Curiosities of Olden Times

Sabine Baring-Gould

S.В Baring-Gould

Curiosities of Olden Times

PREFACE

An antiquary lights on many a curiosity whilst overhauling the dusty tomes of ancient writers. This little book is a small museum in which I have preserved some of the quaintest relics which have attracted my notice during my labours. The majority of the articles were published in 1869. I have now added some others.

Lew Trenchard,

September 1895.

THE MEANING OF MOURNING

A strip of black cloth an inch and a half in width stitched round the sleeve – that is the final, or perhaps penultimate expression (for it may dwindle further to a black thread) of the usage of wearing mourning on the decease of a relative.

The usage is one that commends itself to us as an outward and visible sign of the inward sentiment of bereavement, and not one in ten thousand who adopt mourning has any idea that it ever possessed a signification of another sort. And yet the correlations of general custom – of mourning fashions, lead us to the inexorable conclusion that in its inception the practice had quite a different signification from that now attributed to it, nay more, that it is solely because its primitive meaning has been absolutely forgotten, and an entirely novel significance given to it, that mourning is still employed after a death.

Look back through the telescope of anthropology at our primitive ancestors in their naked savagery, and we see them daub themselves with soot mingled with tallow. When the savage assumed clothes and became a civilised man, he replaced the fat and lampblack with black cloth, and this black cloth has descended to us in the nineteenth century as the customary and intelligible trappings of woe.

The Chinaman when in a condition of bereavement assumes white garments, and we may be pretty certain that his barbarous ancestor, like the Andaman Islander of the present day, pipeclayed his naked body after the decease and funeral of a relative. In Egypt yellow was the symbol of sorrow for a death, and that points back to the ancestral nude Egyptian having smeared himself with yellow ochre.

Black was not the universal hue of mourning in Europe. In Castile white obtained on the death of its princes. Herrera states that the last time white was thus employed was in 1498, on the death of Prince John. This use of white in Castile indicates chalk or pipeclay as the daub affected by the ancestors of the house of Castile in primeval time as a badge of bereavement.

Various explanations have been offered to account for the variance of colour. White has been supposed to denote purity; and to this day white gloves and hat-bands and scarves are employed at the funeral of a young girl, as in the old ballad of “The Bride’s Burial”: —

A garland fresh and fair

Of lilies there was made,

In signs of her virginity,

And on her coffin laid.

Six pretty maidens, all in white,

Did bear her to the ground,

The bells did ring in solemn swing

And made a doleful sound.

Yellow has been supposed to symbolise that death is the end of human hopes, because falling leaves are sere; black is taken as the privation of light; and purple or violet also affected as a blending of joy with sorrow. Christian moralists have declaimed against black as heathen, as denoting an aspect of death devoid of hope, and gradually purple is taking its place in the trappings of the hearse, if not of the mourners, and the pall is now very generally violet.

But these explanations are afterthoughts, and an attempt to give reason for the divergence of usage which might satisfy, but these are really no explanations at all. The usage goes back to a period when there were no such refinements of thought. If violet or purple has been traditional, it is so merely because the ancestral Briton stained himself with woad on the death of a relative.

The pipeclay, lampblack, yellow ochre, and woad of the primeval mourners must be brought into range with a whole series of other mourning usages, and then the result is something of an “eye-opener.