CENTURY; 16th CENTURY; 17th CENTURY] 120.1 Peacock, John. Costume 1066-1966. London: Thames and Hudson, 1986. 128 pages. Bibliography “Further Reading”: 127-128. ISBN: 0500274045. "[O]ver 950 drawings". Interpretive line drawings, blue on white with points of interest handwritten in black, many loosely based on images from artworks. 120.2 Peacock, John. Costume 1066-1990s. London: Thames and Hudson, 1994. 135 pages. Bibliography “Further Reading”: 133-135. ISBN: 050027915. An extra six pages of drawings at the end brings the total to c.1000 interpretive line drawings, red on white with points of interest handwritten in black, many loosely based on images from artworks. 120.3 Peacock, John. The Chronicle of Western Costume: From the Ancient World to the late Twentieth Century. London: Thames and Hudson, 1991. 224 pages. “Illustrated glossary of terms”: 213-223. Bibliography: 224. ISBN: [0500014906], 0810939533 (Abrams). “With over 1000 colour illustrations”. The same core of interpretive drawings, this time coloured and with an ancient history section, many loosely based on images from artworks. The commentary has been gathered into sections every dozen or so pages. These books are treated together because they are revised editions of the “same” book. The books are primarily images in two rows of four figures per page. The most lush incarnation of Peacock's work has added colour to the drawings. Librarians love these books, particularly this deluxe version, because it is colourful, well-bound, printed on good quality paper, and seems to satisfy many patrons’ queries. Recreators tend to hate it for a host of reasons: the colour is inaccurate, the waistlines are in the wrong places, not enough information is given to trace sources, and the appearance of detail in the drawings dissolves on examination. This can be used as a browser, but don't become too attached to a style of clothing until you've confirmed from a more reliable source that it looks the way Peacock draws it. Interestingly, Peacock was a wardrobe designer for the BBC. [SURVEYS] |