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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:02:28 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:02:28 -0700 |
| commit | f1c8dcc3082721d766b4f44ee30eeb50c7969324 (patch) | |
| tree | 962751c1dddf39236794cb7238e69000f8d9c7c6 /34845-h | |
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diff --git a/34845-h/34845-h.htm b/34845-h/34845-h.htm new file mode 100644 index 0000000..fef86cb --- /dev/null +++ b/34845-h/34845-h.htm @@ -0,0 +1,4161 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of The Evolution of Fashion, by Florence Mary Gardiner. + </title> + <style type="text/css"> + + +body { + margin-left: 10%; + margin-right: 10%; +} + + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +div.centered {text-align: center;} /* work around for IE centering with CSS problem part 1 */ +div.centered table {margin-left: auto; margin-right: auto; text-align: left;} /* work around for IE centering with CSS problem part 2 */ + + + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + color: #A9A9A9; +} + + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + color: #A9A9A9; +} /* page numbers */ + + + +.blockquot { + margin-left: 5%; + margin-right: 10%; +} + + + +.bbox {border: solid 2px;} + +.center {text-align: center;} + +.smcap {font-variant: small-caps;} + + +.caption {font-weight: bold; font-size: smaller;} + +/* Images */ +.figcenter { + margin: auto; + text-align: center; + margin-top: 3em; +} + +.figleft { + float: left; + clear: left; + margin-left: 0; + margin-bottom: 1em; + margin-top: 1em; + margin-right: 1em; + padding: 0; + text-align: center; +} + +.figright { + float: right; + clear: right; + margin-left: 1em; + margin-bottom: + 1em; + margin-top: 1em; + margin-right: 0; + padding: 0; + text-align: center; +} + +/* Footnotes */ +.footnotes {border: dashed 1px;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +.author {text-align: right; margin-right: 5%;} + +ul.none {list-style-type: none;} + + + +.centerbox { width: 50%; /* heading box */ + margin: 0 auto; + text-align: center; + padding: 1em; + } + +.centerbox1 { width: 80%; /* heading box */ + margin: 0 auto; + text-align: center; + padding: 1em; + } + + + + + </style> + </head> +<body> + + +<pre> + +Project Gutenberg's The Evolution of Fashion, by Florence Mary Gardiner + +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: The Evolution of Fashion + +Author: Florence Mary Gardiner + +Release Date: January 4, 2011 [EBook #34845] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE EVOLUTION OF FASHION *** + + + + +Produced by Meredith Bach and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + + +<div class="figcenter" style="width: 525px;"> +<img src="images/icover.jpg" width="525" height="550" alt="" title="cover" /> +</div> + + + + + <h1>The Evolution of Fashion</h1> + + <h4>BY</h4> + <h2>FLORENCE MARY GARDINER</h2> + + <p class="center"><i>Author of "Furnishings and Fittings for Every Home," "About Gipsies," + &c. &c.</i></p> + + <div class="figcenter" style="width: 260px;"> +<img src="images/ititle.jpg" width="260" height="300" alt="SIR ROBERT BRUCE COTTON." title="" /> +<span class="caption">SIR ROBERT BRUCE COTTON.</span> +</div> + + <p class="center">London:<br /> + +THE COTTON PRESS, <span class="smcap">Granville House, Arundel Street</span>, W.C. +</p> + +<hr style="width: 45%;" /> + + + + + <h4>TO</h4> + + <h3>FRANCES EVELYN,</h3> + +<p class="center"><span class="smcap">Countess of Warwick,</span><br /> + + whose enthusiastic and kindly interest in all movements<br /> + + calculated to benefit women is unsurpassed,<br /> + +<span class="smcap">This Volume,</span><br /> + + by special permission, is respectfully dedicated,<br /> + + <span class="smcap">by</span></p> + + <h4>THE AUTHOR.</h4> + +<p class="center"><span class="smcap">in the year of<br /> +Her Majesty Queen Victoria's Diamond Jubilee</span>,<br /> + + 1897.</p> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/ifrontis.jpg" width="600" height="416" alt="Millicent, Duchess of Sutherland. Princess Henry of +Pless. The Countess of Warwick. Lady Marjorie Greville. Lady Eva +Dugdale. + +" title="" /> + +</div> + +<p class="center"><span class="caption">Millicent, Duchess of Sutherland. Princess Henry of +Pless. The Countess of Warwick. Lady Marjorie Greville. Lady Eva +Dugdale. + +</span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2> + + +<p>In compiling this volume on Costume (portions of which originally +appeared in the <i>Ludgate Illustrated Magazine</i>, under the editorship of +Mr. A. J. Bowden), I desire to acknowledge the valuable assistance I +have received from sources not usually available to the public; also my +indebtedness to the following authors, from whose works I have +quoted:—Mr. Beck, Mr. R. Davey, Mr. E. Rimmel, Mr. Knight, and the late +Mr. J. R. Planché. I also take this opportunity of thanking Messrs. +Liberty and Co., Messrs. Jay, Messrs. E. R. Garrould, Messrs. Walery, +Mr. Box, and others, who have offered me special facilities for +consulting drawings, engravings, &c., in their possession, many of which +they have courteously allowed me to reproduce, by the aid of Miss Juliet +Hensman, and other artists.</p> + +<p>The book lays no claim to being a technical treatise on a subject which +is practically inexhaustible, but has been written with the intention of +bringing before the general public in a popular manner circumstances +which have influenced in a marked degree the wearing apparel of the +British Nation.</p> + +<p class="author"> +FLORENCE MARY GARDINER.</p> +<p><span style="margin-left: 2em;"><i>West Kensington, 1897.</i></span> +</p> + + + +<hr style="width: 65%;" /> +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2> + + + +<div class="centered"> +<table border="0" cellpadding="4" width="55%" cellspacing="3" summary="CONTENTS"> +<tr><td align="right"> </td><td align="left">CHAPTER.</td><td align="right">PAGE.</td></tr> +<tr><td align="right">I.</td><td align="left"><span class="smcap">The Dress, B.C. 594--A.D. 1897</span></td><td align="right"><a href='#Page_3'>3</a></td></tr> +<tr><td align="right">II.</td><td align="left"><span class="smcap">Curious Headgear</span></td><td align="right"><a href='#Page_15'>15</a></td></tr> +<tr><td align="right">III.</td><td align="left"><span class="smcap">Gloves</span></td><td align="right"><a href='#Page_25'>25</a></td></tr> +<tr><td align="right">IV.</td><td align="left"><span class="smcap">Curious Footgear</span></td><td align="right"><a href='#Page_31'>31</a></td></tr> +<tr><td align="right">V.</td><td align="left"><span class="smcap">Bridal Costume</span></td><td align="right"><a href='#Page_39'>39</a></td></tr> +<tr><td align="right">VI.</td><td align="left"><span class="smcap">Mourning</span></td><td align="right"><a href='#Page_51'>51</a></td></tr> +<tr><td align="right">VII.</td><td align="left"><span class="smcap">Eccentricities of Masculine Costume</span></td><td align="right"><a href='#Page_61'>61</a></td></tr> +<tr><td align="right">VIII.</td><td align="left"><span class="smcap">A Chat about Children and their Clothing</span></td><td align="right"><a href='#Page_71'>71</a></td></tr> +<tr><td align="right">IX.</td><td align="left"><span class="smcap">Fancy Costume of Various Periods</span></td><td align="right"><a href='#Page_79'>79</a></td></tr> +<tr><td align="right">X.</td><td align="left"><span class="smcap">Stage and Floral Costume</span></td><td align="right"><a href='#Page_89'>89</a></td></tr> +</table></div> + + + +<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> + + + + +<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 2-3]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="THE_EVOLUTION_OF_FASHION" id="THE_EVOLUTION_OF_FASHION"></a>THE EVOLUTION OF FASHION</h2> + +<h3>CHAPTER I.</h3> + +<h4>THE DRESS, <span class="smcap">B.C.</span> 594—<span class="smcap">A.D.</span> 1897.</h4> + +<p> +<span style="margin-left: 2em;">"Fashions that are now called new</span><br /> +<span style="margin-left: 2em;">Have been worn by more than you;</span><br /> +<span style="margin-left: 2em;">Elder times have used the same,</span><br /> +<span style="margin-left: 2em;">Though these new ones get the name."</span><br /> + +<span style="margin-left: 11em;"><i>Middleton's "Mayor of Quinborough."</i></span><br /> +</p> + + +<div class="figright" style="width: 185px;"> +<img src="images/i003.jpg" width="185" height="400" alt="EARLY EGYPTIAN." title="" /> +<span class="caption">EARLY EGYPTIAN.</span> +</div> +<p>A hard fate has condemned human beings to enter this mortal sphere +without any natural covering, like that possessed by the lower animals +to protect them from the extremes of heat and cold. Had this been +otherwise, countless myriads, for untold ages, would have escaped the +tyrannical sway of the goddess Fashion, and the French proverb, <i>il faut +souffrir pour être belle</i>, need never have been written.</p> + + + +<p>The costume of our progenitors was chiefly remarkable for its extreme +simplicity; and, as far as we can gather, no difference in design was +made between the sexes. A few leaves entwined by the stalks, the +feathers of birds, the bark of trees, or roughly-dressed skins of +animals were probably regarded by <i>beaux</i> and <i>belles</i> of the Adamite +period as beautiful and appropriate adornments for the body, and were +followed by garments made from plaited grass, which was doubtless the +origin of weaving, a process which is nothing more than the mechanical +plaiting of hair, wool, flax, &c. In many remote districts these +primitive fashions still prevail, as, for example, in Madras, where, at +an annual religious ceremony, it is customary for the low caste natives +to exchange for a short period their usual attire for an apron of +leaves. In the Brazilian forests the <i>lecythis</i>, or "shirt tree," is to +be found, from which the people roll off the bark in short lengths, and, +after making it pliable in water, cut two slits for the arm-holes and +one for the neck, when their dress is complete and ready for use. The +North American Indian employs feathers for purposes of the toilet, and +many African tribes are noted for their deftly-woven fabrics composed of +grass and other vegetable fibres, while furs and skins are essential +articles of dress in Northern latitudes. Perhaps the earliest specimen +of a modiste's bill in existence has recently been found on a chalk +tablet at Nippur, in Chaldea. The hieroglyphics record ninety-two robes +and tunics: fourteen of these were perfumed with myrrh, aloes and +cassia. The date of this curious antique cannot be less than two +thousand eight hundred years before the Christian era. In ancient times +it must be remembered that the principal seats of civilisation were +Assyria and Egypt, and upon these countries Western nations depended for +many of the luxuries of life. The Jews derived their fine fabrics from +the latter<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> place, which was particularly noted for its linen +manufactures and for magnificent embroideries, of which the accompanying +illustration will give some idea. Medes and Babylonians, of the highest +class, partially arrayed themselves in silk, which cost its weight in +gold, and about the time of Ezekiel (<span class="smcap">B.C.</span> 594) it is known to have been +used in the dress of the Persians. It is a remarkable circumstance that +this animal product was brought to the West manufactured in cloth, which +was only half silk; and it is said the plan was devised of unravelling +the stuff, which was rewoven into cloth of entire silk. Owing to its +high price, the Romans forbade its being used for the entire dress by +men, complete robes of silk being reserved for women. It is numbered +among the extravagant luxuries of Heliogabalus that he was the first man +who wore a silken garment, and the anecdote is well known of the Emperor +Aurelian, who refused, on the ground of its extravagant cost, a silk +dress which his consort earnestly desired to possess.</p> + +<div class="figleft" style="width: 122px;"> +<img src="images/i004.jpg" width="122" height="450" alt="GREEK. ROMAN." title="" /> +<span class="caption">GREEK.<br />ROMAN.</span> +</div> + + +<p>Monuments still in existence show that the Egyptians, owing to the +warmth of their climate, were partial to garments of a semi-transparent +character, while those living on the banks of the Tigris, who were +subjected to greater extremes of temperature, wore clothing of similar +design, but of wool, with heavy fringes of the same as a trimming. In +some cases this feature of Assyrian costume is shown in double rows, one +pendent, while the other stands out in a horizontal direction.</p> + + + +<p>The early Greek dress, or chiton, was a very simple contrivance, +reaching to the feet. If ungirdled, it would trail on the ground; but +generally it was drawn through the zone or waistbelt in such a manner +that it was double to the extent of about thirty inches over the vital +organs of the body. The great distinction between male and female dress +consisted in the length of the skirt. The trimmings were of embroidery, +woven diapers, figure bands with chariots and horses; and, in some +cases, glass ornaments and thin metal plates were applied. Among the +working classes the chiton was, of course, homespun, or of leather.</p> + + + +<p>The stola was the Roman equivalent for the nineteenth century robe or +gown, and in many respects resembled the Greek chiton. The fabrics +employed were wool and linen up to the end of the Republic, though at a +later date, as has already been stated, silk was imported. Colour, under +the Emperors, was largely used, and at least thirteen shades of the dye +obtained from the murex, which passed under the general name of purple, +could be seen in the costume of both sexes.</p> + +<p>When the Roman Empire was dismembered (<span class="smcap">A.D.</span> 395) a style of dress seems +to have flourished in the important towns of the Mediterranean, which +was similar to that worn in mediæval<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> times in Britain, and which may be +examined in the specimens of statuary adorning tombs of the twelfth and +thirteenth centuries. The semi-tight under-dress and sleeves appear to +have been elaborately embroidered, and the loose mantle of plain +material was edged with a border.</p> + + + +<p>One of the earliest descriptions of the female dress in Britain is that +of Boadicea, the Queen of the Iceni, whom we are told wore a tunic woven +chequerwise in purple, red, and blue. Over this was a shorter garment +open on the bosom, and leaving the arms bare. Her yellow hair flowed +over her shoulders, upon which rested an ample cloak, secured by a +<i>fibula</i> (brooch). A torque, or necklet, was also worn; a pair of bronze +breastplates as a protection from the Roman arrows, and her fingers and +arms were covered with rings and bracelets.</p> + +<div class="figright" style="width: 104px;"> +<img src="images/i005.jpg" width="104" height="450" alt="BYZANTINE.ANGLO-SAXON." title="ANGLO-SAXON." /> +<span class="caption">BYZANTINE.<br />ANGLO-SAXON.</span> +</div> + +<p>The costume of the Anglo-Saxon ladies consisted of a <i>sherte</i>, or +<i>camise</i>, of linen next the skin, a kirtle, which resembled the modern +petticoat, and a gunna, or gown, with sleeves. Out of doors a mantle +covered the upper portion of the body, and with the coverchief, or head +rail, formed a characteristic feature of the dress of the day. Cloth, +silk, and linen were the favourite materials for clothing, and red, +blue, yellow, and green the fashionable colours. Very little black and +white were used at this period. Saxon women were renowned for their +skill with the needle, and used large quantities of gold thread and +jewels in their work. Among other instances quoted, Queen Editha +embroidered the coronation mantle of her husband, Edward the Confessor.</p> + +<p>For some years after the Norman Conquest, women retained the costume of +the Anglo-Saxon period, with certain additions and modifications. Fine +coloured cloths and richest furs were used by both sexes, and sleeves +and trains were such a length that it was found necessary to knot them, +so that they should not trail upon the ground.</p> + +<p>The next important change was the surcoat and tight bodice, which was +fastened in front to fit the figure.</p> + +<p>There are evident traces that as civilisation advanced the love of dress +and the desire of the fair sex to appear beautiful in the eyes of all +beholders increased in like proportion. From ancient MSS. and other +sources, we have ample proof of this. St. Jerome calls women +"<i>philoscomon</i>," that is to say, lovers of finery, and another writer +states: "One of the most difficult points to manage with women is to +root out their curiosity for clothes and ornaments for the body." St. +Bernard admonished his sister with greater candour than politeness on +her visiting him, well arraied with riche clothinge, with perles and +precious stones: "Such pompe and pride to adorne a carion as is youre +body. Thinke ye not of the pore people, that be deyen for hunger and +colde; and that for the sixth parte of youre gay arraye, forty persons +might be clothed, refreshed, and kepte from the colde?"</p> + +<p>The increased facilities for travelling offered to those engaged in the +Crusades, and the necessary intercourse with<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> other nations, caused +considerable quantities of foreign materials to be imported to England +during the Middle Ages: and this had a corresponding effect upon the +costume of the period, which was chiefly remarkable for its richness and +eccentricity of form. Among the materials in use may be mentioned diaper +cloth from Ypres, a town in Flanders, famous for its rich dress stuffs; +tartan, called by the French "tyretaine," meaning <i>teint</i>, or colour of +Tyre (scarlet being indifferently used for purple by ancient writers, +and including all the gradations of colour formed by a mixture of blue +and red, from indigo to crimson). There was a fine white woollen cloth +called Blanket, named after its inventor, Sarcenet, also from its +Saracenic origin, and gauze which was made at Gaza in Palestine. Ermine +was strictly confined to the use of the Royal Family and nobles, and +cloth of gold, and habits embroidered with jewellery, or lined with +minever or other expensive fur, could only be worn by knights and ladies +with incomes exceeding 400 marks per annum. Those who had not more than +200 marks were permitted to wear silver cloth, with ribands, girdles, +&c., reasonably embellished; also woollen cloth not costing more than +six marks the piece.</p> + +<div class="figleft" style="width: 165px;"> +<img src="images/i006.jpg" width="165" height="400" alt="12TH CENTURY." title="" /> +<span class="caption">12TH CENTURY.</span> +</div> + +<div class="figright" style="width: 219px;"> +<img src="images/i006b.jpg" width="219" height="400" alt="14TH CENTURY." title="" /> +<span class="caption">14TH CENTURY.</span> +</div> + +<p>The tight forms of dress now in common use among women were an incentive +to tight lacing, an injurious practice, from which their descendants +suffer. A lady is described</p> + +<p> +<span style="margin-left: 1em;">"Clad in purple pall,</span><br /> +<span style="margin-left: 1em;">With gentyll body and middle small,"</span><br /> +</p> + +<p>and another damsel, whose splendid girdle of beaten gold was embellished +with emeralds and rubies, evidently, from the description, had a waist +which was not the size intended by Nature.</p> + + + +<p>During the Wars of the Roses both trade and costume made little +progress, and after the union of the Houses of York and Lancaster by the +marriage of Henry VII. with his Queen, Elizabeth, their attention was +chiefly concerned in filling their impoverished coffers, which left them +little opportunity for promoting new fashions in dress. Henry VIII. +afforded ample facilities for the revival of the trade in dress goods, +and there is little<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> difficulty in tracing female costume of the +sixteenth century when we remember that in the course of thirty-eight +years he married six wives, besides having them painted times without +number by all the popular artists of the day.</p> + +<div class="figleft" style="width: 217px;"> +<img src="images/i007.jpg" width="217" height="400" alt="16TH CENTURY. From Portrait of Mary Queen of Scots." title="" /> +<span class="caption">16TH CENTURY. From Portrait of Mary Queen of Scots.</span> +</div> + +<p>J. R. Planché in his "History of British Costume," says: "The gowns of +the nobility were magnificent, and at this period were open in front to +the waist, showing the kirtle, or inner garment, as what we should call +the petticoat was then termed." Anne of Cleves, who found so little +favour in Henry's eyes, is said to have worn at their first interview "a +rich gowne of cloth of gold made round, without any train, after the +Dutch fashion;" and in a wardrobe account of the eighth year of this +Bluebeard's reign appears the following item: "Seven yards of purple +cloth of damask gold for a kirtle for Queen Catherine of Arragon." The +dress of Catherine Parr is thus described by Pedro de Gante, secretary +to the Spanish Duke de Najera, who visited Henry VIII. in 1543-1544: +"She was robed in cloth of gold, with a 'saya' (petticoat) of brocade, +the sleeves lined with crimson satin and trimmed with three-piled +crimson velvet. Her train was more than two yards long." Articles of +dress were often bequeathed by will. In one made on the 14th of August, +1540, William Cherington, yeoman, of Waterbeche, leaves "To my mother +<i>my holyday gowne</i>." Nicholas, Dyer of Feversham, 29th October, 1540, +"To my sister, Alice Bichendyke, thirteen shillings and ninepence <i>which +she owed me</i>, and two kerchiefs of holland." John Holder, rector of +Gamlingay, in 1544 leaves to Jane Greene "my clothe frock lined with +satin cypress." These entries are from wills in the Ely Registry.</p> + +<div class="figright" style="width: 260px;"> +<img src="images/i007b.jpg" width="260" height="400" alt="17TH CENTURY." title="" /> +<span class="caption">17TH CENTURY.</span> +</div> + + + +<p>A peculiar feature in the costume of both sexes was sleeves distinct +from the gown, but attached (so as to be changed at pleasure) to the +waistcoat. Among the inventories we find three pairs of purple satin +sleeves for women, one pair of linen sleeves paned with gold over the +arm, quilted with black silk and wrought with flowers; one<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> pair of +sleeves of purple gold tissue damask wire, each one tied with aglets of +gold; one pair of crimson satin sleeves, four buttons of gold being set +on each, and in every button nine pearls.</p> + +<p>We are all familiar with the distended skirts, jewelled stomachers and +enormous ruffs which adorned the virgin form of Good Queen Bess. In the +middle of her reign the body was imprisoned in whalebone, and the +fardingale, the prototype of the modern hoop, was introduced, as it was +not to be supposed that a lady who is said to have left three thousand +dresses in her wardrobe would remain faithful to the fashions of her +grandmother; and Elizabeth's love of dress permeated all classes of +society.</p> + +<p>The portrait of Mary Queen of Scots, who was considered an authority on +matters of the toilet, and whose taste for elegance of apparel had been +cultivated to a high degree during her residence at the French Court is +given. There is a subtlety and charm about it which is wanting in the +costume of her cousin Elizabeth, and it may be considered a fair type of +what was worn by a gentlewoman of that period. The full skirt appears to +fall in easy folds, and the basqued bodice, with tight sleeves, is +closely moulded to the figure and surmounted by an +elaborately-constructed ruff of muslin and lace.</p> + +<div class="figcenter" style="width: 456px;"> +<img src="images/i008.jpg" width="456" height="500" alt="19TH CENTURY. BALL DRESS, 1809." title="" /> + +</div> + +<p class="center"><span class="caption">19TH CENTURY. BALL DRESS, 1809. 18TH CENTURY. WALKING COSTUME.</span> +</p> + +<p>To the great regret of antiquarians, the wardrobes of our ancient kings, +formerly kept at the Tower, were by the order of James I. distributed. +At no period was the costume of Britain more picturesque than in the +middle of the seventeenth century, and we naturally turn to its great +delineators Velasquez, Van Dyck, Rembrandt, and Rubens, who delighted in +giving us such fine examples of their work. Women had grown tired of the +unwieldy fardingale, and changed it for graceful gowns with flowing +skirts and low bodices, finished with deep vandyked collars of lace or +embroidery.</p> + +<p>A studied negligence, an elegant <i>déshabillé</i> prevailed in the Stuart +Court, particularly after the Restoration. Charles II.'s bevy of +beauties are similarly attired, and the pictures in Hampton Court show +us women whose snowy necks and arms are no longer veiled, and whose +gowns of rich satin, with voluminous trains, are piled up in the +background. Engravings and drawings which may be seen in every +printseller's window make special illustrations of this period +unnecessary.</p> + +<div class="figleft" style="width: 193px;"> +<img src="images/i009.jpg" width="193" height="400" alt="19TH CENTURY.—TEA DRESS, 1830." title="" /> +<span class="caption">19TH CENTURY.—TEA DRESS, 1830.</span> +</div> + +<div class="figright" style="width: 251px;"> +<img src="images/i009b.jpg" width="251" height="400" alt="19TH CENTURY.—THE POLONAISE, 1872." title="" /> +<span class="caption">19TH CENTURY.—THE POLONAISE, 1872.</span> +</div> + +<p>Dutch fashions appear to have followed in the wake of William and Mary. +Stomachers and tight sleeves were once more in favour, and fabrics of a +rich and substantial character were employed in preference to the softer +makes of silk, which lent itself so well to the soft flowing lines of +the previous era.</p> + +<p>An intelligent writer has remarked "that Fashion from the time of George +I. has been such a varying goddess that neither history, tradition, nor +painting has been able to preserve all her mimic forms; like Proteus +struggling in the arms of Telemachus, on the<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> Phanaic coast, she passed +from shape to shape with the rapidity of thought." In 1745 the hoop had +increased at the sides and diminished in front, and a pamphlet was +published in that year entitled "The enormous abomination of the hoop +petticoat, as the fashion now is." Ten years later it is scarcely +discernible in some figures, and in 1757 reappears, extending right and +left after the manner of the court dress of the reign of George III. For +the abolition of this monstrosity we are indebted to George IV., and +ladies' dresses then rushed to the other extreme. Steel and whalebone +was dispensed with, and narrow draperies displayed the form they were +supposed to conceal, and were girdled just below the shoulders.</p> + + +<p>These were in time followed by the bell-shaped skirts worn at the +accession of Her Majesty Queen Victoria, during whose reign fashion has +indeed run riot. The invention of the sewing machine was the signal for +the appearance of frills and furbelows, and meretricious ornament of +every kind. In the middle of the present century crinolines were again +to the fore, skirts were proportionately wide and generally flounced to +the top. The bodice terminated at the waist with a belt; but in some +cases a Garibaldi, or loose bodice of different texture, was +substituted. The next change to be noted was that hideous garment the +"polonaise," which was a revival of, and constructed on similar lines +to, the "super froc" of the Middle Ages. For many years English ladies, +with a supreme disregard for the appropriate, wore this with a skirt +belonging to an entirely different costume. But at last people got +nauseated with these abominations, and under the gentle sway and +influence of "Our Princess" a prettier, more useful and rational costume +appeared. In 1876 the graceful Princess dress, which accentuated every +good point in the figure, was generally worn; and though this costume in +the latter part of its career was fiercely abused by the rotund matron +and Mrs. Grundy, for clinging too closely to the lines of the human +form, it was distinctly an advance as regards health and beauty on the +varying styles which preceded it.</p> + +<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> + +<div class="figleft" style="width: 245px;"> +<img src="images/i010.jpg" width="245" height="400" alt="TAILOR-MADE DRESS, 1897." title="" /> +<span class="caption">TAILOR-MADE DRESS, 1897.</span> +</div> +<div class="figright" style="width: 212px;"> +<img src="images/i010b.jpg" width="212" height="400" alt="TEA GOWN, 1897." title="" /> +<span class="caption">TEA GOWN, 1897.</span> +</div> +<p>The æsthetic movement has also had a marked influence on our taste in +all directions, but more especially in the costume of the last few +years; and though the picturesque garb of the worshippers of the +sunflower and the lily may not be adapted to the wear and tear of this +workaday world, it is beautiful in form and design, incapable of undue +pressure; and for children and young girls it would be difficult to +imagine a more charming, artistic, and becoming costume.</p> + + + +<p>Once more we are eschewing classical lines for grotesque which makes +caricatures of lovely women, and drives plain ones to despair. The +subdued and delicate tints which a few seasons since were regarded with +favour have been superseded by garish shades and bright colours, which +seem to quarrel with everything in Nature and Art. Unfortunately, we +English are prone to extremes, and possess the imitative rather than the +creative faculty. Consequently, our national costume is seldom +distinctive, but a combination of some of the worst styles of our +Continental neighbours, who would scorn to garb themselves with so +little regard for fitness, beauty, and the canons of good taste.</p> + + + + + +<p>Two dominant notes, however, have been struck in the harmonies of +costume during the last twenty-five years—the tailor-made dress, which +may almost be regarded as a national livery; and the tea gown, that +reposeful garment to which we affectionately turn in our hours of ease. +How well each in its way is calculated to serve the purpose for which it +is designed, the simple cloth, tweed, or serge costume moulded to the +lines of the figure, adapted to our changeful climate, and giving a +<i>cachet</i> to the wearer, not always found in much more costly apparel, a +rational costume in the best sense of the word, and one which women of +all ages may assume with satisfaction to themselves and to those with +whom<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> they come in contact. The tea gown, on the other hand, drapes the +figure loosely so as to fall in graceful folds, and may be regarded as a +distinct economy, as it so often takes the place of a more expensive +dress. Beauty, which is one of Heaven's best gifts to women, is useless +unless appropriately framed, and a well-known exponent on the art of +dressing artistically, has laid down the axiom that harmonies of colour +are more successful than contrasts. If we turn to Nature we have an +unfailing source of inspiration. The foliage tints, sunset effects, the +animal and mineral worlds all offer schemes of colour, which can be +readily adapted to our persons and surroundings. And to look our best +and, above all, to grow old gracefully, is a duty which every daughter +of Eve owes to humanity. The manner in which so many women give way +early in life is simply appalling. While still in the bloom of womanhood +they assume the habits and dress of decrepitude, submit to be placed on +the social shelf without a murmur, and calmly allow those slightly their +junior, and in some cases their senior, to appropriate the good things +of life, and to monopolise the attention of all and sundry. Mothers in +their prime willingly allow anyone who can be persuaded to do so, to +chaperone their daughters, and to pilot them through the social eddies +and quicksands of their first season, and through sheer indolence fail +to exercise the lawful authority and responsibility which maternity +entails. The unmarried woman, conscious that she is no longer in her +first youth, and indifferent to the charms of maturity, takes to +knitting socks in obscure corners, and assumes an air of self-repression +and middle-agedness which apparently takes<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> ten years from her span of +existence, and conveys to the casual onlooker, that she has passed the +boundary line between youth and old age. Why should these women sink +before their time into a slough of dowdyism and cut themselves off from +the enjoyments civilisation has provided for their benefit?</p> + +<div class="figleft" style="width: 204px;"> +<img src="images/i011.jpg" width="204" height="400" alt="AN ARTISTIC DRESS, 1897. + +" title="" /> +<span class="caption">AN ARTISTIC DRESS, 1897.<br /> + +After a painting by Sir Joshua Reynolds.</span> +</div> + +<div class="figright" style="width: 168px;"> +<img src="images/i011b.jpg" width="168" height="400" alt="MODERN EVENING DRESS." title="" /> +<span class="caption">MODERN EVENING DRESS.</span> +</div> +<p>Equally to be deprecated are those who cling so desperately to youth +that they entirely forget the later stages of life have their +compensations. Women who in crowded ballrooms display their redundant or +attenuated forms to the gaze of all beholders, whose coiffure owes more +to art than nature, and who comfort themselves with the conviction that +in a carefully shaded light rouge and pearl powder are hardly +distinguishable from the bloom of a youthful and healthy complexion. A +variety of circumstances combine to bring into the world a race of +people who cannot strictly lay claim to beauty, but who nevertheless +have many good points which might be accentuated, while those that are +less pleasing could be concealed. A middleaged woman will respect +herself and be more respected by others if she drapes her person in +velvet, brocade, and other rich fabrics which fall in stately folds, and +give her dignity, than if she persists in decking herself in muslin, +crepon, net, and similar materials, because in the long since past they +suited her particular style. Gossamers belong to the young, with their +dimpled arms, shoulders of snowy whiteness, and necks like columns of +ivory. Their eyes are brighter than jewels, and their luxuriant locks +need no ornament save a rose nestling in its green leaves, a fit emblem +of youth and beauty.</p> + +<p>With the education and art training at present within the grasp of all +classes of the community there is nothing to prevent our modifying +prevailing fashions to our own requirements; and common sense ought to +teach us (even if we ignore every other sentiment which is supposed to +guide reasoning creatures) that one particular style cannot be +appropriate to women who are exact opposites to each other. If each +person would only think out for herself raiment beautiful in form, rich +in texture, and adapted to the daily needs of life, we should be spared +a large number of the startling incongruities which offend the eye in +various directions.<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> + + + + +<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span><br /><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Chapter_II" id="Chapter_II"></a><span class="smcap">Chapter II.</span></h2> + +<h3>CURIOUS HEADGEAR.</h3> + +<div class="centerbox"> +<p> +<span style="margin-left: 6em;">"Here in her hair</span><br /> +<span style="margin-left: 1em;">The painter plays the spider, and hath woven</span><br /> +<span style="margin-left: 1em;">A golden mesh to entrap the hearts of men</span><br /> +<span style="margin-left: 1em;">Faster than gnats in cobwebs."</span><br /> + +<span style="margin-left: 11em;"><i>The Merchant of Venice.</i></span><br /> +</p></div> + + +<div class="figleft" style="width: 254px;"> +<img src="images/i015.jpg" width="254" height="300" alt="ANCIENT JEWISH HEAD-DRESS." title="" /> +<span class="caption">ANCIENT JEWISH HEAD-DRESS.</span> +</div> + +<div class="figright" style="width: 262px;"> +<img src="images/i015b.jpg" width="262" height="300" alt="EGYPTIAN HEAD-DRESS." title="" /> +<span class="caption">EGYPTIAN HEAD-DRESS.</span> +</div> +<p>Holy Writ simply teems with allusions to the luxurious tresses of the +fair daughters of the East, and there is little doubt that at an early +period in the world's history women awakened to the fact that a +well-tired head was a very potent attraction, and had a recognised +market value. Jewish women were particularly famed in this respect, and +employed female barbers, who, with the aid of crisping pins, horns, and +towers, prepared their clients for conquest. These jewelled horns were +generally made of the precious metals, and the position denoted the +condition of the wearer. A married woman had it fixed on the right side +of the head, a widow on the left, and she who was still an +unappropriated blessing on the crown. Over the horn the veil was thrown +coquettishly, as in the illustration. Assyrian women delighted in long +ringlets, confined by a band of metal, and the men were not above the +weakness of plaiting gold wire with their beards. Rimmel, in "The Book +of Perfumes," relates a curious anecdote of Mausolus, King of Caria, who +turned his people's fondness for flowing locks to account when his +exchequer required replenishing. "Having first had a quantity of wigs +made and stored in the royal warehouses, he published an edict +compelling all his subjects to have their heads shaved. A few days +after, the monarch's agents went round, offering them the perukes +destined to cover their denuded polls, which they were delighted to buy +at any price". It is not surprising that Artemisia could not console +herself for the loss of such a clever husband, and that, not satisfied +with drinking his ashes dissolved in wine, she spent some of her +lamented lord's ill-gotten revenue in building such a monument to his +memory that it was counted one of the wonders of the world.</p> + + + +<p>The Egyptians were also partial to wigs, some of which are still +preserved in the British Museum. Ladies wore a multitude of small plaits +and jewelled head-pieces resembling peacocks and other animals, which +contrasted with their dark tresses with brilliant effect; or a fillet +ornamented with a lotus bud. The coiffure of a princess was remarkable +for its size and the abundance of animal, vegetable, and mineral +treasures with which it was adorned. In Egyptian tombs and elsewhere +have been discovered small<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> wooden combs resembling the modern +tooth-comb, and metal mirrors of precisely the same shape as those in +use at the present day, as well as numerous other toilet appliances.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/i016.jpg" width="400" height="216" alt="ANCIENT GRECIAN." title="" /> +<span class="caption">ANCIENT GRECIAN. ANCIENT ROMAN.</span> +</div> + + +<p>Grecian sculpture affords us the opportunity of studying the different +modes in favour in that country, and it is astonishing to find what a +variety of methods were adopted by the belles of ancient Greece for +enhancing their charms. A loose knot, fastened by a clasp in the form of +a grasshopper, was a favourite fashion. Cauls of network, metal mitres +of different designs, and simple bands, and sometimes chaplets, of +flowers, all confined at different periods, the luxuriant locks of the +Helens, Penelopes, and Xantippes of ancient times.</p> + +<div class="figleft" style="width: 239px;"> +<img src="images/i016b.jpg" width="239" height="300" alt="ENGLISH HEAD-DRESS OF THE 13TH CENTURY." title="" /> +<span class="caption">ENGLISH HEAD-DRESS OF THE 13TH CENTURY.</span> +</div> + +<p>It was a common custom among heathen nations to consecrate to their gods +the hair when cut off, as well as that growing on the head, and it was +either consumed on the altar, deposited in temples, or hung upon the +trees. A famous instance of the consecration of hair is that of +Berenice, the wife of Ptolemy Evergetes. It is related that when the +king went on his expedition to Syria, she, solicitous for his safety, +made a vow to consecrate her hair (which was remarkable for its fineness +and beauty) to Venus, if he returned to her. When her husband came back +she kept her word, and offered her hair in the temple of Cyprus. This +was afterwards missing, when a report was spread that it had been turned +into a constellation in the heavens, which constellation, an old writer +tells us, is called <i>Coma Berenices</i> (the hair of Berenice) to the +present day. Another remarkable instance is that of Nero, who, according +to Suetonius, cut off his first beard, put it in a casket of gold set +with jewels, and consecrated it to Jupiter Capitolinus.</p> + + + +<p>The hair of the head and beard appears to have been held in great +respect by most nations, and perhaps we may trace the use of human hair +in spells and incantations to this fact. Orientals especially treat the +hair which falls<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> from them with superstitious care, and bury it, so +that no one shall use it to their prejudice.</p> + +<div class="figleft" style="width: 300px;"> +<img src="images/i017.jpg" width="300" height="286" alt="HORNED HEAD-DRESS OF 15TH CENTURY. + +From Effigy of Countess of Arundel in Arundel Church." title="" /> +<span class="caption">HORNED HEAD-DRESS OF 15TH CENTURY. +<br /> +From Effigy of Countess of Arundel in Arundel Church.</span> +</div> + +<div class="figright" style="width: 228px;"> +<img src="images/i017b.jpg" width="228" height="300" alt="STEEPLE HEAD-DRESS OF 15TH CENTURY." title="" /> +<span class="caption">STEEPLE HEAD-DRESS OF 15TH CENTURY.</span> +</div> + +<p>Roman matrons generally preferred blonde hair to their own ebon tresses, +and resorted to wigs and dye when Nature, as they considered, had +treated them unkindly. Ovid rebukes a lady of his acquaintance in the +plainest terms for having destroyed her hair.</p> + + + +<p>"Did I not tell you to leave off dyeing your hair? Now you have no hair +left to dye: and yet nothing was handsomer than your locks: they came +down to your knees, and were so fine that you were afraid to comb them. +Your own hand has been the cause of the loss you deplore: you poured the +poison on your own head. Now Germany will send you slaves' hair—a +vanquished nation will supply your ornament. How many times, when you +hear people praising the beauty of your hair, you will blush and say to +yourself: 'It is bought ornament to which I owe my beauty, and I know +not what Sicambrian virgin they are admiring in me. And yet there was a +time when I deserved all these compliments.'"</p> + +<div class="figcenter" style="width: 181px;"> +<img src="images/i017c.jpg" width="181" height="300" alt="EARLY TUDOR HEAD-DRESS." title="" /> +<span class="caption">EARLY TUDOR HEAD-DRESS.</span> +</div> + +<p>It would puzzle any <i>fin de siècle</i> husband or brother to express his +displeasure in more appropriate words than those chosen by the poet.</p> + +<div class="figleft" style="width: 197px;"> +<img src="images/i018.jpg" width="197" height="300" alt="HORNED HEAD-DRESS OF EDWARD IV.'s REIGN." title="" /> +<span class="caption">HORNED HEAD-DRESS OF EDWARD IV.'s REIGN.</span> +</div> + +<div class="figright" style="width: 350px;"> +<img src="images/i018b.jpg" width="350" height="413" alt="ELIZABETHAN HEAD-DRESS." title="" /> +<span class="caption">ELIZABETHAN HEAD-DRESS.</span> +</div> + +<p>The Britons, before they mixed with other nations, were a fair-haired +race, and early<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> writers referred to their washing their auburn tresses +in water boiled with lime to increase the reddish colour. Boadicea is +described with flowing locks which fell upon her shoulders; but after +the Roman Invasion the hair of both men and women followed the fashion +of the conquerors.</p> + + + +<p>From Planché's "History of British Costume," we learn that "the female +head-dress among all classes of the Anglo-Saxons was a long piece of +linen or silk wrapped round the head and neck." It appears to have been +called a head-rail, or wimple, but was dispensed with in the house, as +the hair was then as cherished an ornament as at the present day. A wife +described by Adhelm, Bishop of Sherborne, who wrote in the eighth +century, is said to have had "twisted locks, delicately curled by the +iron;" and in the poem of "Judith" the heroine is called "the maid of +the Creator, with twisted locks." Two long plaits were worn by Norman +ladies, and were probably adopted by our own countrywomen after the +Conquest.</p> + +<p>During the Middle Ages feminine head-gear underwent many changes. +Golden nets, and linen bands closely pinned round the hair and chin, +were followed by steeple-shaped erections and horned head-dresses in a +variety of shapes, of which the accompanying sketches will give a better +idea than any written description.</p> + +<p>During the sixteenth century matrons adopted either a pointed hood, +composed of velvet or other rich fabric, often edged with fur, a +close-fitting coif, or the French cap to be seen in the portraits of the +unhappy Mary Stuart. Those who were unmarried had their hair simply +braided and embellished with knots of ribbon, strings of pearls, or +Nature's most beautiful adornment for the maiden—sweet-scented flowers.</p> + + + +<p>The auburn tresses of Her Gracious Majesty Queen Elizabeth, were always +<i>bien coiffée</i>, if we may judge from her various portraits. She scorned +the hoods, lace caps, and pointed coifs, worn by her contemporaries, and +adopted a miniature crown or jaunty hat of velvet, elaborately jewelled. +Her fair complexion and light hair were thrown into relief by ruffles of +lace, and this delicate fabric was stretched over fine wire frames, +which met at the back, and remotely suggested the fragile wings of the +butterfly, or the nimbus of a saint, neither of which ornaments was +particularly appropriate to the lady in question. The front hair was +turned over a cushion, or dressed in stiff sausage-<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>like curls, pinned +close to the head, and was adorned with strings and stars of flashing +gems and a pendant resting on the forehead.</p> + +<div class="figleft" style="width: 348px;"> +<img src="images/i019.jpg" width="348" height="350" alt="A BEAUTY OF THE COURT OF CHARLES II." title="" /> +<span class="caption">A BEAUTY OF THE COURT OF CHARLES II.</span> +</div> + +<div class="figright" style="width: 278px;"> +<img src="images/i019b.jpg" width="278" height="350" alt="END OF 17TH CENTURY." title="" /> +<span class="caption">END OF 17TH CENTURY.</span> +</div> + +<p>That splendid historian, Stubbs, who has left us such minute particulars +of the fashions of his time, quaintly describes the coiffure of the +ladies of the Court. He states: "It must be curled, frizzled, crisped, +laid out in wreaths and borders from one ear to the other, and lest it +should fall down, must be underpropped with forkes and weirs, and +ornamented with gold or silver curiously wrought. Such gewgaws, which +being unskilful in woman's tearms, I cannot easily recount. Then upon +the toppes of their stately turrets, stand their other capital +ornaments: a French hood, hatte, cappe, kircher and suchlike, whereof +some be of velvet, some of this fashion and some of that. Cauls made of +netwire, that the cloth of gold, silver, or tinsel, with which their +hair was sometimes covered, might be seen through; and lattice caps with +three horns or corners, like the forked caps of popish priests." The +Harleian MSS., No. 1776, written in the middle of Elizabeth's reign, +refers to an ordinance for the reformation of gentlewomen's head-dress, +and says: "None shall wear an ermine or lattice bonnet unless she be a +gentlewoman born, having Arms." This latter phrase, we may conclude, +refers to armorial bearings, not to physical development.</p> + +<p>The wearing of false hair and periwigs was left to the sterner sex for +some years after the restoration of the House of Stuart, and women were +satisfied with well-brushed ringlets escaping from a bandeau of pearls, +or beautified by a single flower. The hair was often arranged in small, +flat curls on the forehead, as in the sketch of a Beauty of the Court of +Charles II.; and this fashion had a softening effect on the face, and +was known as the "Sevigné style."</p> + + + +<p>Dutch fashions naturally prevailed in the Court of William and Mary, and +this queen is represented with a high muslin cap, adorned with a series +of upright frills, edged with lace, and long lappets falling on the +shoulders. Farquhar, in his comedy "Love and the Bottle," alludes to the +"high top-knots," and Swift, to the "pinners edged with colberteen," as +the lace streamers were called. About this period the hair was once +again rolled back from the face, and assumed enormous dimensions, so +much so, that in some cases it was found necessary to make doorways +broader and higher than they had hitherto been, to allow +fashionably-dressed ladies to pass through without displacing the +elaborate erections they carried. Stuffed with horsehair, clotted with +pomade and<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> powder, and decked with every conceivable ornament, from a +miniature man-of-war in full sail, to a cooing dove with outspread +wings, presumably sitting on its nest, or a basket of flowers wreathed +with ribbons. Naturally, the aid of the barber was called in, as ladies +were incapable of constructing and manipulating such a mass of tangled +locks. We may imagine, on the score of expense and for other reasons, +the hair was not dressed so frequently as cleanliness demanded, for in a +book on costume a hairdresser is described as asking one of his +customers how long it was since her hair had been opened and repaired. +On her replying, "Nine weeks," he mildly suggested that that was as long +as a head could well go in summer, "and, therefore, it was proper to +deliver it now, as it began to be a little <i>hazarde</i>." Various anecdotes +of this nature make us feel that personal hygiene was a matter of +secondary importance to our ancestors.</p> + +<p>Planché, in his work on British Costume, informs us that powder +maintained its ground till 1793, when it was discarded by Her Majesty +Queen Charlotte, Consort of George III., and the Princesses.</p> + +<div class="figleft" style="width: 292px;"> +<img src="images/i020.jpg" width="292" height="350" alt="FASHIONABLE COIFFURE OF AN ELDERLY LADY IN THE 18TH +CENTURY." title="" /> +<span class="caption">FASHIONABLE COIFFURE OF AN ELDERLY LADY IN THE 18TH +CENTURY.</span> +</div> + +<div class="figright" style="width: 343px;"> +<img src="images/i020b.jpg" width="343" height="400" alt="FASHIONABLE HEAD-DRESSES IN THE TIMES OF THE GEORGES." title="" /> +<span class="caption">FASHIONABLE HEAD-DRESSES IN THE TIMES OF THE GEORGES.</span> +</div> + +<p>Varied, indeed, have been the fashions of the 19th century, the close of +which is fast approaching. Only a few of the styles adopted can be +briefly touched upon, and, naturally, those will be selected which form +the greatest contrast to each other. The belle of 1830 was distinguished +by upstanding bows of plain or plaited hair, arranged on the crown of +the head, and the front was generally in bands or short ringlets, held +in place by tortoise-shell side-combs. The simplicity of this coiffure +was compensated for by the enormous size of the hats and bonnets +generally worn with it. These had wide and curiously-shaped brims, over +which was stretched or gathered silk, satin, aerophane, or similar +materials. Garlands and bunches of flowers and feathers were used in +profusion, and bows and strings of gauze ribbon floated in the wind. In +this bewitching costume were our grandmothers wooed and won by suitors +who evidently, from the impassioned love letters still in existence, +believed them to be perfect types of loveliness.</p> + +<p>Towards the middle of Queen Victoria's reign, the hair was dressed in a +simple knot, and the front<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> arranged in ringlets, which fell gracefully +on the chest and shoulders. Even youthful married ladies, in the privacy +of their homes and for morning dress, were expected, by one of those +potent but unwritten laws of the fickle goddess Fashion, to wear muslin +or net caps, with lace borders, embellished with ribbons.</p> + + +<div class="figcenter" style="width: 450px;"> +<img src="images/i021.jpg" width="450" height="238" alt="" title="1830. 1855." /> +<span class="caption">1830. 1855.</span> +</div> + +<div class="figcenter" style="width: 450px;"> +<img src="images/i021b.jpg" width="450" height="269" alt="BIRD'S-NEST CHIGNON, 1872." title="" /> +<span class="caption">BIRD'S-NEST CHIGNON, 1872. PRESENT DAY, 1894.</span> +</div> + + + +<p>The labours of Hercules would be mere child's play compared to giving a +faithful record of the chameleon-like changes which have affected that +kaleidoscope, public taste, during the last forty years, and a very +limited study of this fascinating subject at once convinces us that, +whatever peculiarities may appear, they are certain to be revivals or<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> +modifications of styles favoured by our more or less remote ancestors.</p> + +<p>In 1872 loomed upon us that ghastly horror the chignon, which bore a +faint resemblance to the exaggerated coiffures of the 18th century. Upon +this monstrous edifice, with its seductive Alexandra curl, were tilted +bonnets so minute that they were almost invisible in the mountains of +hair that surrounded them. These were replaced by hats <i>à la Chinois</i>, +like shallow plates; while for winter wear, others of fur or feathers +were introduced, with an animal's head fixed firmly on the brow of the +wearer, and resembling nothing so much as the fox foot-warmer, with +which ladies now keep their pedal extremities at a proper temperature +when enjoying an airing. Besides these, there were pinched canoes turned +keel uppermost, and flexible mushrooms, which flapped and caught the +wind till it was necessary to attach a string to the edge, to keep them +snug and taut; such hats as Leech has immortalised in his sketches. +Turbans and facsimiles of the delicious but indigestible pork-pie, +Gainsborough, Rousby, and Langtry hats, all named after styles worn by +their respective namesakes; and hats made of straw, leghorn, crinoline, +lace, satin, and of silver and gold tissue, of every shape and size that +fancy could devise, or the heart of the most exacting woman of fashion +could desire. The hair beneath was dressed like the frizzy mop +illustrated, in plaited wedges flowing like a pendant hump half-way down +the back, or in a cascade of curls reaching from the crown of the head +to the waist. These were followed by gigantic rolls at the back of the +skull, Grecian knots, varying from the dimensions of a door handle to +those of a cottage loaf, and latterly by that hideous monstrosity, the +"bun." Another turn of the wheel of fashion has given us a simple mode +of dressing the hair, which is well adapted to the average English head, +and which is fully explained by the accompanying sketch. It may be taken +as a safe rule, when the forehead is low and face small, that the hair +may be drawn back with advantage, but a long face is generally improved +by arranging the hair in soft curls on the forehead, and by waving it +slightly at the sides, which adds to the apparent width of the +countenance. But whatever style is in fashion, it is sure to have its +admirers, for has not Pope left on record:</p> + +<p> +<span style="margin-left: 1em;">"Fair tresses man's imperial race ensnare,</span><br /> +<span style="margin-left: 1em;">And beauty draws us by a single hair."</span><br /> +<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + + + +<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span><br /><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Chapter_III" id="Chapter_III"></a><span class="smcap">Chapter III.</span></h2> + +<h3>GLOVES.</h3> + +<div class="centerbox"> +<p> +<span style="margin-left: 1em;">"Gloves as sweet as damask roses."—<i>Shakespeare.</i></span><br /> +<br /> +<span style="margin-left: 1em;">"See how she leans her cheek upon her hand.</span><br /> +<span style="margin-left: 1em;">O, that I were a glove upon that hand,</span><br /> +<span style="margin-left: 1em;">That I might touch that cheek."</span><br /> + +<span style="margin-left: 11em;">—<i>Romeo and Juliet.</i></span><br /> +</p></div> + + +<p>The glove as an article of dress is of great antiquity, and among the +fossils of the cave-dwellers of pre-historic times, which have been +recently discovered in France, Belgium, and Switzerland, there is ample +proof of its existence. Probably the first gloves were formed of skins, +sewn with bone needles, and were long enough to reach above the elbow.</p> + +<div class="figleft" style="width: 250px;"> +<img src="images/i025.jpg" width="250" height="248" alt="GLOVE OF HENRY VI" title="" /> +<span class="caption">GLOVE OF HENRY VI</span> +</div> + +<div class="figright" style="width: 248px;"> +<img src="images/i025b.jpg" width="248" height="250" alt="HAWKING-GLOVE OF HENRY VIII." title="" /> +<span class="caption">HAWKING-GLOVE OF HENRY VIII.</span> +</div> + +<p>Xenophon, speaking of the Persians, gives as an instance of their +effeminacy "that they not only covered their head and feet, but guarded +their hands from cold by thick gloves." Homer, describing Laërtes at +work in his garden, represents him with gloves on his hands to protect +them from thorns. Pliny the younger, in speaking of his uncle's visit to +Vesuvius, states that his secretary sat by ready to write down anything +that was remarkable, and had gloves on his hands that the coldness of +the weather need not impede his work. Varro, an ancient writer +says:—"Olives gathered with the naked hand are preferable to those +plucked in gloves;" and Atheneus speaks of a glutton who wore gloves at +table so that he might handle the meat while hot and devour more than +the others present.</p> + +<p>That the Anglo-Saxons wore gloves we gather from their being mentioned +in an old romance of the seventh century known as the "Poem of Beowulf," +and according to the laws of Ethelred the Unready, five pairs of gloves +formed part of the duty paid to that Prince by certain German merchants. +In Planché's "History of British Costume," an Anglo-Saxon lady appears +to be wearing a glove with a separate division for the thumb but without +fingers, and exactly resembling an infant's glove of the present day. In +1462 Edward IV. forbade the importation of foreign gloves to England, a +law which remained in force till 1826.</p> + + + +<p>In the early Christian Church gloves played an important part. In A.D. +790 Charlemagne granted an unlimited right of hunting to the Abbot and +monks of Sithin, so that the skins of the deer they killed could be used +in the manufacture of gloves, girdles, and covers of books. In some +cases it was commanded that the clergy should wear gloves in +administering the Sacrament, and a writer in the "Antiquary" +states:—"It was always looked upon as decorous for the laity to take +off their gloves in church where ecclesiastics alone might wear them. It +was perhaps regarded as a proof of clean<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> hands, for to this day persons +sworn in our law courts are compelled to remove their gloves." In the +ancient Consecration Service for the Bishops of the Church, a blessing +was invoked on the gloves they wore. Those of William of Wykeham +preserved at New College, Oxford, are adorned with the sacred monogram +in red silk, and ecclesiastical gloves were often lavishly decorated +with embroidery and jewels, and were bequeathed by will with other +valuables.</p> + +<div class="figleft" style="width: 126px;"> +<img src="images/i026.jpg" width="126" height="280" alt="GLOVE OF MARY QUEEN OF SCOTS" title="" /> +<span class="caption">GLOVE OF MARY QUEEN OF SCOTS</span> +</div> + +<p>Formerly judges were forbidden to wear gloves when engaged in their +official duties, but are no longer bound by this restriction, and +receive as a memorial of a maiden assize (that is, when there are no +prisoners to be tried) a pair of white kid gloves from the sheriff, and +during the time fairs were held their duration was marked by hanging a +glove outside the town hall. As long as it remained there all persons in +the place were exempt from arrest, but directly it was removed it was +the signal for closing the fair, and the privilege was at an end.</p> + +<p>Throwing down a glove was regarded as a challenge to combat, and this +curious old custom is still retained in the English coronation ceremony. +Kings were also invested with authority by the delivery of a glove. As +<i>un gage d'amour</i> it has for centuries been esteemed, and in the days of +chivalry it was usual for knights to wear their ladies' gloves in their +helmets, as a talisman of success in arms. In old records we also meet +with the term "glove money," a sum paid to servants with which they were +to provide this portion of their livery, and till quite recently it was +the custom to present those who attended weddings and funerals with +gloves as a souvenir.</p> + +<p>Shakespeare often mentions gloves, and some assert that he was the son +of a glover. A pair which belonged to the dramatist is still preserved. +They are of brown leather, ornamented with a stamped pattern, and are +edged with gold fringe. They were presented by the actor Garrick to the +Mayor and Corporation of Stratford-on-Avon at the Shakespearian +commemoration in 1789.</p> + +<div class="figright" style="width: 108px;"> +<img src="images/i026b.jpg" width="108" height="280" alt="GLOVE OF QUEEN ELIZABETH." title="" /> +<span class="caption">GLOVE OF QUEEN ELIZABETH.</span> +</div> + +<p>Many royal gloves have found a place in private collections. Henry VI.'s +glove has a gauntlet, is made of tanned leather, and is lined with +deer-skin, and the hawking glove of Henry VIII. is another interesting +relic of<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> a bygone age. The King kept his hawks at Charing Cross, and in +the inventories taken after this monarch's death we read of "three payre +of hawkes' gloves, with two lined with velvet;" and again at Hampton +Court there were "seven hawkes' gloves embroidered." The hawking glove, +of which an illustration is given, may be seen in the Ashmolean Museum. +It is of a simple character, evidently intended for use rather than +ornament.</p> + +<p>Gloves were not generally worn by women till after the Reformation; but +during the sixteenth and seventeenth centuries their use gradually +extended to the middle classes. Queen Elizabeth's glove may be seen at +the Bodleian Library, Oxford, and is believed to have been worn at the +visit of the Virgin Queen to the University in 1566. It is fringed with +gold, and is nearly half a yard in length; it is made of white leather +worked with gold thread, and the cuff is lined with drab silk. Mary +Queen of Scots' glove in the Saffron Walden Museum is of light buff +leather, wrought with silver wire and silk of different colours. It is +lined with crimson satin, edged with gold lace enriched with sequins, +and the opening is connected with bands of satin finished with lace +insertion. This glove was presented on the morning of her execution to a +member of the Dayrell family, who was in attendance at Fotheringay +Castle. In happier days Queen Mary gave an exquisitely embroidered pair +of gloves, with a design in which angels' heads and flowers appear—her +own work—to her husband, Lord Darnley; and the gloves generally of the +Tudor period were more ornate than those which adorn beauty's hands on +the eve of the nineteenth century, and were, in most cases, wrought with +the needle.</p> + +<p>Though the history of gloves savours of romance, there is every reason +to believe that they have sometimes been used with sinister motives, as +a large trade was done at one time in poisoned gloves, delicately +perfumed, to conceal their deadly purpose.</p> + +<div class="figleft" style="width: 133px;"> +<img src="images/i027.jpg" width="133" height="250" alt="GLOVE OF JAMES I." title="" /> +<span class="caption">GLOVE OF JAMES I.</span> +</div> + +<p>Some gloves which were the property of James I. are of brown leather +lined with white, and the seams are sewn with silk and gold thread. The +embroidery is in gold and silver thread on crimson satin, with a lining +of red silk. They are finished with gold fringe, and have three loops at +the side. A glove of chaste design, worn by Charles I. on the scaffold +is made of cream-coloured kid, the gauntlet embroidered with silver and +edged with silver fringe. Queen Anne, on the other hand, wore +highly-decorated gloves of Suede kid, with raised silken flowers on the +gauntlet, and three loops of rose-coloured ribbon, to allow them to be +slipped over the hands. They are further enriched with gold lace and +embroidery. A yellow Suede Court glove of George IV. gives the +impression that the first gentleman of Europe had a fist of tremendous +proportions. Her Majesty Queen Victoria generally wears black kid +gloves, except for Court functions, when white glacé kid gloves are +invariably used.</p> + +<p>Her Royal Highness the Princess of Wales has a delicately-formed hand +with tapering fingers, and her size is six and a-half. Her Royal +Highness adapts her gloves to the occasion and toilette, and is always +<i>bien ganté</i>.<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p> + +<p>The first Napoleon gave an impetus to this branch of industry by +insisting on gentlemen wearing gloves on State occasions and at festive +gatherings, and the fashion spread through the countries of Europe with +astonishing rapidity.<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> + + + +<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span><br /><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Chapter_IV" id="Chapter_IV"></a><span class="smcap">Chapter IV.</span></h2> + +<h3>CURIOUS FOOT-GEAR.</h3> + +<div class="centerbox"> +<p> +<span style="margin-left: 1em;">"A tasteful slipper is my soul's delight."</span><br /> + +<span style="margin-left: 11em;">—<i>Milman's "Fazio."</i></span><br /> +</p></div> + + +<p>A well-shaped foot has been considered from the earliest times one of +Nature's kindest gifts, and sober history and fairy lore have combined +to give us many interesting particulars respecting this portion of the +human anatomy. The similarity of the foot-gear of both sexes makes it +impossible to treat the matter separately, and as the subject is +practically inexhaustible, I propose only to illustrate the most curious +and notable examples.</p> + +<p>One of the finest collection of shoes in the world is that at the Cluny +Museum, Paris, formed by the eminent French engraver, the late Jules +Jacquemart. This was enlarged by the purchase of the collection of Baron +Schvitter. The Queen of Italy has also acquired a large number of +historical boots and shoes; and to Mr. Joseph Box, another enthusiastic +collector, I am indebted for some of the drawings used for illustrating +this article.</p> + +<p>A quaint story is told in a rare book, entitled "The Delightful, +Princely, and Entertaining History of the Gentle Craft of Crispin, the +Patron Saint of Shoe Makers, and his Brother Crispianus." According to +this authority, they were the two sons of the King of Logia (Kent), and +lived in the city of Durovenum, otherwise Canterbury, or the Court of +the Kentish men. Having embraced Christianity, during the Roman +invasion, they were in considerable danger, and at their mother's +instigation, to conceal their identity, adopted humble attire, and +devoted themselves to the modest craft of shoemaking, under the auspices +of a shoemaker at Faversham, to whom they bound themselves for seven +years. This industrious citizen appears to have received the appointment +of shoemaker to the Court of Maximinus, whose daughter Ursula fell in +love with Crispin. After removing the usual obstacles (which, even in +those remote times, seem to have obstructed the paths of those who had +fallen under the sway of Cupid), this energetic lady engaged the +services of a neighbouring friar, and cut the gordian knot by marrying +her faithful adorer.</p> + +<div class="figcenter" style="width: 384px;"> +<img src="images/i032.jpg" width="384" height="600" alt="FOOT-GEAR OF DIFFERENT PERIODS." title="" /> +<span class="caption">FOOT-GEAR OF DIFFERENT PERIODS.</span> +</div> + +<p>When primitive man first conceived the idea of producing some +contrivance to defend himself from cold, sharp stones, or the heated +sand of the desert, his first effort was to fasten to the bottom of his +feet soles of bark, wood, or raw hide, which were followed, in due +course, by more elaborately made sandals of tanned leather. These were +fastened in various ways, but generally by two leathern straps, one +round the instep, while the other passed between the first and second +toes. Egyptian sandals were sometimes prolonged to a sharp point, and +occasionally were made of papyrus, or some flexible material; but the +commoner kinds were, as a rule, of wood or leather. Often they had +painted upon them the effigy of the wearer's enemy, who was thus +literally trodden underfoot. Owing to their proximity, the habits and +customs of the Egyptians and Jews were in many respects similar. The +same Hebrew word denotes both a sandal and a shoe; and it has been +concluded that shoes were probably confined to the upper classes, while +sandals were used by those compelled to work; and slaves went +barefoot.</p> + +<p>It will be seen from the sketches of Grecian and Roman shoes that they +eventually became an elaborate article of dress, bound to the foot and +leg with lacings, and ornamented in different ways. The senators had +boots of black leather, with a crest of gold or silver on the top of the +foot; and soldiers wore iron shoes, heavily spiked, in a similar manner +to those now used for cricket, so as to give the wearers a better hold +when scaling walls in the attack of fortified places. An iron boot was +also used for torturing Christians. As an instance of the luxury so +characteristic of the age, it is stated that Roman soldiers often had +the spikes on their<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> shoes made of gold. According to the testimony of +Seneca, Julius Cæsar wore shoes of the precious metal, a fashion +emulated by Cardinal Wolsey many centuries after; and Severus was fond +of covering his with jewels, to attract the attention of the people as +he walked through the streets. The Emperor Aurelian forbade men to wear +red, yellow, white, or green shoes, reserving these colours for women; +and different shapes were prescribed by legal enactments to be worn for +the easy distinguishment of various trades and professions. In the reign +of Domitian, the stalls of shoemakers in the public streets were so +numerous as to necessitate an edict for their removal.</p> + + +<p>Our own ancestors, the Anglo-Saxons, wore shoes of raw cow-hide, +reaching to the ankles; and the hair turned outward. Those used by +ecclesiastics were a kind of sandal fastened with bands of leather round +the instep. The Norman half-boots had soles of wood, while the uppers +were of a more pliable material. Those worn by the Crusaders were of +chain, and later of plate armour. Very pointed toes were in fashion +during the Middle Ages, and these were carried to such a ridiculous +length that the dignitaries of the Church considered it necessary to +preach against the practice. However, this did not result in its +abolition, for we find the courtiers of the day improved upon the +prevailing mode by stuffing their shoes, and twisting them into the +shape of a ram's horn; the point of which was attached to the knee by a +chain. The common people were permitted by law to wear "the pykes on +their shoon" half-a-foot, rich citizens a foot, while nobles and princes +had theirs two-and-a-half feet long.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/i033b.jpg" width="500" height="226" alt="ANGLO-SAXON AND NORMAN SHOES." title="" /> +<span class="caption">ANGLO-SAXON AND NORMAN SHOES.</span> +</div> +<p>During the Plantagenet period it was usual to wear two shoes of +different colours, and they were often slashed on the upper surface, to +show the bright hose beneath. These were superseded by a large, padded +shoe, gored over the foot with coloured material, a fashion imported +from Italy, and exaggerated as much as the pointed shoe had been. +Buskins were high boots, made of splendid tissue, and worn by the +nobility and gentry during the Middle Ages, generally on occasions of +State. They were also largely adopted by players of tragedy. They +covered the knee, and were tied just below. The sock, or low shoe, on +the other hand, was the emblem of comedy.</p> + +<div class="figcenter" style="width: 550px;"> +<img src="images/i033.jpg" width="550" height="253" alt="GREEK AND ROMAN SHOES." title="" /> +<span class="caption">GREEK AND ROMAN SHOES. MEDIÆVAL SHOES.</span> +</div> + +<p>One of the greatest follies ever introduced was the chopine, a sort of +stilt which increased the height of the wearer. These were first used in +Persia, but appeared in Venice about the Sixteenth Century, and their +use was<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> encouraged by jealous husbands in the hope of keeping their +wives at home. This desire, however, was not realised, as the ladies +went out as usual, and required rather more support than hitherto. +Chopines were very ornate, and the length determined the rank of the +wearer, the noblest dames having them half-a-yard high. Shakespeare +refers to them when he makes Hamlet say:—"Your ladyship is nearer +heaven than when I saw you last by the altitude of a chopine." He also +alludes to the general use of shoes for the left and right foot, when he +speaks of a man:—-</p> + +<p> +<span style="margin-left: 1em;">"Standing in slippers which his nimble haste</span><br /> +<span style="margin-left: 1em;">Had falsely thrust upon contrary feet."</span><br /> +</p> + + + +<p>The exercise of the gentle craft of shoemaking was for a long time +carried on in monastic institutions, and increased the revenues of the +clergy. Richard, the first Abbot of St. Albans, objected to canons and +priests of his era associating themselves with tanners and shoemakers, +not one of whom, in his opinion, ought to be made a bishop or an abbot. +It is said, however, that Pope John, elected in 1316, was the son of a +shoemaker at Cahors; and in the description of Absalom, the Parish +Clerk, Chaucer tells us, "the upper leathers of his shoes were carved to +resemble the windows of St. Paul's Cathedral," which inclines one to +believe in their priestly origin.</p> + +<div class="figcenter" style="width: 450px;"> +<img src="images/i034.jpg" width="450" height="91" alt="QUEEN ELIZABETH'S BOOTS." title="" /> + +</div> + +<p class="center"><span class="caption">QUEEN ELIZABETH'S BOOTS. SHOE OF MARY QUEEN OF SCOTS. SHOE WORN BY CHARLES I.</span></p> + + + + +<p>From various sources, we have descriptions of royal shoes. Richard +C[oe]ur de Lion had his boots striped with gold; those of his brother +John were spotted with gold in circles. Henry III. had his boots +chequered with golden lines, and every square enriched with a lion. In +the splendid Court of Edward III., the royal shoes were elaborately +embroidered. The coronation shoes of Richard III. were covered with +crimson tissue cloth of gold. Henry VIII. is described as wearing +square-toed shoes, which were slashed with coloured silk, and exposed a +portion of the foot. Some worn by his daughter, Queen Elizabeth, of +brocaded silk, are remarkably clumsy in appearance, and have lappets +which fasten over the instep. They form a striking contrast to<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> those +used by the unfortunate Mary Queen of Scots (now in the possession of +Sir James William Drummond), which are of kid, embroidered with coloured +silks; the toes are somewhat squarer, but in other respects resemble +those in fashion at the present day.</p> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i034b.jpg" width="600" height="509" alt="A. CHOPINE; B, BUSKIN; C, PEAKED SHOE; D, TUDOR SHOE." title="" /> +</div> + +<p class="center"><span class="caption">A. CHOPINE; B, BUSKIN; C, PEAKED SHOE; D, TUDOR SHOE. MILITARY BOOTS AND SPURS USED AT THE BATTLE OF NASEBY.</span> +</p> + +<p>In speaking of curious foot-gear, the under covering of the leg and +pedal extremities must be briefly referred to. Ancient works on costume +frequently mention hose, socks, and stockings, which were made of +woollen cloth, leather, or linen, and held in place by cross-bands of +the material twisted to a little below the knee, either in close rolls, +like the hay-bands of the modern ostler, or crossing each other +sandal-wise, as they are now worn in some districts of Europe, +particularly in Russia and Spain. Cloth stockings, embroidered with +gold, are among the articles of dress ordered by Henry III. for his +sister Isabel; and of a woman<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> mentioned in the "Canterbury Tales," it +is said: "Hire hosen weren of fine scarlet redde, ful streite yteyed +(tied), and shoon full moist (supple) and newe."</p> + +<div class="figcenter" style="width: 326px;"> +<img src="images/i035.jpg" width="326" height="600" alt="ANCIENT SHOES—A, B, C, D, E, EGYPTIAN; F, PERSIAN; G, H, +GREEK; I, J, K, L, PHRYGIAN AND DACIAN." title="" /> +<span class="caption">ANCIENT SHOES—A, B, C, D, E, EGYPTIAN; F, PERSIAN; G, H, +GREEK; I, J, K, L, PHRYGIAN AND DACIAN.</span> +</div> + +<p>In the reign of Henry VII. clocks on stockings are discernible; and the +Poet Laureate of this king, describing the dress of the hostess of an +inn, gives an indication of how boots were cleaned:</p> + +<p> +<span style="margin-left: 1em;">"She hobbles as she goes,</span><br /> +<span style="margin-left: 1em;">With her blanket hose,</span><br /> +<span style="margin-left: 1em;">Her shoone smeared with <i>tallow</i>."</span><br /> +</p> + +<p>It is supposed that hose or stockings of silk were unknown in this +country before the middle of the 16th century. A pair of Spanish silk +hose was presented by Sir Thomas Gresham to Edward VI., his father never +having worn any but those made of cloth. In the reign of good Queen +Bess, nether socks or stockings were of silk, jarnsey, worsted crewel, +or the finest yarn, thread, or cloth, and were of all colours, +"cunningly knit and curiously indented in every point, with querks, +clocks, open seams, and everything else accordingly." Planché states, in +the third year of Elizabeth, Mistress Montague, the Queen's silk-woman, +presented Her Majesty with a pair of black silk knit stockings, made in +England; and from that time she wore no others, in the laudable desire +to encourage their home manufacture by her own example. The Queen's +patronage, and the invention, in 1599, of a weaving frame, by William +Lee, Master of Arts, and Fellow of St. John's College, Cambridge, gave a +great impetus tus to the stocking trade, which has been carried on with +considerable success ever since, particularly in the Midland counties of +England.</p> + +<p>Spurs can be traced back to the Anglo-Saxon period, which is quite far +enough for this purpose. They had no rowels, but were made with a simple +point like a goad, and were fastened with leathers. Early in the 15th +century spurs were screwed on to a steel shoe, instead of being fastened +with straps. They were long in the neck, and the spikes of the rowels of +formidable dimensions. From a sketch of a spur worn at the Battle of +Naseby, in the reign of Charles I., it will be seen that, as progress +was made in armour and military gear, considerable attention was paid to +this portion of the soldier's outfit; indeed, it was more elaborate in +design than is now considered necessary. From a very early period spurs +have been used by both sexes.<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p> + +<p>A curious custom was in vogue at the beginning of the present century +for ladies to make their own indoor shoes. This fashion was inaugurated +by Queen Charlotte, who was particularly deft in handling a beautiful +set of shoemaker's tools, mounted in silver, with ivory handles. +Tradesmen bitterly complained that worktables in boudoirs were strewn +with the implements of their craft; but, like many other feminine fads, +it soon passed away. About this period clogs were also used. These were +made of wood, and served as a protection to shoes out of doors. A +similar contrivance, with the addition of an iron ring, leather strap +and toe-cap, is still sometimes worn by farm servants, and is called a +patten. Another form of clog, consisting of a laced leather boot with +wooden sole, is extensively used by the working classes in the North of +England, and the sabot, a wooden shoe, is the ordinary foot-gear of +peasants on the Continent.</p> + +<p>It is well known that Chinese women of high rank deform their feet by +compressing them in such a manner that it is afterwards almost +impossible to walk; and in Davis' interesting description of the Empire +of China, he relates that whenever a judge of unusual integrity resigns +his post, the people accompany him from his home to the gates of the +city, where his boots are drawn off with great ceremony, and are +afterwards preserved in the Hall of Justice.</p> + +<p>In Japan a peculiar wooden sandal, having a separate compartment for the +great toe, is in common use. Straw slippers are also worn, and a +traveller starting on a journey will strap a supply on his back, so that +he may have new shoes in case of need. They are lefts and rights, and +only cost a halfpenny the pair. Here one never finds those deformities +of the feet so common in China, and even in our own country. A graceful +carriage depends so much upon the shoes worn. Heavy and stiff ones +oblige the wearer to plant the foot solidly at every step. If the toes +are very pointed it is at the sacrifice of elasticity, and if the heels +are too high the muscles in the ball of the foot are little used.</p> + +<p>Orientals indicate reverence by uncovering their feet, and do so on all +occasions when Western nations would remove their hats. Their heads, +being generally shaven, are always covered, and are surmounted by a +head-dress which could not be replaced without considerable trouble; +while for the feet they have loose slippers, with a single sole, made of +coloured morocco or embroidered silk, which are easily thrown off. Few +things inspire them with greater disgust than for anyone to enter their +rooms with shoes on. They think such conduct an insult to themselves and +a pollution to their apartment; and it is considered the height of +irreverence to enter a church, mosque, or a temple without removing +them. Even classical heathenism affords instances of this usage. The +Roman women were obliged to go barefoot in the Temple of Vesta; the same +rule existed in that of Diana, at Crete; and those who prayed in the +Temple of Jupiter also followed this custom.</p> + +<p>In the East, the public removal of the sandal or shoe, and the giving it +to another, accompanied by certain words, signifies a transfer of +authority or relinquishing possession. We are told in the case of Ruth +and Boaz, when her kinsman gave up his right to marry her, in favour of +her second husband, "he drew off his shoe." Among the Bedouins, when a +man permits his cousin to marry another, or divorces his runaway spouse, +he generally says, "She was my slipper; I have cast her off." Again, +when shoes are left at the door of an apartment, they denote that the +master or mistress is engaged, and even a husband does not venture into +a wife's room while he sees the slippers on the threshold. The idea is +not altogether unknown among ourselves, as it is expressed in the homely +proverb, "to stand in another man's shoes;" or when we speak of coming +into a future inheritance as stepping into a "dead man's shoe." Also in +flinging the slipper after a departing bride, signifying that the father +transfers his authority to the husband.<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> + + + +<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span><br /><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Chapter_V" id="Chapter_V"></a><span class="smcap">Chapter V.</span></h2> + +<h3>BRIDAL COSTUME.</h3> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i039.jpg" width="600" height="474" alt="MARRIAGE PROCESSION OF A BRIDE IN LEBANON." title="" /> +<span class="caption">MARRIAGE PROCESSION OF A BRIDE IN LEBANON.</span> +</div> + +<p>Certain curious customs have been associated with the Ordinance of +Marriage from a very early period, and among others may be mentioned the +union of near relations in barbaric or semi-barbaric tribes; the +providing of husbands and wives for a family according to seniority (so +that the younger members had to possess their souls in patience till the +elder ones were disposed of); the paying of an equivalent for the +bride's services to her father in money or kind; and festivities often +lasting over several days to celebrate the nuptials. The Rabbins +acquaint us with the fact that seven days' feasting was an indispensable +obligation on all married men, and that the bride was not consigned to +her husband until after the days of feasting had expired. They were +generally spent in the house of the woman's father, after which she was +conducted in great state to her husband's home. When the bride was a +widow, the festivities only lasted for three days. Customs in the East +are perpetuated from one generation to another, and we now find among +the inhabitants of the Orient the same mode of life as was adopted by +the patriarchs of old. The description of the wooing of Isaac and +Rebekah, for example, so graphically told in Genesis, differs in few +respects from that of a young couple of the same rank in the present +day. Handsome presents, consisting of jewels, apparel, &c., are +presented to the woman and her family, and form part of her dower in +case of divorce. Rich shawls, fine dresses, personal ornaments, money, +and a complete outfit of domestic utensils are always included in such a +gift. Among some of the Arab tribes the dower received on such +occasions, and called the "five articles," consists of a carpet, a +silver nose ring, a silver neck chain, silver bracelets, and a camel +bag. Matrimonial overtures are generally made by the parents of the +contracting parties in Persia, but after all has been concluded, the +bride-elect has nominally the power, though it is seldom exercised, of +expressing her dissent before the connection receives its final +sanction. Among many Bedouin tribes the woman is not suffered to know +until the betrothing ceremonies announce it to her who is to be her +husband, and then it is too late to negative the contract, but she is +permitted to withdraw from her husband's tent the day after her<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> +marriage, and to return to her father; in which case she is formally +divorced, and is henceforward regarded as a widow. On the value of her +ornaments the Eastern bride bases her claim to consideration; and though +the Arab, as a rule, cares little for his own dress, he decks his wife +as richly as possible, that honour may be reflected upon himself and his +circumstances. The leg ornaments and bracelets are often enormously +thick, and have no fastenings, but open and compress by their own +elasticity. It is not unusual to wear several on the same arm, reaching +to the elbow. They form a woman's sole wealth, and are not treasured up +for special occasions, as is usual among Western nations, but are used +as part of of the daily costume. Various materials are employed in their +manufacture; gold is necessarily rare, silver less so, while others are +composed of amber, coral, mother-of-pearl, and beads.</p> + + +<div class="figcenter" style="width: 450px;"> +<img src="images/i040b.jpg" width="450" height="358" alt="FESTIVITIES AT AN EASTERN MARRIAGE." title="" /> +<span class="caption">FESTIVITIES AT AN EASTERN MARRIAGE.</span> +</div> + +<div class="figleft" style="width: 223px;"> +<img src="images/i040.jpg" width="223" height="400" alt="ANCIENT EGYPTIAN BRIDAL COSTUME." title="" /> +<span class="caption">ANCIENT EGYPTIAN BRIDAL COSTUME.</span> +</div> + +<p>We are told, when Rebekah approached her future home and saw a man +walking in the distance, she evinced a curiosity, natural under the +circumstances, and inquired about him; and on discovering that it was +Isaac, "she took a veil and covered herself." It is still almost +universal in the East for a woman, whose face is not concealed on other +occasions, to envelop her head and body in an ample veil before she is +conducted to her husband, and it is considered an indispensable part of +the bridal costume. The details of the home coming are modified by the +local usages and religions of the different countries. In Syria, Persia, +and India, the bridegroom, in person, brings home the bride; in some +other countries this duty devolves on a near relative, and he remains at +home to receive the lady on her arrival. From various sources, but +particularly from indications in Scripture, we may gather that the Jews +employed either of these methods, according to circumstances. Again, in +Egypt the bridegroom goes to the Mosque when his bride is expected, and +returns home in procession after she has arrived. In Western Asia the +procession usually walks, if the<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> bride's future house is at no great +distance in the same town. In such cases she is often partially covered +by a canopy, and in Central and Eastern Asia it is the rule for her to +be mounted on a mare, mule, ass, or camel, unless she is carried in a +palanquin. Much, of course, depends on the social position of those +married. Music attends such processions, and often dancing; the Jews +certainly had the former, and some think the latter also, at least, in +the time of our Saviour.</p> + +<div class="figright" style="width: 222px;"> +<img src="images/i041.jpg" width="222" height="350" alt="A GREEK BRIDESMAID." title="" /> +<span class="caption">A GREEK BRIDESMAID.</span> +</div> + +<div class="figleft" style="width: 202px;"> +<img src="images/i041b.jpg" width="202" height="400" alt="MODERN GREEK BRIDAL COSTUME." title="" /> +<span class="caption">MODERN GREEK BRIDAL COSTUME.</span> +</div> +<p>In Halhed's translation of the Gentoo Laws, and in Mr. Roberts's +"Oriental Illustrations," reference is made to the custom of marrying +the elder sister first, and the same usage is observed with regard to +the brothers. When, in India, the elder daughter happens to be blind, +deaf, dumb, or deformed, this formality is dispensed with; and there +have been cases when a man, wishing to obtain a younger daughter, has +used every means in his power to promote the settlement of his future +sister-in-law, so as to forward his own nuptials. Fathers, too, will +sometimes exert their powers to compass the marriage of the elder +daughter, when a very advantageous offer is made for the younger one.</p> + +<p>It is generally believed that Psalm xlv., commonly known as "The Song of +Loves," was composed on the occasion of Solomon's marriage—probably to +Pharaoh's daughter; and here we find the Egyptian bride's dress +described as "all glorious within and wrought of gold, a raiment of +needlework." Both expressions refer to the same dress, and imply that +the garment was embroidered with figures worked with threads of gold. +The Egyptians were famous for their embroideries, and some mummies have +been found wrapped up in clothing curiously ornamented with gold lace. +At the present day, both in Egypt and Western Asia, it is usual for +ladies of the highest rank to employ much of their time in working with +the needle linen and cotton tissues in gold and silver thread and silk +of different colours.</p> + + + +<p>The use of nuptial crowns is of great antiquity. Among the Greeks and +Romans they wore chaplets of flowers and leaves, and the modern Greeks +retain this custom, employing such chaplets, decorated with ribbons and +lace. Modern Jews do not use crowns in their marriage ceremonies, and +they inform us that they have been discontinued since the last siege of +Jerusalem by the<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> Romans. The information which Gemara gives on this +subject is briefly that the crown of the bridegroom was of gold and +silver, or else a chaplet of roses, myrtle, or olives, and that the +bride's crown was of the precious metals. There is also some mention of +a crown made of salt and sulphur, worn by the bridegroom, the salt +transparent as crystal, the figures being represented thereon in +sulphur. Crowns play an important part in the nuptial ceremonies of the +Greek Church; they are also still used by Scandinavian brides.</p> + +<p>The ring in former days did not occupy the prominent position it does +now, but was given, with other presents, to mark the completion of the +contract. Its form is a symbol of eternity, and signifies the intention +of both parties to keep the solemn covenant of which it is a pledge, or, +as the Saxons called it, a "wed," from which we derive the term wedding. +The Jews have a law which proclaims that the nuptial ring shall be of +certain value, and must not be obtained by credit or gift. Formerly they +were of large size and elaborate workmanship, but now the ordinary plain +gold hoop is used.</p> + +<div class="figcenter" style="width: 550px;"> +<img src="images/i042.jpg" width="550" height="150" alt="A, JEWISH WEDDING RING, GERMAN, 17TH CENTURY; B, MODERN +ITALIAN; C, ITALIAN, 14TH CENTURY; D, VENETIAN, 16TH CENTURY; E, +ENGLISH, 1706; F, ENGLISH BRONZE BETROTHAL RING, 17TH CENTURY." title="" /> +<span class="caption">A, JEWISH WEDDING RING, GERMAN, 17TH CENTURY; B, MODERN +ITALIAN; C, ITALIAN, 14TH CENTURY; D, VENETIAN, 16TH CENTURY; E, +ENGLISH, 1706; F, ENGLISH BRONZE BETROTHAL RING, 17TH CENTURY.</span> +</div> + +<p>A wedding ring of the Shakespearian era has a portrait of Lucretia +holding the dagger, the reverse side of the circle being formed by two +clasped hands. This is a very common shape, and is shown in the +illustration of the English wedding-ring E, dated 1706, where white +enamel fingers support a rose diamond. The modern Italian peasant +wedding-ring B is of gold in raised bosses, while C is of silver; F, +bearing initials on vezet, is of bronze. A is a handsome Jewish +wedding-ring, bearing the ark, and D also has a Hebrew inscription.</p> + +<p>The gimmal betrothal ring was formerly a favourite pattern, and +consisted of three circlets attached to a spring or pivot, and could be +closed so as to appear like one solid ring. It was customary to break +these asunder at the betrothal, the man and woman taking the upper and +lower ones, and the witness the intermediate ring. When the marriage +took place these were joined together and used at the ceremony. During +the sixteenth and seventeenth centuries it was a common practice to +engrave these emblems of affection with some appropriate motto. It was +from Pagan Rome that European nations derive the wedding-ring, as they +were used in their betrothals long before there is any trace of them +elsewhere.</p> + +<div class="figright" style="width: 172px;"> +<img src="images/i042b.jpg" width="172" height="400" alt="AN EASTERN BRIDE." title="" /> +<span class="caption">AN EASTERN BRIDE.</span> +</div> + +<p>In describing the bridal costumes of<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> different nations, it should be +distinctly borne in mind that a large majority of the upper classes wear +on such occasions the traditional white satin and orange blossoms with +which we are all familiar. Many, however, prefer the picturesque +national costume associated with the land of their birth, and it has +been my principal object, in selecting the illustrations, to make them +as typical as possible.</p> + +<div class="figleft" style="width: 189px;"> +<img src="images/i043.jpg" width="189" height="350" alt="GARMENT FORMERLY WORN BY GREEK BRIDES. + +(From South Kensington Museum)" title="" /> +<span class="caption">GARMENT FORMERLY WORN BY GREEK BRIDES.<br /> + +(From South Kensington Museum)</span> +</div> + +<p>The Greek marriage service is full of symbol, and the sketch gives a +good idea of the bridal costume. The bridesmaid is attired in a gold +embroidered jacket, a skirt of brilliant colouring, and the crimson +fez—the usual head-gear of a Greek maiden. She is depicted scattering +corn, an ancient rite always performed at the conclusion of the +ceremony. As she gracefully sways backwards and forwards, to the +accompaniment of the jingling coins, which do double service as dowry +and trimming, it is a pose and dress at once graceful and free. Formerly +a wedding garment was often passed down from mother to daughter, and +such an example is given in the soft yellow silk robe, lined with white +and enriched with elaborate embroidery. Tiny stars in delicate shades of +red, blue, and green, divided by black lines form the design and +proclaim the industry and skill of the worker. These robes, however, +have not been used in Greece since the beginning of the seventeenth +century.</p> + +<p>In Japan, the beautiful land of the lily and chrysanthemum, the bride +usually takes little more to her husband's home than her trousseau, +which is ample enough, as a rule, to satisfy even a woman's passion for +dress. The nuptials take place in the evening, and the bride is garbed +in virgin white robes, figured with a lozenge design. These garments are +the gift of the bridegroom, and in them she passes from the home of her +girlhood to that of her husband. The household gods of both families are +assembled before an altar decked with flowers and covered with +offerings. Near stands a large table, with a dwarf cedar; it also holds +the Japanese Adam and Eve, and the mystic turtle and stork. The two +special attendants of bride and bridegroom are called butterflies, and +in their dress and colouring rival these beautiful insects, which in +this country are the symbol of conjugal felicity. The most solemn part +of the marriage ceremony is the scene of the two-mouthed vase. At a +signal, one butterfly fills the vase, and the other offers it to the +kneeling couple, the husband drinking first, and afterwards the wife. +This draught signifies that henceforward they are to partake equally of +the bitters and sweets of the coming years. Rice is thrown from either +side, so as to mingle, and the wicks of two candles are placed together, +to symbolize the joining of body and soul.</p> + +<p>The marriage processions of other Oriental nations have already been +referred to, and in India it is customary to perform the ceremony under +a species of canopy richly ornamented and lighted by lamps. The bride +wears, in addition to the native costume, a curious veil composed of +strings of gold beads and tassels. In Hindu marriages the sacred fire or +<i>oman</i> (which is constantly renewed by throwing upon it scented oils, +sandalwood, incense, and other aromatic perfumes) is a prominent +feature, and the union of a couple is consecrated by sprinkling a +handful of saffron, mixed with rice flour, on their shoulders. Finally, +the husband presents his wife with a little golden image called <i>talee</i>, +a substitute for the wedding ring, and worn by Indian women as their +symbol of matrimony.</p> + +<p>A missionary thus describes a Buddhist marriage:—"The bride, loaded +with jewellery, accompanied by women richly attired, entered the room, +and sat down with the bridegroom on the floor. A number of<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> candles were +then lighted, and the company saluted and congratulated the happy +couple, and expressed their kind wishes by blowing smoke towards them, +while a band of string instruments discoursed sweet music. Two cushions +were placed before the bridegroom, on which a sword was laid, and food +was also near them. Next the hands of each were bound together, then the +two to each other with silken threads. This act was performed by the +nearest relative present, and completed the ceremony." Brief, indeed, +are the forms of marriage indulged in by the people of Borneo. Each of +the contracting parties chews a betel nut; an elderly woman mutters some +sort of incantation, and brings the heads of bride and bridegroom in +close contact, after which they are declared man and wife, and are no +longer regarded as twain, but one flesh. The Cherokee form of marriage +is perhaps the most simple. The two join hands over a running stream, +emblematic of the wish that their future lives, hopes, and aspirations, +should flow on in the same channel. A peculiar custom of the Lascars is +the putting of a ring on the great toe when they marry. Mrs. Bishop, who +has explored Tibet and studied the habits and customs of the people, +informs us that polyandry is favoured by the women of that country. The +heir of the land and eldest son appears to be the only member of the +family who can contract a marriage in the legal sense as we understand +it, but all his brothers are accepted by the wife as inferior or +subordinate husbands. By this means they are kept well under the control +of the superior husband, whom they regard as the "Big Father," and, as a +matter of form, any children who may be born are accepted by him.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/i044.jpg" width="500" height="268" alt="HINDU BRIDEGROOM'S PROCESSION." title="" /> +<span class="caption">HINDU BRIDEGROOM'S PROCESSION.</span> +</div> + +<p>Thus the whole family are attached to the soil, and seem to work in +concord, and the women have the satisfaction of knowing that in the +average course of Nature they can never become widows, and that there +will always be someone to work for them and their offspring. "It is the +custom for the men and women of a village to assemble when a bride +enters her home with her husbands, and for each of them to present her +with three rupees. The Tibetan wife, far from spending these gifts on +personal adornment, looks ahead, contemplating possible contingencies, +and immediately hires a field, the produce of which is her own, and +accumulates from year to year, so that she may not be portionless should +she desire a divorce."</p> + +<p>The African tribes, of course, differ materially in their marriage +customs, but some form of exchange for the services of the woman are +insisted on, and often take the shape of a present of cattle to the +bride's father. On the West Coast, in the neigh<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>bourhood of Gaboon, +where slavedom is recognised, there is an understanding that a wife may +be purchased for a slave bundle, valued at about £6 in English money, +and there appears to be no sliding scale as to youth, beauty, form, or +degree. A bundle contains specimens of every article sold by a general +storekeeper. The most important features of a slave bundle are a +Neptune, or brass pan used for making salt, which is a current article +of commerce, and a piece of native cloth, manufactured by these people +for dress purposes, from a species of palm which grows on the river +banks in great luxuriance. Both sexes anoint themselves with palm oil +and other greasy substances, and no greater compliment can be paid to an +African belle than to say she looks "fat and shining."</p> + + +<div class="figcenter" style="width: 550px;"> +<img src="images/i045b.jpg" width="550" height="379" alt="HINDU MARRIAGE CEREMONY." title="" /> +<span class="caption">HINDU MARRIAGE CEREMONY.</span> +</div> + +<div class="figleft" style="width: 236px;"> +<img src="images/i045.jpg" width="236" height="300" alt="VEIL OF HINDU BRIDE." title="" /> +<span class="caption">VEIL OF HINDU BRIDE.</span> +</div> + +<p>Mr. Hutchinson, in his interesting work, "Ten Years in Æthiopia," gives +a quaint and amusing account of the toilet of a Fernandian bridegroom: +"Outside a small hut, belonging to the mother of the bride expectant, I +soon discovered the happy bridegroom undergoing his toilet at the hands +of his future wife's sister. A profusion of Tshibbu strings being +fastened round his body, as well as his legs and arms, the anointing +lady, having a short black pipe in her mouth, proceeded to rub him over +with Tola pomade. He seemed not altogether joyous at the anticipation of +his approaching happiness, but turned a sulky gaze now and then on a +piece of yam which he held in his hand, and which had a parrot's red +feather fixed on its convex side. This was called 'Ntshoba,' and is +regarded as a protection against evil influences on the important day. +The bride was borne down by the weight of rings and wreaths and girdles +of Tshibbu. Tola pomatum gave her the appearance of an exhumed mummy, +save her face, which was all white; not from excess of modesty, for the +negro race are reported to blush blue, but from being smeared over with +a white paste, the emblem of purity." What a hideous substitute for the +classical wreath of orange blossoms, and what a contrast must be offered +when the cosmetic peels off and displays the dusky skin upon which it is +laid!</p> + +<p>According to Russian law, no man can<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> marry before he is eighteen years +of age, or a woman before she is sixteen; nor after he is eighty, and +she is sixty. Priests are permitted to marry once. Secret marriages +without witnesses are regarded as invalid, and both bride and bridegroom +must be baptized persons. If a Russian takes a foreigner for a wife, she +must bind herself in writing to bring up any children she may have in +the Greco-Russian faith. According to an ancient custom the bridegroom +presents his bride with the costume and jewellery worn at the marriage. +The dowry comes from her family, and consists of a complete wardrobe, +silver, linen, and household furniture of all kinds. The hair of an +unmarried woman of the peasant class in Russia is dressed in a single +plait hanging loose upon the shoulders, and tied with ribbon. After +marriage it is arranged in two braids coiled round the head, covered +with a cap tied behind, or with a cotton or silk handkerchief and a +little lappet of linen rests on the forehead, and is considered an +inevitable symbol of marriage. Marriages are performed after banns, and +much of the finery used by the lower classes is hired for the occasion; +and the crowns used in the Russian ceremony are generally the property +of the Church. Formerly they were worn for a week, but this practice has +been discontinued.</p> + +<div class="figleft" style="width: 252px;"> +<img src="images/i046.jpg" width="252" height="400" alt="A RUSSIAN BRIDE." title="" /> +<span class="caption">A RUSSIAN BRIDE.</span> +</div> + +<div class="figright" style="width: 198px;"> +<img src="images/i046b.jpg" width="198" height="400" alt="NORWEGIAN PEASANT BRIDE AND BRIDEGROOM." title="" /> +<span class="caption">NORWEGIAN PEASANT BRIDE AND BRIDEGROOM.</span> +</div> + +<p>There are three distinct periods in the life of a Norwegian woman, and +each one has marked characteristics, particularly as regards dress. +During girlhood, up to the time of confirmation, a solemn occasion for +which there is much preparatory training, girls do not usually go from +home to work, or earn their own living. Among the poorer classes this +ceremony takes place when they are about fifteen. Their petticoats are +short and their hair is arranged in two long plaits. After confirmation +they are supposed to<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> regard life from its more serious aspect, and to +engage themselves with various duties, according to their station. The +third stage, of course, is married life, and it should be stated that +neither men nor women can enter upon the holy contract unless they can +bring proof of their confirmation, and can show ample evidence of +sufficient means to provide for a household. The marriage is preceded by +a betrothal ceremony, when the young couple go to the church, +accompanied by their friends, and exchange rings of plain gold and +presents of jewellery and apparel, which must be worn on the wedding +day. At her marriage the peasant bride wears the crown. It has a rim of +brass to fit the head, and the upper portion is of silver and gold, +sometimes embellished with precious stones. Such crowns are generally +heirlooms, and it is not uncommon for all the brides of one family for +centuries to wear the same adornment for the head. A very usual dress on +such an occasion is a plain skirt of some woollen material, with a +bodice and full sleeves of snowy linen, a corselet of red and green, +ornamented with bands and buckles, and a white apron trimmed with +embroidery. A silver-gilt breast ornament is worn by Swedish brides. The +band is wrought with bosses, and depending from it are small beaten +discs, and a medallion bearing the sacred initials I.H.S. The +bridegroom's hat in the illustration was probably an heirloom too, from +its shape and fashion. He wears a red waistcoat cut short and fastened +with brass buttons, and a loose cloth coat ornamented with embroidered +revers. The black small clothes show to advantage a well-shaped leg, and +on the feet are low shoes. Usually the festivities in connection with a +peasant wedding in Norway are kept up for three days, and during the +time there is much feasting and merrymaking among the friends of bride +and bridegroom.</p> + +<div class="figleft" style="width: 150px;"> +<img src="images/i047.jpg" width="150" height="250" alt="ORNAMENT WORN BY SWEDISH PEASANT BRIDE." title="" /> +<span class="caption">ORNAMENT WORN BY SWEDISH PEASANT BRIDE.</span> +</div> + +<div class="figright" style="width: 282px;"> +<img src="images/i047b.jpg" width="282" height="400" alt="A BRIDEGROOM'S TOILET AT FERNANDO PO." title="" /> +<span class="caption">A BRIDEGROOM'S TOILET AT FERNANDO PO.</span> +</div> + +<p>Gipsies are, as a rule, married at a very early age. A girl is generally +betrothed at fourteen, and becomes a wife two years later. The marriage +ceremony is performed by a priest wearing a ram's horn as a sign of +office, and, as becomes a nomadic race, the four elements—fire, air, +earth, and water—take a prominent position. The horn is the symbol of +authority, and is often made use of in Scripture. So much were rams' +horns esteemed by the Israelites that their priests and Levites used +them as trumpets in the taking of Jericho; and modern Jews when they +confess their sins announce the ceremony by blowing a ram's horn. In +ancient Egypt and other parts of Africa, Jupiter Ammon was worshipped +under the figure of a ram, and to this deity one of these animals was +sacrificed annually. It seems to have been an emblem of power from the +remotest ages. It would therefore appear that the<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> practice of the gipsy +priest wearing a ram's horn suspended from a string round his neck at a +marriage is derived from the highest antiquity, and undoubtedly points +to the Oriental origin of the gipsy race.</p> + +<p>Various expedients have been resorted to by different rulers of sparsely +populated kingdoms to encourage men to enter the married state. In +ancient Rome the law forbade that a bachelor should inherit any legacy +whatever, and in Sparta, under the rule of Lycurgus, they were not +permitted to have a part in the government, nor might they occupy any +civil or military post. They were excluded from participation in public +festivals, except on certain fixed occasions, and then the women had the +right to lead them to the altars, where they were beaten with rods to +the sound of scornful songs. As late as the reign of William and Mary, +widowers were taxed in England at the following rates:—Dukes, £12 10s.; +lower peers a smaller sum, and commoners one shilling each, if they +elected to remain in a state of single blessedness. Widows also, +especially those of high degree and fortune, were encouraged to dip +again in the matrimonial lottery, and children were betrothed at a very +tender age.</p> + +<div class="figcenter" style="width: 253px;"> +<img src="images/i048.jpg" width="253" height="400" alt="AN ENGLISH BRIDE." title="" /> +<span class="caption">AN ENGLISH BRIDE.</span> +</div> + +<p>Bridesmaids in Anglo-Saxon times attended on the bride, and performed +specified duties, particularly in the festivities which usually followed +on such occasions. Even during the earlier portion of the present +century it was a common custom for one to accompany the bridal couple on +their honeymoon; and it was also her duty to prepare and present the +"benediction posset," which is referred to by Herrick in "Hesperides:"—</p> + +<p> +<span style="margin-left: 1em;">"A short sweet prayer shall be said,</span><br /> +<span style="margin-left: 1em;">And now the posset shall be made</span><br /> +<span style="margin-left: 1em;">With cream of lilies not of kine</span><br /> +<span style="margin-left: 1em;">And maiden blush for spiced wine."</span><br /> +</p> + +<p>The fashion of brides wearing spotless white is a comparatively modern +one. From accounts of bridal gowns in bygone times, we find rich +brocades, golden tissues, and coloured silks were employed for this +purpose; and at the present day white is considered only appropriate to +the virgin, and is absolutely dispensed with by those women who have +been married before.</p> + +<p>Of modern marriage customs in England there is no occasion to speak, for +what woman is there among us who has not made an exhaustive and complete +study of this vital matter? It may, however, comfort those who are +beginning to wonder if marriage and giving in marriage is going out of +fashion, to know that during the first quarter of 1894, 95,366 persons +were joined together in the British Islands, an increase of 18 per cent. +over the first three months of the previous year, 1893 and 9 per cent. +over the mean rate for the same quarter for the preceding ten years. +Figures are incontrovertible facts, so our ears need no longer be +assailed by the bitter cry of</p> + +<p class="center"> +"<span class="smcap">Darkest Spinsterdom.</span>"<br /> +<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p> + + + +<p><span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span><br /><span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Chapter_VI" id="Chapter_VI"></a><span class="smcap">Chapter VI.</span></h2> + +<h3>MOURNING.</h3> + +<div class="centerbox"> +<p> +<span style="margin-left: 1em;">"The air is full of farewells to the dying</span><br /> +<span style="margin-left: 1em;">And mourning for the dead."—<i>Longfellow.</i></span><br /> +</p></div> + + +<div class="figcenter" style="width: 600px;"> +<img src="images/i051.jpg" width="600" height="204" alt="ANCIENT JEWISH FUNERAL PROCESSION." title="" /> +<span class="caption">ANCIENT JEWISH FUNERAL PROCESSION.</span> +</div> + +<div class="figcenter" style="width: 500px;"> +<img src="images/i051b.jpg" width="500" height="366" alt="LAYING OUT AND MOURNING THE DEAD." title="" /> +<span class="caption">LAYING OUT AND MOURNING THE DEAD.</span> +</div> + + +<p>The signs of mourning in ancient times were by no means confined to the +apparel. Fasting, laceration of the flesh, throwing dust on the head, +and shaving the hair, were outward and visible signs of grief, +accompanied by piercing cries of the most heartrending description. It +was also customary to abstain from ornaments, to rend the clothing, and +to put on filthy garments of sackcloth. This fabric was, and is still in +the East, made of hair, which has an irritating effect upon the skin, +and was for this purpose adopted as a penitential dress by the early +Roman Church. The covering of the head was another manifestation of +sorrow—a practice indicated by the hoods worn by female mourners, and +the flowing hat-bands for men, so common at funerals a few years ago. In +"A History of Mourning," by Richard Davey, from which many interesting +facts on this subject may be gathered, we learn that the Egyptians, over +three thousand years ago, selected yellow as the colour for mourning +garments. The Greeks chose black as the most appropriate—a fashion +followed by the Romans. The women of Rome had robes of black cloth, with +veils of the same shade; but by a wise dispensation, young children were +not compelled to adopt the symbols of woe. A year was the usual period +for mourning a husband, wife, father, mother, sister, or brother; but +relations who had been outlawed, imprisoned, or bankrupt, were not +accorded this mark of respect. Numa published certain laws for the +guidance of mourners, including one forbidding women<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> to scratch their +faces, or to make an exceptional display of grief at funerals. The +Emperor Justinian (A.D. 537) also turned his attention to this subject, +and regulated the expenses at funeral ceremonies, so as to secure those +who remained from the double calamity of losing their friends and, at +the same time, incurring heavy pecuniary liabilities on their account. +Provision was made for burying each person free of cost, and for +protecting the survivors from various extortions. Funds were +appropriated for the purpose of interments, which were conducted by +those appointed for the purpose. All persons were to be buried in the +same manner; though those who desired to do so could, at their own cost, +indulge in certain display, but this additional expense was limited. On +state occasions, as, for example, on the death of an Emperor or a great +defeat, the whole nation assumed the mourning garb. The defeat of Cannæ, +the conspiracy of Catalina, and the death of Julius Cæsar, were all +considered of sufficient importance for the observance of this custom. +Private mourning could be broken among the Romans by certain domestic +events, as the birth of a son or daughter, the marriage of a child, or +the return of a prisoner taken in war. Both sexes were expected to +abstain from going to public ceremonies and places of amusement; and +women were not allowed to marry till a year had elapsed from the +husband's death, without the special permission of the Emperor. History, +however, does not record that their lords and masters applied this rule +to their own conduct.</p> + +<div class="figcenter" style="width: 450px;"> +<img src="images/i052.jpg" width="450" height="100" alt="THE MODE OF ENFOLDING THE DEAD." title="" /> +<span class="caption">THE MODE OF ENFOLDING THE DEAD.</span> +</div> + +<p>The Greeks buried their dead before sunrise, so as to avoid ostentation. +Mourning women took part in the procession, and accompanied the chief +female mourner in her visits to the grave, on the seven days following +interment. This custom, which was derived from the East, was a usual +feature in Jewish, Roman, and Egyptian, as well as in Greek funerals.</p> + +<div class="figcenter" style="width: 600px;"> +<img src="images/i052b.jpg" width="600" height="222" alt="THE CUP OF CONSOLATION." title="" /> +<span class="caption">THE CUP OF CONSOLATION.</span> +</div> + +<div class="figleft" style="width: 224px;"> +<img src="images/i053.jpg" width="224" height="400" alt="AN ANGLO-SAXON WIDOW." title="" /> +<span class="caption">AN ANGLO-SAXON WIDOW.</span> +</div> + +<div class="figright" style="width: 263px;"> +<img src="images/i053b.jpg" width="263" height="400" alt="PRIEST OF THE 10TH CENTURY, WEARING A BLACK DALMATIC +EDGED WITH FUR, READY TO SAY REQUIEM MASS." title="" /> +<span class="caption">PRIEST OF THE 10TH CENTURY, WEARING A BLACK DALMATIC +EDGED WITH FUR, READY TO SAY REQUIEM MASS.</span> +</div> +<p>The funeral feast was a common practice among the classical ancients, +and was kept up to a comparatively recent period, in various European +countries. The Cup of Consolation consisted of light refreshments +prepared and sent in by the friends of mourners, who were not supposed +to busy themselves with domestic affairs at such a time. The +illustration gives a good idea of the mourning habit adopted by the +immediate family of the deceased. Caves were used for the disposal of +the dead, as well as elaborately constructed sepulchres, of which many +remain to this<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> day. Earth burial was in favour with some nations, but +in time of war or pestilence cremation was resorted to. The practice of +embalming we owe to the Egyptians, who carried it to a great state of +perfection. One of the earliest embalmments on record is that of Joseph, +whose body accompanied the Israelites on their journey through the +Wilderness. He was placed in a coffin, a distinction in the East only +accorded to those of the highest rank, the usual mode being to simply +swathe the corpse closely in wrappers and bandages, thus retaining the +shape of the human form. The Jews largely used spices and perfumes, +which were employed both for anointing and for wrapping up the body—a +very necessary precaution in hot climates. The Egyptians, on the death +of a relative or sacred animal (the cat, for instance), attired +themselves in yellow garments and shaved off their eyebrows. Their +funeral processions were magnificent. When a king quitted this mortal +sphere, the temples were closed for seventy-two days, and there were no +sacrifices, solemnities, or feasts. Companies of two or three hundred +men and women, in mean attire paraded the streets, singing plaintive +songs and reciting the virtues of him they had lost. They ate no meat, +or food dressed by fire, and omitted their customary baths and +anointings. Every one mourned as for the death of a favourite child, and +spent the day in lamentations. The Pyramids, those wonderful monuments +to Egyptian monarchs, are memorials of the reverence and industry of the +nation, whose high state of civilization is attested to by their works.</p> + +<div class="figcenter" style="width: 450px;"> +<img src="images/i054.jpg" width="450" height="370" alt="HIRED MOURNERS." title="" /> +<span class="caption">HIRED MOURNERS.</span> +</div> + +<p>Burial clubs were common among the Anglo-Saxons, and heavy fines were +inflicted on those who did not attend the funeral of a member. The +corpse was placed on a bier, and on the body was laid the book of the<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> +Gospels, a code of belief and a cross as a symbol of hope. A silken or +linen pall was used, according to the rank of the dead person. The +clergy bore lighted tapers and chanted the psalter, the mass was +performed, and a liberal offering made to the poor.</p> + + + +<p>From a 9th century MS. in the National Library, Paris, is given a sketch +which clearly defines the mourning habit of that period. The gown is +evidently of black woollen cloth, trimmed with black and white fur; and +a gauze veil of the same sombre tint envelops the head. From the same +source a drawing of an Anglo-Saxon priest is given, on account of his +wearing a black dalmatic, edged with fur, a vestment only adopted when a +requiem mass was performed.</p> + + +<div class="figleft" style="width: 450px;"> +<img src="images/i054b.jpg" width="450" height="370" alt="MOURNING IN SACKCLOTH" title="" /> +<span class="caption">MOURNING IN SACKCLOTH</span> +</div> + + + +<div class="figright" style="width: 249px;"> +<img src="images/i054b2.jpg" width="249" height="350" alt="WIDOW'S DRESS OF QUEEN KATHERINE DE VALOIS, IN THE YEAR +1422" title="" /> +<span class="caption">WIDOW'S DRESS OF QUEEN KATHERINE DE VALOIS, IN THE YEAR +1422</span> +</div> + +<p>In the Middle Ages black was used for mourning as a rule, though purple +and brown were occasionally substituted. Chaucer, in "The Knight's +Tale," speaks of "clothes <i>black</i> all dropped with tears," and, again, +of "widdowes habit of samite <i>brown</i>." In many cases, on the death of +her husband, the wife retired for a year to a convent, when she assumed +the nun's dress, of which the widow's weeds of the present day are a +symbol. The mourning adopted by Katherine of Valois, wife of Henry V., +the hero of Agincourt, who died at Vincennes in 1422, may be regarded as +the typical widow's dress of that period. It consisted of a black +brocade cote hardi, edged with white fur, and further embellished with +black glass beads, which were also used<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> for ornamenting the winged head +dress. Her black woollen gown has a deep bordering of white fur. Some +mourning habits of this period are represented in a splendid manuscript +"Liber Regalis," still preserved in Westminster Abbey. They are composed +of black fabrics in the prevailing fashion, and are furred with ermine. +Froissart relates that the Earl of Foix, on hearing of the death of his +son, Gaston, sent for his barber, and was close shaved, and clothed +himself and his household in black. At the funeral of the Earl of +Flanders, all the nobles and others present were attired in black gowns; +and on the death of John, King of France, the King of Cyprus clothed +himself in black mourning.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/i055.jpg" width="500" height="156" alt="COSTUMES WORN BY KING PHILIP II. OF SPAIN AND HIS +ATTENDANTS AT THE FUNERAL PROCESSION OF HIS FATHER." title="" /> +<span class="caption">COSTUMES WORN BY KING PHILIP II. OF SPAIN AND HIS +ATTENDANTS AT THE FUNERAL PROCESSION OF HIS FATHER.</span> +</div> + +<div class="figright" style="width: 232px;"> +<img src="images/i055b.jpg" width="232" height="400" alt="GENTLEMAN'S MOURNING—TIME OF HENRY VII." title="" /> +<span class="caption">GENTLEMAN'S MOURNING—TIME OF HENRY VII.</span> +</div> +<p>At the end of the fifteenth century, it was considered necessary in +England to pass sumptuary mourning laws, owing to the extravagance of +the nobility in the superfluous usage of cloth and other items at +funerals. Habits and liveries were limited to certain quantities. +Planché tells us dukes and marquises were allowed sixteen yards for +their gowns, sloppes (or mourning cassocks) and mantles; an earl, +fourteen; a viscount, twelve; a baron, eight; a knight, six; and all +inferior persons, two yards only; but an archbishop had the same +privilege as a duke. Hoods were only permitted to those above the degree +of esquire of the king's household.</p> + + + +<p>Margaret, Countess of Richmond, the mother of King Henry VII., issued, +in the eighth year of his reign, an ordinance for "the reformation of +apparell for great estates of women in the tyme of mourninge." "They +shall have their surcottes with a trayne before and another behynde, and +their mantles with traynes. The queen is to wear a surcotte, with the +traynes as aforesaid, and playne hoode, and a tippet at the hoode lying +a good length upon the trayne of the mantell, being in breadth a nayle +and an inche. After the first quarter of a year, the hood to be lined +with black satin, or furred with<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> ermine; and all ladies down to the +degree of a baroness, are to wear similar mourninge, and to be barbed at +the chin." The surcotte, with trayne, hood, barbe, and tippet, are +visible in the sketch of a lady of the sixteenth century, taken from +Pietro Vercellio's famous work on costume. The gentleman's mourning of +black cloth and fur, is reproduced from a contemporary MS.</p> + + + + + +<p>Among the obsolete funeral customs, may be mentioned the Death Crier, +the lying-in-state of all classes, and the waxen effigies of those of +royal rank. Before newspapers published obituary notices, it was +customary for the Death Crier, armed with a bell and attired in a black +livery, painted or embroidered with skulls and cross-bones, to announce +to the townspeople, and inhabitants of surrounding villages, that +another had gone over to the majority. This functionary was in the +employ of the Corporation, or civil authorities, and on the death of a +member of the Royal Family, he was usually accompanied by the Guild of +Holy Souls, who walked in procession, bearing lighted tapers and other +religious emblems. Lying-in-state usually lasted for three days, by +which time the arrangements for a simple interment were completed, and +the body was placed reverently in the ground. The obsequies of kings and +queens, however, were carried over a protracted period, consequently a +waxen figure was prepared, which was dressed in regal robes, and +substituted for the body as soon as decomposition set in. This fashion +was in vogue till the time of William and Mary, and in Westminster Abbey +there is a collection of waxen effigies, which may be viewed by +permission of the Dean. As likenesses they are interesting, and they are +also useful as costume studies.</p> +<div class='centered'> +<table border="0" cellpadding="0" width="100%" cellspacing="0" summary="FRENCH LADY OF 16TH CENTURY IN WIDOW'S WEEDS.-GERMAN WIDOW'S DRESS OF TO-DAY."> +<tr> +<td align='center'><img src="images/i056.jpg" width="352" height="400" + alt="FRENCH LADY OF 16TH CENTURY IN WIDOW'S WEEDS." /><br /> + </td> + +<td align='center'><img src="images/i056b.jpg" width="313" height="400" + alt="GERMAN WIDOW'S DRESS OF TO-DAY." /><br /> + </td> +</tr> +<tr><td align='center'><span class="caption">FRENCH LADY OF 16TH CENTURY IN WIDOW'S WEEDS.</span></td><td align='center'><span class="caption">GERMAN WIDOW'S DRESS OF TO-DAY.</span></td></tr> +</table></div> + + +<p>Of late years, in this country, mourning has been considerably modified, +particularly for the male sex, who often content themselves with a +black hat-band and another on the left sleeve of dark-coloured clothes. +By Scotch law, whether a man dies solvent or insolvent, his widow may +claim out of his estate, sufficient for mourning suitable to her rank, +and the same privilege applies to each of her children, who are old +enough to be present at their father's funeral. This right takes +precedence over any debts the dead man<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> may have contracted, and is a +distinction not accorded to English, Welsh, or Irish widows.</p> + + + + + + + +<p>In most European countries black is the accepted colour for mourning; +though in different parts of the globe white, yellow, red, brown, and +even blue garments are prescribed by custom as the emblem of death.</p> + +<p>These shades have been selected for the following reasons:—Black is +symbolical of the gloom which surrounds one when those who are nearest +and dearest are taken. Black and white express sorrow mixed with hope, +and white alone the light which follows the night of mourning. Blue, the +tint of the heavens, to which it is hoped the spirit forms have taken +flight. Yellow is typical of the dead autumn leaf, and brown the earth +to which the body returns. Violet, a royal colour, is generally used for +the mourning of kings and high dignitaries of the Church. Scarlet is +also used for royal mourning occasionally.<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a></p> + +<div class='centered'> +<table border="0" cellpadding="0" width="100%" cellspacing="0" summary="THE DEATH CRIER.-ENGLISH WIDOW'S DRESS OF TO-DAY."> +<tr> +<td align='center'><img src="images/i057.jpg" width="346" height="400" + alt="THE DEATH CRIER." /><br /> + </td> + +<td align='center'><img src="images/i0572.jpg" width="204" height="400" + alt="ENGLISH WIDOW'S DRESS OF TO-DAY." /><br /> + </td> +</tr> +<tr><td align='center'><span class="caption">THE DEATH CRIER.</span></td><td align='center'><span class="caption">ENGLISH WIDOW'S DRESS OF TO-DAY.</span></td></tr> +</table></div> + + + +<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> For permission to reproduce some of the drawings from +Davey's "History of Mourning," I am indebted to Messrs. Jay, Regent +Street, London.<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span><br /><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p></div> + + + + + +<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span><br /><span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Chapter_VII" id="Chapter_VII"></a><span class="smcap">Chapter VII.</span></h2> + +<h3>ECCENTRICITIES OF MASCULINE COSTUME.</h3> + +<div class="centerbox"> +<p> +<span style="margin-left: 1em;">"The fashion wears out more apparel than the man."</span><br /> +<br /> +<span style="margin-left: 1em;">—<i>Much Ado about Nothing.</i></span><br /> +</p> + +<p> +<span style="margin-left: 1em;">"Through tattered clothes small vices do appear,</span><br /> +<span style="margin-left: 1em;">Robes and furred gowns hide all."—<i>King Lear.</i></span><br /> +</p></div> + + +<div class="figleft" style="width: 217px;"> +<img src="images/i061.jpg" width="217" height="400" alt="BRITON CLAD IN SKINS." title="" /> +<span class="caption">BRITON CLAD IN SKINS.</span> +</div> + +<div class="figright" style="width: 220px;"> +<img src="images/i061b.jpg" width="220" height="400" alt="BRITON AT THE TIME OF THE ROMAN INVASION." title="" /> +<span class="caption">BRITON AT THE TIME OF THE ROMAN INVASION.</span> +</div> + +<p>"Vanity, thy name is woman," "As vain as a woman," and similar epithets, +are hurled at our defenceless heads by our teachers and masters; yet how +few of them pause for a moment to consider whether they are altogether +free from this human weakness or exempt from that love of dress which +they so strongly condemn in others. It does not require a deep study of +the history of costume to reveal some curious anomalies in this respect, +and the sketches chosen for the purpose of illustrating this chapter +will only give a faint idea of what has been considered appropriate and +becoming to the manly form at different epochs. In Pelautier's "Histoire +des Celtes," we learn that "the toilet of the ancient inhabitants of +Britain, somewhat resembled that of the North American Indian of the +present day, and consisted of a series of elaborate paintings over the +whole surface of the body, which were no doubt originally intended to +protect the skin, from the inclemencies of the weather, but were +afterwards used as a mode of embellishment and a means of distinguishing +the different classes, for it was reserved to freemen, and strictly +forbidden to slaves. The lower classes confined themselves to small +designs drawn at a considerable distance from each other; but the nobles +had the privilege of ornamenting their persons with large figures, +chiefly of animals, subsequently transferred to their shields, after +they adopted a less scanty costume, and this may be looked upon as the +origin of family arms." The Picts, who inhabited the north of Britain, +were remarkable for their pictorial decorations, hence their name, +derived from an ancient word, <i>picti</i>, which signifies painted. Our +remote ancestors also added to their other charms (which were doubtless +irresistible to the belles of that period), by deepening the tone of +their naturally ruddy locks, by washing them in water boiled with lime. +Their clothing was of skins of animals killed in the chase, and they +were armed with implements of bone and flint. The Tyrian traders taught +them how to construct various weapons of war from a composition of +copper and tin, and their flat wicker shields were superseded by those +of metal ornamented with concentric circles. After the Roman Conquest of +Britain, the skin garments were laid aside for dyed tunics and close +trousers. Over the tunic was worn a sagum, or short cloak, so named by +the<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> Romans from <i>saic</i>, a word of Celtic origin, which signified a skin +or hide. When the head was covered it was with a cap, from the British +<i>cab</i>, a hut, which, from its circular shape, it somewhat resembled, for +the dwelling-places were composed of wattles firmly fixed in the ground +and fastened together at the top. A curious remnant of this fashion is +the horn-like cap of rushes still made by Welsh children. The hair was +usually long and flowing. Men of rank shaved the chin and allowed the +moustache to grow to an extraordinary length.</p> + +<div class="figleft" style="width: 256px;"> +<img src="images/i062.jpg" width="256" height="400" alt="CANUTE." title="" /> +<span class="caption">CANUTE.</span> +</div> + +<div class="figright" style="width: 318px;"> +<img src="images/i062b.jpg" width="318" height="350" alt="WILLIAM THE NORMAN, FROM BAYEUX TAPESTRY." title="" /> +<span class="caption">WILLIAM THE NORMAN, FROM BAYEUX TAPESTRY.</span> +</div> + +<p>The Saxons and Danes are spoken of as wearers of "scarlet, purple, and +fine linen," and the latter combed their hair once a day, bathed once a +week, and frequently changed their clothing. By these means they found +favour in the eyes of the women, and delighted the wives and daughters +of the nobility. In a curious MS., written in the reign of King Canute, +the monarch is represented in a tunic and mantle embellished with cords +and tassels. The tops of his stockings are embroidered, but he wears +simple leather shoes. A vestment presented by Canute to Croyland Abbey +was of silk, embroidered with golden eagles, and the rich pall which he +ordered to be laid over the tomb of Edmund Ironside, was "embroidered +with the likeness of golden apples and ornamented with pearls." From +this, we see that the needle played an important part in the +ornamentation of clothing, and to it we also owe the splendid Bayeux +tapestry, worked by Matilda, wife of William the Conqueror. This +priceless curiosity is not only remarkable as a magnificent piece of +workmanship, but affords a good idea of the dress of that period—the +11th century. A tunic reaching to the ankle, leg bandages and shoes, a +flowing mantle and flat cap, were the chief characteristics of the civil +dress of this and succeeding reigns. The Normans, however, were +clean-shaven.</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/i063b.jpg" width="500" height="342" alt="PARLIAMENT ASSEMBLED IN THE REIGN OF RICHARD II." title="" /> +<span class="caption">PARLIAMENT ASSEMBLED IN THE REIGN OF RICHARD II.</span> +</div> + +<div class="figleft" style="width: 148px;"> +<img src="images/i063.jpg" width="148" height="380" alt="GENTLEMAN OF THE 14TH CENTURY." title="" /> +<span class="caption">GENTLEMAN OF THE 14TH CENTURY.</span> +</div> + + + +<div class="figright" style="width: 214px;"> +<img src="images/i063c.jpg" width="214" height="350" alt="A CAPUCHON OR HOOD, TIME OF EDWARD II." title="" /> +<span class="caption">A CAPUCHON OR HOOD, TIME OF EDWARD II.</span> +</div> + +<p>During the Middle Ages extravagance prevailed in both male and female +costume. Handsome furs were in great request, and several times +sumptuary laws were passed. Men wore eight indispensable articles of +dress, the shirt, breeches, stockings, shoes, coat, surcoat or +cotehardie, mantle, and head dress. The coat or under-dress corresponded +with the tunic of the ancients, and was entirely hidden, with the +exception of the sleeves, by the surcoat. There were two kinds of +mantles, one open in the front, the two sides connected by a strap +resting on the chest, the other was open on the right side and had one +end thrown over the left shoulder. Head coverings were of various<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> +descriptions; but many adopted hoods with long points, which were used +to attach them to the belt when not in use. The assembling of Parliament +in the reign of Richard II. gives the lay, spiritual, and legal peers in +their usual costumes, and is reproduced from Planché's "History of +British Costume." The Bishops are in cowls near the throne, the judges +in coifs and furred robes, the Earls of Westmorland and Northumberland +stand in front. The Duke of Hereford, in high cap, is to the left of the +throne, and Exeter, Salisbury, and other peers are seated opposite the +judges. During the reign of Richard II., which lasted over twenty years +(1377 to 1399), there were many curious fashions in masculine attire. +The peaked shoes, chained to the knee, were not more ridiculous than the +deep, wide sleeves commonly called pokeys, which were shaped like a +bagpipe and were worn by all classes. Many writers refer to them as the +devil's receptacles, as whatever could be stolen was hidden away in +their folds. Some were wide and reached to the feet, others to the knee, +and they were full of slits. Hose were often of different colours. +Parti-coloured suits were also in favour, and these were frequently +scalloped at the edges and embroidered with mottoes and other devices. +Chaucer, who wrote the "Canterbury Tales" towards the end of Richard's +reign, describes in the most graphic manner the apparel of his +contemporaries. "The haberdasher, carpenter, weaver, dyer, and tapestry +worker, all wealthy burghers of the City of London, were clothed in a +livery, and the handles of their knives, pouches, and girdles were +ornamented with silver. The clergy were not to be distinguished from the +laity, and rode on horseback, glittering with gold, in gowns of scarlet +and green, fine with cut work. Their mitres embellished with pearls like +the head of a queen, and staffs of precious metals set with jewels." +Even the parish clerk is said to be "spruce and foppish in his dress." +The author of an anonymous work called the "Eulogium," of this date, +says:—"The commoners were besotted in excess of apparel. Some in wide +surcoats reaching to their loins, some in a garment reaching<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> to their +heels, closed before and sticking out at the sides, so that at the back +they make men seem like women, and this they call by the ridiculous name +<i>gowne</i>. Their hoods are little, and tied under the chins. Their +lirri-pipes (tippets) pass round the neck, and hanging down before, +reach to the heels."</p> + +<div class="figcenter" style="width: 500px;"> +<img src="images/i064.jpg" width="500" height="440" alt="COSTUME OF THE REIGN OF HENRY VII." title="" /> +<span class="caption">COSTUME OF THE REIGN OF HENRY VII.</span> +</div> + +<div class="figleft" style="width: 235px;"> +<img src="images/i065.jpg" width="235" height="400" alt="COURTIER IN THE REIGN OF ELIZABETH." title="" /> +<span class="caption">COURTIER IN THE REIGN OF ELIZABETH.</span> +</div> + +<div class="figright" style="width: 400px;"> +<img src="images/i065b.jpg" width="400" height="362" alt="EARL OF SURREY, TIME OF HENRY VIII." title="" /> +<span class="caption">EARL OF SURREY, TIME OF HENRY VIII.</span> +</div> +<p>Towards the end of the 14th century men began to wear short clothes made +to fit the body so closely that it often required the assistance of two +people to remove them, and it is from this period we can distinctly +trace the difference between ancient and modern dress; in fact, our +present fashions—masculine and feminine—resemble to a certain extent +those worn during mediæval times. Then, as now, men wore overcoats with +tight sleeves, felt hats also with feathers, worn over a skull cap, and +slung behind the back, and closely-fitting shoes and boots.</p> + +<p>The Tudor monarchs paid considerable attention to the adornment of their +persons, and were responsible for stringent legal enactments calculated +to encourage home manufacturers. Felt hat-making—one of our oldest +industries—was introduced into this country from Spain and Holland. A +great impetus was given to this branch of trade by a law passed in 1571 +which enjoined "every person above the age of seven years to wear on +Sundays or holidays a cap of wool, knit made, thickened, and dressed in +England by some of the trade of cappers, under the forfeiture of three +farthings for every day's neglect." In 1603 the felt makers became a +Corporation with grants and many privileges. Throughout the Middle Ages +the upper classes frequently engaged in commerce. Bishops, abbots, and +nobles personally superintended the disposal of the produce of their +estates, and a considerable number of the younger sons of good families +were the leading traders of the 15th and 16th centuries.</p> + + + +<p>The "frocke" frequently mentioned, and of which the modern frock coat is +the degenerate descendant, was a sort of jacket or jerkin made +occasionally with skirts, a style associated especially, with Holbein's +portraits of Henry VIII. and his contemporaries.</p> + +<div class="figleft" style="width: 229px;"> +<img src="images/i065c.jpg" width="229" height="400" alt="CHARLES I." title="" /> +<span class="caption">CHARLES I.</span> +</div> +<p>The uniform worn at the present day by the Yeomen of the Guard stationed +at the Tower of London, gives us the military costume of the Tudor +period. It is the oldest corps in her Majesty's service, and was +instituted by Henry VII. as the bodyguard of the sovereign. In the dress +of the Bluecoat Boys at Christ's Hospital we have that of the citizens +of London during the reign of Edward VI. and Mary, when blue coats were +habitually used by apprentices and serving men, yellow stockings also +were in common use. The badges on the jackets of firemen and watermen +date from this time; they were made of metal and placed on the sleeve, +in the 16th century, instead of being embroidered on the back or breast +of the garment as they had been previously. Retainers in the households +of the wealthy, were provided with surcoats and mantles twice a year, of +their patron's favourite colour, and this was called the <i>livrée</i>, from +a French word signifying to distribute. Trade guilds and members of the +learned professions, also adopted a distinct style of costume. Lawyers, +who were originally priests, of course wore the tonsure; but when the +clergy ceased to interfere with secular affairs the lay lawyer continued +this sign of office, and also wore a coif. Their<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> gowns were capacious +and lined with fur: and the Justices of the King's Bench were allowed +liveries by the King, of cloth and silk. Budge, or lambskin, and miniver +were provided for the trimming thereof, and the colour appears to have +varied in different reigns, but for a long time green prevailed.</p> + + + +<p>The courtiers of Elizabeth discarded the "frocke cote" for quilted and +stuffed doublets and trunk hose, slashed and ornamented in the most +quaint and extravagant manner. Below these were worn stockings +embroidered with birds, beasts, and other devices, "sewed up close +thereto as though they were all of one piece." Trunk hose were +appropriately named, as they were often filled with wool, bran, and +other materials. At last they became of such enormous size that it was +necessary to construct swings in the Houses of Parliament in place of +the ordinary fixed seats, for the accommodation of those wearing this +singular article of attire. Enormous ruffs of muslin and lace encircled +the necks of dandies of the Elizabethan era, and they appear to have had +waists which would excite the envy of the belles of the latter part of +the 19th century. In fact, the gallants of that day were even in advance +of the fair sex, in their love of fantastic costume; and as +Hollingshead, in <i>The Chronicle</i>, justly states in reference to the +fashions of the period: "Nothing was more constant in England than +inconstancy of attire."</p> + + + +<p>A few years since, behind some ancient panelling at Haddon Hall, +Derbyshire, was discovered a washing bill (with other things +appertaining to the 16th and 17th centuries) which gives us a good idea +of the various articles of dress then worn. Reference is made to the +<i>ruff</i>, which is too well known to need description; to <i>bandes</i> made of +linen and cambric, from which those now used by the clergy took their +origin, and from which we derive the modern word bandbox. There were +three kinds—some that stood upright, others were allowed to lie flat +upon the shoulders, as shown in the drawings of Charles I. and II., and +those which were embroidered and trimmed with lace. The <i>shirt</i> applied +to the under-garment of both sexes, and the half-shirt referred to the +stomacher over which the dress was laced. <i>Boot hose</i> were made of a +variety of materials, and were occasionally called nether stocks; +<i>socks</i> were sometimes put over them; and <i>tops</i> were of Holland linen +or lace, and formed the lining of the full hanging boots of the +Cavaliers.</p> + + + +<p>During the Civil War the dress worn by the King's adherents, consisted +of a doublet of silk or satin with loose sleeves, slashed up the front; +the collar was generally of point lace, and a short cloak rested +carelessly on one shoulder. The hat was a broad-brimmed beaver with a +plume of feathers,<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> and trunk hose gave way to breeches. The Roundheads +or Republican Party went to the opposite extreme. They cut their hair +close, avoided lace and jewels, had plain linen or cloth suits of a grey +or brown tint, with a hat somewhat resembling the modern chimney pot.</p> + +<div class="figcenter" style="width: 550px;"> +<img src="images/i066.jpg" width="550" height="246" alt="CHARLES II. AND HIS QUEEN (1662)." title="" /></div> +<p class="center"><span class="caption">CHARLES II. AND HIS QUEEN (1662).—WILLIAM III. (1694).—GENTLEMAN AND LADY OF 18TH CENTURY.</span> +</p> + + +<hr style="width: 45%;" /> + +<p>About this period we also hear of the waistcoat, which was cut high at +the neck, and was made with sleeves. Neckcloths and cravats of +Brussels and Flanders lace were tied in a knot under the chin, and had +square ends. Another peculiar feature of masculine costume towards the +end of the 17th century consisted of petticoat breeches with drooping +lace ruffles, such as adorn the nether limbs of Charles II. Patches and +perukes were also adopted, and the former fashion, a revival of an old +Roman custom, had political significance according to where they were +placed on the face, and were bitterly ridiculed by numerous satirical +writers. "I know many young gentlemen," says Middleton, in one of his +plays, "who wear longer hair than their mistresses." The beard was worn +in different ways, but the most usual shape was what Beaumont and +Fletcher, in their "Queen of Corinth," call the T beard, consisting of a +moustache and imperial:—</p> + +<p> +<span style="margin-left: 11.5em;">"His beard,</span><br /> +<span style="margin-left: 1em;">Which now he put i' the form of a T,</span><br /> +<span style="margin-left: 1em;">The Roman T; your T beard is the fashion,</span><br /> +<span style="margin-left: 1em;">And two-fold doth express the enamoured courtier."</span><br /> +</p> + +<p>Shakespeare also tells us, it was often dyed different colours.</p> + +<div class="figleft" style="width: 306px;"> +<img src="images/i066b.jpg" width="306" height="400" alt="WALKING DRESS, 1830." title="" /> +<span class="caption">WALKING DRESS, 1830.</span> +</div> + +<p>Everyone tried to rival his neighbour in the size of his peruke, till +they became so preposterous that Charles II. showed his disfavour by +writing a letter to the University of Cambridge forbidding the members +to wear periwigs, smoke tobacco, or read their sermons. History does not +relate what effect the King's censure had upon the head-gear of students +attending the colleges, but it is absolutely proved that they paid no +heed to his latter commands. It was the fashion for men to comb their +perukes in public, and curiously-chased combs of bone and +tortoise-shell, were carried in the pocket with the snuff-box, another<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> +indispensable appendage of a fine gentleman.</p> + +<p>In the 18th century the broad hat brims were turned up at the sides, +and, in the racy vernacular of the day, "each gallant cocked his hat +according to his fancy." Shoe buckles became general in the reign of +Queen Anne, and displaced the ribbon rosettes formerly worn. Planché +accurately describes the fashions of that day. "The square-cut coat was +stiffened with wires and buckram, and the long-flapped waistcoat with +pockets almost met the stockings. There were hanging cuffs with lace +ruffles, square-toed shoes with red heels, and hats laced with gold or +silver galloon."</p> + +<p>At the beginning of the 19th century many important changes took place. +Excepting for Court dress, cloth was substituted for velvet and other +rich fabrics. The coat was open, displaying an elaborate shirt-front, +stock and flowered waistcoat; and the skirt, though full, fell in +natural folds. Trousers were very tight, and held in place by a strap +beneath the foot, and hats displayed narrow curved brims.</p> + +<p>We have only to cast our eyes down the vista of ages to find that +British costume has been suited to the needs, habits, and customs of the +people, and periods at which it was worn. Skins of animals were +appropriate to the hardy cave dwellers who inhabited this country at an +early period in the world's history. The simple dress of the +Anglo-Saxons fulfilled the requirements of a primitive race; and the +furs and rich fabrics brought home by the Crusaders were adapted to the +higher state of civilization which prevailed in the Middle Ages. In the +16th century the Renaissance (of art and culture) was specially noted +for richness of attire. During the 18th century a mixture of styles +which had found favour with previous generations was the most marked +feature in the costume of that period, and this equally applies to the +two first decades of the present one. Masculine attire at the present +day, though simple and practical, has few points of beauty to recommend +it. Briefly, it resolves itself into a series of woollen cylinders which +changeth not from generation to generation.<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span><br /><span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span><br /><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></p> + + + + +<p> +<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII.</h2> + +<h3>A CHAT ABOUT CHILDREN AND THEIR CLOTHING.</h3> + +<p> +<span style="margin-left: 1em;">"The childhood shows the man,</span><br /> +<span style="margin-left: 1em;">As morning shows the day."—<i>Milton.</i></span><br /> +</p> + + +<p>Of children's dress in olden times we have singularly few details, and, +as a rule, it may be concluded that their raiment was fashioned on +similar lines to that worn by the men and women of the country in which +they lived, and was more or less ornamented, according to their station +in life.</p> + +<div class="figcenter" style="width: 378px;"> +<img src="images/i071.jpg" width="378" height="400" alt="CHILDREN OF CHARLES I. (After a painting by Vandyck.)" title="" /> +<span class="caption">CHILDREN OF CHARLES I.<br /> (After a painting by Vandyck.)</span> +</div> + +<p>One or two biblical references enlighten us as to Eastern customs. On +the authority of St. Luke, our Saviour in infancy was wrapped in +swaddling clothes. "Samuel," we are told, "being a child, was girded +with a linen ephod," which appears to have been a close robe or vest +reaching from the shoulders to the loins, and confined by a girdle. +Considering the climate and the habits of the people, it was probably +the only garment used in summer, but in cold weather was supplemented, +we presume, by the little coat his mother bought him from year to year, +when she and her husband came to offer the annual sacrifice, at Shiloh, +where Eli, the High Priest, lived. A coat of many colours was also +presented to Joseph in his youth as a mark of Jacob's affection for the +child of his old age.</p> + +<p>Greek and Roman children of the gentler sex are usually represented in +the chiton, or loose classical gown, combined with a shawl or himation +weighted at the four corners, so as to assist the wearer in adjusting +it. How to put on this garment was carefully taught as part of a girl's +education. The long end was first thrown over the left shoulder. The +front part was arranged in folds across the body, passed under the right +arm and over the left shoulder or forearm. The girdle sometimes +consisted of a cord, at others of metal bands, and by drawing the chiton +over it, a double thickness of the fabric covered the vital organs of +the body. Boys wore the tunic and toga, and the latter is supposed to +have been oblong, with the corners rounded off, so as to give a +semicircular effect. Hats were not commonly worn, except by the poor or +when on a journey, a fold of the toga or mantle serving for a head +covering, and sandals protected the feet.</p> + +<p>The Egyptian labouring classes allowed their children to be nude, and +infants were unfamiliar with swaddling clothes. The working man and boy +had simply a loin cloth and girdle, and the girl a loose tunic fastened +with strings at the neck and reaching to her feet. On the other hand, +children of the upper classes in Egypt were repetitions of their elders +on a small scale. Girls wore a linen skirt embroidered in colours and +fastened with a bright sash, or suspended from the shoulders, and over +this a loose transparent robe with long sleeves. The male costume +consisted of a loin cloth, and a full robe with short sleeves, or a +tunic, and both sexes had elaborately curled or plaited wigs, as the +natural hair was only allowed to grow in times of mourning.</p> + +<div class="figright" style="width: 226px;"> +<img src="images/i072.jpg" width="226" height="450" alt="CHILDREN'S COSTUME, PRESENT DAY." title="" /> +<span class="caption">CHILDREN'S COSTUME, PRESENT DAY.</span> +</div> + +<p>The Roman occupation of Britain left its impress for a long period on +the costume of the Anglo-Saxon race. The long-sleeved banded tunic was +the usual habit of the industrial classes through the Middle Ages and +leg bandages and cross gartering preceded<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> breeches. Quite young boys +appear in this dress, and little girls are seen in ancient MSS. in the +kirtle and gunna, the equivalents of the modern petticoat and dress. +Their hair, however, was allowed to fall naturally, or was dressed with +two pendant plaits, and was not concealed, as was so often the case with +adult females, by means of the head-rail. The materials used in clothing +were to a great extent the produce of household industry. The women +servants were employed in spinning, weaving, and sewing, and ladies of +the highest rank did not disdain to participate in such labours. Several +articles of dress were derived from the tanner, who worked up his +leather into shoes, ankle leathers, and leathern hose. The art of +tanning skins with the wool or hair on, was also practised, and dyeing +was in great request, for in a rude age a love of gaudy colours is a +natural characteristic of the people. The most skilful artificers were +found in the religious houses, but under each landowner serfs were +trained in the mechanical arts. Silk was worn by the wealthy, but the +common materials for wearing apparel in this country were cotton, linen, +and woollen.</p> + + +<p>Among the Anglo-Saxons and their pagan ancestors the desertion of +children sometimes occurred, but as the influence of Christianity +increased, it was regarded as a crime, and a law was passed for its +repression. For fostering a foundling the State allowed 6s. the first +year; 12s. the second; and 30s. for the third year; and afterward the +foster parent was to receive a sum varying according to the appearance +of the child. Children bereft of their father, remained under the +mother's care, but until the eldest child became of age were subject to +the guardianship of the husband's relations. Mothers usually nursed +their own children, cradles were used, and for the first few months +their clothing was swathed with a bandage. In this compact form they +were more easily carried, though the constraint to which they were +subjected, probably prevented that free development of the limbs, which +we now consider so essential to health and beauty. If very poor, the +father<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> was allowed to sell his son into slavery for seven years, +providing the consent of the child was obtained, and one ten years old +could give evidence. Until a daughter was fifteen years of age, her +father could marry her as he pleased, but afterwards had no power to do +so. A boy of fifteen could enter the monastic life if so disposed, and a +girl at a somewhat later period. Monasteries offered the best education +then procurable, and the clergy were directed to "teach youth with care, +and to draw them to some craft." Schoolboys appear to have been kept in +order, by the dread of personal chastisement, and great respect and +reverence was exacted by their elders.</p> + +<div class="figleft" style="width: 204px;"> +<img src="images/i073.jpg" width="204" height="380" alt="" title="" /> +</div> + +<p>In the dress of the Blue-coat School (Christ's Hospital), we see the +ordinary costume of boys of the Tudor period. It consisted of a long +coat reaching to the heels and knee-breeches, a striped vest, yellow +stockings, and a small round cap placed on the side of the head. The +dress of little girls may be found on various monumental effigies, in +which they appear like their mothers, in full skirts, sometimes +distended by a fardingale, the body imprisoned in whalebone to the hips, +a folded ruff encircling the neck, and their stockings (according to +Stubbs) were of the finest yarn, silk, thread, or cloth that could +possibly be had, of changeable colours, cunningly knit, with curiously +indented points, clocks, and open seams. The shoes were of black, green, +white and yellow velvet, or of leather stitched with silk and +embroidered with gold and silver all over the foot.</p> + + + + +<p>The paintings of Vandyck bring graphically before us the picturesque +elements of the dress of the Stuart era. There is an air of richness and +refinement about the long skirted silken<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span> frocks embellished with lace, +the pointed collars, and beaver hats with trailing feathers universally +worn, and the quaint lace caps, which, by a turn of fashion's wheel, +have been remodelled for the children of today.</p> + + + +<p>At no period in the history of costume were the styles so offensive to +those with a true conception of colour and form than in the first half +of the nineteenth century. We have only to turn to the sketches of Leech +and contemporary artists to find bare necks and arms, conspicuous +underwear, very short skirts distended by a stiffened petticoat or +crinoline, white cotton stockings, low shoes fastened by a strap and +single button, mushroom hats, aprons and pinafores devoid of elegance +and grace, and the hair cut close to the head or arranged in rows of +stiff ringlets. Nor did the boys of England, in trousers buttoned high +on short jackets, or with tunics worn with frilled linen collars and +leathern belts, show to greater advantage. Queen Victoria inaugurated a +new system of clothing for boys, when she dressed the young Princes in +Scotch and sailor suits, and the wardrobes of all classes have been +considerably extended of late, by the open-air life and outdoor sports +in which every self-respecting lad indulges. Cricket, tennis, boating, +football, and cycling, all imperatively demand appropriate apparel, and +tailors now give reasonable attention to this important branch of their +business, and provide fabrics and designs suited to the needs of the +rising generation.</p> + +<div class="figright" style="width: 160px;"> +<img src="images/i073b.jpg" width="160" height="380" alt="" title="" /> +</div> + +<p>Habits of personal cleanliness and the influence of dress on the minds +of growing girls is hardly realized except by those directly concerned +in education. Many a sensitive child's character has been warped by the +thoughtless jeers of schoolfellows, who were quick to perceive that her +clothing<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> was not up-to-date or of such good material as their own. On +the other hand, vanity, envy, and uncharitableness have been engendered +by foolish mothers, who have provided their daughters with inappropriate +and extravagant outfits.</p> + +<div class="figleft" style="width: 199px;"> +<img src="images/i074.jpg" width="199" height="380" alt="" title="" /> +</div> +<div class="figright" style="width: 174px;"> +<img src="images/i074b.jpg" width="174" height="380" alt="" title="" /> +</div> + + +<p>Though many advocate uniforms with distinctive trimmings for girls' +colleges, there are drawbacks to the scheme being adopted. Such a course +would probably destroy the individuality which we all desire to see +applied to the choice of clothing, and it would leave no field for +original ideas. Children must be <i>trained</i> to select and wear their +clothes to the best advantage, and it is folly to think that they will +do so by intuition. Some may possess naturally an artistic sense and a +keen eye for colour, but they are certainly in the minority, and +rational dress reformers have pushed sensible ideas to the verge of +absurdity, till now the name is almost regarded as a term of reproach.</p> + + + + +<p>How much we owe to pioneers of children's dress reform, and especially +to Messrs. Liberty, who evolved what is generally known as the æsthetic +style in dress. From sketches courteously placed at my disposal, I am +enabled to put before the reader examples of children's clothing which +are artistic in form, light of texture, and which in no way impede the +physical development. Those who have the care of children should +remember what a sacred charge is imposed upon them, and that their +future health mainly depends, upon the manner in which they are clothed +during the first few years of life. There must be no tight bands, belts, +or garters to prevent circulation and to cause organic troubles; and +where corsets are dispensed with, as happily they are in many cases +where growing girls are concerned, the weight of the clothing should be +borne by the shoulders, not the waist, and this is ensured by cutting +undergarments in the princess or combination forms. Many young people +suffer from being carelessly shod, and hideous malformations of the feet +arise in consequence, while obscure diseases of the brain can sometimes +be traced to heavy head-gear, and the strain of over-study. Hats should +be of light construction, and afford a grateful shade to the eyes, if +that far-reaching ailment of<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span> civilisation, short sight, is to be +successfully combatted; and special attention must be paid to infants, +who may often be seen in public thoroughfares with a hot sun beating +down upon them, and the nurse oblivious to the fact. The sight of a +tender infant entrusted to the care of a young woman, who has not the +glimmering of a notion of how to look after its fragile body, must fill +any right-minded person with indignation. Is it unreasonable to expect +those who undertake the charge of children to acquaint themselves with +at least an elementary knowledge of the construction and functions of +the human body? The ignorance of the average nursemaid is appalling; +and though a board school education may have acquainted her with the +mysteries of the First Book of Euclid, or the rudiments of music, the +curriculum rarely includes the simplest instruction on the healthy +training of children; and, in consequence, the high rate of infant +mortality in this country is a national disgrace.<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span><br /><span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span></p> + +<div class="figcenter" style="width: 206px;"> +<img src="images/i075.jpg" width="206" height="450" alt="" title="" /> +</div> + + +<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Chapter_IX" id="Chapter_IX"></a><span class="smcap">Chapter IX.</span></h2> + +<h3>FANCY COSTUME OF VARIOUS PERIODS.</h3> + +<p> +<span style="margin-left: 1em;">"The dome, where pleasure holds her midnight reign,</span><br /> +<span style="margin-left: 1em;">Here richly decked, admits the gorgeous train;</span><br /> +<span style="margin-left: 1em;">Tumultuous grandeur crowds the blazing square,</span><br /> +<span style="margin-left: 1em;">The rattling chariots clash, the torches glare."</span><br /> +</p> + + +<p>During the Roman occupation of Britain, many sports and pastimes, with +their appropriate costumes, were introduced into this country from +Southern Europe and the East, and at a very early period mummings were +popular with the people. These were primitive masquerades, where the +actors, if we may judge from antique illuminations, generally mimicked +the brute creation rather than human beings. They often appeared between +the courses at banquets, and on important occasions elaborate pageants +were arranged. Ships filled with mariners were sometimes introduced, or +towers garrisoned with armed men, while the actors portrayed some +allegorical lesson or historical incident.</p> + +<p>A well-known event intimately connected with masking was the narrow +escape from death by fire of Charles VI. of France, on January 29th, +1392. The king, with eleven of his knights, for the amusement of the +Court, dressed like savages, in tight-fitting garments of linen covered +with flax, and were dancing before the Queen and the Duchess de Berri, +when the Duc d'Orléans with a torch accidentally ignited the inflammable +costume of a masker, who was chained to four others. The Duchess +protected the King by wrapping him in the train of her mantle, but four +persons died in great agony.</p> + +<p>Edward III. issued an ordinance against vagrants who exhibited +scandalous masquerades in low ale-houses, and directed that such persons +should be whipped out of London. The Feast of Fools was one of the most +singular of these exhibitions. It somewhat resembled the Roman +Saturnalia, and was enacted at Christmas. In England the celebration of +this festival does not appear to have been attended with the same +excesses as were commonly practised on the Continent, but it was +nevertheless a season of licence, in which order and discipline were +reversed. The churl was elected to represent the Pope; the buffoon was +made a cardinal; and the lowest of the mob assumed for the time being +the garb of the priesthood, and took possession of churches, where they +parodied every part of the sacred service, and sang masses composed of +obscene songs.</p> + +<p>Dramatic representations were so tainted by the grossness and +licentiousness of the age, that priests were prohibited from attending +them, till the Church introduced religious plays, founded on scriptural +incidents, and which were known as miracles and mysteries. For these the +actors were trained by the clergy, and sacred edifices and vestments +were placed at their disposal, to give truth and lustre to the +representations.</p> + +<p>There were frequent tournaments after the Norman Invasion, and these +were patronized and encouraged by Richard C[oe]ur de Lion. From this era +they occupied a prominent place in the national institutions and +history, and afforded many opportunities for the display of picturesque +costume. Ladies on these occasions were conspicuous, and sometimes rode +in parti-coloured tunics with short hoods and tippets wrapped about +their heads. Their girdles were decorated with gold and silver, and they +carried small swords. The space marked out for the combat was surrounded +by raised seats for high-born dames, princes, and the judges of the +conflict. Knights wore their ladies' colours on their helmets, +emblazoned on their clothing, and on the trappings of their horses; and +throngs of troubadours, heralds, and minstrels dressed in gorgeous +attire, were present to discharge their duties, and to give importance +to the spectacle.</p> + +<p>The ancient English Morris Dance, performed with other quaint usages on +the 1st of May, is supposed to be of Moorish origin. It is depicted on +an antique stained glass window at Betley, in Staffordshire. The +May-pole and the Man with the Hobby Horse (who represents a Moorish +King, and is the consort of the May Queen), occupy a prominent position. +The other characters<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> are the Fool, the Lesser Fool, Tom the Piper, a +Spaniard, the Franklin or private gentleman, a Churl or peasant, the May +Queen, a Nobleman, and a Friar. The dresses were adorned with bells, +intended to sound the measure of the dancers. They were of different +sizes, and were called the fore bell, the second bell, the treble, the +tenor, and the great bell.</p> + +<p>Planché, in his valuable work, the "Cyclopædia of Costume," states the +earliest illustration of a <i>bal costumé</i> is in a MS. of the fifteenth +century, in the Ambrosian Library at Milan, and he gives a reproduction +from an old painting on wood dating from 1463, representing a dance by +torchlight at the Court of Burgundy. Each person holds a long lighted +taper, and this dance, up to the sixteenth century, was usually reserved +for wedding festivities. In England masked balls were rare before the +reign of William III., and in France they first took place during the +regency of Philip, Duke of Orleans, when the Opera House was converted +into a ball-room. Father Sebastian, a Carmelite friar, devised a means +of elevating the floor of the pit to the level of the stage, and of +lowering it at pleasure.</p> + +<p>Ranelagh and Vauxhall Gardens, and Belsize House, Hampstead, were also +places of popular resort, and scenes of many entertainments during the +eighteenth century. There were pyrotechnic displays, bands of music, +frequent balls, and facilities for dinner and supper parties. The lawns +were dotted with arbours, lakes, and artificial cascades; the trees were +festooned with coloured lamps, and the costumes of those who frequented +these gatherings were elaborate and costly.</p> + +<p>From the writings of Horace Walpole and others, we learn that private +open-air galas were of common occurrence among the aristocracy, and he +gives a description of a <i>festino</i> at Northumberland House in honour of +the Marquess of Tavistock and his bride; when arches and pyramids of +lights alternately surrounded the enclosure, and festoons of lamps edged +the railings. In 1761 Her Majesty Queen Charlotte surprised her husband +on his birthday with a splendid garden party, followed by fireworks, a +cold supper of a hundred dishes, and an illuminated dessert. The Duke of +Richmond celebrated a similar occasion with a masked ball and music—the +vocal parts performed by many of the nobility, in fancy dress. Here, +too, there was a display of fireworks in the garden and from the river. +Almack's new Subscription and Assembly Room was opened in February, +1765, under distinguished patronage; and Gibbon mentions a masquerade at +a rival establishment, the Pantheon, which he states was above par in +magnificence, and below par in humour, and cost £5000.</p> + +<p>Five o'clock was the dinner hour of fashionable people during the +eighteenth century, and three for those of lower rank. At eleven p.m. +supper was usually served, and breakfast was from nine to eleven a.m. +The House of Commons commenced sitting at two, and the Opera began at +seven.</p> + +<p>At this period the domino (evolved from the priestly cowl) was in great +request, and was used in the boxes of theatres for purposes of +concealment, and by those of questionable morals. Though the large hoop +towards the close of the eighteenth century was only worn at Court, or +in full dress, the pocket hoop for distending the panniers was still in +vogue. For the abolition of the Court hoop, we are indebted to George +IV., whose taste in dress was unimpeachable. Powder and patches +maintained their ground till 1793, when they were discarded by Queen +Charlotte and the Princesses. Aprons were regarded as a necessary item +of a fashionable costume up to 1750, and the watch and etui adorned the +waist, necklaces sparkled on the bosom, and bracelets were worn over +long gloves.</p> + +<p>The French Revolution affected masculine costume; and in 1789 were +introduced into this country the muslin cravat, in which the chin was +partially concealed, stand-up collars, Hessian boots, and round hats of +beaver. Scarlet coats were much in vogue about 1784, and an anecdote in +"The Life of Sir Astley Cooper" represents him as returning from a +dancing academy in a scarlet coat, a three-cocked hat, a black glazed +stock, nankeen knee-breeches, and silk stockings. This may be regarded +as the ordinary costume of a gentleman at that period.</p> + +<p>Wigs had begun to go out of fashion as early as 1763, in which year the +wigmakers petitioned King George III. to support the trade by his +example. "The hair," says Malcolm, "was dressed high on the head, +whitened with powder, and alternately plaited<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> and turned up or queued +behind." When the hair powder tax—one guinea per annum—was enforced in +1795, thousands of heads reverted to their natural colour.</p> + +<p>Some brilliant fancy dress balls (with a view to encouraging home trade) +have taken place during the Victorian era. Of the first, which was given +by the Queen and Prince Consort at Buckingham Palace in 1842, a +permanent memorial exists in two handsome volumes compiled by J. R. +Planché, containing carefully coloured illustrations of the various +dresses, and autograph portraits of the wearers. They form an invaluable +book of reference for those desiring accurate representations of the +costume of the period of Edward III. (1327-1377). A special feature of +this ball was a series of costume quadrilles, arranged by ladies of the +Court and others of high rank. They were danced in the following +order:—</p> + +<p>French quadrille, led by H. R. H. the Duchess of Cambridge.</p> + +<p>Spanish quadrille, led by the Duchess of Buccleuch.</p> + +<p>German quadrille, led by the Duchess of Sutherland.</p> + +<p>Crusaders' quadrille, led by the Marchioness of Londonderry.</p> + +<p>Waverley quadrille, led by the Countess de la Warr.</p> + +<p>Scotch quadrille, led by the Duchess of Buccleuch.</p> + +<p>Cossack quadrille, led by Baroness Bremon.</p> + +<p>Greek quadrille, led by the Duchess of Leinster.</p> + +<div class="figcenter" style="width: 222px;"> +<img src="images/i081.jpg" width="222" height="400" alt="PRINCE ALBERT AS EDWARD III." title="" /> +<span class="caption">PRINCE ALBERT AS EDWARD III.</span> +</div> + +<p>Prince Albert, as Edward III., wore a costume copied from the effigy of +that king in Westminster Abbey. It consisted of a long tunic of gold and +blue brocade, reaching to the ankles. The collar, which fitted close +round the neck, was bordered with purple velvet, thickly studded with +jewels. The tunic, which had an opening up the centre to the height of +the knee, was bordered and enriched with jewels to correspond with the +collar, as were the wristbands. The hose were scarlet, also the shoes, +which were embroidered with gold. Over the tunic, His Royal Highness +wore a mantle reaching to the heels, composed of the richest scarlet +velvet, bordered by a broad gold figured lace, set on each side with +large pearls. It was lined with ermine, and connected across the breast +by a band of purple velvet, studded with diamonds, rubies, and emeralds, +and in the centre was a turquoise of immense size and perfect colour.<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> +The band was fastened to the mantle on either side by a massive gold +ornament enriched with precious stones.</p> + +<div class="figcenter" style="width: 373px;"> +<img src="images/i082.jpg" width="373" height="400" alt="QUEEN VICTORIA AS PHILIPPA, WIFE OF EDWARD III." title="" /> +<span class="caption">QUEEN VICTORIA AS PHILIPPA, WIFE OF EDWARD III.</span> +</div> + +<p>Her Majesty the Queen as Philippa of Hainault, wife of Edward III., was +attired in a demi-trained skirt of crimson velvet, edged with miniver. +Over this was worn a surcoat of blue and gold brocade, trimmed with fur +to match, and embellished with a stomacher of jewels valued at £60,000. +The other portions of the costume were also studded with jewels. The +mantle was of gold brocade, with a floral design in silver. The hair was +encased in a gold net, enriched with precious stones, and was surmounted +by a crown.</p> + +<p>Princess Augusta of Cambridge personated Princess Claude, daughter of +Anne of Bretagne, Queen of France. Her dress of silver tissue was +bordered with ermine, and the tunic was of light blue velvet, worked +with the fleur-de-lis in silver. The low bodice was bordered with +diamonds. The sleeves of silver tissue reached to the wrist, and were +trimmed with rows of pearls. The gloves were jewelled, and a white tulle +veil with silver embroideries depended from a turquoise and pearl +diadem. By Her Majesty's command, her own dress, that of Prince Consort, +and most of the costumes worn at this ball, were manufactured by the +silk-weavers of Spitalfields.</p> + +<p>For the second royal ball in June, 1845, the period of George II. +(1727-1760) was selected, and 1200 guests were invited. The Queen looked +extremely well in powder, and her dress is described as of cloth of gold +and cloth of silver, with daisies and poppies worked in silk, and shaded +in natural colours. The trimmings and ruffles of exquisite point +lace—had belonged to Queen Charlotte—and the stomacher was trimmed +with lace and jewels. The sacque was ornamented with ribbons, caught +with diamonds. On the powdered coiffure was a diamond crown; Her +Majesty's white shoes had red rosettes with diamond centres, and she +wore the star and ribbon of the Order of the Garter. Prince Albert had a +costume of the same period, with the Star of the Garter,<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> and the Order +of the Golden Fleece in brilliants. The Marchioness of Douro, the Duke +of Wellington's daughter-in-law, was the acknowledged belle of this +ball, and wore £60,000 worth of diamonds. Miss—now the +Baroness—Burdett Coutts was also present, her dress trimmed with jewels +once the property of Marie Antoinette.</p> + +<p>In 1871 the Princess of Wales attended the Waverley Ball at Willis' +Rooms, with several other members of the Royal Family, and was much +admired in the character of the ill-fated Mary Stuart. On July 22nd, +1874, a fancy dress ball was given by their Royal Highnesses the Prince +and Princess of Wales at Marlborough House, for which some beautiful +costumes were prepared. The Princess wore a handsome Venetian dress, and +danced in the first quadrille with the present Duke of Devonshire. The +Prince in a Cavalier costume opened the ball with the late Duchess of +Sutherland. The chief costume quadrilles on this occasion were the +Venetian, the Vandyck, Characters in Fairy Tales, and a Pack of Cards.</p> + +<p>Another historic <i>bal costumé</i> was given in February, 1895, at Warwick +Castle, by the Earl and Countess of Warwick. No more fitting background +for such a function can be imagined than this stately mansion, which has +been a centre of hospitality for countless generations, but has never +been presided over by no more gracious and popular châtelaine than the +present Countess. Lady Warwick looked very beautiful as Marie Antoinette +(the consort of Louis XVI. of France) in a petticoat and corsage of +exquisite English brocade, with a design of shaded roses, enriched with +gold thread on a pearl-coloured ground. The train of royal blue velvet, +embroidered in gold thread with the fleur-de-lis, was attached to the +shoulders by a band of diamonds; and the Warwick jewels, diamond stars, +were arranged on the corsage veiled with gold flecked gauze, which was +also employed for the puffed sleeves. Her elaborate white coiffure was +surmounted by a white muslin cap edged with blue velvet and adorned with +diamond aigrettes and plumes of pink, white, and blue feathers. Lady +Marjorie Greville (the only daughter of Lord and Lady Warwick) with Miss +Hamilton acted as train-bearers. They wore the daintiest white costumes +of the period, composed of broché silk, with fichus of white chiffon, +and silk hats trimmed with feathers. Each carried a long crook tied with +white ribbons and bunches of flowers, and the effect was charming. The +Earl of Warwick wore a French Court costume, the coat of ruby velvet +profusely trimmed with gold lace, white cloth cuffs, and revers. The +long white kerseymere waistcoat was braided in gold, and the white +knee-breeches and low shoes were ornamented with diamond buckles. The +Earl's wig, <i>a la mousquetaire</i>, was tied with a bow of black ribbon, +and he carried a tricorne hat with white ostrich plumes, and white +gauntlet gloves. Lady Warwick's two sisters, the Duchess of Sutherland +and Lady Angela Forbes, represented Marie Letzinka, consort of Louis +XV., and Lady Mary Campbell. The former wore a magnificent gown of white +satin de Lyon. The skirt embroidered with a flight of swallows in silver +and crystals, a deep bertha of Point de Flandre, with ruffles of the +same on the short sleeves. The train of crimson velvet was embroidered +with the French emblem, and Her Grace had a stomacher of splendid +diamonds. Lady Angela Forbes' dress was of white muslin, with a blue +sash, and picturesque hat of turquoise silk, trimmed with feathers and +roses. Princess Henry of Pless, as la Duchesse de Polignac, had a dress +of rich white satin, the skirt embroidered 18in. deep, with turquoises +and brilliants, a powdered wig, and the same jewels in her hair. Lady +Eva Dugdale, sister to the Earl of Warwick, and lady-in-waiting to Her +Royal Highness the Duchess of York, wore a Louis Quinze white satin +dress, covered with pink roses, corsage <i>en suite</i> fastened with large +diamond ornaments. A silver trellis pattern was worked round the hem of +the skirt, and white silk mittens and shoes completed the costume. Lady +Rosslyn chose a white embroidered muslin petticoat, the overdress of +pink and red striped silk, fichu and ruches of black lisse, and a +picturesque hat. Lady Flo Sturt, as Madame la Marquise de Pompadour, was +in rich cream satin, with bodice and sleeves of antique lace, and +stomacher of diamonds. A black satin toque, with aigrette of diamonds, +contrasted well with the white wig. Count Deym, the Austrian Ambassador, +was in English Court dress. Prince Henry of Pless, in mousquetaire +cos<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span>tume, represented the Vicomte de Bragelonne. The Duke of Manchester +was in white satin breeches, waistcoat to match, bordered with gold, and +coat of white and silver brocade with moss roses and foliage.</p> + +<p>The scene inside the Castle was one of unparalleled brilliancy, while +those who glanced from the mullioned windows saw by bright moonlight the +Avon frozen, the ancient cedars glistening with frost, and the +surrounding country wrapped in a snowy mantle. The entire ground floor +of the Castle was thrown open, and no pains were spared to give as +complete a representation as possible of the gorgeous fêtes which made +the Court of Marie Antoinette famous throughout Europe. The finest +spectacle presented itself when the guests assembled at supper in the +oak-lined hall, where the light of a thousand candles was reflected in +the bright steel armour which surrounded the walls. Several high +screens, hung with Beauvais tapestry and shaded by huge palms, filled +the angles of the hall, and the stone walls were partially concealed by +yellow and silver embroideries. In the huge fireplace logs crackled, and +on small round tables were placed silver candelabra with crimson shades +and floral decorations, consisting of scarlet geraniums and maiden-hair +fern. The centre table was reserved for Marie Antoinette and her Court, +and here was the choicest display of family plate, including, amongst +other valuable specimens of the goldsmith's art, a golden cup modelled +by Benvenuto Cellini. From the hall you entered the Red Drawing room, +which contains a marble table, inlaid with flowers and fruit, and +formerly the property of Marie Antoinette. Next is the Cedar +Drawing-room, used as the ball-room, on whose walls are many family +portraits and other paintings by Vandyck; the remainder of the suite of +State apartments were used as withdrawing-rooms between the dances; and +at the opposite end of the Castle is the Library, the Billiard-room, and +the Countess's lovely Louis Seize Boudoir, in ivory tints, with festoons +of delicately-shaded flowers.</p> + +<p>Dancing was carried on with great spirit till early morning, and the +tardy winter sun had risen ere the last carriage drove away from one of +the most successful balls of the nineteenth century.</p> + +<p>Among the many important entertainments given by members of the English +aristocracy in honour of the sixtieth year of the reign of Queen +Victoria, was a Costume Ball at Devonshire House, Piccadilly, on July +2nd, 1897, when the Duke and Duchess of Devonshire received nearly all +the members of the Royal Family, many distinguished guests from the +Colonies, and members of the Corps Diplomatique. This historic mansion +was built for the third Duke of Devonshire, and it was here that +Georgiana, the beautiful Duchess of Devonshire, held her Court. It +contains a fine suite of reception rooms on the first floor; a gallery +of pictures, in which the old masters are well represented; and +extensive grounds in the rear, which on this occasion were decorated +with thousands of Chinese lanterns and fairy lamps. The principal +feature of the ball was a grand procession of the guests, headed by the +Duke and Duchess of Devonshire, the former personating Charles V. of +Germany, and the latter attired with Oriental magnificence as Zenobia, +Queen of Palmyra, in a robe of silver tissue wrought with jewels. The +mantle was of cloth of gold similarly treated, and the bodice was also +studded with precious stones. The head-dress consisted of white ostrich +plumes and a golden and jewelled crown, from which depended chains of +pearls. H.R.H. the Princess of Wales, as Margaret of Valois, was +surrounded by the ladies of her Court, their Royal Highnesses Princess +Charles of Denmark, Princess Victoria of Wales, the Duchess of Fife, and +the Duchess of York. The Princess of Wales wore a gown of white satin +wrought with silver, and a train of cloth of gold lined with silver and +superbly jewelled. H.R.H. the Prince of Wales, as Grand Master of the +Knights Hospitallers of St. John of Jerusalem and Chevalier of Malta, +wore a rich Elizabethan costume carried out in black and silver, and +bearing the white cross of the Order on one shoulder. The Duke of York +represented the Earl of Cumberland, one of Queen Elizabeth's courtiers. +Prince Charles of Denmark was a Danish student. The Duke of Connaught +wore the uniform of a military commander during the reign of Elizabeth, +and the Duchess looked charming as Queen Anne of Austria in a +picturesque gown with puffed sleeves. The Eastern Queens were +magnifi<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>cently arrayed and blazing with jewels. Lady de Trafford was +Semiramis, Empress of Assyria, in a dress copied from a vase in the +British Museum. Princess Henry of Pless was Queen of Sheba, in a robe +and train of shot purple and gold tissue, elaborately embroidered with +turquoises and other stones, and wore an Assyrian jewelled head-dress, +decorated with a diamond bird and aigrette. Another Queen of Sheba was +Lady Cynthia Graham, and there were two Cleopatras—Lady de Grey and +Mrs. Arthur Paget. The husband of the latter accompanied her as Mark +Antony. Lady Elcho was a Byzantine Queen, Miss Muriel Wilson was Queen +Vashti, and the Countess of Dudley, as Queen Esther, wore a dress of +white crêpe, embroidered with gold and studded with amethysts, +turquoises, and pearls.</p> + +<p>The Elizabethan Court was represented by Lady Tweedmouth as Queen +Elizabeth, in a gown copied from a picture in the National Portrait +Gallery. Her canopy was carried by four yeomen in uniforms of crimson, +black, and gold, copied from Holbein's picture of "The Field of the +Cloth of Gold," in the Hampton Court collection. Lord Tweedmouth was the +Earl of Leicester, in slashed doublet and hose of ruby velvet and satin, +enriched with gold embroidery. Lady Edmondstone, as Mary Queen of Scots, +wore a dress of pale blue velvet, and tulle veil head-dress and ruff +worked with pearls. She was attended by the Duchess of Hamilton, dressed +in the character of Mary Hamilton, the Queen's favourite maid of honour. +The Countess of Warwick, as Marie Antoinette, was beautifully dressed in +a petticoat of rich white satin and a Court gown of English brocade, +with a train of Royal blue velvet. The hair was powdered, and she was +attended by four pages in white satin suits and three-cornered hats, +bearing over her ladyship a canopy of blue velvet. This group included +the Duchess of Sutherland, as Charlotte Corday in a gown of red <i>crêpe +de Chine</i>, a muslin fichu and cap, trimmed with point d'Alençon lace, +and dagger at waist. Lady Westmorland made a lovely Hebe, and Lady +Angela Forbes, as the Queen of Naples, wore an Empire gown of ivory +duchesse satin, embroidered with silver and diamonds, and a train of +lilac velvet, edged with jewelled embroidery and lined with satin. The +head-dress consisted of a small jewelled crown and two white feathers. +Among many other notable costumes should be mentioned the Marchioness of +Tweedale's, as the Empress Josephine, as she appears in the Coronation +picture at the Louvre, Paris; the Marchioness of Londonderry, as the +Empress Marie Thérèse, of Austria, and the Marchioness of Zetland's, as +Queen Henrietta Maria, wife of Charles I. of England; Viscountess +Raincliffe, as the Empress Catherine II. of Russia, wore white satin, +and her dress was an exact copy of the picture in the British Museum by +Lambi. The Court gown of the Duchess of Portland, as Duchesse de Savoia, +who headed the Venetian procession, was composed of white satin veiled, +with lisse wrought with silver, partially covered by a silver cloth +mantle, embroidered with pearls and diamonds, and diamonds and emeralds +were introduced in the coiffure.<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span><br /><span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span><br /><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p> + + + + +<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Chapter_X" id="Chapter_X"></a><span class="smcap">Chapter X</span></h2> + +<h3>STAGE AND FLORAL COSTUME.</h3> + +<p> +<span style="margin-left: 9em;">"All the world's a stage,</span><br /> +<span style="margin-left: 1em;">And all the men and women merely players,</span><br /> +<span style="margin-left: 1em;">They have their exits and their entrances,</span><br /> +<span style="margin-left: 1em;">And one man in his time plays many parts."</span><br /> +</p> + + +<p>Garrick was one of the first of our English actors to realize how much +the success of a piece depended upon appropriate costume, and, on his +taking the management of Drury Lane Theatre in 1747, at once turned his +attention to this important branch of dramatic art. He refused to +tolerate the absurdity of a heterogeneous mixture of the foreign and +ancient modes, which had hitherto debased tragedies by representing, for +instance, Greek soldiers in full-bottomed wigs, and the King of an +Oriental Nation in trunk hose. The improvement, however, must have been +very gradual, for Garrick is said to have played the part of Macbeth ten +years later in a gold-laced suit of sky blue and scarlet; while Mrs. +Yates as Lady Macbeth appeared in a hooped court petticoat of enormous +dimensions, with tight-fitting pointed bodice and elbow sleeves, and her +powdered hair dressed over a high cushion. Garrick's suits for the +characters of King Lear and Hamlet also followed the fashions of the +18th century, though he played Richard III. in a fancy dress designed +with some regard to correctness of detail. Even during the present +century, an equally absurd anachronism may be recorded. The late Mr. +Charles Mathews made his first appearance in public, at the Theatre +Royal, Richmond, as Richmond in Richard III., wearing the helmet and +jacket of a modern light horse soldier.</p> + +<div class="figleft" style="width: 165px;"> +<img src="images/i089.jpg" width="165" height="400" alt="A TURKISH MAIDEN." title="" /> +<span class="caption">A TURKISH MAIDEN.</span> +</div> + +<p>The first pantomime or harlequinade was played in England in 1717, and +the earliest illustration of an English harlequin in the dress now +familiar to us, is to be found in a sketch of Bartholomew Fair, dated +1721. Of the characters of columbine, pantaloon, and clown, we have no +contemporary drawings. Of the French ballet dancers of this period there +are some carefully-executed plates in Planché's "Cyclopædia of Costume." +They are all represented in long, and sometimes in trained skirts. The +first example of the abbreviated ballet skirt, reaching to the knee, is +given in the portrait of an actress personating Le Zephyr, about the +middle of the 18th century. The peasant costume of various nations has +also been adapted to stage purposes with excellent effect.</p> + +<p>The late Hon. Lewis Wingfield devoted much time to designing the stage +dresses of the Victorian era, and Madame Alias—who has also passed +away—provided the costumes in Mr. Calvert's revival of Henry VIII., and +was also responsible for dressing many of the Alhambra ballets and the +plays at London and provincial theatres. Madame Bernhardt, Miss Ellen +Terry, Mrs. Langtry, Sir Henry Irving, and the late Sir Augustus Harris +have also brought their influence, money, and taste to bear on correct +stage costume, with the result that we have had many sumptuously-dressed +revivals and new plays, which otherwise might have sunk into oblivion. +Such spectacles as are often to be seen at our leading Metropolitan +theatres and music halls, if they fail to touch the public fancy, mean +absolute and irretrievable ruin to their promoters; and when it is +remembered that many thousands are spent annually in staging theatrical +enterprises, before a single seat is booked, it will at once be seen +what enormous sums must<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> be involved in furthering dramatic interests. +The public, who have for the last sixty years been catered for so +generously, are sometimes apt to overlook the difficulties with which +the scenic artist has to contend.</p> + +<p>It would be impossible within the circumscribed limit of a single volume +to minutely describe even the most notable theatrical costumes of the +last half century, but a few of the most effective floral costumes will +be appended for the benefit of those who desire to introduce them into +various entertainments.</p> + +<p>The steady patronage of Her Majesty the Queen and the Royal Family have +done much to remove any prejudices which existed against the drama, and +as a powerful auxiliary to education the stage is rapidly gaining +ground. Dull, indeed, must the theatre-goer be if he leaves without +having assimilated some valuable lesson. To Shakespeare we owe many +ideal types of womanhood, all the more precious now that some of the +weaker sex, in an insatiable desire for progress, sometimes neglect +those lesser arts which in the past proved to them a shield and buckler. +The classical and historical pieces allow us to live again in scenes +which occurred when the world was young, and convince us, though the +tastes of the people were simpler, human nature, with its passions and +aspirations, has changed but little. Who can deny the moral influence of +such plays as "The Sign of the Cross," "Hypatia," "The Daughters of +Babylon," "Virginius," or those of the Robertson school, of which +"Caste" and "Ours" are examples? A love of music is not considered a +marked trait of the English nation, yet have not Italian and comic opera +stimulated a desire for a concord of sweet sounds among all classes of +the community? Such plays as "Patience" and the "Mikado" have developed +our instinct for colour and form, and we are taught the value of +industry and restraint when we watch well-trained actors, capable of +controlling every gesture, and of charming us with their well-modulated +voices. Our lives are cheered by viewing the comic side of things, and +on our clothing and household possessions, the stage has also laid a +refining hand.</p> + +<hr style="width: 45%;" /> +<h3>FLORAL COSTUMES.</h3> + +<h4>A POPPY.</h4> + +<p>The bodice and skirt of red accordion, pleated <i>mousseline de soie</i>, the +petals of the flower and belt in bright red silk. Large silk poppies +appear on the shoulders and bust, and one of extra size is used for a +head-dress. With this costume neat black shoes and silk stockings should +be worn, and a palm-leaf fan covered with poppies and foliage should be +carried.</p> + +<div class="figcenter" style="width: 190px;"> +<img src="images/i090.jpg" width="190" height="380" alt="A POPPY." title="" /> +<span class="caption">A POPPY.</span> +</div> + +<h4>LILY OF THE VALLEY.</h4> + +<p>Corsage and skirt of white pleated Valenciennes lace mounted on green +silk. A full berthe of the flowers. White lace hat entirely covered with +these blooms, and fan to correspond.</p> + +<h4>MOSS ROSE.</h4> + +<p>Gown of pink satin, veiled with tulle and flecked with rose buds. A +ruche of moss roses at the hem of the skirt and on the bodice. A Dolly +Varden hat trimmed with moss roses and pink ribbon.</p> + +<h4>WILD ROSE.</h4> + +<p>Dress of shot pink and white satin, embroidered or painted with clusters +and trails of wild roses and foliage. Skirt edged with full ruche of +pink tulle studded with roses, and corsage trimmed to correspond. +<i>Coiffure poudré</i> dressed with small basket of roses and pink ribbon.</p> + +<h4>WHITE ROSE.</h4> + +<p>Gown with Watteau train of white satin<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> edged with leaveless roses, +chains of the same flowers carried across the front of the dress, and +outlining the square-cut bodice, and elbow sleeves. Ruffles of lace. A +wreath of white roses in the powdered hair, and a crook decorated with +flowers and ribbon streamers.</p> + +<h4>SUMMER ROSES.</h4> + +<p>Gown of cream-coloured brocade, with design in shaded roses and foliage, +trimmed with garland of roses of different tints embedded in tulle. +Décolleté corsage trimmed to correspond, and a damask rose worn in the +hair.</p> + +<h4>WILD FLOWERS.</h4> + +<p>Dress of pale blue satin, veiled with green tulle. Trails of +forget-me-nots, poppies, marguerites, buttercups, and grass depending +from the waist-belt to edge of skirt, and bodice trimmed to correspond. +A Leghorn hat garnished with wild flowers, grass, and blue ribbons.</p> + +<h4>GARDENIA.</h4> + +<p>Greek dress of white crêpe de Chine, embroidered in classical design +with silver. In front diagonal trails of gardenias and their dark +foliage arranged from the right shoulder to left side of dress. The hair +bound with silver bands. A shower bouquet to correspond.</p> + +<h4>THE SHAMROCK.</h4> + +<p>Gown of emerald green satin appliquéd with velvet shamrocks of a darker +shade. The stomacher a large trefoil in emeralds, and the short sleeves +cut to resemble the Irish emblem. Corsage veiled with green tulle strewn +with tiny shamrocks, and a coronet of the same in the hair.</p> + +<h4>THE THISTLE.</h4> + +<p>High dress of eau de nil satin. The skirt edged with a wreath of +thistles, which are also embroidered in a bold design on the front of +gown and bodice. Satin hat trimmed with thistles and ribbon, and black +staff tied with thistles and ribbon streamers.</p> + +<h4>DANDELION.</h4> + +<p>Gown of yellow accordion, pleated chiffon finished on the skirt with +trails of flowers from the waist to hem of the skirt, interspersed with +the seed pods commonly known as blow-aways. The bodice of pleated +yellow chiffon with dandelions across the berthe and clusters on the +shoulders. A wreath and aigrette to correspond.</p> + +<h4>IRIS.</h4> + +<p>Dress of white satin, veiled with mauve chiffon, flecked with iris +petals. Trails of mauve and white flowers tied with bows of satin in +alternate shades, and carried across the skirt. Square cut corsage to +correspond, and elbow sleeves. A muslin cap trimmed with the same +flowers. Powdered hair.</p> + +<h4>LILAC.</h4> + +<p>Gown of cream satin brocaded with mauve and white lilac, Marie +Antoinette, white chiffon fichu, and cap trimmed with clusters of shaded +lilac and foliage. Elbow sleeves with chiffon ruffles. The white satin +fan painted to correspond, and caught by a flower châtelaine. The hair +dressed with the same flowers, and a twisted scarf of mauve and white +chiffon.</p> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Evolution of Fashion, by Florence Mary Gardiner + +*** END OF THIS PROJECT GUTENBERG EBOOK THE EVOLUTION OF FASHION *** + +***** This file should be named 34845-h.htm or 34845-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/4/8/4/34845/ + +Produced by Meredith Bach and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +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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