A comparative simplicity marked the raiment of the thirteenth century, when the elaborate detail yielded place to ample folds of drapery, capacious mantles, and flowing trains. It was a simplicity, however, which cannot conscientiously be congratulated upon its economical habits, for the fabrics employed were of the richest and most sumptuous, and the breadth of the garments was prodigious. The dress which is so proudly worn by the Queen in the illustration on page 20, is characteristically splendid, and a glance at it shows that it was fashioned of a thick brocade traced in diamond design, and cut square in the neck and very long in the sleeves, where a few folds of white lawn appear becomingly above the wrists, the veil falling from neck to hem, and the enfolding gorget being fastened tightly under the chin. Pre-eminently typical was another dress honoured by this Eleanor of Provence—a most unpopular lady, by the way, even though her taste in costume might have made for some measure of success, at least amongst her feminine subjects. She chose "a gown of gold brocade, sleeves reaching to the wrists, while over this she wore a mantle bordered with gold and bearing a collar of ermine. The mantle was held up by a brooch of gold set with jewels, the head crowned with a Gothic design of floriated trefoils above a jewelled band."
HENRY III.'S QUEEN.
A SIMPLE BUTTONED GOWN.
The following description, commendably brief, which I have read of a dress worn by the wife of Edward I. will bring home the fashion of the day to the understanding of the least initiated:—"A long gown with loose sleeves; held at the breast by a narrow band is a long mantle, folds of this covering the feet; ornaments none." But then no doubt the amiable lady suffered from a popular leaning in favour of conjugal obedience, and it is well known that King Edward himself strenuously upheld all simple garb, though it must be admitted that his descendants showed but small respect for his prejudices when they buried him in "a dalmatic of red silk damask, a crimson satin mantle fastened on the shoulders by a gilt fibula decorated with precious stones; a stola of white tissue ornamented with gilt quatrefolds and knots crossed on the breast, and jewelled gloves upon his august hands. The lower part of his body was wrapped in a piece of cloth of gold."
Some severity also marked costume in France at this time, when there was a suggestion of the ecclesiastical in the high guimpe without which no dress was complete. This was a fancy inaugurated by the second wife of Philip III. for the special benefit of her long throat and flat chest; and worn in company with a pointed head-dress and a flowing veil, a closely-fitting long robe of brocade, and an embroidered mantle, the general effect must have been entirely dignified and impressive. Simplicity, however, did not reign here long, and Louis IX. of France appears to have been quite lenient towards extravagance, and to have had a nice taste of his own, judging from the picture which represents him wearing a velvet cap, a tunic open at the neck, and a robe of brown embroidered with red flowers, and possessing long sleeves trimmed with fur. Fur was amongst his weaknesses evidently, for a deep cape of fur covers his shoulders in another picture, where he is wearing a fur-trimmed robe and has indulged himself with red stockings and black shoes. This was the King who urged his courtiers to dress themselves well and neatly, so that their wives would love them the more, and their people esteem them higher.
