December 20th – Blown away by feathers

“It is most remarkable”, declares an aghast J.R. Planché in his ‘Cyclopædia of costume’ (1876 – 1879, rf GT510.P5), “that these most graceful and effective ornaments appeared to have been utterly ignored by all races inhabiting the North of Europe till, at the earliest, the close of the thirteenth century” (Cyclopædia, volume 1, p. 188).

While, if Monsieur Planché is to be believed, feathers may have been given short shrift it the fashions of medieval Europe, this was not so in verse, as this medieval carol can attest:

“Omnes gentes plaudite

I saw myny bryddis setyn on a tre (1)

he tokyn her’ fleyзt & flowyn away

with ego dixi haue good day (2)

Many qwyte federis haзt þe pye

I may noon mor’ syngyn my lyppis arn so drye (3)

Manye qwyte federis haзt þe swan

þe mor’ þat I drynke þe lesse good I can (4)

ley stykkys on þe fer wyl mot is brenne

зeue vs onys drynkyn er we gon henne  (5)

(Extract taken from “Songs and carols from a manuscript”, Thomas Wright, p. 32; transcription by Dr Kathleen Rose Palti, “‘Synge we now alle and sum’: Three Fifteenth-Century Collections of Communal Song A study of British Library, Sloane MS 2593; Bodleian Library, MS Eng. poet. e.1; and St John’s College, Cambridge, MS S.54” (Thesis submitted for the degree of Ph.D., University College London Volume II: Appendices)

Following on from yesterday’s Norman revelry, today’s ditty could well be placed in the same tipsy camp. This song evokes an end-of-the-evening sort of atmosphere, and includes a handy tip about moderating the festive tipple when considering a festive sing-song: “I can sing no more my lips are so dry […] the more that I drink, the less well I can sing”. Prospective carollers, take note!

Yet, having warmed the vocal chords, how else should the wandering caroller keep warm, but with a good hat? Feathers – swan, (mag)pye or otherwise – have oft been used to adorn headgear to dramatic effect.

As in this painting taken from the seventeenth century Book of Wonders, the use of particularly rare or striking feathers in fashion could hold particular meaning. In this case, the black feather was permitted only for royalty, suggesting that the man on horseback and man leading the group at the right of the page may both be being portrayed as royal princes.

Within the British context, feathers may have found favour a little later, but society magazines suggest that by the nineteenth century feather-fever had struck, and a feathery display was just the ticket to turn heads, whether in the carriage or at Court.

Planché, who seems quite the fan (n.b. the fan also a good use of the dramatic feather) concludes with relief that “the Ladies have never utterly discarded [feather] from their toilette, and it is unlikely that they ever will!” (Cyclopædia, vol. 1, p. 189).

References:

J.R. Planché, ‘Cyclopædia of costume’, volume 1, 1876, (rf GT510.P5)

“The court magazine: Containing original papers, by distinguished writers, and finely engraved portraits, landscapes, and costumes, from paintings by eminent masters.”, Caroline Sheridan Norton (ed.) 1832 – 1836 (rper AP4.C6M2)

Ladies Museum, 1832, pub. James Robins and Co (rper AP4.L2M2)

“Songs and carols from a manuscript”, Thomas Wright, 1856 (s PR1105.W2)

Dr Kathleen Rose Palti, “‘Synge we now alle and sum’: Three Fifteenth-Century Collections of Communal Song A study of British Library, Sloane MS 2593; Bodleian Library, MS Eng. poet. e.1; and St John’s College, Cambridge, MS S.54” (Thesis submitted for the degree of Ph.D., University College London Volume II: Appendices)