Copyright,

1918,

ETHEL

"JUN

18

1918

BBACNWOHTH

PIUNTERS

BBOOKLTN,

L'

0CI.A4y!KJ?l

by

TRAPHAGEN

"

AND

CO.

BflOEBlNDEBa

N.

T.

THIS

BOOK

IS

TO

ENTHUSIASM

ITS

iMY

AND

INCENTRE

SINCERELY

CATED
DEDI-

STUDENTS,

SUCCESS

AND

WHOSE

HAVE

INSPIRATION

BEEN

THE

PREFACE

Costume

Design

distinctly

as

upon

but

truth

in

the

In

by

frivolous,
the

of

The

the

representing
render

to

there

actual

are

whether

designer

The

and

designer

lines

the

and

student,

and

is

designer's
the

for

use

from

is

both

have

the

human

what

and

to

There

some

are

to

believed

observe

Hatton,

Drawing
without

books
and

which

Anatomy

on

in

Art

by

Figure

the

Human

an

instructor,

the

will

teachers

way

course,

of

and

different
intended.

is

fashion
both

artist,
branches

common.

and

to

in

keen

know

what

figure

which

advantage

great

should

be

without

J.

by

Practical

S.

student

fundamental

facts

Diagrams,

to

this

by

Figure

If the

Lutz,

will
Ethel

York,

1918.

in

the

which

or

be
H.

Duval,
is

found

is

useful.

Drawing

student

life
it

extremely

Marshall

Richter,

Vanderpoel.

Drawing,

thinking

in

agree

Hartley,

J. H.

ambitious

the

mind

Anatomical

Dunlop's

are

help

may

impress

life-class

most

these

Among

New

the

as

conceal
of

able

teclmi(iue

form,

illustrator

such

knowledge

be

Of

any

in

of

privilege

design

to

is

nude

the

costume

the

the

much

have

of

lines

as

conception

charm.

well

which

scale

fanciful,

must

in

imderstanding

an

should

"

to

it

they

the
he

brush
its

spaces;

wearer.

has

or

artist,

dignified,

this

training.

valuable

class

for

emphasize

serious

no

any

the

have

to

Drawing

perfect.

be

not

may

to

l)alance

to

of

advantageous

either,

line,

tin's, according

sjjccial

beautiful

the

important

are

the

illustrator

the

of

appreciation

of

out

of

of

illustrator,

or

best

the

get

doing

how

seen

pen,

of

designed

pencil

robl)ed

not

of

for

be

easily

his

temperament

or

customary

can

is

ways

numy

methods

with

design

sensitiveness

to

garment

that

relation

hand,

been

all

and

the

the

other
has

work,

color,

that

suitability

its

it

of

express

the

on

after

material

the

the

that

and

costume

of

ilesign

to

fasliion

them.

effect

termed

etc.;

areas,

of

subtle,

is

judging

and

beauty

or

illustrator,

costume

the

production

the

what

looked

always

not

are

between

contrasts,

the

formal,

dainty,

purpose

consider

and
the

of

difference

harmonics,

for

arrangements

It

of

way

marked

must

one

proportions;

I)roper

of

is

Illttstration
branches

different

there

former,

includes

Costume

and

by
and

studying
helpful.

Traphagen.

THE

CONTENTS

CHAPTER

PAGE

I.

Sketching

II.

Drawing

Models

without

13
....

III.

Methods

IV.

Color

27

.'

63
.

V.

Design

VI.

The

VII.

Period

VIII.

Outline

75

Fashion

Silhouette

83

Design

91

Fabric

of

Costume

Historic

99
...

IX.

Bibliography

X.

Artists

ON

127

Work

whose

Period

Fabrics

Bearing

Has

or

Costume

131
.

XI.

Index

137

SKETCHING

CHAPTER

ONE

COSTUME

DESIGN

CHAPTER

it

design

or

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In

"

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on

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necessary

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ILLUSTRATION

ONE

Forms.

1.

work

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to

point

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and

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other

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Connect

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form.

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out

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represent

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on

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and

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line,

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out

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put

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1916.)

lines

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how

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and

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summer

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to

straight

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Two

Page

SKETCHING

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7.

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sketch
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"

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Decide

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Figs.40

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one

or

sketches

afford

See
Never

poses

nude

carried

used

and

model.

action

See

17.

and

stj-lc.

and
is

the

more

being

fashion
Fig.

11.

"

Shoes

drawn

by Elf rida Johnson.

too

much

laid

well-drawn

figure underlying

your

begin

is

doing

ten,

quick

19.

on

in

draped

tentative

rest.

practice

the

proportions,

feet

the

minute

from

the

and

fill in

fifteen

general

of

position

five, seven,

to

witli

the

Co

figure

indicate

obtained

in other

sketch

words,

of

motion,

the

catch

to

the action

derstanding.
un-

it is advisable

in,

doing rapid

head, hands,

In

block

been

have

you

sketching

is of

nude

sketching

the

of

memory

When

ing
slrongI\'

done

wards
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spaces.

pose

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when

top),

in between

makesketches

drawing

the

great

the

at

^ludyhig.

life is

from

these

Ironi

Fig.

Sketch

"

of

page.

Sketching

8.

Life.

and

gins
mar-

than

block

to

tions
sugges-

see

this

end,

to

(more

page

For

27.

it is

bottom

arrange

Greek

and

paper,

leaving good

the

according

proportion,

on

where

to

of

part

student

the

on

greater facility
the

on

Seven

Page

and

tends

It

much

LIFE

drawing

the
and

emphasis

SKETCHING

Page Eight
be

cannot

this

put

figure

ciation.

with

the

the

yourself

put

that

model;

life, it is

in

the

as

can,

you

the

advised

the

the

head.

is

then

light

po.se

is

will

It

is

studies

in

and

etc.,

to

when

wards
after-

the

but

on

costume

Lutz,

Drawing,

in

how,
the

hips
way,

shoulders,

CaurUsy

An

n.

example

of hat

of

Y.

(ilobc

the

and

again

to

way

Fig.

to

the

which

an

to

sketch.
book
says:

fashion

attractive

i)ut the
See

dress

Figs. 40

entitled

and

from
41.

Practical

falling

part

deviate

valuable

from

advice

the
to

from

applies

Sometimes,

of poses.

models

work.

This

shoulder

greater

is

preserve

balance,

away

make

other

the head

tilts

illustralion.

ing
refin-

his

ing
pictur-

one

incline

the

wisely

the

counterbalance,

pose

slightly,to

drawing
one's

"Note

slant

keeping

action,

of

chalk,

the

itself

further

loose,

figure,

copying

you

it.

sketch

another

pose

mentally

work

draw

this

from

the

life

manner,

you

impress

and

in charcoal,

it

on

practical

artistic

and

Figs.

the

the
model

ing
understand-

of
and

29.)

make

to

only

give

better

ing.
com-

(See
and

28

of the

side

is

you

perhaps

approximate

observe

which

the

of
selves,
them-

to

"

from

ferent
dif-

and

It

to

will

have

carrying

in this

work

times,
some-

ways

the

studies

important

it will

different

persons

way

life.

of
This

of

can

from

limbs,

you

Vander-

and

tion,
ac-

"

find that

poeVsIIuDian Figure
make

the

pose

as

from
in

as

be that

only

make

to

copies, by

study,

and

28.

student

as

well

tion
disposi-

mimicry

Figs.

10, 27, and

pose

of the

ispiece
Front-

and

good

same

is, nnitate

fashion

See

hands

given

plan

from

drawing

telling

in

The

be

appre-

to

these

and

work.

should

care

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drawing

tant
impor-

an

part

of
and

hands

of

feet, as

play

value

understanding

Great

study
and

the

on

to

the

though,

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observe

the

in

This
your

Figs.
the
in

show

14
of

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a

and

13

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reahstic

Fig.

Fig.

Fig.

is put

dry;

tional
conven-

color.

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in

on

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The

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then

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and

13.

water

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dressmaker's sketch
color.
water

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shade

Fig. 14

an

"

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color, Fig. 14
or

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flesh
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body

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and

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while

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done

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dressmaker's

in

hair, which

able to be

of

being

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In

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keep
are

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strong pencil lines; this

same

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be

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waslies, pencil lines often

are

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done

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most

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u.sed for the

flat tones.

indicated

values

garment.*
a

with

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darker

lighter or

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It is l)est

over.

to

Block.

sketch

colors.

worked

shading, and

to
over

of Henry

manufacturer's

or

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transparent

color, except

flat transparent

Fig.

eliminated.

done
is

in transparent

in tempera

considered

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has

13

done

on

advantage

Courtesy
Fig.

paint

tempera
and

flat tone

one

other

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this

hght

13

clear

in

is done

13

the

14

In

is used.

method

of

Ireatineuts

two

sketch.

Nine

Page

LIFE

FROM

SKETCHING

colored

sketch.

can

of

Ten

Page

SKETCHING

;;

"v

Cotirtcsv

Fig.

Tlu"

illustrations
show

this page
the

in

to

of the Prang

Co.

Courtesy

Fig.

of dog.

16.

Second

"

stage of sketch

of

one

whether

of

on

finish
the

ing,
draw-

on

of

First

the

Incorrect

"

way

to

start

sketch.

block
15

17

danger

of

attention

outline.

It is

advisable
in.

and

are

Fig.

to

(See Figs.

18.)

of ihc

Cuurtisi/

18."

17.

Co.

con-

A^

Fig.

of ifie Prang

Courusn

Fig

the whole, before

the

always

portion
pro-

action

to

parts

out.

fixing your

is getting

general
and

one

shows

ing,
copy-

even

that

and

membering
re-

jiart before

other

thought

memory,

chicing,or

any

in detail ;

part

never

it be from

life, from

Co,

Prang

o/ the

of dog.

centrating

on

one

be considered

all kinds

the

.stage of sketch

important

most

things

First

15.

stage of sketch

of

Prang

boy.

Courtesy

Co.

Fig.

19.

"

Sketch

of

of the

boy completed.

I'Tdng

Co.

DRAWING
WITHOUT

MODELS

C
H
A

P
T

E
11
T
W
O

TWO

CHAPTER

To

9.

up

of

Set

It

"

is

Up

to

head"

one's

head

See

whicli

is the

hi/ Reta

\'ertical

useful

human

the

uring

sake,

convenience'
dimensions
from

those
we

use

the

we

in

chief

line

seven

case

seven

are

given
are

fashion

and
and

will

one-half
one-half

the

keep
will

we

with

meas-

this

in

it, for
(The

long.

slightly
cause
be-

anatomies,

figure

where
jNIark

oil'

heads,
inches,

to

slimness

as

is

To

for

the

equal

in

this

the

the

and
to

one-inch
the

oval

measure.

vertical

line

into

first third

little

off
less

vertical
line

be
inch

point

horizontal

will
first

At

just

just established,
line

on

than
line

of

it

indefinite
distance

two-thirds
and

exactiv

so

of

spaced

i)isects

U
/

the

off

inch

one

mark

vertical

which

mark

parts.

light

length

that

the

this

little below
draw

detail,

of

Housckuplng,

head,

equal

this

are

Good

possible

as

some

unit

legs.

wear.

divide

three

on

we

of

in

our

tions;
sec-

and

simple

start,

being

construct

used
and

it

The

dot.

arms,

as

Mark

important

torso,

to

head,

infants'

four

drawing

have

the

featuring

"

vary

constructing

requirement.)

To

line.

Editorial

20.

and

most

work,

the

measure.

figure.

with

into

head,

CouTtcsy

inch

one

using
in

iu

it, making

use

the

SengeT.

figure,

will

we

figure

the

divisions

is divided

of

unit

of

height

these

struct
con-

of

centre

Fifi.

instance,

as

of

IMODELS

the

as

the

gives

each

it is

inch

one

This

set

"out

To

'"21.

the

most

Draim

figure

run

unit

to

figure

Fig.

find

figure

through

paper,

chicing

or

called.
this

The

nude

well-proportioned

sometimes

how

understantl

using

ure.
Fig-

Well-proportioned

best

AVITIIOUT

DRAWING

the

^
,

DRA^\^NG

Fourteen

Page

horizontal

Construct

line.

oval

an

this

on

plan.
Horizontal

thirds
the
a

the

give

the

line
of

one-third
the

the

five parts;

the

width

each

the

For

the

the

oval

on

first third

the

other

the

the

to

from

words,

eyebrow

side

the

to

of

the

little

beyond

line

head,

indicating

in

or,

the

indicating
end

the

of

nose.

of

one-third

down

of

pit

line

through

curving

arcs

The

10.

Torso.

length
shoulder

and

made

the

hip

is

line

The

expression

proper

of

by

in

marking
The

Cut

hip.

chin
dot

this

Connect

shoulders.

gives
each

the

in half

of

and

the

placed
point
the

point

on

witli

width
where

the

insitle ankle

12.

leg

and

of

13.

the

the

outside

the
the

ankle
line.

hip

is about

ankle

one-half

outside
inside

length

calf
calf.

of the

equals

wrist

the

arms,

the

The

about

elbow

pit

shoulder.

length

at

comes

The

torso.

lines.

comes

of the

With

block

Positions

The

student,
After

will

in

is

arm

these

urements
meas-

the

the

of
be

of

Head

woman's

Dunlop's

figure

found

proportions

helpful

figure and
positions;

head
for

are

may

this

and

ure
fig-

Anatomical

first, in blocking in the

at

the

other

of

diagram
11

page

Diagrams

in

of

hip,

of
the

at

the

hands,

The

each

"

of the

line

the

Other

on

the

soles

features.

Figure.

point

the
come

than
The

"

way
half-

come

of

leg

established,

centre

this

the

the

waist

third

pit

of

high,

the

horizontally including

body.

the

and

higher

out

end

hips

and
of

shoulders.

width

is

Arms.

stretched

the
the

of
is

The

the

knees

calf of the

is

third
width

the

width

comes

this

the

The

The

Indicate

line of the

ankles

the

and

The

the

from

The

bust

figure

torso.

the

head.

width

tance
dis-

of

the

head,

between
Establish

feet.

thf^

the

dicating
in-

second

line.

the

fourth

Legs.

to

of each

width

the

line

placing

the

waist

verticals

The

The

one

measure

between

of

of the

by

low.

at

each

the

the

one-third

lines

guide

towards

the

between

halfway

seventh
is

the

of these

is

between

line.

of
the

gives

centre

above

the

this

shoulders.

Curve

distance

head.

11.

of

is

section.

or

end

fourth

lines

Three-quarters

"

head

between

line.

also

and

of the

neck

slightly

shoulders

neck.

the

The

guide
to

ear

slightly

giving

thus

other,

the

horizontal

Drop

point.

extremities

the

Connect

Draw

of

base

the

with

this

establish

its-length,to

neck.

the

the

from

head,

this.

line

vertical

bisecting

the

the

third

of the

Continue

neck

the

unit

or

"head"

abdomen,

of

from

third,

line

third

tically,
ver-

eyes,

mouth.

the

and

lines

the

the

on

line.

bust

of

abdomen.

hip

nearest

Guide

second

the

line

of
line

oval

represents
the

of

corners

each

tip

structure

eyes.

centre

extend

ears

the

space

nose,

the

give

mouth.

sitle the

from

dropped

of

and

The

line

sets

bust

One-half

point
the

the

ISIODELS

"head"

the

the

curved

second

of

nose

between

middle

the

gives

between
the

the

into

tip

through

ej'e

neck

through

of

base

the

where
The

socket, and

eye

of the

the

of

on

tip

horizontal

into

parts

the

the

centre

the

Divide

distance

distance

and

nose

marks

the

drawn

the

the

line drawn

of the

centre

horizontal

of

of
and

eyebrows

marks

and

eyebrows

one-third

point

line

intersects

the

through

vertical

the

horizontal

nose.

the

divide

that

points

drawn

line;

WITHOUT

well
be
the

to

the

figure.
stood,
underturned
"tooth-

THE

FIGURE

Page Fifteen

PIT

OF

ARM

(IK

THE

WIDTH

OF

THREE

1st

one-third

width

SHULLDER

EACH

SHOULDER

-FOURTHS

head

IS

LENGTH

OF

HEAD

SHOl

LDKR

I INK

"ONE-THIRD

2nd

BREAST

head-

",,,

HEAD

LINE

LINE

LINE

ONE-HALF

3rd
END

OF

head

KNEE

head

6th

head

7th

head

T^th

ANKLE

head.

SOLES
Drawn

Fig.

i21.

"

Coustruoliuu

of

fashion

figure without

model.

little

wrist

LINE

is

between
OF

WAY

4tii

and

TORSO

4th

5th

HEADS

ABDOMEN

HIP

head

CHIN

TWEEN
BE-

;5rD

and

ELBOW

4th

neck

ONE-HALFWAY

2nd

head

of

LINE

WAIST

3rd

pit
BELOW

HIP

one-half
LINE

LINE

OF

FEET
F.

above

linf

FEET

by Gertrude

TWEEN
BE-

heads

Derby.

way
AND

SOLES

WITHOUT

DRAWING

Sixteen

Page

MODEL

Fig.

a.

(see

figures"

pick

good foundation,
the

helping

foreshortening
for

suggestions

then

found

four

into

times
head

fourth

the

at

in

adult

the

eight

times;

wider

lips

noted,

the

and

Figs. 20,
C.

Professor
who

See

Caroline

"

Happy

Hunt

is

H.
one

All Day

Rimmer.

94

larger

in

adult, the

and

to

eyes

and

of

The

Through,"

ilhistrated

taken

long
to

to

to

tenth

to

youth

feet look

and

their

make

them

gets

period
big.

too

manhood

to

or

the

look

at

good

way,

Willcox

Hague,

15.

shape
Laura

of

Scott, and

the
also

head
"

not

detracts

and

by

makes

"

that

Figure Drawing

GreenaElizabeth

Helen

Faces.
is

Kate

Smith,

Birch, and
and

Heads

period,

studying children,

illustrations

Jessie

be

taken

which

charm
In

slim

be

must

childlike

vulgar.

should

care

the

legs,at
Care

developed,

Shippen Green,

by

eighth

this is the

angular;

slender.

their

Janet

to

the
the

continues

keep

and

look

of the greatest author-

from

drawing children, great

In

them

95.

the

fourth

womanhood.

from

also

year.

when

year,

then

are

tion
propor-

Fig. 22,

See

and

therefore,

heads,

Stratz

at

half

shorter,

fuller.

somewhat

Holland,

and

nose

seven,

times;

seven

are

of the

those

Growth

three-quarter

seven

Children's

apart,

Fig. 24

from

be

than

hands

one-half

times.

it should

and

the

height;

fifteen, about

times;

thin

when

and

the

from

height

lanky,

one-

six

and

in

fifteenth

years,

and

birth

year.

Fourth,
the

at

six

tenth

from

height
year.

eighth

breadth

world,

the

from

of the

about

the

about

years,

of

age

four

at

five

the

and
fourth

height

in

Third,

opment.
devel-

into

approximately
ten

of

measures

about

in

beginning

the

tions
propor-

the

at

height;

measures

times

the

chart

follows

as

of the

end

in

body

grows

I'/ I'tygHf,

'null'-:!/

(Jreenaway.

human

First, in breadth

Second,
The

"

stages
or

head

the

six months,

about

the

various

infancy,

the
child

ferent to the
dif-

in

of Kate

influence

on
a

says

23.

illustrates

24

in

In

head

Proportions.

Fig.

in

shown

ities

For

necessary.

Fig.

positions, see

simple

make

to

the

turning

Children's

14.

make

22)

page

Dryilen wliioli show

by Helen

fashions

Modern

"

Dryden.*

The
of

general
an

for Cliildren

oval
"

by

Page Seventeen

FACES

AND

HEADS

Fig.

with

the

great

e.st

serve

this, too,

in

back

views

in

the

centre

of

width

side,

the
of

-is.

the

Showing

"

at

constnietion

the

top;

three-quarter

head.

The

head,

eyes

and

the

ob-

lines

that

of

lielp in drawing

the

nose

is

and

brows

and

chin.

are

brows

are

end

ear,

and

on

the

heads.

halfway

See
level

lower

between

Fig.
with

end

23.

the
of

Year

Years

Years

Fig.

24.

"

10

Years

Proportion of figure at different ages.

T.5

Years

eyeeye-

top

the

Courtntu

the
Tlie

of

0/

Home

the

on

ear

Pattern

Maturity

Co.

DRAWING

Page Eighteen
with

level

the

up

how

the

are

in

these
how

and

which

on

forms
the

head

rubbed
will

out

nostrils, but

the

except

when

tures
fea-

thought.

changes,

25.

method.

this

heads

drawing
and

of

In

the

ways
al-

is

use

the centre

other

tion
construc-

turned

see

more

down,

The

chin.
one

eye

fhe

lower

apart,

and

lip

ends

half

about

at

between
chin.
in

the

the

the

dividing
and

planes,

face

great

be

taken

the

care

in

not

line
the

and

to

of

head,

putting

that

Hair

should

the

cheek

bones

waves

of

slightly

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extend

the

drawing

you

knob;
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extend
in
a

hands,
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detail.
be

expressed

lightand

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planes.

the

it

nose

think

to

round

sketch

Block

dark,

rative,
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ing).
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unrealistic

helpful

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the

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Afterwards

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of

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observe

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er

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line between

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by single lines (unless

mouth.

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is

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the

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in

lid.

ears,

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and

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al-

eye,

pupil

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25.

the

bones.

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destroys

the

the

chin

ignore the

it

Fig.

hold

into

the

flesh-like quality.

making

triangle is helpful

should

See
In

hard

around

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you

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make

lips,as

distance

the

and

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the

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gest
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first

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mouth,

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drawing

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located

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they
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correctly placed

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nostrils.
axis

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MODELS

WITHOUT

in

face.

drawings

places

many

in wlth

thc

See
that

toHc

Fig.
show

of
26

hair

HANDS

and

Hands

16.

should

be

The

and

10,

for

next

of

study
of
the

them

blocking

in.

step

the

It

these

is simplified

slippers

large

masses

drawn

See

the

high, using

hands

is

Creek

well

models,

for

examples
rendered.

Figs. 27,

to

to

Law

but

of

length
the

fingersto
and
thumb

of

study

or

in

icing them.

ch

or

Van-

Human

derpoel's
Figure,

mentioned

before,

has

of both
feet

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studying
to

of

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drawings
to

try

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Fig.

to

different
about

own

your

of hands

by

Albert

and

28

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of

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11

inches

or

on

wide

dress.

in fashion

receive

seven

must

29.

student.

shoes

wards
afterings
drawfrom

then

and

Figs.

shoes, including sport

board

Study

"

and

extremely important

attention

in

27.

plates,

life

See

careful

that

the

ankle

higher

than

outside

ankle.

is
the

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and
sheet

by

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good

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select

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and

the

costume;

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shoes

is

usually

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in

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tions
illustra-

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er

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shoes

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ing
draw-

the relation

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28.

in

example,

The

"

drawing

looking

by
first and

Nineteen

Page

Feet.

careful

feet.

and

FEET

AND

It

slippers

unless

you

pump.

of

slippers,
of bristol
14

inches

In
skirt

these
cover

days
up

bad

we

cannot

drawing

make
of

the

the

feet

Page

Twenty

D1^A^\

1\G

WITHOUT

Cuii.\;."ij ,,/

Fig.

28.

"

Construction

of Hand

from

Vanderpoel's

"

Human

The

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ARMS

Page

Fig.

29."

Construction

of Arm

from

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"

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Inland

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of

Human

Figure."

Twenty-one

PrlnUr.

longer

No

shoes.

and

"

feet

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17.

by

following

facts

best

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gathered

thigh,

balanced

Running.

on

and

leg

about

third

the

of

body

when

the

is
the

twice
of

the

neck.

the
hand

beyond
of

and

half

about

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is

feet

the
time

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in

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body
See

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feet

are

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Fig.

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32.

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notice

30.

"

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of the
See

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as

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in reality much

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33.

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shown
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ures,
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on

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32.

scribed
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the

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31.

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reaches

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out
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length

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figures:
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shown

together

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stick

in

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as

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in connection

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but

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MODELS

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the

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WITHOUT

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Twenty-two

Page

30.

between

evenly

the

feet

distributed

the

floor

when

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on

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weight

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THE

HUMAN

Figs.

and

34

Figs.

35.

Toothpick

the

begins
the

is

weight
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at

from

neck

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a

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falls

proper

ground.

against
See

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32

well

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is

shown

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acquire

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34.

body.

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to

Fig.

figure;

of

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37

support,

receive
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the
struction
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applied.

to

Figs.

to

illustrations

the

Fig.
36

stool
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37.

foundations

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and

36

drawing.

line

it falls
33.

fashion

ance
bal-

this
either

figure

to

action.

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it

of

plumb
the

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balance;

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ankle

other

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the

to

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destroyed,

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studying

is

neck

the

extends

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figure

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the

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one

pit

and

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supporting
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on

Twenty-three

Page

FORM

construction
form.

3-1,

35.

of
in

36

the

giving

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37

are

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action

to

given

as

toothpick
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human

Courtesy

From

drawing
and

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by Helen
were

used,

Dryden,
on

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(/

Voo^tc.

pencil, wash
paper.

METHODS

CHAPTER
THREE

THREE

C HAPTEH

in

century,

Italy,

ideal

with

Instead

using

exact

other
of

which

the Greek

as

Law.

These

Renaissance

study

proportion

known

tlie sixteenth

the

Vinci

da

through

out,

In

"

of

days

the

Leonardo

worked
an

Law.

Greek

The

18.

METHODS

is

applied

artists

chissic

art,

in

as

line

is
a

in

drawn

six

muslin

skirt.

Fig.

Divide

where

easily

measured

inches

the

be

found

the

be

been

halves,

relation
line
nor

to

of

and

line.

into

are

Hem

seen

and

and

at

where
some-

or

7,

alike

one-half,

that
below

the
appear
at

interesting.

the

at

the

Tucks
'

1
;$:

s:

Fig.

39.

it

5,

top.

will

times
some-

of
near

or

to

clearly

be

should

widest,

next

narrowest,

vertical

horizontal

margin
the

is

positions
com-

positions
com-

should

still

middle

size

left, and
This

to

ratio

11.

the

all

in

bottom,
the

is

ratio

this

the

In

widest

and

Co.,

enough

near

and

side

the

tices,
Prac-

somewhere

nuu-gin,

space.

right
at

is

page

top,

the

Ihe

as

bottom,

the

of

this

widest

either

on

shown

proportion

ajijilying

of

the

at

of

perhaps
In

the

appear

Press

This

and

that

and

Ronald

stated

IL

to

margins

seen

and

the

tucks).

is made:

Law

with.

the

mechanical

neither

Muslin
'

thirds

and

subtle

but

work

the

38,

to

to the

Principles

The

statement

Greek

correct,

in

as

horizontal,

above

areas

Its

"

by

crudely

hand,

found

point

"This

incomparable

too

It will be

other

monotonous,

great,

(c). Fig.

draw

to

the

each

other

is

one-third

which

heavy

the

are

following

will

ing,
uninterest-

In

divided

the

to

areas

and

Advertising
published

is divided

equal

On

In

so

ing
stimulat-

interest

oblong

an

the

areas

sizes

between

the

lending

.'58.

in

variety,

things,

mechanical

the

has

into

through
by

if

satisfactory.

oblong
then

and

half,

difference

(b), Fig. 38,

to

consistent

Thus,

(a). Fig.

see

if

of

both

portions
pro-

.'JS.

hem

imagination

horizontally

good
(of

in all artistic

in

ming
trim-

obtain

by

idea

object.

given

this
to

this law

fundamental

and

space

further

I'u:.

the

ming
trim-

should

to

up

and

the

any

Re-divide

the

so

easily grasped

supplies

find

start.

as

etc.,

mind,

Greek

(hem

third,

fourth,

the

sent
repre-

the

tucks)

such

to

to

(c)

chanical
me-

half,

in

by

Law

(/")

hems,

Suppose

39.

long

of

tically
prac-

tucks,

to

inches

ments,
measure-

the

he

may

clothing

illustrated

etc.,

commonly

(a)

proportions

same

in

so

the
that

rowest
nar-

the

Page

Twenty-eight
form

general

of

is found

as

"Not

in the

be

preserve

the
space

applied

possible

when

within

display

enclosing

should

only

areas

the

shall

composition

METHODS

the

ratio

same

different
their

itself.

Greek

margins,

to

the

Law

unlikeness,

("1) Spaces
of

but

enough

also,

when
thirds

the

pleasing together,

most

between

length

one-half

or

of

meaning
it

copy,

apply

This

the

to

various

possible
the

the

words,

the

lines

often

these

portions

to

blank

the

to

so,

pro-

has

value.

paid

the

to

Fig.

40.

"

Qukk

by Esther

Blank

spaces.

space

.sketch

from

Fin.

noted

of these

widths
is often

blank

large

Sizes

satisfy,

as

eloquent

more

above

briefly,

it

is

that:

page

unrelated,
a

the

such

small

very

does

mind

that

as

one,

not

see

emphasize

each

or

sizes

easily compared

by

enough
the

eye

alike
and

to

yet

widest

the

best
of

next

the

at

preserve

vertical

width

at

top, and

the

horizontal

still appear

size at

sides,

the

the

top.

relation

with

at

like

for

should

the second

narrowest

for

greatest

margin

the

This
the

is
closed
en-

space.

and

from

which

the
of

is
the

nuike
in

kept
near

coat

The

arrangement

the sides; while

at

Design

to

any

have

bottom,

very

fail

well

and

quick sketch.

edge, the

the

artistic.
inand

are

difference.

(3) Areas
be

lower

the

at the

divisions

too

and

sketch

is to

smallest
the

relationship in things
other's

from

lay-out

to

size

Costume

"

to

of drawing
as

folds

margins

(1) Mechanical

(2)

41.

niatle

copy."

Summarizing

law

applied

lengths.

Wegman.

the

Greek

margins

to

as

Dratm

is

relative

of

line.

papers

an

one-

two-thirds

be

may

lile.

be

length

the

Not

attention

to

the

The

of

enough

than

and

the

each

shorter

half

longer

possible

this

the

is between

display.

it is

added

is

parts

copy

do

line

between

space

different

When

-?^

chance

apply

to

good

to

other,

doubly

tv/o

in

are

gether.
to-

other

when

relation

-/

this,

There

pleasing.
also

it is

is

placed
In

of

do

harmonious
in-

lengths

or

effect

ment,
treat-

avoids

sizes

or

parts

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in size for

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space.

gives quite

individual

the

within

copy

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width

paragraphs

two-

the

difference

should

strength

and

and

of

space

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with-

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satisfy us.

are

is

one

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interest

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name

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plan.

selection
start

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If
the

and

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work

it is school
lesson

Observe

the

design

work,

should
how

details

should

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form

be
even

part

enclosing

LAY-OUTS

form

lines

to

of

lines

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tiiat

centre,

and

tend

The

tangents.

should

setting

or

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The

larger

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intense

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page

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Page Thirty-six
background. A silhouette is a design Ellipse. With a
sharplydefined; the clear outlines of the A to B, Fig. 59,
at C and strike a
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METHOD

Page Fifty-eight

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COLOR

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CHAPTER

General

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the

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on

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11.

botli

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called

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there
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By

COLOR

Sixty-four

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on

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ferent

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Harmonies

32.

monies
1.

97.

Editorial

"

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OF

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DIFFERENCE

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33.

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white.

chart

difier
These
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Page
To
it

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be

the

you

draw

out

for

dime,

over

washes,

discs, which

Significance

36.

Green

M.

line

guiding

made,

chart

these

cut

your

When

or

the

should

these

says:

L.

the

compass

the

Light

of

put

then

them

been

circle, with

make

Light

L.

and

guide,

Yellow-Green

Orange

part

found

White
L.

of

your

finished

closing

nickel,

sure

compare

has

size

and

sharp pencil

should
Yellow

make

to

be
for

have

half

selection

the

to

making

comparison.

quarter,

according

your

and

value

and

often

clean

may

you

out

squares

either

you

not

thin.

always

that

After

do
too

or

perfectly

time,

color.

your

eyes

is

satisfactory

of

choice
cut

at

five squares

or

obtain

to

this

center,

crimson,

(Alizarine

gray.

colors.

other

mixed

primaries

On

color

thick

until

size

obtained;

are

too

on

small

these
in

inches

brush

your

one

four

with

makes

gray-yellow.

or

three

its

three

violet

part

one

yellow

with

color

example,

plus

hand,

gray-yellow,

or

your
sure

get

intensity,

paint

in

paper

three

results

satisfactory
get

the

on

about

squares

Be

green,

circle, which
half

their

gray-orange

For

the

blue-

for

to

inner

at

is

yellow

while

green,

of the

Practice

orange,

yellow-green

for

by mixing

complement.
parts

little

is added

colors

as

for instance,

are

the

yellow

as
a

orange,
to

colors

The
known

as,

that

little blue

etc.

such

tlie hues

untlerstootl

little

are

COLOR

Sixty-six

by

up

New

York

given

in

under

the

City,

Art

in

\'aluable

strikinglysimple

the

heading,

The

SOURCES

OF

Principles of

Color

SCHEISIES

COLOR

Page

which

Ilannony,

reads

follows:

as
"

Psychological

it varies

in

and

value

certain

feelings in the

Hues.

Blue

"

Green
Yellow

human

thoughts

go

and

distant.

and

ing.
unify-

Orange
Violet

and

rich

warm,

"

hot, striking,but

"

mournful,

"

decorative.
and

mystic,

See

illustration

of

the

from

Whistler's

deciding

it must

be

the

color

Light

"

femininity, gayety
color

Dark

tones

and

repose,
"

best

in their

full

intensity

elemental

vital, and

that

have

subtlety,
Balance
in

intensity

and

objects

should

to

be

shown

to

cold

background.)

figure

Sources

the

With

them."

on

whole

similar

in

say

the

Color

Schemes.

variety

reptile

go

may

and

atmospheric

to

museums

and

textiles, such

than

of

schemes.

of

what

harmony

to

nature

of

in the
flower

effects.

stiuly
as

animal,

china

he

Modern

season,

and

tapestries, rugs

and

much

too

may

result
hues

On

account

that

contrast

are

hue

result.

when

mean

kills another

glass

about

or

of

the
do

we

red

one

this

kills

matter

color

same

always

not

to

and

It
the

use

or

one

usually

more

brilliant

more

have

taken

on

from

which,

catering

of

colors

quantity.

while

the

jjublic are
is

many
to

season

to

quite

the

whelming.
over-

wittily expressed

following quotation

Crane.

is

both

they change

This
the

using together

smaller
colors

which

imagination

go

and

In

alwaj's

are

disastrous

neutralized.

in the

mineral,

may

will

different

intensity,unless

same

satisfactory
color

titles

kingdoms,
Or

which

of

two

we

difTerent

careful

the

find

and

son
per-

harsh

beauty.

Simultaneous

what

things

of

Be
a

for color

the

harmonize.

Many

"

often

red.

hue,

not

on

but

colors

with

place
blue

one

tensityanother
in-

(It is

object

warm

knowledge

in, he

endless

is

is much

of

in

and

This

proportions

the

too

nor

combination

color.

same

take

to

less intense

be

designer's sources

consists

bird,

inverse

must

for

give

particular

putting together

of the

Colors

If dissimilar, the
in

(this

wearer

neither

of

Therefore,

color

harshness

ugly

very

but

well

37.

can

area.

Backgrounds

an

"

be

must

area.

vary

charm.

Harmony.

harmony

must

and

press
ex-

the

not

face

intensity.

in

neutralized

refinement

in Color

balance

are

been

of the

neutralized

avoid

"

the

complement

such

her

color

on

appearance,
or

becoming;

are

ghastly tinge

an

his
area"

from

Colors

the

florid

skin

will

as

faded,

strength, dignity, large

feeling.

to

and

its

art.

102.

contrast).

and

chosen

Fig.

tint

also

hair, and

eyes,

gown

that

own

prints
in

adaptation

colors

simultaneous

enhance

seriousness.

loud,

strong,

are

informality.

but

considered

dress

youth,

express

express

Colors

Intensity.

tones

and

its

may

tions
inspira-

get

masters

reanembered

wearer,

Value.

what

he

Japanese

Nocturne,

In

reflects

Again,

and

new
new

be

ing.
darken-

and
and

the

aggressive.

laces.

old

is called
Red

old

from

and

only

brilliant

and

picture galleries
from

mind.

restful.

and

cheerful,

"

association

definite

cold, formal

"

cool

"

the

embroidery
to

as

intensity, hy

and

tjualitiesand

excites

ideas,

Color,

"

hue,

its intrinsic
of

Significance.

old

Sixty-seven

from

Dr.

Frank

in

COLOR

Page Sixty-eight
this

"Well,

COLOR

MODERN
BY

see

me

"

this

watermelon,

interest

"You

"Yes,"

said

saleslady,

the

Exposition

Panama

have

"we

all the

new

official

Alice

colors!"

blue, and

instance?"

"For

"Well,

flagpole red,

there's

blue,

wall

exposition gold,

haven't

"But
green,

or

green,

anything

you

yellow

and

and

just plain colors

in

"

red,

blue, and

egg

blue, and

-"

you'U

afraid

I'm

sky

blue, and

ultramarine

blue.

Monday

say

yellows."

lemon,

orange,

dust,

Straw, champagne,

them!

of

lots

"Oh,

is

blue, and

Copenhagen

blue, and

old

enough.
some

me

on?"

so

robin's

"That's
Tell

"

travertine, lattice

and

Blue,

let

"

this

roses,

blues?"

about

How

me.

of

pink."

is sunset

is navy

there

"Why,

and

carnation,

is ashes

Crane

Frank

Dr.

this

rose,

brick

raspberry,

are

strawberry,

crushed
is old

this

those

and

cerise

is

cardinal,

dust,

tango,

sand,

and

so

tan,

nary,
ca-

on."

"

"Oh,
"Aren't
"We

"What

"Goodness!

no!"
those
don't

say

reds

red,

over

you

there?

know,

"Then

"

any

lettuce

more."

Reseda

then?"

have

we

green,

and

Alice

in

Nile

greens,

green,

emerald

parrot

green,

green,

Irish

others."

vf

Courtesy

Fig.

98.

"

The

reproduction

from

the color plate.

of Crtterion

Maoazine.

green,
green,

SOURCES

OF

there

"Isn't

sucli

any

just iilaiii.
(inlinary

It's the sliatle, yon

elephant 's hreath

"IndeciH

"Yes;

gvuy.

know.

and

Here,

for

example,

shades

anil

flower

eolors

nasturtium,

wistaria,

Hcauty,

represented

are

fodil,
daf-

pansy,

and

elierry blossom,

"I

"

l)opi)y

coxcomb,

as

parrot

nut;
chest-

dove,

oak,

jewel tints,

green;

lopaz,

and

chanticleer,

coral,

jailc,and

most

fantastic.

as

ruby,

tur(|Uoi.se

overwhelmed."

am

there

"Oh.
have

claret

Isabella,

re"l."

"Precisely.

such

and

yellow

canary,

mahogany,

lirown.

walnut

Sixty-nine

blue."
all the

then

violet, lavender,

"Charming!

"

colors,

sapphire, pearl, amt)er.

taupe."

"

American

is the

wood

bird

"(^Ii no!

ro.se,

lliin^;:is

"

ereen?

are

Page

SCHEMES

COLOR

They
Half

pleased fancy.

appeal
of

the
We

the

to

imagination."

color-pleasure
strive

for

the

of

dress

poods

uni"|ue, such

as

necktie,

sash

gown

(if

your

apparel,

Maybe

mouse

the

others

are

color

of

cream,

gray

or

of

flame

ribbon,

coffee,
steel

assist

to

the

"

you

gray,
to

poniegrMate,

or

and

on.

"

Reprodu(

tion

.showing the combination

printing from

the

two

You
of

chocolate
other

can

ivory
color;

articles

or

of

perfect .self-expression.
apple green,

Courtcs]/ 0/ Crttcrton

Fig.

laces

plates.

Magazine.

fawn,

delft

Page

COLOR

Seventy

blue, lapis lazuli, taffy, salt

mud,
color, besides

and

Indian

red

string color,
red,

Pompeian

or

mon,
cinna-

mustard,

pepper,

cabbage, putty,

stone,

wine

or

the

'"

green!

pea

"Thanks!

give

"distinctly

as

me

I'll take

I think

advertised

Palm

some

peach,

Newport

ribbons,
in

Beach,

tan,

Tuxedo

Oregon

gray,

and

Delaware

blue, if you

please."
38.

Colors.

the

at

your

left

color

may

this

AVhere

shiny
and

do
colors

and

colors

over

serve

as

should

be

colors

warm

laid
over

the

After

while

still wet.

with

np

erally,
gen-

should

be

.sketch

etc.,

steady,

thin,

lines when

detail

Prussian

Blue,

make

black

and

of

and
coats,

brought

Chinese

way

is

plenty

try

first

that
the

you

brush

When
a
TO

on

of

leave
color

piece

have

the

is not

too

you

flat tone,
from

one

side
it

this

the

top

in

of

spare

or

paper
tone

use

to

covering
enough

to

the

color

bottom

water.

and
to

and

space

mixed
and

with

down

dry

well

to

to

try

uniform

Card

see

that

to

from
*See

or

sketch

Avoid
and

Orange
tones

"

before

stand
ing
touch-

lace

or

with

is often

used

sketches

in

the

details

first and

last.

keep

the

going, being particular

too

concentrate

Page Nine.

it

always carefully made

big washes

sketch

clean

desired.

are

reproduction.
your

in your

to

Ink

makers'
dress-

buttons,

let

for dressmakers'

pencil, putting

whole

and

quality

doing

raised

beads,

silver.

designs

stiff

gone

seems

buttons,

these

Have

part.
with

dry

tempera

way.*

lace, etc.,

rather

for

Devoe's

as

for

in

where

embroidery,

color, both

Put

has
value

(or
White

costume

in this

out

it of

color, gold

in

to

care

useful

good

are

White

makes

for

ing
mak-

not

opaque

known

Theatrical

carried

on

in

is often
are

Colors

Thompson's

up

to
on

up

little Chinese

What

work.

often

which

other,

taking

work

to

This

reproduction.

are

helpful

background,
the

on

add

color.

fashion

dressmaker's

edge.

color),

Show

in the

wishing

your

with

dry.

too

little

and

squares

intense, and

the

body

rinsed

brush

your

right

and

in the

them

wet

intend
have

and
too

soften

Gray

commercial

clean

your

of

is

it is sometimes

little color

put

all moisture

or

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it

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are

you

in white,

until

for

in
the

danger

work

surfaces

graying,

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kept

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must

Never

use.

Take

\Yhen
sketch

and

All brushes

their

it

value

of

tilted

board

color

the

eight-inch

Put

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sketches

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but

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again

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practice

some

covering

out

white

drawings.

after

spots.

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drawing

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Sepia mixed

of

more

any

brush

enough

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sketches,

and

Lake,

often

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dressmakers'

in

going

is desired.

complement;

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be

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darks

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is

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on

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pockets, tucks,
by

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and

you
to

warmer

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high

to

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give crisp-

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toward
brush

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line

work

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The

by

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your

brush;

ness

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lop
to

gin
be-

painting,

In

"

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make

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without

dipping

or

brown,

green,

Mountain

Rocky

of those

some

nomenclature"'

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Piping

silver, Gettysburg

Arizona

some

American

side

to

mixing

or

green

sea

side

"

much

on

one

any

niggling "; keep

your

'^

not

wash

bold.
Vermilion

vermilion,

makes

good

lips

good
and

flesh

color

in

'^

COLORS

Page

cheeks.
this

There

color

vermilion

in

flesh

the

color
it

having
quickly

when
the

to

high

on

the

softening

color

with

while

the

(preferably

all-over

flesh

and

bone)
the

other

on

the

of

the

putting

tiny point

the

all

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dry, adding

edge;

added

remember

lighter.

that

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for

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having
will be
The

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work

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than

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the

dark

blue

color

Green

or

real

material,
that

this

doing

kind

of

be

found

Yellow,

Vermilion,

in

Sepia,

Van-Dyck

In tubes. Lampblack

desired.
in

doing

Orange

Thompson's

and
is

Sienna,

mine
IVIadder, Car-

Silver.

and

convenient

The
Show

best

White

This
the

saving

list

is
of

time

dressmakers'

colors

Card

list

to

colored

the

Devoe

Light Yellow,
INIagenta, Mauve,

Red,

Light Blue,

use

in

get

White,

are

Light

Blue,

artists

and

letterine

when

Rubens,

and

Green.
a

Some

shiny

finish

is wanted.

Colors.

Less

colors
best

fill it with

to

or

the

colors
unless
in

buy

box

colors

pans,

good

Favor

are

Ruhl.

it is
with

Tubes
to
more

the

Brushes.

are

be

red

dent's
stu-

separately

desired.

quantity,
half

colors
but

and

Devoe

buy

the

Newton

expensive

are

to

therefore,

constantly

"

Winsor

"

preferred.
is

Lake,

work

raised

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water-color

Rose

Mauve,

White,

Orange,
will

2, Lemon

sketches.

though

shown.

in

if

either

Crimson

Gold,

mixing

detail

Hooker's

Sienna,

black,

the

Green

and

Ultramarine,

or

Green,

Burnt

^'e^milion,

should

Blue

Ochre, Naples Yellow, Raw

found

and

these

Prussian

Cobalt,

Emerald

Gray,

and

good

have

Blue,

1, Hooker's

maker's
dress-

transparent

effect, so

same

white;

-one

tubes.

Yellow

much

dry

doing

following supplies

useful

up,

should

New

or

still

make

gray

In

in

keep

colors

bluish

white.

sketch

always

It

One

either

Brown,

Blue

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the

in

bought

brush
is

tone

wet.

Always

black

tion
be

orange
over

cheek

of

putting

tone

cheeks

the

by stippling or

way

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the

light

then,

and

desired

by

very

Mays

putting

two

are
one

on;

Seventy

Good

sable

sizes

and

and

dry

expensive

used
nomical
eco-

Chinese
are
are

excep-

-1, and

for

brushes

white,

for

Ijy Robert

Henry

for

Felix

.Jnngninnn

"

(ie., Paris.

ton
New-

and

broad

Nos.

are
or

be

brushes.

steady,

(^y^
Drawn

work

should

"

recommended.

Devoe

gold,

to
a

7.

Winsor

are

fashion

and

injurious

good

brushes

used

some

for

less

ink,

silver, which
Bristle

brushes

line.

^"5

C.Bflf"8jtR

CnnTVu'j

nf

Vogue.

York

Nett

Rcprcsmlntlves

tafj
of

LES

COLCHIQUES

[anieau

From

ae

color

voyage

illustration

ae

by

George

Paquin
Barbier.

the

Gazette

du

Bon

Ton.

DESIGN

T
C

II

FIVE

far

allow

we

lose

never

Furthermore,

go,

we

matter

are

should

accentuate

shoulder

the

simplicity

Like

examples

later

ones.

First,

find

to

and

most

can

be

heed

used

materials

comfort
then

be

treated

or

ornament

so

chosen

defects
and

every
40.

Kept

point.*

Facts

Always

in

sense

show

Mind.

and

should

large

avoid

be

make

than

enlarge

the
also
*

"

Woman

head

Courtesy
100.-

which

Hat
uf

to

wish

not

this

personal

people

of

how

proportion.

height,

sleeves

that
"

as

they
They

are

by Emily

very
Burbank,

lines
the

are

height.
of

true

will lie fouml

This

ous
inconspicuThey
line

coat

or

lines

into

should
which

awkward

lengths

in

shorter

two-thirds

lines

definite

stripes,for these

them

cuts

Jacqurllne.

\fllc

inspireil by
tulips.

should

vertical

very

Greek

head

Decoration

keep
shoulder

stripes.

real

as

the

over

do

thin

as

avoid

their

avoid

ated
exagger-

shoulder

should

accentuate

appear

person

shorter

should

hats

the

long

is not

Fk:.

and

decorations,

very

shouklers

and

emphasize

such

people

stout

with

horizontal

observation

that

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Tall,

Conunon

"

bright

too

drooping

large
to

should

in color.

peojjle

avoid

enhance

good

line

characteristic.

so

ficiencies
de-

or

to

light

and

to

or

the

people

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DESIGN

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Seventy-eight

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CENTURY

SIXTEENTH

century

the

came

extremes.

of

traces

this

To

Page

day

find

we

headdresses

these

mark

high-water
in

k'ft

some

of

cf

by Hans
of

o\er

the

the

smaller

Holbein.

figure

There

and

waistline

Eighty-five

was

in the

toward

sixteenth

costumes

of the

It

peasants

in

mote
re-

well

on

here

districts
the

continent.
I

Sixteenth

47.

Century.

tury
cen-

twelfth

centiuy

lacing

is

discovered

and

the

English

that

"Not

lacing

the

was

tight,

very

it

but

menced
com-

first

the

made.

watches

us

history

Costume,

had

been

Cal-

tells

his

of

invented,

America

posed
sup-

have

in.

in

had

Printing

say

in the

that

throp

land.

and

been

to

come

changes,

sea

be

might

to

found

on

the

century.

The

"

sixteenth

great

stiffening

tendency

habit

and

the

The

silhouette

habit begat the

was

greatly

harm,

The

changed.

thing

Renaissance

it
the

changed

as

else.

AJ-

left
d

won

square-built,

Diirer

has

early
this

century,

the

originals of

Nuremberg,

era."

of

part

are

sleeves

Up

of

(1509-1547)

tury
cen-

sense

of

looseness,

of

in
Courtesy

of Art

Student

Magazine.

see

109.

"

Late

XV

Century

costume

drawing by Albreclit

everything

Diirer.

being

are

to the

is noticeable

109.

We

the

fifteenth

Fig.

Fig.

totters

Elizabethan

of the

which

figure
titters

through

contemporary
sketches

tissue
which
and

us

f ul

er

the

at

cardboard-and-

thing
every-

brecht

til
un-

arrived

buckram,

well

as

of

the

grew

finally

of

architecture
dress

and

all

familiar

Henry

VIII

immortalized

with
and
in

the
his
the

slashed
queens

portraits

less supported
the

straight

The

fifteenth

from
lines

the
of

century

more

or

shoulders, giving
the
was

middle

ages.

transitional;

SILHOUETTE

FASHION

THE

Eighty-six

Page

itmm
after

that

wide

skirts

teenth

the

110.

How

"

the

waists

tight, long
to

came

until

stay

in

brought

century

different

and

the

the

centuries

women

nine-

Empire

Seventeenth

48.

turies,

Charles

collar

and

was

The

is

is

hat

the

similar
with

in
the

and

French

hood

and

hood,

"

Early XVI

Century fashion drawing by

Hans

the
were

Raeburn,

The

Quaker,
both

then
worn

for the

and

Renaissance

hat

France.

called

the

roya' magnificence

by

the

beaver

us

documents.
we

pass

sixteenth

the

part

of the

teenth

leaving
eliminated

nolds
Reyleft

seven-

centuries,

Holbein.

way

extravagance

of

Nattier,

Joshua

Sir

through
111.

eigh-

Gainsborough,

Thus

simplicity emphasized.
and

valuable

really

every

the

have

Fig.

in
cen-

Watteau,

Lawrence,

the

roses,

or

in

and

Romney

of

Van

Rubens

Fragonard,

the

without

but

Such

teenth

linen

are

distin-

sitters.

and

the

place
shoes

The

costumes

seventeenth

tiny,

although

times

Velasquez,

as

the

period

us

their

by

gui.shed

the

the

the

through

of

minus

of

fashions

in

nobly
for

preserving

survival

plain

"

done

Dyck,

II

England).

portrait painters

drawings

(1660-1685),

ribbon

The

(1649-

costume

the
were

I, 1603-1625,
of

I, 1625-16-t9,

Quaker

Charles

James

men

the

the

same,

Charles

and

they

time

worn

of

dress

and

Cen-

of

tion.
simplifica-

The

lace.

(period

the

at

cuffs

illustrations

takes

prevalent

have

lent
excel-

feather

costumes

Puritans

distinguished by

are

the

give

these.

Eighteenth

The

day.

both

Crom-

the

Hollar

the

that

Pilgrims

was

of

period

1660)

of

of

silhouette.

(1625-1649)

which

wellian

of

fa.shion

bethan
Eliza-

collar

high

of

and

The

"

forerunner

flat

the

organized

style.

the

affected

Casseau.

by Inez

Draim

Fig.

The

by

the

the

stately dignity
less

time

period of the

of

Louis

formal

XIV
but

of the
of

Louis

and
was

truly
lowed
fol-

luxurious

Page

CENTURY

NINETEENTH

Eighty-seven

Courtesy

Fig.

of

period

rococo

in

styles

the

the

and

hoop
reign

the

reapjiearance

of Louis

this

fashion.
of

fined
re-

Marie

Antoinette.

George

and

III

the

the

classic

the

revival

Roman,

modified

epoch.

This

the

during

time

(17G0-18''20)

reigning

of

the

dress

and

XVT
at

set

though

extreme

toward

England

Barry

world

more

attitude

(17'23-1774),

du

Parisian

followed

Then

XV

and

Pompadour

when

Li

Louis

of
at

that

the

Shakers

buried

sees

in the

in

something

what

wearing

the

natural

people

to-day

t ume

style
was

and

apron

of the

English

ing
work-

Century.

silhouette

not

Directorate
so

that

nineteenth
found

the

1 1'^.

of

Napoleon,

this

quaint

is interesting

to

note

back

was

Green-

(1846-1901)
to

See
Louis
was

who

these
the
Fig.

113.

"

Qiiaiut styles of

Kate

Greenawa

for

go

short

first silhouette

David,
a

the court

strong

waists
of

Fig.

painter

influence

in

and

it is

still more
did
two

truthfully said
beautiful

dress, and
continents.

by

still

was

revived

beginning

in this
her

spiration.
in-

of

costumes

nineteenth
anfl

to

period

Kate

she

skirts

narrow

by

It

It

the

century

Jacques

it

away

early

conspicuous.

that

loved

in 179.5,
the

was

upon

did

until

come

the

Napoleon.

The

in the

anything

royalty

frowned

change

great

for

essentially

former

that

"

third

type

suggesting

Nineteenth

49.

classic

for

new,

class.

of
one

endeavor

difTerent, something

the

bonnet

the

an

pleated skirt,

wide,

taking
v/ork

cities, and

cos-

"

and
come
out-

were

restoration

Ponipeian
It

and

was

the

Empire

Greek

climate

stitutes
con-

their

the
the

to this country

came

Graphic.

suit

interest

time

the

of

to

revival

emphasized.

was

of London

11^.

naive

of the

century,

style, made
touch,

she

dresses, the children

See

Figs.

113

and

'i'i.

of

^Ye

left

have

eighteenth
nineteenth

and

charming

makes

grow

and

skirt

the

narrower

the

bustle

In

this

until

in

and

the

skirts,
there

its

changes

we

While
has

been

bell
and

in
have

speaking
made

the

ten

of

its

how

skirts,
definite
of

skirts,

small

sleeves,

but

the

houettesit
sil-

leads

It

mention

they

sil-

is

with

should

for

and

then

have

little

mained
re-

silhouette

then

it

is

in

the

observe

push

or

the

study
varied

in

us

turies.
cen-

importance.

and

the

silhouette
every

passing

small

and

beauty

for

kept

deny

not

valuable,

through
of

the

of

as

illustrate

has

of

dolls

period

Museum

shadow

full

are

also
ever,
how-

been,

small

us

us

have

emancipation,

silhouette

Historically

affected

was

to

no

when

century,

.sleeve

beautiful

Let
aside

the

women

since.

fleeting

the

terest
in-

bigger

no

of

the

truly

and

alike,

Metropolitan

wide

its

centuries

the

parts

added

through

men

became

ever

thirty

The
in

with

more

so

grow

appeared.

draped

sleeves

down
of

seems

time

the

other

the

nineteenth

the

That

men's

1869-1870

that

leg-of-mutton
men.

George

to

until

the

as

even

sleeves
much

very

examining.

been

of

1865

skirts,

many

by

took

skirts

its

the

the

dith's
Mere-

therefore,

really
than

at

of

draped

bustles,

were

in

winter

its

skirts,

narrow

112)

then

began
the

century,

one

were

the

fact

the

smaller,

get

well
with

the

centuries

and

Owen

of

Fashion

"Lucile.")
turn

look

time,

this

illustrations

of

SILHOUETTE

as

costume,

old-

(To

1864.

quite

the

and

made

which

1840,
until

of

Maurier's

Fig.

of

J^nipire

always

nosegays

FASHION

houette

to

which

(see

of
wider

atmosphere

with

of

the

come

its

costume,

valentines

crinoline

skirt

have

century
1830

of

hoop

and

think

one

fashioned
the

the

now

century,

the

Du

THE

Eighty-eight

Page

mind

paths
of

tume
cos-

interest.
that

fashion.

\imm
1100

1330
Draini

How

different

cenluries

have

affected

the

silhouette

of

men.

by

Margaret

Calderticad.

we

PERIOD
FABRIC

CHAPTER

DESIGN

SEVEN

SEVEN

CHAPTER

Primitive

50.

often

The
in

jjubhshed
its

tliat

tlie
in

had

also

sane

Euro

much

that

in

or

religious
is

of view,

of

and

usage

are

not

intricate

to

original
In

these

the

are

The

designs

tute
consti-

for nature

thought."

for
See

treatment.

designed

Indian

basket.

51.

Influence

that

the

earljand

in

their

in

the

of

years

B.C.

and

Desifin

114

find

G.

i.hs}tjneii hy
motive

from

we

see

unit

of
the

Design.

We

terial
ma-

on

arts

an

its

Persians

were

Fabrics

Early

had

course,
inter-

first

this

known

for

influence
hundreds

Assyrians,
allied

tians,
Egypthrough

love

tains,
moun-

dragons,
and

etc.,
used

is

(in

the

usually
of

spite

instead

interesting conventionality)

outlining period

of

their

of

formal.

know

Greek

and
of

in

great

flowers,

"

method

We

influence

find

China,

"

races

the

show

picturesque
This

114.

from

to

Indian

basket.

Fig.

fluence
in-

traced

Japanese

tortoises,

Rufhscliild.

ern
mod-

civilized

designs.
art

nm!

Drawn

52.

in

the

be

waves,

of
Fig.

splendid

that, where

India.

ently
suffici-

can

forms

is interesting

case,

can

pressions
ex-

student

motives

the

world

design, however,

was

is

Chinese,

It

know

to

this

an

pictorial

are

many

ventionalize
con-

broad

as

their

identical.

for

not

the
of

to

love

do

as

way

ferences
dif-

Japanese

greater
and

and

ethnological

point

The

but

from

"simple

meaning,
deep

the

difficult

in

some

China

similar;

times

at

The

and

So

interesting subject

but

Japan

detail

significance

attached,

design

have

r,

dhism,
Bud-

somewhat

are

India

peoples.

determine.

Northern

symbolic

strict

of
also

of
of

influence

strong

indeed,

Southern

ia

Art

both

is
in

Byzantium.

is often

the

exercises

Art

Rome,

Africaand

which

America

found

designs

account

on

Turkestan,

e,

results

between

close

is

Japan

swasticka

Europe,

Greece,

affinity

The
and

their

and

conquests,

over

been

Northern

much

DESIGN

similar.

often

were

FABRIC

showed

prehistoric

Intlia, Eastern

ment
treat-

the

and

wars

Government

that

report

sign,
de-

in

differ

not

States

researches

used

simple

does

United
189-i

Primitive

"

and

character,

units.

of

Design.
fresh

so

and
in

PERIOD

be

can

be

we

know

we

mentioned,
3000

fabrics

find

and

fabric

b.c.

dating
in

seen

that
that

as

the

Designs.

design, Egypt
where

weaving
of

Examples
far

back

as

Louvre,

checkered

garments

were

during

was

ancient

1000

Paris.

rugs

In

"

nmst

b.c.

While
woven,

the

Old

Page

PERIOD

Ninety-two
Dark

Kingdom,

Ages,

Kingdom,

Middle
of

Poriod

2980

B.C.

B.C.,

were

mitil

of

made

wool,

945

linen

and
hand.

by

woven

the dyes used

principally red,

While
were

and

blue,
white

saffron,

most

The

worn.

material

plain,

was

if any,

the decoration,

being embroidery
the

While

hem.

at

people during
Fig.

115.

Greek

"

from

costume

time

Doric

and

wigs

headdresses,
armlets,

straps,
and

not

their

Copts

like

wonderfully
bands
and

their

on

designs

of

of

Museum

were

Greek

Cotton

different
the

folds

the

of

of

waist

this

decorative

interesting

effects

position

at

worn

in

also

by changing

girdle.
the

simple

note

to

obtainable
the

single

and

This

Archaic

was

period.

this

wore

embroidered
the

are

examples

color
esting.
inter-

most

be

to

are

seen

Metropolitan

Room,
in

and

the

Cooper

Dress.

used

had

for
of

the

cotton

belonged

The

"

silk.
the

Linen

later

and

used
silk

extravagant

more

in

Greeks

period, though

small

to

India;

to

Europe

quantities.
it did

not
1 16.

become

it is

effect, and
the

woven

in itself.

Christians,

garments,

linen, and

costumes

they

produced

were

complete

was

were

animals

Museum.

53.

wool

garments

long, graceful

garment

designs
birds,

116.

or

Art,

piece

one

The

The
which

all-over

their

on

Romans,

which

Coptic

the

Union

and

woven

Good
in

Fig.

Greeks

the

flowers.

in

and

combined
an

The

115.

purple

popular.

were

figures in

Egyptian

or

Fig.

emblems,

frequently

Tyrian

in

leg decorations,

introduced
See

weaves.

The

design.

were

with

costume

See

dress,

or

used

often

were

was

collars, hanging

and

have

to

the

Greek

the

and

yellow

was

and

have

to

seem

Hope.

depended

in

Blue
and

borders

Different

fond

of ornamentation,

red

as

cloak,

or

colors.

well

as

It

chitons,

Ionic

himation,

different

or

have

to

seems

been

and

Doric

Great.

large garments

The
the

DESIGN

the

in color.

and

usually

for

deep yellow

New

i.e., from

Empire,

Alexander

of

expensive

too

Shepherd
and

Kings,

invasion

FABRIC

known

until

the

"

Costumeof
from

man

Histoire

and
de

woman

L'Art

of Egypt
Egyptian.

about

2500

B.C.

DRESS

ROMAN

the

over

under

in

hips

the

Greek

costumes

Greek

Dress

Golden

the
the

at

arms

and

Interesting

Dress;

Page

last

may

Evans's

in

Abraham's

illustrations

good

of the

of

accounts

found

Edith

and

Greek

Hope's

in

tume
Cos-

of the Ancients.
Roman

54.

Greeks

as

and

as

The

Roman

which

or

dress

decorated.

linen.

nuich

from

the

and

seem

always

to

have

often

was

Caesar,

55

B.C.,

ruffle

to

elaborately
with

wool

exception

of

fabrics

did

not

after

the conquest
of

weaving

in

the

palla,

but

We

man's

premium,

at

was

the

Gauls

stola

hinuition.
a

from
East.

color.

Roman

their

inspiration

in
a

."

Fabrics

fi

woman's

the

the

elaboration,

(velvet),

tunic,

to

mixed

With

purple

added

which

frequently

was

from

sides

wore

women

Silk

material

chiton),

Grecian

and

silk is described

and

women

Roman

their

or

scarlet

Grecian

Romans

both

corresponded

toga,

the

on

nap

gold,

(like the

The

much
of

Some
a

The

"

importeil

having

drawn

Dress.

Babylonia.

ence
Influ-

55.

period.

detailed
be

and

Age,

adopting

somewhat
m

d i fi e d

form

of the

Roman

tume.
cos-

Fig.

differ

Grecian.

118.

The

more

Franks

third

the

to

did

not

whole,

the

for

and

from

and

carried

was

56.

Weaving.
done

was

complex

117.

"

Italian

XIV

Century

costumes

from

Jaoquemin.

then

not

done

Egypt

of

the

produced
known

by

find

the

both

and

men

tenth

stuffs

and

brought

the

of

art

and

applique

work

Europe.
While

"

in

use

figures were
was

in

on

of
the

generally understood,

weaving

tapestry

tine
Byzan-

after

after

even

became

embroiderj'

We
ninth

veils

influence

wearing

East,

the

adopted

as

their

continued

the

centuries
the

costume

Eastern

Franks.
in

women

twelfth

the

Empire

of the

a.d.), while

their

retaining

centuries,

Roman

gradually (from

with

part

styles, for
arrival

of Gaul

fifth century

women

ten

some

the

Century parti-colored
.Jacqueniin.

from

"

in

they
a

XIV

"

dresses

taking possession
the

FlC.

Ninety-three

mechanical
2000

B.C.,

shuttles

l)y

without

until

200

Syrian

ing
weav-

the

more

v'n'ch

ing
embroidera.d.

weavers

It

in

was

the

PERIOD

Page Ninety-four
Eastern
For

of

slow, and

opment
devel-

weaving
the

Europe
Roman

These

sometimes

were

linked

century.

together,largecircles

century

also

was

thirteenth

formal

ment
arrange-

often

was

followed,

consisting of balanced
groupings of birds, beasts,

silks
in

and
face

they
Byzantine

a.d.;

and

DESIGN

ricallj'
arranged
used.
Up to the

terns
pat-

produced

500

twelfth

the

to

simplest

Ornamental
first

were

was

repeat

of the

were

kind.

the

years

many

were

Empire.

Roman

FABRIC

Fig.

119."

XIII

Century

placed

men

back

or

face

to

to back.

formal

iTrrangement.

being joined by small

at points of contact,
the

patterns often

ones

and

ing
becom-

The
cjuiteelaborate.
hexagon geomet-

Saracenic

Fiii. liO."

Fig.

Century trunk

XVI

The

animal

design consistingof

circle

or

for

the

first

hundred

years

squares,

sometimes

with

five

circles

Persian

or

filled

stained

broken
upper

400

circles
and

spreading

000

for

pointed, it

In

700

lower
out

opened

form

continued

continued

Paris.
1-21."XVII

Century

silk

ing.
weav-

this time

merchants

segments
to

a.d.,

period.
Spain was

A.D.

About

a.d.

in, the

came

800

things that

most

progressingwith
to

Circles

"

like

were

Fig.

bands.

about

through the Gothic

glass.

About

in

and

or

afterwards

Century

of

came

Syrian
floral detail, persisted.
This same
design was used
for centuries

.\V

is a
ogival form
in
which
design
the joining
circles
are
brought into acute juncture,
forming ovals. This design
form

tury;
cen-

next

ami

arrangement.

The

frame

square

in the

developed

XIV

1'22."

motive.

from

also,

Syria

establishments
In

800

a.d.,

in
the

an"l XVIII

scroll motive.

Daughters

of

Charlemagne

silk

did

THREAD

GOLD

OF

USE

but

weaving,
the

century

making

and

Corinth,
No

fal)rie.s

fine

was

Thebos,

by Athens,

reached

thread.

gilt

influence

of
the

of

weavers

had

extravagance

the

gilded parchment

of

strips
rolled

Constantinople.

great

centuries

in

this.

thirteenth

produced

tenth

many

fabrics

enriched

with

winged

lions,

the

crosses,

rayed

crowns,

of its

stars, harts,

together

Simple,

with

possessing but

floriations

three

armorial

shirts
teenth
four-

the

In

Dress.

marry

Charles

which

to

in

Courtesy

M,:..

of An.

Museum

,.^:j,ui

of

return

the

Orient.

thread

gold

silk
the

fomiS, SUcll

show

gold

conventional

ground,

the

fabrics

and

by

of

crimson

patterns

the

left

fine

See

Fig.

Sicilian

of

Spain

when

dark

or

silk

fretjuent

are

use

of

in

right

husband,

family,

own

XI

and

character

this

into

Northern

that

much

the

at

seventeenth

fabrics

century,

the

art

(151o),
were

of

later

and

Tours,

Francis

Italian

Persian

fifteenth

encouraged

France

of

Italy,

was

the

to

in

under

Lyons

Persian

lady's

a.d.

twelfth
and

Louis

weaving
at

upon

1200

the

centuries,

the

introduced

adopted

Saracenic

which
the

118.

was

Genoa
from

wearing

of the

arms

aS

crests

division

figure in half,

the

of

that

in

Late

design

foliage

and

weft.

thread

but

purple ground

birds

with

of rank

women

parti-colored dresses;

representing

fourteenth

and

distinguished by splendid
yellow

found

badges,

and

side

gold

around

employed.

was

silk

by

Drawn

"

thirteenth

Hispano-^NIoresqne

blue

of

luxury

the

rolled

frequently

twilled

formed

initiated

early fabrics,

in

paper

on

of

centuries
of

Thread.

used

not

of

thread

into

France

of Gold

was

fabrics

Crusaders

the

practically cut

leaf

heraldic

of

of Betrotli.al of .Saint Catherine

Memling
P.iinfing by Hans
fabrics"
Century'.
and
fabrics
X\'
sliowing"surcot
used
in XV
siircot
Century.
sliuwiiig

"

trousseau.

nobilitj-of

oftJu

shields,

the

or

123.

in

Use

the

introduction

having
Fig.

57.

1a

Gothic

dozen

The

d ic

of luxury

cnemises

her

brought

an

extraordinary
degree

same

influence

VI,

showing

three

The

"

thought

was

be

colored
Parti-

58.

ing
com-

to

Fig.

117.

de

Baviere.

or

ings.
bear-

See

century
Isabeau

or

birds, linked

Cliarles

king,

Sicilian

fourteenth

and

century

read

through

the

Crusades,

the

In

plaee of

Undoubtedly

the

before

France

we

llic eleventh

iij) to
of

practicallymonopolized

Ninety-five

Page

the

closely

PERIOD

Ninety-six

Page

and

followed,

the

pattern

vase

"V.

was

of

adopted.
Oriental

The

did

textiles

of

century
the

Versailles

and

XIV

inspired

Louis

the

when

until

gardens
under

Trianons

the

of

use

in

design

entirely disappear

not

seventeenth

the

of

character

European

flora.
59.

The

in

brief

following
helpful

found
their

in

See

arrangement.
Fourteenth

trunk

See
and

reversed
made

See

that

this

magnificently

in

of the

bottom

pineai)j)le
or
"Still

121.
we

refer

can

in his

book

on

with

conjunction

Hogarth

"I.

200-400

with

The

A.n.

simple floral,

"II.

-400-000

broken

600-1000

linked

by

smaller

inside

and

out,

ogival form;
"IV.
bands

out

A.D.

and

scale

or

patterns

falcons,

features
etc.

of

bands.
of

use

circles

the

length

at

parallel

detached

details,

inanimated,

as

closed
en-

combination
well

design,

as

metric
geo-

1200-1300
as

eagles,

frame

the

leaves

pattern.

frames

together

of

became

free treatment.
centuries
ment
Orna-

which

ogival.

it

Elaborate

by

of

Ogival

enclosing

and

ogival
The

crowns.

crowns

urns,

variety

animals

common.

"VII.
find

vases,

to

flowers

and

the

Interlacing
is

one

stem

ogival frames,

attached.

caught

cone

123.

elaborated.
with

of which

of

of

Fig.

previous

large concentric

use

Repeated

and

frames

of

be

frames

midst

and

out

to

seems

two

ornaments

straight-line framing.
introduced

springing
of

framework.

hexagon

ogival framing

in

form

developing

animated

patterns

to

circles, with

often

forms.

by

the

through

ran

of

arranged

was

bold

serpentine

See

])lans

combined

were

filled

utilization

The

ornamentation,

or

animal

or

A.D.

1000-1350

circles

sometimes

The

A.D.

spread

circles

"III.

bird

of

development

geometric frames,

circle and

section
inter-

two

through

Designs adopted

1500.

line of

the

capped

which

forms.

The

robe,

Hogarth

up

in the

pattern

"VI.

pearing,
disap-

device.

trunk

of botanical

the

themselves

panel by

showed

another

Both

was

and

panel

fruit

winding

or

the

coming

stems

certain

seen

lent

form

Hogarth

give
used

fabrics.)

utilized

Another

curving

illustrations.

his well-chosen

form

beauty.
of

l'-20.

these

to

Clark,

Jioiippelande,or

appearing,

was

and

gradually

now

was

Jeanne

textures

request.

the

ami

1'2'2.

outline

Furnishings,

which

surcot,

of

they

Monvel

be

may

of

use

that

A.

of the

written

upon

de

William

period; they

"This

centuries,

panels

fine illustrations

very

119.

mal
centuries, ani-

Clifford,

given by

Period

Fig.

Fig.

detailed

more

mal
for-

eighteenth centuries,

See

scroll motives.
For

be

(The

Boutet

design

the

was

arranged

Senator

by

characteristic

so

painted by

owned

designs

centuries,

Fig.

and

frames.

d'Arc,

DESIGN

century

curves

which

seventeenth

motives.

Seventeenth

to

Fig.

fifteenth

days

"

will

fabric

fifteenth

and

figures.

Designs.

classification

placing

thirteenth

and

Sixteenth

Fabric

periods.

proper

Twelfth

of

1350-1500.

the

at

Classification

FABRIC

an

flowers

verdure,

prints.

use

of

instead

of

this time

European

we

garden

purely tropical Persian

following,

ogival form
"VIII.

During

KiOO-lTOO.

elaborate

however,

the

general

arrangement.
1700.

Pure

Pictorial

Renaissance

tapestries
styles,or

and

devel-

SIXTEENTH

AND

of that

opnients
Oriental

English

or

and

the

Adam

and

Empire

as

the

evidence

pressed
ex-

in

into

and

1800

Fashion.

Sixteenth

The

60.

"

In

three

were

Oriental

Renaissance

floral.
from

The
the

and

and

rose

pomegranate

gave

and

Roman,

such

pink,

Acanthus,

second

or

motifs

the

was

reign

flora

of

spirit

the

East

third

developed

about

the

Gardens

In

studying

overlooked
Indian
the

the

that

the

really

do

the

during

1650

the ferns

and

into

into

types

that

strong
Louis

in

France

XV,

and

Georges.

The

reserved

1609

be

found

under

of

during
in

East

India

there,

"for

reigns,
of

reign

fowls
the

and

in

beasts

Council."

de

great

this

time

and

the

ceased.
around

way

had

silks

dustry
in-

minister

at

of

of
do

given

able

Ho])e

much

to

from

turning

arts

of the

and

de

de

Mile,

The

by

festoons,
It

in

under

lace

into

introduced
wife

making
is

Lace

the

motifs

king

the

highest

France

by

and

to

have

Catherine

II. in 154:7.

his

ment
achieve-

reached

was

gested
sug-

l)rought
designs,

this

supposed

of Henrv

the

magnificent gardens

Colbert, that

minister,

well

Fontanges

architectural

vases,

was

de

floriculture,

European

as

influenced

besides

built,

World

la Valliere, Madame

Maintenon

time.

high position;

period.
statecraft,

of Louise

were

France.

artists held

ambitious

Montespan,

]Madame

Medici,

First,
was

patterns

in

XIV

an

taste

the

Company

was

and

in

to

Italian

trade

Louis

the

that

nmch

abandoned

forces, conquests

etc.

was

under

England

all strange

East

China
the

be

had

Asia.

to

it

as

home

the

Good

the

Under

Elizabeth,

Anne

Queen

influence

the

Italy

use

not

brought

England
and

Jacobean,

and

it must

Dutch

Cape

century

and

discovery

of

customs.

centre

Secondly,

large

the

adopted

and

about.

were

the

with

European

came

periods

the

for

Thirdly,

The

of

XIV.

of

was

courts

impetus

Colbert,

dresses

vogue

through

or

when

XIV,

Royal

was

the

The

of Louis

long

Anthe-

the

this

Centre

seventeenth

things

bringing

Louis

tons,
cot-

in both

Italy

clothes
the

appreciative

lily and
Egyptian,

in

became

by

motifs.

as

to

or

with
and

the

foreign

until

Several

taste.

of

Iris.

which

not

Paris

the Persian

the

as

that

India

used

centuries

fashions

was

Persian

as

and

influencing

commercialism.
flora

of

Renaissance

Portuguese-Persian,

change

such

to

the

European

Rhodian

Lotus

Oriental

Renaissance

the

motifs

the

way

Greek

mion,

of

types

brought
following

design, and

It

teenth
seven-

Renaissance,

Renaissance

accustomed

Oriental

and

distinct

the

seen,

both

Seventeenth

sixteenth

centuries,

design

and

the

Becomes
For

"

early

as

and

were

gauze

floral
British

France.

from

centre

Centuries.

and

printed

demand

into

and
The

goods,

and

Paris

61.

and

animal

character.

Indian

in

motifs, much

of

created

dimity,
England

was

influence."

Emi)ire

for

1700

colonies.

American

India

cockatoo

embroideries
then

of Eastern

in

in England.

the
full

so

Ninety-seven
and

parrot
similar

and

in

design

as

the

cages,

fabrics,

rule

period

Page

brought

wicker

life.

examples

school

in

in

Indian

This

the

XVI.

period overlapped

generally adopted
"IX.

shown

Transition

or

XV.

or

either

as

revival

CENTURIES

XIV

f^ast

or

late Louis

the

by
"Directoire
France

styles

classic

XVI

Tiiis

Louis
of

of Chinese

bits

Louis

style.

characteristics

Frencli
scenic

SEVENTEENTH

in
been
de

Page
On

the

XV

other

had

the

We

find
the

much

less

Japanese
affected

were

and

for

this

favorite

of

Period

62.

of

the

the

had

of

fallen

the

during

late

the

end

materials

less

metallic
but

used

was

Renaissance,

This

worn.

XVI

the

innumerable
of

Chinese

and
the

In

combined

with

in

zebra."

stripe, the

columns,

etc.

the

flowers,
all the

rose,

Unlike

]\Iarie

reign shows

the

ribl)ons

is

and

of

the

influence
in

she

lyres,

of

of

beginning
of her
the

left

and

taste,

entwined

Designs.

and

lacking

in

tion,
ornamenta-

Napoleon's

bringing

paigns
cam-

into
of

of

source

usually

was

in

treasures

who

reveals

design

of

atmosphere
of

worthy

Erance

centuries,

inspiration,

imprint

wish

Die

only

by

develop

to

of

Gewebe

Museum

Seidenwehcrei,

much

of

each

upon

and

students,
their

tory
hisand
sideration,
con-

but

by

knowledge

beauty.
Sammhing
Julius

von

Otto

the

century

intelligent study

appreciation
See

"

Empire

color.
in

not

and

the

characteristic

and

all

still

period.
Eabric

is

now

influence

Oriental

became

gewerhe
Empire

less

the

gave

of

accunuilated

and

were

design.

or

the

branch,

were

wholly

now

resulted

the

marked

had

costume

more

etc.,

stripes

in

tian
Egyp-

was

bee, laurel

and

laces

upon

freedom

which

garlands.

Directoire

effect

texture,

best

so

largely

was

that

The

This

popular.

liked

but

been

has

warriors,

motifs

as

were

ments
orna-

and

in Scotland,

which

much

helmeted

that,

stripes
and

medallions,

imjjetus

seen

bons
rib-

Pompadour

tulip,

in

everywhere

and

used

looks

Antoinette

the

the

cabinet

Antoinette

feathers,

lace

which

63

and

said

was

flowers

with

pink,

and

Stripes

it

the

Marie

of

production
her

as

stripes

imitation

period

with

character.

The

king's

the

Queen

such

pulse
im-

gories
alle-

scenes,

flowers.
in 1788

interwoven

were

find

we

that

used

"Everybody
like

country

of

much

was

"

nuide

of

of

style
introduced

"

French

transition

The

wreath,

have

shawl

copy

design

combination

ornament.

fabrics

much

We

to

sition
tran-

classicism

poi)ular.

lowed
fol-

foliage, flowers,

composition,

figures, landscapes,

the

fashion.

capricious

Arabesque

designers
under

paths

was

campaign

Paisley

Persian

in

Louis

Under

led

the

to

the

fore
be-

again

Egyptian

the

stronger

India

followed

1804,

this

the

The

j)ut
because

industry.

the

and

in

prints,

had

years

to

and

king

the

then

silk

1795

between

Empire.

in.

came

so

named

weaving,

which

foliation,

and

and
in

sought

were

oriental

the

the

By

heavy

favor

from

gowns

former

pet

Revolution,

after

XVI."

century

his

period

King.

Louis

eighteenth

effects

the

this

Colbert

in

use

Directoire,

^latlame

silks

flowered

The

stripes

of

charming

many

of

made

were

creations

as

Pompadour,

Pronounced

their

to

brought
India

cotton,

used.

were

it threatened

Chinese

and

lawn

DESIGN

1789-99,

materials;

simpler

stop

ers,
feath-

shells,

were

garlands,

fancies.

balance

or

FABRIC

Revolution,

The

and

extravagance.

symmetry

knots,

Louis

life, and

social

and

which

motifs,

of

arts

of

ostentation

ribbons,
and

the

hancU

stinuihis

full of

were

in

PERIOD

Ninety-eight

von

Eunke.

des

Kunst-

Lessing,

and

COSTUME
HISTORIC
OUTLINE

OF

EIGHT

CHAPTER

History

Old

Memphis,

(2980-'2-i75B.C.)

classes

Lower

ends

down

front

capital.
belt

lapping

side

Dynasties

closed

were

the

over

tied

thicker

material

of

short

the

cloth

Fig.

VIQ),

13th

into

in,

by

in

this

124

of

the

Fig.

Egyptian

Fig.

hii.

Showing

costumes.

erection

nasty.
dy-

See

and

tlie

of Afetropotttan

Fig.

12.5.

woman's

leopard

skin

costume,

by

worn

and

Museum.

In

an

heads

appear

engaged

Dark
6th

Courtesy

Fig.
The

12th
No

costumes

Fig.

127.

1)V

worn

men

in

Kgvpt

of AfetropoUtan

Fig.

128.

Dynasties

skirt

left

the

during

came
be-

popular.

Kingdom

Old

See

Fig.

\3\.

Cloaks
.shown.

in costum

Kingdom,

(2160-1788

12th

and

B.C.). Thebes,

i;3th

capital.

worn

from

but

became

Middle

now

place, plaited

129.

Dynasty.
change

and

effects

Museum.

(2'J80-247.i'
B.C.).

to

(.S) Middle

took

exercise.

(2)

short

ISIany changes

in strenuous

Ages,

side

had

in

when

nude

gone

right

have

to

was

the

sleeve.

Men

wigs.

wore

This
on

open

and

tunic

sometimes

was

shaved

18th

the

added.

and

men

Thebes,

Dynasty

in full dress.

their

nasties
Dy-

(1580-94^;

capital.

man
noble-

women

19th

B.C.).

Fig.

representing

Both

18th,

triangular

the

priests.

pire,
Em-

20th

126.

Perneb,

Egyptian

shown.

(5) New

Courtesy

in

change

being

king

down

costume

temporarily
adopted

18th
ites
Israel-

Egypt.

No

gular
trian-

of

Kings,

to

came

erection
came

worn

Dynasty.

5th

Dynasty,

Old

was

Shepherd

rushes

the

shape

the

of

of

(4) Period

(see Fig. 128).

In

the

in

underneath.

(see

of

of

skirt

Empire

apparently

made

one

When

other.

kilt

Fig.

or

narrower,

with

front,

kilt-like

loin

skirt

and

material,

transparent

hanging

with

in

the

(see

1^27),

wore

waist

the

("th

and

and

(1)

longer

became

Skirts

(") Men.

"

-Itli. 5th,

Kingdom,

around

Dress

Costume.

Egyptian

64.

and

COSTUME'.

HISTORIC

OE

OUTLINE

EIGHT

CHAPTER

the

time

of

generally

Kingdom.

See

the
used

Fig

4th

were

Dynasty,
during

^^0.

the

Hundred

One

Page

Apron-like
the

20th

Dynasty.

clean

shaven,

wigs

and

by

skins
See

priests.

Fig.
4th

the

When
!)oth,

from

wore

without

tight

of

signified

sometimes

by

times
some-

Vulture
of
Courtesy

sometimes

See

Embroidery
In

the

18th

the

dress

over

the

left

In
a

Dynasty

White

seems

been

Both

to

Bulletin

the

for

Vol.
Ancient

beads
in

or

Dress

have

Egyptians,

of

TJw

the

Ancient

both

lished
pub-

by the INIetropolitan
Prisse

men
wo-

in

INIuseum
d'A

Book

of

Art;
His-

venues,

toirede L Art

oration
dec-

Egypt;

of the Dead,

The
fac-

s'mWcofPapyrusofAni,

made

in the British

Wilkinson,

dered
embroi-

Museum;

The

Ancient

Egyptian; Erman,
in A ncicnt

and

11,

Egyptian

used.

wool.

Bracelets

of

No.

XI,

Kerchiefs,

decorated

papyrus

ropolitan
Met-

Museum

Art,

collar

was

Books

of the

thick

and

The

and

authority.

Reference

blue.

important

an

with

indicated

was

sandals

street.

of

was

men
wore

was

straps

in favor, also red,

saffron, and

the

authority.

Hanging

borders.

on

kingly

cloak.

popular,
sleeve

introduced.

dress

Egyptian

shoulder,

20th
under

An

carried

was

left

"

signified the

Asp

alty
roy-

queen.

Dynasty

plaits became
and

Fig.

130.

Museum.

125.

frequently used

was

of Mctropoiilan

by
Fig.

necklace.

signifiedthe

one,

shoulder

two

eternal

signified

Globes
very

by

on

and

straps,

dance.
abun-

life.

folds,

held

above.

costume

ankles,

to

ruled

tion
combina-

dancing

simple

bust

crown,

king

one

he

Lotus

girls,wore

crown,

18th

exception
and

servants

"

12(5.

to

of the

with

AH,

"

white.

Dynasty.

some

Symbols.

or

Egyptian

Lower

worn

'

(6) Women."

broidery.
em-

red.

used.

were

and

Egyptian

Upper

chiefs
Ker-

often

were

(f) Emblems

wore

false beards.

metal

to

Men
and

COSTUME

of

were

4th

the

wei'e

Leopards'

HISTORIC

OF

decoration

from

worn

was

OUTLINE

Two

leg

Life

Egypt, Chapter

X; Breasted,

4 ??"Vn"
.

decorations

Times:

were
Courtesy

largely

used.

These

Fig.

131.

"

Plaited

efferts

of Metropolitan

of the

New

Mxiscitm.

Empire

of

Racinet, History

Costume.

Page

COSTUME

GREEK

Ilisiory and
Greek

65.

Pre

Ilellenic

Minoan

Dress

Mycenaean
See

('2800-1^200B.C.).

waist

wore

ends.

hanging

See

cloth

and

Fig.

(2) Homeric

in

with

line

wore

sixth

flounced

or

Age

Both

and

men

the

women

Girdle

wore

not

unlike

classic.

Invasion, 8th

Dorian
Rise

B.C.

Rise

century

called

Greek

(6)

Himation

clnak.

132."

Cost

Mycentean

Wool,

found

in the

of

last

who

primarilv

The

see

ors.
col-

and

shoes

when
the

of

out
women

different

of

and

jewelry

ornaments.

Reference
A

Cretan

the

Fig.

Snake

dess,
God-

azine,
Mag-

August.

1916;

C.H.andH.B.Hawes,
Crete

heavy
fell

Books

Century

in

of

the

chiton,

the

lonians,

Ra-

Ancients;

Evans,
Dress;
yk.

133.

"

Costume

of

of

Costumes

cinet, Ilisfoire du

no

134.

Ionic

the Forerunner

Greece; Hope,

CouTtesy

by

were

other

and

kinds

of

had

folds,

sleeves,

and

many

hair

ical,
phys-

of
and

material

silk

the garments

worn

like
war-

the

in

arms

dyed purple, red,

had

Doric

were

made

and

doors,

interested

and

the

period.

linen

were

or

by

worn

Dorians,

B.C.

time.

Sandals

was

The

kinds.

chiton,

called

Parihenon

under

worn

or

Golden

The

dress

or

hip

the

the

this

of

were

worn

terial
ma-

statues.

of Pericles, 459-431

yellow,

chlamys

rate
elabo-

sometimes

was

the

of

the

over

used, and

or

was

the

was

in

of

adorn

of

man.

135.

horseback.

worn

Museum.
lime

men

Fig.

coat

few

of Mctrovolitnn

dress.

or

See

(f) The

two

Courtesy

jjeriod,

cascades

maidens

same

of the

Chiton

chiton

Costume

and

the

(a)

on

This

abbreviated.

more

short

This

Girdle

Fig.
men

that

except
was

Period.

was

women

Age.

waist

Statues

B.C.

when

diu'ing the

Classic

the

at

waist

frieze are

lonians.

(3)
of

of Athens,
inhabitants

B.C.,

the

The

135.

Archaic

worn

below

the Age

century

inhabitants

Sparta,

Dorians.

called
5th

of

the

fell

folds, had

of this century

are

simplified costume

Fig.
worn

century

period

(1200 B.C.).

See

Acropolis.

Heroic

finer

was

during

people

133.

of all things beautiful,

and

many

Girdle

13^2.

Three

of finer material,

sleeves.

Age
Fig.

Women

waists
tight-fitting
skirts.

(1)

"

fond

people
made

called

ollifrwise

or

]\Ien

Costume.

Ilundied

One

tume;
CosGree^

Edith

hams,
Abra-

Greek

Dress;

of illciropolican Museum.

Mycensean

woman.

One

Page

Hundred

OUTLINE

Four

Coiirtfsj/ of Mctrn-politan

Fig.

G. Baldwin

Greek

134

Mu3eu7n.

Fig.

135.

"

of AfetropolUan

Greek

Rome

was

753-509

like

b.c.

was

was
a

republic

both

empire

an

which
the

Dress

(Romaii)

toga,

wore
or

to

himation;

tunic;

cloak

but

the

Greek

or
Frim

cut

semi-

pic

iSO

-The

costume

of

Roman

man

and

the

chiton

in that

it had

ruffle

of

men;

dress

or

tunic

like that

Roman

Ionic

sponding
corre-

women,

wore

to

Men

This

all classes,

and

was

stola

times
some-

in.

Women

3lB.c.-476A.D.inWest.

was

hood.

by

men

ing
work-

and

worn

pcrnula

the

This

cape,

to travel

was

by

had

B.C.

Rome

kingdom

toga,

national

the

so

class.

B.C.

Rome
509-31

753

citizens

was

worn

Costume.

founded

was

the

wear

garment,
was

Rome

himation

Roman

Only
could

History
Roman

himation.

rectangular.

which

66.

Museum.

chiton and

Ionic

the Greek

Dressed.

Women

Greek

circular in form, whereas

ary,
Janu-

and

COSTUME

Courtesy

chiton.

cember,
of De-

How

1906,

HISTORIC

lington
Bur-

Brown,

Magazine
1905,

Doric

OF

at

a
sponding
corre-

Greek

(differing
a

the

border
bot-

Hope.
woman,

tom)

paUa

or

cloak

ROMAN

COSTUMES

corresponding

Page

(he

to

Grecian

H()i)e,Cosfunir

hiniation.

Preston
of tlie lower

Women
could

not

they

wore

this

i)allawas

Roman

See

now

and

like

Fig.

than

not

lower

wear

They

have.

They dyed, ciu'led,

and

sandals

wore

boots.

They

Greeks,

and

took

Books

the

cellent
ex'

of Reference

Fig.

138."

fore

coming

From

HoUenrotli.

Gallic costume
under

influence,

lio-

]U)mau

"

Gallic

co.stume

before

influence,

and

5.5

of

front,

called

B.C.

Fr(mi

Hottenroih.

under

Roman

trousers

called
wool

with

139.

"

civilized
Un-

etc.).

sai;

tunic

long

to ankles.

costume

in
to

sleeves;

137.

Gallo-Roman

to

hraie;

fastened

yrom

Fig.

un-

trousered

Wore

"

mantle

mid-leg

were

Egyptians,

were

ankles,

Fig.

coming

Men.

of

times

Romans.)

girdles; shoes

j.b.c.

Racinet, Histoire du Costume;

Fig. 137.

races

(See

(Gauls, Franks,

(a)

Caesar

conquest

In ancient

B.C.

races

of their bodies.

care

in

Dress

Gauls."

civilized

we

rately
elabo-

hair

Costume

and

complete

trousered.

precious
their

Gaul, 5o

more

all the

fancy

niatle

the

stones

The

67.

classes,

liad far

Family
Planche,

History of

History

the Greek.

arranged

Romans;

Europe.

136.
women

Dodge,

the

tight-fittingcaps.

Roman

had

General

palla,hut

did
the

wore

jewelry

stola;

of

Five

of the Ancients;

and

Life

chiton.

men

hats, except
who

and
nuule

Doric

Grecian

classes

the

wear

tunic

Hundred

One

HoUenroth.
100

a.d.

See

Page

Hundred

One

the

Later
and

tunic

with

bands.

short

shortened

men

:iii(l wore

TFomeH."

(b)

The

Roman

See

ankles;

to

sleeves;

their

mantle

Fig.

like
Both

130.

hair

their

made

women

COSTUIVIE

sandals

shortened

wore

HISTORIC

138.

afterwards
and

ptenula.

and

Fig.

OF

trousers

and

short

with

See

women

tunic

outer

tunic

tunic

shoes.

the

leggins

Inner

outer

girdles;

OUTLINE

Six

men

lime

red with

water.

About

had

and

as

can

short

the

had

somewhat

dress

trousers

seen

that

that

by

of the

introduction

the

by

bling
resem-

Roman

the

but

influencetl
be

Roman

civilized,

become

costume,

also

was

Gauls,
of

Roman

after the

years

Gauls

adopted

the
dress

hundred
the

conquest,

worn

were

under

tunic.

Reference

Books
Fig.

Hottenroth,

Le Co.sfumes

chcz

les

141.

PeupJes:

"

^Women's

Stii century,

of the

costume

showing

fichu

From

HottenTom.

Franks

about

and

veil.

Racinet,

Costume

Le

llistorique;

Zur

schichte

Costume,

Nach

der

Ge-

Zeichnungen

W.

Diez,

M.

Heil, C.

C.

von

Frohlish,
Haberlin,

A. Muller, F. Rothbart,
J. Waller

Muchen.

History
Third

68.

enth
Elev-

to

Centuries.
.^

530

m.

King

A.D.

Arthur

871-901

in

England

Guinevere.

King

A.D.

the

England
witha,
From

Fig.

140."

Men's

co.'itume

of the

early Franks

about

5th

to

8th

"

Great
m.

ran

in

Ethels-

d. of Ethel-

Hottenroth.

century.

fred
Al-

of Mercia.

ELEVENTH

THIRD"

742-814

Charlemagne

A.D.

mengardg,

m.

276

took

Rhine

but
The

Middle

Dress

(a)
to

Men.

the

See

had

Fig.

See

Fig.

wore

with

history

of tunic

usually

of

shape

girdle;

hood;

"

to

141.

similar

like

Wore,
also

take

The
head

the

influence

U"?."

Byzantine

Geschiclite

Zur

du

covering,

of

the

French

custunic

ZtiT

lamel.

of

precious

der

tury
centimes
some-

both

the

decorated
This

was

and

stones

See

Fig.

142.

Books

Costume;

Costume

shoes.

of

History

Quicherat,

France;

en

to

Costume

in

Chal-

the Present

France

from

Time.

of

History
Eleventh

69.

England

1066-1087

called

Roman

Gt'schlchff

of 9tli anci

were

influence.

the

cajie

mantle).

Eastern

ninth

fichu.

with

(sometimes

of
in

women

called

set

Histoire

women

veil

place

the

From

Fig.

sometimes

the

often

now

of

established

tunic

outer
was

Seven

arrival

well

By

Reference

wimple.
The

The

women

band

the

handkerchiefs

and

used.
and

Hundred

century.

gloves

men

sixteenth

the

sixth

Gallo-Roman

tunics,

two

large enough

the

ually,
grad-

140.

(t) Women.
Gaul,

become

Century)

the

after

had

showed

kind

mantle

often

Gaul

the costume

to XI

Wore

"

of

Ages.

(III

knee;

which

to

comprises

century
of the

continued
who

the

down

complete conquest.

century

Empire
Franks

by

came

possession
made

fifth

;5(1,

m.

Liutgarda.

Frank.s

The

A.D.

Her-

Ist,

m.

Hildegarde,

2d,

4th,

Fastrade,

One

CENTURY

(h

William

the

m.

V, E.

Flanders.

1087-1100

of

William

Conqueror, King

II, King

/"Tom

Fig. 143."

of

^Mathilda, d. of Baldwin

England,

Costume.

Kttli criitiirirs.

Century."

Kin^ and Queen

ZuT

of England.

Ge3chicht"

of the

der

Costume.

llth century.

of

Philip I, King

1060-1108

d.

Bertha,

1st

Holland,

France

France,

of

the

In
of the

eleventh

Crusades

influenced

to

This

bleo).
bliaud

sleeves

(the

extra

bliaud

held

was

had

kimona

in

by

rousers

tunic

1180

to

in the

In

143.
worn

right

Men

of

kinds

Billoc, Book
Costume

Jacquemin,

padia:

Croix,

La

tume;

During

Dress

and

women's

tricot

and

lacing
had

The

sleeves

of

sometimes

cap.

place
to

the

at

Tapestry:

Iconograpkie
Manners,

Le

and

of

long
the

the

long

points.

Calthrop.
of

by

du

and

Cos
and

en

Dress

Renaissance:

sance,
Renais-

Costume

naire

La

sleeves.

veil

circlet

or

Fig.

called
crown,

took

now

The

shoes

143

and

long

were

veils.

the

began

and

144.

Books

Racinet.

Costume:

English

Costume:

introduced.

smaller

Ilistorique:Planche,

Costume

fitted,

bell-shaped
A

See

worn.

became

chemise

wrist.

were

both

were

for the

bliaud

hoods

embroidered,

of

show

Cyclo-

Customs,

Ages

Renan,

m.

INIarie, d.

tunic

veil, held

antique

that

alike.

Dictionary and

France,

2d. Ingeborg

m.

the

and

outer

tunic

fitted

Gescliichte

Zur

Champagne.

of

Century)

Reference

of Bayenx

the Middle

Ary

much

of

3d,

century

fitted

Boohs

Uistorique:

Planche,

der Costume:

one

and

dressed

now

Reference
Hilaire

hats,

bonnet,

Phrygian

women

Racinet,

ened
fast-

freedom

giving

3d, Alice,

m.

Meran.

{XII

twelfth

This

an

two
a

and

Men

up

conveniently

more

this

to

arm.

wore

resembled

fastened

was

shoulder;

right shoulder,

the

on

worn

now

left
been

it had

the

to

mantle

the

on

time

the

became

men

Tlie

long

The

of

King

m.

of

Dress

was

underneath.

often

of

d.

our

skirt

were

Denmark,

Berthold

of

those

similar
fullness

of

The

m.

Constance,

of Artois,

1st. Isabelle

m.

II, C.
II.

Philip

France,

of France,

of Castile,

Theobald

1223

(pronounced
girdle.

by gores). See Fig.

and
stockings

obtained
1

d. of

down

outside

2d,

Aquitaine. m.
Alphonso VII

dress.

tunic

under

chemise:

full called

of

type

long

feet called

and

long

Wore

"

adopted

men

inconvenient

and

(o) Men
the

and

m.

Guillaume

of

d.

Eleanor,

1st,

England,

II, of Savoy.

VII, King

Louis

1137-1180

Orient

the

of

m.

of

King

VI,

Atlehiide, d. of Humbert

in costume;

show

to

costumes

costume

long

very

began

the

apparently

influence

the

century

Louis

1108-1137

of

England,

of Navarra.

d. of K.

Berengaria,

{XI Century)

Dress

Richard

1189-1199

I, C. of Montfort.

Aquitaine
I, King

of

Eleonora

of

II, King

Henry

1154-1189

d. of Simon

'id Bertrade,

ni.

m.

logne.
Bou-

of

E.

Eustace,

m.

I, C.

Florence

of

of

d.

Mathilda,

England,

of

Stephen, King

1135-1154

m.

COSTUME

HISTORIC

OF

I of Russia.

d. of Jaro.slaw

Anna,

of

I, King

Henry

1031-1060

OUTLINE

Eight

Hundred

One

Page

Croix.

During

General

the Middle

Ages and

Histoire

Quicherat,

tory
His-

toms,
Cus-

Manners,

du

tume
Cos-

Diction-

en

France:

VioUet-le-Duc,

du

Mohilier

Franqais, Vols.

and

4.

France.

History
History
70

Century."
I, King
Henry

71. Thirteenth

Twelfth

1100-1135
1st,

Jlathilda

Adelicia

of

of Brabant.

John,

1199-1216

of

England,

Scotland,

m.

m.

2d,

Alix,
2d,
m.

and

d.

of

Havoise,
3d

Fourteenth

King
Hugo.
d.

of

of

C.
D.

Centuries.

England,
of
of

m.

1st

Mortain,

m.

Gloucester,

Isabel, d. of C. of Angouleme.

THIRTEENTH"

FOURTEENTH

CENTURIES

Hundi-ed

One

Page

Nine

"

From

Pig. U4-

-Fitted

'inlhf-le-Duc.

fmm

l'2th

of

costume

Pig. 14(1.

"

nrinoria!

century.

Ill

Henry

nW-m'i

Eleanore

111.

FTffrn

VioUci-l^Xnic.

Pnrti-colored

"

dress.

of

2d.

of

1285-1314

VioUet-lc-Duc

Fig. 14.5.
2nd form of surcot
l.Stli and 14tb centuries.

or

d. of Heinrich

]Maria.

HI

of Brabant.

Provence.
Edward

1272-1307

Edward

1307-1327

Philip

Edward

Wilhelni

III

Bohemia,

of

1223-1220

of

in.

1st,

l.st,

Anna

of

Mary

Bohun,

ni.

2d,

Lonis

VIII,
of

d.

King

of France,
VIII

ni.

of

1226

1270

France,

IX

Louis
m.

(St. Louis),

King

d. of

C.

of

Charles

1st,
Maria

of

France,

INIarguerite, d.

1350-1364

C.

of

1st

of

IV,
d.

Bonne

Philip

1st, lsabelle.

HI,

King

d. of King

of

France,

of Arragon.

ni.
m.

111.

Ollio

IV.

m.

2d.

m.

3d, Jeanne,

d.

of

of Luxemburg,

XII,

d.

in.

(Valois). King
Jeanne,

11, King

Charles

Jeani.e,

m.

2d, Blanche

m.

d. of William
1364-1380

VI

1st.

Jean

Hungaria.
France,

of France,

King

of

gundy,
Bur-

of Evreux.

C.

m.

of
of

1st.

in.

II, of

Meran.

Luxemburg,

Philip

1328-1350

of

Provence.

1270-128,5

V,

Blanch,

King

of France,

Robert

2d, Clcnicnce

Burgundy,

Ca.stile.

of

Philip

Jeanne,

ni.

Navarra.

X, King

d. of Louis,

Alphon.so

of

d.

in.

1322-1328

(Red

Navarra.

Blanche,

Queen
Louis

1314-1310

1310-1.322

Lanca.stcr

IV,

Jeanne,

Margaret,

2d, I.sabella of France.

ni.

in.

d.

of France,

Philip IV, King

Philippa, d. of

in.

II

Henry

Ro.se),

Lsabelle.

of Holland.

Richard

1399-U13

ni.

Pln'lipTIT.

of France.

III. C.

1377-1399

l.st, Eleanora

m.

II

King

IV,

1327-1377

Jane

:Margaret. d. of

Ca.stile. 2d.

V,

of

D.

of

of Navarra.
France,

m.

2tl, Jeanne,

of Auvergne.

King

of Duke

of

of

France,

of Bourbon.

Cliarlcs VI,

1380-142'2

of France,

thirteenth

In the

interest

more

Both

dress.
wore

and

men

called

under

the

women

the
ting
fit-

tunic

with

"

chemise,

or

cotte,

and

The

surcot.

surcot

were

arms-eye

larger

and

trimmed

with

The

very
up

as

the

skirts
and

repeat

see

Figs.

and

108

See

148.

Books

mentioned

under

fifteenth century.

History
Fifteenth

72.

tury."
Cen-

or

was

and

King

of

V,

England,

Catherine

m.

of

Valois, d. of Charles
VI

the
1422

the

of France.

14G1

Henry

King of England,

ar-

Margaret

worn,

US,

Henry

1413-1422

Frmn

46

garment

largesleeves.
Reference Boohs

trasting
con-

In

century

nioi

were

pointed. They
times
houpplande or somelong, sometimes

the

the

parti-colored
ial dress

shoes

added

ing
pleas-

color.
iourteenth

The

Figs.

the

as

of

grew

cotte

was

sleeves, making

more

held

the

material

same

with

ed,
walk-

woman

which

men

had

were

were

showing

again,

localities.

short, outer

and

Figs. 123

and

the

an

the

by degrees
became

long

houppelantl.

an

this robe;

145.

and

of
feat^u'c

important

See

showing henuin

costup.j

trasting
con-

covering,

throat

VioUei-lc-Dvc.

14th and 15th century

color,

was

noFiG.i47

of the

usually of

cotte,

From

those

sleeves, and

head

of the

surcot

women

wearing

the

the trousers.

the

had

at

largesleeves.
Their
closestockings were
combined
with
fittingand

worn

this

had

The

or

about

shorter

this

over

mal
nor-

time

gorget in certain

inner

fitted chemise

or

girdle,over

fur.

wimple

The
Women.

said

are

the

This

this

at

the

hoods.

(6)

women

shoulders.

were

(braie);mantle;
surcot ; tunic (chemise); cotte
(tunic); stockings; hats or
Wore

Iioiip-

V-shaped neck, widely off

out

close

the

the

discovered

waistline.

trousers

have

garment

Wore

"

Toward

century

this garment
to

arms.

(rt)Men.

head

pelande or one-piece dress

See
surcot.
replaced the
In
Figs. 147, 148 and 108.

in

hollowed

surcot,

high

or

in.

oame

last of the

century,

semi-fitted

dress

of

shown

was

the liennins

and

Centuries)

and XIV

(XIII

COSTUME

HISTORIC

King

Isabella

ni.

OF

Ingolstadt.

Bavaria
Dress

OUTLINE

Ten

Hundred

Page One

Fig.

148."

jNIen of

th

VI,
m.

of Anjou.

VioUct-l

l.ith century.

1461-1483

Edward

IV

CENTURY

SIXTEENTH

(White Rose),

Page

Elizjihetli of Wood-

m.

villo.
Edward

1483

of

V, King
III

Richard

1483-1485

necks

girdle.

Tlie

Enghiiid.

(White

m.

introtluced

(XV

Dress

Century)

du
fifteenth

century

of the modes

extravagant

points of

an

tion
exaggera-

extreme,
and

^Nlore

used, and

were

more

the hats

Towards

was

of the fourteenth.

fabrics

became

into

Ilistoire du
and

thing
everyto

even

had

with

Anne

Franqais, Vols.

fifteenth

costume,

see

Dictionary

3,

4;

Rajjhael
Helen

illustrations

century

Joan

150.

Dictionnaire

Jacquemin, lamographiedu Costume;

Anne
Sanborn.
of Brittany.
For

Bre-

Fig.

Cyclopedia;Viollet-le-Duc,
Mohilicr

been

de

See

Planche,

the headdress

was

probably

by

of France.

Costume;

Eleven

worn

France

the

shoes.

were

close-fitting
cap

tagne. Queen

Mary,d.of Henry VII, Kingof England.

The

and

used, and

now

Rose),

Nevill.

Anne

sfiuare

Hundred

One

of Arc, by

Boutet

of
de

INIonvel.
the

transitional

of this century

end

period.

shoes

became

more

semi-fitting,and

front, showing

round,

the

The

the

toes

dresses

were

underskirt.

came

of

split up
They

History

the

became
the
had

73.

Sixteenth

1509-1547
m.

Henry

Century.
VHI,

1st, Catherine

Renaissance.

King
o-

"

o^" England,

Aragon;

m.

*"

2d,

Page

One

Hundred

Twelve

OUTLINE

Frnji

Fig.

150.

"

(^ostume

.\nne

of

152.

Enrlv

of

transition

Drittany,

Pmiquct

period.

OF

HISTORIC

FrSres.

COSTUME

Frotn

Fio.

151."

Costume

Pau/iuit

of ICth

"

1527.

1500.

Frtjm

Fig.

Frercs.

century,

Renai.e.sanre, 1530.

Fig.

153."

French

Pauqu^t

Kcnilenian, 1572.

Freres.

SIXTEENTH

Anne

Boleyn;

3d, Jane

of

m.

Catharine

Howard;

5thj

Edward

1553-1558

Mary
of

Queen
m.

PhiHp

of

Spain.

lois;
de

H,

King

Queen

Great

changes

Francis

I,

of France,

1st,

Claude,

Louis

XII;

d.
m.

Eleanor,

on

of

Ffo/tt

of
Pig.

154.-

-Late

Renaissance

Pauqtict

be

silhouette, 1586.

The

ni.

Catherine

de
m.

of the

mal
nor-

first

wore

corset,
called

they

oline
b(i.s(]uiiu\i\nd
a crinwhich

gave

the appearance

of

hooped skirt, which

morga.,

Diana, Duchess

they called

of Valcntinois.

gale.

Francis

1559-1560

in

figure.

boneless

which

1st,

Medicis;

the

women
a

of

II, King

ed
seem-

alter

ways

shape

time

alike.

now

to

Frirt^.

Henry

France,

desire

various

'2d,

this

longer

no

to

Philip.
1547-1559

are

The

ni.

tumes
cos-

and

men

from

women

now

The

for

Enghuid.

Va-

Century)

developed.

of

1515-1547

2d,

of

2d, Marie

m.

{XVI

Elizabeth,

1558-1603

1st,

m.

Medicis.

Dress

Enghuid,

of

King

France,

Tudor,

IV

Henry

(Bourbon),

Vl.

m.

Lorraine.

Marguerite

1547-1553

King

France,
of

1589-1610

Parr.

III,

Henry
of

Louise

Catharine

Gth,

Thirteen

King

Seymour;

Cleves;

m.

Hundred

One

1574-1589

m,

Anne

4th,

m.

Page

CENTURY

The

II, King

of

was

France,

m.

thererf^/-

See

Fig.

152.

waistline
normal

and

slightly pointed

in

INIary Stuart,

front.

of

Queen

material

of Scotland.

the

en

Charles

1560-1574

King

IX,

France,

ni.

1st,

Elizabeth,

d.

of

Emp.

take
the

of

sewed

was

vertugale
the

imes

show

Marie

the

Fig.

155.-

-Late

Renaissance

rnstiim^,

Pavgvet

1572.

slashed
the

of

The

cotte.

of

to

place

material, and

]Max-

From

Touchet.

piece

under-sleeves
made

imilian; ni.2d,
morga.,

were
same
some-

to

chemise;

Frfre^

sometimes

this

Hundred

One

Page

material

same

line

upward

curved

were

used

doors.

The

hoods,

with

of

out

shoes

Red

was

color

for

pointed.
popular

in

used

were

The

men

with

round
and

Figs.

of

part
when

buttoned
The

smaller

ruff

popular.

width

was

made

ished
dimin-

They
corset

See

ruffs.

Fig.

15G.

Books

Reference
See

books

mentionetl

fifteenth

seventeenth

and

centuries.

Hist 1)111

Century.

hoop
definite

"

of

King
m.

I,

James

1G03-1625

England,
d.

Anne,

of

II, King

Frederick

of Denmark.
Ciiarles

1625-164!)

now

of

King

^lore

given
a

Seventeenth

74.

the

at

The

shaped

and

under

with

hips by

154!

women's

as

both

wore

fj."

became

t'lC

also

over-sleeves

roll

arm-eye.

158G.

throat.

the

ones

padded

Figs.

Frtrt.-".

which

discarded

were

Pauqucl

Renaissance,

women

to

large

ate

century,

waist

of the

at

rilibon

latter

the
many

wore

Costume

change

the

in

came

"

153.

first

The

156.

See

and

151

Fig.

mantle.

grown
was

figures

in size

shoes,

pointed

See

figinvsincreased.

slashed,

neck,

square

155.

very

long stockings,

that

in.

and

slashed,

doublet

time

came

with

Fr^ml

trousers,

mense
im-

added.

were

1 1o

Men's

wore

often

short,

which

to

It

this

tumes;
cos-

set

l)ecame

enormous.

favored.

were

gems

one

widely

bodice

sleeves, too, had

Jewels

the

collars

The

long.

were

seventy

was

ruffs

profusion

elaborate

to

which

Th.e

skirts

Trains

popular,

the

round

long

horseback,

open

shoes

stockings.

and

on

longer

no

were

worn.

worn

feet

ly
mantles, usual-

Large

Both
and

were

of

length.

round

for

was

The

smaller

became

size.

length

the

at

skirt

The

centre.

in

but

square

was

silhouette.

waist

neck

:ME

COSTI

in the

tlie front
The

waist.

of the

HISTORIC

used

was

in

panel

as

OF

OUTLINE

Fourteen

m.

to

Ilenriette

Marie,

barrelwhich

"

ry

1\,

France.

change

Frn/n

Fig.

I,i7."

Early

17th

Century

Pauquel

costume,

Freres.

163.S.

I,

England,

d. of Hen-

King

of

SEVENTEENTH

CENTURY

From

Fig.

IjS.

"

Costume

of

llie

One

Page

Pauquci

early pari of I"iiis XIV

Hundred

Fr^res.

reign.

Vi;.

15!).

"

Costume

XIV,

From

Fig. 160.

"

Costume

reign sliowing

Pauquct

of the

From

Fic.

Pauguct

of tlie lot"r

161.--Co.s!(ime

Lcuis

reign of Louis

1 070.

Freres.

XIV
later part of Louis
liead-clress.
Fontanges

of the

Fifteen

XIV

reign.

Fr^Tes,

part of

Iluiulied

Page

One

l(i49

1()53

OUTLINE

Sixteen

Interregnum.

England,

wore

of

d.

Elizabeth,

m.

of

Protector

Cromwell,

Oliver

1G53-1()58

Sir

Tlioni;!s Boiirchier.
of

Protector

Dorothy Mayor.
Charles II, King of England,

Eng.,

m.

1C60-1()85

of Braganza.
II, King of
James

Hyde;

1st, Anna

m.

of

Queen

ami

Louis

I(i4;j-1715

Mile,

Mile.

Montespan,

of

King
of

France,
de

Fontanges,

Maintenon.

The
gave

Men.

they

lace

with

trousers

shortened

the

boots.

outer

an

]Men's
this

The

Sleeves had

adfied.

collar and
collars.
and

waistcoat
outer

or

The

under

chemise

the

showed

at

The

brim

and

flat

and

with

was

stock
round

Worun.

the

which

neck,

])anelfront
A

wore

turned-

])lu.nes.See Figs.

Abandoned

the

9
"i}

now

extension

si'iortsleeves;

line, which

the round

ular:
pop-

tee, close

an

with

shorter,

off the

was

fluffier sleeve

neck

of the

forerunners

are

The

line.

Both

late part of this

de Maintenon.
that
much

were

See

looked

draped
The

that

Fig.

in

the
and

clothes

the sway
160.

Large

came
be-

cades
bro-

covering

latter part of the

the material

bustle effect

was

obtained.

was

carried small, round

women

the

of Mme.

like furniture

XIV,

used

reign of Louis
so

under

in

came

and

century

formal

very

was

these

eighteenthcentury.

headdress

Fontanges

muffs.

Reference Books

157,

Calthrop, English Costume;

Freres, Modes
Roliida,

Ten

Lamesangere,
"

were

seemed
used

the rounil neck

with

lines

were

161.

(h)

of neck

straight line decode

the wrist,

They

vest

coat

trousers

See

kinds

shoulders.

ing
flow-

or

deep cuff's. The

the place of

jabot.

Figs. 157 and 158.

period, under
the skirt was
XIV,
looped up, the
became
higher,
longer, heels grew
and
fans
were
sity.
necesa
tighter
grew
See Fig. 160.

of the

let
doub-

jabot took

and less decorated

close-fitting
nuifl'sand
wigs and a hat
l-'-rge
up

The

jiephun

string of pearls
the simple way
their
a

wore

long.

worn

wore

was

added.

latter part of the

The

and

round

waistline

the

Notice

worn.

Two

used

high

with

was

garment

new

used

were

greatly.

into

and

the cape
used.
was
the last quarter of

in

changed

turned

hair

garment

century

hats

antl decorated

costumes

now

and

Their

flat brim

plumes.
For

lengthened

used

period
generallyreplaced

slashed

often

the

Louis

to

waistline

peplum, and, like the women,

and
ribbon
profusely. They

nuisketeer

was

waist

century

century.

Men's

"

hair

pictiu-esque

more

of the seventeenth

(a)
ami

sixteenth

The

same

157.

short

the neck.

Ccnttinj)

of the

by degrees to the

way

added

(XJII

heaviness

costume

and

waists

Dress

Fig.

When

this

at

most

instances

woman

In
]Mme.

See

back.

front.

in

bodice.

the

used

.some

The

Spain.

la Valliere, Mme.

de

In

at

XIV,

Therese

Marie

Favorites

France.

of Austria.

Anna

m.

of

of

was

the ruff.

raised

King

as

trailing.
and

panel of the
petticoatwas

the

the large,flat collar

and

King

Mary,

England.
XIII,

1(110-1 ()4;5 Louis

m.

and

HI

William

1089-170^2

England, m.
Mary, d. of

front

sides

opened
narrow

of material

line

often

was

the

at

clone, a

was

the

up

of ^lodena.

IV, D.

Alfonso

m.

this

neck

^d,

which
was

skirt

the

COSTUME

length under-petticoatand

fullness

The

kind

Catharine
1G85-1G88

round

overskirt

an

Often

Cromwell,

Richard

1658-l(i(i0

HISTORIC

OF

hoop,

antl

aiises; Zur

et

Costumes

Centuries
Costumes

Geschirhte

Pauquet
Historiques;

of Toilette;Pierre
des Femmes

der

Costume.

Fran-

CENTURY

EIGHTEENTH

One

Page

Hundred

Seventeen

History
75.

Eighteenth

Century.

Anne,

170'2-1714.

"

England,

of

Queen

iMwn

D.

George

m.

171-1-1727

Cumberland.

George

of

I, King

Sophia Dorothea,

m.

land,
Eng-

-A"^i.

his

cousin.
of

George H, King

1727-1760

Carolina

m.

of

Ijin-g-Ansbach.
George III, King

of

1760-1820

Charlotte

m.

land,
Eng-

Branden-

of

land,
Eng-

Mecklen-

burg-Strelitz.
Louis

1715-1774

Maria

m.

Favorites

XV.

m.

I.

of France,

Leczinska.
Marchioness
Countess

1774-1792

King

padour,
Pom-

%Ms^^-t^\

Barry.
XVI, King of France,

Louis
Marie

de

du

Antoinette, d. of Franz

Stephen,

Germ.

Emp.

From

Fig. 162."

Draped

Pavguct

Frircs,

of the late 18th century, 1763.

costume

Dress

(XVIII

Century)

Early in the eighteenthcentury

revived
hoop was
(1711).

the

This

time

it was

material,and
It

wide

was

in the

or

plain,full

light weight
and

the

skirts of

material

decoration

more

The

type

than

that used

was

When

fabrics

appeared.
frivolous

more

during

made
From

Fig.

16.3." Louis

XV

Watteau

costume

Pauquet

the bodice
the

sleeves

in

were

the

part of the reign of Louis

neck,

quired
re-

During

afterward, heavic

vcgue;

flat

front, but the

and

regency,

panier.

sides and

fullness of the skirt gave

size at the back.
the

of

similar

some

called

was

at the

back

framework

whalebone,

cane,

had
were

latter
XIV.

round

usually

of ruffles of lace; with

the

Frfrcs.

showins 18th century hoop. 1729.

square

neck, the

sleeves

Were

HISTORIC

OF

OUTLINE

Eighteen

Hundred

One

Page

OSTUME

,...i-

Pattgucl

Ftovi

Fig.

164.

The

"

of

costume

man

From

Frires.

Fig.

in 1740.

165."

Louis

XVT

pleats

usually clo.sc-fitting
decoration

with

166.

lace,

and

artificial

flowers

"shaped

were

cape-

with

hoods.

of

quarter
the

dress with

the

Wat

then

"

often

short,

as

made

and

tea

and

shoes

ways.
16;3.

The

waistline
defined

was

and

of this period

men

strongly

influenced

paniers

"

the

skirts
were

not

the

'v''
Paintim

Fig.

lOG.

"

18th ceniury

round
.sleeves.

^^

neck

line and

of

the

by

used

women

Fig.

of

costume

was

ent
in differ-

Sometimes

to

stockings.

others,

See

tention
at-

given

was

the

the

worn

much

tury
cen-

temporaneously
with

dresses

were

con-

worn

sides,
skirt.
under-

"""

in; this

came

draped

the

one-piece
a

times

and

The

the

to

was

at the back

second

the

was

the skirt

showing

]Mantles

plait

the shoulders

UK'd.

were

straight from

floor; at other

Much

ribbon

In

at

allowed

were

fall

to

Fig.

See

the elbow.

Freres.

Pauqucl

1777.

costume,

by

the

and

the

the

coats

stiffened

and

f"t/Xallit:^

ruffle lace

boned.

The

shoes

Fiom

Fig.

Ifi".

"

Louis

X\"I

From

Fig.

168."

Rritish

or

One

Page

CENTURY

EIGHTEENTH

ZvT

G(schiclit"

tostiimr,

Fr"iri"

(frr Cosmih:

Fig.

1780.

Z-irOcschMitedrr

masculine

costume.

Hundred

IfiS.

"

Dirertoire

Nineteen

Fr^res.

I'lUiqurt

cost

lime,

1798.

P'ligtiet Frires.

F'om

Costume.

Fig.

170."

(men) and

Th5
"'

costumes

of

1795

TMerveillciKses" and

c' the

"

Incroy.ibles

"

"Imposoibias" (women).

had

Hundred

One

Page

hat

tricornered
See

worn.

The

of

before.

The

extremely

and

stifBy boned,
and

trimmed,

Farming

the

and
British

Fig.

tight

The

the

or

adapted

Fig.

became

in

overdress

172.

"

the

Costume

of the
1811.

called

English.
of the

in

discarded,

the

tume
cos-

was

days

brought

Petit

style,and

Watteau

was

See

olution
Rev-

(1789-1799)

165.

from

proaching
ap-

olution.
Rev-

168.

fashions.

brought

dainty

the

by

masculine

more

reign

Fig.

at

Trianon
the

in

This

were

See

next

that

were

the

See

was

French

immense

headdresses
worn.

167.

elaborately

were

crook.
The

X\T

bodices

were

skirts

Fig.

brought

the

costumes

shepherdess

of the

of

exaggerations

COSTUME

change

1792

to

HISTORIC

was

Louis

1774

OF

164.

Fig.

costumes

of

reign
from

and

heels,

red

OUTLINE

Twenty

Fig.

First

171."

Fashions

Empire,

of the

were

the

waist

short

and

skirt

clinging,

cheap

materials

used.

During

rectoire, the
Consulate,

simple

Corsets

were

the
women

1799-1803.

Fig. 173.-

-Costiinie of the
1813.

First

the
and

Empire,

Di-

from

and

man
Ro-

Greek

and

frequently

split

up

often

were

and
ises.
chem-

without
See

The

Fig.

1792-1795

tion.
Conven-

1795-1799

Directory.

17i]9-1804

Consulate.

1804-1814

Emperor

period

were

scher, 2d, Marie

Franz

and
"

The

See

Fig.

had

what

ously

PauQiict

Freres*

France,

of

copy

Fig.

been

previ-

called

the

174.

"

Costumes

of Sardinia.

Theresa

IMaria

of Sardinia.
mentioned

lippe
Louis-Phi-

1830-1848

and

seventeenth

Orleans,

of

centuries.

nineteenth

France,

of

King
m.

under

X,

Charles

1824-1830

Books

Reference
books

Maria

m.

of the Restoration, 1820.

English fashion.

See

of

King

XVIII,

an
From

exaggerated

Emperor.
Louis

1814-1824

170.

wore

men

I.German-

Roman

sibles.
"Impos-

of

d.

Louise,

";

ladies, "IMerv'eil-

leuses"

Ta-

Josephine

styled Incroyables,"
the

1st,

m.

"

"Unimaginables

parte,
Bona-

Napoleon

169.

of this

gentlemen

fantastic

and

Gotha.

were

transparent

worn

of

Saxe-Koburg

sides.

the

dresses

The

m.

Prince

Albert,

scanty,

were

Victoria

1837-1901

These

fashions.
costumes

Twenty-one

Alexandra,

style,borrowing
both

Hundred

classic

the

adapted

One

Page

CENTURY

NINETEENTH

King

of France,

Marie

Amalie

m.

of

History
the
Nine

76.

enth

te

"

III,

King
Mrs.
m.

of

Eugenie

of

England,

1st,

m.

IV,

George

1820-1830

m.

poleon
Na-

Louis

1848-1870

Century.

Sicilies.

Two

man,
Guz-

de

Countess

morga.,

of Teba.

Fitzherbert;
2d,

It

Brunswick-

is said
of

fashions

Wolfenbuttel.

rV, King
m.

of

that

the
sulate,
Con-

the

1799-1804,

William

1830-1837

Cenlimj)

(XIX

Dress

Caroline

which

land,
Eng-

much

Pig. 175.

"

Costumes

of the

Romantic

1":J0
reign of Ixii.is I'liilip|ie,

Period
1848.

during

that

was

more

kept

restrained,

Adelaideof

Saxe-Meiningen.

were

';" st

in

all
the

Hundred

One

Pa-e

of

fashions

Directory.
Fig.

See

sleeves

became
See

heavier

and

materials

to

was

with

low

neck,

shoulders.

The

popular

waistline

The

Fig.

caused
1i

slightly.The
had

and

quite

(Charles

1830.)
twenties

The

1852,

Costi'mcs

of the Scoontl

Empire,

1852.

by

the

Empire
Napoleon

under

the waist

the

increasing

Second

the

its normal

1848-

in size, and

were

public
Re-

found

skirts

short.

had

Louis

Napoleon,

I)

.skirts

X, 1824In

heels.

under

elaborately

trimmed

found

no

fullness,

more

were

worn

r o

Shoes

and

waistd

times
some-

low

were

and

the
to

ces
floun-

used.

again

in

come

mings,
trim-

and
were

174.

had

Corsets

less

ette
silhou-

changing.
See

front,

full but

skirt

with

XVIII),
the

found

the

(reign

was

in

pointed

Restoration,

of Louis

tha
ber-

effect increased

173.

The

at

this still more.

Figs, l?-? and

1814-1830

and

oif

wide

the

covered.

well

close-

were

were

the

and

The

175.

fi1 1 i n g
very

were

tendency

Fig.

waists

itary.
mil-

were

mantic
Ro-

Period.

Oriental

See

was

the

called

elaborate.

be

of

Louis-Philippe,
1830-1848,

the Empire

materials

used,

in

reign

The

(1804-1814)

Things

now

bonnets.

by

During

silks

was

taken

being

popular.

more

the
INIuch

interest

became

Napoleon

gave

to

shoulders.

and

introduced

and

width

shawl

the

and

the
became

large

used,

was

COSTUME

waistline,

of

lawns

muslins

HISTORIC

the

quality
Indian

OF

tiful
beau-

171.

OUTLINE

Twenty-two

III,

1852-1870,

the

skirts

held

out

petticoats

were

by

stiff

which

NINETEENTH

led

to

up

hoops
long

the

See

shoulder

shawls,

Jackets,
in

worn

1870

and

the

the

hustle

from

that

changes

have

17(1 and

persislcil
full

and

and

and

time

the

to

by

Raphatl

sleeves

Costume,

by

Calthrop;

to

1797-1897,

those

Usages

By

used.

were

the

hoops,

present

rapid

supplanted

had

Costume,

wrist.

place.

taken

der

by

Journal

Livre;

de

Comte

de

Fashion,

Price;

Galerie

Die

Books

Mode;

Century,
Modes

quet
Pied,

Uistoriques,

et Coslumes

Freres,
Dessines

two

Portraits

volumes;
par

par

Pau-

Saute

Graves.

cii

Zur

Max

von

1878

and

and

by

Dr.

in

Oskar

Cornu;
of

teenth
Nine-

Fischel
into

volumes,

Book,

M.

Fran-

Paul

Manners

three

Godey's Lady's

Julius

by

Le

Modes;

et Costumes

translated

Boehn,
Edwank's

M.

by

Eloffe,
de

M.

par

Modes

et

Antoinette,

Madame

Modes

Paris,

Modes

Marie

1786-191'-2,
des

in

Marchande

Reisct;

Dame

Fashions

Uzanne;
de

temps

an

du

English

Jaequemin;

Octave

gais, 1778-1787,
Reference

Iconographie

Geschichte

the

at

Twenty-three

Costume;

and
The

177.

similar

capes

Empire

First

crinolines

the

Figs.

line

bell-shaped

were

of

retiu'n

of 1854.

Hundred

One

Page

CENTURY

and

English
1790-

1830-1890.

^"^^^^^^..^1^^^^,^:^:^=-^

(
Drawn

by

liiii]?;-!

Iliiiry

fur

I'Vlix

"
Cie..
.JiiMj,'i]iaim

Paris.

,jsS^i*"--

"^

-fli*

"

"_"i

*!?*ft';

"""-'^5^-n**^'

iti^r
M

Courtesy

From

.1

crayuii

drawing

by

Soulie.

of

Harper

Bazar.

BIBLIOGRAPHY

Racinet.

Dress

Costume.

du

Histoire

French

Ancient

of Art.

Museum

Eijinitian Kerchief.
Vol.

bulletin,

No.

XI,

Renan,

L'art

of

Challamel.

trated.
Illus-

of

Papyrus

Enijlisii

Illustrated.

Dress.

Hope.

Costume

of

English
Sotnr.

La

La

text.

The

Illustrated.

Croix.

English

English

Ancients.

the

trated.
Illus-

text.

L'Antiquit^

Manners,

Goddess.

Mrs.

Magazine,

English

(1. Baldiein.

in 4 vols.

from

lish
Eng-

English

Dress

the

during

Illustrated.

lish
Eng-

vols.

Early English, Middle

and

Stuart,

Freres.

Georgian.

Illustrated.

Modes

Published

English

Costumes

et

Illustrated.
Dress

French

Design,

text.

Historiques.

and

English

text.

August,

artists

and

dressmakers.

English

text.

Greek

How

Women

December,

Costume.

Fanciful,

and

Dictional-y

uary,
JanComte

de

Marie

Reiset.

vols.

du

Marchande

Illustrated.

Costume.

vols.

French

Ilottenroth.

du

Costume

France.

en

trated.
Illus-

Louis

de

Les

Costume

chez

Illustrated.

Moderns.

les

Aiieiens

Peuples.

German

Wahlen.

and

French

du

Monde.

Lamesangere.
Monvel.

Joan

of Arc.

Illustrated.

Costume.

Diez.

Froehlich.
Illustrated.

Kostume.

French

For

XV

and

English

Zur

etc.

German

Sante

text.

French

Geschichte

der

Vzanne.

English

text.

French

and

Dictionnaire
4.

Illustrated.

du

Mobilier
French

Fran(;ais.

Price.

4".

la

Toilette.

Ilhistrated.

Costumes

et

des

French

Graves.

dj
French

Femmes

les

lous
text.

Fran^.iise.

text.

Portraits

ustrated.

Pied.

en

text.

Octave.
and
Dame

Illustrated.

text.

de

Illustrated.

Costume

Illustrated.

Century

index.

Viollet-le-Duc.

de

INIailame

Illustrated.

1780-1825.

Usages

Moeurs,

Peuples

text.

de

de

text.

text.

Le

temijs

au

Modes.

Elegances

XVI-Restauration,

French

French

Usages
Journal

"

text.

Grand-Carteret.

Quicherat.

et

Livre

text.

Histoire

theatrical.

text.

Jdctjiicmin. Iconographie
Freneli

and

text.

Modes

Antoinette.

Eloffe.

English

English

text.

Cyclopaedia,

and

historical

Dressed.

190.5,

English

Illustrated.

Illustrated.

for

Illustrated.

1916.

Le
Planche.

vol.

text.

IJurlington Magazine,
190(i.

of Costumes

account

an

Snake

Illustrated.

Vols.

and

Costume.

in 1 vol. and

.Iria.

Braun.

Illustrated.

Renaissance.

and

Grecque.

Cretan

Schuyler.

Century

Illustrated.

Boutet

in France

Illustrated.

text.

Rensselaer,

et

time.

Customs

and

Ages, Tudor

Hughes.

Brown,

of Costume

present

Tapestry.

Ages

Pauqnet

dans

Femme

Illustrated.

text.

text.

vols.

of Toilette.

text.

History
to

Bayeux

Middle

Freneli
Van

Centuries

English

Calthrop. English
Greek

Illustrated.

text.

text.

Evans.

France.

en

text.

Ani

text.

English

Illustrated.

Dress.

Ten
and

Gallo-Roman

Egypt.

Illustrated.

Times.

Greek

A.

Billoc.

JMuseum.

Ancient

Abrahams.

de

Facsimile

Dead.

in British

Museum

Costume

text.

French

Illustrated.

Le

Ary.

Robida,

Text.

French

Breasted.

the

by

Illustrated.

Metropolitan

11.

Histoire

D' Avennes.

of the

Published

Egyptians.

of the Ancient

Book

Illustrated.

French

Metropolitan

Prisse

vols.

text.

Fxshions

English

text,

FaSliion,

1786

1767-IB97.

Paris,

lllus'rated.
1912.

Eng.i"h

text.

Page

One

Vornu,

M.

Paul.

Frangaises,
Fishd

and

Modes

and

English

Earlc.

Centuries

Two

in

and

vol.

'2

vols.

Historic

Vol.

and

Notes

heritage of Dress.

The

English

Vol. '2.1800-1870.

1. 1607-1800;

Webb.

evolution

text.

Chapter I

Dressmaking.

Falcs.

Textiles

and

Peterson's Magazine.

French

Woman

Lessing. Julius

as
von.

Otto

von.

Specimens

of

Lace,

English
Palliser.

Mrs.

or

its

in

Redfern.

famous

History of Lace.

Mrs.

Antiche
J.

English

Trine

Ilungerford.

Seven

Centuries

text.

of

by Bobert

Hei'ry

on

'i vols.

tor FelL\

W.

of the

German

de

French

History

la

Coiffure

text.

trated.
Illus-

Mourning.

of

text.

B.

of

the

and

Royal

Illustrated.

Illustrated.

Fan.

Historic

English

Library.

Costume,

Reading

arranged

References

Gloves

and

text.

and

Reference

alphabetically.
see

Poole's

Art

Division.

Index

and

In

])rep-

Guide.

Public

only lists books

Library.
list and
and

" Cle., Paris

Costume

articles, but

individual plates.

Jungmann

Histoire

History

W.

Periodical

York

de.

aration. Textile

and

text.

Drawn

Illustrated.

text.

tlie Readers"

English

Italian

Italiane.

by

1914.

text.

Costume,

Illustrated.

Brooklyn

List

Neir

Rieei, Elisa.

Lace.

The

For
.\

text.

Pollen,

Shoes.

traits.
por-

text.

Bury.

G.

English

text.

Showing

Book.

3?arbicr,

Information

Navy

English

Richard.

Rhead,
des

text.

wear

and

Army

English

text.

^2 vols. German

Lace

The

Hudson.

N.

German

Seidenweherei.

broideries.
Em-

Illustrateil

and

1913,

Military Prints.

Comtesse

F(?ininine.

text.

Sammlung

Gewehe

Die

British

Powers.

Villermont,

text.

English

Decoration.

Museum.

Kunstgewerhe

French

Modes.

Tapestry

text.

Ecclesiastical

Darey,
et des

and

text.

Frivolities.

and

Lace.

D'Aujourd'Hui.
Martin,

ir. ('.

fl'ietz.
text.

English

Modes

Arts,

English

and

text.

Ralph.

Warring

text.

text.

Burbank.

Moore.

English

English

18;?0-1898.

Ton.

Bon

des Dames

Journal

Funke.

French

velopment
DeFalls. D.

Historic

The

France.

History of Hand-made

Samplers

Maniers

et

English

Design.

Costume
184'2-1898.

Godei/'sLady's Book.
(iazette du

on

B.

Lei)ape, 1912,

text.

Illustrated.

of Costume.

Ellsworth

French

d^coratif.

L'art

de

Poinet

text.

Embroidery

Marcus

Modes

Nevill.

Bahst. Leon.

Le

English Text.

English

text.

Needlework.

text.

history

Illustrated.

clothes.

of

the

on

de.

Nevill.

English

Illustrated.

in America.

Dress

F.

Mrs.

Iluisli.

Engli.sh text.
McCMlan.

Laurenee

Lefeburc. Ernest.

America.

in

Costume

of

Pul"lishc"l

Illustrated.

text.

and

Lace

text.

Lace.

text.

Old

on

text.

French

Jackson,
Illustrated. English

Costume.

on

English

Lace.

Chats

Laprade, Mine.

and

text.

Chats

Old

Mrs.

Lowes,

English

Century,

German

Illustrated.

vols.

text.

Edtvardcs.

of tiio Nineteenth

Manners
3

French

by M.

translated

Jourdain, M.

Costumes

et

Illustrated.

Bnehn

1790-1878.

Rhead.

df.s Moilos

Galeric

1778-1787.

Von

BIBLIOGRAPHY

Twenty-eight

Hundred

list.

Each

not

parts of books

ARTISTS

WHOSE

WORK
FABRICS

HAS

BEARING
COSTUME

OR

ILL

ON

PERIOD

ARTISTS

WHOSE

WOIU^

HAS

FABRICS

Greek

and

Mosaic.

Roman

OR

Sculpture.
Justinian

Emperor

(See

and

(circa)

I'niversity

Prijits,

Students'

IVdis

da

=al)()ut.

/.

flourislic"l.

A.

anil

(ScIkh.I

JI.

.Milan).

of

US'i-

Scliool).

(Venetian

,//.Io05-

Bassano,

L.

Bissoio,

F.

da

Botticelli,

S.

Bronzino,

A.

School).

(Florentine

J.

of

(School

da

Piazza

Ixxli

Milan).

Piero

1436-

ca.

P.

of

(School

Brescia),

fl.

of

(School

I'mbria

and

Perugia).

Rotari,

century.
V.

Carpaecio,

School),

(Venetian

1455-

ca.

ca.

Cimabue

Scliool).

(Florentine

de"

Bernardino

Conti,

1240-l,'?n2.

ca.

(School

of

Milan),

fl.

(School

F.
C.

of

Ferrara).

(Venetian

School),

Veiieziano

D(/nienico

ca.

14.'55-148().

ca.

1430-fa.

(Florentine

School),

ca.

di

Buonin.segna

(School

of

Siena),

pujiils (Florentine

and

D.

ca.

School).

1452-1525.

and

Giovanni

School).

pupils (Florentine
di

Paolo

(School

of

ca.

1403-

1482.

Giovanni

Giovenone,

di

//. 15th

j'iamonte.
G.

(School

it

\Crcclli).

"""".

of

Vcrcelli).

(Florentine

School).

(Venetian
G.

Kiorc

(Venetian

Scho

.'

1441-K93.

ca.

School).

1441-

14;)0-

'0-

of

(School

I477-151'J.

ca.

1.387-1452.

Verona),

ca.

1393-

A'eronese,

School).

1477-1576.

1511-1574.

P.

(Venetian
A.

Vivarini.

A.

Ziiccaro,

F.
dei

School).

(Florentine
(Venetian

ca.

School).

School).

School.

Painting,

Florent'-''

School.

ting.

1444-14

North

.-.chool.
Italian
Sclu

Scliool.
ol.

Venetian

School.

'^'ain'Ing,Venetian

School.

Painting,

1435-148'-

/.

Cas.-oni.

Byzantine

Pan,

1528-1588.

1543-1609.

Painting,

I'aintii:;;,I'mbrian
del

School),

(Umbro-Florentine

Pai-t'i.^, ItJi;,.i

century.

1555.

Jacohello

Titian

Masters

1266-1337.

Siena),

1485-1566.

ca.

1762.

-co.

(Florentine

Zevio

Verrocchio,

Ghirlandajo.

1588.

of Brescia),

1451.

Vasari,

1260-1320.

(iiotto

da

Stefano
14i).'S.

1410-1461.

I)u'"cio

1562-co.

II (School

Sodonia,

S|)inello, G.

Cossa,

1462-1521.
1454-1513.

1523.

1490-.^

Crivelli,

School).

School).

(School

(lei. 1707

Sellajo, J. del

1416-1523.

1307-1446.

1397-1455.
ca.

Signorelli, Luca

1525.

School).

(Florentine

G.
P.

1480-1528.
1504-1540.

School).

(Umbrian

ca.

S.

Ronianino,

School.

(Umbrian

B.

Pisanello.

1435.

1384-ca.

of Parma).

(Florentine

di Cosinio

Pulzone,
Fra

Siena)

1431-1506.

School.)

Venetian

(School

G.

Pesello,

1521-1.56'3.

Carnevale,

of

1520-1578.

A'ecchio.

Perugino,

150'2-157'-2.

ca.

Padua).

(Florentine
B.

Parmigianino

U41-1510.

School),

of

(School

Pinturicchio.

Calisto

(School

1625-1713.

G.

Palma

1557-1C'22.

1507.

1439.

A.

Ma,solino.

1464-1528.

School).

(Florentine

B.

Butinone,

School).

(Venetian

P.

(Venetian

of

1305-1348.

C.

Moroni,

1555.

loth

Mantegna,
Maratti,

Veneto

Follower

P.

Paiiifiii(i

150().

Bartoloinineo

A.)

Ravenna.

at

Vitale.

fl. 1323-1348-/.
Amhros^in

PERIOD

Scries

(ith century,

Byzantine,

Lorenzetti,
Ilaliiiii

ON

COSTUME

liis suite.
San

ca.

BP^ARING

nl'li centurv.
Kith

century.

"

"^.

Hundred

Page One

Dutch

Codde, P.

Cuyp. J. G.
G.

1.575-Ui-l.!).

1()13-1G75.

Hals, F., the elder.

Heist, B.

Jacobsz, L.

1601.-1000.

'2d half of 17th

Calcar. J.

von

Ketel, C.

Metsu, G.

J.

Vermeer

Rubens, P. P.

1474-1550.

Wilt. T.

1590-1058.

1510-1584.
1497-1567.

1577-1640.
1570-1621.
1585-1051.

der.

van

Painting,Flemish.

1400-1464.

16th century.

Painting,Flemish, of Brussels.
German

15th century.

Painting

1617-1681.

Bruyn, B., the elder.

1097-17,50.

der.

Cranach,

l(i3J-]675.

1576-16'24.

der.

1659-1733.

Painting,Dutch.

14th century.

Painting,Dutch.

15th century.

Painting Dutch.

16th century.

ca.

yoiniger,

H. and

V.

1520-?

Virgin. /.

of the Life of the

Master

of St. Bartholomew,

Master

of St. Severin.

ca.

.''-1515.

Multscher, H.

ca.

1440-1407.

Ncufchatel, N.

ca.

1527-1590.

1430-1498.

Pleydenwurff. 1450-1494.
Flemish Painting

Ble"

H. de.

1480-1.550.

Blpiberch,A.
Bouts, A.
Bouts. D.

1566-1625.

ca.

Roos, T.

I(i38-1698.

Schcits,M.

1410-1475.

J.
Seisenegger,

1505-1567.

Wolgeniut, M.

1434-1519.

P. van.
Clianipaigne,

=1

1602-1674.

Claeissens,P., the elder.

1500-1576.

the elder, ca.

van,

Coffermans, M.

15th century.

Painting,German.

10th century.

1485-1540.

Spanish Painting

fl.1549 -1575.
*

Dvck, A.

Carreno, J. de M.

14001 ^j-l473.

Cristus, P.

Coello, A..S.

1450-1523.
van.

1640-1700.

Painting,German.

David, G.

1521-1583.

Ring, L.

.^-1548.

Canipin, R.. 1375-1444.

Cleve, J.

10th century.

Ratgeb, J.

Gonzilez, B.

1599-1641.

"

"

1614-1685.

1513(?)-1590.
1564-1627.

1010.

1530-ca.

1472-15.53.

Master

Pacher, M.

17th century.

Painting,Dutch.

1493-1655.

L., the elder.

Dnnwegge,

1597-166''.

der.

van

Bruyn, B., the

1589-166'2.

Delft, J.

van

1570-1022.

van.

van.

Weyden, R.,

1010-1080.

15th century.

14.30(?)-1494.

1541-1581.

Vos, C. de, the elder.

17tli century.

van.

van

van

ca.

1512-1570.

Roymerswale, M.

1001-1073.

15th century.

Legend.

(Memling).

1567-1641.

Verspronck, J. C.
Voort, C.

H.

1620-1679.

ca.

A.

of the St. Ursula

Somer, Paul

Ter Borch, G.

Troost, C.

Master

?-1688.

Santvoort, D. D.
Steen, J.

1509-1575.

of the

Pdurbus, F., the younger.

Mytens, D., the elder.

Ravesteyn. A.

1533.

of St. Lucy.
IjCgenfi

Mask?r

1571-1638.

Palaniadesz, A.

1470-ca.
1425-1489.

ca.

Pourlius, P., the younger.

J.

Moreelse, P.

1510-1951.

Pourbus, F., the elder.

century.

1581-1642.
1561-1635.

1470?

ca.

.1.van.

More, A.

(1679?).

1030-1007.

Molenaer, J. M.

Before

Memlinc,

1st half 17th

Mierevelt, M.

Mostaert,

1100-151!)

1596-1667

S.

Mesdach.

century.

010.

1540-!

Keyser, T. de.

Isenbrant, A.

Massys, Jan.

11.91-1533.

Janssen, P.

1534-1584.

Marniiou, S.

ARTISTS

?-1482.

Heere, L. de.

Mabuse,

1013-1670.

van.

der.

van

OF

1381-1440.

ca.

Justus of Ghent

1580-4-1600.

der.

van

Honthorst, W.

Venne,

Goes, H.

IGtli century.

\aii.

van.

Francken, F., the youi ger.

Geerarts, IM., the yoiuiger.

147.j-l."0().

Cronenburcli. A.

Joest

Eyck, J.

Painting

1610-l(!fiO.

Cornelisz, J.

Don,

LIST

Thirty-two

ca.

1460-1480.

1490-1510.

LIST

ARTISTS

OF

Goya

Liicientes, F. J. de.

F. fie.

Liano,

Velasciuez.
Vcrmejo,

F. de.

Zurbaran,

Louis.

Tocque,

1598-1062.
15tli century.

Vesticr, Antoine.

Painting, Spanish.

16th

century.

Watteau,

Painting, Spanish.

17th

century.

Painting, French.

Painting

Russian

Ritt, A.

J.

Bourdichon,

Painting

Coyi^el, C. A.
L.

?-ca.

Fromenl,

N.

Gandara.

A.

de

Gerard,

F. P.

Greuze,

J. 13.

S.

Le

Brun,

Ward,

century.

1780-1867.

J., the

F.

1815-1874.

E. M.

1816-1879.

Elisabeth

Louise

Vig^e.

15th

century.

16th

century.

1755-

A.

fitiemie.

15th

Pierre.

Master

of Moulins.

Oudry,

P.

Pater, Jean

Prud'hon,

Pierre

1801-1846.

Osgood, C.

century.

Pratt,

1685-1766.

fl. 1483(:-)-1528.
1683-1757.

Paul.

1758-1823.

1791-1872.

18th-19th

M.

Smybert,
1695-1736.

1780-1834.

S. F. B.

15th

16tli century.

Antoine.

H.

1786-1864.
1729-1792.

Jarvis, J. W.
Morse,

Baptiste Joseph.

J.

J.

century.

Marc.

Perrcal, Jean.
Pesne,

1724-1769.

Greenwood,
Inman,

1833-1883.

Marcs,

Nattier, Jean

1702-1789.

1705-1765.

Edouard.

R.

1700-1760.

1737-1815.

Frothingham,

1756-1830.

van.

Painting

1708-1765.

J. B.

Blackburn,

Feke,

1834-?

Josepli.

Jules
Robert.

Liotard, Jean
C.

1750-1811.

Painting, English.

Badger, Joseph.

1704-1788.

1842.

Manet.

ca.

Painting, English.

Copley, J. S.

Lefebvre,

1665-1745.

1734-1802.

1656-1746.

(Mme.)

Lefcvre,

1723-1792.
elder.

American

de.

Q. de.

M.

Tour,

1756-1823.

1713-1784.

1690-1743.

Largilliere,N.
La

Henry.

G.

Talfourd,

1745-1811.

N.

Lancret,

Sir

Allan.

17(i9~1830.

Sharpies, J., the elder,

1770-1837.

Ingres, J. A. D.

(Irish Put.)

Sir Tliomas.

Ronmey,

1862-.

18th-19th

J. B.

1758-1810.
1075-1739.

Richardson,

1725-1805.

J. B.

Hilaire.

J.

1727-1788.

Reynolds, Sir Joshua.

century.

la.

1697-1764.

Ramsay,

1480.

1732-1806.

15th

T.

Hogarth, W.

Raeburn,

1706-1789.

J. H.

Fragonard,

century.

century.

Gainsborough,

Lawrence,

1415-ca.

ca.

century.

1726-1770.

Jervas, C.

1836-1904.

J.

16th

1656-1713.

16th

J.

Hoppner,

1727-1775.

Favray, A. C. de.
Fouquet,

15lh

1753-1839.

J.

Cotes, F.

1574.

1701-1781.

Fautin-Latour.

Loo.

of Amiens.

Corvus,

1500-1572.

1694-1752.

J.

Duniont,

Huet,

of Amiens.

Painting, French,

Closterman,

1748-1825.

F. H.

Drouais,

century.

Painting, French,

Beechey, Sir W.

1457-1521.

Lyon.

de

1684-1721.

15th

English Painting.

Francois.

Corneille

David,

1740-1824.

Antoine.

Jean

1766-1799.
French

Clouet,

1151.

century.

1096-1772.

Painting, Spanish.

Painting, Hispano-Flemish.

1780-1855.

Fran^-(jis. 19th

Arthur

Thevenot,

U90.

1841-

1659-1743.

Edouard.

Riouit, Louis

fl.ca.

Thirty-three

1544-1619.

ra.

Aiignste.

Rigauil. Ilyacinthc.

1551-1609.

1599-1060.

B.

Firmin

Renoir,

J.

di- la Cruz.

Pantoja

Frangois.

Quesnel,

174G-18'28.

loSC-lGSS.

Hundred

One

Page

J.

168,4-1751.
1755-1^28.

Stuart, G.

Sully, t.

1783-1872.

Trumbull,

J.

Waldo,

century.

1734-1805.

S. L.

1756-1843.
1783-1861.

CuurOsy

From

Ti-

colored

cover

design by Brunelleschi.

of liaiptr's

Bazar.

INDEX

INDEX

Accessories,

Acropolis,
Action,

Beardsley,

Beer,

10

Adam

school,

97

illustrated.

Advertising,

department

Advertising,

magazine,

lialf-tone, 57

Advertising,

magazine,

illustrated,

Advertising,

magazine,

i)en

Golden,

Alfred

Great.

the

Preface, 13,

Queen.

97

Anne,

Queen,

of

Day,

illustrated,

Ben

Day,

magazine,

dre.ss, 110

Armorial

dress,

117

illustration,

King,

106

work

whose

has

bearing

in

period

fabrics

or

131-133

costume,

Egyptian,

of

of. Queen

Anne

Claire,

54,

France,

Back

view,

Balance,

05

Balance,

of

Barbier,

Barry,

plaits,
110

Bristol

board,

kid

Bristol

board,

plate,

British

or

Baviere,

Anne

43
costume

of. 111,

illustrated,

112

78

42, 54, 134

air. 32

Brush

work,

52-53

Brush

work,

illustrated,

Brushes,

71

Brushes,

for wash

work,

40,

45,

46,

53,

48

91
123

Buttons,

illustrated,

Callot.

1, 2, 3, 4

figure,

illustration,

influence,

Stcurs,

107

42,

du,

54,

87,

Ernest

Isabeau,

A..

45

ink

Catalogue,

22

work,

72

117

Catalogue,

pattern

Catalogue,

wash.

Catalogue

30

page,

work

Charlemagne,

95

*"

illustrated,

illustrated,

Catalogue

113

de

finish, 43

masculine

Beau,

Carlyle,

Countess

Bascpiine,

110

38

65

form

George,

Batchelder,

50

95

in, 10

musketeer,

Byzantine
Background.

55

108

Bustle,

116

59

Catherine,

61

Buddhism.

102

62

49,

16

Brunelleschi,

21

33,

illustrated,

127-128

Brummel,
109

54

40

illustrated,

Saint

colors,

Brush,

14

Arms,

of

Brittany,

93,

39,

Binary

Braie,

94

illustrated, 112

illustrated,

Arms,

31,

color,

Bibliography,

Box

England,

Armorial

Avery,

Ben

Boots,

costume

Applying

Austria,

Day

Bliaud,

"23

color, 9, 70-71

Asp.

40

35

illustrated,

Brittany,

Anne.

Artists

illustrated,

Day,

Ben

Betrothal

53

62

arrangement,

Arthur,

illustrated,

illustration,

Ben

Blocking

Anatomy,

of

ink

IOC

harmony,

Anne

42

Birch,

Analogous

Animal

51

103

illustration,

brush,

Air

anri

49

103

of Pericles,

Age

store

magazine

Advertisement,

Age,

Aubrey,

Beardsley, Aubrey,

103

work

30,

40

31,

illustrated.

50

illustrated,
107

47, 51

.35
52

54

119

Thirty-eight

Hundred

One

Page

daughters

Charlemagne,
Charles

I, King

Charles

II, King

Charles

VI,

Charles

X,

Charles

the

Chart,

color,

of,

9-t

England,

of

86,

England,

of

86,

lU
116

95

Simple,

Chemise,

tone,

Color,

value,

66

Color,

warm,

63

13

37

Chiffon,

illustrated,

Children,

59

illustrated, 13,

lay-out illustrated,

Children,

proportions,

Children,

proportions

Chinese

influence,

Chinese

ornament,

30, 52,

Composition,

reference

Construction,

head

16
41

white,

37

Corset,

Doric,

103

Corsets,

Chiton,

Greek,

103

Costume,

Chiton,

Ionic,

Greek,

103
36

Greek,

Period,

Clifford, Period

illustrated,

Egyptian.

Collection,

swipe ,36

Color,
'"

binary,

Dr.

intensity

Color,

materials,

Color,

normal.

Color,

Frank

65.

Gallic, illustrated.

Costume,

Gallo-Roman.

Costume,

Greek,

primaries,

Color

scale, 63

Color

schemes,

67-70

70, 71

03
63

67

62

Costume.

Homeric,

illustration. Preface

Costume,

Louis

XIV,

Costume,

Louis

XV,

Costume,

Ij(3uis XVI,

Costume.

Louis

XVIII.

Costume,

Ijouis

Philippe, illustrated,

Costume,

ma.sculine, British

Costume,

Minoan

Costume,

Pre-Hellenic.

103

illustrated,

illustrated,

Restoration,

Costume,

reference
Roman,

Costume,

Romantic

Costume,

Wattea

121

English, 120
103

illustrated,
127,

121

128

104-105

Period,
I)

illustrated,

"lustrated.

Costumes,

Restoration,

Costumes,

2d

110

121

103

books.

significance, CC, 07

Cotte,

illustrated,

or

118

119

Mycenaean,

or

Costume.

Costume,

115

illustrated, 117,

sketch,

105

103-104

Color,

Color, tempera,

105

Costume,

118,

120

illustrated,

Color

101-102

Costume,

63

chroma.

illustrated,

Egyptian,

illustrated.

70-71

Crane,
or

illustrated, 119
101-102

Empire,

63

Color,

Egyptian.

First

chai-t, 65-66

Color,

Directoire.

Costume,

Costume.

36

Color, complementary,

Costume.

102

61-71

Col^or,applying, 9,

120

illustrated, 117,

63

documents,

Col'

Consulate,

Design, Preface

century,

101

Collection,

Color,

122

18th

97, 98

color,

39

114, 120,

Costume,

Collar, flat, 116

Cold

91

96

Furnishings,

Egyptian

22

121

illustrated,

Costume

103

17

10, 37

Costume

103

30

fashions, illustrated,120

Convention,

Copying,

98

construction.

toothpick,

Coptic design,

97

books,

illustrated,

121

Consulate

10

illustrated, 17

53

figure illustrated, 15

of

Consulate.

Chiton,

Cloaks,

harmoziy, 65

Composition,

Chinese

Colbert.

colors, 63

Construction,

Children,

Cloak,

30

Construction

Children,

Classic

50

Complementary

Chiffon,

Circle,

wash,

Complementary

Chicing, 10.

hue, 63

tertiary. 03

Compass.

Chlamys,

63

tint, shade,

with

Colors,

65-60

108

Cheruet,

theory,

Color,

Color,

95

illustrated, 41, 42

Checks,

Color,

Color, water,

122

121,

INDEX

Empire,

117

illustrated.
illustrated,

121

122

121

119

INDEX

Crane,

Dr.

ciilor, 67-70

Frank,

Drc-s,

Consulate,

Dress,

ISlh

century,

.'"
Crepe, illiistratecl,

Dress,

18th

century

Cromwell,

Dress,

Egyptian,

Crayon,

pencil, 48, oO, 51,

Oliver,

Cromwell

ian

1'2-i

110

period, 86

Crown,

re"l, 102

Crown,

white,

102

Dancing

David,

Jacqne.s Loni.s,

120
117-121

illustialed, 117, 118,

Dress,

11th

century,

Dress,

First

Empire

108

illustrated, 120

and

15th

century.

Dress,

Greek,

Dress,

Louis

XIV,

illustrated, 115

101

Dress,

Louis

XV,

iliustra'.ed, 117,

87

Dress,

Louis

XVI,

Dress,

Louis

XVIIL

Dress,

Louis

Philippe, illustrated,

102

15th

centiiries

92

detail
fashion

Decorative

lialf-tone, 56

Dress,

19th

Decorative

pen

and

ink, 40

Dress,

parti-eolored 93, 109,

Decorative

pen

and

ink, ilhistrated, 53

Dress,

Restoration

Decorative

treatment,

Dress,

Roman,

Dress,

Romantic

Design, .ad.aptationillustrated, 91, 75, 76

Dress,

.second

Design, costume,

Dres.s, Kith

century,

113,

Dress,

17th

century,

116
108

Department

38

advertising.

store

of, 65

and

70-78

Dress,

Watteau,

decorative,

Detail,

illustrated, 42

ilhistrateii. 44, 45

of Valentinois,

Dutchess

Directoire,

121

98. 120,

Directoire

and

Directoire

co.stume,

Directoire

period.

Directorate,

design,

Empire

98

illustration. Frontispiece
47, 54

Helen,

16, 47, 54

Dryden,

Helen,

illustration, 16, 24

Maurier,

George,

J. M..

88

Prrface,

Diuer,

All"ert, study

Durer,

Albrecht,

Duval,

14

of hands,

19

38

illustration, 85

Preface

Dyes, ancient,

87

110

Dryden,

Diirer, Albrecht,

ilhistrated, 119
97

centuries,

illustrated, 117

Drian,

Dunjop,

113

14th

114

Drian,

Du

])ctai!s, 5-6

illustrated. 121

illustrated, 122

Empire,

century,

significance,91

105

104,

Period,

13th

Detail,

Diana,

93,

12th

110,

illustraleil, 121

Dress,

Design, symbolic

121

121

century,

Dress,

91

Design, primitive,
sources,

illustrated, 121

91

Design, influences,

Designers,

39

75-79

Design, fundamentals

Design,

ilhistrated, -14, 45

118

illn.strated, 119

Decorative

work

illustrated, 110

111

Dec-orative

illn.strated, 44,45

119

102

92. 101,

Dress,

girls,Egyptian,

Ages, Egyptian,

Thirty-nine

Dre.ss, 14th

Crnsa(le.s, 95, 108

Dark

Hundred

Page One

92

Directory, 121, 122

Documents,

36. 86

Documents,

u.se

Dominant
Doric

Early fabrics

harmony,

chiton.

Early

illustrated, 37-38

East

62

India

East,

103

and

designs, 91

Renais.sance

costume,

Company,

influence

illustrated, 112

97

of, 91, 93
,

Dotted

materials,

Doul)le

complementary

Pouhlet,
Dow,

Eastern

37

harmony,

30, 52

38

Drapery,

illnstrate"l, 85

Drawing,

without

models,

13-23

(i

and

History. 3d

to

lltii

Century,

106-107

Editorial,

magazine

Editorial,

newspaper,

Editorial,

pen

and

Egyptian

costume.

Egyi)tian eoslume

91

Editori.ii. magazine,

53

Drapery,

Dress

design.

97

Editori.nl. magazine.

114

Arthur,

Dretoll,

Eastern

65

character,

56

illusfrale"j, 44, 45

color, illustrated, 62
40

ink. .38, 39
101,

102

illustrated, 92, 101, 102

Hundred

One

Page

Egyptian

dress,

Egyptian

emblems,

Egyptian

fabrics, 91, 92

symbols,

Egyptian

century,

Eighteenth

century,

reference

costume

illustrated,

costume,

Eleventh

century

dress, 108
of

Queen

Elizabethan

era,

113

97,

3C

illustrated, 37

Emblems,

102

Egyptian,

Enibroiilery, illustrated,

88,

Empire

1-3

Fern,

Forrester,

Francis

I, 95

Francis

I.

Franks,

107

38

Furs,

decorative

Furs,

realistic method

illustrated,

illustrate"l, 105

Gathers,

38

illustration, 5

Gathers,
Gauls,

costume,

style, 87

Gauls,

history and

Gauls,

reference

29

George

I, George

George

III, 87

classification. 90

Faces,

to, 131-133

Feature

illustrated, 47

reali tic treatment,

illustrated, 50

cut
19

Fichu,

107

Fifteenth

century,

Fifteenth

84, 85

Gloves,

107

thread,

use

Age,

103

Gothic

architecture,

Gothic

tapestry,

Greek

Classic

Greek

costume,

103,

costume,

century

Doric

Fifteent

century

reference

Greek

dress, 92

Greek

girdle, 103

Greek

history and

Greek

Influence,

First

Empire,

First

Empire

Flowered,

123

Flowered

materials,

Fontange

headdress,

103
104

illustrated, 103,
dress

dress, 103, 104

91

Greek

Law,

0, 27, 28

Greek

Law,

illustrated.

37

Green.

illustrated, 120

110

Fontauge headilress, illustrated,

115

Ehzabeth

104

illustrated, 92

illustrated,5

fashions

material,

84

Period,

Greek

illustrated, 5

83

illustrated, 84

Greek

material,

102

Gorget, illustrated,

dress, illustrated. 110

Figured

III, 117

of, 95

dress. 111

111

George

103

Egyptian,

century

books.

106

121

Fifteenth

Figure, 13-23

105,

lOG

II, and

Globes,

Golden

116

Feathers,

IV,

Greek,

Gold

16-18

Fans.

Feet,

reference

documents,

Fabric,

George

dress,

books.

Ert6, illustrations, 44, 43

Girdle,

106

105,

Ert6, 42, 47, 54

60

illustrated, 105

co.stume

1st, 123

Enlarging, illustrated,

45

illustrated, 47

86

costume

Gallo-Roman
98

illustrated, 1, 2, 3, 4

form

view,

Gallic

38

113

86

2d, 122

Fabric,

illustrating,

illustrated, 94

of France,

King

Empire,

Etching, 54,

111
dress

54

Empire,

Empire

books.

century,

Gainsborough,

42

work,

122

costume,

arrangement,

Forms,

Fur,

Ellipse, construction

Empire,

119

8.5

wash

Formal

Front

Ellipse, constructing,

fifteenth

and

Fragonard,

England,

collar, 8G

Emijroidery,

117,118,119

illustrated, 107

century

Elizabethan

dress, 110
reference

century,

Francis,

late, illustrated,

century,

Eleventh

Elizabeth,

hooks. 1 1 6, 1 23

costume

dress, 117-121

century

Eighteenth

century

110

86, 88

Eighteenth century

Mile,

Fourteenth

Fourteenth

101

de, f)7, 116

Fontanges,

Fifteenth

102

Eighteenth

Eighteenth

102

101,
102

Kingdom,

Old

Egyptian,

92,

INDEX

Forty

27

Shippen,

16

Green.away,

Kate,

16, 87

Greenaway,

Kate,

style illustrated.

87

INDEX

Page One

Hair.

18

Homeric

Hair,

illustration, 18

Hoop,

Half-tone,

references.

Wash

see

Handkcreliiefs,

lines, 65

Houppelatide.

90.

illustrated, 84, 110

Froitti.ijiiccf.
8, 19

Houppelande.

Hands,

illustration.

Hue,

7. 18. 19. 20

103

costume,

Hands,

Harmonies,

Forty-one

117

Horizontal

107

Hundred

110

61

62-03

Harmonies

of difference, 65

Imagination,

Harmonies

of likeness, 62

"

Impossibles,"

costume

illustrated,

"

Ineroyables,"

costume

illustrated,

"

Ineroyables," "unimagineables,"

Harmony,
Hat,

G5

design illustrated,

75

Hats,

Hats,

designing, 78,

Hats,

illustration. 8. 24. 79

Hatton.

Hicliard

G.. Preface

Indian

lawns,

122

Indian

shawl,

98

Individuality, 43, 45.

Head,

1.S, U

Influences

Head,

illustrated, 17

Ink, 42

Heads,

16, 17

Heads,

children,

Fontanges,

Headdress,

hennens.

illustrated. 115

horne"l. 83

Headings,

illustrated, 110

headdress,
110

U.

Henry

VHI.

85

Henry

VHI,

King

Historic

costume,

History

and

I, King

James

II, King

d'Arc,

116

47

90

121

illustrated, 22

Kerchiefs,

fal"rics,95

105-106

Lace,

Greek,

10,3-104

Laces,

dress,

History, 11th

114

England,

103

dress, Gauls,

to

of

prints, 44,

Josephine,

Ill

England,

of

Egyptian,

102

101-123

History, Roman,
History, 3d

James

Jumping,
93.

Hisi)ano-Mores(|ue

History and

England.

95

Greek.

Hiniation,

I, 86

Jeanne
of

97

James

Japanese

97

Her.aldic forms,

illustrated, 93

costume

123

Jacobean,

Henry

103

century

110

Jackets.

42

Hennins,

14th

Jabot.

illustrated, 27

Hennin,

116

chiton.

Italian

52
91

110

illustrated. 54

Heading,

Hem,

Ionic

116

Headdress.

La

104

11th

century,

century.

History, 12th century,

14th

illustrated, 42
37-38

Valliere, Louise,

Lawns,

106

Indian,

107-108

Lawrence,

108

Laws

for

Lay-out,

97

122

86
use

of color, 65

illustrated. 41

History. 13th

and

History, 15th

century,

110-111

Lay-out, finished, illustrated. 30-31,

Lay-outs, 29,

centuries,

108-110

30

century,

111-113

History, 17th

century,

114-116

Lay-outs, rough, illustrated, 29

History, 18th

century,

117

Leaping, illustrated,

History,

Hogarth.

10th

Holbein.

Hans,

Hollar,

86

22

Legs, 14

96

Holl)ein, Hans,

119

merverilleuses"

governing, 65

Interregnum,

Hea"ldres.s. Fontange.

Headdress,

design,

in

Intensity, laws
16

"

119

"impossibles," 121

and
79

77

85

Lepape, George,

illustration, 86

Lettering, book
Line

cut,

see

Pen

42, 54, 80
on,

30

and

ink

references.

35,

41, 47, 51

Hundred

One

Page
Lines,

Forty

INDEX

-two

Monvel,

45

Lord,

Harriet.

Egyptian,

Lotus,

Pliiiipi)e,
122
121.

Louis

Philippe

Louis

XI,

Louis

XIII.

King

Louis

XIV,

117

Louis

XIV,

King

95

of France,

Louis

XIV

Louis

XV,

87,

Louis

XV,

costume

Louis

XVI,

87,

Louis

XVI,

costume

Louis

XVI,

period of,

Louis

XVIII,

121,

Louis

XVIII,

costume

Lutz,

E.

8G. 00.

07,

lit!

Metropolitan,

Metropolitan,

illustrated, 121

57
53

pattern

and

Mantles,

118

Nocturne

Margins,

Normal
87, 98

strips, 98

Marie

Louise,

Old

Preface

One

Armand,

and

Materials,

for crayon

Materials,

wash.

McQuin.

47. 54

Medici,

Catherine

Medicis,

Marie,

Memling,

Hans,

Meredith,

Owen,

"

jiencilwork,

113

1 13

painting of,

Method,
Method

catalogue
decoration
of

95

illustrated,
method

colors. 08. 69

two

Method,

realistic

illustrated. 39

Method,

realistic

treatment

Method,

textile

Monochromatic

Montespan,

designing,
harmony,

Madame

119

llustrated, 58

illustrated, 44, 45

reproducing

illustrated, 40, 46

mofle

Egyptian,

harmony,
4

characteristics.

construction,

97

13, 14

Roman,

104

Paintings, having bearing

on

costume.

Paintings, having bearing

on

fabrics, 131-133

Paisley shawl,

98

Palla. Roman,

104

117

Paper, carbon,

32

Paper, frisket,

32

Paper, graphite,32
Paquin.

Parasol,

illustrated, 38

Parsons.

Frank

Alvah,

Parti-colored

costume.

62

Parti-colored

costlmie

Parti -colored

dress, 95

116

101

62

54-59

de, 97,

inspiration, 77

as

94

Kingdom.

Pauier,

88

wash

dress, 121, 123

century

by Whistler

Paenula,

de. 97,

illustrated, 107

87, 88

51

-18

Marveilleuses,"costume

Method,

Oval,

102

costume

color, 61

Oriental

color, 65, 70, 71

101.

centuries

century,

Openings,

37

Materials,

65

Ogival forms,

121

IMaterials, black,

42

tenth

Ninteenth

de, 97, 116

122

empire. Egyptian.

Nineteenth

57

121

122

III. 121,

Kay,

Magazine,

Martial

Louis.

Neutralization,

Ninth

Antionette,

84

87, 98

Neilson,

editorial illustrated. 02

Antionette,

from.

103

Bonaparte,

86

Magazine,

Marie

tapestry

116

costume,

Nattier,

New

Marie

92
88

122

Napoleon

editorial. 50

Marshall,

boots,

Napoleon.

Magazine,

Madame

92

trated,
design illus-

room,

period dolls.

Metropolitan,

Napoleon

G., Preface, 8

Maintenon,

of

source

Metropolitan, Coptic

Napoleon.

98

drawing,

119

122

advertising,

as

Museum,

Mycenaean

illustrated, 118

Magazine, advertising illustrated,

Coptic designs,

Union,

Museum,

Muslins.

118

117, 120

98,

Museum,

Musketeer

illustrated, 117,

97,

Cooper

Museum

117

97, 98,

II., 61

A.

76

illustrated, 115

costume

131

century,

Museum.

110

of France,

6th

83

age.

Munsell,
illustrated. 121

costume

de, 96, 111

Byzantine.

Moyen

102

Louis

Magazine,

Boutet

Mosaic.

3-t

30
110

illustrated, 109

131-133

INDEX

Parti-colored
Pattern

dress ilhistraterl,
93

Pattern

drawing, magazine,
drawing, newspaper,

Pattern

work, magazine illustrated..50

Pattern

illustrated,48

Problem.

Hundred

One

Page

Forty-three

45

Puritans, 86

57
39

Quaker,

86

Pen

work, new.spaper
and ink, 38-47

Pen

and

ink, black detail work

Pen

and

ink, black

Pen

and

ink. catalogues. 40

Reference

books, Egyptian, 102

Pen

and

ink, catalogue illustrated,Si

Reference

books, Gauls, 106

Pen

and

nik, decorative, 40

Reference

books, 3d to 11th century, 107

Pen

and

ink, decorative

Pen

and

ink, illustrated,46

books, 11th century. 108

Reference books, 12th century, 108

Pen and

ink, magazine advertising illustrated,53

Reference

books, 13th, 14th, and

Pen

and

ink, magazine work, 39-47

Reference

books,

Pen

and

ink, pattern work

Reference

books, 18th century, 116, 123

Rael)urn, 86
illustrated,40

material illustrated,40

work

illustrated,53

illustrated,40, 52

Red,

Reference

Pen, ruling,36

Reference

Pens, 43

Regency,

Pencil

Peplum,
Period

books, 19th century, 123

84

79

Renaissance, 85, 97

116

Renaissance

influenced, silhouette, 83-88

Periods in designing,77, 78
Periods, painting as
Persian

references, 131-133

verdure, 96

late, illustrateil,
113, 114

costume,

Renaissance, early,costume

Reproduction,

illustrated,112

color proce.ss, 68, 69

two

Republic, French,

122

Restoration, 122

Personal characteristics,75

Restoration, costume

Personality,79

Reta

Pericles, age

Revolution. French. 98, 120

Perneb,

of, 103

Petit Trianon,

Rhythm,

120

illustrated,121

Sanger, illustrations.13, 43, 62

Reynolds. Sir Joshua,

101

86

65

Phrygean bonnet, 108

Richter, Pre/arc

Pilgrims,80

Roman

costume,

Plai.is,37

Roman

costume

104
illustrateil.

Plaids, illustrated,41

Roman

costume

reference

Plaids,shepherd, 37

Roman

dress, 93

Plaids, shepherd's,illustrated,42

Roman

history,104

Pleating,illustrated,5

Roman

palla,104

Plaits, box, 38

Roman

poenula, 104

Plaits, side, 38

Roman

toga, 104

Roman

tunic,104

Pleats,Watteau,

118

Romantic

Poiret, Paul, 6

Pompadour,

de, 87, 98, 117

Marchioness

Poor, Henry A.,

Ross

30

Pre-Hellenic costimie,
4

103

104, 105

books, 105, 106

period,122

Romantic

Romney,

Pompadour stripes,98

Premet,

15th centuries. 111

century, 116

117

Rembrandt,

50, 51

fabric design,91-98

Period, how

17th

Religiousorders.

48

crayon,

Pencil, crayon,

102

crown,

Reducing, illustrated,29

period,costume
86

board, 31

Ross board, illustrated,33

Royal gardens, 97

Priests, 102

Rubens.

Primaries, colors, 61

Ruff, 114

Primitive design, 91

22
Running, illustrated,

80

121
illu.strated,

Forty-four

Hundred

One

Page

Catherine, betrothal

Saint

INDEX

Spotting,

of, 95

53

Scale, in design, 79

Squares, ruled,

Scale of color, 61

Standing

Scroll motif,

illustrated, 94

Sculpture, Greek

Empire

Second

Senger, Reta,

and

Roman,

costumes,
43.

13,

54.

131

M.

G., illustration, 56, 60

Stipple, illustrated.

34

Stitcliing.,38

century

costmne

Seventeenth

century

dress, 116

86

illustrated, 114

Stitching, illustration,
Stock,

110

Straps, Egyptian

87

116

Stockings,

61

102

hanging,

Stripes,37

122

Shawl.

Indian,

Shawl,

Paisley,

Shawls,

E.

64

century,

Shawl,

55

Steinmetz,

Stipple,34

Seventeenth

Shakers,

Steinmetz,

illustrated, 12'2

Seventeenth

Shade,

32

illustrated, 22

Stripes, illustiated.

98

5, 41

Antoinette,

Stripes, Marie

98

Shepherd

kings,

Shepherd

plaid,37

101

98

98

Stripes, Pompadour,

123

Surcot.

110

Surcot,

illustrated, 95, 109

Shoes,

19, 22

Swastika,

Shoes,

illustrated, 7, 18, 34, 35

Swipe

collection, 36

Swipe

collection, illustrated, 37, 38

Side

plaits,38

Significance, color, 66,

Symbols,

67

Syrian

Silhouette,

34-36

Silhouette,

fashion,

Silhouette,

half-tone,

Silhouette,

illustrated, 36,

Silhouette,

period illustrated,

Silhouette,

value

print,

illustrated, 43

Theory,

86

Third

of, 83

century

costume

illustrated. 111.

Sixteenth

century

costume

reference

Sixteenth

century

dress, 113,

85-86

seventeenth

Sketch,

dressmaker's,

Sketch,

manufacturer's,

centuries,

memory,

dress. 106.
century

111

century

dress, 110

Thirteenth

century

reference

Technique

catalogue

107

Wilcox,

97

books.

111

illustrated, 30,

31,

35, 41,

Technique,

color, 9

Technique,

crayon

pencil, 50

Technique,

crayon

pencil illustrated, 7, 59, 124

Technique,

decorating,

Technique,

decorative,

Technique,

decorative

Technique,

detail, 37-38

Technique,

detail,

illustrated, 44, 45, 53

illustrated, 56

illustrated, 42

pattern
and

Technique,

pen

pencil, 3

pen

Ben

see

Board,

Day,

Air

etc.

and

ink, 40

ink, 38-41

Spatter work,

31,.32

Technique,

Spatter work,

illustrated, 33

Technique,

realistic, illustrated, 35, 42, 47, 51

Technique,

silhouette. 34-37

Technique,

sketching,

Split complementary
54

42,

40

half-tone

mechanical,

Print, Ross

Technique,

16

Soulie, 54, 124

Sport suit,

trated,
illus-

costume

51. 52, ,58

Silver

Jessie

century
fourteenth

Thirteenth

Technique,

113, 114

Sleeves, 88
Smith,

and

-5

Sketching, life, 7

costumes,

112

47,

10

Sketching, garment,

books.

114

Sketching, for manufacturer

Sketching,

eleventh

109

century,

Slashed

color, 63

to

Thirteenth

Sixteenth

Sketching.

83, 84

illustration, 6

Theatrical

32

and

102

93

Tapestries, Gothic,

87

Sixteenth

Sixteenth

Egyptian.

weavers.

83

Silks, oriental, 122

Silver

91

harmony,

65

3-10

Brush,

INDEX

Technique,

stipple,

Technique,

wash,

card

sliow

Tempera,

colors,

Tertiary

Van

culors,

54-57

Textile

designing,

illustrated,

Textures,
Tint,

Vest,

Roman,

Tone,

61

Toothpick

22

construction,

applied,

Walking,

23

32
32

period,

Transaction,
Treatment,

97

decorative,

Iwrmony,

Triangular

38

65

erection,

Trianon,

Petit,

101

120

Trimmings,

37

Trimmings,

illustrated,

Trunk
Tucks,

38

Tucks,

illustration.

Tulle,

94

illustrated,
color,

Wash,

advertising,
catalogue.

Wash,

decorative,

Wash,

editorial,

Wash,

layout

Wash,

materials,

Wash,

methods,

Wash,

pattern,

Wash,

pattern

Wash,

realistic,

Watteau,

9
104

Twelfth

century,

costume

Twelfth

century,

dress,

illustrated,
108

109

illustrated,

62

Value,

color,

Values,

de

Mile,

Valliere,
Value,

la,

52,

116

66

52

Vanderpoel,

illustration,

20,

21

illustrated,

41

48
49-50
47

work,

48

48
48

47-50
86

costume,

Watteau

plait.

Watteau

styles.

Weeks,

64

50

48,
47

Watteau

Weaving.
Underwear,

47-48
48

sketching,
work.

22

61

Wash,

Wash,

Roman,

122

116

Warm

Wash

illustrated,

Tunic,

illustrated,

motive,

normal,

Waistcoat,

construction,

Transferring,

Triad

39
102

104

14

Tracing,

illustrated.

Egyptian,

Waist,

Toothpick

Torso,

121

Vulture,

Toga,

75

113

Vignette,

61

19

116

Victoria,

38

Preface,

86

lines,

Vcrtugale,
55

H.,

86

Valastjuez,

S^i

paper,

37,

Dyke,

Vertical

designing,

of

71

61

Textile

Texture,

J.

Vanderpoel,

3-1
"t7-,30

Hundred

One

Page

illustrated,
118
120

93

illustrated,

White,

Chinese,

White,

crown.

3
37

102

William

IV.

121

William

the

Conqueror,

Wimple,

illustrated,

Women,

Egyptiau,

107
83

103

117

Forty

-five