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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:00:53 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:00:53 -0700 |
| commit | e7822d0e2e78321ce32e57b625cf11cb3b144c8d (patch) | |
| tree | 56b0421acfaf16acce67461b11be8f0e495ad9c5 /34092-h | |
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+} + +@page +{ + margin: 2cm; +} + +@media print +{ + body + { + margin: 2em; + } + + h1, + h2, + .footnotes, + #endnote + { + page-break-before: always; + } + +/* #tnote, */ + .do_not_print, + pre, + .pagenum + { + display: none; + } + + ins, + a + { + text-decoration: none; + border: none; + color: black; + } + + #tnote { + page-break-after: always; + } + + .footnotes + { + padding: 0; + border: none; + } + + .footnote + { + margin: 0; + } + + .footnote .label, + .fnanchor + { + font-size: medium; + vertical-align: middle; + } +} + +--> + </style> + +</head> + +<body> + + +<pre> + +Project Gutenberg's Dress as a Fine Art, by Mary Philadelphia Merrifield + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Dress as a Fine Art + With Suggestions on Children's Dress + +Author: Mary Philadelphia Merrifield + +Release Date: October 17, 2010 [EBook #34092] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK DRESS AS A FINE ART *** + + + + +Produced by Jana Srna, Sharon Joiner and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/American Libraries.) + + + + + + +</pre> + + +<div id="tnote"> + <p class="center"><b>Transcriber's Notes:</b></p> + <p>Punctuation varies widely and was kept as printed; most other + inconsistencies were kept as printed. Inconsistencies in spelling + retained, along with the few corrections made, are listed at the end + of this text.</p> + + <p><span class="do_not_print">Corrections are marked <ins title="transcriber's note">like this</ins> with a pop-up to show + the original text.</span> Except for the frontispiece (Pl. 1), the plates + have been moved from their original mid-paragraph placement to between + paragraphs.</p> + + <p class="do_not_print">Figure numbers in the body of the text are links to the plate + containing them. Clicking on each plate will take you to a larger image.</p> +</div> + +<div id="text-block"> + +<div class="figcenter" style="width: 350px;"> +<a name="plate_01" id="plate_01" href="images/plate_01.png"> +<img src="images/plate_01_t.png" width="350" height="500" alt="" title="" /></a> +<div class="caption">Pl. 1.</div> +</div> + +<div> +<!-- Page_i --> +<h1>DRESS<br /> +<small class="gesperrt">AS A FINE ART.</small><br /> +<span class="smaller">WITH SUGGESTIONS ON CHILDREN'S DRESS.</span></h1> + +<p class="center smcap spaced">By MRS. MERRIFIELD.</p> + +<hr /> + +<p class="center tp"><span class="gesperrt">WITH AN INTRODUCTION ON</span><br /> + +<big class="decorative">Head Dress.</big><br /> + +<span class="smcap">By PROF. FAIRHOLT.</span></p> + +<hr /> + +<p class="center pub"><big>BOSTON:</big><br /> + +JOHN P. JEWETT AND COMPANY.<br /> + +<small style="display: block; margin-top: .75em;">CLEVELAND, OHIO:<br /> + +JEWETT, PROCTOR, AND WORTHINGTON.<br /></small> + +<span style="display: block; margin-top: .75em;">1854.</span> +</p> + +<p class="center" style="line-height: 1.5em; margin: 6em auto;"> +<!-- Page_ii --> +<small>Entered, according to Act of Congress, in the year 1853, by</small><br /> +JOHN P. JEWETT & CO.,<br /> +<small>In the Clerk's Office of the District Court of the District of Massachusetts</small> +</p> + +<p class="center"> +<small>PRESS OF GEO. C. RAND,<br /> +<span class="gesperrt">WOOD CUT AND BOOK PRINTER</span>,<br /> +CORNHILL, BOSTON.</small></p> + +<p class="center" style="margin-bottom: 2em;"><small>STEREOTYPED AT THE<br /> +<span class="gesperrt">BOSTON STEREOTYPE FOUNDRY</span>.</small> +</p> +</div> +<div><h2><a class="pagenum" name="Page_iii" title="iii"> </a> +<a name="PREFACE" id="PREFACE">PREFACE.</a></h2></div> + +<hr /> + +<p><span class="smcap">The</span> fact that we derive our styles of dress from the +same source as the English, and that the work of Mrs. +Merrifield has been circulated among the forty thousand +subscribers of the “London Art Journal,” might perhaps be +deemed sufficient apology for offering it in its present form +to the American public. It has received the unqualified +approbation of the best publications in this country;—entire +chapters having been copied into the periodicals of +the day; this added to the above, and also to the high +standing of the author, has induced the publishers to offer +it to the great reading public of this country.</p> + +<p>The chapter on <a href="#CHAPTER_I">Head-dresses</a>, which commences the book, +is of much interest in itself, and affords an explanation of +many of the descriptions in the body of the work.</p> + +<p>The closing chapter, on <a href="#CHAPTER_VIII">Children's Dress</a>, by Mrs. Merrifield, +<a class="pagenum" name="Page_iv" title="iv"> </a>will be deemed of more value by most persons than +the cost of the entire work.</p> + +<p>A few verbal alterations only have been made in the +original;—the good sense of every reader will enable him +to understand the local allusions, and where they belong +to England alone, to make the application.</p> + +<div><h2><a class="pagenum" name="Page_v-vi" title="v–vi"> </a> +<a name="CONTENTS" id="CONTENTS">CONTENTS.</a></h2></div> + +<hr class="no_bot_margin" /> + +<div id="toc"><table summary="Contents"> + + <tr> + <td colspan="2" class="chapternum"><a href="#CHAPTER_I">CHAPTER I.</a></td> + </tr> + + <tr> + <td colspan="2" class="page">PAGE</td> + </tr> + + <tr> + <td class="chapter">DESCRIPTION OF HEAD-DRESSES,</td> + <td class="chapterpage">1</td> + </tr> + + <tr> + <td colspan="2" class="chapternum"><a href="#CHAPTER_II">CHAPTER II.</a></td> + </tr> + + <tr> + <td class="chapter">DRESS, AS A FINE ART,</td> + <td class="chapterpage">10</td> + </tr> + + <tr> + <td colspan="2" class="chapternum"><a href="#CHAPTER_III">CHAPTER III.</a></td> + </tr> + + <tr> + <td class="chapter">THE HEAD,</td> + <td class="chapterpage">53</td> + </tr> + + <tr> + <td colspan="2" class="chapternum"><a href="#CHAPTER_IV">CHAPTER IV.</a></td> + </tr> + + <tr> + <td class="chapter">THE DRESS,</td> + <td class="chapterpage">61</td> + </tr> + + <tr> + <td colspan="2" class="chapternum"><a href="#CHAPTER_V">CHAPTER V.</a></td> + </tr> + + <tr> + <td class="chapter">THE FEET,</td> + <td class="chapterpage">73</td> + </tr> + + <tr> + <td colspan="2" class="chapternum"><a href="#CHAPTER_VI">CHAPTER VI.</a></td> + </tr> + + <tr> + <td class="chapter">REMARKS ON PARTICULAR COSTUMES,</td> + <td class="chapterpage">84</td> + </tr> + + <tr> + <td colspan="2" class="chapternum"><a href="#CHAPTER_VII">CHAPTER VII.</a></td> + </tr> + + <tr> + <td class="chapter">ORNAMENT—ECONOMY,</td> + <td class="chapterpage">95</td> + </tr> + + <tr> + <td colspan="2" class="chapternum"><a href="#CHAPTER_VIII">CHAPTER VIII.</a></td> + </tr> + + <tr> + <td class="chapter">SOME THOUGHTS ON CHILDREN'S DRESS.—BY MRS. MERRIFIELD, </td> + <td class="chapterpage">121</td> + </tr> +</table> +</div> + +<div> +<h2><a class="pagenum" name="Page_vii" title="vii"> </a> +<a name="ILLUSTRATIONS" id="ILLUSTRATIONS">ILLUSTRATIONS.</a></h2></div> + +<hr class="no_bot_margin" /> + +<div id="loi"> +<table summary="Illustrations"> + <tr> + <td colspan="2" class="plate"><a href="#plate_01">PLATE I.</a></td> + </tr> + + <tr> + <td class="figure">Figure 1.</td> + <td class="figtitle">Head-dress of Lady Ardene.</td> + </tr> + + <tr> + <td class="figure">2.</td> + <td class="figtitle">A kind of hat.</td> + </tr> + + <tr> + <td class="figure">3.</td> + <td class="figtitle">Steeple head-dress.</td> + </tr> + + <tr> + <td class="figure">4, 6.</td> + <td class="figtitle">Head-dresses of Lady Rolestone.</td> + </tr> + + <tr> + <td class="figure">5.</td> + <td class="figtitle">Heart-shaped head-dresses.</td> + </tr> + + <tr> + <td class="figure">7, 8.</td> + <td class="figtitle">Head-dresses of the time of Henry VIII.</td> + </tr> + + <tr> + <td class="figure">9, 11.</td> + <td class="figtitle">Hats of the time of George II.</td> + </tr> + + <tr> + <td class="figure">10.</td> + <td class="figtitle">Nithsdale hood.</td> + </tr> + + <tr> + <td class="figure">12.</td> + <td class="figtitle">Hat of the time of William III.</td> + </tr> + + <tr> + <td class="figure">13, 14.</td> + <td class="figtitle">Hats of the time of Charles I.</td> + </tr> + + <tr> + <td class="figure">15, 16, 17.</td> + <td class="figtitle">Head-dresses of 1798.</td> + </tr> + + <tr> + <td class="figure">18.</td> + <td class="figtitle">Head-dress of 1700.</td> + </tr> + + <tr> + <td class="figure">19.</td> + <td class="figtitle">Head-dress of the time of Henry VI.</td> + </tr> + + <tr> + <td class="figure">20.</td> + <td class="figtitle">Combination of figs. 7, 8.</td> + </tr> + + <tr> + <td class="figure">21, 22.</td> + <td class="figtitle">Hats for ladies in 1786.</td> + </tr> + + <tr> + <td class="figure">23.</td> + <td class="figtitle">Style of 1785.</td> + </tr> + + <tr> + <td class="figure">24, 25, 26.</td> + <td class="figtitle">Style of 1782.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_02">PLATE II.</a></td> + </tr> + + <tr> + <td class="figure">Figure 27.</td> + <td class="figtitle">Style of 1782.</td> + </tr> + + <tr> + <td class="figure">28, 30.</td> + <td class="figtitle">Head-dress of 1790.</td> + </tr> + + <tr> + <td class="figure"><a class="pagenum" name="Page_viii" title="viii"> </a>29.</td> + <td class="figtitle">Head-dress of the French peasantry.</td> + </tr> + + <tr> + <td class="figure">31.</td> + <td class="figtitle">Fashion of 1791.</td> + </tr> + + <tr> + <td class="figure">32, 33.</td> + <td class="figtitle">Fashion of 1789.</td> + </tr> + + <tr> + <td class="figure">36.</td> + <td class="figtitle">Head-dress of the commencement of the present century.</td> + </tr> + + <tr> + <td class="figure">35.</td> + <td class="figtitle">English housemaid.</td> + </tr> + + <tr> + <td class="figure">37.</td> + <td class="figtitle">Gigot sleeves, with cloak worn over.</td> + </tr> + + <tr> + <td class="figure">38.</td> + <td class="figtitle">From a picture in the Louvre.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_03">PLATE III.</a></td> + </tr> + + <tr> + <td class="figure">Figure 39.</td> + <td class="figtitle">Dress, with short waist and sleeves.</td> + </tr> + + <tr> + <td class="figure">41.</td> + <td class="figtitle">Dress of the mother of Henry IV.</td> + </tr> + + <tr> + <td class="figure">40.</td> + <td class="figtitle">Dress of Henrietta Maria.</td> + </tr> + + <tr> + <td class="figure">42.</td> + <td class="figtitle">From the “Illustrated London News.”</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_04">PLATE IV.</a></td> + </tr> + + <tr> + <td class="figure">Figures 43, 44.</td> + <td class="figtitle">From the plates of Sommaering, shows the waist of the Venus of antiquity.</td> + </tr> + + <tr> + <td class="figure">45, 46.</td> + <td class="figtitle">The waist of a modern lady, from the above.</td> + </tr> + + <tr> + <td class="figure">49.</td> + <td class="figtitle">From the “London News.”</td> + </tr> + + <tr> + <td class="figure">50.</td> + <td class="figtitle">Woman of Mitylene.</td> + </tr> + + <tr> + <td class="figure">53.</td> + <td class="figtitle">Algerine woman.</td> + </tr> + + <tr> + <td class="figure">54.</td> + <td class="figtitle">The archon's wife.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_05">PLATE V.</a></td> + </tr> + + <tr> + <td class="figure">Figure 47.</td> + <td class="figtitle">Athenian peasant.</td> + </tr> + + <tr> + <td class="figure">48.</td> + <td class="figtitle">Shepherdess of Arcadia.</td> + </tr> + + <tr> + <td class="figure"><a class="pagenum" name="Page_ix" title="ix"> </a>51.</td> + <td class="figtitle">Athenian woman.</td> + </tr> + + <tr> + <td class="figure">52.</td> + <td class="figtitle">French costume of the tenth century.</td> + </tr> + + <tr> + <td class="figure">62.</td> + <td class="figtitle">Lady of the time of Henry V.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_06">PLATE VI.</a></td> + </tr> + + <tr> + <td class="figure">Figure 55.</td> + <td class="figtitle">After Parmegiano.</td> + </tr> + + <tr> + <td class="figure">56.</td> + <td class="figtitle">Titian's daughter.</td> + </tr> + + <tr> + <td class="figure">57.</td> + <td class="figtitle">Lady Harrington.</td> + </tr> + + <tr> + <td class="figure">59.</td> + <td class="figtitle">Roman peasant.</td> + </tr> + + <tr> + <td class="figure">61.</td> + <td class="figtitle">Gigot sleeves.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_07">PLATE VII.</a></td> + </tr> + + <tr> + <td class="figure">Figure 63.</td> + <td class="figtitle">From Bonnard's Costumes.</td> + </tr> + + <tr> + <td class="figure">64.</td> + <td class="figtitle">Sancta Victoria.</td> + </tr> + + <tr> + <td class="figure">65.</td> + <td class="figtitle">Anne, Countess of Chesterfield, from Vandyck.</td> + </tr> + + <tr> + <td class="figure">67.</td> + <td class="figtitle">Woman of Markinitza.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_08">PLATE VIII.</a></td> + </tr> + + <tr> + <td class="figure">Figure 60.</td> + <td class="figtitle">Lady Lucy Percy, from Vandyck.</td> + </tr> + + <tr> + <td class="figure">69, 70.</td> + <td class="figtitle">By Jules David, in “Le Moniteur de la Mode.”</td> + </tr> + + <tr> + <td class="figure">68.</td> + <td class="figtitle">The hoop, after Hogarth.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_09">PLATE IX.</a></td> + </tr> + + <tr> + <td class="figure">Figure 66.</td> + <td class="figtitle">From Rubens's “Descent from the Cross.”</td> + </tr> + + <tr> + <td class="figure">71.</td> + <td class="figtitle">From a drawing by Gainsborough.</td> + </tr> + + <tr> + <td class="figure">72.</td> + <td class="figtitle">Woman of Myconia.</td> + </tr> + + <tr> + <td class="figure">74.</td> + <td class="figtitle">Queen Anne.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a class="pagenum" name="Page_x" title="x"> </a> + <a href="#plate_10">PLATE X.</a></td> + </tr> + + <tr> + <td class="figure">Figure 73.</td> + <td class="figtitle">Charlotte de la Tremouille.</td> + </tr> + + <tr> + <td class="figure">75.</td> + <td class="figtitle">After Gainsborough.</td> + </tr> + + <tr> + <td class="figure">76.</td> + <td class="figtitle">After Gainsborough.</td> + </tr> + + <tr> + <td class="figure">77.</td> + <td class="figtitle">Costume of Mrs. Bloomer.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_11">PLATE XI.</a></td> + </tr> + + <tr> + <td class="figure">Figure 78.</td> + <td class="figtitle">From the embroidery on fig. 47, pl. 5.</td> + </tr> + + <tr> + <td class="figure">79.</td> + <td class="figtitle">From the sleeve of the same dress, above.</td> + </tr> + + <tr> + <td class="figure">80.</td> + <td class="figtitle">From the sleeve of the pelisse.</td> + </tr> + + <tr> + <td class="figure">81.</td> + <td class="figtitle">The pattern embroidered from the waist to the skirt of the dress, fig. 51, pl. 5.</td> + </tr> + + <tr> + <td class="figure">82.</td> + <td class="figtitle">The border of the shawl, fig. 51.</td> + </tr> + + <tr> + <td class="figure">83.</td> + <td class="figtitle">Sleeve of the same, figure 51.</td> + </tr> + + <tr> + <td class="figure">84.</td> + <td class="figtitle">Design on the apron, fig. 48, pl. 5.</td> + </tr> + + <tr> + <td class="figure">85.</td> + <td class="figtitle">From the border of the same dress, fig. 48.</td> + </tr> + + <tr> + <td colspan="2" class="plate"><a href="#plate_12">PLATE XII.</a></td> + </tr> + + <tr> + <td class="figure">Figure 86.</td> + <td class="figtitle">Pattern round the hem of the long under dress, fig. 51, pl. 5.</td> + </tr> + + <tr> + <td class="figure">87, 88.</td> + <td class="figtitle">Borders of shawls.</td> + </tr> + + <tr> + <td class="figure">89.</td> + <td class="figtitle">Infant's dress, exhibited at the World's Fair in London.</td> + </tr> + + <tr> + <td class="figure"><a name="tnpg_x"><ins title="89, 90">90, 91.</ins></a></td> + <td class="figtitle">From “Le Moniteur de la Mode,” by Jules David and Réville, published at Paris, London, New York, and St. Petersburg.</td> + </tr> + +</table> +</div> + +<div> +<h2><a class="pagenum" name="Page_1" title="1"> </a> +<a name="CHAPTER_I" id="CHAPTER_I">CHAPTER I.</a><br /> + +<span class="chapter-title">DESCRIPTION OF HEAD-DRESSES.</span></h2> +</div> + +<img class="drop-cap" src="images/p0001_cap_f.png" alt="F" width="103" height="96" /> +<p class="drop-cap drop-f-t"><a href="#plate_01" class="figref first-word">Fig. 1</a> is a front view of a head-dress +of Lady Arderne, (who died about +the middle of the fifteenth century.) +The caul of the head-dress is richly +embroidered, the veil above being +supported by wires, in the shape of a heart, with +double lappets behind the head, which are sometimes +transparent, as if made of gauze.</p> + +<p>Such gauze veils, or rather coverings for the +head-dress, are frequently seen in the miniatures of +MSS. <a href="#plate_01" class="figref">Figs. 2, 3</a>, are here selected from the royal +MS. In <a href="#plate_01" class="figref">Fig. 3</a>, the steeple head-dress of the lady is +entirely covered by a thin veil of gauze, which hangs +from its summit, and projects over her face. <a href="#plate_01" class="figref">Fig. 2</a> +has a sort of hat, widening from its base, and made +of cloth of gold, richly set with stones. Such jewelled +<a class="pagenum" name="Page_2" title="2"> </a>head-dresses are represented on the heads of +noble ladies, and are frequently ornamented in the +most beautiful manner, with stones of various +tints.</p> + +<p>The slab to the memory of John Rolestone, Esq., +sometime Lord of Swarston, and Sicili, his wife, in +Swarkstone Church, Derbyshire, who died in 1482, +gives the head-dress of the said Sicili as represented +in <a href="#plate_01" class="figref">Fig. 6.</a> It is a simple cap, radiating in gores +over the head, having a knob in its centre and a +close falling veil of cloth affixed round the back. +It seems to have been constructed as much +for comfort as for show: the same remark may +be applied to <a href="#plate_01" class="figref">Fig. 4</a>, which certainly cannot be +recommended for its beauty, being a stunted cone, +with a back veil closely fitting about the neck, and +very sparingly ornamented; it was worn by Mary, +wife of John Rolestone, who died in 1485. These +may both have been plain country ladies, far removed +from London, and little troubled with its +fashionable freaks. <a href="#plate_01" class="figref">Fig. 5</a> represents the fashionable +head-dress of the last days of the house of York. +<a class="pagenum" name="Page_3" title="3"> </a>It has been termed the heart-shaped head-dress, +from the appearance it presents when viewed in front, +which resembles that of a heart, and sometimes a +crescent. It is made of black silk or velvet, ornamented +with gold studs, and having a jewel over the +forehead. It has a long band or lappet, such as the +gentlemen then wore affixed to their hats. <a href="#plate_01" class="figref">Figs. 7 +and 8</a> represent head-dresses worn in the time of +Henry VIII. These are a sort of cap, which seem to +combine coverchief and hood. <a href="#plate_01" class="figref">Fig. 7</a> was at this +time the extreme of fashion. It is edged with lace, +and ornamented with jewelry, and has altogether a +look of utter unmeaningness and confusion of form. +<a href="#plate_01" class="figref">Fig. 8</a> has a hood easier of comprehension, but no +whit better in point of elegance than her predecessors; +it fits the head closely, having pendent jewels +round the bottom and crossing the brow. <a href="#plate_01" class="figref">Figs. 9 +and 11</a> are hats of a very simple style, such as were +worn during the reign of George II., when an affected +simplicity, or milk-maiden look, was coveted by the +ladies, both high and low. The hood worn by <a href="#plate_01" class="figref">Fig. 10</a> +was a complete envelope for the head, and was +<a class="pagenum" name="Page_4" title="4"> </a>used in riding, or travelling, as well as in walking in +the parks. These were called Nithsdales, because +Lady Nithsdale covered her husband's face with one +of them, after dressing him in her clothes, and thus +disguised he escaped from the Tower. <a href="#plate_01" class="figref">Fig. 12</a> represents +a hat worn during the reign of William III. +by a damsel who was crying, “Fair cherries, at sixpence +a pound!” It is of straw, with a ribbon tied +around it in a simple and tasteful manner; the hat +is altogether a light and graceful affair, and its want +of obtrusiveness is perhaps its chief recommendation. +<a href="#plate_01" class="figref">Figs. 13 and 14</a> are hats such as were worn +by citizens and their wives during the reigns of +James and Charles I. <a href="#plate_01" class="figref">Figs. 15, 16, 17</a>, were such +head-dresses as were in vogue in 1798. <a href="#plate_01" class="figref">Fig. 15</a> was +of a deep orange color, with bands of dark chocolate +brown; a bunch of scarlet tufts came over the forehead, +and it was held on the head by a kerchief of +white muslin tied beneath the chin. <a href="#plate_01" class="figref">Fig. 16</a> is a +straw bonnet, the crown decorated with red perpendicular +stripes, the front over the face plain, and a +row of laurel leaves surrounds the head; a lavender-colored +<a class="pagenum" name="Page_5" title="5"> </a>tie secures it under the chin. Bonnets +somewhat similar to those now worn were fashionable +two years previous to this; yet a small, low-crowned +hat, like the one in <a href="#plate_01" class="figref">Fig. 17</a>, was as much +patronized as any head-dress had ever been.</p> + +<p>Cocked hats, such as is represented in <a href="#plate_01" class="figref">Fig. 18</a>, +were worn by the gentlemen in the last part of the +year 1700. <a href="#plate_01" class="figref">Fig. 19</a> represents one of the head-dresses +worn during the reign of Henry VI. It is a +combination of coverchief and turban. <a href="#plate_01" class="figref">Fig. 20</a> is a +combination of the head-dress of <a href="#plate_01" class="figref">Fig. 7</a> with the +lappeted hood of <a href="#plate_01" class="figref">Fig. 8.</a> In 1786, a very large-brimmed +hat became fashionable with the ladies, +and continued in vogue for the next two years; an +idea of the back view of it is given in <a href="#plate_01" class="figref">Fig. 21</a>, and +a front view in <a href="#plate_01" class="figref">Fig. 22.</a> It was decorated with +triple feathers, and a broad band of ribbon was tied +in a bow behind, and allowed to stream down the +back. The elegance of turn which the brim of such +a hat afforded was completely overdone by the +enormity of its proportion; and the shelter it gave +the face can now be considered as the only recommendation +<a class="pagenum" name="Page_6" title="6"> </a>of this fashion. The hat worn by <a href="#plate_01" class="figref">Fig. 23</a> +was the style of 1785. Feathers were then much +in favor, and a poet of the time writes of the +<span class="m-nowrap">ladies,—</span></p> + +<div class="poem"> + <div class="stanza" style="max-width: 27em;"> + “No longer they hunt after ribbons and lace;<br /> + <em>Undertakers</em> have got in the milliner's place;<br /> + With hands sacrilegious they've plundered the dead,<br /> + And transferred the gay plumes from the hearse to the head.”<br /> + </div> +</div> + +<div class="figcenter" style="width: 350px;"> +<a name="plate_02" id="plate_02" href="images/plate_02.png"> +<img src="images/plate_02_t.png" width="350" height="490" alt="" title="" /></a> +<div class="caption">Pl. 2.</div> +</div> + +<p><a href="#plate_01" class="figref">Fig. 24</a> represents the head-dress worn in 1782. +At no period in the history of the world was any +thing more absurd in head-dress than the one here +depicted. The body of this erection was formed +of tow, over which the hair was turned, and false +hair added in great curls; bobs and ties, powdered +to profusion, then hung all over with vulgarly large +rows of pearls, or glass beads, fit only to decorate a +chandelier; flowers as obtrusive were stuck about +this heap of finery, which was surmounted by broad +silken bands and great ostrich feathers, until the +head-dress of a lady added three feet to her stature, +and “the male sex,” to use the words of the “Spectator,” +“became suddenly dwarfed beside her.” +<a class="pagenum" name="Page_7" title="7"> </a>To effect this, much time and trouble were wasted, +and great personal annoyance was suffered. Heads, +when properly dressed, “kept for three weeks,” as +the barbers quaintly phrased it; that they would not +really “keep” longer, may be seen by the many +receipts they gave for the destruction of insects, +which bred in the flour and pomatum so liberally +bestowed upon them. <a href="#plate_01" class="figref">Fig. 25</a> is another fashionable +outdoor head-dress. <a href="#plate_01" class="figref">Fig. 26</a> represents one of the +hats invented to cover the head when full dressed. +It is as extravagant as the head-dresses. It is a +large but light compound of gauze, wire, ribbons, +and flowers, sloping over the forehead, and sheltering +the head entirely by its immensity. <a href="#plate_02" class="figref">Fig. 27</a> +shows how immensely globular the head of a lady +had become; it swells all around like a huge pumpkin, +and curls of a corresponding size aid in the +caricature which now passed as fashionable taste. +As if this were not load enough for the fair shoulders +of the softer sex, it is swathed with a huge veil or +scarf, giving the wearer an exceedingly top-heavy +look. In 1790, the ladies appeared in hats similar +<a class="pagenum" name="Page_8" title="8"> </a>to those worn by the gentlemen in 1792; these are +represented in <a href="#plate_02" class="figref">Figs. 28 and 30</a>. They were gayly +decorated with gold strings, and tassels, crossed and +recrossed over the crown. The brims were broad, +raised at the sides, and pointed over the face in a +manner not inelegant. <a href="#plate_02" class="figref">Fig. 29</a> has the tall, ugly +bonnet, copied from the French peasantry; a long +gauze border is attached to the edges, which hangs +like a veil around the face, and partially conceals it. +A hat of a very piquant character was adopted by +the ladies in 1791, of which a specimen is given in +<a href="#plate_02" class="figref">Fig. 31</a>. It is decorated with bows, and a large +feather nods not ungracefully over the crown from +behind. A person with good face and figure must +have looked becomingly beneath it. <a href="#plate_02" class="figref">Fig. 32</a> is an +example of the bad taste which still peeped forth. +It is one of the most fashionable head-dresses worn +in 1789, and is the back view of a lady's head, surmounted +by a very small cap or hat, puffed round +with ribbon; the hair is arranged in a long, straight +bunch down the neck, where it is tied by a ribbon, +and flows in curls beneath; long curls repose one on +<a class="pagenum" name="Page_9" title="9"> </a>each shoulder, while the hair at the sides of the head +is frizzed out on each side in a most fantastic form. +The hat of <a href="#plate_02" class="figref">Fig. 33</a>, shaped like a chimney pot, and +decorated with small tufts of ribbon, and larger +bows, which fitted on a lady's head like the cover on +a canister, was viewed with “marvellous favor” by +many a fair eye, in the year 1789. It was sometimes +bordered with lace, as in <a href="#plate_02" class="figref">Fig. 29</a>, thus hiding +the entire head, and considerably enhancing its +ugliness.</p> + +<div> +<h2><a class="pagenum" name="Page_10" title="10"> </a> +<a name="CHAPTER_II" id="CHAPTER_II">CHAPTER II.</a><br /> + +<span class="chapter-title">DRESS, AS A FINE ART.</span></h2> +</div> + +<img class="drop-cap" src="images/p0010_cap_i.png" alt="I" width="96" height="96" /> +<p class="drop-cap"><span class="first-word">In</span> a state so highly civilized as that in +which we live, the art of dress has +become extremely complicated. That +it is an art to set off our persons to the +greatest advantage must be generally +admitted, and we think it is one which, under certain +conditions, may be studied by the most scrupulous. +An art implies skill and dexterity in setting +off or employing the gifts of nature to the greatest +advantage, and we are surely not wrong in laying it +down as a general principle, that every one may +endeavor to set off or improve his or her personal +appearance, provided that, in doing so, the party is +guilty of no deception. As this proposition may be +liable to some misconstruction, we will endeavor to +explain our meaning.</p> + +<p><a class="pagenum" name="Page_11" title="11"> </a>In the first place, the principle is acted upon by +all who study cleanliness and neatness, which are +universally considered as positive duties, that are +not only conducive to our own comfort, but that +society has a right to expect from us. Again: the +rules of society require that to a certain extent we +should adopt those forms of dress which are in common +use, but our own judgment should be exercised +in adapting these forms to our individual proportions, +complexions, ages, and stations in society. +In accomplishing this object, the most perfect +honesty and sincerity of purpose may be observed. +No deception is to be practised, no artifice employed, +beyond that which is exercised by the +painter, who arranges his subjects in the most +pleasing forms, and who selects colors which harmonize +with each other; and by the manufacturer, +who studies pleasing combinations of lines and +colors. We exercise taste in the decoration and +arrangement of our apartments and in our furniture, +and we are equally at liberty to do so with regard +to our dress; but we know that taste is not an +<a class="pagenum" name="Page_12" title="12"> </a>instinctive perception of the beautiful and agreeable, +but is founded upon the observance of certain laws +of nature. When we conform to these laws, the +result is pleasing and satisfactory; when we offend +against them, the contrary effect takes place. Our +persons change with our years; the child passes into +youth, the youth into maturity, maturity changes +into old age. Every period of life has its peculiar +external characteristics, its pleasures, its pains, and +its pursuits. The art of dress consists in properly +adapting our clothing to these changes.</p> + +<p>We violate the laws of nature when we seek to +repair the ravages of time on our complexions by +paint, when we substitute false hair for that which +age has thinned or blanched, or conceal the change +by dyeing our own gray hair; when we pad our +dress to conceal that one shoulder is larger than the +other. To do either is not only bad taste, but it is +a positive breach of sincerity. It is bad taste, because +the means we have resorted to are contrary to +the laws of nature. The application of paint to the +skin produces an effect so different from the bloom +<a class="pagenum" name="Page_13" title="13"> </a>of youth, that it can only deceive an unpractised +eye. It is the same with the hair: there is such a +want of harmony between false hair and the face +which it surrounds, especially when that face bears +the marks of age, and the color of the hair denotes +youth, that the effect is unpleasing in the extreme. +Deception of this kind, therefore, does not answer +the end which it had in view; it deceives nobody +but the unfortunate perpetrator of the would-be +deceit. It is about as senseless a proceeding as that +of the goose in the story, who, when pursued by the +fox, thrust her head into a hedge, and thought that, +because she could no longer see the fox, the fox could +not see her. But in a moral point of view it is +worse than silly; it is adopted with a view to deceive; +it is <em>acting a lie</em> to all intents and purposes, +and it ought to be held in the same kind of detestation +as falsehood with the tongue. Zimmerman +has an aphorism which is applicable to this case—“Those +who conceal their age do not conceal their +folly.”</p> + +<p>The weak and vain, who hope to conceal their age +<a class="pagenum" name="Page_14" title="14"> </a>by paint and false hair, are, however, morally less +culpable than another class of dissemblers, inasmuch +as the deception practised by the first is so palpable +that it really deceives no one. With regard to the +other class of dissemblers, we feel some difficulty in +approaching a subject of so much delicacy. Yet, +as we have stated that we are at liberty to improve +our natural appearance by well-adapted dress, +we think it our duty to speak out, lest we should +be considered as in any way countenancing deception. +We allude to those physical defects induced +by disease, which are frequently united to great +beauty of countenance, and which are sometimes +so carefully concealed by the dress, that they are +only discovered after marriage.</p> + +<p>Having thus, we hope, established the innocence +of our motives, we shall proceed to mention the +legitimate means by which the personal appearance +may be improved by the study of the art of dress.</p> + +<p>Fashion in dress is usually dictated by caprice or +accident, or by the desire of novelty. It is never, +we believe, based upon the study of the figure.</p> + +<p><a class="pagenum" name="Page_15" title="15"> </a>It is somewhat singular that while every lady +thinks herself at liberty to wear any textile fabric or +any color she pleases, she considers herself bound to +adopt the form and style of dress which the fashion +of the day has rendered popular. The despotism +of fashion is limited to <em>form</em>, but <em>color</em> is free. We +have shown, in another essay, (<a href="#CHAPTER_VIII">see closing chapter</a>,) +what licentiousness this freedom in the adoption +and mixture of colors too frequently induces. +We have also shown that the colors worn by ladies +should be those which contrast or harmonize best +with their individual complexions, and we have +endeavored to make the selection of suitable colors +less difficult by means of a few general rules founded +upon the laws of harmony and contrast of colors. +In the present essay, we propose to offer some +general observations on form in dress. The subject +is, however, both difficult and complicated, and +as it is easier to condemn than to improve or +perfect, we shall more frequently indicate what +fashions should not be adopted, than recommend +others to the patronage of our readers.</p> + +<p><a class="pagenum" name="Page_16" title="16"> </a>The immediate objects of dress are twofold—namely, +decency and warmth; but so many minor +considerations are suffered to influence us in choosing +our habiliments, that these primary objects are +too frequently kept out of sight. Dress should be +not only adapted to the climate, it should also be +light in weight, should yield to the movements of the +body, and should be easily put on or removed. It +should also be adapted to the station in society, and +to the age, of the individual. These are the essential +conditions; yet in practice how frequently are +they overlooked; in fact, how seldom are they observed! +Next in importance are general elegance +of form, harmony in the arrangement and selection +of the colors, and special adaptation in form and +color to the person of the individual. To these +objects we purpose directing the attention of the +reader.</p> + +<p>It is impossible, within the limits we have prescribed +ourselves, to enter into the subject of dress +minutely; we can only deal with it generally, and +lay down certain broad principles for our guidance. +<a class="pagenum" name="Page_17" title="17"> </a>If these are observed, there is still a wide margin +left for fancy and fashion. These may find scope in +trimmings and embroidery; the application of which, +however, must also be regulated by good taste and +knowledge. The physical variety in the human +race is infinite; so are the gradations and combinations +of color; yet we expect a few forms of dress to +suit every age and complexion! Instead of the +beautiful, the graceful, and the becoming, what are +the attractions offered by the dress makers? What +are the terms used to invite the notice of customers? +Novelty and distinction. The shops are “Magasins +de Nouveautés,” the goods are “distingués,” “recherchés,” +“nouveaux,” “the last fashion.” The new +fashions are exhibited on the elegant person of one +of the dress maker's assistants, who is selected for +this purpose, and are adopted by the purchaser +without reflecting how much of the attraction of the +dress is to be ascribed to the fine figure of the wearer, +how much to the beauty of the dress, or whether it +will look equally well on herself. So the fashion is +set, and then it is followed by others, until at last it +<a class="pagenum" name="Page_18" title="18"> </a>becomes singular not to adopt some modification of +it, although the extreme may be avoided. The best +dressers are generally those who follow the fashions +at a great distance.</p> + +<p>Fashion is the only tyrant against whom modern +civilization has not carried on a crusade, and its +power is still as unlimited and despotic as it ever +was. From its dictates there is no appeal; health +and decency are alike offered up at the shrine of this +Moloch. At its command its votaries melt under +fur boas in the dog days, and freeze with bare necks +and arms, in lace dresses and satin shoes, in January. +Then, such is its caprice, that no sooner does +a fashion become general, than, let its merits or +beauties be ever so great, it is changed for one which +perhaps has nothing but its novelty to recommend +it. Like the bed of Procrustes, fashions are compelled +to suit every one. The same fashion is +adopted by the tall and the short, the stout and the +slender, the old and the young, with what effect we +have daily opportunities of observing.</p> + +<p>Yet, with all its vagaries, fashion is extremely +<a class="pagenum" name="Page_19" title="19"> </a>aristocratic in its tendencies. Every change emanates +from the highest circles, who reject it when +it has descended to the vulgar. No new form +of dress was ever successful which did not originate +among the aristocracy. From the ladies +of the court, the fashions descend through all the +ranks of society, until they at last die a natural +death among the cast-off clothes of the housemaid. +<a href="#plate_02" class="figref">Fig. 35</a>.</p> + +<p>Had the Bloomer costume, which has obtained so +much notoriety, been introduced by a tall and graceful +scion of the aristocracy, either of rank or talent, +instead of being at first adopted by the middle +ranks, it might have met with better success. We +have seen that Jenny Lind could introduce a new +fashion of wearing the hair, and a new form of hat +or bonnet, and Mme. Sontag a cap which bears her +name. But it was against all precedent to admit +and follow a fashion, let its merits be ever so great, +that emanated from the stronghold of democracy. +We are content to adopt the greatest absurdities in +dress when they are brought from Paris, or recommended +<a class="pagenum" name="Page_20" title="20"> </a>by a French name; but American fashions +have no chance of success in aristocratic England. +It is beginning at the wrong end.</p> + +<p>The eccentricities of fashion are so great that +they would appear incredible if we had not ocular +evidence of their prevalence in the portraits which +still exist. At one period we read of horned head-dresses, +which were so large and high, that it is said +the doors of the palace at Vincennes were obliged +to be altered to admit Isabel of Bavaria (queen of +Charles VI. of France) and the ladies of her suite. +In the reign of Edward IV., the ladies' caps +were three quarters of an ell in height, and were +covered by pieces of lawn hanging down to the +ground, or stretched over a frame till they resembled +the wings of a butterfly.<a name="FNanchor_1_1" href="#Footnote_1_1" class="fnanchor">[1]</a> At another time +the ladies' heads were covered with gold nets, like +those worn at the present day. Then, again, the +hair, stiffened with powder and pomatum, and surmounted +<a class="pagenum" name="Page_21" title="21"> </a>by flowers, feathers, and ribbons, was +raised on the top of the head like a tower. Such +head-dresses were emphatically called “<em>têtes</em>.” (<a href="#CHAPTER_I">See +chapter on Head-Dress.</a>) <a href="#plate_02" class="figref">Fig. 36</a>. But to go back +no farther than the beginning of the present century, +where Mr. Fairholt's interesting work on British +Costume terminates, what changes have we to record! +The first fashion we remember was that of +scanty clothing, when slender figures were so much +admired, that many, to whom nature had denied +this qualification, left off the under garments necessary +for warmth, and fell victims to the colds and +consumptions induced by their adoption of this +senseless practice. To these succeeded waists so +short that the girdles were placed almost under the +arms, and as the dresses were worn at that time +indecently low in the neck, the body of the dress +was almost a myth. <a href="#plate_03" class="figref">Fig. 39</a>.</p> + +<p>About the same time, the sleeves were so short, +and the skirts so curtailed in length, that there was +reason to fear that the whole of the drapery might +also become a myth. A partial reaction then took +<a class="pagenum" name="Page_22" title="22"> </a>place, and the skirts were lengthened without increasing +the width of the dresses, the consequence +of which was felt in the country, if not in the towns. +Then woe to those who had to cross a ditch or a +stile! One of two things was inevitable; either the +unfortunate lady was thrown to the ground,—and +in this case it was no easy matter to rise again,—or +her dress was split up. The result depended entirely +upon the strength of the materials of which +the dress was composed. The next variation, the +<em>gigot</em> sleeves, namely, were a positive deformity, inasmuch +as they gave an unnatural width to the +shoulders—a defect which was further increased by +the large collars which fell over them, thus violating +one of the first principles of beauty in the female +form, which demands that this part of the body +should be narrow; breadth of shoulder being one +of the distinguishing characteristics of the stronger +sex. We remember to have seen an engraving from +a portrait, by Lawrence, of the late Lady Blessington, +in which the breadth of the shoulders appeared +to be at least three quarters of a yard. When a +<a class="pagenum" name="Page_23" title="23"> </a>person of low stature, wearing sleeves of this description, +was covered with one of the long cloaks, +which were made wide at the shoulders to admit the +sleeves, and to which was appended a deep and very +full cape, the effect was ridiculous, and the outline +of the whole mass resembled that of a haycock +with a head on the top. <a href="#plate_02" class="figref">Fig. 37</a>. One absurdity +generally leads to another; to balance the wide +shoulders, the bonnets and caps were made of enormous +dimensions, and were decorated with a profusion +of ribbons and flowers. So absurd was the +whole combination, that, when we meet with a portrait +of this period, we can only look on it in the +light of a caricature, and wonder that such should +ever have been so universal as to be adopted at last +by all who wished to avoid singularity. The transition +from the broad shoulders and gigot sleeves to +the tight sleeves and graceful black scarf was quite +refreshing to a tasteful eye. These were a few of +the freaks of fashion during the last half century. +Had they been quite harmless, we might have considered +them as merely ridiculous; but some of them +<a class="pagenum" name="Page_24" title="24"> </a>were positively indecent, and others detrimental to +health. We grieve especially for the former charge: +it is an anomaly for which, considering the modest +habits and education of our countrywomen, we find +it difficult to account.</p> + +<p>It is singular that the practice of wearing dresses +cut low round the bust should be limited to what is +called full dress, and to the higher, and, except in +this instance, the more refined classes. Is it to display +a beautiful neck and shoulders? No; for in +this case it would be confined to those who had +beautiful necks and shoulders to display. Is it to +obtain the admiration of the other sex? That cannot +be; for we believe that men look upon this exposure +with unmitigated distaste, and that they are inclined +to doubt the modesty of those young ladies +who make so profuse a display of their charms. +But if objectionable in the young, whose youth and +beauty might possibly be deemed some extenuation, +it is disgusting in those whose bloom is past, +whether their forms are developed with a ripe luxuriance +which makes the female figures of Rubens +<a class="pagenum" name="Page_25" title="25"> </a>appear in comparison slender and refined, or whether +the yellow skin, stretched over the wiry sinews of +the neck, remind one of the old women whom some +of the Italian masters were accustomed to introduce +into their pieces, to enhance, by contrast, the beauty +of the principal figures. Every period of life has +a style of dress peculiarly appropriate to it, and we +maintain that the uncovered bosom so conspicuous +in the dissolute reign of Charles II., and from +which, indeed, the reign of Charles I. was not, as +we learn from the Vandyck portraits, exempt, +should be limited, even in its widest extension, to +feminine youth, or rather childhood.</p> + +<p>If the dress be cut low, the bust should be covered +after the modest and becoming fashion of the Italian +women, whose highly picturesque costume painters +are so fond of representing. The white drapery has +a peculiarly good effect, placed as it is between the +skin and richly-colored bodice. As examples of +this style of dress, we may refer to Sir Charles Eastlake's +“Pilgrims in Sight of Rome,” “The Grape +Gatherer of Capri,” by Lehmann, and “The Dancing +<a class="pagenum" name="Page_26" title="26"> </a>Lesson,” by Mr. Uwins, all of which are engraved +in the <cite>Art Journal</cite>. Another hint may be borrowed +from the Italian costume; we may just allude to it +<em>en passant</em>. If bodices fitting to the shape must be +worn, they should be laced across the front in the +Italian fashion. <a href="#plate_02" class="figref">Fig. 38</a>. By this contrivance the +dress will suit the figure more perfectly, and as the +lace may be lengthened or shortened at pleasure, +any degree of tightness may be given, and the +bodice may be accommodated to the figure without +compressing it. We find by the picture in the +Louvre called sometimes “Titian's Mistress” that +this costume is at least as old as Titian.</p> + +<p>We have noticed the changes and transitions of +fashion; we must mention one point in which it has +continued constant from the time of William Rufus +until the present day, and which, since it has entailed +years of suffering, and in many instances has +caused death, demands our most serious attention. +We allude to the pernicious practice of tight lacing, +which, as appears from contemporary paintings, was +as general on the continent as in England.</p> + +<p><a class="pagenum" name="Page_27" title="27"> </a>The savage American Indian changes the shape +of the soft and elastic bones of the skull of his +infant by compressing it between two boards; the +intelligent but prejudiced Chinese suffers the head +to grow as nature formed it, but confines the foot +of the female to the size of an infant's; while +the highly-intellectual and well-informed European +lady limits the growth of her waist by the pressure +of the stays. When we consider the importance of +the organs which suffer by these customs, surely we +must acknowledge that the last is the most barbarous +practice of the three.</p> + +<p>We read in the history of France that the war-like +Franks had such a dislike to corpulency that +they inflicted a fine upon all who could not encircle +their waists with a band of a certain length. How +far this extraordinary custom may have been influential +in introducing the predilection for small +waists among the ladies of that country, as well +as our own through the Norman conquerors, we +cannot determine.</p> + +<p>During the reign of Queen Elizabeth, the whole +<a class="pagenum" name="Page_28" title="28"> </a>of the upper part of the body, from the waist to +the chin, was encased in a cuirass of whalebone, +the rigidity of which rendered easy and graceful +movement impossible. The portrait of Elizabeth +by Zucchero, with its stiff dress and enormous ruff, +and which has been so frequently engraved, must +be in the memory of all our readers. Stiffness +was indeed the characteristic of ladies' dress at this +period; the whalebone cuirass, covered with the +richest brocaded silks, was united at the waist with +the equally stiff vardingale or fardingale, which +descended to the feet in the form of a large bell, +without a single fold.</p> + +<p>There is a portrait in the possession of Mr. Seymour +Fitzgerald of the unfortunate Mary Queen +of Scots, when quite young, in a dress of this kind; +and one cannot help pitying the poor girl's rigid +confinement in her stiff and uncomfortable dress. +<a href="#plate_03" class="figref">Fig. 41</a> represents Jeanne d'Albret, the mother of +Henry IV., in the fardingale.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="plate_03" id="plate_03" href="images/plate_03.png"> +<img src="images/plate_03_t.png" width="350" height="495" alt="" title="" /></a> +<div class="caption">Pl. 3.</div> +</div> + +<p>With Henrietta Maria dresses cut low in the front, +(<a href="#plate_03" class="figref">Fig. 40</a>,) and flowing draperies, as we find them +<a class="pagenum" name="Page_29" title="29"> </a>in the Vandyck portraits, came into fashion, but the +figure still retained its stiffness around the waist, +and has continued to do so through all the gradations +and variations in shape and size of the +hoop petticoat, and the scanty draperies of a later +period, until the present day.<a name="FNanchor_2_2" href="#Footnote_2_2" class="fnanchor">[2]</a></p> + +<p>If the proportions of the figure were generally +understood, we should not hear of those deplorable, +and in many cases fatal, results of tight lacing +which have unfortunately been so numerous. So +general has the pernicious practice been in this +country, that a medical friend, who is professor of +anatomy in a provincial academy, informed us that +there was great difficulty in procuring a model +whose waist had not been compressed by stays. +That this is true of other localities besides that +<a class="pagenum" name="Page_30" title="30"> </a>alluded to, may be inferred from a passage in Mr. +Hay's lecture to the Society of Arts “On the Geometrical +Principles of Beauty,” in which he mentions +having, for the purpose of verifying his theory, +employed “an artist who, having studied the human +figure at the life academies on the continent, in +London, and in Edinburgh, was well acquainted +with the subject,” to make a careful drawing of +the best living model which could be procured for +the purpose. Mr. Hay observes, with reference to +this otherwise fine figure, that “the waist has evidently +been compressed by the use of stays.” In +further confirmation of the prevalence of this bad +habit, we may refer to Etty's pictures, in which this +defect is but too apparent.</p> + +<p>We fear, from Mr. Planché's extracts, that the +evil was perpetuated by the poets and romance +writers of the Norman period; and we are sure that +the novelists of our own times have much to answer +for on this score. Had they not been forever +praising “taper waists,” tight lacing would have +shared the fate of other fashions, and have been +<a class="pagenum" name="Page_31" title="31"> </a>banished from all civilized society. Similar blame +does not attach to the painter and sculptor. The +creations of their invention are modelled upon the +true principles of proportion and beauty, and in +their works a small waist and foot are always +accompanied by a slender form. In the mind of +the poet and novelist the same associations may +take place: when a writer describes the slender +waist or small foot, he probably sees <em>mentally</em> the +whole slender figure. The small waist is a <em>proportionate</em> +part of the figure of his creation. But there +is this difference between the painter and sculptor, +and the novelist. The works of the first two address +themselves to the eye, and every part of the +form is present to the spectator; consequently, as +regards form, nothing is left to the imagination. +With respect to the poet and novelist, their creations +are almost entirely mental ones; their descriptions +touch upon a few striking points only, +and are seldom so full as to fill up the entire +form: much is, therefore, necessarily left to the +imagination of the reader. Now, the fashion in +<a class="pagenum" name="Page_32" title="32"> </a>which the reader will supply the details left undetermined +by the poet and novelist, and fill up +their scanty and shadowy outlines, depends entirely +upon his knowledge of form; consequently, if this +be small, the images which arise in the mind of the +reader from the perusal of works of genius are confused +and imperfect, and the proportions of one +class of forms are assigned to, or mingled with, +those of others, without the slightest regard to +truth and nature. When we say, therefore, that +writers leave much to the imagination, it may too +frequently be understood, to the <em>ignorance</em> of the +reader; for the imaginations of those acquainted +with form and proportion, who generally constitute +the minority, always create well-proportioned ideal +forms; while the ideal productions of the uneducated, +whether expressed by the pencil, the chisel, +or the pen, are always ill proportioned and defective.</p> + +<p>The most efficient method of putting an end to +the practice of tight lacing will be, not merely to +point out its unhealthiness, and even dangerous +consequences, because these, though imminent, are +<a class="pagenum" name="Page_33" title="33"> </a>uncertain,—every lady who resorts to the practice +hoping that she, individually, may escape the penalty,—but +to prove that the practice, so far from +adding to the beauty of the figure, actually deteriorates +it. This is an effect, not doubtful, like the +former case, but an actual and positive fact; and, +therefore, it supplies a good and sufficient reason, +and one which the most obtuse intellect can comprehend, +for avoiding the practice. Young ladies +will sometimes, it is said, run the risk of ill health +for the sake of the interest that in some cases attaches +to “delicate health;” but is there any one +who would like to be told that, by tight lacing, +she makes her figure not only deformed, but positively +ugly? This, however, is the plain unvarnished +truth; and, by asserting it, we are striking +at the root of the evil. The remedy is easy: give +to every young lady a general knowledge of form, +and of the principles of beauty as applied to the +human frame, and when these are better understood, +and acted on, tight lacing will die a natural +death.</p> + +<p><a class="pagenum" name="Page_34" title="34"> </a>The study of form, on scientific principles, has +hitherto been limited entirely to men; and if some +women have attained this knowledge, it has been +by their own unassisted efforts; that is to say, without +the advantages which men derive from lectures +and academical studies. In this, as in other acquirements, +the pursuit of knowledge, as regards +women, is always attended with difficulties. While +fully concurring in the propriety of having separate +schools for male and female students, we do think +that a knowledge of form may be communicated +to all persons, and that a young woman will not +make the worse wife, or mother, for understanding +the economy of the human frame, and for having +acquired the power of appreciating its beauties. +We fear that there are still some persons whose +minds are so contracted as to think that, not only +studies of this nature, but even the contemplation +of undraped statuary, are derogatory to the delicacy +and purity of the female mind; but we are satisfied +that the thinking part of the community will +approve the course we recommend. Dr. Southwood +<a class="pagenum" name="Page_35" title="35"> </a>Smith, who is so honorably distinguished by his +endeavors to promote the sanatory condition of the +people, strenuously advocates the necessity of giving +to all women a knowledge of the structure and +functions of the body, with a view to the proper +discharge of their duties as mothers. He remarks +(Preface to “Philosophy of Health”) on this subject, +“I look upon that notion of delicacy which +would exclude women from knowledge calculated in +an extraordinary degree to open, exalt, and purify +their minds, and to fit them for the performance +of their duties, as alike degrading to those to whom +it affects to show respect, and debasing to the +mind that entertains it.”</p> + +<p>At the present time, the knowledge of what constitutes +true beauty of form is, perhaps, best acquired +by the contemplation of good pictures and +sculpture. This may not be in the power of every +body; casts, however, may be frequently obtained +from the best statues; and many of the finest works +of painting are rendered familiar to us by engravings. +The <cite>Art Journal</cite> has done much in diffusing a +<a class="pagenum" name="Page_36" title="36"> </a>taste for art, by the engravings it contains from +statues, and from the fine works of English art in +the “Vernon Gallery.” Engravings, however, can +of course represent a statue in one point of view +only; but casts are now so cheap as to be within +the reach of all persons. Small models of the +“Greek Slave” are not unfrequently offered by the +Italian image venders for one shilling; and although +these are not sharp enough to draw from, the form +is sufficiently correct to study the general proportions +of the figure; and as this figure is more upright +than statues usually are, it may be found +exceedingly useful for the above purpose. One of +these casts, or, if possible, a sharper and better cast +of a female figure, should be found on the <em>toilette</em> of +every young lady who is desirous of obtaining a +knowledge of the proportions and beauties of the +figure.</p> + +<p>We believe it will always be found that the +beauty of a figure depends not only upon the symmetry +of the parts individually, but upon the +harmony and proportion of each part to the rest. +<a class="pagenum" name="Page_37" title="37"> </a>The varieties of the human form have been classed +under the general heads of the broad, the proportionate, +and the slender.</p> + +<p>The first betokens strength; and what beauty +soever, of a peculiar kind, it may display in the +figure of the Hercules, it is not adapted to set off +the charms of the female sex. If, however, each +individual part bears a proportionate relation to +the whole, the figure will not be without its attraction. +It is only when the proportions of two +or three of the classes are united in one individual, +that the figure becomes ungraceful and remarkable. +The athletic—if the term may be applied to females—form +of the country girl would appear +ridiculous with the small waist, and the white and +taper fingers, and small feet of the individuals who +come under the denomination of slender forms. +The tall and delicate figure would lose its beauty +if united to the large and broad hands which pertain +to the stronger type. A small waist and foot +are as great a blemish to an individual of the broad +variety as a large waist and foot are to the slender. +<a class="pagenum" name="Page_38" title="38"> </a>“There is a harmony,” says Dr. Wampen, “between +all the parts in each kind of form, but each integral +is only suited to its own kind of form. True beauty +consists not only in the harmony of the elements, +but in their being suitable to the kind of form.” +Were this fundamental truth but thoroughly understood, +small waists and small feet would be at +a discount. When they are recognized <em>as small</em>, +they have ceased to be beautiful, because they are +disproportionate. Where every part of a figure is +perfectly proportioned to the rest, no single parts +appear either large or small.</p> + +<p>The ill effects of the stays in a sanatory point +of view have been frequently pointed out, and we +hope are now understood. It will, therefore, be +unnecessary to enlarge on this head. We have +asserted that stays are detrimental to beauty of +form; we shall now endeavor to show in what +particulars.</p> + +<div class="figcenter" style="width: 508px;"> +<a name="plate_04" id="plate_04" href="images/plate_04.png"> +<img src="images/plate_04_t.png" width="508" height="350" alt="" title="" /></a> +<div class="caption">Pl. 4.</div> +</div> + +<p>The natural form of the part of the trunk which +forms the waist is not absolutely cylindrical, but is +flattened considerably in front and back, so that the +<a class="pagenum" name="Page_39" title="39"> </a>breadth is much greater from side to side than from +front to back. This was undoubtedly contrived for +wise purposes; yet fashion, with its usual caprice, +has interfered with nature, and by promulgating the +pernicious error that a rounded form of the waist +is more beautiful than the flattened form adopted +by nature, has endeavored to effect this change by +means of the stays, which force the lower ribs +closer together, and so produce the desired form. +Nothing can be more ungraceful than the sudden +diminution in the size of the waist occasioned by +the compression of the ribs, as compared with the +gently undulating line of nature; yet, we are sorry +to say, nothing is more common. A glance at the +cuts, <a href="#plate_04" class="figref">Figs. 43, 44, 45, 46</a>, from the work of Sommæring, +will explain our meaning more clearly than +words. <a href="#plate_04" class="figref">Fig. 43</a> represents the natural waist of the +Venus of antiquity; <a href="#plate_04" class="figref">Fig. 45</a>, that of a lady of the +modern period. The diagrams 44 and 46 show the +structure of the ribs of each.</p> + +<p>It will be seen that, by the pressure of the stays, +the arch formed by the lower ribs is entirely closed, +<a class="pagenum" name="Page_40" title="40"> </a>and the waist becomes four or five inches smaller +than it was intended by nature. Is it any wonder +that persons so deformed should have bad health, +or that they should produce unhealthy offspring? +Is it any wonder that so many young mothers +should have to lament the loss of their first born? +We have frequently traced tight lacing in connection +with this sad event, and we cannot help looking +upon it as cause and effect.</p> + +<p>By way of further illustration, we refer our readers +to some of the numerous engravings from statues in +the <cite>Art Journal</cite>, which, though very beautiful, are +not distinguished by small waists. We may mention, +as examples, Bailey's “Graces;” Marshall's +“Dancing Girl Reposing;” “The Toilet,” by Wickman; +“The Bavaria,” by Schwanthaler; and “The +Psyche,” by Theed.</p> + +<p>There is another effect produced by tight lacing, +which is too ungraceful in its results to be overlooked, +namely, that a pressure on one part is +frequently, from the elasticity of the figure, compensated +by an enlargement in another part. It +<a class="pagenum" name="Page_41" title="41"> </a>has been frequently urged by inconsiderate persons, +that, where there is a tendency to corpulency, stays +are necessary to limit exuberant growth, and confine +the form within the limits of gentility. We +believe that this is entirely a mistake, and that, +if the waist be compressed, greater fulness will be +perceptible both above and below, just as, when +one ties a string tight round the middle of a pillow, +it is rendered fuller at each end. With reference +to the waist, as to every thing else, the <em>juste +milieu</em> is literally the thing to be desired.</p> + +<p>It has been already observed, that a small waist +is beautiful only when it is accompanied by a slender +and small figure; but, as the part of the trunk, +immediately beneath the arms, is filled with powerful +muscles, these, when developed by exercise, +impart a breadth to this part of the figure which, +by comparison, causes the waist to appear small. +A familiar example of this, in the male figure, presents +itself in the Hercules, the waist of which +appears disproportionately small; yet it is really +of the normal size, its apparent smallness being +<a class="pagenum" name="Page_42" title="42"> </a>occasioned by the prodigious development of the +muscles of the upper part of the body.</p> + +<p>The true way of diminishing the apparent size +of the waist, is, as we have remarked above, by +increasing the power of the muscles of the upper +part of the frame. This can only be done by exercise; +and as the habits of society, as now constituted, +preclude the employment of young ladies +in household duties, they are obliged to find a substitute +for this healthy exertion in calisthenics. +There was a time when even the queens of Spain +did not disdain to employ their royal hands in +making sausages; and to such perfection was this +culinary accomplishment carried at one period, that +it is upon record that the Emperor Charles V., after +his retirement from the cares and dignities of the +empire, longed for sausages “of the kind which +Queen Juaña, now in glory, used to pride herself +in making in the Flemish fashion.” (See Mr. Stirling's +“Cloister Life of Charles V.”) This is really +like going back to the old times, <span class="m-nowrap">when—</span></p> + +<div class="poem"> + <div class="stanza" style="max-width: 21em;"> +“The Queen of Hearts, she made some tarts.”<br /> + </div> +</div> + +<p><a class="pagenum" name="Page_43" title="43"> </a>In England, some fifty years ago, the young +ladies of the ancient city of Norwich were not +considered to have completed their education, until +they had spent some months under the tuition +of the first confectioner in the city, in learning +to make cakes and pastry—an art which +they afterwards continued when they possessed +houses of their own. This wholesome discipline +of beating eggs and whipping creams, kneading +biscuits and gingerbread, was calculated to preserve +their health, and afford sufficient exercise to +the muscles of the arms and shoulders, without having +recourse to artificial modes of exertion.</p> + +<p>It does not appear that the ancients set the +same value upon a small waist as the moderns; +for, in their draped female figures, the whole circuit +of the waist is seldom visible, some folds of the +drapery being suffered to fall over a part, thus +leaving its exact extent to the imagination. The +same remark is applicable to the great Italian +painters, who seldom marked the whole +contour of the waist, unless when painting portraits, +<a class="pagenum" name="Page_44" title="44"> </a>in which case the costume was of course +observed.</p> + +<p>It was not so, however, with the shoulders, the +true width of which was always seen; and how +voluminous soever the folds of the drapery around +the body, it was never arranged so as to add to +the width of the shoulders. Narrow shoulders and +broad hips are esteemed beauties in the female +figure, while in the male figure the broad shoulders +and narrow hips are most admired.</p> + +<div class="figcenter" style="width: 499px;"> +<a name="plate_05" id="plate_05" href="images/plate_05.png"> +<img src="images/plate_05_t.png" width="499" height="350" alt="" title="" /></a> +<div class="caption">Pl. 5.</div> +</div> + +<p>The costume of the modern Greeks is frequently +very graceful, (<a href="#plate_05" class="figref">Fig. 47</a>, peasant from the environs of +Athens,) and it adapts itself well to the figure, the +movements of which it does not restrain. The prevailing +characteristics of the costume are a long +robe, reaching to the ground, with full sleeves, very +wide at the bands. This dress is frequently embroidered +with a graceful pattern round the skirt +and sleeves. Over it is worn a pelisse, which +reaches only to the knees, and is open in front; +either without any sleeves, or with tight ones, finishing +at the elbows; beneath which are seen the +<a class="pagenum" name="Page_45" title="45"> </a>full sleeves of the long robe. The drapery over the +bust is full, and is sometimes confined at the waist +by a belt; at others it is suffered to hang loosely +until it meets the broad, sash-like girdle which +encircles the hips, and which hangs so loosely that +the hands are rested in its folds as in a pocket.</p> + +<p>The drapery generally terminates at the throat, +under a necklace of coins or jewels. The most +usual form of head-dress is a veil so voluminous +as to cover the head and shoulders; one end of +the veil is frequently thrown over the shoulder, or +gathered into a knot behind. The shoes, apparently +worn only for walking, consist generally of a very +thick sole, with a cap over the toes.</p> + +<p>One glance at the graceful figures in the plates +is sufficient to show how unnecessary stays are to +the beauty of the figure. <a href="#plate_05" class="figref">Fig. 48</a>, Shepherdess of +Arcadia.</p> + +<p>The modern Greek costumes which we have selected +for our illustrations, from the beautiful work +of M. de Stackelberg, (“Costumes et Peuples de la +Grèce Moderne,” published at Rome, 1825,) suggest +<a class="pagenum" name="Page_46" title="46"> </a>several points for consideration, and some for our +imitation. The dress is long and flowing, and high +in the neck. It does not add to the width of the +shoulders; it conceals the exact size of the waist +by the loose pelisse, which is open in front; it +falls in a graceful and flowing line from the arm-pits, +narrowing a little at the waist, and spreading +gently over the hips, when the skirt falls by its +own weight into large folds, instead of curving suddenly +from an unnaturally small waist over a hideous +bustle, and increasing in size downward to +the hem of the dress, like a bell, as in the present +English costume.</p> + +<p><a href="#plate_03" class="figref">Figs. 42</a> and <a href="#plate_04" class="figref">49</a> are selected from the “Illustrated +London News.” (Volume for 1851, July to December, +pp. 20 and 117.) The one represents out-door +costume, the other in-door. Many such are scattered +through the pages of our amusing and valuable +contemporary. For the out-door costume we +beg to refer our readers to the large woodcut in +the same volume, (pp. 424, 425.) If a traveller +from a distant country, unacquainted with the +<a class="pagenum" name="Page_47" title="47"> </a>English and French fashions, were to contemplate +this cut, he would be puzzled to account for the +remarkable shape of the ladies, who all, more or +less, resemble the figure we have selected for our +illustration; and, if he is any thing of a naturalist, +he will set them down in his own mind as +belonging to a new species of the genus <em>homo</em>. +Looking at this and other prints of the day, we +should think that the artists intended to convey +a satire on the ladies' dress, if we did not frequently +meet with such figures in real life.</p> + +<p>The lady in the evening dress (<a href="#plate_04" name="tnpg047" class="figref"><ins title="Fig">Fig.</ins> 49</a>) is from +a large woodcut in the same journal representing +a ball. This costume, with much pretension to +elegance, exhibits most of the faults of the modern +style of dress. It combines the indecently low +dress, with the pinched waist, and the hoop petticoat. +In the figure of the woman of Mitylene, +(<a href="#plate_04" class="figref">Fig. 50</a>,) the true form and width of the shoulders +are apparent, and the form of the bust is indicated, +but not exposed, through the loosely fitting +drapery which covers it. In the figure of the +<a class="pagenum" name="Page_48" title="48"> </a>Athenian peasant, (<a href="#plate_05" class="figref">Fig. 47</a>,). the loose drapery +over the bust is confined at the waist by a broad +band, while the hips are encircled by the sash-like +girdle in which the figure rests her hands. The +skirt of the pelisse appears double, and the short +sleeve, embroidered at the edge, shows the full +sleeve of the under drapery, also richly embroidered. +In the second figure from the environs of +Athens, (<a href="#plate_05" class="figref">Fig. 51</a>,) we observe that the skirt of the +pelisse, instead of being set on in gathers or plaits, +as our dresses are, is “gored,” or sloped away at +the top, where it unites almost imperceptibly with +the body, giving rise to undulating lines, instead +of sudden transitions and curves. In the cut of +the Arcadian peasant, (<a href="#plate_05" class="figref">Fig. 48</a>,) the pelisse is shortened +almost to a spencer, or <em>côte hardie</em>, and it wants +the graceful flow of the longer skirt, for which the +closely fitting embroidered apron is no compensation. +This figure is useful in showing that tight +bodies may be fitted to the figure without stays. +The heavy rolled girdle on the hips is no improvement. +The dress of the Algerine woman, (<a href="#plate_04" class="figref">Fig. 53</a>,) +<a class="pagenum" name="Page_49" title="49"> </a>copied from the “Illustrated London News,” bears +a strong resemblance to the Greek costume, and +is very graceful. It is not deformed either by the +pinched waist or the stays. In the tenth century, +the French costume (<a href="#plate_05" class="figref">Fig. 52</a>) somewhat resembled +that of the modern Greeks; the former, however, +had not the short pelisse, but, in its place, the +ladies wore a long veil, which covered the head, +and reached nearly to the feet.</p> + +<p>The Greek and Oriental costume has always been +a favorite with painters: the “Vernon Gallery” furnishes +us with two illustrations; and the excellent +engravings of these subjects in the <cite>Art Journal</cite> enable +us to compare the costumes of the two figures while +at a distance from the originals. The graceful figure +of “The Greek Girl,” (engraved in the <cite>Art Journal</cite> +for 1850,) painted by Sir Charles Eastlake, is not +compressed by stays, but is easy and natural. The +white under-drapery is confined at the waist, which +is short, by a broad girdle, which appears to encircle +it more than once, and adds to the apparent +length of the waist; the open jacket, without a +<a class="pagenum" name="Page_50" title="50"> </a>collar, falls gracefully from the shoulders, and conceals +the limits of the waist; every thing is easy, +natural, and graceful. M. De Stackelberg's beautiful +figure of the “Archon's Wife” (<a href="#plate_04" class="figref">Fig. 54</a>) shows +the district whence Sir C. Eastlake drew his model. +There is the same flowing hair,—from which hang +carnations, as in the picture in the “Vernon Gallery,”—the +same cap, the same necklace. But in +the baron's figure, we find the waist encircled with +a broad band, six or seven inches in width, while +the lady rests her hand on the sash-like girdle, +which falls round the hips.</p> + +<p>Turn we now to Pickersgill's “Syrian Maid,” (engraved +in the <cite>Art Journal</cite> for 1850:) here, we see, the +artist has taken a painter's license, and represented +the fair Oriental in stays, which, we believe, are +happily unknown in the East. How stiff and constrained +does this figure appear, after looking at +Sir C. Eastlake's beautiful “Greek Girl;” how unnatural +the form of the chest! The limits of the +waist are not visible, it is true, in the “Syrian +Maid,” but the shadow is so arranged, that the +<a class="pagenum" name="Page_51" title="51"> </a>rounded form, to which we have before alluded, and +which fashion deems necessary, is plainly perceptible; +and an impression is made that the waist is +small and pinched.</p> + +<p>We could mention some cases in which the girdle +is omitted altogether, without any detriment to the +gracefulness of the figure. Such dresses, however, +though illustrative of the principle, are not adapted +to the costume of real life. In sculpture, however, +they frequently occur. We may mention Gibson's +statue of her majesty, the female figure in M'Dougall's +“Triumph of Love,” and “Penelope,” by Wyatt, +which are engraved in the <cite>Art Journal</cite>, (the first +in the year 1846, the others in 1849.) But the +drapery of statues can, however, scarcely be taken +as a precedent for that of the living subject, and +although we mention that the girdle is sometimes +dispensed with, we are far from advocating this in +practice; nay, we consider the sash or girdle is +indispensable; all that we stipulate for is, that it +should not be so tight as to compress the figure, +or impede circulation.</p> + +<p><a class="pagenum" name="Page_52" title="52"> </a>In concluding our remarks on this subject, we +would observe, that the best means of improving +the figure are to secure freedom of motion by the +use of light and roomy clothing, and to strengthen +the muscles by exercise. We may also observe, +that singing is not only beneficial to the lungs, +but that it strengthens the muscles, and increases +the size of the chest, and, consequently, makes the +waist appear smaller. Singing, and other suitable +exercises in which both arms are used equally, will +improve the figure more than all the backboards in +the world.</p> + +<div> +<h2><a class="pagenum" name="Page_53" title="53"> </a> +<a name="CHAPTER_III" id="CHAPTER_III">CHAPTER III.</a><br /> + +<span class="chapter-title">THE HEAD.</span></h2> +</div> + +<img class="drop-cap" src="images/p0053_cap_t.png" alt="T" width="98" height="96" /> +<p class="drop-cap drop-f-t"><span class="first-word">There</span> is no part of the body which +has been more exposed to the vicissitudes +of fashion than the head, +both as regards its natural covering +of hair, and the artificial covering +of caps and bonnets. At one time, we read of +sprinkling the hair with gold dust; at another +time, the bright brown hair, of the color of the +horse-chestnut, so common in Italian pictures, was +the fashion. This color, as well as that beautiful +light golden tint sometimes seen in Italian pictures +of the same period, was frequently the result +of art, and receipts for producing both tints are +still to be found in old books of “<em>secreti</em>.” Both +these were in their turn discarded, and after a +time the real color of the hair was lost in powder +<a class="pagenum" name="Page_54" title="54"> </a>and pomatum. The improving taste of the +present generation is, perhaps, nowhere more conspicuous +than in permitting us to preserve the +natural color of the hair, and to wear our own, +whether it be black, brown, or gray. There is also +a marked improvement in the more natural way +in which the hair has been arranged during the +last thirty years. We allude, particularly, to its +being suffered to retain the direction intended by +nature, instead of being combed upright, and turned +over a cushion a foot or two in height.</p> + +<p>These head-dresses, emphatically called, from their +French origin, <em>têtes</em>, were built or plastered up only +once a month: it is easy to imagine what a state +they must have been in during the latter part of +the time. Madame D'Oberkirch gives, in her Memoirs, +an amusing description of a novel head-dress +of this kind. We transcribe it for the amusement +of our readers.</p> + +<p>“This blessed 6th of June she awakened me at +the earliest dawn. I was to get my hair dressed, +and make a grand <em>toilette</em>, in order to go to Versailles, +<a class="pagenum" name="Page_55" title="55"> </a>whither the queen had invited the Countess +du Nord, for whose amusement a comedy was to +be performed. These Court <em>toilettes</em> are never-ending, +and this road from Paris to Versailles very fatiguing, +especially where one is in continual fear +of rumpling her petticoats and flounces. I tried +that day, for the first time, a new fashion—one, +too, which was not a little <em>gênante</em>. I wore in my +hair little flat bottles, shaped to the curvature of +the head; into these a little water was poured, +for the purpose of preserving the freshness of the +natural flowers worn in the hair, and of which the +stems were immersed in the liquid. This did not +always succeed, but when it did, the effect was +charming. <i>Nothing could be more lovely than the floral +wreath crowning the snowy pyramid of powdered hair!</i>” +Few of our readers, we reckon, are inclined to participate +in the admiration of the baroness, so fancifully +expressed, for this singular head-dress.</p> + +<p>We do not presume to enter into the question +whether short curls are more becoming than long +ones, or whether bands are preferable to curls of +<a class="pagenum" name="Page_56" title="56"> </a>any kind; because, as the hair of some persons curls +naturally, while that of others is quite straight, we +consider that this is one of the points which must +be decided accordingly as one style or the other +is found to be most suitable to the individual. +The principle in the arrangement of the hair round +the forehead should be to preserve or assist the oval +form of the face: as this differs in different individuals, +the treatment should be adapted accordingly.</p> + +<p>The arrangement of the long hair at the back of +the head is a matter of taste; as it interferes but +little with the countenance, it may be referred to +the dictates of fashion; although in this, as in +every thing else, simplicity in the arrangement, +and grace in the direction of the lines, are the +chief points to be considered. One of the most +elegant head-dresses we remember to have seen, +is that worn by the peasants of the Milanese and +Ticinese. They have almost uniformly glossy, black +hair, which is carried round the back of the head +in a wide braid, in which are placed, at regular +intervals, long silver pins, with large heads, which +<a class="pagenum" name="Page_57" title="57"> </a>produce the effect of a coronet, and contrast well +with the dark color of the hair.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="plate_06" id="plate_06" href="images/plate_06.png"> +<img src="images/plate_06_t.png" width="350" height="490" alt="" title="" /></a> +<div class="caption">Pl. 6.</div> +</div> + +<p>The examples afforded by modern sculpture are +not very instructive, inasmuch as the features +selected by the sculptors are almost exclusively +Greek, whereas the variety in nature is infinite. +With the Greek features has also been adopted +the antique style of arranging the hair, which is +beautifully simple; that is to say, it is parted in +the front, and falling down towards each temple, +while the long ends rolled lightly back from the +face so as to show the line which separates the +hair from the forehead, or rather where it seems, +as it were, to blend with the flesh tints—an arrangement +which assists in preserving the oval +contour of the face, are passed over the top of +the ear, and looped into the fillet which binds the +head. The very becoming arrangement of the hair +in the engraving, from a portrait by Parmegianino, +(<a href="#plate_06" class="figref">Fig. 55</a>,) is an adaptation of the antique style, +and is remarkable for its simplicity and grace. +Not less graceful, although more ornamental, is the +<a class="pagenum" name="Page_58" title="58"> </a>arrangement of the hair in the beautiful figure +called “Titian's Daughter.” <a href="#plate_06" class="figref">Fig. 56</a>. In both these +instances, we observe the line—if line it may be +called—where the color of the hair blends so harmoniously +with the delicate tints of the forehead. +The same arrangement of the hair round the face +may be traced in the pictures by Murillo, and other +great masters.</p> + +<p>Sir Joshua Reynolds has frequently evinced consummate +skill in the arrangement of the hair, so +as to show the line which divides it from the forehead. +For some interesting remarks on this subject, +we refer our readers to an “Essay on Dress,” +republished by Mr. Murray from the “Quarterly Review.” +Nothing can be more graceful than Sir +Joshua's mode of disposing of the hair when he +was able to follow the dictates of his own good +taste; and he deserves great credit for the skill +with which he frequently treated the enormous +head-dresses which in his time disfigured the heads +of our countrywomen. The charming figure of Lady +Harrington (<a href="#plate_06" class="figref">Fig. 57</a>) would have been perfect without +<a class="pagenum" name="Page_59" title="59"> </a>the superstructure on her beautiful head. How +stiff is the head-dress of the next figure, (<a href="#plate_06" class="figref">Fig. 58</a>,) +also, after Sir Joshua, when compared with the +preceding.</p> + +<p>The graceful Spanish mantilla, to which we can +only allude, is too elegant to be overlooked: the +modification of it, which of late years has been +introduced into this country, is to be considered +rather as an ornament than as a head-covering. It +has been recently superseded by the long bows of +ribbon worn at the back of the head—a costume +borrowed from the Roman peasants. <a href="#plate_06" class="figref">Fig. 59</a>. The +fashion for young people to cover the hair with a +silken net, which, some centuries ago, was prevalent +both in England and in France, has been again +revived. Some of the more recent of these nets +are very elegant in form.</p> + +<p>The hats and bonnets have, during the last few +years, been so moderate in size, and generally so +graceful in form, that we will not criticize them +more particularly. It will be sufficient to observe +that, let the brim be what shape it will, the crown +<a class="pagenum" name="Page_60" title="60"> </a>should be nearly of the form and size of the head. +If this principle were always kept in view, as it +should be, we should never again see the monster +hats and bonnets which, some years ago, and even +in the memory of persons now living, caricatured +the lovely forms of our countrywomen.</p> + +<div> +<h2><a class="pagenum" name="Page_61" title="61"> </a> +<a name="CHAPTER_IV" id="CHAPTER_IV">CHAPTER IV.</a><br /> + +<span class="chapter-title">THE DRESS.</span></h2> +</div> + +<img class="drop-cap" src="images/p0061_cap_w.png" alt="W" width="103" height="96" /> +<p class="drop-cap drop-w"><span class="first-word">We</span> shall consider the dress, by which +we mean, simply, the upper garment +worn within doors, as consisting of +three parts—the sleeve, the body, +and the skirt.</p> + +<p>The sleeve has changed its form as frequently as +any part of our habiliments: sometimes it reached +to the wrist, sometimes to a short distance below +the shoulder. Sometimes it was tight to the arm; +sometimes it fell in voluminous folds to the hands; +now it was widest at the top, then widest at the +bottom. To large sleeves themselves there is no +objection, in a pictorial point of view, provided +that their point of junction with the shoulder is +so conspicuous that they do not add to the apparent +width of the body in this part. The lines +<a class="pagenum" name="Page_62" title="62"> </a>of the sleeves should be flowing; and they are much +more graceful when they are widest in the lower +part, especially when so open as to display to advantage +the beautiful form of the wrist and fore-arm. +In this way, they partake of the pyramid, +while the inelegant gigot sleeve, which for so long +a period enjoyed the favor of the ladies, presents +the form of a cone reverted, and is obviously out +of place in the human figure. When the large +sleeve, supported by canes or whalebones, forms a +continuous line with the shoulder, it gives an unnatural +width to this part of the figure—an effect +that is increased by the large collar which conceals +the point where the sleeve meets the dress. Examples +of the large, open sleeve, in its extreme +character, may be studied with most advantage +in the portraits of Vandyck. <a href="#plate_08" class="figref">Fig. 60</a>, Lady Lucy +Percy, after Vandyck. The effect of these sleeves +is frequently improved by their being lined with +a different color, and sometimes by contrasting +the rich silk of the outer sleeve with the thin +gauze or lace which forms the immediate covering +<a class="pagenum" name="Page_63" title="63"> </a>of the arm. The figures in the plates will +show the comparative gracefulness of two kinds +of large sleeves, namely, that which is widest at the +top, and that which is widest below. If the outline +of the central figure of our more modern group, +(<a href="#plate_06" class="figref">Fig. 61</a>,)—consisting of three figures, which is +copied from a French work,—were filled up with +black, a person ignorant of the fashion might, from +the great width of the shoulders, have mistaken it +for the Farnese Hercules in petticoats.</p> + +<p>The large sleeves, tight in the upper part, and +enlarging gradually to the wrist, which are worn by +the modern Greeks, are extremely graceful. When +these are confined below the elbow, which is sometimes +done for convenience, they resemble somewhat +the elbow sleeves with wide ruffles which were so +common in the time of Sir Joshua Reynolds. Sleeves +like those now worn in Greece were fashionable in +France in the tenth century, and again about the +beginning of the sixteenth century. They were also +worn by Jeanne d'Albret, the mother of Henry IV., +and are seen in <a href="#plate_03" class="figref">Fig. 41</a>.</p> + +<p><a class="pagenum" name="Page_64" title="64"> </a>A very elegant sleeve, fitting nearly close at the +shoulder, and becoming very full and long till it +falls in graceful folds almost to the feet, prevailed +in England during the time of Henry V. and VI. +<a href="#plate_05" class="figref">Fig. 62</a>, copied from a manuscript of the time of +Henry V., now preserved in the British Museum. +On the authority of Professor Heideloff, it is said +to have existed also in Flanders in the thirteenth +and fourteenth centuries, and in France in the +fifteenth century. In the examples of continental +costume, the <em>tout ensemble</em> is graceful, and especially +the head-dress; while in England the elegant +sleeve is accompanied with very short waists, +and with the hideous, horned head-dresses then +fashionable. The effect of these sleeves much resembles +that of the mantles of the present day, +and from its wide flow is only adapted for full +dress, or out-of-door costume. The sleeves worn +under these full ones were generally tight. At a +much later period, the large sleeves were made of +more moderate dimensions, both in length and +width, and a full sleeve of fine lawn or muslin, +<a class="pagenum" name="Page_65" title="65"> </a>fastened at the wrist with a band, and edged with +a lace ruffle, was worn beneath. This kind of +sleeve has recently been again introduced into +England, but has given place to another form, in +which the under sleeve of lace or muslin, being +of the same size as the upper, suffers the lower +part of the arm to be visible. The effect of this +sleeve, which is certainly becoming to a finely-formed +arm, is analogous to that of the elbow +sleeve, which, with its deep ruffles of point lace, +is frequent on the portraits of Sir Joshua Reynolds.</p> + +<div class="figcenter" style="width: 503px;"> +<a name="plate_07" id="plate_07" href="images/plate_07.png"> +<img src="images/plate_07_t.png" width="503" height="350" alt="" title="" /></a> +<div class="caption">Pl. 7.</div> +</div> + +<p>The slashed sleeve, criticized by Shakspeare in +the “Taming of the Shrew,” was sometimes very +elegant. The form in which it appears in <a href="#plate_07" class="figref">Fig. 63</a>, +worn in the fifteenth century, is particularly graceful. +Not so, however, the lower part of the sleeve.</p> + +<p>In the preceding remarks, we have considered +the sleeve merely in a picturesque point of view, +without reference to its convenience or inconvenience.</p> + +<p>The length of the waist has always been a matter +of caprice. Sometimes the girdle was placed +<a class="pagenum" name="Page_66" title="66"> </a>nearly under the arms; sometimes it passed to the +opposite extreme, and was suffered to fall upon the +hips. Sometimes it was drawn tightly round the +middle, when it seemed to cut the body almost in +two, like an hourglass. Judging from what we see, +we should say that this is a feat which many ladies +of the present time are endeavoring to achieve. +The first and third cases are almost equally objectionable, +because they distort the figure. The +hip girdle, which is common in Greece (as shown +in <a href="#plate_05" class="figref">Figs. 48</a> and <a href="#plate_04" class="figref">53</a>) and Oriental countries, prevailed +also in England and France some centuries +ago. The miniatures of old manuscripts furnish +us with examples of long-waisted dresses fitting +closely to the person, sometimes stiffened like the +modern stays, at others yielding to the figure. +The waist of this kind of dress reached to the +hips, where it was joined to the full petticoat, +which was gathered round the top—an extremely +ungraceful fashion. The hip girdle, properly used, +is, however, by no means inelegant. It is not at +all necessary that it should coincide with the waist +<a class="pagenum" name="Page_67" title="67"> </a>of the dress; it should be merely looped or clasped +loosely round the figure, and suffered to fall to its +place by its own weight. But to enable it to do +so in a graceful manner, it is essential that the +skirt of the dress should be so united with the +body as to produce no harsh lines of separation, +or sudden changes of curvature; as, for example, +when the skirt is set on in full plaits, or gathers, +and spread over a hoop. We have before noticed, +that this point was attended to by Rubens, (<a href="#plate_09" class="figref">Fig. 66</a>,) +by Vandyck, (<a href="#plate_07" class="figref">Fig. 65</a>,) by Sir Joshua Reynolds, +and by the modern Greeks. We refer also to the +elegant figure 64. The most natural situation for +the girdle, or point of junction of the body with +the skirt, is somewhere between the end of the +breast bone and the last rib, as seen in front—a +space of about three or four inches. Fashion +may dictate the exact spot, but within this space +it cannot be positively wrong. The effect is good +when the whole space is filled with a wide sash +folded round the waist, as in Sir C. Eastlake's +“Greek Girl,” or some of the graceful portraits by +<a class="pagenum" name="Page_68" title="68"> </a>Sir Joshua Reynolds. How much more elegant is +a sash of this description than the stiff line which +characterizes the upper part of the dress of “Sancta +Victoria.” (<a href="#plate_07" class="figref">Fig. 64</a>.) The whalebone, or busk, is +absolutely necessary to keep the dress in its proper +place. The resemblance in form between the body +of the dress of this figure and those now or recently +in fashion cannot fail to arrest the attention of the +reader. Stiff, though, as it undoubtedly is, the whole +dress is superior to the modern in the general flow +of the lines uniting the body and skirt. Long +skirts are more graceful than short ones, and a +train of moderate length adds to the elegance of +a dress, but not to its convenience. Long dresses, +also, add to the apparent height of a figure, and +for this reason they are well adapted to short persons. +For the same reason, waists of moderate +length are more generally becoming than those that +are very long, because the latter, by shortening the +skirt of the dress, diminish the apparent height.</p> + +<p>Besides the variation in length, the skirts of +dresses have passed through every gradation of +<a class="pagenum" name="Page_69" title="69"> </a>fulness. At one time, it was the fashion to slope +gradually from the waist, without gathers or plaits; +then a little fulness was admitted at the back; +then a little at the front, also. The next step +was to carry the fulness all round the waist. In +the graceful costume of the time of Vandyck, and +even in the more stiff and formal dress delineated +in the pictures of Rubens, the skirt was united to +the body by large, flat plaits, when the fulness +expanded gradually and gracefully, and the rich +material of the dress spread in well-arranged folds +to the feet. The lines were gently undulating and +graceful, and that unnatural and clumsy contrivance +called a “bustle”—a near relation of the hoop +and fardingale—was at that time happily unknown. +This principle of uniting the skirt gradually +with the body of the dress is carried out to +the fullest extent by the modern Greeks. In the +figure of the peasant from the neighborhood of +Athens, (<a href="#plate_05" class="figref">Fig. 47</a>,) the pelisse is made without gathers +or plaits: the skirt, which hangs full round the +knees, is “gored” or sloped away till it fits the +<a class="pagenum" name="Page_70" title="70"> </a>body at the waist. The long underskirt is, as we +find from the figure of the woman of Makrinitza, +(<a href="#plate_07" class="figref">Fig. 67</a>,) gathered several times, so as to lie flat +to the figure, instead of being spread over the +inelegant “bustle.” It is only necessary to compare +these graceful figures, in which due regard +has been paid to the undulating lines of the figure, +with a fashionable lady of the present day, +whose “polka jacket,” or whatever may be the +name of this article of dress, is cut with violent +and deep curves, to enable it to spread +itself over the bustle and prominent folds of the +dress.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="plate_08" id="plate_08" href="images/plate_08.png"> +<img src="images/plate_08_t.png" width="350" height="492" alt="" title="" /></a> +<div class="caption">Pl. 8.</div> +</div> + +<p>Not satisfied with the bustle in the upper part +of the skirt, some ladies of the present day have +returned to the old practice of wearing hoops, to +make the dresses stand out at the base. These +are easily recognized in the street by the “swagging”—no +other term will exactly convey the +idea—from side to side of the hoops, an effect +which is distinctly visible as the wearer walks +along. It is difficult to imagine what there is so +<a class="pagenum" name="Page_71" title="71"> </a>attractive in the fardingale and hoop, that they +should have prevailed, in some form or other, for +so many years, and that they should have maintained +their ground in spite of the cutting, though +playful, raillery of the “Spectator,” and the jeers +and caricatures of less refined censors of the eccentricities +of dress. They were not recommended +either by beauty of line or convenience, but by the +tyrant Fashion, and we owe some gratitude to +George IV., who banished the last relics of this +singular fashion from the court dress, of which, +until his time, it continued to form a part. Who +could imagine that there would be an attempt to +revive the hoop petticoat in the nineteenth century? +We invite our readers to contrast the lines +of the drapery in the figures after Vandyck, +(<a href="#plate_08" class="figref">Figs. 60</a> and <a href="#plate_06" class="figref">61</a>,) and those in the modern Greek +costume, (<a href="#plate_04" class="figref">Figs. 51 and 54</a>,) with that of a lady +in a hoop, after a satirical painter, Hogarth, (<a href="#plate_08" class="figref">Fig. 68</a>,) +and two figures from a design by Jules David, +in “Le Moniteur de la Mode,” a modern fashionable +authority in dress. (<a href="#plate_08" class="figref">Figs. 69 and 70.</a>) +<a class="pagenum" name="Page_72" title="72"> </a>There can be no doubt which is the most graceful. +The width of the shoulders and the tight +waist of the latter, will not escape the notice of +our readers.</p> + +<div> +<h2><a class="pagenum" name="Page_73" title="73"> </a> +<a name="CHAPTER_V" id="CHAPTER_V">CHAPTER V.</a><br /> + +<span class="chapter-title">THE FEET.</span></h2> +</div> + +<img class="drop-cap" src="images/p0073_cap_t.png" alt="T" width="94" height="96" /> +<p class="drop-cap drop-f-t"><span class="first-word">The</span> same bad taste which insists +upon a small waist, let the height +and proportions of the figure be what +they will, decrees that a small foot +is essential to beauty.</p> + +<p>Size is considered of more importance than form; +and justly so if it is a <i>sine qua non</i> that the foot +must be small, because the efforts that are made to +diminish its size generally render it deformed. We +have before mentioned that to endeavor to diminish +the size of the human body in a particular part, +is like tying a string round the middle of a pillow; +it only makes it larger at the extremities. It is +so with the waist, it is so with the foot. If it be +crippled in length, or in width across the toes, it +spreads over the instep and sides. The Italians +<a class="pagenum" name="Page_74" title="74"> </a>and other nations of the south of Europe have +smaller hands and feet than the Anglo-Saxons; and +as this fact is generally known, it is astonishing +that people of sense should persist in crippling +themselves merely for the reputation of having small +feet. Here again we have to complain of poets and +romance writers; ladies would not have pinched +their feet into small shoes, if these worthies had +not sung the praises of “tiny feet.”</p> + +<div class="poem"> + <div class="stanza" style="max-width: 16em;"> +“Her feet, beneath her petticoat,<br /> +Like little mice, stole in and out,<br /> +As if they feared the light.”<br /> + </div> +</div> + +<p>Nor are painters—portrait painters, we mean, +and living ones too—it is needless however, to mention +names—entirely free from blame for thus +ministering to vanity and false taste. They have +sacrificed truth to fashion in painting the feet +smaller than they could possibly be in nature.</p> + +<p>But it is not only with the endeavor to cripple their +dimensions that we are inclined to quarrel. We +object <em>in toto</em> to the shape of the shoe, which bears +but little resemblance to that of the foot. We have +<a class="pagenum" name="Page_75" title="75"> </a>heard persons say that they could never see any +beauty in a foot. No wonder, when they saw none +but those that were deformed by corns and bunions. +How unlike is such a foot to the beautiful little—for +little it really is in this case—fat foot of a child, +before its beauty has been spoiled by shoes, or even +to those of the barefooted children one sees so frequently +in the street. Were it not for these opportunities +of seeing nature we, in this country, should +have but little idea of the true shape of the human +foot, except what we learn from statues. According +to a recent traveller, we must go to Egypt to see +beautiful feet. It is impossible, he says, to see any +thing more exquisite than the feet and hands of +the female peasants. The same beauty is conspicuous +in the Hindoo women.</p> + +<p>Let us compare now the shape of the foot with +that of the sole of a shoe. When the foot is placed +on the ground, the toes spread out, the great toe is +in a straight line with the inner side of the foot, +and there is an opening between this and the +second toe. The ancients availed themselves of +<a class="pagenum" name="Page_76" title="76"> </a>this opening to pass through it one of the straps +that suspended the sandal.</p> + +<p>The moderns on the contrary press the toes closely +together, in order to confine them within the limits +of the shoe; the consequence is, that the end of the +great toe is pressed towards the others, and out of +the straight line, the joint becomes enlarged, and +thus the foundation is laid for a bunion; while the +toes, forced one upon another, become distorted +and covered with corns.</p> + +<p>One of the consequences of this imprisonment +of our toes is, that, from being squeezed so closely +together, they become useless. Let any one try the +experiment of walking barefooted across the room, +and while so doing look at the foot. The toes, when +unfettered by the shoes, spread out and divide from +one another, and the body rests on a wider and +firmer base. We begin to find we have some movement +in our toes; yet, how feeble is their muscular +power, compared with that of persons who are unaccustomed +to the use of shoes!</p> + +<p>The Hindoo uses his toes in weaving; the Australian +<a class="pagenum" name="Page_77" title="77"> </a>savage is as handy (if the term can be +applied to feet) with this member, as another man +is with his hands; it is the unsuspected instrument +with which he executes his thefts. The country +boy, who runs over the roof of a house like a cat, +takes off his shoes before he attempts the hazardous +experiment; he has a surer hold with his foot on +the smooth slates and sloping roof. The exercise of +the muscles of the foot has the effect of increasing +the power of those of the calf of the leg; and the +thinner the sole, and the more pliant the materials +of which the shoe is made, the more the power +is developed.</p> + +<p>Dancing masters, who habitually wear thin shoes, +have the muscles of the leg well developed, while +ploughmen, who wear shoes with soles an inch +thick, have very little calf to their leg. The French +sabot is, we consider, better than the closely fitting +shoe of our country people; because it is so large, +that it requires some muscular exertion to keep it +in its place. We have frequently seen French boys +running in sabots, the foot rising at every step +<a class="pagenum" name="Page_78" title="78"> </a>almost out of the unyielding wooden shoe. Wooden +clogs and pattens are as bad as the thick shoes of +the country people. When clogs are necessary, the +sole should be made of materials which will yield +to the motion of the foot. The American Indian's +moccasins are a much better covering for the foot +than our shoes.</p> + +<p>If thick soles are objectionable by impeding the +free movement of the limb, what shall we say to the +high heel which was once so popular, and which +threatens again to come into fashion? It is to be +hoped, however, when the effects of wearing high +heels are duly considered, that this pernicious custom +will not make progress. It is well for their +poor unfortunate votaries, that the introduction of +certain fashions is gradual; that both mind and +body—perhaps we should be more correct in saying +the person of the wearer and the eye of the spectator—are, +step by step, prepared for the extreme point +which certain fashions attain; they have their rise, +their culminating point, and their decline. The +attempt to exchange the short waists, worn some +<a class="pagenum" name="Page_79" title="79"> </a>thirty or forty years ago, for the very long waists +seen during the past year, would have been unsuccessful; +the transition would have been too great—too +violent; the change was effected, but it was the +work of many years. The same thing took place +with regard to the high head-dresses which were +so deservedly ridiculed by Addison, and in an equally +marked degree with respect to high heels. The +shoes in the cut, after Gainsborough, (<a href="#plate_09" class="figref">Fig. 71</a>,) are +fair specimens of what were in fashion in his time. +Let the reader compare the line of the sole with +that of the human foot placed, as nature intended it, +flat on the ground. The heel was in some cases +four and a half inches high; the line, therefore, +must have been in this case, a highly inclined plane, +undulating in its surface, like the “line of beauty” +of Hogarth. The position of the foot is that of a +dancer resting on the toes, excepting that the heel +is supported, and the strain over the instep and +contraction of the muscles of the back of the leg +and heel must be considerable; so much so we are +told, that the contraction of the latter becomes +<a class="pagenum" name="Page_80" title="80"> </a>habitual; consequently, those persons who have accustomed +themselves to the use of high heels, are +never afterwards able to do without them. It is said +that “pride never feels pain;” we should think the +proverb was made for those who wear high heels, +for we are told, although we cannot speak from personal +experience, that the pain on first wearing +shoes of this kind, in which the whole weight of the +body seems to thrust the toes forward into the shoe, +is excruciating; nothing but fashion could reconcile +one to such voluntary suffering. The peas in the +shoes of the pilgrims could scarcely be more painful.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="plate_09" id="plate_09" href="images/plate_09.png"> +<img src="images/plate_09_t.png" width="350" height="486" alt="" title="" /></a> +<div class="caption">Pl. 9.</div> +</div> + +<p>It was with some surprise that we found among +M. Stackelberg's graceful costumes of modern Greece +a pair of high-heeled shoes, (<a href="#plate_09" class="figref">Fig. 72</a>,) which might +rival in ugliness and inconvenience any of those +worn in England.</p> + +<p>We have known an instance where the lady's heels +were never less than an inch and a half high. We +were sorry to observe some of these high-heeled shoes +in the great exhibition, and still more so, to see +that shoes with heels an inch high are likely to be +<a class="pagenum" name="Page_81" title="81"> </a>fashionable this season. Could we look forward to +this height as the limit of the fashion, we might reconcile +ourselves to it for a time; but, judging from +past experience, there is reason to fear that the heel +will become continually higher, until it attains the +elevation of former years. Not content with imprisoning +our feet in tight shoes, and thereby distorting +their form and weakening their muscular +power, we are guilty of another violence towards +nature. Nature has made our toes to turn inwards; +when man is left to himself the toes naturally take +this direction, though in a much less degree than in +the infant. The American Indian will trace a European +by his footprints, which he detects by the turning +out of the toes; a lesson we are taught in our +childhood, and especially by our dancing master. +Sir Joshua Reynolds used to say, “The gestures of +children, being all dictated by nature, are graceful; +affectation and distortion come in with the dancing +master.” Now, observe the consequence of turning +out the toes. The inner ankle is bent downwards +towards the ground, and the knees are drawn inwards, +<a class="pagenum" name="Page_82" title="82"> </a>producing the deformity called knock-kneed; +thus the whole limb is distorted, and consequently +weakened; there is always a want of muscular +power in the legs of those who turn their toes very +much outwards. It must be remarked, however, +that women, from the greater breadth of the frame +at the hips, naturally turn the toes out more than +men. In this point also, statues may be studied +with advantage. Where form only is considered, it +is generally safer to refer to examples of sculpture +than painting; because in the latter, the artist is +apt to lose sight of this primary object in his attention +to color and form; besides, it is the sculptor +only, who makes an exact image of a figure which +is equally perfect, seen from all points of view. +The painter makes only a pictorial or perspective +representation of nature, as seen from one point of +view only.</p> + +<p>What pains we take to distort and disfigure the +beautiful form that nature has bestowed upon the +human race! Now building a tower on the head, +then raising the heel at the expense of the toe; at +<a class="pagenum" name="Page_83" title="83"> </a>one time confining the body in a case of whalebone, +and compressing it at the waist like an hour glass; +at another, surrounding it with the enormous and +ungraceful hoop, till the outline of the figure is so +altered, that a person can scarcely recognize her own +shadow as that of a human being.</p> + +<div> +<h2><a class="pagenum" name="Page_84" title="84"> </a> +<a name="CHAPTER_VI" id="CHAPTER_VI">CHAPTER VI.</a><br /> + +<span class="chapter-title">REMARKS ON PARTICULAR COSTUMES.</span></h2> +</div> + +<img class="drop-cap" src="images/p0084_cap_w.png" alt="W" width="94" height="96" /> +<p class="drop-cap drop-w"><span class="first-word">We</span> must now offer a few brief remarks +upon certain costumes which appear +to us most worthy of our attention and +study, for their general elegance and +adaptation to the figure.</p> + +<p>Of the modern Greek we have already spoken. +The style of dress which has been immortalized by +the pencil of Vandyck is considered among the most +elegant that has ever prevailed in this country. It +is not, however, faultless. The row of small curls +around the face, however becoming to some persons, +is somewhat formal; and although the general arrangement +of the hair, which preserves the natural +size and shape of the head, is more graceful than +that of the time of Sir Joshua Reynolds, we think it +would have been more pleasing had it left visible +<a class="pagenum" name="Page_85" title="85"> </a>the line which divides the hair from the forehead. +With regard to the dress itself, it is apparent, in the +first place, that the figures are spoiled by stays; +secondly, that the dress is cut too low in front; and +thirdly, that the large sleeves sometimes give too +great width in front to the shoulders. These defects +are, in some degree, counterbalanced by the graceful +flow of the ample drapery, and of the large sleeves, +which are frequently widest at their lower part, and +by the gently undulating line which unites the +waist of the dress with the skirt. The Vandyck +dress, with its voluminous folds, is, however, more appropriate +to the inhabitants of palaces, than to the +ordinary occupants of this working-day world. The +drapery is too wide and flowing for convenience. +The annexed cut, (<a href="#plate_10" class="figref">Fig. 73</a>,) representing Charlotte +de la Tremouille, the celebrated Countess of Derby, +exhibits some of the defects and many of the beauties +of the Vandyck dress.</p> + +<p>Lely's half-dressed figures may be passed over +without comment; they are draped, not dressed. +Kneller's are more instructive on the subject of +<a class="pagenum" name="Page_86" title="86"> </a>costume. The dress of Queen Anne, (<a href="#plate_09" class="figref">Fig. 74</a>,) in +Kneller's portrait, is graceful and easy. The costume +is a kind of transition between the Vandyck +and Reynolds style. The sleeves are smaller at the +shoulder than in the former, and larger at the lower +part than in the latter; in fact, they resemble those +now worn by the modern Greeks. The dress is cut +higher round the bust, and is longer in the waist +than the Vandycks, while the undulating line +uniting the body and skirt is still preserved. While +such good examples were set by the painters—who +were not, however, the inventors of the fashions +they painted—it is astonishing that these graceful +styles of dress should have been superseded in real +life by the lofty head-dresses and preposterous +fashions which prevailed during the same period +and long afterwards, and which even the ironical +and severe remarks of Addison, in the “Spectator,” +were unable to banish from the circles of fashion.</p> + +<p>Speaking of the dresses of ladies during the reigns +of James II. and William III., Mr. Planché, in his +“History of British Costumes,” says, “The tower or +<a class="pagenum" name="Page_87" title="87"> </a>commode was still worn, and the gowns and petticoats +flounced and furbelowed, so that every part of +the garment was in curl;” and a lady of fashion +“looked like one of those animals,” says the “Spectator,” +“which in the country we call a Friesland +hen.” But in 1711 we find Mr. Addison remarking, +“The whole sex is now dwarfed and shrunk +into a race of beauties that seems almost another +species. I remember several ladies who were once +nearly seven foot high, that at present want some +inches of five. How they come to be thus curtailed +I cannot learn; whether the whole sex be at present +under any penance which we know nothing of, or +whether they have cast their head-dresses in order +to surprise us with something in that kind which +shall be entirely new: though I find most are of +opinion they are at present like trees lopped and +pruned, that will certainly sprout up and flourish +with greater heads than before.”</p> + +<p>The costume of the time of Sir Joshua Reynolds, +as treated by this great artist, though less splendid, +appears to us, with the exception of the head-dress, +<a class="pagenum" name="Page_88" title="88"> </a>nearly as graceful, and far more convenient than +the Vandyck dress. It is more modest, more easy, +and better adapted to show the true form of the +shoulders, while the union of the body of the dress +with the skirt is effected in the same graceful manner +as in the Vandyck portraits. The materials +of the drapery in the latter <a name="tnpg088"><ins title="is">are</ins></a> generally silks and +satins; of the former, it is frequently muslin and +stuff of a soft texture, which clings more closely +to the form. That much of the elegance of both +styles of dress is to be attributed to the skill and +good taste of the painters, is evident from an examination +of portraits by contemporary artists. Much +also may be ascribed to the taste of the wearer.</p> + +<p>There are some people who, though habited in the +best and richest clothes, never appear well dressed; +their garments, rumpled and untidy, look as if they +had been pitched on them, like hay, with a fork; +while others, whose dress consists of the most homely +materials, appear well dressed, from the neatness +and taste with which their clothes are arranged.</p> + +<div class="figcenter" style="width: 491px;"> +<a name="plate_10" id="plate_10" href="images/plate_10.png"> +<img src="images/plate_10_t.png" width="491" height="350" alt="" title="" /></a> +<div class="caption">Pl. 10.</div> +</div> + +<p>Many of the costumes of Gainsborough's portraits +<a class="pagenum" name="Page_89" title="89"> </a>are elegant and graceful, with the frequent exception +of the extravagant head-dress and the high-heeled +shoes. The easy and very pleasing figure, +(<a href="#plate_10" class="figref">Fig. 75</a>,) after this accomplished artist, is not +exempt from the above defects.</p> + +<p>In our next illustration, (<a href="#plate_10" class="figref">Fig. 76</a>,) Gainsborough +has not been so happy. The lady is almost lost in +her voluminous and fluttering drapery, and the dishevelled +hair and the enormous hat give to the +figure much of the appearance of a caricature.</p> + +<p>Leaving now the caprices of fashion, we must +notice a class of persons who, from a religious motive, +have resisted for two hundred years the tyranny +of fashion, and, until recently, have transmitted +the same form of dress from mother to daughter for +nearly the same period of years. The ladies of the +Society of Friends, or, as they are usually called, +“Quakers,” are still distinguished by the simplicity +and neatness of their dress—the quiet drabs and +browns of which frequently contrast with the richness +of the material—and by the absence of all +ornament and frippery. Every part of their dress +<a class="pagenum" name="Page_90" title="90"> </a>is useful and convenient; it has neither frills, nor +flounces, nor trimmings to carry the dirt and get +shabby before the dress itself, nor wide sleeves to +dip in the plates and lap up the gravy and sauces, +nor artificial flowers, nor bows of ribbons. The dress +is long enough for decency, but not so long as to +sweep the streets, as many dresses and shawls are +daily seen to do. Some few years back the Quaker +ladies might have been reproached with adhering to +the letter, while they rejected the spirit, of their code +of dress by adhering too literally to the costume +handed down to them. The crowns of their caps +were formerly made very high, and for this reason +it was necessary that the crowns of their bonnets +should be high enough to admit the cap crown; +hence the peculiarly ugly and remarkable form of +this part of the dress. The crown of the cap has, +however, recently been lowered, and the Quaker +ladies, with much good sense, have not only modified +the form of their bonnets, but have also adopted +the straw and drawn silk bonnet in their most +simple forms. In the style of their dress, also, they +<a class="pagenum" name="Page_91" title="91"> </a>occasionally approach so near the fashions generally +worn, that they are no longer distinguishable by +the singularity of their dress, but by its simplicity +and chasteness.</p> + +<p>We venture now to devote a few words to the +Bloomer costume, (<a href="#plate_10" class="figref">Fig. 77</a>,) although we are aware +that we are treading on tender ground, especially as +the costume involves a sudden and complete change +in the dress. Independently of its merits or demerits, +there are several reasons why it did not +succeed in this country. In the first place, as we +have before observed, it originated in America, and +was attempted to be introduced through the middle +ranks. In the second place, the change which it +endeavored to effect was too sudden. Had the +alteration commenced with the higher classes, and +the change been effected gradually, its success might +possibly have been different. Thirdly, the large +hat, so well adapted to the burning sun of America, +was unnecessary, and remarkable when forming a +part of the costume of adult ladies in this country, +although we have seen that hats quite as large were +<a class="pagenum" name="Page_92" title="92"> </a>worn during the time of Gainsborough. Another +reason for the ill success of the Bloomer costume +is to be found in the glaring and frequently ill-assorted +colors of the prints of it, which were every +where exposed in the shop windows. By many +sober-minded persons, the large hat and glaring +colors were looked upon as integral parts of the +costume. The numerous caricatures also, and the +injudicious attempts to make it popular by getting +up “Bloomer Balls,” contributed to render the costume +ridiculous and unpopular.</p> + +<p>Setting aside the hat, the distinguishing characteristics +of the costume are the short dress, and +a polka jacket fitting the body at the throat and +shoulders, and confined at the waist by a silken +sash, and the trousers fastened by a band round the +ankle, and finished off with a frill. On the score of +modesty there can be no objection to the dress, since +the whole of the body is covered. On the ground +of convenience it recommends itself to those who, +having the superintendence of a family, are obliged +frequently to go up and down stairs, on which +<a class="pagenum" name="Page_93" title="93"> </a>occasions it is always necessary to raise the dress +before or behind, according to circumstances. The +objection to the trousers is not to this article of +dress being worn, since that is a general practice, +but to their being seen. Yet we suspect few ladies +would object on this account to appear at a fancy +ball in the Turkish costume.</p> + +<p>The disadvantages of the dress are its novelty—for +we seldom like a fashion to which we are entirely +unaccustomed—and the exposure which it +involves of the foot, the shape of which, in this +country, is so frequently distorted by wearing tight +shoes of a different shape from the foot. The short +dress is objectionable in another point of view, +because, as short petticoats diminish the apparent +height of the person, none but those who possess +tall and elegant figures will look well in this costume; +and appearance is generally suffered to prevail +over utility and convenience. If to the Bloomer +costume had been added the long under-dress of the +Greek women, or had the trousers been as full as +those worn by the Turkish and East Indian women, +<a class="pagenum" name="Page_94" title="94"> </a>the general effect of the dress would have been much +more elegant, although perhaps less useful. Setting +aside all considerations of fashion, as we always do +in looking at the fashions which are gone by, it was +impossible for any person to deny that the Bloomer +costume was by far the most elegant, the most +modest, and the most convenient.</p> + +<div> +<h2><a class="pagenum" name="Page_95" title="95"> </a> +<a name="CHAPTER_VII" id="CHAPTER_VII">CHAPTER VII.</a><br /> + +<span class="chapter-title">ORNAMENT—ECONOMY.</span></h2> +</div> + +<img class="drop-cap" src="images/p0095_cap_o.png" alt="O" width="94" height="96" /> +<p class="drop-cap drop-o-c"><span class="first-word">Ornament</span>, although not an integral +part of dress, is so intimately connected +with it, that we must devote a +few words to the subject.</p> + +<p>Under the general term of ornament +we shall include bows of ribbon, artificial <a name="tnpg095"><ins title="flowers.">flowers,</ins></a> +feathers, jewels, lace, fringes, and trimmings of all +kinds. Some of these articles appear to be suited +to one period of life, some to another. Jewels, for +instance, though suitable for middle age, seem misplaced +on youth, which should always be characterized +by simplicity of apparel; while flowers, which +are so peculiarly adapted to youth, are unbecoming +to those advanced in years; in the latter case there +is contrast without harmony; it is like uniting May +with December.</p> + +<p><a class="pagenum" name="Page_96" title="96"> </a>The great principle to be observed with regard +to ornament is, that it should be appropriate, and +appear designed to answer some useful purpose. +A brooch, or a bow of ribbon, for instance, should +fasten some part of the dress; a gold chain should +support a watch or an eyeglass. Trimmings are +useful to mark the borders or edges of the different +parts of the dress; and in this light they add to +the variety, while by their repetition they conduce +to the regularity of the ornamentation.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="plate_11" id="plate_11" href="images/plate_11.png"> +<img src="images/plate_11_t.png" width="350" height="503" alt="" title="" /></a> +<div class="caption">Pl. 11.</div> +</div> + +<p>Ornament is so much a matter of fashion, that +beyond the above remarks it scarcely comes within +the scope of our subject. There is one point, however, +to which the present encouragement of works +of design induces us to draw the attention of our +readers. We have already borrowed from the beautiful +work of M. de Stackelberg, some of the female +figures in illustration of our views with regard to +dress; we have now to call the attention of our +readers to the patterns embroidered on the dresses. +These are mostly of classic origin, and prove that +the descendants of the Greeks have still sufficient +<a class="pagenum" name="Page_97" title="97"> </a>good taste to appreciate and adopt the designs of +their glorious ancestors. The figures in the plates +being too small to show the patterns, we have enlarged +some of them from the original work, in order +to show the style of design still cultivated among +the peasants of Greece, and also because we think +the designs may be applied to other materials besides +dress. Some of them appear not inappropriate +to iron work. When will our people be +able to show designs of such elegance? <a href="#plate_11" class="figref">Fig. 78</a> is +an enlarged copy of the embroidery on the robe of +the peasant from the environs of Athens, (<a href="#plate_05" name="tnpg097" class="figref"><ins title="Fig. 49">Fig. 47</ins></a>.) +It extends, as will be seen, half way up the skirt. +<a href="#plate_11" class="figref">Fig. 79</a> is from the sleeve of the same dress. <a href="#plate_11" class="figref">Fig. 80</a> +is the pattern embroidered on the sleeve of the +pelisse. <a href="#plate_11" class="figref">Fig. 81</a> is the pattern from the waist to +the hem of the skirt of an Athenian peasant's dress, +(<a href="#plate_05" class="figref">Fig. 51</a>.) <a href="#plate_11" class="figref">Fig. 82</a> is the border to the shawl; <a href="#plate_11" class="figref">Fig. 83</a>, +the sleeve of the last-mentioned dress; <a href="#plate_11" class="figref">Fig. 84</a>, +the design on the apron of the Arcadian peasant, +(<a href="#plate_05" class="figref">Fig. 48</a>.) <a href="#plate_11" class="figref">Fig. 85</a> is the border of the same dress. +<a href="#plate_12" class="figref">Fig. 86</a> is the pattern round the hem of the long +<a class="pagenum" name="Page_98" title="98"> </a>under-dress of the Athenian peasant, (<a href="#plate_05" class="figref">Fig. 51</a>;) +<a href="#plate_12" class="figref">Fig. 87</a>, the border of a shawl, or something of the +kind. <a href="#plate_12" class="figref">Fig. 88</a> is another example. The brocade +dress of Sancta Victoria (<a href="#plate_07" class="figref">Fig. 64</a>) offers a striking +contrast to the simple elegance of the Greek designs. +It is too large for the purpose to which it +is employed, and not sufficiently distinct; and, +although it possesses much variety, it is deficient +in regularity; and one of the elements of beauty in +ornamental design, namely, repetition, appears to +be entirely wanting. In these respects, the superiority +of the Greek designs is immediately apparent. +They unite at once symmetry with regularity, and +variety with repetition.</p> + +<div class="figcenter" style="width: 350px;"> +<a name="plate_12" id="plate_12" href="images/plate_12.png"> +<img src="images/plate_12_t.png" width="350" height="494" alt="" title="" /></a> +<div class="caption">Pl. 12.</div> +</div> + +<p>The examination of these designs suggests the +reflection that when we have once attained a form +of dress which combines ease and elegance with +convenience, we should tax our ingenuity in inventing +ornamental designs for decorating it, rather +than seek to discover novel forms of dress.</p> + +<p>The endless variety of textile fabrics which our +manufacturers are constantly producing, the variety, +<a class="pagenum" name="Page_99" title="99"> </a>also, in the colors, will, with the embroidery patterns +issued by our schools of design, suffice to +appease the constant demand for novelty, which +exists in an improving country, without changing +the form of our costume, unless to adopt others +which reason and common sense point out as +superior to that in use. We are told to try all +things, and to hold fast to that which is good. +The maxim is applicable to dress as well as to +morals.</p> + +<p>The subject of economy in dress, an essential +object with many persons, now claims our attention. +We venture to offer a few remarks on this head. +Our first recommendation is to have but few dresses +at a time, and those extremely good. If we have +but few dresses, we wear them, and wear them out +while they are in fashion; but if we have many +dresses at once, some of them become quite old-fashioned +before we have done with them. If we +are rich enough to afford the sacrifice, the old-fashioned +dress is got rid of; if not, we must be +content to appear in a fashion that has long been +<a class="pagenum" name="Page_100" title="100"> </a>superseded; and we look as if we had come out +of the tombs, or as if one of our ancestors had +stepped out of her picture frame, and again walked +the earth.</p> + +<p>As to the economy of selecting the best materials +for dresses, we argue thus: Every dress must be +lined and made up, and we pay as much for making +and lining an inferior article, as we do for one of +the best quality. Now, a good silk or merino will +wear out two bad ones; therefore, one good dress, +lining and making, will cost less than two inferior +ones, with the expenses of lining and making them. +In point of appearance, also, there is no comparison +between the two; the good dress will look well to +the last, while one of inferior quality will soon look +shabby. When a good silk dress has become too +shabby to be worn longer as a dress, it becomes, +when cut up, useful for a variety of purposes; +whereas an inferior silk, or one purely ornamental, +is, when left off, good for nothing.</p> + +<p>Plain dresses, that is to say, those of a single +color, and without a pattern, are more economical +<a class="pagenum" name="Page_101" title="101"> </a>as well as more quiet in their appearance than those +of various colors. They are also generally less expensive, +because something is always paid for the +novelty of the fashion; besides, colored and figured +dresses bear the date on the face of them, as plainly +as if it was there in printed characters. The ages +of dress fabrics are known by the pattern; therefore +dresses of this description should be put on as soon +as purchased, and worn out at once, or they will +appear old-fashioned. There is another reason why +vari-colored dresses are less economical than others. +Where there are several colors, they may not all +be equally fast, and if only one of them fades the +dress will lose its beauty. Trimmings are not +economical; besides their cost in the first instance, +they become shabby before the dress, and +if removed, they generally leave a mark where +they have been, and so spoil the appearance of the +dress.</p> + +<p>Dresses made of one kind of material only, are +more durable than those composed of two; as, for +instance, of cotton and silk, of cotton and worsted, +<a class="pagenum" name="Page_102" title="102"> </a>or of silk and worsted. When the silk is merely +thrown on the face of the material, it soon wears off. +This is also the case in those woollen or cotton +goods which have a silken stripe.</p> + +<p>The question of economy also extends to colors, +some of which are much more durable than others. +For this we can give no rule, except that drabs and +other “Quaker colors,” as they are frequently called, +are amongst the most permanent of all colors. For +other colors we must take the word of the draper. +There is no doubt, however, but that the most +durable colors are the cheapest in the end. In +the selection of colors, the expense is not always +a criterion; something must be paid for fashion +and novelty, and perhaps for the cost of the dye. +The newest and most expensive colors are not +always those which last the longest.</p> + +<p>It is not economical to have the dresses made +in the extremity of the fashion, because such soon +become remarkable; but the fashions should be +followed at such a distance, that the wearer may +not attract the epithet of old-fashioned.</p> + +<p><a class="pagenum" name="Page_103" title="103"> </a>We conclude this part of our subject with a few +suggestions relative to the selection of different +styles and materials of dress.</p> + +<p>The style of dress should be adapted to the age +of the wearer. As a general rule, we should say +that in youth the dress should be simple and elegant, +the ornaments being flowers. In middle age, +the dress may be of rich materials, and more splendid +in its character; jewels are the appropriate +ornaments. In the decline of life, the materials of +which the dress is composed may be equally rich, +but with less vivacious colors: the tertiaries and +broken colors are particularly suitable, and the +character of the whole costume should be quiet, +simple, and dignified. The French, whose taste in +dress is so far in advance of our own, say, that +ladies who are <em>cinquante ans sonnés</em>, should neither +wear gay colors, nor dresses of slight materials, +flowers, feathers, or much jewelry; that they should +cover their hair, wear high dresses and long sleeves.</p> + +<p>Tall ladies may wear flounces and tucks, but they +are less appropriate for short persons. As a general +<a class="pagenum" name="Page_104" title="104"> </a>rule, vertical stripes make persons appear taller +than they really are, but horizontal stripes have a +contrary effect. The latter, Mr. Redgrave says, are +not admissible in garment fabrics, “since, crossing +the person, the pattern quarrels with all the motions +of the human figure, as well as with the form +of the long folds in the skirts of the garment. +For this reason,” he continues, “large and pronounced +checks, however fashionable, are often in +bad taste, and interfere with the graceful arrangement +of the drapery.” Is it to show their entire +contempt for the principles of design that our manufacturers +introduced last year not only horizontal +stripes of conspicuous colors, but checks and plaids +of immense size, as autumnal fashions for dress +fabrics? We had hoped that the ladies would have +shown the correctness of their taste by their disapproval +of these unbecoming designs, but the +prevalence of the fashion at the present time is +another evidence of the triumph of fashion over +good taste.</p> + +<p>A white and light-colored dress makes the wearers +<a class="pagenum" name="Page_105" title="105"> </a>appear larger, while a black or dark dress causes +them to appear smaller than they actually are. A +judicious person will, therefore, avail herself of +these known effects, by adopting the style of dress +most suitable to her stature.</p> + +<p>To sum up, in a few words, our impressions +on this subject, we should say that the best style +of dress is that which, being exactly adapted to the +climate and the individual, is at once modest, quiet, +and retiring, harmonious in color and decoration, +and of good materials.</p> + +<p>We conclude with the following admirable extract +from Tobin's “Honeymoon,” which we earnestly +recommend to the attention of our fair readers.</p> + +<div class="poem"> + <div class="stanza" style="max-width: 31em;"> +I'll have no glittering gewgaws stuck about you<br /> +To stretch the gaping eyes of idiot wonder,<br /> +And make men stare upon a piece of earth,<br /> +As on the star-wrought firmament—no feathers,<br /> +To wave as streamers to your vanity;<br /> +Nor cumbrous silk, that with its rustling sound<br /> +Makes proud the flesh that bears it. She's adorned<br /> +Amply, that in her husband's eye looks lovely—<br /> +The truest mirror that an honest wife<br /> +Can see her beauty in!<br /> + +<a class="pagenum" name="Page_106" title="106"> </a><span class="speaker"><i>Julia.</i> I shall observe, sir.<br /></span> + + <span class="speaker"><i>Duke.</i> I should like well to see you in the dress I last +presented you.<br /></span> + + <span class="speaker"><i>Julia.</i> The blue one, sir?<br /></span> + + <span class="speaker"> +<i>Duke.</i> No, love,—the white. Thus modestly attired,<br /></span> +A half-blown rose stuck in thy braided hair,<br /> +With no more diamonds than those eyes are made of,<br /> +No deeper rubies than compose thy lips,<br /> +Nor pearls more precious than inhabit them,<br /> +With the pure red and white, which that same hand<br /> +Which blends the rainbow, mingles in thy cheeks;<br /> +This well-proportioned form (think not I flatter)<br /> +In graceful motion to harmonious sounds,<br /> +And thy free tresses dancing in the wind,<br /> +Thou'lt fix as much observance, as chaste dames<br /> +Can meet without a blush. + </div> +</div> + +<p>We look forward hopefully to a day when art-education +will be extended to all ranks; when a +knowledge of the beautiful will be added to that +of the useful; when good taste, based upon real +knowledge and common sense, will dictate our +fashions in dress as in other things. We have +schools of art to reform our taste in pottery, hardware, +and textile fabrics, not to speak of the higher +walks of art, painting, sculpture, and architecture. +The handle of a jug, the stem of a wine glass, the +<a class="pagenum" name="Page_107" title="107"> </a>design for dress silks or lace veils, will form the +subjects of lectures to the students of the various +schools of design; disquisitions are written on the +important question whether the ornamental designs +should represent the real form of objects, or only +give a conventional representation of them; while +the study of the human figure, the masterpiece of +creation, is totally neglected, except by painters and +sculptors. We hope that the study of form will be +more extended, that it will be universal, that it +will, in fact, enter into the general scheme of +education, and that we shall hereafter see as much +pains bestowed in improving by appropriate costume +the figure which nature has given us, as we +do now in distorting it by tight stays, narrow and +high-heeled shoes, and all the other deformities and +eccentricities of that many-faced monster, fashion. +The economy of the frame, and the means of preserving +it in health and beauty, should form an +integral part of education. There can be no true +beauty without health; and how can we hope to +secure health if we are ignorant of the means of +<a class="pagenum" name="Page_108" title="108"> </a>promoting it, or if we violate its precepts by adopting +absurd and pernicious fashions? Surely it is +not too much to hope that dressmakers will hereafter +attend the schools of design, to study the +human form, and thence learn to appreciate its +beauties, and to clothe it with appropriate dress, +calculated to display its beauties to the greatest advantage, +and to conceal its defects—the latter with +the reservation we have already noticed. We hope, +also, that the shoemaker will learn to model the +shoe upon the true form of the foot.</p> + +<p>Manufacturers are now convinced of the importance +and utility of schools of design; and whether +the article hereafter to be produced be a cup and +saucer, a fender, a pattern for a dress, or for furniture, +for a service of plate or a diamond tiara, it +is thought proper that the pupil, as a preliminary +course that cannot be dispensed with, should commence +with the study of the human figure. Yet is +not dress an art-manufacture as well as a cup and +saucer, or a teaboard? Is there less skill and +talent, less taste required to clothe the form which +<a class="pagenum" name="Page_109" title="109"> </a>we are told is made after God's own image, than to +furnish an apartment? Why should not dressmakers +and tailors attend the schools of design, as well as +those artisans who are intended to be employed in +what are called art-manufactures? Why should not +shoemakers be taught the shape and movements +of the foot? If this were the case, we are satisfied +that an immediate and permanent improvement +would be the consequence in our style of dress. +Would any person acquainted with the human +form, and especially with the little round form of +an infant, have sent to the Great Exhibition an +infant's robe shaped like that in our cut. <a href="#plate_12" class="figref">Fig. 89</a>. +An infant with a waist “growing fine by degrees +and beautifully less”!—was there ever such a deformity? +We believe that many portrait painters +stipulate that they should be allowed to dictate +the dress, at least as regards the arrangement of +the colors, of their sitters; the reason of this is, that +the painter's selection of dress and color is based +upon the study of the figure and complexion of the +individual, or the knowledge of the effects of contrast +<a class="pagenum" name="Page_110" title="110"> </a>and harmony of lines, tissues, and colors, +while the models which are presented for his imitation +too frequently offer to his view a style of +dress, both as regards form and color, which set +the rules of harmony at defiance. Now, only +suppose that the dressmaker had the painter's +knowledge of form and harmony of lines and colors, +what a revolution would take place in dress? We +should no longer see the tall and the short, the +slender and the stout, the brown and the fair, the +old and the young, dressed alike, but the dress +would be adapted to the individual; and we believe +that, were the plan of study we recommend generally +adopted, this purpose might always be effected +without the sacrifice of what is now the grand desideratum +in dress—novelty.</p> + +<p>The reasons why the art of dressmaking has not +hitherto received the attention which it deserves, +are to be sought for in the constitution of society. +The branches of manufacture which require a +knowledge of design, such as calico printing, silk +and ribbon weaving, porcelain and pottery, and +<a class="pagenum" name="Page_111" title="111"> </a>hardware manufactures, are conducted on a large +scale by men of wealth and talent, who, if they +would compete successfully with rival manufacturers, +find it necessary to study and apply to their own +business all the improvements in science, with +which their intercourse with society gives them an +opportunity of becoming acquainted. It is quite +otherwise with dressmaking. A woman is at the +head of every establishment of this kind, a woman +generally of limited education and attainments, +from whom cannot be expected either liberality of +sentiment or enlarged views, but who possibly +possesses some tact and discrimination of character, +which enables her to exercise a kind of dictatorial +power in matters of dress over her customers; +these customers are scarcely better informed on +the subject than herself.</p> + +<p>The early life of the dressmaker is spent in a +daily routine of labor with the needle, and when +she becomes a mistress in her turn, she exacts from +her assistants the same amount of daily labor that +was formerly expected from herself. Work, work, +<a class="pagenum" name="Page_112" title="112"> </a>work with the needle from almost childhood, in the +same close room from morning to night, and not +unfrequently from night to morning also, is the +everlasting routine of the monotonous life of the +dressmakers. They are working for bread, and have +no leisure to attend to the improvement of the mind, +and the want of this mental cultivation is apparent +in the articles they produce by their labor. When +one of the young women who attends these establishments +to learn the trade, thinks she has had +sufficient experience, she leaves the large establishment, +and sets up in business on her own account. +In this new situation she works equally hard, and +has, therefore, no time for improving her mind or +taste. Of the want of this, however, she is not +sensible, because she can purchase for a trifle all +the newest patterns, and the thought never enters +her poor little head, that the same fashion may +not suit all her customers. This defective education +of the dressmakers, or rather their want of +knowledge of the human form, is one of the great +causes of the prevalence of the old fashion of tight +<a class="pagenum" name="Page_113" title="113"> </a>lacing; it is so much easier to make a closely-fitting +body suit over a tight stay than it is on +the pliant and yielding natural form, in which, if +one part be drawn a little too tight, or the contrary, +the body of the dress is thrown out of shape. +Supposing, on the other hand, the fit to be exact, +it is so difficult to keep such a tight-fitting body +in its place on the figure without securing its form +by whalebones, that it is in vain to expect the stays +to become obsolete until the tight-fitting bodice +is also given up.</p> + +<p>This will never take place until not only the +ladies who are to be clothed, but the dressmakers, +shall make the human form their study, and direct +their efforts to set off their natural advantages by +attending to the points which are their characteristic +beauties. A long and delicate throat, falling +shoulders, not too wide from point to point, a flat +back, round chest, wide hips—these are the points +which should be developed by the dress. Whence +it follows, that every article of dress which shortens +the throat, adds height or width to the shoulders, +<a class="pagenum" name="Page_114" title="114"> </a>roundness to the back, or flatness to the chest, +must be radically wrong in principle, and unpleasant +and repulsive in effect. In the same manner, +whatever kind of dress adds to the height of a figure +already too tall and thin, or detracts from the apparent +height of the short and stout, must be +avoided. These things should form the study of +the dressmaker.</p> + +<p>As society is now constituted, however, the dressmaker +has not, as we have already observed, leisure +to devote to studies of the necessity and importance +of which she is still ignorant. The reform +must be begun by the ladies themselves. They +must acquire a knowledge of form, and of the +principles of beauty and harmony, and so exercise +a controlling influence over the dressmakers. By +this means, a better taste will be created, and the +dressmakers will at length discover their deficiency +in certain guiding principles, and will be driven at +last to resort to similar studies. But in this case +a startling difficulty presents itself—the poor dressmaker +is at present over-worked: how can she find +<a class="pagenum" name="Page_115" title="115"> </a>leisure to attend the schools of design, or even pursue, +if she had the ability, the necessary studies at +home? A girl is apprenticed to the trade at the +age of thirteen or fourteen; she works at it all her +life, rising early, and late taking rest; and what is +the remuneration of her daily toil of twelve hours? +Eighteen pence, or at most two shillings a day, +with her board!<a name="FNanchor_3_3" href="#Footnote_3_3" class="fnanchor">[3]</a> As she reckons the value of the +latter at a shilling, it follows, that the earnings +of a dressmaker, in the best period of her life, who +goes out to work, could not exceed fifteen shillings, +or, at the most, eighteen shillings a week, if she +did not—at the hazard of her health, which, indeed, +is frequently sacrificed—work at home before +she begins, and after she has finished, her +day's work abroad. The carpenter or house painter +does not work harder, or bring to bear on his employment +greater knowledge, than the poor dressmaker; +yet he has four shillings sixpence a day, +<a class="pagenum" name="Page_116" title="116"> </a>without his board, while she has only what is +equivalent to two shillings sixpence, or three shillings. +What reason can be assigned why a woman's +work, if equally well done, should not be +as well paid as that of a man? A satisfactory +reason has yet to be given; the fact, however, is +indisputable, that women are not in general so well +paid for their labor as men.</p> + +<p>Although these remarks arose naturally out of our +subject, we must not digress too far. To return to +the dressmaker. If the hours of labor of these white +slaves who toil in the dressmaking establishments +were limited to ten or twelve hours, as in large factories, +two consequences would follow: the first is, +that more hands would be employed, and the second, +that the young women would have time to +attend schools, and improve their minds. If they +could also attend occasional lectures on the figure, +and on the harmony of color and costume with reference +to dress, the best effects would follow.</p> + +<p>Those dressmakers who are rich enough, and, we +may add, many ladies also, take in some book of +<a class="pagenum" name="Page_117" title="117"> </a>fashions with colored illustrations, and from this +they imbibe their notions of beauty of form and +elegance of costume. How is it possible, we would +ask, for either the dressmaker or the ladies who +employ them to acquire just ideas of form, or of +suitable costume, when their eyes are accustomed +only to behold such deformed and unnatural representations +of the human figure as those in the +accompanying plates? <a href="#plate_12" class="figref">Figs. 90 and 91.</a> Is it any +wonder that small waists should be admired, when +the books which aspire to be the handmaids and +mirrors of fashion present to their readers such +libels on beauty of form? Now, suppose that lithographed +drawings of costumes issued occasionally +from the schools of design, is it not reasonable to +suppose that, with the knowledge which the students +have acquired of the human figure, the illustrations +would be more accurate imitations of nature? +An eye accustomed to the study of nature +can scarcely bear to contemplate, much less to imitate, +the monsters of a depraved taste which disgrace +the different publications that aspire to make +<a class="pagenum" name="Page_118" title="118"> </a>known the newest fashions. Many of the illustrations +of these publications, although ill proportioned, +are executed in a certain stylish manner +which takes with the uneducated, and the mechanical +execution of the figures is also good. This, +however, is so far from being an advantage, that it +only renders them the more dangerous; like the +song of the siren, they lead only to evil.</p> + +<p>We are told that many of the first Parisian artists +derive a considerable part of their income from +drawing the figures in the French books of fashion +and costume, and that, in the early part +of his career, Horace Vernet, the president of +the French Academy, did not disdain to employ +his talents in this way. We cannot, however, refrain +from expressing our surprise and honest indignation +that artists of eminence, especially those +who, like the French school, have a reputation for +correct drawing, and who must, therefore, be so well +acquainted with the actual as well as ideal proportions +of the female figure, should so prostitute their +talents as to employ them in delineating the ill-proportioned +<a class="pagenum" name="Page_119" title="119"> </a>figures which appear in books of +fashions. It is no small aggravation of their offence, +in our eyes, that the figures should be drawn +in such graceful positions, and with the exception +of the defective proportions, with so much skill. +These beauties only make them more dangerous; +the goodness of their execution misleads the unfortunate +victims of their fascination. What young +lady, unacquainted with the proportions of the +figure, could look on these prints of costumes and +go away without the belief that a small waist and +foot were essential elements of beauty? So she +goes home from her dressmaker's, looks in the glass, +and not finding her own waist and foot as small +as those in the books of fashion, gives her stay-lace +an extra tightening pull, and, regardless of corns, +squeezes her feet into tight shoes, which makes the +instep appear swollen. Both the figures in our last +plates were originally drawn and engraved by +Jules David, and Reville, in “<cite>Le Moniteur de la +Mode</cite>,” which is published at Paris, London, New +York, and St. Petersburg. Let our readers look at +<a class="pagenum" name="Page_120" title="120"> </a>these figures, and say whether the most determined +votary of tight lacing ever succeeded in compressing +her waist into the proportions represented in these +figures.</p> + +<p>We should like to hear that lectures were given +occasionally, by a lady in the female school of design, +on the subjects of form, and of dress in its +adaptation to form and to harmony of color. We +have no doubt that a lady competent to deliver +these lectures will readily be found. After a course +of these lectures, we do not hesitate to predict that +illustrations of fashion emanating from this source +would be, in point of taste, every thing that could +be desired. We venture to think that the students +of the female school may be as well and as profitably +employed in designing costumes, as in inventing +patterns for cups and saucers or borders for +veils. Until some course, of the nature we have +indicated, is adopted, we cannot hope for any permanent +improvement in our costume.</p> + +<div style="padding-bottom: 1em;"> +<h2><a class="pagenum" name="Page_121" title="121"> </a> +<a name="CHAPTER_VIII" id="CHAPTER_VIII" class="gesperrt">CHAPTER VIII.</a><br /> + +<span class="chapter-title">SOME THOUGHTS ON CHILDREN'S DRESS.</span></h2> + +<p class="center">BY MRS. MERRIFIELD.</p> +</div> + +<img class="drop-cap" src="images/p0121_cap_c.png" alt="C" width="101" height="96" /> +<p class="drop-cap drop-o-c"><span class="first-word">Can</span> any good and sufficient reason be +given, said a friend, as we were contemplating +the happy faces and lively +gestures of a party of boys and girls, +who, one cold, frosty evening, were +playing at the old game called “I sent a letter to +my love,” why, when one of the party picks up the +ball which another has thrown down, the boys +always stoop, while the girls (with the exception +of one little rosy girl, who is active and supple as +the boys) invariably drop on one knee? At first +we almost fancied this must be a new way of playing +the game; but when one of the seniors threw a +handful of <i>bonbons</i> among the children, and in their +eager scramble to pick up the tempting sweets we +<a class="pagenum" name="Page_122" title="122"> </a>observed the same respective actions, namely, that +the boys stooped, while the girls knelt on one knee, +we began to meditate on the cause of this diversity +of action. A little more observation convinced us +that the girls, though equally lively, were less free +in their movement than the boys. We observed, +also, that every now and then some of the girls +stopped and hitched their clothes, (which appeared +almost in danger of falling off,) with an awkward +movement, first upon one shoulder, and then on +the other, while others jerked one shoulder upwards, +which caused the sleeve on that side to sink nearly +to the elbow. “Now,” we exclaimed, “we can +solve the problem: the different actions are caused +by the difference in the dress; let us see where the +difference lies.” So we continued our observations, +and soon found that the boys were all dressed in +high dresses up to the throat, while the bands +which encircled their waists were so loose as merely +to keep the dress in its place without confining it; +in short, that their dress did not offer the slightest +restraint on their freedom of movement. It was +<a class="pagenum" name="Page_123" title="123"> </a>otherwise with the girls, excepting the little rosy +girl before mentioned: they were dressed in low +dresses, and their shoulders were so bare that we +involuntarily thought of a caterpillar casting its +skin, and began to fear, from the uneasy movement +of their shoulders, that the same thing +might happen to the children, when we observed +that this was rendered impossible by the tightness +of the clothes about the waist. The mystery was +now cleared up; the tightness of the dress at the +waist, while it prevented the children from “slipping +shell,” as it were, entirely destroyed their freedom +of movement. We could not help contrasting +these poor girls—dressed in the very pink of fashion, +with their bare shoulders, compressed waists, +and delicate appearance—with the rosy face, quick +and active movement, and thick waist of the little girl +before alluded to; and we sighed as we thought that, +induced by the culpable folly or ignorance of parents,</p> + +<div class="poem"> + <div class="stanza" style="max-width: 17em;"> +<span style="margin-left: 8em;">“Pale decay</span><br /> +Would steal before the steps of time,<br /> +And snatch ‘their’ bloom away.” + </div> +</div> + +<p><a class="pagenum" name="Page_124" title="124"> </a>“Whence does it arise,” continued my friend, +“that the boys are clad in warm dresses, suited +to the season, their chests and arms protected +from the wintry air, and their feet incased in +woollen stockings, while the girls are suffered to +shiver at Christmas in muslin dresses, with bare +necks and arms, and silk or thin cotton stockings? +Are they less susceptible of cold than boys? +Is their circulation less languid, that their clothes +are so much thinner? Are their figures better, +their health stronger, for the compression of their +tender bodies by stays?” At this point our cogitations +were stopped by a summons to supper; +and after supper, hats and shawls were produced, +and we took our leave. Our young companions, +fatigued with their exertions, soon fell asleep in +the corners of the carriage, and we were left to our +own meditations. Our thoughts once more reverted +to the subject of children's dress, and gradually +assumed the following <span class="m-nowrap">form:—</span></p> + +<p>The subject of dress, which is so important both +to our health and comfort, is usually treated as a +<a class="pagenum" name="Page_125" title="125"> </a>matter of fashion, and is regulated partly by individual +fancy, partly by the dictates of the <em>modiste</em>. +Fashion, as it applies to the costume of men, is, +with the exception of the hat, controlled by convenience +and common sense; but with regard to +the dress of women and children, neither of these +considerations has any weight. The most extravagant +and <em>bizarre</em> arrangements of form and colors +will meet with admirers and imitators, provided +they emanate from a fashionable source. The dress +of children, especially, appears to be exceedingly +fantastic in its character, and, with regard to that +of girls, is ill adapted to secure the enjoyment of +health and the perfect development of the figure. +We venture to offer a few remarks on this highly +interesting theme.</p> + +<p>In discussing the subject of children's dress, +several points present themselves for our consideration, +namely, first, the adaptation of the costume +to the climate, the movements, and healthful development +of the figure; and secondly, the general +elegance of the habiliments, the harmony of the +<a class="pagenum" name="Page_126" title="126"> </a>colors, and their special adaptation to the age and +individual characteristics of children. The first +are essential conditions; the latter, though too frequently +treated as the most important, may, in +comparison with the first, be deemed non-essentials. +We shall remark on these subjects in the before-mentioned +order.</p> + +<p>With regard to the adaptation of the dress of +children to the climate, this appears so evident that +any observations upon it might be deemed almost +unnecessary; yet, in practice, how little is it understood! +The great object in view in regulating the +warmth of the clothing, is to guard the wearer from +the vicissitudes of the climate, and to equalize the +circulation, which is accelerated by heat and retarded +by cold. Children are habitually full of +activity, which quickens the circulation and produces +a determination to the skin; in other words, +causes some degree of perspiration, and if this, perspiration +be suddenly checked by the application +of cold, illness in some shape or other is induced. +In order to lessen this risk, the clothing should be +<a class="pagenum" name="Page_127" title="127"> </a>light and warm; sufficiently warm to shield the +child from the effects of cold, but not to elevate +greatly the temperature of the body. The latter +would only render the child more susceptible of +cold. Children are, by some over-careful but not +judicious parents, so burdened with clothes that +one is surprised to find they can move under the +vast encumbrance.</p> + +<p>There is much diversity of opinion among medical +men as to the propriety of wearing flannel next to +the skin. The arguments appear to be in favor +of the practice, provided that the thickness of the +flannel be proportioned to the seasons of the year. +In winter it should be thick; in summer it can +scarcely be too thin. Flannel is preferable to linen +or calico, because, although it may be saturated +with perspiration, it never strikes cold to the skin; +whereas linen, under similar circumstances, always +does, and the sudden application of cold to the +skin, when warmed by exercise, checks the circulation, +and causes illness.</p> + +<p>Parents are frequently guilty of much inconsistency +<a class="pagenum" name="Page_128" title="128"> </a>in the clothing of their children. The child, +perhaps, has delicate lungs; it must, therefore, have +warm clothing; so garment after garment, made +fashionably, that is to say, very full and very short, is +heaped one upon the other over the chest and upper +part of the body, until the poor child can scarcely +move under the heavy burden with which, with +mistaken kindness, it has been laden, while the +lower limbs, in which the circulation is most languid, +and which require to be protected as well as +the chest, are frequently exposed to the air, and the +foot is covered with a shoe which is too thin to +keep it dry. The consequence of this arrangement +is, that the child, oppressed by the weight of its +clothing, becomes overheated, and being cooled too +hastily, catches severe colds.</p> + +<p>The habiliments of children cannot be too light +in weight; and this is perfectly consistent with a +proper degree of warmth. Those parents are greatly +to blame who, influenced only by appearance, and +the wish to dress their children fashionably, add to +<a class="pagenum" name="Page_129" title="129"> </a>the weight of their clothing by introducing so much +unnecessary fulness into the skirts.</p> + +<p>The next point for consideration, and which is +not inferior in importance to the last, is the adaptation +of the dress to the movements and healthful +development of the figure; and, strange to say, this +point is almost entirely overlooked by those who +have the management and control of children, although +a few honest and sensible medical men have +raised their warning voices against the system now +pursued.</p> + +<p>We hear every where of the march of intellect; +we are perpetually told that the schoolmaster is +abroad; lessons and masters of all kinds are endeavoring</p> + +<div class="poem"> + <div class="stanza" style="max-width: 19em;"> +“To teach the young idea how to shoot;” + </div> +</div> + +<p style="text-indent: 0;">while the little delicate frame which is to bear all +this mental labor is left to the ignorance of mothers +and nurses, and the tender mercies of the dressmaker, +who seems to think that the human frame +is as easily moulded into an imitation of those +<a class="pagenum" name="Page_130" title="130"> </a>libels on humanity represented in books of fashionable +costume as the materials with which she +works. Would that we had powers of persuasion +to convince our readers how greatly these figures, +with their excessively-small waists, hands and feet, +deviate from the actual proportions of well-formed +women! Unfortunately, the pinched waist is too +common in real life for those unacquainted with +the proportions of the figure not to think it one +of the essential elements of beauty. So far, however, +from being a beauty, a small waist is an +actual blemish. Never, until the economy of the +human frame is studied by all classes, and a knowledge +of the principles on which its beauties depend +is disseminated among all ranks, can we hope that +just ideas will be entertained on this subject.</p> + +<p>If there is one thing in which the schoolmaster +or the reformer is more wanted than in another, +it is in our dress. From our birth to our death +we are the slaves of fashion, of prejudice, and of +circumstances. The tender, unresisting infant, the +delicate girl, the mature woman, alike suffer from +<a class="pagenum" name="Page_131" title="131"> </a>these evil influences; some fall victims to them, +others suffer during life. Let us consider the dress +of an infant. Here, however, it must be acknowledged +that of late years much improvement has +taken place in some respects, although much still +remains to be done. Caps, with their trimming +of three or four rows of lace, and large cockades +which rivalled in size the dear little round face of +the child, are discontinued almost entirely within +doors, though the poor child is still almost overwhelmed +with cap, hat, and feathers, in its daily +airings, the additional weight which its poor neck +has to sustain never once entering into the calculation +of its mother and nurse. Fine feathers, it is +said, make fine birds. This may be true with +respect to the feathered creation, but it is not so +with regard to children. They suffer from the misplaced +finery, and from the undue heat of the head. +And yet the head has, generally speaking, been +better treated by us than the rest of the body. +When we look back upon the history of costume, +it really seems as if men—or women, shall we +<a class="pagenum" name="Page_132" title="132"> </a>say?—had exercised their ingenuity in torturing +the human frame, and destroying its health and +vigor.</p> + +<p>The American Indian compresses the tender skull +of the infant, and binds its little body on to a flat +board; the Chinese squeezes the feet of the females; +the Italian peasants, following the custom of the +Orientals, still roll the infant in swathing bands; +the little legs of the child, that when left to its own +disposal are in perpetual motion, now curled up to +the body, then thrust out their extreme length, to +the evident enjoyment of their owner, are extended +in a straight line, laid side by side, and bandaged +together, so that the infant reminds one in shape +of a mummy. In this highly cultivated country we +are guilty towards our infants of practices quite as +senseless, as cruel, and as contrary to nature. The +movements of the lower limbs, so essential to the +healthy growth of the child, are limited and restrained, +if not altogether prevented, by the great +weight that we hang upon them. The long petticoats, +in which every infant in this country has +<a class="pagenum" name="Page_133" title="133"> </a>been for centuries doomed to pass many months of +its existence, are as absurd as they are prejudicial +to the child. The evil has of late years rather increased +than diminished, for the clothes are not only +made much longer, but much fuller, so that the poor +victim has an additional weight to bear. Many +instances can be mentioned in which the long +clothes have been made a yard and a quarter long. +The absurdity of this custom becomes apparent, +if we only imagine a mother or nurse of short +statue carrying an infant in petticoats of this +length; and we believe that long clothes are always +made totally irrespective of the height of mother or +nurse. Imagine one or the other treading on the +robe, and throwing herself and the child down! +Imagine, also, the probable consequences of such +an accident! And when one ventures to express +doubts as to the propriety of dressing an infant +in long clothes, instead of arguments in their favor, +one is met by the absurd remark, “A baby looks +so grand in long clothes!” We have for some +years endeavored, as far as our influence extended, +<a class="pagenum" name="Page_134" title="134"> </a>to put an end to this practice, and in some cases +we have so far succeeded as to induce the mother +to short-coat the child before it was three months +old, and even previous to this period to make the +under garments of a length suited to the size of +the child, while the frock or robe, as it is called, +retained the fashionable length. The latter, being +of fine texture, did not add considerably to the +weight of the clothes. Children who have the free +use of their limbs not only walk earlier than others, +but are stronger on their feet.</p> + +<p>Another evil practice, which some years since +prevailed universally, was that of rolling a bandage, +three inches in width, and two or three yards in +length, round the body of the child. The pain that +such a bandage, from its unyielding nature, would +occasion, not to speak of its ill effects on the health, +may be readily imagined. This bandage was, in +fact, a kind of breaking in for the tight lacing, the +penalty which most females in this country have +had, at some period or other, to undergo.</p> + +<p>There is no end of the inconsistencies of children's +<a class="pagenum" name="Page_135" title="135"> </a>dress. If, in early infancy, they are buried +in long petticoats, no sooner can they walk than +the petticoats are so shortened that they scarcely +cover the child's back when it stoops. The human +race has a wonderful power of accommodating itself +to a variety of temperatures and climates; but perhaps +it is seldom exposed to greater vicissitudes +than in the change from long clothes to the extremely +short and full ones that are now fashionable. +The very full skirt is not so warm in +proportion to its length as one of more moderate +fulness; because, instead of clinging round the +figure, it stands off from it, and admits the air +under it. The former is also heavier than the +latter, inasmuch as it contains more material; and +the weight of the clothing is a great disadvantage +to a child. A sensible medical writer, Dr. John +F. South, in an excellent little work entitled “Domestic +Surgery,” makes some very judicious observations +relative to children's dress. Of the fashion +of dressing boys with the tunic reaching to the +throat, and trousers, which are both so loose as +<a class="pagenum" name="Page_136" title="136"> </a>to offer no impediment to freedom of motion, he +approves; but he condemns, in the strongest +terms, “the unnatural”—Mr. South remarks he +had almost said “atrocious—system to which, in +youth, if not in childhood, girls are subjected for +the improvement of their figure and gait.”</p> + +<p>It is fortunate for the present generation that it +is the fashion for the dresses of even little girls to +be made as high as the throat; the old fashion of +cutting the frock low round the neck, which still +exists in what is called “full dress,” is objectionable +on more than one account. In the first place, it is +objected to on the consideration of health; because +the upper part of the chest is not protected from +the influence of currents of air, and by this means, +as Mr. South observes, the foundation is laid for +irritable lungs. In the next place, the dress is generally +suffered to fall off the shoulders, and is, in +fact, only retained in its place by the tight band +about the waist. To avoid the uneasiness occasioned +by the pressure of the latter, the child slips +its clothes off one shoulder, generally the right, +<a class="pagenum" name="Page_137" title="137"> </a>which it raises more than the other; the consequence +of this is, that the raised shoulder becomes +permanently higher than the other, and the spine +is drawn towards the same side. It is said that +there is scarcely one English woman in fifty who +has not one shoulder higher or thicker than the +other; and there appears but little doubt that +much of this deformity is to be ascribed to the +above-mentioned cause. In confirmation of this +opinion, it may be mentioned that the practice of +wearing dresses low in the neck is almost peculiar +to English girls; French girls, nearly from infancy, +wear high dresses, and it is certain that deformity +is not so frequent among French women as it is +among English.</p> + +<p>The discipline of tight lacing is frequently begun +so early in life, that the poor victim has little or no +recollection of the pain and suffering occasioned by +the pressure of the stiff and uncomfortable stays +before the frame has become accustomed to them. +Those of our readers who were fortunate enough to +<a class="pagenum" name="Page_138" title="138"> </a>escape this infliction in early life, and who adopted +stiff stays at a more mature age, can bear testimony +to the suffering occasioned by them during the first +few weeks of their use. “O,” said a girl who +put on stiff stays, for the first time, at the age of +fourteen or fifteen, “I wish bedtime was come, that +I might take off these stiff and uncomfortable stays, +they pain me so much.” “Hush, hush!” exclaimed +a starch old maiden aunt, shocked at what +she thought the indelicacy of the expression which +pain had wrung from the poor girl; “you must bear +it for a time; you will soon get used to it.” Used +to it! Yes, indeed, as the cook said the eels did +to skinning, and with, as regards the poor girls, +almost as disastrous consequences.</p> + +<p>There are three points of view in which tight +lacing is prejudicial. It weakens the muscles of +the shoulders and chest, which rust, as it were, for +want of use; it injures, by pressure, the important +organs contained in the chest and trunk; and, +lastly, instead of improving the figure, it positively +<a class="pagenum" name="Page_139" title="139"> </a>and absolutely deforms it. A waist disproportionately +small, compared with the stature and +proportions of the individual, is a greater deformity +than one which is too large; the latter is simply +clumsy; it does not injure the health of the person, +while the former is not only prejudicial to health, +but to beauty. Were our fair readers but once +convinced of this fact, there would be an end of +tight lacing; and the good results arising from the +abolition of this practice would be evident in the +improved health of the next generation.</p> + +<p>What a host of evils follow in the steps of tight +lacing! Indigestion, hysteria, spinal distortion, +consumption, liver complaints, disease of the heart, +cancer, early death!—these are a few of them, +and enough to make both mothers and daughters +tremble. It is an aggravation of the evil that is +brought upon us frequently by the agency of a +mother—of her upon whose affection and experience +a child naturally relies in all things, and whose +lamentable ignorance of what constitutes beauty +<a class="pagenum" name="Page_140" title="140"> </a>of form, as well as her subjection to the thraldom +of fashion, is the prolific source of so much future +misery to her unsuspecting daughter.</p> + +<p>Education is the order of the day; but surely +that education must be very superficial and incomplete, +of which the study of the economy of the +human form, its various beauties, and the wonderful +skill with which it was created, form no part. A +girl spends several years in learning French, Italian, +and German, which may be useful to her should +she meet with French, Italians, or Germans, or +should she visit the continent; she spends three, +four, five, and sometimes six hours a day, in practising +on the piano, frequently without having any +real talent for this accomplishment, while she is +kept in utter ignorance of that which is of vital +consequence not only to herself, but to her future +offspring, namely, a knowledge of what constitutes +true beauty, and contributes to the preservation of +health, and, we may also add, of good humor and +happiness; for it is one of the evils attending ill +<a class="pagenum" name="Page_141" title="141"> </a>health, that it frequently induces a fretful and +irritable state of mind. Instead of the really useful +knowledge of the economy of the frame, and the +means of preserving health, girls are taught the +constrained attitudes and the artificial deportment +of the dancing master. The remark of Sir Joshua +Reynolds on this subject has been often quoted. +He said, “All the motions of children are full of +grace; affectation and distortion come in with the +dancing master.” To dancing itself there is not +the slightest objection; it is at once an agreeable +and healthy occupation, and it affords a pleasing +and innocent recreation. The pleasure which most +children take in it, in spite of the “exercises” +which they are compelled to practise, proves, we +think, its utility.</p> + +<p>The treatment of the feet is on a par with that +of the rest of the body. The toes are thrust close +together into a shoe, the shape of the sole of which +does not resemble that of the foot. It is generally +narrower than the foot, which, therefore, hangs over +<a class="pagenum" name="Page_142" title="142"> </a>the sides. The soles of children's shoes are, moreover, +made alike on both sides, whereas the inside +should be nearly straight, and the width of the sole +should correspond exactly with that of the foot. +Boots, which have been so fashionable of late years, +are very convenient, and have a neat appearance, +but they are considered to weaken the ankle, because +the artificial support which they give to that +part prevents the full exercise of the muscles, which +waste from want of use. Shoes should be cut short +in the quarter, because the pressure necessary to +keep such shoes as are now worn on the feet will, in +this case, be on the instep instead of the toes, which +will, by this arrangement, have more room.</p> + +<p>We shall conclude our observations on children's +dress, considered in a sanitary point of view, in the +words of Mr. South. “If, then, you wish your children, +girls especially, to have the best chance of +health, and a good constitution, let them wear flannel +next their skin, and woollen stockings in winter; +have your girls' chests covered to the collar +<a class="pagenum" name="Page_143" title="143"> </a>bones, and their shoulders <em>in</em>, not <em>out</em> of their dresses, +if you would have them straight; and do not confine +their chests and compress their digestive organs by +bone stays, or interfere with the free movement of +their chests by tight belts, or any other contrivance, +if you desire their lungs should do their duty, +upon which so mainly depends the preservation of +health.”—<cite>Sharpe's London Magazine.</cite></p> + +<hr class="w45" /> + +<div class="blockquot"><p><span class="smcap">Note.</span>—The Fig. 58, referred to on the top of page 59, is not +found in the plate; but the same style of dressing the hair may be +seen in <a href="#plate_06" class="figref">Fig. 57</a>.</p></div> + +<div class="footnotes"> + +<div class="footnote"><p><a name="Footnote_1_1" href="#FNanchor_1_1" class="label">[1]</a> Mr. Planché has shown, in his “History of British Costume,” +that these head-dresses are the prototypes of those still worn by +the women of Normandy.</p></div> + +<div class="footnote"><p><a name="Footnote_2_2" href="#FNanchor_2_2" class="label">[2]</a> The fardingale differed from the hoop in the following particulars: +The hoop petticoat was gathered round the waist, while +the fardingale was without a fold of any description. The most +extraordinary instances we remember to have seen of the fardingale, +are in two or three pictures of the Virgin in the Spanish +gallery in the Louvre, where the fardingale in which the Virgin +is dressed takes the form of an enormous mitre.</p></div> + +<div class="footnote"><p><a name="Footnote_3_3" href="#FNanchor_3_3" class="label">[3]</a> Of course it will be understood that these are the English +prices; but does not the comparison hold good between male and +female labor in this country?</p></div> + +</div> + +</div> <!-- end id text-block --> + +<div id="endnote"> + <p class="center"><b>Transcriber's Notes and Amendments:</b></p> + <p>Inconsistencies in spelling and hyphenation retained:</p> + <ul> + <li>Ardene/Arderne</li> + <li>Makrinitza/Markinitza</li> + <li>Parmegianino/Parmegiano</li> + <li>Sommæring/Sommaering</li> + <li>Reville/Réville</li> + <li>outdoor/out-door</li> + <li style="text-align: left;">‘Head Dress’ on the title page was left + <span class="m-nowrap">un-hyphenated,</span> as printed.</li> + </ul> + + <p>Amendments to the text as originally printed:</p> + <ul> + <li>List of Illustrations, <a href="#tnpg_x">p. x</a>,<br /> + <div class="corrections">‘89, 90. From “Le Moniteur de la Mode,”’ to</div> + <div class="corrections">‘90, 91. From “Le Moniteur de la Mode,”’</div></li> + + <li>Chapter II., <a href="#tnpg047">p. 47</a>,<br /> + <div class="corrections">‘The lady in the evening dress (Fig 49)’ to</div> + <div class="corrections">‘The lady in the evening dress (Fig. 49)’</div></li> + + <li>Chapter VI., <a href="#tnpg088">p. 88</a>,<br /> + <div class="corrections">‘The materials of the drapery in the latter is’ to</div> + <div class="corrections">‘The materials of the drapery in the latter are’</div></li> + + <li>Chapter VII., <a href="#tnpg095">p. 95</a>,<br /> + <div class="corrections">‘ribbon, artificial flowers. feathers,’ to</div> + <div class="corrections">‘ribbon, artificial flowers, feathers,’</div></li> + + <li>Chapter VII., <a href="#tnpg097">p. 97</a>,<br /> + <div class="corrections">‘the environs of Athens, (Fig. 49.)’ to</div> + <div class="corrections">‘the environs of Athens, (Fig. 47.)’</div></li> + </ul> + +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Dress as a Fine Art, by +Mary Philadelphia Merrifield + +*** END OF THIS PROJECT GUTENBERG EBOOK DRESS AS A FINE ART *** + +***** This file should be named 34092-h.htm or 34092-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/4/0/9/34092/ + +Produced by Jana Srna, Sharon Joiner and the Online +Distributed Proofreading Team at https://www.pgdp.net (This +file was produced from images generously made available +by The Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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