fcolitan Museum of Art, New York _< > i
Made possible by a grant from Merle Norman Cosmetics
Text by Paul M. Ettesvold Ajustant Curator, The Costume Institute
THE METROPOLITAN MUSEUM OF ART, NEW YORK Published by The ¿Metropolitan Museum ot Art, New York Bradford D. Kelleher, Publisher John P. O'Neill, Editor in Chief Polly Cone, Emily Garlin, Editors Roberta Savage, Designer Carole Lowenstein, Cailigrapher Typeset by Westchester Book Composition Printed by Colorerait Lithographers, Inc. Color photography by Lynton Gardiner, Photograph Studio, The Metropolitan Museum of Art Copyright Ê 1981 bv The Metropolitan Museum oi Art ISBN 0-87099-296-1
¿Many people have helped gather the art objects together for this exhibition, both from European and ¿\mencan museums and from private collections. A special debt ot gratitude is owed Ingrid Bergman, the Nordiska ¿Museum; ¿Mogens Bencard, the Rosenborg Palace; ¿Madeleine Delpierre, ¿Musée de la ¿Mode et du Costume; Yvonne Deslandres, Union Française des ¿Arts du Costume; Nadine Gase, ¿Musée des ¿Arts Décoratifs; Bianca du Mortier, the Rijksmuseum; Richard Robson, Castle Howard; Ann Coleman, The Brooklyn ¿Museum: Adolph Cavallo, the Philadelphia ¿Museum of Art; Claudia Kidwell, the National ¿Museum of American History. ¿Metropolitan ¿Museum colleagues have been extremely generous with their time and knowledge, particularlv Clare Le Corbeiller, -Alice Zrebiec, Jean ¿Mailev, James Draper, James Parker, Helmut Nickel, Katharine Baetjer, David Kiehl, Carol Cardon, ¿Mark Cooper, and Lynton Gardiner. I am personally very grateful to Lindsay Sourter, my research assistant, who was untiring in her efforts to complete the catalogue entries. Above all, I thank Stella Blum, curator of the Costume Institute, for her constant support and encouragement of this project.
P.M.E.
On the cover: Brocaded silk ball gown. French, about 1770. The Metropolitan ¿Museum of ¿Art. Purchase, Irene Lewisohn Bequest, 1961. CI. 61.13.lab Back cover: (T^/Zi''-patterned silk taffetà. Detail ot an afternoon dress. French, about 1770. The Metropolitan ¿Museum of Art. Purchase, Irene Lewisohn Bequest, 1960. CI 60.40.2ab Above: Brooch pendant of diamonds set in gold. Portuguese, early 18th centurv. The ¿Metropolitan ¿Museum of ¿\rt. Gift ot Marguerite\McBey, 1980. 1980.3-43.9 Right: Satin-striped silk faille evening gown spot brocaded with flowers and leaves. English, 1770. The ¿Metropolitan ¿Museum of Art. Purchase, Irene Lewisohn Bequest, 1962. CI 62.29. lab Contento Foreword Philippe de Montebello 4 Foreword Stella. Blum 4 Introduction Diana Vreeland 5 The Eighteenth-Century Woman 6 Checklist 20 Lenders to the exhibition 62 Staff of the Costume Institute 62 Exhibition staff 63 Volunteers for the installation 64 Volunteers for restoration 64 Fore ivo re) Fore ivo re)
The eighteenth century before the outbreak of the French The eighteenth-century woman — what made her unique Revolution was a time marked by extravagance and and how does she differ from women ot other times? splendor in the lives ot the elite. It was also an era of great Women have always been aware of the power of change — a time during which science and economic theory their femininity, but never has womanly wile been applied flourished along with the currents of radical thought that with such grace, subtlety, and ultimate success as it was were to bring down the monarchy. It is a paradox that the during the eighteenth century. With her hips expanded by century was profoundly feminine in its character. Women panniers, waist made small by corsets, and breasts pushed were involved in all aspects ot the arts, politics, and high above a low décolletage, the eighteenth-century intellectual life. For women ot the upper class, fashion was woman appeared supremely feminine, submissive, a marter ot primary concern, and it is, therefore, through dependent, defenseless. She was, however, a torce cloaked fashion that one learns so much about daily lite during the in silks, ruffles, tringes, artificial flowers, and laces. ancien rèo ime. Beyond herself, the woman of the eighteenth centurv The ¿Metropolitan ¿Museum has been collecting went on to spin a web that included her surroundings. Bv French costumes and accessories since the turn ot the degrees, she softened and shaped her environment. She century and has one ot the most comprehensive collections made her apartments, salons, and boudoirs, and their in the world. It is, then, no surprise that the current furnishings an extension ot herself — scaled to her size and exhibition, The Eighteenth-Century Woman, is a decorated to her taste. So persuasive was the charm and remarkable selection ot riches culled trom the Costume grace ot the atmosphere she created that men became Institute's vast holdings and augmented with paintings, willing complements to her in appearance, manners, and sculpture, other costumes, and decorative arts from other movements. On easy terms with men, the eighteenth- departments and collections. In view ot Diana Yreeland's century woman won their respect and through artful long career in fashion, it is most appropriate that she maneuvers and calculated coquetries became a profound should select eighteenth-century costume as the theme ot influence on the politics, economics, and aesthetics of her her tenth consecutive exhibition at the -Museum. The era. eighteenth century was, ot course, the era during which In our exhibition, the beautiful costumes of opulent women surpassed men in the richness ot their dress. ¿Mrs. brocades, luxurious satins, and delicate taffetas, along with Vreeland, as special consultant to the Costume Institute, their exquisite trimmings, help to provide us with an has brought her own sense ot style and her highly insight into the silken strategy with which remarkable developed eye to bear in the new exhibition, and she eighteenth-century women molded their centurv in their presents the eighteenth century as it was — intimate, own image. intriguing, and splendid. Mrs. Vreeland was aided in this endeavor by Stella Blum Stephen Jamail, her special assistant, and by designers L tirator Jeffrey Daly and Maureen Healy. Paul Ettesvold, assistant The Costume Institute curator in the Costume Institute, performed a crucial role as coordinator ot the exhibition and principal author of this publication. Stella Blum, curator ot the Costume Institute, was deeply involved in every aspect ot the exhibition and in all the careful preparations that surrounded it. Elizabeth Lawrence, master restorer, accomplished with her usual finesse the task ot recreating the original silhouette ot all the eighteenth-century costumes in the ¿Museum's collection.
Philippe de Montehello Director The Metropolitan Muoeuin ot Art Introduction
The fortunate few of the eighteenth century dreamed and Lady ¿Mary Wort ley ¿Montagu, who journeyed into lived and danced in one ot history s most glorious periods. remote parts ot ¿\sia and went twice around the world \Ye are, ot course, talking ot the survivors — who are the alone. only interesting people ot any era. The marquise — the beloved Pompadour — who was The century burst like a rose and spent itself painted wearing gowns ot café-au-lait-colored silk and lavishly, blowing its vitality in a strong and beautiful wav surrounded bv flowers, or in Turkish pants while planning all over the Western world. It was a century of quality, and directing more palaces and gardens and lovely rooms artistry, precision, and scholarship. Light, opportunity, and filled with exquisite Sèvres porcelains. exultation were everywhere. The architecture, the The grand and dignified Georgiana, Duchess of porcelains, the gardens were sublime; every teacup and Devonshire, presented to us by Gainsborough walking even- flower was very special. The colors were clear and through her vast estates. clean — exquisite greens, porcelain pinks, and the Emma Hamilton, who, while living in Naples, drew wonderful blue that France has always been famous for. all men and women to her feet by her incredible beauty- Our own concepts of architecture and decoration and her amazing postures and poses, through which she were established in the eighteenth century. The interiors, became a living work ot art. the arrangements of the furniture, and the furniture itself The ¿Marquise du Châtelet — beautiful, erudite — who were really all the tirst bloom of the wav we live todav, read and wrote both Latin and Greek and was mistress of though we live much less lavishly. The comfort with which the beloved Voltaire. They say when she visited the king we live, the way a house is organized, the living in it, and she pointed her nipples with two large rubies — much to the care ot it were all creations of those days. Do vou her sovereign's delight. realize what a house was before the eighteenth centun'? It ¿\nd all the while, Catherine, empress ot all the was huge — enormous and dark — with no halls. You went Russias, was buying entire libraries and great collections of from room to room to get to a room and suffered drafts art — creating an empire for the land she adopted with and cold. such grace and passion. In the sixteenth and seventeenth centuries women These women lived in a world ot promise, optimism, definitely had power — if those around them were powerful and possibility. They had their dreams — as all women of and rich. But in the eighteenth century, women often all times have had — but they dreamed ot a world of found their way alone and with greater ease, as their talent independence and privilege, and proceeded to create it was recognized and needed. They wrote books; they themselves. administered huge estates; they ran small businesses; thev created salons where intellect and revolution found a place Diana Vree la ná tor expression; they ran convents, which were small Special Consultant worlds where women could live in great protection; and, The Costume Institute of course, some women ruled great nations. Women lived in towns and cities with new privileges. They dressed in the beautiful silks, linens, and muslins that we wear today. They pranced through the minuet, a very special dance that the partners had to know totally, for there was nothing haphazard about dancing — or living — in those days. This world of the Rococo and the Baroque was also a time of revolution. But revolution is a part of life; it helps convert the possible into the real. ¿\nd women particularlv are alwavs having revolutions of sorts. Visualize some ot the many colortul women, these tireless letter writers and avid travelers ot the world:
235242 5 The Eighteenth-Century Woman
The memoirs of sun-ivors of the French Revolution are filled with nostalgia for the lifestyle of beauty and elegance that had been destroyed by the mobs. Even Talleyrand, who went on to have a glorious career under Napoleon, once said that no one who had not experienced the ancien réqime could realize how pleasant it had been. Today one need only visit the galleries of any major museum to become familiar with the paintings and porcelains made for the favorites of the Rococo kings. Period rooms with their caned boiseries and gilded furnishings invite the viewer to imagine himself in those settings. Portraits ot court beauties and statesmen give one these people's physical likenesses, just as memoirs and journals regale readers with anecdotes of the writers' daily lives. ¿Although art and literature tell us a great deal about the eighteenth century, for manv people they are removed trom the human element; it is sometimes difficult to imagine that a Sèvres cottee sen-ice exhibited in a vitrine was used in daily life. The art form that possibly reveals the most about what people were like in the eighteenth century is costume. Of all the decorative arts, it is the most comprehensible to even-one, tor, although fashions change, the choices and necessities involved in dressing oneself are experienced bv everyone daily. During the reign of Louis XIV ( 1643- 1715) France consolidated her role as the international leader of fashion, a distinction that has only recently been seriously- challenged. The ostentation displayed at the Palace ot Versailles, where the Sun King assembled his nobility in indolent splendor, set the tone for the succeeding regimes. The shrewd policies ot the king's finance minister, Jean- Baptiste Colbert, promoted the textile and luxury trades, Above: Figure 1. Base ot gaming bag. Blue velvet couched in gold and silver threads with the royal arms of France and Navarre. establishing French fashion on a solid foundation that has The small L between the cartouches may stand for Louis XV. outlasted wars and governments for almost three hundred French, mid-eighteenth century. The ¿Metropolitan ¿Museum of years. The eighteenth century was a period of unbridled Art. Gift of ¿Mrs. Edward S. Harkness, 1930. 30.135.178 luxury and hedonism mixed with great economic prosperity and radical philosophical ideas. ¿Although Opposite. Figure 2. Left: Olive-green silk day dress (casaquin and petticoat). Italian, about 1740. The ¿Metropolitan ¿Museum of Art. France was the wealthiest country in Europe, she Rogers Fund, 1926. 26.56.47a-g. Right: Blue and silver experienced, as the century progressed, a gradual brocaded afternoon dress (robe solante). French, about 1750. The weakening of her colonial empire and a decline in her ¿Metropolitan ¿Museum of .Art. Gift of the Estate of Annie-May position in international affairs. ¿Members of societv, Heseman, 1950. CI 50.40.9 however, were not concerned with matters of policv; their primary occupation was the pursuit of a life of wit and style — an escape from boredom at all costs. From Lisbon to St. Petersburg, aristocrats and the newly rich bourgeoisie were ardent Francophiles who .
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^J* -<%'-S —,. -* -- -"i'' ; t?C%"V^ IM * n^' i?-o , ^>MX <$ Opposite: Figure 3. Left: Green silk brocaded evening gown (role à la française). French, about 1770. The ¿Metropolitan ¿Museum of An. Rogers Fund, 1932. 32.35.2ab. Right: White silk taffeta formal dress (rohe à la française) with woven and handpainted design in green. French, about 1778. The ¿Metropolitan ¿Museum ot Art. Purchase, Irene Lewisohn Bequest, 1954. CI 54.70ab Below: Figure 4. Two women of the late seventeenth century with their hair dressed in the tontanpes. From Maurice Leloir, Hwtotre du costume de l'antiquité à 191-i. vol. 10. Paris, 1935
avidly followed French fashions. They were prepared to somber colors and modest necklines. She was followed in spend a great deal ot money on their clothes, their motto these tastes by older women, but the younger ones rebelled being, "Thy habit should be as costly as thy purse can and exaggerated the shapes of their dresses. The bodices buy." The cost of clothes in the eighteenth century lay- were tight and narrow, with a split overskirt drawn back almost entirely in materials; tailoring and the construction and pinned up over a hip pad or cul de Parú<. The cone- ot dresses was still a rather elementan- business and shaped petticoat thus revealed was riotously trimmed with represented only a small part of the total cost of a man's flounces and embroideries, most often applied horizontallv. suit or a lady's court dress. ¿Most ot the fabrics we are These gowns must have been heavy and tiresome to wear familiar with today — with the obvious exception of man- for long periods. The narrow look of this costume was made fibers — were in use in the eighteenth century. further emphasized by tall ribbon-and-lace coiffures called Cotton was the most revolutionary textile. It began as a the tontanpes ( Figure 4). ¿-\ minor mistress of Louis XIV, the luxury fabric and became universally available by the end of the century'. The Industrial Revolution in England introduced a number of inventions that helped to ease the production ot textiles throughout Europe: the flying shuttle (1733), the spinning jenny (1765), the power loom (1785), and improved knitting machines. Costume also gained a wider range of colors and tints because of strides in the sciences ot optics and color. By our standards, women's fashions in the eighteenth century evolved very slowly. The fabrics, colors, and elaborate trimmings changed often, but the basic sculptural form ot the dresses women wore stayed practically the same for years at a time. Four basic silhouettes predominated: the narrow bustle gown of the late seventeenth century; the flowing sacque gown with cascading rear pleats, which prevailed from about 1720 to 1770; the English-inspired fashions of the 1770s and 1780s with their fitted backs; and the classically inspired tubular gowns of the last decade. The shape ot the cuff could be changed, the neckline could be altered, and panniers or hoops could be slightly modified without changing the basic dress, which was constructed either as one piece or, Duchesse de Fontanges, disheveled her coiffure while more often, as an overdress and petticoat. The shape of the hunting and tied her hair up with her ribbon garters. torso was achieved with the aid of a tightly laced cone- Considering that the duchess died in 1681, the ston- mav shaped corset that pushed the breasts up and tonvard. A be apocryphal, but, nevertheless, her name was applied to sturdy linen chemise, with trimmings ot lace or ruffles at the tall headdress of knotted ribbons and wired lace that the neckline and cuffs, was worn underneath. Drawers, or predominated for the next thirty years. The wired caleçons, were generally worn only by old ladies out ot headdress, worn at a sharp angle off the forehead, was prudishness or for extra warmth. Heavy petticoats also also known as a "commode." The Duc de Saint-Simon in helped to tight the chill and to support the overdress. his memoirs remarked that the commode put "the faces of Louis XIV loved splendor, magnificence, and the wearers in the middle of their bodies." The fashion extravagance in all things, and he inspired his whole court persisted in France until 1713, when a simple, flat head to indulge in luxuries — especially clothing. His morganatic covering w-orn by an Englishwoman, the Countess of wife, ¿Madame de ¿Maintenon, attempted to reform the Shrewsbury, caused a sensation and the tontanpes fell fashions at Versailles in the 1680s after her preference for from favor. Below: Figure 5. White China silk handpainted with floral sprays. the shoulders in voluminous folds, with the extra material Detail of a walking dress {robe à la polanaise). French, about 1780. at the back gathered into a series ol double box pleats. The ¿Metropolitan ¿Museum of ¿Art. Purchase, ¿Mr. and ¿Mrs. ¿Alan These gowns were variously called contouches, andriennes S. Davis Gift, 1976. 1976.146ab (after Terence's comedy Andria, in which the leading Opposite: Figure 6. Rose-colored silk taffeta afternoon dress (robe actress wore a maternity dress), or, later, robes solantes. retrousée dans Us poches) with chiné floral pattern. French, about Consen-ative and prudish older ladies like the dowager 1775. Anonymous loan. L 39.29.lab Duchesse d'Orléans found the sacque licentious. Here are the duchess's comments in a letter dated December 20, 1721, to her cousin the Princess of Wales:
The wide skirts which are worn everywhere are my aversion. They look insolent, as though one had come straight out of bed. .. . The fashion of the With the death of the Sun King in 1715, a radical beastly skirts first dates from ¿Madame de change occurred in French society. The regent, the Due ¿Montespan. She used to wear them when she was d'Orléans, a cultured man and a great lover of the arts, pregnant, so as to hide her condition. After the rejected the mien and manner of the consen-ative old king. King's [Louis XIV's] death, ¿Madame d'Orléans He devoted himself to an outburst of high living, which revived them again. had a considerable effect on aristocratic fashions. Ladies who had been wearing loose negligee gowns in the privacy of their apartments or for casual afternoons in their The skirts of the sacque were extended bv dome- gardens could now make loose fashions appropriate for shaped metal or whalebone hoops covered with linen. The general wear. The new sacque dress (Figure 2) hung from introduction of the hoop into France in the first decade of
10 / the eighteenth century is credited to either the English or the Spanish. The materials that were lavishly stretched over these hoops were lighter in weight than the tabrics used earlier and were bolder in pattern and color as well. Over the next twenty years the sacque evolved into the robe à la française (Figure 5). It was popularized by ¿Madame de Pompadour and became the most enduring feminine fashion ot the eighteenth century. As the stvle developed, the voluminous tolds ot the sacque gradually gave way to a defined waistline, which was pulled down into the corset in the front. The pleats at the back were sewn down a tew inches from the top and organized into crisp tolds. The sleeves were close-fitting to the elbow, where the pleated winged cuffs were replaced by- overlapping tiers ot ruffles that echoed the sleeve rutfles, or engageantes. In time, hoops became even more exaggerated, and elliptical in form instead ot round. Trimmings of lace and ruching and passementeries were concentrated at the neckline, down the front opening ot the dress, at the sleeve rutfles, and across the front of the exposed petticoat. A ladder ot ribbon bows called an eschcllc covered the stomacher, and ribbons were also worn on the sleeves, around the neck, and in the low, curled coiffure. With the ascension ot Louis XVI to the throne of France in 1774, women's fashions entered a cycle of innumerable changes. This was sparked by the extreme youth of the sovereigns and their intimates, who were tired of the formal rohe à la française and desired to create new silhouettes with an element ot fantasy. Anglomania, which had already affected men's clothes and the cut of ladies' riding habits, reached its greatest heights not only in fashion, but in the design ot the carriages, pavilions, and gardens ot the late eighteenth century. There was a return to a simpler, more primitive or natural life based on the writings ot the philosophes, especially Jean-Jacques Rousseau. The robe à l'anglaise (FigurelO), with its fitted back and cun_ed sides following the natural line ot the corseted waist, replaced the robe à ta française tor all but the most formal occasions. The bustle, seen in the early- years of the century, returned to extend the back ot the skirt, which was balanced by a scandalously low neckline, often covered with a plumped fichu that created the effect of a pouter pigeon. The skirt was worn short enough to expose the feet and ankles, a fashion that may have
12 Figure 7. ZW/: Yellow China silk taffetà walking dress (r<>¿f à ¿a polonaise). American, about 1778. The ¿Metropolitan ¿Museum of -Art. Gift of the Heirs of Emily Kearny Rodgers Cowenhoven, 1970. 1970.87ab. Ripht: Yellow satin walking dress (caraco and petticoat). French, about 1775. The ¿Metropolitan ¿Museum ot ¿Art. Gift of Irene Lewisohn, 1937. CI 37.57ab
originated with the ballet dancer s costume à la Camargo. If the skirt of the overdress could be pulled up on the inside by tapes to create a triple swag, the dress was known as a robe à la polonaise (Figure 7). (Costume historian François Boucher suggests that this term derives from the tripartite division of Poland in 1772.) ¿Another fashion popular in the last quarter of the century involved a hip-length bodice, or caraco (Figure / ), and a separate skirt. For daywear, the redingote dress, with its long sleeves and collar with revers borrowed from the tailored riding coat, was another tashion alternative. There was also a lévite, a long, straight morning gown secured at the waist by a loosely draped sash. Its name came from the costume of a Jewish cleric in a Theatre Française production of Racine 's Athalie. ¿As each new fabric, color, and garment appeared, it was given a fanciful name taken from the theater, current events, literature, music, or perhaps the country from which the French adopted it. For example, the color puce was named by Louis XVI, who thought it looked like the color of fleas! The trimmings of lace, fringe, silk flowers, ribbon, and metallic braid were also subject to the caprices ot the tashion leaders and were changed at an alarming rate. For the fashionable woman, having her hair dressed was one of her most important rituals and one that was very time-consuming. Hairstyles also reflected the events of the era and assumed enormous proportions in the reign of Louis XVI. Ladies wore towering replicas of sailing ships in their hair to celebrate the victory of the warship La Belle Poule on June 17, 1778, during the American Revolution. Sentimental pouts in the simple style endorsed by Rousseau were also popular; some of them represented pastoral scenes complete with farm buildings, cattle, and tiny people. The French Revolution completely overturned society, and fashions became politically svmbolic. It was 'fl dangerous to appear in public in silks and velvets, while •rn?/ f the red, white, and blue cockade was the badge of a good citoyen. ¿After the emotional strain and deprivations endured during the Reign of Terror, the French were ready to forget their problems and to celebrate the future. They turned to the styles and philosophy of the Greeks and Romans, a society completely different from the one Jfc they had just destroyed. The neoclassical current had been ^^M growing since the discoven- ot the ruins ot Herculaneum
15
Opposite: Figure 8. ¿Man's velvet formal coat embroidered with floral design. French, 1775-80. The ¿Metropolitan ¿Museum of ¿Art. Gift of Lily Dache, 1968. 68.45. Right: Figure 9. Detail of white satin vest embroidered with flowers and insects. German (?), about 1798. The Metropolitan ¿Museum of ¿Art. Gift of Lee Simonson, 1939. CI 39.13.150
in 1738 and the excavation of Pompeii in 1749. The "classical fever" infected the major and the minor arts in the late Louis XV and the Louis XVI periods. Many fashionable hairstyles, accessories, and costumes were called "à la Greque," although most of them bore little relationship to the ancient styles. The strongest classical influence showed in the popularity of white linen or cotton gowns (Figure 10). This was a fashion in the English taste that was popularized bv ¿Marie ¿Antoinette and her ladies as early- as 1778. ¿According to the painter ¿Madame Vigée-Lebrun, "the princesses were not remarkable when seated on the benches, being dressed in cambric muslin gowns, with large straw hats and muslin veils, a costume universally adopted by females at that time." The classical styles of the late nineties had slowly evolved out of the costumes of the previous two decades, with inspiration coming from the historicizing costumes in the paintings of Peyron and *À David and from the classically costumed actors like Lekain or ¿Mademoiselle Clairion. The "chemise dress" was basically a tube with a drawstring at the neckline, another at the high waistline, and short sleeves. The bustle continued to be worn for a m number of years, but it was positioned higher as the > waistline rose. Eventually the bustle disappeared and a train swept along the ground behind the wearer. Sandals, antique-style jewelry, Kashmir shawls, and classically' curled hairstyles completed the ensemble. ¿Men's costumes did not undergo the same great 4. changes in the eighteenth century. The essential -H components of today's man's suit were established during the reign of Louis XIV. They were a coat, a waistcoat, and knee breeches, which were worn with a white linen shirt with a ruffled front {jabot) and a pleated neckband * {rabat). The general lines of this costume became simplified as the century progressed, so that the early silhouette bears little relation to the suit worn during the Directoire period (1795-99). The areas of change in men's clothing were principally the coattails (Figure 8), the length of the waistcoat, the shape of the cuffs, and the types of fabrics employed. Coattails and cuffs became successively smaller, and the hem of the waistcoat rose from the knees to the ©r-à- V$/S waistline. Fabrics for men's clothes were similar to those used for ladies' dresses in the first half of the century: damasks, corded silks, and velvets for dress wear and gold and silver brocades for state occasions. Elaborate
15 •SA' embroideries along the borders of the garments (Figure 8) tashion of Europe in the eighteenth century: the ¿Marquise and special buttons enriched the ensemble. The decoration de Pompadour and the Comtesse du Barry, both mistresses used on the coat and waistcoat had become restrained by of Louis XV, and Queen ¿Marie ¿Antoinette, wife of Louis the 1770s, and the fabrics used for daywear became XVI. Of the three, ¿Madame de Pompadour was simpler and lighter in weight. One new addition to the the most enlightened patron and set her mark so firmly male wardrobe was the frock coat, or frac, which was on the Louis XV style that it is often called le style worn with a contrasting waistcoat and breeches and was Pompadour. She surrounded herself with the finest art the forerunner of the modern sports jacket. objects of the age — clothes, books, jewelry, porcelain, and For most of the eighteenth century, children were furniture. There was scarcely an eighteenth-century artist, dressed like miniature adults, complete with powdered poet, or philosopher of the first rank whom she did not wigs and tightly boned corsets. It was the new attitudes patronize lavishly. She imposed her exquisite taste on the expounded by Jean-Jacques Rousseau in his book Emile court, redecorating the royal apartments and châteaus all (1762) that freed children trom the constraints of adult with the same touch ot natural and delicate gaiety. costume. Rousseau had been influenced by John Locke's ¿Madame du Barry learned from her predecessor to emplov work Thoughts on Ecfucatum, in which the author only the best artists, which was fortunate, as she had a condemned the confining ot children in swaddling clothes nouveau ruhe taste for ostentation. However, in her day, or other restrictive attire. Little girls were now given when conspicuous splendor was the fashion, ¿Madame du simple frocks of linen or muslin girded at the waists with Barry's residences and gowns were considered magnificent. wide, colorful sashes. Little boys wore skirts until they Marie Antoinette had neither the beauty nor wit of were "breeched" at age five or six; then they were put into the previous fashion arbiters, and she did not understand short jackets and pantaloons or trousers, the latter being the responsibilities of her position. At times it seemed the taken from the common wear ol sailors and peasants. The only title she valued was that of fashion leader. Her new children's fashions foreshadowed the adult fashions influences on the decorative arts are best seen at the Petit that emerged later in the century. Trianon, with its classic interior and exotic gardens, and in her considerable wardrobe. ¿Marie Antoinette's taste The eighteenth century was very feminine in its vacillated with each new fad. With the help of her character, for it was an age when women were deeply- milliners and hairdressers, the young queen created involved in every facet of the arts, politics, and letters. If a fashions that were imitated by most other women and were woman was in society, one of her chief concerns was her ruinously expensive for all concerned. wardrobe. Being a fashion leader required a fortune — or The constant search for something new and won at least good credit — and, above all, distinctive taste. drous reveals a skepticism that pen-ades eighteenth- Unlike women of today, who can rely on their couturiers century ideas. La Bruyère in the sixth edition of his Les to present completed models, eighteenth-century women Caractères (1691) dryly anticipated the endless cycle of had to direct personally the fashions they wore. In fashion changes: consultation with her tailor or milliner a lady chose fabrics and trimmings and created a design for a desired costume. A fashion has no sooner supplanted some other By the end of the century, a few fashion journals were in fashion than its place is taken by a new one, which circulation and a small group of designers were beginning in turn makes way for the next, and so on; such is to assume a creative and dictatorial role over fashion. Rose the fickleness of our [French] character. While these Bertin, Quinault, Baulard, and Sarrazin were rivals for the changes are taking place, a century has rolled away, patronage of society and the court, and anecdotes of their relegating all this finery to the dominion of the past. fads and follies are recorded in the memoirs of the period. Unfortunately, we cannot attribute any sun-iving costumes Yet, despite the continually changing fashions, the to these designers' ateliers, as their works were not quality and beauty of the sun-iving eighteenth-century labeled. costumes are all the justification one need proffer in their Three women dominated French fashion and thus the defense. Bibliography Buck, ¿Anne. Dress in Eighteenth-Century England. London, Luynes, Duc de. ¿Mémoires sur la cour de Louw XV 1979. (1755-1758). 17 vols. Paris, 1860. Christensen, Sigrid Flammand. Kongedragterne Fra 17, og 18 ¿Mercier, Louis-Sébastien. Tableau de Paru. ¿Amsterdam, Aarhundrede. Copenhagen, 1940. 1783-88. Contini, ¿Mila. Fashion from Ancient Egypt to the Present Day. ¿Molesworth, H. K. The Golden Age of Princes. New York, 1969. New York, 1965. ¿Moore, Doris Langley. The Chile) in Fashion. London, 1953. Cunnington, C. Willet and Phillis. Handbook of'English Costume ¿Musée du Costume de la Ville de Paris. Elégances du XVIII' in the Eighteenth Century. London, 1964. siècle costumes françau< 1750-179-1. Paris, 1963. Davenport, ¿Millia. The Booh of Costume. Vol. II. New York, Payne, Blanche. History ofCostume. New York, 1965. 1948. Poignant, Simone. Les Filles de Louù AT7 l'aile des princes. De Afrasio, Roger, and Charles, ¿Ann. The History ot Hair. New Paris, 1970. York, 1970. Saint-Simon, Duc de. Mémoires. Edited bv M. Chéruel. Paris, Fletcher, ¿Marion. Costume am) Accessories in the Eighteenth 1900. Century. Melbourne: National Gallen- of Victoria, 1977. Yarron, A. "Children's Dress," Ciba Resiew 32 (April 1940). Johnson, ¿Allen. Dictionary of American Biography. New York, 1929. Vigée-Lebrun, Elisabeth. Memoirs. Translated bv Lionel Strachey. New York, 1903. Kroll, ¿Maria. Letters from Liselotte. New York, 1971. Waugh, Norah. The Cut of Women's Clothes 1600-1950. New Lacroix, Paul. The XVIIIth Century: Its Institutions, York, 1968. Customs an? Costumes. France, 1700-1789. London, 1876. Zwieg, Stefan. Marie Antoinette: The Portrait of an Average La Tour du Pin, ¿Marquise de. Journal à'une femme de Woman. New York, 1933. cinquante ans. Paris, 1914. Figure 11. Queen ¿Maria Leczinska, by Louis Toqué. Oil on canvas. French, 1740. Lent bv the ¿Musée National du Château de Versailles. SL 81.82.2 18 K * r â 2-4,] JV *AT \ J> Checklist of the Exhibition This gown, one of the finest surviving Jacket (casaquin) seventeenth-century costumes, is the most Dark brown silk damask trimmed with important European costume in the silver braid, foliate embroidery in Museum's collection. Though worn by a salmon-pink silk and silver metallic lady of the Wodehouse family of Kimberlev threads, silver metallic buttons, and House, Norfolk, the dress is French in cut, silver lace, with cuffs of pale blue, tan, with its straight skirt drawn in at the waist and cream silk floral brocade edged with and its fitted bodice looped up at intenals coral and white silk ribbon at the sides and held with small gold pins. Italian, 2nd quarter of 18th century The dress was supported by a bustle or The ¿Metropolitan ¿Museum ot An tournure, which concentrated the fullness Purchase, Catherine Brever Van Bomel at the center back. Similar gowns can be Foundation Gift, 1981 found in the dated Nicolas Arnoult costume 1981.2107 plates, although those examples are elaborately embroidered. The English love In the first half of the eighteenth century, of embroidery can be seen not only in ladies wore casaquim and petticoats for costume and accessories ot this period, but da\-wear as an alternative to the formal also in the upholstery and wall hangings robe à la française. The casaquin, or with which homes were decorated. An lacket, was cut like a dress but came onlv engraving of ¿Mary II by I. Smith after a to the hip. Usually the skirt was of a portrait by Yandenaart shows a similar contrasting material or color and ended at dress. The very early use ot a foliate the ankles. This popular costume was the rocaille pattern and the technical quality of basic ensemble tor ladies of the bourgeoisie the embroidery indicate that this dress is and for sen-ants. This Italian casaquin, the work ot a professional embroiderer once in the Simonerti Collection, Rome, is aware of the latest artistic currents on the an elaborate example of the style, which Continent — possibly one of the Huguenot enjoyed great popularity in Italy and is refugees who settled in England after the often seen in contemporary paintings. The revocation ot the Treaty ot Nantes in 1685. contrasting silk cuffs rounded at the edges were pinned back in imitation of gentlemen's cuffs of about 1725. The back Jacket (casaquin) ot the costume is fitted. Quilted white linen embroidered with polychrome silks in a floral and ribbon Formal Dress (robe volante) pattern, edged and laced under the Polychrome lace-pattern silk brocade on an sleeves with yellow silk ribbon îvon-colored ground in a floral, foliate, Swedish, late 17th century- and gourd design; stomacher Lent bv the Nordiska ¿Museum, Stockholm embroidered with multicolored silks and SL 81.91.6a WOMEN'S silver and gold metallic thread in a floral COSTUMES In the eighteenth century aristocratic and gourd design, edged with silver and Swedish ladies wore quilted jackets and gold metallic lace contrasting petticoats at home during the French, about 1725 Formal Dress long winters. ¿Many ot these garments were Lent by the ¿Musée des ¿Arts Décoratifs, Taupe-colored wool striped in mustard, embroidered by the ladies themselves, and Paris pink, henna, and indigo blue, with all were in bright colors, which helped to SL 81.84.lab silver-gilt embroidery in a keep the spirits up during months of cold conventionalized flower-and-scroll and snow. pattern English, about 1690 The ¿Metropolitan ¿Museum of Art Rogers Fund, 1955 53.54ab 20 ¿Afternoon Dress (robe volante) pannier ot canvas, wicker, or buckram hair. The closely woven fabric is nearly Pale blue and silver mirror-silk brocade in supported the heavy brocade skirt. A waterproof, an important consideration in a large floral and foliate pattern modesty piece edged with a lace "tucker" the English climate. The name "camlet" French, about 1730 was generally worn to hide the chemise. derives from either "camel hair" or the The ¿Metropolitan ¿Museum of .Art fabric's place of manufacture on the river Gift ot the Estate ot ¿Annie-¿Mav Heíeman, Day Dress (casaquin and petticoat) Camlet in England. 1950 Olive-green silk in a white floral pattern CI 50.40.9 Italian, about 1740 Day Dress (open robe and petticoat) Illustrated, page 7 The ¿Metropolitan ¿Museum of ¿Art Blue silk satin quilted in an allover pattern Rogers Fund, 1926 of squares interspersed with floral motifs Late in the reign of Louis XIV, loose- 26.56.47a-g English, about 1750 flowing gowns with pleats gathered at the Illustrated, page 7 The ¿Metropolitan ¿Museum ot Art back neckband were worn as undress wear Purchase, Irene Lewisohn Bequest, 1981 by daring ladies who liked the ease and ¿Afternoon Dress (robe à la française) 1981.152a-e comfort of this garment. The famous Cream-colored figured silk brocaded with actress ¿Madame Dancourt popularized polychrome silks in an allover floral Formal Dress (closed robe) these gowns by wearing one in Terence's pattern, trimmed with self-fabric ruching White satin brocaded in shades of red and Amaria, after which such gowns were and green and coral braid green in a pattern ot leaves and flowers often called andriennes. ¿As the stvle French, about 1740 with ogival stems developed the gathers were formalized by Lent by the ¿Musée de la ¿Mode et du English, about 1750 being drawn into one or more flat pleats, Costume, Paris The ¿Metropolitan ¿Museum of Art and a dome-shaped hoop or pannier was SL81.83.2ab Rogers Fund, 1936 worn to extend the material around the 36.145 wearer. When a lady moved, air was Petticoat trapped under the hoops and she appeared The suburbs of London, near Bishopsgate, Quilted green silk embroidered at the hem to be floating; thus the name robe solante. were the scene of a thriving silk industrv with yellow and white silks in a floral, This type ot dress is often erroneously- from the early eighteenth centurv on. The foliate, and rocaille border, with a called a "Watteau sack," despite the tact cloth, used principally for dress material, waistband of blue, white, and black that ¿Antoine Watteau had little to do with was made by journeymen weavers in an braid the creation or dissemination of the fashion. area called Spitalfields, a name that became Swedish, about 1750 According to the Mercure de France, by synonymous with the silks produced there. Lent bv the Nordiska ¿Museum, Stockholm 1729 robes solantes were "universellement Working in a dynamic tashion center so SL 81.91.6b en règne, on ne voit presque plus d'autres close to the London marketplace, the habits" (universally in vogue, one hardly designers of Spitalfields silks changed their ever sees any other kind of dress). Riding Coat patterns often. In the 1750s, when this Dark brown camlet with attached vest of dress was made, the silks were patterned Formal Dress (closed robe) light blue satin and matching collar and with garden flowers arranged on an open Brown satin with a lace pattern in beige cuffs, trimmed with gilt cord and brass ground in cuning Rococo forms. The wide and orange silks buttons hoops then in fashion would have shown English, about 1735 (remade later) English, about 1750 these materials to good advantage. The ¿Metropolitan ¿Museum of Art The ¿Metropolitan ¿Museum of Art Purchase, Irene Lewisohn Bequest, 1964 Purchase, ¿Mr. and ¿Mrs. .Alan S. Davis Ball Gown (robe à la française) CI 64.14 Gift, 1976 Cloth of silver with stripes ot blue silk and 1976.147.1 The closed robe was popular in England in gold tinsel, brocaded multicolored the second quarter of the eighteenth Riding habits tor ladies made their bouquets and chinoiserie motifs, and century. It had a close-fitting bodice, appearance during the reign ot Charles II. trimmings of metallic lace and deeply set sleeves with small winged cuffs, They were modeled on the male coat and polychrome silk ribbon rosettes and short, flat robings. The attached skirt waistcoat and were worn over a shirt or French, about 1755 was made with a short center fall gathered petticoat. This riding coat is made of The ¿Metropolitan ¿Museum of ¿Art at the waistband and tied behind the waist camlet, a fine fabric of mixed materials Gift of Fédération de la Soirie, 1950 inside the bodice. ¿A dome-shaped hoop or including wool, silk, and goat or camel's CI 50.168.2ab 21 Ladies of tashion changed their costumes -Afternoon Dress (robe à la française) Formal Dress (robe à la française) several times a day, but their most splendid Green and white patterned silk with foliate Azure-blue satin trimmed with selt-fabnc gowns were resened tor the evening — for meander interspersed with floral buds, ruching in a punched design going to dinner, to the opera, or perhaps to trimmed with self-fabric ruching edged English, about 1760 a ball and a late supper. ¿A ball gown ot with matching braid The ¿Metropolitan ¿Museum ot Art this quality would have been reserved tor French, about [757 Bequest ot ¿Mrs. Maria P. James. 1911 trulv ceremonial occasions. The cloth ot The ¿Metropolitan ¿Museum ot Art 11.60.232ab silver is brocaded with chinoiserie motits ot Gift of ¿Mrs. Robert Woods Bliss, 1945 ¿A formal dress was not considered finished a cuned palm tree and a pagoda CI 45.90.49 until it had been trimmed with robings interspersed with floral bouquets in the along the opening ot the bodice, down the style of Jean Pillement. The silver lace and Evening Gown (robe à la française) skirt tront, and along the edges of the twisted silk flower trimmings show the Light blue ribbed silk brocaded with pagoda sleeves. Robings ot gauze, ribbons, milliner s art at its most elaborate. French polychrome silks and gold and silver fringe, or silk flowers were supplied by a guild laws restricted the cutting and sewing metallic threads in floral and foliate milliner and could be very expensive, as of formal dresses to a male tailor and his motifs, trimmed with selt-tabric ruchings they were complicated and time-consuming assistants, but a milliner could trim gowns edged with matching fly fringe to make by hand. Further, ladies would as well as make headpieces. Louis- French, about 1758 update their gowns from season to season Sébastien ¿Mercier, in his Tableau de The ¿Metropolitan Museum of Art by changing the robings. This particular Paris, made the following observation on Purchase, Irene Lewisohn Bequest, 1962 dress substitutes tor fancy robings self- the collaboration ot men and women CI 62.28ab fabric ruching with a punchwork pattern tashion workers: "The seamstresses who cut Detail ot fabric illustrated, page 27 and pinked edge, made with an awl and a and sew the dresses and the tailors who sharp rolling wheel much like a pastry- make the stays and corsets are the masons Wedding Dress (mantua, petticoat, and cutter. The National Gallery of Victoria. of the edifice, and the marchand de modes court train) -Melbourne, has a similarly trimmed dress who creates the accessories that give the Light blue canneté-woven silk embroidered in bright canary-yellow corded silk, and final graceful touches is the architect and with polychrome silks in a floral and examples can be tound in British and decorator. foliate pattern, with a gold silk lace and American Colonial portraits. rocaille meander pattern, trimmed with pale pink braid Day Dress (robe à la française) Evening Gown (robe à la française) Dutch, 1759 Light salmon-colored silk taffeta with a Lavender silk faille with brocaded floral Lent bv the Rijksmuseum, Amsterdam chiné floral pattern in shades ot pink, bouquets in polychrome silks alternating SL81.93.a-c green, and brown; self-fabric trim with an ivory lace-and-flower meander, French, about 1755 In 1759, at age twenty-two, Helena Slicher trimmed with multicolored fly fringe, The -Metropolitan ¿Museum of Art married Baron Aelbrecht van Slingelandt ribbon ruching, and small silk flowers Gift ot Fédération de la Soirie. 1950 wearing this blue silk grand panier gown. French, about 1760 CI 50.168.1ab The wedding must have been very The ¿Metropolitan ¿Museum of ¿Art elaborate, tor no expense or effort was Purchase, Irene Lewisohn Bequest, 1959 Chiné taffetas were produced in France in spared in the construction ot this superb CI 59.29lab quantify beginning in the second decade ot gown with its mantua, petticoat, and the eighteenth century. They were "in rounded train. The elaborately embroidered Day Dress (robe à la française) imitation ot the Indian and Levantine' borders in gold silk rocaille patterns and Ivory-colored cotton printed with an allover fabrics — manv ot them ikats — that were the polychrome silk flowers, including the pattern ot chinoiserie flowering imported into Europe to satisfy the taste for Dutch tulip, were probably the work ot branches in shades of blue, brown, and orientalism. Many chiné garments were also Dutch embroiderers, though the designs red, trimmed with box-pleated self- called à la turque. The colored floral are heavily influenced by French models. fabric patterns were achieved bv dyeing the warp This is one ot the finest surviving dresses of French, about 1760 threads before the fabric was woven. This its kind, the only similar one being a 1744 The ¿Metropolitan ¿Museum of Art intricate and cumbersome process naturally wedding dress in the collection of the Purchase, Irene Lewisohn Bequest, 1964 made the fabric very expensive. Even Victoria and Albert ¿Museum. London. CI 64.32.5ab though the technical process is explained in Jonkvrouw Cathanna Isabella Six contemporan trade journals, modern fabric presented this wedding dress to the Ball Gown manufacturers have not been able to Rijksmuseum in 1978. A descendant of the recreate the finest chiné patterns. Beige ribbed silk brocaded with silver-gilt bride, she inherited the dress from her thread and polychrome silks in floral uncle, Higibert Chrétien Bosch-Reitz, sprays and serpentine meanders, Formal Dress (robe à la française) curator ot the Department of Far Eastern trimmed with gold and silver Clunv-tvpe Blue patterned silk brocaded with Art at The Metropolitan -Museum of Art lace and beige silk ribbon polvchromed silks in a floral and fruit from 1915 to 1927. French, about 1760 pattern, trimmed with self-fabric ruching edged with matching ribbon fly fringe The ¿Metropolitan ¿Museum of Art Italian, about 1755 (fabric about 1755) Gift of-Mrs. Hervev Parke Clark. 1961 The -Metropolitan -Museum ot Art CI bl.lbab Bequest of Catherine D. Wentworth. 1948 CI 48.187.709ab 99 Figure 12. Two brooches and a pair of earrings. Diamonds and rubies set in silver. Spanish (?) and Portuguese. The ¿Metropolitan ¿Museum of Art. Gift of ¿Marguerite ¿McBev, 1980. 1980.343.5, 6, 7, 17 25 Skirt ¿Afternoon Dress (robe à la française) Ball Gown (robe à la française) Pink satin quilted in a stylized floral Pale yellow silk with a white lace pattern Rose-colored figured silk brocaded in a pattern brocaded in multicolored floral sprays, polychrome design of bands ot ermine English, about 1760 trimmed with self-fabric ruching intertwined with floral sprays, trimmed Lent bv Cora Ginsbure, Tarn-town. New- English, about 1765 with matching braid and multicolored York The ¿Metropolitan ¿Museum ot Art fly fringe SL 81.68.2a Purchase. Irene Lewisohn Bequest, 1975 French, about 1765 1975.206.2ab The ¿Metropolitan Museum ot Art Court Dress (mantua and petticoat) Fletcher Fund. 1938 Delphinium-blue silk self-patterned and -Afternoon Dress (robe à la française) 38.30.lab brocaded with flat and wrapped silver Pale fawn-colored silk tatteta with a satin thread in a pattern of rosettes stripe and brocaded polychrome floral Ball Gown (robe à la française) interspersed with rose sprays, sprays, trimmed with selt-tabric ruching Self-figured white silk brocaded in carnations, and plumes, trimmed with English, about 1765 polvchrome floral spravs, trimmed with silver lace The ¿Metropolitan ¿Museum of Art self-fabric ruching and multicolored fly English, about 1760 Purchase, Irene Lewisohn Bequest, 1960 fringe The ¿Metropolitan ¿Museum ot Art CI 60.41. lab English, about 1766 Purchase, Irene Lewisohn Bequest, 1965 The ¿Metropolitan ¿Museum ot ¿Art CI 65.15.la-c Rogers Fund, 1925 25.12ab .Although the English court did not dominate tashion as did its French Ball Gown (robe à la française) counterpart, it did require that a special Beige silk faille brocaded in polvchrome costume be worn tor important state floral sprays and leopard-spot meander, ceremonies, coronations, and rovai trimmed with pink fly fringe and tassels weddings. A court lady wore a mantua and French, about 1770 petticoat ot rich silk, often elaborately The ¿Metropolitan ¿Museum ot .Art woven or embroidered with gold and silver Purchase, Irene Lewisohn Bequest, 1961 metallic threads. She further displayed her CI 61.54ab wealth bv trimming the mantua with tine laces and wearing a great quantitv ot Evening Gown (robe à la française) jewelrv. In the early eighteenth centun a Cream-colored satin-striped silk faille spot mantua was a loose gown stitched into brocaded with floral spravs and leaves pleats at the back, with the sides ot the skirt pinned up on the hips. By the time in polychrome silks and silver metallic this dress was made, the mantua had threads, trimmed with silver lace become a fitted bodice with two hanging English, about 1770 vestigial panels at the back, replacing the The ¿Metropolitan Museum of Art side draperies. The petticoats were Purchase, Irene Lewisohn Bequest, 1962 extended on exaggerated panniers, a CI 62.29.lab tashion that was to continue tor court wear Illustrated, Contents page long after it had ceased to be a feature ot fashionable dress. A court dress ot similar ¿Afternoon Dress (robe à la française) date can be found in the collection ot the -Mauve silk tatteta with paired white bands Formal Dress (open robe) Rovai Scottish -Museum. Edinburgh. and a chiné pattern in shades ot red and Putty-colored silk ground brocaded in green; selt-tabric ruching polychrome sprays ot flowers and fruit, French, about 1770 Ball Gown (robe à la française) trimmed with self-tabric ruching and The Metropolitan ¿Museum ot Art Ivon'-colored Spitalfields silk figured with matching flv fringe Purchase, Irene Lewisohn Bequest, 1960 satin and ribbed stripes brocaded in English, about 1765 (fabric about 1755) CI 60.40.2ab green and pink silks with ribbon, floral The Metropolitan -Museum ot -Art Detail ot fabric illustrated, back cover vines, and scattered flowers, and Rogers Fund, 1954 trimmed with ivory-colored satin-striped 54.Ì08 Formal Dress (robe à la française) net and polychrome silk and paper Mimosa-yellow silk taille trimmed with flowers -Afternoon Dress (robe à la française) matching fly fringe English, about 1765 Natural linen with crewelwork floral spravs English, about 1770 The ¿Metropolitan ¿Museum ot Art and trellis border in yellow, pink, blue, Lent bv Shannon Rodeers Hoechst Fibers Industries Gift, 1981 and green SL 81.1 Mab 1981.551ab French, about 1765 The ¿Metropolitan ¿Museum of Art Rogers Fund, 1956 56.95ab 24 Ball Gown (robe à la française) ¿At the court ot France, ladies were Day Dress (robe à l'anglaise) Ivory-colored ribbed silk with stripes of expected to be in full court dress for all Ivory-colored silk taffeta with an allover light blue and pink overlaid with formal occasions. A dame du palais or chiné V-pattern in red, blue, and yellow, serpentine garlands and floral sprays femme de chambre who waited on the queen trimmed with olive-green braid brocaded in polychrome silks, trimmed was required to wear full court dress at all English, about 1775 with self-tabric and multicolored tlv times. These dresses had enormous hoops The ¿Metropolitan ¿Museum ot ¿Art fringe that held out a petticoat ornamented with Purchase, Judith and Gerson Leiber Gift, French, about 1770 gold metallic decorations and polvchrome 1981 The ¿Metropolitan ¿Museum of Art silk embroideries. A long train was fastened 1981.314.1 Purchase, Irene Lewisohn Bequest, 1961 around the waist and trailed behind the Textile historians attribute large-patterned CI 61.13.1ab wearer. The bodice, stiffened with chiné taffetas to France. However, small Illustrated, front cover whalebone, was completely different from chiné designs were produced at other those worn with other dresses. (See European silk centers, especially in Formal Dress (robe à la française) illustration on page 19.) The ¿Marquise de la England, where thev were called "clouded Ivory-colored silk striped in pale green and Tour du Pin described one ot her bodices lustrings." It is tempting to postulate an salmon pink, overlaid with brocaded in her memoirs: English origin for this dress s fabric, as well white and polvchrome silk chinoiserie I wore a f**JT 7 w^ ff/t ?*-.:>• m ?fW '" -«j« m4 ^ '-fri.. 3? < £*& äs^sfe. ¡¿a m V*- & silks and gauzes tor sale in England and in Day Dress (robe à l'anglaise) couple, in this case, middle class: Mr. the colonies. The English, however, had to Ivory-colored silk tatteta with matching Dvbeck was the director ot a sugar pay a tax on imported fabrics from which satin stripes woven with red and green refinery. It is interesting to note that a the ¿American colonists were exempt, thus rosebuds woman of the middle class would choose to making the same elegant materials less English, about 1778 be married in the national costume rather expensive on this side ot the ocean. Abigail The ¿Metropolitan Museum ot Art than in an equally expensive dress that Adams confirms this in a letter she wrote Purchase. Hoechst Fibers Industries Gift, followed the French tashion. This is the from London to a friend in Boston: "As to 1981 only known sunning example of a India handerkerchiets, I give two guineas 1981.515.2 woman's dress in the Gustavus III national a-piece tor them so they, as well as all Swedish style. other Indian goods are lower with you." Day Dress (robe à la polonaise) The history ot this dress implies that it was Ivory-colored silk striped in dusty pink and Day Dress (robe à l'anglaise) worn by .Mrs. Jonathan Belcher, whose brown, brocaded in polychrome silks in Dark brown glazed chintz printed with a husband was the colonial governor of a floral and bird design, trimmed with multicolored floral design Massachusetts and New Hampshire trom rosettes of coral and white satin ribbon, English, about 1780 1750 to 1741 and governor ot New Jersev edged with white lace The ¿Metropolitan ¿Museum ot -Art from 1746 until his death in 1757. Italian, about 1778 Purchase, Irene Lewisohn Bequest, 1974 However, the robe à Li polonawe did not Lent bv the Tirelli Collection. Rome 1974.195.2 come into style during the lifetime ot the SL81.89.6ab Large eighteenth-century rooms with their first ¿^lrs. Belcher, and it the second Mrs. high ceilings could be very cold in the Belcher, Mary Louisa Emilia Teal, did Formal Dress (robe à la française) winter, even when a fire was blazing on the wear this dress, she would have been at Gold twill and cream-colored satin stripes hearth. English ladies wore quilted least fifty years old at the time. It seems with an alternating rose and toliate petticoats to fight the chill and continued more likely that the dress was worn bv a pattern, trimmed with selt-tabric ruching the tashion out ot doors during the cool younger member ot the family. and multicolored fly fringe days ot spring. These petticoats, sewn in English, about 1778 brightly colored silks and satins, were Jacket and Petticoat (caraco à la dévote) The ¿Metropolitan Museum ot Art elaborately- quilted all over in fanciful Ivory-colored glazed silk striped in salmon, Purchase, Irene Lewisohn Bequest, 1961 patterns, not just in front, where the lime-green, yellow, and black, trimmed CI 61.55.lab overdress was drawn awav. This glazed with selt-tabric ruching; matching plain chintz day dress is a rare suniving example skirt Formal Dress (robe à la française) ot the elaborate floral chintzes loved by the French, about 1//8 White silk taffeta with woven green stripes English in the second and third quarters of Lent bv The Brooklyn Museum and handpainted green floral sprigs, the century. SL 81.74.lab trimmed with selt-tabric ruching French, about 1778 A lady ot leisure would wear a peignoir at Robe and Petticoat (robe à l'anglaise) The -Metropolitan Museum ot Art home in the morning. However, if she had White linen with broderie anglaise in a Purchase, Irene Lewisohn Bequest, 1954 activities outside early in the day. a simple floral and toliate design CI 54.70ab caraco and matching skirt would suffice. English, about 1780 The pslonawe-sxyle dress was also worn tor -Afternoon Dress (robe à l'anglaise) Lent by Cora Ginsburg, daywear, replacing the robe à la française Red Spitalfields satin brocaded in Tarmown, New York bv the late 1770s. A caraco with sabot polychrome silks with scattered floral SL 81.68. lab sleeves (flat elbow cutts) worn opened wide sprays, trimmed with selt-tabric and over the skirt was called à Li polonawe as Lnlike the privileged classes in France, the polychrome fly fringe; matching well. A caraco that closed in the front, English aristocracy- and gentry spent a stomacher showing very little décolletage, was great deal ot time on their country estates. American, about 1778-80 considered "pious," or à la dévote, like While there, ladies would wear simple Lent bv Mr. and ¿Mrs. F. Norman this example. gowns ot linen or cotton tor morning attire. Christopher This simple day dress with its white SL 81.75ab embroidery is the quintessential English Day Dress (robe à la française) country dress and is the very type of Pale blue iridescent silk striped in pink, Bridal Gown (robe à l'anglaise) English tashion that later became the vogue green, violet, dark blue, and ivory, Black silk with a broca telle floral pattern, on the Continent. trimmed with box-pleated self-tabric self-tabric ruching edged with matching French, about 1778 braid, trimmed with white and blue The Metropolitan Museum of Art Day Dress (robe à l'anglaise) striped silk bows and a gold medallion Purchase, Irene Lewisohn Bequest. 1960 Green striped silk taffeta with red chiné with a painted miniature; matching CI 60.59.2ab bands, trimmed with self-fabric ruching stomacher and petticoat English, about 1780 Swedish, about 1780 The ¿Metropolitan ¿Museum of Art Lent bv the Nordiska -Museum, Stockholm Purchase, funds from various donors, 1981 SL 81.91.la-f 1981.245.2 Sophia Louisa Brück wore this black silk wedding dress to marry Christian Dvbeck in 1/80. The color and trimmings were dictated by the social position of the bridal 28 Walking Dress (robe à la polonaise) .Afternoon Dress (robe à la polonaise) White China silk handpainted in an allover Green and white striped satin imberline design ot floral sprays in blue, lavender, (silk and linen), trimmed with pleated red, and green self-fabric and green silk binding French, about 1780 French, about 1785 The ¿Metropolitan ¿Museum of ¿Art The ¿Metropolitan ¿Museum of ¿Art Purchase, ¿Nlr. and ¿Mrs. ¿Alan S. Davis Purchase, Irene Lewisohn Bequest, 1965 Gift, 1976 CI 65.13.2a-c 1976.146ab Detail illustrated, page 10 Afternoon Dress (robe à l'anglaise) Lavender and white striped silk taffeta Lace Cape (capuchin) trimmed with self-fabric ruching Black blonde lace with a pattern of French, about 1785 scattered flowers and leaves, ruffled The ¿Metropolitan ¿Museum of ¿Art border Purchase, Irene Lewisohn Bequest, 1966 English, about 1780 CI 66.59ab Lent by ¿Martin Kamer, Switzerland SL 81.111.6 Bodice (caraco) Blue and gold silk damask with gold silk Jacket and Skirt (pierrot and petticoat) buttons, trimmed with blue silk ribbon Ivory-colored glazed linen painted with a and selt-fabric buttons red and blue floral, grapevine, and Italian (?), about 1785 butterfly design, trimmed with The ¿Metropolitan ¿Museum of ¿Art polychrome silk fringe and buttons Purchase, Catherine Brever Von Bomel French, about 1784 ¿Afternoon Dress (robe à la polonaise) Foundation Gift, 1981 Lent by the Union Française des ¿Arts du Dark green ribbed silk brocaded in 1981.210.7 Costume, Paris polychrome floral sprays, trimmed with SL 81.85.2ab self-fabric ruching edged with ¿Afternoon Dress (robe à la polonaise) multicolored fly fringe W hite satin figured in a green lattice design Day Dress for a Quaker Lady (robe à French, about 1785 (fabric about 1740) with a green and brown ribbon-stripe l'anglaise) The ¿Metropolitan ¿Museum of ¿Art, New- English, about 1786 Pale gray satin piped with white silk York The ¿Metropolitan ¿Museum of Art American, about 1785 Dodge Fund, 1954 Purchase, Irene Lewisohn Bequest, 1975 Lent bv the Philadelphia ¿Museum ot Art 34.112a-c. 1975.274.1a SL 81.80.1 The term robe à la polonaise is often Walking Dress (robe à la polonaise) The Quakers of the colonial period in applied to any late-eighteenth-century dress Pale green and white silk taffeta with an America were a prosperous people who with back drapery, but it should be alternately striped pattern of white with believed in nonviolence and advocated resened for a dress with a fitted anglaise red flowers and imitation sequins simplicity in all things. Quakers looked back and a skirt that can be drawn up on French, about 1786 different from their neighbors because their interior tapes into swags. These light, The ¿Metropolitan ¿Museum of ¿Art clothes, though cut in the English style, informal dresses enjoyed great popularity Purchase, Irene Lewisohn Bequest, 1968 were black, gray, or white and completely for daywear in the late 1770s and 1780s. CI 68.57 unadorned with trimmings or lace. For "Polish" fashions had appeared earlier in their best clothes, worn on Sundays, the honor of Queen ¿Maria Leczinska, who was Walking Dress (robe à la polonaise aux Quakers bought the finest fabrics they a Polish princess before she married Louis ailes) could find in this limited palette. This XV. The "Polish" styles consisted mainly of Rose-colored moiré striped in pale green Quaker dress is made of gray satin gowns trimmed with fur or a brocaded fur and white satin, overlaid with serpentine imported from China. The effect of the pattern. Camisoles, caracos, bonnets, and stripes in a carnation and ribbon motif, costume, with its rich fabric and simple, even men s frock coats were also called à la and trimmed with puckered pale green clean-cut lines, is one of elegant simplicity polonaise at the height of the fashion in and pink silk and matching braid worthy of a great couturière. The dress is 1780. French, about 1787 said to have been worn by ¿Martha Hughes The ¿Metropolitan ¿Museum of ¿Art when she was about seventeen years ot age. ¿Afternoon Dress (robe à l'anglaise) Purchase, Irene Lewisohn Bequest, 1960 She died young in 1796, willing her Pink taffeta woven in a chiné à Li branche CI 60.40.3 estate — including her mansion, Green Hill, pattern in shades ot red, green, and in Merion, Pennsylvania — to a cousin, purple, trimmed with selt-fabric ruching ¿Most surviving eighteenth-centun costumes Mary Hollingsworth, whose descendants French, about 1785 have been altered several times. Ladies presented this costume to the Philadelphia Lent by the National ¿Museum ot ¿American updated their dresses, then passed them on ¿Museum. Histon, Smithsonian Institution, to relatives or senants, who made further Washington, D.C. changes to adjust the size. There was also a SL81.92.Iab thriving second-hand clothes market. This winged polonawe is so small that it must have been worn by a girl ot no more than fourteen. The dress's small size and the 29 radical fashion change in the last decade of forbidding the importation or manutacture Redingote the eighteenth century helped to presene it of printed textiles were issued. The edicts Yellow and white striped satin with putted from alterations or subsequent wear for were universally ignored, and by 1759 all white gauze sleeves trimmed with off- fancy dress. restrictions had been removed. Factories white braid for the production of printed cottons English, about f798 Redingote opened in Nantes, Rouen, and Lyons, but The ¿Metropolitan ¿Museum ot Art Pale green figured silk trimmed with pink the most famous center was at Jouy. Its Gift of Irene Lewisohn, 1937 and white ribbon appliqués in a founder, Christophe-Philippe Oberkampf, CI 37.46A bowknot border, rose-colored and silver developed a system of fast-color dyeing and The redingote derived from ladies' riding sequins, and floral embroideries in pink invented the copperplate printing process. coats, with their close-titting bodices and and green silks, edged with pleated The engraver Jean-Baptiste Huet, the overskirts worn closed in the front or cut gauze principal designer for the Jouy factory away to reveal the lighter-colored Italian, about 1788 between 1783 and 1811, probably designed petticoats. The stylishness and comfort of Lent bv the Tirelli Collection, Rome the pattern on this toile de Jouy day dress, this costume made it popular for daywear. SL 81.89.5ab which has been identified as les bonnes herbes. By the end of the 1790s ladies' waists had Italian ladies followed French fashions in "ascended to the shoulders" and only the the eighteenth century, but had their sleeves, which stopped at the elbow and Round Gown clothes made in fabrics and colors more were heavily trimmed or puffed out, had Dark green and purple striped taffetà suited to their climate, as is apparent in this concentrated ornamentation. brocaded at the hem with white daisy - Venetian redingote, with its light trimmings and-ribbon garlands and bright green figured silk. The Day Dress (round gown) Italian, about 1795 dressmaker or tailor borrowed the basic White linen printed in blue with a scattered The ¿Metropolitan ¿Museum of ¿Art silhouette, with its tight sleeves and revers floral design Purchase, Irene Lewisohn Bequest, 1979 collar, from French models, but fitted the American, about 1798 (fabric earlier) 1979.20 back in an unusual manner, using small fan Lent by the Fairfield Historical Society, pleats, and gave the costume a matching few true examples of the transitional Fairfield, Connecticut skirt. The last two features are not fashions of the 1790s survive. This round SL 81.79 generally found in similar French costumes. gown displays both the fullness of the skirts The lady who wore this dress was a of the 1780s and the high bosom and Round Gown member of the family of the counts of waistline of the Consulate period. Even the Olive-green silk taffeta pin-striped in Polesini. woven border at the hem recalls the floral yellow with a horizontal shadow-stripe and ribbon motifs found in brocades and in teal blue Two-piece Dress (caraco and petticoat) embroideries trom the 1760s on, rather American, about 1798 White muslin embroidered with a grapevine than later classical designs. This day dress The ¿Metropolitan ¿Museum of Art motif in purple and green was worn by a Neapolitan lady, but its Gift of Ted Reynolds, 1958 French, about 1789 style is very much in the relaxed English CI 58.60 Lent by the Musée de la ¿Mode et du taste, which stressed mobility and simplicity Costume, Paris in choice of fabric and decoration. Round Gown SL81.83.4ab W hite mull embroidered with white cotton Round Gown in a foliate pattern ¿Afternoon Dress Red silk brocaded in a silver floral pattern English, about 1798 Ivory-colored striped taffeta brocaded with French, 1795 (fabric about 1735) The ¿Metropolitan ¿Museum of Art polychrome silks in floral sprays, The ¿Metropolitan ¿Museum of ¿Art Purchase, German Fur Federation Gift, trimmed with self-fabric ruching Purchase, Irene Lewisohn Bequest, 1964 1981 German, about 1792 CI 64.32.2 1981.315.3 The ¿Metropolitan ¿Museum of Art Gift of Mrs. Herbert Schwarz, 1945 Round Gown Day Dress (round gown) CI 45.6ab White checkered mull printed with an Ivory-colored silk taffeta embroidered with allover floral pattern in black, red, and pink and green silk roses and black silk Day Dress green, trimmed with self-fabric and silver sequin stars Dark green cotton toile de Jouy printed English, about 1796 Viennese, about 1798 with scattered flowers in red, gold, and The ¿Metropolitan ¿Museum of Art The ¿Metropolitan ¿Museum of Art blue; self-fabric trim Gift of Alfred Lunt, 1955 Gift of Lee Simonson, 1939 French, about 1793 CL 55.50.4 39.13.106 The ¿Metropolitan ¿Museum of Art Purchase, Irene Lewisohn Bequest, 1960 CI 60.26.3ab With the opening of the Eastern markets, Indian printed cottons found their way into France. At first they were very expensive, and French manufacturers tried to copy them by printing designs with wooden blocks on cotton. The silk and wool industries objected, and numerous edicts 50 participants were dressed as Chinese, released inhibitions. Princes burdened with Turkish, Indian, or Russian knights a tiresome court etiquette liked to believe complete with turbans, plumes, and other that thev were unrecognized and free for exotic touches. an evening. Louis XV even took the precaution of having eight identical ¿Man's Wedding Suit costumes made for himselt and his Crimson silk velvet couched in silver gentlemen. They were dressed as clipped metallic threads in a foliate, rocaille, yew trees and gave their name to the and peacock-feather design, trimmed famous 1745 ball at which Louis XV met with matching buttons and a star of the his future mistress, ¿Madame de order of the elephant: matching Pompadour. This sumptuous tootman's breeches with swordbelt; waistcoat of costume was worn by Frederick IV of lace-pattern brocade in light blue silk Denmark for a Venetian masquerade held and silver metallic thread in a floral and in Copenhagen in 1710. It is cut like a foliate pattern sen-ant's costume, down to the cap with Danish, about 1695 stiffened brim {cappello di palafreniere), Lent by the Rosenborg Palace, Copenhagen but the fabrics and trimmings are worthy ot SL 81.81.2a-c a prince. This superb costume was probably worn by Waistcoat King Frederick IV ot Denmark in 1695, Cloth of silver brocaded in a white floral when, as crown prince, he married Princess vine pattern and embroidered in gold Louise of ¿Mecklenburg. It is one of the thread with a lily design, trimmed with finest sun-iving men's court suits from the gold-tinsel buttonholes and buttons, with period. The quality ot the silver embroidery- sleeves and back of white floral brocade indicates a French origin or a French Italian, about 1725 master embroiderer working in Lent by the Tirelli Collection, Rome Copenhagen. The "lace-pattern" blue SL 81.89.4 damask used for the waistcoat was most likely woven in Lyons. It is interesting to Man's Dressing Gown (robe de chambre) note that the tailoring of the coat is not ot Ivory-colored silk faille brocaded in green, the standard of the material. The tailor blue, and pink silks in a foliate and lace awkwardly pieced the velvet across the pattern, lined in yellow taffeta; matching shoulder blades, which, fortunately tor him, waistcoat were covered bv the long, curled wig then MEN'S COSTUMES in fashion. French, about 1/50 The ¿Metropolitan ¿Museum of ¿Art Gift of Chester Dale, 1953 Jousting Costume Buff Coat CI 53.74.7ab Red wool couched with gold metallic Tan leather German, end of 17th century thread in a floral and toliate pattern, ¿Man's Suit The ¿Metropolitan ¿Museum ot ¿Art trimmed with matching buttons and a Taupe-colored cut and uncut velvet in a Gift of William H. Riggs, 1913 star of the order of the elephant, with floral pattern, with metal buttons, cuffs and lining of cream-colored satin 25.155.87 trimmed with tinsel and vellow- thread, brocaded in red silks and gold metallic and cuffs and pocket flaps lined in red thread in a sun, floral, and vine design; Venetian Footman's Costume for a silk twill; matching waistcoat lined in matching swordbelt ¿Masked Ball blue plush with long sleeves Cloth of silver trimmed with rust-colored Danish, about 1690 English, 1730-40 velvet and gold metallic braid, tringe, Lent by the Rosenborg Palace, Copenhagen The ¿Metropolitan ¿Museum ot Art and buttons; matching fringed breeches; SL 81.81.lab Purchase, Irene Lewisohn Bequest, 19// waistcoat of cloth of gold trimmed with 1977.309.lab The medieval tradition of jousting, in which silver metallic braid, fringe, and buttons; participants riding richly caparisoned hat of rust-colored velvet and cloth ot ¿Men's coats were cut without a seam at the horses and armed with blunted lances silver trimmed with black velvet, silver waist throughout the eighteenth centurv-. In performed feats of skill, was revived for the and gold metallic braid with a gold the first half of the centurv- they had broad court masques and carousels ot the young passementerie topknot skirts with three vents reaching to the hips, Louis XIV. The Scandinavian courts, under Danish, 1710 one at the center back and two on the French influence, put on elaborate jousts to Lent bv the Rosenborg Palace, Copenhagen sides. These vents were usually pleated celebrate the king's birthday or other SL 81.81.3a-d several times and were occasionally important state occasions. King Christian \ stiffened with wicker or even whalebone. of Denmark wore this superb red wool ¿Masquerade balls were very popular in the ¿According to Read's Weekly Journal of costume for a court joust between 1685 and eighteenth century, both at the royal courts 1736, "the pleats of the coat were made to 1695. The costumes worn for these festivals and in the homes of the aristocracy. stick out ven' much in imitation ot the were very theatrical in design, but were Royalty and their courtiers enjoyed ladies hoops." This taupe-colored suit is a made of the finest materials and dressing up in exotic styles and wearing fine example of the fashion. embroideries. They also show the growing fanciful masks, which assured a certain European interest in Orientalism, as the decree of anonymity and undoubtedly 51 Cardinal's Soutane Purple moiré silk trimmed with red silk cuffs and red buttons Italian, about 1740 Lent by the Tirelli Collection, Rome SL 81.89.2a This cardinals soutane was worn by a member of the princely Roman family of Giustiniani-Bandini. It is made in bishop's purple moiré, but the cuffs and fifty-three silk-covered buttons are in cardinal-red silk. The small size of the costume would seem to indicate that one of the younger sons of the family — perhaps Cardinal Carlo Storza Giustiniani-Bandini —was given a cardinal's hat at an early age. Waistcoat Cream-colored glazed cotton painted in gold metallic and shades of rose, blue, and purple in a floral and toliate pattern, trimmed with self-fabric buttons French, mid-18th century The ¿Metropolitan ¿Museum of Art Rogers Fund, 1935 35.142 ¿Man's Dressing Gown (banyan) Ivory-colored linen printed in brown, blue, and red in an allover floral and vermicelli motif, trimmed with a tan and white cotton twisted cord belt with matching tassels American, mid-18th century The Metropolitan Museum of Art Gift of Kate C. Lefferts. 1975 1973.195.lab Man's Hunting Vest ¿Man's Dressing Gown (banyan) in 1747, listed th e requirements tor a first Beige doeskin embroidered with Brown figured silk faille in a geometric rate tailor: pattern polychrome silks in a floral design, He ought to have a quick Eye to steal English, about 1755-40 edged with red doeskin, laced at the the Cut ot a Sleeve, the Pattern of a The ¿Metropolitan Museum of Art sides and back with green silk ribbon Flap, or the Shape ot a good Trimming Purchase, Irene Lewisohn Bequest. 1981 German, about 1750 at a Glance; any Bungler may cut out a 1981.208.2 The -Metropolitan Museum ot Art Shape when he has a Pattern before Gift of ¿Mrs. Robert Woods Bliss, 1945 him, but a good Workman takes it by ¿Man's Three-Piece Suit 45.90.12 his eve in the passing ot a Blue uncut velvet, voided and patterned in Chariot. . . . He must be able, not only to Considering the formal code ot etiquette an allover horizontal zigzag pattern cut tor the Handsome and Well-shaped, that governed eighteenth-century life, it is interspersed with formal leaf-and-bud but to bestow- a good shape where not surprising that gentlemen did not motifs, trimmed with gold braid and Nature has not designed it. . . . His hand generally remove their jackets in public. large gold metal buttons and his head must go together. He must Tailors made men's waistcoats ot the most French, 1740s be a nice Cutter and finish his work beautiful fabrics in tront and used sturdy- The ¿Metropolitan ¿Museum of ¿Art with Elegancy. . . . They make a linen or cotton, often ot a very coarse Purchase, Irene Lewisohn Bequest, 1962 handsome Penny and would raise weave, to finish the back. Although formal CI 62.27a-c Estates thereon were it not for the attitudes have changed, today men's vests Gentlemen all over Europe wore three- Delays in Payment among the Quality. are still made with a contrasting and piece velvet suits, similar to this one, to usually less expensive fabric for the backs. show that they were men of substance. The Although splendidly dressed, the Sportsmen were allowed to play cricket or suits of the middle classes and of the aristocracy paid little heed to their tailors to bowl in their shirt-sleeves. This aristocracy were strikingly different in the bills, often dragging their credit on for elaborately laced waistcoat embroidered on quality of the materials used and in the years at a time. both sides was certainly not intended to be standards of workmanship. A ¿\lr. covered by a jacket. Perhaps it was a man s undress wear for casual hunting or ridinç Campbell, writing in The London Tradesman »g on his estate. 52 Man's Three-Piece Suit Man's Hunting Suit Man's Formal Suit Rose-colored and blue qros de Naples Blue wool trimmed with crimson velvet, Brown voided velvet on a beige ground in changeante embroidered in a foliate and gold and silver metallic braid, gold a geometric pattern embroidered with rocaille design in chain stitch in shades buttons in a basketweave pattern, and ivory-colored floss in a floral design of blue; matching waistcoat and the star of the order of the elephant; with white net appliqués, trimmed with breeches waistcoat and breeches of red wool self-fabric buttons; matching breeches; French, about 1755 trimmed with gold buttons and braid; waistcoat of silver figured silk Lent by the Musée de la ¿Mode et du swordbelt of gold and silver metallic embroidered in a multicolored foliate Costume, Paris braid with a gold buckle; hat of black motif and floral border, trimmed with SL81.83.8a-c felt trimmed with gold metallic braid silver sequins and a gold button; jackboots of black English (?), about 1770 Man's Frock Coat leather with metal spurs The ¿Metropolitan Museum of Art ¿Maroon silk faille trimmed with matching French, about 1768 Purchase, Irene Lewisohn Bequest, 1961 Brandenburgs; once edged with white Lent by the Rosenborg Palace, Copenhagen CI 61.35a-c fur piping SL8.8Ì.4a-f ¿A gentleman s embroidered suit was a ven English, about 1760 In 1768 Christian VII of Denmark made a expensive item of dress in the eighteenth The ¿Metropolitan ¿Museum of ¿Art grand tour of northern European courts, century, principally because of the amount Purchase, Irene Lewisohn Bequest, 1975 including that of his brother-in-law George of skill and labor required to produce it. In 1975.128.3 III of Great Britain. The nineteen-year-old France the guild of embroiderers carefully monarch was also received by Louis XV at controlled the industry. Only a master Uncut Waistcoat Versailles with customary honors. The embroiderer could make up the designs and Blue silk faille embroidered with silver French king presented his "cousin" with this designate the types of stitches to be used. sequins and thread in a floral and foliate royal hunting uniform, required wear for Although women did most of the actual design all noblemen who had sufficient armorial work, they were prevented by law from European, about 1760 quarterings to take part in the St. Hubert becoming masters in their field, a The ¿Metropolitan ¿Museum of Art hunt. The breeches are lined in yellow designation resen-ed for men only. Once a Purchase, German Fur Federation Gift, chamois, which accounts for their tight fit. design was completed by the master, 1981 The rigid black boots that complete the apprentices transferred it to the silk or 1981.14.6 uniform were traditional for hunt costumes velvet sheet that was already stretched on a The fashionable mercer sold men's throughout the century. They were large wooden frame. When this was laid waistcoats already embroidered on a length practical as long as one was riding or Hat, a number of embroiderers could work of material. A gentleman brought this standing, but it it was necessary to sit on on a suit at the same time. An English lady- material to his tailor's shop, where his the ground they could be awkward, as visiting Lyons in 1784 left the following measurements were taken and the waistcoat portrayed in Carle Van Loo's painting Le entry in her journal: "At the manufacture of cut out and completed with a sturdy cotton Halte de la Chasse, in the Louvre. all the very rich stuffs for furniture and for or linen back. This method of assemblage Considering the small stature of the king, very fine embroidery. A very richly- lessened the time a man had to wait for a this costume must have overwhelmed him. embroidered satin suit of clothes for men, new- waistcoat and also allowed easy No complete St. Hubert hunt costumes about seventeen or eighteen Louis. We saw shipping to other countries in Europe and have sun-ived in France, but there is the pattern of one in velvet, with fake to colonies abroad. another example, also presented by Louis stones set in silver, like diamonds disposed XV, presen-ed in the Royal Armory, upon it like embroidery, which they had Man's Dressing Gown (robe de chambre) Stockholm. made for Prince Potemkin, and had cost Pink and gray striped silk faille brocaded 1,000 Louis, it must have been frightfully- with white, blue, and green silks in a Man's Three-Piece Suit heavy." Embroidery of garments reached its latticed floral pattern, lined in natural Striped pink, brown, and ivory-colored apogee in the last quarter of the eighteenth linen printed with a brown scalloped figured silk embroidered with century. The industry was completely- pattern; matching attached vest polychrome silk threads in a floral spray disrupted by the French Revolution, and French, about 1760 design; self-fabric buttons; matching the subsequent slackening of demand for The ¿Metropolitan ¿Museum of Art pants and waistcoat of cream-colored embroidered garments delivered the final Purchase, Irene Lewisohn and Alice L. silk faille embroidered with polychrome blow. Crowley Bequests, 1976 silks in a pattern of floral sprays with a 1976.149. I flower-garden border Man's Formal Suit French, about 1770 Beige cut voided velvet woven in a red and Man's Three-Piece Suit The ¿Metropolitan Museum of ¿Art green rosebud pattern on a white Sèvres-blue cut and uncut velvet on an Fletcher Fund, 1961 ground, trimmed with paste buttons; îvon-colored silk ground in an allover CI 61.14.2a-c matching waistcoat and breeches floral pattern, trimmed with large gilded French, about 1770 buttons; matching pants and waistcoat The ¿Metropolitan ¿Museum of Art French, 1765 (fabric earlier) Rogers Fund, 1911 The ¿Metropolitan Museum of Art 11.51.3a-c Purchase, Irene Lewisohn Bequest, 1964 CI 64.31.2a-c ;>J> ¿Man's Frock Coat ¿Man's Three-Piece Suit ¿Man's Court Costume Ivory-colored wool trimmed with silver Cyclamen-colored ribbed silk embroidered Black silk twill trimmed with salmon-pink braid and silver lamé buttons with polychrome silks in floral sprays buttons, cord, and satin trim; waistcoat English, about 1770-80 and a rocaille lace pattern, trimmed of salmon-colored satin; black silk The ¿Metropolitan ¿Museum of ¿Art with self-tabric buttons; matching pants; breeches with paste buckles; pink tatteta Purchase, Irene Lewisohn Bequest, 1981 waistcoat of white satin embroidered sash trimmed with matching braid and 1981.208.3 with a multicolored floral-spray border fringe; black taffeta cape edged with with brown silk edging pink taffeta and matching braid ¿Man's Frock Coat English, about 1775-80 Swedish, about 1780 Aubergine-colored velvet embroidered with The ¿Metropolitan ¿Museum of Art Lent by the Nordiska ¿Museum, Stockholm polychrome silks in a classical motif of Purchase, Irene Lewisohn Bequest, 1960 SL 81.91.2a-d floral eperqne and garlands, trimmed CI 60.38a-c King Gustavus III of Sweden was a gifted with self-fabric buttons and enlightened monarch who encouraged French, about 1774 Man's Three-Piece Suit the development ot the arts and literature The ¿Metropolitan ¿Museum ot Art Chartreuse satin embroidered with white, in his country in the 1770s and 1780s. He Rogers Fund, 1911 pink, and beige silks in a foliate design, was a talented playwright and displayed a 11.50.1 trimmed with self-tabric buttons; keen interest in the history ot the matching pants; waistcoat ot white satin Scandinavian kingdoms. In 1778 Gustavus A'enetian Servant's Livery- embroidered with polychrome silks in a III tried to break the dominance ot French Red wool trimmed with polychrome cotton scattered flower and floral-spray design fashions by devising a Swedish national galloon, multicolored braided frogs, and French, 1775-80 costume to be worn by all classes ot buttons; waistcoat of blue satin with The ¿Metropolitan Museum ot Art society. One's position in the social matching braid Gift of ¿Mrs. Edwin L. Pabst, 1960 structure dictated not only the style to be Italian, last quarter ot 18th century CI 60.50a-c worn, but also what fabrics could be used The ¿Metropolitan ¿Museum ot Art and in what colors. For inspiration, the Rogers Fund, 1925 ¿Man's Formal Coat king looked back to the styles worn in the 26.56. lOa-c Black and gold voided velvet in a stylized time of Gustavus II, under whose reign at peacock-feather pattern embroidered the beginning of the seventeenth century- with polychrome silks in a floral design, ¿Man's Day Suit Sweden became a great European power. trimmed with self-tabric buttons Purple diagonally striped voided velvet on This "Swedish" costume was an eclectic French, 1775-80 a ground pin-striped in pale green, gold, mixture ot historical detailing, The ¿Metropolitan ¿Museum of Art and ìvon-colored silks, trimmed with contemporary tashion, and elements of self-tabric buttons; matching breeches Gift of Lilly Dache, 1968 tancy dress. The gentleman's jacket was French, about 1775 68.45 simplified, with distinctive bands added at Illustrated, page 14 The ¿Metropolitan ¿Museum ot Art the edge ot the shoulders like a vestigial Purchase, Irene Lewisohn Bequest, 1968 slashed sleeve. An oversize sash and a Man's Three-Piece Suit CI 68.68.lab romantic cape completed the ensemble. Rust-colored corduroy- trimmed with tinsel- Swedish national dress tor women was cut ¿Man's Court Coat covered buttons and gold braid; like a fashionable dress, often a robe à la Deep purple cut velvet in a geometric attached wigbag (crapaud) of black silk polonawe, with the addition of puffed pattern on a violet ground embroidered faille trimmed with black satin ribbon sleeves occasionally slashed like a sixteenth- with polvchrome silks in a floral design, English, 1775-80 century man's doublet, special bowknots of with self-tabric buttons; waistcoat of The ¿Metropolitan ¿Museum of Art ribbon, and a standing pleated rutt. white embroidered in purple and brown Purchase, Irene Lewisohn Bequest, 1977 Although trying to abolish French silks in a floral and toliate pattern 1977.308.1 influences in fashion, Gustavus III was French, about 1775 influenced by the French tashion à la The ¿Metropolitan ¿Museum ot Art Man's Dressing Gown Henri /I'worn in the 1770s to honor Louis Rogers Fund, 1932 Ivory-colored parchment silk brocaded with XVI, who was called popularly "le nouveau 32.35.15ab polychrome silks and gold metallic Henri IV." In late seventeenth-century thread in a scattered floral and meander Denmark Christian V had tried to reform ¿Man's Summer Suit pattern; attached, matching belt court fashion and reintroduce the "Spanish" Cyclamen-colored silk faille embroidered Danish, about 1778 styles worn in the days of his grandfather, with polychrome silks, silver metallic Lent by the Rosenborg Palace, Copenhagen Christian IV. It is interesting to note that thread, and silver sequins in a floral SL 81.81.5 all three ot these national styles look back garland design, trimmed with self-fabric to a period in their nations histories when buttons; matching pants ¿Man's Three-Piece Suit they were ruled by absolute monarchs French, about 1775-80 Dark brown velvet corduroy embroidered unencumbered by modern political The ¿Metropolitan ¿Museum of ¿Art with white, light green, and yellow daisy problems. The Swedish national costume of Gift of International Business ¿Machines sprays, trimmed with self-fabric buttons; Gustavus III was required attire at the Corporation, 1960 matching pants; waistcoat of ivory- royal court and had some following in the CI 60.22.lab colored satin embroidered with a middle class as a costume for important multicolored floral motif and daisv-sprav occasions. ¿Many genre paintings and border portraits of this period record this fashion, French, about 1778 which sunived until the end of the The ¿Metropolitan ¿Museum of ¿Art centun. Rogers Fund, 1952 32.40a-c 5-1 Man's Frock Coat the knees. Since there were no fastenings, Uncut Waistcoat Pale blue-green cut velvet with a black the wearer overlapped the dressing gown in Ivory-colored satin embroidered with foliate pattern, voided stripes on a front when he walked so that the sides did polychrome silks, brown chenille, ground ot yellow and rust-colored satin, not billow out behind him. The sleeves metallic thread, and metallic and trimmed with self-fabric buttons were originally rolled back to form cuffs, mother-of-pearl sequins in an allover French, about 1780 but later dressing gowns display the spng-and-sunburst pattern and a border The Metropolitan ¿Museum of Art fashionable cuff of their period. In England of floral spravs Purchase, Hoechst Fibers Industries Gift, these dressing gowns were called "banyans" French (?), about 1780 1981 or "Indian nightgowns' because of their The ¿Metropolitan ¿Museum ot Art 1981.315.1 kimono-like torm and Eastern origin. Purchase, Irene Lewisohn Bequest, 1966 Banyans were made in a variety ot tabncs, CI 66.59.2ab Man's Summer Coat including silk brocades, damasks, and Indigo-blue and white checked cotton with printed cottons. Winter banyans were Lncut Waistcoat self-fabric buttons; unlined occasionally quilted for extra warmth. Ivory satin embroidered with brown and American, about 1780 Gentlemen received friends while attired in blue silks, beige chenille, metallic The Metropolitan ¿Museum ot Art banyans as a sign ot their informality and thread, and silver sequins in an allover Gift of the New-York Historical Society. ot their intimacy with the visitor. Bv the sprig design and a stylized leaf border 1979 1780s gentlemen ventured out ot doors in English (?), about 1780 1979.346.3 this comfortable and stylish costume. The -Metropolitan ¿Museum ot Art ¿According to Town and Country Magazine Purchase, Irene Lewisohn Bequest, 1966 Costume of the Prosecutor of San Marco in 1785: "Banyans are worn in every part of CI 66.59.5ab Red silk damask in a large floral, foliate, the town trom Wapping to Westminster, and crown pattern: matching stole in cut and it a sword is occasionally put on it Man's Summer Suit velvet sticks out ot the middle ot the slit behind. Tan linen embroidered with pink silks in a Italian, about 1780 This however is the fashion, the ton, and floral, foliate, and rocaille pattern, Lent bv Count -Maurizio Antonio what can a man do? He must wear a trimmed with self-fabric buttons; Sammartini, Venice banyan.' This vellow damask banyan with matching pants and waistcoat SL 81.90. lab its bold Chinese Chippendale-inspired American, about 1780 pattern would have been an imposing sight Lent by -Mr. and ¿Mrs. Robert R. Atterbun Paolo Renier of the Pisam-¿Moretti family on the streets or in the drawing rooms of SL81.70a-c wore this costume in 1/80-81 when he was London. procuratore (prosecutor) ot San ¿Marco. This rare linen suit shows that by the time The outer robe (roblone) and the velvet ot the Revolution the wealthy colonial stole had been the official garments tor this American gentleman could be as governmental post since the sixteenth fashionably- dressed as his European century. The red brocade and velvet are counterparts. The subtle contrast between also in imitation ot cinquecento fabrics, the pink silk embroidery and the tan linen though thev were actually woven in the is particularly successful. This suit was eighteenth century. A tuli judge's wig worn by Ehsha Boudinot of New Jersey completed this costume, as seen in when he was a young man in his thirties. Giovanni Battista Tiepolo s portrait ot Elisha was the younger brother of Elias Giovanni Querini, a predecessor of Renier Boudinot. president of the Continental (Galleria Querini Stampaha. Venice). In Congress, and was himself commissioner of 1782 Paolo Renier was elected doge of prisoners tor the state ot New Jersey and \ enice: he was the next-to-last \ enetian later a Supreme Court judge. nobleman to hold that prestigious title. ¿Man's Dressing Gown (robe de chambre) Man's Dressing Gown (banyan) Ivory-colored satin striped in vellow, rust, Golden-vellow silk damask in a chinoiserie and shades of blue, with self-fabric floral design with self-tabric buttons; buttons, lined in blue taffeta: matching matching attached waistcoat vest English, about 1780 Italian, about 1780 The Metropolitan Museum ot Art The ¿Metropolitan ¿Museum of Art Purchase, Catherine Brever Van Bomel Purchase, Irene Lewisohn Bequest, 1956 Foundation Gift, 1978 CI 56.5. lab 1978.155.1 For at-home wear, a gentleman had a Uncut Waistcoat dressing gown, often with a matching Ivon-colored satin embroidered with waistcoat, and an undress cap or turban. polychrome silks and brown chenille in ¿As for breeches, they were not designed an allover leaf pattern and a floral and especially for this casual ensemble, but foliate border rather borrowed from other suits. The English (?). about 1780 dressing gown was cut like a man s loose The ¿Metropolitan ¿Museum of Art coat and usually hung to the floor, though Purchase, Irene Lewisohn Bequest, 1966 there were also versions that stopped below CI 66.59. lab 55 Man's Cape ¿Man's Day Coat good portion ot the waistcoat when it was Brown camlet with a shoulder cape and White cotton with a small brown checkered buttoned; the trac was worn with chased metal hook closure pattern, trimmed with self-fabric contrasting breeches. The fine muslin stock American, about 1782 buttons; unhned worn with this jacket was wrapped around Lent bv the Philadelphia ¿Museum of ¿Art ¿American, about 1790 the neck several times and tied in a large SL 81.80.2 Lent by the Chicago Historical Society knot under the chin. SL 81.69.1 In bad weather or for traveling, a ¿Man's Highland Dress gentleman wore a large cape. This garment American gentlemen wore checked or Ribbed silk and wool mixture in Cameron was usually' made of a tightly woven wool gingham cotton frock coats for casual wear of Erracht tartan pattern, trimmed with or camlet to keep the wearer warm and in the summer months. These coats were diamond-shaped silver buttons with relatively dry. This swashbuckling cape is not only stylish but were made of easily- thistle motif said to have been worn by Capt. Samuel cleaned and inexpensive materials. This is Scottish, about 1796 ¿Morris, a wealthy landowner in an example of a European style adapted to The ¿Metropolitan ¿Museum ot Art Pennsylvania. suit provincial needs. Gift of ¿Mrs. Alexander M. Welch, 1950 CI 50.97.2a~c Alan's Formal Coat ¿Man's Frock Coat Brown wool embroidered with white silks, Beige silk with beige satin stripes trimmed Venetian Servant's Livery gold metallic thread, and silver metal with buttons covered in gold and silver ¿Mustard-vellow wool with red, white, sequins in a foliate pattern, with thread in a basketweave pattern yellow, and black cotton galloon, matching buttons French (?), about 1792 trimmed with matching tassels and French, about 1783 The ¿Metropolitan ¿Museum of Art buttons, with cuffs of dark blue wool; The ¿Metropolitan ¿Museum of Art Gift of ¿Aline ¿Mac¿Mahon. 1938 pale yellow wool waistcoat with brass Gift of International Business ¿Machines Cl ¿58.90 buttons Corporation, 1960 Italian, 1st quarter of 19th century CI 60.22.2a ¿Man's Riding Breeches The ¿Metropolitan ¿Museum ot Art Tan buckskin with stirrups trimmed with Rogers Fund. 1925 ¿Man's Suit (habit à la disposition) metal and mother-ot-pearl buttons 26.56.8a-c Purple figured silk embroidered with English, about 1795 polychrome silks and net appliqués in a The ¿Metropolitan ¿Museum of ¿Art floral and foliate pattern; embroidered in Purchase, German Fur Federation Gift, five sheets 1981 French, about 1783 1981.12.2 Lent by ¿Martin Kamer. Switzerland Leather breeches were popular with sports- SL 81.111.7 minded English gentlemen for hunting and riding. They were usually made in tan or ¿Man's Day Suit yellow leather with trouser legs long Pale blue and brown satin-striped ribbed enough to meet the tops ot the boots. silk trimmed with self-fabric buttons Gentlemen bought their breeches from French, about 1785 special breeches-makers, who, because of The ¿Metropolitan ¿Museum of ¿Art the nature of the material they worked in, Gift of ¿Mrs. Frank ¿A. Zimino Jr., 1966 organized a separate business. The fashion CI 66.1.2a for English leather breeches spread to the Continent during the anglomania of the ¿Man's Frock Coat 1770s and 1780s. European dandies Dark brown wool embroidered in white, appreciated the tight fit of these breeches tan, and green silks and mother-of-pearl while finding them supple enough to wear sequins in a palm-frond and floral- while riding. garland design; lighter brown wool sleeves ¿Man's Frock Coat German (?), about 1786 Olive-green and brown striped silk faille The ¿Metropolitan Museum of Art with a satin-stripe in yellow, rust, and Gift of Lee Simonson, 1939 blue, trimmed with buttons covered with CI 39.13.50 matching silk threads French, about 1795 ¿Man's Frock Coat The ¿Metropolitan ¿Museum of ¿Art Green silk with woven purple stripes, Purchase, Irene Lewisohn Bequest, 1968 trimmed with flower-shaped buttons of CI 68.68.2 green and brown floss and silver metallic wire Another English influence on European French, about 1787 fashions was the adoption of the frac, or The ¿Metropolitan ¿Museum of ¿Art frock coat. It had a rolled collar, narrow- Gift of ¿Alfred Lunt, 1959 sleeves with small cuffs, and a short CI 59.18.1 waistline with cutaway tails. ¿A late version, like this example from the 1790s, was cut almost to the middle of the chest to show a 56 Child's Dress (robe à la française) Blue and white striped silk taffeta brocaded in polychrome silks in a floral spray and vine pattern, trimmed with self-fabric ruching and white lace American, about 1770 The ¿Metropolitan ¿Museum of ¿Art Purchase, Irene Lewisohn Bequest, 1959 CI 59.43.la-c Young Girl's Riding Jacket Cyclamen-colored camlet trimmed with matching burtons, Brandenburgs, and silk collar Swedish, about 1780 Lent by the Nordiska ¿Museum, Stockholm SL 81.91.3 The young Swedish horsewoman who wore this riding habit was following the rules of national costume advocated by her king, Gustavus III. Ladies' habits were generally- masculine in cut; this one is modeled on the nobleman s court uniform and has long, narrow sleeves with a vestigial slashed = sleeve at the shoulderline. í*?SS¡»escv y^¿¿Z _ I Boy's Suit Pale blue figured silk with pink silk collar was a little boy. Even as young children, and cuffs couched with silver thread and Italian princes were dressed for formal blue tinsel in foliate motifs, trimmed occasions like miniature adults, in a style with white, silver, and blue tinsel braid, that befitted their rank. Less formal CHILDREN'S tassels, and buttons; waistcoat of pink children's clothes, designed under the COSTUMES silk with matching trim influence of Rousseau's and Locke's Italian, about 1790 philosophies, were worn by aristocratic Child's Dress Lent bv the Tirelli Collection, Rome children as davwear. Pink satin embroidered with silver metallic SL 81.89. lab thread in a floral and foliate pattern This costume is said to have been worn by Young Girl's Day Dress (round gown) with pink and silver braid leading Prince Carlo Giustiniani-Bandini when he White mull embroidered in chain stitch strings and matching stomacher with burgundy-, blue, and beige silks in Swedish, about 1710 a floral vine pattern Lent by the Nordiska ¿Museum, Stockholm English (?), about 1798 SL 81.91.4a-c The ¿Metropolitan ¿Museum of ¿Art Purchase, Irene Lewisohn Bequest, 1978 Boy's Jacket 1978.280.2 Medium blue silk damask in rose and wing motifs, trimmed with matching buttons and faced with matching plush English, mid-18th century The ¿Metropolitan ¿Museum of Art Purchase, Irene Lewisohn Bequest, 1975 1975.34.3 Young Girl's Dress White cotton hand-quilted in an intricate allover design Danish (?), 2nd half of 18th century ftWfff The ¿Metropolitan ¿Museum ot Art BH lèi <•.; r? -r Gift ot Lee Simonson, 1939 Gift of ¿Mrs. DeWitt Clinton Cohen, 1940 CI 39.13.45; CI 40.126.1 57 Pair of Earrings Hair Locket Rubies and diamonds set in silver in a Escutcheon-shaped crystal with a crown foliate design surrounded by almondine garnets set in Spanish (?). 18th century gold The ¿Metropolitan ¿Museum ot Art English, about 1750 Gift of ¿Marguerite McBev, 1980 Lent by Timothy John 1980.343.6-7 SL 81.71.9 Illustrated, page 23 Pin and Pair of Earrings Brooch Pendant Bowknot of emeralds and pearls set in Diamonds set in gold in a bow- and gold; matching drop bowknot earrings pendant-cross design English, about 1750 Spanish (?), 1st half of 18th century Lent bv Timothy John The ¿Metropolitan ¿Museum ot Art SL 81.71.6a-c Gift of ¿Marguerite ¿McBev, 1980 1980.343.8a-c Tiara Illustrated, opposite Contents page Diamonds set in silver and gold in a cornflower pattern Ring English, about 1750 Rose-cut diamonds set in gold and silver Lent bv Dona and Bernard C. Solomon English, mid-18th century- SL 81.87. lab Lent by a private collection, New A ork SL 81.72.1 Parure Garnets or spinels set in gold: necklace in a Pair of Earrings (girandole earrings) floral and ribbon design with a pendant Pavé diamonds and rubies in a gold and cross; pair ot earrings with teardrop silver setting pendants; aigrette in a floral-sprav and French, mid-I8th century- bowknot design with suspended Lent by Dona and Bernard C. Solomon pendants; hair ornament in a movable JEWELRY SL81.87.4ab fan shape with a crescent at the base European, about 1/60 Stomacher Brooch Wrist Ornament Lent by a private collection, New A'ork Table-cut, lead toil diamonds set in silver in Chrysolites set in silver in a bowknot and SL 81.76.6a-i a floral and foliate design toliate design English (?), early 18th century- Dutch (?), mid-18th century- Pair ol Earrings (girandole earrings) Lent by a private collection, New A ork Lent by a private collection, New A'ork Pavé diamonds in a gold and silver setting SL 81.76.1 SL 81.76.7ab English, about 1760 Lent by Dona and Bernard C. Solomon Brooch Pendant Stomacher Brooch SL8I.87.2ab Diamonds set in gold in a toliate and scroll Green paste stones set in silver in a floral pattern and bow design Hair Locket Portuguese, early 18th century Spanish (?), mid-18th century- Teardrop-shaped crystal set in gold The ¿AMetropolitan ¿Museum of Art Lent by a private collection, New A'ork trimmed with seven rose diamonds Gift of ¿Marguerite ¿McBev. 1980 SL 81.76.3 English, about 1760 1980.545.9 Lent bv Timothy John -Maltese Cross Pendant SL 81.71.14 Pair of Earrings Pavé diamonds in a silver setting Jacinths set in gold in a stylized floral English, 2nd half of 18th centurv Pendant design with marquise-shaped pendants Lent bv Dona and Bernard C. Solomon Painted oval enamel ot amor crowning a Spanish, 18th century SL 81.87.7 pair of turtledoves with a garland of The ¿Metropolitan ¿Museum ot Art roses set in a twisted gold frame with a Gift of ¿Marguerite McBev, 1980 Hair Ornament bowknot loop 1980.343.52-55 Three chinoiserie figures under a parasol in Signed Bourgoin diamonds, rubies, sapphires, emeralds, French, about 1765 Brooch and citrines set in gold and silver: Lent by a private collection. New A'ork Diamonds set in silver in a bow-and- movable heads enameled in flesh tones SL 81.76.4 pendant design on gold Portuguese, 18th century German (?), about 1750 Hair Locket The ¿Metropolitan ¿Museum of Art Lent bv A La Vieille Russie, New A'ork Oval crystal surrounded by almondine Gift of ¿Marguerite ¿McBev, 1980 SL 81.77 garnets set in silver 1980.343.17" English, 1765 Illustrated, page 23 Lent by Timothy John SL 81.71.8 58 Pair of Drop Earrings origins ot the French Revolution. ¿Memorial Ring Almondine garnets set in gold recognized the importance of "the affair of Putts and urn with the initials MK English, about 1765 the diamond necklace" in weakening the painted on ivory, surrounded by a row Lent by Timothy John monarchy's credibility with the public. ot rubies and a row of seed pearls set in SL81.71.7ab gold Necklace English, about 1775 The Queen's Necklace (modern copy) Garnets in a star and folíate design set in Lent by Timothy John White sapphires cut à l'ancienne and gold SL 81.71.22 pearls trimmed with light blue velvet English, last quarter of 18th century- ribbons Lent bv Cora Ginsburg, Tarn-town, New- ¿Man's Silhouette Ring Original by Boehmer and Bassenge York Silhouette of a lady with high-piled French, about 1774 SL 81.68.5 hairstyle in black on white enamel under Lent by the ¿Musée National du Château de crystal set in gold Versailles The Liberty Necklace French, about 1778 SL 81.82.3a-c Thirteen large square-cut emeralds, thirteen Lent by Timothy John small emeralds, and thirteen graduated SL 81.71.19 This necklace en esclavage was copied from pear-shaped emeralds (all paste), a contemporary drawing of the original, surrounded by diamonds with a Square Ring which consisted of a collar and breastplate diamond foliate motif; original gold and Silver and rose-cut diamonds in a design ot of diamonds with two chains ot diamonds silver setting a pansy (pensée) plus ¿-1 Mot ("think of suspended on either side of the bodice. The Original design attributed to Falige me"), set on a cobalt-blue glass court jewelers had originally- intended this French, about 1775 background in a gold mount necklace for ¿Aladame du Barn-, but Louis Lent bv Van Cleet and Arpéis, Paris French, about 1780 XV died betöre it could be purchased. It SL 81.78 Lent by a private collection, New A'ork was in turn offered to ¿Marie Antoinette, SL 81.76.5 but Louis XVI balked at the price — The "liberty necklace" has a colorful history 1,500,000 livres. The jewelers were in legend, but one that is impossible to Ring becoming desperate, since thev had bought document. In 1850 the necklace appeared Amethyst-colored glass inlaid with rose the stones on credit and the interest was mysteriously at the municipal pawnshop of diamonds and silver in a scroll pattern mounting rapidly. In 1784 a beautiful Paris, ¿Mont de Piété. It was supposedly- set in gold adventuress with an important-sounding intact and arrived with a romantic ston. A French, about 1780 name — the Comtesse de la ¿Motte-Valois Polish countess at the court ot Louis X\ I Lent bv a private collection, New A'ork — offered her senices as an intermedian was in love with one ot her dashing SL 81.72.2 with her "tnend," the queen. The "countess" countrymen, Tadeusz Kosciusko, who in was a charlatan ot the first order and soon 1777 was fighting with the ¿Marquis de ¿Miniature Portrait Pendant found a culpable fool to swindle in Cardinal Latayette for the liberty ot the American Portrait of a lady with a large plumed hat de Rohan, grand almoner of France. This colonies. ¿At a masked ball the countess painted on ivory, set in gold gullible prince of the Church desperately heard that Philadelphia had been captured Signed SC.Ì1 wanted to become a minister ot state, but bv the British. Driven by concern tor her French, about 1780 felt his path was blocked by ¿Marie lover's safety, she called on Benjamin Lent bv Timothy John Antoinette's enmity. He agreed to make a Franklin in the middle of the night at his SL 81.71.17 large down payment on the diamonds after home in Passy. Franklin, always eloquent, he had received a forged document signed but especially' so when a beautiful woman Chatelaine with Watch by the queen. On February 1, 1785, the was his audience, reassured the countess Gold with blue enamel set with pearls and court jeweler Boehmer delivered the that the reports were exaggerated. In diamonds diamonds to the cardinal, who turned them gratitude she took off the necklace she was French, about 1780 over to the countess, who handed them to a wearing and presented it to him, saying: Lent by Dona and Bernard C. Solomon "messenger from the palace. The diamonds "Take it. There are thirteen square-cut SL 81.87.5ab were subsequently smuggled across the emeralds and thirteen pear-shaped channel and broken up for the stones in emeralds, one tor each of the thirteen Watch London. When the scandal broke at court, colonies. I beg you to accept these jewels in Gold with colored-enamel cartouches Louis XVI decided to make an example of the name of liberty." Franklin is said to trimmed with diamonds and a painted the participants and to proclaim his wife's have given the necklace to his French scene ot a vestal virgin tending an altar innocence. The cardinal was arrested in the bankers, and all trace of it was lost during French, about 1785 state apartments and taken to the Bastille the French Revolution. The necklace was Lent bv Dona and Bernard C. Solomon still wearing his ecclesiastical robes! The acquired by Van Cleet and Arpéis in the SL 81.87.8 Parliament of Paris, a political body, was 1920s, and they filled in the emeralds with ordered to judge the participants. The trial fine paste. generated great interest, for the dupe and Pair of Earrings the swindler were only an excuse to put the Country landscapes in polychrome feathers, whole government on trial. ¿Madame la surrounded by pearls in a gold setting Motte-Valois was branded on her shoulder Italian (?), about 1785 with a "V" tor solease (thief) and Lent by Timothy John imprisoned. The cardinal was acquitted, SL81.71.23ab and ¿Marie Antoinette was regarded as guilty-. Napoleon, when looking back at the 59 Pair of Pendant Earrings Pair of Earrings Striped agate set in gold Small gold hoops English (?), about 1785 French, about 1793 Lent by Timothy John Lent bv Timothy John ACCESSORIES SL 81.71.lab SL81.71.23ab Ring Brooch Marquise-shaped carnelian surrounded by- Seed pearls mounted on mother-of-pearl pearls set in gold, engraved inside AUK and gold wire in a design of a basket of English, about 1785 flowers and leaves Lent bv Timothy John English, about 1795 SL 81.71.21 Lent bv Timothy John SL 81.71.15 Swivel Ring Miniature silhouette ot a woman Hair Brooch surrounded by blue and green painted Octagonal gold and crystal case with flowers on ivory; reverse with plaited plaited blonde hair and monogram JIT blonde hair; monogram ot seed pearls, English, about 1795 set in bright-cut gold Lent by Timothy John English, about 1787 SL 81.71.11 Lent bv Timothy John SL 81.71.20 Pair of Earrings Oval garnets surrounded by seed pearls set Pair of Earrings in gold Caned mother-of-pearl set with seed English, about 1795 pearls, central silver mount set with tiny- Lent by Timothy John rose diamonds; gold loops SL 81.71.5ab English (?), about I/~90 Lent bv Timothy John Miniature Harp SL81.71.2ab Gold and colored enamel Swiss, late 18th century (?) Pair of Earrings Lent bv Dona and Bernard C. Solomon Citrines surrounded by seed pearls set in SL 81.87.9 gold English, about 1790 Pendant HaL Lent bv Timothy John Zircons set in gold in a bow and folíate SL81.71.4ab design with a pendant dove of the Holy- Circular "Flat" Hat Spirit with ruby eyes and beak Leghorn straw with silver metallic thread, Brooch French, late 18th century (?) trimmed with narrow metallic lace; low- Gold and cnstal case with wooden Lent by a private collection, New- A'ork crown neoclassical "cameo" caning ot a bearded SL 81.76.2 English, early 18th century man The ¿Aletropolitan ¿Museum of Art English, about 1790 Brooch Purchase, Irene Lewisohn Bequest, 1969 Lent bv Timothy John Diamonds set in silver CI 69.15.1 SL 81.71.12 French or Spanish, late 18th century- Lent bv the Cooper-Hewitt -Museum, New ¿Man's L'ndress Cap Hair Locket A'ork Ivory-colored linen embroidered with Crystal case surrounded by graduated SL81.115.1 polychrome silks in a foliate, rocaille, pearls set in gold and animal design, trimmed with a English, about 1790 painted ivory button Lent by Timothy John French or Italian, early 18th century SL 81.71.15 The ¿Metropolitan Museum of Art Rogers Fund, 1926 Hair Locket 26.231.9 Crystal case surrounded by blue enamel and graduated pearls set in gold; ¿Man's Dressing Cap inscribed on back Grannie Pale blue silk embroidered with English, about 1790 polychrome silks and silver metallic Lent bv Timothy John thread in a floral and rocaille pattern, SL 81.71.16 banded in silk ribbon Swiss, 1st quarter of 18th centun The ¿Metropolitan ¿Museum of Art Purchase, Irene Lewisohn Bequest, 1980 1980.444.4 40 ¿Man's Undress Cap ¿Man's Tricorne Hat ¿Man's Tricorne Hat Ivory-colored linen with green, vellow, and Black felt trimmed with silver metallic Black felt; brim held up by black tape and red silk embroidery- of a gentleman and ribbon grosgrain button with metal fleur-de-lis lady seated in a landscape with palm German (?), mid-18th century design trees and sheep, trimmed with a The ¿Metropolitan ¿Museum of Art French, about 1775 matching topknot Gift of Lee Simonson, 1939 The ¿Metropolitan ¿Museum of Art English, about 1705 CI 39.13.244 Gift of ¿Mrs. William ¿Martine Weaver, 1950 The ¿Metropolitan ¿Museum of ¿Art CI 50.8.16 Roarers Fund, 1959 ¿Man's Tricorne Hat 39.145 Coarse black felt Headdress American (?), mid-18th century Pink and green ribbed silk embroidered For informal occasions at home a The ¿Metropolitan ¿Museum of Art with gold and silver thread in a floral gentleman discarded his curled wig for the Gift of ¿Aliss ¿Agnes Clarke, 1941 and toliate design ease and comfort of a dressing cap. In 41.124.80 French, about 1776 order to wear a heavy wig comfortably, a The ¿Metropolitan ¿Museum of Art man had to wear his own hair closely ¿Man's Tricorne Hat Gift of ¿Mrs. ¿Augustus Cleveland, 1905 cropped. Naturally, when the wig was off Black felt edged with black velvet, trimmed 03.1.4d he presented rather an awkward picture with black silk pompons and appliquéd and was exposed to cold drafts in chilly- Since France and Spain were closely allied black velvet; back held to crown with rooms. Dressing caps were made in a wide by treaty and both were ruled by- black silk cords; black velvet hatband variety of materials, including silk, satin, descendants ot Louis XIV, it is not with silver filigree buckle linen, and tur. The embroidery seen here — surprising that Spanish fashions were ¿Austrian, mid-18th century probably' the handiwork of a periodically revived at the French court. The ¿Metropolitan ¿Museum of Art gentlewoman — depicts on one side a -Mantillas in lace and velvet were popular Gift of ¿Miss Agnes Clarke, 1941 fashionably dressed man wearing an in 1729. and, at the time of the marriage of 41.124.79 undress cap while smoking, and on the the dauphin to a Spanish infanta in 1745, other side a lady in a formal dress in a many fashions were designated à Man's Tricorne Hat pastoral setting. Gentlemen did not sleep in l'espagnol This embroidered headdress is Black felt trimmed with silver galloon and a these fancy caps; they preferred to wear from a later revival in the reign of Louis black tatteta bow- plain cotton or wool versions, often quilted XVI. It recalls the shape of net coifs worn Italian, mid-18th century tor warmth. by the Spanish moyos, or dandies. Legend The ¿Metropolitan ¿Museum ot ¿Art holds that this hat was worn by Queen Rogers Fund, 1925 Child's Head Protector ("pudding") ¿Mane ¿Antoinette. 26.56.88 Quilted tan silk with maroon stripes, trimmed with maroon silk ribbon Hat à la Harpie Circular "Flat" Hat Swiss, about 1740 Blond Italian straw with high crown, Tan straw woven with blue and purple silk The ¿Metropolitan ¿Museum ot ¿Art trimmed with pale green, pink, and ribbon and trimmed with polychrome Gift of ¿Mrs. De Witt Clinton Cohen, 1939 ivory ribbons; underside covered with silk ribbon in a floral design and silver CI 59.61.7 ivory-colored figured silk metallic lace; very low crown French, about 1787 English, about 1750 Child's Head Protector ("pudding") Lent by the ¿Musée de la ¿Mode et du The ¿Metropolitan ¿Museum of ¿Art Quilted green leather edged with green silk Costume, Paris Gift of ¿Mrs. F. D. ¿Millet, 1913 ribbon and trimmed with green ribbon SL 81.83.6 13.49.35 rosettes One ot the chiet occupations at any royal Swiss (?), about 1740 Hat court in the eighteenth centun was political The ¿Metropolitan ¿Museum ot Art Ivon-colored wool trimmed with ivory- intrigue. Princes and noblemen were Gift of ¿Mrs. DeWitt Clinton Cohen, 1959 colored silk ribbon painted in rose and constantly seeking positions ot power tor 39.54.4 green in a floral and cone design, silver themselves and their political ambitions. When children were learning to walk they lace, fringe, and passementerie; The court of Louis X\'I was divided into wore padded crowns to protect their tender underside covered with pink wool five factions: the queen's set; the adherents heads trom harm it they fell. The caps were French, about 1760 of the Due d'Orléans, who favored a made of rings of horsehair covered with Lent by the ¿Musée de la ¿Mode et du constitutional monarchy; the feudal leather or fabric and trimmed with colored Costume, Paris nobilitv, who wanted a figurehead king ribbons. In England, these caps were called SL 81.85.5 dominated bv the nobles and supported the "puddings" because ot their shape. Comte d ¿Artois; and the followers ot the ¿According to A. Varron, a costume Calash Comte de Provence, who had no ideology- historian, the term "in pudding and pinner Brown silk on frame ot cane other than a consuming desire to become [pinafore]" was a metaphor expressing English, 3rd quarter of 18th century king. Each new political development tound extreme youth. The ¿Metropolitan ¿Museum of ¿Art expression in the many pamphlets Gift of ¿Mrs. -Aline Bernstein, 1938 published illegally, and often in the fashions CI 38.100.19 worn by the rival groups. The Comte de Provence detested his sister-in-law ¿Marie ¿Antoinette and made up a ston about her in the guise ot a harpy, a monster supposedly discovered in Peru with two 41 horns and two tails. This fable was well Stomacher known at Versailles, and fashions à la Ivon-colored ribbed silk embroidered with harpie, with ribbons cut with double polychrome silks and metallic thread in points, were worn openly. The Musée de la a floral pattern, ending in finger-shaped Mode et du Costume also has a robe à tabs /'anglaise with the same politically French, 2nd quarter of 18th century inspired silk trimming. The ¿Metropolitan ¿Museum of Art Purchase, Irene Lewisohn Bequest, 1958 Man's Tricorne Hat CI 58.29 Black beaver trimmed with silver metallic ribbon; brown ribbed silk hatband Stomacher European, late 18th century Ivory-colored silk embroidered with The ¿Metropolitan ¿Museum ot Art polvchrome silks and silver metallic Gift of ¿Mrs. M. M. Mouraille, 1958 thread in a floral pattern bordered in CI 38.47.4 pink silk Swiss or south German, 2nd quarter of Circular "Flat" Hat 18th century Leghorn straw- The ¿Metropolitan ¿Museum of Art American, late 18th century Purchase, Irene Lewisohn Bequest, 1980 The -Metropolitan ¿Museum ot Art 1980.444.6 Anonymous Gitt, 1959 CI 59.157 Stomacher Natural linen embroidered with polychrome As early as 1727 a French visitor to silks and silver metallic thread in a floral London noted that the "small hats of straw- and rocaille pattern are vastly becoming. Ladies ot the highest English, about 1740 rank are thus attired when they go walking The ¿Metropolitan ¿Museum of Art or make a simple visit.'' These straw or Stomacherò and Corbeta Purchase, Irene Lewisohn Bequest, 1970 "chip" hats were worn pinned or tied to the 1970.106.2 head, often over a white mull mobcap. Stomacher White cotton quilted in a stylized foliate Stomacher -Man's Tricorne Hat pattern, with diamond-shaped openings Natural cotton couched with silver metallic Black velour trimmed with metal and red and white buttons covered with thread in a herringbone pattern, silk gimp; gold grosgrain hatband crocheted thread embroidered with polychrome silks in a Italian, late 18th century English, about 1700 floral pattern, and edged with natural The ¿Metropolitan ¿Museum ot Art The Metropolitan ¿Museum ot Art cotton tape Rogers Fund, 1925 Purchase, Irene Lewisohn Bequest, 1974 English, mid-18th century 26.56.87 1974.194.1 The ¿Metropolitan -Museum ot Art Purchase, Irene Lewisohn Bequest, 1962 Stomacher CI 62.29.2 Natural linen embroidered with polvchrome silks and metallic thread in a floral and Stomacher vermicelli motif Cream-colored silk embroidered with English, about 1710 polychrome silks and metallic thread in The ¿Metropolitan ¿Museum of Art a floral pattern Purchase, Irene Lewisohn Bequest, 1956 Swiss, mid-18th centun CI 56.38.2 Lent bv Martin Kamer, Switzerland SL 81.111.5 Stomacher Rose-colored silk faille embroidered in a Corset floral design with polychrome silks with Blue watered silk trimmed with white braid silver metallic cord to simulate lacing, and chamois tabs edged with silver braid English, mid-18th century English, about 1720 The ¿Aletropohtan Museum of Art The ¿Metropolitan ¿Museum of Art Gift of Mrs. Frank D. ¿Millet, 1913 Purchase, Irene Lewisohn Bequest, 1975 13.49.2 1975.206.1 Stomacher Finely quilted white linen with a floral pattern outlined in saffron vellow English, about 1720 The ¿Metropolitan ¿Aluseum of Art Purchase, Irene Lewisohn Bequest, 1976 I976.235.2ab 42 Stomacher Pair of ¿Mitts Pair of Gloves Tan silk brocade with a floral pattern in Rose-colored silk embroidered in a rose White kid printed with purple stripes polychrome silks and metallic thread, floral pattern Italian, about 1780 trimmed with metallic lace European, early 18th century The ¿Metropolitan ¿Museum of Art Italian, about 1770 The ¿Metropolitan ¿Aluseum of Art Rogers Fund, 1925 Gitt of The ¿Metropolitan ¿Museum of ¿Art, Gift of Lee Simonson, 1944 26.56.95-96 1940 44.8.7ab CI 40.173.6a Pair of Gloves Pair of Gloves White kid with an embroidered lady in Corset and Stomacher Knitted cream-colored cotton with pink, blue, and green silks and gold Blue silk brocade with a polychrome floral openwork diamond pattern tinsel design edged in white leather with metal American, early 18th centun English, about 1780 loops for lacing; matching stomacher, The ¿Metropolitan ¿Museum of Art The ¿Metropolitan Museum of Art trimmed with gold lace and metallic Gift of ¿Mrs. William ¿Martine Weaver, 1949 Rogers Fund, 1925 braid CI 50.8.6ab German (?), about 1770 23.220.1-2 The ¿Metropolitan ¿Museum of Art Pair of ¿Mitts The embroidered figure on these gloves is a Gift ot Lee Simonson, 1939 Ivory-colored knitted silk with pink and lady in court dress complete with the CI 39.13.209ab green stripes, trimmed with silver fontanges, the hairstyle in vogue during metallic lace the first decade of the eighteenth century. English, early 18th century It is unusual to find a historical costume The ¿Metropolitan ¿Museum of ¿Art depicted on a fashionable accesson. It Gift of ¿Airs. Frank D. ¿Millet, 1913 must have amused the lady who wore the 13.49.1 lab gloves to compare the style of her grandmother's day to the attire of her own Pair of ¿Mitts time. ItaA Rose-colored and green changeable silk with cuffs of rose-colored silk, trimmed Pair of Gloves with dark rose-colored braid and lined Blue kid './ in green silk ¿Austrian (?), late 18th century German (?), about 1760 The ¿Metropolitan ¿Museum of ¿Art The ¿Metropolitan ¿Museum ot Art Gitt of Lee Simonson, 1938 Gift of Lee Simonson, 1944 CI 38.23.372ab 44.8.17ab Pair of Gloves Pair of ¿Mitts ¿Mustard-yellow kid Blue silk with rose-colored silk cufts and Italian, late 18th century rose-colored chenille embroiden The ¿Metropolitan ¿Museum of ¿Art German (?), about 1760 Rogers Fund, 1925 The Metropolitan ¿Museum of Art 25.56.93-94 Gift of Lee Simonson, 1944 44.8.18ab Pair of Gloves White kid ¿Mitt Italian, late 18th century Golden-yellow silk embroidered with beige The ¿Metropolitan ¿Museum of Art silk in a folíate and rocaille design Rogers Fund, 1925 English, about 1770 26.56.91-92 The -Metropolitan ¿Museum ot ¿Art Gift of the New-York Historical Society, 1979 GLovej 1979.346.5 Pair of Gloves Pair of ¿Mitts Cream-colored kid with an inset of gold White cotton with a polychrome chinoiserie netted lace and a border ot matching floral print grosgrain ribbon woven with a leaf French, about 1775 motif in gold thread The ¿Metropolitan ¿Museum of ¿Art French, early 18th century Gift of Lee Simonson, 1939 The ¿Metropolitan ¿Museum of Art CI 39.13.185cd Gift of ¿Mrs. Benjamin G. Lathrop, 1952 CI 52.28ab 43 Addison made the following comments in Fan The Spectator in 1711 : Paper painted in gouache and watercolor with Chinese figures grouped around a Women are armed with fans as men tea table; borders painted with a gold with swords, and sometimes do more chinoiserie design; mother-ot-pearl sticks <¿ execution with them. ... I have seen a and guards pierced, caned, and painted tan so very angry that it would have in tones ot gold with putti, musicians, been dangerous tor the absent lover who and garland-bearing figures provoked it to have come within the French, about 1765 wind of it, and at other times so very- The Metropolitan ¿Museum of ¿Art languishing that I have been glad for the Gift of ¿Miss Isabel Shults, 1959 lady's sake that the lover was at a 59.42.1 sufficient distance from it. I need not add that a tan is either a prude or a Fan coquette, according to the nature of the Parchment painted with a central medallion person who bears it. of figures in a landscape and two portrait medallions of Louis XVI and Fan Queen ¿Marie Antoinette surrounded by- Ivory painted in gouache with a scene of flowers, vases, sequined ribbons, birds, birds, bordered with gilt and Chinese insects, and rocaille patterning; scenes, trimmed with ivory-colored tortoiseshell sticks and guards pierced, grosgrain ribbon; mother-of-pearl on hilt caned, and painted in tones ot gold French or Dutch (?), 2nd decade ot 18th with putti and human figures century Italian or French, about 1780 The ¿Metropolitan ¿Museum ot Art The ¿Metropolitan ¿Museum of .Art Bequest ot ¿Alan- Clark Thompson, 1923 Gift of ¿Miss Ella ¿Mabel Clark, f948 24.80.17 Fa/u 48.58.11 Fan White kid painted with a central human Parchment with a central gallant scene mask (bauta) surrounded by painted surrounded by polychrome-painted floral scenes of a tan shop, a chess-playing swags, trimmed with gold sequins and In the eighteenth centurv the tan was an couple, a lady in a sedan chair, and metallic braid; sticks and guards ot indispensable part of a lady's costume. She musicians, with rocaille and floral pierced and gilded ivory with putti would no more venture forth into society borders; sticks and guards of caned, and garlands; paste stone in hilt without this accessory than a modern pierced, gilded, and painted ivory- woman would go without her handbag. A Spanish, 1740-50 French, 1780s tan gave a lady something pretty to hold, The ¿Metropolitan Museum of ¿Art The ¿Metropolitan ¿Museum ot ¿Art cooled her in warm weather, and protected Gift of ¿Miss ¿Agnes ¿Miles Carpenter, 1955 Gift ot ¿Aliss Agnes ¿^liles Carpenter, 1955 her delicate skin trom the heat of the 55.-13.17 55.43.9 fireplace. Fans were made either totally ot ivory or of a mixture of caned ivon and Fan folding mounts of silk, vellum, or chicken Pant d Anoleterre bobbin lace with the skin. The last material was particularly arms ot Ferdinand VI and Queen Maria popular for painted fans because of its Magdalena ot Spain; mother-of-pearl smooth, opaque surface. In the second half sticks and guards pierced, caned, and ot the century, painted fans often painted with two tones of gold in a commemorated some current event like the rocaille pattern, the royal Spanish arms, Montgolher balloon ascent or the fall of the and putti; two diamonds in hilt; Bastille, and thus were as timely as the original green shagreen case trimmed other fashions worn by their owners. Fine with geometric copper-gilt nailheads lace was also mounted on fans. France had French about 1750 a major fan-making industry; in 1753 Paris The ¿Metropolitan ¿Aluseum ot Art alone supported 150 master fan makers. Gift of ¿Airs. .Albert Blum, 1955 -Many tans were also made in Italy, Spain, 53.162.71ab and England. The tan in the eighteenth century was a romantic adjunct to a lady s costume. By holding her fan in a certain manner, a lady could transmit a message to a gentleman on the other side of a room. For this form ot communication to be successful, it was necessary tor both sexes to know the code and also to live in a restricted society like that ot the court ot Versailles. The English poet Joseph I-Ì Fan arranged your train and looked through Folding Purse Painted silk with a central motif of a the huge bag, the masses had already Linen completely covered with wool woman playing a harp, flanked by- reached the Gospel. embroidery in green with a polychrome symbols of the arts, trimmed with gold floral pattern in crew-elwork and chain and silver sequins; ivory sticks and Round Bag stitch guards with gold and silver leaf floral Lilac silk brocade in polychrome floral and American, about 1750 design meander pattern, trimmed with blue and The ¿Metropolitan ¿Museum of ¿Art French (?), 1785 white silk cord and tassel Gift of Claggett Wilson, 1946 The ¿Metropolitan ¿Museum of Art Austrian, 18th century 46.59.2 Gift of ¿Margaret H. Bronson, 1955 The ¿Metropolitan ¿Museum of Art CI 55.22.2 Gift of Lee Simonson, 1938 Folding Purse 38.23.110 Linen needlepointed in a polychrome flame- stitch pattern Gaming Bag (bourse de jeux) English, last quarter of 18th century Blue velvet couched in silver and gold The ¿Metropolitan ¿Museum of Art thread, with the royal arms of France Gift of Virginia S. ¿Mayor, 1980 and Navarre and a small L (possibly for 1980.592.1 Bagj Louis XV); lined in white kid French, mid-18th century Folding Purse Bag The ¿Metropolitan ¿Museum of Art Cream-colored silk with appliquéd Cloth of silver with polychrome enamel Gift of ¿Airs. Edward S. Harkness, 1930 medallions embroidered in polychrome plaques of a gentleman and a lady 30.135.178 silks, trimmed in silver metallic thread European, about 1695 Detail illustrated, page 6 French, late 1780s The ¿Metropolitan ¿Museum of Art The ¿Metropolitan ¿Museum of ¿Art Gambling was one of the principal evening Gift of ¿Mrs. Edward S. Harkness, 1930 Gift of Catherine Oglesbv, 1959 diversions at Versailles, with huge sums 30.135.176 CI 59.30.2 won and lost by the courtiers. One mark of favor was to carry money in a gaming bag Bag Flat Purse or bourse de jeux. This was a small velvet Cloth of silver trimmed with rose moiré White satin painted in a militan-trophy bag lined in white kid and often covered ribbon and silver fringe with and strawberry-vine motif with thin silk. The owner's coat of arms polychrome enamel plaques of a French, about 1790 was embroidered on the bottom of the bag gentleman and a lady- The ¿Metropolitan ¿Museum of Art in polychrome silks and gold and silver European, late 17th century Gift of Catherine Oglesbv, 1959 metallic threads. The king presented such a The ¿Metropolitan ¿Museum of Art CI 59.30.1 bag, filled with gold coins, to members of Gift of ¿Mrs. Edward S. Harkness, 1930 his family and to courtiers whom he wished 30.135.175 Flat Purse to honor. Red leather embroidered with a diamond- Drawstring Bag shaped design in silver thread Gaming Bag (bourse de jeux) Red velvet trimmed with bands of gold ¿Austrian (?), late 18th century Dark green velvet couched in silver and galloon and an appliquéd embroiden The ¿Metropolitan ¿Museum of ¿Art gold metallic thread and blue and rose- motif of a flower; cords trimmed with Gift of Lee Simonson, 1939 colored silks with the coat of arms of tassels of red silk and metallic thread 39.13.274 the ¿Marquis de Chalmazel French, early 18th century French, about 1750 The ¿Metropolitan ¿Museum of ¿Art Lent by a private collection, Paris Gift of Spencer Samuels, 1978 SL 81.86.3 1978.244.3 In her memoirs, the ¿Marquise de la Tour Gaming Bag (bourse de jeux) du Pin commented on a bag, similar to this Dark green velvet couched in silver and one, used to hold the missal or prayerbook gold metallic thread and blue and rose- she was handed on her way to mass at colored silks with the arms of Queen Versailles: ¿Maria Leczinska French, about 1750 Then we would throw- our trains on one Lent bv a private collection, Paris side of our hooped skirts, and after SL 81.86.2 having been noticed by one's footman, who was waiting with a big red velvet Gaming Bag (bourse de jeux) bag adorned with gold tassels, we would Red velvet couched in silver metallic thread rush into the rows on the right and left with the arms of the Comte dArgenson of the chapel so as to be as close as French, about 1750 possible to the balcony- where the King Lent by a private collection, Paris and Queen and princes who had joined SL 81.86.1 them . . . were gathered. A'our footman would put your bag in front of you; you would take out your book, which you hardly used since bv the time vou had 45 ¿Apron Pair of Shoes and Pattens Cream-colored taffeta embroidered with White linen embroidered in blue silk; polychrome silks in a floral pattern, pattens of brown leather with blue edged with metallic lace brocade straps English, 1st quarter of 18th century English, 1st quarter of 18th century The ¿Metropolitan ¿Aluseum of Art The ¿Metropolitan ¿Museum ot Art Purchase, Irene Lewisohn Bequest, 1964 Gift of ¿Airs. ¿Max Schott, 1952 CI 64.34 CI 52.15.2a-d ¿Apron Pair of Shoes Ivory-colored tatteta embroidered with Green, pink, and cream-colored silk floral green and red silks and silver metallic- brocade trimmed with green silk ribbon; thread in a toliate and floral pattern high heels English, about 1740 English, 1st quarter ot 18th century- The ¿Metropolitan ¿Museum of -Art Lent by Cora Ginsburg, Purchase, Irene Lewisohn Bequest, 1971 Tarrytovvn, New A'ork 1971.95 SL 81.68.1 lab Apron Pair of Man's Court Shoes Ivory-colored passementerie trimmed with White leather; red leather heels ombréd blue grosgrain ribbon, bands of Danish, about 1730 blue fly-tnnge. and white blonde lace Lent by the Rosenborg Palace, Copenhagen French, about 1740 SL81.8l.6ab The ¿Metropolitan ¿Museum of Art Gift of Polaire Weissman. 1979 Pair of Shoes 1979.436 Ivory-colored satin embroidered with matching silk thread, trimmed with ¿Apron ivory-colored silk ribbon and matching Apple-green taffeta trimmed with rose and fringe silver metallic ribbons English, about 1750 French, mid-18th century Lent by the ¿Aluseum of the City of New- The ¿Metropolitan ¿Aluseum of Art York Aprons Purchase, Irene Lewisohn Bequest, 1971 SL 81.96. lab 1971.242. 6 Pair of Slippers Apron -Apron Rose-colored silk brocade trimmed with Off-white silk moiré and cloth of silver ¿Mustard-yellow cotton printed with a metallic lace and edged with green silk with blue stripes woven horizontally, polychrome toliate and gourd design; ribbon; high red leather heels trimmed with blue silk and gold metallic bib trimmed with red and ivon-colored French, about 1735 braid striped silk ribbon The ¿Metropolitan ¿Museum ot Art Italian, about 1700 English, about 1750 Gift ot ¿Miss Agnes Clarke, 1935 The -Metropolitan -Museum ot Art Lent bv the Chicago Historical Socierv CI 38.76.5ab Purchase, tunds from various donors, 1980 SL 81.69.3 1980.408.4 Ladies and gentlemen at the French court in the time of Louis XTV were required to Elaborate aprons in silks and metallic wear red leather heels —les talons fabrics of the seventeenth centun rouges. The tashion soon spread to the continued to be worn as luxurious major courts ot Europe, where it was accessories in the succeeding centun. These followed until the end ot the eighteenth aprons served no practical purpose; rather, century. It is rare to find a sun-iving pair they added variety to a fashionable of shoes of this quality. ¿Most such footwear woman's wardrobe bv altering the lines and must have been worn out and discarded; colors of her costume. court lite consisted ot endless standing, since the right to sit down was rigidly Apron governed by etiquette. 'POL'J Ivory-colored silk embroidered with gold in Sh a foliate and star pattern Pair of Shoes English, early 18th century Pair of Shoes Polychrome wool needlepointed in a The ¿Metropolitan ¿Museum ot Art \\ hite kid embroidered with green and geometric pattern, trimmed with blue Purchase, Irene Lewisohn Bequest, 1962 yellow silks and silver metallic thread in silk and turquoise brocade ribbon; heels CI 62.29.5 a foliate pattern; red leather heels covered with ivory-colored silk painted French, about 1695 in a green, pink, and black toliate The ¿Metropolitan ¿Museum of ¿Art pattern Rogers Fund, 1906 English, about 1735 06.1344 Lent by The Brooklyn ¿Museum SL 81.74.3ab 46 Pair of Shoes Pair of ¿Alules streets. Fine shoes often had matching clogs Polychrome silks queenstitched in a floral Green brocade with metallic rocaille with flat bottoms and a sculpted instep. pattern on a cream-colored ground, decoration, trimmed with pink silk Both clogs and pattens were tied securely trimmed with light blue ribbon; high German (?), about 1750 across the arch of the foot with colored heels covered in dark blue wool The ¿Metropolitan ¿Museum of ¿Art ribbons. English, about 1735 Bashford Dean ¿Memorial Collection, funds Lent by the National ¿Museum of ¿American from various donors, 1929 Pair of Shoes Histon, Smithsonian Institution 29.158.887ab Green silk brocade with a pink floral SL 81.92.3 design, trimmed with silver metallic lace Pair of Shoes French, about 1760 Pair of Shoes ¿Maroon leather with a cut-steel buckle, The ¿Metropolitan ¿Museum of Art Green silk brocade with a lighter green trimmed with rose-colored silk ribbon; Rogers Fund, 1914 foliate design trimmed with dark green high heels. 14.63.1-2 silk tape French, about 1750 English (?), mid-18th century The ¿Metropolitan ¿Museum of ¿Art The -Metropolitan ¿Museum of Art Purchase, Irene Lewisohn Bequest, 1963 Gift of ¿Airs. Dudley Wadsworth, 1941 CI 63.35.6ab 41.161.4ab Pair of Alules Pair of Baby's Court Shoes Pale blue suede embroidered with pink and White satin with red leather heels green floss in a pomegranate and grape Danish, mid-18th century- design, piped in pale coral silk ribbon; Lent by the Rosenborg Palace, Copenhagen tan leather heels SL 81.81.7ab French, about 1750 The ¿Metropolitan ¿Museum of Art In the eighteenth century- the courts of Gift of Bally of Switzerland, 1978 Europe were governed by a rigid etiquette, 1978.356ab~ with one's position in the system dependent on noble birth or subsequent elevations. A courtier bowed as reverently to a royal prince in his cradle as he would to an adult prince. These white leather shoes, with their obligatory red leather heels, were worn by an infant Danish prince; he was dressed in the complete trappings ot his Pair of Shoes rank, albeit in miniature. Pale blue silk with a floral design in black purl and silver sequin appliqué; white Child's Patten ("mud shoe") satin heels and trim Wooden sole with brown leather strap on English, about 1776 cuned metal raise The ¿Metropolitan ¿Museum of Art English, mid-f8th century- Gift of ¿Mrs. Frank D. ¿Millet, 1913 Lent bv the ¿Art Institute of Chicago 13.49.30ab SL 81.98.1 Pair of Shoes Purple silk with an appliquéd sequin-bow Pair of Shoes design; low white leather heels Rose-colored suede embroidered with silver French, about 1780 thread in a rocaille pattern, trimmed The ¿Metropolitan ¿Museum of ¿Art with white silk ribbon; high white Gift of ¿Mrs. William ¿Martine Weaver, 1950 leather heels CI 50.8.24ab French, about 1750 Lent by the ¿Musée de la ¿Mode et du Pair of Shoes Costume, Paris Ivory-colored satin brocaded with SL81.83.9ab polychrome silks in a floral pattern; low- heels Patten ("mud shoe") English, about 1780 Wooden sole with brown leather straps Lent by Cora Ginsburg, mounted on a circular iron raise Tarrytown, New York Pair of Shoes American, about 1750 SL 81.68.9ab Pale blue satin edged with matching silk Lent by the Chicago Historical Society-, tape SL 81.69. lab English, about 1750 The ¿Metropolitan ¿Museum ot -Art Pattens were worn out of doors by middle- Bequest of ¿Mrs. ¿Maria P. James, 1911 class ladies to protect their fine leather and 11.60.198ab cloth shoes trom mud and rubbish in the 47 Pair of Shoes MiàceUaneouó AcceMorteà Red leather trimmed with white silk grosgram ribbon; high white leather heels English (?), about 1780 Lent bv The Brooklyn ¿Aluseum SL 81.74.2ab Pair of Shoes Busk Black figured silk trimmed with matching Wood with inlaid decoration of foliate ribbon; high white leather heels scrolls, hearts, and bird; ZG monogram Swedish, about 1780 Dutch or German, about 1700 Lent by the Nordiska ¿Museum, Stockholm The ¿Metropolitan ¿Museum ot Art SL 81.91.lij Gift of ¿Airs. Edward S. Harkness, 1930 30.155.22 Pair of Shoes Green silk damask woven in white in a ¿A cuned wooden busk, used to stiffen the foliate and floral pattern; white satin Pair of Shoes bodice, was inserted between the breasts heels Blue figured silk embroidered with metallic- into an opening in the front of the corset. English, about 1780 (fabric earlier) thread in a foliate design, trimmed with Busks were often elaborately trimmed with Lent bv the Museum of the City ot New ivory-colored silk ribbon and padded inlays ot rare wood or mother-of-pearl. It A'ork bows, gold lace, and silver sequins; was characteristic of the time that elaborate SL 81.96.2ab white kid heels effort and craftsmanship were expended on German, about 1780 the decoration of an object that was rarely- Pair of Shoes The ¿Aletropohtan ¿Museum of Art seen. Dark green satin couched with silver Gift of Lee Simonson, 1959 metallic thread and silver sequins in a CI 59.15.257ab Parasol (copy of original in Costume floral and rocaille design, trimmed with Institute collection) pink silk ribbon; medium pink satin Pair of Shoes Ivory-colored silk taille embroidered with heels White kid trimmed with purple satin bows polychrome silks and gold metallic French, about 1780 and piping thread in a floral and rocaille pattern, Lent bv ¿Martin Kamer, Switzerland ¿Attributed to Joseph Wolff trimmed with gold metallic braid and SL81.ìll.2ab French, about 1783 fringe and ivory-colored silk and gold Lent bv a private collection, Paris tassels Pair of Shoes SL81.il2.2ab Italian, 1st quarter of 18th century Dark green satin trimmed with matching The ¿Metropolitan ¿Aluseum of Art These shoes were made tor Queen ¿Alarie silk ribbon; medium heels Gitt of Invin Unterm ver, 1946 Antoinette by her German master English, about 1780 46.29a-c shoemaker, Joseph Wolff. Presened by Lent by ¿Alartin Kamer, Switzerland Madame du Crey, keeper ot the queen's SL81.ìll.3ab lace, and, later, her descendants, they were Muff sold to the family ot the present owners White grebe feathers, lined with dark Pair of Mules during the Second Empire. brown satin and fleece Pink figured silk embroidered with silver Danish, about 1740 sequins and pearl beads in a floral-vine Lent bv the Rosenborg Palace, Copenhagen Pair of Shoes design; white leather heels SL 81.81.8 Pale blue satin trimmed with matching silk French, about 1780 ribbon; low- molded heels Queen Louise ot Denmark, wife of Lent bv the ¿Musée Carnavalet, Paris English, about 1785 Frederick V and daughter of George II of SL 81.88. lab Lent by Alartin Kamer, Switzerland Great Britain and Hanover, carried this These embroidered mules are said to have SL8lill.8ab wool-lined muft and probably valued its been worn by Queen -Marie Antoinette. warmth in cold palace rooms during the They were given to the Carnavalet by- Pair of Shoes Baltic winter. ¿Muffs were fashionable Princess Eudoxie of Bulgaria, a direct Green damask in a foliate pattern, trimmed accessories tor both men and women. They descendant ot Charles X, brother-in-law ot with olive-green silk ribbon; low light were small at the beginning of the centun the queen. green leather heels but, by the 1790s, had grown quite large. English, about 1790 They were generally made of silk or Lent by ¿Martin Kamer, Switzerland feathers lined in wool or in one of the SL8lill.4ab fashionable furs: ermine, chinchilla, fox, sable, kolinsky, or beaver. The long, silky- Pair of Shoes hair of the angora goat was also used. In White satin; pink satin trim and heels England during the 1790s the muff played English, late 18th century a political role: supporters of the statesman The ¿Metropolitan ¿Museum of Art Charles James Fox carried oversized fox Gift of ¿\ 1rs. Frederick Street Hoppin, 1963 mufts to proclaim their political preference. CI 63.7.6ab 48 Woman's ¿Alask (bauta) also be sent to the local wig maker to be Pair of Garters Shiny white plaster recurled and powdered. Gentlemen must Green and salmon-colored silk and gold Italian, mid-18th century (?) have always had a sprinkling of flour on metallic brocade trimmed with salmon- The ¿Metropolitan ¿Aluseum of ¿Art the shoulders of their garments, a flaw- colored silk ruching and ivory-colored Gift of ¿Airs. DeWitt Clinton Cohen, 1943 usually omitted in contemporary portraits. silk ribbon 43.43.2 French (?), 1772 Pair of Pockets Eighteenth-century Venetians devised a Lent bv the Rosenborg Palace, Copenhagen masquerade costume that was uniquely White satin embroidered with green, red, SL81.81.9cd their fashion. It consisted of a black taffeta and white silks in a strawberry pattern hood edged with a wide band of lace and edged with yellow silk Pair of Garters called a tabarro it worn by a gentleman English, mid-I8th century Pale blue and white zigzag-striped silk and a tabarrino if worn by a lady. A The ¿Aletropohtan ¿Aluseum of ¿Art braid trimmed with pale blue figured pasteboard fancy-dress mask, modeled on Purchase, Irene Lewisohn Bequest, 1974 silk ribbon the monkey- masks used by the actors of the 1974.101.1 French (?), 1772 Commedia deli-Arte, was worn with this Lent by the Rosenborg Palace, Copenhagen SL 81.81.9ab hood. The masks, or bautas, were worn Petticoat by both sexes. Black oval masks called Chartreuse silk with wide stripes of white Christian ATI ot Denmark married an morettas were also used by ladies as a quilted in floral and rocaille design and English princess, Caroline-¿Alathilde, disguise. These resembled the complexion edged with darker green tape daughter of the Prince of Wales and sister masks that women had worn out of doors English, mid-18th century of George III. The Danish king suffered in the seventeenth century. Since the bauta The ¿Aletropohtan ¿Aluseum of ¿Art from a form of mental illness and was or moretta covered half the face, the Purchase, Irene Lewisohn Bequest, 1977 extremely erratic in his behavior. The wearer enjoyed a large measure ot 1977.197.2 young queen felt quite isolated trom her anonymity- which allowed him or her to talk husband and, after the birth of a crown confidentially or to act indiscreetly. One Hoop (pannier) prince, she withdrew from him and his need only remember the exploits of Natural glazed cotton with wicker hoops dissolute courtiers. A German doctor, Casanova to imagine the many uses of the and white cotton ties Johann Friedrich Struensee, was able to disguise. The Venetian Council of Ten, English, about 1750 reason with Christian, thus gaining however, restricted the wearing of this The ¿Aletropohtan ¿Aluseum ot ¿Art influence with the king and the lonely- costume to the period between the first Purchase, Irene Lewisohn Bequest, 1975 queen. He soon became the queen s lover Sunday in October and the beginning of 1973.65.2 in an almost public liaison. Struensee was a Lent, and to special holidays like the day of partisan of the philosophies of Rousseau the election of a doge. These occasions, and Panniers, which helped to support the and Helvétius — radical ideas that had little the masquerades worn, are amply recorded weight of voluminous dresses, usually following in Denmark. Through court in the contemporary paintings of Longhi rested on two small hip pads on either side intrigue and their influence over Christian and Tiepolo. of the corset. Despite the many- VII, the queen and the doctor were able to inconveniences caused bv the pannier, it have the king's first minister, Bernstotf, ¿Man's ¿Alask (bauta) was an indispensable element of dress from replaced by Struensee in 1770. Since the Shiny white plaster 1720 to the time of the French Revolution. king was deranged during this period, Italian, mid-18th century (?) Satirists and playwrights severely criticized Struensee was the virtual ruler ot the The ¿Aletropohtan ¿Aluseum of ¿Art the wearing of this undergarment, but countn. The Danish nobility- tolerated this Gift of ¿Mrs. De Witt Clinton Cohen, 1943 without effect. In the comedy Les Paniers situation only until Struensee tried to 43.43.1 de la vieille piecieuse of 1744, Harlequin introduce liberal political reforms. Then sold panniers in the street with the en, "I they convinced the weak-willed Christian have sold ones which can be raised for A'H to order the arrest of his wife and the Servant's Wig prudes, folding ones tor gallant ladies, and White horsehair with black cotton bag prime minister. These silk garters, presents halt-and-half models for members of the from Struensee to the queen, were used by (crapaud) Third Estate [the bourgeoisie]." Italian, mid-18th century the prosecution as evidence of the intimate The ¿Metropolitan ¿Museum of Art nature of their relationship. Struensee was Double Sleeves (engageantes) condemned to death and was barbarously- Rogers Fund, 1926 \\ hite mull with broderie anglaise and lace 26.56.147 broken on the wheel in a public square in insets in rocaille forms Copenhagen on ¿April 26, 1772. The queen, Fine wigs were made of human hair that English, about 1760 because ot her position and family- ties, was was "neither too coarse, nor too slender, the Lent bv The Brooklyn ¿Aluseum merely exiled to a remote castle in Celle bigness rendering it less susceptible of the SL81.74.4a-d (Hanover). Nicknamed the "Queen of artificial curl and disposing it rather to Tears," she died in exile at twenty-four. frizzle, and the. smallness making its curl Scarf too short." Less expensive wigs, like this White silk trimmed with green and pink ¿Alen's Shoe Buckles sen-ant's wig from Venice, were made of silk flowers alternating with rocaille Paste and goldstone set in silver horsehair, goat s hair, or even feathers. shapes in silver thread; edged with ¿American, about 1775 Wigs were powdered with scented flour, silver lace The ¿Aletropohtan ¿Aluseum of ¿Art which adhered to the hair by means ot French, about 1760 Gitt of ¿Airs. Carman ¿Alessmore, 1981 grease or pomatum. The process of The ¿Aletropohtan ¿Aluseum of ¿Art 1981.104ab powdering was very messy, so special Purchase, Irene Lewisohn Bequest, 1980 "powder rooms'' were designed. \\ igs could 1980.444.7 49 Hunting Belt Collarette AA'atch Fob Brown leather stamped in a gold scroll and Black silk ribbon and lace Round braid and tassel of polychrome silks floral design French, 1784 and metal thread with a red glass French, about 1780 Lent bv the ¿Alusée Carnavalet, Pans pendant key and button of repoussé Lent bv a private collection, Paris SL 81.88.2 silver set with green and red stones SL81.112.1 French, late 18th century This black lace collarette was worn by- The ¿Aletropohtan ¿Aluseum ot Art Louis X\ I was a true Bourbon monarch in Marie Antoinette when she sat for her Anonymous Gift, 1924 his devotion to the hunt, his favorite miniature portrait by Nicolas-Antoine- 24.166.23 pastime. On days when the king was Laurent Dumont in 1784. The queen gave prevented from hunting, his diary entries this accessory to the artist to help him tersely noted: "Today, nothing." Marie complete her portrait, and it was treasured AA'atch Fob Antoinette hunted infrequently. There were by generations of his descendants, who Gold braid with green silk and gold thread times, however, when she was obligated by later gave it to the Carnavalet. tassels and a green glass pendant key- court etiquette to tollovv the hunt, tor French, late 18th century The ¿Aletropohtan ¿Aluseum ot Art which she wore a riding coat cut in Watch Fob imitation of a man s coat, and this brown Anonymous Gift, 1924 Three flat gold filigree chains with a blue 24.166.20 leather belt. Madame du Crey. keeper of enamel medallion, a flat watch key, urn- the queen's lace, presened the belt at the shaped and agate charms, and a red time ot the Revolution. Her descendants AA'atch Fob carnehan seal Gilt braid with three gilt tassels and an sold it to the family ot the present owner German, about 1/95 during the Second Empire. amethyst pendant The ¿Aletropohtan ¿Aluseum ot Art French, late 18th century Anonymous Gift, 1924 The Metropolitan Museum of Art Buttons 24.166.2 Anonymous Gift, 1924 Figures ot amorini painted on ivon in 24.166.18 ansatile with gilt-metal mounts; Pair of Pockets original leather case lined in blue-green Tan linen embroidered with polychrome plush silks in a floral-vine pattern with the French, about 1780-90 monogram JIP and the date The -Aletropohtan Museum ot Art American. 1796 Gift of Susan Dwight Bliss. 1942 The Metropolitan Museum ot Art 42.118.1-15 Gift ot the New-York Historical Society. 1979 AA'atch Fob 1979.546.4 Green braid embroidered in metallic thread with a painted miniature ot a. putto: "Pockets" held a lady s handkerchief, keys, gilt tassels and a brass key- money, or love letters. -A lady put her French, about 1780 hands through the side slits in her The Metropolitan Museum ot Art overdress to reach her pockets, which were Anonymous Gitt. 1924 worn tied around the waist under her 24.166.16 panniers. These bags were made in a variety ot sturdy materials, otten covered Buttons with silk and embroidered in fanciful Four Italian perfume buttons; silver- patterns. mounted miniatures on ivory; three French portrait buttons ot ladies painted Tabarrino on silk, under glass; eleven French Black silk hood trimmed with black lace buttons with military and revolutionary Italian (A'enetian). late 18th century subjects painted in gouache on paper, The Metropolitan Museum of Art under glass Rogers Fund. 1926 About 1780 2b.56.61 The -Aletropohtan -Aluseum ot Art From the Hanna S. Kohn Collection. 1950 Buttons 50.25.1-657 White porcelain in a basketweave pattern with silver-gilt mounts; original leather case lined in green plush English, late 18th century The Metropolitan ¿Aluseum of Art Gift of Susan Dwight Bliss, 1942 42.118.16-24 50 Pierre-Louis Dumesnil the younger (1698-1781) . Interior with Card Players Oil on canvas, 31 '/s X 38 VA in. (79 X 98 cm.) French, about 1730 The ¿Aletropohtan Aluseum of Art Bequest of Harn G. Sperling, 1971 1976.100.8 Nicolas de Largillière (1656-1746) Louis Guiguer, Baron de Prangins (1675-1747) Oil on canvas, 54'/i X 415/s in. (137.8 X 105.7 cm.) French, about 1730 The ¿Aletropohtan ¿Aluseum of Art Rogers Fund, 1921 21.85.2 Nicolas de Largillière (1656-1746) Judith van Robáis, Baroness de Prangins Oil on canvas, 54 3/s X 4\Vi in. (138.1 X 105.4 cm.) French, about 1730 The ¿Aletropohtan ¿Aluseum of Art Rogers Fund, 1921 21.85.2 Charles Philips The Strong Family PAINTINGS Oil on canvas, 29 Vs X 27 in. (75.2 X 94 cm.) Attributed to Hyacinthe Rigaud Portrait of a ¿Alan in a Brown Coat English, 1732 (1659-1743) Oil on canvas, oval, 28% x 23[A in. (73 x The ¿Aletropohtan ¿Aluseum of ¿Art Portrait of a Nobleman, Possibly 59.1 cm.) Gift of Robert Lehman, 1944 François de Chambrier French, 1st quarter of 18th century 44.159 Oil on canvas, oval, 32' 2 x 25% in. (81.6 x The ¿Aletropohtan ¿Aluseum of ¿Art 65.4 cm.) Bequest of Catherine D. Wentworth, 1948 Louis Toqué (1696-1772) French, about 1705 48.187.732 Queen ¿Alaria Leczinska The ¿Aletropohtan ¿Aluseum of Art Oil on canvas, 106 % X 76 in. Bequest of Catherine D. Wentworth, 1948 Portrait of a Lady in a Rose Dress (271 X 193 cm.) 48.187.733 Oil on canvas, oval, 28'/2 x 23'A in. (72.4 x French, 1740 59.1 cm.) Lent by the ¿Alusée National du Château de Pierre Gobert (1662-1744) French, 1st quarter of 18th century A'ersailles ¿Alarie Adelaide de Savoie, Duchesse de The ¿Aletropohtan ¿Aluseum of ¿Art SL 81.82.2 Bourgogne Bequest of Catherine D. Wentworth, 1948 Illustrated, page 19 Oil on canvas, oval, 28 % X 23 VÁ in. 48.187.731 ¿Alaria Leczinska was a Polish princess (73 X59.1 cm.) whose father, King Stanislas, had been Peter Jacob Horemans (1700-1776) French, 1710 exiled to the small garrison town of A ¿Musical Gathering at the Court of the The ¿Aletropohtan ¿Aluseum of Art AA'eissenburg, in French Alsace, when she Elector Karl Albert of Bavaria Gift of the ¿Alarquis de la Begassière, was an adolescent. AATien the young Louis Oil on canvas, 34'/2 X 42 in. (87.6 X 106.7 1963 XV was searching the courts of Europe for cm.) 1963.63.120 a bride, a list of ninety-nine candidates was Flemish, 1730 drawn up. Political suitability and the The ¿Aletropohtan ¿Aluseum ot ¿Art ¿Alagaretta Haverman (active 1716-50) apparent scarcity of Catholic princesses of r Giovanni P. ¿Alorosini Collection, presented A A ase of Flowers marriageable age made the poor Polish bv his daughter Giulia, 1932 Oil on wood, 31'A x 23% in. (79.4 x 60.3 princess the preferred candidate. Queen 32.75.4 cm.) Maria often told the story of how she Dutch, 1716 learned of this extraordinary event. She The ¿Aletropohtan ¿Aluseum of Art and her mother were preparing bundles of Purchase, 1871 clothing for charity in \Areissenburg when 71.6 her father rushed into the room bearing a letter. 51 "My daughter, let's fall on our knees and George Christoph Grooth (1716-1749) give thanks to God!" The Empress Elizabeth of Russia on "Why, Father? Have you returned to Horseback, ¿Attended by a Page Poland as king? " Oil on canvas, 31% X 24'2 in. "No, Heaven has vouchsafed us a still (79.7 X 62.2 cm.) greater boon: you are to be queen ot German, about 1745 France!" The ¿Aletropohtan ¿Aluseum of Art Louis XA' was very fond ot his queen, Gift of ¿Air. and ¿Airs. Nathaniel Spear. Jr., but her exaggerated piety and simple tastes 1978 bored him; he treated her with kindness, 1978.554.2 but preferred the company of his mistresses. Louis Toqué, in this replica ot James Seymour (1702-1752) his original painting in the Louvre, has Portrait of a Horseman portrayed the queen in a grand panier Oil on canvas, 37 x 51% in. (94 X 151.1 court dress with some ot the crown jewels cm. ) sprinkled across her stomacher and in her English, 1748 powdered hair. The ermine robe is a The ¿Aletropohtan ¿Aluseum of Art painter's conceit to show the sitter s rank, Gift of the children of the late Otto H. and as the queen would not have worn a cape Addie AA". Kahn (Lady Maud E. with her court dress, and certainly not one Marriott, ¿Airs. ¿Alargaret D. Ryan, lined in ermine and embroidered with Roger W. Kahn, and Gilbert AA'. Kahn), fleurs-de-lis, a costume resened for 1956 coronations. 56.54.1 Attributed to Francesco Guardi François-Hubert Drouais (1727-1775) (1712-1793) Princess Sophie of France Still Life Oil on canvas. 25% x 20 s in. (65.1 x 55 Oil on canvas, 72 X 56 in. (182.8 X 91.4 cm. ) cm. ) French, 1762 Italian, about 1740 The ¿Aletropohtan ¿Aluseum ot Art The Metropolitan Museum ot Art Gift ot Barbara Lowe Fallass, 1964 George Knapton (1698-1778) Gift of Mr. and Mrs. Charles AYrightsman, 64.159.1 Miss Rich Building a House of Cards 1964 Oil on canvas, 50's X 25' 'A in. 64.272.1 Christian AA'ilhelm Ernst Dietrich (76.5 x 68.6 cm.) (1712-1774) English, about 1770 Attributed to Francesco Guardi Surprised, or Infidelity Found Out The Metropolitan Museum ot -Art (1712-1793) Oil on canvas, 21% X 2834 in. (54.9 X 73 Gift of Henry G. ¿Alarquand, 1890. Still Life cm. ) Marquand Collection Oil on canvas, 72 X 5b in. (182.8 X 91.4 German, about 1765 91.26.1 cm. ) The Metropolitan Museum of Art Italian, about 1740 Purchase, 1871 Johann Eleasar Zeizig Schenan The -Aletropohtan -Aluseum ot Art 71.162 (1737-1806) Gift ot -Air. and Airs. Charles \\ riffhtsman, French Domestic Scene 1964 Laurent Pécheux (1729-1821) Oil on canvas, 18 X 14% in. (45.7 X 57.Í 64.272.2 Maria Luisa of Parma, Later Queen of cm. ) Spain German, about 1775 Bartholomew Dandridge (1691-1754) Oil on canvas, 90" s X 64% in. The ¿Aletropohtan Museum of Art The Price Family- (250.8 x 164.5 cm.) Bequest ot Edward Fowles, 1971 Oil on canvas, 40''A X 62;: in. French, about 1767 1971.115.6 (102.2 x 158.8 cm.) The Metropolitan Museum of Art English, about 1740 Bequest ot Annie C. Kane. 1926 -Angelica Kauffmann (1741-1807) The ¿Aletropohtan Museum of -Art 26.260.9 Edward Stanley (1752-1834), Twelfth Rogers Fund, 1920 Earl of Derby, with His First AA'ife 20.40 François-Hubert Drouais (1727-1775) (Elizabeth Hamilton, d. 1797) and Portrait of a AA'oman as a A'estal A'irgin Their Son (Edward Smith Stanley, ¿Antonio Joli (ca. 1700-1777) Oil on canvas. 55 x 25' 2 in. (85.8 x 64.8 1775-1851) London: Saint Paul's and Old London cm. ) Oil on canvas, 50 X -l0 in. (127 X 101.6 Bridge French, L 6, cm.) Oil on canvas. 42 x 47 in. ( 106.7 X 119.5 The ¿Aletropohtan ¿Aluseum of Art Swiss, about 1776 cm. ) Gift ot ¿Airs. William M. Haupt, from the The ¿Aletropohtan ¿Aluseum of -Art Italian, ca. 1/44-54 collection ot ¿Airs. James B. HaH-gin, Gift ot Bernard ¿Al. Baruch in memon ot The ¿Aletropohtan Museum ot Art 1965 his wife, ¿Annie Gritten Baruch, 1959 Bequest of .Alice Bradford Woolsey, 1970 65.242.2 59.189.2 1970.212.2 52 Frédéric Schall (1752-1825) Elisabeth A'igée-Lebrun (1755-1842) George Romney (1734-1802) ¿Mademoiselle Duthé Madame Grand Elizabeth, Countess of Derby- Oil on wood, 12% X WA in. (32.4 x 23.5 Oil on canvas, oval, 56lU X 28'2 in. Oil on canvas, 50 X 40 in. (127 X 101.6 cm.) (92 X 72.4 cm.) cm.) French, about 1778 French, 1783 English, about 1790 The ¿Aletropohtan ¿Aluseum oi' Art The ¿Aletropohtan ¿Aluseum of ¿Art The ¿Aletropohtan ¿Aluseum of ¿Art Gift of ¿Airs. AA'illiam M. Haupt, from the Bequest of Edward S. Harkness, 1940 The Jules Bache Collection, 1949 collection of ¿Airs. James B. Haggin, 50.135.2 49.7.57 1965 65.242.8 Sir Joshua Reynolds (1723-1792) George Romney (1734-1802) ¿Airs. Baldwin ¿Airs. George Horsley Philipp Jakob Loutherbourg the younger Oil on canvas, 56' s X 29'/6 in. (91.8 X 74 Oil on canvas, 50 X 24"s in. (76.2 X 63.2 (1740-1812) cm.) cm.) Fête of the Tunny Fishers at ¿Marseilles English, about 1786 English, about 1793 Oil on canvas, 35 X 48 in. (82.8 x 121.9 The ¿Aletropohtan ¿Aluseum of ¿Art The ¿Aletropohtan ¿Aluseum of ¿Art cm. ) Gitt ot AA'illiam T. Blodgett and his sister Bequest of Jacob Ruppert, 1939 French, about 1780 Eleanor Blodgett in memory of their 39.65.1 The ¿Aletropohtan ¿Aluseum of ¿Art father, AA'illiam T. Blodgett, one of the Purchase, 1871 founders of the ¿Aluseum, 1906 Sir Henry Raeburn (1756-1823) 71.81 06.1241 Edward Satchwell Fraser Oil on canvas, 29'2 X 24% in. Gainsborough Dupont (1754-1797) George Romney (1734-1802) (74.9 x 62.2 cm.) Charlotte, Queen of England ¿Airs. Bryan Cooke English, about 1798 (1744-1818) Oil on canvas, 50 X 59'2 in. (127 X 100.3 The ¿Aletropohtan ¿Aluseum ot Art Oil on canvas, 233^ X ¡7'2 in. cm.) Robert Lehman Collection (60.4 x 44.5 cm.) English, about 1787 1975.1.234 English, about 1780 The ¿Aletropohtan ¿Aluseum of Art The ¿Aletropohtan ¿Aluseum of .Art Fletcher Fund, 1945 The Jules Bache Collection, 1949 45.59.4 49.7.55 Elisabeth A'igée-Lebrun (1755-1842) Marie A'ictoire Lemoine (1754-1820) Queen ¿Alarie ¿Antoinette Madame A'igée-Lebrun and Her Pupil Oil on canvas, 106% X 765 Í in. Mademoiselle Lemoine (271 X 195 cm.) Oil on canvas, 45"s x 55 in. French. 1788 (116.5 x 88.9 cm.) Lent by the ¿Alusée National du Château de French, about 1780 A ersailles The -Aletropohtan ¿Aluseum of ¿Art SL 81.82.1 Gift of ¿Airs. Thornecroft Ryle, 1957 Aladame A'igée-Lebrun painted various 57.105 portraits ot ¿Alarie Antoinette between 1779 and 1789. In her memoirs, first published George Romney (1734-1802) in 1835, the painter described the queen as The Honorable ¿Airs. Tickell Oil on canvas, 30 x 25's in. (76.2 x 63.8 .. . tall and admirably- built, being cm.) somewhat stout, but not excessively so. English, about 1780 Her arms were superb, her hands small The Metropolitan ¿Aluseum ot Art and perfectly formed and her feet Bequest ot Maria DeAA'itt Jesup, from the charming. She had the best walk ot any collection of her husband, Morris K. woman in France, earning her head Jesup. 1915 erect with a dignity that stamped her 15.30.36 queen in the midst ot her whole court. . . . Her eyes were not large; in Style of .Anne A'allayer-Coster color thev were almost blue and they SCULPTURE '(1744-1818) were at the same time merry and kind. \\ inter: Putti Around a Fire, in a Her nose was slender and pretty, and Jean-Baptiste Pigalle (1714-1785) ¿Medallion (overdoor) her mouth not too large, though her lips Bust of ¿Aladame de Pompadour Oil on canvas. 39%s x 67-^ s in. (100 x 171.1 were rather thick. But the most ¿Alarble, H. 30 in. (76.2 cm.) cm. ) remarkable thing about her face was the French, 1748-51 French, about 1780 splendor ot her complexion. I never The ¿Aletropohtan ¿Aluseum ot Art The Aletropohtan -Aluseum ot -Art have seen one so brilliant, and brilliant The Jules S. Bache Collection, 1949 Gift of J. Pierpont Alorgan, 1906 is the word, tor her skin was so 49.7.70 07.225.462 transparent that it bore no umber in the painting. Neither could I render the real effect ot it as I wished. 55 Pair of Dolphins Caned and gilded lindenwood, H. 47 in. (119.4 cm.) DECORATIVE ARTS French or Italian, about 1750 The ¿Aletropohtan Museum of .Art Gift of J. Pierpont Morgan, 1906 07.225.67ab Jean-Baptiste Lemoyne (1704-1778) Bust of Félicité-Sophie de Lannion, Duchesse de la Rochefoucauld Tapestried Marble, H. 28% in. (72.9 cm.) French. 1774 The Audience of the Prince The ¿Aletropohtan Museum of Art desi bv G. L. V ernansal Rogers Fund, 1954 (1645-1729) and Jean Belin de 54.91 Fonteney ( 1654 - 1715) Tapestry- (wool), 105 X 190 in. Jean-Antoine Houdon (1741-1828) (26L6 x 482.6 cm.) Bust of Louise Brongniart French (Beauvais), about 1700-32 Marble. H. 20 in. (50.8 cm.) The ¿Aletropohtan Museum of -Art French, 1779 Gift of Mrs. J. Inslev Blair, 1948 The .Aletropohtan Museum of .Art 48.71 Bequest of Benjamin Altman. 1915 14.40.670 François Boucher (1703-1770) La Collation Jean-Antoine Houdon (1741-1828) Tapestry (wool and silk), 120 X 101 in. Bust of .Anne Audéoud (304.8 x 236.5 cm.) Plaster model, H. 19'; in. (49.5 cm.) French (Beauvais), about 1762 French, ca. 1779-80 Atelier of Jean-Antoine Houdon The Metropolitan ¿Aluseum of .Art The -Metropolitan Museum of Art (1741-1828) Gift ot ¿Anne Payne Robertson. 196-1 Bequest of Bertha H. Buswell, 1941 Bust of A'oltaire 64.145.3 H2.25.2 Plaster painted to imitate terracotta, H. 26' _ in. (67.3 cm. ) Louis-Jacques Pilon (b. 17-11) French, late 18th centun' Bust of George AA'ashington The -Aletropohtan Museum of-Art Marble Gift of J. Pierpont Morgan, 1908 Porcelaine French, 1781 08.89.1 The ¿Aletropohtan -Museum of -Art Covered Aase Bequest of Helen Hay Whitney, 1944 Claude Michel, called Clodion Meissen 45.128.2 (1738-1814) Hard-paste porcelain Girl with Doves German, about 1750 Jean-Antoine Houdon (1741-1828) Terracotta, H. 19'2 in. (49.5 cm.) The Metropolitan Museum of .Art Bust of the .Artist's Daughter, Sabine French, late 18th centun Bequest of .Alfred Duane Pell, 1924 French. 1788 The ¿Aletropohtan -Aluseum of -Art 38.166.lab The Metropolitan Museum of Art The Jules S. Bache Collection, 1949 Bequest ot Mary Stillman Harkness, 1950 -19.7.6-1 Pair of Powder-Blue Baluster-Shaped 50.145.66 A'ases The Dead Bird Hard-paste porcelain (Chinese, Chien Atelier of Jean-Antoine Houdon Marble. L. 9 in. (22.9 cm.) Lung period, 1756-95) mounted in (1741-1828) Attributed to Joseph-Charles Marin French gilt bronze Bust of Jean-Jacques Rousseau (1759-185-1) French, about 1750 Plaster painted to imitate terracotta, H. French, late 18th centun The Metropolitan ¿Aluseum of ¿Art 26' 2 in. (67.5 cm. ) The Metropolitan Museum of Art Gitt ot ¿Air. and Mrs. Charles AA'rightsman, French, late 18th centun The Jules S. Bache Collection. 19-19 1977 The Metropolitan ¿Aluseum of Art 49.7.69 1977.102.1,2 Gift of J. Pierpont Morgan, 1908 08.89.2 A'enus Instructing Cupid Pair of Ruffed Bustards Marble. H. \7VA in. (45.1 cm.) By- J.J. Kandier In the manner ot Etienne-Maurice Falconet Meissen (1716-1791) Hard-paste porcelain French, late 18th centun- German, about 1752 The -Aletropohtan Museum of Art The ¿Aletropohtan Museum of .Art Bequest ot Benjamin Altman. 1915 Gitt of Mrs. Jean Mauzé, 1959 14.40.671 59.176.1,2 54 Pair of Plant Pots Jardinière with Turquoise Ground ¿Miniature Group A'incennes Sèvres ("The Coiffure") Soft-paste porcelain Soft-paste porcelain ¿Attributed to Gottlieb Friedrich Riedel French, 1755 French, 1760 (1724-1784 The ¿Aletropohtan ¿Aluseum of ¿Art The ¿Aletropohtan ¿Aluseum of ¿Art Ludwigsburg Gitt of ¿Air. and ¿Airs. Charles AA'rightsman, The Lesley and Emma Sheafer Collection, Hard-paste porcelain, H. 5 in. (12.7 cm.) 1976 Bequest of Emma A. Sheafer, 1974 German, about 1780 1976.155.-14,45 1974.356.591 The ¿Aletropohtan ¿Aluseum of ¿Art Gift of Invin Untermver, 1964 A'ase (one of a pair) Pair of Figures: Cupid and Psyche 64.101.526 ¿Alodel attributed to Jean Claude Duplessis, After a model by Falconet père (active 1747-74) Sèvres Urn with Cover Sèvres Biscuit porcelain Modeled by J. de A'aere (1754-1830) Soft-paste porcelain French, about 1760-80 Jaspenvare French, about 1757 The ¿Aletropohtan ¿Aluseum of ¿Art Marked: Staffordshire: Etruria: Wedgwood The Metropolitan ¿Aluseum of Art Gift ot Samuel H. Kress Foundation, 1958 English, about 1780-1800 Gitt ot Samuel H. Kress Foundation, 1958 58.75.114 The ¿Aletropohtan ¿Aluseum of ¿Art 58.75.114 Gift of Estate of Frank K. Sturgis, 1932 Shop with Two Figures 32.95.lOab Pair of Figures of Minuet Dancers Ludwigsburg By Johann Friedrich Lück (d. 1797) Hard-paste porcelain, H. 6 in. (15.2 cm.) Höchst German, about 1765 Hard-paste porcelain. H. 7 in. (17.8 cm.) The ¿Aletropohtan ¿Aluseum of ¿Art German, about 1758 Gift ot R. Thornton AA'ilson, in memory ot The ¿Aletropohtan ¿Aluseum of Art Florence Ellsworth AA'ilson, 1950 Gift of Irwin Untermver, 1964 50.211.226-228 64.101.286.87 Miniature Group •', Figure of Harlequin ("The Large Bow") By Simon Feilner Attributed to Gottlieb Friedrich Riedel Fürstenberg (1724-1784) Hard-paste porcelain, H. 7'2 in. (19 cm.) Ludwigsburg German, about 1760 Hard-paste porcelain, H. 4 in. (10.2 cm.) The -Aletropohtan Museum of -Art German, about 1770 Gift ot R. Thornton AA'ilson, in memory- ot The Metropolitan ¿Aluseum of ¿Art Florence Ellsworth AA'ilson, 1950 Gift of Irwin Untermyer, 1964 Furniáhingé 50.211.208 64.101.527 Dressing-Table ¿Alirror Figure of Columbine A'ase Oak and pine japanned red and gold By Simon Feilner Sèvres English, about 1710-20 Fürstenberg Soft-paste porcelain The ¿Aletropohtan ¿Aluseum of Art Hard-paste porcelain, H. 7' 2 in. (19 cm.) French, about 1770 Gitt of Invin Untermver, 1964 German, about 1760 The ¿Aletropohtan ¿Aluseum ot Art 64.101.1015 The ¿Aletropohtan ¿Aluseum of Art The Charles E. Sampson ¿Alemorial Fund, Gift of R. Thornton AA'ilson, in memory of 1971 Bust of a AA'oman Florence Ellsworth AA'ilson, 1950 1971.96 Gilt-bronze furniture mount 50.211.209 French, about 1725 A'ase with Cover (one of a pair) The ¿Aletropohtan ¿Aluseum of Art Figure of Pantalone Decorator: Charles Nicholas Dodin (active Gift of J. Pierpont ¿Alorgan, 1906 By Franz Anton Bustelli (1725-1765) 1754-1802) 07.225.510.118 Nymphe nburg Sèvres Hard-paste porcelain, H. 6" ¡6 in. (17 Soft-paste porcelain Snuffbox cm. ) French, about 1770 Burnished gold in a rocaille motif set with German, about 1760 The ¿Aletropohtan ¿Aluseum ot Art one large and thirty-seven small The ¿Aletropohtan ¿Aluseum of -Art Gift of Samuel H. Kress Foundation, 1958 diamonds; scrolled borders set with Gift of R. Thornton Wilson, in memory ot 58.75.71ab twenty-four diamonds; thumb-pieces set Florence Ellsworth AA'ilson, 1950 with thirty-eight diamonds, H. 1, L. 50.211.252 ¿After a model by ¿Augustin Pajou 3% AA'. 2% in. (2.54 X 8.3 X 6.7 cm.) (1730-1809)' By Daniel Govaers Bust of Madame du Barry (1746-1793) French, about 1736 Sèvres porcelain The ¿Aletropohtan ¿Aluseum of Art French, 1772 Bequest of Catherine D. Wentworth, 1948 The ¿Aletropohtan ¿Aluseum ot ¿Art 48.187.419 Gift of Ann Payne Blumenthal, 19-15 43.163.3a 55 Snuffbox Gold engraved with rocaille scrolls painted in polychrome opaque enamel in a foliate and diamond pattern, L. 1- \A'. 5%, D. 29 16 in. (4.5 x 8.5 x 6.5 cm.) By Jean-François Garand French, about 1752 The ¿Aletropohtan Museum ot Art Gift of J. Pierpont Morgan, 1917 17.190.1232 Snuffbox Gold and enamel. L. 2' s in. (7.3 cm.) Maker: Jean Ducrollay French, Paris, 1755 56 The ¿Aletropohtan Aluseum ot Art Gift of J. Pierpont Morgan, 1917 17.190.1190 Nécessaire Miniature cabinet with repoussé gold framework over striated gray agate, trimmed with silver-mounted diamonds and gold-mounted rubies surmounted by a small clock, H. 9%, AA'. 2" 16 in. (23.8 X 6.2 cm.) By John Barbot English, about 1760 The ¿Aletropohtan Museum of -Art Gift ot Rear Admiral Frederic R. Harris, in memory of his wife, Dena Sperry Horse Trappings Snuffbox Harris," 1945 Red morocco leather with bronze Heliotrope caned m relief with rocaille 45.164.la-z mountings in a floral design and foliate decoration set with gold rims French, about 1740 and thirty-eight diamonds, H. f2, L. The Metropolitan Museum of Art 5' -, W. 2s* in. (5.8 x 7.9 x 6.7 cm.) Rogers Fund, 1904 German, about 1/50 04.3.471-5 The Metropolitan Museum of Art Bequest ot Catherine D. Wentworth, 1948 Birdcage 48.187.425 Mahogany with brass wire screening, H. 3 85 j in. (217.8 cm. ) Monkey Orchestra English, about 1750 Painted alabaster The Metropolitan Museum of Art German (?), mid-18th century Gift ot Dr. and Mrs. Joseph M. Krimslev The ¿Aletropohtan ¿Aluseum of Art 1962 Bequest ot R. Thornton AA'ilson in memon 62.255 ot his wife, Florence Ellsworth AA'ilson, 1977 Sedan Chair 1977.216.20 A\ ooden panels painted with cupids and Navette garlands, edged with caned design of Seated Girl Terracotta-colored lacquer with border and scrolls and putti: top covered in Gilt bronze, possibly- from a clock inscription, à la plus belle et la plus leather surmounted with seated French, mid-18th centun sage, in applied gold; inner surface of figurines: interior lined with red velvet The ¿Aletropohtan ¿Aluseum of Art mother-of-pearl with a gold stem, trimmed with gold braid, fringe, and Bequest ot Man- Stillman Harkness, 1950 5V-.X 1% in. (13.3 X 4.1 cm.) tassels, H. 85 in. (210.8 cm.) 50.145.60 French, about 1764 Italian, about 1750 The ¿Aletropohtan ¿Aluseum of Art The ¿Aletropohtan Museum ot Art Snuffbox Gift of J. Pierpont Morgan, 1917 Gift of J. Pierpont Morgan. 1922 Gold and enamel, L. 5'-° in. (8.5 cm.) 17.190.1028 22.211 Maker: possibly Joseph A'allayer French, Paris, 1750 51 The Metropolitan Museum of Art Gift of J. Pierpont ¿Alorgan. 1917 17.190.1255 56 Navette Jean-Baptiste Nini (1717-1786) Box Gold with pierced and engraved decoration Five Portrait Medallions: ¿Alottled pink and white enamel on copper with translucent bleu-de-roi enamel, ¿Albertine de Nivenheim with a spotted black spaniel dog on top, 9 D. 1, L. 5'/8, W. l'/2 in. Susanne Jarente de la Reynière D. Ivs, L. l /i6, W. WA in. (2.5 X 13 X 3.8 cm.) An Unknown Lady (4.8 X 4 X 2.8 cm.) By ¿Alathieu Coiny ¿Alaria Teresa, Empress of Austria South Staffordshire French, about 1764 Catherine II, Empress of Russia English, about 1770 The ¿Aletropohtan ¿Aluseum of ¿Art French, dated between 1768 and 1771 The ¿Aletropohtan ¿Aluseum of ¿Art Bequest of Catherine D. Wentworth, 1948 The ¿Aletropohtan ¿Aluseum of ¿Art Gift of Louise Knobloch, 1966 48.187.483 Gift of James Hazen Hyde, 1949 and 1952 66.43. lab 49.20.10, 52.133.2, 52.189.4, 9, 11 Case for Sealing AA'ax (étui) Nécessaire Four tones of gold in urn design, L. 4% in. Green ceramic ground with two colored (11.7 cm.) landscapes; gilt figurai mounts, French, ca. 1764-65 4'/z X 1% in. (11.5 X 4.5 cm.) The ¿Aletropohtan ¿Aluseum of ¿Art Bartersea Bequest of Catherine D. AA'entworth, 1948 English, about 1770 48.187.492ab The ¿Aletropohtan ¿Aluseum of ¿Art Gift of J. Pierpont Morgan, 1917 Birdcage 17.190.1094 ¿Alahogany, wire, and sheet metal in an octagon of ogee arches; pierced dome Door Lock and Key top with foliate finial, H. 50 in. (76.2 Gilt bronze and steel, made tor the Palais cm.) Paar, Arienna English, about 1765 French, about 1770 Lent by the Cooper-Hewitt ¿Aluseum, New The ¿Aletropohtan ¿Aluseum of Art A'ork Gift of ¿Air. and ¿Airs. Charles AAVightsman, SL 81.113.6 1971 1971.206.33ab Box (bonbonnière) Colored enamel on copper in the shape of a Box in the Shape of a Blackamoor's Head nesting hen and chicks, Diam. ZVA in. Carved amethyst quartz set with rubies, (8.3 cm.) turquoise, diamonds, emeralds, and South Staffordshire moonstone in gold and silver mounts, H. English, about 1765 2'/2 in. (6.3 cm.) The ¿Aletropohtan ¿Aluseum of ¿Art French, 3rd quarter of 18th century- Gift of Irwin Untermver, 1964 Lent by the Cooper-Hewitt ¿Aluseum, New 64.101.815 York SL 81.113.2 Snuffbox Caned seventy-five-carat sapphire Bilboquet surrounded by rose-colored diamonds Carved ivory engraved with sportive set in a gold box with pink enamel, L. amorini playing with bilboquets in a 2'/2 in. (6.5 cm.) meadow, inscribed MENUS PE4ISIRS French, about 1765 DU ROY, VERSAILLES. L. 8 in. (20.3 Lent bv Dona and Bernard C. Solomon cm.) SL 81.87.6 Snuffbox French, about 1775 Gold and enamel, L. 3 "in in. (8.4 cm.) Lent by the Cooper-Hewitt Aluseum, New Needlecase (étui) ¿Alaker: Jean Joseph Barrière A'ork ¿Aloss agate mounted with gold borders of French, Paris, 1769/70 SL81.113.3 scrolls and floral swags; band of white The ¿Aletropohtan ¿Aluseum of ¿Art enamel at rim, L. 4% in. (11.7 cm.) Gift of J. Pierpont ¿Alorgan, 1917 Scent Bottle English, ca. 1765-75 17.190.1211 Crystal with engraved gold top with The ¿Aletropohtan ¿Aluseum of Art monogram L, H. 2 in. (5 cm.) Bequest of Kate Read Blacque in memory Nécessaire French, about 1775 of her husband, Allentine ¿Alexander Gold frame of repoussé scrolls with panels Lent by Dona and Bernard C. Solomon Blacque, 1937 of moss agate trimmed with emeralds, SL81.87.5ab 38.50.49ab rubies, and diamonds, L. 3%, W. 39/i6, D. 2'/2 in. (8.3 x 9 X 6.3 cm.) By James Cox English, about 1770 The ¿Aletropohtan ¿Aluseum of ¿Art Gift of ¿Mrs. Florence Harris Schlubach, 1957 57.128a-o 57 Case for Sealing Wax (étui) Blue enamel on gold in star design; borders of white enamel pearls, L. 4% in. (11.7 cm.) French, ca. 1784-85 The ¿Aletropohtan ¿Aluseum of Art Bequest of Kate Read Blacque in memory of her husband, A'alentine ¿Alexander Blacque, 1937 58.50.45ab Relief Ornament with Portraits of Louis XAT and ¿Alarie ¿Antoinette Gilt bronze French, about 1785 The ¿Aletropohtan ¿Aluseum of Art Gift of J. Pierpont ¿Alorgan, 1906 07.225.510.326 Fashion Doll (piavola di Franza) Painted porcelain doll dressed in a. grand panier robe à ¿anglawe of a cream- colored ground brocaded in gold metallic thread and green and rose- colored silks in a floral and foliate pattern, trimmed with gold metallic braid, sable (?), lace, gauze, silver sequins, and paste; petticoat of gold silk covered with gauze appliquéd in a polychrome silk floral design with silver sequins and gold braid bowknots edged in lace; headdress of pink velvet trimmed with sable (?), gauze, paste, and ostrich plumes, H. 16 in. (40.6 cm.) French (?), about 1788 Lent bv a private collection, New A'ork Clock Needlecase (étui) SL 81.73 ¿Alat and burnished gilt-bronze framework Caned îvon in the form of enchained enclosing white enameled metal dial and hearts with an amor garlanding their Parisian dressmakers sent fashion dolls to Sèvres porcelain plaques frames the provinces and to other countries to French, about 1775 French, about 1780 acquaint ladies with the latest styles. A The ¿Aletropohtan ¿Aluseum of ¿Art Lent bv the Cooper-Hewitt ¿Aluseum, New fashion doll was sent to the English court Gift of Samuel H. Kress Foundation, 1958 York as early as 1391 to show what the queen of 58.75.62 SL 81.113.5 France was wearing. In the eighteenth century there was a great demand for the Dancers (eight from a set of twelve) ¿Alantel Clock poupée de la mode, as it allowed ladies to Gilt-bronze figures in relief, after the ¿Alarble case with gilt-bronze elements gauge the effect of a costume from all sides Roman mural paintings from the A'illa of ¿Attributed to Pierre-Philippe Thomire and permitted dressmakers to study the Cicero at Pompeii, discovered between (1751-1845) from models supplied by detailed construction of dresses, albeit in 1749 and 1763-64 the sculptor Louis-Simon Boizet miniature. In 1748 Lady ¿Anson wrote from French, last quarter of 18th century (1743-1809) after designs by the London that a doll dressed exactly- like The ¿Metropolitan ¿Aluseum of ¿Art architect François-Joseph Belanger ¿Aladame de Pompadour had arrived: Rogers Fund, 1926 (1744-1818); the movement by Jean- She has three compleat Dresses, one the 26.240.1-12 Baptiste Lepaute le jeune (1727-1802) habit de Sage-Femme, which is de French, about 1782 Grand Ceremonie, a Robe pour les Furniture ¿Alount The ¿Aletropohtan ¿Aluseum of Art Spectacles, Les Promenades, etc., Gilt-bronze, from the corner of a piece of Gift of ¿Air. and ¿Airs. Charles AAVightsman, etc., and one Robe de negligé for her furniture 1972 morning wear; with all sorts of French, last quarter of 18th century 1972.284.16 Coiffures, Agréments suited to them The ¿Aletropohtan ¿Aluseum of ¿Art all, and written explanations and Gift of J. Pierpont ¿Alorgan, 1906 directions to every part of her attire. 07.225.510.312b The Bayerisches National ¿Aluseum, ¿Alunich, has a similar doll with a large 58 wardrobe, complete with a printed cotton Christian Friedrich Zincke robe à la franca we with a tiny pair of (1683/84-1767) engageantes (lace sleeve ruffles). The Portrait of a Lady, Called French fashion doll exhibited here was sent ¿Airs. A'anderbank from the rue Saint-Honoré in Paris to a Enamel on copper framed with brilliants, noble A'enetian family. The Venetians U/s x m in. (3.5 x 3.8 cm.), ca. 1720 irreverently- referred to these dolls as The ¿Aletropohtan ¿Aluseum of ¿Art piasoli di Pranza, or "she-devils of Gift of the ¿Alisses Sarah and Josephine France." The style of the plumed pouf and Lazarus, 1888-95. The ¿Aloses Lazarus the trimmings on the dress are not unlike Collection those worn by ¿Alarie ¿Antoinette in 95.14.99 Elisabeth A'igée-Lebrun's 1788 portrait. It is tempting to attribute this doll to Rose Christian Friedrich Zincke Bertin, but it could just as easily have been (1683/84-1767) made by competitors, like ¿Aladame Lompey Richard Abell or Aladame ¿Angier. Enamel on copper framed with brilliants, 1% x 1% in. (4.4 x 3.5 cm.), signed on Spectacles and Case the reverse and dated 1724 Silver-framed glass; case of shagreen on a The ¿Aletropohtan ¿Aluseum of ¿Art wooden core, L. 5 in. (12.8 cm.) Gift of the ¿Alisses Sarah and Josephine French, about 1795 (?) Lazarus, 1888-95. The ¿Aloses Lazarus Lent bv the Cooper-Hewitt ¿Aluseum, New Collection A'oPk 95.14.61 SL81.113.4ab William Prewett (active 1733-40) Samuel Percy- Portrait of a Young ¿Man Count Joseph Borowleski, the Polish Enamel on copper in gilt mount, \7/s x 1/4 Dwarf in. (4.8 x 3.8 cm.), ca. 1736 AA ax miniature Afin /ature Pa in tin g, < The ¿Aletropohtan ¿Aluseum of ¿Art Irish, 1798 Bequest of ¿Alillie Brühl Fredrick, 1962 The ¿Aletropohtan ¿Aluseum of ¿Art 62.122.113 Glenn Tilley- ¿Alorse Collection, Bequest of Thomas Forster (active 1690-1713) Glenn Tilley Morse, 1950 Portrait of a Nobleman Christian Friedrich Zincke 50.187.30 Plumbago on vellum, 4% x 35/s in. (11.1 x (1683/84-1767) 9.2 cm.), signed and dated T Forster I Portrait of a A'oung ¿Alan Bather Delia 1700 Enamel on copper in contemporan mount, Gilt-bronze furniture mount The ¿Aletropohtan ¿Aluseum of ¿Art 1% x l'/2 in. (4.4 x 3.8 cm.), ca. 1750 French, late 18th century Rogers Fund, 1944 The ¿Aletropohtan ¿Aluseum ot ¿Art The ¿Aletropohtan ¿Aluseum ot ¿Art 44.36.2 Bequest of Catherine D. AA'entvvorth, 1948 Gift of J. Pierpont Morgan, 1906 48.187.495 07.225.510.205 Thomas Forster (active 1690-1713) Portrait of a Lady- Portrait of a ¿Mother and Child "Trophée Champêtre" Plumbago on vellum, 4% x 3% in. (11.1 x Watercolor on ivory in gilt mount, diam. Gilt-bronze furniture mount 8.3 cm.), signed and dated T Forster I 2% in. (6 cm.), signed RC French, late 18th century delia 1700 French, ca. 1770 The ¿Aletropohtan ¿Aluseum of Art The ¿Aletropohtan ¿Aluseum of ¿Art The mother wears a miniature. Gift of J. Pierpont ¿Alorgan, 1906 Rogers Fund, 1944 The ¿Aletropohtan ¿Aluseum of ¿Art 07.225.510.488 44.56.5 Bequest of ¿Alillie Brühl Fredrick, 1962 62.122.81 Two Sections of a Frieze Thomas Forster (active 1690-1713) Gilt-bronze furniture mounts Portrait of a Nobleman Louis XA' French, late 18th century Plumbago on vellum, 4% x 3% in. (11.1 x AA'atercolor on vellum, mounted in a frame The ¿Aletropohtan ¿Aluseum of ¿Art 9.2 cm.), signed and dated Fo I 1705 set with rose-colored diamonds and Gift of J. Pierpont ¿Alorgan, 1906 The ¿Aletropohtan ¿Aluseum of ¿Art surmounted by double Ls and a crown, 07.225.510.586ab Rogers Fund, 1944 2'/s x 2'%6 in. (5.4 x 7.1 cm.) 44.56.4 French, ca. 1770 The Royal arms are engraved on the back cover. The ¿Aletropohtan ¿Aluseum of Art Bequest of Millie Brühl Fredrick, 1962 62.122.84 59 Peter Adolf Hall (1739-1793) Peter ¿Adolf Hall (1739-1793) Portrait of a Huntsman with His Dog The Portrait Painter Louis ¿Alaurice Portrait of a Lady AA'atercolor on ivory in gilt mount, 2s A X Joseph AA'atercolor on ivory in an enameled frame 35/i6 in. (7 x 8.3 cm.), signed and AA'atercolor on ivory in gilt mount, 2%6 set with brilliants, diam. 2% in. (6.2 dated Jlortier an Jme [1795] x 2:>/8 in. (5.9 x 6.7 cm.), signed hall and cm.), signed hall, ca. 1780 The ¿Aletropohtan ¿Aluseum of Art datable 1772 The Metropolitan -Aluseum of ¿Art Gift ot ¿Airs. Louis A'. Bell, in memory of The ¿Aletropohtan ¿Aluseum ot .Art Bequest of Isaac D. Fletcher, 1917. ¿Air. her husband, 1925 Gift of the ¿Alisses Sarah and Josephine and ¿Airs. Isaac D. Fletcher Collection 25.106.15 Lazarus, 1888-95. The Moses Lazarus 17.120.119 Collection Pierre ¿Alarie Gault de St. Germain 95.14.55 Portraits of a Lady, a Gentleman, and (1754-1842) Two Children ¿Alarie Thérèse Charlotte, Daughter of ¿Attributed to ¿Archibald Robertson AA'atercolor on ivory mounted in a gold Louis X\T (1765-1835) bracelet, each 1%6 x '%6 in. (3 x \A atercolor on ivory in gilt mount, diam. Sir Joshua Reynolds 2.1 cm.) 2% in. (6 cm.), signed and dated JJ AA'atercolor on ivory in gilt mount, 3 x 2'/2 French, ca. 1785 Degault 1795 and inscribed with the in. (7.6 x 6.4 cm.). After a self-portrait The ¿Aletropohtan ¿Aluseum of ¿Art sitter's name and date of birth of 1775. Bequest of Collis P. Huntington, 1900 The ¿Aletropohtan ¿Aluseum of Art The ¿Aletropohtan ¿Aluseum ot -Art 26.168.67-70 Bequest of ¿Alillie Brühl Fredrick, 1962 Bequest ot Géraldine AA'inslow Goddard, 62.122.67 1924 Portraits of a Lady, a Gentleman, and 24.21 Two Children Frederick the Great AA'atercolor on ivory mounted in a gold Enamel on copper, 2% x 37/\6 in. (7 x bracelet, each 1 Vs x 13/i6 in. (2.8 x 8.9 cm.) 2.1 cm.) German, late 18th century- French, ca. 1785 Interior ot the lid of a box. The ¿Aletropohtan ¿Aluseum of .Art The ¿Aletropohtan ¿Aluseum ot ¿Art Bequest of Collis P. Huntington, 1900 Gift of Eduard and Helen Naumann, 1963 26.168.63-66 63.77 Heinrich Friedrich Füger (1751-1818) ¿Aliniatures of Eyes Portrait of a Swedish (?) Lady AA'atercolor on ivon mounted as tour AA'atercolor on ivory in gilt mount, IVA X % brooches, a stick pin, and a ring, in. (5.2 x 2.3 cm.), ca. 1785 British, late 18th or early 19th century The ¿Aletropohtan ¿Aluseum ot Art The Metropolitan Museum of ¿Art Fletcher Fund, 1941 Gift of ¿Air. and Mrs. John AA'. Starr, 1954 41.68 54.128.1-3, 4, 6, 7 Jean Laurent Mosnier, 1743 44-1808 Jacques Charlier (b. ca. 1720; d. 1790) Louis XAT Leda and the Swan AA'atercolor on ivory in gilt mount, diam. AA atercolor on ivon' in gold mount, 2 x 2 > 29/i6 in. (6.5 cm.), signed and dated in. (5.1 x 7.5 cm. ) J. L. Jfos mer, 1790 ¿After a painting by Boucher The ¿Aletropohtan ¿Aluseum of Art The ¿Aletropohtan ¿Aluseum ot Art Bequest of Millie Brühl Fredrick, 1962 Bequest of ¿Alillie Brühl Fredrick, 1962 62.122.69 62.122.63 Style of Peter Adolf Hall (1739-1793) Portrait of an Officer Portrait of a Lady Portrait of a Lady Style of Jean ¿André Rouquet AA'atercolor on ivory in gold mount, 2 '/s x AA atercolor on ivory-, diam. 2' i6 in. (6.2 Enamel on copper in mount set with 1% in. (5.4 x 4.4 cm.), ca. 1778 cm. ), ca. 1790 brilliants, V/A x Wie in. (3.2 x 2.7 The -Aletropohtan ¿Aluseum ot .Art The ¿Aletropohtan ¿Aluseum ot Art cm.) Bequest of ¿Alillie Brühl Fredrick, 1962 Bequest of ¿Alillie Brühl Fredrick, 1962 The ¿Aletropohtan ¿Aluseum of ¿Art 62.122.138 62.122.137 Gitt ot the ¿Alisses Sarah and Josephine Lazarus 1888-95. The ¿Aloses Lazarus George Engleheart (1750/53-1824) Portrait of a Lady Collection ¿Airs. Peter De Lancy AA'atercolor on ivory in gilt mount set 95.14.68 AA'atercolor on ivory in gilt mount attached against a background ot braided hair, to a bracelet ot woven hair, Is i6 x 1's x % in. (2.8 x 1.9 cm.) Rosalba Carriera (1675-1757) l'/s in. (3.5 x 2.8 cm.), ca. 1780 French, ca. 1790 Portrait of a Gentleman in Armor The ¿Aletropohtan ¿Aluseum of -Art The ¿Aletropohtan ¿Aluseum ot .Art Gouache on ivory in gilt mount, 3'/i6 x Fletcher Fund, 1938 Bequest ot ¿Alan- Clark Thompson, 1924 2' j in. (7.8 x 5.7 cm. ) 38.146.16 24.80.514 The ¿Aletropohtan ¿Aluseum of Art Rogers Fund, 1949 49.122.2 60 V DI. i.'r.sc \i:i'(ii i i i ; *% v CK. i/i m 7 O 61 Lenderj to the Exhibition Staff of Codtume Iiutitute The mannequins were developed bv the Kyoto Costume Institute Stella Blum, Curator in conjunction with The ¿Aletropohtan ¿Aluseum of ¿Art. Diana A'reeland, Speculi Consultant K. Gordon Stone, Associate Museum Libraruin ¿A la A'ieiUe Russie, New A'ork Paul M. Ettesvold, Asswtant Curator ¿Art Institute of Chicago Jean R. Druesedow, Asswtant Curator ¿Air. and ¿Airs. Robert R. ¿Atterbury, Jr., Ridgewood, New Jersey- Elizabeth N. Lawrence, Jiaster Restorer The Brooklyn ¿Aluseum Lillian A. Dickler, Senwr Administrative Asswtant Iris Brown Elaine F. Shaub, Asswtant to Consultant Chicago Historical Society Irja Zimbardo, Senior Housekeeper ¿Air. and ¿Airs. F. Norman Christopher, New Canaan, Connecticut Dominick Tallarico, Principal Departmental Technician Cooper-Hewitt ¿Aluseum, New A'ork ¿Alavis Dalton, Associate Curator, part-time Fairfield Historical Society, Fairfield, Connecticut Kiki Smith, Curatorial Assistant Cora Ginsburg, Tarry town, New A'ork Timothy- John, New Arork ¿Martin Kamer, Switzerland ¿Alusée Carnavalet, Paris ¿Alusée de la ¿Alode et du Costume, Paris ¿Alusée des ¿Arts Décoratifs, Paris Musée National du Château de A'ersailles ¿Aluseum of the City of New A'ork National ¿Aluseum of ¿American History, Smithsonian Institution, Washington, D.C. Nordiska ¿Aluseum, Stockholm Philadelphia ¿Aluseum Rijksmuseum, ¿Amsterdam Shannon Rodgers, New York Rosenborg Palace, Copenhagen Count ¿Alaurizio ¿Antonio Sammartini, Amenice Dona and Bernard C. Solomon Tirelli Collection, Rome Union Française des ¿Arts du Costume, Paris A'an Cleef and ¿Arpéis, Paris A number of private collectors in New A'ork and Pans lent anonymously. 62 Exhibition Staff Exhibition conceived and organized by Diana AVeeland Music compiled by Stephen Paley and Laura Harth, with special Assistant to ¿Airs. AVeeland: Stephen Jamail thanks to AA'illiam S. Paley and AA'alter A'etnekoff for the use of Exhibition Design: Jeffrey Daly and ¿Alaureen Healy CBS Records studios. Lighting: AA'illiam L. Riegel Scent: "Nahema" by Guerlain Exhibition Assistants: June Bove, Richard DeGussi-Bogutski, Jewelryr by Kenneth Jay Lane Sarah Richardson, and Lindsay Soutier Orders and decorations arranged by Kirk Allan Adair Two bouffant coiffures by Harold Koda Painted heads by Linda A'elez Boots adapted by Judy Brindesi Flowers donated by Corham Artificial Flowers and by Anita Flow-er and Novelty Company- Stockings provided by Capezio Ballet ¿Alakers Lace donated by Weiner Laces, Inc. Ribbon donated by C. ¿AI. Offray and Son, Inc. ¿Alany thanks to Oomphies, Inc. Special thanks to Bill Cunningham and Angela Forenza Many thanks to the staff members of the following departments AArith deepest appreciation to Umberto Tirelh, Piero Tosi, and for their advice and assistance in the mounting of this exhibition: A'era Marzot for their great assistance. European Paintings European Sculpture and Decorative Arts Prints and Photographs Arms and ¿Armor Textile Consenation Objects Consenation Office of the Alee President for Operations Design Buildings Security Office Sen-ice Photograph Studio Telephone Switchboard Public Information 65 Voluti teetv Volun tee rj for the Ino tal lat io n for Restoration A special note of thanks to the Ethel ¿Altschul Lisa Kung many volunteers who worked Polly Anderson ¿Ann Langford-Hamber with great devotion and effort Use Babes Georgia Langhorne on this exhibition: Mary S. Barker Kelle Lebwith Holly Bisset Georgette Lew Kirk .Allan Adair Caroline Bhsh Charlotte Liebov Akira Rose ¿Alarie Breguet Carla Ann Litwak Margaret Avery Jean Brodsky Edna Lonstein Francesca Bianco ¿Alarion Budsanosky A'irginia Mayor Ellen Burnie Russell Bush Leonore ¿Alessmore Lucinda Childs A'irginia Caldwell Jane ¿Miller Donna Coni Josephine Cardello AA'initred ¿Alinott Patricia Cresswell Judith Garmany Helen Olsen ¿Alan Faucher Barbara Chafkin A'icky Olsen AA'illiam Gibson -Alimi Chan Jasmin Paganelli Elizabeth Houghton -Anita Child Ellen Paganussi Flora Husband Lucinda Childs Nathalie Pion Josita Károlyi Helen Clark Eleanor Powell Joel Kaye Antoinette Cusumano Dolores Randall -Alida Kilburn Clothilde Daniel Rosalind Rappaport Lisa Kung Elizabeth Daubeny Laura Reiburn Susan Lamb Emily Derenberg Helene Rittenberg Katel le Bourhis Helen DiBlasio Anne Robbins Anne ¿Miller Ellen Ann Dobrivir Lillian Rouse Madge Miller -Alillicent Dworkin Sarah Rowe Jasmin Paganelli Ruth Ehrlich ¿Alary Russioniello Nancy Präger-Benett A'irginia Ferguson Belle Sabin Lucy Richards Posy Feuer Judith Sommer Barbara Rosen Barbara H. Finch Fran Spar Simone Scheer Jane Fiore Susan Spar Jocelyn Schwartzman -Anne Fischer Sylvia Spitzer C. J. Scott Judith Flaxman Kuniko Steel Joe Simon ¿Alarily Francis A'ean Sun Cynthia Sirko Leslie Glass A'oko Takahashi Robert Aitale Ellen Granick ¿Andrea Tholl Tern- AA endell ¿Alane Hagen Nina AA'ood Madelyn Harris Freya A'an Saun Marielle AA'orth ¿Alargot Hartmann Evelyn A'oice Norma Hensler Lily A'ulliemoz-Tobler Eleanor Holborow Jill H. AA'eitzman Lisa Jacobs Joan AA'helan Judith Johnston Phyllis AA'ickham Susan Johnston Joan AA'ing Joanne Josephy ¿Ann Wiss Lila Kalison Esther Zisser Lizzi Katz Ellen Kenny Giza Kent Ilse Kessler Laura Kopetka Shula Koton 64 È8F' î ï í 0-87099-296-1 04-00508-8