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diff --git a/34903.txt b/34903.txt new file mode 100644 index 0000000..1b205ea --- /dev/null +++ b/34903.txt @@ -0,0 +1,5846 @@ +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*** + + +******* This file should be named 34903.txt or 34903.zip ******* + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/3/4/9/0/34903 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. 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