Religious and academic dress in the middle ages functioned as a metaphorical signifier of spiritual and intellectual standards, implied a given social status, signalled the rejection or possession of garment wealth, and, in the details, suggested the wearer's spiritual state. This book presents the first sustained analysis of the characterizing dress worn by Chaucer's pilgrims who are in holy orders and/or affiliated with universities; the author uses approaches from a variety of disciplines (received criticism of late medieval literature, developments in political, economic and social history, the visual arts, and material culture) in order to present the complex ideas and rhetoric the pilgrims' dress expresses. She also makes the religious, intellectual, and material culture of Chaucer's day accessible to modern audiences through the reconstruction of the significance of fabrics, dyes, accessories, garments, and assembled costumes, and an explanation of technical details and specialist vocabularies for cloth-making, clothing, accessories, and their images in the visual arts.

Sewing Pattern - Houpelandes, c. 1390-1460 A.D - Houpelandes were the last fashion which was found throughout Europe, as well as being the last unisex fashion. This comfortable style, flowing from the shoulder to the hem, apparently first developed in Italy around 1380, but by 1400 was found throughout Europe. Belted or loose, houpelandes were usually worn over a cotehardie (PP21 & PP23) ,a second houpelande with tight sleeves, a chemise (PP90) ,or shirt (PP43) and hose (PP43 or PP101). By 1450 there were many variations of this style, mostly of the sleeves, neckline. Women's houpelandes were always floor-length, although men's houpelandes varied from very short to very long. Only a few were limited by sex or geographical location. By 1475 houpelandes were no longer considered fashionable (although still occasionally seen). Men's cotehardies had developed into doublets, and the houpelande became a gown or robe often worn open down the front (PP43 and PP53). This pattern has 6 houpelandes for either sex, with sleeves & necklines interchangeable. The sleeves & cotehardie underneath are faked, but the fake sleeves can be left off and replaced by a cotehardie or a 2nd houpelande.... [Read More]

Brooches, rings, buckles, pendants, buttons, purses and other accessories were part of everyday dress in the middle ages. Over two thousand such items dating from the period 1150-1450 are described and discussed here, all found in recent archaeological excavations in London - then as now one of western Europe's most cosmopolitan cities, its social and economic activity compounded by the waterside bustle of the Thames. These finds constitute the most extensive and varied group of such accessories yet recovered in Britain, and their close dating and the scientific analysis carried out on them have been highly revealing. Important results published here for the first time show, for example, the popularity of shoddy, mass-produced items in base metals during the high middle ages and enable researchers to identify the varied products of rival traditions of manufacture mentioned in historical sources. Anyone needing accurate information on period costume will welcome this book, which will appeal to the general reader interested in costume and design, as well as to archaeologists and historians. THE AUTHORS are members of staff of the Museum of London.

The catalogue focuses on the entire non-numismatic contents of the Cuerdale hoard (discovered in 1840), together with all the other hoards and single-finds of gold and silver artefacts (ornaments and ingots) of Viking character in the British Museum, found in Britain and Ireland, up to the end of the year 2000, with each piece individually catalogued and illustrated. There is also a full chapter discussing the coins from Cuerdale, together with summary descriptions. Written by the leading authority on the subject, James Graham-Campbell is Emeritus Professor of Medieval Archaeology, University College London and a Fellow of the British Academy. This catalogue complements both that by D. M. Wilson on the Anglo-Saxon Ornamental Metalwork, 700-1100, in the British Museum (London, 1964) and that by James Graham-Campbell on The Viking-Age Gold and Silver of Scotland (AD 850-1100) (Edinburgh, 1995).Table of Contents1. The Collection of Viking-Age Gold and Silver from Britain and Ireland in the British Museum2. The Discovery and Dispersal of the Cuerdale Hoard3. The Cuerdale Coins, by Gareth Williams, with a contribution by Marion Archibald4. Classification and Discussion of the Objects: P... [Read More]

English summary: The analysis of archaeological textiles in order to write their ancient cultural history is still in its infancy. This study contributes to this process by cataloging more than 600 original pieces of headwear from the late Roman and early Byzantine periods, and evaluates them in terms of their location, date, sociological context, visual and written sources, as well as their precursors and successors. The majority of the analyzed pieces have so far remained unpublished, and many are for the first time being identified and reconstructed as head coverings. The book thus provides a material basis for costume historians, textile experts, archaeologists, sociologists, art historians, philologists, and museum curators. German text. German description: Die Auswertung archaologischer Textilien fur die antike Kulturgeschichte steckt erst in den Anfangen. Die vorliegende Arbeit leistet hierzu einen Beitrag, indem sie mehr als 600 originale Kopfbedeckungen spatromischer und fruhbyzantinischer Zeit katalogisiert und in Hinblick auf ihre Lokalisierung, Datierung, soziologische Zusammenhange, bildliche und schriftliche Quellen sowie Vorlaufer und Nachfolger auswertet. Die uberwi... [Read More]

Stilettos were light, easy to carry and often worn like jewelry by both men and women. In use throughout the European Renaissance, they were common at the feast table. It has been said that the stiletto was the favorite tool of assassins due to its size, weight and the ease with which it could be thrust through the layers of the heavy fabrics of the era. Our version has a triangular shaped blade which is deeply fullered on all three sides and comes to a very keen point. The grip and pommel are turned in steel as is the typical short guard. A black leather scabbard with steel parts is included. Made by Windlass Steelcrafts.

Say hello to feudal Japan, circa 1400. The katana first appeared around this time in the Muromachi Period, and acted as the next version of the more basic tachi sword. The difference between the two began as a pretty nominal one, because some samurai preferred to carry their swords with the sharp edge facing up instead of down. Thanks to these early trendsetters, the nature of Japanese combat took a giant step forward. That simple change, which makes it easier and faster for warriors to pull out their weapons, marked the beginning of the katana's path through history. Swordsmiths caught on to the movement and started to design their weapons with the new style in mind. The katana's most distinguishing characteristics are the way that it is worn (in that efficient edge-up fashion) and the placement of the maker's signature. Because samurai carried their katanas upside-down in comparison to tachi swords, swordsmiths also switched the placement of their signatures to the opposite side of the blade so that their names would remain visible on the outside of the katana. This is probably the best way to tell what kind of sword you are looking at, since the carry method can be a bit unclear... [Read More]

The electrical fences and advanced technology of Jurassic World didn't stop the dinosaurs from escaping and terrorizing the visitors, just like nothing is going to stop you from having the best Halloween yet when you dress in this one-piece inflatable T-Rex suit. A built-in fan will keep you cool all night, so whether you're trick or treating through Jurassic World or you're going to a fun party with your friends, you'll be comfortable! You can also don this costume to the premiere of the upcoming film; you'll look so great, people will forget all about the movie and all eyes

Barry Allen becomes the Flash when lightning strikes the S.T.A.R. Labs particle accelerator where he's working. Your child may not be able to run faster than the speed of light, but this officially licensed DC Comics costume will make him look and feel just like the Flash! It includes a bright red muscle chest jumpsuit with 3D Boot Tops and 3D Gauntlets. It also includes a red half-face mask just like the one the Flash wears with its distinctive yellow horns above the ears. Your child will be ready to find the truth behind any number of crimes he discovers

Detail size chartMeasure dimensions before buyingsize110:Length 68cm,Bust 26*2cm ,waist 24*2cm,for age 3Tsize120:Length 73cm,Bust 28*2cm ,waist 25*2cm,for age 4-5Tsize130:Length 76cm,Bust 30*2cm ,waist 28*2cm,for age 5-6Tsize140:Length 84cm,Bust 32*2cm ,waist 29*2cm,for age