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Meet Gwenllian ferch Gruffydd, the National Heroine of Wales

“Cymraes ydw i. I have no need for English fashions,” in one simple line from chapter two of “Gwenllian ferch Gruffydd, the Warrior Princess of Deheubarth” Princess Gwenllian summarizes her entire life and legacy, a legacy that has touched billions of lives.

But who was she and if she was really so influential, why have few people outside of Wales ever heard of her?

Born in 1097, Princess Gwenllian ferch Gruffydd was the daughter of King Gruffydd ap Cynan of the Welsh kingdom of Gwynedd.  Gwynedd’s rugged mountains empowered its rulers to remain independent longer than any other Welsh kingdoms in the country. Today the county of Gwynedd remains one of the largest and includes Snowdonia National Park. But historically Gwynedd the kingdom was much larger than its modern namesake. In medieval times Gwynedd’s capital was Aberffraw Castle on the island of Ynys Môn (English: Anglesey).  Readers of “Boudicca, Britain’s Queen of the Iceni” should recognize the name Ynys Môn because the island was the center of British druidry and therefore bore the brunt of Roman aggression towards Brythonic and ancient Celtic culture and religion.  Ynys Môn has a long tradition of being a historical hot spot (and one worthy of your next visit to the United Kingdom).


So it should be no surprise that Ynys Môn would be home to Wales’ most pivotal leaders.


Turn of the 12th century Wales was turbulent.  After his victory near Hastings in October 1066, William the Conqueror (now William I of England) set his sights on conquering the entire island of Britain.  Many of the Scottish nobles were bribed into vassalage. But the north of England and the Welsh kingdoms were different.  If William I and his new Angevin dynasty wanted to control these lands, he would have to take them by force!

William I began this task immediately.  In 1067 construction began on the first Norman castle, Chepstow in modern day Monmouthshire in southeast Wales. Located approximately 32 miles north of Cardiff, Chepstow’s location in the kingdom of Gwent made it the perfect fortress for attacking the southern kingdoms of Gwent, Morgannwg, and Deheubarth which in Gwenllian’s time had expanded to include most of south central Wales, including the kingdom of Ceredigion.

Standing in the way of this Norman Conquest of Wales were King Gruffydd ap Cynan of Gwynedd and King Rhys ap Tewdwr of Deheubarth.  Though often forced to retreat into exile in Ireland, both men blocked the outright and permanent conquest of their realms, passing on their fight to their sons and daughters.

It was in this environment that Princess Gwenllian ferch Gruffydd was born.  Like her famous brothers, she was raised in a kingdom constantly under attack. Everyone — including the king’s daughter — needed to be battle ready or risk losing life and home to William Rufus’ and King Henry I’s notoriously brutal soldiers.

Gwenllian’s life changed forever in 1113 when King Rhys ap Tewdwr’s two surviving sons sought sanctuary at Aberffraw after recently escaping exile, torture, and imprisonment at Norman hands. For Prince Gruffydd ap Rhys and Princess Gwenllian it was true love almost from the beginning of his time there.  In 1115 they married and Gwenllian moved to Gruffydd’s Dinefwr castle as its co-sovereign, beginning a twenty year war of resistance against the much stronger Normans thanks to their successful use of the Welsh longbow fired from the cover of forest, the same tactics used by the fictional Robin Hood and Maid Marion against similar Norman knights. Unlike Robin Hood and Marion, Gwenllian and Gruffydd’s stakes in these battles were far greater: if they failed, tens of thousands of Welsh would be enslaved by the Anglo-Normans.  Their kingdom was at stake and it was their job to defend it — at any price.

Gwenllian paid that price in February 1136 when Maurice de Londres captured her following a desperate winter battle.  Instead of ransoming her as the code of chilvary demanded, Maurice chopped off her head, making Gwenllian the first sovereign ever executed by the English.  It was an atrocity that could no be ignored.

To this day “revenge for Gwenllian” remains a Welsh battle cry of outrage, an execution that remains well remembered.  The Welsh have not forgotten Gwenllian and never will.  To truly understand the history and culture of the British people it is vital that you discover her story as well.

“Gwenllian ferch Gruffydd, the Warrior Princess of Deheubarth” is available in English, Welsh, German, and Spanish on Amazon, iBooks, and a retailer near you.

Language Switching and why I do it so much

If you are a fan of the Legendary Women of World History biographies or period dramas, you have no doubt noticed that I tend to bounce around languages a great deal, sometimes at the expense of being directly understandable in a given point in the book.  So why do I do it and why will I not simply put the whole damn thing in English like normal people do?

In a word, PARALINGUISTICS.  Paralinguistics is a social science term for the parts of verbal communication that are not inherent in the meaning of the words we use.  Paralinguistics is the HOW of our speech: its melody, its pace, its inflection and so forth.  Dialect and specific word choice is also paralinguistic. It conveys to listeners a great deal of information about a person and in particular information about gender, ethnicity, place of birth, place of residence, socio-economic class, even race sometimes.  Different places have different names for the same thing.

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The labels we use for objects varies greatly with our geography and our dialect. A classic example of this is our word for a sweetened carbonated beverage.

One classic example I studied in university in my “non-verbal communication” class was the word we use to refer to a sweetened carbonated beverage. No, it is not the same word everywhere.  In the southern United States, the word “coke” is used to refer to such beverages, regardless of brand (I heard this myself during my stay in Louisville, Kentucky).  In many Midwestern states such as Nebraska where I was born and raised, the word is “pop.”  In New England the preferred word is “soda” which is the word I default to. In fact I often very purposely avoid the word “pop,” much to the annoyance of my now late mother who complained that I “didn’t talk like a Nebraskan.” That’s because I had so thoroughly adjusted my dialect to what is normal in the greater New York City metropolitan area that I no longer sounded like someone from the Midwest.

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Is it a crawdad, crawfish, or crayfish?  The word you use is largely determined by where you are from.

Beyond geography, our paralinguistics tell listeners a great deal about our socio-economic status and education.  A person with a third grade education talks differently than a person with a university degree.  A person who has traveled a great deal also talks differently from a person who has never left her own town or village. The languages one speaks is a powerful communicator of this information and how that person is perceived.  As a rule, speaking multiple languages is a mark of education, travel, and often class.  It tells you very concisely who that person is and what her or his background is.

No where is this more evident than in the use of honorifics.

What is an honorific?  It’s a word we use to convey respect to another person.  A classic example is when we address a judge “your honour” and a member of a royal family as “Your Majesty” or “Your Highness.” In medieval societies it was especially important to show proper respect with these honorifics which include “your grace,” “my lord/milord,” “my lady/milady,” “my liege,” “sire,” “master,” “mistress,” and so forth.

Honorifics in the Legendary Women of World History biographies almost always follow the person’s nationality or adopted nationality.  So Princess Nest ferch Gruffydd respectfully greets King Gruffydd ap Cynan with the Welsh “f’arglwydd” which means “milord.” Use of “f’arglwydd” (or its feminine form “f’arglwyddes”) instantly tells you the speaker is Welsh. Likewise French Princess Catherine de Valois (book two) periodically speaks French, both to her family members and to the monolingual King Henry V, particularly during their many arguments.

When Matilda of England returns to London after the death of her husband, Kaiser Heinrich V, her persistent use of German and German forms of people’s names is there to tell you very concisely that she identifies herself as “empress” (German, Kaiserin; Latin, Imperatrix).  This is absolutely historical and it is a major reason why the Anglo-Norman nobility found her impossible to work with. Using German powerfully conveys how Matilda saw herself and how she insisted on being treated.

The use of language therefore tells you who the person is and how s/he self-identifies.  The actual meaning of the individual words is far less important than what the use of them says about the person as a whole and in the given moment.  Queen Elizabeth Tudor spoke at least six languages and therefore very fluently moved across them as she desired and the situation merited.  The immediate descendants of William the Conqueror spoke both English and French with the same fluency as many Canadians do today.  By necessity they used English, French, and Latin in the day-to-day administration of their vast realms.  Medieval Europeans prayed in Latin so all of the prayers found in the LWWH are in Latin as well.

Language switching in the Legendary Women of World History series is therefore essential in accurately communicating who these people were and the societies in which they lived.  It might be easier to render a prayer in English from a reader point of view, but it would not be historically accurate to do so. It might be more comfortable for some readers if all dialogue were in English, but doing so would strip out all of the paralinguistics that we all use everyday when communicating with other people.  It would be akin to writers universally using the word “coke” to refer to a soft drink without considering if that word is what a historical person or character would actually label the beverage.  A person from the southern United States most certainly would — but not all people in the United States are from the southern region nor are all English speakers from that region either.

 

Whether we realize it or not our word choices are an essential part of our daily communication.  More than simply which words we use, our dialects and use of borrowed words from other languages communicates a great deal about who we are to people.  Fluency in many languages is driven by many factors in our lives:  social, economic, educational, and professional to name just a few. How we speak is a major part of the tapestry of our lives.  Embrace that tapestry in your own life and use your understanding of it to enhance your understanding of other people.

 

 

 

King Stephen and Herr Trump: thoughts on the inauguration

Today Donald J. Trump will take the oath of office to become the 45th President of the United States. He does so as the most hated and distrusted person to ever swear that oath, an oath that he refuses to uphold and will never uphold beyond his ability to use the government of the United States for personal profit, something explicitly forbidden by the Constitution of the United States and therefore the oath he is about to take.

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Taking an oath of office you have no intention of upholding is nothing knew.  Nearly every king and queen regnant of England, Great Britain, and the United Kingdom has sworn a coronation oath.  Here is that oath and coronation ritual as King Stephen swore it on 26th of December, 1135 when he usurped the throne of King Henry I’s daughter and heir, Empress Matilda:

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“Do you Stephen de Blois solemnly swear to uphold the three duties of the king of England? Will you swear first, that the church of God and the whole Christian people shall have true peace at all time by your judgment; Second, that you will forbid extortion and all kinds of wrong-doing to all orders of men; Third, that you will enjoin equity and mercy in all judgments?” asked the Archbishop of Canterbury as he stood before the assembly at Westminster Abbey.

“I so swear!” promised Stephen.

The archbishop turned to the nobles assembled before him, “Do you, members of the Witan council consent to this man ruling as your king?”

“We wish it and grant it,” confirmed the Witan.

“Stephen de Blois, it is the will of the English people that you are to be king!  Receive now the anointing from God through me that you may be blessed in your reign!” proclaimed the archbishop as he anointed Stephen on his hands, breasts, shoulders, and arms with holy oil prepared for the coronation. In honour of the king’s duty to protect his people, he girt Stephen with a mighty sword before placing the royal crown upon his head. The royal ring he placed on Stephen’s finger. The sceptre and the rod he placed in Stephen’s hands. Finally, and at long last King Stephen sat down on his throne, his ambition fulfilled.

 

Trump’s coronation today (for there’s nothing democratic about his “presidency”) will resemble King Stephen’s in many strikingly similar ways–as will his reign. Stephen of course did not have nuclear weapons.  But like Trump, Stephen was a sort of puppet, a weak-minded monarch who allowed shrewder and even more ambitious men to use him for their personal gain — at the expense of not only the English people, but the entire island of Britain. King Stephen’s reign and its impact on England, Scotland, and Wales is an important part of “Empress Matilda of England.”  

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Empress Matilda of England tells the story of Henry I’s sole surviving legitimate child.

Matilda herself did not cross the Channel to assert her birth right upon hearing of Stephen’s treachery for she was heavily pregnant at the time and crossing the English Channel was a dangerous matter.  Stephen of course did not have nuclear weapons at his disposal.  Four hours from this writing, Donald J. Trump will.

We cannot afford delay in Resisting. We cannot afford to wait and see and hope that maybe Trump isn’t as bad as he seems.  Do not let the gas-lighting convince you to mistrust your own eyes, ears, and judgement. Do not get lulled into a false sense of security.

King Stephen inflicted eighteen years of civil war upon Britain, years called “The Anarchy.” They were among the worst years in British history.  Let us not allow history to repeat itself here.  Let us learn from history. Only our lives and liberties are at stake.

 

 

 

Gwenllian ferch Gruffydd Análisis De La Escena: Vestuario

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Ya disponible.

Traducido por Andrés Sotelo Soria:

Buen día y bienvenido seas a tu viaje como recreador, actor o productor de una de las Obras Teatrales de las Mujeres Legendarias de la Historia Mundial.
Como historiadora, me apasiona la historia. Adoro pocas cosas más que ver una obra de teatro del periodo correcto en la que se representan de forma exacta los vestuarios. Pero, ¿qué se puede hacer si tienes poco presupuesto o si vas a montar las obras de “Gwenllian ferch Gruffydd” o de “La Emperatriz Matilda”? ¿Qué pasa si no tienes años de experiencia en investigación de vestidos medievales?

La siguiente es una guía general para las producciones de “Gwenllian ferch Gruffydd: Un obra en tres actos” y para la reconstrucción general de personajes del siglo XII:

ANÁLISIS DE LA ESCENA: VESTUARIO

A menos que se especifique en algún otro sitio, los personajes usan atuendos comunes del siglo XII

MUJERES: vestidos de túnica que llegan hasta el suelo y los primeros briales conocidos, ambos usados con cinturones largos que se ajustan fijamente alrededor de la cintura. Los briales (cuando se usen) se atan de lado. Las capas se usan en la noche y durante los meses de invierno.  Las galesas usan una continuación de la antigua capa envuelta y asegurada con un prendedor llamada “brat”.

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HOMBRES:  camisas de túnica que caen hasta la rodilla y pantalones sencillos. El cinturón está amarrado fijamente a la cintura. Las capas se usan en la noche y durante los meses de invierno.  Los galeses usan una continuación de la antigua capa envuelta y asegurada con un prendedor llamada “brat” La jerarquía tanto de los hombres como de las mujeres se muestra a través del tipo de tela y los adornos con bordados elaborados a lo largo del escote, las mangas y dobladillos en los dobladillos de la ropa usada por la realeza. La joyería también establece la jerarquía con anillos elaborados y gargantillas llevadas por los ricos y poderosos.  Nota:  los collares de librea (los cuales se posan de forma plana contra el cuerpo en vez de colgar libremente en el cuello) se usaron por primera vez en el siglo XIV y, por lo tanto, están fuera de este periodo.  Vestuario especialPrólogo: el fantasma de Gwenllian usa un brial de color azul pálido con rosas blancas y narcisos amarillos bordados a lo largo del dobladillo.  Es el mismo vestido que usa Gwenllian en el Acto I, Escena VIII.

Acto I, Escena II: El lodo cubre las capas y las botas de Hywel y el príncipe Gruffydd.

Acto I, Escena VII: Gwenllian usa un bello vestido y una capa bordada.  Su cabello pelirrojo está perfectamente trenzado y cae sobre su espalda.  Una diadema sencilla de nobleza oculta su verdadera posición social como la hija del rey.

Acto I, Escena VIII: Gwenllian usa un brial de color azul pálido con rosas blancas y narcisos amarillos bordados a lo largo del dobladillo.  Lleva sobre su cabeza la diadema real de una princesa de Gwynedd sobre su cabello trenzado descubierto.

Acto III, Escena I: la dama de compañía pone una capa gruesa sobre el vestido de túnica sencillo de Gwenllian. Los sirvientes colocan una armadura pesada sobre el príncipe Gruffydd sobre la cual atan una capa gruesa.

Acto III, Escena II: la armadura del príncipe Morgan, su ropa y su cara están cubiertos de sangre, lodo y hollín.

Acto III, Escena V: los granjeros usan túnicas y pantalones viejos y en su mayoría raídos. Gruffydd ap Llewellyn usa una armadura modesta y está armado con armas de calidad. Morgan y Maelgwn llevan una armadura y armas finas.

 

“Catherine de Valois”Stage Verses Book: How The Adaptation Differs From The Biography

The following article is part of the reference materials at the end of “Catherine de Valois: A Play in Three Acts.”

 

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“Based on a true story.”  When we hear those words we know and fully expect (rightfully) that a play, teleplay, or screenplay takes certain artistic licenses that deviate from events as they really happened.

Though every effort was made to keep this stage play as faithful to the biography upon which it is based as possible, there are a few differences between book and play which make both worth reading, exploring, and performing.

As with all books, the narrative biography “Catherine de Valois” uses prose-format narrative covering events that are not readily translated to the stage.  For example, after the Battle of Agincourt, King Henry V secured an alliance with the Holy Roman Emperor and together waged a naval battle against the French and Genovese at Harfleur in 1416.  Between Act I, Scene VI and Scene VII four full years have passed.  In the book you know what happened; in the play you do not.  Likewise the book covers the entire twenty-seven months Catherine and Henry were married, including the birth of Prince Henry on 6th December 1421.  Finally the book explores Catherine’s marriage to Owen Tudor.  We are there in the book as each of Catherine’s sons are born, seeing Catherine as the loving mother that she was and why King Henry VI, Owen Tudor, and Edmund Tudor remained so close after her death in January 1437.

Though most of the events covered in the narration were left out of the play (for example, the birth of Edmund Tudor), some events that were conveyed narratively instead of dramatically are in the play.  These appear as new scenes:

  • Act I, Scene VIII: in this mother-daughter scene set fourteen months after Henry and Catherine’s first meeting in October 1419, we learn that Catherine and Henry married on 2nd June 1420 and that Catherine still despises Henry.
  • Act II, Scene IV: as the Siege of Meaux begins in earnest, King Henry confides to his younger brother John Duke of Bedford about his marriage to Queen Catherine.  Henry’s court herald arrives from London to inform him of the birth of his son, Prince Henry.
  • Act II, Scene VI: Catherine returns to Paris certain that her duties as queen of England are now over with Henry’s death. This scene was added to make it explicit that Henry V is dead.
  • Act III, Scene III: Catherine and Owen’s wedding.  Historically all we know about this wedding is that it happened in secret  sometime before 1427 and that their priest told no one.  This scene shows the wedding to make it clear that Catherine and Owen married at least three years before Edmund’s birth in 1430.

Finally one scene stealing character was all but removed from the play version on practical grounds.  That character of course is Isabelle, Catherine’s Alexandrine parakeet.

In medieval Europe, companion birds were the primary pets for most people with the type of bird kept largely controlled by wealth and access to the food and shelter needs of the bird species.  From 2006 to 2013 I researched medieval aviculture as part of my membership in the Society for Creative Anachronism.  I became society expert on parrots in the middle ages and taught seminars on both medieval aviculture and medieval falconry.  So it only makes sense that my expertise in this area makes an appearance in Catherine’s biography.  In fact nothing could be more “Laurel” than including a parrot in the narrative.

In the book Isabelle behaves exactly the way the parrots I know (mine and those of friends) behave.  From the food stealing in chapter one to the playful aerial antics in chapter three, the book showcases life with parrots as I know it.

Parrots are unpredictable; they have minds of their own; they are not domesticated creatures.  Though they can be trained, there is no guarantee at any given moment that the bird will do what you ask.  In a live environment like theatre this is asking for trouble, trouble readily avoided by keeping Isabelle confined to a single scene where she can be replaced by a hand prop if need be.

 

In summary, “Catherine de Valois:  A Play in Three Acts” is a faithful adaptation to its parent biography.  Though not everything in the book makes it to the stage, it accurately and dramatically renders the events of Queen Catherine’s life in a form so entertaining it’s hard to realize how much you are learning in the process.

Enjoy the audio edition, kindle edition, and paperback edition of the original biography on Amazon sites worldwide.  Audio edition narrated by veteran Shakespearean actor and voice artist Richard Mann.

 

Roman British Costuming: General Guidelines for “Boudicca: A Play in Three Acts”

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A Roman lady wears a tunic (white), stola (blue), and palla (red).

As a historian, history is my passion.  I love few things better than seeing a period-correct drama where the costumes are accurately rendered.  But what do you do if your budget is small or you are playing scenes from “Boudicca: A Play in Three Acts” or Shakespeare’s “Julius Caesar?” What if you don’t have years of expertise researching Roman and Roman-British clothing?

The following is a general guide for productions of “Boudicca: A Play in Three Acts” and for general re-enactment of Roman and Roman-British characters/personae:

 

 

BRITISH CLOTHING

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The brat is a 2 meter long, 30″ wide heavy wool rectangle that is wrapped or pinned around the body to protect the wearer from the elements. Worn across “Celtic” societies on both the continent and the British islands. The late medieval “kilt” of Scotland evolved from the ancient brat which can be pinned and belted (as above) as desired or simply folded and wrapped around the body in dozens of different ways.

Simple wool tunics.  Men wear shorter tunics with warm, simple-cut trousers. The trousers of upper class warrior men are cropped with hemlines between the knee and an ankle.  Women wear ankle length tunics.  Both sexes wear brats: a heavy and often coarsely woven rectangular shawl folded lengthwise across the body.  The brat may be worn as a shawl, draped and pinned as a cloak, draped and pinned as a surcoat, or simply folded and pinned secure to the upper breast.  Jewellery is abundant and includes decorative broaches.

ROMAN CLOTHING

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Men wear knee length tunics called “chitons.”  Over this common men wrap a rectangular cloak similar to a brat that is often pinned securely. High ranking men wear togas over their chitons instead of a cloak.

Women wear a long-sleeved tunic dress covering most of the body.  Over this women wear a stola which is high-waisted and held together at the shoulders by broaches.   The top layer for upper class Roman women is her palla which is wrapped around her in dozens of different ways to cover her head, warm her like a cloak, or even serve as a female version of a toga.

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The Roman palla and how to wear it.

Roman soldiers wear armour and carry a gladius (a short thrusting sword) at all times.

 

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Components to a Roman legionnaire’s armour.

Special costuming for “Boudicca: A Play in Three Acts”and for general reenactment of Roman British characters/personae

Act I, Scene I: Prasutagus wears the fine linen/wool that marks him as a member of the upper class with decorative trim along the hem edges of his tunic and brat.  Roman bureaucrat wears a toga marking him as a Roman citizen and aide to the Roman governor.  The broach securing Boudicca’s brat features a raven as a mark of her devotion to Cathubodva.

Act I, Scene II:  Boudicca wears a Roman stola over her Celtic tunic dress.  A palla drapes across her body like a shawl.  Her flaming red hair is now elaborately braided and pinned up matronly.

Act I, Scene III:  Boudicca and Prasutagus wear their finest woollen tunics with embroidered trim along sleeve, hem, and neckline edges. Boudicca’s brat is made of a much finer wool than we saw in Scene I which is soft blue or lavender in colour.  King Prasutagus wears a polished circlet or crown.  Boudicca wears a coronet of spring flowers over her braided hair.  Linet wears a tiara or circlet made of oak leaves and a silver necklace.

Act I, Scene IV: Gaius and Roman Bureaucrat wear togas over their tunics.

Act III, Scene I:  Gaius and Roman Bureaucrat both wear togas over their tunics.

Act III, Scene III:  Gaius wears full battle armour instead of his toga.

 

From Act II, Scene V forward Roman soldiers also carry shields.

Early Fifteenth Century Costuming: General Guidelines for “Catherine de Valois: A Play in Three Acts”

 

Isabeau of Bavaria

Queen Isabeau of Bavaria in her royal houppeland.

As a historian, history is my passion.  I love few things better than seeing a period-correct drama where the costumes are accurately rendered.  But what do you do if your budget is small or you are playing scenes from “Catherine de Valois: A Play in Three Acts” or Shakespeare’s “Henry V?” What if you don’t have years of expertise researching medieval gowns?

The following is a general guide for productions of “Catherine de Valois: A Play in Three Acts” and for general re-enactment of  early 15th century characters/personae:

WOMEN:  A cotehardie.  Over her cotehardie she wears either a side-less surcoat or a floor length houppelande. In adults, hair is typically kept up and under a veil or period headpiece.  Wimples are sometimes worn under the chin.

MEN:  Knee length doublets over a white shirt. Over this men also sometimes wore houppelandes cover the upper body.  Hose covers lower body in all cases.  Indoors men wear simple leather shoes or ankle-length boots. Men wear hats.  Outdoors men wear knee length boots.

Additional examples of cotehardies,  houppelands, and hairstyles can be found across my many pinterest boards.

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Cotehardie with sideless surcoat.  Note that cotehardies may be either back laced (as in this example) or side-laced.

Special costuming for “Catherine de Valois: A Play in Three Acts”and for general reenactment of early 15th century characters/personae

PROLOGUE/EPILOGUE: Margaret wears a wedding veil on her head which is secured by a wreath of flowers.

Act I, Scene VII: Queen Isabeau is richly dressed in a velvet houppelande.  Catherine wears a white cotehardie.  Fleur-de-lys adorn Catherine’s royal blue velvet side-less surcoat.  Mother and daughter are dressed to impress as they wait to meet King Henry of England.

Act I, Scene VIII: Catherine wears a Christmas green houppelande.  In her hair she wears a circlet of holly and berries.  Queen Isabeau wears exactly the same dress as she wears in act one, scene two.

Act II, Scene II: The duke’s clothes are noble, but showing some wear.

Act II, Scene III: Catherine wears a loose houppelande to cover her slightly pregnant belly.

Act III, Scenes I, II: Catherine wears a bright white gown, veil, and wimple in accord with medieval mourning customs.

Act III, Scene III: Catherine wears the white cotehardie and blue side-less surcoat that she wore in

Act I, Scene VII. On her head is the crown given to her at her coronation as queen of England.