Part 1

A TECHNICAL HISTORY OF COSTUME *

ANCIENT EGYPTIAN, ASSYRIAN, AND PERSIAN COSTUMES

IN PREPARATION

ANCIENT GREEK, ROMAN AND BYZANTINE COSTUME AND DECORATIONS.

EUROPEAN COSTUME FROM THE THIRTEENTH CENTURY TO THE COMMENCEMENT OF THE SEVENTEENTH CENTURY----WITH DECORATIONS.

TYPES OF INDIAN, PERSIAN, CHINESE AND JAPANESE COSTUME AND DECORATIONS. WITH NOTES ON VARIOUS ADDITIONAL TYPES OF PRIMITIVE GARMENTS.

* * * * *

AGENTS

AMERICA THE MACMILLAN COMPANY 64 & 66 FIFTH AVENUE, NEW YORK

AUSTRALASIA OXFORD UNIVERSITY PRESS 205 FLINDERS LANE, MELBOURNE

CANADA THE MACMILLAN COMPANY OF CANADA. LTD. ST. MARTIN’S HOUSE, 70 BOND STREET, TORONTO

INDIA MACMILLAN & COMPANY, LTD. MACMILLAN BUILDING, BOMBAY 309 BOW BAZAAR STREET, CALCUTTA

ANCIENT EGYPTIAN ASSYRIAN AND PERSIAN COSTUMES

AND DECORATIONS

BY

MARY G. HOUSTON

AND

FLORENCE S. HORNBLOWER

CONTAINING TWENTY-FIVE FULL-PAGE ILLUSTRATIONS, SIXTEEN OF THEM IN COLOUR, AND SIXTY LINE DIAGRAMS IN THE TEXT

A. & C. BLACK, LIMITED 4, 5 & 6 SOHO SQUARE, LONDON, W. 1. 1920

INTRODUCTION

If this work is to be kept within its limitations, it is naturally impossible to give a complete survey of all the varieties of the various styles. To get this knowledge it will be necessary to consult the works of reference, of which lists are given in each section. On the other hand, the special aspect of the work is more fully treated than in any other accessible book upon the subject.

Every illustration of costume given has been actually cut out and made up before being sketched, except in a few cases which are of the nature of duplicates, so that by following the directions given it will be easy for anyone to reproduce them in material. Where decoration is required, the exact drawing and colouring of the various styles of Historic Ornament, which are the work of F. S. Hornblower (who has also coloured the costumes where necessary), will enable such details to be appropriately applied.

Throughout the book, the illustrations are given by means of facsimiles of drawings by artists of the various centuries, so that a historic survey of the History of Figure Drawing will be included. Where the drawings of primitive artists do not clearly express the ideas intended to be conveyed, a modern drawing of the garment on a dress-stand will be used for explanation of the measured drawings of the cut-out garments. The growing appreciation of the beauty and value of the earlier and more primitive systems of cutting shown in modern dress designing for the last decade, when the so-called Magyar blouse (really the simple tunic common to all primitive folk) began to be popular, will make the present volume a convenient form of inspiration for designers; also, where more exact reproduction is needed, as in theatrical work, pageantry, and so forth, the careful working out of the details of cut and decoration will expedite production and save hours of fruitless searching in reference libraries.

To the Art Student, in addition to the always interesting history of costume, the development of the Art of Representation, as shown in the illustrations of these volumes, which is so strangely repeated in the personal history of every young person learning to draw, will be attractive and instructive. Finally, in connection with the history lesson in the ordinary school, teachers will find the illustrations clear and helpful, especially if dramatic representations are attempted.

MARY G. HOUSTON.

CONTENTS

PAGE

ANCIENT EGYPTIAN COSTUME 1

ANCIENT ASSYRIAN COSTUME 43

ANCIENT PERSIAN COSTUME 75

LIST OF PLATES

IN COLOUR

PLATE PAGE

I. ANCIENT EGYPTIAN GODDESS 7

II. ANCIENT EGYPTIAN QUEEN 9

III. ANCIENT EGYPTIAN DECORATION 13

IV. THE GOD OSIRIS 15

V. ANI, A SCRIBE 17

VI. THUTHU, WIFE OF ANI 21

VII. ANCIENT EGYPTIAN DECORATION 23

VIII. ANCIENT EGYPTIAN QUEEN 25

IX. ANCIENT EGYPTIAN DECORATION 29

X. ANCIENT EGYPTIAN PRIESTESS 33

XI. ANCIENT ASSYRIAN PERSONAGE 51

XII. ANCIENT ASSYRIAN DECORATION 61

XIII. KING ASSUR-NASIR-PAL 63

XIV. QUEEN OF ASSUR-BANI-PAL 71

XV. ANCIENT ASSYRIAN JEWELLERY AND TASSELS 73

XVI. DARIUS, KING OF PERSIA 81

LIST OF ILLUSTRATIONS

IN THE TEXT, OTHER THAN PLANS

FIG. 2. TUNIC WITH BRACES 11

FIG. 3. TUNIC WITH SHORT SLEEVES 11

FIG. 4. SLEEVELESS TUNIC 11

FIG. 5. ROBE, UNDRAPED 14

FIG. 6. ROBE, DRAPED AND GIRDED 18

FIGS. 7, 8 AND 9. THREE VIEWS OF A DRAPED ROBE 19

FIG. 10. ROBE DRAPED ON A WOMAN 20

FIGS. 11 AND 12. TWO SKIRTS AND A CAPE 27

FIGS. 13, 14 AND 15. SKIRTS, CLOAKS AND A CAPE 31

FIG. 16. SHAWL OR DRAPERY 32

FIGS. 17 AND 19. TWO DRAPINGS OF SHAWLS 35

FIG. 18. A SIMPLE SHAWL DRAPERY 37

FIG. 20. DRAPING OF A CLOAK 38

FIG. 21. MILITARY CORSELET AND APRON-LIKE APPENDAGE 39

FIG. 22. ROBE WITH CORSELET AND GIRDLE 39

FIGS. 23, 24 AND 25. AN INDIAN SARI 41

FIGS. 26, 27 AND 28. THREE VIEWS OF A SHAWL DRAPERY 49

FIG. 30. BELTED TUNIC AND SMALL SHAWL 53

FIG. 31. BELTED TUNIC WITH FRINGE DRAPING 55

FIG. 32. SHORT TUNIC WITH SMALL SHAWL AND BELT 57

FIG. 33. TUNIC DRAPED WITH SHAWL 59

FIGS. 34, 35 AND 36. FOLDED DRAPERY OVER TUNIC 65

FIG. 37. FOLDED DRAPERY OVER TUNIC 67

FIG. 38. SEMICIRCULAR AND FOLDED DRAPERIES 67

FIG. 39. RICHLY DECORATED TUNIC 69

FIG. 40. ROBE, BELTED AND DRAPED 80

FIGS. 41 AND 42. A DRAPERY IN ANCIENT AND IN MODERN DRAWING 83

FIGS. 43 AND 44. A DRAPERY IN ANCIENT AND IN MODERN DRAWING 85

FIG. 45. SHORT-SLEEVED COAT OVER TUNIC 87

FIG. 46. OVERCOAT, SHORT TUNIC AND TROUSERS 89

LIST OF CUT OUT PATTERNS OR PLANS OF GARMENTS

PAGES

TUNICS, WITH BRACES 8 AND 11

TUNIC, SLEEVELESS 11

TUNICS, WITH SLEEVES 11 AND 69

ROBES 14 AND 80

SKIRT 26

CAPE 26

COLLAR 26

SHAWLS OR DRAPERIES 34, 35, 37, 41, 49, 50, 62, 67, 82, 84

CLOAK 38

CORSELETS 39

COATS 86 AND 88

TROUSERS 88

LIST OF DATED GARMENTS

ILLUSTRATED

ANCIENT EGYPTIAN SECTION

PAGE

3700 B.C. 10 2500 B.C. 16 1700 B.C. 8 AND 10 1600 B.C. 36 1500 B.C. 10 1450 B.C. 16 AND 20 1300 B.C. 36 1200 B.C. 38 700 B.C. 6 550 B.C. 36 FOURTH CENTURY B.C. 30 FIRST CENTURY B.C. 8 A.D. 200 30 A.D. 1920 40

ANCIENT ASSYRIAN SECTION

PAGE

2500 B.C. 48 1000 B.C. 50 NINTH CENTURY B.C. 52, 56 AND 62 EIGHTH CENTURY B.C. 58 SEVENTH CENTURY B.C. 68 AND 70

ANCIENT PERSIAN SECTION

EIGHTH CENTURY B.C. 84

SIXTH TO FIFTH CENTURIES B.C. 80, 82, 86 AND 88

DECORATION

ANCIENT EGYPTIAN DECORATION 13, 23 AND 29 ANCIENT ASSYRIAN DECORATION 61, 69 AND 73

WORKS OF REFERENCE 5 AND 47

ANCIENT EGYPTIAN COSTUME

GENERAL DESCRIPTION

OF

ANCIENT EGYPTIAN COSTUME

CUTTING OUT

As far as the cutting out of ancient Egyptian costume is concerned, we may divide it broadly into four types--namely: (1) The type of the _tunic_. (2) The type of the _robe_. (3) The type of the _skirt_, with or without cape. (4) The type of the _shawl_ or _drapery_. The one or two varieties which occur in addition to these may be found in military dress and adaptations from the costumes of other countries. All the varieties above referred to are described in detail in this volume.

DECORATION AND COLOURING

Though we find Egyptian costume in many instances decorated all over with woven or printed patterns, decoration in the main was confined to accessories such as the head-dress, collar, and girdle, these being often painted, embroidered, beaded, or jewelled. See various examples given. The colouring which was usually, though not invariably, confined to the decorations consisted of simple schemes, variations of the hues of red, blue, green, yellow, and deep purple described on p. 66.

MATERIAL

The material used in the costumes was chiefly linen. In the most ancient types it was of a fairly thick, coarse weave; but in the later examples a fine thin linen, loosely woven so as to appear almost transparent, was used. The linen has often a stiffened appearance, and also gives the idea of having been goffered or pleated.

DATES

The earliest types of costume were the tunics; midway come the robes and skirts, and the draped or shawl type of costume appears the latest. However, the older types of costume did not disappear as the new ones were introduced, but all continued to be worn contemporaneously. The dates of most of the costumes in this volume are given with their description, and have been verified at the British Museum.

MEN AND WOMEN: THE DIFFERENCE IN THEIR DRESS

It can easily be gathered from the illustrations that the types of costume worn by both sexes were very similar. The high waist-line prevails in feminine dress, while the male costume, if girded, was generally confined about the hips.

_Egyptian Works of Reference._

Prisse d’Avennes, “L’Art Egyptiens”; Leeman, “Aegyptiche Monumente”; Rossellini, “Monumenti Egitto”; Hottenroth, “Le Costume”; Racinet, “Le Costume Historique”; Sir J. G. Wilkinson, “Ancient Egyptians”;

British Museum Handbooks and Reproductions.

These reproductions have lately been augmented and for those who cannot visit the Museum will be found most useful.

ANCIENT EGYPTIAN COSTUME

PLATE I.

Plate I., which dates 700 B.C., is an exact copy of an Egyptian drawing. It will be noticed that the Egyptian method of representing the figure is a peculiar one. A modern representation of the same type of dress is shown in Fig. 2, and the plan of cutting in Fig. 2A It should be noted that this plan--namely, a tunic with braces--is in some instances shown with the braces buttoned on each shoulder at the narrowest part. This illustration is given as a type of Egyptian dress decoration, which would be either printed, painted, or embroidered on the garment. It might be considered that this type of dress more nearly approaches the skirt than the tunic; but reaching, as it does, to the breast-line, and comparing various examples which, as it were, gradually merge into the sleeveless tunic which again merges into the tunic with short sleeves, the present classification will be found to be the most convenient.

PLATE II.

Plate II., which dates 1700 B.C. also first century B.C., is an exact copy of an Egyptian drawing of a woman wearing a species of tunic with braces (plan, Fig. 1). The striped decoration upon this tunic is suggested by the lines of another type of Egyptian dress--namely, the drawn-up skirt. The origin of the decoration can be easily understood by a reference to the drapery on Plate IX. In the original of this drawing the figure is represented with a lofty head-dress in addition to the fillet of ribbon and the golden asp here shown, but for the sake of getting the figure on a scale large enough to show clear details the head-dress is omitted. The person represented is said to be Cleopatra dressed as a goddess.

Figs. 2, 3, and 4, dating 1700, 1500, and 3700 B.C. respectively, are wearing dresses of the first great type of Egyptian costume--namely, the tunic type. They were made of fairly thick linen. Fig. 2 is put on by stepping into it and pulling it up. Figs. 3 and 4 are put on over the head; the measurements given will fit a slim figure without underclothing. The origin of Fig. 2 was most probably a piece of linen of the same length as this garment but wide enough to lap about half round the figure and have a piece tucked in at the top to keep it closed. This sort of tight drapery is quite commonly worn by negresses in Africa to-day. We also find it on some ancient Egyptian wooden statuettes, the drapery being of linen while the figure only is in wood.

PLATE III.

It will be noticed that the Egyptian dress decoration is chiefly confined to the collar, which will be seen in wear on Plates V., VI., VIII., and X. The patterns were either embroidered, painted, beaded, or jewelled; the favourite lotus flower is almost always in evidence in the designs (see a, b, c, and d on Plate III.). On this plate also will be seen several other characteristic borders (f, g, h, i), and two all-over patterns (k, e), which were probably either stamped or tapestry-woven on the dress fabric. The colouring of these patterns is chiefly taken from _painted_ representations of persons and ornaments. To arrive at the exact colouring used if the garments were decorated with dyed materials the description of the types of colours used in dyeing ancient Assyrian and Persian costumes, see p. 66, will give a more exact notion of what was worn. We have, in the British Museum, actual examples of dyed wools and coloured beads used in dress decoration.

PLATE IV.

Plate IV. belongs to the next great division of Egyptian costume, which may be called the “Type of the Robe.” This illustration shows it in its simplest form--namely, ungirded. To understand the quaint Egyptian drawing of Plate IV. a reference to Fig. 5 is necessary, which is a modern drawing of the same costume. As will be seen from the plan, Fig. 5A, this garment consists of a piece of material twice the height of the figure and folded over in the middle; a hole is here cut for the neck and, in addition, a short slit down the front to allow of the garment being pulled over the head. The material is sewn up the sides from the bottom, leaving a space at the top for the passage of the arms. A garment similar in type to this is worn at the present day in Egypt and Syria, and also, strange to say, by the natives of Brazil.

This robe should be compared with that worn by Darius, King of Persia, later in this volume.

Musicians are often represented wearing this robe, sometimes rounded off at each side of the hem so that it does not trail as it does on Fig. 5.

PLATE V.

Plate V., dating 1450 B.C., shows the same robe as Plate IV. worn in a different manner. In this case the garment is left open down the sides, the front half is taken and pinned at the back of the waist, and the back half is drawn towards the front and girded with a wide sash measuring 32” × 120”, as shown in Plate V. and Figs. 6, 7, 8, and 9. It should be noted that Fig. 6 is a modern drawing of Plate V.; also the costume upon p. 19, which dates 2500 B.C., gives three different views of the same dress, a costume which emphasizes the love of the Egyptians for drawing up the dress tightly so as to define the limbs at the back and allowing great masses of drapery to fall in front to the feet. To adjust the sash or girdle on Plate V., commence at the right side of waist drawing the sash downwards to the left and round the hips at back, next draw upwards across the front from right to left and round waist at back and tuck the remaining length of sash in front as shown in Fig. 6.

Plate VI. is an illustration of a robe worn by a woman 1450 B.C., and Fig. 10 is a modern representation of the same robe. It will be noted in this case that the front half is not pinned behind the back, but is kept quite full in front, and that the back half, instead of being girded by a sash, is drawn round and tied in a knot just under the breast.

This robe on women is also sometimes tied with a narrow girdle under the breast instead of the edges being knotted.

PLATE VII.

The decoration on this plate shows the detail of the characteristic Egyptian winged globe (a), hawk (b), and beetle (scarabæus) (c). Plates I. and VIII. are examples of the application of winged decoration upon Egyptian costume.

Three other geometrical borders (d, e, and f) and two all-over patterns (g and h) are given; g shows an example of the well-known feather or scale pattern; h (which is similar to e, Plate III.) is a favourite geometric motif, and was often printed or painted on garments. A very charming effect also of this pattern was a tunic entirely composed of beads, or beads and reeds, and worn over the garment shown on Fig. 2, p. 11. Several beaded networks of this type may be seen on the mummies in the British Museum.

PLATE VIII.

The third outstanding type of Egyptian costume may be described as the “Type of the Petticoat and Cape” (the petticoat was sometimes worn without the cape). Now this petticoat or skirt, as shown in Plate VIII. and Fig. 11, consists of a straight cut piece of material threaded through at the waist with a narrow strip which is knotted round the figure to keep the garment in position; the cape-like shoulder drapery is an oblong piece of stuff, to drape which take the corners d and e of Fig. 11A in your hands and twist them till the triangles a, b, c, and d, e, f, have become cords, and then knot as shown in the diagram. In the skirt piece, Fig. 11B, sew together the two short sides. As will be seen in the illustration, a long knotted girdle about 100 inches in length is worn over the skirt. It passes twice round the waist, and is knotted at the back as well as the front. In Plate VIII. the deep ornamental collar is worn over the cape. The collar, which was fastened down the back, is shown in plan (Fig. 11C).

Fig. 12 shows another method of wearing a similarly cut but rather longer skirt; in this case there is no waist cord; two pieces of the upper edge about half a yard apart are taken in the hands and twisted, one is crossed over the other and tucked inside, the other is pulled up and

forms an ear, as shown in sketch. This particular draping is the inspiration of the decoration on Plate II. Similar drapings without the twisting were worn both by men and women. It is interesting to note that a practically similar garment is worn in Burma at the present day by both men and women.

Compare Fig. 12 with Plate II. where the drapery here given has suggested in its lines a decoration of stripes.

PLATE IX.

The noteworthy details of the decorations on this plate are those illustrated at a and b. These are appendages from girdles such as worn by male figures; an example is Fig. 21. The material of this appendage may be possibly of painted leather, wool embroidered linen, or linen with metal mounts. Many beautiful painted illustrations of this girdle appendage are to be found in the British Museum; e is from a feather fan.

Fig. 13 is an Egyptian woman’s costume dating 1450 B.C.; she is wearing two garments--namely, a skirt and cloak. This skirt, which is frequently worn alone without the cloak, as shown in Fig. 12, is cut to exactly the same width top and bottom. It is wide for the figure, and the superfluous fullness is caught up in each hand in the act of putting on. The upper edge of garment is drawn tightly round the figure just under the breasts; the portions held in each hand are then tied together in a knot. In Fig. 13 the cloak is knotted in with the skirt; this cloak is simply a rectangular piece of material. It will be noted that Figs. 13, 14, and 15 all show the popular Egyptian effect of drapery drawn tightly round the back of the limbs and falling full in front.