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The Artistic Crafts Series of Technical Handbooks

Edited by W. R. Lethaby



DRESS DESIGN





[Illustration: A Long-trained Muslin Dress. About 1800.]





DRESS DESIGN



An Account of Costume

for Artists & Dressmakers



by



TALBOT HUGHES



Illustrated by the Author from

Old Examples . Together

with 35 Pages of Half-Tone Illustrations















London

Sir Isaac Pitman & Sons, Ltd.

Bath, Melbourne, Toronto, and New York



Reprinted 1920









GENERAL PREFACE TO THE SERIES





In issuing this volume of a series of Handbooks on the Artistic Crafts,

it will be well to state what are our general aims.



In the first place, we wish to provide trustworthy text-books of

workshop practice, from the points of view of experts who have

critically examined the methods current in the shops, and putting aside

vain survivals, are prepared to say what is good workmanship, and to set

up a standard of quality in the crafts which are more especially

associated with design. Secondly, in doing this, we hope to treat design

itself as an essential part of good workmanship. During the last century

most of the arts, save painting and sculpture of an academic kind, were

little considered, and there was a tendency to look on "design" as a

mere matter of _appearance_. Such "ornamentation" as there was was

usually obtained by following in a mechanical way a drawing provided by

an artist who often knew little of the technical processes involved in

production. With the critical attention given to the crafts by Ruskin

and Morris, it came to be seen that it was impossible to detach design

from craft in this way, and that, in the widest sense, true design is an

inseparable element of good quality, involving as it does the selection

of good and suitable material, contrivance for special purpose, expert

workmanship, proper finish and so on, far more than mere ornament, and

indeed, that ornamentation itself was rather an exuberance of fine

workmanship than a matter of merely abstract lines. Workmanship when

separated by too wide a gulf from fresh thought--that is, from

design--inevitably decays, and, on the other hand, ornamentation,

divorced from workmanship, is necessarily unreal, and quickly falls into

affectation. Proper ornamentation may be defined as a language addressed

to the eye; it is pleasant thought expressed in the speech of the tool.



In the third place, we would have this series put artistic craftsmanship

before people as furnishing reasonable occupations for those who would

gain a livelihood. Although within the bounds of academic art, the

competition, of its kind, is so acute that only a very few per cent. can

fairly hope to succeed as painters and sculptors; yet, as artistic

craftsmen, there is every probability that nearly every one who would

pass through a sufficient period of apprenticeship to workmanship and

design would reach a measure of success.



In the blending of handwork and thought in such arts as we propose to

deal with, happy careers may be found as far removed from the dreary

routine of hack labour, as from the terrible uncertainty of academic

art. It is desirable in every way that men of good education should be

brought back into the productive crafts: there are more than enough of

us "in the city," and it is probable that more consideration will be

given in this century than in the last to Design and Workmanship.



       *       *       *       *       *



The designing and making of Costume is a craft--sometimes artistic--with

which we are all more or less concerned. It is also, in its own way, one

of the living arts, that is, it is still carried forward experimentally

by experts directly attached to the "business." It has not yet been

subjected to rules of good taste formulated by Academies and

Universities; but when Inigo Jones, the great architect, was asked to

make some designs for fancy dress, he based them on the Five Orders of

Architecture, and ponderous fancies they were.



If we look for the main stem of principle on which modern Costume

develops, we seem to find it in the desire for freshness, for the clean,

the uncrushed, and the perfectly fitted and draped. Probably a modern

lady's ideal would be to wear a dress once, and then burn it.



A correlative of the ideal of freshness is the delight in perfect "cut,"

and the rapidly changing fashions are doubtless conditioned in part by

the desire for the new and unsullied. "Novelty" is a guarantee of

newness.



In such ephemeral productions it would be vain to seek for certain fine

types of excellence which were once common when dresses were not so

lightly cast aside. So it is necessary that we should understand what

the ruling principle is, for it is one which will not be set aside at

the bidding of well-meaning reformers. I will only venture to say that

it would be desirable to make the attempt to separate in some degree the

more constant elements of dress from those which are more variable. It

will seem a pity to more than outsiders that a "well-dressed" person

need wear so little which deserves to have been made by human hands, and

nothing which deserves to be preserved. Fine laces and jewels are

allowed to be antique--could not the circle of such things be a little

broadened? A properly groomed man carries about on him literally nothing

worth looking at. We might surely look for a watch-chain with some

delicacy of handiwork--something beyond mechanical reductions of iron

cables. Fine buttons might conceivably be made to go with the studs, or

be made of crystal, amethyst, and silver or gold. Women might allow of

the transfer of fine embroidered applications from one dress to another,

or make more use of clasps and the like. I am confident that when it is

pointed out, it will be felt as a shortcoming that no part of a fine

lady's dress need now be too good to throw away. Although the present

volume is cast into the form of a history, it is also intended to be a

book of suggestions; and the hope is held that modern dressmakers may

refer to it as much as, or more than, those who are interested in dress

from the historical point of view.



In any case the author's accurate knowledge of the facts, and his many

bright sketches--which are often drawn from examples in his own

remarkable collection--make the present volume an admirable handbook of

English Costume. The more technical "patterns" which are included

amongst the illustrations will be found most valuable to all who wish to

go deeper than the first glance reveals.



                                                     W. R. LETHABY.

    1913.









CONTENTS





                                                                    PAGE

    GENERAL PREFACE TO THE SERIES                                     xi



    _Preface_                                                        xiv



    LIST OF PLATES                                                 xxiii



    INTRODUCTION                                                      33



    CHAPTER I



    Prehistoric Dress--Female                                         40

    Prehistoric Dress--Male                                           41



    CHAPTER II



    The Development of Costume to the Tenth Century--Female           45

    The Development of Costume to the Tenth Century--Male             49



    CHAPTER III



    Tenth to the Fifteenth Century--Female                            57

    Tenth to the Fifteenth Century--Male                              71



    CHAPTER IV



    Fifteenth Century--Female                                         84

    Fifteenth Century--Male                                           92



    CHAPTER V



    Sixteenth Century. Character of Trimmings                        109

    Sixteenth Century. Henry VIII--Female                            113

    Sixteenth Century. Henry VIII--Male                              118

    Sixteenth Century. The Reigns of Edward VI and Mary--Female      124

    Sixteenth Century. The Reigns of Edward VI and Mary--Male        129

    Sixteenth Century. Elizabeth--Female                             133

    Sixteenth Century. Elizabeth--Male                               139



    CHAPTER VI



    The Character of Trimmings through the Seventeenth Century       142

    James I                                                          142

    Charles I                                                        143

    The Commonwealth                                                 145

    Charles II                                                       145

    James II and William and Mary                                    146

    Seventeenth Century. James I--Female                             147

    Seventeenth Century. James I--Male                               150

    Seventeenth Century. Charles I--Female                           154

    Seventeenth Century. Charles I--Male                             160

    Seventeenth Century. The Commonwealth--Male and Female           168

    Seventeenth Century. Charles II--Female                          169

    Seventeenth Century. Charles II--Male                            174

    Seventeenth Century. James II--Female                            178

    Seventeenth Century. James II--Male                              180

    Seventeenth Century. William and Mary--Female                    184

    Seventeenth Century. William and Mary--Male                      186



    CHAPTER VII



    The Character of Decoration and Trimmings of the

      Eighteenth Century                                             190

    Eighteenth Century. Anne--Female                                 193

    Eighteenth Century. Anne--Male                                   198

    Eighteenth Century. George I--Female                             201

    Eighteenth Century. George I--Male                               207

    Eighteenth Century. George II--Female                            211

    Eighteenth Century. George II--Male                              214

    Eighteenth Century. George III to 1800--Female                   217

    Eighteenth Century. George III to 1800--Male                     231



    CHAPTER VIII



    Character of Trimmings of the Nineteenth Century                 237

    Nineteenth Century. George III--Female                           241

    Nineteenth Century. George III--Male                             246

    Nineteenth Century. George IV--Female                            248

    Nineteenth Century. George IV, 1820-30--Male                     254

    Nineteenth Century. William IV--Female                           258

    Nineteenth Century. William IV--Male                             263

    Nineteenth Century. Victoria--Female                             264

    Nineteenth Century. Victoria--Male                               273



    PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME                  276



    PATTERNS TO SCALE                                                283



    PATTERNS TO SCALE, DETAILED LIST                                 353



    INDEX                                                            359









LIST OF DESCRIPTIVE LINES TO THE PLATES





    FRONTISPIECE                                          _Facing Title_

      A Long-trained Muslin Dress, about 1800.



    PLATE I                                               _Facing p. 39_

      Boots and Shoes from the Fourteenth to Nineteenth Century.



    PLATE II                                                    "     42

      _A._ Elizabethan Robe in Plush, 1585-1605.

      _B._ Elizabethan Robe in Silk Brocade, 1565-85.

      _C._ Elizabethan Male Robe in Velvet Brocade, 1580-1615.

      _D._ Back-piece of Elizabethan Doublet in

             Embroidered Linen, 1580-1605.



    PLATE III                                                   "     55

      _A._ Elizabethan Jump (or Jacket), about 1600.

      _B._ Portrait of Lady in Embroidered Costume,

             between 1620 and 1640.



    PLATE IV                                                    "     58

      _C._ Youth's Jacket of Linen embroidered in Worsted, 1635-65.

      _D._ Linen Male Jacket embroidered with Gold and Silk, 1600-40.



    PLATE V                                                     "     71

      _A._ Jerkin--Period James I.

      _B._ Lady's Bodice of Slashed and Vandyked Satin, 1635-50.

      _C._ Jerkin of Embroidered Linen, 1630-60.

      _D._ Jerkin of Embroidered Linen, 1580-1635.



    PLATE VI                                                    "     74

      _A._ Collar and Cuffs set with Lace, 1600-30.

      _B._ Embroidered Leather Jerkin, 1620-1640.

      _C._ Top of Stocking, Embroidered Linen, 1625-50.



    PLATE VII                                                   "     87

      _A._ Herald's Coat, Embroidered Velvet and Silk,

             First Half Seventeenth Century.

      _B._ Lady's Bodice of Black Velvet, 1630-60.

      _C._ Black Silk Jerkin, 1640-50.



    PLATE VIII                                                  "     90

      _A._ Three Suits--Period Charles II.

      _B._   "     "       "      "

      _C._   "     "       "      "



    PLATE VIIIA                                                 "    103

      _A._ Suit of Embroidered Silk, 1610-30.

      _B._ Three Sword-hangers Embroidered in Gold, Charles II.

      _C._ Braided Suit, 1670-90.



    PLATE IX                                                    "    106

      _A._ Lady's Embroidered Silk Jacket, 1605-20.

      _B._ Lady's Bodice of Silk Brocade, 1680-1700.



    PLATE X                                                     "    119

      _A._ Black Velvet Bodice, 1600-25.

      _B._ Five Embroidered Waistcoats, between 1690 and 1800.



    PLATE XI                                                    "    122

      Sixteen Leather Boots and Shoes, between 1535 and 1850.



    PLATE XII                                                   "    135

      _A._ Lady's Outdoor Costume, 1785-95.

      _B._ Costume, Early Eighteenth Century.

      _C._ Silk Brocade Dress, 1760-80.



    PLATE XIII                                                  "    138

      _A._ Silk Coat, 1735-55.

      _B._ Brocade Silk Coat, 1745-60.

      _C._ Embroidered Cloth Coat, 1770-90.



    PLATE XIV                                                   "    151

      _A._ Embroidered Silk Dress with Pannier, 1765-80.

      _B._ Brocade Dress and Quilted Petticoat, 1750-65.



    PLATE XV                                                    "    154

      _A._ White Cloth Coat, 1775-90.

      _B._ Silk Dress, 1740-60.

      _C._ Embroidered Velvet Coat, 1753-75.



    PLATE XVI                                                   "    167

      _A._ Silk Brocade Dress, 1740-60.

      _B._ Silk Brocade Sack-back Dress, 1755-1775.

      _C._ Dress of Striped Material, 1755-85.



    PLATE XVII                                                  "    170

      _A._ Silk Suit, 1765-80.

      _B._ Quilted Dress, 1700-25.

      _C._ Silk Embroidered Suit, 1765-80.



    PLATE XVIII                                                 "    183

      _A._ Brocade Bodice, 1770-85.

      _B._ Flowered Silk Dress, 1750-70.

      _C._ Silk Brocade Bodice, 1780-95.



    PLATE XIX                                                   "    186

      _A._ Silk Brocade Dress, 1775-85.

      _B._ Embroidered Silk Jacket, 1775-90.

      _C._ Brocade Jacket, 1780-95.



    PLATE XX                                                    "    199

      _A._ Gold-embroidered Muslin Dress, 1795-1805.

      _B._ Nine Aprons, between 1690 and 1750.

      _C._ Dress of Spotted Stockinette, 1795-1808.



    PLATE XXI                                                   "    202

      Twenty-three Boots and Shoes, from 1800 to 1875.



    PLATE XXII                                                  "    215

      _A._ Linen Dress, 1795-1808.

      _B._ Silk Bodice, 1825-30.

      _C._   "     "    1818-25.



    PLATE XXIII                                                 "    218

      _A._ Muslin Dress with Tinsel Design, 1798-1810.

      _B._ Silk Dress, Period George IV.

      _C._ Satin and Gauze Dress, 1820-30.



    PLATE XXIV                                                  "    231

      _A._ Outdoor Silk Jacket, 1798-1808.

      _B._ Embroidered Muslin Bodice, 1816-1830.

      _C._ Embroidered Muslin Bodice, 1824-1825.

      _D._ Satin and Gauze Bodice, 1820-30.



    PLATE XXV                                                   "    234

      _A._ Silk Dress, 1800-10.

      _B._ Cotton Dress, 1800-10.

      _C._ Embroidered Muslin Dress, 1820-30.

      _D._ Silk Gauze Dress, 1824-30.



    PLATE XXVI                                                  "    247

      _A._ Morning Coat of Chintz, 1825-45.

      _B._ Cloth Coat, 1808-20.

      _C._ Cloth Overcoat, 1820-35.



    PLATE XXVII                                                 "    250

      Outdoor Silk Dress, 1825-35.



    PLATE XXVIII                                                "    259

      _A._ Silk Pelisse, 1820-30.

      _B._ Cotton Dress, 1830-40.

      _C._ Silk Spencer and Cape, 1818-27.



    PLATE XXIX                                                  "    263

      _A._ Embroidered Silk Gauze Dress, 1820-30.

      _B._ Gauze Dress with Appliqued Design, 1825-35.

      _C._ Printed Linen Outdoor Dress, 1827-1847.



    PLATE XXX                                                   "    266

      _A._ Printed Silk Bodice, 1840-50.

      _B._ Gathered Linen Bodice, 1837-47.

      _C._ Silk Bodice and Bertha, 1845-55.



    PLATE XXXI                                                  "    270

      _A._ Embroidered Muslin Outdoor Dress, 1855-65.

      _B._ Riding Habit, 1845-75.

      _C._ Gauze Ball Dress, 1840-55.



    PLATE XXXII                                                 "    279

      _A._ Silk Dress, 1860-70.

      _B._ Gauze Walking Dress, 1850-60.

      _C._ Silk Dress, 1848-58.



    PLATE XXXIII                                                "    282

      _A._ Silk Dress with Court Train, 1828-1838.

      _B._ Silk Afternoon Dress, 1872-78.

      _C._ Silk Coat and Skirt, 1855-56.









DRESS DESIGN





    Plates originally printed in collotype are now produced in half-tone









INTRODUCTION





The subject of Historical Costume covers such a multitude of detail that

a volume on each century could be written, with hundreds of

illustrations. Thus it is, most works on costume are expensive and

bewildering; but I hope this small practical handbook will be a useful

addition to the many beautifully illustrated works which already exist.



I have divided the matter into centuries and reigns, as far as possible,

in this small work, besides separating male and female attire, thus

simplifying reference. A special feature has also been made, of

supplying the maker or designer of dress with actual proportions and

patterns, gleaned from antique dresses, as far back as they could be

obtained; and I am much indebted to the authorities at the Victoria and

Albert Museum for the permission given me to examine and measure their

unique specimens; also to Mr. Wade, Mr. G. G. Kilburne, Mr. Duffield,

Mr. Box Kingham, Mr. Hill, Mr. Breakespeare, and others, for their

valuable assistance with interesting specimens. I have used outline

drawings in the text, as being more clear for purposes of explanation.

The dates given to the illustrations are to be taken as approximate to

the time in which the style was worn. Many of the photographs have been

arranged from my own costume collection, which has made so much of my

research simple, reliable, and pleasant. I am also happy to state that

before the final revision of this book I have heard that my collection

of historical costumes and accessories will, after a preliminary

exhibition at Messrs. Harrod's, be presented to the Victoria and Albert

Museum as a gift to the nation by the Directors of that firm. Thus the

actual dresses shown in these plates will find a permanent home in

London, and become valuable examples to students of costume. The

coiffures in the collotype plates are not to be judged as examples, for

it would have consumed far too much time to set up these figures more

perfectly, but all the bonnets, caps, and accessories given are genuine

examples.



In a book of this size, one cannot go into the designs of materials, &c.,

which is a study any earnest student would not neglect, but in this

connection I would draw attention to the comparative colour density and

proportion of designs chosen for various effects.



It has been my endeavour to arrange a greater variety of the forms which

make up the characters of each period, and also to give a wider

knowledge into the footwear, or details of the footwear, than is usual

in most costume books.



In a review of the styles I would not press any choice for building new

designs, as I believe in close individual research and selection, which

may utilise many interesting features from costume settings even in

periods which are almost scorned. I believe the purest beauty is found

in the simple forms of dress and decoration settings from the 12th to

the 15th centuries, schemed to the natural proportions of the figure.

The grace of line and movement is often aided by the short train, which

can be so happily caught up in many ways; the slight drag of the train

always keeps the front clear in outline, besides showing the movement of

the limbs. Length of fall in the material was desired, the figure

creating its own folds with every turn, but a belt was often placed

rather high under the breast. There is little reason with nature of

fine form to make dress into sections by a corset waist. A long, lithe,

complete curve in outline--much happier unbroken, except by the

girdle--is certainly the most artistically useful conception, not

breaking the rhythm (as does the harder belt), while it also induces

much beauty in lifting and arranging the drapery. The long falling

sleeve also has the same qualities, giving a greater fullness of shape,

a variety of colour (by a difference of lining), with a winglike motion,

besides softening the angle of the elbow.



I think the next garment for high esteem is the chasuble-shaped tunic

(with or without sleeves). Falling cleanly from the shoulders, it stops

at a charming length for the skirt to take up the flow of line. The

delightful effect of partly-laced or clasped sides was not missed by the

ablest designers. How refined, too, was the character of decoration of

the old period! The art of concentrating effects is seen to perfection,

retaining the breadth of shape and length unbroken. Jewelled embroidery

of fine enrichment was wrought on the borders, neck settings, square

corners, the girdle, and the clasps. The preciousness of effect was

truly appreciated by the enclosing of the face in the purity of white

lawn and zephyr-like veilings; the circlet and the long interlaced

plaits and charming nettings were all tastefully schemed. Has woman ever

looked more supreme through all the centuries of extravagant styles and

distortions? I believe not: but I have come to the conclusion that, at

whatever period of seeming insanity of style, the woman of fine taste

can overcome all obstacles by her individual choice and "set up," and

has really always looked fascinating.



There was another form of decoration at this period--the cutting of the

edges into a variety of simple or foliated shapes, giving a flutter and

enrichment to forms in a simple manner, and this, in conjunction with

the increasing richness of materials, was a valuable aid to lighten the

effects. It was probably initiated by the heraldic characteristics in

vogue.



The pricked and slashed details had much the same result in enriching

surfaces.



Later the fan sleeves of the 18th century were enhanced in a similar way

by the curved and scalloped shaping, which was used as late as the

Victorian sixties with happy effect on the polonaises.



Now, as regards the finest corset dress, the palm must be given to the

sack-back dress of the eighteenth century (not in the period of its

distortion with hoops), and a full setting showed it to greatest

advantage.



This type of design lent itself to more variety in beauty of arrangement

than any other; the looping, reefing, and tying always set gracefully in

accord with the back fall. The easy exchange of the stomacher also gave

additional chance of effect, and the beauty of the fan-shaped sleeve,

with its lace falls at the elbow, was a delightful creation. How rich

and refined this character could be, without the monstrous forms and

head-dresses which later invaded it and turned it into ornate absurdity!



When we examine the period of Charles I, we find much charming dignity

in the adaptations of earlier inventions; the collar settings were

noble, indeed perfect, in arrangement, and the bodice decoration and

proportions most interesting.



For the grace of girlhood no dresses are happier than those of the early

19th century to 1830, and the inventions in trimmings through this

period were prolific in beauty and lightness of style.



Analysis of the many fashion-plates and original dresses of this

period will well repay all interested in beautiful needlecraft and dress

design. The arrangement of frills, insertions, gathered effects, applied

forms, and tasselled or buttoned additions, will be found full of beauty

and novelty, especially in the dresses of white embroidery. Plates XXIII

and XXIV (see pp. 218-231) give some happy examples of this time.



[Illustration: Plate I.--Boots and Shoes from the 14th to the 19th

Centuries.



     1. Charles II.

     2. James II.

     3. William and Mary.

     4. George II.

     5. George III., 1770.

     6. George III., 1760.

     7. George III., 1780-1800.

     8. 1870-1880.

     9. William and Mary.

    10. 1680-1700.

    11. 1680-1702.

    12. 1750-1775.

    13. 1580-1625.

    14. 1710-1730.

    15. Henry VIII.

    16. Semi-Clog, 1780-1800.

    17. Henry VIII.

    18. 1778-1795.

    19. Late 15th Century or early 16th Century.

    20. 1500-1540.

    21. Late 14th Century to middle of 15th Century.

    22. 1530-1555.

    23. 1535-1555.]



A word on the most condemned flow of fashion during the Victorian era.

There are many dresses of real charm to be found amongst the mass of

heavy styles which must not be overlooked in studying design and style.

Even the crinoline dress, when treated with the exquisite silk gauzes,

as Fig. 3 in Plates XXXI and XXXIII (see pp. 270-282), was as alluring

as any woman could wish, and the original design of the jacket in the

latter figure, with its richly embroidered, long-skirted front cut short

at the back, arranged itself perfectly on this type of undersetting.

There was notable refinement of effect and beauty of proportion in many

dresses of the sixties, as exemplified in Fig. A, Plate XXXII (see p.

279), the waist being set rather high, and the very full skirt carried

back by the crinoline being held thus with its cross ties.









CHAPTER I





PREHISTORIC DRESS. FEMALE.



The woman's attire would have been chiefly a shortish skirt or wrap of

coarse linen, wool, or leather, gathered in front or folded at one hip;

grass cloth may also have been in use in most primitive tribes. Probably

the upper part of the body was kept bare, except for many ornaments and

necklaces, but a bodice or jacket cut in the same simple form as the

male shirt, with a heavy belt or girdle, would have been used, and

certainly a large shawl, which could be wrapped over the head and round

the figure during inclement hours. Dyed or painted patterns on the

cloths might well have been also in use, their chief designs being

stripes, circles or dots, zigzag lines, diamonds and plaid squares, rope

patterns and plaited patterns. The hair would have been loose, plaited,

or coiled on top, held by bone pins or circlets of bronze.





PREHISTORIC DRESS. MALE.



We have little description or illustration to certify the actual dress

of the early inhabitants of Britain, but we can draw conclusions with

pretty certain assurance, from the knowledge of their mode of living.

From their attainments in artistic design and handiwork, it is clear

they had arrived at a very high state of savage culture before the Roman

invasion; and we have only to study the better types of savage life

still in progress, to picture how our own primitive race would be likely

to dress under the conditions of climate. The thousands of "finds,"

which accumulate evidence every year, give us a closer acquaintance with

their customs and work. The rest we must imagine from our general

knowledge of what they had to contend with in climate, forest, cave, and

floods.



These early people, it is presumed from certain discoveries, had long

known the art of coarsely weaving flax and wool, which must soon have

been in general use, from its being healthier and cleaner than the

garments of skin. And very probably a coarse linen, with simple dyes of

red, blue, yellow, and brown, was in use here when the Romans came.



The head-dress consisted of a cap of fur or wool, probably decorated

with a feather, over loose and most likely very unkempt hair falling to

the shoulders. The Gauls cut their locks from the back of the head,

often tying up the remainder in a tuft on the top; no doubt the hair was

sometimes plaited or pinned up with wood, bone, or bronze ornaments.

Bone pins, teeth, and boar tusks were carried in the ears, as well as

studs of bone or stone in the underlip, and even the cheek may have been

so decorated, as it was amongst the Esquimaux. The face and body were

painted with red and white ochre and a blue stain. The neck was adorned

with strings of teeth, stones, amber, jet, bronze, and probably beads of

glass or baked clay coloured. Amulets and tokens, armlets and bracelets

were all in use. Also the torque, a twisted rod of gold flattened or

curled together at the ends, was a mark of dignity. A wristlet of wood,

bone, or leather was worn when the bow and arrows were used. The arms

were a spear of flint or bronze and a dagger of the same, a hatchet or

heavy club, a mace studded with flint or bronze spikes, and the sling,

which would have necessitated a leather wallet to carry the stones; fish

spears and snags. Also the bolas for felling cattle seems to have been

known; in fact nearly all the usual implements appertaining to savage

life were in use.



[Illustration: Plate II.--



    (_a_) Elizabethan Robe in Plush. 1585-1605.

    (_b_) Elizabethan Robe in Silk Brocade. 1565-85.

    (_c_) Elizabethan Male Robe in Velvet Brocade. 1580-1615.

    (_d_) Back-piece of Elizabethan Doublet in Embroidered Linen.

            1580-1605.



    _Measures, see p. 281._

    _Sleeve pattern of C, see p. 300._]



The first item of male attire was of two skins fastened at the

shoulders, and from this we get the early chasuble form (which may be so

beautifully treated, even to the present time), girt with a leather

thong or strap at the waist. One skin lapped the other, and hardly

needed sewing together at the sides, while thus it was easier to throw

off; it may also have been tied up between the legs. The fur was worn

both inside and out, according to the weather; this large skin wrap

would also be worn cross-ways with the right shoulder free, and the

simple cloak of various lengths with a hole for the head to pass through

was no doubt one of the first discoveries in costume.



A loin cloth or skin may have been worn alone, caught up through the

legs and fastened at the back of the waist with a heavy belt and set

well down the hips. This would hold a number of personal necessities, in

the shape of a wallet and dagger. The legs would be wrapped with skins,

tied up or crossed by leather or sinew thongs, or with hemp or grass

rope. Skins were probably also used on the feet, gathered and tied above

the instep and round the ankle.



The enumeration of these items will give a pretty definite idea of how

the early race would appear in their more or less attired form. In

fighting, they cleared for action (as it were) and discarded all

clothing, their only protection being a shield of wicker or wood covered

with leather; it may have been studded with bronze plates or painted

with grotesque characters, as were their own bodies, in true savage

style, to strike fear into their enemies; it is even possible feather

decorations formed part of their "get up."









CHAPTER II





THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. FEMALE.



The female head-dress consisted chiefly of flowing hair banded with a

circlet of various shapes, but a development of braiding plaits is found

very early, and the hair was probably arranged so before the Roman era.

These plaits were generally brought over the shoulder to the front, the

hair being parted in the centre, thus making an oval forehead. Various

caps began to show originality, and jewels were set in the centre of the

forehead on the little crown-like hat, which must have been most

becoming. Squares of coloured stuffs were draped over the head and

shoulders, sometimes upon white linen squares, and many ladies began to

bind the face and head, shutting out the hair, in the 8th century. The

kerchief draping is very important to study, because it was the general

mode amongst the people.



Heavy collars of ornament and strings of beads, hanging even to the

waist, are noticeable features of these centuries, also large ear-rings.



A full cloak, with a large clasp or brooch, opened in front, or was

turned to free one shoulder; there was also a long "drape" thrown round

over the opposite shoulder or brought picturesquely over the head.



The ecclesiastical form of cloak as described in the male attire was

also formed about the 6th century; its graceful line was frequently

bordered completely with a band of ornament, and it was clasped just

across the breasts.



The complete circular cloak, with a hole for the head, is seen very

early, decorated with a pinked edge, which may also be noted on some of

the short dresses of the middle classes. Aprons are no doubt of the

earliest origin. A loose tunic falling to the hips was girded rather

high up the body, as in the classic dress, and bands passing both

outside or crossing between the breasts and going over the shoulder came

from the same source; these were with, or without, short sleeves to the

elbow. A long loose robe was the chief attire to the 6th century,

belted rather high in the waist, and caught up with a girdle at the

hips; these girdles gave a great interest to the early centuries, with

the art of arranging the fullness of skirt into its hold.



[Illustration: FIG. 1.]



From the 6th century the dress became closer fitting, and a short bodice

is seen; the neck was cut very low, either square or round in shape, and

this style had short tight sleeves or tight sleeves to the wrist. The

later tunic of the 9th century marked the beginning of the slit-open

upper sleeve, and a greater length of the neck opening, which came to be

fastened down the front to the waist.



The early skirts (to the 6th century) were hung from the hips, and were

often attached to a heavy girdle band, the fullness was gathered mostly

at the back and front; other skirts hung from a higher belt and were

again caught up in the girdle. A =V=-shaped neck setting was worn by the

Franks, from which probably came the shaped front piece that will

interest us in the 13th century. The shoes were similar to the male

shapes described later, and the same mode of binding the stockings was

sometimes imitated.





THE DEVELOPMENT OF COSTUME TO THE TENTH CENTURY. MALE.



In taking the long period from the Roman occupation to the 10th century,

we can discover a real development of style in costume, as with the

system of vassalage a distinction of class arose. No doubt the Romans

introduced a finer tuition of weaving, needlecraft, decoration, and

dyeing; and later the various peoples coming from the Continent, when

settled under Alfred in the 9th century, produced a solid style of

barbaric splendour.



[Illustration: FIG. 2.]



[Illustration: FIG. 3.]



The male hair dressing, from the rugged mass of hair, soon became well

combed and trimmed square across the neck: ear-rings may still have been

in use by some nobles till the 11th century, and chaplets were worn upon

the hair. The Saxon beard was divided into two points. Small round tight

caps of wool, fur, or velvet, and rush or straw hats of a definite shape

were in use to the 10th century. Tight caps, with lappets tied under the

chin, and hoods appear on the short capes about the 8th century, or

probably earlier. The garment was of the simplest form, cut like a

plain square loose shirt to the middle of the thigh, and this was put on

over the head. The opening to pass the head through was the first part

to receive a band of decoration. The sides were sometimes opened to the

hips and the front caught between the legs and held at the waist. A

garment opened down the front, and another wrapped across to either

shoulder is also seen. A belt girt the waist, and the tunic was pulled

loosely over it. This also carried the essential requirements in the

shape of a pouch, dagger, knife, comb, sword, &c. The neck was

ornamented with chains of bronze, gold, beads, and charms, and up to the

8th century a bronze ornamental armlet was worn, besides a wristlet.



The men of the ruling class from the 8th century were clothed in a long

garment of simple shape, falling to the ankle, richly bordered at the

hem and neck. This generally had long tight sleeves, and often over this

a shorter tunic, reaching just below the knee, sometimes sleeveless, or

with rather full sleeves tightening to the wrist.



[Illustration: FIG. 4.]



A plain square chasuble shape was in fashion from the 8th century,

reaching to the bottom of the calf of the leg, and richer materials

began to be used; no belt was passed round this, as it was allowed to

fall straight.



Loose breeches were worn from very early times, and a loose trouser to

the ankle, being tied there or bound crosswise from the boot sometimes

right up the thigh. The same binding was done even with the bare legs

and later hose: close-fitting short breeches and cloth hose became a

feature in the 10th century, and with the latter an ornamental

knee-piece or garter below the knee sometimes finished the strappings.



The cloak was the "grand garment," heavily banded with ornament and

fastened with a large clasp on one shoulder, or at the centre of the

breast. Long circular cloaks of varying lengths, put on over the head,

were much favoured, and when caught up at the sides on either shoulder

gave a fine draped effect.



Another cloak of ecclesiastical character, sloping in a curve from the

neck and not meeting in front, is seen on many notable figures from the

early 8th century, large clasps bridging the width low down on the

chest.



[Illustration: Plate III.--



    (_a_) Elizabethan Jump (or Jacket). About 1600.

    (_b_) Portrait of a Lady in Embroidered Costume. Between

          1620 and 1640.]



[Illustration: FIG. 5.--TYPES OF SHOES. British, Roman,

Norman to 13th century.]



No doubt the sandal of various forms was much used for footwear through

this period, also a simple low shoe which was held on by the

leg-strappings, as, about the 8th century, shoes are seen with loops at

the upper edge, these being attachments for the binding, and this was

no doubt a method from the prehistoric times.



There was also a soft boot reaching to the calf, laced up the front;

and, after the 8th century, a rather pointed shoe, open down the instep,

laced, tied, or gathered into a buckle about the ankle.









CHAPTER III





TENTH TO THE FIFTEENTH CENTURY. FEMALE.



The head-dress of women now began to show a preference to confine the

hair with nets and to close in the face, which continued till the 15th

century. The circlet and long plait or plaits and the flowing hair

remained till the 14th century. In the 12th century we discover the hair

gathered in nets at either side of the head, covering the ears. A

low-crowned hat was bound over with a band of lawn or fine material

passing underneath the chin, otherwise the plaits were looped up under a

circlet which was also worn with the flowing hair.



A square effect was aimed at in the 13th century with tight side-plaits

bound into a shape or netted hair was strapped to the head as in Fig. 11

(see p. 65). A fall of fine material softened the hard effect, and many

ladies of quality bound the face, neck, and head in the wimple of fine

linen, sometimes gathering this to the same quaint shape of the netted

hair. I give a variety of these settings on page 65. A kerchief of linen

coming round the neck was brought up tightly round the face and

festooned on the top of the head, while another piece was pinned close

to the brows and fell loosely to the shoulders, being often held on by a

circlet as well.



This character was maintained till the early 14th century, when a style

of high peaked hats came into evidence, one shape of which became the

most imposing feature of historic costume in the 15th century. It was

still but a simple form in the middle of the 14th century, for another

shape first gained predominance. Early in this century also may be noted

a curious shape like the cap of liberty, usually with a long tail at the

back as drawn on page 59. This carried design to the eccentric forms of

the pig-tailed hood, and then the rival of the high peaked hat took its

place towards the end of the 14th century--a cushioned head-dress, which

rose and divided in a hornlike structure. It started as in Fig.

25, and I have illustrated its progress; the veil draping was a great

feature, giving plenty of scope for individual fancy. It was, as a rule,

richly decorated with gold and jewels, and the hair was completely

enclosed in a gold net and a tight-fitting cap to hold this erection.

Large drop ear-rings were much worn, and a fine chain of gems encircled

the neck or fell to the breast.



[Illustration: Plate IV.--



    (_c_) Youth's Jacket of Linen Embroidered in Worsted. 1635-65.

          _Pattern, see p. 299._

    (_d_) Linen Male Jacket Embroidered with Gold and Silk. 1600-40.]



[Illustration: FIG. 6.--Tenth to thirteenth century.]



[Illustration: FIG. 7.



    _Henry II._

    _John_

    _Henry I._

    _Richard I._]



[Illustration: FIG. 8.--Twelfth to fourteenth century.]



In the 10th century a long close-fitting robe was in fashion, sometimes

with a deep =V=-shaped neck opening, though usually the neck was cut to a

round form. Some sleeves were tighter with a small cuff, but usually the

outer garment had a falling sleeve with a square or round end showing

the tight undersleeve. The outer sleeve varied much in length, from the

elbow or hand dropping even to the ground; it was narrow and widened

through the 14th century, when its edge was cut into various patterns as

in Fig. 18 (see p. 79). In the 13th century we notice a long sleeve

opened at the elbow for the under sleeve to come through, which

beautiful style continued to the middle of the 17th century.



[Illustration: FIG. 9.



    _Norman, 12th century_

    _Saxon, 12th century_]



[Illustration: FIG. 10.--Fourteenth century, 1st half.]



[Illustration: FIG. 11.--Fourteenth century, 2nd half.]



With the 10th century came the first corselet from the waist to the hip,

clasping a loose tunic with an under-dress taking a long pointed

train. The manner of tucking the tunic under the corselet when it was

worn over it, and so creating festoons, is worthy of notice as

interesting in arrangement and design.



The 13th century parti-coloured and striped dresses foreshadowed the

heraldic fashion, which must be studied for its proportion and treatment

of decorative colour-values in counterchange to get the true value of

its noble effects.



A great feature now appears in the chasuble-shaped front or setting to a

closely cut jacket. This ultimately becomes the decorative stomacher

through the later periods, and it is very interesting to note its

development.



In the 13th century this jacket was a fur construction of a long simple

form opened at the sides to the hips for the sleeves to come through; it

had a straight hem or was rounded at the front points, and a chasuble

form of it was treated as in Fig. 13 or in conjunction with a short

cape; it was chiefly a decoration of ermine. It grew into a complete

jacket, and in the 14th century it was heavily ornamented with gems; and

the simple front, from being a feature outside the jacket, was later

often enclosed at the sides. The jacket itself is beautiful in form and

proportion, and the curved band of design over the hips makes a nice

foil to the curved front. This pattern is plainly derived from the

effect of the rich girdle that was at first seen through the side

openings and few jackets are without it, the usual shaping of the neck

with most of these was square.



[Illustration: FIG. 12.--Nos. 1 to 7, 14th century. Nos. 8 and 9, 15th

century.]



In the first quarter of the 14th century the setting of the neck was of

a round shape, and after 1350 a raised or curved form is favoured. Later

still, and with the hornlike head-dress, a very deep =V= shape, open

almost to the belt was the mode, often being filled in with velvet. At

the same time some began to take up the fashions of a very high collar

and a round-shaped body and sleeves, as in Fig. 24 (see p. 89), with

which a wide pointed belt is seen. Some robes were opened in front up to

the height of the girdle, though many dresses were worn without girdles

after the 12th century. Decorated pockets are sometimes seen in the

later period, and an interesting hand-covering or falling cuff came with

them.



[Illustration: FIG. 13.--Nos. 1 to 3, 14th century. Nos. 4 to 9, 15th

century.]



The cloak as described in the 10th century still continued till the

12th, as well as the light wrap which may almost be placed with any

period, though mostly a feature of the more classic styles.



Skirts and underskirts were worn with trains. They were mostly banded

with wide borders of ornament up to the 13th century, the fullness being

often gathered to the back and front.



The chasuble-shaped overdress was worn to the middle of the 14th

century, sleeveless, and, laced or sewn tight to the figure from the arm

to the hip, or completely down the sides, generally reached just below

the knee.



The shoes were of much the same character as those of the male examples

illustrated, though they hardly reached the same extravagance in length,

owing, no doubt, to the feet of woman being hampered by her skirt; but I

suspect they even braved high wooden clogs, as we know they did the tall

chopins of the 16th century, to heighten their stature.



[Illustration: Plate V.--



    (_a_) Jerkin. Period James I.

    (_b_) Lady's Bodice of Slashed and Vandyked Satin. 1635-50.

    (_c_) Jerkin of Embroidered Linen. 1630-60.

    (_d_) Jerkin of Embroidered Linen. 1580-1635.



_Pattern measurements, see p. 293._]





TENTH TO THE FIFTEENTH CENTURY. MALE.



From the 10th to the 15th century, we find costume developing rapidly

into elaborate and interesting designs. Close relations with the

Continent brought new ideas, and rich velvets and brocades interwoven

with gold enhanced the gorgeousness of attire, while the introduction of

heraldic design brought in a very picturesque element. Hats and

head-dresses began to become important features, enlarging to eccentric

shapes and proportions, only equalled in the extravagant part of the

18th century.



It may be noted that feminine fashion, as it assumes new characters and

proportions, affects the style of the male clothes in the same way, as,

when a high or pointed head-dress comes in, the male hat also increases

its size; the same with curved or angular designs, full or tight

sleeves.



The hair was worn long and rather squared in shape at the back till the

end of the 15th century. A tendency to shut in the face by close hoods

tied under the chin is remarked, and this forms a strong feature of the

13th and 14th centuries. Ear-rings were seldom worn after the 10th

century; but the neck was generally adorned with heavy chain

decorations.



Beards assumed a pointed shape in accordance with this development of

fashion, and double-pointed beards were revived between 1380 and 1386.

Hats of straw with mushroom brims and round tops came into vogue in the

11th century, covered with coloured materials and finished with a spike

or button at the top, and the crowns of these took a pointed shape in

the 14th century. The usual cap with folded brim had a loose crown, and

we find this began to lengthen and fall over to one side in the 11th

century, and continued to elongate till, in the 15th century, it often

dropped to the knee in a long thin point. In the 14th century it took a

fullness of loose folds, with serrated or foliated edges falling to the

shoulder as in Fig. 15 (see p. 73). A close helmet-shaped cap is seen in

the 12th century, with a falling point from the crown, and the 13th

century brought in the higher crowned hat, with a long peaked front,

turned up at the back. Feathers were worn at the front, back, or side of

hats, and sometimes on the front of the hoods; these increased

their dimensions in height and peak, till the straight-up high hat,

which was often brimless, came in the 15th century. The early hood or

cowl soon began to vary its design, for in the 13th century it was often

a part of, or attached to, a chasuble shape falling back and front, or

with the long front, stopping at a short cape length behind. A note of

interest in the 14th century appears, where the forehead part of the

hood is turned up, showing a coloured lining, and at times the

fashionable serrated edge surrounding the face is seen.



[Illustration: FIG. 14.



    _13th century_

    _14th century_

    _15th century_]



[Illustration: FIG. 15.--Fourteenth century.]



[Illustration: Plate VI.--



    (_a_) Collar and Cuffs set with Lace. 1600-30.

    (_b_) Embroidered Leather Jerkin. 1620-40.

    (_c_) Top of Stocking. Embroidered Linen. 1625-50.]



[Illustration: FIG. 16.--Twelfth to thirteenth century.]



The chasuble-shaped garment was a feature often worn over the coat until

the end of the 15th century, and was generally worn long with the

elongated fashion of the 14th century, and short with the shorter tunics

of the 15th century. They are found very wide in the 14th century, and

so fall well down over the shoulder, where they are often laced a short

distance up, creating an interesting feature. Cloaks were not so much in

favour with the heavier cowl and cape, but they were used, fastened by

brooches to either shoulder rather at the back, after the 12th century.



[Illustration: FIG. 17.--Fourteenth century.]



A very tight-fitting suit called Justacorps came into use from the

12th century, and developed a padded round-shaped body towards the end

of the 14th century; the closely-cut body was buttoned up to the throat,

or was set with a high collar for the first time. The tights came over

it, sometimes rather high up the waist, being laced to it. A long tunic

was chiefly favoured during the 10th and 11th centuries with short or

long cuffless sleeves, and a full bell-shaped falling sleeve showed a

close-fitting under one.



These tunics were chiefly open at the neck as in the earlier times,

though a slight difference to be noted is a =V=-shaped opening in the 14th

century, which is developed in the 15th century; they were also split up

the sides, even to the hips. Some were very full in shape, and were

gathered to either side as in the illustration; others had the body

closely fitted and full only in the skirt, but as a rule one finds this

latter shape only reaches just below the knee. They were often tucked

into the belt in front, showing a rich underskirt.



A girdle (besides a belt) was worn on the hips with the longer tunics,

as in Fig. 28 (see p. 94), the dagger and pouch being carried in front

on the girdle, and not the belt. A small dagger was often slung at the

back or front of the neck, as an ornament at the end of the 14th

century.



[Illustration: FIG. 18.--Fourteenth century.]



Tights to the waist were worn with both long and short tunics, and

retained the crossed binding up the legs to the 13th century, in the

various designs of page 53. Parti-coloured tights came in with the 14th

century, carrying out the heraldic character of dress, and this may be

found till about 1530. A sandal shoe was much worn up to the 12th

century, with strappings to various heights up the leg, this even over

the short top-boots, but the usual shoe opened down the front of the

instep to the toe, which was rather pointed in shape, and it was curved

or square at the ankle. The illustration gives a good variety of the

prevalent forms. The stocking-boot is also another characteristic of

this earlier time, as well as the commoners' woollen gaiters, worn as in

Fig. 30, on the seated figure, which were in use to the middle of the

16th century.



[Illustration: FIG. 19.--Twelfth and thirteenth centuries.]



In the illustrations which show no shoe on the tights, it will be

understood that a sole of leather was sewn on to the under part of the

foot. This practice is even seen to-day on the Continent, where the

clog is mostly in use. A soft boot, reaching to the calf, was worn till

the 15th century, with the top folded or trimmed with fur, the latter

being generally laced down the front, even to the instep: the shape of

these only varied in the length of the pointed toes as the style

developed.



The long-pointed shoes began to increase all through the 13th century,

and in the 14th century they reached their greatest length, when the

points were often tied up to a garter just below the knee. Wooden clogs

were much used, and were often considerably raised. Iron circular

supports were also in use at the end of this time; these were the

foretaste of the eccentric chopins of the 16th century, which were more

favoured on the Continent than here. The pointed toes also were made to

curl outwards, giving a splay-footed effect, late in the 14th century.



[Illustration: FIG. 20.--Fourteenth and fifteenth centuries.]









CHAPTER IV





FIFTEENTH CENTURY. FEMALE.



We have now arrived at the height of eccentric fashion in mediaeval

head-dress. The hornlike creations, studded with jewels, and peaks of

wondrous height, both draped with fine muslins and often completely

shutting away the hair from sight, had a supporting cap which mostly

came over ears and cheeks, and a clutch is seen on the forehead, at

times concealed by a jewel. The hair was generally allowed to fall loose

under the back drape, or a long plait is sometimes seen at the back with

the first-named head-dress. The back drape setting from the brow down

the back was well conceived to balance the high spire, but it seems to

have been discarded during the reign of Edward V, and light veil falls

were worn which often came half over the face. In Henry VII's time the

extreme fashion came in the shape of a closely-fitting curved cap,

with a fall of material over the back. The ermine-trimmed jacket was

still in favour to the middle of the last-named reign, when it was worn

low down over the hips.



[Illustration: FIG. 21.--Fifteenth century, 1st half.]



[Illustration: FIG. 22.--Middle of fifteenth century to sixteenth

century.]



[Illustration: Plate VII.--



    (_a_) Herald's Coat. Embroidered Velvet and Silk. 1st half 17th

          Century. Measured pattern, page 301.

    (_b_) Lady's Bodice of Black Velvet. 1630-60.

          _Measurement, see p. 297._

    (_c_) Black Silk Jerkin. 1640-60.]



[Illustration: FIG. 23.--Fifteenth century, 1st half.]



The chief dress of this period had a =V=-shaped collar-front meeting at

the waist, mostly made in black material or fur. It was wide on the

shoulder, and seems to have been stiffened to set out; the =V= shape was

generally filled in with velvet, and a very wide band encircled the

waist; a girdle is occasionally noted. The keys' pocket and other

requisites were generally carried on the underskirt during these times.

The skirt was full and gathered to the back in a train, the gathers

often running into the bodice; a very wide border is prevalent, even to

the middle of the thigh. Tight sleeves are usual, and hanging sleeves

were worn, mostly set in a very short sleeve, which assume a puff-shape

in Henry VII's reign; long cuffs, almost covering the hand, are seen on

many sleeves.



[Illustration: FIG. 24.--Fifteenth century, 2nd half.]



[Illustration: FIG. 25.--Fifteenth century, 2nd half.]



[Illustration: Plate VIII.--(_a_) (_b_) (_c_) Three Suits. Period

Charles II.]



[Illustration: FIG. 26.--End of fifteenth century.]



Modes of opening the skirt up to the hips occasionally showed

themselves, and even the sides to the hips are seen laced. In the

earlier dress, about 1485, the neck setting of dress became very

square, and was filled with fine-drawn lawn. The square shape rises in a

curved centre before the end of this period, and a close-fitting robe

was worn with a girdle, often opened up the sides. The short upper

sleeve and full outer sleeve so much in vogue gave place to a divided

upper and lower sleeve, laced or tied with ribbon, with puffs of lawn

pulled through the openings at shoulder and elbow, and down the back of

the forearm. Slashes are now seen in most sleeves, and an Italianesque

character pervaded the fashion.



High, soft boots and shoes of a similar shape to the male description

were worn, and changed when the square-toe shoes came in.



Through this period there are many interesting details of costume to

study, while gilt tags, finishing laces, and ribbons are to be remarked

from this period.





FIFTEENTH CENTURY. MALE.



[Illustration: FIG. 27.--Fifteenth century.]



[Illustration: FIG. 28.--Fifteenth century, 1st half.]



[Illustration: FIG. 29.--Middle of fifteenth century.]



The chief shapes to mark in this century in male head-dress is the

increased height of the tall hats which rise to vie with the female

fashions. We still see a round hat with a rolled edge and long fall

over one side, besides shorter folds in the crown, both scalloped or

foliated at the edge, and this shape may be noted till about 1460. Some

of these hats were made without a crown, as in Fig. 28 (see p. 94); the

roll was decorated, as a rule, with jewelled studs. A top hat, something

like our present shape, appears, but more belled at the top and also a

padded, rolled brim. It was made in various rich materials, and often

decorated with jewels. The peak-fronted hat still continued to be

favoured till about 1480, its chief difference being a crown more

eccentric in height. Tall cylinder hats, with folded brims or no brim,

and other shapes are illustrated. The variety is so great through this

period that it is well to study the vagaries of fashion which I have

illustrated in sequence as far as possible; they were mostly used till

about the last quarter of this century, when the low-crowned flat hat

with turned-up brim began to secure the fashion. This was generally worn

tilted on one side and often over a scarlet skull-cap. A large bunch of

plumes came in with this hat, set up from the front, curving backwards,

and giving a very grand effect: with most of the tall hats the

feather was set at the back.



[Illustration: FIG. 30.--Fifteenth century.]



[Illustration: FIG. 31.--Fifteenth century, 1st half.]



[Illustration: FIG. 32.--Fifteenth century, 2nd half.]



The notable change in the tunic, which was worn both very short and to

the ground, was the arrangement of folds to the back and front, gathered

to a =V= shape at the waist. The hanging sleeve began to go out of favour

after the middle of the century, but the sleeve or cuff covering the

hand was continued till the end of this century.



A sleeve, full at the shoulder, is found, and short, round, padded

sleeves came in, worn over a close-fitting sleeve. This short sleeve

became raised on the shoulder, and was cut or looped up the outer side:

a long loose outer sleeve is also seen in conjunction with these short

ones. A very short jacket is notable, of a plain square shape, with a

plain sleeve on the left arm and a hanging sleeve on the right to the

knee. The tight-fitting jerkin, laced down the front, was worn with this

as with most other coats.



[Illustration: FIG. 33.--End of fifteenth century.]



[Illustration: FIG. 34.--Fifteenth century, 2nd half.]



[Illustration: Plate VIIIa--



    (_a_) Suit of Embroidered Silk. 1610-30.

    (_b_) Three Sword Hangers Embroidered in Gold. Charles II.

    (_c_) Braided Suit. 1670-90.]



[Illustration: FIG. 35.--Fifteenth-century Shoes and Clogs.]



The high collar to the throat had gone out for a collar opened in front.

Very short and very long "chasubles" were worn with or without sleeves

which were gathered high and full at the shoulders. The sleeves

were now sometimes slit open at the back and held with several ties, as

linen sleeves are now shown with these.



Parti-coloured tights were not so much favoured through this period, but

a decorated thigh, or part of the thigh and knee, was a favourite method

of enrichment.



[Illustration: FIG. 36.]



A long coat came in at the later part of this time, with a deep =V=-shaped

collar meeting at the waist; it was also cut into a square shape at the

shoulders, as in Fig. 43 (see p. 119). A loose bell-shaped sleeve

usually went with this, often opened in the front of the upper arm. A

short square cape is at times seen in conjunction with this. A low

square or round neck shape came in during the last quarter of this

century, filled in with a fine gathered lawn and a tight-fitting coat

with a pleated skirt and full padded sleeves, or a tight sleeve

with a full puff or spherical upper part.



[Illustration: FIG. 37.



Nos. 1, 2, 3, 4, 5, 6, 7, 8, second half of 15th century.



Nos. 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, variety of shapes from 1490

to 1630.]



[Illustration: FIG. 38.



    No.

     1. 14th century.

     2. 15th century.

     3.   "    "

     4. Late 16th cent.

     5. 1580-1610.

     6.   "    "

     7. 1605-1640.

     8. 1600-1625.

     9. 1550-1600.

    10. 1610-1640.

    11. 1590-1620.

    12. 1605-1630.

    13. 1675-1695.

    14. 1670-1690.

    15. 1680-1700.

    16. 1690-1720.

    17. 1680-1700.

    18. 1700-1750.

    19. 1700-1780.

    20. 1700-1760.

    21. 1740-1780.

    22. 1745-1780.

    23. 1770-1800.

    24. 1730-1760.

    25. 1700-1780.

    26. 1830-1860.

    27. 1780-1800.

    28. 1840-1870.

    29.   "    "  ]



[Illustration: Plate IX.--



    (_a_) Lady's Embroidered Silk Jacket. 1605-30.

    (_b_) Lady's Bodice of Silk Brocade. 1680-1700.]



[Illustration: FIG. 39.--Decorated Leather, 15th and 16th centuries.



    _Comb case_

    _purse_

    _Cut leather. 15 cent._

    _Leather_

    _Pierced leather, 16 cent._

    _Bronze studs 15 or 16 cent._

    _metal studs_

    _Incised lines with metal studs 15 cent._]



Shoes and boots were still worn with very long pointed toes till about

1465, when a proclamation was issued for beaks or piked shoes not to

pass two inches, and after this time a broad round-toed shoe began to

appear. Soft high boots to the top of the thigh, with folded top, belong

to this century, as well as the fashionable boot to the calf. The sword

or dagger was carried towards the front or side, and a small dagger

across the belt at the back. The pouch or purse was also used as a

dagger support.









CHAPTER V





SIXTEENTH CENTURY. CHARACTER OF TRIMMINGS.



Before the 16th century we find the art of decoration in costume had

been confined chiefly to applied ornamental bands at the neck, waist,

and borders of skirt and cloak. They had up till this time utilised,

with great artistry of design (no doubt partly due to the heraldic

study), the patterns of the finely decorated damasks and velvets.

The counter colour effects and relative proportions, such as a

small-patterned, dull-coloured silk setting off a large full-coloured

design was ably considered, as well as the introduction of a

nicely-balanced black note or setting, which proved these designers were

highly skilled in judgment of style. They also discovered the art of

giving enrichment and lightness to the effect by means of the various

serrated edgings to the materials, which also gave a flutter to the

movement. A preference of lacing for fastening added to the charm of the

dress, but the long rows of close buttons were also a feature of the

clinging robes, the clasps and brooches, neck-chains, girdle, belt, and

wallet being further very important items of enrichment to the effect.



On coming to the 16th century we enter what may be termed the slashed

and puffed period. The sleeves of Henry VIII's reign are very rich in

design and jewel-setting, the design of the sleeve as in Fig. 40 giving

a striking effect, the angle of the top sleeve being held out by the

stiffness of the under silk one. The neck-setting and festooning of the

jewel-chains play an important part in the design on the plain velvet

corset bodices. The head-dress is one of the most remarkable, and gave a

great chance for individual arrangement in binding the back fall to set

at various angles on the shaped cap piece, combining severity with a big

loose draping which is extremely picturesque. With Edward VI commences

what may be termed the braided period of decoration. This latter came

suitably with the stiffer corsage and set up. Mary's reign was not of

attractive severity, but the over-robe with the short circular sleeve at

the shoulder and high collar was a graceful creation, and was retained

by many as late as 1630. There was little to admire in the Elizabethan

age as regards design, except the beauty of the materials and the

exquisite needlework. The proportions of the dresses were exceedingly

ugly, and the pleated farthingale an absurdity. The male dress had much

interest and often beauty of setting and decorative effect. The slashed

materials gave a broken quality to what would otherwise be a hard

effect, and it also cleverly introduced another colour change through

the suit. There will be found many examples in these illustrations of

the pricked and punctured designs on leather-work which are worth

examining for modern treatment.



Quilting and pleating were ably combined with the braiding, and we see

the clever adaptation of straw patterns sewn on (a feature of the late

16th century), which harmonised with the gold braidings or gold lace, or

resembled the same effect.



The trimmings of braid were often enriched with precious or ornamental

stones and pearls, the stomacher, waist, front band down the skirt, and

borders of most garments. The points of slashes were often held by

jewelled settings, and the long slashes were caught here and there with

the same.



Another important item was the black stitchwork on linen, sometimes

mingled with gold, so highly prized now for its beauty of design and

effect, but beginning probably in the reign of Henry VII.



Short coats of this type of the Elizabethan age are marvels of skill,

and many caps are still in existence. Fine linen ruffs and collars were

often edged with this work, as well as with gold lace.



Jackets and caps, both male and female, bearing geometrical and scroll

designs in gold, filled in with coloured needlework of flowers, birds,

or animals have happily been preserved for our admiration.



Sequins appear on work from Henry VIII's time, and were much appreciated

by the Elizabethan workers, who no doubt found the trembling glitter

added much to the gold-lace settings and delicate veilings: long

pear-shaped sequins were favoured for this. Sleeves were often separate,

and could be changed at will.





SIXTEENTH CENTURY. HENRY VIII. FEMALE.



The hair at this period was parted in the centre and gathered into a

plait at the back; it was also seen rather full and waved at the sides

of the head, and a small circlet was often carried across the brow. A

cap of velvet or gold brocade, sometimes with a padded front, curved

over the ears to the neck, keeping the shape of the head. Over this

again a velvet fall was turned back from the front or shaped as in the

illustration, reaching to the shoulder. These falls were also bound into

set-out shapes, which gave many picturesque effects.



Dress had now taken a new phase, and the set bodice became a lasting

feature. At this period the waist was rather short, and the neck,

arranged in a low square or round form, generally filled in with

gathered lawn. The upper part of the sleeve was often divided from the

bodice by ties with lawn puffs, and was made in a full circular form,

slashed or puffed and banded, with a tight-fitting sleeve on the

forearm. Another type divided the upper and lower part of the arm at the

shoulder and elbow, the forearm being effectively tied or laced, and

the under lawn sleeve pulled through; small slashings are also seen on

these. At times a bell-shaped sleeve was worn, showing a slashed or

puffed under one. Many dresses were still cut in one, and were often

high-necked; with these usually a girdle or band of drapery was worn,

and some skirts opened up the front, showing a rich underskirt.



[Illustration: FIG. 40.--Sixteenth century, 2nd quarter.]



[Illustration: FIG. 41.--Period Henry VIII.]



Full skirts, heavily pleated at the waist, were worn in the earlier part

of this reign, banded in varying widths of designs to about the knee;

but a new development was in progress--a stiff, bell-shaped dress, set

on hoops over a rich underskirt which usually bore a jewelled band down

the centre, the upper one being divided in front to display this

feature. The bodice with this type becomes longer in the waist, and was

made on a stiff corset. Gloves are occasionally seen, serrated at the

cuff-end. Shoes of the slashed character and square toes were also worn

by the ladies, but many preferred a shoe with a moderately rounded toe.



The first mention of a leather umbrella is 1611, but this is a rare

instance, as they were not in use till the 18th century here, though

they are noted in continental prints during the 17th century.



[Illustration: FIG. 42.--Sixteenth-century modes, 1st half Henry VIII.]





SIXTEENTH CENTURY. HENRY VIII. MALE.



The modes at the end of the last century now developed into a heavier

character of design. The long hair soon began to be closely cut, and a

short beard came into fashion. A flat type of hat was worn, with

serrated brim, or tabs which could be turned down at times, and others

were kept in place by a lacing cord through holes. There was also a flat

"Tam o' Shanter" shape, generally worn well tilted on one side, and

amongst the upper classes mostly adorned with feathers.



The =V=-shaped collar, or opening to the belt, was still retained on the

jerkin, and plain or pleated skirts are seen, also a square

close-fitting vest, with a low square neck, filled with gathered lawn,

or one with a high neck and short collar, on which a very small ruff

appeared for the first time, and at the wrist as well. These were now

decorated with long slashes or gathered puffs: heraldic design was still

seen on the breast, and even parti-colour was worn, but this

character was now treated more by decorating with coloured bands on the

tunics or tights.



[Illustration: Plate X.--



    (_a_) Black Velvet Bodice. 1600-25.

    (_b_) Five Embroidered Waistcoats. Between 1690 and 1800.



_Pattern, see p. 292._]



[Illustration: FIG. 43.--Period Henry VIII.]



[Illustration: FIG. 44.--Cap shapes. Period Henry VIII.]



[Illustration: FIG. 45.--Variety of shapes and slashing. Henry VIII.]



Long coats were still worn of the shape described at the end of the 15th

century, but a short surcoat was the mode, reaching just below the knee,

sleeveless, or with the various hanging sleeves of this period, the

fronts usually turned back to form a wide collar, either round or square

in shape on the shoulder, or at times falling to a deep square at the

back.



The sleeves were full in the upper part, tightening to the wrist,

sometimes open up to the elbow and laced, or they were pleated into a

full round shape at the shoulder. Puffs and slashings increased in these

designs, and by 1520 we find the sleeves mostly divided into puffed and

slashed forms, which grew to fantastic proportions.



Very short, tight breeches or trunks, with a front flap or codpiece,

were decorated to match the body design and colour schemes; they

increased in length to the knee, or just below, during this reign, and

usually finished in a serrated roll.



[Illustration: Plate XI.--16 Leather Boots and Shoes. Between 1535 and

1860.



     1. 1740-1780.

     2. 1535-1550.

     3. 1680-1700.

     4. 1645-1690.

     5. 1665-1685.

     6. 1690-1710.

     7. 1845-1860.

     8. 1790-1820.

     9. 1665-1670.

    10. 1800-1820.

    11. 1820-1840.

    12.     "

    13. 1815-1850.

    14. 1760-1780.

    15. 1650-1670.

    16. 1630-1660.]



[Illustration: FIG. 46.--Footwear, 1510-1540.]



Shoes were of the square form, some very short in front, held on by a

strap across the instep, others with fronts to the instep. The

corners were often brought out to a point on each side of the toes, and

the mode of decorating with slashing and punctures made them very

interesting. The sides of these shoes are very low, from 3/4 to 1 inch,

and no heels are seen. A big, round shape was also favoured, which

increased in width till a proclamation forbade it exceeding 6 inches.

Chains were still a decorative feature round the neck, and the belt

carried a sword and pouch, or, amongst the working classes, other

necessities.





SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY.



FEMALE.



In the reign of Edward VI, which was so short, as also in that of Mary,

there was little time to form a real character. These reigns form

developing links to the Elizabethan era, so I have taken them in one

chapter.



[Illustration: FIG. 47.



FIG. 48.



FIG. 49.



Elizabethan modes.]



[Illustration: FIG. 50.--Costumes, 1554-1568.]



[Illustration: FIG. 51.--Costumes, 1568-1610.]



With Edward VI the same shaped cap is seen as that of Henry VIII, and

with Mary's accession, the head-dress is curved to the head in a like

manner, but it now became more of a hat form and took a brim curved in

on the brow; this was often worn over the little tight curved cap,

or showed the hair waved out at the sides, often netted with gold and

pearls. A fall of velvet, silk, or veiling was still retained till the

very high ruff or collar came in the Elizabethan days. A small-crowned

hat, with a brooch and feather in front, and a full gathered crown came

in before Elizabeth's time, when we see many eccentric shapes, such as

the tall hat with a feather at the side, and the witch-like hats towards

the end of her reign.



The bodice, which became longer in the first reign, still retained the

full belled oversleeve or the full puffed sleeve to the end of Mary's

reign, also the same square neck shape with curved-up front, now often

filled with silk quilted with pearls up to the neck. High-necked dresses

set with a small ruff became general in Mary's reign. We also find a

tight sleeve gathered in a circular puff at the shoulder or set in a

rolled epaulet.



The same shaped skirt of the hooped bell form (sometimes very pleated in

Mary's reign) or divided in front to show the underskirt as described

under Henry VIII, was worn.



The short square shape and the heavy round shoe is seen in Mary's

reign, but fashion then preferred a rather pointed oval shoe, well up

the instep with higher sides, decorated with characteristic slashing.

Gloves are seen in many portraits up to this period, but of a plain make

minus embroidery, and a circular fan of feathers was carried.





SIXTEENTH CENTURY. THE REIGNS OF EDWARD VI AND MARY. MALE.



With Edward VI and Mary a more refined and sober type of style set in.

The hair was now worn short and combed backwards. The flat hat of the

earlier shapes lasted to Elizabeth's reign; becoming smaller in width,

with a turned-down, curved brim and a fuller crown encircled with a gold

band or set with a feather worn at the right-hand side. A small

tight-fitting round hat with a rolled brim and a feather in front is

also of this later mode. Through these reigns a small square turned-over

collar or a very small ruff set on a high collar came into use, which

increased to a larger ruff in Mary's reign. A small ruff was also worn

at the wrist, many of these were edged with black-stitch designs. The

heavy puffed sleeves became tight and started from a small epaulet or

puffed roll; some of these had a small cuff at the wrist or a frill.

Braided designs became very elaborate on a close-fitting, padded, and

round-shaped jerkin with a short skirt, which appeared in the first

reign, and this skirt was often long enough to fasten just under the

codpiece. Short trunks at times worn half-way down the thigh were

slashed, banded, and puffed for decoration. No parti-colour was now worn

or striped effects on tights, except amongst the soldiers in the reign

of Mary. Short capes to the length of the trunks of a plain round form

sloping from the shoulders, or a square type with a high square collar

and loose sleeves, are seen; a tunic also of the earlier character with

a =V=-shaped collar and full sleeve comes into this reign, and we note the

earlier types of shoes mingling with the newer pointed oval-shaped shoe

which now continued for the remainder of this century.



[Illustration: FIG. 52.--Costumes, 1554-1580.]



[Illustration: FIG. 53.--Costumes, 1570-1605.]



In Mary's reign the round-shaped doublet began to protrude from the

breast to the waist in a round form with slightly longer skirts or small

tabs, while the trunks assumed large circular proportions and were

sometimes set on tight knee-breeches. The capes remained about the same.





SIXTEENTH CENTURY. ELIZABETH. FEMALE.



The costly splendour of attire is well known in Elizabeth's reign, which

began with the same form of hair and head-dress as with Mary, the hat

being set rather higher on the hair. The ruffs, which were imported

already starched from Holland, assumed larger proportions and

complications when the methods of starching became known in England

about 1564. Stow describes ruffs growing to a quarter of a yard deep;

these were no doubt supported by piccalilloes, though they are not

actually mentioned till after 1600, but they surely came with the

fan-shaped structures of these later days. White, red, blue or purple

colours were used in the starching, and yellow in the latter days of

this century. The introduction of this curved fanlike collar setting

became a grand and complicated feature right into the 17th century.

"Make up" became very apparent on the faces at this time, for

Bishop Hall censured the fashion in a choice sermon, saying, "Hear this,

ye plaster-faced Jezabels! God will one day wash them with fire and

brimstone."



[Illustration: FIG. 54.--Elizabethan modes.]



[Illustration: Plate XII.--



    (_a_) Lady's Outdoor Costume. 1785-95.

    (_b_) Costume. Early 18th Century.

    (_c_) Silk Brocade Dress. 1760-80.]



[Illustration: FIG. 55.



    1585-1610

    1600-1620

    1595-1605

    1605-1615

    1589-1600]



The bodices grew very long and pointed in the waist, the neck setting

being mostly treated in the same =V= shape, even open down to the waist

point was filled with a decorated stomacher, and a deep oval-shaped neck

was seen at the end of the reign. An outer opened sleeve was now

favoured, caught in front at the elbow and hanging to the knee over a

fairly tight undersleeve with a turned-back lace cuff or ruffle. With

this came the high-set fan ruff on its wooden support at the back of the

neck, and consequently a higher coiffure.



[Illustration: FIG. 56.



Nos. 1, 2, 3, 1540-50, and other shoe forms worn in the reign of

Elizabeth.]



The same character of skirt continued as in the earlier reigns on hoops

at the lower part, but they became much fuller and rounder at the hips

till about 1590, when the full pleated skirt was supported on a

farthingale or hoop which was set with a gathered circle in the same

goffered design as the ruffs at the edge. These reached their extreme

dimensions at the end of this reign, when the sleeves also assumed a

full padded shape and large epaulets also came in. An overdress with a

full pleated back (like the Watteau dress) was in fashion from the

middle of this reign, and we are lucky to possess some specimens in the

Victoria and Albert Museum of which I am able to give the dimensions.

Small looking-glasses were carried, and were also inset on the round

feather fans. Perfumed gloves, elaborately embroidered, were introduced

during this reign. Silk stockings were worn by Elizabeth for the first

time in 1560, and worsted stockings were made in England in 1564.

Corsets of pierced steel are seen in France from the late 16th and 17th

century, and may have been in use here, though wood, cane, and whalebone

were the chief supports. Shoes became narrow and even pointed, while the

heel began to increase to considerable heights. The buskins of Queen

Elizabeth now at Oxford are raised to 3 inches in height by the aid of a

thick sole, and shoes A and B, Fig. 61, are also reported to have

belonged to her. Chopins for heightening the stature were in use on the

Continent, but I believe did not appear here; but very thick corked

soles and high heels were introduced for this purpose.



[Illustration:



Plate XIII.--



    (_a_) Silk Coat. 1735-55.

    (_b_) Brocade Silk Coat. 1745-60.

    (_c_) Embroidered Cloth Coat. 1770-90.



_Pattern, see p. 308._]





SIXTEENTH CENTURY. ELIZABETH. MALE.



In this reign a very neat small-pointed beard was the fashion, the hair

being brushed up as high as possible and often fulled out at the sides,

and a "chic" appearance was sought after. A stiff belled top-hat with an

egret at the right side made its first appearance with a curved brim,

also one of a tapered shape with a smallish round brim, and another very

small round hat with a curved brim, a clasp and feather being mostly

worn on the front of each. The brims of all the hats began to enlarge at

the end of the century when the very high crowned wide brimmed hat made

its appearance, sometimes with a peaked top, and beaver is first

mentioned in their make.



Large circular ruffs became all the rage besides the small turned-over

collar. The round doublet with protruding front became tighter at the

waist, the protuberance taking a punchlike pointed form curving to

almost between the legs and sloping sharply up the hips to the back.

This was set with a very short tab or tabs on padded breeches

tightening to the knee, which usually had very small trunks on the upper

part, and large, stuffed trunk hose also appeared. The stockings were

brought over these in a roll above the knee. Up to this time tights were

made of wool, worsted, fine cloth, frieze, and canvas. The slashings,

pleating, and gatherings of the period were of a much neater character,

and punched patterns and pricked materials came into use.



Close-fitting high boots, generally with serrated tops and thick soles

curving into a short heel, are features of this time. The shoe had a

long front decorated with slashings (often caught with jewels), and an

oval toe which became almost pointed in the last years of this century.

A short top-boot rising to the calf was also in use, mostly with a

little fur edge at the top, and these were often pricked with patterns.



[Illustration: FIG. 57.--Elizabethan modes.]









CHAPTER VI



THE CHARACTER OF TRIMMINGS THROUGH THE SEVENTEENTH CENTURY.





JAMES I.



The braiding and small slashing continued of a similar character to the

end of the Elizabethan age. The slashing now began to be treated with a

larger effect and less elaboration, but pricking and punching were still

much used for enriching surfaces. An improved style of design was

evident.



The female bodice was arranged with a long stomacher, often shaped into

curved forms at the point, and this was set with jewels or embroidery,

otherwise the bodice was decorated with braiding and jewels as in

Elizabeth's reign. The full sleeves were embellished with small slashes

(making diamond squares), puffs, or pricked and punched designs. A

turned-up cuff or ruff of pointed lace finished the wrist, braided

epaulets formed a beautiful feature of the effect, and the front of the

underskirt was decorated with a jewelled band or conventional design, as

was also the border of the overskirt. Caps of an interesting curved form

beautifully embroidered in gold and coloured silks are seen, of which I

give patterns; also loose jackets of the same work were in use when not

in full dress.





CHARLES I.



Many beautifully embroidered caps, jerkins, jackets, and shirts are seen

at this period in gold and black or coloured silks. Slashings of this

reign, though in fashion, had commenced to go out; and those retained

were of a large character, mostly from the neck or shoulder to the

breast. The favoured sleeves were cut into straps to the elbow or wrist,

and were often edged with braid, either side meeting together and lining

the forearm, the body being treated in the same way. The open-fronted

sleeve was set with buttons and loops or long braided buttonholes with

frayed or knotted ends, though these were not generally fastened. The

tight undersleeve was often set with gold or silver narrow braids down

the front and back seams, and close lines of small braids horizontally

round the arm, or vertically when the outer sleeve was treated

horizontally, this gave a beautiful counterchanged effect.



Many of the ladies' caps of this time had beautiful gold scrolls, with

flowers and birds embroidered in coloured silks, also loose jackets of

the same were in use. The bodice was banded with braids or lace on the

front and seams, and the stomacher was often of fine embroidery; set

rosettes or bows were placed at the waist. Other finishing effects of

collar or sleeve, and the button and buttonhole decorations were made

important features on both male and female sleeves, and even down the

front of the outer skirt when it was not treated with lace. Red heels to

shoes began to be worn and continued to the end of the 18th century in

marked favour.





THE COMMONWEALTH.



During this short period the character and placing of braiding was the

same as in the latter part of last reign; slashing had almost completely

gone out, except for the treatment of some ladies' sleeves cut into

bands. A very sober effect was assumed in colour schemes, besides a

plainer treatment in decoration, and a deep plain collar or a small

turn-over one was chiefly worn by the men, while the hat of the Puritan

rose to an absurd height, with a wide flat brim.





CHARLES II.



This may be named the period of ribbon trimmings, though braiding was

treated in broad lines on the short jackets and sleeves, and down the

sides of the breeches. A preference is shown for gold and silver lace,

or amongst the elite purfled silk edges; the new mode being a decoration

of groups of ribbon loops placed about the suit or dress. The notable

feature with the female dress was the gathering of drapery by means of

jewelled clasps, and groups of ribbon loops were also used, as with the

male dress. The edges of the materials were sometimes cut into scalloped

or classic forms, and a very simple voluminous character was fashion's

aim.





JAMES II AND WILLIAM AND MARY.



With the later type of long-skirted coat which began in Charles II's

reign, a heavy style of braiding and buttoning came into vogue, all the

seams of the coat besides the pockets and cuffs and fronts being

braided, which fashion continued to the end of the century. Many coats

began to be embroidered in the later reign, and waistcoats became a

special feature for the display of fine needlecraft on the fronts and

pockets, while quilting or imitations of it in various needlework

designs are often seen. In the female dress a more elaborate interest

was again taken in the stomachers and the jewelled claspings, while

lengths of soft silk gathered into long puffs often edged the outer

skirts or were used in smaller trimmings, and "classical" shapings of

the edges of materials and sleeves are often seen, also heavy bands of

rich embroidery bordered the underskirt or train.





SEVENTEENTH CENTURY. JAMES I. FEMALE.



We find much the same high forms of set-up head-dress continuing in

fashion as in the later years of Elizabeth's reign; but the hair began

to take a fuller shape, rather round, done up in tight frizzled curls,

with the usual decorations of jewels, pearls, or set bows of this

period. Hats with high crowns and small straight brims, with an upright

set of small plumes, gradually assumed a larger brimmed character--often

turned up on one side. The same absurd pleated hoop, with its hanging

skirt, continued for some time (worn rather short); but we also see the

longer and very full hooped-out skirt, with an overskirt opened in the

front. The stomacher front became much enlarged during this reign, many

having shaped designs at the point. Most bodices took a very deep curved

front at the neck, and large padded sleeves narrowed at the wrist still

continued, besides the high fan collar at the back of the neck, and

large ruffs were used by many. There also appeared, later in the reign,

a stiff round collar, set high in the neck, cut off straight across

the front, and the bodice took a very low square-cut neck, with a raised

curved shape at the centre of neck. The tighter sleeve was also worn

throughout this time, with the overdress and sleeve hanging almost to

the ground, which often had a very angular cuff. A little later some

sleeves began to be gathered at intervals into puffy forms. The waist

also showed signs of shortening.



[Illustration: FIG. 58.]



[Illustration: FIG. 59.--Costumes. Period, James I.]



Shoes with rounded toes and latchets holding large rosettes were chiefly

worn, and heels of various heights are seen. Chopins, still worn on the

Continent, do not seem to have appeared here.





SEVENTEENTH CENTURY. JAMES I. MALE.



The hat was of the high-crowned type, perhaps higher than in the last

reign. The brim had broadened, and feathers were placed upwards

fantastically at the back and sides of crown. Brims were often fastened

up on the right side with a jewel; otherwise a band was buckled in

front. The hair was now allowed to fall longer again, and a pointed or

square-shaped beard with a brushed-up moustache was the mode. Ruffs both

large and small surrounded the neck, and a flat fan-shaped collar

was seen in the earlier years.



[Illustration: Plate XIV.--



    (_a_) Embroidered Silk Dress with Pannier. 1765-80.

    (_b_) Brocade Dress and Quilted Petticoat. 1750-65.



_Pattern of bodice, p. 322._]



[Illustration: FIG. 60.--Costumes. Period James I.]



The jerkin was close fitting and the length of the waist more normal,

with less tendency to being tightened in, and not so deep in the front

point, so as to set better over the very full trunks or breeches. The

square tabs of the jerkin increased in size, and soon formed large flaps

divided into three or four, to the centre of the back. Sleeves were

fairly tight and started from slightly larger epaulets, and were usually

set at the wrist, either with a small ruff or turned-up lawn cuff, edged

with lace.



The trunks were padded in a very full shape and were much longer, just

above the knee. Also full padded-out breeches tapering to the knee or

just above, where a large tie and bow hung at the side, and full square

breeches not tied in, are also a feature of these days, usually banded

with wide braids at ends and sides. Upright pockets were made on either

side towards the front, about two inches from the side seams. They

fastened up the front in a pleated fold, many being decorated with

punched, pricked, or slashed design of a smallish character.



[Illustration: FIG. 61.--Shapes of Shoes from 1590-1650.]



Cloaks were worn longer to the knee, retaining the same shapes and

braid decoration as in the Elizabethan period, and hanging sleeves were

still worn on them, as well as on some of the jerkins.



Shoes became fuller and rounder at the toes, mostly with thick welted

soles and short heels, or none. They were fastened with a large rosette

of gold lace or ribbon on the front, and the latchets were set back to

show an open side. The top-boots were close fitting and took squarer

toes; the spur flap being rather small. Beautifully embroidered clocks

are seen on the tights and stockings of this period.





SEVENTEENTH CENTURY. CHARLES I. FEMALE.



The hair was now allowed to fall in ringlets round the back and sides,

with a few flat curls on the brow, and a bow and pearls were caught in

at the sides. Short feathers may also be noted in use. A plait was often

coiled at the back after 1630.



[Illustration: Plate XV.--



    (_a_) White Cloth Coat. 1775-90.

    (_b_) Silk Dress. 1740-60.

    (_c_) Embroidered Velvet Coat. 1755-75.]



[Illustration: FIG. 62.]



[Illustration: FIG. 63.



Collar and Bodice types. Period Charles I.]



[Illustration: FIG. 64.



Collar and Bodice types. Period Charles I to 1660.]



In the early part of this reign the ladies were wearing the long

corset-bodice, with a richly decorated stomacher which curved outwards

to set on the very full skirts; this often finished with a curved or

foliated shape at the point. Square starched collars, rounded at

the back, sometimes set up at the back of the neck or flat on the

shoulder, and ruffs were still seen round the neck with collars as well,

but they were seldom met with after 1635. A plainer, deep collar, flat,

round, or =V=-shaped at the back, coming well over the shoulders, was

caught together by a bow or ornament in front. About 1630 shorter

waisted bodices came in, with full, loose sleeves set in epaulets: the

neck shape was rounded or square. The bodices were often slashed, and

the full sleeves, cut into bands, were sometimes gathered by cross bands

from one to three times. Full plain sleeves, opened in the front seam,

were also clasped at the elbow in a like manner. Outer short sleeves

became a feature, opening in the front, showing the full under one or a

tight one; the waist became very short and its tabs larger. A waistband

fastened in the stomacher with a bow either side and bows with long gold

tags decorated the waist as in the male jerkin. The skirt decorated by a

band of ornament down the front was often tied upon the corset-bodice,

the front point being left outside. Shoes of the same shape as the male

illustrations, with very square toes, were frequent, but an oval toe,

rather pointed, is seen in many pictures, with the large lace rosettes

in front. Muffs are first noticed in these days, though they were seen

much earlier on the Continent.



[Illustration: FIG. 65.--Period 1625-1660.]





SEVENTEENTH CENTURY. CHARLES I. MALE.



The hair was worn loose to the shoulders, and a small plait was

sometimes arranged on the left side, brought to the front of shoulder.

The beard was trimmed to a pointed shape, and smarter curled moustaches

were fashionable. Hats were still high in the crown, but rather lower

than with James I; the large brims were turned about in various curves,

and feathers were worn falling over the brims to the side or back.



The jerkin was high in the collar, supporting a large, square, turn-down

collar edged with pointed lace to the shoulders, or a small, plain,

turn-over collar; ruffs are very rarely seen after 1630.



[Illustration: FIG. 66.--Charles I.]



[Illustration: FIG. 67.--Period 1625-1660.]



[Illustration: FIG. 68.--Period 1625-1660.]



A rather short waist grew shorter during this reign, with much larger

tabs, or large flaps laced to the body, forming a series of bows with

long gilt tags round the waist. The body is usually decorated with

long slashes from the shoulders to the breast, or the full length, and a

long slashed opening is often seen in the back (presumably to give more

play to the sword-thrust). The sleeve is also treated in the same way to

the elbow or waist. All sleeves start from a stiff epaulet. Breeches are

both very full and fairly tight, the latter edged with a purfling of

silk or gold lace as well as the sides, the former shape tied either

above or below the knee with a large silk bow with falling ends. They

were held up by a number of hooks, fastening to a small flap with

eyelets, round the inside of the doublet (see pattern 11, p. 295), and

were buttoned down the front, the buttons being half hidden in a pleat.

The pockets were placed vertically in the front of the thigh, and were

frequently of a decorative character.



A short or long circular cloak was worn, and a coat-cloak with opened

sleeves is an interesting garment. These coverings were hung in various

ways from the shoulders by methods of tying the cords across the body.



[Illustration: FIG. 69.--Period 1625-1660.]



[Illustration: FIG. 70.--Shoe shapes. Charles I to 1700.



    NOS. 1, 2, 3, 4, 5, 6, 7, 8, 23. Charles I.

    NOS. 9, 10, 11, 12, 13, 14, 15, 16, 17, 25. Charles II.

    NOS. 18, 19, 20, 21, 22, 24, 26, 27, 28. James II and

         William and Mary.]



[Illustration: Plate XVI.--



    (_a_) Silk Brocade Dress. 1740-60.

    (_b_) Silk Brocade Sack-back Dress. 1755-75.

          _Pattern, see p. 334._

    (_c_) Dress of Striped Material. 1775-85.

          _Pattern, see p. 335._]



[Illustration: FIG. 71.--Boot shapes. Charles I to 1700.



    NOS. 1, 2, 3, 4, 5, 6, 7, 8, 9. Charles I.

    NOS. 10, 11, 12, 13, 14, 15. Charles II.

    NOS. 16, 17, 18. James II and William and Mary.]



Shoes became very square at the toes, or blocked as in Fig. 70, No. 6.

The fronts were set with large rosettes of silk and silver or gold

lace, the heels varied much in height, that mostly favoured being a

large, low heel. A quaint fashion of shoe combined with a clog sole was

an interesting shape (see illustration of clogs, p. 106). Fairly tight

top-boots, coming well above the knee, were often turned down. Other

boots with large bell-tops, turned over or pushed down, were covered or

filled with a lace or bell-shaped stocking-top. A sash was worn round

the waist or across the body over the left shoulder (the length and

width of these is given in the description of patterns, p. 279). A broad

belt, or sword-hanger, came across the right shoulder. Gloves were

beautifully embroidered in gold, pearls, or coloured silks, the

gauntlets being from five to eight inches deep.





SEVENTEENTH CENTURY. THE COMMONWEALTH. MALE AND FEMALE.



The same shapes apply to costume during the Commonwealth, though a

sterner effect was given by the choice of plain decoration and less

colour. A small or a large plain collar, and the disappearance of

slashings on the coat, and a longer skirt became noticeable. A very

high tapered hat, with stiff circular brim, was worn by the Puritans,

and little, close, black hoods were much favoured. A general reaction

from gay extravagance set in.





SEVENTEENTH CENTURY. CHARLES II.



FEMALE.



The hair was set out from the head on combs with falling ringlets, and

several small flat ringlets were placed on the forehead. The back of the

hair was plaited into a knot, and pearl strings were interlaced, or

ribbon loops caught in at either side. Toward 1680 the hair was worn

tightly curled and fulled out into a round shape with a curl or two

falling on the front of the shoulders; small feathers or long feathers

were also worn. Hats were of a similar shape to those of the last reign,

with a stiffer and narrower curved brim; but the chief head-dress was a

large hood faced with another material, which latter was tied under the

chin; these mostly formed part of a cape also.



[Illustration: FIG. 72.--Period 1650-1685.]



[Illustration: Plate XVII.--



    (_a_) Silk Suit. 1765-80.

    (_b_) Quilted Dress. 1700-25.

    (_c_) Silk-embroidered Suit. 1765-80.]



[Illustration: FIG. 73.



    1, 2, 3, 4.--Back and Front of two Corset Bodices. Period Charles II.

    5, 6.--Two Corsets. Period Charles II.

    7, 8.--Two Bodice types. Period Charles I.]



The bodice again became much longer and of a pointed shape, but many

corset bodices took a round point, and a round neck coming well off

the shoulders became general, usually decorated with a plain wide band

of lace. Ruffs and collars were no longer seen amongst the upper

classes. Very full sleeves and large opened sleeves were tied or clasped

over full lawn ones, and at times separated from the shoulders, being

caught effectively with jewels. Groups of ribbons were placed at the

breast or point of the bodice, and the ends of sleeves or shoulders,

besides at the fronts of the outer skirt when divided, also in the

gathering of the lawn sleeves. Stomachers were not much worn, but a

drape of soft silk was caught here and there round the neck of bodice,

and large draperies were clasped to the shoulders. Loose robes and robes

shaped to the figure, opening down the front from the neck even to the

waist, with a clasp or several holding them together; these were worn

over a quilted linen corset laced in front as in the illustration, but

the bodice was often formed on a corset. Long gloves and mittens were in

use, and small muffs with ribbon loops on the front were carried.

High-heeled shoes with very long square toes were affected in imitation

of the male shoe, but most ladies now began to wear a very pointed

shoe.



[Illustration: FIG. 74.--Sleeve treatments. Period Charles II.]





SEVENTEENTH CENTURY. CHARLES II.



MALE.



Long hair or wigs of long curls falling on the shoulders, a very narrow

moustache and point of beard on the chin came with this reign. Lace

collars of a smaller square or rounded shape were in use, but a fall of

lace pleated in the centre soon took its place. High-crowned hats with a

band and bow in front and a flat, waved, or curved brim, with feathers

on either side or all round, were the fashion, the crowns becoming

shorter during the reign; the fronts and sometimes the sides of the brim

are seen turned up, and so begins to form the three-cornered hat, which

remained so long a feature in history.



[Illustration: FIG. 75.--Period Charles II.]



We find with extravagant shapes a happy return of gay colours. The

high-waisted jerkins of the Charles I period were now seen without the

skirt (as very short jackets), leaving the lawn shirt to show between

this and the breeches, besides which the jackets were nearly always left

unbuttoned several inches up, some being cut away in a rounded shape and

also having short sleeves. The lower arm was covered with a full lawn

sleeve caught at two or even three distances with a loop of ribbons or

bows, and finishing with a wide lace frill; a bunch of ribbon loops was

also often seen on the right shoulder. A long circular cloak, with

turned-back fronts forming a collar in many, still retained the hanging

sleeve, and was mostly decorated with bands of heavy braid. A long

square coat also came in about 1666, buttoned right down the front, with

pockets set very low in the skirt, and large narrow cuffs opened at the

back as in Plate VIII (see p. 90).



Very full breeches were worn to just about the knee or shorter, with a

fringe of ribbon loops, and a row or several rows of the same were

arranged at the waist. A short petticoat just showed the under breeches,

many of which were turned into a doublet shape by an additional piece

looped up loosely from the knee with a silk filling; the ribbon loops at

the waist were repeated up the sides of the petticoat. Silk garters were

worn with bows on both sides of the leg, or a deep lace fall came from

the end of the breeches to the middle of the calf; a lace setting also

filled the wide top of the boots, which was worn very low, even to the

ankles. These short bell-topped boots were favoured, with high heels

and very square toes. Shoes were long and square (or duck-billed) at the

toes; and had a high narrow front to the instep, and latchets fastened

with a stiffened butterfly bow, besides, at times, a rosette lower down

on the front: red heels were in evidence. The sword-band was very wide,

and many were decorated with gold embroidery.



[Illustration: FIG. 76.--Costume types. Period Charles II.]





SEVENTEENTH CENTURY. JAMES II.



FEMALE.



The hair was still worn full at the sides over a comb, as in the former

reign, with curls dropping to the shoulders, but they now began to

discard the set-out comb and the little flat curls on the forehead, the

hair being of a round shape or parted from the centre and mounted higher

and narrower on the head, in the latter part of this reign. The same

large hoods and drapes continued in use, and a high goffered head-dress

with set-out front began to appear; the same shaped bodice with round

low neck showing the shoulders, often set with a stomacher front or

jewelled in that form, and smaller decorations of ribbon loops were

still favoured. A smaller and shorter sleeve began to appear with a

turned-up cuff, and the gathered-in lawn sleeves and ruffles caught here

and there with pearls or clasps as before, besides the same light

drapery clasped about the breast front. The overskirt was now looped

back, the points being held together, giving a wide display of the

underskirt, which was heavily banded or had a jewel setting down the

front. Other train skirts, also divided in front, were bordered with

drawn silk caught at intervals into long puffs. Very small muffs were

the fashion. Shoes increased their pointed shape and rather large heels

are to be noted, but some shoes assumed a very narrow square toe; they

were either tied from small latchets with a bow, or with buckled

latchets. Longer gloves were worn, and large full cloaks with hoods or

large drapery wraps when required for outdoor wear.



[Illustration: FIG. 77.--Costume notes. Period 1670-1690.]





SEVENTEENTH CENTURY. JAMES II.



MALE.



The same long wig was worn as in the last reign, but the curls were more

of a set ringlet type, and embroidered caps were worn when these were

taken off. The face was now clean shaven until the 19th century. Hats

also of the older character were retained, but the turned-up

three-cornered shape, filled with short feathers, became more settled in

fashion, and they were heavily banded with gold braid or lace on the

edge.



[Illustration: FIG. 78.--Period 1690-1700.]



A smart bow was worn crosswise over the folded lace fall at the neck.

The coat was a very long square shape to the knees, the stiff skirt

often set out over rather full breeches, which were sometimes "shorts,"

and just above the knee, the stocking being often brought up above the

knee, with a garter just below. The sleeves were short, above or below

the elbow, with a turned-up cuff, leaving the full-gathered lawn sleeve

with a lace ruffle to show at the wrist. A sash encircled the waist, and

often shut in the sword-belt, which hung from the right shoulder. The

coat had buttons from the neck to the bottom of the skirt, though the

lower buttons were seldom fastened; the sides of the skirt were opened

up about 11 inches, and also the back seam to the same height; most

seams were heavily decorated with gold, silver braid, or lace, and the

pockets were placed rather low down towards the front of the skirt, and

were sometimes set vertically.



[Illustration: Plate XVIII.--



    (_a_) Brocade Bodice. 1770-85.

    (_b_) Flowered Silk Dress. 1750-70.

    (_c_) Silk Brocade Bodice. 1780-95.]



[Illustration: FIG. 79.--Period 1688-1702.]



Long round capes were still worn, without sleeves, and a collar turned

down about 4 inches.



Shoes of a similar shape to those of the later Charles II type were in

use, but the heels became larger and the toes not so long; the top of

the front was sometimes shaped and turned down. Heavy boots to the knee,

with large curved tops, were also in favour, as in the illustration

(Fig. 71).





SEVENTEENTH CENTURY. WILLIAM AND MARY. FEMALE.



The hair was now mounted high on top and the front parted with two

curls, the rest of the hair being bound on top, or a curl was arranged

on either shoulder. A goffered frill head-dress, set on a cap, rose very

high, and a long fall of lace, or lappets, came down on either side from

the cap, or was gathered in like a small hood at the back. Bare

shoulders now began to disappear, the bodice shape coming over the

shoulder to a =V= shape enclosing a stomacher, which was sometimes tabbed

or shaped at the point. Many dresses were made in one length, caught

together at the waist with a band; the fronts of these skirts were

looped back high up, creating a pannier-like fullness at the hips, and

narrow hoops came in to set out the skirts, many of which were heavily

embroidered with gold. The Watteau-back dress started in this reign; a

very early specimen, at the Victoria and Albert Museum, is most probably

of this time (Fig. 85, A). The sleeves worn to the elbow increased in

width from the shoulder, and were set with large narrow cuffs gathered

with a jewel or bow on the front of the arm. Hoods and cloaks of the

same character as described for the last reign continued, and light

sticks were carried by the ladies. Very pointed shoes were worn, with

large high heels, the top of the front flap in some being shaped into

points. Black masks were frequently used, some having long lace falls.

Rather small muffs were still the fashion, and beautifully decorated

short aprons became a feature with the dress.



[Illustration: FIG. 80.--1688-1698.]





SEVENTEENTH CENTURY. WILLIAM AND MARY. MALE.



Wigs of the same long character continued, and were parted in the centre

with a raised effect, and variously shaped caps, with turned-up fold or

brim, were worn when the wig was taken off.



The beaver or felt hat, turned up three-cornerwise, was now in general

use. It is often seen with the brims loose, or sometimes down,

especially amongst the lower classes. Both small shapes and large were

worn.



[Illustration: Plate XIX.--



    (_a_) Silk Brocade Dress. 1775-85.

    (_b_) Embroidered Silk Jacket. 1775-90.

          _Pattern, see p. 326._

    (_c_) Brocade Jacket. 1780-95.

          _Cap pattern, see p. 331._

          _Coat pattern, see p. 348._]



[Illustration: FIG. 81.--Period 1680-1690.]



Black ties across formal lace cravats, and long lawn cravats, edged with

lace, one end of which was sometimes caught up loosely through the

large buttonhole of the coat were worn. Waistcoats were left open well

down to the waist; some of these were nearly of the same length as the

coat, the skirt being often edged with deep gold fringe.



The coats were of much the same character as in the time of James II,

with buttons all down the front, but now it was the mode to button coats

just at the waist, allowing the waistcoat to be shown. The sleeves were

generally longer, to the middle of the forearm, and the turned-back

cuffs became very large and deep, often towards the end of the reign

taking a curved shape. The seams, fronts, and pockets were frequently

braided as before. A long square waistcoat of rich brocade or

embroidered material, about four inches shorter than the coat, was worn;

some of these had tight sleeves, which came to the wrist beneath the

outer coat-sleeve; otherwise a gathered lawn sleeve with ruffle was

worn.



Shoes and boots were practically the same as in the previous reign, with

larger high heels and a high square front, with latchets buckled or

stiffly tied, and very square toes. Top-boots of the same heavy

character continued as in Plate II (see p. 42). Stockings continued to

be worn frequently above the knee outside the breeches, with a garter

beneath, and beautifully embroidered clocks to the calf. Muffs were

carried by many men, and the gauntlets of gloves had a very angular

shape. Patches and make-up were used by the dandies, and the sword was

now carried through the side pleats on a waist-belt sometimes worn

outside the waistcoat.









CHAPTER VII



THE CHARACTER OF DECORATION AND TRIMMINGS OF THE EIGHTEENTH CENTURY.





In the early part to the middle of this century the trimmings were

chiefly of gold or silver lace, real lace, and purfled silk, mostly of

the same material as the dress: a bow was often worn on the breast, and

also in the front of the sleeve cuff. Purfled or ruched trimming

generally ran down the front of the dress from the neck to the hem of

the skirt in the Second Georgian dress, and gathered borders or

decorations of curved forms were in use. The skirts usually had only one

flounce till the reign of George III, when the trimmings became more

elaborate, and gauze and imitation flowers were festooned upon the

skirts, with ribbons and tassels and padded designs standing out in

strong relief; some charming gimp trimmings are also seen.



The lace ruffles of a fan shape which finished the earlier sleeves till

about 1745 were sometimes of lace, interwoven with gold, silver, and

coloured silk needlework, and this was no doubt the forerunner of the

use of the more solid material itself. The setting of the sleeve finish

is interesting to note all through this period, for it was beautifully

treated in balancing the effect of the dress. The square cuff with the

deep lace fall was big in style, and the later closely-fitted elbow

piece, richly gathered, was happily conceived, but no finer setting

could have been applied to the sack-back dress than the large fan or

double fan with its lace fall. The edges of the early fan-finished

sleeves were of curved and scalloped forms, the latter shaping often

being seen in the later sleeves.



With George III we notice designs in straw work, decorations of

imitation flowers in ribbon-work and various materials, and much taste

in the choice of colour schemes, while the tassels of this period were

delightful creations. The designs of stuffs at the early part of the

century were generally of fine strong colour blends, but in the middle

period there was much questionable taste displayed in the heavy massing

of patterns, but this soon improved with the striped character crossed

by running flowers which was quite ideal in type for costume keeping,

grace, and lightness, with a beautiful interchange of colour.



The quilted silk and satin petticoats are a special feature to note in

these times; many simple and effective designs were in use, and they

added much glitter to the scheme. Aprons were also beautiful examples of

needlework, and were worn with the best of dresses to the middle of the

century; the earlier ones generally had a scalloped edging, and many had

pockets; gold lace edging or fringe was often used in the time of George

II, and they were all finely decorated with needlework in gold, silver,

or coloured silks. The white aprons were also of consummate needlecraft,

and hanging pockets worn at the sides were also a decorated feature, but

these only showed when the dress was worn tucked up. The later style of

dress became much simpler, consisting chiefly of gathered flounce

settings, fichus, and large mob caps; these were often daintily

embroidered with tambour work and large bow and sash settings, making

delightful costumes.



Bags, muffs, gloves, and shoes were all chosen for the display of

needlecraft, while artists and jewellers used all their skill on the

fans, patch-boxes, and etuis, and even the dress materials were often

painted by hand, while many painted Chinese silks were also utilised.





EIGHTEENTH CENTURY. ANNE. FEMALE.



The hair was dressed in a simple manner, with two curls parted from the

centre of the forehead, and curved inwards on the brow. A loose ringlet

or two were brought on to the left shoulder, the rest being gathered

into a back-knot. Feathers or flowers were arranged on top, generally

with a pair of lace lappets falling to the back; these also adorned the

cap, which still bore the front goffered frills set out as in the last

reign, but these were diminished in size and were mostly of one row. We

note probably the last stage of this style appearing in a print of

Hogarth's, dated 1740.



[Illustration: FIG. 82.--Bodice types. Period 1690-1720.]



[Illustration: FIG. 83.--Costume type. 1695-1710.]



Hoods and capes or cloaks, and long black fichus or wraps, were the

chief coverings, as the head-dress did not allow of hats being worn, but

with the small frilled caps a little straw hat, or a low-crowned felt

with a largish brim, are seen, and a small lace frill round the neck

began to appear. Bodices with a low curved neck often had a short skirt

or shaped pieces, as well as a shaped short sleeve over a gathered lawn

one, while many wore long sleeves to the wrist, and a waistbelt is

sometimes noted. There was also the sleeve spreading in width to the

elbow, with a turned-up square cuff. The front of the bodice may be

remarked with bands fastening across, and this became a feature in many

dresses later in this century, otherwise it set closely over the

shoulders to a =V= shape at the waist, and was filled with a stomacher of

fine needlework, bows, or the ends of the lawn fichu laced or caught in

by a big bow. A full, loose gown, with the fullness pleated to back and

front, came in, the front being held by a bow and the back allowed to

fall loose or crossed with a large bow at the back of waist, as in the

museum specimen, Fig. 85. This became the more elaborate sack-back

dress.



[Illustration: FIG. 84.--Period 1700-1725.]



The skirts began to be set out in a bell form, and trains were in much

favour; the overskirts were parted in front, and many looped up to the

back in a similar manner to the last reign. Small aprons of fine

embroidery were worn with the best of dresses, and embroidered pockets

are seen when the skirts were thrown back. Petticoats of fine quilting

became much appreciated, and tall sticks were carried by ladies. Pointed

shoes with high heels and latchets tied or buckled, the top of the

fronts being mostly cut into four points, or they had a square finish.





EIGHTEENTH CENTURY. ANNE. MALE.



The wigs of the full ringlet style were still the fashion, but a simpler

character is noticeable, the hair being combed back off the forehead and

allowed to fall in looser waves. But many began to set a mode of smaller

"coiffure," with their own hair caught in curls by a bow at the back,

and curls over each ear. Powder came into use with the smart set, and a

big bow and bag to finish the back of wig appeared, giving a smarter

appearance to the white hair.



[Illustration: Plate XX.--



    (_a_) Gold-embroidered Muslin Dress. 1795-1805.

    (_b_) Nine Aprons. Between 1690 and 1850.

    (_c_) Dress of Spotted Stockinette. 1795-1808.]



[Illustration: FIG. 85.--Bodice types. 1700-1725.]



The hat, sometimes of white felt, was the same three-cornered type,

edged with feathers and banded with broad gold braids or silver lace.

The neckwear was a bind of lawn, with a long fall finished with lace.



The coat remained long to the knees, but took a greater fullness in the

side pleats of the skirt. Large buttons and buttonholes, 3 inches long,

are seen, with the same on the cuff, which was worn very large, often 9

inches broad, and mostly of a curved outline, and of another coloured

brocade; a tight undersleeve is also seen with these. The coat was

sometimes heavily decorated with needlework or braids of gold down the

front, pockets, seams, and cuffs. The pocket was wide and set higher in

the skirt, and the back opening of coat was decorated by several

horizontal braids to the two side pleats.



A long, full-skirted waistcoat, of rich materials or needlework, was at

times braided and fringed at the skirt with gold, the pockets covered

with a large flap, and five buttons fastened it or were placed as

decorations just below it. The front buttons were often reduced to four

at the waist, as it was still fashionable to show the lawn shirt.



Breeches were of the same cut as in the former reign, with five or six

side buttons at the knee, and stockings with embroidered clocks were

worn rolled over outside the breeches as before.



Shoes were square at the toes and not quite so long, while the heels

were still rather heavy, and red was the mode. They had a high square

top at the front instep, and buckles fastened the latchets. Muffs were

often carried by the dandies, and walking-sticks, with tassel and loop,

were slung on the arm; besides a sword, which, passing through the side

pleats and out at the back, helped to set out the coat, which was often

stiffened in the skirts. Gloves, with short gauntlets very angular or

curved in shape, were trimmed with gold fringe; the backs were also

richly embroidered with gold or silver.





EIGHTEENTH CENTURY. GEORGE I. FEMALE.



[Illustration: FIG. 86.--1725-1750.]



[Illustration: Plate XXI.--23 Boots and Shoes. From 1800-75.



      1. 1800-1820.

      2.     "

      3. 1810-1828.

      5. 1820-1830.

      8.     "

      9. 1820-1830.

     10.     "

     13. 1830-1855.

     16.     "

    16A.     "

      7. 1850-1865.

     14.     "

     15.     "

      4.     "

      6.     "

     17.     "

     12.     "

     21. 1860-1875.

     11.     "

     18.     "

     20.     "

     19.     "

     22.     "     ]



[Illustration: FIG. 87.--Period 1725-1750.]



[Illustration: FIG. 88.--Modes, 1750-1770.]



[Illustration: FIG. 89.--Various Styles in Cut Back of Bodice.]



The hair was very simply gathered from the forehead and taken up to a

knot of curls at the back. Occasionally a group of curls was allowed to

fall behind, or a curl was arranged to fall on one shoulder, and

waved curls of the Queen Anne type were still seen on many people. Caps,

with long dropping points in front, sometimes tied under the chin or

with long lappets at the back, were the chief favourites, also a small

frilled cap. Shallow-crowned straw hats with various widths of brim;

hoods and capes, both short and long, are seen, besides light silks

draped from the hair to the waist, feathers, flowers, and ribbons being

worn in the head-dress. Richly embroidered aprons were worn with the

finest dresses.



The sack-back dress was very full, and started right across the

shoulders in two double box-pleats, which were kept trim by being sewn

flat for two to four inches down. Sleeves to the elbow were rather full,

and gathered at the shoulders, with a square cuff often decorated with a

bow in front, and a fan of lace, sometimes in several rows, fell from

beneath. Sleeves finishing in a shaped edge are occasionally seen. The

skirts were made for the very round hoop setting, and were gathered in

flat pleats on either hip. A wide pleat or two came from the shoulders

down the front sometimes as a continuation of the sack-back. These

pleats, meeting at the waist, formed a =V= shape, which was filled by an

embroidered stomacher, or made of the same material, crossed by bands,

bows, or rows of lace. The flat front pleat was occasionally

embroidered, and gradually widened to the bottom of the skirt. Very

pointed toes to the shoes, and high heels, with tied or buckled

latchets, are seen, the tops of the front often being shaped into four

points.





EIGHTEENTH CENTURY. GEORGE I. MALE.



Long, full wigs are still seen amongst older men, but several new shapes

appear as illustrated (Fig. 90), and the black bow and bag became very

large; a black ribbon attached to it, with a bow in front, came round

the neck. We also see the ends of the wig made into a long, tight

pigtail. Hats were of the same three-cornered shape, rather fuller in

size, and the feathered edging was still favoured. A hat of the type of

Fig. 105 was also worn; and the loose cap with a tassel was put on when

the wig was removed (see Fig. 104).



[Illustration: FIG. 90.--Wig types, 1st half 18th century.]



[Illustration: FIG. 91.--List of Dated Shoes and Boots.



    No.

     1. 1700-1750.

     2. 1700-1780.

     3. 1700-1780.

     4. 1700-1750.

     5. 1700-1760.

     6. 1720-1780.

     7. 1690-1720.

     8. 1700-1750.

     9. 1700-1740.

    10. 1740-1760.

    11. 1702-1720.

    12. 1730-1750.

    13. 1760-1800.

    14. 1730-1760.

    15. 1740-1770.

    16. 1770-1780.

    17. 1740-1780.

    18. 1786-1796.

    19. 1774-1784.

    20. 1775-1790.

    21. Sole of shoe No. 22.

    22. 1776-1800.

    23. 1780-1790.]



The neck had the same lawn bind with a long lace ruffle, and the coat

the same full cut as in the last reign, and the large rounded cuff

was still in favour, but many varieties of size were now worn. A

vertical pocket is seen occasionally on cloth coats, also a cape and

turned-down collar are noted, while several appear with a very small

upright collar. Buttons were still worn on some coats, right down the

front; but on many coats the buttons stopped level with the pocket.



A short-skirted coat came in amongst the dandies towards the end of the

reign, and was stiffened out on the skirts; these mostly had a tighter

sleeve and cuff. The same decorations continued in use. Waistcoats were

much the same, and were cut to the length of the coats, or about four

inches shorter; they were buttoned higher, the lace often falling

outside.



Breeches were the same in cut, fastened with six buttons and a buckle at

the side of the knee. The stockings, usually decorated with clocks, were

still worn rolled outside the knee amongst smart people. The stiff high

boots or gaiters generally had a full curved piece at the top, and short

gaiters to the calf are also to be noticed.



The shoes were square-toed or of a roundish form, with a short or

rather high square front, and heels of various heights. Patches and

make-up were used by the fops, and swords and sticks carried, the latter

being very high, to 46 inches.





EIGHTEENTH CENTURY. GEORGE II. FEMALE.



The hair was treated in much the same manner as with George I up to the

end of this reign--gathered back from the forehead to a bunch of curls

at the back. The small hats and caps, often worn together, continued of

the same character; the dresses also remained similar in cut. The

sack-back dress was supreme in the fifties, when it was set with

panniers, together with the hoops, but the latter were not so much worn

towards the end of this reign, except for the "grand dress." Quilted

petticoats were much worn, but flounces are not a feature on the skirts

till the latter part of this period. The simpler dress was of various

lengths, and was at times worn quite short up to 1740. The corset bodice

was still in use, with lawn sleeves: square cuffs and lace ruffles held

the lead throughout this time, but the fan-shaped sleeve finish to

the elbow, in the same material as the dress, began to appear about

1750, generally with a waved or scalloped edge. Pointed toes and

high-heeled shoes continued, with either tied or buckled latchets, and

long gloves and mittens were in use.



[Illustration: FIG. 92.--Three hoops and four pannier forms.



    Types 1725-1760.

          1750-1780.

          1740-1770.

          1700.

          1720-50.

          1735-65.

          1780-90.]



[Illustration: FIG. 93.



_Quilted designs on Petticoats, 18th century._]





EIGHTEENTH CENTURY. GEORGE II. MALE.



Wigs with double points at the back, short curled or of long pigtailed

shapes, some with side curls, others curled all round the front, were

worn. Large bows and bags, or no bows, finished the back hair, and the

bow to the front of the neck was in use from the early part of this

reign. Long coats, as in the last reign, and short coats with stiffened

skirts were used; many with braided seams and fronts, also a braided

opening at the back. Large round cuffs and big square ones, caped coats,

and coats with turn-down collars were all in the mode, and the

"maccaroni" fashions started about 1760, with absurdities in small hats,

clubbed wigs, and very short coats. High sticks and crook sticks, canes

and swords continued in use.



[Illustration: Plate XXII.--



    (_a_) Linen Dress. 1795-1808.

          _Pattern of Bodice, see p. 316._

    (_b_) Silk Bodice. 1825-30.

    (_c_) Silk Bodice. 1818-25.]



[Illustration: FIG. 94.--Wig types, second half 18th century.



    1740-1765.

    1765-1795.]



The pocket flaps were of a curved form, with a rounded centre still,

and many of the shoes had a high square front, high heels, and square

toes: according to the caricature prints of Boitard, the fashionable

hats were smaller in 1730, and much larger ten years later; very full

skirts at the former date, and smaller and less stiffened at the latter.

Stockings were often still worn outside the knee. Shoes reached an

extreme high square front at the latter date, and gloves with curved or

square cuffs are to be noted.



[Illustration: FIG. 95.--First Half Eighteenth Century.]





EIGHTEENTH CENTURY. GEORGE III TO 1800. FEMALE.



This long reign, like that of Queen Victoria, embraces several changes

of style. Up till about 1785 white powder was still used for the hair,

reaching its fullest extravagance in the middle of the seventies, set

with pearls, bandeaus, caps, lace, flowers and feathers, and about 1776

the top was widened considerably. The front hair, gathered from the

forehead, was pressed in a forward curve over a high pad, with one to

three curls at the sides and one at the shoulders, the back hair being

arranged in a loose loop, curled on the top and set with a large bow at

the back; a small round hat with very small low crown (usually decorated

with flowers and silks gathered into puffs, or ribbons and small

feathers) was tilted right on the front. About 1780 large mob caps with

a big bow on the front came in, and were generally worn together with

the tall-crowned hat or the large-brimmed hat in favour at this time. A

cape with smallish hood worn in the earlier reigns was supplanted about

1777 by the calash, a huge hood set out with whalebone which came

to cover the full head-dresses. The heavier caped or hooded cloak,

sometimes with side opening for the arms, and usually trimmed with fur,

still remained in use to 1800.



[Illustration: FIG. 96.--Costume notes, 1770-1780.]



[Illustration: Plate XXIII.--



    (_a_) Muslin Dress with Tinsel Design. 1798-1810.

    (_b_) Silk Dress. Period George IV.

    (_c_) Satin and Gauze Dress. 1820-30.]



[Illustration: FIG. 97.--Head Dress. Period 1780-1795.]



[Illustration: FIG. 98.--Hats and Caps during period 1780-1795.]



[Illustration: FIG. 99.--Hats during period 1790-1800.]



The bodice retained the same shape as in the former reign, rather longer

in the points back and front, with a large fan finish to the sleeve,

double or single; this became supplanted by a much-gathered elbow-piece,

sometimes eight inches deep, gathered in four rows. Small drawn gathers

started round the waist of the skirt, for the side panniers and hoops

were being less worn, except for the "smart gown," but bunching,

reefing, and looping took their place in effect, and quilted petticoats

remained while this character of dress lasted. The later sack-back dress

was sewn tighter to the body, and usually started in a narrower set at

the back, while the full pleat from the shoulder down the front went

out, and the neck was more displayed by lower bodice fronts, which

continued to be set with bows, jewels, lace, or embroidery. Sack-back

jackets were often worn in the seventies; when the sack began to

disappear, it took the form of overlapped seams on the bodice. The

decorated side pockets are noted in prints showing tuck-up dresses to

1775. The jacket bodice of the same form described in the preceding

reign was perhaps more in evidence till 1780, not so long in the skirt

as in the earlier reigns, but after this date it took a longer skirt,

which was often pleated at the back, with a very low neck and short

waist.



[Illustration: FIG. 100.--Period 1780-1795.]



About 1780 we find a change of style appearing in a shorter waist, with

less pointed setting, having often a rounded point or square tabs, and

even a shaped finish to the corset front, which was sometimes used like

a waistcoat effect under the cut-away dresses seen after 1770 (see Fig.

99, p. 221). A general tendency to imitate male attire is apparent, and

the front of the bodice was set with lapels and straps buttoned across

(though I have noted this latter character in the early part of this

century), and long coats with this character were much worn, with two or

three capes. The sleeves are sometimes set over a tight undersleeve, in

fact the longer sleeve to the wrist became fashionable. With this change

a short gathered skirt is seen on some bodices, and the full gathered

skirt was bunched out at the back on a bustle, of which I give an

illustration (p. 212), the low neck being filled with a large lawn

fichu; a wide belt was generally worn, or a wide sash and bow at the

back or side is seen with the lighter dresses, these being simple in

style, just gathered at the waist, with short full sleeves set with a

frill, and another frill was also arranged round the neck.



[Illustration: FIG. 101.]



About 1790 the mode again began to change to a classic style, still

higher in the waist, with a short tight sleeve, at times puffed in the

upper part, or an outer and under sleeve, as per illustration A, Plate

XXII (see p. 215). The fronts of this type of bodice were mostly

buttoned or pinned up to the shoulders over a tight underfront, the

skirt opening about 18 inches at the sides, thus saving a fastening at

the back. I have illustrated some very interestingly cut jackets of this

period from my collection, as A, Plate XXIV (see p. 231); the sleeves

were very long and were ruckled on the arm, as likewise were the long

gloves or mittens of this time. A long scarf or drape was carried with

this style, and a round helmet-like hat in straw or a turban was

adopted. High sticks were still carried by ladies till the nineties,

and umbrellas or parasols; the former came into vogue about 1770, the

latter about six years later. Muffs of beautifully embroidered silk and

satin were set with purfled trimmings, gold and silver lace, or bows and

ribbons; otherwise they were of furs or feathers. They remained rather

small up to 1780, when a very large shape set in, which continued till

the end of the reign; the quantity of beautiful fans of this century

must be so well known as to need no description. The highest artistry

was concentrated on them.



[Illustration: FIG. 102.--Period 1790-1800.]



[Illustration: FIG. 103.--Costume notes, 1790-1800.]



[Illustration: FIG. 104.--Lounge Caps worn during removal of Wig.]



Shoes at the beginning of this reign were set on very high spindle

heels; the toe-front became rounded, the instep-front a pointed shape,

and wide latchets were buckled till about 1785, but fashion discarded

them earlier; for about 1780 the shoes became very small at the heel,

and pointed again at the toe. When the latchets went out, the pointed

instep remained for a time, but a low round front appeared, and the heel

practically vanished just before 1800. These later shoes were decorated

on the front by needlework or incised leather openwork underlaid with

another colour. The soles at this time were extremely quaint in

shape, and the shoes were tied sandal fashion up the ankle.



[Illustration: Plate XXIV.--



    (_a_) Outdoor Silk Jacket. 1798-1808.

    (_b_) Embroidered Muslin Bodice. 1816-30.

    (_c_) Embroidered Muslin Bodice. 1824-25.

    (_d_) Satin and Gauze Bodice. 1820-30.]





EIGHTEENTH CENTURY. GEORGE III TO 1800. MALE.



The wigs, which were rather high in the front of the crown in the

earlier part, began to cast off the most eccentric forms, and became

just curled, rather full at the sides, and tied with a bow at the back:

dull pink powder became a favoured hue from about 1780; most people

began to return to their own hair, and one might see many without long

hair in the nineties. The last type of dressing the hair in imitation of

the wig form was a long, tightly braided pigtail at the back, with one

or even two side curls over the ear, and side whiskers were allowed to

fill up to them; thus when the short hair set the fashion, side whiskers

came in.



Hats were still worn of the three-cornered shape, but the favourites

became a front cockade hat and a hat with a rounded crown and rather

wide brim, sometimes turned up on one side; a short type of top-hat was

also often seen, and later became the fashion. The same lawn and lace

cravat developed into more of a plain white stock, with a frilled

shirt-front.



The coat was worn much tighter in the arms and was smartly cut, with the

fronts running away into a narrow tailed skirt. The pockets often began

to take a plain square form, with or without buttons; the buttons on the

front of the coat stopped at the waist--many cuffs are seen without

them; and the side pleats, set more to the back, were pressed and

narrower. Both the plain and turn-over collars were set up high in the

neck, large cut-steel buttons were introduced in the early seventies,

and many fancy china buttons, besides the gilt silver and paste ones

were in use. A new type of coat made its appearance with a high

turn-over collar and large lapels, and a sudden cut-in of the coat-front

high in the waist, giving a very long-tailed effect to the skirt. A cuff

shape with these was mostly made in one with the sleeve and buttoned at

the side towards the back, and when the cuff was additional, it seldom

had buttons, as formerly.



A greatcoat with one, two, or three capes was a picturesque garment, and

a leather-covered bottle was often carried when riding a distance, of

which I have an example in my collection.



[Illustration: FIG. 105.]



Waistcoats, which had become much shorter, were now giving place to a

type with a straight-across front and turned-back lapels at the neck;

these large lapels were mostly worn outside over the coat lapel. The

waistcoats were often double-breasted with an embroidered design down

the front between the double row of buttons, and the straight pockets of

these had no flaps; they shortened at the waist in character with the

lapelled coat, but were worn lower than the cut-in shape of the coat,

showing about 3 inches when the coat was fastened. Breeches became very

tight, and trousers begin to appear after 1790. Striped stockings and

suits were much in favour. Top-boots with rather long brown tops were

worn, or high boots with a curved top, with a gold tassel set in front,

were seen. The shoes with latchets and buckles had a low front on the

instep, and from about 1780 took a rather pointed oval toe shape; the

heels were mostly worn shorter. Swords were not so much in use except on

great occasions, but sword-sticks were carried, and heavy club-sticks

were fashionable before 1800. Patches were little used after the

seventies, but the snuff-box was still indispensable. The double long

purse with central rings and tassels at the ends was carried, of knitted

silk or of leather, the former with steel beads and coloured silks

worked together after 1780: small bag purses were also in use, usually

set in gilt mounts and made in the same methods with a tassel below.



[Illustration: Plate XXV.--



    (_a_) Silk Dress. 1800-10.

    (_b_) Cotton Dress. 1800-10.

    (_c_) Embroidered Muslin Dress. 1820-30 (_Pattern, see p._ 339).

    (_d_) Silk Gauze Dress. 1824-30.]



[Illustration: FIG. 106.]









CHAPTER VIII



CHARACTER OF TRIMMINGS OF THE NINETEENTH CENTURY.





During the later part of the 18th century, a great deal of tinsel drawn

work was done on fine muslin, and became beautifully treated in delicate

design on the hem and down the front of many of the high-waisted dresses

as in Fig. A, Plate XXIII (see p. 218). Later on towards the twenties we

see a great deal of effective coarse work in heavy gold tinsel, and at

the same time to the forties a number of dresses were ably enriched with

fine gold thread.



The white embroidery in the earlier trimmings of this period, of which I

give examples in Plate XXIV (see p. 231), was remarkable for its wealth

of fancy; the chief beauty of these dresses was the delightful treatment

of gathered effects, and with the reign of George IV we note the

gradual return of the longer pointed bodice, with the growth of very

full sleeves, also the increase in the size and fuller set-out of the

skirts over the stiff flounced drill petticoats. The =V=-shaped Bertha

setting to neck and shoulders began to establish itself, and became a

great feature through the thirties and forties; the first signs of it

appear about 1814. Varieties of materials were used to great advantage

in designing, and drawn tulle trimmings were happily introduced to

soften hard shapes and colours. The shoulder fullness also began to be

neatly drawn in and held by straps, which gave a charming character to

many bodices.



From 1816 choice work in piped shapes, often of flower forms decorated

with pearls or beads, was set on fine net, as seen in Plates XXIII and

XXIX (see pp. 218, 263). The attraction to the thirties was the happy

effects gained by the bow and flower looping on the flounces, and these

ripened in fancy and variety through the forties. Braiding was adopted

in the thirties with a rather charming treatment of tassels down the

front of the dress; the polonaises of this time were also effective and

simple, caught here and there with posies of flowers, and we find this

fashion again revived in the sixties.



With the reign of George IV we notice an increasing choice of strong

coloured effects, which culminated in the mid-Victorian era in raw

colour and violent shot silks, velvets, and heavy fringes, but one may

see that many of these dresses of bright pure tone looked exceedingly

refined and were quite stately. A remarkable dress is Fig. A, Plate

XXXII (see p. 279), which is of very strong bright blue; its only

enrichment being a curved line of folded silk. All these dresses from

1800 were delightfully embellished with embroidered fichus, light

scarves of frail gauze, crepe, or Norwich silk, and in the Victorian

times capes and =V=-shaped shawls; fascinating lace ruffles and tuck-in

fronts to the bodice necks, of frills and bands of embroidery, broke the

severity or bareness of many dresses. An endless variety of fascinating

caps and lace head-lappets was pinned or caught into the hair at the

wearer's fancy; besides the bows, flowers, and jewels (especially

pearls) which have always played an important part in the coiffure from

early times, the chatelaines and bags, fobs, fans, and lace or silk

handkerchiefs all give the artist a note of extra colour when desired.

The cruel period of taste really came with the seventies, though one can

trace many quaint and interesting cuts in the bodices and skirts of this

time; but the "grand dress" of complicated drapings, heavily fringed or

braided, was a "set piece" which, let us hope, will never appear again.



The long stocking-purse which began to appear in the late 17th century

was up to 1820 sometimes carried tucked through the belt; it was set

with a pair of metal rings and tassels of steel or gilt beads. Small and

large circular and bag-shaped purses were also in use; all these were

made in coloured silk threads enriched with steel, gilt, or coloured

beads, the latter shapes being set in chased metal mounts, the circular

ones generally having a fringe and the bag shape a small tassel or heavy

drop. These shapes can also be seen in coloured leathers with a leather

tassel, besides the plain money-bag with a draw-string.





NINETEENTH CENTURY. GEORGE III. FEMALE.



The hair up to 1808 was gathered into a knot of curls at the back of the

head, rather high up, with a small curl at the sides in front of the

ear. Later the knot was set more on the top, and the side curls were

made more of a feature, several being arranged at the sides. Numerous

varieties of large and small brimmed hats, bonnets, and turbans are

seen, and several masculine top-hats and cockade hats may be noted late

in this reign. The usual feather decorations and large ribbons or

flowers were in use, and a handkerchief was sometimes bound over the top

of the straw hat and tied under the chin.



[Illustration: FIG. 107.--Costume notes, 1811-1812.]



[Illustration: FIG. 108.--Costume notes, 1814-1816.]



The classic high-waisted dress continued till 1808, and was often

beautifully decorated with white embroidery and gold or tinsel, as in A,

Plates XX and XXIII (see pp. 199, 218), and the frontispiece is a lovely

white example. There were several interesting drapings, one being a cord

hanging from the back of the shoulder to loop up the train of the dress,

as in A, Plate XXII (see p. 215). The simple tunic shapes are better

described by the illustrations: more originality was essayed in

design after the last-mentioned date. A high Vandyked lace collar and

fan setting to the shoulders appeared, and many interesting dresses of a

plain cut, mostly in velvet and silks, were worn about 1810-12. A

gathered sleeve drawn tight at intervals was often seen up to 1816, when

embroidered ruffles and frills decorated most of the necks and skirts,

and a braided type of character, rather military in effect with

beautifully piped edgings, came in from about 1817. Spencer bodices were

an additional interest at this period, and a short puff sleeve was

generally banded or caught with bows; these being often worn over a

fairly loose long sleeve gathered by a wristband. Dresses were worn

shorter from about 1810. Charming lace and embroidered fichus crossed

the shoulders, and long scarf-capes were thrown round the neck and were

often tied round behind, as in the 18th century; long capes with points

and tassels in front fell to the knees, and a simple pelisse with cape

became a pleasing feature. Bags were always carried, of which there is a

variety of shapes in the plates; long gloves or mittens were generally

worn. Parasols of a flat shape, or others with round or pagoda shaped

tops are seen, many being edged with a deep fringe. Long purses were

often tucked through the waistband.



[Illustration: FIG. 109.]



The pointed shoe, tied sandal fashion up the leg, and with no heel,

remained through this reign, but a round-toed low shoe, tied on in the

same manner, began to supersede it about 1810.





NINETEENTH CENTURY. GEORGE III. MALE.



Wigs had practically gone out, except for a few of the latter type of

the 18th century amongst elderly people. The hair was now worn short,

and left rather full on the front, with short side-whiskers. Plain black

or white stocks tied with a front bow, and a starched or unstarched

collar with a frilled or gathered shirt-front were in use. A tie-pin or

stud was also seen in the centre of the stock or frilling.



The same hats as in the latter part of the 18th century continued for a

time, but the top-hat had established its favour, and assumed various

shapes throughout this reign.



[Illustration: Plate XXVI.--



    (_a_) Morning Coat of Chintz. 1825-45.

          _Pattern, see p. 313._

    (_b_) Cloth Coat. 1808-20.

          _Pattern, see p. 307._

    (_c_) Cloth Overcoat. 1820-35.

          _Pattern similar to p. 311._]



The coats were set with very high turn-over collars and a wide-shaped

lapel, and the lapel of the waistcoat was still brought outside. As

these lapels on the coats became smaller and changed into a roll collar,

they were cut into points at the breast, as seen in the illustrations.



The front of the coat cut away in a short square, rather high in the

waist, which thus formed a long-tailed skirt; the fronts were made

double-breasted, and were often fastened high up the lapel. The

hip-pleats had gone round more to the back into a closely pressed fold,

about three inches from the back-opening. Sleeves were gathered rather

full in the shoulders, becoming very tight on the forearm, and were

finished in a cuff, or buttoned cuff-shape. We also see that a short

square coat without tails was worn over the longer one. Overcoats (or

long-skirted coats) with a cape or capes, up to four, were worn all

through this reign, both double and single breasted, sometimes with

turn-up cuffs; but this mode was not frequently used, as a sewn-on cuff

or cuff made in the sleeve was now worn, and began to take a curved

shape well over the hand, with three buttons to fasten it on the outer

sides.



Short double-breasted waistcoats continued much the same, but a

round-shaped lapel appeared on many.



Very tight-fitting breeches were worn of the same 18th-century cut, and

trousers began to gain favour; a fob of seals, &c., was always worn,

coming from under the waistcoat.



Soft high boots with turn-down tops, and boots with longish brown tops

set low on the leg. The top-boot with the pointed or oval-shaped front

and tassel still held sway, and an oval-toed low shoe with or without

small latchets was in use.





NINETEENTH CENTURY. GEORGE IV. FEMALE.



The hair at this period was worn in plaits or curls gathered on top, and

during the latter years was arranged into stiff loops set with a high

comb; a group of curls was drawn to the sides of the face, the hair

being mostly parted from the centre. Plumes were much used for

head-dresses, and caps with gathered puffs and pointed frills. A

high-crowned straw poke bonnet, tilted upwards, was still in form; but

the prevailing mode was a silk bonnet, with the brim curved in at the

front, the sides being drawn together under the chin with a bow. The

prevailing decoration was a group of feathers thrown forward or ribbon

loops, and after this a large round hat, with a full gathered crown,

arrived about 1827, or straw shapes, such as Fig. A, Plate XXVIII (see

p. 259).



[Illustration: FIG. 110.]



Dresses gradually assumed a longer waist, and a short pointed bodice

made its appearance here and there from about 1822, when short stays

began to return, and pointed belt corselets were frequent, though the

waistband or sash was chiefly used. Short puffed sleeves of charming

character and workmanship were sometimes set in a gauze sleeve, as in

Fig. C, Plate XXIII (see p. 218). Spencers and pelisses had long sleeves

coming from these short ones; they were rather full, and were caught at

the wrist with a band. The upper sleeve gradually disappeared as the

full-topped sleeves began to develop in size, about 1824; this fullness

was often broken up into gathered parts, a tight cuff-piece usually

finished at the wrist. The high set-up collars and neck-frills gave way

to the flat capes about 1827, though the small ruffs were worn round the

top of the high-necked capes to 1830. The gathered shoulder began

about 1823, and soon became a marked feature; pointed or scalloped

frills and trimmings came into favour from 1825, Fig. B, Plate XXIII

(see p. 218), and about 1827 the sloped appearance in the bodice began

to be noticed as the sleeves were set lower. The shoulders in ball

dresses were shown, and a gathered Bertha of silk or lace was arranged

round the neck of bodice, Fig. D, Plate XXIV (see p. 231), or this form

was made in the pattern as in Fig. C, Plate XXII (see p. 215). The

=V=-shaped piece from the centre of waist or breast began to spread over

the shoulders, where it was opened, as in Fig. B, Plate XXII (see p.

215). This =V= shape was often open down to the waist, where it was filled

in with a centre-piece of embroidery. Skirts were gradually set out

fuller, with stiff-flounced petticoats; they had various simple or

richly decorated borders and fronts, or several small flounces, or one

deep one often with the edges cut into divers shapes.



[Illustration: Plate XXVII.--Outdoor Silk Dress. 1825-35.]



[Illustration: FIG. 111.]



I have striven to give good examples of the marked styles in the various

dated illustrations, as well as the court train to dress, Fig. A, Plate

XXXIII (see p. 282), which also comes into this time.



Shoes were rather round at the toes till near the end of the reign, when

they took a square shape; a tiny rosette or bow was placed at the front

of instep, and they were held by narrow ribbons, crossed and tied round

the ankle. Boots lacing at the inside, with seam down the front, often

had a toe-cap as in Fig. 5, Plate XXI (see p. 202); no heels were worn.



Light gauze scarves were usually carried, and very small fans besides

the larger feather ones. Bags or sachets of the forms illustrated were

painted or embroidered in ribbonwork, chenille, tulle, and coloured

silks.



A few specimens of parasols are also given, and gloves and mittens were

of the same character as in the latter part of the last reign.



The patterns given of some of the dresses shown in the plates will be

useful as to the measurements of the increase in skirt-width and

sleeves; one may also note the very pointed set-out of the breast,

sometimes made with two gores, which only occurs in this reign. Muffs

were usually of a large size, and a bow with long ends was often worn on

the front.





NINETEENTH CENTURY. GEORGE IV. 1820-30. MALE.



The mode in beaver hats was most varied; high straight crowns with small

brims, others tapering at the top with larger curled brims, or crowns

enlarging at the top with almost straight small brims; a top-hat of

straw is shown on page 309. A short-crowned hat was also worn. The hair

was combed towards the front at either side, and the face shaven, with

the exception of short side-whiskers.



A very high stock of black satin or linen surrounded the throat, with or

without the points of collar showing, and a frilled shirt, often stiffly

goffered.



Coats were very tight-fitting and mostly double-breasted, with long

swallow-tailed skirts, or long full skirts; the waist was rather short,

and the effect of coat-front round-breasted with a high turned-over

collar finished in large lapels, which were often treated with velvets.

The favourite colours for overcoats were greys, buffs, greens, and

blues, and the edges were neatly finished with fine cord. The sleeves,

rather full in the shoulder, became tight on the lower arm, coming to

a curved shape well over the hand, and buttoned up the side. The pockets

were frequently set at an angle, as in illustration, and a short round

cape, or two, was seen on many overcoats. A short type of coat is seen

about 1827, with a single roll collar.



[Illustration: FIG. 112.--Period 1820-1840.]



Waistcoats mostly had a round-shaped lapel, and were often

double-breasted and very shaped at the waist, which was set fairly high;

a long opening allowed the frilled shirt-front full display. There were

also waistcoats having no lapels, no pockets, or no cover-flap; the

points of front were very small, being buttoned to the end, or, with the

double-breasted shape, they were straight across.



Breeches were not so much worn as trousers of cloth, nankeen, drill, and

fine white corduroy; these were usually fastened under the boots with a

strap, others were looser and often worn short, well above the ankle. A

very full type in the upper part peg-tops, was in fashion about 1820-25

amongst the dandies, and for evening dress, very close-fitting breeches

to the knee, or just above the ankle, the latter being opened and

buttoned up to the calf. Pince-nez were favoured, with a heavy black

ribbon, generally worn tucked in the lapels of the waistcoat; and a fob

of gold seals, &c., hung from the braces, below waistcoat pocket.



[Illustration: FIG. 113.--1830-1840.]



Shoes and short Wellington boots were chiefly worn, the former being low

in the heel and very short in the tongue, which was almost covered by

small latchets, either buckled or tied, the shape of the toe being

rather round. The Hessian boots with curved front and tassel at the top

were still worn.





NINETEENTH CENTURY. WILLIAM IV. FEMALE.



The hair still retained the high loops on top and the bunch of curls at

the sides, poised by a back comb and set with flowers or feathers; there

was also a great variety of fancy capes with pointed frills, some with

long tie ends, and these are seen with most dresses, and were worn in

conjunction with the hats. The favourite hat was a big, flat, circular

form, generally tilted at one side, and decorated with bows, flowers,

and feathers; a flat tam-o'-shanter shape was often worn with the

riding-dress, sometimes with a large peak-shape in front, and straps

under the chin. The large poke-bonnet also kept the front as flat and

round as possible, with a high crown tilted upward in order to set over

the hair loops.



[Illustration: Plate XXVIII.--



    (_a_) Silk Pelisse. 1820-30.

    (_b_) Cotton Dress. 1830-40. (_Pattern, see p._ 343).

    (_c_) Silk Spencer and Cape. 1818-27 (_Pattern, see p._ 324).]



[Illustration: FIG. 114.--1828-1836.]



The bodice began with a very pointed front and very low neck off the

shoulders, tuck-ins of fine embroidery, and capes or _fichus_ of the

same, covered the shoulders, often three deep. The pointed bodice only

lasted for a few years, when the waistband again became the favourite.

The sleeves were very large at the shoulders, diminishing at the wrist,

but soon took a big round form, sometimes tightly pleated into quarters

before 1835. We then get the huge sleeve gathered at the wrist, and

often falling below it; this again tightened on the forearm, and we note

a tendency to tighter sleeves coming in before 1837, neatly gathered

well down the shoulder. The evening-dress sleeve was a large puff, set

out by stiffening to a flat wide effect. Very wide epaulet collars were

seen on most dresses, meeting in a =V= shape at the waist, with a filling

of lace in the front, and many bodices were elaborately gathered, and

some of the sleeves were also gathered into puffs all down the arm.



[Illustration: FIG. 115.--1830-1840.]



The skirts were set out very full over stiff flounced petticoats, and

were worn rather short; as a rule they were trimmed with one or two

flounces, which were handsomely decorated, and a short polonaise is

occasionally seen. There were many interesting trimmings of gauze,

flowers, and bows; while silk-flowered gauze over dresses made some

charming effects.



Heavy mantles and capes or pelisses began to be braided, and rather

strong colours were in general taste.



The hand-bags were of a curved form and generally bore heavy tassels.

Very small fans and round fans were attractive, and bouquet-holders of

gilt, with pearl handles, became the thing to carry.



Shoes were of the low sandal type, fastened by crossed elastic, with

very square toes, and a tiny rosette or bow on the front; boots to the

ankle were now in fashion, mostly lacing at the inside, and having a

long toe-cap, sometimes with a small rosette at the top of this or a

tassel at front of the top of the boot.



[Illustration: Plate XXIX.--



    (_a_) Embroidered Silk Gauze Dress. 1820-30.

    (_b_) Gauze Dress with Appliqued Design. 1825-35.

    (_c_) Printed Linen Outdoor Dress. 1827-47 (_Pattern, see p. 342_).]





NINETEENTH CENTURY. WILLIAM IV. MALE.



The hair was worn rather full in curls at the sides or on top, parted at

the left side, besides being occasionally parted at the centre. Side

whiskers, curved forward, still continued, and a short trimmed beard was

now worn round under the chin by many, moustaches also made their first

appearance at the end of this reign. Top-hats were high and straight,

but many still adhered to the tapered crown and larger brim.



The same plain stocks of black satin continued, with or without a front

bow, and a soft pleated or frilled shirt-front.



The coats were similar to the last reign: the chief differences being an

increase in the length of the waist, wider tails, and large lapels of a

similar cut: velvet collars and cuffs were much worn, and the waist was

still made tight. A coat with a square skirt as in Fig. 116 is seen for

the first time, and the swallow-tailed coat was worn not quite so long.

A lower opening to the waistcoat was generally seen in evening attire,

which sometimes had but four small buttons, while more of the

single-breasted type were in use, with and without lapels.



Very tight trousers to the ankle buttoned up to the calf continued, or

plain trousers were held by straps under the boot; twill, corduroy, or

nankeen were both strapped or free at the ankle and rather short.

Knee-breeches were still worn by many for evening dress, and long

Italian capes with overcapes and high turn-over collars were

fashionable, besides the very full-skirted greatcoat.



Boots and shoes were square at the toes and rather long and narrow, the

shoes having a bow or buckle. Short Wellington boots continued much in

use, also spats.



Fobs of gold seals, &c., were worn, and eye-glasses attached to a black

ribbon is a noticeable feature.





NINETEENTH CENTURY. VICTORIA. FEMALE.



The hair was parted in the centre and tightened in a top setting of

plaits, with side curls over the ears. This mode was retained by many

till the fifties, but the top plaits began to be set lower at the back,

and the same flat parted hair was brought in a curved shape to the

front of the ears, often in a small plait, allowing the ear to show, or

in a plaited knot at either side; about 1850 it was waved, parted, and

simply curved from the forehead over the ears in a fuller manner,

sometimes being turned under to increase the side fullness, while the

back hair was arranged lower down the neck. In the sixties the hair was

waved and caught behind in ringlets or was bunched into the hideous

chignons, which are seen till about 1880.



[Illustration: FIG. 116.--1840-1860.]



The variety of caps and hats is too alarming to deal with, and baffles

comprehensible description, so it is best for the student to dip into

the hundreds of illustrations through this period in the _Ladies'

Magazine_, _Punch_, the _Illustrated London News_, or the _Ladies'

Treasury_ for the later styles.



The straw bonnet with a straighter poke front was favoured till 1850,

when the front became considerably reduced in size and fitted closely

round the face. The larger brimmed bonnets had a little frill by the

ears, and the tight-brimmed bonnet often had the frill all round with a

flower also tucked in effectively to the wearer's taste, and we see this

favoured till the seventies. In the fifties a large flat Leghorn hat

with a small crown was in evidence, the brim dipping back and front,

decorated with feathers or bows, and a three-cornered French hat with

feathers set in the brim came in with revival of the 18th-century style

about 1860. A small bowler hat and a very small "pork-pie" hat appears

in the late sixties, and a tiny-shaped bonnet of a curved form during

the seventies.



[Illustration: Plate XXX.--



    (_a_) Printed Silk Bodice. 1840-50.

          (_Pattern, see p. 320._)

    (_b_) Gathered Linen Bodice. 1837-47.

    (_c_) Silk Bodice and Bertha. 1845-55.]



[Illustration: FIG. 117.--1845-1855.]



At the beginning of this long reign we find the pointed bodice with a

normal length of waist has really come to stay, though many dresses

retain the waistband till the fifties, and there is such a confusion of

styles at that time, it is difficult to arrange a sequence. From the

18th century fashions became more complicated in the greater variety of

design, each overlapping the other, and several distinct forms of

character come and go during this long reign. I do not envy the person

who undertakes the chronology of our present period.



At the commencement in 1837 the huge sleeves gathered at the wrist were

still in evidence, especially as a gauze oversleeve to evening attire,

and they continued thus to the fifties, but very large sleeves were

really dying out and the usual reaction was setting in; the

full-shouldered sleeve had turned a somersault and was neatly gathered

tight from the shoulder to the elbow, the fullness falling on the

forearm, and this was gathered into a tight setting or wristband. The

=V=-shaped front to the bodice was kept in many dresses by a collar or two

tapering from the shoulders to the waist, the fullness of the breast

often being tightly gathered at the shoulders, besides a few inches in

the front point of the bodice. A very plain tight-fitting sleeve became

fashionable, and on most of these we find a small upper sleeve or a

double one as shown in A, Plate XXX (see p. 266); this was sometimes

opened at the outer side. These sleeves continued till about 1852. In

1853 a bell-shaped sleeve is noticed in ordinary dress, and this

continued in various sizes till 1875, reaching its fuller shape about

1864. These types of sleeves were usually worn over a tight one or a

full lawn sleeve gathered at the wrist; most bodices with this sleeve

were closely fitted and high in the neck, the waist often being cut into

small tabs. We also notice for a few years in the early fifties the

deeper part of the bell curved to the front of the arm, giving a very

ugly appearance. A close-fitting jacket also came into evidence till

about 1865 with tight sleeves and cuffs, sometimes with a little

turn-down collar and a longer skirt as in Fig. C, Plate XXXIII (see p.

282). This particularly fine embroidered specimen, in imitation of the

18th-century style, is interestingly cut away short at the back to allow

for better setting on the crinoline. There is another type of sleeve

seen about 1848, of a plain, full, square cut; these became varied in

shape, being opened up the side and generally trimmed with wide braids.

This clumsy character is seen up to 1878, the later ones being fuller in

cut. Zouave jackets were occasionally worn in the forties and later in

the early sixties, when the wide corselet belt was again favoured.

Skirts at the beginning of the reign were fully set out on drill

petticoats, stiff flounces, and even whalebone, so it was hardly "a

great effect" when the crinoline appeared about 1855, though a furious

attack was made against it at first; this undersetting developed to its

fullest extent between 1857 and 1864, and many dresses in the early

sixties were also worn short, showing the high boots of this period.

At first the crinoline was slightly held back from the front by ties,

and again in the sixties it was often kept with a straight front, the

fullness being held to the back, till the appearance of the bustle

brought in another shape. The skirts were now pulled in tight to the

front of the figure and bunched up at the back, with a train or shaped

flounced pieces overlapping each other caught up under the bustle, as in

Fig. B, Plate XXXIII (see p. 282).



[Illustration: Plate XXXI.--



    (_a_) Embroidered Muslin Outdoor Dress, 1855-65.

    (_b_) Riding Habit. 1845-75.

    (_c_) Gauze Ball Dress. 1840-55.]



[Illustration: FIG. 118.--Dress improvers, 1865-1875.]



Mantles of a cumbersome type and shot-silk capes with long pointed

fronts were worn, often heavily fringed, the former also being mostly

decorated with braided designs. Large Paisley shawls were much used all

through this reign, besides the cape and hood with its fine tassels

which became very fashionable in the sixties.



Gloves and mittens are seen both long and short, the latter often

beautifully embroidered on the back in the French style. Hand-bags were

often carried, of which examples are given in the plates of a variety of

shapes; the favourite materials for their make were velvets and silks

decorated with bullion, sequins, braids, needlework, and beads, and

these bags were richly set in gilt, silver, or steel mounts.



Parasols were still heavily fringed, and were of the usual shapes. A

very small one was carried in the carriages, and are even seen on the

ladies' driving whips.



Shoes continued in the same heelless sandal character to the sixties for

evening wear, but from the forties most outdoor shoes had a heel and

large rosettes. With the seventies came round toes with a low round

front and bow, and high shaped heels came to stay till the present day.

Boots of white satin, kid, or coloured silks were chiefly worn till the

seventies, reaching just above the ankle, laced up the inner side, but

many wore elastic sides from the fifties; the toes of these were rather

square, and a toe-cap and front seam was made in many of this type. In

the forties a tight rosette was sometimes placed low down towards the

toes, and later, a huge bow was sewn on the front. High boots buttoned

towards the side and very much shaped, with pointed round toes and high

heels were sometimes laced and finished with a pair of tassels. Spats

were always fashionable through this period.





NINETEENTH CENTURY. VICTORIA. MALE.



The same modes of doing the hair remained till the sixties, parted at

one side and worn rather long and waved, with the side whiskers or beard

all round the chin. The side whiskers were allowed to grow long between

fifty-five and seventy, and full beards also became fashionable, while

the hair was parted in the centre from front to back and flattened on

the forehead.



The favourite top-hat still reigned supreme, many of which retained the

tapered top and large curled brim till about 1855, and a bell shape was

frequently seen in the fifties, but the real straight chimney shape was

seen throughout till the eighties, with a rather narrow brim, and often

of white or fawn-coloured cloth. The bowler hat increased in

appreciation, being of a short type, with smallish brim. A short flat

felt hat, with rather straight brim, also came into favour from the

fifties; little round caps and caps with ear-flaps, for travelling, &c.,

were also in general use.



The frock-coat kept the rather tight sleeves and tight waist, and full

square skirt, with back pockets, also a deep lapel, sometimes with a

velvet collar, and small cuffs; a breast-pocket was often placed on the

left side, and in the fifties the type of morning coat with rounded-off

fronts at the skirt appeared, also a small collar and lapel. Square-cut

jackets and tweed suits similar to our present shapes, but heavier in

cut and with braided edges, were much in use. Velvet or fur-trimmed

overcoats, and heavy travelling-coats, also capes and Inverness capes,

were all in vogue.



Waistcoats became buttoned higher in the neck, and the stock-collar was

supplanted in the sixties by a turn-down collar, and small tie or loose

bow; many still affected the black stock and pointed collar to the

seventies, when a high round collar began to appear.



Coloured and fancy waistcoats were much worn till the eighties, and

evening dress was similar to the present cut, with slight differences in

the length of lapels and waistcoat front.



The trousers were made with the front flap till they were buttoned down

the front about 1845, and side pockets became general. Braids may be

noted down the sides in the fifties, and are seen now and then all

through the reign, while large plaids and stripes were highly esteemed.



Short Wellington boots were chiefly preferred up to the sixties, and

trouser-straps and spats were fashionable all through the reign. The

heavier lace-up boot came in during the fifties, and a very shaped type

of fashion appeared in the sixties.



Having now completed the general survey of Costume, the following pages

are given up to the cut and measurements of various antique garments.









PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME



WITH NOTES AND MEASUREMENTS





I have striven to gather as many representative patterns of dress types

and accessories as possible, and also give many measurements from the

various examples, when I have been unable to obtain a complete pattern.

The character of cut and proportion is the essential point in the study

of dress design, and the intimate knowledge of periods. When seeing a

collection of patterns, one is astonished at the great variety in cut

used to arrive at the different bodice types. Several patterns of single

pieces are given, as it aids one to find the fellow-part; for example,

the photo of a back given in Fig. C, Plate III (see p. 55), will go with

the front cut on page 290; even though these two pieces did not belong

to the same body, the cut is seen from which to design the missing

part. Often a small piece is wanting for the top of the shoulder, which

can easily be supplied to fill the sleeve measurement. The types of

trimmings in the different centuries will soon be acquired by a careful

student, and the proportions of patterns will be valued for gaining the

character. I believe with this collection one could get the true effects

of any style of dress seen in the period prints. The drawings are mostly

scaled for the half, and the measurement, in inches, will be found by

dots on the top of the collotypes, and by a marked line on the pattern

pages.



One must note, with the 18th-century dress, the sleeve cuffs can be

changed, so I give, on page 300, a full-size measurement of the

elbow-cuff seen in Fig. A, Plate XVI (see p. 167), and a deeper one of

this style is seen on Fig. C, Plate XII (see p. 135), gathered seven

times at the elbow. The plain square type was pleated in the front as

given on page 300, and a variety of this character is shown on Fig. B,

Plate XV (see p. 154). Though many patterns may be found remarkable in

proportions, an allowance is often to be made for the undersetting, as

well as for the thick, straight corsets worn to the end of the 18th

century.



I give several specimens of quilting on petticoats of the 18th century,

which will probably be found useful to artists; the measurement is also

given of their circumference, which attained similar proportions to

those set on the Victorian crinolines, going 3 to 4 yards round: four

18th century ones measured 100, 114, 116, 120 inches, and they are often

1 inch longer at the sides, to allow for setting over the panniers; a

pattern is given on pages 213 and 332. The embroidered pockets on page

300 were worn in pairs at the sides on the petticoats, and only showed

when the dress was looped up. The extra lawn sleeves, given on page 287,

show how precious the superfine linen was held, with its superb gathered

work, lace ruffles, and often fine embroidery; these pieces could be

looked after with special care in the laundry, and could be tacked,

pinned, or buttoned on when required.



The 16th and 17th century collars were mostly attached to the chemise or

shirt, as is seen in many of the old prints. On page 289 I give examples

of shape of the various stomachers, which will be found useful for

getting the characteristic proportions. The scarves worn round the body

of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6

inches, and from 8 feet 6 inches to 7 feet in length.



[Illustration: Plate XXXII.--



    (_a_) Silk Dress. 1860-70.

          _Pattern, see p. 346._

    (_b_) Gauze Walking Dress. 1850-60.

    (_c_) Silk Dress. 1848-58.

          _Pattern, see p. 344._]



The stocking top, Fig. C, Plate VI (see p. 74), is probably of similar

proportions to the woollen one in the Victoria and Albert Museum, on

which the bell-top circumference is 36 inches, and the full length of

stocking 38 inches. On page 285 a cap of three pieces is given; their

real design is at present unknown, but I trust the Museum authorities

may soon discover their placing, for many of these pieces are in

existence, and this set in my collection is impressed with a beautiful

pattern. The bodice, Fig A, Plate X (see p. 119), should have been set

on a stiff-fronted corset to give it the straight style, as it is

charmingly proportioned and clean in outline. I have also measured a

short circular cloak of the early 17th century, which is 34 inches in

diameter, with a square collar 10 inches deep; and another cape of the

late 16th century, 40 inches in diameter. On page 290 will be found the

smaller tabs which are placed round the jerkin, with a deep front point,

as in Fig. A, Plate VIII_a_ (see p. 103); the collar of this type often

rises 2-3/4 inches in the front to 3 inches at the back, in order to

carry the stiff ruff or deep turned-down collar. Tabs of the smallest

dimensions, in the earlier Elizabeth and James character, generally have

six pieces from front to the middle of the back, which are from 2 to 3

inches deep. The epaulets are made in small stiff tabs, caught together

in two places only, and so have plenty of give in the shoulder

movements; they run to 2-1/4 inches at the widest part, and do not

continue right under the arm. Fig. D, Plate V (see p. 71), has the

middle seam of the back open from the waist to within 2 inches of the

collar, which is noticeable on many of the later Charles I coats. Long

aprons are conspicuous through the 17th century, and one measured was 42

inches wide, gathered to 15 inches at the waist; they were decorated

with three bands of embroidered insertion down the front, with a 3-inch

plain border, edged with small lace; this is typical in character of

design, as is also the same style of linen cape seen on a figure, page

159. A similar one, lent by Sir Robert Filmer, is at the Victoria and

Albert Museum; also a cap, of which I give a pattern, A, page 285. The

smaller type of embroidered aprons of the late 17th and 18th centuries

measure 40 inches wide, 19-1/2 inches deep, with the centre dipping to

17-3/4 inches; another shape is 26 inches wide, 18 inches in centre, and

13-1/2 inches on sides. The bodice, with deep skirt, Fig. B, Plate XVIII

(see p. 183), is a type seen all through the 18th century, both longer

and shorter in the skirt. The pattern of the 17th-century breeches is

interesting as regards the cut, the upper part being kept plain,

otherwise the gathered fullness would have disturbed the set of the

jerkin tabs; the band of these breeches has six hooks either side to

back, which fasten to eyes on an under flap sewn on body of jerkin. The

epaulet on this pattern is only a 3/4-inch piece, braided with two

narrow braids, and the bows on tabs are of ribbon, 1-1/2 inches wide.



The three patterns of capes given on pages 349, 350 will be found

useful, as they are simple and very typical of the Victorian times, long

shawls being otherwise much used. The fullness of the Elizabethan

overdress seen on B, Plate II (see p. 42), is 66 inches to the back

seam, and the Fig. C, on the same plate, is 47 inches. The "jump," or

jacket, Fig. A, Plate III (see p. 55), is 100 inches round, the fullness

of the sleeve 13 inches, and the length of back 32 inches. An over-tunic

of the early 17th century is interesting to examine, though it is a

specimen of German costume.



[Illustration: Plate XXXIII.--



    (_a_) Silk Dress with Court Train. 1828-38.

    (_b_) Silk Afternoon Dress. 1872-78.

    (_c_) Silk Coat and Skirt. 1855-65.

          _Pattern, see p. 320._]









PATTERNS TO SCALE



_For Detailed List, see page 353._





[Illustration: PATTERN 1.



_Made in satin on wood_



_Piccadilloes 1580-1630_



_Side view open_



_Gather to a ring at mark_



_Gather to a ring at mark_



_A pair belonging above_



_3 Caps 16-17th c._



_12 in. ties_



_1600-1650 17th c._



_Others measure_ 16x14 14x9 13x9



_Cap 16-17th c._



_Cap of pierced embroidery, late 17th & early 18th cent._]



[Illustration: PATTERN 2.



_17th c. Stock, Chas. II._



_18th c._



_Stiff gorget for carrying Collar_



_Stock_



_Cap, embroidered, 1st half 18th c._



_Collar and caps, 17 century_]



[Illustration: PATTERN 3.



_Ruff, 1590-1610_



_24 in. round_



_15 round_



_20 in. round_



_18 century_



14



_1st half of 17th c._



10



_Caps and Extra Sleeves of Fine Linen 17 century_]



[Illustration: PATTERN 4.



_Embroidered linen jacket, front and sleeve, 16th

century_



_Embroidered linen bodice Front, Chas. I._]



[Illustration: PATTERN 5.



_Elizabethan jerkin of punched leather._



_Gold embroidered stomacher, about 1600-30_



1660-1689



1690-1730



1680-1730]



[Illustration: PATTERN 6.



_Set of tabs for male jerkin, 17 cent._



_Back_



_Front_



_Side_



_Pattern type from worked pieces Elizabethan reign 1570-1605_]



[Illustration: PATTERN 7.



_Circular Cape, 17 cent._



_Collar_



_Join top and gather at dots._



_Cap, 1580-1630._]



[Illustration: PATTERN 8.



_Bodice_



_Fig. 1 Plate 10_]



[Illustration: PATTERN 9.



_Corset, 1620-60_



_Cut of bodice, Fig. B, Plate 5_



_Corset, 1665-85_



_Corset, 1685-1705_]



[Illustration: PATTERN 10.



_26 buttons_



_Sleeve seam_



_Start epaulette_



_Finish_



_Scale_



_Collar_



_Similar type to Fig. C, Plate 7_



_Jerkin of white quilted satin_



_See page opposite for Breeches of same, 1620-1640. Victoria and Albert

Museum, Kensington._]



[Illustration: PATTERN 11.



_Breeches, 1615-60_



_ties_



_pocket_



_pocket_



_Fulled_



_Hooks to fasten to jerkin_]



[Illustration: PATTERN 12.



_sleeve_



_35 buttons_



_Neck Band_



_Buttons 3/4 in._



_Open_



_12 buttons_



_Full cape coat, V. & A. Museum, about 1640-68_]



[Illustration: PATTERN 13.



_Back of bodice, Fig. B, Plate 7._



_13-1/2 Front to back of epaulette_



_Male cap, early 18 century_]



[Illustration: PATTERN 14.



_2 collars, time Chas. II._]



[Illustration: PATTERN 15.



_Jacket. Fig. C, Plate 4_



_Top sleeve_



_Open to mark_



_Open_



_Open_]



[Illustration: PATTERN 16.



_Sleeve cuffs, 18 cent._



_Early type_



_Late type_



_1690-1750, 2 pockets_



_Hanging sleeve of Fig. C, Plate 2_



_Open_



_Embroidered bodice fronts, early 18 century_]



[Illustration: PATTERN 17.



_Quilted linen corsage, 1660-1715_



_Open_



_Herald's coat, Fig. A, Plate 7. Victoria & Albert Museum_



_Open_



_Open_]



[Illustration: PATTERN 18.



_Front of embroidered linen sleeved waistcoat, 1690-1720_



_Victoria and Albert Museum_]



[Illustration: PATTERN 19.



_Inner vest_



_Sleeve waistcoat, early 18th cent._



_Sleeve to lace on_



_Open to mark_]



[Illustration: PATTERN 20.



_Breeches, 1660-1720_



_Button_



_Pleat_



_Pocket_



_Open for pocket_



_Fullness_



_Open_



_Pocket_]



[Illustration: PATTERN 21.



_Breeches, 18th century_



_Waist_



_Gather_



_Open_



_Top_



_Knee strap_



_Waist_



_Loose flap_



_Pocket_



_Pocket_]



[Illustration: PATTERN 22.



_Fly knee_



_Breeches, 18th century_]



[Illustration: PATTERN 23.



_Coat, Fig. B, Plate 26_



_Dart_



_Open to waist_



_Collar_]



[Illustration: PATTERN 24.



_Coat, Fig. B, Plate 13_



_Joined under pleat_



_Pocket_



_Pocket_



_Small pocket_



_open_



_caught_



_open_



_Open_



_Side tab_



_Corderoy trousers 1815._]



[Illustration: PATTERN 25.



_Fig. A, Plate 15 Coat, 1775-90_



_Cuff_



_Band to draw up_



_Open_



_Double_



_Under collar_



_Turnover collar_



_Pocket_



_Pleat_



_Open_



_Open_



_15 in. tie_



_Leather Breeches, 1800-30_



_Straw hat, 1816-30_]



[Illustration: PATTERN 26.



_Join_



_Fold_



_Under collar_



_Turnover collar_



_Pleat_



_Open to waist_



_Coat, 1784-94 Directoire type See_ FIG. 106]



[Illustration: PATTERN 27.



_Collar_



_Breast pocket, left only_



_Coat, 1830-1845 Similar type to Fig. C, Plate 26._]



[Illustration: PATTERN 28.



_Pocket_



_Slightly gather_



_Pocket_



_Top_



_Foot strap_



_Strap inside_



_Open_



_Foot Strap_



_Buff linen trousers, 1810-1840_]



[Illustration: PATTERN 29.



_Turnover collar_



_Collar tab_



_Pocket flap_



_Pocket_



_Pleat_



_Joined on waistcoat inside_



_Open to mark_



_Coat, Fig. A, Plate 26_]



[Illustration: PATTERN 30.



_Bodice, 1816-22_



_Trimming stretched to curl over_



_Sleeve straps_



_Collar_



_Waist_



_Gathered in strap_



_Piped straps and seams_]



[Illustration: PATTERN 31.



_Bell sleeved Bodice, 1848-58_



_Trimmed narrow velvet braid_



_Open_



_Open_]



[Illustration: PATTERN 32.



_Bodice of linen dress, Fig A, Plate 22_



_Buttons for front_



_Cord for looping train, 90 inches_



_Outside sleeve_]



[Illustration: PATTERN 33.



_Bodice, 1860-70_



_Bodice, 1850-60 type_



_Sleeve for net covering_



_Gathered sleeve_



_Bodice, 1816-25_]



[Illustration: PATTERN 34.



_Jacket bodice, Fig. A, Plate 24_]



[Illustration: PATTERN 35.



_Bodice, 1845-55 similar type Fig. A, Plate 30_



_Epaulette_



_Band round waist_



_Front_]



[Illustration: PATTERN 36.



_Sleeveless overjacket, early 18 century embroidered_



_Wrist strap_



_Tie on_



_Gather_



_Gather_



_Strap_



_Gather_



_Spencer, 1827-37, piped trimming_]



[Illustration: PATTERN 37.



_Bodice, 1812-18_



_Top_



_Silk to line_



_Under lining_]



[Illustration: PATTERN 38.



_Corset pattern, 18 century_



_Bodice of Fig. A, Plate 14_]



[Illustration: PATTERN 39.



_Similar type of Bodice to Fig. B, Plate 14. Bodice with

type of pleated back, 1720-50_



_Box pleats_



_Pleated back_



_Lining for front_



_Lining for back_



_Laced_]



[Illustration: PATTERN 40.



_Tab gathered in centre trimming on epaulette_



_Cape_



_Epaulette band_



_Waist band_



_Collar_



_Pattern, Fig. C, Plate 28_



_Thickly kilted skirt to bodice, 26 ins._



_Bodice, Fig. A, Plate 18_]



[Illustration: PATTERN 41.



_Zouave jacket, late 18 century_



_Gather_



_Bodice, 1818-28_]



[Illustration: PATTERN 42.



_Silk jacket, Fig. B, Plate 19_



_Gathered_



_Pleat_]



[Illustration: PATTERN 43.



_Bodice, Fig. C, Plate 18_]



[Illustration: PATTERN 44.



_Bodice, Fig. A, Plate 30_



_Wrist_



_Bertha_



_Gather_



_Gather_]



[Illustration: PATTERN 45.



_Cased_



_Pleat_



_Pleats_



_Open_



_Open_



_Open to mark_



_Pocket_



_Coat, Fig. C, Plate 33_]



[Illustration: PATTERN 46.



_Waist_



_S. lining_



_Puff sleeve_



_Gather_



_Gather_]



[Illustration: PATTERN 47.



_Dress, 1805-1818_



_Pleated_



_Pleat_



_Apron front_



_Gathered_



_Mob Cap, 1780-1800_



_Gathered in band_



_Trimmed double lace frill round front_



_Width of insertion_



_Cap with comb, 1790-1800_



_Puff comb_]



[Illustration: PATTERN 48.



_Pleated_



_Pleated_



_Pleated_



_Side plaquet_



_Quilted petticoat, 1740-70_



_Waist band_]



[Illustration: PATTERN 49.



_Pleats_



_Pleat to notch_



_Made in lining_



_Petticoat, Fig. B, Plate 16_



_Top_]



[Illustration: PATTERN 50.



_Dress, Fig. B, Plate 16_



_Pleat_



_Under corset_



_Lining back_]



[Illustration: PATTERN 51.



_Dress, Fig. C, Plate 16_



_Neck_



_Lining_



_Box pleats_



_Small pleats_



_S pleats_



_Small pleats_



_S. pleats_



_Pleat_]



[Illustration: PATTERN 52.



_Pleat_



_Pleat_



_Pleat_



_Pleat_



_Pleat_



_Pleat_



_White linen dress, 1795-1805_



_Front_



_Sleeve_



_Gather_



_Button_



_Outside sleeve_



_Caught up thus_]



[Illustration: PATTERN 53.



_Gathered_



_Open to mark_



_Gathered_



_Striped cotton dress, 1805-15_



_Gathered_



_Collar_



_Front_



_Wrist_



_3 sleeve frills_



_Open_



_Gather_]



[Illustration: PATTERN 54.



_Pattern of under robe, 1818-30_



_Gathered_



_Gathered_



_Waist_



_Sleeve_



_S. placquets_]



[Illustration: PATTERN 55.



_Waist band_



_Neck band_



_Gathered_



_Cuff_



_Top_



_Gathered_



_Pattern of Fig C, Plate 25_]



[Illustration: _Muslin dress, 1822-32_



_Cuff_



_Yoke_



PATTERN 56.]



[Illustration: PATTERN 57.



_Gather_



_Gather_



_Satin dress, 1837-45_



_Gather_



_Gather_



_Top_]



[Illustration: PATTERN 58.



_Top gathered to a Fold round sleeve_



_Gathered_



_Dress, Fig. C, Plate 29_



_Gathered_



_Gathered_



_Gather_



_Cape_



_Gathered_



_Gathered_



_Waist_



_Waist_



_Gather_



_Gather_]



[Illustration: PATTERN 59.



_Dress, Fig. B, Plate 28_



_Gathered_



_Gathered_



_Gathered_



_Gathered_



_Band front of waist_



_Waist_]



[Illustration: PATTERN 60.



_Gather_



_Gather_



_Dress, Fig. C, Plate 32._



_Trimming over shoulder_



_Top_



_Gather_



_Gather_



_Tight pleats_



_Waist_]



[Illustration: PATTERN 61.



_Lady's coat, 1856-70_]



[Illustration: PATTERN 62.



_Blue silk dress, 1860-70_



_Fig. A, Plate 32_



_Scale 6 inches_



_Gather_



_Gather_



_Pleat_]



[Illustration: PATTERN 63.



_Reefed polonaise, pinked edge, 1860-70_



_Scale inches_



_Gather_



_Plain_



_Gather_



_Plain_



_Pleat_



_Gather_



_Puff sleeve lining_



_Reefed up_



_Ties_



_Puff sleeve_]



[Illustration: PATTERN 64.



_Lady's jacket, Fig. C, Plate 19_



_Gathered_



_Pleated_]



[Illustration: PATTERN 65.



_Fullness for arm_



_An interesting cape of shot silk, 1840-50_]



[Illustration: PATTERN 66.



_Cut in one_



_Front_



_Cape collar_



_2 pieces_



_Black velvet cape, 1830-40_



_Victorian cape, 1860-75_



_Same cut from 40 ins._]



[Illustration: PATTERN 67.



_Sleeve, 16 century_



_Collar_



_Cut of Doublet and slashed sleeve, 1620-40_



_Sleeve, 1620-40._



_Epaulette_



_Cut of boy's stays, coat, vest, 1700-60_]



[Illustration: PATTERN 68.



_Male Robe 1600-25_



_Black felt Puritan hat, 1640-60_



_V. and A. Museum_



_Black velvet hat, 1600-20_]









DETAILED LIST OF SCALED PATTERNS





    Pattern 1, page 285:--

      Piccadillo, 1580-1630.

      Three caps, 16-17 century.

      Cap of three pieces, 16-17 c.

      Triangular cap, 16-17 c.

      Long cap, 17 c.

      Cap, late 17 c., early 18 c.



    Pattern 2, page 286:--

      4 collars, 17 c.

      Gorget of linen, 17 c.

      2 stocks, 17 and 18 c.

      3 male caps and 1 female, 17 and 18 c.



    Pattern 3, page 287:--

      Ruff, 17 c.

      4 extra linen sleeves, 17 and one 18 c.

      2 caps, female, 17 c.



    Pattern 4, page 288:--

      Front of linen jacket, 16 c.

      Front of linen bodice, Charles I.



    Pattern 5, page 289:--

      Elizabethan jerkin.

      4 stomachers, 17 and 18 c.



    Pattern 6, page 290:--

      Set of tabs for male jerkin, 17 c.

      Pattern type, sleeve and bodice front, 1570-1605.



    Pattern 7, page 291:--

      Circular cape, 17 c.

      Cap, female, 1580-1630.



    Pattern 8, page 292:--

      Bodice, Fig. 1, Plate X, James I.



    Pattern 9, page 293:--

      3 corsets and bodice of, Fig. 2, Plate V, 17 c.



    Pattern 10, page 294:--

      Jerkin of white quilted satin, 17 c.



    Pattern 11, page 295:--

      Breeches of same suit.



    Pattern 12, page 296:--

      Cape-coat, 17 c.



    Pattern 13, page 297:--

      Back of bodice, Plate VII, 17 c.

      Shaped cap, male, 17 and 18 c.



    Pattern 14, page 298:--

      2 collars, Charles II.



    Pattern 15, page 299:--

      Jacket, Fig. _C_, Plate IV, 17 c.



    Pattern 16, page 300:--

      2 sleeve-cuffs, 18 c.

      2 embroidered pockets, 17 and 18 c.

      Hanging sleeve, Fig. _C_, Plate II, 16-17 c.

      Embroidered bodice fronts, 17-18 c.



    Pattern 17, page 301:--

      Quilted linen corsage, 1660-1715.

      Herald's coat, Fig. _A_, Plate VII, 16-17 c.



    Pattern 18, page 302:--

      Sleeved waistcoat, 1690-1720.



    Pattern 19, page 303:--

      Sleeved waistcoat and vest, early 18 c.



    Pattern 20, page 304:--

      Breeches, 1660-1720.



    Pattern 21, page 305:--

      Breeches, 18 c.



    Pattern 22, page 306:--

      Breeches, 18 c.



    Pattern 23, page 307:--

      Coat, Fig. _B_, Plate XXVI, 19 c.



    Pattern 24, page 308:--

      Coat, Fig. _B_, Plate XIII, 18 c.

      Corderoy trousers, from 1815.



    Pattern 25, page 309:--

      Coat, late 18 c., Fig. _A_, Plate XV.

      Leather breeches, late 18-19 c.

      Straw hat, 1816-30.



    Pattern 26, page 310:--

      Coat, 1784-94.



    Pattern 27, page 311:--

      Coat, 1830-45.



    Pattern 28, page 312:--

      Buff linen trousers, 1810-40.



    Pattern 29, page 313:--

      Morning coat, Fig. _A_, Plate XXVI, 19 c.



    Pattern 30, page 314:--

      Bodice, 1816-22.



    Pattern 31, page 315:--

      Bell-sleeved bodice, 1848-58.



    Pattern 32, page 316:--

      Bodice of linen dress, Fig. _A_, Plate XXII, about 1800.



    Pattern 33, page 317:--

      Bodice, 1860-70.

      Bodice, 1850-60.

      Bodice, 1816-25.



    Pattern 34, page 318:--

      Jacket bodice, Fig. _A_, Plate XXIV, about 1800.



    Pattern 35, page 319:--

      Bodice, similar type, Fig. _A_, Plate XXX, 1845-55.



    Pattern 36, page 320:--

      Sleeveless over jacket, early 18 c.

      Spencer, 1827-37.



    Pattern 37, page 321:--

      Bodice, 1812-18.



    Pattern 38, page 322:--

      Corset pattern, 18 c.

      Bodice of Fig. _A_, Plate XIV, 18 c.



    Pattern 39, page 323:--

      Bodice with type of pleated sack back, 1720-50.



    Pattern 40, page 324:--

      Bodice, Fig. _C_, Plate XXVIII, 19 c.

      Bodice, Fig. _A_, Plate XVIII, 18 c.



    Pattern 41, page 325:--

      Zouave jacket, late 18 c.

      Bodice, 1818-28.



    Pattern 42, page 326:--

      Silk jacket, Fig. _B_, Plate XIX, 18 c.



    Pattern 43, page 327:--

      Bodice, Fig. _C_, Plate XVIII, 18 c.



    Pattern 44, page 328:--

      Bodice, Fig. _A_, Plate XXX, 19 c.



    Pattern 45, page 329:--

      Lady's coat, Fig. _C_, Plate XXXIII.



    Pattern 46, Page 330:--

      Polonaise dress, 1835-45.



    Pattern 47, page 331:--

      Dress, 1805-18.

      Mob cap, 1780-1800.

      Cap with comb top, 1790-1800.



    Pattern 48, page 332:--

      Quilted petticoat, 18 c.



    Pattern 49, page 333:--

      Petticoat, Fig. _B_, Plate XVI, 18 c.



    Pattern 50, page 334:--

      Dress, Fig. _B_, Plate XVI.



    Pattern 51, page 335:--

      Dress, Fig. _C_, Plate XVI.



    Pattern 52, page 336:--

      White linen dress, 1795-1800.



    Pattern 53, page 337:--

      Striped cotton dress, 1805-15.



    Pattern 54, page 338:--

      Pattern of under robe, 1818-30.



    Pattern 55, page 339:--

      Dress, Fig. _C_, Plate XXV.



    Pattern 56, page 340:--

      Muslin dress, 1822-32.



    Pattern 57, page 341:--

      Satin dress, 1837-47.



    Pattern 58, page 342:--

      Dress, Fig. _C_, Plate XXIX.



    Pattern 59, page 343:--

      Dress, Fig. _B_, Plate XXVIII.



    Pattern 60, page 344:--

      Dress, Fig. _C_, Plate XXXII.



    Pattern 61, page 345:--

      Lady's coat, 1856-70.



    Pattern 62, page 346:--

      Silk dress, Fig. _A_, Plate XXXII, 1860-70.



    Pattern 63, page 347:--

      Reefed polonaise, 1860-70.



    Pattern 64, page 348:--

      Lady's jacket, Fig. _C_, Plate XIX, 18 c.



    Pattern 65, page 349:--

      Cape, 1840-50.



    Pattern 66, page 350:--

      Cape, 1860-75.

      Cape, 1830-40.



    Pattern 67, page 351:--

      Upper sleeve and collar, 16 c.

      Bodice with slashed sleeve, 1620-40.

      Boy's stays, coat, and vest, 1700-60.



    Pattern 68, page 352:--

      Male robe, 1600-25.

      Puritan hat, 1640-60.

      Black velvet hat, 1600-20.









INDEX





    Aprons--

      17 century, 186, 280

      18 c., 192, 198, 206





    Bags, 193, 262, 272



    Bertha, 238, 252



    Bouquet Holder, 262



    Breeches--

      Mediaeval, 54

      16 c., 122, 132

      17 c., 152, 164, 281

      19 c., 248, 256, 264



    Bustle, 226





    Calash, 217



    Capes--

      16 c., 132, 279

      17 c., 184

      19 c., 244, 262, 264, 274, 281



    Chain Ornaments--

      to 15 c., 62, 72

      16 c., 110, 124



    Cloaks--

      to 15 c., 54, 70

      17 c., 152, 164, 176, 180, 279

      18 c., 222



    Collars--

      16 c., 112, 128, 129, 139, 278

      17 c., 145, 158, 160, 172, 174

      19 c., 244, 246



    Corsets--

      to 15 c., 62, 66

      16 c., 110, 116, 138

      17 c., 158, 169, 172

      18 c., 211, 278

      19 c., 250



    Crinolines, 270, 278





    Decorative Styles--

      Black-stitch work, 122, 129

      Braided, 110, 111, 132, 142, 143, 144, 145, 146, 182, 188, 200,

               238, 244, 272

      Button, 110, 143, 144, 146, 182, 210

      Laced, 70, 88, 92, 110, 116

      Piped, 238, 244

      Pleated, 111, 140

      Pricked, 111, 140, 142, 152

      Punched, 111, 140, 142, 152

      Puffed, 88, 92, 110, 116, 118, 122, 129, 142, 146, 150, 180, 260

      Purfled, 145, 164, 190

      Ribbon, 145, 172, 176, 178, 191, 253

      Serrated or shaped edging, 71, 96, 110, 146, 191, 214, 252

      Slashing, 92, 111, 112, 113, 116, 118, 122, 140, 142, 145, 152,

                158, 164

      Straw-work, 111, 191

      Tassel, 238

      Tinsel, 237

      Tulle, 238



    Doublets, 132, 139



    Dress--

      Prehistoric, female, 40;

        male, 41

      to 10 c., female, 45, 46, 48;

        male, 52, 54

      10 to 15 c., female, 62, 66, 68, 70;

        male, 76, 78, 80

      15 c., female, 84, 88, 92;

        male, 92, 100, 104, 108

      16 c., 278, 279, 281.

        Henry VIII, female, 113, 116;

          male, 118, 122.

        Ed. VI and Mary, female, 124, 128;

          male, 129, 132.

        Eliz., female, 133, 136, 138;

          male, 139, 281

      17 c., James I, female, 147, 150;

          male, 152, 154.

        Chas. I, female, 158;

          male, 160, 164, 168.

        Commonwealth, female and male, 168, 169.

        Chas. II, female, 169, 172;

          male, 174, 176.

        James II, female, 178, 180;

          male, 182.

        William and Mary, female, 184, 185;

          male, 186, 188.

        Anne,  female,  196;

          male, 200.

        George I, female, 206;

          male, 210

      18 c.,  George II, female, 221;

          male, 214.

        George III to 1800, female, 217, 222, 224, 226, 230;

          male, 232, 234

      19 c., George III (_continued_), female, 244, 247;

          male, 247.

        George IV, female, 250;

          male, 254.

        William IV, female, 260;

          male, 263.

        Victorian, female, 268;

          male, 274.

      Note also page 39



    Drill petticoat, 238





    Ear-rings, 62-72



    Epaulets--

      16 c., 128, 129, 136

      17 c., 143, 152, 280, 281

      19 c., 250





    Fans--

      16 c., 129, 138

      18 c., 193, 230

      19 c., 240, 253, 262



    Farthingale, 111, 136



    Foot-wear--

      to the end of 14 c., 44, 48, 56, 70, 80, 82, 92

      15 c., 108

      16 c., Henry VIII, 16, 122;

        Ed. VI and Mary, 128, 132;

        Elizabeth, 138, 140

      17 c., James I, 150, 154;

        Chas. I, 158, 164;

        Commonwealth, 168;

        Chas, II, 172, 176;

        James II, 180, 184;

        William and Mary, 186, 188 18 c., 193;

        Anne, 198, 201;

        George I, 207, 210;

        George II, 214, 216;

        George III to 1800, 230, 234

      19 c., George III, 246, 248;

        George IV, 253, 258;

        William IV, 262, 264;

        Victoria, 272, 275



    Girdles--

      to 15 c., 68, 78, 92

      16 c., 116



    Gloves--

      16 c., 116, 129, 138

      17 c., 168, 172

      18 c., 193, 201, 214, 226



    Head-dress--

      Prehistoric, female, 40;

        male, 42

      to 10 c., female, 45;

        male, 49

      10 to 15 c., female, 57;

        male, 71

      15 c., female, 84;

        male, 92

      16 c., Henry VIII, female, 113;

          male, 118.

        Ed. VI and Mary, female, 124;

          male, 129.

        Eliz., female, 133;

          male, 138

      17 c., James I, female, 147;

          male, 150.

        Chas. I, female, 154;

          male, 160.

        Commonwealth, 168.

        Chas. II, female, 169;

          male, 174.

        James II, female, 178;

          male, 180.

        William and Mary, female, 184;

          male, 186

        18 c., Anne, female, 193;

          male, 198.

        George I, female, 201;

          male, 207.

        George II, female, 211;

          male, 214.

        George III, female, 217, 241;

          male, 231, 246.

        George IV, female, 248;

          male, 254.

        William IV, female, 258;

          male, 263.

        Victoria, female, 264;

          male, 273



    Heraldic fashion, 66, 71, 109, 132



    Hoop skirts--

      16 c., 116, 128, 136

      17 c., 147, 185

      18 c., 222





    Jackets--

      to 15 c., 66, 68, 88, 100

      16 c., 112, 182

      17 c., 143

      18 c., 224, 226

      19 c., 270





    Lapets, 184, 193, 206, 239





    Maccaroni fashion, 214



    Mantles, 262, 271



    Masks, 186



    Muffs, 160, 172, 180, 186, 189, 193, 201, 230, 253





    Neck-wear, 174, 182, 186, 200, 207, 232, 246, 250, 254, 263, 275





    Overcoats, 232, 254, 274





    Panniers, 211, 222



    Parasols, 230, 234, 244, 272



    Patterns scaled, 276



    Pelisses, 244, 250, 262



    Plates (collotypes), frontispiece, 39, 42, 55, 58, 71, 74, 87, 90,

                         103, 106, 119, 122, 135, 138, 151, 154, 167,

                         170, 183, 186, 199, 202, 215, 218, 231, 234,

                         247, 250, 259, 263, 266, 270, 279, 282



    Pockets, 192, 224



    Polonaise, 238, 262



    Purses, 236, 240, 246





    Quilting, 111, 128, 146, 172, 192, 198, 211, 222, 278





    Ruffs, 112, 118, 128, 129, 133, 136, 139, 143, 147, 158, 160, 172,

           250, 280





    Sack-back (or Watteau) dress, 136, 185, 191, 196, 206, 211, 222



    Sashes, 168, 182, 279



    Sequins, 112



    Shawls, 272



    Spats, 273



    Spencers, 244, 250



    Sticks, 181, 188, 201, 211, 214, 226, 234



    Stockings, 138, 140, 154, 168, 182, 184, 189, 201, 210, 216, 234, 270



    Stomachers, 66, 112, 136, 142, 144, 146, 147, 154, 158, 172, 178,

                184, 196, 207, 278









    Printed by SPOTTISWOODE, BALLANTYNE & CO. LTD.

    Colchester, London & Eton, England



       *       *       *       *       *









DRESSMAKING





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Simplicity and completeness have been the dual purpose of the Author,

and her systematic treatment of the subject, aided by her remarkable

gift of lucid explanation, and her unique practical experience, has

produced a valuable contribution to the literature of Domestic Science.





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The object of this work will be realized in some degree if it helps the

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    1 AMEN CORNER, LONDON, E.C. 4.









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varying the elements themselves, and to taking flowers and animals

direct from Nature. This ... is the work of a highly competent designer

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Extract from _The Connoisseur_:



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Extract from The _Pall Mall Gazette_:



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       *       *       *       *       *









Transcriber's note:



The following printer's errors were corrected in the text:



   PLATE XI                                                    "    122

     Sixteen Leather Boots and Shoes, between 1535 and 1850.

       Original had "1630" instead of "1535"



   PLATE XXI                                                   "    202

     Twenty-three Boots and Shoes, from 1800 to 1875.

       Original had "Twenty-two"



  _C._ Braided Suit, 1670-90.

    Original had "1695-90"



  _C._ Dress of Spotted, 1795-1808.

    Original had "Stockingette"



  _A._ Morning Coat of Chintz, 1825-45.

    Original had "Chintze"



  The bodice, Fig A, Plate X (see p. 119),

    Original had "see p. 292"



  _Sleeve_

    Original had "Sleev"



  PATTERN 53.

    Original had "PATTEEN"



  Pattern 55, page 339:--

    Dress, Fig. _C_, Plate XXV.

      Original had "G"



  Pattern 58, page 342:--

    Dress, Fig. _C_, Plate XXIX.

      Original had "G"



The following inconsistencies are retained as printed:



  Plate VII, c. Black Silk Jerkin.

    Illustration caption has 1640-60,

    list of illustrations has 1640-50.



  Plate IX, a. Lady's Embroidered Silk Jacket.

    Illustration caption has 1605-30,

    list of illustrations has 1605-20.



  Plate XV, c. Embroidered Velvet Coat.

    Illustration caption has 1755-75,

    list of illustrations has 1753-75.



  Plate XX, b. Nine Aprons.

    Illustration caption has 1850,

    list of illustrations has 1750.



  The scarves worn round the body

  of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6

  inches, and from 8 feet 6 inches to 7 feet in length.

    Second range is inconsistent as printed.



  Plate XXXIII, c. Silk Coat and Skirt.

    Illustration caption has 1855-65,

    list of illustrations has 1855-56.