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The best new research on medieval clothing and textiles, drawing
from a range of disciplines. The fifth volume of this annual series
features several articles examining the interaction of medieval
romance with textiles and clothing. French Gothic ivory carvings
illustrating courtly romances reveal details of fashionable dress;
the distinct languages of narrative poetry and Parisian tax records
offer contrasting views of medieval embroiderers; and scenes from
the Tristan legend provide clues to the original form of the
earliest surviving decorativequilt. Other papers look at
ecclesiastical attempts to restrict extravagance in secular women's
dress, the use of clothing references to signal impending conflict
in Icelandic sagas, the development and possible construction of
the Tudor-era court headdress called the French hood, and the way
Cesare Vecellio drew on both existing artwork and the Venetian
image to present historical dress in his sixteenth-century treatise
on costume. Also included are reviews of recent books on clothing
and textiles. ROBIN NETHERTON is a professional editor and a
researcher/lecturer on the interpretation of medieval European
dress; GALE R. OWEN-CROCKER is Professor of Anglo-Saxon Culture
atthe University of Manchester. Contributors: KATE D'ETTORE,
SARAH-GRACE HELLER, THOMAS M. IZBICKI, PAULA MAE CARNS, SARAH
RANDLES, MELANIE SCHUESSLER, TAWNY SHERRILL
The best new research on medieval clothing and textiles, drawing
from a range of disciplines and with a special focus on
reconstruction. The third volume of this pioneering series explores
the manufacture and trade of textiles and their practical,
fashionable, and symbolic uses. Papers include in-depth studies and
cross-genre scholarship representing such fields associal history,
economics, art history, archaeology and literature, as well as the
reconstruction of textile-making techniques. They range over
England, Flanders, France, Germany, and Spain from the seventh to
the sixteenth centuries, and address such topics as soft
furnishings, ecclesiastical vestments, the economics of the wool
trade, the making and use of narrow wares, symbolic reference to
courtly dress in a religious text, and aristocratic
children'sclothing. Also included are reviews of recent books on
dress and textile topics. ROBIN NETHERTON is a professional editor
and a researcher/lecturer on Western European dress, specializing
in the depiction and interpretation of clothing by artists and
historians. GALE R. OWEN-CROCKER is Professor of Anglo-Saxon
Culture at The University of Manchester and author of Dress in
Anglo-Saxon England; she is the Director of an ARHC-fundedproject
on cloth and clothing terminology in medieval Britain.
CONTRIBUTORS: ELIZABETH COATSWORTH, SARAH LARRATT KEEFER, SUSAN
LEIBACHER WARD, JOHN H. MUNRO, JOHN OLDLAN, LESLEY K. TWOMEY,
ELIZABETH BENNS, LOIS SWALES, HEATHER BLATT, MELANIE SCHUESSLER
Analysis of accounts disbursed by the royal treasury, alongside
text and translation in excerpt, provides richly detailed
information on clothing at the time. The Accounts of the Lord High
Treasurer of Scotland document money spent by the royal treasury
and contain numerous references to clothing and textiles. This
volume is designed to make the rich material in the Accounts from
the regency of the Earl of Arran (whose ward was Mary Queen of
Scots) available to those interested in the study of dress and
accessories. In addition to overviews of the various types of
garments mentioned in the Accounts and discussion of a number of
specialty categories, such as wedding and funeral clothing, this
book includes the original text of every entry from the Accounts
pertaining to secular clothing, with facing translation into modern
English. The Accounts' entries include information on materials and
labour, and describe thousands of items for dozens of people, from
court fools to nobles. They are grouped here by recipient, in
"wardrobe biographies" which gather all ofthe entries for a
particular person together in chronological order. Through the
numerous clothing-related entries from this period it is possible
to track the wardrobes of a number of people connected to the
Scottish court, the popularity of various garments and accessories,
details about their construction, and insights into the
relationships of the people involved. MELANIE SCHUESSLER BOND is
Professor of Costume Design, Eastern Michigan University.
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