Part 1

THE HERITAGE OF DRESS

THE HERITAGE OF DRESS

BEING NOTES ON THE HISTORY AND EVOLUTION OF CLOTHES

BY WILFRED MARK WEBB

FELLOW OF THE LINNEAN SOCIETY OF LONDON CURATOR OF ETON COLLEGE MUSEUM

WITH ELEVEN PLATES AND ONE HUNDRED AND SIXTY-NINE FIGURES IN THE TEXT

LONDON E. GRANT RICHARDS 1907

TO MY WIFE HILDA E. WEBB

PREFACE

It would be difficult to find a subject of more universal interest than that of dress, and hosts of books have been written which deal with the attire that has been adopted at different times and by various nations or social classes. The ornamental and artistic sides of the question have also received much consideration, but the volumes that have appeared serve chiefly as works of reference. The present book aims at being of more immediate interest and usefulness; it starts with things as they are, and is really a popular contribution to the natural history of man.

On all sides the advantages of observation and the need for the nature-study method in education are being rightly urged, but there is a tendency to narrow the purview. Anything in our environment is worthy of notice, and though attention is well directed towards that which is least artificial, we should not leave man and his works altogether on one side. There is material for observation, research, and deduction, even in a bowler hat and a cut-away coat.

One of the pleasantest features in connection with the making of this book has been the kind and ready help which I have received from all sides. Here and there throughout the text the names of friends and correspondents who have given their assistance have been mentioned. To these I offer my hearty thanks, as well as to the following, who with suggestions, information, or with material for illustrations, have contributed in no small way to the interest of the book: Messrs. Fownes Brothers & Company, Mr. Allan A. Hooke, Mr. W. S. Ward, Mr. Karl, of Messrs. Nathan & Company, Messrs. Tress & Company, Messrs. Lincoln & Bennett, Mr. M. D. Hill, the Rev. A. W. Upcott, Head Master of Christ's Hospital, Miss Clark, Miss Hodgson, the Rev. R. Ashington Bullen, Mr. Henry Miller, of the Church Association, Mr. Ravenscroft, of Messrs. Ede Sons & Ravenscroft, Mr. Paley Baildon, Mr. George Hertslet, of the Lord Chamberlain's Office, Messrs. Wilkinson & Company, Mr. C. M. Mühlberg, Mr. W. S. Parker, of Messrs. Debenhams, Ltd., Capt. H. Trench, Major J. W. Mallet, of the _Army and Navy Gazette_, Mr. Basil White, of Messrs. Hawkes & Company, Mr. W. H. Jesson, Messrs. Souter & Company, Mr. William Lawrence, Mr. Heather Bigg, Dr. J. Cantlie, and the Rt. Hon. Viscountess Harberton.

A glance at the bibliography, which is given on pages 363-7, will show the principal books and papers to which reference has been made.

In connection with the illustrations, special thanks must be given to Monsieur Maurice Sand, the Editor of the _Review of the University of Brussels_, for his kind permission to reproduce a number of the figures used to illustrate a translation of Sir George Darwin's article. These are Figures 14, 17, 18, 19, 21, 22, 23, 26, 27, 30, 31, 33, 46, 48, 62, 63, and 82. Acknowledgments are due to Mr. St. John Hope for Figures 86-8, to Messrs. A. & C. Black for Figures 123 and 124 and 132 and 133, and to Messrs. Prewett & Co. for Figures 111 and 112.

For the original of Plate II, I am indebted to the kindness of Captain R. Ford, of Plate III to Mr. Henry Stevens; Plate IV has been taken from a brass rubbing in Rugby School Museum, through the kind offices of Mr. J. M. Hardwich. I have to thank Mr. R. Bamber for the original of Plate VIII, which was obtained through his instrumentality. Figure B of Plate IX was kindly contributed by the Rev. A. W. Upcott, Head Master of Christ's Hospital, and Figures B and C on Plate X were copied from Moseley's "Voyage of the 'Challenger,'" by the kind permission of Mr. John Murray, while Figure D is due to the courtesy of General Robley. Plate XI is reprinted from _The Reliquary_, by the kind permission of Messrs. Bemrose and Sons, and the source of other illustrations is acknowledged beneath them, while the classic collection of pictures which were brought together by the late Mr. F. W. Fairholt to illustrate his "Costume in England" has proved, as will be seen, of the utmost service.

In conclusion, I have much pleasure in calling attention to the time and care which Mr. W. J. Webb has expended upon the figures, which are a feature of the book; and I must mention the willing help which I have been afforded in a number of details by Miss Amy Astbury and Mr. Bernard Weaver.

WILFRED MARK WEBB.

ODSTOCK, HANWELL, _November, 1907_.

CONTENTS

I THE THRALL OF DRESS PAGE The principles of evolution applied to clothes 1

II THE ORIGIN OF DRESS 6

III DEVELOPMENT OF THE MODERN COAT The ancestral shawl--Problematical buttons 15

IV BUTTONS AS CHRONICLES Episodes in the later history of the coat and cuffs 25

V COLLARS AND BANDS Nicks in coat lapels--The why and wherefore of the white shirt front 41

VI VESTIGES IN THE HAT How hats were evolved--Why plumes are on the left side--The growth of the busby--Helmets and cocked hats 49

VII SHOES AND STOCKINGS Early foot-gear--The origin of the clock--A modern imitation of tattooing--Gaily coloured garters 62

VIII PETTICOATS AND TROUSERS The belted plaid and kilt--Early skirts--The antiquity of trousers--Trouser stripes 72

IX COATS OF ARMS Signet rings--Armorial bearings--Escutcheons--Crests--Badges 83

X GLOVES AND MITTENS Origin of the baby's glove--Fourchettes--The "points" on the backs of gloves 94

XI TAGS, PINS, AND BALDRICS Laces--The evolution and vagaries of the safety-pin--Primitive methods of carrying burdens as illustrated by muff-chains, baldrics, and yokes 100

XII ORNAMENTS Primitive necklaces--Finger rings--The origin of the hair comb--Buttons--Studs--Flowers--Feathers--Amulets 111

XIII HAIR DRESSING Head shaving--Wigs that are still worn--Roman curls and fringes 126

XIV SPECIAL DRESSES Fashions kept up by ceremonies--Survivals in special costume--Flowing garments 135

XV SERVANTS' DRESS The prototypes of liveries--Reminiscences of George II and George III--Origin of the page-boy's buttons--The jockey cap--Aprons 139

XVI COCKADES The cockade a degenerated chaperon--The varieties of the cockade--Cockade wearers 152

XVII CHILDREN'S DRESS Survivals in children's dress--Special school costumes--The blue-coat boy--Public school boys--Adoption of special dress at girls' schools 162

XVIII WEDDING GARMENTS The veil--Bridesmaids and bribery--Old shoes--Orange blossom 175

XIX MOURNING Colours associated with mourning--Widows' weeds--Perennial mourning 181

XX COSTUME CONNECTED WITH RELIGION The surplice and "the cloth"--The civil origin of vestments--Fine vestments--Processional vestments, so called--Nuns' dress--The choker 184

XXI SUNDAY CLOTHES The significance of Sunday clothes--The wearing of hats in church by ladies 205

XXII ACADEMICAL DRESS Gowns and hanging sleeves--The forerunner of the hood--The origin of the doctor's hat--The evolution of the mortar-board 208

XXIII LEGAL DRESS Vestiges of the coif--Hoods and gowns--Signs of mourning 215

XXIV STATE AND COURT ATTIRE Coronation dress--Parliamentary robes--Mistakes in Court dress--Vestiges of the wig and of the chaperon--Court cards 221

XXV SURVIVALS IN MILITARY UNIFORMS Armour--Prickers for flint locks--Forage cords--Reminiscences of gallantry--Regimental badges--Courtship colours 233

XXVI NAVAL UNIFORM Supposed survivals--Petticoats and wide breeches 251

XXVII THE COSTUME OF PUPPETS Punch and Judy--Fashion dolls--Dolls in swaddling clothes--The Egyptian "shabbies" 253

XXVIII THE CLOWN AND PAINTING THE BODY The clown's dress--Savage painting and survivals of it--Tattooing--Patches and false complexions--Masks 269

XXIX STAGE COSTUMES The harlequin, pantaloon, columbine, and acrobat 282

XXX NIGHTDRESS Bands on nightgowns--Nightcaps--Night attire worn in the streets 287

XXXI THE DRESS OF ANIMALS Natural representatives of clothes--Horse trappings--Amulets on harness--Dogs' disguises--Fashions in the form of animals 291

XXXII COLOUR Importance of colour--Instinctive love of bright hues--Desirability of coloured clothes and gay scenes--Colour and complexion 305

XXXIII PATTERNS Ancient designs--Checks and tartans--Parti-coloured clothes--Evolution of ornamentation 311

XXXIV IMPRESSIONS TO BE GAINED FROM DRESS Clues from clothes--Individuality not disguised by them--Modern dress of other countries--Significance of clothes 315

XXXV THE EFFECT OF CLOTHES UPON THE INDIVIDUAL The origin of stays--Tight lacing no new thing--Its effects--Mr. Heather Bigg on the need for support--The ideal foot--Skull deformities--Padding 322

XXXVI FURTHER EFFECTS OF CLOTHES ON THE INDIVIDUAL Mental effects of different clothes--Preferences of girls for certain articles of dress--Movements that depend upon the presence or absence of clothes 339

XXXVII THE RISE AND FALL OF FASHIONS Reason why fashions are followed--Gay clothes seen when periods of depression are over--Condemnation of fashions by the clergy--Quakers--Sumptuary laws--The killing of fashions 343

XXXVIII DRESS REFORM Clothes to be avoided--Need for warmer garments--"Rational" dress for women 354

CONCLUSION 362

BIBLIOGRAPHY 363

INDEX 369

LIST OF PLATES

PLATE FACING PAGE I. Very early man in Java. Illustrating the remarks in Chapter II, pages 6 and 7 _Frontispiece_

II. A woman and a witch-doctor of Central Africa, showing the part that ornaments may play even when clothing is of the scantiest. (From a photograph by Captain Ford) 9

III. The silk vest worn by Charles I on the scaffold. Illustrating the sleeved tunic opening for a short distance down the front. (From a photograph by Mr. Henry Stevens) 18

IV. Reproduction of a brass to John Brandon and his two wives in the Church of St. Mary, King's Lynn. Date, 1364. On the male figure, continuous rows of buttons run from the wrist to the elbow of the under-vest. The women wear the wimple and gorget or throat cloth 38

V. A Siamese Princess wearing trousers 81

VI. Two Padaung women, showing the numerous metal collars which they wear round their necks 114

VII. Methods of hairdressing, illustrated by Romano-Egyptian portrait models in the Myers Collection, Eton College Museum. (From photographs by Wilfred Mark Webb) 129

VIII. A barge girl, showing the costume worn on the canals. (From a photograph by Wakefield Brentford) 150

IX. Fig. A. The cap worn by the scholars of Christ's Hospital until the middle of the nineteenth century.

Fig. B. A scholar of Christ's Hospital. (By the courtesy of the Rev. A. W. Upcott, M.A., Head Master of Christ's Hospital) 167

X. Fig. A. The head of a clown, showing the painted face, the ruff, and the Elizabethan method of doing the hair.

Fig. B. The face of a Japanese actor (after Moseley, by the courtesy of Mr. John Murray).

Fig. C. The painted face of a paper figure which is burned at Chinese funerals (after Moseley, by the courtesy of Mr. John Murray).

Fig. D. The tattooed head of a Moorish chief. (By the courtesy of General Robley) 270

XI. Wooden stay busks. These incidentally show survivals of primitive ornament. From _The Reliquary_, by kind permission of Messrs. Bemrose & Sons, Ltd. 326

LIST OF FIGURES

FIG. PAGE

1. Drawing of a woman engraved by a cave man 9

2. Sketch showing the development of the tunic. In this stage it has no arms 17

3. Diagram showing the way in which a sleeved tunic is derived from the shawl 18

4. A smock frock 19

5. Jacket of a woman, made in one piece. Bronze stage of culture (after Worsaae) 19

6. Man's dress showing buttons on the right side 20

7. Woman's dress showing buttons on the left side 21

8. Diagram showing how a man does up a button. First stage 23

9. Diagram showing how a man does up a button. Second stage 23

10. Diagram showing how a woman does up a button. First stage 23

11. Diagram showing how a woman does up a button. Second stage 23

12. The buttons on the back of a policeman's great-coat 26

13. The buttons that close the slit up the back of an ulster 27

14. A back view of a seventeenth-century coat showing the buttons and buttonholes 28

15. The tab and buttons on the back of a soldier's great-coat which make a temporary waist 29

16. The buttons and tab on a tramway driver's coat 31

17. An eighteenth-century coat with side buttons and tab 31

18. Side tabs and buttons at the back (after Racinet) 31

19. A coat worn at the end of the seventeenth century (after H. Bonnart) 32

20. A modern coat with side pockets 32

21. A footman's coat, modern, with vestigial pocket flaps 33

22. Coat skirts buttoned back (after Hogarth) 33

23. A coat with the skirts buttoned back and showing the lining 34

24. A dress coat with skirts cut away 34

25. A modern coat cuff with buttons 35

26. Turned-back cuff, end of seventeenth century (after Bonnart) 35

27. A coat sleeve (after Hogarth) with horizontal row of buttons 36

28. Sleeve of a coat of the seventeenth century, reputed to have been worn by Charles I 36

29. The turned-back cuff of an overcoat, modern 37

30. A sleeve with vertical buttons and a turned-back cuff as well (from a uniform, after Hogarth) 37

31. The uniform of a coastguard officer of 1775 (after Racinet) 39

32. The nicks in the coat and waistcoat 41

33. A stage when the nick was useful (Lucien Bonaparte, after Paul Lacroix) 42

34. The "toothpick" on a dress coat 43

35. Modern bands 45

36. A blue-coat boy's bands 45

37. A chorister of Jesus College, Cambridge, showing the collar worn until recently. (From a photograph, by the courtesy of Mr. H. Austin Wheaton) 45

38. A stage in the reduction of bands (portrait of Jan Steen from the _Illustrated Magazine of Art_) 46

39. Full-sized bands (portrait of John Pym from the _Illustrated Magazine of Art_) 46

40. A modern bandbox, now used for hats 47

41. Bands that survive at the present day 47

42. The turban of a Jewish priest (after Kitto) compared with the dome of the Mosque of Omar 50

43. A Siamese head-dress and a Pra Pang or votive spire (after P. A. Thompson) 51

44. A Gothic spire (St. Stephens, Caen) compared with the hennin (the latter after Fairholt) 51

45. Band with streamers fastening on the head-dress of an Egyptian woman. From a figure of the Sixth Dynasty, 3500 B.C. 52

46. A lady's head-dress confined with a fillet, fourteenth century (after Viollet le Duc) 52

47. A sailor hat with band and streamers 53

48. A twelfth-century head-dress with streamers, from a MS. (after Viollet le Duc) 53

49. A modern Scotch cap with streamers 54

50. A mitre of the See of Durham showing the strings (after Millington) 54

51. Small vestigial bow of ribbon in a modern hat 55

52. A hat with the remains of lacing 55

53. A hunting hat with complete lacing inside 56

54. A disc of leather 57

55. The disc perforated and the lace inserted 57

56. The lace tightened to form a crown 57

57. The ends of the lace tied as a bow inside 57

58. A bow fastened to the lining of a lady's hat 58

59. Plumes on the left side 58

60. The red Hungarian cap, which was the forerunner of the busby 59

61. A busby (of the Hon. Artillery Company) in which the cap is a vestige only 59

62. A fireman's helmet (of the ancient Greek type) 60

63. Buttons so arranged that the broad brim of a hat can be fastened to the crown, thus forming a temporary "cock" (Hudibras, after Hogarth) 60

64. A modern boot decorated with perforations made in the leather 63

65. An ornamented Roman shoe, of two thicknesses 63

66. A Roman shoe of open-work leather 63

67. A hide shoe of pre-Roman type from Ireland (after Fairholt) 64

68. The original top boot with the upper part temporarily turned down 65

69. The modern top boot in which the upper part can no longer be turned up 66

70. Puttees 66

71. Leg bandages of a royal personage at the end of the tenth century (after Fairholt) 67

72. A stocking with clocks 68

73. An embroidered stocking showing the further evolution of the clock (date 1900) 69

74. An open-work stocking of 1905 69

75. A shawl used as a kilt by a chieftain of Denmark in the bronze stage of culture (after Worsaae) 73

76. A simple dress in the form of a petticoat from an Egyptian figure of the Sixth Dynasty (3500 B.C.), from the Myers collection in Eton College Museum 74

77. A Korean servant (after Hough) 75

78. A short kilt 76

79. A barbarian soldier wearing characteristic trousers (from a diptych of St. Paul, after Marriott) 78

80. A Saxon military man wearing wide trousers (from the Harleian MS., No. 603, after Fairholt) 79

81. A peasant woman of Champéry wearing trousers 80

82. A German Hussar of 1808 81

83. The crest on a modern signet ring 85

84. Sir Geoffrey Loutterell and the ladies of his family, showing the extent to which armorial bearings were worn in the middle of the fourteenth century. From a psalter, made for Sir Geoffrey (after Fairholt) 85

85. The crest and surcoat of Henry, first Duke of Lancaster, A.D. 1347. From the brass to Sir Hugh Hasting at Elsyng, Norfolk (after Charles Boutell) 86

86. The helmet and crest of the Black Prince. From "Vetusta Monumenta" (after St. John Hope) 88

87. The shield of the Black Prince. From "Vetusta Monumenta" (after St. John Hope) 89

88. The surcoat or jupon of the Black Prince. From "Vetusta Monumenta" (after St. John Hope) 89

89. The postilion of a Lord Mayor of London, wearing a crest upon his cap, and a coat of arms upon his sleeve (copied by permission from a plate published by the John Williamson Co., Ltd.) 92

90. A baby's glove without separate fingers 95

91. The back of a woollen glove showing the three vestiges known as "points" 96

92. A modern kid glove showing the fourchettes or pieces between the fingers, which form three pointed V's 97

93. Queen Elizabeth's coronation glove, showing the stitching carried down on to the back. (From a photograph by the courtesy of Messrs. Fownes Brothers and Co.) 97

94. The glove of Anne, Queen Consort of James I, showing the embroidery on the fingers, which is the ancestor of the modern "points." (From a photograph, by the courtesy of Messrs. Fownes Brothers and Co.) 99

95. A silk lace with simple metal tags 101

96. Ornamental metal tags on a velvet neck ribbon 101

97. A simple safety-pin 102

98. An Etruscan brooch or fibula, resembling a safety-pin. (In the collection of Major W. J. Myers in Eton College Museum) 103