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+The Project Gutenberg eBook, Dress design, by Talbot Hughes
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Dress design
+       An Account of Costume for Artists & Dressmakers
+
+
+Author: Talbot Hughes
+
+
+
+Release Date: January 10, 2011  [eBook #34903]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK DRESS DESIGN***
+
+
+E-text prepared by Constanze Hofmann, Suzanne Shell, and the Online
+Distributed Proofreading Team (http://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 34903-h.htm or 34903-h.zip:
+      (http://www.gutenberg.org/files/34903/34903-h/34903-h.htm)
+      or
+      (http://www.gutenberg.org/files/34903/34903-h.zip)
+
+
+Transcriber's note:
+
+      Text enclosed by equal signs is in bold face (=bold=).
+
+      A list of corrected printer's errors and inconsistencies can
+      be found at the end of the text.
+
+
+
+
+
+The Artistic Crafts Series of Technical Handbooks
+Edited by W. R. Lethaby
+
+DRESS DESIGN
+
+
+[Illustration: A Long-trained Muslin Dress. About 1800.]
+
+
+DRESS DESIGN
+
+An Account of Costume
+for Artists & Dressmakers
+
+by
+
+TALBOT HUGHES
+
+Illustrated by the Author from
+Old Examples · Together
+with 35 Pages of Half-Tone Illustrations
+
+
+
+
+
+
+
+London
+Sir Isaac Pitman & Sons, Ltd.
+Bath, Melbourne, Toronto, and New York
+
+Reprinted 1920
+
+
+
+
+GENERAL PREFACE TO THE SERIES
+
+
+In issuing this volume of a series of Handbooks on the Artistic Crafts,
+it will be well to state what are our general aims.
+
+In the first place, we wish to provide trustworthy text-books of
+workshop practice, from the points of view of experts who have
+critically examined the methods current in the shops, and putting aside
+vain survivals, are prepared to say what is good workmanship, and to set
+up a standard of quality in the crafts which are more especially
+associated with design. Secondly, in doing this, we hope to treat design
+itself as an essential part of good workmanship. During the last century
+most of the arts, save painting and sculpture of an academic kind, were
+little considered, and there was a tendency to look on "design" as a
+mere matter of _appearance_. Such "ornamentation" as there was was
+usually obtained by following in a mechanical way a drawing provided by
+an artist who often knew little of the technical processes involved in
+production. With the critical attention given to the crafts by Ruskin
+and Morris, it came to be seen that it was impossible to detach design
+from craft in this way, and that, in the widest sense, true design is an
+inseparable element of good quality, involving as it does the selection
+of good and suitable material, contrivance for special purpose, expert
+workmanship, proper finish and so on, far more than mere ornament, and
+indeed, that ornamentation itself was rather an exuberance of fine
+workmanship than a matter of merely abstract lines. Workmanship when
+separated by too wide a gulf from fresh thought--that is, from
+design--inevitably decays, and, on the other hand, ornamentation,
+divorced from workmanship, is necessarily unreal, and quickly falls into
+affectation. Proper ornamentation may be defined as a language addressed
+to the eye; it is pleasant thought expressed in the speech of the tool.
+
+In the third place, we would have this series put artistic craftsmanship
+before people as furnishing reasonable occupations for those who would
+gain a livelihood. Although within the bounds of academic art, the
+competition, of its kind, is so acute that only a very few per cent. can
+fairly hope to succeed as painters and sculptors; yet, as artistic
+craftsmen, there is every probability that nearly every one who would
+pass through a sufficient period of apprenticeship to workmanship and
+design would reach a measure of success.
+
+In the blending of handwork and thought in such arts as we propose to
+deal with, happy careers may be found as far removed from the dreary
+routine of hack labour, as from the terrible uncertainty of academic
+art. It is desirable in every way that men of good education should be
+brought back into the productive crafts: there are more than enough of
+us "in the city," and it is probable that more consideration will be
+given in this century than in the last to Design and Workmanship.
+
+       *       *       *       *       *
+
+The designing and making of Costume is a craft--sometimes artistic--with
+which we are all more or less concerned. It is also, in its own way, one
+of the living arts, that is, it is still carried forward experimentally
+by experts directly attached to the "business." It has not yet been
+subjected to rules of good taste formulated by Academies and
+Universities; but when Inigo Jones, the great architect, was asked to
+make some designs for fancy dress, he based them on the Five Orders of
+Architecture, and ponderous fancies they were.
+
+If we look for the main stem of principle on which modern Costume
+develops, we seem to find it in the desire for freshness, for the clean,
+the uncrushed, and the perfectly fitted and draped. Probably a modern
+lady's ideal would be to wear a dress once, and then burn it.
+
+A correlative of the ideal of freshness is the delight in perfect "cut,"
+and the rapidly changing fashions are doubtless conditioned in part by
+the desire for the new and unsullied. "Novelty" is a guarantee of
+newness.
+
+In such ephemeral productions it would be vain to seek for certain fine
+types of excellence which were once common when dresses were not so
+lightly cast aside. So it is necessary that we should understand what
+the ruling principle is, for it is one which will not be set aside at
+the bidding of well-meaning reformers. I will only venture to say that
+it would be desirable to make the attempt to separate in some degree the
+more constant elements of dress from those which are more variable. It
+will seem a pity to more than outsiders that a "well-dressed" person
+need wear so little which deserves to have been made by human hands, and
+nothing which deserves to be preserved. Fine laces and jewels are
+allowed to be antique--could not the circle of such things be a little
+broadened? A properly groomed man carries about on him literally nothing
+worth looking at. We might surely look for a watch-chain with some
+delicacy of handiwork--something beyond mechanical reductions of iron
+cables. Fine buttons might conceivably be made to go with the studs, or
+be made of crystal, amethyst, and silver or gold. Women might allow of
+the transfer of fine embroidered applications from one dress to another,
+or make more use of clasps and the like. I am confident that when it is
+pointed out, it will be felt as a shortcoming that no part of a fine
+lady's dress need now be too good to throw away. Although the present
+volume is cast into the form of a history, it is also intended to be a
+book of suggestions; and the hope is held that modern dressmakers may
+refer to it as much as, or more than, those who are interested in dress
+from the historical point of view.
+
+In any case the author's accurate knowledge of the facts, and his many
+bright sketches--which are often drawn from examples in his own
+remarkable collection--make the present volume an admirable handbook of
+English Costume. The more technical "patterns" which are included
+amongst the illustrations will be found most valuable to all who wish to
+go deeper than the first glance reveals.
+
+                                                     W. R. LETHABY.
+    1913.
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+    GENERAL PREFACE TO THE SERIES                                     xi
+
+    _Preface_                                                        xiv
+
+    LIST OF PLATES                                                 xxiii
+
+    INTRODUCTION                                                      33
+
+    CHAPTER I
+
+    Prehistoric Dress--Female                                         40
+    Prehistoric Dress--Male                                           41
+
+    CHAPTER II
+
+    The Development of Costume to the Tenth Century--Female           45
+    The Development of Costume to the Tenth Century--Male             49
+
+    CHAPTER III
+
+    Tenth to the Fifteenth Century--Female                            57
+    Tenth to the Fifteenth Century--Male                              71
+
+    CHAPTER IV
+
+    Fifteenth Century--Female                                         84
+    Fifteenth Century--Male                                           92
+
+    CHAPTER V
+
+    Sixteenth Century. Character of Trimmings                        109
+    Sixteenth Century. Henry VIII--Female                            113
+    Sixteenth Century. Henry VIII--Male                              118
+    Sixteenth Century. The Reigns of Edward VI and Mary--Female      124
+    Sixteenth Century. The Reigns of Edward VI and Mary--Male        129
+    Sixteenth Century. Elizabeth--Female                             133
+    Sixteenth Century. Elizabeth--Male                               139
+
+    CHAPTER VI
+
+    The Character of Trimmings through the Seventeenth Century       142
+    James I                                                          142
+    Charles I                                                        143
+    The Commonwealth                                                 145
+    Charles II                                                       145
+    James II and William and Mary                                    146
+    Seventeenth Century. James I--Female                             147
+    Seventeenth Century. James I--Male                               150
+    Seventeenth Century. Charles I--Female                           154
+    Seventeenth Century. Charles I--Male                             160
+    Seventeenth Century. The Commonwealth--Male and Female           168
+    Seventeenth Century. Charles II--Female                          169
+    Seventeenth Century. Charles II--Male                            174
+    Seventeenth Century. James II--Female                            178
+    Seventeenth Century. James II--Male                              180
+    Seventeenth Century. William and Mary--Female                    184
+    Seventeenth Century. William and Mary--Male                      186
+
+    CHAPTER VII
+
+    The Character of Decoration and Trimmings of the
+      Eighteenth Century                                             190
+    Eighteenth Century. Anne--Female                                 193
+    Eighteenth Century. Anne--Male                                   198
+    Eighteenth Century. George I--Female                             201
+    Eighteenth Century. George I--Male                               207
+    Eighteenth Century. George II--Female                            211
+    Eighteenth Century. George II--Male                              214
+    Eighteenth Century. George III to 1800--Female                   217
+    Eighteenth Century. George III to 1800--Male                     231
+
+    CHAPTER VIII
+
+    Character of Trimmings of the Nineteenth Century                 237
+    Nineteenth Century. George III--Female                           241
+    Nineteenth Century. George III--Male                             246
+    Nineteenth Century. George IV--Female                            248
+    Nineteenth Century. George IV, 1820-30--Male                     254
+    Nineteenth Century. William IV--Female                           258
+    Nineteenth Century. William IV--Male                             263
+    Nineteenth Century. Victoria--Female                             264
+    Nineteenth Century. Victoria--Male                               273
+
+    PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME                  276
+
+    PATTERNS TO SCALE                                                283
+
+    PATTERNS TO SCALE, DETAILED LIST                                 353
+
+    INDEX                                                            359
+
+
+
+
+LIST OF DESCRIPTIVE LINES TO THE PLATES
+
+
+    FRONTISPIECE                                          _Facing Title_
+      A Long-trained Muslin Dress, about 1800.
+
+    PLATE I                                               _Facing p. 39_
+      Boots and Shoes from the Fourteenth to Nineteenth Century.
+
+    PLATE II                                                    "     42
+      _A._ Elizabethan Robe in Plush, 1585-1605.
+      _B._ Elizabethan Robe in Silk Brocade, 1565-85.
+      _C._ Elizabethan Male Robe in Velvet Brocade, 1580-1615.
+      _D._ Back-piece of Elizabethan Doublet in
+             Embroidered Linen, 1580-1605.
+
+    PLATE III                                                   "     55
+      _A._ Elizabethan Jump (or Jacket), about 1600.
+      _B._ Portrait of Lady in Embroidered Costume,
+             between 1620 and 1640.
+
+    PLATE IV                                                    "     58
+      _C._ Youth's Jacket of Linen embroidered in Worsted, 1635-65.
+      _D._ Linen Male Jacket embroidered with Gold and Silk, 1600-40.
+
+    PLATE V                                                     "     71
+      _A._ Jerkin--Period James I.
+      _B._ Lady's Bodice of Slashed and Vandyked Satin, 1635-50.
+      _C._ Jerkin of Embroidered Linen, 1630-60.
+      _D._ Jerkin of Embroidered Linen, 1580-1635.
+
+    PLATE VI                                                    "     74
+      _A._ Collar and Cuffs set with Lace, 1600-30.
+      _B._ Embroidered Leather Jerkin, 1620-1640.
+      _C._ Top of Stocking, Embroidered Linen, 1625-50.
+
+    PLATE VII                                                   "     87
+      _A._ Herald's Coat, Embroidered Velvet and Silk,
+             First Half Seventeenth Century.
+      _B._ Lady's Bodice of Black Velvet, 1630-60.
+      _C._ Black Silk Jerkin, 1640-50.
+
+    PLATE VIII                                                  "     90
+      _A._ Three Suits--Period Charles II.
+      _B._   "     "       "      "
+      _C._   "     "       "      "
+
+    PLATE VIIIA                                                 "    103
+      _A._ Suit of Embroidered Silk, 1610-30.
+      _B._ Three Sword-hangers Embroidered in Gold, Charles II.
+      _C._ Braided Suit, 1670-90.
+
+    PLATE IX                                                    "    106
+      _A._ Lady's Embroidered Silk Jacket, 1605-20.
+      _B._ Lady's Bodice of Silk Brocade, 1680-1700.
+
+    PLATE X                                                     "    119
+      _A._ Black Velvet Bodice, 1600-25.
+      _B._ Five Embroidered Waistcoats, between 1690 and 1800.
+
+    PLATE XI                                                    "    122
+      Sixteen Leather Boots and Shoes, between 1535 and 1850.
+
+    PLATE XII                                                   "    135
+      _A._ Lady's Outdoor Costume, 1785-95.
+      _B._ Costume, Early Eighteenth Century.
+      _C._ Silk Brocade Dress, 1760-80.
+
+    PLATE XIII                                                  "    138
+      _A._ Silk Coat, 1735-55.
+      _B._ Brocade Silk Coat, 1745-60.
+      _C._ Embroidered Cloth Coat, 1770-90.
+
+    PLATE XIV                                                   "    151
+      _A._ Embroidered Silk Dress with Pannier, 1765-80.
+      _B._ Brocade Dress and Quilted Petticoat, 1750-65.
+
+    PLATE XV                                                    "    154
+      _A._ White Cloth Coat, 1775-90.
+      _B._ Silk Dress, 1740-60.
+      _C._ Embroidered Velvet Coat, 1753-75.
+
+    PLATE XVI                                                   "    167
+      _A._ Silk Brocade Dress, 1740-60.
+      _B._ Silk Brocade Sack-back Dress, 1755-1775.
+      _C._ Dress of Striped Material, 1755-85.
+
+    PLATE XVII                                                  "    170
+      _A._ Silk Suit, 1765-80.
+      _B._ Quilted Dress, 1700-25.
+      _C._ Silk Embroidered Suit, 1765-80.
+
+    PLATE XVIII                                                 "    183
+      _A._ Brocade Bodice, 1770-85.
+      _B._ Flowered Silk Dress, 1750-70.
+      _C._ Silk Brocade Bodice, 1780-95.
+
+    PLATE XIX                                                   "    186
+      _A._ Silk Brocade Dress, 1775-85.
+      _B._ Embroidered Silk Jacket, 1775-90.
+      _C._ Brocade Jacket, 1780-95.
+
+    PLATE XX                                                    "    199
+      _A._ Gold-embroidered Muslin Dress, 1795-1805.
+      _B._ Nine Aprons, between 1690 and 1750.
+      _C._ Dress of Spotted Stockinette, 1795-1808.
+
+    PLATE XXI                                                   "    202
+      Twenty-three Boots and Shoes, from 1800 to 1875.
+
+    PLATE XXII                                                  "    215
+      _A._ Linen Dress, 1795-1808.
+      _B._ Silk Bodice, 1825-30.
+      _C._   "     "    1818-25.
+
+    PLATE XXIII                                                 "    218
+      _A._ Muslin Dress with Tinsel Design, 1798-1810.
+      _B._ Silk Dress, Period George IV.
+      _C._ Satin and Gauze Dress, 1820-30.
+
+    PLATE XXIV                                                  "    231
+      _A._ Outdoor Silk Jacket, 1798-1808.
+      _B._ Embroidered Muslin Bodice, 1816-1830.
+      _C._ Embroidered Muslin Bodice, 1824-1825.
+      _D._ Satin and Gauze Bodice, 1820-30.
+
+    PLATE XXV                                                   "    234
+      _A._ Silk Dress, 1800-10.
+      _B._ Cotton Dress, 1800-10.
+      _C._ Embroidered Muslin Dress, 1820-30.
+      _D._ Silk Gauze Dress, 1824-30.
+
+    PLATE XXVI                                                  "    247
+      _A._ Morning Coat of Chintz, 1825-45.
+      _B._ Cloth Coat, 1808-20.
+      _C._ Cloth Overcoat, 1820-35.
+
+    PLATE XXVII                                                 "    250
+      Outdoor Silk Dress, 1825-35.
+
+    PLATE XXVIII                                                "    259
+      _A._ Silk Pelisse, 1820-30.
+      _B._ Cotton Dress, 1830-40.
+      _C._ Silk Spencer and Cape, 1818-27.
+
+    PLATE XXIX                                                  "    263
+      _A._ Embroidered Silk Gauze Dress, 1820-30.
+      _B._ Gauze Dress with Appliqued Design, 1825-35.
+      _C._ Printed Linen Outdoor Dress, 1827-1847.
+
+    PLATE XXX                                                   "    266
+      _A._ Printed Silk Bodice, 1840-50.
+      _B._ Gathered Linen Bodice, 1837-47.
+      _C._ Silk Bodice and Bertha, 1845-55.
+
+    PLATE XXXI                                                  "    270
+      _A._ Embroidered Muslin Outdoor Dress, 1855-65.
+      _B._ Riding Habit, 1845-75.
+      _C._ Gauze Ball Dress, 1840-55.
+
+    PLATE XXXII                                                 "    279
+      _A._ Silk Dress, 1860-70.
+      _B._ Gauze Walking Dress, 1850-60.
+      _C._ Silk Dress, 1848-58.
+
+    PLATE XXXIII                                                "    282
+      _A._ Silk Dress with Court Train, 1828-1838.
+      _B._ Silk Afternoon Dress, 1872-78.
+      _C._ Silk Coat and Skirt, 1855-56.
+
+
+
+
+DRESS DESIGN
+
+
+    Plates originally printed in collotype are now produced in half-tone
+
+
+
+
+INTRODUCTION
+
+
+The subject of Historical Costume covers such a multitude of detail that
+a volume on each century could be written, with hundreds of
+illustrations. Thus it is, most works on costume are expensive and
+bewildering; but I hope this small practical handbook will be a useful
+addition to the many beautifully illustrated works which already exist.
+
+I have divided the matter into centuries and reigns, as far as possible,
+in this small work, besides separating male and female attire, thus
+simplifying reference. A special feature has also been made, of
+supplying the maker or designer of dress with actual proportions and
+patterns, gleaned from antique dresses, as far back as they could be
+obtained; and I am much indebted to the authorities at the Victoria and
+Albert Museum for the permission given me to examine and measure their
+unique specimens; also to Mr. Wade, Mr. G. G. Kilburne, Mr. Duffield,
+Mr. Box Kingham, Mr. Hill, Mr. Breakespeare, and others, for their
+valuable assistance with interesting specimens. I have used outline
+drawings in the text, as being more clear for purposes of explanation.
+The dates given to the illustrations are to be taken as approximate to
+the time in which the style was worn. Many of the photographs have been
+arranged from my own costume collection, which has made so much of my
+research simple, reliable, and pleasant. I am also happy to state that
+before the final revision of this book I have heard that my collection
+of historical costumes and accessories will, after a preliminary
+exhibition at Messrs. Harrod's, be presented to the Victoria and Albert
+Museum as a gift to the nation by the Directors of that firm. Thus the
+actual dresses shown in these plates will find a permanent home in
+London, and become valuable examples to students of costume. The
+coiffures in the collotype plates are not to be judged as examples, for
+it would have consumed far too much time to set up these figures more
+perfectly, but all the bonnets, caps, and accessories given are genuine
+examples.
+
+In a book of this size, one cannot go into the designs of materials, &c.,
+which is a study any earnest student would not neglect, but in this
+connection I would draw attention to the comparative colour density and
+proportion of designs chosen for various effects.
+
+It has been my endeavour to arrange a greater variety of the forms which
+make up the characters of each period, and also to give a wider
+knowledge into the footwear, or details of the footwear, than is usual
+in most costume books.
+
+In a review of the styles I would not press any choice for building new
+designs, as I believe in close individual research and selection, which
+may utilise many interesting features from costume settings even in
+periods which are almost scorned. I believe the purest beauty is found
+in the simple forms of dress and decoration settings from the 12th to
+the 15th centuries, schemed to the natural proportions of the figure.
+The grace of line and movement is often aided by the short train, which
+can be so happily caught up in many ways; the slight drag of the train
+always keeps the front clear in outline, besides showing the movement of
+the limbs. Length of fall in the material was desired, the figure
+creating its own folds with every turn, but a belt was often placed
+rather high under the breast. There is little reason with nature of
+fine form to make dress into sections by a corset waist. A long, lithe,
+complete curve in outline--much happier unbroken, except by the
+girdle--is certainly the most artistically useful conception, not
+breaking the rhythm (as does the harder belt), while it also induces
+much beauty in lifting and arranging the drapery. The long falling
+sleeve also has the same qualities, giving a greater fullness of shape,
+a variety of colour (by a difference of lining), with a winglike motion,
+besides softening the angle of the elbow.
+
+I think the next garment for high esteem is the chasuble-shaped tunic
+(with or without sleeves). Falling cleanly from the shoulders, it stops
+at a charming length for the skirt to take up the flow of line. The
+delightful effect of partly-laced or clasped sides was not missed by the
+ablest designers. How refined, too, was the character of decoration of
+the old period! The art of concentrating effects is seen to perfection,
+retaining the breadth of shape and length unbroken. Jewelled embroidery
+of fine enrichment was wrought on the borders, neck settings, square
+corners, the girdle, and the clasps. The preciousness of effect was
+truly appreciated by the enclosing of the face in the purity of white
+lawn and zephyr-like veilings; the circlet and the long interlaced
+plaits and charming nettings were all tastefully schemed. Has woman ever
+looked more supreme through all the centuries of extravagant styles and
+distortions? I believe not: but I have come to the conclusion that, at
+whatever period of seeming insanity of style, the woman of fine taste
+can overcome all obstacles by her individual choice and "set up," and
+has really always looked fascinating.
+
+There was another form of decoration at this period--the cutting of the
+edges into a variety of simple or foliated shapes, giving a flutter and
+enrichment to forms in a simple manner, and this, in conjunction with
+the increasing richness of materials, was a valuable aid to lighten the
+effects. It was probably initiated by the heraldic characteristics in
+vogue.
+
+The pricked and slashed details had much the same result in enriching
+surfaces.
+
+Later the fan sleeves of the 18th century were enhanced in a similar way
+by the curved and scalloped shaping, which was used as late as the
+Victorian sixties with happy effect on the polonaises.
+
+Now, as regards the finest corset dress, the palm must be given to the
+sack-back dress of the eighteenth century (not in the period of its
+distortion with hoops), and a full setting showed it to greatest
+advantage.
+
+This type of design lent itself to more variety in beauty of arrangement
+than any other; the looping, reefing, and tying always set gracefully in
+accord with the back fall. The easy exchange of the stomacher also gave
+additional chance of effect, and the beauty of the fan-shaped sleeve,
+with its lace falls at the elbow, was a delightful creation. How rich
+and refined this character could be, without the monstrous forms and
+head-dresses which later invaded it and turned it into ornate absurdity!
+
+When we examine the period of Charles I, we find much charming dignity
+in the adaptations of earlier inventions; the collar settings were
+noble, indeed perfect, in arrangement, and the bodice decoration and
+proportions most interesting.
+
+For the grace of girlhood no dresses are happier than those of the early
+19th century to 1830, and the inventions in trimmings through this
+period were prolific in beauty and lightness of style.
+
+Analysis of the many fashion-plates and original dresses of this
+period will well repay all interested in beautiful needlecraft and dress
+design. The arrangement of frills, insertions, gathered effects, applied
+forms, and tasselled or buttoned additions, will be found full of beauty
+and novelty, especially in the dresses of white embroidery. Plates XXIII
+and XXIV (see pp. 218-231) give some happy examples of this time.
+
+[Illustration: Plate I.--Boots and Shoes from the 14th to the 19th
+Centuries.
+
+     1. Charles II.
+     2. James II.
+     3. William and Mary.
+     4. George II.
+     5. George III., 1770.
+     6. George III., 1760.
+     7. George III., 1780-1800.
+     8. 1870-1880.
+     9. William and Mary.
+    10. 1680-1700.
+    11. 1680-1702.
+    12. 1750-1775.
+    13. 1580-1625.
+    14. 1710-1730.
+    15. Henry VIII.
+    16. Semi-Clog, 1780-1800.
+    17. Henry VIII.
+    18. 1778-1795.
+    19. Late 15th Century or early 16th Century.
+    20. 1500-1540.
+    21. Late 14th Century to middle of 15th Century.
+    22. 1530-1555.
+    23. 1535-1555.]
+
+A word on the most condemned flow of fashion during the Victorian era.
+There are many dresses of real charm to be found amongst the mass of
+heavy styles which must not be overlooked in studying design and style.
+Even the crinoline dress, when treated with the exquisite silk gauzes,
+as Fig. 3 in Plates XXXI and XXXIII (see pp. 270-282), was as alluring
+as any woman could wish, and the original design of the jacket in the
+latter figure, with its richly embroidered, long-skirted front cut short
+at the back, arranged itself perfectly on this type of undersetting.
+There was notable refinement of effect and beauty of proportion in many
+dresses of the sixties, as exemplified in Fig. A, Plate XXXII (see p.
+279), the waist being set rather high, and the very full skirt carried
+back by the crinoline being held thus with its cross ties.
+
+
+
+
+CHAPTER I
+
+
+PREHISTORIC DRESS. FEMALE.
+
+The woman's attire would have been chiefly a shortish skirt or wrap of
+coarse linen, wool, or leather, gathered in front or folded at one hip;
+grass cloth may also have been in use in most primitive tribes. Probably
+the upper part of the body was kept bare, except for many ornaments and
+necklaces, but a bodice or jacket cut in the same simple form as the
+male shirt, with a heavy belt or girdle, would have been used, and
+certainly a large shawl, which could be wrapped over the head and round
+the figure during inclement hours. Dyed or painted patterns on the
+cloths might well have been also in use, their chief designs being
+stripes, circles or dots, zigzag lines, diamonds and plaid squares, rope
+patterns and plaited patterns. The hair would have been loose, plaited,
+or coiled on top, held by bone pins or circlets of bronze.
+
+
+PREHISTORIC DRESS. MALE.
+
+We have little description or illustration to certify the actual dress
+of the early inhabitants of Britain, but we can draw conclusions with
+pretty certain assurance, from the knowledge of their mode of living.
+From their attainments in artistic design and handiwork, it is clear
+they had arrived at a very high state of savage culture before the Roman
+invasion; and we have only to study the better types of savage life
+still in progress, to picture how our own primitive race would be likely
+to dress under the conditions of climate. The thousands of "finds,"
+which accumulate evidence every year, give us a closer acquaintance with
+their customs and work. The rest we must imagine from our general
+knowledge of what they had to contend with in climate, forest, cave, and
+floods.
+
+These early people, it is presumed from certain discoveries, had long
+known the art of coarsely weaving flax and wool, which must soon have
+been in general use, from its being healthier and cleaner than the
+garments of skin. And very probably a coarse linen, with simple dyes of
+red, blue, yellow, and brown, was in use here when the Romans came.
+
+The head-dress consisted of a cap of fur or wool, probably decorated
+with a feather, over loose and most likely very unkempt hair falling to
+the shoulders. The Gauls cut their locks from the back of the head,
+often tying up the remainder in a tuft on the top; no doubt the hair was
+sometimes plaited or pinned up with wood, bone, or bronze ornaments.
+Bone pins, teeth, and boar tusks were carried in the ears, as well as
+studs of bone or stone in the underlip, and even the cheek may have been
+so decorated, as it was amongst the Esquimaux. The face and body were
+painted with red and white ochre and a blue stain. The neck was adorned
+with strings of teeth, stones, amber, jet, bronze, and probably beads of
+glass or baked clay coloured. Amulets and tokens, armlets and bracelets
+were all in use. Also the torque, a twisted rod of gold flattened or
+curled together at the ends, was a mark of dignity. A wristlet of wood,
+bone, or leather was worn when the bow and arrows were used. The arms
+were a spear of flint or bronze and a dagger of the same, a hatchet or
+heavy club, a mace studded with flint or bronze spikes, and the sling,
+which would have necessitated a leather wallet to carry the stones; fish
+spears and snags. Also the bolas for felling cattle seems to have been
+known; in fact nearly all the usual implements appertaining to savage
+life were in use.
+
+[Illustration: Plate II.--
+
+    (_a_) Elizabethan Robe in Plush. 1585-1605.
+    (_b_) Elizabethan Robe in Silk Brocade. 1565-85.
+    (_c_) Elizabethan Male Robe in Velvet Brocade. 1580-1615.
+    (_d_) Back-piece of Elizabethan Doublet in Embroidered Linen.
+            1580-1605.
+
+    _Measures, see p. 281._
+    _Sleeve pattern of C, see p. 300._]
+
+The first item of male attire was of two skins fastened at the
+shoulders, and from this we get the early chasuble form (which may be so
+beautifully treated, even to the present time), girt with a leather
+thong or strap at the waist. One skin lapped the other, and hardly
+needed sewing together at the sides, while thus it was easier to throw
+off; it may also have been tied up between the legs. The fur was worn
+both inside and out, according to the weather; this large skin wrap
+would also be worn cross-ways with the right shoulder free, and the
+simple cloak of various lengths with a hole for the head to pass through
+was no doubt one of the first discoveries in costume.
+
+A loin cloth or skin may have been worn alone, caught up through the
+legs and fastened at the back of the waist with a heavy belt and set
+well down the hips. This would hold a number of personal necessities, in
+the shape of a wallet and dagger. The legs would be wrapped with skins,
+tied up or crossed by leather or sinew thongs, or with hemp or grass
+rope. Skins were probably also used on the feet, gathered and tied above
+the instep and round the ankle.
+
+The enumeration of these items will give a pretty definite idea of how
+the early race would appear in their more or less attired form. In
+fighting, they cleared for action (as it were) and discarded all
+clothing, their only protection being a shield of wicker or wood covered
+with leather; it may have been studded with bronze plates or painted
+with grotesque characters, as were their own bodies, in true savage
+style, to strike fear into their enemies; it is even possible feather
+decorations formed part of their "get up."
+
+
+
+
+CHAPTER II
+
+
+THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. FEMALE.
+
+The female head-dress consisted chiefly of flowing hair banded with a
+circlet of various shapes, but a development of braiding plaits is found
+very early, and the hair was probably arranged so before the Roman era.
+These plaits were generally brought over the shoulder to the front, the
+hair being parted in the centre, thus making an oval forehead. Various
+caps began to show originality, and jewels were set in the centre of the
+forehead on the little crown-like hat, which must have been most
+becoming. Squares of coloured stuffs were draped over the head and
+shoulders, sometimes upon white linen squares, and many ladies began to
+bind the face and head, shutting out the hair, in the 8th century. The
+kerchief draping is very important to study, because it was the general
+mode amongst the people.
+
+Heavy collars of ornament and strings of beads, hanging even to the
+waist, are noticeable features of these centuries, also large ear-rings.
+
+A full cloak, with a large clasp or brooch, opened in front, or was
+turned to free one shoulder; there was also a long "drape" thrown round
+over the opposite shoulder or brought picturesquely over the head.
+
+The ecclesiastical form of cloak as described in the male attire was
+also formed about the 6th century; its graceful line was frequently
+bordered completely with a band of ornament, and it was clasped just
+across the breasts.
+
+The complete circular cloak, with a hole for the head, is seen very
+early, decorated with a pinked edge, which may also be noted on some of
+the short dresses of the middle classes. Aprons are no doubt of the
+earliest origin. A loose tunic falling to the hips was girded rather
+high up the body, as in the classic dress, and bands passing both
+outside or crossing between the breasts and going over the shoulder came
+from the same source; these were with, or without, short sleeves to the
+elbow. A long loose robe was the chief attire to the 6th century,
+belted rather high in the waist, and caught up with a girdle at the
+hips; these girdles gave a great interest to the early centuries, with
+the art of arranging the fullness of skirt into its hold.
+
+[Illustration: FIG. 1.]
+
+From the 6th century the dress became closer fitting, and a short bodice
+is seen; the neck was cut very low, either square or round in shape, and
+this style had short tight sleeves or tight sleeves to the wrist. The
+later tunic of the 9th century marked the beginning of the slit-open
+upper sleeve, and a greater length of the neck opening, which came to be
+fastened down the front to the waist.
+
+The early skirts (to the 6th century) were hung from the hips, and were
+often attached to a heavy girdle band, the fullness was gathered mostly
+at the back and front; other skirts hung from a higher belt and were
+again caught up in the girdle. A =V=-shaped neck setting was worn by the
+Franks, from which probably came the shaped front piece that will
+interest us in the 13th century. The shoes were similar to the male
+shapes described later, and the same mode of binding the stockings was
+sometimes imitated.
+
+
+THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. MALE.
+
+In taking the long period from the Roman occupation to the 10th century,
+we can discover a real development of style in costume, as with the
+system of vassalage a distinction of class arose. No doubt the Romans
+introduced a finer tuition of weaving, needlecraft, decoration, and
+dyeing; and later the various peoples coming from the Continent, when
+settled under Alfred in the 9th century, produced a solid style of
+barbaric splendour.
+
+[Illustration: FIG. 2.]
+
+[Illustration: FIG. 3.]
+
+The male hair dressing, from the rugged mass of hair, soon became well
+combed and trimmed square across the neck: ear-rings may still have been
+in use by some nobles till the 11th century, and chaplets were worn upon
+the hair. The Saxon beard was divided into two points. Small round tight
+caps of wool, fur, or velvet, and rush or straw hats of a definite shape
+were in use to the 10th century. Tight caps, with lappets tied under the
+chin, and hoods appear on the short capes about the 8th century, or
+probably earlier. The garment was of the simplest form, cut like a
+plain square loose shirt to the middle of the thigh, and this was put on
+over the head. The opening to pass the head through was the first part
+to receive a band of decoration. The sides were sometimes opened to the
+hips and the front caught between the legs and held at the waist. A
+garment opened down the front, and another wrapped across to either
+shoulder is also seen. A belt girt the waist, and the tunic was pulled
+loosely over it. This also carried the essential requirements in the
+shape of a pouch, dagger, knife, comb, sword, &c. The neck was
+ornamented with chains of bronze, gold, beads, and charms, and up to the
+8th century a bronze ornamental armlet was worn, besides a wristlet.
+
+The men of the ruling class from the 8th century were clothed in a long
+garment of simple shape, falling to the ankle, richly bordered at the
+hem and neck. This generally had long tight sleeves, and often over this
+a shorter tunic, reaching just below the knee, sometimes sleeveless, or
+with rather full sleeves tightening to the wrist.
+
+[Illustration: FIG. 4.]
+
+A plain square chasuble shape was in fashion from the 8th century,
+reaching to the bottom of the calf of the leg, and richer materials
+began to be used; no belt was passed round this, as it was allowed to
+fall straight.
+
+Loose breeches were worn from very early times, and a loose trouser to
+the ankle, being tied there or bound crosswise from the boot sometimes
+right up the thigh. The same binding was done even with the bare legs
+and later hose: close-fitting short breeches and cloth hose became a
+feature in the 10th century, and with the latter an ornamental
+knee-piece or garter below the knee sometimes finished the strappings.
+
+The cloak was the "grand garment," heavily banded with ornament and
+fastened with a large clasp on one shoulder, or at the centre of the
+breast. Long circular cloaks of varying lengths, put on over the head,
+were much favoured, and when caught up at the sides on either shoulder
+gave a fine draped effect.
+
+Another cloak of ecclesiastical character, sloping in a curve from the
+neck and not meeting in front, is seen on many notable figures from the
+early 8th century, large clasps bridging the width low down on the
+chest.
+
+[Illustration: Plate III.--
+
+    (_a_) Elizabethan Jump (or Jacket). About 1600.
+    (_b_) Portrait of a Lady in Embroidered Costume. Between
+          1620 and 1640.]
+
+[Illustration: FIG. 5.--TYPES OF SHOES. British, Roman,
+Norman to 13th century.]
+
+No doubt the sandal of various forms was much used for footwear through
+this period, also a simple low shoe which was held on by the
+leg-strappings, as, about the 8th century, shoes are seen with loops at
+the upper edge, these being attachments for the binding, and this was
+no doubt a method from the prehistoric times.
+
+There was also a soft boot reaching to the calf, laced up the front;
+and, after the 8th century, a rather pointed shoe, open down the instep,
+laced, tied, or gathered into a buckle about the ankle.
+
+
+
+
+CHAPTER III
+
+
+TENTH TO THE FIFTEENTH CENTURY. FEMALE.
+
+The head-dress of women now began to show a preference to confine the
+hair with nets and to close in the face, which continued till the 15th
+century. The circlet and long plait or plaits and the flowing hair
+remained till the 14th century. In the 12th century we discover the hair
+gathered in nets at either side of the head, covering the ears. A
+low-crowned hat was bound over with a band of lawn or fine material
+passing underneath the chin, otherwise the plaits were looped up under a
+circlet which was also worn with the flowing hair.
+
+A square effect was aimed at in the 13th century with tight side-plaits
+bound into a shape or netted hair was strapped to the head as in Fig. 11
+(see p. 65). A fall of fine material softened the hard effect, and many
+ladies of quality bound the face, neck, and head in the wimple of fine
+linen, sometimes gathering this to the same quaint shape of the netted
+hair. I give a variety of these settings on page 65. A kerchief of linen
+coming round the neck was brought up tightly round the face and
+festooned on the top of the head, while another piece was pinned close
+to the brows and fell loosely to the shoulders, being often held on by a
+circlet as well.
+
+This character was maintained till the early 14th century, when a style
+of high peaked hats came into evidence, one shape of which became the
+most imposing feature of historic costume in the 15th century. It was
+still but a simple form in the middle of the 14th century, for another
+shape first gained predominance. Early in this century also may be noted
+a curious shape like the cap of liberty, usually with a long tail at the
+back as drawn on page 59. This carried design to the eccentric forms of
+the pig-tailed hood, and then the rival of the high peaked hat took its
+place towards the end of the 14th century--a cushioned head-dress, which
+rose and divided in a hornlike structure. It started as in Fig.
+25, and I have illustrated its progress; the veil draping was a great
+feature, giving plenty of scope for individual fancy. It was, as a rule,
+richly decorated with gold and jewels, and the hair was completely
+enclosed in a gold net and a tight-fitting cap to hold this erection.
+Large drop ear-rings were much worn, and a fine chain of gems encircled
+the neck or fell to the breast.
+
+[Illustration: Plate IV.--
+
+    (_c_) Youth's Jacket of Linen Embroidered in Worsted. 1635-65.
+          _Pattern, see p. 299._
+    (_d_) Linen Male Jacket Embroidered with Gold and Silk. 1600-40.]
+
+[Illustration: FIG. 6.--Tenth to thirteenth century.]
+
+[Illustration: FIG. 7.
+
+    _Henry II._
+    _John_
+    _Henry I._
+    _Richard I._]
+
+[Illustration: FIG. 8.--Twelfth to fourteenth century.]
+
+In the 10th century a long close-fitting robe was in fashion, sometimes
+with a deep =V=-shaped neck opening, though usually the neck was cut to a
+round form. Some sleeves were tighter with a small cuff, but usually the
+outer garment had a falling sleeve with a square or round end showing
+the tight undersleeve. The outer sleeve varied much in length, from the
+elbow or hand dropping even to the ground; it was narrow and widened
+through the 14th century, when its edge was cut into various patterns as
+in Fig. 18 (see p. 79). In the 13th century we notice a long sleeve
+opened at the elbow for the under sleeve to come through, which
+beautiful style continued to the middle of the 17th century.
+
+[Illustration: FIG. 9.
+
+    _Norman, 12th century_
+    _Saxon, 12th century_]
+
+[Illustration: FIG. 10.--Fourteenth century, 1st half.]
+
+[Illustration: FIG. 11.--Fourteenth century, 2nd half.]
+
+With the 10th century came the first corselet from the waist to the hip,
+clasping a loose tunic with an under-dress taking a long pointed
+train. The manner of tucking the tunic under the corselet when it was
+worn over it, and so creating festoons, is worthy of notice as
+interesting in arrangement and design.
+
+The 13th century parti-coloured and striped dresses foreshadowed the
+heraldic fashion, which must be studied for its proportion and treatment
+of decorative colour-values in counterchange to get the true value of
+its noble effects.
+
+A great feature now appears in the chasuble-shaped front or setting to a
+closely cut jacket. This ultimately becomes the decorative stomacher
+through the later periods, and it is very interesting to note its
+development.
+
+In the 13th century this jacket was a fur construction of a long simple
+form opened at the sides to the hips for the sleeves to come through; it
+had a straight hem or was rounded at the front points, and a chasuble
+form of it was treated as in Fig. 13 or in conjunction with a short
+cape; it was chiefly a decoration of ermine. It grew into a complete
+jacket, and in the 14th century it was heavily ornamented with gems; and
+the simple front, from being a feature outside the jacket, was later
+often enclosed at the sides. The jacket itself is beautiful in form and
+proportion, and the curved band of design over the hips makes a nice
+foil to the curved front. This pattern is plainly derived from the
+effect of the rich girdle that was at first seen through the side
+openings and few jackets are without it, the usual shaping of the neck
+with most of these was square.
+
+[Illustration: FIG. 12.--Nos. 1 to 7, 14th century. Nos. 8 and 9, 15th
+century.]
+
+In the first quarter of the 14th century the setting of the neck was of
+a round shape, and after 1350 a raised or curved form is favoured. Later
+still, and with the hornlike head-dress, a very deep =V= shape, open
+almost to the belt was the mode, often being filled in with velvet. At
+the same time some began to take up the fashions of a very high collar
+and a round-shaped body and sleeves, as in Fig. 24 (see p. 89), with
+which a wide pointed belt is seen. Some robes were opened in front up to
+the height of the girdle, though many dresses were worn without girdles
+after the 12th century. Decorated pockets are sometimes seen in the
+later period, and an interesting hand-covering or falling cuff came with
+them.
+
+[Illustration: FIG. 13.--Nos. 1 to 3, 14th century. Nos. 4 to 9, 15th
+century.]
+
+The cloak as described in the 10th century still continued till the
+12th, as well as the light wrap which may almost be placed with any
+period, though mostly a feature of the more classic styles.
+
+Skirts and underskirts were worn with trains. They were mostly banded
+with wide borders of ornament up to the 13th century, the fullness being
+often gathered to the back and front.
+
+The chasuble-shaped overdress was worn to the middle of the 14th
+century, sleeveless, and, laced or sewn tight to the figure from the arm
+to the hip, or completely down the sides, generally reached just below
+the knee.
+
+The shoes were of much the same character as those of the male examples
+illustrated, though they hardly reached the same extravagance in length,
+owing, no doubt, to the feet of woman being hampered by her skirt; but I
+suspect they even braved high wooden clogs, as we know they did the tall
+chopins of the 16th century, to heighten their stature.
+
+[Illustration: Plate V.--
+
+    (_a_) Jerkin. Period James I.
+    (_b_) Lady's Bodice of Slashed and Vandyked Satin. 1635-50.
+    (_c_) Jerkin of Embroidered Linen. 1630-60.
+    (_d_) Jerkin of Embroidered Linen. 1580-1635.
+
+_Pattern measurements, see p. 293._]
+
+
+TENTH TO THE FIFTEENTH CENTURY. MALE.
+
+From the 10th to the 15th century, we find costume developing rapidly
+into elaborate and interesting designs. Close relations with the
+Continent brought new ideas, and rich velvets and brocades interwoven
+with gold enhanced the gorgeousness of attire, while the introduction of
+heraldic design brought in a very picturesque element. Hats and
+head-dresses began to become important features, enlarging to eccentric
+shapes and proportions, only equalled in the extravagant part of the
+18th century.
+
+It may be noted that feminine fashion, as it assumes new characters and
+proportions, affects the style of the male clothes in the same way, as,
+when a high or pointed head-dress comes in, the male hat also increases
+its size; the same with curved or angular designs, full or tight
+sleeves.
+
+The hair was worn long and rather squared in shape at the back till the
+end of the 15th century. A tendency to shut in the face by close hoods
+tied under the chin is remarked, and this forms a strong feature of the
+13th and 14th centuries. Ear-rings were seldom worn after the 10th
+century; but the neck was generally adorned with heavy chain
+decorations.
+
+Beards assumed a pointed shape in accordance with this development of
+fashion, and double-pointed beards were revived between 1380 and 1386.
+Hats of straw with mushroom brims and round tops came into vogue in the
+11th century, covered with coloured materials and finished with a spike
+or button at the top, and the crowns of these took a pointed shape in
+the 14th century. The usual cap with folded brim had a loose crown, and
+we find this began to lengthen and fall over to one side in the 11th
+century, and continued to elongate till, in the 15th century, it often
+dropped to the knee in a long thin point. In the 14th century it took a
+fullness of loose folds, with serrated or foliated edges falling to the
+shoulder as in Fig. 15 (see p. 73). A close helmet-shaped cap is seen in
+the 12th century, with a falling point from the crown, and the 13th
+century brought in the higher crowned hat, with a long peaked front,
+turned up at the back. Feathers were worn at the front, back, or side of
+hats, and sometimes on the front of the hoods; these increased
+their dimensions in height and peak, till the straight-up high hat,
+which was often brimless, came in the 15th century. The early hood or
+cowl soon began to vary its design, for in the 13th century it was often
+a part of, or attached to, a chasuble shape falling back and front, or
+with the long front, stopping at a short cape length behind. A note of
+interest in the 14th century appears, where the forehead part of the
+hood is turned up, showing a coloured lining, and at times the
+fashionable serrated edge surrounding the face is seen.
+
+[Illustration: FIG. 14.
+
+    _13th century_
+    _14th century_
+    _15th century_]
+
+[Illustration: FIG. 15.--Fourteenth century.]
+
+[Illustration: Plate VI.--
+
+    (_a_) Collar and Cuffs set with Lace. 1600-30.
+    (_b_) Embroidered Leather Jerkin. 1620-40.
+    (_c_) Top of Stocking. Embroidered Linen. 1625-50.]
+
+[Illustration: FIG. 16.--Twelfth to thirteenth century.]
+
+The chasuble-shaped garment was a feature often worn over the coat until
+the end of the 15th century, and was generally worn long with the
+elongated fashion of the 14th century, and short with the shorter tunics
+of the 15th century. They are found very wide in the 14th century, and
+so fall well down over the shoulder, where they are often laced a short
+distance up, creating an interesting feature. Cloaks were not so much in
+favour with the heavier cowl and cape, but they were used, fastened by
+brooches to either shoulder rather at the back, after the 12th century.
+
+[Illustration: FIG. 17.--Fourteenth century.]
+
+A very tight-fitting suit called Justacorps came into use from the
+12th century, and developed a padded round-shaped body towards the end
+of the 14th century; the closely-cut body was buttoned up to the throat,
+or was set with a high collar for the first time. The tights came over
+it, sometimes rather high up the waist, being laced to it. A long tunic
+was chiefly favoured during the 10th and 11th centuries with short or
+long cuffless sleeves, and a full bell-shaped falling sleeve showed a
+close-fitting under one.
+
+These tunics were chiefly open at the neck as in the earlier times,
+though a slight difference to be noted is a =V=-shaped opening in the 14th
+century, which is developed in the 15th century; they were also split up
+the sides, even to the hips. Some were very full in shape, and were
+gathered to either side as in the illustration; others had the body
+closely fitted and full only in the skirt, but as a rule one finds this
+latter shape only reaches just below the knee. They were often tucked
+into the belt in front, showing a rich underskirt.
+
+A girdle (besides a belt) was worn on the hips with the longer tunics,
+as in Fig. 28 (see p. 94), the dagger and pouch being carried in front
+on the girdle, and not the belt. A small dagger was often slung at the
+back or front of the neck, as an ornament at the end of the 14th
+century.
+
+[Illustration: FIG. 18.--Fourteenth century.]
+
+Tights to the waist were worn with both long and short tunics, and
+retained the crossed binding up the legs to the 13th century, in the
+various designs of page 53. Parti-coloured tights came in with the 14th
+century, carrying out the heraldic character of dress, and this may be
+found till about 1530. A sandal shoe was much worn up to the 12th
+century, with strappings to various heights up the leg, this even over
+the short top-boots, but the usual shoe opened down the front of the
+instep to the toe, which was rather pointed in shape, and it was curved
+or square at the ankle. The illustration gives a good variety of the
+prevalent forms. The stocking-boot is also another characteristic of
+this earlier time, as well as the commoners' woollen gaiters, worn as in
+Fig. 30, on the seated figure, which were in use to the middle of the
+16th century.
+
+[Illustration: FIG. 19.--Twelfth and thirteenth centuries.]
+
+In the illustrations which show no shoe on the tights, it will be
+understood that a sole of leather was sewn on to the under part of the
+foot. This practice is even seen to-day on the Continent, where the
+clog is mostly in use. A soft boot, reaching to the calf, was worn till
+the 15th century, with the top folded or trimmed with fur, the latter
+being generally laced down the front, even to the instep: the shape of
+these only varied in the length of the pointed toes as the style
+developed.
+
+The long-pointed shoes began to increase all through the 13th century,
+and in the 14th century they reached their greatest length, when the
+points were often tied up to a garter just below the knee. Wooden clogs
+were much used, and were often considerably raised. Iron circular
+supports were also in use at the end of this time; these were the
+foretaste of the eccentric chopins of the 16th century, which were more
+favoured on the Continent than here. The pointed toes also were made to
+curl outwards, giving a splay-footed effect, late in the 14th century.
+
+[Illustration: FIG. 20.--Fourteenth and fifteenth centuries.]
+
+
+
+
+CHAPTER IV
+
+
+FIFTEENTH CENTURY. FEMALE.
+
+We have now arrived at the height of eccentric fashion in mediæval
+head-dress. The hornlike creations, studded with jewels, and peaks of
+wondrous height, both draped with fine muslins and often completely
+shutting away the hair from sight, had a supporting cap which mostly
+came over ears and cheeks, and a clutch is seen on the forehead, at
+times concealed by a jewel. The hair was generally allowed to fall loose
+under the back drape, or a long plait is sometimes seen at the back with
+the first-named head-dress. The back drape setting from the brow down
+the back was well conceived to balance the high spire, but it seems to
+have been discarded during the reign of Edward V, and light veil falls
+were worn which often came half over the face. In Henry VII's time the
+extreme fashion came in the shape of a closely-fitting curved cap,
+with a fall of material over the back. The ermine-trimmed jacket was
+still in favour to the middle of the last-named reign, when it was worn
+low down over the hips.
+
+[Illustration: FIG. 21.--Fifteenth century, 1st half.]
+
+[Illustration: FIG. 22.--Middle of fifteenth century to sixteenth
+century.]
+
+[Illustration: Plate VII.--
+
+    (_a_) Herald's Coat. Embroidered Velvet and Silk. 1st half 17th
+          Century. Measured pattern, page 301.
+    (_b_) Lady's Bodice of Black Velvet. 1630-60.
+          _Measurement, see p. 297._
+    (_c_) Black Silk Jerkin. 1640-60.]
+
+[Illustration: FIG. 23.--Fifteenth century, 1st half.]
+
+The chief dress of this period had a =V=-shaped collar-front meeting at
+the waist, mostly made in black material or fur. It was wide on the
+shoulder, and seems to have been stiffened to set out; the =V= shape was
+generally filled in with velvet, and a very wide band encircled the
+waist; a girdle is occasionally noted. The keys' pocket and other
+requisites were generally carried on the underskirt during these times.
+The skirt was full and gathered to the back in a train, the gathers
+often running into the bodice; a very wide border is prevalent, even to
+the middle of the thigh. Tight sleeves are usual, and hanging sleeves
+were worn, mostly set in a very short sleeve, which assume a puff-shape
+in Henry VII's reign; long cuffs, almost covering the hand, are seen on
+many sleeves.
+
+[Illustration: FIG. 24.--Fifteenth century, 2nd half.]
+
+[Illustration: FIG. 25.--Fifteenth century, 2nd half.]
+
+[Illustration: Plate VIII.--(_a_) (_b_) (_c_) Three Suits. Period
+Charles II.]
+
+[Illustration: FIG. 26.--End of fifteenth century.]
+
+Modes of opening the skirt up to the hips occasionally showed
+themselves, and even the sides to the hips are seen laced. In the
+earlier dress, about 1485, the neck setting of dress became very
+square, and was filled with fine-drawn lawn. The square shape rises in a
+curved centre before the end of this period, and a close-fitting robe
+was worn with a girdle, often opened up the sides. The short upper
+sleeve and full outer sleeve so much in vogue gave place to a divided
+upper and lower sleeve, laced or tied with ribbon, with puffs of lawn
+pulled through the openings at shoulder and elbow, and down the back of
+the forearm. Slashes are now seen in most sleeves, and an Italianesque
+character pervaded the fashion.
+
+High, soft boots and shoes of a similar shape to the male description
+were worn, and changed when the square-toe shoes came in.
+
+Through this period there are many interesting details of costume to
+study, while gilt tags, finishing laces, and ribbons are to be remarked
+from this period.
+
+
+FIFTEENTH CENTURY. MALE.
+
+[Illustration: FIG. 27.--Fifteenth century.]
+
+[Illustration: FIG. 28.--Fifteenth century, 1st half.]
+
+[Illustration: FIG. 29.--Middle of fifteenth century.]
+
+The chief shapes to mark in this century in male head-dress is the
+increased height of the tall hats which rise to vie with the female
+fashions. We still see a round hat with a rolled edge and long fall
+over one side, besides shorter folds in the crown, both scalloped or
+foliated at the edge, and this shape may be noted till about 1460. Some
+of these hats were made without a crown, as in Fig. 28 (see p. 94); the
+roll was decorated, as a rule, with jewelled studs. A top hat, something
+like our present shape, appears, but more belled at the top and also a
+padded, rolled brim. It was made in various rich materials, and often
+decorated with jewels. The peak-fronted hat still continued to be
+favoured till about 1480, its chief difference being a crown more
+eccentric in height. Tall cylinder hats, with folded brims or no brim,
+and other shapes are illustrated. The variety is so great through this
+period that it is well to study the vagaries of fashion which I have
+illustrated in sequence as far as possible; they were mostly used till
+about the last quarter of this century, when the low-crowned flat hat
+with turned-up brim began to secure the fashion. This was generally worn
+tilted on one side and often over a scarlet skull-cap. A large bunch of
+plumes came in with this hat, set up from the front, curving backwards,
+and giving a very grand effect: with most of the tall hats the
+feather was set at the back.
+
+[Illustration: FIG. 30.--Fifteenth century.]
+
+[Illustration: FIG. 31.--Fifteenth century, 1st half.]
+
+[Illustration: FIG. 32.--Fifteenth century, 2nd half.]
+
+The notable change in the tunic, which was worn both very short and to
+the ground, was the arrangement of folds to the back and front, gathered
+to a =V= shape at the waist. The hanging sleeve began to go out of favour
+after the middle of the century, but the sleeve or cuff covering the
+hand was continued till the end of this century.
+
+A sleeve, full at the shoulder, is found, and short, round, padded
+sleeves came in, worn over a close-fitting sleeve. This short sleeve
+became raised on the shoulder, and was cut or looped up the outer side:
+a long loose outer sleeve is also seen in conjunction with these short
+ones. A very short jacket is notable, of a plain square shape, with a
+plain sleeve on the left arm and a hanging sleeve on the right to the
+knee. The tight-fitting jerkin, laced down the front, was worn with this
+as with most other coats.
+
+[Illustration: FIG. 33.--End of fifteenth century.]
+
+[Illustration: FIG. 34.--Fifteenth century, 2nd half.]
+
+[Illustration: Plate VIIIa--
+
+    (_a_) Suit of Embroidered Silk. 1610-30.
+    (_b_) Three Sword Hangers Embroidered in Gold. Charles II.
+    (_c_) Braided Suit. 1670-90.]
+
+[Illustration: FIG. 35.--Fifteenth-century Shoes and Clogs.]
+
+The high collar to the throat had gone out for a collar opened in front.
+Very short and very long "chasubles" were worn with or without sleeves
+which were gathered high and full at the shoulders. The sleeves
+were now sometimes slit open at the back and held with several ties, as
+linen sleeves are now shown with these.
+
+Parti-coloured tights were not so much favoured through this period, but
+a decorated thigh, or part of the thigh and knee, was a favourite method
+of enrichment.
+
+[Illustration: FIG. 36.]
+
+A long coat came in at the later part of this time, with a deep =V=-shaped
+collar meeting at the waist; it was also cut into a square shape at the
+shoulders, as in Fig. 43 (see p. 119). A loose bell-shaped sleeve
+usually went with this, often opened in the front of the upper arm. A
+short square cape is at times seen in conjunction with this. A low
+square or round neck shape came in during the last quarter of this
+century, filled in with a fine gathered lawn and a tight-fitting coat
+with a pleated skirt and full padded sleeves, or a tight sleeve
+with a full puff or spherical upper part.
+
+[Illustration: FIG. 37.
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, second half of 15th century.
+
+Nos. 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, variety of shapes from 1490
+to 1630.]
+
+[Illustration: FIG. 38.
+
+    No.
+     1. 14th century.
+     2. 15th century.
+     3.   "    "
+     4. Late 16th cent.
+     5. 1580-1610.
+     6.   "    "
+     7. 1605-1640.
+     8. 1600-1625.
+     9. 1550-1600.
+    10. 1610-1640.
+    11. 1590-1620.
+    12. 1605-1630.
+    13. 1675-1695.
+    14. 1670-1690.
+    15. 1680-1700.
+    16. 1690-1720.
+    17. 1680-1700.
+    18. 1700-1750.
+    19. 1700-1780.
+    20. 1700-1760.
+    21. 1740-1780.
+    22. 1745-1780.
+    23. 1770-1800.
+    24. 1730-1760.
+    25. 1700-1780.
+    26. 1830-1860.
+    27. 1780-1800.
+    28. 1840-1870.
+    29.   "    "  ]
+
+[Illustration: Plate IX.--
+
+    (_a_) Lady's Embroidered Silk Jacket. 1605-30.
+    (_b_) Lady's Bodice of Silk Brocade. 1680-1700.]
+
+[Illustration: FIG. 39.--Decorated Leather, 15th and 16th centuries.
+
+    _Comb case_
+    _purse_
+    _Cut leather. 15 cent._
+    _Leather_
+    _Pierced leather, 16 cent._
+    _Bronze studs 15 or 16 cent._
+    _metal studs_
+    _Incised lines with metal studs 15 cent._]
+
+Shoes and boots were still worn with very long pointed toes till about
+1465, when a proclamation was issued for beaks or piked shoes not to
+pass two inches, and after this time a broad round-toed shoe began to
+appear. Soft high boots to the top of the thigh, with folded top, belong
+to this century, as well as the fashionable boot to the calf. The sword
+or dagger was carried towards the front or side, and a small dagger
+across the belt at the back. The pouch or purse was also used as a
+dagger support.
+
+
+
+
+CHAPTER V
+
+
+SIXTEENTH CENTURY. CHARACTER OF TRIMMINGS.
+
+Before the 16th century we find the art of decoration in costume had
+been confined chiefly to applied ornamental bands at the neck, waist,
+and borders of skirt and cloak. They had up till this time utilised,
+with great artistry of design (no doubt partly due to the heraldic
+study), the patterns of the finely decorated damasks and velvets.
+The counter colour effects and relative proportions, such as a
+small-patterned, dull-coloured silk setting off a large full-coloured
+design was ably considered, as well as the introduction of a
+nicely-balanced black note or setting, which proved these designers were
+highly skilled in judgment of style. They also discovered the art of
+giving enrichment and lightness to the effect by means of the various
+serrated edgings to the materials, which also gave a flutter to the
+movement. A preference of lacing for fastening added to the charm of the
+dress, but the long rows of close buttons were also a feature of the
+clinging robes, the clasps and brooches, neck-chains, girdle, belt, and
+wallet being further very important items of enrichment to the effect.
+
+On coming to the 16th century we enter what may be termed the slashed
+and puffed period. The sleeves of Henry VIII's reign are very rich in
+design and jewel-setting, the design of the sleeve as in Fig. 40 giving
+a striking effect, the angle of the top sleeve being held out by the
+stiffness of the under silk one. The neck-setting and festooning of the
+jewel-chains play an important part in the design on the plain velvet
+corset bodices. The head-dress is one of the most remarkable, and gave a
+great chance for individual arrangement in binding the back fall to set
+at various angles on the shaped cap piece, combining severity with a big
+loose draping which is extremely picturesque. With Edward VI commences
+what may be termed the braided period of decoration. This latter came
+suitably with the stiffer corsage and set up. Mary's reign was not of
+attractive severity, but the over-robe with the short circular sleeve at
+the shoulder and high collar was a graceful creation, and was retained
+by many as late as 1630. There was little to admire in the Elizabethan
+age as regards design, except the beauty of the materials and the
+exquisite needlework. The proportions of the dresses were exceedingly
+ugly, and the pleated farthingale an absurdity. The male dress had much
+interest and often beauty of setting and decorative effect. The slashed
+materials gave a broken quality to what would otherwise be a hard
+effect, and it also cleverly introduced another colour change through
+the suit. There will be found many examples in these illustrations of
+the pricked and punctured designs on leather-work which are worth
+examining for modern treatment.
+
+Quilting and pleating were ably combined with the braiding, and we see
+the clever adaptation of straw patterns sewn on (a feature of the late
+16th century), which harmonised with the gold braidings or gold lace, or
+resembled the same effect.
+
+The trimmings of braid were often enriched with precious or ornamental
+stones and pearls, the stomacher, waist, front band down the skirt, and
+borders of most garments. The points of slashes were often held by
+jewelled settings, and the long slashes were caught here and there with
+the same.
+
+Another important item was the black stitchwork on linen, sometimes
+mingled with gold, so highly prized now for its beauty of design and
+effect, but beginning probably in the reign of Henry VII.
+
+Short coats of this type of the Elizabethan age are marvels of skill,
+and many caps are still in existence. Fine linen ruffs and collars were
+often edged with this work, as well as with gold lace.
+
+Jackets and caps, both male and female, bearing geometrical and scroll
+designs in gold, filled in with coloured needlework of flowers, birds,
+or animals have happily been preserved for our admiration.
+
+Sequins appear on work from Henry VIII's time, and were much appreciated
+by the Elizabethan workers, who no doubt found the trembling glitter
+added much to the gold-lace settings and delicate veilings: long
+pear-shaped sequins were favoured for this. Sleeves were often separate,
+and could be changed at will.
+
+
+SIXTEENTH CENTURY. HENRY VIII. FEMALE.
+
+The hair at this period was parted in the centre and gathered into a
+plait at the back; it was also seen rather full and waved at the sides
+of the head, and a small circlet was often carried across the brow. A
+cap of velvet or gold brocade, sometimes with a padded front, curved
+over the ears to the neck, keeping the shape of the head. Over this
+again a velvet fall was turned back from the front or shaped as in the
+illustration, reaching to the shoulder. These falls were also bound into
+set-out shapes, which gave many picturesque effects.
+
+Dress had now taken a new phase, and the set bodice became a lasting
+feature. At this period the waist was rather short, and the neck,
+arranged in a low square or round form, generally filled in with
+gathered lawn. The upper part of the sleeve was often divided from the
+bodice by ties with lawn puffs, and was made in a full circular form,
+slashed or puffed and banded, with a tight-fitting sleeve on the
+forearm. Another type divided the upper and lower part of the arm at the
+shoulder and elbow, the forearm being effectively tied or laced, and
+the under lawn sleeve pulled through; small slashings are also seen on
+these. At times a bell-shaped sleeve was worn, showing a slashed or
+puffed under one. Many dresses were still cut in one, and were often
+high-necked; with these usually a girdle or band of drapery was worn,
+and some skirts opened up the front, showing a rich underskirt.
+
+[Illustration: FIG. 40.--Sixteenth century, 2nd quarter.]
+
+[Illustration: FIG. 41.--Period Henry VIII.]
+
+Full skirts, heavily pleated at the waist, were worn in the earlier part
+of this reign, banded in varying widths of designs to about the knee;
+but a new development was in progress--a stiff, bell-shaped dress, set
+on hoops over a rich underskirt which usually bore a jewelled band down
+the centre, the upper one being divided in front to display this
+feature. The bodice with this type becomes longer in the waist, and was
+made on a stiff corset. Gloves are occasionally seen, serrated at the
+cuff-end. Shoes of the slashed character and square toes were also worn
+by the ladies, but many preferred a shoe with a moderately rounded toe.
+
+The first mention of a leather umbrella is 1611, but this is a rare
+instance, as they were not in use till the 18th century here, though
+they are noted in continental prints during the 17th century.
+
+[Illustration: FIG. 42.--Sixteenth-century modes, 1st half Henry VIII.]
+
+
+SIXTEENTH CENTURY. HENRY VIII. MALE.
+
+The modes at the end of the last century now developed into a heavier
+character of design. The long hair soon began to be closely cut, and a
+short beard came into fashion. A flat type of hat was worn, with
+serrated brim, or tabs which could be turned down at times, and others
+were kept in place by a lacing cord through holes. There was also a flat
+"Tam o' Shanter" shape, generally worn well tilted on one side, and
+amongst the upper classes mostly adorned with feathers.
+
+The =V=-shaped collar, or opening to the belt, was still retained on the
+jerkin, and plain or pleated skirts are seen, also a square
+close-fitting vest, with a low square neck, filled with gathered lawn,
+or one with a high neck and short collar, on which a very small ruff
+appeared for the first time, and at the wrist as well. These were now
+decorated with long slashes or gathered puffs: heraldic design was still
+seen on the breast, and even parti-colour was worn, but this
+character was now treated more by decorating with coloured bands on the
+tunics or tights.
+
+[Illustration: Plate X.--
+
+    (_a_) Black Velvet Bodice. 1600-25.
+    (_b_) Five Embroidered Waistcoats. Between 1690 and 1800.
+
+_Pattern, see p. 292._]
+
+[Illustration: FIG. 43.--Period Henry VIII.]
+
+[Illustration: FIG. 44.--Cap shapes. Period Henry VIII.]
+
+[Illustration: FIG. 45.--Variety of shapes and slashing. Henry VIII.]
+
+Long coats were still worn of the shape described at the end of the 15th
+century, but a short surcoat was the mode, reaching just below the knee,
+sleeveless, or with the various hanging sleeves of this period, the
+fronts usually turned back to form a wide collar, either round or square
+in shape on the shoulder, or at times falling to a deep square at the
+back.
+
+The sleeves were full in the upper part, tightening to the wrist,
+sometimes open up to the elbow and laced, or they were pleated into a
+full round shape at the shoulder. Puffs and slashings increased in these
+designs, and by 1520 we find the sleeves mostly divided into puffed and
+slashed forms, which grew to fantastic proportions.
+
+Very short, tight breeches or trunks, with a front flap or codpiece,
+were decorated to match the body design and colour schemes; they
+increased in length to the knee, or just below, during this reign, and
+usually finished in a serrated roll.
+
+[Illustration: Plate XI.--16 Leather Boots and Shoes. Between 1535 and
+1860.
+
+     1. 1740-1780.
+     2. 1535-1550.
+     3. 1680-1700.
+     4. 1645-1690.
+     5. 1665-1685.
+     6. 1690-1710.
+     7. 1845-1860.
+     8. 1790-1820.
+     9. 1665-1670.
+    10. 1800-1820.
+    11. 1820-1840.
+    12.     "
+    13. 1815-1850.
+    14. 1760-1780.
+    15. 1650-1670.
+    16. 1630-1660.]
+
+[Illustration: FIG. 46.--Footwear, 1510-1540.]
+
+Shoes were of the square form, some very short in front, held on by a
+strap across the instep, others with fronts to the instep. The
+corners were often brought out to a point on each side of the toes, and
+the mode of decorating with slashing and punctures made them very
+interesting. The sides of these shoes are very low, from ¾ to 1 inch,
+and no heels are seen. A big, round shape was also favoured, which
+increased in width till a proclamation forbade it exceeding 6 inches.
+Chains were still a decorative feature round the neck, and the belt
+carried a sword and pouch, or, amongst the working classes, other
+necessities.
+
+
+SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY.
+
+FEMALE.
+
+In the reign of Edward VI, which was so short, as also in that of Mary,
+there was little time to form a real character. These reigns form
+developing links to the Elizabethan era, so I have taken them in one
+chapter.
+
+[Illustration: FIG. 47.
+
+FIG. 48.
+
+FIG. 49.
+
+Elizabethan modes.]
+
+[Illustration: FIG. 50.--Costumes, 1554-1568.]
+
+[Illustration: FIG. 51.--Costumes, 1568-1610.]
+
+With Edward VI the same shaped cap is seen as that of Henry VIII, and
+with Mary's accession, the head-dress is curved to the head in a like
+manner, but it now became more of a hat form and took a brim curved in
+on the brow; this was often worn over the little tight curved cap,
+or showed the hair waved out at the sides, often netted with gold and
+pearls. A fall of velvet, silk, or veiling was still retained till the
+very high ruff or collar came in the Elizabethan days. A small-crowned
+hat, with a brooch and feather in front, and a full gathered crown came
+in before Elizabeth's time, when we see many eccentric shapes, such as
+the tall hat with a feather at the side, and the witch-like hats towards
+the end of her reign.
+
+The bodice, which became longer in the first reign, still retained the
+full belled oversleeve or the full puffed sleeve to the end of Mary's
+reign, also the same square neck shape with curved-up front, now often
+filled with silk quilted with pearls up to the neck. High-necked dresses
+set with a small ruff became general in Mary's reign. We also find a
+tight sleeve gathered in a circular puff at the shoulder or set in a
+rolled epaulet.
+
+The same shaped skirt of the hooped bell form (sometimes very pleated in
+Mary's reign) or divided in front to show the underskirt as described
+under Henry VIII, was worn.
+
+The short square shape and the heavy round shoe is seen in Mary's
+reign, but fashion then preferred a rather pointed oval shoe, well up
+the instep with higher sides, decorated with characteristic slashing.
+Gloves are seen in many portraits up to this period, but of a plain make
+minus embroidery, and a circular fan of feathers was carried.
+
+
+SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. MALE.
+
+With Edward VI and Mary a more refined and sober type of style set in.
+The hair was now worn short and combed backwards. The flat hat of the
+earlier shapes lasted to Elizabeth's reign; becoming smaller in width,
+with a turned-down, curved brim and a fuller crown encircled with a gold
+band or set with a feather worn at the right-hand side. A small
+tight-fitting round hat with a rolled brim and a feather in front is
+also of this later mode. Through these reigns a small square turned-over
+collar or a very small ruff set on a high collar came into use, which
+increased to a larger ruff in Mary's reign. A small ruff was also worn
+at the wrist, many of these were edged with black-stitch designs. The
+heavy puffed sleeves became tight and started from a small epaulet or
+puffed roll; some of these had a small cuff at the wrist or a frill.
+Braided designs became very elaborate on a close-fitting, padded, and
+round-shaped jerkin with a short skirt, which appeared in the first
+reign, and this skirt was often long enough to fasten just under the
+codpiece. Short trunks at times worn half-way down the thigh were
+slashed, banded, and puffed for decoration. No parti-colour was now worn
+or striped effects on tights, except amongst the soldiers in the reign
+of Mary. Short capes to the length of the trunks of a plain round form
+sloping from the shoulders, or a square type with a high square collar
+and loose sleeves, are seen; a tunic also of the earlier character with
+a =V=-shaped collar and full sleeve comes into this reign, and we note the
+earlier types of shoes mingling with the newer pointed oval-shaped shoe
+which now continued for the remainder of this century.
+
+[Illustration: FIG. 52.--Costumes, 1554-1580.]
+
+[Illustration: FIG. 53.--Costumes, 1570-1605.]
+
+In Mary's reign the round-shaped doublet began to protrude from the
+breast to the waist in a round form with slightly longer skirts or small
+tabs, while the trunks assumed large circular proportions and were
+sometimes set on tight knee-breeches. The capes remained about the same.
+
+
+SIXTEENTH CENTURY. ELIZABETH. FEMALE.
+
+The costly splendour of attire is well known in Elizabeth's reign, which
+began with the same form of hair and head-dress as with Mary, the hat
+being set rather higher on the hair. The ruffs, which were imported
+already starched from Holland, assumed larger proportions and
+complications when the methods of starching became known in England
+about 1564. Stow describes ruffs growing to a quarter of a yard deep;
+these were no doubt supported by piccalilloes, though they are not
+actually mentioned till after 1600, but they surely came with the
+fan-shaped structures of these later days. White, red, blue or purple
+colours were used in the starching, and yellow in the latter days of
+this century. The introduction of this curved fanlike collar setting
+became a grand and complicated feature right into the 17th century.
+"Make up" became very apparent on the faces at this time, for
+Bishop Hall censured the fashion in a choice sermon, saying, "Hear this,
+ye plaster-faced Jezabels! God will one day wash them with fire and
+brimstone."
+
+[Illustration: FIG. 54.--Elizabethan modes.]
+
+[Illustration: Plate XII.--
+
+    (_a_) Lady's Outdoor Costume. 1785-95.
+    (_b_) Costume. Early 18th Century.
+    (_c_) Silk Brocade Dress. 1760-80.]
+
+[Illustration: FIG. 55.
+
+    1585-1610
+    1600-1620
+    1595-1605
+    1605-1615
+    1589-1600]
+
+The bodices grew very long and pointed in the waist, the neck setting
+being mostly treated in the same =V= shape, even open down to the waist
+point was filled with a decorated stomacher, and a deep oval-shaped neck
+was seen at the end of the reign. An outer opened sleeve was now
+favoured, caught in front at the elbow and hanging to the knee over a
+fairly tight undersleeve with a turned-back lace cuff or ruffle. With
+this came the high-set fan ruff on its wooden support at the back of the
+neck, and consequently a higher coiffure.
+
+[Illustration: FIG. 56.
+
+Nos. 1, 2, 3, 1540-50, and other shoe forms worn in the reign of
+Elizabeth.]
+
+The same character of skirt continued as in the earlier reigns on hoops
+at the lower part, but they became much fuller and rounder at the hips
+till about 1590, when the full pleated skirt was supported on a
+farthingale or hoop which was set with a gathered circle in the same
+goffered design as the ruffs at the edge. These reached their extreme
+dimensions at the end of this reign, when the sleeves also assumed a
+full padded shape and large epaulets also came in. An overdress with a
+full pleated back (like the Watteau dress) was in fashion from the
+middle of this reign, and we are lucky to possess some specimens in the
+Victoria and Albert Museum of which I am able to give the dimensions.
+Small looking-glasses were carried, and were also inset on the round
+feather fans. Perfumed gloves, elaborately embroidered, were introduced
+during this reign. Silk stockings were worn by Elizabeth for the first
+time in 1560, and worsted stockings were made in England in 1564.
+Corsets of pierced steel are seen in France from the late 16th and 17th
+century, and may have been in use here, though wood, cane, and whalebone
+were the chief supports. Shoes became narrow and even pointed, while the
+heel began to increase to considerable heights. The buskins of Queen
+Elizabeth now at Oxford are raised to 3 inches in height by the aid of a
+thick sole, and shoes A and B, Fig. 61, are also reported to have
+belonged to her. Chopins for heightening the stature were in use on the
+Continent, but I believe did not appear here; but very thick corked
+soles and high heels were introduced for this purpose.
+
+[Illustration:
+
+Plate XIII.--
+
+    (_a_) Silk Coat. 1735-55.
+    (_b_) Brocade Silk Coat. 1745-60.
+    (_c_) Embroidered Cloth Coat. 1770-90.
+
+_Pattern, see p. 308._]
+
+
+SIXTEENTH CENTURY. ELIZABETH. MALE.
+
+In this reign a very neat small-pointed beard was the fashion, the hair
+being brushed up as high as possible and often fulled out at the sides,
+and a "chic" appearance was sought after. A stiff belled top-hat with an
+egret at the right side made its first appearance with a curved brim,
+also one of a tapered shape with a smallish round brim, and another very
+small round hat with a curved brim, a clasp and feather being mostly
+worn on the front of each. The brims of all the hats began to enlarge at
+the end of the century when the very high crowned wide brimmed hat made
+its appearance, sometimes with a peaked top, and beaver is first
+mentioned in their make.
+
+Large circular ruffs became all the rage besides the small turned-over
+collar. The round doublet with protruding front became tighter at the
+waist, the protuberance taking a punchlike pointed form curving to
+almost between the legs and sloping sharply up the hips to the back.
+This was set with a very short tab or tabs on padded breeches
+tightening to the knee, which usually had very small trunks on the upper
+part, and large, stuffed trunk hose also appeared. The stockings were
+brought over these in a roll above the knee. Up to this time tights were
+made of wool, worsted, fine cloth, frieze, and canvas. The slashings,
+pleating, and gatherings of the period were of a much neater character,
+and punched patterns and pricked materials came into use.
+
+Close-fitting high boots, generally with serrated tops and thick soles
+curving into a short heel, are features of this time. The shoe had a
+long front decorated with slashings (often caught with jewels), and an
+oval toe which became almost pointed in the last years of this century.
+A short top-boot rising to the calf was also in use, mostly with a
+little fur edge at the top, and these were often pricked with patterns.
+
+[Illustration: FIG. 57.--Elizabethan modes.]
+
+
+
+
+CHAPTER VI
+
+THE CHARACTER OF TRIMMINGS THROUGH THE SEVENTEENTH CENTURY.
+
+
+JAMES I.
+
+The braiding and small slashing continued of a similar character to the
+end of the Elizabethan age. The slashing now began to be treated with a
+larger effect and less elaboration, but pricking and punching were still
+much used for enriching surfaces. An improved style of design was
+evident.
+
+The female bodice was arranged with a long stomacher, often shaped into
+curved forms at the point, and this was set with jewels or embroidery,
+otherwise the bodice was decorated with braiding and jewels as in
+Elizabeth's reign. The full sleeves were embellished with small slashes
+(making diamond squares), puffs, or pricked and punched designs. A
+turned-up cuff or ruff of pointed lace finished the wrist, braided
+epaulets formed a beautiful feature of the effect, and the front of the
+underskirt was decorated with a jewelled band or conventional design, as
+was also the border of the overskirt. Caps of an interesting curved form
+beautifully embroidered in gold and coloured silks are seen, of which I
+give patterns; also loose jackets of the same work were in use when not
+in full dress.
+
+
+CHARLES I.
+
+Many beautifully embroidered caps, jerkins, jackets, and shirts are seen
+at this period in gold and black or coloured silks. Slashings of this
+reign, though in fashion, had commenced to go out; and those retained
+were of a large character, mostly from the neck or shoulder to the
+breast. The favoured sleeves were cut into straps to the elbow or wrist,
+and were often edged with braid, either side meeting together and lining
+the forearm, the body being treated in the same way. The open-fronted
+sleeve was set with buttons and loops or long braided buttonholes with
+frayed or knotted ends, though these were not generally fastened. The
+tight undersleeve was often set with gold or silver narrow braids down
+the front and back seams, and close lines of small braids horizontally
+round the arm, or vertically when the outer sleeve was treated
+horizontally, this gave a beautiful counterchanged effect.
+
+Many of the ladies' caps of this time had beautiful gold scrolls, with
+flowers and birds embroidered in coloured silks, also loose jackets of
+the same were in use. The bodice was banded with braids or lace on the
+front and seams, and the stomacher was often of fine embroidery; set
+rosettes or bows were placed at the waist. Other finishing effects of
+collar or sleeve, and the button and buttonhole decorations were made
+important features on both male and female sleeves, and even down the
+front of the outer skirt when it was not treated with lace. Red heels to
+shoes began to be worn and continued to the end of the 18th century in
+marked favour.
+
+
+THE COMMONWEALTH.
+
+During this short period the character and placing of braiding was the
+same as in the latter part of last reign; slashing had almost completely
+gone out, except for the treatment of some ladies' sleeves cut into
+bands. A very sober effect was assumed in colour schemes, besides a
+plainer treatment in decoration, and a deep plain collar or a small
+turn-over one was chiefly worn by the men, while the hat of the Puritan
+rose to an absurd height, with a wide flat brim.
+
+
+CHARLES II.
+
+This may be named the period of ribbon trimmings, though braiding was
+treated in broad lines on the short jackets and sleeves, and down the
+sides of the breeches. A preference is shown for gold and silver lace,
+or amongst the élite purfled silk edges; the new mode being a decoration
+of groups of ribbon loops placed about the suit or dress. The notable
+feature with the female dress was the gathering of drapery by means of
+jewelled clasps, and groups of ribbon loops were also used, as with the
+male dress. The edges of the materials were sometimes cut into scalloped
+or classic forms, and a very simple voluminous character was fashion's
+aim.
+
+
+JAMES II AND WILLIAM AND MARY.
+
+With the later type of long-skirted coat which began in Charles II's
+reign, a heavy style of braiding and buttoning came into vogue, all the
+seams of the coat besides the pockets and cuffs and fronts being
+braided, which fashion continued to the end of the century. Many coats
+began to be embroidered in the later reign, and waistcoats became a
+special feature for the display of fine needlecraft on the fronts and
+pockets, while quilting or imitations of it in various needlework
+designs are often seen. In the female dress a more elaborate interest
+was again taken in the stomachers and the jewelled claspings, while
+lengths of soft silk gathered into long puffs often edged the outer
+skirts or were used in smaller trimmings, and "classical" shapings of
+the edges of materials and sleeves are often seen, also heavy bands of
+rich embroidery bordered the underskirt or train.
+
+
+SEVENTEENTH CENTURY. JAMES I. FEMALE.
+
+We find much the same high forms of set-up head-dress continuing in
+fashion as in the later years of Elizabeth's reign; but the hair began
+to take a fuller shape, rather round, done up in tight frizzled curls,
+with the usual decorations of jewels, pearls, or set bows of this
+period. Hats with high crowns and small straight brims, with an upright
+set of small plumes, gradually assumed a larger brimmed character--often
+turned up on one side. The same absurd pleated hoop, with its hanging
+skirt, continued for some time (worn rather short); but we also see the
+longer and very full hooped-out skirt, with an overskirt opened in the
+front. The stomacher front became much enlarged during this reign, many
+having shaped designs at the point. Most bodices took a very deep curved
+front at the neck, and large padded sleeves narrowed at the wrist still
+continued, besides the high fan collar at the back of the neck, and
+large ruffs were used by many. There also appeared, later in the reign,
+a stiff round collar, set high in the neck, cut off straight across
+the front, and the bodice took a very low square-cut neck, with a raised
+curved shape at the centre of neck. The tighter sleeve was also worn
+throughout this time, with the overdress and sleeve hanging almost to
+the ground, which often had a very angular cuff. A little later some
+sleeves began to be gathered at intervals into puffy forms. The waist
+also showed signs of shortening.
+
+[Illustration: FIG. 58.]
+
+[Illustration: FIG. 59.--Costumes. Period, James I.]
+
+Shoes with rounded toes and latchets holding large rosettes were chiefly
+worn, and heels of various heights are seen. Chopins, still worn on the
+Continent, do not seem to have appeared here.
+
+
+SEVENTEENTH CENTURY. JAMES I. MALE.
+
+The hat was of the high-crowned type, perhaps higher than in the last
+reign. The brim had broadened, and feathers were placed upwards
+fantastically at the back and sides of crown. Brims were often fastened
+up on the right side with a jewel; otherwise a band was buckled in
+front. The hair was now allowed to fall longer again, and a pointed or
+square-shaped beard with a brushed-up moustache was the mode. Ruffs both
+large and small surrounded the neck, and a flat fan-shaped collar
+was seen in the earlier years.
+
+[Illustration: Plate XIV.--
+
+    (_a_) Embroidered Silk Dress with Pannier. 1765-80.
+    (_b_) Brocade Dress and Quilted Petticoat. 1750-65.
+
+_Pattern of bodice, p. 322._]
+
+[Illustration: FIG. 60.--Costumes. Period James I.]
+
+The jerkin was close fitting and the length of the waist more normal,
+with less tendency to being tightened in, and not so deep in the front
+point, so as to set better over the very full trunks or breeches. The
+square tabs of the jerkin increased in size, and soon formed large flaps
+divided into three or four, to the centre of the back. Sleeves were
+fairly tight and started from slightly larger epaulets, and were usually
+set at the wrist, either with a small ruff or turned-up lawn cuff, edged
+with lace.
+
+The trunks were padded in a very full shape and were much longer, just
+above the knee. Also full padded-out breeches tapering to the knee or
+just above, where a large tie and bow hung at the side, and full square
+breeches not tied in, are also a feature of these days, usually banded
+with wide braids at ends and sides. Upright pockets were made on either
+side towards the front, about two inches from the side seams. They
+fastened up the front in a pleated fold, many being decorated with
+punched, pricked, or slashed design of a smallish character.
+
+[Illustration: FIG. 61.--Shapes of Shoes from 1590-1650.]
+
+Cloaks were worn longer to the knee, retaining the same shapes and
+braid decoration as in the Elizabethan period, and hanging sleeves were
+still worn on them, as well as on some of the jerkins.
+
+Shoes became fuller and rounder at the toes, mostly with thick welted
+soles and short heels, or none. They were fastened with a large rosette
+of gold lace or ribbon on the front, and the latchets were set back to
+show an open side. The top-boots were close fitting and took squarer
+toes; the spur flap being rather small. Beautifully embroidered clocks
+are seen on the tights and stockings of this period.
+
+
+SEVENTEENTH CENTURY. CHARLES I. FEMALE.
+
+The hair was now allowed to fall in ringlets round the back and sides,
+with a few flat curls on the brow, and a bow and pearls were caught in
+at the sides. Short feathers may also be noted in use. A plait was often
+coiled at the back after 1630.
+
+[Illustration: Plate XV.--
+
+    (_a_) White Cloth Coat. 1775-90.
+    (_b_) Silk Dress. 1740-60.
+    (_c_) Embroidered Velvet Coat. 1755-75.]
+
+[Illustration: FIG. 62.]
+
+[Illustration: FIG. 63.
+
+Collar and Bodice types. Period Charles I.]
+
+[Illustration: FIG. 64.
+
+Collar and Bodice types. Period Charles I to 1660.]
+
+In the early part of this reign the ladies were wearing the long
+corset-bodice, with a richly decorated stomacher which curved outwards
+to set on the very full skirts; this often finished with a curved or
+foliated shape at the point. Square starched collars, rounded at
+the back, sometimes set up at the back of the neck or flat on the
+shoulder, and ruffs were still seen round the neck with collars as well,
+but they were seldom met with after 1635. A plainer, deep collar, flat,
+round, or =V=-shaped at the back, coming well over the shoulders, was
+caught together by a bow or ornament in front. About 1630 shorter
+waisted bodices came in, with full, loose sleeves set in epaulets: the
+neck shape was rounded or square. The bodices were often slashed, and
+the full sleeves, cut into bands, were sometimes gathered by cross bands
+from one to three times. Full plain sleeves, opened in the front seam,
+were also clasped at the elbow in a like manner. Outer short sleeves
+became a feature, opening in the front, showing the full under one or a
+tight one; the waist became very short and its tabs larger. A waistband
+fastened in the stomacher with a bow either side and bows with long gold
+tags decorated the waist as in the male jerkin. The skirt decorated by a
+band of ornament down the front was often tied upon the corset-bodice,
+the front point being left outside. Shoes of the same shape as the male
+illustrations, with very square toes, were frequent, but an oval toe,
+rather pointed, is seen in many pictures, with the large lace rosettes
+in front. Muffs are first noticed in these days, though they were seen
+much earlier on the Continent.
+
+[Illustration: FIG. 65.--Period 1625-1660.]
+
+
+SEVENTEENTH CENTURY. CHARLES I. MALE.
+
+The hair was worn loose to the shoulders, and a small plait was
+sometimes arranged on the left side, brought to the front of shoulder.
+The beard was trimmed to a pointed shape, and smarter curled moustaches
+were fashionable. Hats were still high in the crown, but rather lower
+than with James I; the large brims were turned about in various curves,
+and feathers were worn falling over the brims to the side or back.
+
+The jerkin was high in the collar, supporting a large, square, turn-down
+collar edged with pointed lace to the shoulders, or a small, plain,
+turn-over collar; ruffs are very rarely seen after 1630.
+
+[Illustration: FIG. 66.--Charles I.]
+
+[Illustration: FIG. 67.--Period 1625-1660.]
+
+[Illustration: FIG. 68.--Period 1625-1660.]
+
+A rather short waist grew shorter during this reign, with much larger
+tabs, or large flaps laced to the body, forming a series of bows with
+long gilt tags round the waist. The body is usually decorated with
+long slashes from the shoulders to the breast, or the full length, and a
+long slashed opening is often seen in the back (presumably to give more
+play to the sword-thrust). The sleeve is also treated in the same way to
+the elbow or waist. All sleeves start from a stiff epaulet. Breeches are
+both very full and fairly tight, the latter edged with a purfling of
+silk or gold lace as well as the sides, the former shape tied either
+above or below the knee with a large silk bow with falling ends. They
+were held up by a number of hooks, fastening to a small flap with
+eyelets, round the inside of the doublet (see pattern 11, p. 295), and
+were buttoned down the front, the buttons being half hidden in a pleat.
+The pockets were placed vertically in the front of the thigh, and were
+frequently of a decorative character.
+
+A short or long circular cloak was worn, and a coat-cloak with opened
+sleeves is an interesting garment. These coverings were hung in various
+ways from the shoulders by methods of tying the cords across the body.
+
+[Illustration: FIG. 69.--Period 1625-1660.]
+
+[Illustration: FIG. 70.--Shoe shapes. Charles I to 1700.
+
+    NOS. 1, 2, 3, 4, 5, 6, 7, 8, 23. Charles I.
+    NOS. 9, 10, 11, 12, 13, 14, 15, 16, 17, 25. Charles II.
+    NOS. 18, 19, 20, 21, 22, 24, 26, 27, 28. James II and
+         William and Mary.]
+
+[Illustration: Plate XVI.--
+
+    (_a_) Silk Brocade Dress. 1740-60.
+    (_b_) Silk Brocade Sack-back Dress. 1755-75.
+          _Pattern, see p. 334._
+    (_c_) Dress of Striped Material. 1775-85.
+          _Pattern, see p. 335._]
+
+[Illustration: FIG. 71.--Boot shapes. Charles I to 1700.
+
+    NOS. 1, 2, 3, 4, 5, 6, 7, 8, 9. Charles I.
+    NOS. 10, 11, 12, 13, 14, 15. Charles II.
+    NOS. 16, 17, 18. James II and William and Mary.]
+
+Shoes became very square at the toes, or blocked as in Fig. 70, No. 6.
+The fronts were set with large rosettes of silk and silver or gold
+lace, the heels varied much in height, that mostly favoured being a
+large, low heel. A quaint fashion of shoe combined with a clog sole was
+an interesting shape (see illustration of clogs, p. 106). Fairly tight
+top-boots, coming well above the knee, were often turned down. Other
+boots with large bell-tops, turned over or pushed down, were covered or
+filled with a lace or bell-shaped stocking-top. A sash was worn round
+the waist or across the body over the left shoulder (the length and
+width of these is given in the description of patterns, p. 279). A broad
+belt, or sword-hanger, came across the right shoulder. Gloves were
+beautifully embroidered in gold, pearls, or coloured silks, the
+gauntlets being from five to eight inches deep.
+
+
+SEVENTEENTH CENTURY. THE COMMONWEALTH. MALE AND FEMALE.
+
+The same shapes apply to costume during the Commonwealth, though a
+sterner effect was given by the choice of plain decoration and less
+colour. A small or a large plain collar, and the disappearance of
+slashings on the coat, and a longer skirt became noticeable. A very
+high tapered hat, with stiff circular brim, was worn by the Puritans,
+and little, close, black hoods were much favoured. A general reaction
+from gay extravagance set in.
+
+
+SEVENTEENTH CENTURY. CHARLES II.
+
+FEMALE.
+
+The hair was set out from the head on combs with falling ringlets, and
+several small flat ringlets were placed on the forehead. The back of the
+hair was plaited into a knot, and pearl strings were interlaced, or
+ribbon loops caught in at either side. Toward 1680 the hair was worn
+tightly curled and fulled out into a round shape with a curl or two
+falling on the front of the shoulders; small feathers or long feathers
+were also worn. Hats were of a similar shape to those of the last reign,
+with a stiffer and narrower curved brim; but the chief head-dress was a
+large hood faced with another material, which latter was tied under the
+chin; these mostly formed part of a cape also.
+
+[Illustration: FIG. 72.--Period 1650-1685.]
+
+[Illustration: Plate XVII.--
+
+    (_a_) Silk Suit. 1765-80.
+    (_b_) Quilted Dress. 1700-25.
+    (_c_) Silk-embroidered Suit. 1765-80.]
+
+[Illustration: FIG. 73.
+
+    1, 2, 3, 4.--Back and Front of two Corset Bodices. Period Charles II.
+    5, 6.--Two Corsets. Period Charles II.
+    7, 8.--Two Bodice types. Period Charles I.]
+
+The bodice again became much longer and of a pointed shape, but many
+corset bodices took a round point, and a round neck coming well off
+the shoulders became general, usually decorated with a plain wide band
+of lace. Ruffs and collars were no longer seen amongst the upper
+classes. Very full sleeves and large opened sleeves were tied or clasped
+over full lawn ones, and at times separated from the shoulders, being
+caught effectively with jewels. Groups of ribbons were placed at the
+breast or point of the bodice, and the ends of sleeves or shoulders,
+besides at the fronts of the outer skirt when divided, also in the
+gathering of the lawn sleeves. Stomachers were not much worn, but a
+drape of soft silk was caught here and there round the neck of bodice,
+and large draperies were clasped to the shoulders. Loose robes and robes
+shaped to the figure, opening down the front from the neck even to the
+waist, with a clasp or several holding them together; these were worn
+over a quilted linen corset laced in front as in the illustration, but
+the bodice was often formed on a corset. Long gloves and mittens were in
+use, and small muffs with ribbon loops on the front were carried.
+High-heeled shoes with very long square toes were affected in imitation
+of the male shoe, but most ladies now began to wear a very pointed
+shoe.
+
+[Illustration: FIG. 74.--Sleeve treatments. Period Charles II.]
+
+
+SEVENTEENTH CENTURY. CHARLES II.
+
+MALE.
+
+Long hair or wigs of long curls falling on the shoulders, a very narrow
+moustache and point of beard on the chin came with this reign. Lace
+collars of a smaller square or rounded shape were in use, but a fall of
+lace pleated in the centre soon took its place. High-crowned hats with a
+band and bow in front and a flat, waved, or curved brim, with feathers
+on either side or all round, were the fashion, the crowns becoming
+shorter during the reign; the fronts and sometimes the sides of the brim
+are seen turned up, and so begins to form the three-cornered hat, which
+remained so long a feature in history.
+
+[Illustration: FIG. 75.--Period Charles II.]
+
+We find with extravagant shapes a happy return of gay colours. The
+high-waisted jerkins of the Charles I period were now seen without the
+skirt (as very short jackets), leaving the lawn shirt to show between
+this and the breeches, besides which the jackets were nearly always left
+unbuttoned several inches up, some being cut away in a rounded shape and
+also having short sleeves. The lower arm was covered with a full lawn
+sleeve caught at two or even three distances with a loop of ribbons or
+bows, and finishing with a wide lace frill; a bunch of ribbon loops was
+also often seen on the right shoulder. A long circular cloak, with
+turned-back fronts forming a collar in many, still retained the hanging
+sleeve, and was mostly decorated with bands of heavy braid. A long
+square coat also came in about 1666, buttoned right down the front, with
+pockets set very low in the skirt, and large narrow cuffs opened at the
+back as in Plate VIII (see p. 90).
+
+Very full breeches were worn to just about the knee or shorter, with a
+fringe of ribbon loops, and a row or several rows of the same were
+arranged at the waist. A short petticoat just showed the under breeches,
+many of which were turned into a doublet shape by an additional piece
+looped up loosely from the knee with a silk filling; the ribbon loops at
+the waist were repeated up the sides of the petticoat. Silk garters were
+worn with bows on both sides of the leg, or a deep lace fall came from
+the end of the breeches to the middle of the calf; a lace setting also
+filled the wide top of the boots, which was worn very low, even to the
+ankles. These short bell-topped boots were favoured, with high heels
+and very square toes. Shoes were long and square (or duck-billed) at the
+toes; and had a high narrow front to the instep, and latchets fastened
+with a stiffened butterfly bow, besides, at times, a rosette lower down
+on the front: red heels were in evidence. The sword-band was very wide,
+and many were decorated with gold embroidery.
+
+[Illustration: FIG. 76.--Costume types. Period Charles II.]
+
+
+SEVENTEENTH CENTURY. JAMES II.
+
+FEMALE.
+
+The hair was still worn full at the sides over a comb, as in the former
+reign, with curls dropping to the shoulders, but they now began to
+discard the set-out comb and the little flat curls on the forehead, the
+hair being of a round shape or parted from the centre and mounted higher
+and narrower on the head, in the latter part of this reign. The same
+large hoods and drapes continued in use, and a high goffered head-dress
+with set-out front began to appear; the same shaped bodice with round
+low neck showing the shoulders, often set with a stomacher front or
+jewelled in that form, and smaller decorations of ribbon loops were
+still favoured. A smaller and shorter sleeve began to appear with a
+turned-up cuff, and the gathered-in lawn sleeves and ruffles caught here
+and there with pearls or clasps as before, besides the same light
+drapery clasped about the breast front. The overskirt was now looped
+back, the points being held together, giving a wide display of the
+underskirt, which was heavily banded or had a jewel setting down the
+front. Other train skirts, also divided in front, were bordered with
+drawn silk caught at intervals into long puffs. Very small muffs were
+the fashion. Shoes increased their pointed shape and rather large heels
+are to be noted, but some shoes assumed a very narrow square toe; they
+were either tied from small latchets with a bow, or with buckled
+latchets. Longer gloves were worn, and large full cloaks with hoods or
+large drapery wraps when required for outdoor wear.
+
+[Illustration: FIG. 77.--Costume notes. Period 1670-1690.]
+
+
+SEVENTEENTH CENTURY. JAMES II.
+
+MALE.
+
+The same long wig was worn as in the last reign, but the curls were more
+of a set ringlet type, and embroidered caps were worn when these were
+taken off. The face was now clean shaven until the 19th century. Hats
+also of the older character were retained, but the turned-up
+three-cornered shape, filled with short feathers, became more settled in
+fashion, and they were heavily banded with gold braid or lace on the
+edge.
+
+[Illustration: FIG. 78.--Period 1690-1700.]
+
+A smart bow was worn crosswise over the folded lace fall at the neck.
+The coat was a very long square shape to the knees, the stiff skirt
+often set out over rather full breeches, which were sometimes "shorts,"
+and just above the knee, the stocking being often brought up above the
+knee, with a garter just below. The sleeves were short, above or below
+the elbow, with a turned-up cuff, leaving the full-gathered lawn sleeve
+with a lace ruffle to show at the wrist. A sash encircled the waist, and
+often shut in the sword-belt, which hung from the right shoulder. The
+coat had buttons from the neck to the bottom of the skirt, though the
+lower buttons were seldom fastened; the sides of the skirt were opened
+up about 11 inches, and also the back seam to the same height; most
+seams were heavily decorated with gold, silver braid, or lace, and the
+pockets were placed rather low down towards the front of the skirt, and
+were sometimes set vertically.
+
+[Illustration: Plate XVIII.--
+
+    (_a_) Brocade Bodice. 1770-85.
+    (_b_) Flowered Silk Dress. 1750-70.
+    (_c_) Silk Brocade Bodice. 1780-95.]
+
+[Illustration: FIG. 79.--Period 1688-1702.]
+
+Long round capes were still worn, without sleeves, and a collar turned
+down about 4 inches.
+
+Shoes of a similar shape to those of the later Charles II type were in
+use, but the heels became larger and the toes not so long; the top of
+the front was sometimes shaped and turned down. Heavy boots to the knee,
+with large curved tops, were also in favour, as in the illustration
+(Fig. 71).
+
+
+SEVENTEENTH CENTURY. WILLIAM AND MARY. FEMALE.
+
+The hair was now mounted high on top and the front parted with two
+curls, the rest of the hair being bound on top, or a curl was arranged
+on either shoulder. A goffered frill head-dress, set on a cap, rose very
+high, and a long fall of lace, or lappets, came down on either side from
+the cap, or was gathered in like a small hood at the back. Bare
+shoulders now began to disappear, the bodice shape coming over the
+shoulder to a =V= shape enclosing a stomacher, which was sometimes tabbed
+or shaped at the point. Many dresses were made in one length, caught
+together at the waist with a band; the fronts of these skirts were
+looped back high up, creating a pannier-like fullness at the hips, and
+narrow hoops came in to set out the skirts, many of which were heavily
+embroidered with gold. The Watteau-back dress started in this reign; a
+very early specimen, at the Victoria and Albert Museum, is most probably
+of this time (Fig. 85, A). The sleeves worn to the elbow increased in
+width from the shoulder, and were set with large narrow cuffs gathered
+with a jewel or bow on the front of the arm. Hoods and cloaks of the
+same character as described for the last reign continued, and light
+sticks were carried by the ladies. Very pointed shoes were worn, with
+large high heels, the top of the front flap in some being shaped into
+points. Black masks were frequently used, some having long lace falls.
+Rather small muffs were still the fashion, and beautifully decorated
+short aprons became a feature with the dress.
+
+[Illustration: FIG. 80.--1688-1698.]
+
+
+SEVENTEENTH CENTURY. WILLIAM AND MARY. MALE.
+
+Wigs of the same long character continued, and were parted in the centre
+with a raised effect, and variously shaped caps, with turned-up fold or
+brim, were worn when the wig was taken off.
+
+The beaver or felt hat, turned up three-cornerwise, was now in general
+use. It is often seen with the brims loose, or sometimes down,
+especially amongst the lower classes. Both small shapes and large were
+worn.
+
+[Illustration: Plate XIX.--
+
+    (_a_) Silk Brocade Dress. 1775-85.
+    (_b_) Embroidered Silk Jacket. 1775-90.
+          _Pattern, see p. 326._
+    (_c_) Brocade Jacket. 1780-95.
+          _Cap pattern, see p. 331._
+          _Coat pattern, see p. 348._]
+
+[Illustration: FIG. 81.--Period 1680-1690.]
+
+Black ties across formal lace cravats, and long lawn cravats, edged with
+lace, one end of which was sometimes caught up loosely through the
+large buttonhole of the coat were worn. Waistcoats were left open well
+down to the waist; some of these were nearly of the same length as the
+coat, the skirt being often edged with deep gold fringe.
+
+The coats were of much the same character as in the time of James II,
+with buttons all down the front, but now it was the mode to button coats
+just at the waist, allowing the waistcoat to be shown. The sleeves were
+generally longer, to the middle of the forearm, and the turned-back
+cuffs became very large and deep, often towards the end of the reign
+taking a curved shape. The seams, fronts, and pockets were frequently
+braided as before. A long square waistcoat of rich brocade or
+embroidered material, about four inches shorter than the coat, was worn;
+some of these had tight sleeves, which came to the wrist beneath the
+outer coat-sleeve; otherwise a gathered lawn sleeve with ruffle was
+worn.
+
+Shoes and boots were practically the same as in the previous reign, with
+larger high heels and a high square front, with latchets buckled or
+stiffly tied, and very square toes. Top-boots of the same heavy
+character continued as in Plate II (see p. 42). Stockings continued to
+be worn frequently above the knee outside the breeches, with a garter
+beneath, and beautifully embroidered clocks to the calf. Muffs were
+carried by many men, and the gauntlets of gloves had a very angular
+shape. Patches and make-up were used by the dandies, and the sword was
+now carried through the side pleats on a waist-belt sometimes worn
+outside the waistcoat.
+
+
+
+
+CHAPTER VII
+
+THE CHARACTER OF DECORATION AND TRIMMINGS OF THE EIGHTEENTH CENTURY.
+
+
+In the early part to the middle of this century the trimmings were
+chiefly of gold or silver lace, real lace, and purfled silk, mostly of
+the same material as the dress: a bow was often worn on the breast, and
+also in the front of the sleeve cuff. Purfled or ruched trimming
+generally ran down the front of the dress from the neck to the hem of
+the skirt in the Second Georgian dress, and gathered borders or
+decorations of curved forms were in use. The skirts usually had only one
+flounce till the reign of George III, when the trimmings became more
+elaborate, and gauze and imitation flowers were festooned upon the
+skirts, with ribbons and tassels and padded designs standing out in
+strong relief; some charming gimp trimmings are also seen.
+
+The lace ruffles of a fan shape which finished the earlier sleeves till
+about 1745 were sometimes of lace, interwoven with gold, silver, and
+coloured silk needlework, and this was no doubt the forerunner of the
+use of the more solid material itself. The setting of the sleeve finish
+is interesting to note all through this period, for it was beautifully
+treated in balancing the effect of the dress. The square cuff with the
+deep lace fall was big in style, and the later closely-fitted elbow
+piece, richly gathered, was happily conceived, but no finer setting
+could have been applied to the sack-back dress than the large fan or
+double fan with its lace fall. The edges of the early fan-finished
+sleeves were of curved and scalloped forms, the latter shaping often
+being seen in the later sleeves.
+
+With George III we notice designs in straw work, decorations of
+imitation flowers in ribbon-work and various materials, and much taste
+in the choice of colour schemes, while the tassels of this period were
+delightful creations. The designs of stuffs at the early part of the
+century were generally of fine strong colour blends, but in the middle
+period there was much questionable taste displayed in the heavy massing
+of patterns, but this soon improved with the striped character crossed
+by running flowers which was quite ideal in type for costume keeping,
+grace, and lightness, with a beautiful interchange of colour.
+
+The quilted silk and satin petticoats are a special feature to note in
+these times; many simple and effective designs were in use, and they
+added much glitter to the scheme. Aprons were also beautiful examples of
+needlework, and were worn with the best of dresses to the middle of the
+century; the earlier ones generally had a scalloped edging, and many had
+pockets; gold lace edging or fringe was often used in the time of George
+II, and they were all finely decorated with needlework in gold, silver,
+or coloured silks. The white aprons were also of consummate needlecraft,
+and hanging pockets worn at the sides were also a decorated feature, but
+these only showed when the dress was worn tucked up. The later style of
+dress became much simpler, consisting chiefly of gathered flounce
+settings, fichus, and large mob caps; these were often daintily
+embroidered with tambour work and large bow and sash settings, making
+delightful costumes.
+
+Bags, muffs, gloves, and shoes were all chosen for the display of
+needlecraft, while artists and jewellers used all their skill on the
+fans, patch-boxes, and étuis, and even the dress materials were often
+painted by hand, while many painted Chinese silks were also utilised.
+
+
+EIGHTEENTH CENTURY. ANNE. FEMALE.
+
+The hair was dressed in a simple manner, with two curls parted from the
+centre of the forehead, and curved inwards on the brow. A loose ringlet
+or two were brought on to the left shoulder, the rest being gathered
+into a back-knot. Feathers or flowers were arranged on top, generally
+with a pair of lace lappets falling to the back; these also adorned the
+cap, which still bore the front goffered frills set out as in the last
+reign, but these were diminished in size and were mostly of one row. We
+note probably the last stage of this style appearing in a print of
+Hogarth's, dated 1740.
+
+[Illustration: FIG. 82.--Bodice types. Period 1690-1720.]
+
+[Illustration: FIG. 83.--Costume type. 1695-1710.]
+
+Hoods and capes or cloaks, and long black fichus or wraps, were the
+chief coverings, as the head-dress did not allow of hats being worn, but
+with the small frilled caps a little straw hat, or a low-crowned felt
+with a largish brim, are seen, and a small lace frill round the neck
+began to appear. Bodices with a low curved neck often had a short skirt
+or shaped pieces, as well as a shaped short sleeve over a gathered lawn
+one, while many wore long sleeves to the wrist, and a waistbelt is
+sometimes noted. There was also the sleeve spreading in width to the
+elbow, with a turned-up square cuff. The front of the bodice may be
+remarked with bands fastening across, and this became a feature in many
+dresses later in this century, otherwise it set closely over the
+shoulders to a =V= shape at the waist, and was filled with a stomacher of
+fine needlework, bows, or the ends of the lawn fichu laced or caught in
+by a big bow. A full, loose gown, with the fullness pleated to back and
+front, came in, the front being held by a bow and the back allowed to
+fall loose or crossed with a large bow at the back of waist, as in the
+museum specimen, Fig. 85. This became the more elaborate sack-back
+dress.
+
+[Illustration: FIG. 84.--Period 1700-1725.]
+
+The skirts began to be set out in a bell form, and trains were in much
+favour; the overskirts were parted in front, and many looped up to the
+back in a similar manner to the last reign. Small aprons of fine
+embroidery were worn with the best of dresses, and embroidered pockets
+are seen when the skirts were thrown back. Petticoats of fine quilting
+became much appreciated, and tall sticks were carried by ladies. Pointed
+shoes with high heels and latchets tied or buckled, the top of the
+fronts being mostly cut into four points, or they had a square finish.
+
+
+EIGHTEENTH CENTURY. ANNE. MALE.
+
+The wigs of the full ringlet style were still the fashion, but a simpler
+character is noticeable, the hair being combed back off the forehead and
+allowed to fall in looser waves. But many began to set a mode of smaller
+"coiffure," with their own hair caught in curls by a bow at the back,
+and curls over each ear. Powder came into use with the smart set, and a
+big bow and bag to finish the back of wig appeared, giving a smarter
+appearance to the white hair.
+
+[Illustration: Plate XX.--
+
+    (_a_) Gold-embroidered Muslin Dress. 1795-1805.
+    (_b_) Nine Aprons. Between 1690 and 1850.
+    (_c_) Dress of Spotted Stockinette. 1795-1808.]
+
+[Illustration: FIG. 85.--Bodice types. 1700-1725.]
+
+The hat, sometimes of white felt, was the same three-cornered type,
+edged with feathers and banded with broad gold braids or silver lace.
+The neckwear was a bind of lawn, with a long fall finished with lace.
+
+The coat remained long to the knees, but took a greater fullness in the
+side pleats of the skirt. Large buttons and buttonholes, 3 inches long,
+are seen, with the same on the cuff, which was worn very large, often 9
+inches broad, and mostly of a curved outline, and of another coloured
+brocade; a tight undersleeve is also seen with these. The coat was
+sometimes heavily decorated with needlework or braids of gold down the
+front, pockets, seams, and cuffs. The pocket was wide and set higher in
+the skirt, and the back opening of coat was decorated by several
+horizontal braids to the two side pleats.
+
+A long, full-skirted waistcoat, of rich materials or needlework, was at
+times braided and fringed at the skirt with gold, the pockets covered
+with a large flap, and five buttons fastened it or were placed as
+decorations just below it. The front buttons were often reduced to four
+at the waist, as it was still fashionable to show the lawn shirt.
+
+Breeches were of the same cut as in the former reign, with five or six
+side buttons at the knee, and stockings with embroidered clocks were
+worn rolled over outside the breeches as before.
+
+Shoes were square at the toes and not quite so long, while the heels
+were still rather heavy, and red was the mode. They had a high square
+top at the front instep, and buckles fastened the latchets. Muffs were
+often carried by the dandies, and walking-sticks, with tassel and loop,
+were slung on the arm; besides a sword, which, passing through the side
+pleats and out at the back, helped to set out the coat, which was often
+stiffened in the skirts. Gloves, with short gauntlets very angular or
+curved in shape, were trimmed with gold fringe; the backs were also
+richly embroidered with gold or silver.
+
+
+EIGHTEENTH CENTURY. GEORGE I. FEMALE.
+
+[Illustration: FIG. 86.--1725-1750.]
+
+[Illustration: Plate XXI.--23 Boots and Shoes. From 1800-75.
+
+      1. 1800-1820.
+      2.     "
+      3. 1810-1828.
+      5. 1820-1830.
+      8.     "
+      9. 1820-1830.
+     10.     "
+     13. 1830-1855.
+     16.     "
+    16A.     "
+      7. 1850-1865.
+     14.     "
+     15.     "
+      4.     "
+      6.     "
+     17.     "
+     12.     "
+     21. 1860-1875.
+     11.     "
+     18.     "
+     20.     "
+     19.     "
+     22.     "     ]
+
+[Illustration: FIG. 87.--Period 1725-1750.]
+
+[Illustration: FIG. 88.--Modes, 1750-1770.]
+
+[Illustration: FIG. 89.--Various Styles in Cut Back of Bodice.]
+
+The hair was very simply gathered from the forehead and taken up to a
+knot of curls at the back. Occasionally a group of curls was allowed to
+fall behind, or a curl was arranged to fall on one shoulder, and
+waved curls of the Queen Anne type were still seen on many people. Caps,
+with long dropping points in front, sometimes tied under the chin or
+with long lappets at the back, were the chief favourites, also a small
+frilled cap. Shallow-crowned straw hats with various widths of brim;
+hoods and capes, both short and long, are seen, besides light silks
+draped from the hair to the waist, feathers, flowers, and ribbons being
+worn in the head-dress. Richly embroidered aprons were worn with the
+finest dresses.
+
+The sack-back dress was very full, and started right across the
+shoulders in two double box-pleats, which were kept trim by being sewn
+flat for two to four inches down. Sleeves to the elbow were rather full,
+and gathered at the shoulders, with a square cuff often decorated with a
+bow in front, and a fan of lace, sometimes in several rows, fell from
+beneath. Sleeves finishing in a shaped edge are occasionally seen. The
+skirts were made for the very round hoop setting, and were gathered in
+flat pleats on either hip. A wide pleat or two came from the shoulders
+down the front sometimes as a continuation of the sack-back. These
+pleats, meeting at the waist, formed a =V= shape, which was filled by an
+embroidered stomacher, or made of the same material, crossed by bands,
+bows, or rows of lace. The flat front pleat was occasionally
+embroidered, and gradually widened to the bottom of the skirt. Very
+pointed toes to the shoes, and high heels, with tied or buckled
+latchets, are seen, the tops of the front often being shaped into four
+points.
+
+
+EIGHTEENTH CENTURY. GEORGE I. MALE.
+
+Long, full wigs are still seen amongst older men, but several new shapes
+appear as illustrated (Fig. 90), and the black bow and bag became very
+large; a black ribbon attached to it, with a bow in front, came round
+the neck. We also see the ends of the wig made into a long, tight
+pigtail. Hats were of the same three-cornered shape, rather fuller in
+size, and the feathered edging was still favoured. A hat of the type of
+Fig. 105 was also worn; and the loose cap with a tassel was put on when
+the wig was removed (see Fig. 104).
+
+[Illustration: FIG. 90.--Wig types, 1st half 18th century.]
+
+[Illustration: FIG. 91.--List of Dated Shoes and Boots.
+
+    No.
+     1. 1700-1750.
+     2. 1700-1780.
+     3. 1700-1780.
+     4. 1700-1750.
+     5. 1700-1760.
+     6. 1720-1780.
+     7. 1690-1720.
+     8. 1700-1750.
+     9. 1700-1740.
+    10. 1740-1760.
+    11. 1702-1720.
+    12. 1730-1750.
+    13. 1760-1800.
+    14. 1730-1760.
+    15. 1740-1770.
+    16. 1770-1780.
+    17. 1740-1780.
+    18. 1786-1796.
+    19. 1774-1784.
+    20. 1775-1790.
+    21. Sole of shoe No. 22.
+    22. 1776-1800.
+    23. 1780-1790.]
+
+The neck had the same lawn bind with a long lace ruffle, and the coat
+the same full cut as in the last reign, and the large rounded cuff
+was still in favour, but many varieties of size were now worn. A
+vertical pocket is seen occasionally on cloth coats, also a cape and
+turned-down collar are noted, while several appear with a very small
+upright collar. Buttons were still worn on some coats, right down the
+front; but on many coats the buttons stopped level with the pocket.
+
+A short-skirted coat came in amongst the dandies towards the end of the
+reign, and was stiffened out on the skirts; these mostly had a tighter
+sleeve and cuff. The same decorations continued in use. Waistcoats were
+much the same, and were cut to the length of the coats, or about four
+inches shorter; they were buttoned higher, the lace often falling
+outside.
+
+Breeches were the same in cut, fastened with six buttons and a buckle at
+the side of the knee. The stockings, usually decorated with clocks, were
+still worn rolled outside the knee amongst smart people. The stiff high
+boots or gaiters generally had a full curved piece at the top, and short
+gaiters to the calf are also to be noticed.
+
+The shoes were square-toed or of a roundish form, with a short or
+rather high square front, and heels of various heights. Patches and
+make-up were used by the fops, and swords and sticks carried, the latter
+being very high, to 46 inches.
+
+
+EIGHTEENTH CENTURY. GEORGE II. FEMALE.
+
+The hair was treated in much the same manner as with George I up to the
+end of this reign--gathered back from the forehead to a bunch of curls
+at the back. The small hats and caps, often worn together, continued of
+the same character; the dresses also remained similar in cut. The
+sack-back dress was supreme in the fifties, when it was set with
+panniers, together with the hoops, but the latter were not so much worn
+towards the end of this reign, except for the "grand dress." Quilted
+petticoats were much worn, but flounces are not a feature on the skirts
+till the latter part of this period. The simpler dress was of various
+lengths, and was at times worn quite short up to 1740. The corset bodice
+was still in use, with lawn sleeves: square cuffs and lace ruffles held
+the lead throughout this time, but the fan-shaped sleeve finish to
+the elbow, in the same material as the dress, began to appear about
+1750, generally with a waved or scalloped edge. Pointed toes and
+high-heeled shoes continued, with either tied or buckled latchets, and
+long gloves and mittens were in use.
+
+[Illustration: FIG. 92.--Three hoops and four pannier forms.
+
+    Types 1725-1760.
+          1750-1780.
+          1740-1770.
+          1700.
+          1720-50.
+          1735-65.
+          1780-90.]
+
+[Illustration: FIG. 93.
+
+_Quilted designs on Petticoats, 18th century._]
+
+
+EIGHTEENTH CENTURY. GEORGE II. MALE.
+
+Wigs with double points at the back, short curled or of long pigtailed
+shapes, some with side curls, others curled all round the front, were
+worn. Large bows and bags, or no bows, finished the back hair, and the
+bow to the front of the neck was in use from the early part of this
+reign. Long coats, as in the last reign, and short coats with stiffened
+skirts were used; many with braided seams and fronts, also a braided
+opening at the back. Large round cuffs and big square ones, caped coats,
+and coats with turn-down collars were all in the mode, and the
+"maccaroni" fashions started about 1760, with absurdities in small hats,
+clubbed wigs, and very short coats. High sticks and crook sticks, canes
+and swords continued in use.
+
+[Illustration: Plate XXII.--
+
+    (_a_) Linen Dress. 1795-1808.
+          _Pattern of Bodice, see p. 316._
+    (_b_) Silk Bodice. 1825-30.
+    (_c_) Silk Bodice. 1818-25.]
+
+[Illustration: FIG. 94.--Wig types, second half 18th century.
+
+    1740-1765.
+    1765-1795.]
+
+The pocket flaps were of a curved form, with a rounded centre still,
+and many of the shoes had a high square front, high heels, and square
+toes: according to the caricature prints of Boitard, the fashionable
+hats were smaller in 1730, and much larger ten years later; very full
+skirts at the former date, and smaller and less stiffened at the latter.
+Stockings were often still worn outside the knee. Shoes reached an
+extreme high square front at the latter date, and gloves with curved or
+square cuffs are to be noted.
+
+[Illustration: FIG. 95.--First Half Eighteenth Century.]
+
+
+EIGHTEENTH CENTURY. GEORGE III TO 1800. FEMALE.
+
+This long reign, like that of Queen Victoria, embraces several changes
+of style. Up till about 1785 white powder was still used for the hair,
+reaching its fullest extravagance in the middle of the seventies, set
+with pearls, bandeaus, caps, lace, flowers and feathers, and about 1776
+the top was widened considerably. The front hair, gathered from the
+forehead, was pressed in a forward curve over a high pad, with one to
+three curls at the sides and one at the shoulders, the back hair being
+arranged in a loose loop, curled on the top and set with a large bow at
+the back; a small round hat with very small low crown (usually decorated
+with flowers and silks gathered into puffs, or ribbons and small
+feathers) was tilted right on the front. About 1780 large mob caps with
+a big bow on the front came in, and were generally worn together with
+the tall-crowned hat or the large-brimmed hat in favour at this time. A
+cape with smallish hood worn in the earlier reigns was supplanted about
+1777 by the calash, a huge hood set out with whalebone which came
+to cover the full head-dresses. The heavier caped or hooded cloak,
+sometimes with side opening for the arms, and usually trimmed with fur,
+still remained in use to 1800.
+
+[Illustration: FIG. 96.--Costume notes, 1770-1780.]
+
+[Illustration: Plate XXIII.--
+
+    (_a_) Muslin Dress with Tinsel Design. 1798-1810.
+    (_b_) Silk Dress. Period George IV.
+    (_c_) Satin and Gauze Dress. 1820-30.]
+
+[Illustration: FIG. 97.--Head Dress. Period 1780-1795.]
+
+[Illustration: FIG. 98.--Hats and Caps during period 1780-1795.]
+
+[Illustration: FIG. 99.--Hats during period 1790-1800.]
+
+The bodice retained the same shape as in the former reign, rather longer
+in the points back and front, with a large fan finish to the sleeve,
+double or single; this became supplanted by a much-gathered elbow-piece,
+sometimes eight inches deep, gathered in four rows. Small drawn gathers
+started round the waist of the skirt, for the side panniers and hoops
+were being less worn, except for the "smart gown," but bunching,
+reefing, and looping took their place in effect, and quilted petticoats
+remained while this character of dress lasted. The later sack-back dress
+was sewn tighter to the body, and usually started in a narrower set at
+the back, while the full pleat from the shoulder down the front went
+out, and the neck was more displayed by lower bodice fronts, which
+continued to be set with bows, jewels, lace, or embroidery. Sack-back
+jackets were often worn in the seventies; when the sack began to
+disappear, it took the form of overlapped seams on the bodice. The
+decorated side pockets are noted in prints showing tuck-up dresses to
+1775. The jacket bodice of the same form described in the preceding
+reign was perhaps more in evidence till 1780, not so long in the skirt
+as in the earlier reigns, but after this date it took a longer skirt,
+which was often pleated at the back, with a very low neck and short
+waist.
+
+[Illustration: FIG. 100.--Period 1780-1795.]
+
+About 1780 we find a change of style appearing in a shorter waist, with
+less pointed setting, having often a rounded point or square tabs, and
+even a shaped finish to the corset front, which was sometimes used like
+a waistcoat effect under the cut-away dresses seen after 1770 (see Fig.
+99, p. 221). A general tendency to imitate male attire is apparent, and
+the front of the bodice was set with lapels and straps buttoned across
+(though I have noted this latter character in the early part of this
+century), and long coats with this character were much worn, with two or
+three capes. The sleeves are sometimes set over a tight undersleeve, in
+fact the longer sleeve to the wrist became fashionable. With this change
+a short gathered skirt is seen on some bodices, and the full gathered
+skirt was bunched out at the back on a bustle, of which I give an
+illustration (p. 212), the low neck being filled with a large lawn
+fichu; a wide belt was generally worn, or a wide sash and bow at the
+back or side is seen with the lighter dresses, these being simple in
+style, just gathered at the waist, with short full sleeves set with a
+frill, and another frill was also arranged round the neck.
+
+[Illustration: FIG. 101.]
+
+About 1790 the mode again began to change to a classic style, still
+higher in the waist, with a short tight sleeve, at times puffed in the
+upper part, or an outer and under sleeve, as per illustration A, Plate
+XXII (see p. 215). The fronts of this type of bodice were mostly
+buttoned or pinned up to the shoulders over a tight underfront, the
+skirt opening about 18 inches at the sides, thus saving a fastening at
+the back. I have illustrated some very interestingly cut jackets of this
+period from my collection, as A, Plate XXIV (see p. 231); the sleeves
+were very long and were ruckled on the arm, as likewise were the long
+gloves or mittens of this time. A long scarf or drape was carried with
+this style, and a round helmet-like hat in straw or a turban was
+adopted. High sticks were still carried by ladies till the nineties,
+and umbrellas or parasols; the former came into vogue about 1770, the
+latter about six years later. Muffs of beautifully embroidered silk and
+satin were set with purfled trimmings, gold and silver lace, or bows and
+ribbons; otherwise they were of furs or feathers. They remained rather
+small up to 1780, when a very large shape set in, which continued till
+the end of the reign; the quantity of beautiful fans of this century
+must be so well known as to need no description. The highest artistry
+was concentrated on them.
+
+[Illustration: FIG. 102.--Period 1790-1800.]
+
+[Illustration: FIG. 103.--Costume notes, 1790-1800.]
+
+[Illustration: FIG. 104.--Lounge Caps worn during removal of Wig.]
+
+Shoes at the beginning of this reign were set on very high spindle
+heels; the toe-front became rounded, the instep-front a pointed shape,
+and wide latchets were buckled till about 1785, but fashion discarded
+them earlier; for about 1780 the shoes became very small at the heel,
+and pointed again at the toe. When the latchets went out, the pointed
+instep remained for a time, but a low round front appeared, and the heel
+practically vanished just before 1800. These later shoes were decorated
+on the front by needlework or incised leather openwork underlaid with
+another colour. The soles at this time were extremely quaint in
+shape, and the shoes were tied sandal fashion up the ankle.
+
+[Illustration: Plate XXIV.--
+
+    (_a_) Outdoor Silk Jacket. 1798-1808.
+    (_b_) Embroidered Muslin Bodice. 1816-30.
+    (_c_) Embroidered Muslin Bodice. 1824-25.
+    (_d_) Satin and Gauze Bodice. 1820-30.]
+
+
+EIGHTEENTH CENTURY. GEORGE III TO 1800. MALE.
+
+The wigs, which were rather high in the front of the crown in the
+earlier part, began to cast off the most eccentric forms, and became
+just curled, rather full at the sides, and tied with a bow at the back:
+dull pink powder became a favoured hue from about 1780; most people
+began to return to their own hair, and one might see many without long
+hair in the nineties. The last type of dressing the hair in imitation of
+the wig form was a long, tightly braided pigtail at the back, with one
+or even two side curls over the ear, and side whiskers were allowed to
+fill up to them; thus when the short hair set the fashion, side whiskers
+came in.
+
+Hats were still worn of the three-cornered shape, but the favourites
+became a front cockade hat and a hat with a rounded crown and rather
+wide brim, sometimes turned up on one side; a short type of top-hat was
+also often seen, and later became the fashion. The same lawn and lace
+cravat developed into more of a plain white stock, with a frilled
+shirt-front.
+
+The coat was worn much tighter in the arms and was smartly cut, with the
+fronts running away into a narrow tailed skirt. The pockets often began
+to take a plain square form, with or without buttons; the buttons on the
+front of the coat stopped at the waist--many cuffs are seen without
+them; and the side pleats, set more to the back, were pressed and
+narrower. Both the plain and turn-over collars were set up high in the
+neck, large cut-steel buttons were introduced in the early seventies,
+and many fancy china buttons, besides the gilt silver and paste ones
+were in use. A new type of coat made its appearance with a high
+turn-over collar and large lapels, and a sudden cut-in of the coat-front
+high in the waist, giving a very long-tailed effect to the skirt. A cuff
+shape with these was mostly made in one with the sleeve and buttoned at
+the side towards the back, and when the cuff was additional, it seldom
+had buttons, as formerly.
+
+A greatcoat with one, two, or three capes was a picturesque garment, and
+a leather-covered bottle was often carried when riding a distance, of
+which I have an example in my collection.
+
+[Illustration: FIG. 105.]
+
+Waistcoats, which had become much shorter, were now giving place to a
+type with a straight-across front and turned-back lapels at the neck;
+these large lapels were mostly worn outside over the coat lapel. The
+waistcoats were often double-breasted with an embroidered design down
+the front between the double row of buttons, and the straight pockets of
+these had no flaps; they shortened at the waist in character with the
+lapelled coat, but were worn lower than the cut-in shape of the coat,
+showing about 3 inches when the coat was fastened. Breeches became very
+tight, and trousers begin to appear after 1790. Striped stockings and
+suits were much in favour. Top-boots with rather long brown tops were
+worn, or high boots with a curved top, with a gold tassel set in front,
+were seen. The shoes with latchets and buckles had a low front on the
+instep, and from about 1780 took a rather pointed oval toe shape; the
+heels were mostly worn shorter. Swords were not so much in use except on
+great occasions, but sword-sticks were carried, and heavy club-sticks
+were fashionable before 1800. Patches were little used after the
+seventies, but the snuff-box was still indispensable. The double long
+purse with central rings and tassels at the ends was carried, of knitted
+silk or of leather, the former with steel beads and coloured silks
+worked together after 1780: small bag purses were also in use, usually
+set in gilt mounts and made in the same methods with a tassel below.
+
+[Illustration: Plate XXV.--
+
+    (_a_) Silk Dress. 1800-10.
+    (_b_) Cotton Dress. 1800-10.
+    (_c_) Embroidered Muslin Dress. 1820-30 (_Pattern, see p._ 339).
+    (_d_) Silk Gauze Dress. 1824-30.]
+
+[Illustration: FIG. 106.]
+
+
+
+
+CHAPTER VIII
+
+CHARACTER OF TRIMMINGS OF THE NINETEENTH CENTURY.
+
+
+During the later part of the 18th century, a great deal of tinsel drawn
+work was done on fine muslin, and became beautifully treated in delicate
+design on the hem and down the front of many of the high-waisted dresses
+as in Fig. A, Plate XXIII (see p. 218). Later on towards the twenties we
+see a great deal of effective coarse work in heavy gold tinsel, and at
+the same time to the forties a number of dresses were ably enriched with
+fine gold thread.
+
+The white embroidery in the earlier trimmings of this period, of which I
+give examples in Plate XXIV (see p. 231), was remarkable for its wealth
+of fancy; the chief beauty of these dresses was the delightful treatment
+of gathered effects, and with the reign of George IV we note the
+gradual return of the longer pointed bodice, with the growth of very
+full sleeves, also the increase in the size and fuller set-out of the
+skirts over the stiff flounced drill petticoats. The =V=-shaped Bertha
+setting to neck and shoulders began to establish itself, and became a
+great feature through the thirties and forties; the first signs of it
+appear about 1814. Varieties of materials were used to great advantage
+in designing, and drawn tulle trimmings were happily introduced to
+soften hard shapes and colours. The shoulder fullness also began to be
+neatly drawn in and held by straps, which gave a charming character to
+many bodices.
+
+From 1816 choice work in piped shapes, often of flower forms decorated
+with pearls or beads, was set on fine net, as seen in Plates XXIII and
+XXIX (see pp. 218, 263). The attraction to the thirties was the happy
+effects gained by the bow and flower looping on the flounces, and these
+ripened in fancy and variety through the forties. Braiding was adopted
+in the thirties with a rather charming treatment of tassels down the
+front of the dress; the polonaises of this time were also effective and
+simple, caught here and there with posies of flowers, and we find this
+fashion again revived in the sixties.
+
+With the reign of George IV we notice an increasing choice of strong
+coloured effects, which culminated in the mid-Victorian era in raw
+colour and violent shot silks, velvets, and heavy fringes, but one may
+see that many of these dresses of bright pure tone looked exceedingly
+refined and were quite stately. A remarkable dress is Fig. A, Plate
+XXXII (see p. 279), which is of very strong bright blue; its only
+enrichment being a curved line of folded silk. All these dresses from
+1800 were delightfully embellished with embroidered fichus, light
+scarves of frail gauze, crêpe, or Norwich silk, and in the Victorian
+times capes and =V=-shaped shawls; fascinating lace ruffles and tuck-in
+fronts to the bodice necks, of frills and bands of embroidery, broke the
+severity or bareness of many dresses. An endless variety of fascinating
+caps and lace head-lappets was pinned or caught into the hair at the
+wearer's fancy; besides the bows, flowers, and jewels (especially
+pearls) which have always played an important part in the coiffure from
+early times, the chatelaines and bags, fobs, fans, and lace or silk
+handkerchiefs all give the artist a note of extra colour when desired.
+The cruel period of taste really came with the seventies, though one can
+trace many quaint and interesting cuts in the bodices and skirts of this
+time; but the "grand dress" of complicated drapings, heavily fringed or
+braided, was a "set piece" which, let us hope, will never appear again.
+
+The long stocking-purse which began to appear in the late 17th century
+was up to 1820 sometimes carried tucked through the belt; it was set
+with a pair of metal rings and tassels of steel or gilt beads. Small and
+large circular and bag-shaped purses were also in use; all these were
+made in coloured silk threads enriched with steel, gilt, or coloured
+beads, the latter shapes being set in chased metal mounts, the circular
+ones generally having a fringe and the bag shape a small tassel or heavy
+drop. These shapes can also be seen in coloured leathers with a leather
+tassel, besides the plain money-bag with a draw-string.
+
+
+NINETEENTH CENTURY. GEORGE III. FEMALE.
+
+The hair up to 1808 was gathered into a knot of curls at the back of the
+head, rather high up, with a small curl at the sides in front of the
+ear. Later the knot was set more on the top, and the side curls were
+made more of a feature, several being arranged at the sides. Numerous
+varieties of large and small brimmed hats, bonnets, and turbans are
+seen, and several masculine top-hats and cockade hats may be noted late
+in this reign. The usual feather decorations and large ribbons or
+flowers were in use, and a handkerchief was sometimes bound over the top
+of the straw hat and tied under the chin.
+
+[Illustration: FIG. 107.--Costume notes, 1811-1812.]
+
+[Illustration: FIG. 108.--Costume notes, 1814-1816.]
+
+The classic high-waisted dress continued till 1808, and was often
+beautifully decorated with white embroidery and gold or tinsel, as in A,
+Plates XX and XXIII (see pp. 199, 218), and the frontispiece is a lovely
+white example. There were several interesting drapings, one being a cord
+hanging from the back of the shoulder to loop up the train of the dress,
+as in A, Plate XXII (see p. 215). The simple tunic shapes are better
+described by the illustrations: more originality was essayed in
+design after the last-mentioned date. A high Vandyked lace collar and
+fan setting to the shoulders appeared, and many interesting dresses of a
+plain cut, mostly in velvet and silks, were worn about 1810-12. A
+gathered sleeve drawn tight at intervals was often seen up to 1816, when
+embroidered ruffles and frills decorated most of the necks and skirts,
+and a braided type of character, rather military in effect with
+beautifully piped edgings, came in from about 1817. Spencer bodices were
+an additional interest at this period, and a short puff sleeve was
+generally banded or caught with bows; these being often worn over a
+fairly loose long sleeve gathered by a wristband. Dresses were worn
+shorter from about 1810. Charming lace and embroidered fichus crossed
+the shoulders, and long scarf-capes were thrown round the neck and were
+often tied round behind, as in the 18th century; long capes with points
+and tassels in front fell to the knees, and a simple pelisse with cape
+became a pleasing feature. Bags were always carried, of which there is a
+variety of shapes in the plates; long gloves or mittens were generally
+worn. Parasols of a flat shape, or others with round or pagoda shaped
+tops are seen, many being edged with a deep fringe. Long purses were
+often tucked through the waistband.
+
+[Illustration: FIG. 109.]
+
+The pointed shoe, tied sandal fashion up the leg, and with no heel,
+remained through this reign, but a round-toed low shoe, tied on in the
+same manner, began to supersede it about 1810.
+
+
+NINETEENTH CENTURY. GEORGE III. MALE.
+
+Wigs had practically gone out, except for a few of the latter type of
+the 18th century amongst elderly people. The hair was now worn short,
+and left rather full on the front, with short side-whiskers. Plain black
+or white stocks tied with a front bow, and a starched or unstarched
+collar with a frilled or gathered shirt-front were in use. A tie-pin or
+stud was also seen in the centre of the stock or frilling.
+
+The same hats as in the latter part of the 18th century continued for a
+time, but the top-hat had established its favour, and assumed various
+shapes throughout this reign.
+
+[Illustration: Plate XXVI.--
+
+    (_a_) Morning Coat of Chintz. 1825-45.
+          _Pattern, see p. 313._
+    (_b_) Cloth Coat. 1808-20.
+          _Pattern, see p. 307._
+    (_c_) Cloth Overcoat. 1820-35.
+          _Pattern similar to p. 311._]
+
+The coats were set with very high turn-over collars and a wide-shaped
+lapel, and the lapel of the waistcoat was still brought outside. As
+these lapels on the coats became smaller and changed into a roll collar,
+they were cut into points at the breast, as seen in the illustrations.
+
+The front of the coat cut away in a short square, rather high in the
+waist, which thus formed a long-tailed skirt; the fronts were made
+double-breasted, and were often fastened high up the lapel. The
+hip-pleats had gone round more to the back into a closely pressed fold,
+about three inches from the back-opening. Sleeves were gathered rather
+full in the shoulders, becoming very tight on the forearm, and were
+finished in a cuff, or buttoned cuff-shape. We also see that a short
+square coat without tails was worn over the longer one. Overcoats (or
+long-skirted coats) with a cape or capes, up to four, were worn all
+through this reign, both double and single breasted, sometimes with
+turn-up cuffs; but this mode was not frequently used, as a sewn-on cuff
+or cuff made in the sleeve was now worn, and began to take a curved
+shape well over the hand, with three buttons to fasten it on the outer
+sides.
+
+Short double-breasted waistcoats continued much the same, but a
+round-shaped lapel appeared on many.
+
+Very tight-fitting breeches were worn of the same 18th-century cut, and
+trousers began to gain favour; a fob of seals, &c., was always worn,
+coming from under the waistcoat.
+
+Soft high boots with turn-down tops, and boots with longish brown tops
+set low on the leg. The top-boot with the pointed or oval-shaped front
+and tassel still held sway, and an oval-toed low shoe with or without
+small latchets was in use.
+
+
+NINETEENTH CENTURY. GEORGE IV. FEMALE.
+
+The hair at this period was worn in plaits or curls gathered on top, and
+during the latter years was arranged into stiff loops set with a high
+comb; a group of curls was drawn to the sides of the face, the hair
+being mostly parted from the centre. Plumes were much used for
+head-dresses, and caps with gathered puffs and pointed frills. A
+high-crowned straw poke bonnet, tilted upwards, was still in form; but
+the prevailing mode was a silk bonnet, with the brim curved in at the
+front, the sides being drawn together under the chin with a bow. The
+prevailing decoration was a group of feathers thrown forward or ribbon
+loops, and after this a large round hat, with a full gathered crown,
+arrived about 1827, or straw shapes, such as Fig. A, Plate XXVIII (see
+p. 259).
+
+[Illustration: FIG. 110.]
+
+Dresses gradually assumed a longer waist, and a short pointed bodice
+made its appearance here and there from about 1822, when short stays
+began to return, and pointed belt corselets were frequent, though the
+waistband or sash was chiefly used. Short puffed sleeves of charming
+character and workmanship were sometimes set in a gauze sleeve, as in
+Fig. C, Plate XXIII (see p. 218). Spencers and pelisses had long sleeves
+coming from these short ones; they were rather full, and were caught at
+the wrist with a band. The upper sleeve gradually disappeared as the
+full-topped sleeves began to develop in size, about 1824; this fullness
+was often broken up into gathered parts, a tight cuff-piece usually
+finished at the wrist. The high set-up collars and neck-frills gave way
+to the flat capes about 1827, though the small ruffs were worn round the
+top of the high-necked capes to 1830. The gathered shoulder began
+about 1823, and soon became a marked feature; pointed or scalloped
+frills and trimmings came into favour from 1825, Fig. B, Plate XXIII
+(see p. 218), and about 1827 the sloped appearance in the bodice began
+to be noticed as the sleeves were set lower. The shoulders in ball
+dresses were shown, and a gathered Bertha of silk or lace was arranged
+round the neck of bodice, Fig. D, Plate XXIV (see p. 231), or this form
+was made in the pattern as in Fig. C, Plate XXII (see p. 215). The
+=V=-shaped piece from the centre of waist or breast began to spread over
+the shoulders, where it was opened, as in Fig. B, Plate XXII (see p.
+215). This =V= shape was often open down to the waist, where it was filled
+in with a centre-piece of embroidery. Skirts were gradually set out
+fuller, with stiff-flounced petticoats; they had various simple or
+richly decorated borders and fronts, or several small flounces, or one
+deep one often with the edges cut into divers shapes.
+
+[Illustration: Plate XXVII.--Outdoor Silk Dress. 1825-35.]
+
+[Illustration: FIG. 111.]
+
+I have striven to give good examples of the marked styles in the various
+dated illustrations, as well as the court train to dress, Fig. A, Plate
+XXXIII (see p. 282), which also comes into this time.
+
+Shoes were rather round at the toes till near the end of the reign, when
+they took a square shape; a tiny rosette or bow was placed at the front
+of instep, and they were held by narrow ribbons, crossed and tied round
+the ankle. Boots lacing at the inside, with seam down the front, often
+had a toe-cap as in Fig. 5, Plate XXI (see p. 202); no heels were worn.
+
+Light gauze scarves were usually carried, and very small fans besides
+the larger feather ones. Bags or sachets of the forms illustrated were
+painted or embroidered in ribbonwork, chenille, tulle, and coloured
+silks.
+
+A few specimens of parasols are also given, and gloves and mittens were
+of the same character as in the latter part of the last reign.
+
+The patterns given of some of the dresses shown in the plates will be
+useful as to the measurements of the increase in skirt-width and
+sleeves; one may also note the very pointed set-out of the breast,
+sometimes made with two gores, which only occurs in this reign. Muffs
+were usually of a large size, and a bow with long ends was often worn on
+the front.
+
+
+NINETEENTH CENTURY. GEORGE IV. 1820-30. MALE.
+
+The mode in beaver hats was most varied; high straight crowns with small
+brims, others tapering at the top with larger curled brims, or crowns
+enlarging at the top with almost straight small brims; a top-hat of
+straw is shown on page 309. A short-crowned hat was also worn. The hair
+was combed towards the front at either side, and the face shaven, with
+the exception of short side-whiskers.
+
+A very high stock of black satin or linen surrounded the throat, with or
+without the points of collar showing, and a frilled shirt, often stiffly
+goffered.
+
+Coats were very tight-fitting and mostly double-breasted, with long
+swallow-tailed skirts, or long full skirts; the waist was rather short,
+and the effect of coat-front round-breasted with a high turned-over
+collar finished in large lapels, which were often treated with velvets.
+The favourite colours for overcoats were greys, buffs, greens, and
+blues, and the edges were neatly finished with fine cord. The sleeves,
+rather full in the shoulder, became tight on the lower arm, coming to
+a curved shape well over the hand, and buttoned up the side. The pockets
+were frequently set at an angle, as in illustration, and a short round
+cape, or two, was seen on many overcoats. A short type of coat is seen
+about 1827, with a single roll collar.
+
+[Illustration: FIG. 112.--Period 1820-1840.]
+
+Waistcoats mostly had a round-shaped lapel, and were often
+double-breasted and very shaped at the waist, which was set fairly high;
+a long opening allowed the frilled shirt-front full display. There were
+also waistcoats having no lapels, no pockets, or no cover-flap; the
+points of front were very small, being buttoned to the end, or, with the
+double-breasted shape, they were straight across.
+
+Breeches were not so much worn as trousers of cloth, nankeen, drill, and
+fine white corduroy; these were usually fastened under the boots with a
+strap, others were looser and often worn short, well above the ankle. A
+very full type in the upper part peg-tops, was in fashion about 1820-25
+amongst the dandies, and for evening dress, very close-fitting breeches
+to the knee, or just above the ankle, the latter being opened and
+buttoned up to the calf. Pince-nez were favoured, with a heavy black
+ribbon, generally worn tucked in the lapels of the waistcoat; and a fob
+of gold seals, &c., hung from the braces, below waistcoat pocket.
+
+[Illustration: FIG. 113.--1830-1840.]
+
+Shoes and short Wellington boots were chiefly worn, the former being low
+in the heel and very short in the tongue, which was almost covered by
+small latchets, either buckled or tied, the shape of the toe being
+rather round. The Hessian boots with curved front and tassel at the top
+were still worn.
+
+
+NINETEENTH CENTURY. WILLIAM IV. FEMALE.
+
+The hair still retained the high loops on top and the bunch of curls at
+the sides, poised by a back comb and set with flowers or feathers; there
+was also a great variety of fancy capes with pointed frills, some with
+long tie ends, and these are seen with most dresses, and were worn in
+conjunction with the hats. The favourite hat was a big, flat, circular
+form, generally tilted at one side, and decorated with bows, flowers,
+and feathers; a flat tam-o'-shanter shape was often worn with the
+riding-dress, sometimes with a large peak-shape in front, and straps
+under the chin. The large poke-bonnet also kept the front as flat and
+round as possible, with a high crown tilted upward in order to set over
+the hair loops.
+
+[Illustration: Plate XXVIII.--
+
+    (_a_) Silk Pelisse. 1820-30.
+    (_b_) Cotton Dress. 1830-40. (_Pattern, see p._ 343).
+    (_c_) Silk Spencer and Cape. 1818-27 (_Pattern, see p._ 324).]
+
+[Illustration: FIG. 114.--1828-1836.]
+
+The bodice began with a very pointed front and very low neck off the
+shoulders, tuck-ins of fine embroidery, and capes or _fichus_ of the
+same, covered the shoulders, often three deep. The pointed bodice only
+lasted for a few years, when the waistband again became the favourite.
+The sleeves were very large at the shoulders, diminishing at the wrist,
+but soon took a big round form, sometimes tightly pleated into quarters
+before 1835. We then get the huge sleeve gathered at the wrist, and
+often falling below it; this again tightened on the forearm, and we note
+a tendency to tighter sleeves coming in before 1837, neatly gathered
+well down the shoulder. The evening-dress sleeve was a large puff, set
+out by stiffening to a flat wide effect. Very wide epaulet collars were
+seen on most dresses, meeting in a =V= shape at the waist, with a filling
+of lace in the front, and many bodices were elaborately gathered, and
+some of the sleeves were also gathered into puffs all down the arm.
+
+[Illustration: FIG. 115.--1830-1840.]
+
+The skirts were set out very full over stiff flounced petticoats, and
+were worn rather short; as a rule they were trimmed with one or two
+flounces, which were handsomely decorated, and a short polonaise is
+occasionally seen. There were many interesting trimmings of gauze,
+flowers, and bows; while silk-flowered gauze over dresses made some
+charming effects.
+
+Heavy mantles and capes or pelisses began to be braided, and rather
+strong colours were in general taste.
+
+The hand-bags were of a curved form and generally bore heavy tassels.
+Very small fans and round fans were attractive, and bouquet-holders of
+gilt, with pearl handles, became the thing to carry.
+
+Shoes were of the low sandal type, fastened by crossed elastic, with
+very square toes, and a tiny rosette or bow on the front; boots to the
+ankle were now in fashion, mostly lacing at the inside, and having a
+long toe-cap, sometimes with a small rosette at the top of this or a
+tassel at front of the top of the boot.
+
+[Illustration: Plate XXIX.--
+
+    (_a_) Embroidered Silk Gauze Dress. 1820-30.
+    (_b_) Gauze Dress with Appliqued Design. 1825-35.
+    (_c_) Printed Linen Outdoor Dress. 1827-47 (_Pattern, see p. 342_).]
+
+
+NINETEENTH CENTURY. WILLIAM IV. MALE.
+
+The hair was worn rather full in curls at the sides or on top, parted at
+the left side, besides being occasionally parted at the centre. Side
+whiskers, curved forward, still continued, and a short trimmed beard was
+now worn round under the chin by many, moustaches also made their first
+appearance at the end of this reign. Top-hats were high and straight,
+but many still adhered to the tapered crown and larger brim.
+
+The same plain stocks of black satin continued, with or without a front
+bow, and a soft pleated or frilled shirt-front.
+
+The coats were similar to the last reign: the chief differences being an
+increase in the length of the waist, wider tails, and large lapels of a
+similar cut: velvet collars and cuffs were much worn, and the waist was
+still made tight. A coat with a square skirt as in Fig. 116 is seen for
+the first time, and the swallow-tailed coat was worn not quite so long.
+A lower opening to the waistcoat was generally seen in evening attire,
+which sometimes had but four small buttons, while more of the
+single-breasted type were in use, with and without lapels.
+
+Very tight trousers to the ankle buttoned up to the calf continued, or
+plain trousers were held by straps under the boot; twill, corduroy, or
+nankeen were both strapped or free at the ankle and rather short.
+Knee-breeches were still worn by many for evening dress, and long
+Italian capes with overcapes and high turn-over collars were
+fashionable, besides the very full-skirted greatcoat.
+
+Boots and shoes were square at the toes and rather long and narrow, the
+shoes having a bow or buckle. Short Wellington boots continued much in
+use, also spats.
+
+Fobs of gold seals, &c., were worn, and eye-glasses attached to a black
+ribbon is a noticeable feature.
+
+
+NINETEENTH CENTURY. VICTORIA. FEMALE.
+
+The hair was parted in the centre and tightened in a top setting of
+plaits, with side curls over the ears. This mode was retained by many
+till the fifties, but the top plaits began to be set lower at the back,
+and the same flat parted hair was brought in a curved shape to the
+front of the ears, often in a small plait, allowing the ear to show, or
+in a plaited knot at either side; about 1850 it was waved, parted, and
+simply curved from the forehead over the ears in a fuller manner,
+sometimes being turned under to increase the side fullness, while the
+back hair was arranged lower down the neck. In the sixties the hair was
+waved and caught behind in ringlets or was bunched into the hideous
+chignons, which are seen till about 1880.
+
+[Illustration: FIG. 116.--1840-1860.]
+
+The variety of caps and hats is too alarming to deal with, and baffles
+comprehensible description, so it is best for the student to dip into
+the hundreds of illustrations through this period in the _Ladies'
+Magazine_, _Punch_, the _Illustrated London News_, or the _Ladies'
+Treasury_ for the later styles.
+
+The straw bonnet with a straighter poke front was favoured till 1850,
+when the front became considerably reduced in size and fitted closely
+round the face. The larger brimmed bonnets had a little frill by the
+ears, and the tight-brimmed bonnet often had the frill all round with a
+flower also tucked in effectively to the wearer's taste, and we see this
+favoured till the seventies. In the fifties a large flat Leghorn hat
+with a small crown was in evidence, the brim dipping back and front,
+decorated with feathers or bows, and a three-cornered French hat with
+feathers set in the brim came in with revival of the 18th-century style
+about 1860. A small bowler hat and a very small "pork-pie" hat appears
+in the late sixties, and a tiny-shaped bonnet of a curved form during
+the seventies.
+
+[Illustration: Plate XXX.--
+
+    (_a_) Printed Silk Bodice. 1840-50.
+          (_Pattern, see p. 320._)
+    (_b_) Gathered Linen Bodice. 1837-47.
+    (_c_) Silk Bodice and Bertha. 1845-55.]
+
+[Illustration: FIG. 117.--1845-1855.]
+
+At the beginning of this long reign we find the pointed bodice with a
+normal length of waist has really come to stay, though many dresses
+retain the waistband till the fifties, and there is such a confusion of
+styles at that time, it is difficult to arrange a sequence. From the
+18th century fashions became more complicated in the greater variety of
+design, each overlapping the other, and several distinct forms of
+character come and go during this long reign. I do not envy the person
+who undertakes the chronology of our present period.
+
+At the commencement in 1837 the huge sleeves gathered at the wrist were
+still in evidence, especially as a gauze oversleeve to evening attire,
+and they continued thus to the fifties, but very large sleeves were
+really dying out and the usual reaction was setting in; the
+full-shouldered sleeve had turned a somersault and was neatly gathered
+tight from the shoulder to the elbow, the fullness falling on the
+forearm, and this was gathered into a tight setting or wristband. The
+=V=-shaped front to the bodice was kept in many dresses by a collar or two
+tapering from the shoulders to the waist, the fullness of the breast
+often being tightly gathered at the shoulders, besides a few inches in
+the front point of the bodice. A very plain tight-fitting sleeve became
+fashionable, and on most of these we find a small upper sleeve or a
+double one as shown in A, Plate XXX (see p. 266); this was sometimes
+opened at the outer side. These sleeves continued till about 1852. In
+1853 a bell-shaped sleeve is noticed in ordinary dress, and this
+continued in various sizes till 1875, reaching its fuller shape about
+1864. These types of sleeves were usually worn over a tight one or a
+full lawn sleeve gathered at the wrist; most bodices with this sleeve
+were closely fitted and high in the neck, the waist often being cut into
+small tabs. We also notice for a few years in the early fifties the
+deeper part of the bell curved to the front of the arm, giving a very
+ugly appearance. A close-fitting jacket also came into evidence till
+about 1865 with tight sleeves and cuffs, sometimes with a little
+turn-down collar and a longer skirt as in Fig. C, Plate XXXIII (see p.
+282). This particularly fine embroidered specimen, in imitation of the
+18th-century style, is interestingly cut away short at the back to allow
+for better setting on the crinoline. There is another type of sleeve
+seen about 1848, of a plain, full, square cut; these became varied in
+shape, being opened up the side and generally trimmed with wide braids.
+This clumsy character is seen up to 1878, the later ones being fuller in
+cut. Zouave jackets were occasionally worn in the forties and later in
+the early sixties, when the wide corselet belt was again favoured.
+Skirts at the beginning of the reign were fully set out on drill
+petticoats, stiff flounces, and even whalebone, so it was hardly "a
+great effect" when the crinoline appeared about 1855, though a furious
+attack was made against it at first; this undersetting developed to its
+fullest extent between 1857 and 1864, and many dresses in the early
+sixties were also worn short, showing the high boots of this period.
+At first the crinoline was slightly held back from the front by ties,
+and again in the sixties it was often kept with a straight front, the
+fullness being held to the back, till the appearance of the bustle
+brought in another shape. The skirts were now pulled in tight to the
+front of the figure and bunched up at the back, with a train or shaped
+flounced pieces overlapping each other caught up under the bustle, as in
+Fig. B, Plate XXXIII (see p. 282).
+
+[Illustration: Plate XXXI.--
+
+    (_a_) Embroidered Muslin Outdoor Dress, 1855-65.
+    (_b_) Riding Habit. 1845-75.
+    (_c_) Gauze Ball Dress. 1840-55.]
+
+[Illustration: FIG. 118.--Dress improvers, 1865-1875.]
+
+Mantles of a cumbersome type and shot-silk capes with long pointed
+fronts were worn, often heavily fringed, the former also being mostly
+decorated with braided designs. Large Paisley shawls were much used all
+through this reign, besides the cape and hood with its fine tassels
+which became very fashionable in the sixties.
+
+Gloves and mittens are seen both long and short, the latter often
+beautifully embroidered on the back in the French style. Hand-bags were
+often carried, of which examples are given in the plates of a variety of
+shapes; the favourite materials for their make were velvets and silks
+decorated with bullion, sequins, braids, needlework, and beads, and
+these bags were richly set in gilt, silver, or steel mounts.
+
+Parasols were still heavily fringed, and were of the usual shapes. A
+very small one was carried in the carriages, and are even seen on the
+ladies' driving whips.
+
+Shoes continued in the same heelless sandal character to the sixties for
+evening wear, but from the forties most outdoor shoes had a heel and
+large rosettes. With the seventies came round toes with a low round
+front and bow, and high shaped heels came to stay till the present day.
+Boots of white satin, kid, or coloured silks were chiefly worn till the
+seventies, reaching just above the ankle, laced up the inner side, but
+many wore elastic sides from the fifties; the toes of these were rather
+square, and a toe-cap and front seam was made in many of this type. In
+the forties a tight rosette was sometimes placed low down towards the
+toes, and later, a huge bow was sewn on the front. High boots buttoned
+towards the side and very much shaped, with pointed round toes and high
+heels were sometimes laced and finished with a pair of tassels. Spats
+were always fashionable through this period.
+
+
+NINETEENTH CENTURY. VICTORIA. MALE.
+
+The same modes of doing the hair remained till the sixties, parted at
+one side and worn rather long and waved, with the side whiskers or beard
+all round the chin. The side whiskers were allowed to grow long between
+fifty-five and seventy, and full beards also became fashionable, while
+the hair was parted in the centre from front to back and flattened on
+the forehead.
+
+The favourite top-hat still reigned supreme, many of which retained the
+tapered top and large curled brim till about 1855, and a bell shape was
+frequently seen in the fifties, but the real straight chimney shape was
+seen throughout till the eighties, with a rather narrow brim, and often
+of white or fawn-coloured cloth. The bowler hat increased in
+appreciation, being of a short type, with smallish brim. A short flat
+felt hat, with rather straight brim, also came into favour from the
+fifties; little round caps and caps with ear-flaps, for travelling, &c.,
+were also in general use.
+
+The frock-coat kept the rather tight sleeves and tight waist, and full
+square skirt, with back pockets, also a deep lapel, sometimes with a
+velvet collar, and small cuffs; a breast-pocket was often placed on the
+left side, and in the fifties the type of morning coat with rounded-off
+fronts at the skirt appeared, also a small collar and lapel. Square-cut
+jackets and tweed suits similar to our present shapes, but heavier in
+cut and with braided edges, were much in use. Velvet or fur-trimmed
+overcoats, and heavy travelling-coats, also capes and Inverness capes,
+were all in vogue.
+
+Waistcoats became buttoned higher in the neck, and the stock-collar was
+supplanted in the sixties by a turn-down collar, and small tie or loose
+bow; many still affected the black stock and pointed collar to the
+seventies, when a high round collar began to appear.
+
+Coloured and fancy waistcoats were much worn till the eighties, and
+evening dress was similar to the present cut, with slight differences in
+the length of lapels and waistcoat front.
+
+The trousers were made with the front flap till they were buttoned down
+the front about 1845, and side pockets became general. Braids may be
+noted down the sides in the fifties, and are seen now and then all
+through the reign, while large plaids and stripes were highly esteemed.
+
+Short Wellington boots were chiefly preferred up to the sixties, and
+trouser-straps and spats were fashionable all through the reign. The
+heavier lace-up boot came in during the fifties, and a very shaped type
+of fashion appeared in the sixties.
+
+Having now completed the general survey of Costume, the following pages
+are given up to the cut and measurements of various antique garments.
+
+
+
+
+PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME
+
+WITH NOTES AND MEASUREMENTS
+
+
+I have striven to gather as many representative patterns of dress types
+and accessories as possible, and also give many measurements from the
+various examples, when I have been unable to obtain a complete pattern.
+The character of cut and proportion is the essential point in the study
+of dress design, and the intimate knowledge of periods. When seeing a
+collection of patterns, one is astonished at the great variety in cut
+used to arrive at the different bodice types. Several patterns of single
+pieces are given, as it aids one to find the fellow-part; for example,
+the photo of a back given in Fig. C, Plate III (see p. 55), will go with
+the front cut on page 290; even though these two pieces did not belong
+to the same body, the cut is seen from which to design the missing
+part. Often a small piece is wanting for the top of the shoulder, which
+can easily be supplied to fill the sleeve measurement. The types of
+trimmings in the different centuries will soon be acquired by a careful
+student, and the proportions of patterns will be valued for gaining the
+character. I believe with this collection one could get the true effects
+of any style of dress seen in the period prints. The drawings are mostly
+scaled for the half, and the measurement, in inches, will be found by
+dots on the top of the collotypes, and by a marked line on the pattern
+pages.
+
+One must note, with the 18th-century dress, the sleeve cuffs can be
+changed, so I give, on page 300, a full-size measurement of the
+elbow-cuff seen in Fig. A, Plate XVI (see p. 167), and a deeper one of
+this style is seen on Fig. C, Plate XII (see p. 135), gathered seven
+times at the elbow. The plain square type was pleated in the front as
+given on page 300, and a variety of this character is shown on Fig. B,
+Plate XV (see p. 154). Though many patterns may be found remarkable in
+proportions, an allowance is often to be made for the undersetting, as
+well as for the thick, straight corsets worn to the end of the 18th
+century.
+
+I give several specimens of quilting on petticoats of the 18th century,
+which will probably be found useful to artists; the measurement is also
+given of their circumference, which attained similar proportions to
+those set on the Victorian crinolines, going 3 to 4 yards round: four
+18th century ones measured 100, 114, 116, 120 inches, and they are often
+1 inch longer at the sides, to allow for setting over the panniers; a
+pattern is given on pages 213 and 332. The embroidered pockets on page
+300 were worn in pairs at the sides on the petticoats, and only showed
+when the dress was looped up. The extra lawn sleeves, given on page 287,
+show how precious the superfine linen was held, with its superb gathered
+work, lace ruffles, and often fine embroidery; these pieces could be
+looked after with special care in the laundry, and could be tacked,
+pinned, or buttoned on when required.
+
+The 16th and 17th century collars were mostly attached to the chemise or
+shirt, as is seen in many of the old prints. On page 289 I give examples
+of shape of the various stomachers, which will be found useful for
+getting the characteristic proportions. The scarves worn round the body
+of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6
+inches, and from 8 feet 6 inches to 7 feet in length.
+
+[Illustration: Plate XXXII.--
+
+    (_a_) Silk Dress. 1860-70.
+          _Pattern, see p. 346._
+    (_b_) Gauze Walking Dress. 1850-60.
+    (_c_) Silk Dress. 1848-58.
+          _Pattern, see p. 344._]
+
+The stocking top, Fig. C, Plate VI (see p. 74), is probably of similar
+proportions to the woollen one in the Victoria and Albert Museum, on
+which the bell-top circumference is 36 inches, and the full length of
+stocking 38 inches. On page 285 a cap of three pieces is given; their
+real design is at present unknown, but I trust the Museum authorities
+may soon discover their placing, for many of these pieces are in
+existence, and this set in my collection is impressed with a beautiful
+pattern. The bodice, Fig A, Plate X (see p. 119), should have been set
+on a stiff-fronted corset to give it the straight style, as it is
+charmingly proportioned and clean in outline. I have also measured a
+short circular cloak of the early 17th century, which is 34 inches in
+diameter, with a square collar 10 inches deep; and another cape of the
+late 16th century, 40 inches in diameter. On page 290 will be found the
+smaller tabs which are placed round the jerkin, with a deep front point,
+as in Fig. A, Plate VIII_a_ (see p. 103); the collar of this type often
+rises 2¾ inches in the front to 3 inches at the back, in order to
+carry the stiff ruff or deep turned-down collar. Tabs of the smallest
+dimensions, in the earlier Elizabeth and James character, generally have
+six pieces from front to the middle of the back, which are from 2 to 3
+inches deep. The epaulets are made in small stiff tabs, caught together
+in two places only, and so have plenty of give in the shoulder
+movements; they run to 2¼ inches at the widest part, and do not
+continue right under the arm. Fig. D, Plate V (see p. 71), has the
+middle seam of the back open from the waist to within 2 inches of the
+collar, which is noticeable on many of the later Charles I coats. Long
+aprons are conspicuous through the 17th century, and one measured was 42
+inches wide, gathered to 15 inches at the waist; they were decorated
+with three bands of embroidered insertion down the front, with a 3-inch
+plain border, edged with small lace; this is typical in character of
+design, as is also the same style of linen cape seen on a figure, page
+159. A similar one, lent by Sir Robert Filmer, is at the Victoria and
+Albert Museum; also a cap, of which I give a pattern, A, page 285. The
+smaller type of embroidered aprons of the late 17th and 18th centuries
+measure 40 inches wide, 19½ inches deep, with the centre dipping to
+17¾ inches; another shape is 26 inches wide, 18 inches in centre, and
+13½ inches on sides. The bodice, with deep skirt, Fig. B, Plate XVIII
+(see p. 183), is a type seen all through the 18th century, both longer
+and shorter in the skirt. The pattern of the 17th-century breeches is
+interesting as regards the cut, the upper part being kept plain,
+otherwise the gathered fullness would have disturbed the set of the
+jerkin tabs; the band of these breeches has six hooks either side to
+back, which fasten to eyes on an under flap sewn on body of jerkin. The
+epaulet on this pattern is only a ¾-inch piece, braided with two
+narrow braids, and the bows on tabs are of ribbon, 1½ inches wide.
+
+The three patterns of capes given on pages 349, 350 will be found
+useful, as they are simple and very typical of the Victorian times, long
+shawls being otherwise much used. The fullness of the Elizabethan
+overdress seen on B, Plate II (see p. 42), is 66 inches to the back
+seam, and the Fig. C, on the same plate, is 47 inches. The "jump," or
+jacket, Fig. A, Plate III (see p. 55), is 100 inches round, the fullness
+of the sleeve 13 inches, and the length of back 32 inches. An over-tunic
+of the early 17th century is interesting to examine, though it is a
+specimen of German costume.
+
+[Illustration: Plate XXXIII.--
+
+    (_a_) Silk Dress with Court Train. 1828-38.
+    (_b_) Silk Afternoon Dress. 1872-78.
+    (_c_) Silk Coat and Skirt. 1855-65.
+          _Pattern, see p. 320._]
+
+
+
+
+PATTERNS TO SCALE
+
+_For Detailed List, see page 353._
+
+
+[Illustration: PATTERN 1.
+
+_Made in satin on wood_
+
+_Piccadilloes 1580-1630_
+
+_Side view open_
+
+_Gather to a ring at mark_
+
+_Gather to a ring at mark_
+
+_A pair belonging above_
+
+_3 Caps 16-17th c._
+
+_12 in. ties_
+
+_1600-1650 17th c._
+
+_Others measure_ 16×14 14×9 13×9
+
+_Cap 16-17th c._
+
+_Cap of pierced embroidery, late 17th & early 18th cent._]
+
+[Illustration: PATTERN 2.
+
+_17th c. Stock, Chas. II._
+
+_18th c._
+
+_Stiff gorget for carrying Collar_
+
+_Stock_
+
+_Cap, embroidered, 1st half 18th c._
+
+_Collar and caps, 17 century_]
+
+[Illustration: PATTERN 3.
+
+_Ruff, 1590-1610_
+
+_24 in. round_
+
+_15 round_
+
+_20 in. round_
+
+_18 century_
+
+14
+
+_1st half of 17th c._
+
+10
+
+_Caps and Extra Sleeves of Fine Linen 17 century_]
+
+[Illustration: PATTERN 4.
+
+_Embroidered linen jacket, front and sleeve, 16th
+century_
+
+_Embroidered linen bodice Front, Chas. I._]
+
+[Illustration: PATTERN 5.
+
+_Elizabethan jerkin of punched leather._
+
+_Gold embroidered stomacher, about 1600-30_
+
+1660-1689
+
+1690-1730
+
+1680-1730]
+
+[Illustration: PATTERN 6.
+
+_Set of tabs for male jerkin, 17 cent._
+
+_Back_
+
+_Front_
+
+_Side_
+
+_Pattern type from worked pieces Elizabethan reign 1570-1605_]
+
+[Illustration: PATTERN 7.
+
+_Circular Cape, 17 cent._
+
+_Collar_
+
+_Join top and gather at dots._
+
+_Cap, 1580-1630._]
+
+[Illustration: PATTERN 8.
+
+_Bodice_
+
+_Fig. 1 Plate 10_]
+
+[Illustration: PATTERN 9.
+
+_Corset, 1620-60_
+
+_Cut of bodice, Fig. B, Plate 5_
+
+_Corset, 1665-85_
+
+_Corset, 1685-1705_]
+
+[Illustration: PATTERN 10.
+
+_26 buttons_
+
+_Sleeve seam_
+
+_Start epaulette_
+
+_Finish_
+
+_Scale_
+
+_Collar_
+
+_Similar type to Fig. C, Plate 7_
+
+_Jerkin of white quilted satin_
+
+_See page opposite for Breeches of same, 1620-1640. Victoria and Albert
+Museum, Kensington._]
+
+[Illustration: PATTERN 11.
+
+_Breeches, 1615-60_
+
+_ties_
+
+_pocket_
+
+_pocket_
+
+_Fulled_
+
+_Hooks to fasten to jerkin_]
+
+[Illustration: PATTERN 12.
+
+_sleeve_
+
+_35 buttons_
+
+_Neck Band_
+
+_Buttons ¾ in._
+
+_Open_
+
+_12 buttons_
+
+_Full cape coat, V. & A. Museum, about 1640-68_]
+
+[Illustration: PATTERN 13.
+
+_Back of bodice, Fig. B, Plate 7._
+
+_13½ Front to back of epaulette_
+
+_Male cap, early 18 century_]
+
+[Illustration: PATTERN 14.
+
+_2 collars, time Chas. II._]
+
+[Illustration: PATTERN 15.
+
+_Jacket. Fig. C, Plate 4_
+
+_Top sleeve_
+
+_Open to mark_
+
+_Open_
+
+_Open_]
+
+[Illustration: PATTERN 16.
+
+_Sleeve cuffs, 18 cent._
+
+_Early type_
+
+_Late type_
+
+_1690-1750, 2 pockets_
+
+_Hanging sleeve of Fig. C, Plate 2_
+
+_Open_
+
+_Embroidered bodice fronts, early 18 century_]
+
+[Illustration: PATTERN 17.
+
+_Quilted linen corsage, 1660-1715_
+
+_Open_
+
+_Herald's coat, Fig. A, Plate 7. Victoria & Albert Museum_
+
+_Open_
+
+_Open_]
+
+[Illustration: PATTERN 18.
+
+_Front of embroidered linen sleeved waistcoat, 1690-1720_
+
+_Victoria and Albert Museum_]
+
+[Illustration: PATTERN 19.
+
+_Inner vest_
+
+_Sleeve waistcoat, early 18th cent._
+
+_Sleeve to lace on_
+
+_Open to mark_]
+
+[Illustration: PATTERN 20.
+
+_Breeches, 1660-1720_
+
+_Button_
+
+_Pleat_
+
+_Pocket_
+
+_Open for pocket_
+
+_Fullness_
+
+_Open_
+
+_Pocket_]
+
+[Illustration: PATTERN 21.
+
+_Breeches, 18th century_
+
+_Waist_
+
+_Gather_
+
+_Open_
+
+_Top_
+
+_Knee strap_
+
+_Waist_
+
+_Loose flap_
+
+_Pocket_
+
+_Pocket_]
+
+[Illustration: PATTERN 22.
+
+_Fly knee_
+
+_Breeches, 18th century_]
+
+[Illustration: PATTERN 23.
+
+_Coat, Fig. B, Plate 26_
+
+_Dart_
+
+_Open to waist_
+
+_Collar_]
+
+[Illustration: PATTERN 24.
+
+_Coat, Fig. B, Plate 13_
+
+_Joined under pleat_
+
+_Pocket_
+
+_Pocket_
+
+_Small pocket_
+
+_open_
+
+_caught_
+
+_open_
+
+_Open_
+
+_Side tab_
+
+_Corderoy trousers 1815._]
+
+[Illustration: PATTERN 25.
+
+_Fig. A, Plate 15 Coat, 1775-90_
+
+_Cuff_
+
+_Band to draw up_
+
+_Open_
+
+_Double_
+
+_Under collar_
+
+_Turnover collar_
+
+_Pocket_
+
+_Pleat_
+
+_Open_
+
+_Open_
+
+_15 in. tie_
+
+_Leather Breeches, 1800-30_
+
+_Straw hat, 1816-30_]
+
+[Illustration: PATTERN 26.
+
+_Join_
+
+_Fold_
+
+_Under collar_
+
+_Turnover collar_
+
+_Pleat_
+
+_Open to waist_
+
+_Coat, 1784-94 Directoire type See_ FIG. 106]
+
+[Illustration: PATTERN 27.
+
+_Collar_
+
+_Breast pocket, left only_
+
+_Coat, 1830-1845 Similar type to Fig. C, Plate 26._]
+
+[Illustration: PATTERN 28.
+
+_Pocket_
+
+_Slightly gather_
+
+_Pocket_
+
+_Top_
+
+_Foot strap_
+
+_Strap inside_
+
+_Open_
+
+_Foot Strap_
+
+_Buff linen trousers, 1810-1840_]
+
+[Illustration: PATTERN 29.
+
+_Turnover collar_
+
+_Collar tab_
+
+_Pocket flap_
+
+_Pocket_
+
+_Pleat_
+
+_Joined on waistcoat inside_
+
+_Open to mark_
+
+_Coat, Fig. A, Plate 26_]
+
+[Illustration: PATTERN 30.
+
+_Bodice, 1816-22_
+
+_Trimming stretched to curl over_
+
+_Sleeve straps_
+
+_Collar_
+
+_Waist_
+
+_Gathered in strap_
+
+_Piped straps and seams_]
+
+[Illustration: PATTERN 31.
+
+_Bell sleeved Bodice, 1848-58_
+
+_Trimmed narrow velvet braid_
+
+_Open_
+
+_Open_]
+
+[Illustration: PATTERN 32.
+
+_Bodice of linen dress, Fig A, Plate 22_
+
+_Buttons for front_
+
+_Cord for looping train, 90 inches_
+
+_Outside sleeve_]
+
+[Illustration: PATTERN 33.
+
+_Bodice, 1860-70_
+
+_Bodice, 1850-60 type_
+
+_Sleeve for net covering_
+
+_Gathered sleeve_
+
+_Bodice, 1816-25_]
+
+[Illustration: PATTERN 34.
+
+_Jacket bodice, Fig. A, Plate 24_]
+
+[Illustration: PATTERN 35.
+
+_Bodice, 1845-55 similar type Fig. A, Plate 30_
+
+_Epaulette_
+
+_Band round waist_
+
+_Front_]
+
+[Illustration: PATTERN 36.
+
+_Sleeveless overjacket, early 18 century embroidered_
+
+_Wrist strap_
+
+_Tie on_
+
+_Gather_
+
+_Gather_
+
+_Strap_
+
+_Gather_
+
+_Spencer, 1827-37, piped trimming_]
+
+[Illustration: PATTERN 37.
+
+_Bodice, 1812-18_
+
+_Top_
+
+_Silk to line_
+
+_Under lining_]
+
+[Illustration: PATTERN 38.
+
+_Corset pattern, 18 century_
+
+_Bodice of Fig. A, Plate 14_]
+
+[Illustration: PATTERN 39.
+
+_Similar type of Bodice to Fig. B, Plate 14. Bodice with
+type of pleated back, 1720-50_
+
+_Box pleats_
+
+_Pleated back_
+
+_Lining for front_
+
+_Lining for back_
+
+_Laced_]
+
+[Illustration: PATTERN 40.
+
+_Tab gathered in centre trimming on epaulette_
+
+_Cape_
+
+_Epaulette band_
+
+_Waist band_
+
+_Collar_
+
+_Pattern, Fig. C, Plate 28_
+
+_Thickly kilted skirt to bodice, 26 ins._
+
+_Bodice, Fig. A, Plate 18_]
+
+[Illustration: PATTERN 41.
+
+_Zouave jacket, late 18 century_
+
+_Gather_
+
+_Bodice, 1818-28_]
+
+[Illustration: PATTERN 42.
+
+_Silk jacket, Fig. B, Plate 19_
+
+_Gathered_
+
+_Pleat_]
+
+[Illustration: PATTERN 43.
+
+_Bodice, Fig. C, Plate 18_]
+
+[Illustration: PATTERN 44.
+
+_Bodice, Fig. A, Plate 30_
+
+_Wrist_
+
+_Bertha_
+
+_Gather_
+
+_Gather_]
+
+[Illustration: PATTERN 45.
+
+_Cased_
+
+_Pleat_
+
+_Pleats_
+
+_Open_
+
+_Open_
+
+_Open to mark_
+
+_Pocket_
+
+_Coat, Fig. C, Plate 33_]
+
+[Illustration: PATTERN 46.
+
+_Waist_
+
+_S. lining_
+
+_Puff sleeve_
+
+_Gather_
+
+_Gather_]
+
+[Illustration: PATTERN 47.
+
+_Dress, 1805-1818_
+
+_Pleated_
+
+_Pleat_
+
+_Apron front_
+
+_Gathered_
+
+_Mob Cap, 1780-1800_
+
+_Gathered in band_
+
+_Trimmed double lace frill round front_
+
+_Width of insertion_
+
+_Cap with comb, 1790-1800_
+
+_Puff comb_]
+
+[Illustration: PATTERN 48.
+
+_Pleated_
+
+_Pleated_
+
+_Pleated_
+
+_Side plaquet_
+
+_Quilted petticoat, 1740-70_
+
+_Waist band_]
+
+[Illustration: PATTERN 49.
+
+_Pleats_
+
+_Pleat to notch_
+
+_Made in lining_
+
+_Petticoat, Fig. B, Plate 16_
+
+_Top_]
+
+[Illustration: PATTERN 50.
+
+_Dress, Fig. B, Plate 16_
+
+_Pleat_
+
+_Under corset_
+
+_Lining back_]
+
+[Illustration: PATTERN 51.
+
+_Dress, Fig. C, Plate 16_
+
+_Neck_
+
+_Lining_
+
+_Box pleats_
+
+_Small pleats_
+
+_S pleats_
+
+_Small pleats_
+
+_S. pleats_
+
+_Pleat_]
+
+[Illustration: PATTERN 52.
+
+_Pleat_
+
+_Pleat_
+
+_Pleat_
+
+_Pleat_
+
+_Pleat_
+
+_Pleat_
+
+_White linen dress, 1795-1805_
+
+_Front_
+
+_Sleeve_
+
+_Gather_
+
+_Button_
+
+_Outside sleeve_
+
+_Caught up thus_]
+
+[Illustration: PATTERN 53.
+
+_Gathered_
+
+_Open to mark_
+
+_Gathered_
+
+_Striped cotton dress, 1805-15_
+
+_Gathered_
+
+_Collar_
+
+_Front_
+
+_Wrist_
+
+_3 sleeve frills_
+
+_Open_
+
+_Gather_]
+
+[Illustration: PATTERN 54.
+
+_Pattern of under robe, 1818-30_
+
+_Gathered_
+
+_Gathered_
+
+_Waist_
+
+_Sleeve_
+
+_S. placquets_]
+
+[Illustration: PATTERN 55.
+
+_Waist band_
+
+_Neck band_
+
+_Gathered_
+
+_Cuff_
+
+_Top_
+
+_Gathered_
+
+_Pattern of Fig C, Plate 25_]
+
+[Illustration: _Muslin dress, 1822-32_
+
+_Cuff_
+
+_Yoke_
+
+PATTERN 56.]
+
+[Illustration: PATTERN 57.
+
+_Gather_
+
+_Gather_
+
+_Satin dress, 1837-45_
+
+_Gather_
+
+_Gather_
+
+_Top_]
+
+[Illustration: PATTERN 58.
+
+_Top gathered to a Fold round sleeve_
+
+_Gathered_
+
+_Dress, Fig. C, Plate 29_
+
+_Gathered_
+
+_Gathered_
+
+_Gather_
+
+_Cape_
+
+_Gathered_
+
+_Gathered_
+
+_Waist_
+
+_Waist_
+
+_Gather_
+
+_Gather_]
+
+[Illustration: PATTERN 59.
+
+_Dress, Fig. B, Plate 28_
+
+_Gathered_
+
+_Gathered_
+
+_Gathered_
+
+_Gathered_
+
+_Band front of waist_
+
+_Waist_]
+
+[Illustration: PATTERN 60.
+
+_Gather_
+
+_Gather_
+
+_Dress, Fig. C, Plate 32._
+
+_Trimming over shoulder_
+
+_Top_
+
+_Gather_
+
+_Gather_
+
+_Tight pleats_
+
+_Waist_]
+
+[Illustration: PATTERN 61.
+
+_Lady's coat, 1856-70_]
+
+[Illustration: PATTERN 62.
+
+_Blue silk dress, 1860-70_
+
+_Fig. A, Plate 32_
+
+_Scale 6 inches_
+
+_Gather_
+
+_Gather_
+
+_Pleat_]
+
+[Illustration: PATTERN 63.
+
+_Reefed polonaise, pinked edge, 1860-70_
+
+_Scale inches_
+
+_Gather_
+
+_Plain_
+
+_Gather_
+
+_Plain_
+
+_Pleat_
+
+_Gather_
+
+_Puff sleeve lining_
+
+_Reefed up_
+
+_Ties_
+
+_Puff sleeve_]
+
+[Illustration: PATTERN 64.
+
+_Lady's jacket, Fig. C, Plate 19_
+
+_Gathered_
+
+_Pleated_]
+
+[Illustration: PATTERN 65.
+
+_Fullness for arm_
+
+_An interesting cape of shot silk, 1840-50_]
+
+[Illustration: PATTERN 66.
+
+_Cut in one_
+
+_Front_
+
+_Cape collar_
+
+_2 pieces_
+
+_Black velvet cape, 1830-40_
+
+_Victorian cape, 1860-75_
+
+_Same cut from 40 ins._]
+
+[Illustration: PATTERN 67.
+
+_Sleeve, 16 century_
+
+_Collar_
+
+_Cut of Doublet and slashed sleeve, 1620-40_
+
+_Sleeve, 1620-40._
+
+_Epaulette_
+
+_Cut of boy's stays, coat, vest, 1700-60_]
+
+[Illustration: PATTERN 68.
+
+_Male Robe 1600-25_
+
+_Black felt Puritan hat, 1640-60_
+
+_V. and A. Museum_
+
+_Black velvet hat, 1600-20_]
+
+
+
+
+DETAILED LIST OF SCALED PATTERNS
+
+
+    Pattern 1, page 285:--
+      Piccadillo, 1580-1630.
+      Three caps, 16-17 century.
+      Cap of three pieces, 16-17 c.
+      Triangular cap, 16-17 c.
+      Long cap, 17 c.
+      Cap, late 17 c., early 18 c.
+
+    Pattern 2, page 286:--
+      4 collars, 17 c.
+      Gorget of linen, 17 c.
+      2 stocks, 17 and 18 c.
+      3 male caps and 1 female, 17 and 18 c.
+
+    Pattern 3, page 287:--
+      Ruff, 17 c.
+      4 extra linen sleeves, 17 and one 18 c.
+      2 caps, female, 17 c.
+
+    Pattern 4, page 288:--
+      Front of linen jacket, 16 c.
+      Front of linen bodice, Charles I.
+
+    Pattern 5, page 289:--
+      Elizabethan jerkin.
+      4 stomachers, 17 and 18 c.
+
+    Pattern 6, page 290:--
+      Set of tabs for male jerkin, 17 c.
+      Pattern type, sleeve and bodice front, 1570-1605.
+
+    Pattern 7, page 291:--
+      Circular cape, 17 c.
+      Cap, female, 1580-1630.
+
+    Pattern 8, page 292:--
+      Bodice, Fig. 1, Plate X, James I.
+
+    Pattern 9, page 293:--
+      3 corsets and bodice of, Fig. 2, Plate V, 17 c.
+
+    Pattern 10, page 294:--
+      Jerkin of white quilted satin, 17 c.
+
+    Pattern 11, page 295:--
+      Breeches of same suit.
+
+    Pattern 12, page 296:--
+      Cape-coat, 17 c.
+
+    Pattern 13, page 297:--
+      Back of bodice, Plate VII, 17 c.
+      Shaped cap, male, 17 and 18 c.
+
+    Pattern 14, page 298:--
+      2 collars, Charles II.
+
+    Pattern 15, page 299:--
+      Jacket, Fig. _C_, Plate IV, 17 c.
+
+    Pattern 16, page 300:--
+      2 sleeve-cuffs, 18 c.
+      2 embroidered pockets, 17 and 18 c.
+      Hanging sleeve, Fig. _C_, Plate II, 16-17 c.
+      Embroidered bodice fronts, 17-18 c.
+
+    Pattern 17, page 301:--
+      Quilted linen corsage, 1660-1715.
+      Herald's coat, Fig. _A_, Plate VII, 16-17 c.
+
+    Pattern 18, page 302:--
+      Sleeved waistcoat, 1690-1720.
+
+    Pattern 19, page 303:--
+      Sleeved waistcoat and vest, early 18 c.
+
+    Pattern 20, page 304:--
+      Breeches, 1660-1720.
+
+    Pattern 21, page 305:--
+      Breeches, 18 c.
+
+    Pattern 22, page 306:--
+      Breeches, 18 c.
+
+    Pattern 23, page 307:--
+      Coat, Fig. _B_, Plate XXVI, 19 c.
+
+    Pattern 24, page 308:--
+      Coat, Fig. _B_, Plate XIII, 18 c.
+      Corderoy trousers, from 1815.
+
+    Pattern 25, page 309:--
+      Coat, late 18 c., Fig. _A_, Plate XV.
+      Leather breeches, late 18-19 c.
+      Straw hat, 1816-30.
+
+    Pattern 26, page 310:--
+      Coat, 1784-94.
+
+    Pattern 27, page 311:--
+      Coat, 1830-45.
+
+    Pattern 28, page 312:--
+      Buff linen trousers, 1810-40.
+
+    Pattern 29, page 313:--
+      Morning coat, Fig. _A_, Plate XXVI, 19 c.
+
+    Pattern 30, page 314:--
+      Bodice, 1816-22.
+
+    Pattern 31, page 315:--
+      Bell-sleeved bodice, 1848-58.
+
+    Pattern 32, page 316:--
+      Bodice of linen dress, Fig. _A_, Plate XXII, about 1800.
+
+    Pattern 33, page 317:--
+      Bodice, 1860-70.
+      Bodice, 1850-60.
+      Bodice, 1816-25.
+
+    Pattern 34, page 318:--
+      Jacket bodice, Fig. _A_, Plate XXIV, about 1800.
+
+    Pattern 35, page 319:--
+      Bodice, similar type, Fig. _A_, Plate XXX, 1845-55.
+
+    Pattern 36, page 320:--
+      Sleeveless over jacket, early 18 c.
+      Spencer, 1827-37.
+
+    Pattern 37, page 321:--
+      Bodice, 1812-18.
+
+    Pattern 38, page 322:--
+      Corset pattern, 18 c.
+      Bodice of Fig. _A_, Plate XIV, 18 c.
+
+    Pattern 39, page 323:--
+      Bodice with type of pleated sack back, 1720-50.
+
+    Pattern 40, page 324:--
+      Bodice, Fig. _C_, Plate XXVIII, 19 c.
+      Bodice, Fig. _A_, Plate XVIII, 18 c.
+
+    Pattern 41, page 325:--
+      Zouave jacket, late 18 c.
+      Bodice, 1818-28.
+
+    Pattern 42, page 326:--
+      Silk jacket, Fig. _B_, Plate XIX, 18 c.
+
+    Pattern 43, page 327:--
+      Bodice, Fig. _C_, Plate XVIII, 18 c.
+
+    Pattern 44, page 328:--
+      Bodice, Fig. _A_, Plate XXX, 19 c.
+
+    Pattern 45, page 329:--
+      Lady's coat, Fig. _C_, Plate XXXIII.
+
+    Pattern 46, Page 330:--
+      Polonaise dress, 1835-45.
+
+    Pattern 47, page 331:--
+      Dress, 1805-18.
+      Mob cap, 1780-1800.
+      Cap with comb top, 1790-1800.
+
+    Pattern 48, page 332:--
+      Quilted petticoat, 18 c.
+
+    Pattern 49, page 333:--
+      Petticoat, Fig. _B_, Plate XVI, 18 c.
+
+    Pattern 50, page 334:--
+      Dress, Fig. _B_, Plate XVI.
+
+    Pattern 51, page 335:--
+      Dress, Fig. _C_, Plate XVI.
+
+    Pattern 52, page 336:--
+      White linen dress, 1795-1800.
+
+    Pattern 53, page 337:--
+      Striped cotton dress, 1805-15.
+
+    Pattern 54, page 338:--
+      Pattern of under robe, 1818-30.
+
+    Pattern 55, page 339:--
+      Dress, Fig. _C_, Plate XXV.
+
+    Pattern 56, page 340:--
+      Muslin dress, 1822-32.
+
+    Pattern 57, page 341:--
+      Satin dress, 1837-47.
+
+    Pattern 58, page 342:--
+      Dress, Fig. _C_, Plate XXIX.
+
+    Pattern 59, page 343:--
+      Dress, Fig. _B_, Plate XXVIII.
+
+    Pattern 60, page 344:--
+      Dress, Fig. _C_, Plate XXXII.
+
+    Pattern 61, page 345:--
+      Lady's coat, 1856-70.
+
+    Pattern 62, page 346:--
+      Silk dress, Fig. _A_, Plate XXXII, 1860-70.
+
+    Pattern 63, page 347:--
+      Reefed polonaise, 1860-70.
+
+    Pattern 64, page 348:--
+      Lady's jacket, Fig. _C_, Plate XIX, 18 c.
+
+    Pattern 65, page 349:--
+      Cape, 1840-50.
+
+    Pattern 66, page 350:--
+      Cape, 1860-75.
+      Cape, 1830-40.
+
+    Pattern 67, page 351:--
+      Upper sleeve and collar, 16 c.
+      Bodice with slashed sleeve, 1620-40.
+      Boy's stays, coat, and vest, 1700-60.
+
+    Pattern 68, page 352:--
+      Male robe, 1600-25.
+      Puritan hat, 1640-60.
+      Black velvet hat, 1600-20.
+
+
+
+
+INDEX
+
+
+    Aprons--
+      17 century, 186, 280
+      18 c., 192, 198, 206
+
+
+    Bags, 193, 262, 272
+
+    Bertha, 238, 252
+
+    Bouquet Holder, 262
+
+    Breeches--
+      Mediæval, 54
+      16 c., 122, 132
+      17 c., 152, 164, 281
+      19 c., 248, 256, 264
+
+    Bustle, 226
+
+
+    Calash, 217
+
+    Capes--
+      16 c., 132, 279
+      17 c., 184
+      19 c., 244, 262, 264, 274, 281
+
+    Chain Ornaments--
+      to 15 c., 62, 72
+      16 c., 110, 124
+
+    Cloaks--
+      to 15 c., 54, 70
+      17 c., 152, 164, 176, 180, 279
+      18 c., 222
+
+    Collars--
+      16 c., 112, 128, 129, 139, 278
+      17 c., 145, 158, 160, 172, 174
+      19 c., 244, 246
+
+    Corsets--
+      to 15 c., 62, 66
+      16 c., 110, 116, 138
+      17 c., 158, 169, 172
+      18 c., 211, 278
+      19 c., 250
+
+    Crinolines, 270, 278
+
+
+    Decorative Styles--
+      Black-stitch work, 122, 129
+      Braided, 110, 111, 132, 142, 143, 144, 145, 146, 182, 188, 200,
+               238, 244, 272
+      Button, 110, 143, 144, 146, 182, 210
+      Laced, 70, 88, 92, 110, 116
+      Piped, 238, 244
+      Pleated, 111, 140
+      Pricked, 111, 140, 142, 152
+      Punched, 111, 140, 142, 152
+      Puffed, 88, 92, 110, 116, 118, 122, 129, 142, 146, 150, 180, 260
+      Purfled, 145, 164, 190
+      Ribbon, 145, 172, 176, 178, 191, 253
+      Serrated or shaped edging, 71, 96, 110, 146, 191, 214, 252
+      Slashing, 92, 111, 112, 113, 116, 118, 122, 140, 142, 145, 152,
+                158, 164
+      Straw-work, 111, 191
+      Tassel, 238
+      Tinsel, 237
+      Tulle, 238
+
+    Doublets, 132, 139
+
+    Dress--
+      Prehistoric, female, 40;
+        male, 41
+      to 10 c., female, 45, 46, 48;
+        male, 52, 54
+      10 to 15 c., female, 62, 66, 68, 70;
+        male, 76, 78, 80
+      15 c., female, 84, 88, 92;
+        male, 92, 100, 104, 108
+      16 c., 278, 279, 281.
+        Henry VIII, female, 113, 116;
+          male, 118, 122.
+        Ed. VI and Mary, female, 124, 128;
+          male, 129, 132.
+        Eliz., female, 133, 136, 138;
+          male, 139, 281
+      17 c., James I, female, 147, 150;
+          male, 152, 154.
+        Chas. I, female, 158;
+          male, 160, 164, 168.
+        Commonwealth, female and male, 168, 169.
+        Chas. II, female, 169, 172;
+          male, 174, 176.
+        James II, female, 178, 180;
+          male, 182.
+        William and Mary, female, 184, 185;
+          male, 186, 188.
+        Anne,  female,  196;
+          male, 200.
+        George I, female, 206;
+          male, 210
+      18 c.,  George II, female, 221;
+          male, 214.
+        George III to 1800, female, 217, 222, 224, 226, 230;
+          male, 232, 234
+      19 c., George III (_continued_), female, 244, 247;
+          male, 247.
+        George IV, female, 250;
+          male, 254.
+        William IV, female, 260;
+          male, 263.
+        Victorian, female, 268;
+          male, 274.
+      Note also page 39
+
+    Drill petticoat, 238
+
+
+    Ear-rings, 62-72
+
+    Epaulets--
+      16 c., 128, 129, 136
+      17 c., 143, 152, 280, 281
+      19 c., 250
+
+
+    Fans--
+      16 c., 129, 138
+      18 c., 193, 230
+      19 c., 240, 253, 262
+
+    Farthingale, 111, 136
+
+    Foot-wear--
+      to the end of 14 c., 44, 48, 56, 70, 80, 82, 92
+      15 c., 108
+      16 c., Henry VIII, 16, 122;
+        Ed. VI and Mary, 128, 132;
+        Elizabeth, 138, 140
+      17 c., James I, 150, 154;
+        Chas. I, 158, 164;
+        Commonwealth, 168;
+        Chas, II, 172, 176;
+        James II, 180, 184;
+        William and Mary, 186, 188 18 c., 193;
+        Anne, 198, 201;
+        George I, 207, 210;
+        George II, 214, 216;
+        George III to 1800, 230, 234
+      19 c., George III, 246, 248;
+        George IV, 253, 258;
+        William IV, 262, 264;
+        Victoria, 272, 275
+
+    Girdles--
+      to 15 c., 68, 78, 92
+      16 c., 116
+
+    Gloves--
+      16 c., 116, 129, 138
+      17 c., 168, 172
+      18 c., 193, 201, 214, 226
+
+    Head-dress--
+      Prehistoric, female, 40;
+        male, 42
+      to 10 c., female, 45;
+        male, 49
+      10 to 15 c., female, 57;
+        male, 71
+      15 c., female, 84;
+        male, 92
+      16 c., Henry VIII, female, 113;
+          male, 118.
+        Ed. VI and Mary, female, 124;
+          male, 129.
+        Eliz., female, 133;
+          male, 138
+      17 c., James I, female, 147;
+          male, 150.
+        Chas. I, female, 154;
+          male, 160.
+        Commonwealth, 168.
+        Chas. II, female, 169;
+          male, 174.
+        James II, female, 178;
+          male, 180.
+        William and Mary, female, 184;
+          male, 186
+        18 c., Anne, female, 193;
+          male, 198.
+        George I, female, 201;
+          male, 207.
+        George II, female, 211;
+          male, 214.
+        George III, female, 217, 241;
+          male, 231, 246.
+        George IV, female, 248;
+          male, 254.
+        William IV, female, 258;
+          male, 263.
+        Victoria, female, 264;
+          male, 273
+
+    Heraldic fashion, 66, 71, 109, 132
+
+    Hoop skirts--
+      16 c., 116, 128, 136
+      17 c., 147, 185
+      18 c., 222
+
+
+    Jackets--
+      to 15 c., 66, 68, 88, 100
+      16 c., 112, 182
+      17 c., 143
+      18 c., 224, 226
+      19 c., 270
+
+
+    Lapets, 184, 193, 206, 239
+
+
+    Maccaroni fashion, 214
+
+    Mantles, 262, 271
+
+    Masks, 186
+
+    Muffs, 160, 172, 180, 186, 189, 193, 201, 230, 253
+
+
+    Neck-wear, 174, 182, 186, 200, 207, 232, 246, 250, 254, 263, 275
+
+
+    Overcoats, 232, 254, 274
+
+
+    Panniers, 211, 222
+
+    Parasols, 230, 234, 244, 272
+
+    Patterns scaled, 276
+
+    Pelisses, 244, 250, 262
+
+    Plates (collotypes), frontispiece, 39, 42, 55, 58, 71, 74, 87, 90,
+                         103, 106, 119, 122, 135, 138, 151, 154, 167,
+                         170, 183, 186, 199, 202, 215, 218, 231, 234,
+                         247, 250, 259, 263, 266, 270, 279, 282
+
+    Pockets, 192, 224
+
+    Polonaise, 238, 262
+
+    Purses, 236, 240, 246
+
+
+    Quilting, 111, 128, 146, 172, 192, 198, 211, 222, 278
+
+
+    Ruffs, 112, 118, 128, 129, 133, 136, 139, 143, 147, 158, 160, 172,
+           250, 280
+
+
+    Sack-back (or Watteau) dress, 136, 185, 191, 196, 206, 211, 222
+
+    Sashes, 168, 182, 279
+
+    Sequins, 112
+
+    Shawls, 272
+
+    Spats, 273
+
+    Spencers, 244, 250
+
+    Sticks, 181, 188, 201, 211, 214, 226, 234
+
+    Stockings, 138, 140, 154, 168, 182, 184, 189, 201, 210, 216, 234, 270
+
+    Stomachers, 66, 112, 136, 142, 144, 146, 147, 154, 158, 172, 178,
+                184, 196, 207, 278
+
+
+
+
+    Printed by SPOTTISWOODE, BALLANTYNE & CO. LTD.
+    Colchester, London & Eton, England
+
+       *       *       *       *       *
+
+
+
+
+DRESSMAKING
+
+
+    SIMPLE DRESSMAKING. By ETHEL R. HAMBRIDGE, _Art Teachers'
+    Certificate, etc._ In foolscap 4to, cloth, 200 pp., with 750 plates
+    and black-and-white diagrams. 7_s._ 6_d._ net.
+
+This book deals exhaustively with the various stitches and fastenings
+used in Dressmaking and their applications, Pressing, Making-up
+Processes, Taking Measurements, Cutting-out; and also contains some
+notes on Fitting.
+
+Simplicity and completeness have been the dual purpose of the Author,
+and her systematic treatment of the subject, aided by her remarkable
+gift of lucid explanation, and her unique practical experience, has
+produced a valuable contribution to the literature of Domestic Science.
+
+
+    DRESS CUTTING AND MAKING. For the Classroom, Workroom, and Home. By
+    EMILY WALLBANK, _Head of the Needlework and Dressmaking Department,
+    National Training School of Cookery_, and MARIAN WALLBANK. In
+    foolscap 4to, cloth, 271 pp., with 265 diagrams and illustrations.
+    6_s._ net.
+
+The object of this work will be realized in some degree if it helps the
+practical reader so to mobilize her knowledge of underlying causes that
+she is able to produce any desired effect in the cut and fashion of a
+garment.
+
+
+    SIR ISAAC PITMAN & SONS, LIMITED
+    1 AMEN CORNER, LONDON, E.C. 4.
+
+
+
+
+EMBROIDERY
+
+    AN EMBROIDERY PATTERN BOOK. By MARY E. WARING. With a Foreword by
+    Professor W. R. Lethaby, _Royal College of Art_. In cloth gilt, 170
+    pp., 2 coloured plates, with 84 full-page black-and-white diagrams.
+    8_s._ 6_d._ net.
+
+"Designing of this sort is no mystery that requires 'genius'; it is of
+the same kind as planting a garden border.... Most embroideresses, who
+will begin by adapting the elements given in this Pattern Book, and gain
+interest and confidence in so doing, will go forward insensibly to
+varying the elements themselves, and to taking flowers and animals
+direct from Nature. This ... is the work of a highly competent designer
+of embroidery, and I heartily recommend it."--W. R. LETHABY in the
+Foreword.
+
+    EMBROIDERY & DESIGN. By JOAN H. DREW. In foolscap 4to, cloth, about
+    115 pp., with 82 black-and-white illustrations and designs. 5_s._
+    net.
+
+The writer endeavours to arouse in her readers a desire for better
+designs, and greater individuality and thought in the home embroidery of
+to-day. The difference between decorative and undecorative work is
+clearly explained with the aid of many illustrations, and these are of
+the right size for tracing and working.
+
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+ART
+
+    THE ART OF PAINTING IN PASTEL. By J. LITTLEJOHNS, R.B.A., and L.
+    RICHMOND, R.A. With a frontispiece and foreword by FRANK BRANGWYN,
+    R.A. With 40 beautiful full-page coloured plates and 15 other
+    illustrations. In demy 4to, cloth gilt. 15_s._ net.
+
+Extract from _The Connoisseur_:
+
+"The beautiful volume may quicken public interest in the method. The 40
+plates in colour afford a fine series of examples of the resources of
+the medium and the best methods of exploiting them."
+
+
+    DRAWING AND DESIGN. A School Course in Composition. By SAMUEL CLEGG,
+    _Headmaster of the County Secondary School, Long Eaton, Derbyshire_,
+    with a foreword by WILLIAM ROTHENSTEIN, _Professor of Civic Art,
+    Sheffield University_. 10 in. by 7½ in. 12_s._ 6_d._ net.
+
+A feature of the book is the inclusion of plates printed by scholars
+from wood-blocks of their own making and designing. It also contains
+good sections on lettering and pen and ink drawing, as well as on pencil
+work, colour work, etc.
+
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+FROM THE ARTISTIC CRAFTS SERIES
+
+    HAND-LOOM WEAVING. By LUTHER HOOPER. 125 Drawings by the Author and
+    NOEL ROOKE. Coloured and collotype reproduction. Small Crown 8vo,
+    368 pp. 8_s._ 6_d._ net.
+
+Extract from _The Morning Post_:
+
+"... Every phase and process in weaving is described with so clear and
+careful an exactitude, that, helped as the text is by the Author's
+sketches and diagrams, the reader should have no difficulty in
+conquering with its aid the rudiments of the craft."
+
+
+    EMBROIDERY & TAPESTRY WEAVING. By Mrs. A. H. CHRISTIE. _Fourth
+    Edition._ 178 diagrams and illustrations by the Author, 16 pp. of
+    collotype reproductions. Small Crown 8vo, 320 pp. 10_s._ 6_d._ net.
+
+Extract from The _Pall Mall Gazette_:
+
+"Mrs. Christie has performed her task to admiration, ... and her lucid
+explanations of various kinds of stitches ... should be of value to all
+workers at embroidery or tapestry weaving and to novices anxious to
+learn."
+
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+FROM THE ARTISTIC CRAFTS SERIES
+
+MANUSCRIPT WRITING & LETTERING. By AN EDUCATIONAL EXPERT. Showing the
+historical development and practical application to modern handwriting
+of several manuscript styles derived from ancient Roman letters. Fully
+illustrated. Foolscap 4to. 6_s._ net.
+
+    Extract from _The Times_:
+
+    "This book supplies and supplies generously a need which has become
+    urgent.... For purposes purely practical, no teacher of plain
+    handwriting need know more than this book tells him; nor should be
+    content to know less."
+
+
+HERALDRY FOR CRAFTSMEN AND DESIGNERS. By W. H. ST. JOHN HOPE, Litt.D.,
+D.C.L. Small Crown 8vo, 496 pp., 300 diagrams and designs, 24 collotype
+reproductions, and 8 coloured plates, 10_s._ 6_d._ net.
+
+    Extract from _The Athenæum_:
+
+    "A series which includes three such books as Mr. Douglas Cockerell's
+    'Bookbinding,' Mr. Edward Johnston's 'Writing,' and this ranks
+    almost as a national possession.... No artist can see this book
+    without wanting to buy it, if it were only for the beauty of the
+    objects selected for illustration."
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+FROM THE ARTISTIC CRAFTS SERIES
+
+
+WRITING AND ILLUMINATING & LETTERING. By EDWARD JOHNSTON. _Tenth
+Edition._ 227 illustrations and diagrams by the Author and NOEL ROOKE, 8
+pp. of examples in red and black, 24 pp. of collotype reproductions, 512
+pp. Small Crown 8vo. 8_s._ 6_d._ net.
+
+    Extract from _The Athenæum_:
+
+    "... This book belongs to that extremely rare class in which every
+    line bears the impress of complete mastery of the subject. We
+    congratulate Mr. Johnston on having produced a work at once original
+    and complete."
+
+
+BOOKBINDING AND THE CARE OF BOOKS. By DOUGLAS COCKERELL. _Fourth
+Edition._ 122 drawings by NOEL ROOKE, 8 pages collotype reproductions.
+Small Crown 8vo, 352 pp. 7_s._ 6_d._ net.
+
+    Extract from _The Times_:
+
+    "... A capital proof of the reasoned thoroughness in workmanship,
+    which is the first article in the creed of those who ... are
+    attempting to carry into practice the industrial teaching of Ruskin
+    and William Morris."
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+The following printer's errors were corrected in the text:
+
+   PLATE XI                                                    "    122
+     Sixteen Leather Boots and Shoes, between 1535 and 1850.
+       Original had "1630" instead of "1535"
+
+   PLATE XXI                                                   "    202
+     Twenty-three Boots and Shoes, from 1800 to 1875.
+       Original had "Twenty-two"
+
+  _C._ Braided Suit, 1670-90.
+    Original had "1695-90"
+
+  _C._ Dress of Spotted, 1795-1808.
+    Original had "Stockingette"
+
+  _A._ Morning Coat of Chintz, 1825-45.
+    Original had "Chintze"
+
+  The bodice, Fig A, Plate X (see p. 119),
+    Original had "see p. 292"
+
+  _Sleeve_
+    Original had "Sleev"
+
+  PATTERN 53.
+    Original had "PATTEEN"
+
+  Pattern 55, page 339:--
+    Dress, Fig. _C_, Plate XXV.
+      Original had "G"
+
+  Pattern 58, page 342:--
+    Dress, Fig. _C_, Plate XXIX.
+      Original had "G"
+
+The following inconsistencies are retained as printed:
+
+  Plate VII, c. Black Silk Jerkin.
+    Illustration caption has 1640-60,
+    list of illustrations has 1640-50.
+
+  Plate IX, a. Lady's Embroidered Silk Jacket.
+    Illustration caption has 1605-30,
+    list of illustrations has 1605-20.
+
+  Plate XV, c. Embroidered Velvet Coat.
+    Illustration caption has 1755-75,
+    list of illustrations has 1753-75.
+
+  Plate XX, b. Nine Aprons.
+    Illustration caption has 1850,
+    list of illustrations has 1750.
+
+  The scarves worn round the body
+  of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6
+  inches, and from 8 feet 6 inches to 7 feet in length.
+    Second range is inconsistent as printed.
+
+  Plate XXXIII, c. Silk Coat and Skirt.
+    Illustration caption has 1855-65,
+    list of illustrations has 1855-56.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK DRESS DESIGN***
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+<h1 class="pg">The Project Gutenberg eBook, Dress design, by Talbot Hughes</h1>
+<pre>
+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 <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Dress design</p>
+<p>       An Account of Costume for Artists &amp; Dressmakers</p>
+<p>Author: Talbot Hughes</p>
+<p>Release Date: January 10, 2011  [eBook #34903]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK DRESS DESIGN***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Constanze Hofmann, Suzanne Shell,<br />
+    and the Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<div class="notes">
+<p><b>Transcriber's Note:</b></p>
+<p>A number of typographical errors have been corrected. They are
+shown in the text with <ins class="correction" title="like this">mouse-hover popups</ins>.
+Hover the cursor over the marked text and the nature of the correction will appear.</p>
+<p>All greyscale images have been provided as thumbnails. A larger
+version of those images is available by clicking on the link below the image.</p>
+<p>The numerous full page images have been moved to the nearest paragraph break, the
+page numbers for these pages have been omitted. Where the index links to such a page, the
+link goes directly to the image in question.</p>
+</div>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<p class="titlepage">THE ARTISTIC CRAFTS SERIES<br />
+OF TECHNICAL HANDBOOKS<br />
+EDITED BY W. R. LETHABY</p>
+
+<p class="titlepage">DRESS DESIGN</p>
+
+<p><a id="plate00" name="plate00"></a></p>
+<div class="figcenter" style="width: 226px;">
+<img src="images/plate00thumb.jpg" width="226" height="413" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate00full.jpg">larger image</a></p>
+<p class="caption">A Long-trained Muslin Dress. About 1800.</p>
+</div>
+
+
+
+
+<h1>DRESS DESIGN</h1>
+
+<p class="titlepage">AN ACCOUNT OF COSTUME
+FOR ARTISTS &amp; DRESSMAKERS
+BY TALBOT HUGHES · ILLUSTRATED
+BY THE AUTHOR FROM
+OLD EXAMPLES · TOGETHER
+WITH 35 PAGES OF HALF-TONE
+ILLUSTRATIONS</p>
+
+<p>&nbsp;</p>
+<p class="titlepage">LONDON<br />
+SIR ISAAC PITMAN &amp; SONS, LTD.<br />
+<span class="smcap">Bath, Melbourne, Toronto, and New York</span></p>
+
+
+<p class="titlepage i">Reprinted 1920</p>
+
+
+
+
+<h2><a name="GENERAL_PREFACE_TO_THE_SERIES" id="GENERAL_PREFACE_TO_THE_SERIES"></a>GENERAL PREFACE TO THE SERIES<span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span></h2>
+
+
+<p>In issuing this volume of a series of Handbooks on the Artistic Crafts,
+it will be well to state what are our general aims.</p>
+
+<p>In the first place, we wish to provide trustworthy text-books of
+workshop practice, from the points of view of experts who have
+critically examined the methods current in the shops, and putting aside
+vain survivals, are prepared to say what is good workmanship, and to set
+up a standard of quality in the crafts which are more especially
+associated with design. Secondly, in doing this, we hope to treat design
+itself as an essential part of good workmanship. During the last century
+most of the arts, save painting<span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span> and sculpture of an academic kind, were
+little considered, and there was a tendency to look on "design" as a
+mere matter of <i>appearance</i>. Such "ornamentation" as there was was
+usually obtained by following in a mechanical way a drawing provided by
+an artist who often knew little of the technical processes involved in
+production. With the critical attention given to the crafts by Ruskin
+and Morris, it came to be seen that it was impossible to detach design
+from craft in this way, and that, in the widest sense, true design is an
+inseparable element of good quality, involving as it does the selection
+of good and suitable material, contrivance for special purpose, expert
+workmanship, proper finish and so on, far more than mere ornament, and
+indeed, that ornamentation itself was rather an exuberance of fine
+workmanship than a matter of merely abstract lines. Workmanship when
+separated by too wide a gulf from fresh thought&mdash;that is, from
+design&mdash;inevitably decays, and, on the other hand,<span class="pagenum"><a name="Page_xiii" id="Page_xiii">[xiii]</a></span> ornamentation,
+divorced from workmanship, is necessarily unreal, and quickly falls into
+affectation. Proper ornamentation may be defined as a language addressed
+to the eye; it is pleasant thought expressed in the speech of the tool.</p>
+
+<p>In the third place, we would have this series put artistic craftsmanship
+before people as furnishing reasonable occupations for those who would
+gain a livelihood. Although within the bounds of academic art, the
+competition, of its kind, is so acute that only a very few per cent. can
+fairly hope to succeed as painters and sculptors; yet, as artistic
+craftsmen, there is every probability that nearly every one who would
+pass through a sufficient period of apprenticeship to workmanship and
+design would reach a measure of success.</p>
+
+<p>In the blending of handwork and thought in such arts as we propose to
+deal with, happy careers may be found as far removed from the dreary
+routine of hack labour, as from the terrible uncertainty<span class="pagenum"><a name="Page_xiv" id="Page_xiv">[xiv]</a></span> of academic
+art. It is desirable in every way that men of good education should be
+brought back into the productive crafts: there are more than enough of
+us "in the city," and it is probable that more consideration will be
+given in this century than in the last to Design and Workmanship.</p>
+
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p>The designing and making of Costume is a craft&mdash;sometimes artistic&mdash;with
+which we are all more or less concerned. It is also, in its own way, one
+of the living arts, that is, it is still carried forward experimentally
+by experts directly attached to the "business." It has not yet been
+subjected to rules of good taste formulated by Academies and
+Universities; but when Inigo Jones, the great architect, was asked to
+make some designs for fancy dress, he based them on the Five Orders of
+Architecture, and ponderous fancies they were.<span class="pagenum"><a name="Page_xv" id="Page_xv">[xv]</a></span></p>
+
+<p>If we look for the main stem of principle on which modern Costume
+develops, we seem to find it in the desire for freshness, for the clean,
+the uncrushed, and the perfectly fitted and draped. Probably a modern
+lady's ideal would be to wear a dress once, and then burn it.</p>
+
+<p>A correlative of the ideal of freshness is the delight in perfect "cut,"
+and the rapidly changing fashions are doubtless conditioned in part by
+the desire for the new and unsullied. "Novelty" is a guarantee of
+newness.</p>
+
+<p>In such ephemeral productions it would be vain to seek for certain fine
+types of excellence which were once common when dresses were not so
+lightly cast aside. So it is necessary that we should understand what
+the ruling principle is, for it is one which will not be set aside at
+the bidding of well-meaning reformers. I will only venture to say that
+it would be desirable to make the attempt to separate in some degree the
+more constant elements of dress from those which are more variable. It<span class="pagenum"><a name="Page_xvi" id="Page_xvi">[xvi]</a></span>
+will seem a pity to more than outsiders that a "well-dressed" person
+need wear so little which deserves to have been made by human hands, and
+nothing which deserves to be preserved. Fine laces and jewels are
+allowed to be antique&mdash;could not the circle of such things be a little
+broadened? A properly groomed man carries about on him literally nothing
+worth looking at. We might surely look for a watch-chain with some
+delicacy of handiwork&mdash;something beyond mechanical reductions of iron
+cables. Fine buttons might conceivably be made to go with the studs, or
+be made of crystal, amethyst, and silver or gold. Women might allow of
+the transfer of fine embroidered applications from one dress to another,
+or make more use of clasps and the like. I am confident that when it is
+pointed out, it will be felt as a shortcoming that no part of a fine
+lady's dress need now be too good to throw away. Although the present
+volume is cast into the form of a history, it is also intended to be a
+book of suggestions;<span class="pagenum"><a name="Page_xvii" id="Page_xvii">[xvii]</a></span> and the hope is held that modern dressmakers may
+refer to it as much as, or more than, those who are interested in dress
+from the historical point of view.</p>
+
+<p>In any case the author's accurate knowledge of the facts, and his many
+bright sketches&mdash;which are often drawn from examples in his own
+remarkable collection&mdash;make the present volume an admirable handbook of
+English Costume. The more technical "patterns" which are included
+amongst the illustrations will be found most valuable to all who wish to
+go deeper than the first glance reveals.</p>
+
+<p class="right">W. R. LETHABY.</p>
+<p>1913.<br />
+<span class="pagenum"><a name="Page_xviii" id="Page_xviii">[xviii]</a></span>
+</p>
+
+
+
+
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS<span class="pagenum"><a name="Page_xix" id="Page_xix">[xix]</a></span></h2>
+
+
+<table summary="Table of Contents">
+<tr>
+  <td>&nbsp;</td>
+  <td class="smaller">PAGE</td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#GENERAL_PREFACE_TO_THE_SERIES">General Preface to the Series</a></td>
+  <td class="right">xi</td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#PREFACE">Preface</a></td>
+  <td class="right">xiv</td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#LIST_OF_DESCRIPTIVE_LINES_TO_THE_PLATES">List of Plates</a></td>
+  <td class="right">xxiii</td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#INTRODUCTION">Introduction</a></td>
+  <td class="right">33</td>
+</tr>
+<tr>
+  <td colspan="2" class="center pad"><a href="#CHAPTER_I">CHAPTER I</a></td>
+</tr>
+<tr>
+  <td><a href="#I_PREHISTORIC_FEMALE">Prehistoric Dress&mdash;Female</a></td>
+  <td class="right">40</td>
+</tr>
+<tr>
+  <td><a href="#I_PREHISTORIC_MALE">Prehistoric Dress&mdash;Male</a></td>
+  <td class="right">41</td>
+ </tr>
+<tr>
+  <td colspan="2" class="center pad"><a href="#CHAPTER_II">CHAPTER II</a></td>
+</tr>
+<tr>
+  <td><a href="#II_TO_TENTH_FEMALE">The Development of Costume to the Tenth Century&mdash;Female</a></td>
+  <td class="right">45</td>
+</tr>
+<tr>
+  <td><a href="#II_TO_TENTH_MALE">The Development of Costume to the Tenth Century&mdash;Male</a></td>
+  <td class="right">49</td>
+</tr>
+<tr>
+  <td colspan="2" class="center pad"><a href="#CHAPTER_III">CHAPTER III</a></td>
+</tr>
+<tr>
+  <td><a href="#III_TENTH_FIFTEENTH_FEMALE">Tenth to the Fifteenth Century&mdash;Female</a></td>
+  <td class="right">57</td>
+</tr>
+<tr>
+  <td><a href="#III_TENTH_FIFTEENTH_MALE">Tenth to the Fifteenth Century&mdash;Male</a></td>
+  <td class="right">71</td>
+</tr>
+<tr>
+  <td colspan="2" class="center pad"><span class="pagenum"><a name="Page_xx" id="Page_xx">[xx]</a></span><a href="#CHAPTER_IV">CHAPTER IV</a></td>
+</tr>
+<tr>
+  <td><a href="#IV_FIFTEENTH_FEMALE">Fifteenth Century&mdash;Female</a></td>
+  <td class="right">84</td>
+</tr>
+<tr>
+  <td><a href="#IV_FIFTEENTH_MALE">Fifteenth Century&mdash;Male</a></td>
+  <td class="right">92</td>
+</tr>
+<tr>
+  <td colspan="2" class="center pad"><a href="#CHAPTER_V">CHAPTER V</a></td>
+</tr>
+<tr>
+  <td><a href="#V_SIXTEENTH_TRIMMINGS">Sixteenth Century. Character of Trimmings</a></td>
+  <td class="right">109</td>
+</tr>
+<tr>
+  <td><a href="#V_SIXTEENTH_HENRY_VIII_FEMALE">Sixteenth Century. Henry VIII&mdash;Female</a></td>
+  <td class="right">113</td>
+</tr>
+<tr>
+  <td><a href="#V_SIXTEENTH_HENRY_VIII_MALE">Sixteenth Century. Henry VIII&mdash;Male</a></td>
+  <td class="right">118</td>
+</tr>
+<tr>
+  <td><a href="#V_SIXTEENTH_EDWARD_MARY_FEMALE">Sixteenth Century. The Reigns of Edward VI and Mary&mdash;Female</a></td>
+  <td class="right">124</td>
+</tr>
+<tr>
+  <td><a href="#V_SIXTEENTH_EDWARD_MARY_MALE">Sixteenth Century. The Reigns of Edward VI and Mary&mdash;Male</a></td>
+  <td class="right">129</td>
+</tr>
+<tr>
+  <td><a href="#V_SIXTEENTH_ELIZABETH_FEMALE">Sixteenth Century. Elizabeth&mdash;Female</a></td>
+  <td class="right">133</td>
+</tr>
+<tr>
+  <td><a href="#V_SIXTEENTH_ELIZABETH_MALE">Sixteenth Century. Elizabeth&mdash;Male</a></td>
+  <td class="right">139</td>
+</tr>
+<tr>
+  <td colspan="2" class="center pad"><a href="#CHAPTER_VI">CHAPTER VI</a></td>
+</tr>
+<tr>
+  <td><a href="#VI_TRIMMINGS_SEVENTEENTH">The Character of Trimmings through the Seventeenth Century</a></td>
+  <td class="right">142</td>
+</tr>
+<tr>
+  <td><a href="#VI_TRIMMINGS_JAMES_I">James I</a></td>
+  <td class="right">142</td>
+</tr>
+<tr>
+  <td><a href="#VI_TRIMMINGS_CHARLES_I">Charles I</a></td>
+  <td class="right">143</td>
+</tr>
+<tr>
+  <td><a href="#VI_TRIMMINGS_COMMONWEALTH">The Commonwealth</a></td>
+  <td class="right">145</td>
+</tr>
+<tr>
+  <td><a href="#VI_TRIMMINGS_CHARLES_II">Charles II</a></td>
+  <td class="right">145</td>
+</tr>
+<tr>
+  <td><a href="#VI_TRIMMINGS_JAMES_II">James II and William and Mary</a></td>
+  <td class="right">146</td>
+</tr>
+<tr>
+  <td><span class="pagenum"><a name="Page_xxi" id="Page_xxi">[xxi]</a></span><a href="#VI_SEVENTEENTH_JAMES_I_FEMALE">Seventeenth Century. James I&mdash;Female</a></td>
+  <td class="right">147</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_JAMES_I_MALE">Seventeenth Century. James I&mdash;Male</a></td>
+  <td class="right">150</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_CHARLES_I_FEMALE">Seventeenth Century. Charles I&mdash;Female</a></td>
+  <td class="right">154</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_CHARLES_I_MALE">Seventeenth Century. Charles I&mdash;Male</a></td>
+  <td class="right">160</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_COMMONWEALTH">Seventeenth Century. The Commonwealth&mdash;Male and Female</a></td>
+  <td class="right">168</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_CHARLES_II_FEMALE">Seventeenth Century. Charles II&mdash;Female</a></td>
+  <td class="right">169</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_CHARLES_II_MALE">Seventeenth Century. Charles II&mdash;Male</a></td>
+  <td class="right">174</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_JAMES_II_FEMALE">Seventeenth Century. James II&mdash;Female</a></td>
+  <td class="right">178</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_JAMES_II_MALE">Seventeenth Century. James II&mdash;Male</a></td>
+  <td class="right">180</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_WILLIAM_MARY_FEMALE">Seventeenth Century. William and Mary&mdash;Female</a></td>
+  <td class="right">184</td>
+</tr>
+<tr>
+  <td><a href="#VI_SEVENTEENTH_WILLIAM_MARY_MALE">Seventeenth Century. William and Mary&mdash;Male</a></td>
+  <td class="right">186</td>
+</tr>
+<tr>
+  <td colspan="2" class="center pad"><a href="#CHAPTER_VII">CHAPTER VII</a></td>
+</tr>
+<tr>
+  <td><a href="#VII_EIGHTEENTH_DECORATION">The Character of Decoration and Trimmings of the Eighteenth Century</a></td>
+  <td class="right">190</td>
+</tr>
+<tr>
+  <td><a href="#VII_EIGHTEENTH_ANNE_FEMALE">Eighteenth Century. Anne&mdash;Female</a></td>
+  <td class="right">193</td>
+</tr>
+<tr>
+  <td><a href="#VII_EIGHTEENTH_ANNE_MALE">Eighteenth Century. Anne&mdash;Male</a></td>
+  <td class="right">198</td>
+</tr>
+<tr>
+  <td><a href="#VII_EIGHTEENTH_GEORGE_I_FEMALE">Eighteenth Century. George I&mdash;Female</a></td>
+  <td class="right">201</td>
+</tr>
+<tr>
+  <td><a href="#VII_EIGHTEENTH_GEORGE_I_MALE">Eighteenth Century. George I&mdash;Male</a></td>
+  <td class="right">207</td>
+</tr>
+<tr>
+  <td><a href="#VII_EIGHTEENTH_GEORGE_II_FEMALE">Eighteenth Century. George II&mdash;Female</a></td>
+  <td class="right">211</td>
+</tr>
+<tr>
+  <td><a href="#VII_EIGHTEENTH_GEORGE_II_MALE">Eighteenth Century. George II&mdash;Male</a></td>
+  <td class="right">214</td>
+</tr>
+<tr>
+  <td><a href="#VII_EIGHTEENTH_GEORGE_III_FEMALE">Eighteenth Century. George III to 1800&mdash;Female</a></td>
+  <td class="right">217</td>
+</tr>
+<tr>
+  <td><a href="#VII_EIGHTEENTH_GEORGE_III_MALE">Eighteenth Century. George III to 1800&mdash;Male</a></td>
+  <td class="right">231</td>
+</tr>
+<tr>
+  <td colspan="2" class="center pad"><span class="pagenum"><a name="Page_xxii" id="Page_xxii">[xxii]</a></span><a href="#CHAPTER_VIII">CHAPTER VIII</a></td>
+</tr>
+<tr>
+  <td><a href="#VIII_NINETEENTH_TRIMMINGS">Character of Trimmings of the Nineteenth Century</a></td>
+  <td class="right">237</td>
+</tr>
+<tr>
+  <td><a href="#VIII_NINETEENTH_GEORGE_III_FEMALE">Nineteenth Century. George III&mdash;Female</a></td>
+  <td class="right">241</td>
+</tr>
+<tr>
+  <td><a href="#VIII_NINETEENTH_GEORGE_III_MALE">Nineteenth Century. George III&mdash;Male</a></td>
+  <td class="right">246</td>
+</tr>
+<tr>
+  <td><a href="#VIII_NINETEENTH_GEORGE_IV_FEMALE">Nineteenth Century. George IV&mdash;Female</a></td>
+  <td class="right">248</td>
+</tr>
+<tr>
+  <td><a href="#VIII_NINETEENTH_GEORGE_IV_MALE">Nineteenth Century. George IV, 1820-30&mdash;Male</a></td>
+  <td class="right">254</td>
+</tr>
+<tr>
+  <td><a href="#VIII_NINETEENTH_WILLIAM_IV_FEMALE">Nineteenth Century. William IV&mdash;Female</a></td>
+  <td class="right">258</td>
+</tr>
+<tr>
+  <td><a href="#VIII_NINETEENTH_WILLIAM_IV_MALE">Nineteenth Century. William IV&mdash;Male</a></td>
+  <td class="right">263</td>
+</tr>
+<tr>
+  <td><a href="#VIII_NINETEENTH_VICTORIA_FEMALE">Nineteenth Century. Victoria&mdash;Female</a></td>
+  <td class="right">264</td>
+</tr>
+<tr>
+  <td><a href="#VIII_NINETEENTH_VICTORIA_MALE">Nineteenth Century. Victoria&mdash;Male</a></td>
+  <td class="right">273</td>
+</tr>
+<tr>
+  <td class="smcap padtop"><a href="#PATTERNS_OF_VARIOUS_REIGNS_FROM_ANTIQUE_COSTUME">Patterns of Various Reigns from Antique Costume</a></td>
+  <td class="right padtop">276</td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#PATTERNS_TO_SCALE">Patterns to Scale</a></td>
+  <td class="right">283</td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#DETAILED_LIST_OF_SCALED_PATTERNS">Patterns to Scale, Detailed List</a></td>
+  <td class="right">353</td>
+</tr>
+<tr>
+  <td class="smcap"><a href="#INDEX">Index</a></td>
+  <td class="right">359</td>
+</tr>
+</table>
+
+
+
+
+<h2><a name="LIST_OF_DESCRIPTIVE_LINES_TO_THE_PLATES" id="LIST_OF_DESCRIPTIVE_LINES_TO_THE_PLATES"></a>LIST OF DESCRIPTIVE LINES TO THE PLATES<span class="pagenum"><a name="Page_xxiii" id="Page_xxiii">[xxiii]</a></span></h2>
+
+<div class="loi">
+<ul class="top">
+<li><a href="#plate00">FRONTISPIECE</a><span class="ralign i">Facing Title</span>
+<ul class="sec">
+  <li>A Long-trained Muslin Dress, about 1800.</li>
+</ul></li>
+<li><a href="#plate01">PLATE I</a><span class="ralign i">Facing p. 39</span>
+<ul class="sec">
+  <li>Boots and Shoes from the Fourteenth to Nineteenth Century.</li>
+</ul></li>
+<li><a href="#plate02">PLATE II</a><span class="ralign i">Facing p. 42</span>
+<ul class="sec">
+  <li><i>A.</i> Elizabethan Robe in Plush, 1585-1605.</li>
+  <li><i>B.</i> Elizabethan Robe in Silk Brocade, 1565-85.</li>
+  <li><i>C.</i> Elizabethan Male Robe in Velvet Brocade, 1580-1615.</li>
+  <li><i>D.</i> Back-piece of Elizabethan Doublet in Embroidered Linen, 1580-1605.</li>
+</ul></li>
+<li><a href="#plate03">PLATE III</a><span class="ralign i">Facing p. 55</span><span class="pagenum"><a name="Page_xxiv" id="Page_xxiv">[xxiv]</a></span>
+<ul class="sec">
+  <li><i>A.</i> Elizabethan Jump (or Jacket), about 1600.</li>
+  <li><i>B.</i> Portrait of Lady in Embroidered Costume, between 1620 and 1640.</li>
+</ul></li>
+<li><a href="#plate04">PLATE IV</a><span class="ralign i">Facing p. 58</span>
+<ul class="sec">
+  <li><i>C.</i> Youth's Jacket of Linen embroidered in Worsted, 1635-65.</li>
+  <li><i>D.</i> Linen Male Jacket embroidered with Gold and Silk, 1600-40.</li>
+</ul></li>
+<li><a href="#plate05">PLATE V</a><span class="ralign i">Facing p. 71</span>
+<ul class="sec">
+  <li><i>A.</i> Jerkin&mdash;Period James I.</li>
+  <li><i>B.</i> Lady's Bodice of Slashed and Vandyked Satin, 1635-50.</li>
+  <li><i>C.</i> Jerkin of Embroidered Linen, 1630-60.</li>
+  <li><i>D.</i> Jerkin of Embroidered Linen, 1580-1635.</li>
+</ul></li>
+<li><a href="#plate06">PLATE VI</a><span class="ralign i">Facing p. 74</span>
+<ul class="sec">
+  <li><i>A.</i> Collar and Cuffs set with Lace, 1600-30.</li>
+  <li><i>B.</i> Embroidered Leather Jerkin, 1620-1640.</li>
+  <li><i>C.</i> Top of Stocking, Embroidered Linen, 1625-50.</li>
+</ul></li>
+<li><a href="#plate07">PLATE VII</a><span class="ralign i">Facing p. 87</span><span class="pagenum"><a name="Page_xxv" id="Page_xxv">[xxv]</a></span>
+<ul class="sec">
+  <li><i>A.</i> Herald's Coat, Embroidered Velvet and Silk, First Half Seventeenth Century.</li>
+  <li><i>B.</i> Lady's Bodice of Black Velvet, 1630-60.</li>
+  <li><i>C.</i> Black Silk Jerkin, 1640-50.</li>
+</ul></li>
+<li><a href="#plate08">PLATE VIII</a><span class="ralign i">Facing p. 90</span>
+<ul class="sec">
+  <li><i>A.</i>, <i>B.</i>, <i>C.</i> Three Suits&mdash;Period Charles II.</li>
+</ul></li>
+<li><a href="#plate08a">PLATE VIII<span class="smcap lowercase">A</span></a><span class="ralign i">Facing p. 103</span>
+<ul class="sec">
+  <li><i>A.</i> Suit of Embroidered Silk, 1610-30.</li>
+  <li><i>B.</i> Three Sword-hangers Embroidered in Gold, Charles II.</li>
+  <li><i>C.</i> Braided Suit, <ins class="correction" title="1695-90">1670-90</ins>.</li>
+</ul></li>
+<li><a href="#plate09">PLATE IX</a><span class="ralign i">Facing p. 106</span>
+<ul class="sec">
+  <li><i>A.</i> Lady's Embroidered Silk Jacket, 1605-20.</li>
+  <li><i>B.</i> Lady's Bodice of Silk Brocade, 1680-1700.</li>
+</ul></li>
+<li><a href="#plate10">PLATE X</a><span class="ralign i">Facing p. 119</span>
+<ul class="sec">
+  <li><i>A.</i> Black Velvet Bodice, 1600-25.</li>
+  <li><i>B.</i> Five Embroidered Waistcoats, between 1690 and 1800.</li>
+</ul></li>
+<li><a href="#plate11">PLATE XI</a><span class="ralign i">Facing p. 122</span><span class="pagenum"><a name="Page_xxvi" id="Page_xxvi">[xxvi]</a></span>
+<ul class="sec">
+<li>Sixteen Leather Boots and Shoes, between <ins class="correction" title="1630">1535</ins> and 1850.</li>
+</ul></li>
+<li><a href="#plate12">PLATE XII</a><span class="ralign i">Facing p. 135</span>
+<ul class="sec">
+  <li><i>A.</i> Lady's Outdoor Costume, 1785-95.</li>
+  <li><i>B.</i> Costume, Early Eighteenth Century.</li>
+  <li><i>C.</i> Silk Brocade Dress, 1760-80.</li>
+</ul></li>
+<li><a href="#plate13">PLATE XIII</a><span class="ralign i">Facing p. 138</span>
+<ul class="sec">
+  <li><i>A.</i> Silk Coat, 1735-55.</li>
+  <li><i>B.</i> Brocade Silk Coat, 1745-60.</li>
+  <li><i>C.</i> Embroidered Cloth Coat, 1770-90.</li>
+</ul></li>
+<li><a href="#plate14">PLATE XIV</a><span class="ralign i">Facing p. 151</span>
+<ul class="sec">
+  <li><i>A.</i> Embroidered Silk Dress with Pannier, 1765-80.</li>
+  <li><i>B.</i> Brocade Dress and Quilted Petticoat, 1750-65.</li>
+</ul></li>
+<li><a href="#plate15">PLATE XV</a><span class="ralign i">Facing p. 154</span>
+<ul class="sec">
+  <li><i>A.</i> White Cloth Coat, 1775-90.</li>
+  <li><i>B.</i> Silk Dress, 1740-60.</li>
+  <li><i>C.</i> Embroidered Velvet Coat, 1753-75.</li>
+</ul></li>
+<li><a href="#plate16">PLATE XVI</a><span class="ralign i">Facing p. 167</span>
+<ul class="sec">
+  <li><i>A.</i> Silk Brocade Dress, 1740-60.</li>
+  <li><i>B.</i> Silk Brocade Sack-back Dress, 1755-1775.</li>
+  <li><i>C.</i> Dress of Striped Material, 1755-85.</li>
+</ul></li>
+<li><a href="#plate17">PLATE XVII</a><span class="ralign i">Facing p. 170</span><span class="pagenum"><a name="Page_xxvii" id="Page_xxvii">[xxvii]</a></span>
+<ul class="sec">
+  <li><i>A.</i> Silk Suit, 1765-80.</li>
+  <li><i>B.</i> Quilted Dress, 1700-25.</li>
+  <li><i>C.</i> Silk Embroidered Suit, 1765-80.</li>
+</ul></li>
+<li><a href="#plate18">PLATE XVIII</a><span class="ralign i">Facing p. 183</span>
+<ul class="sec">
+  <li><i>A.</i> Brocade Bodice, 1770-85.</li>
+  <li><i>B.</i> Flowered Silk Dress, 1750-70.</li>
+  <li><i>C.</i> Silk Brocade Bodice, 1780-95.</li>
+</ul></li>
+<li><a href="#plate19">PLATE XIX</a><span class="ralign i">Facing p. 186</span>
+<ul class="sec">
+  <li><i>A.</i> Silk Brocade Dress, 1775-85.</li>
+  <li><i>B.</i> Embroidered Silk Jacket, 1775-90.</li>
+  <li><i>C.</i> Brocade Jacket, 1780-95.</li>
+</ul></li>
+<li><a href="#plate20">PLATE XX</a><span class="ralign i">Facing p. 199</span>
+<ul class="sec">
+  <li><i>A.</i> Gold-embroidered Muslin Dress, 1795-1805.</li>
+  <li><i>B.</i> Nine Aprons, between 1690 and 1750.</li>
+  <li><i>C.</i> Dress of Spotted <ins class="correction" title="Stockingette">Stockinette</ins>, 1795-1808.</li>
+</ul></li>
+<li><a href="#plate21">PLATE XXI</a><span class="ralign i">Facing p. 202</span>
+<ul class="sec">
+  <li><ins class="correction" title="Twenty-two">Twenty-three</ins> Boots and Shoes, from 1800 to 1875.</li>
+</ul></li>
+<li><a href="#plate22">PLATE XXII</a><span class="ralign i">Facing p. 215</span>
+<ul class="sec">
+  <li><i>A.</i> Linen Dress, 1795-1808.</li>
+  <li><i>B.</i> Silk Bodice, 1825-30.</li>
+  <li><i>C.</i> Silk Bodice, 1818-25.</li>
+</ul></li>
+<li><a href="#plate23">PLATE XXIII</a><span class="ralign i">Facing p. 218</span><span class="pagenum"><a name="Page_xxviii" id="Page_xxviii">[xxviii]</a></span>
+<ul class="sec">
+  <li><i>A.</i> Muslin Dress with Tinsel Design, 1798-1810.</li>
+  <li><i>B.</i> Silk Dress, Period George IV.</li>
+  <li><i>C.</i> Satin and Gauze Dress, 1820-30.</li>
+</ul></li>
+<li><a href="#plate24">PLATE XXIV</a><span class="ralign i">Facing p. 231</span>
+<ul class="sec">
+  <li><i>A.</i> Outdoor Silk Jacket, 1798-1808.</li>
+  <li><i>B.</i> Embroidered Muslin Bodice, 1816-1830.</li>
+  <li><i>C.</i> Embroidered Muslin Bodice, 1824-1825.</li>
+  <li><i>D.</i> Satin and Gauze Bodice, 1820-30.</li>
+</ul></li>
+<li><a href="#plate25">PLATE XXV</a><span class="ralign i">Facing p. 234</span>
+<ul class="sec">
+  <li><i>A.</i> Silk Dress, 1800-10.</li>
+  <li><i>B.</i> Cotton Dress, 1800-10.</li>
+  <li><i>C.</i> Embroidered Muslin Dress, 1820-30.</li>
+  <li><i>D.</i> Silk Gauze Dress, 1824-30.</li>
+</ul></li>
+<li><a href="#plate26">PLATE XXVI</a><span class="ralign i">Facing p. 247</span>
+<ul class="sec">
+  <li><i>A.</i> Morning Coat of <ins class="correction" title="Chintze">Chintz</ins>, 1825-45.</li>
+  <li><i>B.</i> Cloth Coat, 1808-20.</li>
+  <li><i>C.</i> Cloth Overcoat, 1820-35.</li>
+</ul></li>
+<li><a href="#plate27">PLATE XXVII</a><span class="ralign i">Facing p. 250</span>
+<ul class="sec">
+  <li>Outdoor Silk Dress, 1825-35.</li>
+</ul></li>
+<li><a href="#plate28">PLATE XXVIII</a><span class="ralign i">Facing p. 259</span><span class="pagenum"><a name="Page_xxix" id="Page_xxix">[xxix]</a></span>
+<ul class="sec">
+  <li><i>A.</i> Silk Pelisse, 1820-30.</li>
+  <li><i>B.</i> Cotton Dress, 1830-40.</li>
+  <li><i>C.</i> Silk Spencer and Cape, 1818-27.</li>
+</ul></li>
+<li><a href="#plate29">PLATE XXIX</a><span class="ralign i">Facing p. 263</span>
+<ul class="sec">
+  <li><i>A.</i> Embroidered Silk Gauze Dress, 1820-30.</li>
+  <li><i>B.</i> Gauze Dress with Appliqued Design, 1825-35.</li>
+  <li><i>C.</i> Printed Linen Outdoor Dress, 1827-1847.</li>
+</ul></li>
+<li><a href="#plate30">PLATE XXX</a><span class="ralign i">Facing p. 266</span>
+<ul class="sec">
+  <li><i>A.</i> Printed Silk Bodice, 1840-50.</li>
+  <li><i>B.</i> Gathered Linen Bodice, 1837-47.</li>
+  <li><i>C.</i> Silk Bodice and Bertha, 1845-55.</li>
+</ul></li>
+<li><a href="#plate31">PLATE XXXI</a><span class="ralign i">Facing p. 270</span>
+<ul class="sec">
+  <li><i>A.</i> Embroidered Muslin Outdoor Dress, 1855-65.</li>
+  <li><i>B.</i> Riding Habit, 1845-75.</li>
+  <li><i>C.</i> Gauze Ball Dress, 1840-55.</li>
+</ul></li>
+<li><a href="#plate32">PLATE XXXII</a><span class="ralign i">Facing p. 279</span>
+<ul class="sec">
+  <li><i>A.</i> Silk Dress, 1860-70.</li>
+  <li><i>B.</i> Gauze Walking Dress, 1850-60.</li>
+  <li><i>C.</i> Silk Dress, 1848-58.</li>
+</ul></li>
+<li><a href="#plate33">PLATE XXXIII</a><span class="ralign i">Facing p. 282</span><span class="pagenum"><a name="Page_xxx" id="Page_xxx">[xxx]</a></span>
+<ul class="sec">
+  <li><i>A.</i> Silk Dress with Court Train, 1828-1838.</li>
+  <li><i>B.</i> Silk Afternoon Dress, 1872-78.</li>
+  <li><i>C.</i> Silk Coat and Skirt, 1855-56.</li>
+</ul></li>
+</ul>
+</div>
+
+
+<p class="larger pad center page-break">DRESS DESIGN</p>
+
+
+<p class="center">Plates originally printed in collotype are now produced in half-tone</p>
+
+
+
+
+<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></h2>
+
+
+<p>The subject of Historical Costume covers such a multitude of detail that
+a volume on each century could be written, with hundreds of
+illustrations. Thus it is, most works on costume are expensive and
+bewildering; but I hope this small practical handbook will be a useful
+addition to the many beautifully illustrated works which already exist.</p>
+
+<p>I have divided the matter into centuries and reigns, as far as possible,
+in this small work, besides separating male and female attire, thus
+simplifying reference. A special feature has also been made, of
+supplying the maker or designer of dress with actual proportions and
+patterns, gleaned from antique dresses, as far back as they could be
+obtained; and I am much indebted to the authorities at the Victoria and
+Albert Museum for the permission given me to examine and measure their
+unique specimens; also to Mr. Wade, Mr. G. G. Kilburne, Mr. Duffield,
+Mr. Box Kingham, Mr. Hill, Mr. Breakespeare, and others,<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> for their
+valuable assistance with interesting specimens. I have used outline
+drawings in the text, as being more clear for purposes of explanation.
+The dates given to the illustrations are to be taken as approximate to
+the time in which the style was worn. Many of the photographs have been
+arranged from my own costume collection, which has made so much of my
+research simple, reliable, and pleasant. I am also happy to state that
+before the final revision of this book I have heard that my collection
+of historical costumes and accessories will, after a preliminary
+exhibition at Messrs. Harrod's, be presented to the Victoria and Albert
+Museum as a gift to the nation by the Directors of that firm. Thus the
+actual dresses shown in these plates will find a permanent home in
+London, and become valuable examples to students of costume. The
+coiffures in the collotype plates are not to be judged as examples, for
+it would have consumed far too much time to set up these figures more
+perfectly, but all the bonnets, caps, and accessories given are genuine
+examples.</p>
+
+<p>In a book of this size, one cannot go into the designs of materials, &amp;c.,
+which is a study any earnest student would not<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> neglect, but in this
+connection I would draw attention to the comparative colour density and
+proportion of designs chosen for various effects.</p>
+
+<p>It has been my endeavour to arrange a greater variety of the forms which
+make up the characters of each period, and also to give a wider
+knowledge into the footwear, or details of the footwear, than is usual
+in most costume books.</p>
+
+<p>In a review of the styles I would not press any choice for building new
+designs, as I believe in close individual research and selection, which
+may utilise many interesting features from costume settings even in
+periods which are almost scorned. I believe the purest beauty is found
+in the simple forms of dress and decoration settings from the 12th to
+the 15th centuries, schemed to the natural proportions of the figure.
+The grace of line and movement is often aided by the short train, which
+can be so happily caught up in many ways; the slight drag of the train
+always keeps the front clear in outline, besides showing the movement of
+the limbs. Length of fall in the material was desired, the figure
+creating its own folds with every turn, but a belt was often placed
+rather high under the breast. There<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> is little reason with nature of
+fine form to make dress into sections by a corset waist. A long, lithe,
+complete curve in outline&mdash;much happier unbroken, except by the
+girdle&mdash;is certainly the most artistically useful conception, not
+breaking the rhythm (as does the harder belt), while it also induces
+much beauty in lifting and arranging the drapery. The long falling
+sleeve also has the same qualities, giving a greater fullness of shape,
+a variety of colour (by a difference of lining), with a winglike motion,
+besides softening the angle of the elbow.</p>
+
+<p>I think the next garment for high esteem is the chasuble-shaped tunic
+(with or without sleeves). Falling cleanly from the shoulders, it stops
+at a charming length for the skirt to take up the flow of line. The
+delightful effect of partly-laced or clasped sides was not missed by the
+ablest designers. How refined, too, was the character of decoration of
+the old period! The art of concentrating effects is seen to perfection,
+retaining the breadth of shape and length unbroken. Jewelled embroidery
+of fine enrichment was wrought on the borders, neck settings, square
+corners, the girdle, and the clasps. The preciousness of effect was
+truly appreciated by the<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> enclosing of the face in the purity of white
+lawn and zephyr-like veilings; the circlet and the long interlaced
+plaits and charming nettings were all tastefully schemed. Has woman ever
+looked more supreme through all the centuries of extravagant styles and
+distortions? I believe not: but I have come to the conclusion that, at
+whatever period of seeming insanity of style, the woman of fine taste
+can overcome all obstacles by her individual choice and "set up," and
+has really always looked fascinating.</p>
+
+<p>There was another form of decoration at this period&mdash;the cutting of the
+edges into a variety of simple or foliated shapes, giving a flutter and
+enrichment to forms in a simple manner, and this, in conjunction with
+the increasing richness of materials, was a valuable aid to lighten the
+effects. It was probably initiated by the heraldic characteristics in
+vogue.</p>
+
+<p>The pricked and slashed details had much the same result in enriching
+surfaces.</p>
+
+<p>Later the fan sleeves of the 18th century were enhanced in a similar way
+by the curved and scalloped shaping, which was used as late as the
+Victorian sixties with happy effect on the polonaises.<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span></p>
+
+<p>Now, as regards the finest corset dress, the palm must be given to the
+sack-back dress of the eighteenth century (not in the period of its
+distortion with hoops), and a full setting showed it to greatest
+advantage.</p>
+
+<p>This type of design lent itself to more variety in beauty of arrangement
+than any other; the looping, reefing, and tying always set gracefully in
+accord with the back fall. The easy exchange of the stomacher also gave
+additional chance of effect, and the beauty of the fan-shaped sleeve,
+with its lace falls at the elbow, was a delightful creation. How rich
+and refined this character could be, without the monstrous forms and
+head-dresses which later invaded it and turned it into ornate absurdity!</p>
+
+<p>When we examine the period of Charles I, we find much charming dignity
+in the adaptations of earlier inventions; the collar settings were
+noble, indeed perfect, in arrangement, and the bodice decoration and
+proportions most interesting.</p>
+
+<p>For the grace of girlhood no dresses are happier than those of the early
+19th century to 1830, and the inventions in trimmings through this
+period were prolific in beauty and lightness of style.</p>
+
+<p>Analysis of the many fashion-plates and<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> original dresses of this
+period will well repay all interested in beautiful needlecraft and dress
+design. The arrangement of frills, insertions, gathered effects, applied
+forms, and tasselled or buttoned additions, will be found full of beauty
+and novelty, especially in the dresses of white embroidery. Plates <a href="#plate23">XXIII</a>
+and <a href="#plate24">XXIV</a> (see pp. <a href="#Page_218">218</a>-<a href="#Page_231">231</a>) give some happy examples of this time.</p>
+
+<p><a id="plate01" name="plate01"></a></p>
+<div class="figcenter" style="width: 420px;">
+<img src="images/plate01thumb.jpg" width="416" height="273" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate01full.jpg">larger image</a></p>
+<p class="caption">Plate I.&mdash;Boots and Shoes from the 14th to the 19th
+Centuries.</p>
+<ol class="left">
+<li>Charles II.</li>
+<li>James II.</li>
+<li>William and Mary.</li>
+<li>George II.</li>
+<li>George III., 1770.</li>
+<li>George III., 1760.</li>
+<li>George III., 1780-1800.</li>
+<li>1870-1880.</li>
+<li>William and Mary.</li>
+<li>1680-1700.</li>
+<li>1680-1702.</li>
+<li>1750-1775.</li>
+<li>1580-1625.</li>
+<li>1710-1730.</li>
+<li>Henry VIII.</li>
+<li>Semi-Clog, 1780-1800.</li>
+<li>Henry VIII.</li>
+<li>1778-1795.</li>
+<li>Late 15th Century or early 16th Century.</li>
+<li>1500-1540.</li>
+<li>Late 14th Century to middle of 15th Century.</li>
+<li>1530-1555.</li>
+<li>1535-1555.</li>
+</ol>
+</div>
+
+
+
+
+
+<p>A word on the most condemned flow of fashion during the Victorian era.
+There are many dresses of real charm to be found amongst the mass of
+heavy styles which must not be overlooked in studying design and style.
+Even the crinoline dress, when treated with the exquisite silk gauzes,
+as Fig. 3 in Plates <a href="#plate31">XXXI</a> and <a href="#plate33">XXXIII</a> (see pp. <a href="#Page_270">270</a>-<a href="#Page_282">282</a>), was as alluring
+as any woman could wish, and the original design of the jacket in the
+latter figure, with its richly embroidered, long-skirted front cut short
+at the back, arranged itself perfectly on this type of undersetting.
+There was notable refinement of effect and beauty of proportion in many
+dresses of the sixties, as exemplified in Fig. A, Plate <a href="#plate32">XXXII</a> (see p.
+<a href="#Page_279">279</a>), the waist being set rather high, and the very full skirt carried
+back by the crinoline being held thus with its cross ties.</p>
+
+
+
+
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span></h2>
+
+
+<h3><a name="I_PREHISTORIC_FEMALE" id="I_PREHISTORIC_FEMALE"></a>PREHISTORIC DRESS. FEMALE.</h3>
+
+<p>The woman's attire would have been chiefly a shortish skirt or wrap of
+coarse linen, wool, or leather, gathered in front or folded at one hip;
+grass cloth may also have been in use in most primitive tribes. Probably
+the upper part of the body was kept bare, except for many ornaments and
+necklaces, but a bodice or jacket cut in the same simple form as the
+male shirt, with a heavy belt or girdle, would have been used, and
+certainly a large shawl, which could be wrapped over the head and round
+the figure during inclement hours. Dyed or painted patterns on the
+cloths might well have been also in use, their chief designs being
+stripes, circles or dots, zigzag lines, diamonds and plaid squares, rope
+patterns and plaited patterns. The hair would have been loose, plaited,
+or coiled<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> on top, held by bone pins or circlets of bronze.</p>
+
+
+<h3><a name="I_PREHISTORIC_MALE" id="I_PREHISTORIC_MALE"></a>PREHISTORIC DRESS. MALE.</h3>
+
+<p>We have little description or illustration to certify the actual dress
+of the early inhabitants of Britain, but we can draw conclusions with
+pretty certain assurance, from the knowledge of their mode of living.
+From their attainments in artistic design and handiwork, it is clear
+they had arrived at a very high state of savage culture before the Roman
+invasion; and we have only to study the better types of savage life
+still in progress, to picture how our own primitive race would be likely
+to dress under the conditions of climate. The thousands of "finds,"
+which accumulate evidence every year, give us a closer acquaintance with
+their customs and work. The rest we must imagine from our general
+knowledge of what they had to contend with in climate, forest, cave, and
+floods.</p>
+
+<p>These early people, it is presumed from certain discoveries, had long
+known the art of coarsely weaving flax and wool, which must soon have
+been in general use,<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> from its being healthier and cleaner than the
+garments of skin. And very probably a coarse linen, with simple dyes of
+red, blue, yellow, and brown, was in use here when the Romans came.</p>
+
+<p>The head-dress consisted of a cap of fur or wool, probably decorated
+with a feather, over loose and most likely very unkempt hair falling to
+the shoulders. The Gauls cut their locks from the back of the head,
+often tying up the remainder in a tuft on the top; no doubt the hair was
+sometimes plaited or pinned up with wood, bone, or bronze ornaments.
+Bone pins, teeth, and boar tusks were carried in the ears, as well as
+studs of bone or stone in the underlip, and even the cheek may have been
+so decorated, as it was amongst the Esquimaux. The face and body were
+painted with red and white ochre and a blue stain. The neck was adorned
+with strings of teeth, stones, amber, jet, bronze, and probably beads of
+glass or baked clay coloured. Amulets and tokens, armlets and bracelets
+were all in use. Also the torque, a twisted rod of gold flattened or
+curled together at the ends, was a mark of dignity. A wristlet of wood,
+bone, or leather was worn when the bow and arrows were used.<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> The arms
+were a spear of flint or bronze and a dagger of the same, a hatchet or
+heavy club, a mace studded with flint or bronze spikes, and the sling,
+which would have necessitated a leather wallet to carry the stones; fish
+spears and snags. Also the bolas for felling cattle seems to have been
+known; in fact nearly all the usual implements appertaining to savage
+life were in use.</p>
+
+<p><a id="plate02" name="plate02"></a></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/plate02thumb.jpg" width="235" height="391" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate02full.jpg">larger image</a></p>
+<p class="caption">Plate II.</p>
+<ul class="left">
+<li>(<i>a</i>) Elizabethan Robe in Plush. 1585-1605.</li>
+<li>(<i>b</i>) Elizabethan Robe in Silk Brocade. 1565-85.</li>
+<li>(<i>c</i>) Elizabethan Male Robe in Velvet Brocade. 1580-1615.</li>
+<li>(<i>d</i>) Back-piece of Elizabethan Doublet in Embroidered Linen. 1580-1605.</li>
+</ul>
+<ul class="i none left">
+<li>Measures, see p. <a href="#Page_281">281</a>.</li>
+<li>Sleeve pattern of C, see p. <a href="#Page_300">300</a>.</li>
+</ul>
+</div>
+
+
+
+
+<p>The first item of male attire was of two skins fastened at the
+shoulders, and from this we get the early chasuble form (which may be so
+beautifully treated, even to the present time), girt with a leather
+thong or strap at the waist. One skin lapped the other, and hardly
+needed sewing together at the sides, while thus it was easier to throw
+off; it may also have been tied up between the legs. The fur was worn
+both inside and out, according to the weather; this large skin wrap
+would also be worn cross-ways with the right shoulder free, and the
+simple cloak of various lengths with a hole for the head to pass through
+was no doubt one of the first discoveries in costume.</p>
+
+<p>A loin cloth or skin may have been worn alone, caught up through the
+legs and fastened at the back of the waist with<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span> a heavy belt and set
+well down the hips. This would hold a number of personal necessities, in
+the shape of a wallet and dagger. The legs would be wrapped with skins,
+tied up or crossed by leather or sinew thongs, or with hemp or grass
+rope. Skins were probably also used on the feet, gathered and tied above
+the instep and round the ankle.</p>
+
+<p>The enumeration of these items will give a pretty definite idea of how
+the early race would appear in their more or less attired form. In
+fighting, they cleared for action (as it were) and discarded all
+clothing, their only protection being a shield of wicker or wood covered
+with leather; it may have been studded with bronze plates or painted
+with grotesque characters, as were their own bodies, in true savage
+style, to strike fear into their enemies; it is even possible feather
+decorations formed part of their "get up."</p>
+
+
+
+
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></h2>
+
+
+<h3><a name="II_TO_TENTH_FEMALE" id="II_TO_TENTH_FEMALE"></a>THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. FEMALE.</h3>
+
+<p>The female head-dress consisted chiefly of flowing hair banded with a
+circlet of various shapes, but a development of braiding plaits is found
+very early, and the hair was probably arranged so before the Roman era.
+These plaits were generally brought over the shoulder to the front, the
+hair being parted in the centre, thus making an oval forehead. Various
+caps began to show originality, and jewels were set in the centre of the
+forehead on the little crown-like hat, which must have been most
+becoming. Squares of coloured stuffs were draped over the head and
+shoulders, sometimes upon white linen squares, and many ladies began to
+bind the face and head, shutting out the hair, in the 8th century. The
+kerchief draping is very important to<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> study, because it was the general
+mode amongst the people.</p>
+
+<p>Heavy collars of ornament and strings of beads, hanging even to the
+waist, are noticeable features of these centuries, also large ear-rings.</p>
+
+<p>A full cloak, with a large clasp or brooch, opened in front, or was
+turned to free one shoulder; there was also a long "drape" thrown round
+over the opposite shoulder or brought picturesquely over the head.</p>
+
+<p>The ecclesiastical form of cloak as described in the male attire was
+also formed about the 6th century; its graceful line was frequently
+bordered completely with a band of ornament, and it was clasped just
+across the breasts.</p>
+
+<p>The complete circular cloak, with a hole for the head, is seen very
+early, decorated with a pinked edge, which may also be noted on some of
+the short dresses of the middle classes. Aprons are no doubt of the
+earliest origin. A loose tunic falling to the hips was girded rather
+high up the body, as in the classic dress, and bands passing both
+outside or crossing between the breasts and going over the shoulder came
+from the same source; these were with, or without, short sleeves to the
+elbow. A long<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> loose robe was the chief attire to the 6th century,
+belted rather high in the waist, and caught up with a girdle at the
+hips; these girdles gave a great interest to the early centuries, with
+the art of arranging the fullness of skirt into its hold.</p>
+
+<p><a name="Page_47" id="Page_47"></a><a id="fig001" name="fig001"></a></p>
+<div class="figcenter" style="width: 710px;">
+<img src="images/fig001.png" width="710" height="448" alt="Saxon Type&mdash;Stephen" title="See caption" />
+<p class="caption smcap">Fig. 1.</p>
+</div>
+
+<p>From the 6th century the dress became closer fitting, and a short bodice
+is seen; the neck was cut very low, either square or round in shape, and
+this style had short tight sleeves or tight sleeves to the wrist. The
+later tunic of the 9th century marked the beginning of the slit-open
+upper sleeve, and a greater length of the neck opening, which came to be
+fastened down the front to the waist.</p>
+
+<p>The early skirts (to the 6th century) were hung from the hips, and were
+often attached to a heavy girdle band, the fullness was gathered mostly
+at the back and front; other skirts hung from a higher belt and were
+again caught up in the girdle. A <span class="f">V</span>-shaped neck setting was worn by the
+Franks, from which probably came the shaped front piece that will
+interest us in the 13th century. The shoes were similar to the male
+shapes described later, and the same mode of binding the stockings was
+sometimes imitated.<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p>
+
+
+<h3><a name="II_TO_TENTH_MALE" id="II_TO_TENTH_MALE"></a>THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. MALE.</h3>
+
+<p>In taking the long period from the Roman occupation to the 10th century,
+we can discover a real development of style in costume, as with the
+system of vassalage a distinction of class arose. No doubt the Romans
+introduced a finer tuition of weaving, needlecraft, decoration, and
+dyeing; and later the various peoples coming from the Continent, when
+settled under Alfred in the 9th century, produced a solid style of
+barbaric splendour.</p>
+
+<p><a name="Page_50" id="Page_50"></a><a id="fig002" name="fig002"></a></p>
+<div class="figcenter">
+<img src="images/fig002.png" width="750" height="432" alt="Danes&mdash;Scandinavian&mdash;3 Gauls" title="See caption" />
+<p class="caption smcap">Fig. 2.</p>
+</div>
+
+<p><a name="Page_51" id="Page_51"></a><a id="fig003" name="fig003"></a></p>
+<div class="figcenter">
+<img src="images/fig003.png" width="727" height="475" alt="Francs&mdash;Anglo-Saxons" title="See caption" />
+<p class="caption smcap">Fig. 3.</p>
+</div>
+
+<p>The male hair dressing, from the rugged mass of hair, soon became well
+combed and trimmed square across the neck: ear-rings may still have been
+in use by some nobles till the 11th century, and chaplets were worn upon
+the hair. The Saxon beard was divided into two points. Small round tight
+caps of wool, fur, or velvet, and rush or straw hats of a definite shape
+were in use to the 10th century. Tight caps, with lappets tied under the
+chin, and hoods appear on the short capes about the 8th century, or
+probably earlier. The garment was of the simplest form, cut<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> like a
+plain square loose shirt to the middle of the thigh, and this was put on
+over the head. The opening to pass the head through was the first part
+to receive a band of decoration. The sides were sometimes opened to the
+hips and the front caught between the legs and held at the waist. A
+garment opened down the front, and another wrapped across to either
+shoulder is also seen. A belt girt the waist, and the tunic was pulled
+loosely over it. This also carried the essential requirements in the
+shape of a pouch, dagger, knife, comb, sword, &amp;c. The neck was
+ornamented with chains of bronze, gold, beads, and charms, and up to the
+8th century a bronze ornamental armlet was worn, besides a wristlet.</p>
+
+<p>The men of the ruling class from the 8th century were clothed in a long
+garment of simple shape, falling to the ankle, richly bordered at the
+hem and neck. This generally had long tight sleeves, and often over this
+a shorter tunic, reaching just below the knee, sometimes sleeveless, or
+with rather full sleeves tightening to the wrist.</p>
+
+<p><a name="Page_53" id="Page_53"></a><a id="fig004" name="fig004"></a></p>
+<div class="figcenter">
+<img src="images/fig004.png" width="674" height="435" alt="Caps&mdash;Saxon and Norman Types" title="See caption" />
+<p class="caption smcap">Fig. 4.</p>
+</div>
+
+<p>A plain square chasuble shape was in fashion from the 8th century,
+reaching to<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> the bottom of the calf of the leg, and richer materials
+began to be used; no belt was passed round this, as it was allowed to
+fall straight.</p>
+
+<p>Loose breeches were worn from very early times, and a loose trouser to
+the ankle, being tied there or bound crosswise from the boot sometimes
+right up the thigh. The same binding was done even with the bare legs
+and later hose: close-fitting short breeches and cloth hose became a
+feature in the 10th century, and with the latter an ornamental
+knee-piece or garter below the knee sometimes finished the strappings.</p>
+
+<p>The cloak was the "grand garment," heavily banded with ornament and
+fastened with a large clasp on one shoulder, or at the centre of the
+breast. Long circular cloaks of varying lengths, put on over the head,
+were much favoured, and when caught up at the sides on either shoulder
+gave a fine draped effect.</p>
+
+<p>Another cloak of ecclesiastical character, sloping in a curve from the
+neck and not meeting in front, is seen on many notable figures from the
+early 8th century, large clasps bridging the width low down on the
+chest.</p>
+
+<p><a id="plate03" name="plate03"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate03thumb.jpg" width="394" height="262" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate03full.jpg">larger image</a></p>
+<p class="caption">Plate III.&mdash;(<i>a</i>) Elizabethan Jump (or Jacket).
+About 1600. (<i>b</i>) Portrait of a Lady in Embroidered Costume. Between
+1620 and 1640.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span><a id="fig005" name="fig005"></a></p>
+<div class="figcenter">
+<img src="images/fig005.png" width="439" height="381" alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 5.&mdash;Types of Shoes.</span><br />
+British, Roman, Norman to 13th century.</p>
+</div>
+
+<p>No doubt the sandal of various forms was much used for footwear through
+this period, also a simple low shoe which was held on by the
+leg-strappings, as, about the 8th century, shoes are seen with loops at
+the upper edge, these being attachments<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span> for the binding, and this was
+no doubt a method from the prehistoric times.</p>
+
+<p>There was also a soft boot reaching to the calf, laced up the front;
+and, after the 8th century, a rather pointed shoe, open down the instep,
+laced, tied, or gathered into a buckle about the ankle.</p>
+
+
+
+
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span></h2>
+
+
+<h3><a name="III_TENTH_FIFTEENTH_FEMALE" id="III_TENTH_FIFTEENTH_FEMALE"></a>TENTH TO THE FIFTEENTH CENTURY. FEMALE.</h3>
+
+<p>The head-dress of women now began to show a preference to confine the
+hair with nets and to close in the face, which continued till the 15th
+century. The circlet and long plait or plaits and the flowing hair
+remained till the 14th century. In the 12th century we discover the hair
+gathered in nets at either side of the head, covering the ears. A
+low-crowned hat was bound over with a band of lawn or fine material
+passing underneath the chin, otherwise the plaits were looped up under a
+circlet which was also worn with the flowing hair.</p>
+
+<p>A square effect was aimed at in the 13th century with tight side-plaits
+bound into a shape or netted hair was strapped to the head as in Fig. <a href="#fig011">11</a>
+(see p. <a href="#Page_65">65</a>). A fall of<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> fine material softened the hard effect, and many
+ladies of quality bound the face, neck, and head in the wimple of fine
+linen, sometimes gathering this to the same quaint shape of the netted
+hair. I give a variety of these settings on page <a href="#Page_65">65</a>. A kerchief of linen
+coming round the neck was brought up tightly round the face and
+festooned on the top of the head, while another piece was pinned close
+to the brows and fell loosely to the shoulders, being often held on by a
+circlet as well.</p>
+
+<p>This character was maintained till the early 14th century, when a style
+of high peaked hats came into evidence, one shape of which became the
+most imposing feature of historic costume in the 15th century. It was
+still but a simple form in the middle of the 14th century, for another
+shape first gained predominance. Early in this century also may be noted
+a curious shape like the cap of liberty, usually with a long tail at the
+back as drawn on page <a href="#Page_59">59</a>. This carried design to the eccentric forms of
+the pig-tailed hood, and then the rival of the high peaked hat took its
+place towards the end of the 14th century&mdash;a cushioned head-dress, which
+rose and divided in a hornlike structure. It<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> started as in Fig.
+<a href="#fig025">25</a>, and I have illustrated its progress; the veil draping was a great
+feature, giving plenty of scope for individual fancy. It was, as a rule,
+richly decorated with gold and jewels, and the hair was completely
+enclosed in a gold net and a tight-fitting cap to hold this erection.
+Large drop ear-rings were much worn, and a fine chain of gems encircled
+the neck or fell to the breast.</p>
+
+<p><a id="plate04" name="plate04"></a></p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/plate04thumb.jpg" width="402" height="262" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate04full.jpg">larger image</a></p>
+<p class="caption">Plate IV.&mdash;(<i>c</i>) Youth's Jacket of Linen Embroidered in Worsted.
+1635-65. <i>Pattern, see p. <a href="#Page_299">299</a>.</i> (<i>d</i>) Linen Male Jacket Embroidered with Gold and Silk. 1600-40.</p>
+</div>
+
+<p><a name="Page_59" id="Page_59"></a><a id="fig006" name="fig006"></a></p>
+<div class="figcenter">
+<img src="images/fig006.png" width="638" height="462" alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 6.</span>&mdash;Tenth to thirteenth century.</p>
+</div>
+
+<p><a name="Page_60" id="Page_60"></a><a id="fig007" name="fig007"></a></p>
+<div class="figcenter">
+<img src="images/fig007.png" width="464" height="618" alt="Henry II.&mdash;John.&mdash;Henry I.&mdash;Richard I." title="See caption" />
+<p class="caption smcap">Fig. 7.</p>
+</div>
+
+<p><a name="Page_61" id="Page_61"></a><a id="fig008" name="fig008"></a></p>
+<div class="figcenter">
+<img src="images/fig008.png" width="576" height="438" alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 8.</span>&mdash;Twelfth to fourteenth century.</p>
+</div>
+
+<p>In the 10th century a long close-fitting robe was in fashion, sometimes
+with a deep <span class="f">V</span>-shaped neck opening, though usually the neck was cut to a
+round form. Some sleeves were tighter with a small cuff, but usually the
+outer garment had a falling sleeve with a square or round end showing
+the tight undersleeve. The outer sleeve varied much in length, from the
+elbow or hand dropping even to the ground; it was narrow and widened
+through the 14th century, when its edge was cut into various patterns as
+in Fig. <a href="#fig018">18</a> (see p. <a href="#Page_79">79</a>). In the 13th century we notice a long sleeve
+opened at the elbow for the under sleeve to come through, which
+beautiful style continued to the middle of the 17th century.</p>
+
+<p><a name="Page_63" id="Page_63"></a><a id="fig009" name="fig009"></a></p>
+<div class="figcenter">
+<img src="images/fig009.png" width="752" height="448"
+     alt="Norman, 12th century&mdash;Saxon, 12th century" title="See caption" />
+<p class="caption smcap">Fig. 9.</p>
+</div>
+
+<p><a name="Page_64" id="Page_64"></a><a id="fig010" name="fig010"></a></p>
+<div class="figcenter">
+<img src="images/fig010.png" width="686" height="460"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 10.</span>&mdash;Fourteenth century, 1st half.</p>
+</div>
+
+<p><a name="Page_65" id="Page_65"></a><a id="fig011" name="fig011"></a></p>
+<div class="figcenter">
+<img src="images/fig011.png" width="752" height="390"
+     alt="See caption" title="See caption" />
+<p class="caption smcap"><span class="smcap">Fig. 11.</span>&mdash;Fourteenth century, 2nd half.</p>
+</div>
+
+<p>With the 10th century came the first corselet from the waist to the hip,
+clasping<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> a loose tunic with an under-dress taking a long pointed
+train. The manner of tucking the tunic under the corselet when it was
+worn over it, and so creating festoons, is worthy of notice as
+interesting in arrangement and design.</p>
+
+<p>The 13th century parti-coloured and striped dresses foreshadowed the
+heraldic fashion, which must be studied for its proportion and treatment
+of decorative colour-values in counterchange to get the true value of
+its noble effects.</p>
+
+<p>A great feature now appears in the chasuble-shaped front or setting to a
+closely cut jacket. This ultimately becomes the decorative stomacher
+through the later periods, and it is very interesting to note its
+development.</p>
+
+<p>In the 13th century this jacket was a fur construction of a long simple
+form opened at the sides to the hips for the sleeves to come through; it
+had a straight hem or was rounded at the front points, and a chasuble
+form of it was treated as in Fig. <a href="#fig013">13</a> or in conjunction with a short
+cape; it was chiefly a decoration of ermine. It grew into a complete
+jacket, and in the 14th century it was heavily ornamented with gems; and
+the simple front, from<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span> being a feature outside the jacket, was later
+often enclosed at the sides. The jacket itself is beautiful in form and
+proportion, and the curved band of design over the hips makes a nice
+foil to the curved front. This pattern is plainly derived from the
+effect of the rich girdle that was at first seen through the side
+openings and few jackets are without it, the usual shaping of the neck
+with most of these was square.</p>
+
+<p><a name="Page_67" id="Page_67"></a><a id="fig012" name="fig012"></a></p>
+<div class="figcenter">
+<img src="images/fig012.png" width="473" height="733"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 12.</span>&mdash;Nos. 1 to 7, 14th century. Nos. 8 and 9, 15th century.</p>
+</div>
+
+<p>In the first quarter of the 14th century the setting of the neck was of
+a round shape, and after 1350 a raised or curved form is favoured. Later
+still, and with the hornlike head-dress, a very deep <span class="f">V</span> shape, open
+almost to the belt was the mode, often being filled in with velvet. At
+the same time some began to take up the fashions of a very high collar
+and a round-shaped body and sleeves, as in Fig. <a href="#fig024">24</a> (see p. <a href="#Page_89">89</a>), with
+which a wide pointed belt is seen. Some robes were opened in front up to
+the height of the girdle, though many dresses were worn without girdles
+after the 12th century. Decorated pockets are sometimes seen in the
+later period, and an interesting hand-covering or falling cuff came with
+them.</p>
+
+<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span><a id="fig013" name="fig013"></a></p>
+<div class="figcenter">
+<img src="images/fig013.png" width="468" height="755"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 13.</span>&mdash;Nos. 1 to 3, 14th century. Nos. 4 to 9, 15th century.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span>The cloak as described in the 10th century still continued till the
+12th, as well as the light wrap which may almost be placed with any
+period, though mostly a feature of the more classic styles.</p>
+
+<p>Skirts and underskirts were worn with trains. They were mostly banded
+with wide borders of ornament up to the 13th century, the fullness being
+often gathered to the back and front.</p>
+
+<p>The chasuble-shaped overdress was worn to the middle of the 14th
+century, sleeveless, and, laced or sewn tight to the figure from the arm
+to the hip, or completely down the sides, generally reached just below
+the knee.</p>
+
+<p>The shoes were of much the same character as those of the male examples
+illustrated, though they hardly reached the same extravagance in length,
+owing, no doubt, to the feet of woman being hampered by her skirt; but I
+suspect they even braved high wooden clogs, as we know they did the tall
+chopins of the 16th century, to heighten their stature.</p>
+
+<p><a id="plate05" name="plate05"></a></p>
+<div class="figcenter" style="width: 600px;">
+<img src="images/plate05thumb.jpg" width="402" height="254" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate05full.jpg">larger image</a></p>
+<p class="caption">Plate V.</p>
+<ul class="left">
+<li>(<i>a</i>) Jerkin. Period James I.</li>
+<li>(<i>b</i>) Lady's Bodice of Slashed and Vandyked Satin. 1635-50. <i>Pattern measurements, see p. <a href="#Page_293">293</a>.</i></li>
+<li>(<i>c</i>) Jerkin of Embroidered Linen. 1630-60.</li>
+<li>(<i>d</i>) Jerkin of Embroidered Linen. 1580-1635.</li>
+</ul>
+</div>
+
+
+<h3><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span>
+<a name="III_TENTH_FIFTEENTH_MALE" id="III_TENTH_FIFTEENTH_MALE"></a>
+TENTH TO THE FIFTEENTH CENTURY. MALE.</h3>
+
+<p>From the 10th to the 15th century, we find costume developing rapidly
+into elaborate and interesting designs. Close relations with the
+Continent brought new ideas, and rich velvets and brocades interwoven
+with gold enhanced the gorgeousness of attire, while the introduction of
+heraldic design brought in a very picturesque element. Hats and
+head-dresses began to become important features, enlarging to eccentric
+shapes and proportions, only equalled in the extravagant part of the
+18th century.</p>
+
+<p>It may be noted that feminine fashion, as it assumes new characters and
+proportions, affects the style of the male clothes in the same way, as,
+when a high or pointed head-dress comes in, the male hat also increases
+its size; the same with curved or angular designs, full or tight
+sleeves.</p>
+
+<p>The hair was worn long and rather squared in shape at the back till the
+end of the 15th century. A tendency to shut in the face by close hoods
+tied under the chin is remarked, and this forms a strong<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> feature of the
+13th and 14th centuries. Ear-rings were seldom worn after the 10th
+century; but the neck was generally adorned with heavy chain
+decorations.</p>
+
+<p>Beards assumed a pointed shape in accordance with this development of
+fashion, and double-pointed beards were revived between 1380 and 1386.
+Hats of straw with mushroom brims and round tops came into vogue in the
+11th century, covered with coloured materials and finished with a spike
+or button at the top, and the crowns of these took a pointed shape in
+the 14th century. The usual cap with folded brim had a loose crown, and
+we find this began to lengthen and fall over to one side in the 11th
+century, and continued to elongate till, in the 15th century, it often
+dropped to the knee in a long thin point. In the 14th century it took a
+fullness of loose folds, with serrated or foliated edges falling to the
+shoulder as in Fig. <a href="#fig015">15</a> (see p. <a href="#Page_73">73</a>). A close helmet-shaped cap is seen in
+the 12th century, with a falling point from the crown, and the 13th
+century brought in the higher crowned hat, with a long peaked front,
+turned up at the back. Feathers were worn at the front, back, or side of
+hats, and sometimes on the<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> front of the hoods; these increased
+their dimensions in height and peak, till the straight-up high hat,
+which was often brimless, came in the 15th century. The early hood or
+cowl soon began to vary its design, for in the 13th century it was often
+a part of, or attached to, a chasuble shape falling back and front, or
+with the long front, stopping at a short cape length behind. A note of
+interest in the 14th century appears, where the forehead part of the
+hood is turned up, showing a coloured lining, and at times the
+fashionable serrated edge surrounding the face is seen.</p>
+
+<p><a name="Page_73" id="Page_73"></a><a id="fig014" name="fig014"></a></p>
+<div class="figcenter">
+<img src="images/fig014.png" width="803" height="464"
+     alt="13th century&mdash;14th century&mdash;15th century" title="See caption" />
+<p class="caption smcap">Fig. 14.</p>
+</div>
+
+<p><a name="Page_74" id="Page_74"></a><a id="fig015" name="fig015"></a></p>
+<div class="figcenter">
+<img src="images/fig015.png" width="766" height="442"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 15.</span>&mdash;Fourteenth century.</p>
+</div>
+
+<p><a id="plate06" name="plate06"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate06thumb.jpg" width="402" height="211" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate06full.jpg">larger image</a></p>
+<p class="caption">Plate VI.</p>
+<ul class="left">
+<li>(<i>a</i>) Collar and Cuffs set with Lace. 1600-30.</li>
+<li>(<i>b</i>) Embroidered Leather Jerkin. 1620-40.</li>
+<li>(<i>c</i>) Top of Stocking. Embroidered Linen. 1625-50.</li>
+</ul>
+</div>
+
+<p><a name="Page_75" id="Page_75"></a><a id="fig016" name="fig016"></a></p>
+<div class="figcenter">
+<img src="images/fig016.png" width="771" height="425"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 16.</span>&mdash;Twelfth to thirteenth century.</p>
+</div>
+
+<p>The chasuble-shaped garment was a feature often worn over the coat until
+the end of the 15th century, and was generally worn long with the
+elongated fashion of the 14th century, and short with the shorter tunics
+of the 15th century. They are found very wide in the 14th century, and
+so fall well down over the shoulder, where they are often laced a short
+distance up, creating an interesting feature. Cloaks were not so much in
+favour with the heavier cowl and cape, but they were used, fastened by
+brooches to either shoulder rather at the back, after the 12th century.</p>
+
+<p><a name="Page_77" id="Page_77"></a><a id="fig017" name="fig017"></a></p>
+<div class="figcenter">
+<img src="images/fig017.png" width="724" height="461"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 17.</span>&mdash;Fourteenth century.</p>
+</div>
+
+<p>A very tight-fitting suit called Justacorps<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> came into use from the
+12th century, and developed a padded round-shaped body towards the end
+of the 14th century; the closely-cut body was buttoned up to the throat,
+or was set with a high collar for the first time. The tights came over
+it, sometimes rather high up the waist, being laced to it. A long tunic
+was chiefly favoured during the 10th and 11th centuries with short or
+long cuffless sleeves, and a full bell-shaped falling sleeve showed a
+close-fitting under one.</p>
+
+<p>These tunics were chiefly open at the neck as in the earlier times,
+though a slight difference to be noted is a <span class="f">V</span>-shaped opening in the 14th
+century, which is developed in the 15th century; they were also split up
+the sides, even to the hips. Some were very full in shape, and were
+gathered to either side as in the illustration; others had the body
+closely fitted and full only in the skirt, but as a rule one finds this
+latter shape only reaches just below the knee. They were often tucked
+into the belt in front, showing a rich underskirt.</p>
+
+<p>A girdle (besides a belt) was worn on the hips with the longer tunics,
+as in Fig. <a href="#fig028">28</a> (see p. <a href="#Page_94">94</a>), the dagger and pouch being carried in front
+on the girdle, and<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> not the belt. A small dagger was often slung at the
+back or front of the neck, as an ornament at the end of the 14th
+century.</p>
+
+<p><a name="Page_79" id="Page_79"></a><a id="fig018" name="fig018"></a></p>
+<div class="figcenter">
+<img src="images/fig018.png" width="364" height="755"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 18.</span>&mdash;Fourteenth century.</p>
+</div>
+
+<p>Tights to the waist were worn with both long and short tunics, and
+retained the crossed binding up the legs to the 13th century, in the
+various designs of page <a href="#Page_53">53</a>. Parti-coloured tights came in with the 14th
+century, carrying out the heraldic character of dress, and this may be
+found till about 1530. A sandal shoe was much worn up to the 12th
+century, with strappings to various heights up the leg, this even over
+the short top-boots, but the usual shoe opened down the front of the
+instep to the toe, which was rather pointed in shape, and it was curved
+or square at the ankle. The illustration gives a good variety of the
+prevalent forms. The stocking-boot is also another characteristic of
+this earlier time, as well as the commoners' woollen gaiters, worn as in
+Fig. <a href="#fig030">30</a>, on the seated figure, which were in use to the middle of the
+16th century.</p>
+
+<p><a name="Page_81" id="Page_81"></a><a id="fig019" name="fig019"></a></p>
+<div class="figcenter">
+<img src="images/fig019.png" width="463" height="630"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 19.</span>&mdash;Twelfth and thirteenth centuries.</p>
+</div>
+
+<p>In the illustrations which show no shoe on the tights, it will be
+understood that a sole of leather was sewn on to the under part of the
+foot. This practice is even seen<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span> to-day on the Continent, where the
+clog is mostly in use. A soft boot, reaching to the calf, was worn till
+the 15th century, with the top folded or trimmed with fur, the latter
+being generally laced down the front, even to the instep: the shape of
+these only varied in the length of the pointed toes as the style
+developed.</p>
+
+<p>The long-pointed shoes began to increase all through the 13th century,
+and in the 14th century they reached their greatest length, when the
+points were often tied up to a garter just below the knee. Wooden clogs
+were much used, and were often considerably raised. Iron circular
+supports were also in use at the end of this time; these were the
+foretaste of the eccentric chopins of the 16th century, which were more
+favoured on the Continent than here. The pointed toes also were made to
+curl outwards, giving a splay-footed effect, late in the 14th century.</p>
+
+<p><span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span><a id="fig020" name="fig020"></a></p>
+<div class="figcenter">
+<img src="images/fig020.png" width="442" height="592"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 20.</span>&mdash;Fourteenth and fifteenth centuries.</p>
+</div>
+
+
+
+
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span></h2>
+
+
+<h3><a name="IV_FIFTEENTH_FEMALE" id="IV_FIFTEENTH_FEMALE"></a>FIFTEENTH CENTURY. FEMALE.</h3>
+
+<p>We have now arrived at the height of eccentric fashion in mediæval
+head-dress. The hornlike creations, studded with jewels, and peaks of
+wondrous height, both draped with fine muslins and often completely
+shutting away the hair from sight, had a supporting cap which mostly
+came over ears and cheeks, and a clutch is seen on the forehead, at
+times concealed by a jewel. The hair was generally allowed to fall loose
+under the back drape, or a long plait is sometimes seen at the back with
+the first-named head-dress. The back drape setting from the brow down
+the back was well conceived to balance the high spire, but it seems to
+have been discarded during the reign of Edward V, and light veil falls
+were worn which often came half over the face. In Henry VII's time the
+extreme<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> fashion came in the shape of a closely-fitting curved cap,
+with a fall of material over the back. The ermine-trimmed jacket was
+still in favour to the middle of the last-named reign, when it was worn
+low down over the hips.</p>
+
+<p><a name="Page_85" id="Page_85"></a><a id="fig021" name="fig021"></a></p>
+<div class="figcenter">
+<img src="images/fig021.png" width="625" height="432"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 21.</span>&mdash;Fifteenth century, 1st half.</p>
+</div>
+
+<p><a name="Page_86" id="Page_86"></a><a id="fig022" name="fig022"></a></p>
+<div class="figcenter">
+<img src="images/fig022.png" width="629" height="455"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 22.</span>&mdash;Middle of fifteenth century to sixteenth century.</p>
+</div>
+
+<p><a id="plate07" name="plate07"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate07thumb.jpg" width="238" height="348" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate07full.jpg">larger image</a></p>
+<p class="caption">Plate VII.</p>
+<ul>
+<li>(<i>a</i>) Herald's Coat. Embroidered Velvet and
+Silk. 1st half 17th Century. Measured pattern, page <a href="#Page_301">301</a>.</li>
+<li>(<i>b</i>) Lady's Bodice of Black Velvet. 1630-60. <i>Measurement, see p. <a href="#Page_297">297</a>.</i></li>
+<li>(<i>c</i>) Black Silk Jerkin. <ins class="correction" title="1640-50 in TOC">1640-60</ins>.</li>
+</ul>
+</div>
+
+<p><a name="Page_87" id="Page_87"></a><a id="fig023" name="fig023"></a></p>
+<div class="figcenter">
+<img src="images/fig023.png" width="444" height="755"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 23.</span>&mdash;Fifteenth century, 1st half.</p>
+</div>
+
+<p>The chief dress of this period had a <span class="f">V</span>-shaped collar-front meeting at
+the waist, mostly made in black material or fur. It was wide on the
+shoulder, and seems to have been stiffened to set out; the <span class="f">V</span> shape was
+generally filled in with velvet, and a very wide band encircled the
+waist; a girdle is occasionally noted. The keys' pocket and other
+requisites were generally carried on the underskirt during these times.
+The skirt was full and gathered to the back in a train, the gathers
+often running into the bodice; a very wide border is prevalent, even to
+the middle of the thigh. Tight sleeves are usual, and hanging sleeves
+were worn, mostly set in a very short sleeve, which assume a puff-shape
+in Henry VII's reign; long cuffs, almost covering the hand, are seen on
+many sleeves.</p>
+
+<p><a name="Page_89" id="Page_89"></a><a id="fig024" name="fig024"></a></p>
+<div class="figcenter">
+<img src="images/fig024.png" width="618" height="456"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 24.</span>&mdash;Fifteenth century, 2nd half.</p>
+</div>
+
+<p><a name="Page_90" id="Page_90"></a><a id="fig025" name="fig025"></a></p>
+<div class="figcenter">
+<img src="images/fig025.png" width="667" height="454"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 25.</span>&mdash;Fifteenth century, 2nd half.</p>
+</div>
+
+<p><a id="plate08" name="plate08"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate08thumb.jpg" width="389" height="244" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate08full.jpg">larger image</a></p>
+<p class="caption">Plate VIII.&mdash;(<i>a</i>) (<i>b</i>) (<i>c</i>) Three Suits. Period
+Charles II.</p>
+</div>
+
+<p><a name="Page_91" id="Page_91"></a><a id="fig026" name="fig026"></a></p>
+<div class="figcenter">
+<img src="images/fig026.png" width="566" height="448"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 26.</span>&mdash;End of fifteenth century.</p>
+</div>
+
+<p>Modes of opening the skirt up to the hips occasionally showed
+themselves, and even the sides to the hips are seen laced. In the
+earlier dress, about 1485, the neck<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> setting of dress became very
+square, and was filled with fine-drawn lawn. The square shape rises in a
+curved centre before the end of this period, and a close-fitting robe
+was worn with a girdle, often opened up the sides. The short upper
+sleeve and full outer sleeve so much in vogue gave place to a divided
+upper and lower sleeve, laced or tied with ribbon, with puffs of lawn
+pulled through the openings at shoulder and elbow, and down the back of
+the forearm. Slashes are now seen in most sleeves, and an Italianesque
+character pervaded the fashion.</p>
+
+<p>High, soft boots and shoes of a similar shape to the male description
+were worn, and changed when the square-toe shoes came in.</p>
+
+<p>Through this period there are many interesting details of costume to
+study, while gilt tags, finishing laces, and ribbons are to be remarked
+from this period.</p>
+
+
+<h3><a name="IV_FIFTEENTH_MALE" id="IV_FIFTEENTH_MALE"></a>FIFTEENTH CENTURY. MALE.</h3>
+
+<p><a name="Page_93" id="Page_93"></a><a id="fig027" name="fig027"></a></p>
+<div class="figcenter">
+<img src="images/fig027.png" width="712" height="476"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 27.</span>&mdash;Fifteenth century.</p>
+</div>
+
+<p><a name="Page_94" id="Page_94"></a><a id="fig028" name="fig028"></a></p>
+<div class="figcenter">
+<img src="images/fig028.png" width="750" height="391"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 28.</span>&mdash;Fifteenth century, 1st half.</p>
+</div>
+
+<p><a name="Page_95" id="Page_95"></a><a id="fig029" name="fig029"></a></p>
+<div class="figcenter">
+<img src="images/fig029.png" width="399" height="745"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 29.</span>&mdash;Middle of fifteenth century.</p>
+</div>
+
+<p>The chief shapes to mark in this century in male head-dress is the
+increased height of the tall hats which rise to vie with the female
+fashions. We still see a round hat<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span> with a rolled edge and long fall
+over one side, besides shorter folds in the crown, both scalloped or
+foliated at the edge, and this shape may be noted till about 1460. Some
+of these hats were made without a crown, as in Fig. <a href="#fig028">28</a> (see p. <a href="#Page_94">94</a>); the
+roll was decorated, as a rule, with jewelled studs. A top hat, something
+like our present shape, appears, but more belled at the top and also a
+padded, rolled brim. It was made in various rich materials, and often
+decorated with jewels. The peak-fronted hat still continued to be
+favoured till about 1480, its chief difference being a crown more
+eccentric in height. Tall cylinder hats, with folded brims or no brim,
+and other shapes are illustrated. The variety is so great through this
+period that it is well to study the vagaries of fashion which I have
+illustrated in sequence as far as possible; they were mostly used till
+about the last quarter of this century, when the low-crowned flat hat
+with turned-up brim began to secure the fashion. This was generally worn
+tilted on one side and often over a scarlet skull-cap. A large bunch of
+plumes came in with this hat, set up from the front, curving backwards,
+and giving a very grand effect: with most<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span> of the tall hats the
+feather was set at the back.</p>
+
+<p><a name="Page_97" id="Page_97"></a><a id="fig030" name="fig030"></a></p>
+<div class="figcenter">
+<img src="images/fig030.png" width="750" height="454"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 30.</span>&mdash;Fifteenth century.</p>
+</div>
+
+<p><a name="Page_98" id="Page_98"></a><a id="fig031" name="fig031"></a></p>
+<div class="figcenter">
+<img src="images/fig031.png" width="364" height="761"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 31.</span>&mdash;Fifteenth century, 1st half.</p>
+</div>
+
+<p><a name="Page_99" id="Page_99"></a><a id="fig032" name="fig032"></a></p>
+<div class="figcenter">
+<img src="images/fig032.png" width="382" height="774"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 32.</span>&mdash;Fifteenth century, 2nd half.</p>
+</div>
+
+<p>The notable change in the tunic, which was worn both very short and to
+the ground, was the arrangement of folds to the back and front, gathered
+to a <span class="f">V</span> shape at the waist. The hanging sleeve began to go out of favour
+after the middle of the century, but the sleeve or cuff covering the
+hand was continued till the end of this century.</p>
+
+<p>A sleeve, full at the shoulder, is found, and short, round, padded
+sleeves came in, worn over a close-fitting sleeve. This short sleeve
+became raised on the shoulder, and was cut or looped up the outer side:
+a long loose outer sleeve is also seen in conjunction with these short
+ones. A very short jacket is notable, of a plain square shape, with a
+plain sleeve on the left arm and a hanging sleeve on the right to the
+knee. The tight-fitting jerkin, laced down the front, was worn with this
+as with most other coats.</p>
+
+<p><a name="Page_101" id="Page_101"></a><a id="fig033" name="fig033"></a></p>
+<div class="figcenter">
+<img src="images/fig033.png" width="746" height="422"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 33.</span>&mdash;End of fifteenth century.</p>
+</div>
+
+<p><a name="Page_102" id="Page_102"></a><a id="fig034" name="fig034"></a></p>
+<div class="figcenter">
+<img src="images/fig034.png" width="769" height="447"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 34.</span>&mdash;Fifteenth century, 2nd half.</p>
+</div>
+
+<p><a id="plate08a" name="plate08a"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate08athumb.jpg" width="406" height="244" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate08afull.jpg">larger image</a></p>
+<p class="caption">Plate VIIIa&mdash;(<i>a</i>) Suit of Embroidered Silk. 1610-30.
+(<i>b</i>) Three Sword Hangers Embroidered in Gold. Charles II. (<i>c</i>) Braided
+Suit. 1670-90.</p>
+</div>
+
+<p><a name="Page_103" id="Page_103"></a><a id="fig035" name="fig035"></a></p>
+<div class="figcenter">
+<img src="images/fig035.png" width="432" height="758"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 35.</span>&mdash;Fifteenth-century Shoes and Clogs.</p>
+</div>
+
+<p>The high collar to the throat had gone out for a collar opened in front.
+Very short and very long "chasubles" were worn with or without sleeves
+which were gathered high and full at the shoulders.<span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span> The sleeves
+were now sometimes slit open at the back and held with several ties, as
+linen sleeves are now shown with these.</p>
+
+<p>Parti-coloured tights were not so much favoured through this period, but
+a decorated thigh, or part of the thigh and knee, was a favourite method
+of enrichment.</p>
+
+<p><a id="fig036" name="fig036"></a></p>
+<div class="figcenter">
+<img src="images/fig036.png" width="270" height="143"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Fig. 36.</p>
+</div>
+
+<p>A long coat came in at the later part of this time, with a deep <span class="f">V</span>-shaped
+collar meeting at the waist; it was also cut into a square shape at the
+shoulders, as in Fig. <a href="#fig043">43</a> (see p. <a href="#Page_119">119</a>). A loose bell-shaped sleeve
+usually went with this, often opened in the front of the upper arm. A
+short square cape is at times seen in conjunction with this. A low
+square or round neck shape came in during the last quarter of this
+century, filled in with a fine gathered lawn and a tight-fitting coat
+with a pleated<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> skirt and full padded sleeves, or a tight sleeve
+with a full puff or spherical upper part.</p>
+
+<p><a name="Page_105" id="Page_105"></a><a id="fig037" name="fig037"></a></p>
+<div class="figcenter">
+<img src="images/fig037.png" width="443" height="664"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 37.</span><br />
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, second half of 15th century.<br />
+Nos. 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, variety of shapes from 1490
+to 1630.</p>
+</div>
+
+<p><a name="Page_106" id="Page_106"></a><a id="fig038" name="fig038"></a></p>
+<div class="figcenter" style="width: 458px;">
+<img src="images/fig038.png" width="458" height="650"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Fig. 38.</p>
+<ol>
+<li>14th century.</li>
+<li>15th century.</li>
+<li>15th century.</li>
+<li>Late 16th cent.</li>
+<li>1580-1610.</li>
+<li>1580-1610.</li>
+<li>1605-1640.</li>
+<li>1600-1625.</li>
+<li>1550-1600.</li>
+<li>1610-1640.</li>
+<li>1590-1620.</li>
+<li>1605-1630.</li>
+<li>1675-1695.</li>
+<li>1670-1690.</li>
+<li>1680-1700.</li>
+<li>1690-1720.</li>
+<li>1680-1700.</li>
+<li>1700-1750.</li>
+<li>1700-1780.</li>
+<li>1700-1760.</li>
+<li>1740-1780.</li>
+<li>1745-1780.</li>
+<li>1770-1800.</li>
+<li>1730-1760.</li>
+<li>1700-1780.</li>
+<li>1830-1860.</li>
+<li>1780-1800.</li>
+<li>1840-1870.</li>
+<li>1840-1870.</li>
+</ol>
+</div>
+
+<p><a id="plate09" name="plate09"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate09thumb.jpg" width="394" height="226" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate09full.jpg">larger image</a></p>
+<p class="caption">Plate IX.&mdash;(<i>a</i>) Lady's Embroidered Silk Jacket. 1605-<ins class="correction" title="20 in ToC">30</ins>.
+(<i>b</i>) Lady's Bodice of Silk Brocade. 1680-1700.</p>
+</div>
+
+<p><a name="Page_107" id="Page_107"></a><a id="fig039" name="fig039"></a></p>
+<div class="figcenter">
+<img src="images/fig039.png" width="437" height="749"
+     alt="Comb case&mdash;purse&mdash;Cut leather. 15 cent.&mdash;Pierced leather, 16 cent.&mdash;Bronze studs 15 or 16 cent.&mdash;Incised lines with metal studs 15 cent." title="See caption" />
+<p class="caption"><span class="smcap">Fig. 39.</span>&mdash;Decorated Leather, 15th and 16th centuries.</p>
+</div>
+
+<p>Shoes and boots were still worn with very long pointed toes till about
+1465, when a proclamation was issued for beaks or piked shoes not to
+pass two inches, and after this time a broad round-toed shoe began to
+appear. Soft high boots to the top of the thigh, with folded top, belong
+to this century, as well as the fashionable boot to the calf. The sword
+or dagger was carried towards the front or side, and a small dagger
+across the belt at the back. The pouch or purse was also used as a
+dagger support.</p>
+
+
+
+
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></h2>
+
+
+<h3><a name="V_SIXTEENTH_TRIMMINGS" id="V_SIXTEENTH_TRIMMINGS"></a>SIXTEENTH CENTURY. CHARACTER OF TRIMMINGS.</h3>
+
+<p>Before the 16th century we find the art of decoration in costume had
+been confined chiefly to applied ornamental bands at the neck, waist,
+and borders of skirt and cloak. They had up till this time utilised,
+with great artistry of design (no doubt partly due to the heraldic
+study), the patterns of the finely decorated damasks and velvets. The
+counter colour effects and relative proportions, such as a
+small-patterned, dull-coloured silk setting off a large full-coloured
+design was ably considered, as well as the introduction of a
+nicely-balanced black note or setting, which proved these designers were
+highly skilled in judgment of style. They also discovered the art of
+giving enrichment and lightness to the effect by means of the<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span> various
+serrated edgings to the materials, which also gave a flutter to the
+movement. A preference of lacing for fastening added to the charm of the
+dress, but the long rows of close buttons were also a feature of the
+clinging robes, the clasps and brooches, neck-chains, girdle, belt, and
+wallet being further very important items of enrichment to the effect.</p>
+
+<p>On coming to the 16th century we enter what may be termed the slashed
+and puffed period. The sleeves of Henry VIII's reign are very rich in
+design and jewel-setting, the design of the sleeve as in Fig. <a href="#fig040">40</a> giving
+a striking effect, the angle of the top sleeve being held out by the
+stiffness of the under silk one. The neck-setting and festooning of the
+jewel-chains play an important part in the design on the plain velvet
+corset bodices. The head-dress is one of the most remarkable, and gave a
+great chance for individual arrangement in binding the back fall to set
+at various angles on the shaped cap piece, combining severity with a big
+loose draping which is extremely picturesque. With Edward VI commences
+what may be termed the braided period of decoration. This latter came
+suitably with the stiffer<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span> corsage and set up. Mary's reign was not of
+attractive severity, but the over-robe with the short circular sleeve at
+the shoulder and high collar was a graceful creation, and was retained
+by many as late as 1630. There was little to admire in the Elizabethan
+age as regards design, except the beauty of the materials and the
+exquisite needlework. The proportions of the dresses were exceedingly
+ugly, and the pleated farthingale an absurdity. The male dress had much
+interest and often beauty of setting and decorative effect. The slashed
+materials gave a broken quality to what would otherwise be a hard
+effect, and it also cleverly introduced another colour change through
+the suit. There will be found many examples in these illustrations of
+the pricked and punctured designs on leather-work which are worth
+examining for modern treatment.</p>
+
+<p>Quilting and pleating were ably combined with the braiding, and we see
+the clever adaptation of straw patterns sewn on (a feature of the late
+16th century), which harmonised with the gold braidings or gold lace, or
+resembled the same effect.</p>
+
+<p>The trimmings of braid were often enriched with precious or ornamental
+stones<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span> and pearls, the stomacher, waist, front band down the skirt, and
+borders of most garments. The points of slashes were often held by
+jewelled settings, and the long slashes were caught here and there with
+the same.</p>
+
+<p>Another important item was the black stitchwork on linen, sometimes
+mingled with gold, so highly prized now for its beauty of design and
+effect, but beginning probably in the reign of Henry VII.</p>
+
+<p>Short coats of this type of the Elizabethan age are marvels of skill,
+and many caps are still in existence. Fine linen ruffs and collars were
+often edged with this work, as well as with gold lace.</p>
+
+<p>Jackets and caps, both male and female, bearing geometrical and scroll
+designs in gold, filled in with coloured needlework of flowers, birds,
+or animals have happily been preserved for our admiration.</p>
+
+<p>Sequins appear on work from Henry VIII's time, and were much appreciated
+by the Elizabethan workers, who no doubt found the trembling glitter
+added much to the gold-lace settings and delicate veilings: long
+pear-shaped sequins were favoured for this. Sleeves were often separate,
+and could be changed at will.<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span></p>
+
+
+<h3><a name="V_SIXTEENTH_HENRY_VIII_FEMALE" id="V_SIXTEENTH_HENRY_VIII_FEMALE"></a>SIXTEENTH CENTURY. HENRY VIII. FEMALE.</h3>
+
+<p>The hair at this period was parted in the centre and gathered into a
+plait at the back; it was also seen rather full and waved at the sides
+of the head, and a small circlet was often carried across the brow. A
+cap of velvet or gold brocade, sometimes with a padded front, curved
+over the ears to the neck, keeping the shape of the head. Over this
+again a velvet fall was turned back from the front or shaped as in the
+illustration, reaching to the shoulder. These falls were also bound into
+set-out shapes, which gave many picturesque effects.</p>
+
+<p>Dress had now taken a new phase, and the set bodice became a lasting
+feature. At this period the waist was rather short, and the neck,
+arranged in a low square or round form, generally filled in with
+gathered lawn. The upper part of the sleeve was often divided from the
+bodice by ties with lawn puffs, and was made in a full circular form,
+slashed or puffed and banded, with a tight-fitting sleeve on the
+forearm. Another type divided the upper and lower part of the arm at the
+shoulder<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span> and elbow, the forearm being effectively tied or laced, and
+the under lawn sleeve pulled through; small slashings are also seen on
+these. At times a bell-shaped sleeve was worn, showing a slashed or
+puffed under one. Many dresses were still cut in one, and were often
+high-necked; with these usually a girdle or band of drapery was worn,
+and some skirts opened up the front, showing a rich underskirt.</p>
+
+<p><a name="Page_114" id="Page_114"></a><a id="fig040" name="fig040"></a></p>
+<div class="figcenter">
+<img src="images/fig040.png" width="444" height="614"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 40.</span>&mdash;Sixteenth century, 2nd quarter.</p>
+</div>
+
+<p><a name="Page_115" id="Page_115"></a><a id="fig041" name="fig041"></a></p>
+<div class="figcenter">
+<img src="images/fig041.png" width="460" height="600"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 41.</span>&mdash;Period Henry VIII.</p>
+</div>
+
+<p>Full skirts, heavily pleated at the waist, were worn in the earlier part
+of this reign, banded in varying widths of designs to about the knee;
+but a new development was in progress&mdash;a stiff, bell-shaped dress, set
+on hoops over a rich underskirt which usually bore a jewelled band down
+the centre, the upper one being divided in front to display this
+feature. The bodice with this type becomes longer in the waist, and was
+made on a stiff corset. Gloves are occasionally seen, serrated at the
+cuff-end. Shoes of the slashed character and square toes were also worn
+by the ladies, but many preferred a shoe with a moderately rounded toe.</p>
+
+<p>The first mention of a leather umbrella is 1611, but this is a rare
+instance, as they were not in use till the 18th century here,<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span> though
+they are noted in continental prints during the 17th century.</p>
+
+<p><a name="Page_117" id="Page_117"></a><a id="fig042" name="fig042"></a></p>
+<div class="figcenter">
+<img src="images/fig042.png" width="452" height="599"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 42.</span>&mdash;Sixteenth-century modes, 1st half Henry VIII.</p>
+</div>
+
+
+<h3><a name="V_SIXTEENTH_HENRY_VIII_MALE" id="V_SIXTEENTH_HENRY_VIII_MALE"></a>SIXTEENTH CENTURY. HENRY VIII. MALE.</h3>
+
+<p>The modes at the end of the last century now developed into a heavier
+character of design. The long hair soon began to be closely cut, and a
+short beard came into fashion. A flat type of hat was worn, with
+serrated brim, or tabs which could be turned down at times, and others
+were kept in place by a lacing cord through holes. There was also a flat
+"Tam o' Shanter" shape, generally worn well tilted on one side, and
+amongst the upper classes mostly adorned with feathers.</p>
+
+<p>The <span class="f">V</span>-shaped collar, or opening to the belt, was still retained on the
+jerkin, and plain or pleated skirts are seen, also a square
+close-fitting vest, with a low square neck, filled with gathered lawn,
+or one with a high neck and short collar, on which a very small ruff
+appeared for the first time, and at the wrist as well. These were now
+decorated with long slashes or gathered puffs: heraldic design was still
+seen on the breast, and even parti-colour<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span> was worn, but this
+character was now treated more by decorating with coloured bands on the
+tunics or tights.</p>
+
+<p><a id="plate10" name="plate10"></a></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/plate10thumb.jpg" width="235" height="403" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate10full.jpg">larger image</a></p>
+<p class="caption">Plate X.</p>
+<ul class="left">
+<li>(<i>a</i>) Black Velvet Bodice. 1600-25. <i>Pattern, see p. <a href="#Page_292">292</a>.</i></li>
+<li>(<i>b</i>) Five Embroidered Waistcoats. Between 1690 and 1800.</li>
+</ul>
+</div>
+
+<p><a name="Page_119" id="Page_119"></a><a id="fig043" name="fig043"></a></p>
+<div class="figcenter">
+<img src="images/fig043.png" width="758" height="416"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 43.</span>&mdash;Period Henry VIII.</p>
+</div>
+
+<p><a name="Page_120" id="Page_120"></a><a id="fig044" name="fig044"></a></p>
+<div class="figcenter">
+<img src="images/fig044.png" width="436" height="582"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 44.</span>&mdash;Cap shapes. Period Henry VIII.</p>
+</div>
+
+<p><a name="Page_121" id="Page_121"></a><a id="fig045" name="fig045"></a></p>
+<div class="figcenter">
+<img src="images/fig045.png" width="450" height="559"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 45.</span>&mdash;Variety of shapes and slashing. Henry VIII.</p>
+</div>
+
+<p>Long coats were still worn of the shape described at the end of the 15th
+century, but a short surcoat was the mode, reaching just below the knee,
+sleeveless, or with the various hanging sleeves of this period, the
+fronts usually turned back to form a wide collar, either round or square
+in shape on the shoulder, or at times falling to a deep square at the
+back.</p>
+
+<p>The sleeves were full in the upper part, tightening to the wrist,
+sometimes open up to the elbow and laced, or they were pleated into a
+full round shape at the shoulder. Puffs and slashings increased in these
+designs, and by 1520 we find the sleeves mostly divided into puffed and
+slashed forms, which grew to fantastic proportions.</p>
+
+<p>Very short, tight breeches or trunks, with a front flap or codpiece,
+were decorated to match the body design and colour schemes; they
+increased in length to the knee, or just below, during this reign, and
+usually finished in a serrated roll.</p>
+
+<p><a id="plate11" name="plate11"></a></p>
+<div class="figcenter" style="width: 402px;">
+<img src="images/plate11thumb.jpg" width="402" height="271" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate11full.jpg">larger image</a></p>
+<p class="caption">Plate XI.&mdash;16 Leather Boots and Shoes. Between 1535 and
+1860.</p>
+<ol>
+<li>1740-1780.</li>
+<li>1535-1550.</li>
+<li>1680-1700.</li>
+<li>1645-1690.</li>
+<li>1665-1685.</li>
+<li>1690-1710.</li>
+<li>1845-1860.</li>
+<li>1790-1820.</li>
+<li>1665-1670.</li>
+<li>1800-1820.</li>
+<li>1820-1840.</li>
+<li>1820-1840.</li>
+<li>1815-1850.</li>
+<li>1760-1780.</li>
+<li>1650-1670.</li>
+<li>1630-1660.</li>
+</ol>
+</div>
+
+<p><a name="Page_123" id="Page_123"></a><a id="fig046" name="fig046"></a></p>
+<div class="figcenter">
+<img src="images/fig046.png" width="460" height="747"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 46.</span>&mdash;Footwear, 1510-1540.</p>
+</div>
+
+<p>Shoes were of the square form, some very short in front, held on by a
+strap across the instep, others with fronts to the instep.<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span> The
+corners were often brought out to a point on each side of the toes, and
+the mode of decorating with slashing and punctures made them very
+interesting. The sides of these shoes are very low, from &frac34; to 1 inch,
+and no heels are seen. A big, round shape was also favoured, which
+increased in width till a proclamation forbade it exceeding 6 inches.
+Chains were still a decorative feature round the neck, and the belt
+carried a sword and pouch, or, amongst the working classes, other
+necessities.</p>
+
+
+<h3><a name="V_SIXTEENTH_EDWARD_MARY_FEMALE" id="V_SIXTEENTH_EDWARD_MARY_FEMALE"></a>SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. FEMALE.</h3>
+
+<p>In the reign of Edward VI, which was so short, as also in that of Mary,
+there was little time to form a real character. These reigns form
+developing links to the Elizabethan era, so I have taken them in one
+chapter.</p>
+
+<div class="figcenter" style="width: 400px;">
+<p><a name="Page_125" id="Page_125"></a><a id="fig047" name="fig047"></a></p>
+<img src="images/fig047.png" width="370" height="265"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Fig. 47.</p>
+
+<p><a id="fig048" name="fig048"></a></p>
+<div class="figleft">
+<img src="images/fig048.png" width="164" height="323"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Fig. 48.</p>
+</div>
+
+<p><a id="fig049" name="fig049"></a></p>
+<div class="figright">
+<img src="images/fig049.png" width="189" height="348"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Fig. 49.</p>
+</div>
+<p class="caption clear">Elizabethan modes.</p>
+</div>
+
+<p><a name="Page_126" id="Page_126"></a><a id="fig050" name="fig050"></a></p>
+<div class="figcenter">
+<img src="images/fig050.png" width="471" height="735"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 50.</span>&mdash;Costumes, 1554-1568.</p>
+</div>
+
+<p><a name="Page_127" id="Page_127"></a><a id="fig051" name="fig051"></a></p>
+<div class="figcenter">
+<img src="images/fig051.png" width="458" height="650"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 51.</span>&mdash;Costumes, 1568-1610.</p>
+</div>
+
+<p>With Edward VI the same shaped cap is seen as that of Henry VIII, and
+with Mary's accession, the head-dress is curved to the head in a like
+manner, but it now became more of a hat form and took a brim curved in
+on the brow; this was<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span> often worn over the little tight curved cap,
+or showed the hair waved out at the sides, often netted with gold and
+pearls. A fall of velvet, silk, or veiling was still retained till the
+very high ruff or collar came in the Elizabethan days. A small-crowned
+hat, with a brooch and feather in front, and a full gathered crown came
+in before Elizabeth's time, when we see many eccentric shapes, such as
+the tall hat with a feather at the side, and the witch-like hats towards
+the end of her reign.</p>
+
+<p>The bodice, which became longer in the first reign, still retained the
+full belled oversleeve or the full puffed sleeve to the end of Mary's
+reign, also the same square neck shape with curved-up front, now often
+filled with silk quilted with pearls up to the neck. High-necked dresses
+set with a small ruff became general in Mary's reign. We also find a
+tight sleeve gathered in a circular puff at the shoulder or set in a
+rolled epaulet.</p>
+
+<p>The same shaped skirt of the hooped bell form (sometimes very pleated in
+Mary's reign) or divided in front to show the underskirt as described
+under Henry VIII, was worn.</p>
+
+<p>The short square shape and the heavy<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span> round shoe is seen in Mary's
+reign, but fashion then preferred a rather pointed oval shoe, well up
+the instep with higher sides, decorated with characteristic slashing.
+Gloves are seen in many portraits up to this period, but of a plain make
+minus embroidery, and a circular fan of feathers was carried.</p>
+
+
+<h3><a name="V_SIXTEENTH_EDWARD_MARY_MALE" id="V_SIXTEENTH_EDWARD_MARY_MALE"></a>SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. MALE.</h3>
+
+<p>With Edward VI and Mary a more refined and sober type of style set in.
+The hair was now worn short and combed backwards. The flat hat of the
+earlier shapes lasted to Elizabeth's reign; becoming smaller in width,
+with a turned-down, curved brim and a fuller crown encircled with a gold
+band or set with a feather worn at the right-hand side. A small
+tight-fitting round hat with a rolled brim and a feather in front is
+also of this later mode. Through these reigns a small square turned-over
+collar or a very small ruff set on a high collar came into use, which
+increased to a larger ruff in Mary's reign. A small ruff was also worn
+at the wrist, many of these were<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span> edged with black-stitch designs. The
+heavy puffed sleeves became tight and started from a small epaulet or
+puffed roll; some of these had a small cuff at the wrist or a frill.
+Braided designs became very elaborate on a close-fitting, padded, and
+round-shaped jerkin with a short skirt, which appeared in the first
+reign, and this skirt was often long enough to fasten just under the
+codpiece. Short trunks at times worn half-way down the thigh were
+slashed, banded, and puffed for decoration. No parti-colour was now worn
+or striped effects on tights, except amongst the soldiers in the reign
+of Mary. Short capes to the length of the trunks of a plain round form
+sloping from the shoulders, or a square type with a high square collar
+and loose sleeves, are seen; a tunic also of the earlier character with
+a <span class="f">V</span>-shaped collar and full sleeve comes into this reign, and we note the
+earlier types of shoes mingling with the newer pointed oval-shaped shoe
+which now continued for the remainder of this century.</p>
+
+<p><a name="Page_130" id="Page_130"></a><a id="fig052" name="fig052"></a></p>
+<div class="figcenter">
+<img src="images/fig052.png" width="738" height="423"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 52.</span>&mdash;Costumes, 1554-1580.</p>
+</div>
+
+<p><a name="Page_131" id="Page_131"></a><a id="fig053" name="fig053"></a></p>
+<div class="figcenter">
+<img src="images/fig053.png" width="615" height="459"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 53.</span>&mdash;Costumes, 1570-1605.</p>
+</div>
+
+<p>In Mary's reign the round-shaped doublet began to protrude from the
+breast to the waist in a round form with slightly longer skirts or small
+tabs, while the trunks<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span> assumed large circular proportions and were
+sometimes set on tight knee-breeches. The capes remained about the same.</p>
+
+
+<h3><a name="V_SIXTEENTH_ELIZABETH_FEMALE" id="V_SIXTEENTH_ELIZABETH_FEMALE"></a>SIXTEENTH CENTURY. ELIZABETH. FEMALE.</h3>
+
+<p>The costly splendour of attire is well known in Elizabeth's reign, which
+began with the same form of hair and head-dress as with Mary, the hat
+being set rather higher on the hair. The ruffs, which were imported
+already starched from Holland, assumed larger proportions and
+complications when the methods of starching became known in England
+about 1564. Stow describes ruffs growing to a quarter of a yard deep;
+these were no doubt supported by piccalilloes, though they are not
+actually mentioned till after 1600, but they surely came with the
+fan-shaped structures of these later days. White, red, blue or purple
+colours were used in the starching, and yellow in the latter days of
+this century. The introduction of this curved fanlike collar setting
+became a grand and complicated feature right into the 17th century.
+"Make up" became very apparent on the faces at this time,<span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span> for
+Bishop Hall censured the fashion in a choice sermon, saying, "Hear this,
+ye plaster-faced Jezabels! God will one day wash them with fire and
+brimstone."</p>
+
+<p><a name="Page_134" id="Page_134"></a><a id="fig054" name="fig054"></a></p>
+<div class="figcenter">
+<img src="images/fig054.png" width="710" height="444"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 54.</span>&mdash;Elizabethan modes.</p>
+</div>
+
+<p><a id="plate12" name="plate12"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate12thumb.jpg" width="402" height="259" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate12full.jpg">larger image</a></p>
+<p class="caption">Plate XII.</p>
+<ul>
+<li>(<i>a</i>) Lady's Outdoor Costume. 1785-95.</li>
+<li>(<i>b</i>) Costume. Early 18th Century.</li>
+<li>(<i>c</i>) Silk Brocade Dress. 1760-80.</li>
+</ul>
+</div>
+
+
+<p><a name="Page_135" id="Page_135"></a><a id="fig055" name="fig055"></a></p>
+<div class="figcenter">
+<img src="images/fig055.png" width="738" height="426"
+     alt="1585-1610&mdash;1600-1620&mdash;1595-1605&mdash;1605-15&mdash;1589-1600" title="See caption" />
+<p class="caption smcap">Fig. 55.</p>
+</div>
+
+<p>The bodices grew very long and pointed in the waist, the neck setting
+being mostly treated in the same <span class="f">V</span> shape, even open down to the waist
+point was filled with a decorated stomacher, and a deep oval-shaped neck
+was seen at the end of the reign. An outer opened sleeve was now
+favoured, caught in front at the elbow and hanging to the knee over a
+fairly tight undersleeve with a turned-back lace cuff or ruffle. With
+this came the high-set fan ruff on its wooden support at the back of the
+neck, and consequently a higher coiffure.</p>
+
+<p><a name="Page_137" id="Page_137"></a><a id="fig056" name="fig056"></a></p>
+<div class="figcenter">
+<img src="images/fig056.png" width="758" height="343"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 56.</span><br />
+Nos. 1, 2, 3, 1540-50, and other shoe forms worn in the reign of
+Elizabeth.</p>
+</div>
+
+<p>The same character of skirt continued as in the earlier reigns on hoops
+at the lower part, but they became much fuller and rounder at the hips
+till about 1590, when the full pleated skirt was supported on a
+farthingale or hoop which was set with a gathered circle in the same
+goffered design as the ruffs at the edge. These reached their extreme
+dimensions at the end of this reign, when the sleeves also assumed a
+full padded shape and large<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span> epaulets also came in. An overdress with a
+full pleated back (like the Watteau dress) was in fashion from the
+middle of this reign, and we are lucky to possess some specimens in the
+Victoria and Albert Museum of which I am able to give the dimensions.
+Small looking-glasses were carried, and were also inset on the round
+feather fans. Perfumed gloves, elaborately embroidered, were introduced
+during this reign. Silk stockings were worn by Elizabeth for the first
+time in 1560, and worsted stockings were made in England in 1564.
+Corsets of pierced steel are seen in France from the late 16th and 17th
+century, and may have been in use here, though wood, cane, and whalebone
+were the chief supports. Shoes became narrow and even pointed, while the
+heel began to increase to considerable heights. The buskins of Queen
+Elizabeth now at Oxford are raised to 3 inches in height by the aid of a
+thick sole, and shoes A and B, Fig. <a href="#fig061">61</a>, are also reported to have
+belonged to her. Chopins for heightening the stature were in use on the
+Continent, but I believe did not appear here; but very thick corked
+soles and high heels were introduced for this purpose.</p>
+
+<p><a id="plate13" name="plate13"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/plate13thumb.jpg" width="402" height="269" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate13full.jpg">larger image</a></p>
+<p class="caption">Plate XIII.</p>
+<ul>
+<li>(<i>a</i>) Silk Coat. 1735-55.</li>
+<li>(<i>b</i>) Brocade Silk Coat. 1745-60. <i>Pattern, see p. <a href="#Page_308">308</a>.</i></li>
+<li>(<i>c</i>) Embroidered Cloth Coat. 1770-90.</li>
+</ul>
+</div>
+
+
+<h3><a name="V_SIXTEENTH_ELIZABETH_MALE" id="V_SIXTEENTH_ELIZABETH_MALE"></a><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span>SIXTEENTH CENTURY. ELIZABETH. MALE.</h3>
+
+<p>In this reign a very neat small-pointed beard was the fashion, the hair
+being brushed up as high as possible and often fulled out at the sides,
+and a "chic" appearance was sought after. A stiff belled top-hat with an
+egret at the right side made its first appearance with a curved brim,
+also one of a tapered shape with a smallish round brim, and another very
+small round hat with a curved brim, a clasp and feather being mostly
+worn on the front of each. The brims of all the hats began to enlarge at
+the end of the century when the very high crowned wide brimmed hat made
+its appearance, sometimes with a peaked top, and beaver is first
+mentioned in their make.</p>
+
+<p>Large circular ruffs became all the rage besides the small turned-over
+collar. The round doublet with protruding front became tighter at the
+waist, the protuberance taking a punchlike pointed form curving to
+almost between the legs and sloping sharply up the hips to the back.
+This was set with a very short tab or tabs on<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span> padded breeches
+tightening to the knee, which usually had very small trunks on the upper
+part, and large, stuffed trunk hose also appeared. The stockings were
+brought over these in a roll above the knee. Up to this time tights were
+made of wool, worsted, fine cloth, frieze, and canvas. The slashings,
+pleating, and gatherings of the period were of a much neater character,
+and punched patterns and pricked materials came into use.</p>
+
+<p>Close-fitting high boots, generally with serrated tops and thick soles
+curving into a short heel, are features of this time. The shoe had a
+long front decorated with slashings (often caught with jewels), and an
+oval toe which became almost pointed in the last years of this century.
+A short top-boot rising to the calf was also in use, mostly with a
+little fur edge at the top, and these were often pricked with patterns.</p>
+
+<p><span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span><a id="fig057" name="fig057"></a></p>
+<div class="figcenter">
+<img src="images/fig057.png" width="772" height="473"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 57.</span>&mdash;Elizabethan modes.</p>
+</div>
+
+
+
+
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span></h2>
+
+
+<h3><a name="VI_TRIMMINGS_SEVENTEENTH" id="VI_TRIMMINGS_SEVENTEENTH"></a>THE CHARACTER OF TRIMMINGS THROUGH THE SEVENTEENTH CENTURY.</h3>
+
+<h4><a name="VI_TRIMMINGS_JAMES_I" id="VI_TRIMMINGS_JAMES_I"></a>JAMES I.</h4>
+
+<p>The braiding and small slashing continued of a similar character to the
+end of the Elizabethan age. The slashing now began to be treated with a
+larger effect and less elaboration, but pricking and punching were still
+much used for enriching surfaces. An improved style of design was
+evident.</p>
+
+<p>The female bodice was arranged with a long stomacher, often shaped into
+curved forms at the point, and this was set with jewels or embroidery,
+otherwise the bodice was decorated with braiding and jewels as in
+Elizabeth's reign. The full sleeves were embellished with small slashes
+(making diamond squares), puffs, or<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span> pricked and punched designs. A
+turned-up cuff or ruff of pointed lace finished the wrist, braided
+epaulets formed a beautiful feature of the effect, and the front of the
+underskirt was decorated with a jewelled band or conventional design, as
+was also the border of the overskirt. Caps of an interesting curved form
+beautifully embroidered in gold and coloured silks are seen, of which I
+give patterns; also loose jackets of the same work were in use when not
+in full dress.</p>
+
+
+<h4><a name="VI_TRIMMINGS_CHARLES_I" id="VI_TRIMMINGS_CHARLES_I"></a>CHARLES I.</h4>
+
+<p>Many beautifully embroidered caps, jerkins, jackets, and shirts are seen
+at this period in gold and black or coloured silks. Slashings of this
+reign, though in fashion, had commenced to go out; and those retained
+were of a large character, mostly from the neck or shoulder to the
+breast. The favoured sleeves were cut into straps to the elbow or wrist,
+and were often edged with braid, either side meeting together and lining
+the forearm, the body being treated in the same way. The open-fronted
+sleeve was set with buttons<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span> and loops or long braided buttonholes with
+frayed or knotted ends, though these were not generally fastened. The
+tight undersleeve was often set with gold or silver narrow braids down
+the front and back seams, and close lines of small braids horizontally
+round the arm, or vertically when the outer sleeve was treated
+horizontally, this gave a beautiful counterchanged effect.</p>
+
+<p>Many of the ladies' caps of this time had beautiful gold scrolls, with
+flowers and birds embroidered in coloured silks, also loose jackets of
+the same were in use. The bodice was banded with braids or lace on the
+front and seams, and the stomacher was often of fine embroidery; set
+rosettes or bows were placed at the waist. Other finishing effects of
+collar or sleeve, and the button and buttonhole decorations were made
+important features on both male and female sleeves, and even down the
+front of the outer skirt when it was not treated with lace. Red heels to
+shoes began to be worn and continued to the end of the 18th century in
+marked favour.</p>
+
+
+<h4><span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span><a name="VI_TRIMMINGS_COMMONWEALTH" id="VI_TRIMMINGS_COMMONWEALTH"></a>THE COMMONWEALTH.</h4>
+
+<p>During this short period the character and placing of braiding was the
+same as in the latter part of last reign; slashing had almost completely
+gone out, except for the treatment of some ladies' sleeves cut into
+bands. A very sober effect was assumed in colour schemes, besides a
+plainer treatment in decoration, and a deep plain collar or a small
+turn-over one was chiefly worn by the men, while the hat of the Puritan
+rose to an absurd height, with a wide flat brim.</p>
+
+
+<h4><a name="VI_TRIMMINGS_CHARLES_II" id="VI_TRIMMINGS_CHARLES_II"></a>CHARLES II.</h4>
+
+<p>This may be named the period of ribbon trimmings, though braiding was
+treated in broad lines on the short jackets and sleeves, and down the
+sides of the breeches. A preference is shown for gold and silver lace,
+or amongst the élite purfled silk edges; the new mode being a decoration
+of groups of ribbon loops placed about the suit or dress. The notable
+feature with the female dress was the gathering of drapery by means of
+jewelled clasps, and groups of ribbon loops were also used,<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span> as with the
+male dress. The edges of the materials were sometimes cut into scalloped
+or classic forms, and a very simple voluminous character was fashion's
+aim.</p>
+
+
+<h4><a name="VI_TRIMMINGS_JAMES_II" id="VI_TRIMMINGS_JAMES_II"></a>JAMES II AND WILLIAM AND MARY.</h4>
+
+<p>With the later type of long-skirted coat which began in Charles II's
+reign, a heavy style of braiding and buttoning came into vogue, all the
+seams of the coat besides the pockets and cuffs and fronts being
+braided, which fashion continued to the end of the century. Many coats
+began to be embroidered in the later reign, and waistcoats became a
+special feature for the display of fine needlecraft on the fronts and
+pockets, while quilting or imitations of it in various needlework
+designs are often seen. In the female dress a more elaborate interest
+was again taken in the stomachers and the jewelled claspings, while
+lengths of soft silk gathered into long puffs often edged the outer
+skirts or were used in smaller trimmings, and "classical" shapings of
+the edges of materials and sleeves are often seen, also heavy bands of
+rich embroidery bordered the underskirt or train.</p>
+
+
+<h3><span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
+<a name="VI_SEVENTEENTH_JAMES_I_FEMALE" id="VI_SEVENTEENTH_JAMES_I_FEMALE"></a>
+SEVENTEENTH CENTURY. JAMES I. FEMALE.</h3>
+
+<p>We find much the same high forms of set-up head-dress continuing in
+fashion as in the later years of Elizabeth's reign; but the hair began
+to take a fuller shape, rather round, done up in tight frizzled curls,
+with the usual decorations of jewels, pearls, or set bows of this
+period. Hats with high crowns and small straight brims, with an upright
+set of small plumes, gradually assumed a larger brimmed character&mdash;often
+turned up on one side. The same absurd pleated hoop, with its hanging
+skirt, continued for some time (worn rather short); but we also see the
+longer and very full hooped-out skirt, with an overskirt opened in the
+front. The stomacher front became much enlarged during this reign, many
+having shaped designs at the point. Most bodices took a very deep curved
+front at the neck, and large padded sleeves narrowed at the wrist still
+continued, besides the high fan collar at the back of the neck, and
+large ruffs were used by many. There also appeared, later in the reign,
+a stiff round collar, set high in the neck, cut off straight across<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span>
+the front, and the bodice took a very low square-cut neck, with a raised
+curved shape at the centre of neck. The tighter sleeve was also worn
+throughout this time, with the overdress and sleeve hanging almost to
+the ground, which often had a very angular cuff. A little later some
+sleeves began to be gathered at intervals into puffy forms. The waist
+also showed signs of shortening.</p>
+
+<p><a name="Page_148" id="Page_148"></a><a id="fig058" name="fig058"></a></p>
+<div class="figcenter">
+<img src="images/fig058.png" width="452" height="759"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Fig. 58.</p>
+</div>
+
+<p><a name="Page_149" id="Page_149"></a><a id="fig059" name="fig059"></a></p>
+<div class="figcenter">
+<img src="images/fig059.png" width="442" height="748"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 59.</span>&mdash;Costumes. Period, James I.</p>
+</div>
+
+<p>Shoes with rounded toes and latchets holding large rosettes were chiefly
+worn, and heels of various heights are seen. Chopins, still worn on the
+Continent, do not seem to have appeared here.</p>
+
+
+<h3><a name="VI_SEVENTEENTH_JAMES_I_MALE" id="VI_SEVENTEENTH_JAMES_I_MALE"></a>SEVENTEENTH CENTURY. JAMES I. MALE.</h3>
+
+<p>The hat was of the high-crowned type, perhaps higher than in the last
+reign. The brim had broadened, and feathers were placed upwards
+fantastically at the back and sides of crown. Brims were often fastened
+up on the right side with a jewel; otherwise a band was buckled in
+front. The hair was now allowed to fall longer again, and a pointed or
+square-shaped beard with a brushed-up moustache was the mode. Ruffs both
+large and small surrounded the<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> neck, and a flat fan-shaped collar
+was seen in the earlier years.</p>
+
+<p><a id="plate14" name="plate14"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate14thumb.jpg" width="389" height="268" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate14full.jpg">larger image</a></p>
+<p class="caption">Plate XIV.</p>
+<ul>
+<li>(<i>a</i>) Embroidered Silk Dress with Pannier. 1765-80. <i>Pattern of bodice, p. <a href="#Page_322">322</a>.</i></li>
+<li>(<i>b</i>) Brocade Dress and Quilted Petticoat. 1750-65.</li>
+</ul>
+</div>
+
+<p><a name="Page_151" id="Page_151"></a><a id="fig060" name="fig060"></a></p>
+<div class="figcenter">
+<img src="images/fig060.png" width="780" height="452"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 60.</span>&mdash;Costumes. Period James I.</p>
+</div>
+
+<p>The jerkin was close fitting and the length of the waist more normal,
+with less tendency to being tightened in, and not so deep in the front
+point, so as to set better over the very full trunks or breeches. The
+square tabs of the jerkin increased in size, and soon formed large flaps
+divided into three or four, to the centre of the back. Sleeves were
+fairly tight and started from slightly larger epaulets, and were usually
+set at the wrist, either with a small ruff or turned-up lawn cuff, edged
+with lace.</p>
+
+<p>The trunks were padded in a very full shape and were much longer, just
+above the knee. Also full padded-out breeches tapering to the knee or
+just above, where a large tie and bow hung at the side, and full square
+breeches not tied in, are also a feature of these days, usually banded
+with wide braids at ends and sides. Upright pockets were made on either
+side towards the front, about two inches from the side seams. They
+fastened up the front in a pleated fold, many being decorated with
+punched, pricked, or slashed design of a smallish character.</p>
+
+<p><a name="Page_153" id="Page_153"></a><a id="fig061" name="fig061"></a></p>
+<div class="figcenter">
+<img src="images/fig061.png" width="768" height="496"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 61.</span>&mdash;Shapes of Shoes from 1590-1650.</p>
+</div>
+
+<p>Cloaks were worn longer to the knee,<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span> retaining the same shapes and
+braid decoration as in the Elizabethan period, and hanging sleeves were
+still worn on them, as well as on some of the jerkins.</p>
+
+<p>Shoes became fuller and rounder at the toes, mostly with thick welted
+soles and short heels, or none. They were fastened with a large rosette
+of gold lace or ribbon on the front, and the latchets were set back to
+show an open side. The top-boots were close fitting and took squarer
+toes; the spur flap being rather small. Beautifully embroidered clocks
+are seen on the tights and stockings of this period.</p>
+
+
+<h3><a name="VI_SEVENTEENTH_CHARLES_I_FEMALE" id="VI_SEVENTEENTH_CHARLES_I_FEMALE"></a>SEVENTEENTH CENTURY. CHARLES I. FEMALE.</h3>
+
+<p>The hair was now allowed to fall in ringlets round the back and sides,
+with a few flat curls on the brow, and a bow and pearls were caught in
+at the sides. Short feathers may also be noted in use. A plait was often
+coiled at the back after 1630.</p>
+
+<p><a id="plate15" name="plate15"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate15thumb.jpg" width="394" height="264" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate15full.jpg">larger image</a></p>
+<p class="caption">Plate XV.</p>
+<ul>
+<li>(<i>a</i>) White Cloth Coat. 1775-90.</li>
+<li>(<i>b</i>) Silk Dress. 1740-60.</li>
+<li>(<i>c</i>) Embroidered Velvet Coat. <ins class="correction" title="1753 in ToC">1755</ins>-75.</li>
+</ul>
+</div>
+
+<p><a name="Page_155" id="Page_155"></a><a id="fig062" name="fig062"></a></p>
+<div class="figcenter">
+<img src="images/fig062.png" width="622" height="459"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Fig. 62.</p>
+</div>
+
+<p><a name="Page_156" id="Page_156"></a><a id="fig063" name="fig063"></a></p>
+<div class="figcenter">
+<img src="images/fig063.png" width="469" height="747"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 63.</span><br />
+Collar and Bodice types. Period Charles I.</p>
+</div>
+
+<p><a name="Page_157" id="Page_157"></a><a id="fig064" name="fig064"></a></p>
+<div class="figcenter">
+<img src="images/fig064.png" width="444" height="645"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 64.</span><br />
+Collar and Bodice types. Period Charles I to 1660.</p>
+</div>
+
+<p>In the early part of this reign the ladies were wearing the long
+corset-bodice, with a richly decorated stomacher which curved outwards
+to set on the very full skirts; this often finished with a curved or
+foliated<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span> shape at the point. Square starched collars, rounded at
+the back, sometimes set up at the back of the neck or flat on the
+shoulder, and ruffs were still seen round the neck with collars as well,
+but they were seldom met with after 1635. A plainer, deep collar, flat,
+round, or <span class="f">V</span>-shaped at the back, coming well over the shoulders, was
+caught together by a bow or ornament in front. About 1630 shorter
+waisted bodices came in, with full, loose sleeves set in epaulets: the
+neck shape was rounded or square. The bodices were often slashed, and
+the full sleeves, cut into bands, were sometimes gathered by cross bands
+from one to three times. Full plain sleeves, opened in the front seam,
+were also clasped at the elbow in a like manner. Outer short sleeves
+became a feature, opening in the front, showing the full under one or a
+tight one; the waist became very short and its tabs larger. A waistband
+fastened in the stomacher with a bow either side and bows with long gold
+tags decorated the waist as in the male jerkin. The skirt decorated by a
+band of ornament down the front was often tied upon the corset-bodice,
+the front point being left outside. Shoes of the same shape as the male
+illustrations,<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span> with very square toes, were frequent, but an oval toe,
+rather pointed, is seen in many pictures, with the large lace rosettes
+in front. Muffs are first noticed in these days, though they were seen
+much earlier on the Continent.</p>
+
+<p><a name="Page_159" id="Page_159"></a><a id="fig065" name="fig065"></a></p>
+<div class="figcenter">
+<img src="images/fig065.png" width="474" height="754"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 65.</span>&mdash;Period 1625-1660.</p>
+</div>
+
+
+<h3><a name="VI_SEVENTEENTH_CHARLES_I_MALE" id="VI_SEVENTEENTH_CHARLES_I_MALE"></a>SEVENTEENTH CENTURY. CHARLES I. MALE.</h3>
+
+<p>The hair was worn loose to the shoulders, and a small plait was
+sometimes arranged on the left side, brought to the front of shoulder.
+The beard was trimmed to a pointed shape, and smarter curled moustaches
+were fashionable. Hats were still high in the crown, but rather lower
+than with James I; the large brims were turned about in various curves,
+and feathers were worn falling over the brims to the side or back.</p>
+
+<p>The jerkin was high in the collar, supporting a large, square, turn-down
+collar edged with pointed lace to the shoulders, or a small, plain,
+turn-over collar; ruffs are very rarely seen after 1630.</p>
+
+<p><a name="Page_161" id="Page_161"></a><a id="fig066" name="fig066"></a></p>
+<div class="figcenter">
+<img src="images/fig066.png" width="439" height="773"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 66.</span>&mdash;Charles I.</p>
+</div>
+
+<p><a name="Page_162" id="Page_162"></a><a id="fig067" name="fig067"></a></p>
+<div class="figcenter">
+<img src="images/fig067.png" width="774" height="419"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 67.</span>&mdash;Period 1625-1660.</p>
+</div>
+
+<p><a name="Page_163" id="Page_163"></a><a id="fig068" name="fig068"></a></p>
+<div class="figcenter">
+<img src="images/fig068.png" width="771" height="388"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 68.</span>&mdash;Period 1625-1660.</p>
+</div>
+
+<p>A rather short waist grew shorter during this reign, with much larger
+tabs, or large flaps laced to the body, forming a series of bows with
+long gilt tags round the waist.<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span> The body is usually decorated with
+long slashes from the shoulders to the breast, or the full length, and a
+long slashed opening is often seen in the back (presumably to give more
+play to the sword-thrust). The sleeve is also treated in the same way to
+the elbow or waist. All sleeves start from a stiff epaulet. Breeches are
+both very full and fairly tight, the latter edged with a purfling of
+silk or gold lace as well as the sides, the former shape tied either
+above or below the knee with a large silk bow with falling ends. They
+were held up by a number of hooks, fastening to a small flap with
+eyelets, round the inside of the doublet (see pattern <a href="#pattern11">11</a>, p. <a href="#Page_295">295</a>), and
+were buttoned down the front, the buttons being half hidden in a pleat.
+The pockets were placed vertically in the front of the thigh, and were
+frequently of a decorative character.</p>
+
+<p>A short or long circular cloak was worn, and a coat-cloak with opened
+sleeves is an interesting garment. These coverings were hung in various
+ways from the shoulders by methods of tying the cords across the body.</p>
+
+<p><a name="Page_165" id="Page_165"></a><a id="fig069" name="fig069"></a></p>
+<div class="figcenter">
+<img src="images/fig069.png" width="764" height="465"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 69.</span>&mdash;Period 1625-1660.</p>
+</div>
+
+<p><a name="Page_166" id="Page_166"></a><a id="fig070" name="fig070"></a></p>
+<div class="figcenter">
+<img src="images/fig070.png" width="461" height="735"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 70.</span>&mdash;Shoe shapes. Charles I to 1700.<br />
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 23. Charles I.<br />
+Nos. 9, 10, 11, 12, 13, 14, 15, 16, 17, 25. Charles II.<br />
+Nos. 18, 19, 20, 21, 22, 24, 26, 27, 28. James II and William and Mary.</p>
+</div>
+
+<p><a id="plate16" name="plate16"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate16thumb.jpg" width="404" height="264" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate16full.jpg">larger image</a></p>
+<p class="caption">Plate XVI.</p>
+<ul>
+<li>(<i>a</i>) Silk Brocade Dress. 1740-60.</li>
+<li>(<i>b</i>) Silk Brocade Sack-back Dress. 1755-75. <i>Pattern, see p. <a href="#Page_334">334</a>.</i></li>
+<li>(<i>c</i>) Dress of Striped Material. 1775-85. <i>Pattern, see p. <a href="#Page_335">335</a>.</i></li>
+</ul>
+</div>
+
+<p><a name="Page_167" id="Page_167"></a><a id="fig071" name="fig071"></a></p>
+<div class="figcenter">
+<img src="images/fig071.png" width="453" height="755"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 71.</span>&mdash;Boot shapes. Charles I to 1700.<br />
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9. Charles I.<br />
+Nos. 10, 11, 12, 13, 14, 15. Charles II.<br />
+Nos. 16, 17, 18. James II and William and Mary.</p>
+</div>
+
+<p>Shoes became very square at the toes, or blocked as in Fig. <a href="#fig070">70</a>, No. 6.
+The fronts<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span> were set with large rosettes of silk and silver or gold
+lace, the heels varied much in height, that mostly favoured being a
+large, low heel. A quaint fashion of shoe combined with a clog sole was
+an interesting shape (see illustration of clogs, p. <a href="#Page_106">106</a>). Fairly tight
+top-boots, coming well above the knee, were often turned down. Other
+boots with large bell-tops, turned over or pushed down, were covered or
+filled with a lace or bell-shaped stocking-top. A sash was worn round
+the waist or across the body over the left shoulder (the length and
+width of these is given in the description of patterns, p. <a href="#Page_279">279</a>). A broad
+belt, or sword-hanger, came across the right shoulder. Gloves were
+beautifully embroidered in gold, pearls, or coloured silks, the
+gauntlets being from five to eight inches deep.</p>
+
+
+<h3><a name="VI_SEVENTEENTH_COMMONWEALTH" id="VI_SEVENTEENTH_COMMONWEALTH"></a>SEVENTEENTH CENTURY. THE COMMONWEALTH. MALE AND FEMALE.</h3>
+
+<p>The same shapes apply to costume during the Commonwealth, though a
+sterner effect was given by the choice of plain decoration and less
+colour. A small or a large plain collar, and the disappearance of
+slashings<span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span> on the coat, and a longer skirt became noticeable. A very
+high tapered hat, with stiff circular brim, was worn by the Puritans,
+and little, close, black hoods were much favoured. A general reaction
+from gay extravagance set in.</p>
+
+
+<h3><a name="VI_SEVENTEENTH_CHARLES_II_FEMALE" id="VI_SEVENTEENTH_CHARLES_II_FEMALE"></a>SEVENTEENTH CENTURY. CHARLES II. FEMALE.</h3>
+
+<p>The hair was set out from the head on combs with falling ringlets, and
+several small flat ringlets were placed on the forehead. The back of the
+hair was plaited into a knot, and pearl strings were interlaced, or
+ribbon loops caught in at either side. Toward 1680 the hair was worn
+tightly curled and fulled out into a round shape with a curl or two
+falling on the front of the shoulders; small feathers or long feathers
+were also worn. Hats were of a similar shape to those of the last reign,
+with a stiffer and narrower curved brim; but the chief head-dress was a
+large hood faced with another material, which latter was tied under the
+chin; these mostly formed part of a cape also.</p>
+
+<p><a name="Page_170" id="Page_170"></a><a id="fig072" name="fig072"></a></p>
+<div class="figcenter">
+<img src="images/fig072.png" width="682" height="462"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 72.</span>&mdash;Period 1650-1685.</p>
+</div>
+
+<p><a id="plate17" name="plate17"></a></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/plate17thumb.jpg" width="387" height="261" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate17full.jpg">larger image</a></p>
+<p class="caption">Plate XVII.</p>
+<ul>
+<li>(<i>a</i>) Silk Suit. 1765-80.</li>
+<li>(<i>b</i>) Quilted Dress. 1700-25.</li>
+<li>(<i>c</i>) Silk-embroidered Suit. 1765-80.</li>
+</ul>
+</div>
+
+<p><a name="Page_171" id="Page_171"></a><a id="fig073" name="fig073"></a></p>
+<div class="figcenter">
+<img src="images/fig073.png" width="456" height="610"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 73.</span><br />
+1, 2, 3, 4.&mdash;Back and Front of two Corset Bodices. Period Charles II.<br />
+5, 6.&mdash;Two Corsets. Period Charles II.<br />
+7, 8.&mdash;Two Bodice types. Period Charles I.</p>
+</div>
+
+<p>The bodice again became much longer and of a pointed shape, but many
+corset bodices took a round point, and a round<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span> neck coming well off
+the shoulders became general, usually decorated with a plain wide band
+of lace. Ruffs and collars were no longer seen amongst the upper
+classes. Very full sleeves and large opened sleeves were tied or clasped
+over full lawn ones, and at times separated from the shoulders, being
+caught effectively with jewels. Groups of ribbons were placed at the
+breast or point of the bodice, and the ends of sleeves or shoulders,
+besides at the fronts of the outer skirt when divided, also in the
+gathering of the lawn sleeves. Stomachers were not much worn, but a
+drape of soft silk was caught here and there round the neck of bodice,
+and large draperies were clasped to the shoulders. Loose robes and robes
+shaped to the figure, opening down the front from the neck even to the
+waist, with a clasp or several holding them together; these were worn
+over a quilted linen corset laced in front as in the illustration, but
+the bodice was often formed on a corset. Long gloves and mittens were in
+use, and small muffs with ribbon loops on the front were carried.
+High-heeled shoes with very long square toes were affected in imitation
+of the male shoe, but most ladies now began to wear a very pointed
+shoe.<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span></p>
+
+<p><span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span><a id="fig074" name="fig074"></a></p>
+<div class="figcenter">
+<img src="images/fig074.png" width="432" height="759"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 74.</span>&mdash;Sleeve treatments. Period Charles II.</p>
+</div>
+
+
+<h3><a name="VI_SEVENTEENTH_CHARLES_II_MALE" id="VI_SEVENTEENTH_CHARLES_II_MALE"></a>SEVENTEENTH CENTURY. CHARLES II. MALE.</h3>
+
+<p>Long hair or wigs of long curls falling on the shoulders, a very narrow
+moustache and point of beard on the chin came with this reign. Lace
+collars of a smaller square or rounded shape were in use, but a fall of
+lace pleated in the centre soon took its place. High-crowned hats with a
+band and bow in front and a flat, waved, or curved brim, with feathers
+on either side or all round, were the fashion, the crowns becoming
+shorter during the reign; the fronts and sometimes the sides of the brim
+are seen turned up, and so begins to form the three-cornered hat, which
+remained so long a feature in history.</p>
+
+<p><a name="Page_175" id="Page_175"></a><a id="fig075" name="fig075"></a></p>
+<div class="figcenter">
+<img src="images/fig075.png" width="702" height="443"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 75.</span>&mdash;Period Charles II.</p>
+</div>
+
+<p>We find with extravagant shapes a happy return of gay colours. The
+high-waisted jerkins of the Charles I period were now seen without the
+skirt (as very short jackets), leaving the lawn shirt to show between
+this and the breeches, besides which the jackets were nearly always left
+unbuttoned several inches up, some being cut away in a rounded shape and
+also having short sleeves. The lower arm was<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span> covered with a full lawn
+sleeve caught at two or even three distances with a loop of ribbons or
+bows, and finishing with a wide lace frill; a bunch of ribbon loops was
+also often seen on the right shoulder. A long circular cloak, with
+turned-back fronts forming a collar in many, still retained the hanging
+sleeve, and was mostly decorated with bands of heavy braid. A long
+square coat also came in about 1666, buttoned right down the front, with
+pockets set very low in the skirt, and large narrow cuffs opened at the
+back as in Plate <a href="#plate08">VIII</a> (see p. <a href="#Page_90">90</a>).</p>
+
+<p>Very full breeches were worn to just about the knee or shorter, with a
+fringe of ribbon loops, and a row or several rows of the same were
+arranged at the waist. A short petticoat just showed the under breeches,
+many of which were turned into a doublet shape by an additional piece
+looped up loosely from the knee with a silk filling; the ribbon loops at
+the waist were repeated up the sides of the petticoat. Silk garters were
+worn with bows on both sides of the leg, or a deep lace fall came from
+the end of the breeches to the middle of the calf; a lace setting also
+filled the wide top of the boots, which was worn very low, even to the
+ankles. These short<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span> bell-topped boots were favoured, with high heels
+and very square toes. Shoes were long and square (or duck-billed) at the
+toes; and had a high narrow front to the instep, and latchets fastened
+with a stiffened butterfly bow, besides, at times, a rosette lower down
+on the front: red heels were in evidence. The sword-band was very wide,
+and many were decorated with gold embroidery.</p>
+
+<p><a name="Page_177" id="Page_177"></a><a id="fig076" name="fig076"></a></p>
+<div class="figcenter">
+<img src="images/fig076.png" width="758" height="453"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 76.</span>&mdash;Costume types. Period Charles II.</p>
+</div>
+
+
+<h3><a name="VI_SEVENTEENTH_JAMES_II_FEMALE" id="VI_SEVENTEENTH_JAMES_II_FEMALE"></a>SEVENTEENTH CENTURY. JAMES II. FEMALE.</h3>
+
+<p>The hair was still worn full at the sides over a comb, as in the former
+reign, with curls dropping to the shoulders, but they now began to
+discard the set-out comb and the little flat curls on the forehead, the
+hair being of a round shape or parted from the centre and mounted higher
+and narrower on the head, in the latter part of this reign. The same
+large hoods and drapes continued in use, and a high goffered head-dress
+with set-out front began to appear; the same shaped bodice with round
+low neck showing the shoulders, often set with a stomacher front or
+jewelled in that form, and smaller decorations of ribbon loops were
+still favoured. A smaller and<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span> shorter sleeve began to appear with a
+turned-up cuff, and the gathered-in lawn sleeves and ruffles caught here
+and there with pearls or clasps as before, besides the same light
+drapery clasped about the breast front. The overskirt was now looped
+back, the points being held together, giving a wide display of the
+underskirt, which was heavily banded or had a jewel setting down the
+front. Other train skirts, also divided in front, were bordered with
+drawn silk caught at intervals into long puffs. Very small muffs were
+the fashion. Shoes increased their pointed shape and rather large heels
+are to be noted, but some shoes assumed a very narrow square toe; they
+were either tied from small latchets with a bow, or with buckled
+latchets. Longer gloves were worn, and large full cloaks with hoods or
+large drapery wraps when required for outdoor wear.</p>
+
+<p><a name="Page_179" id="Page_179"></a><a id="fig077" name="fig077"></a></p>
+<div class="figcenter">
+<img src="images/fig077.png" width="448" height="709"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 77.</span>&mdash;Costume notes. Period 1670-1690.</p>
+</div>
+
+
+<h3><a name="VI_SEVENTEENTH_JAMES_II_MALE" id="VI_SEVENTEENTH_JAMES_II_MALE"></a>SEVENTEENTH CENTURY. JAMES II. MALE.</h3>
+
+<p>The same long wig was worn as in the last reign, but the curls were more
+of a set ringlet type, and embroidered caps were worn when these were
+taken off. The face was now clean shaven until the 19th<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span> century. Hats
+also of the older character were retained, but the turned-up
+three-cornered shape, filled with short feathers, became more settled in
+fashion, and they were heavily banded with gold braid or lace on the
+edge.</p>
+
+<p><a name="Page_181" id="Page_181"></a><a id="fig078" name="fig078"></a></p>
+<div class="figcenter">
+<img src="images/fig078.png" width="452" height="754"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 78.</span>&mdash;Period 1690-1700.</p>
+</div>
+
+<p>A smart bow was worn crosswise over the folded lace fall at the neck.
+The coat was a very long square shape to the knees, the stiff skirt
+often set out over rather full breeches, which were sometimes "shorts,"
+and just above the knee, the stocking being often brought up above the
+knee, with a garter just below. The sleeves were short, above or below
+the elbow, with a turned-up cuff, leaving the full-gathered lawn sleeve
+with a lace ruffle to show at the wrist. A sash encircled the waist, and
+often shut in the sword-belt, which hung from the right shoulder. The
+coat had buttons from the neck to the bottom of the skirt, though the
+lower buttons were seldom fastened; the sides of the skirt were opened
+up about 11 inches, and also the back seam to the same height; most
+seams were heavily decorated with gold, silver braid, or lace, and the
+pockets were placed rather low down towards the front of the skirt, and
+were sometimes set vertically.</p>
+
+<p><a id="plate18" name="plate18"></a></p>
+<div class="figcenter" style="width: 440px;">
+<img src="images/plate18thumb.jpg" width="394" height="256" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate18full.jpg">larger image</a></p>
+<p class="caption">Plate XVIII.</p>
+<ul>
+<li>(<i>a</i>) Brocade Bodice. 1770-85.</li>
+<li>(<i>b</i>) Flowered Silk Dress. 1750-70.</li>
+<li>(<i>c</i>) Silk Brocade Bodice. 1780-95.</li>
+</ul>
+</div>
+
+<p><span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span><a id="fig079" name="fig079"></a></p>
+<div class="figcenter">
+<img src="images/fig079.png" width="434" height="748"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 79.</span>&mdash;Period 1688-1702.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span>Long round capes were still worn, without sleeves, and a collar turned
+down about 4 inches.</p>
+
+<p>Shoes of a similar shape to those of the later Charles II type were in
+use, but the heels became larger and the toes not so long; the top of
+the front was sometimes shaped and turned down. Heavy boots to the knee,
+with large curved tops, were also in favour, as in the illustration
+(Fig. <a href="#fig071">71</a>).</p>
+
+
+<h3><a name="VI_SEVENTEENTH_WILLIAM_MARY_FEMALE" id="VI_SEVENTEENTH_WILLIAM_MARY_FEMALE"></a>SEVENTEENTH CENTURY. WILLIAM AND MARY. FEMALE.</h3>
+
+<p>The hair was now mounted high on top and the front parted with two
+curls, the rest of the hair being bound on top, or a curl was arranged
+on either shoulder. A goffered frill head-dress, set on a cap, rose very
+high, and a long fall of lace, or lappets, came down on either side from
+the cap, or was gathered in like a small hood at the back. Bare
+shoulders now began to disappear, the bodice shape coming over the
+shoulder to a <span class="f">V</span> shape enclosing a stomacher, which was sometimes tabbed
+or shaped at the point. Many dresses were made in one length, caught
+together at the waist with a band; the fronts of<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span> these skirts were
+looped back high up, creating a pannier-like fullness at the hips, and
+narrow hoops came in to set out the skirts, many of which were heavily
+embroidered with gold. The Watteau-back dress started in this reign; a
+very early specimen, at the Victoria and Albert Museum, is most probably
+of this time (Fig. <a href="#fig085">85</a>, A). The sleeves worn to the elbow increased in
+width from the shoulder, and were set with large narrow cuffs gathered
+with a jewel or bow on the front<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span> of the arm. Hoods and cloaks of the
+same character as described for the last reign continued, and light
+sticks were carried by the ladies. Very pointed shoes were worn, with
+large high heels, the top of the front flap in some being shaped into
+points. Black masks were frequently used, some having long lace falls.
+Rather small muffs were still the fashion, and beautifully decorated
+short aprons became a feature with the dress.</p>
+
+<p><a id="fig080" name="fig080"></a></p>
+<div class="figcenter">
+<img src="images/fig080.png" width="372" height="314"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 80.</span>&mdash;1688-1698.</p>
+</div>
+
+
+<h3><a name="VI_SEVENTEENTH_WILLIAM_MARY_MALE" id="VI_SEVENTEENTH_WILLIAM_MARY_MALE"></a>SEVENTEENTH CENTURY. WILLIAM AND MARY. MALE.</h3>
+
+<p>Wigs of the same long character continued, and were parted in the centre
+with a raised effect, and variously shaped caps, with turned-up fold or
+brim, were worn when the wig was taken off.</p>
+
+<p>The beaver or felt hat, turned up three-cornerwise, was now in general
+use. It is often seen with the brims loose, or sometimes down,
+especially amongst the lower classes. Both small shapes and large were
+worn.</p>
+
+<p><a id="plate19" name="plate19"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate19thumb.jpg" width="394" height="271" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate19full.jpg">larger image</a></p>
+<p class="caption">Plate XIX.</p>
+<ul>
+<li>(<i>a</i>) Silk Brocade Dress. 1775-85.</li>
+<li>(<i>b</i>) Embroidered Silk Jacket. 1775-90. <i>Pattern, see p. <a href="#Page_326">326</a>.</i></li>
+<li>(<i>c</i>) Brocade Jacket. 1780-95. <i>Cap pattern, see p. <a href="#Page_331">331</a>.</i> <i>Coat pattern, see p. <a href="#Page_348">348</a>.</i></li>
+</ul>
+</div>
+
+<p><a name="Page_187" id="Page_187"></a><a id="fig081" name="fig081"></a></p>
+<div class="figcenter">
+<img src="images/fig081.png" width="452" height="640"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 81.</span>&mdash;Period 1680-1690.</p>
+</div>
+
+<p>Black ties across formal lace cravats, and long lawn cravats, edged with
+lace, one end of which was sometimes caught<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span> up loosely through the
+large buttonhole of the coat were worn. Waistcoats were left open well
+down to the waist; some of these were nearly of the same length as the
+coat, the skirt being often edged with deep gold fringe.</p>
+
+<p>The coats were of much the same character as in the time of James II,
+with buttons all down the front, but now it was the mode to button coats
+just at the waist, allowing the waistcoat to be shown. The sleeves were
+generally longer, to the middle of the forearm, and the turned-back
+cuffs became very large and deep, often towards the end of the reign
+taking a curved shape. The seams, fronts, and pockets were frequently
+braided as before. A long square waistcoat of rich brocade or
+embroidered material, about four inches shorter than the coat, was worn;
+some of these had tight sleeves, which came to the wrist beneath the
+outer coat-sleeve; otherwise a gathered lawn sleeve with ruffle was
+worn.</p>
+
+<p>Shoes and boots were practically the same as in the previous reign, with
+larger high heels and a high square front, with latchets buckled or
+stiffly tied, and very square toes. Top-boots of the same heavy
+character continued as in Plate <a href="#plate02">II</a> (see<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span> p. <a href="#Page_42">42</a>). Stockings continued to
+be worn frequently above the knee outside the breeches, with a garter
+beneath, and beautifully embroidered clocks to the calf. Muffs were
+carried by many men, and the gauntlets of gloves had a very angular
+shape. Patches and make-up were used by the dandies, and the sword was
+now carried through the side pleats on a waist-belt sometimes worn
+outside the waistcoat.</p>
+
+
+
+
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span></h2>
+
+
+<h3><a name="VII_EIGHTEENTH_DECORATION" id="VII_EIGHTEENTH_DECORATION"></a>THE CHARACTER OF DECORATION AND TRIMMINGS OF THE EIGHTEENTH CENTURY.</h3>
+
+<p>In the early part to the middle of this century the trimmings were
+chiefly of gold or silver lace, real lace, and purfled silk, mostly of
+the same material as the dress: a bow was often worn on the breast, and
+also in the front of the sleeve cuff. Purfled or ruched trimming
+generally ran down the front of the dress from the neck to the hem of
+the skirt in the Second Georgian dress, and gathered borders or
+decorations of curved forms were in use. The skirts usually had only one
+flounce till the reign of George III, when the trimmings became more
+elaborate, and gauze and imitation flowers were festooned upon the
+skirts, with ribbons and tassels and padded designs standing out in
+strong<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span> relief; some charming gimp trimmings are also seen.</p>
+
+<p>The lace ruffles of a fan shape which finished the earlier sleeves till
+about 1745 were sometimes of lace, interwoven with gold, silver, and
+coloured silk needlework, and this was no doubt the forerunner of the
+use of the more solid material itself. The setting of the sleeve finish
+is interesting to note all through this period, for it was beautifully
+treated in balancing the effect of the dress. The square cuff with the
+deep lace fall was big in style, and the later closely-fitted elbow
+piece, richly gathered, was happily conceived, but no finer setting
+could have been applied to the sack-back dress than the large fan or
+double fan with its lace fall. The edges of the early fan-finished
+sleeves were of curved and scalloped forms, the latter shaping often
+being seen in the later sleeves.</p>
+
+<p>With George III we notice designs in straw work, decorations of
+imitation flowers in ribbon-work and various materials, and much taste
+in the choice of colour schemes, while the tassels of this period were
+delightful creations. The designs of stuffs at the early part of the<span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span>
+century were generally of fine strong colour blends, but in the middle
+period there was much questionable taste displayed in the heavy massing
+of patterns, but this soon improved with the striped character crossed
+by running flowers which was quite ideal in type for costume keeping,
+grace, and lightness, with a beautiful interchange of colour.</p>
+
+<p>The quilted silk and satin petticoats are a special feature to note in
+these times; many simple and effective designs were in use, and they
+added much glitter to the scheme. Aprons were also beautiful examples of
+needlework, and were worn with the best of dresses to the middle of the
+century; the earlier ones generally had a scalloped edging, and many had
+pockets; gold lace edging or fringe was often used in the time of George
+II, and they were all finely decorated with needlework in gold, silver,
+or coloured silks. The white aprons were also of consummate needlecraft,
+and hanging pockets worn at the sides were also a decorated feature, but
+these only showed when the dress was worn tucked up. The later style of
+dress became much simpler, consisting chiefly of gathered flounce
+settings, fichus, and large<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span> mob caps; these were often daintily
+embroidered with tambour work and large bow and sash settings, making
+delightful costumes.</p>
+
+<p>Bags, muffs, gloves, and shoes were all chosen for the display of
+needlecraft, while artists and jewellers used all their skill on the
+fans, patch-boxes, and étuis, and even the dress materials were often
+painted by hand, while many painted Chinese silks were also utilised.</p>
+
+
+<h3><a name="VII_EIGHTEENTH_ANNE_FEMALE" id="VII_EIGHTEENTH_ANNE_FEMALE"></a>EIGHTEENTH CENTURY. ANNE. FEMALE.</h3>
+
+<p>The hair was dressed in a simple manner, with two curls parted from the
+centre of the forehead, and curved inwards on the brow. A loose ringlet
+or two were brought on to the left shoulder, the rest being gathered
+into a back-knot. Feathers or flowers were arranged on top, generally
+with a pair of lace lappets falling to the back; these also adorned the
+cap, which still bore the front goffered frills set out as in the last
+reign, but these were diminished in size and were mostly of one row. We
+note probably the last stage of this style appearing in a print of
+Hogarth's, dated 1740.</p>
+
+<p><span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span><a id="fig082" name="fig082"></a></p>
+<div class="figcenter">
+<img src="images/fig082.png" width="457" height="693"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 82.</span>&mdash;Bodice types. Period 1690-1720.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span><a id="fig083" name="fig083"></a></p>
+<div class="figcenter">
+<img src="images/fig083.png" width="317" height="759"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 83.</span>&mdash;Costume type. 1695-1710.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span>Hoods and capes or cloaks, and long black fichus or wraps, were the
+chief coverings, as the head-dress did not allow of hats being worn, but
+with the small frilled caps a little straw hat, or a low-crowned felt
+with a largish brim, are seen, and a small lace frill round the neck
+began to appear. Bodices with a low curved neck often had a short skirt
+or shaped pieces, as well as a shaped short sleeve over a gathered lawn
+one, while many wore long sleeves to the wrist, and a waistbelt is
+sometimes noted. There was also the sleeve spreading in width to the
+elbow, with a turned-up square cuff. The front of the bodice may be
+remarked with bands fastening across, and this became a feature in many
+dresses later in this century, otherwise it set closely over the
+shoulders to a <span class="f">V</span> shape at the waist, and was filled with a stomacher of
+fine needlework, bows, or the ends of the lawn fichu laced or caught in
+by a big bow. A full, loose gown, with the fullness pleated to back and
+front, came in, the front being held by a bow and the back allowed to
+fall loose or crossed with a large bow at the back of waist, as in the
+museum specimen, Fig. <a href="#fig085">85</a>. This became the more elaborate sack-back
+dress.</p>
+
+<p><span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span><a id="fig084" name="fig084"></a></p>
+<div class="figcenter">
+<img src="images/fig084.png" width="452" height="770"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 84.</span>&mdash;Period 1700-1725.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span>The skirts began to be set out in a bell form, and trains were in much
+favour; the overskirts were parted in front, and many looped up to the
+back in a similar manner to the last reign. Small aprons of fine
+embroidery were worn with the best of dresses, and embroidered pockets
+are seen when the skirts were thrown back. Petticoats of fine quilting
+became much appreciated, and tall sticks were carried by ladies. Pointed
+shoes with high heels and latchets tied or buckled, the top of the
+fronts being mostly cut into four points, or they had a square finish.</p>
+
+
+<h3><a name="VII_EIGHTEENTH_ANNE_MALE" id="VII_EIGHTEENTH_ANNE_MALE"></a>EIGHTEENTH CENTURY. ANNE. MALE.</h3>
+
+<p>The wigs of the full ringlet style were still the fashion, but a simpler
+character is noticeable, the hair being combed back off the forehead and
+allowed to fall in looser waves. But many began to set a mode of smaller
+"coiffure," with their own hair caught in curls by a bow at the back,
+and curls over each ear. Powder came into use with the smart set, and a
+big bow and bag to finish the back of wig appeared, giving a smarter
+appearance to the white hair.</p>
+
+<p><a id="plate20" name="plate20"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/plate20thumb.jpg" width="399" height="259" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate20full.jpg">larger image</a></p>
+<p class="caption">Plate XX.</p>
+<ul>
+<li>(<i>a</i>) Gold-embroidered Muslin Dress. 1795-1805.</li>
+<li>(<i>b</i>) Nine Aprons. Between 1690 and <ins class="correction" title="1750 in ToC">1850</ins>.</li>
+<li>(<i>c</i>) Dress of Spotted Stockinette. 1795-1808.</li>
+</ul>
+</div>
+
+<p><span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span><a id="fig085" name="fig085"></a></p>
+<div class="figcenter">
+<img src="images/fig085.png" width="781" height="425"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 85.</span>&mdash;Bodice types. 1700-1725.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span>The hat, sometimes of white felt, was the same three-cornered type,
+edged with feathers and banded with broad gold braids or silver lace.
+The neckwear was a bind of lawn, with a long fall finished with lace.</p>
+
+<p>The coat remained long to the knees, but took a greater fullness in the
+side pleats of the skirt. Large buttons and buttonholes, 3 inches long,
+are seen, with the same on the cuff, which was worn very large, often 9
+inches broad, and mostly of a curved outline, and of another coloured
+brocade; a tight undersleeve is also seen with these. The coat was
+sometimes heavily decorated with needlework or braids of gold down the
+front, pockets, seams, and cuffs. The pocket was wide and set higher in
+the skirt, and the back opening of coat was decorated by several
+horizontal braids to the two side pleats.</p>
+
+<p>A long, full-skirted waistcoat, of rich materials or needlework, was at
+times braided and fringed at the skirt with gold, the pockets covered
+with a large flap, and five buttons fastened it or were placed as
+decorations just below it. The front buttons were often reduced to four
+at the waist, as it was still fashionable to show the lawn shirt.<span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span></p>
+
+<p>Breeches were of the same cut as in the former reign, with five or six
+side buttons at the knee, and stockings with embroidered clocks were
+worn rolled over outside the breeches as before.</p>
+
+<p>Shoes were square at the toes and not quite so long, while the heels
+were still rather heavy, and red was the mode. They had a high square
+top at the front instep, and buckles fastened the latchets. Muffs were
+often carried by the dandies, and walking-sticks, with tassel and loop,
+were slung on the arm; besides a sword, which, passing through the side
+pleats and out at the back, helped to set out the coat, which was often
+stiffened in the skirts. Gloves, with short gauntlets very angular or
+curved in shape, were trimmed with gold fringe; the backs were also
+richly embroidered with gold or silver.</p>
+
+
+<h3><a name="VII_EIGHTEENTH_GEORGE_I_FEMALE" id="VII_EIGHTEENTH_GEORGE_I_FEMALE"></a>EIGHTEENTH CENTURY. GEORGE I. FEMALE.</h3>
+
+<p><a name="Page_202" id="Page_202"></a><a id="fig086" name="fig086"></a></p>
+<div class="figcenter">
+<img src="images/fig086.png" width="756" height="387"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 86.</span>&mdash;1725-1750.</p>
+</div>
+
+<p><a id="plate21" name="plate21"></a></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/plate21thumb.jpg" width="389" height="266" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate21full.jpg">larger image</a></p>
+<p class="caption">Plate XXI.&mdash;23 Boots and Shoes. From 1800-75.</p>
+<ul>
+<li>1., 2. 1800-1820.</li>
+<li>3. 1810-1828.</li>
+<li>5., 8., 9., 10. 1820-1830.</li>
+<li>13., 16., 16<span class="smcap lowercase">A</span>. 1830-1855.</li>
+<li>4., 6., 7., 12., 14., 15., 17. 1850-1865.</li>
+<li>11., 18.-22. 1860-1875.</li>
+</ul>
+</div>
+
+<p><a name="Page_203" id="Page_203"></a><a id="fig087" name="fig087"></a></p>
+<div class="figcenter">
+<img src="images/fig087.png" width="761" height="450"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 87.</span>&mdash;Period 1725-1750.</p>
+</div>
+
+<p><a name="Page_204" id="Page_204"></a><a id="fig088" name="fig088"></a></p>
+<div class="figcenter">
+<img src="images/fig088.png" width="767" height="407"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 88.</span>&mdash;Modes, 1750-1770.</p>
+</div>
+
+<p><a name="Page_205" id="Page_205"></a><a id="fig089" name="fig089"></a></p>
+<div class="figcenter">
+<img src="images/fig089.png" width="397" height="526"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 89.</span>&mdash;Various Styles in Cut Back of Bodice.</p>
+</div>
+
+<p>The hair was very simply gathered from the forehead and taken up to a
+knot of curls at the back. Occasionally a group of curls was allowed to
+fall behind, or a curl was arranged to fall on one shoulder,<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span> and
+waved curls of the Queen Anne type were still seen on many people. Caps,
+with long dropping points in front, sometimes tied under the chin or
+with long lappets at the back, were the chief favourites, also a small
+frilled cap. Shallow-crowned straw hats with various widths of brim;
+hoods and capes, both short and long, are seen, besides light silks
+draped from the hair to the waist, feathers, flowers, and ribbons being
+worn in the head-dress. Richly embroidered aprons were worn with the
+finest dresses.</p>
+
+<p>The sack-back dress was very full, and started right across the
+shoulders in two double box-pleats, which were kept trim by being sewn
+flat for two to four inches down. Sleeves to the elbow were rather full,
+and gathered at the shoulders, with a square cuff often decorated with a
+bow in front, and a fan of lace, sometimes in several rows, fell from
+beneath. Sleeves finishing in a shaped edge are occasionally seen. The
+skirts were made for the very round hoop setting, and were gathered in
+flat pleats on either hip. A wide pleat or two came from the shoulders
+down the front sometimes as a continuation of the sack-back. These
+pleats, meeting at the waist,<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span> formed a <span class="f">V</span> shape, which was filled by an
+embroidered stomacher, or made of the same material, crossed by bands,
+bows, or rows of lace. The flat front pleat was occasionally
+embroidered, and gradually widened to the bottom of the skirt. Very
+pointed toes to the shoes, and high heels, with tied or buckled
+latchets, are seen, the tops of the front often being shaped into four
+points.</p>
+
+
+<h3><a name="VII_EIGHTEENTH_GEORGE_I_MALE" id="VII_EIGHTEENTH_GEORGE_I_MALE"></a>EIGHTEENTH CENTURY. GEORGE I. MALE.</h3>
+
+<p>Long, full wigs are still seen amongst older men, but several new shapes
+appear as illustrated (Fig. <a href="#fig090">90</a>), and the black bow and bag became very
+large; a black ribbon attached to it, with a bow in front, came round
+the neck. We also see the ends of the wig made into a long, tight
+pigtail. Hats were of the same three-cornered shape, rather fuller in
+size, and the feathered edging was still favoured. A hat of the type of
+Fig. <a href="#fig105">105</a> was also worn; and the loose cap with a tassel was put on when
+the wig was removed (see Fig. <a href="#fig104">104</a>).</p>
+
+<p><a name="Page_208" id="Page_208"></a><a id="fig090" name="fig090"></a></p>
+<div class="figcenter">
+<img src="images/fig090.png" width="756" height="449"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 90.</span>&mdash;Wig types, 1st half 18th century.</p>
+</div>
+
+<p><a name="Page_209" id="Page_209"></a><a id="fig091" name="fig091"></a></p>
+<div class="figcenter" style="width: 460px;">
+<img src="images/fig091.png" width="452" height="695"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 91.</span>&mdash;List of Dated Shoes and Boots.</p>
+<ol>
+<li>1700-1750.</li>
+<li>1700-1780.</li>
+<li>1700-1780.</li>
+<li>1700-1750.</li>
+<li>1700-1760.</li>
+<li>1720-1780.</li>
+<li>1690-1720.</li>
+<li>1700-1750.</li>
+<li>1700-1740.</li>
+<li>1740-1760.</li>
+<li>1702-1720.</li>
+<li>1730-1750.</li>
+<li>1760-1800.</li>
+<li>1730-1760.</li>
+<li>1740-1770.</li>
+<li>1770-1780.</li>
+<li>1740-1780.</li>
+<li>1786-1796.</li>
+<li>1774-1784.</li>
+<li>1775-1790.</li>
+<li>Sole of shoe No. 22.</li>
+<li>1776-1800.</li>
+<li>1780-1790.</li>
+</ol>
+</div>
+
+<p>The neck had the same lawn bind with a long lace ruffle, and the coat
+the same<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span> full cut as in the last reign, and the large rounded cuff
+was still in favour, but many varieties of size were now worn. A
+vertical pocket is seen occasionally on cloth coats, also a cape and
+turned-down collar are noted, while several appear with a very small
+upright collar. Buttons were still worn on some coats, right down the
+front; but on many coats the buttons stopped level with the pocket.</p>
+
+<p>A short-skirted coat came in amongst the dandies towards the end of the
+reign, and was stiffened out on the skirts; these mostly had a tighter
+sleeve and cuff. The same decorations continued in use. Waistcoats were
+much the same, and were cut to the length of the coats, or about four
+inches shorter; they were buttoned higher, the lace often falling
+outside.</p>
+
+<p>Breeches were the same in cut, fastened with six buttons and a buckle at
+the side of the knee. The stockings, usually decorated with clocks, were
+still worn rolled outside the knee amongst smart people. The stiff high
+boots or gaiters generally had a full curved piece at the top, and short
+gaiters to the calf are also to be noticed.</p>
+
+<p>The shoes were square-toed or of a<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span> roundish form, with a short or
+rather high square front, and heels of various heights. Patches and
+make-up were used by the fops, and swords and sticks carried, the latter
+being very high, to 46 inches.</p>
+
+
+<h3><a name="VII_EIGHTEENTH_GEORGE_II_FEMALE" id="VII_EIGHTEENTH_GEORGE_II_FEMALE"></a>EIGHTEENTH CENTURY. GEORGE II. FEMALE.</h3>
+
+<p>The hair was treated in much the same manner as with George I up to the
+end of this reign&mdash;gathered back from the forehead to a bunch of curls
+at the back. The small hats and caps, often worn together, continued of
+the same character; the dresses also remained similar in cut. The
+sack-back dress was supreme in the fifties, when it was set with
+panniers, together with the hoops, but the latter were not so much worn
+towards the end of this reign, except for the "grand dress." Quilted
+petticoats were much worn, but flounces are not a feature on the skirts
+till the latter part of this period. The simpler dress was of various
+lengths, and was at times worn quite short up to 1740. The corset bodice
+was still in use, with lawn sleeves: square cuffs and lace ruffles held
+the lead throughout this time, but the fan-shaped<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span> sleeve finish to
+the elbow, in the same material as the dress, began to appear about
+1750, generally with a waved or scalloped edge. Pointed toes and
+high-heeled shoes continued, with either tied or buckled latchets, and
+long gloves and mittens were in use.</p>
+
+<p><a name="Page_212" id="Page_212"></a><a id="fig092" name="fig092"></a></p>
+<div class="figcenter">
+<img src="images/fig092.png" width="749" height="449"
+     alt="Types 1725-1760.&mdash;1750-1780.&mdash;1740-1770.&mdash;1700&mdash;1720-50&mdash;1735-65&mdash;1780-90" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 92.</span>&mdash;Three hoops and four pannier forms.</p>
+</div>
+
+<p><a name="Page_213" id="Page_213"></a><a id="fig093" name="fig093"></a></p>
+<div class="figcenter">
+<img src="images/fig093.png" width="466" height="664"
+     alt="See caption" title="See caption" />
+<p class="center i"><i>Quilted designs on Petticoats, 18th century.</i></p>
+<p class="caption smcap">Fig. 93.</p>
+</div>
+
+
+<h3><a name="VII_EIGHTEENTH_GEORGE_II_MALE" id="VII_EIGHTEENTH_GEORGE_II_MALE"></a>EIGHTEENTH CENTURY. GEORGE II. MALE.</h3>
+
+<p>Wigs with double points at the back, short curled or of long pigtailed
+shapes, some with side curls, others curled all round the front, were
+worn. Large bows and bags, or no bows, finished the back hair, and the
+bow to the front of the neck was in use from the early part of this
+reign. Long coats, as in the last reign, and short coats with stiffened
+skirts were used; many with braided seams and fronts, also a braided
+opening at the back. Large round cuffs and big square ones, caped coats,
+and coats with turn-down collars were all in the mode, and the
+"maccaroni" fashions started about 1760, with absurdities in small hats,
+clubbed wigs, and very short coats. High sticks and crook sticks, canes
+and swords continued in use.</p>
+
+<p><a id="plate22" name="plate22"></a></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/plate22thumb.jpg" width="257" height="396" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate22full.jpg">larger image</a></p>
+<p class="caption">Plate XXII.</p>
+<ul>
+<li>(<i>a</i>) Linen Dress. 1795-1808. <i>Pattern of Bodice, see p. <a href="#Page_316">316</a>.</i></li>
+<li>(<i>b</i>) Silk Bodice. 1825-30.</li>
+<li>(<i>c</i>) Silk Bodice. 1818-25.</li>
+</ul>
+</div>
+
+<p><a name="Page_215" id="Page_215"></a><a id="fig094" name="fig094"></a></p>
+<div class="figcenter">
+<img src="images/fig094.png" width="761" height="420"
+     alt="1740-1765.&mdash;1765-1795." title="See caption" />
+<p class="caption"><span class="smcap">Fig. 94.</span>&mdash;Wig types, second half 18th century.</p>
+</div>
+
+<p>The pocket flaps were of a curved form,<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span> with a rounded centre still,
+and many of the shoes had a high square front, high heels, and square
+toes: according to the caricature prints of Boitard, the fashionable
+hats were smaller in 1730, and much larger ten years later; very full
+skirts at the former date, and smaller and less stiffened at the latter.
+Stockings were often still worn outside the knee. Shoes reached an
+extreme high square front at the latter date, and gloves with curved or
+square cuffs are to be noted.</p>
+
+<p><a id="fig095" name="fig095"></a></p>
+<div class="figcenter">
+<img src="images/fig095.png" width="193" height="333"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 95.</span>&mdash;First Half Eighteenth Century.</p>
+</div>
+
+
+<h3><span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span><a name="VII_EIGHTEENTH_GEORGE_III_FEMALE" id="VII_EIGHTEENTH_GEORGE_III_FEMALE"></a>EIGHTEENTH CENTURY. GEORGE III TO 1800. FEMALE.</h3>
+
+<p>This long reign, like that of Queen Victoria, embraces several changes
+of style. Up till about 1785 white powder was still used for the hair,
+reaching its fullest extravagance in the middle of the seventies, set
+with pearls, bandeaus, caps, lace, flowers and feathers, and about 1776
+the top was widened considerably. The front hair, gathered from the
+forehead, was pressed in a forward curve over a high pad, with one to
+three curls at the sides and one at the shoulders, the back hair being
+arranged in a loose loop, curled on the top and set with a large bow at
+the back; a small round hat with very small low crown (usually decorated
+with flowers and silks gathered into puffs, or ribbons and small
+feathers) was tilted right on the front. About 1780 large mob caps with
+a big bow on the front came in, and were generally worn together with
+the tall-crowned hat or the large-brimmed hat in favour at this time. A
+cape with smallish hood worn in the earlier reigns was supplanted about
+1777 by the calash, a huge<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span> hood set out with whalebone which came
+to cover the full head-dresses. The heavier caped or hooded cloak,
+sometimes with side opening for the arms, and usually trimmed with fur,
+still remained in use to 1800.</p>
+
+<p><a name="Page_218" id="Page_218"></a><a id="fig096" name="fig096"></a></p>
+<div class="figcenter">
+<img src="images/fig096.png" width="440" height="686"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 96.</span>&mdash;Costume notes, 1770-1780.</p>
+</div>
+
+<p><a id="plate23" name="plate23"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/plate23thumb.jpg" width="395" height="261" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate23full.jpg">larger image</a></p>
+<p class="caption">Plate XXIII.</p>
+<ul>
+<li>(<i>a</i>) Muslin Dress with Tinsel Design. 1798-1810.</li>
+<li>(<i>b</i>) Silk Dress. Period George IV.</li>
+<li>(<i>c</i>) Satin and Gauze Dress. 1820-30.</li>
+</ul>
+</div>
+
+<p><a name="Page_219" id="Page_219"></a><a id="fig097" name="fig097"></a></p>
+<div class="figcenter">
+<img src="images/fig097.png" width="662" height="456"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 97.</span>&mdash;Head Dress. Period 1780-1795.</p>
+</div>
+
+<p><a name="Page_220" id="Page_220"></a><a id="fig098" name="fig098"></a></p>
+<div class="figcenter">
+<img src="images/fig098.png" width="760" height="442"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 98.</span>&mdash;Hats and Caps during period 1780-1795.</p>
+</div>
+
+<p><a name="Page_221" id="Page_221"></a><a id="fig099" name="fig099"></a></p>
+<div class="figcenter">
+<img src="images/fig099.png" width="756" height="438"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 99.</span>&mdash;Hats during period 1790-1800.</p>
+</div>
+
+<p>The bodice retained the same shape as in the former reign, rather longer
+in the points back and front, with a large fan finish to the sleeve,
+double or single; this became supplanted by a much-gathered elbow-piece,
+sometimes eight inches deep, gathered in four rows. Small drawn gathers
+started round the waist of the skirt, for the side panniers and hoops
+were being less worn, except for the "smart gown," but bunching,
+reefing, and looping took their place in effect, and quilted petticoats
+remained while this character of dress lasted. The later sack-back dress
+was sewn tighter to the body, and usually started in a narrower set at
+the back, while the full pleat from the shoulder down the front went
+out, and the neck was more displayed by lower bodice fronts, which
+continued to be set with bows, jewels, lace, or embroidery. Sack-back
+jackets were often worn in the seventies; when the sack began to
+disappear, it took<span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span> the form of overlapped seams on the bodice. The
+decorated side pockets are noted in prints showing tuck-up dresses to
+1775. The jacket bodice of the same form described in the preceding
+reign was perhaps more in evidence till 1780, not so long in the skirt
+as in the earlier reigns, but after this date it took a longer skirt,
+which was often pleated at the back, with a very low neck and short
+waist.</p>
+
+<p><a name="Page_223" id="Page_223"></a><a id="fig100" name="fig100"></a></p>
+<div class="figcenter">
+<img src="images/fig100.png" width="751" height="431"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 100.</span>&mdash;Period 1780-1795.</p>
+</div>
+
+<p>About 1780 we find a change of style appearing in a shorter waist, with
+less pointed setting, having often a rounded point or square tabs, and
+even a shaped finish to the corset front, which was sometimes used like
+a waistcoat effect under the cut-away dresses seen after 1770 (see Fig.
+<a href="#fig099">99</a>, p. <a href="#Page_221">221</a>). A general tendency to imitate male attire is apparent, and
+the front of the bodice was set with lapels and straps buttoned across
+(though I have noted this latter character in the early part of this
+century), and long coats with this character were much worn, with two or
+three capes. The sleeves are sometimes set over a tight undersleeve, in
+fact the longer sleeve to the wrist became fashionable. With this change
+a short gathered skirt is seen on some bodices, and<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span> the full gathered
+skirt was bunched out at the back on a bustle, of which I give an
+illustration (p. <a href="#Page_212">212</a>), the low neck being filled with a large lawn
+fichu; a wide belt was generally worn, or a wide sash and bow at the
+back or side is seen with the lighter dresses, these being simple in
+style, just gathered at the waist, with short full sleeves set with a
+frill, and another frill was also arranged round the neck.</p>
+
+<p><a name="Page_225" id="Page_225"></a><a id="fig101" name="fig101"></a></p>
+<div class="figcenter">
+<img src="images/fig101.png" width="690" height="448"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Fig. 101.</p>
+</div>
+
+<p>About 1790 the mode again began to change to a classic style, still
+higher in the waist, with a short tight sleeve, at times puffed in the
+upper part, or an outer and under sleeve, as per illustration A, Plate
+<a href="#plate22">XXII</a> (see p. <a href="#Page_215">215</a>). The fronts of this type of bodice were mostly
+buttoned or pinned up to the shoulders over a tight underfront, the
+skirt opening about 18 inches at the sides, thus saving a fastening at
+the back. I have illustrated some very interestingly cut jackets of this
+period from my collection, as A, Plate <a href="#plate24">XXIV</a> (see p. <a href="#Page_231">231</a>); the sleeves
+were very long and were ruckled on the arm, as likewise were the long
+gloves or mittens of this time. A long scarf or drape was carried with
+this style, and a round helmet-like hat in straw or a turban was
+adopted. High sticks were<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span> still carried by ladies till the nineties,
+and umbrellas or parasols; the former came into vogue about 1770, the
+latter about six years later. Muffs of beautifully embroidered silk and
+satin were set with purfled trimmings, gold and silver lace, or bows and
+ribbons; otherwise they were of furs or feathers. They remained rather
+small up to 1780, when a very large shape set in, which continued till
+the end of the reign; the quantity of beautiful fans of this century
+must be so well known as to need no description. The highest artistry
+was concentrated on them.</p>
+
+<p><a name="Page_227" id="Page_227"></a><a id="fig102" name="fig102"></a></p>
+<div class="figcenter">
+<img src="images/fig102.png" width="745" height="453"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 102.</span>&mdash;Period 1790-1800.</p>
+</div>
+
+<p><a name="Page_228" id="Page_228"></a><a id="fig103" name="fig103"></a></p>
+<div class="figcenter">
+<img src="images/fig103.png" width="456" height="735"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 103.</span>&mdash;Costume notes, 1790-1800.</p>
+</div>
+
+<p><a name="Page_229" id="Page_229"></a><a id="fig104" name="fig104"></a></p>
+<div class="figcenter">
+<img src="images/fig104.png" width="439" height="678"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 104.</span>&mdash;Lounge Caps worn during removal of Wig.</p>
+</div>
+
+<p>Shoes at the beginning of this reign were set on very high spindle
+heels; the toe-front became rounded, the instep-front a pointed shape,
+and wide latchets were buckled till about 1785, but fashion discarded
+them earlier; for about 1780 the shoes became very small at the heel,
+and pointed again at the toe. When the latchets went out, the pointed
+instep remained for a time, but a low round front appeared, and the heel
+practically vanished just before 1800. These later shoes were decorated
+on the front by needlework or incised leather openwork underlaid with
+another colour. The soles at this time<span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span> were extremely quaint in
+shape, and the shoes were tied sandal fashion up the ankle.</p>
+
+<p><a id="plate24" name="plate24"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/plate24thumb.jpg" width="382" height="271" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate24full.jpg">larger image</a></p>
+<p class="caption">Plate XXIV.</p>
+<ul>
+<li>(<i>a</i>) Outdoor Silk Jacket. 1798-1808.</li>
+<li>(<i>b</i>) Embroidered Muslin Bodice. 1816-30.</li>
+<li>(<i>c</i>) Embroidered Muslin Bodice. 1824-25.</li>
+<li>(<i>d</i>) Satin and Gauze Bodice. 1820-30.</li>
+</ul>
+</div>
+
+
+<h3><a name="VII_EIGHTEENTH_GEORGE_III_MALE" id="VII_EIGHTEENTH_GEORGE_III_MALE"></a>EIGHTEENTH CENTURY. GEORGE III TO 1800. MALE.</h3>
+
+<p>The wigs, which were rather high in the front of the crown in the
+earlier part, began to cast off the most eccentric forms, and became
+just curled, rather full at the sides, and tied with a bow at the back:
+dull pink powder became a favoured hue from about 1780; most people
+began to return to their own hair, and one might see many without long
+hair in the nineties. The last type of dressing the hair in imitation of
+the wig form was a long, tightly braided pigtail at the back, with one
+or even two side curls over the ear, and side whiskers were allowed to
+fill up to them; thus when the short hair set the fashion, side whiskers
+came in.</p>
+
+<p>Hats were still worn of the three-cornered shape, but the favourites
+became a front cockade hat and a hat with a rounded crown and rather
+wide brim, sometimes turned up on one side; a short type of top-hat was
+also often seen, and later became<span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span> the fashion. The same lawn and lace
+cravat developed into more of a plain white stock, with a frilled
+shirt-front.</p>
+
+<p>The coat was worn much tighter in the arms and was smartly cut, with the
+fronts running away into a narrow tailed skirt. The pockets often began
+to take a plain square form, with or without buttons; the buttons on the
+front of the coat stopped at the waist&mdash;many cuffs are seen without
+them; and the side pleats, set more to the back, were pressed and
+narrower. Both the plain and turn-over collars were set up high in the
+neck, large cut-steel buttons were introduced in the early seventies,
+and many fancy china buttons, besides the gilt silver and paste ones
+were in use. A new type of coat made its appearance with a high
+turn-over collar and large lapels, and a sudden cut-in of the coat-front
+high in the waist, giving a very long-tailed effect to the skirt. A cuff
+shape with these was mostly made in one with the sleeve and buttoned at
+the side towards the back, and when the cuff was additional, it seldom
+had buttons, as formerly.</p>
+
+<p>A greatcoat with one, two, or three capes was a picturesque garment, and
+a leather-covered bottle was often carried<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span> when riding a distance, of
+which I have an example in my collection.</p>
+
+<p><a name="Page_233" id="Page_233"></a><a id="fig105" name="fig105"></a></p>
+<div class="figcenter">
+<img src="images/fig105.png" width="406" height="761"
+     alt="1705 1720 1750 1730 1740 1770, Types of Cravates, 1700-1750" title="See caption" />
+<p class="caption smcap">Fig. 105.</p>
+</div>
+
+<p>Waistcoats, which had become much shorter, were now giving place to a
+type with a straight-across front and turned-back lapels at the neck;
+these large lapels were mostly worn outside over the coat lapel. The
+waistcoats were often double-breasted with an embroidered design down
+the front between the double row of buttons, and the straight pockets of
+these had no flaps; they shortened at the waist in character with the
+lapelled coat, but were worn lower than the cut-in shape of the coat,
+showing about 3 inches when the coat was fastened. Breeches became very
+tight, and trousers begin to appear after 1790. Striped stockings and
+suits were much in favour. Top-boots with rather long brown tops were
+worn, or high boots with a curved top, with a gold tassel set in front,
+were seen. The shoes with latchets and buckles had a low front on the
+instep, and from about 1780 took a rather pointed oval toe shape; the
+heels were mostly worn shorter. Swords were not so much in use except on
+great occasions, but sword-sticks were carried, and heavy club-sticks
+were fashionable before 1800. Patches were little<span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span> used after the
+seventies, but the snuff-box was still indispensable. The double long
+purse with central rings and tassels at the ends was carried, of knitted
+silk or of leather, the former with steel beads and coloured silks
+worked together after 1780: small bag purses were also in use, usually
+set in gilt mounts and made in the same methods with a tassel below.</p>
+
+<p><a id="plate25" name="plate25"></a></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/plate25thumb.jpg" width="233" height="412" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate25full.jpg">larger image</a></p>
+<p class="caption">Plate XXV.</p>
+<ul>
+<li>(<i>a</i>) Silk Dress. 1800-10.</li>
+<li>(<i>b</i>) Cotton Dress. 1800-10.</li>
+<li>(<i>c</i>) Embroidered Muslin Dress. 1820-30 (<i>Pattern, see p. <a href="#Page_339">339</a></i>).</li>
+<li>(<i>d</i>) Silk Gauze Dress. 1824-30.</li>
+</ul>
+</div>
+
+<p><a name="Page_235" id="Page_235"></a><a id="fig106" name="fig106"></a></p>
+<div class="figcenter">
+<img src="images/fig106.png" width="444" height="750"
+     alt="1745 1777 1785 1795" title="See caption" />
+<p class="caption">Fig. 106.</p>
+</div>
+
+
+
+
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span></h2>
+
+
+<h3><a name="VIII_NINETEENTH_TRIMMINGS" id="VIII_NINETEENTH_TRIMMINGS"></a>CHARACTER OF TRIMMINGS OF THE NINETEENTH CENTURY.</h3>
+
+<p>During the later part of the 18th century, a great deal of tinsel drawn
+work was done on fine muslin, and became beautifully treated in delicate
+design on the hem and down the front of many of the high-waisted dresses
+as in Fig. A, Plate <a href="#plate23">XXIII</a> (see p. <a href="#Page_218">218</a>). Later on towards the twenties we
+see a great deal of effective coarse work in heavy gold tinsel, and at
+the same time to the forties a number of dresses were ably enriched with
+fine gold thread.</p>
+
+<p>The white embroidery in the earlier trimmings of this period, of which I
+give examples in Plate <a href="#plate24">XXIV</a> (see p. <a href="#Page_231">231</a>), was remarkable for its wealth
+of fancy; the chief beauty of these dresses was the delightful treatment
+of gathered effects, and with the<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span> reign of George IV we note the
+gradual return of the longer pointed bodice, with the growth of very
+full sleeves, also the increase in the size and fuller set-out of the
+skirts over the stiff flounced drill petticoats. The <span class="f">V</span>-shaped Bertha
+setting to neck and shoulders began to establish itself, and became a
+great feature through the thirties and forties; the first signs of it
+appear about 1814. Varieties of materials were used to great advantage
+in designing, and drawn tulle trimmings were happily introduced to
+soften hard shapes and colours. The shoulder fullness also began to be
+neatly drawn in and held by straps, which gave a charming character to
+many bodices.</p>
+
+<p>From 1816 choice work in piped shapes, often of flower forms decorated
+with pearls or beads, was set on fine net, as seen in Plates <a href="#plate23">XXIII</a> and
+<a href="#plate29">XXIX</a> (see pp. <a href="#Page_218">218</a>, <a href="#Page_263">263</a>). The attraction to the thirties was the happy
+effects gained by the bow and flower looping on the flounces, and these
+ripened in fancy and variety through the forties. Braiding was adopted
+in the thirties with a rather charming treatment of tassels down the
+front of the dress; the polonaises of this time were<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span> also effective and
+simple, caught here and there with posies of flowers, and we find this
+fashion again revived in the sixties.</p>
+
+<p>With the reign of George IV we notice an increasing choice of strong
+coloured effects, which culminated in the mid-Victorian era in raw
+colour and violent shot silks, velvets, and heavy fringes, but one may
+see that many of these dresses of bright pure tone looked exceedingly
+refined and were quite stately. A remarkable dress is Fig. A, Plate
+<a href="#plate32">XXXII</a> (see p. <a href="#Page_279">279</a>), which is of very strong bright blue; its only
+enrichment being a curved line of folded silk. All these dresses from
+1800 were delightfully embellished with embroidered fichus, light
+scarves of frail gauze, crêpe, or Norwich silk, and in the Victorian
+times capes and <span class="f">V</span>-shaped shawls; fascinating lace ruffles and tuck-in
+fronts to the bodice necks, of frills and bands of embroidery, broke the
+severity or bareness of many dresses. An endless variety of fascinating
+caps and lace head-lappets was pinned or caught into the hair at the
+wearer's fancy; besides the bows, flowers, and jewels (especially
+pearls) which have always played an important part in the coiffure from
+early times, the chatelaines<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span> and bags, fobs, fans, and lace or silk
+handkerchiefs all give the artist a note of extra colour when desired.
+The cruel period of taste really came with the seventies, though one can
+trace many quaint and interesting cuts in the bodices and skirts of this
+time; but the "grand dress" of complicated drapings, heavily fringed or
+braided, was a "set piece" which, let us hope, will never appear again.</p>
+
+<p>The long stocking-purse which began to appear in the late 17th century
+was up to 1820 sometimes carried tucked through the belt; it was set
+with a pair of metal rings and tassels of steel or gilt beads. Small and
+large circular and bag-shaped purses were also in use; all these were
+made in coloured silk threads enriched with steel, gilt, or coloured
+beads, the latter shapes being set in chased metal mounts, the circular
+ones generally having a fringe and the bag shape a small tassel or heavy
+drop. These shapes can also be seen in coloured leathers with a leather
+tassel, besides the plain money-bag with a draw-string.<span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span></p>
+
+
+<h3><a name="VIII_NINETEENTH_GEORGE_III_FEMALE" id="VIII_NINETEENTH_GEORGE_III_FEMALE"></a>NINETEENTH CENTURY. GEORGE III. FEMALE.</h3>
+
+<p>The hair up to 1808 was gathered into a knot of curls at the back of the
+head, rather high up, with a small curl at the sides in front of the
+ear. Later the knot was set more on the top, and the side curls were
+made more of a feature, several being arranged at the sides. Numerous
+varieties of large and small brimmed hats, bonnets, and turbans are
+seen, and several masculine top-hats and cockade hats may be noted late
+in this reign. The usual feather decorations and large ribbons or
+flowers were in use, and a handkerchief was sometimes bound over the top
+of the straw hat and tied under the chin.</p>
+
+<p><a name="Page_242" id="Page_242"></a><a id="fig107" name="fig107"></a></p>
+<div class="figcenter">
+<img src="images/fig107.png" width="431" height="763"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 107.</span>&mdash;Costume notes, 1811-1812.</p>
+</div>
+
+<p><a name="Page_243" id="Page_243"></a><a id="fig108" name="fig108"></a></p>
+<div class="figcenter">
+<img src="images/fig108.png" width="343" height="771"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 108.</span>&mdash;Costume notes, 1814-1816.</p>
+</div>
+
+<p>The classic high-waisted dress continued till 1808, and was often
+beautifully decorated with white embroidery and gold or tinsel, as in A,
+Plates <a href="#plate20">XX</a> and <a href="#plate23">XXIII</a> (see pp. <a href="#Page_199">199</a>, <a href="#Page_218">218</a>), and the frontispiece is a lovely
+white example. There were several interesting drapings, one being a cord
+hanging from the back of the shoulder to loop up the train of the dress,
+as in A, Plate <a href="#plate22">XXII</a> (see p. <a href="#Page_215">215</a>). The simple tunic shapes are better
+described<span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span> by the illustrations: more originality was essayed in
+design after the last-mentioned date. A high Vandyked lace collar and
+fan setting to the shoulders appeared, and many interesting dresses of a
+plain cut, mostly in velvet and silks, were worn about 1810-12. A
+gathered sleeve drawn tight at intervals was often seen up to 1816, when
+embroidered ruffles and frills decorated most of the necks and skirts,
+and a braided type of character, rather military in effect with
+beautifully piped edgings, came in from about 1817. Spencer bodices were
+an additional interest at this period, and a short puff sleeve was
+generally banded or caught with bows; these being often worn over a
+fairly loose long sleeve gathered by a wristband. Dresses were worn
+shorter from about 1810. Charming lace and embroidered fichus crossed
+the shoulders, and long scarf-capes were thrown round the neck and were
+often tied round behind, as in the 18th century; long capes with points
+and tassels in front fell to the knees, and a simple pelisse with cape
+became a pleasing feature. Bags were always carried, of which there is a
+variety of shapes in the plates; long gloves or mittens were generally
+worn. Parasols of a flat shape, or others<span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span> with round or pagoda shaped
+tops are seen, many being edged with a deep fringe. Long purses were
+often tucked through the waistband.</p>
+
+<p><a name="Page_245" id="Page_245"></a><a id="fig109" name="fig109"></a></p>
+<div class="figcenter">
+<img src="images/fig109.png" width="392" height="752"
+     alt="1818 1815 1816 1816 1819 1816 Muff 1818" title="See caption" />
+<p class="caption smcap">Fig. 109.</p>
+</div>
+
+<p>The pointed shoe, tied sandal fashion up the leg, and with no heel,
+remained through this reign, but a round-toed low shoe, tied on in the
+same manner, began to supersede it about 1810.</p>
+
+
+<h3><a name="VIII_NINETEENTH_GEORGE_III_MALE" id="VIII_NINETEENTH_GEORGE_III_MALE"></a>NINETEENTH CENTURY. GEORGE III. MALE.</h3>
+
+<p>Wigs had practically gone out, except for a few of the latter type of
+the 18th century amongst elderly people. The hair was now worn short,
+and left rather full on the front, with short side-whiskers. Plain black
+or white stocks tied with a front bow, and a starched or unstarched
+collar with a frilled or gathered shirt-front were in use. A tie-pin or
+stud was also seen in the centre of the stock or frilling.</p>
+
+<p>The same hats as in the latter part of the 18th century continued for a
+time, but the top-hat had established its favour, and assumed various
+shapes throughout this reign.</p>
+
+<p><a id="plate26" name="plate26"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/plate26thumb.jpg" width="411" height="252" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate26full.jpg">larger image</a></p>
+<p class="caption">Plate XXVI.</p>
+<ul>
+<li>(<i>a</i>) Morning Coat of Chintz. 1825-45. <i>Pattern, see p. <a href="#Page_313">313</a>.</i></li>
+<li>(<i>b</i>) Cloth Coat. 1808-20. <i>Pattern, see p. <a href="#Page_307">307</a>.</i></li>
+<li>(<i>c</i>) Cloth Overcoat. 1820-35. <i>Pattern similar to p. <a href="#Page_311">311</a>.</i></li>
+</ul>
+</div>
+
+<p>The coats were set with very high turn-over<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span> collars and a wide-shaped
+lapel, and the lapel of the waistcoat was still brought outside. As
+these lapels on the coats became smaller and changed into a roll collar,
+they were cut into points at the breast, as seen in the illustrations.</p>
+
+<p>The front of the coat cut away in a short square, rather high in the
+waist, which thus formed a long-tailed skirt; the fronts were made
+double-breasted, and were often fastened high up the lapel. The
+hip-pleats had gone round more to the back into a closely pressed fold,
+about three inches from the back-opening. Sleeves were gathered rather
+full in the shoulders, becoming very tight on the forearm, and were
+finished in a cuff, or buttoned cuff-shape. We also see that a short
+square coat without tails was worn over the longer one. Overcoats (or
+long-skirted coats) with a cape or capes, up to four, were worn all
+through this reign, both double and single breasted, sometimes with
+turn-up cuffs; but this mode was not frequently used, as a sewn-on cuff
+or cuff made in the sleeve was now worn, and began to take a curved
+shape well over the hand, with three buttons to fasten it on the outer
+sides.<span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span></p>
+
+<p>Short double-breasted waistcoats continued much the same, but a
+round-shaped lapel appeared on many.</p>
+
+<p>Very tight-fitting breeches were worn of the same 18th-century cut, and
+trousers began to gain favour; a fob of seals, &amp;c., was always worn,
+coming from under the waistcoat.</p>
+
+<p>Soft high boots with turn-down tops, and boots with longish brown tops
+set low on the leg. The top-boot with the pointed or oval-shaped front
+and tassel still held sway, and an oval-toed low shoe with or without
+small latchets was in use.</p>
+
+
+<h3><a name="VIII_NINETEENTH_GEORGE_IV_FEMALE" id="VIII_NINETEENTH_GEORGE_IV_FEMALE"></a>NINETEENTH CENTURY. GEORGE IV. FEMALE.</h3>
+
+<p>The hair at this period was worn in plaits or curls gathered on top, and
+during the latter years was arranged into stiff loops set with a high
+comb; a group of curls was drawn to the sides of the face, the hair
+being mostly parted from the centre. Plumes were much used for
+head-dresses, and caps with gathered puffs and pointed frills. A
+high-crowned straw poke bonnet, tilted upwards, was still in form; but
+the prevailing mode was a silk<span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span> bonnet, with the brim curved in at the
+front, the sides being drawn together under the chin with a bow. The
+prevailing decoration was a group of feathers thrown forward or ribbon
+loops, and after this a large round hat, with a full gathered crown,
+arrived about 1827, or straw shapes, such as Fig. A, Plate <a href="#plate28">XXVIII</a> (see
+p. <a href="#Page_259">259</a>).</p>
+
+<p><a name="Page_249" id="Page_249"></a><a id="fig110" name="fig110"></a></p>
+<div class="figcenter">
+<img src="images/fig110.png" width="461" height="692"
+     alt="1809 1816 1820 1809 1807 1806" title="See caption" />
+<p class="caption smcap">Fig. 110.</p>
+</div>
+
+<p>Dresses gradually assumed a longer waist, and a short pointed bodice
+made its appearance here and there from about 1822, when short stays
+began to return, and pointed belt corselets were frequent, though the
+waistband or sash was chiefly used. Short puffed sleeves of charming
+character and workmanship were sometimes set in a gauze sleeve, as in
+Fig. C, Plate <a href="#plate23">XXIII</a> (see p. <a href="#Page_218">218</a>). Spencers and pelisses had long sleeves
+coming from these short ones; they were rather full, and were caught at
+the wrist with a band. The upper sleeve gradually disappeared as the
+full-topped sleeves began to develop in size, about 1824; this fullness
+was often broken up into gathered parts, a tight cuff-piece usually
+finished at the wrist. The high set-up collars and neck-frills gave way
+to the flat capes about 1827, though the small ruffs were worn round the
+top of the high-necked<span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span> capes to 1830. The gathered shoulder began
+about 1823, and soon became a marked feature; pointed or scalloped
+frills and trimmings came into favour from 1825, Fig. B, Plate <a href="#plate23">XXIII</a>
+(see p. <a href="#Page_218">218</a>), and about 1827 the sloped appearance in the bodice began
+to be noticed as the sleeves were set lower. The shoulders in ball
+dresses were shown, and a gathered Bertha of silk or lace was arranged
+round the neck of bodice, Fig. D, Plate <a href="#plate24">XXIV</a> (see p. <a href="#Page_231">231</a>), or this form
+was made in the pattern as in Fig. C, Plate <a href="#plate22">XXII</a> (see p. <a href="#Page_215">215</a>). The
+<span class="f">V</span>-shaped piece from the centre of waist or breast began to spread over
+the shoulders, where it was opened, as in Fig. B, Plate <a href="#plate22">XXII</a> (see p.
+<a href="#Page_215">215</a>). This <span class="f">V</span> shape was often open down to the waist, where it was filled
+in with a centre-piece of embroidery. Skirts were gradually set out
+fuller, with stiff-flounced petticoats; they had various simple or
+richly decorated borders and fronts, or several small flounces, or one
+deep one often with the edges cut into divers shapes.</p>
+
+<p><a id="plate27" name="plate27"></a></p>
+<div class="figcenter" style="width: 350px;">
+<img src="images/plate27thumb.jpg" width="243" height="408" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate27full.jpg">larger image</a></p>
+<p class="caption">Plate XXVII.&mdash;Outdoor Silk Dress. 1825-35.</p>
+</div>
+
+<p><a name="Page_251" id="Page_251"></a><a id="fig111" name="fig111"></a></p>
+<div class="figcenter">
+<img src="images/fig111.png" width="388" height="734"
+     alt="1820 1823 1822 1820 1821 1824 1828" title="See caption" />
+<p class="caption smcap">Fig. 111.</p>
+</div>
+
+<p>I have striven to give good examples of the marked styles in the various
+dated illustrations, as well as the court train to dress, Fig. A, Plate
+<a href="#plate33">XXXIII</a> (see p. <a href="#Page_282">282</a>), which also comes into this time.<span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span></p>
+
+<p>Shoes were rather round at the toes till near the end of the reign, when
+they took a square shape; a tiny rosette or bow was placed at the front
+of instep, and they were held by narrow ribbons, crossed and tied round
+the ankle. Boots lacing at the inside, with seam down the front, often
+had a toe-cap as in Fig. 5, Plate <a href="#plate21">XXI</a> (see p. <a href="#Page_202">202</a>); no heels were worn.</p>
+
+<p>Light gauze scarves were usually carried, and very small fans besides
+the larger feather ones. Bags or sachets of the forms illustrated were
+painted or embroidered in ribbonwork, chenille, tulle, and coloured
+silks.</p>
+
+<p>A few specimens of parasols are also given, and gloves and mittens were
+of the same character as in the latter part of the last reign.</p>
+
+<p>The patterns given of some of the dresses shown in the plates will be
+useful as to the measurements of the increase in skirt-width and
+sleeves; one may also note the very pointed set-out of the breast,
+sometimes made with two gores, which only occurs in this reign. Muffs
+were usually of a large size, and a bow with long ends was often worn on
+the front.<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span></p>
+
+
+<h3><a name="VIII_NINETEENTH_GEORGE_IV_MALE" id="VIII_NINETEENTH_GEORGE_IV_MALE"></a>NINETEENTH CENTURY. GEORGE IV. 1820-30. MALE.</h3>
+
+<p>The mode in beaver hats was most varied; high straight crowns with small
+brims, others tapering at the top with larger curled brims, or crowns
+enlarging at the top with almost straight small brims; a top-hat of
+straw is shown on page <a href="#Page_309">309</a>. A short-crowned hat was also worn. The hair
+was combed towards the front at either side, and the face shaven, with
+the exception of short side-whiskers.</p>
+
+<p>A very high stock of black satin or linen surrounded the throat, with or
+without the points of collar showing, and a frilled shirt, often stiffly
+goffered.</p>
+
+<p>Coats were very tight-fitting and mostly double-breasted, with long
+swallow-tailed skirts, or long full skirts; the waist was rather short,
+and the effect of coat-front round-breasted with a high turned-over
+collar finished in large lapels, which were often treated with velvets.
+The favourite colours for overcoats were greys, buffs, greens, and
+blues, and the edges were neatly finished with fine cord. The sleeves,
+rather full in the shoulder, became tight on the<span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span> lower arm, coming to
+a curved shape well over the hand, and buttoned up the side. The pockets
+were frequently set at an angle, as in illustration, and a short round
+cape, or two, was seen on many overcoats. A short type of coat is seen
+about 1827, with a single roll collar.</p>
+
+<p><a name="Page_255" id="Page_255"></a><a id="fig112" name="fig112"></a></p>
+<div class="figcenter">
+<img src="images/fig112.png" width="453" height="728"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 112.</span>&mdash;Period 1820-1840.</p>
+</div>
+
+<p>Waistcoats mostly had a round-shaped lapel, and were often
+double-breasted and very shaped at the waist, which was set fairly high;
+a long opening allowed the frilled shirt-front full display. There were
+also waistcoats having no lapels, no pockets, or no cover-flap; the
+points of front were very small, being buttoned to the end, or, with the
+double-breasted shape, they were straight across.</p>
+
+<p>Breeches were not so much worn as trousers of cloth, nankeen, drill, and
+fine white corduroy; these were usually fastened under the boots with a
+strap, others were looser and often worn short, well above the ankle. A
+very full type in the upper part peg-tops, was in fashion about 1820-25
+amongst the dandies, and for evening dress, very close-fitting breeches
+to the knee, or just above the ankle, the latter being opened and
+buttoned up to the calf. Pince-nez were favoured, with a heavy<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span> black
+ribbon, generally worn tucked in the lapels of the waistcoat; and a fob
+of gold seals, &amp;c., hung from the braces, below waistcoat pocket.</p>
+
+<p><a name="Page_257" id="Page_257"></a><a id="fig113" name="fig113"></a></p>
+<div class="figcenter">
+<img src="images/fig113.png" width="441" height="625"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 113.</span>&mdash;1830-1840.</p>
+</div>
+
+<p>Shoes and short Wellington boots were chiefly worn, the former being low
+in the heel and very short in the tongue, which was almost covered by
+small latchets, either buckled or tied, the shape of the toe being
+rather round. The Hessian boots with curved front and tassel at the top
+were still worn.</p>
+
+
+<h3><a name="VIII_NINETEENTH_WILLIAM_IV_FEMALE" id="VIII_NINETEENTH_WILLIAM_IV_FEMALE"></a>NINETEENTH CENTURY. WILLIAM IV. FEMALE.</h3>
+
+<p>The hair still retained the high loops on top and the bunch of curls at
+the sides, poised by a back comb and set with flowers or feathers; there
+was also a great variety of fancy capes with pointed frills, some with
+long tie ends, and these are seen with most dresses, and were worn in
+conjunction with the hats. The favourite hat was a big, flat, circular
+form, generally tilted at one side, and decorated with bows, flowers,
+and feathers; a flat tam-o'-shanter shape was often worn with the
+riding-dress, sometimes with a large peak-shape in front, and straps<span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span>
+under the chin. The large poke-bonnet also kept the front as flat and
+round as possible, with a high crown tilted upward in order to set over
+the hair loops.</p>
+
+<p><a id="plate28" name="plate28"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/plate28thumb.jpg" width="257" height="408" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate28full.jpg">larger image</a></p>
+<p class="caption">Plate XXVIII.</p>
+<ul>
+<li>(<i>a</i>) Silk Pelisse. 1820-30.</li>
+<li>(<i>b</i>) Cotton Dress. 1830-40. (<i>Pattern, see p. <a href="#Page_343">343</a></i>).</li>
+<li>(<i>c</i>) Silk Spencer and Cape. 1818-27 (<i>Pattern, see p. <a href="#Page_324">324</a></i>).</li>
+</ul>
+</div>
+
+<p><a name="Page_259" id="Page_259"></a><a id="fig114" name="fig114"></a></p>
+<div class="figcenter">
+<img src="images/fig114.png" width="413" height="736"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 114.</span>&mdash;1828-1836.</p>
+</div>
+
+<p>The bodice began with a very pointed front and very low neck off the
+shoulders, tuck-ins of fine embroidery, and capes or <i>fichus</i> of the
+same, covered the shoulders, often three deep. The pointed bodice only
+lasted for a few years, when the waistband again became the favourite.
+The sleeves were very large at the shoulders, diminishing at the wrist,
+but soon took a big round form, sometimes tightly pleated into quarters
+before 1835. We then get the huge sleeve gathered at the wrist, and
+often falling below it; this again tightened on the forearm, and we note
+a tendency to tighter sleeves coming in before 1837, neatly gathered
+well down the shoulder. The evening-dress sleeve was a large puff, set
+out by stiffening to a flat wide effect. Very wide epaulet collars were
+seen on most dresses, meeting in a <span class="f">V</span> shape at the waist, with a filling
+of lace in the front, and many bodices were elaborately gathered, and
+some of the sleeves were also gathered into puffs all down the arm.</p>
+
+<p><span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span><a id="fig115" name="fig115"></a></p>
+<div class="figcenter">
+<img src="images/fig115.png" width="442" height="759"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 115.</span>&mdash;1830-1840.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span>The skirts were set out very full over stiff flounced petticoats, and
+were worn rather short; as a rule they were trimmed with one or two
+flounces, which were handsomely decorated, and a short polonaise is
+occasionally seen. There were many interesting trimmings of gauze,
+flowers, and bows; while silk-flowered gauze over dresses made some
+charming effects.</p>
+
+<p>Heavy mantles and capes or pelisses began to be braided, and rather
+strong colours were in general taste.</p>
+
+<p>The hand-bags were of a curved form and generally bore heavy tassels.
+Very small fans and round fans were attractive, and bouquet-holders of
+gilt, with pearl handles, became the thing to carry.</p>
+
+<p>Shoes were of the low sandal type, fastened by crossed elastic, with
+very square toes, and a tiny rosette or bow on the front; boots to the
+ankle were now in fashion, mostly lacing at the inside, and having a
+long toe-cap, sometimes with a small rosette at the top of this or a
+tassel at front of the top of the boot.</p>
+
+<p><a id="plate29" name="plate29"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/plate29thumb.jpg" width="389" height="269" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate29full.jpg">larger image</a></p>
+<p class="caption">Plate XXIX.</p>
+<ul>
+<li>(<i>a</i>) Embroidered Silk Gauze Dress. 1820-30.</li>
+<li>(<i>b</i>) Gauze Dress with Appliqued Design. 1825-35.</li>
+<li>(<i>c</i>) Printed Linen Outdoor Dress. 1827-47 (<i>Pattern, see p. <a href="#Page_342">342</a></i>).</li>
+</ul>
+</div>
+
+
+<h3><span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span><a name="VIII_NINETEENTH_WILLIAM_IV_MALE" id="VIII_NINETEENTH_WILLIAM_IV_MALE"></a>NINETEENTH CENTURY. WILLIAM IV. MALE.</h3>
+
+<p>The hair was worn rather full in curls at the sides or on top, parted at
+the left side, besides being occasionally parted at the centre. Side
+whiskers, curved forward, still continued, and a short trimmed beard was
+now worn round under the chin by many, moustaches also made their first
+appearance at the end of this reign. Top-hats were high and straight,
+but many still adhered to the tapered crown and larger brim.</p>
+
+<p>The same plain stocks of black satin continued, with or without a front
+bow, and a soft pleated or frilled shirt-front.</p>
+
+<p>The coats were similar to the last reign: the chief differences being an
+increase in the length of the waist, wider tails, and large lapels of a
+similar cut: velvet collars and cuffs were much worn, and the waist was
+still made tight. A coat with a square skirt as in Fig. <a href="#fig116">116</a> is seen for
+the first time, and the swallow-tailed coat was worn not quite so long.
+A lower opening to the waistcoat was generally seen in evening attire,
+which sometimes had but four small<span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span> buttons, while more of the
+single-breasted type were in use, with and without lapels.</p>
+
+<p>Very tight trousers to the ankle buttoned up to the calf continued, or
+plain trousers were held by straps under the boot; twill, corduroy, or
+nankeen were both strapped or free at the ankle and rather short.
+Knee-breeches were still worn by many for evening dress, and long
+Italian capes with overcapes and high turn-over collars were
+fashionable, besides the very full-skirted greatcoat.</p>
+
+<p>Boots and shoes were square at the toes and rather long and narrow, the
+shoes having a bow or buckle. Short Wellington boots continued much in
+use, also spats.</p>
+
+<p>Fobs of gold seals, &amp;c., were worn, and eye-glasses attached to a black
+ribbon is a noticeable feature.</p>
+
+
+<h3><a name="VIII_NINETEENTH_VICTORIA_FEMALE" id="VIII_NINETEENTH_VICTORIA_FEMALE"></a>NINETEENTH CENTURY. VICTORIA. FEMALE.</h3>
+
+<p>The hair was parted in the centre and tightened in a top setting of
+plaits, with side curls over the ears. This mode was retained by many
+till the fifties, but the top plaits began to be set lower at the back,
+and the same flat parted hair was<span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span> brought in a curved shape to the
+front of the ears, often in a small plait, allowing the ear to show, or
+in a plaited knot at either side; about 1850 it was waved, parted, and
+simply curved from the forehead over the ears in a fuller manner,
+sometimes being turned under to increase the side fullness, while the
+back hair was arranged lower down the neck. In the sixties the hair was
+waved and caught behind in ringlets or was bunched into the hideous
+chignons, which are seen till about 1880.</p>
+
+<p><a name="Page_265" id="Page_265"></a><a id="fig116" name="fig116"></a></p>
+<div class="figcenter">
+<img src="images/fig116.png" width="385" height="738"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 116.</span>&mdash;1840-1860.</p>
+</div>
+
+<p>The variety of caps and hats is too alarming to deal with, and baffles
+comprehensible description, so it is best for the student to dip into
+the hundreds of illustrations through this period in the <i>Ladies'
+Magazine</i>, <i>Punch</i>, the <i>Illustrated London News</i>, or the <i>Ladies'
+Treasury</i> for the later styles.</p>
+
+<p>The straw bonnet with a straighter poke front was favoured till 1850,
+when the front became considerably reduced in size and fitted closely
+round the face. The larger brimmed bonnets had a little frill by the
+ears, and the tight-brimmed bonnet often had the frill all round with a
+flower also tucked in effectively to the wearer's taste, and we see this
+favoured till the<span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span> seventies. In the fifties a large flat Leghorn hat
+with a small crown was in evidence, the brim dipping back and front,
+decorated with feathers or bows, and a three-cornered French hat with
+feathers set in the brim came in with revival of the 18th-century style
+about 1860. A small bowler hat and a very small "pork-pie" hat appears
+in the late sixties, and a tiny-shaped bonnet of a curved form during
+the seventies.</p>
+
+<p><a id="plate30" name="plate30"></a></p>
+<div class="figcenter" style="width: 400px;">
+<img src="images/plate30thumb.jpg" width="250" height="358" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate30full.jpg">larger image</a></p>
+<p class="caption">Plate XXX.</p>
+<ul>
+<li>(<i>a</i>) Printed Silk Bodice. 1840-50. (<i>Pattern, see p. <a href="#Page_320">320</a>.</i>)</li>
+<li>(<i>b</i>) Gathered Linen Bodice. 1837-47.</li>
+<li>(<i>c</i>) Silk Bodice and Bertha. 1845-55.</li>
+</ul>
+</div>
+
+<p><a name="Page_267" id="Page_267"></a><a id="fig117" name="fig117"></a></p>
+<div class="figcenter">
+<img src="images/fig117.png" width="382" height="748"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 117.</span>&mdash;1845-1855.</p>
+</div>
+
+<p>At the beginning of this long reign we find the pointed bodice with a
+normal length of waist has really come to stay, though many dresses
+retain the waistband till the fifties, and there is such a confusion of
+styles at that time, it is difficult to arrange a sequence. From the
+18th century fashions became more complicated in the greater variety of
+design, each overlapping the other, and several distinct forms of
+character come and go during this long reign. I do not envy the person
+who undertakes the chronology of our present period.</p>
+
+<p>At the commencement in 1837 the huge sleeves gathered at the wrist were
+still in evidence, especially as a gauze oversleeve to evening attire,
+and they continued thus<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span> to the fifties, but very large sleeves were
+really dying out and the usual reaction was setting in; the
+full-shouldered sleeve had turned a somersault and was neatly gathered
+tight from the shoulder to the elbow, the fullness falling on the
+forearm, and this was gathered into a tight setting or wristband. The
+<span class="f">V</span>-shaped front to the bodice was kept in many dresses by a collar or two
+tapering from the shoulders to the waist, the fullness of the breast
+often being tightly gathered at the shoulders, besides a few inches in
+the front point of the bodice. A very plain tight-fitting sleeve became
+fashionable, and on most of these we find a small upper sleeve or a
+double one as shown in A, Plate <a href="#plate30">XXX</a> (see p. <a href="#Page_266">266</a>); this was sometimes
+opened at the outer side. These sleeves continued till about 1852. In
+1853 a bell-shaped sleeve is noticed in ordinary dress, and this
+continued in various sizes till 1875, reaching its fuller shape about
+1864. These types of sleeves were usually worn over a tight one or a
+full lawn sleeve gathered at the wrist; most bodices with this sleeve
+were closely fitted and high in the neck, the waist often being cut into
+small tabs. We also notice for a few years in the early fifties the<span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span>
+deeper part of the bell curved to the front of the arm, giving a very
+ugly appearance. A close-fitting jacket also came into evidence till
+about 1865 with tight sleeves and cuffs, sometimes with a little
+turn-down collar and a longer skirt as in Fig. C, Plate <a href="#plate33">XXXIII</a> (see p.
+<a href="#Page_282">282</a>). This particularly fine embroidered specimen, in imitation of the
+18th-century style, is interestingly cut away short at the back to allow
+for better setting on the crinoline. There is another type of sleeve
+seen about 1848, of a plain, full, square cut; these became varied in
+shape, being opened up the side and generally trimmed with wide braids.
+This clumsy character is seen up to 1878, the later ones being fuller in
+cut. Zouave jackets were occasionally worn in the forties and later in
+the early sixties, when the wide corselet belt was again favoured.
+Skirts at the beginning of the reign were fully set out on drill
+petticoats, stiff flounces, and even whalebone, so it was hardly "a
+great effect" when the crinoline appeared about 1855, though a furious
+attack was made against it at first; this undersetting developed to its
+fullest extent between 1857 and 1864, and many dresses in the early
+sixties<span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span> were also worn short, showing the high boots of this period.
+At first the crinoline was slightly held back from the front by ties,
+and again in the sixties it was often kept with a straight front, the
+fullness being held to the back, till the appearance of the bustle
+brought in another shape. The skirts were now pulled in tight to the
+front of the figure and bunched up at the back, with a train or shaped
+flounced pieces overlapping each other caught up under the bustle, as in
+Fig. B, Plate <a href="#plate33">XXXIII</a> (see p. <a href="#Page_282">282</a>).</p>
+
+<p><a id="plate31" name="plate31"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/plate31thumb.jpg" width="404" height="259" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate31full.jpg">larger image</a></p>
+<p class="caption">Plate XXXI.</p>
+<ul>
+<li>(<i>a</i>) Embroidered Muslin Outdoor Dress, 1855-65.</li>
+<li>(<i>b</i>) Riding Habit. 1845-75.</li>
+<li>(<i>c</i>) Gauze Ball Dress. 1840-55.</li>
+</ul>
+</div>
+
+<p><a id="fig118" name="fig118"></a></p>
+<div class="figcenter">
+<img src="images/fig118.png" width="425" height="229"
+     alt="See caption" title="See caption" />
+<p class="caption"><span class="smcap">Fig. 118.</span>&mdash;Dress improvers, 1865-1875.</p>
+</div>
+
+<p>Mantles of a cumbersome type and shot-silk capes with long pointed
+fronts were<span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span> worn, often heavily fringed, the former also being mostly
+decorated with braided designs. Large Paisley shawls were much used all
+through this reign, besides the cape and hood with its fine tassels
+which became very fashionable in the sixties.</p>
+
+<p>Gloves and mittens are seen both long and short, the latter often
+beautifully embroidered on the back in the French style. Hand-bags were
+often carried, of which examples are given in the plates of a variety of
+shapes; the favourite materials for their make were velvets and silks
+decorated with bullion, sequins, braids, needlework, and beads, and
+these bags were richly set in gilt, silver, or steel mounts.</p>
+
+<p>Parasols were still heavily fringed, and were of the usual shapes. A
+very small one was carried in the carriages, and are even seen on the
+ladies' driving whips.</p>
+
+<p>Shoes continued in the same heelless sandal character to the sixties for
+evening wear, but from the forties most outdoor shoes had a heel and
+large rosettes. With the seventies came round toes with a low round
+front and bow, and high shaped heels came to stay till the present day.
+Boots of white satin, kid, or coloured silks were chiefly worn till the
+seventies,<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span> reaching just above the ankle, laced up the inner side, but
+many wore elastic sides from the fifties; the toes of these were rather
+square, and a toe-cap and front seam was made in many of this type. In
+the forties a tight rosette was sometimes placed low down towards the
+toes, and later, a huge bow was sewn on the front. High boots buttoned
+towards the side and very much shaped, with pointed round toes and high
+heels were sometimes laced and finished with a pair of tassels. Spats
+were always fashionable through this period.</p>
+
+
+<h3><a name="VIII_NINETEENTH_VICTORIA_MALE" id="VIII_NINETEENTH_VICTORIA_MALE"></a>NINETEENTH CENTURY. VICTORIA. MALE.</h3>
+
+<p>The same modes of doing the hair remained till the sixties, parted at
+one side and worn rather long and waved, with the side whiskers or beard
+all round the chin. The side whiskers were allowed to grow long between
+fifty-five and seventy, and full beards also became fashionable, while
+the hair was parted in the centre from front to back and flattened on
+the forehead.</p>
+
+<p>The favourite top-hat still reigned supreme, many of which retained the<span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span>
+tapered top and large curled brim till about 1855, and a bell shape was
+frequently seen in the fifties, but the real straight chimney shape was
+seen throughout till the eighties, with a rather narrow brim, and often
+of white or fawn-coloured cloth. The bowler hat increased in
+appreciation, being of a short type, with smallish brim. A short flat
+felt hat, with rather straight brim, also came into favour from the
+fifties; little round caps and caps with ear-flaps, for travelling, &amp;c.,
+were also in general use.</p>
+
+<p>The frock-coat kept the rather tight sleeves and tight waist, and full
+square skirt, with back pockets, also a deep lapel, sometimes with a
+velvet collar, and small cuffs; a breast-pocket was often placed on the
+left side, and in the fifties the type of morning coat with rounded-off
+fronts at the skirt appeared, also a small collar and lapel. Square-cut
+jackets and tweed suits similar to our present shapes, but heavier in
+cut and with braided edges, were much in use. Velvet or fur-trimmed
+overcoats, and heavy travelling-coats, also capes and Inverness capes,
+were all in vogue.</p>
+
+<p>Waistcoats became buttoned higher in the<span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span> neck, and the stock-collar was
+supplanted in the sixties by a turn-down collar, and small tie or loose
+bow; many still affected the black stock and pointed collar to the
+seventies, when a high round collar began to appear.</p>
+
+<p>Coloured and fancy waistcoats were much worn till the eighties, and
+evening dress was similar to the present cut, with slight differences in
+the length of lapels and waistcoat front.</p>
+
+<p>The trousers were made with the front flap till they were buttoned down
+the front about 1845, and side pockets became general. Braids may be
+noted down the sides in the fifties, and are seen now and then all
+through the reign, while large plaids and stripes were highly esteemed.</p>
+
+<p>Short Wellington boots were chiefly preferred up to the sixties, and
+trouser-straps and spats were fashionable all through the reign. The
+heavier lace-up boot came in during the fifties, and a very shaped type
+of fashion appeared in the sixties.</p>
+
+<p>Having now completed the general survey of Costume, the following pages
+are given up to the cut and measurements of various antique garments.</p>
+
+
+
+
+<h2><a name="PATTERNS_OF_VARIOUS_REIGNS_FROM_ANTIQUE_COSTUME" id="PATTERNS_OF_VARIOUS_REIGNS_FROM_ANTIQUE_COSTUME"></a>PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span></h2>
+
+<p class="smcap center">With Notes and Measurements</p>
+
+
+<p>I have striven to gather as many representative patterns of dress types
+and accessories as possible, and also give many measurements from the
+various examples, when I have been unable to obtain a complete pattern.
+The character of cut and proportion is the essential point in the study
+of dress design, and the intimate knowledge of periods. When seeing a
+collection of patterns, one is astonished at the great variety in cut
+used to arrive at the different bodice types. Several patterns of single
+pieces are given, as it aids one to find the fellow-part; for example,
+the photo of a back given in Fig. C, Plate <a href="#plate03">III</a> (see p. <a href="#Page_55">55</a>), will go with
+the front cut on page <a href="#Page_290">290</a>; even though these two pieces did not belong
+to the same body, the cut is seen from<span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span> which to design the missing
+part. Often a small piece is wanting for the top of the shoulder, which
+can easily be supplied to fill the sleeve measurement. The types of
+trimmings in the different centuries will soon be acquired by a careful
+student, and the proportions of patterns will be valued for gaining the
+character. I believe with this collection one could get the true effects
+of any style of dress seen in the period prints. The drawings are mostly
+scaled for the half, and the measurement, in inches, will be found by
+dots on the top of the collotypes, and by a marked line on the pattern
+pages.</p>
+
+<p>One must note, with the 18th-century dress, the sleeve cuffs can be
+changed, so I give, on page <a href="#Page_300">300</a>, a full-size measurement of the
+elbow-cuff seen in Fig. A, Plate <a href="#plate16">XVI</a> (see p. <a href="#Page_167">167</a>), and a deeper one of
+this style is seen on Fig. C, Plate <a href="#plate12">XII</a> (see p. <a href="#Page_135">135</a>), gathered seven
+times at the elbow. The plain square type was pleated in the front as
+given on page <a href="#Page_300">300</a>, and a variety of this character is shown on Fig. B,
+Plate <a href="#plate15">XV</a> (see p. <a href="#Page_154">154</a>). Though many patterns may be found remarkable in
+proportions, an allowance is often to be made for the undersetting, as
+well as for the thick,<span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span> straight corsets worn to the end of the 18th
+century.</p>
+
+<p>I give several specimens of quilting on petticoats of the 18th century,
+which will probably be found useful to artists; the measurement is also
+given of their circumference, which attained similar proportions to
+those set on the Victorian crinolines, going 3 to 4 yards round: four
+18th century ones measured 100, 114, 116, 120 inches, and they are often
+1 inch longer at the sides, to allow for setting over the panniers; a
+pattern is given on pages 213 and 332. The embroidered pockets on page
+300 were worn in pairs at the sides on the petticoats, and only showed
+when the dress was looped up. The extra lawn sleeves, given on page <a href="#Page_287">287</a>,
+show how precious the superfine linen was held, with its superb gathered
+work, lace ruffles, and often fine embroidery; these pieces could be
+looked after with special care in the laundry, and could be tacked,
+pinned, or buttoned on when required.</p>
+
+<p>The 16th and 17th century collars were mostly attached to the chemise or
+shirt, as is seen in many of the old prints. On page <a href="#Page_289">289</a> I give examples
+of shape of the various stomachers, which will be found<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span> useful for
+getting the characteristic proportions. The scarves worn round the body
+of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6
+inches, and <ins class="correction" title="range inconsistent as printed">from 8 feet 6 inches to 7 feet</ins> in length.</p>
+
+<p><a id="plate32" name="plate32"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/plate32thumb.jpg" width="406" height="266" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate32full.jpg">larger image</a></p>
+<p class="caption">Plate XXXII.</p>
+<ul>
+<li>(<i>a</i>) Silk Dress. 1860-70. <i>Pattern, see p. <a href="#Page_346">346</a>.</i></li>
+<li>(<i>b</i>) Gauze Walking Dress. 1850-60.</li>
+<li>(<i>c</i>) Silk Dress. 1848-58. <i>Pattern, see p. <a href="#Page_344">344</a>.</i></li>
+</ul>
+</div>
+
+<p>The stocking top, Fig. C, Plate <a href="#plate06">VI</a> (see p. <a href="#Page_74">74</a>), is probably of similar
+proportions to the woollen one in the Victoria and Albert Museum, on
+which the bell-top circumference is 36 inches, and the full length of
+stocking 38 inches. On page <a href="#Page_285">285</a> a cap of three pieces is given; their
+real design is at present unknown, but I trust the Museum authorities
+may soon discover their placing, for many of these pieces are in
+existence, and this set in my collection is impressed with a beautiful
+pattern. The bodice, Fig A, Plate <a href="#plate10">X</a> (see p. <ins class="correction" title="292"><a href="#Page_119">119</a></ins>), should have been set
+on a stiff-fronted corset to give it the straight style, as it is
+charmingly proportioned and clean in outline. I have also measured a
+short circular cloak of the early 17th century, which is 34 inches in
+diameter, with a square collar 10 inches deep; and another cape of the
+late 16th century, 40 inches in diameter. On page <a href="#Page_290">290</a> will be found the
+smaller tabs which are placed round the jerkin, with a deep front point,
+as in<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span> Fig. A, Plate <a href="#plate08a">VIII<i>a</i></a> (see p. <a href="#Page_103">103</a>); the collar of this type often
+rises 2&frac34; inches in the front to 3 inches at the back, in order to
+carry the stiff ruff or deep turned-down collar. Tabs of the smallest
+dimensions, in the earlier Elizabeth and James character, generally have
+six pieces from front to the middle of the back, which are from 2 to 3
+inches deep. The epaulets are made in small stiff tabs, caught together
+in two places only, and so have plenty of give in the shoulder
+movements; they run to 2&frac14; inches at the widest part, and do not
+continue right under the arm. Fig. D, Plate <a href="#plate05">V</a> (see p. <a href="#Page_71">71</a>), has the
+middle seam of the back open from the waist to within 2 inches of the
+collar, which is noticeable on many of the later Charles I coats. Long
+aprons are conspicuous through the 17th century, and one measured was 42
+inches wide, gathered to 15 inches at the waist; they were decorated
+with three bands of embroidered insertion down the front, with a 3-inch
+plain border, edged with small lace; this is typical in character of
+design, as is also the same style of linen cape seen on a figure, page
+<a href="#Page_159">159</a>. A similar one, lent by Sir Robert Filmer, is at the Victoria and
+Albert Museum; also a cap,<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span> of which I give a pattern, A, page <a href="#Page_285">285</a>. The
+smaller type of embroidered aprons of the late 17th and 18th centuries
+measure 40 inches wide, 19&frac12; inches deep, with the centre dipping to
+17&frac34; inches; another shape is 26 inches wide, 18 inches in centre, and
+13&frac12; inches on sides. The bodice, with deep skirt, Fig. B, Plate <a href="#plate18">XVIII</a>
+(see p. <a href="#Page_183">183</a>), is a type seen all through the 18th century, both longer
+and shorter in the skirt. The pattern of the 17th-century breeches is
+interesting as regards the cut, the upper part being kept plain,
+otherwise the gathered fullness would have disturbed the set of the
+jerkin tabs; the band of these breeches has six hooks either side to
+back, which fasten to eyes on an under flap sewn on body of jerkin. The
+epaulet on this pattern is only a &frac34;-inch piece, braided with two
+narrow braids, and the bows on tabs are of ribbon, 1&frac12; inches wide.</p>
+
+<p>The three patterns of capes given on pages 349, 350 will be found
+useful, as they are simple and very typical of the Victorian times, long
+shawls being otherwise much used. The fullness of the Elizabethan
+overdress seen on B, Plate <a href="#plate02">II</a> (see p. <a href="#Page_42">42</a>), is 66 inches to the back
+seam, and the<span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span> Fig. C, on the same plate, is 47 inches. The "jump," or
+jacket, Fig. A, Plate <a href="#plate03">III</a> (see p. <a href="#Page_55">55</a>), is 100 inches round, the fullness
+of the sleeve 13 inches, and the length of back 32 inches. An over-tunic
+of the early 17th century is interesting to examine, though it is a
+specimen of German costume.</p>
+
+<p><a id="plate33" name="plate33"></a></p>
+<div class="figcenter" style="width: 450px;">
+<img src="images/plate33thumb.jpg" width="399" height="235" alt="See caption" title="See caption" />
+<p class="linktext"><a href="images/plate33full.jpg">larger image</a></p>
+<p class="caption">Plate XXXIII.</p>
+<ul>
+<li>(<i>a</i>) Silk Dress with Court Train. 1828-38.</li>
+<li>(<i>b</i>) Silk Afternoon Dress. 1872-78.</li>
+<li>(<i>c</i>) Silk Coat and Skirt. 1855-<ins class="correction" title="56 in ToC">65</ins>. <i>Pattern, see p. <a href="#Page_320">320</a>.</i></li>
+</ul>
+</div>
+
+
+
+
+<h2><a name="PATTERNS_TO_SCALE" id="PATTERNS_TO_SCALE"></a>PATTERNS TO SCALE<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span></h2>
+
+<p class="center i">For Detailed List, see page <a href="#Page_353">353</a>.</p>
+
+<p><span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span><a id="pattern01" name="pattern01"></a></p>
+<div class="figcenter">
+<img src="images/pattern01.png" width="444" height="685"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 1.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span><a id="pattern02" name="pattern02"></a></p>
+<div class="figcenter">
+<img src="images/pattern02.png" width="460" height="705"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 2.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span><a id="pattern03" name="pattern03"></a></p>
+<div class="figcenter">
+<img src="images/pattern03.png" width="459" height="675"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 3.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span><a id="pattern04" name="pattern04"></a></p>
+<div class="figcenter">
+<img src="images/pattern04.png" width="470" height="778"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 4.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span><a id="pattern05" name="pattern05"></a></p>
+<div class="figcenter">
+<img src="images/pattern05.png" width="454" height="768"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 5.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span><a id="pattern06" name="pattern06"></a></p>
+<div class="figcenter">
+<img src="images/pattern06.png" width="443" height="679"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 6.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span><a id="pattern07" name="pattern07"></a></p>
+<div class="figcenter">
+<img src="images/pattern07.png" width="466" height="596"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 7.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span><a id="pattern08" name="pattern08"></a></p>
+<div class="figcenter">
+<img src="images/pattern08.png" width="667" height="444"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 8.</p>
+<p class="center i">Fig. 1 Plate <a href="#plate10">10</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span><a id="pattern09" name="pattern09"></a></p>
+<div class="figcenter">
+<img src="images/pattern09.png" width="444" height="567"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 9.</p>
+<p class="center i">Cut of bodice, Fig. B, Plate <a href="#plate05">5</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span><a id="pattern10" name="pattern10"></a></p>
+<div class="figcenter">
+<img src="images/pattern10.png" width="452" height="769"
+     alt="See caption" title="See caption" />
+<p class="center i">See page opposite for Breeches of same, 1620-1640. Victoria and Albert
+Museum, Kensington.</p>
+<p class="caption smcap">Pattern 10.</p>
+<p class="center i">Similar type to Fig. C, Plate <a href="#plate07">7</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span><a id="pattern11" name="pattern11"></a></p>
+<div class="figcenter">
+<img src="images/pattern11.png" width="701" height="458"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 11.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span><a id="pattern12" name="pattern12"></a></p>
+<div class="figcenter">
+<img src="images/pattern12.png" width="448" height="759"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 12.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span><a id="pattern13" name="pattern13"></a></p>
+<div class="figcenter">
+<img src="images/pattern13.png" width="437" height="772"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 13.</p>
+<p class="center i">Back of bodice, Fig. B, Plate <a href="#plate07">7</a>.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span><a id="pattern14" name="pattern14"></a></p>
+<div class="figcenter">
+<img src="images/pattern14.png" width="726" height="464"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 14.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span><a id="pattern15" name="pattern15"></a></p>
+<div class="figcenter">
+<img src="images/pattern15.png" width="713" height="453"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 15.</p>
+<p class="center i">Jacket. Fig. C, Plate <a href="#plate04">4</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span><a id="pattern16" name="pattern16"></a></p>
+<div class="figcenter">
+<img src="images/pattern16.png" width="452" height="731"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 16.</p>
+<p class="center i">Hanging sleeve of Fig. C, Plate <a href="#plate02">2</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span><a id="pattern17" name="pattern17"></a></p>
+<div class="figcenter">
+<img src="images/pattern17.png" width="736" height="449"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 17.</p>
+<p class="center i">Herald's coat, Fig. A, Plate <a href="#plate07">7</a>. Victoria &amp; Albert Museum</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span><a id="pattern18" name="pattern18"></a></p>
+<div class="figcenter">
+<img src="images/pattern18.png" width="456" height="637"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 18.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span><a id="pattern19" name="pattern19"></a></p>
+<div class="figcenter">
+<img src="images/pattern19.png" width="733" height="450"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 19.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span><a id="pattern20" name="pattern20"></a></p>
+<div class="figcenter">
+<img src="images/pattern20.png" width="670" height="441"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 20.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span><a id="pattern21" name="pattern21"></a></p>
+<div class="figcenter">
+<img src="images/pattern21.png" width="745" height="431"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 21.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span><a id="pattern22" name="pattern22"></a></p>
+<div class="figcenter">
+<img src="images/pattern22.png" width="454" height="612"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 22.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span><a id="pattern23" name="pattern23"></a></p>
+<div class="figcenter">
+<img src="images/pattern23.png" width="437" height="698"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 23.</p>
+<p class="center i">Coat, Fig. B, Plate <a href="#plate26">26</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span><a id="pattern24" name="pattern24"></a></p>
+<div class="figcenter">
+<img src="images/pattern24.png" width="745" height="381"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 24.</p>
+<p class="center i">Coat, Fig. B, Plate <a href="#plate13">13</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span><a id="pattern25" name="pattern25"></a></p>
+<div class="figcenter">
+<img src="images/pattern25.png" width="756" height="459"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 25.</p>
+<p class="center i">Fig. A, Plate <a href="#plate15">15</a><br />Coat, 1775-90</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span><a id="pattern26" name="pattern26"></a></p>
+<div class="figcenter">
+<img src="images/pattern26.png" width="348" height="752"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 26.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span><a id="pattern27" name="pattern27"></a></p>
+<div class="figcenter">
+<img src="images/pattern27.png" width="456" height="701"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 27.</p>
+<p class="center i">Coat, 1830-1845<br />Similar type to Fig. C, Plate <a href="#plate26">26</a>.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span><a id="pattern28" name="pattern28"></a></p>
+<div class="figcenter">
+<img src="images/pattern28.png" width="461" height="569"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 28.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span><a id="pattern29" name="pattern29"></a></p>
+<div class="figcenter">
+<img src="images/pattern29.png" width="438" height="584"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 29.</p>
+<p class="center i">Coat, Fig. A, Plate <a href="#plate26">26</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span><a id="pattern30" name="pattern30"></a></p>
+<div class="figcenter">
+<img src="images/pattern30.png" width="630" height="430"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 30.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span><a id="pattern31" name="pattern31"></a></p>
+<div class="figcenter">
+<img src="images/pattern31.png" width="750" height="400"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 31.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span><a id="pattern32" name="pattern32"></a></p>
+<div class="figcenter">
+<img src="images/pattern32.png" width="744" height="421"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 32.</p>
+<p class="center i">Bodice of linen dress, Fig A, Plate <a href="#plate22">22</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span><a id="pattern33" name="pattern33"></a></p>
+<div class="figcenter">
+<img src="images/pattern33.png" width="415" height="760"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 33.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span><a id="pattern34" name="pattern34"></a></p>
+<div class="figcenter">
+<img src="images/pattern34.png" width="573" height="442"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 34.</p>
+<p class="center i">Jacket bodice, Fig. A, Plate <a href="#plate24">24</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span><a id="pattern35" name="pattern35"></a></p>
+<div class="figcenter">
+<img src="images/pattern35.png" width="741" height="399"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 35.</p>
+<p class="center i">Bodice, 1845-55<br /> similar type Fig. A, Plate <a href="#plate30">30</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span><a id="pattern36" name="pattern36"></a></p>
+<div class="figcenter">
+<img src="images/pattern36.png" width="458" height="728"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 36.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span><a id="pattern37" name="pattern37"></a></p>
+<div class="figcenter">
+<img src="images/pattern37.png" width="563" height="438"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 37.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span><a id="pattern38" name="pattern38"></a></p>
+<div class="figcenter">
+<img src="images/pattern38.png" width="358" height="741"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 38.</p>
+<p class="center i">Bodice of Fig. A, Plate <a href="#plate14">14</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span><a id="pattern39" name="pattern39"></a></p>
+<div class="figcenter">
+<img src="images/pattern39.png" width="664" height="452"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 39.</p>
+<p class="center i">Similar type of Bodice to Fig. B, Plate <a href="#plate14">14</a>.<br />
+Bodice with type of pleated back, 1720-50</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span><a id="pattern40" name="pattern40"></a></p>
+<div class="figcenter">
+<img src="images/pattern40.png" width="740" height="423"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 40.</p>
+<p class="center i">Pattern, Fig. C, Plate <a href="#plate28">28</a></p>
+<p class="center i">Bodice, Fig. A, Plate <a href="#plate18">18</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span><a id="pattern41" name="pattern41"></a></p>
+<div class="figcenter">
+<img src="images/pattern41.png" width="403" height="750"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 41.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span><a id="pattern42" name="pattern42"></a></p>
+<div class="figcenter">
+<img src="images/pattern42.png" width="626" height="444"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 42.</p>
+<p class="center i">Silk jacket, Fig. B, Plate <a href="#plate19">19</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span><a id="pattern43" name="pattern43"></a></p>
+<div class="figcenter">
+<img src="images/pattern43.png" width="725" height="443"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 43.</p>
+<p class="center i">Bodice, Fig. C, Plate <a href="#plate18">18</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span><a id="pattern44" name="pattern44"></a></p>
+<div class="figcenter">
+<img src="images/pattern44.png" width="744" height="447"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 44.</p>
+<p class="center i">Bodice, Fig. A, Plate <a href="#plate30">30</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span><a id="pattern45" name="pattern45"></a></p>
+<div class="figcenter">
+<img src="images/pattern45.png" width="452" height="709"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 45.</p>
+<p class="center i">Coat, Fig. C, Plate <a href="#plate33">33</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span><a id="pattern46" name="pattern46"></a></p>
+<div class="figcenter">
+<img src="images/pattern46.png" width="452" height="675"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 46.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span><a id="pattern47" name="pattern47"></a></p>
+<div class="figcenter">
+<img src="images/pattern47.png" width="427" height="750"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 47.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span><a id="pattern48" name="pattern48"></a></p>
+<div class="figcenter">
+<img src="images/pattern48.png" width="666" height="457"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 48.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_333" id="Page_333">[333]</a></span><a id="pattern49" name="pattern49"></a></p>
+<div class="figcenter">
+<img src="images/pattern49.png" width="722" height="444"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 49.</p>
+<p class="center i">Petticoat, Fig. B, Plate <a href="#plate16">16</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span><a id="pattern50" name="pattern50"></a></p>
+<div class="figcenter">
+<img src="images/pattern50.png" width="460" height="696"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 50.</p>
+<p class="center i">Dress, Fig. B, Plate <a href="#plate16">16</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_335" id="Page_335">[335]</a></span><a id="pattern51" name="pattern51"></a></p>
+<div class="figcenter">
+<img src="images/pattern51.png" width="455" height="752"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 51.</p>
+<p class="center i">Dress, Fig. C, Plate <a href="#plate16">16</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_336" id="Page_336">[336]</a></span><a id="pattern52" name="pattern52"></a></p>
+<div class="figcenter">
+<img src="images/pattern52.png" width="450" height="688"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 52.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_337" id="Page_337">[337]</a></span><a id="pattern53" name="pattern53"></a></p>
+<div class="figcenter">
+<img src="images/pattern53.png" width="393" height="744"
+     alt="See caption" title="See caption" />
+<p class="caption smcap"><ins class="correction" title="Patteen">Pattern</ins> 53.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_338" id="Page_338">[338]</a></span><a id="pattern54" name="pattern54"></a></p>
+<div class="figcenter">
+<img src="images/pattern54.png" width="446" height="739"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 54.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_339" id="Page_339">[339]</a></span><a id="pattern55" name="pattern55"></a></p>
+<div class="figcenter">
+<img src="images/pattern55.png" width="451" height="723"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 55.</p>
+<p class="center i">Pattern of Fig C, Plate <a href="#plate25">25</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span><a id="pattern56" name="pattern56"></a></p>
+<div class="figcenter">
+<img src="images/pattern56.png" width="574" height="464"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 56.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_341" id="Page_341">[341]</a></span><a id="pattern57" name="pattern57"></a></p>
+<div class="figcenter">
+<img src="images/pattern57.png" width="311" height="744"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 57.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_342" id="Page_342">[342]</a></span><a id="pattern58" name="pattern58"></a></p>
+<div class="figcenter">
+<img src="images/pattern58.png" width="451" height="705"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 58.</p>
+<p class="center i">Dress, Fig. C, Plate <a href="#plate29">29</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_343" id="Page_343">[343]</a></span><a id="pattern59" name="pattern59"></a></p>
+<div class="figcenter">
+<img src="images/pattern59.png" width="751" height="321"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 59.</p>
+<p class="center i">Dress, Fig. B, Plate <a href="#plate28">28</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_344" id="Page_344">[344]</a></span><a id="pattern60" name="pattern60"></a></p>
+<div class="figcenter">
+<img src="images/pattern60.png" width="416" height="749"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 60.</p>
+<p class="center i">Dress, Fig. C, Plate <a href="#plate32">32</a>.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_345" id="Page_345">[345]</a></span><a id="pattern61" name="pattern61"></a></p>
+<div class="figcenter">
+<img src="images/pattern61.png" width="436" height="761"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 61.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_346" id="Page_346">[346]</a></span><a id="pattern62" name="pattern62"></a></p>
+<div class="figcenter">
+<img src="images/pattern62.png" width="724" height="455"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 62.</p>
+<p class="center i">Blue silk dress, 1860-70<br />
+Fig. A, Plate <a href="#plate32">32</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_347" id="Page_347">[347]</a></span><a id="pattern63" name="pattern63"></a></p>
+<div class="figcenter">
+<img src="images/pattern63.png" width="807" height="442"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 63.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_348" id="Page_348">[348]</a></span><a id="pattern64" name="pattern64"></a></p>
+<div class="figcenter">
+<img src="images/pattern64.png" width="444" height="662"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 64.</p>
+<p class="center i">Lady's jacket, Fig. C, Plate <a href="#plate19">19</a></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_349" id="Page_349">[349]</a></span><a id="pattern65" name="pattern65"></a></p>
+<div class="figcenter">
+<img src="images/pattern65.png" width="438" height="712"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 65.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_350" id="Page_350">[350]</a></span><a id="pattern66" name="pattern66"></a></p>
+<div class="figcenter">
+<img src="images/pattern66.png" width="451" height="575"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 66.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_351" id="Page_351">[351]</a></span><a id="pattern67" name="pattern67"></a></p>
+<div class="figcenter">
+<img src="images/pattern67.png" width="443" height="741"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 67.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_352" id="Page_352">[352]</a></span><a id="pattern68" name="pattern68"></a></p>
+<div class="figcenter">
+<img src="images/pattern68.png" width="350" height="758"
+     alt="See caption" title="See caption" />
+<p class="caption smcap">Pattern 68.</p>
+</div>
+
+
+
+
+<h2><a name="DETAILED_LIST_OF_SCALED_PATTERNS" id="DETAILED_LIST_OF_SCALED_PATTERNS"></a>DETAILED LIST OF SCALED PATTERNS<span class="pagenum"><a name="Page_353" id="Page_353">[353]</a></span></h2>
+
+
+<p>Pattern <a href="#pattern01">1</a>, page 285:&mdash;</p>
+<ul>
+<li>Piccadillo, 1580-1630.</li>
+<li>Three caps, 16-17 century.</li>
+<li>Cap of three pieces, 16-17 c.</li>
+<li>Triangular cap, 16-17 c.</li>
+<li>Long cap, 17 c.</li>
+<li>Cap, late 17 c., early 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern02">2</a>, page 286:&mdash;</p>
+<ul>
+<li>4 collars, 17 c.</li>
+<li>Gorget of linen, 17 c.</li>
+<li>2 stocks, 17 and 18 c.</li>
+<li>3 male caps and 1 female, 17 and 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern03">3</a>, page 287:&mdash;</p>
+<ul>
+<li>Ruff, 17 c.</li>
+<li>4 extra linen sleeves, 17 and one 18 c.</li>
+<li>2 caps, female, 17 c.</li>
+</ul>
+<p>Pattern <a href="#pattern04">4</a>, page 288:&mdash;</p>
+<ul>
+<li>Front of linen jacket, 16 c.</li>
+<li>Front of linen bodice, Charles I.</li>
+</ul>
+<p>Pattern <a href="#pattern05">5</a>, page 289:&mdash;</p>
+<ul>
+<li>Elizabethan jerkin.</li>
+<li>4 stomachers, 17 and 18 c.</li>
+</ul>
+<p><span class="pagenum"><a name="Page_354" id="Page_354">[354]</a></span>Pattern <a href="#pattern06">6</a>, page 290:&mdash;</p>
+<ul>
+<li>Set of tabs for male jerkin, 17 c.</li>
+<li>Pattern type, sleeve and bodice front, 1570-1605.</li>
+</ul>
+<p>Pattern <a href="#pattern07">7</a>, page 291:&mdash;</p>
+<ul>
+<li>Circular cape, 17 c.</li>
+<li>Cap, female, 1580-1630.</li>
+</ul>
+<p>Pattern <a href="#pattern08">8</a>, page 292:&mdash;</p>
+<ul>
+<li>Bodice, Fig. 1, Plate <a href="#plate10">X</a>, James I.</li>
+</ul>
+<p>Pattern <a href="#pattern09">9</a>, page 293:&mdash;</p>
+<ul>
+<li>3 corsets and bodice of, Fig. 2, Plate <a href="#plate05">V</a>, 17 c.</li>
+</ul>
+<p>Pattern <a href="#pattern10">10</a>, page 294:&mdash;</p>
+<ul>
+<li>Jerkin of white quilted satin, 17 c.</li>
+</ul>
+<p>Pattern <a href="#pattern11">11</a>, page 295:&mdash;</p>
+<ul>
+<li>Breeches of same suit.</li>
+</ul>
+<p>Pattern <a href="#pattern12">12</a>, page 296:&mdash;</p>
+<ul>
+<li>Cape-coat, 17 c.</li>
+</ul>
+<p>Pattern <a href="#pattern13">13</a>, page 297:&mdash;</p>
+<ul>
+<li>Back of bodice, Plate <a href="#plate07">VII</a>, 17 c.</li>
+<li>Shaped cap, male, 17 and 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern14">14</a>, page 298:&mdash;</p>
+<ul>
+<li>2 collars, Charles II.</li>
+</ul>
+<p>Pattern <a href="#pattern15">15</a>, page 299:&mdash;</p>
+<ul>
+<li>Jacket, Fig. <i>C</i>, Plate <a href="#plate04">IV</a>, 17 c.</li>
+</ul>
+<p>Pattern <a href="#pattern16">16</a>, page 300:&mdash;</p>
+<ul>
+<li>2 sleeve-cuffs, 18 c.</li>
+<li>2 embroidered pockets, 17 and 18 c.</li>
+<li>Hanging sleeve, Fig. <i>C</i>, Plate <a href="#plate02">II</a>, 16-17 c.</li>
+<li>Embroidered bodice fronts, 17-18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern17">17</a>, page 301:&mdash;</p>
+<ul>
+<li>Quilted linen corsage, 1660-1715.</li>
+<li>Herald's coat, Fig. <i>A</i>, Plate <a href="#plate07">VII</a>, 16-17 c.</li>
+</ul>
+<p>Pattern <a href="#pattern18">18</a>, page 302:&mdash;</p>
+<ul>
+<li>Sleeved waistcoat, 1690-1720.</li>
+</ul>
+<p>Pattern <a href="#pattern19">19</a>, page 303:&mdash;</p>
+<ul>
+<li>Sleeved waistcoat and vest, early 18 c.</li>
+</ul>
+<p><span class="pagenum"><a name="Page_355" id="Page_355">[355]</a></span>Pattern <a href="#pattern20">20</a>, page 304:&mdash;</p>
+<ul>
+<li>Breeches, 1660-1720.</li>
+</ul>
+<p>Pattern <a href="#pattern21">21</a>, page 305:&mdash;</p>
+<ul>
+<li>Breeches, 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern22">22</a>, page 306:&mdash;</p>
+<ul>
+<li>Breeches, 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern23">23</a>, page 307:&mdash;</p>
+<ul>
+<li>Coat, Fig. <i>B</i>, Plate <a href="#plate26">XXVI</a>, 19 c.</li>
+</ul>
+<p>Pattern <a href="#pattern24">24</a>, page 308:&mdash;</p>
+<ul>
+<li>Coat, Fig. <i>B</i>, Plate <a href="#plate13">XIII</a>, 18 c.</li>
+<li>Corderoy trousers, from 1815.</li>
+</ul>
+<p>Pattern <a href="#pattern25">25</a>, page 309:&mdash;</p>
+<ul>
+<li>Coat, late 18 c., Fig. <i>A</i>, Plate <a href="#plate15">XV</a>.</li>
+<li>Leather breeches, late 18-19 c.</li>
+<li>Straw hat, 1816-30.</li>
+</ul>
+<p>Pattern <a href="#pattern26">26</a>, page 310:&mdash;</p>
+<ul>
+<li>Coat, 1784-94.</li>
+</ul>
+<p>Pattern <a href="#pattern27">27</a>, page 311:&mdash;</p>
+<ul>
+<li>Coat, 1830-45.</li>
+</ul>
+<p>Pattern <a href="#pattern28">28</a>, page 312:&mdash;</p>
+<ul>
+<li>Buff linen trousers, 1810-40.</li>
+</ul>
+<p>Pattern <a href="#pattern29">29</a>, page 313:&mdash;</p>
+<ul>
+<li>Morning coat, Fig. <i>A</i>, Plate <a href="#plate26">XXVI</a>, 19 c.</li>
+</ul>
+<p>Pattern <a href="#pattern30">30</a>, page 314:&mdash;</p>
+<ul>
+<li>Bodice, 1816-22.</li>
+</ul>
+<p>Pattern <a href="#pattern31">31</a>, page 315:&mdash;</p>
+<ul>
+<li>Bell-sleeved bodice, 1848-58.</li>
+</ul>
+<p>Pattern <a href="#pattern32">32</a>, page 316:&mdash;</p>
+<ul>
+<li>Bodice of linen dress, Fig. <i>A</i>, Plate <a href="#plate22">XXII</a>, about 1800.</li>
+</ul>
+<p>Pattern <a href="#pattern33">33</a>, page 317:&mdash;</p>
+<ul>
+<li>Bodice, 1860-70.</li>
+<li>Bodice, 1850-60.</li>
+<li>Bodice, 1816-25.</li>
+</ul>
+<p>Pattern <a href="#pattern34">34</a>, page 318:&mdash;</p>
+<ul>
+<li>Jacket bodice, Fig. <i>A</i>, Plate <a href="#plate24">XXIV</a>, about 1800.</li>
+</ul>
+<p><span class="pagenum"><a name="Page_356" id="Page_356">[356]</a></span>Pattern <a href="#pattern35">35</a>, page 319:&mdash;</p>
+<ul>
+<li>Bodice, similar type, Fig. <i>A</i>, Plate <a href="#plate30">XXX</a>, 1845-55.</li>
+</ul>
+<p>Pattern <a href="#pattern36">36</a>, page 320:&mdash;</p>
+<ul>
+<li>Sleeveless over jacket, early 18 c.</li>
+<li>Spencer, 1827-37.</li>
+</ul>
+<p>Pattern <a href="#pattern37">37</a>, page 321:&mdash;</p>
+<ul>
+<li>Bodice, 1812-18.</li>
+</ul>
+<p>Pattern <a href="#pattern38">38</a>, page 322:&mdash;</p>
+<ul>
+<li>Corset pattern, 18 c.</li>
+<li>Bodice of Fig. <i>A</i>, Plate <a href="#plate14">XIV</a>, 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern39">39</a>, page 323:&mdash;</p>
+<ul>
+<li>Bodice with type of pleated sack back, 1720-50.</li>
+</ul>
+<p>Pattern <a href="#pattern40">40</a>, page 324:&mdash;</p>
+<ul>
+<li>Bodice, Fig. <i>C</i>, Plate <a href="#plate28">XXVIII</a>, 19 c.</li>
+<li>Bodice, Fig. <i>A</i>, Plate <a href="#plate18">XVIII</a>, 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern41">41</a>, page 325:&mdash;</p>
+<ul>
+<li>Zouave jacket, late 18 c.</li>
+<li>Bodice, 1818-28.</li>
+</ul>
+<p>Pattern <a href="#pattern42">42</a>, page 326:&mdash;</p>
+<ul>
+<li>Silk jacket, Fig. <i>B</i>, Plate <a href="#plate19">XIX</a>, 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern43">43</a>, page 327:&mdash;</p>
+<ul>
+<li>Bodice, Fig. <i>C</i>, Plate <a href="#plate18">XVIII</a>, 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern44">44</a>, page 328:&mdash;</p>
+<ul>
+<li>Bodice, Fig. <i>A</i>, Plate <a href="#plate30">XXX</a>, 19 c.</li>
+</ul>
+<p>Pattern <a href="#pattern45">45</a>, page 329:&mdash;</p>
+<ul>
+<li>Lady's coat, Fig. <i>C</i>, Plate <a href="#plate33">XXXIII</a>.</li>
+</ul>
+<p>Pattern <a href="#pattern46">46</a>, Page 330:&mdash;</p>
+<ul>
+<li>Polonaise dress, 1835-45.</li>
+</ul>
+<p>Pattern <a href="#pattern47">47</a>, page 331:&mdash;</p>
+<ul>
+<li>Dress, 1805-18.</li>
+<li>Mob cap, 1780-1800.</li>
+<li>Cap with comb top, 1790-1800.</li>
+</ul>
+<p>Pattern <a href="#pattern48">48</a>, page 332:&mdash;</p>
+<ul>
+<li>Quilted petticoat, 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern49">49</a>, page 333:&mdash;</p>
+<ul>
+<li>Petticoat, Fig. <i>B</i>, Plate <a href="#plate16">XVI</a>, 18 c.</li>
+</ul>
+<p><span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span>Pattern <a href="#pattern50">50</a>, page 334:&mdash;</p>
+<ul>
+<li>Dress, Fig. <i>B</i>, Plate <a href="#plate16">XVI</a>.</li>
+</ul>
+<p>Pattern <a href="#pattern51">51</a>, page 335:&mdash;</p>
+<ul>
+<li>Dress, Fig. <i>C</i>, Plate <a href="#plate16">XVI</a>.</li>
+</ul>
+<p>Pattern <a href="#pattern52">52</a>, page 336:&mdash;</p>
+<ul>
+<li>White linen dress, 1795-1800.</li>
+</ul>
+<p>Pattern <a href="#pattern53">53</a>, page 337:&mdash;</p>
+<ul>
+<li>Striped cotton dress, 1805-15.</li>
+</ul>
+<p>Pattern <a href="#pattern54">54</a>, page 338:&mdash;</p>
+<ul>
+<li>Pattern of under robe, 1818-30.</li>
+</ul>
+<p>Pattern <a href="#pattern55">55</a>, page 339:&mdash;</p>
+<ul>
+<li>Dress, Fig. <i><ins class="correction" title="G">C</ins></i>, Plate <a href="#plate25">XXV</a>.</li>
+</ul>
+<p>Pattern <a href="#pattern56">56</a>, page 340:&mdash;</p>
+<ul>
+<li>Muslin dress, 1822-32.</li>
+</ul>
+<p>Pattern <a href="#pattern57">57</a>, page 341:&mdash;</p>
+<ul>
+<li>Satin dress, 1837-47.</li>
+</ul>
+<p>Pattern <a href="#pattern58">58</a>, page 342:&mdash;</p>
+<ul>
+<li>Dress, Fig. <i><ins class="correction" title="G">C</ins></i>, Plate <a href="#plate29">XXIX</a>.</li>
+</ul>
+<p>Pattern <a href="#pattern59">59</a>, page 343:&mdash;</p>
+<ul>
+<li>Dress, Fig. <i>B</i>, Plate <a href="#plate28">XXVIII</a>.</li>
+</ul>
+<p>Pattern <a href="#pattern60">60</a>, page 344:&mdash;</p>
+<ul>
+<li>Dress, Fig. <i>C</i>, Plate <a href="#plate28">XXXII</a>.</li>
+</ul>
+<p>Pattern <a href="#pattern61">61</a>, page 345:&mdash;</p>
+<ul>
+<li>Lady's coat, 1856-70.</li>
+</ul>
+<p>Pattern <a href="#pattern62">62</a>, page 346:&mdash;</p>
+<ul>
+<li>Silk dress, Fig. <i>A</i>, Plate <a href="#plate32">XXXII</a>, 1860-70.</li>
+</ul>
+<p>Pattern <a href="#pattern63">63</a>, page 347:&mdash;</p>
+<ul>
+<li>Reefed polonaise, 1860-70.</li>
+</ul>
+<p>Pattern <a href="#pattern64">64</a>, page 348:&mdash;</p>
+<ul>
+<li>Lady's jacket, Fig. <i>C</i>, Plate <a href="#plate19">XIX</a>, 18 c.</li>
+</ul>
+<p>Pattern <a href="#pattern65">65</a>, page 349:&mdash;</p>
+<ul>
+<li>Cape, 1840-50.</li>
+</ul>
+<p>Pattern <a href="#pattern66">66</a>, page 350:&mdash;</p>
+<ul>
+<li>Cape, 1860-75.</li>
+<li>Cape, 1830-40.</li>
+</ul>
+<p><span class="pagenum"><a name="Page_358" id="Page_358">[358]</a></span>Pattern <a href="#pattern67">67</a>, page 351:&mdash;</p>
+<ul>
+<li>Upper sleeve and collar, 16 c.</li>
+<li>Bodice with slashed sleeve, 1620-40.</li>
+<li>Boy's stays, coat, and vest, 1700-60.</li>
+</ul>
+<p>Pattern <a href="#pattern68">68</a>, page 352:&mdash;</p>
+<ul>
+<li>Male robe, 1600-25.</li>
+<li>Puritan hat, 1640-60.</li>
+<li>Black velvet hat, 1600-20.</li>
+</ul>
+
+
+
+<h2><a name="INDEX" id="INDEX"></a>INDEX<span class="pagenum"><a name="Page_359" id="Page_359">[359]</a></span></h2>
+
+
+<ul>
+<li>Aprons&mdash;
+<ul>
+<li>17 century, <a href="#Page_186">186</a>, <a href="#Page_280">280</a></li>
+<li>18 c., <a href="#Page_192">192</a>, <a href="#Page_198">198</a>, <a href="#Page_206">206</a></li>
+</ul></li>
+</ul>
+
+<ul>
+<li>Bags, <a href="#Page_193">193</a>, <a href="#Page_262">262</a>, <a href="#Page_272">272</a></li>
+
+<li>Bertha, <a href="#Page_238">238</a>, <a href="#Page_252">252</a></li>
+
+<li>Bouquet Holder, <a href="#Page_262">262</a></li>
+
+<li>Breeches&mdash;
+<ul>
+<li>Mediæval, <a href="#Page_54">54</a></li>
+<li>16 c., <a href="#Page_122">122</a>, <a href="#Page_132">132</a></li>
+<li>17 c., <a href="#Page_152">152</a>, <a href="#Page_164">164</a>, <a href="#Page_281">281</a></li>
+<li>19 c., <a href="#Page_248">248</a>, <a href="#Page_256">256</a>, <a href="#Page_264">264</a></li>
+</ul></li>
+
+<li>Bustle, <a href="#Page_226">226</a></li>
+</ul>
+
+<ul>
+<li>Calash, <a href="#Page_217">217</a></li>
+
+<li>Capes&mdash;
+<ul>
+<li>16 c., <a href="#Page_132">132</a>, <a href="#Page_279">279</a></li>
+<li>17 c., <a href="#Page_184">184</a></li>
+<li>19 c., <a href="#Page_244">244</a>, <a href="#Page_262">262</a>, <a href="#Page_264">264</a>, <a href="#Page_274">274</a>, <a href="#Page_281">281</a></li>
+</ul></li>
+
+<li>Chain Ornaments&mdash;
+<ul>
+<li>to 15 c., <a href="#Page_62">62</a>, <a href="#Page_72">72</a></li>
+<li>16 c., <a href="#Page_110">110</a>, <a href="#Page_124">124</a></li>
+</ul></li>
+
+<li>Cloaks&mdash;
+<ul>
+<li>to 15 c., <a href="#Page_54">54</a>, <a href="#Page_70">70</a></li>
+<li>17 c., <a href="#Page_152">152</a>, <a href="#Page_164">164</a>, <a href="#Page_176">176</a>, <a href="#Page_180">180</a>, <a href="#Page_279">279</a></li>
+<li>18 c., <a href="#Page_222">222</a></li>
+</ul></li>
+
+<li>Collars&mdash;
+<ul>
+<li>16 c., <a href="#Page_112">112</a>, <a href="#Page_128">128</a>, <a href="#Page_129">129</a>, <a href="#Page_139">139</a>, <a href="#Page_278">278</a></li>
+<li>17 c., <a href="#Page_145">145</a>, <a href="#Page_158">158</a>, <a href="#Page_160">160</a>, <a href="#Page_172">172</a>, <a href="#Page_174">174</a></li>
+<li>19 c., <a href="#Page_244">244</a>, <a href="#Page_246">246</a></li>
+</ul></li>
+
+<li>Corsets&mdash;
+<ul>
+<li>to 15 c., <a href="#Page_62">62</a>, <a href="#Page_66">66</a></li>
+<li>16 c., <a href="#Page_110">110</a>, <a href="#Page_116">116</a>, <a href="#Page_138">138</a></li>
+<li>17 c., <a href="#Page_158">158</a>, <a href="#Page_169">169</a>, <a href="#Page_172">172</a></li>
+<li>18 c., <a href="#Page_211">211</a>, <a href="#Page_278">278</a></li>
+<li>19 c., <a href="#Page_250">250</a></li>
+</ul></li>
+
+<li>Crinolines, <a href="#Page_270">270</a>, <a href="#Page_278">278</a></li>
+</ul>
+
+<ul>
+<li>Decorative Styles&mdash;
+<ul>
+<li>Black-stitch work, <a href="#Page_122">122</a>, <a href="#Page_129">129</a></li>
+<li>Braided, <a href="#Page_110">110</a>, <a href="#Page_111">111</a>, <a href="#Page_132">132</a>, <a href="#Page_142">142</a>, <a href="#Page_143">143</a>, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>, <a href="#Page_182">182</a>, <a href="#Page_188">188</a>, <a href="#Page_200">200</a>, <a href="#Page_238">238</a>, <a href="#Page_244">244</a>, <a href="#Page_272">272</a></li>
+<li>Button, <a href="#Page_110">110</a>, <a href="#Page_143">143</a>, <a href="#Page_144">144</a>, <a href="#Page_146">146</a>, <a href="#Page_182">182</a>, <a href="#Page_210">210</a></li>
+<li>Laced, <a href="#Page_70">70</a>, <a href="#Page_88">88</a>, <a href="#Page_92">92</a>, <a href="#Page_110">110</a>, <a href="#Page_116">116</a></li>
+<li>Piped, <a href="#Page_238">238</a>, <a href="#Page_244">244</a></li>
+<li>Pleated, <a href="#Page_111">111</a>, <a href="#Page_140">140</a></li>
+<li>Pricked, <a href="#Page_111">111</a>, <a href="#Page_140">140</a>, <a href="#Page_142">142</a>, <a href="#Page_152">152</a></li>
+<li>Punched, <a href="#Page_111">111</a>, <a href="#Page_140">140</a>, <a href="#Page_142">142</a>, <a href="#Page_152">152</a></li>
+<li>Puffed, <a href="#Page_88">88</a>, <a href="#Page_92">92</a>, <a href="#Page_110">110</a>, <a href="#Page_116">116</a>, <a href="#Page_118">118</a>, <a href="#Page_122">122</a>, <a href="#Page_129">129</a>, <a href="#Page_142">142</a>, <a href="#Page_146">146</a>, <a href="#Page_150">150</a>, <a href="#Page_180">180</a>, <a href="#Page_260">260</a></li>
+<li>Purfled, <a href="#Page_145">145</a>, <a href="#Page_164">164</a>, <a href="#Page_190">190</a></li>
+<li><span class="pagenum"><a name="Page_360" id="Page_360">[360]</a></span>Ribbon, <a href="#Page_145">145</a>, <a href="#Page_172">172</a>, <a href="#Page_176">176</a>, <a href="#Page_178">178</a>, <a href="#Page_191">191</a>, <a href="#Page_253">253</a></li>
+<li>Serrated or shaped edging, <a href="#Page_71">71</a>, <a href="#Page_96">96</a>, <a href="#Page_110">110</a>, <a href="#Page_146">146</a>, <a href="#Page_191">191</a>, <a href="#Page_214">214</a>, <a href="#Page_252">252</a></li>
+<li>Slashing, <a href="#Page_92">92</a>, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>, <a href="#Page_113">113</a>, <a href="#Page_116">116</a>, <a href="#Page_118">118</a>, <a href="#Page_122">122</a>, <a href="#Page_140">140</a>, <a href="#Page_142">142</a>, <a href="#Page_145">145</a>, <a href="#Page_152">152</a>, <a href="#Page_158">158</a>, <a href="#Page_164">164</a></li>
+<li>Straw-work, <a href="#Page_111">111</a>, <a href="#Page_191">191</a></li>
+<li>Tassel, <a href="#Page_238">238</a></li>
+<li>Tinsel, <a href="#Page_237">237</a></li>
+<li>Tulle, <a href="#Page_238">238</a></li>
+</ul></li>
+
+<li>Doublets, <a href="#Page_132">132</a>, <a href="#Page_139">139</a></li>
+
+<li>Dress&mdash;
+<ul>
+<li>Prehistoric,
+<ul><li>female, <a href="#Page_40">40</a>;</li>
+<li>male, <a href="#Page_41">41</a></li></ul></li>
+<li>to 10 c.,
+<ul><li>female, <a href="#Page_45">45</a>, <a href="#Page_46">46</a>, <a href="#Page_48">48</a>;</li>
+<li>male, <a href="#Page_52">52</a>, <a href="#Page_54">54</a></li></ul></li>
+<li>10 to 15 c.,
+<ul><li>female, <a href="#Page_62">62</a>, <a href="#Page_66">66</a>, <a href="#Page_68">68</a>, <a href="#Page_70">70</a>;</li>
+<li>male, <a href="#Page_76">76</a>, <a href="#Page_78">78</a>, <a href="#Page_80">80</a></li></ul></li>
+<li>15 c.,
+<ul><li>female, <a href="#Page_84">84</a>, <a href="#Page_88">88</a>, <a href="#Page_92">92</a>;</li>
+<li>male, <a href="#Page_92">92</a>, <a href="#Page_100">100</a>, <a href="#Page_104">104</a>, <a href="#Page_108">108</a></li></ul></li>
+<li>16 c., <a href="#Page_278">278</a>, <a href="#Page_279">279</a>, <a href="#Page_281">281</a>.
+<ul>
+  <li>Henry VIII,
+  <ul>
+    <li>female, <a href="#Page_113">113</a>, <a href="#Page_116">116</a>;</li>
+    <li>male, <a href="#Page_118">118</a>, <a href="#Page_122">122</a>.</li>
+  </ul></li>
+  <li>Ed. VI and Mary,
+  <ul>
+    <li>female, <a href="#Page_124">124</a>, <a href="#Page_128">128</a>;</li>
+    <li>male, <a href="#Page_129">129</a>, <a href="#Page_132">132</a>.</li>
+  </ul></li>
+  <li>Eliz.,
+  <ul>
+    <li>female, <a href="#Page_133">133</a>, <a href="#Page_136">136</a>, <a href="#Page_138">138</a>;</li>
+    <li>male, <a href="#Page_139">139</a>, <a href="#Page_281">281</a></li>
+  </ul></li>
+</ul></li>
+<li>17 c.,
+<ul><li>James I,
+  <ul>
+    <li>female, <a href="#Page_147">147</a>, <a href="#Page_150">150</a>;</li>
+    <li>male, <a href="#Page_152">152</a>, <a href="#Page_154">154</a>.</li>
+  </ul></li>
+<li>Chas. I,
+  <ul>
+    <li>female, <a href="#Page_158">158</a>;</li>
+    <li>male, <a href="#Page_160">160</a>, <a href="#Page_164">164</a>, <a href="#Page_168">168</a>.</li>
+  </ul></li>
+<li>Commonwealth, female and male, <a href="#Page_168">168</a>, <a href="#Page_169">169</a>.</li>
+<li>Chas. II,
+  <ul>
+    <li>female, <a href="#Page_169">169</a>, <a href="#Page_172">172</a>;</li>
+    <li>male, <a href="#Page_174">174</a>, <a href="#Page_176">176</a>.</li>
+  </ul></li>
+<li>James II,
+  <ul>
+    <li>female, <a href="#Page_178">178</a>, <a href="#Page_180">180</a>;</li>
+    <li>male, <a href="#Page_182">182</a>.</li>
+  </ul></li>
+<li>William and Mary,
+  <ul>
+    <li>female, <a href="#Page_184">184</a>, <a href="#Page_185">185</a>;</li>
+    <li>male, <a href="#Page_186">186</a>, <a href="#Page_188">188</a>.</li>
+  </ul></li>
+<li>Anne,
+  <ul>
+    <li>female, <a href="#Page_196">196</a>;</li>
+    <li>male, <a href="#Page_200">200</a>.</li>
+  </ul></li>
+<li>George I,
+  <ul>
+    <li>female, <a href="#Page_206">206</a>;</li>
+    <li>male, <a href="#Page_210">210</a></li>
+  </ul></li>
+</ul></li>
+<li>18 c.,
+<ul><li>George II,
+  <ul>
+    <li>female, <a href="#Page_221">221</a>;</li>
+    <li>male, <a href="#Page_214">214</a>.</li>
+  </ul></li>
+<li>George III to 1800,
+  <ul>
+    <li>female, <a href="#Page_217">217</a>, <a href="#Page_222">222</a>, <a href="#Page_224">224</a>, <a href="#Page_226">226</a>, <a href="#Page_230">230</a>;</li>
+    <li>male, <a href="#Page_232">232</a>, <a href="#Page_234">234</a></li>
+  </ul></li>
+</ul></li>
+<li>19 c.,
+<ul><li>George III (<i>continued</i>),
+  <ul>
+    <li>female, <a href="#Page_244">244</a>, <a href="#Page_247">247</a>;</li>
+    <li>male, <a href="#Page_247">247</a>.</li>
+  </ul></li>
+<li>George IV,
+  <ul>
+    <li>female, <a href="#Page_250">250</a>;</li>
+    <li>male, <a href="#Page_254">254</a>.</li>
+  </ul></li>
+<li>William IV,
+  <ul>
+    <li>female, <a href="#Page_260">260</a>;</li>
+    <li>male, <a href="#Page_263">263</a>.</li>
+  </ul></li>
+<li>Victorian,
+  <ul>
+    <li>female, <a href="#Page_268">268</a>;</li>
+    <li>male, <a href="#Page_274">274</a>.</li>
+  </ul>
+Note also page <a href="#Page_39">39</a></li>
+</ul></li>
+</ul></li>
+
+<li>Drill petticoat, <a href="#Page_238">238</a></li>
+</ul>
+
+<ul>
+<li>Ear-rings, <a href="#Page_62">62</a>-<a href="#Page_72">72</a></li>
+<li>Epaulets&mdash;
+<ul>
+<li>16 c., <a href="#Page_128">128</a>, <a href="#Page_129">129</a>, <a href="#Page_136">136</a></li>
+<li>17 c., <a href="#Page_143">143</a>, <a href="#Page_152">152</a>, <a href="#Page_280">280</a>, <a href="#Page_281">281</a></li>
+<li>19 c., <a href="#Page_250">250</a></li>
+</ul></li>
+</ul>
+
+<ul>
+<li>Fans&mdash;
+<ul>
+<li>16 c., <a href="#Page_129">129</a>, <a href="#Page_138">138</a></li>
+<li>18 c., <a href="#Page_193">193</a>, <a href="#Page_230">230</a></li>
+<li>19 c., <a href="#Page_240">240</a>, <a href="#Page_253">253</a>, <a href="#Page_262">262</a></li>
+</ul></li>
+
+<li>Farthingale, <a href="#Page_111">111</a>, <a href="#Page_136">136</a></li>
+
+<li>Foot-wear&mdash;
+<ul>
+<li>to the end of 14 c., <a href="#Page_44">44</a>, <a href="#Page_48">48</a>, <a href="#Page_56">56</a>, <a href="#Page_70">70</a>, <a href="#Page_80">80</a>, <a href="#Page_82">82</a>, <a href="#Page_92">92</a></li>
+<li>15 c., <a href="#Page_108">108</a></li>
+<li>16 c.,
+<ul>
+  <li>Henry VIII, <ins class="correction" title="16"><a href="#Page_116">116</a></ins>, <a href="#Page_122">122</a>;</li>
+  <li>Ed. VI and Mary, <a href="#Page_128">128</a>, <a href="#Page_132">132</a>;</li>
+  <li>Elizabeth, <a href="#Page_138">138</a>, <a href="#Page_140">140</a></li>
+</ul></li>
+<li>17 c.,
+<ul>
+  <li>James I, <a href="#Page_150">150</a>, <a href="#Page_154">154</a>;</li>
+  <li>Chas. I, <a href="#Page_158">158</a>, <a href="#Page_164">164</a>;</li>
+  <li>Commonwealth, <a href="#Page_168">168</a>;</li>
+  <li>Chas, II, <a href="#Page_172">172</a>, <a href="#Page_176">176</a>;</li>
+  <li>James II, <a href="#Page_180">180</a>, <a href="#Page_184">184</a>;</li>
+  <li>William and Mary, <a href="#Page_186">186</a>, <a href="#Page_188">188</a></li>
+</ul></li>
+<li>18 c., <a href="#Page_193">193</a>;
+<ul>
+  <li>Anne, <a href="#Page_198">198</a>, <a href="#Page_201">201</a>;</li>
+  <li>George I, <a href="#Page_207">207</a>, <a href="#Page_210">210</a>;</li>
+  <li><span class="pagenum"><a name="Page_361" id="Page_361">[361]</a></span>George II, <a href="#Page_214">214</a>, <a href="#Page_216">216</a>;</li>
+  <li>George III to 1800, <a href="#Page_230">230</a>, <a href="#Page_234">234</a></li>
+</ul></li>
+<li>19 c.,
+<ul>
+  <li>George III, <a href="#Page_246">246</a>, <a href="#Page_248">248</a>;</li>
+  <li>George IV, <a href="#Page_253">253</a>, <a href="#Page_258">258</a>;</li>
+  <li>William IV, <a href="#Page_262">262</a>, <a href="#Page_264">264</a>;</li>
+  <li>Victoria, <a href="#Page_272">272</a>, <a href="#Page_275">275</a></li>
+</ul></li>
+</ul></li>
+</ul>
+
+<ul>
+<li>Girdles&mdash;
+<ul>
+<li>to 15 c., <a href="#Page_68">68</a>, <a href="#Page_78">78</a>, <a href="#Page_92">92</a></li>
+<li>16 c., <a href="#Page_116">116</a></li>
+</ul></li>
+
+<li>Gloves&mdash;
+<ul>
+<li>16 c., <a href="#Page_116">116</a>, <a href="#Page_129">129</a>, <a href="#Page_138">138</a></li>
+<li>17 c., <a href="#Page_168">168</a>, <a href="#Page_172">172</a></li>
+<li>18 c., <a href="#Page_193">193</a>, <a href="#Page_201">201</a>, <a href="#Page_214">214</a>, <a href="#Page_226">226</a></li>
+</ul></li>
+</ul>
+
+<ul>
+<li>Head-dress&mdash;
+<ul>
+  <li>Prehistoric,
+  <ul>
+    <li>female, <a href="#Page_40">40</a>;</li>
+    <li>male, <a href="#Page_42">42</a></li>
+  </ul></li>
+  <li>to 10 c.,
+  <ul>
+    <li>female, <a href="#Page_45">45</a>;</li>
+    <li>male, <a href="#Page_49">49</a></li>
+  </ul></li>
+  <li>10 to 15 c.,
+  <ul>
+    <li>female, <a href="#Page_57">57</a>;</li>
+    <li>male, <a href="#Page_71">71</a></li>
+  </ul></li>
+<li>15 c.,
+  <ul>
+    <li>female, <a href="#Page_84">84</a>;</li>
+    <li>male, <a href="#Page_92">92</a></li>
+  </ul></li>
+<li>16 c.,
+<ul>
+<li>Henry VIII,
+  <ul>
+    <li>female, <a href="#Page_113">113</a>;</li>
+    <li>male, <a href="#Page_118">118</a>.</li>
+  </ul></li>
+<li>Ed. VI and Mary,
+  <ul>
+    <li>female, <a href="#Page_124">124</a>;</li>
+    <li>male, <a href="#Page_129">129</a>.</li>
+  </ul></li>
+<li>Eliz.,
+  <ul>
+    <li>female, <a href="#Page_133">133</a>;</li>
+    <li>male, <a href="#Page_138">138</a></li>
+  </ul></li>
+</ul></li>
+<li>17 c.,
+<ul><li>James I,
+  <ul>
+    <li>female, <a href="#Page_147">147</a>;</li>
+    <li>male, <a href="#Page_150">150</a>.</li>
+  </ul></li>
+<li>Chas. I,
+  <ul>
+    <li>female, <a href="#Page_154">154</a>;</li>
+    <li>male, <a href="#Page_160">160</a>.</li>
+  </ul></li>
+<li>Commonwealth, <a href="#Page_168">168</a>.</li>
+<li>Chas. II,
+  <ul>
+    <li>female, <a href="#Page_169">169</a>;</li>
+    <li>male, <a href="#Page_174">174</a>.</li>
+  </ul></li>
+<li>James II,
+  <ul>
+    <li>female, <a href="#Page_178">178</a>;</li>
+    <li>male, <a href="#Page_180">180</a>.</li>
+  </ul></li>
+<li>William and Mary,
+  <ul>
+    <li>female, <a href="#Page_184">184</a>;</li>
+    <li>male, <a href="#Page_186">186</a></li>
+  </ul></li>
+</ul></li>
+<li>18 c.,
+<ul><li>Anne,
+  <ul>
+    <li>female, <a href="#Page_193">193</a>;</li>
+    <li>male, <a href="#Page_198">198</a>.</li>
+  </ul></li>
+<li>George I,
+  <ul>
+    <li>female, <a href="#Page_201">201</a>;</li>
+    <li>male, <a href="#Page_207">207</a>.</li>
+  </ul></li>
+<li>George II,
+  <ul>
+    <li>female, <a href="#Page_211">211</a>;</li>
+    <li>male, <a href="#Page_214">214</a>.</li>
+  </ul></li>
+<li>George III,
+  <ul>
+    <li>female, <a href="#Page_217">217</a>, <a href="#Page_241">241</a>;</li>
+    <li>male, <a href="#Page_231">231</a>, <a href="#Page_246">246</a>.</li>
+  </ul></li>
+<li>George IV,
+  <ul>
+    <li>female, <a href="#Page_248">248</a>;</li>
+    <li>male, <a href="#Page_254">254</a>.</li>
+  </ul></li>
+<li>William IV,
+  <ul>
+    <li>female, <a href="#Page_258">258</a>;</li>
+    <li>male, <a href="#Page_263">263</a>.</li>
+  </ul></li>
+<li>Victoria,
+  <ul>
+    <li>female, <a href="#Page_264">264</a>;</li>
+    <li>male, <a href="#Page_273">273</a></li>
+  </ul></li>
+</ul></li>
+</ul></li>
+<li>Heraldic fashion, <a href="#Page_66">66</a>, <a href="#Page_71">71</a>, <a href="#Page_109">109</a>, <a href="#Page_132">132</a></li>
+
+<li>Hoop skirts&mdash;
+<ul>
+<li>16 c., <a href="#Page_116">116</a>, <a href="#Page_128">128</a>, <a href="#Page_136">136</a></li>
+<li>17 c., <a href="#Page_147">147</a>, <a href="#Page_185">185</a></li>
+<li>18 c., <a href="#Page_222">222</a></li>
+</ul></li>
+</ul>
+
+<ul>
+<li>Jackets&mdash;
+<ul>
+<li>to 15 c., <a href="#Page_66">66</a>, <a href="#Page_68">68</a>, <a href="#Page_88">88</a>, <a href="#Page_100">100</a></li>
+<li>16 c., <a href="#Page_112">112</a>, <a href="#Page_182">182</a></li>
+<li>17 c., <a href="#Page_143">143</a></li>
+<li>18 c., <a href="#Page_224">224</a>, <a href="#Page_226">226</a></li>
+<li>19 c., <a href="#Page_270">270</a></li>
+</ul></li>
+</ul>
+
+<ul>
+<li>Lapets, <a href="#Page_184">184</a>, <a href="#Page_193">193</a>, <a href="#Page_206">206</a>, <a href="#Page_239">239</a></li>
+</ul>
+
+<ul>
+<li>Maccaroni fashion, <a href="#Page_214">214</a></li>
+
+<li>Mantles, <a href="#Page_262">262</a>, <a href="#Page_271">271</a></li>
+
+<li>Masks, <a href="#Page_186">186</a></li>
+
+<li>Muffs, <a href="#Page_160">160</a>, <a href="#Page_172">172</a>, <a href="#Page_180">180</a>, <a href="#Page_186">186</a>, <a href="#Page_189">189</a>, <a href="#Page_193">193</a>, <a href="#Page_201">201</a>, <a href="#Page_230">230</a>, <a href="#Page_253">253</a></li>
+</ul>
+
+<ul>
+<li>Neck-wear, <a href="#Page_174">174</a>, <a href="#Page_182">182</a>, <a href="#Page_186">186</a>, <a href="#Page_200">200</a>, <a href="#Page_207">207</a>, <a href="#Page_232">232</a>, <a href="#Page_246">246</a>, <a href="#Page_250">250</a>, <a href="#Page_254">254</a>, <a href="#Page_263">263</a>, <a href="#Page_275">275</a></li>
+</ul>
+
+<ul>
+<li>Overcoats, <a href="#Page_232">232</a>, <a href="#Page_254">254</a>, <a href="#Page_274">274</a></li>
+</ul>
+
+<ul>
+<li>Panniers, <a href="#Page_211">211</a>, <a href="#Page_222">222</a></li>
+
+<li>Parasols, <a href="#Page_230">230</a>, <a href="#Page_234">234</a>, <a href="#Page_244">244</a>, <a href="#Page_272">272</a></li>
+
+<li>Patterns scaled, <a href="#Page_276">276</a></li>
+
+<li>Pelisses, <a href="#Page_244">244</a>, <a href="#Page_250">250</a>, <a href="#Page_262">262</a></li>
+
+<li>Plates (collotypes), frontispiece, <a href="#Page_39">39</a>, <a href="#Page_42">42</a>, <a href="#Page_55">55</a>, <a href="#Page_58">58</a>, <a href="#Page_71">71</a>, <a href="#Page_74">74</a>, <a href="#Page_87">87</a>, <a href="#Page_90">90</a>, <a href="#Page_103">103</a>, <a href="#Page_106">106</a>, <a href="#Page_119">119</a>,<span class="pagenum"><a name="Page_362" id="Page_362">[362]</a></span> <a href="#Page_122">122</a>, <a href="#Page_135">135</a>, <a href="#Page_138">138</a>, <a href="#Page_151">151</a>, <a href="#Page_154">154</a>, <a href="#Page_167">167</a>, <a href="#Page_170">170</a>, <a href="#Page_183">183</a>, <a href="#Page_186">186</a>, <a href="#Page_199">199</a>, <a href="#Page_202">202</a>, <a href="#Page_215">215</a>, <a href="#Page_218">218</a>, <a href="#Page_231">231</a>, <a href="#Page_234">234</a>, <a href="#Page_247">247</a>, <a href="#Page_250">250</a>, <a href="#Page_259">259</a>, <a href="#Page_263">263</a>, <a href="#Page_266">266</a>, <a href="#Page_270">270</a>, <a href="#Page_279">279</a>, <a href="#Page_282">282</a></li>
+
+<li>Pockets, <a href="#Page_192">192</a>, <a href="#Page_224">224</a></li>
+
+<li>Polonaise, <a href="#Page_238">238</a>, <a href="#Page_262">262</a></li>
+
+<li>Purses, <a href="#Page_236">236</a>, <a href="#Page_240">240</a>, <a href="#Page_246">246</a></li>
+</ul>
+
+<ul>
+<li>Quilting, <a href="#Page_111">111</a>, <a href="#Page_128">128</a>, <a href="#Page_146">146</a>, <a href="#Page_172">172</a>, <a href="#Page_192">192</a>, <a href="#Page_198">198</a>, <a href="#Page_211">211</a>, <a href="#Page_222">222</a>, <a href="#Page_278">278</a></li>
+</ul>
+
+<ul>
+<li>Ruffs, <a href="#Page_112">112</a>, <a href="#Page_118">118</a>, <a href="#Page_128">128</a>, <a href="#Page_129">129</a>, <a href="#Page_133">133</a>, <a href="#Page_136">136</a>, <a href="#Page_139">139</a>, <a href="#Page_143">143</a>, <a href="#Page_147">147</a>, <a href="#Page_158">158</a>, <a href="#Page_160">160</a>, <a href="#Page_172">172</a>, <a href="#Page_250">250</a>, <a href="#Page_280">280</a></li>
+</ul>
+
+<ul>
+<li>Sack-back (or Watteau) dress, <a href="#Page_136">136</a>, <a href="#Page_185">185</a>, <a href="#Page_191">191</a>, <a href="#Page_196">196</a>, <a href="#Page_206">206</a>, <a href="#Page_211">211</a>, <a href="#Page_222">222</a></li>
+
+<li>Sashes, <a href="#Page_168">168</a>, <a href="#Page_182">182</a>, <a href="#Page_279">279</a></li>
+
+<li>Sequins, <a href="#Page_112">112</a></li>
+
+<li>Shawls, <a href="#Page_272">272</a></li>
+
+<li>Spats, <a href="#Page_273">273</a></li>
+
+<li>Spencers, <a href="#Page_244">244</a>, <a href="#Page_250">250</a></li>
+
+<li>Sticks, <a href="#Page_181">181</a>, <a href="#Page_188">188</a>, <a href="#Page_201">201</a>, <a href="#Page_211">211</a>, <a href="#Page_214">214</a>, <a href="#Page_226">226</a>, <a href="#Page_234">234</a></li>
+
+<li>Stockings, <a href="#Page_138">138</a>, <a href="#Page_140">140</a>, <a href="#Page_154">154</a>, <a href="#Page_168">168</a>, <a href="#Page_182">182</a>, <a href="#Page_184">184</a>, <a href="#Page_189">189</a>, <a href="#Page_201">201</a>, <a href="#Page_210">210</a>, <a href="#Page_216">216</a>, <a href="#Page_234">234</a>, <a href="#Page_270">270</a></li>
+
+<li>Stomachers, <a href="#Page_66">66</a>, <a href="#Page_112">112</a>, <a href="#Page_136">136</a>, <a href="#Page_142">142</a>, <a href="#Page_144">144</a>, <a href="#Page_146">146</a>, <a href="#Page_147">147</a>, <a href="#Page_154">154</a>, <a href="#Page_158">158</a>, <a href="#Page_172">172</a>, <a href="#Page_178">178</a>, <a href="#Page_184">184</a>, <a href="#Page_196">196</a>, <a href="#Page_207">207</a>, <a href="#Page_278">278</a></li>
+</ul>
+
+
+
+<p class="center pad">
+Printed by <span class="smcap">Spottiswoode, Ballantyne &amp; Co. Ltd.</span><br />
+Colchester, London &amp; Eton, England
+</p>
+
+
+
+<hr />
+<div class="ads">
+<p class="center pad larger b">DRESSMAKING</p>
+
+
+<p class="larger">SIMPLE DRESSMAKING. By ETHEL R. HAMBRIDGE, <i>Art Teachers'
+Certificate, etc.</i> In foolscap 4to, cloth, 200 pp., with 750 plates
+and black-and-white diagrams. 7<i>s.</i> 6<i>d.</i> net.</p>
+
+<p>This book deals exhaustively with the various stitches and fastenings
+used in Dressmaking and their applications, Pressing, Making-up
+Processes, Taking Measurements, Cutting-out; and also contains some
+notes on Fitting.</p>
+
+<p>Simplicity and completeness have been the dual purpose of the Author,
+and her systematic treatment of the subject, aided by her remarkable
+gift of lucid explanation, and her unique practical experience, has
+produced a valuable contribution to the literature of Domestic Science.</p>
+
+
+<p class="larger">DRESS CUTTING AND MAKING. For the Classroom, Workroom, and Home. By
+EMILY WALLBANK, <i>Head of the Needlework and Dressmaking Department,
+National Training School of Cookery</i>, and MARIAN WALLBANK. In
+foolscap 4to, cloth, 271 pp., with 265 diagrams and illustrations.
+6<i>s.</i> net.</p>
+
+<p>The object of this work will be realized in some degree if it helps the
+practical reader so to mobilize her knowledge of underlying causes that
+she is able to produce any desired effect in the cut and fashion of a
+garment.</p>
+
+
+<p class="center pad">
+SIR ISAAC PITMAN &amp; SONS, LIMITED<br />
+<span class="smcap">1 Amen Corner, London</span>, E.C. 4.
+</p>
+</div>
+
+
+<hr />
+<div class="ads">
+<p class="center pad larger b">EMBROIDERY</p>
+
+<p class="larger">AN EMBROIDERY PATTERN BOOK. By MARY E. WARING. With a Foreword by
+Professor W. R. Lethaby, <i>Royal College of Art</i>. In cloth gilt, 170
+pp., 2 coloured plates, with 84 full-page black-and-white diagrams.
+8<i>s.</i> 6<i>d.</i> net.</p>
+
+<p>"Designing of this sort is no mystery that requires 'genius'; it is of
+the same kind as planting a garden border.... Most embroideresses, who
+will begin by adapting the elements given in this Pattern Book, and gain
+interest and confidence in so doing, will go forward insensibly to
+varying the elements themselves, and to taking flowers and animals
+direct from Nature. This ... is the work of a highly competent designer
+of embroidery, and I heartily recommend it."&mdash;<span class="smcap">W. R. Lethaby</span> in the
+Foreword.</p>
+
+<p class="larger">EMBROIDERY &amp; DESIGN. By JOAN H. DREW. In foolscap 4to, cloth, about
+115 pp., with 82 black-and-white illustrations and designs. 5<i>s.</i>
+net.</p>
+
+<p>The writer endeavours to arouse in her readers a desire for better
+designs, and greater individuality and thought in the home embroidery of
+to-day. The difference between decorative and undecorative work is
+clearly explained with the aid of many illustrations, and these are of
+the right size for tracing and working.</p>
+
+
+<p class="center pad">SIR ISAAC PITMAN &amp; SONS, LIMITED</p>
+</div>
+
+
+<hr />
+<div class="ads">
+<p class="center pad larger b">ART</p>
+
+<p class="larger">THE ART OF PAINTING IN PASTEL. By J. LITTLEJOHNS, R.B.A., and L.
+RICHMOND, R.A. With a frontispiece and foreword by FRANK BRANGWYN,
+R.A. With 40 beautiful full-page coloured plates and 15 other
+illustrations. In demy 4to, cloth gilt. 15<i>s.</i> net.</p>
+
+<p class="center">Extract from <i>The Connoisseur</i>:</p>
+
+<p>"The beautiful volume may quicken public interest in the method. The 40
+plates in colour afford a fine series of examples of the resources of
+the medium and the best methods of exploiting them."</p>
+
+
+<p class="larger">DRAWING AND DESIGN. A School Course in Composition. By SAMUEL CLEGG,
+<i>Headmaster of the County Secondary School, Long Eaton, Derbyshire,</i>
+with a foreword by WILLIAM ROTHENSTEIN, <i>Professor of Civic Art,
+Sheffield University</i>. 10 in. by 7&frac12; in. 12<i>s.</i> 6<i>d.</i> net.</p>
+
+<p>A feature of the book is the inclusion of plates printed by scholars
+from wood-blocks of their own making and designing. It also contains
+good sections on lettering and pen and ink drawing, as well as on pencil
+work, colour work, etc.</p>
+
+
+<p class="center pad">SIR ISAAC PITMAN &amp; SONS, LIMITED</p>
+</div>
+
+
+<hr />
+<div class="ads">
+<p class="center pad larger b">FROM THE ARTISTIC CRAFTS SERIES</p>
+
+<p class="larger">HAND-LOOM WEAVING. By LUTHER HOOPER. 125 Drawings by the Author and
+NOEL ROOKE. Coloured and collotype reproduction. Small Crown 8vo,
+368 pp. 8<i>s.</i> 6<i>d.</i> net.</p>
+
+<p class="center">Extract from <i>The Morning Post</i>:</p>
+
+<p>"... Every phase and process in weaving is described with so clear and
+careful an exactitude, that, helped as the text is by the Author's
+sketches and diagrams, the reader should have no difficulty in
+conquering with its aid the rudiments of the craft."</p>
+
+
+<p class="larger">EMBROIDERY &amp; TAPESTRY WEAVING. By Mrs. A. H. CHRISTIE. <i>Fourth
+Edition.</i> 178 diagrams and illustrations by the Author, 16 pp. of
+collotype reproductions. Small Crown 8vo, 320 pp. 10<i>s.</i> 6<i>d.</i> net.</p>
+
+<p class="center">Extract from The <i>Pall Mall Gazette</i>:</p>
+
+<p>"Mrs. Christie has performed her task to admiration, ... and her lucid
+explanations of various kinds of stitches ... should be of value to all
+workers at embroidery or tapestry weaving and to novices anxious to
+learn."</p>
+
+
+<p class="center pad">SIR ISAAC PITMAN &amp; SONS, LIMITED</p>
+</div>
+
+
+<hr />
+<div class="ads">
+<p class="center pad larger b">FROM THE ARTISTIC CRAFTS SERIES</p>
+
+<p class="larger">MANUSCRIPT WRITING &amp; LETTERING. By <span class="smcap">An Educational Expert</span>. Showing the
+historical development and practical application to modern handwriting
+of several manuscript styles derived from ancient Roman letters. Fully
+illustrated. Foolscap 4to. 6<i>s.</i> net.</p>
+
+<p class="center">Extract from <i>The Times</i>:</p>
+
+<p>"This book supplies and supplies generously a need which has become
+urgent.... For purposes purely practical, no teacher of plain
+handwriting need know more than this book tells him; nor should be
+content to know less."</p>
+
+
+<p class="larger">HERALDRY FOR CRAFTSMEN AND DESIGNERS. By W. H. ST. JOHN HOPE, Litt.D.,
+D.C.L. Small Crown 8vo, 496 pp., 300 diagrams and designs, 24 collotype
+reproductions, and 8 coloured plates, 10<i>s.</i> 6<i>d.</i> net.</p>
+
+<p class="center">Extract from <i>The Athenæum</i>:</p>
+
+<p>"A series which includes three such books as Mr. Douglas Cockerell's
+'Bookbinding,' Mr. Edward Johnston's 'Writing,' and this ranks
+almost as a national possession.... No artist can see this book
+without wanting to buy it, if it were only for the beauty of the
+objects selected for illustration."</p>
+
+<p class="center pad">SIR ISAAC PITMAN &amp; SONS, LIMITED</p>
+</div>
+
+
+<hr />
+<div class="ads">
+<p class="center pad larger b">FROM THE ARTISTIC CRAFTS SERIES</p>
+
+
+<p class="larger">WRITING AND ILLUMINATING &amp; LETTERING. By EDWARD JOHNSTON. <i>Tenth
+Edition.</i> 227 illustrations and diagrams by the Author and NOEL ROOKE, 8
+pp. of examples in red and black, 24 pp. of collotype reproductions, 512
+pp. Small Crown 8vo. 8<i>s.</i> 6<i>d.</i> net.</p>
+
+<p class="center">Extract from <i>The Athenæum</i>:</p>
+
+<p>"... This book belongs to that extremely rare class in which every
+line bears the impress of complete mastery of the subject. We
+congratulate Mr. Johnston on having produced a work at once original
+and complete."</p>
+
+
+<p class="larger">BOOKBINDING AND THE CARE OF BOOKS. By DOUGLAS COCKERELL. <i>Fourth
+Edition.</i> 122 drawings by NOEL ROOKE, 8 pages collotype reproductions.
+Small Crown 8vo, 352 pp. 7<i>s.</i> 6<i>d.</i> net.</p>
+
+<p class="center">Extract from <i>The Times</i>:</p>
+
+<p>"... A capital proof of the reasoned thoroughness in workmanship,
+which is the first article in the creed of those who ... are
+attempting to carry into practice the industrial teaching of Ruskin
+and William Morris."</p>
+
+<p class="center pad">SIR ISAAC PITMAN &amp; SONS, LIMITED</p>
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
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+The Project Gutenberg eBook, Dress design, by Talbot Hughes
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Dress design
+       An Account of Costume for Artists & Dressmakers
+
+
+Author: Talbot Hughes
+
+
+
+Release Date: January 10, 2011  [eBook #34903]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK DRESS DESIGN***
+
+
+E-text prepared by Constanze Hofmann, Suzanne Shell, and the Online
+Distributed Proofreading Team (http://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 34903-h.htm or 34903-h.zip:
+      (http://www.gutenberg.org/files/34903/34903-h/34903-h.htm)
+      or
+      (http://www.gutenberg.org/files/34903/34903-h.zip)
+
+
+Transcriber's note:
+
+      Text enclosed by equal signs is in bold face (=bold=).
+
+      A list of corrected printer's errors and inconsistencies can
+      be found at the end of the text.
+
+
+
+
+
+The Artistic Crafts Series of Technical Handbooks
+Edited by W. R. Lethaby
+
+DRESS DESIGN
+
+
+[Illustration: A Long-trained Muslin Dress. About 1800.]
+
+
+DRESS DESIGN
+
+An Account of Costume
+for Artists & Dressmakers
+
+by
+
+TALBOT HUGHES
+
+Illustrated by the Author from
+Old Examples . Together
+with 35 Pages of Half-Tone Illustrations
+
+
+
+
+
+
+
+London
+Sir Isaac Pitman & Sons, Ltd.
+Bath, Melbourne, Toronto, and New York
+
+Reprinted 1920
+
+
+
+
+GENERAL PREFACE TO THE SERIES
+
+
+In issuing this volume of a series of Handbooks on the Artistic Crafts,
+it will be well to state what are our general aims.
+
+In the first place, we wish to provide trustworthy text-books of
+workshop practice, from the points of view of experts who have
+critically examined the methods current in the shops, and putting aside
+vain survivals, are prepared to say what is good workmanship, and to set
+up a standard of quality in the crafts which are more especially
+associated with design. Secondly, in doing this, we hope to treat design
+itself as an essential part of good workmanship. During the last century
+most of the arts, save painting and sculpture of an academic kind, were
+little considered, and there was a tendency to look on "design" as a
+mere matter of _appearance_. Such "ornamentation" as there was was
+usually obtained by following in a mechanical way a drawing provided by
+an artist who often knew little of the technical processes involved in
+production. With the critical attention given to the crafts by Ruskin
+and Morris, it came to be seen that it was impossible to detach design
+from craft in this way, and that, in the widest sense, true design is an
+inseparable element of good quality, involving as it does the selection
+of good and suitable material, contrivance for special purpose, expert
+workmanship, proper finish and so on, far more than mere ornament, and
+indeed, that ornamentation itself was rather an exuberance of fine
+workmanship than a matter of merely abstract lines. Workmanship when
+separated by too wide a gulf from fresh thought--that is, from
+design--inevitably decays, and, on the other hand, ornamentation,
+divorced from workmanship, is necessarily unreal, and quickly falls into
+affectation. Proper ornamentation may be defined as a language addressed
+to the eye; it is pleasant thought expressed in the speech of the tool.
+
+In the third place, we would have this series put artistic craftsmanship
+before people as furnishing reasonable occupations for those who would
+gain a livelihood. Although within the bounds of academic art, the
+competition, of its kind, is so acute that only a very few per cent. can
+fairly hope to succeed as painters and sculptors; yet, as artistic
+craftsmen, there is every probability that nearly every one who would
+pass through a sufficient period of apprenticeship to workmanship and
+design would reach a measure of success.
+
+In the blending of handwork and thought in such arts as we propose to
+deal with, happy careers may be found as far removed from the dreary
+routine of hack labour, as from the terrible uncertainty of academic
+art. It is desirable in every way that men of good education should be
+brought back into the productive crafts: there are more than enough of
+us "in the city," and it is probable that more consideration will be
+given in this century than in the last to Design and Workmanship.
+
+       *       *       *       *       *
+
+The designing and making of Costume is a craft--sometimes artistic--with
+which we are all more or less concerned. It is also, in its own way, one
+of the living arts, that is, it is still carried forward experimentally
+by experts directly attached to the "business." It has not yet been
+subjected to rules of good taste formulated by Academies and
+Universities; but when Inigo Jones, the great architect, was asked to
+make some designs for fancy dress, he based them on the Five Orders of
+Architecture, and ponderous fancies they were.
+
+If we look for the main stem of principle on which modern Costume
+develops, we seem to find it in the desire for freshness, for the clean,
+the uncrushed, and the perfectly fitted and draped. Probably a modern
+lady's ideal would be to wear a dress once, and then burn it.
+
+A correlative of the ideal of freshness is the delight in perfect "cut,"
+and the rapidly changing fashions are doubtless conditioned in part by
+the desire for the new and unsullied. "Novelty" is a guarantee of
+newness.
+
+In such ephemeral productions it would be vain to seek for certain fine
+types of excellence which were once common when dresses were not so
+lightly cast aside. So it is necessary that we should understand what
+the ruling principle is, for it is one which will not be set aside at
+the bidding of well-meaning reformers. I will only venture to say that
+it would be desirable to make the attempt to separate in some degree the
+more constant elements of dress from those which are more variable. It
+will seem a pity to more than outsiders that a "well-dressed" person
+need wear so little which deserves to have been made by human hands, and
+nothing which deserves to be preserved. Fine laces and jewels are
+allowed to be antique--could not the circle of such things be a little
+broadened? A properly groomed man carries about on him literally nothing
+worth looking at. We might surely look for a watch-chain with some
+delicacy of handiwork--something beyond mechanical reductions of iron
+cables. Fine buttons might conceivably be made to go with the studs, or
+be made of crystal, amethyst, and silver or gold. Women might allow of
+the transfer of fine embroidered applications from one dress to another,
+or make more use of clasps and the like. I am confident that when it is
+pointed out, it will be felt as a shortcoming that no part of a fine
+lady's dress need now be too good to throw away. Although the present
+volume is cast into the form of a history, it is also intended to be a
+book of suggestions; and the hope is held that modern dressmakers may
+refer to it as much as, or more than, those who are interested in dress
+from the historical point of view.
+
+In any case the author's accurate knowledge of the facts, and his many
+bright sketches--which are often drawn from examples in his own
+remarkable collection--make the present volume an admirable handbook of
+English Costume. The more technical "patterns" which are included
+amongst the illustrations will be found most valuable to all who wish to
+go deeper than the first glance reveals.
+
+                                                     W. R. LETHABY.
+    1913.
+
+
+
+
+CONTENTS
+
+
+                                                                    PAGE
+    GENERAL PREFACE TO THE SERIES                                     xi
+
+    _Preface_                                                        xiv
+
+    LIST OF PLATES                                                 xxiii
+
+    INTRODUCTION                                                      33
+
+    CHAPTER I
+
+    Prehistoric Dress--Female                                         40
+    Prehistoric Dress--Male                                           41
+
+    CHAPTER II
+
+    The Development of Costume to the Tenth Century--Female           45
+    The Development of Costume to the Tenth Century--Male             49
+
+    CHAPTER III
+
+    Tenth to the Fifteenth Century--Female                            57
+    Tenth to the Fifteenth Century--Male                              71
+
+    CHAPTER IV
+
+    Fifteenth Century--Female                                         84
+    Fifteenth Century--Male                                           92
+
+    CHAPTER V
+
+    Sixteenth Century. Character of Trimmings                        109
+    Sixteenth Century. Henry VIII--Female                            113
+    Sixteenth Century. Henry VIII--Male                              118
+    Sixteenth Century. The Reigns of Edward VI and Mary--Female      124
+    Sixteenth Century. The Reigns of Edward VI and Mary--Male        129
+    Sixteenth Century. Elizabeth--Female                             133
+    Sixteenth Century. Elizabeth--Male                               139
+
+    CHAPTER VI
+
+    The Character of Trimmings through the Seventeenth Century       142
+    James I                                                          142
+    Charles I                                                        143
+    The Commonwealth                                                 145
+    Charles II                                                       145
+    James II and William and Mary                                    146
+    Seventeenth Century. James I--Female                             147
+    Seventeenth Century. James I--Male                               150
+    Seventeenth Century. Charles I--Female                           154
+    Seventeenth Century. Charles I--Male                             160
+    Seventeenth Century. The Commonwealth--Male and Female           168
+    Seventeenth Century. Charles II--Female                          169
+    Seventeenth Century. Charles II--Male                            174
+    Seventeenth Century. James II--Female                            178
+    Seventeenth Century. James II--Male                              180
+    Seventeenth Century. William and Mary--Female                    184
+    Seventeenth Century. William and Mary--Male                      186
+
+    CHAPTER VII
+
+    The Character of Decoration and Trimmings of the
+      Eighteenth Century                                             190
+    Eighteenth Century. Anne--Female                                 193
+    Eighteenth Century. Anne--Male                                   198
+    Eighteenth Century. George I--Female                             201
+    Eighteenth Century. George I--Male                               207
+    Eighteenth Century. George II--Female                            211
+    Eighteenth Century. George II--Male                              214
+    Eighteenth Century. George III to 1800--Female                   217
+    Eighteenth Century. George III to 1800--Male                     231
+
+    CHAPTER VIII
+
+    Character of Trimmings of the Nineteenth Century                 237
+    Nineteenth Century. George III--Female                           241
+    Nineteenth Century. George III--Male                             246
+    Nineteenth Century. George IV--Female                            248
+    Nineteenth Century. George IV, 1820-30--Male                     254
+    Nineteenth Century. William IV--Female                           258
+    Nineteenth Century. William IV--Male                             263
+    Nineteenth Century. Victoria--Female                             264
+    Nineteenth Century. Victoria--Male                               273
+
+    PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME                  276
+
+    PATTERNS TO SCALE                                                283
+
+    PATTERNS TO SCALE, DETAILED LIST                                 353
+
+    INDEX                                                            359
+
+
+
+
+LIST OF DESCRIPTIVE LINES TO THE PLATES
+
+
+    FRONTISPIECE                                          _Facing Title_
+      A Long-trained Muslin Dress, about 1800.
+
+    PLATE I                                               _Facing p. 39_
+      Boots and Shoes from the Fourteenth to Nineteenth Century.
+
+    PLATE II                                                    "     42
+      _A._ Elizabethan Robe in Plush, 1585-1605.
+      _B._ Elizabethan Robe in Silk Brocade, 1565-85.
+      _C._ Elizabethan Male Robe in Velvet Brocade, 1580-1615.
+      _D._ Back-piece of Elizabethan Doublet in
+             Embroidered Linen, 1580-1605.
+
+    PLATE III                                                   "     55
+      _A._ Elizabethan Jump (or Jacket), about 1600.
+      _B._ Portrait of Lady in Embroidered Costume,
+             between 1620 and 1640.
+
+    PLATE IV                                                    "     58
+      _C._ Youth's Jacket of Linen embroidered in Worsted, 1635-65.
+      _D._ Linen Male Jacket embroidered with Gold and Silk, 1600-40.
+
+    PLATE V                                                     "     71
+      _A._ Jerkin--Period James I.
+      _B._ Lady's Bodice of Slashed and Vandyked Satin, 1635-50.
+      _C._ Jerkin of Embroidered Linen, 1630-60.
+      _D._ Jerkin of Embroidered Linen, 1580-1635.
+
+    PLATE VI                                                    "     74
+      _A._ Collar and Cuffs set with Lace, 1600-30.
+      _B._ Embroidered Leather Jerkin, 1620-1640.
+      _C._ Top of Stocking, Embroidered Linen, 1625-50.
+
+    PLATE VII                                                   "     87
+      _A._ Herald's Coat, Embroidered Velvet and Silk,
+             First Half Seventeenth Century.
+      _B._ Lady's Bodice of Black Velvet, 1630-60.
+      _C._ Black Silk Jerkin, 1640-50.
+
+    PLATE VIII                                                  "     90
+      _A._ Three Suits--Period Charles II.
+      _B._   "     "       "      "
+      _C._   "     "       "      "
+
+    PLATE VIIIA                                                 "    103
+      _A._ Suit of Embroidered Silk, 1610-30.
+      _B._ Three Sword-hangers Embroidered in Gold, Charles II.
+      _C._ Braided Suit, 1670-90.
+
+    PLATE IX                                                    "    106
+      _A._ Lady's Embroidered Silk Jacket, 1605-20.
+      _B._ Lady's Bodice of Silk Brocade, 1680-1700.
+
+    PLATE X                                                     "    119
+      _A._ Black Velvet Bodice, 1600-25.
+      _B._ Five Embroidered Waistcoats, between 1690 and 1800.
+
+    PLATE XI                                                    "    122
+      Sixteen Leather Boots and Shoes, between 1535 and 1850.
+
+    PLATE XII                                                   "    135
+      _A._ Lady's Outdoor Costume, 1785-95.
+      _B._ Costume, Early Eighteenth Century.
+      _C._ Silk Brocade Dress, 1760-80.
+
+    PLATE XIII                                                  "    138
+      _A._ Silk Coat, 1735-55.
+      _B._ Brocade Silk Coat, 1745-60.
+      _C._ Embroidered Cloth Coat, 1770-90.
+
+    PLATE XIV                                                   "    151
+      _A._ Embroidered Silk Dress with Pannier, 1765-80.
+      _B._ Brocade Dress and Quilted Petticoat, 1750-65.
+
+    PLATE XV                                                    "    154
+      _A._ White Cloth Coat, 1775-90.
+      _B._ Silk Dress, 1740-60.
+      _C._ Embroidered Velvet Coat, 1753-75.
+
+    PLATE XVI                                                   "    167
+      _A._ Silk Brocade Dress, 1740-60.
+      _B._ Silk Brocade Sack-back Dress, 1755-1775.
+      _C._ Dress of Striped Material, 1755-85.
+
+    PLATE XVII                                                  "    170
+      _A._ Silk Suit, 1765-80.
+      _B._ Quilted Dress, 1700-25.
+      _C._ Silk Embroidered Suit, 1765-80.
+
+    PLATE XVIII                                                 "    183
+      _A._ Brocade Bodice, 1770-85.
+      _B._ Flowered Silk Dress, 1750-70.
+      _C._ Silk Brocade Bodice, 1780-95.
+
+    PLATE XIX                                                   "    186
+      _A._ Silk Brocade Dress, 1775-85.
+      _B._ Embroidered Silk Jacket, 1775-90.
+      _C._ Brocade Jacket, 1780-95.
+
+    PLATE XX                                                    "    199
+      _A._ Gold-embroidered Muslin Dress, 1795-1805.
+      _B._ Nine Aprons, between 1690 and 1750.
+      _C._ Dress of Spotted Stockinette, 1795-1808.
+
+    PLATE XXI                                                   "    202
+      Twenty-three Boots and Shoes, from 1800 to 1875.
+
+    PLATE XXII                                                  "    215
+      _A._ Linen Dress, 1795-1808.
+      _B._ Silk Bodice, 1825-30.
+      _C._   "     "    1818-25.
+
+    PLATE XXIII                                                 "    218
+      _A._ Muslin Dress with Tinsel Design, 1798-1810.
+      _B._ Silk Dress, Period George IV.
+      _C._ Satin and Gauze Dress, 1820-30.
+
+    PLATE XXIV                                                  "    231
+      _A._ Outdoor Silk Jacket, 1798-1808.
+      _B._ Embroidered Muslin Bodice, 1816-1830.
+      _C._ Embroidered Muslin Bodice, 1824-1825.
+      _D._ Satin and Gauze Bodice, 1820-30.
+
+    PLATE XXV                                                   "    234
+      _A._ Silk Dress, 1800-10.
+      _B._ Cotton Dress, 1800-10.
+      _C._ Embroidered Muslin Dress, 1820-30.
+      _D._ Silk Gauze Dress, 1824-30.
+
+    PLATE XXVI                                                  "    247
+      _A._ Morning Coat of Chintz, 1825-45.
+      _B._ Cloth Coat, 1808-20.
+      _C._ Cloth Overcoat, 1820-35.
+
+    PLATE XXVII                                                 "    250
+      Outdoor Silk Dress, 1825-35.
+
+    PLATE XXVIII                                                "    259
+      _A._ Silk Pelisse, 1820-30.
+      _B._ Cotton Dress, 1830-40.
+      _C._ Silk Spencer and Cape, 1818-27.
+
+    PLATE XXIX                                                  "    263
+      _A._ Embroidered Silk Gauze Dress, 1820-30.
+      _B._ Gauze Dress with Appliqued Design, 1825-35.
+      _C._ Printed Linen Outdoor Dress, 1827-1847.
+
+    PLATE XXX                                                   "    266
+      _A._ Printed Silk Bodice, 1840-50.
+      _B._ Gathered Linen Bodice, 1837-47.
+      _C._ Silk Bodice and Bertha, 1845-55.
+
+    PLATE XXXI                                                  "    270
+      _A._ Embroidered Muslin Outdoor Dress, 1855-65.
+      _B._ Riding Habit, 1845-75.
+      _C._ Gauze Ball Dress, 1840-55.
+
+    PLATE XXXII                                                 "    279
+      _A._ Silk Dress, 1860-70.
+      _B._ Gauze Walking Dress, 1850-60.
+      _C._ Silk Dress, 1848-58.
+
+    PLATE XXXIII                                                "    282
+      _A._ Silk Dress with Court Train, 1828-1838.
+      _B._ Silk Afternoon Dress, 1872-78.
+      _C._ Silk Coat and Skirt, 1855-56.
+
+
+
+
+DRESS DESIGN
+
+
+    Plates originally printed in collotype are now produced in half-tone
+
+
+
+
+INTRODUCTION
+
+
+The subject of Historical Costume covers such a multitude of detail that
+a volume on each century could be written, with hundreds of
+illustrations. Thus it is, most works on costume are expensive and
+bewildering; but I hope this small practical handbook will be a useful
+addition to the many beautifully illustrated works which already exist.
+
+I have divided the matter into centuries and reigns, as far as possible,
+in this small work, besides separating male and female attire, thus
+simplifying reference. A special feature has also been made, of
+supplying the maker or designer of dress with actual proportions and
+patterns, gleaned from antique dresses, as far back as they could be
+obtained; and I am much indebted to the authorities at the Victoria and
+Albert Museum for the permission given me to examine and measure their
+unique specimens; also to Mr. Wade, Mr. G. G. Kilburne, Mr. Duffield,
+Mr. Box Kingham, Mr. Hill, Mr. Breakespeare, and others, for their
+valuable assistance with interesting specimens. I have used outline
+drawings in the text, as being more clear for purposes of explanation.
+The dates given to the illustrations are to be taken as approximate to
+the time in which the style was worn. Many of the photographs have been
+arranged from my own costume collection, which has made so much of my
+research simple, reliable, and pleasant. I am also happy to state that
+before the final revision of this book I have heard that my collection
+of historical costumes and accessories will, after a preliminary
+exhibition at Messrs. Harrod's, be presented to the Victoria and Albert
+Museum as a gift to the nation by the Directors of that firm. Thus the
+actual dresses shown in these plates will find a permanent home in
+London, and become valuable examples to students of costume. The
+coiffures in the collotype plates are not to be judged as examples, for
+it would have consumed far too much time to set up these figures more
+perfectly, but all the bonnets, caps, and accessories given are genuine
+examples.
+
+In a book of this size, one cannot go into the designs of materials, &c.,
+which is a study any earnest student would not neglect, but in this
+connection I would draw attention to the comparative colour density and
+proportion of designs chosen for various effects.
+
+It has been my endeavour to arrange a greater variety of the forms which
+make up the characters of each period, and also to give a wider
+knowledge into the footwear, or details of the footwear, than is usual
+in most costume books.
+
+In a review of the styles I would not press any choice for building new
+designs, as I believe in close individual research and selection, which
+may utilise many interesting features from costume settings even in
+periods which are almost scorned. I believe the purest beauty is found
+in the simple forms of dress and decoration settings from the 12th to
+the 15th centuries, schemed to the natural proportions of the figure.
+The grace of line and movement is often aided by the short train, which
+can be so happily caught up in many ways; the slight drag of the train
+always keeps the front clear in outline, besides showing the movement of
+the limbs. Length of fall in the material was desired, the figure
+creating its own folds with every turn, but a belt was often placed
+rather high under the breast. There is little reason with nature of
+fine form to make dress into sections by a corset waist. A long, lithe,
+complete curve in outline--much happier unbroken, except by the
+girdle--is certainly the most artistically useful conception, not
+breaking the rhythm (as does the harder belt), while it also induces
+much beauty in lifting and arranging the drapery. The long falling
+sleeve also has the same qualities, giving a greater fullness of shape,
+a variety of colour (by a difference of lining), with a winglike motion,
+besides softening the angle of the elbow.
+
+I think the next garment for high esteem is the chasuble-shaped tunic
+(with or without sleeves). Falling cleanly from the shoulders, it stops
+at a charming length for the skirt to take up the flow of line. The
+delightful effect of partly-laced or clasped sides was not missed by the
+ablest designers. How refined, too, was the character of decoration of
+the old period! The art of concentrating effects is seen to perfection,
+retaining the breadth of shape and length unbroken. Jewelled embroidery
+of fine enrichment was wrought on the borders, neck settings, square
+corners, the girdle, and the clasps. The preciousness of effect was
+truly appreciated by the enclosing of the face in the purity of white
+lawn and zephyr-like veilings; the circlet and the long interlaced
+plaits and charming nettings were all tastefully schemed. Has woman ever
+looked more supreme through all the centuries of extravagant styles and
+distortions? I believe not: but I have come to the conclusion that, at
+whatever period of seeming insanity of style, the woman of fine taste
+can overcome all obstacles by her individual choice and "set up," and
+has really always looked fascinating.
+
+There was another form of decoration at this period--the cutting of the
+edges into a variety of simple or foliated shapes, giving a flutter and
+enrichment to forms in a simple manner, and this, in conjunction with
+the increasing richness of materials, was a valuable aid to lighten the
+effects. It was probably initiated by the heraldic characteristics in
+vogue.
+
+The pricked and slashed details had much the same result in enriching
+surfaces.
+
+Later the fan sleeves of the 18th century were enhanced in a similar way
+by the curved and scalloped shaping, which was used as late as the
+Victorian sixties with happy effect on the polonaises.
+
+Now, as regards the finest corset dress, the palm must be given to the
+sack-back dress of the eighteenth century (not in the period of its
+distortion with hoops), and a full setting showed it to greatest
+advantage.
+
+This type of design lent itself to more variety in beauty of arrangement
+than any other; the looping, reefing, and tying always set gracefully in
+accord with the back fall. The easy exchange of the stomacher also gave
+additional chance of effect, and the beauty of the fan-shaped sleeve,
+with its lace falls at the elbow, was a delightful creation. How rich
+and refined this character could be, without the monstrous forms and
+head-dresses which later invaded it and turned it into ornate absurdity!
+
+When we examine the period of Charles I, we find much charming dignity
+in the adaptations of earlier inventions; the collar settings were
+noble, indeed perfect, in arrangement, and the bodice decoration and
+proportions most interesting.
+
+For the grace of girlhood no dresses are happier than those of the early
+19th century to 1830, and the inventions in trimmings through this
+period were prolific in beauty and lightness of style.
+
+Analysis of the many fashion-plates and original dresses of this
+period will well repay all interested in beautiful needlecraft and dress
+design. The arrangement of frills, insertions, gathered effects, applied
+forms, and tasselled or buttoned additions, will be found full of beauty
+and novelty, especially in the dresses of white embroidery. Plates XXIII
+and XXIV (see pp. 218-231) give some happy examples of this time.
+
+[Illustration: Plate I.--Boots and Shoes from the 14th to the 19th
+Centuries.
+
+     1. Charles II.
+     2. James II.
+     3. William and Mary.
+     4. George II.
+     5. George III., 1770.
+     6. George III., 1760.
+     7. George III., 1780-1800.
+     8. 1870-1880.
+     9. William and Mary.
+    10. 1680-1700.
+    11. 1680-1702.
+    12. 1750-1775.
+    13. 1580-1625.
+    14. 1710-1730.
+    15. Henry VIII.
+    16. Semi-Clog, 1780-1800.
+    17. Henry VIII.
+    18. 1778-1795.
+    19. Late 15th Century or early 16th Century.
+    20. 1500-1540.
+    21. Late 14th Century to middle of 15th Century.
+    22. 1530-1555.
+    23. 1535-1555.]
+
+A word on the most condemned flow of fashion during the Victorian era.
+There are many dresses of real charm to be found amongst the mass of
+heavy styles which must not be overlooked in studying design and style.
+Even the crinoline dress, when treated with the exquisite silk gauzes,
+as Fig. 3 in Plates XXXI and XXXIII (see pp. 270-282), was as alluring
+as any woman could wish, and the original design of the jacket in the
+latter figure, with its richly embroidered, long-skirted front cut short
+at the back, arranged itself perfectly on this type of undersetting.
+There was notable refinement of effect and beauty of proportion in many
+dresses of the sixties, as exemplified in Fig. A, Plate XXXII (see p.
+279), the waist being set rather high, and the very full skirt carried
+back by the crinoline being held thus with its cross ties.
+
+
+
+
+CHAPTER I
+
+
+PREHISTORIC DRESS. FEMALE.
+
+The woman's attire would have been chiefly a shortish skirt or wrap of
+coarse linen, wool, or leather, gathered in front or folded at one hip;
+grass cloth may also have been in use in most primitive tribes. Probably
+the upper part of the body was kept bare, except for many ornaments and
+necklaces, but a bodice or jacket cut in the same simple form as the
+male shirt, with a heavy belt or girdle, would have been used, and
+certainly a large shawl, which could be wrapped over the head and round
+the figure during inclement hours. Dyed or painted patterns on the
+cloths might well have been also in use, their chief designs being
+stripes, circles or dots, zigzag lines, diamonds and plaid squares, rope
+patterns and plaited patterns. The hair would have been loose, plaited,
+or coiled on top, held by bone pins or circlets of bronze.
+
+
+PREHISTORIC DRESS. MALE.
+
+We have little description or illustration to certify the actual dress
+of the early inhabitants of Britain, but we can draw conclusions with
+pretty certain assurance, from the knowledge of their mode of living.
+From their attainments in artistic design and handiwork, it is clear
+they had arrived at a very high state of savage culture before the Roman
+invasion; and we have only to study the better types of savage life
+still in progress, to picture how our own primitive race would be likely
+to dress under the conditions of climate. The thousands of "finds,"
+which accumulate evidence every year, give us a closer acquaintance with
+their customs and work. The rest we must imagine from our general
+knowledge of what they had to contend with in climate, forest, cave, and
+floods.
+
+These early people, it is presumed from certain discoveries, had long
+known the art of coarsely weaving flax and wool, which must soon have
+been in general use, from its being healthier and cleaner than the
+garments of skin. And very probably a coarse linen, with simple dyes of
+red, blue, yellow, and brown, was in use here when the Romans came.
+
+The head-dress consisted of a cap of fur or wool, probably decorated
+with a feather, over loose and most likely very unkempt hair falling to
+the shoulders. The Gauls cut their locks from the back of the head,
+often tying up the remainder in a tuft on the top; no doubt the hair was
+sometimes plaited or pinned up with wood, bone, or bronze ornaments.
+Bone pins, teeth, and boar tusks were carried in the ears, as well as
+studs of bone or stone in the underlip, and even the cheek may have been
+so decorated, as it was amongst the Esquimaux. The face and body were
+painted with red and white ochre and a blue stain. The neck was adorned
+with strings of teeth, stones, amber, jet, bronze, and probably beads of
+glass or baked clay coloured. Amulets and tokens, armlets and bracelets
+were all in use. Also the torque, a twisted rod of gold flattened or
+curled together at the ends, was a mark of dignity. A wristlet of wood,
+bone, or leather was worn when the bow and arrows were used. The arms
+were a spear of flint or bronze and a dagger of the same, a hatchet or
+heavy club, a mace studded with flint or bronze spikes, and the sling,
+which would have necessitated a leather wallet to carry the stones; fish
+spears and snags. Also the bolas for felling cattle seems to have been
+known; in fact nearly all the usual implements appertaining to savage
+life were in use.
+
+[Illustration: Plate II.--
+
+    (_a_) Elizabethan Robe in Plush. 1585-1605.
+    (_b_) Elizabethan Robe in Silk Brocade. 1565-85.
+    (_c_) Elizabethan Male Robe in Velvet Brocade. 1580-1615.
+    (_d_) Back-piece of Elizabethan Doublet in Embroidered Linen.
+            1580-1605.
+
+    _Measures, see p. 281._
+    _Sleeve pattern of C, see p. 300._]
+
+The first item of male attire was of two skins fastened at the
+shoulders, and from this we get the early chasuble form (which may be so
+beautifully treated, even to the present time), girt with a leather
+thong or strap at the waist. One skin lapped the other, and hardly
+needed sewing together at the sides, while thus it was easier to throw
+off; it may also have been tied up between the legs. The fur was worn
+both inside and out, according to the weather; this large skin wrap
+would also be worn cross-ways with the right shoulder free, and the
+simple cloak of various lengths with a hole for the head to pass through
+was no doubt one of the first discoveries in costume.
+
+A loin cloth or skin may have been worn alone, caught up through the
+legs and fastened at the back of the waist with a heavy belt and set
+well down the hips. This would hold a number of personal necessities, in
+the shape of a wallet and dagger. The legs would be wrapped with skins,
+tied up or crossed by leather or sinew thongs, or with hemp or grass
+rope. Skins were probably also used on the feet, gathered and tied above
+the instep and round the ankle.
+
+The enumeration of these items will give a pretty definite idea of how
+the early race would appear in their more or less attired form. In
+fighting, they cleared for action (as it were) and discarded all
+clothing, their only protection being a shield of wicker or wood covered
+with leather; it may have been studded with bronze plates or painted
+with grotesque characters, as were their own bodies, in true savage
+style, to strike fear into their enemies; it is even possible feather
+decorations formed part of their "get up."
+
+
+
+
+CHAPTER II
+
+
+THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. FEMALE.
+
+The female head-dress consisted chiefly of flowing hair banded with a
+circlet of various shapes, but a development of braiding plaits is found
+very early, and the hair was probably arranged so before the Roman era.
+These plaits were generally brought over the shoulder to the front, the
+hair being parted in the centre, thus making an oval forehead. Various
+caps began to show originality, and jewels were set in the centre of the
+forehead on the little crown-like hat, which must have been most
+becoming. Squares of coloured stuffs were draped over the head and
+shoulders, sometimes upon white linen squares, and many ladies began to
+bind the face and head, shutting out the hair, in the 8th century. The
+kerchief draping is very important to study, because it was the general
+mode amongst the people.
+
+Heavy collars of ornament and strings of beads, hanging even to the
+waist, are noticeable features of these centuries, also large ear-rings.
+
+A full cloak, with a large clasp or brooch, opened in front, or was
+turned to free one shoulder; there was also a long "drape" thrown round
+over the opposite shoulder or brought picturesquely over the head.
+
+The ecclesiastical form of cloak as described in the male attire was
+also formed about the 6th century; its graceful line was frequently
+bordered completely with a band of ornament, and it was clasped just
+across the breasts.
+
+The complete circular cloak, with a hole for the head, is seen very
+early, decorated with a pinked edge, which may also be noted on some of
+the short dresses of the middle classes. Aprons are no doubt of the
+earliest origin. A loose tunic falling to the hips was girded rather
+high up the body, as in the classic dress, and bands passing both
+outside or crossing between the breasts and going over the shoulder came
+from the same source; these were with, or without, short sleeves to the
+elbow. A long loose robe was the chief attire to the 6th century,
+belted rather high in the waist, and caught up with a girdle at the
+hips; these girdles gave a great interest to the early centuries, with
+the art of arranging the fullness of skirt into its hold.
+
+[Illustration: FIG. 1.]
+
+From the 6th century the dress became closer fitting, and a short bodice
+is seen; the neck was cut very low, either square or round in shape, and
+this style had short tight sleeves or tight sleeves to the wrist. The
+later tunic of the 9th century marked the beginning of the slit-open
+upper sleeve, and a greater length of the neck opening, which came to be
+fastened down the front to the waist.
+
+The early skirts (to the 6th century) were hung from the hips, and were
+often attached to a heavy girdle band, the fullness was gathered mostly
+at the back and front; other skirts hung from a higher belt and were
+again caught up in the girdle. A =V=-shaped neck setting was worn by the
+Franks, from which probably came the shaped front piece that will
+interest us in the 13th century. The shoes were similar to the male
+shapes described later, and the same mode of binding the stockings was
+sometimes imitated.
+
+
+THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. MALE.
+
+In taking the long period from the Roman occupation to the 10th century,
+we can discover a real development of style in costume, as with the
+system of vassalage a distinction of class arose. No doubt the Romans
+introduced a finer tuition of weaving, needlecraft, decoration, and
+dyeing; and later the various peoples coming from the Continent, when
+settled under Alfred in the 9th century, produced a solid style of
+barbaric splendour.
+
+[Illustration: FIG. 2.]
+
+[Illustration: FIG. 3.]
+
+The male hair dressing, from the rugged mass of hair, soon became well
+combed and trimmed square across the neck: ear-rings may still have been
+in use by some nobles till the 11th century, and chaplets were worn upon
+the hair. The Saxon beard was divided into two points. Small round tight
+caps of wool, fur, or velvet, and rush or straw hats of a definite shape
+were in use to the 10th century. Tight caps, with lappets tied under the
+chin, and hoods appear on the short capes about the 8th century, or
+probably earlier. The garment was of the simplest form, cut like a
+plain square loose shirt to the middle of the thigh, and this was put on
+over the head. The opening to pass the head through was the first part
+to receive a band of decoration. The sides were sometimes opened to the
+hips and the front caught between the legs and held at the waist. A
+garment opened down the front, and another wrapped across to either
+shoulder is also seen. A belt girt the waist, and the tunic was pulled
+loosely over it. This also carried the essential requirements in the
+shape of a pouch, dagger, knife, comb, sword, &c. The neck was
+ornamented with chains of bronze, gold, beads, and charms, and up to the
+8th century a bronze ornamental armlet was worn, besides a wristlet.
+
+The men of the ruling class from the 8th century were clothed in a long
+garment of simple shape, falling to the ankle, richly bordered at the
+hem and neck. This generally had long tight sleeves, and often over this
+a shorter tunic, reaching just below the knee, sometimes sleeveless, or
+with rather full sleeves tightening to the wrist.
+
+[Illustration: FIG. 4.]
+
+A plain square chasuble shape was in fashion from the 8th century,
+reaching to the bottom of the calf of the leg, and richer materials
+began to be used; no belt was passed round this, as it was allowed to
+fall straight.
+
+Loose breeches were worn from very early times, and a loose trouser to
+the ankle, being tied there or bound crosswise from the boot sometimes
+right up the thigh. The same binding was done even with the bare legs
+and later hose: close-fitting short breeches and cloth hose became a
+feature in the 10th century, and with the latter an ornamental
+knee-piece or garter below the knee sometimes finished the strappings.
+
+The cloak was the "grand garment," heavily banded with ornament and
+fastened with a large clasp on one shoulder, or at the centre of the
+breast. Long circular cloaks of varying lengths, put on over the head,
+were much favoured, and when caught up at the sides on either shoulder
+gave a fine draped effect.
+
+Another cloak of ecclesiastical character, sloping in a curve from the
+neck and not meeting in front, is seen on many notable figures from the
+early 8th century, large clasps bridging the width low down on the
+chest.
+
+[Illustration: Plate III.--
+
+    (_a_) Elizabethan Jump (or Jacket). About 1600.
+    (_b_) Portrait of a Lady in Embroidered Costume. Between
+          1620 and 1640.]
+
+[Illustration: FIG. 5.--TYPES OF SHOES. British, Roman,
+Norman to 13th century.]
+
+No doubt the sandal of various forms was much used for footwear through
+this period, also a simple low shoe which was held on by the
+leg-strappings, as, about the 8th century, shoes are seen with loops at
+the upper edge, these being attachments for the binding, and this was
+no doubt a method from the prehistoric times.
+
+There was also a soft boot reaching to the calf, laced up the front;
+and, after the 8th century, a rather pointed shoe, open down the instep,
+laced, tied, or gathered into a buckle about the ankle.
+
+
+
+
+CHAPTER III
+
+
+TENTH TO THE FIFTEENTH CENTURY. FEMALE.
+
+The head-dress of women now began to show a preference to confine the
+hair with nets and to close in the face, which continued till the 15th
+century. The circlet and long plait or plaits and the flowing hair
+remained till the 14th century. In the 12th century we discover the hair
+gathered in nets at either side of the head, covering the ears. A
+low-crowned hat was bound over with a band of lawn or fine material
+passing underneath the chin, otherwise the plaits were looped up under a
+circlet which was also worn with the flowing hair.
+
+A square effect was aimed at in the 13th century with tight side-plaits
+bound into a shape or netted hair was strapped to the head as in Fig. 11
+(see p. 65). A fall of fine material softened the hard effect, and many
+ladies of quality bound the face, neck, and head in the wimple of fine
+linen, sometimes gathering this to the same quaint shape of the netted
+hair. I give a variety of these settings on page 65. A kerchief of linen
+coming round the neck was brought up tightly round the face and
+festooned on the top of the head, while another piece was pinned close
+to the brows and fell loosely to the shoulders, being often held on by a
+circlet as well.
+
+This character was maintained till the early 14th century, when a style
+of high peaked hats came into evidence, one shape of which became the
+most imposing feature of historic costume in the 15th century. It was
+still but a simple form in the middle of the 14th century, for another
+shape first gained predominance. Early in this century also may be noted
+a curious shape like the cap of liberty, usually with a long tail at the
+back as drawn on page 59. This carried design to the eccentric forms of
+the pig-tailed hood, and then the rival of the high peaked hat took its
+place towards the end of the 14th century--a cushioned head-dress, which
+rose and divided in a hornlike structure. It started as in Fig.
+25, and I have illustrated its progress; the veil draping was a great
+feature, giving plenty of scope for individual fancy. It was, as a rule,
+richly decorated with gold and jewels, and the hair was completely
+enclosed in a gold net and a tight-fitting cap to hold this erection.
+Large drop ear-rings were much worn, and a fine chain of gems encircled
+the neck or fell to the breast.
+
+[Illustration: Plate IV.--
+
+    (_c_) Youth's Jacket of Linen Embroidered in Worsted. 1635-65.
+          _Pattern, see p. 299._
+    (_d_) Linen Male Jacket Embroidered with Gold and Silk. 1600-40.]
+
+[Illustration: FIG. 6.--Tenth to thirteenth century.]
+
+[Illustration: FIG. 7.
+
+    _Henry II._
+    _John_
+    _Henry I._
+    _Richard I._]
+
+[Illustration: FIG. 8.--Twelfth to fourteenth century.]
+
+In the 10th century a long close-fitting robe was in fashion, sometimes
+with a deep =V=-shaped neck opening, though usually the neck was cut to a
+round form. Some sleeves were tighter with a small cuff, but usually the
+outer garment had a falling sleeve with a square or round end showing
+the tight undersleeve. The outer sleeve varied much in length, from the
+elbow or hand dropping even to the ground; it was narrow and widened
+through the 14th century, when its edge was cut into various patterns as
+in Fig. 18 (see p. 79). In the 13th century we notice a long sleeve
+opened at the elbow for the under sleeve to come through, which
+beautiful style continued to the middle of the 17th century.
+
+[Illustration: FIG. 9.
+
+    _Norman, 12th century_
+    _Saxon, 12th century_]
+
+[Illustration: FIG. 10.--Fourteenth century, 1st half.]
+
+[Illustration: FIG. 11.--Fourteenth century, 2nd half.]
+
+With the 10th century came the first corselet from the waist to the hip,
+clasping a loose tunic with an under-dress taking a long pointed
+train. The manner of tucking the tunic under the corselet when it was
+worn over it, and so creating festoons, is worthy of notice as
+interesting in arrangement and design.
+
+The 13th century parti-coloured and striped dresses foreshadowed the
+heraldic fashion, which must be studied for its proportion and treatment
+of decorative colour-values in counterchange to get the true value of
+its noble effects.
+
+A great feature now appears in the chasuble-shaped front or setting to a
+closely cut jacket. This ultimately becomes the decorative stomacher
+through the later periods, and it is very interesting to note its
+development.
+
+In the 13th century this jacket was a fur construction of a long simple
+form opened at the sides to the hips for the sleeves to come through; it
+had a straight hem or was rounded at the front points, and a chasuble
+form of it was treated as in Fig. 13 or in conjunction with a short
+cape; it was chiefly a decoration of ermine. It grew into a complete
+jacket, and in the 14th century it was heavily ornamented with gems; and
+the simple front, from being a feature outside the jacket, was later
+often enclosed at the sides. The jacket itself is beautiful in form and
+proportion, and the curved band of design over the hips makes a nice
+foil to the curved front. This pattern is plainly derived from the
+effect of the rich girdle that was at first seen through the side
+openings and few jackets are without it, the usual shaping of the neck
+with most of these was square.
+
+[Illustration: FIG. 12.--Nos. 1 to 7, 14th century. Nos. 8 and 9, 15th
+century.]
+
+In the first quarter of the 14th century the setting of the neck was of
+a round shape, and after 1350 a raised or curved form is favoured. Later
+still, and with the hornlike head-dress, a very deep =V= shape, open
+almost to the belt was the mode, often being filled in with velvet. At
+the same time some began to take up the fashions of a very high collar
+and a round-shaped body and sleeves, as in Fig. 24 (see p. 89), with
+which a wide pointed belt is seen. Some robes were opened in front up to
+the height of the girdle, though many dresses were worn without girdles
+after the 12th century. Decorated pockets are sometimes seen in the
+later period, and an interesting hand-covering or falling cuff came with
+them.
+
+[Illustration: FIG. 13.--Nos. 1 to 3, 14th century. Nos. 4 to 9, 15th
+century.]
+
+The cloak as described in the 10th century still continued till the
+12th, as well as the light wrap which may almost be placed with any
+period, though mostly a feature of the more classic styles.
+
+Skirts and underskirts were worn with trains. They were mostly banded
+with wide borders of ornament up to the 13th century, the fullness being
+often gathered to the back and front.
+
+The chasuble-shaped overdress was worn to the middle of the 14th
+century, sleeveless, and, laced or sewn tight to the figure from the arm
+to the hip, or completely down the sides, generally reached just below
+the knee.
+
+The shoes were of much the same character as those of the male examples
+illustrated, though they hardly reached the same extravagance in length,
+owing, no doubt, to the feet of woman being hampered by her skirt; but I
+suspect they even braved high wooden clogs, as we know they did the tall
+chopins of the 16th century, to heighten their stature.
+
+[Illustration: Plate V.--
+
+    (_a_) Jerkin. Period James I.
+    (_b_) Lady's Bodice of Slashed and Vandyked Satin. 1635-50.
+    (_c_) Jerkin of Embroidered Linen. 1630-60.
+    (_d_) Jerkin of Embroidered Linen. 1580-1635.
+
+_Pattern measurements, see p. 293._]
+
+
+TENTH TO THE FIFTEENTH CENTURY. MALE.
+
+From the 10th to the 15th century, we find costume developing rapidly
+into elaborate and interesting designs. Close relations with the
+Continent brought new ideas, and rich velvets and brocades interwoven
+with gold enhanced the gorgeousness of attire, while the introduction of
+heraldic design brought in a very picturesque element. Hats and
+head-dresses began to become important features, enlarging to eccentric
+shapes and proportions, only equalled in the extravagant part of the
+18th century.
+
+It may be noted that feminine fashion, as it assumes new characters and
+proportions, affects the style of the male clothes in the same way, as,
+when a high or pointed head-dress comes in, the male hat also increases
+its size; the same with curved or angular designs, full or tight
+sleeves.
+
+The hair was worn long and rather squared in shape at the back till the
+end of the 15th century. A tendency to shut in the face by close hoods
+tied under the chin is remarked, and this forms a strong feature of the
+13th and 14th centuries. Ear-rings were seldom worn after the 10th
+century; but the neck was generally adorned with heavy chain
+decorations.
+
+Beards assumed a pointed shape in accordance with this development of
+fashion, and double-pointed beards were revived between 1380 and 1386.
+Hats of straw with mushroom brims and round tops came into vogue in the
+11th century, covered with coloured materials and finished with a spike
+or button at the top, and the crowns of these took a pointed shape in
+the 14th century. The usual cap with folded brim had a loose crown, and
+we find this began to lengthen and fall over to one side in the 11th
+century, and continued to elongate till, in the 15th century, it often
+dropped to the knee in a long thin point. In the 14th century it took a
+fullness of loose folds, with serrated or foliated edges falling to the
+shoulder as in Fig. 15 (see p. 73). A close helmet-shaped cap is seen in
+the 12th century, with a falling point from the crown, and the 13th
+century brought in the higher crowned hat, with a long peaked front,
+turned up at the back. Feathers were worn at the front, back, or side of
+hats, and sometimes on the front of the hoods; these increased
+their dimensions in height and peak, till the straight-up high hat,
+which was often brimless, came in the 15th century. The early hood or
+cowl soon began to vary its design, for in the 13th century it was often
+a part of, or attached to, a chasuble shape falling back and front, or
+with the long front, stopping at a short cape length behind. A note of
+interest in the 14th century appears, where the forehead part of the
+hood is turned up, showing a coloured lining, and at times the
+fashionable serrated edge surrounding the face is seen.
+
+[Illustration: FIG. 14.
+
+    _13th century_
+    _14th century_
+    _15th century_]
+
+[Illustration: FIG. 15.--Fourteenth century.]
+
+[Illustration: Plate VI.--
+
+    (_a_) Collar and Cuffs set with Lace. 1600-30.
+    (_b_) Embroidered Leather Jerkin. 1620-40.
+    (_c_) Top of Stocking. Embroidered Linen. 1625-50.]
+
+[Illustration: FIG. 16.--Twelfth to thirteenth century.]
+
+The chasuble-shaped garment was a feature often worn over the coat until
+the end of the 15th century, and was generally worn long with the
+elongated fashion of the 14th century, and short with the shorter tunics
+of the 15th century. They are found very wide in the 14th century, and
+so fall well down over the shoulder, where they are often laced a short
+distance up, creating an interesting feature. Cloaks were not so much in
+favour with the heavier cowl and cape, but they were used, fastened by
+brooches to either shoulder rather at the back, after the 12th century.
+
+[Illustration: FIG. 17.--Fourteenth century.]
+
+A very tight-fitting suit called Justacorps came into use from the
+12th century, and developed a padded round-shaped body towards the end
+of the 14th century; the closely-cut body was buttoned up to the throat,
+or was set with a high collar for the first time. The tights came over
+it, sometimes rather high up the waist, being laced to it. A long tunic
+was chiefly favoured during the 10th and 11th centuries with short or
+long cuffless sleeves, and a full bell-shaped falling sleeve showed a
+close-fitting under one.
+
+These tunics were chiefly open at the neck as in the earlier times,
+though a slight difference to be noted is a =V=-shaped opening in the 14th
+century, which is developed in the 15th century; they were also split up
+the sides, even to the hips. Some were very full in shape, and were
+gathered to either side as in the illustration; others had the body
+closely fitted and full only in the skirt, but as a rule one finds this
+latter shape only reaches just below the knee. They were often tucked
+into the belt in front, showing a rich underskirt.
+
+A girdle (besides a belt) was worn on the hips with the longer tunics,
+as in Fig. 28 (see p. 94), the dagger and pouch being carried in front
+on the girdle, and not the belt. A small dagger was often slung at the
+back or front of the neck, as an ornament at the end of the 14th
+century.
+
+[Illustration: FIG. 18.--Fourteenth century.]
+
+Tights to the waist were worn with both long and short tunics, and
+retained the crossed binding up the legs to the 13th century, in the
+various designs of page 53. Parti-coloured tights came in with the 14th
+century, carrying out the heraldic character of dress, and this may be
+found till about 1530. A sandal shoe was much worn up to the 12th
+century, with strappings to various heights up the leg, this even over
+the short top-boots, but the usual shoe opened down the front of the
+instep to the toe, which was rather pointed in shape, and it was curved
+or square at the ankle. The illustration gives a good variety of the
+prevalent forms. The stocking-boot is also another characteristic of
+this earlier time, as well as the commoners' woollen gaiters, worn as in
+Fig. 30, on the seated figure, which were in use to the middle of the
+16th century.
+
+[Illustration: FIG. 19.--Twelfth and thirteenth centuries.]
+
+In the illustrations which show no shoe on the tights, it will be
+understood that a sole of leather was sewn on to the under part of the
+foot. This practice is even seen to-day on the Continent, where the
+clog is mostly in use. A soft boot, reaching to the calf, was worn till
+the 15th century, with the top folded or trimmed with fur, the latter
+being generally laced down the front, even to the instep: the shape of
+these only varied in the length of the pointed toes as the style
+developed.
+
+The long-pointed shoes began to increase all through the 13th century,
+and in the 14th century they reached their greatest length, when the
+points were often tied up to a garter just below the knee. Wooden clogs
+were much used, and were often considerably raised. Iron circular
+supports were also in use at the end of this time; these were the
+foretaste of the eccentric chopins of the 16th century, which were more
+favoured on the Continent than here. The pointed toes also were made to
+curl outwards, giving a splay-footed effect, late in the 14th century.
+
+[Illustration: FIG. 20.--Fourteenth and fifteenth centuries.]
+
+
+
+
+CHAPTER IV
+
+
+FIFTEENTH CENTURY. FEMALE.
+
+We have now arrived at the height of eccentric fashion in mediaeval
+head-dress. The hornlike creations, studded with jewels, and peaks of
+wondrous height, both draped with fine muslins and often completely
+shutting away the hair from sight, had a supporting cap which mostly
+came over ears and cheeks, and a clutch is seen on the forehead, at
+times concealed by a jewel. The hair was generally allowed to fall loose
+under the back drape, or a long plait is sometimes seen at the back with
+the first-named head-dress. The back drape setting from the brow down
+the back was well conceived to balance the high spire, but it seems to
+have been discarded during the reign of Edward V, and light veil falls
+were worn which often came half over the face. In Henry VII's time the
+extreme fashion came in the shape of a closely-fitting curved cap,
+with a fall of material over the back. The ermine-trimmed jacket was
+still in favour to the middle of the last-named reign, when it was worn
+low down over the hips.
+
+[Illustration: FIG. 21.--Fifteenth century, 1st half.]
+
+[Illustration: FIG. 22.--Middle of fifteenth century to sixteenth
+century.]
+
+[Illustration: Plate VII.--
+
+    (_a_) Herald's Coat. Embroidered Velvet and Silk. 1st half 17th
+          Century. Measured pattern, page 301.
+    (_b_) Lady's Bodice of Black Velvet. 1630-60.
+          _Measurement, see p. 297._
+    (_c_) Black Silk Jerkin. 1640-60.]
+
+[Illustration: FIG. 23.--Fifteenth century, 1st half.]
+
+The chief dress of this period had a =V=-shaped collar-front meeting at
+the waist, mostly made in black material or fur. It was wide on the
+shoulder, and seems to have been stiffened to set out; the =V= shape was
+generally filled in with velvet, and a very wide band encircled the
+waist; a girdle is occasionally noted. The keys' pocket and other
+requisites were generally carried on the underskirt during these times.
+The skirt was full and gathered to the back in a train, the gathers
+often running into the bodice; a very wide border is prevalent, even to
+the middle of the thigh. Tight sleeves are usual, and hanging sleeves
+were worn, mostly set in a very short sleeve, which assume a puff-shape
+in Henry VII's reign; long cuffs, almost covering the hand, are seen on
+many sleeves.
+
+[Illustration: FIG. 24.--Fifteenth century, 2nd half.]
+
+[Illustration: FIG. 25.--Fifteenth century, 2nd half.]
+
+[Illustration: Plate VIII.--(_a_) (_b_) (_c_) Three Suits. Period
+Charles II.]
+
+[Illustration: FIG. 26.--End of fifteenth century.]
+
+Modes of opening the skirt up to the hips occasionally showed
+themselves, and even the sides to the hips are seen laced. In the
+earlier dress, about 1485, the neck setting of dress became very
+square, and was filled with fine-drawn lawn. The square shape rises in a
+curved centre before the end of this period, and a close-fitting robe
+was worn with a girdle, often opened up the sides. The short upper
+sleeve and full outer sleeve so much in vogue gave place to a divided
+upper and lower sleeve, laced or tied with ribbon, with puffs of lawn
+pulled through the openings at shoulder and elbow, and down the back of
+the forearm. Slashes are now seen in most sleeves, and an Italianesque
+character pervaded the fashion.
+
+High, soft boots and shoes of a similar shape to the male description
+were worn, and changed when the square-toe shoes came in.
+
+Through this period there are many interesting details of costume to
+study, while gilt tags, finishing laces, and ribbons are to be remarked
+from this period.
+
+
+FIFTEENTH CENTURY. MALE.
+
+[Illustration: FIG. 27.--Fifteenth century.]
+
+[Illustration: FIG. 28.--Fifteenth century, 1st half.]
+
+[Illustration: FIG. 29.--Middle of fifteenth century.]
+
+The chief shapes to mark in this century in male head-dress is the
+increased height of the tall hats which rise to vie with the female
+fashions. We still see a round hat with a rolled edge and long fall
+over one side, besides shorter folds in the crown, both scalloped or
+foliated at the edge, and this shape may be noted till about 1460. Some
+of these hats were made without a crown, as in Fig. 28 (see p. 94); the
+roll was decorated, as a rule, with jewelled studs. A top hat, something
+like our present shape, appears, but more belled at the top and also a
+padded, rolled brim. It was made in various rich materials, and often
+decorated with jewels. The peak-fronted hat still continued to be
+favoured till about 1480, its chief difference being a crown more
+eccentric in height. Tall cylinder hats, with folded brims or no brim,
+and other shapes are illustrated. The variety is so great through this
+period that it is well to study the vagaries of fashion which I have
+illustrated in sequence as far as possible; they were mostly used till
+about the last quarter of this century, when the low-crowned flat hat
+with turned-up brim began to secure the fashion. This was generally worn
+tilted on one side and often over a scarlet skull-cap. A large bunch of
+plumes came in with this hat, set up from the front, curving backwards,
+and giving a very grand effect: with most of the tall hats the
+feather was set at the back.
+
+[Illustration: FIG. 30.--Fifteenth century.]
+
+[Illustration: FIG. 31.--Fifteenth century, 1st half.]
+
+[Illustration: FIG. 32.--Fifteenth century, 2nd half.]
+
+The notable change in the tunic, which was worn both very short and to
+the ground, was the arrangement of folds to the back and front, gathered
+to a =V= shape at the waist. The hanging sleeve began to go out of favour
+after the middle of the century, but the sleeve or cuff covering the
+hand was continued till the end of this century.
+
+A sleeve, full at the shoulder, is found, and short, round, padded
+sleeves came in, worn over a close-fitting sleeve. This short sleeve
+became raised on the shoulder, and was cut or looped up the outer side:
+a long loose outer sleeve is also seen in conjunction with these short
+ones. A very short jacket is notable, of a plain square shape, with a
+plain sleeve on the left arm and a hanging sleeve on the right to the
+knee. The tight-fitting jerkin, laced down the front, was worn with this
+as with most other coats.
+
+[Illustration: FIG. 33.--End of fifteenth century.]
+
+[Illustration: FIG. 34.--Fifteenth century, 2nd half.]
+
+[Illustration: Plate VIIIa--
+
+    (_a_) Suit of Embroidered Silk. 1610-30.
+    (_b_) Three Sword Hangers Embroidered in Gold. Charles II.
+    (_c_) Braided Suit. 1670-90.]
+
+[Illustration: FIG. 35.--Fifteenth-century Shoes and Clogs.]
+
+The high collar to the throat had gone out for a collar opened in front.
+Very short and very long "chasubles" were worn with or without sleeves
+which were gathered high and full at the shoulders. The sleeves
+were now sometimes slit open at the back and held with several ties, as
+linen sleeves are now shown with these.
+
+Parti-coloured tights were not so much favoured through this period, but
+a decorated thigh, or part of the thigh and knee, was a favourite method
+of enrichment.
+
+[Illustration: FIG. 36.]
+
+A long coat came in at the later part of this time, with a deep =V=-shaped
+collar meeting at the waist; it was also cut into a square shape at the
+shoulders, as in Fig. 43 (see p. 119). A loose bell-shaped sleeve
+usually went with this, often opened in the front of the upper arm. A
+short square cape is at times seen in conjunction with this. A low
+square or round neck shape came in during the last quarter of this
+century, filled in with a fine gathered lawn and a tight-fitting coat
+with a pleated skirt and full padded sleeves, or a tight sleeve
+with a full puff or spherical upper part.
+
+[Illustration: FIG. 37.
+
+Nos. 1, 2, 3, 4, 5, 6, 7, 8, second half of 15th century.
+
+Nos. 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, variety of shapes from 1490
+to 1630.]
+
+[Illustration: FIG. 38.
+
+    No.
+     1. 14th century.
+     2. 15th century.
+     3.   "    "
+     4. Late 16th cent.
+     5. 1580-1610.
+     6.   "    "
+     7. 1605-1640.
+     8. 1600-1625.
+     9. 1550-1600.
+    10. 1610-1640.
+    11. 1590-1620.
+    12. 1605-1630.
+    13. 1675-1695.
+    14. 1670-1690.
+    15. 1680-1700.
+    16. 1690-1720.
+    17. 1680-1700.
+    18. 1700-1750.
+    19. 1700-1780.
+    20. 1700-1760.
+    21. 1740-1780.
+    22. 1745-1780.
+    23. 1770-1800.
+    24. 1730-1760.
+    25. 1700-1780.
+    26. 1830-1860.
+    27. 1780-1800.
+    28. 1840-1870.
+    29.   "    "  ]
+
+[Illustration: Plate IX.--
+
+    (_a_) Lady's Embroidered Silk Jacket. 1605-30.
+    (_b_) Lady's Bodice of Silk Brocade. 1680-1700.]
+
+[Illustration: FIG. 39.--Decorated Leather, 15th and 16th centuries.
+
+    _Comb case_
+    _purse_
+    _Cut leather. 15 cent._
+    _Leather_
+    _Pierced leather, 16 cent._
+    _Bronze studs 15 or 16 cent._
+    _metal studs_
+    _Incised lines with metal studs 15 cent._]
+
+Shoes and boots were still worn with very long pointed toes till about
+1465, when a proclamation was issued for beaks or piked shoes not to
+pass two inches, and after this time a broad round-toed shoe began to
+appear. Soft high boots to the top of the thigh, with folded top, belong
+to this century, as well as the fashionable boot to the calf. The sword
+or dagger was carried towards the front or side, and a small dagger
+across the belt at the back. The pouch or purse was also used as a
+dagger support.
+
+
+
+
+CHAPTER V
+
+
+SIXTEENTH CENTURY. CHARACTER OF TRIMMINGS.
+
+Before the 16th century we find the art of decoration in costume had
+been confined chiefly to applied ornamental bands at the neck, waist,
+and borders of skirt and cloak. They had up till this time utilised,
+with great artistry of design (no doubt partly due to the heraldic
+study), the patterns of the finely decorated damasks and velvets.
+The counter colour effects and relative proportions, such as a
+small-patterned, dull-coloured silk setting off a large full-coloured
+design was ably considered, as well as the introduction of a
+nicely-balanced black note or setting, which proved these designers were
+highly skilled in judgment of style. They also discovered the art of
+giving enrichment and lightness to the effect by means of the various
+serrated edgings to the materials, which also gave a flutter to the
+movement. A preference of lacing for fastening added to the charm of the
+dress, but the long rows of close buttons were also a feature of the
+clinging robes, the clasps and brooches, neck-chains, girdle, belt, and
+wallet being further very important items of enrichment to the effect.
+
+On coming to the 16th century we enter what may be termed the slashed
+and puffed period. The sleeves of Henry VIII's reign are very rich in
+design and jewel-setting, the design of the sleeve as in Fig. 40 giving
+a striking effect, the angle of the top sleeve being held out by the
+stiffness of the under silk one. The neck-setting and festooning of the
+jewel-chains play an important part in the design on the plain velvet
+corset bodices. The head-dress is one of the most remarkable, and gave a
+great chance for individual arrangement in binding the back fall to set
+at various angles on the shaped cap piece, combining severity with a big
+loose draping which is extremely picturesque. With Edward VI commences
+what may be termed the braided period of decoration. This latter came
+suitably with the stiffer corsage and set up. Mary's reign was not of
+attractive severity, but the over-robe with the short circular sleeve at
+the shoulder and high collar was a graceful creation, and was retained
+by many as late as 1630. There was little to admire in the Elizabethan
+age as regards design, except the beauty of the materials and the
+exquisite needlework. The proportions of the dresses were exceedingly
+ugly, and the pleated farthingale an absurdity. The male dress had much
+interest and often beauty of setting and decorative effect. The slashed
+materials gave a broken quality to what would otherwise be a hard
+effect, and it also cleverly introduced another colour change through
+the suit. There will be found many examples in these illustrations of
+the pricked and punctured designs on leather-work which are worth
+examining for modern treatment.
+
+Quilting and pleating were ably combined with the braiding, and we see
+the clever adaptation of straw patterns sewn on (a feature of the late
+16th century), which harmonised with the gold braidings or gold lace, or
+resembled the same effect.
+
+The trimmings of braid were often enriched with precious or ornamental
+stones and pearls, the stomacher, waist, front band down the skirt, and
+borders of most garments. The points of slashes were often held by
+jewelled settings, and the long slashes were caught here and there with
+the same.
+
+Another important item was the black stitchwork on linen, sometimes
+mingled with gold, so highly prized now for its beauty of design and
+effect, but beginning probably in the reign of Henry VII.
+
+Short coats of this type of the Elizabethan age are marvels of skill,
+and many caps are still in existence. Fine linen ruffs and collars were
+often edged with this work, as well as with gold lace.
+
+Jackets and caps, both male and female, bearing geometrical and scroll
+designs in gold, filled in with coloured needlework of flowers, birds,
+or animals have happily been preserved for our admiration.
+
+Sequins appear on work from Henry VIII's time, and were much appreciated
+by the Elizabethan workers, who no doubt found the trembling glitter
+added much to the gold-lace settings and delicate veilings: long
+pear-shaped sequins were favoured for this. Sleeves were often separate,
+and could be changed at will.
+
+
+SIXTEENTH CENTURY. HENRY VIII. FEMALE.
+
+The hair at this period was parted in the centre and gathered into a
+plait at the back; it was also seen rather full and waved at the sides
+of the head, and a small circlet was often carried across the brow. A
+cap of velvet or gold brocade, sometimes with a padded front, curved
+over the ears to the neck, keeping the shape of the head. Over this
+again a velvet fall was turned back from the front or shaped as in the
+illustration, reaching to the shoulder. These falls were also bound into
+set-out shapes, which gave many picturesque effects.
+
+Dress had now taken a new phase, and the set bodice became a lasting
+feature. At this period the waist was rather short, and the neck,
+arranged in a low square or round form, generally filled in with
+gathered lawn. The upper part of the sleeve was often divided from the
+bodice by ties with lawn puffs, and was made in a full circular form,
+slashed or puffed and banded, with a tight-fitting sleeve on the
+forearm. Another type divided the upper and lower part of the arm at the
+shoulder and elbow, the forearm being effectively tied or laced, and
+the under lawn sleeve pulled through; small slashings are also seen on
+these. At times a bell-shaped sleeve was worn, showing a slashed or
+puffed under one. Many dresses were still cut in one, and were often
+high-necked; with these usually a girdle or band of drapery was worn,
+and some skirts opened up the front, showing a rich underskirt.
+
+[Illustration: FIG. 40.--Sixteenth century, 2nd quarter.]
+
+[Illustration: FIG. 41.--Period Henry VIII.]
+
+Full skirts, heavily pleated at the waist, were worn in the earlier part
+of this reign, banded in varying widths of designs to about the knee;
+but a new development was in progress--a stiff, bell-shaped dress, set
+on hoops over a rich underskirt which usually bore a jewelled band down
+the centre, the upper one being divided in front to display this
+feature. The bodice with this type becomes longer in the waist, and was
+made on a stiff corset. Gloves are occasionally seen, serrated at the
+cuff-end. Shoes of the slashed character and square toes were also worn
+by the ladies, but many preferred a shoe with a moderately rounded toe.
+
+The first mention of a leather umbrella is 1611, but this is a rare
+instance, as they were not in use till the 18th century here, though
+they are noted in continental prints during the 17th century.
+
+[Illustration: FIG. 42.--Sixteenth-century modes, 1st half Henry VIII.]
+
+
+SIXTEENTH CENTURY. HENRY VIII. MALE.
+
+The modes at the end of the last century now developed into a heavier
+character of design. The long hair soon began to be closely cut, and a
+short beard came into fashion. A flat type of hat was worn, with
+serrated brim, or tabs which could be turned down at times, and others
+were kept in place by a lacing cord through holes. There was also a flat
+"Tam o' Shanter" shape, generally worn well tilted on one side, and
+amongst the upper classes mostly adorned with feathers.
+
+The =V=-shaped collar, or opening to the belt, was still retained on the
+jerkin, and plain or pleated skirts are seen, also a square
+close-fitting vest, with a low square neck, filled with gathered lawn,
+or one with a high neck and short collar, on which a very small ruff
+appeared for the first time, and at the wrist as well. These were now
+decorated with long slashes or gathered puffs: heraldic design was still
+seen on the breast, and even parti-colour was worn, but this
+character was now treated more by decorating with coloured bands on the
+tunics or tights.
+
+[Illustration: Plate X.--
+
+    (_a_) Black Velvet Bodice. 1600-25.
+    (_b_) Five Embroidered Waistcoats. Between 1690 and 1800.
+
+_Pattern, see p. 292._]
+
+[Illustration: FIG. 43.--Period Henry VIII.]
+
+[Illustration: FIG. 44.--Cap shapes. Period Henry VIII.]
+
+[Illustration: FIG. 45.--Variety of shapes and slashing. Henry VIII.]
+
+Long coats were still worn of the shape described at the end of the 15th
+century, but a short surcoat was the mode, reaching just below the knee,
+sleeveless, or with the various hanging sleeves of this period, the
+fronts usually turned back to form a wide collar, either round or square
+in shape on the shoulder, or at times falling to a deep square at the
+back.
+
+The sleeves were full in the upper part, tightening to the wrist,
+sometimes open up to the elbow and laced, or they were pleated into a
+full round shape at the shoulder. Puffs and slashings increased in these
+designs, and by 1520 we find the sleeves mostly divided into puffed and
+slashed forms, which grew to fantastic proportions.
+
+Very short, tight breeches or trunks, with a front flap or codpiece,
+were decorated to match the body design and colour schemes; they
+increased in length to the knee, or just below, during this reign, and
+usually finished in a serrated roll.
+
+[Illustration: Plate XI.--16 Leather Boots and Shoes. Between 1535 and
+1860.
+
+     1. 1740-1780.
+     2. 1535-1550.
+     3. 1680-1700.
+     4. 1645-1690.
+     5. 1665-1685.
+     6. 1690-1710.
+     7. 1845-1860.
+     8. 1790-1820.
+     9. 1665-1670.
+    10. 1800-1820.
+    11. 1820-1840.
+    12.     "
+    13. 1815-1850.
+    14. 1760-1780.
+    15. 1650-1670.
+    16. 1630-1660.]
+
+[Illustration: FIG. 46.--Footwear, 1510-1540.]
+
+Shoes were of the square form, some very short in front, held on by a
+strap across the instep, others with fronts to the instep. The
+corners were often brought out to a point on each side of the toes, and
+the mode of decorating with slashing and punctures made them very
+interesting. The sides of these shoes are very low, from 3/4 to 1 inch,
+and no heels are seen. A big, round shape was also favoured, which
+increased in width till a proclamation forbade it exceeding 6 inches.
+Chains were still a decorative feature round the neck, and the belt
+carried a sword and pouch, or, amongst the working classes, other
+necessities.
+
+
+SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY.
+
+FEMALE.
+
+In the reign of Edward VI, which was so short, as also in that of Mary,
+there was little time to form a real character. These reigns form
+developing links to the Elizabethan era, so I have taken them in one
+chapter.
+
+[Illustration: FIG. 47.
+
+FIG. 48.
+
+FIG. 49.
+
+Elizabethan modes.]
+
+[Illustration: FIG. 50.--Costumes, 1554-1568.]
+
+[Illustration: FIG. 51.--Costumes, 1568-1610.]
+
+With Edward VI the same shaped cap is seen as that of Henry VIII, and
+with Mary's accession, the head-dress is curved to the head in a like
+manner, but it now became more of a hat form and took a brim curved in
+on the brow; this was often worn over the little tight curved cap,
+or showed the hair waved out at the sides, often netted with gold and
+pearls. A fall of velvet, silk, or veiling was still retained till the
+very high ruff or collar came in the Elizabethan days. A small-crowned
+hat, with a brooch and feather in front, and a full gathered crown came
+in before Elizabeth's time, when we see many eccentric shapes, such as
+the tall hat with a feather at the side, and the witch-like hats towards
+the end of her reign.
+
+The bodice, which became longer in the first reign, still retained the
+full belled oversleeve or the full puffed sleeve to the end of Mary's
+reign, also the same square neck shape with curved-up front, now often
+filled with silk quilted with pearls up to the neck. High-necked dresses
+set with a small ruff became general in Mary's reign. We also find a
+tight sleeve gathered in a circular puff at the shoulder or set in a
+rolled epaulet.
+
+The same shaped skirt of the hooped bell form (sometimes very pleated in
+Mary's reign) or divided in front to show the underskirt as described
+under Henry VIII, was worn.
+
+The short square shape and the heavy round shoe is seen in Mary's
+reign, but fashion then preferred a rather pointed oval shoe, well up
+the instep with higher sides, decorated with characteristic slashing.
+Gloves are seen in many portraits up to this period, but of a plain make
+minus embroidery, and a circular fan of feathers was carried.
+
+
+SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. MALE.
+
+With Edward VI and Mary a more refined and sober type of style set in.
+The hair was now worn short and combed backwards. The flat hat of the
+earlier shapes lasted to Elizabeth's reign; becoming smaller in width,
+with a turned-down, curved brim and a fuller crown encircled with a gold
+band or set with a feather worn at the right-hand side. A small
+tight-fitting round hat with a rolled brim and a feather in front is
+also of this later mode. Through these reigns a small square turned-over
+collar or a very small ruff set on a high collar came into use, which
+increased to a larger ruff in Mary's reign. A small ruff was also worn
+at the wrist, many of these were edged with black-stitch designs. The
+heavy puffed sleeves became tight and started from a small epaulet or
+puffed roll; some of these had a small cuff at the wrist or a frill.
+Braided designs became very elaborate on a close-fitting, padded, and
+round-shaped jerkin with a short skirt, which appeared in the first
+reign, and this skirt was often long enough to fasten just under the
+codpiece. Short trunks at times worn half-way down the thigh were
+slashed, banded, and puffed for decoration. No parti-colour was now worn
+or striped effects on tights, except amongst the soldiers in the reign
+of Mary. Short capes to the length of the trunks of a plain round form
+sloping from the shoulders, or a square type with a high square collar
+and loose sleeves, are seen; a tunic also of the earlier character with
+a =V=-shaped collar and full sleeve comes into this reign, and we note the
+earlier types of shoes mingling with the newer pointed oval-shaped shoe
+which now continued for the remainder of this century.
+
+[Illustration: FIG. 52.--Costumes, 1554-1580.]
+
+[Illustration: FIG. 53.--Costumes, 1570-1605.]
+
+In Mary's reign the round-shaped doublet began to protrude from the
+breast to the waist in a round form with slightly longer skirts or small
+tabs, while the trunks assumed large circular proportions and were
+sometimes set on tight knee-breeches. The capes remained about the same.
+
+
+SIXTEENTH CENTURY. ELIZABETH. FEMALE.
+
+The costly splendour of attire is well known in Elizabeth's reign, which
+began with the same form of hair and head-dress as with Mary, the hat
+being set rather higher on the hair. The ruffs, which were imported
+already starched from Holland, assumed larger proportions and
+complications when the methods of starching became known in England
+about 1564. Stow describes ruffs growing to a quarter of a yard deep;
+these were no doubt supported by piccalilloes, though they are not
+actually mentioned till after 1600, but they surely came with the
+fan-shaped structures of these later days. White, red, blue or purple
+colours were used in the starching, and yellow in the latter days of
+this century. The introduction of this curved fanlike collar setting
+became a grand and complicated feature right into the 17th century.
+"Make up" became very apparent on the faces at this time, for
+Bishop Hall censured the fashion in a choice sermon, saying, "Hear this,
+ye plaster-faced Jezabels! God will one day wash them with fire and
+brimstone."
+
+[Illustration: FIG. 54.--Elizabethan modes.]
+
+[Illustration: Plate XII.--
+
+    (_a_) Lady's Outdoor Costume. 1785-95.
+    (_b_) Costume. Early 18th Century.
+    (_c_) Silk Brocade Dress. 1760-80.]
+
+[Illustration: FIG. 55.
+
+    1585-1610
+    1600-1620
+    1595-1605
+    1605-1615
+    1589-1600]
+
+The bodices grew very long and pointed in the waist, the neck setting
+being mostly treated in the same =V= shape, even open down to the waist
+point was filled with a decorated stomacher, and a deep oval-shaped neck
+was seen at the end of the reign. An outer opened sleeve was now
+favoured, caught in front at the elbow and hanging to the knee over a
+fairly tight undersleeve with a turned-back lace cuff or ruffle. With
+this came the high-set fan ruff on its wooden support at the back of the
+neck, and consequently a higher coiffure.
+
+[Illustration: FIG. 56.
+
+Nos. 1, 2, 3, 1540-50, and other shoe forms worn in the reign of
+Elizabeth.]
+
+The same character of skirt continued as in the earlier reigns on hoops
+at the lower part, but they became much fuller and rounder at the hips
+till about 1590, when the full pleated skirt was supported on a
+farthingale or hoop which was set with a gathered circle in the same
+goffered design as the ruffs at the edge. These reached their extreme
+dimensions at the end of this reign, when the sleeves also assumed a
+full padded shape and large epaulets also came in. An overdress with a
+full pleated back (like the Watteau dress) was in fashion from the
+middle of this reign, and we are lucky to possess some specimens in the
+Victoria and Albert Museum of which I am able to give the dimensions.
+Small looking-glasses were carried, and were also inset on the round
+feather fans. Perfumed gloves, elaborately embroidered, were introduced
+during this reign. Silk stockings were worn by Elizabeth for the first
+time in 1560, and worsted stockings were made in England in 1564.
+Corsets of pierced steel are seen in France from the late 16th and 17th
+century, and may have been in use here, though wood, cane, and whalebone
+were the chief supports. Shoes became narrow and even pointed, while the
+heel began to increase to considerable heights. The buskins of Queen
+Elizabeth now at Oxford are raised to 3 inches in height by the aid of a
+thick sole, and shoes A and B, Fig. 61, are also reported to have
+belonged to her. Chopins for heightening the stature were in use on the
+Continent, but I believe did not appear here; but very thick corked
+soles and high heels were introduced for this purpose.
+
+[Illustration:
+
+Plate XIII.--
+
+    (_a_) Silk Coat. 1735-55.
+    (_b_) Brocade Silk Coat. 1745-60.
+    (_c_) Embroidered Cloth Coat. 1770-90.
+
+_Pattern, see p. 308._]
+
+
+SIXTEENTH CENTURY. ELIZABETH. MALE.
+
+In this reign a very neat small-pointed beard was the fashion, the hair
+being brushed up as high as possible and often fulled out at the sides,
+and a "chic" appearance was sought after. A stiff belled top-hat with an
+egret at the right side made its first appearance with a curved brim,
+also one of a tapered shape with a smallish round brim, and another very
+small round hat with a curved brim, a clasp and feather being mostly
+worn on the front of each. The brims of all the hats began to enlarge at
+the end of the century when the very high crowned wide brimmed hat made
+its appearance, sometimes with a peaked top, and beaver is first
+mentioned in their make.
+
+Large circular ruffs became all the rage besides the small turned-over
+collar. The round doublet with protruding front became tighter at the
+waist, the protuberance taking a punchlike pointed form curving to
+almost between the legs and sloping sharply up the hips to the back.
+This was set with a very short tab or tabs on padded breeches
+tightening to the knee, which usually had very small trunks on the upper
+part, and large, stuffed trunk hose also appeared. The stockings were
+brought over these in a roll above the knee. Up to this time tights were
+made of wool, worsted, fine cloth, frieze, and canvas. The slashings,
+pleating, and gatherings of the period were of a much neater character,
+and punched patterns and pricked materials came into use.
+
+Close-fitting high boots, generally with serrated tops and thick soles
+curving into a short heel, are features of this time. The shoe had a
+long front decorated with slashings (often caught with jewels), and an
+oval toe which became almost pointed in the last years of this century.
+A short top-boot rising to the calf was also in use, mostly with a
+little fur edge at the top, and these were often pricked with patterns.
+
+[Illustration: FIG. 57.--Elizabethan modes.]
+
+
+
+
+CHAPTER VI
+
+THE CHARACTER OF TRIMMINGS THROUGH THE SEVENTEENTH CENTURY.
+
+
+JAMES I.
+
+The braiding and small slashing continued of a similar character to the
+end of the Elizabethan age. The slashing now began to be treated with a
+larger effect and less elaboration, but pricking and punching were still
+much used for enriching surfaces. An improved style of design was
+evident.
+
+The female bodice was arranged with a long stomacher, often shaped into
+curved forms at the point, and this was set with jewels or embroidery,
+otherwise the bodice was decorated with braiding and jewels as in
+Elizabeth's reign. The full sleeves were embellished with small slashes
+(making diamond squares), puffs, or pricked and punched designs. A
+turned-up cuff or ruff of pointed lace finished the wrist, braided
+epaulets formed a beautiful feature of the effect, and the front of the
+underskirt was decorated with a jewelled band or conventional design, as
+was also the border of the overskirt. Caps of an interesting curved form
+beautifully embroidered in gold and coloured silks are seen, of which I
+give patterns; also loose jackets of the same work were in use when not
+in full dress.
+
+
+CHARLES I.
+
+Many beautifully embroidered caps, jerkins, jackets, and shirts are seen
+at this period in gold and black or coloured silks. Slashings of this
+reign, though in fashion, had commenced to go out; and those retained
+were of a large character, mostly from the neck or shoulder to the
+breast. The favoured sleeves were cut into straps to the elbow or wrist,
+and were often edged with braid, either side meeting together and lining
+the forearm, the body being treated in the same way. The open-fronted
+sleeve was set with buttons and loops or long braided buttonholes with
+frayed or knotted ends, though these were not generally fastened. The
+tight undersleeve was often set with gold or silver narrow braids down
+the front and back seams, and close lines of small braids horizontally
+round the arm, or vertically when the outer sleeve was treated
+horizontally, this gave a beautiful counterchanged effect.
+
+Many of the ladies' caps of this time had beautiful gold scrolls, with
+flowers and birds embroidered in coloured silks, also loose jackets of
+the same were in use. The bodice was banded with braids or lace on the
+front and seams, and the stomacher was often of fine embroidery; set
+rosettes or bows were placed at the waist. Other finishing effects of
+collar or sleeve, and the button and buttonhole decorations were made
+important features on both male and female sleeves, and even down the
+front of the outer skirt when it was not treated with lace. Red heels to
+shoes began to be worn and continued to the end of the 18th century in
+marked favour.
+
+
+THE COMMONWEALTH.
+
+During this short period the character and placing of braiding was the
+same as in the latter part of last reign; slashing had almost completely
+gone out, except for the treatment of some ladies' sleeves cut into
+bands. A very sober effect was assumed in colour schemes, besides a
+plainer treatment in decoration, and a deep plain collar or a small
+turn-over one was chiefly worn by the men, while the hat of the Puritan
+rose to an absurd height, with a wide flat brim.
+
+
+CHARLES II.
+
+This may be named the period of ribbon trimmings, though braiding was
+treated in broad lines on the short jackets and sleeves, and down the
+sides of the breeches. A preference is shown for gold and silver lace,
+or amongst the elite purfled silk edges; the new mode being a decoration
+of groups of ribbon loops placed about the suit or dress. The notable
+feature with the female dress was the gathering of drapery by means of
+jewelled clasps, and groups of ribbon loops were also used, as with the
+male dress. The edges of the materials were sometimes cut into scalloped
+or classic forms, and a very simple voluminous character was fashion's
+aim.
+
+
+JAMES II AND WILLIAM AND MARY.
+
+With the later type of long-skirted coat which began in Charles II's
+reign, a heavy style of braiding and buttoning came into vogue, all the
+seams of the coat besides the pockets and cuffs and fronts being
+braided, which fashion continued to the end of the century. Many coats
+began to be embroidered in the later reign, and waistcoats became a
+special feature for the display of fine needlecraft on the fronts and
+pockets, while quilting or imitations of it in various needlework
+designs are often seen. In the female dress a more elaborate interest
+was again taken in the stomachers and the jewelled claspings, while
+lengths of soft silk gathered into long puffs often edged the outer
+skirts or were used in smaller trimmings, and "classical" shapings of
+the edges of materials and sleeves are often seen, also heavy bands of
+rich embroidery bordered the underskirt or train.
+
+
+SEVENTEENTH CENTURY. JAMES I. FEMALE.
+
+We find much the same high forms of set-up head-dress continuing in
+fashion as in the later years of Elizabeth's reign; but the hair began
+to take a fuller shape, rather round, done up in tight frizzled curls,
+with the usual decorations of jewels, pearls, or set bows of this
+period. Hats with high crowns and small straight brims, with an upright
+set of small plumes, gradually assumed a larger brimmed character--often
+turned up on one side. The same absurd pleated hoop, with its hanging
+skirt, continued for some time (worn rather short); but we also see the
+longer and very full hooped-out skirt, with an overskirt opened in the
+front. The stomacher front became much enlarged during this reign, many
+having shaped designs at the point. Most bodices took a very deep curved
+front at the neck, and large padded sleeves narrowed at the wrist still
+continued, besides the high fan collar at the back of the neck, and
+large ruffs were used by many. There also appeared, later in the reign,
+a stiff round collar, set high in the neck, cut off straight across
+the front, and the bodice took a very low square-cut neck, with a raised
+curved shape at the centre of neck. The tighter sleeve was also worn
+throughout this time, with the overdress and sleeve hanging almost to
+the ground, which often had a very angular cuff. A little later some
+sleeves began to be gathered at intervals into puffy forms. The waist
+also showed signs of shortening.
+
+[Illustration: FIG. 58.]
+
+[Illustration: FIG. 59.--Costumes. Period, James I.]
+
+Shoes with rounded toes and latchets holding large rosettes were chiefly
+worn, and heels of various heights are seen. Chopins, still worn on the
+Continent, do not seem to have appeared here.
+
+
+SEVENTEENTH CENTURY. JAMES I. MALE.
+
+The hat was of the high-crowned type, perhaps higher than in the last
+reign. The brim had broadened, and feathers were placed upwards
+fantastically at the back and sides of crown. Brims were often fastened
+up on the right side with a jewel; otherwise a band was buckled in
+front. The hair was now allowed to fall longer again, and a pointed or
+square-shaped beard with a brushed-up moustache was the mode. Ruffs both
+large and small surrounded the neck, and a flat fan-shaped collar
+was seen in the earlier years.
+
+[Illustration: Plate XIV.--
+
+    (_a_) Embroidered Silk Dress with Pannier. 1765-80.
+    (_b_) Brocade Dress and Quilted Petticoat. 1750-65.
+
+_Pattern of bodice, p. 322._]
+
+[Illustration: FIG. 60.--Costumes. Period James I.]
+
+The jerkin was close fitting and the length of the waist more normal,
+with less tendency to being tightened in, and not so deep in the front
+point, so as to set better over the very full trunks or breeches. The
+square tabs of the jerkin increased in size, and soon formed large flaps
+divided into three or four, to the centre of the back. Sleeves were
+fairly tight and started from slightly larger epaulets, and were usually
+set at the wrist, either with a small ruff or turned-up lawn cuff, edged
+with lace.
+
+The trunks were padded in a very full shape and were much longer, just
+above the knee. Also full padded-out breeches tapering to the knee or
+just above, where a large tie and bow hung at the side, and full square
+breeches not tied in, are also a feature of these days, usually banded
+with wide braids at ends and sides. Upright pockets were made on either
+side towards the front, about two inches from the side seams. They
+fastened up the front in a pleated fold, many being decorated with
+punched, pricked, or slashed design of a smallish character.
+
+[Illustration: FIG. 61.--Shapes of Shoes from 1590-1650.]
+
+Cloaks were worn longer to the knee, retaining the same shapes and
+braid decoration as in the Elizabethan period, and hanging sleeves were
+still worn on them, as well as on some of the jerkins.
+
+Shoes became fuller and rounder at the toes, mostly with thick welted
+soles and short heels, or none. They were fastened with a large rosette
+of gold lace or ribbon on the front, and the latchets were set back to
+show an open side. The top-boots were close fitting and took squarer
+toes; the spur flap being rather small. Beautifully embroidered clocks
+are seen on the tights and stockings of this period.
+
+
+SEVENTEENTH CENTURY. CHARLES I. FEMALE.
+
+The hair was now allowed to fall in ringlets round the back and sides,
+with a few flat curls on the brow, and a bow and pearls were caught in
+at the sides. Short feathers may also be noted in use. A plait was often
+coiled at the back after 1630.
+
+[Illustration: Plate XV.--
+
+    (_a_) White Cloth Coat. 1775-90.
+    (_b_) Silk Dress. 1740-60.
+    (_c_) Embroidered Velvet Coat. 1755-75.]
+
+[Illustration: FIG. 62.]
+
+[Illustration: FIG. 63.
+
+Collar and Bodice types. Period Charles I.]
+
+[Illustration: FIG. 64.
+
+Collar and Bodice types. Period Charles I to 1660.]
+
+In the early part of this reign the ladies were wearing the long
+corset-bodice, with a richly decorated stomacher which curved outwards
+to set on the very full skirts; this often finished with a curved or
+foliated shape at the point. Square starched collars, rounded at
+the back, sometimes set up at the back of the neck or flat on the
+shoulder, and ruffs were still seen round the neck with collars as well,
+but they were seldom met with after 1635. A plainer, deep collar, flat,
+round, or =V=-shaped at the back, coming well over the shoulders, was
+caught together by a bow or ornament in front. About 1630 shorter
+waisted bodices came in, with full, loose sleeves set in epaulets: the
+neck shape was rounded or square. The bodices were often slashed, and
+the full sleeves, cut into bands, were sometimes gathered by cross bands
+from one to three times. Full plain sleeves, opened in the front seam,
+were also clasped at the elbow in a like manner. Outer short sleeves
+became a feature, opening in the front, showing the full under one or a
+tight one; the waist became very short and its tabs larger. A waistband
+fastened in the stomacher with a bow either side and bows with long gold
+tags decorated the waist as in the male jerkin. The skirt decorated by a
+band of ornament down the front was often tied upon the corset-bodice,
+the front point being left outside. Shoes of the same shape as the male
+illustrations, with very square toes, were frequent, but an oval toe,
+rather pointed, is seen in many pictures, with the large lace rosettes
+in front. Muffs are first noticed in these days, though they were seen
+much earlier on the Continent.
+
+[Illustration: FIG. 65.--Period 1625-1660.]
+
+
+SEVENTEENTH CENTURY. CHARLES I. MALE.
+
+The hair was worn loose to the shoulders, and a small plait was
+sometimes arranged on the left side, brought to the front of shoulder.
+The beard was trimmed to a pointed shape, and smarter curled moustaches
+were fashionable. Hats were still high in the crown, but rather lower
+than with James I; the large brims were turned about in various curves,
+and feathers were worn falling over the brims to the side or back.
+
+The jerkin was high in the collar, supporting a large, square, turn-down
+collar edged with pointed lace to the shoulders, or a small, plain,
+turn-over collar; ruffs are very rarely seen after 1630.
+
+[Illustration: FIG. 66.--Charles I.]
+
+[Illustration: FIG. 67.--Period 1625-1660.]
+
+[Illustration: FIG. 68.--Period 1625-1660.]
+
+A rather short waist grew shorter during this reign, with much larger
+tabs, or large flaps laced to the body, forming a series of bows with
+long gilt tags round the waist. The body is usually decorated with
+long slashes from the shoulders to the breast, or the full length, and a
+long slashed opening is often seen in the back (presumably to give more
+play to the sword-thrust). The sleeve is also treated in the same way to
+the elbow or waist. All sleeves start from a stiff epaulet. Breeches are
+both very full and fairly tight, the latter edged with a purfling of
+silk or gold lace as well as the sides, the former shape tied either
+above or below the knee with a large silk bow with falling ends. They
+were held up by a number of hooks, fastening to a small flap with
+eyelets, round the inside of the doublet (see pattern 11, p. 295), and
+were buttoned down the front, the buttons being half hidden in a pleat.
+The pockets were placed vertically in the front of the thigh, and were
+frequently of a decorative character.
+
+A short or long circular cloak was worn, and a coat-cloak with opened
+sleeves is an interesting garment. These coverings were hung in various
+ways from the shoulders by methods of tying the cords across the body.
+
+[Illustration: FIG. 69.--Period 1625-1660.]
+
+[Illustration: FIG. 70.--Shoe shapes. Charles I to 1700.
+
+    NOS. 1, 2, 3, 4, 5, 6, 7, 8, 23. Charles I.
+    NOS. 9, 10, 11, 12, 13, 14, 15, 16, 17, 25. Charles II.
+    NOS. 18, 19, 20, 21, 22, 24, 26, 27, 28. James II and
+         William and Mary.]
+
+[Illustration: Plate XVI.--
+
+    (_a_) Silk Brocade Dress. 1740-60.
+    (_b_) Silk Brocade Sack-back Dress. 1755-75.
+          _Pattern, see p. 334._
+    (_c_) Dress of Striped Material. 1775-85.
+          _Pattern, see p. 335._]
+
+[Illustration: FIG. 71.--Boot shapes. Charles I to 1700.
+
+    NOS. 1, 2, 3, 4, 5, 6, 7, 8, 9. Charles I.
+    NOS. 10, 11, 12, 13, 14, 15. Charles II.
+    NOS. 16, 17, 18. James II and William and Mary.]
+
+Shoes became very square at the toes, or blocked as in Fig. 70, No. 6.
+The fronts were set with large rosettes of silk and silver or gold
+lace, the heels varied much in height, that mostly favoured being a
+large, low heel. A quaint fashion of shoe combined with a clog sole was
+an interesting shape (see illustration of clogs, p. 106). Fairly tight
+top-boots, coming well above the knee, were often turned down. Other
+boots with large bell-tops, turned over or pushed down, were covered or
+filled with a lace or bell-shaped stocking-top. A sash was worn round
+the waist or across the body over the left shoulder (the length and
+width of these is given in the description of patterns, p. 279). A broad
+belt, or sword-hanger, came across the right shoulder. Gloves were
+beautifully embroidered in gold, pearls, or coloured silks, the
+gauntlets being from five to eight inches deep.
+
+
+SEVENTEENTH CENTURY. THE COMMONWEALTH. MALE AND FEMALE.
+
+The same shapes apply to costume during the Commonwealth, though a
+sterner effect was given by the choice of plain decoration and less
+colour. A small or a large plain collar, and the disappearance of
+slashings on the coat, and a longer skirt became noticeable. A very
+high tapered hat, with stiff circular brim, was worn by the Puritans,
+and little, close, black hoods were much favoured. A general reaction
+from gay extravagance set in.
+
+
+SEVENTEENTH CENTURY. CHARLES II.
+
+FEMALE.
+
+The hair was set out from the head on combs with falling ringlets, and
+several small flat ringlets were placed on the forehead. The back of the
+hair was plaited into a knot, and pearl strings were interlaced, or
+ribbon loops caught in at either side. Toward 1680 the hair was worn
+tightly curled and fulled out into a round shape with a curl or two
+falling on the front of the shoulders; small feathers or long feathers
+were also worn. Hats were of a similar shape to those of the last reign,
+with a stiffer and narrower curved brim; but the chief head-dress was a
+large hood faced with another material, which latter was tied under the
+chin; these mostly formed part of a cape also.
+
+[Illustration: FIG. 72.--Period 1650-1685.]
+
+[Illustration: Plate XVII.--
+
+    (_a_) Silk Suit. 1765-80.
+    (_b_) Quilted Dress. 1700-25.
+    (_c_) Silk-embroidered Suit. 1765-80.]
+
+[Illustration: FIG. 73.
+
+    1, 2, 3, 4.--Back and Front of two Corset Bodices. Period Charles II.
+    5, 6.--Two Corsets. Period Charles II.
+    7, 8.--Two Bodice types. Period Charles I.]
+
+The bodice again became much longer and of a pointed shape, but many
+corset bodices took a round point, and a round neck coming well off
+the shoulders became general, usually decorated with a plain wide band
+of lace. Ruffs and collars were no longer seen amongst the upper
+classes. Very full sleeves and large opened sleeves were tied or clasped
+over full lawn ones, and at times separated from the shoulders, being
+caught effectively with jewels. Groups of ribbons were placed at the
+breast or point of the bodice, and the ends of sleeves or shoulders,
+besides at the fronts of the outer skirt when divided, also in the
+gathering of the lawn sleeves. Stomachers were not much worn, but a
+drape of soft silk was caught here and there round the neck of bodice,
+and large draperies were clasped to the shoulders. Loose robes and robes
+shaped to the figure, opening down the front from the neck even to the
+waist, with a clasp or several holding them together; these were worn
+over a quilted linen corset laced in front as in the illustration, but
+the bodice was often formed on a corset. Long gloves and mittens were in
+use, and small muffs with ribbon loops on the front were carried.
+High-heeled shoes with very long square toes were affected in imitation
+of the male shoe, but most ladies now began to wear a very pointed
+shoe.
+
+[Illustration: FIG. 74.--Sleeve treatments. Period Charles II.]
+
+
+SEVENTEENTH CENTURY. CHARLES II.
+
+MALE.
+
+Long hair or wigs of long curls falling on the shoulders, a very narrow
+moustache and point of beard on the chin came with this reign. Lace
+collars of a smaller square or rounded shape were in use, but a fall of
+lace pleated in the centre soon took its place. High-crowned hats with a
+band and bow in front and a flat, waved, or curved brim, with feathers
+on either side or all round, were the fashion, the crowns becoming
+shorter during the reign; the fronts and sometimes the sides of the brim
+are seen turned up, and so begins to form the three-cornered hat, which
+remained so long a feature in history.
+
+[Illustration: FIG. 75.--Period Charles II.]
+
+We find with extravagant shapes a happy return of gay colours. The
+high-waisted jerkins of the Charles I period were now seen without the
+skirt (as very short jackets), leaving the lawn shirt to show between
+this and the breeches, besides which the jackets were nearly always left
+unbuttoned several inches up, some being cut away in a rounded shape and
+also having short sleeves. The lower arm was covered with a full lawn
+sleeve caught at two or even three distances with a loop of ribbons or
+bows, and finishing with a wide lace frill; a bunch of ribbon loops was
+also often seen on the right shoulder. A long circular cloak, with
+turned-back fronts forming a collar in many, still retained the hanging
+sleeve, and was mostly decorated with bands of heavy braid. A long
+square coat also came in about 1666, buttoned right down the front, with
+pockets set very low in the skirt, and large narrow cuffs opened at the
+back as in Plate VIII (see p. 90).
+
+Very full breeches were worn to just about the knee or shorter, with a
+fringe of ribbon loops, and a row or several rows of the same were
+arranged at the waist. A short petticoat just showed the under breeches,
+many of which were turned into a doublet shape by an additional piece
+looped up loosely from the knee with a silk filling; the ribbon loops at
+the waist were repeated up the sides of the petticoat. Silk garters were
+worn with bows on both sides of the leg, or a deep lace fall came from
+the end of the breeches to the middle of the calf; a lace setting also
+filled the wide top of the boots, which was worn very low, even to the
+ankles. These short bell-topped boots were favoured, with high heels
+and very square toes. Shoes were long and square (or duck-billed) at the
+toes; and had a high narrow front to the instep, and latchets fastened
+with a stiffened butterfly bow, besides, at times, a rosette lower down
+on the front: red heels were in evidence. The sword-band was very wide,
+and many were decorated with gold embroidery.
+
+[Illustration: FIG. 76.--Costume types. Period Charles II.]
+
+
+SEVENTEENTH CENTURY. JAMES II.
+
+FEMALE.
+
+The hair was still worn full at the sides over a comb, as in the former
+reign, with curls dropping to the shoulders, but they now began to
+discard the set-out comb and the little flat curls on the forehead, the
+hair being of a round shape or parted from the centre and mounted higher
+and narrower on the head, in the latter part of this reign. The same
+large hoods and drapes continued in use, and a high goffered head-dress
+with set-out front began to appear; the same shaped bodice with round
+low neck showing the shoulders, often set with a stomacher front or
+jewelled in that form, and smaller decorations of ribbon loops were
+still favoured. A smaller and shorter sleeve began to appear with a
+turned-up cuff, and the gathered-in lawn sleeves and ruffles caught here
+and there with pearls or clasps as before, besides the same light
+drapery clasped about the breast front. The overskirt was now looped
+back, the points being held together, giving a wide display of the
+underskirt, which was heavily banded or had a jewel setting down the
+front. Other train skirts, also divided in front, were bordered with
+drawn silk caught at intervals into long puffs. Very small muffs were
+the fashion. Shoes increased their pointed shape and rather large heels
+are to be noted, but some shoes assumed a very narrow square toe; they
+were either tied from small latchets with a bow, or with buckled
+latchets. Longer gloves were worn, and large full cloaks with hoods or
+large drapery wraps when required for outdoor wear.
+
+[Illustration: FIG. 77.--Costume notes. Period 1670-1690.]
+
+
+SEVENTEENTH CENTURY. JAMES II.
+
+MALE.
+
+The same long wig was worn as in the last reign, but the curls were more
+of a set ringlet type, and embroidered caps were worn when these were
+taken off. The face was now clean shaven until the 19th century. Hats
+also of the older character were retained, but the turned-up
+three-cornered shape, filled with short feathers, became more settled in
+fashion, and they were heavily banded with gold braid or lace on the
+edge.
+
+[Illustration: FIG. 78.--Period 1690-1700.]
+
+A smart bow was worn crosswise over the folded lace fall at the neck.
+The coat was a very long square shape to the knees, the stiff skirt
+often set out over rather full breeches, which were sometimes "shorts,"
+and just above the knee, the stocking being often brought up above the
+knee, with a garter just below. The sleeves were short, above or below
+the elbow, with a turned-up cuff, leaving the full-gathered lawn sleeve
+with a lace ruffle to show at the wrist. A sash encircled the waist, and
+often shut in the sword-belt, which hung from the right shoulder. The
+coat had buttons from the neck to the bottom of the skirt, though the
+lower buttons were seldom fastened; the sides of the skirt were opened
+up about 11 inches, and also the back seam to the same height; most
+seams were heavily decorated with gold, silver braid, or lace, and the
+pockets were placed rather low down towards the front of the skirt, and
+were sometimes set vertically.
+
+[Illustration: Plate XVIII.--
+
+    (_a_) Brocade Bodice. 1770-85.
+    (_b_) Flowered Silk Dress. 1750-70.
+    (_c_) Silk Brocade Bodice. 1780-95.]
+
+[Illustration: FIG. 79.--Period 1688-1702.]
+
+Long round capes were still worn, without sleeves, and a collar turned
+down about 4 inches.
+
+Shoes of a similar shape to those of the later Charles II type were in
+use, but the heels became larger and the toes not so long; the top of
+the front was sometimes shaped and turned down. Heavy boots to the knee,
+with large curved tops, were also in favour, as in the illustration
+(Fig. 71).
+
+
+SEVENTEENTH CENTURY. WILLIAM AND MARY. FEMALE.
+
+The hair was now mounted high on top and the front parted with two
+curls, the rest of the hair being bound on top, or a curl was arranged
+on either shoulder. A goffered frill head-dress, set on a cap, rose very
+high, and a long fall of lace, or lappets, came down on either side from
+the cap, or was gathered in like a small hood at the back. Bare
+shoulders now began to disappear, the bodice shape coming over the
+shoulder to a =V= shape enclosing a stomacher, which was sometimes tabbed
+or shaped at the point. Many dresses were made in one length, caught
+together at the waist with a band; the fronts of these skirts were
+looped back high up, creating a pannier-like fullness at the hips, and
+narrow hoops came in to set out the skirts, many of which were heavily
+embroidered with gold. The Watteau-back dress started in this reign; a
+very early specimen, at the Victoria and Albert Museum, is most probably
+of this time (Fig. 85, A). The sleeves worn to the elbow increased in
+width from the shoulder, and were set with large narrow cuffs gathered
+with a jewel or bow on the front of the arm. Hoods and cloaks of the
+same character as described for the last reign continued, and light
+sticks were carried by the ladies. Very pointed shoes were worn, with
+large high heels, the top of the front flap in some being shaped into
+points. Black masks were frequently used, some having long lace falls.
+Rather small muffs were still the fashion, and beautifully decorated
+short aprons became a feature with the dress.
+
+[Illustration: FIG. 80.--1688-1698.]
+
+
+SEVENTEENTH CENTURY. WILLIAM AND MARY. MALE.
+
+Wigs of the same long character continued, and were parted in the centre
+with a raised effect, and variously shaped caps, with turned-up fold or
+brim, were worn when the wig was taken off.
+
+The beaver or felt hat, turned up three-cornerwise, was now in general
+use. It is often seen with the brims loose, or sometimes down,
+especially amongst the lower classes. Both small shapes and large were
+worn.
+
+[Illustration: Plate XIX.--
+
+    (_a_) Silk Brocade Dress. 1775-85.
+    (_b_) Embroidered Silk Jacket. 1775-90.
+          _Pattern, see p. 326._
+    (_c_) Brocade Jacket. 1780-95.
+          _Cap pattern, see p. 331._
+          _Coat pattern, see p. 348._]
+
+[Illustration: FIG. 81.--Period 1680-1690.]
+
+Black ties across formal lace cravats, and long lawn cravats, edged with
+lace, one end of which was sometimes caught up loosely through the
+large buttonhole of the coat were worn. Waistcoats were left open well
+down to the waist; some of these were nearly of the same length as the
+coat, the skirt being often edged with deep gold fringe.
+
+The coats were of much the same character as in the time of James II,
+with buttons all down the front, but now it was the mode to button coats
+just at the waist, allowing the waistcoat to be shown. The sleeves were
+generally longer, to the middle of the forearm, and the turned-back
+cuffs became very large and deep, often towards the end of the reign
+taking a curved shape. The seams, fronts, and pockets were frequently
+braided as before. A long square waistcoat of rich brocade or
+embroidered material, about four inches shorter than the coat, was worn;
+some of these had tight sleeves, which came to the wrist beneath the
+outer coat-sleeve; otherwise a gathered lawn sleeve with ruffle was
+worn.
+
+Shoes and boots were practically the same as in the previous reign, with
+larger high heels and a high square front, with latchets buckled or
+stiffly tied, and very square toes. Top-boots of the same heavy
+character continued as in Plate II (see p. 42). Stockings continued to
+be worn frequently above the knee outside the breeches, with a garter
+beneath, and beautifully embroidered clocks to the calf. Muffs were
+carried by many men, and the gauntlets of gloves had a very angular
+shape. Patches and make-up were used by the dandies, and the sword was
+now carried through the side pleats on a waist-belt sometimes worn
+outside the waistcoat.
+
+
+
+
+CHAPTER VII
+
+THE CHARACTER OF DECORATION AND TRIMMINGS OF THE EIGHTEENTH CENTURY.
+
+
+In the early part to the middle of this century the trimmings were
+chiefly of gold or silver lace, real lace, and purfled silk, mostly of
+the same material as the dress: a bow was often worn on the breast, and
+also in the front of the sleeve cuff. Purfled or ruched trimming
+generally ran down the front of the dress from the neck to the hem of
+the skirt in the Second Georgian dress, and gathered borders or
+decorations of curved forms were in use. The skirts usually had only one
+flounce till the reign of George III, when the trimmings became more
+elaborate, and gauze and imitation flowers were festooned upon the
+skirts, with ribbons and tassels and padded designs standing out in
+strong relief; some charming gimp trimmings are also seen.
+
+The lace ruffles of a fan shape which finished the earlier sleeves till
+about 1745 were sometimes of lace, interwoven with gold, silver, and
+coloured silk needlework, and this was no doubt the forerunner of the
+use of the more solid material itself. The setting of the sleeve finish
+is interesting to note all through this period, for it was beautifully
+treated in balancing the effect of the dress. The square cuff with the
+deep lace fall was big in style, and the later closely-fitted elbow
+piece, richly gathered, was happily conceived, but no finer setting
+could have been applied to the sack-back dress than the large fan or
+double fan with its lace fall. The edges of the early fan-finished
+sleeves were of curved and scalloped forms, the latter shaping often
+being seen in the later sleeves.
+
+With George III we notice designs in straw work, decorations of
+imitation flowers in ribbon-work and various materials, and much taste
+in the choice of colour schemes, while the tassels of this period were
+delightful creations. The designs of stuffs at the early part of the
+century were generally of fine strong colour blends, but in the middle
+period there was much questionable taste displayed in the heavy massing
+of patterns, but this soon improved with the striped character crossed
+by running flowers which was quite ideal in type for costume keeping,
+grace, and lightness, with a beautiful interchange of colour.
+
+The quilted silk and satin petticoats are a special feature to note in
+these times; many simple and effective designs were in use, and they
+added much glitter to the scheme. Aprons were also beautiful examples of
+needlework, and were worn with the best of dresses to the middle of the
+century; the earlier ones generally had a scalloped edging, and many had
+pockets; gold lace edging or fringe was often used in the time of George
+II, and they were all finely decorated with needlework in gold, silver,
+or coloured silks. The white aprons were also of consummate needlecraft,
+and hanging pockets worn at the sides were also a decorated feature, but
+these only showed when the dress was worn tucked up. The later style of
+dress became much simpler, consisting chiefly of gathered flounce
+settings, fichus, and large mob caps; these were often daintily
+embroidered with tambour work and large bow and sash settings, making
+delightful costumes.
+
+Bags, muffs, gloves, and shoes were all chosen for the display of
+needlecraft, while artists and jewellers used all their skill on the
+fans, patch-boxes, and etuis, and even the dress materials were often
+painted by hand, while many painted Chinese silks were also utilised.
+
+
+EIGHTEENTH CENTURY. ANNE. FEMALE.
+
+The hair was dressed in a simple manner, with two curls parted from the
+centre of the forehead, and curved inwards on the brow. A loose ringlet
+or two were brought on to the left shoulder, the rest being gathered
+into a back-knot. Feathers or flowers were arranged on top, generally
+with a pair of lace lappets falling to the back; these also adorned the
+cap, which still bore the front goffered frills set out as in the last
+reign, but these were diminished in size and were mostly of one row. We
+note probably the last stage of this style appearing in a print of
+Hogarth's, dated 1740.
+
+[Illustration: FIG. 82.--Bodice types. Period 1690-1720.]
+
+[Illustration: FIG. 83.--Costume type. 1695-1710.]
+
+Hoods and capes or cloaks, and long black fichus or wraps, were the
+chief coverings, as the head-dress did not allow of hats being worn, but
+with the small frilled caps a little straw hat, or a low-crowned felt
+with a largish brim, are seen, and a small lace frill round the neck
+began to appear. Bodices with a low curved neck often had a short skirt
+or shaped pieces, as well as a shaped short sleeve over a gathered lawn
+one, while many wore long sleeves to the wrist, and a waistbelt is
+sometimes noted. There was also the sleeve spreading in width to the
+elbow, with a turned-up square cuff. The front of the bodice may be
+remarked with bands fastening across, and this became a feature in many
+dresses later in this century, otherwise it set closely over the
+shoulders to a =V= shape at the waist, and was filled with a stomacher of
+fine needlework, bows, or the ends of the lawn fichu laced or caught in
+by a big bow. A full, loose gown, with the fullness pleated to back and
+front, came in, the front being held by a bow and the back allowed to
+fall loose or crossed with a large bow at the back of waist, as in the
+museum specimen, Fig. 85. This became the more elaborate sack-back
+dress.
+
+[Illustration: FIG. 84.--Period 1700-1725.]
+
+The skirts began to be set out in a bell form, and trains were in much
+favour; the overskirts were parted in front, and many looped up to the
+back in a similar manner to the last reign. Small aprons of fine
+embroidery were worn with the best of dresses, and embroidered pockets
+are seen when the skirts were thrown back. Petticoats of fine quilting
+became much appreciated, and tall sticks were carried by ladies. Pointed
+shoes with high heels and latchets tied or buckled, the top of the
+fronts being mostly cut into four points, or they had a square finish.
+
+
+EIGHTEENTH CENTURY. ANNE. MALE.
+
+The wigs of the full ringlet style were still the fashion, but a simpler
+character is noticeable, the hair being combed back off the forehead and
+allowed to fall in looser waves. But many began to set a mode of smaller
+"coiffure," with their own hair caught in curls by a bow at the back,
+and curls over each ear. Powder came into use with the smart set, and a
+big bow and bag to finish the back of wig appeared, giving a smarter
+appearance to the white hair.
+
+[Illustration: Plate XX.--
+
+    (_a_) Gold-embroidered Muslin Dress. 1795-1805.
+    (_b_) Nine Aprons. Between 1690 and 1850.
+    (_c_) Dress of Spotted Stockinette. 1795-1808.]
+
+[Illustration: FIG. 85.--Bodice types. 1700-1725.]
+
+The hat, sometimes of white felt, was the same three-cornered type,
+edged with feathers and banded with broad gold braids or silver lace.
+The neckwear was a bind of lawn, with a long fall finished with lace.
+
+The coat remained long to the knees, but took a greater fullness in the
+side pleats of the skirt. Large buttons and buttonholes, 3 inches long,
+are seen, with the same on the cuff, which was worn very large, often 9
+inches broad, and mostly of a curved outline, and of another coloured
+brocade; a tight undersleeve is also seen with these. The coat was
+sometimes heavily decorated with needlework or braids of gold down the
+front, pockets, seams, and cuffs. The pocket was wide and set higher in
+the skirt, and the back opening of coat was decorated by several
+horizontal braids to the two side pleats.
+
+A long, full-skirted waistcoat, of rich materials or needlework, was at
+times braided and fringed at the skirt with gold, the pockets covered
+with a large flap, and five buttons fastened it or were placed as
+decorations just below it. The front buttons were often reduced to four
+at the waist, as it was still fashionable to show the lawn shirt.
+
+Breeches were of the same cut as in the former reign, with five or six
+side buttons at the knee, and stockings with embroidered clocks were
+worn rolled over outside the breeches as before.
+
+Shoes were square at the toes and not quite so long, while the heels
+were still rather heavy, and red was the mode. They had a high square
+top at the front instep, and buckles fastened the latchets. Muffs were
+often carried by the dandies, and walking-sticks, with tassel and loop,
+were slung on the arm; besides a sword, which, passing through the side
+pleats and out at the back, helped to set out the coat, which was often
+stiffened in the skirts. Gloves, with short gauntlets very angular or
+curved in shape, were trimmed with gold fringe; the backs were also
+richly embroidered with gold or silver.
+
+
+EIGHTEENTH CENTURY. GEORGE I. FEMALE.
+
+[Illustration: FIG. 86.--1725-1750.]
+
+[Illustration: Plate XXI.--23 Boots and Shoes. From 1800-75.
+
+      1. 1800-1820.
+      2.     "
+      3. 1810-1828.
+      5. 1820-1830.
+      8.     "
+      9. 1820-1830.
+     10.     "
+     13. 1830-1855.
+     16.     "
+    16A.     "
+      7. 1850-1865.
+     14.     "
+     15.     "
+      4.     "
+      6.     "
+     17.     "
+     12.     "
+     21. 1860-1875.
+     11.     "
+     18.     "
+     20.     "
+     19.     "
+     22.     "     ]
+
+[Illustration: FIG. 87.--Period 1725-1750.]
+
+[Illustration: FIG. 88.--Modes, 1750-1770.]
+
+[Illustration: FIG. 89.--Various Styles in Cut Back of Bodice.]
+
+The hair was very simply gathered from the forehead and taken up to a
+knot of curls at the back. Occasionally a group of curls was allowed to
+fall behind, or a curl was arranged to fall on one shoulder, and
+waved curls of the Queen Anne type were still seen on many people. Caps,
+with long dropping points in front, sometimes tied under the chin or
+with long lappets at the back, were the chief favourites, also a small
+frilled cap. Shallow-crowned straw hats with various widths of brim;
+hoods and capes, both short and long, are seen, besides light silks
+draped from the hair to the waist, feathers, flowers, and ribbons being
+worn in the head-dress. Richly embroidered aprons were worn with the
+finest dresses.
+
+The sack-back dress was very full, and started right across the
+shoulders in two double box-pleats, which were kept trim by being sewn
+flat for two to four inches down. Sleeves to the elbow were rather full,
+and gathered at the shoulders, with a square cuff often decorated with a
+bow in front, and a fan of lace, sometimes in several rows, fell from
+beneath. Sleeves finishing in a shaped edge are occasionally seen. The
+skirts were made for the very round hoop setting, and were gathered in
+flat pleats on either hip. A wide pleat or two came from the shoulders
+down the front sometimes as a continuation of the sack-back. These
+pleats, meeting at the waist, formed a =V= shape, which was filled by an
+embroidered stomacher, or made of the same material, crossed by bands,
+bows, or rows of lace. The flat front pleat was occasionally
+embroidered, and gradually widened to the bottom of the skirt. Very
+pointed toes to the shoes, and high heels, with tied or buckled
+latchets, are seen, the tops of the front often being shaped into four
+points.
+
+
+EIGHTEENTH CENTURY. GEORGE I. MALE.
+
+Long, full wigs are still seen amongst older men, but several new shapes
+appear as illustrated (Fig. 90), and the black bow and bag became very
+large; a black ribbon attached to it, with a bow in front, came round
+the neck. We also see the ends of the wig made into a long, tight
+pigtail. Hats were of the same three-cornered shape, rather fuller in
+size, and the feathered edging was still favoured. A hat of the type of
+Fig. 105 was also worn; and the loose cap with a tassel was put on when
+the wig was removed (see Fig. 104).
+
+[Illustration: FIG. 90.--Wig types, 1st half 18th century.]
+
+[Illustration: FIG. 91.--List of Dated Shoes and Boots.
+
+    No.
+     1. 1700-1750.
+     2. 1700-1780.
+     3. 1700-1780.
+     4. 1700-1750.
+     5. 1700-1760.
+     6. 1720-1780.
+     7. 1690-1720.
+     8. 1700-1750.
+     9. 1700-1740.
+    10. 1740-1760.
+    11. 1702-1720.
+    12. 1730-1750.
+    13. 1760-1800.
+    14. 1730-1760.
+    15. 1740-1770.
+    16. 1770-1780.
+    17. 1740-1780.
+    18. 1786-1796.
+    19. 1774-1784.
+    20. 1775-1790.
+    21. Sole of shoe No. 22.
+    22. 1776-1800.
+    23. 1780-1790.]
+
+The neck had the same lawn bind with a long lace ruffle, and the coat
+the same full cut as in the last reign, and the large rounded cuff
+was still in favour, but many varieties of size were now worn. A
+vertical pocket is seen occasionally on cloth coats, also a cape and
+turned-down collar are noted, while several appear with a very small
+upright collar. Buttons were still worn on some coats, right down the
+front; but on many coats the buttons stopped level with the pocket.
+
+A short-skirted coat came in amongst the dandies towards the end of the
+reign, and was stiffened out on the skirts; these mostly had a tighter
+sleeve and cuff. The same decorations continued in use. Waistcoats were
+much the same, and were cut to the length of the coats, or about four
+inches shorter; they were buttoned higher, the lace often falling
+outside.
+
+Breeches were the same in cut, fastened with six buttons and a buckle at
+the side of the knee. The stockings, usually decorated with clocks, were
+still worn rolled outside the knee amongst smart people. The stiff high
+boots or gaiters generally had a full curved piece at the top, and short
+gaiters to the calf are also to be noticed.
+
+The shoes were square-toed or of a roundish form, with a short or
+rather high square front, and heels of various heights. Patches and
+make-up were used by the fops, and swords and sticks carried, the latter
+being very high, to 46 inches.
+
+
+EIGHTEENTH CENTURY. GEORGE II. FEMALE.
+
+The hair was treated in much the same manner as with George I up to the
+end of this reign--gathered back from the forehead to a bunch of curls
+at the back. The small hats and caps, often worn together, continued of
+the same character; the dresses also remained similar in cut. The
+sack-back dress was supreme in the fifties, when it was set with
+panniers, together with the hoops, but the latter were not so much worn
+towards the end of this reign, except for the "grand dress." Quilted
+petticoats were much worn, but flounces are not a feature on the skirts
+till the latter part of this period. The simpler dress was of various
+lengths, and was at times worn quite short up to 1740. The corset bodice
+was still in use, with lawn sleeves: square cuffs and lace ruffles held
+the lead throughout this time, but the fan-shaped sleeve finish to
+the elbow, in the same material as the dress, began to appear about
+1750, generally with a waved or scalloped edge. Pointed toes and
+high-heeled shoes continued, with either tied or buckled latchets, and
+long gloves and mittens were in use.
+
+[Illustration: FIG. 92.--Three hoops and four pannier forms.
+
+    Types 1725-1760.
+          1750-1780.
+          1740-1770.
+          1700.
+          1720-50.
+          1735-65.
+          1780-90.]
+
+[Illustration: FIG. 93.
+
+_Quilted designs on Petticoats, 18th century._]
+
+
+EIGHTEENTH CENTURY. GEORGE II. MALE.
+
+Wigs with double points at the back, short curled or of long pigtailed
+shapes, some with side curls, others curled all round the front, were
+worn. Large bows and bags, or no bows, finished the back hair, and the
+bow to the front of the neck was in use from the early part of this
+reign. Long coats, as in the last reign, and short coats with stiffened
+skirts were used; many with braided seams and fronts, also a braided
+opening at the back. Large round cuffs and big square ones, caped coats,
+and coats with turn-down collars were all in the mode, and the
+"maccaroni" fashions started about 1760, with absurdities in small hats,
+clubbed wigs, and very short coats. High sticks and crook sticks, canes
+and swords continued in use.
+
+[Illustration: Plate XXII.--
+
+    (_a_) Linen Dress. 1795-1808.
+          _Pattern of Bodice, see p. 316._
+    (_b_) Silk Bodice. 1825-30.
+    (_c_) Silk Bodice. 1818-25.]
+
+[Illustration: FIG. 94.--Wig types, second half 18th century.
+
+    1740-1765.
+    1765-1795.]
+
+The pocket flaps were of a curved form, with a rounded centre still,
+and many of the shoes had a high square front, high heels, and square
+toes: according to the caricature prints of Boitard, the fashionable
+hats were smaller in 1730, and much larger ten years later; very full
+skirts at the former date, and smaller and less stiffened at the latter.
+Stockings were often still worn outside the knee. Shoes reached an
+extreme high square front at the latter date, and gloves with curved or
+square cuffs are to be noted.
+
+[Illustration: FIG. 95.--First Half Eighteenth Century.]
+
+
+EIGHTEENTH CENTURY. GEORGE III TO 1800. FEMALE.
+
+This long reign, like that of Queen Victoria, embraces several changes
+of style. Up till about 1785 white powder was still used for the hair,
+reaching its fullest extravagance in the middle of the seventies, set
+with pearls, bandeaus, caps, lace, flowers and feathers, and about 1776
+the top was widened considerably. The front hair, gathered from the
+forehead, was pressed in a forward curve over a high pad, with one to
+three curls at the sides and one at the shoulders, the back hair being
+arranged in a loose loop, curled on the top and set with a large bow at
+the back; a small round hat with very small low crown (usually decorated
+with flowers and silks gathered into puffs, or ribbons and small
+feathers) was tilted right on the front. About 1780 large mob caps with
+a big bow on the front came in, and were generally worn together with
+the tall-crowned hat or the large-brimmed hat in favour at this time. A
+cape with smallish hood worn in the earlier reigns was supplanted about
+1777 by the calash, a huge hood set out with whalebone which came
+to cover the full head-dresses. The heavier caped or hooded cloak,
+sometimes with side opening for the arms, and usually trimmed with fur,
+still remained in use to 1800.
+
+[Illustration: FIG. 96.--Costume notes, 1770-1780.]
+
+[Illustration: Plate XXIII.--
+
+    (_a_) Muslin Dress with Tinsel Design. 1798-1810.
+    (_b_) Silk Dress. Period George IV.
+    (_c_) Satin and Gauze Dress. 1820-30.]
+
+[Illustration: FIG. 97.--Head Dress. Period 1780-1795.]
+
+[Illustration: FIG. 98.--Hats and Caps during period 1780-1795.]
+
+[Illustration: FIG. 99.--Hats during period 1790-1800.]
+
+The bodice retained the same shape as in the former reign, rather longer
+in the points back and front, with a large fan finish to the sleeve,
+double or single; this became supplanted by a much-gathered elbow-piece,
+sometimes eight inches deep, gathered in four rows. Small drawn gathers
+started round the waist of the skirt, for the side panniers and hoops
+were being less worn, except for the "smart gown," but bunching,
+reefing, and looping took their place in effect, and quilted petticoats
+remained while this character of dress lasted. The later sack-back dress
+was sewn tighter to the body, and usually started in a narrower set at
+the back, while the full pleat from the shoulder down the front went
+out, and the neck was more displayed by lower bodice fronts, which
+continued to be set with bows, jewels, lace, or embroidery. Sack-back
+jackets were often worn in the seventies; when the sack began to
+disappear, it took the form of overlapped seams on the bodice. The
+decorated side pockets are noted in prints showing tuck-up dresses to
+1775. The jacket bodice of the same form described in the preceding
+reign was perhaps more in evidence till 1780, not so long in the skirt
+as in the earlier reigns, but after this date it took a longer skirt,
+which was often pleated at the back, with a very low neck and short
+waist.
+
+[Illustration: FIG. 100.--Period 1780-1795.]
+
+About 1780 we find a change of style appearing in a shorter waist, with
+less pointed setting, having often a rounded point or square tabs, and
+even a shaped finish to the corset front, which was sometimes used like
+a waistcoat effect under the cut-away dresses seen after 1770 (see Fig.
+99, p. 221). A general tendency to imitate male attire is apparent, and
+the front of the bodice was set with lapels and straps buttoned across
+(though I have noted this latter character in the early part of this
+century), and long coats with this character were much worn, with two or
+three capes. The sleeves are sometimes set over a tight undersleeve, in
+fact the longer sleeve to the wrist became fashionable. With this change
+a short gathered skirt is seen on some bodices, and the full gathered
+skirt was bunched out at the back on a bustle, of which I give an
+illustration (p. 212), the low neck being filled with a large lawn
+fichu; a wide belt was generally worn, or a wide sash and bow at the
+back or side is seen with the lighter dresses, these being simple in
+style, just gathered at the waist, with short full sleeves set with a
+frill, and another frill was also arranged round the neck.
+
+[Illustration: FIG. 101.]
+
+About 1790 the mode again began to change to a classic style, still
+higher in the waist, with a short tight sleeve, at times puffed in the
+upper part, or an outer and under sleeve, as per illustration A, Plate
+XXII (see p. 215). The fronts of this type of bodice were mostly
+buttoned or pinned up to the shoulders over a tight underfront, the
+skirt opening about 18 inches at the sides, thus saving a fastening at
+the back. I have illustrated some very interestingly cut jackets of this
+period from my collection, as A, Plate XXIV (see p. 231); the sleeves
+were very long and were ruckled on the arm, as likewise were the long
+gloves or mittens of this time. A long scarf or drape was carried with
+this style, and a round helmet-like hat in straw or a turban was
+adopted. High sticks were still carried by ladies till the nineties,
+and umbrellas or parasols; the former came into vogue about 1770, the
+latter about six years later. Muffs of beautifully embroidered silk and
+satin were set with purfled trimmings, gold and silver lace, or bows and
+ribbons; otherwise they were of furs or feathers. They remained rather
+small up to 1780, when a very large shape set in, which continued till
+the end of the reign; the quantity of beautiful fans of this century
+must be so well known as to need no description. The highest artistry
+was concentrated on them.
+
+[Illustration: FIG. 102.--Period 1790-1800.]
+
+[Illustration: FIG. 103.--Costume notes, 1790-1800.]
+
+[Illustration: FIG. 104.--Lounge Caps worn during removal of Wig.]
+
+Shoes at the beginning of this reign were set on very high spindle
+heels; the toe-front became rounded, the instep-front a pointed shape,
+and wide latchets were buckled till about 1785, but fashion discarded
+them earlier; for about 1780 the shoes became very small at the heel,
+and pointed again at the toe. When the latchets went out, the pointed
+instep remained for a time, but a low round front appeared, and the heel
+practically vanished just before 1800. These later shoes were decorated
+on the front by needlework or incised leather openwork underlaid with
+another colour. The soles at this time were extremely quaint in
+shape, and the shoes were tied sandal fashion up the ankle.
+
+[Illustration: Plate XXIV.--
+
+    (_a_) Outdoor Silk Jacket. 1798-1808.
+    (_b_) Embroidered Muslin Bodice. 1816-30.
+    (_c_) Embroidered Muslin Bodice. 1824-25.
+    (_d_) Satin and Gauze Bodice. 1820-30.]
+
+
+EIGHTEENTH CENTURY. GEORGE III TO 1800. MALE.
+
+The wigs, which were rather high in the front of the crown in the
+earlier part, began to cast off the most eccentric forms, and became
+just curled, rather full at the sides, and tied with a bow at the back:
+dull pink powder became a favoured hue from about 1780; most people
+began to return to their own hair, and one might see many without long
+hair in the nineties. The last type of dressing the hair in imitation of
+the wig form was a long, tightly braided pigtail at the back, with one
+or even two side curls over the ear, and side whiskers were allowed to
+fill up to them; thus when the short hair set the fashion, side whiskers
+came in.
+
+Hats were still worn of the three-cornered shape, but the favourites
+became a front cockade hat and a hat with a rounded crown and rather
+wide brim, sometimes turned up on one side; a short type of top-hat was
+also often seen, and later became the fashion. The same lawn and lace
+cravat developed into more of a plain white stock, with a frilled
+shirt-front.
+
+The coat was worn much tighter in the arms and was smartly cut, with the
+fronts running away into a narrow tailed skirt. The pockets often began
+to take a plain square form, with or without buttons; the buttons on the
+front of the coat stopped at the waist--many cuffs are seen without
+them; and the side pleats, set more to the back, were pressed and
+narrower. Both the plain and turn-over collars were set up high in the
+neck, large cut-steel buttons were introduced in the early seventies,
+and many fancy china buttons, besides the gilt silver and paste ones
+were in use. A new type of coat made its appearance with a high
+turn-over collar and large lapels, and a sudden cut-in of the coat-front
+high in the waist, giving a very long-tailed effect to the skirt. A cuff
+shape with these was mostly made in one with the sleeve and buttoned at
+the side towards the back, and when the cuff was additional, it seldom
+had buttons, as formerly.
+
+A greatcoat with one, two, or three capes was a picturesque garment, and
+a leather-covered bottle was often carried when riding a distance, of
+which I have an example in my collection.
+
+[Illustration: FIG. 105.]
+
+Waistcoats, which had become much shorter, were now giving place to a
+type with a straight-across front and turned-back lapels at the neck;
+these large lapels were mostly worn outside over the coat lapel. The
+waistcoats were often double-breasted with an embroidered design down
+the front between the double row of buttons, and the straight pockets of
+these had no flaps; they shortened at the waist in character with the
+lapelled coat, but were worn lower than the cut-in shape of the coat,
+showing about 3 inches when the coat was fastened. Breeches became very
+tight, and trousers begin to appear after 1790. Striped stockings and
+suits were much in favour. Top-boots with rather long brown tops were
+worn, or high boots with a curved top, with a gold tassel set in front,
+were seen. The shoes with latchets and buckles had a low front on the
+instep, and from about 1780 took a rather pointed oval toe shape; the
+heels were mostly worn shorter. Swords were not so much in use except on
+great occasions, but sword-sticks were carried, and heavy club-sticks
+were fashionable before 1800. Patches were little used after the
+seventies, but the snuff-box was still indispensable. The double long
+purse with central rings and tassels at the ends was carried, of knitted
+silk or of leather, the former with steel beads and coloured silks
+worked together after 1780: small bag purses were also in use, usually
+set in gilt mounts and made in the same methods with a tassel below.
+
+[Illustration: Plate XXV.--
+
+    (_a_) Silk Dress. 1800-10.
+    (_b_) Cotton Dress. 1800-10.
+    (_c_) Embroidered Muslin Dress. 1820-30 (_Pattern, see p._ 339).
+    (_d_) Silk Gauze Dress. 1824-30.]
+
+[Illustration: FIG. 106.]
+
+
+
+
+CHAPTER VIII
+
+CHARACTER OF TRIMMINGS OF THE NINETEENTH CENTURY.
+
+
+During the later part of the 18th century, a great deal of tinsel drawn
+work was done on fine muslin, and became beautifully treated in delicate
+design on the hem and down the front of many of the high-waisted dresses
+as in Fig. A, Plate XXIII (see p. 218). Later on towards the twenties we
+see a great deal of effective coarse work in heavy gold tinsel, and at
+the same time to the forties a number of dresses were ably enriched with
+fine gold thread.
+
+The white embroidery in the earlier trimmings of this period, of which I
+give examples in Plate XXIV (see p. 231), was remarkable for its wealth
+of fancy; the chief beauty of these dresses was the delightful treatment
+of gathered effects, and with the reign of George IV we note the
+gradual return of the longer pointed bodice, with the growth of very
+full sleeves, also the increase in the size and fuller set-out of the
+skirts over the stiff flounced drill petticoats. The =V=-shaped Bertha
+setting to neck and shoulders began to establish itself, and became a
+great feature through the thirties and forties; the first signs of it
+appear about 1814. Varieties of materials were used to great advantage
+in designing, and drawn tulle trimmings were happily introduced to
+soften hard shapes and colours. The shoulder fullness also began to be
+neatly drawn in and held by straps, which gave a charming character to
+many bodices.
+
+From 1816 choice work in piped shapes, often of flower forms decorated
+with pearls or beads, was set on fine net, as seen in Plates XXIII and
+XXIX (see pp. 218, 263). The attraction to the thirties was the happy
+effects gained by the bow and flower looping on the flounces, and these
+ripened in fancy and variety through the forties. Braiding was adopted
+in the thirties with a rather charming treatment of tassels down the
+front of the dress; the polonaises of this time were also effective and
+simple, caught here and there with posies of flowers, and we find this
+fashion again revived in the sixties.
+
+With the reign of George IV we notice an increasing choice of strong
+coloured effects, which culminated in the mid-Victorian era in raw
+colour and violent shot silks, velvets, and heavy fringes, but one may
+see that many of these dresses of bright pure tone looked exceedingly
+refined and were quite stately. A remarkable dress is Fig. A, Plate
+XXXII (see p. 279), which is of very strong bright blue; its only
+enrichment being a curved line of folded silk. All these dresses from
+1800 were delightfully embellished with embroidered fichus, light
+scarves of frail gauze, crepe, or Norwich silk, and in the Victorian
+times capes and =V=-shaped shawls; fascinating lace ruffles and tuck-in
+fronts to the bodice necks, of frills and bands of embroidery, broke the
+severity or bareness of many dresses. An endless variety of fascinating
+caps and lace head-lappets was pinned or caught into the hair at the
+wearer's fancy; besides the bows, flowers, and jewels (especially
+pearls) which have always played an important part in the coiffure from
+early times, the chatelaines and bags, fobs, fans, and lace or silk
+handkerchiefs all give the artist a note of extra colour when desired.
+The cruel period of taste really came with the seventies, though one can
+trace many quaint and interesting cuts in the bodices and skirts of this
+time; but the "grand dress" of complicated drapings, heavily fringed or
+braided, was a "set piece" which, let us hope, will never appear again.
+
+The long stocking-purse which began to appear in the late 17th century
+was up to 1820 sometimes carried tucked through the belt; it was set
+with a pair of metal rings and tassels of steel or gilt beads. Small and
+large circular and bag-shaped purses were also in use; all these were
+made in coloured silk threads enriched with steel, gilt, or coloured
+beads, the latter shapes being set in chased metal mounts, the circular
+ones generally having a fringe and the bag shape a small tassel or heavy
+drop. These shapes can also be seen in coloured leathers with a leather
+tassel, besides the plain money-bag with a draw-string.
+
+
+NINETEENTH CENTURY. GEORGE III. FEMALE.
+
+The hair up to 1808 was gathered into a knot of curls at the back of the
+head, rather high up, with a small curl at the sides in front of the
+ear. Later the knot was set more on the top, and the side curls were
+made more of a feature, several being arranged at the sides. Numerous
+varieties of large and small brimmed hats, bonnets, and turbans are
+seen, and several masculine top-hats and cockade hats may be noted late
+in this reign. The usual feather decorations and large ribbons or
+flowers were in use, and a handkerchief was sometimes bound over the top
+of the straw hat and tied under the chin.
+
+[Illustration: FIG. 107.--Costume notes, 1811-1812.]
+
+[Illustration: FIG. 108.--Costume notes, 1814-1816.]
+
+The classic high-waisted dress continued till 1808, and was often
+beautifully decorated with white embroidery and gold or tinsel, as in A,
+Plates XX and XXIII (see pp. 199, 218), and the frontispiece is a lovely
+white example. There were several interesting drapings, one being a cord
+hanging from the back of the shoulder to loop up the train of the dress,
+as in A, Plate XXII (see p. 215). The simple tunic shapes are better
+described by the illustrations: more originality was essayed in
+design after the last-mentioned date. A high Vandyked lace collar and
+fan setting to the shoulders appeared, and many interesting dresses of a
+plain cut, mostly in velvet and silks, were worn about 1810-12. A
+gathered sleeve drawn tight at intervals was often seen up to 1816, when
+embroidered ruffles and frills decorated most of the necks and skirts,
+and a braided type of character, rather military in effect with
+beautifully piped edgings, came in from about 1817. Spencer bodices were
+an additional interest at this period, and a short puff sleeve was
+generally banded or caught with bows; these being often worn over a
+fairly loose long sleeve gathered by a wristband. Dresses were worn
+shorter from about 1810. Charming lace and embroidered fichus crossed
+the shoulders, and long scarf-capes were thrown round the neck and were
+often tied round behind, as in the 18th century; long capes with points
+and tassels in front fell to the knees, and a simple pelisse with cape
+became a pleasing feature. Bags were always carried, of which there is a
+variety of shapes in the plates; long gloves or mittens were generally
+worn. Parasols of a flat shape, or others with round or pagoda shaped
+tops are seen, many being edged with a deep fringe. Long purses were
+often tucked through the waistband.
+
+[Illustration: FIG. 109.]
+
+The pointed shoe, tied sandal fashion up the leg, and with no heel,
+remained through this reign, but a round-toed low shoe, tied on in the
+same manner, began to supersede it about 1810.
+
+
+NINETEENTH CENTURY. GEORGE III. MALE.
+
+Wigs had practically gone out, except for a few of the latter type of
+the 18th century amongst elderly people. The hair was now worn short,
+and left rather full on the front, with short side-whiskers. Plain black
+or white stocks tied with a front bow, and a starched or unstarched
+collar with a frilled or gathered shirt-front were in use. A tie-pin or
+stud was also seen in the centre of the stock or frilling.
+
+The same hats as in the latter part of the 18th century continued for a
+time, but the top-hat had established its favour, and assumed various
+shapes throughout this reign.
+
+[Illustration: Plate XXVI.--
+
+    (_a_) Morning Coat of Chintz. 1825-45.
+          _Pattern, see p. 313._
+    (_b_) Cloth Coat. 1808-20.
+          _Pattern, see p. 307._
+    (_c_) Cloth Overcoat. 1820-35.
+          _Pattern similar to p. 311._]
+
+The coats were set with very high turn-over collars and a wide-shaped
+lapel, and the lapel of the waistcoat was still brought outside. As
+these lapels on the coats became smaller and changed into a roll collar,
+they were cut into points at the breast, as seen in the illustrations.
+
+The front of the coat cut away in a short square, rather high in the
+waist, which thus formed a long-tailed skirt; the fronts were made
+double-breasted, and were often fastened high up the lapel. The
+hip-pleats had gone round more to the back into a closely pressed fold,
+about three inches from the back-opening. Sleeves were gathered rather
+full in the shoulders, becoming very tight on the forearm, and were
+finished in a cuff, or buttoned cuff-shape. We also see that a short
+square coat without tails was worn over the longer one. Overcoats (or
+long-skirted coats) with a cape or capes, up to four, were worn all
+through this reign, both double and single breasted, sometimes with
+turn-up cuffs; but this mode was not frequently used, as a sewn-on cuff
+or cuff made in the sleeve was now worn, and began to take a curved
+shape well over the hand, with three buttons to fasten it on the outer
+sides.
+
+Short double-breasted waistcoats continued much the same, but a
+round-shaped lapel appeared on many.
+
+Very tight-fitting breeches were worn of the same 18th-century cut, and
+trousers began to gain favour; a fob of seals, &c., was always worn,
+coming from under the waistcoat.
+
+Soft high boots with turn-down tops, and boots with longish brown tops
+set low on the leg. The top-boot with the pointed or oval-shaped front
+and tassel still held sway, and an oval-toed low shoe with or without
+small latchets was in use.
+
+
+NINETEENTH CENTURY. GEORGE IV. FEMALE.
+
+The hair at this period was worn in plaits or curls gathered on top, and
+during the latter years was arranged into stiff loops set with a high
+comb; a group of curls was drawn to the sides of the face, the hair
+being mostly parted from the centre. Plumes were much used for
+head-dresses, and caps with gathered puffs and pointed frills. A
+high-crowned straw poke bonnet, tilted upwards, was still in form; but
+the prevailing mode was a silk bonnet, with the brim curved in at the
+front, the sides being drawn together under the chin with a bow. The
+prevailing decoration was a group of feathers thrown forward or ribbon
+loops, and after this a large round hat, with a full gathered crown,
+arrived about 1827, or straw shapes, such as Fig. A, Plate XXVIII (see
+p. 259).
+
+[Illustration: FIG. 110.]
+
+Dresses gradually assumed a longer waist, and a short pointed bodice
+made its appearance here and there from about 1822, when short stays
+began to return, and pointed belt corselets were frequent, though the
+waistband or sash was chiefly used. Short puffed sleeves of charming
+character and workmanship were sometimes set in a gauze sleeve, as in
+Fig. C, Plate XXIII (see p. 218). Spencers and pelisses had long sleeves
+coming from these short ones; they were rather full, and were caught at
+the wrist with a band. The upper sleeve gradually disappeared as the
+full-topped sleeves began to develop in size, about 1824; this fullness
+was often broken up into gathered parts, a tight cuff-piece usually
+finished at the wrist. The high set-up collars and neck-frills gave way
+to the flat capes about 1827, though the small ruffs were worn round the
+top of the high-necked capes to 1830. The gathered shoulder began
+about 1823, and soon became a marked feature; pointed or scalloped
+frills and trimmings came into favour from 1825, Fig. B, Plate XXIII
+(see p. 218), and about 1827 the sloped appearance in the bodice began
+to be noticed as the sleeves were set lower. The shoulders in ball
+dresses were shown, and a gathered Bertha of silk or lace was arranged
+round the neck of bodice, Fig. D, Plate XXIV (see p. 231), or this form
+was made in the pattern as in Fig. C, Plate XXII (see p. 215). The
+=V=-shaped piece from the centre of waist or breast began to spread over
+the shoulders, where it was opened, as in Fig. B, Plate XXII (see p.
+215). This =V= shape was often open down to the waist, where it was filled
+in with a centre-piece of embroidery. Skirts were gradually set out
+fuller, with stiff-flounced petticoats; they had various simple or
+richly decorated borders and fronts, or several small flounces, or one
+deep one often with the edges cut into divers shapes.
+
+[Illustration: Plate XXVII.--Outdoor Silk Dress. 1825-35.]
+
+[Illustration: FIG. 111.]
+
+I have striven to give good examples of the marked styles in the various
+dated illustrations, as well as the court train to dress, Fig. A, Plate
+XXXIII (see p. 282), which also comes into this time.
+
+Shoes were rather round at the toes till near the end of the reign, when
+they took a square shape; a tiny rosette or bow was placed at the front
+of instep, and they were held by narrow ribbons, crossed and tied round
+the ankle. Boots lacing at the inside, with seam down the front, often
+had a toe-cap as in Fig. 5, Plate XXI (see p. 202); no heels were worn.
+
+Light gauze scarves were usually carried, and very small fans besides
+the larger feather ones. Bags or sachets of the forms illustrated were
+painted or embroidered in ribbonwork, chenille, tulle, and coloured
+silks.
+
+A few specimens of parasols are also given, and gloves and mittens were
+of the same character as in the latter part of the last reign.
+
+The patterns given of some of the dresses shown in the plates will be
+useful as to the measurements of the increase in skirt-width and
+sleeves; one may also note the very pointed set-out of the breast,
+sometimes made with two gores, which only occurs in this reign. Muffs
+were usually of a large size, and a bow with long ends was often worn on
+the front.
+
+
+NINETEENTH CENTURY. GEORGE IV. 1820-30. MALE.
+
+The mode in beaver hats was most varied; high straight crowns with small
+brims, others tapering at the top with larger curled brims, or crowns
+enlarging at the top with almost straight small brims; a top-hat of
+straw is shown on page 309. A short-crowned hat was also worn. The hair
+was combed towards the front at either side, and the face shaven, with
+the exception of short side-whiskers.
+
+A very high stock of black satin or linen surrounded the throat, with or
+without the points of collar showing, and a frilled shirt, often stiffly
+goffered.
+
+Coats were very tight-fitting and mostly double-breasted, with long
+swallow-tailed skirts, or long full skirts; the waist was rather short,
+and the effect of coat-front round-breasted with a high turned-over
+collar finished in large lapels, which were often treated with velvets.
+The favourite colours for overcoats were greys, buffs, greens, and
+blues, and the edges were neatly finished with fine cord. The sleeves,
+rather full in the shoulder, became tight on the lower arm, coming to
+a curved shape well over the hand, and buttoned up the side. The pockets
+were frequently set at an angle, as in illustration, and a short round
+cape, or two, was seen on many overcoats. A short type of coat is seen
+about 1827, with a single roll collar.
+
+[Illustration: FIG. 112.--Period 1820-1840.]
+
+Waistcoats mostly had a round-shaped lapel, and were often
+double-breasted and very shaped at the waist, which was set fairly high;
+a long opening allowed the frilled shirt-front full display. There were
+also waistcoats having no lapels, no pockets, or no cover-flap; the
+points of front were very small, being buttoned to the end, or, with the
+double-breasted shape, they were straight across.
+
+Breeches were not so much worn as trousers of cloth, nankeen, drill, and
+fine white corduroy; these were usually fastened under the boots with a
+strap, others were looser and often worn short, well above the ankle. A
+very full type in the upper part peg-tops, was in fashion about 1820-25
+amongst the dandies, and for evening dress, very close-fitting breeches
+to the knee, or just above the ankle, the latter being opened and
+buttoned up to the calf. Pince-nez were favoured, with a heavy black
+ribbon, generally worn tucked in the lapels of the waistcoat; and a fob
+of gold seals, &c., hung from the braces, below waistcoat pocket.
+
+[Illustration: FIG. 113.--1830-1840.]
+
+Shoes and short Wellington boots were chiefly worn, the former being low
+in the heel and very short in the tongue, which was almost covered by
+small latchets, either buckled or tied, the shape of the toe being
+rather round. The Hessian boots with curved front and tassel at the top
+were still worn.
+
+
+NINETEENTH CENTURY. WILLIAM IV. FEMALE.
+
+The hair still retained the high loops on top and the bunch of curls at
+the sides, poised by a back comb and set with flowers or feathers; there
+was also a great variety of fancy capes with pointed frills, some with
+long tie ends, and these are seen with most dresses, and were worn in
+conjunction with the hats. The favourite hat was a big, flat, circular
+form, generally tilted at one side, and decorated with bows, flowers,
+and feathers; a flat tam-o'-shanter shape was often worn with the
+riding-dress, sometimes with a large peak-shape in front, and straps
+under the chin. The large poke-bonnet also kept the front as flat and
+round as possible, with a high crown tilted upward in order to set over
+the hair loops.
+
+[Illustration: Plate XXVIII.--
+
+    (_a_) Silk Pelisse. 1820-30.
+    (_b_) Cotton Dress. 1830-40. (_Pattern, see p._ 343).
+    (_c_) Silk Spencer and Cape. 1818-27 (_Pattern, see p._ 324).]
+
+[Illustration: FIG. 114.--1828-1836.]
+
+The bodice began with a very pointed front and very low neck off the
+shoulders, tuck-ins of fine embroidery, and capes or _fichus_ of the
+same, covered the shoulders, often three deep. The pointed bodice only
+lasted for a few years, when the waistband again became the favourite.
+The sleeves were very large at the shoulders, diminishing at the wrist,
+but soon took a big round form, sometimes tightly pleated into quarters
+before 1835. We then get the huge sleeve gathered at the wrist, and
+often falling below it; this again tightened on the forearm, and we note
+a tendency to tighter sleeves coming in before 1837, neatly gathered
+well down the shoulder. The evening-dress sleeve was a large puff, set
+out by stiffening to a flat wide effect. Very wide epaulet collars were
+seen on most dresses, meeting in a =V= shape at the waist, with a filling
+of lace in the front, and many bodices were elaborately gathered, and
+some of the sleeves were also gathered into puffs all down the arm.
+
+[Illustration: FIG. 115.--1830-1840.]
+
+The skirts were set out very full over stiff flounced petticoats, and
+were worn rather short; as a rule they were trimmed with one or two
+flounces, which were handsomely decorated, and a short polonaise is
+occasionally seen. There were many interesting trimmings of gauze,
+flowers, and bows; while silk-flowered gauze over dresses made some
+charming effects.
+
+Heavy mantles and capes or pelisses began to be braided, and rather
+strong colours were in general taste.
+
+The hand-bags were of a curved form and generally bore heavy tassels.
+Very small fans and round fans were attractive, and bouquet-holders of
+gilt, with pearl handles, became the thing to carry.
+
+Shoes were of the low sandal type, fastened by crossed elastic, with
+very square toes, and a tiny rosette or bow on the front; boots to the
+ankle were now in fashion, mostly lacing at the inside, and having a
+long toe-cap, sometimes with a small rosette at the top of this or a
+tassel at front of the top of the boot.
+
+[Illustration: Plate XXIX.--
+
+    (_a_) Embroidered Silk Gauze Dress. 1820-30.
+    (_b_) Gauze Dress with Appliqued Design. 1825-35.
+    (_c_) Printed Linen Outdoor Dress. 1827-47 (_Pattern, see p. 342_).]
+
+
+NINETEENTH CENTURY. WILLIAM IV. MALE.
+
+The hair was worn rather full in curls at the sides or on top, parted at
+the left side, besides being occasionally parted at the centre. Side
+whiskers, curved forward, still continued, and a short trimmed beard was
+now worn round under the chin by many, moustaches also made their first
+appearance at the end of this reign. Top-hats were high and straight,
+but many still adhered to the tapered crown and larger brim.
+
+The same plain stocks of black satin continued, with or without a front
+bow, and a soft pleated or frilled shirt-front.
+
+The coats were similar to the last reign: the chief differences being an
+increase in the length of the waist, wider tails, and large lapels of a
+similar cut: velvet collars and cuffs were much worn, and the waist was
+still made tight. A coat with a square skirt as in Fig. 116 is seen for
+the first time, and the swallow-tailed coat was worn not quite so long.
+A lower opening to the waistcoat was generally seen in evening attire,
+which sometimes had but four small buttons, while more of the
+single-breasted type were in use, with and without lapels.
+
+Very tight trousers to the ankle buttoned up to the calf continued, or
+plain trousers were held by straps under the boot; twill, corduroy, or
+nankeen were both strapped or free at the ankle and rather short.
+Knee-breeches were still worn by many for evening dress, and long
+Italian capes with overcapes and high turn-over collars were
+fashionable, besides the very full-skirted greatcoat.
+
+Boots and shoes were square at the toes and rather long and narrow, the
+shoes having a bow or buckle. Short Wellington boots continued much in
+use, also spats.
+
+Fobs of gold seals, &c., were worn, and eye-glasses attached to a black
+ribbon is a noticeable feature.
+
+
+NINETEENTH CENTURY. VICTORIA. FEMALE.
+
+The hair was parted in the centre and tightened in a top setting of
+plaits, with side curls over the ears. This mode was retained by many
+till the fifties, but the top plaits began to be set lower at the back,
+and the same flat parted hair was brought in a curved shape to the
+front of the ears, often in a small plait, allowing the ear to show, or
+in a plaited knot at either side; about 1850 it was waved, parted, and
+simply curved from the forehead over the ears in a fuller manner,
+sometimes being turned under to increase the side fullness, while the
+back hair was arranged lower down the neck. In the sixties the hair was
+waved and caught behind in ringlets or was bunched into the hideous
+chignons, which are seen till about 1880.
+
+[Illustration: FIG. 116.--1840-1860.]
+
+The variety of caps and hats is too alarming to deal with, and baffles
+comprehensible description, so it is best for the student to dip into
+the hundreds of illustrations through this period in the _Ladies'
+Magazine_, _Punch_, the _Illustrated London News_, or the _Ladies'
+Treasury_ for the later styles.
+
+The straw bonnet with a straighter poke front was favoured till 1850,
+when the front became considerably reduced in size and fitted closely
+round the face. The larger brimmed bonnets had a little frill by the
+ears, and the tight-brimmed bonnet often had the frill all round with a
+flower also tucked in effectively to the wearer's taste, and we see this
+favoured till the seventies. In the fifties a large flat Leghorn hat
+with a small crown was in evidence, the brim dipping back and front,
+decorated with feathers or bows, and a three-cornered French hat with
+feathers set in the brim came in with revival of the 18th-century style
+about 1860. A small bowler hat and a very small "pork-pie" hat appears
+in the late sixties, and a tiny-shaped bonnet of a curved form during
+the seventies.
+
+[Illustration: Plate XXX.--
+
+    (_a_) Printed Silk Bodice. 1840-50.
+          (_Pattern, see p. 320._)
+    (_b_) Gathered Linen Bodice. 1837-47.
+    (_c_) Silk Bodice and Bertha. 1845-55.]
+
+[Illustration: FIG. 117.--1845-1855.]
+
+At the beginning of this long reign we find the pointed bodice with a
+normal length of waist has really come to stay, though many dresses
+retain the waistband till the fifties, and there is such a confusion of
+styles at that time, it is difficult to arrange a sequence. From the
+18th century fashions became more complicated in the greater variety of
+design, each overlapping the other, and several distinct forms of
+character come and go during this long reign. I do not envy the person
+who undertakes the chronology of our present period.
+
+At the commencement in 1837 the huge sleeves gathered at the wrist were
+still in evidence, especially as a gauze oversleeve to evening attire,
+and they continued thus to the fifties, but very large sleeves were
+really dying out and the usual reaction was setting in; the
+full-shouldered sleeve had turned a somersault and was neatly gathered
+tight from the shoulder to the elbow, the fullness falling on the
+forearm, and this was gathered into a tight setting or wristband. The
+=V=-shaped front to the bodice was kept in many dresses by a collar or two
+tapering from the shoulders to the waist, the fullness of the breast
+often being tightly gathered at the shoulders, besides a few inches in
+the front point of the bodice. A very plain tight-fitting sleeve became
+fashionable, and on most of these we find a small upper sleeve or a
+double one as shown in A, Plate XXX (see p. 266); this was sometimes
+opened at the outer side. These sleeves continued till about 1852. In
+1853 a bell-shaped sleeve is noticed in ordinary dress, and this
+continued in various sizes till 1875, reaching its fuller shape about
+1864. These types of sleeves were usually worn over a tight one or a
+full lawn sleeve gathered at the wrist; most bodices with this sleeve
+were closely fitted and high in the neck, the waist often being cut into
+small tabs. We also notice for a few years in the early fifties the
+deeper part of the bell curved to the front of the arm, giving a very
+ugly appearance. A close-fitting jacket also came into evidence till
+about 1865 with tight sleeves and cuffs, sometimes with a little
+turn-down collar and a longer skirt as in Fig. C, Plate XXXIII (see p.
+282). This particularly fine embroidered specimen, in imitation of the
+18th-century style, is interestingly cut away short at the back to allow
+for better setting on the crinoline. There is another type of sleeve
+seen about 1848, of a plain, full, square cut; these became varied in
+shape, being opened up the side and generally trimmed with wide braids.
+This clumsy character is seen up to 1878, the later ones being fuller in
+cut. Zouave jackets were occasionally worn in the forties and later in
+the early sixties, when the wide corselet belt was again favoured.
+Skirts at the beginning of the reign were fully set out on drill
+petticoats, stiff flounces, and even whalebone, so it was hardly "a
+great effect" when the crinoline appeared about 1855, though a furious
+attack was made against it at first; this undersetting developed to its
+fullest extent between 1857 and 1864, and many dresses in the early
+sixties were also worn short, showing the high boots of this period.
+At first the crinoline was slightly held back from the front by ties,
+and again in the sixties it was often kept with a straight front, the
+fullness being held to the back, till the appearance of the bustle
+brought in another shape. The skirts were now pulled in tight to the
+front of the figure and bunched up at the back, with a train or shaped
+flounced pieces overlapping each other caught up under the bustle, as in
+Fig. B, Plate XXXIII (see p. 282).
+
+[Illustration: Plate XXXI.--
+
+    (_a_) Embroidered Muslin Outdoor Dress, 1855-65.
+    (_b_) Riding Habit. 1845-75.
+    (_c_) Gauze Ball Dress. 1840-55.]
+
+[Illustration: FIG. 118.--Dress improvers, 1865-1875.]
+
+Mantles of a cumbersome type and shot-silk capes with long pointed
+fronts were worn, often heavily fringed, the former also being mostly
+decorated with braided designs. Large Paisley shawls were much used all
+through this reign, besides the cape and hood with its fine tassels
+which became very fashionable in the sixties.
+
+Gloves and mittens are seen both long and short, the latter often
+beautifully embroidered on the back in the French style. Hand-bags were
+often carried, of which examples are given in the plates of a variety of
+shapes; the favourite materials for their make were velvets and silks
+decorated with bullion, sequins, braids, needlework, and beads, and
+these bags were richly set in gilt, silver, or steel mounts.
+
+Parasols were still heavily fringed, and were of the usual shapes. A
+very small one was carried in the carriages, and are even seen on the
+ladies' driving whips.
+
+Shoes continued in the same heelless sandal character to the sixties for
+evening wear, but from the forties most outdoor shoes had a heel and
+large rosettes. With the seventies came round toes with a low round
+front and bow, and high shaped heels came to stay till the present day.
+Boots of white satin, kid, or coloured silks were chiefly worn till the
+seventies, reaching just above the ankle, laced up the inner side, but
+many wore elastic sides from the fifties; the toes of these were rather
+square, and a toe-cap and front seam was made in many of this type. In
+the forties a tight rosette was sometimes placed low down towards the
+toes, and later, a huge bow was sewn on the front. High boots buttoned
+towards the side and very much shaped, with pointed round toes and high
+heels were sometimes laced and finished with a pair of tassels. Spats
+were always fashionable through this period.
+
+
+NINETEENTH CENTURY. VICTORIA. MALE.
+
+The same modes of doing the hair remained till the sixties, parted at
+one side and worn rather long and waved, with the side whiskers or beard
+all round the chin. The side whiskers were allowed to grow long between
+fifty-five and seventy, and full beards also became fashionable, while
+the hair was parted in the centre from front to back and flattened on
+the forehead.
+
+The favourite top-hat still reigned supreme, many of which retained the
+tapered top and large curled brim till about 1855, and a bell shape was
+frequently seen in the fifties, but the real straight chimney shape was
+seen throughout till the eighties, with a rather narrow brim, and often
+of white or fawn-coloured cloth. The bowler hat increased in
+appreciation, being of a short type, with smallish brim. A short flat
+felt hat, with rather straight brim, also came into favour from the
+fifties; little round caps and caps with ear-flaps, for travelling, &c.,
+were also in general use.
+
+The frock-coat kept the rather tight sleeves and tight waist, and full
+square skirt, with back pockets, also a deep lapel, sometimes with a
+velvet collar, and small cuffs; a breast-pocket was often placed on the
+left side, and in the fifties the type of morning coat with rounded-off
+fronts at the skirt appeared, also a small collar and lapel. Square-cut
+jackets and tweed suits similar to our present shapes, but heavier in
+cut and with braided edges, were much in use. Velvet or fur-trimmed
+overcoats, and heavy travelling-coats, also capes and Inverness capes,
+were all in vogue.
+
+Waistcoats became buttoned higher in the neck, and the stock-collar was
+supplanted in the sixties by a turn-down collar, and small tie or loose
+bow; many still affected the black stock and pointed collar to the
+seventies, when a high round collar began to appear.
+
+Coloured and fancy waistcoats were much worn till the eighties, and
+evening dress was similar to the present cut, with slight differences in
+the length of lapels and waistcoat front.
+
+The trousers were made with the front flap till they were buttoned down
+the front about 1845, and side pockets became general. Braids may be
+noted down the sides in the fifties, and are seen now and then all
+through the reign, while large plaids and stripes were highly esteemed.
+
+Short Wellington boots were chiefly preferred up to the sixties, and
+trouser-straps and spats were fashionable all through the reign. The
+heavier lace-up boot came in during the fifties, and a very shaped type
+of fashion appeared in the sixties.
+
+Having now completed the general survey of Costume, the following pages
+are given up to the cut and measurements of various antique garments.
+
+
+
+
+PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME
+
+WITH NOTES AND MEASUREMENTS
+
+
+I have striven to gather as many representative patterns of dress types
+and accessories as possible, and also give many measurements from the
+various examples, when I have been unable to obtain a complete pattern.
+The character of cut and proportion is the essential point in the study
+of dress design, and the intimate knowledge of periods. When seeing a
+collection of patterns, one is astonished at the great variety in cut
+used to arrive at the different bodice types. Several patterns of single
+pieces are given, as it aids one to find the fellow-part; for example,
+the photo of a back given in Fig. C, Plate III (see p. 55), will go with
+the front cut on page 290; even though these two pieces did not belong
+to the same body, the cut is seen from which to design the missing
+part. Often a small piece is wanting for the top of the shoulder, which
+can easily be supplied to fill the sleeve measurement. The types of
+trimmings in the different centuries will soon be acquired by a careful
+student, and the proportions of patterns will be valued for gaining the
+character. I believe with this collection one could get the true effects
+of any style of dress seen in the period prints. The drawings are mostly
+scaled for the half, and the measurement, in inches, will be found by
+dots on the top of the collotypes, and by a marked line on the pattern
+pages.
+
+One must note, with the 18th-century dress, the sleeve cuffs can be
+changed, so I give, on page 300, a full-size measurement of the
+elbow-cuff seen in Fig. A, Plate XVI (see p. 167), and a deeper one of
+this style is seen on Fig. C, Plate XII (see p. 135), gathered seven
+times at the elbow. The plain square type was pleated in the front as
+given on page 300, and a variety of this character is shown on Fig. B,
+Plate XV (see p. 154). Though many patterns may be found remarkable in
+proportions, an allowance is often to be made for the undersetting, as
+well as for the thick, straight corsets worn to the end of the 18th
+century.
+
+I give several specimens of quilting on petticoats of the 18th century,
+which will probably be found useful to artists; the measurement is also
+given of their circumference, which attained similar proportions to
+those set on the Victorian crinolines, going 3 to 4 yards round: four
+18th century ones measured 100, 114, 116, 120 inches, and they are often
+1 inch longer at the sides, to allow for setting over the panniers; a
+pattern is given on pages 213 and 332. The embroidered pockets on page
+300 were worn in pairs at the sides on the petticoats, and only showed
+when the dress was looped up. The extra lawn sleeves, given on page 287,
+show how precious the superfine linen was held, with its superb gathered
+work, lace ruffles, and often fine embroidery; these pieces could be
+looked after with special care in the laundry, and could be tacked,
+pinned, or buttoned on when required.
+
+The 16th and 17th century collars were mostly attached to the chemise or
+shirt, as is seen in many of the old prints. On page 289 I give examples
+of shape of the various stomachers, which will be found useful for
+getting the characteristic proportions. The scarves worn round the body
+of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6
+inches, and from 8 feet 6 inches to 7 feet in length.
+
+[Illustration: Plate XXXII.--
+
+    (_a_) Silk Dress. 1860-70.
+          _Pattern, see p. 346._
+    (_b_) Gauze Walking Dress. 1850-60.
+    (_c_) Silk Dress. 1848-58.
+          _Pattern, see p. 344._]
+
+The stocking top, Fig. C, Plate VI (see p. 74), is probably of similar
+proportions to the woollen one in the Victoria and Albert Museum, on
+which the bell-top circumference is 36 inches, and the full length of
+stocking 38 inches. On page 285 a cap of three pieces is given; their
+real design is at present unknown, but I trust the Museum authorities
+may soon discover their placing, for many of these pieces are in
+existence, and this set in my collection is impressed with a beautiful
+pattern. The bodice, Fig A, Plate X (see p. 119), should have been set
+on a stiff-fronted corset to give it the straight style, as it is
+charmingly proportioned and clean in outline. I have also measured a
+short circular cloak of the early 17th century, which is 34 inches in
+diameter, with a square collar 10 inches deep; and another cape of the
+late 16th century, 40 inches in diameter. On page 290 will be found the
+smaller tabs which are placed round the jerkin, with a deep front point,
+as in Fig. A, Plate VIII_a_ (see p. 103); the collar of this type often
+rises 2-3/4 inches in the front to 3 inches at the back, in order to
+carry the stiff ruff or deep turned-down collar. Tabs of the smallest
+dimensions, in the earlier Elizabeth and James character, generally have
+six pieces from front to the middle of the back, which are from 2 to 3
+inches deep. The epaulets are made in small stiff tabs, caught together
+in two places only, and so have plenty of give in the shoulder
+movements; they run to 2-1/4 inches at the widest part, and do not
+continue right under the arm. Fig. D, Plate V (see p. 71), has the
+middle seam of the back open from the waist to within 2 inches of the
+collar, which is noticeable on many of the later Charles I coats. Long
+aprons are conspicuous through the 17th century, and one measured was 42
+inches wide, gathered to 15 inches at the waist; they were decorated
+with three bands of embroidered insertion down the front, with a 3-inch
+plain border, edged with small lace; this is typical in character of
+design, as is also the same style of linen cape seen on a figure, page
+159. A similar one, lent by Sir Robert Filmer, is at the Victoria and
+Albert Museum; also a cap, of which I give a pattern, A, page 285. The
+smaller type of embroidered aprons of the late 17th and 18th centuries
+measure 40 inches wide, 19-1/2 inches deep, with the centre dipping to
+17-3/4 inches; another shape is 26 inches wide, 18 inches in centre, and
+13-1/2 inches on sides. The bodice, with deep skirt, Fig. B, Plate XVIII
+(see p. 183), is a type seen all through the 18th century, both longer
+and shorter in the skirt. The pattern of the 17th-century breeches is
+interesting as regards the cut, the upper part being kept plain,
+otherwise the gathered fullness would have disturbed the set of the
+jerkin tabs; the band of these breeches has six hooks either side to
+back, which fasten to eyes on an under flap sewn on body of jerkin. The
+epaulet on this pattern is only a 3/4-inch piece, braided with two
+narrow braids, and the bows on tabs are of ribbon, 1-1/2 inches wide.
+
+The three patterns of capes given on pages 349, 350 will be found
+useful, as they are simple and very typical of the Victorian times, long
+shawls being otherwise much used. The fullness of the Elizabethan
+overdress seen on B, Plate II (see p. 42), is 66 inches to the back
+seam, and the Fig. C, on the same plate, is 47 inches. The "jump," or
+jacket, Fig. A, Plate III (see p. 55), is 100 inches round, the fullness
+of the sleeve 13 inches, and the length of back 32 inches. An over-tunic
+of the early 17th century is interesting to examine, though it is a
+specimen of German costume.
+
+[Illustration: Plate XXXIII.--
+
+    (_a_) Silk Dress with Court Train. 1828-38.
+    (_b_) Silk Afternoon Dress. 1872-78.
+    (_c_) Silk Coat and Skirt. 1855-65.
+          _Pattern, see p. 320._]
+
+
+
+
+PATTERNS TO SCALE
+
+_For Detailed List, see page 353._
+
+
+[Illustration: PATTERN 1.
+
+_Made in satin on wood_
+
+_Piccadilloes 1580-1630_
+
+_Side view open_
+
+_Gather to a ring at mark_
+
+_Gather to a ring at mark_
+
+_A pair belonging above_
+
+_3 Caps 16-17th c._
+
+_12 in. ties_
+
+_1600-1650 17th c._
+
+_Others measure_ 16x14 14x9 13x9
+
+_Cap 16-17th c._
+
+_Cap of pierced embroidery, late 17th & early 18th cent._]
+
+[Illustration: PATTERN 2.
+
+_17th c. Stock, Chas. II._
+
+_18th c._
+
+_Stiff gorget for carrying Collar_
+
+_Stock_
+
+_Cap, embroidered, 1st half 18th c._
+
+_Collar and caps, 17 century_]
+
+[Illustration: PATTERN 3.
+
+_Ruff, 1590-1610_
+
+_24 in. round_
+
+_15 round_
+
+_20 in. round_
+
+_18 century_
+
+14
+
+_1st half of 17th c._
+
+10
+
+_Caps and Extra Sleeves of Fine Linen 17 century_]
+
+[Illustration: PATTERN 4.
+
+_Embroidered linen jacket, front and sleeve, 16th
+century_
+
+_Embroidered linen bodice Front, Chas. I._]
+
+[Illustration: PATTERN 5.
+
+_Elizabethan jerkin of punched leather._
+
+_Gold embroidered stomacher, about 1600-30_
+
+1660-1689
+
+1690-1730
+
+1680-1730]
+
+[Illustration: PATTERN 6.
+
+_Set of tabs for male jerkin, 17 cent._
+
+_Back_
+
+_Front_
+
+_Side_
+
+_Pattern type from worked pieces Elizabethan reign 1570-1605_]
+
+[Illustration: PATTERN 7.
+
+_Circular Cape, 17 cent._
+
+_Collar_
+
+_Join top and gather at dots._
+
+_Cap, 1580-1630._]
+
+[Illustration: PATTERN 8.
+
+_Bodice_
+
+_Fig. 1 Plate 10_]
+
+[Illustration: PATTERN 9.
+
+_Corset, 1620-60_
+
+_Cut of bodice, Fig. B, Plate 5_
+
+_Corset, 1665-85_
+
+_Corset, 1685-1705_]
+
+[Illustration: PATTERN 10.
+
+_26 buttons_
+
+_Sleeve seam_
+
+_Start epaulette_
+
+_Finish_
+
+_Scale_
+
+_Collar_
+
+_Similar type to Fig. C, Plate 7_
+
+_Jerkin of white quilted satin_
+
+_See page opposite for Breeches of same, 1620-1640. Victoria and Albert
+Museum, Kensington._]
+
+[Illustration: PATTERN 11.
+
+_Breeches, 1615-60_
+
+_ties_
+
+_pocket_
+
+_pocket_
+
+_Fulled_
+
+_Hooks to fasten to jerkin_]
+
+[Illustration: PATTERN 12.
+
+_sleeve_
+
+_35 buttons_
+
+_Neck Band_
+
+_Buttons 3/4 in._
+
+_Open_
+
+_12 buttons_
+
+_Full cape coat, V. & A. Museum, about 1640-68_]
+
+[Illustration: PATTERN 13.
+
+_Back of bodice, Fig. B, Plate 7._
+
+_13-1/2 Front to back of epaulette_
+
+_Male cap, early 18 century_]
+
+[Illustration: PATTERN 14.
+
+_2 collars, time Chas. II._]
+
+[Illustration: PATTERN 15.
+
+_Jacket. Fig. C, Plate 4_
+
+_Top sleeve_
+
+_Open to mark_
+
+_Open_
+
+_Open_]
+
+[Illustration: PATTERN 16.
+
+_Sleeve cuffs, 18 cent._
+
+_Early type_
+
+_Late type_
+
+_1690-1750, 2 pockets_
+
+_Hanging sleeve of Fig. C, Plate 2_
+
+_Open_
+
+_Embroidered bodice fronts, early 18 century_]
+
+[Illustration: PATTERN 17.
+
+_Quilted linen corsage, 1660-1715_
+
+_Open_
+
+_Herald's coat, Fig. A, Plate 7. Victoria & Albert Museum_
+
+_Open_
+
+_Open_]
+
+[Illustration: PATTERN 18.
+
+_Front of embroidered linen sleeved waistcoat, 1690-1720_
+
+_Victoria and Albert Museum_]
+
+[Illustration: PATTERN 19.
+
+_Inner vest_
+
+_Sleeve waistcoat, early 18th cent._
+
+_Sleeve to lace on_
+
+_Open to mark_]
+
+[Illustration: PATTERN 20.
+
+_Breeches, 1660-1720_
+
+_Button_
+
+_Pleat_
+
+_Pocket_
+
+_Open for pocket_
+
+_Fullness_
+
+_Open_
+
+_Pocket_]
+
+[Illustration: PATTERN 21.
+
+_Breeches, 18th century_
+
+_Waist_
+
+_Gather_
+
+_Open_
+
+_Top_
+
+_Knee strap_
+
+_Waist_
+
+_Loose flap_
+
+_Pocket_
+
+_Pocket_]
+
+[Illustration: PATTERN 22.
+
+_Fly knee_
+
+_Breeches, 18th century_]
+
+[Illustration: PATTERN 23.
+
+_Coat, Fig. B, Plate 26_
+
+_Dart_
+
+_Open to waist_
+
+_Collar_]
+
+[Illustration: PATTERN 24.
+
+_Coat, Fig. B, Plate 13_
+
+_Joined under pleat_
+
+_Pocket_
+
+_Pocket_
+
+_Small pocket_
+
+_open_
+
+_caught_
+
+_open_
+
+_Open_
+
+_Side tab_
+
+_Corderoy trousers 1815._]
+
+[Illustration: PATTERN 25.
+
+_Fig. A, Plate 15 Coat, 1775-90_
+
+_Cuff_
+
+_Band to draw up_
+
+_Open_
+
+_Double_
+
+_Under collar_
+
+_Turnover collar_
+
+_Pocket_
+
+_Pleat_
+
+_Open_
+
+_Open_
+
+_15 in. tie_
+
+_Leather Breeches, 1800-30_
+
+_Straw hat, 1816-30_]
+
+[Illustration: PATTERN 26.
+
+_Join_
+
+_Fold_
+
+_Under collar_
+
+_Turnover collar_
+
+_Pleat_
+
+_Open to waist_
+
+_Coat, 1784-94 Directoire type See_ FIG. 106]
+
+[Illustration: PATTERN 27.
+
+_Collar_
+
+_Breast pocket, left only_
+
+_Coat, 1830-1845 Similar type to Fig. C, Plate 26._]
+
+[Illustration: PATTERN 28.
+
+_Pocket_
+
+_Slightly gather_
+
+_Pocket_
+
+_Top_
+
+_Foot strap_
+
+_Strap inside_
+
+_Open_
+
+_Foot Strap_
+
+_Buff linen trousers, 1810-1840_]
+
+[Illustration: PATTERN 29.
+
+_Turnover collar_
+
+_Collar tab_
+
+_Pocket flap_
+
+_Pocket_
+
+_Pleat_
+
+_Joined on waistcoat inside_
+
+_Open to mark_
+
+_Coat, Fig. A, Plate 26_]
+
+[Illustration: PATTERN 30.
+
+_Bodice, 1816-22_
+
+_Trimming stretched to curl over_
+
+_Sleeve straps_
+
+_Collar_
+
+_Waist_
+
+_Gathered in strap_
+
+_Piped straps and seams_]
+
+[Illustration: PATTERN 31.
+
+_Bell sleeved Bodice, 1848-58_
+
+_Trimmed narrow velvet braid_
+
+_Open_
+
+_Open_]
+
+[Illustration: PATTERN 32.
+
+_Bodice of linen dress, Fig A, Plate 22_
+
+_Buttons for front_
+
+_Cord for looping train, 90 inches_
+
+_Outside sleeve_]
+
+[Illustration: PATTERN 33.
+
+_Bodice, 1860-70_
+
+_Bodice, 1850-60 type_
+
+_Sleeve for net covering_
+
+_Gathered sleeve_
+
+_Bodice, 1816-25_]
+
+[Illustration: PATTERN 34.
+
+_Jacket bodice, Fig. A, Plate 24_]
+
+[Illustration: PATTERN 35.
+
+_Bodice, 1845-55 similar type Fig. A, Plate 30_
+
+_Epaulette_
+
+_Band round waist_
+
+_Front_]
+
+[Illustration: PATTERN 36.
+
+_Sleeveless overjacket, early 18 century embroidered_
+
+_Wrist strap_
+
+_Tie on_
+
+_Gather_
+
+_Gather_
+
+_Strap_
+
+_Gather_
+
+_Spencer, 1827-37, piped trimming_]
+
+[Illustration: PATTERN 37.
+
+_Bodice, 1812-18_
+
+_Top_
+
+_Silk to line_
+
+_Under lining_]
+
+[Illustration: PATTERN 38.
+
+_Corset pattern, 18 century_
+
+_Bodice of Fig. A, Plate 14_]
+
+[Illustration: PATTERN 39.
+
+_Similar type of Bodice to Fig. B, Plate 14. Bodice with
+type of pleated back, 1720-50_
+
+_Box pleats_
+
+_Pleated back_
+
+_Lining for front_
+
+_Lining for back_
+
+_Laced_]
+
+[Illustration: PATTERN 40.
+
+_Tab gathered in centre trimming on epaulette_
+
+_Cape_
+
+_Epaulette band_
+
+_Waist band_
+
+_Collar_
+
+_Pattern, Fig. C, Plate 28_
+
+_Thickly kilted skirt to bodice, 26 ins._
+
+_Bodice, Fig. A, Plate 18_]
+
+[Illustration: PATTERN 41.
+
+_Zouave jacket, late 18 century_
+
+_Gather_
+
+_Bodice, 1818-28_]
+
+[Illustration: PATTERN 42.
+
+_Silk jacket, Fig. B, Plate 19_
+
+_Gathered_
+
+_Pleat_]
+
+[Illustration: PATTERN 43.
+
+_Bodice, Fig. C, Plate 18_]
+
+[Illustration: PATTERN 44.
+
+_Bodice, Fig. A, Plate 30_
+
+_Wrist_
+
+_Bertha_
+
+_Gather_
+
+_Gather_]
+
+[Illustration: PATTERN 45.
+
+_Cased_
+
+_Pleat_
+
+_Pleats_
+
+_Open_
+
+_Open_
+
+_Open to mark_
+
+_Pocket_
+
+_Coat, Fig. C, Plate 33_]
+
+[Illustration: PATTERN 46.
+
+_Waist_
+
+_S. lining_
+
+_Puff sleeve_
+
+_Gather_
+
+_Gather_]
+
+[Illustration: PATTERN 47.
+
+_Dress, 1805-1818_
+
+_Pleated_
+
+_Pleat_
+
+_Apron front_
+
+_Gathered_
+
+_Mob Cap, 1780-1800_
+
+_Gathered in band_
+
+_Trimmed double lace frill round front_
+
+_Width of insertion_
+
+_Cap with comb, 1790-1800_
+
+_Puff comb_]
+
+[Illustration: PATTERN 48.
+
+_Pleated_
+
+_Pleated_
+
+_Pleated_
+
+_Side plaquet_
+
+_Quilted petticoat, 1740-70_
+
+_Waist band_]
+
+[Illustration: PATTERN 49.
+
+_Pleats_
+
+_Pleat to notch_
+
+_Made in lining_
+
+_Petticoat, Fig. B, Plate 16_
+
+_Top_]
+
+[Illustration: PATTERN 50.
+
+_Dress, Fig. B, Plate 16_
+
+_Pleat_
+
+_Under corset_
+
+_Lining back_]
+
+[Illustration: PATTERN 51.
+
+_Dress, Fig. C, Plate 16_
+
+_Neck_
+
+_Lining_
+
+_Box pleats_
+
+_Small pleats_
+
+_S pleats_
+
+_Small pleats_
+
+_S. pleats_
+
+_Pleat_]
+
+[Illustration: PATTERN 52.
+
+_Pleat_
+
+_Pleat_
+
+_Pleat_
+
+_Pleat_
+
+_Pleat_
+
+_Pleat_
+
+_White linen dress, 1795-1805_
+
+_Front_
+
+_Sleeve_
+
+_Gather_
+
+_Button_
+
+_Outside sleeve_
+
+_Caught up thus_]
+
+[Illustration: PATTERN 53.
+
+_Gathered_
+
+_Open to mark_
+
+_Gathered_
+
+_Striped cotton dress, 1805-15_
+
+_Gathered_
+
+_Collar_
+
+_Front_
+
+_Wrist_
+
+_3 sleeve frills_
+
+_Open_
+
+_Gather_]
+
+[Illustration: PATTERN 54.
+
+_Pattern of under robe, 1818-30_
+
+_Gathered_
+
+_Gathered_
+
+_Waist_
+
+_Sleeve_
+
+_S. placquets_]
+
+[Illustration: PATTERN 55.
+
+_Waist band_
+
+_Neck band_
+
+_Gathered_
+
+_Cuff_
+
+_Top_
+
+_Gathered_
+
+_Pattern of Fig C, Plate 25_]
+
+[Illustration: _Muslin dress, 1822-32_
+
+_Cuff_
+
+_Yoke_
+
+PATTERN 56.]
+
+[Illustration: PATTERN 57.
+
+_Gather_
+
+_Gather_
+
+_Satin dress, 1837-45_
+
+_Gather_
+
+_Gather_
+
+_Top_]
+
+[Illustration: PATTERN 58.
+
+_Top gathered to a Fold round sleeve_
+
+_Gathered_
+
+_Dress, Fig. C, Plate 29_
+
+_Gathered_
+
+_Gathered_
+
+_Gather_
+
+_Cape_
+
+_Gathered_
+
+_Gathered_
+
+_Waist_
+
+_Waist_
+
+_Gather_
+
+_Gather_]
+
+[Illustration: PATTERN 59.
+
+_Dress, Fig. B, Plate 28_
+
+_Gathered_
+
+_Gathered_
+
+_Gathered_
+
+_Gathered_
+
+_Band front of waist_
+
+_Waist_]
+
+[Illustration: PATTERN 60.
+
+_Gather_
+
+_Gather_
+
+_Dress, Fig. C, Plate 32._
+
+_Trimming over shoulder_
+
+_Top_
+
+_Gather_
+
+_Gather_
+
+_Tight pleats_
+
+_Waist_]
+
+[Illustration: PATTERN 61.
+
+_Lady's coat, 1856-70_]
+
+[Illustration: PATTERN 62.
+
+_Blue silk dress, 1860-70_
+
+_Fig. A, Plate 32_
+
+_Scale 6 inches_
+
+_Gather_
+
+_Gather_
+
+_Pleat_]
+
+[Illustration: PATTERN 63.
+
+_Reefed polonaise, pinked edge, 1860-70_
+
+_Scale inches_
+
+_Gather_
+
+_Plain_
+
+_Gather_
+
+_Plain_
+
+_Pleat_
+
+_Gather_
+
+_Puff sleeve lining_
+
+_Reefed up_
+
+_Ties_
+
+_Puff sleeve_]
+
+[Illustration: PATTERN 64.
+
+_Lady's jacket, Fig. C, Plate 19_
+
+_Gathered_
+
+_Pleated_]
+
+[Illustration: PATTERN 65.
+
+_Fullness for arm_
+
+_An interesting cape of shot silk, 1840-50_]
+
+[Illustration: PATTERN 66.
+
+_Cut in one_
+
+_Front_
+
+_Cape collar_
+
+_2 pieces_
+
+_Black velvet cape, 1830-40_
+
+_Victorian cape, 1860-75_
+
+_Same cut from 40 ins._]
+
+[Illustration: PATTERN 67.
+
+_Sleeve, 16 century_
+
+_Collar_
+
+_Cut of Doublet and slashed sleeve, 1620-40_
+
+_Sleeve, 1620-40._
+
+_Epaulette_
+
+_Cut of boy's stays, coat, vest, 1700-60_]
+
+[Illustration: PATTERN 68.
+
+_Male Robe 1600-25_
+
+_Black felt Puritan hat, 1640-60_
+
+_V. and A. Museum_
+
+_Black velvet hat, 1600-20_]
+
+
+
+
+DETAILED LIST OF SCALED PATTERNS
+
+
+    Pattern 1, page 285:--
+      Piccadillo, 1580-1630.
+      Three caps, 16-17 century.
+      Cap of three pieces, 16-17 c.
+      Triangular cap, 16-17 c.
+      Long cap, 17 c.
+      Cap, late 17 c., early 18 c.
+
+    Pattern 2, page 286:--
+      4 collars, 17 c.
+      Gorget of linen, 17 c.
+      2 stocks, 17 and 18 c.
+      3 male caps and 1 female, 17 and 18 c.
+
+    Pattern 3, page 287:--
+      Ruff, 17 c.
+      4 extra linen sleeves, 17 and one 18 c.
+      2 caps, female, 17 c.
+
+    Pattern 4, page 288:--
+      Front of linen jacket, 16 c.
+      Front of linen bodice, Charles I.
+
+    Pattern 5, page 289:--
+      Elizabethan jerkin.
+      4 stomachers, 17 and 18 c.
+
+    Pattern 6, page 290:--
+      Set of tabs for male jerkin, 17 c.
+      Pattern type, sleeve and bodice front, 1570-1605.
+
+    Pattern 7, page 291:--
+      Circular cape, 17 c.
+      Cap, female, 1580-1630.
+
+    Pattern 8, page 292:--
+      Bodice, Fig. 1, Plate X, James I.
+
+    Pattern 9, page 293:--
+      3 corsets and bodice of, Fig. 2, Plate V, 17 c.
+
+    Pattern 10, page 294:--
+      Jerkin of white quilted satin, 17 c.
+
+    Pattern 11, page 295:--
+      Breeches of same suit.
+
+    Pattern 12, page 296:--
+      Cape-coat, 17 c.
+
+    Pattern 13, page 297:--
+      Back of bodice, Plate VII, 17 c.
+      Shaped cap, male, 17 and 18 c.
+
+    Pattern 14, page 298:--
+      2 collars, Charles II.
+
+    Pattern 15, page 299:--
+      Jacket, Fig. _C_, Plate IV, 17 c.
+
+    Pattern 16, page 300:--
+      2 sleeve-cuffs, 18 c.
+      2 embroidered pockets, 17 and 18 c.
+      Hanging sleeve, Fig. _C_, Plate II, 16-17 c.
+      Embroidered bodice fronts, 17-18 c.
+
+    Pattern 17, page 301:--
+      Quilted linen corsage, 1660-1715.
+      Herald's coat, Fig. _A_, Plate VII, 16-17 c.
+
+    Pattern 18, page 302:--
+      Sleeved waistcoat, 1690-1720.
+
+    Pattern 19, page 303:--
+      Sleeved waistcoat and vest, early 18 c.
+
+    Pattern 20, page 304:--
+      Breeches, 1660-1720.
+
+    Pattern 21, page 305:--
+      Breeches, 18 c.
+
+    Pattern 22, page 306:--
+      Breeches, 18 c.
+
+    Pattern 23, page 307:--
+      Coat, Fig. _B_, Plate XXVI, 19 c.
+
+    Pattern 24, page 308:--
+      Coat, Fig. _B_, Plate XIII, 18 c.
+      Corderoy trousers, from 1815.
+
+    Pattern 25, page 309:--
+      Coat, late 18 c., Fig. _A_, Plate XV.
+      Leather breeches, late 18-19 c.
+      Straw hat, 1816-30.
+
+    Pattern 26, page 310:--
+      Coat, 1784-94.
+
+    Pattern 27, page 311:--
+      Coat, 1830-45.
+
+    Pattern 28, page 312:--
+      Buff linen trousers, 1810-40.
+
+    Pattern 29, page 313:--
+      Morning coat, Fig. _A_, Plate XXVI, 19 c.
+
+    Pattern 30, page 314:--
+      Bodice, 1816-22.
+
+    Pattern 31, page 315:--
+      Bell-sleeved bodice, 1848-58.
+
+    Pattern 32, page 316:--
+      Bodice of linen dress, Fig. _A_, Plate XXII, about 1800.
+
+    Pattern 33, page 317:--
+      Bodice, 1860-70.
+      Bodice, 1850-60.
+      Bodice, 1816-25.
+
+    Pattern 34, page 318:--
+      Jacket bodice, Fig. _A_, Plate XXIV, about 1800.
+
+    Pattern 35, page 319:--
+      Bodice, similar type, Fig. _A_, Plate XXX, 1845-55.
+
+    Pattern 36, page 320:--
+      Sleeveless over jacket, early 18 c.
+      Spencer, 1827-37.
+
+    Pattern 37, page 321:--
+      Bodice, 1812-18.
+
+    Pattern 38, page 322:--
+      Corset pattern, 18 c.
+      Bodice of Fig. _A_, Plate XIV, 18 c.
+
+    Pattern 39, page 323:--
+      Bodice with type of pleated sack back, 1720-50.
+
+    Pattern 40, page 324:--
+      Bodice, Fig. _C_, Plate XXVIII, 19 c.
+      Bodice, Fig. _A_, Plate XVIII, 18 c.
+
+    Pattern 41, page 325:--
+      Zouave jacket, late 18 c.
+      Bodice, 1818-28.
+
+    Pattern 42, page 326:--
+      Silk jacket, Fig. _B_, Plate XIX, 18 c.
+
+    Pattern 43, page 327:--
+      Bodice, Fig. _C_, Plate XVIII, 18 c.
+
+    Pattern 44, page 328:--
+      Bodice, Fig. _A_, Plate XXX, 19 c.
+
+    Pattern 45, page 329:--
+      Lady's coat, Fig. _C_, Plate XXXIII.
+
+    Pattern 46, Page 330:--
+      Polonaise dress, 1835-45.
+
+    Pattern 47, page 331:--
+      Dress, 1805-18.
+      Mob cap, 1780-1800.
+      Cap with comb top, 1790-1800.
+
+    Pattern 48, page 332:--
+      Quilted petticoat, 18 c.
+
+    Pattern 49, page 333:--
+      Petticoat, Fig. _B_, Plate XVI, 18 c.
+
+    Pattern 50, page 334:--
+      Dress, Fig. _B_, Plate XVI.
+
+    Pattern 51, page 335:--
+      Dress, Fig. _C_, Plate XVI.
+
+    Pattern 52, page 336:--
+      White linen dress, 1795-1800.
+
+    Pattern 53, page 337:--
+      Striped cotton dress, 1805-15.
+
+    Pattern 54, page 338:--
+      Pattern of under robe, 1818-30.
+
+    Pattern 55, page 339:--
+      Dress, Fig. _C_, Plate XXV.
+
+    Pattern 56, page 340:--
+      Muslin dress, 1822-32.
+
+    Pattern 57, page 341:--
+      Satin dress, 1837-47.
+
+    Pattern 58, page 342:--
+      Dress, Fig. _C_, Plate XXIX.
+
+    Pattern 59, page 343:--
+      Dress, Fig. _B_, Plate XXVIII.
+
+    Pattern 60, page 344:--
+      Dress, Fig. _C_, Plate XXXII.
+
+    Pattern 61, page 345:--
+      Lady's coat, 1856-70.
+
+    Pattern 62, page 346:--
+      Silk dress, Fig. _A_, Plate XXXII, 1860-70.
+
+    Pattern 63, page 347:--
+      Reefed polonaise, 1860-70.
+
+    Pattern 64, page 348:--
+      Lady's jacket, Fig. _C_, Plate XIX, 18 c.
+
+    Pattern 65, page 349:--
+      Cape, 1840-50.
+
+    Pattern 66, page 350:--
+      Cape, 1860-75.
+      Cape, 1830-40.
+
+    Pattern 67, page 351:--
+      Upper sleeve and collar, 16 c.
+      Bodice with slashed sleeve, 1620-40.
+      Boy's stays, coat, and vest, 1700-60.
+
+    Pattern 68, page 352:--
+      Male robe, 1600-25.
+      Puritan hat, 1640-60.
+      Black velvet hat, 1600-20.
+
+
+
+
+INDEX
+
+
+    Aprons--
+      17 century, 186, 280
+      18 c., 192, 198, 206
+
+
+    Bags, 193, 262, 272
+
+    Bertha, 238, 252
+
+    Bouquet Holder, 262
+
+    Breeches--
+      Mediaeval, 54
+      16 c., 122, 132
+      17 c., 152, 164, 281
+      19 c., 248, 256, 264
+
+    Bustle, 226
+
+
+    Calash, 217
+
+    Capes--
+      16 c., 132, 279
+      17 c., 184
+      19 c., 244, 262, 264, 274, 281
+
+    Chain Ornaments--
+      to 15 c., 62, 72
+      16 c., 110, 124
+
+    Cloaks--
+      to 15 c., 54, 70
+      17 c., 152, 164, 176, 180, 279
+      18 c., 222
+
+    Collars--
+      16 c., 112, 128, 129, 139, 278
+      17 c., 145, 158, 160, 172, 174
+      19 c., 244, 246
+
+    Corsets--
+      to 15 c., 62, 66
+      16 c., 110, 116, 138
+      17 c., 158, 169, 172
+      18 c., 211, 278
+      19 c., 250
+
+    Crinolines, 270, 278
+
+
+    Decorative Styles--
+      Black-stitch work, 122, 129
+      Braided, 110, 111, 132, 142, 143, 144, 145, 146, 182, 188, 200,
+               238, 244, 272
+      Button, 110, 143, 144, 146, 182, 210
+      Laced, 70, 88, 92, 110, 116
+      Piped, 238, 244
+      Pleated, 111, 140
+      Pricked, 111, 140, 142, 152
+      Punched, 111, 140, 142, 152
+      Puffed, 88, 92, 110, 116, 118, 122, 129, 142, 146, 150, 180, 260
+      Purfled, 145, 164, 190
+      Ribbon, 145, 172, 176, 178, 191, 253
+      Serrated or shaped edging, 71, 96, 110, 146, 191, 214, 252
+      Slashing, 92, 111, 112, 113, 116, 118, 122, 140, 142, 145, 152,
+                158, 164
+      Straw-work, 111, 191
+      Tassel, 238
+      Tinsel, 237
+      Tulle, 238
+
+    Doublets, 132, 139
+
+    Dress--
+      Prehistoric, female, 40;
+        male, 41
+      to 10 c., female, 45, 46, 48;
+        male, 52, 54
+      10 to 15 c., female, 62, 66, 68, 70;
+        male, 76, 78, 80
+      15 c., female, 84, 88, 92;
+        male, 92, 100, 104, 108
+      16 c., 278, 279, 281.
+        Henry VIII, female, 113, 116;
+          male, 118, 122.
+        Ed. VI and Mary, female, 124, 128;
+          male, 129, 132.
+        Eliz., female, 133, 136, 138;
+          male, 139, 281
+      17 c., James I, female, 147, 150;
+          male, 152, 154.
+        Chas. I, female, 158;
+          male, 160, 164, 168.
+        Commonwealth, female and male, 168, 169.
+        Chas. II, female, 169, 172;
+          male, 174, 176.
+        James II, female, 178, 180;
+          male, 182.
+        William and Mary, female, 184, 185;
+          male, 186, 188.
+        Anne,  female,  196;
+          male, 200.
+        George I, female, 206;
+          male, 210
+      18 c.,  George II, female, 221;
+          male, 214.
+        George III to 1800, female, 217, 222, 224, 226, 230;
+          male, 232, 234
+      19 c., George III (_continued_), female, 244, 247;
+          male, 247.
+        George IV, female, 250;
+          male, 254.
+        William IV, female, 260;
+          male, 263.
+        Victorian, female, 268;
+          male, 274.
+      Note also page 39
+
+    Drill petticoat, 238
+
+
+    Ear-rings, 62-72
+
+    Epaulets--
+      16 c., 128, 129, 136
+      17 c., 143, 152, 280, 281
+      19 c., 250
+
+
+    Fans--
+      16 c., 129, 138
+      18 c., 193, 230
+      19 c., 240, 253, 262
+
+    Farthingale, 111, 136
+
+    Foot-wear--
+      to the end of 14 c., 44, 48, 56, 70, 80, 82, 92
+      15 c., 108
+      16 c., Henry VIII, 16, 122;
+        Ed. VI and Mary, 128, 132;
+        Elizabeth, 138, 140
+      17 c., James I, 150, 154;
+        Chas. I, 158, 164;
+        Commonwealth, 168;
+        Chas, II, 172, 176;
+        James II, 180, 184;
+        William and Mary, 186, 188 18 c., 193;
+        Anne, 198, 201;
+        George I, 207, 210;
+        George II, 214, 216;
+        George III to 1800, 230, 234
+      19 c., George III, 246, 248;
+        George IV, 253, 258;
+        William IV, 262, 264;
+        Victoria, 272, 275
+
+    Girdles--
+      to 15 c., 68, 78, 92
+      16 c., 116
+
+    Gloves--
+      16 c., 116, 129, 138
+      17 c., 168, 172
+      18 c., 193, 201, 214, 226
+
+    Head-dress--
+      Prehistoric, female, 40;
+        male, 42
+      to 10 c., female, 45;
+        male, 49
+      10 to 15 c., female, 57;
+        male, 71
+      15 c., female, 84;
+        male, 92
+      16 c., Henry VIII, female, 113;
+          male, 118.
+        Ed. VI and Mary, female, 124;
+          male, 129.
+        Eliz., female, 133;
+          male, 138
+      17 c., James I, female, 147;
+          male, 150.
+        Chas. I, female, 154;
+          male, 160.
+        Commonwealth, 168.
+        Chas. II, female, 169;
+          male, 174.
+        James II, female, 178;
+          male, 180.
+        William and Mary, female, 184;
+          male, 186
+        18 c., Anne, female, 193;
+          male, 198.
+        George I, female, 201;
+          male, 207.
+        George II, female, 211;
+          male, 214.
+        George III, female, 217, 241;
+          male, 231, 246.
+        George IV, female, 248;
+          male, 254.
+        William IV, female, 258;
+          male, 263.
+        Victoria, female, 264;
+          male, 273
+
+    Heraldic fashion, 66, 71, 109, 132
+
+    Hoop skirts--
+      16 c., 116, 128, 136
+      17 c., 147, 185
+      18 c., 222
+
+
+    Jackets--
+      to 15 c., 66, 68, 88, 100
+      16 c., 112, 182
+      17 c., 143
+      18 c., 224, 226
+      19 c., 270
+
+
+    Lapets, 184, 193, 206, 239
+
+
+    Maccaroni fashion, 214
+
+    Mantles, 262, 271
+
+    Masks, 186
+
+    Muffs, 160, 172, 180, 186, 189, 193, 201, 230, 253
+
+
+    Neck-wear, 174, 182, 186, 200, 207, 232, 246, 250, 254, 263, 275
+
+
+    Overcoats, 232, 254, 274
+
+
+    Panniers, 211, 222
+
+    Parasols, 230, 234, 244, 272
+
+    Patterns scaled, 276
+
+    Pelisses, 244, 250, 262
+
+    Plates (collotypes), frontispiece, 39, 42, 55, 58, 71, 74, 87, 90,
+                         103, 106, 119, 122, 135, 138, 151, 154, 167,
+                         170, 183, 186, 199, 202, 215, 218, 231, 234,
+                         247, 250, 259, 263, 266, 270, 279, 282
+
+    Pockets, 192, 224
+
+    Polonaise, 238, 262
+
+    Purses, 236, 240, 246
+
+
+    Quilting, 111, 128, 146, 172, 192, 198, 211, 222, 278
+
+
+    Ruffs, 112, 118, 128, 129, 133, 136, 139, 143, 147, 158, 160, 172,
+           250, 280
+
+
+    Sack-back (or Watteau) dress, 136, 185, 191, 196, 206, 211, 222
+
+    Sashes, 168, 182, 279
+
+    Sequins, 112
+
+    Shawls, 272
+
+    Spats, 273
+
+    Spencers, 244, 250
+
+    Sticks, 181, 188, 201, 211, 214, 226, 234
+
+    Stockings, 138, 140, 154, 168, 182, 184, 189, 201, 210, 216, 234, 270
+
+    Stomachers, 66, 112, 136, 142, 144, 146, 147, 154, 158, 172, 178,
+                184, 196, 207, 278
+
+
+
+
+    Printed by SPOTTISWOODE, BALLANTYNE & CO. LTD.
+    Colchester, London & Eton, England
+
+       *       *       *       *       *
+
+
+
+
+DRESSMAKING
+
+
+    SIMPLE DRESSMAKING. By ETHEL R. HAMBRIDGE, _Art Teachers'
+    Certificate, etc._ In foolscap 4to, cloth, 200 pp., with 750 plates
+    and black-and-white diagrams. 7_s._ 6_d._ net.
+
+This book deals exhaustively with the various stitches and fastenings
+used in Dressmaking and their applications, Pressing, Making-up
+Processes, Taking Measurements, Cutting-out; and also contains some
+notes on Fitting.
+
+Simplicity and completeness have been the dual purpose of the Author,
+and her systematic treatment of the subject, aided by her remarkable
+gift of lucid explanation, and her unique practical experience, has
+produced a valuable contribution to the literature of Domestic Science.
+
+
+    DRESS CUTTING AND MAKING. For the Classroom, Workroom, and Home. By
+    EMILY WALLBANK, _Head of the Needlework and Dressmaking Department,
+    National Training School of Cookery_, and MARIAN WALLBANK. In
+    foolscap 4to, cloth, 271 pp., with 265 diagrams and illustrations.
+    6_s._ net.
+
+The object of this work will be realized in some degree if it helps the
+practical reader so to mobilize her knowledge of underlying causes that
+she is able to produce any desired effect in the cut and fashion of a
+garment.
+
+
+    SIR ISAAC PITMAN & SONS, LIMITED
+    1 AMEN CORNER, LONDON, E.C. 4.
+
+
+
+
+EMBROIDERY
+
+    AN EMBROIDERY PATTERN BOOK. By MARY E. WARING. With a Foreword by
+    Professor W. R. Lethaby, _Royal College of Art_. In cloth gilt, 170
+    pp., 2 coloured plates, with 84 full-page black-and-white diagrams.
+    8_s._ 6_d._ net.
+
+"Designing of this sort is no mystery that requires 'genius'; it is of
+the same kind as planting a garden border.... Most embroideresses, who
+will begin by adapting the elements given in this Pattern Book, and gain
+interest and confidence in so doing, will go forward insensibly to
+varying the elements themselves, and to taking flowers and animals
+direct from Nature. This ... is the work of a highly competent designer
+of embroidery, and I heartily recommend it."--W. R. LETHABY in the
+Foreword.
+
+    EMBROIDERY & DESIGN. By JOAN H. DREW. In foolscap 4to, cloth, about
+    115 pp., with 82 black-and-white illustrations and designs. 5_s._
+    net.
+
+The writer endeavours to arouse in her readers a desire for better
+designs, and greater individuality and thought in the home embroidery of
+to-day. The difference between decorative and undecorative work is
+clearly explained with the aid of many illustrations, and these are of
+the right size for tracing and working.
+
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+ART
+
+    THE ART OF PAINTING IN PASTEL. By J. LITTLEJOHNS, R.B.A., and L.
+    RICHMOND, R.A. With a frontispiece and foreword by FRANK BRANGWYN,
+    R.A. With 40 beautiful full-page coloured plates and 15 other
+    illustrations. In demy 4to, cloth gilt. 15_s._ net.
+
+Extract from _The Connoisseur_:
+
+"The beautiful volume may quicken public interest in the method. The 40
+plates in colour afford a fine series of examples of the resources of
+the medium and the best methods of exploiting them."
+
+
+    DRAWING AND DESIGN. A School Course in Composition. By SAMUEL CLEGG,
+    _Headmaster of the County Secondary School, Long Eaton, Derbyshire_,
+    with a foreword by WILLIAM ROTHENSTEIN, _Professor of Civic Art,
+    Sheffield University_. 10 in. by 7-1/2 in. 12_s._ 6_d._ net.
+
+A feature of the book is the inclusion of plates printed by scholars
+from wood-blocks of their own making and designing. It also contains
+good sections on lettering and pen and ink drawing, as well as on pencil
+work, colour work, etc.
+
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+FROM THE ARTISTIC CRAFTS SERIES
+
+    HAND-LOOM WEAVING. By LUTHER HOOPER. 125 Drawings by the Author and
+    NOEL ROOKE. Coloured and collotype reproduction. Small Crown 8vo,
+    368 pp. 8_s._ 6_d._ net.
+
+Extract from _The Morning Post_:
+
+"... Every phase and process in weaving is described with so clear and
+careful an exactitude, that, helped as the text is by the Author's
+sketches and diagrams, the reader should have no difficulty in
+conquering with its aid the rudiments of the craft."
+
+
+    EMBROIDERY & TAPESTRY WEAVING. By Mrs. A. H. CHRISTIE. _Fourth
+    Edition._ 178 diagrams and illustrations by the Author, 16 pp. of
+    collotype reproductions. Small Crown 8vo, 320 pp. 10_s._ 6_d._ net.
+
+Extract from The _Pall Mall Gazette_:
+
+"Mrs. Christie has performed her task to admiration, ... and her lucid
+explanations of various kinds of stitches ... should be of value to all
+workers at embroidery or tapestry weaving and to novices anxious to
+learn."
+
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+FROM THE ARTISTIC CRAFTS SERIES
+
+MANUSCRIPT WRITING & LETTERING. By AN EDUCATIONAL EXPERT. Showing the
+historical development and practical application to modern handwriting
+of several manuscript styles derived from ancient Roman letters. Fully
+illustrated. Foolscap 4to. 6_s._ net.
+
+    Extract from _The Times_:
+
+    "This book supplies and supplies generously a need which has become
+    urgent.... For purposes purely practical, no teacher of plain
+    handwriting need know more than this book tells him; nor should be
+    content to know less."
+
+
+HERALDRY FOR CRAFTSMEN AND DESIGNERS. By W. H. ST. JOHN HOPE, Litt.D.,
+D.C.L. Small Crown 8vo, 496 pp., 300 diagrams and designs, 24 collotype
+reproductions, and 8 coloured plates, 10_s._ 6_d._ net.
+
+    Extract from _The Athenaeum_:
+
+    "A series which includes three such books as Mr. Douglas Cockerell's
+    'Bookbinding,' Mr. Edward Johnston's 'Writing,' and this ranks
+    almost as a national possession.... No artist can see this book
+    without wanting to buy it, if it were only for the beauty of the
+    objects selected for illustration."
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+FROM THE ARTISTIC CRAFTS SERIES
+
+
+WRITING AND ILLUMINATING & LETTERING. By EDWARD JOHNSTON. _Tenth
+Edition._ 227 illustrations and diagrams by the Author and NOEL ROOKE, 8
+pp. of examples in red and black, 24 pp. of collotype reproductions, 512
+pp. Small Crown 8vo. 8_s._ 6_d._ net.
+
+    Extract from _The Athenaeum_:
+
+    "... This book belongs to that extremely rare class in which every
+    line bears the impress of complete mastery of the subject. We
+    congratulate Mr. Johnston on having produced a work at once original
+    and complete."
+
+
+BOOKBINDING AND THE CARE OF BOOKS. By DOUGLAS COCKERELL. _Fourth
+Edition._ 122 drawings by NOEL ROOKE, 8 pages collotype reproductions.
+Small Crown 8vo, 352 pp. 7_s._ 6_d._ net.
+
+    Extract from _The Times_:
+
+    "... A capital proof of the reasoned thoroughness in workmanship,
+    which is the first article in the creed of those who ... are
+    attempting to carry into practice the industrial teaching of Ruskin
+    and William Morris."
+
+SIR ISAAC PITMAN & SONS, LIMITED
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+The following printer's errors were corrected in the text:
+
+   PLATE XI                                                    "    122
+     Sixteen Leather Boots and Shoes, between 1535 and 1850.
+       Original had "1630" instead of "1535"
+
+   PLATE XXI                                                   "    202
+     Twenty-three Boots and Shoes, from 1800 to 1875.
+       Original had "Twenty-two"
+
+  _C._ Braided Suit, 1670-90.
+    Original had "1695-90"
+
+  _C._ Dress of Spotted, 1795-1808.
+    Original had "Stockingette"
+
+  _A._ Morning Coat of Chintz, 1825-45.
+    Original had "Chintze"
+
+  The bodice, Fig A, Plate X (see p. 119),
+    Original had "see p. 292"
+
+  _Sleeve_
+    Original had "Sleev"
+
+  PATTERN 53.
+    Original had "PATTEEN"
+
+  Pattern 55, page 339:--
+    Dress, Fig. _C_, Plate XXV.
+      Original had "G"
+
+  Pattern 58, page 342:--
+    Dress, Fig. _C_, Plate XXIX.
+      Original had "G"
+
+The following inconsistencies are retained as printed:
+
+  Plate VII, c. Black Silk Jerkin.
+    Illustration caption has 1640-60,
+    list of illustrations has 1640-50.
+
+  Plate IX, a. Lady's Embroidered Silk Jacket.
+    Illustration caption has 1605-30,
+    list of illustrations has 1605-20.
+
+  Plate XV, c. Embroidered Velvet Coat.
+    Illustration caption has 1755-75,
+    list of illustrations has 1753-75.
+
+  Plate XX, b. Nine Aprons.
+    Illustration caption has 1850,
+    list of illustrations has 1750.
+
+  The scarves worn round the body
+  of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6
+  inches, and from 8 feet 6 inches to 7 feet in length.
+    Second range is inconsistent as printed.
+
+  Plate XXXIII, c. Silk Coat and Skirt.
+    Illustration caption has 1855-65,
+    list of illustrations has 1855-56.
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK DRESS DESIGN***
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