14th century (ca. 1380) Central France - Paris
London, the British Library
Yates Thompson 21: Roman de la Rose
fol. 8v - “dance of Mirth and Gladness”
The girls are wearing overdresses hemmed with bands of different fabric. The sleeves of their underkirtles* reach to the their knuckles. Two of them are wearing overkirtles with fitchets (side-slits) and tippets (the streamers tied around the upper arm), one a sideless surcote with a pattern of dotted lozenges. One is wearing her hair in sidebraids framing her face. Note that their dresses are fitted and tight, as this illumination is from fairly late in the 14th century.
The gentlemen’s overdresses are also tightly fitted - and extremely short, requiring the young men to wear long hose, tied to their doublets underneath. These outer garments are also referred to as cotehardies - often they have a row of buttons in the front, as can be seen on the lad on the left, and scalloped hems, as on the one worn by the dancer with a chaplet on his head. The low bands visible around two of the gentlemen’s hips are belts - knight’s girdles. The collar-like flaps around their necks are probably their hoods, worn off the head. You can see the liripipe of the hood (the long part protruding from the back of the head part) dangling behind the young man with the chaplet. The dancer on the left is wearing his hood around his shoulders, with the liripipe swung around his neck. The dancers don’t seem to be wearing shoes (which means they hose probably have leather soles), although the musicians are.
*I tend to use the term kirtle for a type of fitted dress (either under- or over-, with varying necklines, sleeves and silhouettes) which evolved in the 14th century from the cote, which in turn was a tunic-type garment (also existing in many variations).