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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..a7527a8 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #54280 (https://www.gutenberg.org/ebooks/54280) diff --git a/old/54280-0.txt b/old/54280-0.txt deleted file mode 100644 index 5a8fc98..0000000 --- a/old/54280-0.txt +++ /dev/null @@ -1,1895 +0,0 @@ -The Project Gutenberg EBook of Ancient Egyptian, Assyrian, and Persian -costumes and decorations, by Mary G. Houston and Florence Hornblower - -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/license - - -Title: Ancient Egyptian, Assyrian, and Persian costumes and decorations - -Author: Mary G. Houston - Florence Hornblower - -Release Date: March 4, 2017 [EBook #54280] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT EGYPTIAN, ASSYRIAN *** - - - - -Produced by Turgut Dincer, Chuck Greif and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - - - - A - TECHNICAL HISTORY - OF COSTUME - * - - ANCIENT EGYPTIAN, ASSYRIAN, AND - PERSIAN COSTUMES - - - - - IN PREPARATION - - ANCIENT GREEK, ROMAN AND - BYZANTINE COSTUME AND DECORATIONS. - - - EUROPEAN COSTUME FROM THE - THIRTEENTH CENTURY TO THE - COMMENCEMENT OF THE SEVENTEENTH - CENTURY----WITH DECORATIONS. - - - TYPES OF INDIAN, PERSIAN, CHINESE - AND JAPANESE COSTUME AND DECORATIONS. - WITH NOTES ON VARIOUS ADDITIONAL - TYPES OF PRIMITIVE GARMENTS. - - * * * * * - - AGENTS - - AMERICA THE MACMILLAN COMPANY - 64 & 66 FIFTH AVENUE, NEW YORK - - AUSTRALASIA OXFORD UNIVERSITY PRESS - 205 FLINDERS LANE, MELBOURNE - - CANADA THE MACMILLAN COMPANY OF CANADA. LTD. - ST. MARTIN’S HOUSE, 70 BOND STREET, TORONTO - - INDIA MACMILLAN & COMPANY, LTD. - MACMILLAN BUILDING, BOMBAY - 309 BOW BAZAAR STREET, CALCUTTA - - - - - ANCIENT EGYPTIAN - ASSYRIAN AND - PERSIAN COSTUMES - - AND DECORATIONS - - BY - - MARY G. HOUSTON - - AND - - FLORENCE S. HORNBLOWER - - CONTAINING TWENTY-FIVE FULL-PAGE ILLUSTRATIONS, - SIXTEEN OF THEM IN COLOUR, AND SIXTY LINE - DIAGRAMS IN THE TEXT - - A. & C. BLACK, LIMITED - 4, 5 & 6 SOHO SQUARE, LONDON, W. 1. - 1920 - - - - -INTRODUCTION - - -If this work is to be kept within its limitations, it is naturally -impossible to give a complete survey of all the varieties of the various -styles. To get this knowledge it will be necessary to consult the works -of reference, of which lists are given in each section. On the other -hand, the special aspect of the work is more fully treated than in any -other accessible book upon the subject. - -Every illustration of costume given has been actually cut out and made -up before being sketched, except in a few cases which are of the nature -of duplicates, so that by following the directions given it will be easy -for anyone to reproduce them in material. Where decoration is required, -the exact drawing and colouring of the various styles of Historic -Ornament, which are the work of F. S. Hornblower (who has also coloured -the costumes where necessary), will enable such details to be -appropriately applied. - -Throughout the book, the illustrations are given by means of facsimiles -of drawings by artists of the various centuries, so that a historic -survey of the History of Figure Drawing will be included. Where the -drawings of primitive artists do not clearly express the ideas intended -to be conveyed, a modern drawing of the garment on a dress-stand will -be used for explanation of the measured drawings of the cut-out -garments. The growing appreciation of the beauty and value of the -earlier and more primitive systems of cutting shown in modern dress -designing for the last decade, when the so-called Magyar blouse (really -the simple tunic common to all primitive folk) began to be popular, will -make the present volume a convenient form of inspiration for designers; -also, where more exact reproduction is needed, as in theatrical work, -pageantry, and so forth, the careful working out of the details of cut -and decoration will expedite production and save hours of fruitless -searching in reference libraries. - -To the Art Student, in addition to the always interesting history of -costume, the development of the Art of Representation, as shown in the -illustrations of these volumes, which is so strangely repeated in the -personal history of every young person learning to draw, will be -attractive and instructive. Finally, in connection with the history -lesson in the ordinary school, teachers will find the illustrations -clear and helpful, especially if dramatic representations are attempted. - -MARY G. HOUSTON. - - - - -CONTENTS - - - PAGE - -ANCIENT EGYPTIAN COSTUME 1 - -ANCIENT ASSYRIAN COSTUME 43 - -ANCIENT PERSIAN COSTUME 75 - - - - -LIST OF PLATES - -IN COLOUR - - -PLATE PAGE - -I. ANCIENT EGYPTIAN GODDESS 7 - -II. ANCIENT EGYPTIAN QUEEN 9 - -III. ANCIENT EGYPTIAN DECORATION 13 - -IV. THE GOD OSIRIS 15 - -V. ANI, A SCRIBE 17 - -VI. THUTHU, WIFE OF ANI 21 - -VII. ANCIENT EGYPTIAN DECORATION 23 - -VIII. ANCIENT EGYPTIAN QUEEN 25 - -IX. ANCIENT EGYPTIAN DECORATION 29 - -X. ANCIENT EGYPTIAN PRIESTESS 33 - -XI. ANCIENT ASSYRIAN PERSONAGE 51 - -XII. ANCIENT ASSYRIAN DECORATION 61 - -XIII. KING ASSUR-NASIR-PAL 63 - -XIV. QUEEN OF ASSUR-BANI-PAL 71 - -XV. ANCIENT ASSYRIAN JEWELLERY AND TASSELS 73 - -XVI. DARIUS, KING OF PERSIA 81 - - - - -LIST OF ILLUSTRATIONS - -IN THE TEXT, OTHER THAN PLANS - -FIG. 2. TUNIC WITH BRACES 11 - -FIG. 3. TUNIC WITH SHORT SLEEVES 11 - -FIG. 4. SLEEVELESS TUNIC 11 - -FIG. 5. ROBE, UNDRAPED 14 - -FIG. 6. ROBE, DRAPED AND GIRDED 18 - -FIGS. 7, 8 AND 9. THREE VIEWS OF A DRAPED ROBE 19 - -FIG. 10. ROBE DRAPED ON A WOMAN 20 - -FIGS. 11 AND 12. TWO SKIRTS AND A CAPE 27 - -FIGS. 13, 14 AND 15. SKIRTS, CLOAKS AND A CAPE 31 - -FIG. 16. SHAWL OR DRAPERY 32 - -FIGS. 17 AND 19. TWO DRAPINGS OF SHAWLS 35 - -FIG. 18. A SIMPLE SHAWL DRAPERY 37 - -FIG. 20. DRAPING OF A CLOAK 38 - -FIG. 21. MILITARY CORSELET AND APRON-LIKE APPENDAGE 39 - -FIG. 22. ROBE WITH CORSELET AND GIRDLE 39 - -FIGS. 23, 24 AND 25. AN INDIAN SARI 41 - -FIGS. 26, 27 AND 28. THREE VIEWS OF A SHAWL DRAPERY 49 - -FIG. 30. BELTED TUNIC AND SMALL SHAWL 53 - -FIG. 31. BELTED TUNIC WITH FRINGE DRAPING 55 - -FIG. 32. SHORT TUNIC WITH SMALL SHAWL AND BELT 57 - -FIG. 33. TUNIC DRAPED WITH SHAWL 59 - -FIGS. 34, 35 AND 36. FOLDED DRAPERY OVER TUNIC 65 - -FIG. 37. FOLDED DRAPERY OVER TUNIC 67 - -FIG. 38. SEMICIRCULAR AND FOLDED DRAPERIES 67 - -FIG. 39. RICHLY DECORATED TUNIC 69 - -FIG. 40. ROBE, BELTED AND DRAPED 80 - -FIGS. 41 AND 42. A DRAPERY IN ANCIENT AND IN MODERN DRAWING 83 - -FIGS. 43 AND 44. A DRAPERY IN ANCIENT AND IN MODERN DRAWING 85 - -FIG. 45. SHORT-SLEEVED COAT OVER TUNIC 87 - -FIG. 46. OVERCOAT, SHORT TUNIC AND TROUSERS 89 - - - - -LIST OF CUT OUT PATTERNS OR PLANS OF GARMENTS - - - PAGES - -TUNICS, WITH BRACES 8 AND 11 - -TUNIC, SLEEVELESS 11 - -TUNICS, WITH SLEEVES 11 AND 69 - -ROBES 14 AND 80 - -SKIRT 26 - -CAPE 26 - -COLLAR 26 - -SHAWLS OR DRAPERIES 34, 35, 37, 41, 49, 50, 62, 67, 82, 84 - -CLOAK 38 - -CORSELETS 39 - -COATS 86 AND 88 - -TROUSERS 88 - - - - -LIST OF DATED GARMENTS - -ILLUSTRATED - - -ANCIENT EGYPTIAN SECTION - - PAGE - -3700 B.C. 10 -2500 B.C. 16 -1700 B.C. 8 AND 10 -1600 B.C. 36 -1500 B.C. 10 -1450 B.C. 16 AND 20 -1300 B.C. 36 -1200 B.C. 38 -700 B.C. 6 -550 B.C. 36 -FOURTH CENTURY B.C. 30 -FIRST CENTURY B.C. 8 -A.D. 200 30 -A.D. 1920 40 - - -ANCIENT ASSYRIAN SECTION - - PAGE - -2500 B.C. 48 -1000 B.C. 50 -NINTH CENTURY B.C. 52, 56 AND 62 -EIGHTH CENTURY B.C. 58 -SEVENTH CENTURY B.C. 68 AND 70 - - -ANCIENT PERSIAN SECTION - -EIGHTH CENTURY B.C. 84 - -SIXTH TO FIFTH CENTURIES B.C. 80, 82, 86 AND 88 - - -DECORATION - -ANCIENT EGYPTIAN DECORATION 13, 23 AND 29 -ANCIENT ASSYRIAN DECORATION 61, 69 AND 73 - -WORKS OF REFERENCE 5 AND 47 - - - - -ANCIENT EGYPTIAN COSTUME - - - - -GENERAL DESCRIPTION - -OF - -ANCIENT EGYPTIAN COSTUME - - -CUTTING OUT - -As far as the cutting out of ancient Egyptian costume is concerned, we -may divide it broadly into four types--namely: (1) The type of the -_tunic_. (2) The type of the _robe_. (3) The type of the _skirt_, with -or without cape. (4) The type of the _shawl_ or _drapery_. The one or -two varieties which occur in addition to these may be found in military -dress and adaptations from the costumes of other countries. All the -varieties above referred to are described in detail in this volume. - - -DECORATION AND COLOURING - -Though we find Egyptian costume in many instances decorated all over -with woven or printed patterns, decoration in the main was confined to -accessories such as the head-dress, collar, and girdle, these being -often painted, embroidered, beaded, or jewelled. See various examples -given. The colouring which was usually, though not invariably, confined -to the decorations consisted of simple schemes, variations of the hues -of red, blue, green, yellow, and deep purple described on p. 66. - - -MATERIAL - -The material used in the costumes was chiefly linen. In the most ancient -types it was of a fairly thick, coarse weave; but in the later examples -a fine thin linen, loosely woven so as to appear almost transparent, was -used. The linen has often a stiffened appearance, and also gives the -idea of having been goffered or pleated. - - -DATES - -The earliest types of costume were the tunics; midway come the robes and -skirts, and the draped or shawl type of costume appears the latest. -However, the older types of costume did not disappear as the new ones -were introduced, but all continued to be worn contemporaneously. The -dates of most of the costumes in this volume are given with their -description, and have been verified at the British Museum. - - -MEN AND WOMEN: THE DIFFERENCE IN THEIR DRESS - -It can easily be gathered from the illustrations that the types of -costume worn by both sexes were very similar. The high waist-line -prevails in feminine dress, while the male costume, if girded, was -generally confined about the hips. - - -_Egyptian Works of Reference._ - -Prisse d’Avennes, “L’Art Egyptiens”; -Leeman, “Aegyptiche Monumente”; -Rossellini, “Monumenti Egitto”; -Hottenroth, “Le Costume”; -Racinet, “Le Costume Historique”; -Sir J. G. Wilkinson, “Ancient Egyptians”; - -British Museum Handbooks and Reproductions. - -These reproductions have lately been augmented and for those who cannot -visit the Museum will be found most useful. - - - - -ANCIENT EGYPTIAN COSTUME - - -PLATE I. - -Plate I., which dates 700 B.C., is an exact copy of an Egyptian drawing. -It will be noticed that the Egyptian method of representing the figure -is a peculiar one. A modern representation of the same type of dress is -shown in Fig. 2, and the plan of cutting in Fig. 2A It should be noted -that this plan--namely, a tunic with braces--is in some instances shown -with the braces buttoned on each shoulder at the narrowest part. This -illustration is given as a type of Egyptian dress decoration, which -would be either printed, painted, or embroidered on the garment. It -might be considered that this type of dress more nearly approaches the -skirt than the tunic; but reaching, as it does, to the breast-line, and -comparing various examples which, as it were, gradually merge into the -sleeveless tunic which again merges into the tunic with short sleeves, -the present classification will be found to be the most convenient. - -[Illustration: PLATE I - -_M.G.H. del._ _F.S.H. pinx._ - -A GODDESS] - - -PLATE II. - -Plate II., which dates 1700 B.C. also first century B.C., is an exact -copy of an Egyptian drawing of a woman wearing a species of tunic with -braces (plan, Fig. 1). The striped decoration upon this tunic is -suggested by the lines of another type of Egyptian dress--namely, the -drawn-up skirt. The origin of the decoration can be easily understood by -a reference to the drapery on Plate IX. In the original of this drawing -the figure is represented with a lofty head-dress in addition to the -fillet of ribbon and the golden asp here shown, but for the sake of -getting the figure on a scale large enough to show clear details the -head-dress is omitted. The person represented is said to be Cleopatra -dressed as a goddess. - -[Illustration: Fig. 1] - -[Illustration: PLATE II - -_M.G.H. del._ _F.S.H. pinx._ - -A QUEEN] - -Figs. 2, 3, and 4, dating 1700, 1500, and 3700 B.C. respectively, are -wearing dresses of the first great type of Egyptian costume--namely, the -tunic type. They were made of fairly thick linen. Fig. 2 is put on by -stepping into it and pulling it up. Figs. 3 and 4 are put on over the -head; the measurements given will fit a slim figure without -underclothing. The origin of Fig. 2 was most probably a piece of linen -of the same length as this garment but wide enough to lap about half -round the figure and have a piece tucked in at the top to keep it -closed. This sort of tight drapery is quite commonly worn by negresses -in Africa to-day. We also find it on some ancient Egyptian wooden -statuettes, the drapery being of linen while the figure only is in -wood. - -[Illustration: Fig. 2] - -[Illustration: Fig. 3] - -[Illustration: Fig. 4] - -[Illustration: Fig. 2A] - -[Illustration: Fig. 3A] - -[Illustration: Fig. 4A] - - -PLATE III. - -It will be noticed that the Egyptian dress decoration is chiefly -confined to the collar, which will be seen in wear on Plates V., VI., -VIII., and X. The patterns were either embroidered, painted, beaded, or -jewelled; the favourite lotus flower is almost always in evidence in the -designs (see a, b, c, and d on Plate III.). On this plate also will be -seen several other characteristic borders (f, g, h, i), and two all-over -patterns (k, e), which were probably either stamped or tapestry-woven on -the dress fabric. The colouring of these patterns is chiefly taken from -_painted_ representations of persons and ornaments. To arrive at the -exact colouring used if the garments were decorated with dyed materials -the description of the types of colours used in dyeing ancient Assyrian -and Persian costumes, see p. 66, will give a more exact notion of what -was worn. We have, in the British Museum, actual examples of dyed wools -and coloured beads used in dress decoration. - -[Illustration: PLATE III - -_F.S.H. fec._ - -DETAILS OF DECORATION] - - -PLATE IV. - -Plate IV. belongs to the next great division of Egyptian costume, which -may be called the “Type of the Robe.” This illustration shows it in its -simplest form--namely, ungirded. To understand the quaint Egyptian -drawing of Plate IV. a reference to Fig. 5 is necessary, which is a -modern drawing of the same costume. As will be seen from the plan, Fig. -5A, this garment consists of a piece of material twice the height of the -figure and folded over in the middle; a hole is here cut for the neck -and, in addition, a short slit down the front to allow of the garment -being pulled over the head. The material is sewn up the sides from the -bottom, leaving a space at the top for the passage of the arms. A -garment similar in type to this is worn at the present day in Egypt and -Syria, and also, strange to say, by the natives of Brazil. - -This robe should be compared with that worn by Darius, King of Persia, -later in this volume. - -[Illustration: Fig. 5] - -Musicians are often represented wearing this robe, sometimes rounded off -at each side of the hem so that it does not trail as it does on Fig. 5. - -[Illustration: Fig. 5A] - -[Illustration: PLATE IV - -_M.G.H. del._ _F.S.H. pinx._ - -THE GOD OSIRIS] - - -PLATE V. - -Plate V., dating 1450 B.C., shows the same robe as Plate IV. worn in a -different manner. In this case the garment is left open down the sides, -the front half is taken and pinned at the back of the waist, and the -back half is drawn towards the front and girded with a wide sash -measuring 32” × 120”, as shown in Plate V. and Figs. 6, 7, 8, and 9. It -should be noted that Fig. 6 is a modern drawing of Plate V.; also the -costume upon p. 19, which dates 2500 B.C., gives three different views -of the same dress, a costume which emphasizes the love of the Egyptians -for drawing up the dress tightly so as to define the limbs at the back -and allowing great masses of drapery to fall in front to the feet. To -adjust the sash or girdle on Plate V., commence at the right side of -waist drawing the sash downwards to the left and round the hips at back, -next draw upwards across the front from right to left and round waist at -back and tuck the remaining length of sash in front as shown in Fig. 6. - -[Illustration: PLATE V - -_M.G.H. del._ _F.S.H. pinx._ - -ANI, A SCRIBE] - -[Illustration: Fig. 6] - -[Illustration: Fig. 7] - -[Illustration: Fig. 8] - -[Illustration: Fig. 9] - -Plate VI. is an illustration of a robe worn by a woman 1450 B.C., and -Fig. 10 is a modern representation of the same robe. It will be noted in -this case that the front half is not pinned behind the back, but is kept -quite full in front, and that the back half, instead of being girded by -a sash, is drawn round and tied in a knot just under the breast. - -[Illustration: Fig. 10] - -This robe on women is also sometimes tied with a narrow girdle under the -breast instead of the edges being knotted. - -[Illustration: PLATE VI - -_M.G.H. del._ _F.S.H. pinx._ - -THUTHU, WIFE OF ANI] - - -PLATE VII. - -The decoration on this plate shows the detail of the characteristic -Egyptian winged globe (a), hawk (b), and beetle (scarabæus) (c). Plates -I. and VIII. are examples of the application of winged decoration upon -Egyptian costume. - -Three other geometrical borders (d, e, and f) and two all-over patterns -(g and h) are given; g shows an example of the well-known feather or -scale pattern; h (which is similar to e, Plate III.) is a favourite -geometric motif, and was often printed or painted on garments. A very -charming effect also of this pattern was a tunic entirely composed of -beads, or beads and reeds, and worn over the garment shown on Fig. 2, p. -11. Several beaded networks of this type may be seen on the mummies in -the British Museum. - -[Illustration: PLATE VII - -_F.S.H. fec._ - -DETAILS OF DECORATION] - - -PLATE VIII. - -The third outstanding type of Egyptian costume may be described as the -“Type of the Petticoat and Cape” (the petticoat was sometimes worn -without the cape). Now this petticoat or skirt, as shown in Plate VIII. -and Fig. 11, consists of a straight cut piece of material threaded -through at the waist with a narrow strip which is knotted round the -figure to keep the garment in position; the cape-like shoulder drapery -is an oblong piece of stuff, to drape which take the corners d and e of -Fig. 11A in your hands and twist them till the triangles a, b, c, and d, -e, f, have become cords, and then knot as shown in the diagram. In the -skirt piece, Fig. 11B, sew together the two short sides. As will be seen -in the illustration, a long knotted girdle about 100 inches in length is -worn over the skirt. It passes twice round the waist, and is knotted at -the back as well as the front. In Plate VIII. the deep ornamental collar -is worn over the cape. The collar, which was fastened down the back, is -shown in plan (Fig. 11C). - -Fig. 12 shows another method of wearing a similarly cut but rather -longer skirt; in this case there is no waist cord; two pieces of the -upper edge about half a yard apart are taken in the hands and twisted, -one is crossed over the other and tucked inside, the other is pulled up -and - -[Illustration: PLATE VIII - -_M.G.H. del._ _F.S.H. pinx._ - -A QUEEN] - -forms an ear, as shown in sketch. This particular draping is the -inspiration of the decoration on Plate II. Similar drapings without the -twisting were worn both by men and women. It is interesting to note that -a practically similar garment is worn in Burma at the present day by -both men and women. - -[Illustration: Fig. 11A] - -[Illustration: Fig. 11B] - -[Illustration: Fig. 11C] - -[Illustration: Fig. 11] - -[Illustration: Fig. 12] - -Compare Fig. 12 with Plate II. where the drapery here given has -suggested in its lines a decoration of stripes. - - -PLATE IX. - -The noteworthy details of the decorations on this plate are those -illustrated at a and b. These are appendages from girdles such as worn -by male figures; an example is Fig. 21. The material of this appendage -may be possibly of painted leather, wool embroidered linen, or linen -with metal mounts. Many beautiful painted illustrations of this girdle -appendage are to be found in the British Museum; e is from a feather -fan. - -[Illustration: PLATE IX - -_F.S.H. fec._ - -DETAILS OF DECORATION] - -Fig. 13 is an Egyptian woman’s costume dating 1450 B.C.; she is wearing -two garments--namely, a skirt and cloak. This skirt, which is frequently -worn alone without the cloak, as shown in Fig. 12, is cut to exactly the -same width top and bottom. It is wide for the figure, and the -superfluous fullness is caught up in each hand in the act of putting on. -The upper edge of garment is drawn tightly round the figure just under -the breasts; the portions held in each hand are then tied together in a -knot. In Fig. 13 the cloak is knotted in with the skirt; this cloak is -simply a rectangular piece of material. It will be noted that Figs. 13, -14, and 15 all show the popular Egyptian effect of drapery drawn tightly -round the back of the limbs and falling full in front. - -Fig. 14, which dates A.D. 200, shows a Roman adaptation of the same -costume. The figure wears underneath a long tunic, and over this, -tightening it in at the waist, an Egyptian skirt; a small Egyptian scarf -is knotted to the skirt in similar fashion to the costume in Fig. 15. -All the garments worn by Fig. 14 are rectangular pieces of material; the -tunic is two straight pieces of stuff sewn up the sides; the top edge is -divided into three parts by pinning; these openings form the neck and -arm-holes. - -Fig. 15 is a Greek costume of the fourth century B.C. in which the -Egyptian influence is equally strongly marked; in this case, again, the -garments are all rectangular pieces of material, the sleeves in one -with the tunic. To knot the cloak to the over-skirt, as shown in this -figure, the fullness of the over-skirt should be bunched up in one hand; -the two corners of the cloak are taken in the other hand and twisted -together round the skirt in a knot. - -[Illustration: Fig. 13] - -[Illustration: Fig. 14] - -[Illustration: Fig. 15] - - -PLATE X. - -Plate X. shows the fourth division of Egyptian costume--namely, the -“Type of the Shawl or Drapery.” Several varieties of this type are -illustrated and described on pp. 33, 34, and 35. - -[Illustration: Fig. 16] - -[Illustration: PLATE X - -_M.G.H. del._ _F.S.H. pinx._ - -A PRIESTESS] - -[Illustration: Figs. 16A and 17A] - -The fourth division of Egyptian costume is shown in the examples on -Plate X. and pp. 33, 34, and 35. These are the draped or shawl type of -costume. They have many resemblances to the draping of the well-known -Indian sari of modern times. Compare these with illustration of sari (p. -39). The ingenuity displayed in the draping of these costumes can only -be realized when they are actually done upon a model. It should be noted -with regard to all Egyptian costumes of the more fully draped type that -the entire draperies seem to radiate from one point, usually a knot at -the waist, with very beautiful effect. - -To drape Fig. 16, which is a modern drawing of Plate X., tie a cord -round the waist, tuck in corner b (see plan, Fig. 16A) at left side of -waist, pass round the back and round the right side to front again; make -some pleats and tuck them in in centre front of waist, then pass round -back again to right side; catch up the whole drapery and throw it -upwards from right-hand side of waist under left arm-pit, pass on round -the back - -[Illustration: Fig. 17] - -[Illustration: Fig. 19] - -[Illustration: Fig. 19A - -The width 45” will drape a tall figure, say 5’ 6” in height. The drapery -should be narrower for a lesser height.] - -and over the right shoulder towards front, then throw the remaining -portion of garment across the chest and backwards over the left -shoulder; take corner a and bring it round under right arm-pit, release -corner b which you first tucked in, and tie it to corner a. The corner c -will hang down in a point at the back. - -To drape the costume on Fig. 17, which dates 1300 B.C., take the corner -a of Fig. 17A and hold it at right side of waist in front, pass round -the back and round the left side to front again, tuck in some pleats in -centre front, and pass on round the back to left side of waist under -left arm towards the front; catch up the entire garment and throw over -the right shoulder, pass the upper edge of the garment round the back of -the neck and over the left shoulder and downwards across the breast to -right, where the corner b should be tied to corner a. Corner d hangs -down in a point at the back. - -For Fig. 18, which dates 1600 B.C., take the corner a of Fig. 18A and -hold it at right side of waist in front, pass the edge a-b round back of -waist to the left side and across the front of waist, pass it round the -right side again under the right arm towards the back and upwards over -the left shoulder; tie the corner a to corner b in front. - -For Fig. 19, which dates 550 B.C., tie a waist cord, hold corner a of -Fig. 19A at left side of waist in front, and throw the whole garment -upwards over the right shoulder to the back; take the corner c, bring it -round under the right arm, and hold it along with the corner a; draw -the edge a-b, which still hangs over the right shoulder, downwards -across the back to left side of waist. Bring it round to front of waist -and pin it to the corners a and c at the left side of waist in front, -passing the garment on round the front; tuck in a few pleats in centre -front into the waist cord, then pass it round right side of waist and -upwards across the back over the left shoulder, downwards across the -breast to right side of waist; here pass a loop of material over the -left wrist as shown in diagram; now pass a girdle round the waist over -the entire drapery, knot it at right side of waist, confining the -drapery as illustrated in Fig. 19. - -[Illustration: Fig. 18] - -[Illustration: Fig. 18A] - -[Illustration: Fig. 20] - -[Illustration: Fig. 20A] - -Here are three other varieties of Egyptian costume. Fig. 20, which dates -sixth century B.C., is an arrangement of a cloak worn by a man (Plan -20A). Fig. 21 shows an interesting cross-over garment sheathing the -upper part of the body, worn by a Warrior King, 1200 B.C. It was -probably made of leather or quilted linen (plan, Fig. 21A). This figure -is also wearing one of the characteristic belts with appendages (for -detail see Plate IX., a and b). Fig. 22, which dates 1300 B.C., is -wearing a robe, as previously described on Fig. 6, but in addition has a -stiff corselet (Plan 22A) of leather or quilted linen which is fastened -at the side; the date of this figure is 1300 B.C. - -[Illustration: Fig. 21] - -[Illustration: Fig. 22] - -[Illustration: Fig. 21A] - -[Illustration: Fig. 22A] - - - - -A COMPARISON - -THE INDIAN “SARI” - - -Before passing from Egyptian costume, it seems interesting to compare -the accompanying illustrations of an ordinary present-day draping worn -by women in India. This long shawl drapery (the “sari”) presents -extraordinary similarities to some of the ancient Egyptian shawls or -draperies already illustrated. - -The method of draping is as follows: Tie a waist cord; take the corner b -and fix it to the right-hand side of waist, then pass the edge b-a -across the front of waist, round the left side towards the back, and -round the back of waist again to the right side; now take up some pleats -in the drapery and push them inside the waist cord in centre front of -waist, then pass on the drapery round the waist to back and round to the -right side again. Now catch up all the remaining drapery and throw it -upwards across the chest over the left shoulder. Let the corner c hang -down the back, and bring the corner around towards the front of waist -and tuck it in at the left side of waist, so that it will have the -thrown-over portion to the right of it. This completes this draping of -an Indian sari. The width of this sari will drape a figure of 5’ 4”, -most of those worn by Indian women are narrower. - -[Illustration: Fig. 23] - -[Illustration: Fig. 24] - -[Illustration: Fig. 25] - -[Illustration: Fig. 23A - -Length 4½ Yds, width 39 in.] - - - - -ANCIENT ASSYRIAN COSTUME - - -GENERAL DESCRIPTION - -OF - -ANCIENT ASSYRIAN COSTUME - - -CUTTING OUT - -There are practically only two types of garment generally found in the -representations of ancient Assyrian costume: (1) the _shawl_, and (2) -the _tunic_. These vary in size and proportion, and are worn either -alone, but more generally in combination. - - -DECORATION - -Except in the earliest examples, decoration is lavish in Assyrian -costume; in fact, the costume of a King when at its richest may be said -to be absolutely covered with ornament. Jewellery, woven and embroidered -patterns, and fringes are used in the utmost profusion. See the -illustrations of the most characteristic ornamental details of this -style. - - -MATERIAL - -The materials used seem to have been of linen and wool. The skins and -furs of animals and metal were also in use, but chiefly for military and -hunting costume. - - -DATES - -The earliest type of costume here shown is a rather elaborate shawl -drapery worn without any tunic underneath. Later comes the tunic with -various fringed shawl draperies worn in addition, and some of the latest -types have the tunic worn alone without the shawl draperies. The dates -given for the costumes illustrated in this style have been verified at -the British Museum. It should be remembered, as in the case of ancient -Egyptian costume, that the dresses changed very slowly indeed, and most -styles of this era were worn literally for hundreds of years. - - -MEN AND WOMEN: THE DIFFERENCE IN THEIR DRESS - -The representations of costume which Assyrian art has left us are almost -entirely those of men’s dress. Two examples of women’s dresses are shown -in this volume. The first wears a plain ungirded tunic and a simply -draped shawl covering the figure partially. The second is the dress of a -Queen, and has the tunic almost entirely covered with a voluminous -shawl. The wide belt with narrow belt over it seems to be confined to -the men’s costume, as also the tighter and scantier shawl draperies -which exist in singular variety. - - - For Assyrian and Ancient Persian Styles consult: Layard’s - “Monuments of Nineveh”; Flandin and Coste, “Voyage en Perse”; - Botta, “Monuments de Ninïve”; Victor Place, “Ninïve et Assyrie”; - Perrot and Chipiez, “History of Art in Persia”; Racinet, “Le - Costume Historique”; Hottenroth “Le Costume”. Also reproductions - and handbooks of the collections in the British Museum. - - -Figs. 26, 27, and 28: This drapery is from the figure of the King Gudea, -2500 B.C. (see British Museum). To drape, place the corner b of Fig. 26A -under left arm-pit, and draw the edge b-a round the back of shoulders -under the right arm-pit, across the front of chest, and round the back -again, and under the right arm-pit once more; then throw the edge b-a -upwards across the chest and over the left shoulder; the corner a will -then hang down the back. Take this corner a and tuck it in at the right -side of breast, as shown in illustration (Fig. 26). It should be noted -that, unless the left hand is raised, the left arm and hand are entirely -covered by this drapery, the right arm only being left free for -movement. This dignified drapery presents points of similarity to the -Roman “toga” of a much later period. - -[Illustration: Fig. 26] - -[Illustration: Fig. 27] - -[Illustration: Fig. 28] - -[Illustration: Fig. 26A] - -PLATE XI.--This type of dress, which in the British Museum is described -as worn by “a Mythological Figure in attendance upon King -Assur-nasir-pal”, ninth century B.C., might be dated about 1000 B.C., as -following the usual custom of the ancients who dressed their sacred -figures in the costume of some previous generation as a rule, consists -of a simple tunic with short sleeves, and reaching to the knee, cut in -similar fashion to the Egyptian; then a small shawl (Fig. 29B) is -wrapped round the hips, beginning with the corner a on right hip, and -passing the edge a-b across the front towards the left and round the -waist. The triangle b-e-f can be tucked in at waist-line; then the wide -belt, probably leather, which is coloured buff in the illustration, is -put on and kept in position by the narrow belt, which is coloured red; -this belt is much better seen in Fig. 30. Lastly, the large shawl (Fig. -29A) has the corner b tucked in to narrow belt at left side of waist, -and the edge a-b passed round the back towards the right side of waist -upwards across the chest, and hangs down the back over the left -shoulder. The original of this figure is winged, the wings being omitted -here. - -[Illustration: Fig. 29A] - -[Illustration: Fig. 29B] - -[Illustration: PLATE XI - -_M.G.H. del._ _F.S.H. pinx._ - -MYTHOLOGICAL PERSONAGE] - - -Fig. 30 represents King Assur-nasir-pal (ninth century B.C.) wearing a -tunic of similar type to Plate XI., but long. Tied at his waist and -covering the back half of his figure is a small richly decorated shawl -about 20 inches square. Note the tassels hanging from right-hand bottom -corner; these would be the same on the left-hand bottom corner. He also -wears the belt mentioned in connection with Plate XI. The wavy tassels -which look like horsehair hang from his sword belt; a tassel also hangs -from the back of his necklace, and two ribbons from his cap-band. Note -the similarity of this cap to the so-called fez or tarbush worn in -Assyria at the present day. - -[Illustration: Fig. 30] - - -Fig. 31: The point to be noted in this figure is the arrangement of a -fringe drapery which goes once round the waist, is thrown over one -shoulder, and hangs down the back. - -[Illustration: Fig. 31] - - -Fig. 32: This man, in hunting dress, ninth century B.C., has a small -scarf, fringed only at the ends, wrapped tightly round the limbs, -reaching to the knee. - -[Illustration: Fig. 32] - - -Fig. 33: This woman, a captive of Sennacherib who reigned in eighth and -seventh centuries B.C., wears a long tunic, and over it a long shawl -fringed at the two ends and measuring 50” × 80”. To drape this shawl, -place one corner under the left arm-pit and draw it across the back -under the right arm-pit, wrapping it once round the body; draw it across -the back and up over right shoulder. A corner of the fringed end will -hang down in front of the right shoulder. - -[Illustration: Fig. 33] - - -PLATE XII. - -Plate XII. shows a number of characteristic Assyrian ornaments. - -a, The sacred tree. - -b, c, d, e, f, Repeating patterns on costumes. - -g, h, i, j, k, l, Borders on costumes. - -m, One of the many rosettes much used in Assyrian decorations. - -These should be compared with the decorated costumes shown in the -plates; they would be either woven or embroidered. - -[Illustration: PLATE XII - -_F.S.H. fec._ - -DETAILS OF DECORATION] - -[Illustration: Fig. 34A] - -PLATE XIII.--A facsimile drawing, from an enamel tile, is one of the -many representations of the King Assur-nasir-pal, ninth century B.C. The -description of his dress will be better understood by referring to Figs. -34, 35, and 36. The King wears over his long tunic a very beautiful and -dignified shawl drapery, which is fringed, recalling certain Egyptian -types already illustrated, and, indeed, has points of similarity with -certain Greek and Roman draperies. To drape this shawl (see Fig. 34A) -fold over on the line e-f so that e-f, a-b, hangs down outside; then -attach the cord e-g as illustrated, and hold g at right side of waist in -front, throwing the rest of the shawl backwards over the right shoulder. -Draw the edge e-f round the back of neck, and form a - -[Illustration: PLATE XIII - -_M.G.H. del._ _F.S.H. pinx._ - -KING ASSUR-NASIR-PAL] - -sling over the left arm, as shown. To complete the draping, continue to -pass the edge e-f round the waist towards the right, passing under the -right elbow, then on round the back and left side until it reaches about -6 inches in front of left side of waist; now fold the remainder of -drapery underneath, as shown in the drawings, and tie a cord round waist -to keep all firmly in position; knot the end of the cord e-g to this -waist cord. Fig. 35 shows the back view, and Fig. 36 shows the drapery -thrown off the left shoulder to give freedom to both arms, Figs. 34 and -35 only giving freedom to the right arm. If the cord e-g is pulled down -so that e touches the waist, then both shoulders will be covered by the -drapery. Fig. 34 is the most usual arrangement of this type of drapery, -but in looking at Plate XIII. closely it will be seen that the modern -drawing (Fig. 37) is a more exact rendering. This drawing is from a -draping of the same shawl as Fig. 34 is wearing, but the fold-over is -somewhat deeper, the point e is tied closely to waist belt, and the -drapery is rolled at waist while it is being adjusted. When worn thus, -with a roll, the drapery will remain in position without the waist cord -being tied over it, but it is more secure when it has been thus -confined. Fig. 38 is still another variety of this type of draping, and -is taken from a small statue of Assur-nasir-pal in the British Museum; -there we have two shawls, one square and one semicircular (see Figs. 38A -and 38B). To arrange this drapery, take the square shawl and fold -outwards about 20 inches, as at e-f. Tie a waist cord on the tunic, and -tuck the corner - -[Illustration: Fig. 34] - -[Illustration: Fig. 35] - -[Illustration: Fig. 36] - -f deeply into it at left side of waist cord; then draw tightly round the -figure in front and round again across the back of waist till the left -side is reached again. Now double about 6 inches of the shawl inwards, -and tuck again into waist cord. Take the semicircular shawl g-h, and -attach the cord to another waist cord, throw backwards over the right -shoulder, and arrange a sling over the left arm as before in Figs. 34 -and 37. The corner h of the shawl shows in front about 8 inches below -the waist towards the left. Tie the second waist cord tightly over this -shawl to keep in position. - - -NOTE ON THE COLOURING OF ANCIENT ASSYRIAN AND PERSIAN COSTUMES - -Though we do not possess the actual specimens of these costumes, still -we can infer from the lavish ornament, and, from references in the -Hebrew Old Testament writings, that rich colouring prevailed. The dyes -were probably similar to those of ancient Egypt, and this table will -suggest the particular hue of each colour: - - -ANCIENT EGYPTIAN AND ASSYRIAN DYE COLOURS - -_Blue_: Usually rather a dark indigo, sometimes paler. - -_Red_: Much like the colour known as Indian red. - -_Yellow_: Similar to yellow ochre. - -_Green_: Much like the paint known as green bice, but rather more dull. - -_Purple_: Dark, and quite a brownish hue of purple. - -All these colours could be used as embroideries on a white or natural -coloured ground of linen, the embroideries being of wool. In other cases -the whole garment might be coloured throughout. - -[Illustration: Fig. 37] - -[Illustration: Fig. 38] - -[Illustration: Fig. 38A] - -[Illustration: Fig. 38B] - - -Fig. 39 is the tunic of King Assur-bani-pal, seventh century B.C. It -will be noticed that it is cut very much in the same manner as the -Egyptian tunic; the neck opening, which is a slit large enough to admit -the head, does not show in the drawing, but three buttons on either side -of neck will be seen. A row of fringe decorates the bottom, and the -whole is richly embroidered; over this tunic were worn the wide and -narrow belts. - -[Illustration: Fig. 39] - - -PLATE XIV. - -Plate XIV. is the Queen of Assur-bani-pal, seventh century B.C. She -wears a similar tunic to the King, but the sleeves reach half-way down -the lower arm; her shawl, which is fringed all round, would measure 50” -× 130”. It is wrapped once round the lower limbs, and so covers the -bottom of her tunic; it is then wound round the upper part of her body -in similar fashion to that of the woman on p. 59, save that it goes in -the opposite direction. - -[Illustration: PLATE XIV - -_M.G.H. del._ _F.S.H. pinx._ - -QUEEN OF ASSUR-BANI-PAL] - - -PLATE XV. - -Plate XV. shows further details of Assyrian decoration; attention may be -particularly drawn to the varied forms of the tassels. - -a, b, c, Bracelets. - -d, e, f, Ear-rings. - -g, h, i, j, Tassels from costumes and harness on horses. - -k, Winged globe. - -l, Palm tree. - -m, Lappet of a King’s tiara. - -n, Bronze vessel. - -o, Sword handle. - -[Illustration: PLATE XV - -_F.S.H. fec._ - -DETAILS OF DECORATION] - - - - -ANCIENT PERSIAN COSTUME - - -GENERAL DESCRIPTION OF ANCIENT PERSIAN COSTUME - -ALSO INCLUDING TWO EXAMPLES FROM CAPTIVE NATIONS - - -CUTTING OUT - -The garments illustrated in this style are of four types; of these, -three have already appeared in the two previous styles--namely, the type -of the _tunic_, the type of the _robe_, and the type of the _shawl_ or -drapery. In ancient Persian costume we come for the first time to type -five: the _coat_. We may refer here also for the first time to the -wearing of trousers, for these are usually shown worn with the coats in -ancient Persian costume, and a diagram is given on p. 86 showing one of -the earliest known methods of cutting these garments. - - -DECORATION - -Ancient Persian decoration was so exceedingly similar to ancient -Assyrian that it does not seem necessary to illustrate it. We do not -find, however, that ancient Persian garments were ornamented to anything -like the same extent as ancient Assyrian; the frequent fringes of the -ancient Assyrian costumes were not nearly so lavishly employed in the -ancient Persian style. - - -MATERIAL - -Linen and wool were most probably the chief materials used in ancient -Persian costume, but there are indications that leather may have been -rather extensively employed in the more tight-fitting garments. - -It must not be taken that either in Assyrian or ancient Persian dress -the garments fitted as smoothly and tightly as might be imagined from -the sculptured and painted representations; it is true folds are -sometimes indicated, but the chief concern of the artists of both styles -was to show the human figure and richly decorative ornament. - - -DATES - -The illustrations here given of ancient Persian costumes date about the -sixth and fifth centuries B.C. with two of neighbouring nations dating -eighth century B.C. and sixth and fifth centuries B.C. respectively. - - -MEN AND WOMEN: THE DIFFERENCE IN THEIR DRESS - -There is not sufficient information to form a definite picture of the -women’s dress of this period and style; most probably it was a simple -tunic and shawl like that worn in Assyria, but an interesting fact is -that we have a representation of the Queen of a Persian King who reigned -in the fifth century A.D. who is wearing trousers, which, it will be -remembered, are worn by Persian women of the present day. In this -connection it may be noted that the history of costume, as developed -through the use of woven materials, presents a much more simple aspect -than the history of those styles bearing evidences of having been first -cut from leather. A moment’s reflection will make it clear that in the -case of woven stuffs the most economical system of cutting, and indeed -the most obvious, for the primitive dress fashioner, was based on the -rectangle. On the other hand, the fashioner of leather garments would -naturally try to fit the human body with, as it were, a second skin, -hence trousers and tight-fitting jackets may appear in very early -civilizations. - - For list of authorities see Ancient Assyrian Costume. - -PLATE XVI. is a representation of Darius, King of Persia, sixth and -fifth centuries B.C.; he is wearing the Median “Robe of Honour.” It will -be seen from the plan (Fig. 40A) that this robe is sewn up each side, -leaving a space of 20 inches on either side for the hands. Like the -Egyptian robe, the material required is twice the height of the figure, -the material is doubled, a neck-hole cut, and the garment is pulled on -over the head. The Persian or Median method of wearing the garment is -unique: a girdle is tightly bound round the waist, and then the robe is -pulled up at either side over the girdle so as to produce the very -elegant effect shown in Plate XVI. and Fig. 40, which is a modern -drawing of the front view of Plate XVI., the result giving great freedom -to the arms. The King seems to have two robes of the same cut, one under -the other. - -[Illustration: Fig. 40A] - -[Illustration: Fig. 40] - -[Illustration: PLATE XVI - -_M.G.H. del._ _F.S.H. pinx._ - -DARIUS, KING OF PERSIA] - -[Illustration: Fig. 41A] - -To arrange the drapery, dating sixth to fifth centuries B.C., on Fig. -41, take the corner b of Fig. 41A in the left hand, letting the rest of -the drapery fall down the back, draw the edge b-a across the back, then -under the right arm-pit across the chest, and throw the corner a upwards -and over the left shoulder; a will hang down the back. It will be noted -that this garment is weighted at the corners; this keeps it in position. - -Fig. 42 is a modern drawing showing the garment in front view. - -[Illustration: Fig. 42] - -[Illustration: Fig. 41] - -[Illustration: Fig. 43A] - -Fig. 43, dating eighth century B.C., is wearing cloak (see Fig. 43A) -partly fringed. It is worn much in the same manner as Fig. 41, but in -Fig. 43 the corner a is thrown backwards over the left shoulder, and the -edge a-b is passed across the chest and under the right arm-pit, then -drawn across the back, and the corner b falls down in front of the left -shoulder. - -This costume is not Persian, but that of some nation to the east of -Persia in northern Asia Minor. The wearing of boots with upturned toes -as here shown seems to have extended from Persia across northern Asia -Minor to the Mediterranean even as far west as Italy. - -Fig. 44 is a modern drawing showing the garment in front view. - -[Illustration: Fig. 44] - -[Illustration: Fig. 43] - -Fig. 45 is wearing a short-sleeved coat over a tunic. The edging shown -is probably uncut fringe; in reality it would not fit the figure neatly, -as the ancient artist has indicated, but would hang rather loosely. - -Fig. 45A shows the method of cutting. - -[Illustration: Fig. 45A] - -The costume is considered to be that of a Jewish captive of the Persian -conqueror and dates sixth to fifth centuries B.C. - -[Illustration: Fig. 45] - -Fig. 46, which dates sixth to fifth centuries B.C., is wearing over a -tunic and trousers (see Fig. 46B) an overcoat with a set-in sleeve (see -Fig. 46B), turned-over collar and cuffs, and tied in front with ribbons. -The plan (Fig. 46A) shows one of the earliest known methods of setting -in the sleeve; the collar in this plan is represented turned forward and -lying flat. - -[Illustration: Fig. 46A] - -[Illustration: Fig. 46B] - -The tunic worn by this figure, under his long overcoat, and also the -trousers would most probably be of leather. - -[Illustration: Fig. 46] - - * * * * * - - PEEPS AT ANCIENT CIVILIZATIONS - - NEW VOLUMES IN THE - - “PEEPS AT MANY LANDS” SERIES - - ANCIENT ASSYRIA - - ANCIENT EGYPT - - ANCIENT GREECE - - ANCIENT ROME - - By REV. 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The splendour of the Court of =Ancient Egypt=, the -achievements of the Egyptians in exploration, conquest, art, -architecture, and science are indicated, and special stress has been -laid upon the depiction of child life and its surroundings. =Ancient -Greece= is depicted when the nation was at the summit of its glory and -achievement, while its matchless art and the effect of the universal -prevalence of athletic training in the physical development of the race -are given special prominence. Dealing with =Ancient Rome= the writer -reconstructs the early Empire and the Imperial City at the time of its -greatest splendour, and we are conducted in spirit to the Chariot Races -at the Circus Maximus and the Gladiatorial Sports at the Colosseum. - -The illustrations in the volumes faithfully depict the life and costume -of the period and include examples of the pictorial and sculptured art, -the architecture, and some imaginative scenes from the legends of those -old days. - - * * * * * - - PUBLISHED BY - - A. & C. BLACK, LTD., 4, 5 & 6 SOHO SQUARE, LONDON, W. 1 - - * * * * * - - OTHER VOLUMES BY REV. JAMES BAIKIE, F.R.A.S. - - * * * * * - - LANDS AND PEOPLES OF - THE BIBLE - - A HANDBOOK FOR BIBLE STUDENTS - - _Crown 8vo., cloth bound. Containing 48 Full-Page Illustrations from - Photographs._ - - _Daily News._--“This is a book of great interest.” - - _Edinburgh Evening News._--“Mr. Baikie has a clear and graphic - style, and altogether this book is a well-written and up-to-date - summary covering a wide field.” - - _Liverpool Courier._--“A volume heartily to be commended.” - - * * * * * - - THE STORY OF THE PHARAOHS - - A SHORT HISTORY OF ANCIENT EGYPT - - _Large Crown 8vo., cloth bound. Containing 32 Full-Page Illustrations - from Photographs, and 49 Illustrations in the Text._ - - _Oxford Magazine._--“While the latest conclusions of archæological - investigation are embodied in the narrative, all unnecessary - details are omitted, and the story flows on with ease and - rapidity.” - - _Aberdeen Free Press._--“At once popular and scholarly, and of - great service. The main facts have been woven into a narrative of - marvellous vividness in which accuracy has not in the least been - sacrificed to effect.” - - * * * * * - - THE SEA-KINGS OF CRETE - - AND THE PREHISTORIC CIVILIZATION OF GREECE - - _Large Crown 8vo., cloth. Containing 32 Full-Page Illustrations from - Photographs._ - -The writer’s aim in this volume has been to present to the general -reader, in an untechnical and readable form, the results of the various -explorations which have recently done so much to enlarge our knowledge -of the great prehistoric civilization which preceded that of classic -Greece, and on whose ruins Greek culture, as we know it, arose. The -ancient legends pointing to the existence of a great sea-power in -prehistoric Crete are narrated, and a short account is given of the -civilization assumed in the Homeric poems. Thereafter, the work of -Schliemann, leading to the discovery of the Mycenæan culture, is briefly -described, and, turning to Crete itself, an account is given of the -remarkable discoveries at Knossos, Phæstos, and elsewhere, which have -revealed the relics of the wonderful empire of the Minoan sea-kings with -its advanced civilization. - - * * * * * - - PUBLISHED BY - - A. & C. BLACK, LTD., 4, 5 & 6 SOHO SQUARE, LONDON, W. 1 - - - - - - - -End of the Project Gutenberg EBook of Ancient Egyptian, Assyrian, and -Persian costumes and decoration, by Mary G. 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Houston and Florence Hornblower. -</title> -<style type="text/css"> - p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;} - -.bl {border-left:1px solid black; -padding-left:1em;} - -.c {text-align:center;text-indent:0%;} - -.cb {text-align:center;text-indent:0%;font-weight:bold;} - -.nind {text-indent:0%;} - -.nonvis {display:inline;} - @media print, handheld - {.nonvis - {display: none;} - } - -.plte {border:2px solid gray;padding:1em; -background-color:#EEE9D5;} - -.r {text-align:right;margin-right: 5%;} -.rt {text-align:right;} - -.spc {margin:auto 12% auto 12%;} -.spc9 {margin:auto 9% auto 9%;} -.spc6 {margin:auto 6% auto 6%;} - -small {font-size: 70%;} - -big {font-size: 130%;} - - h1 {margin-top:5%;text-align:center;clear:both;} - - h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both; - font-size:120%;} - - h3 {margin:4% auto 2% auto;text-align:center;clear:both; -font-size:100%;} - - hr {width:100%;margin:.5em auto .5em auto;clear:both;color:black;} - - hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black; -padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;} - - table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;} - - body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;} - -a:link {background-color:#ffffff;color:blue;text-decoration:none;} - - link {background-color:#ffffff;color:blue;text-decoration:none;} - -a:visited {background-color:#ffffff;color:purple;text-decoration:none;} - -a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;} - -.smcap {font-variant:small-caps;font-size:100%;} - - img {border:none;} - -.blockquot {margin-top:2%;margin-bottom:5%;font-size:90%;} - -.caption {font-weight:bold;font-size:75%;} - -.captionrt {font-weight:bold;font-size:75%; -margin-left:20%;} - -.figcenter {margin-top:3%;margin-bottom:3%;clear:both; -margin-left:auto;margin-right:auto;text-align:center;text-indent:0%;} - @media print, handheld - {.figcenter - {page-break-before: avoid;} - } - -.lft {margin:5% 60% 5% 5%;} - -.figleft {float:left;clear:left;margin-left:0;margin-bottom:1em;margin-top:1em;margin-right:1em;padding:0;text-align:center;} - -.pagenum {font-style:normal;position:absolute; -left:95%;font-size:55%;text-align:right;color:gray; -background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;} -@media print, handheld -{.pagenum - {display: none;} - } - -.size90 {font-size:90%;} - -div.blq {text-align:center;} -div.qute {font-size:90%;margin:auto auto;text-indent:0%; -display: inline-block; text-align: left;} - -</style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of Ancient Egyptian, Assyrian, and Persian -costumes and decorations, by Mary G. Houston and Florence Hornblower - -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/license - - -Title: Ancient Egyptian, Assyrian, and Persian costumes and decorations - -Author: Mary G. Houston - Florence Hornblower - -Release Date: March 4, 2017 [EBook #54280] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK ANCIENT EGYPTIAN, ASSYRIAN *** - - - - -Produced by Turgut Dincer, Chuck Greif and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<p class="figcenter"> -<a href="images/cover_lg.jpg"> -<img src="images/cover.jpg" width="320" height="500" alt="Image unavailable: book's cover" /></a> -</p> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:auto auto;max-width:50%; -padding:1%;"> -<tr><td> - -<p class="c"><a href="#CONTENTS">Contents.</a></p> -<p class="c"><a href="#LIST_OF_PLATES">List of Plates</a><br /> -<a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> -<a href="#LIST_OF_CUT_OUT_PATTERNS_OR_PLANS_OF_GARMENTS">List of Cut Out Patterns or Plans of Garments</a><br /> -<a href="#LIST_OF_DATED_GARMENTS">List of Dated Garments</a> -<br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image -will bring up a larger version.)</span></p> - -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<div class="lft"> -<p class="cb">A<br /> -TECHNICAL HISTORY<br /> -OF COSTUME<br /> -*</p> -</div> - -<p class="cb">ANCIENT EGYPTIAN, ASSYRIAN, AND<br /> -PERSIAN COSTUMES -</p> - -<p><span class="pagenum"><a name="page_i" id="page_i"></a>{i}</span> </p> - -<p><span class="pagenum"><a name="page_ii" id="page_ii"></a>{ii}</span> </p> - -<div class="blq"> -<div class="qute"> - -<p class="c"><span class="smcap">In Preparation</span></p> - -<p class="nind">ANCIENT GREEK, ROMAN AND<br /> -BYZANTINE COSTUME AND DECORATIONS.</p> -<p class="c">———</p> - -<p class="nind">EUROPEAN COSTUME FROM THE<br /> -THIRTEENTH CENTURY TO THE<br /> -COMMENCEMENT OF THE SEVENTEENTH<br /> -CENTURY——WITH DECORATIONS.</p> -<p class="c">———</p> - -<p class="nind">TYPES OF INDIAN, PERSIAN, CHINESE<br /> -AND JAPANESE COSTUME AND DECORATIONS.<br /> -<span class="smcap">With Notes on Various Additional<br /> -Types of Primitive Garments.</span><br /> -</p></div> -</div> - -<table border="0" cellpadding="2" cellspacing="0" summary="" -style="font-weight:bold;font-size:70%;"> -<tr><td align="left"> </td><td><span style="margin-left: 4em;">AGENTS</span></td></tr> -<tr><td align="left">AMERICA</td><td align="left">THE MACMILLAN COMPANY</td></tr> -<tr><td align="left"> </td><td align="left">64 & 66 Fifth Avenue, NEW YORK</td></tr> -<tr><td align="left">AUSTRALASIA</td><td align="left">OXFORD UNIVERSITY PRESS</td></tr> -<tr><td align="left"> </td><td align="left">205 Flinders Lane, MELBOURNE</td></tr> -<tr><td align="left">CANADA</td><td align="left">THE MACMILLAN COMPANY OF CANADA. LTD.</td></tr> -<tr><td align="left"> </td><td align="left">St. Martin’s House, 70 Bond Street, TORONTO</td></tr> -<tr><td align="left">INDIA</td><td align="left">MACMILLAN & COMPANY, LTD.</td></tr> -<tr><td align="left"> </td><td align="left">Macmillan Building, BOMBAY</td></tr> -<tr><td align="left"> </td><td align="left">309 Bow Bazaar Street, CALCUTTA</td></tr> -</table> - -<p><span class="pagenum"><a name="page_iii" id="page_iii"></a>{iii}</span></p> - -<h1> -ANCIENT EGYPTIAN<br /> -ASSYRIAN AND<br /> -PERSIAN COSTUMES<br /> - -<small>AND DECORATIONS</small></h1> -<p class="c"> -BY<br /> - -MARY G. HOUSTON<br /> - -<small>AND</small><br /> - -FLORENCE S. HORNBLOWER<br /> -<br /> -<small>CONTAINING TWENTY-FIVE FULL-PAGE ILLUSTRATIONS,<br /> -SIXTEEN OF THEM IN COLOUR, AND SIXTY LINE<br /> -DIAGRAMS IN THE TEXT</small><br /> -<br /> -A. & C. BLACK, LIMITED<br /> -4, 5 & 6 SOHO SQUARE, LONDON, W. 1.<br /> -1920<br /> -</p> - -<p><span class="pagenum"><a name="page_iv" id="page_iv"></a>{iv}</span> </p> - -<p><span class="pagenum"><a name="page_v" id="page_v"></a>{v}</span> </p> - -<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h2> - -<p class="nind"><span class="smcap">If</span> this work is to be kept within its limitations, it is naturally -impossible to give a complete survey of all the varieties of the various -styles. To get this knowledge it will be necessary to consult the works -of reference, of which lists are given in each section. On the other -hand, the special aspect of the work is more fully treated than in any -other accessible book upon the subject.</p> - -<p>Every illustration of costume given has been actually cut out and made -up before being sketched, except in a few cases which are of the nature -of duplicates, so that by following the directions given it will be easy -for anyone to reproduce them in material. Where decoration is required, -the exact drawing and colouring of the various styles of Historic -Ornament, which are the work of F. S. Hornblower (who has also coloured -the costumes where necessary), will enable such details to be -appropriately applied.</p> - -<p>Throughout the book, the illustrations are given by means of facsimiles -of drawings by artists of the various centuries, so that a historic -survey of the History of Figure Drawing will be included. Where the -drawings of primitive artists do not clearly express the ideas intended -to be conveyed, a modern drawing<span class="pagenum"><a name="page_vi" id="page_vi"></a>{vi}</span> of the garment on a dress-stand will -be used for explanation of the measured drawings of the cut-out -garments. The growing appreciation of the beauty and value of the -earlier and more primitive systems of cutting shown in modern dress -designing for the last decade, when the so-called Magyar blouse (really -the simple tunic common to all primitive folk) began to be popular, will -make the present volume a convenient form of inspiration for designers; -also, where more exact reproduction is needed, as in theatrical work, -pageantry, and so forth, the careful working out of the details of cut -and decoration will expedite production and save hours of fruitless -searching in reference libraries.</p> - -<p>To the Art Student, in addition to the always interesting history of -costume, the development of the Art of Representation, as shown in the -illustrations of these volumes, which is so strangely repeated in the -personal history of every young person learning to draw, will be -attractive and instructive. Finally, in connection with the history -lesson in the ordinary school, teachers will find the illustrations -clear and helpful, especially if dramatic representations are attempted.</p> - -<p class="r"> -MARY G. HOUSTON.<br /> -</p> - -<p><span class="pagenum"><a name="page_vii" id="page_vii"></a>{vii}</span></p> - -<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> - -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> -<tr><td><a href="#ANCIENT_EGYPTIAN_COSTUME">ANCIENT EGYPTIAN COSTUME</a></td><td class="rt"><a href="#page_1">1</a></td></tr> -<tr><td><a href="#ANCIENT_ASSYRIAN_COSTUME">ANCIENT ASSYRIAN COSTUME</a></td><td class="rt"><a href="#page_43">43</a></td></tr> -<tr><td><a href="#ANCIENT_PERSIAN_COSTUME">ANCIENT PERSIAN COSTUME</a></td><td class="rt"><a href="#page_75">75</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_viii" id="page_viii"></a>{viii}</span> </p> - -<p><span class="pagenum"><a name="page_ix" id="page_ix"></a>{ix}</span> </p> - -<h2><a name="LIST_OF_PLATES" id="LIST_OF_PLATES"></a>LIST OF PLATES<br /><br /> -<small>IN COLOUR</small></h2> - -<table border="0" cellpadding="2" cellspacing="0" summary=""> - -<tr><td><small>PLATE</small></td> <td> </td> <td><small>PAGE</small></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_I">I.</a></td><td valign="top"><a href="#plt_I"><span class="smcap">Ancient Egyptian Goddess</span></a></td><td class="rt" valign="bottom"><a href="#page_7">7</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_II">II.</a></td><td valign="top"><a href="#plt_II"><span class="smcap">Ancient Egyptian Queen</span></a></td><td class="rt" valign="bottom"><a href="#page_9">9</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_III">III.</a></td><td valign="top"><a href="#plt_III"><span class="smcap">Ancient Egyptian Decoration</span></a></td><td class="rt" valign="bottom"><a href="#page_13">13</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_IV">IV.</a></td><td valign="top"><a href="#plt_IV"><span class="smcap">The God Osiris</span></a></td><td class="rt" valign="bottom"><a href="#page_15">15</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_V">V.</a></td><td valign="top"><a href="#plt_V"><span class="smcap">Ani, a Scribe</span></a></td><td class="rt" valign="bottom"><a href="#page_17">17</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_VI">VI.</a></td><td valign="top"><a href="#plt_VI"><span class="smcap">Thuthu, Wife of Ani</span></a></td><td class="rt" valign="bottom"><a href="#page_21">21</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_VII">VII.</a></td><td valign="top"><a href="#plt_VII"><span class="smcap">Ancient Egyptian Decoration</span></a></td><td class="rt" valign="bottom"><a href="#page_23">23</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_VIII">VIII.</a></td><td valign="top"><a href="#plt_VIII"><span class="smcap">Ancient Egyptian Queen</span></a></td><td class="rt" valign="bottom"><a href="#page_25">25</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_IX">IX.</a></td><td valign="top"><a href="#plt_IX"><span class="smcap">Ancient Egyptian Decoration</span></a></td><td class="rt" valign="bottom"><a href="#page_29">29</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_X">X.</a></td><td valign="top"><a href="#plt_X"><span class="smcap">Ancient Egyptian Priestess</span></a></td><td class="rt" valign="bottom"><a href="#page_33">33</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_XI">XI.</a></td><td valign="top"><a href="#plt_XI"><span class="smcap">Ancient Assyrian Personage</span></a></td><td class="rt" valign="bottom"><a href="#page_51">51</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_XII">XII.</a></td><td valign="top"><a href="#plt_XII"><span class="smcap">Ancient Assyrian Decoration</span></a></td><td class="rt" valign="bottom"><a href="#page_61">61</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_XIII">XIII.</a></td><td valign="top"><a href="#plt_XIII"><span class="smcap">King Assur-nasir-pal</span></a></td><td class="rt" valign="bottom"><a href="#page_63">63</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_XIV">XIV.</a></td><td valign="top"><a href="#plt_XIV"><span class="smcap">Queen of Assur-bani-pal</span></a></td><td class="rt" valign="bottom"><a href="#page_71">71</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_XV">XV.</a></td><td valign="top"><a href="#plt_XV"><span class="smcap">Ancient Assyrian Jewellery and Tassels</span></a></td><td class="rt" valign="bottom"><a href="#page_73">73</a></td></tr> - -<tr><td class="rt" valign="top"><a href="#plt_XVI">XVI.</a></td><td valign="top"><a href="#plt_XVI"><span class="smcap">Darius, King of Persia</span></a></td><td class="rt" valign="bottom"><a href="#page_81">81</a></td></tr> -</table> - -<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS<br /> -<small>IN THE TEXT, OTHER THAN PLANS</small></h2> - -<table border="0" cellpadding="2" cellspacing="0" summary="" - class="smcap"> - -<tr><td valign="top">Fig. <a href="#fig_2">2</a>.</td><td valign="top">Tunic with Braces</td><td class="rt" valign="bottom"><a href="#page_11">11</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_3">3</a>.</td><td valign="top">Tunic with Short Sleeves</td><td class="rt" valign="bottom"><a href="#page_11">11</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_4">4</a>.</td><td valign="top">Sleeveless Tunic<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span></td><td class="rt" valign="bottom"><a href="#page_11">11</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_5">5</a>.</td><td valign="top">Robe, Undraped</td><td class="rt" valign="bottom"><a href="#page_14">14</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_6">6</a>.</td><td valign="top">Robe, Draped and Girded</td><td class="rt" valign="bottom"><a href="#page_18">18</a></td></tr> - -<tr><td valign="top">Figs. <a href="#fig_7">7</a>, <a href="#fig_8">8</a> and <a href="#fig_9">91</a>.</td><td valign="top">Three Views of a Draped Robe</td><td class="rt" valign="bottom"><a href="#page_19">19</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_10">10</a>.</td><td valign="top">Robe Draped on a Woman</td><td class="rt" valign="bottom"><a href="#page_20">20</a></td></tr> - -<tr><td valign="top">Figs. <a href="#fig_11">11</a> and <a href="#fig_12">12</a>.</td><td valign="top">Two Skirts and a Cape</td><td class="rt" valign="bottom"><a href="#page_27">27</a></td></tr> - -<tr><td valign="top">Figs. <a href="#fig_13">13</a>, <a href="#fig_14">14</a> and <a href="#fig_15">151</a>.</td><td valign="top">Skirts, Cloaks and a Cape</td><td class="rt" valign="bottom"><a href="#page_31">31</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_16">16</a>.</td><td valign="top">Shawl or Drapery</td><td class="rt" valign="bottom"><a href="#page_32">32</a></td></tr> - -<tr><td valign="top">Figs. <a href="#fig_17">17</a> and <a href="#fig_19">19</a>.</td><td valign="top">Two Drapings of Shawls</td><td class="rt" valign="bottom"><a href="#page_35">35</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_18">18</a>.</td><td valign="top">A Simple Shawl Drapery</td><td class="rt" valign="bottom"><a href="#page_37">37</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_20">20</a>.</td><td valign="top">Draping of a Cloak</td><td class="rt" valign="bottom"><a href="#page_38">38</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_21">21</a>.</td><td valign="top">Military Corselet and Apron-like Appendage</td><td class="rt" valign="bottom"><a href="#page_39">39</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_22">22</a>.</td><td valign="top">Robe with Corselet and Girdle</td><td class="rt" valign="bottom"><a href="#page_39">39</a></td></tr> - -<tr><td valign="top">Figs. <a href="#fig_23">23</a>, <a href="#fig_24">24</a> and <a href="#fig_25">251</a>.</td><td valign="top">An Indian Sari</td><td class="rt" valign="bottom"><a href="#page_41">41</a></td></tr> - -<tr><td valign="top">Figs. <a href="#fig_26">26</a>, <a href="#fig_27">27</a> and <a href="#fig_28">281</a>.</td><td valign="top">Three Views of a Shawl Drapery</td><td class="rt" valign="bottom"><a href="#page_49">49</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_30">30</a>.</td><td valign="top">Belted Tunic and Small Shawl</td><td class="rt" valign="bottom"><a href="#page_53">53</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_31">31</a>.</td><td valign="top">Belted Tunic with Fringe Draping</td><td class="rt" valign="bottom"><a href="#page_55">55</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_32">32</a>.</td><td valign="top">Short Tunic with Small Shawl and Belt</td><td class="rt" valign="bottom"><a href="#page_57">57</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_33">33</a>.</td><td valign="top">Tunic Draped with Shawl</td><td class="rt" valign="bottom"><a href="#page_59">59</a></td></tr> - -<tr><td valign="top">Figs. <a href="#fig_34">34</a>, <a href="#fig_35">35</a> and <a href="#fig_36">361</a>.</td><td valign="top">Folded Drapery over Tunic</td><td class="rt" valign="bottom"><a href="#page_65">65</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_37">37</a>.</td><td valign="top">Folded Drapery over Tunic</td><td class="rt" valign="bottom"><a href="#page_67">67</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_38">38</a>.</td><td valign="top">Semicircular and Folded Draperies</td><td class="rt" valign="bottom"><a href="#page_67">67</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_39">39</a>.</td><td valign="top">Richly Decorated Tunic</td><td class="rt" valign="bottom"><a href="#page_69">69</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_40">40</a>.</td><td valign="top">Robe, Belted and Draped</td><td class="rt" valign="bottom"><a href="#page_80">80</a></td></tr> - -<tr><td valign="top">Figs. <a href="#fig_41">41</a> and <a href="#fig_42">42</a>.</td><td valign="top">A Drapery in Ancient and in Modern Drawing</td><td class="rt" valign="bottom"><a href="#page_83">83</a></td></tr> - -<tr><td valign="top">Figs. <a href="#fig_43">43</a> and <a href="#fig_44">44</a>.</td><td valign="top">A Drapery in Ancient and in Modern Drawing</td><td class="rt" valign="bottom"><a href="#page_85">85</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_45">45</a>.</td><td valign="top">Short-Sleeved Coat over Tunic</td><td class="rt" valign="bottom"><a href="#page_87">87</a></td></tr> - -<tr><td valign="top">Fig. <a href="#fig_46">46</a>.</td><td valign="top">Overcoat, Short Tunic and Trousers</td><td class="rt" valign="bottom"><a href="#page_89">89</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_xi" id="page_xi"></a>{xi}</span></p> - -<h2><a name="LIST_OF_CUT_OUT_PATTERNS_OR_PLANS_OF_GARMENTS" id="LIST_OF_CUT_OUT_PATTERNS_OR_PLANS_OF_GARMENTS"></a>LIST OF CUT OUT PATTERNS OR PLANS OF GARMENTS</h2> - -<table border="0" cellpadding="2" cellspacing="0" summary="" - class="smcap"> - -<tr><td> </td><td><small>PAGES</small></td></tr> -<tr><td valign="top">Tunics, with Braces</td><td valign="bottom"> <a href="#page_8">8</a> <small>AND</small> <a href="#page_11">11</a></td></tr> - -<tr><td valign="top">Tunic, Sleeveless</td><td valign="bottom"> <a href="#page_11">11</a></td></tr> - -<tr><td valign="top">Tunics, with Sleeves</td><td valign="bottom"> <a href="#page_11">11</a> <small>AND</small> <a href="#page_69">69</a></td></tr> - -<tr><td valign="top">Robes</td><td valign="bottom"> <a href="#page_14">14</a> <small>AND</small> <a href="#page_80">80</a></td></tr> - -<tr><td valign="top">Skirt</td><td valign="bottom"> <a href="#page_26">26</a></td></tr> - -<tr><td valign="top">Cape</td><td valign="bottom"> <a href="#page_26">26</a></td></tr> - -<tr><td valign="top">Collar</td><td valign="bottom"> <a href="#page_26">26</a></td></tr> - -<tr><td valign="top">Shawls or Draperies</td><td valign="bottom"> <a href="#page_34">34</a>, <a href="#page_35">35</a>, <a href="#page_37">37</a>, <a href="#page_41">41</a>, <a href="#page_49">49</a>, <a href="#page_50">50</a>, <a href="#page_62">62</a>, <a href="#page_67">67</a>, <a href="#page_82">82</a>, <a href="#page_84">84</a></td></tr> - -<tr><td valign="top">Cloak</td><td valign="bottom"> <a href="#page_38">38</a></td></tr> - -<tr><td valign="top">Corselets</td><td valign="bottom"> <a href="#page_39">39</a></td></tr> - -<tr><td valign="top">Coats</td><td valign="bottom"> <a href="#page_86">86</a> <small>AND</small> <a href="#page_88">88</a></td></tr> - -<tr><td valign="top">Trousers</td><td valign="bottom"> <a href="#page_88">88</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_xii" id="page_xii"></a>{xii}</span></p> - -<h2><a name="LIST_OF_DATED_GARMENTS" id="LIST_OF_DATED_GARMENTS"></a>LIST OF DATED GARMENTS<br /> -<small>ILLUSTRATED</small></h2> - -<table border="0" cellpadding="4" cellspacing="0" summary=""> - -<tr> -<td class="c" colspan="4">ANCIENT EGYPTIAN SECTION</td></tr> - -<tr> -<td> </td> -<td class="rt"><small>PAGE</small></td> -<td> </td> -<td class="rt"><small>PAGE</small></td></tr> - -<tr> -<td valign="top">3700 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_10">10</a></td> -<td class="bl">1200 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_38">38</a></td></tr> -<tr> -<td valign="top">2500 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_16">16</a></td> -<td class="bl">700 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_6">6</a></td></tr> -<tr> -<td valign="top">1700 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_8">8</a> <small>AND</small> <a href="#page_10">10</a></td> -<td class="bl">550 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_36">36</a></td></tr> -<tr> -<td valign="top">1600 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_36">36</a></td> -<td class="bl"><span class="smcap">Fourth Century</span> <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_30">30</a></td></tr> -<tr> -<td valign="top">1500 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_10">10</a></td> -<td class="bl"><span class="smcap">First Century</span> <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_8">8</a></td></tr> -<tr> -<td valign="top">1450 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_16">16</a> <small>AND</small> <a href="#page_20">20</a></td> -<td class="bl"><small>A.D.</small> 200</td> -<td class="rt" valign="bottom"><a href="#page_30">30</a></td></tr> -<tr> -<td valign="top">1300 <small>B.C.</small></td> -<td class="rt" valign="bottom"><a href="#page_36">36</a></td> -<td class="bl"><small>A.D.</small> 1920</td> -<td class="rt" valign="bottom"><a href="#page_40">40</a></td></tr> -</table> - -<table border="0" cellpadding="2" cellspacing="0" summary=""> - -<tr><td valign="top" class="c" colspan="2">ANCIENT ASSYRIAN SECTION</td></tr> - -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> - -<tr><td valign="top">2500 <small>B.C.</small> </td><td valign="top" class="rt"> <a href="#page_48">48</a></td></tr> -<tr><td valign="top">1000 <small>B.C.</small> </td><td valign="top" class="rt"> <a href="#page_50">50</a></td></tr> -<tr><td valign="top"><span class="smcap">Ninth Century</span> <small>B.C.</small> </td><td valign="top" class="rt"> <a href="#page_52">52</a>, <a href="#page_56">56</a> <small>AND</small> <a href="#page_62">62</a></td></tr> -<tr><td valign="top"><span class="smcap">Eighth Century</span> <small>B.C.</small></td><td valign="top" class="rt"> <a href="#page_58">58</a></td></tr> -<tr><td valign="top"><span class="smcap">Seventh Century</span> <small>B.C.</small> </td><td valign="top" class="rt"> <a href="#page_68">68</a> <small>AND</small> <a href="#page_70">70</a></td></tr> - -<tr><td> </td></tr> -<tr><td valign="top" class="c" colspan="2">ANCIENT PERSIAN SECTION</td></tr> - -<tr><td valign="top"><span class="smcap">Eighth Century</span> <small>B.C.</small> </td><td valign="top" class="rt"> <a href="#page_84">84</a></td></tr> - -<tr><td valign="top"><span class="smcap">Sixth to Fifth Centuries</span> <small>B.C.</small> </td><td valign="top" class="rt"> <a href="#page_80">80</a>, <a href="#page_82">82</a>, <a href="#page_86">86</a> <small>AND</small> <a href="#page_88">88</a></td></tr> -<tr><td> </td></tr> - -<tr><td valign="top" class="c" colspan="2">DECORATION</td></tr> - -<tr><td valign="top"><span class="smcap">Ancient Egyptian Decoration</span> </td><td valign="top" class="rt"> <a href="#page_13">13</a>, <a href="#page_23">23</a> <small>AND</small> <a href="#page_29">29</a></td></tr> -<tr><td valign="top"><span class="smcap">Ancient Assyrian Decoration</span> </td><td valign="top" class="rt"> <a href="#page_61">61</a>, <a href="#page_69">69</a> <small>AND</small> <a href="#page_73">73</a></td></tr> - -<tr><td valign="top">WORKS OF REFERENCE </td><td valign="top" class="rt"> <a href="#page_5">5</a> <small>AND</small> <a href="#page_47">47</a></td></tr> -</table> - -<p><span class="pagenum"><a name="page_1" id="page_1"></a>{1}</span></p> - -<h2><a name="ANCIENT_EGYPTIAN_COSTUME" id="ANCIENT_EGYPTIAN_COSTUME"></a>ANCIENT EGYPTIAN COSTUME</h2> - -<p><span class="pagenum"><a name="page_2" id="page_2"></a>{2}</span></p> - -<p><span class="pagenum"><a name="page_3" id="page_3"></a>{3}</span></p> - -<p class="cb">GENERAL DESCRIPTION<br /> -OF<br /> -ANCIENT EGYPTIAN COSTUME</p> - -<h3>CUTTING OUT</h3> - -<p>As far as the cutting out of ancient Egyptian costume is concerned, we -may divide it broadly into four types—namely: (1) The type of the -<i>tunic</i>. (2) The type of the <i>robe</i>. (3) The type of the <i>skirt</i>, with -or without cape. (4) The type of the <i>shawl</i> or <i>drapery</i>. The one or -two varieties which occur in addition to these may be found in military -dress and adaptations from the costumes of other countries. All the -varieties above referred to are described in detail in this volume.</p> - -<h3>DECORATION AND COLOURING</h3> - -<p>Though we find Egyptian costume in many instances decorated all over -with woven or printed patterns, decoration in the main was confined to -accessories such as the head-dress, collar, and girdle, these being -often painted, embroidered, beaded, or jewelled. See various examples -given. The colouring which was usually,<span class="pagenum"><a name="page_4" id="page_4"></a>{4}</span> though not invariably, confined -to the decorations consisted of simple schemes, variations of the hues -of red, blue, green, yellow, and deep purple described on <a href="#page_66">p. 66</a>.</p> - -<h3>MATERIAL</h3> - -<p>The material used in the costumes was chiefly linen. In the most ancient -types it was of a fairly thick, coarse weave; but in the later examples -a fine thin linen, loosely woven so as to appear almost transparent, was -used. The linen has often a stiffened appearance, and also gives the -idea of having been goffered or pleated.</p> - -<h3>DATES</h3> - -<p>The earliest types of costume were the tunics; midway come the robes and -skirts, and the draped or shawl type of costume appears the latest. -However, the older types of costume did not disappear as the new ones -were introduced, but all continued to be worn contemporaneously. The -dates of most of the costumes in this volume are given with their -description, and have been verified at the British Museum.</p> - -<h3>MEN AND WOMEN: THE DIFFERENCE IN THEIR DRESS</h3> - -<p>It can easily be gathered from the illustrations that the types of -costume worn by both sexes were<span class="pagenum"><a name="page_5" id="page_5"></a>{5}</span> very similar. The high waist-line -prevails in feminine dress, while the male costume, if girded, was -generally confined about the hips.</p> - -<hr /> - -<table border="0" cellpadding="2" cellspacing="0" summary="" -style="font-size:90%;"> - -<tr><td class="c" colspan="2"><i>Egyptian Works of Reference.</i></td></tr> - -<tr valign="top"><td> -Prisse d’Avennes, “L’Art Egyptiens”;<br /> -Leeman, “Aegyptiche Monumente”;<br /> -Rossellini, “Monumenti Egitto”; -</td><td> - -Hottenroth, “Le Costume”;<br /> -Racinet, “Le Costume Historique”;<br /> -Sir J. G. Wilkinson, “Ancient Egyptians”;<br /> -</td></tr> - -<tr><td colspan="2"><p>British Museum Handbooks and Reproductions.</p></td></tr> - -<tr><td colspan="2"><p>These reproductions have lately been augmented and for those who cannot -visit the Museum will be found most useful.<span class="pagenum"><a name="page_6" id="page_6"></a>{6}</span></p></td></tr> - -</table> - -<h2>ANCIENT EGYPTIAN COSTUME</h2> - -<p class="c"><span class="smcap"><a href="#plt_I">Plate I.</a></span></p> - -<p><a href="#plt_I">Plate I.</a>, which dates 700 <small>B.C.</small>, is an exact copy of an Egyptian drawing. -It will be noticed that the Egyptian method of representing the figure -is a peculiar one. A modern representation of the same type of dress is -shown in <a href="#fig_2">Fig. 2</a>, and the plan of cutting in <a href="#fig_2A">Fig. 2<small>A</small></a> It should be noted -that this plan—namely, a tunic with braces—is in some instances shown -with the braces buttoned on each shoulder at the narrowest part. This -illustration is given as a type of Egyptian dress decoration, which -would be either printed, painted, or embroidered on the garment. It -might be considered that this type of dress more nearly approaches the -skirt than the tunic; but reaching, as it does, to the breast-line, and -comparing various examples which, as it were, gradually merge into the -sleeveless tunic which again merges into the tunic with short sleeves, -the present classification will be found to be the most convenient.<span class="pagenum"><a name="page_7" id="page_7"></a>{7}</span></p> - -<p><a name="plt_I" id="plt_I"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE I</span><br /> - -<a href="images/i_p007_lg.jpg"> -<img src="images/i_p007_sml.jpg" class="plte" width="251" height="450" alt="Image unavailable: PLATE I - -M.G.H. del. F.S.H. pinx. - -A GODDESS" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. -<br /> -A GODDESS</span> -</div> - -<p><span class="pagenum"><a name="page_8" id="page_8"></a>{8}</span></p> - -<h3><span class="smcap"><a href="#plt_II">Plate II.</a></span></h3> - -<p><a href="#plt_II">Plate II.</a>, which dates 1700 <small>B.C.</small> also first century <small>B.C.</small>, is an exact -copy of an Egyptian drawing of a woman wearing a species of tunic with -braces (plan, <a href="#fig_1">Fig. 1</a>). The striped decoration upon this tunic is -suggested by the lines of another type of Egyptian dress—namely, the -drawn-up skirt. The origin of the decoration can be easily understood by -a reference to the drapery on <a href="#plt_IX">Plate IX.</a> In the original of this drawing -the figure is represented with a lofty head-dress in addition to the -fillet of ribbon and the golden asp here shown, but for the sake of -getting the figure on a scale large enough to show clear details the -head-dress is omitted. The person represented is said to be Cleopatra -dressed as a goddess.</p> - -<p><a name="fig_1" id="fig_1"></a></p> - -<div class="figleft" style="width: 170px;"> -<a href="images/i_p008_lg.jpg"> -<img src="images/i_p008_sml.jpg" width="170" height="268" alt="Image unavailable: Fig. 1" /></a> -<br /> -<span class="caption">Fig. 1</span> -</div> - -<p><span class="pagenum"><a name="page_9" id="page_9"></a>{9}</span></p> - -<p><a name="plt_II" id="plt_II"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE II</span><br /> - -<a href="images/i_p009_lg.jpg"> -<img src="images/i_p009_sml.jpg" class="plte" width="255" height="450" alt="Image unavailable: PLATE II - -M.G.H. del. F.S.H. pinx. - -A QUEEN" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. -<br /> - -A QUEEN</span> -</div> - -<p><span class="pagenum"><a name="page_10" id="page_10"></a>{10}</span></p> - -<p>Figs. <a href="#fig_2">2</a>, <a href="#fig_3">3</a>, and <a href="#fig_4">4</a>, dating 1700, 1500, and 3700 <small>B.C.</small> respectively, are -wearing dresses of the first great type of Egyptian costume—namely, the -tunic type. They were made of fairly thick linen. <a href="#fig_2">Fig. 2</a> is put on by -stepping into it and pulling it up. Figs. <a href="#fig_3">3</a> and <a href="#fig_4">4</a> are put on over the -head; the measurements given will fit a slim figure without -underclothing. The origin of <a href="#fig_2">Fig. 2</a> was most probably a piece of linen -of the same length as this garment but wide enough to lap about half -round the figure and have a piece tucked in at the top to keep it -closed. This sort of tight drapery is quite commonly worn by negresses -in Africa to-day. We also find it on some ancient Egyptian wooden -statuettes, the drapery being of linen while the figure only is in -wood.<span class="pagenum"><a name="page_11" id="page_11"></a>{11}</span></p> - -<p><a name="fig_2" id="fig_2"></a></p> -<p><a name="fig_3" id="fig_3"></a></p> -<p><a name="fig_4" id="fig_4"></a></p> -<div class="figcenter"> -<a href="images/i_p011a_lg.jpg"> -<img src="images/i_p011a_sml.jpg" width="452" height="298" alt="Image unavailable: Fig. 2" /></a> -<br /> -<span class="caption">Fig. 2 -<span class="spc">Fig. 3</span> -Fig. 4</span> -</div> - -<p><a name="fig_2A" id="fig_2A"></a></p> -<p><a name="fig_3A" id="fig_3A"></a></p> -<p><a name="fig_4A" id="fig_4A"></a></p> - -<div class="figcenter"> -<a href="images/i_p011b_lg.jpg"> -<img src="images/i_p011b_sml.jpg" width="439" height="288" alt="Image unavailable: Fig. 3" /></a> -<br /> -<span class="caption">Fig. 2<small>A</small> -<span class="spc">Fig. 3<small>A</small></span> -Fig. 4<small>A</small></span> -</div> - -<p><span class="pagenum"><a name="page_12" id="page_12"></a>{12}</span></p> - -<h3><span class="smcap"><a href="#plt_III">Plate III.</a></span></h3> - -<p>It will be noticed that the Egyptian dress decoration is chiefly -confined to the collar, which will be seen in wear on Plates <a href="#plt_V">V</a>., <a href="#plt_VI">VI</a>., -<a href="#plt_VIII">VIII</a>., and <a href="#plt_X">X</a>. The patterns were either embroidered, painted, beaded, or -jewelled; the favourite lotus flower is almost always in evidence in the -designs (see a, b, c, and d on <a href="#plt_III">Plate III.</a>). On this plate also will be -seen several other characteristic borders (f, g, h, i), and two all-over -patterns (k, e), which were probably either stamped or tapestry-woven on -the dress fabric. The colouring of these patterns is chiefly taken from -<i>painted</i> representations of persons and ornaments. To arrive at the -exact colouring used if the garments were decorated with dyed materials -the description of the types of colours used in dyeing ancient Assyrian -and Persian costumes, see <a href="#page_66">p. 66</a>, will give a more exact notion of what -was worn. We have, in the British Museum, actual examples of dyed wools -and coloured beads used in dress decoration.<span class="pagenum"><a name="page_13" id="page_13"></a>{13}</span></p> - -<p><a name="plt_III" id="plt_III"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE III</span><br /> - -<a href="images/i_p013_lg.jpg"> -<img src="images/i_p013_sml.jpg" class="plte" width="300" height="450" alt="Image unavailable: PLATE III - -F.S.H. fec. - -DETAILS OF DECORATION" /></a> -<br /> -<span class="caption">F.S.H. fec. -<br /> -DETAILS OF DECORATION</span> -</div> - -<p><span class="pagenum"><a name="page_14" id="page_14"></a>{14}</span></p> - -<h3><span class="smcap"><a href="#plt_IV">Plate IV.</a></span></h3> - -<p><a href="#plt_IV">Plate IV.</a> belongs to the next great division of Egyptian costume, which -may be called the “Type of the Robe.” This illustration shows it in its -simplest form—namely, ungirded. To understand the quaint Egyptian -drawing of <a href="#plt_IV">Plate IV.</a> a reference to <a href="#fig_5">Fig. 5</a> is necessary, which is a -modern drawing of the same costume. As will be seen from the plan, <a href="#fig_5A">Fig. -5<small>A</small></a>, this garment consists of a piece of material twice the height of the -figure and folded over in the middle; a hole is here cut for the neck -and, in addition, a short slit down the front to allow of the garment -being pulled over the head. The material is sewn up the sides from the -bottom, leaving a space at the top for the passage of the arms. A -garment similar in type to this is worn at the present day in Egypt and -Syria, and also, strange to say, by the natives of Brazil.</p> - -<p>This robe should be compared with that worn by Darius, King of Persia, -later in this volume.</p> - -<table border="0" cellpadding="2" cellspacing="0" summary=""> -<tr class="c" valign="middle"><td><a name="fig_5" id="fig_5"></a> -<a href="images/i_p014a_lg.jpg"> -<img src="images/i_p014a_sml.jpg" width="124" height="206" alt="Image unavailable: Fig. 5" /></a> -<br /> -<span class="caption">Fig. 5</span> -</td> -<td class="size90"> -Musicians are often<br /> -represented wearing<br /> this robe, sometimes<br /> -rounded off -at each <br /> -side of the hem so that<br /> -it does not trail as it<br /> -does on <a href="#fig_5">Fig. 5</a>. -</td> -<td><a name="fig_5A" id="fig_5A"></a> -<a href="images/i_p014b_lg.jpg"> -<img src="images/i_p014b_sml.jpg" width="149" height="193" alt="Image unavailable: Fig. 5A" /></a> -<br /> -<span class="caption">Fig. 5<small>A</small></span> -</td></tr> -</table> - - -<p><span class="pagenum"><a name="page_15" id="page_15"></a>{15}</span></p> - -<p><a name="plt_IV" id="plt_IV"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE IV</span><br /> - -<a href="images/i_p015_lg.jpg"> -<img src="images/i_p015_sml.jpg" class="plte" width="250" height="450" alt="Image unavailable: PLATE IV - -M.G.H. del. F.S.H. pinx. - -THE GOD OSIRIS" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. - -<br /> -THE GOD OSIRIS</span> -</div> - -<p><span class="pagenum"><a name="page_16" id="page_16"></a>{16}</span></p> - -<h3><span class="smcap"><a href="#plt_V">Plate V.</a></span></h3> - -<p><a href="#plt_V">Plate V.</a>, dating 1450 <small>B.C.</small>, shows the same robe as <a href="#plt_IV">Plate IV.</a> worn in a -different manner. In this case the garment is left open down the sides, -the front half is taken and pinned at the back of the waist, and the -back half is drawn towards the front and girded with a wide sash -measuring 32” × 120”, as shown in <a href="#plt_V">Plate V.</a> and Figs. <a href="#fig_6">6</a>, <a href="#fig_7">7</a>, <a href="#fig_8">8</a>, and <a href="#fig_9">9</a>. It -should be noted that <a href="#fig_6">Fig. 6</a> is a modern drawing of <a href="#plt_V">Plate V.</a>; also the -costume upon p. <a href="#page_19">19</a>, which dates 2500 <small>B.C.</small>, gives three different views -of the same dress, a costume which emphasizes the love of the Egyptians -for drawing up the dress tightly so as to define the limbs at the back -and allowing great masses of drapery to fall in front to the feet. To -adjust the sash or girdle on <a href="#plt_V">Plate V.</a>, commence at the right side of -waist drawing the sash downwards to the left and round the hips at back, -next draw upwards across the front from right to left and round waist at -back and tuck the remaining length of sash in front as shown in <a href="#fig_6">Fig. 6</a>.<span class="pagenum"><a name="page_17" id="page_17"></a>{17}</span></p> - -<p><a name="plt_V" id="plt_V"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE V</span><br /> - -<a href="images/i_p017_lg.jpg"> -<img src="images/i_p017_sml.jpg" class="plte" width="250" height="450" alt="Image unavailable: PLATE V - -M.G.H. del. F.S.H. pinx. - -ANI, A SCRIBE" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. -<br /> - -ANI, A SCRIBE</span> -</div> - -<p><span class="pagenum"><a name="page_18" id="page_18"></a>{18}</span></p> - -<p><a name="fig_6" id="fig_6"></a></p> - -<div class="figcenter"> -<a href="images/i_p018_lg.jpg"> -<img src="images/i_p018_sml.jpg" width="243" height="402" alt="Image unavailable: Fig. 6" /></a> -<br /> -<span class="caption">Fig. 6</span> -</div> - -<p><span class="pagenum"><a name="page_19" id="page_19"></a>{19}</span></p> -<p><a name="fig_8" id="fig_8"></a></p> - -<p><a name="fig_9" id="fig_9"></a></p> -<p><a name="fig_7" id="fig_7"></a></p> - -<div class="figcenter"> -<a href="images/i_p019_lg.jpg"> -<img src="images/i_p019_sml.jpg" width="357" height="480" alt="Image unavailable: Fig. 7" /></a> -</div> - -<p><span class="pagenum"><a name="page_20" id="page_20"></a>{20}</span></p> - -<p><a href="#plt_VI">Plate VI.</a> is an illustration of a robe worn by a woman 1450 <small>B.C.</small>, and -<a href="#fig_10">Fig. 10</a> is a modern representation of the same robe. It will be noted in -this case that the front half is not pinned behind the back, but is kept -quite full in front, and that the back half, instead of being girded by -a sash, is drawn round and tied in a knot just under the breast.</p> - -<p><a name="fig_10" id="fig_10"></a></p> - -<div class="figcenter"> -<a href="images/i_p020_lg.jpg"> -<img src="images/i_p020_sml.jpg" width="160" height="289" alt="Image unavailable: Fig. 10" /></a> -<br /> -<span class="caption">Fig. 10</span> -</div> - -<p>This robe on women is also sometimes tied with a narrow girdle under the -breast instead of the edges being knotted.<span class="pagenum"><a name="page_21" id="page_21"></a>{21}</span></p> - -<p><a name="plt_VI" id="plt_VI"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE VI</span><br /> - -<a href="images/i_p021_lg.jpg"> -<img src="images/i_p021_sml.jpg" class="plte" width="253" height="450" alt="Image unavailable: PLATE VI - -M.G.H. del. F.S.H. pinx. - -THUTHU, WIFE OF ANI" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. - -<br /> -THUTHU, WIFE OF ANI</span> -</div> - -<p><span class="pagenum"><a name="page_22" id="page_22"></a>{22}</span></p> - -<h3><span class="smcap"><a href="#plt_VII">Plate VII.</a></span></h3> - -<p>The decoration on this plate shows the detail of the characteristic -Egyptian winged globe (a), hawk (b), and beetle (scarabæus) (c). Plates -<a href="#plt_I">I</a>. and <a href="#plt_VIII">VIII</a>. are examples of the application of winged decoration upon -Egyptian costume.</p> - -<p>Three other geometrical borders (d, e, and f) and two all-over patterns -(g and h) are given; g shows an example of the well-known feather or -scale pattern; h (which is similar to e, <a href="#plt_III">Plate III.</a>) is a favourite -geometric motif, and was often printed or painted on garments. A very -charming effect also of this pattern was a tunic entirely composed of -beads, or beads and reeds, and worn over the garment shown on <a href="#fig_2">Fig. 2</a>, <a href="#page_11">p. -11</a>. Several beaded networks of this type may be seen on the mummies in -the British Museum.<span class="pagenum"><a name="page_23" id="page_23"></a>{23}</span></p> - -<p><a name="plt_VII" id="plt_VII"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE VII</span><br /> - -<a href="images/i_p023_lg.jpg"> -<img src="images/i_p023_sml.jpg" class="plte" width="300" height="450" alt="Image unavailable: PLATE VII - -F.S.H. fec. - -DETAILS OF DECORATION" /></a> -<br /> -<span class="caption">F.S.H. fec. -<br /> - -DETAILS OF DECORATION</span> -</div> - -<p><span class="pagenum"><a name="page_24" id="page_24"></a>{24}</span></p> - -<h3><span class="smcap"><a href="#plt_VIII">Plate VIII.</a></span></h3> - -<p>The third outstanding type of Egyptian costume may be described as the -“Type of the Petticoat and Cape” (the petticoat was sometimes worn -without the cape). Now this petticoat or skirt, as shown in <a href="#plt_VIII">Plate VIII.</a> -and <a href="#fig_11">Fig. 11</a>, consists of a straight cut piece of material threaded -through at the waist with a narrow strip which is knotted round the -figure to keep the garment in position; the cape-like shoulder drapery -is an oblong piece of stuff, to drape which take the corners d and e of -<a href="#fig_11A">Fig. 11<small>A</small></a> in your hands and twist them till the triangles a, b, c, and d, -e, f, have become cords, and then knot as shown in the diagram. In the -skirt piece, Fig. 11<small>B</small>, sew together the two short sides. As will be seen -in the illustration, a long knotted girdle about 100 inches in length is -worn over the skirt. It passes twice round the waist, and is knotted at -the back as well as the front. In <a href="#plt_VIII">Plate VIII.</a> the deep ornamental collar -is worn over the cape. The collar, which was fastened down the back, is -shown in plan (<a href="#fig_11C">Fig. 11<small>C</small></a>).</p> - -<p><a href="#fig_12">Fig. 12</a> shows another method of wearing a similarly cut but rather -longer skirt; in this case there is no waist cord; two pieces of the -upper edge about half a yard apart are taken in the hands and twisted, -one is crossed over the other and tucked inside, the other is pulled up -and<span class="pagenum"><a name="page_25" id="page_25"></a>{25}</span></p> - -<p><a name="plt_VIII" id="plt_VIII"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE VIII</span><br /> - -<a href="images/i_p025_lg.jpg"> -<img src="images/i_p025_sml.jpg" class="plte" width="250" height="450" alt="Image unavailable: PLATE VIII - -M.G.H. del. F.S.H. pinx. - -A QUEEN" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. -<br /> - -A QUEEN</span> -</div> - -<p><span class="pagenum"><a name="page_26" id="page_26"></a>{26}</span></p> - -<p class="nind">forms an ear, as shown in sketch. This particular draping is the -inspiration of the decoration on <a href="#plt_II">Plate II.</a> Similar drapings without the -twisting were worn both by men and women. It is interesting to note that -a practically similar garment is worn in Burma at the present day by -both men and women.</p> - -<p><a name="fig_11A" id="fig_11A"></a> -<a name="fig_11B" id="fig_11B"></a> -<a name="fig_11C" id="fig_11C"></a> -</p> - -<div class="figcenter"> -<a href="images/i_p026a_lg.jpg"> -<img src="images/i_p026a_sml.jpg" width="255" height="125" alt="Image unavailable: Fig. 11A" /></a> -<br /> -<span class="caption">Fig. 11<small>A</small></span> -<br /> - -<a href="images/i_p026b_lg.jpg"> -<img src="images/i_p026b_sml.jpg" width="96" height="96" alt="Image unavailable: Fig. 11B" /></a> -<br /> -<span class="caption">Fig. 11B</span> -<br /> - -<a href="images/i_p026c_lg.jpg"> -<img src="images/i_p026c_sml.jpg" width="360" height="169" alt="Image unavailable: Fig. 11C" /></a> -<br /> -<span class="caption">Fig. 11C</span> -</div> - -<p><span class="pagenum"><a name="page_27" id="page_27"></a>{27}</span></p> - -<p><a name="fig_11" id="fig_11"></a></p> -<p><a name="fig_12" id="fig_12"></a></p> -<div class="figcenter"> -<a href="images/i_p027_lg.jpg"> -<img src="images/i_p027_sml.jpg" width="387" height="387" alt="Image unavailable: Fig. 11" /></a> -<br /> -<span class="caption">Fig. 11 -<span class="spc9"> </span> Fig. 12</span> -</div> - -<p>Compare <a href="#fig_12">Fig. 12</a> with <a href="#plt_II">Plate II.</a> where the drapery here given has -suggested in its lines a decoration of stripes.<span class="pagenum"><a name="page_28" id="page_28"></a>{28}</span></p> - -<h3><span class="smcap"><a href="#plt_IX">Plate IX.</a></span></h3> - -<p>The noteworthy details of the decorations on this plate are those -illustrated at a and b. These are appendages from girdles such as worn -by male figures; an example is <a href="#fig_21">Fig. 21</a>. The material of this appendage -may be possibly of painted leather, wool embroidered linen, or linen -with metal mounts. Many beautiful painted illustrations of this girdle -appendage are to be found in the British Museum; e is from a feather -fan.<span class="pagenum"><a name="page_29" id="page_29"></a>{29}</span></p> - -<p><a name="plt_IX" id="plt_IX"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE IX</span><br /> - -<a href="images/i_p029_lg.jpg"> -<img src="images/i_p029_sml.jpg" class="plte" width="308" height="450" alt="Image unavailable: PLATE IX - -F.S.H. fec. - -DETAILS OF DECORATION" /></a> -<br /> -<span class="caption">F.S.H. fec. -<br /> - -DETAILS OF DECORATION</span> -</div> - -<p><span class="pagenum"><a name="page_30" id="page_30"></a>{30}</span></p> - -<p><a href="#fig_13">Fig. 13</a> is an Egyptian woman’s costume dating 1450 <small>B.C.</small>; she is wearing -two garments—namely, a skirt and cloak. This skirt, which is frequently -worn alone without the cloak, as shown in <a href="#fig_12">Fig. 12</a>, is cut to exactly the -same width top and bottom. It is wide for the figure, and the -superfluous fullness is caught up in each hand in the act of putting on. -The upper edge of garment is drawn tightly round the figure just under -the breasts; the portions held in each hand are then tied together in a -knot. In <a href="#fig_13">Fig. 13</a> the cloak is knotted in with the skirt; this cloak is -simply a rectangular piece of material. It will be noted that Figs. <a href="#fig_13">13</a>, -<a href="#fig_14">14</a>, and <a href="#fig_15">15</a> all show the popular Egyptian effect of drapery drawn tightly -round the back of the limbs and falling full in front.</p> - -<p><a href="#fig_14">Fig. 14</a>, which dates <small>A.D.</small> 200, shows a Roman adaptation of the same -costume. The figure wears underneath a long tunic, and over this, -tightening it in at the waist, an Egyptian skirt; a small Egyptian scarf -is knotted to the skirt in similar fashion to the costume in <a href="#fig_15">Fig. 15</a>. -All the garments worn by <a href="#fig_14">Fig. 14</a> are rectangular pieces of material; the -tunic is two straight pieces of stuff sewn up the sides; the top edge is -divided into three parts by pinning; these openings form the neck and -arm-holes.</p> - -<p><a href="#fig_15">Fig. 15</a> is a Greek costume of the fourth century <small>B.C.</small> in which the -Egyptian influence is equally strongly marked; in this case, again, the -garments are all rectangular<span class="pagenum"><a name="page_31" id="page_31"></a>{31}</span> pieces of material, the sleeves in one -with the tunic. To knot the cloak to the over-skirt, as shown in this -figure, the fullness of the over-skirt should be bunched up in one hand; -the two corners of the cloak are taken in the other hand and twisted -together round the skirt in a knot.</p> - -<p><a name="fig_13" id="fig_13"></a> -<a name="fig_14" id="fig_14"></a> -<a name="fig_15" id="fig_15"></a></p> - -<div class="figcenter"> -<a href="images/i_p031_lg.jpg"> -<img src="images/i_p031_sml.jpg" width="402" height="410" alt="Image unavailable: Fig. 13" /></a> -</div> - -<p><span class="pagenum"><a name="page_32" id="page_32"></a>{32}</span></p> - -<h3><span class="smcap"><a href="#plt_X">Plate X.</a></span></h3> - -<p><a href="#plt_X">Plate X.</a> shows the fourth division of Egyptian costume—namely, the -“Type of the Shawl or Drapery.” Several varieties of this type are -illustrated and described on pp. <a href="#page_33">33</a>, <a href="#page_34">34</a>, and <a href="#page_35">35</a>.</p> - -<p><a name="fig_16" id="fig_16"></a></p> - -<div class="figcenter"> -<a href="images/i_p032_lg.jpg"> -<img src="images/i_p032_sml.jpg" width="206" height="397" alt="Image unavailable: Fig. 16" /></a> -<br /> -<span class="caption">Fig. 16</span> -</div> - -<p><span class="pagenum"><a name="page_33" id="page_33"></a>{33}</span></p> - -<p><a name="plt_X" id="plt_X"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE X</span><br /> - -<a href="images/i_p033_lg.jpg"> -<img src="images/i_p033_sml.jpg" class="plte" width="252" height="450" alt="Image unavailable: PLATE X - -M.G.H. del. F.S.H. pinx. - -A PRIESTESS" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. -<br /> - -A PRIESTESS</span> -</div> - -<p><span class="pagenum"><a name="page_34" id="page_34"></a>{34}</span></p> - -<p><a name="fig_16A" id="fig_16A"></a><a name="fig_17A" id="fig_17A"></a></p> - -<div class="figcenter"> -<a href="images/i_p034_lg.jpg"> -<img src="images/i_p034_sml.jpg" width="370" height="133" alt="Image unavailable: Figs. 16A and 17A" /></a> -<br /> -<span class="caption">Figs. 16<small>A</small> and 17<small>A</small></span> -</div> - -<p>The fourth division of Egyptian costume is shown in the examples on -<a href="#plt_X">Plate X.</a> and pp. <a href="#page_33">33</a>, <a href="#page_34">34</a>, and <a href="#page_35">35</a>. These are the draped or shawl type of -costume. They have many resemblances to the draping of the well-known -Indian sari of modern times. Compare these with illustration of sari (<a href="#page_39">p. -39</a>). The ingenuity displayed in the draping of these costumes can only -be realized when they are actually done upon a model. It should be noted -with regard to all Egyptian costumes of the more fully draped type that -the entire draperies seem to radiate from one point, usually a knot at -the waist, with very beautiful effect.</p> - -<p>To drape <a href="#fig_16">Fig. 16</a>, which is a modern drawing of <a href="#plt_X">Plate X.</a>, tie a cord -round the waist, tuck in corner b (see plan, Fig. 16<small>A</small>) at left side of -waist, pass round the back and round the right side to front again; make -some pleats and tuck them in in centre front of waist, then pass round -back again to right side; catch up the whole drapery and throw it -upwards from right-hand side of waist under left arm-pit, pass on round -the back<span class="pagenum"><a name="page_35" id="page_35"></a>{35}</span></p> - -<p><a name="fig_17" id="fig_17"></a> -<a name="fig_19" id="fig_19"></a></p> - -<div class="figcenter"> -<a href="images/i_p035_lg.jpg"> -<img src="images/i_p035a_sml.jpg" width="370" height="365" alt="Image unavailable: Fig. 17" /></a> -<br /> -<span class="caption">Fig. 17 -<span class="spc9"> </span> -Fig. 19</span> -<br /> -<a href="images/i_p035_lg.jpg"> -<img src="images/i_p035b_sml.jpg" width="398" height="120" alt="Image unavailable: Fig. 19" /></a> -<br /> -<a name="fig_19A" id="fig_19A"></a> -<span class="caption">Fig. 19<small>A</small><br /> -The width 45” will drape a tall figure, say 5’ 6” in height. The drapery -should be narrower for a lesser height. -</span> -</div> - -<p><span class="pagenum"><a name="page_36" id="page_36"></a>{36}</span></p> - -<p class="nind">and over the right shoulder towards front, then throw the remaining -portion of garment across the chest and backwards over the left -shoulder; take corner a and bring it round under right arm-pit, release -corner b which you first tucked in, and tie it to corner a. The corner c -will hang down in a point at the back.</p> - -<p>To drape the costume on <a href="#fig_17">Fig. 17</a>, which dates 1300 <small>B.C.</small>, take the corner -a of <a href="#fig_17A">Fig. 17<small>A</small></a> and hold it at right side of waist in front, pass round -the back and round the left side to front again, tuck in some pleats in -centre front, and pass on round the back to left side of waist under -left arm towards the front; catch up the entire garment and throw over -the right shoulder, pass the upper edge of the garment round the back of -the neck and over the left shoulder and downwards across the breast to -right, where the corner b should be tied to corner a. Corner d hangs -down in a point at the back.</p> - -<p>For <a href="#fig_18">Fig. 18</a>, which dates 1600 <small>B.C.</small>, take the corner a of <a href="#fig_18A">Fig. 18<small>A</small></a> and -hold it at right side of waist in front, pass the edge a-b round back of -waist to the left side and across the front of waist, pass it round the -right side again under the right arm towards the back and upwards over -the left shoulder; tie the corner a to corner b in front.</p> - -<p>For <a href="#fig_19">Fig. 19</a>, which dates 550 <small>B.C.</small>, tie a waist cord, hold corner a of -<a href="#fig_19A">Fig. 19<small>A</small></a> at left side of waist in front, and throw the whole garment -upwards over the right shoulder to the back; take the corner c, bring it -round under the<span class="pagenum"><a name="page_37" id="page_37"></a>{37}</span> right arm, and hold it along with the corner a; draw -the edge a-b, which still hangs over the right shoulder, downwards -across the back to left side of waist. Bring it round to front of waist -and pin it to the corners a and c at the left side of waist in front, -passing the garment on round the front; tuck in a few pleats in centre -front into the waist cord, then pass it round right side of waist and -upwards across the back over the left shoulder, downwards across the -breast to right side of waist; here pass a loop of material over the -left wrist as shown in diagram; now pass a girdle round the waist over -the entire drapery, knot it at right side of waist, confining the -drapery as illustrated in <a href="#fig_19">Fig. 19</a>.</p> - -<p><a name="fig_18" id="fig_18"></a></p> - -<table border="0" cellpadding="0" cellspacing="0" summary=""> -<tr valign="top" class="c"><td> -<a href="images/i_p037a_lg.jpg"> -<img src="images/i_p037a_sml.jpg" width="194" height="372" alt="Image unavailable: Fig. 18" /></a> -<br /> -<span class="caption">Fig. 18</span> -</td><td><a name="fig_18A" id="fig_18A"></a> -<a href="images/i_p037b_lg.jpg"> -<img src="images/i_p037b_sml.jpg" width="215" height="136" alt="Image unavailable: Fig. 18A" /></a> -<br /> -<span class="caption">Fig. 18<small>A</small></span></td></tr> -</table> - -<p><span class="pagenum"><a name="page_38" id="page_38"></a>{38}</span></p> - -<p><a name="fig_20" id="fig_20"></a> -<a name="fig_20A" id="fig_20A"></a></p> - -<div class="figcenter"> -<a href="images/i_p038_lg.jpg"> -<img src="images/i_p038_sml.jpg" width="339" height="273" alt="Image unavailable: Fig. 20" /></a> -<br /> -<span class="caption">Fig. 20 -<span class="spc9"> </span> -Fig. 20<small>A</small></span> -</div> - -<p>Here are three other varieties of Egyptian costume. <a href="#fig_20">Fig. 20</a>, which dates -sixth century <small>B.C.</small>, is an arrangement of a cloak worn by a man (Plan -<a href="#fig_20A">20<small>A</small></a>). <a href="#fig_21">Fig. 21</a> shows an interesting cross-over garment sheathing the -upper part of the body, worn by a Warrior King, 1200 <small>B.C.</small> It was -probably made of leather or quilted linen (plan, Fig. 21<small>A</small>). This figure -is also wearing one of the characteristic belts with appendages (for -detail see <a href="#plt_IX">Plate IX.</a>, a and b). <a href="#fig_22">Fig. 22</a>, which dates 1300 <small>B.C.</small>, is -wearing a robe, as previously described on <a href="#fig_6">Fig. 6</a>, but in addition has a -stiff corselet (Plan <a href="#fig_22A">22<small>A</small></a>) of leather or quilted linen which is fastened -at the side; the date of this figure is 1300 <span class="pagenum"><a name="page_39" id="page_39"></a>{39}</span><small>B.C.</small></p> - -<p><a name="fig_21" id="fig_21"></a></p> -<p><a name="fig_22" id="fig_22"></a></p> -<div class="figcenter"> -<a href="images/i_p039a_lg.jpg"> -<img src="images/i_p039a_sml.jpg" width="257" height="289" alt="Image unavailable: Fig. 21" /></a> -<br /> -<span class="caption">Fig. 21 -<span class="spc6"> </span> -Fig. 22</span> -<br /> -<a name="fig_21A" id="fig_21A"></a> - -<a href="images/i_p039b_lg.jpg"> -<img src="images/i_p039b_sml.jpg" width="384" height="168" alt="Image unavailable: Fig. 21A" /></a> -<br /> -<span class="caption">Fig. 21<small>A</small></span> -<a name="fig_22A" id="fig_22A"></a> -<br /> -<a href="images/i_p039c_lg.jpg"> -<img src="images/i_p039c_sml.jpg" width="258" height="74" alt="Image unavailable: Fig. 22A" /></a> -<br /> -<span class="caption">Fig. 22<small>A</small></span> -</div> - -<p><span class="pagenum"><a name="page_40" id="page_40"></a>{40}</span></p> - -<p class="cb">A COMPARISON<br /> -<small>THE INDIAN “SARI”</small></p> - -<p>Before passing from Egyptian costume, it seems interesting to compare -the accompanying illustrations of an ordinary present-day draping worn -by women in India. This long shawl drapery (the “sari”) presents -extraordinary similarities to some of the ancient Egyptian shawls or -draperies already illustrated.</p> - -<p>The method of draping is as follows: Tie a waist cord; take the corner b -and fix it to the right-hand side of waist, then pass the edge b-a -across the front of waist, round the left side towards the back, and -round the back of waist again to the right side; now take up some pleats -in the drapery and push them inside the waist cord in centre front of -waist, then pass on the drapery round the waist to back and round to the -right side again. Now catch up all the remaining drapery and throw it -upwards across the chest over the left shoulder. Let the corner c hang -down the back, and bring the corner around towards the front of waist -and tuck it in at the left side of waist, so that it will have the -thrown-over portion to the right of it. This completes this draping of -an Indian sari. The width of this sari will drape a figure of 5’ 4”, -most of those worn by Indian women are narrower.<span class="pagenum"><a name="page_41" id="page_41"></a>{41}</span></p> - -<p><a name="fig_23" id="fig_23"></a> -<a name="fig_24" id="fig_24"></a> -<a name="fig_25" id="fig_25"></a></p> - -<div class="figcenter"> -<a href="images/i_p041a_lg.jpg"> -<img src="images/i_p041a_sml.jpg" width="396" height="300" alt="Image unavailable: Fig. 23" /></a> -<br /> -<span class="caption">Fig. 23 -<span class="spc">Fig. 24</span> -Fig. 25</span> - -<br /><a name="fig_23A" id="fig_23A"></a> -<a href="images/i_p041b_lg.jpg"> -<img src="images/i_p041b_sml.jpg" width="285" height="134" alt="Image unavailable: Fig. 24" /></a> -<br /> -<span class="caption">Length 4½ Yds, width 39 in.<br /> -Fig. 23<small>A</small></span> -</div> - -<p><span class="pagenum"><a name="page_42" id="page_42"></a>{42}</span></p> - -<p><span class="pagenum"><a name="page_43" id="page_43"></a>{43}</span></p> - -<h2><a name="ANCIENT_ASSYRIAN_COSTUME" id="ANCIENT_ASSYRIAN_COSTUME"></a>ANCIENT ASSYRIAN COSTUME</h2> - -<p><span class="pagenum"><a name="page_44" id="page_44"></a>{44}</span></p> - -<p><span class="pagenum"><a name="page_45" id="page_45"></a>{45}</span></p> - -<p class="cb">GENERAL DESCRIPTION<br /> -OF<br /> -ANCIENT ASSYRIAN COSTUME</p> - -<h3>CUTTING OUT</h3> - -<p class="nind"><span class="smcap">There</span> are practically only two types of garment generally found in the -representations of ancient Assyrian costume: (1) the <i>shawl</i>, and (2) -the <i>tunic</i>. These vary in size and proportion, and are worn either -alone, but more generally in combination.</p> - -<h3>DECORATION</h3> - -<p>Except in the earliest examples, decoration is lavish in Assyrian -costume; in fact, the costume of a King when at its richest may be said -to be absolutely covered with ornament. Jewellery, woven and embroidered -patterns, and fringes are used in the utmost profusion. See the -illustrations of the most characteristic ornamental details of this -style.<span class="pagenum"><a name="page_46" id="page_46"></a>{46}</span></p> - -<h3>MATERIAL</h3> - -<p>The materials used seem to have been of linen and wool. The skins and -furs of animals and metal were also in use, but chiefly for military and -hunting costume.</p> - -<h3>DATES</h3> - -<p>The earliest type of costume here shown is a rather elaborate shawl -drapery worn without any tunic underneath. Later comes the tunic with -various fringed shawl draperies worn in addition, and some of the latest -types have the tunic worn alone without the shawl draperies. The dates -given for the costumes illustrated in this style have been verified at -the British Museum. It should be remembered, as in the case of ancient -Egyptian costume, that the dresses changed very slowly indeed, and most -styles of this era were worn literally for hundreds of years.</p> - -<h3>MEN AND WOMEN: THE DIFFERENCE IN THEIR DRESS</h3> - -<p>The representations of costume which Assyrian art has left us are almost -entirely those of men’s dress. Two examples of women’s dresses are shown -in this volume. The first wears a plain ungirded tunic and<span class="pagenum"><a name="page_47" id="page_47"></a>{47}</span> a simply -draped shawl covering the figure partially. The second is the dress of a -Queen, and has the tunic almost entirely covered with a voluminous -shawl. The wide belt with narrow belt over it seems to be confined to -the men’s costume, as also the tighter and scantier shawl draperies -which exist in singular variety.</p> - -<hr /> - -<div class="blockquot"><p>For Assyrian and Ancient Persian Styles consult: Layard’s -“Monuments of Nineveh”; Flandin and Coste, “Voyage en Perse”; -Botta, “Monuments de Ninïve”; Victor Place, “Ninïve et Assyrie”; -Perrot and Chipiez, “History of Art in Persia”; Racinet, “Le -Costume Historique”; Hottenroth “Le Costume”. Also reproductions -and handbooks of the collections in the British Museum. </p></div> - -<p><span class="pagenum"><a name="page_48" id="page_48"></a>{48}</span></p> - -<p>Figs. <a href="#fig_26">26</a>, <a href="#fig_27">27</a>, and <a href="#fig_28">28</a>: This drapery is from the figure of the King Gudea, -2500 <small>B.C.</small> (see British Museum). To drape, place the corner b of <a href="#fig_26A">Fig. 26<small>A</small></a> -under left arm-pit, and draw the edge b-a round the back of shoulders -under the right arm-pit, across the front of chest, and round the back -again, and under the right arm-pit once more; then throw the edge b-a -upwards across the chest and over the left shoulder; the corner a will -then hang down the back. Take this corner a and tuck it in at the right -side of breast, as shown in illustration (<a href="#fig_26">Fig. 26</a>). It should be noted -that, unless the left hand is raised, the left arm and hand are entirely -covered by this drapery, the right arm only being left free for -movement. This dignified drapery presents points of similarity to the -Roman “toga” of a much later period.<span class="pagenum"><a name="page_49" id="page_49"></a>{49}</span></p> - -<p><a name="fig_26" id="fig_26"></a> -<a name="fig_27" id="fig_27"></a> -<a name="fig_28" id="fig_28"></a></p> - -<div class="figcenter"> -<a href="images/i_p049_lg.jpg"> -<img src="images/i_p049a_sml.jpg" width="439" height="297" alt="Image unavailable: Fig. 26" /></a> -<br /> -<span class="caption">Fig. 26 -<span class="spc">Fig. 27</span> -Fig. 28</span> -<br /> -<a name="fig_26A" id="fig_26A"></a> -<a href="images/i_p049_lg.jpg"> -<img src="images/i_p049b_sml.jpg" width="365" height="199" alt="Image unavailable: Fig. 27" /></a> -<br /> -<span class="caption">Fig. 26<small>A</small></span> -</div> - -<p><span class="pagenum"><a name="page_50" id="page_50"></a>{50}</span></p> - -<p><span class="smcap"><a href="#plt_XI">Plate XI.</a></span>—This type of dress, which in the British Museum is described -as worn by “a Mythological Figure in attendance upon King -Assur-nasir-pal”, ninth century <small>B.C.</small>, might be dated about 1000 <small>B.C.</small>, as -following the usual custom of the ancients who dressed their sacred -figures in the costume of some previous generation as a rule, consists -of a simple tunic with short sleeves, and reaching to the knee, cut in -similar fashion to the Egyptian; then a small shawl (<a href="#fig_29B">Fig. 29<small>B</small></a>) is -wrapped round the hips, beginning with the corner a on right hip, and -passing the edge a-b across the front towards the left and round the -waist. The triangle b-e-f can be tucked in at waist-line; then the wide -belt, probably leather, which is coloured buff in the illustration, is -put on and kept in position by the narrow belt, which is coloured red; -this belt is much better seen in <a href="#fig_30">Fig. 30</a>. Lastly, the large shawl (<a href="#fig_29A">Fig. -29<small>A</small></a>) has the corner b tucked in to narrow belt at left side of waist, -and the edge a-b passed round the back towards the right side of waist -upwards across the chest, and hangs down the back over the left -shoulder. The original of this figure is winged, the wings being omitted -here.</p> - -<p><a name="fig_29A" id="fig_29A"></a></p> -<p><a name="fig_29B" id="fig_29B"></a></p> - -<div class="figcenter"> -<a href="images/i_p050_lg.jpg"> -<img src="images/i_p050_sml.jpg" width="392" height="147" alt="Image unavailable: Fig. 29A" /></a> -<br /> -<span class="caption">Fig. 29A -<span class="spc9"> </span> -Fig. 29<small>B</small></span> -</div> - -<p><span class="pagenum"><a name="page_51" id="page_51"></a>{51}</span></p> - -<p><a name="plt_XI" id="plt_XI"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE XI</span><br /> - -<a href="images/i_p051_lg.jpg"> -<img src="images/i_p051_sml.jpg" class="plte" width="256" height="450" alt="Image unavailable: PLATE XI - -M.G.H. del. F.S.H. pinx. - -MYTHOLOGICAL PERSONAGE" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. - -<br /> -MYTHOLOGICAL PERSONAGE</span> -</div> - -<p><span class="pagenum"><a name="page_52" id="page_52"></a>{52}</span></p> - -<p><a href="#fig_30">Fig. 30</a> represents King Assur-nasir-pal (ninth century <small>B.C.</small>) wearing a -tunic of similar type to <a href="#plt_XI">Plate XI.</a>, but long. Tied at his waist and -covering the back half of his figure is a small richly decorated shawl -about 20 inches square. Note the tassels hanging from right-hand bottom -corner; these would be the same on the left-hand bottom corner. He also -wears the belt mentioned in connection with <a href="#plt_XI">Plate XI.</a> The wavy tassels -which look like horsehair hang from his sword belt; a tassel also hangs -from the back of his necklace, and two ribbons from his cap-band. Note -the similarity of this cap to the so-called fez or tarbush worn in -Assyria at the present day.<span class="pagenum"><a name="page_53" id="page_53"></a>{53}</span></p> - -<p><a name="fig_30" id="fig_30"></a></p> - -<div class="figcenter"> -<a href="images/i_p053_lg.jpg"> -<img src="images/i_p053_sml.jpg" width="350" height="565" alt="Image unavailable: Fig. 30" /></a> -<br /> -<span class="caption">Fig. 30</span> -</div> - -<p><span class="pagenum"><a name="page_54" id="page_54"></a>{54}</span></p> - -<p><a href="#fig_31">Fig. 31</a>: The point to be noted in this figure is the arrangement of a -fringe drapery which goes once round the waist, is thrown over one -shoulder, and hangs down the back.<span class="pagenum"><a name="page_55" id="page_55"></a>{55}</span></p> - -<p><a name="fig_31" id="fig_31"></a></p> - -<div class="figcenter"> -<a href="images/i_p055_lg.jpg"> -<img src="images/i_p055_sml.jpg" width="225" height="550" alt="Image unavailable: Fig. 31" /></a> -<br /> -<span class="caption">Fig. 31</span> -</div> - -<p><span class="pagenum"><a name="page_56" id="page_56"></a>{56}</span></p> - -<p><a href="#fig_32">Fig. 32</a>: This man, in hunting dress, ninth century <small>B.C.</small>, has a small -scarf, fringed only at the ends, wrapped tightly round the limbs, -reaching to the knee.<span class="pagenum"><a name="page_57" id="page_57"></a>{57}</span></p> - -<p><a name="fig_32" id="fig_32"></a></p> - -<div class="figcenter"> -<a href="images/i_p057_lg.jpg"> -<img src="images/i_p057_sml.jpg" width="394" height="562" alt="Image unavailable: Fig. 32" /></a> -<br /> -<span class="caption">Fig. 32</span> -</div> - -<p><span class="pagenum"><a name="page_58" id="page_58"></a>{58}</span></p> - -<p><a href="#fig_33">Fig. 33</a>: This woman, a captive of Sennacherib who reigned in eighth and -seventh centuries <small>B.C.</small>, wears a long tunic, and over it a long shawl -fringed at the two ends and measuring 50” × 80”. To drape this shawl, -place one corner under the left arm-pit and draw it across the back -under the right arm-pit, wrapping it once round the body; draw it across -the back and up over right shoulder. A corner of the fringed end will -hang down in front of the right shoulder.<span class="pagenum"><a name="page_59" id="page_59"></a>{59}</span></p> - -<p><a name="fig_33" id="fig_33"></a></p> - -<div class="figcenter"> -<a href="images/i_p059_lg.jpg"> -<img src="images/i_p059_sml.jpg" width="244" height="556" alt="Image unavailable: Fig. 33" /></a> -<br /> -<span class="caption">Fig. 33</span> -</div> - -<p><span class="pagenum"><a name="page_60" id="page_60"></a>{60}</span></p> - -<h3><span class="smcap"><a href="#plt_XII">Plate XII.</a></span></h3> - -<p><a href="#plt_XII">Plate XII.</a> shows a number of characteristic Assyrian ornaments.</p> - -<p class="nind">a, The sacred tree.</p> - -<p class="nind">b, c, d, e, f, Repeating patterns on costumes.</p> - -<p class="nind">g, h, i, j, k, l, Borders on costumes.</p> - -<p class="nind">m, One of the many rosettes much used in Assyrian decorations.</p> - -<p>These should be compared with the decorated costumes shown in the -plates; they would be either woven or embroidered.<span class="pagenum"><a name="page_61" id="page_61"></a>{61}</span></p> - -<p><a name="plt_XII" id="plt_XII"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE XII</span><br /> - -<a href="images/i_p061_lg.jpg"> -<img src="images/i_p061_sml.jpg" class="plte" width="300" height="450" alt="Image unavailable: PLATE XII - -F.S.H. fec. - -DETAILS OF DECORATION" /></a> -<br /> -<span class="caption">F.S.H. fec. -<br /> - -DETAILS OF DECORATION</span> -</div> - -<p><span class="pagenum"><a name="page_62" id="page_62"></a>{62}</span></p> - -<p><a name="fig_34A" id="fig_34A"></a></p> - -<div class="figcenter"> -<a href="images/i_p062_lg.jpg"> -<img src="images/i_p062_sml.jpg" width="357" height="242" alt="Image unavailable: Fig. 34A" /></a> -<br /> -<span class="caption">Fig. 34<small>A</small></span> -</div> - -<p><span class="smcap"><a href="#plt_XIII">Plate XIII.</a></span>—A facsimile drawing, from an enamel tile, is one of the -many representations of the King Assur-nasir-pal, ninth century <small>B.C.</small> The -description of his dress will be better understood by referring to Figs. -<a href="#fig_34">34</a>, <a href="#fig_35">35</a>, and <a href="#fig_36">36</a>. The King wears over his long tunic a very beautiful and -dignified shawl drapery, which is fringed, recalling certain Egyptian -types already illustrated, and, indeed, has points of similarity with -certain Greek and Roman draperies. To drape this shawl (see <a href="#fig_34A">Fig. 34<small>A</small></a>) -fold over on the line e-f so that e-f, a-b, hangs down outside; then -attach the cord e-g as illustrated, and hold g at right side of waist in -front, throwing the rest of the shawl backwards over the right shoulder. -Draw the edge e-f round the back of neck, and form a<span class="pagenum"><a name="page_63" id="page_63"></a>{63}</span></p> - -<p><a name="plt_XIII" id="plt_XIII"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE XIII</span><br /> - -<a href="images/i_p063_lg.jpg"> -<img src="images/i_p063_sml.jpg" class="plte" width="254" height="450" alt="Image unavailable: PLATE XIII - -M.G.H. del. F.S.H. pinx. - -KING ASSUR-NASIR-PAL" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. - -<br /> -KING ASSUR-NASIR-PAL</span> -</div> - -<p><span class="pagenum"><a name="page_64" id="page_64"></a>{64}</span></p> - -<p class="nind">sling over the left arm, as shown. To complete the draping, continue to -pass the edge e-f round the waist towards the right, passing under the -right elbow, then on round the back and left side until it reaches about -6 inches in front of left side of waist; now fold the remainder of -drapery underneath, as shown in the drawings, and tie a cord round waist -to keep all firmly in position; knot the end of the cord e-g to this -waist cord. <a href="#fig_35">Fig. 35</a> shows the back view, and <a href="#fig_36">Fig. 36</a> shows the drapery -thrown off the left shoulder to give freedom to both arms, Figs. <a href="#fig_34">34</a> and -<a href="#fig_35">35</a> only giving freedom to the right arm. If the cord e-g is pulled down -so that e touches the waist, then both shoulders will be covered by the -drapery. <a href="#fig_34">Fig. 34</a> is the most usual arrangement of this type of drapery, -but in looking at <a href="#plt_XIII">Plate XIII.</a> closely it will be seen that the modern -drawing (<a href="#fig_37">Fig. 37</a>) is a more exact rendering. This drawing is from a -draping of the same shawl as <a href="#fig_34">Fig. 34</a> is wearing, but the fold-over is -somewhat deeper, the point e is tied closely to waist belt, and the -drapery is rolled at waist while it is being adjusted. When worn thus, -with a roll, the drapery will remain in position without the waist cord -being tied over it, but it is more secure when it has been thus -confined. <a href="#fig_38">Fig. 38</a> is still another variety of this type of draping, and -is taken from a small statue of Assur-nasir-pal in the British Museum; -there we have two shawls, one square and one semicircular (see Figs. <a href="#fig_38A">38<small>A</small></a> -and <a href="#fig_38B">38<small>B</small></a>). To arrange this drapery, take the square shawl and fold -outwards about 20 inches, as at e-f. Tie a waist cord on the tunic, and -tuck the corner<span class="pagenum"><a name="page_65" id="page_65"></a>{65}</span></p> - -<p><a name="fig_34" id="fig_34"></a> -<a name="fig_35" id="fig_35"></a> -<a name="fig_36" id="fig_36"></a></p> - -<div class="figcenter"> -<a href="images/i_p065_lg.jpg"> -<img src="images/i_p065_sml.jpg" width="397" height="554" alt="Image unavailable: Fig. 34" /></a> - -</div> - -<p><span class="pagenum"><a name="page_66" id="page_66"></a>{66}</span></p> - -<p class="nind">f deeply into it at left side of waist cord; then draw tightly round the -figure in front and round again across the back of waist till the left -side is reached again. Now double about 6 inches of the shawl inwards, -and tuck again into waist cord. Take the semicircular shawl g-h, and -attach the cord to another waist cord, throw backwards over the right -shoulder, and arrange a sling over the left arm as before in Figs. <a href="#fig_34">34</a> -and <a href="#fig_37">37</a>. The corner h of the shawl shows in front about 8 inches below -the waist towards the left. Tie the second waist cord tightly over this -shawl to keep in position.</p> - -<p class="c">NOTE ON THE COLOURING OF ANCIENT ASSYRIAN<br /> AND PERSIAN COSTUMES</p> - -<p>Though we do not possess the actual specimens of these costumes, still -we can infer from the lavish ornament, and, from references in the -Hebrew Old Testament writings, that rich colouring prevailed. The dyes -were probably similar to those of ancient Egypt, and this table will -suggest the particular hue of each colour:</p> - -<table border="0" cellpadding="1" cellspacing="0" summary="" -style="margin-left:4%;"> - -<tr><td class="c" colspan="2"><span class="smcap">Ancient Egyptian and Assyrian Dye Colours</span></td></tr> - -<tr><td align="left"><i>Blue</i>:</td><td align="left">Usually rather a dark indigo, sometimes paler.</td></tr> -<tr><td align="left"><i>Red</i>:</td><td align="left">Much like the colour known as Indian red.</td></tr> -<tr><td align="left"><i>Yellow</i>:</td><td align="left">Similar to yellow ochre.</td></tr> -<tr><td align="left"><i>Green</i>:</td><td align="left">Much like the paint known as green bice, but rather more dull.</td></tr> -<tr><td align="left"><i>Purple</i>:</td><td align="left">Dark, and quite a brownish hue of purple.</td></tr> -</table> - -<p>All these colours could be used as embroideries on a white or natural -coloured ground of linen, the embroideries being of wool. In other cases -the whole garment might be coloured throughout.<span class="pagenum"><a name="page_67" id="page_67"></a>{67}</span></p> - -<p><a name="fig_37" id="fig_37"></a></p> -<p><a name="fig_38" id="fig_38"></a></p> - -<div class="figcenter"> -<a href="images/i_p067a_lg.jpg"> -<img src="images/i_p067a_sml.jpg" width="381" height="300" alt="Image unavailable: Fig. 37" /></a> -<br /> -<span class="caption">Fig. 37 -<span class="spc9"> </span> -Fig. 38</span> -<br /><a name="fig_38A" id="fig_38A"></a> -<a name="fig_38B" id="fig_38B"></a> -<a href="images/i_p067b_lg.jpg"> -<img src="images/i_p067b_sml.jpg" width="423" height="210" alt="Image unavailable: Fig. 38" /></a> -<br /> -<span class="caption"> - Fig. 38<small>A</small> -<span class="spc9"> </span> -Fig. 38<small>B</small> -</span> -</div> - -<p><span class="pagenum"><a name="page_68" id="page_68"></a>{68}</span></p> - -<p><a href="#fig_39">Fig. 39</a> is the tunic of King Assur-bani-pal, seventh century <small>B.C.</small> It -will be noticed that it is cut very much in the same manner as the -Egyptian tunic; the neck opening, which is a slit large enough to admit -the head, does not show in the drawing, but three buttons on either side -of neck will be seen. A row of fringe decorates the bottom, and the -whole is richly embroidered; over this tunic were worn the wide and -narrow belts.<span class="pagenum"><a name="page_69" id="page_69"></a>{69}</span></p> - -<p><a name="fig_39" id="fig_39"></a></p> - -<div class="figcenter"> -<a href="images/i_p069_lg.jpg"> -<img src="images/i_p069_sml.jpg" width="362" height="562" alt="Image unavailable: Fig. 39" /></a> -<br /> -<span class="caption">Fig. 39</span> -</div> - -<p><span class="pagenum"><a name="page_70" id="page_70"></a>{70}</span></p> - -<h3><span class="smcap"><a href="#plt_XIV">Plate XIV.</a></span></h3> - -<p><a href="#plt_XIV">Plate XIV.</a> is the Queen of Assur-bani-pal, seventh century <small>B.C.</small> She -wears a similar tunic to the King, but the sleeves reach half-way down -the lower arm; her shawl, which is fringed all round, would measure 50” -× 130”. It is wrapped once round the lower limbs, and so covers the -bottom of her tunic; it is then wound round the upper part of her body -in similar fashion to that of the woman on <a href="#page_59">p. 59</a>, save that it goes in -the opposite direction.<span class="pagenum"><a name="page_71" id="page_71"></a>{71}</span></p> - -<p><a name="plt_XIV" id="plt_XIV"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE XIV</span><br /> - -<a href="images/i_p071_lg.jpg"> -<img src="images/i_p071_sml.jpg" class="plte" width="250" height="450" alt="Image unavailable: PLATE XIV - -M.G.H. del. F.S.H. pinx. - -QUEEN OF ASSUR-BANI-PAL" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. - -<br /> -QUEEN OF ASSUR-BANI-PAL</span> -</div> - -<p><span class="pagenum"><a name="page_72" id="page_72"></a>{72}</span></p> - -<h3><span class="smcap"><a href="#plt_XV">Plate XV.</a></span></h3> - -<p><a href="#plt_XV">Plate XV.</a> shows further details of Assyrian decoration; attention may be -particularly drawn to the varied forms of the tassels.</p> - -<p>a, b, c, Bracelets.</p> - -<p>d, e, f, Ear-rings.</p> - -<p>g, h, i, j, Tassels from costumes and harness on horses.</p> - -<p>k, Winged globe.</p> - -<p>l, Palm tree.</p> - -<p>m, Lappet of a King’s tiara.</p> - -<p>n, Bronze vessel.</p> - -<p>o, Sword handle.<span class="pagenum"><a name="page_73" id="page_73"></a>{73}</span></p> - -<p><a name="plt_XV" id="plt_XV"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE XV</span><br /> - -<a href="images/i_p073_lg.jpg"> -<img src="images/i_p073_sml.jpg" class="plte" width="294" height="450" alt="Image unavailable: PLATE XV - -F.S.H. fec. - -DETAILS OF DECORATION" /></a> -<br /> -<span class="caption">F.S.H. fec. - -<br /> -DETAILS OF DECORATION</span> -</div> - -<p><span class="pagenum"><a name="page_74" id="page_74"></a>{74}</span></p> - -<p><span class="pagenum"><a name="page_75" id="page_75"></a>{75}</span></p> - -<h2><a name="ANCIENT_PERSIAN_COSTUME" id="ANCIENT_PERSIAN_COSTUME"></a>ANCIENT PERSIAN COSTUME</h2> - -<p><span class="pagenum"><a name="page_76" id="page_76"></a>{76}</span></p> - -<p><span class="pagenum"><a name="page_77" id="page_77"></a>{77}</span></p> - -<p class="cb">GENERAL DESCRIPTION<br /> OF<br /> ANCIENT PERSIAN COSTUME<br /> -ALSO INCLUDING TWO EXAMPLES FROM CAPTIVE NATIONS</p> - -<h3>CUTTING OUT</h3> - -<p class="nind"><span class="smcap">The</span> garments illustrated in this style are of four types; of these, -three have already appeared in the two previous styles—namely, the type -of the <i>tunic</i>, the type of the <i>robe</i>, and the type of the <i>shawl</i> or -drapery. In ancient Persian costume we come for the first time to type -five: the <i>coat</i>. We may refer here also for the first time to the -wearing of trousers, for these are usually shown worn with the coats in -ancient Persian costume, and a diagram is given on p. 86 showing one of -the earliest known methods of cutting these garments.</p> - -<h3>DECORATION</h3> - -<p>Ancient Persian decoration was so exceedingly similar to ancient -Assyrian that it does not seem necessary to illustrate it. We do not -find, however, that ancient Persian garments were ornamented to anything -like the same extent as ancient Assyrian; the frequent fringes of<span class="pagenum"><a name="page_78" id="page_78"></a>{78}</span> the -ancient Assyrian costumes were not nearly so lavishly employed in the -ancient Persian style.</p> - -<h3>MATERIAL</h3> - -<p>Linen and wool were most probably the chief materials used in ancient -Persian costume, but there are indications that leather may have been -rather extensively employed in the more tight-fitting garments.</p> - -<p>It must not be taken that either in Assyrian or ancient Persian dress -the garments fitted as smoothly and tightly as might be imagined from -the sculptured and painted representations; it is true folds are -sometimes indicated, but the chief concern of the artists of both styles -was to show the human figure and richly decorative ornament.</p> - -<h3>DATES</h3> - -<p>The illustrations here given of ancient Persian costumes date about the -sixth and fifth centuries <small>B.C.</small> with two of neighbouring nations dating -eighth century <small>B.C.</small> and sixth and fifth centuries <small>B.C.</small> respectively.</p> - -<h3>MEN AND WOMEN: THE DIFFERENCE IN THEIR DRESS</h3> - -<p>There is not sufficient information to form a definite picture of the -women’s dress of this period and style;<span class="pagenum"><a name="page_79" id="page_79"></a>{79}</span> most probably it was a simple -tunic and shawl like that worn in Assyria, but an interesting fact is -that we have a representation of the Queen of a Persian King who reigned -in the fifth century <small>A.D.</small> who is wearing trousers, which, it will be -remembered, are worn by Persian women of the present day. In this -connection it may be noted that the history of costume, as developed -through the use of woven materials, presents a much more simple aspect -than the history of those styles bearing evidences of having been first -cut from leather. A moment’s reflection will make it clear that in the -case of woven stuffs the most economical system of cutting, and indeed -the most obvious, for the primitive dress fashioner, was based on the -rectangle. On the other hand, the fashioner of leather garments would -naturally try to fit the human body with, as it were, a second skin, -hence trousers and tight-fitting jackets may appear in very early -civilizations.</p> - -<hr /> - -<div class="blockquot"><p>For list of authorities see Ancient Assyrian Costume. </p></div> - -<p><span class="pagenum"><a name="page_80" id="page_80"></a>{80}</span></p> - -<p><span class="smcap"><a href="#plt_XVI">Plate XVI.</a></span> is a representation of Darius, King of Persia, sixth and -fifth centuries <small>B.C.</small>; he is wearing the Median “Robe of Honour.” It will -be seen from the plan (<a href="#fig_40A">Fig. 40<small>A</small></a>) that this robe is sewn up each side, -leaving a space of 20 inches on either side for the hands. Like the -Egyptian robe, the material required is twice the height of the figure, -the material is doubled, a neck-hole cut, and the garment is pulled on -over the head. The Persian or Median method of wearing the garment is -unique: a girdle is tightly bound round the waist, and then the robe is -pulled up at either side over the girdle so as to produce the very -elegant effect shown in <a href="#plt_XVI">Plate XVI.</a> and <a href="#fig_40">Fig. 40</a>, which is a modern -drawing of the front view of <a href="#plt_XVI">Plate XVI.</a>, the result giving great freedom -to the arms. The King seems to have two robes of the same cut, one under -the other.</p> - -<p><a name="fig_40A" id="fig_40A"></a> -<a name="fig_40" id="fig_40"></a></p> - -<div class="figcenter"> -<a href="images/i_p080_lg.jpg"> -<img src="images/i_p080_sml.jpg" width="438" height="279" alt="Image unavailable: Fig. 40A" /></a> -<br /> -<span class="caption">Fig. 40A -<span class="spc"> </span> -Fig. 40</span> -</div> - -<p><span class="pagenum"><a name="page_81" id="page_81"></a>{81}</span></p> - -<p><a name="plt_XVI" id="plt_XVI"></a></p> - -<div class="figcenter"> -<span class="captionrt">PLATE XVI</span><br /> - -<a href="images/i_p081_lg.jpg"> -<img src="images/i_p081_sml.jpg" class="plte" width="250" height="450" alt="Image unavailable: PLATE XVI - -M.G.H. del. F.S.H. pinx. - -DARIUS, KING OF PERSIA" /></a> -<br /> -<span class="caption">M.G.H. del. <span class="spc6"> </span> F.S.H. pinx. -<br /> - -DARIUS, KING OF PERSI<small>A</small></span> -</div> - -<p><span class="pagenum"><a name="page_82" id="page_82"></a>{82}</span></p> - -<p><a name="fig_41A" id="fig_41A"></a></p> - -<div class="figcenter"> -<a href="images/i_p082_lg.jpg"> -<img src="images/i_p082_sml.jpg" width="286" height="221" alt="Image unavailable: Fig. 41A" /></a> -<br /> -<span class="caption">Fig. 41<small>A</small></span> -</div> - -<p>To arrange the drapery, dating sixth to fifth centuries <small>B.C.</small>, on <a href="#fig_41A">Fig. -41</a>, take the corner b of <a href="#fig_41A">Fig. 41<small>A</small></a> in the left hand, letting the rest of -the drapery fall down the back, draw the edge b-a across the back, then -under the right arm-pit across the chest, and throw the corner a upwards -and over the left shoulder; a will hang down the back. It will be noted -that this garment is weighted at the corners; this keeps it in position.</p> - -<p><a href="#fig_42">Fig. 42</a> is a modern drawing showing the garment in front view.<span class="pagenum"><a name="page_83" id="page_83"></a>{83}</span></p> - -<p><a name="fig_42" id="fig_42"></a> -<a name="fig_41" id="fig_41"></a></p> - -<div class="figcenter"> -<a href="images/i_p083_lg.jpg"> -<img src="images/i_p083_sml.jpg" width="425" height="559" alt="Image unavailable: Fig. 42" /></a> -<br /> -<span class="caption">Fig. 42 -<span class="spc9"> </span> -Fig. 41</span> -</div> - -<p><span class="pagenum"><a name="page_84" id="page_84"></a>{84}</span></p> - -<p><a name="fig_43A" id="fig_43A"></a></p> - -<div class="figcenter"> -<a href="images/i_p084_lg.jpg"> -<img src="images/i_p084_sml.jpg" width="330" height="264" alt="Image unavailable: Fig. 43A" /></a> -<br /> -<span class="caption">Fig. 43A</span> -</div> - -<p><a href="#fig_43">Fig. 43</a>, dating eighth century <small>B.C.</small>, is wearing cloak (see <a href="#fig_43A">Fig. 43<small>A</small></a>) -partly fringed. It is worn much in the same manner as <a href="#fig_41">Fig. 41</a>, but in -<a href="#fig_43">Fig. 43</a> the corner a is thrown backwards over the left shoulder, and the -edge a-b is passed across the chest and under the right arm-pit, then -drawn across the back, and the corner b falls down in front of the left -shoulder.</p> - -<p>This costume is not Persian, but that of some nation to the east of -Persia in northern Asia Minor. The wearing of boots with upturned toes -as here shown seems to have extended from Persia across northern Asia -Minor to the Mediterranean even as far west as Italy.</p> - -<p><a href="#fig_44">Fig. 44</a> is a modern drawing showing the garment in front view.<span class="pagenum"><a name="page_85" id="page_85"></a>{85}</span></p> - -<p><a name="fig_44" id="fig_44"></a> -<a name="fig_43" id="fig_43"></a></p> - -<div class="figcenter"> -<a href="images/i_p085_lg.jpg"> -<img src="images/i_p085_sml.jpg" width="451" height="562" alt="Image unavailable: Fig. 44" /></a> -<br /> -<span class="caption">Fig. 44 -<span class="spc"> </span> - Fig. 43</span> -</div> - -<p><span class="pagenum"><a name="page_86" id="page_86"></a>{86}</span></p> - -<p><a href="#fig_45">Fig. 45</a> is wearing a short-sleeved coat over a tunic. The edging shown -is probably uncut fringe; in reality it would not fit the figure neatly, -as the ancient artist has indicated, but would hang rather loosely.</p> - -<p><a href="#fig_45A">Fig. 45<small>A</small></a> shows the method of cutting.</p> - -<p><a name="fig_45A" id="fig_45A"></a></p> - -<div class="figcenter"> -<a href="images/i_p086_lg.jpg"> -<img src="images/i_p086_sml.jpg" width="251" height="262" alt="Image unavailable: Fig. 45A" /></a> -<br /> -<span class="caption">Fig. 45A</span> -</div> - -<p>The costume is considered to be that of a Jewish captive of the Persian -conqueror and dates sixth to fifth centuries <span class="pagenum"><a name="page_87" id="page_87"></a>{87}</span><small>B.C.</small></p> - -<p><a name="fig_45" id="fig_45"></a></p> - -<div class="figcenter"> -<a href="images/i_p087_lg.jpg"> -<img src="images/i_p087_sml.jpg" width="287" height="570" alt="Image unavailable: Fig. 45" /></a> -<br /> -<span class="caption">Fig. 45</span> -</div> - -<p><span class="pagenum"><a name="page_88" id="page_88"></a>{88}</span></p> - -<p><a href="#fig_46">Fig. 46</a>, which dates sixth to fifth centuries <small>B.C.</small>, is wearing over a -tunic and trousers (see <a href="#fig_46B">Fig. 46<small>B</small></a>) an overcoat with a set-in sleeve (see -Fig. 46<small>B</small>), turned-over collar and cuffs, and tied in front with ribbons. -The plan (<a href="#fig_46A">Fig. 46<small>A</small></a>) shows one of the earliest known methods of setting -in the sleeve; the collar in this plan is represented turned forward and -lying flat.</p> - -<p>The tunic worn by this figure, under his long overcoat, and also the -trousers would most probably be of leather.</p> - -<p><a name="fig_46A" id="fig_46A"></a> -<a name="fig_46B" id="fig_46B"></a></p> - -<div class="figcenter"> -<a href="images/i_p088_lg.jpg"> -<img src="images/i_p088_sml.jpg" width="429" height="282" alt="Image unavailable: Fig. 46A" /></a> -<br /> -<span class="caption"><span style="margin-left: 12%;">Fig. 46<small>A</small></span> -<span class="spc6"> </span> -Fig. 46<small>B</small></span> -</div> - -<p><span class="pagenum"><a name="page_89" id="page_89"></a>{89}</span></p> - -<p><a name="fig_46" id="fig_46"></a></p> - -<div class="figcenter"> -<a href="images/i_p089_lg.jpg"> -<img src="images/i_p089_sml.jpg" width="210" height="560" alt="Image unavailable: Fig. 46" /></a> -<br /> -<span class="caption">Fig. 46</span> -</div> - -<p><span class="pagenum"><a name="page_90" id="page_90"></a>{90}</span> </p> - -<p><span class="pagenum"><a name="page_91" id="page_91"></a>{91}</span> </p> - -<hr /> - -<p class="c"> -PEEPS AT ANCIENT CIVILIZATIONS<br /> -<br /> -<small>NEW VOLUMES IN THE<br /> -<br /> -“PEEPS AT MANY LANDS” SERIES</small><br /> -<br /> -<big>ANCIENT ASSYRIA<br /> -<span style="margin-left: 8em;">ANCIENT EGYPT</span><br /> -ANCIENT GREECE<br /> -<span style="margin-left: 8em;">ANCIENT ROME</span></big><br /> -By REV. JAMES BAIKIE, F.R.A.S.<br /> -<br /> -<small>Each containing Sixteen Full-page Illustrations, Eight of them in Colour<br /> -<br /> -<span class="smcap">Large Crown</span> 8vo. <span class="smcap">With Picture Cover.</span><br /> -<br /></small> -PRICE <b><big><big>2/6</big></big></b> NET<br /> -<small> -<i>PER VOLUME</i></small><br /> -</p> - -<hr /> - -<p>The “Peeps” Series, written primarily for young people, giving glimpses -of the scenery of various countries with the life and manners of the -people, now includes sixty volumes, all of which have proved exceedingly -popular.</p> - -<p>This new group deals with the lands of the older civilizations, and the -aim of the writer has been in each case to put before his readers a -series of pictures of the various aspects of life in the great days of -each country. For example, the country, development, and spirit of the -people of <b>Ancient Assyria</b> are shown when that nation was the greatest in -the Ancient World, and it is pointed out that their land was the cradle -of civilization. The splendour of the Court of <b>Ancient Egypt</b>, the -achievements of the Egyptians in exploration, conquest, art, -architecture, and science are indicated, and special stress has been -laid upon the depiction of child life and its surroundings. <b>Ancient -Greece</b> is depicted when the nation was at the summit of its glory and -achievement, while its matchless art and the effect of the universal -prevalence of athletic training in the physical development of the race -are given special prominence. Dealing with <b>Ancient Rome</b> the writer -reconstructs the early Empire and the Imperial City at the time of its -greatest splendour, and we are conducted in spirit to the Chariot Races -at the Circus Maximus and the Gladiatorial Sports at the Colosseum.</p> - -<p>The illustrations in the volumes faithfully depict the life and costume -of the period and include examples of the pictorial and sculptured art, -the architecture, and some imaginative scenes from the legends of those -old days.</p> - -<hr /> - -<p class="c"><small> -PUBLISHED BY<br /> - -A. & C. BLACK, LTD., 4, 5 & 6 SOHO SQUARE, LONDON, W. 1<br /> -</small></p> - -<p><span class="pagenum"><a name="page_92" id="page_92"></a>{92}</span></p> - -<hr /> - -<p class="c"> -OTHER VOLUMES <small>BY</small> REV. JAMES BAIKIE, F.R.A.S.<br /> -</p> - -<hr style="width:20%;" /> - -<p class="c"> -<b><big>LANDS AND PEOPLES OF<br /> -THE BIBLE</big><br /> - -A HANDBOOK FOR BIBLE STUDENTS</b><br /> - -<i>Crown 8vo., cloth bound. Containing 48 Full-Page Illustrations from<br /> -Photographs.</i><br /> -</p> - -<div class="blockquot"><p><i>Daily News.</i>—“This is a book of great interest.”</p> - -<p><i>Edinburgh Evening News.</i>—“Mr. Baikie has a clear and graphic -style, and altogether this book is a well-written and up-to-date -summary covering a wide field.”</p> - -<p><i>Liverpool Courier.</i>—“A volume heartily to be commended.” </p></div> - -<hr style="width:20%;" /> - -<p class="c"> -<b><big>THE STORY OF THE PHARAOHS</big><br /> - -A SHORT HISTORY OF ANCIENT EGYPT</b><br /> - -<i>Large Crown 8vo., cloth bound. Containing 32 Full-Page Illustrations<br /> -from Photographs, and 49 Illustrations in the Text.</i><br /> -</p> - -<div class="blockquot"><p><i>Oxford Magazine.</i>—“While the latest conclusions of archæological -investigation are embodied in the narrative, all unnecessary -details are omitted, and the story flows on with ease and -rapidity.”</p> - -<p><i>Aberdeen Free Press.</i>—“At once popular and scholarly, and of -great service. The main facts have been woven into a narrative of -marvellous vividness in which accuracy has not in the least been -sacrificed to effect.” </p></div> - -<hr style="width:20%;" /> - -<p class="c"><big> -<b>THE SEA-KINGS OF CRETE</b></big><br /> - -AND THE PREHISTORIC CIVILIZATION OF GREECE<br /> - -<i>Large Crown 8vo., cloth. Containing 32 Full-Page Illustrations from<br /> -Photographs.</i><br /> -</p> - -<p>The writer’s aim in this volume has been to present to the general -reader, in an untechnical and readable form, the results of the various -explorations which have recently done so much to enlarge our knowledge -of the great prehistoric civilization which preceded that of classic -Greece, and on whose ruins Greek culture, as we know it, arose. The -ancient legends pointing to the existence of a great sea-power in -prehistoric Crete are narrated, and a short account is given of the -civilization assumed in the Homeric poems. Thereafter, the work of -Schliemann, leading to the discovery of the Mycenæan culture, is briefly -described, and, turning to Crete itself, an account is given of the -remarkable discoveries at Knossos, Phæstos, and elsewhere, which have -revealed the relics of the wonderful empire of the Minoan sea-kings with -its advanced civilization.</p> - -<hr /> - -<p class="c"><small> -PUBLISHED BY<br /> - -A. & C. BLACK, LTD., 4, 5 & 6 SOHO SQUARE, LONDON, W. 1<br /> -</small></p> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Ancient Egyptian, Assyrian, and -Persian costumes and decoration, by Mary G. 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