The conventional ideal of the troubadours is, again, thus described: "She is a lady whose skin is white as milk, whiter than the driven snow, of peculiar purity in whiteness. Her cheeks, on which vermilion hues alone appear, are like the rosebud in spring, when it has not yet opened to the full. Her hair, which is nearly always bedecked and adorned with flowers, is invariably of the color of flax, as soft as silk, and shimmering with a sheen of the finest gold." (J. F. Rowbotham, The Troubadours and Courts of Love, p. 228.)
In the most ancient Spanish romances, Renier remarks, the definite indications of physical beauty are slight. The hair is "of pure gold," or simply fair (rudios, which is equal to blondos, a word of later introduction), the face white and rosy, the hand soft, white, and fragrant; in one place we find a reference to the uncovered breasts, whiter than crystal. But usually the ancient Castilian romances do not deal with these details. The poet contents himself with the statement that a lady is the sweetest woman in the world, "la mas linda mujer del mundo." (R. Renier, Il Tipo Estetico della Donna nel Mediœvo, pp. 68 et seq.)
In a detailed and well-documented thesis, Alwin Schultz describes the characteristics of the beautiful woman as she appealed to the German authors of the twelfth and thirteenth centuries. She must be of medium height and slender. Her hair must be fair, like gold; long, bright, and curly; a man's must only reach to his shoulders. Dark hair is seldom mentioned and was not admired. The parting of the hair must be white, but not too broad. The forehead must be white and bright and rounded, without wrinkles. The eyebrows must be darker than the hair, arched, and not too broad, as though drawn with a pencil, the space between them not too broad. The eyes must be bright, clear, and sparkling, not too large or too small; nothing definite was said of the color, but they were evidently usually blue. The nose must be of medium size, straight, and not curved. The cheeks must be white, tinged with red; if the red was absent by nature women used rouge. The mouth must be small; the lips full and red. The teeth must be small, white, and even. The chin must be white, rounded, lovable, dimpled; the ears small and beautiful; the neck of medium size, soft, white, and spotless; the arm small; the hands and fingers long; the joints small, the nails white and bright and well cared for. The bosom must be white and large; the breasts high and rounded, like apples or pears, small and soft. The body generally must be slender and active. The lower parts of the body are very seldom mentioned, and many poets are even too modest to mention the breasts. The buttocks must be rounded, one poet, indeed, mentions, and the thighs soft and white, the meinel (mons) brown. The legs must be straight and narrow, the calves full, the feet small and narrow, with high instep. The color of the skin generally must be clear and of a tempered rosiness. (A. Schultz, Quid de Perfecta Corporis Humani Pulchritudine Germani Sœculi XII et XIII Senserint, 1866.) A somewhat similar, but shorter, account is given by K. Weinhold (Die Deutschen Frauen im Mittelalter, 1882, bd. 1, pp. 219 et seq.). Weinhold considers that, like the French, the Germans admired the mixed eye, vair or gray.
Adam de la Halle, the Artois trouvère of the thirteenth century, in a piece ("Li Jus Adan ou de la feuillie") in which he brings himself forward, thus describes his mistress: "Her hair had the brilliance of gold, and was twisted into rebellious curls. Her forehead was very regular, white, and smooth; her eyebrows, delicate and even, were two brown arches, which seemed traced with a brush. Her eyes, bright and well cut, seemed to me vairs and full of caresses; they were large beneath, and their lids like little sickles, adorned by twin folds, veiled or revealed at her will her loving gaze. Between her eyes descended the pipe of her nose, straight and beautiful, mobile when she was gay; on either side were her rounded, white cheeks, on which laughter impressed two dimples, and which one could see blushing beneath her veil. Beneath the nose opened a mouth with blossoming lips; this mouth, fresh and vermilion as a rose, revealed the white teeth, in regular array; beneath the chin sprang the white neck, descending full and round to the shoulder. The powerful nape, white and without any little wandering hairs, protruded a little over the dress. To her sloping shoulders were attached long arms, large or slender where they so should be. What shall I say of her white hands, with their long fingers, and knuckles without knots, delicately ending in rosy nails attached to the flesh by a clear and single line? I come to her bosom with its firm breasts, but short and high pointed, revealing the valley of love between them, to her round belly, her arched flanks. Her hips were flat, her legs round, her calf large; she had a slender ankle, a lean and arched foot. Such she was as I saw her, and that which her chemise hid was not of less worth." (Houdoy, La Beauté des Femmes, p. 125, who quotes the original of this passage, considers it the ideal model of the mediæval woman.)
In the twelfth century story of Aucassin et Nicolette, "Nicolette had fair hair, delicate and curling; her eyes were gray (vairs) and smiling; her face admirably modeled. Her nose was high and well placed; her lips small and more vermilion than the cherry or the rose in summer; her teeth were small and white; her firm little breasts raised her dress as would two walnuts. Her figure was so slender that you could inclose it with your two hands, and the flowers of the marguerite, which her toes broke as she walked with naked feet, seemed black in comparison with her feet and legs, so white was she."
"Her hair was divided into a double tress," says Alain of Lille in the twelfth century, "which was long enough to kiss the ground; the parting, white as the lily and obliquely traced, separated the hair, and this want of symmetry, far from hurting her face, was one of the elements of her beauty. A golden comb maintained that abundant hair whose brilliance rivaled it, so that the fascinated eye could scarce distinguish the gold of the hair from the gold of the comb. The expanded forehead had the whiteness of milk, and rivaled the lily; her bright eyebrows shone like gold, not standing up in a brush, and, without being too scanty, orderly arranged. The eyes, serene and brilliant in their friendly light, seemed twin stars, her nostrils embalsamed with the odor of honey, neither too depressed in shape nor too prominent, were of distinguished form; the nard of her mouth offered to the smell a treat of sweet odors, and her half-open lips invited a kiss. The teeth seemed cut in ivory; her cheeks, like the carnation of the rose, gently illuminated her face and were tempered by the transparent whiteness of her veil. Her chin, more polished than crystal, showed silver reflections, and her slender neck fitly separated her head from the shoulders. The firm rotundity of her breasts attested the full expansion of youth; her charming arms, advancing toward you, seemed to call for caresses; the regular curve of her flanks, justly proportioned, completed her beauty. All the visible traits of her face and form thus sufficiently told what those charms must be that the bed alone knew." (The Latin text is given by Houdoy, La Beauté des Femmes du XIIe au XVIe Siècle, p. 119. Robert de Flagy's portrait of Blanchefleur in Sarin-le-Loherain, written in same century, reveals very similar traits.)
"The young woman appeared with twenty brightly polished daggers and swords," we read in the Irish Tain Bo Cuailgne of the Badhbh or Banshee who appeared to Meidhbh, "together with seven braids for the dead, of bright gold, in her right hand; a speckled garment of green ground, fastened by a bodkin at the breast under her fair, ruddy countenance, enveloped her form; her teeth were so new and bright that they appeared like pearls artistically set in her gums; like the ripe berry of the mountain ash were her lips; sweeter was her voice than the notes of the gentle harp-strings when touched by the most skillful fingers, and emitting the most enchanting melody; whiter than the snow of one night was her skin, and beautiful to behold were her garments, which reached to her well molded, bright-nailed feet; copious tresses of her tendriled, glossy, golden hair hung before, while others dangled behind and reached the calf of her leg." (Ossianio Transactions, vol. ii, p. 107.)
An ancient Irish hero is thus described: "They saw a great hero approaching them; fairest of the heroes of the world; larger and taller than any man; bluer than ice his eye; redder than the fresh rowan berries his lips; whiter than showers of pearl his teeth; fairer than the snow of one night his skin; a protecting shield with a golden border was upon him, two battle-lances in his hands; a sword with knobs of ivory [teeth of the sea-horse], and ornamented with gold, at his side; he had no other accoutrements of a hero besides these; he had golden hair on his head, and had a fair, ruddy countenance." (The Banquet of Dun na n-gedh, translated by O'Donovan, Irish Archæological Society, 1842.)
The feminine ideal of the Italian poets closely resembles that of those north of the Alps. Petrarch's Laura, as described in the Canzoniere, is white as snow; her eyes, indeed, are black, but the fairness of her hair is constantly emphasized; her lips are rosy; her teeth white; her cheeks rosy; her breast youthful; her hands white and slender. Other poets insist on the tall, white, delicate body; the golden or blonde hair; the bright or starry eyes (without mention of color), the brown or black arched eyebrows, the straight nose, the small mouth, the thin vermilion lips, the small and firm breasts. (Renier, Il Tipo Estetico, pp. 87 et seq.)
Marie de France, a French mediæval writer of the twelfth century, who spent a large part of her life in England, in the Lai of Lanval thus described a beautiful woman: "Her body was beautiful, her hips low, the neck whiter than snow, the eyes gray (vairs), the face white, the mouth beautiful, the nose well placed, the eyebrows brown, the forehead beautiful, the head curly and blonde; the gleam of gold thread was less bright than her hair beneath the sun."