,,costume ,,fanciful1 ,,historical1 ,,and ,,theatrical ,illustration ,illustration3 ,,coquelin1 ,,as ,,cyrano ,,de ,,bergerac1 ,,from ,a ,,water ,,colour ,,drawing ,,by ,,percy ,,anderson4 7,reproduced by special permission47 ,,costume3 ,,fanciful1 ,,historical ,,and ,,theatrical ,,compiled ,,by ,,mrs4 ,,aria ,,illustrated ,,by ,,percy ,,anderson ,illustration ,london ,,macmillan ,,and ,,co41 ,,limited ,,new ,,york3 ,,the ,,macmillan ,,company #aijf ,all rights reserved ,illustration3 ,to the dear ,memory of ,sir ,henry ,irving by whom ,i was inspired with a love for all things beautiful4 ,,introductory ,,note ,it is merely a question of head1 said ,percy ,anderson to me one day1 whilst we were discussing some easy method of solving a problem in fancy dress4 ,and he continued3 ,indeed1 ,i would say that1 broadly speaking1 of all costume4 ,the fashion of any period is distinguished primarily by the way its wearer dresses her hair4 ,and chooses her sleeves1 ,i suggested1 and received his approval4 ,we agreed then that we were both most keenly interested in dress1 regarding it as one of the fine and essential arts2 and we decided that we would try to preach its best doctrines and traditions to the world at large1 while we did not ignore the fact that many more worthy had previously enriched literature with the same object4 ,realising this most acutely1 it came to pass that ,i found myself searching libraries for information which could serve to point my moral1 while ,mr4 ,anderson consented to adorn my tale and help me in my endeavour to present concisely1 and with as little ceremony and as much simplicity as possible1 the main facts of the fashions which have obtained through the centuries4 ,a few practical details and suggestions are included in the hope that they may obviate some difficulties of those who fret their hour on the stage or at the fancy-dress ball1 while1 for the benefit of the next generation1 ,i have devoted a small space to personal reminiscences of theatrical heroes and heroines1 and to some facts of theatrical dress1 as it has been expressed in classic and popular dramas produced by the leading actors and actresses of our time4 ,e4 ,,aria4 ,,contents ,,page ,,chapter ,i ,,in ,,classic ,,times #a ,,chapter ,,ii ,,in ,,early ,,medi,,val ,,times #aj ,,chapter ,,iii ,,in ,,the ,,thirteenth ,,century #ai ,,chapter ,,iv ,,in ,,the ,,fourteenth ,,century #bh ,,chapter ,v ,,in ,,the ,,fifteenth ,,century #cg ,,chapter ,,vi ,,in ,,the ,,sixteenth ,,century #di ,,chapter ,,vii ,,in ,,the ,,seventeenth ,,century #ff ,,chapter ,,viii ,,in ,,the ,,eighteenth ,,century #gh ,,chapter ,,ix ,,in ,,the ,,nineteenth ,,century #ib ,,chapter ,x ,,of ,,british ,,peasants #ajf ,,chapter ,,xi ,,of ,,some ,,foreign ,,peasants #aae ,,chapter ,,xii ,,of ,,some ,,foreign ,,peasants 7continued7 #acj ,,chapter ,,xiii ,,of ,,oriental ,,dress #adg ,,chapter ,,xiv ,,of ,,oriental ,,dress 7continued7 #afc ,,chapter ,,xv ,,of ,,fancy ,,dress #agh ,,chapter ,,xvi ,,of ,,dominoes ,,and ,,masks #aij ,,chapter ,,xvii ,,of ,,materials1 ,,the ,,corset1 ,,and ,,the ,,crinoline #bja ,,chapter ,,xviii ,,of ,,ceremonial ,,and ,,bridal ,,dress #baa ,,chapter ,,xix ,,of ,,dancing ,,dresses1 ,,european ,,and ,,oriental1 ,,ancient ,,and ,,modern #bbe ,,chapter ,,xx ,,of ,,theatrical ,,dress #bcf ,,illustrations ,,coloured ,,page ,coquelin1 as ,cyrano de ,bergerac4 7,from a ,water-,colour ,drawing by ,percy ,anderson7 ,frontispiece ,in ,ancient ,greece ,to face #e ,in the ,twelfth ,century #ab ,in the ,thirteenth ,century #bb ,the ,queen of ,richard ,,ii4 #bh ,a ,german ,student in the ,fourteenth ,century #cb ,varieties of the ,hennin #dj ,in the ,eighteenth ,century #gh ,albanian ,peasants #abj ,in ,corfu ,to-day #abf ,in ,china of ,old #adg ,the ,seville ,orange #ahj ,an ,egyptian ,dancer #bbf ,isolde #bdj ,lewis ,waller as ,henry ,v4 #bej ,othello #bed ,,in ,,the ,,text ,two ,hand-,mirrors #d ,a ,roman ,head--,a ,greek ,head #f ,a ,roman ,lady #g ,a ,dress laced in the ,front--,a ,dress laced at the ,back #aa ,a ,coronet--,a ,brooch #ac ,a ,plain ,wimple #ad ,a ,shoe #ae ,dagged ,costume in the ,twelfth ,century #af ,a ,clasped and ,jewelled ,girdle--,a ,cloak-,fastener #ah ,henry ,,iii4's ,queen #bj ,a ,simple ,buttoned ,gown #ba ,a ,quaint ,wimple #cd ,the ,head-dress of ,henry ,,iv4--,a ,head ,drapery held with ,plaited ,hair #ce ,embroidered ,gloves #cf ,an ,elaborate ,head-dress in the ,reign of ,henry ,v4 #ch ,elizabeth of ,woodville #ci ,the ,horned ,head-dress #da ,head-dress of ,jewelled ,velvet and ,lawn #db ,the ,houppelande #dc ,a ,girdle--,a ,pointed ,shoe #dd ,elizabeth of ,york #de ,in the ,time of ,henry ,,vii4 #eb ,a ,trio of ,ruffs #ee ,queen ,elizabeth in ,full ,dress #ef ,a ,chemisette #eh ,an ,italian ,lady #ei ,two ,italian ,coiffures--,an ,italian ,gentleman #fj ,a ,spaniard in the ,sixteenth ,century #fa ,a ,shoulder-,jacket #fb ,the ,cape with ,buttoned ,sleeve #fc ,maximilian #fd ,a ,feather and a ,chicken-skin ,fan #fg ,a ,full ,apron #fh ,the ,lace ,commode #gj ,clogs and ,chopines #ga ,a ,mob-,cap #gc ,glove with ,jewelled ,gauntlet #ge ,a ,riding ,costume #gf ,madame de ,pompadour #gi ,marie ,antoinette #hb ,a ,peignoir #hc ,a ,coiffure #hd ,a ,variety of ,head-dresses adopted in the ,eighteenth ,century #he ,a ,cap and ,hood #hg ,some ,sticks #hi ,some ,quaint ,examples of ,nineteenth-,century ,headgear #ic ,lady ,blessington #ii ,lady ,blessington--,lady ,dalmeny #aja ,two ,coiffures--,early ,victorian ,styles #ajb ,in the ,nineteenth ,century #ajc ,the ,austrian ,peasant-,bride in ,black #abc ,a ,croatian ,peasant #abd ,a ,croatian ,peasant #abe ,a ,greek ,peasant in ,medival ,days #abg ,a ,greek ,peasant--,a ,greek ,peasant ,woman--,a ,greek ,priest--,a ,greek ,brigand #abh ,a ,westphalian ,peasant #adb ,a ,hungarian ,peasant in the ,seventeenth ,century #add ,a ,chinese ,actor #aeb ,a ,chinese ,peasant #aec ,an ,egyptian ,peasant ,woman #aei ,an ,egyptian ,water-,carrier #afj ,an ,egyptian ,peasant #afa ,an ,old ,indian ,festival ,dress #afe ,a ,botticelli ,dancing-,dress #aha ,an ,eighteenth-,century ,pierrot #ahc ,a ,south ,sea ,islander #ahf ,the ,knave of ,diamonds #ahg ,miss ,ellen ,terry as ,mistress ,page #bci ,george ,alexander as ,guy ,domville #bde ,julian ,l',estrange as ,hermes #bdg ,beerbohm ,tree as ,malvolio #bdi ,miss ,constance ,collier as ,viola #bea ,miss ,gertrude ,elliot as ,desdemona #bec ,vronique #bee ,,chapter ,i ,,in ,,classic ,,times ,fashion1 even under exalted patronage1 had scant chance to distinguish herself in the bad old days of the ,romans4 ,she1 who now must be obeyed1 was forced then to take a back seat enwrapped in the toga1 and all who would have preached or practised the doctrine of diversified dress remained mute1 inglorious modistes4 ,it is not on record that any great personage invented any particular garment1 or was accorded the honour of standing godmother to a favoured style4 ,such privileges as those of ,queen ,alexandra1 who1 at the indiscretion of any draper1 may be sponsor to a ruffle or a petticoat1 or of ,queen ,victoria ,eugnie1 whose name has been snatched to honour a face-cream1 were not in vogue4 ,this seems a pity when one comes to consider the alliterative allurement of such a title as the ,boadicean blouse1 and to remember that the ,poppan pomade1 which might have been justified in the observance1 was deliberately committed in the breach4 ,there was sorry opportunity for any who would have liked to stamp individuality on their costume4 ,style was a cut-and-dried affair1 and save in the elaboration or simplicity of adornment variety was practically without the pale4 ,there was but subtle distinction between the form of the tunic and the stola1 yet perchance in the deftness of the adjustment of the drapery of the toga and the exact position of the girdle1 taste could play some part4 ,but the world of costume was a dull table-land exalted to a scene of battle only when the stringent laws relating to extravagances were liberally disregarded4 ,it seems to have been a custom throughout the ages for some historian1 ruler1 or priest to interfere with the existing facts of fashion4 ,one can find traces of such want of sympathy even in the eighteenth century4 ,the ,roman laws were arbitrary1 and ,numa actually forbade any woman to have more than half an ounce of gold on her robes1 while he also prohibited the garment of many colours4 ,it is pleasing1 however1 to realise that his strictures were not taken very seriously4 ,the one sartorial fact with which my youthful mind was burdened was that the earliest ,britons stained their tattooed bodies with woad4 ,chroniclers are not in accord as to the precise shade of this blue dye1 proving that the habits of chroniclers change but little1 since fashion-writers of to-day may be accused of like conduct2 and as woad is more correctly described as an undress uniform than as an article of clothing1 ,i will not now discuss the question of its exact colour1 but note contentedly that all authorities agree that the ,britons clad themselves in skins decorated with beads and flowers1 which1 in conjunction with their painted and punctured persons1 lent them a ferocious aspect1 quite attractive4 ,much as ,boadicea detested the ,romans1 she preferred their graceful garments to those worn by her own countrywomen1 and when she led her troops into battle1 she was attired in all the glory of a multi-coloured tunic1 and her hair fell unbound over her neck and shoulders4 ,wily ,boadicea1 her unbound hair proved the woman in the warrior1 who would win her triumph as best she could1 though history is careful not to attribute to her any but the most legitimate methods6 ,in those days the ,roman women made a rule of wearing a toga1 which1 hanging from the neck or the head1 fell over the shoulders and touched the ground at the back4 ,the toga was either white or yellow for persons of rank1 when the border was purple1 but the lower orders had the toga dyed1 and in times of mourning chose it in black4 ,within doors the toga was discarded altogether in favour of the simple tunic1 which was worn with or without the girdle1 and made either of woollen material or cotton or thin gauze4 ,towards the latter part of the ,empire the tunic was lengthened1 and bore sleeves adorned with buttons according to ,hellenic fashion2 indeed1 the sleeve seemed then1 as now1 to indicate style1 for the earlier types reached only to the elbow1 and gradually they extended to the wrist1 and finally to the ground4 ,when the stola became popular it was always white1 bearing long sleeves ornamented with a wide border1 and over it fell a mantle with a hood round the shoulders4 ,white was the favourite colour for a long time1 and even in those days the ,gauls inspired the fashions4 ,they taught the ,britons to spin and weave and dye1 and purple and scarlet herb dyes were employed with considerable success1 though the chief colouring matter was woad4 ,the ,roman women allowed their taste in colour to run riot1 and purple1 scarlet1 green1 yellow1 hyacinth1 and blue were all in favour1 as well as chequered materials4 ,the foot-gear at this period was of two kinds1 either reaching to the middle of the leg and covering the whole foot1 or only protecting the sole of the foot and being secured by leather thongs4 ,women's shoes were but little less costly than those worn by the men1 and were gay with ornament of gold set with pearls and other precious stones4 ,illustration3 ,a ,,hand-,,mirror4 ,illustration3 ,a ,,hand-,,mirror4 ,jewellery was a great feature2 ear-rings1 bracelets1 armlets1 torques and necklaces1 and rings of gold1 silver1 and baser metals1 were often set with precious stones1 or engraved with the portrait of some dear friend or the representation of some historical event4 ,such rings1 being used for sealing letters and documents1 would usually be bequeathed by a ,roman on his death-bed to his nearest friend4 ,ear-rings were a very favourite form of adornment1 and three or four would dangle picturesquely from each ear1 but only women and boys wore them4 ,the wearing of rings1 however1 was general4 ,iron1 copper1 and ivory played their part in the making of the bracelets1 and in the long pins for the hair1 which were decorated with massive heads mostly significant1 including such odd designs as a fish bearing in its mouth two precious stones1 and a hanging basket with a greedy bird pecking at its floral contents4 ,the serpent found his way to favour as an armlet and again as a diadem4 ,the ,greeks1 indeed1 were fond of adorning their garments with beasts and birds1 which they embroidered or wove in gold and silver and coloured threads4 ,illustration3 ,,in ,,ancient ,,greece4 ,the ,greek female dress consisted of the pallium1 a cloak-like garment very long and ample1 worn plain1 or bearing a fringed border1 and under this was a chlamys1 bearing close kinship in form to the ,roman toga1 and fastened to the shoulder by a brooch4 ,the ,grecian women cut their hair close to their heads1 and the married were distinguished from the unmarried by a parting in front1 but no ,grecian woman ever went without a veil1 covering the face4 ,the head-dress and ribbons of matrons differed from those of the virgins1 and there was a change in the shape of the tunic before and after marriage4 ,ribbons in the hair were preferred as decorations by the modest women1 while the courtesans covered their heads with a mitre1 and carried oval hand-mirrors1 which distinguished them1 as it were significantly1 from their more virtuous sisters1 who made use of fans of leaves or feathers4 ,the art of beauty1 it seems1 was studied with much interest4 ,the use of cosmetics was greatly favoured4 ,white lead was employed to whiten the skin1 and vermilion to produce the rosy bloom of youth2 and we have most of us been impressed by the fact that ,nero's wife discovered a pomade for the preservation of her complexion--no doubt her urgent needs led to this heroic effort6 ,much time and attention were bestowed on the hair1 and the use of false tresses was very general1 slaves being employed to curl the hair1 while experts supervised the process4 ,the structures were adorned with pearls and other precious stones1 crowns of gold and flowers1 ribbons and fillets1 while the embroidered net1 known as the caul1 also had a full share of patronage4 ,the ,roman women would paint their hair a gorgeous yellow4 ,illustration3 ,a ,,roman ,,head4 ,men and women alike wore the cothurnus1 which reached to the knee1 where it was fastened1 purple being the favourite colour for this4 ,it could not have been possible to obtain a great variety in a costume1 and1 save in the decoration of the tunic1 which was ornamented with spots or scrolls1 and in the arrangement of the girdle1 of two varying widths1 the one placed above the other so that the folds of the gown could pouch between1 every one must have appeared very like his brother and his sister4 ,one of the divergences in the fashion of the tunic worn by the women and that worn by the men was in the former always reaching to the feet and covering the arms4 ,illustration3 ,a ,,greek ,,head4 ,the actual shape of the garments varied but little1 and between the tunic and the stola there would have been some difficulty in seeing any difference1 but the stola was worn over the tunic1 and it came as low as the ankles1 and was fastened round the body by a girdle1 broad folds being above the breast3 the essential distinction between the two in cut being that the stola always possessed an instita or flounce4 ,illustration3 ,a ,,roman ,,lady4 ,it is a curious fact1 and one worthy of note1 that the dress of the boys was marked by a change after the age of seventeen4 ,then they laid aside the purple-bordered toga in favour of the toga purely white1 white being1 presumably1 the insignia of liberty4 ,boys wore1 too1 about their necks a hollow ball or boss1 the higher classes having this in gold1 and the poorer citizens in leather4 ,this boss was also adopted as an ornament for belts or girdles1 but in the very ancient days the ,roman men had no other clothing than the toga1 and it was thought effeminate to appear abroad carelessly girdled4 ,the ,romans in later days wore a chiton1 a short woollen shirt without sleeves1 and they also bestowed patronage upon long linen garments bearing sleeves1 while above the toga they adopted a sort of coat1 open in front and fastened with clasps and buckles1 this sharing favour with the greatcoat or surtout1 which bore a hood and was chiefly used for journeys or by the soldiers4 ,the military robe proper of the ,romans was a woollen garment called a sagum1 and the men at first wore neither stockings nor breeches1 but enwrapped their legs and thighs with pieces of cloth4 ,later they tried socks of goat's hair and shoes of unwrought leather4 ,the shoes of the senators flaunted a gold crest on the top1 and black was the most general colour1 though scarlet and red were also in use4 ,gloves too were amongst the possibilities of this early moment1 and it is set down that some of these were cut with fingers1 and that others were of the pattern of a mitten4 ,in grief the ,romans allowed their hair to grow1 even as the ,jews did1 and the first growth of the beard in youth was consecrated to some god4 ,the hair was treated altogether with much respect1 valued and considered with care4 ,every lady of distinction possessed her own hair-dresser1 curling irons were in demand1 and a popular shape of head-dressing was copied from the helmet4 ,for the rest1 let my illustrations speak4 ,the coloured specimen represents the classic ,greek garb under its simplest aspect1 made in white home-spun bordered with yellow1 and falling in folds somewhat disguiseful to the figure1 and quite simple to achieve4 ,the ,roman lady having flattered the ,grecian sleeve to the point of imitation1 proudly bears her toga traced with purple and crowned with jewels4 ,the two head-dresses are characteristic1 and amongst things easy to understand4 ,taking the so-called classic period altogether1 it must be admitted that among the ancient ,greeks and ,romans were born the best principles of the art of dress--an appreciation of outline and a sense of grace in drapery4 ,,chapter ,,ii ,,in ,,early ,,medi,,val ,,times ,from the days of the early ,britons to the twelfth century is a long jump1 but in many countries the growth of new fashions was so slow that to attempt to describe it would mean much wearying repetition and an unnecessary extension of these pages4 ,for example1 the dress worn by the men and women of ,italy during the twelfth century was very similar to the old ,roman styles1 while in ,southern ,italy the ,norman dress found favour as well as the ,byzantine4 ,in ,sicily ,arab costume predominated1 and in ,northern ,italy the ,german and the ,norman fashions shared popularity4 ,italian women1 who all aspired to express their exalted birth by their dress1 wore in the house a tunic or stola drawn up under a belt to show the feet1 fitting closely to the figure and bearing long or short sleeves1 as fancy dictated1 and over this a palla1 developed into a rectangular piece of cloth1 passed under the right armpit with the ends knotted on the left shoulder4 ,until the close of the tenth century1 costume in ,england bore more resemblance to that worn in ancient ,rome than to any chosen by the ,danes4 ,though the ,normans were greatly influenced by the ,saracenic and ,byzantine fashions prevailing in ,southern ,europe1 an ,english lady of the twelfth century could scarcely have been distinguished by her attire from a lady of the ,lower ,empire1 or even a modern maid of ,athens2 and no doubt a contemporary wit of flippant habit would have excused her simplicity by declaring that the study of costume was ,greek to her4 ,illustration3 ,a ,,dress ,,laced ,,in ,,the ,,front4 ,illustration3 ,a ,,dress ,,laced ,,at ,,the ,,back4 ,the prevailing note in dress in the twelfth century was costliness4 ,the king set the fashion of rich apparel1 and his example was followed by both clergy and people1 though the former exercised their didactic privileges by inveighing against the most popular eccentricities4 ,the women's dress at this period showed a strong tendency to exaggerated length1 and the veils and kerchiefs were so long that the fair wearers were forced to knot them to avoid treading on them1 while the skirts lay in great folds on the ground4 ,much significance might be attached to that precious old ,,ms4 where the illuminator depicts the devil in a woman's surcoat with a sleeve and skirts tied up in knots6 ,robes were laced up in front1 and the cuffs of the sleeves embroidered or fur-trimmed1 and over the long robe or tunic appeared a shorter garment resembling the sur cte1 which was chequered and spotted1 presumably to represent embroidery1 and finished with an indented border termed dagged1 in a fashion condemned by ,henry ,,ii4 ,norman ladies wore their hair plaited1 the braids often incased in silk or bound round with ribbon and finished off with three curls2 but towards the end of the twelfth century the hair was frequently held in a network of gold set with stones4 ,the clergy had much to say on the subject of the long beards which reappeared during the reign of ,henry ,i42 and that one1 more forcible than elegant in his denunciations1 who described the men of his time as filthy goats1 has for the solecism gone down to posterity with the priest who1 preaching such a moving sermon on the subject that king and courtiers wept1 took advantage of the impression he had made1 drew out a large pair of scissors that he had concealed in his sleeve1 and cropped the entire assemblage4 ,illustration3 ,,in ,,the ,,twelfth ,,century4 ,during the latter half of the twelfth century a change for the better came over the spirit of dress1 which was now marked by a greater reticence4 ,the extravagant cuff disappeared1 and sleeves were worn tight and fastened at the wrist4 ,an effigy of ,queen ,berengaria1 in the ,abbey of l',espan1 shows the queen with flowing locks partly covered by a kerchief1 surmounted by a gold crown2 her robe is held together at the neck by a large circular brooch set with precious stones1 her mantle hanging almost to her feet behind1 while a small aumnire is pendent from a beautiful girdle4 ,for just so much detail and no more would ,i pin my faith to a monumental sculptor as a fashion historian4 ,green was the favourite colour of the robe in the reign of ,john1 and there is a king's warrant for two green robes for the queen1 each to consist of two ells of cloth1 while there exists a register showing that a green robe lined with condal cost sixty shillings2 so common1 in fact1 was the wearing of the green that ,longchamp1 the arrogant ,bishop of ,ely1 when he was forced to fly the kingdom to escape ,john's rage1 disguised himself in a woman's green tunic and ,norman mantle and hood of the same colour4 ,it was the harvest-time for the embroiderers1 or at least it ought to have been1 but it is not on record that their services were rewarded with any magnificent generosity4 ,embroidery was rampant3 all state garments were traced with gold1 and vivid colours would adorn robes and mantles alike1 a favourite design being a series of circles4 ,illustration3 ,a ,,coronet4 ,illustration3 ,a ,,brooch4 ,the pelisse now came into existence2 in form it was a close-fitting dress1 a prototype of the garment which bears the same title to-day4 ,fur was a modish trimming1 and nine bars of fur are mentioned as a trimming of some special grey pelisse which ,king ,john bestowed upon ,isabella of ,angoulme4 ,obviously the sealskin paletot and the sable cape were not amongst the possibilities of that hour1 or ,his ,majesty would not have been let off so cheaply4 ,illustration3 ,a ,,plain ,,wimple4 ,but to the enthusiastic chronicler of fashion there was one fact of ,king ,john's reign which was pre-eminently worthy and admirable4 ,this was the introduction of the wimple1 of all attributes to feminine beauty surely the most becoming ever conceived or accomplished6 ,it was made either in silk or linen1 a covering for the neck1 chin1 and forehead at once disguiseful and provocative1 coquettish and demure4 ,at times the wimple was little more than an elaborated veil or kerchief1 but in its most alluring form it was a separate article worn under the veil1 as in a nun's dress of to-day1 which1 in fact1 in all but colour1 bears a striking resemblance to the thirteenth-century dress4 ,indeed ,chaucer distinguishes the two when he says-- ,wering a vaile insted of wimple1 ,as nonnes don in ther abbey4 ,the wimple was wrapped round the head and chin1 and ladies of wealth bound it on the forehead by a golden or jewelled fillet1 while their poorer sisters used plain silk4 ,silken wimples were forbidden to the nuns1 who were then as now devoted to white linen4 ,it is not unlikely that the wimple originated with the fashion of wearing the coverchief about the neck1 and it was towards the end of the twelfth century that the coverchief underwent transformation1 growing smaller and being tied under the chin like a modern cap or bonnet4 ,illustration3 ,a ,,shoe4 ,boots and shoes formed an important portion of dress in the twelfth century1 and here again the interfering cleric played his favourite rle of denunciator4 ,the monks1 who were denied their wear1 abused with vigour the peak-toed boots and shoes1 which indeed reached a point exquisitely ridiculous when a courtier could choose to stuff the points of his shoes with tow1 so that they might curl up like ram's horns4 ,dispassionately1 ,i recognise as much wit as wisdom in the notion4 ,women wore short boots as well as shoes1 but the dresses were so long that only the tips of the toes could be seen1 and they were content to embroider these in gold with fanciful or circular devices4 ,gloves1 jewelled at the back1 were chosen by the richer classes1 and coarsely-made warm gloves without fingers received a mild patronage from the poor4 ,but women wore gloves very rarely2 they were not amongst the trifles which attracted feminine attention1 though there was much general love for variety1 and a vast amount of money1 care1 and thought was bestowed on personal adornment4 ,illustration3 ,,dagged ,,costume ,,in ,,the ,,twelfth ,,century4 ,in the early part of the thirteenth century many beautiful fabrics put in an appearance4 ,velvet1 and silk interwoven with gold1 and cloth with many colours were fashionable1 while it became a very popular practice to ornament hems of garments by cutting them into indented tabs or leaves1 a fashion to which ,i have referred previously as dagged1 the contemporary expression4 ,how pretty the dagged costume may be is easily realised by glancing at the picture on page #af1 which shows it entirely made in cloth1 crowned by a white linen turban with a band of linen under the chin4 ,the turban adorned many a fair and dark head1 the ,spanish women wearing it exclusively1 drawing their inspiration for this1 and for their trailing robes and funnel-shaped sleeves1 from the ,arab fashions4 ,frenchwomen asserted themselves as pioneers with the closely-fitting garment that allowed the lines of the figure to be seen1 a legitimate ancestress to our princess gown4 ,sleeves established their right to exist in more than one form1 some being wide at the top1 others narrow1 close-fitting1 and fastened at the wrists1 and others again narrow at the top and to the middle of the forearm1 where they widened and fell almost to the ground4 ,the cuirass dress was often slightly open at the neck in order to show the under-garment1 and a long girdle embroidered in gold was passed round the waist1 crossed behind and brought round again to the front a little lower down1 where it was tied so that the ends fell loosely4 ,in the twelfth century this style of gown was frequently draped on the hips and worn without the embroidered bodice or the girdle1 and a favoured long robe was open from top to bottom and fastened with buttons4 ,mantles were semicircular in cut and held in divers ways1 and their borders were adorned with rectangular metal plaques1 each pierced with five holes1 a double cord being passed through these holes and fastened behind4 ,illustration3 ,a ,,clasped ,,and ,,jewelled ,,girdle4 ,an affection for jewels1 rings and collars of pearls1 diadems and clasps1 was common to all the nobles of all the nations1 while caps1 wimples1 and veils crowned the fair with grace1 and permitted some diversity of expression4 ,illustration3 ,a ,,cloak-,,fastener4 ,in the twelfth century the ,english historian declares that in ,france fashion danced the gayest tunes and was uproarious in her demand for extravagance1 and1 if ,french chroniclers are to be believed1 moderation marked the footsteps of the native mondaine1 whose shoes were comparatively low and bore small points4 ,but ,i doubt not that1 then as now1 each woman was a profit to her own country1 and did her duty to commerce by practising prodigality with unswerving enthusiasm4 ,,chapter ,,iii ,,in ,,the ,,thirteenth ,,century ,a comparative simplicity marked the raiment of the thirteenth century1 when the elaborate detail yielded place to ample folds of drapery1 capacious mantles1 and flowing trains4 ,it was a simplicity1 however1 which cannot conscientiously be congratulated upon its economical habits1 for the fabrics employed were of the richest and most sumptuous1 and the breadth of the garments was prodigious4 ,the dress which is so proudly worn by the ,queen in the illustration on page #bj1 is characteristically splendid1 and a glance at it shows that it was fashioned of a thick brocade traced in diamond design1 and cut square in the neck and very long in the sleeves1 where a few folds of white lawn appear becomingly above the wrists1 the veil falling from neck to hem1 and the enfolding gorget being fastened tightly under the chin4 ,pre-eminently typical was another dress honoured by this ,eleanor of ,provence--a most unpopular lady1 by the way1 even though her taste in costume might have made for some measure of success1 at least amongst her feminine subjects4 ,she chose a gown of gold brocade1 sleeves reaching to the wrists1 while over this she wore a mantle bordered with gold and bearing a collar of ermine4 ,the mantle was held up by a brooch of gold set with jewels1 the head crowned with a ,gothic design of floriated trefoils above a jewelled band4 ,illustration3 ,,henry ,,iii4',s ,,queen4 ,illustration3 ,a ,,simple ,,buttoned ,,gown4 ,the following description1 commendably brief1 which ,i have read of a dress worn by the wife of ,edward ,i4 will bring home the fashion of the day to the understanding of the least initiated3--,a long gown with loose sleeves2 held at the breast by a narrow band is a long mantle1 folds of this covering the feet2 ornaments none4 ,but then no doubt the amiable lady suffered from a popular leaning in favour of conjugal obedience1 and it is well known that ,king ,edward himself strenuously upheld all simple garb1 though it must be admitted that his descendants showed but small respect for his prejudices when they buried him in a dalmatic of red silk damask1 a crimson satin mantle fastened on the shoulders by a gilt fibula decorated with precious stones2 a stola of white tissue ornamented with gilt quatrefolds and knots crossed on the breast1 and jewelled gloves upon his august hands4 ,the lower part of his body was wrapped in a piece of cloth of gold4 ,some severity also marked costume in ,france at this time1 when there was a suggestion of the ecclesiastical in the high guimpe without which no dress was complete4 ,this was a fancy inaugurated by the second wife of ,philip ,,iii4 for the special benefit of her long throat and flat chest2 and worn in company with a pointed head-dress and a flowing veil1 a closely-fitting long robe of brocade1 and an embroidered mantle1 the general effect must have been entirely dignified and impressive4 ,simplicity1 however1 did not reign here long1 and ,louis ,,ix4 of ,france appears to have been quite lenient towards extravagance1 and to have had a nice taste of his own1 judging from the picture which represents him wearing a velvet cap1 a tunic open at the neck1 and a robe of brown embroidered with red flowers1 and possessing long sleeves trimmed with fur4 ,fur was amongst his weaknesses evidently1 for a deep cape of fur covers his shoulders in another picture1 where he is wearing a fur-trimmed robe and has indulged himself with red stockings and black shoes4 ,this was the ,king who urged his courtiers to dress themselves well and neatly1 so that their wives would love them the more1 and their people esteem them higher4 ,illustration3 ,,in ,,the ,,thirteenth ,,century4 ,philip the ,fair1 or ,unfair1 of ,france decreed that ,no damoiselle1 if she be not chtelaine or dame owning #bjjj levies yearly1 shall have more than one pair of gowns per year2 and if she be1 she shall have two pairs and no more--an edict which was1 of course1 defied fearlessly4 ,sumptuary laws come somehow to be disregarded1 proving the courage of women in defence of their idol--fashion4 ,very curious is a coiffure which obtained in the reign of ,philip the ,bold1 consisting of a covering like a plate in outline worn upon the head1 with a veil falling over the cheeks and pendent at the back4 ,far more attractive must have been the head-dress of peacock's feathers which obtained about that time1 when prodigality began to assert itself defiantly in magnificent jewels and gowns of condal emblazoned with rubies and sapphires2 and when silken hose1 gold and silver embroidery1 and furred trimmings were amongst the attainable and the attained4 ,lavishness ruled in ,italy in the thirteenth century1 when women wore long full gowns of silk velvet brocade1 and tissues of gold and silver1 and woollen materials dyed violet or scarlet4 ,they had very large sleeves1 their hands often being more than half covered with these1 which touched the ground2 and ornaments of pearls and borders of gold edged with pearls were chapters in the story of magnificence1 little hoods adorned with gold and pearls and embroidery speaking the final word of splendour4 ,the ,italian matron wore a long mantle touching the ground1 and open in the front1 fastened with buttons or clasps enriched with pearls1 and lined with silk and decked with gold1 and when the hood was dispensed with1 the hair was covered with a light transparent veil of silk4 ,the kirtle worn in ,england in the reign of ,edward ,i4 was in form plain to the point of severity1 but over it on occasions there flowed a robe with a long train1 the ladies of rank choosing the kirtle in as rich material as the robe1 which they removed as a mark of respect when attending on illustrious guests4 ,the kirtle was a garment originally common to both sexes1 and is best described as a smock frock1 although the term at different times has been permitted to signify a cloak1 a gown1 a waistcoat1 and even a petticoat1 and in the fifteenth century it was disgraced into a habit of penance4 ,most frequently the kirtle was laced closely to the body and hung straight downwards to the hem4 ,in the latter years of this century was introduced the surkuane1 which1 according to a famous writer1 was of ,languedocian origin4 ,he describes it as being a bodice cut down the front and displaying in the intervals left by the lacings1 very wide apart1 a transparent tissue of the chemise elaborately pleated and embroidered in gold and silver4 ,the existence of this has1 however1 been disputed by no less an authority than ,planch1 who has failed to discover any trace of a thirteenth-century dress fulfilling such conditions4 ,yet it was at this time that an edict was passed prohibiting the cottes lacs and chemises brodes1 and had there been no such fashion of bodice1 there would have been no temptation for such luxuries1 and no occasion for legislation to check the indulgence4 ,the embroidered shift was forbidden to all save brides1 who were permitted it on their wedding day and for the twelve succeeding months4 ,surely to have set such limit on the wear of dainty lingerie encouraged that reprehensible being the slatternly wife1 whose charms do not outlive her trousseau4 ,the costume of the bridegroom is not specialised1 but man under less ecstatic circumstances seems to have been distinguished by a large cloak with full sleeves and a hood1 a white linen coif tied under his chin1 while a fantastic sort of close cap formed headgear common alike to ,france1 ,germany1 and ,england1 the origin being doubtful4 ,beneath the long cloak men wore a long gown reaching to the feet1 and fastened at the waist1 and as an alternative to this they could choose a tunic to the knee1 with wide sleeves to the elbow1 the fitting sleeves of the under-tunic terminating at the wrists and fastening with a closely-set row of buttons1 or1 if the buttons were omitted1 sewn tightly round4 ,briefly1 women's dress in ,england in the thirteenth century consisted of a wimple and gorget swathed round the neck and fastened by pins above the ears1 concealing alike brow and chin2 the full gown worn loose had sleeves trailing on the ground1 and the under-garment1 which was generally darker than the gown1 had tight-fitting sleeves turned up from the wrists4 ,the poorer women wore a somewhat shorter gown caught up under the arm to reveal the under-garment1 and high boots reaching to the calf of the leg and fastened with a double row of buttons4 ,in ,france1 however1 the women of the middle and lower classes wore grey shoes1 whence it is supposed the word grisette was born1 which from modern usage has come to typify somebody captivating who dwells in the ,latin quarter4 ,there were1 however1 changes which deserve mention4 ,the hood was still in favour1 and the long wide circular cloak was worn fastened at the neck with double cords1 and the trains of the dresses became abnormally extended1 evoking from idle critics many more or less witty quips which may or may not have influenced the subsequent lessening of the trains4 ,gradually the width of the dresses decreased as their length increased1 and the girdle had the privilege of existing merely as an ornament1 while the cuffs of the under-sleeves were adorned with buttons1 and the hanging over-sleeve was cut as a long bag from the elbow to the shoulders1 where it fastened into the robe and fell to the floor4 ,amongst the wise saws of ancient instance was the advice in the ,romance of the ,rose1 that ladies should let trailing robes hide the feet of those too large and unsightly1 but that the more beautifully gifted could hold up their skirts and proceed in comfort4 ,herein may we realise that wisdom is no new counsellor in the ways of vanity1 and ,i am quite convinced that some such philosopher must have guided the selection of the dame whose picture faces page #bb in draperies of pink over mauve1 with a purple mantle lined with red4 ,nothing could be more becoming than the simple lines of her gown which flow from neck to hem1 trimmed at the top with gold jewels set with emeralds1 while round her brow is a golden fillet1 with a fold of white lawn under the chin holding this from side to side4 ,how attractive are these lawn folds may be noted again on a famous canvas1 which portrays a dress of the same period in thick brocade1 with a plain over-skirt bordered with embroidery1 and the broad flat turban hat flanked on either side by wings elaborately decked with jewels1 with a pendent veil from the back4 ,there is much virtue in the veil1 and its length and condition were varied to suit the individual and her circumstance4 ,on state occasions it would be overspread by another veil1 and above it by the women of quality would be placed a crown of gold2 or it would assert its influence over the hair1 which was parted on the forehead1 curled or plaited behind the ears1 and confined in a gold net known as a crispine2 women of highest degree choosing this crispine of gold thread set with jewels and encircling it by a gold band also jewelled1 which would form the frame for the veil4 ,this crispine in various forms was the common fashion for a long time1 and when discarded the hair was bound tightly to the head with a silken fillet and garlands of flowers4 ,alike in the decoration of the head and in the fabrics which were chosen to glorify the simple gowns1 it appears to have been quite possible to evade the spirit1 while obeying the letter1 of the law of simplicity which the rulers demanded at the hands of fashion4 ,fashion granted it with a difference1 and while rigidly austere in cut1 clothes were so generally magnificent in their material and so generous in their width1 that ruin might wait swiftly upon the prodigal with a pretty fancy in frocks4 ,and to think that the security of a ,married ,women's ,property ,act was outside the ken and comfort of the weak and confiding lord1 who loved his lady too well to deny her caprice6 ,,chapter ,,iv ,,in ,,the ,,fourteenth ,,century ,sumptuous and ever more sumptuous grew dress in the fourteenth century1 when the outfit brought by ,isabella of ,france1 upon the occasion of her marriage with ,edward ,,ii41 was a conspicuous example of the possibilities of extravagance4 ,historians have it that her robes were of gold and silver and of shot taffeta and velvet1 that there were many beautiful furs1 and that six dozen coifs and #dai yards of linen1 and six dresses of green cloth1 six dresses splendidly marbled1 and six dresses of rose scarlet were included in her possessions4 ,sovereigns in those times took unto themselves some pride in leading the fashions1 and we have ,anne1 wife of ,richard ,,ii41 effecting the introduction of the cte hardie1 a garment not unlike a waistcoat1 fitting closely on the hips and trimmed round with a border of fur and buttoned down the front4 ,this was cut square below the neck and boasted long tight-fitting sleeves1 and was made of either plain or embroidered material1 or it displayed1 as did so many of the garments of that day1 an embroidered border4 ,embroidery flourished in the reign of ,richard ,,ii41 when dress1 petticoat1 and mantle would be emblazoned with the arms of the wearer's family1 and the device of a bird and tree adorned with stately grace many a mantle of ,richard's ,queen1 who must be credited with a most admirable inclination towards beautiful frocks4 ,in the picture given she is shown wearing a train of peacock-blue velvet bordered with gold and embroidered with the fleurs-de-lys1 while her head appears to great advantage with a short veil beneath her crown1 her hair being braided over the ears and a small lawn band supporting her chin4 ,the sleeve of this frock shows the fancy which obtained for the long scarf held above the elbow and falling with long ends edged with fur2 and the little chemisette and the white cuffs give a winning suggestion of simplicity to an attire completely magnificent4 ,illustration3 ,,the ,,queen ,,of ,,richard ,,ii4 ,her royal consort decked himself with dress no less elaborate1 fur1 gold1 embroidery1 and brocade and velvet all having the privilege of adorning ,his ,majesty1 whose courtiers wore robes emblazoned and embroidered with precious stones1 and mantles sliced in pointed leaf or square indented edges4 ,parti-coloured garments were their delight1 the dress often being divided in two1 half in one colour and half in another1 hose suffering like treatment2 and their wide sleeves1 known as devil's receptacles1 trailed along the ground1 with many slashings to decorate them4 ,the ,troubadours gaily twanged the guitar and other instruments at the tournament1 where the dames and matrons rode in parti-coloured tunics1 with hoods and long tails to them1 and bore small gold or silver swords or daggers in the girdle1 which fell over the hips instead of encircling the waist4 ,ermine shed its soft influence on many of the stiffest of silks1 and dresses were completely lined with ermine1 which also bordered the cte hardie4 ,a deep royal blue was a very favourite colour1 and jewels obtained in abundance1 girdles being encrusted with these1 while no neck seemed complete without a necklace of four rows of jewels and a pendent cross4 ,a good example of the dress worn by the middle class may be taken from ,chaucer's ,wife of ,bath4 ,he tells us she wore on her head on ,sundays a fine cloth kerchief which weighed a pound1 and scarlet stockings and fine new shoes2 she travelled in a wimple and a very broad hat and cloak4 ,the ,miller's wife went abroad in a girdle1 barred all of silk1 and a white apron or barme cloth1 as it was then called4 ,her shift had its collar embroidered in front and behind with black silk1 and she covered her head with a white cap tied with strings1 above a broad silk fillet4 ,she had a leathern purse with metal buttons and silken tassels depending from her girdle4 ,edward ,,ii4's reign welcomed a new mode of dressing the hair1 which was parted in the middle2 over each ear was a golden basket1 and on the top was a band of gold1 narrower in the centre and broader towards the ears1 and the coverchief was placed on the top of the head4 ,a peculiar method too was the arranging of the hair in sausage rolls1 covered with a white veil held in a lattice-work of gold4 ,on the whole1 head-dresses were more remarkable than beautiful and becoming4 ,the caput1 which came a little later1 and might have been called ugly1 fitted closely to the head1 and had a broad scolloped border1 and sometimes1 in addition1 two lappets which hung to the waist2 others were pointed as the bishop's mitre2 and most were characterised by a lack of height with no hair visible2 and the pendent veil at the back bore an embroidered border4 ,there was much hankering after yellow hair in the reign of ,richard ,,ii41 and those who were unblessed with golden locks would dye them with saffron4 ,gloves received the special attention of women in the fourteenth century1 and1 when not actually on the hands1 were placed in the girdle or carried4 ,the gauntlets were jewelled1 and embroidery was on the back or round the base of the fingers4 ,spain and ,france were famous for their proficiency and industry in the making of gloves1 and fur and sheepskin were used for these as well as wool and silk4 ,in ,germany the costume affected during the fourteenth century differed but little from that of the thirteenth4 ,the dress of the women consisted of a long garment with a shorter under-dress1 and over this another dress was worn1 and over this again a mantle4 ,the loose under-garment was very long1 closely fitting to the hips1 whence the skirt increased considerably in width2 long narrow sleeves were made of white or coloured silk or of fine linen1 and the necks of the dresses and the borders of the sleeves were trimmed with tracings of gold2 a short chemise was visible from neck to waist1 and the ,hausfrau bunch of keys hung from the girdle4 ,it is on record1 indeed1 that ,german women in this century were buried with their keys1 and that divorced women were bound to return them to their husbands4 ,young girls wore a long sleeveless robe closely fitting to the hips and ample in the skirt1 and over this a long gown of equal fulness fell from the neck1 extremely wide upon the shoulders1 and covering the forearm on both sides as a long tabard1 circular pieces being cut out from each side1 and the lower portion of the skirt sewn up4 ,the old ,teuton mode of hair-dressing with flowing locks prevailed1 but plaiting also was in vogue1 twisted with coloured or gold ribbons1 or held at the back in a golden net4 ,simple garlands of flowers were placed in the hair1 and a fillet of stuff or metal1 this being shaped either as a crown1 a diadem1 or a coronet2 and the matron adopted a fur-trimmed cap4 ,italy in the fourteenth century showed a decided tendency to return to the classic form of dress4 ,long robes fashioned like the old tunic and stola fell in graceful folds round the figure to the ground2 the sleeves were of moderate width1 permitting the under-sleeves to be seen fitting tightly to the wrists4 ,the dawn of the ,renaissance brought some changes in costume1 notably in the over-dress1 then called a simarre1 which fitted closely in the bodice and outspread in a full trained skirt4 ,this simarre was sometimes made open from neck to hem1 and held together at the top by a square brooch2 and the sleeves were of two varieties1 either quite tight or else wider and very long1 ending in a point1 but invariably bearing some decorative border4 ,the girdle definitely slipped to the hips1 and the description of a ,florentine dress runs3 ,a simarre of brocade fastened with small buttons on either side1 the back hanging quite straight1 the girdle being worn in front of the dress only4 ,very pretty must have been the cypriane1 a gown of ,french origin which was worn with a high belt and had a triangular-shaped opening low on the bodice1 a veil covering the bosom1 and a delicate ruffle encircling the neck2 the puffed sleeves and the back of the dress were slashed4 ,a semicircular cloak was thrown over the shoulders and fastened in front1 and left open or buttoned from throat to hem4 ,the married women chose a sleeveless over-dress1 and a long red or blue cloak1 capacious and enveloping1 and the widow wore this in black1 surmounted by a long white veil4 ,caps1 veils1 and fillets found equal favour in the eyes of the ,italian1 whose pretty hair was as frequently seen bound with satin ribbons as with gold or silver paillettes1 or arranged spirally1 or confined in a caul2 and the horseshoe shape of head-dress common in ,england was also to be seen in ,italy1 who borrowed it from ,france1 where the skirts were now gradually becoming narrower and the dresses buttoning straight down the front1 the skirt and bodice being cut in one1 and the sleeves invested with much diversity1 being worn tight or loose1 buttoned or hanging open1 displaying in some cases the forearm and in others a close under-sleeve4 ,illustration3 ,a ,,german ,,student ,,in ,,the ,,fourteenth ,,century4 ,the sleeveless surcoat was very popular1 the upper portion tapering to a small point upon the shoulders1 showing the gown worn beneath1 and the skirts of these surcoats were decked with ermine and emblazoned with the family arms4 ,the art of embroidery was cultivated assiduously by the rich1 whose leisured moments were spent in plying the needle and silk1 to accomplish devices which should honour and grace their attire4 ,veils of white linen enwrapped the head1 and unbound hair was rarely seen except on young girls4 ,a richly embroidered cap that received some attention was so shaped that it partly covered the cheeks1 and below it were two ear-cages of metallic tissue in plaited design4 ,a very curious head-dress in ,france was composed of a closely-fitting cap with a jewelled border1 surmounted by a long flat piece of material placed over the forehead and hanging down behind1 this being elaborately trimmed and jewelled1 and completely hiding the hair4 ,illustration3 ,a ,,quaint ,,wimple4 ,it is written to the honour of ,isabella of ,bavaria that she encouraged the ladies of her ,court in a great love for dress1 and she would seem to have made a study of the subject1 if one judges from a picture of her robed in regal array1 with a horned head-dress surmounted by a crown1 an elaborate robe profusely adorned with jewels1 a mantle bordered with ermine1 and a train of prodigal extent4 ,the surcoat received the honour of sleeves in the latter part of the century1 and these hung almost to the hem of the skirt1 while the cte hardie took unto itself another shape1 the shoulders being broader1 the bodice cut low1 and edged with fur1 with folds of white silk to form a collar1 a short waist being simulated by the wearing of the girdle high4 ,the last twenty years of the century saw the introduction of high coverchiefs1 mostly crescent-shaped or horned1 one of the former being contrived of two heart-shaped pieces of silk with rolled edges1 the spaces between the two sides being occupied with a veil of cloth4 ,illustration3 ,,the ,,head-,,dress ,,of ,,henry ,,iv4 ,henry ,,iv41 with tender solicitude for his own comfort and beauty1 invented a cloth head-dress which enwrapped his bald pate and bore a gold device on one side1 and a fringe on the hem4 ,a novel head-dress for a woman1 calculated to show both itself and the hair at the best1 shows plaits worn outside the lawn covering1 as in the picture4 ,this must have been most attractive2 so too would be a lawn head-dress which set outwards and upon a frame at the back1 whence it hung straight across to form a most becoming background4 ,the origin of this was ,german1 and its accomplishment was a little complicated1 involving the arrangement of the ordinary band of linen round the face1 while above was drapery of appliqu work in white or white of silver4 ,the short veil which came above this again was kept in place by a jewelled circlet1 the cloth around the throat and shoulders being cut in one with the inner band of the wimple4 ,illustration3 ,a ,,head ,,drapery ,,held ,,with ,,plaited ,,hair4 ,amongst the most attractive descriptions that ,i have found of dress in this period is one of a ,frenchwoman whose hair was entwined with black ribbon1 and whose dress was of white embroidered in silver1 with small sleeves of red and white check bordered with gold4 ,cambric of a sort--not as we know it to-day--must have been indispensable1 for it enwrapped the head1 and formed the guimpe1 and had the privilege of making small ruffles4 ,a dress of decided charm was made of brocade1 cut in one piece to the knees1 and thence flounced with ermine to the ground4 ,the bodice was low to the waist1 and from the waist to the bust was filled in with white cambric1 and an ermine collar was round the shoulders4 ,the sleeves were very tight to the wrists1 with ermine cuffs extending over the hands1 and from the pointed head-dress fell a long veil with embroidered border4 ,illustration3 ,,embroidered ,,gloves4 ,women had plenty of chance to indulge their desire for variety in the minor accessories of dress1 in their embroidered purses1 their jewelled girdles1 their decorated borders1 their guimpes and their ornamented gloves4 ,all of these gave opportunity for the display of the individual taste1 and it must be regarded somewhat regretfully that there were no fashion papers in that day1 or we who come after would not have been left so high and dry for detail4 ,still1 we may be grateful for the written record that aprons were first seen in this period1 and that they were tied with ribbons2 that widows were denied the privilege of elaborate costume2 and that white gowns were devoted to home wear4 ,and so much may we accept with content1 remembering the entirely novel cte hardie with gratitude as one novelty in the century4 ,perhaps it would be greedy to demand more4 ,,chapter ,v ,,in ,,the ,,fifteenth ,,century ,extravagance to the fantastic point pursued its outrageous way in the fifteenth century2 the dresses were tightly belted at the waist1 and trailed long lengths upon the floor1 while the flat collars of velvet or fur pointed towards the front and were cut to display a square stomacher1 and the sleeves indulged themselves with many diversions1 small ruffles appearing to finish those which were tight at the wrists4 ,the celebrated1 never-to-be-forgotten horned head-dresses stuffed with tow made their appearance in ,england in the reign of ,henry ,v41 the reign of ,henry ,,vi4 having the privilege of welcoming these in heart-shape2 and large turbans in ,turkish form found favour with the women during the greater part of the reign of ,edward ,,iv4 ,illustration3 ,,an ,,elaborate ,,head-,,dress ,,in ,,the ,,reign ,,of ,,henry ,v4 ,the fashion of bordering dresses and skirts with deep flounces of fur and velvet was introduced rather late in the century1 and silken girdles of conspicuous width were held up by jewelled clasps1 and innumerable gold chains fell round the neck4 ,the round cap1 covered by a kerchief hanging to the ground1 was popular1 and the steeple form of head-dress with pendent drapery tucked under the arm was a distinctive feature of the time4 ,head-dress in the reign of ,henry ,v4 was perhaps as exquisitely ridiculous as it was ridiculously exquisite1 but1 whatever its faults1 it possessed the supreme virtue of being becoming4 ,what face would not look well under the influence of such a head-dress as that sketched on this page8 ,picture it made soft and white beneath a turban of colour1 and with jewels flanking it on either side beneath4 ,the horned head-dress looked its best--and that it had a best is no questionable point--in jewelled velvet1 when beneath it fell a long veil in graceful folds4 ,the picture on page #db shows a head-dress accurately planned upon a perfectly fitting frame1 with white at the top and back1 and jewelled velvet as an outline for the ear-pieces1 while the band of white across the front is lawn1 again traced with a colour4 ,the sugar-loaf head-dress was usually ornamented with a band of black velvet embroidered in gold4 ,illustration3 ,,elizabeth ,,of ,,woodville4 ,there is a fine record of ,elizabeth of ,woodville in the ,british ,museum1 her hair pale yellow in colour1 arranged with a small curl on the forehead1 and brought up under a high crown1 with large closed arches whence it falls1 the points of the arches being finished with fleurs-de-lys4 ,her dress is of gold brocaded in blue1 and the sleeves are tight-fitting2 ermine outlines the shoulders1 and a crimson scarf does its picturesque duty as a girdle1 and a broad hem of ermine outlines the skirt1 which is very full and has an extremely long train2 and beneath the dress we are allowed a peep of a blue petticoat and pointed shoes4 ,several of the ladies attendant upon all this elegance have the privilege of appearing with her in the illumination1 in high caps with the hair drawn through the top1 short-waisted gowns1 and trains with fur borders4 ,another gown which had the advantage of serving royalty was close-fitting and short-waisted1 with tight sleeves1 embroidered cuffs1 and a collar which took almost the form of a small cape1 held in front with a square brooch jewelled in the centre1 and bearing three pendants4 ,a row of pearls defined the edge of the dcolletage1 a necklace of gold encircled the throat1 and the flat1 close-fitting cap was embroidered in gold4 ,elizabeth of ,woodville is represented on the previous page in a close1 slightly-pointed coif made of a trellis of ribbon and jewelled above the cap of black1 the filmy white veil hanging over these with much grace2 and the bodice of her velvet dress1 which is cut round to show a fine linen chemisette1 bears collar and cuffs of embroidery4 ,illustration3 ,,varieties ,,of ,,the ,,hennin4 ,the hennin reached its height of popularity in every sense of the word in the reign of ,edward ,v4 ,briefly it may be described as a lawn kerchief stiffened with canes or wires1 these kerchiefs being plain or diapered with gold1 the frame projecting outward from the back of the head1 and beneath it the hair is gathered up into a caul of gold or embroidery4 ,the original hennin was a tall funnel-shaped tube in brocade worked in beads and fixed firmly on the head1 and from the top floated a fine veil4 ,the little hennin was a short head-dress covered by a veil which fell over the shoulders4 ,the hennins--and you can see many examples decorating the coloured page--were large or small1 plain or decorated1 as the individual fancy might dictate1 and their adoption was common alike to ,england and to ,france1 where they afforded a complete change from their predecessors1 the small bguins or hoods1 and shared favour with the two-horned head-dresses1 with horns about a yard high4 ,the linen for the hennin was stiff1 to help the fine wire or cane frames to do their duty with greater success2 and to accentuate further their importance there were great wings on either side1 so widely set that the passing of a doorway was a difficulty4 ,illustration3 ,,the ,,horned ,,head-,,dress4 ,priests and husbands inveighed alike against this fashion1 and one monk felt its absurdities so acutely that he rode through the provinces1 deploring the excess of the hennin as of equal gravity with that of gambling and the throwing of dice4 ,he preached this doctrine so plausibly that he induced the easily-aroused populace to chase in the streets the women who were wearing the hennin1 and even to spatter them with mud or pelt them with stones4 ,such enthusiasm1 however1 like the photographs of ,hiawatha1 failed completely2 and after the departure of the prophet1 hennins grew and ever grew1 and they were decked with jewels and hung with chains1 and all the best obtainable prodigalities of fashion were consecrated to their honour4 ,illustration3 ,,head-,,dress ,of ,,jewelled ,,velvet ,,and ,,lawn4 ,attention was given1 not only to the horned head-dress1 which developed into two high points curled inward with pendent veils from the tops1 but also to the turban1 made after the fashion of those worn in the ,east4 ,it had thick rolls of silk or velvet round the head1 the hair being pulled up the centre and worn hanging down the back1 a drapery assisting in the ,oriental effect4 ,the escoffion--for which1 although it is said to have been introduced by ,england1 there is no ,english word--is crescent-shaped like a turban2 and a cap which received some patronage was heart-shaped1 made of embroidered material decked with a trellis-work of braid ornamented with beads1 the wide band in front being set with precious stones1 which again took the form of a heart as they rested upon the forehead4 ,the women of the middle classes wore cloth caps and bands of material twisted round the head1 with wings on either side4 ,early in the fifteenth century the scolloped sleeves were introduced1 and the dresses were cut in one in front1 and separated at the back with a sort of basque4 ,to ,france we owe the houppelande1 worn alike by men and women1 and seemingly obsessed by the virtue of comfort4 ,it bears close kinship to the dressing-gown of to-day1 and had at its best a battlemented border outlined by some contrasting stuff or trimming4 ,it developed various extravagances of decorations and breadth1 but you may see it well shown in its earliest form in the picture on this page4 ,illustration3 ,,the ,,houppelande4 ,at the end of the fifteenth century the dresses1 well supplied with large full sleeves1 were invariably cut square at the neck1 and bore stomachers jewelled or embroidered1 and beneath these were buckles1 or belts or rich girdles with long pendants1 like the one illustrated1 which is worn round the hips and fastened in front with three clasps and tassels4 ,side by side with this appears the pointed shoe of the period2 made in red patterned with white1 it has charms which are obtrusive if not convincing1 though they served to inspire some preacher in ,france1 more violent than holy1 to denounce them as an outrage against the ,creator4 ,illustration3 ,a ,,girdle4 ,illustration3 ,a ,,pointed ,,shoe4 ,the famous ,agnes ,sorel had considerable influence over the fashions of her day1 and she practised exaggeration with audacity3 her hennin was taller than any other1 her skirts were longer1 and her bodices lower2 and she would band her forehead and encircle her throat with the most magnificent jewels4 ,elizabeth of ,york had a fancy for veils richly jewelled at the border and arranged to form a hood and fall down either side of the face1 the hair being plainly parted on her forehead4 ,the picture on the opposite page shows her wearing a full gown of silk brocade1 with a border of ermine decorating the hem of this and the sleeves1 and putting in its appearance again straight across the bodice and down the centre of the front4 ,on her head hangs a stiff mitred head-dress1 the inner rim being outlined with jewels1 and her pendent veil reaches nearly to the waist4 ,illustration3 ,,elizabeth ,,of ,,york4 ,not being content with the weight of brocades and silks they had to carry1 the women burdened themselves with canes with handles bearing the image of a bird4 ,they carried fans1 too1 and collected from ,spain perfumed gloves made of kid or silk1 with the backs embroidered in gold or silver2 the glove1 however1 was punctiliously removed when the hand was given in greeting4 ,france exhibited a nice sense of colour1 and the most popular combination was a veil of white tissue1 a girdle of green wrought with gold1 and a glimpse of violet under-skirt below a brocaded dress set off with black shoes4 ,the cte hardie was improved by being cut open in a point in front1 with revers upon the shoulders1 and a lappet of velvet or brocade was used to fill in the opening1 and1 turning back1 revealed some delicate tissue of gauze and lace4 ,the noble ladies of ,germany affected much simplicity1 adopting this attitude in contrast to that of the burghers' wives and daughters4 ,their costume was narrow in cut1 the close-fitting skirt widening as it reached the ground4 ,the bodices were cut low off the shoulders1 laced in front1 with tightly-fitting sleeves that buttoned the whole length1 and were finished by cuffs extending over the hands4 ,the over-dress had wide sleeves and a long train laced below the waist behind1 the fulness held at the bust with a girdle4 ,mantles were of a semicircular shape1 with a long train fastening to the front with a buckle1 or finished with a turnover collar held in place with ribbons on the shoulders4 ,the shorter mantle known as the tappert was open at each side1 and had a large upstanding collar and hood1 and married women affected a circular cloak gathered at the neck by a cord and falling in voluminous folds to the hem4 ,young girls and matrons braided their hair1 or parted it simply in the centre1 and rolled it in two portions bound with ribbon or twisted fillets2 these rolls1 brought over the ears to form a frame for the face1 were held in a gold net1 with a jewelled pendant in the centre4 ,a favourite cap had a thickly ruched border1 and another1 known as the ,burgundian1 had a high conical crown with a rounded point1 and was worn over a kerchief with the veil floating behind4 ,gold bands and crowns rested on the hair1 a rectangular kerchief folded in two receiving some attention4 ,shoes were made open with points1 and wooden clogs and goloshes expressed the ,teuton caution4 ,as the century drew to its close further license was visible4 ,high dress was the exception1 all bodices being round with slight points1 the shoulders uncovered1 and the back cut down as low as the waist2 and sleeves exhibited much diversity of design1 being at times narrow and at others full1 and then again falling far below the hands1 or reaching up to the elbow1 ornamented with slashings4 ,over-dresses were laced at the back1 and invariably the openings were filled in with the chemise1 or a folded fichu1 or an embroidered plastron4 ,men and women alike wore wonderful chemisettes with wide borders embroidered with silk1 or wrought with pearls1 and fur was a decoration beloved of both sexes4 ,fur adorns the short over-sleeve of the coat sketched on page #eb2 and the wearer1 it would seem1 had infinitely better fortune in the selection of his vest and soft shirt than in his mushroom hat1 which1 made of cloth and stitched1 could not have failed to be at least trying to the most perfect beauty4 ,trains extended themselves when the waists of the bodices grew shorter1 and the dresses were gathered in front1 pleats falling from the bust or just below the short waist4 ,the girdles appeared just below the armpits1 and the sleeves were so long that they had to be turned back from the wrists1 the scolloped border appearing on those which were wide and wing-shaped4 ,in ,france and ,england splendour followed upon splendour2 even the prayer-books did not escape the general craze for elaboration and decoration1 their covers being emblazoned with jewels and silken embroidery4 ,jewels glittered round every fair neck and on every fair head2 and all heads were fair1 assisted by art when nature denied such grace4 ,the hair and the train were the conspicuous points of magnificence1 and fashion1 playing the game of heads and tails1 allowed them both to win her best attention4 ,,chapter ,,vi ,,in ,,the ,,sixteenth ,,century ,the ,tudor period brought an extraordinary revolution in dress1 the first important change taking place in the sleeves1 which were now of different material and different colour from the gown4 ,several pairs of sleeves would be allotted to each gown1 and were necessarily made detachable1 while in shape they were full and puffed1 padded and quilted and slashed and fitting tightly2 and the square-necked1 short-waisted style of dress was punctilious in a display of a stomacher and a full train4 ,cloth of gold was the favourite fabric1 being used alike for decoration as for garments1 and indeed gold asserted itself on every rich material1 and there was a silver taffeta embroidered in gold2 and a damask of crimson or yellow wrought with gold offered itself persuasively for fur trimming1 lynx and sable and marten accepting the responsibility with zeal4 ,the fair footed it bravely in low shoes adorned with large ribbon ,tudor roses1 which were also allotted the delicate duty of ornamenting elaborate garters4 ,the plainer variety of shoe was of wood covered with velvet or leather1 stitched with silk and fastened with buckles or rosettes2 and a wooden shoe in vogue was known as the pantoffle1 and not unlike that chopine worn in ,italy at this time and later1 when it attained the pinnacle of the preposterous4 ,this shoe was1 however1 known in ,england only in a modified form4 ,none of the fashions of the day could truthfully be called comfortable4 ,comfort obviously was banished from consideration1 and each innovation during the sixteenth century shows its demands more and more disregarded4 ,the hoop appeared1 and held the best affections in its grasp of iron1 wood1 or whalebone1 the indispensable edicts against it following quickly upon its popularity4 ,rich and poor alike fell victims to its aggressive charms1 and alike insisted upon its wear1 and1 on the occasion of her marriage with ,prince ,arthur of ,wales1 ,catherine of ,medici wore the dress of ,spain and a mantilla bordered with gold and precious stones1 and her skirt was distended by several hoops4 ,the wives of that merry polygamist ,henry ,,viii4 were sympathetically attached to beautiful clothes1 and ,anne ,boleyn is credited with wearing a cap of blue velvet trimmed with golden bells1 and a vest of velvet starred with silver1 and over it a surcoat of watered silk lined with miniver1 with large pendent sleeves2 blue velvet brodequins were on her feet1 with a diamond star on each instep1 and above her long curls was placed an aureole of plaited gold4 ,it is a well-known fact that ,anne1 because of some slight deformity of the hand1 held affectionately to the charms of the hanging sleeve after it had been discarded in favour of the full puffed and slashed sleeve4 ,there is an attractive picture of her by ,holbein1 with the hair drawn from her forehead in small curls1 and a plait hanging from the top of the head over one ear1 the crown being worn rather far back and kept in place by a jewelled caul4 ,to ,spain historians have granted the laurel of the ruff1 which became first popular in ,england in the reign of ,henry ,,viii42 and ,anne ,boleyn introduced lappets made of velvet and adorned with precious stones1 either pointed at the hem or square and broad4 ,during those days the length of the gown denoted the rank of the wearer1 countesses and baronesses and ladies of lower degree stamping their estate upon the dimensions of their train4 ,embroidery decorated the gowns and petticoats alike1 many of the dresses being cut open in front to display a satin kirtle and an apron embroidered in gold and many colours4 ,the bodice of the dress sometimes differed in colour from the skirt1 and the sleeves would match the skirt2 and there was much variety in head-dress1 the velvet cap tasselled and set with jewels above a floating veil being a popular style4 ,but cauls1 coifs1 and ,french hoods1 and the high bands in front1 were in evidence1 together with a white three-cornered cap1 the original no doubt of the ,marie ,stuart cap of succeeding years4 ,the men were as prodigal as the women1 and spared no expense or time or thought in their pursuit of the sumptuous and the elegant2 their shoes and garters and hats glittered with gems1 and they wore rings and chains in profusion1 raising the trades of tailors and goldsmiths and cloth-makers to supreme importance4 ,jack of ,newbury1 a famous cloth merchant of the time of ,henry ,,viii41 is described as appearing before that monarch in a plain russet coat and a pair of white kersey slops1 the stockings of the same piece being sewn to his slops4 ,slops was a term developed from slip1 and signified any garment easily adjusted1 and an example of its use occurs in ,much ,ado ,about ,nothing1 a phrase running as1 a ,german from the waist downward1 all slops2 hence may the suspicious glean that the ,teuton habit of costume was not mainly trim4 ,illustration3 ,,in ,,the ,,time ,,of ,,henry ,,vii4 ,men yielded to the general craze for an expanded hip1 wearing great breeches stuffed with hair or bran or wool1 and exhibiting no less than feminine enthusiasm in the width of their ruffles4 ,their hose1 of different detail1 was either of cloth or silk1 and blazed with colour1 being ornamented with gold or threads of ,venetian silver1 though the ,king himself preferred cloth hose1 which also had the honour of decorating ,queen ,elizabeth1 until she chanced to meet with the silk stocking1 to which she thereafter clung with tenacity4 ,jane ,seymour's coronation dress was of her faithless spouse's favourite material1 cloth of gold2 all his wives seem to have been obliging enough to yield to his fancy for this extravagance1 and this poor lady's choice was decorated with a raised design of embroidery and pearls1 and the stomacher beneath was thickly encrusted with jewels1 while her surcoat was of purple velvet bordered with ermine and embroidered with gold1 and a jewelled velvet caul was on her head4 ,anne of ,cleves endeavoured to popularise the ,dutch fashion of a gown without a train1 and she was as much a failure in this as in her other ambitions4 ,catharine ,parr1 the last of the noble six1 had a gown of cloth of gold made with a sleeve quite tight at the shoulder1 bordered at the elbow with fur1 and showing beneath a slashed and puffed under-sleeve1 finished by a small ruffle at the wrist4 ,mary inherited her father's love of splendour and costly apparel1 and her favourite head-dress was of cloth of gold1 and her gowns were generally of velvet trimmed with fur and jewelled4 ,elizabeth devoted herself to fashion in a frank1 whole-hearted way that brooked no half-measures1 and amongst her terrors of death must have been parting with her gowns1 for she died possessed of no fewer than three thousand dresses4 ,what a harvest for the ladies-in-waiting or the dealers of the day to gather6 ,her crimson locks she piled high up in curls and puffs1 surmounted by crowns of jewels1 and her sleeves and hooped skirts were padded into diamond design traced with embroidery1 and every point would hold a pendent jewel4 ,she showed no desire to achieve grace or elegance below the waist2 nothing more entirely unbecoming to the feminine figure can be imagined than the tight1 hard1 flat1 narrow bodice terminating in a point at the front1 cut off at the waist on the hips1 above the monstrously distended petticoat4 ,the over-part of the dress and the skirt beneath it were boned and wired1 and tight lacing ruled in an injurious degree1 though the enormous sleeves1 ruffles1 and skirts might well have accorded such an effect of slimness as to render stringent measures unnecessary4 ,dress was a magnificent affair altogether2 velvet and taffeta and fine scarlet cloth were used1 lace played its part bravely1 and silken scarves fringed with gold and silver were thrown over the shoulders1 with deep capes of satin or velvet edged with lace4 ,every shape and length of garment obtained1 and the only extravagance from which dress did not suffer was in the dcolletage1 which was narrow and straight and of dimensions eminently decent4 ,illustration3 ,a ,,trio ,,of ,,ruffs4 ,illustration3 ,,queen ,,elizabeth ,,in ,,full ,,dress4 ,elizabeth introduced the whalebone corset1 and hers might well have been called the wire and whalebone age1 for the influence of these was needed for the petticoats1 the gowns and stays1 and it had a considerable share in the good conduct of the ruffles which extended some nine inches from the neck4 ,in ,france the ruffles were so enormous that they hardly allowed their wearers to turn their heads at all1 and courtiers who affected them were provided with long-handled spoons to enable them to take their soup in comfort4 ,these huge ruffs were trimmed with lace outlined with wire threads to ensure sufficient stiffness1 a demand creating the supply of starch1 which made its appearance in this century1 being introduced by the wife of ,elizabeth's coachman1 who established herself as ,lady ,high ,laundress of the ,court1 and made at once a competence and a reputation4 ,ruffs were of yellow as well as white1 and yellow too were some of the extensive lace collars jewelled and embroidered in gold1 which with wired edges outlined the shoulders of all dresses worn on state occasions4 ,pins and ribbons were first brought into use in the reign of ,elizabeth1 and really to her interest in the subject of fashion we owe much4 ,silk stockings amongst other things1 such as cosmetics1 face washes and perfumes1 and embroidered and scented gloves1 and fans made of ostrich or peacock feathers with gold and silver handles1 were adopted by the men as well as by the women4 ,of the many head-dresses favoured by ,elizabeth one resembled a cushion1 ornamented with jewels2 another1 known as a ship-tire1 left the neck and shoulders bare2 and another1 dubbed the tire valiant1 was made of many kerchiefs1 so disposed as to allow only the nose1 eyes1 and mouth to be visible4 ,in the early days of the sixteenth century dress in ,france was somewhat simple1 but about #aeej tastes altered and every kind of trimming was eagerly sought and found1 and the lappets1 which became a popular addition to the head-dress1 displayed jewelled borders or golden tassels in the shape of a flower4 ,the hair fell in curls about the face and on the neck1 and in a long description which we have from ,rabelais1 of a dress of the period in ,paris1 there is mention of a beautiful bouquet of feathers1 a panache1 which matched the muff1 and was thickly spangled with gold4 ,to him also we owe an excellent account of crimson stockings with the edges embroidered three inches above the knee1 and of garters of elaborate detail to hold these1 and of shoes and slippers of crimson or violet velvet to complete them4 ,attire consisted of a chemise worn beneath a corset of silk camlet1 a hood of silk1 and above this a cotte in silver tissue embroidered in gold4 ,in summer the ,parisian wore1 instead of a dress1 wraps made in a loose burnous style of velvet seamed with pearls1 and no costume was complete without its rosary1 its girdle1 jewelled necklaces and bracelets4 ,the most popular head-dress was a velvet hood with a hanging curtain1 and the turban wound its graceful way above a network of pearls or precious stones4 ,muffs received much attention and elaboration1 fur and lace and jewels alike being dedicated to their service1 and in their depths would nestle the dog or monkey or marmoset whose mistress counted such a pet in her armoury of attractions4 ,a description of a robe montante1 which appears to have been comparatively a nglig1 not permitted the honour of attending ,court functions1 shows it cut square in the neck1 with a collar of fine cambric finished with a small ruff1 the sleeves1 puffed and slashed and fitting tightly to the wrists1 being of a different material from the dress2 and in ,france1 as in ,england1 rank determined the length of the train1 queens burdening themselves with no less than six yards4 ,illustration3 ,a ,,chemisette4 ,illustration3 ,,an ,,italian ,,lady4 ,in the early days of this century turban head-dresses were popular in ,italy1 and slashed and puffed sleeves were trimmed with ribbon4 ,it is interesting to note that the women of ,genoa were bound by law to wear a dress of plain cloth1 but that their under-garments were of the richest silks1 and shoes and hose were costly details4 ,the sketch on page #ei shows an ,italian lady under attractive conditions1 with a stomacher and collar traced with a raised design of gold outlined with pearls1 and puffed sleeves tied with ribbons tagged with metal2 and1 covering her hair1 is a close coif edged with pearls4 ,italian also are the two heads illustrated1 lace and jewels and ribbons being used for their adornment4 ,the ,italian gentleman wears a full-crowned cap of velvet1 and a cloth coat showing slashings and collar of velvet1 the lawn frill inside the collar being repeated at the wrists of the sleeves1 whose detail of slashing may well be left to the imagination4 ,illustration3 ,,two ,,italian ,,coiffures4 ,illustration3 ,,an ,,italian ,,gentleman4 ,spain was faithful to the horned head-dress late into the sixteenth century2 and talking of ,spain1 ,i am reminded of that illustration opposite1 where a sixteenth-century ,spaniard is exploiting an unusual form of trunk1 in cut-out cloth1 showing white beneath1 and buttoned with straps on to the hose4 ,his white shirt is slashed1 and from the double collar falls a tassel2 tassels are pendent from the drapery of the long gold-bordered cloak1 and a gold net appears beneath the characteristic cap of velvet4 ,illustration3 ,a ,,spaniard ,,in ,,the ,,sixteenth ,,century4 ,illustration3 ,a ,,shoulder-,,jacket4 ,the picture on page #fd of ,maximilian of fame shows him brave in upstanding felt hat1 encircled with flaunting feathers1 and beneath this a striped scarf is bound round his head1 and the monstrous sleeves have slashings of colour4 ,tassels dangle from the scarf beneath the chin and over either ear1 and bold bows assert themselves above one knee1 and claim their right to hold the folds of his sash in front4 ,a sixteenth-century sacque coat in its original sin--or grace--appears illustrated on the left1 with sleeves slashed and the armholes bearing padded rolls on the top4 ,the inner vest has a high collar boned to stand out at the back1 and the helmet-shaped hat is trimmed with bands of braid buttoned with gold1 with two feathers waving at one side4 ,illustration3 ,,the ,,cape ,,with ,,buttoned ,,sleeve4 ,another edition of the helmet-shaped hat1 far less successful1 however1 in the interests of beauty1 decorates the right-hand figure1 which bears round the neck a wonderful ruff1 and gives a capital idea of a strange form of cape buttoned down the sleeve1 gathered slightly in the process1 and bordered with a band of plain colour4 ,illustration3 ,,maximilian4 ,fair and sweet looks the maiden on page #eh beneath the kilted frill of her cap1 and her little bodice shows her chemisette of white lawn tied in front with small bows4 ,i will ruffle it with the best of them was distinctly the determination of the valiant queen who smiles upon you on page #ef4 ,lace forms her huge collar and her pendent lappets1 and tightly round her throat sits a lace ruffle2 an audacious feather stands rampant on top of her crown1 and beneath this is a cap bordered with jewels1 curved at one side to allow a good view of her curled head1 where the flat cap of jewels holds a golden pendant in the centre of her forehead4 ,far more demure are the ruffle and cap which appear on page #ee beneath the closely-hooded mantle1 and severity marks the net and lace of the dame whose hair is entwined with pearls2 and a typical ,medici collar of lace is elaborately wired to form a frame to the fair head1 upon which jewels and feathers alike disport themselves4 ,in this century fashion was playing the woman who often varies1 and ,la ,bruyre in reviewing the situation says3 ,a fashion has no sooner supplanted some other fashion than its place is taken by a new one1 which in turn makes way for the next1 and so on2 such is the feebleness of our character4 ,while these changes are taking place a century has rolled away1 relegating all this finery to the dominion of the past4 ,and writing in the twentieth century1 ,i can see some satisfaction in that4 ,,chapter ,,vii ,,in ,,the ,,seventeenth ,,century ,familiarity has bred respect1 even affection1 for the typical costume of ,charles ,i4's reign1 and that unfortunate monarch himself1 depicted by ,van ,dyck in sombre coat and lace collar1 is amongst the dear intimacies of our daily life4 ,sir ,peter ,lely1 who followed on the footsteps of ,van ,dyck1 left many modish records of his time1 and though he has been rated for dressing his nymphs in inappropriate extravagances of fringes and embroidery1 he undoubtedly clothed lovely woman with an excellent fantasy1 bestowing height and grace by the length and simple disposition of his drapery4 ,mignard1 the ,french artist1 also wrote a page in fashion's history in his paintings of the ,court ladies as ,madonnas2 covering the vanities of the sinner with the mantle of the saint1 he was much sought after for his pains4 ,the main features of feminine costume in ,charles ,i4's reign may be realised in recalling the dresses which have so often appeared to delight us in the various presentations of stage plays of his period2 the bodice is tight1 the basque square and tabbed1 and round the waist are a few folds of silk fastened into a rosette in the front2 the lace collar falls from the neck to the shoulders in deep points1 and the ringleted hair bears a ribbon rosette1 or is surmounted by a plumed hat4 ,illustration3 ,a ,,feather ,,and ,a ,,chicken-,,skin ,,fan4 ,henrietta1 ,queen of ,charles ,i41 is accredited with the introduction of female labour for clothing the outer woman1 and from her day mantle-making ranked among female occupations4 ,but the tailor still ruled supreme1 and though the sex of the milliner was the more sympathetic1 it was left to the next century to popularise feminine services4 ,the farthingale extended its circumference in the reign of ,james ,i41 when much effort was taken to suppress it1 for the ,king declared it occupied more room at his court than he himself4 ,the ruff flourished1 but less obtrusively than in the preceding reigns1 and in its place was adopted what was known as a fall1 a loose band overhanging the top of a wide collar starched and frilled at the base--a fancy some merry writer of the period noted with the epigram3 ,a question 'tis why women wear a fall8 ,the truth on't is1 to pride they're given all1 ,and pride1 the proverb says1 will have a fall4 ,with the farthingale were worn long sleeves1 lace coifs1 and fluted basques1 and stomachers2 and later the long sleeves were replaced by those reaching the elbow1 made in puffs tied with bows or tightly fitting and bordered with frills4 ,beneath the panier of the full skirt1 which was trimmed with many bands of gold and embroidery1 appeared a frilled apron1 and the bodices were high at the back1 and cut square in front1 and over the shoulders was worn a scarf4 ,muffs were indispensable1 and heads were decorated in monstrous disproportion4 ,illustration3 ,a ,,full ,,apron4 ,the kings' favourites in ,france influenced dress by their caprices1 which made to some extent for beauty1 not conspicuously evident when the fontanges head-decoration was in vogue4 ,this was a polyglot erection which owed its birth to the fact that the famous beauty1 losing her hat one day in the hunting-field1 tied her hair with her garter4 ,the fontanges extended its glories to a framework of wire half a yard in height1 which was divided into several tiers1 each being covered with a different material2 ribbon1 chenille1 pearls1 flowers1 and muslin were all brought into service1 and beneath these a cluster of curls fell on the forehead4 ,each tier might take a different name1 and amongst these1 duke1 cabbage1 cat1 organ-pipe1 and mouse were chosen with as much rhyme as reason4 ,but the christening of fashions was a common habit1 and when ,paris was reduced to misery by the ,ligue1 and depression was written large upon the dress1 which1 cut square and heavy in style1 bore about it a suggestiveness of architecture1 colours were distinguished by such quaint names as ,dying ,monkey1 ,the ,sick ,spaniard1 etc4 ,like the girl in some comic opera1 ,i wonder why8 ,mlle4 de ,ninon and ,mesdames de ,montespan and de ,maintenon each inspired the names of a coiffure1 a crown1 and a cap1 the last lady giving its title to a head-dress in the form of a scarf entwining a helmet4 ,the battle of ,steinkirk stood sponsor to a cravat and to a three-cornered fichu trimmed with gold and silver fringes2 and the ,ninon coiffure was parted in the front and flowed in curls at either side1 the back being held by a ribbon4 ,no such distinction was gained by the ,english mistresses and maids of honour1 whose names and escapades were legion2 nor did they seek much individuality in their clothes1 confident that the fashions prevailing were sufficient to excite the envy of the one sex and the admiration of the other2 yet ,lady ,castlemaine1 ,miss ,hamilton1 ,miss ,warmestre1 ,miss ,jennings1 ,miss ,temple1 ,miss ,price1 ,miss ,stewart1 and all the rest of the merry gang1 were slaves of the mirror1 and the joys of the masquerade were high in their favour1 and for this no costume was too extravagantly absurd or too absurdly extravagant to obtain their satisfaction4 ,illustration3 ,,the ,,lace ,,commode4 ,the distinguishing feature of fashion was the lace commode1 which prevailed ubiquitously2 its simplest charms are easily realised by the pictures on these pages1 where1 too1 are evident examples of the chopine and the clogs1 whose pas de fascination were executed under such disadvantages4 ,high heels were conspicuous everywhere1 but it was left to ,italy to have the honour of popularising the most ridiculous fashion of the chopines or stilted clogs1 which asserted themselves at different heights1 mostly outrageous1 beneath a covering of gauffered leather1 a commodity which looks like the modern poker-work4 ,the idea of the chopines was imported from ,turkey to ,italy and thence to ,england1 where1 however1 it is well to mention1 it received but the scantiest consideration4 ,the height of the chopines served to indicate rank1 and some were of such monstrous inconvenience that they necessitated their wearer being supported on either side while she walked4 ,every conceivable device was sought for the decoration of the shoes1 and a frenzy of extravagance broke out in buckles of gold1 silver1 paste1 and diamonds4 ,illustration3 ,,clogs ,,and ,,chopines4 ,charles ,,ii41 from long residence in ,france1 had much sympathy with fashion1 which was beloved of men and women1 who patronised the lace collar1 the muff1 the fanciful buttons1 and feathers with equal enthusiasm4 ,the sexes1 too1 shared a love for curls and the hats of broad brims1 whose flopping habits proved so inconvenient that they were turned up first at one side and then at the other1 and lastly at the back1 when they developed into the well-loved cocked hat4 ,hat-bands were prominently important1 made either of cord in silver or gold or silk1 and glorified by the addition of jewels for the gay and witty ,duke of ,buckingham1 who changed his love as often as his coat1 and showed a prodigal appreciation of the arts of gallantry and costume4 ,he led many of the fashions for men1 and added to these a conspicuous number of ribbons1 buckles1 and cravats4 ,he spared his friends neither his wit nor his money1 and ,dryden epitomised his fall3 ,he had his jest1 while they had his estate4 ,two manufactures which were accorded prominent attention in these times were the linen and button manufactures1 the former being made from the yarn obtained in ,ireland1 while for the latter1 inspiration came from various parts of the ,continent4 ,steel1 brass and copper1 and jet were used to make these buttons1 and their value is quoted from #c;d4 to #adj guineas per gross4 ,fairholt1 writing on the subject1 says3 ,buttons were made sometimes like a picture1 the back dark1 upon which1 in various degrees of relief1 were placed in ivory or bone1 figures and flowers4 ,others showed elegant patterns in white upon gilt1 and many most tasteful appeared on ,court suits1 these being made of mother-of-pearl or ivory1 the centre embellished with patterns in gilt4 ,muslin came generally into use under such flimsy conditions that it was described by some writer as costing some #cjs4 per yard1 and being but the shadow of a commodity when procured4 ,india was the happy hunting-ground for muslins till ,flanders and ,germany took up its cause and1 in the eighteenth century1 ,bolton and ,glasgow granted it special attention4 ,elegance characterised many of the prevailing modes1 which encouraged a conspicuous simplicity1 when the superabundance of jewellery and most elaborate trimmings decreased to some extent1 and a simple string of pearls was worn round the neck1 and the studied nglig became the highest expression of coquetry4 ,the hair was curled into ringlets1 and amidst these nestled a single rose or a chaplet of pearls2 and at the sides it was slightly puffed over the ears1 with some support of pad or wire to secure its righteous bearing4 ,women of the lower classes wore muslin caps with ribbons twisted round them1 but what lovely hats were obtainable by the wealthy6 ,above the long ringlets huge plumes waved over a hat of straw1 or the velvet cap would be covered with feathers4 ,hair-dressing was a fine art1 and many were the styles in which the ringlets were treated2 they would be cut to graduated lengths1 short in front and long at the back1 or would only obtain at each side of the face and round the neck1 the main portion of hair being drawn up on the top2 or the hair was cut rather short1 and curled over the head1 while black ribbons and pearls decorated it4 ,illustration3 ,a ,,mob-,,cap4 ,the cultivation of beauty was earnest and intelligent1 and all ladies of high degree owned amongst their retinue starchers and brushers1 and the position of patches had a political significance according to the opinions of the fair patched4 ,the patch1 by the way1 was brought into fame about #afee2 though1 owing its first existence to the times of the ,romans1 it cannot conscientiously claim this to be the date of its birth4 ,the house coats and gowns and petticoats were quilted1 and being made of silk from ,japan1 ,china1 and ,persia and trimmed with ,flemish lace1 may be freely granted a cosmopolitan sympathy4 ,an attractive description of a dress of this time tells of a musk-coloured silk shot with silver1 with trails of silver flowers1 trimmed with white bone lace1 whose importation from foreign lands excited the displeasure of ,charles ,,ii4 ,lace was a triumphant feature1 being indispensable for the commodes1 the frilled cravats1 and the collars4 ,it was useful alike to men and women1 and beautiful specimens of lace were enriched with gold and silver under the auspices of ,venice and ,spain4 ,mazarin had1 in endeavouring to stay the popular greed for lace1 caused a small social revolution1 and the ,french bought lace from ,england4 ,colbert was wiser in his generation1 for he set up a factory at ,alenon1 and ,brussels and ,mechlin devoted themselves assiduously and most successfully to lace4 ,amongst the vain efforts of an earlier period in ,france was one to kill fashion1 whose reckless prodigality had been voted insupportable1 and like to bring ruin to the people4 ,a contemporary print shows the funeral of fashion1 the design being of fashion led by four women and followed by a crowd of workpeople1 while a sarcophagus in the background bears the following epitaph3-- ,here lies under this picture1 for having deserved it1 ,fashion1 which caused so much madness in ,france4 ,death has put superfluity to death1 ,and will soon revive abundance4 ,but ,louis ,,xiv4 was so appreciative of the charms of costume that he would distribute all materials1 silks and satins and brocades1 to his courtiers1 and exercise some jurisdiction over the way these were to be made4 ,painting on silk and satin was amongst the novelties of his reign1 but embroidery still held the affections of the prodigal1 and at a fte at ,vaux1 ,mlle4 de la ,vallire is recorded to have worn a gown of white with golden stars and leaves in ,persian stitch1 and a blue sash tied in a large knot upon her bosom1 while her fair waving hair1 entwined with flowers and pearls1 fell in profusion about her neck and shoulders1 and her gloves were of cream-coloured lace4 ,a gold dress embroidered with gold is also included in the chronicles1 and there were double borders of gold and silver to many of the under-skirts1 which were made of silk or satin with a long train which was carried over the left arm4 ,bodices were trimmed with galon1 ribbon1 and lace1 and ,madame de ,svign writes of the transparent gown1 whose descendant lives to-day in our lace and jet frocks over tissue4 ,illustration3 ,,glove ,,with ,,jewelled ,,gauntlet4 ,the ,duchess of ,bourgogne showed her nice taste in a gown of silver tissue with gold flowers outlined with orange and green1 and again in a grey damask bordered with silver2 and the same record tells of a mantilla of gold ,spanish point lace1 and of a coat and skirt of cloth of silver laced with silver1 and worn with diamonds and rubies4 ,all werry capital1 as ,sam ,weller might have observed1 had he only heard of them4 ,amongst the desirable and the desired was a blue camlet waistcoat embroidered and fringed with silver4 ,spanish broadcloth of the very finest description was dedicated to waistcoats and to the hunting and riding costumes which were as much masculine as feminine1 and mainly picturesque1 with small rapiers to emphasise the manly tone4 ,all hats were feathered1 and the cravats frilled1 a state of affairs which excited comment from that irrepressible critic ,pepys1 who granted it small admiration when he wrote3 ,walking in the galleries at ,white ,hall ,i find the ladies of honour dressed in their riding garbs with coats and doublets and deep skirts1 just for all the world like mine1 and buttoned their doublets up to the breast1 with periwigs and hats1 so that only for a long petticoat dragging under their men's coats nobody could take them for women in any point whatever4 ,it was an odd sight1 and a sight which did not please me4 ,illustration3 ,a ,,riding ,,costume4 ,but ,pepys1 in his immortal diary1 did not pay proper respect to fashion4 ,he commented on the clothes of the ladies1 it is true1 but he showed a lamentable vagueness1 if not careless indifference1 about their details4 ,doubtless his notes on dress were quite satisfying to his masculine mind1 but ,i find them practically useless in assuaging the deepest emotions of feminine curiosity4 ,however1 ,i know from him and other sources that ,nell ,gwynn1 the careless slattern1 wore a cart-wheel hat when delivering a prologue in a play1 and furthermore that she looked pretty on one occasion when ,pepys passed her as she stood at her lodging door in smock-sleeves and a bodice1 whatever such description might please to mean4 ,colours1 shapes1 and materials this inimitable gossip ignored as unimportant2 yet it may be written down to his credit that he confessed he was moved when he saw ,lady ,castlemaine's smocks and linen petticoats hanging out to dry in the ,privy garden at ,white ,hall1 laced with the richest lace at the bottom which ever he saw1 and he vows1 they did me good to look at them2 and so much may we count for grace1 even though ,i sigh to think of the number of tucks and gaugings he failed to mention4 ,it is to be hoped that1 after that painful interview with the riding garb of the ladies at ,white ,hall1 he turned the other way and went back to the ,privy garden and his joyful contemplation of ,lady ,castlemaine's under-wear4 ,,chapter ,,viii ,,in ,,the ,,eighteenth ,,century ,marie ,stuart shares with ,madame de ,pompadour the honour of standing godmother to fashions which will be known through the ages by their names4 ,the former luckless lady will ever be associated with that coif which is pointed in the front1 and curves at either side1 while the latter stands eternal sponsor to the rolled coiffure which turns back from the face over a high pad4 ,there may perhaps be other glories better worth attainment1 but nobody respectfully imbued with the importance of dress can venture to assert that these ladies lived in vain4 ,illustration3 ,,in ,,the ,,eighteenth ,,century4 ,and in a minor degree their privilege has been shared by others4 ,the art of ,gainsborough and of ,watteau has immortalised a hat1 a pleat1 and a flowered sac2 ,madame du ,barry has a special shade of pink consecrated to her memory2 the lace collar which expands round the shoulders had at its christening no less a person than ,catherine de ,medici2 and ,napoleon gave his name to a hat4 ,of the more modern garments ,i could take as examples the cardigan1 a waistcoat of wool named after a noble lord2 and ,i could recall that another noble lord1 one ,spencer1 introduced a short woollen jacket2 and that the great general ,garibaldi is responsible for the loose shirt with open collar2 and that a peculiar kind of open-sleeved bed-jacket1 known as the nightingale1 is sacred to the heroic efforts of that devoted nurse who did such splendid duty at the ,crimea4 ,illustration3 ,,madame ,,de ,,pompadour4 ,madame de ,pompadour represented in her century everything that was most beautiful1 most desirable1 and most alluring1 and she played her part as pioneer of fashion with a fierce1 reckless enthusiasm1 and1 from the crown of her rolled hair to the tip of her embroidered shoes1 expressed conclusively the prodigal and the pretty4 ,upon her feet she bestowed considerable attention1 and narrow pointed shoes were amongst her innovations2 she would have them decked with every conceivable conceit1 and kick her red heels in defiance of public opinion4 ,a pair of her shoes are even now kept in the ,museum at ,cluny1 and these are embroidered in a design of green foliage1 outlined with silver1 clasped with silver buckles glittering with old paste4 ,fans also were amongst her weaknesses2 she had these of every size and shape1 with long handles which could not be folded1 and mounts of carved and decorated ivory1 some of her ,chinese fans being worth a small fortune4 ,mrs4 ,delany's letters may be the foundation for a liberal education in the art of costume as practised in ,england in the eighteenth century1 and her description of ,lady ,huntingdon's dress at a ,court ball is as vivid as remarkable1 reflecting at once credit on the ,boswell and the inspiration3-- ,her petticoat was of black velvet embroidered with chenille1 the pattern a large stone vase filled with ramping flowers1 which spread almost over the breadth of the petticoat from the top to the bottom2 between each vase of flowers was a pattern of gold shells and foliage embossed and most heavily rich4 ,the gown was white satin embroidered also with chenille mixed with gold1 no vase on the sleeve1 but two or three on the tail2 it was a most laboured piece of finery1 the pattern much properer for a stucco staircase than the apparel of a lady4 ,she also writes the description of a dress she is going to wear at the wedding of ,princess ,anne 7,george ,,ii4's eldest daughter7 and ,prince ,william of ,nassau and ,orange in #agcd3-- ,i have got my wedding garment ready2 'tis a brocaded lute-string white ground1 with great ramping flowers in shades of purples1 reds1 and greens4 ,i gave thirteen shillings a yard3 which looks better than it describes1 and it will make a show4 ,i shall wear it with dark purple and gold ribbon1 and a black hood for decency's sake4 ,and again she describes3 ,the ,princess of ,orange's dress was the prettiest thing that ever was seen--a corps de robe--that is1 in plain ,english1 a stiff bodied gown4 ,the eight peers' daughters that held up her train were in the same sort of dress1 all white and silver1 with great quantities of jewels in their hair and long locks2 some of them very pretty and well-shaped1 it is a most becoming dress4 ,the ,princess wore a mantua and petticoat1 white damask with the finest embroidery of rich embossed gold4 ,on one side of her head she had a green diamond of vast size1 the shape of a pear1 and two pearls prodigiously large that were fastened to wires and hung loose in her hair2 on the other side small diamonds prettily disposed2 her ear-rings1 necklace1 and bars to her stays all extravagantly fine1 presents of the ,prince of ,orange to her4 ,in the same letter she says3 ,the ,queen commended my clothes4 ,in the reign of ,louis ,,xv4 the ,english borrowed all their fashions from ,france4 ,the beautiful ,austrian1 ,marie ,antoinette1 came in a blaze of splendour to charm and astonish every one1 and the loveliest ladies of her ,court1 headed by her friend the ,princess de ,lamballe1 vied with her in inaugurating a reign of costume which was to have been roses1 roses all the way4 ,alas1 however1 thorns made themselves felt only too soon4 ,in her early days the ,queen seemed to have no care save that noble lover of hers and her dressmaker2 and she studied the minor details of the etiquette of her ,court so assiduously that we have the amusing history of her disrobing1 surrounded by a bevy of ladies1 each taking their turn in handing their royal mistress her chemise4 ,marie ,antoinette's delicate beauty called for pale colours1 and green and pink and puce were amongst the favoured tones1 the last mentioned taking its name from no more attractive source than the back of a flea4 ,her earlier dresses displayed stiff pointed bodices with stomachers1 held with little tied bows of velvet1 and paniers bunched liberally on the hips to show the under-dress of lace1 bordered with flounces1 headed and festooned with roses4 ,the dcolletage was square1 and the elbow sleeves had frills of lace4 ,illustration3 ,,marie ,,antoinette4 ,the paniers grew daily in size1 and evoked the inevitable denunciation which waits punctually upon the heels of any favourite of fashion4 ,marie ,antoinette varied her corsets to suit her bodices1 therein showing much wisdom1 since obviously the short-waisted bodice asks beneath it a stay totally different from that needed beneath a bodice which is cut in a long point in front4 ,her fichus were as elaborate as dainty1 and the method of their adjustment varied in half-a-dozen different ways--they would be crossed over the bust and tied at the back1 or tucked into the waistband1 or fastened high on the bust with bunches of ribbons or flowers4 ,illustration3 ,a ,,peignoir4 ,no garment more attractive can be imagined than the dshabill galant3 a teagown of hers which was ruched from the neck round to the short train1 and displayed a frilled front of lace or muslin tied with ribbons1 and daintily flounced round the hem4 ,silks1 satins1 and brocades were used to make these1 but shot silk enjoyed supreme patronage2 and the favourite dressmaker1 ,madame ,bertin1 was a heroine of vast importance1 a genius of diplomatic habits1 who played most successfully upon the fancies of her royal patron1 bringing her every day some new device in paniers or sumptuous train which it was impossible to resist4 ,marie ,antoinette adored feathers1 and the panache flourished under her favour1 and boldly survived her mother's reprimand4 ,you have sent me the picture of an actress1 not of a ,queen1 she wrote1 upon receiving a picture of her daughter in a prodigious head-dress of feathers and jewels4 ,jewels1 it is well known1 were amongst ,marie ,antoinette's weaknesses4 ,did not they inspire that romance of the ,queen's necklace which has pursued us for many years in various works of fiction and drama1 and is still regarded as vitally interesting8 ,illustration3 ,a ,,coiffure4 ,illustration3 ,a ,,variety ,,of ,,head-,,dresses ,,adopted ,,in ,,the ,,eighteenth ,,century4 ,but let me return to ,england1 and repeat that ,french fashions were treated with servility1 if not with complete success1 for somehow the ,english women were too ponderously exact in their method of adjustment to toy triumphantly with the many accessories of lace1 and ribbon1 and velvet1 and buckles1 and ruchings which were essentially the distinguishing features of these styles4 ,and1 also1 the small feet of the ,french women encouraged much attention to dainty shoes1 with coloured heels and embroidered toes1 and to these the national deficiencies or superfluities of the ,english women were rather a drawback4 ,however1 they followed the ,french fashions at a distance1 and bestowed most earnest attention upon hair-dressing1 which assumed formidable proportions during this period1 and rose higher and ever higher1 to be topped by ornaments as incongruous1 as hideous4 ,the skilful hair-dresser who could build a head was at a premium2 the art of hair-dressing being reckoned as one of the most important1 and as rare as difficult4 ,no lady's maid1 however clever1 was entrusted with this difficult task1 and very complicated was the work of constructing the popular coiffure1 which was piled half a yard high1 and decked with pads1 and false hair1 and curls so stuck down and plastered with pomades that they might hold for weeks without being pulled down4 ,so monumental were these erections that collapsible frames had to be made1 so that ladies could pass through doors and get into their sedan-chairs4 ,windmills and ships in full sail1 fruit and balls were added to the pile1 and ostrich plumes nodded boldly amongst a profusion of ribbons and flowers4 ,the aristocratic was of course the only class that could afford these most elaborate styles1 where so much curling and frizzing appeared in large masses in front that iron hairpins were used to keep these in place at the top lest they should fall crushed beneath their own weight4 ,the hats were worn rather far back to show these curls1 and many had long ends of ribbon hanging down at the back1 and others had low crowns and wide brims trimmed with flowers4 ,what was known as a fly cap was a large butterfly edged with jewels1 and crownless hats became the fashion2 invented so as not to spoil the high coiffure1 they boasted nothing but brim1 and were delegated to do duty only in the finest weather4 ,the calash1 which resembles comically the hood of a baby's perambulator1 could be drawn back or over the face at will1 and was tied with strings4 ,straw hats obtained1 as well as those of silk and velvet1 and a mob-cap created such a sensation at ,ranelagh1 the popular resort of the moment1 that all the women were crying out for one before the sun had risen and set again4 ,the mob-cap was made of blonde1 flowers1 ribbons1 and muslin2 but so great was the craze for hair-dressing and head decoration that every sort of cap and hat gained some attention in turn1 and amongst them were hoods of lace or velvet1 edged with fur1 and crpe turbans held with jewels1 with a group of feathers waving proudly on the top4 ,the famous ,devonshire hat of black with white feathers showed well the curls and rolls1 which extended to the back of the head when it had been realised that the straight clean upward sweep to the top pinnacle of the puffs was a disadvantage to the contour not to be permitted4 ,of the prettiest of the fashions were the broad-brimmed hats of black chip1 and the ,rubens hats of black velvet2 and the straight-crowned gipsy hats were really quite charming2 but the winged ,mercury hat received more popularity than it deserved4 ,illustration3 ,a ,,cap ,,and ,,hood4 ,the perruques of the men1 even when fresh from the embraces of the curl-papers1 must have looked very insignificant by the side of the huge erections which towered above the women1 who did not scruple in their martyrdom to sit on the floor of a hackney coach so that the head-dress should not be disarranged1 or to go to bed with their hair surrounded by a basket1 or held in position by pillows and tapes4 ,happily the dancing of the period was of a stately kind1 for the coiffure would have brooked no such frivolities as the two-step1 and the uproarious lancers of to-day would have made short work of the hair-dresser's labour of time and money4 ,the question of complexion was seriously studied1 the colour of the chin and cheeks being carefully suited to the gowns4 ,patches were lavishly indulged in in ,england and ,france1 the eyebrows were blacked and even false1 and ,china1 ,spain1 and ,portugal all contributed--for a consideration--rouges and white lead and wash balls1 scented lard and lip salves1 and toilet waters and soaps4 ,the fan was an indispensable complement to every gown1 and its best conduct was an art which might well have been added to the scholastic curriculum for women1 always supposing the like in existence4 ,the fans were made of chicken skin and painted2 and chicken skin also had the privilege1 with lace and an embroidery of gold and silver1 in making gloves and mittens for evening wear4 ,tight-lacing was de rigueur1 and it is indeed impossible to imagine any discomfort omitted from the toilet4 ,i cannot picture conditions more entirely unpleasant than to glaze the face with paint and grease of red and black1 to decorate it at intervals with devices of sticking plaster1 to supply it with false eyebrows1 and to mount on the head some pounds' weight of stuffed hair1 while reducing the waist at least three inches below the natural size1 expanding the hips with whalebone and hoops1 compressing the feet into narrow shoes1 and carefully studying every movement of the arm so as to hold a fan at a significant and becoming angle4 ,and to add to all this1 the dresses were of the stiffest brocades1 decked with gold and silver embroideries and tinselled fringes1 velvet and fur increasing the burden4 ,illustration3 ,,some ,,sticks4 ,the excessive elaboration of the hoods and the scarves and the aprons dangling with silver tassels and fringes was responsible for some criticism from ,beau ,nash1 the autocrat of ,bath1 where he had established the strictest rules of dress and procedure1 covering all delinquencies of conduct with a bearing of convincing dignity set in an atmosphere of punctilious etiquette4 ,goldsmith gives an instance of the despotic rule of ,nash1 and of the special liberties he arrogated to himself4 ,i have known him on a ball-night strip even the ,duchess of ,q4 7the ,kitty beautiful1 as the poet ,prior called this ,duchess of ,queensberry71 and throw her apron at one of the hinder benches among the ladies' women1 observing that none but ,abigails appeared in white aprons4 ,women had indeed to suffer in those days to attain what they were pleased to call the beautiful1 and it is quite a relief to remember the moment when ,marie ,antoinette took a sudden caprice to appear without hoops in a soft satin gown with wide sleeves1 which set the fashion in ,london as well as in ,france4 ,for a short time only1 however1 such moderation ruled1 and the hoops came back larger than ever in #aghd1 when the ,duchess of ,cumberland swept the floor in five yards of brocade1 and a stomacher blazing stiffly with jewels4 ,the pastoral simplicity of the ,petit ,trianon should have really made more lasting impression than it did4 ,for the ,court ladies played at milkmaids under the rule of their farmer ,queen1 and churned butter with their own fair hands1 and found a wide field for dainty disguises in rustic and ruinous simplicity4 ,the peasant girls' dresses of stuffs and muslin were glorified by rich silks and muslin and challis decked with lace fichus and crowned with rose-coloured and be-ribboned straw hats1 and embroidered holland and ,persian cambric were affected economies no less expensive than the maize-coloured silk and striped green and white satin of avowed prodigality4 ,the ,trianon was a happy hunting-ground for flirtation1 but that is another story1 indeed a great many2 but it served too as a pretext for innumerable new frocks1 and the colour-prints of the time convincingly prove the dainty possibilities afforded by the artifice of simplicity allied to a nice taste in ribbons4 ,we have to go back to the days of ,marie ,antoinette for a practice which aroused some interest and amusement when a dressmaker in ,london last year was fired with a desire to revive it4 ,gowns were invested with the power to express special emotion1 and ,molire held the notion up to ridicule in his famous ,prcieuses4 ,long narrow shoes with the seam at the heel1 whose socket was studded with jewels1 were called venez-y-voir2 and this suggestion of forwardness was again evident in a ribbon which went by the name of marked attention4 ,other absurdities often quoted were the gown known as the stifled sigh1 trimmed with superfluous regrets1 and the cap of assured conquest1 and a muff of momentary agitation4 ,towards the end of the reign of ,louis ,,xvi4 the low head-dress came into fashion1 the short curls being gathered into a knot of ribbon or catogan1 and the fair moderated their transports for powdered hair which had abundantly obtained in white1 reddish blonde1 and grey4 ,marie ,antoinette knew all there was to know of the art of dress1 and recognising the supreme charm of caprice1 she would ring every change in turn2 and perhaps she never looked more exquisitely beautiful than when1 her hair powdered and her face faintly lined by sorrow1 she met the scaffold and the mob on the last day of her existence1 in her plain black dress and simple white fichu4 ,,chapter ,,ix ,,in ,,the ,,nineteenth ,,century ,on trying to set down a chronicle of dress as it lived in the earlier part of the nineteenth century1 my mind becomes immediately obsessed with short-waisted gowns2 and a vision of the hapless ,josephine--whose name1 by the way1 ,i should have added to the list of the few who have stood godmother to a fashion--immediately appears before me in her graceful short-skirted evening dress with its high ,empire belt4 ,that all women kill the style they love might with truth be said of the enthusiasm which raged for that ,empire belt1 for it grew smaller by degrees and grotesquely less when it commenced its career immediately beneath the arm1 pushing the bust under the throat1 presenting but an apology for a bodice1 and needing the completely slim figure to withstand its liberties with any degree of decorum4 ,decorum was1 however1 not among its ambitions4 ,illustration3 ,,some ,,quaint ,,examples ,,of ,,nineteenth-,,century ,,headgear4 ,for walking wear the high waist was no less a desideratum1 and cloth skirts1 long and full1 were completed by short velvet coats with long tight sleeves1 vests of white1 and stocks of black4 ,the whole was crowned by small hats with feathers on one side1 or high hats of masculine convention made of cream-coloured beaver4 ,napoleon1 following in the footsteps of many of his predecessors in the profession of ,royalty1 showed a nice appreciation of the charm of costume1 being alternately disapproving and encouraging in his criticisms1 and always leaning towards the side of prodigality4 ,princess ,pauline ,buonaparte made dress the religion of her salon1 and there are records of her audacious grace in a fancy costume as ,minerva1 and of one of her soire gowns which expressed the last word of extravagance in pink tulle over pink satin1 trimmed with marabout feathers1 and diamond agrafes1 with the bodice encrusted1 and every seam of the skirt glistening1 with diamonds4 ,in ,england ,queen ,charlotte evinced a decided predilection for the greatcoat and the cloth pelisse with a velvet collar1 crowned by the circular hat of beaver1 veiled with green muslin2 and much favour was granted to such masculine properties as the silk cravat and the boot with the high military heel1 the feminine situation being saved only by the sprigged lace veil4 ,an alternative to the pelisse was a garment not unlike the ,greek chiton1 which1 however1 never received the attention bestowed upon the boxcloth driving-coat with heavy capes1 and the manly etceteras to do it honour or dishonour4 ,it goes to prove my suspicion that there is a leaven of contrariety in the soul of women1 when ,i remember that beneath these was worn a cambric or lawn dress of most diaphanous detail1 and so close-fitting that the feminine form1 unfortunately not being divine1 lacked under its influence the best grace of reticence4 ,besides being of cambric and lawn1 these skimpy dresses were made of clear silk net over a foundation of white satin1 and all were very short in the waist and in the skirt1 which was trimmed with rouleaux of satin4 ,in warm weather the thick cloaks were discarded for the short cloaks and mantles shaped as the ,zouave1 or in the short sacque style extending only to the waist4 ,a spencer in a contrasting shade of silk achieved popularity and was considered the fitting complement to the muslin gown2 and about the year #ahad this was made with full sleeves and upstanding collar and worn over the morning dress1 which was either cut high to the neck1 or filled in with a ruff and kerchief of lace or muslin4 ,a fold of muslin also did service1 crossed in front of the popular evening bodice1 whose dcolletage was more remarkable for its breach than its observance of the best ideals of modesty4 ,a favourite ornament was a gold chain and heart1 which would open to reveal the eye of a lover1 relative1 or friend executed on ivory and bordered with enamel2 and this limned eye is a love token which seems to be coming once more into fashion4 ,french fashions again became the mode at the beginning of the century1 when white chemisettes were worn with the ,swiss petticoat1 and powder fell into disuse1 and the hair was long or short in curls falling over the face1 a style of coiffure which was followed by the crop1 in favour of which even the most tolerant can find little to put forward4 ,with the crop a narrow fillet was placed round the head1 holding a rose in front1 or over it an immense panache of feathers would nod with foolish monotony4 ,the cropped head had for its successor the style known as la chinoise for which the hair was tightly dragged back from the forehead1 with a long ringlet falling at the side1 a plait set in a cluster of roses crowning the top1 which was further decorated with gold pins1 tasselled with small gold balls4 ,many garments had foreign names4 ,a robe known as the ,mameluke had a ,delta trimming2 a coiffure adorned with jewels and a double row of beads on the forehead was dedicated to ,egypt2 and ,austerlitz expressed a nankeen-coloured gown with blue trimmings4 ,and there were caps recognised as ,patmos and ,tyrolean2 and there were ,spanish dresses1 and ,etruscan borders to ,pyrenean robes4 ,the ,patmos cap had charms which easily pushed it to the height of success1 when it was made of satin and lace cut into points at the front1 was covered with diamonds1 and had tassels falling at either side4 ,beau ,brummel1 as he walked upon the ,pantiles1 carefully cultivating towards everybody an insolence that would not be tolerated nowadays1 even in the richest member of the ,stock ,exchange1 laid down the law of dress for men4 ,about #ahaa he held supreme sway1 and was the ,arbiter ,elegantarium1 contributing doubtless to the gaiety of nations many a new stock and new button4 ,it was not long after this1 however1 that man gave up fashion as a bad job1 ultimately contenting himself for his adornment with the details of his waistcoat and the cut of his whiskers1 begging the question at first by full-skirted coats with velvet collars1 frilled shirts and stock ties1 tasselled canes1 and light beaver hats1 then gradually drifting into the safe harbour of broadcloth and linen1 where he permitted himself selection only in the colour of his necktie and the option of the hard or the soft hat4 ,gone are his glories of brocade and satin and tight breeches1 which revealed silk stockings and buckled shoes2 banished are the lace ruffles1 the nankeen1 the mulberry1 and the blue cloth with brass buttons2 diminished are the curled heads2 and frankly ,i regret all these as losses to the beauty as well as to the humour of social existence4 ,it was in the earliest days of the nineteenth century that artificial flowers began to obtain considerable popularity1 and they were used in the hair and on the bodices and in festoons on the skirts1 and on the hems of trains4 ,after the return of ,napoleon from ,elba1 violets were the conspicuous fashion1 being regarded as an emblem of ,imperialism1 and no faithful follower was seen without a bunch of violets in her dress2 while the ladies of royal sympathies would1 in honour of ,louis ,,xviii41 decorate their gowns with eighteen tucks1 and supply their cashmere shawls with vermilion borders4 ,shawls1 the manufacture of which had begun in ,england in the eighteenth century1 were in great request later in the century4 ,they were made of cashmere1 in imitation of the ,indian shawls1 which were respectfully considered articles of luxury and importance during all the days of ,queen ,victoria1 who chose these as wedding gifts for the brides she delighted to honour4 ,but ,i progress too fast4 ,after the battle of ,waterloo1 fashion decidedly changed1 and the clinging gown1 with its skimpy skirt hanging from a short belt or ,empire bodice1 was discarded in favour of a much-trimmed dress standing well away from the figure1 and fancy would work its elaborate will on the trimming of these skirts with scollops1 many-coloured embroideries1 fringes and gold braid4 ,the bodice still remained a minor quantity1 supplied with two short puffed sleeves and filled to the bust or somewhat below it with a jewelled clasp or some decoration of embroidery or lace1 whose indiscretions were presumably to be concealed beneath a dainty scarf of silk or coloured gauze1 an elegance which failed in its duties lamentably1 and hung limply over the arm as if ashamed of its delinquencies4 ,the fashionable outdoor dress could hardly have been suitable to the ,english climate1 unless indeed its habits have altered strangely1 and its detractors have reason for their abuse4 ,the loose robe was of jaconet muslin open at the neck and covered with embroidery1 and round the shoulders would hang the scarf1 usually dropping to the waist1 and held in the hollow of the elbow2 and on the head appeared a ,french cap of blonde lace trimmed with ribbons4 ,in the 'thirties1 dress was merely a travesty of the 'twenties2 huge sleeves and stiffened petticoats were universal1 and the tight-fitting bodices1 cut with sloping shoulders1 gave a thin flat appearance to the waist1 further accentuated by the ballooning sleeves1 setting closely to the wrist4 ,the skirts were short1 and still further enhanced the immense effect of the sleeves2 and round the waist a plain band added angularity to the outline4 ,revers1 shaped like capes at the back and pointed in the front1 were on day and evening bodices alike1 and pelerines of all kinds established their popularity1 being tucked into the waist1 or having wide long ends crossed at the back or front4 ,blonde lace was a favourite trimming to all gowns2 and a style of dress that took the fancy for a short time was known as the tunic4 ,this was made with a sleeveless bodice and pointed shoulders1 the under-dress being two inches longer and of a colour different from the skirt1 which was open in the front4 ,bright colours were very popular1 but1 on the whole1 the spirit of costume was chastened1 and muffs1 fans1 bouquets1 and parasols became considerably smaller4 ,illustration3 ,,lady ,,blessington4 ,the most conspicuous garments in the earliest days of ,queen ,victoria were the shawl-shaped cloak1 the circular cape1 and the crossover made of either embroidered crpe or taffeta1 and bearing on its borders a fringe or some frill of lace4 ,beneath these the sleeves dropped lower and lower from the shoulder1 and extended their fulness from elbow to wrist2 their top was tight and plain1 or edged with two little frills1 and the billow beneath was expressed in white lawn4 ,the fichu in cambric or lawn was a feature of nearly every bodice1 the only alternative being a double collar1 which turned down at the neck4 ,the outstanding petticoat was ubiquitous1 skirts over it being single and trimmed with flounces1 or double and dividing in the centre1 to show a contrasting under-skirt4 ,kerchiefs and capes were draped over low dresses1 and berthas were important features in the tulle or tarletan gown1 which was festooned and flounced1 tied with ribbons1 one skirt being looped up over another with more ingenuity than elegance4 ,the bonnet poked its brim into an audacious spoon1 tilting upwards to reveal a trimming beneath of quillings and ruchings in muslin or net1 with a bow of ribbon and a bunch of feathers on the crown1 whence fell the curtain at the back to the neck4 ,the poke gradually decreased in height and width1 eventually assuming a semicircle as close to the brow as the bonnet of a barge-woman1 and the ,french ladies adopted this fashion1 making the bonnets of straw and draping them with a green gauze veil4 ,about #ahfj the crinoline of horsehair and steels swelled visibly1 like another hero1 and ,leghorn hats took the place of bonnets4 ,these1 decked with ribbons and plumes1 would bend low their brims over the face of beauty and ugliness4 ,hair was permitted every license except the monstrous unhealthy misdemeanours of the ,stuart and ,tudor periods4 ,in turn1 it strained itself rigidly to the topmost point of the crown1 where1 coiled in plaits1 it met the just reward of a disfiguring bunch of feathers2 it puffed itself out in a mass behind the ears1 or banded itself demurely over them4 ,it merrily shook itself in ringlets from a centre parting1 which knew such sorrow as ,macassar oil and the controlling influence of the side comb2 or1 stuffed out with frisettes1 it hid its insincerity in the meshes of the silk and chenille net2 or it lay low in flat curls at the nape of the neck4 ,at different times it placed the burden of its rolls and curls upon every inch of the crown--on top of it1 in the middle of it1 behind it1 and in front of it1 where1 indeed1 it once developed a frenzy of disorder1 and hung in wild and fringed confusion to the eyebrow4 ,illustration3 ,,lady ,,blessington4 ,illustration3 ,,lady ,,dalmeny4 ,this reminds me to note the royal conservatism of her gracious ,majesty ,queen ,alexandra1 who follows fashion at a dignified distance1 lending her sweet personal enchantment to our view of her antedated coiffure1 with its raised curls over her brow pointing slightly to the centre of the forehead4 ,royalty no longer seeks to lead fashions1 nor1 indeed1 to follow them1 the only exceptions to the rule of generality being the royal ladies of the houses of ,saxe-,coburg-,gotha and of ,connaught1 who all show a most delightful appreciation of1 and a becoming sympathy with1 every vagary of ,la ,mode4 ,yet our supreme ,royalty takes interest in the national aspect of the affairs of costume1 and bestows much personal trouble in arousing loyalty towards ,irish poplins1 ,british-made silks1 the tweed industries of ,ireland and ,scotland and ,wales1 and the lace manufactures of ,devonshire and ,bucks and ,nottingham4 ,the blouse and the teagown of to-day date their inception from the last century1 but the beneficent law of evolution concedes them the grace of novelty1 even while dogma tediously reiterates ,there is nothing new under the sun4 ,illustration3 ,,two ,,coiffures4 ,illustration3 ,,early ,,victorian ,,styles4 ,illustration3 ,,in ,,the ,,nineteenth ,,century4 ,in costume the ,victorian era was ,everything-arian1 welcoming and discarding all shapes and styles of garments1 and gathering in the fashions from every age1 adopting with mild enthusiasm and moderated transport the most graceful and the most graceless1 and impartially bestowing attention upon the slashed and puffed sleeves of the ,tudors1 the lace collar and wide ruff of the ,stuarts1 the ,watteau dress1 re-christened ,dolly ,varden1 the short waists of the ,empire1 the full coats and large revers of the ,directoire1 and the long plumes and brilliant buckles of the seventeenth century4 ,an injustice to the word sthetic was committed by the followers of a fashion which cried aloud for sad colours1 sadder shapes1 and the saddest untidiness2 and amongst the ridiculous mistakes may be written down a polonaise dress looping up in unexpected places1 flounced and furbelowed without bounds of reason1 while extending itself from the waist over an immense bustle4 ,there is satisfaction in remembering the reaction which took place after this in favour of the eelskin dress1 setting as tightly as was convenient from neck to heel1 when the woven jersey-bodice had a short spell of patronage1 but1 proving itself suavely unsympathetic in its treatment of any but the perfect figure1 lapsed speedily into disuse4 ,about #ahhb the questionable charms of the bustle reasserted themselves1 and the ,watteau style of frock exercised some beneficial influence over the waist of its fair wearer4 ,man's last aspiration towards dandyism gasped and died in the embrace of the stock of ,count ,d',orsay4 ,now1 woman alone rules the roost of fashion1 man is no longer dressed but clothed1 and under feminine autocracy1 dress1 whose interests are widely and publicly recognised1 has reached a position of primary importance4 ,no more are these interests represented in an unwanted corner of a monthly periodical1 or in the letters of the town cousin to the country cousin1 or in the counsels of perfection signed by the old woman4 ,they maintain various journals established in their honour1 and in the field of ,fashion ,england has risen from the ranks to leadership2 while a wide plain of cheap selection opens to the proletariat the chance to beautify their outer as well as their under wear1 which has emerged from the uncompromising confines of stiff long-cloth and ,madeira work to the seductive limits encompassed by fine lawn and embroidery1 allied to ,valenciennes lace and soft ribbon4 ,as ,i write1 ,fashion seems a pleasantly moderate thing1 and the summer-day dress of white linen1 with a broad-brimmed hat encircled by the floating veil1 and the evening dress of chiffon garlanded with chiffon1 appear to justify my suspicion that whatever is1 is right1 in the world of dress4 ,and1 when ,i remember that the picture dress of to-day was the garb of convention yesterday1 ,i can hope that our bespangled nets and tinselled brocades will in due course be encircled with charm from the halo of the bygone4 ,may it also1 ,i pray1 come to soften the hardest outline of our leather-trimmed tweed and serge costumes of sport1 and to exercise a benign influence upon our disproportionate figures and our perky toques6 ,,chapter ,x ,,of ,,british ,,peasants ,while searching in the annals of the bygone costume of the peasant1 the most democratic person might be tempted to regret the repealing of all sumptuary law4 ,we are grateful to-day to recognise the artistic value of the red tie of the masculine tiller of the field1 or of the coloured handkerchief over the head of the harvest-woman1 but1 in those other times1 the plains and the fields1 the woods and the forests1 were the background for a people in brave array1 on which blue1 red1 green1 and white played conspicuous part4 ,and not alone in colour must their garb have been pre-eminently attractive to the eye1 but in the simplicity of its make1 the liberal display of white linen about the neck and the head1 and the further addition of coloured lacings4 ,these completed an effect of picturesque carelessness which may well have been allowed to cover a multitude of sins of omission in personal cleanliness4 ,glancing roughly through the periods1 ,i find that the dress most worn in ,england by the peasant women in the eleventh century consisted of a coarse woollen gown with long sleeves closely fitting to the wrists1 a white linen apron1 and a linen kerchief covering the head as a wimple4 ,in the reign of ,henry ,i4 it is recorded that men wore simple tunics of red lined with white1 innocent of a girdle1 and open from the waist at the left side1 the sleeves possessing long cuffs reaching almost to the elbow4 ,the mantle was often added1 and beneath the tunic were chausss or drawers1 and either boots or shoes1 with crossed diagonal lacings4 ,hats or hoods were of leather1 felt1 or cloth1 and warm mitten-shaped gloves of coarse make were adopted4 ,in the time of ,henry ,,ii4 women1 who held faithfully to linen aprons1 caps1 and kerchiefs1 wore long gowns and plain bodices laced up the back1 the sleeves put rather full at the shoulders1 and the petticoats pleated at the waist4 ,in the thirteenth century the bliaus1 or smock1 of canvas or fustian was made in many varieties of coarse cloth1 russet1 and cordetum produced for the use of the poor4 ,the peasant women were converted towards some ambition for the beautiful1 and their costume became impressed with the ornamental1 consisting of a bodice cut low in the neck to show a pleated chemisette of white linen1 and attached to a fully gathered skirt1 fastening with buttons down the front4 ,their boots were high and had buttons on the fronts1 while the white linen apron and white linen cap or kerchief still held their place4 ,in the days of ,king ,edward ,,ii4 the men adopted a long gown buttoning from the neck to the waist1 with loosely hanging sleeves1 showing closely-fitting under-sleeves1 the hood being folded back or pendent1 and the shoes pointed4 ,the double dress was introduced in the fourteenth century1 a dress which is in the form which we now associate with the fishwife's dress1 the upper skirt being pinned back over a full petticoat1 the bodice of this being laced and the sleeves loose4 ,chaucer describes his poor ,ploughman as wearing a tabard--a garment unheard of before the fourteenth century--a hat1 scrip1 and scarf2 the ,shipmanne was garbed all in a gown of falding to the knee4 ,this material was a kind of frieze1 and in this day the coarse red woollen material still used by the ,irish peasant women for petticoats and jackets is the old falding4 ,in the fifteenth century the chemisette to some extent yielded place to the bodice high at the neck and fastened at the back1 finished by a small linen kerchief tied in the front4 ,a plain full woollen petticoat was in vogue1 and the sleeves were turned back with pleated cuffs1 the option in headgear being allowed between a close hood or kerchief and a plain hat of straw4 ,in the reign of ,edward ,,iv4 the peasant women reverted most wisely to the bodice1 which was cut low at the neck in a circular form2 the plain skirts were gathered at the waist1 and over a white linen cap they placed a hood and cape cut in one piece4 ,in the days when the greatest widower was achieving his conjugal record1 an old country-man is described as wearing a buttoned cap 7one with flaps over the ears1 turned up and fastened with a button71 a lockram falling band1 a narrow turned-down collar of coarse linen--coarse but clean1 a russet-coat2 a white belt of horse hide1 right horse collar white leather2 a close round breech of russet sheep's-wool1 with a long stock of white kersey1 and a high shoe with yellow buckles4 ,a pretty fellow1 ,i'm convinced4 ,in this reign1 too1 ornamental braid found its place on the costumes of the peasant women1 whose bodices1 cut square and edged with braid1 were laced up at the back4 ,however1 novelty1 which is ever desirable1 was obtained by limiting the bodices1 raising the waists1 and tightening the full sleeves at the wrists1 where they were finished with a small frill4 ,braid later gained further patronage1 and in the reign of ,mary was allowed the privilege of ornamenting the full petticoats1 when the closely-fitting bodices were still laced in ,v-shape and flaunted an upstanding collar of ,medici tendency cut in one with revers4 ,on the top of the sleeves was a padded roll1 and upon the head a quaint cap displayed a small point in front1 and bore a close resemblance in the crown to the penny bun4 ,the early ,elizabethan peasant woman's dress consisted of a double skirt1 the under one of serge1 full1 the upper one with braid round the hem1 made in a contrasting shade1 and folded back to form a panier4 ,the tight-fitting bodice had a pointed plastron edged with ribbon on either side1 and the bodice was bound at the hem with ribbon1 which tied in a bow at the waist1 a larger bow appearing at the bust1 while round the neck a gauffered frill outspread itself with stiff importance4 ,the sleeves were full1 and the head was covered with a lawn cap1 the crown of which was full1 and the curtain1 turning back in front1 was trimmed with lace4 ,yet another style of dress worn at this period had a full skirt braided round the hem and an upper skirt with a wider braid1 the square-cut bodice1 also braided1 being finished with a turned-down linen collar4 ,the sleeves displayed double puffs to the elbow1 thence fitting tightly to the wrist1 and braid again appeared on the mob-cap of lawn1 and on the hem of the lawn apron4 ,this might have been the attire of many a wilful wench hieing forth on her holiday1 in the hopes of catching a glimpse of some green-clad figure in the wake of gay ,robin ,hood4 ,pleasant reading is of the milkmaid of the reign of ,james ,i42 she must have been a bonny figure in her box-pleated under-skirt of red serge1 with a blue serge over-skirt tucked up on the hips4 ,her tight bodice was of blue and laced down the front1 her sleeves were long and loose to allow of their being rolled back to the elbow1 round her neck was wound a bright-coloured kerchief1 and on her head another1 while1 for merrymaking and ftes1 she would tie her apron with coloured ribbons1 and let bunches of ribbon adorn her smart high-heeled shoes4 ,as an alternative to the kerchief she would wear over her hood a plain straw hat with a slightly turned-up brim decked with ribbons4 ,the ,commonwealth brought with it austerity of dress2 sad tones of dull brown and grey receiving popular patronage1 while the formal linen cuffs1 collar1 and cap were ubiquitous4 ,a plain material formed the over-skirt of many a dress which bore a striped under-skirt1 tight sleeves1 and a plain1 tightly-fitting bodice4 ,cuffs and collars grew wider1 the linen apron had two pockets1 and there was added to costume a circular cape of dull serge4 ,the high felt hat was adorned simply by a plain band of ribbon4 ,during the ,restoration1 colour asserted itself once more1 and dress was again pretty1 a commendable example having a blue linen skirt with a band of fancy material round the hem1 a full basque1 and a linen collar1 the front adorned with braid1 the apron striped4 ,stripes were quite a feature of fashion then and in the later days of ,william ,,iii41 when the striped skirt would be adorned with a deep band of plain material trimmed with braid1 the striped bodice cut ,v-shaped to show a vest of pleated linen1 the sleeves being plain with linen cuffs1 the apron of linen1 and the cloth hood and cape cut in one piece4 ,fancy materials were made in the reign of ,anne1 when short skirts frequently were composed of stripes beneath a plain over-skirt bunched on the hips4 ,the bodice then came out in the glory of a muslin fichu1 and the long sleeves were turned back to the elbow1 the cap was of muslin too1 with a full crown and gauffered edge4 ,a charming picture of a country-woman of #agaa shows her wearing a tucked-up gown with short loose sleeves1 a pair of stiff stays1 and an apron1 with high-heeled shoes and a low cap turned up in front4 ,caps yielded place to hats for the lower orders in the eighteenth century1 when plain flat straw hats became the only wear1 being recognised as serving a useful purpose in the carrying of fruit and fish4 ,cretonne first enjoyed a share of recognition in the reign of ,george ,i41 when the under-skirts were made of this in stripes1 gathered at the waist1 and over these was worn a serge skirt tucked up at the hips4 ,the tight-fitting bodice was of serge laced in front1 cut low in the neck1 and outlined with a loosely-knotted handkerchief1 the full sleeves being turned back below the elbows4 ,in glancing through the records1 ,i find in the reign of ,george ,,ii4 but little change from this state of affairs4 ,the bodice was laced over a white linen chemisette1 and finished with a deep collar and tight sleeves with frills of muslin at the elbow1 the apron with its two pockets being ornamented with a deep band of embroidered muslin4 ,the hair1 however1 received more attention1 being tied round with a ribbon under a muslin cap1 while a straw hat was worn over it when the fair maids took their walks abroad4 ,the modish mandate was reversed in the following reign1 when the under-skirt was of serge with the over-skirt of chintz gathered on to the bodice1 which was full at the back and opened in the front1 the bodice being further adorned by lacings over a velvet vest1 cut low1 with a muslin fichu to put the finishing touch and white muslin frills appearing to adorn the tight sleeves4 ,the apron of muslin had a large pocket on the right side1 and the straw hat was invariably trimmed with a bow of ribbon1 also placed on the right side4 ,when ,george ,,iv4 was king the full skirt was gathered on to the short bodice all round beneath a band of ribbon1 which finished at the back to conceal the fact4 ,the muslin fichu was generally adopted1 padded rolls were on the shoulders1 the white linen apron was long1 and the head bowed itself to the fascinations of the bonnet of drawn white cambric4 ,a full woollen skirt1 gathered round the waist1 was the popular costume in the time of ,william ,,iv41 when the tight bodice buttoned down the front1 a triple cape attached to a band of ribbon and fastened in the front was thrown over the shoulders1 and ribbon proved itself as serviceable as becoming over the crown of the straw hat1 where it was placed to secure it firmly to its wearer4 ,my investigations by the way of ,scotch and ,irish and ,welsh peasants have been few1 but the details of one modern representative ,irish peasant's dress ,i can quote as including a short skirt of linsey turned up over a petticoat of red or some other bright colour1 with the bodice belted round the waist and laced down the front1 worn beneath a long frieze cloak with cap and hood2 the head is covered with a kerchief4 ,of imperishable memory is the red ,connemara colleen cloak2 and the native ,welsh dress is not less dear to the lovers of the picturesque1 with its high pointed hat worn above a frilled lawn cap1 the worsted shawl1 the short petticoat1 and white apron and trim shoes4 ,the ,highland dress was in its original form a chequered covering known as a breconfeile1 a plain piece of tartan two yards wide and six yards in length placed round the waist in folds1 and held in position by a leather belt4 ,the plaid was fastened on the left shoulder by a large brooch1 the right end hanging down longer than the left1 being tucked into the belt1 while the right arm was left uncovered save in the severest weather1 when the plaid was thrown over the whole body4 ,this was the wear1 until the end of the eighteenth century1 of ,lowlanders and ,highlanders alike4 ,the ,scotch1 and the ,irish too1 had a rooted antipathy to foot-gear1 preferring to carry their shoes and stockings rather than permit them to do their proper duties1 and when the etiquette of church-going demanded the sacrifice of this inclination1 they yielded only during the service1 afterwards sitting on any convenient gravestone to remove the unwelcome impediments4 ,the national head-dress of the ,highlanders is the round flat bonnet of blue cloth1 with an eagle's feather2 and for many centuries men and women wore plaids alike1 the usual colours being white striped with red1 black1 or blue1 the men's stockings matching these4 ,thinking seriously over the dress of the peasant in the ,north1 ,south1 ,east1 and ,west1 ,i am tempted to protest that progression has meant retrogression1 and that the modern country-woman1 with her indiscreet lace-trimmed blouse revealing the ragged belt of her mud-coloured petticoat1 makes a sorry figure in comparison with her sister-toiler of the past2 and ,i recall sorrowfully even this description of an early ,victorian peasant-woman's dress which reads3 ,to consist of a full skirt of print gathered into a band at the waist2 there is a full crossover-bodice over a full vest of the same material1 finished with a frill at the neck4 ,the sleeves are full above the elbow with two puffs1 and from these are tight to the wrists1 and a muslin mob-cap is worn with a bow of ribbon in front4 ,the country-woman who dwells in the indulgent times of ,edward ,,vii4 should ponder over the picture1 and repent of her shapeless bodice divorced from her unsympathetic skirt1 and her cloth cricket cap held by aggressive pins above a group of tortured wisps of hair bound in steel bondage to a cruel curler4 ,,chapter ,,xi ,,of ,,some ,,foreign ,,peasants ,i regret1 from the practical as well as the artistic point of view1 the threatened disappearance of local colouring1 as emphasised by the characteristic costume of the people1 for ,i am convinced that the adoption of a uniform style of dress by a community greatly furthers the cause of neatness and economy4 ,no opportunity being afforded for the display of personal bad taste1 extravagance is discouraged1 and the spick and span are virtues which may distinguish the careful from the slatternly1 and reveal much to the student of character4 ,a love of colour and personal adornment is inherent in the human race1 and it is to be regretted that the relentless advance of commerce is responsible for the blotting out of a country's individuality1 and reducing all places to the same dead level of monotony4 ,differing slightly but distinctly with the locality1 the dress of the peasants of ,brittany is second in interest to none in ,europe4 ,this fact1 coupled with an instinctive conservatism common to those who go down to the sea in ships1 is1 no doubt1 accountable for the tenacity with which the ,bretons cling to their national costume1 bearing it with them when they emigrate and donning it on gala occasions in the new land4 ,peculiar to the peasant of ,bignon is a white flannel petticoat1 the hem surmounted by a scarlet band4 ,pleated at the waist1 it joins a bodice fashioned from bright red cloth1 which fits closely up to the throat and is edged with black velvet embroidered in various coloured worsteds1 turned-back cuffs to match finishing the tight elbow-sleeves2 while the apron1 in a dark tone of mulberry1 fastens by means of a sash tied in a bow at the side4 ,covering the head is a small cap of white linen1 which serves as foundation for a conical erection contrived from a coarse starched texture resembling brown holland4 ,to this is attached a pair of long flaps1 which can be pinned up or left hanging according to the taste of the wearer4 ,the well-to-do possess a necklace of amber and black beads1 and a gold and ebony crucifix suspended from a narrow black velvet ribbon4 ,if dress be an outward and visible sign of character1 then should the people of ,quimper be the gayest of the gay4 ,the costume of the district consists of a laced jacket with tight elbow-sleeves1 supplemented by full white ones which reach to the wrist1 and a short petticoat of ample proportions4 ,blue is a favourite shade for both corsage and skirt1 which are frequently glorified by the addition of red and gold lace4 ,blue and pink inspire the sleeves1 the under ones being of white1 tied1 au poignet1 with yellow ribbon4 ,the chemisette displays a multi-coloured collar1 and the apron is in a vivid tone of orange4 ,the ,morbihan department is distinguished by a variety of head-dresses1 some of which are exceedingly high1 while all fit closely round the face1 and many display pendent lappets behind4 ,odd1 but by no means unbecoming1 is the costume of the ,normandy peasant4 ,the skirt is of striped woollen material1 partially concealed beneath a red and blue apron4 ,of black1 white1 red1 or maroon worsted1 the bodice boasts long sleeves1 some of which are scarlet in colour from wrist to elbow and dull claret to the shoulder1 a small fringed shawl hiding the upper portion of the arm4 ,quite the most striking and important feature is the bourgoin4 ,evolved from stiff white muslin drawn over a cardboard shape1 it is very high in the crown1 the wide brim narrowing towards the back1 whence dangle two lace streamers4 ,the hair is turned up in a manner best described as clubbed1 the ends disappearing beneath the cap1 while on fte-days the head-dress is composed of the very finest muslin1 elaborately trimmed with lace1 and fastened by means of a velvet strap passed under the chin or across the forehead4 ,the bourgoin is encountered in its most ornate form1 however1 in the ,pays de ,caux1 where it is reverently regarded as an heirloom and handed down from generation to generation4 ,wonderfully and fearfully made1 the upper portion is of light blue pasteboard strewn with gold tinsel flowers1 and ruffled with muslin bordered with lace4 ,the brim is of scarlet velvet1 lappets floating behind1 and a chin-strap holding it in place4 ,unlike the women of ,brittany1 who carefully conceal all traces of hair1 the ,normandy peasant arranges hers in coquettish curls on the temples4 ,despite their long and romantic association with the country1 and the impress they left on its architecture and its history1 the influence of the ,moors is in nowise apparent in the dress of the ,spanish peasantry4 ,the people of the ,peninsula manage to unite in admirable fashion the practical with the picturesque1 as expressed by the costumes peculiar to the different provinces4 ,what1 for instance1 could be more happily conceived than the dress of a ,castilian peasant8 ,the short sleeveless coat1 or bolero1 consists of coloured cotton edged with an appliqu design in imitation of coarse braid4 ,this is worn in conjunction with a shirt of white cotton conspicuous for a stand-up collar and sleeves to the elbow1 a wide red sash encircling the waist1 where it is held firmly in place by a narrow leather belt on which the wearer's name1 or that of his fiance1 is embroidered4 ,the tight knickerbockers are of serviceable texture1 gartered at the knee1 each showing four silver or gilt buttons in a row up the outside of the leg4 ,the gaiters combine the duty of stockings1 and are supplemented by low1 thick-soled sandals1 termed alpargats or espardeas1 tied round the ankle with gay ribbons4 ,the fte costume of the women embraces a voluminous skirt of fine cloth1 extending below the knees and trimmed about the bottom with wide and narrow bands of black ribbon velvet1 and an apron1 likewise of cloth1 but in a contrasting colour1 bordered with gold lace or passementerie4 ,the closely-fitting jacket reaches to the hips2 the seams are outlined in gold lace1 and the sleeves slashed open from the elbow to the wrist to reveal white under-sleeves belonging to the chemisette1 a second glimpse of which is caught at the neck in front4 ,an immensely long coral chain is wound countless times about the throat1 and dangling from it are sacred medallions and variously sized crosses1 the whole forming a plastron which descends to the waist4 ,white cotton stockings are usual--red ones indicating a bride--and black leather shoes relieved with ribbon rosettes4 ,the hair is plaited1 tied with black velvet1 and allowed to hang down behind1 and the mitre-shaped hat is of black velvet trimmed up each side with a serried row of silver buttons4 ,in ,valencia the peasantry of both sexes affect sandals laced up the leg4 ,the women wear a short1 brightly coloured skirt and an apron1 the lower portion of which is in one shade and the upper in another1 the latter being brilliantly embroidered4 ,the tight bodice laces in front across a white chemisette1 and displays long1 closely-fitting sleeves1 while the head is enclosed in a white bonnet which forms a frill round the neck1 and is surmounted by a hat with a shallow crown1 and a brim shaped like an inverted saucer4 ,the dress of the men is correspondingly simple1 comprising a light-blue linen waistcoat buttoned up to the chin1 where it is finished with a white collar1 a sash1 and a short open coat1 remarkable for buttons down both sides4 ,the trousers terminate at the calf1 and a red handkerchief is wound round the head4 ,in the mountain fastnesses of ,catalonia1 the women wear1 in lieu of a bonnet1 a white veil1 which falls to the waist behind1 and a crossover fichu fashioned of cotton1 and chiefly notable for a decorative border in a contrasting shade4 ,little is seen of the bodice beyond the tight sleeves1 which finish at the wrist with a band of black velvet and a silver buckle1 and the ankle-length skirt is almost concealed by a full round apron4 ,all the jewellery common to the district is exceptionally massive and set with red or green stones1 the pendent ear-rings of gold or silver being so heavy that they have to be supported by cords1 lest they should tear the flesh4 ,a male peasant belonging to the same locality dons a short open coat of light-blue velvet1 long-sleeved and boasting diminutive revers and silver buttons4 ,the white cotton shirt introduces a turned-down collar and a gaily-coloured cravat1 tied in a sailor's knot and drawn through a silver ring1 and the waistcoat consists of striped red and white calico1 while a scarlet sash supports tight knickerbockers of blue velvet4 ,these are met by leggings of tan leather1 the low shoes being attached by means of thongs1 after the style of sandals4 ,shaped somewhat like a fool's cap1 the peak of the scarlet head-dress is rolled over in front to form a wide flap immediately above the brows1 a last touch being given by a striped red and yellow scarf thrown over the left shoulder1 the ends edged with deep fringe and pendent balls4 ,for the mayor1 or that important local dignitary the driver of the diligence1 the back of the coat is embroidered with a pot of flowers in florid tints1 while another badge of office1 pertaining to the same functionaries1 is a patch of scarlet or green cloth on either elbow4 ,a peasant woman of ,asturias1 is distinguished by a full skirt below the knees1 and a short narrow apron of black velvet traced with a checked design in silver braid4 ,a joyously-patterned cotton handkerchief is arranged on the head1 and tied in a butterfly bow in front1 and the tight bodice boasts closely-fitting sleeves1 turned back with black velvet cuffs embroidered in a variety of brilliant shades1 a small fringed shawl crossing at the bust and tying at the waist behind4 ,white thread stockings and black shoes complete the picture4 ,illustration3 ,,albanian ,,peasants4 ,the mere mention of the word ,switzerland is sufficient to conjure up a medley of conflicting emotions4 ,thoughts of ,nestl's milk1 ,peter's chocolate1 ,cook's parties1 and picture post-cards adorned with edelweiss1 struggle to obliterate memories of majestic mountains whose hoary peaks pierce the calm blue of a cloudless sky1 of sunsets of awful beauty1 and of sunrises which flood the cold white ,alps with roseate light1 changing the silver of the lakes to burnished gold4 ,homelier visions arise of wooden chalets daintily perched high on the mountain side1 or low in the valley1 of milk and honey1 white butter and black bread1 and of fair-haired waitresses in national costume4 ,each canton has its distinctive dress4 ,the peasant women of ,lucerne wear large flat hats of smooth straw1 the crown encircled by bows of ribbon interrupted by a bunch of flowers4 ,the tri-coloured skirt barely covers the knee1 where it is met by white stockings1 and the corselet displays lace1 embroidery1 and brass or silver buttons4 ,the white chemisette vaunts full short sleeves1 and fits up to the throat1 where it is occasionally finished with a broad frill1 while the hair is drawn off the forehead and hangs down the back in two plaits4 ,in ,solerne the dress of the feminine portion of the community includes a white petticoat edged with pink1 which just shows beneath a black skirt embroidered with red1 while round the neck is knotted a black silk kerchief1 the bodice being red and green and the chemisette of white muslin with wide sleeves to the elbow4 ,snowy muslin inspires the large cap with its gauffered frill1 other details being white stockings1 ribbon garters1 and black shoes laced with scarlet4 ,possibly the prettiest costume of all is to be found in the ,canton of ,st4 ,gall4 ,on ,sundays and fte-days it comprises a small white muslin cap1 lined with green silk and displaying a crimson crown4 ,the hair is drawn into a single plait at the back of the head1 fastened with long gold or silver pins4 ,the snowy chemisette finishes with a moderately-sized ruffle at the throat1 and disappears into a velvet stomacher1 the little open jacket bearing a border of coloured ribbons4 ,quite the most gaudy dress is that characteristic of ,grison4 ,the bodice is of bright orange1 laced with green ribbon over a blue stomacher1 and the skirt is in a penetrating tone of violet hemmed with green1 in brilliant contrast to red stockings worked with white clocks4 ,the effect is happily modified by a black lace cap1 which forms a point on the forehead and is tied under the chin4 ,to those in quest of the eminently becoming1 the costume of the women of ,unterwalden commends itself4 ,the hair is parted in front1 and hangs down behind in two plaits joined by a species of slide in silver4 ,the short full skirt is evolved from coarse brown material1 the stockings are blue and the shoes black1 with metal heels and ribbon bows4 ,the apron is provided with a scarlet bib1 and the sleeveless corsage is filled in with a white chemisette1 with puffed elbow-sleeves terminating in black velvet bands and frills of lace4 ,about the neck is a deep filigree silver collar1 from which hang two enormous silver pendants1 one resting on the bust at either side4 ,illustration3 ,,the ,,austrian ,,peasant-,,bride ,,in ,,black4 ,the typical ,roman peasant woman makes a picturesque figure in a skirt of some dark material and an apron brightly trimmed with two broadish bands of embroidery1 one appearing immediately below the hips and the other at the knees4 ,the tight1 sleeveless corsage laces behind1 and is supported by narrow shoulder-straps1 while the white chemisette has long sleeves and is low at the throat4 ,ordinarily the hair is allowed to hang loosely beneath a head-dress fashioned from a length of snowy linen1 folded in such a way as to form a narrow strip1 which is pinned at the temples and flung back to hang down behind4 ,all but the very poorest wear necklaces1 pendent ear-rings1 chains and crosses4 ,illustration3 ,a ,,croatian ,,peasant4 ,the costume of the ,trastaverini1 although they are inhabitants of the same city1 differs somewhat from that of the ,romans4 ,the women plait their hair1 decorate it with silver bodkins1 and confine it in a silk net4 ,on gala days they don velvet bodices laced with gold1 and silk skirts1 which may be white to match the chemisette1 or coloured1 an essential accessory being a scarlet apron4 ,the men also wear silk nets1 their jackets being of black velvet enlivened by red silk sashes1 while their black shoes vaunt large silver buckles4 ,in some of the ,pontifical ,states there is striking resemblance between the dress common to the district and that associated with the ,irish peasantry4 ,the women tie kerchiefs on their heads in the same way as their ,hibernian sisters1 a second point of similarity existing in the hooded cloaks4 ,illustration3 ,a ,,croatian ,,peasant4 ,strangely incongruous though it seems1 when taken in conjunction with their sunny clime and joyous levity of temperament1 the peasantry of ,florence exhibit a marked predilection for black4 ,on fte-days the ,tuscans don a tiny hat cocked at an acute angle over the left ear1 the hair at the other side being profusely decorated with pearls or an ornamental comb4 ,they also display a pretty taste in jewellery1 wearing pearl ear-rings and pearl and coral necklaces1 other articles of attire including black velvet slippers1 and sleeveless bodices laced with ribbon over a white chemisette4 ,occasionally the hair is turned up in a knot beneath a veil which hangs down behind1 but1 when working or going to market1 the women imprison it in a silken mesh adorned with tassels1 the latter being sometimes of gold and silver4 ,the ,bolognese peasant women continue faithful to the tradition of the zendada1 a veil falling from the plaited hair and draped over the shoulders in graceful fashion4 ,coral is greatly in demand for purposes of adornment1 and combs and pins are liberally employed to decorate the hair4 ,so intense is her love for finery1 that in ,lombardy it is a common occurrence for a peasant woman to spend all her earnings upon jewellery1 going barefoot the while4 ,another weakness of hers takes the direction of large ,german fans in black and gold4 ,these are much in evidence at all festivities in ,turin4 ,bright colours are preferred to sombre ones1 and it is easy to distinguish girls from married women1 as the latter have square linen veils1 while the former allow their hair to be seen1 braiding it1 and fastening it with a comb or formidable-looking pin4 ,illustration3 ,,in ,,corfu ,,to ,,day4 ,economical and self-denying though she may be in other respects1 the peasant woman of ,genoa is recklessly extravagant the moment it is a question of jewellery4 ,to what lengths her passion for display carries her may be gauged from the fact that when she is going to be married she thinks nothing of paying seven or eight hundred francs for a necklace4 ,illustration3 ,a ,,greek ,,peasant ,,in ,,medi,,val ,,days4 ,not only are the ,croatian women noted for their unusual beauty of face and form1 they are equally famous for their industry1 and the national costume is a marvel of needlework4 ,the example illustrated on page #abd shows embroidery playing its part on the sleeves1 the full skirt1 and the bodice4 ,the chemisette is of white lawn1 and jewels are around the neck1 and flowers wreathe the head over a lawn cap which conceals the hair4 ,the sketch of the ,croatian man on page #abe shows him in a hat of black felt1 a coat of white bordered with blue1 and a cape lined with red1 edged with a pattern formed by an application of red cloth4 ,a more elaborate edition of this dress permits a gold fringe on the low crown of the hat1 and a red fringe on a deep leather pouch which is held on the left hip by a leather strap4 ,illustration3 ,a ,,greek ,,peasant4 ,illustration3 ,a ,,greek ,,peasant ,,woman4 ,illustration3 ,a ,,greek ,,brigand4 ,illustration3 ,a ,,greek ,,priest4 ,departing from the classical severity of palla and peplum1 the dress of modern ,greece has nothing in common with that of a people who scaled the heights of immortality in the simplest of garbs4 ,peasant women wear spangled petticoats of blue or pink silk1 a long-waisted costume of purple velvet embroidered in gold1 high-heeled shoes which display silver buckles1 and a kerchief draped on the plaited hair4 ,the men resemble the typical stage brigand1 in a double-breasted waistcoat of blue or maroon velvet edged with gold lace1 a row of gold or silver buttons running from either shoulder to meet at the waist1 which is encircled by a brilliantly coloured sash4 ,a distinguishing note is given by the thoraki1 a characteristic garment of blue cotton1 suggesting in form a stiff sack wider at the bottom than the top1 with holes at the corners for the legs to pass through4 ,a substitute for this is a white petticoat to the knees1 and other accessories are white stockings and black shoes with large silver buckles4 ,some resemblance to the costume of ancient ,greece may be traced in the dress of the shepherds1 who wear cloaks of sheep's wool or goat's hair1 with bare feet encased in sandals of untanned leather strapped across the instep and up the lower portion of the leg4 ,thus attired1 might the ,pyrrhian have climbed those mountains which looked on ,marathon1 as ,marathon looked on the sea4 ,,chapter ,,xii ,,of ,,some ,,foreign ,,peasants 7continued7 ,in ,russia the convention of dress may not serve as an index to the mind of the country1 for the peasant is allowed to share with the prince a fancy for gold1 coloured embroidery1 and silk and jewels1 and it has not yet become necessary for the ,duma to include an advocate in the cause of costume4 ,the history of ,russia is inscribed upon the dress of its people4 ,travelling from north to south and from east to west1 the costumes of the peasantry everywhere bear the impress of the political vicissitudes through which the particular locality has passed4 ,this1 coupled with the fact that no empire in the world is made up of such an agglomeration of vastly different races1 accounts for the immense diversity of styles4 ,to gain some idea of the ingredients which go to make up the sartorial pot-pourri1 one has but to pay a visit to the great annual fair at ,nijni ,novgorod4 ,there ,cossack rubs shoulders with ,finn1 ,jew with ,laplander1 ,tartar with ,slav1 ,persian1 ,siberian1 ,bulgarian1 and ,circassian adding to the interest of the scene and the ,babel of tongues4 ,as everything ,russian leads up to the one forbidden1 and therefore burning1 question1 politics1 it is impossible even to treat of the national costume without touching lightly upon those crises which determined the ultimate cut of a sleeve or the shape of a head-dress4 ,long ago ,byzantium imposed its religion and its fashions upon its great northern neighbour4 ,both were readily adopted by ,russia1 and a significant side-light is thrown upon the national character by the fact that when1 in the thirteenth century1 the ,mongolian invasion reversed the political situation1 the vanquished adopted the dress of their conquerors1 but not their faith4 ,this is strictly true of all but the sovereigns1 whose costume remained more or less faithful to tradition1 and never entirely departed from the ,byzantium original4 ,although ,byzantium dictated the fashions of the classes1 the masses were unaffected thereby1 and the costumes of the serfs trace their source to ,slav and ,tartar1 according to the district4 ,the first things to impress the foreigner are the gorgeous nature of the fte dresses worn by the women1 and the lavish use of gold trimming4 ,this love of gold1 as applied to decorative purposes1 would appear inherent in the ,russian character1 revealing itself in the heavy gilding on the icons and the many glittering domes of ,moscow and ,st4 ,petersburg4 ,more suggestive of a fairy princess than of a peasant is the gala toilet of the female population of ,tver4 ,contrived from thick silk shot with gold1 the wide round skirt is pleated behind1 the opening down the front and the hem bordered with gold1 while the white chemisette vaunts puffed elbow-sleeves finished with frills1 three rows of pearls encircling the collarless neck4 ,in summer time the little sarafan1 or1 for want of a better term1 jacket1 is made without sleeves and resembles a short full petticoat that sticks out1 as though stiffened1 at the bottom4 ,it1 too1 is of brightly coloured silk1 and descends from the armpits to below the hips1 being supported by gold shoulder-straps1 an edging of gold galon running round the bottom and up the fronts4 ,the head-dress consists of a species of gilt diadem set with artificial gems in coloured glass4 ,this encircles the base of an erection of stiffened calico1 reminiscent in shape of the glass shades designed to protect those floral atrocities in ,berlin-wool and wax that were so dear to the heart of the early ,victorian housewife4 ,concealing the structure is a voluminous veil of white silk or gauze1 striped or strewn with flowers1 and invariably bordered with gold4 ,the duty of gloves is performed by casings of velvet and sable1 which cover the back of the hand and enclose the finger-tips1 while leaving the palm and thumb free4 ,still more beautiful and sumptuous is the fte dress of the women of ,torjok4 ,they wear a singular head-dress known as kokoschink1 which1 literally translated1 signifies the crest of a hen1 the why and wherefore of the name being a riddle beyond the power of the average intelligence to solve4 ,modelled on the lines of a reversed funnel1 the tall slender crown of the kokoschink is white1 encircled by narrow bands of gold1 and surmounted in the case of married women by a metal ornament which may be triangular1 oval1 round1 or crescent-shaped4 ,the only rule from which no departure may be made is that the crown be absolutely vertical1 whereas the crown common to the spinster of the community slants abruptly towards the front4 ,all without exception display a brim composed of an outstanding frill of white lace encrusted with seed pearls1 and an enormous veil of white gauze embroidered and edged with gold1 which is attached to the top of the kokoschink and floats over the shoulders1 the two points dipping to touch the ground at either side4 ,these veils are not1 as might easily be supposed1 of ,mohammedan origin1 nor are they even remotely associated with romance4 ,as a matter of fact1 nothing could well be more prosaic than their history1 for they were first adopted as a protection against the plague of flies with which the district is infested in warm weather4 ,pre-eminently picturesque1 the costume they shroud reveals a skirt of such generous proportions as to recall memories of the crinoline4 ,this is of silk1 and buttons down the front1 and it is not only edged with gold1 but bears an all-over pattern traced in gold galon4 ,the loose sleeveless jacket terminates below the waist1 where it stands out stiffly1 and is of similar texture1 treated in equally lavish style with gold1 the huge leg-o'-mutton sleeves belonging to the white chemisette being richly embroidered in gold thread4 ,the throat is hidden by an unyielding cravat of white taffetas ruled with fine gold cord1 the short ends crossed under the chin2 and the shoes are of morocco or velvet1 with a design worked in gold threads4 ,in winter the veil is abandoned in favour of a shawl of white taffetas fringed with gold1 worn over a modified version of the summer kokoschink1 in pale blue silk1 embroidered with seed pearls and gold4 ,the all-enveloping greatcoat is of cloth or velvet1 edged with fur1 and lapped well over on the right side1 where it fastens near the shoulder only4 ,a feature of the wrap is the sleeve1 which is narrow and of abnormal length1 terminating below the knees in a fur cuff1 no hint being allowed to transpire of the hands thus jealously guarded from the unwelcome attentions of frost4 ,the peasant woman of ,riazan wears black shoes1 white stockings rucked at the ankles1 a shortish skirt of bright blue cotton1 and a fringed apron worked in a variety of colours1 notably yellow and scarlet4 ,the chief garment is the ponka1 a loose round coat to the knees1 very like that of a ,chinaman1 fashioned from white linen edged with a narrow border of red1 the wide elbow-sleeves terminating in an inch-deep band of the same4 ,open in front1 the jacket allows a liberal view of a red blouse1 worked in a characteristic cross-stitch design in brilliant shades1 the long bishop sleeves being of plain ,turkey-red1 finished with shallow frills hemmed with blue in a tone corresponding to that of the skirt4 ,almost impossible to describe in words1 the kitschka1 or local head-dress1 can best be pictured as a miniature version of the bonnet characteristic of the ,salvation ,army lass4 ,composed of red velvet1 it is neatly draped with a silk kerchief the shade of the feathers on a pigeon's breast4 ,from the back dangle two unequal ends1 one on top of the other1 white edged with red1 the extremities consisting of stiffened squares of scarlet passementerie1 trimmed at the bottom with shallow red fringe4 ,in striking contrast to the types already mentioned1 the costume of a ,tartar woman bears evidence of her ,oriental descent1 the memory of which she strives still further to perpetuate by staining her nails with henna and blackening her eyebrows and hair4 ,she betrays a decided predilection for striped silken textures1 which she occasionally varies in favour of a large all-over pattern4 ,her ordinary toilet is composed of baggy trousers concealed beneath a long flowing robe of red and white figured silk1 surmounted by a second shapeless garment to the knees in the nature of a coat4 ,the last is evolved from striped pink and white silk1 and fastens near the right shoulder with three small metal buttons set closely together1 while through the loosely flapping fronts protrudes the fringed end of a sumptuously embroidered sash4 ,covering the head and shoulders is a sweeping veil of white silk1 pin striped with green1 that falls to the ground and envelops the figure after the fashion of a cloak1 slits being provided for the hands to pass through2 and although the ,tartars are ,mohammedans by religion1 the face is left bare4 ,although palpably designed for use rather than ornament1 the dress of the women of ,kherson is far from being wholly unattractive4 ,a white kerchief1 drawn over the head1 falls in points on the shoulders1 concealing the hair1 but leaving the ears exposed to show dangling ear-rings4 ,the chemisette of thick white cotton introduces a touch of colour at the wrists of the wide sleeves1 and the loose sleeveless bodice reveals a heart-shaped opening in front1 and is confined by a striped scarf wound about the waist and held by a leather belt fastened with an imposing silver clasp4 ,the narrow fringed apron is of carpet material over a plain skirt cut short above the ankles to reveal a gaily-embroidered petticoat4 ,the ceremonial costume of the women of ,simbirsk is very peculiar4 ,high and square1 the hat is of velvet1 with a close brim composed of a broad hand of white sheep's wool drawn down over the brows1 giving the wearer a slightly lowering expression4 ,a shower of gilt coins jangles in the ears1 and the long-sleeved white tunic fits tightly up to the throat and ceases abruptly at the knees1 where it is met by leggings of white felt cross-gartered the entire distance1 the garters doing double duty1 as they serve as supports for the low shoes4 ,the most extraordinary and characteristic feature of the entire toilet is a large square breast-plate of white metal covered with pieces of money and copper discs1 which combine the roles of amulets and ornaments4 ,this odd and warrior-like decoration is divided across the centre1 and so forms two separate portions1 the upper being so arranged that it laps over the under1 when rendered necessary by the movements of the body4 ,in addition1 a small silver cross is worn suspended from a ribbon passed round the neck4 ,specially interesting by reason of the fact that ,nijni ,novgorod is the scene of the most important fair in the world1 the dress of the women of the district consists of a fringed and embroidered shawl which envelops the head and shoulders and is pinned under the chin4 ,as is only to be expected1 fur plays a part in the trimming4 ,the wide jacket reaches to the waist1 and reveals fur cuffs and an edging of fur about the bottom and up the fronts4 ,not quite ankle length1 the brocade skirt is bordered with fringe1 the plain or brocaded under-skirt descending to the ground4 ,both skirts are immensely wide1 and suggest the presence of a hooped petticoat4 ,the shawl and outer jacket removed1 there are attractive revelations of a sleeveless corsage of brocade and a white chemisette conspicuous for sleeves that puff with exaggeration at the shoulder and again below the elbow1 finally coming in tightly at the wrist and ending in frills4 ,the jewellery1 as is usual in ,russia1 is of a ponderous type1 and is most popular in the form of chains1 necklaces1 and finger-and ear-rings4 ,the women of the people still plaster their faces crudely with white and red cosmetics3 a mode once in favour with the upper classes1 but now condemned as distinctly bad form and savouring of barbarity4 ,i cannot leave ,russia without some reference to the ,jews1 who write now as ever an important chapter in their history4 ,no ,jew can justly be counted a peasant1 since no member of the race is allowed to be a land-owner1 his utmost privilege permitting him to be a tenant farmer4 ,the distinctive garment remains what it has been through many centuries--the gaberdine2 but some concession is made to modern opinion by the black peaked cap1 which1 in place of the old skull-cap1 is worn in the streets by the less prejudiced4 ,the gaberdine buttons down the front to the waist1 hangs to the ankles1 and is usually now made of black cloth1 silk1 or moir1 held at the waist by a folded belt4 ,it is finished at the neck by a soft turn-down collar attached to an under-shirt1 and it conceals from view loose trousers and high boots2 in winter it is lined with fur4 ,the chin is unshaven1 and a pendent curl hangs from either temple2 and reverence for the old traditions upholds the custom that on the ,fast or ,atonement day of the ,jews1 the patriarch of the family shall attend the synagogue in his shroud1 and that the praying-shawl or taleth of white1 with a border of blue1 be worn every day at devotions4 ,the ,jewish women of the poorer class wear a white kerchief over the head1 crossed on the bust of a black sateen jacket1 which buttons on the slant and reaches below the hips4 ,the short skirt beneath is of a vivid tone of red1 covered by a white apron1 and the most vital difference between the ,jew and the other races in ,russia is the significant absence of the cross4 ,the working dress of the ,jew consists of a pair of baggy trousers disappearing into top-boots1 and a white shirt drawn into the waist by a leather belt1 surmounted by a round cloth cap1 for no religious ,jew ever uncovers his head4 ,the hair would seem to have some special importance1 for no ,jewish woman who marries is allowed to retain her tresses2 they are cropped or shaved close to the head1 which is covered by a black satin cap1 down the centre of which a white thread is sewn in imitation of a parting4 ,this sacrifice is demanded of all who would enjoy matrimony2 and the great question as to whether the cause is worthy has not yet been aired in any halfpenny daily issued at ,st4 ,petersburg4 ,chancing upon a book of costume1 which included details of the dress worn by a tribe known as the ,wotiaks1 who inhabit a small village in ,siberia1 ,i learned that the women wear a peculiar costume consisting of a shift of coarse linen1 slit in front like a man's shirt1 and hemmed up at either side with worsted of different colours4 ,the gown1 which is woollen1 somewhat in the shape of the habit of the ,jesuits in college1 reaches to the knees1 and is fastened by a girdle4 ,the head-dress is very remarkable and intricate1 including much wrapping of a towel1 over which is placed a helmet made of the bark of a tree1 ornamented by a piece of cloth and copecs1 and covered with a handkerchief wrought with worsted of different colours and edged with a fringe4 ,the ,mordvine women1 if married1 have the privilege of wearing a high cap worked in coloured threads1 with flaps hanging down at the back1 adorned with chains and pendent fringes4 ,the linen petticoats and aprons show much embroidery of red and blue and many fringes1 and tassels and beads hang down behind4 ,linen and ribbons1 embroidery and coloured worsted1 are the common features of dresses in all the villages1 and the plait of hair1 with strings of coral and ribbon1 afford the young girl some opportunity for coquetry2 and at ,kirguise there is a head-dress specially worthy of note4 ,three or four yards of material are placed on the head1 with the ends hanging on either side of the face1 and over this is bound another stuff to form a turban1 the hair being plaited in two and brought up over the head to fall down again over the ears4 ,in ,cracow the open shirt is decked with collar and wristbands tied with ribbons1 and over this is a tunic reaching to the knee1 fastened in front1 and held by a girdle ornamented with copper studs4 ,the cap of cloth bordered with fur is common in this district as in many others4 ,the dress of the ,saxon peasants near ,dresden bears a suggestion of joy in its multi-coloured details4 ,they wear dark petticoats with white jackets and aprons2 and round the neck a scarlet handkerchief1 the ends of which appear under the jacket1 and a huge frill tied with a large blue bow in front and a large crimson one at the back4 ,the hair is quite hidden by a closely-fitting cap of crimson with a white border1 or a coloured handkerchief is pinned tightly round the head1 and big bows are placed at the back4 ,the men in the ,tyrol wear short coats1 bordered and lined with a bright colour1 and they show their polychromatic prejudices further in their vests of green1 yellow1 or scarlet1 striped with black and white4 ,their short trousers reach to their bare knees1 and are ornamented with designs in white thread1 and their green felt hats are conical in shape1 with narrow brims1 flaunting a bunch of coloured ribbons on one side4 ,the dress worn by the women is very pretty1 displaying a yellow or red stomacher and dark bodice1 worn over nine or ten full short petticoats in different colours4 ,the aprons have coloured borders1 and a black handkerchief is crossed over the bosom under the stomacher1 fur being permitted to trim the sleeves when long2 but with the short sleeve the white frill puts in an appearance at the elbow1 and black mittens embroidered in colours cover the hands and arms4 ,huge caps with plaited crowns1 with a feather or bunch of flowers1 constitute the ordinary head-dress2 and the hair is turned back from the face1 braided at the back1 and kept in place by very long gold pins4 ,the stockings have quaint limitations1 reaching only from knee to ankle1 and the shoes are of black leather4 ,quaintness is the distinguishing feature of the ,dutch peasant1 men and women1--the latter in their full and very short petticoats1 laced bodice and long tight sleeves1 the hair bound and knotted with ribbons2 the former in their closely-fitting coats with monster pockets1 very wide breeches1 and long waistcoats4 ,i don't like them buttons1 a millionaire model once said to his portrait painter2 and a criticism of this kind would come with a touch of authority from the rich ,guelderland peasant1 whose costume is all buttons4 ,coat1 waistcoat1 waistband1 trousers1 and shoes are all decorated with gold and silver buttons1 while at the throat is a silver clasp1 and the women have gold ornaments on their dress and in their hair1 and golden trinkets hang about them everywhere with more recklessness than reason4 ,the peasants of ,french ,flanders wear short full petticoats1 and a jacket laced up the front1 gold ear-rings and a golden cross being conspicuous features of their costume1 which includes a black bib and a cap with a pleated border4 ,a short coat of black and a veil of three or four yards of stuff are added for walking out4 ,the ,westphalian peasant appears to have an odd taste in headgear1 judging from the picture on page #adb1 and the black bow which extends beyond either ear must be stiffened with whalebone to induce it to such a rectitude of conduct4 ,the small linen turban is held by a piece of black ribbon1 beneath which appears a band of white lawn4 ,black lends a picturesque touch to the front of the low bodice1 which is outlined by a handkerchief of white lawn held in front by two elaborate designs of embroidery2 embroidery of green and black and red putting in its appearance round the hem of the plain serge skirt4 ,illustration3 ,a ,,westphalian ,,peasant4 ,the comfortable advantage of reindeer skin was appreciated by the ,norwegian peasants in their dress of olden times1 and cloaks of this were generally worn until the city of ,bergen was built by ,king ,oluf in the eleventh century1 and the coming of foreign merchants introduced a variety of new fashions4 ,according to ,norwegian chroniclers1 the natives took greedily to fine laced hose1 golden plates buckled round their legs1 high-heeled shoes stitched with silk and covered with tissue of gold1 jackets that buttoned on the side1 with sleeves ten feet long1 pleated up to the shoulders4 ,the long reindeer-skin garment did not1 however1 disappear entirely1 until the rule of short clothes and bare legs was inaugurated by ,king ,magnus ,olufsen4 ,the varieties of fashion do not seem to affect the peasants now2 they note with indifference the changes of costume1 and cling mainly to the dress which has descended through many generations4 ,their breeches and stockings are cut in one2 their waistcoats are of woollen material with the seams covered with cloth of different colour2 on their heads they wear brown1 grey1 or black caps1 or broadly brimmed hats2 while their heel-less shoes are made of two pieces of leather1 and the laced half-boots used in winter are covered with sealskin4 ,the ,swedish peasants are devoted to long coats of cloth lined with sheepskin1 and the women choose their woollen gowns striped with green and white and red4 ,the ,norwegian fte dress consists of a laced jacket and leather girdle set with silver1 and indispensable are many rows of chain holding a gilt or silver pendant4 ,the kerchief and cap are covered with silver1 tin1 and brass plates1 buttons and rings being used ad libitum1 and very fine linen is amongst the luxuries4 ,almost every parish in ,norway has its own colour1 a scheme which might considerably assist the police and municipal authorities in the sordid byways of crime1 or the roseate paths of romance4 ,illustration3 ,,hungarian ,,peasant ,,in ,,seventeenth ,,century4 ,the ,hungarian peasant women may be noted in passing for their yellow leather boots and low iron heels1 and they study the serviceable and the beautiful in their many coloured bodices and petticoats1 and white apron and long plaits4 ,the ,hungarian peasant woman illustrated shows the effect of white linen for the head1 with the dress of canvas embroidered in red and blue and violet4 ,the fte dress of the ,morlacchi woman is a gorgeous affair1 with a chemisette embroidered in gold and red1 and the blue petticoat upheld by a woollen girdle trimmed with shells4 ,the stockings are red1 and the shoes of undressed leather4 ,the unmarried women wear strange head ornaments1 including a scarlet cap with a pendent veil1 and such decorations as silver coins1 glass beads1 feathers1 shells1 artificial flowers1 and glass plumes1 all of which elegancies are dispensed with at the altar1 for the matron enwraps her head with a handkerchief and allows her hair to fall simply over her shoulders4 ,the virgin conceals her hair with a cap1 and twists beads and coins amongst her locks in approved ,tartar fashion4 ,the married woman is allowed the ease of the ,turkish slipper1 and all alike wear strings of beads round the neck1 and as many brass and tin rings as they can obtain2 and bracelets of leather covered with wrought silver or tin1 and embroidered stomachers adorned with beads and shells express the last word of smartness4 ,the ,finland peasant woman seems to be the only one with a nice appreciation of brown4 ,she chooses this for her bodice1 with a short skirt of black1 and her sleeves are loose and decked with blue and red1 and round her neck are five rows of large beads1 while her pendent ornaments are of beads1 and her quaint little apron of blue is striped with blue and black and a design in yellow and red beads4 ,the white kerchief covers the head and forehead1 falling on to her shoulders1 and round her waist is fastened a belt striped with red and fringed4 ,but gather your peasant costume where you may1 whether in the ,north or the ,west of ,europe1 you will find its most prominent details the contrasting colour of the bodice1 the blue and red embroidery1 the silver and gold ornaments1 and the linen and canvas fabrics4 ,the kerchief and the cap are the distinguishing features1 and the shape and fashion of the jewellery are inspired as often as not by the prevailing religious rites and the superstitious beliefs of the district4 ,illustration3 ,,in ,,china ,,of ,,old4 ,,chapter ,,xiii ,,of ,,oriental ,,dress ,all over ,china1 and particularly in official circles1 dress is determined by certain fixed laws1 the result being that every detail possesses a meaning for those capable of interpreting it4 ,the most significant feature is the button which adorns the crowns of hats peculiar to ,mandarins1 while embroideries likewise assist in determining the status of the wearer4 ,colour is another factor of importance4 ,yellow is sacred to the ,emperor1 the members of the ,imperial family1 and those privileged few to whom the sovereign desires to award the highest honour4 ,red is exclusively reserved for ,mandarins1 but blue1 violet1 and black are common property4 ,in the matter of feminine attire1 fashion is equally subjective to legislature1 and has varied little throughout the centuries4 ,with regard to the ladies of the ,imperial household1 the rules laid down for their guidance1 in the matter of personal adornment1 are as comprehensive as stringent4 ,custom not only ordains that the ,emperor shall have one hundred and thirty wives1 it also decrees what they shall wear4 ,as chief wife and equal in all points to her ,celestial consort1 it is incumbent upon the ,empress to be distinguished from her entourage by the magnificence of her raiment4 ,for this she depends upon the materials employed and the embroideries1 as the costume common to all ,chinese women of position is modelled on similar lines1 namely1 a long under-dress1 usually of plain silk1 arranged in stiff1 overlapping pleats at the foot4 ,this is surmounted by an over-dress in a contrasting colour1 elaborately embroidered with the insignia of the husband's rank1 and terminating just below the knees1 while the sleeves reach to the wrist1 where they are supplemented by tight inner sleeves1 belonging to the under-dress1 and almost completely concealing the hand4 ,the collar is not more than an inch deep1 and is round in shape1 a becoming touch being added by a narrow scarf of soft silk twisted once about the throat1 and knotted loosely1 with the ends allowed to hang unevenly in front4 ,a rare illumination depicts the ,empress seated upon a throne of carved wood draped with green silk4 ,on her head is a cope-like erection edged with dangling pearl fringe1 her jewellery consisting of jade ear-rings and bracelets contrived from the same precious stone4 ,her under-robe is sumptuously embroidered in a dazzling variety of colours1 pleated and lined with gold tissue1 while the upper garment is of red silk1 worked in an all-over design of dragons1 emblematic of ,imperialism by reason of the distinguishing five claws1 the border being of dark blue richly embroidered in sombre tones4 ,in her right hand she holds the sceptre1 a twisted stick headed by a fabulous bird4 ,next in rank to the ,empress are the three wives known by the title of ,fou-gin4 ,etiquette decrees that they shall wear dresses adorned with feathers worked in five shades4 ,inferior again to these are the nine ,imperial consorts known as ,pins4 ,to them are assigned robes of brilliant yellow1 the thirty-seven ,chi-fous donning white4 ,the lowest wives of all are the ,yu-tsis1 eighty in number1 and they are doomed to appear in black4 ,the over-dress common to ,chinese ladies is coat-shaped1 and opens up the sides for a considerable distance1 another distinctive feature being the sleeves1 which boast a single seam under either arm and are cut in one with the remainder of the garment1 which1 in winter1 is lined with the costliest fur4 ,considerable attention is devoted to the hair4 ,in ,pekin girls arrange theirs in tufts on the temples1 while the back hangs down in multitudinous plaits4 ,as soon as they become engaged they turn it up and thrust a silver pin1 a foot in length1 through the thick tresses4 ,this pin1 by the way1 is as significant of betrothal as is the ring in ,europe4 ,on her wedding day the bride's hair is shaven in front1 to heighten the forehead1 and the remainder braided and coiled about a stiff black silk frame which rests on the nape of the neck4 ,this done1 flowers1 feathers1 glass ornaments1 or1 for the rich1 jewellery set with uncut stones1 are added4 ,a popular style on ordinary occasions is to twist the hair into outstanding bunches at either ear and decorate the excrescences with flowers4 ,a small foot is highly esteemed as a beauty1 and causes its possessor to be ardently sought after in marriage4 ,the practice1 however1 of mutilating the feet in order to achieve the desired result is limited to one daughter out of five in each family1 while the women of ,tartary disdain the notion altogether4 ,the diminutive foot1 erroneously held to be typical of all ,chinese ladies of rank1 is encased in a silk or cotton slipper raised on a thick1 inclined sole4 ,those who are incapable of getting into a shoe compared with which ,cinderella's glass slipper would appear gigantic1 have recourse to the stratagem of wearing a similar model fitted with a high heel set in the middle of the sole4 ,perched on such an uncertain support1 they walk with the mincing steps and swaying gait which1 for them1 constitute the acme of grace1 but which1 in barbarian eyes1 suggest nothing more alluring than an imminent danger of toppling over4 ,abnormally long finger-nails are likewise held to enhance the natural charms of lovely woman1 and the use of cosmetics is freely indulged in4 ,a fan is always carried1 and frequently a pipe1 conspicuous for a diminutive bowl and long slender stem4 ,as representing officialdom1 the ,mandarins1 or ,kwans1 as they are called in their own country1 are quite the most important body of men in the ,celestial ,empire4 ,they are divided into nine classes1 each of which is subdivided into two4 ,a glance at the button on the hat is sufficient to determine the rank of the wearer4 ,the significance attached to this particular decoration is as follows3-- ,class4 ,degree4 ,red ,a ruby or other precious stone #ast #ast ,coral #ast #bnd ,a red jewel of inferior quality #bnd #ast ,coral carved in the form of a flower #bnd #bnd ,blue ,a light-blue precious stone #crd #ast ,the same only smaller #crd #bnd ,a dark-blue precious stone #dth #ast ,the same only smaller #dth #bnd ,white ,crystal #eth #ast ,the same only smaller #eth #bnd ,a white precious stone #fth #ast ,the same only smaller #fth #bnd ,gold ,gold #gth #ast ,smaller #gth #bnd ,smaller #hth #ast ,smaller #hth #bnd ,the last class of all is similarly represented by a gold button4 ,the button employed on ceremonial occasions differs from that worn every day1 in that it is round1 whereas the latter is oblong4 ,another distinctive feature of a ,mandarin's dress is the pectoral--a small piece of material attached to the breast4 ,in the case of civil dignitaries it is embroidered with birds1 while in that of military authorities it displays quadrupeds4 ,illustration3 ,a ,,chinese ,,actor4 ,the official costume consists of a long1 loose gown which opens up the centre and is gorgeously embroidered with dragons or winged serpents4 ,the claws further testify to the rank of the wearer1 those dragons possessing three or four being the exclusive privilege of members of the first four classes1 who are also entitled to wear peacock's feathers at the back of their hats1 and chains of coral1 the red parasol being another of their prerogatives4 ,over the under-robe is worn an ample coat of plain silk extending below the knees4 ,this has wide sleeves1 which allow a view of tight under-sleeves pertaining to the embroidered robe1 and drawn down to cover the hands1 and shaped at the ends in the form of a horseshoe4 ,about the waist is a deep embroidered band1 that serves as pocket in case of need1 while a square1 embroidered collar rests on the shoulders and tapers up to vanishing point at the throat in front4 ,the hair hangs in a tightly-plaited pigtail1 lengthened by the addition of false tresses1 and the characteristic hat boasts a brim of satin1 velvet1 or fur1 shaped like a saucer1 its red crown surmounted by the all-important button4 ,the shoes are those which a man of position must always wear in public4 ,sabot-shaped1 with thick soles1 they are covered in silk1 satin1 or cotton1 and there is no difference between the right and left foot4 ,a coveted military distinction is a fox's tail arranged at the back of the hat4 ,the most signal mark of ,imperial favour1 however1 is permission to wear a yellow coat4 ,illustration3 ,a ,,chinese ,,peasant4 ,in his everyday attire the ,mandarin observes none of these elaborate formul4 ,he dons a loose robe of silk to the ankles1 an umbrella-shaped hat1 and heel-less shoes with pointed toes that curve slightly upwards1 contrived from rattan plaited in such a manner as to allow freely of ventilation4 ,in his right hand he carries a fan and in his left a checked handkerchief of imposing dimensions4 ,the ordinary dress of men of the middle classes comprises a short shirt cut low at the throat1 drawers1 socks of material made with a single seam up the back1 a long embroidered coat1 and a shorter jacket of some plain fabric1 held by a broad waist-belt1 embroidered in colours and fastened by a jade ornament4 ,the headgear differs according to the season4 ,in summer a conical-shaped straw hat is chosen1 and in winter small hats obtain either of hard felt with stiff1 upturned brims or of felt soft and pliable4 ,the costume of the lower orders is simplicity itself4 ,a cotton shirt1 trousers1 and a loose sleeveless coat exhaust the list4 ,a narrow strip of material is tied round the waist in order to prevent the clothing getting in the worker's way1 and the naked feet are thrust into low sandals4 ,occasionally the ubiquitous pigtail is turned up and pinned in a coil about the head1 but this liberty is never permitted in the presence of a superior4 ,as a matter of fact1 the etiquette of dress is rigidly observed throughout ,china4 ,no gentleman would dream of either paying or receiving a visit without shoes on his feet1 a fan in his hand1 and a wide1 pointed hat1 rather suggestive of a tent1 on his head4 ,how true it is that manners1 like morals1 are mere matters of geography6 ,in contrast to the love of display characteristic of their ,chinese neighbours1 the ,japanese are conspicuous for extreme simplicity4 ,this national trait finds expression in their dress4 ,here ,i pause to consider whether1 as a chronicler of costume1 ,i should allude to the ,japanese in the present or past tense8 ,i regretfully incline to the latter view1 for there is little doubt that the smoke of factory chimneys1 built on ,european lines and fed with ,cardiff coal1 is rapidly blurring local colour4 ,already the quaint little men have adopted the outward and visible sign of inward civilisation in the form of a frock coat and top hat4 ,their women-folk have followed their example and discarded the picturesque for the prosaic1 exchanging the fashions transmitted by their ancestresses for those telegraphed from ,paris4 ,will the ,geishas do likewise1 and is another decade destined to see them in caps and aprons1 and will--,imagination fails me1 and ,i revert to the glorious days of the ,daimios and ,samourais--days for which1 ,i am firmly convinced1 every frock-coated ,japanese sighs as ardently as ,i do4 ,in old ,japan social distinctions were drawn for all time1 and there was no crossing the line of demarcation4 ,society was divided into nine grades4 ,the princes1 or ,daimios1 the nobles1 or ,samourai1 the priests1 and the military composed the first four4 ,these were entitled to carry two swords1 while the intellectual class1 which numbered doctors in its ranks1 was allowed one4 ,the remainder1 including lawyers1 were debarred the privilege of bearing arms4 ,from the age of seven the son of a ,samourai appeared in public wearing the two swords distinctive of his rank4 ,they were small1 of course1 as appropriate to his size and strength1 but were otherwise perfect in every detail4 ,despite rigorously-observed social divisions1 all classes wore the same outer garment1 the difference being in the materials employed4 ,until the influx of ,europeans made its levelling influence felt1 the use of silk by any but the nobility was strictly prohibited4 ,the article of attire common to both sexes of the community was the kimono1 a loose1 flowing wrap which opened down the centre and crossed over at the breast1 where on men it was held in place by a narrow belt1 while women wore a wide sash neatly folded and tied in an elaborate bow behind4 ,although the sleeves were immensely wide and hung in deep points1 only a small opening was left for the hand to pass through1 the remainder being joined together to serve as pocket4 ,etiquette exacting that what a guest could not eat he should take home1 the superfluous dainties were carefully enveloped in paper and deposited in the roomy sleeves4 ,handkerchiefs were of tissue paper1 and were carried in the belt2 while no ,japanese1 of either sex or any rank1 from the ,mikado downwards1 would consent to even a momentary separation from his or her fan4 ,masculine costume consisted of tight trousers to the calf and the loose1 round shirts1 which were fashioned from white material for the people and from greyish-blue silk for the nobility2 and labourers displayed on theirs the insignia of their special craft or of the corporation to which they belonged4 ,common to all classes were high wooden clogs and sandals of plaited straw4 ,peculiar to the aristocracy and certain regiments1 notably the archers1 were short trousers of brilliantly-coloured silk1 cut so immensely wide as to suggest the petticoats of a ballet girl4 ,on ceremonious occasions the feet and legs were left bare4 ,stockings were cut out of cotton1 or stuff1 neatly seamed up the back1 and were made with a division at the great toe for the thong of the sandal4 ,on the whole1 subdued shades and dark colours predominated1 the ,japanese being distinguished by the quiet elegance of their taste4 ,typical of the headgear affected by the lower classes in warm weather was a huge straw hat in the form of a dish-cover4 ,another characteristic example1 likewise of straw1 resembled a round1 deep-edged tray1 the brim turned downwards1 and the whole was held in place by means of a chin-strap4 ,women1 as a rule1 left the head uncovered1 preferring to rely for protection upon flat umbrellas made of paper1 cotton1 or silk4 ,they drew their hair off the forehead1 dressing it in neat puffs or coils and decorating it with large1 ornamental pins1 flowers1 and ribbons1 but neither ear-rings nor any other articles of jewellery were worn4 ,married women were distinguished by their blackened teeth and the fact that their eyebrows were shaved and their faces unpainted4 ,they wore a long robe of red crpe de chine which folded over at the breast leaving a ,v-shaped opening at the throat4 ,their pet vanity was to arrange their under-garments so that the border of each formed a regular trimming at the neck1 a glance sufficing to show how many were worn--the greater the number the greater the success achieved4 ,on the back and sleeves of their trailing silk kimonos were embroidered the arms of their house4 ,when walking1 or otherwise inconvenienced by folds of material clinging about their feet1 they tucked the kimonos into the belt1 a pretty fashion which revealed the gaily-coloured gown beneath and the high wooden clogs4 ,the only difference between the dress of women of the upper and lower classes was the employment of cotton instead of silk4 ,despite the fact that ,european influence has done much towards imposing ,european costume upon the ,japanese1 the influence is as yet restricted to ,tokio and other industrial centres4 ,in rural districts the national dress is still sacred1 and the country-man remains a quaintly picturesque figure to delight the visitor from across seas1 who recognises in him the prototype of the carved ivory models of the glass cabinet and curio table4 ,from the land of the chrysanthemum to that of the ,pyramids is a far cry1 and in point of fact no more dissimilar types could be imagined than those of old ,japan and ancient ,egypt4 ,woman's dress characteristic of the latter country was marked by a shamelessness of display and a unique brilliancy of colour1 the effect of the scanty garments in vivid tones accentuating rather than concealing the natural lines and curves of the figure4 ,the chief article of attire would seem to have been the deep circular collar worn round the throat1 and this was typical of both sexes and of all ranks of the community with the exception of the very meanest4 ,it was composed of jewels1 metal1 enamel work1 or beads1 according to the position of the wearer4 ,feminine dress consisted of a tight sleeveless robe1 better described perhaps as a clinging skirt1 of a texture adapted to define the figure1 reaching to the ankles1 and extending a few inches above the waist4 ,it was held in place by a pair of straps which were joined in the centre and1 separating1 passed over the shoulders to meet again behind4 ,the bust and arms were bare1 the latter adorned with bracelets at the wrist and again above the elbow4 ,anklets were worn1 and occasionally big circular ear-rings4 ,illustration3 ,,an ,,egyptian ,,peasant ,,woman4 ,illustration3 ,,an ,,egyptian ,,water-,,carrier4 ,the treatment of the hair was extremely elaborate and difficult1 calling for the exercise of considerable skill and patience4 ,cut straight across the forehead1 it was arranged with mathematical precision in several rows of fine plaits1 the clubbed ends terminating immediately below the nape of the neck4 ,as a coiffure of this kind necessitated an enormous expenditure of time and labour1 all classes of society had recourse to wigs1 the rich employing natural hair for the purpose1 and the poor1 wool4 ,a typical example of a fashionable perruque took the form of a densely-braided mass which covered the head as efficaciously as a mat1 one large plait coming down at either side of the face1 and curving round on the shoulder in the shape of an elephant's trunk4 ,the crown of the head was usually encircled by a slender golden fillet1 which1 in the case of a ,pharaoh1 or a royal lady1 was twined about with the urus1 emblem of supreme sovereignty4 ,the head of the sacred asp reared threateningly in the centre of the forehead4 ,cleopatra--not the famous ,cleopatra of ,mark ,antony1 but one of her five predecessors--is represented with the bare bosom1 naked arms1 circular collar1 and skin-tight skirt common to her countrywomen4 ,a noteworthy feature is that her dress1 of bright blue and white material1 shows horizontal stripes to the knees1 where it is joined by a slightly fuller flounce with the stripes running vertically4 ,it is supported by scarlet shoulder-straps1 and the ribbon encircling the crown of the head is in the same shade1 knotted at the back1 where it hangs in two short ends4 ,the wig is arranged in multitudinous plaits that rest on the shoulders at either side and descend midway to the waist behind4 ,above the forehead rears the royal asp1 and over it tower two straight quills1 which form a background for the horns of a ram between which glares a flaming sun2 these quills1 by the way1 typify absolute sovereignty4 ,illustration3 ,,an ,,egyptian ,,peasant4 ,the head-covering in general use consisted of a piece of material shaped to rest flat on the top of the head and describe a curve in front1 with a straight1 narrow tab cut up at the side to allow free passage for the shoulder1 the back hanging curtain-wise to afford ample protection to the nape of the neck4 ,the textures employed for such purposes were cotton1 linen1 and wool decorated with stripes or embroidery4 ,the men1 as well as the women1 glittered with bracelets1 anklets1 and other jewellery of a massive and showy type4 ,white was preferred to colours for their clothing2 and the habitual costume for men was of the scantiest possible description1 being nothing more or less than a sleeveless tunic held up by shoulder-straps1 a narrow piece of ribbon being tied round the waist1 terminating in two short ends in front4 ,this skirt or tunic reached to the knee or calf1 and sometimes even as far as the ankle2 the legs1 arms1 and chest were bare1 and the face clean-shaven4 ,a great warrior is depicted wearing a tightly-fitting shirt of mail composed of bronze scales sewn on to soft leather1 displaying short sleeves and descending below the knees1 a white metal gauntlet protecting the left wrist4 ,on the head is a high1 narrow helmet which completely conceals the hair1 and from it floats three pendent ends of striped material4 ,about the throat is a jewelled and enamelled collar1 and from a thick gold chain hangs a large gold ornament engraved with figures4 ,it is known that the finest and most transparent muslins were first manufactured by the ancient ,egyptians1 and doubtless these were used for making dresses2 indeed in proof of this many representations are extant of female musicians clad in diaphanous muslin through which the body can be clearly seen4 ,the loose robe is drawn under the right arm and fastened on the left shoulder4 ,did ,egyptian women ever grow old1 ,i wonder1 and if so1 what did they wear8 ,the artists have left us no record save of the eternal feminine eternally youthful4 ,,chapter ,,xiv ,,of ,,oriental ,,dress 7continued7 ,and never the twain shall meet1 lilts ,kipling of the ,east and the ,west2 and in the province of dress1 as everywhere else in the ,orient1 caste1 ruling supreme1 writes incontroversial laws of separation4 ,in ,india1 the article of masculine attire to which most importance attaches is the turban1 its shape and general aspect denoting the social and spiritual status of the wearer4 ,until the founding of the ,mogul ,empire in #aeje1 the women of ,hindostan were strangers to the tyranny both of the ,zenana and of the veil1 but from that time onwards traces of ,mohammedan influence are plainly visible in the habits and costume of the people4 ,the utmost magnificence and display characterised the dress of the ,mogul ,emperors and their ,court2 and although differing in colour1 texture1 and certain minute details1 the costumes common to the period were identical in broad outline and general design2 and ,fashion moved so slowly in a country where tradition was regarded as law1 that the sleeve and collar in vogue at the end of a century were very like those obtaining at the beginning4 ,a prince of the ,mogul dynasty1 who is depicted in a dress typical of his time and rank1 wears long1 tightly-fitting pyjamas of striped red and gold material1 very much rucked at the calf and terminating at the ankle4 ,his feet are encased in embroidered slippers1 which leave the heel bare1 the pointed toes curling upwards4 ,the over-dress reaches to below the knee1 and is of transparent white tissue1 the skirt pleated and held at the waist by a sash1 worked in gold1 scarlet1 and black1 knotted in front and with fringed ends falling in unequal lengths4 ,a jewel-hilted dagger is worn at the left side1 and a narrow scarf1 in white and gold1 crosses the breast1 passing under the right arm and over the left shoulder1 where one end hangs down behind and the other before4 ,the closely-fitting sleeves are rucked1 and bracelets are drawn over them at the wrist and above the elbow1 while several rows of pearls appear at the neck4 ,the small white turban is arranged in a point on the forehead and encircled by a broad gold band and a string of pearls1 the latter raised in front by an enormous emerald1 a superb aigrette waving above an ornament glittering with diamonds and other precious stones2 and on state occasions a large sword1 sheathed in crimson velvet1 and with a cross-shaped hilt studded with jewels1 was carried1 another mark of ,imperial dignity being the umbrella which overspread the throne4 ,the dress of high-born ladies was very similar to that of the men1 for it1 too1 consisted of rucked trousers1 of brilliantly-coloured silk1 decorated with embroidery and confined at the feet with plain gold bangles or jewelled anklets4 ,the pointed slippers curved up at the toes and left the heels exposed1 and the pleated robe of transparent muslin terminated at the calf4 ,from the waist in front a width of gold tissue1 fringed and worked in various bright shades1 hung apron-like1 while the bust was supported by a corselet contrived from polished wood so light and so supple as in nowise to interfere with the lithe movements of the body4 ,the arms were bare1 excepting for bracelets at the wrists and above the elbow1 and the head and upper portion of the figure were enveloped in the graceful folds of a sari1 or immense veil of diaphanous texture bordered with gold and patterned in vivid colours4 ,the hair was parted1 and fell in plaits behind1 a jewelled ornament being worn in the centre of the forehead2 while a pearl was fastened into one nostril1 and the nails were stained vermilion4 ,illustration3 ,,an ,,old ,,indian ,,festival ,,dress4 ,court dignitaries are represented in long1 loose garments coming below the knees and cut low at the throat to reveal a vest of fine white material1 but otherwise identical in design with the ordinary dressing-gown of a man of to-day4 ,the waist was encircled by a broad band of embroidery1 and the trousers completely encased the feet4 ,on the head was the inevitable turban1 round in shape and wide of brim4 ,under the ,british ,raj1 ,india retains her picturesque variety of costume1 and remains the one land faithful to the traditions of the turban4 ,hardly less splendid than in the gorgeous days of the ,mogul ,empire is the dress of a modern prince of the caste of ,rajput4 ,a small red turban is wound tightly about the head1 one short gold-bedizened end falling behind4 ,the big ear-rings are crescent-shaped1 and the necklace is composed of several rows of pearls4 ,a white robe falls to the ankles1 and is surmounted by a shorter yellow jacket embroidered in colours and held together at the waist by a sash of peacock blue satin1 the gold fringed ends falling unevenly in front4 ,the tight sleeves terminate at the elbow1 where they are supplemented by white ones1 which extend to the wrist4 ,scarlet and white are the favourite contrast1 and the effect is to make the crowded bazaars brilliant and attractive to the eye4 ,a costume characteristic of a ,pathan1 a ,musulman by religion1 consists of a white turban of voluminous proportions wound in such a manner as to form a wide brim4 ,the tight trousers are clearly visible through a flowing robe of figured white cotton1 which reaches nearly to the ground1 and1 crossing over at the breast1 is kept in place by a striped shawl folded about the waist1 the picture being completed by velvet slippers turned up at the toes4 ,the coolies are generally naked except for a loin-cloth and turban1 but some wear a white cotton shirt1 short-sleeved and held by a folded belt in some bright shade4 ,brahmins are distinguished by the sacred cord1 in reality a twisted rope of cotton1 which hangs from the left shoulder to the middle of the thigh4 ,a typical costume is evolved from a long1 straight piece of material wound round the body from the waist downwards1 and drawn between the legs to form a trouser-like division4 ,a shawl1 draped about the upper portion of the figure1 is manipulated in such a way as to cross on the left shoulder1 one end hanging in front and the other behind4 ,a shako-shaped turban and a chaplet of beads put the finishing touches1 while on the forehead1 breast1 and bare arms the mark of the sect is painted with white powder4 ,from the age of seven1 ,parsees of both sexes don the sadra or sacred surplice emblematic of the coat of mail worn in ancient times by the ,guebers to ward off the attacks of ,ahriman1 spirit of evil4 ,the dress of the men comprises light1 baggy trousers1 white stockings1 flat-heeled slippers1 a tight black coat1 usually of alpaca1 buttoned down the front1 and a high sugar-loaf hat of shiny black4 ,nothing more charming could be devised than the dress peculiar to the female followers of ,zoroaster4 ,until she marries the ,parsee girl wears wide trousers fashioned from brilliantly-hued silk or satin1 and the hems of the legs are adorned with bands of embroidery in quaint designs of birds and beasts worked in the most gorgeous tints4 ,her inner garment is a long sleeved jacket of white muslin1 over which comes the sadra1 or loose1 square tunic lacking sleeves1 and distinguished by the magnificence of its embroideries4 ,the hair1 divided in the centre and hanging down behind1 is crowned by a little circular cap of black velvet covered with gold and silver embroidery and studded with seed pearls1 while on the feet are gaily-embroidered slippers4 ,etiquette decrees that before her wedding the ,parsee woman must submit to having her head shaved1 a martyrdom which is responsible for the nun-like band of white material drawn low on the forehead4 ,she continues to wear the trousers1 but exchanges the decorative sadra for an even more superb sari4 ,this voluminous drapery is of gold-bordered muslin in warm weather1 at other seasons a long1 straight piece of silk or satin wondrously coloured and exquisitely embroidered4 ,it is wound round and round the body1 outlining it tightly at the back1 and hanging in straight folds in front1 each evolution being accomplished in pleats1 to attain sufficient fulness2 and finally the end is drawn over the head1 concealing one ear and leaving the other exposed1 a practice which explains the single earring worn by ,parsee women4 ,in warm weather the sari is of muslin and boasts a wide gold border4 ,the principal item in the wardrobe of the ,hindu woman is likewise the sari1 which she arranges as the ,parsee does hers4 ,the texture varies according to the means of the wearer4 ,the poor employ cotton1 but they invariably endeavour to have an ornamental border of some kind4 ,the simply-made skirt reaches to the ankles1 and the chuli1 a short-sleeved jacket of diminutive proportions1 terminates immediately below the bust1 leaving the middle of the figure uncovered excepting for the sari4 ,the hair is twisted in a heavy coil low down on the nape of the neck1 a style rendered necessary by the custom of carrying weights on the head4 ,the poor ,hindu1 distrustful of other securities1 invests such worldly wealth as he possesses in jewellery for his wife1 who appears laden with bracelets1 of painted wood or coloured glass4 ,as many as twelve rings jingle from the much-pierced rim of either ear1 while an ornament1 frequently of preposterous size1 is affixed to one nostril1 and in addition there are anklets1 necklaces1 and toe and finger rings4 ,if the outdoor dress of ,persian women be any criterion1 their husbands must be the most jealous in the world1 for not one of the charms accredited to frail femininity is allowed to transpire4 ,the veil and all-enveloping mantle maintain a profound reserve1 so that whether the wearer be old or young1 slender or stout1 attractive or repulsive1 remains for ever an impenetrable mystery4 ,before quitting the seclusion of the ,andaran1 the ,persian woman assumes an effective disguise4 ,first she draws on a pair of dark green or grey trousers1 one leg at a time1 for there is no connection between the two1 and these are fastened at the waist by a belt4 ,their shape is peculiar2 for1 baggy to the knees1 they fit closely at the calf and encase the foot after the manner of a stocking4 ,over these is worn an ample mantle of black silk1 cotton1 or muslin1 covering the head and shrouding the entire figure1 the ends drawn up at the bust and held by strings1 which are crossed and tied round the neck4 ,a thick white veil--an essential item from the age of nine--falls from the forehead to the waist in front1 and is pinned at the back of the head to keep it in place1 a narrow insertion of net appearing at the eyes1 to allow sight to the wearer4 ,the indoor dress of a ,persian lady consists of a full skirt to the ankles1 fashioned from cloth of gold1 velvet1 or some other costly fabric1 trimmed with beautiful embroidery4 ,a loose jacket of soft white muslin1 decorated with a peculiar kind of lace1 forms a vest in front beneath an open embroidered jacket of a shade contrasting with that of the skirt4 ,this jacket reaches to the waist1 and has long sleeves conspicuous for turned-back cuffs4 ,a cashmere shawl is draped on the shoulders1 and a white veil is arranged kerchief-wise on the head and fastened under the chin with a jewelled brooch1 leaving only the oval of the face visible4 ,the brows are encircled by a golden fillet1 from the centre of which depends a jewel1 while the hair is parted and hangs down behind in three or more plaits1 their ends tied with gay ribbons or weighted with pearls or silk tassels4 ,a variation of this style is noted in the dress of the ladies of ,trebizond1 their cashmere shawl being smaller and arranged over the skirt in such a way that a point falls down behind4 ,the snowy muslin chemisette is cut low at the throat1 and the embroidered coat shows a heart-shaped opening fastening only at the waist with two buttons2 and on the head is a small round cap4 ,female servants are generally barefooted1 their full skirts terminating midway to the ankles1 and pulled low down on the hips1 so that the short white under-jacket and little coat of coloured material terminating at the waist1 expose the centre of the body to view4 ,the official classes have discarded the turban in favour of the fez1 a closely-fitting cap some six inches in height1 contrived from black cloth or astrakhan4 ,these are plain1 with the exception of the jewelled fez peculiar to the ,shah1 and of the caps of certain high military authorities1 which bear a distinctive badge of a gold lion and sun affixed above the forehead1 a field-marshal wearing two lions surmounted by a crown4 ,the turbans of the priests are large and round1 those characteristic of the ,seyyids1 the direct descendants of ,ali1 being in a bright shade of green4 ,as a rule1 the official classes wear trousers and black frock coats that differ from those customary in ,europe only in that they are arranged in numerous pleats1 which1 commencing at the hips1 continue round the back4 ,infinitely more characteristic is the costume affected by merchants1 this section of the community exhibiting a partiality for lightish blue cloth of native manufacture4 ,the long coat1 or ghaba1 is loose and flowing4 ,double-breasted1 it laps over and fastens with two buttons1 while about the waist a shawl is wound several times1 knotted1 and the ends tucked out of sight4 ,the overcoat1 or aba1 is of rough brown material1 open in front1 and the wide sleeves terminate at the elbow4 ,a towering fez or a rolled turban is worn1 according to the taste of the wearer4 ,the priests1 or ,mullahs1 affect much the same style of garb2 and1 as ,i write1 one whom ,i knew rises up before me4 ,his was a most imposing personality4 ,of middle height1 he seemed much taller by reason of his large white turban and ample robe of dark blue that flowed to his ankles1 revealing heel-less shoes of bright yellow leather4 ,round in shape1 his head was shaven1 and his beard was trimmed to a point and stained with henna4 ,about his waist a white shawl was wrapped six times1 and into it was tucked a big striped cotton handkerchief4 ,in his hand he carried a rosary composed of a hundred clay beads1 and1 when he walked1 the dignity of his demeanour was further enhanced by a long white mantle which he wore flung over his right shoulder4 ,persians eschew gaudy colours and striking contrasts in dress1 preferring quiet shades and harmonious combinations2 dull reds1 dim blues1 and sombre greens being favourite tints4 ,the diplomatic uniform is black1 the front of the tight coat one blaze of gold embroidery2 and the official sword is suspended from a narrow belt4 ,in ,turkey1 as elsewhere1 international intercourse has gradually led to the disappearance of those salient features which make for the characteristic in dress4 ,in ,constantinople the official classes wear the conventional garb of ,western ,europe1 with the one noteworthy exception of the fez1 a red cloth cap surmounted by a black silk tassel4 ,french fashions are permitted in the privacy of the harem1 but etiquette decrees that the women1 before they go out1 shall exchange these for a simple toilet of nun-like severity2 and the ladies of the ,sultan's household1 who are never seen in public unless in a carriage or boat1 don an all-enveloping mantle of black silk in winter and of some light shade in summer2 and over this two white veils are worn4 ,the first covers the face as far as the bridge of the nose1 and the second is drawn across the brows1 shrouding the head and leaving only the eyes visible4 ,but in truth these yashmaks are so transparent that they serve to enhance rather than conceal the charms1 natural and artificial1 of the wearer4 ,through the shimmering white drapery the flower-decked hair is clearly seen1 and romantic in the extreme is the effect of a small boat with three rowers1 and a veiled figure under a fluttering lace parasol1 gliding swiftly over the sun-kissed waters of the ,bosphorus4 ,the walking dress in vogue in modern ,constantinople is even plainer4 ,it consists of a black silk skirt and a silk cape to the waist1 the cape being provided with an additional piece to cover the head1 and an essential complement is a short veil of close black net4 ,in summer black is exchanged for light colours1 but the style remains the same4 ,the priests1 with true ecclesiastical fidelity to tradition1 have remained constant to the old-world style of dressing2 and to this day they cut picturesque figures in a red fez encircled by a narrow white turban1 loose trousers kept in place by a cashmere shawl1 dark yellow in colour and of great beauty of design1 and a black caftan1 a garment almost identical with that of the cassock worn by the clergy of the ,church of ,england4 ,another survival which is familiar to the casual visitor to ,constantinople is the dress of certain labourers1 consisting of baggy pantaloons to the knee or a little beyond1 red shoes1 a long sleeved cotton shirt1 and a short1 sleeveless jacket of blue or black material1 a red fez1 and a coloured shawl about the waist4 ,formerly fur trimmings denoted great opulence and luxury1 and the skins most favoured were ermine1 sable1 marten1 white fox1 and squirrel1 which were changed according to a prescribed formula4 ,the date for one to be discarded and another substituted was fixed by the ,sultan1 who usually elected to appear in new clothes on a ,friday1 when attending mosque4 ,the ,grand ,vizier was officially notified of the intended change1 whereupon he immediately sent word to the entire ,court1 who hastened to follow the sovereign's example4 ,the outdoor dress of ladies in those days was a lengthy mantle of dark material1 which boasted long sleeves and a deep sailor collar of red1 blue1 or green satin2 essential accessories being the two white veils and top boots of yellow morocco4 ,heavy and sumptuous1 the gown worn at home consisted of baggy trousers of thin texture drawn in tightly at the ankles1 supplemented by a long sleeved chemisette of white muslin trimmed with a peculiar kind of lace4 ,this was met at the bust by the dress proper1 a trailing robe of rich material encircled by an embroidered belt fastened by a jewelled clasp and drawn down very low in front4 ,the sleeveless velvet mantle was edged with velvet and fell to the ground1 and on the head was a high turban of embroidered muslin surrounded by a gold fillet set with diamonds1 rubies1 and emeralds4 ,the hair was cut in a straight fringe across the forehead1 and arranged in bands over the ears4 ,turkish women have always displayed a great fondness for jewellery1 and modern etiquette renders a diamond tiara incumbent upon the bride of any social standing whatsoever4 ,much of the fascination of the desert1 its mystery and its appeal to the imagination1 is embodied in the ,arab4 ,the eye travels over the tall figure1 straight as a palm tree1 draped in the long folds of the burnous1 with the same baffled sense of inquiry1 the same subdued excitement and expectation with which it looks across the arid sand stretching out to the horizon and beyond4 ,what restless fever consumes this statuesque figure1 impelling him ever to be on the move8 ,where does his quest lead amid the dunes and burning sand1 and what is the power that keeps him eternally a wanderer in that silent land8 ,vaguely one realises the subtle affinity between the two--the nameless spell which the desert casts over her sons4 ,the dress of the ,arab1 picturesque though it is1 would seem to have been expressly designed with a view to affording the utmost possible protection to the head4 ,the cachi1 a little felt cap1 red1 brown1 or white1 and surmounted by a silk tassel in a contrasting shade1 is common to all4 ,two1 and frequently three1 are worn1 one above the other1 the topmost being invariably red4 ,concealing the cachi is the hak1 an ample white drapery drawn low on the forehead and falling curtain-wise about the face4 ,it is held in place by one or more tightly-fitting rings composed of camel's or goat's hair1 pressed firmly down on the head1 and is of such liberal dimensions as to envelop the entire figure above a shirt contrived from fine white wool4 ,over all is flung the burnous1 a voluminous mantle of plain or striped material which can be arranged in a variety of ways4 ,sometimes it is tied at the throat with strings tipped with tassels1 and at others it is wrapped about the body in classic folds with one end flung over the left shoulder4 ,sandals are worn on the bare feet1 and the beard is long and pointed4 ,the costume of the chief of a warrior tribe differs in detail1 although retaining the characteristic features4 ,the sandals are supplemented by high leather side-pieces1 open up the front and with the tops decorated with tassels4 ,the short1 tightly-fitting coat is trimmed with embroidery and more tassels1 and reveals a wide expanse of white vest and a folded belt of brilliantly-hued silk4 ,the baggy trousers terminate at the knees1 where they are met by striped stockings4 ,the hips are encircled by a shawl1 which is knotted at the left side2 and on the head is the inevitable hak1 surmounted by a large saucer-brimmed hat composed of feathers and conspicuous for a dome-shaped crown4 ,the burnous fastens with tassels at the throat1 and is flung back from the shoulders1 tassels reappearing at rare intervals round the hem4 ,in towns ,arab women are always more or less veiled1 while those leading the free life of the desert dispense with what they deem superfluous drapery and choose for ordinary occasions attire of the scantiest description1 merely consisting of a simple robe to the ankles1 sleeveless and confined by a narrow girdle4 ,on days of grand ceremonial this is exchanged for a long1 flowing gown1 the hem and elbow-sleeves edged with fringe1 and draped with big cotton handkerchiefs in vivid plaid designs4 ,one of these is drawn closely round the head1 and the ends are flung back to float behind in picturesque disarray2 a second is pinned at the right hip and again on the left shoulder2 from the neck hang bead chains1 and every available item of enamelled jewellery is displayed on different parts of the body4 ,the pendent silver ear-rings are of imposing size and weight1 and wide bracelets cover the arms1 while1 in the case of a woman fortunate enough to be the mother of a son1 a distinguishing ornament dangles in the centre of the forehead1 whence the hair is drawn back and arranged in a coil on the nape of the neck4 ,this jewel she forfeits upon the birth of a daughter1 and she recovers it only if she be blessed by another son4 ,,chapter ,,xv ,,of ,,fancy ,,dress ,the fancy-dress ball of private enterprise has nowadays comparatively little patronage4 ,the hostess is willing1 but the guest is weak1 and while idleness is at the root of most social pleasure1 the effort required to assume the virtue or vice of some other personality is placed without the pale of popularity4 ,there have been1 of course1 some historical exceptions1 such as the famous balls given by the ,duchess of ,devonshire and the ,countess of ,warwick1 but similar triumphs seem scarcely possible except in these exalted circles1 when the attendance is great because not to be present is to argue yourself unasked4 ,there are public fancy-dress balls in plenty1 and the ,ice ,carnival has just lived its little day--or night1 and now and again some daring creature1 unversed in the ways of her world1 issues invitations with the words ,fancy ,dress printed on the corner of the card1 which declares her determination to be ,at ,home at some club or another4 ,but disappointment generally waits upon the result3 the numbers who accept are few1 and of these many will consider themselves exempt from wearing the motley1 and will beg the question in the ,windsor uniform of red facings to the dress coat4 ,most men candidly confess to feeling themselves fools arrayed in any but the most conventional costume1 and it is only the vanity of a few that will yield to the attractions of being a velvet-clad ,cavalier1 a slashed ,romeo1 or a bedizened ,beaucaire4 ,a woman1 on the other hand1 delights in being somebody else1 and scarcely a country house party comes to its close in winter time without some attempt at dressing up1 the head-dress dinner being quite an established function1 whence1 without doubt1 much amusement may be evolved and much ingenuity result4 ,the success of the head-dress in influencing the entire appearance gives1 of course1 proof to my favourite dogma1 that the crowning point is the point of importance in costume4 ,time and opportunity in the past have exhausted the decorative delights of simulating some flower1 but although such tactics are distinctly common-place1 yet few frocks look prettier than these when well planned4 ,one of the most successful ,i can recall represented a fuchsia1 and it had a purple velvet skirt cut in pointed tabs1 and bore an over-skirt similarly treated of crimson silk2 the tight-fitting short bodice was of the palest green1 cream-coloured stockings in pale green satin shoes appeared beneath these1 while the hat was an entire fuchsia1 violet1 purple1 green1 and cream being all disposed in their proper places4 ,this was easy enough to make1 and facility must be an advantage1 even as economy1 in the planning of a dress for the carnival1 since1 after all1 it is scarcely likely to make its appearance on more than one occasion4 ,an original idea for which we can give thanks to the ,fates is the ,gooseberry-fool's dress1 which may be compassed with petticoats of pale-green silk fringed with gooseberries of padded silk1 and on the head a fool's cap with pendent gooseberries as bells4 ,as a dress easy of achievement ,i can quote that one sketched here in colour1 the ,seville ,orange4 ,the dress and bodice of orange-coloured silk bear an application of padded oranges and leaves on the skirt1 beneath a chenille fringe of black with heavy netting1 velvet streamers and oranges are used at discretion to adorn the hair1 and the petticoats beneath the yellow skirt are of green1 the stockings and shoes being of the same tone4 ,at a fancy-dress ball the costume which is merely original and not pretty should be condemned except when the novelty prize is the desideratum of the occasion4 ,there have been some remarkable costumes designed1 which have proclaimed every scientific invention1 and others which have illustrated topical scenes and current events1 involving much special preparation and printing1 and invariably presenting some difficulty when the great question of head-dress had to be answered becomingly4 ,it is not easy to convey a ,marconi system as a hat1 nor can it be considered a simple task to invest a coiffure elegantly with the best principles of an air-ship1 even though the ladies of long ago saw fit to crown themselves with the last cry in ,armadas4 ,it is on record that the audacious actor1 ,samuel ,foote1 distinguished himself by appearing at a masquerade in an abnormally exaggerated caricature of this fashion--a policy which led more directly to the discomfiture of ,samuel ,foote than to any serious contempt for the fashions he held up to ridicule4 ,illustration3 ,,the ,,seville ,,orange4 ,illustration3 ,a ,,botticelli ,,dancing-,,dress4 ,an easy and popular manner of solving the problem of what to wear is to reproduce the dress which is being worn by the heroine of some very favoured play4 ,vronique1 in her pale-green silk and white muslin draperies1 was a recent opportunity much adopted1 and for years no fancy-dress ball was complete without at least three ,kate ,hardcastles1 while ,juliets were to be found in every doorway1 and a dancing ,faust would lack no choice of ,margarets4 ,the ,calico ball proclaims itself pre-eminently thrifty in its intention1 and remarkably pretty effects may be obtained with cotton fabrics1 if sufficient intelligence be used in the design of the dresses4 ,to achieve the effect of an old print1 white crpe cotton and pale blue sateen1 with a straw bonnet banded with the blue and a pink rose beneath1 may be recommended as useful ingredients4 ,the ,marcus ,stone girl1 as we familiarly call a maiden clad in white muslin with a frilled fichu1 is another heroine whose frock lends itself readily to cheap material1 and we have always at our disposal the ever-popular red1 white1 and blue flag1 yet bunting is not the most comfortable of fabrics for the enthusiastic dancer4 ,the embodiment of the ,seasons1 although considerably hackneyed1 may safely be accomplished with cottons and muslins and swansdown1 leaves1 and flowers2 and a very effective dress is the ,rainbow1 in which rainbow crpe of ,japanese manufacture is an ideal assistant4 ,chiffon is indispensable to the success of many a frock4 ,in a dress which shall represent ,smoke1 for instance1 the chiffon ought to be of a dark-grey tone1 and yards and yards should be wound about the figure and the head1 the sleeves being wing-shaped1 the stockings and shoes to match4 ,flames may also be embodied with orange-red and yellow chiffon1 draped round with liberality1 it being understood in both these cases that a thin1 tightly-fitting petticoat and under-bodice be supplied of pongee to match the chiffon4 ,illustration3 ,,an ,,eighteenth-,,century ,,pierrot4 ,a good idea for a fancy-dress ball1 if not one based perhaps upon the truest spirit of poetry1 is ,greens2 chiffon or silk of many shades of green1 with a head-dress in the shape of a cabbage4 ,very successful1 though not inexpensive1 is the ,oyster dress1 composed of a very thin white satin lined with pink satin1 adorned at discretion with fringes of pearls1 while a pink chiffon chemisette is gauged to admiration upon the draped white satin bodice1 and the coiffure of the wearer is surmounted by a coronet of oyster shells set on a bandeau of pale-pink chiffon1 with a floating veil of a deeper pink4 ,the ,white ,queen from ,alice in ,wonderland can be cheaply and sufficiently represented by a frock of white calico1 with the hooped skirt set in a succession of thickly padded rolls1 the hair net of white chenille1 surmounted by a crown of white cardboard painted with the title4 ,ingenious1 but perhaps not very becoming1 is a dress of white linen1 with a big clock painted in the middle of the skirt1 the hands pointing to1 say1 #e ,a4,m41 with the obvious purpose of suggesting that the wearer is ,better late than never4 ,a character which never fails to attract at the gay carnival is ,mephistopheles1 the feminine or masculine variety being alike adopted with avidity1 in bright red1 feather in the cap1 and a little shoulder-cape1 and spangles complete4 ,a good costume for a man is the ,druid1 when he can arrange voluminous white draperies as he will1 and take unto himself the liberty of the mistletoe wreath4 ,a popular habit prevails of embodying the names of certain illustrated journals1 and representing the titles of some books4 ,some daring innovator suggests labelling himself as a ,doctor1 and vows he represents the ,dark ,lantern1 and the principle opens up a large field for selection4 ,why should not an ordinary evening-dress-coated gentleman be labelled ,the ,sphinx's ,lawyer1 and ,the ,coming ,race be expressed by the ,oxford and ,cambridge crews limned on satin2 and ,the ,imaginative ,man might have a pair of wings fixed to the shoulders of his ordinary broadcloth1 a sign that he imagines himself an angel4 ,the ground is fruitful of suggestion4 ,fancy me in fancy dress1 sings some gay lady in some gay play1 and the notion is full of fascination1 which may best be realised1 not by the borrowing of clothes1 but by making them1 planning them1 inventing them1 and1 above all1 wearing them with grace4 ,we have passed the days and nights when we yearned to represent some tragic figure--when to appear as ,marie ,antoinette or ,mary ,queen of ,scots seemed the pinnacle of delight4 ,gone too are the times when the representation of the lamp-shade would exhaust the inventive power of the many1 and fled are our desires to coquette as a ,columbine or flit as a fairy in white tulle4 ,in an assembly where none are masked1 a masked girl may attract conspicuous attention1 a monk who never draws cowl from his face may have a following of the curious2 she who would dress as ,money1 in gold or yellow satin1 jingling with golden coins1 may be assured that she will be run after1 and she who represents ,cleopatra1 or some other ,oriental queen1 blazing with jewels1 will not be allowed to sit in a corner4 ,an audacious selection is the costume of the ,wallflower in gold and brown1 which looks its best when made in chiffon and velvet4 ,as a rule1 it must be admitted that the finest fancy dress looks the best1 and however charming may be the effects arrived at with muslin1 cotton1 crpe1 and calico1 she who stands out in the vast crowd will be she who has the most magnificent clothes4 ,the glories of brocade and satin and velvet will always hold supreme sway1 allied to some distinctively grand head-dress elevated from the head on a frame and banded with jewels1 with a long diaphanous veil flowing into a sumptuous length of train4 ,the splendidly glorious is only rivalled by the darkly mysterious1 and the maiden of the ,yashmak1 if only she has the liquid eye that speaks the flirtatious soul1 and the veiled ,sorceress1 if her wit be sufficient to carry the situation1 may be quite irresistible3 for always the unknown allures4 ,illustration3 ,a ,,south ,,sea ,,islander4 ,illustration3 ,,the ,,knave ,,of ,,diamonds4 ,an idea which1 to say the least of it1 savours nothing of conceit is to select the costume of a ,south ,sea ,islander1 and it is one most easily contrived with a sateen foundation oversewn with feathers1 and surmounted by a head-dress of erect plumes disposed in wild confusion above locks apparently uninfluenced by the persuasive brush or comb4 ,you can see the result pictured1 and note the contrast of the sleek knave of diamonds1 whose dress should be expressed in red and blue and white and yellow1 with black silk stockings4 ,in deciding upon a costume for a fancy-dress ball1 the first thought of the reveller should be to secure the becoming and the suitable1 and to be successful the choice should be mainly influenced by his or her personality4 ,i quite realise the problem to be a difficult one1 since happily we have not the gift given to us to see ourselves as others see us1 else should we never meet a podgy ,mephistopheles bulging out of his clothes1 nor an attenuated ,juno1 nor a dusky ,desdemona1 nor a buxom ,puck4 ,most artistic and felicitous results may be obtained from copying costumes in old pictures2 and visits to the ,national ,gallery1 and an afternoon spent at the ,wallace ,collection1 will prove themselves at once a profit and a pleasure1 and an easy guide towards the selection of the appropriate dress4 ,it is advisable on such occasions to be accompanied by the kind friend who1 without fear to risk a reproach1 will counsel with all wisdom1 and temper your ambitions to your personality4 ,an admirable item in the programme of the fancy-dress ball is the quadrille1 the lancers1 or the cotillon1 which shall be danced by people clad in costumes of the same period1 such harmony being a special pleasure to the beholder1 who may nevertheless also glean some entertainment from the spectacle of the nineteenth-century ,columbine hobnobbing with the fourteenth-century monk2 and may no doubt get some satisfaction from the sight of ,cleopatra in the arms of the ,devil4 ,but ,i will linger no longer lightly in the realms of fancy dress1 but penetrate the dark depths of ,dominoes and ,masks1 leaving the many illustrations in these pages culled from the centuries to speak the last word of selection with most fluent and expressive tongue4 ,,chapter ,,xvi ,,of ,,dominoes ,,and ,,masks ,italian in conception1 the domino is of ecclesiastical origin1 and as such has retained its monkish aspect throughout the many changes rung by fashion4 ,in its primitive form it consisted of a long1 loose robe of black material with a cowl attachment which completely covered the head4 ,during the middle ages1 and1 in fact1 as late as the sixteenth century1 it constituted the popular travelling costume of those engaged upon secret missions4 ,disguised in the habit common to the countless hordes of monks and other pious mendicants who infested the country1 it was an easy matter to go1 unnoticed1 from end to end of ,europe1 the garb protecting its wearer and ensuring him immunity from criticism or inquiry4 ,its serviceable shape and virtue of concealment led to the universal adoption of the domino1 until it actually became as much an institution as the toga of ancient ,rome4 ,clad in its all-enveloping folds1 the hood drawn well forward and the face masked1 the domino formed an ideal dress for intrigue1 love adventures1 conspiracy1 ball1 rout1 procession1 and evening wear in general over a gala costume4 ,it owed its first entry into le monde o l'on s'amuse to those ,venetian orgies and wild midnight revels encouraged by the ,council of ,ten as a means whereby the attention and energies of the youth of the capital of the ,adriatic might be diverted from politics4 ,when the gay world made the domino its own1 fashion decreed that it should retain its original shape1 and this it has continued to do down to the present4 ,the same conservatism did not extend to colour4 ,as a matter of fact it has1 at one time and another1 appeared in all shades1 and in every appropriate variety of texture1 lined or unlined2 in two or more tones1 self-coloured1 trimmed1 or plain1 sumptuous or severe1 according to the tastes and inclination of the wearer4 ,a man's domino1 as typical of to-day as of five hundred years ago1 consists of a long1 ample robe of scarlet cashmere gathered into a plain yoke piped with satin4 ,three small cashmere buttons fasten it snugly from the throat downwards1 and satin ribbon ties it across the chest4 ,the peaked hood is lined with satin and weighted with a heavy silk tassel1 and over the shoulders falls a short1 pleated cape4 ,of the angel order1 the wide1 pointed sleeves are turned back to allow a narrow glimpse of satin1 the fold held in place by a cord loop and a diminutive gold button sewn to the under arm seam immediately above the wrist4 ,that the religious origin of the domino was never lost sight of is illustrated by the anecdote of the dissipated young reveller who1 leaving a masked ball in the grey dawn1 was met by an indignant father1 who proceeded to load him with reproaches on the subject of his dissolute mode of life4 ,after listening for some time in filial silence1 the son made the witty answer3 ,beati qui moriuntur in ,domino4 ,from ,italy the fashion of wearing dominoes spread to ,france1 and thence to ,england4 ,in ,paris the vogue reached its height under ,louis ,,xiii4 and ,louis ,,xiv4 ,during the reigns of both monarchs1 and more especially the latter1 masquerades and masked balls were the favourite amusements of the ,court4 ,many entertainments were given at which dominoes were compulsory for men1 the ,king alone being exempt from this rule4 ,louis ,,xiv4 generally elected to appear in a white domino of transparent muslin which merely veiled1 without in any way concealing1 the gala dress beneath4 ,dominoes at this period were richly trimmed1 and contrived from costly materials4 ,under the ,regency masked balls were instituted at the ,opera4 ,at these public functions1 safeguarded by the practically impenetrable disguise of a domino1 all classes of society mixed indiscriminately4 ,if tales of the time are to be believed1 many a gallant has shadowed a domino the entire evening1 only to make the humiliating discovery that the coquettish countess of his dreams was a tripe-seller from the market4 ,with the fall of the ,french monarchy the domino degenerated into an abuse1 and was finally abolished1 excepting for such occasions as carnivals and fancy-dress balls4 ,the dominoes worn by women differ from those worn by men in that they invariably manage to strike a distinguishing feminine note4 ,the textures employed are lighter1 being usually soft satin1 silk1 or mousseline de soie4 ,the hood1 instead of partaking of the severity of a cowl1 is round in shape and1 for most festive occasions1 is trimmed with fluffy frills of silk1 chiffon1 and lace1 further elaboration consisting of flowers4 ,a characteristic example is of forget-me-not-hued bengaline lined with pale pink4 ,the yoke sparkles with silver sequins and the round hood and shallow cape display frills powdered with glittering paillettes1 and reveal inner frills of frayed pink silk and cobwebby lace the tint of old ivory1 a bunch of shaded roses being fastened near the left temple and another at the throat4 ,at the foot is a flounce which1 when the wearer walks1 shows occasional glimpses of pink silk and cream lace1 and the wide sleeves bear sequin-embroidered cuffs and lace ruffles4 ,a quaint domino is of gauze of an opaque whiteness1 strewn with black and gold spots of varying sizes1 the hood gathered up in the middle beneath a big white poppy1 the petals tipped with gold and the centre of black silk4 ,for obvious reasons1 many dominoes1 both for men and women1 were made reversible4 ,occasionally1 in addition to the hood1 a towering erection was worn on the head1 causing the wearer to appear of supernatural height1 and the more mysterious4 ,and ,i pause here to observe with emphasis that at a masked ball a domino is invested with special interest when surmounted by a fantastic headgear1 and that such an incongruous alliance as that of a white-powdered and curled wig and the black silk domino shaped as a gaberdine1 with a full hood and lace-frilled silk mask1 creates an effect beneath which an identity may be most easily concealed4 ,far more desirable1 however1 in the interests of the beautiful1 is it to select the domino and head-dress in sympathy2 and ,i may quote as a successful blend a long cloak of jet-spangled net1 with jet-spangled hood falling round the shoulders1 and a high-pointed head-dress of the fourteenth century1 with a pendent jet veil and a jet mask to cover the face1 the chin being held by a few folds of net to match the veil4 ,dominoes made of net oversewn with petals of flowers1 the hoods adorned to match and well drawn over the hair1 and the masks of lace in butterfly shape1 may also be quoted as decorative2 and so too may the domino of accordion-pleated silk1 but custom has somewhat staled the charms of this1 and ,i would vote rather for the more sumptuous brocade1 and urge the importance of liberality in its folds4 ,the mask has1 at all times1 been the essential complement of the domino4 ,in its ordinary form it consists of a stiff shape arranged to fit the face as far as the upper lip4 ,moulded to the nose1 it is provided with slits for the eyes and nostrils1 and fastened by means of a button and a narrow elastic band4 ,now and then it is edged with a frill of lace which conceals the chin and further enhances the disguise4 ,black satin and velvet are most frequently employed to cover this kind of mask1 the latter1 by the way1 being far more becoming2 but the black lace mask is an innovation of modern times1 sometimes failing in its purpose of disguise1 and the chiffon spangled mask may be accredited with like disadvantage4 ,coloured masks1 or loups1 as they are termed in ,french1 are also worn1 but have little to commend them1 being grotesque and ugly4 ,authorities differ concerning the origin of masks4 ,the most generally accepted theory is that they were first employed at the festivals of ,bacchus1 and recent discoveries have proved them to have been in use in ancient ,egypt1 numerous specimens having been found at the heads of mummy-cases4 ,these early examples are composed of a substance closely resembling papier-mach1 and painted in imitation of life4 ,it was in ,greece1 however1 that the mask reached its apotheosis4 ,there it formed an indispensable factor in classic drama4 ,its introduction on the stage is attributed to ,thespis1 who is held to have substituted masks for cosmetics4 ,there is no confusing the mask peculiar to the ,greek theatre with that of any other country or period4 ,the industry rose to the dignity of an art1 as the beauty-loving ,hellenes would tolerate nothing ugly or ill-made on their actors4 ,the dramatic masks consisted of an entire head1 with hair1 beard1 and ornaments arranged in exact accordance with the character to be portrayed4 ,all the features were strongly accentuated1 vividly coloured1 and of supernatural size4 ,the eyes were deeply sunken1 the nose exaggerated1 and the mouth open4 ,inside the parted lips was a metal construction designed to make the voice carry a considerable distance--a necessary measure1 as all performances took place in colossal open-air buildings4 ,the moment an actor appeared upon the scene a glance at his mask sufficed to determine the rle he was about to play2 and1 whether masculine or feminine1 the details were equally exact4 ,how comprehensive the range of selection was may be gathered from the fact that masks were broadly divided into three great classes1 namely1 ,tragical1 ,comical1 ,satirical1 each of which was in turn subdivided as follows3-- #a4 ,eight masks of old men1 typifying differences of age1 rank1 humour1 etc4 #b4 ,a series of eleven masks of young men4 #c4 ,seven varieties of masks of slaves4 #d4 ,eighteen masks of women4 ,in addition to the above1 the masks depicting gods and heroes were placed in a separate category4 ,these never varied1 and each displayed the attributes of the deity portrayed4 ,thus ,acton appeared with the antlers of a deer1 ,argus with a hundred eyes1 ,diana with a crescent2 and so on4 ,the earliest masks were fashioned from wood fibre1 which in due time gave place to leather1 and finally to wax4 ,in ,rome the art of mask-making was further elaborated4 ,trades and professions were distinctively personated4 ,double-faced masks were introduced1 one side representing laughter and the other tears1 so that by turning his right or left profile to the audience1 the actor could change his expression at will4 ,among the ,romans the use of the mask was not restricted to the theatre4 ,it was worn in processions1 and at certain festivals1 notably those dedicated to ,pan1 where masks of vine leaves were customary4 ,a strange funeral rite consisted of a performance given by a comedian wearing a mask made in the likeness of the defunct4 ,this mummer's mission was to follow the coffin1 acting and reciting the salient features of the dead man's career1 impartially setting forth both the good and the bad4 ,in the reign of ,augustus1 patrician ladies were in the habit1 when indoors1 of wearing masks delicately perfumed and treated with cosmetics4 ,this fashion was revived by ,henry ,,iii4 of ,france and his courtiers for the preservation of the complexion4 ,the fall of the ,roman ,empire marked the disappearance of the mask from the stage4 ,from then onward it appeared only in pantomime1 where the mask of ,punchinello is familiar to this day4 ,the nutcracker countenance1 with its highly-coloured cheeks and tinkling bells1 is a survival of extreme antiquity4 ,i pause to wonder who the old ,greek may have been whom the maker of masks thus immortalised8 ,there is a world of cynicism1 pathos1 and philosophy in his face4 ,i feel that he sorrowed1 and that it was not because he knew too little1 but because he knew too much4 ,the practice of wearing masks1 by private individuals in everyday life1 started1 as did the fashion for dominoes1 in ,venice4 ,there the black satin and velvet masks1 still worn at fancy-dress balls and during ,carnival time1 first obtained1 to be enthusiastically adopted in ,france and ,england a little later on4 ,in the latter country1 however1 the use of the mask never degenerated into an abuse as in ,france1 although masks became so fashionable in the sixteenth and seventeenth centuries1 that society ladies deemed them an essential accessory to the toilette4 ,they were not always worn3 sometimes they were carried in the hand and held up to the face only when necessary4 ,the exclusive elected to appear masked at the theatre and other public places4 ,but the universal wearing of masks became such a public menace and incentive to crime that in #aece an edict was issued in ,france prohibiting the fashion excepting during ,carnival time4 ,under ,henry ,,iv4 the privilege was restricted to the nobility1 and it was made a capital crime for any commoner to don a mask4 ,with ,louis ,,xiii4 the mask fell into temporary abeyance1 only to be revived with renewed vigour under his successor4 ,the first occasion upon which ,louis ,,xiv4 appeared in a mask was at the ,palais ,cardinal in ,january #afef4 ,from that date until ,january #affh he was an enthusiastic supporter of the vogue4 ,the fashion1 prevalent in #afej1 of ladening masks with superfluous trimming was of but short duration4 ,while the craze lasted a ruching of lace adorned the top1 a lace frill the bottom1 and the eyes were encrusted with various decorations to such an extent that ladies1 descending from their carriages1 were obliged to be led1 it being impossible for them to see4 ,the preposterous vogue inspired ,scarron's ditty3 ,dirai-je comment ces fantasques ,qui portent dentelles leurs masques ,en chamarrent les trous des yeux ,croyant que leur masque en est mieux4 ,like its associate the domino1 the mask gradually faded away with the passing of the eighteenth century4 ,in ,italy it enjoyed the longest and most undisputed sway4 ,there it was worn by all members of the community1 including the clergy4 ,the ,council of ,ten1 the ,inquisitors1 and the members of the ,holy ,office generally1 both in ,italy and ,spain1 were closely masked when employed upon the exercise of their terrible functions4 ,certain unwritten but universal and indisputable laws rule the wearing of masks4 ,whether worn privately or in public1 its disguise has at all times and in all countries been respected as inviolably sacred4 ,to the masked the greatest extravagance of language and gesture is permitted4 ,he is allowed to indulge in acrid personalities and proclaim scathing truths which1 even if addressed to the monarch himself1 go unrebuked4 ,to strike a mask is a serious offence1 while in no class of society1 however degraded1 would any one dare to unmask a woman4 ,yet another prerogative entitles the masked to invite any woman present1 whether masked or not1 to dance with him1 etiquette decreeing that the queen of the land may not claim exemption from this rule4 ,dear to romance is the masked highwayman1 who flourished until the advent of railways robbed him of his occupation2 and a grim figure is ever the masked headsman4 ,of numerous romances1 none has equalled in fascination that of the impenetrable mystery of le ,masque de ,fer4 ,held by many to have been brother to ,louis ,,xiv41 this strange prisoner of ,state guarded his incognito to the end4 ,he was never seen without a pliable steel mask provided with a movable mouthpiece to allow of his eating with comparative ease4 ,other peculiarities of his were his fondness for exquisitely fine linen and his habit of invariably dressing in brown4 ,no mode ever invented has appealed so strongly to the imagination1 or given rise to such tragedies and comedies1 as that of the mask1 and no other has led its followers to such flights of folly4 ,nevertheless1 ,i find myself sighing for the days when it invested the neutral-tinted world with the glamour of romance1 twin sister of mystery1 which was the prevailing atmosphere when fashion decreed that men and women should assume a common disguise and flit1 shadow-like1 among other nameless shadows through the complicated mazes of their social highways and byways4 ,,chapter ,,xvii ,,of ,,materials1 ,,the ,,corset1 ,,and ,,the ,,crinoline ,the material question seems to have been answered in every country save ,england1 where the initiative in manufacture is conspicuous by its absence1 though we have through the centuries so successfully begged1 borrowed1 stolen1 or acquired an expert knowledge of the various textile arts1 that every manufactured fabric is now grist which may come from our mill4 ,the art of cloth-making the early ,britons learned from the ,romans1 but their ambition towards this industry died after the departure of their instructors1 not actively asserting itself again until1 at the suggestion of ,philippa of ,hainault1 some ,flemish weavers established themselves at ,norwich--a policy evidently successful enough to induce ,edward ,,iii4 in the fourteenth century to invite a ,flemish weaver to teach the art to such of our people as shall be inclined to learn it4 ,the trade was started at ,kendal1 spreading to ,york and thence to many different towns1 where there grew up in due course the manufacture of broadcloth1 baizes1 kerseys1 and serges1 the ,north of ,england then1 as to this day1 holding the best interests of the cloth trades firmly in the hollow of its hand4 ,it is interesting to note that an ,act was passed forbidding all save the ,king and ,queen and her children to wear any cloth but that made in ,england1 for here we may trace surely the work of the legitimate ancestor of our passionate protectionist1 ,joseph ,chamberlain4 ,but1 after all1 woollen cloth is dull stuff1 and the first on the list of fabrics aiming at the beautiful is cloth of gold1 which made its bid for fame in the days of ,richard ,,ii41 whose patronage of the luxury was1 however1 mild in comparison with that of that past master in the art of prodigality1 ,henry ,,viii41 who is said to have had as many as twenty-five suits of cloth of gold1 securing it at a price of #djs4 per yard1 which does not seem a very extravagant sum to-day4 ,a textile used in ,england during the twelfth and thirteenth centuries is imperial1 wrought with gold1 and credited with being woven at the workshops kept by the ,byzantine ,emperors2 and gold also gave its assistance to the making of a well-known stuff in the ,middle ,ages christened baudekin1 which later came to be a term signifying any rich silk4 ,a variety of the cloth of gold was plunket cloth of gold--plunket1 however1 being more properly described as a coarse woollen cloth2 yet it is authentic that ,richard ,,iii4 had a gown lined with this1 and in revels held by ,henry ,,viii4 at ,greenwich it was registered that there were six ladies in crimosin plunket embroidered with gold and pearls1 so that fashion seems to have idealised the homely plunket1 which in its original state would have been more suitably classed with home-spuns1 burnet1 russet1 and frieze4 ,in the fourteenth century taffeta was introduced into ,england1 and taffy was the name of a watered edition of this1 which we owe to the refugees1 who crowded here in their numbers1 and made us familiar with brocade amongst other novelties4 ,satin was known in ,england as early as the thirteenth century1 having been imported into ,europe from ,china1 but not achieving much popularity owing to its exorbitant price1 though later ,henry ,,viii4 had a great predilection for it in red4 ,amongst stuffs associated immortally with history and romance are sackcloth and samite1 and the latter1 besides bearing its fame down from biblical days1 has been credited with possessing every known virtue that the textile is heir to2 it was originally1 no doubt1 a heavy silk material woven with a thread of six fibres1 and carrying thick upon its surface most glossy honours4 ,when ,sir ,launcelot came to ,king ,arthur1 the poet says3 ,lancelot and the queene were clede1 ,in robes of a rich weede1 ,of samit white1 with silver shredde4 ,and it is in white we invariably picture it1 yet more constantly in olden days it was made in red4 ,suffering much change in its orthography1 it was originally written samits1 later samit1 and finally invested with the final e1 and yet while every record grants it a silken surface1 some ,german scholar1 owing to the circumstance that to this day their word samt expresses velvet1 is quite convinced that the samit of old was of velvet substance4 ,to ,china was accorded the privilege of persuading us permanently of the charms of brocade and velvet1 and the descriptions of the medival velvets suggest that this could have been no difficult task1 for they include diapered velvets1 figured velvets1 changeable velvets1 velvets figured with white1 and velvets worked upon gold1 while the ,genoese and the ,french rivalled each other in the best manufacture of these4 ,the making of linen has been traced back to the early ,egyptians1 and the art was brought to ,england by the ,romans1 but a very fine linen dedicated to altar cloths and shirts in the middle ages was first manufactured at ,rennes in ,brittany4 ,the ,english linen trade made no great stride until the reign of ,charles ,i41 and lawn and cambric were first greatly used in ,england in the sixteenth century4 ,fur as a trimming appears to have had no popular existence previous to the thirteenth century1 but after the reign of ,henry ,,iii4 it bears its part bravely in romance and chronicles1 ermine being pre-eminent together with a fur known as lettice1 which closely resembles it2 there were lettice caps worn by ladies in the reign of ,elizabeth1 who indeed forbade their wear to any but a gentlewoman born1 having arms1 and sable was permitted only to the nobility and to certain officers of the ,royal household in the ,middle ,ages4 ,lace has paid for its success in a disputed birthplace1 for both ,flanders and ,italy claim its first manufacture1 the experts declaring in favour of the latter1 and asserting that ,italy bore the art to ,spain and passed it on to ,flanders4 ,in any case ,venice must be granted the first prize for the beauty of its lace1 which in early days was enriched with gold and silver4 ,caen is accorded the honour of having first introduced blonde lace1 while ,france and ,switzerland and ,belgium have all contributed their share towards the perfecting of the most fascinating of all fabrics1 and different events of history have brought no small influence to bear on the popularity of different laces in different periods1 the foreign-made bone-lace obtaining the distinction of being banished from ,england by royal order4 ,in the reigns of the ,stuarts1 lace adorned alike feminine and masculine attire1 and the collar of the luckless ,king ,charles ,i4 in his many pictures by ,vandyke has stamped the fact indelibly on our minds4 ,the ,commonwealth greatly affected the manufacture of lace in ,england1 though some of the most rigid ,puritans continued to wear ,flanders lace1 and the dead body of the ,protector was robed in purple velvet1 ermine1 and richest ,flanders lace--not so bad for the simple cerements of the greatest socialist who ever lived6 ,the passion for wearing lace reached its height in ,england in the reign of ,william and ,mary1 when lace was indispensable to the most exalted wearers of the commodes1 and its influence was essential on the full cravats and ruffles4 ,in the reigns of ,george ,i4 and ,george ,,ii41 ,brussels lace grew especially popular2 but ,english lace reached a pitch of perfection at this period1 ,devonshire being especially famous for the industry4 ,in its delicate meshes lace has held captive to its charms many earnest students who have set down its biography in various volumes1 and to skim these hurriedly is to do them wrong2 so in passing ,i would recommend their pages to the leisured1 while chronicling that we have known lace needle-run or pillow-made for nearly four centuries1 and that it was preceded by the cut out1 the appliqu1 and an embroidery worked in stiffly conventional design on net with cords of thread4 ,the most faithful and punctilious archologists confess that the origin of the corset must be written down to the credit or discredit of man1 for they find the birth of its existence may be dated in the far antiquity1 when the savage made his hunting belt of leather stiffened with bone or hard stick held with a thong of hide1 and as decorative as useful1 since it was adorned with shells and quills and served to hold the knife or quiver4 ,ovid recommends the fair ones of his day to wear those ingenious constructions which give lines to the bust and all it lacks1 while ,homer describes ,juno as wearing a ceinture ornamented with a thousand fringes1 and we are1 of course1 convinced of the fact that she borrowed from ,venus a famous cestus wherein were all the pains and penalties of love4 ,the ancient ,greeks and ,romans sternly opposed the corset1 and yet they yielded to the necessity for bands and belts to support the bust1 this band being usually made of embroidered leather4 ,there is indisputable proof that in the earliest days of civilisation there was in use a variety of contrivances for the reduction of the feminine figure1 and in a most interesting chronicle ,i read that ,amongst the works of art discovered amongst the ruins of one of the mysterious forest cities in ,south ,america is a bas-relief representing a female figure which1 in addition to a profusion of massive ornaments1 wears a complicated and elaborate waist bandage1 which by a system of circular and transverse folding and looping confines the waist just below the ribs to the hips4 ,what could be more conclusive8 ,here is obviously the ancestress of the straight-fronted ,spcialit corset4 ,the origin of the word stays comes from stay1 to support2 the term corset may have been developed from corps3 the term corse1 however1 must not be confounded with it1 and ,planch considers this should apply merely to the bodice of a gown4 ,the earliest method of making the stay was with pieces of cane1 and this may be compared favourably with a variety obtaining as lately as in the reign of ,queen ,elizabeth4 ,this was made of steel with broad pieces of steel shaped to the hips1 and clamped or hinged under each arm1 being straightly stiff at the top of the front and the back1 where it reached up to the shoulder-blades4 ,these frames1 however1 were not primarily used to reduce the waist1 for they were worn over a corset1 so that the dress might yield not to the weakness of a single fold1 and that the stomacher might present a front of unruffled smoothness4 ,a development of this stay showed it curved at the top1 front1 and back1 somewhat in the outline of those we wear now1 but clamped together down the back1 and made of the stiffest of iron1 and decorated with countless meaningless-looking little holes and apertures4 ,this was the style adopted by ,catherine of ,medici1 which permitted her the questionable joy of reducing her waist to thirteen inches4 ,christine of ,france1 we are told by ,jacob the bibliophilist1 wore a justaucorps embroidered in gold and studded with precious stones2 this was a remarkable shape1 not defining the waist at all1 and finished off with an indented basque4 ,the first mention of what may rightly be termed the corset is at the end of the fourteenth century1 when the dresses cut low in the front introduced by ,isabella of ,bavaria were responsible for the innovation1 and made popular the wearing of the new garment1 which was made in all kinds of materials laced either at the front or at the back4 ,at the end of the fifteenth century the basquine was adopted1 a corset of stout linen or cotton with a busk of wood or metal at the front4 ,rabelais says1 ,the ladies at the ,court of ,francis ,i4 wore basquines1 and a silk camlet over their chemises1 and it is needless to say that they incurred the displeasure of the preachers of the day2 indeed ,charles ,,ix4 and ,henry ,,iii4 issued several stringent laws with regard to the corset1 being convinced that it was highly injurious to the health of its wearers1 and the corps piqu which was worn in this reign was neither more nor less than an instrument of torture1 compressing the body into a hard unyielding mould1 the splinters of wood often tearing the skin4 ,until the end of the sixteenth century the tailor had the monopoly of corset-making1 and his methods seem to have been anything but tender4 ,it was in the seventeenth century that ,ben ,jonson pathetically complained ,the whalebone man1 ,who quilts the bodies ,i have leave to span4 ,in the reign of ,louis ,,xv4 corsets were cut away on the hips and laced at the back1 the long busks of wood or steel being only in the front2 whalebone was used to stiffen the corset1 which was sometimes made in two pieces and laced under the arms1 and it was invariably supplied with shoulder-straps1 and began in those days to take unto itself such rich materials as brocade and satin embroidered in gold chenille or silk4 ,the ,directoire period produced a classic zone worn outside the dress1 a mode that soon gave place to the boneless corset1 a fleeting fancy1 for all costume worn in the time of ,louis ,,xvi4 owes its greatest charm to the stays1 the bodices being cut into long points and fitted tightly from bust to waist4 ,in some instances these bodices were sewn on to the figure of the wearer after the stays had been laced to their extreme limit1 and many of ,hogarth's figures prove the influence of the very stiff stay1 the figures being erect in an uncomfortable degree1 for it is impossible to imagine any human creature achieving such excellence of carriage without considerable support from without1 and some inconvenience from within4 ,in the later days of the eighteenth century greater comfort was granted1 when the short-waisted dress prevailed1 together with the most laudable ambition to copy the flowing elegance of the classic period4 ,but the rule of ease did not obtain long1 and in the early times of the nineteenth century the fashion of tight lacing was revived with enthusiasm1 stays being composed of bars of iron and steel with the tops stiffly steeled so that the shoulder-straps might be dispensed with4 ,women suffered a craze for compression1 until the sixth decade of the nineteenth century1 when its influence was somewhat less essential by reason of the ubiquity of the crinoline1 which gave a semblance of the small waist to the least slender4 ,the crinoline boasts as its great-great-grand-mother the farthingale or vertingale1 which was worn in ,france in the reign of ,henry ,,ii41 when it is described as a cage put on beneath the petticoat to inflate it to extravagant extent4 ,it was1 however1 in the days of ,elizabeth that the farthingale reached its apogee1 and according to ,sir ,roger de ,coverley made its wearers look as if they were standing in a drum4 ,early in ,charles ,i4's reign it went out of fashion1 and when ,catherine of ,braganza and her ,portuguese ladies wore it on coming to ,london for her marriage with ,charles ,,ii41 the anachronism attracted crowds of amused spectators4 ,the farthingale1 in fact1 had become obsolete1 to reappear1 however1 in the somewhat more convenient form of the hooped petticoat which swelled in the reign of ,anne4 ,the contour of this was very slightly altered in the reign of ,george ,i41 the sides being more curved at the front and the back1 and the old shape of the circular farthingale was preferred with the trainless gown4 #agif is the date given when hoops were discarded except at ,court1 and the real crinoline made its appearance in #ahed1 the previous year having witnessed the crinoline petticoat as an ordinary adjunct to dress4 ,the ,empress ,eugnie pronounced in favour of the crinoline1 and it became the mode1 remaining so for many years1 while those few who refused to give it patronage gave hostages to fashion in the horsehair-stiffened petticoat4 ,the crinoline in those days was of the skeleton kind and formed of hoops of steel held together by perpendicular tapes1 but it soon developed into a petticoat of calico with the steels running through it at intervals from hem to waist4 ,it is amongst the fashions over which even the most pessimistic may hopefully write ,ichabod4 ,,chapter ,,xviii ,,of ,,ceremonial ,,and ,,bridal ,,dress ,the rules and regulations of ceremonial dress are as exacting1 if not as unalterable1 as ever were those of the ,medes and ,persians4 ,kings and ,emperors punctiliously observe the etiquette which frames them1 so that every royal meeting or parting or festivity is attended in a carefully prescribed garb1 and the ,master of the ,royal ,wardrobe must be deeply and wisely versed in the history of the nations1 and worthy to take a diploma in the first division of the ,court of ,costume4 ,his ,majesty the ,king has a lynx eye2 no item escapes his notice2 and he gives as much attention to the details of everyday garb as to those of clothes for merry or solemn occasion4 ,unlike the ,queen1 he rules the fashions1 and his wearing of a low hat or a high hat1 in white or in brown1 a tweed suit or a frock-coat1 white boots or black ones1 decides such question for the multitude when attending inaugurations1 race meetings1 and other social functions1 and the ,royal decisions are heralded forth in the press for public guidance4 ,at the recent coronation there was much discussion of the form and shape of the robes for the ladies1 and the ,king1 anxious to conciliate the strictest etiquette of yesterday with a nice sense of the fashionable exigencies of to-day1 concerned himself with the shape of the bodice and trimming of the train4 ,the results we may all remember1 the deeply crimson velvet1 the borders of miniver1 and the license of the jewelled stomacher and the lace under-skirt2 while the rank which is but the guinea's stamp found expression in the epaulette1 the coronet1 and the bars of fur4 ,in truth1 the coronation robe1 even under its improved conditions1 cannot conscientiously be described as becoming or comfortable4 ,the only virtue that ,i can see in it is its ponderous simplicity1 the details of which ,i will give--for the benefit of a future generation--in the pompous language of the official proclamation4 ,the edict issued informed those immediately concerned that the robe or mantle of the ,peers be of crimson velvet edged with miniver1 the cape furred with miniver pure1 and powdered with bars or rows of ermine according to their degree1 viz4-- ,barons4 ,two rows4 ,viscounts4 ,two rows and a half4 ,earls4 ,three rows4 ,marquesses4 ,three rows and a half4 ,dukes4 ,four rows4 ,the said mantles or robes to be worn over the full ,court dress1 uniforms1 or regimentals4 ,their coronets to be of silver-gilt1 the caps of crimson velvet turned up with ermine1 with a gold tassel on the top1 and no jewels or precious stones are to be set or used in the coronets1 or counterfeit pearls instead of silver balls4 ,the coronet of a ,baron to have on the circle or rim six silver balls at equal distances4 ,the coronet of a ,viscount to have on the circle sixteen silver balls4 ,the coronet of an ,earl to have on the circle eight silver balls raised upon points1 with gold strawberry leaves between the points4 ,the coronet of a ,marquis to have on the circle four gold strawberry leaves and four silver leaves alternately1 the latter a little raised or pointed above the rim4 ,the coronet of a ,duke to have on the circle eight gold strawberry leaves4 ,similar instructions were forwarded to ,peeresses1 who were informed that their coronets were to be identical in all respects with those worn by their husbands4 ,with regard to the remaining items of their toilet1 the following is an extract from the ,earl ,marshal's proclamation3-- ,these are to give notice to all ,peeresses who attend at the ,coronation of their ,majesties that the robes or mantles appertaining to their respective ranks are to be worn over full ,court dress4 ,that the robe or mantle of a ,baroness be of crimson velvet1 the cape whereof to be furred with miniver pure and powdered with two bars or rows of ermine 7i4e4 narrow pieces of black fur71 the said mantle to be edged round with miniver pure two inches in breadth1 and the train to be three feet on the ground4 ,that the robe or mantle of a ,viscountess be like that of a ,baroness1 only the cape powdered with two rows and a half of ermine1 the edging of the mantle two inches as before1 and the train a yard and a quarter4 ,that the robe or mantle of a ,countess be as before1 only the cape powdered with three rows of ermine1 the edging three inches in breadth1 and the train a yard and a half4 ,that the robe or mantle of a ,marchioness be as before1 only the cape powdered with three rows and a half of ermine1 the edging four inches in breadth1 the train a yard and three-quarters4 ,that the robe or mantle of a ,duchess be the same as before1 only the cape powdered with four rows of ermine1 the edging four inches and a half in breadth1 the train four yards4 ,a note is added still further assisting the exact interpretation of the ,earl ,marshal's instructions3 ,it is understood that the above orders refer to all ,english1 ,scotch1 and ,irish ,peers 7except ,peers who are minors1 and ,irish ,peers who have seats in the ,house of ,commons74 ,peeresses in their own right1 the widows of ,peers1 and the wives of living ,peers1 including the wives of ,irish ,peers who have seats in the ,house of ,commons4 ,with respect to such ,peeresses as have remarried under the rank of the ,peerage1 they1 according to former precedent1 are not considered as entitled to such summons4 7,a summons to attend the ,coronation47 ,as to widows of ,peers who have remarried with a ,peer of lower degree1 their precedence is with that of their late husband4 ,the dress regulations relating to others than ,peers and ,peeresses ruled that gentlemen should appear in full uniform or full ,court dress2 while ladies were commanded to wear ,court dress without trains1 and mourning was strictly prohibited4 ,knights ,grand ,cross and ,knights ,grand ,commanders were instructed to present themselves in the mantles and collars pertaining to their various orders4 ,such youths as were fortunate enough to receive invitations to attend1 were instructed to do so in a black velvet costume1 knickerbockers1 black silk stockings1 shoes with steel buckles1 and a ,glengarry cap of black velvet4 ,the two dominant figures in the great pageant bore upon them a burden of crowns1 and cloaks1 and swords1 and trains1 palls1 sceptres1 and rings and rods1 mantles and caps and robes1 whose heavy cares represented but lightly ,royal responsibility4 ,but the most interesting of all the garbs of convention1 because the most supremely personal1 is the bridal costume1 dedicated primarily to white1 and permitted to enjoy the distinctions of silver or lace decoration4 ,under ordinary conditions the widow who remarries1 even as the mother of a bride1 finds herself tempted to the paths of grey1 and only occasionally lapses into the more triumphant glories of violet and pale blue and cream colour2 and with the present fashion of enshrouding the hat or toque with a pendent veil1 she may confidently share the grace of drapery with the virgin bride4 ,now and again during the past and the present centuries brides have thought fit to indulge their white satin simplicity with embroidery outlined with gold threads1 and some have been sufficiently audacious to introduce a yellow-petalled daisy2 and the revival of an old custom is the substitution of the prayer-book for the bouquet4 ,but these are trivialities which obtain but scant attention1 not even reaching the importance of a nine-days' wonder4 ,on the whole1 the bride's dress in the civilised parts of ,europe must be written down as pre-eminently conservative and splendidly null1 and it is interesting to turn from its monotony to a consideration of the ordinary bridal costume in gra4 ,this is black1 and round the forehead of the bride is bound a fillet of pendent jewels in the shape of tears4 ,and1 by the way1 ,i find that an embroidered pattern of tears was selected to ornament a widow's grey cloak in the sixteenth century4 ,assuredly this is a poetic notion1 but its realisation might prove a little embarrassing1 if the grief for the departed subsided before the garment was worn out4 ,there would be nothing for it1 ,i suppose1 but to dedicate it to private service as a house-gown1 or to give it the obscurity which a petticoat enjoys4 ,when the sorrow dwindled to extinction1 the remnants of the garment might well be bestowed on some very poor widow whose woe1 mitigated or not1 would inevitably rejoice at the chance of such elegant proclamation4 ,but to return to my bride of gra1 who enters upon her duties with much gravity and solemnity1 going to the altar in a short black skirt1 laced bodice1 and hooded cloak1 her sole ornament the nuptial band1 which is bound round her forehead and tied with ribbon at the back1 while in her hands she carries her rosary and her veil4 ,in ,switzerland black is allowed on festival garb1 and on ,sundays the women wear black in the mornings and change to colours in the evening4 ,in the ,berne ,canton the women usually display a black lace cap1 shaped like a fan and tied under the chin1 accompanying this with long green gloves2 and in everyday life their costume comprises a blue or black petticoat reaching to the ankles1 scolloped at the border with red or white1 completed with a white chemisette high to the throat1 with full short sleeves revealed beneath a short sleeveless jacket4 ,on their heads are straw hats1 and on their legs and feet red stockings with black clocks and heel-less shoes1 and their hair is worn hanging down in two long plaits4 ,costume has through the ages been allowed to signify the married or unmarried state of its wearer4 ,in ,rome the purple-bordered toga and the segmentum--concerning which there has been some discussion1 since it has been separately described as a necklace1 a fringe1 and an embroidered ribbon--would grace the matron4 ,the ,roman bride wore a red veil or flamen on her wedding-day2 and in ,greece the married woman parted her hair in front in a different fashion from that of the maids2 and to this day in some parts of the ,grecian ,islands brides wear the flame-coloured veil1 and follow the custom of putting a patch of gold-leaf on the face4 ,the modern bride of ,corfu illustrated at page #abf is wearing a skirt of purple and an apron of blue1 and a short blue corselet buckled with gold2 her small red velvet coat is traced with gold1 and gold ornaments hang round her neck and hold the white chemisette across the bust4 ,ribbons entwine her hair with garlands of flowers1 and over these a soft white veil hangs to the waist1 ribbons again fluttering their elegance from waist to hem4 ,in various parts of ,italy the peasants have ornaments handed down from generation to generation1 and as a present to each succeeding bride an extra chain or jewel is added1 forming a sentimental record of lineage which only the most devastating poverty induces the possessor to part with4 ,the practice of weaving a wedding-veil is an old one1 dating from the times of ancient ,greece4 ,a bride of ,attica is immortalised in a long flowing robe of clinging rose colour1 with a girdle of gold cord knotted and tasselled4 ,her hair is closely curled round the nape of her neck1 and drawn up at the back into a wide meshed net1 the front banded with a golden fillet engraved with a ,grecian key pattern1 whence floats a transparent white veil to the ground4 ,the donning of a bridal crown is a fashion which traces its origin to the far ,north1 and in ,scandinavia it is the most significant feature of the bridal attire1 each parish being possessed of its special crown1 the property of the church1 the pastor of which sanctions the use of the crown only when the bride is of irreproachable character4 ,such a custom should act as a powerful incentive to virtue1 since to stand before the altar uncrowned must be conclusive evidence of unworthiness4 ,of copper-gilt1 the bridal crown differs slightly according to the district4 ,in the diocese of ,drontheim it is round in shape1 tapering up to spire-like points1 the rim encircled with a double garland of flowers emblematic of innocence1 while from beneath it at either side dangle streamers of gaily coloured ribbon and black lace over luxuriant tresses1 real or false1 either of hair or straw4 ,the dress consists of a close-fitting bodice with long tight sleeves1 and a plain skirt to the ankles1 of the same dark material1 the short narrow apron being of white muslin4 ,the corsage is almost hidden beneath a pelerine made of wool covered with white lace1 edged with green ribbon1 and decked across the chest with a triangular piece of scarlet cloth1 which forms the resting-place for lavish adornment with gold and silver ornaments connected by chains2 the narrow belt is of scarlet cloth1 and falls in a single end down the left side of the front4 ,the hands are held in a little drum-shaped muff of red cloth1 bordered by lines of green silk and lace and further decorated with brooches2 and on the feet are dark stockings and black leather shoes with imposing silver buckles4 ,the costumes and customs of ,sweden and ,norway have always borne a certain family resemblance2 in both countries the crown plays a prominent part at weddings1 occasionally assuming proportions more fantastic than convenient4 ,in ,hardanger the crown is a very gorgeous affair1 large and wide at the top1 set with rubies and emeralds and quivering with pendent ornaments2 and beneath it the hair is divided to hang down loosely from a shower of bright ribbons4 ,the scarlet skirt is trimmed with black velvet1 and the white apron has a band of drawn thread-work at the hem1 the bodice revealing a plastron made of a variety of coloured cloths1 with red for the predominant hue1 covered with gold and silver jewellery of the filigree description4 ,tradition orders that the bride shall retain her finery intact for an entire week1 during which period the wedding festivities are kept up with unflagging enthusiasm1 and on the eighth day she gives the signal for the merrymaking to cease by raising her hand to press a secret spring1 when the heavy crown falls from her head and leaves her free to join in the last joyous dance with her husband4 ,possibly the annals of costume contain no more extravagant wedding-dress than that peculiar to the ,duchy of ,saxe-,altenburg4 ,the bridal crown is certainly unique4 ,it is made of little quadrangular pieces of metal which display a raised design and are mounted upon a high cylindrical shape of pasteboard encircled by a fringe of gilt leaves attached to silver buttons4 ,these buttons head a band of red velvet ribbon tied in a huge bow behind1 where a curved handle of twisted green velvet extends itself with wide ends of green velvet ribbon that conceal the ears and are tied in an enormous bow under the chin above a stiff gigantic bow of black silk4 ,the tight short skirt is of dark wool with a scolloped border of red and yellow1 and a narrow pleated apron is in a dull shade of tangerine4 ,about the waist is a broad sash of black silk tied in a monster bow in the front1 and the tight bodice introduces the multi-coloured vest4 ,little can be seen of the bride or her gown beyond the ,brobdingnagian bows1 and her costume might be thought to embody the axiom--it is well to have more than one bow to your string4 ,the peasantry of the ,swiss canton of ,fribourg hold reverently to ancestral tradition1 wearing the dress of their grandparents in token of their resolve to remain faithful to ancient custom4 ,the bride plaits her hair in a single plait under an erection like the hussar's cap1 made in pale blue trimmed with narrow lines of rose silk ruching1 and banded across the forehead with black velvet4 ,her stockings1 short skirt1 and bodice are of scarlet1 the sleeves terminating with velvet cuffs1 and her apron is of black or of silk of some sombre shade4 ,the indispensable plastron-vest is of pink edged with silver lace and loaded with silver buttons1 and the flat circular ruffle is of pale blue edged with silver braid2 and below it hangs a fine silver chain supporting a large medallion4 ,mystic in its simple grandeur is the dress of an ,armenian bride1 consisting of a long trailing gown of thick silk1 richly interwoven with gold1 held at the waist by a golden girdle1 and opening down the front to show a petticoat of a contrasting colour4 ,on the head is a wreath of white flowers1 overspread by a veil of misty white1 which falls to the ground above a shower of glittering gold streamers4 ,the early fashions of ,egypt in gala times1 although sufficiently decorative in their colour and drapery1 were always spoilt by the hideous head-dress of black wool or hair tied with wool and plaited1 or set out aggressively at either side like a furze bush in mourning4 ,on state occasions the ,egyptian woman wore a dress with full sleeves of silk checked in crimson and yellow4 ,the hem was trimmed with a gold fringe1 and round the waist was a wide girdle1 and on the feet leather shoes embroidered in gold4 ,the black plaits as well as the head were adorned with gold braid encrusted with precious stones2 a blue lotus flower fell over the forehead1 a number of gold bodkins were placed above the fillet1 and large gold hoops hung from the ears4 ,bracelets and necklets formed of rows of enamelled discs1 pearls1 strings of lizards and beetles of stamped gold1 all served at feasts to adorn the ,egyptian beauty1 whose favourite bangle was in the form of a snake1 and whose fingers were stiff with rings4 ,an old ,indian festival dress is emblazoned with beads and silks in gay colours1 and bears long square lappets hanging from a jewelled headpiece4 ,the sombre tunic is enriched with jewels at the neck and waist4 ,remarkable specimens of old ,indian taste and ingenuity are the tunics made of leather thickly encrusted with beads of different colours in geometrical pattern1 such tunics being fringed with leather and completed by a much feathered head-dress4 ,byron's verse gives a haunting picture of ,moorish magnificence1 when he describes ,haide in her joy3 ,around1 as ,princess of her father's land1 ,a like gold bar above her instep rolled ,announced her rank2 twelve rings were on her hand2 ,her hair was starr'd with gems2 her veil's fine fold ,below her breast was fastened with a band ,of lavish pearls1 whose worth could scarce be told2 ,her orange silk full ,turkish trousers furl'd ,about the prettiest ankle in the world4 ,in ,bokhara the bride wears a rose-coloured veil on her wedding-day2 and here1 strangely enough1 deep blue is the distinctive mourning colour4 ,the costume of married women in ,afghanistan must be granted much admiration3 they wear a shirt with wide sleeves embroidered with flowers in coloured silks1 coloured trousers1 and a small cap embroidered in gold threads1 and over this1 at the approach of a stranger1 they throw a large sheet4 ,beneath the cap the hair is divided into two plaits on either side and fastened at the back4 ,chains1 nose and ear rings are selected at discretion2 and the unmarried women are known by their white trousers and loosely flowing hair4 ,returning to ,western climes1 ,i note that ,isabella1 ,queen of ,richard ,,ii4 of ,england1 included in her trousseau a gorgeous and unique robe and mantle of red grained velvet1 embroidered with metal birds of goldsmith's work perched upon branches of pearls and green precious stones4 ,obviously economy was no object1 and her ,majesty had determined to do the thing handsomely4 ,in the sixteenth century ,english matrons wore a coif or close bonnet1 and the unmarried women braided their hair with knots of ribbon4 ,there is a curious record in the history of ,chester in ,henry ,,viii4's time1 which includes an order to distinguish the head-dress of the married women from unmarried1 no unmarried woman to wear white or other coloured caps2 and no woman to wear any hat1 unless she rides or goes abroad into the country 7except sick or aged persons71 on pain of #cs4 #d;d4 ,such an order is almost as unreasonable as ungrammatical1 yet there is comfort to be gleaned from the fact that the tax on disobedience was but #cs4 #d;d4 ,in the sixteenth century in ,scotland the hair of an unmarried girl was bound by a snood or simple fillet1 a lock of hair hanging on each side of the face and tied with a ribbon2 but1 when married1 women covered the hair with a fold of linen fastened under the chin and falling in points on the shoulders4 ,at the marriage of ,princess ,elizabeth1 daughter of ,james ,i41 in #afac1 when the fashion of the time was the stiff stomacher1 farthingale and ruff1 the bride wore a crown set with diamonds1 a dress of silver stuff embroidered with silver1 pearls and precious stones1 the train so long that it was borne by twelve or fifteen fair young ladies1 the hair flowing freely down as low as the knee1 in the style that virgins used to wear their hair at their weddings4 ,after dinner the ,princess put on a dress embroidered with gold1 and did up her hair4 ,this description of a ,venetian wedding in the eighteenth century was by ,lady ,miller3--,all the ladies1 except the bride1 were dressed in their black gowns with large hoops2 the gowns were straight-bodied with very long trains1 the trains tucked up on one side of the hoop with a prodigious large tassel of diamonds4 ,their sleeves were covered up to their shoulders with falls of the finest ,brussels lace1 a drawn tucker of the same round the bosom1 adorned with rows of the finest pearls1 each the size of a gooseberry1 till the rows descended below the top of the stomacher2 then two rows of pearls1 which came from the back of the neck1 were caught up at the left side of the stomacher1 and finished in two fine tassels4 ,their heads were dressed prodigiously high1 in a vast number of buckles and two long drop curls in the neck4 ,a great number of diamond pins and strings of pearls adorned their heads1 with large sultanas1 or feathers1 on one side1 and magnificent diamond ear-rings4 ,the bride was dressed in cloth of silver made in the same fashion1 and decorated in the same manner1 but her brow was kept quite bare1 and she had a fine diamond necklace and an enormous bouquet4 ,lady ,miller deserved to have lived in times when the conduct of the fashion paper was amongst the privileges of the high nobility4 ,,chapter ,,xix ,,of ,,dancing ,,dresses1 ,,european ,,and ,,oriental1 ,,ancient ,,and ,,modern ,sympathy between ,church and ,stage is of no novel date4 ,the relationship between the two has been close and intimate since the days when no religious festival was complete without its chorus of dancers1 and the officiating priests took part in the tripping until the introduction1 in the ,middle ,ages1 of such profanities as the ,dance of ,death and the ,dance of the ,angels1 common in ,italy1 ,spain1 and ,france1 caused the practice to fall into disrepute4 ,possibly the present time sees the ,terpsichorean art at its lowest ebb4 ,nevertheless1 a promising sign of reviving interest is that modern scientists1 following the example of the old ,greek philosophers1 are emerging as champions of the lightsome measure4 ,still1 it is doubtful whether it will ever again attain the respect it reached in ancient ,greece2 and it were mere optimism to hope that we may yet witness ,members of ,parliament dancing to their seats in the ,house of ,commons1 our judges pirouetting solemnly towards the bench1 and our admirals and generals inculcating a spirit of patriotism by dances devised to inspire heroic sentiments and an exalted idea of military duty4 ,the ballet1 an invention of the priesthood of ,egypt1 was inaugurated in connection with certain sacred festivals1 notably those dedicated to the bull ,apis1 and it formed an important feature of the initiatory rites into the mysteries of ,isis4 ,it was mystic rather than sensuous1 and the aim of its composer was to suggest the hidden things of the cult1 the course of the heavenly bodies1 and the harmony of the universe4 ,the astronomical dance was far from being the only one practised4 ,at ,memphis and ,thebes the priests danced round the bull ,apis2 the figures in turn depicting the miraculous birth of the god1 the incidents of his childhood1 and his union with ,isis4 ,finally1 on the occasion of his death1 his obsequies were celebrated with dances of appropriate solemnity4 ,but1 alas6 these capers were not concerned with clothes1 for the performers were unhampered by sartorial considerations1 and the toilet of a female dancer consisted of a narrow metal girdle about the hips1 the deep circular collar peculiar to the race1 and a tambourine4 ,occasionally these items were supplemented by a transparent robe of the finest white muslin1 and the arrangement of the hair1 or wig1 was always elaborate4 ,framing the face1 it rested on either shoulder in a dense mass of plaits1 the back hanging in a straight line of thick braids just below the nape of the neck1 while a gleaming metal fillet flashed low on the forehead4 ,male dancers contented themselves with serried skirts1 in which they twirled with extended arms1 much after the manner of dervishes4 ,illustration3 ,,an ,,egyptian ,,dancer4 ,descendants of these ancient ballerinas are to be found in ,egypt to-day in the persons of the ,ghawazees4 ,in common with most ,oriental dancers1 the ,ghawazee takes up her position on a brightly coloured carpet4 ,she is dressed in a sleeveless corselet1 brilliantly enamelled after the style of an ,egyptian sword-sheath1 her only other article of attire being a simple muslin chemise vividly spotted and star-bespangled1 while on her head a kerchief of cloth of gold is draped in quaint manner4 ,her bare feet never move1 the body alone vibrating to the shrill music of flute and cymbals4 ,the play of the long supple arms is wonderful as they in turn caress and pursue an invisible being who eternally eludes their passionate embrace4 ,to revert to the days when the ,pyramids were the newest thing in architecture1 traces of the sacred dance of ,apis are found in ,biblical history where the prophets of ,israel inaugurated the habit of dancing round the golden calf2 but unfortunately the costume is omitted from the records1 and though ,i know ,miriam led a procession1 dancing and playing on the tambourine1 and ,david danced before the ,ark1 and ,jephthah's daughter danced to her doom1 their dress is enwrop in mystery2 and ,i can but hope it was adequate4 ,the art of dancing was glorified into popularity in ,greece1 where it was held in high veneration and freely indulged in by all members of the community1 upon whom the exercise was rendered incumbent up to the age of thirty4 ,how salutary a similar rule would be1 if enforced in ,england to-day6 ,there would be no lack of dancing men at balls1 the task of the chaperone would be lightened1 and the burden of anxiety pressing upon the much-harassed hostess reduced to a feather-weight4 ,the dances of the old ,hellenes were divided into three classes--the sacred1 the military1 and the profane2 and dress was endowed with a festive air by the flowers and garlands of leaves worn on the head4 ,a chorus of female dancers1 attired in white1 was a feature at funerals2 while1 clad in full armour and equipped as though for the field of battle1 men practised the military dances with vigour and enthusiasm4 ,in ancient ,rome the art of dancing1 as learned from the ,greeks1 degenerated into an excuse for licentiousness1 and wealthy patricians included female dancers among their slaves4 ,the dress of these dancers was of transparent tissue held by jewelled girdles1 and flowers were in their hair and fell in a wreath round their necks4 ,in ,india there are two classes of dancers--those consecrated to the service of the pagodas1 and those known as ,nautch girls1 or to give them their ,portuguese title1 ,bayadeses4 ,the former are termed ,devadasi1 and are to be found in numbers in the sacred city of ,benares4 ,the dress of the ,nautch girl is brightly coloured1 of rich material brilliantly decorated with embroidery and precious stones4 ,it comprises tight embroidered trousers to the ankles1 plainly visible through a short skirt of transparent texture held at the waist by a girdle from which hangs a narrow white muslin apron1 pleated and bordered with gold4 ,the little chuli1 a diminutive jacket1 is short-sleeved and cut low at the throat1 and leaves the centre of the body bare but for a diaphanous scarf which floats from the left shoulder1 twines round the figure1 and escapes to flutter in a loose end behind4 ,glistening with oil1 the black hair is parted and hangs down the back in a long plait1 weighted with a cluster of gold tassels4 ,the tiny skull-cap is gaily embroidered1 and the scented petals of flowers quiver amid the dark tresses4 ,bracelets load the arms and legs1 rings scintillate in the ears and on the fingers and toes1 chains dangle from the neck1 and an enormous ring depends from the left nostril4 ,during centuries the dances of the ,devadasi and ,nautch girls have altered little1 if at all1 and it would be amusing to contrast their methods with the polychromatic lightsome modernity of ,loie ,fuller1 the abrupt conclusions of the high-kicker1 and the prim precisions of the pink-shod pirouetter of the pantomime4 ,will the ,lord ,chamberlain permit8 ,like the ,daimios and ,samourai1 the sacred ,geisha is rapidly becoming a memory only in the ,japan of to-day4 ,nevertheless1 the custom of keeping dancing girls in the temples still survives in certain provinces4 ,quaint because of their solemnity1 the religious dances are executed by a number of diminutive maidens under thirteen years of age4 ,ranged on a platform1 these odd little vestals are garbed in a manner which adds considerably to the bizarre effect of the scene4 ,each wears twelve kimonos1 one on top of the other1 alternately white and red1 the borders showing in regular rows at the throat1 and over these is a ,court mantle sumptuously embroidered in gold and coloured silks1 the back shaped to suggest a chasuble4 ,divided down the centre in front1 the hair hangs in a plait behind1 decorated with circles cut out of gold paper drawn together to form two big rings1 while at the temples appear clusters of red camellias and wistaria and metal ornaments4 ,the face is whitened and the lips are stained vermilion1 and the shaved eyebrows replaced by short1 slanting lines of black paint1 which lend a touch at once piquant and grotesque4 ,the ,geisha of the house is a vastly different person4 ,her sole mission in life is to amuse and entertain4 ,to this end she dons a gaily-embroidered kimono and decorates her black hair with fans1 flowers1 and other ornaments4 ,her prettiest performance is the fan dance1 to the light strain of a stringed instrument played by a female musician4 ,fluttering a fan in her right hand1 with her left she liberates a paper butterfly1 then1 darting hither and thither with marvellous grace and dexterity1 she pursues it as it floats towards a flower1 skims a petal and alights on the brim of a cup1 to escape afresh and describe moth-like circles about the flame of a candle1 suddenly disappearing in a quick flash of fire4 ,in ,mohammedan countries dancing is denounced as a sin4 ,men never indulge in it1 either for profit or pastime1 while such women as make it their profession are regarded as disreputable members of the community4 ,despite the ban placed upon them1 ,persian dancers are wonderfully skilful1 and capable of performing prodigies in their particular line4 ,they dance to the accompaniment of an air chanted by a woman or a boy4 ,the rhythm is slow1 the tune languorous1 and the action pantomimic1 being made up of certain poses and movements which1 seconded by an eloquent play of feature1 strive to tell a story of some sort4 ,the most popular and best known is the ,dance of the ,bee4 ,the dancer pretends to have been stung1 and pursues the insect with a thousand graceful turns and bends1 divesting herself of her garments as she does so4 ,she first appears upon the scene in the all-enveloping mantle common to her countrywomen out of doors4 ,this removed1 she is seen to be wearing a short skirt1 pulled well down on the hips1 a long-sleeved jacket of white muslin1 cut low at the neck and open nearly all the way from the throat1 and a little coat of brightly coloured silk1 satin1 or velvet4 ,her hair hangs in plaits1 surmounted by a tiny embroidered cap perched high on the head4 ,finally she discards both coat and inner jacket1 and reveals a body covered with tattoo marks1 huge serpents writhing about the legs1 and flowers1 birds1 and palms standing out prominently on the white flesh4 ,her bust is supported by round shields joined together in front and attached by a narrow band behind1 and in her hands she manipulates a scarf with marvellous grace and dexterity4 ,the costume of a ,turkish dancer allows less freedom of movement1 being more cumbersome and elaborate4 ,the skirt reaches to the ankles1 where it terminates in a deep hem headed by a fringe1 and the little sleeveless jacket is fastened at the throat only1 and opens over a chemisette4 ,about the waist a fringed shawl is arranged in such a way as to suggest a circular frill1 while a belt1 held by a large clasp1 is drawn low on the hips4 ,a white veil is thrown over the turban and pinned under the chin with a jewelled brooch1 concealing the hair and ears but leaving the face exposed1 and on the feet are yellow slippers sewn with seed pearls4 ,the ,sword ,dance of ,bonnie ,scotland has its ,oriental prototype in the ,dance of the ,scimitar4 ,the latter inspires a charming costume4 ,a veil of diaphanous gauze falls cloud-like over the hair and face1 and the white muslin chemisette1 with its sleeve to the elbow1 is drawn in below the waist with a coloured sash1 a necklace composed of rows of gilt coins glittering on the bare throat4 ,the ankle-length skirt is of heavier texture1 draped with a fringed shawl drawn round the hips1 knotted in front1 and hanging in a point behind2 while a scimitar is balanced on the head1 a second being held in the right hand1 the left resting lightly on the hip4 ,much as the mantilla makes for grace in ,spanish dances1 ,i1 personally1 prefer the dress of the peasants4 ,in ,galicia a rural dancer delights the eye in a quaint hat shaped like a fool's cap1 with the addition of a three-cornered brim of black velvet turned sharply up in front1 one pompon adorning the summit and another appearing midway down at either side4 ,a scarlet sash1 with fringed ends1 is knotted carelessly on the right hip1 and the long-sleeved white shirt is thrown into striking relief by a little sleeveless bolero of scarlet cloth1 the back bearing an embroidered design1 the front conspicuous for triangular pockets dedicated to castanets1 and small revers of black velvet4 ,the tightly-fitting knickerbockers are of tan leather1 finished at the knee with black bands1 where they are met by gaiters to match1 closely buttoned up the outer side4 ,a female dancer is no less picturesque in a short skirt of striped red and white1 low black shoes and white cotton stockings2 her apron displays a border of contrasting colour1 and the chemisette is almost concealed by a short round cape of cloth edged with black velvet1 which crosses over and fastens at the left side of the waist4 ,a gaily-patterned kerchief is worn on the hair1 the point falling beyond the shoulders behind4 ,infinitely more showy is the dancing dress of a professional1 a member of a well-known troupe in ,seville4 ,the yellow satin skirt1 reaching below the knees1 is laden with glittering sequin trimming and a shower of lace and chiffon flounces1 and powdered with spangles and small imitation coins4 ,the low-necked satin bodice has tight elbow-sleeves1 softened with lace frills1 and from the dcolletage dangle glittering paillettes1 a cluster of flowers being fastened at the left shoulder4 ,the hair is elaborately arranged1 and a bunch of flowers peeps out at the right side from under the folds of a mantilla4 ,an important part of the male dancer's dress is a black toreador hat1 with a large pompon in front4 ,merely a glimpse is caught of a white shirt front1 and the long-sleeved satin or velvet jacket is gorgeously embroidered at the wrists4 ,similar embroidery shows down the outside of either leg of the satin knickerbockers1 which meet white stockings accompanied by black ballet shoes4 ,a sash with fringed ends is knotted on one hip1 and a cloak is thrown with careless care over the shoulders and wound in inimitable fashion round the left arm4 ,the ,coon dance so dear to the ,south ,american makes no great demands upon the skill and ingenuity of those entrusted with the planning of a suitable costume4 ,a short skirt of red and white awning is the most usual1 accompanied by a scarlet sash knotted low on the left hip4 ,the loose white blouse vaunts a sailor collar1 turned-back cuffs1 and a cravat of striped material matching the skirt4 ,black shoes and stockings are worn1 and the large straw hat is of the haymaker order1 the crown encircled by a red scarf tied at the left side with the ends falling to the shoulder4 ,a costume appealing to the male dancer who appreciates comfort is that of gay old ,pierrot1 with his full white trousers and black pompons1 loose coat and ruffle1 conical hat above a black silk scarf1 whitened face1 and vermilion lips4 ,his feminine companion is a common object in the fancy-dress ballrooms on and off the stage4 ,practically every country has its characteristic dances1 to which are naturally dedicated some adaptation of the national dress4 ,there are fancy dances in plenty which call for no distinctive style of dress1 but the fashion fits the footstep as a rule1 and no doubt influenced its birth4 ,the stately movements of the minuet and the grace of the gavotte ask for the dignity of powder and brocade2 the country dance seems the merrier for the gaily-coloured fluttering ribbons and short bright petticoats2 the hornpipe would lose some significance without the co-operation of navy blue and a man-o'-war or a ,jack-tar hat2 the hunting dance shouts away for pink2 the ,irish jig is shorn of much of its charm without the emerald-green skirt1 the scarlet cloak1 and the folded kerchief2 the ,scotch dance demands its tartan2 the ,spanish dance the mantilla and castanets2 and so on through the whole dictionary of dances4 ,the mode suits the measure1 and the dance destined to be performed in clogs loses its individuality when tripped in satin slippers2 the tarantella could not live to tell its tale in sabots2 the jig would jump to a conclusion under the stultifying glories of satin and patches2 and the sensuous grace of the ,east would expire in the bondage of ,western raiment4 ,,chapter ,,xx ,,of ,,theatrical ,,dress ,the time has long gone by when the dress of his own period would serve the turn of the actor in any character in any play1 irrespective of the century in which its story passed4 ,that condition of affairs has no place even in the mental treasure-trove of the oldest playgoer1 who saw ,edmund ,kean1 and never lets you forget it4 ,although it has not been stated that the most audacious actor ever ventured to play ,hamlet in a tall hat1 solecisms no less grave have in the long ago been committed and condoned1 even applauded4 ,imagine ,othello addressing the most potent1 grave1 and reverend signiors of sixteenth-century ,venice in a stiff-skirted coat1 breeches and waistcoat of the ,english fashion of ,george ,,ii4's day1 with a full-bottomed wig1 a three-cornered hat1 and a black face6 ,yet that was how ,garrick dressed the part1 and1 notwithstanding1 thrilled his audience to enthusiasm2 whilst handsome ,spranger ,barry won even ,colley ,cibber's applause when he acted the dusky ,moor dressed in a full suit of gold-laced scarlet1 a small cocked hat1 knee breeches1 and silk stockings6 ,then1 picture ,macbeth1 as ,garrick played him1 in a #agej suit of black silk1 and silk stockings and shoes1 with buckles at his knees and feet1 and a tie wig1 or in the scarlet and gold-laced uniform of a ,british general of ,george ,,iii4's reign6 ,and fancy ,lady ,macbeth in enormous hooped petticoats and huge flounces1 as ,mrs4 ,yates dressed her2 yet1 when she said1 ,give me the daggers1 and took them in her hands1 as an old print shows her doing1 no one in the audience recorded a thought that the action was incongruous with the costume1 or the costume with the tragedy4 ,what a contrast to the superb green and gold glories of the costume of ,miss ,ellen ,terry's ,lady ,macbeth1 immortalised by ,sargent6 ,but there was no attempt in those days to give the audiences anything better4 ,when ,benjamin ,west asked ,garrick why he did not initiate reform in stage-costume1 his answer was that the public would not allow it4 ,they would throw a bottle at my head1 added the great actor1 and he found it easier to elude the bottle--at least1 that particular bottle4 ,i believe it is to ,john ,kemble we are indebted for the first careful study of dressing a part on its merits1 even though he did not allow himself too near an approach to accuracy1 lest1 as he said1 the public should call him in disgust an antiquary4 ,so he did not hesitate1 in playing ,macbeth1 to wear a great bonnet of the #dbnd ,highlanders--the ,black ,watch4 ,but when ,sir ,walter ,scott saw this1 he was so shocked at the anachronism that he plucked out the big plume and replaced it with a single broad eagle's feather1 the time-honoured symbol of the ,highland chieftain4 ,it was1 however1 to the antiquarian researches of ,r4 ,j4 ,planch1 for ,charles ,kemble's production of ,king ,john at ,covent ,garden in #ahbc1 that our stage owes its first important step in the reform of costume4 ,macready1 who urged the reform still further1 carried his sense of the importance of costume to such a point during the rehearsals of ,henry ,v4 that he went to bed in his armour1 desiring that1 not only should the dress become the part1 but he should become the dress4 ,i recollect ,sir ,henry ,irving quoting this fact1 when telling me that he himself always followed the practice of wearing the clothes for a new part a few days previous to assuming them on the stage4 ,sir ,henry was1 of course1 a past master in the art of theatrical costume1 and to his genius and taste more than to any other influence we may attribute its present development on the ,english stage4 ,let the old playgoer prate enthusiastically as he will about ,charles ,kean1 and his splendid ,shakespearean revivals at the ,princess's ,theatre1 dramatic art has never been more picturesquely1 richly1 and appropriately clothed than it was at the ,lyceum ,theatre in the great days of ,henry ,irving4 ,even to talk to him of his productions was a liberal education in all arts appertaining to the theatre4 ,that the great actor took infinite personal trouble with every detail1 and would1 in his own costume1 direct the cut of the drapery1 the shape of the shirt collar1 and the exact position of the sash1 or the fold of the turban1 all who were privileged to associate with him at work are fully aware4 ,i recall many conversations with him on the subject of stage costume1 and invariably he would bring out some point of its psychological bearing4 ,as to variation in the interpretation of a character under the influence of a different dress1 for instance1 ,i remember his saying--,when you have the good fortune to act with an actress like ,miss ,terry1 the artist dominates the woman under any conditions of costume1 and the least suggestion is easily grasped and appreciated4 ,in all times1 modes and manners must influence each other1 and different gestures inevitably accompany different costumes4 ,you would not1 for instance1 see a lady when wearing ,grecian draperies disport herself in the same fashion as one bearing the stiff stomacher and monstrous farthingale of the ,elizabethan period4 ,illustration3 ,,miss ,,ellen ,,terry ,,as ,,mistress ,,page4 ,again1 we were discussing the question of colour in relation to certain emotions1 moods1 and traits of character4 ,who would think of playing a murderer in sky-blue satin and silver8 ,sir ,henry said4 ,and not pausing for my reply3 ,of course one expects a woman to go mad in white4 ,can you picture ,hamlet in colours8 ,surely he demands black clothes1 indeed the text says as much1--although the colour for the expression of mourning in ,denmark at that period was1 ,i believe1 red4 ,but1 after all1 the first thing is1 or should be1 to fit the personality to the character1 and then the question of dress is comparatively easy4 ,john ,ryder1 by the way1 used to explain his protracted engagement with ,charles ,kean as being solely due to what he was wont to call his archological figure4 ,illustration3 ,,isolde4 ,it has been questioned whether the public cares1 or knows1 much about the details of stage dress1 upon which so much time and thought are bestowed2 but then it is recognised that amongst the neglected arts is the art of costume1 and pending the establishment of the ,royal ,academy of ,dress1 over which1 of course1 ,mr4 ,percy ,anderson should preside1 visits to the theatre may offer to the student considerable instruction4 ,in other days the scholar resented any incongruities of stage-costume4 ,the satire of ,pope pictures them vividly in the early eighteenth century3 ,such is the shout1 the long applauding note1 ,at ,quin's high plume1 or ,oldfield's petticoat6 ,or when from ,court a birthday suit bestowed1 ,sinks the lost actor in the tawdry load4 ,booth enters--,hark6 the universal peal6 ,but has he spoken8 ,not a syllable4 ,what shook the stage1 and made the people stare8 ,cato's long wig1 flowered gown1 and lacquered chair4 ,imagine an ancient ,roman in a periwig and flowered gown after the ,queen ,anne fashion6 ,no wonder ,addison1 as he sat in a side box with two or three friends to watch his tragedy on the first night1 needed flasks of ,burgundy and champagne to support his spirits1 for had he not pleaded in a number of the ,spectator for the poet against the costumier8 ,the ordinary method of making a hero is to clap a huge plume of feathers on his head1 which rises so very high that there is often a greater length from his chin to the top of his head than to the sole of his foot4444 ,as these superfluous ornaments make a great man1 a princess gradually receives her grandeur from those additional encumbrances which fall into her tail4 ,i mean the broad sweeping train which follows her in all her motions1 and forms constant employment for a boy who stands behind her to open and spread to advantage4 ,i do not know how others are affected at this sight1 but ,i must confess my eyes are wholly taken up with the page's part1 and1 as for the ,queen1 ,i am not so attentive to anything she speaks as to the right adjusting of her train1 lest it should chance to trip up her heels1 or incommode her as she walks to and fro upon the stage4 ,it is1 in my opinion1 a very odd spectacle to see a ,queen venting her passions in a disordered motion1 and a little boy all the while taking care they do not ruffle the tail of her gown4 ,the parts that the two persons act on the stage at the same time are very different4 ,the princess is afraid lest she should incur the displeasure of the ,king her father1 or lose the hero her lover1 whilst her attendant is only concerned lest she should entangle her feet in her petticoat4444 ,in short1 ,i would have our conception raised by the dignity of thought and sublimity of expression1 rather than by a train of robes or plume of feathers4 ,but here was no plea for correctness of costume1 which might have obviated the distractions complained of4 ,nowadays we have altered all that1 and indeed we had one modern play1 ,frocks and ,frills1 frankly devoted to dress as the pivot of its plot4 ,yet its author1 ,mr4 ,grundy1 never gives any very special instructions in the matter of costume1 his stage directions being very simple1 merely stating whether a woman should be handsomely or poorly dressed4 ,he declares1 however1 that directly he sees the players ready and made up1 he can realise whether or not his work is going to be successful1 feeling that if they have realised the personalities1 and look like the men and women he has conceived1 they will represent the characters convincingly4 ,he audaciously advances the dogma1 that every woman is at heart a fashion-plate1 and ,i wish ,i could set him down for serious conversion by ,mrs4 ,tree1 one amongst the few whose taste in dress on the stage is quite irreproachable1 who never makes a mistake in fitting her clothes to her part4 ,mrs4 ,tree vows that if you gave her a dozen yards of white crpe de chine1 she would make a costume in which she could appear as ,ophelia1 ,lady ,macbeth1 ,constance1 and ,juliet1 and would undertake in the disposal of her draperies to satisfy the demands of the most exacting critic4 ,but on the subject of fashion ,mrs4 ,tree is a heretic1 refusing to treat it seriously1 and indulging in the theory that everything is people1 nothing is gowns4 ,the philosophy of clothes as expounded by ,mrs4 ,tree1 if rendered popular1 would not bring much grist to the mill of the modiste2 but then ,in this life nothing comes off--except buttons is her favourite pessimism4 ,i have heard a famous dramatist declare that when he wants to mark a situation strongly upon the minds of the audience1 he never allows the heroine to make entry in a new frock4 ,he also contended that1 in choosing her own gown1 the actress should choose it in relation to those to be worn by other players appearing in the same scene1 regarding herself1 not primarily as an individual but as one in a group4 ,she should also take care that her dress is suited not only to her surroundings but to her business1 so that no drapery impede her movements1 no tightness be a bar to graceful gesture4 ,no less an authority than ,mr4 ,pinero1 when discussing the influence that dress may exercise on the art of acting1 has declared that our plays are for the most part over-dressed1 with extravagance1 vulgarity1 and inappropriateness obtaining in place of artistic fitness4 ,it is well known that ,pinero takes a personal interest in every detail pertaining to his productions1 and such condemnation from him is condemnation indeed4 ,especially when he caps it by saying that he has found that the new costumes have to some extent frequently undone the results of his undress rehearsals1 the actresses no longer representing his creations as they did before the dressmakers sent home their gowns1 while the variety of their impersonations is swamped by the uniformity of their fashions4 ,even while grumbling1 ,pinero admits that stage costume has made wonderful progress since the time when ,robertson's appropriately-dressed plays doomed the theatrical stock wardrobe1 and ,alfred ,thompson initiated reforms making for artistic harmony2 nevertheless1 ,pinero protests that it is time for the dramatist1 in the interests of dramatic art1 to say to the costumiers and the purveyors of fashion1 ,thus far shall ye go1 and no farther4 ,sir ,james ,linton took up this cry1 while declaring that the bane of the dressmaker was over all feminine stage costume1 and would be1 until there arose an autocratic manager4 ,sir ,james is severe1 and would accept no compromise1 insisting that dress in historical plays should be absolutely accurate1 quite regardless of the becoming1 and asserting that an element of incongruity is always present on the stage1 introduced by the mere vanity of the mere woman4 ,in how far the art of costume may affect the art of drama ,i have my pet theories1 which include a predilection in favour of red of all shades for historical dress2 an appreciation of the charm of decoration in black and gold2 a recognition of the immense value of black in small quantities wisely disposed1 and much sympathy with trimmings of black and white on light dress of modern fashion4 ,combinations of colour which in ordinary circumstances would appear at least daring1 and1 at the most1 unpleasant1 have a knack of being effective when worn on the stage4 ,the deep crimson lining to the scarlet cloak may be quoted as an example of this1 together with the alliance of emerald green with turquoise blue1 and orange colour with lemon4 ,on fairies and other angels of the ballet the repetition of the same costume is of great value1 the multiplied mass enchaining the eye1 where smaller groups of diverse details fail to hold it4 ,illustration3 ,,george ,,alexander ,,as ,,guy ,,domville4 ,in moments of passionate emotion it is well that the actor or actress should discard a hat4 ,irving rarely wore one at all1 invariably taking the first opportunity to remove his1 bearing it with his special grace under his arm or in his hand1 as opportunity permitted4 ,in the management of classic drapery considerable skill and much practice are demanded1 and many an actor of contemporary methods finds himself lost and awkward without the consoling comfort of his trouser pocket for his restless fingers1 or the convenient coat-tail to be jerked1 in fits of irritation4 ,undoubtedly1 it is wise for the player to accustom himself to unconventional clothes for some days before assuming them on the stage3 it is only thus that he can hope to avoid self-consciousness and to escape inelegance of movement and gesture4 ,women1 although more easily adapted to new clothes1 and less embarrassed under their influence1 because more accustomed to such privileges1 yet suffer restraint in different attire1 and would yet do well to consider the advisability of rehearsing in their frocks on more than one occasion before they permit these to accompany them in their histrionic duties4 ,the stage has oftentimes had the privilege of introducing new fashions1 and the most apathetic patron of the playhouse may be lured to the auditorium by the report of something new in petticoats1 an ideal coiffure1 or the latest modish mandate obeyed to the letter in a belt4 ,miss ,violet ,vanbrugh may have the credit of bringing to notice the elegant charms of the corselet1 and the trim fascinations of the stock collar1 worn with the right sort of cravat4 ,to ,miss ,mary ,moore ,i attribute a revived popularity of the broad black ,alsatian bow2 she wore this in velvet in her clever impersonation in ,mrs4 ,gorringe's ,necklace1 and all the world of women flocked to see and to copy2 while her little short-waisted white muslin frock1 with broad ribbons and puffed sleeves1 in ,rosemary made that heroine an inevitable figure at fancy-dress balls for months after the production of this dainty little play4 ,miss ,letty ,lind1 ,miss ,kate ,vaughan1 and ,miss ,jessie ,milward--,i take my examples at random--may all be counted pioneers4 ,to ,kate ,vaughan we owe the lace-frilled petticoat1 beneath the influence of which she daintily danced her way into public favour4 ,miss ,letty ,lind first wore the accordion-pleated dancing skirt1 and ,miss ,jessie ,milward popularised the lawn-embroidered collars and cuffs4 ,i forget which ,adelphi melodrama she graced with these trifles1 but ,i am safe in asserting that she was the heroine of the drama1 and was made happy by wedding bells as the curtain fell4 ,illustration3 ,,julian ,l',,estrange ,,as ,,hermes4 ,it is easy for me to let my pictures in this chapter give me my cues for dilating on specially splendid productions which it has been my privilege to enjoy1 for ,mr4 ,anderson has been responsible for the majority of these1 and his pencil has illuminated the various centuries with experience1 infinite care1 and a skill of which ,i have promised him faithfully not to speak4 ,an exception1 however1 was ,coriolanus at the ,lyceum1 a play lending itself pre-eminently to dignified interpretation1 and it is needless to say that ,sir ,henry ,irving saw that it got this4 ,perhaps the great actor never looked more imposing than in the military robes of dull red and leopard skins1 with a cuirass of richly-wrought gold1 though1 to be sure1 he always wore his ecclesiastical garb with the grand air1 and as ,wolsey1 ,richelieu1 and ,becket he embodied the venerable magnificence of established holiness4 ,illustration3 ,,beerbohm ,,tree ,,as ,,malvolio4 ,miss ,ellen ,terry1 as ,volumnia1 also personified dignity1 whether in a loose garb of purple silk1 with a mantle of yellow and brown falling from a diadem-shaped head-dress set with turquoise1 or when1 after her successful pleading with her son1 she threw aside her garb of woeful black1 and was radiant in a draped tunic embroidered in pink and gold1 with gold ornaments round her arms and turquoise chains upon her neck4 ,the picture of ,rome under ,nero1 ,mr4 ,tree personally invested with a purposeful effeminacy1 and his tunics and garlands of flowers accentuated the poet in the man4 ,mrs4 ,tree showed ,agrippina at her best beneath the influence of many-coloured veils1 violet and red being the dominant notes2 and two gracious pictures rise before my eyes as ,i write1 of ,miss ,constance ,collier as ,poppa in white1 with a thick wreath of scarlet poppies around her dusky head1 and of ,miss ,dorothea ,baird in peach colour1 with lilacs entwined in her fair hair4 ,illustration3 ,,lewis ,,waller ,,as ,,henry ,v4 ,amongst other notable figures which dwell in my memory is ,miss ,lily ,hanbury as ,chorus in ,henry ,v41 produced by ,lewis ,waller1 whose mien in armour1 bearing a fine cloak lined with ,venetian red1 breathed the essential spirit of martial force4 ,miss ,hanbury looked wonderful in draperies of brilliant red over white1 standing on a pedestal against a black background4 ,and the secret of the admirable conduct of her folds was that the white under-dress of crpe de chine was wrung when wet1 and round this were wound seventeen yards of blood-red crpe4 ,with this splendid triumph of personality ,miss ,hanbury may class her appearance as ,lady ,blessington in ,mr4 ,tree's production1 ,the ,last of the ,dandies1 when she appeared in a pale-blue satin gown1 very full round the waist1 with a white chiffon double-frilled fichu over her shoulders1 and a bonnet bearing a lace veil pendent over the back1 and clusters of pink roses resting beneath the brim in front4 ,the ,last of the ,dandies was1 as it should have been1 quite a succs de costume1 and it may be written down under this aspect to the credit of ,percy ,anderson4 ,illustration3 ,,miss ,,constance ,,collier ,,as ,,viola4 ,this reminds me of the illustrations which adorn this chapter4 ,firstly1 of ,george ,alexander in ,guy ,domville1 that subtly clever play by ,henry ,james1 which came before its time and died of its premature birth4 ,sombre black is the dress chosen by this ,english ,protestant gentleman about to take holy orders in the latter part of the eighteenth century4 ,in ,ulysses the costumes were in form and colour essentially primitive1 archaic indeed1 and no less a compliment has been bestowed on ,mr4 ,anderson's work in this direction than the proposition that the designs should be acquired by the ,british ,museum4 ,the sketch of ,julian l',estrange as ,hermes may be taken as typical2 gold and black and red expressed it1 and there were red wings to the cap and sandals to the feet4 ,as ,malvolio ,mr4 ,tree excelled all his predecessors4 ,even the old playgoer yielded his admiration to the fantastic charms of this egotist1 who displayed just the right touch of absurdity in every gesture1 in every inflection of his voice1 and in every detail of his clothes1 who was so elegant with his elongated stick1 and his blade-green and yellow slashed dress with its monster ruff and foppish frills4 ,miss ,constance ,collier as ,viola wore a dress of grey embroidered with silver1 the cap of scarlet tossing a blue tassel1 while her pouch of crimson velvet embroidered with gold had peculiar slits or pockets for weapons1 and her sleeves hung wing-like in exact copy of the ,albanian costume1 a happy idea1 since the ,illyria of ,shakespeare is the ,albania of to-day4 ,desdemona1 as played by ,miss ,gertrude ,elliot in ,forbes ,robertson's production of ,othello at the ,lyceum ,theatre1 was a sweet and dainty creature indeed1 wearing the palest of colours1 white1 pale blue and silver1 and gold1 with a trellis of pearls on her fair head1 and ribbons and pearls entwined in her flowing locks4 ,illustration3 ,,miss ,,gertrude ,,elliot ,,as ,,desdemona4 ,vronique1 the first of a new series of comic operas with a plot1 was remarkable altogether for its exquisite frocks4 ,no prettier harmony could have been imagined than the chrysoprase-green and white of the first act1 unless it be the many gradations of pink1 cerise1 and red which graced the last act in company with a little band of maidens clad in pale-lemon colour4 ,the picture of ,vronique shows her with the close lace cap threaded with little green ribbons1 and with short soft glac sacque trimmed with ribbons1 and this she wore in the famous swing scene1 where the daintiest of little early ,victorian brides danced in white muslin and a poke bonnet under the shade of pink and white chestnut trees4 ,the ,othello of my picture is wearing a dress of thick woollen fabric in deep cream tone2 his head is bound with a white turban1 in which greenly glistens a huge emerald1 emeralds being embroidered on the sleeves interspersed with a design of red silk2 and there are jewels of all colours encrusted in his sword-belt1 and his sash is of red cashmere fringed with red and green4 ,it is invidious to make comparisons--,i have heard this for many years1 and known it even longer--yet ,i would boldly declare that there are but few ladies upon the stage who understand the important fact that1 by the dressing of the hair and the decoration of the head1 they may make or mar the most gorgeous or most simple garment4 ,miss ,ellen ,terry and ,mrs4 ,tree share a talent for historical head-dressing1 whilst of the younger generation ,miss ,dorothea ,baird and ,miss ,lily ,brayton most justly deserve the palm of excellence for the way they express their sense of period in the arrangement of their tresses1 and will dismiss all hankerings after the merely becoming in the higher interests of the entirely appropriate4 ,illustration3 ,,othello4 ,illustration3 ,v,,ronique4 ,the most interesting actresses of to-day make a cult of costume1 and are ever ready with views1 theories1 and even predilections4 ,miss ,irene ,vanbrugh1 for example1 who1 with her sister1 ,miss ,violet ,vanbrugh1 would seem to interpret all that is fashionable on the stage1 and to speak materially the last word of modern style1 quite unlike ,miss ,baird1 who pleads for the lines of nature and would kill fashion1 frankly declares her favourite stage costume was the kimono in which she played that exciting scene in ,the ,gay ,lord ,quex4 ,her experience of the crinoline period in ,trelawny of the ,wells1 with the frilled skirts1 pork-pie hats1 and the hair-nets1 led ,miss ,vanbrugh to be thankful that in real life she had escaped fashions so detestably uncomfortable4 ,another typically elegant actress is ,miss ,ellis ,jeffries1 and her personal taste inclines towards the plainest and simplest costumes1 as she told me1 while adding1 ,of course you won't believe me1 but it's true4 ,i choose my frocks to suit my circumstances on the stage1 and also to some extent the emotions ,i have to express2 and ,i insisted1 in spite of criticism1 that1 when ,i had to play the part of an hysterical woman1 ,i should robe her in scarlet4 ,i felt ,i couldn't be hysterical in white muslin2 could you8 ,miss ,marie ,tempest1 exploiting to perfection the sartorial possibilities of ,peg ,woffington1 made her first appearance in that play in a dress of daffodil yellow with pointed bodice outlined with sable1 the skirt trimmed with sable1 and a lace cap fitting closely to her powdered head4 ,she was amazingly hooped and paniered1 and looked her most gorgeous in the second act1 in a dress of white satin flounced with silver lace1 profusely ornamented with ruches and rosettes of pink chiffon4 ,a scarf of silver tissue was draped across the front of the skirt1 a knot of black velvet decked the low bodice1 and a fascinating little black feather nodded on one side of the head4 ,again1 as ,becky ,sharp1 ,miss ,marie ,tempest showed her nice sense of the fitness of things1 gracing the historic ball on the eve of ,waterloo in pink chiffon with clusters of roses1 and choosing a ,court gown of ,empire tendency1 made with a white satin train lined with cloth of gold1 and embroidered in a leaf design of gold1 which also appeared across the bust and on the hem of the chiffon under-skirt4 ,yet ,miss ,tempest avowedly does not believe that the actress should subordinate her personality in any way to a general scheme4 ,discussing the question1 she said3 ,i think that designers of theatrical costume as a rule are altogether oblivious of the special requirements of individual faces and figures4 ,to the designer1 it seems to me1 the actress is merely a note of colour in his general scheme4 ,only that1 and nothing more6 ,i would urge that exactly the same kind of costume cannot possibly be becoming alike to tall1 majestic women and a little insignificant nez retrouss person like me6 ,i cannot afford to have two or three lines going across my figure and cutting me up into slices2 nor can ,i have my neck muffled and ruffled up to the eyes1 and my shoulders loaded with heavy cloaks1 without feeling perfectly swamped and overwhelmed--and looking it1 which is worse6 ,i always think1 she concluded1 that a woman ought to have a large share in the designing and arranging of stage-dresses1 for she can understand what is becoming far better than a man4 ,small matters of detail are carried out better by women than by men4 ,and women1 of course1 have more patience and more perseverance4 ,but theatrical costume is a subject for a whole volume1 not for a chapter merely1 and ,i can touch but the fringe of it4 ,i have felt tempted to dwell upon the past1 and endeavour to trace the evolution of the idea of accurate costume on the stage from the day1 perhaps1 when the celebrated ,mrs4 ,mattocks of ,covent ,garden copied the attire of ,rubens's second wife in ,vandyck's picture1 so as to appear appropriately as the niece of the ,governor of ,bruges1 in ,the ,royal ,merchant1 a play adapted from ,beaumont and ,fletcher4 ,but1 lacking the pen of the historian and the science of the psychologist1 ,i have chosen the easier and more humble role of the gossip4 ,yet1 perhaps1 the elusive chatter of the actress's dressing-room may not be without its suggestive value1 more vivid1 possibly1 than the utterings of the student1 for its memories have the fragrance of yesterday4 ,before me as ,i write1 secure under glass1 together with its authentic pedigree1 is the lace collar that ,edmund ,kean used to wear when he played ,hamlet2 yet it stirs no thrill in me because of ,kean1 as old ,sir ,william ,gower1 in ,pinero's ,trelawny of the ,wells1 was moved at sight of the chain ,kean wore as ,richard1 because in his youth he had seen the great actor4 ,but the mere thought of the soft lawn collar and cuffs that ,h4 ,b4 ,irving wore with his inky cloak1 gold-bordered and crimson-lined1 and his famous father's silver-clasped belt1 brings the latest and not the least accomplished of ,hamlets vividly to my mind's eye4 ,each tone1 gesture1 action1 falls naturally into a harmony of memory1 because the costume was as appropriate as it was picturesquely charming--in fact1 it was right1 which proves the truth of ,sir ,henry ,irving's doctrine1 ,you can take it that the right thing on the stage is at once the most effective and the most becoming4 ,a wise doctrine1 which may be applied with irrefutable truth to the art of costume on and off the boards--a doctrine which may obtain as guidance through the land of dress in all the centuries1 under all circumstances1 past and to come4 ,,the ,,end ,printed by ,r4 ,r4 ,,clark1 ,,limited1 ,edinburgh4 99 99 99 99 99 ---------------------------------------- -------------------- ,transcriber notes3 ,p4 #ej4 'minever' changed to 'miniver' as in 'silk lined with miniver'4 ,p4 #adh4 'a a long' changed to 'a long'4 ,p4 #bbg4 ',egytian' changed to ',egyptian'4 ,various punctuation corrected4 ,note3 ,the equals sign is used to surround bold text2 underscores to surround italic text4 ---------------------------------------- --------------------