,this e-text comes in three forms3 ,unicode 7,,utf-#h71 ,latin-#a and ,,ascii4 ,use the one that works best on your text reader4 --,if oe displays as a single character1 and apostrophes and quotation marks are curly or angled1 you have the ,,utf-#h version 7best74 ,if any part of this paragraph displays as garbage1 try changing your text reader's character set or file encoding4 ,if that doesn't work1 proceed to3 --,in the ,latin-#a version1 oe is two letters1 but ,french words like tude have accents and is a single letter4 ,apostrophes and quotation marks will be straight 7typewriter form74 ,again1 if you see any garbage in this paragraph and can't get it to display properly1 use3 --,the ,,ascii-#g or rock-bottom version4 ,quoted text in ,french or ,italian will not have its original accents1 but ,english text will be essentially unchanged4 ,footnotes that give translations of quoted material have been kept in their original location4 ,other footnotes are mainly bibliographic2 these are grouped at the end of the text4 ,dates originally printed as ,,xviiime sicle and similar1 with superscript me1 have been simplified to ,x,v,i,i,ime4 ,some illustrations have been shifted up or down to avoid interrupting paragraphs4 ,many illustrations contain original text1 either within the picture itself or as a decorative caption below4 ,short captions are given in braces after the modern 7#aifg7 caption4 ,others are collected at the end of the e-text4 ,spelling and punctuation of this and other original material is unchanged4 ,united ,states ,national ,museum ,bulletin #bej ,contributions from ,the ,museum of ,history and ,technology ,paper #fj1 ,pages #fe-ib ,,origin ,,and ,,early ,,history ,,of ,,the ,,fashion ,,plate ,john ,l ,nevinson ,smithsonian ,press ,washington1 ,d4,c4 #aifg ,illustration3 ,figure #a4--;,,dress ,,of ,,sigmund ,,von ,,herberstein for the ,polish ,embassy in #aeag4 ,over his doublet and breeches he wears a brocade gown lined with silk4 ,from ,gratae ,posteritati1 #aefj4 7,courtesy of ,british ,museum1 ,london47 ,a ,,maximiliano ,,caesare ,,ad ,,sigismvndvm ,,poloniae ,,regem ,,et ,,basilivm ,,magnum ,,moscoviae ,,principem ,,sic ,,vestitvs ,,destinatvs ,,svm4 ,john ,l4 ,nevinson ,origin and ,early ,history ,of the ,fashion ,plate ,a fashion plate is a costume portrait indicating a suitable style of clothing that can be made or secured4 ,fashion illustration began in the late #aeth and early #afth centuries with portrait pictures that made a person's identity known not by his individual features but rather by his dress4 ,this paper1 based on a lecture given in the fall of #aifc at the ,metropolitan ,museum1 ,new ,york1 traces the history of the fashion plate from its origins to its full development in the #aith century4 ,with the improvements in transportation and communication1 increased attention came to be paid to foreign fashions1 accessories1 and even to hairstyles4 ,as the reading public grew1 so fashion consciousness increased1 and magazines1 wholly or partly devoted to fashions1 flourished and were widely read in the middle social classes2 this growth of fashion periodicals also is briefly described here4 ,,the ,,author3 ,john ,l4 ,nevinson1 retired1 was formerly with ,the ,victoria and ,albert ,museum1 ,london4 ,he now devotes himself to full-time research on costumes and their history4 ,fashion may be defined as a general style of dress appropriate for a particular person to wear at a certain time of day1 on a special occasion1 or for a specific purpose4 ,a fashion plate is a costume portrait1 that is to say1 a portrait not of an individual but one which shows the sort of clothes that are being worn or that are likely to be worn4 ,it is a generalized portrait1 indicating the style of clothes that a tailor1 dressmaker1 or store can make or supply1 or showing how different materials can be made up into clothes4 ,a fashion plate is related to the wear of its epoch and not to the history of dress1 except insofar as the dress of a historical personage may be imitated at a later date4 ,a fashion plate is reproduced mechanically1 the woodcuts and engravings of earlier dates being succeeded by lithographs and finally by the various photographic processes of our time4 ,this definition of a fashion plate is broader than the one adopted by ,mr4 ,vyvyan ,holland1 who has written the only substantial book on the subject4#a ,mr4 ,holland limited his study to hand-colored fashion plates of the period from #aggj to #ahii1 possibly because these are most in favor with collectors4 ,he omitted trade and advertisement plates1 believing them to be primarily concerned with the history of dress4 ,the main functions of fashionable dress are to draw attention to the wearer1 to define his social position1 and to show who he is and what he is doing4 ,modesty1 protection against the weather1 and appeal to the opposite sex1 are1 so far as fashion is concerned1 subsidiary functions4 ,interest in fashionable dress goes back at least to the #afth century1 as is evidenced by a popular dialogue written by ,alessandro ,piccolomini1 a relative of ,pope ,pius ,,ii1 who subsequently became coadjutor ,archbishop of ,siena4#b ,piccolomini wrote under the pseudonym ,lo ,stordito1 and it is not clear to what extent the dialogue was sponsored by the ,academy of the ,intronati1 an aristocratic1 literary1 and social society of which he was a member4 ,he stated that the requirements of fashionable dress were that it be sumptuous in material1 tasteful in style1 and borne gracefully by the wearer4 ,unfortunately for the costume historian1 the dialogue is not illustrated4 ,it has been assumed too readily perhaps that the fashion plate dates from the late #ahth century1 but it is not difficult to demonstrate that it existed in all its essentials at earlier periods1 even though its history may not be continuous4 ,the beginning of the illustration of fashions is found in portraits1 the earliest of which1 either sculptured or painted1 developed from images of kings and important personages4#c ,these images1 unlike the imagines of the ,romans1 made no attempt to portray the features of an individual1 but made his identity known rather by his clothes1 his arms1 and other indications of rank or position4 ,the development of the stylized image into the personal portrait is well illustrated in the diary of ,jrg von ,ehingen4#d ,von ,ehingen1 who traveled widely in ,europe during the years preceding #adfj1 might be described as a professional jouster1 who took part1 usually with great success1 in tournaments at the various courts4 ,to illustrate the account of his exploits1 he had portraits drawn and painted of the different princes and kings1 portraying each not with his crown and scepter but with the distinctive fashion of his court4 ,this diary--not printed until the #aith century--was circulated in manuscript and shows1 in addition to the interest in personal portraits1 the growing interest in the dress of individuals4 ,illustration3 ,figure #b4--;,,dress ,,of ,,sigmund ,,von ,,herberstein for the second embassy to ,moscow1 #aebf4 ,he wears a wide-sleeved gown with the collar and lining made of fine sables4 ,his fur-lined high cap is of white felt1 its brim distinguished by a band of red cloth1 a mark of nobility4 ,from ,gratae ,posteritati1 #aefj4 7,courtesy of ,british ,museum1 ,london47 ,,alter ,a ,,legatione ,a ,,ferdinando ,,imperatore ,,tvnc ,,archidvce ,,missvs ,,ad ,,moscvm1 ,,ille ,,me ,,tali ,,remisit ,,veste ,illustration3 ,figure #c4--;,,dress ,,of ,,sigmund ,,von ,,herberstein for an embassy to the ,sultan1 #aeda4 ,the short gown 7,schaube7 of ,italian brocade figured with black and gold has wide shoulders and padded upper sleeves4 ,the collar1 lining1 and foresleeves are of similar fabric but with a dark violet ground for contrast4 ,from ,gratae ,posteritati1 #aefj4 7,courtesy of ,british ,museum1 ,london47 ,,ambo ,,nos ,,oratores ,,tali ,,veste ,,ad ,,tvrcarvm ,,imperatorem ,,missi4 ,although the earlier painters of the ,italian ,renaissance recorded the decorative and often exotic dress of their times1 their portraits of individuals consisted in the main of medallic heads and busts4 ,it was the ,german portrait painters who1 to a greater extent1 recorded and disseminated the knowledge of fashions4 ,hans ,burgkmair painted himself on the occasions of his betrothal in #adig and his marriage in #adih1e and in the #afth century ,hans ,holbein the younger noted on his drawings the dress material and colors of the clothes worn by his sitters4#f ,even a much less distinguished person1 ,matthus ,schwartz1 a clerk employed by the banking firm of the ,fuggers at ,augsburg1 had a book prepared showing the clothes he wore at what he considered to be the most important stages of his career4#g ,the first person to have such pictures printed was ,sigmund von ,herberstein1 who deserves detailed consideration4#h ,in his diplomatic career1 which extended over #cj years1 ,sigmund von ,herberstein served three ,emperors--,maximilian ,i1 ,charles ,v1 and ,ferdinand ,i4 ,he was a student of ,russian history and an outstanding linguist1 who1 having learned ,wendish as a boy1 found no difficulty with the ,polish and ,russian languages4 ,when1 in his old age1 he printed his memoirs1 he doubtlessly aimed at giving information on how an ambassador should conduct himself and to this end included illustrations of what he actually had worn1 which in many copies of the memoirs are carefully colored by hand4#i ,concerning his journey in #aeag 7fig4 #a71 he states that ,in these robes ,i was sent on the embassy to ,sigismund ,king of ,poland1 no doubt the fashion for the formal dress of an envoy4 ,on his first embassy to the ,grand ,duke of ,moscow in #aeag he was presented with a ,russian fur-lined robe1 but on his second embassy in #aebf1 he received a greater distinction 7fig4 #b73 ,having been sent a second time by the ,emperor ,ferdinand then ,archduke to ,moscow1 the ,grand ,duke bestowed upon me these robes4 ,this dress was far more sumptuous than the formal black velvet gown which he normally wore for embassies to the ,spanish and other courts4 ,by #aeda there was a change in fashion 7fig4 #c74 ,von ,herberstein wrote3 ,we two orators were sent in this dress to the ,turkish ,emperor1 and it was in this dress that von ,herberstein1 suffering perhaps from arthritis1 complained of having great difficulty in bowing low enough to kiss the hand of the seated ,sultan4 ,the imperial fashion of breeches and hose might have seemed indelicate to ,suleiman the ,magnificant1 who gave the ambassadors other robes 7fig4 #d73 ,the ,emperor of the ,turks presented us also with these robes4 ,the long-gowned costume shown here should have been completed by a turban1 but von ,herberstein evidently would not allow himself to be depicted in this4 ,illustration3 ,figure #d4--,,sigmund ,,von ,,herberstein ,,in ,,robes presented to ambassadors by the ,sultan1 #aeda4 ,the ,turkish gown of yellow silk figured with black1 with some of the medallions outlined in blue1 has long sleeves that hide the hands4 ,the inner robe is of red silk figured with yellow and gathered with a blue sash4 ,from ,gratae ,posteritati1 #aefj4 7,courtesy of ,british ,museum1 ,london47 ,,tvrcarvm ,,imperator ,,nos ,,qvoqve ,,vestibvs ,,donavit4 ,von ,herberstein seems to have kept his robes in his palace in ,vienna1 along with his collection of ,russian and oriental weapons1 illustrated in his history of ,russia3#aj these1 and stuffed specimens of ,aurochs1 then almost extinct1 and ,european bison1 formed the first museum of costume and natural history on record4 ,with the development of ceremonial1 some of the princely courts of ,germany had illustrations prepared of what should be worn by the officials of different grades 7fig4 #e74 ,several copies of each of these ,hofkleiderbcher--books giving rules or standards for correct court dress--were no doubt issued1 but none seems to have been printed for the general information of the public4 ,the first printed book on tailoring1 by ,juan de ,alcega1 was published in #aehh and includes diagrams showing how to cut ceremonial robes from the roll of cloth1#aa but there are no illustrations of what the completed garments should look like4 ,the history of fashion plates1 therefore1 is to be followed in less specialized works4 ,in the #afth century1 with the improvement of communications and the continuation of voyages of discovery1 great interest developed in the costume and way of life of other nations4 ,it is in this connection that the word fashion was first used in its modern sense4 ,in an address to ,king ,henry ,,viii1 a petitioner in #aebi1 deploring the sinfulness of the people of ,england1 wrote3#ab ,the pryncypall cause of sin is their costly apparell and specially their manyfolde and divers changes of fasshyons which the men and specially the women must weare uppon both hedde and bodye3 sometyme cappe1 sometyme hoode1 now the ,french fasshyon now the ,spanyshe fasshyon and then the ,italyan fasshyon and the ,myllen ,milan fasshyon1 so that there is noo ende of consuminge of substance 4 4 4 4 ,illustration3 ,figure #e4--,,leaf ,,from ,a ,,book of court costumes showing back and front view of a gentleman's dress4 ,german1 second half of the #afth century4 7,courtesy of ,rijksmuseum1 ,amsterdam47 ,foreign fashions were being imitated by ,english ladies4 ,inventories#ac in the ,public ,record ,office in ,london show that the ,english queens had robes cut in ,spanish1 ,milanese1 or ,french styles4 ,as for men1 it was said that they could not make up their minds what to wear1 and a popular caricature shows an ,englishman standing naked with a roll of cloth under his arm and a pair of tailor's shears in his hand1 saying3#ad ,i am an ,english man1 and naked ,i stand here1 ,musyng in my mynde what raiment ,i shal were1 ,for now ,i wyll were thys1 and now ,i wyll were that2 ,now ,i wyll were ,i cannot tel what4 ,london1 however1 was not a fashion center1 and the first book on the fashions of nations was printed in ,paris in #aefb4ae ,in his introduction to the book ,franois ,deserpz moralized3#af 4 4 4 noz vieux predecesseurs 4 4 4 ont est plus curieux de sumptueuse vesture que de rare vertu 4 4 4 car tout ainsi qu'on cognoist le ,moyne au froc1 le ,fol au chaperon1 le ,soldat aux armes1 ainsi se cognoist l'homme sage l'habit non excessif4 ,footnote #af3 ,translated1 this reads3 4 4 4 our predecessors of old 4 4 4 were more careful about sumptuous dress than rare virtue 4 4 4 for as the monk was recognized by his frock1 the jester by his cap1 and the soldier by his arms1 so the wise man was known by his moderate habit4 ,illustration3 ,figure #f4--,,portrait of an ,english lady4 ,from ,recueil de la diversit des habits1 #aefg ed4 7,courtesy of ,victoria ,albert ,museum1 ,london47 caption at end ,acknowledgments were made to the late ,captain ,roberval and to an unnamed ,portuguese1 but it is not known which of them contributed the portrait of the ,english lady 7fig4 #f74 ,although she is said to be distinguishable by her square bonnet1 it is hard to find the style paralleled in any other picture4 ,the huge slashes on the bodice of her gown surely are exaggerated1 as is the smallness of the muff which hangs by a cord from her waist4 ,on the other hand1 ,joris ,hoefnagel copied and used the portrait as one of a group of citizens standing in the foreground of ,hogenberg's #aegd plan of ,london1#ag so the figure must have been regarded as approximately accurate4 ,illustration3 ,figure #g4--;,,dress ,,of ,a ,,french ,,woman 7front view7 with a tight-sleeved bodice through the cuts of which the lining is drawn out in puffs4 ,from ,omnium gentium habitus 4 4 4 1 #aefc ed4 7,courtesy of ,victoria ,albert ,museum1 ,london47 ,much more convincing as evidence of fashions are the etchings by ,aeneas ,vico that appear in ,bertelli's book on the costumes of the peoples1 published in ,venice in #aefc4ah ,the ,french woman shown in figure #g clearly illustrates a fashion which is familiar enough in portraits4 ,of particular interest is the back view 7fig4 #h7 showing her petticoat4 ,this type of petticoat was popular in ,spain in the late #aeth century1#ai but was not adopted in ,france1 ,italy1 and ,england until the second half of the #afth century4 ,illustration3 ,figure #h4--;,,dress ,,of ,a ,,french ,,woman 7back view7 showing the manner in which the bodice was laced and the hood fell at the back4 ,the skirt is raised1 revealing the farthingale petticoat with the roll at its hem which contained cane stiffening 7verdugo74 ,from ,omnium gentium habitus 4 4 4 1 #aefc ed4 7,courtesy of ,victoria ,albert ,museum1 ,london47 ,illustration3 ,figure #i4--;,,dress ,,of ,a ,,noblewoman of ,mantua4 ,from ,vecellio1 ,de gli habiti antichi e moderni1 #aeij4 7,courtesy of ,victoria ,albert ,museum1 ,london47 ,,donzella ,,nobile ,,ornata4 ,the next development in the history of the fashion plate is found in the costume books by ,cesare ,vecellio1 published in ,venice in #aeij and #aeih4bj ,vecellio1 a member of the same family as ,titian1 showed the costume of the different ranks of society in the various ,italian cities and states1 in the other countries of ,europe1 and indeed in the known world2 he also depicted a number of antique and old-fashioned dresses4 ,unfortunately1 the illustrations 7fig4 #i7 by ,christoph ,krieger1 whose name was ,italianized as ,guerra1 are not as good as ,vico's1 and ,krieger died before the series was complete4 ,but ,vecellio took great pains to secure accurate and up-to-date information about fashions1 and he received letters and drawings from his friends in various cities of ,italy4 ,master ,erasmo ,falte of ,parma sent him particulars of the dress of the ,duchess of ,parma1 together with a sketch by a good local painter1 which ,vecellio describes and adds3#ba ,sotto costumano il verducato1 overo faldiglia1 qual tien con arte la sottana larga modo di campana1 che torna molto commodo al caminare1 danzare3 hora si costumano per tutta l',italia questa sopra detta faldiglia4 ,footnote #ba3 ,translated1 this reads3 ,underneath1 the habit of the ladies who imitate the ,duchess is to wear the farthingale or pleated frock1 which skillfully holds the petticoat out wide like a bell4 ,this fashion is extremely convenient for walking or dancing1 and nowadays1 ladies throughout all ,italy wear this pleated frock mentioned above4 7#aeij ed41 folio #ahg4;a47 ,thus1 the bell-shaped farthingale 7fig4 #h7 had by #aeij become the general wear of the upper classes in ,italy1 as it was already in ,spain1 ,france1 and ,england4 ,of even greater interest is the evidence of ,vecellio's relations with a fashion house in ,venice4 ,in his general account of the housedresses of the noble ladies of his time1 he mentions the rich modern materials and especially silk brocades of four and even of six colors1 admirably woven3#bb ,di queste opere si belle stato in ,venetia auttore ,m4 ,bartholomeo ,bontempele dal ,calice1 il quale alle volte con le mostre1 ch' egli fa di questi drappi de' quali lui stato inventore1 mostra la grandezza dell'ingegno suo1 la quale accompagnata da una incomparabile liberalit1 e bont1 per ilche molto amato dalla nobilt ,venetiana1 da molti ,principi d',italia in specie dal ,serenissimo ,duca di ,mantova4 ,nella sua buttiga dove molti ,signori e ,principi mandano a fornirsi1 fino al serraglio del ,gran ,turco1 si veggono broccati opera di tutte le sorte d'oro e di argento4 ,footnote #bb3 ,translated1 this reads3 ,the originator of these beautiful fabrics in ,venice is ,master ,bartholomew ,bontempele at the sign of the ',chalice4' ,from time to time at exhibitions he makes of these materials he has created1 he shows the greatness of his intellect1 which is accompanied by an incomparable generosity and kindness for which he is greatly loved by the ,venetian nobility1 by many princes of ,italy1 and in particular by his ,serene ,highness the ,duke of ,mantua4 ,in his store1 to which many gentlemen and princes send orders1 even the ,seraglio of the ,grand ,turk1 are to be seen brocades worked in all manners of gold and silver4 7#aeij ed41 folio #aci47 ,it may seem strange that within #bj years of the ,battle of ,lepanto 7#aega7 ,venetian fabrics were exported from ,bontempele's sign of ,the ,chalice to ,constantinople to compete with the noted velvets of ,brusa4 ,after describing the clothes of the best dressed merchants1 ,vecellio does not hesitate to mention his friends ,master ,paolo1 spice merchant and vendor of the celebrated ,theriakon 7known in ,england as ,venice treacle71 of the sign of ,the ,ostrich1 and ,bernadino ,pillotto1 seller of pictures and other ornaments4 ,illustration3 ,figure #aj4--;,,fashion ,,plate depicting fanciful hair style of a lady from ,ferrara1 by ,christoph ,krieger4 ,from ,varie acconciature di teste1 ca4 #aeij4 7,courtesy of ,victoria ,albert ,museum1 ,london47 ,,ferarese _/ ,,avdace ,at this time there were also woodcuts illustrating hairstyles4 ,the exact date of ,christoph ,krieger's ,varie ,acconciature di ,teste 7fig4 #aj7 is not known4 ,while ,vecellio had remarked that the ,venetian ladies were imitating the goddess ,diana and surmounting their tresses with two little curls like horns1 ,krieger made illustrations that were even more fanciful4 ,each lady bears the name of a city and a distinguishing quality or temperament1 but there is no more reason to connect the styles with local fashions than to believe that the ladies of ,ferrara were bold or those of ,todi capricious4 ,illustration3 ,figure #aa4--;,,courtier ,,following ,,the ,,edict of #afcc4 ,he has laid aside his lace collar and fine clothes4 ,by ,abraham ,bosse1 #afcc4 7,courtesy of ,museum of ,fine ,arts1 ,boston47 ,le ,courtisan suiuant ,l',edict de l'annee #afcc additional caption at end ,illustration3 ,figure #ab4--,,la ,,galerie ,,du ,,palais4 ,the fashionable crowd throngs the milliners' counters in the ,palais ,royal4 ,by ,abraham ,bosse1 #afcf4 7,courtesy of ,museum of ,fine ,arts1 ,boston47 caption at end ,indeed1 this series would not be considered in connection with fashion plates were it not for a conversation in ,ben ,jonson's ,cynthia's ,revels1 first acted in #afjj by the ,children of the ,queen's ,chapel4 ,philautia addresses her friend ,phantaste 7,act #b1 scene #a73 ,philautia3 4 4 4 ,what1 have you changed your head-tire8 ,phantaste3 ,yes1 faith1 the other was near the common1 it had no extraordinary grace2 besides1 ,i had worn it almost a day1 in good troth4 ,philautia3 ,i'll be sworn1 this is most excellent for the device1 and rare2 'tis after the ,italian print we looked on t'other night4 ,this certainly suggests that one of the little eyases1 perhaps even ,nathaniel ,field or ,salathiel ,pavy1 was wearing a fantastic wig designed after one of the ,krieger woodcuts4 ,in the early #agth century there was nothing published in northern ,europe that was closely related to the fashion trade4 ,there are engravings of costume figures such as the ,sieben ,edelleute verschiedener ,nation by ,willem ,buytewech 7,amsterdam1 ca4 #afad71 which are charmingly drawn but1 as to costume1 idealized and exaggerated4#bc ,the same criticism applies to the later series by ,j4 de ,st4 ,igny1 especially in ,le ,jardin de la ,noblesse1 and to ,jacques ,callot's ,la ,noblesse1#bd which depict military and court dress with less caricature than most of this master's work4 ,among the engravings of ,abraham ,bosse1 there is a series 7fig4 #aa7 relating to the sumptuary law of #afcc by which ,louis ,,xiii1 at the instigation of ,cardinal ,richelieu1 tried to curb the extravagance and simplify the dress of the ladies and gentlemen of his court4 ,this series is worth mentioning as a record of the dress at this period1 but neither these engravings nor the better known ,galerie du ,palais 7fig4 #ab7 are1 strictly speaking1 fashion plates which provide information for dressmakers or wearers of clothes4#be ,in ,england1 the engravings were of a rather different style4 ,dutch prints of allegorical subjects were in vogue1 and there are innumerable sets of prints of the seven ,ages of mankind1 the five senses1 the four seasons1 the continents1 and the liberal arts1 typified by real and imaginary figures in all styles of dress4 ,jean ,barr's figure ,seeing 7fig4 #ac71 with her looking glass and perspective glass1 accompanied by the farsighted eagle1 is illustrated here mainly because of its explanatory quatrain mentioning fashions4#bf ,not until the early #afdjs can reliable engravings of ,english fashions be found4 ,most of ,wenceslas ,hollar's #afci series1 ,ornatus ,muliebris ,anglicanus1 or1 the severall habits of ,english women from the ,nobilitie to the ,country woman1 as they are in these times1 is slightly suspect as being imaginary or at best idealized1 though the lady in waiting 7,hollar's no4 #bc7 and the country woman 7,hollar's no4 #bf7 walking on her iron-ring pattens may be portraits4 ,hollar's ,theatrum ,mulierum or ,aula ,veneris of #afdd has a much stronger claim to represent the fashions of ,london1 although some of the ,european women may be in the traditional clothes of their cities and states4 ,the full-length female figures of the seasons are really costume portraits set against ,london backgrounds#bg 7fig4 #ad71 and1 although charming in themselves1 they are not true fashion plates1 while those of the series of women's heads in circles1 which are not copied from other work1 are simply portraits#bh of ladies whom ,hollar actually knew in ,london4 ,notwithstanding his engravings of muffs1#bi it is most unlikely that ,hollar had any connection with either a fashion house or a milliner's shop in ,london4 ,illustration3 ,figure #ac4--,,seeing1 from a set of the ,five ,senses4 ,engraving by ,jean ,barr1 ca4 #afbe4 7,courtesy of ,national ,portrait ,gallery1 ,london47 caption at end ,during the ,commonwealth period 7#afdh-fj7 ,hollar's work depicting costumes faded out1 but the diarist ,john ,evelyn was writing a little book1 ,tyrannus1 or the ,mode1 which was published in #affa4cj ,in it he mentions a ,french woman in ,london during the troubles1 whose customers tormented her with inquiries about ,french fashions to such an extent that she used to devise new ,fancies out of her own ,head1 which were never worn in ,france4 ,most likely she did not distribute fashion plates but displayed actual garments or miniature models1 perhaps mounted as dolls 7babies71 as examples of new fashions4 ,illustration3 ,figure #ad4--,,winter4 ,the lady wears a hood and mask1 together with furs4 ,she is walking in ,cornhill1 ,london4 ,engraving by ,wencelas ,hollar1 #afdc 7,parthey no4 #fji74 7,courtesy of ,british ,museum1 ,london47 caption at end ,in the ,tyrannus1 ,evelyn not only touched on the history and psychology of fashion but also went as far as to recommend a reformed dress for men1 including the ,persian vest and sash which was to be reflected to a certain extent in the fashions of the mid-#affjs4 ,since he did not illustrate his theory1 there has always been some dispute as to what the ,persian dress actually was1#ca but in any case the fashion did not last4 ,on the ,restoration of the monarchy in #affj1 ,charles ,,ii1 returning to ,england from ,holland1 retained ,dutch fashions for a while 7fig4 #ae74 ,but1 by #afgj1 ,english men's dress approximated the ,french in style1 although not in sumptuosity4 ,in the second half of the #agth century the attention of ,europe was focused on the court of ,louis ,,xiv and the ,french style of dress1 especially for men1 predominated4 ,in particular1 the coat 7justaucorps71 which evolved from the cassock1 an outer garment1 began to be worn regularly over the doublet1 which by this time was already much reduced in size yet destined to survive as the waistcoat 7veste74 ,this fashion spread fairly rapidly through ,europe--in ,england1 as has been mentioned1 it was dominant by #afgj--;but it is not clear how4 ,the position of ,france1 however1 was stated in a fashion article in the ,mercure ,galant in #afgc 7vol4 #c73cb 4 4 4 rien ne plait davantage que les ,modes nes en ,france 4 4 4 4 ,c'est pourquoi dans toutes les ,provinces du ,monde on fait venir de ,france quantit de choses qui regardent l'habillement encor qu'on ne s'habille pas tout-a-fait la ,franoise 4 4 4 4 ,footnote #cb3 ,translated1 this reads3 4 4 4 nothing is more pleasing than the styles born in ,france 4 4 4 4 ,this is why much relating to dress is imported from ,france into all the provinces of the world1 though the final dress is not exactly ,french4 ,illustration3 ,figure #ae4--,,man in petticoat breeches 7,rhinegraves74 ,this illustration is not a fashion plate but an engraving that was often reprinted in pattern books used by teachers and students of figure drawing4 ,from a drawing book by ,s4 le ,clerc1 ca4 #affe4 7,author's collection47 ,illustration3 ,figure #af4--;,,courtier ,,in ,,full ,,dress for the winter #afgg-gh wearing a flame-colored embroidered cloth cloak over a gray silk coat and matching waistcoat4 ,this costume is almost as grand as the blue privilege justaucorps brevet which1 after #affe1 was occasionally granted to others than princes of royal blood4 ,issued with the ,mercure ,galant1 #afgh4 7,author's collection47 caption at end ,illustration3 ,figure #ag4--,,lady ,,fitted ,,out for the winter of #afgg-gh wears a dress of black velvet with diamond knots and an ermine-bordered skirt4 ,she carries a colored muff4 ,issued with the ,mercure ,galant1 #afgh4 7,author's collection47 caption at end ,the ,mercure ,galant1 strangely neglected by costume historians1 occupies a most important place in the history of fashion literature1 since it is the first and for almost a century the only periodical to contain regular articles on contemporary fashion4 ,the person responsible for editing and indeed for writing these articles was ,jean ,donneau de ,vis 7#afdj-agaj71 an unsuccessful dramatist1 rival of ,molire1 whom he sarcastically attacked several times in print4 ,the story of his journalistic venture is not at all easy to unravel1#cc since the octavo publications 7,chez ,claude ,barbin1 au ,palais7 were pirated almost immediately1 and impressions--all that ,i have seen are duodecimos--appeared in ,paris and ,amsterdam 7,suivant la ,copie imprime ,paris74 ,a single number of an ,english translation1 the ,mercury ,gallant1 is in the ,british ,museum4 ,illustration3 ,figure #ah4--,,outdoor ,,winter ,,dress for men is strongly influenced by military fashions4 ,an enormous fringed baldrick1 tied by a military scarf1 supports the diminutive dress sword4 ,wigs and hats were comparatively small for the winter #afgg-gh4 ,issued with the ,mercure ,galant1 #afgh4 7,author's collection47 caption at end ,the ,mercure ,galant was published sporadically from #afgb through #afgd1 with six numbers in all4 ,in #afgg1 it obtained a privilege and1 with a dedication to the ,dauphin1 took a new lease on life under the title ,le nouveau ,mercure ,galant4 ,thereafter1 it flourished for some years2 the ,january-,march number for #afgg was followed by monthly parts1 and on ,may #ae1 #afgh1 the first supplementary 7,extraordinaire7 number was published1 containing an article on fashions illustrated with fashion plates4#cd ,the magazine was addressed to the ladies1 and1 in addition to a modicum of news and war reports1 it contained gossip1 poetry1 riddles1 songs with their music1 and correspondence with readers1 some no doubt fictitious4 ,it deserves full credit for being the first modern-style magazine4 ,illustration3 ,figure #ai4--,,lady ,,in ,,informal winter attire walks to her coach wearing a flowered gold-brocaded gown which has been caught back to show her embroidered petticoat bordered with ermine4 ,she wears a black coif so that her hair will not be disarranged4 ,issued with the ,mercure ,galant1 #afgh4 7,author's collection47 caption at end ,illustration3 ,figure #bj4--;,,interior ,,of ,a ,,parisian ,,milliner',s ,,shop4 ,on display are accessories to men's fashionable costume--breeches1 scarves1 gloves1 and wigs4 ,detail from an engraving by ,j4 ,lepautre after ,j4 ,brain4 ,reengraved from a small print in the ,extraordinaire issue of the ,mercure ,galant1 ,march #afgh4 7,author's collection47 ,the fashions for the winter #afgg-gh 7figs4 #af-ai7 may be followed in the pages of the ,mercure ,galant1 but1 since these four fashion plates were also distributed separately1 their connection with it has often been overlooked4 ,the same is true of the large engraving of the interior of a milliner's shop 7fig4 #bj71 the items in which were numbered and described in the text of the ,mercure ,galant4 ,donneau de ,vis depended on trade support and took the opportunity to mention names wherever he could4 ,the new fabrics displayed below the shelves are distinguished by letters2 the one on the right 7letter ,m71 for example1 is an ,italian yellow satin brocaded with white and violet4 ,other small figured fabrics1 he wrote1 might be obtained away from the ,palais chez le ,sieur ,baroy1 au ,clotre ,saint ,opportune1 and ribbons might be found from ,sieur le ,gras in the ,palais itself4 ,the editor de ,vis gives thanks to ,m4 ,brain 7#afcg-agaa71 designateur ordinaire du ,cabinet du ,roy1 and to ,m4 ,lepautre 7#afah-hb7 for engraving the plates4 ,illustration3 ,figure #ba4--,,summer ,,dress of a gentleman4 ,he wears a linen waistcoat garnished with lace1 and a long wig 7cf4 fig4 #ah74 ,from the ,extraordinaire of the ,mercure ,galant1 ,june #afgh4 7,author's collection47 caption at end ,the summer fashions for #afgh were illustrated in the next ,extraordinaire number published on ,july #bj and represented by a gentleman 7fig4 #ba7 and his lady 7fig4 #bb74 ,details of these plates are poor1 and1 although they are taken from the ,dutch edition1 the original designer and engraver must have been far less competent than either ,brain or ,lepautre4 ,illustration3 ,figure #bb4--,,summer ,,dress of a lady with a pleated lace 7,point d',angleterre7 petticoat4 ,from the ,extraordinaire of the ,mercure ,galant1 ,june #afgh4 7,author's collection47 caption at end ,the winter fashions for #afgh-gi were described in a long article in the ordinary ,october number of the ,mercure ,galant1 which1 for the costume historian1 is of great importance1 since it deals among other topics with the evasion of the sumptuary legislation by the fashionable world4 ,the fashion plates are by a new artist and are reduced to two 7figs4 #bc and #bd74 ,illustration3 ,figure #bc4--;,,gentleman in winter attire supposedly just returned from the army4 ,he ordered his gray cloth suit from ,sieur ,gaultier1 whose shop1 ,a la ,couronne1 was located in the ,rue des ,bourdonnais4 ,from the ,mercure ,galant1 ,october #afgh4 7,author's collection47 ,habit d',hyver #afgh ,from this point the ,mercure ,galant ceased to publish a regular series of fashion plates4 ,occasional articles on fashion appeared through the rest of the #afhjs and into the next decade1 but they are shorter and less informative4 ,donneau de ,viz's adventure into fashion journalism evidently had failed1 probably because of a lack of demand for it4 ,fashions both in clothes and in fabrics did not change very rapidly1 and general fashion information was supplied by two other sources3 first1 by the annual almanacs1 which were often embellished by a large engraving of some important political event1 and secondly1 by the print shops in the ,rue ,st4 ,jacques and elsewhere1 which commissioned not only ,lepautre1 who had worked for the ,mercure ,galant1 but the ,bonnarts1 ,jean de ,st4 ,jean1 ,arnoult1 and other competent artists to produce large engravings of contemporary personalities4 ,these for the most part depicted members of the ,french royal family and court circle1 actors and actresses1 and other well-known characters1 not always named on the print4 ,a ,man of ,quality 7fig4 #be7 is almost certainly a portrait1 which1 when suitably colored as many of the prints were1 could be pinned up or framed for decorative effect4 ,it is wrong to take such a print1 as some writers on costume have done1 for a fashion plate recording what was worn or likely to be worn in the year in which it was engraved4 ,illustration3 ,figure #bd4--,,lady in winter dress of brown ,florentine satin4 ,her petticoat is of off-white 7d'un blanc un peu sale7 satin brocaded with blue1 violet1 red1 and brown designs4 ,from the ,mercure ,galant1 ,october #afgh4 7,author's collection47 ,habit d',hyver #afgh ,the decorative character of these distinguished prints was often enhanced by dressing or overlaying them with small pieces of fabric1 lace1 or paper4#ce ,the finest series of such prints is that in the ,pierpont ,morgan ,library1 ,new ,york ,city4 ,in figure #bf1 the outlines of the engraving were carefully cut with a knife1 and selected pieces of small-pattern fabrics were mounted on stiff paper forming an underlay to the print4 ,illustration3 ,figure #be4--,,man ,,of ,,quality at the court of ,louis ,,xiv4 ,engraving by ,jean de ,st4 ,jean1 #afic4 7,,courtesy ,,of ,,victoria ,,albert ,,museum1 ,,london47 ,in ,england1 there was no fashion journalism or series of prints that can be regarded as illustrations of late #agth-century fashion4 ,some use can be made of the engravings after ,marcellus ,laroon1 which were first sold separately and later published in #agaa as the ,cryes of ,london1#cf to illustrate costume in ,england1 but neither these nor the illustrations of ,english men and women which appear in general works on the costume of ,europe can be accepted as fashion plates4 ,other series1 such as the plates on the dress of ,augsburg engraved by ,jeremias ,wolff1 belong more to the history of costume than to the history of fashion4 ,in the early years of the #ahth century1 ,bernard ,picard1 best known for his great illustrated work on the religions of the world1 made a few small and very neat engravings of fashionable ladies1 which were published in ,amsterdam in the #agbjs4 ,these engravings1 some dated #agjc1 should not be classed as fashion plates2 like the ,le ,clerc engraving of the man in rhinegrave breeches 7fig4 #ae71 they are from drawing books4 ,some of them1 part reengraved by ,g4 ,bickham1 ,jr41 were reissued in ,london after #agcb4cg ,in ,paris there was a revival of the fashion plate in the late #agbjs4 ,the still-existing ,mercure de ,france1 direct successor of the ,mercure ,galant1 carried an occasional fashion article with engravings of dress accessories4 ,in ,march #agbi 7fig4 #bg71 there is a not-very-well-defined sketch of a lady with her page1 meeting a gentleman4 ,the accompanying paragraphs are not valuable but contain a recommendation for garnitures to be had from ,la ,demoiselle ,perronet1 in the ,cour ,abbatial of ,st4 ,germain des ,pres4 ,as for coeffures et ttes 4 4 4 on les coeffe sur une poupe4 ,in the same year1 #agbi1 a set of eight fashion plates entitled ,recueil des ,differentes ,modes du ,temps was issued by ,herisset apparently to advertise a modiste called ,chreau at the ,grand ,st4 ,remy in the ,rue ,st4 ,jacques4 ,they are carefully drawn and show back and front views as well as indicating materials 7fig4 #bh74 ,no accompanying text has been found1 but as they are known in two versions1 one said to have been printed in ,germany1 it is likely that some descriptions were prepared for the export market4#ch ,the ,french engravers working in ,england--,gravelot1 ,grignon1 and ,boitard--produced some dated portraits of ,english ladies which can be used as fashion illustrations4 ,the caricature scenes1 ,taste la ,mode1 #agce and ,taste la ,mode1 #agde1 published by ,robert ,sayer in #agdi1ci also may serve as records of fashion4 ,there was1 however1 no journal of fashion in ,england before the reign of ,george ,,iii4 ,indeed1 there seems to have been no publication or series of prints to give guidance to the fashion trade in ,europe in the mid-#ahth century4 ,illustration3 ,figure #bf4--;,,dressed ,,print1 ca4 #afie4 ,the engraving of ,madame la ,duchesse d',aumont is embellished with small pieces of velvet1 figured silk1 and lace4 7,courtesy of ,the ,pierpont ,morgan ,library47 ,illustration3 ,figure #bg4--;,,fashion ,,plate depicting a lady with her page being saluted by a gentleman4 ,from the ,mercure de ,france1 ,march #agbi4 7,courtesy of ,british ,museum1 ,london47 ,illustration3 ,figure #bh4--;,,fashion ,,plate1 the first of the series ,recueil des differentes ,modes du ,temps4 ,the fabric of the dress on the right is a moir or watered silk1 on the left a lace-pattern brocade1 often wrongly ascribed to the period of ,louis ,,xiii 7#afaj-dc74 ,issued by ,herisset1 ca4 #agcj4 7,author's collection47 ,technical information together with some fashion plates was available in the #agfjs in various volumes of the ,french ,encyclopdie4 ,m4 de ,garsault wrote the section on the art of the tailor 7#agfi7 as well as sections on wigs and wigmaking4 ,the engravings by ,jean ,le ,gros 7fig4 #bi7 were of practical use to hairdressers2 a similar book of hairstyle by ,james ,stewart was published in ,england4#dj ,the single-sheet almanac decorated with engravings of contemporary events continued to be published in ,france in the #ahth century1#da but pictures in the ,english university almanacs were mainly topographical or historical4 ,the next development was the issue of annual memorandum books or pocket diaries1 which sometimes had a fashion plate as a frontispiece4 ,for example1 the ,ladies ,museum or ,pocket ,memorandum ,book1 #aggd1 contained an engraving of a ,lady in the most fashionable dress of the year #aggc4 ,this appeared not very long after the first production of ,oliver ,goldsmith's comedy ,she ,stoops to ,conquer1 which contains the following dialogue 7,act #b73 ,mrs4 ,hardcastle3 ,pray1 how do you like this head1 ,mr4 ,hastings8 ,mr4 ,hastings3 ,extremely elegant and degage1 upon my word1 ,madam4 ,your friseur is a ,frenchman1 ,i suppose8 ,mrs4 ,hardcastle3 ,i protest1 ,i dressed it from a print in the ladies memorandum-book for the last year4 ,she ,stoops to ,conquer was written in #aggb-gc1 and1 although a memorandum book published at this date and containing fashion plates of headdresses has not been traced1 it is very likely that one existed4 ,but before this1 in #aggj1 ,the ,lady's ,magazine or ,entertaining ,companion for the ,fair ,sex had begun its long career which lasted until #ahcg4 ,figure #cj shows a typical fashion plate for #aggd4 ,a lady in full court dress is talking to another in visiting dress2 behind1 a third in full dress but without side hoops talks to a friend in traveling dress with a calash hood2 in the background a lady in riding dress looks out of the window4 ,artistically such a fashion plate is of no great distinction1 but it served a purpose--to give information about current fashions--very much better than the more spectacularly illustrated productions such as ,heideloff's ,gallery of ,fashion4 ,the #ahth-century reading public became increasingly fashion conscious1 and there are several series of ,french colored prints1 the finest of them by ,moreau le ,jeune from #agge onward1 which have high artistic merit and have been sought continuously by collectors4 ,their purpose1 however1 was explicitly pour servir l'histoire des ,modes et du ,costume des ,franais dans le ,x,v,i,i,ime sicle4 ,the prints are strongly romanticized and must be regarded as a record of something between historical and fancy dress4 ,the accompanying text names but only briefly describes the dresses and then passes on to facetious moralizing4 ,illustration3 ,figure #bi4--;,,engraving ,,by ,,jean ,,le ,,gros depicting ,french hair style1 ca4 #agfj4 ,from ,l',art de la ,coiffure4 7,courtesy of ,victoria ,albert ,museum1 ,london47 ,in the same way in ,london in #agid1 ,nicolaus ,heideloff1 whose ,gallery of ,fashion was an imitation of one of the ,french series by ,esnaut and ,rapilly entitled ,la ,gallerie des ,modes1 though claiming that the dresses he described were real ones1 seems to have had as an objective the formation of a sort of picture gallery of costume portraits of ,english ladies4 ,heideloff called it a ,repository1 which is what we would call an archive today1 but the term came to be used by ,rudolph ,ackermann for his general magazine1 ,the ,repository of the ,arts 4 4 4 1 published between #ahji and #ahbh 7see p4 #hi74 ,the ladies in ,heideloff's aquatints are all different in the sense that they are dressed differently and doing different things1 but the variations are mostly fanciful 7fig4 #ca74 ,in fact1 the ,heideloff prints served to fill picture books or to be pinned up or framed on walls2 they do not differ greatly in their approach from the series of the ,bonnarts and their contemporaries during the reign of ,louis ,,xiv4 ,illustration3 ,figure #cj4--,,plate ,,showing fashionable dress at ,weymouth4 ,from ,the ,lady's ,magazine1 #aggd4 7,courtesy of ,victoria ,albert ,museum1 ,london47 ,illustration3 ,figure #ca4--,,print ,,of ,a ,,lady in a court dress ballooned out by side hoops1 by ,n4 ,heideloff4 ,the print does not attribute this fashion to any specific year4 ,from the ,gallery of ,fashion1 #agih4 7,courtesy of ,victoria ,albert ,museum1 ,london47 ,it is not proposed to give an account here of the various magazines in the different countries which contained illustrated articles on fashion from #aggj onward1 since this would merely repeat material in ,mr4 ,vyvyan ,holland's book4 ,mention should be made1 however1 of the movements for dress reform motivated either by economic considerations or national feeling4 ,pamphlets and articles on these subjects were usually without illustrations1 except when concerned with the revival or creation of a national costume4#db ,sweden was the only country where1 thanks to the enthusiasm of ,king ,gustavus ,,iii1 the wearing of national dress was more than an archaizing affectation4 ,dr4 ,eva ,bergman#dc has described the origins of this ,swedish national dress in a book that is fully documented with tailors' patterns and illustrations4 ,as all details were prescribed by court regulations and very little scope was left for the impulses and personal choice of the wearers1 the dress may be regarded to a great extent as a uniform rather than a fashion4 ,modifications did take place1 however1 and the style continued into the #aith century4 ,as late as #ahbg1 a pamphlet was published in ,copenhagen on the same subject4#dd ,illustration3 ,figure #cb4--;,,front ,,and ,,back ,,view of a walking dress showing that embroidered muslin was worn even in winter4 ,here1 the muslin is accompanied by a red sarcenet ,highland spencer and a matching scarf lined with ermine4 ,from ,la ,belle ,assemble1 ,december #ahjh4 7,courtesy of ,the ,cooper ,union ,museum47 ,illustration3 ,figure #cc4--,,walking ,,dress ,,of ,,gray ,,merino4 ,plate #ch1 ,ackermann's ,repository of the ,arts1 #ahai4 7,courtesy of ,the ,cooper ,union ,museum47 ,with these dress-reform books must also be included the books on ,french ,revolution fashions1 of which that by ,grasset de ,saint-,sauveur is the best known4#de ,when reading the descriptions of dress of the various officials1 grades1 and classes1 one wonders whether such clothes were actually worn except on state occasions1 or whether they were fanciful novelties which the ,french officials in their reaction against ,louis ,,xvi and his court thought would be appropriate for the new regime4 ,the intention of this book1 however1 undoubtedly was serious and quite unlike the caricature fashion plates often titled ,merveilleuse or ,incroyable1 which amused everyone in the early years of the #aith century4 ,illustration3 ,figure #cd4--,,philadelphia ,,fashions4 ,at this date caps or hats were worn indoors with full evening dress4 ,the details of this print were probably copied from a ,french or ,english fashion magazine4 ,from ,godey's ,lady's ,book1 ,october #ahcc4 7,courtesy of ,the ,cooper ,union ,museum47 ,after #ahjj many types of magazines flourished1 and the increase in the number of lending and subscription libraries and also of public libraries fostered a new reading public4 ,the magazines had illustrated fashion articles4 ,often the engravings1 and later the lithographs1 colored by hand1 were their most attractive feature4 ,not that any great originality was shown2 the latest ,paris fashions were often adapted1 with or without acknowledgment from ,french fashion plates of the previous season4 ,men's and children's fashions were not adapted on nearly the same scale4 ,possibly1 men's fashions were more static1 or confined to details such as variations in tying the cravat4#df ,three magazines are worth special mention4 ,la ,belle ,assemble1 or ,bell's ,court and ,fashionable ,magazine addressed particularly to the ladies was published in ,london from #ahjf to #ahfh 7fig4 #cb74 ,during the #ahbjs the plates were of less merit1 but there was a later improvement4 ,in #ahji1 the ,london print firm of ,ackermann began to publish ,the ,repository of ,arts1 ,letters1 ,commerce and ,manufactures ,fashion and ,politics4 ,this magazine had a much wider scope1 and its illustrations are of good quality 7fig4 #cc74 ,a special feature was the inclusion of small sample squares of new materials pasted into the text which named and described them4 ,this feature usefully supplements industrial records of the period1 which are hard to come by and difficult to handle in that those preserved are usually bulky1 not too well dated1 and show no distinction between fabrics made for export and those for the home market4 ,thirdly1 from #ahcj to #ahih1 ,godey's ,lady's ,book was published in ,philadelphia1 under titles which varied from time to time 7fig4 #cd74 ,this magazine is much more famous for its other contents than for its fashion articles2 its plates1 often copied from ,french engravings1 are of low quality and rather crudely colored4 ,the number1 variation1 and wide distribution of #aith-century fashion plates has proved something of a handicap to the historian in search of reliable information about dress4 ,mr4 ,holland has studied them from the artistic angle1 tracing many of the ,french artists1 who did not scorn fashion work4 ,the relation of fashion plates to ,victorian dresses as worn has been touched on by many costume writers1#dg but the relation of the fashion plate to the fashion house has yet to be studied2 in particular1 the large sheets put out by wholesale drapers and textile manufacturers and the advertisements of ready-made clothing that appear in magazines all through the #aith century have not yet been studied to full advantage4 ,this account of the fashion plate is necessarily incomplete1 because its history and development has not been continuous1 and new links may yet be found4 ,the earlier period has been treated in greater detail because it is generally less well-known1 and the boundaries between the fashion plate and the costume picture are not all easy to define4 ,the fashion plate has died slowly1 the victim of the photograph showing the model wearing actual clothes and the sketch giving the impression of a fashion artist at a dress show4 ,through the centuries1 the fashion plate has provided the link between the wearer and the maker of clothes4 ,it has also attracted as collectors those studying both the social background of a period and the history of costume4 ,u4,s4 ,government ,printing ,office3 #aifg ,for sale by the ,superintendent of ,documents1 ,u4,s4 ,government ,printing ,office1 ,washington1 ,d4,c4 #bjdjb ,price #ce cents ,footnotes ,notes that were shown in their original location are repeated here for completeness4 ,footnote #a3 ,,vyvyan ,,holland1 ,hand ,coloured ,fashion ,plates1 #aggj-ahii 7,boston3 ,boston ,book and ,art ,shop1 ,inc41 #aiee74 ,footnote #b3 ,,alessandro ,,piccolomini1 ,dialogo de la bella creanza de le donne 7,venice1 #aedj74 ,the dialogue is reprinted in ,g4 ,,zonta1 ,trattati del ,cinquecento sulla donna 7#aiac71 but it deserves a modern translation and editing4 ,footnote #c3 ,,sir ,,henry ,,hake1 ,the ,english ,historic ,portrait4 ,lecture for the ,british ,academy1 #aidc4 ,footnote #d3 ,,malcolm ,,letts1 ,the ,diary of ,jrg von ,ehingen 7#aibi74 ,footnote #e3 ,,sigrid ,f4 ,,christensen1 ,die mnnliche ,kleidung in der sddeutschen ,renaissance 7#aicd71 pl4 #ba4 ,footnote #f3 ,sir ,,karl ,t4 ,,parker1 ,the drawings of ,h4 ,holbein at ,windsor ,castle 7#aide71 pls4 #af1 #ai1 #bd4 ,footnote #g3 ,this book1 ,klaidungsbchlein1 in the ,herzog ,anton-,ulrich ,museum1 ,brunswick1 ,germany1 was edited by ,august ,fink and published in full in #aifc by the ,deutscher ,verein fr ,kunstwissenschaft1 ,berlin4 ,footnote #h3 ,for a general account1 see ,j4 ,l4 ,,nevinson1 ,sigmund von ,herberstein3 ,notes on #afth century dress1 ,zeitschrift der ,gesellschaft fr historische ,waffen- und ,kostum-,kunde 7#aiei71 new ser4 #a1 p4 #hf4 ,footnote #i3 ,,sigmund ,,von ,,herberstein1 ,gratae ,posteritati 4 4 4 7,vienna1 #aefj74 ,footnote #aj3 ,,sigmund ,,von ,,herberstein1 ,rerum ,moscoviticarum ,commentarii1 expanded ed4 7,basel3 ,oporinus1 #aeef74 ,footnote #aa3 ,,juan ,,de ,,alcega1 ,libro di geometria y traca 7#aehi74 ,see also1 ,tailor and cutter 7,london1 #aicc71 no4 #fh4 ,a copy of the #aehh edition was acquired by the ,folger ,shakespeare ,library1 ,washington1 ,d4,c41 in #aifd4 ,footnote #ab3 ,supplication to the ,king4 ,printed by the ,early ,english ,text ,society1 extra ser4 7#ahga71 p4 #eb4 ,footnote #ac3 ,letters and ,papers of ,henry ,,viii1 vol4 #a 7#b71 on4 #ccbf4 ,footnote #ad3 ,,andrew ,,boorde1 ,fyrst ,boke of the ,introduction of ,knowledge 7#aedb74 ,reprinted by the ,early ,english ,text ,society1 extra ser41 vol4 #aj 7#ahgj71 p4 #aaf4 ,footnote #ae3 ,recueil de la diversit des habits 4 4 4 7#aefb74 ,the book was reissued in #aefd and #aefg4 ,footnote #af3 ,translated1 this reads3 4 4 4 our predecessors of old 4 4 4 were more careful about sumptuous dress than rare virtue 4 4 4 for as the monk was recognized by his frock1 the jester by his cap1 and the soldier by his arms1 so the wise man was known by his moderate habit4 ,footnote #ag3 ,a4 ,m4 ,,hind1 ,engraving in ,england in the #afth and #agth centuries 7,cambridge3 ,cambridge ,university ,press1 #aieb71 vol4 #a1 pl4 #cd4 ,footnote #ah3 ,f4 ,,bertelli1 ,omnium fere gentium nostrae aetatis habitus 4 4 4 7,venice1 #aefc74 ,footnote #ai3 ,for the origin of this ,spanish fashion in #adgj1 see ,,carmen ,,bernis ,,madrazo1 ,indumentaria medieval espanola 7#aief71 p4 #ej1 pl4 #aeh4 ,footnote #bj3 ,there are two editions of the book by ,,cesare ,,vecellio3 ,de gli habiti antichi e moderni 4 4 4 7,venice3 ,zenaro1 #aeij ,italian text72 ,habiti ,antichi e ,moderni 7,venice3 ,sessa1 #aeih ,italian and ,latin text74 ,the quality of the woodblocks and impressions varies considerably4 ,footnote #ba3 ,translated1 this reads3 ,underneath1 the habit of the ladies who imitate the ,duchess is to wear the farthingale or pleated frock1 which skillfully holds the petticoat out wide like a bell4 ,this fashion is extremely convenient for walking or dancing1 and nowadays1 ladies throughout all ,italy wear this pleated frock mentioned above4 7#aeij ed41 folio #ahg4;a47 ,footnote #bb3 ,translated1 this reads3 ,the originator of these beautiful fabrics in ,venice is ,master ,bartholomew ,bontempele at the sign of the ',chalice4' ,from time to time at exhibitions he makes of these materials he has created1 he shows the greatness of his intellect1 which is accompanied by an incomparable generosity and kindness for which he is greatly loved by the ,venetian nobility1 by many princes of ,italy1 and in particular by his ,serene ,highness the ,duke of ,mantua4 ,in his store1 to which many gentlemen and princes send orders1 even the ,seraglio of the ,grand ,turk1 are to be seen brocades worked in all manners of gold and silver4 7#aeij ed41 folio #aci47 ,footnote #bc3 ,there is an excellent reprint of ,buytewech's book with an introduction by ,w4 ,,bruhn 7#aibf74 ,footnote #bd3 ,c4 ,,le ,,blanc1 ,manuel de l'amateur des estampes 7#ahed71 no4 #edi-efj4 ,footnote #be3 ,for examples1 see ,a4 ,,blum1 ,l'oeuvre grav de ,abraham ,bosse 7#aibd71 nos4 #ieg-ifa2 the plate ,pompe funbre de la ,mode1 by ,a4 ,,blum 7in ,les ,modes au ,x,v,i,ime sicle1 #aibg71 p4 #ba2 and ,f4 ,p4 ,,wilson1 ,funeral obsequies of ,sir ,all-in-new-fashions 7in ,shakespeare ,survey1 #aieh71 p4 #ih4 ,footnote #bf3 ,j4 ,l4 ,,nevinson1 ,fashion ,plates and ,fashion1 #afbe-ce1 ,apollo 7#aiej7 vol4 #ea1 pp4 #ach-adj4 ,footnote #bg3 ,,gustave ,,parthey1 ,kurzes ,verzeichniss der ,hollarschen ,kupferstichen 7#ahec71 nos4 #fjf-fji4 ,footnote #bh3 ,,gustave ,,parthey1 ,kurzes ,verzeichniss der ,hollarschen ,kupferstichen 7#ahec71 nos4 #aijh-ab1 #aicj-cc4 ,footnote #bi3 ,,parthey1 ibid41 nos4 #aidf-ea4 ,footnote #cj3 ,,john ,,evelyn1 ,tyrannus or the ,mode 7#affa74 ,facsimile reprint with introduction by ,j4 ,l4 ,,nevinson 7,oxford3 ,luttrell ,society1 #aiea71 no4 #aa4 ,footnote #ca3 ,e4 ,s4 ,,de ,,beer1 ,king ,charles ,,ii's own fashion1 ,warburg ,institute ,journal 7#aice71 vol4 #b1 no4 #b1 p4 #aje4 ,footnote #cb3 ,translated1 this reads3 4 4 4 nothing is more pleasing than the styles born in ,france 4 4 4 4 ,this is why much relating to dress is imported from ,france into all the provinces of the world1 though the final dress is not exactly ,french4 ,footnote #cc3 ,,emile ,,magne1 ,images de ,paris sous ,louis ,,xiv 7#aici74 ,in this book1 the social historian ,dr4 ,magne devotes the best part of a chapter to the ,mercure ,galant and gives a listing of all fashion articles up to #agjj4 ,footnote #cd3 ,see ,j4 ,l4 ,,nevinson1 ,the ',mercury ,gallant' or ,european ,fashions in the #afgj's1 ,connoisseur 7#aiee7 vol4 #acf1 p4 #hg4 ,footnote #ce3 ,see ,f4 ,g4 ,,roe1 ,prints and ,tinsel1 ,connoisseur 7#aicb71 vol4 #hi1 p4 #cjb4 ,footnote #cf3 ,the ,cryes of the ,city of ,london1 ,drawne after the ,life1 delineated by ,m4 ,lauron1 engraved by ,p4 ,tempest 7,london3 ,h4 ,overton1 #agaa74 ,footnote #cg3 ,a new ,drawing book of ,modes1 by ,mons ,b4 ,picart 7printed for ,richard ,ware at the ,bible ,sun in ,amen ,corner1 ,warwick ,lane1 ,london2 no date74 ,footnote #ch3 ,r4 ,,colas1 ,bibliographie du costume 7#aicc71 nos4 #bejb1 #bejc4 ,footnote #ci3 ,g4 ,,paston1 ,social ,caricature in the #ahth ,century 7#aije71 pl4 facing p4 #aj4 ,footnote #dj3 ,j4 ,,le ,,gros1 ,l',art de la coiffure 7#agfh74 ,,james ,,stewart1 ,plocacosmos or the whole ,art of ,hairdressing 7#aghb74 ,footnote #da3 ,c4 ,l4 ,,regnault ,,de ,,savigny1 ,les almanachs illustres du ,x,v,i,i,ime sicle 7#aiji74 ,footnote #db3 ,justus ,mser of ,osnabruck1 a prolific writer in the #aggjs1 discussed1 in his ,patriotische ,fantasien1 not only national dress but whether magazines should deal with ladies' fashions4 ,footnote #dc3 ,,eva ,,bergman1 ,nationella ,drkten 7,stockholm1 #aich74 ,footnote #dd3 ,j4 ,c4 ,,ryge1 ,ideer til en national ,smag i dansk ,klaederdragt 7,copenhagen1 #ahbg74 ,footnote #de3 ,,grasset ,,de ,,saint-,,sauveur1 ,costume des ,reprsentans du peuple 7,paris1 #agie74 ,footnote #df3 ,h4 ,,le ,,blanc1 ,the ,art of ,tying the ,cravat1 #crd ed4 7#ahbh74 ,the whole ,art of ,dress1 by a ,cavalry officer 7#ahcj74 ,both of these small books contain fashion plates4 ,footnote #dg3 ,,vyvyan ,,holland1 op4 cit4 7footnote #a71 chap4 #e ff4 ,c4 ,,willett ,,cunnington1 ,english ,women's ,clothing in the ,nineteenth ,century 7#aicg74 ,,james ,,laver1 ,nineteenth ,century ,costume 7#aidg74 ,c4 ,h4 ,,gibbs-,,smith1 ,the ,fashionable ,lady in the #aith ,century 7#aifj74 99 99 99 99 99 99 99 99 99 ,original ,captions ,the text for figures #f and #aa-ad was printed as blocks of verse below the illustration4 ,the remaining text 7figures #af-bb1 skipping #bj7 was printed within the body of the illustration4 ,as with all original 7pre-#aifg7 text1 the spelling1 capitalization and punctuation are unchanged4 ,figure #f3 the word bien in the #dth line was printed as bien with a line or tilde over the e ,l'angloyse4 ,ainsi vestue est une femme ,angloise ,par le dessus son bonnet est fourr1 ,on la cognoist 7bien qu' aux lieux on ne voise7 ,facilement son bonnet carr4 ,figure #aa3 ,que ce m'est vne chose estrange ,de remarquer combien me change ,cet habillement reform3 ,que i'ay de mal m'en defendre1 ,et q'uil me fache de le preendre1 ,pour ne l'avoir accoustum3 ,je violente ma nature2 ,me voyant en cette posture1 ,et demeure tout interdit1 ,mais dequoy me sert cette pleinte1 ,si par raison ou par contreinte ,il faut obeir l',edit6 ,il est iuste qu'on s'accommode ,au temps1 au pais1 la mode1 ,suivant le sainct decret des loix ,sans chercher de preuue plus ample ,que celle qui luit dans lxample ,de ,lovys le plus grand des ,rois ,figure #ab3 ,tout ce que l',art humain a jamais inuent ,pour mieux charmer les sens par la galanterie1 ,et tout ce qu'ont d'appas la ,grace et la beaut1 ,se descouure nos yeux dans cette ,gallerie4 ,icy les ,caualiers les plus aduantureux ,en lisant les ,romans1 s'niment combatre2 ,et de leur passion les ,amans langoureux1 ,flattent les mouuements par des vers de ,theatre4 ,icy faisant semblant d'acheter deuant tous ,des gands1 des ,euantails1 du ruban1 des danteles2 ,les adroits ,courtisans se donnent rendez-vous1 ,et pour se faire aimer1 galantisent les ,belles4 ,icy quelque ,lingere a faute de succez ,a vendre abondamment de colere se picque ,contre des ,ciccaneurs qui parlant de procez ,empeschent les ,chalands d'aborder sa ,boutique4 ,figure #ac3 ,not soe quick sighted1 is the ,,eagle for her pray ,as ,i new fashions spie to make mee gay4 ,figure #ad3 ,winter ,the cold1 not cruelty makes her weare ,in ,winter1 furrs and ,wild beasts haire ,for a smoother skinn at night ,embraceth her with more delight ,figure #af3 the word noue in the #dth line was printed with dieresis 7umlaut7 over the u1 followed by acute accent on the first e ,habit d',hyuer ,tour de plumes a deux pointes ,castor gris blanc ,perruque noe ,colet rond ,brod ,manteau de drap de ,hollande couleur de feu double de vetours noir ou plche de couleur ,manchon de pluche de couleur ,iuste-au-corps gris brod de soye de couleur doubl de satin et la veste de mesme ,broderie plate d',or et d'argent ,canons a la ,royale brodez coupez en botte tenant au bas ,soutiers noirs lustrez et lizerez d',or ,figure #ag3 ,habit d',hyuer ,grande coeffe de gaze brode ,palatine de ,marte ,brasselets ou noeuds de ,diamans ,manchon de pluche de couleur ,robe de velours noir et les noeuds de diamans ,hermine sur vne ,iupe de dessous noire ,figure #ah3 ,habit d',hyuer ,ruban large brod de ,soye ,castor ras noir ,iuste-au-caorps de drap de ,hollande couleur de noisette ,baudrier brod couleur de la pluche double renuers de manches sans-veste frange forte couleur de ,prince pluche de couleur ,bas routr couleur de lhabit l,echarpe de point d'espagne ou de raiseau ,or et ,argent ,figure #ai3 ,deshabill d',hyuer ,coeffe de ,soye ecru ,coeffe noire ,palatine de ,point ,manchon de pluche couleur de feu ,manche ,sere de pluche4 ,manche de ,chemise4 ,menchettes de point4 ,ceinture de tissu d',or4 ,manteau de brocart a fleurs d',or doubl de pluche couleur de feu4 ,iupe de pluche couleur de feu4 trois rangs de grande dentelle ,or et ,argent-vollante4 ,iupon de brocart a fleurs d'argent bord d'ermine4 ,figure #ba3 ,habit d',est ,ruban large tabiz ou brod avec de la frange ,juste au ,corps destamine ,couleur de ,prince4 ,la ,veste aussy longue que le ,juste au ,corps de toile blanche garnie de dentelle ou point4 ,tour de manche double4 ,les ,gans garnis de dentelle4 ,le ,baudrier fons blanc et des grans fleurons brodes de la ,couleur de l'habit4 ,figure #bb3 ,habit d',est ,a graphe de ,piereries4 ,gans de point d',angleterre4 ,manchettes doubles4 ,manteau de gaze4 ,jupe de point d',angleterre sur un fons de couleur4 d'entelle d',angleterre plisse4 99 99 99 99 99 99 99 99 99 ,errata 7noted by transcriber7 title page ,john ,l ,nevinson spacing suggests invisible 4 after initial ,footnote #ca3 ,e4 ,s4 ,,de ,,beer1 ,king ,charles ,,ii's own fashion1 open quote missing ,footnote #cg3 ,a new ,drawing book of ,modes1 by ,mons ,b4 ,picart name spelled as shown