Professional Documents
Culture Documents
AT LOS ANGELES
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THE WILEY TECHNICAL SERIES
FOR
J. M. JAMESON
417
THE WILEY TECHNICAL SERIES
EDITED BY
JOSEPH M. JAMESON
GIEARD COLLEGE
ETHEL TRAPHAGEN
Instructor and Lecturer at Cooper Union, The New
York Evening School of Industrial Art, and Brooklyn
Teachers' Association Classes; formerly on the staff
of Dress Magazine and The Ladies' Home Journal
FIRST EDITION
NEwYoRK 1918
JOHN WILEY & SONS, Inc.
CHAPMAN & HALL, LIMITED LONDON
COPYRIGHT, 1918, BY
ETHEL TRAPHAGEN
Art
Library
*TT
50T
<Q
In the former, one must consider the judging of color, and all that this
ftj
includes by way of harmonies, contrasts, areas, etc.; the relation of spaces;
(T) proper proportions; and the beauty and effect of line, balance and scale
arrangements for the production of a design that is dignified, fanciful,
^ frivolous, dainty, formal, or subtle, to express the designer's conception
0^ of the purpose of the costume and its suitability to the wearer.
? to render the material with his pen, pencil or brush in such a way
that the actual design is not robbed of any of its charm. Of course,
J
Rv there are many ways of doing this, according to the technique and
sensitiveness or temperament of the artist, as well as the different
methods customary for the special use which the design is intended.
for
It can easily be seen how advantageous it is to any fashion artist,
whether designer or illustrator, to have an understanding of both branches
to get the best out of either, for they have much in common.
The designer and the illustrator should both have a knowledge and a keen
appreciation of the beautiful lines of the human form, to know what
lines are important to emphasize and what to conceal in a figure which
There are some books which may help the ambitious student in the life
class to observe and impress on the mind fundamental facts which it is
believed most life-class teachers will agree in thinking extremely useful.
Among these are Dunlop's Anatomical Diagrams, Figure Drawing by
Hatton, Anatomy in Art by J. S. Hartley, Richter, Marshall or Duval, and
Drawing the Human Figure by J. H. Vanderpoel. If the student is studying
without an instructor, Practical Drawing, by Lutz, will be found helpful.
ETHEL H. TRAPHAGEN
NEW YORK, 1918.
THE CONTENTS
CHAPTER PAGE
I. SKETCHING 1
III. METHODS 27
IV. COLOR 63
V. DESIGN 75
store windows, this should be constructed present-day silhouette the connecting lines
to enhance the good lines of the
garment. should be but slightly curved.
Care must be taken, however, never to Next, extend the two lines for the
confuse this with the human figure, the sleeves, add the collar and put in the
structure of which isentirely different. centre line, which, in the front, follows
The simplest way of obtaining this the outside line of the waist and goes
form is by drawing two ovals. First, straight in the skirt. See Fig. 2. (Of
make a straight line for the shoulders, course, the proportions differ according
then swing an oval, somewhat foreshort- to fashion; i.e., the normal waist would
ened, from the shoulder line, to repre- go but twice into the short skirt of the
sent the waist. Next, swung another summer of 1916.) It is interesting to
more elongated oval, from near the end- note how the reverse of this straight line
ing points of the first oval, having the and curve forms the back. In making the
farthest part out always opposite the back, connect the ovals in the same man-
Page Two SKETCHING
ner, but note that the centre line goes the straight full front view, because of
straight in the waist and curves in the the advantage of showing the side of the
skirt. See Fig. 3. dress as well as the front. An examina-
The waist and collar lines curve up. tion of fashion publications will prove
The normal waist goes into the skirt about how general is this preference.
two and a half times, and the sleeves 2. Summary. The main points to be
bend at the waist line or a little above. remembered are that the bust and hips,
The supporting points at the shoulder, for the present silhouette, should be on a
elbow, and hips should be marked, for line, that the arms bend at the waist line
it is these points that most affect the or a little above, and that the normal
drapery. waist goes into the instep length skirt
With a little application, these forms about two and a half times.
may soon be mastered, and the practice In the front view remember that the
of doingthem rapidly and turning them centre line follows the outside line in
both ways makes for proficiency. See the waist and goes straight in the skirt,
Pig. 4. Observe that three-quarter front that in the back the centre line goes
and back views are used in preference to straight in the waist and curves in the
SKETCHING A GARMENT Page Three
skirt. (The centre line is the centre of have the centre line of your sketch cor-
the actual figure, not of the sketch.) respond with the centre line of the gar-
The collar and waist lines curve up in ment. You will find the proper observa-
the back and down in the front. The tion of the centre line an infallible guide
bottom of the skirt describes a circle; in giving you the proper relation of the
therefore, like the sketch to the gar-
waist and collar, A ) ment.
the line curves, but *: Next observe
always downward. the large, impor-
The shoulder lines tant facts such as
should be made to length of sleeves,
slant as much as length of coat, the
the silhouette re- long, important
quires. lines and be par-
For this work ticular to put in
use an H.B. pencil, the seams; but
Eberhard Faber, leave details such
Ruby or Emerald as embroidery,
eraser, and emery lace, tucks, plaits,
board pad. The gathers, etc., until
point of the pencil the last. See Figs.
should be kept 5, 6, and 7.
coat-hanger, or preferably a dressmaker's From the first, observe and work for
form; then find the centre line of the texture. Notice how delicate, light lines
garment and see that, in sketching it express thin material better than heavy,
on the oval form first constructed, you hard ones. After ability of this kind is
Page Four SKETCHING
acquired, the next step is to work for series, is absolutely necessary in fashion
speed. Garments in shop windows give work. It is helpful, first for your own
excellent opportunity for sketching when convenience when 'you see things you
the student is trying to acquire speed. wish to remember, or when you wish to
4. Sketching from Memory. Training explain things seen to some one else, next,
the memory in in gathering ideas
comparing it with
verify
\V from the "Open-
ings" from which
to make exact
the garment, to copies or some-
find out how much thing adapted to
you have forgotten their special trade
and where you needs, and to give
have made mis- FIG. 6. Preliminary pencil sketch of a gown.
them an inventory
takes. To be able of their own stock
to sketch from memory is a truly valu- for their reference and convenience.
able asset in costume work. So much Sketching for dressmakers is a little
can be carried away in one's mind from line of fashion all its own. The sketches
"Openings" and places where sketching for them must be daintily finished, as
is not possible. they are to be shown to the customer
5. Sketching from Garments. A knowl- and play an important part in the sale
edge of the proper way to sketch gar- of the gown represented. The simple
ments such as gowns, hats, and acces- ones (see Fig. 6) are done in pencil, with-
SKETCHING FROM GARMENTS Page Five
out heads, but with a stylish foundation but as a rule the more finished dress-
form under- makers' sketches
neath, with are done on
sometimes a figures express-
little color ingsome action
added in the and illustrating
background to the presumed
throw the effect of the
sketch out. gown on the
Sometimes they wearer. See
are still more Figs. 13 and 14.
finished though When sketch-
without heads, FIG. es are being
Page Six SKETCHING
done for embroideries, an additional small on the color. The usual method is to put
detail drawing should be made of the in the shadows first, the light big washes
embroidery at the side of the paper. Tex- next, and the detail last. Clear color is
tures and colors should always be noted used as a rule but opaque or tempera is
on the sketch as well as details, such often used in small areas combined with
as the number of buttons, the clear color sketch;
etc., in order that there sometimes opaque paints
may be no confusion when are substituted. (See Page
making the finished sketch 9 and description under
at home or in your studio. Color, page 68.) Pen-and-
A convenient size for ink outlines are often used
rough sketches is six and for these sketches and kid
one-half inches. Practical bristol or illustration board
sizes for finished dress- is considered the best kind
makers' sketches are from of paper.
ten to twelve inches when 6. Hats. Much of what
heads are included; with- has just been stated ap-
out heads, six and one- plies also in sketching
half or seven inches. hats. Care should be
Wide margins lend dis- taken to express the most
tinction. characteristic side of the
Some of the well known hat; in other words, catch
French designers are Paul its "feature." Be careful
Poiret, Cheruet, Beer, not to lose the relation
Callot Sceurs, Paquin, of the crown of the hat
Martial and Armand, to the head. When pos-
Francis and Drecoll. Al- sible, it is best to have
ways note the designer's some one pose for you to
name on your sketch as insure the right angles.
well as the texture, color, See Fig. 12.
and detail. The name of Before going into this
the design always en- further, consult Section
hances the value of a 15, page 17.
sketch. Always place By William Gebhardt Theatrical designs and
FIG. 9. Theatrical design.
these sketches on the sketches are carried out in
paper according to the Greek Law, i.e., the manner of the other sketches of
most margin at the bottom of the paper. hats and dresses, but a greater liberty
When making a finished sketch of this in the way of eccentricity and exaggera-
kind, a pretty pose should be chosta, tion is permitted. See Fig. 9.
and this should be thought out and 7. Accessories. In connection with
practically finished in pencil; then draw sketching, the student would do well to
in the garment carefully before putting pay attention to accessories such as col-
SKETCHING FROM LIFE Page Seven
Figs. 13 and 14 show two treatments of in clearwater color. The tempera paint
the same kind of sketch. Fig. 13 is done is put on in one flat tone and allowed to
in a realistic way, in Fig. 14 the conven- dry the other colors are then put on over
;
tional method is used. In Fig. 13 light this The opaque paint has the advantage
and shade have been considered while in of being able to be worked over. It is best
Fig. 14 these have been eliminated. to avoid shading, and to keep to flat tones.
Fig. 13 has been done in transparent In this sketch the folds are indicated with
water color, Fig. 14 is done in tempera, strong pencil lines; this same line effect can
an opaque or body color, except the chif- be done with lighter or darker values of
fon, flesh tones, and hair, which are done the tempera used for the garment.*
*
With flat transparent washes, pencil lines often are used most effectively in making a colored sketch.
Page Ten SKETCHING
The illustrations on r
centrating on any
this page show one of one part in detail; re-
the most important membering never to
things to be considered one part before
finish
j
fixing
ing, and that is get- on the outline. It is
ting the general pro- :
cJ~' always advisable to
portion and action of Courtesy of the Prang Co. block in. (See Figs.
FIG. 17. Incorrect way to start a sketch.
the whole, before con- 15 and 18.)
uring the human figure, and in this To construct the oval which will be
instance, we will use it, making it, for used for the head, mark off the first inch
convenience' sake, one inch long. (The and divide this one inch vertical line into
dimensions we are using will vary slightly three equal parts. At a point just a
from those given in most anatomies, be- little below the first third just established,
cause we are
constructing figure a to draw a light horizontal line of indefinite
use in fashion work, where slimness is length and mark off on it a distance
the chief requirement.) Mark off on this equal to a little less than two-thirds of
line seven and one-half heads, in this the one-inch vertical line and so spaced
case seven and one-half inches, as we are that the vertical line exactly bisects the
Page Fourteen DRAWING WITHOUT MODELS
horizontal line. Construct an oval on this intersects the curved line of the neck is
with arcs curving slightly towards each one third each shoulder. With these meas-
other, thus giving proper expression to urements established, block in the figure
the neck. and features.
10. The Torso. Three-quarters of the 13. Other Positions of Head and
length of the head gives the width of each Figure. The diagram of a woman's fig-
shoulder and of each hip. Cut the dis- ure on page 72 of Dunlop's Anatomical
tance between the chin and the pit of the Diagrams will be found helpful to the
neck in half by a dot placed on the centre student, at first, in blocking in the figure.
line. Connect this point with the point After the proportions are well under-
made in marking the width of the stood, the figure and head may be turned
shoulders. The point where this line in other positions; for this the "tooth-
THE FIGURE Page Fifteen
BREAST LINE
ANKLE LINE
SOLES OF FEET
D.-awn by Gertrude F. Derby.
FIG. 21. Construction of fashion figure without model.
Page Sixteen DRAWING WITHOUT A MODEL
Courtesy of Vogue.
FIG. 22. Modern fashions by Helen Dryden which show influence of Kate Greenaway.
pick figures" (see page 22) make a ities on the human body in the world,
good foundation, helping to make simple says a child grows as follows:
the foreshortening then necessary. For First, in breadth and height from birth
suggestions for turning the head in dif- to the end of the fourth year.
ferent positions, see Fig. 23. Second, in height from the fourth to
Children's Proportions. The chart
14. the beginning of the eighth year.
shown in Fig. 24 illustrates the propor- Third, in breadth from the eighth to
tions found in various stages of devel- the tenth year.
opment. In infancy, or at the age of Fourth, in height from the tenth to
about six months, the head measures about the fifteenth year, when the youth gets
four times into the height; at four years, lanky, thin and angular; this is the period
the head measures about five and one- when the hands and feet look too big.
fourth times into the height; at seven, Growth then continues to manhood or
approximately six and one-half times; at womanhood.
ten years, about six and three-quarter In drawing children, great care should be
times; at fifteen, about seven times; and taken to keep their legs, at the slim period,
in the adult from seven and a half to long and slender. Care must be taken not
eight times. Children's heads, therefore, to make them developed, which detracts
it should be noted, are larger in propor- from their childlike charm and makes
tion than those of the adult, the eyes are them look In studying children,
vulgar.
wider apart, the nose shorter, and the look at good illustrations by Kate Greena-
lips somewhat fuller. See Fig. 22, also way, Jessie Willcox - Smith, Elizabeth
Fig. 24 and Figs. 20, 94 and 95. Shippen Green, Birch, and Helen Dryden.*
Professor C. H. Stratz of The Hague, 15. Heads and Faces. The general
Holland, who is one of the greatest author- shape of the head is that of an oval
* " " "
See Happy All Day Through," illustrated by Janet Laura Scott, and also Figure Drawing for Children by
Caroline Hunt Rirumer.
HEADS AND FACES Page Seventeen
with the greatest width at the top; ob- of the nose is halfway between the eye-
serve this, too, in side, three-quarter and brows and chin. See Fig. 23. The eye-
back views of the head. The eyes are brows are on a level with the top of the
in the centre of the head, and the end ear, and the lower end of the ear on a
16. Hands and Feet. The next step high, using the Greek Law of arrange-
should be a careful study of the hands ment. It is well to use real shoes and
and feet. The drawing of these is sim- slippers for models, but study also well-
plified by looking for the large masses drawn examples to see how they are usu-
first and blocking them in. See Figs. 27, ally rendered. Notice how the inside of
10, and 28. For the foot is straight-
example, in draw- er than the outside
ings first from life and then from with the costume; not afternoon shoes
imagination. See Figs. 28 and 29. or evening slippers with a sport suit. It
Shoes are extremely important in fashion is usually best to have evening slippers
work, and should likewise receive the match the gown and hosiery unless you
careful attention of the student. A good use a patent leather pump.
way to group five or seven pairs of
is
both feet are off the ground. See Fig. 30. evenly distributed on both legs. When
THE HUMAN FORM Page Twenty-three
the weight is on one leg, the plumb line figure on these foundations to acquire
begins at the pit of the neck (viewed from action. See Fig. 34.
the front) and extends to the ankle of the In Fig. 36 is shown a seated figure;
supporting leg. On the other hand, when the stool is the principal part of support,
the figure is in action, the plumb line though the foot is extended to receive the
from the neck falls between the legs, pro- weight of the body. Fig. 37 is this con-
viding a proper balance; when this bal- struction applied.
ance is destroyed, the figure either has to Figs. 34, 35, 36 and 37 are given as
be leaning against something or it falls to illustrations the use of the toothpick
of
the ground. See Figs. 32 and 33. After construction in giving action to the human
studying these, it is well to build the form.
Courtesy of Vogue.
horizontally in half, the equal areas will times crudely stated as the ratio of
be found both mechanical and uninterest- 5 to 7 to 11. This is somewhere near
ing, see (a), Fig. 38. On the other hand, correct, and perhaps near enough to
if the difference in areas is great, as in work with. In applying this ratio to
(6), Fig. 38, the sizes are too incomparable the margins of a page it will clearly be
to be satisfactory. In (c), Fig. 38, the seen that the widest margin, or 11, should
oblong has been divided into thirds and appear at the bottom, the next widest,
then into halves, and a point found some- or at the top, and 5, the narrowest,
7,
where between one-third and one-half, alike on either side in all vertical com-
through which to draw a horizontal, shown positions of space. In horizontal com-
by the heavy line. It will be seen that the positions the widest margin should still
relation of the areas above and below this appear at the bottom, the middle size
line toeach other are neither mechanical at the right and the left, and the nar-
nor monotonous, but subtle and interesting. rowest at the top. This is so that the
Hem Muslin Tucks
r
HH-H-
FIG. 39.
Page Twenty-eight METHODS
general form of the display within the different enough to interest because of
composition shall preserve the same ratio their unlikeness, satisfy us.
as is found in the enclosing space itself. (4) Spaces are most pleasing together,
"Not only should the Greek Law of when one is between one-half and two-
areas be applied to margins, but also, thirds the length or space of the other.
when possible with- This gives quite a
out interfering with difference in size for
the meaning of the individual treat-
copy, it should ment, but avoids in-
apply to the width harmonious lengths
and strength of the or sizes placed to-
various parts or gether. In other
paragraphs of the words, when two
copy within the lines are in
good
space. When it is relation to each
possible to do this, other, the shorter
the effect is
doubly line isbetween one-
pleasing. There is half and two-thirds
also often a chance the length of the
to apply these pro- longer line.
form determines the shape within. The the printed page is given to the artist
nearer one comes to the structural edge, (for example eight inches high by seven
the more nearly the and one-quarter inches
lines should conform to wide) and the number
it. Avoid lines that lead of figures to be put in
to corners, lines that that space (say five
lead to the centre, and figures). The artist's
lines that tend to be- work is to compose
come tangents. The these figures in the
lines of the background most attractive group
or setting should be or groups.
lessintense than those The first step is to
forming the object enlarge the dimensions
shown against them. to a convenient work-
The larger the area the ing size. In doing this,
less intense the color the original proportions
should be; the smaller must be kept. The en-
the area the more larging is done by means
. . i FIG. 42. Enlarging and reducing. Rectangles , ,
.
rn ,
intense the color may f
having the same fin( as a common diagonal are in
of a drawing board, T-
be. In order to have two proportion.
square, ruler and
or more shapes hold together for unity, triangle. A detailed statement of the
the space between must be less than the process, using the dimensions just given
smallest of these shapes. is as follows:
When, however, this work is done through- Before taking up ink and wash render-
out by one expert artist, a much more ing, certain mechanical helps and short
MECHANICAL HELPS Page Thirty-one
cuts to results and effects must be con- texture, the smooth white with black
sidered, such as Ben Day rapid shading texture, and the cross-ruled blind with
mediums, Ross Board, spatter, air brush black texture. A knife and pencil are the
and silver prints. Ben Day is a great tools used to obtain effects with this
time-saver, as can be seen from even the paper. See Fig. 48. In the first, the
few samples shown - - stipple effect is ob-
. s-
in Fig. 49 of some tained by rubbing
of the complicated ,
the pencil over the
textiles and half- plain white and
tone effects obtain- the raised surface,
able in the line cut which in this case
or ink drawing. consists of dots.
When Ben Day These catch the
is desired, the lead and a stipple
places where it is effect is the result.
to be used are In the second,
colored with a blue white can be ob-
pencil or blue tained by scraping
water - color wash and
off the surface
and marked with a darker tone by
the number of the rubbing a pencil
texture wanted; on the rough sur-
the engraver with face. Two effects
the Ben Day can be obtained
machine does the with the third ;
facing the paper and about three feet shoes. For this purpose a silver print
away, and draw the edge of a penknife photograph is made in a size convenient
or the handle of a pen or brush over the to work over on Clemmon's plain salted
bristles toward IHHHiibe paper and mounted
you, letting the on cardboard to get
spatter fly onto the
a smooth surface
drawing. With a for drawing. Out-
little practice this lines are then care-
FIG. 48. Ross Board: Embossed white, black and white texture and cross rules.
portance of the pose FIG. 52. Adams. Many faces are im-
SILHOUETTE Page Thirty-five
mobile and one must look to their eyes for they add character and life to the
for character.They cannot be well sil- drawing.
houetted. Little points must be re- "And then, too," explained Miss Lord,
membered such "one is startled
as in this little how much
to find
girl, Fig. 58. You each line and
see her hair is curve of the face
down her back, means. Nothing
but I have allow- is ignored and a
ed a spot of light slightly upturned
to shine through lip may be
the
to give the out- touch that gives
line in suggestion an unmistakable
of her neck. Not note of character-
to have done this ization to the
would have made cutting or inking."
an awkward line The silhouette
person's figure with puzzling results. Half-tone figures are said to be sil-
And it is well to break in with lights, houetted when the white paper appears
Courtesy of J. J. Staler.
FIG 54 Shoes shaded with air brush. FIG. 55. Effect produced by use of an air brush.
Page Thirty-six METHODS
as the background. A silhouette is a design Ellipse. With a compass measure from
sharply defined; the clear outlines of the A to B, Fig. 59, then put the compass
drawing coming directly against the paper at C and strike a circle as indicated by
on which it is re- the dotted line from
produced. Fig. 69. D to E. Where the
A vignette is a sil- circle intersects the
houette having at horizontal line at D
the base or behind and E, place pins.
the figure, or in See Fig. 60. Also
some part of the at the point C
design of the figure, stretch a thread
a wash that disap- from EtoDaround
pears in a vague C, andtie at C.
shadowy effect. This Remove the pin at
wash is reproduced C, and, holding the
FIG. 56. Black and white silhouette used by the Fulton
only in tone and has Theatre to advertise "The Misleading Lady." pencil perpendic-
no definite line ularly, describe
marking its edges, which end in an indefi- the ellipse shown, see Fig. 60.
nite vagueness (such as the veil ends) 25. Swipe Collections.* Swipe collec-
and the shadow background. See Fig. 63. tions is the commercial and expressive
23. Construction of the Circle. It is term for what most artists call documents,
understood that a circle and this is one of the most important
is made with a compass, items under the list of materials. It con-
and an ink circle usually sists of examples clipped from all sources-
with a ruling pen. In catalogues, booklets, maga-
speaking of pens, we zines and newspapers
might say here that illustrating different tech-
there are many kinds of nique and the expression of
lettering pens, which will numerous textures, plaids,
be found serviceable, stripes, vel-
when such work is re- vets and
quired. Good books on detail of all
by Harriet Lord. 24. Constructing an Copying IS FIG. 58, Silhouette by Harriet Lord.
* In
classifyingdocuments for reference in boxes or envelopes, these headings will be useful Men, Women, Children,
:
Animals, Flowers and Fruit, Outdoor Scenes, Furniture and Interiors, Decorative Subjects and Page Decorations, Color
Plates and Booklets.
TEXTURES Page Thirty-seven
one way of studying, but is advisable alternate square spaces with black. See
only when done with intelligence. See Figs. 67, 68 and 93.
illustration a "swipe," Figs. 61 and
of Dotted and flowered materials should
62, 63 and
showing a case in which one
64, not be expressed in a helter-skelter manner,
drawing suggests the pose for another. but, for satisfactory results, should be
26. Textures. thought out in
In illustrating an orderly way,
black material in using imaginary
pen and ink, con- squares or dia-
sideration must be monds for a foun-
done, is often made by drawing small out way, i.e., catalogue wash, a dark
cross stripes in pencil, and filling in background is made (for white lace) and
Page Thirty-eight METHODS
the lace is worked out in Chinese white bination of the two being used. See
over this dark ground. See Fig. 68. Fig. 71.
Wash work embroidery To express textures well,
is also done with Chinese the student should cultivate
white, but the background a love and appreciation for
tone according to
differs in them. It is good to handle
the sheerness, while the them, study them, and ob-
solidity of the
pattern is serve them at home, in
indicated by heavier lines shops, in the street, at
on the shadow side. For- plays, inmuseums and in
tunately, even in catalogues pictures, noticing the
of the better character, weight they have, the folds
more is being left to the they make and the lines
imagination, giving a much they take. Still-life studies
less stilted effect. of them are helpful.
Side plaits, box plaits, Very interesting for the
tucks, gathers, etc., are all study of drapery are the
drawn the way they really drawings of Albrecht Diirer.
look in realistic drawings. See Fig. 109. Observe the
See Fig. 7 for decorative supporting points. Of
treatment. They are also course there are many dif-
made simpler, see Figs. 70 ferent methods of treatment
and 71. as, for example, the way
Stitching expressed by
is one would treat a decora-
a straight line or a line of tive drawing as opposed to
dots, though there are sev- how one would treat a real-
eral different ways of istic one. See Figs. 70,
making them. See 71, and 72.
sometimes dots, and sometimes a com- by the newspaper and is often done in a
PEN AND INK Page Thirty-nine
Covrtesy of N. Y. Globe.
paper pen and ink.
FIG. 63. The original An example of vignette. Magazines have the same three
Page Forty METHODS
classes of pen-and-ink drawings and the is because, in the great care used to show
same principles hold true. See Figs. 70, 71, every seam and detail,, much of spontaneity
79, and 83. The is often lost; nev-
magazines, how- ertheless great
ever, are printed improvement in
on superior paper this matter has
and with better ink, been made of late
so that charming by a number of
effects with deli- the pattern
cate washes, houses, as is
which would be shown in the
entirely lost in careful little
newspaper re- drawing of un-
production, can derwear, Fig.
be obtained. See 82, but which
Fig. 81. Ben still seems very
Day is used with stereotype in
great success in comparison to
magazines. See Fig. 97.
Figs. 79 and 97. Decorative,
In the best or more or less
pen-and-ink unrealistic tech-
work for cata- nique, has been
logues and ad- used much more
vertising, care is of late in both
taken, not only newspaper and
to suggest text- magazine edito-
ure and detail, rials and adver-
but to express tising work, but
the general char- it is not often
them, but that they may give you an in- straight, even line is desired, satisfactory
spiration. results will be obtained by keeping the
In doing pen and ink the beginner will right arm, from the elbow, resting on the
find Gillott's 170 board and drawing
pen or Gillott's 303 away from you. Do
pen most useful. not get your lines
Because of their too close together.
firmness, it is easier Observe the differ-
at first to gauge ence between a dry,
your line. After- harsh line and one
wards the Gillott's full of variations
290 and 291 pens of color. Practice
will be found very beginning a line
-agreeable to work dark and ending
with because of light and vice versa.
their elasticity. Make your line ex-
a table will give better results than the in afterwards. Reproductions in pen and
board flat on the table. Usually speaking, ink are called line cuts.
it is best to work from the top down 28. Individuality. There are great dif-
and from left to right, but when a long, ferences in the make-up of different
Page Forty-four METHODS
people. Some of us seem born with a We cannot declare either of these manners
strong mechanical bias and others with good or bad to the exclusion of the other,
a delicate sensitiveness. In the one case for each of them, and all the gradations
we will tend to draw strong and precise between, have their purpose. The great
lightand subtle though by no means to most natural to you and improve that
be confused with the weak and broken to the utmost. Do not be discouraged
lines of inexperience. The distinction is if your forte is the delicate, sketchy line
one that will be noted not only in our and if you do not succeed with the pre-
modern art, but also in old Japanese prints. cise mechanical one. Find the place that
INDIVIDUALITY Page Forty-five
iswaiting for you where your particular Problem. On a one-quarter size sheet
manner is needed. of bristol board, held vertically, plan mar-
Too often those in charge of art de- gins according to the Greek proportions.
partments do not appreciate any kind of Divide the space within the margins into
work except that which they happen to four equal parts. In the upper left-hand
use. Do not let them discourage you, corner draw lightly, with a compass, a
but remember the words of Carlyle, well-related circle; in the upper right-
"The block of granite which is an ob- hand corner draw lightly, free hand, a
Courtesy cf Harper
FIG. 71. Magazine editorial decorative fashion drawings designed by Erte.
stacle in the pathway of the weak be- well-related oval; in the lower left hand
comes a stepping-stone in the pathway of corner another well-related oval; in the
the strong." lower right-hand corner a well-related
One way to cultivate the proper ap- ellipse. Then, with a very sharp pencil,
preciation of beautiful lines is to begin go over these lightly blocked in figures
by drawing the simplest kind of forms. with as beautiful lines as possible. This
This is certainly advantageous in the case problem can then be repeated with the
of children, and a teacher of such a class idea of filling in these spaces with con-
would no doubt find it useful to give out ventionalized designs to be used for belt
such a lesson as this: buckles or other ornaments.
Page Forty-six METHODS
hook.
Practice putting darks in with one
brush and blending then off with another.
Get so you know just how much water
you want on your brush to get certain
effects. Always mix enough of the color
which you intend to use as the large wash,
and dip your brush into that instead of into
the water and back into your paint, this
to avoid giving your wash a streaked look.
The Eberhard Faber green or red eraser is
a great help to pick out lights. Often a
wash, when nearly finished, has a very
discouraging appearance, and sometimes
all it really needs is the intensifying of the
on the edge of the first line and for instance up one side of the
repeat the operation until you skirt, run a clean brush with
have covered the square. You very little water in it up that
should have enough paint mixed side while thewash is still quite
in your saucer to finish that wet; this will give the desired
square. Very beautiful wash ef- effect.
Chalk, crayon and pencil, however, are rough paper, and the tooth or roughness
handled in much the same fashion and of the paper gives an interesting texture
have much the same effect, and by them to the drawing. See Fig. 45.
great beauty and much feeling may be In doing half-tone drawings, especially
expressed. See frontispiece. Nevertheless wash, and particularly in decorative work,
chalk does not .
it is well to limit
lend itself so oneself to a cer-
drawing less line texture. See Fig. 10. and much catalogue work where a realistic,
Sometimes wash is combined effectively or photographic effect is the chief aim.
with the crayon, then again the crayon See Figs. 103 and 93. A pleasing com-
drawing is carried out almost entirely in promise between the strictly decorative and
line. See Figs. 94 and 95. the absolutely photographic can be seen in
Sometimes crayon pencil is used on Fig. 45, where line effect is used for shad-
Page Fifty-two METHODS
Courtesy of Butterick.
FIG. 82. Pen and ink pattern catalogue drawing.
ing, the flat washes being put on over the In considering methods the student must
charcoal drawing. The mistake, however, keep in mind what the purpose of his
of mixing these two styles in one drawing finished work is and then use the method
must be avoided. which is best adapted to that end. But
In instructing a class it is well for the while this is true he must not let the
teacher to give some simple problems to method he is using interfere with the ex-
be done in two or more values of wash. pression of his own style and individuality
Many good examples of this method are of work.
to be found in Composition by Arthur Dow. In doing brush work with ink, see Fig.
BRUSH WORK Page Fifty-three
86, it is well first to become acquainted much for a more comprehensive under-
with this medium and method, on some standing of the possibilities there de-
practice paper. The decorative effect of scribed and These can in
illustrated.
Etching is a method lately used in fashion Reta Senger, Fern Forrester, Claire Avery,
illustration. Drian and Miss Steinmetz and the other artists mentioned in the
have both obtained some charming effects in text, as good examples of the best work is
this way, but it is a difficult and expensive often the best instructor one could have.
medium to have reproduced, and for that It is still
comparatively seldom that the
reason not likely to come into general use.
is costume designer or illustrator does much
The student is recommended, in fact with textile designing, the field being con-
urged, to become familiar with the work sidered somewhat apart, but as a change
and methods used by such artists as Drian, in these matters appears imminent, it
Soulie, Brunelleschi, Barbier, Lepape, has seemed expedient to include the method
Erte, McQuin, Steinmetz, Helen Dryden, of procedure.
process of printing:
*'
The roller is 16 inches in circumference
and three-quarters of an inch in thickness.
Its width is immaterial because the widths
of different fabrics vary so greatly. The
pattern to be printed is engraved in the
copper. The roller .revolves, takes up the
colorfrom the color box at the bottom;
the color is removed from the smooth
I Width
Courtesy of Women's Wear.
FIG. 87. This illustrates the repeat of a design for silk
or cotton printing. The dotted lines are not part of
the design, but are to show that the unit of design is
repeated in the length every three inches.
TEXTILE DESIGNING*
" The kind and color of
paper used in sub-
of great importance in determining the a picture, seen on a flat surface, but the
sale of decorated fabrics. Endeavor to decoration of a garment which will fall
make designs that are beautiful and in folds. Visualize your design in the
original at the same time they are fabric, made up as some part of a woman's
appropriate to certain definite fabrics. costume. That is the test of a good design."
Remember that a design
may be intri- The chapters on Color, Design and
cate and not beautiful, may even be Period Fabric Design should be care-
beautiful and not appropriate. Do not fully consulted in connection with the
be afraid to be simple and do not merely mechanical method given above in re-
copy.* gards to Textile Designing. For general
"
Keep in mind that a textile design is not Theory of Design such books as Design
*
In designing, scale of color and texture must not be overlooked. Certain colors that are too brilliant or crude for
indoors are appropriate for sport wear out of doors; where the scale of
everything is greater.
TEXTILE DESIGNING Page Fifty -nine
in Theory and Practice and Principles of The peasant design must not be over-
Design by Ernest Batchelder, Handbook looked and such books as "A Magyar
of Ornament by F. S. Meyer, Decorative Nep Muveszete," Molonyay, in four vol-
Design by Joseph Cummings Chase, umes, Peasant Art in Austria Hungary,
Theory of Pure Design by Denman Ross, Peasant Art in Sweden, Lapland and
200 Units of Design (plates), Henry Iceland, and Peasant Art in Russia,
Warren Poor, and Plant Form and Design edited by Charles Holme, will be found
by A. E. V. Lilley and W. M. Midgley an inspiration to designers and stu-
will all be found helpful to the student. dents.
is that based on the three primaries, red, farthest away from blue in the color
yellow, and blue. As these colors can- wheel.
not be reproduced by the mixture or Tertiary Colors are those formed by
combination of any other colors, they are the mixture of the secondary colors.
said to be pure or simple colors, i.e., Thus, green mixed with purple makes
primaries. olive; orange mixed with green makes
The secondary or binary colors are the tertiary citrine; and orange mixed
orange, and
green, purple. These are with purple gives russet.
made by mixing two of the primary colors The more a color is grayed the more
together. This mixture forms the com- neutral it becomes.
plement of the remaining primary. Binary By normal color is meant the foundation
colors are halfway between the primaries color of a scale of tone, the tones getting
on the color chart. darker or lighter from this foundation.
Red and blue make purple, the com-
By tone is meant the modification of
plement of yellow, and directly opposite any normal color by the addition of
yellow on the color circle. black or white.
Blue and yellow make green, the com-
By tint is meant the light tone of
plement of red, and directly opposite red any color (formed by the adding of white
on the color circle. or water to a standard color).
Yellow and red make orange, the com-
By shade is meant the dark tone ?f
plement of blue, and directly opposite any color (formed by the adding of
blue on the color circle. dark or black to a standard color).
Complementary colors, being directly By scale of color is meant the grada-
opposite in the spectrum circuit, are tion of a series of tones of the same color
wholly unrelated in their normal intensity. from the lightest tint through the normal
They show strong contrast and enrich or pure color to the darkest shade.
each other. See Fig. 96.
By hue is meant the departure from
A color mixed with its complement the original scale of a certain color, to
makes gray. a greater or less degree, by the addition
*
Another Theory: There is another color theory which of a comparatively small proportion of
declares the elements of color to be red, green, and violet-
another color. For hue think around the
blue. This is based on spectrum analysis instead of
color sphere; the even steps between the
pigments and is preferred by some authorities. It changes
the color wheel somewhat, regarding colors and their binary and adjacent primary in the color
complements, making red the complement of blue-green, sphere is called the hue. Thus the step
green the complement of red-purple, and violet-blue the
between blue and green is blue-green,
complement of yellow.
For further explanation see A Color Notation by A. H. between green and yellow, yellow-green,
Munsell. both hues of green. In the same way
Page Sixty-four
COLOR
there are two hues of violet, two of orange, think up and down the color sphere;
and two of red. To change a color to yellow lightest, violet darkest, in value.
is
FIG. 97. Editorial magazine fashion work in which color Ben Day is used.
complementary color; in other words, are next to each other in the color circle,
gray it. and are harmonious because they have,
By value meant the amount of dark
is in different quantities, a common element.
or light expressed by a color. For value, 3. Dominant Harmony, i.e., several colors
HARMONIES OF DIFFERENCE Page Sixty-five
all influenced or subdued by the same one part violet makes a neutralized yellow
color. or gray-yellow.
33. Harmonies of Difference. The har- Three parts violet and one part yellow
monies of difference are: 4. (a) Comple- makes a neutralized violet or gray-violet
mentary, i.e., two complementary colors halfway between violet and gray. This
used together with some unifying ele- is true of the other colors.*
ment, by the mixing of the one with the 35. The Color Chart. To make a color
other or by mixing a little gray with circle which is composed of the full in-
both. tense primary colors, yellow, red, and
(&) complementary harmony, i.e.,
Split blue, and full intense binary or sec-
the combination of a primary with the ondary colors, orange, green, and violet,
two colors on each side of its secondary and the full, intense intermediate hues,
complement; as yellow combined with yellow-orange, yellow-green, blue-green,
redrviolet, and blue-violet, or blue com- blue-violet, red-violet and
red-orange,
bined with yellow-orange and red-orange, with the inner circle showing these colors
or red combined with yellow-green and half neutralized and the center neutral
blue-green. Always begin on the pri- gray, a paper should be used which holds
mary and split on the complement; never water color (a "Keystone" Student's
split a primary color. Drawing Block nine by twelve is good),
Double complementary harmony, i.e.,
(c) on which to make the washes. These
that made by the combination of two colors may be put on in small areas from two
side by side on the color wheel with their to four inches square. Satisfactory colors
direct opposites, as, for instance, violet to use for this chart are Winsor & Newton's
and blue-violet with yellow and yellow- Gamboge Winsor & Newton's
for yellow,
Law of background.
Backgrounds must the Winsor & Newton colors differ in
be more neutral than objects shown upon price and are more expensive. These are
them. the colors that seem the best to obtain
Neutralization. Three parts yellow and the desired result.)
* It
is not well to combine colors in their full intensity unless relieved by black or white.
Page Sixty-six COLOR
To obtain the hues such
as yellow orange, Practice on the paper in these small
it understood that a little yellow is
is squares about three inches in size until
added to the orange, for yellow-green a satisfactory results. are obtained; do not
little yellow to the green, while for blue- get your paint on too thick or too thin.
green a little blue is added to the green,
Be sure your brush is perfectly clean and
etc. The colors of the inner circle, which get one color at a time, always making
are known as colors at their half intensity, four or five squares that you may be sure
as, for instance, gray-orange or gray-yellow, to obtain a satisfactory value for your
are obtained by mixing the color with its choice of color. After you have finished
complement. For example, about three cut your squares out and compare them
parts yellow plus one part violet makes .with your value scale; half closing your
a neutralized yellow or gray-yellow. On eyes often helps this comparison. When
the other hand, three parts violet plus one a satisfactory selection has been made,
part yellow equals gray-violet, and this is use either a quarter, a nickel, or a dime,
true of all the other colors. The three according to the size of the chart you
primaries mixed give the center, neutral wish to make and put these over the
gray. (Alizarine crimson, gamboge and smoothest part of the washes, draw with
new blue.) a sharp pencil a circle, with the coin as
Taking a neutral scale showing nine a guide, and then cut out the colored
degrees of value from white to black, the discs. A compass should be used to
equivalent color values should be found make a guiding line for the placement of
for the color chart; as for example, the these small discs, which should be done
very carefully. A good library paste
W. White
should be used to mount the discs.
Yellow H. L. High Light
36. Significance of Color. In Prin-
Yellow-Orange 1
: Light ciples of AdvertisingArrangement the author
Yellow-Green' j
says: "Color is one of the most interest-
Orange | L. L. Low ing and important elements in nature,
Light
Green ] because the eye, the organ of one of
Red-Orange 1- the five senses of man, sees nothing
M. Middle
Blue-Green J but color. Form, as we call it, is seen
Red only because one color is placed against
H. D. High Dark
another and by its position and contrast
Blue,
Red-Violet 1
makes a shape. And every tone of color
D. Dark has a separate meaning yellow speaks a
Blue- Violet J
definite thing to those who understand it.
Violet Low Dark
Blue cannot say what yellow says
B. Black
neither can red or violet."
This value scale should be used in In a folder gotten up by the Art in
selecting colors in order to keep them Trades Club of New York City, valuable
keyed correctly together according to information was given in a strikingly simple
value. and concise way under the heading, The
SOURCES OF COLOR SCHEMES Page Sixty-seven
Principles of Color Harmony, which reads old embroidery and laces. Again, he may
as follows: go to picture galleries and get inspira-
"
Psychological Significance. Color, as tions from old and new Japanese prints
it varies in hue, value and intensity, by and from old and new masters in art.
its intrinsic qualities and the association See illustration of the gown adaptation
of ideas, excites certain definite thoughts from Whistler's Nocturne, Fig. 102.
and feelings in the human mind. In deciding what colors are becoming;
Hues. Blue cold, formal and distant. it must be remembered that a color not
Green cool and restful. only reflects its own tint on the face of
Yellow cheerful, brilliant and unify- the wearer, but also its complement (this
ing. is called simultaneous contrast}. Therefore,
Red warm, rich and aggressive. the eyes, hair, and skin of the wearer must
Orange hot, striking, but decorative. be considered and such a color for the
Violet mournful, mystic, and darken- dress chosen as will neither give the per-
"Isn't there any such thing as just plain, ordinary wood shades walnut brown, mahogany, oak, and chest-
green?" nut; bird colors, such as coxcomb, chanticleer, dove,
"Oh no! It 's the shade, you know. Here, for example, canary, yellow and parrot green; jewel tints, as ruby,
are elephant's breath gray, and taupe." sapphire, pearl, amber, topaz, coral, jade, and turquoise
"Indeed!" blue."
"Yes; and then all the flower colors are represented "I am overwhelmed."
rose, violet, lavender, wistaria, nasturtium, pansy, daf- "Oh, there are others the most fantastic. You can
fodil, American Beauty, cherry blossom, and poppy have a claret necktie, a flame ribbon, laces of ivory or
red." Isabella, a sash of cream, coffee, or chocolate color; a
"Precisely. Half of the color-pleasure of dress goods your apparel, to assist you to perfect self-expression.
w
Courtesy of Criterion Magazine.
FIG. 99. Reproduction showing the combination printing from the two plates.
Page Seventy
COLOR
blue, lapis lazuli, taffy, salt and pepper, mustard, cinna- side to side without doing any more
stone, cabbage, putty, string color, or wine
mon, mud,
mixing or dipping your brush again in
color, besides Indian red or Pompeian red, sea green or
the water. Have the drawing board tilted
pea green!"
"
Thanks ! I think I'll take some ribbons, seme of those toward you and enough color in your
advertised as "distinctly American in nomenclature" > brush to ensure its keeping the little
give me some Palm Beach, Piping Rock, Tuxedo brown,
rivulet going without the danger of dry
Arizona silver, Gettysburg gray, Oregon green, Delaware
peach, Newport tan, and Rocky Mountain blue, if you spots. For practice work it is well to
please." make some eight-inch squares and to try
38. Applying Colors. In painting, be- covering their surfaces with a uniform
your left to your right. The edge of a When you are making a dressmaker's
color may be softened by a clean, damp sketch in white, it is sometimes helpful to
brush; this is necessary in doing velvets. put a little color in the background, up on
Where shiny taffeta is desired,let the one side and down on the other, not mak-
paints dry in a harder line to give crisp- ing it too intense, and taking care to
ness and do not work over while still wet. soften the edge.
Cold colors serve as shadows to warmer When wishing to work in opaque (or
colors and should be laid on first; gen- body color),add a little Chinese White
erally, warm colors over cold should be to your color. This is often useful for
the rule. After the sketch is finished reproduction. What are known as Devoe's
and dry, unfinished-looking darks can be Show Card Colors are good for tempera
picked up with some darker darks and fashion work. Theatrical costume designs
the high lights on the edges of coats, are often carried out in this way.*
pockets, tucks, etc., can be brought out Thompson's Wliite has a stiff quality
by thin, steady, crjsp Chinese white which makes it of value in doing dress-
lines when detail is desired. makers' sketches, where raised buttons,
Prussian Blue, Lake, and Sepia mixed beads, embroidery, lace, etc., are desired.
make One way of graying, or
gray. Put it on rather dry and let it stand
neutralizing, a color is by adding a little until all moistureseems gone before touch-
of its complement; but Payne's Gray ing up these buttons, beads,or lace with
and black are often of value for this use color, gold or silver. Ink is often used
in dressmakers' sketches and commercial with color, both for dressmakers' sketches
drawings. and for reproduction.
All brushes must be kept clean and rinsed Have your
sketch always carefully made
after use. Never leave them in the water. in pencil, putting in the details last.
Take plenty of color in your brush and Put in your big washes first and keep the
try first on a piece of spare paper to see whole sketch going, being particular not
that you have the right tone and that to concentrate too much on any one
"
the brush is not too wet or too dry. part. Avoid niggling "; keep your wash
When you intend covering a space with clean and bold.
a have enough color mixed to
flat tone, Orange Vermilion makes good flesh
go from the top to the bottom and from tones vermilion, good lips and color in
See Page Ni
COLORS Page Seventy-one
cheeks. There are two ways of putting tion of black and white; these should
this color on; one by putting the orange be bought in the tubes.
vermilion in a very light tone over all One should have Prussian Blue and
the flesh and then, when dry, adding the either New Blue, Cobalt, or Ultramarine,
desired color to the cheeks (preferably Payne's Gray, Emerald Green, Hooker's
having it high on the cheek bone) and Green 1, Hooker's Green 2, Lemon Yellow,
quickly softening the edge; the other Yellow Ochre, Naples Yellow, Raw Sienna,
way by stippling or putting on the added Burnt Sienna, either Rose Madder, Car-
color with the tiny point of the brush mine or Crimson Lake, Vermilion, Orange
while the all-over flesh tone is still Vermilion, Mauve, Sepia, Van-Dyck
wet. Brown, Gold, and Silver. In tubes, Lamp-
Always remember that colors dry much black and White, and Thompson's White
lighter. Blue and bluish gray make good if raised work is desired. This list is
shadows for white. In doing a dress- found convenient in saving the time of
maker's sketch in dark blue or black, mixing in doing dressmakers' colored
always keep the color transparent and sketches.
lighter than the real material, though The best colors to get in the Devoe
having the same effect, so that the detail Show Card list are White, Light Yellow,
will be shown. Orange, Light Red, Magenta, Mauve,
The following supplies will be found Dark Blue, Light Blue, and Green. Some
useful in doing this kind of water-color artists use letterine when a shiny finish
work: is wanted.
Colors. Winsor & Newton colors are Brushes. Rubens, and Winsor & New-
preferred. Less expensive but good stu- ton red sable brushes are recommended.
dent's colors are Devoe and Favor Ruhl. Good sizes for fashion work are Nos. 3
It is best to buy the box separately and and 4, and 6 and 7. Devoe or some less
fill it with the colors desired. Tubes dry expensive brushes should be used for ink,
up, therefore, unless colors are to be used Chinese white, gold, and silver, which
constantly or in quantity, it is more eco- are injurious to brushes. Bristle brushes
nomical to buy half pans, with the excep- are good for a steady, broad line.
LES COLCHIQUES
Manteau de voyage de Paquin
From a color illustration by George Barbier.
DESIGN
CHAPTER FIVE
CHAPTER FIVE DESIGN
39. Fundamentals of Good Design. full at the shoulder and skirts that
Order is the law of all
design, No matter are very narrow at the bottom, as these
how far we allow our fancy to go, we should accentuate the size of the hips and trunk.
never lose sight of the Horizontal lines make
principles of design; bal- the figure look shorter
-iince, rhythm, and harmony. and stouter; the shorter
Furthermore, we should the vertical lines are
always aim at simplicity made, the shorter the
and appropriateness. person will seem. Bands
Like the architect, we of contrasting tone or
should study ancient and color accentuate the line
mediaeval examples as well effect.Stout people should
as later ones. Like his, avoid large figured goods
our problem is two-fold : and materials too bright
First, to find out the best or too light in color.
and most beautiful that Thin people with very
can be conceived, and narrow, sloping shoulders
second, to adapt it to our should avoid the exagger-
own present-day needs. ated kimona and shoulder
Great heed must be seams drooping over the
given, fundamentally, to arm, and should keep to
personal characteristics. the horizontal shoulder
The materials used for lines, if they do not wish
comfort or ornament can to emphasize this personal
then be so chosen and so characteristic.
treated as to neutralize Tall, thin people should
individual defects or de- avoid long vertical lines
ficiencies and to enhance such as very definite or
every good point.* large stripes, for these lines
40. Facts Always to be accentuate height. This
Kept Mind. Common
in is not true of inconspicu-
Figured, striped, or plaid materials, Light colors near the face are good.
which approach plain material, will stand When one striking note of color is used
more trimming than those in which the (as in a belt), it should have a repetition
designs are emphatically decorative. elsewhere (as in a touch on the sleeve
Equal or nearly equal amounts of dark and waist).
and light are unsatisfactory unless they 41. Sources of Designs. Bearing the
approach an "all-over" tone. foregoing facts in mind, we may draw our
When other things are equal, square inspiration from museums, libraries, things
'
in nature, or from any source that appeals was adapted from an Arizona pine, and
to us, and start our design. See Fig. 101. Fig. 99, Pattern No. 8079, from a Hopi
Fig. 100 shows us how Indian woman's dress.
Mile. Jacqueline found If the designer's imag-
worked out in blues and gold and gain this love and under-
the vivid flame color of which
there one single
standing of the beautiful
is glint in the
Whistler picture.
which really comprises
Another note of blue is sounded what we call taste. We
in the necklace of wooden beads, should know something
the smaller beads catching up the
of the art of the past
wing shoulder draperies.
Courtesy of New York Times.
as well as the costumes
The waist made for the FIG. 102. Design for an evening dress in- of these periods, so rich
by "A Nocturne" in Tate Gallery
Ladies' Home Journal,
spired
by Whistler.
in material is that of the
shown in Fig. 103, was Egyptians, Greeks, Ro-
suggested by the Lily of the Valley. Fig. mans, Assyrians, and Byzantines, as
No. ouos,
Pattern rso.
.raiiern tne criterion,
8082, in the Criterion, mat oi
well as that of me
the cruder times 01
of tne the
*Paul Poiret truthfully says "There are gowns which express joy of life; those which announce catastrophe; gowns that weep;
gowns romant
as romantic; gowns full of mystery; and gowns for the Third Act."
Page Seventy-eight DESIGN
Gauls and Franks. Beginning with the of the sculptor in so much as the effect
French costumes of the fifth century is to be viewed from every side and, ac-
and the English after the Norman Con- cording to Beau Brummel, the most
quest in the eleventh century, we come important part of a woman's hat is the
down the centuries with a wonderful un- back. Beside this, the laws of propor-
folding of both beau- tion demand that we
ty and eccentricity of consider not alone
design. the relation of the
There are many hat to the head, but
wonderful costume also the relation cf
books that may be the head and hat to
consulted by the the entire figure.
designer with both (For illustration,
enjoyment and profit. headgear too large
A fairly compre- for the figure gives
hensive list of these a clumsy, awkward
will be found on appearance.)
pages 127 and 128. Thus, no matter
42. Hats. When what fashion decrees,
seen from the side, the law of proper
the lines of the crown proportions for every
of the hat should not individual should be
extend beyond the sought out and
line of the forehead obeyed, even if it
nor beyond the hair brings about a dis-
and must appear to cover the head and of clothes as studies in the flat and must
also any puffs of hair. People with large aim to make them please from every
heads should side. At the
not wear hats same time we
with small must not lose
crowns.On the sight of unity
other hand, and must never
people with let distracting
long, thin faces, details interfere
and plain ly with the centre
arranged hair of interest
should not wear which is usually
hats with the head. In
crowns wider other words, we
than the width should aim to
of their faces make personality
and hair. If we dominate the
are ever to clothes.
overcome our For a most
bromidic ten- telling illustra-
reign of Louis XV
caused his name to gorget a piece of linen wrapped about
be given to things ostensibly economical. the neck halfway framing the face. See
45. Twelfth to Fifteenth Centuries. Fig. 105.Around the wimple was some-
To begin with, let us glance at Fig. 110, silk band called a snood.
times tied a The
starting with the twelfth and thirteenth gown was still long and loose at the waist
*This chapter is reprinted through courtesy of the New York Globe.
Page Eighty -four THE FASHION SILHOUETTE
FIG. 108. Showing the houppelande or XV Century robe. The Giving of the Rose, a Gothic decorative
tapestry at Metropolitan Museum.
century came the high-water mark of by Hans Holbein. There was a stiffening
extremes. To this day we find left over of the figure and a tendency toward the
traces of these headdresses in some of the smaller waistline in the sixteenth century.
costumes of the It might be
peasants in re- well to say
mote districts on here that in the
the continent. twelfth century
47. Sixteenth lacing is sup-
Century. The posed to have
sixteenth cen- come in. Cal-
tury found throp tells us
great changes, in his history
on sea and land. of English
Printing had Costume, "Not
been invented, that the lacing
America had was very tight,
been discovered but it com-
and the first menced the
watches made. habit and the
The silhouette habit begat the
was greatly harm, and the
changed.The thing grew un-
Renaissance til it arrived
changed the finally at the
architecture of b u c k r a m,
dress as well square-built,
as of every- cardboard-and-
thing else. Al- tissue figure
brecht Diirer which titters
has left us and totters
wonderful through the
contemporary Elizabethan
sketches of the era." Up to the
early part of fifteenth cen-
this century, tury is notice-
the originals of able a sense of
which are in looseness, of
Courtesy of An Student Magazine
Nuremberg, see FIG. Late XV Century costume drawing by Albrecht Diirer.
everything
Fig. 109. being more or
We are all familiar with the slashed lesssupported from the shoulders, giving
sleevesof Henry VIII and his queens the straight lines of the middle ages.
(15091547) immortalized in the portraits The fifteenth century was transitional;
Page Eighty-six THE FASHION SILHOUETTE
after that the tight, long waists and women The Puritans and
of that day.
wide skirts came to stay until the nine- Pilgrims both are distinguished by the
teenth century brought in the Empire costumes prevalent at the time they were
style. organized (period of James I, 1603-1625,
Seventeenth and Eighteenth Cen-
48. and Charles I, 1625-1649, of England).
turies. The Eliza- The portrait painters
bethan high collar was have done
nobly in
the forerunner of the preserving for us the
Charles I (1625-1649) fashions of the times
flat collar and cuffs through the costumes
of which the Crom- worn by their distin-
wellian period (1649- guished sitters. Such
1660) was a simplifica- men as Velasquez, Van
tion. The drawings Dyck, and Rubens in
of Hollar give excel- the seventeenth cen-
lent illustrations of tury, and in the eigh-
these. The Quaker teenth Watteau,
dress is the survival Fragonard, Nattier,
of Lthecostume of Romney, Gainsborough,
Charles II period Lawrence, Raeburn,
(1660-1685), although and Sir Joshua Rey-
the hat is minus the nolds have left us
feather plain linen valuable documents.
takes the place of Thus we pass
lace. The shoes are the through the sixteenth
same, but without the and part of the seven-
ribbon or roses, really FIG. 111. Early XVI Century fashion drawing by teenth
Hans Holbein. centuries,
similar hi every way leaving the time of the
with the
extravagance eliminated and Renaissance for the period of the Louis of
simplicityemphasized. The beaver hat France. The stately dignity and truly
and hood of the Quaker, then called the roya magnificence of Louis XIV was fol-
1
French hood, were both worn by the lowed by the less formal but luxurious
NINETEENTH CENTURY Page Eighty-seven
Uiiitit
rococo period of Louis XV (1723-1774),
FIG. 112.
hoop and the more extreme though re- at that time in the restoration work of
fined attitude toward dress during the the Pompeian cities, and one
buried
reign of Louis XVI and Marie Antoinette, Empire style the classic type
sees in the
In England at this time George III was emphasized. It was an endeavor for
reigning (1760-1820) and the Shakers something different, something essentially
came to this country ^^^ new, for anything
wearing what con- suggesting the
stitutes their cos- former royalty was
tume to-day the frowned upon by
wide, pleated skirt, Napoleon. It is in-
bonnet and apron teresting to note
of the English work- that it was back to
ing class. this quaint period
49. Nineteenth that Kate Green-
Century. The away (1846-1901)
third great change loved to go for in-
in the silhouette did spiration. It was
not come until the she who revived
Directorate in 1795, these costumes of
so that the early the beginning of the
FIG. 113. Quaint styles of Kate Greenaway.
nineteenth century nineteenth century,
found the narrow skirts and short waists and it is truthfully said in this style, made
conspicuous. See first silhouette of Fig. still more beautiful by her naive touch, she
112. Jacques Louis David, the court painter did dress, and still dresses, the children of
of Napoleon, was a strong influence in two continents. See Figs. 113 and 22.
Page Eighty-eight THE FASHION SILHOUETTE
We have left now the hoop of the houette quite as well as the other parts
eighteenth century, and have come to of the costume, with even the added in-
the nineteenth century with its Empire terest of the fact that down through the
and charming 1830 costume, which always centuries the sleeves of men and women
makes one think of nosegays and old- were very much alike, no bigger no
fashioned valentines (see Fig. 112) and smaller, until the nineteenth century, when
the crinoline of 1840, which made the the leg-of-mutton sleeve was affected also
skirt grow wider (To get the
until 1864. by men. That seems to have been, how-
atmosphere of this time, look at
George ever, the time of emancipation, for then
Du Maurier's illustrations of Owen Mere- men's sleeves became small and have re-
dith's "Lucile.") Fashion then took a mained so ever since.
turn and the skirt began in 1865 to grow The thirty beautiful little period dolls
narrower until in the winter of 1869-1870 in the Metropolitan Museum illustrate
the bustle and the draped skirts appeared. how truly the silhouette has kept for us
In this one century, therefore, with its the fleeting shadow of the passing cen-
narrow skirts, its bell skirts, its wide turies. Let us then not deny or push
skirts, its bustles, and its draped skirts, . aside the silhouette as of small importance.
there were really many more definite Historically it is valuable, and the paths
changes than in the ten centuries of sil- it leads us through in the study of cos-
houettes we have been examining. tume are full of beauty and varied interest.
While speaking of skirts, small mention It is with the silhouette in mind that we
has been made of sleeves, but they sil- should observe every fashion.
been most worn. The The long, graceful folds of this single
material was plain, garment produced a decorative and simple
the decoration,any, if effect, and it is interesting to note also
opment of weaving was linked together, large circles century a formal arrange-
slow, and the repeat pat- ment was often followed,
terns were of the simplest consisting of balanced
kind. Ornamental silks groupings of birds, beasts,
were produced in
first and men placed face to
Europe 500 A.D.; they face or back to back.
were Roman and Byzantine
FIG. 120. XVI Century trunk FIG. 122. XIV and XV Century
motive. animal arrangement.
did silk weaving, but up to the eleventh strips of gilded parchment in place of
century the making of fine fabrics was rolled gilt thread. Undoubtedly through
practically monopolized by Athens, Thebes, the influence of the Crusades, the Sicilian
Corinth, and Constantinople. weavers of the thirteenth and fourteenth
No great extravagance had reached centuries produced many fabrics enriched
France before with winged
this. In the lions, crosses,
tenth century crowns, rayed
we read of its stars, harts, or
king, Charles birds, linked
the Simple, together with
possessing but floriations or
three shirts armorial bear-
In the four- ings. See Fig.
teenth century 117.
Isabeau de 58. Parti-
Baviere, com- colored Dress.
ing to marry The same
Charles VI, in f 1 uence
was thought to which brought
be showing an with the Per-
extraordinary pendicular
degree of lux- Gothic the
ury in having introduction
Courtesy of the Metropolitan Museum of An.
three dozen of heraldic
FIG. 123. Painting by Hans Memling of Betrothal of Saint Catherine
chemises in showing surcot and fabrics used in XV Century. forms, such as
her trousseau. shields, crests
The return of the Crusaders initiated and badges, found women of rank wearing
the nobility of France into the luxury of parti-colored dresses; a division which
the Orient. practically cut the figure in half, the right
67. Use of Gold Thread. Drawn gold side representing the arms of the husband,
thread was not used in early fabrics, but the left that of the lady's own family.
gold leaf on paper rolled around a fine See Fig. 118.
thread of silk was employed. Sicilian Late in 1200 A.D. this character of
fabrics of the thirteenth and fourteenth design was introduced into Northern Italy.
centuries frequently show a purple ground Genoa adopted much that was Persian
of twilled silk with birds and foliage from the twelfth to the seventeenth
formed by gold thread weft. Saracenic centuries, and in the fifteenth century,
or Hispano-Moresque fabrics of Spain are when Louis XI encouraged the art of
distinguished by splendid crimson or dark weaving in France at Tours, and later
blue conventional patterns of silk upon at Lyons under Francis I (1515), the
a yellow ground, and by frequent use of Persian and Italian fabrics were closely
Page Ninety-six PERIOD FABRIC DESIGN
followed, and the vase pattern was "V. 1350-1500. A characteristic design
opments of that style. Louis XIV or XV. This brought the parrot and cockatoo in
Oriental characteristics of either the wicker cages, and similar motifs, much into
French or English styles as shown in the evidence in the embroideries and printed
scenic bits of Chinese or East Indian life. then of animal and floral
fabrics, so full
Louis XVI classic revival examples as ex- design of Eastern character. The British
pressed by the late Louis XVI. rule in India created a demand as early
"Directoire or Transition period in as 1760 for Indian goods, and India cot-
France and the Adam school in England. tons, dimity, and gauze were used in both
This period overlapped into 1800 and was England and France.
generally adopted in American colonies. 61. Becomes the Centre of
Paris
"IX. Empire and Empire influence." Fashion. For centuries Italy was the
centre from which foreign courts adopted
60. The Sixteenth and Seventeenth both fashions in clothes and customs.
Centuries. In the sixteenth and seven- It was not until the seventeenth century
teenth centuries, three distinct types of that Paris became the centre and home of
design were seen, the Renaissance, the taste. Several things had much to do
Oriental Renaissance and the European with bringing this about. First, a great
floral. The Renaissance brought a change and appreciative impetus was given in-
from the accustomed following of Persian dustry by Colbert, the able minister
Oriental design, and such motifs as the Per- of Louis XIV. Secondly, at this time
sian rose and pink, the Rhodian lily and long dresses were abandoned and the
pomegranate gave way to such Egyptian, vogue for large Italian patterns ceased.
Roman, and Greek motifs as the Anthe- Thirdly, the discovery of a way around
mion, Acanthus, Lotus and Iris. The the Cape of Good Hope had much to
second or Oriental Renaissance was really do with the trade in silks turning from
Portuguese-Persian, or the spirit of the Italy to Asia.
Renaissance influencing the East through Under Louis XIV artists held high posi-
commercialism. The third or European tion; it was an ambitious period. World
flora was developed about 1650 during forces, conquests and statecraft, as well
the reign of Louis XIV, when the ferns and as the taste of Louise de la Valliere, Ma-
flora of the Royal Gardens came into use dame de Montespan, Mile, de Fontanges
as motifs. and Madame de Maintenon influenced the
In studying the periods it must not be arts of the time.The magnificent gardens
overlooked that the Dutch brought East that were built, besides the motifs sug-
Indian types into England under Elizabeth, gested by European floriculture, brought
the Jacobean, and Queen Anne reigns, in festoons, vases, architectural designs,
and that the influence of China was etc. It was under this king and his
strong in France during the reign of minister, Colbert, that the highest achieve-
Louis XV, and in England under the ment in lace making was reached in
Georges. The East India Company in France. Lace is supposed to have been
1609 reserved all strange fowls and beasts introduced into France by Catherine de
to be found there, "for the Council." Medici, wife of Henry II, in 1547.
Page Ninety-eight PERIOD FABRIC DESIGN
On the other hand, the arts of Louis The Revolution, 1789-99, brought in
XV had the stimulus qf social life, and simpler materials; cotton, India prints,
were full of ostentation and extravagance. and lawn were used. Colbert had put a
We find much less symmetry or balance stop to their use in former years because
in the motifs, which were shells, feath- it threatened his pet silk industry.
ers, ribbons, knots, garlands, and Chinese The Directoire, 1795 to 1804, followed
and Japanese fancies. Pronounced stripes this Revolution, and this was the tran-
were affected as creations of Madame sition between the classicism of
period
Pompadour, and many charming gowns the late king and the stronger style of
were made of the flowered silks named the Empire. The India shawl introduced
for this favorite of the King. after the Egyptian campaign was much
62. Period of Louis XVI. By the end worn. This led to a French imitation and
of the eighteenth centuryheavy materials then to the Paisley copy made in Scotland,
had fallen from favor and less metallic the Persian design of which has been so
effects were sought in weaving, but popular.
oriental foliation, which was used be- The transition period was largely in
fore and during the Renaissance, again combination with much that was Egyp-
came in. tian in character. The bee, laurel branch,
Under Louis XVI the designers fol- wreath, helmeted warriors, etc., were now
lowed innumerable paths under the im- used as motifs and stripes were still
pulse of capricious fashion. We have popular. This had marked influence and
Arabesque composition, foliage, flowers, effect upon laces now wholly lacking in
allthe rose, and the impetus she gave the sideration, not only by students, but by
production of lace in the beginning of all who wish to develop their knowledge
Rome was
an empire Women wore a tunic
31 B.C.-476 A.D. in West. which was like that of
From Hottmrofh.
From Hottenroth.
Gallic costume before coming under
Roman
FIG. 137. FIG. 139. Gallo-Roman costume 100 A.D.
influence, 55 B.C.
Page One Hundred Six OUTLINE OF HISTORIC COSTUME
Later the men shortened the trousers
and tunic and wore leggins and sandals
with bands.
(6) Women. Inner tunic to ankles;
short outer tunic with short sleeves;
Racinet, Le Costume
Historique; Zur Ge-
schichte der Costume,
Nach Zeichnungen von
W. Diez, C. Frohlish,
M. C. Haberlin,
Heil,
A. Muller, F. Rothbart,
J. Waller Muchen.
History
68. Third to Elev-
enth Centuries.
530 ? A.D. King
Arthur in England
m. Guinevere.
871-901 A.D. King Al-
fred the Great in
England m. Ethels-
witha, d. of Ethel-
.i From Hottenroth.
FIG. 140. Men's costume of the early Franks about 5th to 8th century. ran of Mercia.
THIRD ELEVENTH CENTURY One Hundred Seven
742-814 A.D. Charlemagne m. 1st, Her- by the sixth century. By the ninth cen-
mengardc., m. 2d Hildegarde, m. 3d, tury gloves and handkerchiefs were some-
Fastrade, 4th, Liutgarda. times used. The outer tunic of both the
276 A.D. The Franks came down the men and women was now often decorated
Rhine, took possession of Gaul grad- with a band called a fichu. This was
ually, but made a complete conquest. sometimes set with precious stones and
The fifth century to the sixteenth showed Byzantine influence. See Fig. 142.
century comprises the costume history Reference Books
of the Middle Ages. Zur Geschichte der Costume; Quicherat,
Dress (III to XI Histoiredu Costume en France; Challamel,
Century}
History of Costume in France from Gallo-
(a) Men. Wore a kind of tunic usually
Roman to the Present Time; Shaw, Dresses
to the knee; mantle the shape of a cape
and Decorations of the Middle Ages;
which often had a hood; girdle; shoes.
See Fig. 140.
Jacquemin, Iconographie du Costume.
From Zur Geschictite tier* Costume. From Zur Geschichte der Costume^
FIG. 142. French costume of 9th and 10th centuries. FIG. 143. King and Queen of the llth century.
One Hundred Eight OUTLINE OF HISTORIC COSTUME
1060-1108 Philip I, King of France, m. 1154-1189 Henry II, King of England, m.
1st Bertha, d. of Florence I, C. of Eleonora of Aquitaine.
Holland, m. 2d Bertrade, d. of Simon 1189-1199 Richard I,. King of England, m.
I,C. of Montfort. Berengaria, d. of K. of Navarra.
Dress (XI Century) 1108-1137 Louis VI, King of France, m.
History
England; Shaw, Dresses and Decorations of
the Middle Ages; Hefner-Alleneck, Tracht-
70. Twelfth Century.--
en, Kunstwerke und Gerathschaften.
1100-1135 Henry I, King of England, m.
1st, Mathilda of Scotland, m. 2d, History
Adelicia of Brabant. 71.Thirteenth and Fourteenth Centuries.
1135-1154 Stephen, King of England, m. 1199-1216 John, King of England, m. 1st
Mathilda, d. of Eustace, E. of Boulogne. Alix, d. of Hugo, C. of Mortain, m.
THIRTEENTH FOURTEENTH CENTURIES Page One Hundred Nine
1483 Edward V, King of England. used, and had probably been introduced
1483-1485 Richard III (White Rose), m. into France by Anne de Bretagne, Queen
Anne Nevill. of France. See Fig. 150. The Fifth cen-
1485-1509 Henry VII (Tudor), m. Eliza- tury to the Sixteenth century comprises
beth of York. no*.
the costume his-
1422-1461 Charles tory of the Mid-
VII, King of dle Ages.
France, m.
Reference Books
Marie, d. of
Calthrop, Eng-
D. of
Anjou. lish Costume; Zur
1461-1483 Louis Geschichte der Ko-
XI, m. 1st, stume; Quicherat,
Histoire du Co-
Marguerite,
stume en France;
d. of James I,
of Scot-
Pauquet Freres,
King Modes et Costumes
land, m. 2d, Historiques; Hot-
Charlotte of tenroth, Les Co-
Savoy. stumes chez les
1483-1498 Charles Peuples; LaCroix,
VIII,m.Anne
Manners, Cos-
tume, and Dress
of Brittany.
During the Middle
1498-1515 Louis Ages and Renais-
XII, m. 1st, sance ; Robida,
Jeanne, d. of
Ten Centuries in
Toilette; Racinet,
Louis XI, m.
^ Hifitoire du Cc-
2d, Anne, From ZUT Geschichte der Costume, stume / Planch^,
widow of FIG. . 149. German costume of early iGth century.
Dictionary and
Charles VIII, Cyclopedia; Viol-
m. 3d, Mary, d. of Henry VII, King let-le-Duc, Dictionnaire du Mobilier Fran-
of gais, Vols. 3, 4; Raphael Jacquemin, Icono-
England.
graphie du Costume; Shaw, Dresses and De-
Dress corations of the Middle Ages; Piton, Le
The fifteenth century was an exaggera- Costume Civil en France du XIIF au XIX e
tion of the modes of the fourteenth. More Siecle;Strutt, Sport and Pastimes of the
extravagant fabrics were used, and every- People of England; Strutt, Complete A
View of the Dress and Habits of the People
thing became more extreme, even to the
of England;' Bonnard, Costumes Histcriques
points of the hats and shoes. des XIF, XIIF,
e
, et
e
XIV
Siecles; XV
Towards the end of this century came a Boutet de Montvel, Joan of Arc; Sanborn,
transitional period. The toes of the shoes Ann cf Brittany.
became round, the dresses became more
semi-fitting, and were split up the front, History
necks and were worn with a girdle. The 1509-1547 Henry VIII, King of England
close-fitting cap was the head-dress now m. 1st, Catherine of Aragon; m.
Page One Hundred Twelve OUTLINE OF HISTORIC COSTUME
FIG. 150. Costume of transition period. FIG. 151. Costume of 16th century, 1527.
Anne of Brittany, 1500.
1610-1643 Louis XIII, King of France. The woman often wore a string of pearls
m. Anna of Austria. at the neck. Notice the simple way their
1643-1715 Louis XIV, King of France, hair was worn. See Figs. 157 and 158.
m. Marie Therese of Spain. In the latter part of the period, under
Favorites Mile, de la Valliere, Mme. de Louis XIV, the skirt was looped up, the
Montespan, Mile. Fontanges, Mme. waist became longer, heels grew higher,
Maintenon. waists grew tighter and fans were a neces-
Dress (XVII Century} sity. See Fig. 160.
The heaviness of the sixteenth century Two kinds of neck lines were now pop-
gave way by degrees to the more picturesque
ular: The straight line decolletee, close
costume of the seventeenth century. to the neck, which seemed an extension
of the panel front used with short sleeves;
(a) Men. Men's trousers lengthened
and they shortened the waistline and and the round neck line, which was off the
added peplum, and, like the women, used shoulders. A shorter, fluffier sleeve w as
T
lace and ribbon profusely. used with the round neck line. Both these
They wore
musketeer boots. Their hats were high are forerunners of the eighteenth century.
with a flat brim and decorated with flow- The Fontanges headdress came in the
ing plumes. The hair was worn long. late part of this century and clothes be-
For an outer garment the cape was used. came very formal under the sway of Mme.
Men's costumes in the last quarter of de Maintenon. See Fig. 160. Large bro-
this century changed greatly. The doub- cades that looked like furniture covering
let now turned into a waistcoat or vest were much used in the latter part of the
and a new garment or outer coat was reign of Louis XIV, and the material was
added. Sleeves had deep cuffs. The stock draped so that a bustle effect was obtained.
collar and jabot took the place of round The women carried small, round muffs.
History
75. Eighteenth Century.
1702-1714 Anne, Queen of England,
m. George D. Cumberland.
1714-1727 George I, King of Eng-
land, m. Sophia Dorothea, his
cousin.
1727-1760 George II, King of Eng-
land, m. Carolina of Branden-
burg- Ansbach.
1760-1820 George III, King of Eng-
land, m. Charlotte of Mecklen-
burg-Strelitz.
1715-1774 Louis XV, King of France,
m. Maria Leczinska.
Favorites Marchioness de Pom-
padour, Countess du Barry.
1774-1792 Louis XVI, King of France,
m. Marie Antoinette, d. of Franz
From Pcmquet Frtres.
I.Stephen, Germ. Emp. FIG. 162. Draped costume of the late 18th century, 1763.
FIG. 163. Louis XV Watteau costume showing 18th century hoop, 1729. square neck, the sleeves were
Page One Hundred Eighteen OUTLINE OF HISTORIC COSTUME
FIG. 164. The costumeof a man in 1740. FIG. 165. Louis XVI costume, 1777.
FIG. 172. Costume of the First Empire, FIG. 173. Costume of the First Empire,
1811. 1813.
NINETEENTH CENTURY Page One Hundred Twenty-one
found its normal FIG. 177. Costumes of the Second Empire, petticoats which
NINETEENTH CENTURY Page One Hundred Twenty-thre*
led up to the return of the crinolines and Geschichte der Costume; Iconographie du
hoops of 1854. See Figs. 176 and 177. The Costume, by Raphael Jacquemin; English
long shoulder line persisted and sleeves Costume, by Calthrop; Fashions in Paris,
were bell-shaped and full at the wrist. 1797-1897, by Octave Uzanne; Modes et
Jackets, shawls,and capes similar to those Usages au temps de Marie Antoinette,
worn Empire were used. By
in the First Livre; Journal de Madame Eloffe, Le
1870 the bustle had supplanted the hoops, Comte de Reiset; Marchande de Modes;
and from that time to the present rapid Dame Fashion, 1786-1912, by Julius M.
changes have taken place. Price; Galerie des Modes et Costumes Fran-
ais, 1778-1787, par M. Paul Cornu;
Die Mode; Modes and Manners of Nine-
Reference Books
teenth Century, by Dr. Oskar Fischel and
Modes et Costumes Historiques, par Pau- Max von Boehn, translated into English
quet Freres, two volumes; Portraits en by M. Edwardes in three volumes, 1790-
Pied, Dessines par Sante Graves. Zur 1878 and Godey's Lady's Book, 1830-1890.
Bulletin, Vol. XI, No. 11. Illustrated. Challamel. The History of Costume in France from
Prisse D'Avennes. Histoire de L'art Egypt. Illus- Gallo-Roman to present time. Illustrated. Eng-
trated. French Text. lish text.
Evans. Greek Dress. Illustrated. English text. Calthrop. English Costume. Early English, Middle
Hope. Costume of the Ancients. 2 vols. Illus- Ages, Tudor and Stuart, and Georgian. Published
trated. English text. in 1 vol. and in 4 vols. Illustrated. English text.
\otor. La, Femme dans L'Antiquit6 Grecque. Strutt, J. Sport and Pastimes of People of England.
French text. Illustrated. English text.
Van Rensselaer, Mrs. Schuyler. A Cretan Snake Strutt, J. A Complete View of the Dress and Habits
Goddess. Century Magazine. August, 1916. of the People of England. 2 vols. Illustrated.
Illustrated.English text. English text.
Brown, G. Baldwin. How Greek Women Dressed. Pauquet Freres. Modes
et Costumes Historiques.
Burlington Magazine, December, 1905, and Jan- 2 vols. Illustrated. French and English text.
uary, 1906. Illustrated. English text. Hughes. Dress Design, an account of Costumes for
T'lnchb. Dictionary and Cyclopaedia. 2 vols. artists and dressmakers. 1 vol. Illustrated.
Illustrated. English text. English text.
Jacquemin. Iconographie du Costume. Illustrated. Hughes. Old English Costume. Illustrated. Eng-
French text. lish text.
Quicherat. Histoire du Costume en France. Illus- Fairholt. Costumes in England. 2 vols. Illus-
Pollen, Mrs. J. Hungerford. Seven Centuries of only lists books and articles, but parts of books
Lace. English text. and individual plates.
Barnard, F. P. Books for Reference on English Dillon, H. A. Books Treating of Costume. (In
Costume. (In his Companion to English History : Fairholt, F. W. Costume in England. 3d ed.
Middle Ages. 1902. p. 115.) REF. 942B25 1885. v. 1. pp. xi-xiv. Also 4th ed. 1896.)
391F17
Bibliography of Costume. (In Encyclopedia Ameri-
cana. 1903-04. v. 5.) REF. 031E56 Evans, M. M., Lady.Books on Greek Dress.
List of
"
See article on Costume." 16 titles. (In her Chapters on Greek Dress. 1893. pp.
vi-xvii.) 391E92
Bibliography of Costume. (In New International
Encyclopaedia. 1902-04. v. 5. pp. 333-34.) Fletcher,A. C. Bibliography of Indian Adornment.
REF. 031I61GI (In Hodge, F. W. Hand-book of American Indians.
Annotated list of about 30 titles.
1907. pt. 1. p. 20. U. S. Bureau of Ethnology.
Bibliography of Costume. (In New International Bulletin 30.) REF. 970.1U58
1914. v. 6. 18 titles.
Encyclopaedia. p. 143.)
Bibliography of Ecclesiastical Costume. (In New Gipsy Costume. (In Journal of the Gipsy Lore
Internationa! Encyclopaedia. 1902-04. v. 5. Society. New ser. v. 1. p. 25. July, 1907.)
p. 338.) REF. 031l6lGi REF.
Brief annotated list.
11 titles.
Bibliography of Ecclesiastical Costume. (In New Hough, Walter. Bibliography of Indian Clothing.
International Encyclopaedia. 1914. v. 6. p. (In Hodge, F. W. Hand-book of American Indians.
148.) 1907. pt. 1. p. 313. U. S. Bureau of Ethnology.
Bulletin 30.) REF. 970.1U58
Bibliography of Jewish Costume. (In Jewish Ency- 11 titles.
Peabody Institute, Baltimore. Catalogue of the Same. (In his Kostiimkunde. III. 1. 2,
p. 247.) Delineator.
Gazette du Eon Ton
Quellen fur die Kenntnis der Kostume. (In Meyer's
Godey's Lady's Book.
Konversations-Lexicon. 4th ed. 1888. v. 10, Graham's Magazine.
pp. 120-21.) Graphic.
Brief list of works on costume. Harper's Bazar.
Illustrated London Neivs.
Same. (In Same. Cth ed. 1904-08. v. 11, Journal des Dames et des Modes.
Weiss, Hermann. Verzeichniss der Abbildungen, Armies of To-day. Edited by Wesley Merritt and
nach ihren Quellen. (In his Kostiimkunde. others. 1893. 355M57
Alterthum. 1881. G391W42 Articles, illustrated by wood-cuts, on armies of United
I, pp. xxiii-xli.) States, Great Britain, Germany, France, Russia, Austria-
Ligt of works on ancient costume. Hungary, Italy, and Mexico.
BIBLIOGRAPHY Page One Hundred Thirty-nine
Art of Dress; or Guide to the Toilette. 1839. 391A78 Child, Theodore. Wimples and Crisping Pins. 1895.
6 plates of colored engravings. 391C53
Illustrated studies in the coiffure and ornaments of
Aspin, J. Cosmorama: a View of the Costumes women, from ancient times through the early 19th century.
and Peculiarities of all Nations. 1826. 910A84
Clothes and the Man; hints on the wearing and caring
Illustrations are small , and are colored.
of clothes. 1900. 646C64
Ballin, A. S. (Mrs. Berry.) Science of Dress in Discussion of modern male attire.
Blanc, A. A. P. C. Art in Ornament and Dress. Costume. (In New International Encyclopaedia.
1877. 646B63 2d ed. 1914. v. 6. pp. 137-48.) R
" cuts and 2 3 plates (23 figures).
Personal adornment," pp. 49-274. Many Historical.
colored plates of head-dress and apparel.
Costume. (In Nouveau Larousse- Illustr<5. v. 3.
Boehn, Max Die Mode: Menschen und
von.
R
p. 314.)
Moden im neunzehnten Jahrhundert. Ausge- 4 colored plates of civil and military costume.
wahlt von Oskar Fischel. Text von Max von
Boehn. 1907. G391B67 Costume of the Lower Orders of the Metropolis, n.d.
XIV6 et XV Siecles.
e
Dessine's et grave's par Davy, Richard. Furs and Fur Garments, n.d.
Paul Mercuri avec un texte historique et descriptif 391D24
General historical sketch. 12 plates showing fur gar-
par Camille Bonnard. Nouvelle Edition avec une ments, 9th-19th centuries.
introduction par Charles Blanc. 3 v. 1860-61.
REF. F39lB71o Decorum; a practical treatise on etiquette and dress
200 colored copper engravings. of the best American society. 1880. 395D29
Far, G. P. Fashion, the Power that Influences the Hughes, Talbot. Dress Design: an account of cos-
World. 3ded. 1871. 391F79 tume, for artists and dressmakers. 1913.
Chiefly discusses modern male dress.
646H89
Gale, E. C. Hints on Dress. 1872. 646G15 Has 35 collotype plates and numerous other illustrations,
Discussion of modern costume. 90071870
Godwin, E. W. Dress and Its Relation to Health
Hughes, T. P. Dress. (In his Diet, of Islam.
and Climate. 1884. 391G59
Small wood-cuts of dress of various types, from early
1895. pp. 92-99.) REF. 297H89
Egyptian times to about 1850. Mohammedan dress. 9 wood-cuts.
Ireland, J. B. Wall-Street to Cashmere: five years Lacy, T. H. Female Costumes, Historical, National,
in Asia, Africa, and Europe, 1851-36. 1859. and Dramatic. 1865. REF. 391H152C2
910165 Contains colored plates.
Colored plate of Arab costume, and wood-cuts of other
costumes.
Male Costume, Historical, National, and Dra-
matic. 1868. REF. 391L152C1
Jacquemin, /?. Histoire Gcnerale du Costume No text. Contains colored
me me plates.
Civil, Religieux, et Militaire du IV au XII'
Lechevallier-Chevignard, G. Costumes Historiques
Siecle. Occident (315-1100). Paris, n.d. (?188-.) me 6me
de Femmes du XIV* au XVIII Siecle.
REF. F391J19
1889. REF. F391L45
Jeune, Lady. Dress for Motoring: dress for ladies. Colored plates.
(In Harmsworth, A. C. and others. Motors and
Lipperheide, F. J., Freiherr von. Katalog der
Motor-driving. 1902. pp. 66-71.) 621.4H28
Freiherrlich von Lipperheide'schen Kostumbib-
4 cuts of motor costume.
liothek. 2. v. 1896-1901. RG016L76
Johnson, John. A Journey from India to England, G^J illustrations from catalogued works, showing cos-
tumes of all periods. Half-tones.
through Persia, Georgia, Russia, Poland, and
Prussia, in the Year 1817. 1818. 915J67 Loemyer, J. F. N. (Auguste Wahlen.) Mueurs,
5 colored plates.
Usages, et Costumes de tous les Peuples du
Jones, William. Coronation Robes. (In his Monde. Oceanic. 1843. RF919L82
Crowns and Coronations. 1883. 34 colored plates.
pp. 491-504.)
394J79 Lord, W. B. The Corset and the Crinoline; a book
Wood-cuts of costumes.
of modes and costumes, from remote periods to
Joyce, T. A. Women of All Nations. 2 vols. the present time. 1865. 391L11
1908. 572J89 54 full-page and other engravings.
25 colored plates and many smaller illustrations of the
women of all countries. Louandre, Charles. Les Arts Somptuaires. 1857-
58. 3 v. (1 v. text, 2 v. plates.) REF.
Kohl, J. G. Die Volker Europas. 1872.
Special attention paid to French costume. Richly colored
G914K79 plates of costume, etc., from 5th-17th century MSS.
S colored plates.
Le luxe (Paris) Supplement. Ball, Winter, and Sum-
Koppen, F. von. Armies of Europe, illustrated.
mer Costumes for 1893-94. RF391L97
1890. 355K77 Contains colored plates.
20 double-page colored plates and many cuts of uniforms
of modern Europe. Malerische Studien: eine Reise um die Welt, in
Kontum. (In Brockhaus' Kon versa tions-Lexicon. 200 farbigen Photographien. n.d. RG910M24
14th ed. 1895. v. 10.) REF. G033B86 Many of the 200 colored half-tones give the modern
costumes of European and Asiatic countries.
Historical sketch, with 4 colored plates Bibliography.-
Malliot, Joseph. Recherches sur les Costumes . . .
National Beauties and their Costumes, n.d. Rhead, G. W. Chats on Costume. 1906. 391R46
391N27B Colored frontispiece and 117 wood-cuts and line engrav-
ings. Bibliography.
15 photographs of women in various European and
Oriental countries.
Modern Practical Design. 1912. 740R46M
National Types and Costumes, n.d. 391N27 Treatment of Drapery in Art. 1904. 743R46
Photographs of feninine types and costumes of Europe 50 diagrams and line drawings, and 32 half-tone plates.
and Asia.
Ridpath, J. C. Great Races of Mankind. 4 v.
Oliphant, Mrs. M. 0. W. Dress, n.d. 646O47 1892. REF. 572R54
"
.(Esthetics of dress. Several illustrations. See Costume " and "" Dress " in general
"
index. Illus-
trations include colored type pictures and many wood-
Album cuts of many nationalities.
Parmentier, A. Historique, Publie sous la
Direction de Ernes': Lavisse. 4 vols. 1900-1907. Universal History. 17 vols. 1896.
REF. F909P25 REF. 909R54U
Each volume has 1300 to 2000 wood-cuts.
same material as his
"
Great Races."
Practically
Simpson, William. Picturesque People: groups Weise & Co. 100 historische Kostum- and Volks-
from all quarters of the globe. 1876. trachten-Bilder. n.d. R391W42
REF. 915S61 Colored plates, no text.
18 colored plates.
Weiss, Hermann. Kostiimkunde; Geschichte der
The Seat of War in the East. 2 v. in 1. 1855- Tracht und des Geraths. 3 v. in 4. 1872-1883.
56. REF. 947S61 G391W42
81 lithographs, introducing uniforms of Crimean War.
I. Die Volker des Alterthums. 2e. Auflage. 1881.
Skeat, W. W. The Past at our Doors. 1911. 454 wood-cuts and 8 chromolithographic plates.
390S62
"
The Story
II. Das Mittelalter, vom 4. bis zum 14. Jahr-
of our Dress." pp. 50-122 Illustrated.
hundert. 2e. Auflage. 1883.
Spalart, Robert von. Versuch tiber das Kostum der 367 wood-cuts and 8 chromolithographic plates.
vorziiglichsten Volker des Alterthums. 3 v.
RG391S73
III. Vom 14ten Jahrhundert bis auf die
1796-98.
Gegenwart. 2 pts. 1872.
Contains colored plates.
418 wood-cuts (900 figures).
Steele, F. M. Beauty of Form and Grace of Ves-
Whitcomb, Merrick. History of Modern Europe.
ture. 1892. 613.7S81
-Esthetics of dress.
1903. 940W58
Several illustrations of costume.
Sturgis, Russell. Costume. (In Universal Cyclo-
1900. v. 3. R031U58 Whole Art of Dress. 1830. 391W62
paedia. pp. 209-12.)
Engraved illustrations of hate, boots, neckwear, etc.
Historical.
Traphagen, Ethel. Costume Design and Illustration. Willemin, N. X. Choix de Costumes Civils et Mili-
"With outline of historic costume. Illustrated. taires des Peuples de 1'Antiquite. 2 v. 1802.
400 wood-cuts, from paintings and sculptures, of women Zogbaum, R. F. Horse, Foot, and Dragoons. 1888.
from early Egypt to the present time.
355Z85
Vecellio, C. Costumes Anciens et Modernes. 2 v. Wood-cuts of uniforms of France, Great Britain, Germany,
and the United States.
1860. RF391V41
513 illustrations of all types of people. Text in Italian
and French.
Zur Geschichte der Kostiime; nach Zeichnungen von
Wilhelm Diez [and others.} Herausg. und verlegt
Vollstdndige Volkergallerie in gdreuen Abbildungen
von Braun & Schneider, n.d. (Miinchener
aller Nationen. Vols. 1, 3. 1830-39. G910V92
Colored illustrations of people in various countries of Bilderbogen.) REF. G391Z96
Europe, Asia, and Africa. 119 colored plates (Nos. 296-1212, not consecutive),
showing costumes of Europe and Asia, 4th to 19th centuries.
Wagner, L. Manners, Customs, and Observances. No index or systematic arrangement.
1895. REF. 390W13
Scattered notes on peculiarities of costume. See Index. ABYSSINIA
Walker, Isaac. Dress: as It has Been, Is, and Will Halle, Clifford. To Menelek in a Motor-car. 1913.
Be. 1885. 391W17 916.3H18
General discussion. A few wood-cuts. 72 illustrations from photographs.
Egerton, M. M., Countess of Wilton. Toilette in Shoberl, Frederic. World in Miniature: Africa.
Afghanistan. (In her Book of Costume. 1847. 4 v .
(Vol. I missing.) n. d. REF. 916S55
pp. 449-56.) REF. 391W75 45 colored engravings of Moors and Negroes.
7 wood-cuts.
Sladen, Douglas. Carthage and Tunis. 2 v. 1906.
Hamilton, Angus. Afghanistan. 1906. 915.8H21 916.1S63
Costume in Kabul, pp. 380-84. Several half-tone plates Numerous half-tones and one colored plate of costumes of
of costume. Tunis.
Costumes u < A
of Arabs, oft
photographs
Arab women, and of dragomans described.
Savage Childhood: a story of Kafir children.
1906. 572K46 Berbrugger, M. Algerie; historique, pittoresque, et
32 half-tone plates of children monumentale. 3 v. 1843. RF965B48
Jsinrlnif A H.
IT Qnvnna A r,* ^c IVIl^oc-t Lithographs
g and wood-cuts of natives and French soldiers.
Landor, A. Savage-. Across \
\\ildest Africa. I',-! ..
See
"
Costumes " in Index. Many half-tone plates of
Leeder, S. H. The Desert Gateway. 1910.
African and Moorish dress.
916.5L48
Lloyd, A. B. Uganda to Khartoum: life and ad- 16 plates, from photographs.
About 25
Neufeld, Charles.
half-tones of Zambesi natives.
261
,
REF 391F37 Foreign Armor in England. 1898. 759S84
8 colored plates and 44 illustrations in the text.
8 colored copperplates of Arab costume.
Calvert, A. F. Spanish Arms and Armor. 1907. Macklin, H. W. Brasses of England. 1907.
399C16 739M15B
3S6 illustrations.
Wood-cuts and descriptions of armor, 1277-1625.
ASIATIC ISLANDS. See MALAYSIA, PHILIPPINE Boner, Charles. Transylvania; its Products and
ISLANDS its People. 1865. 914.39B71
" "
See Costume in Index. 2 plates (1 colored) and 3 cuts
ASSYRIA of costume.
913L42
Eighty Club. Hungary: its people, places, and
Dress, pp. 248-63. A few wood-cuts show costume. *
politics. 1907. 914.39F34
Maspero, G. Life in Ancient Assyria. (In his Life 8 half-tone plates of national costume, peasant and official.
in Ancient Egypt and Assyria. 1892. pp.
913M41 Gerard, E. The Land beyond the Forest: facts,
194-376.)
Cuts of costume from Assyrian antiquities. figures, and fancies from Transylvania. 2 v.
1888. 914.39G35
Contents " of each volume.
"
AUSTRALIA See 6 photogravures and
15 wood-cuts of costume.
Lumholtz, Carl. Among Cannibals in Australia,
and the Aborigines of Queensland. 1889. Grohman, W. A. Baillie. The Land in the Moun-
tains: past and present of Tyrol. 1907.
919.4L95
See
"
Costume " in index. Wood-cuts of aboriginal cos- 943.7G87
tume. A few half-tone plates of costume.
BIBLIOGRAPHY Page One Hundred Forty-seven
Hering, G. E. Sketches on the Danube, in Hungary Brailsford, H. N. Macedonia: its races and their
and Transylvania. 1838. R914.39H53 future. 1906. 914.96B814
Lithographic illustrations, from drawings by the author. Several half-tone plates of costume.
'
Eossi, Francesco. Costume Ancien et Moderne des Fraser, J. F. Pictures from the Balkans. 1906.
; 9 colored
, engravings. gar ; and Transylvania. 1838. R914.39H53
32 ;
.
Trollope, Frances. Vienna and the Austrians. 2 v. Hutchinson, F. K. Motoring in the Balkans. 1909.
1838. 914.36T84 914.36H97
7 plates of costume. Numerous illustrations of dress, reproduced from photo-
graphs.
^^ ^ ^^^^ ^ ^ ^.^ ^
p
costume
,
914 3?J12
Istria
BROOKLYN
Wace, A. J. B. The Nomads of the Balkans. 1914. ,7
Vanderbllt
, ,.,,
>
~
G - LT -
^
Dress of
f iU
Flatbush.
, .,
(In her
914 96W11
"The Costumes Social history of Flatbush. 1881. pp. 127-48.)
Chapter IV: of.Samarina."
974.72 V22
Wyon, Reginald. The Balkans from Within. 1904.
914.97W99 BULGARIA. See BALKAN STATES
See also TURKISH EMPIRE
BURMA. See INDIA
BEDOUIN COSTUME. See ARAB COSTUME, EGYPT,
TURKISH EMPIRE CANADA
Campbell, W. W. Canada. 1907. 917.1C19
BELGIUM Colored plates.
Painted by Ame^e
REF 741A76
'
Carkton, G. W. Our Artist in Cuba. 1865. Furniss, H. Pen and Pencil in Parliament. 1897.
741C28 741F98
Leaves from the sketch-book of a traveller during the Illustrated by the author.
winter of 1864-5. 50 drawings on wood.
- Our Gillray, James. Works of James Gillray, the Cari-
Artist in Peru. 1866. 741C28O
caturist, with the Story of his Life and Times.
Leaves from the sketch-book of a traveller during the
winter of 18S35-6. 50 drawings on wood. Edited by Thomas Wright, n.d. REF. 741G48
Gary, E. L. Honore Daumier. A collection of his Grego, Joseph. Rowlandson, the Caricaturist. A
social and political caricatures, together with an selection from his works, and a sketch of his life.
introductory essay on his art. 1907. 741C33 2 vols. 1880. REF. 741G81R
76 full-page illustrations, depicting types in France about 400 illustrations. Wood-cuts. Political and social
the year 1830. caricatures of his period.
of pleasure and amusement, and also in search of A Series of Original Portraits and
Kay, John.
health and happiness. 1844. 741C955B Caricature Etchings. With biographical sketches
George Cruikshank's Omnibus. Ed. by Laman and illustrative anecdotes. 2 vols. 1877.
Blanchard, Esq. 1869. 820.8C95 REF. 741K23S
Illustrated with 103 engravings on steel and wood. 361 portraits, drawn and engraved by John Kay during the
latter part of the 18th century.
Cruikshank's Water Colors. With an introduc-
Parton, James. Caricature and Other Comic Art
tion by Joseph Grego. 1903. 741C955
68 illustrations in color, illustrating Dickens' " Oliver
in all Times and Many Lands. 1877. 741P27
"
Twist,"
"
Ainsworth's The Miser's Daughter," Maxwell's 203 illustrations in caricature from the time of the
" History
of the Irish Rebellion in 1798," and Emmett's Romans to the present day.
Insurrection in 1803."
Paston, George. Social Caricature in the Eighteenth
Currier and Ives. Caricatures
Pertaining to the
Century. 1905. REF. 741P29
Civil War; reproduced from a private collection Over 200 illustrations.
Cave,
REF. 915.1B84
Boughton, G. H. Sketching Rambles in Holland. About 80 colored engravings of cost umes of China, Tar-
1885. 914.92B75 tary, and Thibet.
Earle, A. M. Child Life in Colonial Days. 1899. Bryson, Mrs. M. I. Child Life in China. 1900.
390E12 915.1B91
"
Children's dress," pp. 34-62. Half-tone illustrations Several illustrations of costume.
from photographs.
Carruthers, A. D. M. Unknown Mongolia. 2 v.
Greenaway, Kate. (Various Illustrated Children's
915 -!C31
Books.)
Kidd, Dudley. Savage Childhood. 1906. 572K46 China in Miniature. Containing illustrations of
32 half-tone plates of Kafir children. the manners, customs, character, and costumes of
Marston,A. W. Children of India, n.d. 915.4M37 the people of that empire. 1833. 915.1C539
Several wood-cuts of children. 16 colored engravings.
Menpes, Dorothy. World's Children. 1903. 390M54 Chitty, J. R. Things Seen in China. 1909.
100 colored plates, by Mortimer Menpes.
01 r i PCJ.Q
Mrs. M. P. Dress as a Fine Art; with 50 half-tone illustrations.
Merrifield,
suggestions on children's dress. 1854. 391M56 Doolittle, Justus. Social Life of the Chinese. 2 v.
<* ^tlcu,,
Includes several illustrations of Eskimo children.
Ferrario, Giulio. Costume Ancien et Moderne des Thomson, John. Illustrations of China and its
Chinois. (In his Costume. 1815. Asie. v. 1. People. 1873. REF. 915.1T481
REF. 391F37 200 photographs, with descriptive letter-press.
[v. 1.] pp. 37-366.)
Over 20 colored copperplates of costumes of China and
Formosa. See also JAPAN
Hardy, E. J. John Chinaman at Home. 1905. COLONIAL COSTUME. See UNITED STATES
915.1H26
7 plates (half-tones) of costume, pp. 91, 130-37.
COREA. See KOREA
McNabb, R. L. Women of the Middle Kingdom. Olivares, Jose de, and others. Cuba. (In Bryan,
1903. 915.1M16 W. S. Our Islands and Their People. 1899.
"
Dress," etc., pp. 25-33. 10 of the 18 half-tones show v. 1. REF. 917.29B91
pp. 9-256.)
costume.
Half-tone and colored illustrations, showing costume.
Martin, W. H. P. Awakening of China. 1907.
951M38A DENMARK
Several plates of costume.
Belin. Prime du Journal les Modes Parisiennes.
Mason, G. H. Costume of China; illustrated by Costumes de Suede, Norvege, Danemark, Hol-
sixty engravings [colored], with explanations in lande, et Allemagne. n.d. RF391B43
English and French. 1804. REF. 391M39 No text.
Shoberl, Frederic. World in Miniature. China. Meyrick, S. R. Costume of the Original Inhabitants
2 v. 1827. REF. 915.1S559C of the British Islands. 1821. REF. 391M61
30 colored engravings, with descriptive text. Includes colored plate of 2 ancient Danish costumes.
Page One Hundred Fifty-two BIBLIOGRAPHY
DUTCH COSTUME. See NETHERLANDS Wilkinson, Sir J. G. Egyptians in the Time of the
Pharaohs. Crystal Palace Egyptian collections.
EGYPT 1857. 932W68E
"
Dress," pp. 32-43. 2 colored plates of textiles and mar.y
Clark, E. L. Daleth; or, The Homestead of the
wood-cuts of costume.
Nations. 1864. 916.2C59
of ancient Egyptian Manners and Customs of the Ancient Egyptians.
Reproductions (some colored) art,
showing costume. Rev. ed. 3 v. 1878. 932\V68
" "
See Dress in index, v. 3. Plates (2 colored) and wood-
Curtis, W. E. Egypt. (In his Egypt, Burma, and cuts of costumes.
British Malaysia. 1905. pp. 11-222.) 910C98
8 half-tone plates of modern Arab, Bedouin, and Egyptian Popular Account of the Ancient Egyptians. 2 v.
costume. 1854. 932W68P
" "
See Dress in index, v. 2. Many wood-cuts.
Davis, R. H. Cairo [and] the Englishmen in Egypt.
(In his Rulers of the Mediterranean. 1894.
ENGLAND
pp. 102-77.) 910D26R
Notes on costume and 10 plates and cuts of modern Andrews, Alexander. Eighteenth Century; or, Illus-
Egyptian dress and uniforms.
trations of the manners and customs of our
Ferrario, Giulio, and others. Egypte Ancienne et grandfathers. 1856. 914.2A56
"
Moderne. (In his Costume. 1815-29. Afrique. Costume," pp. 20-40.
v. 1. pp. 26-247.) REF. F391F37 Ashbee, C. R. The Masque of the Edwards of
Colored copperplates of ancient and modern Egyptian
costumes. England; being a coronation pageant to celebrate
the crowning of the King. 1902. REF. 822A81
Hope, Thomas. Costume of the Egyptians. (In Large folio illustrated, printed in colors.
his Costume of the Ancients. 1841. v. 1.
Maspero, G. Life in Ancient Egypt and Assyria. Social Life in the Reign of Queen Anne. 1897.
1892. 913M41 390A82
Wood-cuts of costumes.
Outline cuts from Egyptian monuments.
Besant, Sir Walter. London in the 18th Century. Gouts, Joseph. Practical Guide for the Tailor's
*
1903. 942.1B55 Cutting-room. 1848. 687C87
"
Dress," chap. 4, pp. 250-62. Half-tones, from con-
temporary, sources, of costumes. The Cries of London, as they are Daily Exhibited in
London in the Time of the Stuarts. 1903. the Streets. 1804. REF. 821C92
* Embellished with 48 elegant characteristic engravings,
942.1B55L colored.
" "
Dress and manners,"
" weddings and funerals," pp.
298-310; sports and amusements," pp. 328-337. Half-
Dallaway, James. Inquiries into the Origin and
tones from contemporary sources.
Progress of the Science of Heraldry in England.
London in the Time of the Tudors. 1904.
1793. REF. 929.6D11
*
942.1B55Lo 12 plates (5 colored) and 1 text illustration of early English
" " costume.
" Dress, Weddings," pp. 303-15; soldiers," pp. 316-22;
prentice," p. 329. Numerous half-tones, mostly from
contemporary sources. 1897. 391D247
Davenport, Cyril English Regalia.
*
Mediaeval London. 2 v. 1906. 942.1B55M Colored plates.
Half-tones from contemporary sources.
Davey, Richard. Pageant of London. 2 v. 1906.
Boulton, W. B. Amusements of Old London. 2 v. 942.1D248
" "
1901. 790B76 See Dress in index.
Includes colored plates showing costumes.
Davies, R. English Society of the Eighteenth
Brinton, S. Eighteenth Century in English Cari- 1907. 759D25
Century in Contemporary Art.
cature. 1904. 741B85 4 illustrations in color and 33 in monochrome.
2 color-prints, 13 half-tones, of illustrations by Bunbury,
Hogarth, Rowlandson, Gillray. Dawson, Thomas. Memoirs of St. George and the
Burges, William. Architectural Drawings. 1870. Order of the Garter. 1714. REF. 929.7D27
R744B95 Engraving of George I, and extra illustration of the
regalia.
Plates 70-74 exhibit male, female, military, and ecclesi-
astical costumes, from Anglo-Saxon times to the late loth
century. Day, T. A. Illustrations of Mediaeval Costume in
Gardner, J. S. Armor in England, to the 17th Cen- Holt, E. S. Ye Olden Time; English customs in
Gibb, William. The Royal House of Stuart, Illus- Hughes, Talbot. Dress Design. 1913. 646H89
trated from Relics of the Stuarts. 1890. Illustrated from old examples. Includes 35 pages of
collotypes.
REF. 920G43
40 colored plates, many showing wearing apparel.
Old English Costumes, 18th-19th Centuries.
P1913. 391H89
Godfrey, Elizabeth. Home Life under the Stuarts. Colored plates.
1603-1649. 1903. 390G58
"
Dress and fashion," chap. 17. Illustrations showing Jerrold, Douglas, and others. Heads of the People;
dress.
or, Portraits of the English. Drawn by Kenny
Social Life under the Stuarts. 1904. 390G58S Meadows. 2 v. 1st pub. 1838-40. 827J563H
18 plates, engravings and half-tones. Characteristic pictorial sketches from every grade of life.
Gronow, R. H. Reminiscences and Recollections of Jewitt, Llewellynn. Half -hours among Some English
Capt. Gronow, 1810-60. 2 v. 1889. Antiquities. 1877. 913J59
* Among arms and armor, pp. 102-13; among
920G876R personal
ornaments, pp. 203-33. Outline illustrations.
25 etched and aquatint illustrations, with hand-colored
duplicates. Same. Rev. and enl. ed. 1880.
Guillaumot, A. E. Costumes of the Time of the Jusserand, J. J. English Wayfaring Life in the
French Revolution, 1790-1793. Together with Middle Ages. 2d ed. 1889. 914.2J96
English costumes during the years 1795-1806. Many cuts, from contemporary sources, of 14th century
costumes.
1889. R391G95
Plates, colored by hand. Knight, Charles. London. 6 v. 1841. 942.1K69
Manual Monumental
See analytic contents to each vol. Many wood-cuts of
Haines, Herbert. of Brasses. costumes of all periods.
2 v. 1861. 739H15 Same. 6 v. in 3. 1851. 942.1K69L3
200 wood-cuts of costumes, 14th-17th century.
Old England. 2 v. 1845. R913.42K69
Hall, Hubert. Society in the Elizabethan Age. Colored plates.
1886. 942Hl7So Popular History of England. 8 v. Lond. 1858.
" "
From contemporary documents. Wood-cuts of Henry See Costume in indexes of v. 4 and 8. Numerous
VIII and Queen Elizabeth. wood-cuts.
BIBLIOGRAPHY Page One Hundred Fifty-five
Lamed, J.N. History of England. 1900. 942L32 Montgomery, D. H. Leading Facts of English
Several cuts of typical costumes. 1903. 942M78L
History.
" "
See Dress in Index.
Legg,L.G.W. English Coronation Records. 1901.
REF. 3941,51 Nayler, Sir George. Coronation of His Most Sacred
17 illustrations (1 colored) of early coronation scenes, from Majesty, George the Fourth. 1839. REF.
contemporary sources. 42 colored plates.
Britanniques. (In Ferrario, G. Costume. 1827. New Bon Ton Magazine; or, Telescope of the times,
REF. 391F37 v. 1-6. May, 1818 Apr., 1821. 052N53
Europe, v. 6 [v. 17].)
20 of the 31 colored copperplates show costume from pre- Colored caricatures of costume of period.
Roman period to 19th century.
Nicolas, Sir N. H. History of the Orders of Knight-
Loftie, W. J. Kensington; picturesque and histori- hood of the British Empire. 4 v. 1842.
cal. 1888. 942.1L82K REF. 929.7N63H
6 of the colored plates show 18th century costume. Colored plates of regalia, 5 portraits in full regalia.
London Society of Antiquaries. Vetusta Monu- Oxford University. Oxford Historical Pageant.
menta. 6 v. 1747-1842. REF. 913L84 1907. 822O988
Nearly 100 of the 320 copperplates (including 28 colored) 35 half-tone illustrations, mostly contemporary.
include costume to time of Elizabeth. Elizabeth's funeral
procession (v. 3) and the Bayeux tapestry (v. 6, colored) Parrott, Edward. The Pageant of English Litera-
are given entire.
ture. 1914. 820P26
Macklin, H. W. Brasses of England. 1907. Shows costumes, in color, of English writers, etc.
739M15B
Paston, George. (E. M. Symonds.) Social Carica-
Numerous cuts of costume and armor, 1277-1625. Eccle-
siastical dress. ture in the 18th Century. 1905. REF. 741P29
Colored frontispiece and over 200 half-tone caricatures of
Monumental Brasses. 1905. 739M15 18th century costume.
Armor, dress, and ecclesiastical vestments, 13th-17th
centuries. Wood-cuts. Paul, H. Queen Anne. 1906. REF. 942P32Q
Numerous portraits in Queen Anne costume.
Madise, Daniel. The Story of the Norman Con-
Perkins, Mrs. L. F. Robin Hood: his deeds and
quest. 1866. REF. 741M16
42 illustrations engraved on wood under Professor Griiner,
adventures. 1906. 821.04P44
"
from drawings by Maclise. Coronation of Harold," and Has" colored plates, etc., showing old English costume.
other scenes, showing Saxon and Norman costume.
Pictures of Society; Grave and Gay. From the pencils
Malcolm, J. P. Anecdotes of the Manners and Cus-
of celebrated artists and the pens of popular
toms of London during the 18th Century. 2 v.
*
authors. 1866. 820.8P61
1810. 914.21M24 95 plates, lithographs, a re-issue of the best engravings
" "
Anecdotes of dress and the caprices of fashion," v. 2, from London Society."
pp. 312-57. 12 engravings of dress, 1090-1807.
Picturesque Representations of the Dress and Manners
Anecdotes of the Manners and Customs of
of the English, illus. in 50 colored engravings, with
London from the Roman Invasion to the Year 1814. R391P61E
descriptions.
1700. 3v. 1811. *914.21M24A
"
Dress," v. 2, pp. 279-341. 12 hand-colored engravings
Planche, J. R. History of British Costume, from
of dress, 1053-1675. the Earliest Period to the Close of the 18th Cen-
tury. 1834. 391P69
Martin, Charles. Civil Costume of England from
Numerous illustrations.
the Conquest to the Present Time. 1842.
391M37 Same. 3d ed. Reprinted 1907.
Series of colored etchings. Price, J. M. Dame Fashion: Paris-London (1786-
*
Meyrick, S. R. Costume of the Original Inhabitants 1912). 1913. 391P94
of the British Islands and Adjacent Coasts of the Pyne, W. H. The Costume of Great Britain. 1808.
Baltic. Imp. ed. 1821. REF. 391M61 R391P99
24 colored aquatints, including Britons, Druids, Ancient 60 colored plates, with explanatory text, of various types
Irish, Danes, and Goths. of people.
Page One Hundred Fifty-six BIBLIOGRAPHY
Repository of Arts, Literature, Fashions, etc. By R. Synge, M. B. Short History of Social Life in Eng-
Ackermann. Ser. 1, v. 3-6, 9-14; Ser. 2, v. 1-14; land. 1906. 942S99
" "
Ser. 3, v. 1-12. Jan., 1810 Dec., 1828. 052R42 See Dress in Index. Brief references.
Schild, Marie. Old English Costumes: an epitome Same. Illustrated ed. 1901-04. 942T76
of ladies' costumes, from the 1st to the 19th cen- Many colored illustrations.
tury, n.d. 391S330
40 steel plates and 4 colored engravings, many of histori- Trowbridge, W. R. H. Court Beauties of Old White-
cal characters. historiettes of the Restoration. 1906.
hall;
Old English Peasant Costumes. 1898. 391S33 920H8632
32 Restoration portraits.
Shoberl, F. World in Miniature. England, Scot-
land, and Ireland. Edited by W. H. Pyne. 4 v. Tuer, A. W. Follies and Fashions of our Grand-
1827. REF. 914.2S559 fathers, 1807. 1886-7. REF. 914.2T91
84 colored engravings. Digest of magazine material of 1807. 37 hand-colored
plates.
Smith, Albert. Gavarni in London. Sketches of
London life and character. 1849. 914.21S642G Walker, G. Costume of Yorkshire in 1814. 1885.
Colored illustrations. REF. 391W179
Same. 1859. 914.21S642 A series of 41 facsimiles of original drawings.
22 wood-cuts.
Wingfield, Lewis. Notes on Civil Costume in
Stephenson, H. T. The Elizabethan People. 1910.
England, from the Conquest to the Regency, as
914.2S83
Exemplified in the International Health Exhibi-
Stone, Mrs. E. Chronicles of Fashion, from the 1884. REF. 394W77
tion of 1884.
Time of Elizabeth to the Early Part of the 19th 24 colored illustrations, lithographs, of the period 1066-
1820.
Century. 2 v. 1845. 914.2M55
"
Costumes," v. 1, pp. 394-434; v. 2, pp. 363-455. 15
steel engravings. Woodward, G. M. Eccentric Excursions; or,
"
The Black Watch." 1729-1893. 1893. ~ ,
D n ^ T> TT-
T
Britain; a Home of
A t
yiy.oij<*u
QTTUfRK "
Arctic costumes," pp. 136-46. 4 or 5 plates of costume.
Includes half-tone plates, showing Highland uniforms of
different periods.
Hanbury, D. T. Sport and Travel in the Northland
Rank and Badges Her Majesty's of Canada. 1904. 917.1H23
Perry, 0. L. in
355P46 A few colored plates "
is 00 -
Nordenskiold, A. E. Voyage of the Vega round
D. British 3 v. 1868. Asia and Europe. 1882. 919.8N83V
Scott, Sir J. S. Army.
R355S42
" " "
Body armor," v. i, pp. 192-222; clothing of troops," Peary, R. E. Northward over the Great Ice."
v. 2, pp. 431-45. Many plates with descriptive notes. ^ ^ 18gg 919.8P362
Smith, J. H. Historic Booke, to Keep in Remem- Many half-tone cuts of Eskimos.
brance the Meeting of the Honorable Artillery Schwatka, Frederick. Children of the Cold. 1899.
Aria, Mrs. E. Of Fancy Dress. (In her Costume, Grolier Club The Fan in All Ages:
(New York).
fanciful, historical, and theatrical. 1906. pp. a brief history of its evolution. 1891.
178-189.) 391A69 REF. 391G87
1 colored plate and 4 other illustrations of costume. 19 wood-cuts.
4th ed. n.d. 391H75 Becker, W. A. Shoes. (In his Charikles. 1845.
Outline cuts.
pp. 326-31.) 913B39CH
4 cuts of shoes of Homeric times.
Same. 6th ed. n.d.
Lumm, E. G. Twentieth Century Speaker. 1898. Same. 5th ed. 1880. (pp. 442-52.)
808.5L95 Book of the Feet a history of boots and
Hall, J. S. :
Menard, Rene. Le Chaussure. (In his La vie Cook, C. C. Costumes of the Time of the French
Prive~e des Anciens. 1881. v. 2. p. 322-30.) Revolution, 1790-1793; together with English
F913M53 costumes, 1795-1806. Drawn from the collec-
22 outline illustrations of boots and shoes.
tion of Victorien Sardou. 1889. REF. 391G95
Redfern, W. B. Royal and Historic Gloves and 65 etchings, executed by Guillaumot fils, colored by hand.
40 of French, 25 of English costume.
Shoes. Illustrated and Described. 1904.
REF. 391R31 D'Este, Margaret. Through Corsica with a Camera.
32 plates (1 colored) of boots and shoes of various nations 1905. 914.59D47
and times.
17 of the half-tones show costumes.
Rhead, G. W. Boots, Shoes, and Other Coverings
Les Fetes Nationales & Paris.
Drumont, Edouard.
for the Feet. (In his Chats on Costume. 1906.
RF944D79
1889.
pp. 279-301.) 391 B46 French costumes from 1389, illustrated in plates. Text
Historical and descriptive. Wood-cuts and half-tone illustrations of national fetes.
illustrations.
Duplessis, G. Costumes Historique^. des XVIe ,
Times. With a chapter on dress and the dandies, Gronow, G. W. Reminiscences and Recollections of
by Mary Craven. 1908. BB893Bo Capt. Gronow, 1810-60. 2 v. 1889.
*
Richard. Sketches Illustrative of the
920G876R
Bridgens,
References to and illustrations of French and English
Manners and Customs of France, Switzerland, and dress of period. Hand-colored, etched, and aquatint plates.
pp. 271-87.) REF. 391W75 Koppen, F. von. German Army. (In his Armies
Several wood-cuts of male and female costume. of Europe, Illustrated. 1890. pp. 20-35.)
355K77
Grohman, W. A. Baillie. Land in the Mountains:
3 double-page colored plates (20 illustrations, including
past and present of Tyrol. 1907. 943.7G87 3 naval) and 8 text illustrations of uniforms.
"
Costume of the Landesknechte," pp. 232-35.
Landesknechte. (In Meyer's Konversations-Lexicon.
Guinot, Eugene. Summer at Baden-Baden. 1876. 6th ed. 1905. v. 12. p. 126.) REF. G033M6lKo
914.3G96 Brief historical article, and plate of 10 cuts, of German
6 colored plates of costumes. foot-soldiers, 15th-16th centuries.
Uzanne,
from Antique Monuments. 1875. 913G94
REF.391U99S
Muff.
..,,..
1883.
Historic and descriptive.
,T
Numerous photogravures.
"
Dress," pp. 159-84. 20 outline cuts.
Man^hSf-t^neFand^ut^of drJss
54 half-tone illustrations.
private
Black-and-white illustrations, introducing classic dress.
Q-ior>qQp
^f''/'
the Mediterranean.
Modern Greece
1894.
"
dn
pp. 178-97.)'
his Rulers of
910D26K
^ ^
toms
22 outline illustrations.
..
of
j A
.
History of the Manners and Cus-
^.
Ancient Greece.
.
10 *o
3 v. 1842. mocii
913S14
Toilette> dreg?i and ornaments," v. 2, pp. 50-74. See
8 cuts of modern Greek costume, several of peasants. also
"
Costume " in index, v. 3.
BIBLIOGRAPHY Page One Hundred Sixty-three
Seymour, T. D. Life in the Homeric Age. 1907. Dunton, Larkin. The World and its People.
913S52 Vol. 9. Hawaii; by A. S. Twombly. 1899.
" "
Dress and decoration," pp. 153-77. Homeric arms," J910.7D92T
pp. 629-82. 2 plates and 17 cuts of dress and armor.
Gerould, K. F. Hawaii: scenes and impressions.
Smith, J. M. Ancient Greek Female Costume. 1.916. 919.6G37
1882. 391S65
Goodrich, J. K. The Coming Hawaii. 1914.
112 outline plates and many smaller illustrations with
explanatory text. 996G65
GUATEMALA HEAD-DRESS
Domville-Fife, C. W. Guatemala and the States of Becker, W. A. Hair and Beard. (In his Charikles.
Central America. 1913. 972.8D67 1845. pp. 332-38.) 913B39CH
4 cuts of female hair-dressing of Homeric times.
Franck, H. A. Tramping through Mexico, Guate-
mala, and Honduras. 1916. 917.2F82 Same. 5th ed. 1880. (pp. 453-61.)
REF. 913B39C
Maudslay, A. C. Glimpses at Guatemala. 1899.
REF. 917.28M44 Child, Theodore. Wimples and Crisping Pins:
Occasional references to costume. Photogravures of studies in the coiffures and ornaments of women.
costume and colored plates of native textiles.
1895. 391C53
Ancient Egypt to modern times. Many wood-cuts and
HAIR. See HEAD-DRESS half-tones.
Things Indian.
Dress, pp. 155-67; jewelry, pp. 287-91.
Praga, Mrs. Alfred. What to Wear and When to
Wear it 1903 391P89 Curtis, Lillian J. Laos of North Siam. 1903.
rerrarw, Giulio.
/~ ?
Appelee Indostan, et
TTJ
L Inde, i ' T i i
Rhead,G.W. Hats, Caps, and Bonnets. (In his ITndo-Chine. (In his Costume. 1815-29. Asie,
Chats on Costume. 1906. pp. 205-77.) v 2) REF F391F37
391R46 92 colored copperplates of Hindoo, Burmese, Siamese, and
Cuts of all kinds of head-dress. other costumes.
Speight, Alexanna. A Lock of Hair: its history, Grindlaij. R. M. Scenery, Costumes, and Architec-
ancient and modern. 1871. 391S74 ture, Chiefly on the Western Side of India. 1830.
Stewart, James. Plocacosmos; or, The whole art R915.4G866
Colored engravings.
of Hair-dressing. 1782. REF. 646S84
9 copperplates. Gurdon, P. R. T. The Khasis. 1907. (Ethno-
Winter, F. Die Kamme aller Zeiten. P1906. graphical monograph, published under the orders
REF G39lW 78
r ^ ^ ne Government of Eastern Bengal and Assam.)
1
48 plates (about 300 figures !, with notes on combs, from 572G97
the Stone Age to the present. 8 colored and 11 monochrome plates.
HEBREW COSTUME. See JEWISH COSTUME Hart, W. II. Everyday Life in Bengal and Other
Indian Sketches. 1906. 915.4H32
HERZEGOVINA. See BALKAN STATES Illustrations include several half-tones of costume.
BIBLIOGRAPHY Page One Hundred Sixty -five
Hodson, T. C. The Meitheis. 1908. (Ethno- Solvyns, B. The Costume of Indostan Elucidated
graphical monograph, published under the orders by Sixty Colored Engravings, with Descriptions
of the Government of Eastern Bengal and Assam.) in English and French, taken in the Years 1798
572H69 and 1799. 1804. REF. 391S69
9 colored and 7 monochrome plates, illustrating this
"
dominant race of Manipur." Stack, E. The Mikirs. 1908. (Ethnographical
India and the War. 1915. 355139 monograph, published under the orders of the
Has colored plates of military costume.
Government of Eastern Bengal and Assam.)
572S77
Jacob, S. S. Jeypore Enamels. 1886. REF. 748 Jl 5 4 colored and 4 monochrome illustrations of this tribe of
Colored frontispiece of Jeypore enamellers. Assam.
Malcolm, Ian. Indian Pictures and Problems. Thurston, Edgar. Ethnographic notes in southern
1907. 915.4M24 India. 1906. 572T54
"
\bout 20 of the 50 half-tone plates show costume. On dress," pp. 520-31. 40 half-tone plates.
Marston,A.W. Children of India, n.d. 915.4M37 Watson, J. F. The Textile Manufacturers and the
Many wood-cuts of costumes. Costumes of the People of India. 1866.
REF. 677W338
Menpes, Dorothy. The Durbar. Illustrated by Eight plates of costume illustrations.
Mortimer Menpes. 1903. 915.4M54
Numerous references in text to dress. Most of the 100 Young, Ernest. With 12 full-page illus-
Siam.
colored plates show costumes of all parts of India. trations by E. A. Norbury. 1908.
in color
Murray, A. II. II. High-road of Empire; water- (Peeps at many lands series.) 915.9Y71P
"
color and pen-and-ink sketches in India. 1905. Food and dress," pp. 52-56.
Narrative of the Canadian Red River Exploring M. Comparative Study of the Mayas
Tozzer, A.
Expedition of 1857 and of the Assiniboine and and the Lacandones. 1907. (Archseol. Inst. of
Saskatchewan Exploring Expeditions of 1858. America. Report of the Fellow on Amer. Archseol.
2 v. 1860. 917.1H66
1902-05.) 970.3T75
Lithographs and wood-cuts of Canadian Indians and
apparel (v.*2).
Costume, pp. 29-32.
Hemisphere, 1849-52. 1856. (U. S. 33d Con- Richard. Sketches Illustrative of the
Bridgens,
gress, 1st sess. House exec, doc., 121. Serial
Manners and Costumes of France, Switzerland,
728.) REF.
and Italy. 1821. R391B851
Note on Araucanian dress (v. 1, pp. 67-68), with colored
plate of chief. Plates, with descriptive text.
Same. 1883.
Sketch-book by an American in Venice. 1860. n
18QQ
391S62
22 plates, colored by hand. No text.
-Same. 9th ed. 1900.
Same. 10th ed. 1903.
Souvenir de St. Lazare, Venice, n.d. REF. 271S72 _,., , , ft/w ,
name, llth ed. 1906.
14 colored plates.
, . .
, Knox, G. W. Imperial Japan; the countrv and its
Uniforms Armies oj Athe
of the
,
Six Great Powers of l iqn~
*
Q-OV
"
Europe. (In Standard dictionary. Sup. 1903. ^Numerous illustrative plates of Japanese women.
p. 2187.) REF. 423F98Su
Levati, Ambrogio. lies du Japon. (In Ferrario,
Vaughan, 11. M. The Naples Riviera, n.d. G. Costume. 1815. Asie. v. 1. pp. 383-
914.5 V36 REF 391F37
453.) .
Anderson, William. Pictorial Arts of Japan. 1886. S hoberl, F. Japan. 1827. R915.2S559
REF. 709 A55 20 colored engravings.
Includes many colored plates, photogravures, and wood-
cuts of costume by native artists. Silver, J. M. W. Sketches of Japanese Manners and
7J .
, .
T W T _ Customs. 1867. REF. 915.2S58
Arnold, Sir Edwin. Japomca. 1891. 91o.2A75J ...,
27 chromo-hthograph ,fac-similes ,
of native drawings.
Black-and-white illustrations of Japanese dress.
Wilson, H. W. Japan's Fight for Freedom: the
Breton de la Martmiere, J. B. J. Le Japon. 4 v.
war between Russia and Japan. 2 v. 1904-05.
1818. F915.2B84 R 951051 w?4
Contains 51 engravings.
KEF> W74
W. REF. 709L14
Griffis, E. Corea; the hermit nation. 1882.
10 colored plates and many wood-cuts of costume.
915.1G85CE
" 2 wood-cuts.
Costume," pp. 81, 273-76. Costumes. Manners,
(In his Customs, and
Hamilton, Angus. Korea. 1904. 915.1H21 Dress during the Middle Ages. n.d. pp. 509-
Costume in Seoul, pp. 35-40. Several half-tone plates of 54.) REF. 940L14M
costume.
Many colored plates and wood-cuts of costunv .
From Anglo-Saxontimes to end of 16th century. Speci See also INDIANS OF NORTH AMERICA
atttention to English costume. Many colored plates an
wood
ood-cuts.
Plummer, M. W. Roy and Ray in Mexico. 1907. Meldrum, D. S. Home Life in Holland. 1911.
917.2P73 914.92M51H
9 half-tone plates of modern costumes. Costume illustrations at pp. 170, 176 and 180.
BIBLIOGRAPHY Page One Hundred Seventy-one
Shoberl, Frederic. World in Miniature. The Neth- OCEANICA
erlands. 1827. REF. 914.92S55
Brassey, Lady. Tahiti. 1882. 919.6B82
18 colored engravings, including Belgium.
Illustrations, from photographs, including G of costume.
W. P. New 919.3E43S
Reeves, Painted by F. and
Zealand.
Most of the 68 colored plates show native costumes.
W. Wright. Described by W. P. Reeves. 1908.
Ferrario, Giulio. Oceanique. (In his Costume.
993R33Nw
75 illustrations in color. 1815-29. Asie. v. 4. pp. 285-585.)
Hyne, C. J. C. W. Through Arctic Lapland. 1898. eign peasants. (In her Costume: fanciful, his-
914.7H99 torical, and theatrical. 1906. pp. 115-46.)
Several half-tone plates of Lapp costume. 391A69
Jungmann, Beatrice. Norway. Illustrated by Nico 2 colored plates and 10 half-tones.
Armies of Europe. 1890. pp. 61-63.) 355K77 Holme, Charles. Peasant Art in Austria and Hun-
Colored plates (6 figures) and 2 text illustrations of
uniforms. gary. 1911. 709H74PE
In Viking Land Peasant Art in Italy. 1913. 709H74Ps
Monroe, W. S. :
Norway, its peo-
ples, its fjords, and its fjelds. 1908. 948M75 Peasant Art in Russia. 1912. 709H71PR
" Illustrations of peasant costume, in monotone.
Consult Index under Dress." Of the 48 half-tone plates,
3 are definitely of costumes.
" " Lyall, Robert. Character of the Russians, and
Pritchett, R. T. Gamle Norge : rambles and
History of Moscow. 1823. REF. 914.7L98
scrambles in Norway. 1879. 914.8P96 3 colored plates of Russian peasants.
Frequent references to, and several illustrations of,
national costume. Schild, Marie. Old English Peasant Costumes.
1896. 1898. 391S33
Steele, T. S. Voyage to Viking-Land.
914.8S81
S half-tones of Norwegian and Lapp costume. PERSIA
Tonsberg, C. Udvalgte Norske Nationaldragter. De Lorey, Eustache. Queer Things about Persia.
1852. RD391T66 1907. 915.5L86
"
15 colored plates. Text in Norwegian, German, and Persian women and their dress," pp. 103-10. 17 of the
English. half-tone plates show costume.
Page One Hundred Seventy-two BIBLIOGRAPHY
Egerton, M. M., Countess of WUton. Toilette in Sawyer, F. H. Inhabitants of the Philippines.
Persia. (In her Book of Costume. 1847. pp. 1900. 919.1S27
432-40.) REF. 391W75 Many references (pp. 201-375) to dress. Several half-
tone plates of native dress.
3 wood-cuts.
Skinner, Joseph. The Present State of Peru. Egerton, M. M., Countess of Wilton. Toilette in
1805. 918.5S62 Portugal. (In her Book of Costume. 1847.
20 colored plates of costumes, etc. pp. 297-301.) REF. 391 W75
Infantry uniform, p. 170; Marines, p. 173; Indians, Armies of Europe, Illustrated. 1890. p. 66.)
chap. 36.
355K77
Section of colored plates, showing 5 figures in uniform.
PHILIPPINE ISLANDS
Shoberl, Frederic. World in Miniature. Spain and
Browne, G. W. ThePhilippines. (In his New Portugal. 2 v. n.d. REF. 914.6S55
27 colored engravings.
America and the Far East. 1907. v. 1-2.)
910B882 Stephens, H. M. Portugal. 1891. (Story of the
V. 1, pp. 208-19, contains many references to costume. nations series.) 918.9S83
3 half-tone plates and many cuts of native dress.
Several of the wood-cuts show costume.
frauen-Orden im Orient und Occident. 2 v. Becker, W. A. Gallus; or, Roman scenes in the
1837-39. G271B58 time of Augustus. 3d ed. 1866. 913B39
Hand-colored plates of 77 religious orders (male and Dress, pp. 98-109; Dress of thp men, pp. 408-30; Dress
female). of the women, pp. 431-50. 4 wood-cuts of male and one of
female attire.
9 wood-cuts.
Saunders, C. Costume in Roman Comedy. 1909.
Tyack, G. S. Historic Dress of the Clergy. 1897. 391S25
247T97H Monograph, with bibliography. No illustrations.
Page One Hundred Seventy-four BIBLIOGRAPHY
Wright, T. The Celt, the Roman, and the Saxon. Holme, Charles. Peasant Art in Russia. 1912.
1852. 913W95C 709H74PR
Dress of Romans in Britain, pp. 326-33. 3 cuts of orna- Peasant costumes,
ments.
Koppen, F. von. Russia. (In his Armies of Europe.
ROUMANIA. See BALKAN STATES 1890 pp 53 _58 } 355K77
Descriptive notes. 2 double colored plates H5 figures,
RUSSIAN JiiMPIRE including 1 naval), and 6 text illustrations of uniforms.
Toutes les Provinces de cet Empire. 6 v. 1813. Lyall. Robert. Character of the Russians, and
F914.7B84 History of Moscow. 1823. REF. 914.7L98
_, T> T, . -r, TT
, i
Painted by r de Haenen.
,
3 colored P^tes of Russian peasant costume.
Lfobson, George. Russia, .
Harding, Edward. Costume of the Russian Empire. Shoberl, Frederic. World in Miniature. Russia.
1811. R391H26 4 v. 1827. REF. 914.7S559
72 colored engravings. 72 colored engravings of Slavs, Poles, Asiatics, etc.
BIBLIOGRAPHY Page One Hundred Seventy-five
r ,
y 14.7oo4 J.
Contains photographs of contemporary costume. Browne, James. History of the Highlands and of
Provincial Russia. 1913. *!* Highland
Clans. 4 v. 1857-58. 941B88
Stewart, Hugh.
Colored plates, chiefly in v. 4, of principal tartans.
914 7S849
2 UStrati nS in C lor and black - and - white showing
Campbell, Lord Archibald. Children of the Mist; or,
'
cost ume
The Scottish clansmen in peace and war. 1890.
Uniforms of the Armies of the Six Great Powers of
941C18C
Europe. (In Standard Dictionary. Sup. 1903. Numerous notes on costume. Double-page frontispiece,
r> 2187) REF 423F98SU showing Highland and English uniforms of 1745.
Section of colored plates, showing 18 Russian uniforms. . . ,
10on ono/^-io-r
[Craignish tales, and others.] 1889. 398C187
Villari, Luigi. Fire and Sword in the Caucasus. P 84 Notes on the war dress of the Celt. With illus-
trations.
1906. 947 V72
TanaTcosTum?
68 f C SSaCk> Georgian> ArmeniaD -
and
_ Highland Dress, Arms, and Ornament. 1899.
914.1C187
Wilson, H. W. Freedom: the
Japan's Fight for
T j T Many half-tones and several photogravures of uniforms
story of the war between Russia and Japan. 2 v. an a arms.
1904-05. REF. 951W74
Many half-tones, showing Russian uniforms. Egerton, M. M., Countess of Wilton. Toilette in
Scotland. (In her Book of Costume. 1847.
Dress
q
2d
.
ed ^}^ 1906.
in Index.
Samoa, v. 2, pp. 539-47. Half-tones of costume.
Turner, George. Samoa a Hundred Years Ago and Grierson, E. W. Children's Book of Edinburgh.
1884. 919.6T94 1906. 941G84
Long Before.
" 2 wood-cuts of costume. 9 colored plates of Scotch dress of various periods.
Clothing," pp. 118-23.
Milne, James. Gordon Highlanders. 1898. Brereton, Austin. Shakespearean Scenes and Char-
355M65 acters. 1886. REF. 822.3B84
Includes half-tones of Highland uniforms. 30 steel plates and 10 wood -engravings.
Shakespeare, William. Tragedy of Hamlet, Prince Calvert, A. F. Spanish Arms and Armor. 1907.
of Denmark. 1897. 822.3S52HAC 399C16
12 full-page illustrations by H. C. Christy. 3SO half-tone illustrations of the collection in the Royal
Armory at Madrid.
Shakespeare in Pictorial Art. 1916. S22.3S25 _ Valladolid, Oviedo, Segovia. 1908. 914.6C16V
" 156 ~ 165 give peasant costume s of the province of
Shakespeare's
Marchetti.
Othello:'
P1892.
Illustrated by Ludovic
822.3S52OTH
*'
seStiT
,,
r
Cuendias, Manuel
, 7
de. L Espagne; Pittoresque,
Smirke, R., and others. Illustrations of Shake- Artistique, et Monumentalc. n.d. F914.6C96
n.d. R822.3S641 Colored illustrations, and others.
speare's Plays,
Fifty original designs h y R. Smirke, T. stothard, E. H. Delineations of the Most Remarkable Costumes of the
Corbould, etc. Engraved on steel.
Different Provinces of Spain. 1823. R391D35
Stone, Melicent. The Bankside Costume Book for Colored illustrations. No text.
ww n
Wilde, Oscar.
r *i
Truth of AT
t
Masks. i n
(In his T
u- *
Intentions* 288-96.)
4 wood . cuts
REF. 391W75
Stage. 1875. 822.3W76S Higgin, Louis. Spanish Life in Town and Country.
52 illustrations, half-tones
19Q 2 914.6H63
"
See Costume " and " Dress " in Index. 7 half-tone
SHOES. See FOOT-WEAR plates of costume.
n, ., , ., .
Portugal. 2 v. 1827. REF. 914.6S55
Forrest, A. S. Tour through South America. 1913.
27 colored engravings.
918F72
Watts, H. E. Christian Recovery of Spain. 1894.
Marcoy, Paul. Journey across South America. 946W34
2 V. 1873. REF. 918.5S13 Has illustrations showing costume, especially of the 13th
Incidental notes on costumes. Many wood-cuts of native
and Spanish costumes. Land of the Dons. 1902. 914.6W72
Williams, L.
Pritchard, H. V. II .
Through the Heart of Pata- 13 plates showing national dress.
Adams, W. H. Spain and its People. 1872. Bossi, Luigi. Du costume de la Suede. (In Fer-
914.6A21 rario, Costume. 1815-29. Europe, v. 6.
G.
Many wood-cuts of Spanish types.
pp. 232-59.) REF. 391F37
Sketches of the Country, Char- 2 copperplates (1 colored) of ancient Swedish costumes.
Bradford, William.
acter, and Costume in Portugal and Spain. 1812- Le Costume Ancien et Moderne des Scandinaves,
13. R914.6H79 des Suedois, etc. 1827. *F914.8B74
Contains colored plates, including military costume. 19 plates.
Page One Hundred Seventy -eight BIBLIOGRAPHY
Egerton, M. M., Countess of Wilton. Toilette in Yosy, A. Switzerland. With representations of the
Sweden. (In her Book of Costume. 1847. dress and manners of the Swiss. 2 v. 1815.
pp. 349-51.) REF. 391W75 REF. 914.94Y65
3 wood-cuts. 50 colored engravings of costume.
Armies of Europe. 1890. pp. 61-63.) 355K77 1906. pp. 236-59.) 391A69
2 colored plates and 7 half-tone illustrations.
Colored plates (11 figures, including 3 naval) of uniforms.
Steveni, W. B. Things Seen in Sweden. 1915. Ferrario, Giulio. Costume des Italiens. (In his
914.8S84 Costume. 1815-29. Europe, v. 3., pt. 2.)
hausen, und Luzern, auf acht sehr schonen Twentieth Century Speaker. 1898.
Lumm, E. C.
Chromo-Lithographen dargestellt. 1840.
808.5L95
R391S41 Colored and half-tone'plates of costumes'and poses.
Story, A. T. Swiss Life in Town and Country. Mackay, C. D. Costumes and Scenery for Amateurs.
1902. 914.94S88 1915. 793M153C
BIBLIOGRAPHY Page One Hundred Seventy-nine
o -ji A i -MT t *v. T\T j -nr u o Copping, Harold. The Gospel in the Old Testament.
Scidl, Anton. Music of the Modern \\ orld. 2 v. \ .
TT ^
_ roncj,*
A ,
series of Pictures
.
A .
descriptive J H. C. G. Moule.
letterpress by 1908.
Manycolored and half-tone plates of singers and operatic
characters in costume. REF. 221C78
ifT -j 24 illustrations in color.
oione, Muicent. Ihe T>
fTM, r< i T> t
rSankside Costume .Book for
i
Landor, A. H. Savage-. Tibet and Nepal, Painted 1847. pp. 465-75.) REF. 391W75
and Described. 1905. 915L26
Over 30 colored plates show costumes of Tibet and Nepal. -Toilette in Turkey, Wallachia, etc. (In her
Book of Costume. 1847. pp. 374^87.)
Slurring, C. A. Western Tibet and the British
Borderland. 1906. 915.1S55
See
"
Dress
"
in Index. Many half-tones in text show ccs- Eyrits, J. B. B. La Turquie, OU, Costumes, Moeurs,
et Usages des Turcs. (In his L'Angleterre. n.d.)
Shoberl, F. The World in Miniature. Tibet and REF. F391E98
India beyond the Ganges. 1827. R915.1S559 Illustrated by colored plates.
^
of troubadour and minstrel costume. l a Turquie en 1873.
Troubadours at Home. 4
Smith, J.H. 2 v. 1899.
&?ffi
^|
in Asia.
849S65
"
See a ' S Costume Fisher. Oriental and Sacred Scenes in Greece,
in 'index' ""K* wood ciTts o^dfels Howe,
Turkey, and Palestine. 1856. 915.6H85
mJ.TJNIS. bee AFRICA
Text contains several references to costume. 6 colored
plates of typical costume.
Page One Hundred Eighty BIBLIOGRAPHY
Jessup, H. H. Syrian Home-life. 1874. 915.6J58 Shoberl, F. World in Miniature. Turkey. 6 v.
"
Dress," pp. 28-38. 3 wood-cuts. 1827. REF. 914.96S55
73 colored engravings, showing about 150 costumes of
Women of the Arabs. 1873. 915.6J58W the Empire.
Incidental notes on dress. A few wood-cuts of costumes,
male and female, of Palestine.
Singleton, Esther. Turkey and the Balkan States,
as Described by Great Writers. 1908. 949.6S61
Kelman,J. The Holy Land. 1902. 915.6K29
40 half-tone plates, many useful for costume.
Including colored plates of Syrian peasants and Arabs.
C9lored plates of costumes of the Turkish Empire, in- Dress of the Colonists. (In her Home life in
cluding also Sicily, Tripoli, and the Balkan States.
Colonial Days. 1898. pp. 281-99.) 917.3E12
Millingen, A. van. Constantinople; painted by 6 cuts of costumes.
Goble. 1906. 949.6M655
Colored plates of Turkish costume.
Two Centuries of Costume in America, 1620-
1820. 2 v. 1903. REF. 391E12T
Monroe, W. S. Turkey and the Turks. 1907.
Many ialf-tone plates and wood-cuts of all 1kinds
half-tone of
949.6M753 costume. List of illustrations, with descriptive not
" "
Consult Dress in Index. 16 half-tones show costumes.
Eggleston, Edward. Household History of the
Neil, James. Everyday Life in the Holy Land. United States and its People. 1889. 973E29
1913. 915.6N39 Colored plates of colonial costumes, uniforms of 1776-
1864, and Confederate uniforms. Many vignettes of cos-
Contains colored pictures. tumes, 1492-1880.
Picturesque Representations of the Dress and Manners Goodwin, M. W. Colonial Cavalier; or, Southern
of the Turks. Illustrated in 60 colored engravings, Life before the Revolution. 1894. 917.5G65
REF. 391P61 "
with descriptions, n.d. His dress," pp. 75-96. A few wood-cuts of Colonial
dress.
Turks, Albanians, Arabs, and Armenians.
Fred. First Families of the Southwest.
Rogers, M. E. Domestic Life in Palestine. 1863. Harvey,
915.6R72 1913. 970.6H34
See
"
Costume " in Index. 32 colored plates of Indians, their pottery, basketry, etc.
BIBLIOGRAPHY Page One Hundred Eighty-one
Jennings, P. A Colored Man's Reminiscences of Nelson, H. L. Army of the United States. 1889.
James Madison. 1865. BM182J REF. 355N42
Extra with 26 colored plates, "
illustrations, showing Same plates as in U. S. army Q.-M. G. Uniform of the
fashions in Madison's time. Plates from Ackermann's Army of the U. S."
Repository.
McClellan, Elizabeth. Historic Dress in America, Rodenbaugh, T. F. From Everglade to Canon with
1607-1800. With chapter on
dress in the Spanish the 2d Dragoons. 1836-75. 1875. 355R68
and French settlements in Florida and Louisiana. 5 chromo-lithographs of cavalry uniforms, 1836-75, and
4 wood-cuts of French cavalrymen.
904. REF. 391M12
385 illustrations, colored plates, half-tones, and wood-
cuts. Bibliography. Smith, J. H. Historic Booke, to Keep in remem-
brance the meeting of the Honourable Artillery
Historic Dress- in America, 1800-1870. 1910.
RS91M12H Company of London and the Ancient and Honor-
Continuation of the above. Includes a bibliography.
able Artillery Company of the Massachusetts,
Boston, 1903. 1903. REF. 358S65
Singleton, Esther. Costumes of Men. (In her
Plates and cuts, showing uniforms of 17th-19th centuries.
Social New York under the Georges. 1902.
pp. 171-97.) 917.471SG1 Uniforms of the Army of the United States. (In
6 half-tones of articles of dress.
Standard Dictionary. Sup. 1903. p. 2187.)
Dress of Women. (In Same. pp. 201-56.) REF. 423F98Su
917.471S61 Colored plates, showing 27 uniforms of 1903.
Several half-tones of apparel.
Wharton, A. II. Social Life in the Early Republic. United States Army. Quartermaster-general. Uni-
1902. 390W55S form of the Army of the United States, 1882.
Colored frontispiece, and many half-tone portraits, of 1882. REF. 355U58
1790-1850.
Lithographed plates of uniforms. Several cuts of details.
UNITED STATES. MILITARY AND NAVAL COSTUME United States Army. Uniform of the Army of the
United States. Illustrated from 1774 to 1889.
Archibald, J. F. L. Blue Shirt and Khaki. 1901. 1890. REF. 355U58U
355A67 44 colored plates. Key to plates and descriptive text.
Davies, D. John Vaughan and his Friends. 1897. See also CUBA; PORTO Rico
914.29D255
Several cuts of Welsh costume.
ZANZIBAR
Egerton, M. M., Countess of Wilton. Toilette in
Wales. (In her Book of costume. 1847. pp. Lyne, R. N. Zanzibar in Contemporary Times.
190-91.) REF. 391 W75 1905. 967L98
Rhys, John. Welsh People. 1900. 942.9R47 2 half-tone plates of costume.
Dress [ancient], p. 251; [modern], 565-70. ^ .
Ghirlandajo, D. and pupils (Florentine School). Vivarini, A. (Venetian School), fl. 1444-1470.
1452-1525. Zuccaro, F. ca. 1543-1609.
Giotto and pupils (Florentine School). 1266-1337. Masters dei Cassoni.
Giovanni di Paolo (School of Siena), ca. 1403- Painting, Byzantine School.
1482. Painting, Florentine School.
Giovanni di Piamonte. fl. 15th century. Painting, Italian School.
Giovenone, G. (School of Vercelli). ca. 1490- Painting, North Italian School.
1555. Painting, Umbrian School. 16th century.
Jacobello del Fiore (Venetian School), fl. 1400- Painting, Venetian School. 16th century.
1439. Painting, Venetian School.
Page One Hundred Eighty-six LIST OF ARTISTS
Dutch Pairing Eyck, J. van. ca. 1381-1440.
Codde, P. 1610-1660. Francken, F., the younger. 1581-1642.
Ritt, A. 1766-1799.
English Painting.
French Painting Beechey, Sir W. 1753-1839.
Bourdichon, J. 1457-1521. Closterman, J. 1656-1713.
Clouet, Francois. 1500-1572. Corvus, J. 16th century.
Corneille de Lyon. ?-ca. 1574. Cotes, F. 1726-1770.
Coypel, C. A. 1694-1752. Gainsborough, T. 1727-1788.
David, L. 1748-1825. Hogarth, W. 1697-1764.
Drouais, F. H. 1727-1775. Hoppner, J. 1758-1810.
Dumont, J. 1701-1781. Jervas, C. 1675-1739. (Irish Pnt.)
Fantin-Latour. 1836-1904. Lawrence, Sir Thomas. 1769-1830.
Favray, A. C. de. 1706-1789. Raeburn, Sir Henry. 1756-1823.
Fouquet, J. ca. 1415-ca. 1480. Ramsay, Allan. 1713-1784.
Fragonard, J. H. 1732-1806. Reynolds, Sir Joshua. 1723-1792.
Froment, N. 15th century. Richardson, J., the elder. 1665-1745.
Gandara, A. de la. 1862-. Romney, G. 1734-1802.
Gerard, F. P. S. 1770-1837. Sharpies, J., the elder, ca. 1750-1811.
Greuze, J. B. 1725-1805. Talfourd, F. 1815-1874.
Hilaire, J. B. 18th-lSth century. Ward, E. M. 1816-1879.
Huet, J. B. 1745-1811. Painting, English. 15th century.
Egyptian, Old Kingdom, 101 Fourteenth and fifteenth century, dress illustrating,
Egyptian symbols, 102 110
Eighteenth century, 86, 88 Formal arrangement, illustrated, 94
UNIVERSITY of CALIFORNIA