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Title: Dress design

An Account of Costume for Artists

Dressmakers

Author: Talbot Hughes



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THE ARTISTIC CRAFTS SERIE

OF TECHNICAL HANDBOOK

EDITED BY W. R. LETHABY



DRESS DESIGN

See caption

larger image

A Long-trained Muslin Dress.

About 1800.



DRESS DESIGN

AN ACCOUNT OF COSTUME F

ARTISTS & DRESSMAKERS B

TALBOT HUGHES ·ILLUSTRATED BY THE AUTHO

FROM OLD EXAMPLES ·

TOGETHER WITH 35 PAGES O



HALF-TONE ILLUSTRATION

LONDON

SIR ISAAC PITMAN & SONS

LTD.

Bath, Melbourne, Toronto, and Ne

York



Reprinted 1920



GENERAL PREFAC

TO THE SERIES

In issuing this volume of a series

Handbooks on the Artistic Craftswill be well to state what are

general aims.

In the first place, we wish to provtrustworthy text-books of worksh



practice, from the points of view

experts who have critically exami

the methods current in the shops,

putting aside vain survivals,

prepared to say what is go

workmanship, and to set up

standard of quality in the crafts wh

are more especially associated w

design. Secondly, in doing this,

hope to treat design itself as essential part of good workmansh

During the last century most of

arts, save painting and sculpture oacademic kind, were li

considered, and there was a tende



to look on "design" as a mere ma

of appearance. Such "ornamentati

as there was was usually obtained

following in a mechanical way

drawing provided by an artist w

often knew little of the techn

processes involved in producti

With the critical attention given to

crafts by Ruskin and Morris, it ca

to be seen that it was impossibledetach design from craft in this w

and that, in the widest sense, t

design is an inseparable elementgood quality, involving as it does

selection of good and suita



material, contrivance for spe

purpose, expert workmanship, pro

finish and so on, far more than m

ornament, and indeed,

ornamentation itself was rather

exuberance of fine workmanship t

a matter of merely abstract lin

Workmanship when separated by

wide a gulf from fresh thought—

is, from design—inevitably decaand, on the other ha

ornamentation, divorced fr

workmanship, is necessarily unrand quickly falls into affectati

Proper ornamentation may be defi



as a language addressed to the eye

is pleasant thought expressed in

speech of the tool.

In the third place, we would have

series put artistic craftsmans

before people as furnishreasonable occupations for th

who would gain a liveliho

Although within the bounds academic art, the competition, of

kind, is so acute that only a very f

per cent. can fairly hope to succ

as painters and sculptors; yet,

artistic craftsmen, there is ev



probability that nearly every one w

would pass through a suffic

period of apprenticeship

workmanship and design wo

reach a measure of success.

In the blending of handwork thought in such arts as we propose

deal with, happy careers may

found as far removed from the dreroutine of hack labour, as from

terrible uncertainty of academic

It is desirable in every way that m

of good education should be brou

back into the productive crafts: th



are more than enough of us "in

city," and it is probable that m

consideration will be given in t

century than in the last to Design

Workmanship.



PREFACE

The designing and making

Costume is a craft—sometim

artistic—with which we are all m

or less concerned. It is also, inown way, one of the living arts, t

is, it is still carried forw

experimentally by experts direattached to the "business." It has

yet been subjected to rules of go



taste formulated by Academies a

Universities; but when Inigo Jon

the great architect, was asked

make some designs for fancy dr

he based them on the Five Orders

Architecture, and ponderous fanc

they were.

If we look for the main stem

principle on which modern Costudevelops, we seem to find it in

desire for freshness, for the clean,

uncrushed, and the perfectly fit

and draped. Probably a mod

lady's ideal would be to wear a dr



once, and then burn it.

A correlative of the ideal

freshness is the delight in per"cut," and the rapidly chang

fashions are doubtless conditioned

part by the desire for the new unsullied. "Novelty" is a guarantee

newness.

In such ephemeral productions

would be vain to seek for certain f

types of excellence which were o

common when dresses were notlightly cast aside. So it is necess

that we should understand what



ruling principle is, for it is one wh

will not be set aside at the bidding

well-meaning reformers. I will o

venture to say that it would

desirable to make the attempt

separate in some degree the m

constant elements of dress from th

which are more variable. It w

seem a pity to more than outsid

that a "well-dressed" person nwear so little which deserves to h

been made by human hands,

nothing which deserves to preserved. Fine laces and jewels

allowed to be antique—could not



circle of such things be a li

broadened? A properly groomed m

carries about on him literally noth

worth looking at. We might sur

look for a watch-chain with so

delicacy of handiwork—someth

beyond mechanical reductions of i

cables. Fine buttons mi

conceivably be made to go with

studs, or be made of crysamethyst, and silver or gold. Wom

might allow of the transfer of f

embroidered applications from dress to another, or make more use

clasps and the like. I am confid



that when it is pointed out, it will

felt as a shortcoming that no part o

fine lady's dress need now be

good to throw away. Although

present volume is cast into the fo

of a history, it is also intended to b

book of suggestions; and the hope

held that modern dressmakers m

refer to it as much as, or more th

those who are interested in drfrom the historical point of view.

In any case the author's accur

knowledge of the facts, and his m

bright sketches—which are o



drawn from examples in his o

remarkable collection—make

present volume an admira

handbook of English Costume. T

more technical "patterns" which

included amongst the illustrati

will be found most valuable to

who wish to go deeper than the f

glance reveals.

W. R. LETHAB

1913.



CONTENTS

PA

General Preface to the Series

Preface x

List of Plates xx

Introduction

CHAPTER I



Prehistoric Dress—Female

Prehistoric Dress—Male

CHAPTER II

The Development of Costume

to the Tenth Century—Female

The Development of Costumeto the Tenth Century—Male

CHAPTER III



Tenth to the Fifteenth Century

—FemaleTenth to the Fifteenth Century

—Male

CHAPTER IV

Fifteenth Century—Female

Fifteenth Century—Male

CHAPTER V



Sixteenth Century. Character

of Trimmings

1

Sixteenth Century. Henry VIII

—Female

1

Sixteenth Century. Henry VIII

—Male1

Sixteenth Century. The Reigns

of Edward VI and Mary—

Female

1

Sixteenth Century. The Reigns

of Edward VI and Mary— Male

1

Sixteenth Century. Elizabeth—

Female

1

Sixteenth Century. Elizabeth—

Male 1



CHAPTER VI

The Character of Trimmings

through the SeventeenthCentury 1

James I 1

Charles I 1

The Commonwealth 1

Charles II 1

James II and William and

Mary 1

Seventeenth Century. James I1



—FemaleSeventeenth Century. James I

—Male1

Seventeenth Century. Charles I—Female

1

Seventeenth Century. Charles I

—Male1

Seventeenth Century. The

Commonwealth—Male and

Female

1

Seventeenth Century. Charles

II—Female1

Seventeenth Century. Charles

II—Male1

Seventeenth Century. James II

—Female 1



Seventeenth Century. James II

—Male1

Seventeenth Century. Williamand Mary—Female

1

Seventeenth Century. William

and Mary—Male

1

CHAPTER VII

The Character of Decoration

and Trimmings of the

Eighteenth Century

1

Eighteenth Century. Anne— 1



FemaleEighteenth Century. Anne—

Male1

Eighteenth Century. George I—Female

2

Eighteenth Century. George I

—Male2

Eighteenth Century. George II

—Female2

Eighteenth Century. George II—Male

2

Eighteenth Century. George III

to 1800—Female2

Eighteenth Century. George III

to 1800—Male 2



CHAPTER VIII

Character of Trimmings of the

Nineteenth Century

2

Nineteenth Century. George III

—Female2

Nineteenth Century. George III—Male 2

Nineteenth Century. George IV

—Female2

Nineteenth Century. George

IV, 1820-30—Male2



Nineteenth Century. William

IV—Female

2

Nineteenth Century. William

IV—Male 2

Nineteenth Century. Victoria

—Female2

Nineteenth Century. Victoria—Male

2

Patterns of Various Reigns

from Antique Costume2

Patterns to Scale 2

Patterns to Scale, DetailedList

3



Index 3



LIST OF

DESCRIPTIVE LINE

TO THE PLATES

FRONTISPIECE Fa

Title

A Long-trained

Muslin



Dress,

about

1800.

PLATE

I Facing p. 39

Bootsand

Shoes

from theFourteenth

to

NineteenthCentury.



PLATE

II Facing p.

42

A.

Elizabethan

Robe inPlush,

1585-

1605. B.

Elizabethan

Robe inSilk

Brocade,



1565-

85.

C.

Elizabethan

Male

Robe in

Velvet

Brocade,

1580-

1615. D.

Back-

piece of Elizabethan

Doublet



in

Embroidered

Linen,

1580-

1605.

PLATEIII Facing p.

55

A.Elizabethan

Jump

(or Jacket),

about



1600.

B.

Portrait

of Lady

in

Embroidered

Costume,

between

1620

and1640.

PLATEIV Facing p.

58



C.

Youth's

Jacket

of Linen

embroidered

in

Worsted,

1635-

65.

D. LinenMale

Jacket

embroideredwith

Gold



and

Silk,

1600-

40.

PLATE

V Facing p.71

A. Jerkin

— Period

James I.

B.Lady's

Bodice



of

Slashed

and

Vandyked

Satin,

1635-

50.

C.

Jerkin of

EmbroideredLinen,

1630-

60. D.

Jerkin of



Embroidered

Linen,

1580-

1635.

PLATE

VI Facing p.74

A.

Collar and

Cuffs set

withLace,

1600-



30.

B.

Embroidered

Leather

Jerkin,

1620-

1640.

C. Top

of

Stocking,Embroidered

Linen,

1625-50.



PLATE

VII Facing p.

87

A.

Herald's

Coat,Embroidered

Velvet

andSilk,

First

Half Seventeenth

Century.



B.

Lady's

Bodice

of Black

Velvet,

1630-

60.

C. Black

Silk

Jerkin,1640-

50.

PLATE

VIII Facing p.



90

A., B.,

C. Three

Suits—

Period

Charles

II.

PLATE

VIIIa Facing p. 103

A. Suit

of Embroidered

Silk,



1610-

30.

B. Three

Sword-

hangers

Embroidered

in Gold,

Charles

II.

C.Braided

Suit,

1670-90.



Brocade,

1680-

1700.

PLATE

X Facing p.

119 A. Black

Velvet

Bodice,1600-

25.

B. FiveEmbroidered

Waistcoats,



between

1690

and

1800.

PLATE

XI Facing p.122

Sixteen

Leather Boots

and

Shoes, between

1535



and

1850.

PLATE

XII Facing p.

135

A.Lady's

Outdoor

Costume,1785-

95.

B.Costume,

Early



Eighteenth

Century.

C. Silk

Brocade

Dress,

1760-

80.

PLATE

XIII Facing p.138

A. Silk

Coat,1735-

55.



B.

Brocade

Silk

Coat,

1745-

60.

C.

Embroidered

Cloth

Coat,1770-

90.

PLATE

XIV Facing



p. 151

A.

Embroidered

Silk

Dress

with

Pannier,

1765-

80.

B.Brocade

Dress

andQuilted

Petticoat,



C.

Embroidered

Velvet

Coat,

1753-

75.

PLATE

XVI Facing

p. 167 A. Silk

Brocade

Dress,1740-

60.



B. Silk

Brocade

Sack-

back

Dress,

1755-

1775.

C. Dress

of

StripedMaterial,

1755-

85.

PLATE



XVII Facing

p. 170

A. Silk

Suit,

1765-

80.

B.

Quilted

Dress,

1700-25.

C. Silk

EmbroideredSuit,

1765-



80.

PLATE

XVIII Facing

p. 183

A.

BrocadeBodice,

1770-

85. B.

Flowered

Silk Dress,

1750-



70.

C. Silk

Brocade

Bodice,

1780-

95.

PLATE

XIX Facing

p. 186 A. Silk

Brocade

Dress,1775-

85.



B.

Embroidered

Silk

Jacket,

1775-

90.

C.

Brocade

Jacket,

1780-95.

PLATEXX Facing p.

199



A. Gold-

embroidered

Muslin

Dress,

1795-

1805.

B. Nine

Aprons,

between

1690and

1750.

C. Dressof

Spotted



Stockinette,

1795-

1808.

PLATE

XXI Facing

p. 202Twenty-

three

Bootsand

Shoes,

from1800 to

1875.



Period

George

IV.

C. Satin

and

Gauze

Dress,

1820-

30.

PLATE

XXIV Facing

p. 231 A.

Outdoor



Silk

Jacket,

1798-

1808.

B.

Embroidered

Muslin

Bodice,

1816-

1830.C.

Embroidered

MuslinBodice,

1824-



1825.

D. Satin

and

Gauze

Bodice,

1820-

30.

PLATE

XXV Facing p. 234

A. Silk

Dress,1800-

10.



B.

Cotton

Dress,

1800-

10.

C.

Embroidered

Muslin

Dress,

1820-30.

D. Silk

GauzeDress,

1824-



30.

PLATE

XXVI Facing

p. 247

A.

MorningCoat of

Chintz,

1825-45.

B. Cloth

Coat,1808-

20.



C. Cloth

Overcoat,

1820-

35.

PLATE

XXVII Facing p. 250

Outdoor

Silk Dress,

1825-

35.

PLATE



XXVIII Facing

p. 259

A. Silk

Pelisse,

1820-

30.

B.

Cotton

Dress,

1830-40.

C. Silk

Spencer and

Cape,



1818-

27.

PLATE

XXIX Facing

p. 263

A.Embroidered

Silk

GauzeDress,

1820-

30. B.

Gauze



Dress

with

Appliqued

Design,

1825-

35.

C.

Printed

Linen

Outdoor Dress,

1827-

1847.

PLATE



XXX Facing

p. 266

A.

Printed

Silk

Bodice,

1840-

50.

B.

GatheredLinen

Bodice,

1837-47.

C. Silk



65.

B.

Riding

Habit,

1845-

75.

C.

Gauze

Ball

Dress,1840-

55.

PLATE

XXXII Facing



p. 279

A. Silk

Dress,

1860-

70.

B.

Gauze

Walking

Dress,

1850-60.

C. Silk

Dress,1848-

58.



PLATE

XXXIII Facing

p. 282 A. Silk

Dress

withCourt

Train,

1828-1838.

B. Silk

Afternoon

Dress,

1872-



78.

C. Silk

Coat

and

Skirt,

1855-

56.

DRESS DESIGN



Plates originally printed in colloty

are now produced in half-tone



INTRODUCTION

The subject of Historical Costu

covers such a multitude of detail t

a volume on each century could

written, with hundreds illustrations. Thus it is, most wo

on costume are expensive

bewildering; but I hope this smpractical handbook will be a use

addition to the many beautifu



illustrated works which alre

exist.

I have divided the matter icenturies and reigns, as far

possible, in this small work, besi

separating male and female attthus simplifying reference. A spec

feature has also been made,

supplying the maker or designerdress with actual proportions

patterns, gleaned from anti

dresses, as far back as they could

obtained; and I am much indebted

the authorities at the Victoria a



Albert Museum for the permiss

given me to examine and meas

their unique specimens; also to M

Wade, Mr. G. G. Kilburne, M

Duffield, Mr. Box Kingham, M

Hill, Mr. Breakespeare, and oth

for their valuable assistance w

interesting specimens. I have u

outline drawings in the text, as be

more clear for purposes explanation. The dates given to

illustrations are to be taken

approximate to the time in which style was worn. Many of

photographs have been arranged fr



my own costume collection, wh

has made so much of my resea

simple, reliable, and pleasant. I

also happy to state that before

final revision of this book I h

heard that my collection of histor

costumes and accessories will, a

a preliminary exhibition at Mes

Harrod's, be presented to the Victo

and Albert Museum as a gift to nation by the Directors of that fi

Thus the actual dresses shown

these plates will find a permanhome in London, and beco

valuable examples to students



various effects.

It has been my endeavour to arrang

greater variety of the forms whmake up the characters of e

period, and also to give a wi

knowledge into the footwear, details of the footwear, than is us

in most costume books.

In a review of the styles I would

press any choice for building n

designs, as I believe in cl

individual research and selectiwhich may utilise many interes

features from costume settings e



in periods which are almost scorn

I believe the purest beauty is found

the simple forms of dress

decoration settings from the 12th

the 15th centuries, schemed to

natural proportions of the figure. T

grace of line and movement is of

aided by the short train, which can

so happily caught up in many wa

the slight drag of the train alwkeeps the front clear in outl

besides showing the movement of

limbs. Length of fall in the matewas desired, the figure creating

own folds with every turn, but a b



was often placed rather high un

the breast. There is little reason w

nature of fine form to make dress i

sections by a corset waist. A lo

lithe, complete curve in outlin

much happier unbroken, except by

girdle—is certainly the m

artistically useful conception,

breaking the rhythm (as does

harder belt), while it also indumuch beauty in lifting and arrang

the drapery. The long falling sle

also has the same qualities, givingreater fullness of shape, a variety

colour (by a difference of linin



with a winglike motion, besi

softening the angle of the elbow.

I think the next garment for hesteem is the chasuble-shaped tu

(with or without sleeves). Fal

cleanly from the shoulders, it stopa charming length for the skirt to t

up the flow of line. The deligh

effect of partly-laced or claspsides was not missed by the ab

designers. How refined, too, was

character of decoration of the

period! The art of concentrat

effects is seen to perfection, retain



come to the conclusion that,

whatever period of seeming insan

of style, the woman of fine taste

overcome all obstacles by

individual choice and "set up,"

has really always looked fascinatin

There was another form

decoration at this period—the cutt

of the edges into a variety of simor foliated shapes, giving a flu

and enrichment to forms in a sim

manner, and this, in conjunction w

the increasing richness of materi

was a valuable aid to lighten



effects. It was probably initiated

the heraldic characteristics in vogu

The pricked and slashed details much the same result in enrich

surfaces.

Later the fan sleeves of the 1

century were enhanced in a sim

way by the curved and scallop

shaping, which was used as late

the Victorian sixties with hap

effect on the polonaises.

Now, as regards the finest cor

dress, the palm must be given to



sack-back dress of the eightee

century (not in the period of

distortion with hoops), and a

setting showed it to grea

advantage.

This type of design lent itself to mvariety in beauty of arrangement t

any other; the looping, reefing,

tying always set gracefully in accwith the back fall. The easy excha

of the stomacher also gave additio

chance of effect, and the beauty of

fan-shaped sleeve, with its lace f

at the elbow, was a deligh



are happier than those of the ea

19th century to 1830, and

inventions in trimmings through

period were prolific in beauty

lightness of style.

Analysis of the many fashion-plaand original dresses of this per

will well repay all interested

beautiful needlecraft and drdesign. The arrangement of fr

insertions, gathered effects, appl

forms, and tasselled or button

additions, will be found full

beauty and novelty, especially in



dresses of white embroidery. Pla

XXIII and XXIV (see pp. 218-2

give some happy examples of

time.

See captionlarger image

Plate I.—Boots and Shoes from

14th to the 19th Centuries.

1. Charles II.2. James II.

3. William and Mary.



4. George II.

5. George III., 1770.

6. George III., 1760.7. George III., 1780-1800.

8. 1870-1880.

9. William and Mary.

10. 1680-1700.

11. 1680-1702.

12. 1750-1775.

13. 1580-1625.14. 1710-1730.

15. Henry VIII.

16. Semi-Clog, 1780-1800.17. Henry VIII.

18. 1778-1795.



19. Late 15th Century or early 16

Century.

20. 1500-1540.

21. Late 14th Century to middle o

15th Century.

22. 1530-1555.

23. 1535-1555.

A word on the most condemned fl

of fashion during the Victorian eThere are many dresses of real cha

to be found amongst the mass

heavy styles which must not overlooked in studying design

style. Even the crinoline dress, w



treated with the exquisite silk gauz

as Fig. 3 in Plates XXXI and XXX

(see pp. 270-282), was as alluring

any woman could wish, and

original design of the jacket in

latter figure, with its ric

embroidered, long-skirted front

short at the back, arranged it

perfectly on this type of undersett

There was notable refinement effect and beauty of proportion

many dresses of the sixties,

exemplified in Fig. A, Plate XX(see p. 279), the waist being

rather high, and the very full s



carried back by the crinoline be

held thus with its cross ties.



CHAPTER I

PREHISTORIC DRESSFEMALE.

The woman's attire would have bchiefly a shortish skirt or wrap

coarse linen, wool, or leath



gathered in front or folded at one h

grass cloth may also have been in

in most primitive tribes. Probably

upper part of the body was kept b

except for many ornaments

necklaces, but a bodice or jacket

in the same simple form as the m

shirt, with a heavy belt or gird

would have been used, and certai

a large shawl, which could wrapped over the head and round

figure during inclement hours. D

or painted patterns on the clomight well have been also in u

their chief designs being strip



circles or dots, zigzag lin

diamonds and plaid squares, r

patterns and plaited patterns. T

hair would have been loose, plait

or coiled on top, held by bone pins

circlets of bronze.

PREHISTORIC DRESS

MALE.

We have little description

illustration to certify the actual dr



of the early inhabitants of Britain,

we can draw conclusions with pr

certain assurance, from

knowledge of their mode of livi

From their attainments in arti

design and handiwork, it is clear t

had arrived at a very high state

savage culture before the Rom

invasion; and we have only to stu

the better types of savage life stilprogress, to picture how our o

primitive race would be likely

dress under the conditions of climThe thousands of "finds," wh

accumulate evidence every year, g



us a closer acquaintance with th

customs and work. The rest we m

imagine from our general knowle

of what they had to contend with

climate, forest, cave, and floods.

These early people, it is presumfrom certain discoveries, had l

known the art of coarsely weav

flax and wool, which must soon hbeen in general use, from its be

healthier and cleaner than

garments of skin. And very proba

a coarse linen, with simple dyes

red, blue, yellow, and brown, wa



use here when the Romans came.

The head-dress consisted of a cap

fur or wool, probably decorated wa feather, over loose and most lik

very unkempt hair falling to

shoulders. The Gauls cut their lofrom the back of the head, often ty

up the remainder in a tuft on the t

no doubt the hair was sometimplaited or pinned up with wo

bone, or bronze ornaments. B

pins, teeth, and boar tusks w

carried in the ears, as well as st

of bone or stone in the underlip,



even the cheek may have been

decorated, as it was amongst

Esquimaux. The face and body w

painted with red and white ochre

a blue stain. The neck was ador

with strings of teeth, stones, amb

et, bronze, and probably beads

glass or baked clay colour

Amulets and tokens, armlets

bracelets were all in use. Also torque, a twisted rod of g

flattened or curled together at

ends, was a mark of dignity. wristlet of wood, bone, or leat

was worn when the bow and arro



were used. The arms were a spea

flint or bronze and a dagger of

same, a hatchet or heavy club, a m

studded with flint or bronze spik

and the sling, which would h

necessitated a leather wallet to ca

the stones; fish spears and sna

Also the bolas for felling ca

seems to have been known; in

nearly all the usual implemeappertaining to savage life were

use.




Plate II.

(a) Elizabethan Robe in Plush

1585-1605.

(b) Elizabethan Robe in Silk Brocade. 1565-85.

(c) Elizabethan Male Robe in

Velvet Brocade. 1580-1615.(d ) Back-piece of Elizabethan

Doublet in Embroidered Line



1580-1605.

Measures, see p. 281.

Sleeve pattern of C, see p. 30

The first item of male attire was

two skins fastened at the shouldand from this we get the ea

chasuble form (which may be

beautifully treated, even to present time), girt with a leat

thong or strap at the waist. One s

lapped the other, and hardly need

sewing together at the sides, wh

thus it was easier to throw off; it m



also have been tied up between

legs. The fur was worn both ins

and out, according to the weath

this large skin wrap would also

worn cross-ways with the ri

shoulder free, and the simple cloak

various lengths with a hole for

head to pass through was no do

one of the first discoveries

costume.

A loin cloth or skin may have b

worn alone, caught up through

legs and fastened at the back of

waist with a heavy belt and set w



and discarded all clothing, their o

protection being a shield of wic

or wood covered with leather; it m

have been studded with bronze pla

or painted with grotesque charact

as were their own bodies, in t

savage style, to strike fear into th

enemies; it is even possible feat

decorations formed part of their "

up."



circlet of various shapes, but

development of braiding plaits

found very early, and the hair w

probably arranged so before

Roman era. These plaits w

generally brought over the shoul

to the front, the hair being parted

the centre, thus making an o

forehead. Various caps began

show originality, and jewels werein the centre of the forehead on

little crown-like hat, which m

have been most becoming. Squarecoloured stuffs were draped over

head and shoulders, sometimes up



white linen squares, and many lad

began to bind the face and he

shutting out the hair, in the

century. The kerchief draping is v

important to study, because it was

general mode amongst the people.

Heavy collars of ornament

strings of beads, hanging even to

waist, are noticeable features these centuries, also large ear-ring

A full cloak, with a large clasp

brooch, opened in front, or wturned to free one shoulder; there w

also a long "drape" thrown rou



over the opposite shoulder or brou

picturesquely over the head.

The ecclesiastical form of cloakdescribed in the male attire was a

formed about the 6th century;

graceful line was frequently bordecompletely with a band of ornam

and it was clasped just across

breasts.

The complete circular cloak, wit

hole for the head, is seen very ea

decorated with a pinked edge, whmay also be noted on some of

short dresses of the middle clas



of skirt into its hold.

Saxon Type—Stephen

Fig. 1.

From the 6th century the dr

became closer fitting, and a sh

bodice is seen; the neck was cut v

low, either square or round in sha

and this style had short tight slee

or tight sleeves to the wrist. The latunic of the 9th century marked



beginning of the slit-open up

sleeve, and a greater length of

neck opening, which came to

fastened down the front to the wais

The early skirts (to the 6th centu

were hung from the hips, and woften attached to a heavy girdle ba

the fullness was gathered mostly

the back and front; other skirts hfrom a higher belt and were ag

caught up in the girdle. A -shap

neck setting was worn by the Fran

from which probably came

shaped front piece that will inte



us in the 13th century. The sh

were similar to the male sha

described later, and the same mo

of binding the stockings w

sometimes imitated.

THE DEVELOPMENT OCOSTUME TO THE TENT

CENTURY. MALE.

In taking the long period from

Roman occupation to the 1



Fig. 2.

Francs—Anglo-Saxons

Fig. 3.

The male hair dressing, from

rugged mass of hair, soon beca

well combed and trimmed squ

across the neck: ear-rings may s

have been in use by some nobles

the 11th century, and chaplets wworn upon the hair. The Saxon be



front caught between the legs

held at the waist. A garment open

down the front, and another wrapp

across to either shoulder is also se

A belt girt the waist, and the tu

was pulled loosely over it. This a

carried the essential requirements

the shape of a pouch, dagger, kn

comb, sword, &c. The neck w

ornamented with chains of brongold, beads, and charms, and up

the 8th century a bronze ornamen

armlet was worn, besides a wristl

The men of the ruling class from



8th century were clothed in a l

garment of simple shape, falling

the ankle, richly bordered at the h

and neck. This generally had l

tight sleeves, and often over thi

shorter tunic, reaching just below

knee, sometimes sleeveless, or w

rather full sleeves tightening to

wrist.

Caps—Saxon and Norman Type

Fig. 4.



A plain square chasuble shape wa

fashion from the 8th century, reach

to the bottom of the calf of the

and richer materials began to

used; no belt was passed round t

as it was allowed to fall straight.

Loose breeches were worn from v

early times, and a loose trouser to

ankle, being tied there or boucrosswise from the boot sometim

right up the thigh. The same bind

was done even with the bare legs

later hose: close-fitting sh

breeches and cloth hose becam



feature in the 10th century, and w

the latter an ornamental knee-piece

garter below the knee sometim

finished the strappings.

The cloak was the "grand garme

heavily banded with ornament fastened with a large clasp on

shoulder, or at the centre of

breast. Long circular cloaks varying lengths, put on over the he

were much favoured, and w

caught up at the sides on eit

shoulder gave a fine draped effect

Another cloak of ecclesiast



Costume. Between 1620 and 164

See caption

Fig. 5.—Types of Shoes.British, Roman, Norman to 13t

century.

No doubt the sandal of various for

was much used for footwear thro

this period, also a simple low sh

which was held on by the lstrappings, as, about the 8th centu



shoes are seen with loops at

upper edge, these being attachme

for the binding, and this was no do

a method from the prehistoric time

There was also a soft boot reach

to the calf, laced up the front; aafter the 8th century, a rather poin

shoe, open down the instep, lac

tied, or gathered into a buckle abthe ankle.



CHAPTER III

TENTH TO THEFIFTEENTH CENTURY

FEMALE.

The head-dress of women now be

to show a preference to confine



hair with nets and to close in

face, which continued till the 1

century. The circlet and long plait

plaits and the flowing hair remai

till the 14th century. In the 1

century we discover the hair gathe

in nets at either side of the he

covering the ears. A low-crown

hat was bound over with a band

lawn or fine material passunderneath the chin, otherwise

plaits were looped up under a cir

which was also worn with flowing hair.



A square effect was aimed at in

13th century with tight side-pl

bound into a shape or netted hair w

strapped to the head as in Fig.

(see p. 65). A fall of fine mate

softened the hard effect, and m

ladies of quality bound the fa

neck, and head in the wimple of f

linen, sometimes gathering this to

same quaint shape of the netted hagive a variety of these settings

page 65. A kerchief of linen com

round the neck was brought up tighround the face and festooned on

top of the head, while another pi



was pinned close to the brows

fell loosely to the shoulders, be

often held on by a circlet as well.

This character was maintained till

early 14th century, when a style

high peaked hats came into evidenone shape of which became the m

imposing feature of historic costu

in the 15th century. It was still busimple form in the middle of the 1

century, for another shape first gai

predominance. Early in this cent

also may be noted a curious sh

like the cap of liberty, usually wit



long tail at the back as drawn on p

59. This carried design to

eccentric forms of the pig-tai

hood, and then the rival of the h

peaked hat took its place towards

end of the 14th century—a cushio

head-dress, which rose and divi

in a hornlike structure. It started a

Fig. 25, and I have illustrated

progress; the veil draping was a grfeature, giving plenty of scope

individual fancy. It was, as a ru

richly decorated with gold ewels, and the hair was complet

enclosed in a gold net and a tig



fitting cap to hold this erection. La

drop ear-rings were much worn,

a fine chain of gems encircled

neck or fell to the breast.


Plate IV.—(c) Youth's Jacket o

Linen Embroidered in Worsted

1635-65. Pattern, see p. 299 . (d

Linen Male Jacket Embroidere

with Gold and Silk. 1600-40.



See caption

Fig. 6.—Tenth to thirteenth

century.

Henry II.—John.—Henry I.—

Richard I.

Fig. 7.



See caption

Fig. 8.—Twelfth to fourteenthcentury.

In the 10th century a long close-fit

robe was in fashion, sometimes wa deep -shaped neck opening, tho

usually the neck was cut to a rou

form. Some sleeves were tighter wa small cuff, but usually the ou

garment had a falling sleeve wit

square or round end showing the tiundersleeve. The outer sleeve var

much in length, from the elbow



hand dropping even to the ground

was narrow and widened through

14th century, when its edge was

into various patterns as in Fig

(see p. 79). In the 13th century

notice a long sleeve opened at

elbow for the under sleeve to co

through, which beautiful st

continued to the middle of the 1

century.

Norman, 12th century—Saxon, 12

century



Fig. 9.

See caption

Fig. 10.—Fourteenth century, 1half.

See caption

Fig. 11.—Fourteenth century, 2

half.



With the 10th century came the f

corselet from the waist to the h

clasping a loose tunic with an und

dress taking a long pointed train. T

manner of tucking the tunic under

corselet when it was worn over

and so creating festoons, is worthy

notice as interesting in arrangem

and design.

The 13th century parti-coloured

striped dresses foreshadowed

heraldic fashion, which must

studied for its proportion

treatment of decorative colour-val



in counterchange to get the true va

of its noble effects.

A great feature now appears in chasuble-shaped front or setting t

closely cut jacket. This ultimat

becomes the decorative stomacthrough the later periods, and it

very interesting to note

development.

In the 13th century this jacket wa

fur construction of a long simple fo

opened at the sides to the hips for sleeves to come through; it had

straight hem or was rounded at



front points, and a chasuble form o

was treated as in Fig. 13 or

conjunction with a short cape; it w

chiefly a decoration of ermine

grew into a complete jacket, and

the 14th century it was heav

ornamented with gems; and

simple front, from being a feat

outside the jacket, was later of

enclosed at the sides. The jacitself is beautiful in form

proportion, and the curved band

design over the hips makes a nice to the curved front. This pattern

plainly derived from the effect of



rich girdle that was at first s

through the side openings and f

ackets are without it, the us

shaping of the neck with most

these was square.

See caption

Fig. 12.—Nos. 1 to 7, 14th centu

Nos. 8 and 9, 15th century.

In the first quarter of the 14th centthe setting of the neck was of a rou



shape, and after 1350 a raised

curved form is favoured. Later s

and with the hornlike head-dress

very deep shape, open almost to

belt was the mode, often being fil

in with velvet. At the same time so

began to take up the fashions o

very high collar and a round-shap

body and sleeves, as in Fig. 24 (

p . 89), with which a wide poinbelt is seen. Some robes w

opened in front up to the height of

girdle, though many dresses wworn without girdles after the 1

century. Decorated pockets



sometimes seen in the later peri

and an interesting hand-covering

falling cuff came with them.

See caption

Fig. 13.—Nos. 1 to 3, 14th centu

Nos. 4 to 9, 15th century.

The cloak as described in the 1

century still continued till the 12th

well as the light wrap which malmost be placed with any peri



though mostly a feature of the m

classic styles.

Skirts and underskirts were wwith trains. They were mostly ban

with wide borders of ornament up

the 13th century, the fullness beoften gathered to the back and fron

The chasuble-shaped overdress w

worn to the middle of the 1

century, sleeveless, and, laced

sewn tight to the figure from the a

to the hip, or completely down sides, generally reached just bel

the knee.



larger image

Plate V.

(a) Jerkin. Period James I.

(b) Lady's Bodice of Slashed

and Vandyked Satin. 1635-50

Pattern measurements, see p

293.

(c) Jerkin of Embroidered

Linen. 1630-60.

(d ) Jerkin of Embroidered

Linen. 1580-1635.



began to become important featur

enlarging to eccentric shapes

proportions, only equalled in

extravagant part of the 18th century

It may be noted that feminine fashi

as it assumes new characters proportions, affects the style of

male clothes in the same way,

when a high or pointed head-drcomes in, the male hat also increa

its size; the same with curved

angular designs, full or tight sleev

The hair was worn long and rat

squared in shape at the back till



end of the 15th century. A tendency

shut in the face by close hoods t

under the chin is remarked, and

forms a strong feature of the 13th

14th centuries. Ear-rings w

seldom worn after the 10th centu

but the neck was generally ador

with heavy chain decorations.

Beards assumed a pointed shapeaccordance with this developmen

fashion, and double-pointed bea

were revived between 1380

1386. Hats of straw with mushro

brims and round tops came i



vogue in the 11th century, cove

with coloured materials and finis

with a spike or button at the top,

the crowns of these took a poin

shape in the 14th century. The us

cap with folded brim had a lo

crown, and we find this began

lengthen and fall over to one side

the 11th century, and continued

elongate till, in the 15th centuryoften dropped to the knee in a l

thin point. In the 14th century it too

fullness of loose folds, with serraor foliated edges falling to

shoulder as in Fig. 15 (see p. 73)



close helmet-shaped cap is seen

the 12th century, with a falling po

from the crown, and the 13th cent

brought in the higher crowned

with a long peaked front, turned up

the back. Feathers were worn at

front, back, or side of hats,

sometimes on the front of the hoo

these increased their dimensions

height and peak, till the straighthigh hat, which was often briml

came in the 15th century. The ea

hood or cowl soon began to varydesign, for in the 13th century it w

often a part of, or attached to



chasuble shape falling back and fro

or with the long front, stopping a

short cape length behind. A note

interest in the 14th century appe

where the forehead part of the ho

is turned up, showing a colou

lining, and at times the fashiona

serrated edge surrounding the fac

seen.

13th century—14th century—15tcentury



Fig. 14.

See caption

Fig. 15.—Fourteenth century


Plate VI.

(a) Collar and Cuffs set with



Lace. 1600-30.

(b) Embroidered Leather Jerk

1620-40.

(c) Top of Stocking.

Embroidered Linen. 1625-50

See caption

Fig. 16.—Twelfth to thirteenth

century.

The chasuble-shaped garment wa

feature often worn over the coat u



the end of the 15th century, and w

generally worn long with

elongated fashion of the 14th centu

and short with the shorter tunics

the 15th century. They are found v

wide in the 14th century, and so

well down over the shoulder, wh

they are often laced a short dista

up, creating an interesting featu

Cloaks were not so much in favwith the heavier cowl and cape,

they were used, fastened by brooc

to either shoulder rather at the baafter the 12th century.



See caption


A very tight-fitting suit cal

Justacorps came into use from

12th century, and developed

padded round-shaped body towa

the end of the 14th century; closely-cut body was buttoned up

the throat, or was set with a h

collar for the first time. The tigcame over it, sometimes rather h

up the waist, being laced to it. A lo



tunic was chiefly favoured during

10th and 11th centuries with short

long cuffless sleeves, and a full b

shaped falling sleeve showed

close-fitting under one.

These tunics were chiefly open at neck as in the earlier times, thoug

slight difference to be noted is a

shaped opening in the 14th centuwhich is developed in the 1

century; they were also split up

sides, even to the hips. Some w

very full in shape, and were gathe

to either side as in the illustrati



others had the body closely fitted

full only in the skirt, but as a rule

finds this latter shape only reac

ust below the knee. They were of

tucked into the belt in front, show

a rich underskirt.

A girdle (besides a belt) was w

on the hips with the longer tunics

in Fig. 28 (see p. 94), the dagger pouch being carried in front on

girdle, and not the belt. A sm

dagger was often slung at the back

front of the neck, as an ornamen

the end of the 14th century.



See caption


Tights to the waist were worn wboth long and short tunics,

retained the crossed binding up

legs to the 13th century, in various designs of page 53. Pa

coloured tights came in with the 1

century, carrying out the heralcharacter of dress, and this may

found till about 1530. A sandal sh



See caption

Fig. 19.—Twelfth and thirteent

centuries.

In the illustrations which show

shoe on the tights, it will

understood that a sole of leather wsewn on to the under part of the fo

This practice is even seen to-day

the Continent, where the clogmostly in use. A soft boot, reach

to the calf, was worn till the 1



century, with the top folded

trimmed with fur, the latter be

generally laced down the front, e

to the instep: the shape of these o

varied in the length of the poin

toes as the style developed.

The long-pointed shoes began

increase all through the 13th centu

and in the 14th century they reactheir greatest length, when the po

were often tied up to a garter j

below the knee. Wooden clogs w

much used, and were of

considerably raised. Iron circu



CHAPTER IV

FIFTEENTH CENTURYFEMALE.

We have now arrived at the heighteccentric fashion in mediæval he

dress. The hornlike creatio



studded with jewels, and peaks

wondrous height, both draped w

fine muslins and often complet

shutting away the hair from sight,

a supporting cap which mostly ca

over ears and cheeks, and a clutch

seen on the forehead, at tim

concealed by a jewel. The hair w

generally allowed to fall loose un

the back drape, or a long plaitsometimes seen at the back with

first-named head-dress. The b

drape setting from the brow down back was well conceived to bala

the high spire, but it seems to h



been discarded during the reign

Edward V, and light veil falls w

worn which often came half over

face. In Henry VII's time the extre

fashion came in the shape of

closely-fitting curved cap, with a

of material over the back. T

ermine-trimmed jacket was still

favour to the middle of the l

named reign, when it was worn ldown over the hips.

See caption



Fig. 21.—Fifteenth century, 1s

half.

See caption

Fig. 22.—Middle of fifteenth

century to sixteenth century.


Plate VII.



(a) Herald's Coat. Embroider

Velvet and Silk. 1st half 17th

Century. Measured pattern, pa

301.

(b) Lady's Bodice of Black

Velvet. 1630-60. Measureme

see p. 297 .

(c) Black Silk Jerkin. 1640-6

See caption


half.



The chief dress of this period ha

-shaped collar-front meeting at

waist, mostly made in black mateor fur. It was wide on the should

and seems to have been stiffened

set out; the shape was genera

filled in with velvet, and a very w

band encircled the waist; a girdle

occasionally noted. The keys' poc

and other requisites were genera

carried on the underskirt during th

times. The skirt was full and gathe

to the back in a train, the gathoften running into the bodice; a v

wide border is prevalent, even to



middle of the thigh. Tight sleeves

usual, and hanging sleeves w

worn, mostly set in a very sh

sleeve, which assume a puff-shape

Henry VII's reign; long cuffs, alm

covering the hand, are seen on m

sleeves.

See caption

Fig. 24.—Fifteenth century, 2nhalf.



See caption

Fig. 25.—Fifteenth century, 2n

half.


Plate VIII.—(a) (b) (c) Three Su

Period Charles II.



short upper sleeve and full ou

sleeve so much in vogue gave pl

to a divided upper and lower slee

laced or tied with ribbon, with pu

of lawn pulled through the openi

at shoulder and elbow, and down

back of the forearm. Slashes are n

seen in most sleeves, and

Italianesque character pervaded

fashion.

High, soft boots and shoes of

similar shape to the male descript

were worn, and changed when

square-toe shoes came in.



See caption

Fig. 27.—Fifteenth century.

See caption


half.



See caption

Fig. 29.—Middle of fifteenth

century.

The chief shapes to mark in

century in male head-dress is

increased height of the tall hats whrise to vie with the female fashio

We still see a round hat with a rol

edge and long fall over one sibesides shorter folds in the crow

both scalloped or foliated at



edge, and this shape may be noted

about 1460. Some of these hats w

made without a crown, as in Fig

(see p. 94); the roll was decorat

as a rule, with jewelled studs. A

hat, something like our present sha

appears, but more belled at the

and also a padded, rolled brim

was made in various rich materi

and often decorated with jewels. Tpeak-fronted hat still continued to

favoured till about 1480, its ch

difference being a crown meccentric in height. Tall cylin

hats, with folded brims or no br



and other shapes are illustrated. T

variety is so great through this per

that it is well to study the vagaries

fashion which I have illustrated

sequence as far as possible; t

were mostly used till about the

quarter of this century, when the lo

crowned flat hat with turned-up b

began to secure the fashion. This w

generally worn tilted on one side often over a scarlet skull-cap.

large bunch of plumes came in w

this hat, set up from the front, curvbackwards, and giving a very gr

effect: with most of the tall hats



feather was set at the back.

See caption

Fig. 30.—Fifteenth century.

See caption


half.



See caption


half.

The notable change in the tuwhich was worn both very short

to the ground, was the arrangemen

folds to the back and front, gatheto a shape at the waist. The hang

sleeve began to go out of favour a

the middle of the century, but

sleeve or cuff covering the hand w

continued till the end of this centur



A sleeve, full at the shoulder,

found, and short, round, pad

sleeves came in, worn over a clo

fitting sleeve. This short sle

became raised on the shoulder,

was cut or looped up the outer sid

long loose outer sleeve is also s

in conjunction with these short on

A very short jacket is notable, o

plain square shape, with a plsleeve on the left arm and a hang

sleeve on the right to the knee. T

tight-fitting jerkin, laced down front, was worn with this as w

most other coats.



See caption

Fig. 33.—End of fifteenth centu

See caption


half.




Plate VIIIa—(a) Suit of

Embroidered Silk. 1610-30. (bThree Sword Hangers

Embroidered in Gold. Charles I

(c) Braided Suit. 1670-90.

See caption



Fig. 35.—Fifteenth-century Sho

and Clogs.

The high collar to the throat had gout for a collar opened in front. V

short and very long "chasubles" w

worn with or without sleeves whwere gathered high and full at

shoulders. The sleeves were n

sometimes slit open at the back held with several ties, as li

sleeves are now shown with these

Parti-coloured tights were not much favoured through this peri

but a decorated thigh, or part of



went with this, often opened in

front of the upper arm. A short squ

cape is at times seen in conjunct

with this. A low square or rou

neck shape came in during the

quarter of this century, filled in w

a fine gathered lawn and a tig

fitting coat with a pleated skirt

full padded sleeves, or a tight sle

with a full puff or spherical uppart.

See caption



Fig. 37.

Nos. 1, 2, 3, 4, 5, 6, 7, 8, second h

of 15th century.

Nos. 9, 10, 11, 12, 13, 14, 15, 16,

18, variety of shapes from 1490

1630.

See caption

Fig. 38.

1. 14th century.

2. 15th century.



3. 15th century.

4. Late 16th cent.

5. 1580-1610.

6. 1580-1610.

7. 1605-1640.

8. 1600-1625.

9. 1550-1600.

10. 1610-1640.

11. 1590-1620.

12. 1605-1630.13. 1675-1695.

14. 1670-1690.

15. 1680-1700.16. 1690-1720.

17. 1680-1700.




Plate IX.—(a) Lady's EmbroideSilk Jacket. 1605-30. (b) Lady

Bodice of Silk Brocade. 1680-17

Comb case—purse—Cut leather. cent.—Pierced leather, 16 cent.—

Bronze studs 15 or 16 cent.—Inci

lines with metal studs 15 cent.

Fig. 39.—Decorated Leather, 15

and 16th centuries.



Shoes and boots were still worn w

very long pointed toes till ab

1465, when a proclamation wissued for beaks or piked shoes no

pass two inches, and after this tim

broad round-toed shoe began appear. Soft high boots to the top

the thigh, with folded top, belong

this century, as well as fashionable boot to the calf. T

sword or dagger was carr

towards the front or side, and a sm

dagger across the belt at the ba

The pouch or purse was also used



a dagger support.



CHAPTER V

SIXTEENTH CENTURYCHARACTER OF

TRIMMINGS.

Before the 16th century we find

art of decoration in costume had b



confined chiefly to appl

ornamental bands at the neck, wa

and borders of skirt and cloak. T

had up till this time utilised, w

great artistry of design (no do

partly due to the heraldic study),

patterns of the finely decora

damasks and velvets. The coun

colour effects and relat

proportions, such as a smpatterned, dull-coloured silk sett

off a large full-coloured design w

ably considered, as well as introduction of a nicely-balan

black note or setting, which prov



On coming to the 16th century

enter what may be termed the slas

and puffed period. The sleeves

Henry VIII's reign are very rich

design and jewel-setting, the des

of the sleeve as in Fig. 40 givin

striking effect, the angle of the

sleeve being held out by the stiffn

of the under silk one. The ne

setting and festooning of the jewchains play an important part in

design on the plain velvet co

bodices. The head-dress is one ofmost remarkable, and gave a gr

chance for individual arrangemen



binding the back fall to set at vari

angles on the shaped cap pie

combining severity with a big lo

draping which is extrem

picturesque. With Edward

commences what may be termed

braided period of decoration. T

latter came suitably with the sti

corsage and set up. Mary's reign w

not of attractive severity, but over-robe with the short circu

sleeve at the shoulder and high co

was a graceful creation, and wretained by many as late as 16

There was little to admire in



Elizabethan age as regards desi

except the beauty of the materials

the exquisite needlework. T

proportions of the dresses w

exceedingly ugly, and the plea

farthingale an absurdity. The m

dress had much interest and of

beauty of setting and decorat

effect. The slashed materials gav

broken quality to what wootherwise be a hard effect, and it a

cleverly introduced another col

change through the suit. There wilfound many examples in th

illustrations of the pricked



punctured designs on leather-w

which are worth examining

modern treatment.

Quilting and pleating were a

combined with the braiding, and

see the clever adaptation of strpatterns sewn on (a feature of the

16th century), which harmonised w

the gold braidings or gold lace,resembled the same effect.

The trimmings of braid were of

enriched with precious or ornamenstones and pearls, the stomach

waist, front band down the skirt,



borders of most garments. The po

of slashes were often held

ewelled settings, and the l

slashes were caught here and th

with the same.

Another important item was the blstitchwork on linen, sometim

mingled with gold, so highly pri

now for its beauty of design effect, but beginning probably in

reign of Henry VII.

Short coats of this type of Elizabethan age are marvels of sk

and many caps are still in existen



Fine linen ruffs and collars w

often edged with this work, as w

as with gold lace.

Jackets and caps, both male

female, bearing geometrical

scroll designs in gold, filled in wcoloured needlework of flow

birds, or animals have happily b

preserved for our admiration.

Sequins appear on work from He

VIII's time, and were m

appreciated by the Elizabetworkers, who no doubt found

trembling glitter added much to



gold-lace settings and delic

veilings: long pear-shaped sequ

were favoured for this. Sleeves w

often separate, and could be chan

at will.

SIXTEENTH CENTURYHENRY VIII. FEMALE.

The hair at this period was partedthe centre and gathered into a plai

the back; it was also seen rather



and waved at the sides of the he

and a small circlet was often carr

across the brow. A cap of velvet

gold brocade, sometimes with

padded front, curved over the ear

the neck, keeping the shape of

head. Over this again a velvet

was turned back from the front

shaped as in the illustration, reach

to the shoulder. These falls were abound into set-out shapes, wh

gave many picturesque effects.

Dress had now taken a new pha

and the set bodice became a last



feature. At this period the waist w

rather short, and the neck, arranged

a low square or round fo

generally filled in with gathe

lawn. The upper part of the sle

was often divided from the bodice

ties with lawn puffs, and was m

in a full circular form, slashed

puffed and banded, with a tight-fit

sleeve on the forearm. Another tydivided the upper and lower part

the arm at the shoulder and elbo

the forearm being effectively tiedlaced, and the under lawn sle

pulled through; small slashings



also seen on these. At times a b

shaped sleeve was worn, showin

slashed or puffed under one. M

dresses were still cut in one,

were often high-necked; with th

usually a girdle or band of drap

was worn, and some skirts opened

the front, showing a rich underskir



See caption

Fig. 40.—Sixteenth century, 2n

quarter.

See caption

Fig. 41.—Period Henry VIII.

Full skirts, heavily pleated at

waist, were worn in the earlier p



of this reign, banded in vary

widths of designs to about the kn

but a new development was

progress—a stiff, bell-shaped dre

set on hoops over a rich unders

which usually bore a jewelled b

down the centre, the upper one be

divided in front to display t

feature. The bodice with this t

becomes longer in the waist, and wmade on a stiff corset. Gloves

occasionally seen, serrated at

cuff-end. Shoes of the slascharacter and square toes were a

worn by the ladies, but m



preferred a shoe with a moderat

rounded toe.

The first mention of a leatumbrella is 1611, but this is a r

instance, as they were not in use

the 18th century here, though they noted in continental prints during

17th century.

See captionFig. 42.—Sixteenth-century mod



1st half Henry VIII.

SIXTEENTH CENTURY

HENRY VIII. MALE.

The modes at the end of the

century now developed into a heavcharacter of design. The long h

soon began to be closely cut, an

short beard came into fashion. A type of hat was worn, with serra

brim, or tabs which could be tur



very small ruff appeared for the f

time, and at the wrist as well. Th

were now decorated with l

slashes or gathered puffs: heral

design was still seen on the bre

and even parti-colour was worn,

this character was now treated m

by decorating with coloured bands

the tunics or tights.




Plate X.

(a) Black Velvet Bodice. 160

25. Pattern, see p. 292.

(b) Five Embroidered

Waistcoats. Between 1690 an

1800.

See caption

Fig. 43.—Period Henry VIII.



See caption

Fig. 44.—Cap shapes. PeriodHenry VIII.

See caption

Fig. 45.—Variety of shapes anslashing. Henry VIII.

Long coats were still worn of

shape described at the end of the 1

century, but a short surcoat was



mode, reaching just below the kn

sleeveless, or with the vari

hanging sleeves of this period,

fronts usually turned back to form

wide collar, either round or square

shape on the shoulder, or at tim

falling to a deep square at the back

The sleeves were full in the up

part, tightening to the wrsometimes open up to the elbow

laced, or they were pleated into a

round shape at the shoulder. Pu

and slashings increased in th

designs, and by 1520 we find



sleeves mostly divided into puf

and slashed forms, which grew

fantastic proportions.

Very short, tight breeches or trun

with a front flap or codpiece, w

decorated to match the body desand colour schemes; they increa

in length to the knee, or just belo

during this reign, and usually finisin a serrated roll.

See caption



larger image

Plate XI.—16 Leather Boots an

Shoes. Between 1535 and 1860

1. 1740-1780.

2. 1535-1550.

3. 1680-1700.

4. 1645-1690.

5. 1665-1685.

6. 1690-1710.

7. 1845-1860.

8. 1790-1820.

9. 1665-1670.10. 1800-1820.

11. 1820-1840.



12. 1820-1840.

13. 1815-1850.

14. 1760-1780.

15. 1650-1670.

16. 1630-1660.

See caption

Fig. 46.—Footwear, 1510-1540

Shoes were of the square form, so

very short in front, held on by a st

across the instep, others with fro



to the instep. The corners were of

brought out to a point on each side

the toes, and the mode of decora

with slashing and punctures m

them very interesting. The sides

these shoes are very low, from ¾ t

inch, and no heels are seen. A b

round shape was also favour

which increased in width till

proclamation forbade it exceedininches. Chains were still

decorative feature round the ne

and the belt carried a sword pouch, or, amongst the work

classes, other necessities.



SIXTEENTH CENTURY

THE REIGNS OF EDWAR

VI AND MARY. FEMALE

In the reign of Edward VI, which w

so short, as also in that of Mary, th

was little time to form a rcharacter. These reigns fo

developing links to the Elizabet

era, so I have taken them in chapter.



See caption

Fig. 47.

See caption

Fig. 48.

See caption

Fig. 49.

Elizabethan modes.



See caption

Fig. 50.—Costumes, 1554-1568

See caption

Fig. 51.—Costumes, 1568-1610

With Edward VI the same shaped

is seen as that of Henry VIII, and wMary's accession, the head-dress

curved to the head in a like mann



but it now became more of a hat fo

and took a brim curved in on

brow; this was often worn over

little tight curved cap, or showed

hair waved out at the sides, of

netted with gold and pearls. A fal

velvet, silk, or veiling was s

retained till the very high ruff

collar came in the Elizabethan da

A small-crowned hat, with a broand feather in front, and a

gathered crown came in bef

Elizabeth's time, when we see meccentric shapes, such as the tall

with a feather at the side, and



witch-like hats towards the end

her reign.

The bodice, which became longethe first reign, still retained the

belled oversleeve or the full puf

sleeve to the end of Mary's reialso the same square neck shape w

curved-up front, now often fil

with silk quilted with pearls up to neck. High-necked dresses set wit

small ruff became general in Ma

reign. We also find a tight slee

gathered in a circular puff at

shoulder or set in a rolled epaulet.



The same shaped skirt of the hoop

bell form (sometimes very pleated

Mary's reign) or divided in front

show the underskirt as describ

under Henry VIII, was worn.

The short square shape and the heround shoe is seen in Mary's rei

but fashion then preferred a rat

pointed oval shoe, well up the inswith higher sides, decorated w

characteristic slashing. Gloves

seen in many portraits up to

period, but of a plain make mi

embroidery, and a circular fan



feathers was carried.

SIXTEENTH CENTURY

THE REIGNS OF EDWARVI AND MARY. MALE.

With Edward VI and Mary a mrefined and sober type of style set

The hair was now worn short

combed backwards. The flat hatthe earlier shapes lasted

Elizabeth's reign; becoming sma



in width, with a turned-down, cur

brim and a fuller crown encirc

with a gold band or set with a feat

worn at the right-hand side. A sm

tight-fitting round hat with a rol

brim and a feather in front is also

this later mode. Through these rei

a small square turned-over collar

a very small ruff set on a high co

came into use, which increased tlarger ruff in Mary's reign. A sm

ruff was also worn at the wrist, m

of these were edged with black-stidesigns. The heavy puffed slee

became tight and started from a sm



epaulet or puffed roll; some of th

had a small cuff at the wrist or a f

Braided designs became v

elaborate on a close-fitting, padd

and round-shaped jerkin with a sh

skirt, which appeared in the f

reign, and this skirt was often l

enough to fasten just under

codpiece. Short trunks at times w

half-way down the thigh wslashed, banded, and puffed

decoration. No parti-colour was n

worn or striped effects on tigexcept amongst the soldiers in

reign of Mary. Short capes to



length of the trunks of a plain rou

form sloping from the shoulders, o

square type with a high square co

and loose sleeves, are seen; a tu

also of the earlier character with a

shaped collar and full sleeve com

into this reign, and we note

earlier types of shoes mingling w

the newer pointed oval-shaped sh

which now continued for remainder of this century.

See caption



Fig. 52.—Costumes, 1554-1580

See caption

Fig. 53.—Costumes, 1570-1605

In Mary's reign the round-sha

doublet began to protrude from

breast to the waist in a round fo

with slightly longer skirts or sm

tabs, while the trunks assumed la

circular proportions and wsometimes set on tight knee-breech



The capes remained about the sam

SIXTEENTH CENTURY

ELIZABETH. FEMALE

The costly splendour of attire is w

known in Elizabeth's reign, whbegan with the same form of hair

head-dress as with Mary, the

being set rather higher on the hThe ruffs, which were impor

already starched from Holla



assumed larger proportions

complications when the methods

starching became known in Engl

about 1564. Stow describes ru

growing to a quarter of a yard de

these were no doubt supported

piccalilloes, though they are

actually mentioned till after 1600,

they surely came with the fan-sha

structures of these later days. Whred, blue or purple colours w

used in the starching, and yellow

the latter days of this century. Tintroduction of this curved fanl

collar setting became a grand



complicated feature right into

17th century. "Make up" became v

apparent on the faces at this time,

Bishop Hall censured the fashion i

choice sermon, saying, "Hear this

plaster-faced Jezabels! God will

day wash them with fire

brimstone."

See caption

Fig. 54.—Elizabethan modes.



See caption

larger image

Plate XII.

(a) Lady's Outdoor Costume.1785-95.

(b) Costume. Early 18th

Century.(c) Silk Brocade Dress. 1760

80.



1585-1610—1600-1620—15951605—1605-15—1589-1600

Fig. 55.

The bodices grew very long

pointed in the waist, the neck sett

being mostly treated in the samshape, even open down to the w

point was filled with a decora

stomacher, and a deep oval-shapneck was seen at the end of the rei

An outer opened sleeve was n



favoured, caught in front at the elb

and hanging to the knee over a fa

tight undersleeve with a turned-b

lace cuff or ruffle. With this came

high-set fan ruff on its woo

support at the back of the neck,

consequently a higher coiffure.

See caption

Fig. 56.Nos. 1, 2, 3, 1540-50, and othe

shoe forms worn in the reign o



Elizabeth.

The same character of skirt contin

as in the earlier reigns on hoopsthe lower part, but they became m

fuller and rounder at the hips

about 1590, when the full pleaskirt was supported on a farthing

or hoop which was set with

gathered circle in the same goffedesign as the ruffs at the edge. Th

reached their extreme dimensions

the end of this reign, when

sleeves also assumed a full pad

shape and large epaulets also ca



very thick corked soles and h

heels were introduced for t

purpose.


Plate XIII.

(a) Silk Coat. 1735-55.

(b) Brocade Silk Coat. 1745-

Pattern, see p. 308.(c) Embroidered Cloth Coat.

1770-90.



SIXTEENTH CENTURY

ELIZABETH. MALE.

In this reign a very neat sm

pointed beard was the fashion,

hair being brushed up as high possible and often fulled out at

sides, and a "chic" appearance w

sought after. A stiff belled top-with an egret at the right side m

its first appearance with a curv



brim, also one of a tapered sh

with a smallish round brim,

another very small round hat wit

curved brim, a clasp and feat

being mostly worn on the front

each. The brims of all the hats be

to enlarge at the end of the cent

when the very high crowned w

brimmed hat made its appearan

sometimes with a peaked top, beaver is first mentioned in th

make.

Large circular ruffs became all

rage besides the small turned-o



slashings, pleating, and gatherings

the period were of a much nea

character, and punched patterns

pricked materials came into use.

Close-fitting high boots, gener

with serrated tops and thick socurving into a short heel, are featu

of this time. The shoe had a long fr

decorated with slashings (ofcaught with jewels), and an oval

which became almost pointed in

last years of this century. A short to

boot rising to the calf was also

use, mostly with a little fur edge



CHAPTER VI

THE CHARACTER OFTRIMMINGS THROUGH

THE SEVENTEENTH

CENTURY.



JAMES I.

The braiding and small slashcontinued of a similar character

the end of the Elizabethan age. T

slashing now began to be treated w

a larger effect and less elaborati

but pricking and punching were s

much used for enriching surfaces.

improved style of design wevident.

The female bodice was arranwith a long stomacher, often shap

into curved forms at the point,



this was set with jewels

embroidery, otherwise the bod

was decorated with braiding

ewels as in Elizabeth's reign. T

full sleeves were embellished w

small slashes (making diamo

squares), puffs, or pricked

punched designs. A turned-up cuff

ruff of pointed lace finished

wrist, braided epaulets formedbeautiful feature of the effect, and

front of the underskirt was decora

with a jewelled band or conventiodesign, as was also the border of

overskirt. Caps of an interest



curved form beautifully embroide

in gold and coloured silks are se

of which I give patterns; also lo

ackets of the same work were in

when not in full dress.

CHARLES I.

Many beautifully embroidered ca

erkins, jackets, and shirts are seenthis period in gold and black

coloured silks. Slashings of

reign, though in fashion, commenced to go out; and th

retained were of a large charac



mostly from the neck or shoulder

the breast. The favoured slee

were cut into straps to the elbow

wrist, and were often edged w

braid, either side meeting toget

and lining the forearm, the b

being treated in the same way. T

open-fronted sleeve was set w

buttons and loops or long brai

buttonholes with frayed or knotends, though these were not gener

fastened. The tight undersleeve w

often set with gold or silver narrbraids down the front and b

seams, and close lines of sm



braids horizontally round the arm

vertically when the outer sleeve w

treated horizontally, this gave

beautiful counterchanged effect.

Many of the ladies' caps of this ti

had beautiful gold scrolls, wflowers and birds embroidered

coloured silks, also loose jackets

the same were in use. The bodwas banded with braids or lace

the front and seams, and

stomacher was often of f

embroidery; set rosettes or bo

were placed at the waist. Ot



finishing effects of collar or slee

and the button and buttonh

decorations were made import

features on both male and fem

sleeves, and even down the front

the outer skirt when it was not trea

with lace. Red heels to shoes be

to be worn and continued to the

of the 18th century in marked favou

THE COMMONWEALTH.

During this short period the characand placing of braiding was the sa

as in the latter part of last rei



slashing had almost completely g

out, except for the treatment of so

ladies' sleeves cut into bands. A v

sober effect was assumed in col

schemes, besides a plainer treatm

in decoration, and a deep plain co

or a small turn-over one was chie

worn by the men, while the hat of

Puritan rose to an absurd height, w

a wide flat brim.

CHARLES II.

This may be named the period

ribbon trimmings, though braid



was treated in broad lines on

short jackets and sleeves, and do

the sides of the breeches.

preference is shown for gold

silver lace, or amongst the é

purfled silk edges; the new m

being a decoration of groups

ribbon loops placed about the sui

dress. The notable feature with

female dress was the gatheringdrapery by means of jewelled clas

and groups of ribbon loops were a

used, as with the male dress. Tedges of the materials w

sometimes cut into scalloped



classic forms, and a very sim

voluminous character was fashio

aim.

JAMES II AND WILLIAM AN

MARY.

With the later type of long-skir

coat which began in Charles

reign, a heavy style of braiding buttoning came into vogue, all

seams of the coat besides the pock

and cuffs and fronts being braidwhich fashion continued to the end

the century. Many coats began to



embroidered in the later reign,

waistcoats became a special feat

for the display of fine needlecraft

the fronts and pockets, while quil

or imitations of it in vari

needlework designs are often seen

the female dress a more elabor

interest was again taken in

stomachers and the jewel

claspings, while lengths of soft gathered into long puffs often ed

the outer skirts or were used

smaller trimmings, and "classicshapings of the edges of mater

and sleeves are often seen, a



heavy bands of rich embroid

bordered the underskirt or train.

SEVENTEENTH CENTURJAMES I. FEMALE.

We find much the same high formsset-up head-dress continuing

fashion as in the later years

Elizabeth's reign; but the hair beto take a fuller shape, rather rou

done up in tight frizzled curls, w



the usual decorations of jew

pearls, or set bows of this peri

Hats with high crowns and sm

straight brims, with an upright se

small plumes, gradually assumed

larger brimmed character—of

turned up on one side. The sa

absurd pleated hoop, with its hang

skirt, continued for some time (w

rather short); but we also see longer and very full hooped-out sk

with an overskirt opened in the fro

The stomacher front became menlarged during this reign, m

having shaped designs at the po



Most bodices took a very d

curved front at the neck, and la

padded sleeves narrowed at the w

still continued, besides the high

collar at the back of the neck,

large ruffs were used by many. Th

also appeared, later in the reign

stiff round collar, set high in the ne

cut off straight across the front,

the bodice took a very low squacut neck, with a raised curved sh

at the centre of neck. The tigh

sleeve was also worn throughout time, with the overdress and sle

hanging almost to the ground, wh



often had a very angular cuff. A li

later some sleeves began to

gathered at intervals into puffy for

The waist also showed signs

shortening.

See caption

Fig. 58.

See caption



Fig. 59.—Costumes. Period, Jam

I.

Shoes with rounded toes and latchholding large rosettes were chie

worn, and heels of various heig

are seen. Chopins, still worn on Continent, do not seem to h

appeared here.

SEVENTEENTH CENTUR

JAMES I. MALE.



three or four, to the centre of

back. Sleeves were fairly tight

started from slightly larger epaul

and were usually set at the wr

either with a small ruff or turned

lawn cuff, edged with lace.

The trunks were padded in a very

shape and were much longer, j

above the knee. Also full padded-breeches tapering to the knee or j

above, where a large tie and b

hung at the side, and full squ

breeches not tied in, are also

feature of these days, usually ban



with wide braids at ends and sid

Upright pockets were made on eit

side towards the front, about t

inches from the side seams. T

fastened up the front in a plea

fold, many being decorated w

punched, pricked, or slashed des

of a smallish character.

See caption

Fig. 61.—Shapes of Shoes from

1590-1650.



flap being rather small. Beautifu

embroidered clocks are seen on

tights and stockings of this period.

SEVENTEENTH CENTUR

CHARLES I. FEMALE.

The hair was now allowed to fal

ringlets round the back and sid

with a few flat curls on the brow, aa bow and pearls were caught in

the sides. Short feathers may also



noted in use. A plait was often coi

at the back after 1630.


Plate XV.

(a) White Cloth Coat. 1775-9

(b) Silk Dress. 1740-60.

(c) Embroidered Velvet Coat

1755-75.



See caption

Fig. 62.

See caption

Fig. 63.Collar and Bodice types. Perio

Charles I.



See caption

Fig. 64.

Collar and Bodice types. Perio

Charles I to 1660.

In the early part of this reign

ladies were wearing the long corbodice, with a richly decora

stomacher which curved outwards

set on the very full skirts; this offinished with a curved or folia

shape at the point. Square starc



collars, rounded at the ba

sometimes set up at the back of

neck or flat on the shoulder, and ru

were still seen round the neck w

collars as well, but they were seld

met with after 1635. A plainer, de

collar, flat, round, or -shaped at

back, coming well over

shoulders, was caught together b

bow or ornament in front. Ab1630 shorter waisted bodices ca

in, with full, loose sleeves set

epaulets: the neck shape was rounor square. The bodices were of

slashed, and the full sleeves, cut i



bands, were sometimes gathered

cross bands from one to three tim

Full plain sleeves, opened in

front seam, were also clasped at

elbow in a like manner. Outer sh

sleeves became a feature, opening

the front, showing the full under

or a tight one; the waist became v

short and its tabs larger. A waistba

fastened in the stomacher with a beither side and bows with long g

tags decorated the waist as in

male jerkin. The skirt decorated bband of ornament down the front w

often tied upon the corset-bodice,



front point being left outside. Sh

of the same shape as the m

illustrations, with very square to

were frequent, but an oval toe, rat

pointed, is seen in many pictur

with the large lace rosettes in fro

Muffs are first noticed in these da

though they were seen much ear

on the Continent.

See caption

Fig. 65.—Period 1625-1660.



SEVENTEENTH CENTUR

CHARLES I. MALE.

The hair was worn loose to

shoulders, and a small plait w

sometimes arranged on the left s

brought to the front of shoulder. Tbeard was trimmed to a poin

shape, and smarter curled moustac

were fashionable. Hats were shigh in the crown, but rather low

than with James I; the large br



were turned about in various curv

and feathers were worn falling o

the brims to the side or back.

The jerkin was high in the col

supporting a large, square, turn-do

collar edged with pointed lace to shoulders, or a small, plain, tu

over collar; ruffs are very rarely s

after 1630.

See caption



Fig. 66.—Charles I.

See caption

Fig. 67.—Period 1625-1660.

See caption

Fig. 68.—Period 1625-1660.

A rather short waist grew shor

during this reign, with much lar



tabs, or large flaps laced to the bo

forming a series of bows with l

gilt tags round the waist. The body

usually decorated with long slas

from the shoulders to the breast,

the full length, and a long slas

opening is often seen in the b

(presumably to give more play to

sword-thrust). The sleeve is a

treated in the same way to the elbor waist. All sleeves start from a s

epaulet. Breeches are both very

and fairly tight, the latter edged wa purfling of silk or gold lace as w

as the sides, the former shape t



either above or below the knee w

a large silk bow with falling en

They were held up by a number

hooks, fastening to a small flap w

eyelets, round the inside of

doublet (see pattern 11, p. 295),

were buttoned down the front,

buttons being half hidden in a pl

The pockets were placed vertica

in the front of the thigh, and wfrequently of a decorative characte

A short or long circular cloak w

worn, and a coat-cloak with open

sleeves is an interesting garm



These coverings were hung

various ways from the shoulders

methods of tying the cords across

body.

See caption

Fig. 69.—Period 1625-1660.

See caption



Fig. 70.—Shoe shapes. Charles I

1700.

Nos. 1, 2, 3, 4, 5, 6, 7, 8, 23. Char

I.

Nos. 9, 10, 11, 12, 13, 14, 15, 16,

25. Charles II.

Nos. 18, 19, 20, 21, 22, 24, 26, 2

28. James II and William and Ma

See caption

larger image

Plate XVI.



(a) Silk Brocade Dress. 1740

60.

(b) Silk Brocade Sack-back

Dress. 1755-75. Pattern, see

334.

(c) Dress of Striped Material

1775-85. Pattern, see p. 335

See caption

Fig. 71.—Boot shapes. Charles I1700.

Nos. 1, 2, 3, 4, 5, 6, 7, 8, 9. Char



I.

Nos. 10, 11, 12, 13, 14, 15. Char

II.

Nos. 16, 17, 18. James II and

William and Mary.

Shoes became very square at toes, or blocked as in Fig. 70, No

The fronts were set with la

rosettes of silk and silver or glace, the heels varied much in heig

that mostly favoured being a lar

low heel. A quaint fashion of sh

combined with a clog sole was

interesting shape (see illustration



clogs, p. 106). Fairly tight top-bo

coming well above the knee, w

often turned down. Other boots w

large bell-tops, turned over

pushed down, were covered or fil

with a lace or bell-shaped stocki

top. A sash was worn round the w

or across the body over the

shoulder (the length and width

these is given in the descriptionpatterns, p. 279). A broad belt,

sword-hanger, came across the ri

shoulder. Gloves were beautifuembroidered in gold, pearls,

coloured silks, the gauntlets be



from five to eight inches deep.

SEVENTEENTH CENTUR

THE COMMONWEALTHMALE AND FEMALE.

The same shapes apply to costuduring the Commonwealth, thoug

sterner effect was given by the cho

of plain decoration and less coloA small or a large plain collar, a

the disappearance of slashings on



coat, and a longer skirt beca

noticeable. A very high tapered h

with stiff circular brim, was worn

the Puritans, and little, close, bl

hoods were much favoured.

general reaction from

extravagance set in.

SEVENTEENTH CENTUR

CHARLES II. FEMALE

The hair was set out from the head



combs with falling ringlets,

several small flat ringlets w

placed on the forehead. The back

the hair was plaited into a knot,

pearl strings were interlaced,

ribbon loops caught in at either si

Toward 1680 the hair was w

tightly curled and fulled out int

round shape with a curl or t

falling on the front of the shouldsmall feathers or long feathers w

also worn. Hats were of a sim

shape to those of the last reign, witstiffer and narrower curved brim;

the chief head-dress was a la



hood faced with another mater

which latter was tied under the ch

these mostly formed part of a c

also.

See caption

Fig. 72.—Period 1650-1685.




Plate XVII.

(a) Silk Suit. 1765-80.

(b) Quilted Dress. 1700-25.

(c) Silk-embroidered Suit.

1765-80.

See caption

Fig. 73.

1, 2, 3, 4.—Back and Front of twCorset Bodices. Period Charles

5, 6.—Two Corsets. Period Char



II.

7, 8.—Two Bodice types. Perio

Charles I.

The bodice again became m

longer and of a pointed shape,

many corset bodices took a roupoint, and a round neck coming w

off the shoulders became gene

usually decorated with a plain wband of lace. Ruffs and collars w

no longer seen amongst the up

classes. Very full sleeves and la

opened sleeves were tied or clasp

over full lawn ones, and at tim



separated from the shoulders, be

caught effectively with jew

Groups of ribbons were placed at

breast or point of the bodice, and

ends of sleeves or shoulders, besi

at the fronts of the outer skirt w

divided, also in the gathering of

lawn sleeves. Stomachers were

much worn, but a drape of soft

was caught here and there round neck of bodice, and large draper

were clasped to the shoulders. Lo

robes and robes shaped to the figuopening down the front from the n

even to the waist, with a clasp



several holding them together; th

were worn over a quilted li

corset laced in front as in

illustration, but the bodice was of

formed on a corset. Long gloves

mittens were in use, and small mu

with ribbon loops on the front w

carried. High-heeled shoes with v

long square toes were affected

imitation of the male shoe, but mladies now began to wear a v

pointed shoe.



See caption

Fig. 74.—Sleeve treatments.

Period Charles II.

SEVENTEENTH CENTUR

CHARLES II. MALE.

Long hair or wigs of long cu

falling on the shoulders, a v



narrow moustache and point of be

on the chin came with this reign. L

collars of a smaller square

rounded shape were in use, but a

of lace pleated in the centre s

took its place. High-crowned h

with a band and bow in front an

flat, waved, or curved brim, w

feathers on either side or all rou

were the fashion, the crowbecoming shorter during the reign;

fronts and sometimes the sides of

brim are seen turned up, and begins to form the three-cornered

which remained so long a feature



history.

See caption

Fig. 75.—Period Charles II.

We find with extravagant shape

happy return of gay colours. T

high-waisted jerkins of the Charle

period were now seen without

skirt (as very short jackets), leav

the lawn shirt to show between and the breeches, besides which



ackets were nearly always

unbuttoned several inches up, so

being cut away in a rounded sh

and also having short sleeves. T

lower arm was covered with a

lawn sleeve caught at two or e

three distances with a loop

ribbons or bows, and finishing wit

wide lace frill; a bunch of ribb

loops was also often seen on the rishoulder. A long circular cloak, w

turned-back fronts forming a colla

many, still retained the hangsleeve, and was mostly decora

with bands of heavy braid. A lo



square coat also came in about 16

buttoned right down the front, w

pockets set very low in the skirt,

large narrow cuffs opened at the b

as in Plate VIII (see p. 90).

Very full breeches were worn to jabout the knee or shorter, with

fringe of ribbon loops, and a row

several rows of the same warranged at the waist. A sh

petticoat just showed the un

breeches, many of which were tur

into a doublet shape by an additio

piece looped up loosely from



with a stiffened butterfly bo

besides, at times, a rosette low

down on the front: red heels were

evidence. The sword-band was v

wide, and many were decorated w

gold embroidery.

See caption

Fig. 76.—Costume types. Perio

Charles II.



hoods and drapes continued in u

and a high goffered head-dress w

set-out front began to appear;

same shaped bodice with round l

neck showing the shoulders, often

with a stomacher front or jewelled

that form, and smaller decorations

ribbon loops were still favoured

smaller and shorter sleeve began

appear with a turned-up cuff, and gathered-in lawn sleeves and ruf

caught here and there with pearls

clasps as before, besides the salight drapery clasped about the bre

front. The overskirt was now loop



back, the points being held togeth

giving a wide display of

underskirt, which was heav

banded or had a jewel setting do

the front. Other train skirts, a

divided in front, were bordered w

drawn silk caught at intervals i

long puffs. Very small muffs were

fashion. Shoes increased th

pointed shape and rather large heare to be noted, but some sh

assumed a very narrow square t

they were either tied from smlatchets with a bow, or with buck

latchets. Longer gloves were wo



and large full cloaks with hoods

large drapery wraps when requi

for outdoor wear.



See caption

Fig. 77.—Costume notes. Perio

1670-1690.

SEVENTEENTH CENTUR

JAMES II. MALE.

The same long wig was worn as

the last reign, but the curls were m



of a set ringlet type, and embroide

caps were worn when these w

taken off. The face was now cl

shaven until the 19th century. H

also of the older character w

retained, but the turned-up thr

cornered shape, filled with sh

feathers, became more settled

fashion, and they were heav

banded with gold braid or lace onedge.

See caption



Fig. 78.—Period 1690-1700.

A smart bow was worn crossw

over the folded lace fall at the neThe coat was a very long squ

shape to the knees, the stiff skirt of

set out over rather full breechwhich were sometimes "shorts,"

ust above the knee, the stock

being often brought up above knee, with a garter just below. T

sleeves were short, above or bel

the elbow, with a turned-up c

leaving the full-gathered lawn sle

with a lace ruffle to show at



wrist. A sash encircled the waist,

often shut in the sword-belt, wh

hung from the right shoulder. T

coat had buttons from the neck to

bottom of the skirt, though the low

buttons were seldom fastened;

sides of the skirt were opened

about 11 inches, and also the b

seam to the same height; most sea

were heavily decorated with gosilver braid, or lace, and the pock

were placed rather low do

towards the front of the skirt, were sometimes set vertically.




Plate XVIII.

(a) Brocade Bodice. 1770-85

(b) Flowered Silk Dress. 175

70.

(c) Silk Brocade Bodice. 17895.



See caption

Fig. 79.—Period 1688-1702.

Long round capes were still wowithout sleeves, and a collar turn

down about 4 inches.

Shoes of a similar shape to those

the later Charles II type were in u

but the heels became larger and

toes not so long; the top of the frwas sometimes shaped and tur



down. Heavy boots to the knee, w

large curved tops, were also

favour, as in the illustration (Fig. 7

SEVENTEENTH CENTUR

WILLIAM AND MARY.

FEMALE.

The hair was now mounted high

top and the front parted with tcurls, the rest of the hair being bou

on top, or a curl was arranged



either shoulder. A goffered f

head-dress, set on a cap, rose v

high, and a long fall of lace,

lappets, came down on either s

from the cap, or was gathered in l

a small hood at the back. B

shoulders now began to disappe

the bodice shape coming over

shoulder to a shape enclosing

stomacher, which was sometimtabbed or shaped at the point. M

dresses were made in one leng

caught together at the waist witband; the fronts of these skirts w

looped back high up, creating



pannier-like fullness at the hips,

narrow hoops came in to set out

skirts, many of which were heav

embroidered with gold. The Watte

back dress started in this reign

very early specimen, at the Victo

and Albert Museum, is most proba

of this time (Fig. 85, A). The slee

worn to the elbow increased in wi

from the shoulder, and were set wlarge narrow cuffs gathered with

ewel or bow on the front of the a

Hoods and cloaks of the sacharacter as described for the

reign continued, and light sticks w



carried by the ladies. Very poin

shoes were worn, with large h

heels, the top of the front flap in so

being shaped into points. Bl

masks were frequently used, so

having long lace falls. Rather sm

muffs were still the fashion,

beautifully decorated short apr

became a feature with the dress.

See caption

Fig. 80.—1688-1698.



SEVENTEENTH CENTUR

WILLIAM AND MARY.

MALE.

Wigs of the same long charac

continued, and were parted in

centre with a raised effect, variously shaped caps, with turn

up fold or brim, were worn when

wig was taken off.

The beaver or felt hat, turned



three-cornerwise, was now

general use. It is often seen with

brims loose, or sometimes dow

especially amongst the lower clas

Both small shapes and large w

worn.


Plate XIX.

(a) Silk Brocade Dress. 1775

85.



(b) Embroidered Silk Jacket.

1775-90. Pattern, see p. 326

(c) Brocade Jacket. 1780-95.Cap pattern, see p. 331. Coa

pattern, see p. 348.

See caption

Fig. 81.—Period 1680-1690.

Black ties across formal lace crav

and long lawn cravats, edged w

lace, one end of which w



sometimes caught up loosely thro

the large buttonhole of the coat w

worn. Waistcoats were left op

well down to the waist; some

these were nearly of the same len

as the coat, the skirt being of

edged with deep gold fringe.

The coats were of much the sa

character as in the time of Jameswith buttons all down the front,

now it was the mode to button co

ust at the waist, allowing

waistcoat to be shown. The slee

were generally longer, to the mid



Shoes and boots were practically

same as in the previous reign, w

larger high heels and a high squ

front, with latchets buckled or sti

tied, and very square toes. Top-bo

of the same heavy charac

continued as in Plate II (see p. 4

Stockings continued to be w

frequently above the knee outside

breeches, with a garter beneath, beautifully embroidered clocks to

calf. Muffs were carried by m

men, and the gauntlets of gloves havery angular shape. Patches

make-up were used by the dand



and the sword was now carr

through the side pleats on a wa

belt sometimes worn outside

waistcoat.



CHAPTER VII

THE CHARACTER OFDECORATION AND

TRIMMINGS OF THE

EIGHTEENTH CENTURY

In the early part to the middle of



century the trimmings were chiefly

gold or silver lace, real lace,

purfled silk, mostly of the sa

material as the dress: a bow w

often worn on the breast, and also

the front of the sleeve cuff. Purfled

ruched trimming generally ran do

the front of the dress from the neck

the hem of the skirt in the Seco

Georgian dress, and gathered bordor decorations of curved forms w

in use. The skirts usually had o

one flounce till the reign of GeoIII, when the trimmings became m

elaborate, and gauze and imitat



flowers were festooned upon

skirts, with ribbons and tassels

padded designs standing out in str

relief; some charming gi

trimmings are also seen.

The lace ruffles of a fan shape whfinished the earlier sleeves till ab

1745 were sometimes of la

interwoven with gold, silver, acoloured silk needlework, and t

was no doubt the forerunner of

use of the more solid material its

The setting of the sleeve finish

interesting to note all through



period, for it was beautifully trea

in balancing the effect of the dr

The square cuff with the deep l

fall was big in style, and the la

closely-fitted elbow piece, ric

gathered, was happily conceived,

no finer setting could have b

applied to the sack-back dress t

the large fan or double fan with

lace fall. The edges of the early ffinished sleeves were of curved

scalloped forms, the latter shap

often being seen in the later sleeve

With George III we notice design



straw work, decorations of imitat

flowers in ribbon-work and vari

materials, and much taste in

choice of colour schemes, while

tassels of this period were deligh

creations. The designs of stuffs at

early part of the century w

generally of fine strong col

blends, but in the middle period th

was much questionable tadisplayed in the heavy massing

patterns, but this soon improved w

the striped character crossed running flowers which was qu

ideal in type for costume keepi



grace, and lightness, with a beaut

interchange of colour.

The quilted silk and satin petticoare a special feature to note in th

times; many simple and effect

designs were in use, and they admuch glitter to the scheme. Apr

were also beautiful examples

needlework, and were worn with best of dresses to the middle of

century; the earlier ones gener

had a scalloped edging, and m

had pockets; gold lace edging

fringe was often used in the time



George II, and they were all fin

decorated with needlework in go

silver, or coloured silks. The wh

aprons were also of consumm

needlecraft, and hanging pock

worn at the sides were also

decorated feature, but these o

showed when the dress was w

tucked up. The later style of dr

became much simpler, consistchiefly of gathered flounce settin

fichus, and large mob caps; th

were often daintily embroidered wtambour work and large bow

sash settings, making deligh



costumes.

Bags, muffs, gloves, and shoes w

all chosen for the display needlecraft, while artists

ewellers used all their skill on

fans, patch-boxes, and étuis, and ethe dress materials were of

painted by hand, while many pain

Chinese silks were also utilised.

EIGHTEENTH CENTURY



ANNE. FEMALE.

The hair was dressed in a sim

manner, with two curls parted fr

the centre of the forehead, and cur

inwards on the brow. A loose ring

or two were brought on to the

shoulder, the rest being gathered i

a back-knot. Feathers or flow

were arranged on top, generally wa pair of lace lappets falling to

back; these also adorned the c

which still bore the front goffefrills set out as in the last reign,

these were diminished in size



were mostly of one row. We n

probably the last stage of this st

appearing in a print of Hogart

dated 1740.

See caption

Fig. 82.—Bodice types. Period1690-1720.

See caption



Fig. 83.—Costume type. 1695

1710.

Hoods and capes or cloaks, and lblack fichus or wraps, were the ch

coverings, as the head-dress did

allow of hats being worn, but wthe small frilled caps a little str

hat, or a low-crowned felt with

largish brim, are seen, and a smlace frill round the neck began

appear. Bodices with a low curv

neck often had a short skirt or shap

pieces, as well as a shaped sh

sleeve over a gathered lawn o



while many wore long sleeves to

wrist, and a waistbelt is sometim

noted. There was also the sle

spreading in width to the elbow, w

a turned-up square cuff. The fron

the bodice may be remarked w

bands fastening across, and

became a feature in many dres

later in this century, otherwise it

closely over the shoulders to shape at the waist, and was fil

with a stomacher of fine needlewo

bows, or the ends of the lawn filaced or caught in by a big bow

full, loose gown, with the fulln



pleated to back and front, came

the front being held by a bow and

back allowed to fall loose or cros

with a large bow at the back of wa

as in the museum specimen, Fig.

This became the more elabor

sack-back dress.

See caption

Fig. 84.—Period 1700-1725.The skirts began to be set out i



EIGHTEENTH CENTURY

ANNE. MALE.

The wigs of the full ringlet style w

still the fashion, but a simp

character is noticeable, the hair be

combed back off the forehead allowed to fall in looser waves.

many began to set a mode of sma

"coiffure," with their own hair cauin curls by a bow at the back,

curls over each ear. Powder ca



into use with the smart set, and a

bow and bag to finish the back of w

appeared, giving a sma

appearance to the white hair.


Plate XX.

(a) Gold-embroidered Muslin

Dress. 1795-1805.(b) Nine Aprons. Between 16



and 1850.

(c) Dress of Spotted Stockine

1795-1808.

See caption

Fig. 85.—Bodice types. 1700-17

The hat, sometimes of white felt, w

the same three-cornered type, ed

with feathers and banded with br

gold braids or silver lace. T

neckwear was a bind of lawn, wit



long fall finished with lace.

The coat remained long to the kne

but took a greater fullness in the spleats of the skirt. Large buttons

buttonholes, 3 inches long, are se

with the same on the cuff, which wworn very large, often 9 inc

broad, and mostly of a curv

outline, and of another coloubrocade; a tight undersleeve is a

seen with these. The coat w

sometimes heavily decorated w

needlework or braids of gold do

the front, pockets, seams, and cu



The pocket was wide and set hig

in the skirt, and the back opening

coat was decorated by seve

horizontal braids to the two s

pleats.

A long, full-skirted waistcoat, of rmaterials or needlework, was

times braided and fringed at the s

with gold, the pockets covered witlarge flap, and five buttons fastene

or were placed as decorations j

below it. The front buttons w

often reduced to four at the waist

it was still fashionable to show



lawn shirt.

Breeches were of the same cut as

the former reign, with five or six sbuttons at the knee, and stocki

with embroidered clocks were w

rolled over outside the breechesbefore.

Shoes were square at the toes and

quite so long, while the heels w

still rather heavy, and red was

mode. They had a high square top

the front instep, and buckles fastethe latchets. Muffs were often carr

by the dandies, and walking-stic



with tassel and loop, were slung

the arm; besides a sword, whi

passing through the side pleats

out at the back, helped to set out

coat, which was often stiffened in

skirts. Gloves, with short gaunt

very angular or curved in sha

were trimmed with gold fringe;

backs were also richly embroide

with gold or silver.

EIGHTEENTH CENTURY



GEORGE I. FEMALE.

See caption

Fig. 86.—1725-1750.


Plate XXI.—23 Boots and Shoe

From 1800-75.



1., 2. 1800-1820.

3. 1810-1828.

5., 8., 9., 10. 1820-1830.

13., 16., 16a. 1830-1855.

4., 6., 7., 12., 14., 15., 17. 18

1865.

11., 18.-22. 1860-1875.

See caption

Fig. 87.—Period 1725-1750.



See caption

Fig. 88.—Modes, 1750-1770.

See caption

Fig. 89.—Various Styles in Cu

Back of Bodice.

The hair was very simply gathe

from the forehead and taken up tknot of curls at the ba

Occasionally a group of curls w



allowed to fall behind, or a curl w

arranged to fall on one shoulder,

waved curls of the Queen Anne ty

were still seen on many peop

Caps, with long dropping points

front, sometimes tied under the c

or with long lappets at the back, w

the chief favourites, also a sm

frilled cap. Shallow-crowned str

hats with various widths of brhoods and capes, both short and lo

are seen, besides light silks drap

from the hair to the waist, feathflowers, and ribbons being worn

the head-dress. Richly embroide



aprons were worn with the fin

dresses.

The sack-back dress was very fand started right across the should

in two double box-pleats, wh

were kept trim by being sewn flat two to four inches down. Sleeves

the elbow were rather full,

gathered at the shoulders, withsquare cuff often decorated with

bow in front, and a fan of la

sometimes in several rows, fell fr

beneath. Sleeves finishing in

shaped edge are occasionally se



The skirts were made for the v

round hoop setting, and w

gathered in flat pleats on either h

A wide pleat or two came from

shoulders down the front sometim

as a continuation of the sack-ba

These pleats, meeting at the wa

formed a shape, which was fil

by an embroidered stomacher,

made of the same material, crosby bands, bows, or rows of lace. T

flat front pleat was occasiona

embroidered, and gradually widento the bottom of the skirt. V

pointed toes to the shoes, and h



heels, with tied or buckled latch

are seen, the tops of the front of

being shaped into four points.

EIGHTEENTH CENTURY

GEORGE I. MALE.

Long, full wigs are still seen amon

older men, but several new sha

appear as illustrated (Fig. 90), the black bow and bag became v

large; a black ribbon attached to



with a bow in front, came round

neck. We also see the ends of the w

made into a long, tight pigtail. H

were of the same three-corne

shape, rather fuller in size, and

feathered edging was still favour

A hat of the type of Fig. 105 was a

worn; and the loose cap with a tas

was put on when the wig w

removed (see Fig. 104).

See caption



Fig. 90.—Wig types, 1st half 18

century.

See caption

Fig. 91.—List of Dated Shoes a

Boots.

1. 1700-1750.

2. 1700-1780.

3. 1700-1780.

4. 1700-1750.

5. 1700-1760.



6. 1720-1780.

7. 1690-1720.

8. 1700-1750.

9. 1700-1740.

10. 1740-1760.

11. 1702-1720.

12. 1730-1750.

13. 1760-1800.

14. 1730-1760.

15. 1740-1770.16. 1770-1780.

17. 1740-1780.

18. 1786-1796.19. 1774-1784.

20. 1775-1790.



21. Sole of shoe No. 22.

22. 1776-1800.

23. 1780-1790.

The neck had the same lawn b

with a long lace ruffle, and the c

the same full cut as in the last reiand the large rounded cuff was s

in favour, but many varieties of s

were now worn. A vertical pockeseen occasionally on cloth coats, a

a cape and turned-down collar

noted, while several appear witvery small upright collar. Butt

were still worn on some coats, ri



down the front; but on many coats

buttons stopped level with

pocket.

A short-skirted coat came in amon

the dandies towards the end of

reign, and was stiffened out on skirts; these mostly had a tigh

sleeve and cuff. The sa

decorations continued in uWaistcoats were much the same, a

were cut to the length of the coats

about four inches shorter; they w

buttoned higher, the lace often fall

outside.



were used by the fops, and swo

and sticks carried, the latter be

very high, to 46 inches.

EIGHTEENTH CENTURY

GEORGE II. FEMALE.

The hair was treated in much

same manner as with George I up

the end of this reign—gathered bfrom the forehead to a bunch of cu

at the back. The small hats and ca



often worn together, continued of

same character; the dresses a

remained similar in cut. The sa

back dress was supreme in the fift

when it was set with panni

together with the hoops, but the la

were not so much worn towards

end of this reign, except for

"grand dress." Quilted pettico

were much worn, but flounces are a feature on the skirts till the la

part of this period. The simpler dr

was of various lengths, and wastimes worn quite short up to 17

The corset bodice was still in u



with lawn sleeves: square cuffs

lace ruffles held the lead through

this time, but the fan-shaped sle

finish to the elbow, in the sa

material as the dress, began to app

about 1750, generally with a wa

or scalloped edge. Pointed toes

high-heeled shoes continued, w

either tied or buckled latchets,

long gloves and mittens were in us

Types 1725-1760.—1750-1780.—

1740-1770.—1700—1720-50—



1735-65—1780-90

Fig. 92.—Three hoops and fou

pannier forms.

See caption

Quilted designs on Petticoats, 18

century.

Fig. 93.



EIGHTEENTH CENTURY

GEORGE II. MALE.

Wigs with double points at the ba

short curled or of long pigtai

shapes, some with side curls, othcurled all round the front, were wo

Large bows and bags, or no bo

finished the back hair, and the bowthe front of the neck was in use fr

the early part of this reign. L

coats, as in the last reign, and sh

coats with stiffened skirts were us

many with braided seams and fro



also a braided opening at the ba

Large round cuffs and big squ

ones, caped coats, and coats w

turn-down collars were all in

mode, and the "maccaroni" fashi

started about 1760, with absurdi

in small hats, clubbed wigs, and v

short coats. High sticks and cr

sticks, canes and swords continued

use.




Plate XXII.

(a) Linen Dress. 1795-1808.

Pattern of Bodice, see p. 316

(b) Silk Bodice. 1825-30.

(c) Silk Bodice. 1818-25.

1740-1765.—1765-1795.

Fig. 94.—Wig types, second ha

18th century.

The pocket flaps were of a curv



form, with a rounded centre still,

many of the shoes had a high squ

front, high heels, and square to

according to the caricature prints

Boitard, the fashionable hats w

smaller in 1730, and much larger

years later; very full skirts at

former date, and smaller and l

stiffened at the latter. Stockings w

often still worn outside the knShoes reached an extreme h

square front at the latter date,

gloves with curved or square cuare to be noted.



See caption

Fig. 95.—First Half Eighteent

Century.

EIGHTEENTH CENTURY

GEORGE III TO 1800.

FEMALE.

This long reign, like that of Qu



Victoria, embraces several chan

of style. Up till about 1785 wh

powder was still used for the h

reaching its fullest extravagance

the middle of the seventies, set w

pearls, bandeaus, caps, lace, flow

and feathers, and about 1776 the

was widened considerably. The fr

hair, gathered from the forehead, w

pressed in a forward curve ovehigh pad, with one to three curls

the sides and one at the shoulders,

back hair being arranged in a loloop, curled on the top and set wit

large bow at the back; a small rou



hat with very small low cro

(usually decorated with flowers

silks gathered into puffs, or ribb

and small feathers) was tilted ri

on the front. About 1780 large m

caps with a big bow on the fr

came in, and were generally w

together with the tall-crowned hat

the large-brimmed hat in favour

this time. A cape with smallish howorn in the earlier reigns w

supplanted about 1777 by the cala

a huge hood set out with whalebwhich came to cover the full he

dresses. The heavier caped



hooded cloak, sometimes with s

opening for the arms, and usu

trimmed with fur, still remained

use to 1800.

See caption

Fig. 96.—Costume notes, 17701780.

See caption



1795.

See caption

Fig. 98.—Hats and Caps durinperiod 1780-1795.

See caption

Fig. 99.—Hats during period 179

1800.



The bodice retained the same sh

as in the former reign, rather lon

in the points back and front, wit

large fan finish to the sleeve, dou

or single; this became supplanted

a much-gathered elbow-pie

sometimes eight inches de

gathered in four rows. Small dra

gathers started round the waist of

skirt, for the side panniers and howere being less worn, except for

"smart gown," but bunching, reefi

and looping took their place in effand quilted petticoats remained wh

this character of dress lasted. T



later sack-back dress was se

tighter to the body, and usu

started in a narrower set at the ba

while the full pleat from the shoul

down the front went out, and the n

was more displayed by lower bod

fronts, which continued to be set w

bows, jewels, lace, or embroide

Sack-back jackets were often worn

the seventies; when the sack begandisappear, it took the form

overlapped seams on the bodice. T

decorated side pockets are notedprints showing tuck-up dresses

1775. The jacket bodice of the sa



form described in the preceding re

was perhaps more in evidence

1780, not so long in the skirt as in

earlier reigns, but after this dat

took a longer skirt, which was of

pleated at the back, with a very l

neck and short waist.

See caption

Fig. 100.—Period 1780-1795.About 1780 we find a change of st



appearing in a shorter waist, w

less pointed setting, having often

rounded point or square tabs,

even a shaped finish to the co

front, which was sometimes used l

a waistcoat effect under the cut-aw

dresses seen after 1770 (see Fig.

p. 221). A general tendency to imi

male attire is apparent, and the fr

of the bodice was set with lapels straps buttoned across (though I h

noted this latter character in the ea

part of this century), and long cowith this character were much wo

with two or three capes. The slee



are sometimes set over a ti

undersleeve, in fact the longer sle

to the wrist became fashionab

With this change a short gathe

skirt is seen on some bodices, and

full gathered skirt was bunched ou

the back on a bustle, of which I g

an illustration (p. 212), the low n

being filled with a large lawn fich

wide belt was generally worn, owide sash and bow at the back

side is seen with the lighter dres

these being simple in style, jgathered at the waist, with short

sleeves set with a frill, and anot



frill was also arranged round

neck.

See caption

Fig. 101.

About 1790 the mode again began

change to a classic style, still hig

in the waist, with a short tight slee

at times puffed in the upper part,

an outer and under sleeve, as illustration A, Plate XXII (see



215). The fronts of this type

bodice were mostly buttoned

pinned up to the shoulders ove

tight underfront, the skirt open

about 18 inches at the sides, t

saving a fastening at the back. I h

illustrated some very interestingly

ackets of this period from

collection, as A, Plate XXIV (see

231); the sleeves were very long were ruckled on the arm, as likew

were the long gloves or mittens

this time. A long scarf or drape wcarried with this style, and a rou

helmet-like hat in straw or a tur



was adopted. High sticks were s

carried by ladies till the nineties,

umbrellas or parasols; the form

came into vogue about 1770,

latter about six years later. Muffs

beautifully embroidered silk

satin were set with purf

trimmings, gold and silver lace,

bows and ribbons; otherwise t

were of furs or feathers. Tremained rather small up to 17

when a very large shape set in, wh

continued till the end of the reign; quantity of beautiful fans of

century must be so well known as



need no description. The high

artistry was concentrated on them.

See caption

Fig. 102.—Period 1790-1800.

See caption

Fig. 103.—Costume notes, 1790

1800.



See caption

Fig. 104.—Lounge Caps worn

during removal of Wig.

Shoes at the beginning of this re

were set on very high spindle he

the toe-front became rounded, instep-front a pointed shape,

wide latchets were buckled till ab

1785, but fashion discarded th

earlier; for about 1780 the sh

became very small at the heel,



pointed again at the toe. When

latchets went out, the pointed ins

remained for a time, but a low rou

front appeared, and the h

practically vanished just bef

1800. These later shoes w

decorated on the front by needlew

or incised leather openw

underlaid with another colour. T

soles at this time were extremquaint in shape, and the shoes w

tied sandal fashion up the ankle.




Plate XXIV.

(a) Outdoor Silk Jacket. 1798

1808.

(b) Embroidered MuslinBodice. 1816-30.

(c) Embroidered Muslin

Bodice. 1824-25.(d ) Satin and Gauze Bodice.

1820-30.



EIGHTEENTH CENTURY

GEORGE III TO 1800.

MALE.

The wigs, which were rather high

the front of the crown in the ear

part, began to cast off the meccentric forms, and became j

curled, rather full at the sides,

tied with a bow at the back: dull ppowder became a favoured hue fr

about 1780; most people began



return to their own hair, and o

might see many without long hair

the nineties. The last type of dress

the hair in imitation of the wig fo

was a long, tightly braided pigtai

the back, with one or even two s

curls over the ear, and side whisk

were allowed to fill up to them; t

when the short hair set the fashi

side whiskers came in.

Hats were still worn of the thr

cornered shape, but the favour

became a front cockade hat and a

with a rounded crown and rat



wide brim, sometimes turned up

one side; a short type of top-hat w

also often seen, and later became

fashion. The same lawn and l

cravat developed into more of a pl

white stock, with a frilled shirt-fro

The coat was worn much tighter

the arms and was smartly cut, w

the fronts running away into a narrtailed skirt. The pockets often be

to take a plain square form, with

without buttons; the buttons on

front of the coat stopped at the w

many cuffs are seen without th



and the side pleats, set more to

back, were pressed and narrow

Both the plain and turn-over col

were set up high in the neck, la

cut-steel buttons were introduced

the early seventies, and many fa

china buttons, besides the gilt sil

and paste ones were in use. A n

type of coat made its appeara

with a high turn-over collar and lalapels, and a sudden cut-in of

coat-front high in the waist, givin

very long-tailed effect to the skirtcuff shape with these was mo

made in one with the sleeve



buttoned at the side towards the ba

and when the cuff was additiona

seldom had buttons, as formerly.

A greatcoat with one, two, or th

capes was a picturesque garment,

a leather-covered bottle was ofcarried when riding a distance,

which I have an example in

collection.

1705 1720 1750 1730 1740 177

Types of Cravates, 1700-1750



Fig. 105.

Waistcoats, which had become mu

shorter, were now giving place ttype with a straight-across front

turned-back lapels at the neck; th

large lapels were mostly woutside over the coat lapel. T

waistcoats were often doub

breasted with an embroidered desdown the front between the dou

row of buttons, and the strai

pockets of these had no flaps; t

shortened at the waist in charac

with the lapelled coat, but were w



lower than the cut-in shape of

coat, showing about 3 inches w

the coat was fastened. Breec

became very tight, and trousers be

to appear after 1790. Strip

stockings and suits were much

favour. Top-boots with rather lo

brown tops were worn, or high bo

with a curved top, with a gold tas

set in front, were seen. The shwith latchets and buckles had a l

front on the instep, and from ab

1780 took a rather pointed oval shape; the heels were mostly w

shorter. Swords were not so much



use except on great occasions,

sword-sticks were carried,

heavy club-sticks were fashiona

before 1800. Patches were little u

after the seventies, but the snuff-b

was still indispensable. The dou

long purse with central rings

tassels at the ends was carried,

knitted silk or of leather, the form

with steel beads and coloured sworked together after 1780: sm

bag purses were also in use, usua

set in gilt mounts and made in same methods with a tassel below




Plate XXV.

(a) Silk Dress. 1800-10.

(b) Cotton Dress. 1800-10.

(c) Embroidered Muslin Dre

1820-30 ( Pattern, see p. 339(d ) Silk Gauze Dress. 1824-3



1745 1777 1785 1795

Fig. 106.



CHAPTER VIII

CHARACTER OFTRIMMINGS OF THE

NINETEENTH CENTURY

During the later part of the 1

century, a great deal of tinsel dra



work was done on fine muslin,

became beautifully treated in delic

design on the hem and down the fr

of many of the high-waisted dres

as in Fig. A, Plate XXIII (see

218). Later on towards the twen

we see a great deal of effect

coarse work in heavy gold tinsel,

at the same time to the fortie

number of dresses were aenriched with fine gold thread.

The white embroidery in the ear

trimmings of this period, of whic

give examples in Plate XXIV (see



231), was remarkable for its we

of fancy; the chief beauty of th

dresses was the delightful treatm

of gathered effects, and with the re

of George IV we note the grad

return of the longer pointed bod

with the growth of very full sleev

also the increase in the size and fu

set-out of the skirts over the s

flounced drill petticoats. Theshaped Bertha setting to neck

shoulders began to establish its

and became a great feature throthe thirties and forties; the first si

of it appear about 1814. Varieties



materials were used to gr

advantage in designing, and dra

tulle trimmings were happ

introduced to soften hard shapes

colours. The shoulder fullness a

began to be neatly drawn in and h

by straps, which gave a charm

character to many bodices.

From 1816 choice work in pipshapes, often of flower for

decorated with pearls or beads, w

set on fine net, as seen in Pla

XXIII and XXIX (see pp. 218, 26

The attraction to the thirties was



happy effects gained by the bow

flower looping on the flounces,

these ripened in fancy and var

through the forties. Braiding w

adopted in the thirties with a rat

charming treatment of tassels do

the front of the dress; the polonai

of this time were also effective

simple, caught here and there w

posies of flowers, and we find fashion again revived in the sixties

With the reign of George IV

notice an increasing choice of str

coloured effects, which culminated



the mid-Victorian era in raw col

and violent shot silks, velvets,

heavy fringes, but one may see

many of these dresses of bright p

tone looked exceedingly refined

were quite stately. A remarka

dress is Fig. A, Plate XXXII (see

279), which is of very strong bri

blue; its only enrichment being

curved line of folded silk. All thdresses from 1800 were delightfu

embellished with embroide

fichus, light scarves of frail gaucrêpe, or Norwich silk, and in

Victorian times capes and -shap



shawls; fascinating lace ruffles

tuck-in fronts to the bodice necks

frills and bands of embroidery, bro

the severity or bareness of m

dresses. An endless variety

fascinating caps and lace he

lappets was pinned or caught into

hair at the wearer's fancy; besides

bows, flowers, and jew

(especially pearls) which halways played an important part

the coiffure from early times,

chatelaines and bags, fobs, fans, lace or silk handkerchiefs all give

artist a note of extra colour w



desired. The cruel period of ta

really came with the sevent

though one can trace many quaint

interesting cuts in the bodices

skirts of this time; but the "gr

dress" of complicated drapin

heavily fringed or braided, wa

"set piece" which, let us hope, w

never appear again.

The long stocking-purse which be

to appear in the late 17th century w

up to 1820 sometimes carried tuc

through the belt; it was set with a p

of metal rings and tassels of steel



gilt beads. Small and large circu

and bag-shaped purses were also

use; all these were made in colou

silk threads enriched with steel, g

or coloured beads, the latter sha

being set in chased metal mounts,

circular ones generally having

fringe and the bag shape a sm

tassel or heavy drop. These sha

can also be seen in coloured leathwith a leather tassel, besides

plain money-bag with a draw-strin



NINETEENTH CENTURY

GEORGE III. FEMALE

The hair up to 1808 was gathe

into a knot of curls at the back of

head, rather high up, with a smcurl at the sides in front of the e

Later the knot was set more on

top, and the side curls were mmore of a feature, several be

arranged at the sides. Numer

varieties of large and small brimm

hats, bonnets, and turbans are se

and several masculine top-hats



cockade hats may be noted late in

reign. The usual feather decorati

and large ribbons or flowers were

use, and a handkerchief w

sometimes bound over the top of

straw hat and tied under the chin.



See caption


1812.

See caption


1816.

The classic high-waisted dr



continued till 1808, and was of

beautifully decorated with wh

embroidery and gold or tinsel, as

A, Plates XX and XXIII (see pp. 1

218), and the frontispiece is a lov

white example. There were seve

interesting drapings, one being a c

hanging from the back of the shoul

to loop up the train of the dress, a

A, Plate XXII (see p. 215). Tsimple tunic shapes are be

described by the illustrations: m

originality was essayed in desafter the last-mentioned date. A h

Vandyked lace collar and fan sett



fairly loose long sleeve gathered b

wristband. Dresses were w

shorter from about 1810. Charm

lace and embroidered fichus cros

the shoulders, and long scarf-ca

were thrown round the neck and w

often tied round behind, as in the 1

century; long capes with points

tassels in front fell to the knees, an

simple pelisse with cape becampleasing feature. Bags were alw

carried, of which there is a variety

shapes in the plates; long glovesmittens were generally wo

Parasols of a flat shape, or oth



with round or pagoda shaped tops

seen, many being edged with a d

fringe. Long purses were often tuc

through the waistband.

1818 1815 1816 1816 1819 181

Muff 1818

Fig. 109.

The pointed shoe, tied sandal fash

up the leg, and with no hremained through this reign, bu



round-toed low shoe, tied on in

same manner, began to supersed

about 1810.

NINETEENTH CENTURY

GEORGE III. MALE.

Wigs had practically gone out, exc

for a few of the latter type of the 1

century amongst elderly people. Thair was now worn short, and

rather full on the front, with sh



side-whiskers. Plain black or wh

stocks tied with a front bow, an

starched or unstarched collar wit

frilled or gathered shirt-front were

use. A tie-pin or stud was also s

in the centre of the stock or frilling

The same hats as in the latter par

the 18th century continued for a ti

but the top-hat had established favour, and assumed various sha

throughout this reign.




Plate XXVI.

(a) Morning Coat of Chintz.

1825-45. Pattern, see p. 313

(b) Cloth Coat. 1808-20. Pattern, see p. 307 .

(c) Cloth Overcoat. 1820-35.

Pattern similar to p. 311.

The coats were set with very h



turn-over collars and a wide-shap

lapel, and the lapel of the waistc

was still brought outside. As th

lapels on the coats became sma

and changed into a roll collar, t

were cut into points at the breast

seen in the illustrations.

The front of the coat cut away i

short square, rather high in the wawhich thus formed a long-tailed sk

the fronts were made doub

breasted, and were often faste

high up the lapel. The hip-pleats

gone round more to the back int



closely pressed fold, about th

inches from the back-openi

Sleeves were gathered rather ful

the shoulders, becoming very tight

the forearm, and were finished i

cuff, or buttoned cuff-shape. We a

see that a short square coat with

tails was worn over the longer o

Overcoats (or long-skirted co

with a cape or capes, up to fowere worn all through this reign, b

double and single breast

sometimes with turn-up cuffs; but mode was not frequently used, a

sewn-on cuff or cuff made in



sleeve was now worn, and began

take a curved shape well over

hand, with three buttons to faste

on the outer sides.

Short double-breasted waistco

continued much the same, butround-shaped lapel appeared

many.

Very tight-fitting breeches were w

of the same 18th-century cut,

trousers began to gain favour; a

of seals, &c., was always wocoming from under the waistcoat.



Soft high boots with turn-down to

and boots with longish brown t

set low on the leg. The top-boot w

the pointed or oval-shaped front

tassel still held sway, and an ov

toed low shoe with or without sm

latchets was in use.

NINETEENTH CENTURY

GEORGE IV. FEMALE.

The hair at this period was worn



plaits or curls gathered on top,

during the latter years was arran

into stiff loops set with a high com

a group of curls was drawn to

sides of the face, the hair be

mostly parted from the centre. Plum

were much used for head-dres

and caps with gathered puffs

pointed frills. A high-crowned str

poke bonnet, tilted upwards, was sin form; but the prevailing mode w

a silk bonnet, with the brim curved

at the front, the sides being dratogether under the chin with a bo

The prevailing decoration was



group of feathers thrown forward

ribbon loops, and after this a la

round hat, with a full gathered crow

arrived about 1827, or straw shap

such as Fig. A, Plate XXVIII (see

259).

1809 1816 1820 1809 1807 180

Fig. 110.

Dresses gradually assumed a lonwaist, and a short pointed bod



made its appearance here and th

from about 1822, when short st

began to return, and pointed b

corselets were frequent, though

waistband or sash was chiefly us

Short puffed sleeves of charm

character and workmanship w

sometimes set in a gauze sleeve, a

Fig. C, Plate XXIII (see p. 21

Spencers and pelisses had lsleeves coming from these sh

ones; they were rather full, and w

caught at the wrist with a band. Tupper sleeve gradually disappea

as the full-topped sleeves began



develop in size, about 1824;

fullness was often broken up i

gathered parts, a tight cuff-pi

usually finished at the wrist. The h

set-up collars and neck-frills g

way to the flat capes about 18

though the small ruffs were w

round the top of the high-nec

capes to 1830. The gathered shoul

began about 1823, and soon becaa marked feature; pointed

scalloped frills and trimmings ca

into favour from 1825, Fig. B, PXXIII (see p. 218), and about 1

the sloped appearance in the bod



began to be noticed as the slee

were set lower. The shoulders in b

dresses were shown, and a gathe

Bertha of silk or lace was arran

round the neck of bodice, Fig.

Plate XXIV (see p. 231), or this fo

was made in the pattern as in Fig

Plate XXII (see p. 215). The

shaped piece from the centre of w

or breast began to spread over shoulders, where it was opened, a

Fig. B, Plate XXII (see p. 215). T

shape was often open down to waist, where it was filled in wit

centre-piece of embroidery. Sk



were gradually set out fuller, w

stiff-flounced petticoats; they

various simple or richly decora

borders and fronts, or several sm

flounces, or one deep one often w

the edges cut into divers shapes.


Plate XXVII.—Outdoor Silk Dre

1825-35.



rosette or bow was placed at

front of instep, and they were held

narrow ribbons, crossed and t

round the ankle. Boots lacing at

inside, with seam down the fro

often had a toe-cap as in Fig. 5, P

XXI (see p. 202); no heels w

worn.

Light gauze scarves were usucarried, and very small fans besi

the larger feather ones. Bags

sachets of the forms illustrated w

painted or embroidered

ribbonwork, chenille, tulle,



coloured silks.

A few specimens of parasols are a

given, and gloves and mittens wof the same character as in the la

part of the last reign.

The patterns given of some of

dresses shown in the plates will

useful as to the measurements of

increase in skirt-width and sleev

one may also note the very poin

set-out of the breast, sometimes m

with two gores, which only occurthis reign. Muffs were usually o

large size, and a bow with long e



was often worn on the front.

NINETEENTH CENTURY

GEORGE IV. 1820-30.MALE.

The mode in beaver hats was mvaried; high straight crowns w

small brims, others tapering at the

with larger curled brims, or crowenlarging at the top with alm

straight small brims; a top-hat



straw is shown on page 309. A sho

crowned hat was also worn. The h

was combed towards the front

either side, and the face shaven, w

the exception of short side-whiske

A very high stock of black satinlinen surrounded the throat, with

without the points of collar showi

and a frilled shirt, often stigoffered.

Coats were very tight-fitting

mostly double-breasted, with lswallow-tailed skirts, or long

skirts; the waist was rather short,



the effect of coat-front rou

breasted with a high turned-o

collar finished in large lapels, wh

were often treated with velvets. T

favourite colours for overcoats w

greys, buffs, greens, and blues,

the edges were neatly finished w

fine cord. The sleeves, rather ful

the shoulder, became tight on

lower arm, coming to a curved shwell over the hand, and buttoned

the side. The pockets were frequen

set at an angle, as in illustration, a short round cape, or two, was s

on many overcoats. A short type



coat is seen about 1827, with a sin

roll collar.

See caption

Fig. 112.—Period 1820-1840.

Waistcoats mostly had a rou

shaped lapel, and were often doub

breasted and very shaped at

waist, which was set fairly high

long opening allowed the frilshirt-front full display. There w



also waistcoats having no lapels,

pockets, or no cover-flap; the po

of front were very small, be

buttoned to the end, or, with

double-breasted shape, they w

straight across.

Breeches were not so much worn

trousers of cloth, nankeen, drill,

fine white corduroy; these wusually fastened under the boots w

a strap, others were looser and of

worn short, well above the ankle

very full type in the upper part p

tops, was in fashion about 1820



amongst the dandies, and for even

dress, very close-fitting breeches

the knee, or just above the ankle,

latter being opened and buttoned

to the calf. Pince-nez were favour

with a heavy black ribbon, gener

worn tucked in the lapels of

waistcoat; and a fob of gold se

&c., hung from the braces, bel

waistcoat pocket.

See caption



Fig. 113.—1830-1840.

Shoes and short Wellington bo

were chiefly worn, the former below in the heel and very short in

tongue, which was almost covered

small latchets, either buckled or tthe shape of the toe being rat

round. The Hessian boots w

curved front and tassel at the were still worn.



NINETEENTH CENTURY

WILLIAM IV. FEMALE

The hair still retained the high lo

on top and the bunch of curls at

sides, poised by a back comb and

with flowers or feathers; there walso a great variety of fancy ca

with pointed frills, some with l

tie ends, and these are seen with mdresses, and were worn

conjunction with the hats. T



favourite hat was a big, flat, circu

form, generally tilted at one side,

decorated with bows, flowers,

feathers; a flat tam-o'-shanter sh

was often worn with the riding-dr

sometimes with a large peak-shap

front, and straps under the chin. T

large poke-bonnet also kept the fr

as flat and round as possible, wit

high crown tilted upward in orderset over the hair loops.

See caption



larger image

Plate XXVIII.

(a) Silk Pelisse. 1820-30.

(b) Cotton Dress. 1830-40.

( Pattern, see p. 343).

(c) Silk Spencer and Cape.

1818-27 ( Pattern, see p. 324

See caption

Fig. 114.—1828-1836.



tightened on the forearm, and we n

a tendency to tighter sleeves com

in before 1837, neatly gathered w

down the shoulder. The eveni

dress sleeve was a large puff, set

by stiffening to a flat wide eff

Very wide epaulet collars were s

on most dresses, meeting in a sh

at the waist, with a filling of lace

the front, and many bodices welaborately gathered, and some of

sleeves were also gathered into pu

all down the arm.



See caption

Fig. 115.—1830-1840.

The skirts were set out very full o

stiff flounced petticoats, and w

worn rather short; as a rule they w

trimmed with one or two flounc

which were handsomely decorat

and a short polonaise is occasiona

seen. There were many interest

trimmings of gauze, flowers,

bows; while silk-flowered gaover dresses made some charm

effects.



Heavy mantles and capes or pelis

began to be braided, and rat

strong colours were in general tast

The hand-bags were of a curved fo

and generally bore heavy tass

Very small fans and round fans wattractive, and bouquet-holders

gilt, with pearl handles, became

thing to carry.

Shoes were of the low sandal ty

fastened by crossed elastic, with v

square toes, and a tiny rosette or bon the front; boots to the ankle w

now in fashion, mostly lacing at



inside, and having a long toe-c

sometimes with a small rosette at

top of this or a tassel at front of

top of the boot.


Plate XXIX.

(a) Embroidered Silk Gauze

Dress. 1820-30.(b) Gauze Dress with



Appliqued Design. 1825-35.

(c) Printed Linen Outdoor

Dress. 1827-47 ( Pattern, see

342).

NINETEENTH CENTURY

WILLIAM IV. MALE.

The hair was worn rather full in cu

at the sides or on top, parted at left side, besides being occasiona

parted at the centre. Side whisk



curved forward, still continued, an

short trimmed beard was now w

round under the chin by ma

moustaches also made their f

appearance at the end of this rei

Top-hats were high and straight,

many still adhered to the tape

crown and larger brim.

The same plain stocks of black scontinued, with or without a fr

bow, and a soft pleated or fril

shirt-front.

The coats were similar to the

reign: the chief differences being



increase in the length of the wa

wider tails, and large lapels o

similar cut: velvet collars and cu

were much worn, and the waist w

still made tight. A coat with a squ

skirt as in Fig. 116 is seen for

first time, and the swallow-tai

coat was worn not quite so long

lower opening to the waistcoat w

generally seen in evening attwhich sometimes had but four sm

buttons, while more of the sing

breasted type were in use, with without lapels.



Very tight trousers to the an

buttoned up to the calf continued,

plain trousers were held by str

under the boot; twill, corduroy,

nankeen were both strapped or fre

the ankle and rather short. Kn

breeches were still worn by many

evening dress, and long Italian ca

with overcapes and high turn-o

collars were fashionable, besides very full-skirted greatcoat.

Boots and shoes were square at

toes and rather long and narrow,

shoes having a bow or buckle. Sh



Wellington boots continued much

use, also spats.

Fobs of gold seals, &c., were woand eye-glasses attached to a bl

ribbon is a noticeable feature.

NINETEENTH CENTURY

VICTORIA. FEMALE.

The hair was parted in the centre

tightened in a top setting of pla



with side curls over the ears. T

mode was retained by many till

fifties, but the top plaits began to

set lower at the back, and the sa

flat parted hair was brought in

curved shape to the front of the e

often in a small plait, allowing

ear to show, or in a plaited kno

either side; about 1850 it was wav

parted, and simply curved from forehead over the ears in a fu

manner, sometimes being turn

under to increase the side fullnwhile the back hair was arran

lower down the neck. In the six



the hair was waved and cau

behind in ringlets or was bunc

into the hideous chignons, which

seen till about 1880.

See caption

Fig. 116.—1840-1860.

The variety of caps and hats is

alarming to deal with, and baf

comprehensible description, so ibest for the student to dip into



hundreds of illustrations through

period in the Ladies' Magazi

unch, the Illustrated London Ne

or the Ladies' Treasury for the la

styles.

The straw bonnet with a straighpoke front was favoured till 18

when the front became considera

reduced in size and fitted closround the face. The larger brimm

bonnets had a little frill by the e

and the tight-brimmed bonnet of

had the frill all round with a flow

also tucked in effectively to



wearer's taste, and we see t

favoured till the seventies. In

fifties a large flat Leghorn hat wit

small crown was in evidence,

brim dipping back and fr

decorated with feathers or bows,

a three-cornered French hat w

feathers set in the brim came in w

revival of the 18th-century st

about 1860. A small bowler hat anvery small "pork-pie" hat appears

the late sixties, and a tiny-shap

bonnet of a curved form during seventies.




Plate XXX.

(a) Printed Silk Bodice. 1840

50. ( Pattern, see p. 320.)

(b) Gathered Linen Bodice.

1837-47.(c) Silk Bodice and Bertha.

1845-55.



See caption

Fig. 117.—1845-1855.

At the beginning of this long reign

find the pointed bodice with a norm

length of waist has really comestay, though many dresses retain

waistband till the fifties, and ther

such a confusion of styles at that tim

it is difficult to arrange a sequen

From the 18th century fashi

became more complicated in

greater variety of design, eoverlapping the other, and seve



distinct forms of character come

go during this long reign. I do

envy the person who undertakes

chronology of our present period.

At the commencement in 1837

huge sleeves gathered at the wwere still in evidence, especially

a gauze oversleeve to evening att

and they continued thus to the fiftbut very large sleeves were rea

dying out and the usual reaction w

setting in; the full-shouldered sle

had turned a somersault and w

neatly gathered tight from



shoulder to the elbow, the fulln

falling on the forearm, and this w

gathered into a tight setting

wristband. The -shaped front to

bodice was kept in many dresses b

collar or two tapering from

shoulders to the waist, the fullnes

the breast often being tightly gathe

at the shoulders, besides a few inc

in the front point of the bodicevery plain tight-fitting sleeve beca

fashionable, and on most of these

find a small upper sleeve or a douone as shown in A, Plate XXX (

p . 266); this was sometimes ope



at the outer side. These slee

continued till about 1852. In 185

bell-shaped sleeve is noticed

ordinary dress, and this continued

various sizes till 1875, reaching

fuller shape about 1864. These ty

of sleeves were usually worn ove

tight one or a full lawn sle

gathered at the wrist; most bodi

with this sleeve were closely fitand high in the neck, the waist of

being cut into small tabs. We a

notice for a few years in the eafifties the deeper part of the b

curved to the front of the arm, giv



trimmed with wide braids. T

clumsy character is seen up to 18

the later ones being fuller in

Zouave jackets were occasiona

worn in the forties and later in

early sixties, when the wide cors

belt was again favoured. Skirts at

beginning of the reign were fully

out on drill petticoats, stiff flounc

and even whalebone, so it was har"a great effect" when the crinol

appeared about 1855, though

furious attack was made against ifirst; this undersetting developed

its fullest extent between 1857



1864, and many dresses in the ea

sixties were also worn sh

showing the high boots of this peri

At first the crinoline was sligh

held back from the front by ties,

again in the sixties it was often k

with a straight front, the fulln

being held to the back, till

appearance of the bustle brought

another shape. The skirts were npulled in tight to the front of

figure and bunched up at the ba

with a train or shaped flounpieces overlapping each other cau

up under the bustle, as in Fig.



Plate XXXIII (see p. 282).


Plate XXXI.

(a) Embroidered Muslin

Outdoor Dress, 1855-65.

(b) Riding Habit. 1845-75.

(c) Gauze Ball Dress. 1840-5



See caption

Fig. 118.—Dress improvers, 186

1875.

Mantles of a cumbersome type

shot-silk capes with long poinfronts were worn, often heav

fringed, the former also being mo

decorated with braided desigLarge Paisley shawls were m

used all through this reign, besi

the cape and hood with its f

tassels which became v

fashionable in the sixties.



Gloves and mittens are seen b

long and short, the latter of

beautifully embroidered on the b

in the French style. Hand-bags w

often carried, of which examples

given in the plates of a variety

shapes; the favourite materials

their make were velvets and s

decorated with bullion, sequ

braids, needlework, and beads, these bags were richly set in g

silver, or steel mounts.

Parasols were still heavily fring

and were of the usual shapes. A v



small one was carried in

carriages, and are even seen on

ladies' driving whips.

Shoes continued in the same heell

sandal character to the sixties

evening wear, but from the formost outdoor shoes had a heel

large rosettes. With the seven

came round toes with a low roufront and bow, and high shaped he

came to stay till the present d

Boots of white satin, kid, or colou

silks were chiefly worn till

seventies, reaching just above



ankle, laced up the inner side,

many wore elastic sides from

fifties; the toes of these were rat

square, and a toe-cap and front se

was made in many of this type. In

forties a tight rosette was sometim

placed low down towards the to

and later, a huge bow was sewn

the front. High boots butto

towards the side and very mshaped, with pointed round toes

high heels were sometimes laced

finished with a pair of tassels. Spwere always fashionable through

period.



NINETEENTH CENTURY

VICTORIA. MALE.

The same modes of doing the h

remained till the sixties, parted at

side and worn rather long

waved, with the side whiskers beard all round the chin. The s

whiskers were allowed to grow l

between fifty-five and seventy, full beards also became fashionab

while the hair was parted in



centre from front to back

flattened on the forehead.

The favourite top-hat still reigsupreme, many of which retained

tapered top and large curled brim

about 1855, and a bell shape wfrequently seen in the fifties, but

real straight chimney shape was s

throughout till the eighties, withrather narrow brim, and often

white or fawn-coloured cloth. T

bowler hat increased in appreciati

being of a short type, with smal

brim. A short flat felt hat, with rat



straight brim, also came into fav

from the fifties; little round caps

caps with ear-flaps, for travelli

&c., were also in general use.

The frock-coat kept the rather ti

sleeves and tight waist, and square skirt, with back pockets, a

a deep lapel, sometimes with

velvet collar, and small cuffs;breast-pocket was often placed

the left side, and in the fifties the t

of morning coat with rounded

fronts at the skirt appeared, als

small collar and lapel. Square-



ackets and tweed suits similar to

present shapes, but heavier in cut

with braided edges, were much

use. Velvet or fur-trimmed overco

and heavy travelling-coats, a

capes and Inverness capes, were

in vogue.

Waistcoats became buttoned hig

in the neck, and the stock-collar wsupplanted in the sixties by a tu

down collar, and small tie or lo

bow; many still affected the bl

stock and pointed collar to

seventies, when a high round co



began to appear.

Coloured and fancy waistcoats w

much worn till the eighties, evening dress was similar to

present cut, with slight difference

the length of lapels and waistcfront.

The trousers were made with

front flap till they were butto

down the front about 1845, and s

pockets became general. Braids m

be noted down the sides in the fiftand are seen now and then all thro

the reign, while large plaids



stripes were highly esteemed.

Short Wellington boots were chie

preferred up to the sixties, trouser-straps and spats w

fashionable all through the reign. T

heavier lace-up boot came in durthe fifties, and a very shaped type

fashion appeared in the sixties.

Having now completed the gene

survey of Costume, the follow

pages are given up to the cut

measurements of various antigarments.



and accessories as possible, and a

give many measurements from

various examples, when I have b

unable to obtain a complete patte

The character of cut and proport

is the essential point in the study

dress design, and the intim

knowledge of periods. When seein

collection of patterns, one

astonished at the great variety in used to arrive at the different bod

types. Several patterns of sin

pieces are given, as it aids onefind the fellow-part; for example,

photo of a back given in Fig. C, P



III (see p. 55), will go with the fr

cut on page 290; even though th

two pieces did not belong to the sa

body, the cut is seen from which

design the missing part. Often a sm

piece is wanting for the top of

shoulder, which can easily

supplied to fill the sle

measurement. The types of trimmi

in the different centuries will soonacquired by a careful student, and

proportions of patterns will

valued for gaining the characterbelieve with this collection

could get the true effects of any st



of dress seen in the period pri

The drawings are mostly scaled

the half, and the measurement,

inches, will be found by dots on

top of the collotypes, and by

marked line on the pattern pages.

One must note, with the 18th-cent

dress, the sleeve cuffs can

changed, so I give, on page 300full-size measurement of the elbo

cuff seen in Fig. A, Plate XVI (see

167), and a deeper one of this styl

seen on Fig. C, Plate XII (see

135), gathered seven times at



elbow. The plain square type w

pleated in the front as given on p

300, and a variety of this characte

shown on Fig. B, Plate XV (see

154). Though many patterns may

found remarkable in proportions,

allowance is often to be made for

undersetting, as well as for the th

straight corsets worn to the end of

18th century.

I give several specimens of quilt

on petticoats of the 18th centu

which will probably be found use

to artists; the measurement is a



given of their circumference, wh

attained similar proportions to th

set on the Victorian crinolines, go

3 to 4 yards round: four 18th cent

ones measured 100, 114, 116, 1

inches, and they are often 1 i

longer at the sides, to allow

setting over the panniers; a pattern

given on pages 213 and 332. T

embroidered pockets on page 3were worn in pairs at the sides on

petticoats, and only showed when

dress was looped up. The extra lasleeves, given on page 287, sh

how precious the superfine linen w



held, with its superb gathered wo

lace ruffles, and often f

embroidery; these pieces could

looked after with special care in

laundry, and could be tacked, pinn

or buttoned on when required.

The 16th and 17th century col

were mostly attached to the chem

or shirt, as is seen in many of the prints. On page 289 I give examp

of shape of the various stomach

which will be found useful for gett

the characteristic proportions. T

scarves worn round the body of



17th century cavaliers were from

feet 3 inches wide to 3 feet 6 inch

and from 8 feet 6 inches to 7 fee

length.


Plate XXXII.

(a) Silk Dress. 1860-70.

Pattern, see p. 346 .(b) Gauze Walking Dress. 18

60.



(c) Silk Dress. 1848-58.

Pattern, see p. 344.

The stocking top, Fig. C, Plate

(see p. 74), is probably of sim

proportions to the woollen one in

Victoria and Albert Museum, which the bell-top circumference

36 inches, and the full length

stocking 38 inches. On page 28cap of three pieces is given; th

real design is at present unknown,

I trust the Museum authorities msoon discover their placing, for m

of these pieces are in existence,



this set in my collection is impres

with a beautiful pattern. The bod

Fig A, Plate X (see p. 119), sho

have been set on a stiff-fronted co

to give it the straight style, as i

charmingly proportioned and clean

outline. I have also measured a sh

circular cloak of the early 1

century, which is 34 inches

diameter, with a square collar inches deep; and another cape of

late 16th century, 40 inches

diameter. On page 290 will be fouthe smaller tabs which are pla

round the jerkin, with a deep fr



point, as in Fig. A, Plate VIIIa (see

103); the collar of this type of

rises 2¾ inches in the front to

inches at the back, in order to ca

the stiff ruff or deep turned-do

collar. Tabs of the smal

dimensions, in the earlier Elizab

and James character, generally h

six pieces from front to the middle

the back, which are from 2 toinches deep. The epaulets are m

in small stiff tabs, caught togethe

two places only, and so have pleof give in the shoulder moveme

they run to 2¼ inches at the wid



part, and do not continue right un

the arm. Fig. D, Plate V (see p. 7

has the middle seam of the back o

from the waist to within 2 inches

the collar, which is noticeable

many of the later Charles I co

Long aprons are conspicuous thro

the 17th century, and one measu

was 42 inches wide, gathered to

inches at the waist; they wdecorated with three bands

embroidered insertion down

front, with a 3-inch plain bordedged with small lace; this is typi

in character of design, as is also



same style of linen cape seen o

figure, page 159. A similar one, l

by Sir Robert Filmer, is at

Victoria and Albert Museum; als

cap, of which I give a pattern,

p a g e 285. The smaller type

embroidered aprons of the late 1

and 18th centuries measure 40 inc

wide, 19½ inches deep, with

centre dipping to 17¾ inches; anotshape is 26 inches wide, 18 inche

centre, and 13½ inches on sides. T

bodice, with deep skirt, Fig. B, PXVIII (see p. 183), is a type seen

through the 18th century, both lon



and shorter in the skirt. The pattern

the 17th-century breeches

interesting as regards the cut,

upper part being kept pl

otherwise the gathered fulln

would have disturbed the set of

erkin tabs; the band of th

breeches has six hooks either side

back, which fasten to eyes on

under flap sewn on body of jerkThe epaulet on this pattern is onl

¾-inch piece, braided with t

narrow braids, and the bows on tare of ribbon, 1½ inches wide.



The three patterns of capes given

pages 349, 350 will be found use

as they are simple and very typica

the Victorian times, long sha

being otherwise much used. T

fullness of the Elizabethan overdr

seen on B, Plate II (see p. 42), is

inches to the back seam, and the F

C, on the same plate, is 47 inch

The "jump," or jacket, Fig. A, PlIII (see p. 55), is 100 inches rou

the fullness of the sleeve 13 inch

and the length of back 32 inches. over-tunic of the early 17th centur

interesting to examine, though it i



specimen of German costume.




Plate XXXIII.

(a) Silk Dress with Court Tra

1828-38.

(b) Silk Afternoon Dress. 18778.

(c) Silk Coat and Skirt.

1855-65. Pattern, see p. 320



PATTERNS TO SCAL

For Detailed List, see page 353

See caption

Pattern 1.



See caption

Pattern 2.

See caption

Pattern 3.

See caption

Pattern 4.



See caption

Pattern 5.

See caption

Pattern 6.

See caption



Pattern 7.

See caption

Pattern 8.

Fig. 1 Plate 10

See caption

Pattern 9.



Cut of bodice, Fig. B, Plate 5

See caption

See page opposite for Breeches same, 1620-1640. Victoria and

Albert Museum, Kensington.

Pattern 10.

Similar type to Fig. C, Plate 7



See caption

Pattern 11.

See caption

Pattern 12.

See caption



Pattern 13.

Back of bodice, Fig. B, Plate 7

See caption

Pattern 14.

See caption

Pattern 15.



Jacket. Fig. C, Plate 4

See caption

Pattern 16.

Hanging sleeve of Fig. C, Plate

See caption

Pattern 17.



Herald's coat, Fig. A, Plate 7 .

Victoria & Albert Museum

See caption

Pattern 18.

See caption

Pattern 19.



See caption

Pattern 20.

See caption

Pattern 21.

See caption



Pattern 22.

See caption

Pattern 23.

Coat, Fig. B, Plate 26

See caption

Pattern 24.



Coat, Fig. B, Plate 13

See caption

Pattern 25.

Fig. A, Plate 15

Coat, 1775-90

See caption

Pattern 26.



See caption

Pattern 27.

Coat, 1830-1845Similar type to Fig. C, Plate 26

See caption

Pattern 28.



See caption

Pattern 29.

Coat, Fig. A, Plate 26

See caption

Pattern 30.



See caption

Pattern 31.

See caption

Pattern 32.

Bodice of linen dress, Fig A, Pla

22



See caption

Pattern 33.

See caption

Pattern 34.

Jacket bodice, Fig. A, Plate 24



See caption

Pattern 35.

Bodice, 1845-55 similar type Fig. A, Plate 30

See caption

Pattern 36.



See caption

Pattern 37.

See caption

Pattern 38.

Bodice of Fig. A, Plate 14



See caption

Pattern 39.

Similar type of Bodice to Fig. B Plate 14.

Bodice with type of pleated bac

1720-50

See caption



Pattern 40.

Pattern, Fig. C, Plate 28

Bodice, Fig. A, Plate 18

See caption

Pattern 41.

See caption



Pattern 44.

Bodice, Fig. A, Plate 30

See caption

Pattern 45.

Coat, Fig. C, Plate 33

See caption



Pattern 46.

See caption

Pattern 47.

See caption

Pattern 48.



See caption

Pattern 49.

Petticoat, Fig. B, Plate 16

See caption

Pattern 50.

Dress, Fig. B, Plate 16



See caption

Pattern 51.

Dress, Fig. C, Plate 16

See caption

Pattern 52.



Pattern of Fig C, Plate 25

See caption

Pattern 56.

See caption

Pattern 57.



See caption

Pattern 58.

Dress, Fig. C, Plate 29

See caption

Pattern 59.

Dress, Fig. B, Plate 28



See caption

Pattern 62.

Blue silk dress, 1860-70

Fig. A, Plate 32

See caption

Pattern 63.



See caption

Pattern 64.

Lady's jacket, Fig. C, Plate 19

See caption

Pattern 65.



See caption

Pattern 66.

See caption

Pattern 67.

See caption

Pattern 68.



DETAILED LIST OF

SCALED PATTERN

Pattern 1, page 285:—

Piccadillo, 1580-1630.

Three caps, 16-17 century.

Cap of three pieces, 16-17 c.

Triangular cap, 16-17 c.

Long cap, 17 c.



Cap, late 17 c., early 18 c.


4 collars, 17 c.

Gorget of linen, 17 c.

2 stocks, 17 and 18 c.3 male caps and 1 female, 17

and 18 c.


Ruff, 17 c.

4 extra linen sleeves, 17 andone 18 c.



2 caps, female, 17 c.


Front of linen jacket, 16 c.

Front of linen bodice, Charle


Elizabethan jerkin.

4 stomachers, 17 and 18 c.


Set of tabs for male jerkin, 17

Pattern type, sleeve and bodi



front, 1570-1605.


Circular cape, 17 c.

Cap, female, 1580-1630.


Bodice, Fig. 1, Plate X, Jame


3 corsets and bodice of, Fig. Plate V, 17 c.




Jerkin of white quilted satin,

c.


Breeches of same suit.


Cape-coat, 17 c.


Back of bodice, Plate VII, 17



Shaped cap, male, 17 and 18


2 collars, Charles II.


Jacket, Fig. C , Plate IV, 17 c.


2 sleeve-cuffs, 18 c.

2 embroidered pockets, 17 an18 c.

Hanging sleeve, Fig. C , Plate



16-17 c.

Embroidered bodice fronts, 1

18 c.


Quilted linen corsage, 1660-1715.

Herald's coat, Fig. A, Plate V

16-17 c.


Sleeved waistcoat, 1690-172




Sleeved waistcoat and vest,

early 18 c.


Breeches, 1660-1720.


Breeches, 18 c.


Breeches, 18 c.




Coat, Fig. B, Plate XXVI, 19


Coat, Fig. B, Plate XIII, 18 c.

Corderoy trousers, from 1815


Coat, late 18 c., Fig. A, Plate

XV.

Leather breeches, late 18-19

Straw hat, 1816-30.




Coat, 1784-94.


Coat, 1830-45.


Buff linen trousers, 1810-40.


Morning coat, Fig. A, Plate

XXVI, 19 c.




Bodice, 1816-22.


Bell-sleeved bodice, 1848-5


Bodice of linen dress, Fig. A,

Plate XXII, about 1800.


Bodice, 1860-70.Bodice, 1850-60.

Bodice, 1816-25.




Jacket bodice, Fig. A, Plate

XXIV, about 1800.


Bodice, similar type, Fig. A,

Plate XXX, 1845-55.


Sleeveless over jacket, early

c.Spencer, 1827-37.




Bodice, 1812-18.


Corset pattern, 18 c.Bodice of Fig. A, Plate XIV,

c.


Bodice with type of pleated

sack back, 1720-50.




Bodice, Fig. C , Plate XXVIII

19 c.

Bodice, Fig. A, Plate XVIII, 1

c.


Zouave jacket, late 18 c.

Bodice, 1818-28.


Silk jacket, Fig. B, Plate XIX

18 c.




Bodice, Fig. C , Plate XVIII, 1

c.


Bodice, Fig. A, Plate XXX, 1

c.


Lady's coat, Fig. C , Plate

XXXIII.

Pattern 46, Page 330:—

Polonaise dress, 1835-45.




Dress, 1805-18.

Mob cap, 1780-1800.

Cap with comb top, 1790-180


Quilted petticoat, 18 c.


Petticoat, Fig. B, Plate XVI, 1

c.




Dress, Fig. B, Plate XVI.


Dress, Fig. C , Plate XVI.


White linen dress, 1795-1800


Striped cotton dress, 1805-15




Pattern of under robe, 1818-3


Dress, Fig. C , Plate XXV.


Muslin dress, 1822-32.


Satin dress, 1837-47.




Dress, Fig. C , Plate XXIX.


Dress, Fig. B, Plate XXVIII.


Dress, Fig. C , Plate XXXII.


Lady's coat, 1856-70.




Silk dress, Fig. A, Plate XXX

1860-70.


Reefed polonaise, 1860-70.


Lady's jacket, Fig. C , Plate X

18 c.


Cape, 1840-50.




Cape, 1860-75.

Cape, 1830-40.


Upper sleeve and collar, 16 c

Bodice with slashed sleeve,

1620-40.Boy's stays, coat, and vest,

1700-60.


Male robe, 1600-25.



Puritan hat, 1640-60.

Black velvet hat, 1600-20.



INDEX

Aprons—

17 century, 186, 280

18 c., 192, 198, 206

Bags, 193, 262, 272

Bertha, 238, 252

Bouquet Holder, 262Breeches—

Mediæval, 54



16 c., 122, 132

17 c., 152, 164, 281

19 c., 248, 256, 264

Bustle, 226

Calash, 217

Capes— 16 c., 132, 279

17 c., 184

19 c., 244, 262, 264, 27281

Chain Ornaments—

to 15 c., 62, 7216 c., 110, 124

Cloaks—



to 15 c., 54, 70

17 c., 152, 164, 176, 18

279

18 c., 222

Collars—

16 c., 112, 128, 129, 13

278

17 c., 145, 158, 160, 17

174

19 c., 244, 246Corsets—

to 15 c., 62, 66

16 c., 110, 116, 13817 c., 158, 169, 172

18 c., 211, 278



19 c., 250

Crinolines, 270, 278

Decorative Styles—

Black-stitch work, 122,

129

Braided, 110, 111, 132,142, 143, 144, 145, 146

182, 188, 200, 238, 244

272Button, 110, 143, 144, 1

182, 210

Laced, 70, 88, 92, 110,116

Piped, 238, 244



Pleated, 111, 140

Pricked, 111, 140, 142,

152

Punched, 111, 140, 142,

152

Puffed, 88, 92, 110, 116

118, 122, 129, 142, 146

150, 180, 260

Purfled, 145, 164, 190

Ribbon, 145, 172, 176,178, 191, 253

Serrated or shaped edgin

71, 96, 110, 146, 191, 2252

Slashing, 92, 111, 112,



113, 116, 118, 122, 140

142, 145, 152, 158, 164

Straw-work, 111, 191

Tassel, 238

Tinsel, 237

Tulle, 238

Doublets, 132, 139

Dress—

Prehistoric,

female, 40;male, 41

to 10 c.,

female, 45, 46, 48;male, 52, 54

10 to 15 c.,



female, 62, 66, 68,

70;

male, 76, 78, 80

15 c.,

female, 84, 88, 92;

male, 92, 100, 104

108

16 c., 278, 279, 281.

Henry VIII,

female, 113,116;

male, 118, 122

Ed. VI and Mary,female, 124,

128;



male, 129, 132

Eliz.,

female, 133,

136, 138;

male, 139, 28

17 c.,

James I,

female, 147,

150;

male, 152, 154Chas. I,

female, 158;

male, 160, 164168.

Commonwealth,



female and male, 1

169.

Chas. II,

female, 169,

172;

male, 174, 17

James II,

female, 178,

180;

male, 182.William and Mary,

female, 184,

185;male, 186, 18

Anne,



female, 196;

male, 200.

George I,

female, 206;

male, 210

18 c.,

George II,

female, 221;

male, 214.

George III to 1800,female, 217,

222, 224, 226

230;male, 232, 234

19 c.,



George III

(continued ),

female, 244,

247;

male, 247.

George IV,

female, 250;

male, 254.

William IV,

female, 260;male, 263.

Victorian,

female, 268;male, 274.

Note also page 39



Drill petticoat, 238

Ear-rings, 62-72

Epaulets—

16 c., 128, 129, 136

17 c., 143, 152, 280, 28

19 c., 250

Fans—

16 c., 129, 13818 c., 193, 230

19 c., 240, 253, 262

Farthingale, 111, 136

Foot-wear—

to the end of 14 c., 44, 4



56, 70, 80, 82, 92

15 c., 108

16 c.,

Henry VIII, 116, 12

Ed. VI and Mary, 1

132;

Elizabeth, 138, 140

17 c.,

James I, 150, 154;

Chas. I, 158, 164;Commonwealth, 16

Chas, II, 172, 176;

James II, 180, 184;William and Mary,

186, 188



18 c., 193;

Anne, 198, 201;

George I, 207, 210

George II, 214, 216

George III to 1800,

230, 234

19 c.,

George III, 246, 24

George IV, 253, 25

William IV, 262, 2Victoria, 272, 275

Girdles— to 15 c., 68, 78, 92

16 c., 116



Gloves—

16 c., 116, 129, 138

17 c., 168, 172

18 c., 193, 201, 214, 22

Head-dress—

Prehistoric,female, 40;

male, 42

to 10 c.,female, 45;

male, 49

10 to 15 c.,female, 57;

male, 71



female, 147;

male, 150.

Chas. I,

female, 154;

male, 160.

Commonwealth, 16

Chas. II,

female, 169;

male, 174.

James II,female, 178;

male, 180.

William and Mary,female, 184;

male, 186



18 c.,

Anne,

female, 193;

male, 198.

George I,

female, 201;

male, 207.

George II,

female, 211;

male, 214.George III,

female, 217,

241;male, 231, 24

George IV,



female, 248;

male, 254.

William IV,

female, 258;

male, 263.

Victoria,

female, 264;

male, 273

Heraldic fashion, 66, 71, 109

132Hoop skirts—

16 c., 116, 128, 136

17 c., 147, 18518 c., 222



Jackets—

to 15 c., 66, 68, 88, 100

16 c., 112, 182

17 c., 143

18 c., 224, 226

19 c., 270

Lapets, 184, 193, 206, 239

Maccaroni fashion, 214Mantles, 262, 271

Masks, 186

Muffs, 160, 172, 180, 186, 18

193, 201, 230, 253



Neck-wear, 174, 182, 186, 2

207, 232, 246, 250, 254, 263

275

Overcoats, 232, 254, 274



Panniers, 211, 222

Parasols, 230, 234, 244, 272

Patterns scaled, 276

Pelisses, 244, 250, 262

Plates (collotypes),

frontispiece, 39, 42, 55, 58, 7

74, 87, 90, 103, 106, 119, 12

135, 138, 151, 154, 167, 170

183, 186, 199, 202, 215, 218

231, 234, 247, 250, 259, 263266, 270, 279, 282

Pockets, 192, 224

Polonaise, 238, 262Purses, 236, 240, 246



Sticks, 181, 188, 201, 211, 2

226, 234

Stockings, 138, 140, 154, 168

182, 184, 189, 201, 210, 216

234, 270

Stomachers, 66, 112, 136, 14

144, 146, 147, 154, 158, 172

178, 184, 196, 207, 278

Printed by Spottiswoode, Ballanty

& Co. Ltd.

Colchester, London & Eton, Engla



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SIMPLE

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The writer

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SIR ISAAC

PITMAN &SONS, LIMITED

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SIR ISAAC

PITMAN &

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FROM THE

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Extract from The

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