Philippe de St-Denis - Basic Persona Work

It's time to start hammering out a basic persona timeline for Philippe, so I have a basic idea about where he has been, where he is, and where he might be going. Someone asked me once why I chose a monarchist, nationalistic persona and put him sack-dab in the middle of Anglo-Burgundian Paris. The answer is simply that there is plenty of tension in that scenario, and conflict creates a lot of potential for an interesting story.

So some of this very basic information might change, but for right now, this is the very rough timeline of Philippe's life.

1375, June - born in St. Denis, one of two twins (the other is his sister, Jehannette de Brie, who is mundanely my wife). Their parents own and operate a popular inn/tavern near L'Abbeye St-Denis. I still need to come up with both of their names and the name of the inn.

1389 - at the age of 14, Philippe is sent to Orleans to begin studying civil and criminal law. The University of Paris is much closer, of course, but his father does not want him to join the Church and the U of P only teaches ecclesiastical law. He studies in Orleans until his graduation in 1401. In those twelve years, Philippe has many adventures, gets drunk frequently and is not a stranger to brawling with students from other nations. After he has earned his Master of the Arts in Law, he stays on in Orleans.

1405 - his father (or mother, not sure yet) dies, and Philippe returns to Paris to establish his practice in the capital, and be close to his sister. She takes over management of the inn. During her brother's studies, she has married a man who turns out to be a Burgundian sympathizer. They have two children, a son and a daughter. Philippe doesn't like the husband very much, the traitorous slime.

1407, November - Louis, Duke of Orleans is murdered in Paris by his cousin, John, Duke of Burgundy. Louis was the de facto head of the government, since his brother, Charles VI, is intermittently insane and unable to rule. Louis' assassination by the Duke of Burgundy removes stability from the government and brings France significantly closer to civil war.

1411 - at age 36, a respected and successful lawyer, Philippe marries. I have yet to decide on the woman's name and background.

1418 - John, Duke of Burgundy, invades Paris, and a wholesale slaughter of anyone suspected of Armagnac/Orleanist leanings ensues. Hundreds are killed in the streets. One of the hapless victims is Philippe's young wife. Philippe's brother-in-law and nephew have left St-Denis to fight on the side of the Burgundians. Later in the year, Jehannette leaves the inn in the capable hands of her adult daughter and moves into Paris to manage Philippe's household.

1419 - Philippe (and possibly Jehannette) make a pilgrimage to St. James of Compostella. 

1420 - Henry V, King of England, enters Paris with Charles VI of France. Henry is declared the heir to the French Crown, despite the fact that the Dauphin is still alive and considered by many in France to be the legitimate heir. Paris, however, welcomes Henry's apparent stability and leadership. Philippe and Jehannette are forced to be careful about their loyalty to the Dauphin.

1422, August - Death of Henry V. (So much for inheriting the Kingdom of France, buddy. How's your St. Crispian's Day, now???)

1422, October - Death of Charles VI of France. Henry VI (nine years of age) declared King of France. Only Paris and Henry's Burgundian allies are happy about it. Henry's uncle, the Duke of Bedford, named as Regent. Well, shit.

1429, February - Joan of Arc, a peasant girl claiming to be sent by God, appears before the Dauphin in Chinon, and tells him it is her destiny to raise the seige of Orleans and put him on the throne. Charles, the Dauphin, sends her to Poitiers to be examined by his Council and many learned churchmen. Intrigued, Philippe travels to Poitiers to watch the proceedings. Alternatively, he could be on his way back north returning from another pilgrimage when a colleague in Poitiers invites him to observe.

1429, April - Joan of Arc raises the seige of Orleans.

1429, July - Charles VII crowned King of France in Rheims Cathedral.

1429, September - Joan of Arc unsuccessfully attempts to lift the seige of Paris. Philippe is able to watch from the city walls.

1430 - Joan of Arc is taken prisoner. In May, after a lengthy and highly illegal trial, she is executed for heresy in Rouen. Philip is 47 years old. Paris is still in Anglo-Burgundian hands, but the tide of war has shifted and Charles VII is eventually able to drive the English out. I am currently uncertain how long Philippe survives beyond this point.

Sources

de Vitry, Jacques  Life of the Students At Paris

Gies, Joseph and Francis Joan of Arc

Jager, Eric  Blood Royal 

Timeline of the Hundred Years War

The Bliaut of XII Century France - Documentation

In 2003, I challenged the Golden Swan, a persona development tournament open only to female personae. The Golden Swan is an intensive, three-day event that happens every (Canadian) Thanksgiving weekend in October in Oliver, B.C. Entrants are required to submit their documentation months prior to the actual event in eight compulsory categories (Costuming, Everyday Life, Habitat, Persona Creation, Correspondence, Skills, Needlework and Food) as well as two of three optional categories (Games, Performance, Survival Techniques).
Candidates spend the entire weekend in persona (unless they are in their tent or the facilities) and are judged by previous Swans and the local SCA populace in a series of round table discussions and demonstrations. Each candidate must core a minimum of seven out of ten in each category in order to succeed. In 33 years, only 30 women (and one man!) have successfully done this. I am very honoured to be a member of the Order of the Golden Swan. It is not a simple thing to do, but it is a very rewarding thing to do.

I entered the Swan with my first persona, N'Alis Talairan de Perigord, a high-born cousin to Eleanor of Aquitaine, serving as Eleanor's lady-in-waiting at the French Royal court in 1152. What follows below is my documentation on Costuming. I unfortunately don't have any photos of me in the bliaut that I wore to the Swan, but it was of blue silk and embroidered by hand. 

For those of you interested in trying out for the Golden Swan, or for those of you new to the Arts and Sciences and thinking of entering a competition, this is typical of the kind of documentation that is expected, in most cases. (There are other ways to submit and present documentation, but that is a post for another day). 

Bear in mind, this document was written several years ago. There has been a lot more research into XII century dress in the meantime, and I would certainly need to expand this research if I was writing it today.

Bliaut Documentation

Despite the fact that no examples of the garment commonly known as the bliaut have survived to the present day, depictions of the garment in statuary, art and literature of the period have left enough clues to make an educated guess as to its construction and appearance. This essay will examine the reconstruction of the garments typically worn by a woman born into the highest social class of 12th century Occitan (Aquitaine). 

Bliaut
The bliaut, or overdress, was a transitional garment, retaining the rectangular cut and simplicity of the earlier t-tunics of the 10th and 11th centuries, but already showing the conspicuous consumption of fabric and elegant, flowing lines of the houppelandes of the 14th. Unlike the houppelandes, however, the bliaut was a light and airy garment. The very fine pleating of the full skirts and the draping of fabric over the bodies of the figures on the Chartres Cathedral(1) indicate a lightweight, flowing fabric. In the 12th century, silk from the Middle East was readily available throughout Europe, and, in a culture as prosperous and temperate as Occitan, it would have been used extensively for garb by any and all who could afford it. This is borne out by scraps of clothing uncovered during the archaeological excavations of 12th century rubbish dumps in London during the late 1970s and early 1980s.(2) Wool garments were also widespread throughout Western Europe during the medieval period and would have been used to construct bliauts for wear during the winter months.

Figure 1. Figure wearing a bliaut, from the north portal, Chartres Cathedral

Bliauts appear to have been very long as a rule. While some examples show a shortened bliaut that shows off the hem of the chainse (or underdress), other examples clearly indicate a long and trailing skirt. In the whalebone carving of the Adoration of the Magi (Spain, first half of the 12th century—see Figure 4 below), the Virgin is shown with her bliaut hitched up into her lap.(3) The sumptuous cut and flow of these gowns incensed Church fathers, as Bernard of Clairvaux demonstrated when he complained to a correspondent of the ladies at court who “…drag after them trains of precious material that makes a cloud of dust.”(4) 

Early scholars of costume history have made much of the vertical lines that can be seen across the torsos of the Chartres figures; some have hypothesized that this actually represents a “body belt” which was worn over the bliaut and held in place with a girdle (or ceinture, as it was commonly known). Most serious students of the subject now discount this theory, and these vertical lines are considered to be a stylistic rendering of tight creases created in a silk garment that is tightly laced at the sides. 

Figure Two. Side lacing of bliaut resulting in tight, vertical creases. Chartres Cathedral.

A much more heated subject of debate, however, involves the construction of the gown, particularly in the area of the skirt. The fine pleating depicted in several sculpted figures have led some scholars to claim that the skirt was a separate piece stitched onto the bodice of the bliaut. An anonymous lai of 1204, “L’Escoufle”,  describes a lady’s bliaut thusly: “A most courtly damsel had put a lot of effort into the pleating.”(5) Others argue that the garment was a single piece; the pleating effect can be (and was) achieved by tightly twisting the silk into knots when wet and leaving it to dry. Both of these arguments have their merits, but it seems reasonable to assume that both styles existed simultaneously, at least for a time. While the pieced and pleated garment may represent a natural evolution of the bliaut towards the latter part of the 12th century, the simpler garment probably endured for quite some time, being cheaper and easier to construct. For the purposes of travelling or everyday wear, a lady would have chosen a more convenient gown to wear. 

Similarly, there is some debate as to whether or not the sleeves of the bliaut were pieced. Given the typical width of the looms of the period and the almost ubiquitous embellishment of the bliaut across the bicep (probably to hide the seam where the sleeve was joined to the garment), a pieced sleeve seems the most logical and likely conclusion. Several styles of sleeves are shown in the art of the period, from the common bell shape to narrow tippets at the end of an otherwise tight-fitting sleeve, to every shape and dimension in between. This appears to have been a matter of personal taste for the wearer. What is generally true of bliaut sleeves, however, is that they were long, sometimes dragging on the ground. This was avoided by tying the sleeves in knots both to shorten and weight them down, so as to make the airy sleeve more manageable during certain tasks. One of the figures on the Chartres cathedral clearly shows the lady’s sleeves hanging almost to her calves despite being knotted up. Necklines were also a matter of personal preference and are represented in several styles, the most common of which is the familiar “keyhole”. Examples can be found also of necklines that are little more than slits, as well as those that plunge deeply down the wearer’s front, to display the chainse beneath. 

Figure Three. Keyhole neckline on a bliaut. Chartres Cathedral

Chainse 
The chainse appears to have been constructed primarily of linen, though silk undresses were certainly probable amongst the highest nobility or those who could afford such extravagance. While the length of the bliaut may have varied, the chainse was always at least floor length. From the wrinkling depicted in the various artistic renditions, it appears that the sleeves were longer than the wearer’s arm, and were worn slightly pushed up. These sleeves were tightly fitted to the arm.(6) The neckline of the chainse was generally, though not always, a small keyhole opening, with the collar resting on or just above the collarbone of the wearer. This was held closed with a small tie or even a ring brooch at the base of the throat. Other openings include a simple scoop neck or slit. The chainse was, like the bliaut, laced at the sides. Because it was made primarily of linen, and because linen does not dye easily, most chainses were white. 

Embellishment 
The bliaut, and its accessories, the chainse and veil, could either be very plain or highly embellished, depending on the economic status and personal taste of the wearer. Often we find the garments of figures representing royalty or Biblical personages very heavily embellished with orfrois (embroidery). There appears to have been no hard and fast rules about where it was appropriate or acceptable to put trim; it could appear on any edge of a garment, as well as the bicep of the bliaut to mask the seam where a maunche, or sleeve, was added. 

Veils are not represented as often in a decorated form, but since they were of fine silk or linen, and embellishment appears  everywhere else, it seems reasonable to assume that a lady with the time and resources would have added a decorative trim to her veil. The whalebone Virgin from Spain, for example, appears with a band of embroidery on her veil.(7)

Figure Four. The Adoration of the Magi, XII C. 

Decorative trim of the 12th century could take several forms. Ladies of leisure attending the Queen or another highly placed individual would have passed their time embroidering. Metallic threads seem to have been very popular, being very costly. Writing about fifty years after the Second Crusade marched through Constantinople in 1147, the Greek chronicler, Niketas Choniates, has left what is thought to be an eyewitness account of Eleanor of Aquitaine’s ride into Byzantium:  

Even women travelled in the ranks of the crusaders, boldly sitting astride in their saddles as men do… At the head of these was one in particular, richly dressed, who because of the gold embroidery on the hem of her dress, was nicknamed Chrysopus [Golden Foot].(8)

Other trims available to the tailors of the period include tablet weaving and finger-loop braid.(9) Linen, wool and silken threads, as well as metallic ones, were widely used in the making of these narrow wares, which could also be used as lacings for garments and ceintures. 

Alis’s Bliaut and Garments 
The bliaut worn by my persona differs from a historical garment in very few ways, and each of these concessions were made due to financial concerns, rather than a lack of dedication to historical accuracy. For example, the embroidery that appears on the gown was executed using DMC cotton and metallic floss, due to the fact that I was unable at the time to afford the silk floss and gold jap that would have been more appropriate to a noblewoman of the XII century. However, the design itself is taken directly from a primary source (ie. the whalebone carving of the Virgin and Magi), and reflects the geometric styles prevalent during this period. 

The other way in which my garments vary is in my veil, which would have been of very fine silk or linen. A piece of linen of this size is well beyond my price range, and so a suitable length of gauzy and light material was substituted. In every other way, however, the bliaut and accoutrements are as they would have been. 

The bliaut and chainse are entirely handsewn.  

Footnotes and Sources
1 http://ashby.holycross.edu/departments/visarts/chartres/chartres.htm 


2 Crowfoot, Pritchard, and Staniland. Textiles and Clothing c. 1150 - 1450. From the Museum of London's “Medieval Finds From Excavations in London” series. Norwich, UK: HMSO, 1992 

3 http://home.flash.net/~wymarc/asoot/magi/magi.htm 


4 Weir, Alison Eleanor of Aquitaine, by the Wrath of God, Queen of England Jonathan Cape, 1999

5 Sibly, Belinda. "The Bliaut: A Reconstruction Based on Primary Source Material." Published in Issue #109 (Winter 1993) of the Society for Creative Anachronism's Tournaments Illuminated series, pages 28 - 34. Milpitas, CA: The Society for Creative Anachronism, Inc., 1993.

6 http://home.flash.net/~wymarc/asoot/magi/magi.htm

7 ibid


8 Weir, Alison Eleanor of Aquitaine, by the Wrath of God, Queen of England Jonathan Cape, 1999

9 Crowfoot, Pritchard, and Staniland. Textiles and Clothing c. 1150 - 1450. From the Museum of London's "Medieval Finds From Excavations in London" series. Norwich, UK: HMSO, 1992. 

Bibliography 
Crowfoot, Pritchard and Staniland Textiles and Clothing c. 1150- 1450 From the Museum of London’s “Medieval Finds From Excavations In London” series Norwich, UK: HMSO, 1992 

Evans, Joan Dress In Medieval France, Oxford University Press, Oxford, 1952 Sibly, Belinda. "The Bliaut: A Reconstruction Based on Primary Source Material." Published in Issue #109 (Winter 1993) of the Society for Creative Anachronism's Tournaments Illuminated series, pages 28 - 34. Milpitas, CA: The Society for Creative Anachronism, Inc., 1993. 

Weir, Alison Eleanor of Aquitaine Jonathan Cape, 1999 

Garb For A Twelfth Century Lady http://www.wymarc.com/artifacts/magi/magi.html (Adoration of the Magi whalebone carving, Spain, XII c.) 

On Making Bliauts or Norman Court Dress http://jauncourt.i8.com/bliauth.htm (for pictures of Chartres figures and practical advice on building the garment)

Alis Talairan de Perigord in a bliaut similar to one worn at the Golden Swan

Welcome!

Welcome to my Arts and Sciences blog! This where I intend to post all of my A&S projects ranging from persona development to sculpting to embroidery...in short, wherever the journey takes me. This will be a receptacle for keeping track of class notes, bibliographies, inspirations and all of my works in progress. It is meant to be a companion to my website, which you will find at The Imaginarium.

Suggestions, constructive criticism and questions are always welcome.  

So to start, my major interest in the SCA Arts and Sciences is persona development. I am currently on my third persona, after who this blog is named. Philippe de St-Denis is a lawyer practicing civil and criminal law in English-occupied Paris in 1431. He lives in the Latin Quarter with his sister, Jehannette de Brie, who manages his household and supervises the servant girl, Collette, to ensure she doesn't get up to any funny business with the two young boarders attending the University of Paris. Being a staunch monarchist and Armagnac, Philippe has seen a slight decline in his law practice, so it is a good thing that he owns another rental property and a vineyard on the city's outskirts. Philippe was fortunate enough to witness several key events in the career of Joan of Arc, notably, her examination before the Dauphin's counselors in Chinon, her unsuccessful (if gallant!) attempt to rescue Paris, and her trial in Rouen.

Adopting this persona has permitted me the opportunity to explore my life-long interest in the life of Joan of Arc, as well as medieval law, especially as it concerned marginalized populations in medieval society, such as the poor, the crippled, prostitutes, the mentally ill, vagrants, and habitual criminals.

Philippe de St-Denis

As Philippe is a keen player of games, I am also delving into the subject of medieval board games, especially backgammon. And while I do not sew myself, I am conversant with the clothing of the period and am currently tracking down images and information on what Philippe would have worn to court. The law courts, that is, as he did not have access to the Dauphin's court.

In short, the beauty of persona development is that it offers practitioners of same the opportunity to explore many, many aspects of medieval life. In addition to what he wore and what he did for a living, I can (and will!) explore what Philippe ate and drank, what songs he sang, how he told time, what his house looked liked, how the Hundred Years War affected his everyday life, what languages he spoke, what he thought of other countries. All this and more.

And with all that study necessarily comes a certain amount of material culture that has to be created. It is my hope to make a 15th century tables (backgammon) board, complete with tablemen and bone dice in time for Kingdom A&S next spring. I have never done woodworking before, however, let alone medieval woodworking, and am concerned that I have bitten off more than I can reasonably chew!

I will post updates on this once I get beyond the research stage to beginning the actual work.

As mentioned above, comments and questions are always welcome, and I hope to hear from many of you soon!

Philippe

Verite sans honte