,a ,,technical ,,history ,,of ,,costume 99 ,,ancient ,,egyptian1 ,,assyrian1 ,,and ,,persian ,,costumes ,,in ,,preparation ,,ancient ,,greek1 ,,roman ,,and ,,byzantine ,,costume ,,and ,,decorations4 ,,european ,,costume ,,from ,,the ,,thirteenth ,,century ,,to ,,the ,,commencement ,,of ,,the ,,seventeenth ,,century----,,with ,,decorations4 ,,types ,,of ,,indian1 ,,persian1 ,,chinese ,,and ,,japanese ,,costume ,,and ,,decorations4 ,,with ,,notes ,,on ,,various ,,additional ,,types ,,of ,,primitive ,,garments4 99 99 99 99 99 ,,agents ,,america ,,the ,,macmillan ,,company #fd #ff ,,fifth ,,avenue1 ,,new ,,york ,,australasia ,,oxford ,,university ,,press #bje ,,flinders ,,lane1 ,,melbourne ,,canada ,,the ,,macmillan ,,company ,,of ,,canada4 ,,ltd4 ,,st4 ,,martin',s ,,house1 #gj ,,bond ,,street1 ,,toronto ,,india ,,macmillan ,,company1 ,,ltd4 ,,macmillan ,,building1 ,,bombay #cji ,,bow ,,bazaar ,,street1 ,,calcutta ,,ancient ,,egyptian ,,assyrian ,,and ,,persian ,,costumes ,,and ,,decorations ,,by ,,mary ,g4 ,,houston ,,and ,,florence ,s4 ,,hornblower ,,containing ,,twenty-,,five ,,full-,,page ,,illustrations1 ,,sixteen ,,of ,,them ,,in ,,colour1 ,,and ,,sixty ,,line ,,diagrams ,,in ,,the ,,text ,a4 ,c4 ,,black1 ,,limited #d1 #e #f ,,soho ,,square1 ,,london1 ,w4 #a4 #aibj ,,introduction ,if this work is to be kept within its limitations1 it is naturally impossible to give a complete survey of all the varieties of the various styles4 ,to get this knowledge it will be necessary to consult the works of reference1 of which lists are given in each section4 ,on the other hand1 the special aspect of the work is more fully treated than in any other accessible book upon the subject4 ,every illustration of costume given has been actually cut out and made up before being sketched1 except in a few cases which are of the nature of duplicates1 so that by following the directions given it will be easy for anyone to reproduce them in material4 ,where decoration is required1 the exact drawing and colouring of the various styles of ,historic ,ornament1 which are the work of ,f4 ,s4 ,hornblower 7who has also coloured the costumes where necessary71 will enable such details to be appropriately applied4 ,throughout the book1 the illustrations are given by means of facsimiles of drawings by artists of the various centuries1 so that a historic survey of the ,history of ,figure ,drawing will be included4 ,where the drawings of primitive artists do not clearly express the ideas intended to be conveyed1 a modern drawing of the garment on a dress-stand will be used for explanation of the measured drawings of the cut-out garments4 ,the growing appreciation of the beauty and value of the earlier and more primitive systems of cutting shown in modern dress designing for the last decade1 when the so-called ,magyar blouse 7really the simple tunic common to all primitive folk7 began to be popular1 will make the present volume a convenient form of inspiration for designers2 also1 where more exact reproduction is needed1 as in theatrical work1 pageantry1 and so forth1 the careful working out of the details of cut and decoration will expedite production and save hours of fruitless searching in reference libraries4 ,to the ,art ,student1 in addition to the always interesting history of costume1 the development of the ,art of ,representation1 as shown in the illustrations of these volumes1 which is so strangely repeated in the personal history of every young person learning to draw1 will be attractive and instructive4 ,finally1 in connection with the history lesson in the ordinary school1 teachers will find the illustrations clear and helpful1 especially if dramatic representations are attempted4 ,,mary ,g4 ,,houston4 ,,contents ,,page ,,ancient ,,egyptian ,,costume #a ,,ancient ,,assyrian ,,costume #dc ,,ancient ,,persian ,,costume #ge ,,list ,,of ,,plates ,,in ,,colour ,,plate ,,page ,i4 ,,ancient ,,egyptian ,,goddess #g ,,ii4 ,,ancient ,,egyptian ,,queen #i ,,iii4 ,,ancient ,,egyptian ,,decoration #ac ,,iv4 ,,the ,,god ,,osiris #ae ,v4 ,,ani1 ,a ,,scribe #ag ,,vi4 ,,thuthu1 ,,wife ,,of ,,ani #ba ,,vii4 ,,ancient ,,egyptian ,,decoration #bc ,,viii4 ,,ancient ,,egyptian ,,queen #be ,,ix4 ,,ancient ,,egyptian ,,decoration #bi ,x4 ,,ancient ,,egyptian ,,priestess #cc ,,xi4 ,,ancient ,,assyrian ,,personage #ea ,,xii4 ,,ancient ,,assyrian ,,decoration #fa ,,xiii4 ,,king ,,assur-,,nasir-,,pal #fc ,,xiv4 ,,queen ,,of ,,assur-,,bani-,,pal #ga ,,xv4 ,,ancient ,,assyrian ,,jewellery ,,and ,,tassels #gc ,,xvi4 ,,darius1 ,,king ,,of ,,persia #ha ,,list ,,of ,,illustrations ,,in ,,the ,,text1 ,,other ,,than ,,plans ,,fig4 #b4 ,,tunic ,,with ,,braces #aa ,,fig4 #c4 ,,tunic ,,with ,,short ,,sleeves #aa ,,fig4 #d4 ,,sleeveless ,,tunic #aa ,,fig4 #e4 ,,robe1 ,,undraped #ad ,,fig4 #f4 ,,robe1 ,,draped ,,and ,,girded #ah ,,figs4 #g1 #h ,,and #i4 ,,three ,,views ,,of ,a ,,draped ,,robe #ai ,,fig4 #aj4 ,,robe ,,draped ,,on ,a ,,woman #bj ,,figs4 #aa ,,and #ab4 ,,two ,,skirts ,,and ,a ,,cape #bg ,,figs4 #ac1 #ad ,,and #ae4 ,,skirts1 ,,cloaks ,,and ,a ,,cape #ca ,,fig4 #af4 ,,shawl ,,or ,,drapery #cb ,,figs4 #ag ,,and #ai4 ,,two ,,drapings ,,of ,,shawls #ce ,,fig4 #ah4 ,a ,,simple ,,shawl ,,drapery #cg ,,fig4 #bj4 ,,draping ,,of ,a ,,cloak #ch ,,fig4 #ba4 ,,military ,,corselet ,,and ,,apron-,,like ,,appendage #ci ,,fig4 #bb4 ,,robe ,,with ,,corselet ,,and ,,girdle #ci ,,figs4 #bc1 #bd ,,and #be4 ,,an ,,indian ,,sari #da ,,figs4 #bf1 #bg ,,and #bh4 ,,three ,,views ,,of ,a ,,shawl ,,drapery #di ,,fig4 #cj4 ,,belted ,,tunic ,,and ,,small ,,shawl #ec ,,fig4 #ca4 ,,belted ,,tunic ,,with ,,fringe ,,draping #ee ,,fig4 #cb4 ,,short ,,tunic ,,with ,,small ,,shawl ,,and ,,belt #eg ,,fig4 #cc4 ,,tunic ,,draped ,,with ,,shawl #ei ,,figs4 #cd1 #ce ,,and #cf4 ,,folded ,,drapery ,,over ,,tunic #fe ,,fig4 #cg4 ,,folded ,,drapery ,,over ,,tunic #fg ,,fig4 #ch4 ,,semicircular ,,and ,,folded ,,draperies #fg ,,fig4 #ci4 ,,richly ,,decorated ,,tunic #fi ,,fig4 #dj4 ,,robe1 ,,belted ,,and ,,draped #hj ,,figs4 #da ,,and #db4 ,a ,,drapery ,,in ,,ancient ,,and ,,in ,,modern ,,drawing #hc ,,figs4 #dc ,,and #dd4 ,a ,,drapery ,,in ,,ancient ,,and ,,in ,,modern ,,drawing #he ,,fig4 #de4 ,,short-,,sleeved ,,coat ,,over ,,tunic #hg ,,fig4 #df4 ,,overcoat1 ,,short ,,tunic ,,and ,,trousers #hi ,,list ,,of ,,cut ,,out ,,patterns ,,or ,,plans ,,of ,,garments ,,pages ,,tunics1 ,,with ,,braces #h ,,and #aa ,,tunic1 ,,sleeveless #aa ,,tunics1 ,,with ,,sleeves #aa ,,and #fi ,,robes #ad ,,and #hj ,,skirt #bf ,,cape #bf ,,collar #bf ,,shawls ,,or ,,draperies #cd1 #ce1 #cg1 #da1 #di1 #ej1 #fb1 #fg1 #hb1 #hd ,,cloak #ch ,,corselets #ci ,,coats #hf ,,and #hh ,,trousers #hh ,,list ,,of ,,dated ,,garments ,,illustrated ,,ancient ,,egyptian ,,section ,,page #cgjj ,b4,c4 #aj #bejj ,b4,c4 #af #agjj ,b4,c4 #h ,,and #aj #afjj ,b4,c4 #cf #aejj ,b4,c4 #aj #adej ,b4,c4 #af ,,and #bj #acjj ,b4,c4 #cf #abjj ,b4,c4 #ch #gjj ,b4,c4 #f #eej ,b4,c4 #cf ,,fourth ,,century ,b4,c4 #cj ,,first ,,century ,b4,c4 #h ,a4,d4 #bjj #cj ,a4,d4 #aibj #dj ,,ancient ,,assyrian ,,section ,,page #bejj ,b4,c4 #dh #ajjj ,b4,c4 #ej ,,ninth ,,century ,b4,c4 #eb1 #ef ,,and #fb ,,eighth ,,century ,b4,c4 #eh ,,seventh ,,century ,b4,c4 #fh ,,and #gj ,,ancient ,,persian ,,section ,,eighth ,,century ,b4,c4 #hd ,,sixth ,,to ,,fifth ,,centuries ,b4,c4 #hj1 #hb1 #hf ,,and #hh ,,decoration ,,ancient ,,egyptian ,,decoration #ac1 #bc ,,and #bi ,,ancient ,,assyrian ,,decoration #fa1 #fi ,,and #gc ,,works ,,of ,,reference #e ,,and #dg ,,ancient ,,egyptian ,,costume ,,general ,,description ,,of ,,ancient ,,egyptian ,,costume ,,cutting ,,out ,as far as the cutting out of ancient ,egyptian costume is concerned1 we may divide it broadly into four types--namely3 7#a7 ,the type of the tunic4 7#b7 ,the type of the robe4 7#c7 ,the type of the skirt1 with or without cape4 7#d7 ,the type of the shawl or drapery4 ,the one or two varieties which occur in addition to these may be found in military dress and adaptations from the costumes of other countries4 ,all the varieties above referred to are described in detail in this volume4 ,,decoration ,,and ,,colouring ,though we find ,egyptian costume in many instances decorated all over with woven or printed patterns1 decoration in the main was confined to accessories such as the head-dress1 collar1 and girdle1 these being often painted1 embroidered1 beaded1 or jewelled4 ,see various examples given4 ,the colouring which was usually1 though not invariably1 confined to the decorations consisted of simple schemes1 variations of the hues of red1 blue1 green1 yellow1 and deep purple described on p4 #ff4 ,,material ,the material used in the costumes was chiefly linen4 ,in the most ancient types it was of a fairly thick1 coarse weave2 but in the later examples a fine thin linen1 loosely woven so as to appear almost transparent1 was used4 ,the linen has often a stiffened appearance1 and also gives the idea of having been goffered or pleated4 ,,dates ,the earliest types of costume were the tunics2 midway come the robes and skirts1 and the draped or shawl type of costume appears the latest4 ,however1 the older types of costume did not disappear as the new ones were introduced1 but all continued to be worn contemporaneously4 ,the dates of most of the costumes in this volume are given with their description1 and have been verified at the ,british ,museum4 ,,men ,,and ,,women3 ,,the ,,difference ,,in ,,their ,,dress ,it can easily be gathered from the illustrations that the types of costume worn by both sexes were very similar4 ,the high waist-line prevails in feminine dress1 while the male costume1 if girded1 was generally confined about the hips4 ,egyptian ,works of ,reference4 ,prisse d',avennes1 8,l',art ,egyptiens02 ,leeman1 8,aegyptiche ,monumente02 ,rossellini1 8,monumenti ,egitto02 ,hottenroth1 8,le ,costume02 ,racinet1 8,le ,costume ,historique02 ,sir ,j4 ,g4 ,wilkinson1 8,ancient ,egyptians02 ,british ,museum ,handbooks and ,reproductions4 ,these reproductions have lately been augmented and for those who cannot visit the ,museum will be found most useful4 ,,ancient ,,egyptian ,,costume ,,plate ,i4 ,plate ,i41 which dates #gjj ,b4,c41 is an exact copy of an ,egyptian drawing4 ,it will be noticed that the ,egyptian method of representing the figure is a peculiar one4 ,a modern representation of the same type of dress is shown in ,fig4 #b1 and the plan of cutting in ,fig4 #b;,a ,it should be noted that this plan--namely1 a tunic with braces--is in some instances shown with the braces buttoned on each shoulder at the narrowest part4 ,this illustration is given as a type of ,egyptian dress decoration1 which would be either printed1 painted1 or embroidered on the garment4 ,it might be considered that this type of dress more nearly approaches the skirt than the tunic2 but reaching1 as it does1 to the breast-line1 and comparing various examples which1 as it were1 gradually merge into the sleeveless tunic which again merges into the tunic with short sleeves1 the present classification will be found to be the most convenient4 ,illustration3 ,,plate ,i ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,a ,,goddess ,,plate ,,ii4 ,plate ,,ii41 which dates #agjj ,b4,c4 also first century ,b4,c41 is an exact copy of an ,egyptian drawing of a woman wearing a species of tunic with braces 7plan1 ,fig4 #a74 ,the striped decoration upon this tunic is suggested by the lines of another type of ,egyptian dress--namely1 the drawn-up skirt4 ,the origin of the decoration can be easily understood by a reference to the drapery on ,plate ,,ix4 ,in the original of this drawing the figure is represented with a lofty head-dress in addition to the fillet of ribbon and the golden asp here shown1 but for the sake of getting the figure on a scale large enough to show clear details the head-dress is omitted4 ,the person represented is said to be ,cleopatra dressed as a goddess4 ,illustration3 ,fig4 #a ,illustration3 ,,plate ,,ii ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,a ,,queen ,figs4 #b1 #c1 and #d1 dating #agjj1 #aejj1 and #cgjj ,b4,c4 respectively1 are wearing dresses of the first great type of ,egyptian costume--namely1 the tunic type4 ,they were made of fairly thick linen4 ,fig4 #b is put on by stepping into it and pulling it up4 ,figs4 #c and #d are put on over the head2 the measurements given will fit a slim figure without underclothing4 ,the origin of ,fig4 #b was most probably a piece of linen of the same length as this garment but wide enough to lap about half round the figure and have a piece tucked in at the top to keep it closed4 ,this sort of tight drapery is quite commonly worn by negresses in ,africa to-day4 ,we also find it on some ancient ,egyptian wooden statuettes1 the drapery being of linen while the figure only is in wood4 ,illustration3 ,fig4 #b ,illustration3 ,fig4 #c ,illustration3 ,fig4 #d ,illustration3 ,fig4 #b;,a ,illustration3 ,fig4 #c;,a ,illustration3 ,fig4 #d;,a ,,plate ,,iii4 ,it will be noticed that the ,egyptian dress decoration is chiefly confined to the collar1 which will be seen in wear on ,plates ,v41 ,,vi41 ,,viii41 and ,x4 ,the patterns were either embroidered1 painted1 beaded1 or jewelled2 the favourite lotus flower is almost always in evidence in the designs 7see a1 b1 c1 and d on ,plate ,,iii474 ,on this plate also will be seen several other characteristic borders 7f1 g1 h1 i71 and two all-over patterns 7k1 e71 which were probably either stamped or tapestry-woven on the dress fabric4 ,the colouring of these patterns is chiefly taken from painted representations of persons and ornaments4 ,to arrive at the exact colouring used if the garments were decorated with dyed materials the description of the types of colours used in dyeing ancient ,assyrian and ,persian costumes1 see p4 #ff1 will give a more exact notion of what was worn4 ,we have1 in the ,british ,museum1 actual examples of dyed wools and coloured beads used in dress decoration4 ,illustration3 ,,plate ,,iii ,f4,s4,h4 fec4 ,,details ,,of ,,decoration ,,plate ,,iv4 ,plate ,,iv4 belongs to the next great division of ,egyptian costume1 which may be called the 8,type of the ,robe40 ,this illustration shows it in its simplest form--namely1 ungirded4 ,to understand the quaint ,egyptian drawing of ,plate ,,iv4 a reference to ,fig4 #e is necessary1 which is a modern drawing of the same costume4 ,as will be seen from the plan1 ,fig4 #e;,a1 this garment consists of a piece of material twice the height of the figure and folded over in the middle2 a hole is here cut for the neck and1 in addition1 a short slit down the front to allow of the garment being pulled over the head4 ,the material is sewn up the sides from the bottom1 leaving a space at the top for the passage of the arms4 ,a garment similar in type to this is worn at the present day in ,egypt and ,syria1 and also1 strange to say1 by the natives of ,brazil4 ,this robe should be compared with that worn by ,darius1 ,king of ,persia1 later in this volume4 ,illustration3 ,fig4 #e ,musicians are often represented wearing this robe1 sometimes rounded off at each side of the hem so that it does not trail as it does on ,fig4 #e4 ,illustration3 ,fig4 #e;,a ,illustration3 ,,plate ,,iv ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,,the ,,god ,,osiris ,,plate ,v4 ,plate ,v41 dating #adej ,b4,c41 shows the same robe as ,plate ,,iv4 worn in a different manner4 ,in this case the garment is left open down the sides1 the front half is taken and pinned at the back of the waist1 and the back half is drawn towards the front and girded with a wide sash measuring #cb0 #abj01 as shown in ,plate ,v4 and ,figs4 #f1 #g1 #h1 and #i4 ,it should be noted that ,fig4 #f is a modern drawing of ,plate ,v42 also the costume upon p4 #ai1 which dates #bejj ,b4,c41 gives three different views of the same dress1 a costume which emphasizes the love of the ,egyptians for drawing up the dress tightly so as to define the limbs at the back and allowing great masses of drapery to fall in front to the feet4 ,to adjust the sash or girdle on ,plate ,v41 commence at the right side of waist drawing the sash downwards to the left and round the hips at back1 next draw upwards across the front from right to left and round waist at back and tuck the remaining length of sash in front as shown in ,fig4 #f4 ,illustration3 ,,plate ,v ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,,ani1 ,a ,,scribe ,illustration3 ,fig4 #f ,illustration3 ,fig4 #g ,illustration3 ,fig4 #h ,illustration3 ,fig4 #i ,plate ,,vi4 is an illustration of a robe worn by a woman #adej ,b4,c41 and ,fig4 #aj is a modern representation of the same robe4 ,it will be noted in this case that the front half is not pinned behind the back1 but is kept quite full in front1 and that the back half1 instead of being girded by a sash1 is drawn round and tied in a knot just under the breast4 ,illustration3 ,fig4 #aj ,this robe on women is also sometimes tied with a narrow girdle under the breast instead of the edges being knotted4 ,illustration3 ,,plate ,,vi ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,,thuthu1 ,,wife ,,of ,,ani ,,plate ,,vii4 ,the decoration on this plate shows the detail of the characteristic ,egyptian winged globe 7a71 hawk 7b71 and beetle 7scarabus7 7c74 ,plates ,i4 and ,,viii4 are examples of the application of winged decoration upon ,egyptian costume4 ,three other geometrical borders 7d1 e1 and f7 and two all-over patterns 7g and h7 are given2 g shows an example of the well-known feather or scale pattern2 h 7which is similar to e1 ,plate ,,iii47 is a favourite geometric motif1 and was often printed or painted on garments4 ,a very charming effect also of this pattern was a tunic entirely composed of beads1 or beads and reeds1 and worn over the garment shown on ,fig4 #b1 p4 #aa4 ,several beaded networks of this type may be seen on the mummies in the ,british ,museum4 ,illustration3 ,,plate ,,vii ,f4,s4,h4 fec4 ,,details ,,of ,,decoration ,,plate ,,viii4 ,the third outstanding type of ,egyptian costume may be described as the 8,type of the ,petticoat and ,cape0 7the petticoat was sometimes worn without the cape74 ,now this petticoat or skirt1 as shown in ,plate ,,viii4 and ,fig4 #aa1 consists of a straight cut piece of material threaded through at the waist with a narrow strip which is knotted round the figure to keep the garment in position2 the cape-like shoulder drapery is an oblong piece of stuff1 to drape which take the corners d and e of ,fig4 #aa;,a in your hands and twist them till the triangles a1 b1 c1 and d1 e1 f1 have become cords1 and then knot as shown in the diagram4 ,in the skirt piece1 ,fig4 #aa;,b1 sew together the two short sides4 ,as will be seen in the illustration1 a long knotted girdle about #ajj inches in length is worn over the skirt4 ,it passes twice round the waist1 and is knotted at the back as well as the front4 ,in ,plate ,,viii4 the deep ornamental collar is worn over the cape4 ,the collar1 which was fastened down the back1 is shown in plan 7,fig4 #aa;,c74 ,fig4 #ab shows another method of wearing a similarly cut but rather longer skirt2 in this case there is no waist cord2 two pieces of the upper edge about half a yard apart are taken in the hands and twisted1 one is crossed over the other and tucked inside1 the other is pulled up and ,illustration3 ,,plate ,,viii ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,a ,,queen forms an ear1 as shown in sketch4 ,this particular draping is the inspiration of the decoration on ,plate ,,ii4 ,similar drapings without the twisting were worn both by men and women4 ,it is interesting to note that a practically similar garment is worn in ,burma at the present day by both men and women4 ,illustration3 ,fig4 #aa;,a ,illustration3 ,fig4 #aa;,b ,illustration3 ,fig4 #aa;,c ,illustration3 ,fig4 #aa ,illustration3 ,fig4 #ab ,compare ,fig4 #ab with ,plate ,,ii4 where the drapery here given has suggested in its lines a decoration of stripes4 ,,plate ,,ix4 ,the noteworthy details of the decorations on this plate are those illustrated at a and b4 ,these are appendages from girdles such as worn by male figures2 an example is ,fig4 #ba4 ,the material of this appendage may be possibly of painted leather1 wool embroidered linen1 or linen with metal mounts4 ,many beautiful painted illustrations of this girdle appendage are to be found in the ,british ,museum2 e is from a feather fan4 ,illustration3 ,,plate ,,ix ,f4,s4,h4 fec4 ,,details ,,of ,,decoration ,fig4 #ac is an ,egyptian woman's costume dating #adej ,b4,c42 she is wearing two garments--namely1 a skirt and cloak4 ,this skirt1 which is frequently worn alone without the cloak1 as shown in ,fig4 #ab1 is cut to exactly the same width top and bottom4 ,it is wide for the figure1 and the superfluous fullness is caught up in each hand in the act of putting on4 ,the upper edge of garment is drawn tightly round the figure just under the breasts2 the portions held in each hand are then tied together in a knot4 ,in ,fig4 #ac the cloak is knotted in with the skirt2 this cloak is simply a rectangular piece of material4 ,it will be noted that ,figs4 #ac1 #ad1 and #ae all show the popular ,egyptian effect of drapery drawn tightly round the back of the limbs and falling full in front4 ,fig4 #ad1 which dates ,a4,d4 #bjj1 shows a ,roman adaptation of the same costume4 ,the figure wears underneath a long tunic1 and over this1 tightening it in at the waist1 an ,egyptian skirt2 a small ,egyptian scarf is knotted to the skirt in similar fashion to the costume in ,fig4 #ae4 ,all the garments worn by ,fig4 #ad are rectangular pieces of material2 the tunic is two straight pieces of stuff sewn up the sides2 the top edge is divided into three parts by pinning2 these openings form the neck and arm-holes4 ,fig4 #ae is a ,greek costume of the fourth century ,b4,c4 in which the ,egyptian influence is equally strongly marked2 in this case1 again1 the garments are all rectangular pieces of material1 the sleeves in one with the tunic4 ,to knot the cloak to the over-skirt1 as shown in this figure1 the fullness of the over-skirt should be bunched up in one hand2 the two corners of the cloak are taken in the other hand and twisted together round the skirt in a knot4 ,illustration3 ,fig4 #ac ,illustration3 ,fig4 #ad ,illustration3 ,fig4 #ae ,,plate ,x4 ,plate ,x4 shows the fourth division of ,egyptian costume--namely1 the 8,type of the ,shawl or ,drapery40 ,several varieties of this type are illustrated and described on pp4 #cc1 #cd1 and #ce4 ,illustration3 ,fig4 #af ,illustration3 ,,plate ,x ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,a ,,priestess ,illustration3 ,figs4 #af;,a and #ag;,a ,the fourth division of ,egyptian costume is shown in the examples on ,plate ,x4 and pp4 #cc1 #cd1 and #ce4 ,these are the draped or shawl type of costume4 ,they have many resemblances to the draping of the well-known ,indian sari of modern times4 ,compare these with illustration of sari 7p4 #ci74 ,the ingenuity displayed in the draping of these costumes can only be realized when they are actually done upon a model4 ,it should be noted with regard to all ,egyptian costumes of the more fully draped type that the entire draperies seem to radiate from one point1 usually a knot at the waist1 with very beautiful effect4 ,to drape ,fig4 #af1 which is a modern drawing of ,plate ,x41 tie a cord round the waist1 tuck in corner b 7see plan1 ,fig4 #af;,a7 at left side of waist1 pass round the back and round the right side to front again2 make some pleats and tuck them in in centre front of waist1 then pass round back again to right side2 catch up the whole drapery and throw it upwards from right-hand side of waist under left arm-pit1 pass on round the back ,illustration3 ,fig4 #ag ,illustration3 ,fig4 #ai ,illustration3 ,fig4 #ai;,a ,the width #de0 will drape a tall figure1 say #e' #f0 in height4 ,the drapery should be narrower for a lesser height4 and over the right shoulder towards front1 then throw the remaining portion of garment across the chest and backwards over the left shoulder2 take corner a and bring it round under right arm-pit1 release corner b which you first tucked in1 and tie it to corner a4 ,the corner c will hang down in a point at the back4 ,to drape the costume on ,fig4 #ag1 which dates #acjj ,b4,c41 take the corner a of ,fig4 #ag;,a and hold it at right side of waist in front1 pass round the back and round the left side to front again1 tuck in some pleats in centre front1 and pass on round the back to left side of waist under left arm towards the front2 catch up the entire garment and throw over the right shoulder1 pass the upper edge of the garment round the back of the neck and over the left shoulder and downwards across the breast to right1 where the corner b should be tied to corner a4 ,corner d hangs down in a point at the back4 ,for ,fig4 #ah1 which dates #afjj ,b4,c41 take the corner a of ,fig4 #ah;,a and hold it at right side of waist in front1 pass the edge a-b round back of waist to the left side and across the front of waist1 pass it round the right side again under the right arm towards the back and upwards over the left shoulder2 tie the corner a to corner b in front4 ,for ,fig4 #ai1 which dates #eej ,b4,c41 tie a waist cord1 hold corner a of ,fig4 #ai;,a at left side of waist in front1 and throw the whole garment upwards over the right shoulder to the back2 take the corner c1 bring it round under the right arm1 and hold it along with the corner a2 draw the edge a-b1 which still hangs over the right shoulder1 downwards across the back to left side of waist4 ,bring it round to front of waist and pin it to the corners a and c at the left side of waist in front1 passing the garment on round the front2 tuck in a few pleats in centre front into the waist cord1 then pass it round right side of waist and upwards across the back over the left shoulder1 downwards across the breast to right side of waist2 here pass a loop of material over the left wrist as shown in diagram2 now pass a girdle round the waist over the entire drapery1 knot it at right side of waist1 confining the drapery as illustrated in ,fig4 #ai4 ,illustration3 ,fig4 #ah ,illustration3 ,fig4 #ah;,a ,illustration3 ,fig4 #bj ,illustration3 ,fig4 #bj;,a ,here are three other varieties of ,egyptian costume4 ,fig4 #bj1 which dates sixth century ,b4,c41 is an arrangement of a cloak worn by a man 7,plan #bj;,a74 ,fig4 #ba shows an interesting cross-over garment sheathing the upper part of the body1 worn by a ,warrior ,king1 #abjj ,b4,c4 ,it was probably made of leather or quilted linen 7plan1 ,fig4 #ba;,a74 ,this figure is also wearing one of the characteristic belts with appendages 7for detail see ,plate ,,ix41 a and b74 ,fig4 #bb1 which dates #acjj ,b4,c41 is wearing a robe1 as previously described on ,fig4 #f1 but in addition has a stiff corselet 7,plan #bb;,a7 of leather or quilted linen which is fastened at the side2 the date of this figure is #acjj ,b4,c4 ,illustration3 ,fig4 #ba ,illustration3 ,fig4 #bb ,illustration3 ,fig4 #ba;,a ,illustration3 ,fig4 #bb;,a ,a ,,comparison ,,the ,,indian 8,,sari0 ,before passing from ,egyptian costume1 it seems interesting to compare the accompanying illustrations of an ordinary present-day draping worn by women in ,india4 ,this long shawl drapery 7the 8sari07 presents extraordinary similarities to some of the ancient ,egyptian shawls or draperies already illustrated4 ,the method of draping is as follows3 ,tie a waist cord2 take the corner b and fix it to the right-hand side of waist1 then pass the edge b-a across the front of waist1 round the left side towards the back1 and round the back of waist again to the right side2 now take up some pleats in the drapery and push them inside the waist cord in centre front of waist1 then pass on the drapery round the waist to back and round to the right side again4 ,now catch up all the remaining drapery and throw it upwards across the chest over the left shoulder4 ,let the corner c hang down the back1 and bring the corner around towards the front of waist and tuck it in at the left side of waist1 so that it will have the thrown-over portion to the right of it4 ,this completes this draping of an ,indian sari4 ,the width of this sari will drape a figure of #e' #d01 most of those worn by ,indian women are narrower4 ,illustration3 ,fig4 #bc ,illustration3 ,fig4 #bd ,illustration3 ,fig4 #be ,illustration3 ,fig4 #bc;,a ,length #d ,yds1 width #ci in4 ,,ancient ,,assyrian ,,costume ,,general ,,description ,,of ,,ancient ,,assyrian ,,costume ,,cutting ,,out ,there are practically only two types of garment generally found in the representations of ancient ,assyrian costume3 7#a7 the shawl1 and 7#b7 the tunic4 ,these vary in size and proportion1 and are worn either alone1 but more generally in combination4 ,,decoration ,except in the earliest examples1 decoration is lavish in ,assyrian costume2 in fact1 the costume of a ,king when at its richest may be said to be absolutely covered with ornament4 ,jewellery1 woven and embroidered patterns1 and fringes are used in the utmost profusion4 ,see the illustrations of the most characteristic ornamental details of this style4 ,,material ,the materials used seem to have been of linen and wool4 ,the skins and furs of animals and metal were also in use1 but chiefly for military and hunting costume4 ,,dates ,the earliest type of costume here shown is a rather elaborate shawl drapery worn without any tunic underneath4 ,later comes the tunic with various fringed shawl draperies worn in addition1 and some of the latest types have the tunic worn alone without the shawl draperies4 ,the dates given for the costumes illustrated in this style have been verified at the ,british ,museum4 ,it should be remembered1 as in the case of ancient ,egyptian costume1 that the dresses changed very slowly indeed1 and most styles of this era were worn literally for hundreds of years4 ,,men ,,and ,,women3 ,,the ,,difference ,,in ,,their ,,dress ,the representations of costume which ,assyrian art has left us are almost entirely those of men's dress4 ,two examples of women's dresses are shown in this volume4 ,the first wears a plain ungirded tunic and a simply draped shawl covering the figure partially4 ,the second is the dress of a ,queen1 and has the tunic almost entirely covered with a voluminous shawl4 ,the wide belt with narrow belt over it seems to be confined to the men's costume1 as also the tighter and scantier shawl draperies which exist in singular variety4 ,for ,assyrian and ,ancient ,persian ,styles consult3 ,layard's 8,monuments of ,nineveh02 ,flandin and ,coste1 8,voyage en ,perse02 ,botta1 8,monuments de ,ninve02 ,victor ,place1 8,ninve et ,assyrie02 ,perrot and ,chipiez1 8,history of ,art in ,persia02 ,racinet1 8,le ,costume ,historique02 ,hottenroth 8,le ,costume04 ,also reproductions and handbooks of the collections in the ,british ,museum4 ,figs4 #bf1 #bg1 and #bh3 ,this drapery is from the figure of the ,king ,gudea1 #bejj ,b4,c4 7see ,british ,museum74 ,to drape1 place the corner b of ,fig4 #bf;,a under left arm-pit1 and draw the edge b-a round the back of shoulders under the right arm-pit1 across the front of chest1 and round the back again1 and under the right arm-pit once more2 then throw the edge b-a upwards across the chest and over the left shoulder2 the corner a will then hang down the back4 ,take this corner a and tuck it in at the right side of breast1 as shown in illustration 7,fig4 #bf74 ,it should be noted that1 unless the left hand is raised1 the left arm and hand are entirely covered by this drapery1 the right arm only being left free for movement4 ,this dignified drapery presents points of similarity to the ,roman 8toga0 of a much later period4 ,illustration3 ,fig4 #bf ,illustration3 ,fig4 #bg ,illustration3 ,fig4 #bh ,illustration3 ,fig4 #bf;,a ,,plate ,,xi4--,this type of dress1 which in the ,british ,museum is described as worn by 8a ,mythological ,figure in attendance upon ,king ,assur-nasir-pal01 ninth century ,b4,c41 might be dated about #ajjj ,b4,c41 as following the usual custom of the ancients who dressed their sacred figures in the costume of some previous generation as a rule1 consists of a simple tunic with short sleeves1 and reaching to the knee1 cut in similar fashion to the ,egyptian2 then a small shawl 7,fig4 #bi;,b7 is wrapped round the hips1 beginning with the corner a on right hip1 and passing the edge a-b across the front towards the left and round the waist4 ,the triangle b-e-f can be tucked in at waist-line2 then the wide belt1 probably leather1 which is coloured buff in the illustration1 is put on and kept in position by the narrow belt1 which is coloured red2 this belt is much better seen in ,fig4 #cj4 ,lastly1 the large shawl 7,fig4 #bi;,a7 has the corner b tucked in to narrow belt at left side of waist1 and the edge a-b passed round the back towards the right side of waist upwards across the chest1 and hangs down the back over the left shoulder4 ,the original of this figure is winged1 the wings being omitted here4 ,illustration3 ,fig4 #bi;,a ,illustration3 ,fig4 #bi;,b ,illustration3 ,,plate ,,xi ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,,mythological ,,personage ,fig4 #cj represents ,king ,assur-nasir-pal 7ninth century ,b4,c47 wearing a tunic of similar type to ,plate ,,xi41 but long4 ,tied at his waist and covering the back half of his figure is a small richly decorated shawl about #bj inches square4 ,note the tassels hanging from right-hand bottom corner2 these would be the same on the left-hand bottom corner4 ,he also wears the belt mentioned in connection with ,plate ,,xi4 ,the wavy tassels which look like horsehair hang from his sword belt2 a tassel also hangs from the back of his necklace1 and two ribbons from his cap-band4 ,note the similarity of this cap to the so-called fez or tarbush worn in ,assyria at the present day4 ,illustration3 ,fig4 #cj ,fig4 #ca3 ,the point to be noted in this figure is the arrangement of a fringe drapery which goes once round the waist1 is thrown over one shoulder1 and hangs down the back4 ,illustration3 ,fig4 #ca ,fig4 #cb3 ,this man1 in hunting dress1 ninth century ,b4,c41 has a small scarf1 fringed only at the ends1 wrapped tightly round the limbs1 reaching to the knee4 ,illustration3 ,fig4 #cb ,fig4 #cc3 ,this woman1 a captive of ,sennacherib who reigned in eighth and seventh centuries ,b4,c41 wears a long tunic1 and over it a long shawl fringed at the two ends and measuring #ej0 #hj04 ,to drape this shawl1 place one corner under the left arm-pit and draw it across the back under the right arm-pit1 wrapping it once round the body2 draw it across the back and up over right shoulder4 ,a corner of the fringed end will hang down in front of the right shoulder4 ,illustration3 ,fig4 #cc ,,plate ,,xii4 ,plate ,,xii4 shows a number of characteristic ,assyrian ornaments4 a1 ,the sacred tree4 b1 c1 d1 e1 f1 ,repeating patterns on costumes4 g1 h1 i1 j1 k1 l1 ,borders on costumes4 m1 ,one of the many rosettes much used in ,assyrian decorations4 ,these should be compared with the decorated costumes shown in the plates2 they would be either woven or embroidered4 ,illustration3 ,,plate ,,xii ,f4,s4,h4 fec4 ,,details ,,of ,,decoration ,illustration3 ,fig4 #cd;,a ,,plate ,,xiii4--,a facsimile drawing1 from an enamel tile1 is one of the many representations of the ,king ,assur-nasir-pal1 ninth century ,b4,c4 ,the description of his dress will be better understood by referring to ,figs4 #cd1 #ce1 and #cf4 ,the ,king wears over his long tunic a very beautiful and dignified shawl drapery1 which is fringed1 recalling certain ,egyptian types already illustrated1 and1 indeed1 has points of similarity with certain ,greek and ,roman draperies4 ,to drape this shawl 7see ,fig4 #cd;,a7 fold over on the line e-f so that e-f1 a-b1 hangs down outside2 then attach the cord e-g as illustrated1 and hold g at right side of waist in front1 throwing the rest of the shawl backwards over the right shoulder4 ,draw the edge e-f round the back of neck1 and form a ,illustration3 ,,plate ,,xiii ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,,king ,,assur-,,nasir-,,pal sling over the left arm1 as shown4 ,to complete the draping1 continue to pass the edge e-f round the waist towards the right1 passing under the right elbow1 then on round the back and left side until it reaches about #f inches in front of left side of waist2 now fold the remainder of drapery underneath1 as shown in the drawings1 and tie a cord round waist to keep all firmly in position2 knot the end of the cord e-g to this waist cord4 ,fig4 #ce shows the back view1 and ,fig4 #cf shows the drapery thrown off the left shoulder to give freedom to both arms1 ,figs4 #cd and #ce only giving freedom to the right arm4 ,if the cord e-g is pulled down so that e touches the waist1 then both shoulders will be covered by the drapery4 ,fig4 #cd is the most usual arrangement of this type of drapery1 but in looking at ,plate ,,xiii4 closely it will be seen that the modern drawing 7,fig4 #cg7 is a more exact rendering4 ,this drawing is from a draping of the same shawl as ,fig4 #cd is wearing1 but the fold-over is somewhat deeper1 the point e is tied closely to waist belt1 and the drapery is rolled at waist while it is being adjusted4 ,when worn thus1 with a roll1 the drapery will remain in position without the waist cord being tied over it1 but it is more secure when it has been thus confined4 ,fig4 #ch is still another variety of this type of draping1 and is taken from a small statue of ,assur-nasir-pal in the ,british ,museum2 there we have two shawls1 one square and one semicircular 7see ,figs4 #ch;,a and #ch;,b74 ,to arrange this drapery1 take the square shawl and fold outwards about #bj inches1 as at e-f4 ,tie a waist cord on the tunic1 and tuck the corner ,illustration3 ,fig4 #cd ,illustration3 ,fig4 #ce ,illustration3 ,fig4 #cf f deeply into it at left side of waist cord2 then draw tightly round the figure in front and round again across the back of waist till the left side is reached again4 ,now double about #f inches of the shawl inwards1 and tuck again into waist cord4 ,take the semicircular shawl g-h1 and attach the cord to another waist cord1 throw backwards over the right shoulder1 and arrange a sling over the left arm as before in ,figs4 #cd and #cg4 ,the corner h of the shawl shows in front about #h inches below the waist towards the left4 ,tie the second waist cord tightly over this shawl to keep in position4 ,,note ,,on ,,the ,,colouring ,,of ,,ancient ,,assyrian ,,and ,,persian ,,costumes ,though we do not possess the actual specimens of these costumes1 still we can infer from the lavish ornament1 and1 from references in the ,hebrew ,old ,testament writings1 that rich colouring prevailed4 ,the dyes were probably similar to those of ancient ,egypt1 and this table will suggest the particular hue of each colour3 ,,ancient ,,egyptian ,,and ,,assyrian ,,dye ,,colours ,blue3 ,usually rather a dark indigo1 sometimes paler4 ,red3 ,much like the colour known as ,indian red4 ,yellow3 ,similar to yellow ochre4 ,green3 ,much like the paint known as green bice1 but rather more dull4 ,purple3 ,dark1 and quite a brownish hue of purple4 ,all these colours could be used as embroideries on a white or natural coloured ground of linen1 the embroideries being of wool4 ,in other cases the whole garment might be coloured throughout4 ,illustration3 ,fig4 #cg ,illustration3 ,fig4 #ch ,illustration3 ,fig4 #ch;,a ,illustration3 ,fig4 #ch;,b ,fig4 #ci is the tunic of ,king ,assur-bani-pal1 seventh century ,b4,c4 ,it will be noticed that it is cut very much in the same manner as the ,egyptian tunic2 the neck opening1 which is a slit large enough to admit the head1 does not show in the drawing1 but three buttons on either side of neck will be seen4 ,a row of fringe decorates the bottom1 and the whole is richly embroidered2 over this tunic were worn the wide and narrow belts4 ,illustration3 ,fig4 #ci ,,plate ,,xiv4 ,plate ,,xiv4 is the ,queen of ,assur-bani-pal1 seventh century ,b4,c4 ,she wears a similar tunic to the ,king1 but the sleeves reach half-way down the lower arm2 her shawl1 which is fringed all round1 would measure #ej0 #acj04 ,it is wrapped once round the lower limbs1 and so covers the bottom of her tunic2 it is then wound round the upper part of her body in similar fashion to that of the woman on p4 #ei1 save that it goes in the opposite direction4 ,illustration3 ,,plate ,,xiv ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,,queen ,,of ,,assur-,,bani-,,pal ,,plate ,,xv4 ,plate ,,xv4 shows further details of ,assyrian decoration2 attention may be particularly drawn to the varied forms of the tassels4 a1 b1 c1 ,bracelets4 d1 e1 f1 ,ear-rings4 g1 h1 i1 j1 ,tassels from costumes and harness on horses4 k1 ,winged globe4 l1 ,palm tree4 m1 ,lappet of a ,king's tiara4 n1 ,bronze vessel4 o1 ,sword handle4 ,illustration3 ,,plate ,,xv ,f4,s4,h4 fec4 ,,details ,,of ,,decoration ,,ancient ,,persian ,,costume ,,general ,,description ,,of ,,ancient ,,persian ,,costume ,,also ,,including ,,two ,,examples ,,from ,,captive ,,nations ,,cutting ,,out ,the garments illustrated in this style are of four types2 of these1 three have already appeared in the two previous styles--namely1 the type of the tunic1 the type of the robe1 and the type of the shawl or drapery4 ,in ancient ,persian costume we come for the first time to type five3 the coat4 ,we may refer here also for the first time to the wearing of trousers1 for these are usually shown worn with the coats in ancient ,persian costume1 and a diagram is given on p4 #hf showing one of the earliest known methods of cutting these garments4 ,,decoration ,ancient ,persian decoration was so exceedingly similar to ancient ,assyrian that it does not seem necessary to illustrate it4 ,we do not find1 however1 that ancient ,persian garments were ornamented to anything like the same extent as ancient ,assyrian2 the frequent fringes of the ancient ,assyrian costumes were not nearly so lavishly employed in the ancient ,persian style4 ,,material ,linen and wool were most probably the chief materials used in ancient ,persian costume1 but there are indications that leather may have been rather extensively employed in the more tight-fitting garments4 ,it must not be taken that either in ,assyrian or ancient ,persian dress the garments fitted as smoothly and tightly as might be imagined from the sculptured and painted representations2 it is true folds are sometimes indicated1 but the chief concern of the artists of both styles was to show the human figure and richly decorative ornament4 ,,dates ,the illustrations here given of ancient ,persian costumes date about the sixth and fifth centuries ,b4,c4 with two of neighbouring nations dating eighth century ,b4,c4 and sixth and fifth centuries ,b4,c4 respectively4 ,,men ,,and ,,women3 ,,the ,,difference ,,in ,,their ,,dress ,there is not sufficient information to form a definite picture of the women's dress of this period and style2 most probably it was a simple tunic and shawl like that worn in ,assyria1 but an interesting fact is that we have a representation of the ,queen of a ,persian ,king who reigned in the fifth century ,a4,d4 who is wearing trousers1 which1 it will be remembered1 are worn by ,persian women of the present day4 ,in this connection it may be noted that the history of costume1 as developed through the use of woven materials1 presents a much more simple aspect than the history of those styles bearing evidences of having been first cut from leather4 ,a moment's reflection will make it clear that in the case of woven stuffs the most economical system of cutting1 and indeed the most obvious1 for the primitive dress fashioner1 was based on the rectangle4 ,on the other hand1 the fashioner of leather garments would naturally try to fit the human body with1 as it were1 a second skin1 hence trousers and tight-fitting jackets may appear in very early civilizations4 ,for list of authorities see ,ancient ,assyrian ,costume4 ,,plate ,,xvi4 is a representation of ,darius1 ,king of ,persia1 sixth and fifth centuries ,b4,c42 he is wearing the ,median 8,robe of ,honour40 ,it will be seen from the plan 7,fig4 #dj;,a7 that this robe is sewn up each side1 leaving a space of #bj inches on either side for the hands4 ,like the ,egyptian robe1 the material required is twice the height of the figure1 the material is doubled1 a neck-hole cut1 and the garment is pulled on over the head4 ,the ,persian or ,median method of wearing the garment is unique3 a girdle is tightly bound round the waist1 and then the robe is pulled up at either side over the girdle so as to produce the very elegant effect shown in ,plate ,,xvi4 and ,fig4 #dj1 which is a modern drawing of the front view of ,plate ,,xvi41 the result giving great freedom to the arms4 ,the ,king seems to have two robes of the same cut1 one under the other4 ,illustration3 ,fig4 #dj;,a ,illustration3 ,fig4 #dj ,illustration3 ,,plate ,,xvi ,m4,g4,h4 del4 ,f4,s4,h4 pinx4 ,,darius1 ,,king ,,of ,,persia ,illustration3 ,fig4 #da;,a ,to arrange the drapery1 dating sixth to fifth centuries ,b4,c41 on ,fig4 #da1 take the corner b of ,fig4 #da;,a in the left hand1 letting the rest of the drapery fall down the back1 draw the edge b-a across the back1 then under the right arm-pit across the chest1 and throw the corner a upwards and over the left shoulder2 a will hang down the back4 ,it will be noted that this garment is weighted at the corners2 this keeps it in position4 ,fig4 #db is a modern drawing showing the garment in front view4 ,illustration3 ,fig4 #db ,illustration3 ,fig4 #da ,illustration3 ,fig4 #dc;,a ,fig4 #dc1 dating eighth century ,b4,c41 is wearing cloak 7see ,fig4 #dc;,a7 partly fringed4 ,it is worn much in the same manner as ,fig4 #da1 but in ,fig4 #dc the corner a is thrown backwards over the left shoulder1 and the edge a-b is passed across the chest and under the right arm-pit1 then drawn across the back1 and the corner b falls down in front of the left shoulder4 ,this costume is not ,persian1 but that of some nation to the east of ,persia in northern ,asia ,minor4 ,the wearing of boots with upturned toes as here shown seems to have extended from ,persia across northern ,asia ,minor to the ,mediterranean even as far west as ,italy4 ,fig4 #dd is a modern drawing showing the garment in front view4 ,illustration3 ,fig4 #dd ,illustration3 ,fig4 #dc ,fig4 #de is wearing a short-sleeved coat over a tunic4 ,the edging shown is probably uncut fringe2 in reality it would not fit the figure neatly1 as the ancient artist has indicated1 but would hang rather loosely4 ,fig4 #de;,a shows the method of cutting4 ,illustration3 ,fig4 #de;,a ,the costume is considered to be that of a ,jewish captive of the ,persian conqueror and dates sixth to fifth centuries ,b4,c4 ,illustration3 ,fig4 #de ,fig4 #df1 which dates sixth to fifth centuries ,b4,c41 is wearing over a tunic and trousers 7see ,fig4 #df;,b7 an overcoat with a set-in sleeve 7see ,fig4 #df;,b71 turned-over collar and cuffs1 and tied in front with ribbons4 ,the plan 7,fig4 #df;,a7 shows one of the earliest known methods of setting in the sleeve2 the collar in this plan is represented turned forward and lying flat4 ,illustration3 ,fig4 #df;,a ,illustration3 ,fig4 #df;,b ,the tunic worn by this figure1 under his long overcoat1 and also the trousers would most probably be of leather4 ,illustration3 ,fig4 #df 99 99 99 99 99 ,,peeps ,,at ,,ancient ,,civilizations ,,new ,,volumes ,,in ,,the 8,,peeps ,,at ,,many ,,lands0 ,,series ,,ancient ,,assyria ,,ancient ,,egypt ,,ancient ,,greece ,,ancient ,,rome ,by ,,rev4 ,,james ,,baikie1 ,f4,r4,a4,s4 ,each containing ,sixteen ,full-page ,illustrations1 ,eight of them in ,colour ,,large ,,crown #hvo4 ,,with ,,picture ,,cover4 ,,price #b_/f ,,net ,,per ,,volume 99 99 99 99 99 ,the 8,peeps0 ,series1 written primarily for young people1 giving glimpses of the scenery of various countries with the life and manners of the people1 now includes sixty volumes1 all of which have proved exceedingly popular4 ,this new group deals with the lands of the older civilizations1 and the aim of the writer has been in each case to put before his readers a series of pictures of the various aspects of life in the great days of each country4 ,for example1 the country1 development1 and spirit of the people of ,ancient ,assyria are shown when that nation was the greatest in the ,ancient ,world1 and it is pointed out that their land was the cradle of civilization4 ,the splendour of the ,court of ,ancient ,egypt1 the achievements of the ,egyptians in exploration1 conquest1 art1 architecture1 and science are indicated1 and special stress has been laid upon the depiction of child life and its surroundings4 ,ancient ,greece is depicted when the nation was at the summit of its glory and achievement1 while its matchless art and the effect of the universal prevalence of athletic training in the physical development of the race are given special prominence4 ,dealing with ,ancient ,rome the writer reconstructs the early ,empire and the ,imperial ,city at the time of its greatest splendour1 and we are conducted in spirit to the ,chariot ,races at the ,circus ,maximus and the ,gladiatorial ,sports at the ,colosseum4 ,the illustrations in the volumes faithfully depict the life and costume of the period and include examples of the pictorial and sculptured art1 the architecture1 and some imaginative scenes from the legends of those old days4 99 99 99 99 99 ,,published ,,by ,a4 ,c4 ,,black1 ,,ltd41 #d1 #e #f ,,soho ,,square1 ,,london1 ,w4 #a 99 99 99 99 99 ,,other ,,volumes ,,by ,,rev4 ,,james ,,baikie1 ,f4,r4,a4,s4 99 99 99 99 99 ,,lands ,,and ,,peoples ,,of ,,the ,,bible ,a ,,handbook ,,for ,,bible ,,students ,crown #hvo41 cloth bound4 ,containing #dh ,full-,page ,illustrations from ,photographs4 ,daily ,news4--8,this is a book of great interest40 ,edinburgh ,evening ,news4--8,mr4 ,baikie has a clear and graphic style1 and altogether this book is a well-written and up-to-date summary covering a wide field40 ,liverpool ,courier4--8,a volume heartily to be commended40 99 99 99 99 99 ,,the ,,story ,,of ,,the ,,pharaohs ,a ,,short ,,history ,,of ,,ancient ,,egypt ,large ,crown #hvo41 cloth bound4 ,containing #cb ,full-,page ,illustrations from ,photographs1 and #di ,illustrations in the ,text4 ,oxford ,magazine4--8,while the latest conclusions of archological investigation are embodied in the narrative1 all unnecessary details are omitted1 and the story flows on with ease and rapidity40 ,aberdeen ,free ,press4--8,at once popular and scholarly1 and of great service4 ,the main facts have been woven into a narrative of marvellous vividness in which accuracy has not in the least been sacrificed to effect40 99 99 99 99 99 ,,the ,,sea-,,kings ,,of ,,crete ,,and ,,the ,,prehistoric ,,civilization ,,of ,,greece ,large ,crown #hvo41 cloth4 ,containing #cb ,full-,page ,illustrations from ,photographs4 ,the writer's aim in this volume has been to present to the general reader1 in an untechnical and readable form1 the results of the various explorations which have recently done so much to enlarge our knowledge of the great prehistoric civilization which preceded that of classic ,greece1 and on whose ruins ,greek culture1 as we know it1 arose4 ,the ancient legends pointing to the existence of a great sea-power in prehistoric ,crete are narrated1 and a short account is given of the civilization assumed in the ,homeric poems4 ,thereafter1 the work of ,schliemann1 leading to the discovery of the ,mycenan culture1 is briefly described1 and1 turning to ,crete itself1 an account is given of the remarkable discoveries at ,knossos1 ,phstos1 and elsewhere1 which have revealed the relics of the wonderful empire of the ,minoan sea-kings with its advanced civilization4 99 99 99 99 99 ,,published ,,by ,a4 ,c4 ,,black1 ,,ltd41 #d1 #e #f ,,soho ,,square1 ,,london1 ,w4 #a