file which includes the original illustrations4 ,see #cdijc-;h4htm or #cdijc-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#cdijc_/pg#cdijc-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#cd ijc_/cdijc-;h4zip7 ,transcriber's note3 ,text enclosed by equal signs is in bold face 7bold74 ,a list of corrected printer's errors and inconsistencies can be found at the end of the text4 ,the ,artistic ,crafts ,series of ,technical ,handbooks ,edited by ,w4 ,r4 ,lethaby ,,dress ,,design ,illustration3 ,a ,long-trained ,muslin ,dress4 ,about #ahjj4 ,,dress ,,design ,an ,account of ,costume for ,artists ,dressmakers by ,,talbot ,,hughes ,illustrated by the ,author from ,old ,examples 4 ,together with #ce ,pages of ,half-,tone ,illustrations ,london ,sir ,isaac ,pitman ,sons1 ,ltd4 ,bath1 ,melbourne1 ,toronto1 and ,new ,york ,reprinted #aibj ,,general ,,preface ,,to ,,the ,,series ,in issuing this volume of a series of ,handbooks on the ,artistic ,crafts1 it will be well to state what are our general aims4 ,in the first place1 we wish to provide trustworthy text-books of workshop practice1 from the points of view of experts who have critically examined the methods current in the shops1 and putting aside vain survivals1 are prepared to say what is good workmanship1 and to set up a standard of quality in the crafts which are more especially associated with design4 ,secondly1 in doing this1 we hope to treat design itself as an essential part of good workmanship4 ,during the last century most of the arts1 save painting and sculpture of an academic kind1 were little considered1 and there was a tendency to look on design as a mere matter of appearance4 ,such ornamentation as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production4 ,with the critical attention given to the crafts by ,ruskin and ,morris1 it came to be seen that it was impossible to detach design from craft in this way1 and that1 in the widest sense1 true design is an inseparable element of good quality1 involving as it does the selection of good and suitable material1 contrivance for special purpose1 expert workmanship1 proper finish and so on1 far more than mere ornament1 and indeed1 that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines4 ,workmanship when separated by too wide a gulf from fresh thought--that is1 from design--inevitably decays1 and1 on the other hand1 ornamentation1 divorced from workmanship1 is necessarily unreal1 and quickly falls into affectation4 ,proper ornamentation may be defined as a language addressed to the eye2 it is pleasant thought expressed in the speech of the tool4 ,in the third place1 we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood4 ,although within the bounds of academic art1 the competition1 of its kind1 is so acute that only a very few per cent4 can fairly hope to succeed as painters and sculptors2 yet1 as artistic craftsmen1 there is every probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success4 ,in the blending of handwork and thought in such arts as we propose to deal with1 happy careers may be found as far removed from the dreary routine of hack labour1 as from the terrible uncertainty of academic art4 ,it is desirable in every way that men of good education should be brought back into the productive crafts3 there are more than enough of us in the city1 and it is probable that more consideration will be given in this century than in the last to ,design and ,workmanship4 99 99 99 99 99 ,the designing and making of ,costume is a craft--sometimes artistic--with which we are all more or less concerned4 ,it is also1 in its own way1 one of the living arts1 that is1 it is still carried forward experimentally by experts directly attached to the business4 ,it has not yet been subjected to rules of good taste formulated by ,academies and ,universities2 but when ,inigo ,jones1 the great architect1 was asked to make some designs for fancy dress1 he based them on the ,five ,orders of ,architecture1 and ponderous fancies they were4 ,if we look for the main stem of principle on which modern ,costume develops1 we seem to find it in the desire for freshness1 for the clean1 the uncrushed1 and the perfectly fitted and draped4 ,probably a modern lady's ideal would be to wear a dress once1 and then burn it4 ,a correlative of the ideal of freshness is the delight in perfect cut1 and the rapidly changing fashions are doubtless conditioned in part by the desire for the new and unsullied4 ,novelty is a guarantee of newness4 ,in such ephemeral productions it would be vain to seek for certain fine types of excellence which were once common when dresses were not so lightly cast aside4 ,so it is necessary that we should understand what the ruling principle is1 for it is one which will not be set aside at the bidding of well-meaning reformers4 ,i will only venture to say that it would be desirable to make the attempt to separate in some degree the more constant elements of dress from those which are more variable4 ,it will seem a pity to more than outsiders that a well-dressed person need wear so little which deserves to have been made by human hands1 and nothing which deserves to be preserved4 ,fine laces and jewels are allowed to be antique--could not the circle of such things be a little broadened8 ,a properly groomed man carries about on him literally nothing worth looking at4 ,we might surely look for a watch-chain with some delicacy of handiwork--something beyond mechanical reductions of iron cables4 ,fine buttons might conceivably be made to go with the studs1 or be made of crystal1 amethyst1 and silver or gold4 ,women might allow of the transfer of fine embroidered applications from one dress to another1 or make more use of clasps and the like4 ,i am confident that when it is pointed out1 it will be felt as a shortcoming that no part of a fine lady's dress need now be too good to throw away4 ,although the present volume is cast into the form of a history1 it is also intended to be a book of suggestions2 and the hope is held that modern dressmakers may refer to it as much as1 or more than1 those who are interested in dress from the historical point of view4 ,in any case the author's accurate knowledge of the facts1 and his many bright sketches--which are often drawn from examples in his own remarkable collection--make the present volume an admirable handbook of ,english ,costume4 ,the more technical patterns which are included amongst the illustrations will be found most valuable to all who wish to go deeper than the first glance reveals4 ,w4 ,r4 ,,lethaby4 #aiac4 ,,contents ,,page ,,general ,,preface ,,to ,,the ,,series xi ,preface xiv ,,list ,,of ,,plates xxiii ,,introduction #cc ,,chapter ,i ,prehistoric ,dress--,female #dj ,prehistoric ,dress--,male #da ,,chapter ,,ii ,the ,development of ,costume to the ,tenth ,century--,female #de ,the ,development of ,costume to the ,tenth ,century--,male #di ,,chapter ,,iii ,tenth to the ,fifteenth ,century--,female #eg ,tenth to the ,fifteenth ,century--,male #ga ,,chapter ,,iv ,fifteenth ,century--,female #hd ,fifteenth ,century--,male #ib ,,chapter ,v ,sixteenth ,century4 ,character of ,trimmings #aji ,sixteenth ,century4 ,henry ,,viii--,female #aac ,sixteenth ,century4 ,henry ,,viii--,male #aah ,sixteenth ,century4 ,the ,reigns of ,edward ,,vi and ,mary--,female #abd ,sixteenth ,century4 ,the ,reigns of ,edward ,,vi and ,mary--,male #abi ,sixteenth ,century4 ,elizabeth--,female #acc ,sixteenth ,century4 ,elizabeth--,male #aci ,,chapter ,,vi ,the ,character of ,trimmings through the ,seventeenth ,century #adb ,james ,i #adb ,charles ,i #adc ,the ,commonwealth #ade ,charles ,,ii #ade ,james ,,ii and ,william and ,mary #adf ,seventeenth ,century4 ,james ,i--,female #adg ,seventeenth ,century4 ,james ,i--,male #aej ,seventeenth ,century4 ,charles ,i--,female #aed ,seventeenth ,century4 ,charles ,i--,male #afj ,seventeenth ,century4 ,the ,commonwealth--,male and ,female #afh ,seventeenth ,century4 ,charles ,,ii--,female #afi ,seventeenth ,century4 ,charles ,,ii--,male #agd ,seventeenth ,century4 ,james ,,ii--,female #agh ,seventeenth ,century4 ,james ,,ii--,male #ahj ,seventeenth ,century4 ,william and ,mary--,female #ahd ,seventeenth ,century4 ,william and ,mary--,male #ahf ,,chapter ,,vii ,the ,character of ,decoration and ,trimmings of the ,eighteenth ,century #aij ,eighteenth ,century4 ,anne--,female #aic ,eighteenth ,century4 ,anne--,male #aih ,eighteenth ,century4 ,george ,i--,female #bja ,eighteenth ,century4 ,george ,i--,male #bjg ,eighteenth ,century4 ,george ,,ii--,female #baa ,eighteenth ,century4 ,george ,,ii--,male #bad ,eighteenth ,century4 ,george ,,iii to #ahjj--;,female #bag ,eighteenth ,century4 ,george ,,iii to #ahjj--,male #bca ,,chapter ,,viii ,character of ,trimmings of the ,nineteenth ,century #bcg ,nineteenth ,century4 ,george ,,iii--,female #bda ,nineteenth ,century4 ,george ,,iii--,male #bdf ,nineteenth ,century4 ,george ,,iv--,female #bdh ,nineteenth ,century4 ,george ,,iv1 #ahbj-cj--,male #bed ,nineteenth ,century4 ,william ,,iv--,female #beh ,nineteenth ,century4 ,william ,,iv--,male #bfc ,nineteenth ,century4 ,victoria--,female #bfd ,nineteenth ,century4 ,victoria--,male #bgc ,,patterns ,,of ,,various ,,reigns ,,from ,,antique ,,costume #bgf ,,patterns ,,to ,,scale #bhc ,,patterns ,,to ,,scale1 ,,detailed ,,list #cec ,,index #cei ,,list ,,of ,,descriptive ,,lines ,,to ,,the ,,plates ,,frontispiece ,facing ,title ,a ,long-trained ,muslin ,dress1 about #ahjj4 ,,plate ,i ,facing p4 #ci ,boots and ,shoes from the ,fourteenth to ,nineteenth ,century4 ,,plate ,,ii #db ,a4 ,elizabethan ,robe in ,plush1 #aehe-afje4 ,b4 ,elizabethan ,robe in ,silk ,brocade1 #aefe-he4 ,c4 ,elizabethan ,male ,robe in ,velvet ,brocade1 #aehj-afae4 ,d4 ,back-piece of ,elizabethan ,doublet in ,embroidered ,linen1 #aehj-afje4 ,,plate ,,iii #ee ,a4 ,elizabethan ,jump 7or ,jacket71 about #afjj4 ,b4 ,portrait of ,lady in ,embroidered ,costume1 between #afbj and #afdj4 ,,plate ,,iv #eh ,c4 ,youth's ,jacket of ,linen embroidered in ,worsted1 #afce-fe4 ,d4 ,linen ,male ,jacket embroidered with ,gold and ,silk1 #afjj-dj4 ,,plate ,v #ga ,a4 ,jerkin--,period ,james ,i4 ,b4 ,lady's ,bodice of ,slashed and ,vandyked ,satin1 #afce-ej4 ,c4 ,jerkin of ,embroidered ,linen1 #afcj-fj4 ,d4 ,jerkin of ,embroidered ,linen1 #aehj-afce4 ,,plate ,,vi #gd ,a4 ,collar and ,cuffs set with ,lace1 #afjj-cj4 ,b4 ,embroidered ,leather ,jerkin1 #afbj-afdj4 ,c4 ,top of ,stocking1 ,embroidered ,linen1 #afbe-ej4 ,,plate ,,vii #hg ,a4 ,herald's ,coat1 ,embroidered ,velvet and ,silk1 ,first ,half ,seventeenth ,century4 ,b4 ,lady's ,bodice of ,black ,velvet1 #afcj-fj4 ,c4 ,black ,silk ,jerkin1 #afdj-ej4 ,,plate ,,viii #ij ,a4 ,three ,suits--,period ,charles ,,ii4 ,b4 ,c4 ,,plate ,,viiia #ajc ,a4 ,suit of ,embroidered ,silk1 #afaj-cj4 ,b4 ,three ,sword-hangers ,embroidered in ,gold1 ,charles ,,ii4 ,c4 ,braided ,suit1 #afgj-ij4 ,,plate ,,ix #ajf ,a4 ,lady's ,embroidered ,silk ,jacket1 #afje-bj4 ,b4 ,lady's ,bodice of ,silk ,brocade1 #afhj-agjj4 ,,plate ,x #aai ,a4 ,black ,velvet ,bodice1 #afjj-be4 ,b4 ,five ,embroidered ,waistcoats1 between #afij and #ahjj4 ,,plate ,,xi #abb ,sixteen ,leather ,boots and ,shoes1 between #aece and #ahej4 ,,plate ,,xii #ace ,a4 ,lady's ,outdoor ,costume1 #aghe-ie4 ,b4 ,costume1 ,early ,eighteenth ,century4 ,c4 ,silk ,brocade ,dress1 #agfj-hj4 ,,plate ,,xiii #ach ,a4 ,silk ,coat1 #agce-ee4 ,b4 ,brocade ,silk ,coat1 #agde-fj4 ,c4 ,embroidered ,cloth ,coat1 #aggj-ij4 ,,plate ,,xiv #aea ,a4 ,embroidered ,silk ,dress with ,pannier1 #agfe-hj4 ,b4 ,brocade ,dress and ,quilted ,petticoat1 #agej-fe4 ,,plate ,,xv #aed ,a4 ,white ,cloth ,coat1 #agge-ij4 ,b4 ,silk ,dress1 #agdj-fj4 ,c4 ,embroidered ,velvet ,coat1 #agec-ge4 ,,plate ,,xvi #afg ,a4 ,silk ,brocade ,dress1 #agdj-fj4 ,b4 ,silk ,brocade ,sack-back ,dress1 #agee-agge4 ,c4 ,dress of ,striped ,material1 #agee-he4 ,,plate ,,xvii #agj ,a4 ,silk ,suit1 #agfe-hj4 ,b4 ,quilted ,dress1 #agjj-be4 ,c4 ,silk ,embroidered ,suit1 #agfe-hj4 ,,plate ,,xviii #ahc ,a4 ,brocade ,bodice1 #aggj-he4 ,b4 ,flowered ,silk ,dress1 #agej-gj4 ,c4 ,silk ,brocade ,bodice1 #aghj-ie4 ,,plate ,,xix #ahf ,a4 ,silk ,brocade ,dress1 #agge-he4 ,b4 ,embroidered ,silk ,jacket1 #agge-ij4 ,c4 ,brocade ,jacket1 #aghj-ie4 ,,plate ,,xx #aii ,a4 ,gold-embroidered ,muslin ,dress1 #agie-ahje4 ,b4 ,nine ,aprons1 between #afij and #agej4 ,c4 ,dress of ,spotted ,stockinette1 #agie-ahjh4 ,,plate ,,xxi #bjb ,twenty-three ,boots and ,shoes1 from #ahjj to #ahge4 ,,plate ,,xxii #bae ,a4 ,linen ,dress1 #agie-ahjh4 ,b4 ,silk ,bodice1 #ahbe-cj4 ,c4 #ahah-be4 ,,plate ,,xxiii #bah ,a4 ,muslin ,dress with ,tinsel ,design1 #agih-ahaj4 ,b4 ,silk ,dress1 ,period ,george ,,iv4 ,c4 ,satin and ,gauze ,dress1 #ahbj-cj4 ,,plate ,,xxiv #bca ,a4 ,outdoor ,silk ,jacket1 #agih-ahjh4 ,b4 ,embroidered ,muslin ,bodice1 #ahaf-ahcj4 ,c4 ,embroidered ,muslin ,bodice1 #ahbd-ahbe4 ,d4 ,satin and ,gauze ,bodice1 #ahbj-cj4 ,,plate ,,xxv #bcd ,a4 ,silk ,dress1 #ahjj-aj4 ,b4 ,cotton ,dress1 #ahjj-aj4 ,c4 ,embroidered ,muslin ,dress1 #ahbj-cj4 ,d4 ,silk ,gauze ,dress1 #ahbd-cj4 ,,plate ,,xxvi #bdg ,a4 ,morning ,coat of ,chintz1 #ahbe-de4 ,b4 ,cloth ,coat1 #ahjh-bj4 ,c4 ,cloth ,overcoat1 #ahbj-ce4 ,,plate ,,xxvii #bej ,outdoor ,silk ,dress1 #ahbe-ce4 ,,plate ,,xxviii #bei ,a4 ,silk ,pelisse1 #ahbj-cj4 ,b4 ,cotton ,dress1 #ahcj-dj4 ,c4 ,silk ,spencer and ,cape1 #ahah-bg4 ,,plate ,,xxix #bfc ,a4 ,embroidered ,silk ,gauze ,dress1 #ahbj-cj4 ,b4 ,gauze ,dress with ,appliqued ,design1 #ahbe-ce4 ,c4 ,printed ,linen ,outdoor ,dress1 #ahbg-ahdg4 ,,plate ,,xxx #bff ,a4 ,printed ,silk ,bodice1 #ahdj-ej4 ,b4 ,gathered ,linen ,bodice1 #ahcg-dg4 ,c4 ,silk ,bodice and ,bertha1 #ahde-ee4 ,,plate ,,xxxi #bgj ,a4 ,embroidered ,muslin ,outdoor ,dress1 #ahee-fe4 ,b4 ,riding ,habit1 #ahde-ge4 ,c4 ,gauze ,ball ,dress1 #ahdj-ee4 ,,plate ,,xxxii #bgi ,a4 ,silk ,dress1 #ahfj-gj4 ,b4 ,gauze ,walking ,dress1 #ahej-fj4 ,c4 ,silk ,dress1 #ahdh-eh4 ,,plate ,,xxxiii #bhb ,a4 ,silk ,dress with ,court ,train1 #ahbh-ahch4 ,b4 ,silk ,afternoon ,dress1 #ahgb-gh4 ,c4 ,silk ,coat and ,skirt1 #ahee-ef4 ,,dress ,,design ,plates originally printed in collotype are now produced in half-tone ,,introduction ,the subject of ,historical ,costume covers such a multitude of detail that a volume on each century could be written1 with hundreds of illustrations4 ,thus it is1 most works on costume are expensive and bewildering2 but ,i hope this small practical handbook will be a useful addition to the many beautifully illustrated works which already exist4 ,i have divided the matter into centuries and reigns1 as far as possible1 in this small work1 besides separating male and female attire1 thus simplifying reference4 ,a special feature has also been made1 of supplying the maker or designer of dress with actual proportions and patterns1 gleaned from antique dresses1 as far back as they could be obtained2 and ,i am much indebted to the authorities at the ,victoria and ,albert ,museum for the permission given me to examine and measure their unique specimens2 also to ,mr4 ,wade1 ,mr4 ,g4 ,g4 ,kilburne1 ,mr4 ,duffield1 ,mr4 ,box ,kingham1 ,mr4 ,hill1 ,mr4 ,breakespeare1 and others1 for their valuable assistance with interesting specimens4 ,i have used outline drawings in the text1 as being more clear for purposes of explanation4 ,the dates given to the illustrations are to be taken as approximate to the time in which the style was worn4 ,many of the photographs have been arranged from my own costume collection1 which has made so much of my research simple1 reliable1 and pleasant4 ,i am also happy to state that before the final revision of this book ,i have heard that my collection of historical costumes and accessories will1 after a preliminary exhibition at ,messrs4 ,harrod's1 be presented to the ,victoria and ,albert ,museum as a gift to the nation by the ,directors of that firm4 ,thus the actual dresses shown in these plates will find a permanent home in ,london1 and become valuable examples to students of costume4 ,the coiffures in the collotype plates are not to be judged as examples1 for it would have consumed far too much time to set up these figures more perfectly1 but all the bonnets1 caps1 and accessories given are genuine examples4 ,in a book of this size1 one cannot go into the designs of materials1 c41 which is a study any earnest student would not neglect1 but in this connection ,i would draw attention to the comparative colour density and proportion of designs chosen for various effects4 ,it has been my endeavour to arrange a greater variety of the forms which make up the characters of each period1 and also to give a wider knowledge into the footwear1 or details of the footwear1 than is usual in most costume books4 ,in a review of the styles ,i would not press any choice for building new designs1 as ,i believe in close individual research and selection1 which may utilise many interesting features from costume settings even in periods which are almost scorned4 ,i believe the purest beauty is found in the simple forms of dress and decoration settings from the #abth to the #aeth centuries1 schemed to the natural proportions of the figure4 ,the grace of line and movement is often aided by the short train1 which can be so happily caught up in many ways2 the slight drag of the train always keeps the front clear in outline1 besides showing the movement of the limbs4 ,length of fall in the material was desired1 the figure creating its own folds with every turn1 but a belt was often placed rather high under the breast4 ,there is little reason with nature of fine form to make dress into sections by a corset waist4 ,a long1 lithe1 complete curve in outline--much happier unbroken1 except by the girdle--is certainly the most artistically useful conception1 not breaking the rhythm 7as does the harder belt71 while it also induces much beauty in lifting and arranging the drapery4 ,the long falling sleeve also has the same qualities1 giving a greater fullness of shape1 a variety of colour 7by a difference of lining71 with a winglike motion1 besides softening the angle of the elbow4 ,i think the next garment for high esteem is the chasuble-shaped tunic 7with or without sleeves74 ,falling cleanly from the shoulders1 it stops at a charming length for the skirt to take up the flow of line4 ,the delightful effect of partly-laced or clasped sides was not missed by the ablest designers4 ,how refined1 too1 was the character of decoration of the old period6 ,the art of concentrating effects is seen to perfection1 retaining the breadth of shape and length unbroken4 ,jewelled embroidery of fine enrichment was wrought on the borders1 neck settings1 square corners1 the girdle1 and the clasps4 ,the preciousness of effect was truly appreciated by the enclosing of the face in the purity of white lawn and zephyr-like veilings2 the circlet and the long interlaced plaits and charming nettings were all tastefully schemed4 ,has woman ever looked more supreme through all the centuries of extravagant styles and distortions8 ,i believe not3 but ,i have come to the conclusion that1 at whatever period of seeming insanity of style1 the woman of fine taste can overcome all obstacles by her individual choice and set up1 and has really always looked fascinating4 ,there was another form of decoration at this period--the cutting of the edges into a variety of simple or foliated shapes1 giving a flutter and enrichment to forms in a simple manner1 and this1 in conjunction with the increasing richness of materials1 was a valuable aid to lighten the effects4 ,it was probably initiated by the heraldic characteristics in vogue4 ,the pricked and slashed details had much the same result in enriching surfaces4 ,later the fan sleeves of the #ahth century were enhanced in a similar way by the curved and scalloped shaping1 which was used as late as the ,victorian sixties with happy effect on the polonaises4 ,now1 as regards the finest corset dress1 the palm must be given to the sack-back dress of the eighteenth century 7not in the period of its distortion with hoops71 and a full setting showed it to greatest advantage4 ,this type of design lent itself to more variety in beauty of arrangement than any other2 the looping1 reefing1 and tying always set gracefully in accord with the back fall4 ,the easy exchange of the stomacher also gave additional chance of effect1 and the beauty of the fan-shaped sleeve1 with its lace falls at the elbow1 was a delightful creation4 ,how rich and refined this character could be1 without the monstrous forms and head-dresses which later invaded it and turned it into ornate absurdity6 ,when we examine the period of ,charles ,i1 we find much charming dignity in the adaptations of earlier inventions2 the collar settings were noble1 indeed perfect1 in arrangement1 and the bodice decoration and proportions most interesting4 ,for the grace of girlhood no dresses are happier than those of the early #aith century to #ahcj1 and the inventions in trimmings through this period were prolific in beauty and lightness of style4 ,analysis of the many fashion-plates and original dresses of this period will well repay all interested in beautiful needlecraft and dress design4 ,the arrangement of frills1 insertions1 gathered effects1 applied forms1 and tasselled or buttoned additions1 will be found full of beauty and novelty1 especially in the dresses of white embroidery4 ,plates ,,xxiii and ,,xxiv 7see pp4 #bah-bca7 give some happy examples of this time4 ,illustration3 ,plate ,i4--,boots and ,shoes from the #adth to the #aith ,centuries4 #a4 ,charles ,,ii4 #b4 ,james ,,ii4 #c4 ,william and ,mary4 #d4 ,george ,,ii4 #e4 ,george ,,iii41 #aggj4 #f4 ,george ,,iii41 #agfj4 #g4 ,george ,,iii41 #aghj-ahjj4 #h4 #ahgj-ahhj4 #i4 ,william and ,mary4 #aj4 #afhj-agjj4 #aa4 #afhj-agjb4 #ab4 #agej-agge4 #ac4 #aehj-afbe4 #ad4 #agaj-agcj4 #ae4 ,henry ,,viii4 #af4 ,semi-,clog1 #aghj-ahjj4 #ag4 ,henry ,,viii4 #ah4 #aggh-agie4 #ai4 ,late #aeth ,century or early #afth ,century4 #bj4 #aejj-aedj4 #ba4 ,late #adth ,century to middle of #aeth ,century4 #bb4 #aecj-aeee4 #bc4 #aece-aeee4 ,a word on the most condemned flow of fashion during the ,victorian era4 ,there are many dresses of real charm to be found amongst the mass of heavy styles which must not be overlooked in studying design and style4 ,even the crinoline dress1 when treated with the exquisite silk gauzes1 as ,fig4 #c in ,plates ,,xxxi and ,,xxxiii 7see pp4 #bgj-bhb71 was as alluring as any woman could wish1 and the original design of the jacket in the latter figure1 with its richly embroidered1 long-skirted front cut short at the back1 arranged itself perfectly on this type of undersetting4 ,there was notable refinement of effect and beauty of proportion in many dresses of the sixties1 as exemplified in ,fig4 ,a1 ,plate ,,xxxii 7see p4 #bgi71 the waist being set rather high1 and the very full skirt carried back by the crinoline being held thus with its cross ties4 ,,chapter ,i ,,prehistoric ,,dress4 ,,female4 ,the woman's attire would have been chiefly a shortish skirt or wrap of coarse linen1 wool1 or leather1 gathered in front or folded at one hip2 grass cloth may also have been in use in most primitive tribes4 ,probably the upper part of the body was kept bare1 except for many ornaments and necklaces1 but a bodice or jacket cut in the same simple form as the male shirt1 with a heavy belt or girdle1 would have been used1 and certainly a large shawl1 which could be wrapped over the head and round the figure during inclement hours4 ,dyed or painted patterns on the cloths might well have been also in use1 their chief designs being stripes1 circles or dots1 zigzag lines1 diamonds and plaid squares1 rope patterns and plaited patterns4 ,the hair would have been loose1 plaited1 or coiled on top1 held by bone pins or circlets of bronze4 ,,prehistoric ,,dress4 ,,male4 ,we have little description or illustration to certify the actual dress of the early inhabitants of ,britain1 but we can draw conclusions with pretty certain assurance1 from the knowledge of their mode of living4 ,from their attainments in artistic design and handiwork1 it is clear they had arrived at a very high state of savage culture before the ,roman invasion2 and we have only to study the better types of savage life still in progress1 to picture how our own primitive race would be likely to dress under the conditions of climate4 ,the thousands of finds1 which accumulate evidence every year1 give us a closer acquaintance with their customs and work4 ,the rest we must imagine from our general knowledge of what they had to contend with in climate1 forest1 cave1 and floods4 ,these early people1 it is presumed from certain discoveries1 had long known the art of coarsely weaving flax and wool1 which must soon have been in general use1 from its being healthier and cleaner than the garments of skin4 ,and very probably a coarse linen1 with simple dyes of red1 blue1 yellow1 and brown1 was in use here when the ,romans came4 ,the head-dress consisted of a cap of fur or wool1 probably decorated with a feather1 over loose and most likely very unkempt hair falling to the shoulders4 ,the ,gauls cut their locks from the back of the head1 often tying up the remainder in a tuft on the top2 no doubt the hair was sometimes plaited or pinned up with wood1 bone1 or bronze ornaments4 ,bone pins1 teeth1 and boar tusks were carried in the ears1 as well as studs of bone or stone in the underlip1 and even the cheek may have been so decorated1 as it was amongst the ,esquimaux4 ,the face and body were painted with red and white ochre and a blue stain4 ,the neck was adorned with strings of teeth1 stones1 amber1 jet1 bronze1 and probably beads of glass or baked clay coloured4 ,amulets and tokens1 armlets and bracelets were all in use4 ,also the torque1 a twisted rod of gold flattened or curled together at the ends1 was a mark of dignity4 ,a wristlet of wood1 bone1 or leather was worn when the bow and arrows were used4 ,the arms were a spear of flint or bronze and a dagger of the same1 a hatchet or heavy club1 a mace studded with flint or bronze spikes1 and the sling1 which would have necessitated a leather wallet to carry the stones2 fish spears and snags4 ,also the bolas for felling cattle seems to have been known2 in fact nearly all the usual implements appertaining to savage life were in use4 ,illustration3 ,plate ,,ii4-- 7a7 ,elizabethan ,robe in ,plush4 #aehe-afje4 7b7 ,elizabethan ,robe in ,silk ,brocade4 #aefe-he4 7c7 ,elizabethan ,male ,robe in ,velvet ,brocade4 #aehj-afae4 7d7 ,back-piece of ,elizabethan ,doublet in ,embroidered ,linen4 #aehj-afje4 ,measures1 see p4 #bha4 ,sleeve pattern of ,c1 see p4 #cjj4 ,the first item of male attire was of two skins fastened at the shoulders1 and from this we get the early chasuble form 7which may be so beautifully treated1 even to the present time71 girt with a leather thong or strap at the waist4 ,one skin lapped the other1 and hardly needed sewing together at the sides1 while thus it was easier to throw off2 it may also have been tied up between the legs4 ,the fur was worn both inside and out1 according to the weather2 this large skin wrap would also be worn cross-ways with the right shoulder free1 and the simple cloak of various lengths with a hole for the head to pass through was no doubt one of the first discoveries in costume4 ,a loin cloth or skin may have been worn alone1 caught up through the legs and fastened at the back of the waist with a heavy belt and set well down the hips4 ,this would hold a number of personal necessities1 in the shape of a wallet and dagger4 ,the legs would be wrapped with skins1 tied up or crossed by leather or sinew thongs1 or with hemp or grass rope4 ,skins were probably also used on the feet1 gathered and tied above the instep and round the ankle4 ,the enumeration of these items will give a pretty definite idea of how the early race would appear in their more or less attired form4 ,in fighting1 they cleared for action 7as it were7 and discarded all clothing1 their only protection being a shield of wicker or wood covered with leather2 it may have been studded with bronze plates or painted with grotesque characters1 as were their own bodies1 in true savage style1 to strike fear into their enemies2 it is even possible feather decorations formed part of their get up4 ,,chapter ,,ii ,,the ,,development ,,of ,,costume ,,to ,,the ,,tenth ,,century4 ,,female4 ,the female head-dress consisted chiefly of flowing hair banded with a circlet of various shapes1 but a development of braiding plaits is found very early1 and the hair was probably arranged so before the ,roman era4 ,these plaits were generally brought over the shoulder to the front1 the hair being parted in the centre1 thus making an oval forehead4 ,various caps began to show originality1 and jewels were set in the centre of the forehead on the little crown-like hat1 which must have been most becoming4 ,squares of coloured stuffs were draped over the head and shoulders1 sometimes upon white linen squares1 and many ladies began to bind the face and head1 shutting out the hair1 in the #hth century4 ,the kerchief draping is very important to study1 because it was the general mode amongst the people4 ,heavy collars of ornament and strings of beads1 hanging even to the waist1 are noticeable features of these centuries1 also large ear-rings4 ,a full cloak1 with a large clasp or brooch1 opened in front1 or was turned to free one shoulder2 there was also a long drape thrown round over the opposite shoulder or brought picturesquely over the head4 ,the ecclesiastical form of cloak as described in the male attire was also formed about the #fth century2 its graceful line was frequently bordered completely with a band of ornament1 and it was clasped just across the breasts4 ,the complete circular cloak1 with a hole for the head1 is seen very early1 decorated with a pinked edge1 which may also be noted on some of the short dresses of the middle classes4 ,aprons are no doubt of the earliest origin4 ,a loose tunic falling to the hips was girded rather high up the body1 as in the classic dress1 and bands passing both outside or crossing between the breasts and going over the shoulder came from the same source2 these were with1 or without1 short sleeves to the elbow4 ,a long loose robe was the chief attire to the #fth century1 belted rather high in the waist1 and caught up with a girdle at the hips2 these girdles gave a great interest to the early centuries1 with the art of arranging the fullness of skirt into its hold4 ,illustration3 ,,fig4 #a4 ,from the #fth century the dress became closer fitting1 and a short bodice is seen2 the neck was cut very low1 either square or round in shape1 and this style had short tight sleeves or tight sleeves to the wrist4 ,the later tunic of the #ith century marked the beginning of the slit-open upper sleeve1 and a greater length of the neck opening1 which came to be fastened down the front to the waist4 ,the early skirts 7to the #fth century7 were hung from the hips1 and were often attached to a heavy girdle band1 the fullness was gathered mostly at the back and front2 other skirts hung from a higher belt and were again caught up in the girdle4 ,a ,v-shaped neck setting was worn by the ,franks1 from which probably came the shaped front piece that will interest us in the #acth century4 ,the shoes were similar to the male shapes described later1 and the same mode of binding the stockings was sometimes imitated4 ,,the ,,development ,,of ,,costume ,,to ,,the ,,tenth ,,century4 ,,male4 ,in taking the long period from the ,roman occupation to the #ajth century1 we can discover a real development of style in costume1 as with the system of vassalage a distinction of class arose4 ,no doubt the ,romans introduced a finer tuition of weaving1 needlecraft1 decoration1 and dyeing2 and later the various peoples coming from the ,continent1 when settled under ,alfred in the #ith century1 produced a solid style of barbaric splendour4 ,illustration3 ,,fig4 #b4 ,illustration3 ,,fig4 #c4 ,the male hair dressing1 from the rugged mass of hair1 soon became well combed and trimmed square across the neck3 ear-rings may still have been in use by some nobles till the #aath century1 and chaplets were worn upon the hair4 ,the ,saxon beard was divided into two points4 ,small round tight caps of wool1 fur1 or velvet1 and rush or straw hats of a definite shape were in use to the #ajth century4 ,tight caps1 with lappets tied under the chin1 and hoods appear on the short capes about the #hth century1 or probably earlier4 ,the garment was of the simplest form1 cut like a plain square loose shirt to the middle of the thigh1 and this was put on over the head4 ,the opening to pass the head through was the first part to receive a band of decoration4 ,the sides were sometimes opened to the hips and the front caught between the legs and held at the waist4 ,a garment opened down the front1 and another wrapped across to either shoulder is also seen4 ,a belt girt the waist1 and the tunic was pulled loosely over it4 ,this also carried the essential requirements in the shape of a pouch1 dagger1 knife1 comb1 sword1 c4 ,the neck was ornamented with chains of bronze1 gold1 beads1 and charms1 and up to the #hth century a bronze ornamental armlet was worn1 besides a wristlet4 ,the men of the ruling class from the #hth century were clothed in a long garment of simple shape1 falling to the ankle1 richly bordered at the hem and neck4 ,this generally had long tight sleeves1 and often over this a shorter tunic1 reaching just below the knee1 sometimes sleeveless1 or with rather full sleeves tightening to the wrist4 ,illustration3 ,,fig4 #d4 ,a plain square chasuble shape was in fashion from the #hth century1 reaching to the bottom of the calf of the leg1 and richer materials began to be used2 no belt was passed round this1 as it was allowed to fall straight4 ,loose breeches were worn from very early times1 and a loose trouser to the ankle1 being tied there or bound crosswise from the boot sometimes right up the thigh4 ,the same binding was done even with the bare legs and later hose3 close-fitting short breeches and cloth hose became a feature in the #ajth century1 and with the latter an ornamental knee-piece or garter below the knee sometimes finished the strappings4 ,the cloak was the grand garment1 heavily banded with ornament and fastened with a large clasp on one shoulder1 or at the centre of the breast4 ,long circular cloaks of varying lengths1 put on over the head1 were much favoured1 and when caught up at the sides on either shoulder gave a fine draped effect4 ,another cloak of ecclesiastical character1 sloping in a curve from the neck and not meeting in front1 is seen on many notable figures from the early #hth century1 large clasps bridging the width low down on the chest4 ,illustration3 ,plate ,,iii4-- 7a7 ,elizabethan ,jump 7or ,jacket74 ,about #afjj4 7b7 ,portrait of a ,lady in ,embroidered ,costume4 ,between #afbj and #afdj4 ,illustration3 ,,fig4 #e4--,,types ,,of ,,shoes4 ,british1 ,roman1 ,norman to #acth century4 ,no doubt the sandal of various forms was much used for footwear through this period1 also a simple low shoe which was held on by the leg-strappings1 as1 about the #hth century1 shoes are seen with loops at the upper edge1 these being attachments for the binding1 and this was no doubt a method from the prehistoric times4 ,there was also a soft boot reaching to the calf1 laced up the front2 and1 after the #hth century1 a rather pointed shoe1 open down the instep1 laced1 tied1 or gathered into a buckle about the ankle4 ,,chapter ,,iii ,,tenth ,,to ,,the ,,fifteenth ,,century4 ,,female4 ,the head-dress of women now began to show a preference to confine the hair with nets and to close in the face1 which continued till the #aeth century4 ,the circlet and long plait or plaits and the flowing hair remained till the #adth century4 ,in the #abth century we discover the hair gathered in nets at either side of the head1 covering the ears4 ,a low-crowned hat was bound over with a band of lawn or fine material passing underneath the chin1 otherwise the plaits were looped up under a circlet which was also worn with the flowing hair4 ,a square effect was aimed at in the #acth century with tight side-plaits bound into a shape or netted hair was strapped to the head as in ,fig4 #aa 7see p4 #fe74 ,a fall of fine material softened the hard effect1 and many ladies of quality bound the face1 neck1 and head in the wimple of fine linen1 sometimes gathering this to the same quaint shape of the netted hair4 ,i give a variety of these settings on page #fe4 ,a kerchief of linen coming round the neck was brought up tightly round the face and festooned on the top of the head1 while another piece was pinned close to the brows and fell loosely to the shoulders1 being often held on by a circlet as well4 ,this character was maintained till the early #adth century1 when a style of high peaked hats came into evidence1 one shape of which became the most imposing feature of historic costume in the #aeth century4 ,it was still but a simple form in the middle of the #adth century1 for another shape first gained predominance4 ,early in this century also may be noted a curious shape like the cap of liberty1 usually with a long tail at the back as drawn on page #ei4 ,this carried design to the eccentric forms of the pig-tailed hood1 and then the rival of the high peaked hat took its place towards the end of the #adth century--a cushioned head-dress1 which rose and divided in a hornlike structure4 ,it started as in ,fig4 #be1 and ,i have illustrated its progress2 the veil draping was a great feature1 giving plenty of scope for individual fancy4 ,it was1 as a rule1 richly decorated with gold and jewels1 and the hair was completely enclosed in a gold net and a tight-fitting cap to hold this erection4 ,large drop ear-rings were much worn1 and a fine chain of gems encircled the neck or fell to the breast4 ,illustration3 ,plate ,,iv4-- 7c7 ,youth's ,jacket of ,linen ,embroidered in ,worsted4 #afce-fe4 ,pattern1 see p4 #bii4 7d7 ,linen ,male ,jacket ,embroidered with ,gold and ,silk4 #afjj-dj4 ,illustration3 ,,fig4 #f4--,tenth to thirteenth century4 ,illustration3 ,,fig4 #g4 ,henry ,,ii4 ,john ,henry ,i4 ,richard ,i4 ,illustration3 ,,fig4 #h4--,twelfth to fourteenth century4 ,in the #ajth century a long close-fitting robe was in fashion1 sometimes with a deep ,v-shaped neck opening1 though usually the neck was cut to a round form4 ,some sleeves were tighter with a small cuff1 but usually the outer garment had a falling sleeve with a square or round end showing the tight undersleeve4 ,the outer sleeve varied much in length1 from the elbow or hand dropping even to the ground2 it was narrow and widened through the #adth century1 when its edge was cut into various patterns as in ,fig4 #ah 7see p4 #gi74 ,in the #acth century we notice a long sleeve opened at the elbow for the under sleeve to come through1 which beautiful style continued to the middle of the #agth century4 ,illustration3 ,,fig4 #i4 ,norman1 #abth century ,saxon1 #abth century ,illustration3 ,,fig4 #aj4--;,fourteenth century1 #ast half4 ,illustration3 ,,fig4 #aa4--;,fourteenth century1 #bnd half4 ,with the #ajth century came the first corselet from the waist to the hip1 clasping a loose tunic with an under-dress taking a long pointed train4 ,the manner of tucking the tunic under the corselet when it was worn over it1 and so creating festoons1 is worthy of notice as interesting in arrangement and design4 ,the #acth century parti-coloured and striped dresses foreshadowed the heraldic fashion1 which must be studied for its proportion and treatment of decorative colour-values in counterchange to get the true value of its noble effects4 ,a great feature now appears in the chasuble-shaped front or setting to a closely cut jacket4 ,this ultimately becomes the decorative stomacher through the later periods1 and it is very interesting to note its development4 ,in the #acth century this jacket was a fur construction of a long simple form opened at the sides to the hips for the sleeves to come through2 it had a straight hem or was rounded at the front points1 and a chasuble form of it was treated as in ,fig4 #ac or in conjunction with a short cape2 it was chiefly a decoration of ermine4 ,it grew into a complete jacket1 and in the #adth century it was heavily ornamented with gems2 and the simple front1 from being a feature outside the jacket1 was later often enclosed at the sides4 ,the jacket itself is beautiful in form and proportion1 and the curved band of design over the hips makes a nice foil to the curved front4 ,this pattern is plainly derived from the effect of the rich girdle that was at first seen through the side openings and few jackets are without it1 the usual shaping of the neck with most of these was square4 ,illustration3 ,,fig4 #ab4--,nos4 #a to #g1 #adth century4 ,nos4 #h and #i1 #aeth century4 ,in the first quarter of the #adth century the setting of the neck was of a round shape1 and after #acej a raised or curved form is favoured4 ,later still1 and with the hornlike head-dress1 a very deep ,v shape1 open almost to the belt was the mode1 often being filled in with velvet4 ,at the same time some began to take up the fashions of a very high collar and a round-shaped body and sleeves1 as in ,fig4 #bd 7see p4 #hi71 with which a wide pointed belt is seen4 ,some robes were opened in front up to the height of the girdle1 though many dresses were worn without girdles after the #abth century4 ,decorated pockets are sometimes seen in the later period1 and an interesting hand-covering or falling cuff came with them4 ,illustration3 ,,fig4 #ac4--,nos4 #a to #c1 #adth century4 ,nos4 #d to #i1 #aeth century4 ,the cloak as described in the #ajth century still continued till the #abth1 as well as the light wrap which may almost be placed with any period1 though mostly a feature of the more classic styles4 ,skirts and underskirts were worn with trains4 ,they were mostly banded with wide borders of ornament up to the #acth century1 the fullness being often gathered to the back and front4 ,the chasuble-shaped overdress was worn to the middle of the #adth century1 sleeveless1 and1 laced or sewn tight to the figure from the arm to the hip1 or completely down the sides1 generally reached just below the knee4 ,the shoes were of much the same character as those of the male examples illustrated1 though they hardly reached the same extravagance in length1 owing1 no doubt1 to the feet of woman being hampered by her skirt2 but ,i suspect they even braved high wooden clogs1 as we know they did the tall chopins of the #afth century1 to heighten their stature4 ,illustration3 ,plate ,v4-- 7a7 ,jerkin4 ,period ,james ,i4 7b7 ,lady's ,bodice of ,slashed and ,vandyked ,satin4 #afce-ej4 7c7 ,jerkin of ,embroidered ,linen4 #afcj-fj4 7d7 ,jerkin of ,embroidered ,linen4 #aehj-afce4 ,pattern measurements1 see p4 #bic4 ,,tenth ,,to ,,the ,,fifteenth ,,century4 ,,male4 ,from the #ajth to the #aeth century1 we find costume developing rapidly into elaborate and interesting designs4 ,close relations with the ,continent brought new ideas1 and rich velvets and brocades interwoven with gold enhanced the gorgeousness of attire1 while the introduction of heraldic design brought in a very picturesque element4 ,hats and head-dresses began to become important features1 enlarging to eccentric shapes and proportions1 only equalled in the extravagant part of the #ahth century4 ,it may be noted that feminine fashion1 as it assumes new characters and proportions1 affects the style of the male clothes in the same way1 as1 when a high or pointed head-dress comes in1 the male hat also increases its size2 the same with curved or angular designs1 full or tight sleeves4 ,the hair was worn long and rather squared in shape at the back till the end of the #aeth century4 ,a tendency to shut in the face by close hoods tied under the chin is remarked1 and this forms a strong feature of the #acth and #adth centuries4 ,ear-rings were seldom worn after the #ajth century2 but the neck was generally adorned with heavy chain decorations4 ,beards assumed a pointed shape in accordance with this development of fashion1 and double-pointed beards were revived between #achj and #achf4 ,hats of straw with mushroom brims and round tops came into vogue in the #aath century1 covered with coloured materials and finished with a spike or button at the top1 and the crowns of these took a pointed shape in the #adth century4 ,the usual cap with folded brim had a loose crown1 and we find this began to lengthen and fall over to one side in the #aath century1 and continued to elongate till1 in the #aeth century1 it often dropped to the knee in a long thin point4 ,in the #adth century it took a fullness of loose folds1 with serrated or foliated edges falling to the shoulder as in ,fig4 #ae 7see p4 #gc74 ,a close helmet-shaped cap is seen in the #abth century1 with a falling point from the crown1 and the #acth century brought in the higher crowned hat1 with a long peaked front1 turned up at the back4 ,feathers were worn at the front1 back1 or side of hats1 and sometimes on the front of the hoods2 these increased their dimensions in height and peak1 till the straight-up high hat1 which was often brimless1 came in the #aeth century4 ,the early hood or cowl soon began to vary its design1 for in the #acth century it was often a part of1 or attached to1 a chasuble shape falling back and front1 or with the long front1 stopping at a short cape length behind4 ,a note of interest in the #adth century appears1 where the forehead part of the hood is turned up1 showing a coloured lining1 and at times the fashionable serrated edge surrounding the face is seen4 ,illustration3 ,,fig4 #ad4 #acth century #adth century #aeth century ,illustration3 ,,fig4 #ae4--;,fourteenth century4 ,illustration3 ,plate ,,vi4-- 7a7 ,collar and ,cuffs set with ,lace4 #afjj-cj4 7b7 ,embroidered ,leather ,jerkin4 #afbj-dj4 7c7 ,top of ,stocking4 ,embroidered ,linen4 #afbe-ej4 ,illustration3 ,,fig4 #af4--,twelfth to thirteenth century4 ,the chasuble-shaped garment was a feature often worn over the coat until the end of the #aeth century1 and was generally worn long with the elongated fashion of the #adth century1 and short with the shorter tunics of the #aeth century4 ,they are found very wide in the #adth century1 and so fall well down over the shoulder1 where they are often laced a short distance up1 creating an interesting feature4 ,cloaks were not so much in favour with the heavier cowl and cape1 but they were used1 fastened by brooches to either shoulder rather at the back1 after the #abth century4 ,illustration3 ,,fig4 #ag4--;,fourteenth century4 ,a very tight-fitting suit called ,justacorps came into use from the #abth century1 and developed a padded round-shaped body towards the end of the #adth century2 the closely-cut body was buttoned up to the throat1 or was set with a high collar for the first time4 ,the tights came over it1 sometimes rather high up the waist1 being laced to it4 ,a long tunic was chiefly favoured during the #ajth and #aath centuries with short or long cuffless sleeves1 and a full bell-shaped falling sleeve showed a close-fitting under one4 ,these tunics were chiefly open at the neck as in the earlier times1 though a slight difference to be noted is a ,v-shaped opening in the #adth century1 which is developed in the #aeth century2 they were also split up the sides1 even to the hips4 ,some were very full in shape1 and were gathered to either side as in the illustration2 others had the body closely fitted and full only in the skirt1 but as a rule one finds this latter shape only reaches just below the knee4 ,they were often tucked into the belt in front1 showing a rich underskirt4 ,a girdle 7besides a belt7 was worn on the hips with the longer tunics1 as in ,fig4 #bh 7see p4 #id71 the dagger and pouch being carried in front on the girdle1 and not the belt4 ,a small dagger was often slung at the back or front of the neck1 as an ornament at the end of the #adth century4 ,illustration3 ,,fig4 #ah4--;,fourteenth century4 ,tights to the waist were worn with both long and short tunics1 and retained the crossed binding up the legs to the #acth century1 in the various designs of page #ec4 ,parti-coloured tights came in with the #adth century1 carrying out the heraldic character of dress1 and this may be found till about #aecj4 ,a sandal shoe was much worn up to the #abth century1 with strappings to various heights up the leg1 this even over the short top-boots1 but the usual shoe opened down the front of the instep to the toe1 which was rather pointed in shape1 and it was curved or square at the ankle4 ,the illustration gives a good variety of the prevalent forms4 ,the stocking-boot is also another characteristic of this earlier time1 as well as the commoners' woollen gaiters1 worn as in ,fig4 #cj1 on the seated figure1 which were in use to the middle of the #afth century4 ,illustration3 ,,fig4 #ai4--,twelfth and thirteenth centuries4 ,in the illustrations which show no shoe on the tights1 it will be understood that a sole of leather was sewn on to the under part of the foot4 ,this practice is even seen to-day on the ,continent1 where the clog is mostly in use4 ,a soft boot1 reaching to the calf1 was worn till the #aeth century1 with the top folded or trimmed with fur1 the latter being generally laced down the front1 even to the instep3 the shape of these only varied in the length of the pointed toes as the style developed4 ,the long-pointed shoes began to increase all through the #acth century1 and in the #adth century they reached their greatest length1 when the points were often tied up to a garter just below the knee4 ,wooden clogs were much used1 and were often considerably raised4 ,iron circular supports were also in use at the end of this time2 these were the foretaste of the eccentric chopins of the #afth century1 which were more favoured on the ,continent than here4 ,the pointed toes also were made to curl outwards1 giving a splay-footed effect1 late in the #adth century4 ,illustration3 ,,fig4 #bj4--;,fourteenth and fifteenth centuries4 ,,chapter ,,iv ,,fifteenth ,,century4 ,,female4 ,we have now arrived at the height of eccentric fashion in mediaeval head-dress4 ,the hornlike creations1 studded with jewels1 and peaks of wondrous height1 both draped with fine muslins and often completely shutting away the hair from sight1 had a supporting cap which mostly came over ears and cheeks1 and a clutch is seen on the forehead1 at times concealed by a jewel4 ,the hair was generally allowed to fall loose under the back drape1 or a long plait is sometimes seen at the back with the first-named head-dress4 ,the back drape setting from the brow down the back was well conceived to balance the high spire1 but it seems to have been discarded during the reign of ,edward ,v1 and light veil falls were worn which often came half over the face4 ,in ,henry ,,vii's time the extreme fashion came in the shape of a closely-fitting curved cap1 with a fall of material over the back4 ,the ermine-trimmed jacket was still in favour to the middle of the last-named reign1 when it was worn low down over the hips4 ,illustration3 ,,fig4 #ba4--;,fifteenth century1 #ast half4 ,illustration3 ,,fig4 #bb4--,middle of fifteenth century to sixteenth century4 ,illustration3 ,plate ,,vii4-- 7a7 ,herald's ,coat4 ,embroidered ,velvet and ,silk4 #ast half #agth ,century4 ,measured pattern1 page #cja4 7b7 ,lady's ,bodice of ,black ,velvet4 #afcj-fj4 ,measurement1 see p4 #big4 7c7 ,black ,silk ,jerkin4 #afdj-fj4 ,illustration3 ,,fig4 #bc4--;,fifteenth century1 #ast half4 ,the chief dress of this period had a ,v-shaped collar-front meeting at the waist1 mostly made in black material or fur4 ,it was wide on the shoulder1 and seems to have been stiffened to set out2 the ,v shape was generally filled in with velvet1 and a very wide band encircled the waist2 a girdle is occasionally noted4 ,the keys' pocket and other requisites were generally carried on the underskirt during these times4 ,the skirt was full and gathered to the back in a train1 the gathers often running into the bodice2 a very wide border is prevalent1 even to the middle of the thigh4 ,tight sleeves are usual1 and hanging sleeves were worn1 mostly set in a very short sleeve1 which assume a puff-shape in ,henry ,,vii's reign2 long cuffs1 almost covering the hand1 are seen on many sleeves4 ,illustration3 ,,fig4 #bd4--;,fifteenth century1 #bnd half4 ,illustration3 ,,fig4 #be4--;,fifteenth century1 #bnd half4 ,illustration3 ,plate ,,viii4--7a7 7b7 7c7 ,three ,suits4 ,period ,charles ,,ii4 ,illustration3 ,,fig4 #bf4--;,end of fifteenth century4 ,modes of opening the skirt up to the hips occasionally showed themselves1 and even the sides to the hips are seen laced4 ,in the earlier dress1 about #adhe1 the neck setting of dress became very square1 and was filled with fine-drawn lawn4 ,the square shape rises in a curved centre before the end of this period1 and a close-fitting robe was worn with a girdle1 often opened up the sides4 ,the short upper sleeve and full outer sleeve so much in vogue gave place to a divided upper and lower sleeve1 laced or tied with ribbon1 with puffs of lawn pulled through the openings at shoulder and elbow1 and down the back of the forearm4 ,slashes are now seen in most sleeves1 and an ,italianesque character pervaded the fashion4 ,high1 soft boots and shoes of a similar shape to the male description were worn1 and changed when the square-toe shoes came in4 ,through this period there are many interesting details of costume to study1 while gilt tags1 finishing laces1 and ribbons are to be remarked from this period4 ,,fifteenth ,,century4 ,,male4 ,illustration3 ,,fig4 #bg4--;,fifteenth century4 ,illustration3 ,,fig4 #bh4--;,fifteenth century1 #ast half4 ,illustration3 ,,fig4 #bi4--,middle of fifteenth century4 ,the chief shapes to mark in this century in male head-dress is the increased height of the tall hats which rise to vie with the female fashions4 ,we still see a round hat with a rolled edge and long fall over one side1 besides shorter folds in the crown1 both scalloped or foliated at the edge1 and this shape may be noted till about #adfj4 ,some of these hats were made without a crown1 as in ,fig4 #bh 7see p4 #id72 the roll was decorated1 as a rule1 with jewelled studs4 ,a top hat1 something like our present shape1 appears1 but more belled at the top and also a padded1 rolled brim4 ,it was made in various rich materials1 and often decorated with jewels4 ,the peak-fronted hat still continued to be favoured till about #adhj1 its chief difference being a crown more eccentric in height4 ,tall cylinder hats1 with folded brims or no brim1 and other shapes are illustrated4 ,the variety is so great through this period that it is well to study the vagaries of fashion which ,i have illustrated in sequence as far as possible2 they were mostly used till about the last quarter of this century1 when the low-crowned flat hat with turned-up brim began to secure the fashion4 ,this was generally worn tilted on one side and often over a scarlet skull-cap4 ,a large bunch of plumes came in with this hat1 set up from the front1 curving backwards1 and giving a very grand effect3 with most of the tall hats the feather was set at the back4 ,illustration3 ,,fig4 #cj4--;,fifteenth century4 ,illustration3 ,,fig4 #ca4--;,fifteenth century1 #ast half4 ,illustration3 ,,fig4 #cb4--;,fifteenth century1 #bnd half4 ,the notable change in the tunic1 which was worn both very short and to the ground1 was the arrangement of folds to the back and front1 gathered to a ,v shape at the waist4 ,the hanging sleeve began to go out of favour after the middle of the century1 but the sleeve or cuff covering the hand was continued till the end of this century4 ,a sleeve1 full at the shoulder1 is found1 and short1 round1 padded sleeves came in1 worn over a close-fitting sleeve4 ,this short sleeve became raised on the shoulder1 and was cut or looped up the outer side3 a long loose outer sleeve is also seen in conjunction with these short ones4 ,a very short jacket is notable1 of a plain square shape1 with a plain sleeve on the left arm and a hanging sleeve on the right to the knee4 ,the tight-fitting jerkin1 laced down the front1 was worn with this as with most other coats4 ,illustration3 ,,fig4 #cc4--;,end of fifteenth century4 ,illustration3 ,,fig4 #cd4--;,fifteenth century1 #bnd half4 ,illustration3 ,plate ,v,i,i,ia-- 7a7 ,suit of ,embroidered ,silk4 #afaj-cj4 7b7 ,three ,sword ,hangers ,embroidered in ,gold4 ,charles ,,ii4 7c7 ,braided ,suit4 #afgj-ij4 ,illustration3 ,,fig4 #ce4--;,fifteenth-century ,shoes and ,clogs4 ,the high collar to the throat had gone out for a collar opened in front4 ,very short and very long chasubles were worn with or without sleeves which were gathered high and full at the shoulders4 ,the sleeves were now sometimes slit open at the back and held with several ties1 as linen sleeves are now shown with these4 ,parti-coloured tights were not so much favoured through this period1 but a decorated thigh1 or part of the thigh and knee1 was a favourite method of enrichment4 ,illustration3 ,,fig4 #cf4 ,a long coat came in at the later part of this time1 with a deep ,v-shaped collar meeting at the waist2 it was also cut into a square shape at the shoulders1 as in ,fig4 #dc 7see p4 #aai74 ,a loose bell-shaped sleeve usually went with this1 often opened in the front of the upper arm4 ,a short square cape is at times seen in conjunction with this4 ,a low square or round neck shape came in during the last quarter of this century1 filled in with a fine gathered lawn and a tight-fitting coat with a pleated skirt and full padded sleeves1 or a tight sleeve with a full puff or spherical upper part4 ,illustration3 ,,fig4 #cg4 ,nos4 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 second half of #aeth century4 ,nos4 #i1 #aj1 #aa1 #ab1 #ac1 #ad1 #ae1 #af1 #ag1 #ah1 variety of shapes from #adij to #afcj4 ,illustration3 ,,fig4 #ch4 ,no4 #a4 #adth century4 #b4 #aeth century4 #c4 #d4 ,late #afth cent4 #e4 #aehj-afaj4 #f4 #g4 #afje-afdj4 #h4 #afjj-afbe4 #i4 #aeej-afjj4 #aj4 #afaj-afdj4 #aa4 #aeij-afbj4 #ab4 #afje-afcj4 #ac4 #afge-afie4 #ad4 #afgj-afij4 #ae4 #afhj-agjj4 #af4 #afij-agbj4 #ag4 #afhj-agjj4 #ah4 #agjj-agej4 #ai4 #agjj-aghj4 #bj4 #agjj-agfj4 #ba4 #agdj-aghj4 #bb4 #agde-aghj4 #bc4 #aggj-ahjj4 #bd4 #agcj-agfj4 #be4 #agjj-aghj4 #bf4 #ahcj-ahfj4 #bg4 #aghj-ahjj4 #bh4 #ahdj-ahgj4 #bi4 ,illustration3 ,plate ,,ix4-- 7a7 ,lady's ,embroidered ,silk ,jacket4 #afje-cj4 7b7 ,lady's ,bodice of ,silk ,brocade4 #afhj-agjj4 ,illustration3 ,,fig4 #ci4--;,decorated ,leather1 #aeth and #afth centuries4 ,comb case purse ,cut leather4 #ae cent4 ,leather ,pierced leather1 #af cent4 ,bronze studs #ae or #af cent4 metal studs ,incised lines with metal studs #ae cent4 ,shoes and boots were still worn with very long pointed toes till about #adfe1 when a proclamation was issued for beaks or piked shoes not to pass two inches1 and after this time a broad round-toed shoe began to appear4 ,soft high boots to the top of the thigh1 with folded top1 belong to this century1 as well as the fashionable boot to the calf4 ,the sword or dagger was carried towards the front or side1 and a small dagger across the belt at the back4 ,the pouch or purse was also used as a dagger support4 ,,chapter ,v ,,sixteenth ,,century4 ,,character ,,of ,,trimmings4 ,before the #afth century we find the art of decoration in costume had been confined chiefly to applied ornamental bands at the neck1 waist1 and borders of skirt and cloak4 ,they had up till this time utilised1 with great artistry of design 7no doubt partly due to the heraldic study71 the patterns of the finely decorated damasks and velvets4 ,the counter colour effects and relative proportions1 such as a small-patterned1 dull-coloured silk setting off a large full-coloured design was ably considered1 as well as the introduction of a nicely-balanced black note or setting1 which proved these designers were highly skilled in judgment of style4 ,they also discovered the art of giving enrichment and lightness to the effect by means of the various serrated edgings to the materials1 which also gave a flutter to the movement4 ,a preference of lacing for fastening added to the charm of the dress1 but the long rows of close buttons were also a feature of the clinging robes1 the clasps and brooches1 neck-chains1 girdle1 belt1 and wallet being further very important items of enrichment to the effect4 ,on coming to the #afth century we enter what may be termed the slashed and puffed period4 ,the sleeves of ,henry ,,viii's reign are very rich in design and jewel-setting1 the design of the sleeve as in ,fig4 #dj giving a striking effect1 the angle of the top sleeve being held out by the stiffness of the under silk one4 ,the neck-setting and festooning of the jewel-chains play an important part in the design on the plain velvet corset bodices4 ,the head-dress is one of the most remarkable1 and gave a great chance for individual arrangement in binding the back fall to set at various angles on the shaped cap piece1 combining severity with a big loose draping which is extremely picturesque4 ,with ,edward ,,vi commences what may be termed the braided period of decoration4 ,this latter came suitably with the stiffer corsage and set up4 ,mary's reign was not of attractive severity1 but the over-robe with the short circular sleeve at the shoulder and high collar was a graceful creation1 and was retained by many as late as #afcj4 ,there was little to admire in the ,elizabethan age as regards design1 except the beauty of the materials and the exquisite needlework4 ,the proportions of the dresses were exceedingly ugly1 and the pleated farthingale an absurdity4 ,the male dress had much interest and often beauty of setting and decorative effect4 ,the slashed materials gave a broken quality to what would otherwise be a hard effect1 and it also cleverly introduced another colour change through the suit4 ,there will be found many examples in these illustrations of the pricked and punctured designs on leather-work which are worth examining for modern treatment4 ,quilting and pleating were ably combined with the braiding1 and we see the clever adaptation of straw patterns sewn on 7a feature of the late #afth century71 which harmonised with the gold braidings or gold lace1 or resembled the same effect4 ,the trimmings of braid were often enriched with precious or ornamental stones and pearls1 the stomacher1 waist1 front band down the skirt1 and borders of most garments4 ,the points of slashes were often held by jewelled settings1 and the long slashes were caught here and there with the same4 ,another important item was the black stitchwork on linen1 sometimes mingled with gold1 so highly prized now for its beauty of design and effect1 but beginning probably in the reign of ,henry ,,vii4 ,short coats of this type of the ,elizabethan age are marvels of skill1 and many caps are still in existence4 ,fine linen ruffs and collars were often edged with this work1 as well as with gold lace4 ,jackets and caps1 both male and female1 bearing geometrical and scroll designs in gold1 filled in with coloured needlework of flowers1 birds1 or animals have happily been preserved for our admiration4 ,sequins appear on work from ,henry ,,viii's time1 and were much appreciated by the ,elizabethan workers1 who no doubt found the trembling glitter added much to the gold-lace settings and delicate veilings3 long pear-shaped sequins were favoured for this4 ,sleeves were often separate1 and could be changed at will4 ,,sixteenth ,,century4 ,,henry ,,viii4 ,,female4 ,the hair at this period was parted in the centre and gathered into a plait at the back2 it was also seen rather full and waved at the sides of the head1 and a small circlet was often carried across the brow4 ,a cap of velvet or gold brocade1 sometimes with a padded front1 curved over the ears to the neck1 keeping the shape of the head4 ,over this again a velvet fall was turned back from the front or shaped as in the illustration1 reaching to the shoulder4 ,these falls were also bound into set-out shapes1 which gave many picturesque effects4 ,dress had now taken a new phase1 and the set bodice became a lasting feature4 ,at this period the waist was rather short1 and the neck1 arranged in a low square or round form1 generally filled in with gathered lawn4 ,the upper part of the sleeve was often divided from the bodice by ties with lawn puffs1 and was made in a full circular form1 slashed or puffed and banded1 with a tight-fitting sleeve on the forearm4 ,another type divided the upper and lower part of the arm at the shoulder and elbow1 the forearm being effectively tied or laced1 and the under lawn sleeve pulled through2 small slashings are also seen on these4 ,at times a bell-shaped sleeve was worn1 showing a slashed or puffed under one4 ,many dresses were still cut in one1 and were often high-necked2 with these usually a girdle or band of drapery was worn1 and some skirts opened up the front1 showing a rich underskirt4 ,illustration3 ,,fig4 #dj4--,sixteenth century1 #bnd quarter4 ,illustration3 ,,fig4 #da4--,period ,henry ,,viii4 ,full skirts1 heavily pleated at the waist1 were worn in the earlier part of this reign1 banded in varying widths of designs to about the knee2 but a new development was in progress--a stiff1 bell-shaped dress1 set on hoops over a rich underskirt which usually bore a jewelled band down the centre1 the upper one being divided in front to display this feature4 ,the bodice with this type becomes longer in the waist1 and was made on a stiff corset4 ,gloves are occasionally seen1 serrated at the cuff-end4 ,shoes of the slashed character and square toes were also worn by the ladies1 but many preferred a shoe with a moderately rounded toe4 ,the first mention of a leather umbrella is #afaa1 but this is a rare instance1 as they were not in use till the #ahth century here1 though they are noted in continental prints during the #agth century4 ,illustration3 ,,fig4 #db4--,sixteenth-century modes1 #ast half ,henry ,,viii4 ,,sixteenth ,,century4 ,,henry ,,viii4 ,,male4 ,the modes at the end of the last century now developed into a heavier character of design4 ,the long hair soon began to be closely cut1 and a short beard came into fashion4 ,a flat type of hat was worn1 with serrated brim1 or tabs which could be turned down at times1 and others were kept in place by a lacing cord through holes4 ,there was also a flat ,tam o' ,shanter shape1 generally worn well tilted on one side1 and amongst the upper classes mostly adorned with feathers4 ,the ,v-shaped collar1 or opening to the belt1 was still retained on the jerkin1 and plain or pleated skirts are seen1 also a square close-fitting vest1 with a low square neck1 filled with gathered lawn1 or one with a high neck and short collar1 on which a very small ruff appeared for the first time1 and at the wrist as well4 ,these were now decorated with long slashes or gathered puffs3 heraldic design was still seen on the breast1 and even parti-colour was worn1 but this character was now treated more by decorating with coloured bands on the tunics or tights4 ,illustration3 ,plate ,x4-- 7a7 ,black ,velvet ,bodice4 #afjj-be4 7b7 ,five ,embroidered ,waistcoats4 ,between #afij and #ahjj4 ,pattern1 see p4 #bib4 ,illustration3 ,,fig4 #dc4--,period ,henry ,,viii4 ,illustration3 ,,fig4 #dd4--;,cap shapes4 ,period ,henry ,,viii4 ,illustration3 ,,fig4 #de4--,variety of shapes and slashing4 ,henry ,,viii4 ,long coats were still worn of the shape described at the end of the #aeth century1 but a short surcoat was the mode1 reaching just below the knee1 sleeveless1 or with the various hanging sleeves of this period1 the fronts usually turned back to form a wide collar1 either round or square in shape on the shoulder1 or at times falling to a deep square at the back4 ,the sleeves were full in the upper part1 tightening to the wrist1 sometimes open up to the elbow and laced1 or they were pleated into a full round shape at the shoulder4 ,puffs and slashings increased in these designs1 and by #aebj we find the sleeves mostly divided into puffed and slashed forms1 which grew to fantastic proportions4 ,very short1 tight breeches or trunks1 with a front flap or codpiece1 were decorated to match the body design and colour schemes2 they increased in length to the knee1 or just below1 during this reign1 and usually finished in a serrated roll4 ,illustration3 ,plate ,,xi4--#af ,leather ,boots and ,shoes4 ,between #aece and #ahfj4 #a4 #agdj-aghj4 #b4 #aece-aeej4 #c4 #afhj-agjj4 #d4 #afde-afij4 #e4 #affe-afhe4 #f4 #afij-agaj4 #g4 #ahde-ahfj4 #h4 #agij-ahbj4 #i4 #affe-afgj4 #aj4 #ahjj-ahbj4 #aa4 #ahbj-ahdj4 #ab4 #ac4 #ahae-ahej4 #ad4 #agfj-aghj4 #ae4 #afej-afgj4 #af4 #afcj-affj4 ,illustration3 ,,fig4 #df4--;,footwear1 #aeaj-aedj4 ,shoes were of the square form1 some very short in front1 held on by a strap across the instep1 others with fronts to the instep4 ,the corners were often brought out to a point on each side of the toes1 and the mode of decorating with slashing and punctures made them very interesting4 ,the sides of these shoes are very low1 from #c_/d to #a inch1 and no heels are seen4 ,a big1 round shape was also favoured1 which increased in width till a proclamation forbade it exceeding #f inches4 ,chains were still a decorative feature round the neck1 and the belt carried a sword and pouch1 or1 amongst the working classes1 other necessities4 ,,sixteenth ,,century4 ,,the ,,reigns ,,of ,,edward ,,vi ,,and ,,mary4 ,,female4 ,in the reign of ,edward ,,vi1 which was so short1 as also in that of ,mary1 there was little time to form a real character4 ,these reigns form developing links to the ,elizabethan era1 so ,i have taken them in one chapter4 ,illustration3 ,,fig4 #dg4 ,,fig4 #dh4 ,,fig4 #di4 ,elizabethan modes4 ,illustration3 ,,fig4 #ej4--;,costumes1 #aeed-aefh4 ,illustration3 ,,fig4 #ea4--;,costumes1 #aefh-afaj4 ,with ,edward ,,vi the same shaped cap is seen as that of ,henry ,,viii1 and with ,mary's accession1 the head-dress is curved to the head in a like manner1 but it now became more of a hat form and took a brim curved in on the brow2 this was often worn over the little tight curved cap1 or showed the hair waved out at the sides1 often netted with gold and pearls4 ,a fall of velvet1 silk1 or veiling was still retained till the very high ruff or collar came in the ,elizabethan days4 ,a small-crowned hat1 with a brooch and feather in front1 and a full gathered crown came in before ,elizabeth's time1 when we see many eccentric shapes1 such as the tall hat with a feather at the side1 and the witch-like hats towards the end of her reign4 ,the bodice1 which became longer in the first reign1 still retained the full belled oversleeve or the full puffed sleeve to the end of ,mary's reign1 also the same square neck shape with curved-up front1 now often filled with silk quilted with pearls up to the neck4 ,high-necked dresses set with a small ruff became general in ,mary's reign4 ,we also find a tight sleeve gathered in a circular puff at the shoulder or set in a rolled epaulet4 ,the same shaped skirt of the hooped bell form 7sometimes very pleated in ,mary's reign7 or divided in front to show the underskirt as described under ,henry ,,viii1 was worn4 ,the short square shape and the heavy round shoe is seen in ,mary's reign1 but fashion then preferred a rather pointed oval shoe1 well up the instep with higher sides1 decorated with characteristic slashing4 ,gloves are seen in many portraits up to this period1 but of a plain make minus embroidery1 and a circular fan of feathers was carried4 ,,sixteenth ,,century4 ,,the ,,reigns ,,of ,,edward ,,vi ,,and ,,mary4 ,,male4 ,with ,edward ,,vi and ,mary a more refined and sober type of style set in4 ,the hair was now worn short and combed backwards4 ,the flat hat of the earlier shapes lasted to ,elizabeth's reign2 becoming smaller in width1 with a turned-down1 curved brim and a fuller crown encircled with a gold band or set with a feather worn at the right-hand side4 ,a small tight-fitting round hat with a rolled brim and a feather in front is also of this later mode4 ,through these reigns a small square turned-over collar or a very small ruff set on a high collar came into use1 which increased to a larger ruff in ,mary's reign4 ,a small ruff was also worn at the wrist1 many of these were edged with black-stitch designs4 ,the heavy puffed sleeves became tight and started from a small epaulet or puffed roll2 some of these had a small cuff at the wrist or a frill4 ,braided designs became very elaborate on a close-fitting1 padded1 and round-shaped jerkin with a short skirt1 which appeared in the first reign1 and this skirt was often long enough to fasten just under the codpiece4 ,short trunks at times worn half-way down the thigh were slashed1 banded1 and puffed for decoration4 ,no parti-colour was now worn or striped effects on tights1 except amongst the soldiers in the reign of ,mary4 ,short capes to the length of the trunks of a plain round form sloping from the shoulders1 or a square type with a high square collar and loose sleeves1 are seen2 a tunic also of the earlier character with a ,v-shaped collar and full sleeve comes into this reign1 and we note the earlier types of shoes mingling with the newer pointed oval-shaped shoe which now continued for the remainder of this century4 ,illustration3 ,,fig4 #eb4--;,costumes1 #aeed-aehj4 ,illustration3 ,,fig4 #ec4--;,costumes1 #aegj-afje4 ,in ,mary's reign the round-shaped doublet began to protrude from the breast to the waist in a round form with slightly longer skirts or small tabs1 while the trunks assumed large circular proportions and were sometimes set on tight knee-breeches4 ,the capes remained about the same4 ,,sixteenth ,,century4 ,,elizabeth4 ,,female4 ,the costly splendour of attire is well known in ,elizabeth's reign1 which began with the same form of hair and head-dress as with ,mary1 the hat being set rather higher on the hair4 ,the ruffs1 which were imported already starched from ,holland1 assumed larger proportions and complications when the methods of starching became known in ,england about #aefd4 ,stow describes ruffs growing to a quarter of a yard deep2 these were no doubt supported by piccalilloes1 though they are not actually mentioned till after #afjj1 but they surely came with the fan-shaped structures of these later days4 ,white1 red1 blue or purple colours were used in the starching1 and yellow in the latter days of this century4 ,the introduction of this curved fanlike collar setting became a grand and complicated feature right into the #agth century4 ,make up became very apparent on the faces at this time1 for ,bishop ,hall censured the fashion in a choice sermon1 saying1 ,hear this1 ye plaster-faced ,jezabels6 ,god will one day wash them with fire and brimstone4 ,illustration3 ,,fig4 #ed4--;,elizabethan modes4 ,illustration3 ,plate ,,xii4-- 7a7 ,lady's ,outdoor ,costume4 #aghe-ie4 7b7 ,costume4 ,early #ahth ,century4 7c7 ,silk ,brocade ,dress4 #agfj-hj4 ,illustration3 ,,fig4 #ee4 #aehe-afaj #afjj-afbj #aeie-afje #afje-afae #aehi-afjj ,the bodices grew very long and pointed in the waist1 the neck setting being mostly treated in the same ,v shape1 even open down to the waist point was filled with a decorated stomacher1 and a deep oval-shaped neck was seen at the end of the reign4 ,an outer opened sleeve was now favoured1 caught in front at the elbow and hanging to the knee over a fairly tight undersleeve with a turned-back lace cuff or ruffle4 ,with this came the high-set fan ruff on its wooden support at the back of the neck1 and consequently a higher coiffure4 ,illustration3 ,,fig4 #ef4 ,nos4 #a1 #b1 #c1 #aedj-ej1 and other shoe forms worn in the reign of ,elizabeth4 ,the same character of skirt continued as in the earlier reigns on hoops at the lower part1 but they became much fuller and rounder at the hips till about #aeij1 when the full pleated skirt was supported on a farthingale or hoop which was set with a gathered circle in the same goffered design as the ruffs at the edge4 ,these reached their extreme dimensions at the end of this reign1 when the sleeves also assumed a full padded shape and large epaulets also came in4 ,an overdress with a full pleated back 7like the ,watteau dress7 was in fashion from the middle of this reign1 and we are lucky to possess some specimens in the ,victoria and ,albert ,museum of which ,i am able to give the dimensions4 ,small looking-glasses were carried1 and were also inset on the round feather fans4 ,perfumed gloves1 elaborately embroidered1 were introduced during this reign4 ,silk stockings were worn by ,elizabeth for the first time in #aefj1 and worsted stockings were made in ,england in #aefd4 ,corsets of pierced steel are seen in ,france from the late #afth and #agth century1 and may have been in use here1 though wood1 cane1 and whalebone were the chief supports4 ,shoes became narrow and even pointed1 while the heel began to increase to considerable heights4 ,the buskins of ,queen ,elizabeth now at ,oxford are raised to #c inches in height by the aid of a thick sole1 and shoes ,a and ,b1 ,fig4 #fa1 are also reported to have belonged to her4 ,chopins for heightening the stature were in use on the ,continent1 but ,i believe did not appear here2 but very thick corked soles and high heels were introduced for this purpose4 ,illustration3 ,plate ,,xiii4-- 7a7 ,silk ,coat4 #agce-ee4 7b7 ,brocade ,silk ,coat4 #agde-fj4 7c7 ,embroidered ,cloth ,coat4 #aggj-ij4 ,pattern1 see p4 #cjh4 ,,sixteenth ,,century4 ,,elizabeth4 ,,male4 ,in this reign a very neat small-pointed beard was the fashion1 the hair being brushed up as high as possible and often fulled out at the sides1 and a chic appearance was sought after4 ,a stiff belled top-hat with an egret at the right side made its first appearance with a curved brim1 also one of a tapered shape with a smallish round brim1 and another very small round hat with a curved brim1 a clasp and feather being mostly worn on the front of each4 ,the brims of all the hats began to enlarge at the end of the century when the very high crowned wide brimmed hat made its appearance1 sometimes with a peaked top1 and beaver is first mentioned in their make4 ,large circular ruffs became all the rage besides the small turned-over collar4 ,the round doublet with protruding front became tighter at the waist1 the protuberance taking a punchlike pointed form curving to almost between the legs and sloping sharply up the hips to the back4 ,this was set with a very short tab or tabs on padded breeches tightening to the knee1 which usually had very small trunks on the upper part1 and large1 stuffed trunk hose also appeared4 ,the stockings were brought over these in a roll above the knee4 ,up to this time tights were made of wool1 worsted1 fine cloth1 frieze1 and canvas4 ,the slashings1 pleating1 and gatherings of the period were of a much neater character1 and punched patterns and pricked materials came into use4 ,close-fitting high boots1 generally with serrated tops and thick soles curving into a short heel1 are features of this time4 ,the shoe had a long front decorated with slashings 7often caught with jewels71 and an oval toe which became almost pointed in the last years of this century4 ,a short top-boot rising to the calf was also in use1 mostly with a little fur edge at the top1 and these were often pricked with patterns4 ,illustration3 ,,fig4 #eg4--;,elizabethan modes4 ,,chapter ,,vi ,,the ,,character ,,of ,,trimmings ,,through ,,the ,,seventeenth ,,century4 ,,james ,i4 ,the braiding and small slashing continued of a similar character to the end of the ,elizabethan age4 ,the slashing now began to be treated with a larger effect and less elaboration1 but pricking and punching were still much used for enriching surfaces4 ,an improved style of design was evident4 ,the female bodice was arranged with a long stomacher1 often shaped into curved forms at the point1 and this was set with jewels or embroidery1 otherwise the bodice was decorated with braiding and jewels as in ,elizabeth's reign4 ,the full sleeves were embellished with small slashes 7making diamond squares71 puffs1 or pricked and punched designs4 ,a turned-up cuff or ruff of pointed lace finished the wrist1 braided epaulets formed a beautiful feature of the effect1 and the front of the underskirt was decorated with a jewelled band or conventional design1 as was also the border of the overskirt4 ,caps of an interesting curved form beautifully embroidered in gold and coloured silks are seen1 of which ,i give patterns2 also loose jackets of the same work were in use when not in full dress4 ,,charles ,i4 ,many beautifully embroidered caps1 jerkins1 jackets1 and shirts are seen at this period in gold and black or coloured silks4 ,slashings of this reign1 though in fashion1 had commenced to go out2 and those retained were of a large character1 mostly from the neck or shoulder to the breast4 ,the favoured sleeves were cut into straps to the elbow or wrist1 and were often edged with braid1 either side meeting together and lining the forearm1 the body being treated in the same way4 ,the open-fronted sleeve was set with buttons and loops or long braided buttonholes with frayed or knotted ends1 though these were not generally fastened4 ,the tight undersleeve was often set with gold or silver narrow braids down the front and back seams1 and close lines of small braids horizontally round the arm1 or vertically when the outer sleeve was treated horizontally1 this gave a beautiful counterchanged effect4 ,many of the ladies' caps of this time had beautiful gold scrolls1 with flowers and birds embroidered in coloured silks1 also loose jackets of the same were in use4 ,the bodice was banded with braids or lace on the front and seams1 and the stomacher was often of fine embroidery2 set rosettes or bows were placed at the waist4 ,other finishing effects of collar or sleeve1 and the button and buttonhole decorations were made important features on both male and female sleeves1 and even down the front of the outer skirt when it was not treated with lace4 ,red heels to shoes began to be worn and continued to the end of the #ahth century in marked favour4 ,,the ,,commonwealth4 ,during this short period the character and placing of braiding was the same as in the latter part of last reign2 slashing had almost completely gone out1 except for the treatment of some ladies' sleeves cut into bands4 ,a very sober effect was assumed in colour schemes1 besides a plainer treatment in decoration1 and a deep plain collar or a small turn-over one was chiefly worn by the men1 while the hat of the ,puritan rose to an absurd height1 with a wide flat brim4 ,,charles ,,ii4 ,this may be named the period of ribbon trimmings1 though braiding was treated in broad lines on the short jackets and sleeves1 and down the sides of the breeches4 ,a preference is shown for gold and silver lace1 or amongst the elite purfled silk edges2 the new mode being a decoration of groups of ribbon loops placed about the suit or dress4 ,the notable feature with the female dress was the gathering of drapery by means of jewelled clasps1 and groups of ribbon loops were also used1 as with the male dress4 ,the edges of the materials were sometimes cut into scalloped or classic forms1 and a very simple voluminous character was fashion's aim4 ,,james ,,ii ,,and ,,william ,,and ,,mary4 ,with the later type of long-skirted coat which began in ,charles ,,ii's reign1 a heavy style of braiding and buttoning came into vogue1 all the seams of the coat besides the pockets and cuffs and fronts being braided1 which fashion continued to the end of the century4 ,many coats began to be embroidered in the later reign1 and waistcoats became a special feature for the display of fine needlecraft on the fronts and pockets1 while quilting or imitations of it in various needlework designs are often seen4 ,in the female dress a more elaborate interest was again taken in the stomachers and the jewelled claspings1 while lengths of soft silk gathered into long puffs often edged the outer skirts or were used in smaller trimmings1 and classical shapings of the edges of materials and sleeves are often seen1 also heavy bands of rich embroidery bordered the underskirt or train4 ,,seventeenth ,,century4 ,,james ,i4 ,,female4 ,we find much the same high forms of set-up head-dress continuing in fashion as in the later years of ,elizabeth's reign2 but the hair began to take a fuller shape1 rather round1 done up in tight frizzled curls1 with the usual decorations of jewels1 pearls1 or set bows of this period4 ,hats with high crowns and small straight brims1 with an upright set of small plumes1 gradually assumed a larger brimmed character--often turned up on one side4 ,the same absurd pleated hoop1 with its hanging skirt1 continued for some time 7worn rather short72 but we also see the longer and very full hooped-out skirt1 with an overskirt opened in the front4 ,the stomacher front became much enlarged during this reign1 many having shaped designs at the point4 ,most bodices took a very deep curved front at the neck1 and large padded sleeves narrowed at the wrist still continued1 besides the high fan collar at the back of the neck1 and large ruffs were used by many4 ,there also appeared1 later in the reign1 a stiff round collar1 set high in the neck1 cut off straight across the front1 and the bodice took a very low square-cut neck1 with a raised curved shape at the centre of neck4 ,the tighter sleeve was also worn throughout this time1 with the overdress and sleeve hanging almost to the ground1 which often had a very angular cuff4 ,a little later some sleeves began to be gathered at intervals into puffy forms4 ,the waist also showed signs of shortening4 ,illustration3 ,,fig4 #eh4 ,illustration3 ,,fig4 #ei4--;,costumes4 ,period1 ,james ,i4 ,shoes with rounded toes and latchets holding large rosettes were chiefly worn1 and heels of various heights are seen4 ,chopins1 still worn on the ,continent1 do not seem to have appeared here4 ,,seventeenth ,,century4 ,,james ,i4 ,,male4 ,the hat was of the high-crowned type1 perhaps higher than in the last reign4 ,the brim had broadened1 and feathers were placed upwards fantastically at the back and sides of crown4 ,brims were often fastened up on the right side with a jewel2 otherwise a band was buckled in front4 ,the hair was now allowed to fall longer again1 and a pointed or square-shaped beard with a brushed-up moustache was the mode4 ,ruffs both large and small surrounded the neck1 and a flat fan-shaped collar was seen in the earlier years4 ,illustration3 ,plate ,,xiv4-- 7a7 ,embroidered ,silk ,dress with ,pannier4 #agfe-hj4 7b7 ,brocade ,dress and ,quilted ,petticoat4 #agej-fe4 ,pattern of bodice1 p4 #cbb4 ,illustration3 ,,fig4 #fj4--;,costumes4 ,period ,james ,i4 ,the jerkin was close fitting and the length of the waist more normal1 with less tendency to being tightened in1 and not so deep in the front point1 so as to set better over the very full trunks or breeches4 ,the square tabs of the jerkin increased in size1 and soon formed large flaps divided into three or four1 to the centre of the back4 ,sleeves were fairly tight and started from slightly larger epaulets1 and were usually set at the wrist1 either with a small ruff or turned-up lawn cuff1 edged with lace4 ,the trunks were padded in a very full shape and were much longer1 just above the knee4 ,also full padded-out breeches tapering to the knee or just above1 where a large tie and bow hung at the side1 and full square breeches not tied in1 are also a feature of these days1 usually banded with wide braids at ends and sides4 ,upright pockets were made on either side towards the front1 about two inches from the side seams4 ,they fastened up the front in a pleated fold1 many being decorated with punched1 pricked1 or slashed design of a smallish character4 ,illustration3 ,,fig4 #fa4--,shapes of ,shoes from #aeij-afej4 ,cloaks were worn longer to the knee1 retaining the same shapes and braid decoration as in the ,elizabethan period1 and hanging sleeves were still worn on them1 as well as on some of the jerkins4 ,shoes became fuller and rounder at the toes1 mostly with thick welted soles and short heels1 or none4 ,they were fastened with a large rosette of gold lace or ribbon on the front1 and the latchets were set back to show an open side4 ,the top-boots were close fitting and took squarer toes2 the spur flap being rather small4 ,beautifully embroidered clocks are seen on the tights and stockings of this period4 ,,seventeenth ,,century4 ,,charles ,i4 ,,female4 ,the hair was now allowed to fall in ringlets round the back and sides1 with a few flat curls on the brow1 and a bow and pearls were caught in at the sides4 ,short feathers may also be noted in use4 ,a plait was often coiled at the back after #afcj4 ,illustration3 ,plate ,,xv4-- 7a7 ,white ,cloth ,coat4 #agge-ij4 7b7 ,silk ,dress4 #agdj-fj4 7c7 ,embroidered ,velvet ,coat4 #agee-ge4 ,illustration3 ,,fig4 #fb4 ,illustration3 ,,fig4 #fc4 ,collar and ,bodice types4 ,period ,charles ,i4 ,illustration3 ,,fig4 #fd4 ,collar and ,bodice types4 ,period ,charles ,i to #affj4 ,in the early part of this reign the ladies were wearing the long corset-bodice1 with a richly decorated stomacher which curved outwards to set on the very full skirts2 this often finished with a curved or foliated shape at the point4 ,square starched collars1 rounded at the back1 sometimes set up at the back of the neck or flat on the shoulder1 and ruffs were still seen round the neck with collars as well1 but they were seldom met with after #afce4 ,a plainer1 deep collar1 flat1 round1 or ,v-shaped at the back1 coming well over the shoulders1 was caught together by a bow or ornament in front4 ,about #afcj shorter waisted bodices came in1 with full1 loose sleeves set in epaulets3 the neck shape was rounded or square4 ,the bodices were often slashed1 and the full sleeves1 cut into bands1 were sometimes gathered by cross bands from one to three times4 ,full plain sleeves1 opened in the front seam1 were also clasped at the elbow in a like manner4 ,outer short sleeves became a feature1 opening in the front1 showing the full under one or a tight one2 the waist became very short and its tabs larger4 ,a waistband fastened in the stomacher with a bow either side and bows with long gold tags decorated the waist as in the male jerkin4 ,the skirt decorated by a band of ornament down the front was often tied upon the corset-bodice1 the front point being left outside4 ,shoes of the same shape as the male illustrations1 with very square toes1 were frequent1 but an oval toe1 rather pointed1 is seen in many pictures1 with the large lace rosettes in front4 ,muffs are first noticed in these days1 though they were seen much earlier on the ,continent4 ,illustration3 ,,fig4 #fe4--,period #afbe-affj4 ,,seventeenth ,,century4 ,,charles ,i4 ,,male4 ,the hair was worn loose to the shoulders1 and a small plait was sometimes arranged on the left side1 brought to the front of shoulder4 ,the beard was trimmed to a pointed shape1 and smarter curled moustaches were fashionable4 ,hats were still high in the crown1 but rather lower than with ,james ,i2 the large brims were turned about in various curves1 and feathers were worn falling over the brims to the side or back4 ,the jerkin was high in the collar1 supporting a large1 square1 turn-down collar edged with pointed lace to the shoulders1 or a small1 plain1 turn-over collar2 ruffs are very rarely seen after #afcj4 ,illustration3 ,,fig4 #ff4--;,charles ,i4 ,illustration3 ,,fig4 #fg4--,period #afbe-affj4 ,illustration3 ,,fig4 #fh4--,period #afbe-affj4 ,a rather short waist grew shorter during this reign1 with much larger tabs1 or large flaps laced to the body1 forming a series of bows with long gilt tags round the waist4 ,the body is usually decorated with long slashes from the shoulders to the breast1 or the full length1 and a long slashed opening is often seen in the back 7presumably to give more play to the sword-thrust74 ,the sleeve is also treated in the same way to the elbow or waist4 ,all sleeves start from a stiff epaulet4 ,breeches are both very full and fairly tight1 the latter edged with a purfling of silk or gold lace as well as the sides1 the former shape tied either above or below the knee with a large silk bow with falling ends4 ,they were held up by a number of hooks1 fastening to a small flap with eyelets1 round the inside of the doublet 7see pattern #aa1 p4 #bie71 and were buttoned down the front1 the buttons being half hidden in a pleat4 ,the pockets were placed vertically in the front of the thigh1 and were frequently of a decorative character4 ,a short or long circular cloak was worn1 and a coat-cloak with opened sleeves is an interesting garment4 ,these coverings were hung in various ways from the shoulders by methods of tying the cords across the body4 ,illustration3 ,,fig4 #fi4--,period #afbe-affj4 ,illustration3 ,,fig4 #gj4--,shoe shapes4 ,charles ,i to #agjj4 ,,nos4 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #bc4 ,charles ,i4 ,,nos4 #i1 #aj1 #aa1 #ab1 #ac1 #ad1 #ae1 #af1 #ag1 #be4 ,charles ,,ii4 ,,nos4 #ah1 #ai1 #bj1 #ba1 #bb1 #bd1 #bf1 #bg1 #bh4 ,james ,,ii and ,william and ,mary4 ,illustration3 ,plate ,,xvi4-- 7a7 ,silk ,brocade ,dress4 #agdj-fj4 7b7 ,silk ,brocade ,sack-back ,dress4 #agee-ge4 ,pattern1 see p4 #ccd4 7c7 ,dress of ,striped ,material4 #agge-he4 ,pattern1 see p4 #cce4 ,illustration3 ,,fig4 #ga4--;,boot shapes4 ,charles ,i to #agjj4 ,,nos4 #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i4 ,charles ,i4 ,,nos4 #aj1 #aa1 #ab1 #ac1 #ad1 #ae4 ,charles ,,ii4 ,,nos4 #af1 #ag1 #ah4 ,james ,,ii and ,william and ,mary4 ,shoes became very square at the toes1 or blocked as in ,fig4 #gj1 ,no4 #f4 ,the fronts were set with large rosettes of silk and silver or gold lace1 the heels varied much in height1 that mostly favoured being a large1 low heel4 ,a quaint fashion of shoe combined with a clog sole was an interesting shape 7see illustration of clogs1 p4 #ajf74 ,fairly tight top-boots1 coming well above the knee1 were often turned down4 ,other boots with large bell-tops1 turned over or pushed down1 were covered or filled with a lace or bell-shaped stocking-top4 ,a sash was worn round the waist or across the body over the left shoulder 7the length and width of these is given in the description of patterns1 p4 #bgi74 ,a broad belt1 or sword-hanger1 came across the right shoulder4 ,gloves were beautifully embroidered in gold1 pearls1 or coloured silks1 the gauntlets being from five to eight inches deep4 ,,seventeenth ,,century4 ,,the ,,commonwealth4 ,,male ,,and ,,female4 ,the same shapes apply to costume during the ,commonwealth1 though a sterner effect was given by the choice of plain decoration and less colour4 ,a small or a large plain collar1 and the disappearance of slashings on the coat1 and a longer skirt became noticeable4 ,a very high tapered hat1 with stiff circular brim1 was worn by the ,puritans1 and little1 close1 black hoods were much favoured4 ,a general reaction from gay extravagance set in4 ,,seventeenth ,,century4 ,,charles ,,ii4 ,,female4 ,the hair was set out from the head on combs with falling ringlets1 and several small flat ringlets were placed on the forehead4 ,the back of the hair was plaited into a knot1 and pearl strings were interlaced1 or ribbon loops caught in at either side4 ,toward #afhj the hair was worn tightly curled and fulled out into a round shape with a curl or two falling on the front of the shoulders2 small feathers or long feathers were also worn4 ,hats were of a similar shape to those of the last reign1 with a stiffer and narrower curved brim2 but the chief head-dress was a large hood faced with another material1 which latter was tied under the chin2 these mostly formed part of a cape also4 ,illustration3 ,,fig4 #gb4--,period #afej-afhe4 ,illustration3 ,plate ,,xvii4-- 7a7 ,silk ,suit4 #agfe-hj4 7b7 ,quilted ,dress4 #agjj-be4 7c7 ,silk-embroidered ,suit4 #agfe-hj4 ,illustration3 ,,fig4 #gc4 #a1 #b1 #c1 #d4--;,back and ,front of two ,corset ,bodices4 ,period ,charles ,,ii4 #e1 #f4--,two ,corsets4 ,period ,charles ,,ii4 #g1 #h4--,two ,bodice types4 ,period ,charles ,i4 ,the bodice again became much longer and of a pointed shape1 but many corset bodices took a round point1 and a round neck coming well off the shoulders became general1 usually decorated with a plain wide band of lace4 ,ruffs and collars were no longer seen amongst the upper classes4 ,very full sleeves and large opened sleeves were tied or clasped over full lawn ones1 and at times separated from the shoulders1 being caught effectively with jewels4 ,groups of ribbons were placed at the breast or point of the bodice1 and the ends of sleeves or shoulders1 besides at the fronts of the outer skirt when divided1 also in the gathering of the lawn sleeves4 ,stomachers were not much worn1 but a drape of soft silk was caught here and there round the neck of bodice1 and large draperies were clasped to the shoulders4 ,loose robes and robes shaped to the figure1 opening down the front from the neck even to the waist1 with a clasp or several holding them together2 these were worn over a quilted linen corset laced in front as in the illustration1 but the bodice was often formed on a corset4 ,long gloves and mittens were in use1 and small muffs with ribbon loops on the front were carried4 ,high-heeled shoes with very long square toes were affected in imitation of the male shoe1 but most ladies now began to wear a very pointed shoe4 ,illustration3 ,,fig4 #gd4--,sleeve treatments4 ,period ,charles ,,ii4 ,,seventeenth ,,century4 ,,charles ,,ii4 ,,male4 ,long hair or wigs of long curls falling on the shoulders1 a very narrow moustache and point of beard on the chin came with this reign4 ,lace collars of a smaller square or rounded shape were in use1 but a fall of lace pleated in the centre soon took its place4 ,high-crowned hats with a band and bow in front and a flat1 waved1 or curved brim1 with feathers on either side or all round1 were the fashion1 the crowns becoming shorter during the reign2 the fronts and sometimes the sides of the brim are seen turned up1 and so begins to form the three-cornered hat1 which remained so long a feature in history4 ,illustration3 ,,fig4 #ge4--,period ,charles ,,ii4 ,we find with extravagant shapes a happy return of gay colours4 ,the high-waisted jerkins of the ,charles ,i period were now seen without the skirt 7as very short jackets71 leaving the lawn shirt to show between this and the breeches1 besides which the jackets were nearly always left unbuttoned several inches up1 some being cut away in a rounded shape and also having short sleeves4 ,the lower arm was covered with a full lawn sleeve caught at two or even three distances with a loop of ribbons or bows1 and finishing with a wide lace frill2 a bunch of ribbon loops was also often seen on the right shoulder4 ,a long circular cloak1 with turned-back fronts forming a collar in many1 still retained the hanging sleeve1 and was mostly decorated with bands of heavy braid4 ,a long square coat also came in about #afff1 buttoned right down the front1 with pockets set very low in the skirt1 and large narrow cuffs opened at the back as in ,plate ,,viii 7see p4 #ij74 ,very full breeches were worn to just about the knee or shorter1 with a fringe of ribbon loops1 and a row or several rows of the same were arranged at the waist4 ,a short petticoat just showed the under breeches1 many of which were turned into a doublet shape by an additional piece looped up loosely from the knee with a silk filling2 the ribbon loops at the waist were repeated up the sides of the petticoat4 ,silk garters were worn with bows on both sides of the leg1 or a deep lace fall came from the end of the breeches to the middle of the calf2 a lace setting also filled the wide top of the boots1 which was worn very low1 even to the ankles4 ,these short bell-topped boots were favoured1 with high heels and very square toes4 ,shoes were long and square 7or duck-billed7 at the toes2 and had a high narrow front to the instep1 and latchets fastened with a stiffened butterfly bow1 besides1 at times1 a rosette lower down on the front3 red heels were in evidence4 ,the sword-band was very wide1 and many were decorated with gold embroidery4 ,illustration3 ,,fig4 #gf4--;,costume types4 ,period ,charles ,,ii4 ,,seventeenth ,,century4 ,,james ,,ii4 ,,female4 ,the hair was still worn full at the sides over a comb1 as in the former reign1 with curls dropping to the shoulders1 but they now began to discard the set-out comb and the little flat curls on the forehead1 the hair being of a round shape or parted from the centre and mounted higher and narrower on the head1 in the latter part of this reign4 ,the same large hoods and drapes continued in use1 and a high goffered head-dress with set-out front began to appear2 the same shaped bodice with round low neck showing the shoulders1 often set with a stomacher front or jewelled in that form1 and smaller decorations of ribbon loops were still favoured4 ,a smaller and shorter sleeve began to appear with a turned-up cuff1 and the gathered-in lawn sleeves and ruffles caught here and there with pearls or clasps as before1 besides the same light drapery clasped about the breast front4 ,the overskirt was now looped back1 the points being held together1 giving a wide display of the underskirt1 which was heavily banded or had a jewel setting down the front4 ,other train skirts1 also divided in front1 were bordered with drawn silk caught at intervals into long puffs4 ,very small muffs were the fashion4 ,shoes increased their pointed shape and rather large heels are to be noted1 but some shoes assumed a very narrow square toe2 they were either tied from small latchets with a bow1 or with buckled latchets4 ,longer gloves were worn1 and large full cloaks with hoods or large drapery wraps when required for outdoor wear4 ,illustration3 ,,fig4 #gg4--;,costume notes4 ,period #afgj-afij4 ,,seventeenth ,,century4 ,,james ,,ii4 ,,male4 ,the same long wig was worn as in the last reign1 but the curls were more of a set ringlet type1 and embroidered caps were worn when these were taken off4 ,the face was now clean shaven until the #aith century4 ,hats also of the older character were retained1 but the turned-up three-cornered shape1 filled with short feathers1 became more settled in fashion1 and they were heavily banded with gold braid or lace on the edge4 ,illustration3 ,,fig4 #gh4--,period #afij-agjj4 ,a smart bow was worn crosswise over the folded lace fall at the neck4 ,the coat was a very long square shape to the knees1 the stiff skirt often set out over rather full breeches1 which were sometimes shorts1 and just above the knee1 the stocking being often brought up above the knee1 with a garter just below4 ,the sleeves were short1 above or below the elbow1 with a turned-up cuff1 leaving the full-gathered lawn sleeve with a lace ruffle to show at the wrist4 ,a sash encircled the waist1 and often shut in the sword-belt1 which hung from the right shoulder4 ,the coat had buttons from the neck to the bottom of the skirt1 though the lower buttons were seldom fastened2 the sides of the skirt were opened up about #aa inches1 and also the back seam to the same height2 most seams were heavily decorated with gold1 silver braid1 or lace1 and the pockets were placed rather low down towards the front of the skirt1 and were sometimes set vertically4 ,illustration3 ,plate ,,xviii4-- 7a7 ,brocade ,bodice4 #aggj-he4 7b7 ,flowered ,silk ,dress4 #agej-gj4 7c7 ,silk ,brocade ,bodice4 #aghj-ie4 ,illustration3 ,,fig4 #gi4--,period #afhh-agjb4 ,long round capes were still worn1 without sleeves1 and a collar turned down about #d inches4 ,shoes of a similar shape to those of the later ,charles ,,ii type were in use1 but the heels became larger and the toes not so long2 the top of the front was sometimes shaped and turned down4 ,heavy boots to the knee1 with large curved tops1 were also in favour1 as in the illustration 7,fig4 #ga74 ,,seventeenth ,,century4 ,,william ,,and ,,mary4 ,,female4 ,the hair was now mounted high on top and the front parted with two curls1 the rest of the hair being bound on top1 or a curl was arranged on either shoulder4 ,a goffered frill head-dress1 set on a cap1 rose very high1 and a long fall of lace1 or lappets1 came down on either side from the cap1 or was gathered in like a small hood at the back4 ,bare shoulders now began to disappear1 the bodice shape coming over the shoulder to a ,v shape enclosing a stomacher1 which was sometimes tabbed or shaped at the point4 ,many dresses were made in one length1 caught together at the waist with a band2 the fronts of these skirts were looped back high up1 creating a pannier-like fullness at the hips1 and narrow hoops came in to set out the skirts1 many of which were heavily embroidered with gold4 ,the ,watteau-back dress started in this reign2 a very early specimen1 at the ,victoria and ,albert ,museum1 is most probably of this time 7,fig4 #he1 ,a74 ,the sleeves worn to the elbow increased in width from the shoulder1 and were set with large narrow cuffs gathered with a jewel or bow on the front of the arm4 ,hoods and cloaks of the same character as described for the last reign continued1 and light sticks were carried by the ladies4 ,very pointed shoes were worn1 with large high heels1 the top of the front flap in some being shaped into points4 ,black masks were frequently used1 some having long lace falls4 ,rather small muffs were still the fashion1 and beautifully decorated short aprons became a feature with the dress4 ,illustration3 ,,fig4 #hj4--afhh-afih4 ,,seventeenth ,,century4 ,,william ,,and ,,mary4 ,,male4 ,wigs of the same long character continued1 and were parted in the centre with a raised effect1 and variously shaped caps1 with turned-up fold or brim1 were worn when the wig was taken off4 ,the beaver or felt hat1 turned up three-cornerwise1 was now in general use4 ,it is often seen with the brims loose1 or sometimes down1 especially amongst the lower classes4 ,both small shapes and large were worn4 ,illustration3 ,plate ,,xix4-- 7a7 ,silk ,brocade ,dress4 #agge-he4 7b7 ,embroidered ,silk ,jacket4 #agge-ij4 ,pattern1 see p4 #cbf4 7c7 ,brocade ,jacket4 #aghj-ie4 ,cap pattern1 see p4 #cca4 ,coat pattern1 see p4 #cdh4 ,illustration3 ,,fig4 #ha4--,period #afhj-afij4 ,black ties across formal lace cravats1 and long lawn cravats1 edged with lace1 one end of which was sometimes caught up loosely through the large buttonhole of the coat were worn4 ,waistcoats were left open well down to the waist2 some of these were nearly of the same length as the coat1 the skirt being often edged with deep gold fringe4 ,the coats were of much the same character as in the time of ,james ,,ii1 with buttons all down the front1 but now it was the mode to button coats just at the waist1 allowing the waistcoat to be shown4 ,the sleeves were generally longer1 to the middle of the forearm1 and the turned-back cuffs became very large and deep1 often towards the end of the reign taking a curved shape4 ,the seams1 fronts1 and pockets were frequently braided as before4 ,a long square waistcoat of rich brocade or embroidered material1 about four inches shorter than the coat1 was worn2 some of these had tight sleeves1 which came to the wrist beneath the outer coat-sleeve2 otherwise a gathered lawn sleeve with ruffle was worn4 ,shoes and boots were practically the same as in the previous reign1 with larger high heels and a high square front1 with latchets buckled or stiffly tied1 and very square toes4 ,top-boots of the same heavy character continued as in ,plate ,,ii 7see p4 #db74 ,stockings continued to be worn frequently above the knee outside the breeches1 with a garter beneath1 and beautifully embroidered clocks to the calf4 ,muffs were carried by many men1 and the gauntlets of gloves had a very angular shape4 ,patches and make-up were used by the dandies1 and the sword was now carried through the side pleats on a waist-belt sometimes worn outside the waistcoat4 ,,chapter ,,vii ,,the ,,character ,,of ,,decoration ,,and ,,trimmings ,,of ,,the ,,eighteenth ,,century4 ,in the early part to the middle of this century the trimmings were chiefly of gold or silver lace1 real lace1 and purfled silk1 mostly of the same material as the dress3 a bow was often worn on the breast1 and also in the front of the sleeve cuff4 ,purfled or ruched trimming generally ran down the front of the dress from the neck to the hem of the skirt in the ,second ,georgian dress1 and gathered borders or decorations of curved forms were in use4 ,the skirts usually had only one flounce till the reign of ,george ,,iii1 when the trimmings became more elaborate1 and gauze and imitation flowers were festooned upon the skirts1 with ribbons and tassels and padded designs standing out in strong relief2 some charming gimp trimmings are also seen4 ,the lace ruffles of a fan shape which finished the earlier sleeves till about #agde were sometimes of lace1 interwoven with gold1 silver1 and coloured silk needlework1 and this was no doubt the forerunner of the use of the more solid material itself4 ,the setting of the sleeve finish is interesting to note all through this period1 for it was beautifully treated in balancing the effect of the dress4 ,the square cuff with the deep lace fall was big in style1 and the later closely-fitted elbow piece1 richly gathered1 was happily conceived1 but no finer setting could have been applied to the sack-back dress than the large fan or double fan with its lace fall4 ,the edges of the early fan-finished sleeves were of curved and scalloped forms1 the latter shaping often being seen in the later sleeves4 ,with ,george ,,iii we notice designs in straw work1 decorations of imitation flowers in ribbon-work and various materials1 and much taste in the choice of colour schemes1 while the tassels of this period were delightful creations4 ,the designs of stuffs at the early part of the century were generally of fine strong colour blends1 but in the middle period there was much questionable taste displayed in the heavy massing of patterns1 but this soon improved with the striped character crossed by running flowers which was quite ideal in type for costume keeping1 grace1 and lightness1 with a beautiful interchange of colour4 ,the quilted silk and satin petticoats are a special feature to note in these times2 many simple and effective designs were in use1 and they added much glitter to the scheme4 ,aprons were also beautiful examples of needlework1 and were worn with the best of dresses to the middle of the century2 the earlier ones generally had a scalloped edging1 and many had pockets2 gold lace edging or fringe was often used in the time of ,george ,,ii1 and they were all finely decorated with needlework in gold1 silver1 or coloured silks4 ,the white aprons were also of consummate needlecraft1 and hanging pockets worn at the sides were also a decorated feature1 but these only showed when the dress was worn tucked up4 ,the later style of dress became much simpler1 consisting chiefly of gathered flounce settings1 fichus1 and large mob caps2 these were often daintily embroidered with tambour work and large bow and sash settings1 making delightful costumes4 ,bags1 muffs1 gloves1 and shoes were all chosen for the display of needlecraft1 while artists and jewellers used all their skill on the fans1 patch-boxes1 and etuis1 and even the dress materials were often painted by hand1 while many painted ,chinese silks were also utilised4 ,,eighteenth ,,century4 ,,anne4 ,,female4 ,the hair was dressed in a simple manner1 with two curls parted from the centre of the forehead1 and curved inwards on the brow4 ,a loose ringlet or two were brought on to the left shoulder1 the rest being gathered into a back-knot4 ,feathers or flowers were arranged on top1 generally with a pair of lace lappets falling to the back2 these also adorned the cap1 which still bore the front goffered frills set out as in the last reign1 but these were diminished in size and were mostly of one row4 ,we note probably the last stage of this style appearing in a print of ,hogarth's1 dated #agdj4 ,illustration3 ,,fig4 #hb4--;,bodice types4 ,period #afij-agbj4 ,illustration3 ,,fig4 #hc4--;,costume type4 #afie-agaj4 ,hoods and capes or cloaks1 and long black fichus or wraps1 were the chief coverings1 as the head-dress did not allow of hats being worn1 but with the small frilled caps a little straw hat1 or a low-crowned felt with a largish brim1 are seen1 and a small lace frill round the neck began to appear4 ,bodices with a low curved neck often had a short skirt or shaped pieces1 as well as a shaped short sleeve over a gathered lawn one1 while many wore long sleeves to the wrist1 and a waistbelt is sometimes noted4 ,there was also the sleeve spreading in width to the elbow1 with a turned-up square cuff4 ,the front of the bodice may be remarked with bands fastening across1 and this became a feature in many dresses later in this century1 otherwise it set closely over the shoulders to a ,v shape at the waist1 and was filled with a stomacher of fine needlework1 bows1 or the ends of the lawn fichu laced or caught in by a big bow4 ,a full1 loose gown1 with the fullness pleated to back and front1 came in1 the front being held by a bow and the back allowed to fall loose or crossed with a large bow at the back of waist1 as in the museum specimen1 ,fig4 #he4 ,this became the more elaborate sack-back dress4 ,illustration3 ,,fig4 #hd4--,period #agjj-agbe4 ,the skirts began to be set out in a bell form1 and trains were in much favour2 the overskirts were parted in front1 and many looped up to the back in a similar manner to the last reign4 ,small aprons of fine embroidery were worn with the best of dresses1 and embroidered pockets are seen when the skirts were thrown back4 ,petticoats of fine quilting became much appreciated1 and tall sticks were carried by ladies4 ,pointed shoes with high heels and latchets tied or buckled1 the top of the fronts being mostly cut into four points1 or they had a square finish4 ,,eighteenth ,,century4 ,,anne4 ,,male4 ,the wigs of the full ringlet style were still the fashion1 but a simpler character is noticeable1 the hair being combed back off the forehead and allowed to fall in looser waves4 ,but many began to set a mode of smaller coiffure1 with their own hair caught in curls by a bow at the back1 and curls over each ear4 ,powder came into use with the smart set1 and a big bow and bag to finish the back of wig appeared1 giving a smarter appearance to the white hair4 ,illustration3 ,plate ,,xx4-- 7a7 ,gold-embroidered ,muslin ,dress4 #agie-ahje4 7b7 ,nine ,aprons4 ,between #afij and #ahej4 7c7 ,dress of ,spotted ,stockinette4 #agie-ahjh4 ,illustration3 ,,fig4 #he4--;,bodice types4 #agjj-agbe4 ,the hat1 sometimes of white felt1 was the same three-cornered type1 edged with feathers and banded with broad gold braids or silver lace4 ,the neckwear was a bind of lawn1 with a long fall finished with lace4 ,the coat remained long to the knees1 but took a greater fullness in the side pleats of the skirt4 ,large buttons and buttonholes1 #c inches long1 are seen1 with the same on the cuff1 which was worn very large1 often #i inches broad1 and mostly of a curved outline1 and of another coloured brocade2 a tight undersleeve is also seen with these4 ,the coat was sometimes heavily decorated with needlework or braids of gold down the front1 pockets1 seams1 and cuffs4 ,the pocket was wide and set higher in the skirt1 and the back opening of coat was decorated by several horizontal braids to the two side pleats4 ,a long1 full-skirted waistcoat1 of rich materials or needlework1 was at times braided and fringed at the skirt with gold1 the pockets covered with a large flap1 and five buttons fastened it or were placed as decorations just below it4 ,the front buttons were often reduced to four at the waist1 as it was still fashionable to show the lawn shirt4 ,breeches were of the same cut as in the former reign1 with five or six side buttons at the knee1 and stockings with embroidered clocks were worn rolled over outside the breeches as before4 ,shoes were square at the toes and not quite so long1 while the heels were still rather heavy1 and red was the mode4 ,they had a high square top at the front instep1 and buckles fastened the latchets4 ,muffs were often carried by the dandies1 and walking-sticks1 with tassel and loop1 were slung on the arm2 besides a sword1 which1 passing through the side pleats and out at the back1 helped to set out the coat1 which was often stiffened in the skirts4 ,gloves1 with short gauntlets very angular or curved in shape1 were trimmed with gold fringe2 the backs were also richly embroidered with gold or silver4 ,,eighteenth ,,century4 ,,george ,i4 ,,female4 ,illustration3 ,,fig4 #hf4--agbe-agej4 ,illustration3 ,plate ,,xxi4--#bc ,boots and ,shoes4 ,from #ahjj-ge4 #a4 #ahjj-ahbj4 #b4 #c4 #ahaj-ahbh4 #e4 #ahbj-ahcj4 #h4 #i4 #ahbj-ahcj4 #aj4 #ac4 #ahcj-ahee4 #af4 #af;,a4 #g4 #ahej-ahfe4 #ad4 #ae4 #d4 #f4 #ag4 #ab4 #ba4 #ahfj-ahge4 #aa4 #ah4 #bj4 #ai4 #bb4 ,illustration3 ,,fig4 #hg4--,period #agbe-agej4 ,illustration3 ,,fig4 #hh4--,modes1 #agej-aggj4 ,illustration3 ,,fig4 #hi4--,various ,styles in ,cut ,back of ,bodice4 ,the hair was very simply gathered from the forehead and taken up to a knot of curls at the back4 ,occasionally a group of curls was allowed to fall behind1 or a curl was arranged to fall on one shoulder1 and waved curls of the ,queen ,anne type were still seen on many people4 ,caps1 with long dropping points in front1 sometimes tied under the chin or with long lappets at the back1 were the chief favourites1 also a small frilled cap4 ,shallow-crowned straw hats with various widths of brim2 hoods and capes1 both short and long1 are seen1 besides light silks draped from the hair to the waist1 feathers1 flowers1 and ribbons being worn in the head-dress4 ,richly embroidered aprons were worn with the finest dresses4 ,the sack-back dress was very full1 and started right across the shoulders in two double box-pleats1 which were kept trim by being sewn flat for two to four inches down4 ,sleeves to the elbow were rather full1 and gathered at the shoulders1 with a square cuff often decorated with a bow in front1 and a fan of lace1 sometimes in several rows1 fell from beneath4 ,sleeves finishing in a shaped edge are occasionally seen4 ,the skirts were made for the very round hoop setting1 and were gathered in flat pleats on either hip4 ,a wide pleat or two came from the shoulders down the front sometimes as a continuation of the sack-back4 ,these pleats1 meeting at the waist1 formed a ,v shape1 which was filled by an embroidered stomacher1 or made of the same material1 crossed by bands1 bows1 or rows of lace4 ,the flat front pleat was occasionally embroidered1 and gradually widened to the bottom of the skirt4 ,very pointed toes to the shoes1 and high heels1 with tied or buckled latchets1 are seen1 the tops of the front often being shaped into four points4 ,,eighteenth ,,century4 ,,george ,i4 ,,male4 ,long1 full wigs are still seen amongst older men1 but several new shapes appear as illustrated 7,fig4 #ij71 and the black bow and bag became very large2 a black ribbon attached to it1 with a bow in front1 came round the neck4 ,we also see the ends of the wig made into a long1 tight pigtail4 ,hats were of the same three-cornered shape1 rather fuller in size1 and the feathered edging was still favoured4 ,a hat of the type of ,fig4 #aje was also worn2 and the loose cap with a tassel was put on when the wig was removed 7see ,fig4 #ajd74 ,illustration3 ,,fig4 #ij4--,wig types1 #ast half #ahth century4 ,illustration3 ,,fig4 #ia4--,list of ,dated ,shoes and ,boots4 ,no4 #a4 #agjj-agej4 #b4 #agjj-aghj4 #c4 #agjj-aghj4 #d4 #agjj-agej4 #e4 #agjj-agfj4 #f4 #agbj-aghj4 #g4 #afij-agbj4 #h4 #agjj-agej4 #i4 #agjj-agdj4 #aj4 #agdj-agfj4 #aa4 #agjb-agbj4 #ab4 #agcj-agej4 #ac4 #agfj-ahjj4 #ad4 #agcj-agfj4 #ae4 #agdj-aggj4 #af4 #aggj-aghj4 #ag4 #agdj-aghj4 #ah4 #aghf-agif4 #ai4 #aggd-aghd4 #bj4 #agge-agij4 #ba4 ,sole of shoe ,no4 #bb4 #bb4 #aggf-ahjj4 #bc4 #aghj-agij4 ,the neck had the same lawn bind with a long lace ruffle1 and the coat the same full cut as in the last reign1 and the large rounded cuff was still in favour1 but many varieties of size were now worn4 ,a vertical pocket is seen occasionally on cloth coats1 also a cape and turned-down collar are noted1 while several appear with a very small upright collar4 ,buttons were still worn on some coats1 right down the front2 but on many coats the buttons stopped level with the pocket4 ,a short-skirted coat came in amongst the dandies towards the end of the reign1 and was stiffened out on the skirts2 these mostly had a tighter sleeve and cuff4 ,the same decorations continued in use4 ,waistcoats were much the same1 and were cut to the length of the coats1 or about four inches shorter2 they were buttoned higher1 the lace often falling outside4 ,breeches were the same in cut1 fastened with six buttons and a buckle at the side of the knee4 ,the stockings1 usually decorated with clocks1 were still worn rolled outside the knee amongst smart people4 ,the stiff high boots or gaiters generally had a full curved piece at the top1 and short gaiters to the calf are also to be noticed4 ,the shoes were square-toed or of a roundish form1 with a short or rather high square front1 and heels of various heights4 ,patches and make-up were used by the fops1 and swords and sticks carried1 the latter being very high1 to #df inches4 ,,eighteenth ,,century4 ,,george ,,ii4 ,,female4 ,the hair was treated in much the same manner as with ,george ,i up to the end of this reign--gathered back from the forehead to a bunch of curls at the back4 ,the small hats and caps1 often worn together1 continued of the same character2 the dresses also remained similar in cut4 ,the sack-back dress was supreme in the fifties1 when it was set with panniers1 together with the hoops1 but the latter were not so much worn towards the end of this reign1 except for the grand dress4 ,quilted petticoats were much worn1 but flounces are not a feature on the skirts till the latter part of this period4 ,the simpler dress was of various lengths1 and was at times worn quite short up to #agdj4 ,the corset bodice was still in use1 with lawn sleeves3 square cuffs and lace ruffles held the lead throughout this time1 but the fan-shaped sleeve finish to the elbow1 in the same material as the dress1 began to appear about #agej1 generally with a waved or scalloped edge4 ,pointed toes and high-heeled shoes continued1 with either tied or buckled latchets1 and long gloves and mittens were in use4 ,illustration3 ,,fig4 #ib4--,three hoops and four pannier forms4 ,types #agbe-agfj4 #agej-aghj4 #agdj-aggj4 #agjj4 #agbj-ej4 #agce-fe4 #aghj-ij4 ,illustration3 ,,fig4 #ic4 ,quilted designs on ,petticoats1 #ahth century4 ,,eighteenth ,,century4 ,,george ,,ii4 ,,male4 ,wigs with double points at the back1 short curled or of long pigtailed shapes1 some with side curls1 others curled all round the front1 were worn4 ,large bows and bags1 or no bows1 finished the back hair1 and the bow to the front of the neck was in use from the early part of this reign4 ,long coats1 as in the last reign1 and short coats with stiffened skirts were used2 many with braided seams and fronts1 also a braided opening at the back4 ,large round cuffs and big square ones1 caped coats1 and coats with turn-down collars were all in the mode1 and the maccaroni fashions started about #agfj1 with absurdities in small hats1 clubbed wigs1 and very short coats4 ,high sticks and crook sticks1 canes and swords continued in use4 ,illustration3 ,plate ,,xxii4-- 7a7 ,linen ,dress4 #agie-ahjh4 ,pattern of ,bodice1 see p4 #caf4 7b7 ,silk ,bodice4 #ahbe-cj4 7c7 ,silk ,bodice4 #ahah-be4 ,illustration3 ,,fig4 #id4--,wig types1 second half #ahth century4 #agdj-agfe4 #agfe-agie4 ,the pocket flaps were of a curved form1 with a rounded centre still1 and many of the shoes had a high square front1 high heels1 and square toes3 according to the caricature prints of ,boitard1 the fashionable hats were smaller in #agcj1 and much larger ten years later2 very full skirts at the former date1 and smaller and less stiffened at the latter4 ,stockings were often still worn outside the knee4 ,shoes reached an extreme high square front at the latter date1 and gloves with curved or square cuffs are to be noted4 ,illustration3 ,,fig4 #ie4--;,first ,half ,eighteenth ,century4 ,,eighteenth ,,century4 ,,george ,,iii ,,to #ahjj4 ,,female4 ,this long reign1 like that of ,queen ,victoria1 embraces several changes of style4 ,up till about #aghe white powder was still used for the hair1 reaching its fullest extravagance in the middle of the seventies1 set with pearls1 bandeaus1 caps1 lace1 flowers and feathers1 and about #aggf the top was widened considerably4 ,the front hair1 gathered from the forehead1 was pressed in a forward curve over a high pad1 with one to three curls at the sides and one at the shoulders1 the back hair being arranged in a loose loop1 curled on the top and set with a large bow at the back2 a small round hat with very small low crown 7usually decorated with flowers and silks gathered into puffs1 or ribbons and small feathers7 was tilted right on the front4 ,about #aghj large mob caps with a big bow on the front came in1 and were generally worn together with the tall-crowned hat or the large-brimmed hat in favour at this time4 ,a cape with smallish hood worn in the earlier reigns was supplanted about #aggg by the calash1 a huge hood set out with whalebone which came to cover the full head-dresses4 ,the heavier caped or hooded cloak1 sometimes with side opening for the arms1 and usually trimmed with fur1 still remained in use to #ahjj4 ,illustration3 ,,fig4 #if4--;,costume notes1 #aggj-aghj4 ,illustration3 ,plate ,,xxiii4-- 7a7 ,muslin ,dress with ,tinsel ,design4 #agih-ahaj4 7b7 ,silk ,dress4 ,period ,george ,,iv4 7c7 ,satin and ,gauze ,dress4 #ahbj-cj4 ,illustration3 ,,fig4 #ig4--;,head ,dress4 ,period #aghj-agie4 ,illustration3 ,,fig4 #ih4--;,hats and ,caps during period #aghj-agie4 ,illustration3 ,,fig4 #ii4--;,hats during period #agij-ahjj4 ,the bodice retained the same shape as in the former reign1 rather longer in the points back and front1 with a large fan finish to the sleeve1 double or single2 this became supplanted by a much-gathered elbow-piece1 sometimes eight inches deep1 gathered in four rows4 ,small drawn gathers started round the waist of the skirt1 for the side panniers and hoops were being less worn1 except for the smart gown1 but bunching1 reefing1 and looping took their place in effect1 and quilted petticoats remained while this character of dress lasted4 ,the later sack-back dress was sewn tighter to the body1 and usually started in a narrower set at the back1 while the full pleat from the shoulder down the front went out1 and the neck was more displayed by lower bodice fronts1 which continued to be set with bows1 jewels1 lace1 or embroidery4 ,sack-back jackets were often worn in the seventies2 when the sack began to disappear1 it took the form of overlapped seams on the bodice4 ,the decorated side pockets are noted in prints showing tuck-up dresses to #agge4 ,the jacket bodice of the same form described in the preceding reign was perhaps more in evidence till #aghj1 not so long in the skirt as in the earlier reigns1 but after this date it took a longer skirt1 which was often pleated at the back1 with a very low neck and short waist4 ,illustration3 ,,fig4 #ajj4--,period #aghj-agie4 ,about #aghj we find a change of style appearing in a shorter waist1 with less pointed setting1 having often a rounded point or square tabs1 and even a shaped finish to the corset front1 which was sometimes used like a waistcoat effect under the cut-away dresses seen after #aggj 7see ,fig4 #ii1 p4 #bba74 ,a general tendency to imitate male attire is apparent1 and the front of the bodice was set with lapels and straps buttoned across 7though ,i have noted this latter character in the early part of this century71 and long coats with this character were much worn1 with two or three capes4 ,the sleeves are sometimes set over a tight undersleeve1 in fact the longer sleeve to the wrist became fashionable4 ,with this change a short gathered skirt is seen on some bodices1 and the full gathered skirt was bunched out at the back on a bustle1 of which ,i give an illustration 7p4 #bab71 the low neck being filled with a large lawn fichu2 a wide belt was generally worn1 or a wide sash and bow at the back or side is seen with the lighter dresses1 these being simple in style1 just gathered at the waist1 with short full sleeves set with a frill1 and another frill was also arranged round the neck4 ,illustration3 ,,fig4 #aja4 ,about #agij the mode again began to change to a classic style1 still higher in the waist1 with a short tight sleeve1 at times puffed in the upper part1 or an outer and under sleeve1 as per illustration ,a1 ,plate ,,xxii 7see p4 #bae74 ,the fronts of this type of bodice were mostly buttoned or pinned up to the shoulders over a tight underfront1 the skirt opening about #ah inches at the sides1 thus saving a fastening at the back4 ,i have illustrated some very interestingly cut jackets of this period from my collection1 as ,a1 ,plate ,,xxiv 7see p4 #bca72 the sleeves were very long and were ruckled on the arm1 as likewise were the long gloves or mittens of this time4 ,a long scarf or drape was carried with this style1 and a round helmet-like hat in straw or a turban was adopted4 ,high sticks were still carried by ladies till the nineties1 and umbrellas or parasols2 the former came into vogue about #aggj1 the latter about six years later4 ,muffs of beautifully embroidered silk and satin were set with purfled trimmings1 gold and silver lace1 or bows and ribbons2 otherwise they were of furs or feathers4 ,they remained rather small up to #aghj1 when a very large shape set in1 which continued till the end of the reign2 the quantity of beautiful fans of this century must be so well known as to need no description4 ,the highest artistry was concentrated on them4 ,illustration3 ,,fig4 #ajb4--,period #agij-ahjj4 ,illustration3 ,,fig4 #ajc4--;,costume notes1 #agij-ahjj4 ,illustration3 ,,fig4 #ajd4--,lounge ,caps worn during removal of ,wig4 ,shoes at the beginning of this reign were set on very high spindle heels2 the toe-front became rounded1 the instep-front a pointed shape1 and wide latchets were buckled till about #aghe1 but fashion discarded them earlier2 for about #aghj the shoes became very small at the heel1 and pointed again at the toe4 ,when the latchets went out1 the pointed instep remained for a time1 but a low round front appeared1 and the heel practically vanished just before #ahjj4 ,these later shoes were decorated on the front by needlework or incised leather openwork underlaid with another colour4 ,the soles at this time were extremely quaint in shape1 and the shoes were tied sandal fashion up the ankle4 ,illustration3 ,plate ,,xxiv4-- 7a7 ,outdoor ,silk ,jacket4 #agih-ahjh4 7b7 ,embroidered ,muslin ,bodice4 #ahaf-cj4 7c7 ,embroidered ,muslin ,bodice4 #ahbd-be4 7d7 ,satin and ,gauze ,bodice4 #ahbj-cj4 ,,eighteenth ,,century4 ,,george ,,iii ,,to #ahjj4 ,,male4 ,the wigs1 which were rather high in the front of the crown in the earlier part1 began to cast off the most eccentric forms1 and became just curled1 rather full at the sides1 and tied with a bow at the back3 dull pink powder became a favoured hue from about #aghj2 most people began to return to their own hair1 and one might see many without long hair in the nineties4 ,the last type of dressing the hair in imitation of the wig form was a long1 tightly braided pigtail at the back1 with one or even two side curls over the ear1 and side whiskers were allowed to fill up to them2 thus when the short hair set the fashion1 side whiskers came in4 ,hats were still worn of the three-cornered shape1 but the favourites became a front cockade hat and a hat with a rounded crown and rather wide brim1 sometimes turned up on one side2 a short type of top-hat was also often seen1 and later became the fashion4 ,the same lawn and lace cravat developed into more of a plain white stock1 with a frilled shirt-front4 ,the coat was worn much tighter in the arms and was smartly cut1 with the fronts running away into a narrow tailed skirt4 ,the pockets often began to take a plain square form1 with or without buttons2 the buttons on the front of the coat stopped at the waist--many cuffs are seen without them2 and the side pleats1 set more to the back1 were pressed and narrower4 ,both the plain and turn-over collars were set up high in the neck1 large cut-steel buttons were introduced in the early seventies1 and many fancy china buttons1 besides the gilt silver and paste ones were in use4 ,a new type of coat made its appearance with a high turn-over collar and large lapels1 and a sudden cut-in of the coat-front high in the waist1 giving a very long-tailed effect to the skirt4 ,a cuff shape with these was mostly made in one with the sleeve and buttoned at the side towards the back1 and when the cuff was additional1 it seldom had buttons1 as formerly4 ,a greatcoat with one1 two1 or three capes was a picturesque garment1 and a leather-covered bottle was often carried when riding a distance1 of which ,i have an example in my collection4 ,illustration3 ,,fig4 #aje4 ,waistcoats1 which had become much shorter1 were now giving place to a type with a straight-across front and turned-back lapels at the neck2 these large lapels were mostly worn outside over the coat lapel4 ,the waistcoats were often double-breasted with an embroidered design down the front between the double row of buttons1 and the straight pockets of these had no flaps2 they shortened at the waist in character with the lapelled coat1 but were worn lower than the cut-in shape of the coat1 showing about #c inches when the coat was fastened4 ,breeches became very tight1 and trousers begin to appear after #agij4 ,striped stockings and suits were much in favour4 ,top-boots with rather long brown tops were worn1 or high boots with a curved top1 with a gold tassel set in front1 were seen4 ,the shoes with latchets and buckles had a low front on the instep1 and from about #aghj took a rather pointed oval toe shape2 the heels were mostly worn shorter4 ,swords were not so much in use except on great occasions1 but sword-sticks were carried1 and heavy club-sticks were fashionable before #ahjj4 ,patches were little used after the seventies1 but the snuff-box was still indispensable4 ,the double long purse with central rings and tassels at the ends was carried1 of knitted silk or of leather1 the former with steel beads and coloured silks worked together after #aghj3 small bag purses were also in use1 usually set in gilt mounts and made in the same methods with a tassel below4 ,illustration3 ,plate ,,xxv4-- 7a7 ,silk ,dress4 #ahjj-aj4 7b7 ,cotton ,dress4 #ahjj-aj4 7c7 ,embroidered ,muslin ,dress4 #ahbj-cj 7,pattern1 see p4 #cci74 7d7 ,silk ,gauze ,dress4 #ahbd-cj4 ,illustration3 ,,fig4 #ajf4 ,,chapter ,,viii ,,character ,,of ,,trimmings ,,of ,,the ,,nineteenth ,,century4 ,during the later part of the #ahth century1 a great deal of tinsel drawn work was done on fine muslin1 and became beautifully treated in delicate design on the hem and down the front of many of the high-waisted dresses as in ,fig4 ,a1 ,plate ,,xxiii 7see p4 #bah74 ,later on towards the twenties we see a great deal of effective coarse work in heavy gold tinsel1 and at the same time to the forties a number of dresses were ably enriched with fine gold thread4 ,the white embroidery in the earlier trimmings of this period1 of which ,i give examples in ,plate ,,xxiv 7see p4 #bca71 was remarkable for its wealth of fancy2 the chief beauty of these dresses was the delightful treatment of gathered effects1 and with the reign of ,george ,,iv we note the gradual return of the longer pointed bodice1 with the growth of very full sleeves1 also the increase in the size and fuller set-out of the skirts over the stiff flounced drill petticoats4 ,the ,v-shaped ,bertha setting to neck and shoulders began to establish itself1 and became a great feature through the thirties and forties2 the first signs of it appear about #ahad4 ,varieties of materials were used to great advantage in designing1 and drawn tulle trimmings were happily introduced to soften hard shapes and colours4 ,the shoulder fullness also began to be neatly drawn in and held by straps1 which gave a charming character to many bodices4 ,from #ahaf choice work in piped shapes1 often of flower forms decorated with pearls or beads1 was set on fine net1 as seen in ,plates ,,xxiii and ,,xxix 7see pp4 #bah1 #bfc74 ,the attraction to the thirties was the happy effects gained by the bow and flower looping on the flounces1 and these ripened in fancy and variety through the forties4 ,braiding was adopted in the thirties with a rather charming treatment of tassels down the front of the dress2 the polonaises of this time were also effective and simple1 caught here and there with posies of flowers1 and we find this fashion again revived in the sixties4 ,with the reign of ,george ,,iv we notice an increasing choice of strong coloured effects1 which culminated in the mid-,victorian era in raw colour and violent shot silks1 velvets1 and heavy fringes1 but one may see that many of these dresses of bright pure tone looked exceedingly refined and were quite stately4 ,a remarkable dress is ,fig4 ,a1 ,plate ,,xxxii 7see p4 #bgi71 which is of very strong bright blue2 its only enrichment being a curved line of folded silk4 ,all these dresses from #ahjj were delightfully embellished with embroidered fichus1 light scarves of frail gauze1 crepe1 or ,norwich silk1 and in the ,victorian times capes and ,v-shaped shawls2 fascinating lace ruffles and tuck-in fronts to the bodice necks1 of frills and bands of embroidery1 broke the severity or bareness of many dresses4 ,an endless variety of fascinating caps and lace head-lappets was pinned or caught into the hair at the wearer's fancy2 besides the bows1 flowers1 and jewels 7especially pearls7 which have always played an important part in the coiffure from early times1 the chatelaines and bags1 fobs1 fans1 and lace or silk handkerchiefs all give the artist a note of extra colour when desired4 ,the cruel period of taste really came with the seventies1 though one can trace many quaint and interesting cuts in the bodices and skirts of this time2 but the grand dress of complicated drapings1 heavily fringed or braided1 was a set piece which1 let us hope1 will never appear again4 ,the long stocking-purse which began to appear in the late #agth century was up to #ahbj sometimes carried tucked through the belt2 it was set with a pair of metal rings and tassels of steel or gilt beads4 ,small and large circular and bag-shaped purses were also in use2 all these were made in coloured silk threads enriched with steel1 gilt1 or coloured beads1 the latter shapes being set in chased metal mounts1 the circular ones generally having a fringe and the bag shape a small tassel or heavy drop4 ,these shapes can also be seen in coloured leathers with a leather tassel1 besides the plain money-bag with a draw-string4 ,,nineteenth ,,century4 ,,george ,,iii4 ,,female4 ,the hair up to #ahjh was gathered into a knot of curls at the back of the head1 rather high up1 with a small curl at the sides in front of the ear4 ,later the knot was set more on the top1 and the side curls were made more of a feature1 several being arranged at the sides4 ,numerous varieties of large and small brimmed hats1 bonnets1 and turbans are seen1 and several masculine top-hats and cockade hats may be noted late in this reign4 ,the usual feather decorations and large ribbons or flowers were in use1 and a handkerchief was sometimes bound over the top of the straw hat and tied under the chin4 ,illustration3 ,,fig4 #ajg4--;,costume notes1 #ahaa-ahab4 ,illustration3 ,,fig4 #ajh4--;,costume notes1 #ahad-ahaf4 ,the classic high-waisted dress continued till #ahjh1 and was often beautifully decorated with white embroidery and gold or tinsel1 as in ,a1 ,plates ,,xx and ,,xxiii 7see pp4 #aii1 #bah71 and the frontispiece is a lovely white example4 ,there were several interesting drapings1 one being a cord hanging from the back of the shoulder to loop up the train of the dress1 as in ,a1 ,plate ,,xxii 7see p4 #bae74 ,the simple tunic shapes are better described by the illustrations3 more originality was essayed in design after the last-mentioned date4 ,a high ,vandyked lace collar and fan setting to the shoulders appeared1 and many interesting dresses of a plain cut1 mostly in velvet and silks1 were worn about #ahaj-ab4 ,a gathered sleeve drawn tight at intervals was often seen up to #ahaf1 when embroidered ruffles and frills decorated most of the necks and skirts1 and a braided type of character1 rather military in effect with beautifully piped edgings1 came in from about #ahag4 ,spencer bodices were an additional interest at this period1 and a short puff sleeve was generally banded or caught with bows2 these being often worn over a fairly loose long sleeve gathered by a wristband4 ,dresses were worn shorter from about #ahaj4 ,charming lace and embroidered fichus crossed the shoulders1 and long scarf-capes were thrown round the neck and were often tied round behind1 as in the #ahth century2 long capes with points and tassels in front fell to the knees1 and a simple pelisse with cape became a pleasing feature4 ,bags were always carried1 of which there is a variety of shapes in the plates2 long gloves or mittens were generally worn4 ,parasols of a flat shape1 or others with round or pagoda shaped tops are seen1 many being edged with a deep fringe4 ,long purses were often tucked through the waistband4 ,illustration3 ,,fig4 #aji4 ,the pointed shoe1 tied sandal fashion up the leg1 and with no heel1 remained through this reign1 but a round-toed low shoe1 tied on in the same manner1 began to supersede it about #ahaj4 ,,nineteenth ,,century4 ,,george ,,iii4 ,,male4 ,wigs had practically gone out1 except for a few of the latter type of the #ahth century amongst elderly people4 ,the hair was now worn short1 and left rather full on the front1 with short side-whiskers4 ,plain black or white stocks tied with a front bow1 and a starched or unstarched collar with a frilled or gathered shirt-front were in use4 ,a tie-pin or stud was also seen in the centre of the stock or frilling4 ,the same hats as in the latter part of the #ahth century continued for a time1 but the top-hat had established its favour1 and assumed various shapes throughout this reign4 ,illustration3 ,plate ,,xxvi4-- 7a7 ,morning ,coat of ,chintz4 #ahbe-de4 ,pattern1 see p4 #cac4 7b7 ,cloth ,coat4 #ahjh-bj4 ,pattern1 see p4 #cjg4 7c7 ,cloth ,overcoat4 #ahbj-ce4 ,pattern similar to p4 #caa4 ,the coats were set with very high turn-over collars and a wide-shaped lapel1 and the lapel of the waistcoat was still brought outside4 ,as these lapels on the coats became smaller and changed into a roll collar1 they were cut into points at the breast1 as seen in the illustrations4 ,the front of the coat cut away in a short square1 rather high in the waist1 which thus formed a long-tailed skirt2 the fronts were made double-breasted1 and were often fastened high up the lapel4 ,the hip-pleats had gone round more to the back into a closely pressed fold1 about three inches from the back-opening4 ,sleeves were gathered rather full in the shoulders1 becoming very tight on the forearm1 and were finished in a cuff1 or buttoned cuff-shape4 ,we also see that a short square coat without tails was worn over the longer one4 ,overcoats 7or long-skirted coats7 with a cape or capes1 up to four1 were worn all through this reign1 both double and single breasted1 sometimes with turn-up cuffs2 but this mode was not frequently used1 as a sewn-on cuff or cuff made in the sleeve was now worn1 and began to take a curved shape well over the hand1 with three buttons to fasten it on the outer sides4 ,short double-breasted waistcoats continued much the same1 but a round-shaped lapel appeared on many4 ,very tight-fitting breeches were worn of the same #ahth-century cut1 and trousers began to gain favour2 a fob of seals1 c41 was always worn1 coming from under the waistcoat4 ,soft high boots with turn-down tops1 and boots with longish brown tops set low on the leg4 ,the top-boot with the pointed or oval-shaped front and tassel still held sway1 and an oval-toed low shoe with or without small latchets was in use4 ,,nineteenth ,,century4 ,,george ,,iv4 ,,female4 ,the hair at this period was worn in plaits or curls gathered on top1 and during the latter years was arranged into stiff loops set with a high comb2 a group of curls was drawn to the sides of the face1 the hair being mostly parted from the centre4 ,plumes were much used for head-dresses1 and caps with gathered puffs and pointed frills4 ,a high-crowned straw poke bonnet1 tilted upwards1 was still in form2 but the prevailing mode was a silk bonnet1 with the brim curved in at the front1 the sides being drawn together under the chin with a bow4 ,the prevailing decoration was a group of feathers thrown forward or ribbon loops1 and after this a large round hat1 with a full gathered crown1 arrived about #ahbg1 or straw shapes1 such as ,fig4 ,a1 ,plate ,,xxviii 7see p4 #bei74 ,illustration3 ,,fig4 #aaj4 ,dresses gradually assumed a longer waist1 and a short pointed bodice made its appearance here and there from about #ahbb1 when short stays began to return1 and pointed belt corselets were frequent1 though the waistband or sash was chiefly used4 ,short puffed sleeves of charming character and workmanship were sometimes set in a gauze sleeve1 as in ,fig4 ,c1 ,plate ,,xxiii 7see p4 #bah74 ,spencers and pelisses had long sleeves coming from these short ones2 they were rather full1 and were caught at the wrist with a band4 ,the upper sleeve gradually disappeared as the full-topped sleeves began to develop in size1 about #ahbd2 this fullness was often broken up into gathered parts1 a tight cuff-piece usually finished at the wrist4 ,the high set-up collars and neck-frills gave way to the flat capes about #ahbg1 though the small ruffs were worn round the top of the high-necked capes to #ahcj4 ,the gathered shoulder began about #ahbc1 and soon became a marked feature2 pointed or scalloped frills and trimmings came into favour from #ahbe1 ,fig4 ,b1 ,plate ,,xxiii 7see p4 #bah71 and about #ahbg the sloped appearance in the bodice began to be noticed as the sleeves were set lower4 ,the shoulders in ball dresses were shown1 and a gathered ,bertha of silk or lace was arranged round the neck of bodice1 ,fig4 ,d1 ,plate ,,xxiv 7see p4 #bca71 or this form was made in the pattern as in ,fig4 ,c1 ,plate ,,xxii 7see p4 #bae74 ,the ,v-shaped piece from the centre of waist or breast began to spread over the shoulders1 where it was opened1 as in ,fig4 ,b1 ,plate ,,xxii 7see p4 #bae74 ,this ,v shape was often open down to the waist1 where it was filled in with a centre-piece of embroidery4 ,skirts were gradually set out fuller1 with stiff-flounced petticoats2 they had various simple or richly decorated borders and fronts1 or several small flounces1 or one deep one often with the edges cut into divers shapes4 ,illustration3 ,plate ,,xxvii4--,outdoor ,silk ,dress4 #ahbe-ce4 ,illustration3 ,,fig4 #aaa4 ,i have striven to give good examples of the marked styles in the various dated illustrations1 as well as the court train to dress1 ,fig4 ,a1 ,plate ,,xxxiii 7see p4 #bhb71 which also comes into this time4 ,shoes were rather round at the toes till near the end of the reign1 when they took a square shape2 a tiny rosette or bow was placed at the front of instep1 and they were held by narrow ribbons1 crossed and tied round the ankle4 ,boots lacing at the inside1 with seam down the front1 often had a toe-cap as in ,fig4 #e1 ,plate ,,xxi 7see p4 #bjb72 no heels were worn4 ,light gauze scarves were usually carried1 and very small fans besides the larger feather ones4 ,bags or sachets of the forms illustrated were painted or embroidered in ribbonwork1 chenille1 tulle1 and coloured silks4 ,a few specimens of parasols are also given1 and gloves and mittens were of the same character as in the latter part of the last reign4 ,the patterns given of some of the dresses shown in the plates will be useful as to the measurements of the increase in skirt-width and sleeves2 one may also note the very pointed set-out of the breast1 sometimes made with two gores1 which only occurs in this reign4 ,muffs were usually of a large size1 and a bow with long ends was often worn on the front4 ,,nineteenth ,,century4 ,,george ,,iv4 #ahbj-cj4 ,,male4 ,the mode in beaver hats was most varied2 high straight crowns with small brims1 others tapering at the top with larger curled brims1 or crowns enlarging at the top with almost straight small brims2 a top-hat of straw is shown on page #cji4 ,a short-crowned hat was also worn4 ,the hair was combed towards the front at either side1 and the face shaven1 with the exception of short side-whiskers4 ,a very high stock of black satin or linen surrounded the throat1 with or without the points of collar showing1 and a frilled shirt1 often stiffly goffered4 ,coats were very tight-fitting and mostly double-breasted1 with long swallow-tailed skirts1 or long full skirts2 the waist was rather short1 and the effect of coat-front round-breasted with a high turned-over collar finished in large lapels1 which were often treated with velvets4 ,the favourite colours for overcoats were greys1 buffs1 greens1 and blues1 and the edges were neatly finished with fine cord4 ,the sleeves1 rather full in the shoulder1 became tight on the lower arm1 coming to a curved shape well over the hand1 and buttoned up the side4 ,the pockets were frequently set at an angle1 as in illustration1 and a short round cape1 or two1 was seen on many overcoats4 ,a short type of coat is seen about #ahbg1 with a single roll collar4 ,illustration3 ,,fig4 #aab4--,period #ahbj-ahdj4 ,waistcoats mostly had a round-shaped lapel1 and were often double-breasted and very shaped at the waist1 which was set fairly high2 a long opening allowed the frilled shirt-front full display4 ,there were also waistcoats having no lapels1 no pockets1 or no cover-flap2 the points of front were very small1 being buttoned to the end1 or1 with the double-breasted shape1 they were straight across4 ,breeches were not so much worn as trousers of cloth1 nankeen1 drill1 and fine white corduroy2 these were usually fastened under the boots with a strap1 others were looser and often worn short1 well above the ankle4 ,a very full type in the upper part peg-tops1 was in fashion about #ahbj-be amongst the dandies1 and for evening dress1 very close-fitting breeches to the knee1 or just above the ankle1 the latter being opened and buttoned up to the calf4 ,pince-nez were favoured1 with a heavy black ribbon1 generally worn tucked in the lapels of the waistcoat2 and a fob of gold seals1 c41 hung from the braces1 below waistcoat pocket4 ,illustration3 ,,fig4 #aac4--ahcj-ahdj4 ,shoes and short ,wellington boots were chiefly worn1 the former being low in the heel and very short in the tongue1 which was almost covered by small latchets1 either buckled or tied1 the shape of the toe being rather round4 ,the ,hessian boots with curved front and tassel at the top were still worn4 ,,nineteenth ,,century4 ,,william ,,iv4 ,,female4 ,the hair still retained the high loops on top and the bunch of curls at the sides1 poised by a back comb and set with flowers or feathers2 there was also a great variety of fancy capes with pointed frills1 some with long tie ends1 and these are seen with most dresses1 and were worn in conjunction with the hats4 ,the favourite hat was a big1 flat1 circular form1 generally tilted at one side1 and decorated with bows1 flowers1 and feathers2 a flat tam-o'-shanter shape was often worn with the riding-dress1 sometimes with a large peak-shape in front1 and straps under the chin4 ,the large poke-bonnet also kept the front as flat and round as possible1 with a high crown tilted upward in order to set over the hair loops4 ,illustration3 ,plate ,,xxviii4-- 7a7 ,silk ,pelisse4 #ahbj-cj4 7b7 ,cotton ,dress4 #ahcj-dj4 7,pattern1 see p4 #cdc74 7c7 ,silk ,spencer and ,cape4 #ahah-bg 7,pattern1 see p4 #cbd74 ,illustration3 ,,fig4 #aad4--ahbh-ahcf4 ,the bodice began with a very pointed front and very low neck off the shoulders1 tuck-ins of fine embroidery1 and capes or fichus of the same1 covered the shoulders1 often three deep4 ,the pointed bodice only lasted for a few years1 when the waistband again became the favourite4 ,the sleeves were very large at the shoulders1 diminishing at the wrist1 but soon took a big round form1 sometimes tightly pleated into quarters before #ahce4 ,we then get the huge sleeve gathered at the wrist1 and often falling below it2 this again tightened on the forearm1 and we note a tendency to tighter sleeves coming in before #ahcg1 neatly gathered well down the shoulder4 ,the evening-dress sleeve was a large puff1 set out by stiffening to a flat wide effect4 ,very wide epaulet collars were seen on most dresses1 meeting in a ,v shape at the waist1 with a filling of lace in the front1 and many bodices were elaborately gathered1 and some of the sleeves were also gathered into puffs all down the arm4 ,illustration3 ,,fig4 #aae4--ahcj-ahdj4 ,the skirts were set out very full over stiff flounced petticoats1 and were worn rather short2 as a rule they were trimmed with one or two flounces1 which were handsomely decorated1 and a short polonaise is occasionally seen4 ,there were many interesting trimmings of gauze1 flowers1 and bows2 while silk-flowered gauze over dresses made some charming effects4 ,heavy mantles and capes or pelisses began to be braided1 and rather strong colours were in general taste4 ,the hand-bags were of a curved form and generally bore heavy tassels4 ,very small fans and round fans were attractive1 and bouquet-holders of gilt1 with pearl handles1 became the thing to carry4 ,shoes were of the low sandal type1 fastened by crossed elastic1 with very square toes1 and a tiny rosette or bow on the front2 boots to the ankle were now in fashion1 mostly lacing at the inside1 and having a long toe-cap1 sometimes with a small rosette at the top of this or a tassel at front of the top of the boot4 ,illustration3 ,plate ,,xxix4-- 7a7 ,embroidered ,silk ,gauze ,dress4 #ahbj-cj4 7b7 ,gauze ,dress with ,appliqued ,design4 #ahbe-ce4 7c7 ,printed ,linen ,outdoor ,dress4 #ahbg-dg 7,pattern1 see p4 #cdb74 ,,nineteenth ,,century4 ,,william ,,iv4 ,,male4 ,the hair was worn rather full in curls at the sides or on top1 parted at the left side1 besides being occasionally parted at the centre4 ,side whiskers1 curved forward1 still continued1 and a short trimmed beard was now worn round under the chin by many1 moustaches also made their first appearance at the end of this reign4 ,top-hats were high and straight1 but many still adhered to the tapered crown and larger brim4 ,the same plain stocks of black satin continued1 with or without a front bow1 and a soft pleated or frilled shirt-front4 ,the coats were similar to the last reign3 the chief differences being an increase in the length of the waist1 wider tails1 and large lapels of a similar cut3 velvet collars and cuffs were much worn1 and the waist was still made tight4 ,a coat with a square skirt as in ,fig4 #aaf is seen for the first time1 and the swallow-tailed coat was worn not quite so long4 ,a lower opening to the waistcoat was generally seen in evening attire1 which sometimes had but four small buttons1 while more of the single-breasted type were in use1 with and without lapels4 ,very tight trousers to the ankle buttoned up to the calf continued1 or plain trousers were held by straps under the boot2 twill1 corduroy1 or nankeen were both strapped or free at the ankle and rather short4 ,knee-breeches were still worn by many for evening dress1 and long ,italian capes with overcapes and high turn-over collars were fashionable1 besides the very full-skirted greatcoat4 ,boots and shoes were square at the toes and rather long and narrow1 the shoes having a bow or buckle4 ,short ,wellington boots continued much in use1 also spats4 ,fobs of gold seals1 c41 were worn1 and eye-glasses attached to a black ribbon is a noticeable feature4 ,,nineteenth ,,century4 ,,victoria4 ,,female4 ,the hair was parted in the centre and tightened in a top setting of plaits1 with side curls over the ears4 ,this mode was retained by many till the fifties1 but the top plaits began to be set lower at the back1 and the same flat parted hair was brought in a curved shape to the front of the ears1 often in a small plait1 allowing the ear to show1 or in a plaited knot at either side2 about #ahej it was waved1 parted1 and simply curved from the forehead over the ears in a fuller manner1 sometimes being turned under to increase the side fullness1 while the back hair was arranged lower down the neck4 ,in the sixties the hair was waved and caught behind in ringlets or was bunched into the hideous chignons1 which are seen till about #ahhj4 ,illustration3 ,,fig4 #aaf4--ahdj-ahfj4 ,the variety of caps and hats is too alarming to deal with1 and baffles comprehensible description1 so it is best for the student to dip into the hundreds of illustrations through this period in the ,ladies' ,magazine1 ,punch1 the ,illustrated ,london ,news1 or the ,ladies' ,treasury for the later styles4 ,the straw bonnet with a straighter poke front was favoured till #ahej1 when the front became considerably reduced in size and fitted closely round the face4 ,the larger brimmed bonnets had a little frill by the ears1 and the tight-brimmed bonnet often had the frill all round with a flower also tucked in effectively to the wearer's taste1 and we see this favoured till the seventies4 ,in the fifties a large flat ,leghorn hat with a small crown was in evidence1 the brim dipping back and front1 decorated with feathers or bows1 and a three-cornered ,french hat with feathers set in the brim came in with revival of the #ahth-century style about #ahfj4 ,a small bowler hat and a very small pork-pie hat appears in the late sixties1 and a tiny-shaped bonnet of a curved form during the seventies4 ,illustration3 ,plate ,,xxx4-- 7a7 ,printed ,silk ,bodice4 #ahdj-ej4 7,pattern1 see p4 #cbj47 7b7 ,gathered ,linen ,bodice4 #ahcg-dg4 7c7 ,silk ,bodice and ,bertha4 #ahde-ee4 ,illustration3 ,,fig4 #aag4--ahde-ahee4 ,at the beginning of this long reign we find the pointed bodice with a normal length of waist has really come to stay1 though many dresses retain the waistband till the fifties1 and there is such a confusion of styles at that time1 it is difficult to arrange a sequence4 ,from the #ahth century fashions became more complicated in the greater variety of design1 each overlapping the other1 and several distinct forms of character come and go during this long reign4 ,i do not envy the person who undertakes the chronology of our present period4 ,at the commencement in #ahcg the huge sleeves gathered at the wrist were still in evidence1 especially as a gauze oversleeve to evening attire1 and they continued thus to the fifties1 but very large sleeves were really dying out and the usual reaction was setting in2 the full-shouldered sleeve had turned a somersault and was neatly gathered tight from the shoulder to the elbow1 the fullness falling on the forearm1 and this was gathered into a tight setting or wristband4 ,the ,v-shaped front to the bodice was kept in many dresses by a collar or two tapering from the shoulders to the waist1 the fullness of the breast often being tightly gathered at the shoulders1 besides a few inches in the front point of the bodice4 ,a very plain tight-fitting sleeve became fashionable1 and on most of these we find a small upper sleeve or a double one as shown in ,a1 ,plate ,,xxx 7see p4 #bff72 this was sometimes opened at the outer side4 ,these sleeves continued till about #aheb4 ,in #ahec a bell-shaped sleeve is noticed in ordinary dress1 and this continued in various sizes till #ahge1 reaching its fuller shape about #ahfd4 ,these types of sleeves were usually worn over a tight one or a full lawn sleeve gathered at the wrist2 most bodices with this sleeve were closely fitted and high in the neck1 the waist often being cut into small tabs4 ,we also notice for a few years in the early fifties the deeper part of the bell curved to the front of the arm1 giving a very ugly appearance4 ,a close-fitting jacket also came into evidence till about #ahfe with tight sleeves and cuffs1 sometimes with a little turn-down collar and a longer skirt as in ,fig4 ,c1 ,plate ,,xxxiii 7see p4 #bhb74 ,this particularly fine embroidered specimen1 in imitation of the #ahth-century style1 is interestingly cut away short at the back to allow for better setting on the crinoline4 ,there is another type of sleeve seen about #ahdh1 of a plain1 full1 square cut2 these became varied in shape1 being opened up the side and generally trimmed with wide braids4 ,this clumsy character is seen up to #ahgh1 the later ones being fuller in cut4 ,zouave jackets were occasionally worn in the forties and later in the early sixties1 when the wide corselet belt was again favoured4 ,skirts at the beginning of the reign were fully set out on drill petticoats1 stiff flounces1 and even whalebone1 so it was hardly a great effect when the crinoline appeared about #ahee1 though a furious attack was made against it at first2 this undersetting developed to its fullest extent between #aheg and #ahfd1 and many dresses in the early sixties were also worn short1 showing the high boots of this period4 ,at first the crinoline was slightly held back from the front by ties1 and again in the sixties it was often kept with a straight front1 the fullness being held to the back1 till the appearance of the bustle brought in another shape4 ,the skirts were now pulled in tight to the front of the figure and bunched up at the back1 with a train or shaped flounced pieces overlapping each other caught up under the bustle1 as in ,fig4 ,b1 ,plate ,,xxxiii 7see p4 #bhb74 ,illustration3 ,plate ,,xxxi4-- 7a7 ,embroidered ,muslin ,outdoor ,dress1 #ahee-fe4 7b7 ,riding ,habit4 #ahde-ge4 7c7 ,gauze ,ball ,dress4 #ahdj-ee4 ,illustration3 ,,fig4 #aah4--;,dress improvers1 #ahfe-ahge4 ,mantles of a cumbersome type and shot-silk capes with long pointed fronts were worn1 often heavily fringed1 the former also being mostly decorated with braided designs4 ,large ,paisley shawls were much used all through this reign1 besides the cape and hood with its fine tassels which became very fashionable in the sixties4 ,gloves and mittens are seen both long and short1 the latter often beautifully embroidered on the back in the ,french style4 ,hand-bags were often carried1 of which examples are given in the plates of a variety of shapes2 the favourite materials for their make were velvets and silks decorated with bullion1 sequins1 braids1 needlework1 and beads1 and these bags were richly set in gilt1 silver1 or steel mounts4 ,parasols were still heavily fringed1 and were of the usual shapes4 ,a very small one was carried in the carriages1 and are even seen on the ladies' driving whips4 ,shoes continued in the same heelless sandal character to the sixties for evening wear1 but from the forties most outdoor shoes had a heel and large rosettes4 ,with the seventies came round toes with a low round front and bow1 and high shaped heels came to stay till the present day4 ,boots of white satin1 kid1 or coloured silks were chiefly worn till the seventies1 reaching just above the ankle1 laced up the inner side1 but many wore elastic sides from the fifties2 the toes of these were rather square1 and a toe-cap and front seam was made in many of this type4 ,in the forties a tight rosette was sometimes placed low down towards the toes1 and later1 a huge bow was sewn on the front4 ,high boots buttoned towards the side and very much shaped1 with pointed round toes and high heels were sometimes laced and finished with a pair of tassels4 ,spats were always fashionable through this period4 ,,nineteenth ,,century4 ,,victoria4 ,,male4 ,the same modes of doing the hair remained till the sixties1 parted at one side and worn rather long and waved1 with the side whiskers or beard all round the chin4 ,the side whiskers were allowed to grow long between fifty-five and seventy1 and full beards also became fashionable1 while the hair was parted in the centre from front to back and flattened on the forehead4 ,the favourite top-hat still reigned supreme1 many of which retained the tapered top and large curled brim till about #ahee1 and a bell shape was frequently seen in the fifties1 but the real straight chimney shape was seen throughout till the eighties1 with a rather narrow brim1 and often of white or fawn-coloured cloth4 ,the bowler hat increased in appreciation1 being of a short type1 with smallish brim4 ,a short flat felt hat1 with rather straight brim1 also came into favour from the fifties2 little round caps and caps with ear-flaps1 for travelling1 c41 were also in general use4 ,the frock-coat kept the rather tight sleeves and tight waist1 and full square skirt1 with back pockets1 also a deep lapel1 sometimes with a velvet collar1 and small cuffs2 a breast-pocket was often placed on the left side1 and in the fifties the type of morning coat with rounded-off fronts at the skirt appeared1 also a small collar and lapel4 ,square-cut jackets and tweed suits similar to our present shapes1 but heavier in cut and with braided edges1 were much in use4 ,velvet or fur-trimmed overcoats1 and heavy travelling-coats1 also capes and ,inverness capes1 were all in vogue4 ,waistcoats became buttoned higher in the neck1 and the stock-collar was supplanted in the sixties by a turn-down collar1 and small tie or loose bow2 many still affected the black stock and pointed collar to the seventies1 when a high round collar began to appear4 ,coloured and fancy waistcoats were much worn till the eighties1 and evening dress was similar to the present cut1 with slight differences in the length of lapels and waistcoat front4 ,the trousers were made with the front flap till they were buttoned down the front about #ahde1 and side pockets became general4 ,braids may be noted down the sides in the fifties1 and are seen now and then all through the reign1 while large plaids and stripes were highly esteemed4 ,short ,wellington boots were chiefly preferred up to the sixties1 and trouser-straps and spats were fashionable all through the reign4 ,the heavier lace-up boot came in during the fifties1 and a very shaped type of fashion appeared in the sixties4 ,having now completed the general survey of ,costume1 the following pages are given up to the cut and measurements of various antique garments4 ,,patterns ,,of ,,various ,,reigns ,,from ,,antique ,,costume ,,with ,,notes ,,and ,,measurements ,i have striven to gather as many representative patterns of dress types and accessories as possible1 and also give many measurements from the various examples1 when ,i have been unable to obtain a complete pattern4 ,the character of cut and proportion is the essential point in the study of dress design1 and the intimate knowledge of periods4 ,when seeing a collection of patterns1 one is astonished at the great variety in cut used to arrive at the different bodice types4 ,several patterns of single pieces are given1 as it aids one to find the fellow-part2 for example1 the photo of a back given in ,fig4 ,c1 ,plate ,,iii 7see p4 #ee71 will go with the front cut on page #bij2 even though these two pieces did not belong to the same body1 the cut is seen from which to design the missing part4 ,often a small piece is wanting for the top of the shoulder1 which can easily be supplied to fill the sleeve measurement4 ,the types of trimmings in the different centuries will soon be acquired by a careful student1 and the proportions of patterns will be valued for gaining the character4 ,i believe with this collection one could get the true effects of any style of dress seen in the period prints4 ,the drawings are mostly scaled for the half1 and the measurement1 in inches1 will be found by dots on the top of the collotypes1 and by a marked line on the pattern pages4 ,one must note1 with the #ahth-century dress1 the sleeve cuffs can be changed1 so ,i give1 on page #cjj1 a full-size measurement of the elbow-cuff seen in ,fig4 ,a1 ,plate ,,xvi 7see p4 #afg71 and a deeper one of this style is seen on ,fig4 ,c1 ,plate ,,xii 7see p4 #ace71 gathered seven times at the elbow4 ,the plain square type was pleated in the front as given on page #cjj1 and a variety of this character is shown on ,fig4 ,b1 ,plate ,,xv 7see p4 #aed74 ,though many patterns may be found remarkable in proportions1 an allowance is often to be made for the undersetting1 as well as for the thick1 straight corsets worn to the end of the #ahth century4 ,i give several specimens of quilting on petticoats of the #ahth century1 which will probably be found useful to artists2 the measurement is also given of their circumference1 which attained similar proportions to those set on the ,victorian crinolines1 going #c to #d yards round3 four #ahth century ones measured #ajj1 #aad1 #aaf1 #abj inches1 and they are often #a inch longer at the sides1 to allow for setting over the panniers2 a pattern is given on pages #bac and #ccb4 ,the embroidered pockets on page #cjj were worn in pairs at the sides on the petticoats1 and only showed when the dress was looped up4 ,the extra lawn sleeves1 given on page #bhg1 show how precious the superfine linen was held1 with its superb gathered work1 lace ruffles1 and often fine embroidery2 these pieces could be looked after with special care in the laundry1 and could be tacked1 pinned1 or buttoned on when required4 ,the #afth and #agth century collars were mostly attached to the chemise or shirt1 as is seen in many of the old prints4 ,on page #bhi ,i give examples of shape of the various stomachers1 which will be found useful for getting the characteristic proportions4 ,the scarves worn round the body of the #agth century cavaliers were from #b feet #c inches wide to #c feet #f inches1 and from #h feet #f inches to #g feet in length4 ,illustration3 ,plate ,,xxxii4-- 7a7 ,silk ,dress4 #ahfj-gj4 ,pattern1 see p4 #cdf4 7b7 ,gauze ,walking ,dress4 #ahej-fj4 7c7 ,silk ,dress4 #ahdh-eh4 ,pattern1 see p4 #cdd4 ,the stocking top1 ,fig4 ,c1 ,plate ,,vi 7see p4 #gd71 is probably of similar proportions to the woollen one in the ,victoria and ,albert ,museum1 on which the bell-top circumference is #cf inches1 and the full length of stocking #ch inches4 ,on page #bhe a cap of three pieces is given2 their real design is at present unknown1 but ,i trust the ,museum authorities may soon discover their placing1 for many of these pieces are in existence1 and this set in my collection is impressed with a beautiful pattern4 ,the bodice1 ,fig ,a1 ,plate ,x 7see p4 #aai71 should have been set on a stiff-fronted corset to give it the straight style1 as it is charmingly proportioned and clean in outline4 ,i have also measured a short circular cloak of the early #agth century1 which is #cd inches in diameter1 with a square collar #aj inches deep2 and another cape of the late #afth century1 #dj inches in diameter4 ,on page #bij will be found the smaller tabs which are placed round the jerkin1 with a deep front point1 as in ,fig4 ,a1 ,plate ,,viiia 7see p4 #ajc72 the collar of this type often rises #b-c_/d inches in the front to #c inches at the back1 in order to carry the stiff ruff or deep turned-down collar4 ,tabs of the smallest dimensions1 in the earlier ,elizabeth and ,james character1 generally have six pieces from front to the middle of the back1 which are from #b to #c inches deep4 ,the epaulets are made in small stiff tabs1 caught together in two places only1 and so have plenty of give in the shoulder movements2 they run to #b-a_/d inches at the widest part1 and do not continue right under the arm4 ,fig4 ,d1 ,plate ,v 7see p4 #ga71 has the middle seam of the back open from the waist to within #b inches of the collar1 which is noticeable on many of the later ,charles ,i coats4 ,long aprons are conspicuous through the #agth century1 and one measured was #db inches wide1 gathered to #ae inches at the waist2 they were decorated with three bands of embroidered insertion down the front1 with a #c-;inch plain border1 edged with small lace2 this is typical in character of design1 as is also the same style of linen cape seen on a figure1 page #aei4 ,a similar one1 lent by ,sir ,robert ,filmer1 is at the ,victoria and ,albert ,museum2 also a cap1 of which ,i give a pattern1 ,a1 page #bhe4 ,the smaller type of embroidered aprons of the late #agth and #ahth centuries measure #dj inches wide1 #ai-a_/b inches deep1 with the centre dipping to #ag-c_/d inches2 another shape is #bf inches wide1 #ah inches in centre1 and #ac-a_/b inches on sides4 ,the bodice1 with deep skirt1 ,fig4 ,b1 ,plate ,,xviii 7see p4 #ahc71 is a type seen all through the #ahth century1 both longer and shorter in the skirt4 ,the pattern of the #agth-century breeches is interesting as regards the cut1 the upper part being kept plain1 otherwise the gathered fullness would have disturbed the set of the jerkin tabs2 the band of these breeches has six hooks either side to back1 which fasten to eyes on an under flap sewn on body of jerkin4 ,the epaulet on this pattern is only a #c_/d-;inch piece1 braided with two narrow braids1 and the bows on tabs are of ribbon1 #a-a_/b inches wide4 ,the three patterns of capes given on pages #cdi1 #cej will be found useful1 as they are simple and very typical of the ,victorian times1 long shawls being otherwise much used4 ,the fullness of the ,elizabethan overdress seen on ,b1 ,plate ,,ii 7see p4 #db71 is #ff inches to the back seam1 and the ,fig4 ,c1 on the same plate1 is #dg inches4 ,the jump1 or jacket1 ,fig4 ,a1 ,plate ,,iii 7see p4 #ee71 is #ajj inches round1 the fullness of the sleeve #ac inches1 and the length of back #cb inches4 ,an over-tunic of the early #agth century is interesting to examine1 though it is a specimen of ,german costume4 ,illustration3 ,plate ,,xxxiii4-- 7a7 ,silk ,dress with ,court ,train4 #ahbh-ch4 7b7 ,silk ,afternoon ,dress4 #ahgb-gh4 7c7 ,silk ,coat and ,skirt4 #ahee-fe4 ,pattern1 see p4 #cbj4 ,,patterns ,,to ,,scale ,for ,detailed ,list1 see page #cec4 ,illustration3 ,,pattern #a4 ,made in satin on wood ,piccadilloes #aehj-afcj ,side view open ,gather to a ring at mark ,gather to a ring at mark ,a pair belonging above #c ,caps #af-agth c4 #ab in4 ties #afjj-afej #agth c4 ,others measure #afx#ad #adx#i #acx#i ,cap #af-agth c4 ,cap of pierced embroidery1 late #agth early #ahth cent4 ,illustration3 ,,pattern #b4 #agth c4 ,stock1 ,chas4 ,,ii4 #ahth c4 ,stiff gorget for carrying ,collar ,stock ,cap1 embroidered1 #ast half #ahth c4 ,collar and caps1 #ag century ,illustration3 ,,pattern #c4 ,ruff1 #aeij-afaj #bd in4 round #ae round #bj in4 round #ah century #ad #ast half of #agth c4 #aj ,caps and ,extra ,sleeves of ,fine ,linen #ag century ,illustration3 ,,pattern #d4 ,embroidered linen jacket1 front and sleeve1 #afth century ,embroidered linen bodice ,front1 ,chas4 ,i4 ,illustration3 ,,pattern #e4 ,elizabethan jerkin of punched leather4 ,gold embroidered stomacher1 about #afjj-cj #affj-afhi #afij-agcj #afhj-agcj ,illustration3 ,,pattern #f4 ,set of tabs for male jerkin1 #ag cent4 ,back ,front ,side ,pattern type from worked pieces ,elizabethan reign #aegj-afje ,illustration3 ,,pattern #g4 ,circular ,cape1 #ag cent4 ,collar ,join top and gather at dots4 ,cap1 #aehj-afcj4 ,illustration3 ,,pattern #h4 ,bodice ,fig4 #a ,plate #aj ,illustration3 ,,pattern #i4 ,corset1 #afbj-fj ,cut of bodice1 ,fig4 ,b1 ,plate #e ,corset1 #affe-he ,corset1 #afhe-agje ,illustration3 ,,pattern #aj4 #bf buttons ,sleeve seam ,start epaulette ,finish ,scale ,collar ,similar type to ,fig4 ,c1 ,plate #g ,jerkin of white quilted satin ,see page opposite for ,breeches of same1 #afbj-afdj4 ,victoria and ,albert ,museum1 ,kensington4 ,illustration3 ,,pattern #aa4 ,breeches1 #afae-fj ties pocket pocket ,fulled ,hooks to fasten to jerkin ,illustration3 ,,pattern #ab4 sleeve #ce buttons ,neck ,band ,buttons #c_/d in4 ,open #ab buttons ,full cape coat1 ,v4 ,a4 ,museum1 about #afdj-fh ,illustration3 ,,pattern #ac4 ,back of bodice1 ,fig4 ,b1 ,plate #g4 #ac-a_/b ,front to back of epaulette ,male cap1 early #ah century ,illustration3 ,,pattern #ad4 #b collars1 time ,chas4 ,,ii4 ,illustration3 ,,pattern #ae4 ,jacket4 ,fig4 ,c1 ,plate #d ,top sleeve ,open to mark ,open ,open ,illustration3 ,,pattern #af4 ,sleeve cuffs1 #ah cent4 ,early type ,late type #afij-agej1 #b pockets ,hanging sleeve of ,fig4 ,c1 ,plate #b ,open ,embroidered bodice fronts1 early #ah century ,illustration3 ,,pattern #ag4 ,quilted linen corsage1 #affj-agae ,open ,herald's coat1 ,fig4 ,a1 ,plate #g4 ,victoria ,albert ,museum ,open ,open ,illustration3 ,,pattern #ah4 ,front of embroidered linen sleeved waistcoat1 #afij-agbj ,victoria and ,albert ,museum ,illustration3 ,,pattern #ai4 ,inner vest ,sleeve waistcoat1 early #ahth cent4 ,sleeve to lace on ,open to mark ,illustration3 ,,pattern #bj4 ,breeches1 #affj-agbj ,button ,pleat ,pocket ,open for pocket ,fullness ,open ,pocket ,illustration3 ,,pattern #ba4 ,breeches1 #ahth century ,waist ,gather ,open ,top ,knee strap ,waist ,loose flap ,pocket ,pocket ,illustration3 ,,pattern #bb4 ,fly knee ,breeches1 #ahth century ,illustration3 ,,pattern #bc4 ,coat1 ,fig4 ,b1 ,plate #bf ,dart ,open to waist ,collar ,illustration3 ,,pattern #bd4 ,coat1 ,fig4 ,b1 ,plate #ac ,joined under pleat ,pocket ,pocket ,small pocket open caught open ,open ,side tab ,corderoy trousers #ahae4 ,illustration3 ,,pattern #be4 ,fig4 ,a1 ,plate #ae ,coat1 #agge-ij ,cuff ,band to draw up ,open ,double ,under collar ,turnover collar ,pocket ,pleat ,open ,open #ae in4 tie ,leather ,breeches1 #ahjj-cj ,straw hat1 #ahaf-cj ,illustration3 ,,pattern #bf4 ,join ,fold ,under collar ,turnover collar ,pleat ,open to waist ,coat1 #aghd-id ,directoire type ,see ,,fig4 #ajf ,illustration3 ,,pattern #bg4 ,collar ,breast pocket1 left only ,coat1 #ahcj-ahde ,similar type to ,fig4 ,c1 ,plate #bf4 ,illustration3 ,,pattern #bh4 ,pocket ,slightly gather ,pocket ,top ,foot strap ,strap inside ,open ,foot ,strap ,buff linen trousers1 #ahaj-ahdj ,illustration3 ,,pattern #bi4 ,turnover collar ,collar tab ,pocket flap ,pocket ,pleat ,joined on waistcoat inside ,open to mark ,coat1 ,fig4 ,a1 ,plate #bf ,illustration3 ,,pattern #cj4 ,bodice1 #ahaf-bb ,trimming stretched to curl over ,sleeve straps ,collar ,waist ,gathered in strap ,piped straps and seams ,illustration3 ,,pattern #ca4 ,bell sleeved ,bodice1 #ahdh-eh ,trimmed narrow velvet braid ,open ,open ,illustration3 ,,pattern #cb4 ,bodice of linen dress1 ,fig ,a1 ,plate #bb ,buttons for front ,cord for looping train1 #ij inches ,outside sleeve ,illustration3 ,,pattern #cc4 ,bodice1 #ahfj-gj ,bodice1 #ahej-fj type ,sleeve for net covering ,gathered sleeve ,bodice1 #ahaf-be ,illustration3 ,,pattern #cd4 ,jacket bodice1 ,fig4 ,a1 ,plate #bd ,illustration3 ,,pattern #ce4 ,bodice1 #ahde-ee similar type ,fig4 ,a1 ,plate #cj ,epaulette ,band round waist ,front ,illustration3 ,,pattern #cf4 ,sleeveless overjacket1 early #ah century embroidered ,wrist strap ,tie on ,gather ,gather ,strap ,gather ,spencer1 #ahbg-cg1 piped trimming ,illustration3 ,,pattern #cg4 ,bodice1 #ahab-ah ,top ,silk to line ,under lining ,illustration3 ,,pattern #ch4 ,corset pattern1 #ah century ,bodice of ,fig4 ,a1 ,plate #ad ,illustration3 ,,pattern #ci4 ,similar type of ,bodice to ,fig4 ,b1 ,plate #ad4 ,bodice with type of pleated back1 #agbj-ej ,box pleats ,pleated back ,lining for front ,lining for back ,laced ,illustration3 ,,pattern #dj4 ,tab gathered in centre trimming on epaulette ,cape ,epaulette band ,waist band ,collar ,pattern1 ,fig4 ,c1 ,plate #bh ,thickly kilted skirt to bodice1 #bf ins4 ,bodice1 ,fig4 ,a1 ,plate #ah ,illustration3 ,,pattern #da4 ,zouave jacket1 late #ah century ,gather ,bodice1 #ahah-bh ,illustration3 ,,pattern #db4 ,silk jacket1 ,fig4 ,b1 ,plate #ai ,gathered ,pleat ,illustration3 ,,pattern #dc4 ,bodice1 ,fig4 ,c1 ,plate #ah ,illustration3 ,,pattern #dd4 ,bodice1 ,fig4 ,a1 ,plate #cj ,wrist ,bertha ,gather ,gather ,illustration3 ,,pattern #de4 ,cased ,pleat ,pleats ,open ,open ,open to mark ,pocket ,coat1 ,fig4 ,c1 ,plate #cc ,illustration3 ,,pattern #df4 ,waist ,s4 lining ,puff sleeve ,gather ,gather ,illustration3 ,,pattern #dg4 ,dress1 #ahje-ahah ,pleated ,pleat ,apron front ,gathered ,mob ,cap1 #aghj-ahjj ,gathered in band ,trimmed double lace frill round front ,width of insertion ,cap with comb1 #agij-ahjj ,puff comb ,illustration3 ,,pattern #dh4 ,pleated ,pleated ,pleated ,side plaquet ,quilted petticoat1 #agdj-gj ,waist band ,illustration3 ,,pattern #di4 ,pleats ,pleat to notch ,made in lining ,petticoat1 ,fig4 ,b1 ,plate #af ,top ,illustration3 ,,pattern #ej4 ,dress1 ,fig4 ,b1 ,plate #af ,pleat ,under corset ,lining back ,illustration3 ,,pattern #ea4 ,dress1 ,fig4 ,c1 ,plate #af ,neck ,lining ,box pleats ,small pleats ,s pleats ,small pleats ,s4 pleats ,pleat ,illustration3 ,,pattern #eb4 ,pleat ,pleat ,pleat ,pleat ,pleat ,pleat ,white linen dress1 #agie-ahje ,front ,sleeve ,gather ,button ,outside sleeve ,caught up thus ,illustration3 ,,pattern #ec4 ,gathered ,open to mark ,gathered ,striped cotton dress1 #ahje-ae ,gathered ,collar ,front ,wrist #c sleeve frills ,open ,gather ,illustration3 ,,pattern #ed4 ,pattern of under robe1 #ahah-cj ,gathered ,gathered ,waist ,sleeve ,s4 placquets ,illustration3 ,,pattern #ee4 ,waist band ,neck band ,gathered ,cuff ,top ,gathered ,pattern of ,fig ,c1 ,plate #be ,illustration3 ,muslin dress1 #ahbb-cb ,cuff ,yoke ,,pattern #ef4 ,illustration3 ,,pattern #eg4 ,gather ,gather ,satin dress1 #ahcg-de ,gather ,gather ,top ,illustration3 ,,pattern #eh4 ,top gathered to a ,fold round sleeve ,gathered ,dress1 ,fig4 ,c1 ,plate #bi ,gathered ,gathered ,gather ,cape ,gathered ,gathered ,waist ,waist ,gather ,gather ,illustration3 ,,pattern #ei4 ,dress1 ,fig4 ,b1 ,plate #bh ,gathered ,gathered ,gathered ,gathered ,band front of waist ,waist ,illustration3 ,,pattern #fj4 ,gather ,gather ,dress1 ,fig4 ,c1 ,plate #cb4 ,trimming over shoulder ,top ,gather ,gather ,tight pleats ,waist ,illustration3 ,,pattern #fa4 ,lady's coat1 #ahef-gj ,illustration3 ,,pattern #fb4 ,blue silk dress1 #ahfj-gj ,fig4 ,a1 ,plate #cb ,scale #f inches ,gather ,gather ,pleat ,illustration3 ,,pattern #fc4 ,reefed polonaise1 pinked edge1 #ahfj-gj ,scale inches ,gather ,plain ,gather ,plain ,pleat ,gather ,puff sleeve lining ,reefed up ,ties ,puff sleeve ,illustration3 ,,pattern #fd4 ,lady's jacket1 ,fig4 ,c1 ,plate #ai ,gathered ,pleated ,illustration3 ,,pattern #fe4 ,fullness for arm ,an interesting cape of shot silk1 #ahdj-ej ,illustration3 ,,pattern #ff4 ,cut in one ,front ,cape collar #b pieces ,black velvet cape1 #ahcj-dj ,victorian cape1 #ahfj-ge ,same cut from #dj ins4 ,illustration3 ,,pattern #fg4 ,sleeve1 #af century ,collar ,cut of ,doublet and slashed sleeve1 #afbj-dj ,sleeve1 #afbj-dj4 ,epaulette ,cut of boy's stays1 coat1 vest1 #agjj-fj ,illustration3 ,,pattern #fh4 ,male ,robe #afjj-be ,black felt ,puritan hat1 #afdj-fj ,v4 and ,a4 ,museum ,black velvet hat1 #afjj-bj ,,detailed ,,list ,,of ,,scaled ,,patterns ,pattern #a1 page #bhe3-- ,piccadillo1 #aehj-afcj4 ,three caps1 #af-ag century4 ,cap of three pieces1 #af-ag c4 ,triangular cap1 #af-ag c4 ,long cap1 #ag c4 ,cap1 late #ag c41 early #ah c4 ,pattern #b1 page #bhf3-- #d collars1 #ag c4 ,gorget of linen1 #ag c4 #b stocks1 #ag and #ah c4 #c male caps and #a female1 #ag and #ah c4 ,pattern #c1 page #bhg3-- ,ruff1 #ag c4 #d extra linen sleeves1 #ag and one #ah c4 #b caps1 female1 #ag c4 ,pattern #d1 page #bhh3-- ,front of linen jacket1 #af c4 ,front of linen bodice1 ,charles ,i4 ,pattern #e1 page #bhi3-- ,elizabethan jerkin4 #d stomachers1 #ag and #ah c4 ,pattern #f1 page #bij3-- ,set of tabs for male jerkin1 #ag c4 ,pattern type1 sleeve and bodice front1 #aegj-afje4 ,pattern #g1 page #bia3-- ,circular cape1 #ag c4 ,cap1 female1 #aehj-afcj4 ,pattern #h1 page #bib3-- ,bodice1 ,fig4 #a1 ,plate ,x1 ,james ,i4 ,pattern #i1 page #bic3-- #c corsets and bodice of1 ,fig4 #b1 ,plate ,v1 #ag c4 ,pattern #aj1 page #bid3-- ,jerkin of white quilted satin1 #ag c4 ,pattern #aa1 page #bie3-- ,breeches of same suit4 ,pattern #ab1 page #bif3-- ,cape-coat1 #ag c4 ,pattern #ac1 page #big3-- ,back of bodice1 ,plate ,,vii1 #ag c4 ,shaped cap1 male1 #ag and #ah c4 ,pattern #ad1 page #bih3-- #b collars1 ,charles ,,ii4 ,pattern #ae1 page #bii3-- ,jacket1 ,fig4 ,c1 ,plate ,,iv1 #ag c4 ,pattern #af1 page #cjj3-- #b sleeve-cuffs1 #ah c4 #b embroidered pockets1 #ag and #ah c4 ,hanging sleeve1 ,fig4 ,c1 ,plate ,,ii1 #af-ag c4 ,embroidered bodice fronts1 #ag-ah c4 ,pattern #ag1 page #cja3-- ,quilted linen corsage1 #affj-agae4 ,herald's coat1 ,fig4 ,a1 ,plate ,,vii1 #af-ag c4 ,pattern #ah1 page #cjb3-- ,sleeved waistcoat1 #afij-agbj4 ,pattern #ai1 page #cjc3-- ,sleeved waistcoat and vest1 early #ah c4 ,pattern #bj1 page #cjd3-- ,breeches1 #affj-agbj4 ,pattern #ba1 page #cje3-- ,breeches1 #ah c4 ,pattern #bb1 page #cjf3-- ,breeches1 #ah c4 ,pattern #bc1 page #cjg3-- ,coat1 ,fig4 ,b1 ,plate ,,xxvi1 #ai c4 ,pattern #bd1 page #cjh3-- ,coat1 ,fig4 ,b1 ,plate ,,xiii1 #ah c4 ,corderoy trousers1 from #ahae4 ,pattern #be1 page #cji3-- ,coat1 late #ah c41 ,fig4 ,a1 ,plate ,,xv4 ,leather breeches1 late #ah-ai c4 ,straw hat1 #ahaf-cj4 ,pattern #bf1 page #caj3-- ,coat1 #aghd-id4 ,pattern #bg1 page #caa3-- ,coat1 #ahcj-de4 ,pattern #bh1 page #cab3-- ,buff linen trousers1 #ahaj-dj4 ,pattern #bi1 page #cac3-- ,morning coat1 ,fig4 ,a1 ,plate ,,xxvi1 #ai c4 ,pattern #cj1 page #cad3-- ,bodice1 #ahaf-bb4 ,pattern #ca1 page #cae3-- ,bell-sleeved bodice1 #ahdh-eh4 ,pattern #cb1 page #caf3-- ,bodice of linen dress1 ,fig4 ,a1 ,plate ,,xxii1 about #ahjj4 ,pattern #cc1 page #cag3-- ,bodice1 #ahfj-gj4 ,bodice1 #ahej-fj4 ,bodice1 #ahaf-be4 ,pattern #cd1 page #cah3-- ,jacket bodice1 ,fig4 ,a1 ,plate ,,xxiv1 about #ahjj4 ,pattern #ce1 page #cai3-- ,bodice1 similar type1 ,fig4 ,a1 ,plate ,,xxx1 #ahde-ee4 ,pattern #cf1 page #cbj3-- ,sleeveless over jacket1 early #ah c4 ,spencer1 #ahbg-cg4 ,pattern #cg1 page #cba3-- ,bodice1 #ahab-ah4 ,pattern #ch1 page #cbb3-- ,corset pattern1 #ah c4 ,bodice of ,fig4 ,a1 ,plate ,,xiv1 #ah c4 ,pattern #ci1 page #cbc3-- ,bodice with type of pleated sack back1 #agbj-ej4 ,pattern #dj1 page #cbd3-- ,bodice1 ,fig4 ,c1 ,plate ,,xxviii1 #ai c4 ,bodice1 ,fig4 ,a1 ,plate ,,xviii1 #ah c4 ,pattern #da1 page #cbe3-- ,zouave jacket1 late #ah c4 ,bodice1 #ahah-bh4 ,pattern #db1 page #cbf3-- ,silk jacket1 ,fig4 ,b1 ,plate ,,xix1 #ah c4 ,pattern #dc1 page #cbg3-- ,bodice1 ,fig4 ,c1 ,plate ,,xviii1 #ah c4 ,pattern #dd1 page #cbh3-- ,bodice1 ,fig4 ,a1 ,plate ,,xxx1 #ai c4 ,pattern #de1 page #cbi3-- ,lady's coat1 ,fig4 ,c1 ,plate ,,xxxiii4 ,pattern #df1 ,page #ccj3-- ,polonaise dress1 #ahce-de4 ,pattern #dg1 page #cca3-- ,dress1 #ahje-ah4 ,mob cap1 #aghj-ahjj4 ,cap with comb top1 #agij-ahjj4 ,pattern #dh1 page #ccb3-- ,quilted petticoat1 #ah c4 ,pattern #di1 page #ccc3-- ,petticoat1 ,fig4 ,b1 ,plate ,,xvi1 #ah c4 ,pattern #ej1 page #ccd3-- ,dress1 ,fig4 ,b1 ,plate ,,xvi4 ,pattern #ea1 page #cce3-- ,dress1 ,fig4 ,c1 ,plate ,,xvi4 ,pattern #eb1 page #ccf3-- ,white linen dress1 #agie-ahjj4 ,pattern #ec1 page #ccg3-- ,striped cotton dress1 #ahje-ae4 ,pattern #ed1 page #cch3-- ,pattern of under robe1 #ahah-cj4 ,pattern #ee1 page #cci3-- ,dress1 ,fig4 ,c1 ,plate ,,xxv4 ,pattern #ef1 page #cdj3-- ,muslin dress1 #ahbb-cb4 ,pattern #eg1 page #cda3-- ,satin dress1 #ahcg-dg4 ,pattern #eh1 page #cdb3-- ,dress1 ,fig4 ,c1 ,plate ,,xxix4 ,pattern #ei1 page #cdc3-- ,dress1 ,fig4 ,b1 ,plate ,,xxviii4 ,pattern #fj1 page #cdd3-- ,dress1 ,fig4 ,c1 ,plate ,,xxxii4 ,pattern #fa1 page #cde3-- ,lady's coat1 #ahef-gj4 ,pattern #fb1 page #cdf3-- ,silk dress1 ,fig4 ,a1 ,plate ,,xxxii1 #ahfj-gj4 ,pattern #fc1 page #cdg3-- ,reefed polonaise1 #ahfj-gj4 ,pattern #fd1 page #cdh3-- ,lady's jacket1 ,fig4 ,c1 ,plate ,,xix1 #ah c4 ,pattern #fe1 page #cdi3-- ,cape1 #ahdj-ej4 ,pattern #ff1 page #cej3-- ,cape1 #ahfj-ge4 ,cape1 #ahcj-dj4 ,pattern #fg1 page #cea3-- ,upper sleeve and collar1 #af c4 ,bodice with slashed sleeve1 #afbj-dj4 ,boy's stays1 coat1 and vest1 #agjj-fj4 ,pattern #fh1 page #ceb3-- ,male robe1 #afjj-be4 ,puritan hat1 #afdj-fj4 ,black velvet hat1 #afjj-bj4 ,,index ,aprons-- #ag century1 #ahf1 #bhj #ah c41 #aib1 #aih1 #bjf ,bags1 #aic1 #bfb1 #bgb ,bertha1 #bch1 #beb ,bouquet ,holder1 #bfb ,breeches-- ,mediaeval1 #ed #af c41 #abb1 #acb #ag c41 #aeb1 #afd1 #bha #ai c41 #bdh1 #bef1 #bfd ,bustle1 #bbf ,calash1 #bag ,capes-- #af c41 #acb1 #bgi #ag c41 #ahd #ai c41 #bdd1 #bfb1 #bfd1 #bgd1 #bha ,chain ,ornaments-- to #ae c41 #fb1 #gb #af c41 #aaj1 #abd ,cloaks-- to #ae c41 #ed1 #gj #ag c41 #aeb1 #afd1 #agf1 #ahj1 #bgi #ah c41 #bbb ,collars-- #af c41 #aab1 #abh1 #abi1 #aci1 #bgh #ag c41 #ade1 #aeh1 #afj1 #agb1 #agd #ai c41 #bdd1 #bdf ,corsets-- to #ae c41 #fb1 #ff #af c41 #aaj1 #aaf1 #ach #ag c41 #aeh1 #afi1 #agb #ah c41 #baa1 #bgh #ai c41 #bej ,crinolines1 #bgj1 #bgh ,decorative ,styles-- ,black-stitch work1 #abb1 #abi ,braided1 #aaj1 #aaa1 #acb1 #adb1 #adc1 #add1 #ade1 #adf1 #ahb1 #ahh1 #bjj1 #bch1 #bdd1 #bgb ,button1 #aaj1 #adc1 #add1 #adf1 #ahb1 #baj ,laced1 #gj1 #hh1 #ib1 #aaj1 #aaf ,piped1 #bch1 #bdd ,pleated1 #aaa1 #adj ,pricked1 #aaa1 #adj1 #adb1 #aeb ,punched1 #aaa1 #adj1 #adb1 #aeb ,puffed1 #hh1 #ib1 #aaj1 #aaf1 #aah1 #abb1 #abi1 #adb1 #adf1 #aej1 #ahj1 #bfj ,purfled1 #ade1 #afd1 #aij ,ribbon1 #ade1 #agb1 #agf1 #agh1 #aia1 #bec ,serrated or shaped edging1 #ga1 #if1 #aaj1 #adf1 #aia1 #bad1 #beb ,slashing1 #ib1 #aaa1 #aab1 #aac1 #aaf1 #aah1 #abb1 #adj1 #adb1 #ade1 #aeb1 #aeh1 #afd ,straw-work1 #aaa1 #aia ,tassel1 #bch ,tinsel1 #bcg ,tulle1 #bch ,doublets1 #acb1 #aci ,dress-- ,prehistoric1 female1 #dj2 male1 #da to #aj c41 female1 #de1 #df1 #dh2 male1 #eb1 #ed #aj to #ae c41 female1 #fb1 #ff1 #fh1 #gj2 male1 #gf1 #gh1 #hj #ae c41 female1 #hd1 #hh1 #ib2 male1 #ib1 #ajj1 #ajd1 #ajh #af c41 #bgh1 #bgi1 #bha4 ,henry ,,viii1 female1 #aac1 #aaf2 male1 #aah1 #abb4 ,ed4 ,,vi and ,mary1 female1 #abd1 #abh2 male1 #abi1 #acb4 ,eliz41 female1 #acc1 #acf1 #ach2 male1 #aci1 #bha #ag c41 ,james ,i1 female1 #adg1 #aej2 male1 #aeb1 #aed4 ,chas4 ,i1 female1 #aeh2 male1 #afj1 #afd1 #afh4 ,commonwealth1 female and male1 #afh1 #afi4 ,chas4 ,,ii1 female1 #afi1 #agb2 male1 #agd1 #agf4 ,james ,,ii1 female1 #agh1 #ahj2 male1 #ahb4 ,william and ,mary1 female1 #ahd1 #ahe2 male1 #ahf1 #ahh4 ,anne1 female1 #aif2 male1 #bjj4 ,george ,i1 female1 #bjf2 male1 #baj #ah c41 ,george ,,ii1 female1 #bba2 male1 #bad4 ,george ,,iii to #ahjj1 female1 #bag1 #bbb1 #bbd1 #bbf1 #bcj2 male1 #bcb1 #bcd #ai c41 ,george ,,iii 7continued71 female1 #bdd1 #bdg2 male1 #bdg4 ,george ,,iv1 female1 #bej2 male1 #bed4 ,william ,,iv1 female1 #bfj2 male1 #bfc4 ,victorian1 female1 #bfh2 male1 #bgd4 ,note also page #ci ,drill petticoat1 #bch ,ear-rings1 #fb-gb ,epaulets-- #af c41 #abh1 #abi1 #acf #ag c41 #adc1 #aeb1 #bhj1 #bha #ai c41 #bej ,fans-- #af c41 #abi1 #ach #ah c41 #aic1 #bcj #ai c41 #bdj1 #bec1 #bfb ,farthingale1 #aaa1 #acf ,foot-wear-- to the end of #ad c41 #dd1 #dh1 #ef1 #gj1 #hj1 #hb1 #ib #ae c41 #ajh #af c41 ,henry ,,viii1 #af1 #abb2 ,ed4 ,,vi and ,mary1 #abh1 #acb2 ,elizabeth1 #ach1 #adj #ag c41 ,james ,i1 #aej1 #aed2 ,chas4 ,i1 #aeh1 #afd2 ,commonwealth1 #afh2 ,chas1 ,,ii1 #agb1 #agf2 ,james ,,ii1 #ahj1 #ahd2 ,william and ,mary1 #ahf1 #ahh #ah c41 #aic2 ,anne1 #aih1 #bja2 ,george ,i1 #bjg1 #baj2 ,george ,,ii1 #bad1 #baf2 ,george ,,iii to #ahjj1 #bcj1 #bcd #ai c41 ,george ,,iii1 #bdf1 #bdh2 ,george ,,iv1 #bec1 #beh2 ,william ,,iv1 #bfb1 #bfd2 ,victoria1 #bgb1 #bge ,girdles-- to #ae c41 #fh1 #gh1 #ib #af c41 #aaf ,gloves-- #af c41 #aaf1 #abi1 #ach #ag c41 #afh1 #agb #ah c41 #aic1 #bja1 #bad1 #bbf ,head-dress-- ,prehistoric1 female1 #dj2 male1 #db to #aj c41 female1 #de2 male1 #di #aj to #ae c41 female1 #eg2 male1 #ga #ae c41 female1 #hd2 male1 #ib #af c41 ,henry ,,viii1 female1 #aac2 male1 #aah4 ,ed4 ,,vi and ,mary1 female1 #abd2 male1 #abi4 ,eliz41 female1 #acc2 male1 #ach #ag c41 ,james ,i1 female1 #adg2 male1 #aej4 ,chas4 ,i1 female1 #aed2 male1 #afj4 ,commonwealth1 #afh4 ,chas4 ,,ii1 female1 #afi2 male1 #agd4 ,james ,,ii1 female1 #agh2 male1 #ahj4 ,william and ,mary1 female1 #ahd2 male1 #ahf #ah c41 ,anne1 female1 #aic2 male1 #aih4 ,george ,i1 female1 #bja2 male1 #bjg4 ,george ,,ii1 female1 #baa2 male1 #bad4 ,george ,,iii1 female1 #bag1 #bda2 male1 #bca1 #bdf4 ,george ,,iv1 female1 #bdh2 male1 #bed4 ,william ,,iv1 female1 #beh2 male1 #bfc4 ,victoria1 female1 #bfd2 male1 #bgc ,heraldic fashion1 #ff1 #ga1 #aji1 #acb ,hoop skirts-- #af c41 #aaf1 #abh1 #acf #ag c41 #adg1 #ahe #ah c41 #bbb ,jackets-- to #ae c41 #ff1 #fh1 #hh1 #ajj #af c41 #aab1 #ahb #ag c41 #adc #ah c41 #bbd1 #bbf #ai c41 #bgj ,lapets1 #ahd1 #aic1 #bjf1 #bci ,maccaroni fashion1 #bad ,mantles1 #bfb1 #bga ,masks1 #ahf ,muffs1 #afj1 #agb1 #ahj1 #ahf1 #ahi1 #aic1 #bja1 #bcj1 #bec ,neck-wear1 #agd1 #ahb1 #ahf1 #bjj1 #bjg1 #bcb1 #bdf1 #bej1 #bed1 #bfc1 #bge ,overcoats1 #bcb1 #bed1 #bgd ,panniers1 #baa1 #bbb ,parasols1 #bcj1 #bcd1 #bdd1 #bgb ,patterns scaled1 #bgf ,pelisses1 #bdd1 #bej1 #bfb ,plates 7collotypes71 frontispiece1 #ci1 #db1 #ee1 #eh1 #ga1 #gd1 #hg1 #ij1 #ajc1 #ajf1 #aai1 #abb1 #ace1 #ach1 #aea1 #aed1 #afg1 #agj1 #ahc1 #ahf1 #aii1 #bjb1 #bae1 #bah1 #bca1 #bcd1 #bdg1 #bej1 #bei1 #bfc1 #bff1 #bgj1 #bgi1 #bhb ,pockets1 #aib1 #bbd ,polonaise1 #bch1 #bfb ,purses1 #bcf1 #bdj1 #bdf ,quilting1 #aaa1 #abh1 #adf1 #agb1 #aib1 #aih1 #baa1 #bbb1 #bgh ,ruffs1 #aab1 #aah1 #abh1 #abi1 #acc1 #acf1 #aci1 #adc1 #adg1 #aeh1 #afj1 #agb1 #bej1 #bhj ,sack-back 7or ,watteau7 dress1 #acf1 #ahe1 #aia1 #aif1 #bjf1 #baa1 #bbb ,sashes1 #afh1 #ahb1 #bgi ,sequins1 #aab ,shawls1 #bgb ,spats1 #bgc ,spencers1 #bdd1 #bej ,sticks1 #aha1 #ahh1 #bja1 #baa1 #bad1 #bbf1 #bcd ,stockings1 #ach1 #adj1 #aed1 #afh1 #ahb1 #ahd1 #ahi1 #bja1 #baj1 #baf1 #bcd1 #bgj ,stomachers1 #ff1 #aab1 #acf1 #adb1 #add1 #adf1 #adg1 #aed1 #aeh1 #agb1 #agh1 #ahd1 #aif1 #bjg1 #bgh ,printed by ,,spottiswoode1 ,,ballantyne ,,co4 ,,ltd4 ,colchester1 ,london ,eton1 ,england 99 99 99 99 99 ,,dressmaking ,,simple ,,dressmaking4 ,by ,,ethel ,r4 ,,hambridge1 ,art ,teachers' ,certificate1 etc4 ,in foolscap #dto1 cloth1 #bjj pp41 with #gej plates and black-and-white diagrams4 #gs4 #f;d4 net4 ,this book deals exhaustively with the various stitches and fastenings used in ,dressmaking and their applications1 ,pressing1 ,making-up ,processes1 ,taking ,measurements1 ,cutting-out2 and also contains some notes on ,fitting4 ,simplicity and completeness have been the dual purpose of the ,author1 and her systematic treatment of the subject1 aided by her remarkable gift of lucid explanation1 and her unique practical experience1 has produced a valuable contribution to the literature of ,domestic ,science4 ,,dress ,,cutting ,,and ,,making4 ,for the ,classroom1 ,workroom1 and ,home4 ,by ,,emily ,,wallbank1 ,head of the ,needlework and ,dressmaking ,department1 ,national ,training ,school of ,cookery1 and ,,marian ,,wallbank4 ,in foolscap #dto1 cloth1 #bga pp41 with #bfe diagrams and illustrations4 #fs4 net4 ,the object of this work will be realized in some degree if it helps the practical reader so to mobilize her knowledge of underlying causes that she is able to produce any desired effect in the cut and fashion of a garment4 ,,sir ,,isaac ,,pitman ,,sons1 ,,limited #a ,,amen ,,corner1 ,,london1 ,e4,c4 #d4 ,,embroidery ,,an ,,embroidery ,,pattern ,,book4 ,by ,,mary ,e4 ,,waring4 ,with a ,foreword by ,professor ,w4 ,r4 ,lethaby1 ,royal ,college of ,art4 ,in cloth gilt1 #agj pp41 #b coloured plates1 with #hd full-page black-and-white diagrams4 #hs4 #f;d4 net4 ,designing of this sort is no mystery that requires 'genius'2 it is of the same kind as planting a garden border4444 ,most embroideresses1 who will begin by adapting the elements given in this ,pattern ,book1 and gain interest and confidence in so doing1 will go forward insensibly to varying the elements themselves1 and to taking flowers and animals direct from ,nature4 ,this 444 is the work of a highly competent designer of embroidery1 and ,i heartily recommend it4--,w4 ,r4 ,,lethaby in the ,foreword4 ,,embroidery ,,design4 ,by ,,joan ,h4 ,,drew4 ,in foolscap #dto1 cloth1 about #aae pp41 with #hb black-and-white illustrations and designs4 #es4 net4 ,the writer endeavours to arouse in her readers a desire for better designs1 and greater individuality and thought in the home embroidery of to-day4 ,the difference between decorative and undecorative work is clearly explained with the aid of many illustrations1 and these are of the right size for tracing and working4 ,,sir ,,isaac ,,pitman ,,sons1 ,,limited ,,art ,,the ,,art ,,of ,,painting ,,in ,,pastel4 ,by ,j4 ,,littlejohns1 ,r4,b4,a41 and ,l4 ,,richmond1 ,r4,a4 ,with a frontispiece and foreword by ,,frank ,,brangwyn1 ,r4,a4 ,with #dj beautiful full-page coloured plates and #ae other illustrations4 ,in demy #dto1 cloth gilt4 #aes4 net4 ,extract from ,the ,connoisseur3 ,the beautiful volume may quicken public interest in the method4 ,the #dj plates in colour afford a fine series of examples of the resources of the medium and the best methods of exploiting them4 ,,drawing ,,and ,,design4 ,a ,school ,course in ,composition4 ,by ,,samuel ,,clegg1 ,headmaster of the ,county ,secondary ,school1 ,long ,eaton1 ,derbyshire1 with a foreword by ,,william ,,rothenstein1 ,professor of ,civic ,art1 ,sheffield ,university4 #aj in4 by #g-a_/b in4 #abs4 #f;d4 net4 ,a feature of the book is the inclusion of plates printed by scholars from wood-blocks of their own making and designing4 ,it also contains good sections on lettering and pen and ink drawing1 as well as on pencil work1 colour work1 etc4 ,,sir ,,isaac ,,pitman ,,sons1 ,,limited ,,from ,,the ,,artistic ,,crafts ,,series ,,hand-,,loom ,,weaving4 ,by ,,luther ,,hooper4 #abe ,drawings by the ,author and ,,noel ,,rooke4 ,coloured and collotype reproduction4 ,small ,crown #hvo1 #cfh pp4 #hs4 #f;d4 net4 ,extract from ,the ,morning ,post3 444 ,every phase and process in weaving is described with so clear and careful an exactitude1 that1 helped as the text is by the ,author's sketches and diagrams1 the reader should have no difficulty in conquering with its aid the rudiments of the craft4 ,,embroidery ,,tapestry ,,weaving4 ,by ,mrs4 ,a4 ,h4 ,,christie4 ,fourth ,edition4 #agh diagrams and illustrations by the ,author1 #af pp4 of collotype reproductions4 ,small ,crown #hvo1 #cbj pp4 #ajs4 #f;d4 net4 ,extract from ,the ,pall ,mall ,gazette3 ,mrs4 ,christie has performed her task to admiration1 444 and her lucid explanations of various kinds of stitches 444 should be of value to all workers at embroidery or tapestry weaving and to novices anxious to learn4 ,,sir ,,isaac ,,pitman ,,sons1 ,,limited ,,from ,,the ,,artistic ,,crafts ,,series ,,manuscript ,,writing ,,lettering4 ,by ,,an ,,educational ,,expert4 ,showing the historical development and practical application to modern handwriting of several manuscript styles derived from ancient ,roman letters4 ,fully illustrated4 ,foolscap #dto4 #fs4 net4 ,extract from ,the ,times3 ,this book supplies and supplies generously a need which has become urgent4444 ,for purposes purely practical1 no teacher of plain handwriting need know more than this book tells him2 nor should be content to know less4 ,,heraldry ,,for ,,craftsmen ,,and ,,designers4 ,by ,w4 ,h4 ,,st4 ,,john ,,hope1 ,litt4,d41 ,d4,c4,l4 ,small ,crown #hvo1 #dif pp41 #cjj diagrams and designs1 #bd collotype reproductions1 and #h coloured plates1 #ajs4 #f;d4 net4 ,extract from ,the ,athenaeum3 ,a series which includes three such books as ,mr4 ,douglas ,cockerell's ',bookbinding1' ,mr4 ,edward ,johnston's ',writing1' and this ranks almost as a national possession4444 ,no artist can see this book without wanting to buy it1 if it were only for the beauty of the objects selected for illustration4 ,,sir ,,isaac ,,pitman ,,sons1 ,,limited ,,from ,,the ,,artistic ,,crafts ,,series ,,writing ,,and ,,illuminating ,,lettering4 ,by ,,edward ,,johnston4 ,tenth ,edition4 #bbg illustrations and diagrams by the ,author and ,,noel ,,rooke1 #h pp4 of examples in red and black1 #bd pp4 of collotype reproductions1 #eab pp4 ,small ,crown #hvo4 #hs4 #f;d4 net4 ,extract from ,the ,athenaeum3 444 ,this book belongs to that extremely rare class in which every line bears the impress of complete mastery of the subject4 ,we congratulate ,mr4 ,johnston on having produced a work at once original and complete4 ,,bookbinding ,,and ,,the ,,care ,,of ,,books4 ,by ,,douglas ,,cockerell4 ,fourth ,edition4 #abb drawings by ,,noel ,,rooke1 #h pages collotype reproductions4 ,small ,crown #hvo1 #ceb pp4 #gs4 #f;d4 net4 ,extract from ,the ,times3 444 ,a capital proof of the reasoned thoroughness in workmanship1 which is the first article in the creed of those who 444 are attempting to carry into practice the industrial teaching of ,ruskin and ,william ,morris4 ,,sir ,,isaac ,,pitman ,,sons1 ,,limited 99 99 99 99 99 ,transcriber's note3 ,the following printer's errors were corrected in the text3 ,,plate ,,xi #abb ,sixteen ,leather ,boots and ,shoes1 between #aece and #ahej4 ,original had #afcj instead of #aece ,,plate ,,xxi #bjb ,twenty-three ,boots and ,shoes1 from #ahjj to #ahge4 ,original had ,twenty-two ,c4 ,braided ,suit1 #afgj-ij4 ,original had #afie-ij ,c4 ,dress of ,spotted1 #agie-ahjh4 ,original had ,stockingette ,a4 ,morning ,coat of ,chintz1 #ahbe-de4 ,original had ,chintze ,the bodice1 ,fig ,a1 ,plate ,x 7see p4 #aai71 ,original had see p4 #bib ,sleeve ,original had ,sleev ,,pattern #ec4 ,original had ,,patteen ,pattern #ee1 page #cci3-- ,dress1 ,fig4 ,c1 ,plate ,,xxv4 ,original had ,g ,pattern #eh1 page #cdb3-- ,dress1 ,fig4 ,c1 ,plate ,,xxix4 ,original had ,g ,the following inconsistencies are retained as printed3 ,plate ,,vii1 c4 ,black ,silk ,jerkin4 ,illustration caption has #afdj-fj1 list of illustrations has #afdj-ej4 ,plate ,,ix1 a4 ,lady's ,embroidered ,silk ,jacket4 ,illustration caption has #afje-cj1 list of illustrations has #afje-bj4 ,plate ,,xv1 c4 ,embroidered ,velvet ,coat4 ,illustration caption has #agee-ge1 list of illustrations has #agec-ge4 ,plate ,,xx1 b4 ,nine ,aprons4 ,illustration caption has #ahej1 list of illustrations has #agej4 ,the scarves worn round the body of the #agth century cavaliers were from #b feet #c inches wide to #c feet #f inches1 and from #h feet #f inches to #g feet in length4 ,second range is inconsistent as printed4 ,plate ,,xxxiii1 c4 ,silk ,coat and ,skirt4 ,illustration caption has #ahee-fe1 list of illustrations has #ahee-ef4