Analysis

The primary artifact in this exhibit is the belt buckle. It is a decorated belt buckle that is used to portray the significance of linens and textiles in Bisclavret. In the story, the monster, Bisclavert, is anything but. While clothing is the key to his transformation between man and werewolf, the relationships he has with the other characters in the story portray the process of personification. At the start of the story, the man’s wife criminalizes him for this curse that he experiences. She is disgusted by the thought of him being part beast, so much so to the point where she schemes with another knight to trap him in his werewolf form so she could be with him instead. The belt buckle is used as a symbol for all clothing in this exhibit. Without his clothing, the man is dehumanized and objectified. In his werewolf form, he is also voiceless, so the characters he interacts with, as well as the readers of the story, are left reading between the lines of his actions (Wood, 2011). Medieval dress plays a huge role in this story, as it is literally the only barrier the man must face in order to switch between the loved and feared versions of himself. While he has the same consciousness and personality in both forms, he lacks the ability to verbally communicate as a werewolf, so his physical form and actions are all he has to speak for him (Wood, 2011). Marie De France used the phrase “semblance de beste” which translates to animal appearance; this means his form is only skin-deep and that he is and has always been nothing but a man (Wood, 2011). His linens are simply the agent of change that allows him to match his appearance to his noble personality. Thus, the belt buckle in this exhibit is a strong symbol of that agent of change. The belt buckle also addresses the theme of love, as the buckle features a man and a woman on the front of the plate. In Bisclavret, the wife’s love is put to the test, as she has the choice to accept her husband for his flaws or leave him for another knight; she chose the latter. In the chosen passage for this exhibit, Bisclavret sees his unfaithful wife over a year after she committed her crime alongside her new partner and the beast in him attacks her: “he ran up to his wife in rage and fury” (Marie De France, “Bisclavret,” ll. 232-233). In this instance, the line between his nobility and monstrosity blurs and he acts on instinct. This attack was out of character for him and the King’s men noticed that. At this point, his linens, or in this case the belt buckle, would not have been needed to differentiate between his human and werewolf identities, because the rage in him was beyond his physicality.

Additionally, the second artifact in this exhibit also relates to the personification driven by clothing. The artifact, an annular brooch from 13th century Europe, is used in this exhibit as a symbol of nobility. Similar to the belt buckle, this brooch highlights his status as a man. He was a well-respected upperclassman, which is symbolized through the shiny gold and beautiful gemstones on the brooch. Notably, the back of the brooch has the phrase “I am here in the place of the friend I love” engraved on it. While the phrase likely had little cultural significance, as it was chosen from a repetitive stock of phrases by the manufacturer, it is still relevant to the story as it addresses the theme of love. Thus, this artifact relates to both the exhibit and primary artifact through the theme of medieval dress and personification, but also to the story through the theme of love. In the passage of interest, the wife of Bisclavret dresses fetchingly to visit the King (Marie De France, “Bisclavret,” l. 228). This brooch can be a symbol of her beauty and status as well. Regardless, her wealthy dress and “rich gifts” (Marie De France, “Bisclavret,” l. 230) were not enough to appease Bisclavret or his allies. 

The final artifact, an illuminated manuscript, is included in this exhibit for its visual representation of clothing in medieval Europe. In the illustration on the manuscript, we see hunters and dogs surrounding the noble Gaston III while he is sitting on his throne. In the selected passage of Bisclavret, the King and his noble men go back to the site where they first found Bisclavret. They originally ventured into that forest for the purpose of hunting, which gives this illustration literal significance. However, in this exhibit, this manuscript is more useful in portraying the value of clothing in determining class and nobility. There is a clear difference between the leader of the group, Gaston, and the huntsman who are following his orders. His wealth and beauty is portrayed through his fur-lined orange houpeland that boasts gold embellishments and voluminous sleeves. This manuscript connects to the primary artifact as it visually shows what this clothing would have looked like during the medieval time period. This manuscript adds depth to the exhibit, as the parchment is beautifully preserved and the colours and detailed work allow the readers to enjoy its original luxury.