In the fourteenth century the Gothic costume was perhaps at its most beautiful stage. The long robe, the upper part following the lines of the figure, with long close sleeves half covering hands, or flowing sleeves, that touched the floor. About the waist was worn a silk cord or jewelled girdle, finely wrought and swung low on hips; from the end of which was suspended the money bag, fan and keys.
The girdle begins now to play an important part as decoration. This theme, the evolution of the girdle, may be indefinitely enlarged upon but we must not dwell upon it here.
In some cases we see that the tunic opened in the front and that the large, square, shawl-like outer garment of Greece now became the long circular cape, clasped on the chest (one or two clasps), made so familiar by the art of the Gothic and Renaissance periods. Turn to the illuminated manuscripts of those periods, to paintings, on wood, frescoes, stained glass, stucco, carved wood, and stone, and you will find the Mother of God invariably costumed in the simple one-piece robe and circular clasped cape.
In most of the sacred art of the tenth, eleventh, twelfth, thirteenth, fourteenth and fifteenth centuries, the Virgin and other saints are depicted in the current costume of woman. The Virgin was the most frequent subject of artists in every medium, during the ages when the Church dominated the State in Europe.
The refurnishing of the Virgin's wardrobe has long been and still is, a pious task and one clamoured for by adherents to the churches in which the Virgin's image is displayed to worshippers. We regret to say, for æsthetic reasons, that there is no effort made on the part of modern devotees to perpetuate the beautiful mediæval type of costume.
In some old paintings which come under the head of Folk Art, the Holy Family appears in national costume. The writer recalls a bit of eighteenth century painting, showing St. Anne holding the Virgin as child. St. Anne wears the bizarre fête attire of a Spanish peasant; a gigantic head-dress and veil, large earrings, wide stiff skirts, showing gay flowers on a background of gold. The skirt is rather short, to display wide trousers below it. Her sleeves have filmy frills of deep white lace executed with skill.
PLATE XXI
Mrs. Condé Nast in a garden costume. She wears a sun-hat and carries a flower-basket, which are decorative as well as useful.
We have chosen this photograph as an example of a costume made exquisitely artistic by being kept simple in line and free from an excess of trimming.
This costume is so decorative that it gives distinction and interest to the least pretentious of gardens.