BAND. A collar of linen or cambric surrounding the neck, and which was stiffened with starch, or underpropped; or else allowed to fall upon the shoulders, when it was termed a falling-band. Examples of both are here given: No 1 from a portrait of Prince Henry, son of James I.; the second, or falling-band, No. 2, from a portrait of Milton at the age of eighteen; they may be seen in their most modern and reduced form in the small bands still worn about the neck by clergymen (see FALL). They are very commonly mentioned by authors of the latter part of the sixteenth century, until the time of James II. (see p. 330). Hang up my ruff-band with the diamond at it." MIDDLETON'S Roaring Girl. In Brathwaite's "Strappado for the Divell," 1615, we read: "How art thou led By every fashion monger that doth stand See "Exchange ware at second hand, viz. Band Ruffe and Cuffe," 1615, reprinted in vol. x. "Harleian Miscellany." They were, in the reign of Elizabeth, indicative of gentility: "Me thinks he is a ruffian in his stile, "Let the health go round about the board, as his band goes round about his neck." HEYWOOD'S Rape of Lucrece, 1638. 1 Edging. Our term band-box comes from the original use of such boxes to keep bands and ruffs in. Thus, in Rowley's Match at Midnight, 1633, act iv. scene 1. we have, "Enter maid with a band-box;" and when she is asked, “Where ha' you been?" she answers, "For my mistress' ruff, at the sempstress', sir." And S. Rowlands, in his "Pair of SpyKnaves," makes his "fantastical knave" order his servant "First to my laundresse for a yellow band." Shirt-bands, says Strutt, were originally connected with the neck-ruff; for in an inventory of apparel belonging tc Henry VIII. mention is made of "4 sherte-bandes of silver with ruffes to the same, whereof one is perled wifh golde." Peacham, in his "Truth of our Times," 1638, says: "King Henry VIII. was the first that ever wore a band about his neck, and that very plain, without lace, and about an inch or two in depth. We may see how the case is altered, he is not a gentleman, or in the fashion, whose band of Italian cutwork standeth him not at the least in three or four pounds: yea, a semster in Holborn told me there are of threescore pound price apiece." For other extracts corroborative of the great cost of these articles of costume see p. 264. When these great ruffs went out of fashion, at the end of the reign of James I., plain bands succeeded them; and their simplicity made them acceptable to the puritanic party, whose "Geneva bands" were very plain and small, unlike those mentioned by Jonson, in "Every Man in His Humour," as costing "three pounds on the exchange," and which were of Italian cut work, ornamented with pearls. In Massinger's "City Madam," 1632, Hungerland (Hungary) bands and Spanish quellio ruffs are mentioned as extravagances. The embroidering of bands with flowers and ornaments was a regular profession, and rich point-lace was used for edging. The large laced neckcloth of the latter end of the reign of Charles II. succeeded the band in fashionable society. Lord Rutherford, in a letter to the Earl of Lauderdale in 1661 (Camden Soc. Miscell. vol. viii.) mentions bands which he had purchased for him in Paris, one of which, with the hand-cuffs, cost as much as 285 livres, but this, he adds, is the dearest merchandise. Sigh for a periwig and die for a cravat-string." BANDED MAIL. This form of mail, in which double lines separate each row of links, occurs toward the end of the 13th century; very commonly in MSS., and brasses, but in only five instances on effigies, viz., at Tewkesbury, Dodford, Tollard Royal, Newton Solney, and Kirkstead. The mode of construction is still a question. The "Catalogue of Ancient Helmets," exhibited in 1880 at the Royal Archæological Institute, will supply the latest opinions on the subject, and the models illustrating the various theories, and executed by the late Mr. Burges, are in the British Museum. According to Mr. Boutell, banded mail does not appear on brasses after about 1380. BANDEROLLE. The little flag or streamer placed near the head of a lance. "Drives with strong lance some adverse knight to ground. BANDILEERS. WAY and ELLIS's Fabliaux, vol. iii. p. 7. Cases of wood or tin, each containing a charge of powder, strung round the neck of the soldier, said to be adopted from the Low Countries. They are seen on our figure of the musketeer (see Musket"), and are thus noticed by Davies in his "Art of War":"These souldiers, which in our time have been for the most part levied in the Low Countries, especially those of Artoys and Henault, called by the general name of Walloons, have used to hang about their neckes, upon a baudrick or border, or at their girdles, certain pipes, which they call charges, of copper and tin, made with covers." The engraving represents the bandileer attached to the lower part of the belt of a soldier; now in the armoury of Lord Londesborough. The cases for the powder are made of wood covered with leather, slung with cord through the belt. The cover of each made to slip up and down on the cord, so that it be not lost, as shown in our cut. The twelve cases are sometimes mentioned in jest as the twelve apostles. See the diary of Mr. Teonge, a naval chaplain, temp. Charles II. The red or blue cord worn over the cross-belts of the Household cavalry at the present day is the survival of the cord by which hung the priming-horn or touch-box. The additional case to hold priming-powder was added in the reign of Charles II. ("Hythe Text Book.") The bandileer fell into disuse about 1670, when cartridges and patrons came in. BAND-STRINGS. Laces or ribbons used for securing the bands around the neck, and which sometimes appear like a hanging bow in front, or like a stout silk cord with pendent tassels. The latter were termed snake-bone band-strings during the time of Charles II. Among a curious series of the "Cries of London," in the British Museum, published in the reign of Charles I., is the figure of a woman crying "bandestringes or handkercher buttons," who has a square box under her left arm and a bunch of band-strings in her left hand, here copied. In "Wit at several Weapons" one character complains that robbers had stolen "a diamond hung at my shirtstring." BANNER. A standard or ensign, containing the arms of the kingdom, or those appropriated to the corps, or its commander. "The reede statue of Mars with spere and targe So schyneth in his white baner large CHAUCER-The Knight's Tale. BARBE. A covering made of white plaited linen, for the lower part of the face and chin, reaching midway to the waist. See Du Cange in v. "Barbuta." An example has been engraved, fig. 198. It was peculiar to the religious sisterhood or to widows, and is seen upon the one above named, on Elizabeth Porte, fig. 160, and Margaret Countess of Richmond, in Westminster Abbey, fig. 191. It is noticed by Chaucer in "Troilus and Creseide," b. ii. line 110. After Creseide is "habited in her widow's weeds," Pandarus says:— "Do unty youre barbe, and shew youre face bare." At Mary Queen of Scots' funeral "The Ladyes had Parris heads and barbes" (Nic. "Prog.," Eliz.). Halliwell says:"The feathers under the beak of a hawk were called the barbe feathers, so that there may possibly be some connection between the terms." In the eighth year of Henry VIII. it was ordained that "duchesses and countesses and all higher estates may be barbed above the chin, every one not being under the degree of a baroness may wear a barbe about the chin and all other gentlewomen beneath the throat-goyll," or gullet. The same word was used to signify the point of an arrow; and in "Sir Gawayne" it is applied to the edge of an axe. BARME-CLOTH. See APRON. BARRAGON. A kind of coarse fustian. BARRAS, a coarse kind of cloth. Sack-cloth. (Wright.) Dutch barras occurs in the City Charter, 1640. "Draper's Dictionary." BARRED. Striped. A term still used in heraldry; and in the middle ages applied indiscriminately to the ornaments of the girdle, of whatever kind. The Carpenter's Wife, in Chaucer's "Miller's Tale," is described as wearing a "seynt," or girdle, "Barred al of silk." And in the "Romaunt of the Rose," as translated by the same poet, we are told of the girdle of Richesse, that "The barris were of gold full fine, Upon a tissue of sattin; Full heavie, grete and nothing light, In everiche was a besaunt' wight." For examples of barres see effigies of John of Eltham, A circular ornament; see Besagnes. |