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

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

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.