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121 Pekridou-Gorecki, Anastasia. Mode im antiken Griechenland: Textile Fertigung und Kleidung. Munich: C.H. Beck, 1989. 159 pages. Bibliographic information given in full in the notes (p. [138]-154). Index: [158]-159. ISBN: 3406339085. 76 B&W photographs and drawings of artifacts and costumes. A book on classical Greek clothing written in German, which has nonetheless made its impact on the English-speaking world through clear use of diagrams and bringing together of academic and practical sources. Some of the diagrams will be familiar to readers of Mary Houston’s book on the topic. [EARLY – GREEK; CONSTRUCTION; PATTERNS] 122 Pereira, Harold B. The Colour of Chivalry. [London]: Imperial Chemical Industries, 1950. 141 pages. “List of authorities consulted in preparing this book”: 140-141. ISBN: none. 30 illustrations: coloured plates drawn from memorial brasses. After introductory chapters on “arms and armour” and “heraldry”, there are short chapters showing and discussing the memorial effigies of 30 English people who lived in the period 1150-1550. 22 of the subjects are men in armour showing the development of armour from mail through the 14th century transitional period of partial plate, to the full white armours of the 15th century and later. Eight of the people discussed are women, giving a quick run through of women’s clothing which is not immediately apparent from the title. [ENGLAND; ARMOUR; WEAPONS; 12th CENTURY; 13th CENTURY; 14th CENTURY; 15th CENTURY; 16th CENTURY] 123 Piponnier, Françoise, and Perrine Mane. Dress in the Middle Ages. [Se vêtir au Moyen Age. English] Trans. Caroline Beamish. New Haven and London: Yale University Press, 1997. Bibliography: 157-163. Glossary: 164-167. ISBN: 0300369065. 61 B&W illustrations of contemporary artworks. A good general read on Western European clothing in the 14th and 15th centuries. Recommended for its introductory chapters explaining the different sources for the study of medieval costume and the difficulties of relating them to each other when we don’t really know which terminology applies to which garment or fabric. Discussion of fabrics, colours and the economy of clothing. Particularly strong on the use of clothing to mark certain stages of life, groups (Jews, lepers, prostitutes) or the participants in ceremonies or masques. Intriguing pictures of work mittens with a thumb and two large “fingers”, and discussion of the trade in mass-produced accessories. [14th CENTURY; 15th CENTURY; COSTUME STUDY – THEORY; ACCESSORIES; MASQUES; TEXTILES; COLOURS; JEWISH] Piponnier, Francoise. See also Harte, N.B. Cloth and Clothing in Medieval Europe. 124.1 Planché, James Robinson. A Cyclopaedia of Costume, or, Dictionary of Dress: Including Notices of Contemporaneous Fashions on the Continent; and A General Chronological History of the Costumes of the Principle Countries of Europe, from the Commencement of the Christian Era to the Accession of the George the Third. London: Chatto and Windus, 1876. Volume 1: The Dictionary. viii, 527 + 5 plates at end pages. Numerous B&W line drawings of items of clothing. A dictionary or alphabetical encyclopaedia of terms describing items of clothing, with numerous line drawings taken from original sources, sometimes noted. The line drawings are detailed and appear accurate. The text is a classic of its type, and no book since has really matched it for depth. As Somerset Herald, Planché had access to wide-ranging documentary sources, familiarity with medieval art and iconography, and a level of scholarship which was quite happy explaining the uncertainties of certain terms, while giving the best interpretation conceivable at the time. Got it right about the early use of the term “corse” or “corset” 62 years before Norris got it wrong. Although there have been changes in the last 120 years, this is still a source to be reckoned with. Covers armour—some pieces in considerably more depth than is common elsewhere—as well as regalia (good surveys of collars and crowns) and ecclesiastical wear. [SURVEYS; GLOSSARIES] 124.2 Planché, James Robinson. A Cyclopaedia of Costume, or, Dictionary of Dress: Including Notices of Contemporaneous Fashions on the Continent; and A General Chronological History of the Costumes of the Principle Countries of Europe, from the Commencement of the Christian Era to the Accession of the George the Third. London: Chatto and Windus, 1876. Volume 2: The General History. xiv, 448 pages. Numerous B&W line drawings. The “General History” which accompanies the dictionary is a venerable tome which draws its inspiration from Strutt and Viollet-le-Duc, and from familiarity with many manuscript and literary sources. Although you might not costume directly from this work, after consulting it you would at least have a better idea of where to look for contemporary references. Planché has been influential. There are recent works which give a better grasp of fact, but few which apply the same style of scholarship and breadth of interest to costume analysis. [SURVEYS] 125 Planché, James Robinson. History of British Costume. London: Charles Knight, 1834. xx, 376, pages. 15 cm. ISBN: none. Etchings taken from named manuscripts and artifacts. Planché, along with Strutt, is one of the founders of the study of historical costume in English. This is a small volume by contrast with his door-stop two-volume Cyclopaedia of Costume, but its chapters proceed through British history from the Ancient British Period and Roman-British Period to the Reign of George III, with additional chapters on the national costumes of Scotland and Ireland. His scholarly approach to sources and his delight in correcting misapprehensions or showing the lack of supporting evidence for a popular belief (for instance regarding the name “The Black Prince” and the supposed origin of the Prince of Wales’s feathers and motto, p. 139-145, or about tartan p. 335-338) make it a pity that many consider his works outdated. It must be admitted that Planché’s illustrations are not as useful as they could be, that he tends to anticipate styles by using funeral effigies as evidence for earlier decades, and that recent work with actual garments has altered the way we think about much medieval clothing, but for a summary of sources and an introduction to the study of costume from literary and historical sources you could do far worse. [ENGLAND – SURVEYS] Planché, James Robinson. See also Strutt, Joseph. A Complete View of the Dress and Habits of the People of England. Ponting, K.G. See Harte, N.B. Cloth and Clothing in Medieval Europe. Price, Neil S. See Batey, Colleen. Cultural Atlas of the Viking World. Pritchard, Frances. See Crowfoot, Elisabeth. Textiles and Clothing: c.1150-c.1450. Pritchard, Frances. See Egan, Geoff. Dress Accessories, c. 1150-c. 1450. 126 Pugin, A. Welby. Glossary of Ecclesiastical Ornament and Costume, Compiled from Ancient Authorities and Examples. 2nd ed. (enlarged and rev. by Bernard Smith). London: Henry G. Bohm, 1846. 245 pages of text followed by 73 pages of plates. ISBN: none. 73 pages of coloured plates as well as numerous B&W line drawings in text. Illustrations include many of decorative patterns and features, as well as drawings of items from churches. A glossary, alphabetical from Acolythe [sic] to White. Pugin is better known as one of the architects of the Gothic Revival. Here he shows his fascination with the decoration and clothing associated with churches, giving much information from surviving articles, textual and artistic sources, regarding ecclesiastical dress. There are all sorts of unexpected snippets, such as the information that the Amice is first put on the head like a hood before being pushed back to sit around the neck. Dates for illustrations are not always clear, but a wide range of dated textual sources are used. [ECCLESIASTICAL] 127 Racinet, A. The Historical Encyclopedia of Costumes. New York, N.Y.: Facts on File, 1988. 320 pages. Translation of Le Costume Historique, first published in serial form, then gathered together and published in 1888. Index: [314]-320.. ISBN: 0816019762 (Facts on File); 1851701737 (Studio). “Over 2000 illustrations”: coloured interpretive drawings, taken from a variety of sources. A 19th century browser, from one of the many revivals of interest in the costume of people throughout time and throughout the world. Each page of drawings faces a page of commentary. Medieval and Renaissance history take approximately half of the third chapter (of four). Most of the drawings are taken from artworks, and the usual warnings concerning browsable books apply: this may give a general idea of shapes and trends, but you would be better working from good reproductions of the original sources. Be particularly wary about Racinet’s ideas on the existence of “ring-mail” (p. 136-137) which seem to be a misinterpretation of artistic conventions for drawing mail. The most useful function of a book like this is to bring together items from different sources to show similarities and differences, as in the page showing different 16th century ruffs. Here, however, the documentation lets us down, since there is no indication of the country of origin or approximate date of some of the examples. Be cautious about the colours shown. [SURVEYS] 128 Reade, Brian. The Dominance of Spain, 1550-1660. Vol. 3, no. 4 of Costume of the Western World. London, Harrap, 1951. 27 pages, with 62 plates on following pages. Bibliography: 27. ISBN: none. 62 plates, 8 of them colour. All are of paintings, drawings and engravings–mostly portraits–from the period. Good pictures, although at times a bit dark and grainy. The short text appears to be a good general description of Spanish clothing based on portraits and pattern books of the time. [SPAIN; 16th CENTURY; 17th CENTURY] 129 Reynolds, Graham. Elizabethan and Jacobean, 1558-1625. Vol. 3, no. 3 of Costume of the Western World. London: Harrap, 1951. 24 pages, with 56 plates on following pages. Short bibliography: 24. ISBN: none. 56 plates, 8 of them in colour. All are of paintings, mostly portraits, from the period. Good pictures. The text is a nine-page introduction, followed by eight pages of extended captions to the illustrations. Not a bad summary, with some interesting observations on the clothes in the portraits. [ENGLAND; 16th CENTURY; 17th CENTURY; ELIZABETHAN; STUART] 130 Ribeiro, Aileen, and Valerie Cumming. The Visual History of Costume. London: Batsford, 1989. 240 pages. Select bibliography: 227-228. Glossary/Index: 229-240. ISBN: 0713456248. 200 B&W photographs of original artworks, with 16 colour plates. A very good resource. The only regret is that more of it is not focused on medieval and renaissance clothing: 30 of the B&W illustrations are from before 1500, 30 from 1500-1600, and another 30 are from the 17th century. One picture per page, with name, date, source and commentary explaining points of interest. The focus is English, although not exclusively so. Good photographs of original sources which have been seen too often in redrawings. [ENGLAND; SURVEYS; 16th CENTURY; 17th CENTURY] Riu, Manuel. See Harte, N.B. Cloth and Clothing in Medieval Europe. 131 Rubens, Alfred. A History of Jewish Costume. London, Peter Owen, 1981. First published 1967, revised and enlarged edition 1973. 221 pages. Bibliography: 208-211. Index: 215-221. ISBN: 0720605881. Illustrated with photographs (some colour) of artworks. There is a little in this work that is relevant to medieval and Renaissance European Jewish clothing, but it must be picked out of a discussion which ranges widely through the ages, showing on facing pages the decree of Emperor Ferdinand in 1551 requiring Austrian Jews to wear a yellow roundel of fabric on the left side of the chest or dress, and the Jewish badge re-introduced in Poland by the Nazis in 1939. There are sumptuary laws and regulations describing the clothing Jews were required to wear in various parts of medieval Europe, and suggesting that compulsory Jewish badges were introduced when the distinctive Jewish hat fell out of fashion. One of the few sources of information on the features of Jewish clothing. [JEWISH] 132 Ruby, Jennifer. Costume in Context: The Stuarts. London: Batsford, 1988. 64 pages. Glossary: 62. “Book List” (of other costume books): 63. ISBN: 0713456043. Numerous drawings, 8 of them coloured, most of them based on artworks of the time. A children's book. Derivative, not particularly pretty, and the “how uncomfortable that must have been!” comments grate after a while. [ENGLAND; STUART; 17th CENTURY; ARMOUR] 133 Ruby, Jennifer. Costume in Context: The Tudors. London: Batsford, 1987. 64 pages. Glossary: 62. “Book List” (of other costume books): 63. ISBN: 0713454717. Numerous drawings, 8 of them coloured, most of them based on artworks of the time. A children's book. Not dreadful. Most of the drawings are versions of recognisable paintings from the period. Ruby is on less certain ground whenever she veers from copying. While there is not enough detail to costume from, this might make a browser to introduce people to the time. Changes of fashion from about 1500 to 1590 are shown fairly clearly as we follow the fortunes of the family of Elizabeth, a lady of the court. The parts of armour are named on a diagram. Watch out for Diane de Poitiers turning up as an Englishwoman, and Anne Boleyn drawn with Jane Seymour's sleeves and hands. [ENGLAND; TUDOR; 16th CENTURY; ARMOUR] Schedelmann, Hans. See Thomas, Bruno. Arms and Armour. Schwabe, Randolph. See Kelly, Francis M. Historic Costume. Schwabe, Randolph. See Kelly, Francis M. A Short History of Costume & Armour. 134 Scott, Margaret. Late Gothic Europe, 1400-1500. London: Mills & Boon; Atlantic Highlands, N.J.: Humanities Press, 1980. 256 pages. (The History of dress series; 1) Bibliography: 245-247. Glossary: 248-250. Index: 253-256. ISBN: 0263064298 (Mills & Boon); 0391021486 (Humanities Press). Illustrations with photographs (169 B&W and 17 colour) of contemporary artworks. Another good but oddly frustrating offering from the History of Costume series. Readable text which discusses the unreliability of artworks as accurate records of physical proportions (even when they seem to be photorealistic) and the change in artistic representations of body shapes over time, as well as the fashions in clothing styles. Good pictures. Not really a book to dip into in the hope of emerging with immediately useful knowledge, this is rather a work to read through to deepen understanding of general trends in the clothing of the time. The focus is primarily on the French and Burgundian regions, with extensive use of artworks by Flemish painters, and broader references to English and Italian clothing of the time. [BURGUNDY; FRANCE; 15th CENTURY; ART THEORY] 135 Sebesta, Judith Lynn, and Larissa Bonfante. Eds. The World of Roman Costume. Madison, WN: University of Wisconsin Press, 1994. 292 pages. (Wisconsin studies in classics). Glossary: 241-247. Bibliography: 249-261. Index: 263-272. ISBN: 029913850X. Extremely interesting collection of essays on Roman clothing, with illustrations of sculptures, mosaics, and occasional textile remains. Academic in tone, with footnoted discussions of colours and textiles, literary evidence and geographic variation. The fourth and final part is devoted to reconstructions, bringing together the information from the earlier sections of the book and showing the work of the 1988 National Endowment for Humanities Summer Seminar in reconstructing “eighteen costumes, based on paintings, sculpture, and mosaics from Roman antiquity” (p. 213). This project seems to have made the participants aware of a number of the nuts and bolts issues which are familiar to recreators, including the price of materials and the problems of appropriate shoes and underwear. This section is good reading and does contain pattern diagrams as well as photos of participants wearing the costumes, but it feels like a beginning rather than an authoritative picture. [EARLY – ROMAN; PATTERNS] 136 Shaw, Henry. Dresses and Decorations of the Middle Ages from the Seventh to the Seventeenth Centuries. London: William Pickering, 1843. 2 volumes. No page numbers ([18]-page introduction). ISBN: none. 94 plates: Volume I: plates 1-38; Volume 2: plates 39-94. Plates are fine engravings, hand-coloured. Other coloured illustrations are used to decorate the pages of commentary. All are carefully redrawn from original artworks and artifacts. Henry Shaw was a Fellow of the Society of Antiquaries. His work is a collection of detailed etchings of artworks and artifacts, each with two pages of commentary which are often themselves illustrated. There is an introduction describing the changing fashions of the time. The focus of the introduction is English, although the items shown are from various parts of Western Europe. There are wonderful drawings of chalices, the Alfred jewel, calendars of seasonal activities, armours and gowns. The faces of the people depicted tend to be drawn in a delicately rounded 19th century fashion, while their clothing is in the style of the original representation. The text is what an educated person would have believed in the early 19th century, and is not lacking in thought or insight. A wonderful work in its own right (each page is individually hinged, and the hand colouring gives it more than an echo of the effect of the original manuscripts). Important for its effect on costume writers in the century following its publication. Most useful now for general background and certain specific illustrations seldom found elsewhere. [SURVEYS] Shenton, Eileen. See Fernald, Mary. Costume Design & Making. 137 Sichel, Marion. History of Children’s Costume. London: Batsford Academic and Educational, 1983. 72 pages. Glossary: 69-71. Bibliography (of costume books and histories of childhood): 71. Index: 72. ISBN: 0713403349. Numerous interpretive or original B&W line drawings. 4 colour plates giving impressions of clothing. A source that is tertiary at best. Its merits are good binding and unchallenging presentation. A browser. It does include drawings of some interesting cradles and carrying baskets, which one assumes are from the histories of childhood listed in the bibliography. [SURVEYS; CHILDREN] 138 Sichel, Marion. Jacobean, Stuart and Restoration. Vol. 3 of Costume Reference. London: Batsford, 1977. 70 pages. Glossary: 62-67. Bibliography (of other costume books): 68. Index: 69-70. ISBN: 0713403381. B&W line redrawings, some colour drawings. Sichel improves somewhat as she moves into a time when good secondary sources are more easily available. The usual cautions apply: you would be better to read the costume books Sichel used, and better still to use the original sources used by those books. [ENGLAND; 17th CENTURY; STUART] 139 Sichel, Marion. Roman Britain and the Middle Ages. Vol. 1 of Costume Reference. London: Batsford, 1977. 72 pages. Glossary: 67-70. Bibliography (of other costume books): 71. Index: 72. ISBN: 0713403349. Numerous B&W interpretive redrawings of clothing, mostly from artworks. A few colour plates. A very general introduction. This repeats without question all the clichés of costume history, and some of the illustrations show a visual “Chinese whispers” effect, where the blurring of detail and uncertainties of several generations of costume illustrators culminate in the creation of something entirely unknown to history. This does not provide enough information to costume from, nor enough source information to track down the detail that would be necessary for costuming or cross-checking. It is, however, relatively cheap, sturdily bound and ubiquitous in public libraries. (Actually, not all of it is that bad, but it can take a bit of work to sort the wheat from the chaff.) [ENGLAND – SURVEYS] 140 Sichel, Marion. Tudors and Elizabethans. Vol. 2 of Costume Reference. London: Batsford, 1977. 71 pages. Glossary: 66-69. Select bibliography (of other costume books): 70. Index: 71. ISBN: 0713403365. Numerous B&W interpretive redrawings of clothing, mostly from artworks. A few colour plates. As with the previous text, this is a very general introduction, giving neither enough information to costume from, nor enough source information to track down the detail that would be necessary for costuming or cross-checking. It is, however, relatively cheap and ubiquitous in public libraries. [ENGLAND; 16th CENTURY; TUDOR; ELIZABETHAN] 141 Singman, Jeffrey L. and Will McLean. Daily Life in Chaucer’s England. Westport, CT: Greenwood, 1995. (The Greenwood Press “Daily life through history” series, ISSN 1080-4749) xii, [253] pages. Glossary: 215-219. Bibliography: 241-246. Index: 247-252. ISBN: 0313293759. B&W line drawings of figures from various sources (original and secondary) with sources given. Pattern layouts, most from surviving garments. A compendium for those with an interest in 14th century England, with a definite slant towards historical recreation. Gives information on a wide range of topics, from social structures to food and handwriting. Chapter 6 (p. 93-135) is on clothing and accessories, and chapter 7 (p. 137-158) is on arms and armour. Although the Chaucerian emphasis is on the late 14th century, examples are drawn from the entire century with a few spilling over from the previous and succeeding centuries. Because this work concentrates on one span, it can bring together what is known of surviving garments and armours of the period and show trends and probable development over time. However, because there are few surviving garments from England in the period, patterns from the Scandinavian finds are used. There are line drawings of the pattern pieces of garments from Bremen, Bocksten, Moseland, Herjolfsnes and London. There are also conjectural patterns (noted as such) for garments such as breeches where there is little surviving evidence of the actual cut, and a fairly generic cutting layout for a shirt or kirtle based on the Bocksten kirtle. In all, there are instructions for a complete wardrobe of clothes with guidance for sewing techniques such as setting the point of the gusset. A chapter on armour gives information on the Wisby coats of plates and transitional armours. [ENGLAND; SCANDINAVIA; 14th CENTURY; CONSTRUCTION; PATTERNS – FROM SURVIVING GARMENTS; PATTERNS – MODERN; ARMOUR] Smith, Bernard. See Pugin, A. Welby. Glossary of Ecclesiastical Ornament and Costume. 142 Squire, Geoffrey. Dress Art and Society, 1560-1970. London: Studio Vista, 1974. 176 pages. Bibliography: 173. Index: 174-176. ISBN: 0289703514. Numerous B&W illustrations (a handful colour) of artworks and interpretive line-drawings. More to do with applying art theory to clothing and society than with the reporting of reproduction of clothing. Has some interesting pictures, but has a tendency to use the most extreme forms of fashion or artistic fantasy to make a point. Tends to use 1970s standards of attractiveness and gender appropriateness to judge whether the Seduction Principle is in effect, or whether a style of clothing is bland and mediocre. Does have some pertinent points about times when bodies gave shape to clothes and times when clothes gave shape to bodies, taking examples from the classical Greek peplos through 12th and 14th century Western European clothing before settling on the subject matter of its title. Check against more reliable sources before costuming. [ART THEORY; 16th CENTURY; 17th CENTURY] 143 Sronkova, Olga. Fashions Through the Centuries: Renaissance Baroque and Rococco. London: Spring Books, [1959]. Translated by Till Gottheiner. [163] pages. ISBN: none. Numerous B&W plates showing artworks of the time, some colour. Sronkova’s Eastern European perspective on clothing is refreshing. To show the Western influences on Czech clothing, there are portraits from the English, French and Spanish courts which will be familiar from many other sources. However, Sronkova also makes extensive use of artworks held in Eastern European collections which are not otherwise represented. Some of these show exquisite and exquisitely detailed clothing, while others show familiar garments from a different point of view. References to the 14th century are introductory and borrow illustrations from Sronkova’s work on Gothic women’s dress: the weight of the work settles around the 16th century. [EASTERN EUROPE; 14th CENTURY; 15th CENTURY; 16th CENTURY; 17th CENTURY; FRANCE; ENGLAND; SPAIN] 144 Sronkova, Olga. Gothic Woman's Fashion. Prague: Artia, 1954. Trans. Greta Hort. 265 pages. Bibliographies. Abstract (in French). Catalogue of sources for ills (in French). ISBN: none. Predominantly photographs (B&W and colour) of paintings and manuscript illuminations. Mostly 14th century, eastern Europe. Medieval Eastern European clothing is seldom featured in English-language resources. Gothic Women’s Fashion shows that it had many similarities with Western clothing, although variations in certain features gave each area a recognisable style. The illustrations are the heart of the work, showing details of garments and parts of garments taken from artworks. There is a particularly interesting discussion of the clothing of Bohemian bathkeepers, who appear with surprising frequency as marginalia in illuminated manuscripts wearing their sleeveless (and sometimes strapless) close-fitting garments with buckets and bunches of twigs. By showing similarities with the little we know of women’s underclothing from childbed and dressing scenes, Sronkova presents a case for the bathkeepers’ dress being the usual underwear of the day, admirably suited to maintaining the body-hugging line of some contemporary outer fashions. Gothic Women’s Fashion does not show how to make costume, but gives considerable background on the appearance of clothing from this time and is especially useful for information on how clothing was draped and worn. [WOMEN; 14th CENTURY; EASTERN EUROPE] Staniland, Kay. See Crowfoot, Elisabeth. Textiles and Clothing, c.1150-c.1450. 145 Stavridi, Margaret. The Hugh Evelyn History of Costume: BC - AD 1500. Vol. 4 of The Hugh Evelyn History of Costume. Illustrated by Faith Jacques with a commentary by Margaret Stavridi. London: Hugh Evelyn, 1970. [x], [40] pages. “Sources of Reference for the Plates”: [v-vi]. ISBN: 0238789608. 20 colour plates of costumes re-drawn from artworks. Competent but not particularly inspiring drawings, with a readable and sometimes flippant commentary. An acceptable browser, but you may as well look at the originals and get full detail and backgrounds. [SURVEYS] 146 Stavridi, Margaret. The Hugh Evelyn History of Costume: 1500-1660. Vol. 3 of The Hugh Evelyn History of Costume. Illustrated by Faith Jacques with a commentary by Margaret Stavridi. London: Hugh Evelyn, 1968. [x], [40] pages. “Sources of Reference for the Plates”: [vii-viii]. ISBN: 0238788121. 20 colour plates of costumes re-drawn from artworks. Competently handled drawings but not detailed enough to use as a basis for costuming. The commentary is readable, if occasionally curious. Note well anything you wish to return to, as the complete absence of page numbers will make it hard to find anything twice, and in the reviewed copy some of the plates were not in numerical order. A browser. [16th CENTURY; 17th CENTURY] 147 Stone, George Cameron. A Glossary of the Construction, Decoration and Use of Arms and Armour: In All Countries and In All Times; Together with Some Closely Related Subjects. New York: Jack Brussel, 1961. Reprint of work originally published by The Southwark Press, 1934. 694 pages. Bibliography: 687-694. ISBN: none. 875 B&W figures showing photographs of arms and pieces of armour, with a few contemporary drawings of things like medieval battering rams. A solid and varied collection, including many Asian artifacts (including modern kendo gear) and a “Maori Fighting Adze” as well as European arms and armour. Many of the figures contain a range of photographs, and there are some useful back and side views of bascinets and gorgets, a range of arrow- and spear-heads, and some of the more unusual medieval weapons. [WEAPONS; ARMOUR; SURVEYS] 148 Strong, Roy. And When Did You Last See Your Father?: The Victorian Painter and British History. London: Thames and Hudson, 1978. 176 pages. Index: 174-176. ISBN: 0500271321 (pbk.); 0500232814. 174 B&W and 13 colour illustrations of artworks from the Romantic revival. Our current views of history are both coloured by and react against the Victorian vision of a romantic past peopled by “the Saxon hero-king Alfred, the valiant crusader Richard I, the wicked hunchback Richard III, bluff King Hal, magnificent Elizabeth, innocent Jane Grey, doomed Mary of Scotland, sad-faced Charles I and stern-countenanced Cromwell, the Merry Monarch and Bonnie Prince Charlie.” (p. 11) Strong’s analysis of the Romantic and Victorian interest in history contains much that should be of interest to modern recreators. Strong’s discussion of costume is by way of analysis of Victorian historical paintings, showing the original portraits which were used for likenesses and costume details, and the costume illustrations by people such as Strutt who had made a huge impression. The layers of artworks—a manuscript from the time, a version by Strutt, a Victorian oil-painting incorporating Strutt’s figure—are most informative, as are the sculptures of Albert and Victoria as Anglo-Saxons. This is where many of our views of history took shape, and some things have changed little. [ENGLAND; ART THEORY; GOTHIC REVIVAL] 149 Strong, Roy. The English Icon: Elizabethan & Jacobean Portraiture. London: Paul Mellon Foundation for British Art (in association with Routledge & Kegan Paul), 1969. 388 pages. “Critical Bibliography of Books and articles on Elizabethan and Jacobean Painting 1540-1620”: 355-358. Abbreviations: 359-362. Alphabetical Index of Sitters: 363-366. List of Collections and Owners: 367-371. Acknowledgements to photographers: 372. Index: 373-388. SBN: 710067348. 61 B&W illustrations in the text. 365 illustrations plus details, a handful of them colour plates, in the catalogue of works, all of portraits from the time. An art book, filled with portraits by the painters of the English court. Strong’s argument is that art patronage in England slumped between the reigns of Henry VIII and Charles I. While the country’s financial straits and social upheavals had much to do with this, Strong points out that the iconoclasm which accompanied the official introductions of a more Protestant religion under Henry VIII and Edward VI not only destroyed medieval religious artifacts but also disrupted the practice of many decorative arts which had served the Church. Instead, portrait painting adopted many of the conventions previously used in painting icons. Strong’s book is a resource both solid and delightful for those interested in Tudor and early Stuart clothing. The portraits are plentiful, the reproduction is not bad for black and white, and full details of provenance and current location make it much easier to trace clearer colour images if these are desired. [ART THEORY; ENGLAND; 16th CENTURY; 17th CENTURY; ELIZABETHAN, STUART] 150 Strong, Roy, and V.J. Murrell. Artists of the Tudor Court: The Portrait Miniature Rediscovered, 1520-1620. London: The Victoria & Albert Museum, 1983. 168 pages. Index: 168. 277 B&W illustrations and with 25 colour plates of artworks, mostly portrait miniatures. An exhibition catalogue, with critical writings alongside the catalogue of miniatures which are represented at life size. Useful for its collection of good pictures of people wearing the clothing of 1520-1620. [ENGLAND; 16th CENTURY; 17th CENTURY; TUDOR; ELIZABETHAN; STUART: ART] 151 Strutt, Joseph. A Complete View of the Dress and Habits of the People of England, from the Establishment of the Saxons in Britain to the Present Time: Illustrated by Engravings Taken from the Most Authentic Remains of Antiquity. To Which is Prefaced an Introduction, Containing a General Description of the Ancient Habits in Use Among Mankind from the Earliest Period of Time to the Conclusion of the Seventh Century. London: Tabard, 1970. This edition, edited by James Robinson Planché, first published 1842. Originally published 1796. 2 volumes. Vol. 1: cxvii, 117 pages; 8, LXVIII plates. Vol. 2: vi, 279; LXIX-CXLIII plates. List of manuscripts: [269]-275. List of plates: [276]-279. SBN: vol. 1: 901951013; vol. 2: 901951021. 143 engraved plates (single colour), taken from named manuscripts. Some degree of interpretive drawing. These plates are the origin of much of the costume illustration since. Any serious costume researcher should sometime take the chance to sit down with Strutt. First published in 1796, these two solid volumes mark the dawn of “serious” costume history in English. Working almost entirely with primary sources—which are liberally quoted and etched—Strutt goes into great footnoted detail about historical English clothing. The gusto with which he bounces back and forth in time can at times leave one re-reading to see whose reign is under discussion now, but Strutt’s handling of textual sources has seldom met its match except in the work of Planché. This is interesting given that Planché edited the 1842 revised edition of Strutt’s work which is now the standard. The footnote commentaries where Planché tries to correct Strutt’s occasional misreadings and rein in some of his enthusiasms give a fascinating insight into the development of costume history. Strutt sees things differently. If he is not always looking with fresh eyes, he is at least looking without the preconceptions which we have acquired since he wrote. He is also useful for his sources, often manuscript, which lead one to wish fervently for an extensive microfilm facsimile collection or a detailed electronic archive, and for his costume terminology. Incidentally, as early as 1792 the historians were saying that the long shoes of the late 14th century were tied to the knees with chains, and the costume historians were saying they were mistaken about this: some things have changed little in the intervening two centuries. Other things, of course, have changed, and there are resources based on actual articles of clothing for many of the periods Strutt mentions. Yet he has weathered well and is still worth the reading, if only to expand your understanding and appreciation of costume and history. Although the focus of the work is very much on England, there is a long introduction (the cxvii pages in vol. 1) covering ancient clothing materials, Egyptians, Israelites, Assyrians, Persians, Medes, and other Asiatic Nations, and the Greeks and Romans. The remainder of the first volume is on the clothing of the Anglo-Saxons and Anglo-Normans. Note Planché’s footnote remarking that Strutt’s major sources for pre-9th century Anglo-Saxon clothing had since been re-dated to around the 10th century. The second volume picks up with the Anglo-Normans and proceeds through to the end of the 17th century. To summarise: Strutt’s work is not perfect, but it has a depth and consequence which will aid the understanding of the serious student. [ENGLAND – SURVEYS] 152 Sutton, Anne. “Dress and Fashions c. 1470.” Chapter 1 of Daily Life in the Late Middle Ages. Ed. Richard Britnell. Stroud, Eng.: Sutton Publishing, 1998. 5-26. [Book has 234 pages. All chapters have notes. Index: 227-234.] ISBN: 0750915870. 11 B&W photographs of manuscripts from the 1470s, showing women’s clothing. It is common to envy “late period” recreators for the relative abundance of resources available to them. Sutton here explains that there are difficulties knowing about clothing even at this relatively late date, and examines text and illumination sources for evidence of the clothing worn in England. Her interest is particularly in women’s clothing in England, and her frustration with the dearth of illustrations showing women (as opposed to those showing battle scenes) is obvious. Note that although it was “the custom to dress personages of the past—Caesar and Alexander, Guinevere and Arthur—in contemporary and fashionable dress appropriate to their rank….The Virgin Mary as Queen of Heaven was, for example, consistently dressed in the robes which the queen of England wore on state occasions. From about 1450, however, and with increasing momentum to the end of the century, this changed: artists began to depict characters from the past in exotic and fanciful ‘costume’ rather than in contemporary dress. The realism of the painters, when applied to the textiles and jewels worn by saints and long-dead kings and queens, thus becomes a snare: increasingly the same realism is not applied to the fashion of the garments.” (p. 7) There are lists and general descriptions of the main elements of dress for men and for women, along with much discussion of the difficulties of terminology and the tendency of fashion to change with a cycle of about ten years. References to clothing in wills of about the time are discussed, as are the changes in fashion from the 1450s to the 1480s. Sutton then examines the manuscript Clériadus et Méliadice for its descriptions of costume of the 1440s and its later illuminations of costume from about 1470. [15th CENTURY; ENGLAND; NETHERLANDS; ART THEORY] 153 Thienen, Frithjof van. The Great Age of Holland, 1600-60. Vol. 3, no. 5 of Costume of the Western World. Translation of: Het Noord-Nederland costuum vande gouden eeuw by Fernand G. Renier and Anne Cliff. London, Harrap, 1951. 28 pages. Bibliography: 28. ISBN: none. 60 plates of artworks and surviving garments, 8 of them colour. Discussion of the class and social affiliations revealed by Dutch dress styles in the early 17th century, explaining, in particular, the significance and tell-tale variations in the distinctive sober costume of the “regent” class. Trends through time are examined, as well as the sartorial tensions between classes. [NETHERLANDS; 17th CENTURY] 154 Thomas, Bruno, Ortwin Gamber and Hans Schedelmann. Arms and Armour: Masterpieces by European Craftsmen from the Thirteenth to the Nineteenth Century. London: Thames and Hudson, 1964. Translated from the German by Ilse Bloom. [252] pages. Glossary: [245]- 251. ISBN: none. “46 colour plates, 51 black and white plates and 43 vignettes”. The plates are of surviving arms, armour and gear for riding and falconry. Good pictures, showing close-ups of all sorts of bits and pieces including sword hilts, helms, different sets of hunting implements (including some rather vicious looking cleavers), rifles with ivory- and pearl- encrusted stocks, a consecrated hat and sword, and assorted crossbows. The emphasis is on very pretty gear that once belonged to rulers, and the pieces range from the exquisite to the very tacky. The oldest pieces are a Sicilian sword from before 1220 and a late 12th-century shield. The latest pieces are Napoleon's flintlock guns. The majority of items are from the 16th and early 17th centuries. Very nice detail of swept sword hilts, and a wide range of armours, especially German/Austrian armours. [SURVEYS; WEAPONS; ARMOUR; GERMANY; FRANCE; ITALY; 16th CENTURY; 17th CENTURY] Tilke, Max. See Bruhn, Wolfgang. A Pictorial History of Costume. 155 Tompkins, Julia. Stage Costumes and How to Make Them. London: Pitman, 1969. xvi, 166 pages. Bibliography "Some Useful Books" (other costume books): 159-162. Index: 165-166. SBN: 27341156X. 109 B&W line drawings and pattern layouts. “Period costume does not need to be accurate down to the last pernickety detail.... It is enough to hint at an epoch, at the same time taking care not to get your dates mixed.” (p. v) A guide for amateur theatre groups, giving practical advice on costumes from Saxon times to the 1930s. English focus. Uses “Basic Patterns”, then shows how the patterns can be expanded and enhanced to make costumes through the ages. Not a bad how-to-fake-it starter, but shows no interest in period cut or the effects of drape and bias. [ENGLAND – SURVEYS; THEATRE; CONSTRUCTION – MODERN; PATTERNS – MODERN] 156 Tortora, Phyllis, and Keith Eubank. A Survey of Historic Costume. New York: Fairchild, 1989. 361 pages. Bibliography: 345-353. Index: 355-361. ISBN: 870056328 (non-standard). Illustrations: numerous B&W photographs of surviving garments and artworks. 51 colour plates. “This book is intended for use as a basic text for college students making a survey of the history of costume. It is the purpose of the authors to present an overview of this vast subject rather than an infinitely detailed picture. At the same time it is the authors’ intention to make that picture as complete as possible within the limitations of space.” (p. ix) This is one of the better modern books for description of garments, supported by photographs of surviving garments and paintings. Tortora and Eubank seem to have taken the best features from a number of previous costume books, being in many ways an updated version of the Cunnington’s excellent English Medieval Costume with the addition of large format and photographs. For each time period there are descriptions of the general clothing and item descriptions of the garments which go to make up the costume. Each section has a list of selected readings, including not only other costume books but also books containing illustrations from the time and books about the society and culture of the time. Covers all the traditional times and places, with a little more breadth than is usual and some useful tables of things like costume terms. [SURVEYS; GLOSSARIES; SURVIVING GARMENTS] 157 Truman, Nevil. Historic Costuming. London: Pitman, 1932. 152 pages. Index: 149-152. ISBN: none. 6 colour plates and numerous B&W line drawings, many based on artworks of the times. A guide for theatre productions, with chapters by dynasty as well as for clergy and the history of armour. Line drawings vary between those redrawn from named original sources and those with general descriptions such as "Merchant Class". Has a section summarising the development of armour fairly competently, using named figures drawn from dated brasses. Final section uses very plain diagrams to show “the evolution of style”, giving a general silhouette for each time. The waist positions and hems lengths of these could be better. [SURVEYS; THEATRE; ARMOUR] 158 Turnau, Irena. “The Diffusion of Knitting in Medieval Europe.” 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. 368-390. ISBN: 0435323822. 10 B&W illustrations, including photographs of knitted textiles and artworks, and a diagram of knotless netting. Knitting hasn’t had much publicity in medieval recreation. Turnau shows examples of knitted artifacts from the early 12th century to the late 14th century, including stockings, cushions, and liturgical gloves. She also shows paintings of knitting Madonnas. The text discusses knitted caps and stockings, and the existence of knitters’ guilds by the beginning of the 16th century. Particularly interesting is the introductory section on the characteristics of knitting and the other techniques which produce textiles which can be mistaken for knitting. The diagram of a simple form of “knotless netting” is clear enough to start work from. [SURVIVING TEXTILES; SURVIVING GARMENTS; KNITTING; FOOTWEAR; HEADGEAR; ACCESSORIES; ECCLESIASTICAL] Uytven, Raymond van. See Harte, N.B. Cloth and Clothing in Medieval Europe. van Thienen, Frithjof . See Thienen, Frithjof van. 159 Vecellio, Cesare. Vecellio's Renaissance Costume Book: All 500 Woodcut Illustrations from the Famous Sixteenth-Century Compendium of World Costume. New York: Dover Publications, 1977. Other titles: Renaissance costume book. 156 pages. Note: Contains the woodcuts from the author's Habiti Antichi et Moderni de Tutto il Mondo, published in 1598, with new English captions. ISBN: 048623441X Chiefly illustrations: B&W woodcuts. Apart from a publisher's note at the beginning, this is entirely a collection of captioned B&W woodcuts made by a distant cousin of the artist Titian, originally published in 1590 and again in 1598. The woodcuts show clothing from around the then-known world and throughout time, so that as well as some very useful illustrations of contemporary Venetian clothing there are depictions of Trojans, classical Roman standard bearers and medieval styles which should all be treated with caution. Part of trend at the time of reviving interest in historical and regional costume for maskings and costume parties. [SURVEYS] 160 Victoria and Albert Museum: Department of Textiles. Guide to the Collection of Costumes. London: Published under the Authority of the Board of Education, 1924. (Rev. ed. First published 1913.) viii, 42 pages + 36 pages of plates. Index: 38-42. ISBN: none. 36 pages of plates + frontispiece. All of B&W photographs of surviving garments. The Victoria and Albert’s guide begins with a brief summary of the history of British dress, before moving on to the garments preserved in the V&A’s collection. Here are pictures of a slashed brocade ropa, caps, hats and embroidered tunics from the reign of Queen Elizabeth (written in the days before she needed a number), and from the 17th century doublets, coats and trunks, waistcoats, a glove, women’s jackets and a Scottish heraldic tabard. The text discusses the garments in the collection, dropping obiter comments about the Tudor knitted woollen caps (not illustrated) which are the earliest examples of headgear in the collection, or describing the single 15th-century poulaine owned by the museum (15 inches from heel to toe) as “exaggerated to the utmost extreme the fashion ever reached” (p. 27). There is a much-mended leather shoe from the late 14th century and another slashed shoe from the second quarter of the 16th century. The balance of the work is later, including a sturdy example of a 17th century square-toed riding boot. [ENGLAND; 16th CENTURY; 17th CENTURY; SURVIVING GARMENTS; FOOTWEAR] 161 Viollet-le-Duc, E. (Eugène-Emmanuel). Dictionnaire Raisonné du Mobilier Français de l'Époque Carlovingienne a la Renaissance. Paris: V.A. Morel, 1871-75. 6 volumes. ISBN: none. Volume 1: Meubles. 442 pages. Index: 433-440. Volume 2: Ustensiles; Orfévriere; Instruments de Musique; Jeux, Passe Temps; Outils, Outillages. 536 pages. Volume 3: Vêtements, Bijoux de Corps, Objets de Toilette. I. 479 pages. Volume 4: Vêtements, Bijoux de Corps, Objets de Toilette. II. 507 pages. Volume 5: Armes de Guerre Offensives et Défensives. I. 499 pages. Volume 5: Armes de Guerre Offensives et Défensives. II. 489 pages. Index of all volumes: 428-[489]. Numerous coloured plates and B&W line drawings after surviving items or artworks of the time. Sources are usually given, many of them manuscript numbers. Another of the old greats. Viollet-le-Duc was primarily an architect, and was one of the leaders of the Gothic Revival movement. His restorations, including the fortifications at Carcassone, are controversial as being too interpretive and sometimes obscuring the original fabric of the buildings. (I think he is the one responsible for the heavy restoration which gave the statue of the queen at Corbeil its unique sleeves and brooch which have been widely copied as genuine.) Where evidence is lacking, Viollet-le-Duc is not beyond filling in the gaps. His position as restorer of so many historic French buildings, however, and his strong interest in Gothic and Renaissance art put him in a position to examine a lot of the evidence for furniture, clothing, accessories and armour. This Dictionnaire Raisonné du Mobilier, then, is intensely interesting, but it is not a place to start. Viollet-le-Duc’s drawbacks include a tendency to draw figures with waists corseted in the 19th-century style, and to show diagrams of fictitious patterns for garments (his patterns for sleeves are especially bad). His good point is the almost overwhelming amount of stuff he manages to depict and describe, and in such detail. There are buttons and jewels and carving on all manner of things, accessories, coiffures, lecterns, liturgical paraphernalia, cups, crowns, helms and musical instruments. (In French.) [FRANCE – SURVEYS; ARMOUR; WEAPONS; JEWELRY; ACCESSORIES] 162 Warren, Geoffrey. Fashion Accessories Since 1500. London: Unwin Hyman; New York: Drama Book Publishers, 1987. 160 pages. Glossary: 158-159. Bibliography (largely of other costume books): 159-160. ISBN: 0713526823 (UK edition); 0896760944 (US edition). Numerous interpretive B&W redrawings of details from artworks and costume books. The strength of this book lies in its bringing together of examples of accessories from different sources. Seeing four shoes of a similar vintage, or six hats, or seven examples of ruffs from the 1560s gives an impression of the characteristics of an accessory that were essential and those that might vary with level of formality or personal preference. Not a great work, but worth a browse for a reminder of all the accessories which make clothing complete. [16th CENTURY; 17th CENTURY; ACCESSORIES] 163 Waugh, Norah. Corsets and Crinolines. London: Batsford, 1954. 176 pages. Glossary: 171-172. Bibliography: 15-16. Index: 173-176. ISBN: none. 115 figures and plates of artworks, cutting diagrams of the times, and drawings of surviving corsets with cutting patterns for their pieces. This is the book on corsets. Its direct relevance for medieval recreators is limited, since it is more concerned with later times when corsets were more the thing. However, it does include the instructions and pattern for a farthingale from the 1589 pattern book Libro de Geometria y Traca by J. Alcega, as well as much practical advice on the making of stays, corsets, and other such undergarments. Each section of time is represented by quotations from texts of the time, illustrations, and diagrams of surviving garments. From the 16th century there are useful quotations and illustrations (including one showing back-lacing on a Frenchwoman’s gown). Numerous patterns for stays and corsets showing the engineering required to achieve the desirable body shape at various times through history. Well-researched, and painfully fascinating. [UNDERCLOTHING; CORSETS; SURVIVING GARMENTS; 16th CENTURY; 17th CENTURY; PATTERNS – ORIGINAL; PATTERNS – FROM SURVIVING GARMENTS] 164 Waugh, Norah. The Cut of Men’s Clothes, 1600-1900. London: Faber, 1964. 160 pages. Bibliography (including tailors’ books from 1589-1893): 157. Index: 159-160. ISBN: none. 29 B&W plates of surviving garments and artworks of the day. 42 diagrams of pattern pieces. Other B&W line drawings. The first of three sections covers the years 1600-1680, giving cutting diagrams, information on 17th-century tailoring and tailors’ diagrams, and quotations from contemporary sources. An excellent guide giving enough information to make reproduction clothes from the patterns which would have been used at the time. Beloved of English Civil War re-enactors. [17th CENTURY; ENGLAND; CONSTRUCTION; PATTERNS – ORIGINAL; PATTERNS – FROM SURVIVING GARMENTS; MEN] 165 Waugh, Norah. The Cut of Women’s Clothes, 1600-1930. London: Faber, 1968. 336 pages. Glossary: 315-319. Bibliography (including tailors’ books from 1589-1930): 320-322. Index: 323-336. ISBN: none. 71 B&W plates of surviving garments and artworks of the day. 75 cutting diagrams. 54 Tailors’ patterns. A wonderful resource for anyone replicating costume from these centuries. The early section on 1600-1680 is itself broken into three parts, with description of the clothing during each span, the construction and production techniques, cutting diagrams and tailors’ patterns, and quotations from contemporary sources. [17th CENTURY; ENGLAND; CONSTRUCTION; PATTERNS – ORIGINAL; PATTERNS – FROM SURVIVING GARMENTS; WOMEN] Wee, Herman van der. See Harte, N.B. Cloth and Clothing in Medieval Europe. 166 Wilcox, Ruth Turner. The Mode in Costume. New York: Charles Scribner's Sons, 1948. First published 1942. xxiv, 419 pages. Bibliography of other costume books and secondary or tertiary history and art sources: 417-419. ISBN: none. Interpretive B&W line drawings at the end of each chapter. The first 36 pages cover Ancient Egyptian, Babylonian, Greek, Roman, Persian, Northern European and Byzantine clothing. Pages 37-140 cover medieval and Renaissance clothing in Western Europe, in small chapters of about 6 pages each which look at different countries in each period. Although this could be a very useful book, its lack of accuracy in dating and drawing makes it more of a first-contact browser than a work for the serious recreator. [SURVEYS] 167 Wilson, Lilian M. The Clothing of the Ancient Romans. Baltimore: The John Hopkins Press, 1938. The John Hopkins University Studies in Archaeology, No. 24. 178 pages. Bibliography: 173-174. Index: 175-178. ISBN: none. 103 B&W figures, including photographs of artworks (mainly sculpture) and people wearing reconstructions of Roman garments, as well as line drawings showing cutting diagrams for the reconstructions. Wilson spent considerable time studying the forms the toga took over the centuries, publishing a monograph on the toga alone. This is an attempt to explain and recreate all the garments which went to make up a set of clothing for men of different times, women and children, although–like the survival of evidence–it favours the clothing of men. The models in their reconstructions lack only the shoes and haircuts of the time to be pretty much perfect matches for the artworks they are recreating. Raw materials, colours and dyeing are discussed, as well as spinning, weaving and fulling. Informative and practical. [EARLY – ROMAN; CONSTRUCTION; PATTERNS; TEXTILES; DYES and DYEING; WEAVING] Winakor, Geitel. See Payne, Blanche. The History of Costume. Wolff, Philippe. See Harte, N.B. Cloth and Clothing in Medieval Europe. Wyrozumski, Jerzy. See Harte, N.B. Cloth and Clothing in Medieval Europe. 168 Yarwood, Doreen. Costume of the Western World: A Pictorial Guide and Glossary. London: Lutterworth, 1980. 192 pages. Bibliography 192. Many B&W illustrations in the glossary section, 10 coloured in redrawings in the section of the introductory portion which covers our time period. After a survey of Western European costume history (pages 7- 24 cover the years from 100-1620) the body of the work is arranged as a dictionary, with B&W line redrawings illustrating terms. While managing to give the usually-accepted stories about many items, there are better sources available. [SURVEYS; GLOSSARIES] 169 Yarwood, Doreen. Fashion in the Western World: 1500-1990. London: Batsford, 1992. 176 pages. Glossary: 165-169. Bibliography: 170-171. Index: 172-176. ISBN: 0713456841. 513 B&W and 43 coloured illustrations: mostly line redrawings with a few paintings from the period. Only the first two chapters—“1500-1540: The Renaissance Extends Westwards” and “1540-1620: The Spanish Influence”—are directly relevant to our study. These chapters take up p. 7-30 of the book. Most of the drawings will be familiar to readers of Yarwood’s other books. A general “once-over-lightly” of the 1500s. [SURVEYS; 16th CENTURY; 17th CENTURY; ENGLAND; FRANCE; SPAIN; PORTUGAL; ITALY; NETHERLANDS] 170 Zijlstra-Zweens, H.M. Of His Array Telle I No Lenger Tale: Aspects of Costume, Arms, and Armour in Western Europe, 1200-1400. Amsterdam: Rodopi, 1988. 142 pages. Index and bibliography. Text in English, Dutch and German. ISBN: 9051830254. 37 B&W illustrations, primarily photographs of sculpture, illuminations and objects, with a few redrawings. Patterns for one of the Herjolfsnes kirtles and the Blois pourpoint. Outlines developments in styles of dress and armour with reference to surviving items, literature and household accounts. Begun with a desire to date artworks by the costumes they present, the difficulty of that task caused the author to move into more general costume history. Good discussion of German, French and English costume terminology. German slant to content, with reference to French and English supporting sources. Chapters on armour are in German and Dutch, while most discussion of clothing and swords (identifying a baselard) is in English. Solid, well-footnoted, and readable. [SURVIVING GARMENTS; PATTERNS – FROM SURVIVING GARMENTS; ARMOUR; WEAPONS; 13th CENTURY; 14th CENTURY] |