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Her royal consort decked himself with dress no less elaborate, fur, gold, embroidery, and brocade and velvet all having the privilege of adorning His Majesty, whose courtiers wore robes emblazoned and embroidered with precious stones, and mantles sliced in pointed leaf or square indented edges. Parti-coloured garments were their delight, the dress often being divided in two, half in one colour and half in another, hose suffering like treatment; and their wide sleeves, known as "devil's receptacles," trailed along the ground, with many slashings to decorate them. The Troubadours gaily twanged the guitar and other instruments at the tournament, where the dames and matrons rode in parti-coloured tunics, with hoods and long tails to them, and bore small gold or silver swords or daggers in the girdle, which fell over the hips instead of encircling the waist.

Ermine shed its soft influence on many of the stiffest of silks, and dresses were completely lined with ermine, which also bordered the côte hardie. A deep royal blue was a very favourite colour, and jewels obtained in abundance, girdles being encrusted with these, while no neck seemed complete without a necklace of four rows of jewels and a pendent cross.

A good example of the dress worn by the middle class may be taken from Chaucer's Wife of Bath. He tells us she wore on her head on Sundays a fine cloth kerchief which weighed a pound, and scarlet stockings and fine new shoes; she travelled in a wimple and a very broad hat and cloak. The Miller's wife went abroad in a girdle, barred all of silk, and a white apron or barme cloth, as it was then called. Her shift had its collar embroidered in front and behind with black silk, and she covered her head with a white cap tied with strings, above a broad silk fillet. She had a leathern purse with metal buttons and silken tassels depending from her girdle.

Edward II.'s reign welcomed a new mode of dressing the hair, which was parted in the middle; over each ear was a golden basket, and on the top was a band of gold, narrower in the centre and broader towards the ears, and the coverchief was placed on the top of the head. A peculiar method too was the arranging of the hair in sausage rolls, covered with a white veil held in a lattice-work of gold. On the whole, head-dresses were more remarkable than beautiful and becoming. The caput, which came a little later, and might have been called ugly, fitted closely to the head, and had a broad scolloped border, and sometimes, in addition, two lappets which hung to the waist; others were pointed as the bishop's mitre; and most were characterised by a lack of height with no hair visible; and the pendent veil at the back bore an embroidered border. There was much hankering after yellow hair in the reign of Richard II., and those who were unblessed with golden locks would dye them with saffron.

Gloves received the special attention of women in the fourteenth century, and, when not actually on the hands, were placed in the girdle or carried. The gauntlets were jewelled, and embroidery was on the back or round the base of the fingers. Spain and France were famous for their proficiency and industry in the making of gloves, and fur and sheepskin were used for these as well as wool and silk.

In Germany the costume affected during the fourteenth century differed but little from that of the thirteenth. The dress of the women consisted of a long garment with a shorter under-dress, and over this another dress was worn, and over this again a mantle. The loose under-garment was very long, closely fitting to the hips, whence the skirt increased considerably in width; long narrow sleeves were made of white or coloured silk or of fine linen, and the necks of the dresses and the borders of the sleeves were trimmed with tracings of gold; a short chemise was visible from neck to waist, and the Hausfrau bunch of keys hung from the girdle. It is on record, indeed, that German women in this century were buried with their keys, and that divorced women were bound to return them to their husbands. Young girls wore a long sleeveless robe closely fitting to the hips and ample in the skirt, and over this a long gown of equal fulness fell from the neck, extremely wide upon the shoulders, and covering the forearm on both sides as a long tabard, circular pieces being cut out from each side, and the lower portion of the skirt sewn up. The old Teuton mode of hair-dressing with flowing locks prevailed, but plaiting also was in vogue, twisted with coloured or gold ribbons, or held at the back in a golden net. Simple garlands of flowers were placed in the hair, and a fillet of stuff or metal, this being shaped either as a crown, a diadem, or a coronet; and the matron adopted a fur-trimmed cap.

Italy in the fourteenth century showed a decided tendency to return to the classic form of dress. Long robes fashioned like the old tunic and stola fell in graceful folds round the figure to the ground; the sleeves were of moderate width, permitting the under-sleeves to be seen fitting tightly to the wrists. The dawn of the Renaissance brought some changes in costume, notably in the over-dress, then called a "simarre," which fitted closely in the bodice and outspread in a full trained skirt. This simarre was sometimes made open from neck to hem, and held together at the top by a square brooch; and the sleeves were of two varieties, either quite tight or else wider and very long, ending in a point, but invariably bearing some decorative border. The girdle definitely slipped to the hips, and the description of a Florentine dress runs: "A simarre of brocade fastened with small buttons on either side, the back hanging quite straight, the girdle being worn in front of the dress only." Very pretty must have been the cypriane, a gown of French origin which was worn with a high belt and had a triangular-shaped opening low on the bodice, a veil covering the bosom, and a delicate ruffle encircling the neck; the puffed sleeves and the back of the dress were slashed. A semicircular cloak was thrown over the shoulders and fastened in front, and left open or buttoned from throat to hem. The married women chose a sleeveless over-dress, and a long red or blue cloak, capacious and enveloping, and the widow wore this in black, surmounted by a long white veil. Caps, veils, and fillets found equal favour in the eyes of the Italian, whose pretty hair was as frequently seen bound with satin ribbons as with gold or silver paillettes, or arranged spirally, or confined in a caul; and the horseshoe shape of head-dress common in England was also to be seen in Italy, who borrowed it from France, where the skirts were now gradually becoming narrower and the dresses buttoning straight down the front, the skirt and bodice being cut in one, and the sleeves invested with much diversity, being worn tight or loose, buttoned or hanging open, displaying in some cases the forearm and in others a close under-sleeve.

A GERMAN STUDENT IN THE FOURTEENTH CENTURY.