CHAPTER VIII

CHARACTER OF TRIMMINGS OF THE NINETEENTH CENTURY.

During the later part of the 18th century, a great deal of tinsel drawn work was done on fine muslin, and became beautifully treated in delicate design on the hem and down the front of many of the high-waisted dresses as in Fig. A, Plate XXIII (see p. 218). Later on towards the twenties we see a great deal of effective coarse work in heavy gold tinsel, and at the same time to the forties a number of dresses were ably enriched with fine gold thread.

The white embroidery in the earlier trimmings of this period, of which I give examples in Plate XXIV (see p. 231), was remarkable for its wealth of fancy; the chief beauty of these dresses was the delightful treatment of gathered effects, and with the reign of George IV we note the gradual return of the longer pointed bodice, with the growth of very full sleeves, also the increase in the size and fuller set-out of the skirts over the stiff flounced drill petticoats. The =V=-shaped Bertha setting to neck and shoulders began to establish itself, and became a great feature through the thirties and forties; the first signs of it appear about 1814. Varieties of materials were used to great advantage in designing, and drawn tulle trimmings were happily introduced to soften hard shapes and colours. The shoulder fullness also began to be neatly drawn in and held by straps, which gave a charming character to many bodices.

From 1816 choice work in piped shapes, often of flower forms decorated with pearls or beads, was set on fine net, as seen in Plates XXIII and XXIX (see pp. 218, 263). The attraction to the thirties was the happy effects gained by the bow and flower looping on the flounces, and these ripened in fancy and variety through the forties. Braiding was adopted in the thirties with a rather charming treatment of tassels down the front of the dress; the polonaises of this time were also effective and simple, caught here and there with posies of flowers, and we find this fashion again revived in the sixties.

With the reign of George IV we notice an increasing choice of strong coloured effects, which culminated in the mid-Victorian era in raw colour and violent shot silks, velvets, and heavy fringes, but one may see that many of these dresses of bright pure tone looked exceedingly refined and were quite stately. A remarkable dress is Fig. A, Plate XXXII (see p. 279), which is of very strong bright blue; its only enrichment being a curved line of folded silk. All these dresses from 1800 were delightfully embellished with embroidered fichus, light scarves of frail gauze, crepe, or Norwich silk, and in the Victorian times capes and =V=-shaped shawls; fascinating lace ruffles and tuck-in fronts to the bodice necks, of frills and bands of embroidery, broke the severity or bareness of many dresses. An endless variety of fascinating caps and lace head-lappets was pinned or caught into the hair at the wearer's fancy; besides the bows, flowers, and jewels (especially pearls) which have always played an important part in the coiffure from early times, the chatelaines and bags, fobs, fans, and lace or silk handkerchiefs all give the artist a note of extra colour when desired. The cruel period of taste really came with the seventies, though one can trace many quaint and interesting cuts in the bodices and skirts of this time; but the "grand dress" of complicated drapings, heavily fringed or braided, was a "set piece" which, let us hope, will never appear again.

The long stocking-purse which began to appear in the late 17th century was up to 1820 sometimes carried tucked through the belt; it was set with a pair of metal rings and tassels of steel or gilt beads. Small and large circular and bag-shaped purses were also in use; all these were made in coloured silk threads enriched with steel, gilt, or coloured beads, the latter shapes being set in chased metal mounts, the circular ones generally having a fringe and the bag shape a small tassel or heavy drop. These shapes can also be seen in coloured leathers with a leather tassel, besides the plain money-bag with a draw-string.

NINETEENTH CENTURY. GEORGE III. FEMALE.

The hair up to 1808 was gathered into a knot of curls at the back of the head, rather high up, with a small curl at the sides in front of the ear. Later the knot was set more on the top, and the side curls were made more of a feature, several being arranged at the sides. Numerous varieties of large and small brimmed hats, bonnets, and turbans are seen, and several masculine top-hats and cockade hats may be noted late in this reign. The usual feather decorations and large ribbons or flowers were in use, and a handkerchief was sometimes bound over the top of the straw hat and tied under the chin.

The classic high-waisted dress continued till 1808, and was often beautifully decorated with white embroidery and gold or tinsel, as in A, Plates XX and XXIII (see pp. 199, 218), and the frontispiece is a lovely white example. There were several interesting drapings, one being a cord hanging from the back of the shoulder to loop up the train of the dress, as in A, Plate XXII (see p. 215). The simple tunic shapes are better described by the illustrations: more originality was essayed in design after the last-mentioned date. A high Vandyked lace collar and fan setting to the shoulders appeared, and many interesting dresses of a plain cut, mostly in velvet and silks, were worn about 1810-12. A gathered sleeve drawn tight at intervals was often seen up to 1816, when embroidered ruffles and frills decorated most of the necks and skirts, and a braided type of character, rather military in effect with beautifully piped edgings, came in from about 1817. Spencer bodices were an additional interest at this period, and a short puff sleeve was generally banded or caught with bows; these being often worn over a fairly loose long sleeve gathered by a wristband. Dresses were worn shorter from about 1810. Charming lace and embroidered fichus crossed the shoulders, and long scarf-capes were thrown round the neck and were often tied round behind, as in the 18th century; long capes with points and tassels in front fell to the knees, and a simple pelisse with cape became a pleasing feature. Bags were always carried, of which there is a variety of shapes in the plates; long gloves or mittens were generally worn. Parasols of a flat shape, or others with round or pagoda shaped tops are seen, many being edged with a deep fringe. Long purses were often tucked through the waistband.

The pointed shoe, tied sandal fashion up the leg, and with no heel, remained through this reign, but a round-toed low shoe, tied on in the same manner, began to supersede it about 1810.

NINETEENTH CENTURY. GEORGE III. MALE.

Wigs had practically gone out, except for a few of the latter type of the 18th century amongst elderly people. The hair was now worn short, and left rather full on the front, with short side-whiskers. Plain black or white stocks tied with a front bow, and a starched or unstarched collar with a frilled or gathered shirt-front were in use. A tie-pin or stud was also seen in the centre of the stock or frilling.

The same hats as in the latter part of the 18th century continued for a time, but the top-hat had established its favour, and assumed various shapes throughout this reign.

The coats were set with very high turn-over collars and a wide-shaped lapel, and the lapel of the waistcoat was still brought outside. As these lapels on the coats became smaller and changed into a roll collar, they were cut into points at the breast, as seen in the illustrations.

The front of the coat cut away in a short square, rather high in the waist, which thus formed a long-tailed skirt; the fronts were made double-breasted, and were often fastened high up the lapel. The hip-pleats had gone round more to the back into a closely pressed fold, about three inches from the back-opening. Sleeves were gathered rather full in the shoulders, becoming very tight on the forearm, and were finished in a cuff, or buttoned cuff-shape. We also see that a short square coat without tails was worn over the longer one. Overcoats (or long-skirted coats) with a cape or capes, up to four, were worn all through this reign, both double and single breasted, sometimes with turn-up cuffs; but this mode was not frequently used, as a sewn-on cuff or cuff made in the sleeve was now worn, and began to take a curved shape well over the hand, with three buttons to fasten it on the outer sides.

Short double-breasted waistcoats continued much the same, but a round-shaped lapel appeared on many.

Very tight-fitting breeches were worn of the same 18th-century cut, and trousers began to gain favour; a fob of seals, &c., was always worn, coming from under the waistcoat.

Soft high boots with turn-down tops, and boots with longish brown tops set low on the leg. The top-boot with the pointed or oval-shaped front and tassel still held sway, and an oval-toed low shoe with or without small latchets was in use.

NINETEENTH CENTURY. GEORGE IV. FEMALE.

The hair at this period was worn in plaits or curls gathered on top, and during the latter years was arranged into stiff loops set with a high comb; a group of curls was drawn to the sides of the face, the hair being mostly parted from the centre. Plumes were much used for head-dresses, and caps with gathered puffs and pointed frills. A high-crowned straw poke bonnet, tilted upwards, was still in form; but the prevailing mode was a silk bonnet, with the brim curved in at the front, the sides being drawn together under the chin with a bow. The prevailing decoration was a group of feathers thrown forward or ribbon loops, and after this a large round hat, with a full gathered crown, arrived about 1827, or straw shapes, such as Fig. A, Plate XXVIII (see p. 259).

Dresses gradually assumed a longer waist, and a short pointed bodice made its appearance here and there from about 1822, when short stays began to return, and pointed belt corselets were frequent, though the waistband or sash was chiefly used. Short puffed sleeves of charming character and workmanship were sometimes set in a gauze sleeve, as in Fig. C, Plate XXIII (see p. 218). Spencers and pelisses had long sleeves coming from these short ones; they were rather full, and were caught at the wrist with a band. The upper sleeve gradually disappeared as the full-topped sleeves began to develop in size, about 1824; this fullness was often broken up into gathered parts, a tight cuff-piece usually finished at the wrist. The high set-up collars and neck-frills gave way to the flat capes about 1827, though the small ruffs were worn round the top of the high-necked capes to 1830. The gathered shoulder began about 1823, and soon became a marked feature; pointed or scalloped frills and trimmings came into favour from 1825, Fig. B, Plate XXIII (see p. 218), and about 1827 the sloped appearance in the bodice began to be noticed as the sleeves were set lower. The shoulders in ball dresses were shown, and a gathered Bertha of silk or lace was arranged round the neck of bodice, Fig. D, Plate XXIV (see p. 231), or this form was made in the pattern as in Fig. C, Plate XXII (see p. 215). The =V=-shaped piece from the centre of waist or breast began to spread over the shoulders, where it was opened, as in Fig. B, Plate XXII (see p. 215). This =V= shape was often open down to the waist, where it was filled in with a centre-piece of embroidery. Skirts were gradually set out fuller, with stiff-flounced petticoats; they had various simple or richly decorated borders and fronts, or several small flounces, or one deep one often with the edges cut into divers shapes.

I have striven to give good examples of the marked styles in the various dated illustrations, as well as the court train to dress, Fig. A, Plate XXXIII (see p. 282), which also comes into this time.

Shoes were rather round at the toes till near the end of the reign, when they took a square shape; a tiny rosette or bow was placed at the front of instep, and they were held by narrow ribbons, crossed and tied round the ankle. Boots lacing at the inside, with seam down the front, often had a toe-cap as in Fig. 5, Plate XXI (see p. 202); no heels were worn.

Light gauze scarves were usually carried, and very small fans besides the larger feather ones. Bags or sachets of the forms illustrated were painted or embroidered in ribbonwork, chenille, tulle, and coloured silks.

A few specimens of parasols are also given, and gloves and mittens were of the same character as in the latter part of the last reign.

The patterns given of some of the dresses shown in the plates will be useful as to the measurements of the increase in skirt-width and sleeves; one may also note the very pointed set-out of the breast, sometimes made with two gores, which only occurs in this reign. Muffs were usually of a large size, and a bow with long ends was often worn on the front.

NINETEENTH CENTURY. GEORGE IV. 1820-30. MALE.

The mode in beaver hats was most varied; high straight crowns with small brims, others tapering at the top with larger curled brims, or crowns enlarging at the top with almost straight small brims; a top-hat of straw is shown on page 309. A short-crowned hat was also worn. The hair was combed towards the front at either side, and the face shaven, with the exception of short side-whiskers.

A very high stock of black satin or linen surrounded the throat, with or without the points of collar showing, and a frilled shirt, often stiffly goffered.

Coats were very tight-fitting and mostly double-breasted, with long swallow-tailed skirts, or long full skirts; the waist was rather short, and the effect of coat-front round-breasted with a high turned-over collar finished in large lapels, which were often treated with velvets. The favourite colours for overcoats were greys, buffs, greens, and blues, and the edges were neatly finished with fine cord. The sleeves, rather full in the shoulder, became tight on the lower arm, coming to a curved shape well over the hand, and buttoned up the side. The pockets were frequently set at an angle, as in illustration, and a short round cape, or two, was seen on many overcoats. A short type of coat is seen about 1827, with a single roll collar.

Waistcoats mostly had a round-shaped lapel, and were often double-breasted and very shaped at the waist, which was set fairly high; a long opening allowed the frilled shirt-front full display. There were also waistcoats having no lapels, no pockets, or no cover-flap; the points of front were very small, being buttoned to the end, or, with the double-breasted shape, they were straight across.

Breeches were not so much worn as trousers of cloth, nankeen, drill, and fine white corduroy; these were usually fastened under the boots with a strap, others were looser and often worn short, well above the ankle. A very full type in the upper part peg-tops, was in fashion about 1820-25 amongst the dandies, and for evening dress, very close-fitting breeches to the knee, or just above the ankle, the latter being opened and buttoned up to the calf. Pince-nez were favoured, with a heavy black ribbon, generally worn tucked in the lapels of the waistcoat; and a fob of gold seals, &c., hung from the braces, below waistcoat pocket.

Shoes and short Wellington boots were chiefly worn, the former being low in the heel and very short in the tongue, which was almost covered by small latchets, either buckled or tied, the shape of the toe being rather round. The Hessian boots with curved front and tassel at the top were still worn.

NINETEENTH CENTURY. WILLIAM IV. FEMALE.

The hair still retained the high loops on top and the bunch of curls at the sides, poised by a back comb and set with flowers or feathers; there was also a great variety of fancy capes with pointed frills, some with long tie ends, and these are seen with most dresses, and were worn in conjunction with the hats. The favourite hat was a big, flat, circular form, generally tilted at one side, and decorated with bows, flowers, and feathers; a flat tam-o'-shanter shape was often worn with the riding-dress, sometimes with a large peak-shape in front, and straps under the chin. The large poke-bonnet also kept the front as flat and round as possible, with a high crown tilted upward in order to set over the hair loops.

The bodice began with a very pointed front and very low neck off the shoulders, tuck-ins of fine embroidery, and capes or _fichus_ of the same, covered the shoulders, often three deep. The pointed bodice only lasted for a few years, when the waistband again became the favourite. The sleeves were very large at the shoulders, diminishing at the wrist, but soon took a big round form, sometimes tightly pleated into quarters before 1835. We then get the huge sleeve gathered at the wrist, and often falling below it; this again tightened on the forearm, and we note a tendency to tighter sleeves coming in before 1837, neatly gathered well down the shoulder. The evening-dress sleeve was a large puff, set out by stiffening to a flat wide effect. Very wide epaulet collars were seen on most dresses, meeting in a =V= shape at the waist, with a filling of lace in the front, and many bodices were elaborately gathered, and some of the sleeves were also gathered into puffs all down the arm.

The skirts were set out very full over stiff flounced petticoats, and were worn rather short; as a rule they were trimmed with one or two flounces, which were handsomely decorated, and a short polonaise is occasionally seen. There were many interesting trimmings of gauze, flowers, and bows; while silk-flowered gauze over dresses made some charming effects.

Heavy mantles and capes or pelisses began to be braided, and rather strong colours were in general taste.

The hand-bags were of a curved form and generally bore heavy tassels. Very small fans and round fans were attractive, and bouquet-holders of gilt, with pearl handles, became the thing to carry.

Shoes were of the low sandal type, fastened by crossed elastic, with very square toes, and a tiny rosette or bow on the front; boots to the ankle were now in fashion, mostly lacing at the inside, and having a long toe-cap, sometimes with a small rosette at the top of this or a tassel at front of the top of the boot.

NINETEENTH CENTURY. WILLIAM IV. MALE.

The hair was worn rather full in curls at the sides or on top, parted at the left side, besides being occasionally parted at the centre. Side whiskers, curved forward, still continued, and a short trimmed beard was now worn round under the chin by many, moustaches also made their first appearance at the end of this reign. Top-hats were high and straight, but many still adhered to the tapered crown and larger brim.

The same plain stocks of black satin continued, with or without a front bow, and a soft pleated or frilled shirt-front.

The coats were similar to the last reign: the chief differences being an increase in the length of the waist, wider tails, and large lapels of a similar cut: velvet collars and cuffs were much worn, and the waist was still made tight. A coat with a square skirt as in Fig. 116 is seen for the first time, and the swallow-tailed coat was worn not quite so long. A lower opening to the waistcoat was generally seen in evening attire, which sometimes had but four small buttons, while more of the single-breasted type were in use, with and without lapels.

Very tight trousers to the ankle buttoned up to the calf continued, or plain trousers were held by straps under the boot; twill, corduroy, or nankeen were both strapped or free at the ankle and rather short. Knee-breeches were still worn by many for evening dress, and long Italian capes with overcapes and high turn-over collars were fashionable, besides the very full-skirted greatcoat.

Boots and shoes were square at the toes and rather long and narrow, the shoes having a bow or buckle. Short Wellington boots continued much in use, also spats.

Fobs of gold seals, &c., were worn, and eye-glasses attached to a black ribbon is a noticeable feature.

NINETEENTH CENTURY. VICTORIA. FEMALE.

The hair was parted in the centre and tightened in a top setting of plaits, with side curls over the ears. This mode was retained by many till the fifties, but the top plaits began to be set lower at the back, and the same flat parted hair was brought in a curved shape to the front of the ears, often in a small plait, allowing the ear to show, or in a plaited knot at either side; about 1850 it was waved, parted, and simply curved from the forehead over the ears in a fuller manner, sometimes being turned under to increase the side fullness, while the back hair was arranged lower down the neck. In the sixties the hair was waved and caught behind in ringlets or was bunched into the hideous chignons, which are seen till about 1880.

The variety of caps and hats is too alarming to deal with, and baffles comprehensible description, so it is best for the student to dip into the hundreds of illustrations through this period in the _Ladies' Magazine_, _Punch_, the _Illustrated London News_, or the _Ladies' Treasury_ for the later styles.

The straw bonnet with a straighter poke front was favoured till 1850, when the front became considerably reduced in size and fitted closely round the face. The larger brimmed bonnets had a little frill by the ears, and the tight-brimmed bonnet often had the frill all round with a flower also tucked in effectively to the wearer's taste, and we see this favoured till the seventies. In the fifties a large flat Leghorn hat with a small crown was in evidence, the brim dipping back and front, decorated with feathers or bows, and a three-cornered French hat with feathers set in the brim came in with revival of the 18th-century style about 1860. A small bowler hat and a very small "pork-pie" hat appears in the late sixties, and a tiny-shaped bonnet of a curved form during the seventies.

At the beginning of this long reign we find the pointed bodice with a normal length of waist has really come to stay, though many dresses retain the waistband till the fifties, and there is such a confusion of styles at that time, it is difficult to arrange a sequence. From the 18th century fashions became more complicated in the greater variety of design, each overlapping the other, and several distinct forms of character come and go during this long reign. I do not envy the person who undertakes the chronology of our present period.

At the commencement in 1837 the huge sleeves gathered at the wrist were still in evidence, especially as a gauze oversleeve to evening attire, and they continued thus to the fifties, but very large sleeves were really dying out and the usual reaction was setting in; the full-shouldered sleeve had turned a somersault and was neatly gathered tight from the shoulder to the elbow, the fullness falling on the forearm, and this was gathered into a tight setting or wristband. The =V=-shaped front to the bodice was kept in many dresses by a collar or two tapering from the shoulders to the waist, the fullness of the breast often being tightly gathered at the shoulders, besides a few inches in the front point of the bodice. A very plain tight-fitting sleeve became fashionable, and on most of these we find a small upper sleeve or a double one as shown in A, Plate XXX (see p. 266); this was sometimes opened at the outer side. These sleeves continued till about 1852. In 1853 a bell-shaped sleeve is noticed in ordinary dress, and this continued in various sizes till 1875, reaching its fuller shape about 1864. These types of sleeves were usually worn over a tight one or a full lawn sleeve gathered at the wrist; most bodices with this sleeve were closely fitted and high in the neck, the waist often being cut into small tabs. We also notice for a few years in the early fifties the deeper part of the bell curved to the front of the arm, giving a very ugly appearance. A close-fitting jacket also came into evidence till about 1865 with tight sleeves and cuffs, sometimes with a little turn-down collar and a longer skirt as in Fig. C, Plate XXXIII (see p. 282). This particularly fine embroidered specimen, in imitation of the 18th-century style, is interestingly cut away short at the back to allow for better setting on the crinoline. There is another type of sleeve seen about 1848, of a plain, full, square cut; these became varied in shape, being opened up the side and generally trimmed with wide braids. This clumsy character is seen up to 1878, the later ones being fuller in cut. Zouave jackets were occasionally worn in the forties and later in the early sixties, when the wide corselet belt was again favoured. Skirts at the beginning of the reign were fully set out on drill petticoats, stiff flounces, and even whalebone, so it was hardly "a great effect" when the crinoline appeared about 1855, though a furious attack was made against it at first; this undersetting developed to its fullest extent between 1857 and 1864, and many dresses in the early sixties were also worn short, showing the high boots of this period. At first the crinoline was slightly held back from the front by ties, and again in the sixties it was often kept with a straight front, the fullness being held to the back, till the appearance of the bustle brought in another shape. The skirts were now pulled in tight to the front of the figure and bunched up at the back, with a train or shaped flounced pieces overlapping each other caught up under the bustle, as in Fig. B, Plate XXXIII (see p. 282).

Mantles of a cumbersome type and shot-silk capes with long pointed fronts were worn, often heavily fringed, the former also being mostly decorated with braided designs. Large Paisley shawls were much used all through this reign, besides the cape and hood with its fine tassels which became very fashionable in the sixties.

Gloves and mittens are seen both long and short, the latter often beautifully embroidered on the back in the French style. Hand-bags were often carried, of which examples are given in the plates of a variety of shapes; the favourite materials for their make were velvets and silks decorated with bullion, sequins, braids, needlework, and beads, and these bags were richly set in gilt, silver, or steel mounts.

Parasols were still heavily fringed, and were of the usual shapes. A very small one was carried in the carriages, and are even seen on the ladies' driving whips.

Shoes continued in the same heelless sandal character to the sixties for evening wear, but from the forties most outdoor shoes had a heel and large rosettes. With the seventies came round toes with a low round front and bow, and high shaped heels came to stay till the present day. Boots of white satin, kid, or coloured silks were chiefly worn till the seventies, reaching just above the ankle, laced up the inner side, but many wore elastic sides from the fifties; the toes of these were rather square, and a toe-cap and front seam was made in many of this type. In the forties a tight rosette was sometimes placed low down towards the toes, and later, a huge bow was sewn on the front. High boots buttoned towards the side and very much shaped, with pointed round toes and high heels were sometimes laced and finished with a pair of tassels. Spats were always fashionable through this period.

NINETEENTH CENTURY. VICTORIA. MALE.

The same modes of doing the hair remained till the sixties, parted at one side and worn rather long and waved, with the side whiskers or beard all round the chin. The side whiskers were allowed to grow long between fifty-five and seventy, and full beards also became fashionable, while the hair was parted in the centre from front to back and flattened on the forehead.

The favourite top-hat still reigned supreme, many of which retained the tapered top and large curled brim till about 1855, and a bell shape was frequently seen in the fifties, but the real straight chimney shape was seen throughout till the eighties, with a rather narrow brim, and often of white or fawn-coloured cloth. The bowler hat increased in appreciation, being of a short type, with smallish brim. A short flat felt hat, with rather straight brim, also came into favour from the fifties; little round caps and caps with ear-flaps, for travelling, &c., were also in general use.

The frock-coat kept the rather tight sleeves and tight waist, and full square skirt, with back pockets, also a deep lapel, sometimes with a velvet collar, and small cuffs; a breast-pocket was often placed on the left side, and in the fifties the type of morning coat with rounded-off fronts at the skirt appeared, also a small collar and lapel. Square-cut jackets and tweed suits similar to our present shapes, but heavier in cut and with braided edges, were much in use. Velvet or fur-trimmed overcoats, and heavy travelling-coats, also capes and Inverness capes, were all in vogue.

Waistcoats became buttoned higher in the neck, and the stock-collar was supplanted in the sixties by a turn-down collar, and small tie or loose bow; many still affected the black stock and pointed collar to the seventies, when a high round collar began to appear.

Coloured and fancy waistcoats were much worn till the eighties, and evening dress was similar to the present cut, with slight differences in the length of lapels and waistcoat front.

The trousers were made with the front flap till they were buttoned down the front about 1845, and side pockets became general. Braids may be noted down the sides in the fifties, and are seen now and then all through the reign, while large plaids and stripes were highly esteemed.

Short Wellington boots were chiefly preferred up to the sixties, and trouser-straps and spats were fashionable all through the reign. The heavier lace-up boot came in during the fifties, and a very shaped type of fashion appeared in the sixties.

Having now completed the general survey of Costume, the following pages are given up to the cut and measurements of various antique garments.

PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME

WITH NOTES AND MEASUREMENTS

I have striven to gather as many representative patterns of dress types and accessories as possible, and also give many measurements from the various examples, when I have been unable to obtain a complete pattern. The character of cut and proportion is the essential point in the study of dress design, and the intimate knowledge of periods. When seeing a collection of patterns, one is astonished at the great variety in cut used to arrive at the different bodice types. Several patterns of single pieces are given, as it aids one to find the fellow-part; for example, the photo of a back given in Fig. C, Plate III (see p. 55), will go with the front cut on page 290; even though these two pieces did not belong to the same body, the cut is seen from which to design the missing part. Often a small piece is wanting for the top of the shoulder, which can easily be supplied to fill the sleeve measurement. The types of trimmings in the different centuries will soon be acquired by a careful student, and the proportions of patterns will be valued for gaining the character. I believe with this collection one could get the true effects of any style of dress seen in the period prints. The drawings are mostly scaled for the half, and the measurement, in inches, will be found by dots on the top of the collotypes, and by a marked line on the pattern pages.

One must note, with the 18th-century dress, the sleeve cuffs can be changed, so I give, on page 300, a full-size measurement of the elbow-cuff seen in Fig. A, Plate XVI (see p. 167), and a deeper one of this style is seen on Fig. C, Plate XII (see p. 135), gathered seven times at the elbow. The plain square type was pleated in the front as given on page 300, and a variety of this character is shown on Fig. B, Plate XV (see p. 154). Though many patterns may be found remarkable in proportions, an allowance is often to be made for the undersetting, as well as for the thick, straight corsets worn to the end of the 18th century.

I give several specimens of quilting on petticoats of the 18th century, which will probably be found useful to artists; the measurement is also given of their circumference, which attained similar proportions to those set on the Victorian crinolines, going 3 to 4 yards round: four 18th century ones measured 100, 114, 116, 120 inches, and they are often 1 inch longer at the sides, to allow for setting over the panniers; a pattern is given on pages 213 and 332. The embroidered pockets on page 300 were worn in pairs at the sides on the petticoats, and only showed when the dress was looped up. The extra lawn sleeves, given on page 287, show how precious the superfine linen was held, with its superb gathered work, lace ruffles, and often fine embroidery; these pieces could be looked after with special care in the laundry, and could be tacked, pinned, or buttoned on when required.

The 16th and 17th century collars were mostly attached to the chemise or shirt, as is seen in many of the old prints. On page 289 I give examples of shape of the various stomachers, which will be found useful for getting the characteristic proportions. The scarves worn round the body of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6 inches, and from 8 feet 6 inches to 7 feet in length.

The stocking top, Fig. C, Plate VI (see p. 74), is probably of similar proportions to the woollen one in the Victoria and Albert Museum, on which the bell-top circumference is 36 inches, and the full length of stocking 38 inches. On page 285 a cap of three pieces is given; their real design is at present unknown, but I trust the Museum authorities may soon discover their placing, for many of these pieces are in existence, and this set in my collection is impressed with a beautiful pattern. The bodice, Fig A, Plate X (see p. 119), should have been set on a stiff-fronted corset to give it the straight style, as it is charmingly proportioned and clean in outline. I have also measured a short circular cloak of the early 17th century, which is 34 inches in diameter, with a square collar 10 inches deep; and another cape of the late 16th century, 40 inches in diameter. On page 290 will be found the smaller tabs which are placed round the jerkin, with a deep front point, as in Fig. A, Plate VIII_a_ (see p. 103); the collar of this type often rises 2-3/4 inches in the front to 3 inches at the back, in order to carry the stiff ruff or deep turned-down collar. Tabs of the smallest dimensions, in the earlier Elizabeth and James character, generally have six pieces from front to the middle of the back, which are from 2 to 3 inches deep. The epaulets are made in small stiff tabs, caught together in two places only, and so have plenty of give in the shoulder movements; they run to 2-1/4 inches at the widest part, and do not continue right under the arm. Fig. D, Plate V (see p. 71), has the middle seam of the back open from the waist to within 2 inches of the collar, which is noticeable on many of the later Charles I coats. Long aprons are conspicuous through the 17th century, and one measured was 42 inches wide, gathered to 15 inches at the waist; they were decorated with three bands of embroidered insertion down the front, with a 3-inch plain border, edged with small lace; this is typical in character of design, as is also the same style of linen cape seen on a figure, page 159. A similar one, lent by Sir Robert Filmer, is at the Victoria and Albert Museum; also a cap, of which I give a pattern, A, page 285. The smaller type of embroidered aprons of the late 17th and 18th centuries measure 40 inches wide, 19-1/2 inches deep, with the centre dipping to 17-3/4 inches; another shape is 26 inches wide, 18 inches in centre, and 13-1/2 inches on sides. The bodice, with deep skirt, Fig. B, Plate XVIII (see p. 183), is a type seen all through the 18th century, both longer and shorter in the skirt. The pattern of the 17th-century breeches is interesting as regards the cut, the upper part being kept plain, otherwise the gathered fullness would have disturbed the set of the jerkin tabs; the band of these breeches has six hooks either side to back, which fasten to eyes on an under flap sewn on body of jerkin. The epaulet on this pattern is only a 3/4-inch piece, braided with two narrow braids, and the bows on tabs are of ribbon, 1-1/2 inches wide.

The three patterns of capes given on pages 349, 350 will be found useful, as they are simple and very typical of the Victorian times, long shawls being otherwise much used. The fullness of the Elizabethan overdress seen on B, Plate II (see p. 42), is 66 inches to the back seam, and the Fig. C, on the same plate, is 47 inches. The "jump," or jacket, Fig. A, Plate III (see p. 55), is 100 inches round, the fullness of the sleeve 13 inches, and the length of back 32 inches. An over-tunic of the early 17th century is interesting to examine, though it is a specimen of German costume.

PATTERNS TO SCALE

_For Detailed List, see page 353._

DETAILED LIST OF SCALED PATTERNS

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.

Pattern 2, page 286:-- 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.

Pattern 3, page 287:-- Ruff, 17 c. 4 extra linen sleeves, 17 and one 18 c. 2 caps, female, 17 c.

Pattern 4, page 288:-- Front of linen jacket, 16 c. Front of linen bodice, Charles I.

Pattern 5, page 289:-- Elizabethan jerkin. 4 stomachers, 17 and 18 c.

Pattern 6, page 290:-- Set of tabs for male jerkin, 17 c. Pattern type, sleeve and bodice front, 1570-1605.

Pattern 7, page 291:-- Circular cape, 17 c. Cap, female, 1580-1630.

Pattern 8, page 292:-- Bodice, Fig. 1, Plate X, James I.

Pattern 9, page 293:-- 3 corsets and bodice of, Fig. 2, Plate V, 17 c.

Pattern 10, page 294:-- Jerkin of white quilted satin, 17 c.

Pattern 11, page 295:-- Breeches of same suit.

Pattern 12, page 296:-- Cape-coat, 17 c.

Pattern 13, page 297:-- Back of bodice, Plate VII, 17 c. Shaped cap, male, 17 and 18 c.

Pattern 14, page 298:-- 2 collars, Charles II.

Pattern 15, page 299:-- Jacket, Fig. _C_, Plate IV, 17 c.

Pattern 16, page 300:-- 2 sleeve-cuffs, 18 c. 2 embroidered pockets, 17 and 18 c. Hanging sleeve, Fig. _C_, Plate II, 16-17 c. Embroidered bodice fronts, 17-18 c.

Pattern 17, page 301:-- Quilted linen corsage, 1660-1715. Herald's coat, Fig. _A_, Plate VII, 16-17 c.

Pattern 18, page 302:-- Sleeved waistcoat, 1690-1720.

Pattern 19, page 303:-- Sleeved waistcoat and vest, early 18 c.

Pattern 20, page 304:-- Breeches, 1660-1720.

Pattern 21, page 305:-- Breeches, 18 c.

Pattern 22, page 306:-- Breeches, 18 c.

Pattern 23, page 307:-- Coat, Fig. _B_, Plate XXVI, 19 c.

Pattern 24, page 308:-- Coat, Fig. _B_, Plate XIII, 18 c. Corderoy trousers, from 1815.

Pattern 25, page 309:-- Coat, late 18 c., Fig. _A_, Plate XV. Leather breeches, late 18-19 c. Straw hat, 1816-30.

Pattern 26, page 310:-- Coat, 1784-94.

Pattern 27, page 311:-- Coat, 1830-45.

Pattern 28, page 312:-- Buff linen trousers, 1810-40.

Pattern 29, page 313:-- Morning coat, Fig. _A_, Plate XXVI, 19 c.

Pattern 30, page 314:-- Bodice, 1816-22.

Pattern 31, page 315:-- Bell-sleeved bodice, 1848-58.

Pattern 32, page 316:-- Bodice of linen dress, Fig. _A_, Plate XXII, about 1800.

Pattern 33, page 317:-- Bodice, 1860-70. Bodice, 1850-60. Bodice, 1816-25.

Pattern 34, page 318:-- Jacket bodice, Fig. _A_, Plate XXIV, about 1800.

Pattern 35, page 319:-- Bodice, similar type, Fig. _A_, Plate XXX, 1845-55.

Pattern 36, page 320:-- Sleeveless over jacket, early 18 c. Spencer, 1827-37.

Pattern 37, page 321:-- Bodice, 1812-18.

Pattern 38, page 322:-- Corset pattern, 18 c. Bodice of Fig. _A_, Plate XIV, 18 c.

Pattern 39, page 323:-- Bodice with type of pleated sack back, 1720-50.

Pattern 40, page 324:-- Bodice, Fig. _C_, Plate XXVIII, 19 c. Bodice, Fig. _A_, Plate XVIII, 18 c.

Pattern 41, page 325:-- Zouave jacket, late 18 c. Bodice, 1818-28.

Pattern 42, page 326:-- Silk jacket, Fig. _B_, Plate XIX, 18 c.

Pattern 43, page 327:-- Bodice, Fig. _C_, Plate XVIII, 18 c.

Pattern 44, page 328:-- Bodice, Fig. _A_, Plate XXX, 19 c.

Pattern 45, page 329:-- Lady's coat, Fig. _C_, Plate XXXIII.

Pattern 46, Page 330:-- Polonaise dress, 1835-45.

Pattern 47, page 331:-- Dress, 1805-18. Mob cap, 1780-1800. Cap with comb top, 1790-1800.

Pattern 48, page 332:-- Quilted petticoat, 18 c.

Pattern 49, page 333:-- Petticoat, Fig. _B_, Plate XVI, 18 c.

Pattern 50, page 334:-- Dress, Fig. _B_, Plate XVI.

Pattern 51, page 335:-- Dress, Fig. _C_, Plate XVI.

Pattern 52, page 336:-- White linen dress, 1795-1800.

Pattern 53, page 337:-- Striped cotton dress, 1805-15.

Pattern 54, page 338:-- Pattern of under robe, 1818-30.

Pattern 55, page 339:-- Dress, Fig. _C_, Plate XXV.

Pattern 56, page 340:-- Muslin dress, 1822-32.

Pattern 57, page 341:-- Satin dress, 1837-47.

Pattern 58, page 342:-- Dress, Fig. _C_, Plate XXIX.

Pattern 59, page 343:-- Dress, Fig. _B_, Plate XXVIII.

Pattern 60, page 344:-- Dress, Fig. _C_, Plate XXXII.

Pattern 61, page 345:-- Lady's coat, 1856-70.

Pattern 62, page 346:-- Silk dress, Fig. _A_, Plate XXXII, 1860-70.

Pattern 63, page 347:-- Reefed polonaise, 1860-70.

Pattern 64, page 348:-- Lady's jacket, Fig. _C_, Plate XIX, 18 c.

Pattern 65, page 349:-- Cape, 1840-50.

Pattern 66, page 350:-- Cape, 1860-75. Cape, 1830-40.

Pattern 67, page 351:-- Upper sleeve and collar, 16 c. Bodice with slashed sleeve, 1620-40. Boy's stays, coat, and vest, 1700-60.

Pattern 68, page 352:-- 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, 262

Breeches-- Mediaeval, 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, 274, 281

Chain Ornaments-- to 15 c., 62, 72 16 c., 110, 124

Cloaks-- to 15 c., 54, 70 17 c., 152, 164, 176, 180, 279 18 c., 222

Collars-- 16 c., 112, 128, 129, 139, 278 17 c., 145, 158, 160, 172, 174 19 c., 244, 246

Corsets-- to 15 c., 62, 66 16 c., 110, 116, 138 17 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, 272 Button, 110, 143, 144, 146, 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 edging, 71, 96, 110, 146, 191, 214, 252 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, 281 17 c., James I, female, 147, 150; male, 152, 154. Chas. I, female, 158; male, 160, 164, 168. Commonwealth, female and male, 168, 169. Chas. II, female, 169, 172; male, 174, 176. James II, female, 178, 180; male, 182. William and Mary, female, 184, 185; male, 186, 188. 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, 281 19 c., 250

Fans-- 16 c., 129, 138 18 c., 193, 230 19 c., 240, 253, 262

Farthingale, 111, 136

Foot-wear-- to the end of 14 c., 44, 48, 56, 70, 80, 82, 92 15 c., 108 16 c., Henry VIII, 16, 122; Ed. VI and Mary, 128, 132; Elizabeth, 138, 140 17 c., James I, 150, 154; Chas. I, 158, 164; Commonwealth, 168; 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, 248; George IV, 253, 258; William IV, 262, 264; Victoria, 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, 226

Head-dress-- Prehistoric, female, 40; male, 42 to 10 c., female, 45; male, 49 10 to 15 c., female, 57; male, 71 15 c., female, 84; male, 92 16 c., Henry VIII, female, 113; male, 118. Ed. VI and Mary, female, 124; male, 129. Eliz., female, 133; male, 138 17 c., James I, female, 147; male, 150. Chas. I, female, 154; male, 160. Commonwealth, 168. 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, 246. George IV, female, 248; male, 254. William IV, female, 258; male, 263. Victoria, female, 264; male, 273

Heraldic fashion, 66, 71, 109, 132

Hoop skirts-- 16 c., 116, 128, 136 17 c., 147, 185 18 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, 214

Mantles, 262, 271

Masks, 186

Muffs, 160, 172, 180, 186, 189, 193, 201, 230, 253

Neck-wear, 174, 182, 186, 200, 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, 71, 74, 87, 90, 103, 106, 119, 122, 135, 138, 151, 154, 167, 170, 183, 186, 199, 202, 215, 218, 231, 234, 247, 250, 259, 263, 266, 270, 279, 282

Pockets, 192, 224

Polonaise, 238, 262

Purses, 236, 240, 246

Quilting, 111, 128, 146, 172, 192, 198, 211, 222, 278

Ruffs, 112, 118, 128, 129, 133, 136, 139, 143, 147, 158, 160, 172, 250, 280

Sack-back (or Watteau) dress, 136, 185, 191, 196, 206, 211, 222

Sashes, 168, 182, 279

Sequins, 112

Shawls, 272

Spats, 273

Spencers, 244, 250

Sticks, 181, 188, 201, 211, 214, 226, 234

Stockings, 138, 140, 154, 168, 182, 184, 189, 201, 210, 216, 234, 270

Stomachers, 66, 112, 136, 142, 144, 146, 147, 154, 158, 172, 178, 184, 196, 207, 278

Printed by SPOTTISWOODE, BALLANTYNE & CO. LTD. Colchester, London & Eton, England

* * * * *

DRESSMAKING

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* * * * *

Transcriber's note:

The following printer's errors were corrected in the text:

PLATE XI " 122 Sixteen Leather Boots and Shoes, between 1535 and 1850. Original had "1630" instead of "1535"

PLATE XXI " 202 Twenty-three Boots and Shoes, from 1800 to 1875. Original had "Twenty-two"

_C._ Braided Suit, 1670-90. Original had "1695-90"

_C._ Dress of Spotted, 1795-1808. Original had "Stockingette"

_A._ Morning Coat of Chintz, 1825-45. Original had "Chintze"

The bodice, Fig A, Plate X (see p. 119), Original had "see p. 292"

_Sleeve_ Original had "Sleev"

PATTERN 53. Original had "PATTEEN"

Pattern 55, page 339:-- Dress, Fig. _C_, Plate XXV. Original had "G"

Pattern 58, page 342:-- Dress, Fig. _C_, Plate XXIX. Original had "G"

The following inconsistencies are retained as printed:

Plate VII, c. Black Silk Jerkin. Illustration caption has 1640-60, list of illustrations has 1640-50.

Plate IX, a. Lady's Embroidered Silk Jacket. Illustration caption has 1605-30, list of illustrations has 1605-20.

Plate XV, c. Embroidered Velvet Coat. Illustration caption has 1755-75, list of illustrations has 1753-75.

Plate XX, b. Nine Aprons. Illustration caption has 1850, list of illustrations has 1750.

The scarves worn round the body of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6 inches, and from 8 feet 6 inches to 7 feet in length. Second range is inconsistent as printed.

Plate XXXIII, c. Silk Coat and Skirt. Illustration caption has 1855-65, list of illustrations has 1855-56.