A former illustration has shown us a pack-horse and mule, the means by which those itinerant traders chiefly carried their merchandise over the country. But some kinds of goods would not bear packing into ordinary bundles of the kind there shown; for such goods, boxes or trunks, slung on each side of a pack-saddle, were used. We are able to give an illustration of them from an ancient tapestry figured in the fine work on “Anciennes Tapisseries” by Achille Jubinal. It is only a minor incident in the background of the picture, but is represented with sufficient clearness. Another mode of carrying personal baggage is represented in the fifteenth-century MS. Royal, 15 E. V., where a gentleman travelling on horseback is followed by two servants, each with a large roll of baggage strapped to the croupe of his saddle. The use of pack-horses has not even yet (or had not a few years ago) utterly died out of England. The writer saw a string of them in the Peak of Derbyshire, employed in carrying ore from the mines. The occasional occurrence of the pack-horse as the sign of a roadside inn also helps to keep alive the remembrance of this primitive form of “luggage-train.” Many of our readers may have travelled with a valise at their saddle-bow and a cloak strapped to the croupe; the fashion, even now, is not quite out of date.
CHAPTER V.
COSTUME.
e have, in a former chapter, given some pictures from illuminated MSS., in illustration of the costume and personal appearance of the merchants of the Middle Ages; but they are on such a scale as not to give much characteristic portraiture—except in the example of the bourgeoise of Paris, in the illumination from Froissart, on page 492—and they inadequately represent the minute details of costume. We shall endeavour in this chapter to bring our men more vividly before the eye of the reader in dress and feature.
The “Catalogus Benefactorum” of St. Alban’s Abbey, to which we have been so often indebted, will again help us with some pictures of unusual character. They are of the fourteenth century, and illustrate people of the burgess class who were donors to the abbey; the peculiarity of the representation is, that they are half-length portraits on an unusually large scale for MS. illuminations. When we call them portraits, we do not mean absolutely to assert that the originals sat for their pictures, and that the artist tried to make as accurate a portrait as he could; but it is probable that the donations were recorded and the pictures executed soon after the gifts were made, therefore, presumedly, in the lifetime of the donors. It is, moreover, probable that the artist was resident in the monastery or in the dependent town, and was, consequently, acquainted with the personal appearance of his originals; and in that case, even if the artist had not his subjects actually before his eyes at the time he painted these memorials, it is likely that he would, at least from recollection, give a general vraisemblance to his portrait. The faces are very dissimilar, and all have a characteristic expression, which confirms us in the idea that they are not mere conventional portraits.
They seem to be chiefly tradespeople rather than merchants of the higher class, and of the latter half of the fourteenth century. Here, for example, are William Cheupaign and his wife Johanna, who gave to the Abbey-church two tenements in the Halliwelle Street. One of the tenements is represented in the picture, a single-storied house of timber, thatched, with a carved stag’s head as a finial to its gable. This William also gave, for the adornment of the church, several frontals, with gold, roses embroidered on a black ground; also he gave a belt to make a morse (fastening or brooch) for the principal copes, with a figure of a swan in the morse, beautifully made of goldsmith’s work; also he gave to the refectory a wooden drinking-bowl or cup, handsomely ornamented with silver, with a cover of the same wood. He wears a green hood lined with red; his wife is habited in a white hood.
