Costume Design and Illustration

UNIVERSITY OF CAUFORNIA AT LOS ANGELES •r'7

THE WILEY TECHNICAL SERIES FOR VOCATIONAL AND INDUSTRIAL SCHOOLS

EDITED BY

J. M. JAMESON

4 17 THE WILEY TECHNICAL SERIES EDITED BY JOSEPH M. JAMESON GiEARD College

TEXTBOOKS IN DRAFTING AND DESIGN

Decorative Design. A Textbook of Practical Methods. By Joseph Cummings Chase, Instructor in Decorative Design at the College of the City of New York and at the Woman's Art School, Cooper Union. vi4-73 pages, 8 by lof, 340

figures. Cloth , $ i . 50 net.

Agricultural Drafting. By Charles B. Howe, M.E. 8 by lof , viii+63 pages, 45 figures, 26 plates. Cloth, $1.25 net. Agricultural Drafting Problems. A Manual to Supplement the text in Agri- cultural Drafting. By Charles B. Howe, M.E. 26 plates, 8 by io|. In paper cover, 50 cents net. Architectural Drafting. By A. B. Greenberg, Stuy-vesant Technical High School, New York; and Charles B. Howe, Bushwick Evening High School, Brooklyn, viii+iio pages, 8 by io|, 53 figures, 12 plates. Cloth, $1.50 net. The Orders of Architecture. A IVIanual to Supplement the text in Architectural Drafting. By A. Benton Greenberg 20 plates, 8 by loj. In paper cover, 50 cents net. Mechanical Drafting. By Charles B Howe, M.E., Bushwick Evening High School, Brooklyn, x+147 pages, 8Xiof 165 figures, 38 plates. Cloth, $1.75 net. Drawing for Builders. By R. Burdette Dale, Formerly Director of Vocational Courses, Iowa State College. v-f-i66 pages, 8 by lof, 69 figures, 50 plates. Cloth, $1.50 net. Costume Design and Illustration. By Ejhel H. Traphagen, Instructor and Lecturer at Cooper Union, etc. ix+145 pages, 8 by lof. Upwards of 200 illustrations, including several in color, and a Color Spectrum Chart. Cloth, $2.50 net. Mechanical Drafting Manual. A Series of Lessons and Exercises Based upon the Fundamental Principles of Drafting. By Charles B. Howe, M.E. Part I. General Principles of Drafting and Working Drawings. 15 Lessons, with Illus- trations. Part II. Geometry of Drawing. 15 Exercises, accompanied by full- page plates. 8| by 65. Printed in loose-leaf form, each Part in a separate envelope. (In Press, Ready Fall, 19 19.) (Part III. Machine Drafting: (a) Elementary Principles, (b) Advanced. Part IV. Plan Drawing. Part V. Plot and Map Drawing. In preparation). Student's Manual of Fashion Drawing. Thirty Lessons with Conventional Charts. By Edith Young. Director of the Edith Young Art School, Newark, N. J. Formerly Art Director of the Albert Studio of Fashion Drawing, Albert

Business College, Newark, N. J., and Instructor of Fashion Drawing at the Young Women's Christian Association Newark, N. J. vii-f 107 pages. 8 by 10 j. 30 full-page reproductions of original drawings. Cloth, $2.00 net.

For full announcement see lis! following index. Digitized by the Internet Archive

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http://www.archive.org/details/costumedesignillOOtrapiala Drawing by Drian Frontispiece Courtesy of Harper's Bazai COSTUME DESIGN AND ILLUSTRATION

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

'H'

FIRST EDITION

NewYork 1918 JOHN WILEY & SONS, Inc. CHAPMAN & HALL, Limited Londok Copyright, 1918, by ETHEL TRAPHAGEN

PRINTEBS Art Library ^rrrr 50'f

THIS BOOK IS SINCERELY DEDI- CATED TO MY STUDENTS, WHOSE ENTHUSIASM AND SUCCESS HAVE BEEN ITS INCENTIVE AND INSPIRATION

THEPREFAGE

Costume Design and Costume Illustration are not always looked upon as distinctly different branches of what is termed fashion work, but in truth there is a marked difference between them.

^ In the former, one must consider the judging of color, and all that this

(\j includes by way of harmonies, contrasts, areas, etc.; the relation of spaces;

(?) 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

Oft of the purpose of the costume and its suitability to the wearer.

(^ The costume illustrator, on the other hand, has the privilege of the it , representing garment after has been designed—he must be able ^ 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, ("V 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 for which the design is intended. 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 may not be perfect. Drawing from the nude is of great advantage to the student, and no serious costume illustrator should be without this valuable training.

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 Draicing 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

II. Drawing without Models .... 13

III. Methods 27

IV. Color 63

V. Design 75

VI. The Fashion Silhouette ..... 83

VII. Period Fabric Design 91

VIII. Outline of Historic Costume ... 99

IX. Bibliography .127

X. A Reading and Reference List of Costume, Arranged Alphabetic- ally 137

XI. Artists whose Work Has Bearing

ON Period Fabrics or Costume . 185

XII. Index 199

SKETCHING CHAPTER ONE

COSTUME DESIGN AND ILLUSTRATION CHAPTER ONE SKETCHING

1. Forms.—In both lines of fashion farthest point out of the other oval, to work it is necessary to be able to eon- represent the skirt. Connect these and struct quickly a form on which to sketch you have a form. See Fig. 1. The bust or design a dress, and, like the forms in and hip should be on a line, and for the

fufthat

Fig. 1. —First steps in constructing a dress form. 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 is entirely 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 tw^o ovals. First, straight in the skirt. See Fig. ^. (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, swing 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 Hne 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.

JlJlu

Fig. 2. Fig. 3. Fig. 4. 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 doing them 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 hne 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, ment. the line curves, but im Next observe always downward. V- x\ the large, impor- The shoulder lines ' tant facts—such as should be made to length of sleeves, slant as much as jU 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. very sharp by con- After the lengths tinually pointing it of the sleeves, '[•]'"! ]''"".< ^ on the pad. From waist, coat, etc., the start great at- are determined, tention should be you must strive for paid to a clean-cut skill in keeping and beautiful line your pencil line and to the proper clean and sharp. placement of the This gives the Fig. 5.—Pencil sketch of a suit. sketch on the much-desired, well paper. See under " Greek Law," page 27. pressed newness to the garment. To 3. Sketching a Garment.—After the keep this effect, beware of too rounded form is mastered up to this point, the curves. After the sketch is finished, next step is the sketching of a garm^ent some accents should be put in, in on the foundation drawn. If possible, have places where shadows would naturally be; as a model a simple dress or suit on a this gives added interest to sketches. 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 sories, 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 sketching is also to adapt to your most important. A own designs, and good way to do again, in doing this is to sketch sketching for news- from memory papers or maga- what has been zines. Designers drawn from ths for manufacturers garment the day find it a great before. Another boon to be able to good way is to sketch in their ex- observe a dress ploring trips in the either in a shop shops and along window or on a Fifth Avenue. person, and then, Sketching for without again manufacturers is looking to aid the done for two pur- memory, to try to poses: To give put on paper all Ihem the latest you remember. It French models is well to verify from the "Open- this sketch by ings" from which comparing it with 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

Fig. 7.— Illustrating a variety of details. out heads, but with a styhsh foundation but as a rule the more finished dress- form under- makers' sketches neath, with are done on sometimes a figures express- little color ing some 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 WTien sketch- without heads, Fiq. 8. 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 9.—^Theatrical design. these sketches on the Fig. 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 chosen, 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 lars, sleeves and on the paper, and shoes. It tends to ?.A*»S where it is to end, much greater facility leaving good mar- on the part of the gins (more at the student to arrange bottom than top), these according to and block in between the Greek Law of these spaces. After- proportion, page wards make sketches 27. For sugges- from memory of the tions see Fig. 11 pose you have been on this page. studying. 8. Sketching from When doing rapid Life.—Sketching sketching to catch from life is strongly the action of a figure advised; drawing in motion, indicate from the nude is of the position of the great advantage head, hands, and feet when done with un- Courtesy of Gerhard Menncn Co and fill in the rest. derstanding. In all Fig. 10. —Crayon drawing. Excellent practice is sketching and draw- obtained in doing ing it is advisable to five, seven, ten, and block in, or in other fifteen minute poses words, sketch with from the nude or light lines the general draped model. proportions, using These quick sketches tentative or trial often afford good lines and "feeling action poses that can for" the form. See be carried out and Figs. 15, 16, 18, and used to great advan- 19. tage. See Figs. 40 and Never complete 41. This sketching one part before will be most helpful another part is in assisting the stu- thought out; never dent to obtain a pro- fix your attention fessional touch and on the outline, but an individual style. rather on general More and more proportion, or the stress is being laid result will be un- on the well-drawn happy. See Fig. 17. figure underlying the Decide where your fashion drawing and drawing is to begin Fia. 11.—Shoes drawn by Elfrida Johnson. too much emphasis .

Page Eight SKETCHING cannot be put on the value of drawing "When drawing from fife, it is a good this figure with understanding and appre- plan to put yourself, in the same pose as ciation. Great care should be given the the model; that is, imitate as well as study of hands you can, the ac- and feet, as these tion, the disposi- play an impor- tion of the limbs, tant and telling and the pose of part in fashion the head. This work. See Front- mimicry — it will ispiece and Figs. only be that some- 10, 27, and 28. times, as you will The student is find that different advised to make persons have dif- copies, by way of ferent ways of study, from the carrying them- hands in Vander- selves, and you poeVs Human Fig- can perhaps only ure and then to approximate the make studies pose of the model from life. It is will give important in this — you a work to observe better understand- from which side ing of the pose the light is com- and impress itself ing. (See Figs. on you mentally 28 and 29.) and further the

It is practical work of pictur- to make the life ing it. studies in a loose, "Note how, artistic manner, when the hips in charcoal, chalk, slant one way, etc., and after- the shoulders, to wards to draw counterbalance, from this sketch incline the other another figure, way ; and the head copying the pose again to preserve Courtesy of N.Y. Globe and keeping the the balance, tilts Fig. 12. An example of hat illustration. action, but refin- away from the ing it slightly, to make an attractive fashion falling shoulder. This applies to the drawing on which to put the dress from greater part of poses. Sometimes, though, one's costume sketch . See Figs. 40 and 4 1 models deviate from the general." This

Lutz, in his book entitled Practical is valuable advice to observe in your Drawing, wisely says: work. SKETCHING FROM LIFE Page Nine

Figs. 13 and 14 show two treatments of in clear water 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 reahstic way, in Fig. 14 the conven- dry ; the other colors are then put on over tional method is used. In Fig. 13 hght this The opaque paint has the advantage

Courtesy of Henry Block. Fig. 13.—Complete dressmaker's sketch done in trans- Fig. 14.—A dressmaker's or manufacturer's sketch parent water color. in tempera colors. 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

^;v " ^-'V - \. \

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CouTtesy of the Prang Co. CoiirUsy of Che Prang Co, Fig. 15, First stage of sketch of dog. Fig. 16.—Second stage of sketch of dog. The illustrations on n centrating on any this page show one of one part in detail ; re- the most important membering never to things to be considered -- _._ finish one part before in all kinds of draw- the other parts are ] ing, whether it be from / thought out. Fig. 17 life, from memory, ( shows the danger of chieing, or even copy- fixing your attention ing, and that is get- V ) )<^^ on the outline. It is ting the general pro- 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.)

'%^i»<^

Courtesy of the Prang Co. Courtesy of the Prang Co. Fig. 18.— First stage of sketch of boy. Fig. 19.—Sketch of boy completed. CHAPTERDRAWING WITHOUT MODELSTWO

CHAPTER TWO DRAWING WITHOUT MODELS

9. To Set Up a Well-proportioned Fig- using one inch as the unit of measure. ure.-—It is best to understand how to set This gives the height of the figure. Mark up a well-proportioned nude figure "out each of these divisions with a dot. The of one's head" or chicing a figure as it is figure is divided into four important sec- sometimes called. See Fig. 21. To con- tions; the head, torso, arms, and legs. struct this figure find the centre of the To keep the drawing as simple as possible paper, through which run a vertical line. we will have to start, in some detail, The head is the unit most useful in meas- with the head, it being our unit of measure.

Dratm hy Reta Senger. CouTtesy of Good Homekeeptng, Fig. 20. —Editorial featuring infants' wear. 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 a figure 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 plan. where the neck sets on the shoulders. Horizontal lines drawn through the The second "head" or unit of measure points that divide the vertical line into gives the bust line. Curve the line in- thirds give the eyebrows and the tip of dicating the bust section. the nose. A horizontal line drawn through The third "head" gives the placing of a point one-third of the distance between the abdomen. the eyebrows and the tip of the nose One-half the distance between the bust marks the centre of the eye socket, and a and abdomen, or between the second and horizontal line drawn through a point third head, is the waist line. Indicate one-third of the distance between the tip this. The centre of the figure comes of the nose and the base of the oval slightly above the fourth head, this is marks the centre of the mouth. also the end of the torso. The line of the Divide the horizontal eye structure line hip is halfway between the third and into five parts; the middle space represents fourth head. Establish the width of the the width of the nose, and the nearest hip line by verticals from the shoulders. parts on each side the eyes. Guide lines 11. The Legs. The knees come half- dropped from the centre of the eyes, ver- way between the hips and the soles of tically, give the corners of the mouth. of the feet. The ankles come at the For the ears extend a line a little beyond seventh head. The width of the ankle the oval on each side of the head, from is one-third the width of the hip line. the first third to the second third, or, in The inside ankle is high, the outside ankle other words, from the line indicating the low. The calf of the leg is about one-half eyebrow to the line indicating the end of the width of the hip, the outside calf the nose. of the leg is higher than the inside calf. Continue the bisecting vertical line 12. The Arms.—The length of the arms, down one-third of its length, to establish stretched out horizontally including the the pit of the neck. Draw a horizontal shoulders and the hands, equals the length line through this point. Drop guide lines of the body. The wrist comes at about from the base of the ear to this line. the end of the torso. The elbow comes

Connect the extremities of these guide lines at the waist lines. The pit of the arm 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

PIT OF ARM ONE-THIRD width OF SHOULDER

THE WIDTH OF EACH SHOULDER IS THREE - FOURTHS LENGTH OP IsT HEAI> HEAD

SHOULDER LINE ow pit of neck —ONE-THIRD HEAD BELOW CHIN

2nd head BREAST LINE

WAIST LINE ONE-HALF WAT BE- TWEEN 2nd AND 3rd heads

ELBOW LINE Sbd head ABDOMEN

HIP LINE one-half way between 3rd and 4th heads

END OF TORSO a little above 4th head whist line 4th head

6th head

KNEE LINE is one-half way BETWEEN HIP LINE AND SOLES OF FEET

6th head.

7th head ANKLE LINE

7iTH HEAD. SOLES OF FEET Drawn 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 14. Children's Proportions.—The chart 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 vulgar. In studying children, 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 Rimmer. HEADS AND FACES Page Seventeen

Fig. 23.—Showing construction lines that help in drawing heads. 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

Courteav 0/ Home Pattern Co. H Year 7 Years 10 Years 15 Years Maturity Fig. 24.—Proportion of figure at different ages, Page Eighteen DRAWING WITHOUT MODELS level with the nostrils. This forms a rubbed out except the nostrils, but they never-changing axis on which the head will appear more correctly placed than turns up and down. when put in with- Note how the fea- out this foundation tures are located thought. See Fig. in these changes, 25. and how the fore- In drawing the shortening is sim- mouth, think first plified by means of of a Cupid's bow, this method. In the string of which drawing heads al- is broken in the ways use the centre c^"^ centre; then sug- and other construc- gest the lower lip, tion lines. shade the upper When the head lip, which is always is turned up, we darkest as the see more chin and lower catches the less forehead ; when light, and you turned down, more have the mouth. forehead and less Never make a hard chin. The eyes are line around the one eye apart, and lips, as it destroys the lower lip ends the flesh-like qual- at about half the distance ity. See Fig. 25. between the nose and In making the eye, al- chin. A triangle is helpful ways hold the pupil in by in dividing the face into the line of the lid. Block planes, and great care in the head, ears, hands, should be taken not to and everything before ignore the cheek, jaw and putting in the detail. chin bones. Observe that Hair should be expressed the cheek bones come in waves of light and dark, slightly below the eyes, not by single lines (unless the jawbone slightly below you are making a deco- the mouth. rative, unrealistic draw- In drawing the nose it ing). Never draw a is helpful to think of a clean-cut line between the little round knob; from face and forehead, because which extend the nostrils, the hair in many places sketch in the sides, and Courtesy of Vogue. blends in with the tone of Fig. 26, extend a line suggestive of the face. See Fig. 26 the planes. Afterwards everything can be and observe other drawings that show hair. HANDS AND FEET Page Nineteen

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 ing the hand, deter- line, which has mine the relation of some curve. Ob- the length of the serve also liow fingers to the palm, much shorter the and where the line of the inside thumb comes in of the shoe is than relation to the the outside line, fingers. All knowl- which extends edge gained by nearer the heel. study or observa- See Figs. 25 and tion from life will 11. Note that the help in drawing or inside ankle is chicing them. Van- higher than the derpoel's Human outside ankle. Figure, mentioned It is well to ob- before, has some serve what is ap- splendid illustra- propriate and to tions of both hands select shoes of and feet that the different character. student would find There are shoes for it helpful to study. shopping, for after- One good way of noon, for evening, studying them is Pig. 27.—^Study of hands by Albert Diirer for travel, and to make careful for sport. You drawings from these plates, and after- must select the right shoe for the right wards to try to making your own draw- dress. The footwear must be in keeping 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 is to group five or seven pairs of shoes, including sport shoes and slippers, in different positions on a sheet of bristol In these days we cannot make the board about 11 inches wide by 14 inches skirt cover up bad drawing of the feet Page Twenty DRAWING WITHOUT MODELS "^

Coinimy of The Inhuid Printer. Fig. 28.—Construction of Hand from Vanderpoel's " Human Figure." ARMS Page Twenty-one

H 1^^^|H ^^^H |H^^^^^H ^^^^^^H ^^H . ^^^1 ^^1 ^^^^^^^^^^H ^^^^1 ^^y^*^^H '^1 ^^^^P^H ^^^H ^^^^^^^^kII^I^h <'!3^^^M9 H^Fsl^ ^^fl

y^ J^^ I J ^H Hj ^V ^1 ^^^^Ik-'<'

1 1 L Courtesy of The Inland PriTUer, Fig. 29.—Construction of Arm from Vanderpoel's " Human Figure." :

Page Twenty-two DRAWING WITHOUT MODELS and shoes. No longer can it be said of Leaping is best shown in the same Dame Fashion that manner as running (limbs ready for the effort), "Her feet beneath her petticoat next but with the Like little mice steal in and out, feet off the ground as in As if they fear the light." jumping. See Fig. 31. 17. The Human Form Jumping is best shown Reduced to its Simplest with the feet off the ground Elements.—Relative propor- but gathered together to tions and helps to express preserve poise and ready to action can perhaps best be alight safely. See Fig. 31. acquired by observing the A stick stands when Fig. 30 following facts in connection Walking. Running. balanced on one end and also with toothpick when supported figures on each side as The trunk, shown in Fig. 31. thigh, and leg are The body may each about one- be bent at the third the length hips so as to bring of the body with- the head over out the head and either foot and neck, though the maintain an up- trunk is a trifle Fig. 31. right position un- Standing. the longest. The Leaping. Jumping. til the weight of trunk is about the body is bent twice the length beyond the line of the head and of support, when neck. The elbow it must come to reaches to about the ground as the waist and the shown in Fig. 32. hand half way Kneeling fig- down the thigh. ures, leaning Walking is best de- back, make it necessary scribed on paper when that support be given both feet are on the behind as shown by the ground, though in reality vertical dotted line in the greater part of the Fig. 33. time the body rests on The student should one foot. See Fig. 30. notice that a straight line Running is best shown extending from the neck Fig. 33.—Illustrating balance. when one foot is on the to the floor comes just ground, though in reality much of the time between the feet when the weight is both feet are off the ground. See Fig. 30, evenly distributed on both legs. When THE HUMAN FORM Page Twenty-three

Figs. 34 and 35. Figs. 36 and 37.

Toothpick construction applied to fashion drawing. 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 of the use of the toothpick the ground. See Figs. 32 and 33. After construction in giving action to the human studying these, it is well to build the form. \ /'

-A-

CouTtcsv of VoflJie From a drawing by Helen Dryden, in which pencil, wash and ink were used, on a rough texture paper. METHODS CHAPTER THREE

CHAPTER THREE METHODS

18. The Greek Law.—In the sixteenth These same proportions may be prac- century, in the days of the Renaissance in tically applied in clothing to tucks, hems, Italy, Leonardo da Vinci with other artists etc., as illustrated in Fig. 39. Suppose a worked out, through study of classic art, line is drawn six inches long to repre- an ideal proportion which is commonly sent a muslin skirt. Divide by the Greek as the Greek known (a) (c) Law to find Law. Instead of where any trim- using exact me- ming (hem and chanical measure- tucks) should ments, such as start. Re-divide the half, thu-d, the space given fourth, etc., so up to this trim- easily measured ming to obtain in inches and further good pro- easily grasped by portions (of the Fig. 38. the mind, this law hem to the tucks). supplies the idea of a consistent variety, so In Advertising—Its Principles and Prac- fundamental in all artistic things, stimulat- tices, published by The Ronald Press Co., ing the imagination and lending interest to the following statement is made

the object. Thus, if an oblong is divided "This Greek Law of proportion is some- 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 somew^here 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 7, at the top, and 5, the narrowest, 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 to each 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

Muslin Tucks r ^r ^

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 y^^ 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 tv»-o 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 is between one- pleasing. There is half and two-thirds also often a chance the length of the to apply these pro- longer line. portions to the The Greek law blank space between may be applied to different parts of the margins of draw- the copy display. ing papers as well

When it is possible /: as to folds and coat to do so, this has an Drawn by BstJier Wegman. lengths. The best added value. Not Fig. 40.—Quick sketch from Fig. 41 .—Costume sketch arrangement of life. made from quick sketch. • p . • i enough attention is margms tor a vertical paid to the relative widths of these blank lay-out is to have the greatest width at

spaces. Blank space is often more eloquent the lower edge, the next at the top, and the

than copy." smallest at the sides ; while for a horizontal

Summarizing the above briefly, it is page the widest margin should still appear to be noted that at the bottom, the second size at the sides,

(1) Mechanical divisions are in- and the narrowest at the top. This is artistic. to preserve a like relation with the en-

(2) Sizes too unrelated, such as a very closed space. large size and a very small one, fail to Design is selection and arrangement, satisfy, as the mind does not see any and from the start of any work the details relationship in things that emphasize each which make for good design should be other's difference. kept in mind. If it is school work, even

(3) Areas or sizes near enough alike to the name and the lesson should form part be easily compared by the eye and yet of the plan. Observe how the enclosing LAY-OUTS AND REDUCTIONS Page Twenty-nine 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. less intense 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

. , ,1 1 Fig. 42. — Enlarging and reducing. RecRectangles mtense tne color may having the same line 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: For illustration, the Draw a horizontal paths of a garden should line, say two inches be smaller than the di- from the top of the visions of the garden paper, straight across, shapes. using the T-square, the

19. Lay-outs and Re- head of which is held ductions. — Lay-out is against the left edge the technical name of the drawing board. given to the composi- Next measure in, let us tion of a catalogue say, two inches from the page, and the drawing left side of the paper, of the figures which and draw the vertical go on it. It is also ap- line against the edge plied to the grouping of of a triangle, the base any objects to be put of which rests against Fig. 43.—The rough lay-out. in a certain given space, the upper edge of the whether for magazines, booklets or news- T-square blade, At the left-hand upper papers. The height and width of the corner, measure seven and one-quarter space which the lay-out is to occupy on inches to the right and eight inches down Page Thirty METHODS with the ruler, using the triangle to per- interesting effect is obtained. See Fig. fectly complete this little rectangle; then 45, the original size of which was 12^ draw a diagonal and determine the height inches wide by 17f high. desired for working out the lay-out and Each line bounding the lay-out should extend a horizontal line wherever this be touched by some part of some figure. horizontal touches The better the lay- the diagonal, erect out artist the less a perpendicular and space will be wast- the dimensions of ed. It will be found the large and small advisable to give rectangles will have the centre to the the same propor- figure with the tion. See Fig. 42. darkest clothes, as Catalogue pages this is found most often go through agreeable to the many hands before eye, and also sets they come out a off the other fig- technically finished ures to advantage. product, photo- The law of per- graphically perfect spective requires but often stiff, in- that, if there are artistic and unin- smaller figures, teresting. There is these should be often a special nearer the top of artist who does the page. The nothing but lay- effect is like a outs, grouping the staircase ; when one figures and plan- stands below, those ning the page as at the top seem in Fig. 43 ; another smaller than the Courtesy of John who makes sketches Fig. 44.—Conventional Catalogue drawing The combined people nearer the work of several artists. of the garments; foot of the stairs. another who draws them on the laid-out For the principles of general composition figures; another who puts on the large which underlay all design, the student washes; another who does details such will find it helpful to read Pictorial Com- as lace and embroidery; another who position, by Henry A. Poor; Principles finishes the heads; and still another who o/Dmgrii, by Batchelder; Composition, by finishes the hands and feet. See Fig. 44; Arthur Dow, and Principles of Advertising the original of this was twenty-five inches Arrangement by Frank Alvah Parsons. by seventeen and three-quarter inches. 20. Mechanical Helps and Short Cuts. 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- 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 off the surface and 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 third the ; rest. See Fig. 49, with the knife, the and the floor and stipple surface; hat in Fig. 77, with the pencil, showing Ben Day the fine check. stipple. Notice the Black Courtesy of John Wanamaker can be put difference between Fig. 45. Catalogue drawing, the work of one artist from on with ink. This start to finish. these and Fig. 50, makes possible an done by hand; observe particularly the even gradation from white to dead black. greater irregularity of line. When two or Fig. 48. Fig. 46 shows a finished Ross more printings are made the Ben Day can board drawing. be put on in color, but this necessitates Spatter work is done with a toothbrush, two or more plates according to the and makes good flat tone effects for tex- number of colors used. See Fig. 97 in tures, posters and backgrounds. Cover which two plates were used. the entire drawing, except the parts to Ross Board comes in a variety of designs. be spattered, with paper, cutting out these

The three most used kinds are perhaps to make what is practically a stencil the plain white with raised or embossed (tracing paper fastened down with rubber Page Thirty-two METHODS cement is convenient). First, dip the The silver print method is often used toothbrush in a saucer of ink, hold it for making line cuc^ or pen drawings of 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 "• 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- can be done very fully traced with skillfully. See Fig. the usual drawing 47. pens and India-ink, The texture of doing deep shadows rough paper often first and gradually gives interesting working up to the effects in the repro- high lights. When duction of a draw- finished, the silver ing; for this rea- or photograph son crayon, pencil, color is bleached charcoal, and even away by pouring wash drawings are over it a saturated sometimes done on solution of bichlo-

what is called a Courtesy of QuiU Magazine ride of mercury. paper with a Fig. 48.—^Drawing on Ross Board, reduced from an 8j This leaves the high by 7" wide original. tooth, such as a pen lines clean and charcoal or other rough paper. See sharp upon a perfectly white sheet of Fig. 45. paper. When dry, the result should be The air hnish gives either an even or a compared with the original photograph varied tone, as desired, and in the doing and touched up where necessary. See of half-tone shoes it is found very useful. Fig. 52. It is really an atomizer run by pressure, and 21. Tracing.—Tracing is often found by its use a great variety of tone can be necessary and is a time-saver in doing obtained. See Fig. 55. As in spatter work, repeats, etc. Graphite paper gives a the surface of the paper to be kept white better line in transferring than carbon

is covered. Frisket paper, which is thin paper. and transparent, is used for this purpose The pencil should be kept very sharp and pasted down with rubber cement. when tracing and a hard pencil is good When the rubber cement is thoroughly dry for doing the transferring through the it may be rubbed off, leaving a perfectly carbon. Ruled squares are useful to put clean surface. The effect is photographic under thin paper in doing some kinds of and mechanical. See Fig. 54. designs. ; 6

Page Thirty-three

Fig. 48.—Ross Board: Embossed white, black and white texture and cross rules.

m 319.-9I4X14I4 "No. 317 -9'4'f 9H- No. 318.—9^4 X 14^. No. No. 337-— 9*4 X i4'4- No. 322.— J4 XII.

' WM\ THn^ '- T =r Tf Mt I ^ii :I ti m i 1 I 6^4 X ! No. 324-— XII No. 325.-654x11. No. 326.—654x11 No. 327-—6J4 X No. 323— 6M 'mmmm y/.^^yy/yy/yyACf^yM

No. 329-—9J4 X 14:4. No. 330-—9'A X 1454- No. 33I.-9J4 X 14^. No. 332.—9'A X I4J4.

4= tt i J = = ^'o. 333-—9^4 X 14!4- No. 334-—9J4 X I4J4. No. 335-—9^ X I4J4. No. 336.—9J4 X I4J4- No. 338.—6^x11. Fig. 49.—Some samples of Ben Day. Page Thirty-four METHODS

y ul Abraham js Fig. 50.—Stipple work done by hand

Stipple, which takes a of a head, how much ac- long time, is done by dots tion, what varying humor, made with the point of a may be found in the way pen. When a flat tone in which a head is perched effect is desired, it is often on a person's shoulders. produced by sets of A little boy whom she has circles running into each portrayed, Fig. 57, holds other. See Fig. 51. If his neck perfectly rigid large dots are required, it with head raised in the will be found convenient back and lowered in front. to use a ball -pointed pen. One can feel the restrained Artistic and interesting life in the little chap, the effects can be obtained in unusual quality of his this manner. See Fig. 50. attentive attitude fostered 22. Silhouette.—In do- by some engrossing in- ing silhouettes the follow- terest outside. ing statement made by "There are ever so Fig. 51.—Detail of stipple. Miss Harriet Lord, many things to re- the silhouette portrait member in making artist some time ago silhouettes. Certain in the Tribune, is persons cannot be helpful commercially, pictured in this posi- and her permission tion, for in many has been secured to persons profile means quote it: little; it is the eyes "Perhaps no one or something in the has demonstrated drawing of the full more clearly than face that is indicative Miss Lord the im- of the true personality.

portance of the pose Fig. 52 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 to find how much 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 and, more impor- is a very quick tant, a line that method of gaining was not satisfac- an effect, being tory, for it al- merely an outline most hinted at a sketch, usually falseness or ap- profile, filled in Courtesy of John Wanamater. parent abnormal- with black ink. Fig. 53. -Catalogue page. ity. The chair See Figs. 57 and on which a person is seated must be 58. White is sometimes successfully added examined, for it must not melt into the as in Fig. 5Q. 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 E to D around pears in a vague C, and tie 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 pencil perpendic- Theatre to advertise "The Misleading Lady." 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- ve t s and quired. Good books on detail of all

lettering are : Writing and kinds. These Illuminating and Lettering, are not to by Edward Johnston, and be used as the booklet called Book of copies, but Alphabets, by H.W. Shay- as a teacher, lor. There are other good showing ways books on this subject by that have Lewis F. Day and Frank been used Councsy ofN. Y. Trttune. Chauteau Brown. with success. Fig. 57.—Silhouette . . Courtesy of N . Y . Tribune. by Harriet Lord. 24. Constructing an Copying IS Fig. 58 —Silhouette by Harriet Lord.

* In classifying documents for reference in boxes or envelopes, these headings will be useful: Men, Women, Children, Animals, Flowers and Fruit, Outdoor Scenes, Furnitiu-e 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 of a "swipe," Figs. 61 and Dotted and flowered materials should 62, 63 and 64, showing a case in which one 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- given to whether dation. See Figs. it is a shiny tex- 7, 8, 68, 69 and 83. ture with many Chiffons must high lights, or a keep their trans- dull black silk or parent quality, velvet, with little usually expressed or no shimmer. by a delicate line. The supporting Chinese white, points usually when used dis- catch the light, creetly, is often and it is here that helpful for this the whites are left purpose. or put in. The Laces and em- trimming has to broideries are be kept light, to carried out either show the detail. in detail or in See Figs. 65 and sketchy way, ac- 66. cording to require- Stripes and ments. When the plaids are both drawing is needed done in a manner to advertise a to give the best particular lace, expression pos- greater detail sible to the special must be given Fig. 60. —Constructing an ellipse design to be re- than when ad- presented. Complicated designs often have vertising the pattern of a dress in which to be greatly simplified for reduction, any kind of lace can be used. See Fig. 72. and care must be taken to give the gen- When the lace is to be done for repro- eral effect in the most telling way. See duction in half-tone—in other words, when Fig. 67. Shepherd plaid, when carefully in wash drawing—in an elaborately worked 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 differs in tone according to 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, in museums 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 Durer. 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 is expressed by 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. Fig. 7. 27. Pen and Ink.— Fur is done in masses Pen and ink is a very of lustrous dark and interesting and much light with a soft irreg- used medium in fashion ular edge, avoiding too work. It may be di- "liney" an effect. The vided into several treatment, in fact, is headings as, work for much the same as for newspapers, for maga- feathers and human zines, and for catalogues. Courtesy of Gimbel Bros hair. See Figs. 26, 74, And these again may be Fig. 62 The adaptation. and 75. In decorative subdivided into groups. drawings many different ways of For instance, there is the pen-and-ink rendering are used, sometimes a line, neicspaper proper style. This is paid for sometimes dots, and sometimes a com- by the newspaper and is often done in a PEN AND INK Page Thirty-nine broad, bold way with no particular attention given to seams or texture.

This is also known as editorial, because under charge of fashion editors. See Fig. 73.

There is newspaper pattern dravnng.

This is paid for by the pattern company, and here more attention is given to seams, tucks, darts, and the like than to texture. See Fig. 76. Again there is department store advertising. This is paid for by the de-

Courtesy ( FiG. 64. -The adaptation.

partment store, and here seams are ignored and attention concentrated on texture, and expression of the style. See Fig. 77. This is sometimes done in a more general illustrative way, as in headings, or for a service, when the same illustrations are used in stores throughout the country; then the

idea is expressed in an abstract way. See Fig. 78. A good deal of space is often devoted to the newspaper's own drawing, while the pattern drawing

is usually given a column or two,

and there is not quite so much stress laid on the filling of space in either of these cases as in the department store work. See Figs. 73 and 77, Ben Day often, and wash sometimes, are combined with newspaper pen and ink. Courtesy of N. Y. Globe. Magazines have the same three Fig. 63.—The original—An example of vignette. 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 acterisfcs of the used in pattern garment and its drawing, be- special charm. cause of the ex- A good example actness usually isgiveninFig.72, required for this which was used type of work. for catalogue and Counesy of Globe. This decora- Fig. 65.—Illustrating dull Fig. 66 -Illustrating shiny also magazine black material. black material. tive work, while advertising. so simple and Pen-and-ink work for pattern catalogues permitting of a certain uniqueness, is usually done in a stiffer way than that requires even a greater knowledge of done for magazines and newspapers. This drawing to do it successfully than the PEN AND INK Page Forty-one

'» V p

"' s ^\ ^^K KI76

CourUsy of Stern Bros. Fig. ti7.—Lay-out illustrating methods of rendering, stripes, plaids, checks, etc. Page Forty-two METHODS

in Album naturalistic work, seen where mistakes Dedie a Tamar Karsavia), Le- are sometimes pape and Erte, hidden. all show the in- In this decora- fluence of Aubrey tive work beauty Beardsley and of line and in- should be studied teresting spotting by the fashion is given great consideration. artist. See Figs. 70 and 71. The effect is obtained by the • « • • vlfe z Headings and ••• • •• pos- page decorations fewest lines 1^ ••••••••• F are often required sible, and very interesting work by the department store fashion art- of this type can be found in pen- ist, see Fig. 84, and here is the and-ink, wash and I •• •• t • •••• place where good color. This style are at a of work was first ideas made popular by premium. For ft.coHor Aubrey Beardsley, this reason, other ideas see Fig. 85, and people's the student would should be con- 1 f *' sulted, studied find it profitable f to see his illustra- and weighed, and tions of Sir Thomas something plaus- Mallory's Morte r^ ' ible and catchy d'Arthur, Brunel- The : worked up. i^ ^ ; ^ ; ^. leschi's illustra- -.,_^_M. same thing holds tions of La Nuit true of feature cuts or, in other words, white sales, silk sales, toys, etc., and these do not want to be omitted from the swipe collection — not ings of George that you are Barbier (some of going to copy which can be Fig. 68.—Catalogue detail done by Samuel Cohen. Tales by Hans Andersen illustrated by Harry Clarke. * Also " East of the Sun and West of the Moon," a d Fauy INDIVIDUALITY Page Forty-three

them, but that they may give you an in- straight, even Hne 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- Higgins' waterproof press the soft deli-

ink is useful where cacy of skin (see wash is to be com- Fig. 65), the light- bined with the pen ness of chiffon or and ink, but many the heaviness of people, for general velvet. Make every use, prefer Higgins' line you put down non-waterproof and tell or mean some- French black ink. thing; this requires Use two- or three- study and applica- ply Bristol, plate tion. Compare Fig. (or smooth) finish 82 showing a hard

if for ink alone, kid line with Figs. 20,

finish if washes are 22, 70, 71 and 97, to be added. Very showing a beautiful good effects can be one, and be able to obtained with ink tell the difference and a brush, see and why. Figs. 73 and 86. It is understood A large drawing that a pencil sketch Drawn by Reta Senger. Courtesy of Good Housekeeping Magazine. board placed at the is made first and Fig. 69.—A silhouetted half-tone drawing. right angle against that the ink is put 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 ex.clusion 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

Courtesy of Harper's Bazar. Fig. 70.—Erie magazine editorial drawing—showing influence of Aubrey Beardsley.

lines, in the other to draw lines that are thing is to find out the method that is light and 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 is waiting 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's Bazar. 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

Courtesy of Ellsworth Co. ^Courtesy of Brootlin Ea:,le. Fig. 72.—Pen and ink catalogue drawing which Fig. 73.—Illustrating newspaper editorial in which pen and ink was also used for a magazine advertisement. fashion work is combined with brush work. WASH Page Forty-seven

The power to make beautiful lines must first be obtained with the pencil, before the same result can be attained with ink. It is well to have the student really know what a good line is before beginning a problem of this kind. For this purpose have examples of different kinds of good and interesting lines, such as Japanese prints, some reproductions of good line drawings by McQuin, Erte, Dryden, Drian, etc. Too much must not be taken for granted about students or beginners knowing just what a good or beautiful line is, otherwise the mistakes of trying to get a hard, inexpressive, mechanical line is often the result. For that reason it is well to have drawings made in a

Courtesy of Glmbel Bros.

Fig. 75.—Realistic treatment of feathers.

tight, mechanical way to compare with those done with more feeling. Each student should start making a collection of line drawings with this comparison idea in view. 29. Wash.—Wash is a very useful medium for fashion work, especially where photographic effects are desired, as, for instance, in cata-

logues. In newspapers it is not so often used as in magazines and catalogues, because the poorer paper on which the newspapers are printed does not tend to successful reproduction. For magazines, just as there are different ways of using pen and ink, so there are three kinds of wash; the Cffurtesy of Stem Fig. 74.—A fur catalogue page. editorial, the pattern, and the adver- Page Forty-eight METHODS

Using. These again can be divided into and approaches catalogue work in effect; different styles of work, as the realistic, the in fact, sometimes the same drawing sketchy, and the decorative. Still again, there which has been used in a catalogue is is pure wash and there is wash combined also used to advertise in the magazines. with pen and ink or crayon. See Fig. 81. In the editorial Wash for cata- type most attention logues is usually very is given to the at- much finished and tractiveness of the often done without picture. See Fig. 89, much addition of pen done in a decorative and ink. See Fig. 53. way, and Fig. 90, These drawings are done in a more re- made with the in- alistic style. tention of advertising In the pattern the garments illus- type most attention trated, and for that is given to the seams reason great stress and the way the is laid on the mate- garments are made, rials and details. and less to the ex- Sometimes wash, pression of any pencil, crayon pencil, particular kind of and pen and ink are material; in other all combined in a words, the textural drawing; for this, and artistic sides careful reproduction are subordinated to is required. See the practical pattern. Fig. 104. This is done in a The materials realistic way. See used for wash are Fig. 91. usually Steinbach or In wash for adver- Curtis Board (Illus- tising, attention is tration Board), but concentrated on for magazine wash, presenting the kid bristol and some- Courtesy of Home Pattern Co. garment to the best times even smooth Fig. 76.—Newspaper pattern fashions. advantage, bringing bristol ( when only a out its best features and its textures. This light flat wash is desired) are used. You is done in a freer, more artistic manner, will find it good to have Winsor and but often is done in a decorative way Newton's Lampblack and four brushes. except in catalogues. The wash is com- Numbers 3 and 4 and 6 and 7 are suitable. bined with pen and ink, as in Fig. 92. You should also have a blotter, some rags,

Yet sometimes it is very much finished a sponge for washing off all the color if a WASH Page Forty-nine

how the small folds often end in a little 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 lo 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 blacks and some touching up of the edges, buttons and the like, with Chinese white.

Cuurh SI/ uf Fri drrick Looser Co. Fig. 77.- -Department store advertising. mistake is made, and a large white saucer for mixing black. Most satisfactory results are obtained by having your figure and garment very carefully drawn first, then putting in your darks or shadows and after these darks are absolutely dry, your large washes. Give very careful study to the texture and the folds.

It is well, when beginning, to get very good drawings showing examples of the materials you are endeavoring to express. Observe how each material is affected by light and how the light looks on the folds. See, for example, how in shiny black silk the dark side blends into the shadow, while on the light side there is Courtesy of Dry Goods Economist Co. a crispness and unblended look; also note Fig. 78.—a department store cut service illustration. Page Fifty METHODS

To practice large washes com- Gray effects to be put on over mence by drawing a large square black are obtained by mixing and, tipping your board towards Chinese white with lampblack; you, draw your brush very full this makes a body color and of color across the top of the can be put on over dark in the paper from left to right; refill same manner as pure white. the brush, taking up the rivulet If a light streak is desired, 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 the wash is still quite in your saucer to finish that wet; this will give the desired square. Very beautiful wash ef- effect. fects are often obtained with Sometimes a color is added just flat washes. They are very to a wash drawing effectively. artistic and lovely because of This is put on like an ordinary their simplicity and have none wash, but for reproduction of the worked-over look of the necessitates the using of two catalogue work. See Fig. 89. ' plates and two printings. See

There is always transparency Figs. 98 and 99. Courtesy of Vogue. and life to the first wash which Fig. 79. —Magazine Fig. 93 shows the method of pattern drawing. is lost if you go over procedure, or steps, it often. Never be in doing the conven- afraid if the wash tional wash drawing looks too dark. Re- for a catalogue. For- member that it will tunately this photo- dry fighter and resist graphic method is the temptation to giving way to a more work on it when part- artistic one. ly dried. You must 30. Crayon Pencil. keep it clean and —Crayon pencil is a bold. Occasionally, fascinating medium. stand off from your It is used in pref- work and see how it erence to pencil for looks. reproduction, because

Such things as it has not the shiny white dots or stripes quality of the usual on the dark ground lead which prevents of a suit are put in that from photo- with Chinese white graphing well, and after the dark material therefore from being ouTtesy of Dry Goods Economist d is otherwise finished. Fig. 80. —A department store cut service illustration good for reproduction. CRAYON PENCIL Page Fifty-one

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- readily to detail, tain number of famous as it is tones or values for its more illus- and not to have trative or sketchy a number of in- quality. termediary tints Wolf crayon and shades. This pencils are very is best done by good. B and 3B determining how Wolf crayon many values are pencils and kid desired, mixing bristol board are them in separate the proper ma- pans (as much as terials. Kneaded is to be needed of rubber and Eber- each) and then hard Faber green limiting the or red rubber are washes to these. useful, also an This gives a simple emery board pad distinction to the to keep the pencil finished drawing; points sharp. which is decidedly* It is best to desirable. See sketch the draw- Fig. 89. This ing in first with CouTtesy of Stern Bros. simplicity is lost also for magazine the B pencil and Fig. 81. -Half-tone catalogue drawing, used in Figs. 81, 44, advertisement. then put the and 53, which are darkest darks in with the 3B and the done in such a realistic way because of more delicate finishing touches with the the almost photographic reproduction re- sharply pointed B. Sometimes stumps quired. Both simplicity and charm are are used to rub the shadows in, giving the lacking in some magazine illustrations, 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

Courtesy of Rawak Hats. Fig. 83.—Magazine pen and ink advertising.

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 illustrated. These can in good spotting is very important, for the many instances be applied to fashion

finished composition, and the student is work. Fig. 73 and 83 are examples of again referred to Composition by Arthur fashion sketches where good spotting has Dow, a careful perusal of which will do been obtained with brush work. Page Fifty-four METHODS

DECEMBER 19 1911 THE BVEIVINO MAIL, »

WANAMAKER'S WANAMAKERS Bio«dw«jr-Ei«hth to Tfnth St. WANAMAKER-S 1 1 1 WANAMAKER'S 1 1

W\)t Wiammaktv Cfjrigtmasf âle of iHsJeb lîam^ anb ^(aper=3îanos( Cuurtesy of John Wanamater. Fig. 84. —An original idea for a musical heading.

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 is not likely to come into general use. 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.

Courtesy of Abraham & Straus. Fig. 85.—Drawing by Aubrey Beardsley. Fig. 86. —Showing how brush work can be combined with pen and ink. TEXTILE DESIGNING Page Fifty-five

that you may clearly understand the part that dimension plays in the commercial value of a design, we will describe the roller over which silk fabrics pass in the 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 ° 1 i pattern to be printed is engraved in the copper. The roller revolves, takes up the 4 color from 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- mitting designs is immaterial. But we would suggest that white be used and the ground painted in. Tempora paints are generally used. At least one full repeat and, if the design be small, two or three repeats should be shown. The design is a guide to the printer or weaver and must clearly indicate how the artist desires the finished fabric to appear. " The technique of woven designs is very complicated, but it is only necessary for the artist to remember that simple figures and few colors are best, that the size of each repeat should never exceed twelve inches and the repeat is across the web, not in the length as it is in printing. " The size of the paper, then, would de- pend on the size of your design. In order Fig. 88.—Illustrating three kinds of Ben Day.

* This is reprinted through the courtesy of Women's Wear. METHOD Page Fifty-six

"You will see, therefore, that a pattern (in order to be mathematically correct) must either take up the entire 15 or 16 inches of the roller, or must repeat an even number of times within 15 or 16 inches. In other words, the pattern must be 15 or 16 inches in length, or must be repeated at in- tervals evenly divisible into 15 or 16. A three-inch repeat would register five times on the 15-inch roller; a four-inch repeat four times on a 16-inch roller; a 5 1 -inch repeat, three times on on a 16-inch roller; there is practically no limit to the possible variations. A 12-inch repeat, on the other hand,

it Courtesy of Harper's Bazar. would be impossible; would Fig. 89.—Decorative half-tone treatment used in magazine editorial. have to be diminished to surfaces by the scraper, or 'doctor' at the side, and remaics only in the indented portions, which constitute the pattern. The cloth, passing just above the doctor, takes up the color that remains in the indented or engraved portions, and registers the design. " A new cylinder, as we have said above, is 16 inches in circumference. When a manufacturer wants no more goods printed from a certain pattern, the cylinder is polished off and engraved with a new pattern. With each polishing a thickness of copper is removed, and the circumference of the cylinder of course grows less. When a cylinder has been used for a number of patterns, the circumference has gradually been reduced from 16 to 15 inches, and when E. M. G. SteinmeU. Courtesy of Vogue. it becomes less than 15 inches it is ^ junked. FiT 9a -Characteristic Editorial wash drawing. TEXTILE DESIGNING Page Fifty-seven

one-third or one-fourth its size to become practicable for printing. Most commercial designers work on a 7|-inch square for silk. " The above refers to the printing of

silks. For printing cottons, the same /

process is used. A cotton printing

roller, however, is 18 inches in circumference when new, and for suc- ceeding patterns is polished until the circumference becomes 16 inches. When designing for cottons, therefore, the repeat must be figured on the basis of a 16- to 18-inch cylinder, corresponding to the 15- to 16-inch scale for silk printing. For example, a three- inch repeat could be used for silk or cotton being divisible into either 15 or 18. On the other hand, a six-inch Courtesy CrU^on repeat could be used only for cotton; of Magazine. 91.—Magazine half-tone pattern drawing. it is evenly divisible into 18 but is not evenly divisible into 15 or 16. An 8|-inch square is the commercial standard for use in cotton designing for dress goods.

" A pattern is expensive in proportion to the elaborateness of the engraving and the number of colors

used. It is commercially important, therefore, that the arrangement of colors be effective and the actual number of them be kept down. It is better to limit the number

of colors, if possible, to five or less although more colors can be used. This refers both to silk and cotton. " With no wish to restrict the art-

ist, we suggest that museums and libraries be often consulted for ideas and we feel that the artist may with profit give some thought to the condition of mind of the women Courtesy of Cheney Brus. For this is always Fig. 92.—Characteristic half-tone magazine advertising. of America. Page Fifty-eight METHOD

Courtesy of Henry Soncit: Fig. 93.—Illustrating steps in a conventional wash catalogue drawing. 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

Courtesy ot Ladies Home Journal. Fig. 94. Crayon pencil sketches. Fig. 95. 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 Miiveszete," 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.

Courtesy oj Vogue. Accessories drawn by Claire Avery. Courtesy of Harver's From an etchmg by E. M. A. Steinmetz. COLOR CHAPTER FOUR h CHAPTER FOUR COLOR

31. General Theory.—The most con- The coldest color is blue and the warmest * venient and general theory about color is its complement, orange, which is the 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, green, and 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. and blue purple, the Red make com- By tone is meant the modification of of yellow, plement 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 the color circle. on or water to a standard color), Yellow and red make orange, the com- By shade is meant the dark tone ^f plement of blue, directly and opposite any color (formed by the adding oi 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 color A 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. between green and yellow, yellow-green, For further explanation see A Color Notation by A. H. Munsell. both hues of green. In the same way Page Sixty-four COLOR

color sphere; there are two hues of violet, two of orange, think up and down the darkest, in value. and two of red. To change a color to yellow is lightest, violet a hue add the next-door neighbor (any 32. Harmonies of Likeness.—Har- color between two primaries), that is, monies of likeness may be classified as: i.e., group of dif- change its place on the spectrum. 1. Monochromatic, a By intensity or chroma is meant the ferent tones, values or intensifies of one

Drawing by Reta Senger. Courtesy o/Good Houaekeeptng.

Fig. 97.- -Editorial magazine fashion work in which color Ben Day is used. strength or brilliancy of a color. For color. This is sometimes called a one intensity think inward or across the mode harmony. sphere. To change intensity, add the 2. Analogous, i.e., made by colors that complementary color; in other words, are next to each other in the color circle, gray it. and are harmonious because they have,

By value is meant the amount of dark 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

(&) Split complementary harmony, i.e., 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),

(c) Double complementary harmony, i.e., 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 for yellow, Winsor & Newton's orange. Alizarine Crimson mixed with Milton

5. Triad Harmony, i.e., any harmony of Bradley's Standard Red for red, Winsor three colors that make an equilateral tri- & Newton's New Blue for blue, Winsor angle in the spectrum circle. Example: & Newton's Cadmium Orange and Stand- yellow-orange, blue-green and red-violet. ard Red for orange. New Blue and Milton In producing triad harmony, use hues Bradley's Standard Green for green, and and neutralize to make them harmonious. Milton Bradley's Standard Violet for Only one of the three should be wholly violet. intense. (Don't mix standard red, standard 34. Laws for the Use of Color.—Law green, or standard violet with other colors governing intensity. The larger the area for use, except on the chart. They stain the less intense the color must be and and settle. They can be used satisfactorily the smaller the area the more intense the only in small areas. The ten-cent tube color may be. is the size to obtain for the color chart Law of background.—Backgrounds must —the Winsor & Newton colors ditter 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 is understood that a little yellow 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 Advertising Arrangement the author Yellow- Green J says: "Color is one of the most interest- Orange ing and important elements | L. L. Low Light in nature, Green j because the eye, the organ of one of Red-Orange the five senses of man, sees nothing M. Middle Blue-Green but color. Form, as we call it, is seen

Red 1 only because one color is placed against H. D. High Dark Blue another and by its position and contrast J Red-Violet makes a shape. And every tone of color D. Dark has Blue-Violet a separate meaning—yellow speaks a 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- ing. son a faded, ghastly tinge nor too harsh Value.—Light color tones express youth, and florid an appearance, but which will femininity, gayety and informality. enhance his or her particular beauty. In Dark color tones express strength, dig- large areas neutralized colors are always nity, repose, and seriousness. best—avoid the harshness of too much Intensity.—Colors in their full intensity intensity. are strong, loud, vital, and elemental in A very ugly combination may result feeling. from putting together two different hues Colors that have been neutralized ex- of the same color. Simultaneous contrast press subtlety, refinement and charm. can take place with a disastrous result. Balance in Color Harmony.—Colors to This is often what we mean when we balance in harmony must be similar in say one blue kills another or one red kills intensity and area. If dissimilar, the in- another red. On account of this matter tensity must vary in inverse proportions of hue, things that are the same color to the area. but of a different hue do not always Backgrounds should be less intense than harmonize. objects to be shown on them." (It is not Be careful about using together colors well to figure a whole warm object on a of the same intensity, unless both or one cold background.) is much neutralized. It is usually more 37. Sources of Color Schemes.—Many satisfactory to use the more brilliant are the designer's sources for color schemes. color in the smaller quantity. With the knowledge of what harmony Modern colors have taken on many consists in, he may go to nature and find titles which they change from season to an endless variety in the animal, mineral, season, and which, while catering to the bird, reptile and flower kingdoms, and imagination of the public are quite over- in atmospheric effects. Or he may go whelming. This is wittily expressed in to museums and study china and glass the following quotation from Dr. Frank and textiles, such as tapestries, rugs and Crane. Page Sixty-eight COLOR

MODERN COLOR "Well, this is cerise and those are raspberry, brick dust, cardinal, crushed strawberry, carnation, and—let BY me see—this is old rose, this is ashes of roses, this is watermelon, this is sunset pink." Dr. Frank Crane "You interest me. How about blues?"

"Yes," said the saleslady, "we have all the new oflBcial "Why, there is navy blue, and Copenhagen blue, and Panama Exposition colors!" Alice Blue, and old blue, and ultramarine blue, and sky " "For instance?" blue, and robin's egg blue, and "Well, there's flagpole red, wall blue, exposition gold, "That's enough. I'm afraid you'll say Monday blue. " travertine, lattice green, and Tell me some yellows." "But haven't you anything in just plain colors—red, "Oh, lots of them! Straw, champagne, dust, tan, ca- green, or yellow and so on?" nary, lemon, orange, tango, sand, and so on." "Oh, no!" "Goodness!" "Aren't those reds over there?" "Then we have in greens, Nile green, parrot green, "We don't say red, you know, any more." lettuce green, Alice green, emerald green, Irish green. "What then?" Reseda and others."

>^ ir

CouTtesv of Criterion Magazine. Fig. 98.—The reproduction from the color plate. —

SOURCES OF COLOR SCHEMES Page Sixty-nine

"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 Isabella, a sash of cream, coffee, or chocolate color; a "Charming! They appeal to the imagination." gown of mouse gray or steel gray, and other articles of "Precisely. Half of the color-pleasure of dress goods your apparel, to assist you to perfect self-expression. is the pleased fancy. We strive for the unique, such as Maybe the color of pomegcteiate, apple green, fawn, delfl

Courtesy of CriteTion Magazine. Fig. 89.- -Reproduction showing the combination printing from the two plates. " 5

Page Seventy COLOR blue, lapis lazuli, taffy, salt and pepper, mustard, cinna- side to side without doing any more or wine mon, mud, stone, cabbage, putty, string color, 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 " of those color in Thanks ! I think I'll take some ribbons, some toward you and enough your nomenclature" advertised as "distinctly American in 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 gin at the top and color downward, from tone. 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 crisping 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 White has a stiff quality by thin, steady, crisp Chinese w^hite 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 gray. One way of graying, or Put it on rather dry and let it stand neutralizing, a color is by adding a little until all moisture seems 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 WTien you intend covering a space with clean and bold. a flat tone, have enough color mixed to Oramge Vermilion makes good flesh go from the top to the bottom and from tones—vermilion, good lips and color in *See Page Nine. :

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 soft^ening 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 \Miite, 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 quantitj^ it is more eco- are injurio\is to brushes. Bristle brushes nomical to buy half pans, with the excep- are good for a steady, broad line.

®y^ Drawn by Robert Henry for Felix Jungmann & Cie., Paris. -<^x«) C.BflR8;E.R x^lJ CouTtesv of Vogue, New York Rcpresmtalltes the Gaiette du Bon Ton. 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; 6a/- the figure look shorter -imce, 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

cur 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 in Mind.—Common is not true of inconspicu- sense and observation ous stripes. They should show that stout people avoid a coat line which should avoid large head Courtesy of Mile JacQueline. cuts them into awkward Fig. 100.—Hat inspired by a bowl ^ decorations, and hats which of crocuses. lengths Remember the make a person appear Greek law: When two shorter than their real height, as they lines are in good relation to each other, enlarge the head proportion. They the shorter comes between one-half and should also avoid sleeves that are very two-thirds of the longer line.

* " Woman as Decoration " by Emily Burbank, will be found profitable reading in this connection. .

Page Seventy-six DESIGN

Courtesy of New York Evenini World. Tall, thin people should shoulders give one an ap- avoid narrow-chested effects pearance of being taller than and clothes that fit too sloping shoulders, and the tightly. higher the waist line the Everybody should beware greater the apparent height of too conspicuous plaids and A narrow belt makes the stripes or figured materials. waist appear smaller and Fig. 101. Gowns that are in style to- As a rule do not combine — longer, whereas a wide girdle day were in vogue five thousand years large figured materials with ago as a study of the figures at the gives the appearance of a Metropolitan Museum, New York, small figured materials.* will show. broader, shorter waist (if Small people, when se- above the waist line). lecting figured goods for themselves, Over-decoration is always bad. should always get small figured materials, Broken line effects are always bad. emphasizing their daintiness. Note this (As, for example, waists and skirts with even in plain stuffs, as, for instance, seemingly no connection.) how a narrow-ribbed corduroy suits a A continuation of waist line into the small person better than a wide-ribbed one. skirt is good. 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

* Never mix scale in design. SOURCES OF DESIGNS Page Seventy-seven 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- her inspiration for a hat ination needs stimulating in a bowl of tulips. As to get away from the for the first prize evening commonplace, see what dress of the Times Prize music or poetry will do Contest for Original Amer- to help. Notice how, ican Designs, made by when either are sad, one the writer and shown by thinks in subdued grays Fig. 102, the Times has and violets and dull blues; given the following de- when they are joyous, scription of its source. pinks, yellows and less somber colors come into Whistler s well-known Nocturne furnished the inspiration for this one's mind.* evening gown, which owes its The designer has such distinction to subtlety of color an immense store-house and grace of line. It is, unfortu- from which to draw that, nately, impossible in a sketch to do justice to the extraordinary when his eyes are once feeling for color which the de- opened to the endless signer has shown in her selection treasures that are wait- and handling of materials, because she has obtained her effect ing to inspire him, his by using semitransparent color world is as full of wonders over contrasting color. as the vaulted chambers She has secured a faithful echo of the Forty Thieves, or of the Nocturne's blue-green, gray-brown harmonies by laying the untold treasures in pastel-blue chiffon, faintly green the cavern of Aladdin. tinged, over putty color. The Appreciation is needful girdle is in a deeper green-blue it is and its Oriental embroidery is and necessary to worked out in blues and gold and gain this love and under- the vivid flame color of which standing of the beautiful there is one single glint in the which really comprises Whistler picture.

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. as well as the costumes Cuuru^y uj iSew York Times. The waist made for the Fig. 102.—Design for an evening dress in- of these periods, so rich spired by "A Nocturne" in Tate Gallery Ladies^ Journal, Home 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 99, Pattern No. 8082, in the Criterion, well as that of the cruder times of the

*Paul Poiret truthfully says "There are gowns which express joy of life; those which announce catastrophe; gowns that weep; gowns 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 Enghsh 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.—Wlien 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- in the back. If the agreement with the hair extends far in prevailing modes. the back, the hat 43. Designing should come between Hats.—The height the head and end of of any hat, generally the hair in order prop- speaking, should not erly to balance with be more than three- the spinal column. Courtesy of Ladles' Home Journal. quarters the depth of Fig. 103. Green and white blouse inspired by a lily People with small — the face. (That is, of the valley. or narrow faces the length of the face require smaller hats than those with from the chin to the eyebrows.) The large faces, to whom larger hats are greatest width of a wide hat should not becoming. Care should be taken not to exceed three times the width of the accentuate undesirable lines or features wearer's face, including the ears and the by too strong repetition or opposition. hair at the sides of the head. The greater

Try rather to neutralize such. width is often at the left side.

The milliner's problem is allied to that The crown of a hat is very important DESIGNING HATS Page Seventy-nine

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 plainly 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- dency in dress, tion of this we shall have last point, to cultivate an study the paint- appreciation of in gs of Rem- personality and brandt. Note character and how all his become so in- wonderfully terested in type thought-out that we will textures and resist our hith- tones of gar- erto sheep-like Courtesy of New York Globe. ments are made ic. 104. Drawing in which wash pencil, craj-on pencil and pen tendency to and ink are combined. subs er vient follow the to his char- modes, even when they distort and cari- acterization, how all these lead up to the cature us. head and face and seem arranged to per- The designs shown in Fig. 104 were fectly reveal the individuality of the made by Kelly for the Globe. In designing sitter, his occupation, his walk in life, and we must get away from the consideration his inmost character.

Scale must be considered in the combination of textures, for instance crystal bugles and pearl trimming that could be successfully combined with delicate chiffons or silk would be wholly inappropriate with serge, while an Indian bead ornament that would be suitable with the serge would be out of place with the chiffon. Fluffy chiffon and lacy things or baby pinks or blues are out of place with tailored or mannish things. These points should be given serious consideration in connection with such accessories as parasols, hats, shoes, gloves, jewelry and dress trimmings. Some books that bear directly on designing are Principles of Correct Dress by Florence Hull Winterburn, Color Harmo- nies in Dress by G. A. Audsley, What Dress Makes of Us by Dorothy Quigley, Textile and Costume Designing by Ellisworth. Robe d inteneur

Courtesy of Vogue, New York represeniattve of the i From a color illustration by George Lepape, THE FASHION SILHOUETTE CHAPTER SIX

CHAPTER SIX THE FASHION SILHOUETTE *

44. Value of the Silhouette.—The Sil- centuries (the tenth and eleventh were houette is the foundation of all fashions, so nearly like the twelfth and thirteenth and it is most interesting to study its that drawings are omitted) varied aspect through the centuries. Taken The effect is of everything in a literal sense, it so simplifies the cos- hung from the shoulder tumes of the period and all garments rather that the many errors loose. The head was usually now seen in the cos- more or less bound or wrap- tume world are un- ped around, though at necessary to even the certain times in certain novice. Much less localities the hair was worn necessary are the glar- in long braids. The four- mg mistakesmistaKes we now teenth century shows the Fig. 107.—The Fig. 105.—^The gorget. wimple. see in print in regard innovation of scallops, the to Moyen Age and Renaissance costumes, fifteenth the increased length of hats and as well as those of the eighteenth and shoes, but in spite of these touches all nineteenth centuries, that period of much belong to the Moyen Age, to things that uncertainty about the hoop and Empire, are Gothic. the crinoline and bustle. For It is interesting to see these this reason it seems advantage- clothes so beautifully described ous, as well as interesting, to in the Gothic Tapestries and become thoroughly familiar with illuminated books of the time costume silhouettes of all ages. and the efiSgies in churches. The silhouette classifies, sim- See Fig. 108. In the eleventh plifies, and so condenses details century the wimple was wound that both time and trouble are around the head, not allowing saved. Curiously enough, this the hair to show; about a saving is what its name sig- hundred years later came the nifies, as it is taken from the fashion of the chin band and name of Etienne de Silhouette, Fig. 106.—XV Century forehead-strap. See Fig. 107. horned head-dress. Minister of Finance to France The hair was still hidden by the in 1759, whose public economy in trying wimple. A hundred years later and this to avert national bankruptcy during the earlier headdress had been followed by the 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, times tied a silk band called a snood. 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. Tlie Giving of the Rose, a Gothic decorative tapestry at Metropolitan Museum. with sometimes a girdle, remaining so example, the Sisterhood of the Annunci- until the fifteenth century. ation at Bourges by St. Jeanne de Valois, 46. Religious Orders. A picturesque daughter of Louis XI of France. Today touch of this early costume may be noted they bring to us the legend, beauty and today in the dress of the nuns and sisters. romance of those dark ages. They breathe The Dominican nuns wear practically castles, crusades, monasteries, and con- the same garb as when their order was vents. instituted by Saint Dominic in 1218, In the fifteenth century, as the pointed including the rosary, which was his in- arches of the Gothic architecture grew novation. Many religious orders were more pointed, the head covering or hen- founded in the eleventh, twelfth, thir- nens (see Figs. 106 and 110) as well as teenth, and fourteenth centuries as, for the shoes followed suit, so that in this SIXTEENTH CENTURY Page Eighty-five 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 buckram, dress as well square-built, as of every- cardboard-and- thing else. Al- tissue figure brecht Diirer which titters has left us and totters won d erf ul 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 Nuremberg, see Courtesy of Art Stvdent Magtuine. everything Fig. 109.—Late XV Century costume drawing by Albrecht Diirer. Fig. 109. being more or We are all familiar with the slashed less supported from the shoulders, giving sleeves of Henry VIH and his queens the straight lines of the middle ages. (1509-1547) immortalized in the portraits The fifteenth century was transitional; Page Eighty-six THE FASHION SILHOUETTE

Draim by Inez Casseau. iHMmFig. 110.—How the different centuries affected the fashion silhouette. after that the tight, long waists and women of that day. The Puritans and 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, 48. Seventeenth and Eighteenth Cen- 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 the costume of Romne}', 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- Fig. 111.—^Early fashion by ribbon or roses, really XVI Century drawing teenth centuries, Hans Holbein. similar in every way leaving the time of the with the extravagance eliminated and Renaissance for the period of the Louis of simplicity emphasized. The beaver hat France. The stately dignity and truly and hood of the Quaker, then called the roya' magnificence of Louis XIV was fol- French hood, were both worn by the lowed by the less formal but luxurious NINETEENTH CENTURY Page Eighty-seven

iUil^tCourtesy of London Graphic. Fig. 112. rococo period of Louis XV (1723-1774), the classic revival of the Greek and when Pompadour and du Barry set the Roman, modified to suit the climate and styles in the Parisian world of fashion, epoch. This revival was the natural out- Then followed the reappearance of the come of the interest people were taking hoop and the more extreme though re- at that time in- the restoration work of fined attitude toward dress during the the buried Pompeian cities, and one reign of Louis XVI and Marie Antoinette. sees in the Empire style the classic type 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 ^rst 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 until 1864. (To get the by men. That seems to have been, how- atmosphere of this time, look at George ever, the time of emancipation, for then Du Manner'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.

1660 1723 1620 1199 1350 IJ2J 1580 1640 Drawn by Maraaret Calderhead. How different centuries have affected the silhouette of men. PERIOD FABRIC DESIGN CHAPTER SEVEN

CHAPTER SEVEN PERIOD FABRIC DESIGN

50. Primitive Design.—Primitive de- wars and conquests, and their designs sign, often so fresh and simple in treat- were often similar. ment and character, does not differ much The affinity between the Art of India in units. The United States Government and Japan is close on account of Bud- pubhshed in 1894 a report that the results dhism, which exercises a strong influence of its researches showed over both peoples. The that the san^e swasticka Art of Japan and China used in prehistoric America is also somewhat similar; had also been found in indeed, at times the dif- India, Eastern Turkestan, ferences are difficult to Northern Europe, Southern determine. The Japanese Europe, Asia Minor, have a greater love for Greece, Rome, Northern detail and do not con- Africa and Byzantium. So ventionaHze in as broad much symbolic significance a way as the Chinese, is often attached, or some but many of their forms strict religious meaning, are identical. It is inter- that design is a deep and esting to know that, where interesting subject from an this is the case, the in- ethnological point of view, fluence can be traced to but "simple pictorial ex- India. pressions are of world The Japanese in their usage and are not suffici- designs show a great love ently intricate to consti- for nature—flowers, moun- tute original thought." tains, waves, dragons, In these the student of Drawn and designed by G. Rothschild tortoises, etc., and the Fig. 114 Design motive from Indian design, however, can find basket. method used is usually splendid motives for mod- picturesque (in spite of ern treatment. See Fig. 114. This ma- its interesting conventionality) instead of terial was designed from a unit on an formal. Indian basket. 52. Early Fabrics and Designs.—In 51. Influence in Design.—We know outlining period fabric design, Egypt must that the early civilized races had inter- first be mentioned, where weaving was course, and we see the influence of this known 3000 b.c. Examples of ancient in their designs. We find Greek influence fabrics dating as far back as 1000 B.C. in the art of China, and for hundreds can be seen in the Louvre, Paris. While of years B.C. the arts of Assyrians, Egyp- we know that checkered rugs were woven, tians, and Persians were allied through we find that garments during the Old Page Ninety-two PERIOD FABRIC DESIGN

Kingdom, Dark Ages, invasion of Alexander the Great. It was Middle Kingdom, too expensive for large garments and was Period of Shepherd a deep yellow in color.. Kings, and New The Doric and Ionic chitons, or dress, Empire, i.e., from and the himation, or cloak, were used in 2980 B.C. until 945 different colors. Blue and Tyrian purple B.C., were usually as well as red and yellow were popular. made of linen and Different borders were often combined wool, woven by hand. in the Greek costume with an all-over While the dyes used design. See Fig. 115. The designs were were principally red, frequently emblems, and birds, animals blue, and saffron, or flowers. The garments were woven white seems to have in one piece which was complete in itself. been most worn. The The long, graceful folds of this single material was plain, garment produced a decorative and simple

the decoration, if any, effect, and it is interesting to note also being embroidery at the different effects obtainable by chang- the hem. While fond ing the position of the girdle. This was of ornamentation, the worn at the waist in the Archaic period. people during this Fig. 115.—Greek Doric time seem to have cx)stume from Hope. depended on their wigs and headdresses, collars, hanging straps, armlets, and leg decorations, and not to have introduced figures in their weaves. See Fig. 116. The Copts or Egyptian Christians, like the Greeks and Romans, wore wonderfully woven or embroidered bands on their garments, the color and designs of which are most interesting. Good examples are to be seen in the Coptic Room, Metropolitan Museum of Art, and in the Cooper Union Museum. 53. Greek Dress.—The Greeks used wool linen, and silk. Linen and silk were used for the more extravagant costumes of the later period, though they had cotton in small quantities.

Cotton belonged to India; it did not 116.—Costume of man and woman of Egypt about 2500 B.C. become known to Europe until the from Kistoire de L'Art Egyptian. ROMAN DRESS Page Ninety-three over the hips in the Golden Age, and 55. Influ- under the arms at the last period. ence of the

Interesting and detailed accounts of E a s t .— Greek costumes may be found in Evans's Fabrics Greek Dress and Edith Abraham's Greek seem always Dress; good illustrations in Hope's Cos- to have tume of the Ancients. drawn their 54. Roman Dress.—The Romans and inspiration Greeks imported much material from from the Babylonia. Some of the silk is described East. We as having a nap on both sides (velvet), find the and as gold, scarlet and purple in color. Gauls after The Roman women wore a tunic, a stola the conquest (like the Grecian chiton), and a palla, of Csesar, which corresponded to a Roman man's 55 B.C., toga, or a Grecian woman's himation. adopting a The Roman women added a ruffle to somewhat their dress which was often elaborately m odified decorated. Silk was at a premium, but form of the was frequently mixed in weaving with wool Roman cos- Fig. 118.—XIV Century parti-colored or linen. With the exception of more tume. The dresses—from Jacquemin. elaboration, the fabrics did not differ Franks in much from the Grecian. taking possession of Gaul gradually (from the third to the fifth century a.d.), while they did not part with their costume as a whole", the women retaining their veils for some ten centuries, adopted the Byzan- tine styles, for the Eastern influence of the Roman Empire continued after the arrival of the Franks. We find both men and women in the ninth and tenth and twelfth centuries wearing stuffs brought from the East, even after the art of embroidery became generally understood, and tapestry weaving and applique work was carried on in Europe. 56. Weaving.—WTiile mechanical weaving was done in Egypt 2000 B.C., the more complex use of the shuttles by vhich figures were produced without embroider- ing was not known until 200 a.d. It was

Fig. 117.—Italian XIV Century costumes from Jacquemin. then done by the Syrian weavers in the Page Ninety-four PERIOD FABRIC DESIGN

Eastern Roman Empire. to the twelfth century. rically arranged was also For many years the devel- These were sometimes used. Up to the thirteenth 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 first produced in and men placed face to Europe 500 a.d.; they face or back to back. were Roman and Byzantine

Fig. 119.—XIII Century formal arrangement.

being joined by small ones at points of contact, and the patterns often becoming quite elaborate. The Saracenic hexagon geomet-

Fig. 120.—XVI Century trunk Fig. 122.—XIV and XV Century motive. animal arrangement.

The design consisting of The ogival form is a a circle or square frame form of design in which developed in the first cen- the joining circles are tury; for the next five brought into acute juncture, hundred years circles or forming ovals. This design squares, sometimes filled came in about 800 a.d., with Persian or Syrian and like most things that floral detail, persisted. were pointed, it continued This same design was used through the Gothic period. for centuries afterwards for In 700 A.D. Spain was stained glass. progressing with silk weav- About 400 to 600 a.d. ing. About this time also, broken circles came in, the merchants from Syria upper and lower segments opened establishments in spreading out to form Paris. In 800 a.d., the Fig. 121.—XVII and XVIII bands. Circles continued Century scroll motive. Daughters of Charlemagne 1

USE OF GOLD THREAD Page Ninety-five

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 uence was thought to which brought be showing an with the Per- extraordinary pendicular degree of lux- Gothic the ury in having introduction three dozen Courtesy of the Metropolitan Museum of Art. 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 57. 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 Lj'ons 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 adopted. of the fifteenth century was the use of The Oriental character of design in reversed curves so firranged that they textiles did not entirely disappear until made frames. (The panels of Jeanne the seventeenth century when the gardens d'Arc, painted by Boutet de Monvel and of Versailles and the Trianons under owned by Senator William A. Clark, give Louis XIV inspired the use of European very fine illustrations of the textures used flora. at this period; they may be seen certain 59. Classification of Fabric Designs. days upon written request. Both the The following brief classification will be surcot, which was now gradually disap- found helpful in placing fabric designs pearing, and the houppelande, or robe, in their proper periods. which was appearing, lent themselves Twelfth and thirteenth centuries, for- magnificently to these fabrics.) mal arrangement. See Fig. 119. "This form utilized the Hogarth line of Fourteenth and fifteenth centuries, ani- beauty. Another form was the inter- mal figures. See Fig. 122. section of a Hogarth panel by two bold Sixteenth and seventeenth centuries, curving stems coming up through the trunk motives. See Fig. 120. bottom of the panel and capped by a cone Seventeenth and eighteenth centuries, pineapple or fruit device. scroll motives. See Fig. 121. "Still another showed a serpentine stem For a more detailed outline we can refer or winding trunk which ran through the to that given by Clifford, in his book on Hogarth pattern in the midst of a variety Period Furnishings, in conjunction with of botanical forms. See Fig. 123. his well-chosen illustrations. "VI. 1500. Designs adopted a free treatment. The plans of previous centuries "I. 200-400 A.D. The development of were combined and elaborated. Orna- circle and geometric frames, sometimes filled ment was arranged with ogival frames, with simple floral, bird or animal forms. springing out of the frame to which it "II. 400-600 A.D. The utilization of seems to be attached. Interlacing of broken circles spread out to form bands. two frames of which one is ogival. Ogival "III. 600-1000 A.D. The use of circles frames of leaves and flowers enclosing a linked by smaller circles, with ornaments large concentric pattern. Elaborate ogival inside and out, developing at length the frames caught together by crowns. The ogival form; often hexagon framework. use of vases, urns, crowns and animals "IV. 1000-1350 A.D. Repeated parallel became common. bands or ornamentation, detached details, "VII. 1600-1700. During this time we patterns animated and inanimated, en- find an elaborate use of European garden closed in ogival framing and combination flowers instead of purely tropical Persian circles or scale patterns as well as geo- verdure, following, however, the general metric straight-line framing. 1200-1300 ogival form arrangement. introduced features of design, as eagles, " VIII. 1700. Pictorial tapestries and falcons, etc. prints. Pure Renaissance styles, or devel- SIXTEENTH AND SEVENTEENTH CENTURIES Page Ninety-seven

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. fabrics, so full then of animal and floral 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. Paris Becomes the Centre of "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 qi social life, and simpler materials; cotton, India prints, were full of ostentation and extravagance. and law^n 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-

I were affected as creations of Madame sition period between the classicism of 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 century heavy 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., w'ere 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 figures, landscapes, country scenes, alle- freedom of design. gories and Chinese ornament. The costume of the Empire was usually In the fabrics we find stripes and rib- more or less Oriental in ornamenta- bons combined with flowers. Stripes were tion, texture, and color. Napoleon's cam-

so much used that in 1788 it was said that, paigns resulted in bringing into France "Everybody in the king's cabinet looks the accumulated treasures of centuries, like a zebra." Unlike the Pompadour which became a source of inspiration, stripe, the Queen Marie Antoinette stripes and left a characteristic imprint upon 1/ were interwoven wuth flowers and orna- the period. ments such as feathers, medallions, lyres, Fabric design reveals much of the his- columns, etc. Marie Antoinette liked tory and atmosphere of each century and flowers, the pink, the tulip, but best of is worthy of intelligent study and con- all the 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 her reign shows the influence of her taste, and appreciation of beauty. which is everywhere seen in the entwined See Die Gewebe Sammlung des Kunst- ribbons and garlands. gewerbe Museum von Julius Lessing, and 63 Directoire and Empire Designs.— Seidenweberei, Otto von Funke. OUTLINECHAPTEROF HISTORICEIGHTCOSTUME

CHAPTER EIGHT OUTLINE OF HISTORIC COSTUME-

History and Dress Skirts became longer and narrower,

64. Egyptian Costume.— (a) Men. (1) and were closed in front, with one Old Kingdom, 4th, 5th, and 6th Dynasties side lapping over the other. When of

(2980-2475 B.C.) . Memphis, capital. transparent material, a skirt of Lower classes wore a belt tied thicker material in the shape around the waist with hanging of the short kilt of the Old ends down the Empire was worn front (see Fig. underneath.

127), a kilt-like (4) Period of loin cloth (see Shepherd Kings, Fig. 129), or a 13th to 18th skirt apparently Djnasty. Israel- made of rushes ites came down (see Fig. 128). into Egypt. In the 5th No change in Dynasty, trian- costume shown. gular erection (5) New Em- came in, being pire, 18th, 19th temporarily Courtesy of Metropolitan Museum. and 20th Dy- Fig. 124. Fig. 125. Fig. 126. nasties (1580-945 adopted by the Egyptian costumes. Showing a woman's costume, the triangular king in this dy- erection and the leopard skin worn by priests. B.C.). Thebes, nasty. See Fig. capital. 124 of Perneb, In the 18th representing an Dynasty a tunic Egyptian noble- was sometimes man in full dress. added. This was Both men and open on the women shaved right side and their heads and had a short left wore wigs. Men sleeve. appear to have Many changes gone nude when in skir+s now engaged in stren- took place, plait- uous exercise. Courtesy of Metropolitan Museum ed effects be- (2) Dark Fig. 127. Fig. 128. Fig. 129. came popular. The costumes worn by men in Egvpt during the Old Kingdom Ages, 6th to (2980-2475"^ B.C.). See Fig. 131. 12th Dynasty. Cloaks were No change in costume shown. worn from the time of the 4th Dynasty,

(3) Middle Kingdom, 12th and 13th but became generally used during the Dynasties (2160-1788 B.C.). Thebes, capital. Middle Kingdom. See Fig. 130. Page One Hundred Two OUTLINE OF HISTORIC COSTUME

Apron-like decoration were of metal and em- was worn from the 4th to broidery. the 20th Dynasty. Men (c) Emblems or Symbols.— were clean shaven, and wore Upper Egyptian crown, wigs and false beards. Ker- red. chiefs were often used. Lower Egyptian crown, Leopards' skins were worn white. 126. by priests. See Fig. When one king ruled (b) Women.~^th to 18th both, he wore a combina- Dynasty. tion of the above. All, with the exception of Lotus signified abun- some servants and dancing dance. girls, wore a simple costume Globes signified eternal from bust to ankles, very life. tight without folds, some- Vulture signified the roy- times held on by one, of a queen. sometimes by two shoulder alty Courtesy Museum. of MetropolUan signified the kingly straps, and sometimes by Asp Fig. 130.—An Egyptian cloak. a necklace. See Fig. 125. authority. Embroidery was frequently used on borders. Hanging straps indicated authority. In the 18th Dynasty Reference Books the dress was carried over the left shoulder, Bulletin of the Met- plaits became popular, ropolitan Museum of and a left sleeve was Art, Vol. XI, No. 11, introduced. In the for Ancient Egyptian 20th Dynasty a thick Kerchiefs, and The under dress was used. Dress of the Ancient White seems to have Egyptians, both pub- been in favor, also red, lished by the INIetropol- saffron, and blue. itan Museum of Art; Both men and wo- Prisse d'Avennes, His- men wore sandals in toire de L'Art Egypt; The the street. The collar Book of the Dead, tac- was an important dec- shmleoiPapyrusofAniy oration and was made in the British Museum; of papyrus decorated Wilkinson, The Ancient with beads or embroi- Egyptian; Erman, Life dered in wool. in Ancient Egypt, Chap- Bracelets and leg terX; Breasted,^ waeni

decorations were CouTtesy of Metropolitan Museum. Times; Racinet, History largely used. These fig 131.—Plaited effects of the New Empire of Costume. GREEK COSTUME Page One Hundred Three

History and Dress a people fond of all things beau-

65. Greek Costume.— (1) tiful, made of finer material, fell Pre - Hellenic otherwise called in many and finer folds, had Minoan or Mycenaean Age sleeves. See Fig. 135. (2800-1200 B.C.). See Fig. 132. Girdle was worn at the waist ]Men wore waist cloth with line during the Archaic period, hanging ends. Women wore sixth century B.C. Statues of tight-fitting waists and flounced people of this century adorn the skirts. See Fig. 133. Acropolis. This was the elabo-

(2) Homeric or Heroic Age rate period when cascades of ma- (1200 B.C.). terial are found in the statues. Both men and women wore Girdle worn over the hip or a simplified costume not unlike below the waist in the Golden the classic. Age. This was sometimes called Dorian Invasion, 8th century the Age of Pericles, 459-431 B.C. B.C. Rise of Sparta, inhabitants The maidens of the Parthenon called Dorians. Rise of Athens, frieze are of this time. 5th century B.C., inhabitants Girdle worn under the arms called lonians. during the last period. Courtesy of Metropolitan Museum. Classic Period. Costume Wool, linen and silk were (3) Fig. 132.—Costume of of Greek men and Mycenaean man. used, and the garments women was the same were dyed purple, red, except that of the men yellow, and other col- was more abbreviated. ors. Sandals and shoes (a) Chiton or dress. were worn when out of

(6) Himation or doors, and the women cloak. See Fig. 135. had many different

(c) The chlamys or kinds of jewelry and short coat was worn hair ornaments. on horseback. The Reference Books chiton or dress was of two kinds. The Doric A Cretan Snake God- chiton, worn by the dess, Century Mag- Dorians, who were war- azine, August. 1916; like and interested C.H.andH.B.Hawes, primarily in the phys- Crete the Forerunner of ical, made of heavy Greece; Hope, Costumes material and fell in of the Ancients; Ra- few folds, had no cinet, Histoire du Cos- sleeves, see Fig. 134. tume; Evans, Greek The Ionic chiton, Dress; Edith Abra- Courtesy of MetropolUan Museum. worn by the lonians, fig. 133.—Costume of Mycenaean woman. hams, Greek Dress; Page One Hundred Four OUTLINE OF HISTORIC COSTUME

Museum. Courtesy of Metropolitan Museum. Courtesy of Metropolitan Fig. 134.—Greek Doric chiton. Fig. 135.—iGreek Ionic chiton and himation.

G. Baldwin Brown, Bur- circular in form, whereas lington Magazine of De- the Greek himation was cember, 1905, and Janu- rectangular. ary, 1906, How Greek Only Roman citizens Women Dressed. could wear the toga, which was a national garment, so the pwnula History was worn by the work-

66. Roman Costume. ing class. This was Rome founded 753 b.c. like a cape, and some- Rome was a kingdom times had a hood. This 753-509 B.C. was worn by all classes, Rome was a republic both men and women, 509-31 B.C. to travel in. Rome was an empire Women wore a tunic 31 B.C.-476 A.D. in West. which was like that of the Roman men; a stola or dress corre- Dress (Roman) sponding to the Greek Men wore a tunic; a Ionic chiton (differing toga, or cloak corre- in that it had a border sponding to the Greek or ruffle at the bot-

, . , • FromHope. mmation 1 . . a palla cloak ; but cut semi- Fig. 136.—The costume of a Roman man and woman. tom); or ROMAN COSTUMES Page One Hundred Five corresponding to the Grecian Hope, Costume of the Ancients; himation. Preston and Dodge, Family Women of the lower classes Life of Romans; Planche, could not wear the stola; General History of Costume in they wore tunic and palla, but Europe. this palla was made like the Grecian Doric chiton. History and Dress Roman men did not wear 67. The Gauls.—Csesar hats, except the lower classes, made a complete conquest of who wore tight-fitting caps. Gaul, 55 B.C. In ancient times See Fig. 133. the civilized races were un- Roman women had far more trousered. (See Egyptians, jewelry than the Greek. They Greeks, and Romans.) Un- had all the precious stones we civilized races were trousered now have. They dyed, curled, (Gauls, Franks, etc.). and arranged their hair elabo- (a) Men.—Wore trousers to rately and wore sandals and the ankles, called braie; a fancy boots. They took ex- mantle of wool fastened in cellent care of their bodies. Trom UoUenroth. front, called sai; a tunic to Gallic costume be- Fig. 138.— mid-leg with long sleeves; fore coming under Koman Books Reference of influence, 55 b.c. girdles; shoes to ankles. See 'RacinetiHistoire du Costume; Fig. 137.

From Hottenroth. From Hottenroth. coming under Roman Fig. 137.—Gallic costume before 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; girdles; shoes. See Fig. 138. The women afterwards shortened their outer tunic and wore a mantle like a Roman paenula. See Fig. 139. Both men and women made their hair red with lime water. About a hundred years after the Roman conquest, the Gauls had become civilized, and had adopted a dress somewhat resem- bling the Roman costume, but the Roman dress was also influenced by that of the Gauls, as can be seen by the introduction of short trousers that were worn under the tunic.

Reference Books From Hottenroti^ Fig. 141.—^Women's costume of the Franks about chez les Peuples: Hottenroth, Le Costumes 8th century, showing fichu and veil.

R a c i n e t, Le Costu me Historique; Zur Ge- schichte der Costume, Nach Zeichnungen von W. Diez, C. Frohlish, M. Heil, C. Haberlin, 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- From HotleiiToth. Pig. 140.—Men's costume of the early Franks about Sth 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- mengardg, m. 2d Hildegarde, in. 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, Histoire du Costume en France; Challamel, Dress {III to XI 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. Jacquemin, Iconographie du Costume. See Fig. 140.

(6) Women.—Wore, like the women of History Gaul, two tunics, also a veil (sometimes 69. Eleventh Century.— large enough to take the place of a mantle) 1066-1087 William the Conqueror, King of See Fig. 141. The women in England wore England, m. Mathilda, d. of Baldwin a similar head covering, called a wimple. V, E. of Flanders. The influence of the Eastern Roman 1087-1100 William H, King of England. Empire continued after the arrival of the 1031-1060 Henry I, King of France m. Franks, who had become well established Anna, d. of Jaroslaw I of Russia.

From Zur Geschichte der' Costume. From Zur Geschichte der Costume^ 11th century. Fig. 142.—French costume of 9th and 10th centuries. Fig. 143.—King and Queen of the -

£^age 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. Adelaide, d. of Humbert II, of Savoy. In the eleventh century the influence of 1137-1180 Louis VII, King of France, m. the Crusades began to show in costume; 1st, Eleanor, d. of Guillaume of apparently the costumes of the Orient X Aquitaine, m. 2d, Constance, d. of influenced costume and men adopted a Alphonso VII of Castile, m. 3d, Alice, very long and inconvenient type of dress, d. of Theobald II, C. of Champagne. (a) Men.—Wore a long under tunic down 1180-1223 Philip II, King of France, m. to the feet called a chemise; outside tunic 1st, Isabelle of Artois, m. 2d, Ingeborg long and full called a bliaud (pronounced of Denmark, m. 3d, Marie, d. of bleo). This was held in bj^ a girdle. The Berthold V of Meran. bliaud had sleeves similar to those of our kimona (the extra fullness in the skirt was Dress {XII Century) obtained by gores). See Fig. 143. In the twelfth century the bliaud for the Trousers and stockings were worn men became fitted and hoods were worn. underneath. The women's outer tunic became fitted, The long mantle now worn was fastened tricot and lacing were both introduced. often on the left shoulder; up to this This tunic had long bell-shaped sleeves. time it had been more conveniently fast- The sleeves of the chemise were long and ened on the right shoulder, giving freedom fitted at the wrist. A smaller veil called to the right arm. an antique veil, held by a circlet or crown, Men wore two kinds of hats, one that sometimes embroidered, now took the resembled a Phrygian bonnet, and a cap. place of the long veils. The shoes began Men and women now dressed much alike. to show points. See Fig. 143 and 144. Reference Books Reference Books Calthrop, English Costume; Racinet, Co- Hilaire Billoc, Book of Bayeux Tapestry, stume Historique; Blanche, General History Racinet, Costume Historique; Zur Geschichte of Costume; La Croix, Manners, Customs, der Costume; Blanche, Dictionary and Cyclo- and Dress During the Middle Ages and Re- pcrdia; Jacquemin, Iconographie du Co- naissance; Quicherat, Histoire du Costume stume; La Croix, Manners, Customs, and en France; Viollet-le-Duc, Dictionnaire du Dress During the Middle Ages and Renais- Mobilier FranQais,Yoh. 3 and 4; Bonnard, sance, and Ary Renan, Le Costume en France. Costumes Historique; Fairholt, Costumes in England; Dresses Decorations History Shaw, and of the Middle Ages; Hefner-Alleneck, Tracht- 70. Twelfth Century.- en, Kunstwerke und Gerdthschaften. 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 Oue Hundred Nine

L\^j^ ^ i 1 mff

111 i IIH 1

From Viollet-ie-Duc. iiViTm VtoOetrle-iyuc. From VioUel46-Duc Fig. 144—Fitted costume of 12th Pro. 146. —Parti-colored or Pig. 145.—2nd form of surcot century. armorial dress. 13th and 14th centuries.

2d, Havoise, d. of D. of Gloucester, 1st, Isabelle, d. of King of Arragon, m. m. 3d Isabel, d. of C. of Angouleine. 2d,Maria,d.ofHeinrichIII of Brabant. 1216-1272 Henry III m. Eleanore of 1285-1314 Philip IV, King of France, m. Provence. Jeanne, Queen of Navarra. 1272-1307 Edward I m. 1st, Eleanora of 1314-1316 Louis X, King of France, m. 1st, Castile, 2d, Margaret, d. of Philip III. Margaret, d. of Robert II, of Bur- 1307-1327 Edward II m. Isabelle, d. of gundy', m. 2d, Clemence of Hungaria. Philip IV, King of France. 1316-1322 Philip V, King of France, m. 1327-1377 Edward III m. Philippa, d. of Jeanne, d. of C. of Meran. Wilhelm III, C. of Holland. 1322-1328 Charles IV, King of France, m. 1377-1399 Richard II m. 1st, Anna of 1st, Blanch, d. of Otho IV, m. 2d,

Bohemia, m. 2d, Isabella of France. Maria of Luxemburg, m. .'kl, Jeanne, 1399-1413 Henry IV, Lancaster (Red d. of Louis, C. of Evreaux. Rose), m. 1st, Mary Bohun, m. 2d, 1328-1350 Philip VI (Valois), King of Jane of Navarra. France, m. 1st, Jeanne, d. of D. of 1223-1226 Louis VIIT, King of France, m. Burgundy, m. 2d, Blanche of Navarra. Blanche, d. of Alphonso VIII of Castile. 1350-1364 Jean II, King of France, m. 1226-1270 Louis IX (St. Louis), King of 1st Bonne of Luxemburg, 2d, Jeanne, France, m. Marguerite, d. of C. of d. of William XII, C. of Auvergne. Provence. 1364-1380 Charles V, King of France, 1270-1285 Philip III, King of France, m. m. Jeanne, d. of Duke of Bourbon. Page One Hundred Ten OUTLINE OF HISTORIC COSTUME

1380-1422 Charles VI, King and the hennins or high head of France, m. Isabella of dress came in. Toward the Bavaria Ingolstadt. last of the century the howp- pelande or one-piece dress Dress (XIII and XIV Centuries) replaced the surcot. See In the thirteenth century, Figs. 147, 148 and 108. In more interest was shown in this garment women are said dress. Both men and women to have discovered the nor- wore a semi-fitted garment mal waistline. This had a called a surcot, hollowed out V-shaped neck, widely off at under the arms. the shoulders. The women (a) Men.—Wore close fit- were at this time wearing

ting trousers (braie) ; mantle; the wimple or head covering,

surcot ; tunic (chemise) ; cotte and about the throat the (tunic); stockings; hats or gorget in certain localities. hoods. The surcot of the men grew

(6) Women. — Wore inner shorter and had large sleeves. tunic or chemise, over this Their stockings were close- a cotte, or fitted chemise worn fitting and combined with girdle, over this the the trouscrs. with a T^omviouei.ie^i>uc. The shoes were surcot. The surcot had no FiG.147.—14th and 15th century costume more pointed. They added

showing hennin and houppeland. i , i

sleeves, and those of the , an houpplande or some- cotte, usually of a con- times long, sometimes trasting color, were an short, outer garment ;i a important feature of with large sleeves. See this robe; by degrees the Figs. 108 and 148. arms-eye became larger Reference Books and was trimmed with Books mentioned under fur. See Figs. 123 and fifteenth century. 145. The skirts were very long and were held History up as the woman walk- 72. Fifteenth Century. ed, showing the cotte 1413-1422 Henry V, King of again, which was the England, m. Catherine of same material as the Valois,d. of Charles sleeves, making a pleas- VI of France. ing repeat of the con- 1422-1461 Henry VI, trasting color. In the King of England, m. fourteenth century the Margaret of Anjou. 1461-1483 Edward IV parti-colored or ar- (White Rose), m. morial dress was worn, From Viollet-le-Duc. Elizabeth of Wood- see Figs. 146 and 118, Fig. 148.—Men of the 15th century. ville. SIXTEENTH CENTURY Page One Hundred Eleven

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, Queeii 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. the costume his- 1422-1461 Charles tory of the Mid- VII, King of die Ages. France, m. Reference Books Marie, d. of Calthrop, Eng- Anjou. D. of lish Costume; Znr 1461-1483 Louis Geschichte der Ko- XI, m. 1st, stiime; Quicherat, Marguerite, Histoire du Co- stume en France; d. of James I, Pauquet Fr^res, King of Scot- Modes et Costumes land, m. 2d, Historiques; Hot- Charlotte of tenroth, Les Co- Savoy. stumes chez les 1483-1498 Charles Peuples; LaCroix, Manners, Cos- VIII,m.Anne tume, and Dress of Brittany. During the Middle 1498-1515 Louis Ages and Renais-

XII, m. 1st, sance ; Robida, Centuries Jeanne, d. of Ten in Toilette; Racinet, Louis XL m. Histoire du Co- 2d, Anne, From ZUT Geschichte der Costume. stume ; Planch^, widow of FlG. 149.—German costume of early iGth century. Dictionary and CharlesVIII, Cyclopedia; Viol- m. 3d, Mary, d. of Henry VII, King let-le-Duc, Dictionnaire du Mobilier Fran- gais,Yo\s. 3, 4; Raphael Jacquemin, Icono- of 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 XIIP au XIX" 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, A Complete View of the Dress and Habits of the People thing became more extreme, even to the of England;' Bonnard, Costumes Historiques points of the hats and shoes. des Xir, Xlir, XIV\ et ZP Siecles; Towards the end of this century came a Boutet de Montvel, Joan of Arc; Sanborn, transitional period. The toes of the shoes Ann of Brittany. became round, the dresses became more semi-fitting, and were split up the front, History showing the underskirt. They had square 73. Sixteenth Century. Renaissance.— 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. 2d^ Page One Hundred Twelve OUTLINE OF HISTORIC COSTUME

Tram Pauquet Freres. From Pauquet Frires. Fig. 150.—Costume of transition period. Fig. 151.—Costume of 16th century, 1527. Anne of Brittany, 1500.

P/K^..

From Pauqiut Freres. Frovt, Pauquet Freres.

lu. ii/i. —Larlv Ftenaissance, 1530. Fig. 153.—French gentleman, 1572. SIXTEENTH CENTURY Page One Hundred Thirteen

Anne Boleyn; m. 1574-1589 Henry IH, 3d, Jane Seymour; King of France, m. m. 4th, Anne of Louise of Lorraine. Cleves; m. 5ths 1589-1610 Henry IV Catharine Howard; (Bourbon), King of m. 6th, Catharine France, m. 1st, Parr. Marguerite of Va- 1547-1553 Edward VI. lois; m. 2d, Marie 1553-1558 Mary Tudor, de Medicis. Queen of England, Dress {XVI Century) m. Phihp II, King Great changes now of Spain. developed. The cos- 1558-1603 Elizabeth, tumes for men and Queen of England. women from this time 1515-1547 Francis I, on are no longer alike. King of France, m. The desire now seem- 1st, Claude, d. of ed to be to alter in Louis XII; m. 2d, various ways the nor- From Pauguet Freres. Eleanor, d. of mal shape of the figure. Pig. 154.—Late Renaissance silhouette, 1586. Philip. The women first wore 1547-1559 Henry a boneless corset, II, King of which they called a France, m. 1st, basquine,and a crin- Catherine de oline which gave Medicis; m. the appearance of a 2d, morga., hooped skirt, which Diana, Duchess they called ihevertu- of Valentinois. gale. See Fig. 152. 1559-1560 Francis The waistline II, King of was normal and France, m. slightly pointed in Mary Stuart, front. A piece of Queen of Scot- material was sewed land. on the vertugale to 1560-1574 Charles take the place of IX, King of the cotte. The France, m. 1st, under-sleeves were Elizabeth, d. made of the same of Emp. ^lax- material, and some- imilian; m.2d, times slashed to morga., Marie show the chemise; From Pauquet Freres. Touchet. Fig. 155. -Late Renaissance costume, 1572. sometimes this —

Page One Hundred Fourteen OUTLINE OF HISTORIC COSTUME

same material was used in the silhouette. The as a panel in the front waist became smaller of the waist. The neck in size. Both round line was square but length and long skirts curved upward at the were worn. Trains were centre. The skirt was worn on horseback, one round length. of which was seventy Large mantles, usual- feet long. The widely ly with hoods, were used open bodice became for out of doors. The popular, to which im- shoes were no longer mense ruffs were added. pointed. Red was the The balloon-shaped popular color for shoes sleeves, too, had grown and stockings. Jewels enormous. It was at were used in profusion this time that ribbon to elaborate the cos- came in. See Figs. 154 tumes; collars set with and 155. gems were favored. Men's figures dimin- The men wore very ished in size as women's short, often slashed, figures increased. From PauQuet FTcrta. They trousers, long stockings, Fig. 156.—Costume of the late Renaissance, 158G. also wore both corset a doublet with a and ruffs. See Fig. square neck, slashed, 156. - pointed shoes, round Reference Books See and a mantle. See books mentioned Figs. 151 and 153. under fifteenth and The first change seventeenth centuries. came in the latter part of the century, History when many women 74. Seventeenth wore a waist which Century. buttoned to the throat. 1603-1625 James I, The large over-sleeves King of England, were discarded for m. Anne, d. of smaller ones with a Frederick II, King padded roll at the of Denmark. arm-eye. The ruff now 1625-1649 Charles I, became popular. More King of England, width was given to m. Henriette the hfps by a barrel- Marie, d. of Hen- shaped hoop which ry IV, King of

made a definite change From Pauguet Freres. France. Fig. 157.—Early 17th Century costume, 1633. SEVENTEENTH CENTURY Page One Hundred Fifteen

^ifujaEsamm^

From Paugua Freres. brum rauqutl Frtrt.^. Fig. 158. —Co.stume of the early part of Louis XIV reign. Fia. 159.—Costume of the reign of Louis XIV, 1670.

'--^ -"A

From Pauguet Freres. From Pauguet Frires. Fig. 160.—Costume of the later part of Louis XIV Fig. 161.—Costume of the later part of reigo showing Fontanges head-dress. Louis XIV reign. Page One Hundred Sixteen OUTLINE OF HISTORIC COSTUME

1649-1653 Interregnum. wore a round length under-petticoat and 1653-1658 Oliver Cromwell, Protector of an overskirt whici was often trailing. England, m. Elizabeth, d. of Sir The fullness was at the sides and back. Thomas Bourchier. Often the skirt opened in front. When 1658-1660 Richard Cromwell, Protector of this was done, a narrow panel of the same Eng., m. Dorothy Mayor. kind of material as the petticoat was used Charles II, King of England, m. 1660-1685 up the front of the bodice. The round Catharine of Braganza. neck line was used most at this period 1685-1688 James II, King of England, m. and the large, flat collar generally replaced 1st, Anna Hyde; m. 2d, Mary, d. of< the ruff. See Fig. 157. Alfonso IV, D. of Modena. instances waistline was 1689-1702 William HI and Mary, King In some the short slashed and Queen of England. raised and a peplum added. 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 was lace and ribbon profusely. They wore used with the round neck line. Both these musketeer boots. Their hats w^ere 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 w^as 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. collars. The chemise showed at the wrist, Reference Books and under the jabot. The trousers were close-fitting and less decorated. They wore Calthrop, English Costume; Pauquet large muffs and w igs and a hat with turned- Freres, Modes et Costumes Historiques; up brim and flat plumes. See Figs. 157, Robida, Ten Centuries of Toilette; Pierre and 161. Lamesangere, Costumes des Femmes Fran- (6) Women.—Abandoned the hoop, and daises; Zur Geschichte der Costume. EIGHTEENTH CENTURY Page One Hundred Seventeen

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 H, King of Eng- land, m. Carolina of Branden- burg-Ansbach. 1760-1820 George HI, 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 Pauquet Frires. I. Stephen, Germ. Emp. Fig. 162.—Draped costume of the late 18th century, 1763. Dress {XVIII Century)

Early in the eighteenth century the hoop was revived (1711).

This time it was a framework of cane, whalebone, or some similar material, and was called a panier. It was wide at the sides and flat in the back and front, but the fullness of the skirt gave the required size at the back. During the regency, plain, full skirts of light weight material were in vogue; afterward, heavier* fabrics and more decoration appeared. The tj'pe was more frivolous than that used during the latter part of the reign of Louis XIV. When the bodice had a round neck, the sleeves were usually made of ruffles of lace; with the From Pamuet Frires. Fig. 163.- -Louis XV Watteau costume showing 18th century hoop, 1729. square neck, the sleeves were Page One Hundred Eighteen OUTLINE OF HISTORIC COSTUME '^^B^?SES?^ VH^B ^ Jf / t ^ fc/V

^ 1 fl^S^Ck^ ^Hfl^^^>^

^^^^^^RE^I^^^^H bfiifeiiL^Si^' ^B^^H^HP'' ^SHL - ^^^ ^^^^^^^^L ^^BKm^jkjttMiiSr^^ ^P^^^^ l^jP^ll^^^L ';:.,<«5|^g ^^SSBftafc ^IPB* From Pauquet Frires. From Pauquet Frires. Fig. 164.—The costume of a man in 1740. Fig. 165.—Louis XVI costume, 1777. usually close-fitting pleats were allowe

1 63 . Sometimes the skirts of the coats waistline was not were stiffened and Painting by Nattier. defined and the Fig. 166.—18th century round neck line and ruffle lace boned. The shoes sleeves. EIGHTEENTH CENTURY Page One Hundred Nineteen

From ZvT GescMchte cler Costume. Fro?n Pauquet Freres. Fig. 167—Louis XVI costume. 1780. Fig. 1G9.—Directoire costume, 1798. m^

From ZuT Oeschicfite der Costume. From Patiquet Frires. " Fig. 168.—British or masculine costume. Fig. 170.—The costumes of 1795 of the " Incroyables (men) and " Merveilleuses " and "Impossibles" (women). Page One Hundred Twenty OUTLINE OF HISTORIC COSTUME had red heels, and a shepherdess crook. See tricornered hat was Fig. 167. The next worn. See Fig. 164. change was that The costumes of the brought in by the ap- reign of Louis XVI proaching French Rev- from 1774 to 1792 were olution. This was a exaggerations of the more masculine cos- costumes of the reign tume and was called before. The bodices British or English. See were extremely tight Fig. 168. and stiffly boned, the The days of the Rev- skirts were elaborately olution (1789 - 1799) trimmed, and immense brought in simple headdresses were fashions. Corsets were worn. See Fig. 165. discarded, the waist Farming at the Petit became short and the Trianon brought in skirt clinging, and the dainty overdress cheap materials were adapted from the used. During the Di- Watteau style, and the rectoire, the Fig. 171.—Fashions of the Consulate, 1799-1803. women

Fig. 172.—Costume of the First Empire, Fig. 173.—Costume of the First Empire, 1811. 1813. —

NINETEENTH CENTURY Page One Hundred Twenty-one adapted the classic 1837-1901 Victoria style, borrowing from Alexandra, m. both Greek and Ro- Albert, Prince of man fashions. These Saxe-Koburg and costumes were scanty, Gotha. and frequently were 1792-1795 Conven- split up the sides. tion. The dresses were 1795-1799 Directory. often transparent and 1799-1804 Consulate. worn without chem- 1804-1814 Emperor ises. See Fig. 169. Napoleon Bona- The gentlemen of this parte, m. 1st, fantastic period were Josephine Ta- styled "Incroyables," scher, 2d, Marie "Unimaginables "; Louise, d. of the ladies, "Merveil- Franz I. German- leuses" and "Impos- Roman Emperor. sibles." See Fig. 170. 1814-1824 Louis The men wore an XVIII, King of From Pamuet Fr^ea. exaggerated copy of France, m. Maria Fig. 174.—Costumes of the Restoration, 1820. what had been previ- of Sardinia. ously called the 1824-1830 Charles X, English fashion. King of France, m. Maria Theresa Reference Books of Sardinia. See books mentioned 1830-1848 Louis-Phi- under seventeenth and lippe of Orleans, nineteenth centuries. King of France, m. History Marie Amalie of the Two Sicilies. 76. Nineteenth Century. 1848-1870 Louis Na- III, m. 1820-1830 George IV, poleon Eugenie de Guz- King of England, man, Countess m. 1st, morga., of Teba. Mrs. Fitzherbert; m. 2d, Caroline Dress {XIX Century)

of Brunswick- It is said that the Wolfenbiittel. fashions of the Con- 1830-1837 William sulate, 1799-1804, IV, King of Eng- which were much more land, m. Adelaide of restrained, kept all Pig. 175.—Costumes of the Romantic Period during in the Saxe-Meiningen. reign of Louis PhUippe, 1830-1848. that was best Page One Hundred Twenty-two OUTLINE OF HISTORIC COSTUME fashions of the waistline, the Directory. See sleeves became Fig. 171. A beau- large and gave tiful quality of width to the Indian lawns and shoulders. Much muslins was used, interest was now and the shawl being taken in introduced by bonnets. Napoleon became The reign of popular. Louis-Philippe, During the Em- 1830-1848, was pire (1804-1814) called the Ro- materials became mantic Period. more elaborate. See Fig. 175. The Things were mil- waists were close- itary. Oriental fitting with a silks and heavier very low neck, and materials were were wide off at used, and the the shoulders. tendency was to The popular ber- be well covered. Fig 176.—Costumes of the Second Empire, IS.jL tha effect increas- See Figs. 17£ and ed this still more. 173. The waistline was The Restoration, pointed in front, 1814-1830 (reign the skirt full but of Louis XVIII), with less trim- found the silhou- mings, and floun- ette changing. ces were some- See Fig. 174. times used. Shoes Corsets had again were low and had come in and no heels. TheRe- caused the waist- [)ublic under Louis line to drop Napoleon, 1848- slightly. The skirts 1852, found the had more fullness, i-kirts increasing were elaborately in size, and by the trimmed and were Second Empire worn quite short. under Napoleon (Charles X, 1824- III, 1852-1870, 1830.) In the the skirts were twenties the waist held out by stiff found its normal Fig. 177.—Gjstumes of the Second Empire, 1852. petticoats which NINETEENTH CENTURY Page One Hundred Twenty-three

led up to the return of the crinoHnes 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 in the First Empire were used. By 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 31odes et Costumes Fran- gais, 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.

Drawn by Robert Henry for Felix Jungmann & Cie., Paris, Courtesy of Harper s Bazar. From a crayon drawing by Soulie, BIBLIOGRAPHY

BIBLIOGRAPHY

Racinet. Histoire du Costume. 6 vols. Illustrated. Herbe. Costume Frangais. Illustrated. French text. French text. Renan, Ary. Le Costume en France. Illustrated. Dress of the Ancient Egyptians. Published by the French text. Metropolitan Museum of Art. Illustrated. Robida, A. Ten Centuries of Toilette. Illustrated. Ancient Egyptian Kerchief. Metropolitan Museum French and English text. Bulletin, Vol. XI, No. 11. Illustrated. Challamel. The History of Costume in France from Prisse D\ivennes. Histoire de L'art Egypt. Illus- Gallo-Roman to present time. Illustrated. Eng- trated. French Text. lish text. Book of the Dead. Facsimile of Papyrus of Ani Billoc. Bayeaux Tapestry. Illustrated. English text. in British Museum. Illustrated. English text. La Croix. Manners, Customs and Dress during the Breasted. Ancient Times. Illustrated. English text. Middle Ages and Renaissance. Illustrated. Eng- Abrahams. Greek Dress. Illustrated. English 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. Notor. 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 AYomen 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 r'inche. 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- trated. French text. trated. English text. Hottenroth. LeCostumechez lesPeuples. Ancienset Smith, J. T. The Cries of London. (Character Moderns. Illustrated. German and French text. Costume.) Illustrated, English text. Rosenberg. Geschichte der Kostiime. 3 vols. Il- Aria. Costume. Fanciful, historical and theatrical. lustrated. German text. Illustrated. English text. Hefner-Alteneck. Trachten, Kunstwerke, und Ge- Le Comte de Reiset. Modes et Usages au temps de rathschaften. 10 vols. Illustrated. German text. Marie Antionette. Livre-Journal de Madame

Hefner-Alteneck. Costume du Moyen Age Chretien. Eloffe. Marchande ' de Modes. Illustrated. 4 vols. French text. 2 vols. French text. Boutet de Monvel. Joan of Arc. For XV Century Grand-Carteret. I>es Elegances de la Toilette. Costume. Illustrated. French and English text. Louis XVI-Restauration, 1780-1825. Illustrated. Braun, Diez, Froehlich, etc. Zur Geschichte der Ko- French text. stiime. Illustrated. German text. English index. Wahlen. Moeurs, Usages et Costumes de tons les Viollet-le-Duc. Dictionnaire du Mobilier FranQais. Peuples du Monde. Illustrated. French text. Vols. 3 and 4. Illustrated. French text. Lamesangere. Costume des Femmes Frangaises. Shaw. Dresses and Decorations of the Middle Ages. Illustrated. French text. 2 vols. Illustrated. English text. Sante Graves. Portraits en Pied. Illustrated. Bonnard. (Middle Ages) Costumes historiques des French text. Xir, Xlir, XIV", et XV" Siecles. 2 vols. (1845). Uzanne, Octave. Fashions in Paris, 1797-1897. 3 vols. (1861). Illustrated. French text. French and English text. Illustrated. Piton. I>es Costume Civil en France de XIlP au Price. Dame Fashion, 1786-1912. English text. XIV^ Siecle. Illustrated. French text. Illustrated. Page One Hundred Twenty-eight BIBLIOGRAPHY

Cornu, M. Paul. Galerie des Modes et Costumes Jourdain, M. Old Lace. English text. Frangaises, 1778-1787. Illustrated. French text. Lowes, Mrs. Chats on Old Lace and Needlework. Fishel arid Von Boehn translated by M. Edwardes. English text. Modes and Manners of the Nineteenth Century, Laprade, Mme, Laurence de.' Le Poinet de France. 1790-1878. 3 vols. Illustrated. German and French text. English text. Jackson, Mrs. F. Nevill. A History of Hand-made Rhead. Chats on Costume. Illustrated. English text. Lace. English text. Earle. Two Centuries of Costume in America. Lefebure, Ernest. Embroidery and Lace. English Illustrated. Published in 1 vol. and 2 vols. text. English text. Whiting, Gertrude. A Lace Guide. English text. McClellan. Historic Dress in America. Illustrated. Clifford, C. R. The Lace Dictionary. English text.

Vol. 1, 1607-1800; Vol. 2, 1800-1870. English text. Huish, Marcus B. Samplers and Tapestry Em- Webb. The heritage of Dress. Notes on the history broideries. English Text. and evolution of clothes. Illustrated. English Modes et Maniers D'Aujourd'Hui. Illustrated by text. Lepape, 1912, Martin, 1913, and Barbier, 1914. Bakst, Leon. L'art decoratif. French text. French text. Fales. Dressmaking. Chapter I on The Historic De- Nevill, Ralph. British Military Prints. Illustrated. velopment of Costume. Illustrated. English text. English text. Ellsworth Textiles and Costume Design. Falls, D. W. C. Army and Navy Information of the Peterson's Magazine, 1842-1898. English text. Warring Powers. English text. Godeys Lady's Book. 1830-1898. English text. Wietz. Ecclesiastical Costume. 2 vols. German Gazette du Bon Ton. Arts, Modes and Frivolities. text. French text. Villermont, Comtesse de. Histoire de la Coiffure

Journal des Dames et des Modes. Frencfrtext. Feminine. Illustrated. French text. Burbank. Woman as Decoration. English text. Davey, Richard. A History of Mourning. Illus- Lessing, Julius von. Die Gewebe Sammlung des trated. English text. Kunstgewerbe Museum. German text. Rhead, G. W. History of the Fan. Illustrated. Funke, Otto von. Seidenweberei. 2 vols. German text. English text. Moore, N. Hudson. The Lace Book. Showing- Redfern, W. B. Royal and Historic Gloves and

Specimens of Lace, or its wear in famous por- Shoes. . Illustrated. English text.

traits. English text. For Periodical References see Poole's Index and Palliser, Mrs. Bury. A History of Lace. English th; Readers' Guide. text. New York Public Library. Art Division. In prep-

Ricci, Elisa. Antiche Trine Italiane. Italian text. aration, Textile list and Costume list. Each not Pollen, Mrs. J. Hungerford. Seven Centuries of only lists books and articles, but parts of books Lace. English text. and individual plates.

ip Drawn by Robert Henry for Felix Jungmann & Cie., Paris. ^p A READING AND REFERENCE LIST ON COSTUME

BROOKLYN NEW YORK Published BY THE BROOKLYN PUBLIC LIBRARY FIRST PRINTING 1909 REVISED 1920

PREFACE

The primary purpose of this list is to furnish a partial guide to the resources of the Brooklyn Public Library on the subject of costume. Completeness has not been attempted. Practically no references to periodicals are included, as these are generally available through Poole's Index and the

Readers' Guide. Post-cards, works of art, jewelry, and other articles primarily artistic in nature are not included. A few unindexed periodicals, especially useful in the study of costume, are listed.

It is hoped that the list, in addition to its use to the patrons of the library, may serve as a contribution toward a bibliography of the subject.

CONTENTS

PAQB FAGB Abyssinia 143 Corea. See Koreia. Afghanistan Hi Corsica. See France. Africa lU Costume (in Poetry) 151 Albania. See Balkan States. Cuba 151 Algeria 144 Arab Costume 145 Denmark 151 Armenia. See Turkish Empire. Dutch Costume. See Nethi;rlands. Armor 145 Asiatic Islands. See Malaysia, Philippine Egypt 152 Islands. England 152 Assyria 146 England. Military Costume 156 Australia 146 Eskimo Costume 157 Austria-Hungary 146 Etruscan Costume 158 Aztec Costume. See Indians of North America. Fancy Dress 158 Fans 158 Balkan States 147 Fiji Islands 158 Bedouin Costume. See Arab Costume, Egypt, Flemish Costume. See Belgium. Turkish Empire. Foot-wear 158 Belgium 148 France 159 Bibliography 137 France. Military Costume 160 Bohemia. See Austria-Hungary. Bosnia. See Balkan States. General Works 138 Bridal Costume 148 Germany 161 Brittany. See France. Germany. Military Costume 161 Brooklyn 148 Gipsy Costume 161

Bulgaria. See Balkan States. Gloves , 162 Burma. See India. Greece 162 Guatemala 163 Canada 148 Caricatures and Caricaturists 148 Hair, Hats. See Head-dress. Carthage. See Africa. Hawaii 163 Central America 149 Head-dress 163 Central Asia 149 Hebrew Costume. See Jewish Costume. Ceylon 150 Herzegovina. See Balkan States. Children 150 Holland. See Netherlands. Chile 150 Hungary. See Austria-Hungary. China 150 India 164 Colonial Costimie. See United States. Indians of North America 165 Page One Hundred Thirty-four CONTENTS

PAGE PAGE Indians of South America 166 Portugal 172 Ireland 167 Italy 167 Quakers 172

Japan 168 Religious Costume 173 Jewelry 168 Rome 173 Jewish Costume 169 Roumania. See Balkan States. Russian Empire 174 Korea 169 Samoa 175

Lapland. See Norway, Russian Empire. Savoy .' 175 Scotland 175 Macedonia. See Balkan States. Servia. See Balkan States. Malaysia 169 Shakespearean Costume 176 Maori Costume. See New Zealand. Shoes. See Foot-weAjI. Marriage Costume. See Bridal Costume. Siam. See India.

Mediaeval Costume 169 South America - 177 Mexico 170 Spain 177 Montenegro. See Balk.\n States. Sweden 177 Morocco 170 Switzerland 178

Nepal. See Tibet. Theatrical Costume 178 Netherlands 170 Tibet 179 New Zealand 171 Troubadours 179 Normandy. See France. Tunis. See Africa. Norway 171 Turkish Empire 179 Tyrol. See Austria-Hungary, Switzerland. Oceanica 171 Orders 171 United States 180 United States. Military and Naval Costume. 181 Palestine. See Turkish Empire. Peasant Costume 171 Venice. See Italy. Periodicals Useful for the Study of Costume ... 138 Persia 171 Wales 182 Peru 172 Weapons. See Armor. Philippine Islands 172 West Indies 182 Poland. See Russia. Porto Rico 172 Zanzibar 182 A READING AND REFERENCE LIST ON COSTUME, ARRANGED ALPHABETICALLY THIS OUTLINE OF HISTORIC COSTUME IS ARRANGED TO PROVIDE THE READER WITH COMPARATIVE DATES, UNDER THE HEADING OF "HISTORY," THE MAIN CHARACTERISTICS OF EACH CENTURY'S COSTUME, UNDER THE HEADING "HISTORY OF DRESS," AND WITH THE AIM OF FURTHER ELUCIDATION ON EACH PERIOD'S COSTUME, THERE WILL BE FOUND SELECTED DATA UNDER THE HEADING OF THAT CENTURY'S "REFERENCE BOOKS." :

Bibliography

Barnard, F. P. Books for Reference on English Dillon, H. A. Books Treating of Costume. (In Costume. (la his Companion to Enghsh History Fairholt, F. W. Costume in England. 3d ed. Middle Ages. 190'2. 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. List of Books on Greek Dress.

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. 031l6lGi (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 Encyclopaedia. 1914. v. 6. p. 143.) 18 titles.

Bibliography of Ecclesiastical Costume. (In New Gipsy Costume. (In Journal of the Gipsy Lore Internationa! Encycit^eedia. 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. clopaedia. 1901-06. V. 4. pp. 294, 301, 303.) Ref. 933S61 Lipperheide, F. J., Freiherr von. Katalog der Brief lists. Freiherrlich von Lipperheide 'schen Kostiim-

Bibliography of Roman Comedy Costume. (In bibliothek. 2 v. 1896-1901. Ref. G016L76 Annotated and illustrated. The most complete bibliog- Saunders, C. Costume in Comedy. Roman raphy. 1909. pp. 143-145.) 391S25 Litteratur. Kostum. (In Brockhaus' Konversations- Bliimner, II. Costume. (In his Home Life of the Lexicon. 14th ed. 1895. v. 10. p. 662.) Ancient Greeks. 1893. p. 533.) 913B65 Ref. G033B86 4 titles. 14 titles. Boutell, Charles. Bibliography of Costume. (In Luard, J. History of the Dress of the British Encyclopaedia Britannica. 9th ed. 1875-88. v. Soldier. 1852. 355L92 6. pp. 478-79.) Ref. 032E56 Brief list of authorities, pp. III-IV. Classified and annotated list.

McClellan, Elizabeth. Authorities Consulted. (In Chubb, Percival, and others. Festivals and Plays in 1607-1800. Schools and Elsewhere. 1912. 371.7C55 her Historic Dress in America, 1904. Costume bibliography, p. 391. pp. 405-07.) Ref. 391M12 Page One Hundred Thirty-eight BIBLIOGRAPHY

New York City. Salmagundi Club. Catalogue of Weiss, Hermann. (In his Kostiimkunde. 11, the Costume Books in the Library of the Salma- Mittelalter. 1883. pp. ii-xxviii.) gundi Club. N. Y. 1906, R016No67S List of works on mediaeval costume.

Peahody Institute, Baltimore. Catalogue of the — Same. (In his Kostiimkunde. III. 1. 2, Library. 14tes Jahrhundert bis auf die Gegenwart. 1872. Costume. Part I, 18S3, pp. S07-8; 2d series, part II, 1897, pt. 2. pp. 1371-88.) p. 907; Ecclesiastical Costume, part I, 1883, p. 808; United States Costume, 2d series, part Vfll, 1905, p. 4875. List of works on costumes, 14th century to the present List of books and periodical articles. time.

Phillip, W. A. Bibliography of Costume. (In Periodicals Useful for the Study of Costume Encyclopaedia Britannica. 11th ed. 1910. v. 7.

p. 247.) Delineator. Gazette du Bon Ton Quellen fiir die Kenntnis der Kostume. (In Meyer's Godeys 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. Ulustrated London News. Same. (In 6th ed. 1904-08. v. 11, — Same. Journal des Dames et des Modes. p. 539.) Ref. G033M61KO L'Hlustration. Preceding list revised and enlarged. Ladies' Cabinet of Fashion, Music, and Romanes. Ladies' Home Journal. Racinet, A. C. A. Le Costume Historique. 1888. La Mode Ulustree. Bibliography, v. 1. pp. 113-24. Ref. r390Rl2 Le Costume Royal.

Classified list of about 400 titles. Le Tour du Monde. National Geographic Magazine. Rhead, G. W. Bibliography of Costume. (In his Peterson s Magazine. Chats on Costume. 1906. pp. 15-16.) 391R46 Punch. Sketch. Sargent, J. F. Customs and Costume: a list of The Children's Costume Royal. books and magazine articles. (In his Reading for Ueber Land und Meer. the Young. Issued by the Amer. Library Assoc, Vogue. Journal. 1890. pp. 9-10.) Ref. 028S24 Young Ladies' 14 annotated titles of books, 88 references to periodicals. General Works Select List of Works and References on Costume. (In Finsbury [England] Public Library quarterly This list includes tcorks dealing with a number of countries or subjects guide. Jan., 1909. pp. 227-34.)

Annotated and classified list. Accurate Historical Account of all the Orders of Knight- Thurston, Herbert. Bibliography of Clerical Cos- hood at Present Existing in Europe. 2 v. n.d.

tume. (In Catholic Encyclopedia, v. 4. p. 421.) Ref. 929.7H25 Ref. Descriptions of costumes and regalia of the different 282C363 orders. 12 titles. Ammon, Jobst. The Theatre of Women. 1872. Vinet, Ernest. Bibliographic du Costume. (In R391A51 Racinet, A. Costume Historique. 1888. v. 1. a reprint from the edition of 1586. Female costumes of pp. 113-24.) • Ref. F390R12 all the principal nations and peoples of Europe. Classified list of about 400 titles. Aria, Mrs. E. Costume: Fanciful, Historical, and Waern, Cecilia. Note: Bibliography of Fans. Theatrical. Illus. by Percy Anderson. 1906. (In her Short Historical Sketch of Fans. 1895. 391A69 pp. 28-29.) 391W12 Historical, peasant, oriental, ceremonial, bridal, dancine, fancy, and theatrical costume. Colored plates and half- Brief annotated list. tones.

Weiss, Hermann. Verzeichniss der Abbildungen, Armies of To-day. Edited by W^esley Merritt and nach ihren Quellen. (In his Kostiimkunde. others. 1893. 355M57 Articles, illustrated by wood-cuts, on armies of United I, Alterthum. 1881. pp. xxiii-xli.) G391W42 States, Great Britain, Germany, France, Russia, Austria- Liit 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. 910A81. Clothes and the Man; hints on the wearing and caring Illustrations are small , and are colored. of clothes. 1900. 6-16C64.

Ballin, A. S. (Mrs. Berry.) Science of Dress in Discussion of modern male attire. Theory and Practice. 1885. 613B19 Collier, John. Art of Portrait Painting. 1905. Belin, and others. Costumes de Su&de, Norw^ge, Ref. 757C69 Danemark, HoUande, et AUemagne; dessines par 41 portraits in color and half-tone, showing costumes from Giotto to Watts. Belin, Girardet, Sharles, Verveer. [About I860.] Ref. F391B43 Costume. (In Encyclopedia Americana. 1903. 20 colored plates. V. 5.) Ref. 031E56 Historical sketch with brief bibliography. Berghaus, Ileinrich. Die Volker des Erdballs. 2 V. 1861. * G572B49 Costume. (In Encyclopaedia Britannica. 11th ed. Numerous colored plates. 1910. V. 7. pp. 224-47.) R Historical. 51 figures. Bibliography. Beyschlag, Robert. Female Costume Pictures: figures of female grace and beauty in costumes of Costume. (In New International Encyclopaedia. various centuries, from twelve drawings in pastel. 1902. V. 5. pp. 328-34.) Ref. 031 161 Gi Historical. 2 plates (15 figures) and bibliography. 1886. R 391B57

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 " Personal adornment," pp. 49-274. Many cuts and 2 Historical. 3 plates (23 figures). colored plates of head-dress and apparel.

Costume. (In Nouveau Larousse - Illustr*?. v. 3. Boehn, Max von. Die Mode: Menschen und p. 314.) R 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. Covers the period 1818-1842. Many illustrations, 36 in 391C84 color. No text. Contains colored plates.

— Modes and Manners of the 19th Century. 3 v. Davis, R. H. Rulers of the Mediterranean. 1894. 1909. 391B67 910D21R Colored plates. Half-tone plates and wood-cuts of costumes of Gibraltar, Malta, Tangier, Egypt, Athens and Constantinople. Bonnard, C. Costumes Historiques des XII^, XIII®, XIV® et XV® Siecles. Dessines et graves par Davy, Richard. Furs and Fur Garments, n.d. Paul Mercuri avec un texte historique et de.scriptif 391D24 par Camille Bonnard. Nouvelle Edition avec ime General historical sketch. 12 plates showing fur garments, 9th-19th centuries. introduction par Charles Blanc. 3 v. 1860-61. Ref. F391B710 Decorum; a practical treatise on etiquette and dress 200 colored copper engravings. of the best American society. 1880. 395D29

Brownell, H. H. Eastern, or Old World : embracing Dewing, Mrs. M. R. Beauty in Dress. 1881. ancient and modern history. 2 v. 1856. 646D52 909B88 ^Esthetics of women's dress. Has hand-colored wood-cuts, showing costumes from early times to 19th century. Duller, E. Volkstrachten : Album von 50 Blatt

Burke, Sir Bernard. The Book of Orders of Knight- Kostiimbildern. Ref. 391D88 Colored lithographs taken from Duller's work. hood and Decorations of Honour of all Nations. Fully illustrated with colored plates. 1858. Ecob,H.G. Well-dressed Woman. 1892. 613E19 R 929.7B95BO Numerous half-tones and wood-cuts. Page One Hundred Forty BIBLIOGRAPHY

Egerton, M. M., Countess of Wilton. Book of Cos- Haweis, Mrs. H. R. Art of Dress. 1879. 391H38 tume; or. Annals of fashion, from the earliest Artistic principles of costume. Many wood-cuts. period to the present time. Newed. 1847. Heaton, H. A. Brooches of Many Nations. 1904. Ref. 391\V75 391H44 Detailed descriptions of European and Asiatic dress. 78 wood-cuts of brooches, from Assyria to Scotland. About 200 wood-cuts. Hefner-Alieneck, J. H. v. Trachten, Kunstwerke, Ellsworth, E. P. Textiles and Costume Design. und Gerathschaften, vom friihen Mittelalter bis Illustrated. 1917. 646E47 Ende des achtzehnten Jahrhunderts. 5 v. 1879- Emerson, Edwin, Jr. History of the 19th Century. 89. R G709H46 3 V. 1902. 909E53 720 colored plates. 16 colored and 32 half-tone plates, some of use for costume. Heyden, A. von. Die Tracht der Kulturvolker Erskine, Mrs. Beatrice. (Mrs. Stuart.) Beautiful Europas, von Zeitalter Homers bis zum Beginne Women in History and Art. 1905. Ref. 920E732 des XIX. Jahrhunderts. 1889. G39lHei 37 half-tone plates, showing English and French dress, 222 illustrations (wood-cuts). 16th-18th centuries. The European Delineator. Containing brief but Higgin, L. Art as Applied to Dress. 1885. interesting descriptions of Russia, Sweden, Den- 646H63 ^Esthetics of dress. mark, Norway, etc. 1815. Ref. 914E89D 20 colored engravings. Hints about Mens Dress. By a New York clubman. Fales, Jane. Dressmaking. A Manual for Schools 1888. 646H66 and Colleges. With chapter on the Historic Devel- Principles of selection. opment of Costume. Illustrated. 1917. 646F18 Fancy Dress. A Short Chronological Series of Hooge, Romeyn de. {?) Costumes, n.p., n.d. Costumes, n.d. 391F19 Ref. 391H77 43 copper-plates of costumes of many countries. Farnsworth, E. 0. The Art and Ethics of Dress.

Illustrated. 1915. 177F23 Ho-pe, Thomas. Costume of the Ancients. 2 v. Ferrario, Giulio, and others. Le Costume, Ancien New cd. 1841. Ref. 391H79 ctModeme. 18 v. 1815-29. Ref. F391F37 Brief descriptive sketch of Egyptian, Asiatic, Greek, and Roman costume, followed by 321 outline plates. Africa (2 v.), America (2 v.), Asia (4 v.), Europe (6 v. in 9). General sketch of history of costume for practically every nation of historic note. Illustrated with hand-colored Hottenroth, F. Trachten, Hans-, Feld-, und Kriegs- copperplates. gerathschaften der Volker alter und neuer Zeit. Finden, William. Finden's Tableaux. 1837. 2 V. n.d. G391H83 Ref. 769F49 120 colored plates and numerous woodcuts. 13 scenes of national character, beauty, and costume. Fo.v, 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 on Dress. 1872. 646G15 Gale, E. C. Hints Has 35 collotype plates and numerous other illustrations, Discussion of modern costume. 900^1870 Godwin, E. W. Dress and Its Relation to Health Hughes, T. P. Dress. (In his Diet, of Islam. and Climate. 1884. 391G59 1895. pp. 92-99.) Ref. 297H89 Small wood-cuts of dress of various types, from early Egyptian times to about 1850. Mohammedan dress. 9 wood-cuts. Grasset de Saint-Sauveur, G. Costumes, n.p., n.d. Hunt, Mrs. M. (Averil Beaumont.) Our Grand- Ref. 391G76 mothers' Gowns, n.d. 391H94 Hand-colored engravings of costumes of all countries. Contains colored plates. Grosvenor, G. H. Scenes from Every Land. Second Hutchinson, H. N. and others. Living Races of Series. 1909. 910G87 Mankind. 1902. Ref. 572H97 — Scenes from Every Land. Third Series. 1912. Half-tones of nearly all extant nations, in modern dress. 910G87S Iconographic Encyclopedia. 1886. v. 2. GuiUaumot, A. E. Costumes de I'Op^ra. 1883. Ref. 033117 Ref. F391G95C See " Dress " and " Costume " in Index, and plates 34-38 50 colored plates, 17th and 18th centuries. (80 figures). .

BIBLIOGRAPHY Page One Hundred Forty-one

Ireland, J. B. Wall-Street to Cashmere: five years Lacy, T. H. Female Costumes, Historical, National, in Asia, Africa, and Europe, 1851-56. 1859. and Dramatic. 1865. Ref. 391H152C2 910IG5 Contains colored plates. Colored plate of Arab costume, and wood-cuts of other Male Costume, Historical, costumes. — National, and Dra- matic. 1868. Ref. 391L152C1 Jacquemin, R. Histoire G6nerale du Costume No text. Contains colored plates. Civil, Religieux, et Militaire du IV""'' au XIl''"'' Lechevallier-Chevignard, G. Costumes Historiques Siecle.—Occident (.315-1100). Paris, n.d. (?188-.) de Femmes du XIV^"*^ au XVIir"'" 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. 190'-2. pp. 66-71.) 621.4H^28 Freiherrlich von Lipperheide'schen Kostiimbib- 4 cuts of motor costume. liothek. 2. v. 1896-1901. RG016L76 Johnson, John. Journey from India to England, A 03? illustrations from catalogued works, showing cos- through Persia, Georgia, Ru.ssia, Poland, and tumes of all periods. Half-tones. Prussia, in the Year 1817. 1818. 915J67 Loemyer, J. F. N. (Auguste Wahlen.) Mueurs, 5 colored plates. Usages, et Costumes de tons les Peui)les du Jones, William. Coronation Robes. (In his Monde.—Oceanic. 1843. RF919L82 Crowns and Coronations. 1883. pp. 491-504.) 34 colored plates. 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 Louandre, Charles. Les Arts Somptuaires. 1857- women of all countries. 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. 8 colored plates. Le luxe (Paris) Supplement. Ball, Winter, and Sum- Koppen, F. von. Armies of Europe, illustrated. mer Costumes for 1893-94. RF391L97 1890. 3.55K77 Contains colored plates. 20 double-page colored plates and many cuts of uniforms of modern Europe. Malerische Studien: eine Reise um die Welt, in Kostiim. (In Brockhaus' Konversations-Lexicon. 200 farbigen Photographien. n.d. RG910M24 Many of the 200 colored half-tones give the modern 14th ed. 1895. v. 10.) Ref. G033B86 costumes of European and Asiatic countries. Historical sketch, with 4 colored plates Bibliography.

Malliot, Joseph. Recherches sur les Costumes . . . Kostiim. (In Meyer's Konversations-Lexicon. 4th des ancicns peuples. 3 v. 1809. F391M25 ed. 1880. v. 10. pp. 120-21.) Ref. G033M61KO Marechal, P. S. Costumes Civils Actuels de tous Historical survey. 3 double- page colored plates (41 les peuples connus. 4 v. 1788. RF391M32 figures). Bibliography. Mazny, M. A. Types et Caracteres Ancicns. 1841 — Same. 10th ed. 1905. v. 11. pp. 537-39. RF390M47 V. 20. p. 242. 21 colored plates. 3 colored plates with smaller figures than those in the 4th ed. Menard, Rene. Le Vetement. (In his Vie Priv^e des Ancicns. 1881. v. 2. pp. 227-384.) Kretschmei , Albert. Costumes of All Nations, from F913M53 the earliest times to the 19th century. 1882. Ancient, Oriental, Greek, and Roman costumes. Nearly Ref. 391 K92 300 outline illustrations. lot colored plates in general chronological arrangement. Merrifield, Mrs. M. P. Dress as a Fine Art; with — Die Trachten der Volker, vom Beginn der Ge- suggestions on children's dress. With an introd. schichte bis zum 19ten Jahrhundert. 1864. on head dress by Prof. Fairholt. 1854. 391M56 Ref. G391K92T Outline plates. Page One Hundred Forty-two BIBLIOGRAPHY

Michel, F. F. F. (Antony Real.) Story of the Porter, Sir R. K. Travels in Georgia [Asia], Persia, Stick in all Ages and Lands. 1891. 391M62 Armenia, Ancient Babylonia, during the years History of walking sticks. Several plates incidentally 1817, 1818, 1819, 1820. 2 vols. 1821. 915P84 showing costume. Illustrated with portraits, plates, and maps. Miln, L. J. When We were Strolling Players in the Praga, Mrs. Alfred. What to Wear and when to East. 1894. 914.39G35 Wear it. 1903. 391P89 Costumes of India, China, and Japan. About 20 plates. Esthetics of dress. S half-tones of head-dress and Moore, N.H. Lace Book. 746M82 female costumes. Half-tone plates of lace and lace-trimmed costumes. Prichard, J. C. The Natural History of Man.

Morris, Charles. Home Life in all Lands. 1907. 1848. 573P947N 910M97HO 50 colored and 5 plain steel engravings, and 97 wood-cuts of native races. 21 of the colored are of American Indians. " In the World's Tailor-shop," chap. 2; " In the World's Dressing-room," chap. 3. Many half-tones of costume. — Same. 4th ed. 2 vol. 573P947 Quigley, Dorothy. What Dress Makes of Us. 1897. Moses, H. Designs of Modern Costume, etc. ca. 1815. R391M91 391Q6 Many outline cuts. 29 plates. Racinet, A. Costume Historique. 6 v. 1888. Murray, A. S. Costume. (In Encyc. Brit. 9th Ref. F390R12 ed. 1878.) Ref. 032E56 500 plates (300 colored) of practically every country and Historical and descriptive, with 52 wood-cuts and bibliog- period. Bibliography. One of the most complete and raphy. accurate works on the subject.

National Beauties and their Costumes, n.d. Rhead, G. W. Chats on Costume. 1906. 391R46 391N27B Colored frontispiece and 117 wood-cuts and line engravings. Bibliography. 1.5 photograph-s 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 feriinine 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. 646047 1892. Ref. 572R54 .Esthetics of dress. Several illustrations. See " Costume " and " Dress " in general index. Illus- trations include colored " type pictures " and many wood- Parmentier, A. Album Historique, Publie sous la cuts of many nationalities.

Direction de Ernest Lavisse. 4 vols. 1900-1907. — Universal History. 17 vols. 1896. Ref. F909P25 Ref. 909R54U has 1500 to 2000 wood-cuts. Each volume Practically same material as his " Great Races."

Pauquet Freres. Illustrations of English and Ritchie, Leitch. Beauty's Costume: female figures 15th Foreign Costume, from the Century to the in the dresses of all times and rations. 1838. Present Day. 1875. Ref. 391P33I Ref. 391R59 plates (Europe, Asia, Africa), without text. 96 colored 12 steel plates with brief descriptive text.

Petersons Magazine. 1856-98. 051P48 St. John, J. A. Oriental Album. 1848. Monthly articles on current fashions. Steel and colored R916.2S1430 plates of current female fashion. A series of 30 lithographic plates, with a number of wood engravings. Pickering, C. Races of Man. 1854. 572P59 12 colored plates of savage types. Songster, William. Umbrellas and their History. 1871. 391S22 Pictures of Other Folks at Home. n.d. 914.6P37 Historical sketch, with caricatures. lUiistrations of typical costumes. Seguin, L. G. Picturesque Tour in Picturesque Planche, J. R. Cyclopedia of Costume, from the Lands. 1881. Ref. 914S45 Commencement of the Christian Era to the Nearly 100 wood-cuts of European costumes. Accession of George the Third. 2 v. 1876. Shoberl, Frederic. World in Miniature. 42 v. Ref. 391P69C 1821-27. Ref. Volume 1, dictionary; volume 2, general history of costume in Europe. Many chroaio-lithographs, "plain plates" Colored engravings of costumes of all nations. (See and wood-cuts. under separate countries.) BIBLIOGRAPHY Page One Hundred Forty-three

Simpson, William. Picturesque People: groups Weise & Co. 100 historische Kostum- and Volks- from all quarters of the globe. 187C. trachten-Bilder. n.d. R391W42 Ref. 915861 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 II. Das Mittelalter, vom 4. bis zum 14. Jahr- " The Story of our Dress." pp. 50-122 Illustrated. hundert. 2e. Auflage. 1883. Spalart, Robert von. Versuch iiber das Kostum der 367 wood-cuts and 8 chromolithographic plates. vorziiglichsten Volker des Alterthums. 3 v. m. Vom 14ten Jahrhundert bis auf die 1796-98. RG391S73 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 1903. 940W58 iEsthetics of dress. Several illustrations of costume. Sturgis, Russell. Costume. (In Universal Cyclo- Whole Art of Dress. 1830. 391W62 paedia. 1900. V. 3. pp. 209-12.) R03ir58 Engraved illustrations of hats, 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 I'Antiquite. 2 v. 1802.

Un Siecle de Modes Feminines. 1794-1894. Quatre RF913W69 ISO engraved plates. cents toilettes reproduites en couleurs d'apres des documents authentiques. 1896. 391S57 Woolson, A. G. Dress-reform. Lectures on dress as it affects the health of women. 1874. 613W91 JJzanne, L. 0. The Sunshade, the Glove, the Muff. A few wood-cuts. 1883. 391U99S Historical. Numerous photogravures. Young, J. R. Around the World with Gen. Grant. Vackon, Marius. La Femme dans I'Art. 1893. 2 V. 1879. 910Y73 Ref. F759V11 Many wood-cuts of costumes. 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 of all of people. Text in Italian 513 illustrations types Zur Geschichte der Kostume; nach Zeichnungen von and French. Wilhelm Diez [and others.] Herausg. und verlegt Volbtandige Volkergallerie in getreuen 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 .Vfrica. 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 Abyssinia Scattered notes on peculiarities of costume. See Index.

Walker, Isaac. Dress: as It has Been, Is, and Will Halle, Clifford. To Menelek in a Motor-car. 1913. Be. 1885. 39nYl7 916.3H18 General discussion. A few wood-cuts. 72 illustrations from photographs. Mrs. E. S. Phelps. What to Wear. 1873. Ward, Skinner, R. R. Abyssinia of To-day. 1906. No illustrations. 613W25 916.3S62 Webb, W. M. Heritage of Dress; being notes on Abyssinian costume, pp. 126-30, 135. 15 half-tone plates. the history and evolution of clothes. Illustrated. Vivian, HerbeH. Abyssinia. 1901. 916.3V85 1908. 391W36 80 illustrations. Page One Hundred Forty-four BIBLIOGRAPHY

Afghanistan Powell, R. S. S. Baden-. Natives of British East Africa. (In his Sketches in Mafeking and East Bouillane de Lacoste, Major de. Around Afghanis- Africa. 1907. pp. 140-46.) R916P88 tan. 1909. 915.8B76 Numerous sketches and wash-drawings of natives of South 83 illustrations, many of them showing costume. and East Africa.

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.

Africa Stow, G. W. Native Races of South Africa. 1905. 572S89 Adolf Friedrieh, Duke Mecklenburg-Schw^rin. of See " Clothing " in index. From the Congo to the Niger and the Nile. 2 v. Tully, Richard. Narrative of a Ten Years' Resi- 1913. 916A23 dence at Tripoli in Africa. Also, An Account of Angas, G. F. Kafirs Illustrated. Also portraits of the Domestic Manners of the Moors, Arabs, and other races inhabiting South Africa. 1849. Turks. 2ded. 1817. * 916.1J92 Ref. 916.8A58 6 of the 8 colored plates show costume. Scattered references on costume. 30 colored plates and 11 wood-cuts. Vollstandige Volkergallerie. Erster Band, zweite Abtheilung.—Afrika. 1830. G910V92 (Vol. 1.) Ferrario, Giulio. Afrique. (In his Costume. 1815- Colored illustrations. 29. Afrique. v. 1-2. [v. 5-6.]) Ref. F391F37 Colored copperplates of ancient and modern costume. Werner, A. Natives of British Central Africa. 1906. 572W49 Hall, R. N. Great Zimbabwe, Mashonaland, Dress of children, pp. 105-06. Most of the 32 half-tone Rhodesia. 1905. 916.8H17 plates show costume. Several half-tones of natives. Albania. See Balkan States Johnston, Sir Harry. Liberia. 2 v. 1906. 966J22 Algeria " Clothing," V. 2, pp 9.54-70. Several colored plates and numerous half-tones of natives. Ayer, Emma B. A Motor Flight through Algeria Kidd, Dudley. Essential Kafir. 1904. 916.8K46 and Tunisia. 1911. 916A97 19 half-tone plates of costumes. Illustrated from photographs Costumes of Arabs, of Arab women, and of dragomans described. — Savage Childhood: a story of Kafir children. 1906. 572K46 Berbrugger, M. Alg^rie; historique, pittoresque, et 32 half-tone plates of children. monumentale. 3 v. 1843. RF965B48 Lithographs and wood-cuts of natives and French soldiers. Landor, A. H. Savage-. Across Wildest Africa. See also v. 1, pp. 13-15 (Moorish women), and v. 3, pt. 5 2 V. 1907. 916.6L26 (Algerian races). " 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- 10 plates, from photographs. ventures on the upper Nile. 2d ed. 1907. Nesbitt,F.E. Algeria and Tunis. 1906. 916.5N45 916.7L79 70 colored illustrations. Dress of the Gangs, pp. 173-77. Over 30 illustrations of costume. Simpson, M. H. Hilton-. Algiers and Beyond. Mackintosh, C. W. Coillard of the Zambesi. 1907. 1906. 916.5S61 BC679M 9 half-tone plates of costume. About 25 half-tones of Zambesi natives. Wilkin, Anthony. Among the Berbers of Algeria, Neufeld, Charles. Prisoner of the Khaleefa. 1899. n.d. 916.5W68 916.2N48 25 half-tone plates of Soudanese Arab dress. See also Arab Costume and Africa BIBLIOGRAPHY Page One Hundred Forty-five

Arab Costume Demmin, Auguste. Illustrated History of Arms and Armor. 1877. (Bell's artists' library.) PuTv.:hardt, J. L. Dress of the Bedouins. (In his 399D38 on the Bedouins and Wahabys. 1831. Notes Nearly 2000 outline illustrations. V. 1. pp. 230-35.) 915.3B94N Druitt, H. Manual of Costume as Illustrated by Bury, G. Wyman. The Land of Uz. 1911. Monumental Brasses. 1900. 391D79 915.3B975 110 illustrations (half-tone) of English armor and dress of the 14th and loth centuries. Egerton, M. M., Countess of Wilton. Toilette in Palestine and Syria. (In her Book of Costume. Eccleston, James. Introduction to English Antiq- 1847. pp. 476-82.) Ref. 391W75 uities. 1847. 913E17 " " 3 wood-cuts. See Armor in Index. Outline cuts of armor to about 1660. Ferrario, Giulio. Costumes Barbaresques. (In his Ffoulkes, Chas. Armor and Weapons. 1909. Costume. 1815-29. Afrique. v. 1. [v. 5.] 399F43 pp. 354-417.) Ref. F391F37 52 figures and 11 plates. 6 colored copperplates of Arabs of Barbary States. — The Armorer and his Craft, from the 11th to the Ireland, J. B. From Wall Street to Cashmere. 16th Century. 1912. R399F43A 1859. 910165 69 diagrams and 32 plates. Colored frontispiece of Arab costume. — Inventory and Survey of the Armories of the Lane, E. W. Arabian Society in the Middle Ages. Tower of London. 2 v. 1916. R399L84 1883. 915.3L26 Gardner, J. S. Armor in England, from the Earliest Dress, pp. 116-18, 157. Times to the 17th Century. 1898. 399G22 Levati, Amhrogio. Arabes. (In Ferrario, G. Cos- 16 colored plates and more than 80 other illustrations. tume. 1817. Asie. v. 3. [v. 3.] pp. 173- — Foreign Armor in England. 1898. 759S84 261.) Ref. 391F37 8 colored plates and 44 illustrations in the text. 8 colored copperplates of Arab costume.

Neufeld, Charles. Prisoner of the Khaleefa. 1899. Gosse, P. H. Assyria. 1852. 913G678 " War," pp. 203-397. Cuts of Assyrian armor and mili- 916.2N48 tary dress. 25 half-tone plates of Soudanese Arab dress. Hewitt, John. Ancient Armor and Weapons in Riiete, Emily. Memoirs of an Arabian Princess; Europe, to the End of the 13th Century. 3 v. tr. by Lionel Strachey. 1907. BR921S Female fashions of Zanzibar, pp. 85-91. 6 half-tone 1855. 399H61 plates of Zanzibar Arabs. Illustrations from contemporary monuments.

Sladcn, Douglas. Carthage and Tunis 2 V. 1906. Hodgetts, J. F. The English in the Middle Ages, 916.1S63 from the Norman Usurpation to the Stuarts. Several plates of Bedouins. 1885. 914.2H68 See also Africa, Egypt, Turkish Empire " Armor,'' pp. 111-43.

Lacombe, P. Arms and Armor in Antiquity and the Armenia. See Turkish Empire Middle Ages, 1869. 399L14 — Same. 1870. Armor and Weapons Lacroix, Paul. Arms and Armor. (In his Arts in Brett, Edwin J. Pictorial and Descriptive Record the Middle Ages. n.d. pp. 75-105.) of the Origin Development of and and Arms Ref. 970L14 Armor. 1894. R399B84 Colored plale and wood-cuts.]

Calvert, A. F. Spanish Arms and Armor. 1907. MacJclin, H. W. Brasses of England. 1907. 399C16 739M15B 3S6 illustrations. Wood-cuts and descriptions of armor, 1277-1625. Davies, A. C. Fox-. Art of Heraldry; an Encyclo- Monumental Bras.ses. 1905. 739M15 paedia of Armory. 1904. Ref. 929.2D25A " Armor," 13th-17th centuries, Wood-cuts from rub- Plates (some colored) and cuts of armor. bings. Page One Hundred Forty-six BIBLIOGRAPHY

Michaud, J. F. History of the Crusades. 2 v. Spencer, W. B. Native Tribes of Central Australia. n.d. Ref. 940M62H 1899. 572S74N 100 plates by Gustave Dor6. " Clothing, weapons, implements, decorative art," pp. 567-655. Many half-tones and wood-cuts of native cos- Saxon, Mrs. A. L. Belt and Spur: stories of the tumes. 940S27 knights of the Middle Ages. 1883. — Northern Tribes of Central Australia. 1904. colored illustrations from contemporary MSS. 16 572S74 Scott, Sir J. S.D. British Army. 3 v. 1868-1880. " Clothing and ornament," pp. 683-95. Half-tones and cuts of 355S42 dress. " Body armor," v, 1, pp. 192-222. Many plates, with Thomas, N. W. Natives of Australia. 1906. notes. (Native races of the British Empire.) 572T45N Seymour, T. D. Homeric Arms. (In his Life in " Dress," 63-69. Half-tone pp. ; the Homeric Age. 1907. pp. 629-82.) 913S52 13 of arms and armor. cuts Austria-Hungary Stuyvesant, R. Collection of Arms and Armor of Rutherford Stuyvesant, 1643-1909. 1914. An Accurate and Impartial Narrative of the War,

R399S93 . . . Comprising the Campaigns of 1793, 1794, 50 plates. and 1795. 1796. 821A172 Has 2 colored plates of Hungarian foot-soldiers. Trumble, Alfred. Sword and Scimetar: the Ro- mance of the Crusades. 1886. 940T86 Alexander, William. Picturesque Representations The illustrations, by Dor6, show costumes of the Cru- of the Dress Manners of the Austrians. n.d. saders. More plates in Michaud, " History of the Cru- and sades." Ref. 391A37P Viollet-Le-Duc, E. E. Military Architecture. 1879. 50 colored engravings, with descriptive text.

623V79 Bertrand de Moleville, A. F. Costume of the Hered- Many wood-cuts of fortifications and weapons of the Roman and mediseval periods. itary States of the House of Austria. 1804. R391B55 also the entries under See General Works 50 colored engravings.

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.

Ferrario, Giulio, and others. Costumes des Assy- Colquhoun, A. R. Whirlpool of Europe; Austria- riens, des Babyloniens. (In his Costume. 1817. Hungary and the Hapsburgs. 1907. 943.6C72 Asie. V. 3 [v. 3]. pp. 351-81.) Ref. I391F37 About 40 half-tone plates of costume, especially peasant costume. Colored copperplate of Assyrian costume.

Gosse,P.H. Assyria. 1852. 913G678 Egerton, M. M., Countess of Wilton. Toilette in " Costume," pp. 437-87. 20 cuts. Military costume, Hungary. (In her Book of Costume. 1847. pp. 203-397. pp. 355-59.) Ref. 391W75 Layard, A. H. Nineveh and its Remains. 1852. 2 wood-cuts. 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. Gerard, E. The Land beyond the Forest: facts, 194-376.) 913M41 fancies 2 v. Cuts of costume from Assyrian antiquities. figures, and from Transylvania. 1888. 914.39G35 Australia See " Contents " of each volume. 6 photogravures and 15 wood-cuts of costume. Lumholtz, Carl. Among Cannibals in Australia, Grohman, W. A. Baillie. The Land in the Moun- and the Aborigines of Queensland. 1889. 919.4L95 tains: past and present of Tyrol. 1907. See " Costume " in index. Wood-cuts of aboriginal cos- 943.7G87 a few half-tone plates of costume. BIBLIOGRAPHY Page One Hundred Forty-seven

Hering, G. E. Sketches on the Danube, in Hungary Brailsford, II. 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. No text. De Windt, Harry. Through Savage Europe. 1907. Illustrirte Geschiehte der K. K. Oesterreichischen 914.97D52 Armee. 2 v. 1888. G355I29 About 30 illustrations of costume. 62 colored plates. Durham, M. E. Burden of the Balkans. 1905. Koppen, F. von. Austria-Hungary. (In his Armies 949.6D96 of Europe, illustrated. 1890. pp. 36-51.) 12 illustrations of costumes of Albania and Montenegro. 355K77 — Through the Lands of the Serb. 1904. 2 double colored plates (12 illustrations, including 1 of naval uniforms) and 4 text illustrations of Austrian uniforms. 914.97D96 Illustrations of costumes of Albania, Montenegro, Servia. Kuhn, Gen. von. Austro-Hungarian Army. (In Armies of To-day. 1893. pp. 260-310.) Evans, A. J. Through Bosnia and the Herzegovina 35oM57 on Foot. 2d ed. 1877. 914.39E92 13 cuts of uniforms. Numerous wood-cuts and scattered references on dress.

Mitton, G. E. Austria. 1914. 914.36M68 Fox, Frank. Bulgaria. 1915. 949.7F79 Colored plates. 25 colored pictures of costume.

IRossi, Francesco. Costume Ancien et Moderne des Eraser, J. F. Pictures from the Balkans. 1906. Hongrois. (In Ferrario, G. Costume. 1827. 914.96F84

Europe, v. 6 [v. 17].) Ref. 391F37 Colored frontispiece and 40 full-page illustrations from photographs. 6 colored copperplates of Hungarian costumes, from Attila to peasants of 1825. Plates 3 and 4 show military uniforms. Henderson, P. E. A British Officer in the Balkans, 1909. Serres, P. M. T. de. L'Autriche. 6 v. 1821. 914.36H49 F914.36S48 Herbert, W. von. By-paths in the Balkans. 1906. 48 engravings, representing more than 105 different 914.96H53 characters. " Costumes and customs," pp.1133-46. Shoberl, Frederic. World in Miniature. Austria. Hering, George. Sketches on the Danube, in Hun- 2 V. n.d. Ref. 914.36S55 gary and Transylvania. 1838. R914.39H53 32 colored engravings. Lithographic illustrations from drawings by the author. No text. Smith, F. B. Budapest; the city of the Magj^ars. 1903. 914.39S64 Holbach, M. M. Bosnia and Herzegovina. 1909. Colored plate and about 50 half-tone illustrations of 914.39H72 Hungarian costumes. Photographs of costume.

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 dresa, reproduced from photographs. Uniforms of the Six Great Powers of Europe. (In Jackson, F. H. The Shores of the Adriatic. The Standard Dictionary. Sup. 1903. p. 2187.) Austrian side: the Kiistenlande, Istria, and Ref. 423F98SU Dalmatia. 1908. 914.37J12 Section of colored plates, showing 14 Austrian uniforms. 32 half-tone plates, from photographs; many line-drawings. Consult Index under " costume." Waring, G. E. Tyrol and the Spirit of the Alps. 1880. 914.37W27 Koppen, F. von. Turkey and the States of the Bal- 13 wood-cuts of costume. kan Peninsula. (In his Armies of Europe, illustrated. 1890. pp. 73-78.) 355K77 Aztec Costume. See Indians of North America Colored plates of uniforms of Servia (5 figures) ; Bulgaria (4 figures); Roumania (10 figures, 82 text illustrations). States Balkan Moore, Frederick. The Balkan Trail. 1906. Ashoth, J. de. Official Tour through Bosnia and 9l"4.96M82 Herzegovina. 1890. 914.39A73 Observer in the Near East. 1907. 949.7014 16 wood-cuts. Occasional references to costume. About 30 plates of Balkan costumes. Page One Hundred Forty-eight BIBLIOGRAPHY

Shoberl, Frederic. World in Miniature: Illyria and Bridal Costume Dalmatia, and the adjacent countries. 2 v. Aria, Mrs. E. Of ceremonial and bridal dress. (In 1827. Ref. 914.37S55 her Costume. 1906. pp. 211-24.) 391 A69 32 colored engravings of Balkan costumes. Hutchinson, H. N. Marriage Customs in Many Singleton, Esther. Turkey and the Balkan States, Lands. 1897. 392H97 as described by great writers. 1908. 949.6S61 Cuts of bridal and other wedding costumes. 49 half-tone plates, Bulgarians, Servians, Croatians, Albanians, etc. Miln, Mrs. L. J. Wooings and Weddings. 1900. Stratilesco, Tereza. From Carpathian to Pindus: 392M65 pictures of Roumanian country life. 1906. Brittany. See France 949.8S89 " CsstuTios," pp. 112-17. Most of the 63 half-tone plates show costume. Brooklyn Wace,A.J.B. The Nomads of the Balkans. 1914. Vanderhilt, G. L. Dress of Flatbush. (In her 914.96W11 Chapter IV: " The Costumes of.Samarina." Social history of Flatbush. 1881. pp. 127-48.) 974.72V22 Wyon, Reginald. The Balkans from Within. 1904. 914.97W99 Bulgaria. See Balkan States See also Turkish Empire Burma. See India Bedoxhn Costume. See Arab Costume, Egypt, Turkish Empire Canada

Campbell, W. W. Canada. 1907. 917.1C19 Belgium Colored plates.

Anderson, Mrs. Larz. The Spell of Belgium. 1915. Hind, H. V. Explorations in the Interior of Lab- 914.93A54 rador. 2 V. 1863. 917.19H66 Colored plates. Chromo-lithographs and wood-cuts of traprcns and Boulger, D. C. Belgian Life in Town and Country. Indians. 1904. 914.93B76 — Narrative of the Canadian Red River Exploring 4 half-tones of costume. Expedition of 1857 and of the Assiniboine and Edwards, G. W. Some Old Flemish Towns. 1911. Saskatchewan Exploring Expedition of 1858. 914.93E26 2 V. 1860. 917.1H66 Colored illustrations, and others. Chromo-lithographs and wood-cuts of Canadian Indians and their costume, (v. 2). Holland, Clive. The Belgians at Home. 1911, 914.93H73 Caricatures and Caricaturists Colored illustrations, and others. Under this heading will bs found such works as arc related to the Koppen, F. von. Holland and Belgium. (In his general subject of Costume Armies of Europe. 1890. pp. 70-72.) 355K77 Arnoux, C. A. d' {Bertall, pseud). La Comcdie de Colored plate (9 figures) and 2 text illustrations of Belgian uniforms. Notre Temps. La civilite—les habitudes—les maeurs les coutumes les manieres et les Omond, G. W. Belgium. 1908. 949.3056B — — — man- Colored illustrations. ies de notre epoque. 2d ed. 2 vols. 1874. Ref. 741A76 — Bruges and W^est Flanders. Painted by Am^d^e Pencil and pen studies by Bertall. Forestier. 1906. 914.93056 13 colored plates of Flemish costume. Boyd, A. S. Glasgow Men and Women, Their Children, and Some Strangers within their Gates. Shoberl, Frederic. World in Miniature. The 1905. Ref. 741B78 Netherlands, n.d. Ref. 914.92S55 A selection from the sketches of Twym. 18 colored engravings of Dutch and Belgian costume. Brinton, S. The Eighteenth Century in English Bohemia. See Austria-Hungary Caricature. 1904. 741B85 16 illustrations bj' Bunbury, Hogarth, Gillray, and Bosnia. See Baijcan States Rowlandson. 2 colored prints. BIBLIOGRAPHY Page One Hundred Forty-nine

Carleton, 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. Gillray, James. Works of James Gillray, the Cari- Our Artist in Peru. 1866. 741C280 caturist, with the Story of his Life and Times. Leaves from the sketch-book of a traveller during the winter of 18lJo-(j. 50 drawings on wood. Edited by Thomas Wright, n.d. Ref. 741G48 Cary, 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 18i0. caricatures of his period.

Ckesson, W. H. George Cruikshank. n.d. Hammerton, J. A. Humorists of the Pencil. 1905. BC955C 741H22 55 illustrations from his drawings, in the order of their 80 illustrations by the leading humorous artists of the day. date of publication. Jerrold, Blanchard. Life of George Cruikshank, in Cruikshank, G. Bachelor's own Book; or, the two epochs. 2 vols. 1882. BC955J Progress of Mr. Lambkin (Gent.) in the pursuit Numerous illustrations.

of pleasure and amusement, and also in search of Kay, John. A Series of Original Portraits and 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 100 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 in all Times and Many Lands. 1877. 741P27 6S illustrations in color, illustrating Dickens' " Oliver 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. of originals. 1892. Ref. 741C97 Stephens, F. G. Memoir of George Cruikshank. Dore, P. G. Two Hundred Sketches, Humorous 1891. BC955S 44 illustrations from his drawings. Frontispiece and Grotesque. 1867. Ref. 741D69 portrait. 86 pages, containing caricatures, chiefly of the French Thackeray, W. M. On the Genius of George Cruik- and E[uglish. shank. Reprinted verbatim from " The West- Du Maurier, G. Pictures of English Society, from minster Review." 1884. BC955T

"Punch." 1884. 827D88P With upwards of 40 illustrations, including all the original wood-cuts. 41 illustrations of English society. Carthage. See Africa — Social Pictorial Satire : reminiscences and appre- ciations of English illustrators of the past gen- Central America eration. 1898. 741D88S Davis, R. H. Three Gringos in Venezuela and 23 illustrations. Central America. 1896. 918.7D26 Everitt, G. English Caricaturists and Graphic Hu- 3 plates of costume. morists of the 19th Century: how they illustrated Putnam, G. P. The Southland of North America. and interpreted their times. 1893. 741E93 1913. 917.28P99 Many wood-cuts. Illustrations from photographs.

Furniss, H. Confessions of a Caricaturist. 2 vols. Central Asia 1902. BF989 Hedin, S. A. Scientific Results of a Journey in Autobiography of Harry Furniss, with many illustrations from his sketches of English life. Central Asia, 1899-1902. 6 vols. 1904-07. — Harry Furniss at Home. Written and illustrated Ref, 508H45 Vol. VI, Part III, has many illustrations of racial types by himself. 1904. BF989H from western and central Asia. Page One Hundred Fifty BIBLIOGRAPHY

Ceylon Spielman, M. H. Kate Greenaway. 1905. BG798S 53 colored plates and many sketches in black and white; Campbell, James. Excursions, Adventures, and nearly all of children. Field-sports in Ceylon. 2 v. 1843. 91.5.4C188 Wright, H. M. Handbook of the Philippines. Dress, v. 1, pp 405-07. 8 colored plates of natives, and ' 7 other plates of costume. 1907. 919.1W94 Includes several half-tone plates of Filipino children. Cave, H. W. The Book of Ceylon. 1908. 915.4C37B Chile Illustrations from photographs.

its Schmidtmeyer, Peter. Travels into Chile, in the — Golden Tips : a description of Ceylon and great tea industry. 1900. 915.4C37G Years 1820 and 1821. 1824. Ref. 914S45 See "Costume" in Index. Several half-tone plates of 30 plates (11 colored) of Spanish and Indian costumes of costume. Chile. Corner, Caroline. Ceylon. 1908. 915.4C81 China

See also India Alexander, William. Picturesque Representations of the Dress and Manners of the Chinese, n.d. Children Ref. 391A37 50 colored engravings, with descriptive text. Auker, A., and others. Child-life in Pictures. 1876.

Ref. 7o9A61 Breton de la Martiniere, J. B. J. China: its cos- Heliotypes of paintings, from Corregio to late 18th tume, arts, manufactures, etc. 4 v. in 2. 1824. century. Ref. 915.1B84 in Holland. Boughton, G. H. Sketching Rambles About 80 colored engravings of costumes of China, Tar- 1885. 914.92B75 tary, and Thibet. Includes several wood-cuts of Dutch children. Browne, G. W. China. (In his New America and Bryson, Mrs. M. I. Child Life in China. 1900. the Far East. 1907. v. 4-5.) 910B882

8 illustrations of Chinese dress. 915.1B91 13 plates (3 colored) and numerous cuts of costume.

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. 31-62. Half-tone illustrations Several illustrations of costume. from photographs. Greenaway,Kate. (Various Elustrated Children's Carruthers, A. D. M. Unknown Mongolia. 2 v. Books.) 915.1C31 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 Lidia. 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. 915.1C543 Merrifield, Mrs. M. P. Dress as a Fine Art; with 50 half-tone illustrations.

suggestions on children's dress. 1854. 391M56 Doolittle, Justus. Social Life of the Chinese. 2 v.

Miln, Louise. Little Folk of Many Lands. 1899. 1865. 915.1D69 910M65 150 illustrations, wood-cuts, many showing costume. Numerous references in text. About 50 half-tone plates Egerton, Countess Wilton. Toilette in of children. M. M., of China. (In her Book of Costume. 1847. pp. Peary, R. E. Northward over the Great Ice. 2 v. 457-64.) Ref. 391W75 1898. 919.8P362 6 wood-cuts. Includes several illustrations of Eskimo children. Eyries, J. B. B. La Chine: ou Costumes, moeurs, Schwatka, Frederick. Children of the Cold. 1899. et usages des Chinois. (In his L'Angleterre. 919.8S41C .d.) Ref. F391E98 " How their clothes are made," pp. 171-74. Half-tone and wood-cut plates of Eskimo children. Illustrated by colored plates. BIBLIOGRAPHY Page One Hundred Fifty-one

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 200 photographs, with descriptive [v. 1.] pp. 37-366.) Ref. 391F37 letter-press. 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 CoREA. See Korea 7 plates (half-tones) of costume, pp. 91, 130-37.

Hawks, F. L. Narrative of the Expedition of an Corsica. See France American Squadron to the China Seas and Japan, Costume (In Poetry) 1852, 1853, and 1854, under Commodore M. C.

Perry, v. 1. 1856. Ref. 915.2U58 Fairholt, F. W. Satirical Songs and Poems on Cos- Lithographs and wood-cuts of Chinese and Japanese tume, from the 13th to the 19th Century. (Percy costume. Society. Early English poetry. 1840-52. v. Kemp, E.G. The Face of China. 1909. 915.1K32 27.) * 820.8P43 A few colored plates. Cuba Little, Mrs. Archibald. Round about My Peking Browne, G. W. Cuba. (In his America and Garden. 2d ed. 1905. 915.1L77R New " Official and rank distinctions," pp. 60-72. Several the Far East. v. 6. 1907.) 910B882 half-tones and one colored plate of costume. 3 plates and several cuts of costume.

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. pp. 9-256.) Ref. 917.29B91 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, Norv^ge, Danemark, Hol- sixty engravings [colored], with explanations in lande, et AUemagne. n.d. RF391B43 English and French. 1804. Ref. 391M39 No text. Contains colored plates. Butlin, F. M. Among the Danes. 1909. 914.8B98 Menpes, Mortimer. China. 1909. 915.1B63 Illustrations in color and in monotone. Colored illustrations in addition to 64 facsimile reproduc- Colored Costume Plates. A series of 19 fine and tions in black-and-white. characteristic illustrations of the costumes of Milne, Mrs. Leslie. The Shans at Home. 1910. Denmark. .?1810. R391C71 915.9M65 Each plate has a short description in Danish and German. Many photographs. Egerton, M. M., Countess of Wilton. Toilette in Norman, Henry. Peoples and Politics of the Far Denmark. (In her Book of Costume. 1847. East. 1895. 915N54 pp. 352-54.) Ref. 391W75 Half-tone cuts of Chinese dress. 2 wood-cuts.

— Same. 1904. European Delineator. Containing brief but interesting descriptions of Russia, Sweden, Denmark, Penfiekl, F. C. East of Suez. (Ceylon, India, R914E89D China, and Japan.) 1906. 915P39 Norway, etc. 1815. Several plates of Chinese costume. Koppen, F. von. Denmark. (In his Armies of Europe. 1890. pp. 59-60.) 355K77 Ralph, Julian. Alone in China. 1898. 915.1R16 Colored plate (8 figures) and 2 text illustrations of uni- Several of the illustrations show costume. forms.

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," 32-43. 2 colored plates of textiles and mar.y Clark, E. L. Daleth; or, The Homestead of the pp. wood-cuts of costume. Nations. 1864. 916.2C59 Reproductions (some colored) of ancient Egyptian art, — Manners and Customs of the Ancient Egyptians. 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 — Popular Account of the Ancient Egyptians. 2 v. 8 half-tone plates of modern Arab, Bedouin, and Egyptian 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. 26-247.) V. 1. pp. Ref. F391F37 Ashhee, 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. Ashdown, Mrs. C. H. British Costume during pp. 1-9. pi. 1-11.) Ref. 391H79 Outline illustrations of male and female costume. Nineteen Centuries (civil and ecclesiastical). 1910. 391A82 Kelly, R. T. Egypt. 1902. 916.2K29 450 engravings, 110 plates, and 9 colored reproductions. 7 plates of costume. Ashton, John. Dawn of the 19th Century in Eng- Lane, E. W. Account of the Manners and Customs land. 2 V. 1886. 942A82D2 of the Modern Egyptians. From the 3d ed. Men's dress, v. 2, chap. 30-31. Ladies' dress, v. 2, chap. 3 V. in 1. 1846. 916.2L26Ac 31. Numerous caricatures from contemporary engravings. Personal characteristics and dress, pp. 49-80. Female v. 1890. ornaments, pp. 211-28. Many wood-cuts. — Social England under the Regency. 2 914.2A82S2 Same. 5th ed. 2 1871. 916.2L26A2 Numerous outline cuts and 7 plates of costume, 1811-20. Personal characteristics, v. 1, pp. 31-64. Female ornaments, V. 2, pp. 312-24. Same cuts as earlier edition. — Same. 1899.

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.

Barfield, T. C. Longmans' Historical Illustrations Mayer, Luigi. Views in Egypt. 1801. —England in the Middle Ages. 1909-10. R916.2M46 48 colored plates. R723B24 72 plates, with explanatory text, showing examples of architecture and costume from the 11th to the loth century. Pdrie, W. M. F. Arts and Crafts of Ancient Egypt. 1909. 709P49 Barnard, F. P. Costume, Military and Civil. (In Photographs of jewellery, personages, etc. his Companion to English History. Middle Ages. 1902. pp. 90-115.) Ref. 942B25 Salmon, P. R. The Wonderland of Egypt. 1915. Wood-cuts. Bibliography. 916.2S17 Benham, William. Tower of London. 1906. Thackeray, Lance. The People of Egypt. 1910. 942B46 916.2T36 3 half-tone and 3 colored plates of costume before 16th 32 colored plates; also 37 illustrations in black-and-white. century. BIBLIOGRAPHY Page One Hundred Fifty-three

Besant, Sir Walter. London in the 18th Century. Couts, Joseph. Practical Guide for the Tailor's 1903. * 942.1B55 Cutting-room. 1848. 687C87 " Dress," chap. 4, pp. 250-62. Half-tones, from contemporary, sources, of costumes. The Cries of London, as they are Daily Exhibited in the Streets. 1804. — London in the Time of the Stuarts. 1903. Ref. 821C92 Embellished engravings, * with 48 elegant characteristic 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.lBo5Lo 12 plates (5 colored) and 1 text illustration of early English " Dress, Weddings," pp. 303-15; " soldiers," pp. 316-22; costume. " prentice," p. 329. Numerous half-tones, mostly from contemporary sources. Davenport, Cyril. English Regalia. 1897. 391D247 — Mediaeval Ixjndon. 2 v. 1906. * 942.1B55M Colored plates. Half-tones from contemporary sources. Davey, Richard. Pageant of London. 2 v. 1906. Boullon, 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 EngHsh Cari- Century in Contemporary Art. 1907. 759D25 1904. cature. 741B85 4 illustrations in color and 33 in monochrome. 2 color-prints, 13 half-tones, of illustrations by Bunbury, Rowlandson, Gillray. Hogarth, 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 ecclesiastical costumes, from Anglo-Saxon times to the late loth century. Day, T. A. Illustrations of Mediaeval Costume in England. 1853. R391D27 Calthorp, D. C. English Costume Painted and Colored plates. Described. 4 v. 1906. 391C16

V. 1, Early English; v. 2, Middle Ages; v. 3, Tudor and Doran, J. London in Jacobite Times. 2 v. n.d. Stuart; v. 4, Georgian. Civil costume only. 72 colored plates and numerous wood-cuts. 942.1D69 Plates of dress of the period. Carter, John. Specimens of the Ancient Sculpture and Painting in this Kingdom, from the Earliest Druitt, H. Manual of Costume, as Illustrated by Period to Henry VIII. 2 v. 1786. Monumental Brasses. 1906. 391 D79 110 half-tone illustrations of English armor and dress Ref. 709C32 of 14th and 15th centuries. Many of the 120 engraved plates show costume. Dryden, Alice. The Art of Hunting; or. Three — Same. Reprinted. 1887. Hunting MSS. 799D799 Clark, J. C. The Characters of Charles Dickens, Co.stume, pp. 89-101, covers period from 13th to 17th centuries. few wood-cuts. Portrayed in a series of Original Water Color A

Sketches. .?1898. ' * 823Co9 Dugdale, Sir William. Antiquities of Warwickshire. 21 plates. 1656. Ref. 913D86 Clinch, G. English Costume from Prehistoric Times Some of the illustrations show dress. to the End of the 18th Century, n.d. 391C64 Du Maurier, George. English Society. 1897. Cook, C. C. Costumes of the Time of the French Ref. 741D88E Revolution, 1790-1793; together with English 89 plates, with an introduction by W. D. Howells. costumes, 1795-1806. Drawn from the collection — English Society at Home. 1880. Ref. 741D88 of Victorien Sardou. 1889. 391G95 63 of Du Maurier's contributions to Punch, engraved by 65 etchings, executed by Guillaumot fils, colored by hand. Joseph Swain, and printed on India paper. 40 of French, 25 of English costume. Eccleston, James. Introduction to English Antiqui- Costumes of the University of Cambridge, n.d. R378C84 ties. 1847. 913E17 " " " " 24 colored illustrations, on one plate, showing the costumes See Costume and Armor in index. Outline cuts worn in the dififerent colleges of the University. of English costume to about 1660. Page One Hundred Fifty-four BIBLIOGRAPHY

Egan, Pierce. Tom & Jerry: Life in London; or. Hardie, Martin. John Pettie, R.A„ F.R.S.A The day and night scenes of Jerry Hawthorn and 1908. BP511H Corinthian Tom. [Reprint, n.d.] 8^27E28T 50 illustrations in color, many of use for Scottish and English costume. Colored plates, by I. R. and G. Cruikshank, of early 19th century costumes. Harris, M. D. Life in an Old English Town. 1898. Egerton, M. M., Countess of Wilton. Toilette in 942.4H31 2 plates of dress. England. (In her Book of Costume. 1844. pp. 39-175.) Ref. 391W75 Haweis, M. E. Chaucer for Children. 1900. Numerous wood-cuts. J821C496H Wood-cuts of early English costumes. Eyriks, J. B. B. L'Angleterre, ou Costumes, Hill, Georgiana. History of English Moeurs, et Usages des Anglais, n.d. Dress, from Ref. F391E98 the Saxon Period to the Present Day. 2 v. Illustrated by colored plates. 1893. 391H64 13 engravings, with descriptive notes. Fairholt, F. W. Costume in England; a history of

dress, from the earliest period till the close of the Hodgetts, J. F. The English in the Middle Ages, 18th century. 1846. 391F17C from the Norman Usurpation to the Days of the About 600 wood-cuts. Stuarts. 1885. 914.2H68 Armor, pp. 111-43; civil dress, pp. 147-75. — Same. 3d ed., enl. 2 v. 1885. (Bohn's artists' library.) 391F17 Holbein, Hans, the Younger. Portraits of Illustrious V. 1. History; v. 2, Glossary. About 700 wood-cuts. Personages of the Court of Henry VIII. 1828. Bibliography by H. A. Dillon. Ref. 769H72 — SaTTie. 4th ed. 2 1896. Contemporary costume.

Gardner, J. S. Armor in England, to the 17th Cen- Holt, E. S. Ye Olden Time; English customs in tury. 1898. 399G22 the Middle Ages. 1884. 914.2H75 16 colored plates and more than 80 other illustrations. Clothing, pp. 72-98. Frontispiece, costumes of Henry IV.

Gihh, 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. .?1913. 391H89 Godfrey, Elizabeth. Home Life under the Stuarts. Colored plates. 1603-1649. 1903. 390G58 Jerrold, Douglas, and others. Heads of the People; " Dress and fashion," chap. 17. Illustrations showing 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.

Gronoio, R. H. Reminiscences and Recollections of Jewitt, Llewellynn. Half-hours among Some English Capt. Gronow, 1810-60. 2 v. 1889. Antiquities. 1877. 913J59 * 920G876R Among arms and armor, pp. 102-13; among personal ornaments, pp. 203-33. Outline illustrations. 2.5 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 lafe in the French Revolution, 1790-1793. Together with Middle Ages. 2d ed. 1889. 914.2J96 Engli.sh 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 See analytic contents to each vol. Many wood-cuts of Haines, Herbert. Manual of Monumental 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. 942H17SO — 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. History. 1903. 942M78L " " Legg, L. G. W. English Coronation Records. 1901. See Dress in Index. 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. Lennox, Lord W. P. Fashion Then and Now. 2 v. Nevill, Ralph. Old Sporting Prints. 1908. (Con- 3901.56 1878. noisseur, Extra Number.) 760N52O Many scattered notes on 18th and 19th century dress. 52 plates, 36 in color, showing English costume at the end of the 18th and the beginning of the 19th centuries. Levati, Ambrogio. Costume des Habitans des lies Britanniques. (In Ferrario, G. Costume. 1827. New Bon Ton Magazine; or. Telescope of the times. V. 1-6. Apr., 1821. Europe, v. 6 [v. 17].) Ref. 391F37 May, 1818— 052N53 Colored caricatures of costume of period. 20 of the 31 colcn-ed copperplates show costume from pre- 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. 8220988 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 MacJclin, 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, 1277-1C23. 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. Maclise, Daniel. The Story of the Norman Con- Perkins, Mrs. L. F. Robin Hood: his deeds and quest. 1866, Ref. 741M16 adventures. 1906. 821.04P44 42 illustrations engraved on wood under Professor Griiner, from drawings by Maclise. " Coronation of Harold," and IlaS 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, 1G90-1807. Picturesque Representations of the Dress and Manners — Anecdotes of the Manners and Customs of of the English, illus. in 50 colored engravings, with from the Invasion to the London Roman Year descriptions. 1814. R391P61E 1700. 3 V. 1811. * 914.21M24A Planche, J. R. History of British Costume, from " Dress," v. 2, pp. 279-341. 12 hand-colored engravings 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- * Meyrich, 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. Letters on London and Paris fashions. Colored steel plates of women's dress. Thornely, J. L. The Monumental Brasses of Lan- cashire and Cheshire. 1893. Russell, W. 11. Memorial of the Marriage of H. R. 739T51 Engravings from drawings. H. Albert Edward, Prince of Wales, and H. R. H. Alexandra, Princess of Denmark. 1864. Traill, H. D. Social England. 6 v. 1894-97. Ref. 394R96 942T76S Includes several chromo-lithographs of court costumes. See " Costume " and " Dress " in Index of each vol.

Schild, Marie. Old English Costumes: an epitome Same. Illustrated ed. 1901-04. 942T76 19th of ladies' costumes, from the 1st to the cen- Many colored illustrations. tury, n.d. 391S330 Trowbridge, R. H. Beauties of 40 steel plates and 4 colored engravings, many of histori- W. Court Old White- cal characters. hall; historiettes of the Restoration. 1906. — Old EngHsh 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, Leivis. 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 tion of 1884. 1884. Ref. 394W77 Time of Elizabeth to the Early Part of the 19th 24 colored illustrations, lithographs, of the period 1066- Century. 2 v. 1845. 914.2M55 1820. "Costumes," v. S94-434; v. 363-455. 15 1, pp. 2, pp. Eccentric Excursions; or, steel engravings. Woodward, G. M. Literary and pictorial sketches in England and Strutt, Joseph. Complete View of the Dress and South Wales. 1796. Ref. 827W89 Habits of the People of England, from the Estab- About 100 colored caricatures of contemporary dress. lishment of the Saxons to the Present Time. 2 V. 1842. Ref. 391S92 Wright, Thomas. The Celt, the Roman, and the Illustrated by engravings and colored plates. Saxon. 1852. 913W95C — Regal and Ecclesiastical Antiquities of England. Dress of Romans in Britain, pp. 326-33. 3 cuts of ornaments. 1843. Ref. 913.42S927 72 copperplate portraits, from Edward the Confessor to — Homes of Other Days. 1871. 914.2W953 Henry VIII. Many small wood-cuts, from contemporary sources, of costume from Anglo-Saxon times to 16th century. — Sports and Pastimes of the People of England. New ed., by Wm. Hone. 1850. 790S92 140 wood-cuts, representing popular diversions. England, Military Costume

Suffling, E. R. English Church Brasses, from the Archibald, J. F. J. Blue Shirt and Khaki. 1901. 13th to the 17th Century. 1910. 739S94 355A67 237 illustrations, reproduced from rubbings. Contains Many half-tones of English and American soldiers. chapters on " Costume of Ladies," " Civilian Costume of Gentlemen," and " Ecclesiastical Vestments." Besant, Sir Walter. Soldiers. (In his London in Sydney, W. C. England and the English in the the Time of the Tudors. 1904. pp. 316-22.) 18th Century. 2 v. 1891. 942S98E Ref. 942.1B55LO " Dress and Costume," v. 1, pp. 89-130. Several illustrations. BIBLIOGRAPHY Page One Hundred Fifty-seven

The British Army. By a lieutenant-colonel in the Thornely, J. L. Monumental Bras,ses of Lanca- British Army. With an introduction by Major- shire and Cheshire. 1893. 739T51 General F. Maurice. 1900. 355B86 Outline illustrations, from rubbings, of costumes of 145S- 1650. 27 full-page plates (13 colors) and 30 illustrations in text. Uniforms of the Armies of the Six Great Powers of Europe. (In dictionary. Sup. 1903. Costumes of the British Army. 1885. R355C84 Standard Colored plates. No text. p. 2187.) Ref. 423F98Su Section of colored plate, showing 18 English uniforms. Ellis, A. B. History of the 1st West India Regi- Wolseley, Viscount Garnet. Standing Army of Great ment. 1885. 355E47 Britain. (In Armies of To-day. 1893. 2 colored plates of Negro uniforms. pp. 57-96.) 355M57 Highlanders, Groves, J. P. History of the 42d Royal 8 cuts of British uniforms. " The Black Watch." 1729-1893. 1893. Zogbaum, R. F. Great Britain; a Home of Tommy Ref. 355G88H Atkins. (In his Horse, Foot, and Dragoons. Pp. 1-3, 14. 4 colored plates of uniforms, 1729-1893. 1888. pp. 49-74.) 355Z85 Koppen, F. von. Army of the British Empire. (In 10 wood-cuts, plates, and text illustrations of uniforms. his Armies of Europe, illustrated. 1890. pp. England. See also Caricatures and Caricaturists 1-19.) 355K77 Descriptions in text. 3 double colored plates (23 illustrations, including 2 naval) and G text illustrations of Eskimo Costume uniforms of the period. Carstensen, A. R. Two Summers in Greenland. Luard, John. History of the Dress of the British 1890. 919.8C32 Soldier, from the Earliest Period to the Present Photogravures and cuts of Eskimo dress. Time. 1852. 355L92 50 outline plates. Gilder, W. H. Schwatka's Search: sledging in the Arctic in quest of the Franklin records. 1881. Milne, James. Gordon Highlanders. 1898. 919.8G40 355M65 " 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 of 917.1H23 Perry, 0. L. Rank and Badges in Her Majesty's Canada. 1904. a few colored plates. Army and Navy. 2d ed. 1888. 355P46 Badges and uniforms of military and naval organizations. Hutton, S. K. Among the Eskimos of Labrador. 1912. 917.19H98 Robinson, C. N. Navy and Army Illustrated. Illustrations from photographs. 1895-96. 2 V. 355N32 Ice. Illustrations of British uniforms, including native troops. Mikkelsen, E. Conquering the Arctic 1909. 919.8M63 — Some Notes on the Costume of the Sailors of the Nansen, F. First Crossing of Greenland. 2 v. Past. (In Swinburne, H. L. Royal Navy. 1890. 919.8Nl8Fi2 1907. p. 338.) 359S97 Many wood-cuts. Consult Index. 10 colored plates of seamen's dress, from 600 a.d. to Nordenskiold, A. E. Voyage of the Vega round Europe. 1882. 919.8N83V Scott, Sir J. S. D. British Army. V. 1868. Asia and R355S42 Consult Index. Wood-cuts. " " " Body armor," v. 1, pp. 192-222; clothing of troops," Peary, R. E. Northward over the Great Ice." V. 2, pp. 431-45. Many plates with descriptive notes. 2 V. 1898. 919.8P362 Smith, J. H. Historic Booke, to Keep in Remem- Many half-tone cuts of Eskimos. brance the Meeting of the Honorable Artillery Schivatka, Frederick. Children of the Cold. 1899. Company of London and the Ancient and Honor- 919.98S41C and wood-cut plates of costume. able Artillery Company of the Massachusetts. Half-tone 1903. Ref. 358S65 Stefansson, V. My Life with the Eskimo. 1913. Colored plates of Royal Artillery uniforms, 1660-1900, 918.8S81 and numerous plates and text illustrations of 17th-19th century costume. Illustrations from photographs. —

Page One Hundred Fifty-eight BIBLIOGRAPHY

Etruscan Costume Spielman, M. 11. Kate Greenaway. 1905. Ref. BG798S Desvergers, M. J. A. N. L'Etrurie et les Etrusques. 5.3 colored plates and many cuts of Kate Greenaway 3 V. 1862-64. Ref. F913D47 costumes. Two-color plates of objets-d'art, showing costumes. Weldon. Weldon's Practical Fancy Dress for Chil- Magnetti, Carlo. Costume des Etrusques. (In dren. 1887. 391W34 Ferrario, G. Costume. 1820. Europe, v. 2. 49 illustrations with descriptive text. pp. 7-219.) Ref. 391F37 Many of the 42 colored copperplates show dress. Fans

See also Rome Flory, M. A. Book about Fans: the history of fans and fan-painting. 1895. 391F64 Fancy Dress 29 wood-cuts and half-tones. E. Aria, Mrs. Of Fancy Dress. (In her Costume, Grolier Club {New York). The Fan in All Ages: 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. Butterick Pub. Co. Masquerade and Carnival. Mowrey, Gabriel. Modern Design in Jewellery and 1892. R391B98 Fans. 1902. 745M93 Compte-Calix, F. C. Fourteen Colored Lithographs Rhead, G. W. History of the Fan. 1910. of Fancy Dress for Ladies. .?1844. R391C73 R391R46H One design for a man's costume is given. — Modern Practical Design. 1912. 740R46M — Travestissements ^l^gants. .'1864. *391C73T Includes a chapter on " Fans and Lace." 15 colored plates. Salwey,C.M. Fans of Japan. 1894. Ref. 391S18 Fancy Dress: a short chronological series of cos- 10 colored plates and 39 illustrations in black-and-white. tumes, n.d. 391F19 Uzanne,L.O. The Fan. 1884. Ref. 391U99F Five Water Color Draioings of Fancy Dress for Waern, Cecilia. Short Historical Sketch of Fans. Ladies (crinoline pattern) about 1850. R391F56 The drawings are heightened with gold and silver, 1895. 391W12 " and stamped Mme. E. D6vy." 8 half-tones of fans. Brief bibliography.

Holt, Ardern. Fancy Dresses Described; or. What to wear at fancy balls. 3d ed., enl. 1882. Fiji Islands

391H75FD BuHon, J. W. Fiji of To-day. 1910. 919.6B97 Outline illustrations, restricted to the costume of ladies Many photographs. and children. 16 models in color, as well as a new series of smaller illustrations. Flemish Costume. See Belgium — -Same. 5th ed. 1887. R39lH75Fa — Same. 6th ed. n.d. Foot-wear — Gentleman's Fancy Dress; how to choose it. 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 Hall, J. S. Book of the Feet: a history of boots and Several colored and half-tone plates of costumes for tableaux, etc. shoes. 3ded. 1847. 391H17 4 colored plates (42 figures), and many wood-cuts of foot- Morin, A. E. Twenty-one Colored Lithographs of wear. Fancy Dress for Ladies. .?1850. R391M85 Lacroix, Paul, and others. Histoire des Cordon- " The Sketch." London, Jan. 2, 1907. niers. Pr^cedee de I'histoire de la chaussure. Pp. 6-7. Carmen Pompadour flower girl — — Directoire 1852. Ref. Soubretteof the Second Empire— Astartc— Mireille— Delilah —Louis XVI period—M^lisande—Empire court dress. Many cuts of boots and shoes of all periods and countrVs, BIBLIOGRAPHY Page One Hundred Fifty-nine

Menard, Rene. Le Chaussure. (In his La vie Cook, C. C. Costumes of the Time of the French Priv6e 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 6.5 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 Drumont, Edouard. Les Fetes Nationales a Paris. for the Feet. (In his Chats on Costume. 1906. 1889. RF944D79 279-301.) 391 pp. B46 French costumes fiom 1389, illustrated in plates. Text Historical and descrir-t've. Wood-cuts and half-tone illustrations of national ffites. illustrations. Duplessis, G. Costumes Historique''. des XVI^, France XVir et XVIir Siecles. 2 v. 1867.

Allinson, Alfred. The Days of the Directoire. Ref. F391D93 Full-page colored illustrations. 1909. 944A43 Chapter XI. Costume from 1795-99. Edwards, G. W. Brittany and the Bretons. 1910. 914.4E263 Arnault, A. V. Vie Politique et Militaire de Colored plates. Napoleon. 2 v. 1822-26. Ref. FBN216Ar Egerton, M. M., Countess of Wilton. Toilette in Lithographed plates, after original designs of the first painters of the French school. France. (In her Book of Costume. 1847. Bourgeois, Emile. France under Louis XIV. Tr. pp. 192-270.) Ref. 391W75 by Mrs. Cashel Hoey. 1897. Ref. 944B77 Numerous cuts of head-dress and costume. Many of the copperplates show costume. Garcia, G. Les Modes du Directoire et du Consulat. Boutet, H. Les Modes Feminines du Dix-neuvieme n.d. RF391G21 Siecle. 1902. RF391B77 Gostling, F. M. The Bretons at Home. 1909. 100 colored plates. No text. 914.4G68 Boutet de Monvel, Roger. Beau Brummell and His Colored plates and photographs. Times. With a chapter on dress and the dandies, Gronoiv, G. W. Reminiscences and Recollections of by Mary Craven. 1908. BB893Bo Capt. Gronow, 1810-60. 2 v. 1889. * 920G876R Bridgens, Richard. Sketches Illustrative of the References to and illustrations of French and English Manners and Customs of France, Switzerland, and dress of period. Hand-colored, etched, and aquatint plates. Italy. 1821. R391B851 Guillaumot, A. E. Costumes du XVIII'' Siecle, Colored plates, with descriptive text. d'apres les Dessins de Watteau fils, Desrais, Bruyn, A. de. Costumes Civils et Militaires du Leclerc, Cochin, etc. Ref. F391G95 XVr Siecle. 1872. Ref. F391B91 60 etchings. 33 photolithographic plates. — Costumes of the Time of the French Revolution, A. History of Fa.shion in Challamel, J. B. M. 1790-1793. 1889. R391G95 Gallo- France; or. The dress of women, from the Plates colored by hand. Roman period to the present time. Tr. by Iloyt, Eleanor. (Mrs. Brainerd.) In Vanity Fair; a Mrs. Cashel Hoey and John Lillie. 1882. tale of frocks and femininity. 1906. 914.4H86 Ref. 391C43 20 colored plates (80 figures). Janin, J. G. and others. Pictures of the French. * 914.4J33 Chase, Mrs. Lewis. Vagabond Voyage through 1840. from Gavarni, Monnier, and Meissonier, Brittany. 1915. 914.4C48 230 engravings, of French costume of 1840. Clouet, Janet. 300 French Portraits of the Courts Koppen, F. von. France. (In his Armies of Europe. of Francis I, Henry II, and Francis II. 2 v. Illustrated. 1890. pp. 46-53.) 355K77 1875. Ref. 741C64 2 double colored plates (13 illustrations, includiT^g 3 Frencn uniforms. Auto-lithographed from the originals at Castle Howard. naval) and 6 text illustraujua of Page One Hundred Sixty BIBLIOGRAPHY

Lacroix, Paul. Dress and Fashions. (In his Repository of Arts, Literature, Fashions, etc. By

Eighteenth Century. 1876. pp. 452-89.) R. Ackerniann. Ser. 1, v. 3-6, 9-14; Ser. 2, * 914.4L14 V. 1-14; Ser. 3, v. 1-12. Jan., 1810—Dec., 1828. 10 colored plates, and many illustrations, of dress of the 052R42 period. Monthly letters on Paris '" female fashions." Colored Lawrence, H. W. French Line Engravings of the steel plates. I^te 18th Century. 1910. R769L42 Robida, A. "Yester-year": ten centuries of toi- Pp. 89-102. Le monument de costume. lette. 1891. 391R65 Lechevallier-Chevignard, G. Costumes Historiqiies 29 colored plates and numerous wood-cuts of French female costume from the Middle Ages to about 1880. de Femmes du Quatorzieme au Dix-huitieme Same. [In French.] 1891. F391R65 Sieele. 1889. RF391L45 Contains colored plates. Roger-Miles, L. Le Costume et la Mode. n.d. Lewis, George. A Series of Groups, Illustrating the R391R72 Relates to the styles of the 8th- 19th Physiognomy, Manners, and Character of the centuries. People of France and Germany. 1823. 767L67 Sloane, W. M. Life of Napoleon. 4 v. 1896.

60 etched plates. RBN216SL

Mennechet, E. Le Plutarque Frangais; Vies des Smith, J. H. Troubadours at Home. 2 v. 1899. Hommes et Femmes Illustres de la France. 8 v. 849S65 1835-41. RF920M54 See " Costume " in Index. A few cuts of costume. Contains colored plates. Index at end of Vol. 8. Uzanne, L. 0. Fashion in Paris: feminine taste and Menpes, Dorothy. Brittany. Illustrated by Morti- aesthetics, from 1797 to 1897. 1898. Ref. 391U99 100 hand-colored plates and 250 text illustrations of both 1905. 914.4M54 mer Menpes. male and female dress. About 50 of the 75 colored plates show Breton costume.

— Frenchwomen of the Century : fashions, manners, Milioun, Francis. Rambles in Brittany. Illus- usages. 1897. Ref. 394U99 1906. trated by Blanche McManus. Contains colored plates. 914.4M66RB Viollet-Le-Duc, E. E. Dictionnaire RaLsonne du " Manners and customs," pp. 70-87. Many of the half- tone plates and wood-cuts show costume. Mobilier FranQais de I'Epoque Carlovingienne a la Renaissance. 6 v. 1858-72. Ref. F703V79 Mnsgrave, George. Nooks and Corners of Old Dress, personal jewels, toilet articles, v. 3 and 4. Many France. 2 v. 1867. 914.4M987N wood-cuts and a few colored plates.

" Touraine caps," v. 1, pp. 225.

Pauquet Freres. Modes et Costumes Historiques. France, Military Costume ?1865. Ref. 391P33 Lewal. French Army. (In Armies of To-day. 93 colored plates of French costume, 493 a. d. to 1S64. 1893. pp. 161-215.) 355M57 Piton, Camille. Le Costume Civil en France du 16 cuts of French and French Colonial uniforms of the period. Treizieme au Dix-neuvieme Sieele. n.d. Richard, Jules. L'Armee Fran^aise. 2 v. 1885- F391P68 89. RFS55M22 700 photographic illustrations. A few colored plates. Colored plates and other illustrations. Planta, Edward. New Pictures of Paris. 5 v. La Jeune Armee. n.d. RF355M22J 1827. * 914.4P71 Vol. 1 contains 29 colored illustrations of the costumes of Uniforms of the Armies of the Six Great Powers of the lower orders in Paris. Europe. (In Standard dictionary. Sup. 1903. Price, J. M. Dame Fashion. Paris—London, pp. 2187.) Ref. 423F98Su 1786-1912. * 391P94 Section of colored plate, showing 16 modern French uniforms. Includes 155 colored Zoghaum. R. F. France: war pictures in time of Quicherat, J. Histoire du Costume en France, peace. (In his Horse, Foot, and Dragoons. jusqu'^ la fin du XVIIF Sieele. 1875. 1888. pp. 1-47.) 355Z85 Ref. F391Q62 15 wood-cuts, plates, and text illustrations of modern 481 wood-cuts of both male and female costume. French uniforms. BIBLIOGRAPHY Page One Hundred Sixty-one

France. See also Caricatures and Caricaturists Germany, Military Costume

Dally, A. Uniforms de I'Armee Allemande en 1886. Germany Illustrated by M. Roy. n.d. [Cahiers d'en- Avenarius, Tony. Historischer Festzug veranstaltet seignement. No. 13-16.]

bei der Feier der Vollendung des Kolner Domes (3 Unbound Pamphlets) am 16. October, 1880. n.d. Ref. 750A95 16 colored full-page illustrations, with a few cuts of Ger- man uniforms of 1886. 29 large lithographed plates of German costumes, 1248- 1880. Illustrated London News. April 26, 1913. Bossi, Luigi. Costume Ancien et Moderne des Contains colored plates.

Germains. (In Ferrario, G. Costume. 1824. Exner. German Army of To-day. (In Armies of Europe, v. 4. [v. 15.] pp. 173-816.) To-day. 1893. pp. 97-160.) 355M57 Ref. 391F37 " Equipment and clothing," pp. 147-49. 14 cuts of Over 40 colored copperplates of ancient and modern Ger- modern uniform. man costumes of all classes. Guinot, Eugene. Summer at Baden-Baden. 1876. Egerton, M. M., Countess of Wilton. Toilette in 914.3G96 Germany. (In her Book of Costume. 1847. 3 colored plates of uniforms of Baden. 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.

— Same. 4th ed. 1888. (v. 10. p. 469.) Hottenroth, F. Trachten, Haus-, Feld-, und Kriegs- gerathschaften der Volker alter und neuer Zeit. Sigel, G. A. Deutschlands Heer und Flotte in Wort 2 vols. n.d. G391H83 und Bild. 1900. RG355S57 120 plates and numerous wood-cuts. Colored plates. Text in English and German.

Johnson, A. C. Peasant Life in Germany. 1858. Uniforms of the Armies of the Si.c Great Powers of 914.3J66 Europe. (In Standard dictionary. Sup., 1903. " " See Costumes in Index. p. 2187.) Ref. 423F98Su Section of colored plates, showing 19 modern German Kohler, K. Die Entwickelung der Tracht in uniforms. Deutschland wahrend des Mittelalters und der Zogbaum, R. F. Germany: a night with the Fourth Neuzeit. 1877. G391K77 Corps. (In his Horse, Foot, and Dragoons. 100 plates. 1888. pp. 75-99.) 355Z85 Kretschmer, Albert. Costumes Nationaux Alle- 10 plates and cuts of German uniforms. mands; dessins originaux, avec texte explicatif. 1870. RG391K92 Gipsy Costume Numerous colored plates. Boner, Charles. Transylvania; its products and its Laugel, A. Costumes et Coutumes d'Alsace. 1902. people. 1865. 914.39B71 RF914.3L37 Elate of gipsy group, with brief scattered references in text. Colored plates. Cuttriss, Frank. Romany Life. 1915. 397C99 Lewis, George. A Series of Groups, Illustrating Gerard, E. The Land beyond the Forest: facts, . . . the people of France and Germany. 1823. fancies from Transylvania. 2 v. 767L67 figures, and 60 etched plates. 1888. 914.39G35 2 photogravures and 5 wood-cuts of gipsy costume. Schwind, Moritzvon. Schwind; des Meisters Werke McCormick, Andrew. The Tinkler-Gypsies. 1907. in 1265 Abbildungen. 1907. G759W41 397M13 Many portraits in 19th century German costume, and a number of cuts of historic German dress. Photo.graphic reproductions. Page One Hundred Sixty-two BIBLIOGRAPHY

Morwood, V. S. Our Gipsies in City, Tent, and Dupre, L. Voyage a Athenes et a Constantinople. Van. 1885. 397M89 1825. RF391D94 Colored plates of modern Greek costume. Descriptive Pennell, E. R. To Gipsyland; illustrated by J. text in French. Pennell. 1893. 914.39P41 Egerton, M. M., Countess of Wilton. Toilette in Frequent reference to gipsy dress. Many black-and- white illustrations of gipsy costume. Greece. (In her Book of Costume. 1847. pp. 388-407.) Ref. Smith, F. B. Budapest: the city of the Magyars. 391W75 10 wood-cuts, mostly of modern costume. 1903. 914.39S64 Illustrations include 17 half-tones of Hungarian gipsies. Evans, Lady M. M. Chapters on Greek Dres 1893. Yoxall, J. H. A Word on Gypsy Costume. (In 391E9 74 cuts of classic dress. Bibliography. Journal of the Gypsy Lore Society. New ser.,

V. 1, July, 1907, pp. 23-25.) Ferriman, Z. D. Home Life in Hellas. 1910. Including 1 illustration and bibliographical notes. 914.95F39

Furtwdngler, Adolf. Masterpieces of Greek Sculp- Gloves ture. Ref. 733F99 Beck, S. W. Gloves; their annals and associations. 19 photogravures and 200 wood-cuts show classic dress. Many text references to costume. 1883. 391B39 Many wood-cuts. Gironi, R. Costume Ancien et Moderne de la Redfem, W. B. Royal and Historic Gloves and Grece. (In Ferrario, G. Costume. 1815-29. Shoes, Illustrated and Described. 1904. Europe. V. 1. pt. 1-2.) Ref. F391F37 Ref. 391R31 153 colored copperplates include ancient, Byzantine, and modern Greek costumes. 46 plates (4 colored) of gloves, chiefly English and Scotch. Guhl, E. Life of the Greeks and Romans, Described Uzanne, L. 0. The Sunshade—the Glove—the from Antique Monuments. 1875. 913G94 Muff. 1883. Ref. 391U99S " Dress," pp. 159-84. 20 outline cuts. Historic and descriptive. Numerous photogravures.

Gulick, C. B. Life of the Ancient Greeks. 1903. Greece 913G97 " Abrahams, Ethel B. Greek Dress. 1908. 391 A15 Clothing," pp. 153-78. " The Warrior," pp. 188-205. Many half-tones and cuts of dress. 54 half-tone illustrations. Harrison, J. E. Greek vase painting. 1894. Becker, W. A. Charikles; or. Illustrations of the Ref. 738H31 private life of the ancient Greeks. 1845. Black-and-white illustrations, introducing 913B39CH classic dress. Dress, 159-71, 304-25; Shoes, .326-31; Hair and pp. pp. Hope, Thomas. Grecian costume. (In his Costume beard, pp. 332-38. 1 plate and 9 wood-cuts of dress. ot the Ancients. 1841. v. 1. pp. 16-38; v. 2, — Same. 5th ed. 1880. pp. 37-230.) Ref. 391H79 Notes somewhat fuller than in earlier edition. See Outline illustrations. " Dress " in index.

Blumner, H. Home Life of the Ancient Greeks. Laurent, P. E. Recollections of a Classical Tour Tr. by A. Zimmern. 1893. 913B65 through Greece, Turkey, and Italy, in 1818 and " Costume," pp. 1-77. See also " Costume " in Index. 1819. 2v. 1822. Ref. 914L38 Many wood-cuts. Brief bibliography. 4 hand-colored plates, showing Greek ladies, Greek sailors, etc. Choisseul-Gouffler, M. G. A. F., comte de. Voyage Pittoresque de la Grece. 2 v. in 3. 1782-1822. Menard, Rene. Costumes de la Grece. (In his Ref. F914.95C54 Vie Privee des Anciens. 1881. pp. 271- Many of the 325 copperplates show ancient and modern 87.) F913M53 Greek dress. Descriptive text. 22 outline illustrations. Davis, R. H. Modern Greece. (In his Rulers of St. John, J. A. History of the Manners and Cus- the Mediterranean. 1894. pp. 178-97.) toms of Ancient Greece. 3 v. 1842. 913S14 910D26R " Toilette, dress, 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. GerouM, 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

La Farge, John. Reminiscences of the South Seas. Timayenis, T. T. Greece in the Times of Homer. 1912. 1885. 913T58 919.6L15 " Dress and ornaments," pp. 226-40. Musick,J.R. Hawaii : our new possessions. 1898.

Tucker, T. G. Life in Ancient Athens; the social 919.6M98 2 plates of native costume. and public life of a classical Athenian. 1906. 913T89 Olivares, Jose de. Our Islands and their People. Dress, pp. 108-20, 167-74. Several cuts of costume. 2 V. 1899. Ref. 917.29B91

Hawaii, v. 2, pp. 417-538. Many plates (some colored), Uniforms of Greece. (In Koppen F. von. Armies and other illustrations of Hawaiian costume. of Europe, illustrated. 1890.) 355K77 Stevens, J. L. Picturesque Hawaii. 1894. Section of colored plate, showing 5 modern Greek uniforms. * 919.6S844

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. FrancJc, 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 Haik. See Head-dress half-tones.

Hats. See Head-dress Description de Tons les Genres de Turbans et Coiffures Modernes d'Egypte, Syrie, Turquie, etc. (In Hawaii Magasin Pittoresque. 1841. pp. 4-6.) F054M18 Anderson, Mrs. Larz. The Spell of the Hawaiian 16 wood-cuts of modern turbans. Islands. 1916. 919A54 Dulaure, J. A. Pogonologia; or, A philosophical Baldwin, C. W. The Geography of the Hawaiian and historical essay on beards. 1786. Islands. 1908. 919.6B18 Ref. 391D87 No illustrations. Boyce, W. D. United States Colonies and De- pendencies Illustrated. 1914. 325B78 Fairholt, F. W. Description of Head-dresses. (In Merrifield, Mrs. M. P. Dress as a Fine Art. Browne, G. W. Hawaii. (In his New America and 1854. pp. 1-9, 53-60.) Ref. 391M56 the Far East. v. 1. 1907.) 910B882 3 plates (43 figures) of styles of head-dress. " Dress," pp. 30-31. 9 colored plates, including one of children, and many cuts of dress. — Head-dress. (In his Costume in England. 1846. Bryan, W. A. Natural History of Hawaii. 1915. (pp. 524-47.) 391F17C 996B91 Illustrated by wood-cuts.

Castle,W.R.,J Hawaii: past and present. 1913. — Same. 1885. (v. 2. p. 217-53.) 919.6C35 — Same. 1896. (v. 2. p. 217-53.) Page One Hundred Sixty-four BIBLIOGRAPHY

Genin, J. N. Illustrated history of the hat, from Hindoostan. See India the earliest ages to the present time. 1848. Holland. See Netherlands 391G33

Jones, William. Crowns and Coronations; a history Hungary. See Austria-Hungary of regalia. 1883. 394J79

Chaps. 1, 2, and 11. Cuts of crowns and coronets. India

Lichtcnfeld, J. Principles of Physiognomical Hair- Asiatic Costumes. 44 engravings, with a description dressing, n.d. 646L69 to each subject. 1828. 391A83 21 illustrations, wood-cuts. Engraved from drawings taken during a residence in India. Moler, A. B. Manual on Barbering, Hairdressing, Birt, F. B. Bradley-. Chota Nagpore; a little- Manicuring, etc. 1905. 391M71 known province of the Empire. 1903. yi5.4B61 Musgravc, George. Nooks and Corners in Old About 20 half-tone plates of costume. France. 2 v. 1867. 914.4M987N Conway, M. D. My Pilgrimage to the Wise Men " Touraine caps," v. 1, p. 225. of the East. 1906. 910C76 Ortner, Jessica. Practical Millinery. 1892, 7 half-tone plates of Indian costume, mostly religious. 646077 Crooke, William. Natives of Northern India. 1907. Illustrated. (Native races of the British Empire.) 572C94 Pauquet freres. Modes et Costumes Historiques. Frequent text references to costume. 32 plates of cos- .?1865. Ref. 391P33 tume. The 96 colored plates are valuable for French head-dress, Things Indian. 1906. 915.4C94 493-1864. Dress, pp. 155-67; jewelry, pp. 287-91. Praga, Mrs. Alfred. What to Wear and 'Wlien to Curtis, Lillian J. Laos of North Siam. 1903. Wear it. 1903. 391P89 Half-tones of head-dress and female costumes. 915.9C97 Dress, pp. 108-1 1^, etc. Half-tone illustrations, showing Quigley, Dorothy. WTiat Dress Makes of us. 1897. costume.

391Q6 Curtis, W. E. Burma. (In his Egypt, Burma, and Includes illustrated discussion of hairdressing and head- dress. British Malaysia. 1905. pp. 251-348.) 910C98 Repton, J. A. Observations on the Various Fashions 6 half-tone plates of Burmese costume. of Hats, Bonnets, or Coverings for the Head, Del Mar, Walter. Romantic East, Burma, Assam, Chiefly from the Reign of Henry VHI to the and Kashmir. 1906. 915.9D33 18th Century. (In Archteologia. v. 24. 1832. Costume of Burma, pp. 8-9. Several half-tone plates of pp. 169-89.) Ref. costume. 8 steel plates, with many outline figures of hats, etc. Ferrario, Giulio. LTnde, Appelee Indostan, et Rhead, G. W. Hats, Caps, and Bonnets. (In his rindo-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, Grindlay, 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- graphical monograph, published under the orders Winter, F. Die Kamme aller Zeiten. ?1906. Ref. G391W78 of the Government of Eastern Bengal and Assam.) 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. H. 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 monograph, published under the orders of the India and the War. 1915. 355139 Government of Has colored plates of military costume. Eastern Bengal and Assam.) 572S77 Jacob, S.S. Jeypore Enamels. 1886. Ref. 748J15 4 colored and 4 monochrome Illustrations of this tribe of Colored frontispiece of Jeypore enamellers.

Steel, F. A. Kelly, R. T. Burma, Painted and Described. 1905. India. Illustrated by Mortimer 915.9K29 Menpes. 1905. 915.4S813 Several of the colored plates show costume. Thompson, P. A. Lotus Land: account of the Koenigsmarck, Count Hans von. A German Staff country and the people of southern Siam. 1907. Officer in India. 1910. 915.4K78 915.9T47 Gives a few illustrations (not colored) of men in high See " Dress " in Index. 7 plates, including 2 of children, rank. of Siamese costume.

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. Siam. With 12 full-page illus- colored plates show costumes of all parts of India. trations in color by E. A. Norbury. 1908. Murray, A. H. H. High-road of Empire; water- (Peeps at many lands series.) 915.9Y71P " Food and dress," 52-56. color and pen-and-ink sketches in India. 1905. pp. 915.4M981 Yusef-Ali, Abdullah. Life and Labor of the People Wood-cuts and colored plates, many showing dross. of India. 1907. 915.4A136 271. Dress traditions, 312-15. Norman, Henry. Peoples and Politics of the Far Bridal dress, p. pp. Colored frontispiece and 4 other plates of costume. East. 1895. 915N54 plates of of and Indo-China. Half-tone dress Siam Indians of North America — Same. 1904. Berlin. Royal Museum. North-west Coast of Penfield, F. C. East of Suez (Ceylon, India, China, America: ethnological researches of the Royal and Japan). 1906. 915P39 Museums at Berlin, n.d. Ref. Text references. A number of the plates show Indian The lithographic plates include head-dress and masks. costume. Photogravures of Chilkat blanket. Penny, F. E. Southern India. 1914. 915.4P416 Biart, Lucien. The Aztecs: their history, manners, Contains colored plates. and cu.stoms. 1887. 972B57 Seesodia, T. S. J. The Rajputs. 1915. 954S45 Clothing, pp. 292-94.

Shoberl, Frederic. World in Miniature. Hindoo- Bourke, J. G. Snake-dance of the Moquis of stan. 6 V. 1827. Ref. 915.4S559 Arizona. 1884. 970.3B77 Illustrated by 103 colored engravings. See " Costume " in Index. 10 colored plates of Moqui and Navajo costume. — World in Miniature. Thibet and India beyond Catlin, George. 0-kee-pa : a religious ceremony and the Ganges. 1827. Ref. 915.18559 other customs of the Mandans. 1867. 12 colored plates of costume. Ref. 970.6C36 Singh, S. N. India's Fighters. 1914. 355S61 Ceremonial dress, pp. 16-22. Seven of the colored plates Photographs showing soldiers' costumes. show costume. Page One Hundred Sixty-six BIBLIOGRAPHY

Catlin, George. Notes of 8 years' travel. With his Humfreville, J. L. Twenty Years among our Savage North American Indian collection. 2 v. 1848. Indians. 1897. 970.1H92 970.6C36N See " Dress " in Index. 10 chromo-lithographs and numerous half-tone cuts of Indian costume. Many outline engravings from the author's original paintings of Indians. M'Kenney, T. L. History of the Indian Tribes )f — Illustrations of the Manners, Customs, and North America. 3 v. 1838-44. Condition of the North American Indians. Ref. 970.1M155H ed. 2 v. 1857. Ref. 970.1C36I 9th 120 colored portraits from the Indian Gallery in the Many notes on costume. 360 engravings from paintings Department of War at Washington. by autlior. Mason, 0. T. Aboriginal American Basketry. (In Curtis, Natalie. Indians' Book. 1907. 970.1C97 U. S. National Museum Report. 1902. Text does not treat costume. 22 plates from photographs pp. of Indians and several colored plates, showing Indian pictures 171-548.—U. S. Doc. Serial 4549.) Ref. of apparel. 248 plates, including 29 of Indian women. Dellenbaugh, F. S. North-Americans of Yesterday. Indian Basketry. 2 v. 1904. Ref. 689M41 1901. 970.1D35 The same work as the preceding. " Weaving and costume," pp. 123-60. Many illustrations of Indian costume and ornament. Schoolcraft, H. R. Information Respecting the Dodge, R.I. Our Wild Indian. 1882. 970.1D64 History, Condition, and Prospects of the Indian " Clothing, finery, and personal adornment," pp. 297-310. 6 colored plates and a number of wood-cuts of costume. Tribes of the United States. 5 v. 1853-56. Ref. 970.1U58S Ferrario, Giulio. L'Amerique. (In his Costume. Costume, v. 3, pp. 65-6G; v. 4, pp. 58-59. 10 monotone 1815-29. Am^rique. v. 1.) Ref. F391F37 lithographs of costume. Many colored copperplates of North American Indians. — Same. v. 1-3. 1851-53. Harvey, Fred. First Families of the Southwest. Several of the plates of costume in this edition are colored. 1913. 970.6H34 Starr, Frederick. of Contains colored illustrations of costume of various Indians Southern Mexico. tribes of Pueblo Indians. 1899. Ref. 970.1S79I Hind, H. Y. Explorations in the Interior of the Photogravure plates, preceded by descriptions, mostly showing costume. Labrador Peninsula, the Country of the Monta-

gnais and Nasquapee Indians. 2 v. 1863. Tout, C. Hill. British North America, v. 1. The 917.19H66 Far West. 1907. 572T73 Chromo-lithographs and wood-cuts of trappers and Dress and personal adornment, pp. 63-88. Most of the Indians. 33 half-tone plates show Salish and D6n6 costume.

— Narrative of the Canadian Red River Exploring Tozzer, A. M. Comparative Study of the Mayas 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. Archaeol. 2 v. 1860. 917.1H66 1902-05.) 970.3T75 Lithographs and wood-cuts of Canadian Indians and Costume, 29-32. apparel (v. 2). pp.

Hodge, F. W. Handbook of American Indians U. S. Census Office. 11th Census. Report on Indians Taxed not Taxed in the United North of Mexico, 1907. pt. 1, A-M. (U. S. and Burea-a of Ethnology, Bulletin 30.) States (except Alaska), 1890. 1894. Ref. Statistical, historical, and ethnographic monographs by Ref. 970.1U58 Rrinton, Donaldson, Lord, and others. Many colored and "Adornment," by Alice C. Fletcher, pp. 16-20; "Cloth- half-tone plates of costumes of all types of Indians. ing," by Walter Hough, 3. 310-12. 22 cuts and bibliog- raphies. Same. (In U. S. Documents. Serial 3016.) Hooge, Romeyn de. Costumes; a series of 43 copper Ref. engravings of the peoples and castes of different nations, n.d. Ref. 391H77 Indians of South America Several plates of North American Indians. Ferrario, Giulio. L'Amerique Meridionale. (In Howard, 0. 0. My Life and Experiences among his Costume. 1815-29. Amerique. v. 2.) our Hostile Indians. 1907. BH851H Ref. F391F37 13 colored plates, showing dress and weapons. Many colored copperplates of South American Indians. BIBLIOGRAPHY Page One Hundred Sixty-seven

Schmidimeyer, Peter. Travels into Chile, over the Italy Andes, in the Years 1820 and 1821. 1824. Allom, Thomas. Character and Costume of Turkey Ref. 918.3S35 and Italy, with Descriptive Letter-press by Emma 30 plates, including 11 in color. 4 show Araucanos. Reeve, n.d. Ref. 914.96A44 United States Astronomical Expedition to the Southern 12 lithographic plates of Italian costume of about 1840. Hemisfhere, 1849-52. 1856. (U. S. 33d Con- Bridgens, Richard. Sketches Illustrative of the 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. 67-6S), with colored plate of chief. Plates, with descriptive text. Buonaiuti, B. S. Italian Scenery, Representing Wright, Mrs. M. R. Primitive Inhabitants of the Manners, Customs, and Amusements of Italy. BoHvia. (In her Bolivia. 1907. pp. 439-50.) Ref. 984W95 1823. R914.5B94 32 colored plates. 16 half-tones of modern Indian costume. Carmichael, Montgomery. In Tuscany. 1901. Ireland 914.5C28 11 small half-tones of costume.

Birmingham, G. A. (J. O. Hannay.) Irishmen Egerton, M. M., Countess of Wilton. Costume in All. 1913. Italy, Sicily, and Malta. (In her Book of Cos- 12 illustrations in color. tume. 1847. pp. 315-34.) Ref. 391W75 11 wood-cuts. — The Lighter Side of Irish Life. 1912. 914.15H24 16 illustrations in color. Ferrario, Giulio. Costume des Italiens. (In his

Costume. 1815-29. Europe, v. 3, pt. 1-2.) Bonwick, James. Our Nationalities. 1. Who are the Irish.' 1880. 572B72 Ref. F391F37 history of Italian 141 Brief historical notes of Celtic dress and ornament, pp. General sketch of the costume. 69-76. colored plates, mostly showing costume. Plates 79 and 80 show uniforms of about 1820.

Egerton, M. M., Countess of Wilton. Toilette in Gifford, Mrs. A. H. Italy, Her People, and Their Ireland. (In her Book of Costume. 1847. pp. Story. 1905. 945G458 186-89.) Ref. 391W75 Illustrated from portraits and famous paintings. 3 small wood-cuts. Goiran, G. Italian Army. (In Armies of To-day. Harvey, William. Irish Life and Humor. With 1893. pp. 311-58.) 355M27 illustrations by ErskineNicol. 1904. 914.15H34 12 cuts of uniforms. Gordon, Lina Duff. Home Life in Italy. Letters Joyce, P. W. Social History of Ancient Ireland. from the Apennines. 1908. 914.5G66 2 V. 1903. 941.5J89S 28 half-tone illustrations, chiefly of peasant life. " Dress and personal adornment," v. 2, pp. 176-263. and 21 illustrations of apparel, mostly from ancient MSS. Koppen, F. von. Italy. (In his Armies of Europe, sculpture. Illustrated. 1890. pp. 42-45.) 355K77 Meyrick, S. R. Costume of the Original Inhabitants Double colored plates, (7 figures, including 1 of naval uniform) and 2 text illustrations of uniforms of the period. of the British Islands. 1821. Ref. 391M61 Including 6 colored plates of ancient Irish costume. Molmenti, P. G. Venice, from the Earliest Begin- of the Republic. Tr. by H. F. 0' Curry, Eugene. On the Manners and Customs of nings to the Fall 1906-08. 945M72 the Ancient Irish. Ed. by W. K. Sullivan. 3 v. Brown. 6 v. " Costume," v. 2, pp. 1-22; v. 4, pp. 81-253; v. 5, pp- 1873. 913021 204-29. A few colored and many half-tone plates of 14th- Dress and ornament, v. 1, by Sullivan; v. 3, pp. 87-211, 18th century dress. Historical summary. Perl, Henry. Venezia. From the German, by Mrs. Sh-oberl, F. World in Miniature. England, Scot- Arthur Bell. 1894. Ref. 914.5P45 v, land, and Ireland. Edited by W. H. Pyne. 4 Many full-page and text wood-cuts of Venetian costume. 1827. Ref. 914.2S559 Pinelli, Bartolomeo. Nuevo Raccolta di Cinquanta 2 colored plates, in v. 4, of Irish costume. Costumi. 1816. RI391P65 See also England 50 copperplates of Italian costume. Page One Hundred Sixty-eight BIBLIOGRAPHY

Pinelli, Bartolomeo. Twenty-seven Etchings Illus- Griffis, W. E. Th(- Mikado's Empire. 1876. trative of Italian Manners and Costume. 18t4. 952G85M R767P65T Includes many references to and cute of costume. — Same. 1883. Sketch-book by an American in Venice. 1860. — Same. 1899. 391S62 — Same. 9th ed. 1900. 22 plates, colored by hand. No text. — Same. 10th ed. 1903. Souvenir de St. Lazare, Venice, n.d. Ref. 271S72 — Same. 11th ed. 1906. 14 colored plates.

Steiler, Karl, and others. Italy, from the Alps to Hawks, F. L. Narrative of the Expedition of an Mount Etna. n.d. Ref. 914.5S85I American Squadron to the China Seas and Japan, Includes a number of wood-cuts of modern Italian 1852, 1853, and 1854, under Com. M. C. Perry. costume. V. 1. 1856. (U. S. 33d Cong. 2d sess' House Strutt, A. J. Illustrations of a Pedestrian Tour in exec. doc. v. 12. Serial No. 802.) Ref. 915.2U58 Calabria and Sicily, n.d. Ref. 914.5S92 Many wood-cuts and lithographed plates of Japanese costume. Book of etchings. Holland, Clive. Things Seen in Japan. 1907. Tuker, M. A. R. Rome, painted by A. Pisa. 1905. 915.2H73 Ref. 914.5T91 50 half-tone illustrations. Peasant costumes, in color.

Knox, G. W. Imperial Japan; the country and its Uniforms of the Armies of the Six Great Powers of people. 1905. 952K74 Europe. (In Standard dictionary. Sup. 1903. Numerous illustrative plates of Japanese women. p. 2187.) Ref. 423F98Su Levati, Ambrogio. lies du Japon. (In Ferrario, Vaughan, H. Naples Riviera, n.d. M. The G. Costume. 1815. Asie. v. 1. pp. 383- 914.5V36 453.) Ref. 391F37 A few of the 2.5 illustrations in color, by Maurice Greiffen- 6 colored copperplates of Japanese costume. hagen, show costume, painted in 1904.

National Geographic Magazine. Vol. 22. Zimmern, Helen. Italy of the Italians. 1906.

914.5Z76 Ponting, H. G. In Lotus-land Japan. 1907. A few half-tones of modern Italian costume. 915.2P81 Numerous colored plates and photographs.

Japan Salwey,C.M. Fans of Japan. 1894. Ref. 391S18 10 colored plates and 39 other illustrations. 1886. Anderson, William.. Pictorial Arts of Japan. Shoherl,F. Japan. 1827. R915.2S559 Ref. 709A5O 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 Customs. 1867. Ref. 915.2S58 Arnold, Sir Edwin. Japonica. 1891. 915.2A75J 27 chromo-lithograph fac-similes of native drawings. Black-and-white illustrations of Japanese dress. Wilson, H. W. Japan's Fight for Freedom: the Breton de la Martiniere, J. B. J. Le Japon. 4 v. war between Russia and Japan. 2 v. 1904-05. F915.2B84 1818. Ref. 951W74 Contains 51 engravings.

Browne, G. W. Japan. (In his New America and the Far East. 1907. v. 2-3.) 910B882 Jewelry

Customs and costumes, v. 2, pp. 355-62. 18 plates (12 colored) and many cuts of costume. Luihmer, F. Ornamental Jewellery of the Renais- — Japan: the place and the people. 1904. sance in Relation to Costume. 1882. 915.2B882 R739L970 Same text and plates as preceding work. Colored plates. No text. .

BIBLIOGRAPHY Page One Hundred Sixty-nine

Jewish Costume Macedonia. Baijcan States

Abrahams, Israel. Jewish Life in the Middle Ages. Malaysia 1897. 296A15 " Costume in law fashion," " and pp. 273-90; The Jewish Hurgronje, C. S. The Achanese. Tr. by W. S. badge," pp. 291-306. O'SuUivan. 2 v. 1906. 919.2H96 De Qnincey, Thomas. Toilette of the Lady. Hebrew Dress, v. 1, pp. 25-30. See also "Apparel" in Index. Numerous wood-cuts and half-tones, (In his Collected Writings. 1890. v. 6, showing male and pp. female costume. 152-78.) 828D42 Shoberl, Frederic. World in Miniature. Asia- No illustrations. The tic Islands and New Holland. 2 v. n.d. Levati, Ambrogio. Juifs. (In Ferrario, G. Costume. 26 colored illustrations. ReF. 919S559 1817. Asie. V. 3. pp. 70-172.) Ref. 391F37 Skeat, W. W. Pagan Races of the Malay Peninsula. 3 colored copperplates of ancient Jewish costume. 2 V. 1906. 572S62 NowacJc, William, and others. Costume. (In Jew- I See " Dress " in Index. Many half-tones of natives. ish Encyclopedia. 1901-06. v. 4. pp. 292- Maori Costume. Zealand 303.) Ref. 933S61 New Series of articles on Biblical to present-day Jewish dress, with bibliographical notes. Double-page colored plates Marriage Costume. See Bridal Costume (30 figures) and 17 wood-cuts. Medleval Costume Pierotti, Ermete. Customs and Traditions of Palestine, Illustrating the Manners of the Ancient Boutet de Monvel, M. Joan of Arc. Illustrated in

Hebrews. 1864. 915.6P61 . color. 1897. JBD214Bo Costume, pp. 130-53. Cutts, E. L. Scenes and Characters of the Middle

Stapfer, Edmond. Palestine in the Time of Christ. Ages. 1885. Ref. 940C99 Costume of the merchant class, pp.51 8-28. Many wood- 1885. 933S79 cuts. " Clothing," pp. 190-201. Davies, A. C. Fox-. Art of Heraldry: an encyclo- See also Turkish Empire paedia of armory. 1904. Ref. 929.2D25A Heraldic costume, pp. 12-32. Plates (5 colored) and Korea wood-cuts, showing heraldic costume and armor. Gautier, Leon. Chivalry. Translated by Henry Bishop, Mrs. I. B. Korea and Her Neighbors. Firth. 1891. 394G27 1898. 915.1B62K Numerous wood-cuts. See " Costumes " in Index. 5 half-tone plates of costumes. Lacroix, Paul. Arts in the Middle Ages. n.d. Ref. 709L14 Griffis, W. E. Corea; the hermit nation. 1882. 10 colored plates and many wood-cuts of costume. 915.1G85CE " Costume," pp. 81, 273-76. 2 wood-cuts. — Costumes. (In his Manners, 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 costumf Hulbert,H.n. Passing of Corea. 1906. 951H91P — Military and Religious Life in the Middle Ages. " Many half-tone plates of costume. n.d. Ref. 940L14Mi Lowell, P. Choson: the land of the morning calm. Colored plates and wood-cuts of dress and armor. 1888. 915.1L91 — Science and Literature in the Middle Ages. 1878. " Costume," 316-31. Wood-cuts. pp. Ref. 940L14 Norman, Henri/. Peoples and Politics of the Far Most of the wood-cuts and colored plates show costume. East. 1895. 915N54 Loemyer, J. F. N. Costume de Moyen Age. 1847. Several half-tones of Korean costume. 2 V. RF391L82 — Same. 1905. Contains colored plates. Cos- See also China; Japan Lonsdale, H. W. Illustrations of Mediaeval tume. 1874. Ref. 391L86 Lapland. See Norway; Russian Empire 50 plates. Page One Hundred Seventy BIBLIOGRAPHY

Michaud, J. F. History of the Crusades. 2 v. Sierra, J. Mexico: its social evolution. Trans- n.d. Ref. 940M62H lated from the Spanish by G. Sentinon. 3 v. 100 plates by Gustave Dor^. 1900-04. Ref. 972S57 half-tones, some of which show costume and History of the Middle Ages. 1902. Many army Munro, D. C. uniforms. 940M96 Starr, Frederick. of Southern Mexico. Many of the half-tones and cuts show dress. Indians 1899. Ref. 970.1S79I Shaw, Henry. Dresses and Decorations of the Photogravures, preceded by descriptive text. Middle Ages. 2 v. 1858. Ref. 391S53 From Anglo-Saxon times to end of 16th century. Special See also Indians of North America attention to English costume. Many colored plates and wood-cuts. Montenegro. See Balkan States Spalart, Robert von. Versuch iiber das Kostum der Volker des Mittelalters. 5 v. vorziiglichsten Morocco and atlas. 1800-11. RG391S73V Contains colored plates. Bensusan and Forrest. Morocco. 1904. 916.4B47 Illustrations. Colored piates. Trumble, Alfred. Sword and Scimetar : the romance of the Crusades. 1886. Ref. 940T86 Nepal. See Tibet Plates by Gustave Dor^, showing costume and armor of the Crusaders. A fuller collection of plates by Dore in Michaud's Crusades. Netherlands Viollet-Le-Duc, E. E. Military Architecture. 1879. 623V79 Boughton, G. H. Sketching Rambles in Holland. Many wood-cuts of fortifications and weapons of the 1885. 914.92B75 Roman and medieval periods. Illustrations (wood-cuts), by Boughton and E. A. Abbey. More than 50 of costume. Weiss, Hermann. Kostiimkunde; Geschichte der Tracht und des Geraths im Mittelalter. 2d ed. Edwards, G. W. Holland of To-day. 1909. 1883. G391W42 914.92E26 Contains colored full-page illustrations. 8 colored plates and 367 wood-cuts. List of sources. Egerton, M. M., Countess of Wilton. Toilette in See also under the various countries Holland. (In her Book of Costume. 1847. pp. 311-14.) Ref. 391W75 Mexico 3 wood-cuts. Ferrario, Giulio. La HoUande ou Batavie. (In Carson, W. E. Mexico. 1909. 917.2C32 his Costume. 1815-29. Europe, v. 6. pp. 23- Contains illustrations showing costume. 172.) Ref. 391F37 Decaen, J. Mexico y sus Alrededores. Coleccion Colored plates (14 figures) of 17th century Dutch dress. de monumentos, trajes paisajes. 1864. [Span- y Higinbotham, J. W. Three Weeks in Holland and ish and French text.] Ref. S917.2D29 Belgium. 1908. 914.92H63 47 lithographs by Mexican artists; of value for costume. Jungmann, Nico. Holland. 1904. 914.92J95 Ferrario, Giulio. Mexique. (In his Costume. Many references to costume, Most of the 75 colored plates show dress. 1815-29. Am^rique. v. 1. pp. 501-625.) Ref. 391F37 Koppen, F. von. Holland and Belgium. (In his Colored copperplates of Indian and Spanish costumes, from Armies of Europe, Illustrated. 1890. pp. 69- Aztec times to 1820. 70.) 355K77 Garcia Cubas, A. Republic of Mexico in 1876. Colored plates (11 figures, including 4 naval) and 2 text 1876. Ref. 917.2G21 illustrations of uniforms. 8 colored plates of Spanish and native types. Maaskamp, E. Afbeeldingen van de Kleedingen, Janvier, Thomas. Mexican Army. (In Armies of Zeden, en Gewoonten in Holland. 1803-05. To-day. 1893. pp. 359-96.) 355M27 Du39lMll 14 cuts of Mexican uniforms of the period. 21 colored plates, with text in Dutch and French.

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. 18 colored engravings, including Belgium. 919.6B82 Illustrations, from photographs, including G of costume.

New Zealand Elkington, E. W. Savage South Seas: 1907. 919.3E43S Reeves, W. P. New Zealand. Painted by F. and Most of the 68 colored plates show native costumes. W. Wright. Described by W. P. Reeves. 1908. 993R33NW Ferrario, Giulio. Ocean ique. (In his Costume. 75 illustrations in color. 1815-29. Asie. v. 4. pp. 285-585.)

Wakefield, Edward. New Zealand after Fifty Ref. 391F37 Many colored copperplates of costume. Years. 1889. 919.3W14 3 half-tone plates of Maoris. Grimshaw, Beatrice. From Fiji to the Cannibal Islands. 1907. 919G86 Normandy. See France Many half-tones, plates, and insets of costume. Norway Shoberl, Frederic. World in Miniature. South Sea Islands. 2 v. n.d. Ref. 919S72 Bossi, Luigi. Costume des Norvegiens. (In Fer- Illustrated by colored engravings.

rario, G. Costume, 1815-29. Europe, v. 6. Orders pp. 260-91.) Ref. 391F37 Lawrence-Archer, J. H. The Orders of Chivalry, DuChaillu, P. B. Viking Age. 2 v. 1889. 948D82V English and Foreign. 1887. R929.7L42 Colored illustrations of the'deeorations and insignia of the Dress of men, v.- 2, pp. 285-300; dress of women, v. 2, orders of Great Britain and Europe. pp. 301-31. 128 wood-cuts of dress and ornament.

Egerton, M. M., Countess of Wilton. Toilette in Palestine. See Turkish Empire Norway. (In her Book of Costume. 1847. Peasant Costume pp. 346-48.) Ref. 391W75 2 wood-cuts. Aria, Mrs. E. Of British Peasants. Of some for- Eyne, C. J. C. W. Through Arctic Lapland. 1898. eign pea.sauts. (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. Jungmann. 1905. 914.8J95 Colquhoun, A. R. Whirlpool of Europe; Austria- Scattered references to costume. About 30 colored plates the Hapsburgs. 1907. show costume. Hungary and 943.6C72 About 40 half-tones of costume. Peasant costumes have Koppen, F. von. Sweden and Norway. (In his been given preference. 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 — Peasant Art in Italy. 1913. 709H74Ps Monroe, W. S. In Viking Land : Norway, its peoples, its fjords, and its fjelds. 1908. 948M75 — Peasant Art in Russia. 1912. 709H74Pr Consult Index under " Dress." Of the 48 half-tone plates, Illustrations of peasant costume, in monotone. 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 Norwav. 1879. 914.8P90 3 colored plates of Russian peasants. Frequent references to, and several illustrations of, national costume. Schild, Marie. Old English Peasant Costumes.

Steele, T. S. Voyage to Viking-Land. 1896. 1898. 391S33 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 Wilton. 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. Worcester, D. C. The Philippine Islands and Their Ferrario, Giulio. Costume Ancien et Moderne des People. 1898. 919.1W91 Perses. (In his Costume. 1815-29. Asie. v. 3. 3 plates of dress. pp. 382-596.) Ref. 391F37 About 20 colored copperplates of ancient, medieval, and Wright, H. M. Handbook of the Philippines. 1907. modern Persian costume. 9I9.1W94 Jackson, A. V. W. Persia, Past and Present. 1906. Dress, pp. 62-64. Half-tone plates, with small figures in costume. Several plates of children. 915.5J12 More than 20 of the illustrations show costume, mostly See modern. Poland. Russia

Shoberl, Frederic. World in Miniature. Persia. Porto Rico 3 V. n.d. Ref. 915.5S55P 30 colored engravings. Browne, G. W. Porto Rico. (In his New America and the Far East. 1907. v. 910B882 Shoemaker, M. M. Heart of the Orient. 1904. 6.) 4 cuts of costume. 915S55H 3 plates of Persian dress (half-tones). Olivares, Jose de. Our Islands and Their People.

Sparroy, Wilfrid. Persian Children of the Royal 2 V. 1899. Ref. 917.29B91 Porto Rico, V. 1902. 915.5S73 1, p. 257; v. 2, p. 416. Colored plates and Family. half-tones show costume. 20 half-tone plates of costume.

Wilson, S. G. Persian Life and Customs. 1895. Portugal 915.5W75 Bradford, William. Sketches of the Country, 5 half-tone plates of dress. Character, and Costume in Portugal and Spain. 1812-13. R914.6B79 Peru Contains colored plates, including military costume.

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 3 wood-cuts. Wright, M. R. The Old and the New Peru. 1908. Ref. 985W95 Koppen, F. von. Spain and Portugal. (In his

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. The Philippines. (In his New Portugal. 2 v. n.d. Ref. 914.GS55 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.) 9iG.9S83 3 half-tone plates and many cuts of native dress. Several of the wood-cuts show costume. Olivares, Jose de. Our Islands and their People, as Watson, Gilbert. Sunshine and Sentiment in Portu- Seen with Camera and Pencil. 2 v. 1899. gal. 1904. 914.69W33 Ref. 917.29B91 5 half-tone plates of costume. Philippines, v. 2, pp. 549-768. A few colored plates, and many half-tones, of native dress. Quakers Russel, F. K. A Woman's Journey through the Quaker: in costume. Philippines. 1907. 919.1R95 Gummere, A. M. The a study Conault Index. 8 plates of costumes. 1901. 391G97 .

BIBLIOGRAPHY Page One Hundred Seventy-three

Religious Costume Rome

Biedenjeld , F. L. C, Freiherr von. Ursprung, d\ Private Life of the Romans. 1808. Aufleben, Grosse, Herrschaft, Verfall und jetzige 913A74 " Zustande sammtlicher Monchs- und Kloster- Of clothing," pp. 154-2C0.

frauen-Orden im Orient iind Occident. 2 v. Becker, W. A. Gallus; or, Roman scenes in the 1837-39. G271B58 time of Augustus. 3d ed. 1866. 913B39 plates of religious Hand-colored 77 orders (male and Dress, pp. 98-109; Dress of thn men, pp. 408-30; Dress female) of the women, pp. 431-50. 4 wood-cuts of male and one of female attire. Costume, Ecclesiastical. (In New International En- — Same. 9th ed. 1888. Ref. 913B39 cycloptedia. 1902. v. 5. pp. 334-38.) Ref. 031I61GI Costumi di Roma e dei contorni. 1846. RI391C84 Colored plates. No text. Historical and descriptive, with plate (8 figures), 3 wood- cuts, and brief bibliography. Egerton, M. M., Countess of Wilton. Toilette in Costume, Ecclesiastical. (In New International Ancient Rome. (In her Book of Costume. Encyclopedia. 1914. v. 6.) 1847. pp. 335-45.) Ref. 391W75 5 wood-cuts. Currier, C. W. History of Religious Orders. 1894. 271C97H Friedlander, L. Moeurs Romaines du Regne d'Au- guste a la fin des Antonins. 2 v. 1865-67. Ilelyot, P. Album; ou. Collection complete et 937F91 la historique des costumes de cour de Rome. Costume and armor of gladiators, v. 2, pp. 273-80. 1862. Ref. F391P47 Guhl, E. Life of the Greeks and Romans, Described 80 colored plates, mostly of ecclesiastical and monastic costume. from Antique Monuments. 1875. 913G94 " Dress," pp. 476-501. 11 outline cuts. Lacroix, Paul. Military and Religious Life in the Middle Ages and at the Period of the Renaissance, Hope, Thomas. Costumes of the Romans. (In his

n.d. Ref. 940L14Mi Costume of the Ancients. 1841. v. 1. pp. 39- " colored plates Monastic dress," p. 308. Many and 50; V. 2, pi. 232-300.) Ref. 391H79 wood-cuts of ecclesiastical dress. Historical and descriptive. 69 outline plates. Monastic Costumes, n.d. R391M73 James, Constantin. Toilette d'une Romaine au A scries of plates, showing various monastic costumes. Each plate is accompanied by descriptive letter-press in temps d'Auguste. n.d. F391J27 Latin and Italian. Historical and descriptive sketch of Roman costume. Without illustrations. Nainfa, J. A. Costume of Prelates of the Catholic Church, according to Roman Etiquette. 1909. Levati, Ambrogio. Costume Ancien et Moderne des 247N15 Remains. (InFerrario, Giulio. Costume. 1815- Many illustrations, not colored. Bibliography, pp. 195- 29. Europe, v. 2. pp. 221-606.) 198. Ref. 391F37 Picart, Bernard. Ceremonies and Religious Cus- General historical sketch of Roman costume. Many of the 62 colored plates show ancient and mediaeval Roman toms of the Various Nations of the Known World. costume. Several plates of Papal costume. 6 V, in 3. 1733-36. Ref. 265P58C Menard, Rene. Le Vetement. (In his Vie Privee V. 1-2, Jews, Roman Catholics; v. 3-4, Idolatrous nations; v. 5-6, Greeks and Protestants, English, Moham- des Anciens. 1881. v. 2. pp. 288-300.) medans. Many copperplates showing religious costumes. F913M53 Thurston, Herbert. Clerical Costume. (In Catho- 12 outline illustrations.

lic Encyclopedia, v. 4. pp. 419-21.) Perugini, G. Album; ou. Collection ... des Cos- Ref. 282C363 tumes de la Cour de Rome. Deuxieme ed. Bibliography of 12 titles. 1862. RF391P47 (In Morris, John. Historical Papers. — Pallium. 80 colored plates of uniforms of the Papal Court and costume. 1892. V. 1. pp. 85-116.) 270M87 Roman Catholic religious 9 wood-cuts. Saunders, C. Costume in Roman Comedy. 1909. TijacJc, G. S. Historic Dress of the Clergy. 1897. 391S25 247T97H Monograph, with bibliography. No illustrations. Page One Hundred Seventj^-four BIBLIOGRAPHY

Wright, T. The Celt, the Roman, and the Saxon. Holme, Charles. Peasant Art in Russia. 1912. 1852. 913W95C 709H74PB 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 ^lo figures, Russian Empire including 1 naval), and 6 text illustrations of uniforms.

Atkinson, J. A. Picturesque Representation.s of Latimer, E. W. Russia and Turkey in the 19th the Manners, Customs, and Amusements of the Century. 1895. 947L35 Russians. 3 v. in 1. 1803. Ref. 914.7A87 8 plates of costume.

100 colored plates of all classes of Russians. Descriptive text in English and French. Logan, J. A., Jr. In Joyful Russia. 1897.

Breton de la Martiniere, J. B. J. La Russie; ou, 914.7L85 About 20 plates of Russian costumes and uniforms. Moeurs, Usages, et Costumes des Habitans de Toutes les Provinces de cet Empire. 6 v. 1813. Lyall, Robert. Character of the Russians, and F914.7B84 History of Moscow. 1823. Rrf. 914.7L98 3 colored plates of Russian peasant costume. Dohson, George. Russia, Painted by F. de Haenen. 1913. 914.7D63R Michell, Thomas. Russian Pictures. 1889. 914.7M62 — St. Petersburg. Illustrated by F. de Haenen. Wood-cuts of costumes of the empire. 1910. 914.7D63 Molloy, J. F. Russian Court in the 18th Century. Egerton, Countess Wilton, Toilette in M. M., of 2 V. 1905. 947M72 Bokhara, Circassia, and Cashmere. (In her Book '1 plates of costumss. of Costume. 1847. pp. 441-48.) Ref. 391W75 Norman, Henry. All the Russias. 1902. 914.7N84 3 wood-cuts. Cuts of Finnish, Russian, and Asiatic types. — Toilette in Poland. (In her Book of Costume. Olufsen, 0. Through unknown Pamirs. 1904. 1847. pp. 360-62.) 915.8052 4 wood- cuts. " Clothing," pp. 63-72. 15 half-tone cuts of Pamir

• costume. —Toilette in Russia. (In her Book of Costume. 1847. pp. 363-73.) Pallas, P. S. Travels through Southern Provinces 7 wood-cuts. of the Russian Empire in the Years 1793 and 1794. Eyries, J. B. B. La Russie; ou. Costumes, Moeurs, 2 V. 1802. 914.7P16 Has about ten colored plates. et Usages des Russes. (In his L'Angleterre. n.d.) Ref. F391E98 Picturesque Representations of the Dress and Manners Illustrated by colored engravings. of the Russiaiis. n.d. Ref. 391P61R 64 colored engravings of various costumes of Ferrario, Giulio. Costume Ancien et de la the empire, Moderne made 1776-1779. Russie d'Europe. (In his Costume. 1815-29. Rechberg-Rothenloewen, Karl, Reichsgraf von. Les Europe, v. 6, pp. 1-162.) Ref. F391F37 Peuples de la Russie. 2 v. 1812-13. 24 colored co^perplate3, mostly of costume. Plates 7 and 8 show millitary uniforms. Ref. F914.7R29 — Costume des Habitans du Caboul, du Tibet, Colored plates of Slavic, Finnish, and Tartar types. Siberia, etc. (In his Costume. 1815-29. Asie, Russian Army. (In Armies of To-day. 1893. pp. V. 4. pp. 1-282.) 217-59.) 355M27 Colored copperplates of costumes of Kabul, Tibet, Cau- 13 cuts of modern Russian uniform. casia, Turkey, Turkestan, Bokhara, Siberia. Seven Colored Plates of Russian Costumes of Various — Costume des Polonais. (In his Costume. 1815- Trades. .^820. R391S49 29. Europe, v. 6. pp. 162-181.) Each plate is mounted, and has a title in Russian, Ger- 1 colored plate of Polish costumes (7 figures). man and English.

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

Singleton, Esther. Russia as Seen and Described Scotland by Great Writers. 1904. 914.7S61 5 plates of costume. Adam, Frank. Clans, Septs, and Regiments of the Scottish Highlands. 1908. 941A19C Spencer, Edmund. Travels in Circassia, Krim- Has 13 plates illustrating Highland garb, and colored Tartary, etc. 3d ed. 2 v. 1839. 914.7S74 plates oftartans. Colored frontispiece and several small cuts of dress. — What is my Tartan.'* The clans of Scotland, with Stadling, Jonas. In the Land of Tolstoi: experi- their septs and dependents. 1896. Ref. 941A19 of and misrule in Russia. 1897. ences famine Descriptive notes on tartans, arms, badges, etc., of the 914.7S77 various clans. Many wood-cuts and half-tones of Russian costume, chiefly peasant. Bonwick, James. Our Nationalities. Who are the Scotch.^ 1880. 572B72 Steveni, W. B. Things Seen in Russia. 1913. " Old Scotch dress," pp. 130-32. 914.7S84T Contains photographs of contemporary costume. Browne, James. History of the Highlands and of the Highland Clans. 4 v. 1857-58. 941B88 Stewart, Ihigh. Provincial Russia. 1913. Colored plates, chiefly in v. 4, of principal tartans. 914.7S849 32 illustrations in color and black-and-white, showing costume. Campbell, Lord Archibald. Children of the Mist; or. The Scottish clansmen in peace and war. 1890. Powers Uniforms of the Armies of the Six Great of 941C18C Sup. 1903. Europe. (In Standard Dictionary. Numerous notes on costume. Double-page frontispiece, showing Highland and English uniforms of 1745. p. 2187.) Ref. 423F98SU Section of colored plates, showing IS Russian uniforms. — [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 illustrations. 1906. 947V72 Half-tone plates of Cossack, Georgian, Armenian, and Tartar costume. — Highland Dress, Arms, and Ornament. 1899. 914.1C187 Wibon, H. W. Japan's Fight for Freedom: the Many half-tones and several photogravures of uniforms story of the war between Russia and Japan. 2 v. and arms. 1904-05. Ref. 951W74 Countess Wilton. Toilette in Many half-tones, showing Russian uniforms. Egerton, M. M., of Scotland. (In her Book of Costume. 1847. Samoa pp. 176-85.) Ref. 391 W75 2 small wood-cuts.

Churchill, L. P. Samoa 'Uma, where Life is Dif- Gibb, William. The Royal House of Stuart, illus- ferent. 1902. 919.6C.56 trated from relics of the Stuarts. 1890. 11 half-tone plates of Samoan costume. Ref. 920G438 America's New Possessions. 1899. Hamm, M. A. 40 colored plates, some showing wearing apparel. 4 910H22 plates show regalia of Scotland. 7 half-tones of Samoan dress. Graham, H. G. Social Life of Scotland in the 18th Olivares, Jose de. Our Islands and their People. Century. 2d ed. 1906. 914.1G73 2 V. 1899. Ref. 917.29B91 See " Dress " 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. Long Before. 1884. 919.6T94 1906. 941G84 " Clothing," pp. 118-23. 2 wood-cuts of costume. 9 colored plates of Scotch dress of various periods.

Keltic, J. S. History of the Scottish Highlands, Savoy Highland Clans and Highland Regiments. 2 v. Ref. 941K19 Canziani, Estella. Costumes, Traditions, and Songs 1875. Highland dress, v. 1, pp. 300-03. Illustrations include of Savoy. 1911. *391C23 colored plates of clan tartans and several wood-cuts showing Illustrated with 47 colored plates, several of costume. dress. Page One Hundred Seventy-six BIBLIOGRAPHY

Levati, Ambrogio. Costume des Habitans des lies Shaicespearean Costume Britanniques. (In Ferrario, Giulio. Costume, Abbey, E. A. Drawings for Shakespeare: Midsum- 1815-29, Europe, v, 6. pp, 1-178.) mer Night's Dream, King. Lear, King Richard IL Ref. 391F37 King John, Romeo and Juliet, King Richard III, Colored copperplate (plate 30) shows 5 Scotch costumes of about 1820. Hamlet, Othello. (In Harper's new monthly magazine, vols. 91, 106, 107, 108 and 109.) Logan, James. Scottish Gael: or, Celtic manners 051H29 as preserved among the Highlanders. 2 v, 1831, 941L83S2 Bayard, Emile. Shakespeare's " As you Like It." " Dress of the ancient Celts and costume of the present With 12 illustrations. 1887. R822.3S52Asi Gael," V. 1, pp. 217-72; table of clan tartans, Appendix, V. 2, pp. 401-08. Boocke, R. L. Shakespearian Costumes, 4 v,

Mclan, R. R. Gaelic Gatherings; or. The High- J 889-1892. 822.3B669 landers at home, 1848. [reprinted 1900.] Full-page wood-cuts, with color key. The library has onIv4vols.: " All's well that ends well "; " Twelfth night "; " " " 914,1L83 Taming of the shrew ; Hamlet." 21 colored plates of costume. hoydell, J. and J. Boydell's Graphic Illustrations Mackintosh, J. Story of Scotland from the Earliest of the Dramatic Works of Shakespeare, 1813, Times to the Present Century, illustrated. Ref, 822,3B78G 1899. 941M15 Steel plates of characters in costume.

Brereton, Austin. Shakespearean Scenes and Char- Milne, James. Gordon Highlanders, 1898. 355M65 acters, 1886. Ref, 822,3B84 Includes half-tones of Highland uniforms. 30 steel plates and 10 wood engravings.

Carter, Thomas. Stories from Snakespeare, n.d, Sanderson, William. Scottish Life and Character. 822,3S52Sto 1904, 914.1S21 16 full-page colored illustrations. See pp. 86-88; 130-34. 12 plates of costume. Crane, Walter. Shakespeare's " Merry Wives of Scottish Clans and their TaHans. 2d ed, 1892. Windsor," in eight pen designs, 1894. 941S42 R822.3C89 Colored plates of the tartans. Fitzgerald, Percy H. Shakespearean Representa-

— Same. 8th ed. 1906. tion, its Laws and Limits, 1908, 822,3Fo5

Gerdme, J. L. Scenes from Shakespeare. 1875. Shoberl, Frederic. World in Miniature. England, R822.3G37 Scotland, and Ireland. Edited by W. H. Pyne. 30 India proof engravings. 4 V. 1827. Ref. 914.2S5o9 GrUtzner, E. Shakespeare's " King Henry IV," 4 colored plates, in v. 4, of Scotch costume. two parts. 1887. R822.3S52H4Gi Stewart, David. Sketches of the Character, Man- 12 illustrations.

ners, and Present State of the Highlanders of Lacy, T. H. Costume Plates for the " Merchant of Scotland. 2 v. 1822, 355S84 Venice." .^1862. R822,3L15 " Highland garb," v. 1, pp. 75-80, 11.5-20. Linton, Sir. J. D. Shakespeare's " King Henry Stuart, John S. S. The Costume of the Clans. VIII," 1892, R822.3S52H8LD 1892, R391S93 12 illustrations. 37 full-page plates, illustrating the history, antiquities, and dress of the Highland clans. Shakespeare, William. Complete Works; rev, from the original editions, with introductions and Towry, M. H. Clanship aad the Clans. 1870. notes by J, O. Halliwell and other eminent com- 929T75 mentators, 9 V. n.d. 822.3S52WR " Highland garb and arms," pp. 12-16. Many steel engravings of actors in costume.

See also England — Dramatic Works; rev. by G. Steevens. 6 v, 1802. Ref. 822.3S52Ds Serbia. See Balkan States Plates practically the same as in Boydell. BIBLIOGRAPHY Page One Hundred Seventy-seven

Shakespeare, William. Tragedy of Hamlet, Prince Calvert, A. F. Spanish Arms and Armor. 1907. of Denmark. 1897. 8^22.3S5^2Hac 399C16 12 full-page illustrations by H. C. Christy. 3S0 half-tone illustrations of the collection in the Royal Armory at Madrid. Shakespeare in Pictorial Art. 1916. S22.3S25 — Valladolid, Oviedo, Segovia. 1908. 9U.6C16V Plates 156-165 give Shakespeare's " Othello.'' Illustrated peasant costumes of the province of by Ludovic Segovia. Marchetti. .^895. 822.3So^20tu Cuendias, Manuel de. L'Espagne; Pittoresque, Smirke, R., and others. Illustrations of Shake- Artistique, et Monumentalc. n.d. F914.6C96 speare's Plays, n.d. R822.3S641 Colored illustrations, and others.

Fifty original designs by R. Smirke, T. Stothard, E. II. 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. Children. 1913. 391S87 Egerton, M. M., Countess of Wilton. Toilette in Has 52 illustrations of Shakespearian men, women, and dress accoutrements. Spain. (In her Book of Costume. 1847. pp. 288-96.) Ref. 391\V75 Wilde, Oscar. Truth of Masks. (In his Intentions 4 wood-cuts. and the Soul of Man.) 1908. 828W67I Fitz-GeraU, J. D. Rambles in Spain. 1910. Essay on Shakespeare's interest in and use of costume. 914.6F553 Wingate, C. E. L. Shakespeare's Heroines on the Shows several costumes of peasants.

Stage. 1875. 822.3W76S Higgin, Louis. Spanish Life in Town and Country. 52 illustrations, half-tones 1902. 914.6H63 See " Costume " and " Dress " in Index. 7 half-tone Shoes. See Foot-wear plates of costume.

Koppen, F. von. Spain and Portugal. (In his SiAM. See India Armies of Europe. 1890. pp. 64-66.) 355K77 Double colored plates and 2 text illustrations of uniforms. South America Penjield, Edward. Spanish Sketches. 1911.

Carpenter, F. G. South America, social, industrial, 914.6P39 Colored plates. and political. 1900. 918C29s 7 plates (half-tones) of costumes. Shoberl, Frederic. World in Miniature. Spain and 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. 946\V34 2 V. 1873. Ref. 918.oS13 Has illustrations show! costume, especially of the 13th century. Incidental notes on costumes. Many wood-cuts of native and Spanish costumes. Williams, L. Land of the Dons. 1902. 914.6Vv'72 Pritchard, H. V. H. Through the Heart of Pata- 13 plates showing national dress. gonia. 1902. 918.2P94 3 plates, in color and half-tone, showing Patagonian dress. Sweden

See also Indians of South America Afbildningar af Svenska national drdkter. 1908. R391A25 Spain Colored plates.

(In Fer- Adams, W. H. Spain and its People. 1872. Bossi, Luigi. Du costume de la Suede. 9U.6A21 rario, G. Costume. 1815-29. Europe, v. 6. Many wood-cuts of Spanish types. pp. 232-59.) Ref. 391F37 Swedish costumes. Bradford, William. Sketches of the Country, Char- 2 copperplates (1 colored) of ancient 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. 349-0I.) Ref. 391W75 Ref. 914.94Y65 3 wood-cuts. 50 colored engravings of costume.

Charles. Peasant Art in Sweden, Lapland, Holme, Theatrical Costume and Iceland. 1910. 709H74P Illustrations in color and monotone. Aria, Mrs. E. Of Theatrical Dress. (In her Koppen, F. von. Sweden and Norway. (In his Costume; fanciful, historical and theatrical. Armies of Europe. 1890. pp. 61-63.) 355K77 1906. pp. 236-59.) 391A69 Colored plates (11 figures, including 3 naval) of uniforms. 2 colored plates and 7 half-tone illustrations.

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.)

About 21 of the .50 photographic reproductions are of Ref. F391F37 costume. Plates 120-22, p. 877, show costumes of actors and dancers of Italy. Thomas, W. W., Jr. Sweden and the Swedes. 1893. 914.8T46 Galerie Dramatique. A Paris, chez Martinet. 1796- 8 plates and 3 text illustrations of ancient and modern 1843. R391G15 Swedish costumes. 50 copper engravings, in color.

Switzerland Guillaumot, A. E. Costumes de I'Op^ra, Dix- septieme au dix-huiti^me Si^cles. 1883. Bridgens, Richard. Sketches Illustrative of the RF391G95C Manners and Costumes of France, Switzerland, 50 planches fac-simi'e & I'eau-forte en couleurs. and Italy. 1821. R391B851 Harrison, Charles. Theatricals and Tableaux Vi- Plates, with descriptive text. vants for Amateurs. 1882. 793H31 Egerton, M. M., Countess of Wilton. Toilette in 92 illustrations of stage costume, historical and fancy design. Switzerland. (In her Book of Costume. 1847. pp. 302-10.) Ref. 391W75 Jullien, A. Histoire du Costume au Theatre depuis 10 wood-cuts. les Origines du Theatre en France jusqu'a nos Jours. 1880. F391J94 Gauter, Henri. Histoire du Service Militaire des 24 plates, partly colored. Regiments Suisses a la Solde de I'Angleterre,

de Naples, et de Rome. 1902. F356G21 Kobbe, Gustav. Opera Singers : a pictorial souvenir. 10 colored plates, showing uniforms of Swiss mercenaries. 1904. 920K756 Photogravures. " A series of costume and other por- Koppen, F. von. Switzerland. (In his Armies of traits of the grand opera singers best known to American opera-goers of to-day." Europe. 1890. pp. 67-68.) 3o5K77 Colored plates (7 figures) of uniforms. Krehbiel, H. E. Chapters of Opera. 1908. 782K92 Levati, Ambrogio. Costume Ancien et Moderne des Of the 70 half-tone illustrations, 39 are from photographs Helvetiens ou des Suisses. (In Ferrario, G. of opera singers in costume. Costume. 1815-29. Europe, v. 4. pp. 1-172.) Lacy, T. H. Female Costumes, Historical, Na- Ref. F391F37 tional, Dramatic. 1865. R391L152C2 16 colored copperplates of ancient and modern Swiss costumes. — Male Costumes, Historical, National, Dramatic. Schweizer Volkstracht; die Traehten der Cantone 1868. R391L152C1 Aaran, Appenzell, Unterwalden, Glarus, Schaff- Contains colored plates. No text. hausen, und Luzern, auf acht sehr .schonen Lumm, E. C. Twentieth Century Speaker. 1898. Chromo-Lithographen dargestellt. 1840. 808.5L95 R391S41 Colored and half-toneplates 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

Mantzius, Karl. History of Theatrical Art. 5 v. Turkish Empire 1903-09. 792M29 Addison, C. G. Damascus and Palmyra. 2 v. Plates of actors in costume. ^ 1838. 915.6A22 Mohisson, F. Costumes of the Modern Stage. 10 colored plates of costume. 1889-90. 391 M68 Allom, Thomas. Character and Costume in Turkey Colored plates. and Italy, n.d. R914.96A44 Stage its Stars, Past Paul, Howard. The and and 10 lithographic plates of Turkish costume about the Present. A gallery of dramatic illustration and year 1840. critical biographies of distinguished English and Amicis, E. de. Constantinople. Tr. by Caroline American actors, from the time of Shakespeare Tilton. 1878. 914.96A51 " Costume " [male], " till to-day. 2 v. 1887. pp. 104-0.5; Turkish women," pp. 20G-37. 128 photogravure portraits and scones from steel plates and over 400 portraits in the text. Useful for costume. Bell, G. L. The Desert and the Sown. 1907. Scott, Clement. Drama of Yesterday and To-day. 915.6B43 2 V. 1899. 792S42 Colored frontispiece, by Sargent, of Bedouins and many half-tones of the different races of Palestine. Illustrations of actors in costume. Copping, Harold. The Gospel in the Old Testament. Seidl, Anton. Music of the Modern World. 2 v. A series of Pictures by Harold Copping. With 1895. Ref. 780S45 descriptive letterpress by H. C. G, Moule. 1908. Many colored and half-tone plates of singers and operatic characters in costume. Ref. 221C78 24 illustrations in color. Stone, Milicent. The Bankside Costume Book for Children. 1913. 391S87 Costume of Turkey. 1802. R391C842. Illustrated with colored engravings, with descriptions Has 52 illustrations for representing historical plays, in English and French. especially those of Shakespeare. Dupre, L. Voyage k Ath^nes et h Constantinople. Tibet 1825. Ref. Colored plates of costumes of Constantinople, with text in French. Crosby, 0. T. Thibet and Turkestan. 1905. 915.8C94 Egerton, M. M., Countess of Wilton. Toilette in Several of the half-tone plates show costume. Palestine and Syria. (In her Book of Costume. Landor, A. H. Savage-. Tibet and Nepal, Painted 1847. pp. 465-75.) Ref. 391W75 2 wood-cuts. 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.) Sherring, C. A. Western Tibet and the British 7 wood-cuts. Borderland. 1906. 915.1S55 See " Dress " in Index. Many half-tones in text show cos- Eyries, J. B. B. La Turquie, ou, Costume.-j, Moeurs, tume. et Usages des Turcs. (In his L'Angleterre. n.d.) Shoberl, F. The World in Mmiature.—Tibet and Ref. F391E98 India beyond the Ganges. 1827. R915.1S559 Illustrated by colored plates. 12 colored plates of costumes. Ferrario, Giulio. Costume des Peuples de I'Asie Mineure. (In his Costume. 1815-29. Asie. Troubadours V. 3. pp. 263-348.) Ref. 391F37 Colored copperplates of costumes of Phrygia, Troy, Rowbotham, J. F. Troubadours and Courts of Lydia, Lycia, Cilicia, Pontus, Armenia, and other ancient districts of Asia Minor. Love. 1895. 914.2R87 Hamdi, Osman, bey. Les Costumes Populaires de " Dress of the troubadours," pp. 108-70. 7 outline cuts of troubadour and minstrel costume. la Turquie en 1873. RF391H21 plates, illustrative of the costumes of people in Turkey Smith, J. H. Troubadours at Home. 2 v. 1899. 74 in Europe, the isiund.s of the Ottoman Empire, and in Turkey 849S65 in Asia. " " " Their attire," v. 1, pp. 168-69. See also Costume Howe, Fisher. Oriental and Sacred Scenes in Greece, in Index. A few wood-cuts of dress. Turkey, and Palestine. 1856. 915.6H85 Text contains several references to costume. 6 colored TxJNis. See Africa 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. 28-3S. 3 wood-cuts. 1827. Ref. 914.96S55 of the Arabs. 1873. 915.6J58W 73 colored engravings, showing about 150 costumes of — Women the Empire. Incidental notes on dress. A few wood-cuts of costumes, male and female, of Palestine. Singleton, Esther. Turkey and the Balkan States, Described Kelman,J. The Holy Land. 1902. 915.6K29 as by Great Writers. 1908. 949.6S61 40 half-tone plates, many useful for costume. Including colored plates of Syrian peasants and Arabs. Spry, TV. J. J. Life on the Bosphorus. 1895. Koppen, F. von. Turkey and the States of the Bal- 914.96S77 kan Peninsula, (in his Armies of Europe. 1890.) 34 portraits of caliphs and sultans, and other plates of 355K77 costume.

Pp. 73-75. Section of colored plates (5 figures) and 4 text illustrations of uniforms. Van Lennep, H. J. Oriental Album. Twenty illustrations, in oil colors, of the people and Latimer, E. W. Russia and Turkey in the 19th scenery of Turkey; with an explanatory and Century. 1895. 947L35 descriptive text. 1862. Ref. 914.96V25 Several portraits showing Turkish uniforms. Folio lithograph plates, showing Turkish and Armenian costumes. Laurent, P. E. Recollections of a Classical Tour through Various Parts of Greece, Turkey, and Wilkie, Sir David. Sketches in Turkey, Syria, and Egypt, 1841. Italy, in 1818 and 1819. 2 v. 1822. 1840 and Drawn on stone by Ref. 914L38 Joseph Nash. 1843. Ref. 741W68 52 folio lithograplis, in monotone. 4 hand-colored plates,~showing Turkish women and girls, etc. Tyrol. See Austria-Hungary; Switzerland Macbean, F. Sketches in Character and Costume in Constantinople, Ionian Islands, etc. 1854. United States R914.96M11 Avery, E. M. History of the United States. 16 v. No text except short descriptions of the plates. 1907. 973A95 Magnetti, Carlo. Costume de I'Empire Ottoman. Fully illustrated. Vol. 6 is good for colored illustrations (In Ferrario, Giulio. Costume. 1815-29. Eu- of Colonial costumes, military and civil.

rope. V. 1, pt. 3.) Ref. F391F37 Earle, Alice M. Child Life in Colonial Days. 1899. Nearly 60 colored copperplates of costumes, including 390E12 the present Balkan States. Many half-tones, from photographs, of children's dress. Mayer, Luigi. Views of the Ottoman Domains in — Costume of Colonial Times. 1894. 391E12 Europe, in Asia, and some of the Mediterranean Historv of Colonial Dress, pp. 3-42; Dictionarv of Terms, Islands. 1810. Ref. 915.6M46 pp. 45-264. Colored 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.GM655 — Centuries of Costume in America, 1620- Colored plates of Turkish costume. Two 1820. 2 V. 1903. Ref. 391E12T Monroe, W. S. Turkey and the Turks. 1907. Many half-tone plates and wood-cuts of all kinds of 949.6M753 costume. List of illustrations, with descriptive notes. " " Index. 16 half-tones show costumes. Consult Dress in 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 Goodunn, M. W. Colonial Cavalier; or, Southern of the Turks. Illustrated in 60 colored engravings, Life before the Revolution. 1894. 917.5G65 with descriptions, n.d. Ref. 391P61 " His dress," pp. 75-£ A few wood-cuts of Coloni; Turks, Albanians, Arabs, and Armenians. dress. Harvey, Fred. First Families of the Southwest. Rogers, M. E. Domestic Life in Palestine. 1863. 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 illustrations, i-ith 2fi " colored plates, 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. 391M13 383 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. R301M1^2H Company of London and the Ancient and Honor- able Artillery Continuation of the above. Includes a bibliography. 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. 190^2. 171-97.) pp. 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 axd Naval CosTL'iiE 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. Many half-tones of English and American soldiers. United States Marine Corps. Uniform Regulations. Bennett, F. M. L^niforms and Corps Devices of the Together with uniform regulations common to Engineer Corps. (In his Steam Navy of the both U. S. Navy and Marine Corps. 1913. United States. 1896. 713-31.) 359B47S pp. R355U58MU Bolton, C. K. Private Soldier under Washington. 1902. 973.3B69 United States. Navy Dcpt. Regulations govern- Uniforms, pp. 89-104, and double half-tone plates showing ing the uniform of commissioned officers, warrant uniforms and plate showing hunting shirt. officers, and enlisted men of the Navy of the of the Eggleston, Edward. Household History United States. 1880. Ref. 355U58N United States and its People. 1889. 973E29 54 lithographed plates of uniforms. 2 colored plates of U. S. uniforms, 1776-1865, and 1 uniforms, with several vignettes colored plate of Confederate Wagner, A. L. L'nited States Army and Navy, of uniforms. from the era of the Revolution to the close of Logan, J. A. Volunteer Soldier of America. 1887. the Spanish-American war. 1899. 355 L83 Ref. 355W130U Colored frontispiece, and several wood-cuts of uniforms. Lithographs of military a; d naval uniforms, 1776-1899. McClellan, Elizabeth. Uniforms in America, 1775- 1800. (In her Historic dress in America. 190-t. Walton, W. G., and others. Army and Navy of the of the Revolution pp. 340-77.) Ref. 391M12 United States, from the period Half-tones of Continental uniforms of army and navy. to the present day, 12 pts. 1889-95. Ref. 353.6W24 Merritt, Wesley. Army of the United States. (In 44 colored plates, mounted, with duplicate etchings, and Armies of To-day. 1893. pp. 1-55.) 355M57 many other etchings and photogravures of military and naval 4 cuts of uniforms of the period. uniforms. Page One Hundred Eighty-two BIBLIOGRAPHY

Zoghaum, R. F. Across Country with a Cavalry See also England Column. And, With the Bluecoats on the Border. (In his Horse, Foot, and Dragoons. Weapon.s. See Araior 1888. pp. 100-17G.) 355Z85

?,5 plates and cuts of uniforms of the period. West Indies Venice. See Italy Henderson, John. The West Indies. Painted by A. S. Forrest. 1905. 917.29H49 Wales About 30 of the colored plates show costume, chiefly cf Jamaica. Bradley, A. G. Highways and Byways in North Paton, W. A. Down the Islands. 1890. 917.29P31 Wales. Illustrated by J. Pennell and H. Thom- Frequent references in text. Several illustratirra show son. 1898. 914.29B81 costumes. 6 wood-cuts of costume.

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. 9G7L98 Rhys, John. Welsh People. 1900. 942.9R47 2 half-tone plates of costume. Dress [ancient], p. 251; [modern], 565-70. ^ Rente, Emily. Memoirs of an Arabian Princess. Trevehjan, M. Glimpses of Welsh Life and Char- Tr. by L. Strachey. 1907. BR921S acter. 1893. 914.29T81 Female fashions of Zanzibar, pp. 85-91. 6 plates of Zan- See " Costume " and " Dress " in Index. zibar Arabs. \RTISTS WHOSE WORK HAS BEARING ON PERIOD FABRICS OR COSTUME

ARTISTS WHOSE WORK HAS BEARING ON PERIOD FABRICS OR COSTUME

Greek and Roman Sculpture. (See University Prints, Students' Series A.) Mosaic. Emperor Justinian and his suite. Byzantine, 6tli century, at Ravenna. San Vitale.

ca. (circa) = about. fl. = flourished.

Lorenzetti, A. and P. Follower of (School of Siena) Italian Painting fl. 1323-1348-^. 1305-1348.

Ambrogio da Predis (School of Milan), fl. 1482- Mantegna, A. (School of Padua). 1431-1506. 1506. Maratti, C. 1625-1713.

Bartolommeo Veneto (Venetian School), fl. 1505- Masolino. (Florentine School.) 1384-ca. 1435. 1555. Moroni, G. B. 1520-1578. Bassano, L. da P. (Venetian School). 1557-1622. Palma Vecchio. Venetian SchcoL 1480-1528. Bissolo, F. (Venetian School). 1464-1528. Parmigianino (School of Parma). 1504-1540. Botticelli, S. (Florentine School). 1444-1510. Perugino, P. (Umbrian School). 1446-1523. Bronzino, A. (Florentine School), ca. 1502-1572. Pesello, G. (Florentine School). 1367-1446. Butinone, B. J. (School of Milan), ca. 1436- Piero di Cosimo (Florentine School). 1462-1521. 1507. Pinturicchio, B. (Umbrian School). 1454-1513.

Calisto Piazza da Lodi (School of Brescia), fl. Pisanello. ca. 1397-1455. 1521-1562. Pulzone, S. ca. 1562-ca. 1588. Carnevale, Fra (School of Umbria and Perugia). Roraanino, G. (School of Brescia), ca. 1485-1566. 15th century. Rotari, P. dei, 1707-ca. 1762.

Carpaccio, V. (Venetian School), ca. 1455- ca. Sellajo, J. del (Florentine School), ca. 1441-1493. 1525. Signorelli, Luca (Umbro-Florentine School). 1441- Cimabue (Florentine School), ca. 1240-1302. 1523.

Conti, Bernardino de' (School of Milan), fl. Sodoma, II (School of Vercelli). ca. 1477-1549. 1490-.= Spinello, G. (Florentme School). 1387-1452. Cossa, F. (School of Ferrara). ca. 1435-1480. Stefano da Zevio (School of Verona), ca. 1393- Crivelli, C. (Venetian School), ca. 1430-ca. 1493. 1451. Domenico Veneziano (Florentine School), ca. Titian (Venetian School). 1477-1576. 1410-1461. Vasari, G. 1511-1574. Duccio di Buoninsegna (School of Siena), ca. Veronese, P. (Venetian School). 1528-1588. 1260-1320. Verrocchio, A. (Florentine School). 143.5-1488.

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. century. Jacobello del Fiore (Venetian School), fl. 1400- Painting, Venetian School. 16th 1439. Painting, Venetian School. .

Page One Hundred Eighty-six LIST OF ARTISTS

Dutch Painting Eyck, J. van. ca. 1381-1440. Codde, P. 1610-1660. Francken, F., the younger. 1581-1642. Cornelisz, J. 1475-1560. Geerarts, M., the younger. 1561-1635. Cronenburch, A. van. 16th century. Goes, H. van der. .?-1482. Cuyp, J. G. 1575-1649. Heere, L. de. 1534-1584. Dou. G. 1613-1675. Isenbrant, A. Before 1510-1551. Hals, F., the elder. 1580-4-1666. Justus of Ghent ca. 1470? Heist, B. van der. 1613-1670. Mabuse, J. van. 1470-ca. 1533. Honthorst, W. van. 1604-1666. Marmion, S. ca. 1425-1489. Jacobsz, L. 1494-1533. Massys, Jan. 1509-1575. Janssen, P. 2d half of 17th century. Master of the Legend of St. Lucy, 15th century. Joest von Calcar, J. 1460-1519 Master of the St. Ursula Legend. 15th century. Ketel, C. 1546-1616. Memlinc, H. (Memling). ca. 1430(?)-1494. Keyser, T. de. 1596-1667 (1679?). Moro, A. 1512-1576. Mesdach, S. 1st half 17th century. Pourbus, F., the elder. 1541-1581 Metsu, G. 1630-1667. Pourbus, F., the younger. 1570-1622. Mierevelt, M. J. 1567-1641. Pourbus, P., the younger. 1510-1584. Molenaer, J. M. .?-1688. Roymerswale, M. van. 1497-1567. Moreelse, P. 1571-1638. Rubens, P. P. 1577-1640.

Mostaert, J. 1474-1556. Somer, Paul van. 1570-1621. Mytens, D., the elder. 1590-1658. Vos, C. de, the elder. 1585-1651. Palamadesz, A. 1601-1673. Weyden, R., van der. 1400-1464. Ravesteyn, A. van. 17th century. Painting, Flemish. 16th century. Santvoort, D. D. 1610-1680. Painting, Flemish, of Brussels. 15th century. Steen, J. ca. 1626-1679. German Painting Ter Borch, G. 1617-1681. Troost, C. 1697-1750. Bruyn, B., the elder. 1493-1655. Venne, A. van der. 1589-1662. Bruyn, B., the younger, ca. 1530-ca. 1610. Vermeer van Delft, J. 1632-1675. Cranach, L., the elder. 1472-1553. 1520-? Verspronck, J. C. 1597-1662. Dunwegge, H. and V. Voort, C. van der. 1576-1624. Master of the Life of the Virgin, fl. ca. 1460-1480. Wilt, T. van der. 1659-1733. Master of St. Bartholomew, ca. 1490-1510. Painting, Dutch. 14th century. Master of St. Severin. .''-1515. Painting, Dutch. 15th century. Multscher, H. ca. 1440-1467. Painting Dutch. 16th century. Neufchatel, N. ca. 1527-1590. Painting, Dutch. 17th century. Pacher, M. 1430-1498. Pleydenwurff. 1450-1494.

Flemish Painting Ratgeb, J. 16th centiu'y. Bles, H. de. 1480-1550. Ring, L. ca. 1521-1583. Blyenberch, A. 1566-1625. Roos, T. 1638-1698. Bouts, A. .M548. Scheits, M. 1640-1700. Bouts, D. 1410-1475. Seisenegger, J. 1505-1567. Campin, R., 1375-1444. Wolgemut, M. 1434-1519. Champaigne, van. 1602-1674. Painting, German. 15th century. P. ^ Claeissens, P., the elder. 1500-1576. Painting, German. 16th century.

Cleve, J. van, the elder, ca. 1485-1540. Spanish Painting Coffermans, M. fl. 1549-1575. Cristus, P. 1400(?)-1473. Carreno, J. de M. 1614-1685. David, G. 1450-1523. Coello, A. S. 1513(?)-1590. Dyck, A. van. 1599-1641. Gonzdlez, B. 1564-1627. LIST OF ARTISTS Page One Hundred Eighty-seven

Goya y Liicientes, F. J. de. 1746-1828. Quesnel, FranQois. ca. 1544-1619. Liano, F. de. 1556-1625. Renoir, Firmin Auguste. 1841- Pantoja de la Cruz, J. 1551-1609. Rigaud, Hyacinthe. 1659-1743. Velasquez. 1599-1660. Rioult, Louis Edouard. 1780-1855.

Vermejo, B. fl. ca. 1490. Thevenot, Arthur Frangois. 19th century. Zurbaran, F. de. 1598-1662. Tocque, Louis. 1696-1772. Painting, Spanish. 15th century. Vestier, Antoine. 1740-1824. Painting, Spanish. 16th century. Watteau, Jean Antoine. 1684-1721. Painting, Spanish. 17th century. Painting, French. 15th century. Painting, Hispano-Flemish. 1451. Painting, French, of Amiens. 15th century. Painting, French, of Amiens. 16th centuryc Russian Painting

Ritt, A. 1766-1799. English Painting.

French Painting Beechey, Sir W. 1753-1839, Bourdichon, J. 1457-1521. Closterman, J. 1656-1713. Clouet, Frangois. 1500-1572. Corvus, J. 16th century. Corneille de Lyon. ?-ca. 1574c 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-19th century. Ward, E. M. 1816-1879.

Huet, J. B. 1745-1811. Painting, English. 15th century.

Ingres, J. A. D. 1780-1867. Painting, English. 16th century. Lancret, N. 1690-1743. American Painting Largilliere, N. de. 1656-1746. La Tour, M. Q. de. 1704-1788. Badger, Joseph. 1708-1765. Le Brun, (Mme.) Elisabeth Louise Vig^e. 1755- Blackburn, J. B. 1700-1760. 1842. Copley, J. S. 1737-1815. Lefebvre, Jules Joseph. 1834-.? Feke, R. 1724-1769. Lefevre, Robert. 1756-1830. Frothingham, J. 1786-1864. Liotard, Jean fitienne. 1702-1789. Greenwood, J. 1729-1792. Loo, C. A. van. 1705-1765. Inman, H. 1801-1846. Manet. Edouard. 1833-1883. Jarvis, J. W. 1780-1834. Mares, Pierre. 15th century. Morse, S.F.B. 1791-1872. Master of Moulins. 15th century. Osgood, C. 18th-19th century, Nattier, Jean Marc. 1685-1766. Pratt, M. 1734-1805. Oudry, P. 16th century. Smybert, J. 1684-1751. Pater, Jean Baptiste Joseph. 1695-1736. Stuart, G. 1755-1828. Sully, T. 1783-1872. Perreal, Jean. fl. 1483(r)-1528. Pesne, Antoine. 1683-1757. Trumbull, J. 1756-1843. Prud'hon, Pierre Paul, 1758-182? Waldo, S.L. 1783-1861. Courtesy of Har-per't From a colored cover design by Brunelleschi. INDEX

INDEX

Accessories, 6 Beardsley, Aubrey, 42 Acroi>olis, 103 Beardsley, Aubrey, illustration, 54 Action, 10 Beer, 6 Adam school, 97 Ben Day, 31, 39, 40 Advertising, department store illustrated, 49 Ben Day color, illustrated, 62 Advertising, magazine, half-tone, 57 Ben Day, illustrated, 33, 49, 55 Advertising, magazine, illustrated, 51 Ben Day, magazine, illustrated, 50 Advertising, magazine, pen and ink illustrated, 53 Betrothal of Saint Catherine, 95 Advertisement, magazine illustrated, 46 Bibliography, 127-128 Age, Golden, 103 Binary colors, 61 Age of Pericles, 103 Birch, 16 Air brush, illustration, 35 Bliaud, 108

Alfred the Great, 106 Blocking in, 10 Analogous harmony, 62 Boots, musketeer, 116 Anatomy, Preface, 13, 23 Box plaits, 38 Animal arrangement, illustrated, 94 Braie, 110 Anne of Brittany, costume illustrated, 112 Bristol board, kid finish, 43 Anne, Queen, 97 Bristol board, plate, 43 Anne, Queen, of England, 117 British or masculine costume illustrated, 119

Applying color, 9, 70-71 Brittany, Anne of. 111, 112 Armorial dress, 110 Brummel, Beau, 78 Armorial dress, illustrated, 93, 109 Brunelleschi, 42, 54, 134 Arms, 14 Brush, air, 32 Arms, illustration, 21 Brush work, 52-53 Arthur, King, 106 Brush work, illustrated, 40, 45, 46, 53, 54 Artists whose work has bearing in period fabrics or Brushes, 71 costume, 131-133 Brushes, for wash work, 48 Asp, Egyptian, 102 Buddhism, 91 Austria, Anne of, Queen of France, 116 Bustle, 123 Avery, Claire, 54, 59 Buttons, illustration, 5 Byzantine influence, 107 Background, 65

Back view, form illustrated, 1, 2, 3, 4 Callot, Sceurs, 6 Balance, 65 Carlyle, 45 Balance, of figure, 22 Catalogue, ink work, illustrated, 46 Barbier, George, 42, 54, 72 Catalogue page, illustrated, 30, 31, 35 Barry, Countess du, 87, 117 Catalogue, pattern work illustrated, 52 Basquine, 113 Catalogue, wash, 50 Batchelder, Ernest A., 30 Catalogue work illustrated, 47, 51 Baviere, de Isabeau, 95 Charlemagne, 107 Page One Hundred Ninety-two INDEX

Charlemagne, daughters of, 94 Color, theory, 63

Charles I, King of England, 86, 114 Color, tone, tint, shade, hue, 63 Charles II, King of England, 86, 116 Color, value, 66 Charles VI, 95 Color, warm, 63 Charles X, 121, 122 Color, water, 9 Charles the Simple, 95 Color, with wash, 50 Chart, color, 65-66 Colors, tertiary, 63 Checks, illustrated, 41, 42 Compass, 36 Chemise, 108 Cetnplementary colors, 63 Cheruet, 6 Complementary harmony, 65 Chicing, 10, 13 Composition, 30, 52, 53 Chiffon, 37 Composition, reference books, 30 ChiflFon, illustrated, 9 Construction, head illustrated, 17 Children, 59 Construction of figure illustrated, 15 Children, illustrated, 13, 16 Construction, toothpick, 22 Children, lay-out illustrated, 41 Consulate, 121 Children, proportions, 16 Consulate fashions, illustrated, 120 Children, proportions illustrated, 17 Convention, 121 Chinese influence, 97 Coptic design, 91 Chinese ornament, 98 Copying, 10, 37 Chinese white, 37 Corset, illustrated, 39 Chiton, Doric, 103 Corsets, 114, 120, 122 Chiton, Greek, 103 Costume, Consulate, 120 Chiton, Ionic, 103 Costume Design, Preface Chlamys, Greek, 103 Costume, Directoire, illustrated, 119 Circle, construction, 36 Costume, Egyptian, 101-102 Classic Period, Greek, 103 Costume Egyptian, illustrated, 101-102 Clifford, Period Furnishings, 96 Costume, 18th century, illustrated, 117, 118, 119 Cloak, Egj^ptian illustrated, 102 Costume, First Empire, illustrated, 120 Cloaks, Egyptian, 101 Costume, Gallic, illustrated, 105 Colbert, 97, 98 Costume, Gallo-Roman, illustrated, 105

Collar, flat, 116 Costume, Greek, 103-104 Cold color, 63 Costume, Homeric, 103 Collection, documents, 36 Costume, illustration. Preface Collection, swipe ,36 Costume, Louis XIV, illustrated, 115 Color, 61-71 Costume, Louis XV, illustrated, 117, 118 Color, applying, 9, 70-71 Costume, Louis XVI, illustrated, 119 Color, binary, 63 Costume, Ix)uis XVIII, illustrated, 121 Color chart, 65-66 Costume, Louis Philippe, illustrated, 121 Color, complementary, 63 Costume, masculine, British or English, 120 Color, Dr. Frank Crane, 67-70 Costume, INIinoan or Mycenaean, 103 Color, intensity or chroma, 62 Costume, Pre-Hellenic, 103 Color, materials, 65, 70, 71 Costume, Restoration, illustrated, 121 Color, normal, 63 Costume, reference books, 127, 128 Color, primaries, 63 Costume, Roman, 104-105 Color scale, 63 Costume, Romantic Period, illustrated, 121 Color schemes, 67 Costume, Watteau, illustrated, 117 Color, significance, 66, 67 Costumes, Restoration, illustrated, 121 Color sketch, 6 Costumes, 2d Empire, illustrated, 122 Color, tempera, 9 Cotte, 110 INDEX Page One Hundred Ninety-three

Crane, Dr. Frank, color, 67-70 Dress, Consulate, 120 Crayon, pencil, 48, 50, 51, 124 Dress, 18th century, 117-121 Crepe, illustrated, 5 Dress, 18th century illustrated, 117, 118, 119 Cromwell, Oliver, 116 Dress, Egyptian, 92, 101, 102 Cromwcllian period, 86 Dress, 11th century, 108 Crown, red, 102 Dress, First Empire illustrated, 120 Crown, white, 102 Dress, 14th and 15th centuries illustrated, 110 Crusades, 95, 108 Dress, loth century, 111 Dress, Greek, 92 Dancing girls, Egyptian, 102 Dress, Louis XIV, illustrated, 115 Dark Ages, Egyptian, 101 Dress, Louis XV, illustrated, 117, 118 David, Jacques Louis, 87 Dress, Louis XVI, illustrated, 119 Decorative detail illustrated, 44, 45 Dress, Louis XVIII, illustrated, 121 Decorative fashion work illustrated, 44, 45 Dress, Louis Philippe, illustrated, 121 Decorative half-tone, 56 Dress, 19th century, 121 Decorative p>en and ink, 40 Dress, parti-colored 93, 109, 110, Decorative pen and ink, illustrated, 53 Dress, Restoration illustrated, 121 Decorative treatment, 38 Dress, Roman, 93, 104, 105 Department store advertising, 39 Dress, Romantic Period, illustrated, 121 Design, adaptation illustrated, 91, 75, 76 Dress, second Empire, illustrated, 122 Design, costume, 75-79 Dress, 16th century, 113, 114 Design, fundamentals of, 65 Dress, 17th century, 116 Design, influences, 91 Dress, 12th century, 108 Design, primitive, 91 Dress, 13th and 14th centuries, 110 Design, sources, 76-78 Dress, Watteau, illustrated, 117 .Design, symbolic significance, 91 Drian, illustration. Frontispiece Designers, 6 Drian, 47, 54 Detail, decorative, illustrated, 44, 45 Dryden, Helen, 16, 47, 54 Detail, illustrated, 42 Dryden, Helen, illustration, 16, 24 Details, 5-6 Du Maurier, George, 88 Diana, Dutchess of Valentinois, 113 Dunlop, J. M., Preface, 14 Directoire, 98, 120, 121 Diirer, Albert, study of hands, 19 Directoire and Empire design, 98 Durer, Albrecht, 38 Directoire costume, illustrated, 119 Diirer, Albrecht, illustration, 85 Directoire period, 97 Duval, Preface Directorate, 87 Dyes, ancient, 92 Directory, 121, 122 Documents, 36, 86 Early fabrics and designs, 91 Documents, use illustrated, 37-38 Early Renaissance costume, illustrated, 112 Dominant harmony, 62 East India Company, 97 Doric chitoU; 103 East, influence of, 91, 93 Dotted materials, 37 Eastern character, 97 Double complementary harmony, 65 Eastern design, 91 Doublet, 114 Editorial, magazine, 56 Dow, Arthur, 30, 52, 53 Editorial, magazine, illustrated, 44, 45 Drapery, 38 Editorial, magazine color, illustrated, 62 Drapery, illustrated, 85 Editorial, newspaper, 46 Drawing, without models, 13-23 Editorial, pen and ink, 38, 39 Drecoll, 6 Egyptian costume, 101, 102 Dress and History, 3d to 11th Century, 106-107 Egyptian costume illustrated, 92, 101, 102 Page One Hundred Ninety-four INDEX

Egyptian dress, 92, 101, 102 Fontanges, Mile, de, 97, 116 Egyptian emblems, 102 Fourteenth century dress, 110 Egyptian fabrics, 91, 92 Fifteenth century, reference books. 111 Egyptian, Old Kingdom, 101 Fourteenth and fifteenth century, dress illustrating, Egyptian symbols, 102 110 Eighteenth century, 86, 88 Formal arrangement, illustrated, 94 Eighteenth century, costume reference books, 116, 123 Forms, 1-3 Eighteenth century costume illustrated, 117, 118, 119 Forrester, Fern, 54 Eighteenth century dress, 117-121 Francis, 6 Eighteenth century, late, illustrated, 119 Francis I, 95 Eleventh century costume, illustrated, 107 Francis I, King of France, 113 Eleventh century dress, 108 Fragonard, 86 Elizabeth, Queen of England, 97, 113 Franks, 107

Elizabethan collar, 86 Front view, form illustrated, 1, 2, 3, 4 Elizabethan era, 85 Fur, 38 Ellipse, constructing, 36 Furs, decorative illustrated, 45 Ellipse, construction illustrated, 37 Furs, realistic method illustrated, 47 Emblems, Egyptian, 102 Embroidery, illustrated, 42 Gainsborough, 86 Embroidery, wash work, 38 Gallic costume illustrated, 105 Empire, 88, 122 Gallo-Roman costume illustrated, 105 Empire costume, 98 Gathers, 38 Empire, 1st, 123 Gathers, illustration, 5 Empire, 2d, 122 Gauls, costume, 105, 106 Empire style, 87 Gauls, history and dress, 105, 106 Enlarging, illustrated, 29 Gauls, reference books, 106 Ert6, 42, 47, 54 George I, George II, and George III, 117 Ert6, illustrations, 44, 45 George III, 87 Etching, 54, 60 George IV, 121 Girdle, Greek, 103 Fabric, classification, 96 Globes, Egyptian, 102 Fabric, documents, reference to, 131-133 Gloves, 107 Faces, 16-18 Gold thread, use of, 95 Fans, 116 Golden Age, 103 Feathers, realistic treatment, illustrated, 47 Gorget, illustrated, 83 Feature cut illustrated, 50 Gothic architecture, 84 Feet, 19 Gothic tapestry, illustrated, 84 Fichu, 107 Greek Classic Period, 103 Fifteenth century, 84, 85 Greek costume, 103, 104 Fifteenth century dress. 111 Greek costume, illustrated, 103, 104 Fifteenth century dress, illustrated, 110 Greek Doric dress illustrated, 92 Fifteent century reference books, 111 Greek dress, 92 Figure, 13-23 Greek girdle, 103 Figured material, illustrated, 5 Greek history and dress, 103, 104 First Empire, 123 Greek Influence, 91 First Empire fashions illustrated, 120 Greek Law, 6, 27, 28 Flowered, material, illustrated, 5 Greek Law, illustrated, 27 Flowered materials, 37 Green, Elizabeth Shippen, 16 Fontange headdress, 116 Greenaway, Kate, 16, 87 Fontange headdress, illustrated, 115 Greenaway, Kate, style illustrated, 87 INDEX Page One Hundred Ninety-five

Hair, 18 Homeric costume, 103 Hair, illustration, 18 Hoop, 117 Half-tone, see Wash references. Horizontal lines, 65 Handkerchiefs, 107 Houppelande, 96, 110 Hands, Frontispiece, 8, 19 Houppelande, illustrated, 84, 110 Hands, illustration, 7, 18, 19, 20 Hue, 61 Harmonies, 62-63 Harmonies of difference, 65 Imagination, 77 Harmonies of likeness, 62 " Impossibles," costume illustrated, 119 Harmony, 65 " Incroyables," costume illustrated, 119 Hat, design illustrated, 75 " Incroyables," "uniniagineables," " merverilleuses' Hats, 6 and "impossibles," 121 Hats, designing, 78, 79 Indian lawns, 122 Hats, illustration, 8, 24, 79 Indian shawl, 98 Hatton, Richard G., Preface Individuality, 43, 45, 52 Head, 13, 14 Influences in design, 91 Head, illustrated, 17 Ink, 42 Heads, 16, 17 Intensity, laws governing, 65 Heads, children, 16 Interregnum, 116 Headdress, Fontange, 116 Ionic chiton, 103 Headdress, Fontanges, illustrated, 115 Italian 14th century costume illustrated, 93 Headdress, hennens, 110 Headdress, horned, 83 Jabot, 116 Heading, illustrated, 54 Jackets, 123 Headings, 42 Jacobean, 97

Hem, illustrated, 27 James I, 86

Hennin, headdress, illustrated, 110 James I, King of England, 114 Hennins, 110 James II, King of England, 116 Henry II, 97 Japanese prints, 44, 47 Henry VIII, 85 Jeanne d'Arc, 96 Henry VIII, King of England, 111 Josephine, 121 Heraldic forms, 95 Jumping, illustrated, 22 Himation, Greek, 93, 103 Hispano-Moresque fabrics, 95 Kerchiefs, Egyptian, 102 Historic costume, 101-123 History and dress, Gauls, 105-106 Lace, illustrated, 42 History and dress, Greek, 103-104 Laces, 37-38 History, Roman, 104 La Valliere, Louise, 97 History, 3d to 11th century, 106 Lawns, Indian, 122 History, 11th century, 107-108 Lawrence, 86 History, 12th century, 108 Laws for use of color, 65 History, 13th and 14th centuries, 108-110 Lay-out, illustrated, 41 History, 15th century, 110-111 Lay-out, finished, illustrated, 30-31, 35, 41, 47, 51 History, 16th century, 111-113 Lay-outs, 29, 30 History, 17th century, 114-116 Lay-outs, rough, illustrated, 29 History, 18th century, 117 Leaping, illustrated, 22 Hogarth. 96 Legs, 14 Holbein, Hans, 85 Lepape, George, 42, 54, 80 Holbein, Hans, illustration, 86 Lettering, book on, 36 Hollar, 86 Line cut, see Pen and ink references. Page One Hundred Ninety-six INDEX

Lines, 45 Monvel, Boutet de, 96, 111 Lord, Harriet, 34 Mosaic, Byzantine, 6th century, 131 Lotus, EgjTptian, 102 Moyen age, 83 Louis Philippe, 121, 122 Munsell, A. IL, 61 Louis Philippe costume illustrated, 121 Museum, Cooper Union, Coptic designs, 92

Louis XI, 95 Museum, Metropolitan, as a source of design illus- Louis XIII, King of France, 116 trated, 76 Louis XIV, 117 Museum, Metropolitan, Coptic room, 92 Louis XIV, King of France, 86, 96, 97, 116 Museum, Metropolitan, period dolls, 88 Louis XIV costume illustrated, 115 Museum Metropolitan, tapestry from, 84 Louis XV, 87, 97,98, 117 Musketeer boots, 116 liouis XV, costume illustrated, 117, 118 Muslins, 122 I^uis XVI, 87, 97, 98, 117, 120 Mycenaean costume, 103 Louis XVI, costume illustrated, 118, 119 Louis XVI, period of, 98 Napoleon, 87, 98 Louis XVin, 121, 122 NajKjleon Bonaparte, 121 Louis X\TII, costume illustrated, 121 Napoleon, Louis, 122 Lutz, E. G., Preface, 8 Napoleon III, 121, 122 Nattier, 86 Magazine, advertising, 57 Neilson, Kay, 42 Magazine, advertising illustrated, 53 Neutralization, 65 Magazine, editorial, 56 New empire, Egyptian, 101, 102 Magazine, editorial illustrated, 62 Ninth and tenth centuries costume illustrated, 107 Magazine, pattern drawing, 57 Nineteenth century, 87, 88 Maintenon, Madame de, 97, 116 Ninteenth century dress, 121, 123 Mantles, 118 Nocturne by Whistler as inspiration, 77 Margins, 6 Normal color, 61 Marie Antionette, 87, 98 Marie Antionette, strips, 98 Ogival forms, 94 Marie Louise, 121 Old Kingdom, Egyptian, 101 Marshall, Preface One mode harmony, 62 Martial and Armand, 6 Openings, 4 Materials, black, 37 Oriental characteristics, 97 Materials, color, 65, 70, 71 Oval, construction, 13, 14 Materials, for crayon pencil work, 51 Materials, wash, 48 Paenula, Roman, 104 McQuin, 47, 54 Paintings, having bearing on costume, 131-133 Medici, Catherine de, 97, 113 Paintings, having bearing on fabrics, 131-133 Medicis, Marie, 113 Paisley shawl, 98 Memling, Hans, painting of, 95 Palla, Roman, 104 Meredith, Owen, 88 Panier, 117 *' Marveilleuses,"costume illustrated, 119 Paper, carbon, 32 Method, catalogue wash method llustrated, 58 Paper, frisket, 32 Method, decoration illustrated, 44, 45 Paper, graphite, 32 Method of reproducing two colors, 68, 69 Paquin, 6 Method, realistic illustrated, 39 Parasol, illustrated, 38 Method, realistic treatment illustrated, 40, 46 Parsons, Frank Alvah, 30 Method, textile designing, 54-59 Parti-colored costume, 110 Monochromatic harmony, 62 Parti-colored costume illustrated, 109 Montespan, Madame de, 97, 116 Parti-colored dress, 95 INDEX Page One Hundred Ninety-seven

Parti-colored dress illustrated, 93 Problem, 45 Pattern drawing, magazine, 57 Puritans, 86 Pattern drawing, newspaper, 39 Pattern work, magazine illustrated, 50 Quaker, 86 Pattern work, newspaper illustrated, 48 Pen and ink, 38-47 Raeburn, 86 Pen and ink, black detail work illustrated, 40 Red, crown, 102 Pen and ink, black material illustrated, 40 Reducing, illustrated, 29 Pen and ink, catalogues, 40 Reference books, Egyptian, 102 Pen and ink, catalogue illustrated, 52 Reference books, Gauls, 106 Pen and ink, decorative, 40 Reference books, 3d to 11th century, 107 Pen and ink, decorative work illustrated, 53 Reference books, 11th century, 108 Pen and ink, illustrated, 46 Reference books, 12th century, 108 Pen and ink, magazine advertising illustrated, 53 Reference books, 13th, 1 tth, and 15th centuries. 111 Pen and ink, magazine work, 39-47 Reference books, 17th century, 116 Pen and ink, pattern work illustrated, 40, 52 Reference books, 18th century, 116, 123 Pen, ruling, 36 Reference books, 19th century, 123 Pens, 43 Regency, 117 Pencil crayon, 48 Religious orders. 84 Pencil, crayon, 50, 51 Rembrandt, 79 Peplum, 116 Renaissance, 85, 97 Period fabric design, 91-98 Renaissance costume, late, illustrated, 113, 114 Period, how influenced, silhouette, 83-88 Renaissance, early, costume illustrated, 112 Periods in designing, 77, 78 Reproduction, two color process, 68, 69 Periods, painting as references, 131-133 Republic, French, 122 Persian verdure, 96 Restoration, 122 Personal characteristics, 75 Restoration, costume illustrated, 121 Personality, 79 Reta Sanger, illustrations, 13, 43, 62 Pericles, age of, 103 Revolution, French, 98, 120 Perneb, 101 Reynolds, Sir Joshua, 86 Petit Trianon, 120 Rhythm, 65 Phrygean bonnet, 108 Richter, Preface Pilgrims, 86 Roman costume, 104, 105 Plaids, 37 Roman costume illustrated, 104 Plaids, illustrated, 41 Roman costume reference books, 105, 106 Plaids, shepherd, 37 Roman dress, 93 Plaids, shepherd's, illustrated, 42 Roman history, 104 Pleating, illustrated, 5 Roman palla, 104 Plaits, box, 38 Roman poenula, 104 Plaits, side, 38 Roman toga, 104 Pleats, Watteau, 118 Roman tunic, 104 Poiret, Paul, 6 Romantic period, 122 Pompadour, Marchioness de, 87, 98, 117 Romantic period, costume illustrated, 121 Pompadour stripes, 98 Romney, 86 Poor, Henry A., 30 Ross board, 31 Pre-Hellenic costume, 103 Ross board, illustrated, 33 Premet, 4 Royal gardens, 97 Priests, 102 Rubens, 86 Primaries, colors, 61 Ruff, 114 Primitive design, 91 Running, illustrated, 22 Page One Hundred Ninety-eight INDEX

Saint Catherine, betrothal of, 95 Spotting, 53 Scale, in design, 79 Squares, ruled, 32 Scale of color, 61 Standing illustrated, 22 Scroll motif, illustrated, 94 Steinmetz, 55 Sculpture, Greek and Roman, 131 Steinmetz, E. M. G., illustration, 56, 60 Second Empire costumes, illustrated, 1?2 Stipple, 34 Senger, Reta, 13. 43, 54, 64 Stipple, illustrated, 34 Seventeenth century, 86 Stitching, 38 Seventeenth century costume illustrated, 114 Stitching, illustration, 5 Seventeenth century dress, 116 Stock, 116 Shade, 61 Stockings, 110 Shakers, 87 Straps, Egyptian hanging, 102 Shawl, 122 Stripes, 37

Shawl, Indian, 98 Stripes, illustrated, 5, 41 Shawl, Paisley, 98 Stripes, Marie Antoinette, 98 Shawls, 123 Stripes, Pompadour, 98 Shepherd kings, 101 Surcot 110 Shepherd plaid, 37 Surcot, illustrated, 95, 109 Shoes, 19, 22 Swastika, 91 Shoes, illustrated, 7, 18, 34, 35 Swipe collection, 36 Side plaits, 38 Swipe collection, illustrated, 37, 38 Significance, color, 66, 67 Symbols, Egyptian, 102 Silhouette, 34-36 Syrian weavers, 93 Silhouette, fashion, 83 Silhouette, half-tone, illustrated, 43 Tapestries, Gothic, 83, 84 Silhouette, illustrated, 36, 87 Theatrical illustration, 6 Silhouette, period illustrated, 86 Theory, color, 63 Silhouette, value of, 83 Third to eleventh century dress, 106, 107

Silks, oriental, 122 Thirteenth and fourteenth century costume illus- Silver print, 32 trated, 109 Sixteenth century, 85-86 Thirteenth century dress, 110 Sixteenth century costume illustrated. 111, 112 Thirteenth century reference books, 111

Sixteenth centur j"^ costume reference books. 111 Technique catalogue illustrated, 30, 31, 35, 41 42, Sixteenth century dress, 113, 114 47,51,52,58 Sixteenth and seventeenth centuries, 97 Technique, color, 9 Sketch, dressmaker's, 9 Technique, crayon pencil, 50

Sketch, manufacturer's, 9 Technique, crayon pencil illustrated, 7, 59, 124 Sketching, 10 Technique, decorating, 40

Sketching, for manufacturer , 4 Technique, decorative, illustrated, 44, 45, 53 Sketching, garment, -5 Technique, decorative half-tone illustrated, 56

Sketching, life, 7 Technique, detail, 37-38 Sketching, memory, 4 Technique, detail, illustrated, 42 Slashed costumes, 113, 114 Technique, mechanical, see Ben Day, Air Brush, Sleeves, 88 Silver Print, Ross Board, etc. Smith, Jessie Wilcox, 16 Technique, pattern pen and ink, 40 Soulie, 54, 124 Technique, pen and ink, 38-41 Spatter work, 31,32 Technique, pencil, 3 Spatte- work, illustrated, 33 Technique, realistic, illustrated, 35, 42, 47, 51 Split complementary harmony, 65 Technique, silhouette, 34-37 Sport suit, 54 Technique, sketching, 3-10 INDEX Page One Hundred Ninety-nine

Technique, stipple, 34 Vanderpoel, J. H., Preface, 19 Technique, wash, 47-50 Van Dyke, 86 Tempera, show card colors, 71 Valasquez, 86 Tertiary colors, 61 Vertical lines, 75 Textile designing, 54-57 Vertugale, 113 Textile designing, illustrated, 55 Vest, 116 Texture, of paper, 32 Victoria, 121 Textures, 37, 38 Vignette, illustrated, 39 Tint, 61 Vulture, Egyptian, 102 Toga, Roman, 104 Tone, 61 Waist, normal, 122 Toothpick construction, 22 Waistcoat, 116 Toothpick construction, applied, 23 Walking, illustrated, 22 Torso, 14 Warm color, 61 Tracing, 32 Wash, advertising, 47-48 Transferring, 32 Wash, catalogue, 48 Transaction, period, 97 Wash, decorative, 48, 50 Treatment, decorative, 38 Wash, editorial, 47 Triad harmony, 65 Wash, layout illustrated, 41 Triangular erection, 101 Wash, materials, 48 Trianon, Petit, 120 Wash, methods, 49-50 Trimmings, 37 Wash, pattern, 47 Trimmings, illustrated, 5 Wash, pattern work, 48 Trunk motive, illustrated, 94 Wash, realistic, 48 Tucks, 38 Wash, sketching, 48 Tucks, illustration, 5 Wash work, 47-50 Tulle, illustrated, 9 Watteau, 86 Tunic, Roman, 104 Watteau costume, illustrated, 117 Twelfth century, costume illustrated, 109 Wattean plait, 118 Twelfth century, dress, 108 Watteau styles, 120 Weaving, 93 Underwear, illustrated, 52, 64 W^eeks, illustrated, 3 White, Chinese, 37 Valliere, Mile, de la, 116 White, crown, 102 Value, 62 William IV, 121 Value, color, 66 William the Conqueror, 107 Values, 52 Wimple, illustrated, 83 Vanderpoel, illustration, 20, 21 Women, Egyptian, 102 » 17 4

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