WOMEN AND DRESS.
Extreme sensitiveness with regard to dress characterizes Spaniards of the better sort, and rather than appear in public unbecomingly attired, they remain hidden at home, only stealing out for necessities at nightfall, or perhaps in the early morn, and then back to their home for the day. In this we see a strong mixture of pride and bienséance, in which there is more sensitiveness than sense. But man can not live by reason alone. He who in this factitious world is guided only by the instincts of a sound mind, regardless of the frivolities of fashion, of convenance, indifferent to his neighbor's ideas of propriety, and to any taste except his own, commits a mistake. Though he alone is wise, and all the world fools, yet of necessity he must become foolish, else he is not wise.
Males, in their costume, were the birds of gay plumage at the beginning of the sixteenth century. So fantastically clad was the English nobleman in his laced doublet and open gown, that he was scarcely to be distinguished from a woman. In the time of Charles V. courtiers dressed in bright colors, but with his sombre son Philip, all was black—black velvet trimmed with jet; and stiff—stiff collars, and stiff black truncated cone hats, with brim scarcely an inch wide, in place of the soft slouchy sombrero.
THE MANTILLA AND CAPA.
The national and characteristic garment of both sexes in Spain for about three centuries was, for the outer covering, the capa, or cloak, of the cavalier, and the mantilla of the lady. In the reign of Charles V. the former was a short cape, and the latter simply a head-dress; but with time both enlarged until one reached below the knee, and the other below the waist. Some writers give to these garments a remote antiquity. They point to ancient coins where Iberia is represented as a veiled woman, and ignoring sex claim that to the Iberians the Romans gave the toga, and that for fifteen centuries the fashion continued. Others deny such connection. It is undoubtedly true that the capa of the sixteenth century was much shorter than the cloak of to-day, being a cape rather than a cloak, and not at all resembling the Roman toga. Sebastian Franc in his Weltbuch, Tübingen, 1534, writes: "Their women wear a curious dress around the neck; they have an iron band to which are fastened bent prongs reaching over the head, over which, when they desire it, they draw a cloth for the protection of the head, and this they hold to be a great ornament." To the men and women of Spain this garment is as the shell to the turtle; within it, though on a crowded thoroughfare, they may at any moment retire from the world, and ensconce themselves within themselves. The cavalier with a peculiar fling, utterly unattainable by a foreigner, throws the skirt over the breast and shoulder so as to partially or completely hide the face according to his pleasure. On the way to and from church the lady's face is covered; and the gallant sighing for a glimpse of features divinely fair, is obliged to enter the sanctuary, hide behind a column near the altar; then as one female after another approaches, kneels, and unveils, he may feast his eyes on the faces before him. The mantilla serves as a bonnet, veil, and shawl; formerly it was but an oblong piece of cloth, with velvet or lace border; later a lace veil was added as part of it; and now the Spanish female face is becoming more and more visible in public.
The capa is indispensable to the Spaniard; it fits his nature like a glove, and is almost a part of him. It may be worn over a rich dress, or it may conceal rags or nakedness; it may cover a noble, generous heart, or a multitude of sins. Hidden beneath it, in secret the wearer may work out his purpose, though in the market-place. It keeps out the cold; it may hide the assassin's dagger; it serves as a disguise in love intrigues, and is a grateful protection from importunate creditors. Twisted round the left arm, it is a shield; at night, it is a bed; and with a sword, capa y espada, it not unfrequently constitutes the entire earthly possessions of the haughty, poverty-stricken cavalier. Whatever be the character or condition of the wearer, dignity is lent him by its ample folds, and comeliness by its graceful drapery. It is an unpardonable breach of decorum for a muffled cavalier to address a person, or for any one to speak to him while so muffled. Politeness teaches him to throw open to his friend both his garment and his heart, that it may be plain that no concealed weapon is in the one, or malice in the other. A son dare not speak to his own father when his face is covered by his cloak.
The peasantry flaunted the gayest and most picturesque attire on holiday occasions; the majo, a rustic beau, wore a figured velvet waistcoat with square velvet buttons, and brilliant with colored ribbons; embroidered stockings, silver-buckled shoes, and a colored capa thrown gracefully over the left shoulder. The dress of Fígaro in the play, is that of an Andalusian dandy. The costume of Valencia is more Asiatic, or Asiatic-antique it might be called, partaking somewhat, as it does, of the ancient Greek costume—wide linen drawers, linen shirt, hempen sandals, footless stockings, wide red woollen belt, gay velvet jacket with silken sash, with a colored capa over all. The long hair is bound by a silken band in the form of a turban. The female peasant dress is no less showy; a red velvet bodice, with scarlet or purple petticoat, all profusely embroidered, a gay-colored square-cut mantilla fastened by a silver brooch, with chains and jewels and colored stones according to the purse of the wearer.
VARIOUS COSTUMES.
The ordinary peasant dress of Estremadura consists of wide cloth knee-breeches, closely resembling those of the Moors, a gabardine of cloth or leather, and cloth leggings. The men wear the hair long. The women have a fashion of putting on a great number of petticoats; the rustic belles of Zamarramala, a village of Estremadura, manage to carry from fourteen to seventeen. In Andalusia the men have short jackets ornamented with jet or steel beads, knee-breeches, and highly ornamented leathern leggings; the women wear short embroidered and flounced petticoats, and a Moorish sleeveless jacket embroidered with gold or silver and laced in front. Asturian peasants have wooden shoes with three large nails in the soles, which keep them from the ground; leathern shoes they frequently carry in their travels, and to and from church, under their arms, or on their heads, putting them on just before entering the village or church. The women wear ear-rings and necklaces of glass imitation of coral; a handkerchief, folded triangularly, covers the head; at funerals, a large black mantle is worn. The Castilians wear sandals, called abarcas, tied to the ankle by narrow strips of rawhide. The Estremadurans wear a hat, very broad-brimmed; the Catalonians, a red Phrygian cap; the Valencians, a kind of Greek cap; the Asturians, a three-cornered black or dark blue cap with velvet facings; the Biscayans, a flat red woollen cap; the Andalusians, a turban-like hat, or a silk handkerchief. In Aragon, as well as in some of the southern provinces, the broad-brimmed slouching sombrero obtains. Hats were invented by a Swiss, Pansian, in 1404, and a Spaniard first manufactured them in London in 1510. Jews in Spain were obliged to wear yellow hats; in Germany bankrupts, in like manner, were required to wear hats of green and yellow.
The general costume of a Spanish nobleman consisted of a silk gabardine, with sleeves close-fitting at the wrist but puffed and slashed between the elbow and shoulder so as to show the fine linen shirt beneath; chamois-skin doublet, thick but flexible; silk hose, and silk trowsers slashed; long bell-shaped boots with golden spur-supporters; broad, polished leathern belt, from which hung a long sword on the left side, and a long dagger in a leathern or velvet scabbard on the right; a round, soft, broad-brimmed beaver hat, with an ostrich-feather fastened by a diamond brooch on the side or in front; a cape or cloak embroidered or laced with gold or silver thread, fastened with cord and tassel, and worn hanging from the left shoulder, or thrown around the body so as to cover part of the face. Within doors, the cloak was laid aside; a velvet doublet was substituted for the leathern one; and instead of boots, shoes of leather or velvet, slashed over the toes, were worn. The dress of the lady was a heavy, flowing brocade or velvet skirt, open in front, displaying an underdress of light silk or satin; a chemisette with slashed sleeves; a stomacher with long ends hanging in front, and a velvet sleeveless jacket laced with gold or silver cord. The breast was covered with lace, and the neck and shoulders were bare, except when covered by the toca, a kind of head-dress, out of which by elongation grew the characteristic mantilla. Her shoes were of velvet, her stockings of silk or wool; from the waist on the right side hung a reticule, a silver or gold whistle for calling servants, and a poniard. Her dueña wore a black skirt, and a large black mantle completely covering the head, face, and shoulders down to the waist. Swords formed no part of domestic dress prior to the fifteenth century.