Women of England

by Bartlett Burleigh James

A mantle was worn about the shoulders. This, likewise, was of a solid color, usually contrasting with that of the gown. This garment appears to have been round or oval in shape, with an aperture at one side, so that when it was put on it hung much further down the back than in front. The head was covered with a wimple, broad enough to reach from the top of the forehead to the shoulders, where it was generally wrapped about the neck in such a way that the ends fell on the bosom. A less studied, but more tasteful, way to wear it was to have it hang down on one side as far as the knee; the effect of the contrasting colors of the wimple, the mantle, and the gown was gratifying to women of taste. The shoes were black, and of simple style. They resembled the house slippers worn by women to-day; but besides these low shoes, which came only to the ankles, other shoes were worn, that reached higher up the leg and appeared to have been laced much as shoes now are. Stockings may or may not have been used.

It will be seen from this description of the costume of the Anglo-Saxon woman that it was modest, complete, and in good taste. She was, however, proud of her attire, and of the many ornaments that were worn with it. The ornament in most general use was the fibula, or brooch. This was of many styles: radiated, bird-shaped, cruciform, square-shaped, annular, and circular. It was of gold, bronze, or iron, and showed the greatest delicacy of workmanship. It was worn on the breast, a little to one side, so as to fasten the mantle. When we are reminded that the Anglo-Saxons were highly skilled in the art of dyeing, and that they had perfected the art of gilding leather, we can readily see that a lady of quality, when dressed in her blue, purple, or crimson costume of state, her girdle clasped by a finely chased brooch of gold, whose fellow gleamed in the folds of her mantle, might have invited comparison, to advantage, with the most stylishly attired woman of to-day. But when we add to her dress a mantle, not only of rich colors, but embroidered in ornate design, with heavy threads of pure gold; massive arm rings of the same precious metal, of wonderfully beautiful pattern, and fastened about her round white arm by delicate little chains; and numerous strings of gold, amber, and glass beads, rich in pattern and cunningly chased, the picture presented of the Anglo-Saxon woman is altogether pleasing. The ornaments of the women were not considered as mere matters of adornment. To the pagan woman, her beads served as a protection against supernatural foes. When Christianity came in, the beads were blessed by a pious man and continued to serve the same useful end.

The bronze combs found everywhere in the graves of the time show how careful the women of the day were to keep in perfect order the long locks of which they were so proud. From the graves have been recovered chatelaines, of the fashion of those now in vogue, golden toothpicks, ear spoons, and tweezers. These ornaments and toilet requisites were in constant use in life; and in pagan times they were interred with their owner, that they might still be hers in the other world.

The Anglo-Saxons understood the art of inlaying enamel, and their colors were remarkably bright and enduring. But the most striking evidence of proficiency in the jeweller's art was their cloisonné ware. This art of the East was spread by the barbarian invasions over the whole of Europe; De Baye, in his Industrial Arts of the Anglo-Saxons, calls it "the first æsthetic expression of the Gothic nations," and says that it was not borrowed, but was adapted from the East. He describes it as follows: "This cloisonné work, set with precious stones in a kind of mosaic, and combined at times with the most delicate filigree, is sufficiently characteristic to be remarkable in every country where it has left traces." This beautiful form of art penetrated Kent and the Isle of Wight, where for some reason it became localized and assumed a particular character. Some of the fibulæ that have been preserved to us, and are to be found in the art collections of England, are remarkable specimens of this beautiful craft.

The love of English women for outdoor sports can be traced to Anglo-Saxon times, and much of the wholesome vigor of the race is due to those early pastimes. However fond women may have been of fine ornaments, then as now it was the privilege of the few to possess them; but the national sports were enjoyed by all. Hunting, hawking, boating, swimming, fishing, skating, were in great favor with the people.

In the winter there were many long hours to be whiled away indoors, and although spinning and weaving the fabrics for the family wear, as well as their embroidery and lace work, took up much of the time, the women still had ample leisure to engage with the members of their households and, perhaps, the passing guests in the many simple games that delighted them. Chess was in marked favor, and was played in much the same manner as now. The exchange of witticisms and the guessing of conundrums added much to the innocent mirth of a household intent on making the long evenings pass as pleasantly as possible.

There were itinerant purveyors of amusement who were to be found at every feast and at many family firesides. These were the wandering minstrels, or gleemen. Although they were welcomed for the entertainment they furnished, yet as a social class they were certainly in slight repute. Their forms of entertainment were not limited to music. They presented a programme that included the performances of trained animals, tricks of jugglery, feats of magic, and other exhibitions of skill and daring. Along with the gleemen went the glee maidens, who were the dancing and acrobatic girls of the day. Dancing itself was a very rudimentary performance, but the enthusiasm of the audience was aroused by the acts of tumbling and contortion that were introduced into it. Convinced that dancing alone could not account for the bewitchment of Herod by the daughter of his brother Philip's wife, the translators into the vernacular of that Biblical circumstance say of Herodias that she "tumbled" before Herod; and the illuminations in a prayerbook of the time show Herodias in the act of tumbling, with the assistance of a female attendant.

Slight protection, either from law or custom, was afforded women of the lower classes from gross insults. Any female was likely to be stopped on the road and partially or altogether denuded of her clothing, and then sent on her way with taunts and jeers. But, despite the coarseness of the Anglo-Saxon times, sentiment finally made Itself felt for the correction of such manners. The women were responsible for the diffusion of notions of greater refinement.

While there was little deserving the name of education, and even reading and writing were the accomplishments of but a small part of the people, the monastic orders conserved some notion of scholarship. Unfavorable as were the times to productive thought, scholars of no mean ability nevertheless flourished, and among men and women alike there was a desire for learning. To his female scholars the monk Anghelm dedicated his works: De Laude Virginitatis. Certain Saxon ladies of leisure occupied themselves with the study of Latin, which they came to read and write with some ease. The literary antecedents of the brilliant women of the sixteenth century are to be found in that little group of studious women of the Anglo-Saxons, of whom the Abbess Eadburga and her pupil Leobgitha, with both of whom Saint Boniface corresponded in Latin, were the most notable.