CHAPTER VIII

Character of Trimmings of the Nineteenth Century 237 Nineteenth Century. George III--Female 241 Nineteenth Century. George III--Male 246 Nineteenth Century. George IV--Female 248 Nineteenth Century. George IV, 1820-30--Male 254 Nineteenth Century. William IV--Female 258 Nineteenth Century. William IV--Male 263 Nineteenth Century. Victoria--Female 264 Nineteenth Century. Victoria--Male 273

PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME 276

PATTERNS TO SCALE 283

PATTERNS TO SCALE, DETAILED LIST 353

INDEX 359

LIST OF DESCRIPTIVE LINES TO THE PLATES

FRONTISPIECE _Facing Title_ A Long-trained Muslin Dress, about 1800.

PLATE I _Facing p. 39_ Boots and Shoes from the Fourteenth to Nineteenth Century.

PLATE II " 42 _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 Linen, 1580-1605.

PLATE III " 55 _A._ Elizabethan Jump (or Jacket), about 1600. _B._ Portrait of Lady in Embroidered Costume, between 1620 and 1640.

PLATE IV " 58 _C._ Youth's Jacket of Linen embroidered in Worsted, 1635-65. _D._ Linen Male Jacket embroidered with Gold and Silk, 1600-40.

PLATE V " 71 _A._ Jerkin--Period James I. _B._ Lady's Bodice of Slashed and Vandyked Satin, 1635-50. _C._ Jerkin of Embroidered Linen, 1630-60. _D._ Jerkin of Embroidered Linen, 1580-1635.

PLATE VI " 74 _A._ Collar and Cuffs set with Lace, 1600-30. _B._ Embroidered Leather Jerkin, 1620-1640. _C._ Top of Stocking, Embroidered Linen, 1625-50.

PLATE VII " 87 _A._ Herald's Coat, Embroidered Velvet and Silk, First Half Seventeenth Century. _B._ Lady's Bodice of Black Velvet, 1630-60. _C._ Black Silk Jerkin, 1640-50.

PLATE VIII " 90 _A._ Three Suits--Period Charles II. _B._ " " " " _C._ " " " "

PLATE VIIIA " 103 _A._ Suit of Embroidered Silk, 1610-30. _B._ Three Sword-hangers Embroidered in Gold, Charles II. _C._ Braided Suit, 1670-90.

PLATE IX " 106 _A._ Lady's Embroidered Silk Jacket, 1605-20. _B._ Lady's Bodice of Silk Brocade, 1680-1700.

PLATE X " 119 _A._ Black Velvet Bodice, 1600-25. _B._ Five Embroidered Waistcoats, between 1690 and 1800.

PLATE XI " 122 Sixteen Leather Boots and Shoes, between 1535 and 1850.

PLATE XII " 135 _A._ Lady's Outdoor Costume, 1785-95. _B._ Costume, Early Eighteenth Century. _C._ Silk Brocade Dress, 1760-80.

PLATE XIII " 138 _A._ Silk Coat, 1735-55. _B._ Brocade Silk Coat, 1745-60. _C._ Embroidered Cloth Coat, 1770-90.

PLATE XIV " 151 _A._ Embroidered Silk Dress with Pannier, 1765-80. _B._ Brocade Dress and Quilted Petticoat, 1750-65.

PLATE XV " 154 _A._ White Cloth Coat, 1775-90. _B._ Silk Dress, 1740-60. _C._ Embroidered Velvet Coat, 1753-75.

PLATE XVI " 167 _A._ Silk Brocade Dress, 1740-60. _B._ Silk Brocade Sack-back Dress, 1755-1775. _C._ Dress of Striped Material, 1755-85.

PLATE XVII " 170 _A._ Silk Suit, 1765-80. _B._ Quilted Dress, 1700-25. _C._ Silk Embroidered Suit, 1765-80.

PLATE XVIII " 183 _A._ Brocade Bodice, 1770-85. _B._ Flowered Silk Dress, 1750-70. _C._ Silk Brocade Bodice, 1780-95.

PLATE XIX " 186 _A._ Silk Brocade Dress, 1775-85. _B._ Embroidered Silk Jacket, 1775-90. _C._ Brocade Jacket, 1780-95.

PLATE XX " 199 _A._ Gold-embroidered Muslin Dress, 1795-1805. _B._ Nine Aprons, between 1690 and 1750. _C._ Dress of Spotted Stockinette, 1795-1808.

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

PLATE XXII " 215 _A._ Linen Dress, 1795-1808. _B._ Silk Bodice, 1825-30. _C._ " " 1818-25.

PLATE XXIII " 218 _A._ Muslin Dress with Tinsel Design, 1798-1810. _B._ Silk Dress, Period George IV. _C._ Satin and Gauze Dress, 1820-30.

PLATE XXIV " 231 _A._ Outdoor Silk Jacket, 1798-1808. _B._ Embroidered Muslin Bodice, 1816-1830. _C._ Embroidered Muslin Bodice, 1824-1825. _D._ Satin and Gauze Bodice, 1820-30.

PLATE XXV " 234 _A._ Silk Dress, 1800-10. _B._ Cotton Dress, 1800-10. _C._ Embroidered Muslin Dress, 1820-30. _D._ Silk Gauze Dress, 1824-30.

PLATE XXVI " 247 _A._ Morning Coat of Chintz, 1825-45. _B._ Cloth Coat, 1808-20. _C._ Cloth Overcoat, 1820-35.

PLATE XXVII " 250 Outdoor Silk Dress, 1825-35.

PLATE XXVIII " 259 _A._ Silk Pelisse, 1820-30. _B._ Cotton Dress, 1830-40. _C._ Silk Spencer and Cape, 1818-27.

PLATE XXIX " 263 _A._ Embroidered Silk Gauze Dress, 1820-30. _B._ Gauze Dress with Appliqued Design, 1825-35. _C._ Printed Linen Outdoor Dress, 1827-1847.

PLATE XXX " 266 _A._ Printed Silk Bodice, 1840-50. _B._ Gathered Linen Bodice, 1837-47. _C._ Silk Bodice and Bertha, 1845-55.

PLATE XXXI " 270 _A._ Embroidered Muslin Outdoor Dress, 1855-65. _B._ Riding Habit, 1845-75. _C._ Gauze Ball Dress, 1840-55.

PLATE XXXII " 279 _A._ Silk Dress, 1860-70. _B._ Gauze Walking Dress, 1850-60. _C._ Silk Dress, 1848-58.

PLATE XXXIII " 282 _A._ Silk Dress with Court Train, 1828-1838. _B._ Silk Afternoon Dress, 1872-78. _C._ Silk Coat and Skirt, 1855-56.

DRESS DESIGN

Plates originally printed in collotype are now produced in half-tone

INTRODUCTION

The subject of Historical Costume covers such a multitude of detail that a volume on each century could be written, with hundreds of illustrations. Thus it is, most works on costume are expensive and bewildering; but I hope this small practical handbook will be a useful addition to the many beautifully illustrated works which already exist.

I have divided the matter into centuries and reigns, as far as possible, in this small work, besides separating male and female attire, thus simplifying reference. A special feature has also been made, of supplying the maker or designer of dress with actual proportions and patterns, gleaned from antique dresses, as far back as they could be obtained; and I am much indebted to the authorities at the Victoria and Albert Museum for the permission given me to examine and measure their unique specimens; also to Mr. Wade, Mr. G. G. Kilburne, Mr. Duffield, Mr. Box Kingham, Mr. Hill, Mr. Breakespeare, and others, for their valuable assistance with interesting specimens. I have used outline drawings in the text, as being more clear for purposes of explanation. The dates given to the illustrations are to be taken as approximate to the time in which the style was worn. Many of the photographs have been arranged from my own costume collection, which has made so much of my research simple, reliable, and pleasant. I am also happy to state that before the final revision of this book I have heard that my collection of historical costumes and accessories will, after a preliminary exhibition at Messrs. Harrod's, be presented to the Victoria and Albert Museum as a gift to the nation by the Directors of that firm. Thus the actual dresses shown in these plates will find a permanent home in London, and become valuable examples to students of costume. The coiffures in the collotype plates are not to be judged as examples, for it would have consumed far too much time to set up these figures more perfectly, but all the bonnets, caps, and accessories given are genuine examples.

In a book of this size, one cannot go into the designs of materials, &c., which is a study any earnest student would not neglect, but in this connection I would draw attention to the comparative colour density and proportion of designs chosen for various effects.

It has been my endeavour to arrange a greater variety of the forms which make up the characters of each period, and also to give a wider knowledge into the footwear, or details of the footwear, than is usual in most costume books.

In a review of the styles I would not press any choice for building new designs, as I believe in close individual research and selection, which may utilise many interesting features from costume settings even in periods which are almost scorned. I believe the purest beauty is found in the simple forms of dress and decoration settings from the 12th to the 15th centuries, schemed to the natural proportions of the figure. The grace of line and movement is often aided by the short train, which can be so happily caught up in many ways; the slight drag of the train always keeps the front clear in outline, besides showing the movement of the limbs. Length of fall in the material was desired, the figure creating its own folds with every turn, but a belt was often placed rather high under the breast. There is little reason with nature of fine form to make dress into sections by a corset waist. A long, lithe, complete curve in outline--much happier unbroken, except by the girdle--is certainly the most artistically useful conception, not breaking the rhythm (as does the harder belt), while it also induces much beauty in lifting and arranging the drapery. The long falling sleeve also has the same qualities, giving a greater fullness of shape, a variety of colour (by a difference of lining), with a winglike motion, besides softening the angle of the elbow.

I think the next garment for high esteem is the chasuble-shaped tunic (with or without sleeves). Falling cleanly from the shoulders, it stops at a charming length for the skirt to take up the flow of line. The delightful effect of partly-laced or clasped sides was not missed by the ablest designers. How refined, too, was the character of decoration of the old period! The art of concentrating effects is seen to perfection, retaining the breadth of shape and length unbroken. Jewelled embroidery of fine enrichment was wrought on the borders, neck settings, square corners, the girdle, and the clasps. The preciousness of effect was truly appreciated by the enclosing of the face in the purity of white lawn and zephyr-like veilings; the circlet and the long interlaced plaits and charming nettings were all tastefully schemed. Has woman ever looked more supreme through all the centuries of extravagant styles and distortions? I believe not: but I have come to the conclusion that, at whatever period of seeming insanity of style, the woman of fine taste can overcome all obstacles by her individual choice and "set up," and has really always looked fascinating.

There was another form of decoration at this period--the cutting of the edges into a variety of simple or foliated shapes, giving a flutter and enrichment to forms in a simple manner, and this, in conjunction with the increasing richness of materials, was a valuable aid to lighten the effects. It was probably initiated by the heraldic characteristics in vogue.

The pricked and slashed details had much the same result in enriching surfaces.

Later the fan sleeves of the 18th century were enhanced in a similar way by the curved and scalloped shaping, which was used as late as the Victorian sixties with happy effect on the polonaises.

Now, as regards the finest corset dress, the palm must be given to the sack-back dress of the eighteenth century (not in the period of its distortion with hoops), and a full setting showed it to greatest advantage.

This type of design lent itself to more variety in beauty of arrangement than any other; the looping, reefing, and tying always set gracefully in accord with the back fall. The easy exchange of the stomacher also gave additional chance of effect, and the beauty of the fan-shaped sleeve, with its lace falls at the elbow, was a delightful creation. How rich and refined this character could be, without the monstrous forms and head-dresses which later invaded it and turned it into ornate absurdity!

When we examine the period of Charles I, we find much charming dignity in the adaptations of earlier inventions; the collar settings were noble, indeed perfect, in arrangement, and the bodice decoration and proportions most interesting.

For the grace of girlhood no dresses are happier than those of the early 19th century to 1830, and the inventions in trimmings through this period were prolific in beauty and lightness of style.

Analysis of the many fashion-plates and original dresses of this period will well repay all interested in beautiful needlecraft and dress design. The arrangement of frills, insertions, gathered effects, applied forms, and tasselled or buttoned additions, will be found full of beauty and novelty, especially in the dresses of white embroidery. Plates XXIII and XXIV (see pp. 218-231) give some happy examples of this time.

A word on the most condemned flow of fashion during the Victorian era. There are many dresses of real charm to be found amongst the mass of heavy styles which must not be overlooked in studying design and style. Even the crinoline dress, when treated with the exquisite silk gauzes, as Fig. 3 in Plates XXXI and XXXIII (see pp. 270-282), was as alluring as any woman could wish, and the original design of the jacket in the latter figure, with its richly embroidered, long-skirted front cut short at the back, arranged itself perfectly on this type of undersetting. There was notable refinement of effect and beauty of proportion in many dresses of the sixties, as exemplified in Fig. A, Plate XXXII (see p. 279), the waist being set rather high, and the very full skirt carried back by the crinoline being held thus with its cross ties.