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''

YESTER-YEAR

LIBRARY

lOlI.RTTf-: Dli HAL,

RESTAURATION.

a \r

YESTER-YEAR"

TEN CENTURIES OF TOILETTE

FPiOM THE

FRENCH

OF

A.

ROBIDA

By MRS. CASHEL

Uustratcli bu the

HOEY

author

LOXDOX
SAMPSOX LOW, MARSTOX & COMPANY, LIMITED
St. Bunstan's Bouse
Fetter Laxe, Fleet Street, E.G.

1892
[All Rights reserved]

RiCHABD Clay & Sons, Limited,

London & Bunoay.

^1

'^'"
,r//<'^'"^''''

CONTENTS.
AN OLD SONG OF OLD FASHIONS

...

IK

II.

MILLINERS
Revivals

BOXES IN OLD TIMES.

The time-piece of

fashion
stones

riummaging the
Which the prettiest

Fashion

milliners' boxes of the past

is

Fashion and Architecture Precious

niedival
and stuffs A dressed doll
?

Fashion-plate

tlie

ir-njc

CONTENTS.

VI

III.

THE MIDDLE AGES.

corsets and
The
sumptuary edicts
The
Byzantine influence Bliauds,' surcoats, and cottes
hardies' Pictorial and emblazoned gowns The
ordinances of Philip the Fair Ilennins and
'Escoffions' The Crusade of Brother Thomas
Connecte against the
hennin The Lady of

The painted and

the

tatooed Gauls

first false-plaits

first

first

'

'

'

'

'

'

Beauty'

'

...

jwr/e 24

IV.

THE RENAISSANCE.

Hocheplis, and farthingales

Fans and Muffs The
gloomy fashions of the Reform Queen Catharine's
Flying Squadron Laces and guipures The stages
of the farthingale The mask and the nose-cover

The Fashion

La

as to

belle

width

Ferronnire

'

'

'

'

Paints and cosmetics

...

...

...

2^^'-y^

^^

V.

HENRY THE THIRD.

Large
pleated,
Bell-women Large sleeves
Dreadful doings of the
Queen Margot and

The

court of the

goffered, or in

Woman-King

'

horns

ruffs,

'

cor.?et

her iair-haired pages

...

page 81

CONTENTS.

Vil

VI.

HENRY THE FOURTH AND LOUIS THE THIRTEENTH.

return to compariitive simplicity

Women-towers

Tall head-dresses The excommxuiication of

necks

Gowns

necks

and

with

large

low necks

flower

Long

edicts The obedient lady

patterns

bare

High

waists Richelieu's

Short waists

page 97

VII.

UNDER THE SUN-KING.

Maintenon
the Sun-King From La Vallicre
Gowns called 'transparent'- The triumph of
Lace The Romance of Fashion Steinkirks The
Fontanges head-dress The reign of Madame de

Under

to

Maintenon, or thirty-five years of moroseness

p.

119

VIII.

THE EIGHTEENTH CENTURY.

The Regency Follies and frivolities Cythera at Paris

The Watteau fashions
'Flying' gowns
The

Criardes' Considerations and

the Matres des Requtes Mme. de Pompadour
The Fan The Promenade de Longchamps Coaches
and Chairs Winter fashions
jKigc ]39

birth of the panier

'

CONTENTS.

VI 11

IX.

EIGHTEENTH CENTURY

LOUIS XVI.

Enormous head-dresses The pouf 'au sentiment'

Parks, kitchen-gardens, and landscapes with figures,

worn on the head

Patches

Country

Fashionable
fashions

The 'Belle-Poule' head-dress

fashions Negligent
gowns
'

'

colours

Riding

The bourgeoises

habits

...

English
159

^^oj/e

...

X.

THE REVOLUTION AND THE EMPIRE.

Fashions

called

Revolution

'

la

Notre

Bastille

Dame

Fashions

'

de

Thermidor

the

of

'

In-

Antiquity in Paris
and ]\Ierveilleuses
Athenian and Roman women A pound of
Tights, bracelets, and
clothes Transparent tunics
buskins The reticule or ridicule 'The Victims'
Blonde wigs and dog's ears
A la Titus
Ball
'Robes-fouireau' Little caps and Hats Shakos
Turbans ...
...
...
...
...
ixige 189
croyables

'

'

'

'

'

'

'

'

'

XI.

THE RESTORATION AND THE JULY MONARCHY.

Collerettes
Hair-dressing and big hats 1830
Expansion of Romantic fashions The
caps 1840 Chaste bands Medium (Juste-milieu)

Full sleeves, and Leg-of-mutton sleeves

'Giraffe

'

fashions

'

fashions

...

...

last

'

...

...

...

|X(;ye

220

CONTENTS.

IX

XII.

THE MODERN EPOCH.

Kevolutions everywhere, exce2)t in the kingdom

Universal reign of crinoline Cashmere
shawls The Talma, the burnous, and the pinehwaist' (pince-taille) Sea-side fashions Short gowns
The 'jump-in' costume (saute-en-barque) Wide
and narrow skirts Clinging fashions Poufs and
bustles Valois fashions More erudition than
imagination A 'fin-de-sicle' fashion in demand

1848

of Fashion

'

page 243

LIST OF FULL-PAGE ILLUSTRATIONS.

Ball-dress: Restoration

Noble

Lady End

...

of 14tli

Frontispieee.

...

To face p. 16

Century

Figured gown and houppelande, 15th Century

40

VIIL

...

48

...

56

64

...

72

...

80

A Lady in

the time of Charles

At the Court of the Chevalier King

Under Henry II
A Lady of the time of Charles IX.
Court-dress under

Henry

III.

...

88

Louis XIII

96

Reign of Louis XIII

112

120

128

Full-dress, Medicis Style

End

of

32

...

Lady

,,

Middle of 15th Century

Chtelaine

At the Court

of the Sun- King

Under the Great King End

...

of 17th

...

Century

Xll

LIST OF FULL-PAGE ILLUSTRATIONS.

Under

the Regency

YESTER-YEAR.

AN OLD SONG OF OLD FASHIONS.^

From

our mother Eve's invention

Of the very

To Fashion's

first

farthingale

last intention,

Tis a dream-like passing

1

tale.

For the original verses see the Appendix.

YESTER-YEAR.
Brief

is

each mode's existence,

But Beauty
Its

change

is

always here

Through dead modes

Where

of

Bavaria's she-wolf wore

Head-tire

And

yester-year.'

'

the gold emblazoned

is

Fought

persistence,

is still

for

withholding her

with

many

gown

tresses' flow,

a sturdy blow,

the towering hennin, fatal crown

That Buridan knelt before

Forgotten, antiquated gear.

Are the dead modes of

The

ruff that embattled fair Margot's throat.

Her
The

'yester-year.'

surcoat

ermine hoar

jo

and the

gigot sleeves,

Which

princess

Is

cavalier coat.

and dancer wore

Gone with the Pompadour

Even

petticoat,

the crinoline's graceless gear

dead

witli the

modes

'

of

'

yester-year.'

EscoiBon.

AN OLD SONG OF OLD FASHIONS.

Envoi.
I'

faith, eacli

From

week

liad its fashions,

Eve's to the

days that are here

passions,
But where are those passing
?
dead modes of 'yester-year'

The

The Empress Josephine's dress-maker.

II.

MILLINERS BOXES IN OLD TIMES.

Revivals

The time-piece of

Fashion

fashion

stones

and

stufll's

and

Which

Fashion

milliners' boxes of the past

RuiinaagiiiL!,' tlie
is

the prettiest

Architecture

dressed

doll

Precious

the

mediaeval

Fashion-plate.

"

There

is

nothing new in this world but that

which has grown old

ototiyJi,"

was

said,

not by a

YESTER-YEAR.

great philosopher, but by a

woman, and she was

dressmaker to Josphine de Beauharnais, wife

Napolon Bonaparte, Chief Consul of the

of

French Republic, who was of her way of thinkhe resuscitated the Empire of

ing, seeing that

Rome.
Acting upon this axiom, Josephine's dress-

maker

tried

back into the

days of the Greek and

even

far past,

Roman

to the

ladies, for elegant

which were

novelties two thousand years old,

destined to turn the heads of Parisian salons

and promenades,
sexes,

to fascinate Parisians of

and afterwards to make the

of the world, just as the bayonets

French

of the

You
?

ask,

Where

are

grand tour

and standards

same

period.

said a paradoxical philosopher (he

bills),

'

the modes of yester-

be a married man, and

makers'

both

who were the most

soldiery,

travelled of tourists, did at the

year

'

replying to

harassed

my

"

by

must
dress-

Old song of Old

Fashions," written after the method of Franois

Villon.

my

dear

''

You

sir,

actually ask this question

Why,

those fashions are on the backs of

MILLINERS
the

women
after

women

Do you

upon

of to-day, just as they will be

the backs of the

day

BOXES IN OLD TIMES.

of to-morrow and the

know

not

that

nothing-

changes, that every novelty was invented long

when women

ago, about the time

to dress themselves, within the

seasons, in

short

after the turn out

the

in

my

began

twelve months

first

from Eden,

the same remark to

first

space of four

made

precisely

wife only yesterday,

propos of three or four costumes that had

struck

her,

did not require

novelty,

and

to order, although

she

by their

forsooth,

which she was about

them.

Everything

is

worn,

has been Avorn, or will be worn, I told her,

therefore
for

why

a mere

try to

whim

lay aside

a costume or an ornament

that will inevitably

" Yes, but in three

"My

why

change,

'

come

in

again

'

"
?

hundred years."

dear fellow, just go to

Elyses on a sunny day, and

the

tell

Champs-

me whether

you do not see visions of the Court of the

Valois,

when you observe some

of the toilettes,

with their Renaissance puffed sleeves, their

YESTER-YEAR.

collars, their

Renaissance

Or

stuffs.

wlictlicr

Renaissance pictorial

you do not dream dreams

LSIO, with

of Longcliamps in

those

Empire

their puffed shoulders, skirt-

gowns about, with

draping, palm-patterns, and Greek trimmings;

and then the Louis Seize

style, or

the Mediaeval,

Why, my

dear

or the

Louis Quinze

woman

of any epoch whatsoever in time past,

no matter how
ages,

far

sir,

back in the darkness of the

might return, appear among our contem-

jioraries,

and be quite in the fashion with only

modification of her antique costume.

little

Let Agnes Sorel or Margaret of Burgundy deign

to reappear

in the

dress

periods, I should merely

and everybody would

toilette for

costume
"

Stay

change their head-gear,

say, "

What a charming
" What a lovely

Varnishing-Day," or

Grand Prix."

for the
!

of their respective

stay

are

you not exaggerating a

"
little
"

Not

at

all.

I assure

you the Merovingians,

or even the ladies of the Stone Age, with a few

little toilette

arrangements to help them, would

MILLINERS
not take the

BOXES IN OLD TIMES.

women

of

tlio

present cLay aback

they Avoukl simply be regarded as fashionable

oddities.

The present

fashions are merely the

fashions of by-gone days resumed, and recast

16th Century.

by the taste of the passing hour.

The index

of

Fashion continuously revolves, like the hands of

a clock, within the same
capricious,

it

goes

now

circle,

forward,

but

it

is

more

now backward,

with sudden jumps from one side to the other.

YESTER-YEAE.

What

o'clock

is it

by

tlie

timepiece of fashion

morning or eight

Six in the

perhaps every hour of the twenty-four

once, as

matter,

There
is

is

all

at

moment. But that does not

at this

it is
it is

in the evening,

always a charming time of day.

no manner of doubt, and everybody

is

agreed upon the point, that the present fashion

invariably the

prettiest,

and

for

the very

simple reason that old fashions are only faded

no sooner have they ceased to be

recollections,

new than

their defects and absurdities

become

evident to our cold, severe eyes, which were

indulgent during their brief reign, and the

mode

of the

moment wins

see in that mode,

my

fascinates everybody,
grace, in fact

is

the

dear
is

easily.
sir,

What we

all

what charms and

the radiance of feminine

woman

herself!

No,

no,

we

were never better dressed than we are this very

day

In

all

ages,

and on behalf of every

woman

has said this identical

thing to herself and

her looking-glass with

fashion, each

perfect sincerity, and all the

the same.

men have thought

milliners' boxes in old times.

Our ancestress

of

Stone Ago, clad

tlie

11

in skins

of beasts, regarded lier costume as very becoming,

and smiled

at the notion of her

grandmother

The

in the petticoat of a savage.

fierce cave-

men, her contemporaries, were of her way of

thinking.

Yes,

the

prettiest

only persons

fashion

who have

is

to-day's,

the

ever denied the truth

gentlemen 'of

of this unvarying assertion are

a certain age,' indeed of a very certain age, for

be found

these veterans, to

have

passed

invariably

at

their

every period,
sixth

decade.

Likewise they have always entered their protest

by making another assertion.

"

The

fashions of the day are ridiculous," they

exclaim in chorus, " people don't dress as they

Then

did in our time."

1730, in 1630, in 1530

30

itself,

etc.,

charming.

1630, 1530, or the

period that
so

is

in

1830, or in

even in the year

the fashions were becoming, elegant,

distinguished,

And

it

was

year

Ah
30

1830, or

1730,

what a grand

we have

this

dinned into our ears by

YESTER-YEAR.

12

the chorus of sexagenarians.

Lecausc

2:)eriod,

it

was

'

Oh

golden prime/ when

tlie

shone more brightly, the

wore a fresher

fields

green, and the fashions were far

all

this is of

what these

we

grand

gentlemen were young, when the sun

these

But

yes, a

may

elderly persons

ourselves

may

more

elegant.

no consequence, no matter
say,

and what

say some years hence, the

following axiom will always be proclaimed

"

We

were never better dressed than we are

this very day."

Since, however, nothing passes

hours marked upon the face of

and the

lost

fashion's

timepiece

the

away altogether,

capricious

may

circling

all

of

tolerably safe to predict the

come back with

hands,

its

modes

it

is

of to-morrow

by merely studying those of yesterday.

Let us then rummage that vanished
allow

ourselves

melancholy in

it

and

has some
pleasure
of evoking the beautiful

the
too

past,

it

and elegant dead fashions, buried under ages

of

accumulated inventions, the novelties long

thrown aside and forgotten, and

also the recent

milliners' boxes in old times.

but no

less forgotten finery of

13

the grandmothers

of the present day, who, as they recline in their

images of themselves as

easy-chairs, recall the

'

x/^

Full-dress

15tb century.

dark beauties, sprightly and

fair

or

the

attire

grannies

of

their

spring-time.

gay,

Dear

in
old

14

YESTER-YEAR.

That past which seems

is

really

it

so

to us so veiy distant,

The grandmothers

our

of

grandmothers were born under Louis Quinze,

in the days of

powder and furbelows.

bring

Seven or eight grandmothers 'added up

we may venture upon such

us
'

to

the time of Agnes Sorel and the

hennin

you

a proceeding

'

head-dress.

'

It

if

tall

was only yesterday,

see.

One

point to be settled, to begin with,

is

that

the art of dress and the art of construction are

Fashion and architecture

very nearly related.

are sisters, but fashion

A
or in

house

is

probably the elder.

is

a garment

raiment in stone

it is

wood which we put on over our vesture of

linen, wool, velvet, or silk, for our better pro-

tection against weather

which must mould

first,

unless indeed

itself to

it

itself to
it

be the

is

a second garb

the shape of the

first

that adapts

the necessities of the second.

Without going back beyond the deluge, we

may

ask,

Are not the

pictorial,

and emblazoned

gowns, the cut-out, snipped-up costumes of the

milliners' boxes in old times.

Middle

As:es,

15

Gothic arcliitecturo of the most

flamboyant kind, just as the more rude and

simple fashions of the preceding period belongto the rude

and severe

When

is

almost

stone

flash

to

efflorescence, the

Roman

style

and twisted, and made

cut,

magnificent

into

more supple

textile fabric

cut

and twisted and made to

The

tall

head-dresses which

sculptured

we

effloresce
call

is

also.

extravagant

are the tapering tops of the turrets which rise

from everywhere towards the sky.

is

Everything

many-coloured, the peoi^le of those days loved

bright
reds,

tints,

the whole

and greens

At a

is

gamut

of the yellows,

employed.

later date, costume, simultaneously

architecture, let itself out

more

Renaissance had come with

its

rigid fashions; novelty

Italy acted

upon dress

with

The

freely.

ampler and

less

was sought in the

old.

as she acted

upon

build-

ing; everything, even to the princes' panoply

of

war or

rich

state,

nobles,

and the iron

was made

'

in the

and covered with ornaments of

harness

'

of the

antique forms,

Roman

design.

YESTER-YEAR.

The

severity, indeed

of the

fashions

we may

at the end

call it

the gloom,

of the sixteenth

century, was also a characteristic of the edifices

of a troubled epoch.

The ponderously wearisome and sumptuous

palace of Versailles, the big dull htels whose

Eenaissance.

architecture
entirely

embodies

morose

of

enor-

the great

King,

for

and the starched tight-laced bodices and

'

heads

'

of

Madame

stiff

de Maintenon.

After the tedious end

century comes

are

the

appropriate coverings

mous and solemn wigs

conceit,

of the

the eighteenth

seventeenth
the pompous

il

^J

^'l

NOBLE DAME,

FIN

DU XIV

SIECLE.

milliners' boxes in old times.

17

and the solemn are discarded at the same time

by both dress and architecture, rococo
'

and furbelowed buildings

At a

later

date,

'

toilettes,

one.

it is all

when the people

of the

Ululer the Great Kiug.

Revolutionary Period and

themselves

arrayed

in

the First Empire

Greek

fashion,

public buildings and

same.

From

transition

1840

to

and

Roman

houses did the

1860,

period

of

and expectation, both fashions and

c

YESTER-YEAR.

were

buikliDgs

commonplace, and

absolutely

destitute of any style wliatsoever.

archaeological

own

our

in

Lastly,

time,

period

of

rummage,

research and general

and reconstitution, a period of

of experiments

imitation rather than imagination and creation,

we again
keeping
chests

observe

and

architecture

step, grojjing together in

past, trying-on

of the

after another, falling in love

and adopting

all

fashion

the clothesstyles,

one

with each period

its

forms only to

throw them aside immediately.

Let us then

in succession,

do as our time does,

let

us too ransack the

clothes-chests of the past in our search for the

pretty things

and the oddities of long long

ago.

Beyond a certain period authentic documents

are scarce, and
suppositions.

were

the

we have

Who

general aspect of
in

tlie

when

shall

costumes, the
life

Merovingian

to

be satisfied with

tell

us truly what

fashions,

as presented

and

the

by them,

and Carlovingian days,

MILLINEES' BOXES IN OLD TIMES.

11)

Four harness'd oxen, heavy-hoofed and slow,

Through Paris dragged the King, a lazy show.

Who

shall depict

obscure periods
their

us the finery of those

for

Finery there was, in spite of

and

rudeness

'

barbarism, for

the old chroniclers in

their writings

denouncing the unbounded

we

find

already

extravagance

of

women.

Who

shall paint

for us

the ladies of the

time of Charlemagne, and instruct us in the

modish ways of the tenth century

statues which have come down
less mutilated, constitute

we must content
the vague

much

indications

earlier

to us,

The few
more

or

our only documents

ourselves with them, and with

illustrations of the

so

contained

in the rude

manuscripts of that period,

than the superb illuminations

with which the artists of the Middle Ages

enriched the world in a later day.

Our

first

Fashion-plate, then, will be

some

cathedral door, or statue from a tomb, that has

^

Quatre hufs

attels,

d'un pas tranquille

Promenaient dans Paris

le

monarque

et lent,

indolent.

YESTER-YEAR.

20

miraculously escaped the ravages of time and

the

hammer

Religion

'

of the iconoclasts,

'

or the Revolution.

Uuder Louis

At

whether of the

later

period,

wimlows, and tapestries,

(^>uiuze.

miniatures,

painted

will furnish

us with

milliners' boxes in old times.

more complete and

more

far

information, an(i

certain

figures

precise

21

'

documents

will

'

abound.
Besides, in the fourteenth century the actual
existed.

fashion-plate

the

'

gazette

'

fashion

mode

adopted

not

shape (that has been in use for

hundred years

of

had

It

only),

but

Instruction

nevertheless.

travelled,

under

was a journal

it

form

the

tho

in

of

dolls

Avearing model costumes, from one country to

another, esi^ecially from Paris.

Paris already held the sceptre, and ruled over
fashion, although not as she
to pole,

now

rules

from pole

from the frozen shores of America to

Australia

where

bits of

bone passed through

the nasal cartilage were the only

to vanity little

more than

fifty

homage paid

years ago

Rajahs of

from

India to

the

the courts of

the

seraglio of the

Grand Turk, and the palace

Her Majesty the Empress

of

the

of

Flowery

Land.

In the middle ages, certain great ladies of

our

dear

little

corner of

Europe,

used

to

YESTER-YEAR.

22
present

each other with small

the

in

latest

makers and

come down

fashion

by

'

dolls,

dressed

cutters/

dress-

whose names have not

tailors

to posterity.

Thus, on great occasions, the duchess in her

distant

the

chteau on the

Breton

Margravine perched

upon

border, would

the Rhine

'

Landes,'

her rock

learn more or

or

on
less

rapidly what was the latest feat of fashion in

great centres of luxury and elegance, such as

the Court of Paris or the Court of Burgundy.

These were
learn

and display, as we

rivals in novelty

from the accounts of expenditure that

have been brought to

light,

with the details of

the sumptuous doings which dazzled contemporaries,

and are recorded by

all

the chroniclers

of the time.

Certain important towns also received

decrees

of

centuries,

sumptuary

fashion

Venice,
arts,

the

by similar means.

For

another

the

centre

of

and a connecting link between

Eastern commerce and Western luxury, annually

imported a Parisian

doll.

It

was of imme-

milliners' boxes in old times.

morial custom to exhibit the

a Parisian

lady, attired

in

waxen image

Merceria,' at

Mark, as

the end

" the toilette

edification of the noble

cf

the last fashion,

on Ascension Day, under the arcades of

'

23

of the Piazza of

of the

tlic

St.

year," for the

Venetian dames who

eagerly flocked to the show.

Uudcr Louis XII.

Escofiioii.

III.

THE MIDDLE AGES.

The painted and

Gauls The

tatooed

first

corsets

and

The
sumptuary edicts
Byzantine influence Bliauds,' surcoats, and cottes
hardies Pictorial and emblazoned gowns The
ordinances of Philip the Fair Hennins
and

tlie

first

false-plaits

first

'

'

'

'

'

'

Escoffions

Connecte

'The
against

Crusade
the

'

Brother

of

hennin

'

The

'

Thomas
Lady of

Beautj'.'

It

must be boldly acknowledged that two

thousand years ago, in this very Paris, which

THE MIDDLE AGES.

25

bears the standard of elegance, and triumphantly

flaunts

everywhere, the predecessors of our

it

Parisian ladies walked in the vast dark forest

that stretched from
to

of

those of the

the

Oise,

Ardennes, in

the

banks of the Seine

and along the borders

one vast

and

tangled

''Bois de Boulogne," clothed in a style

closely resembles that of the

which

Maori belles of

to-day.

Those rough and handsome Gaulish dames

were daubed with paint, and probably tatooed
at

all

they dyed their hair

events, that

is

certain.

The ornaments which have been

discovered,

fibul, torques, necklaces, bracelets, clasps in

bronze and occasionally in silver or gold, afford

evidence

that

those

primitive

semi-savages

were accustomed to a certain kind of luxury.

There

is

a great analogy between their style

of ornamentation,

and that which prevails

in

Brittany at the present day.

Ancient
having

Gaul^

become

Gaul

Roman

of

the

Gaul,

Barbarians,

the

Gaulish

YESTER-YEAR.

26
women,

in imitation

exhibited

a taste

civilization

tho refinements of

for all

and luxury.

Ladies

dates from their time, but

thick stuff which

Roman, speedily

of tlie

the corset

was a

it

corslet of

moulded the form, rather

than an instrument of torture which distorted

its lines.

The

primitive love of vivid colouring did not

decline

once

at

but

actual

merely rougeing, and essences

tlie

complexion,

already been
reddish-fair

and

also

the

same

became

for preserving

false

plaits,

These

invented.

hue

paint

had
of

locks,

colour has been in

fashion for a long time past

were purchased

from German peasant

the

girls,

Gretchens of

the time of Arminius.

The

invasions of the Franks were followed

by a return to barbarism and simplicity

women, who were

big and strong,

their

knew

of no

greater luxury in dress than a chemise strij)ed

with purple.
Little

with

by

tlie

httle,

tho

Gaulish,

Roman
the

fashions,

Frankish,

mingled

and

the

THE MIDDLE AGES.

27

Merovingian fashions, of which a few

hieratic statues give us a notion,

stiff

and

underwent a

transformation.

The

great

Emperor Charlemagne, he

of the

flowing beard, in the midst of his Court, where

the wives of his dukes and counts indulged the

most unbridled
stuffs

adornment, sumptuous

taste for

and jewellery, observed a

of attire for himself,

and Napoleon did

strict simplicity

as Frederick

He

also.

the Great

was shocked by

the growth of display and extravagance, and

lie

was the author of the

first

sumptuary laws,

which were naturally observed only by the

bourgeoises;
quire
finery

of

good

those

prohibitions

to

did

ladies

dej)rive

not re-

themselves of

which they could not purchase

for lack

money.

We may
days

in

contemplate the people of those

effigy

sculptured

under

ancient churches.
stiff

and

the

in

the

Rows

stern, set-in

princes and

tall

hieratic

figures

porches of our most

of kings

and queens,

beneath the old archwnys,

princesses lying on raised

stone

YESTER-YEAR.

28

slabs, old spectres

shall tell us

of nulely carved stone,

who

these really were, and

what

whom

was that living and moving world over which

they presided

They keep

their secret,,

brows

mysterious

the

it is

of

hidden behind

those

sculptured

phantoms, standing in the entrances of the

buildings which they founded, or lying in the

museums

which

to

they

have

been

con-

signed.

Our

cities

trodden

by the descendants of

those ancestors, graceful

crowd around the

day

in

cities

which

French won)en, who

brilliant shops of the present

life

is

so intense

our own

old

were in existence then, but how often

has their aspect changed

Every vestige of

those times has disappeared, their last stones

are buried under the foundations of the oldest

buildings

We

now

standing.

know almost

at that period as
in the

dolmen

as little of the Avays of

we know

era,

life

of village civilization

and we have to search

in

the earliest and most ancient poems or romances

THE MIDDLE AGES.

of chivalry,

129

amid the clash of lance and

battle-

axe, for a few traces of its social history.

We

come

to

the Middle Ages,

when

the

Siircoat with Garde-corps.

Byzantine influence of Rome, transplanted to

the Bosphorus, at
of both

first

prevailed in the clothing

men and women, and was supreme

about the time of the earliest Crusade.

Tliis

30

YESTEll-YEAR.

was the period of long gowns with very

folds, of

double girdles, one worn at

and one round the

It

veils.

was

hips,

in reality

tlie

close

waist

and of transparent

an age of transition.

Fashion was groping about, turning backward,

and

resumino-

forgotten

Ceremouial head-dress,

alterations;
at

first

century,

Roman

1-itli

certain

century.

costume,

modified

by Byzantium, rearranged and semi-

orientalized,

Then

the

forms with

was partly restored.

suddenly, at the

dawn

of the thirteenth

when a new era was emerging from

the twilight of ancient barbarism,

the

new

THE MIDDLE AGES.

declafcd

fashions

31
i'raukly

tliciiisulves,

aiul

plainly.
Tills

was

tlie

actnal

costume purely French,

of

of Fnaioli fashion,

biitli

like the ogival art

in architecture that sprang from our

discarded

all

and

that was imitated, or borrowed, in

Rome and Byzantium.

short every reminder of

The

soil,

statuary,

the

stained

glass,

tapestry of the Middle Ages, will

and

now supply

us with the very best of documents.

figures carved in full dress

upon

the

Those

their tombs,

an

actual resuscitation of the noble chatelaines of

the period, are extremely remarkable portraits,

with

all

the details of attire, the garments,

and the head-dress clearly indicated, and in

some instances

still

bearing traces of painting

which give us the colours of the costume.

The
for

it

stained glass

represents

is

all

the noble lady to the

in

memorial

still

classes

more

woman

windows,

in

interesting,

of society, from
of the people;

the

windows

of

seigneurial chapels, or the chapels of city corporations,

in

the

great

compositions

with

YESTER-YEAR.

32

donors beneath the storied

of the

portraits

windows, the noble dames in rich attire kneeling opposite to the good knights in armour,
the

ricli

'city

madams'

opposite to the worthy

aldermen or 'notables' their spouses.

Tapestries

not entirely trustworthy as

are

veritable records, for the artist sometimes intro-

duces decorative fancies into his compositions

we

nevertheless,

which

afford

find

precise

many

in

figures

indications,

them

corroborate

the testimony of the statuary and the glass,

and may be added

to

the innumerable and

marvellous illustrations of the manuscripts of

the time.

Above the
'cotta,'

the

'

the

bliaud

women
'

or

the

under-dress,

'

of the eleventh century

bliaut,'

'bliaud,'

which was at

atid

first

by a girdle.

ornaments in very good

cotta are endless.

'

wore

made

The

of merely

was soon enriched with designs

style.

Th.e transformations of the 'bliaud

'

or

an ornamented robe of

fine stuff, held in to the figure

goffered stuff,

petticoat,

'

and the

The under-dress became the

ROl'.i; F.T

lIOUPPHLAXDr- HISTOID l-RS

XV^' siHc;[.n.

THE MIDDLE AGES.

'

cotte hardie,'

by the

and the

surcoat.

'

bliaud

33

was supplanted

'

This under-dress, which fitted

very tightly, was laced in front and at the back,

and showed the outlines and shape of the body.

In the full-dress costume a

'

garde-corps,' or

bodice-front of fur, was added to the surcoat

and lent
form,

it

however, was

particular

The general

additional richness.

varied in all

number

subject to a

arrangements,

manner

of ways,

of

and surcoats

cottas

following the

fashion of the day, the taste of individuals, and

the

mode

in

the provinces, or in

princely or ducal

courts,

the small

which were isolated

by circumstances or situation.

How

superb they were, those belles of the

Middle Ages, with their long

covered

with

rose-form, and
colours,

clinginfy

repeated

regularly
alternate

making a kind

squares

gowns,

designs

of

of different

of chessboard of the

whole body, or flowers and foliage in large

groups,

These

frequently

stuffs

woven

took grand

in

folds,

gold

or

silver.

and draped them-

selves naturally in statuesque lines;

from samples

YESTER-YEAR.

34
of

them which

judge of the

still

effect

when made up

exist in

museums, we may

they must have produced

into stately trailing gowns.

noble Chtelaine.

Armorial bearings, which came into existence

with the earliest social organizations, with the
first

heads of clans or warrior-chiefs, but were

THE MIDDLE AGES.

35

regulated at a later period, appeared upon the

gowns, which were stamped like their

ladies'

husbands' shields with symmetrically arranged

escutcheons.

This custom found favour, the fashion

as

we should now

called

Let us

dames

took,'

and very soon heraldic

were displayed more

designs

gowns

say,

'

fully

upon the

cottes histories.'

'

summon up

a vision of these noble

at Court, or on festive occasions in their

castles, in those vast halls

now open

to all tlie

winds that blow, and inhabited only by crows,

always

the last dwellers amid feudal ruins

let us fancy

them seated

between the

lofty fire-places

lists

stricken for the famous

There they

emblazoned through
of

'

'

alongside of the

arms

and the musicians'

on the platforms or eschaffaux

gallery, or else

tournaments.

at the tables of state,

their

all

are,

arrayed in robes

their length with the

husbands

or

their

families,

displaying, like living standards, every invention

of

beasts

the
of

its

heraldic art,

portraying

menagerie, lions and

all

the

leopai'ds.

YESTER-YEAR.

36

wyvems and
and

crows,

unicorns,

all

wolves and stags, swans

griffins,

sirens

and

them

of

And

the

vert,

toothed,
glittering

and azure.

non-heraldic

curving

great

rampant on

and

passant,

fields, gules,

and

fishes

horned, and

winged, nailed, clawed,

issuant,

dragons,

of fantastic aspect, all

flowers,

robes,

strewn

with

highly-decorative

or

designs, are not less rich or less brilliant.

The shapes
to

of the period, although they

be very various, are

The

all

surcoat has no sleeves,

or less widely at the side

to the

which

hip, in order to
is

it is

is

opened more

from the shoulder

show the under-dress

of another colour,

with the upper, and

seem

on the same principle.

but harmonizes

either

more

or

less

covered with designs than the surcoat, so that

there should not be equality in this ornamentation.

'garde-corps'

or

of ermine

bodice-front

adorns the upper part of the surcoat

the fur

is

cut low on the shoulder to exhibit the bosom,

which was very

liberally uncovered, especially

THE MIDDLE AGES.

in full dress.

band

37

ermine bordered the

of

cut-out portion of the surcoat on the shoulders

and

hijis.

There was great variety in the shapes of

the bodices, both of surcoats and cottas, in

shoulder ornaments, and

baring the

modest

in

methods of

modes were im-

Certain

neck.

the

preachers denounced against the im-

morality of fashion from the pulpit, and

reciters

of the

prudish,

made fun

Upon

old

'

fabliaux,'

who

satisfied

not

of them.

the invention of linen cloth,

were not

are

the

women

with baring their necks in

order to show their linen gorgets, or the tops

of their chemises, they

cutting their

devised

gowns open

the plan of

at the side, leaving

apertures from the shoulder to the hip,

long

laced across

and exhibiting the linen under-

neath.

At

that time, as at every other, certain fine

ladies persisted in exaggerating

the vagaries

Some

dames wore

of fashion.

gowns

so

of these

narrow and

so

fair

clinging that they

YESTER-YEAR.

38
seemed

to

surcoats

be sewn up in them, or

were so

much

too

superfluous material had

front

long

to be

else the

that

the

tucked into

pockets in which the hands also were

placed, otherwise the skirt

The

little

fastened to the girdle.

was a very pretty

delightful

broken

was gathered up and

Henuiu.

The

fashion,
folds

latter alternative

and formed those

which we see

in

the

drapery of statues.

The

sleeves of these long surcoats, with the

THE MIDDLE ACES.

'

serpent-tail

allowed

The

also.

came down

which great

train,

ladies

were

have carried by a page, became

to

elongated

'

39

sleeves of the under-dress

to the wrist with

an outward slope

which covered a portion of the hand.

The

wider sleeves of the surcoat were either open

from the shoulder, and hung down almost

the

ground,

wrist, or

or

from the

slit

to

elbow to the

made with only an aperture through

which the fore-arm passed.

There

were

several

long, wide, or tight

underneath from shoulder

close

'

mitons

mittens,

the ends

'

'

pocket-sleeves

these were pretty and

Lastly, there

'

closed

at

convenient

all.

were vast sleeves like wings,

with edges cut like the

like

even the sleeves

were worn, the end forming

and

inventions after

sleeves,

and buttoned

to wrist, sleeves cut

out, or puffed at the elbow,

called

in

varieties

sleeves cut

teeth of a saw, or

oak leaves, or bordered with a thin line

of fur.

Jewellery assumed

great importance.

All

YESTER-YEAR.

40

women, whether great

ladies

or bourgeoises,

adorned their costumes with jewels of greater

or

price

less

necklaces,

head-circlets

orna-

mented with precious stones placed upon the

head-piece, jewelled

buckles,

and

of

girdles

wrought braid and gold work.

The

'

aumnire

'

or

'

escarcelle

'

alms-bag) attached to the girdle was

(literally,

made

of

rich stutf bordered with gold, with a gilded clasp

and ornaments. The great ladies were dazzling,

shone.

The sumptuary laws

ineffective.

In vain did Philip the

they literally

were quite
Fair

enact

ermine

and ordain, forbid

and

miniver to the bourgeoises, and debar them

from golden girdles set with pearls and precious

stones, in vain did

"No

damoiselle,

dame owning

he decree that
if

she be not chtelaine or

2,000

livres

yearly shall have

more than one pair of gowns per

if

she be, she

shall

year,

and

have two pairs and no

more.
"

In like manner also the dukes, counts, and

barons owning

6,000

livres

yearly shall

be

CHATI-:[.AI\H, MIf.ll-;U

DU

XV^ SIHCl.E.

THE MIDDLE AGES.

41

allowed to have

made

gowns per

and not more, and

wives as

year,

for

them four

pairs of
for their

many ..."

In vain did Philip the Fair

fix

price per ell on stuff for outer

a descending scale for

of people,

maximum

garments on

and conditions

all sorts

from twenty-five

sols

the

ell

for

barons and their wives, down to seven sols for

their squires,

and

remarkable testimony to

the wealth of the townspeople and shopkeepers

bygone time

of the great cities even in that

permit the wives of the bourgeois to go so far

as sixteen sols the

ell

against everything, and

in vain did he provide

make

stringent rules

nothing availed, not even the threat of

fines.

dames

alike

Great ladies
defied the

and wealthy

commands

city

of the king, the

remon-

strances of their husbands, and the admonitions

lavished upon

them from innumerable

pulpits.

In vain did the preachers attack every part

of the costumes in vogue,

denouncing the occa-

sionally indecorous slits in the surcoat as

of hell,' the shoes

'

la poulaiue

'

'

doors

(so-called after

42

YESTER-YEAR.

the spur of a ship) as

Creator,'

and waging a

head-dresses, whether

'

An

outrage on the

bitter

war against the

'

cornettes,'

the high head-tires called

'

hennins,' or

escoffions

'

the

.''^"^.

^\'!\":-.

The Hennin

women simply let them

\\ith largo veil.

talk,

and imperturbably

followed the fashions.

In matters of the Mode,

women were

then,

as they are now, a law unto themselves, they

THE MIDDLE AGES.

ignored

all

43

authority, royal, ecclesiastical,

or

marital.

The

ladies

poiilaine

'

wore

of the period

famous

those

slioes

shoes

with

'

their

turned-up points were adopted by the other

and adorned with a

sex,

ringing bell at

little

the curved end.

High

lieels

were as yet unknown, but they

gradually grew out of a kind of slipper with

several soles placed one above the other.
dresses

the

'

Head-

assumed extravagant proportions, and

Hennin triumphed over all

'

*Escofon' took various forms,

crescent,

anon that of a turban

the heart-shaped cap, a

embi'oidered

its rivals.

now

that of a

then there was

pompous

stuff, trellised

The

head-tire of

with braid, adorned

with beads, and having a wide frontlet set wth

jewels,

which came down to the forehead in the

form of a heart.

horned

'

escoffion

It
'

was, however, the great

that gave offence in partic-

ular to the preachers;

this curious structure

consisted of a broad cylinder of rich stuff orna-

mented with

jewels, terminating in two horns.

44

YESTER-YEAR.

with a streamer of

muslin which

fine

upon

fell

the shoulders from each point.

These

'

escoffions

'

(the term

has no equivalent in English)

come from England,

tricities of

like

costume at

is

obsolete,

were

many

all times.

and

said to

other eccen-

The Anglo-

mania that breaks out now and again, dates

from

afar.

VioUet-le-Duc gives an example in

his Dictionnaire
fion

'

who

lived at

century.

escof-

the beginning of the fifteenth

Preachers and moralists, comparing

women who

the
to

du MoMlicr of a 'grand

on the statue of a Countess of Arundel

wore

horned beasts, and

declared that she

to

those

head-dresses

pictures

who had been

of Satan,

unfaithful to

her husband twelve times would go to Purgatory,

but they cast directly and immediately

into Hell the wearer of a horned escoffion.

The 'great hennin was a

'

tall

conic tube in

brocaded stuff worked with beads, and tightly

fixed

upon the forehead.

It

closely confined

the hair, and had a short veil in front, but

from the top of the towering edifice a cloud of

THE MIDDLE AGES.

fine

muslin floated and

was

It

an

structure,
it

it

around the

fell

and

unreasonable
is

but

true,

45

inconvenient

was not

it

figure.

ridiculous,

was monumental, but charming, and women

persisted in wearing

because

it

was in

for

it

nearly a century,

reality very becoming,

and

imparted an imposing effect to the countenance

and

There was another

to the entire figure.

reason also for this feminine persistency, which

was probably not taken

into account, but only

unconsciously recognized
'

great hennins

'

was that these

it

harmonized

with the

archi-

tecture of the age.

What

a magnificent epoch of expansion and

elevation

was that

The

church-spires, slender

and darting upwards, scaled the sky and drew

men's souls upward with them,

all

the lines of

architecture sprang upward, spread

blossomed into richness.

this

was

the

When we

out,

and

reflect that

time of marvellous faades of

houses or palaces, of slim turrets, and of scalloped

roof ridges, the time

when the towns

bristled

with innumerable spires and clock-towers,

it is

YESTEE-YEAR.

46

easy to imderstaud the tapering height of the

Like

hennin.

ascensions

all

it

was a

also

rising towards the ideal, for the lofty head-tire

with

its

long floating veil gave nobility to the

attitude and gait of the wearer.

the

Nevertheless,

preachers was

the

The most urgent

widely-heard,
melite

of

in

them

He

his

and

the hennins

to
all,

"
!

and the most

to,

was a Car-

named

Rennes,

of

Thomas Connecte.
campaign

War

monks

the

of

not listened

if

monk

cry
"

Brother

undertook a regular

own town

against

the pre-

valent extravagance, and in particular against

the

From

poor hennins.

ceeded

to

Anjou, Normandy, Ile-de-France,

Flanders, and

everywhere,

from

Brittany he pro-

Champagne, preaching ardently

and

a lofty platform erected

the

most public

air

in

the

women who

the

in

discoursing

place,

in

the

cities

open

overwhelming

took delight in the refine-

ments of dress with

invectives,

and threatening

them with the Divine wrath.

All the misfortunes that were falling upon

THE MIDDLE AGES.

the world,
sin,

all

the vices of the time,

47
all

the

shame, and turpitude of humanity, came,

The great Heunin.

according to Brother Thomas, from the culpable

extravagance

Satanic escoffion.

of

the

hennin,

and

the

In the ardour of his con-

48

YESTER-YEAR.

viction the good friar did not stop at words;

he seized a

the end of his sermon,

staff at

burning with pious

zeal,

the frightened crowd of

who had come

"

and vigorous

Down

hennin

women

of all classes

hear him, he effected a

to

massacre of hennins, in spite of loud

pitiless

cries

and pushing through

"
!

hustlinsf.

with the hennin

now became

and vagabonds,

stirred

Down

with the

the cry of the idlers

up by Brother Thomas,

any woman whose head-dress

as they hunted

exceeded the modest proportions of an ordinary

coif

through the

For

sermons and molestation not-

all that,

withstanding,
worse, but

streets.

the

rose

up

monk had gone on

hennins

were

none

the

as tall as

ever after the

his way.

From town

to

town the

latter continued

at length

he reached Rome, and there the

his crusade, until

unedifying spectacle presented by the capital

of Christendom at that time excited

such a jntch that he passed

letting

the

all

him

to

bounds, and

hennins alone, he attacked

the

DAME SOUS

ClIARI.nS VIII.

THE MIDDLE AGES.

princes

Church.

of the

dangerous
accused

game, and

of heresy,

49

This was a

more

poor man,

being

the

was arrested and burned

in public.

The

history of Fashion lias the

fashion in
are ia

it

also

What

romance of

curious episodes there

the annals of feminine coquetry, and

what romantic
figures

figures appear in them,

and

witchery

of

full

charm,

some

some

strangely poetical, but also occasionally danger-

ous syrens, witnesses against his age on belialf

of poor Brother

The

Thomas Connecte.

history of Fashion

with a dozen portraits of

the centuries

hand

and

courtesans.

each

We

Agnes

left

great

wife

Marion

hand

ladies

more

and great

need only name them; with

a page, or begin a

Sorel,

Diane

Queen Margot, and Gabrielle

first

spread over

portraits of queens of the right

name we turn
:

women

queens of the

frequently the latter

chapter

might be written

and the

last

Delorme,

'la

'

mie

'

of

grande

de

new

Poitiers,

d'Estrees,

the

Henri Quatre,
Mademoiselle,'

YESTER-YEAR.

50

Montespan, in the

first

period

of the

Sun-

King's reign, Maintenon in the second period,

that of the soured and world-worn monarch,

Cut out and pinked

Madame

de

Pompadour,

sleeves.

the

triumph

of

the dainty eighteenth century, Marie Antoinette,

the last sad ray of splendour of a world

THE MIDDLE AGES.

that

had come

to

its

end,

51

Madame

Tallien,

Josephine Beauharnais, &c.

The Houppelaude.

After Isabeaii of Bavaria,

Queen

of France

and of the Mode, the handsome and magnificent

wife

of Charles

VI., she

who was

at

YESTER-YEAR.

52

the queen of

first

balls

soon became the queen

and

festivals,

the

of

but
wars,

civil

without, however, abandoning her sumptuous

costumes and fastidiously elegant surroundings

and fashions of Isabeau, come

after the time

the fashions of Agnes

the time and

the

'

Dame

Charles

up

idling

is

thinking

even

dom

de Beaut

of

his mistresses

The

world.

his

'

Sorel,

of Charles VII.

Bourges,

at

reconquering

and

no

longer

his

king-

make

his pleasures

great and

saintly

Joan

has put on male armour and gone forth to

fight

English

the

another

king;

nor saintly
This

is

already recon-

of his realm for the

woman who

neither great

is

about to carry on her work.

Agnes Soreau de Sainte Graud, the

beautiful
eyes.

is

has

she

quered a large portion

Agnes

Sorel,

blonde with

By the power and ascendancy

beauty
servant,

she
to

impels
attack

the

the

King,
English,

him recapture the remainder

of

her

blue

of her

august

she

makes

the

realm

of the fleur-de-lys, to^Yn after town,

and earn

THE MIDDLE AGES.

from

name

the

history

53
Charles

of

the

Victorious.
It

who

she

is

The sinews

victorious.

is

of war are employed in paying the King's

and

troops,

arms

providing

and

provisions,

likewise in defraying the cost of the luxuri-

ous living of the Lady of Beauty, and

"

innumerable Avhims.

her

an old

These," says

romance, "ai'e also the expenses of war, since

the king lights better

when Agnes commands

him."

That

heroic

maiden,

donned her cuirass

men-at-arms

to

the

conflict

Joan,

valiant

dukes, lords, and

to lead

the

fair

Agnes,

adored by the king, worked for the national

cause

after

bared

her

decently
larged

the

taking

invented

shoulders,

cut

streamers.

down

to

great

hennins

And

castles,

the

the

towns

have died on the

she

bodices

in-

and

en-

waist,

with

floating

King's troops marched,

and

hunting out the English.

to

fashion

a totally different

provinces,

Agnes may be

field,

for

she

and
said

expired

YESTER-YEAR.

54
near

during

Juraiges

Normandy,

whither

reconquest

the

she

had

followed

of

the

king.

The Court

of Burgundy, which was the rival

of the Court

of Paris in display as well as

in all other things, brought strange elements

into

French fashion, especially from Flanders.

This importation inaugurated the

epoch

last

in the costume of the Middle Ages, the final

blaze, dazzle,

gorgeous

The

and

attire.

or mantle

worn

men and women resembles a large

piece

gigantic

by both

of tapestry
plication

'

the

of the

houppelande

'

outlines are lost in the comdesign.

transition the Renaissance

We

and

glitter of their strange

After a period of

was coming.

might dwell on many other

interest-

ing and pretty things, features in the costume

and general adornment of the women of the

Middle Ages, in the ceremonial
of splendid
in

stuff,

and with glittering garniture,

the indoor and

classes,

as

well

made

attire,

as

outdoor
in

the

clothinsf

of

travelling

all

and

THE MIDDLE AGES.

55

hunting dress worn by noble ladies who rode

richly-caparisoned mules

upon

or trained palfreys on their

and

carried

o-auntleted

jessed
wrists.

and

their journeys,

hawking

hooded

parties,

falcons

on

Uiitler Fraucis

I.

IV.

THE RENAISSANCE.

The Fashion as to width Hocheplis, and farthingales

La belle Ferronnire Fans and Muffs The gloomy
Queen Catharine's 'Flying
fashions of the Reform
Squadron' Laces and guipures The stages of the
The mask and the nose-cover Paints
farthingale
'

'

and cosmetics.

Immediately

after the expeditions of Charles

VIII. a gust arose, and blew upon the modes

of the Middle Ages.

come

to

The Gothic period had

an end; the costume of

men was

A LA COUR nu

R()T-(:iii:vAi.ii:i<.

THE RENAISSANCE.
suddenly

and

transformed,

was about

to

away our national

carried

instance,

of

women

That

Avind

and

architecture

many

our national taste, with

for

that
turn.

in its

alter

57

other

things,

the hennin,

which, in spite of

became

wearers'

appearances,

its

well that the mode had lasted

heads

so

for nearly a

century.

Costume became

The

plicated.

surcoat

colour

ornaments and
laces

of

gilded

several

covered the

not

gown, and

the

as

formal and more com-

was low-cut,

it

less

corset or bodice superseded the

was

designs,

rows

of

same

of the

with

laden

neck-

while

beads

jewels

or

The

upper part of the neck.

sleeves again were of a different colour from

the bodice

edges,

and now we come

wing-like

streaming,

and

to

sleeves

together

fastened

sleeves,

made

by tags

showing the chemise of

puffed

at

was the

the

shoulders

to

the great

with

cut-out

in several pieces
or

ribbons,

fine Friesland

and

elbows.

beo^inningf of the sleeves

and

linen,

This

with alter-

YESTER-YEAR.

58

nate puffings and slashes, which were destined

to last so long.

Toed,

square-ended

or

long-pointed

shoes

from

one

extreme

to

was

great

variety

in

also

ornamented

modified

with

countries

in

in

where

influence

influence,

by the addition of a

'

gold

all

that

contended

the

and

turbans

these

beaded

Rhenish

hat,

but

the forehead and

much worn

were

face,

There

opposite.

head-dresses,

embroidered

coifs

framed, so to speak,

coifs,

its

succeeded

always goes

Turbans which covered the whole

were low.
head,

shoes,

fashion

for

were

nets,

Flemish
with

or

Italian

sort of slashed

which grew by degrees into the wide

bret

of

'

the

Swiss

or

German

lance-

bearers.

At

this period a

adopted,

dames
whole

alike

of
of

dazzling

the
the

Court

fashion arose

which was

by noble ladies and wealthy

bourgeoisie,

reign
of

also in the cities.

of

the

throughout

Francis

I.,

at

the
the

Knightly King, and

THE EENAISSANCE.
The
all

59

chief innovation, destined to influence

the other garments, and j^^rtly to define

their cut

and proportions, and

forth the

dominant note of costume, was the

This was a thincj hitherto un-

farthingale,^

known,

be thence-

to

which

novelty

great

upset

costume, and

whole system of

the

changed

all

its lines.

The

that

farthingale,

centuries.

came

It lasted for three

names

say,

less

hundred

shall see

years,

duration under

panier, crinoline, pouf, tour-

nure, bustle, dress-improver, &c.

and we

the wide

to stay " in " for three

in,"

with intervals of more or

different

to

by a contrivance of one kind

skirt supported

or another, "

is

it

It still lasts,

flourishing agjain.

For three hundred years the width of

runs a regular course
little,

to

it

increases

skirts

little

by

slowly, accustoming the eye progressively

proportions

its

excessive,

imjDOSsible

it

reaches a
expansion,

formidable,

then

it

Vertngadin, vertugalle, or vertugardien.

de-

YESTER-YEAR.

60
creases

through

passing

gradually,
all

its

the

reverse

way

former stages.

Women, whom

the

has trans-

farthingale

Begiuuiug of the Renaissance.

formed
big

for

bells,

shorter

become

or

once

longer period

more

little

'small by degrees, and beautifully

the farthingale

is

less,'

into
bells,

until

suj)posed to have vanished.

THE KENAISSANCE

Gl

For some years very clinging garments are

worn, then just an insinuation of bustle reappears, a

touch of farthingale

little

cernible in skirts,

dis-

is

and the inevitable process

begins once more.

The
the

farthingale triumphs

still,

in

comic

unsparing abuse, the

spite

since its invention, and

which attempted

edicts

No

sions.

has

it

ever

even in spite of the

to reduce

its

dimen-

power in the world has had

many enemies
tution

and

songs,

the increasing ridicule lavished upon

arrayed against

been so

of

no

it,

vigorously and

so

insti-

eagerly

attacked.

Monarchy and Republicanism have adverbut

saries,

they have

advocates

farthingale,

whether as

had

every

husband, every

man

The

corset

only competes

with

multitude

of

its

panier

enemies

also has invariably beaten

The

farthingale,

under Francis

I.,

and

The

also.

or

crinoline,

against
it

the

in

it.

the

corset

them.

which came into existence

about 1530, marks the end

YSTER-YEAE.

62

Middle Ages more clearly and com-

the

of

pletely than any political

marks
with

peared.

The
the

was
to

world

applied

was

or

in

at

disap-

first

instance

upon

solely

a wire

which was attached to the waist

width

the

to

Afterwards

skirts.

name was extended

to

to

the

construction

cane or whalebone, forming a cage

as

name

This

shake-folds.

the

known

first

pad, stretched

stiffened

frame,
give

hanging gown,

or

ended.

is

farthingale

hocheplis,'

change whatsoever

clinging

straight sculptured lines, has

its

'

The

it.

of

under the

petticoat.

The costume
Francis

I.

graceful;

of

women

in

the

reign

of

was ample and majestic rather than

gowns were made

and flowered

brocatelle,

of

of velvet, satin,

various

colours,

with wide hanging sleeves, lined with sable,

or

enormous puffed sleeves raised

shoulder,

down

over the

and forming a succession of

rolls

to the wrists, with slashes showing puffs

of lii^ht silk.

THE REXAISSANCE.
The busked

63

corset, tlien called

'

basquine,'

Very probably there

appeared at this period.

was a separate apparatus worn underneath the

bodice, but the bodice itself

means

of whalebone;

was

by

stiffened

at all events, the con-

fused descriptions of the basquine, which are

all

we

been

have, lead us to think this

may have

so.

modes

Certain

of adjusting the

bodice, to

which objection might well be taken, had been

imported from licentious and effeminate

and men

also

went bare-necked.

were expended

in

jewellery and

Italy,

Large sums
goldsmith's

work, for the ornamenting of head-dresses

the 'attifet/ the 'chaperon,' and the 'toque.'

Queens,

noble

ladies,

and

bourgeoises,

im-

poverished themselves by buying gold chains,

enamelled trinkets, pearls, and other gems.

La
of

belle Ferronniere,

one of the mistresses

Henri Quatre, who succeeded the Duchesse

d'Etarapes,

invented the fashion of wearing

a carbuncle hung on a gold thread, in the

middle of

the

forehead.

One more jewel

YESTER-YEAR.

64
to

be worn, when the head-dress, the bodice,

and

the

were

girdle,

sparkling stones

head-dress

immediate
Several

Ferronnire

la

The

achieved

an

hitherto

un-

period.

For

success.

additions

to

dress,

known, came into use at

summer

with

laden

ah'eady

what a charming idea

there

this

was the feather-fan, a pretty

pretext for goldsmith's work in the mounting

for winter there

was the muff.

According to

the royal decree, black muffs were for the

coloured

bourgeoises,

ones

noble

for

ladies

Parasols were also imported from Italy,

only.

but did not

'

take

'

to

any great extent

they

were too heavy.

But now the extinguisher

popped

down upon the

of

'

the Reform

brilliant

'

epoch of

the Valois King, and a dark, troubled time

set in.

Fashion, which had been brilliant, lavish, and

sumptuous amplitude during the

superb in

its

reign

Francis

of

I.,

chivalrous,

prodigal,

and ostentatious prince, in an age of dash

sous iinxRi

II.

65

THE RENAISSANCE.
and
to

and of licence

'bravery,'

change

come

as

its

also,

was about

character suddenly, and

as

austere

it

to

be-

had been showy, as

Slashed sleeves.

sombre and melancholy as

and

had been

brilliant

full of colour.

At the beginning
II.

it

there was

of the

reign

of

Henri

a tough struggle between the

gloomy and the gay

fashions, but the former

TESTER- YEAK.

6G

very soon beat the

and by degrees the

latter,

bright and frivolous modes vanished, and were

succeeded by dark colours, eventually indeed

by plain black.

The times

Avere troublous,

wards blackness
Reform,'

-with

In the train

too.

religious

its

and tending
of

dissensions,

wars of sermons and controversy in the

came

place,

the
its

first

waged with cannon

war,

actual

to-

'

and arquebus, stake and gallows.

In

Henri

1549,

opened

II.

hostilities

against luxury in dress, by an edict interdict-

ing a great

number

of ornaments and stuffs,

trimmings, borders, gold lace, cloths

and

silver,

satins,

&c.,

kind
of

the

quality,

stuffs

to

strictly

of gold

regulat-

This edict prescribed the

ing the fashion.

and

and

and

even

be worn

the

by the

colours,

different

classes.

The
both

right of wearing

complete vesture,

upper and under, of crimson hue, was

reserved to princes and princesses exclusively

the nobles, male

and female, were permitted

THE RENAISSANCE.
to

display

G7

colour in

that brilliant

only one

article of their costume.

rank had the right of

Ladies of the next

wearing gowns of every colour except crimson,

and their

The same

black.

sliding scale

was appointed

from satins and velvets to plain cloth.

for stuffs,

Loud

wear a dull red or

inferiors miglit

cries of

lamentation resounded through-

country \\hen the

out the

edict

was about

to be enforced.

The

ladies of France,

from north to south,

from east to west, closed up their ranks, and

and

their

by

inch

bravely defended,

their

colours,

trinketry,

disputing

authority,

and

inch,

their

stuffs

jewels

and

their

with

agents

of

thousand

in-

the

advancing

genious reasons for keeping everything they

had

got.

The King had

to

resume

his pen,

and

to

complete his edict by a series of explanatory

clauses,

detailing

permitted

made

and

certain

point

what

by point what was

was

concessions

prohibited.
to

the

ladies,

He
and

YESTER-YEAR.

68
allowed

them a few

indul-

coquettish

little

what was

gences; but outside of these

for-

bidden remained forbidden, and the sumptuary

law was rigorously enforced.

" Le velours, trop

commun

Sous toy reprend son

en France,

vieil lionneiir,"

says Ronsard, in a letter to the King, in which

he praises the reformatory decrees of Henri

II.

Catherine de Mdicis, that gloomy princess,

whose blood poisoned the blood of the Valois,

the murderess

upon

fed

who

crime,

died

full-

now

pre-

dominated over the Court of

France

The head-dress

of

it

was

still

phantom, em-

like a black

blematic of

brilliant

the

approaching

Catherine de

era of crime and massacre.

Mdicis.

She

left

the

artifices

Court ladies and

to

to

the

Poitiers,

her

of coquetry

Diane de

husband's mistress, the supreme beauty, the

semi-mythological goddess of the Renaissance,
of

whom Jean Goujon made

statue,

even

THE RENAISSANCE.
as

69

Canova long afterwards sculptured Pauline

another

Borghese,

princely

beauty.

The

prettiest creations of the age are dark-coloured

costumes,

elegant

harmonies

in

but

gray,

or

severe,

composed

harmonies in

and white, the colours of Diane de

Uoder Heuri

At

the death of Henri

of

black

Poitiers.

II.

II,,

Catherine assumed

the costume of a widow, and this she never

laid aside.

young

Surrounded by a swarm of

beauties,

were called

"

her

brilliant

Maids of Honour, who

The Queen's

flying squadron "

YESTER-YEAR.

70

a squadron that served her to better purpose

innumerable

her

in

squadrons
throujh

schemes

of

three

the

troubled

kings her sons in black

black

the

like

many

than

swash-bucklers she

night,

j^assed

of

reio-ns

from head

black like

the

to

foot,

her

own

soul.

wide

skirt in black stuff, a black, pointed

bodice, ^Yith large, black, wing-sleeves attached

the shoulders, a black

to

and

for

ruff-shaped,

collar,

head-dress a sort of hood

with a front which comes

down

or toque,

in

a point

upon a brow busy with dark designs

such

was her costume.

It

seems that

ported ruffs

into

from Florence
ruffs (fraises)

it

was Catherine who im-

France,

for

when

her marriage

she
;

arrived

and these

were adapted at once by both

men and women.

Ruffs

were

of

all

sorts,

moderate

and

outrageous, very simple ones in pleated lawn,

and others

The

in wonderful lace.

charming invention,

it

had

its

ruff

was a

drawbacks no

THE RENAISSANCE.
doubt, like

but

its

many another

7i

device of fashion,

quaint sliapes, in fihny kice, formed a

dainty frame to the faces of fair women, whicli

looked

gems

out from

iu

a setting of fine

workmanship.

The

decorative elegance of the Renaissance

was largely due

to

the master-pieces of the

The

essentially feminine art of lace-making.

same

artist

in silver,

who worked

in bronze, in gold, or

who carved wondrous

decorations in

stone on the faades of palaces, supplied the

designs for

ruffs

Cellini, at Brussels,

lace

had

its

at Genoa,

Benvenuto

and especially

at Venice, the chief centres of lace-making.

It

was not

until the time of

the ruff assumed

it

its full

Henri

proportions.

was merely a gorget with round

folds

bone

III. that

At

stiffened

which encircled the throat from the

austerity

of increasing gloom.

had been gaining ground

manners and customs, the

ruff

Protestant
rapidly,

although the Catholics retained their

facile

collar-

to the ears, the harsh close-pleated

of a period

first

and

more

religious quarrel

YESTER-YEAR.

72

had become very

and

bitter,

war brooded

civil

over France.

Under the ephemeral

with

its

reign of Francis IL,

passing glimpse of poor Marie Stuart,

and her aureole of

and under that of

fate,

Charles IX., costume was of a discreet and

Men's doublets and women's

sober fashion.

bodices

were

slashed,

The only

puffed at the top.

the

like

stiff

sleeves

articles of jewellery

worn were the buckles and pendants of the

gii'dles called 'cordelires,'

the mounts of the

aumnires,' and a necklace underneath the

'

collar,

of the

which was a small

same

fluted ruff, with cuffs

material.

In 1563 Chancellor de l'Hpital, a declared

foe

to

extravagantly wide

farthingales,

had

succeeded in contracting and diminishino- them

by a severe decree, which

also interdicted the

But

wearing of padded hose by men.

to

pass that the

Toulouse, and the

petitioned

him

King (Charles
fair

dames

it

came

IX.) visited

of that place

for a relaxation of the edicts

of the stern Chancellor,

whereupon the King,

DAME DU TEMPS

I)E

CHARLES

IX.

THE RENAISSANCE.

73

acting with greater clemency on this occasion

than he afterwards did towards the Huguenots,

pardoned the farthingale, and

resume

We

its

cumference, for

to

it

at the farthingale's cir-

saved France,

if

there be

how

the chronicle that records

in

Marguerite

Henry

it

vast proportions.

must not mock

any truth

allowed

her

de Valois rescued

of Navarre from death,

husband

by hiding him

under an immense farthingale, while the perpetrators

of the

were cutting

massacre of

to pieces

St.

Bartholomew

with their halberts the

unfortunate Huguenots

who had been housed

in the Louvre on the occasion of the

wedding

of the Barnais and Margot.

The

fashions

became

dull

and sombre

like

the architecture and the furniture of the time,

This was a general

like everything indeed.

law, architecture no longer displayed the over-

flowing luxuriance, the pagan gladness of the

Renaissance,

its

forms

After a time of riot in

became

tlie

more

staid.

merriest inventions,

architecture was doing penance.

The

furniture

74

YESTER-YEAR.

of the

new and grim

The square
or

htels

was

stiff

and clumsy.

tables and chairs, without carving

any ornament, were made of rough wood

covered with coarse stuff edged with big nails;

in catafalque style.

The

dwellers

in

these dull buildings,

in apartments

seem
with

which

be

hung

funeral

trap-

to

were at

pings,

period

this

personages

clad in sad-coloured
attire.

with

Long gowns
high

bodices

were worn over wide

farthingales, the bust

Under Charles IX.

compressed in a

stiff

was

busked

and

confined

corset, clasped at

the back, worn over a bodice which was also

stiffened

Out

and whaleboned.

of doors

with cork

soles,

women wore

light

pattens,

underneai-h their shoes

this

THE RENAISSANCE.
been a custom of

had

many were
short

of

previous

the jests passed

but

times,

upon

ladies

of

who perched themselves upon

stature

pattens

75

formidable

height,

or

increased

their inches by putting several soles to their

shoes.

The head-dress

of the period

was either the

the pointed front making the

heart-shaped that we now know as the

coif with a net

face

'

Mary Stuart'
The
It

or the black-velvet hood.

coif,

latter Avas not

becoming.

was 'bad form'

for

indeed for the city dames

masked.

The strange

noble
also, to

ladies,

fashion of the

another note of gloom added

and

go out un-

mask was

to the

already

prevalent depression.

Masks, made of black

velvet,

were short,

allowing the lower part of the face to be seen,

or

had chin-pieces they were fastened behind

;

the ears, or kept on by a glass button held

between the

teeth, the

latter

the more elegant method.

mask passed on from the

was considered

The fashion

of the

ladies of quality to

YESTER-YEAR.

76

the lower ranks of the bourgeoisie, and held

its

ground until the time of Louis XIII.

The mask was becoming and

so the

'

attached

coquettish, not

touret de nez,' a piece of black stuff

b}"

the sides to the hood, and

under the eyes, which hid

all

fixetl

the lower part

This odd invention resembled the

of the face.

of the Cairene women, but was more

yashmak
unsightly.

These

nose-concealers

The

had,

appears,

it

Let us not

reasonable origin.

lift

them

up.

time painted outrageously,

ladies of that

after a fashion

which had come from Italy with

Catherine de

Mdicis

they simply daubed

themselves like Caribs, and plastered

cheeks under the

'

ments which were

The female
vermilion,

face

touret de

nez

very bad for

'

their

with

pig-

the

skin.

was covered with plasters of

or else, under

pretext of preserv-

ing the freshness of the complexion, with

ill-

smelling pomades and drugs.

Horrible

An

"

Instruction

pour

les

jeunes dames

"

THE

77

RENAlSSAsX'E.

throws a light upon the composition of these

'ointments,'

or

which turpentine,
camphor,

shells,

whole boiled
mashed, and

The

'

lily-roots,

etc.,

distilled

honey, eggs, egg-

pigeon, then

together.

nez

de

in

were mixed up, and the

in the inside of

touret

messes,

rather deplorable

'

seem

to

have been

indispensable after that.

Ren, the Florentine who was brought to

France by Catherine, and maliciously styled

"

The Queen's

Poisoner," supplied

the

fair

court ladies with paints, perfumes, and cosmetics,

besides concocting for the

Queen-Mother the

more deadly medicaments which she used

in a

manner

at once discreet

for

and refined

the

suppression of troublesome persons.

What
kingdom

men

a time

it

was

From one end

of the

to the other the strife of parties raged

hated,

disputed

with,

and fought each

other.

During a period of thirty years everything

was

confusion,

the

Catholic and

Huguenot

armies chased each other through the provinces,

YESTER-YEAR.

78
each in
castles,

women

its

turn sacking the towns, burning the

waging a merciless war

in

which neither

nor children were spared, a war

of

ambushes and massacre.

Stuff witli raised designs.

The towns were

besieged, the country was

ravaged by the Catholic

'

argoulets

'

and argue-

busiers, and by the Protestant 'reiters/ castles

and manors

Avere carried

were the weaker had

to

by
fly,

assault.

They who

or to perish.

THE EEXAISSANC'E.
It

79

ensy to see that in such

is

this the dress of

womeu must

ueccssarily

women were

as

assume

In moments

a somewhat mascuhne chaiacter.

of peril the poor

a time

frequently forced

to escape on horse or mule-back, sitting like

men.
Cond,
peace

being surprised
1568), and

(in

in

forced

an interval of
to

fly

from his

castle of

Noyers near Auxerre, and make

Rochelle

in

troops,

his

for

order to escape from Catherine's

was obliged

to

cross

pregnant wife carried

in

the
a

Loire with
litter,

three

infants in the cradle, the families of Coligny

and Andelot, and a number of children and

nurses.

The women adopted

upper-hose,

to

be

a kind of doublet, with

worn

under

the

These 'caleons' (drawers), as they were

enabled them to

sit

gown.
called,

on men's saddles and use

the stirrups more easily, notwithstanding their

wide
In

skirts.

spite

of

everything,

the

farthingale

flourished and increased in ma^rnitude.

YESTER-YEAR.

80

" Et les clames ne sont pas bien accommodes

Si leur vertugadin n'est large dix coudes."

We

find

tins

couplet

in

satire

period, entitled Discours sur la mode.

lu the time of

'

the Reform.'

of

the

TOILETTE DE COUR HENRI

III.

The Valois head-dress and

collar.

V.

HENRY THE THIRD,

The court

of the

Woman-King Large

ruffs, pleated,

Bell-women Large sleeves

Dreadful doings of the corset Queen Margot and
goffered or in 'horns'

her fair-haired pages.

No

vital

change in the situation was brought

about by the reign of Henry the Third.

times were

perhaps

more gloomy, and

country was more disturbed.

The
the

In spite of the

YESTER-YEAE.

82

Holy League, however, and notwithstanding

the spread of the Civil War, and the blood that

was flowing everywhere, Henry the Third, king

hand on

of torn and tormented France, laid his

the sceptre of fashion.

After the melancholy Charles,

who

regarded

luxury in dress with disdain, came a foppish

king, curled, ruffed, scented, rouged, who, while

he renewed the sumptuary edicts of his

late

brother, led the Court, and, after the Court, all

who had

it

in their

power

to follow the fashion,

into every kind of luxurious folly

and eccentric

extravagance.

Disorder reigned at
of the

tlie

Court of this "Kinf

Island of the Hermaphrodites," as the

pamphleteers called him, d'Aubigne's

"

King-

woman and man-queen."

" Son visage de blanc et de ronge empt,

Son chef tout empoudr nous montrrent

En
"

the

l'ide

la place d'nn roi d'une fille farde."

Such

are the luxury

Chroniqihc

de

and the

V Etoile,

"

license," says

that

the

most

HENRY THE THIRD.

83

chaste of Lucretias would turn into a Faustina

there."

The kingdom

of fashion itself was disturbed,

natural frontiers were obliterated, and the

its

distinctions of costume for the

The

disregarded.

made

singular,

King,

own

his

possible, seeking

two sexes were

whose

was

taste

dress as feminine as

what he might borrow from

the attire of women, from the head-dress to the

fan.

Like the ladies of the Court, the King and

his

'

mignons took
'

Venetian

ear-rings,
like the

ladies

to

wearing pearl necklaces,

lace,

and large

of the Court, and

Also

ruffs.

others,

he

painted his face, and used cosmetics in the most

manner, even wearing a mask and

ridiculous

gloves

steeped

in

pomade

at

were strange effeminate ways

night.

These

time of

for

unsheathed dagger and constant

'

mignons and the

corset

'

to

give

'

popelirots

'

peril.

wore a

The

sort of

tliem slim waists, the busked

doublet,

coming down low

speedily

became the absurd doublet with a

to

a sharp point,

84

YESTER-YEAR.

padded front forming a kind of Punch-like

The 'mignons' and 'popehrots

protuberance.

adopted

also

feminine

the

'

'

adorned

toque,'

with feathers and precious stones.

Women borrowed

nothing from male costume,

but they made up for this by considerably

exaggerating the dimensions and the ornamentation of the

component parts of

wearing the most sumptuous

their own,

stuffs,

by

and loading

themselves with jewellery.

Marguerite de Valois, the King's

Queen Margot
In

all

of

sister,

Henri Quatre, led the

the

fashion.

except his absurdity, from which

her

feminine grace preserved her, she was a match

for

that

astounding prince her brother, the

curled, painted,

and musk-scented satrap who

starched and goffered his

own

ruffs

and the

Queen's, and took his walks abroad with several

little

dogs in his arms or a cup-and-ball in his

hand.
Ruffs assumed

fantastic

proportions;

they

became immense, widened-out horns stretched

on brass wire of magnificent lace or A^enetian-

HENRY THE THIRD.

85

point embroidery, wliicli rose from the bodice,

while showing the shoulders, to above the back

Court

of the

liead,

head-dress.

indeed

dress.

to

The painted

the

summit

face thus

of the

framed

in

YESTER-YEAR.

86

sharp-edged lace was like a brilliant flower or

fruit,

or

rather

like

that

of

an

idol,

coloured and laden with jewellery and

The bodice was

and what with
rings,

over-

tinsel.

actually covered with jewels,

gold, gems, beads, necklaces, ear-

and diamonds and pearls in their head-

The Mask.
dresses, princesses

and great ladies shone and

twinkled

Head-dresses were very low,

all over.

the hair was arranged in a point on the forehead

and raised

in rouleaus

on the temples, forming

the shape of a heart surrounded by a circlet set

with jewels and pearls.

HENRY THE THIRD.

Rows
sliaped

The

of

on

the

bodices

and

skirts.

with very long ends, was also of

girdle,

jeweller's

formed square or lozenge-

pearls

designs

87

work

at one extremity

mirror, richly set,

hand constantly,

hung a small

which the wearer had

so that she

in her

might inspect the

condition of her precious but troublesome attire,

and especially the immense

serious

with

inconvenience,

ruff,

all

which was a
its

majestic

elegance, on social occasions, and at the crowded

Court entertainments.
It is easy to estimate

costume

of the

what the burden

of the

must have been, by

period

merely looking at a picture in the Louvre

which represents a Court Ball given on the

marriaje of the

twenty-five

the King's

famous

wedding,

This

sister-in-law.

celebrated

Due de Joveuse with

with
or

was

unexampled
thirty

days'

splendour

by

festivities, jousts

and masquerades, during which the entire Court,

jorinces

and

princesses, lords

and

ladies, vied

with each other in the fantastic sumptuousness

of their daily-changed costumes.

88

YESTER-YEAE.

According to this picture, which

to Clouet, lords

is

attributed

and ladies competed

palm of absurdity

in their costumes.

for

It

the

shows

us nothing but pointed bodices preposterously

Padded

sleeves.

tightened, and doublets with pointed abdomens,

so that both

men and women have

the appear-

ance of insects, the former lookino- like

bees, the latter like wasps.

bio;

GRANDE TOILETTE

MDICIS.

HENRY THE
The

padded

shoulders as the
of

series

match the

The

and

gilded

or

lace to

braid,

it

with

edged

slashes,

with cuffs

of

fine

ruff.

farthingale

enlarged,

the

whole body, and formed of

rolls

pearls

on

thick

as

sleeves,

89

bodices have

ridiculously long-busked

enormous

THIED.

been

had

considerably

was now of a bell-shape, or

like

an

enormous soap-tureen turned upside-down over

;

it

two garments were worn, the upper-dress, of

rich brocade or stuff covered with embroidery,

was open

so as to disjolay the under-dress of a

different colour but equally ornamented.

When

the troubles and

the

the time Avere at their worst,

Royalists,

other

all

over

Damville, the eldest of the

morency's three sons,

fourth

who were

of

when Leaguers,

and Huguenots were shooting and

hanging each

for a

confusion

party,

allied

to

the

kinjdom,

Count de Mont-

who had taken up

that

the

of

the

politicals,'

Huguenots

South, became seriously indebted

arras

to

vention of the cumbersome farthingale.

in

the

the

in-

Beins;

YESTER-YEAR.

90

surrounded at Bziers, he
taken, and
relations,

in

Avas

about to be

great danger, but

one of his

Louise de Montagnard, the wife of

Henri Trois cloak.

TiiC short

Francis de

Tressan,

coach, hidden under

her

immense

through under

carried

the

farthingale,
tlie

hiui

off

her

in

spreading width

and

j)assed

of

him

very nose of his enemies.

HENRY THE

THIRD.

91

This was the second instance of salvage by

the

farthingale,

but

many more which

to

The

record.

there

may have been

deigned

has not

history

an

crinoline,

old

acci[uaint-

ance of our own, has no such deeds of high

emprise to

its credit.

was indeed

also utilized, not for such

Its vast circumference

dramatic

escapes, but by fraudulently-ingenious females,

who

carried articles on

have paid duty slung on

The
'

basquine

The

'

'
;

no

its

to

hoops.

longer

simple

the

that was inoffensive enough at

first.

corps piqu,' which was endured by the

fair ladies

ment

was

corset

which they ought

of this later period,

of torture, a

hard and

was an instru-

solid

mould

into

which the wearer had to be compressed, there

to

of

remain and

wood

suffer, in spite of

that "

penetrated the

skin off the waist, and

one over the other."

the splinters

flesh,

made the

took the

ribs ride

up

Montaigne and Ambroise

Par are witnesses on behalf of this indictment

of the

'

corps

pi([u,'

and the

latter, at

must have known somethinfr about

it.

least,

92

YESTER-YEAR.

Like

the

farthingale, 'only

more

so/

the

corset will witness the burial of successive ages,

will survive all other fashions, notwithstandiusr

every attack upon

unanimous

it,

in their

and the doctors who are

excommunication of

it,

and

'pi
Under Henry
will

III.

be ever- victorious over

all

and sundry,

victorious against the clearest evidence.

absurd

'

mignons

succeeded
while

in

'

of

Henry the Third

making men

adopt

The

actually
it

for

HENRY THE THIRD.

The celebrated beauties

93

of the time,

Madame

Margot, and her husband's mistress

de

Sauves,

damascened
with their

look

like

idols

Queeu
up

braced

in

cuirasses, in their state costumes,

stiff,

glitterinQ-

bodices,

and their

Margot.

gorgeous array of gold and

"

Touch

rufs,

not

precious

stones.

say those formidable pointed

and yet the wearers of them were by no

means
All

me

!"

inaccessible.

the

women

of

the

period,

sad

and

94

YESTER-YEAR.

sombre as

was, were bitten

it

for luxury.

this

mauia

There was not one of the smaller

nobility, or a lawyer's wife, or a

who

by

'

city

madam,'

did not try to imitate the great ladies in

everything, to the displeasure of their husbands.

f'<i

?;-

>-i'

'i
.

Full dress, Mdicis style.

and the
suffered

The
the

many

peril

of fortunes

by the

which had already

evils of the time.

brilliant sixteenth century, the

Renaissance, which
artists

and

men

gave

birth

age of
to

so

of letters, to doughty

HENRY THE THIRD.

knights, and dazzling dames,
to a

bad ench

Over

that

epoch of

Henry the

95

came nevertheless

that termination, about

Third

with

corrupt refinement, about the Court and

about

City,

exquisites and

which

of blood

fumes, the

and

fair

mignons,'

'

needed

it

women

noble
there
all

his

the

and

hung a scent

the strong per-

musk and amber then

in vogue, to

overpower and disguise.

Marguerite de Valois, a flower whose per-

fume was

deadly, was

this epoch,

to survive

than Henri

and to die in 1615, some years

later

Quatre, her former husband.

To the

was an

old coquette, painted,

last

she

bedizened, and

musk-scented, and she strove, in despite of her

age,

and the corpulence that destroyed her

goddess-like pretensions, to keep

and

stately graces

her best days.

her
to

little

exists,

graces

She migrated regularly with

Court from her chteau

her Parisian

up the solemn

and the state costumes of

Htel de

in

Sens,

now and again promoting

some handsome

cavalier, or

Languedoc
which

to

still

her good

some pretty

YESTER-YEAR.

96
page

page like those mentionea

chronicle of her

earlier

3^ears,

in

the

when she was

accused of having their boyish locks shorn to

make

lisfht- colon red wio^s for

Shortly

now

"

the

before

the death of this princess,

grotesque Margot,"

pages was

petted

her own wear.

stabbed

one of

under

these

her

roof

by an equerry who aspired to the exclusive

possession of the

favour of the aged Queen.

Marguerite became as infuriated as a wounded

lioness,

and in order

avenge the object of

to

her very latest love she claimed her feudal

right

of doing justice in her

own house

(in

Scottish feudal times, this was called the right

of " pit and gallows

"),

condemned the

guilty

him beheaded

forth-

person to death, and had

with under her own bloodthirsty eyes, in the

presence of a mob, on the very threshold of the

Hte] de Sens.

DAMP. LOUIS

XIII.

The

collerette ruff.

VI.

HENRY THE FOURTH AND LOUIS THE

THIRTEENTH.

A return

to comparative simplicity

Tall head-dresses

Gowns

The

Women-towers

excommunication of bare

flower-patterns High
Long waists Richelieu's
edicts The obedient lady Short waists.

necks

necks and

Some
the

eras

live

sixteenth

tionally

with

low

large

necks

long, but

others

oentury, which

die

young

had an excep-

strong constitution, lasted

end of the reign of the Barnais, with

until
its

the

ideas

YESTER-YEAE.

98
and

manners,

its

ways and

its

afterwards

shall

its

We

modes.

seventeenth

the

that

see

century lasted in the same way under Louis

XIV.

and

to the detriment of the eighteenth,

that the charming but unfortunate eighteenth

century came to a melancholy and premature

close,

'89.

dying suddenly in the year

The

years of grace of the sixteenth century,

under the sceptre of Henri Quatre, were

convalescence
lasted, France,

malady,

from

while

like

they

reduced to extremity by her

revived,

her

brain-fever

after

veins,

the
all

was

expelled

repaired,

cleansed,

poison

was

and sanitated.
After the absurd and unwholesome devices
of

the

reign

of

Henry

the

Third,

dress

assumed an unpretending character, an aspect

of

good,

honest

frankness,

if

we may be

permitted to talk of frankness in dress.

costume was, indeed, but

little

the lines were simplified,

and

The

altered,

but

that

was

all

superfluous in the details was suppressed.

No

doubt the fashions

for

both sexes were

HENRY
less

elegant,

was

absurd

AND LOUIS

IV.

99

XIII.

and there was a good deal that

in

them

even

absurdity was harmless.

but

yet,

this

Excessive pretension,

with dissolute grace and refinement, had been

discarded

but fashion, in seeking simplicity,

had strayed into heaviness and awkwardness,

only, however, to

emerge from both

into the

bold and dashing elegance of the costume of

the period of Louis XIII.

take this simplicity too

Yet we must not

was only

literally, for it

comparative.

On
just as

by

occasions of state the ladies displayed

much

whom

(a

the divorced Marguerite was succeeded

second

much

The queen

jewellery as before.

much

remember

reason to

Catherine), Marie de Medicis, the

right

Gabrielle

queen

not

who had

already only too

the

was

Medicis Marriage which

of a success for the Barnais,

"

hand,"

as

d'Estres,

the

saying

Duchesse

queen of

"

was,

de

Verneuil,

on the side of the heart," with

other fine ladies, appeared

masquerades,

and

" at

collations,

fetes,

richly

and

all

the

ballets,

adorned

100

YESTER-YEAR.

and magnificently
precious

stones

and

attired,

they

that

so laden with

could

move

not

about."

On

one great occasion the queen wore a gown

sown with 32,000 pearls and 3,000 diamonds,

and

example

her

personages,

who

was

followed

cheerfully expended

their revenues in dress

garments of brocade,

and

satin,

accessories, in

gold,

with various kinds of jewellery.

odd sort of simplicity, and

lesser

and exquisite damask,

and bordered with

flowered

its

by

more than

yet,

and laden

This was an

when we examine

the pictures and prints of the time,

we

clearly

perceive that a great difference existed between

the ultra-refinements of fashion in the time

of

Henry

III.

in the time of

and

its

somewhat clumsy

finery

Henri IV.

Head-dresses were higher, and a great quantity of false hair, of the colours

in vogue,

was

worn.

For a while, wigs of the Louis XIV. and

Louis

XV.

by ladies

fashion

were

adopted,

these wigs were of

fair,

but
or

only

brown

HENRY
hair, or

even of tow,

who

for those

powder,

kind

of

starch

pomade was mixed with powders

kinds, from

aud

iris,

could not

With wigs

afford the more expensive kind.

came

101

ANL> L0U18 XIll.

IV.

which

in

of various

the finest, perfumed with

to plain

Hour

for the use

violet

of simple

country ladies.

Patches (which reappeared in the eighteenth

century), also

but were at

came

first

into fashion at this time,

as large as plasters,

becoming than the coquettish

'

and

less

assassines

'

of

a later date.

The women
bourgeoisie,

of the

still

people, and the smaller

wore the hood of former days,

a modest head-dress, while the

upper

classes,

ladies of the

whose hair was bedecked with

beads and jewels, wore hats

or

the

plumed

toque.

After so

happy

many gloomy

to live

years,

were

and breathe, yet a fashionable

lady was bound to be strapped

and

people

rigid corset, strongly

up

in a

hard

armed with whale-

bone, an actual sheath, which

came down

in a

YESTER-YEAR.

102
point upon

lier skirt,

any indication of form.

ever, that the
for

this

women

It

down

must be

without

said,

how-

indemnified themselves

terrible article

bodices, also cut

of a piece,

all

of attire by wearing

in a point,

and

so liberally,

Court dress under Henri IV.

that His Holiness the Pope thought

it

neces-

sary to interfere, and to threaten those

who

persisted in baring their necks to excess with

excommunication.
This menace had no great

effect,

the penalty

HENRY

AND LOUIS

IV.

attaching to the next workl only

and upstanding
on

the charms which

commodating

were disclosed

it

enhance

by the

ac-

Fine lace looks so well

bodice.

near the skin,

large ruffs,

and

encircle

to

superb lace mounted

collars of

continued

wire,

103

XIII.

throws out the shape and

whiteness of the shoulders, and the shoulders

show

off

of Venice or Flanders

the marvels

point, the jewel- work of the needle, to perfection.

Enormous

sleeves,

were attached

to

which were not

the

sleeves,

These

bodice.

were

open wings, hanging down very low from the

shoulders,

trimmed with

that did not button.

The

closely-set

buttons

real sleeve

showed

beneath, was padded and raised at the shoulder,

and had

cuffs at the wrist called

'

rebras.'

Skirts were less balloon-like than formerly,

the farthingale

resembled a

bell,

was more

moderate,

it

now

hanging straight and heavily,

or rather the big

drum

of a

Swiss battalion,

but the hips were padded in cupola shape, and

marked out grotesquely by a row

of the

same

stuff as the o-own.

of

stiff"

puffings

YESTER-YEAR.

104
It

was

style to

difficult for

women

clothed in such a

have a light and graceful gait; neverthe period

theless the ladies of

cumbrous

skirts,

to affect the

as to give

liked

those

and the ideal of elegance was

waddle of a duck

them a rhythmical

in walking, so

swing.

\n
.

..y^y

The Fair

lady wore

correctly-dressed

under her gown,

variously

all

trimmed.

Gabrielle.

of different colours,

These

was supposed to show, by

in a skilful

and

three skirts

elegfant

three

lifting

manner.

skirts

and
she

up her gown

HENRY

IV.

AND LOUIS

There was plenty

of

105

XIII.

choice

aiuoug

tho

fashionable stuffs and colours, within the

lowing series of names, as comical

which were afterwards invented

as

fol-

those

in the whimsical

eighteenth century.

Sad friend

colour, doc's IcUy, svralcltcd face,

ord colour, fading flovKr, dying nionlxy, glad-

some widow,
mortal

sin,

lost

time, dcad-cdivc, side SxKiniard,

common

The Regency

of

liam, cJiimney-sivccj), &c.,

cir.

Marie de Mdicis was a

period of transition between the fashions of the

sixteenth, and those of the seventeenth centuries;

the real Louis Quinze costume did not shake off

the last vestiges of the Renaissance fashions
until about 1630, at the time of the reformatory

edicts of Richelieu.

These edicts condemned

ladies to rest content with simpler stuffs

and

under-clothing by prohibiting cloth of gold and

silver,

gold lace, embroidery, trimming in gold

thread, and fine laces, and so forced the tailors,

who

cut and

women,

made

to invent

During the

the clothes of both

new

earlier

men and

shapes.

portion

of

this

reign

lOG

YESTER-YEAR.

fashion cast off

farthingale

much

of

its

became beautifully

heaviness,
less,

the

the

ugly

After Callot.

padded

roll

above the hips disappeared, and

was succeeded by a great bunch of the drawn-up

folds of the uuder-skirt.

HENRY
The

AND LOUIS

IV.

XIII.

snubbed

farthingale, thus

in its

107
home,

crossed the frontier to reign in Spain under the

name of 'guarde -infante,' and

presently assumed

proportions so vast, that, in order to arrest their

growth, the

imitating

authorities,

those

of

France, resorted to edicts.

Seizure and public

exhibition of the prohibited

articles

to fines,

and the

strict application of

was met by sturdy

resistance,

tumults and bloodshed.

was the

life

was added
the decree

and even by

Nevertheless, so long

of the farthingale on the other

side of the Pyrenees, that the gallants of the

XIV. beheld

court of Louis
ladies of

the

lie

worn by the

Court at the famous

Spanish

interview in the

it,

de

la

Confrence where

the marriage of Louis with Marie-Thrse was

arranged.

In France,

taste, richness,

and display, the

multiplicity of ornaments, the

wearing

of a

quantity ofjewellery, became fashionable again,

and the
geoisie,

ladies,

even those of the mere bour-

indulged

in

clothes and trinkets.

superfluity

of

costly

YESTER-YEAR.

108

How "a

lovely

woman

conducts herself in

dress," a satirical poet tells us.

"II

lui faut des Ctarcans, clianes et bracelets,

affiqiiets et montants de collets.

Pour charger un mulet, et voire davantage
Il lui faut des raLats de la sorte que celles

Diamants,

Qui sont de cinq ou six villages damoiselles

Cinq collets de dentelle haute de demi-pi
L'un sur l'autre monts"

Although farthingales were smaller,

gone on growing in height and

size

ruffs

had

the great

portraits by Rubens, and afterwards those by

Van Dyck have

preserved the

ruff of the latest period,

semi-circular

sweeping out behind

the head.

We may

derive full information concerning

Parisian fashions before and after Richelieu's

edicts,

from

Abraham

so

the

engravings

of

Callot

and

Bosse.

Callot,

whose marvellous graver had designed

many

gallant cavaliers in doublets of silk, or

buff" leather, so

many

Hutigrellne

officers in jackets,^

the word

is

obsolete.

and

HENRY

AND LOUIS

IV.

100

XIII.

noble gentlemen of the true seventeenth-century

type in the smart costumes which they wore

with so fine a presence and such easy grace,

has also engraved some feminine costumes of
the same period, but retaining the style of the
Callot's ladies

previous century.

gowns with long

colours,

and

The new-fashioned

and were

tied

" Les bourgeoises

of bright

drawn up over the reduced

skirts

farthingale.
flaps,^

waists, the stiff 'corps-piqu'

padded sleeves with slashes

corset,

wear the

still

shoes

had

above the instep.

non plus que

les

dames ne vont

Nulle part maintenant, qu 'avec soulier k pont,

Qui aye aux deux cts une large ouverture

Pour

Un

faire voir leurs bas, et dessus

beau cordon de

soie

en

pour parure

nud d'amour

li."

an accurate description of the Louis

This

is

XIV.

shoe,

which was

so smart

and so elegant.

There are many admirable specimens in the

the

Muse de Cluny, cut

rich

collection

low,

and with black ornaments on the tan

leather,

of

and some plain ones with the ribbons

'

ront-icvis.

YESTER-YEAR.

110

tied in love-knots.

The

side openings

showed

rose-coloured stockings, the fashionable colour.

Crimson velvet pattens, with very high

soles,

were worn with these shoes.

Gloves

wore

equally

they

had

arabesques

em-

elegant;

INIdicis ruff.

patterns

on the

back, and

broidered on the gauntlet

which enclosed the

wrist.

The
the

dresses,

period,

and indeed

were
1

covered

Grand

all

with

Crispin.

the

stuffs

bunches

of
of

HENRY
flowers.

IV.

The

present

this

fashion

in the time of

Jardin

du Roi, owes

formerly Jardin
to

AND LOUIS

Ill

XIII.

des
its

Plantes,

existence

the primitive nucleus of

it,

Henri Quatre, was the garden

Louis Treize bodice.

of a shrewd horticulturist,

of French

and foreign

to supplying

models

who grew

plants,

all

with a

sorts

view

to the designers of stuffs

or embroideries.

Head-dresses varied.

For a long time they

YESTER-YEAR.

112

remained very high, so as to avoid the ends, or

'

horns

'

of the ruffs, were

waved

or curled like

an Astrakhan cap, and adorned with jewels

only.

At

a later period ruffs were so altered

either bands of cut-lace

as to be

falling

on

the square opening of the bodice, or low, if

not actually

With

collars.

flat,

these later ruffs

lower the head-dress

'

culbute

it

became

possible to

a small chignon called

was formed behind the head, and

'

the face was framed in pretty falling ringlets

or frizzed

When

curls.

became

fashion

this

exaggerated, women's heads looked like round

balls,

with their

frizzy curls

and

little

rings of

hair plastered on the forehead.

Now came
who was

the

stern

of

edicts

going out of the country

silk braids,

to

enrich

and

laces or embroideries, to the

detriment of French commerce.

afterwards

prohibited

and

foreign

by the purchase of Milanese

manufacturers

purfling,

Richelieu,

resolved to prevent French gold from

lace

gold

work

lace

enriched

The

edicts

and

fringe

with

gold

1-iN

DU

ri;gnh

D]-;

louis

xiii.

HNllY
and

silv^er

IV.

stripes,

only

allowing

AND LOUIS
and gold or

narrow

to

113

silver fringes,

of

stripes

Costume was about

stuff.

XI II,

change

simple
all

of

a sudden.

Bourgeoise of the period of Louis

XIIL

" II faut serrer ces belles jupes

Qui

On

brillent de clinquants divers.

a pris les

Leurs habits

says

lady,

dames pour dupes,

n'

en seront point couverts,"

drawn by Abraham

Bosse

in

1634, after the issuing of the edicts and the

reformation of costume.

The change was

radical;

no more overload-

YESTER-YEAR.

114

in^ with ornaments, no more flowered

no more

The

"

lady according to

Abraham

of

edict," draAvn

tlie

Bosse, wears, over a

and

folds

straiglit-falling

sign

from Brussels or Venice.

lace

fine

stuffs,

farthingnle,

with

flat skirt

the

slightest

with

basques,

not

bodice

by

very high at the neck, and fastened by a plain

ribbon, the wide sleeves open uj)on an undersleeve,

The
flat,

is

without either trimming or embroidery.

large ruff, the big

either high or

frill,

succeeded by a band

('

which comes up to the chin.

rabat

')

lawn

of

In this costume

there remains nothing of the fashion of the

sixteenth century

and

all, it is

of

'

that

mode

is

dead

yester-year.'

But the new costume, very simple and

almost to the point of austerity,

become the
those

rank,

good

for

fixed

costume of

is

sober,

destined to

women

of lesser

bourgeois house- wives, to

whom

sumptuary edicts cause neither care nor pain

in fact, in its outlines, it
ally

worn by the

Paul.

sisters

is

the costume actu-

of Saint Vincent of

HENEY
Then

did

AND LOUIS

IV.

dames take

the fair

XIII.

115

this

luudest

costume, '-according to the edict," and quickly

transform

it

into

one of

tiie

most eleuant

|-^%r

Eiul of tbo reigu of Louis XIII.

charming

invented

by fashion, a

truly remarkable type of high

distinction, at

and

the very

ever

moment when

the masculine costume

YESTER-YEAR.

116

of the earlier days of Callot, so free,

and

was about

kniglitly,

worse, to

to

and manly,

change

the

for

become heavy and constrained, with

the jerkin waists up under the arms, and the

upper-hose, or breeches, falling over the calf
of the leg.

The gown was now worn open from the top

to the bottom,
satin,

showing a bodice-front of light

ornamented with

and ending in a

tags,

rounded point on a shirt of

brown

The upper

satin.

divided,

and rather long,

all

silk

or reddish-

dress

was widely

its

folds

were on

The puffed

the sides or at the back.

sleeves

were cut in narrow bands, fastened on the

inner

of

side

the

elbow

by

ribbon,

opening on a rich under-sleeve of

trimmed

at the aperture

lace,

or

and

with tags or bows

of ribbon.

No more
large

high

collars

frills,

only flat

ones.

and bands of lawn again

played some rich embroidery on

which

fell

The
dis-

the points,

very low over the shoulders and

on the arms, and pointed

cuffs

of the

same

HENRY
embroidery,

AND LOUIS

IV.

reacliing

117

XIII.

from the wrist

to

the

elbow, were adopted.

Bunches and
rosettes

the bosom,

An

necklaces of pearls falling on

strings

and

diamonds

jewels fitting to

such was

the

who

apparel

moustached

on

stones

lady in 16.35,

shoulder-knots

arcades.

of

the

lgante of the time of Louis XIII.

fashionable
rich

everywhere,

ribbon

on the bodices, garlands of rosettes

at the girdles,

neck,

of

tufts

on

the

gallants

Pkxce

tags

array

of

the

displayed

her

Royale to

lounging

and

beneath

the
tlie

118

YESTER-YEAR.

Presently this costume will be worn by the

heroines of the Fronde, the duchesses leagued
against Mazarin, and afterwards, with certain
alterations, it will

at the

XIV.

become

full

dress costume

splendid ftes of the Court of Louis

Marion.

VII.

UNDER THE SUN-KING,

Under the Sun-King From La Vallire to Maintenon

Gowns called 'transparent'
The triumph of
Lace The Romance of Fashion Steinkirks The
Fontanges head-dress
The reign of Madame de

Maintenon, or thirty-live years of moroseness.

It

is

the reigu of the Great

King

the sove-

reignty of sumptuous ornament and majestic

120

YESTER-YEAR.

solemnity in arclntocture
of equally solemn and
fashions,

it

is

also the reign

majestic wigs, and of

amazingly luxurious indeed, but more

superb than elegant.

"

The great century

pomposity, and

to

"
!

Grandeur

is

pushed

splendour to ostentation

the same heavy magnificence prevails in

style

of the hotels or palaces wherein

bewigged

nobles,

the

dwell

and in their prim and pompous

furniture, as in the dress of

men and women,

and the refined devices of fashion.

The

great reign had a troubled prologue in

the Fronde, which enabled the fine ladies to

play at flirtatious
selves

to

politics,

and to treat them-

an idea of the emotions of their

grandmothers

in

the

days

of

the

League.

The strong hand which had held the

of

Government had dropped them,

in death.

it

reins

was cold

Richelieu was gone; pranks were

possible.

And

wliat pranks did not the dukes, and the

heroines of the Fronde proceed forthwith

play

to

This beginning of things, while as yet

A LA

COl'll

DU

ROI-SOI.HIL.

UNDER THE
the Great King was

121

SITiV-KING,

the

on]}'

a prettily romantic air about

king, lias

little
it.

Mme. de Chevreuse, Mme.

de Montbazon, Mme. de Bouillon, T\lnie. de
The Duchesses

Longueville, and the Duchesse de Montpensier,

Mademoiselle, "la Grande Mademoiselle," the

granddaughter of Henri Quatre, who helped

to beat the king's soldiers with

cannon previ-

ously to being beaten herself with a cane by

Lauzun,

handsome

the

these
free

fair

and fascinating

manners, their

whom

Lauzun,

took because she could not

fine

get

rebels,
figures,

Louis

she

all

with their

and

their

bright eyes, boldly assumed semi-military cos-

tumes, without going so far as the

of the guards

'

casaque

'

and the jacket^ of the common

soldiery.

During the years of trouble and disturbance,

of civil

war

in Paris

and armed cavalcades

in

the provinces, the ladies were present at the

parades of the

troops levied

Hongreline

liy

(obsolete).

the

princes

YESTER-YEAR.

122

arainst the forces of the kinf,

against him.

with Cond or

These charming amazons haran-

gued the Parisian public (always ready

for a

rising) from the top of the steps of the Htel

de Ville, addressing their fiery eloquence to

a crowd bristling with old halberts and arque-

buses that had belonged to the League, and

they review'ed the forces of the Fronde (the

city

was by way of being besieged).

Parisian militia, the cavalry

clires/

and the

'

Corinthian

Coadjuteur, there

still

'

'

In that

des Portes Co-

regiment of M.

le

lingered traces of the

picturesque bric--brac warrior of the time of

the

Due de

Guise.

valiantly turned

The warlike dames

also

the guns of the Bastille on

the royal troops wdien things were going badly.

What

a pretty pretext for mannish

modes

Everything, fashion as well, was la Fronde.'

'

Fashion had good reason

Mazarin,
edicts,

for a

who was renewing

spite

the

against

prohibitive

which were no sooner published than

they were forgotten or defied, and which had

to

be constantly renewed.

These absurd de-

UNDER THE SUN-KTNG.

cres

denounced alternately gimp

123

in fEivour of

guipure, and guipure in favour of gimp.

Louis had grown up, and was reigning, but

A
the king was

was amusing

dnchess of the

still

young, and the Great Century

itself; it

liked pleasure.

Fi-oiide.

liked glory, but

This was

later days, the century

its

it

also

early manner, in

and the king, both grown

YESTER-YEAR.

124
while

old,

still

continuing to care for glory,

bethought themselves of repenting

of

their

pleasures.

The

Queen

last

queen austere

of Fashion, a

and grim, who made the age do penance

own

the frivolous inventions of her

all

youth, was that eminent refrigerator

for
fair

Mme. de

Maintenon.
In the meantime, the fascinating Ninon de
L'Enclos,

Vallire,

la

Montespan, Fontanges,

with many others, had reigned

demi-queens

The famous saying

moi

"
!

as

queens or

for their little day.

of Louis, " L'Etat c'est-

might be put into the mouth of the

Marquise

de

With

Fashion.
asserted,

Montespan

respect

perfect truth she

"La Mode

feminine wits

with

c'est

were

moi

"

to

might have

Nevertheless,

constantly

employed

in

inventing some ideal bit of finery, some pretty

device for captivation, some

new arrangement

which Molire's exquisites should pronounce

'

delicious.'

The men

of the time

wore

'

canons,'

'

rhin-

UNDER THE SUN-KING.

graves

'

125

(those siugular breeches in the form of

beribboned petticoats), and

petites oies

'

of

Never were women more

bunches of ribbon.
richly attired

'

both sexes expended money in

dress with reckless lavisbness.

There was no marked change

general

in the

outlines of costume, but continual small alter-

ations

were made in details and

ornament,

constituting a succession of ephemeral fashions,

more

all

or less costly

and elegant, and known

by a variety of picturesque names, such as

gallants, ladders, 'fanfreluches' (little puffs of
silks),

transparents,

furbelows,

hurlyburlies,

what-nots,^ steinkirks, Fontanges, &c., &c.

Let us look at the portraits of the

of the Great Century, in

1
''

Littr explains

tliis

its

fair ladies

early years, the

curious phrase as follows

Pdlte-oie, les bas, le cliapeau, et les autres ajuste-

ments pour rendre un liaLillement complet

par comparaison avec l'abatis d'une volaille."

He quotes

ainsi dit

a sentence from Les Prcieuses Ridicules of Molire

" Que vous semble-t-il de ma petite-oie ? La trouvez-vous
:

congruente l'habit
^

Prt'tintailles.

"
?

126

YESTER-YEAR.

time of the

'

ruelles

'

and the

prcieuses

'

'

of

the Hotel de Rambouillet, and also at those

of the

stars

of the

Sun-King's ftes at the

At

Tuileries or Versailles.

worn

in frizzed curls

the hair was

first

upon the

forehead, and

very large curls at either side of the face, or

in long braids, tied by
'gallants'

the

and known

bows of ribbon styled

as 'Cadenettes,' because

mode had been invented by M. de Cadenet,

a brother of the Constable de Luynes, in the

The gowns were low-

time of Louis XIII.

necked,

liberally

the

displaying

shoulders,

necklaces of large pearls were worn, also the

last of the lace
fine

bands

('

rabats

'),

by degrees and beautifully

entirely disaj)peared

Avhich

became

less until

they

the pointed bodices were

covered witli embroidery, and the short sleeves

ended in lawn

The outer
sides

of a

ruffles or lace cufFs.

skirt,

which was raised

like the

window-curtain, and fastened by

clasps set with brilliants, or by knots of ribbon,

displayed the sumptuous under-dress.

Louis XIV. gave fashion

its

head by letting

UNDER THE SUN-KING.

the

sumptuary

desuetude.

edicts

of

INIazariii

127
fall

into

Prohibited lace reappeared, stuffs

of forbidden richness were freely worn.

The

Be'inuiug of the great ruiLm.

interdict

remained upon cloth of

silver only, these the

and

his Court.

of those

Louis

precious

King reserved

made

stuffs

gold

and

to himself

presents of pieces

to

highly-favoured

128

YESTER-YEAR.

personages, just as

patent' to

liis

Madame

'

by

favourite courtiers.

Montespan

de

The

Vallire,

he granted jerkins

dress

reigned

after

la

wore at one court

she

festival in particular is described as

"A gown

of gold on gold, broidered in gold, bordered with

gold and over that gold frieze stitched with a

gold mixed with a certain gold which makes

most

the

divine

Madame
'

has

that

This panegyric

imagined."
of

stuff

is

ever been

from the pen

de Svign.

Transparent

'

gowns were much

woi'u

they

were of thin material, either muslin or lawn,

with bunches of many-coloured flowers painted
or printed
of

on

it,

bright-tinted

stances

the

over an under-dress

placed

moir

satin.

under -dress

was

In some

composed

in-

of

brocade, with large flowers on a gold or blue

ground, with an upper

gown

of tissue as light

as lace.

Lace was used in a variety of ways in every

part of feminine attire, from the bodice to the
shoes,

mixing with the ribbon streamers which

sous LE GRAND

ROI.

FIX

DL'

XVIb

Sll-CI.n.

UNDER THE SUN-KTNC.

tied

bows

the hair, forming the

on

bodices,

'

ladders

bedecking

129
'

of large

petticoats,

and

floating about in all directions.

Lace manufactories sprang up everywhere.

Under the great

king.

the 'points' (or stitches) of Alenon le Puy,

Dieppe, Sedan,

&c.,

were invented, lace-makers

produced their wares at

all

suit the purses of duchesses

sorts of prices, to

and shopkeepers,

from rich guipure costing hundreds of

pistoles,

130

YESTER-YEAR.

to be

worn

at

Court by the Favourite,

to

the

'neigeuses' and 'gueuses' in which the lesser

market-women would

bourgeoises and even the

appear on high days and holidays.

In 1680 a revolution in head-dresses took

One

place.

day, at a royal hunting-party, the

hat of the Duchesse de Fontanges (who had

Montespan

in

Monarch), was blown

off,

replaced

favour

the

of

the

and she employed her

ribbon garter to confine her disordered locks,

tying

it

in front with a smart rosette.

thing a favourite does

and

delightful.

The

ecstasies over the

'

is

fine

gentlemen went into

inspiration/ the fine ladies

were equally enchanted, and

everybody's

next day

the

was un-dressed

hair

Every

of course charming

la

Fon-

tanges.

The

Fontanges

and reigned
tions

of lace,

characteristic
wire,

became

for several years,

and additions.

edifice

style

and

the

rage,'

but with altera-

Ultimately

ribbons,

'

it

hair,

became an
with the

peak of lace mounted on brass

which Saint-Simon

tells

us was two feet

UNDER THE SUN -KING.

Each

high.

had

composing the structure

article

its distinctive

name.

Tliis ftxsliion, whicli

had so

pleasing to the King,

an origin,

trifling

lasted a long time, but at length

it

ceased to be

who no doubt

for the severe style of Scarron's

The Princess

131

cared only

widow.
Charlotte

Princess

Palatine,

of Bavaria, daughter of the Elector Palatine,

came

to

France in 1G71

to

be married to

Monsieur the King's brother

whose

was the daughter of Charles

I.

Henrietta Maria

first

wife

of Enfland

and

and set a fashion, by wearing

a short cape to cover her shoulders, which were

too

much bared by
These

then worn.

adopted
'

by

palatines.'

all

now

little

the

capes were

ladies,

speedily

and were called

The romance
heroic,

the very low-cut bodices

of fashion,

still

gives us Steinkirks, for

it

was the

age of dandified chivalry, and bravery

^

The mode was imported

capes were called 'pelerines,'

been made in

fur.

and

gallant

'

la

into England, wliere the

tlie first

of tliem having

132

YESTER-YEAR.

mousquetaire,'

"

to

The

be

difficult

cany," said a colonel to his troops, just

"

before a charge.

men, we
tellino-

At
of

jDosition will

shall

So much the

have

all

better, gentle-

the more pleasure in

our mistresses of the

affair."

the battle of Steinkirk, in which William

Orange was beaten by the Marchal de

Luxembourg, the Prince de Conti and the Due

de Vendme, with Philip of Orleans, who was

then only

fifteen,

their dress

was

charged with the cavalry;

in disorder, their

lace cravats

being untied and flying in the wind.

joy of victory the fashion of
cravats was adopted, and

all

'

In the

negligent

the

'

lace

women wore

Steinkirks.

The wealthy country dames, and the

of the lesser nobility, imitated the

ladies

modes and

shapes of the Court costumes, and the bourgeoises

followed

suit

at

a humbler distance.

Furetire in his bourgeois novel, and Sbastien

Leclre
tative

in

crew

his
"

etchings,

with

show us "the imi-

their

coquettish

ways,

disdaining the homely hood of their mothers,

UNDER THE
wearing

big

bedizened

'Lands'

bodices,

and

133

SUN-KIN(;.

ami

|)cail

almost

as

necklaces,

great

quantity of lace and ribbons as the Court ladies

Early Foutauges head-dress.

displayed

even

lets

at

Versailles.

The

rash

Furetire

out that they were in the habit of

borrowing diamonds

for

great

occasions,

and

134

YESTER-YEAR.

going to churcli

a borrowed lackey

witli

to

carry the tail of their gowns.

Let us take Moliere's serving-maid

woman

type of the

good
also

girl.

of the people

is

she

Sbastien Leclre has drawn her

with her plain

coif,

her raised skirt and

her camisole with large basques, which

'

as

is

the

hongreline,' or jacket of the soldiery of Louis

Treize, afterwards adopted

by

ladies.

The shopkeepers and market-women whom

he

also

an

air

drew wore wide bands and

of dignity

and

brilliant

of the Great

whom

'

great century.'

festive period of the reign

King was

in reality the shortest,

the pivot turned in 1680,

tenon,

with

and majesty which proves

that they too were of the

The

lace,

when Mme. de Main-

the King married privately five

years later, began to acquire influence over him.

No more

shall

we go

to the woods, all the

roses are gathered, almost all the laurels also.

The reign

of

Mme. de Maintenon

covered

the respectable period of thirty-five years.

the Sun-King,

whom we

Thus

always picture to our

UNDER THE SUN- KING.

pomp and

fancy with the

youth around him,

135

splendour of his

in all the lustre of his glory

and gallantry, amid

his be-ribboned courtiers,

presiding over fetes, balls, and carrousels, shin-

ing and shone upon by whole constellations of

brilliant beauties

maturely an

It is true that

this great

king became pre-

morose, and bored monarch.

old,

he retained his taste

for

pomp,

but with an affectation of formal solemnity,

with, so to speak, a sumjituous severity.

The great century was a wearisome

a time

gilded

of

full

of his

youth,

one,

dress and

The King, repenting him

solemn wigs.
follies

boredom

in

of the

and having turned

to

devotion and austerity, expected everybody else

to

do as he

did.

Fashion changed at once.

men and women

Avas

that were considered too

ing,

bright

colours,

The

simplified

showy

and the

dress of both
;

ornaments

becom-

or too

flowered

stuffs

which had formerly charmed Court and City,

disappeared, to

and sober

attire.

give

place

to

more

discreet

136

YESTER-YEAR.

This

until

lasted

time

the

when Louis

Quatorze himself, having had enough of his

own moroseness and

Maintenon, thought

the prim
fit

coifs of

gentlemen and the great ladies

display and

Mme. de

request the

to

fine

to revert to the

splendour of former days, before

devotion had become the fashion at his gloomy

Court.

It

invitation

is

needless to say that the

met with a

joyful response,

royal

and that

luxurious dress immediately reappeared.

The

ladies of the close of the great century

were dressed in splendid flowered

geously trimmed.

stuffs gor-

The gowns, opening upon

bodice fronts of fine lace, were of brocade or

damask interwoven with

raised

The

gold, the skirts

were

and draped under a small apron of

lace.

was not the most

latter

of their attire,

it

did not go

tasteful adjunct

w^ell

with outdoor

dress.

The high
were

still

points of the Fontanges head-dress

to be seen,

and the

edifice

had now

become complicated and extravagant, with

strings

hanging at the back.

lace

sous LA REGENCE.

UNDER THE SUN-KINC.

were

Skirts
'

pretintailles/

the son

Lanjle,

queen's,

adorned
the

furbelows

invented

of a waitini-'-maid

who had become

At the

with

former,

M17
and

by one
of

the

the arbiter of taste

close of the great century.

and the oracle of fashion at Court, were rows

of quilled
skirt,

placed upon the

flounces

straight

but not on the loose-trained over-skirt,

which was raised

The

'

at the sides.

pretintailles

'

of this period, were cut-

YESTER-YEAR.

138

out brocade flowers

applied

to

decoration

the

of all

material,

sizes

and

a showy

colours,

mode

of

which made the wearers look as

though they had made their gowns out of

room-hanffinofs or arm-chair covers.

Head-dress worn at home.

VIII.

THE EIGHTEENTH CENTURY.

The Regency Follies and frivolities Cythera at Paris

The Watteaii fashions 'Flying' gowns The

birth of the panier

Criardes

the Matres des Requtes

The Fan

'

Considerations

Mme.

'

and

de Pompadour

The Promenade de Longchamps Coaches

Winter fashions.

and Chairs

France had

experienced

great

trials

reverses after a long period of glory and

nificence,

and

mag-

and was sorrowfully contemplating

the slow and melancholy setting of the Sun-

King.

She had

lived

for

many

years in an

140

YESTER-YEAR.

atmosphere of oppressive ennui under the rule

monarch and the grim-visaged

of the old

his companion,
relief that

and she realized with a sensible

Louis was in his vault at St. Denis,

and Mme. de Maintenon in

rigid retreat at St.

All the repressed youth,

Cyr.

frivolity,

lady,

all

the

all

the restrained

longing for pleasure of the

whole nation revived, and the great madness

of the

The

Regency period broke

out.

frisky eigliteenth century, kept in check

under the rod of the grumbling and impotent

old

seventeenth, which

about to behave

emancipated

page, and

high indeed over

seemed

itself all of

all

to

endless,

was

a sudden like an

toss

its

cap very

possible windmills.

Fashion, said by moralists to be the daughter

of frivolity, invented a thousand

do honour

to its mother,

were not enough,

it

new

follies to

and as though that

re-adopted some of the old

ones which had been so long forgotten that

they were once more charming.

Fashion in the eighteenth century, from the

Regency period onward, was characterized by

THE EIGHTEENTH CENTURY.

141

breadth and amplitude, in fact by a return to

the skirts of

tlie

thingale with

its

time of Henri

the far-

III,,

consequences, width of sleeves

and height of head-dresses, and these were

in virtue of a law of
soon to be exaggerated
Oct

equilibrium and harmony.

Under

Henri

grew up and

was

it

the

forced

it

was the

the

ruff

that

head into a

por-

'horn'; under Louis

tentous

XVI.,

III.,

XV. and Louis

head-dress

became

that

monumental.

The

farthingale reappeared under the

of 'panier.'

the

came from the other

It

Two

Channel.

English

ladies

name

side of

brought

specimens to Paris, and exhibited them in the

Garden of the
ness

of

surprise

The extravagant

Tuileries.

these

ladies'

skirts

excited

full-

great

among the men and women who were

taking their daily v/alk in the Gardens, a crowd

gathered round the foreigners, and pressed on

them

so closely that they

being flattened,

if

were

not smothered.

gallant oflicer of the

in

danger of

At length a

Mousquetaires

du Roi

YESTER-YEAE.

142
interfered,

and extricated the

ladies

and their

paniers from a very unpleasant position.

At that time the

round the

civilized

not travel

fashions did

world in six months, and

disappear, without being entirely used up, in

less

They took time

than two seasons.

forth

to

come

and be developed, and they lasted in their

chief features, Avith the alterations, adjuncts, or

improvements

tliat

were suggested every day,

for several years.

The panier was

the century, and

it

the Revolution to

Some

destined to live throughout

took no less an event than

kill

it.

years elapsed

before the

completely reconquered Paris

was

effected slowly, timidly,

farthingale

its

restoration

by modest attempts,

then, one fine day, about 1730,

it

undisputed reign began. All the

ladies, discard-

won, and

its

ing half measures and demi-paniers, adopted

the large panier, six feet in diameter, which

took at least ten

ells of stuff to

cover

'Panier' was the self-evident

extraordinary article of

it.

name

for this

costume, for the

first

THE EIGHTEENTH CENTURY.

petticoat extension
osier or

143

was contrived by means of

cane hoops, bird-cages in fact

the

whalebone arrangement came afterwards.

Master

of

Requests

whose

name wns

Regency liuuting-costume.

Pannier having perished in a shipwreck on his

voyage home from the Antilles, his sad fate

was used by cruel fashion as a

giving

a nickname

to the

pretext

for

panier, just then

YESTER-YEAR.

144
the

in

tiawii

were the

'

linen

rcnowu.

its

cloth,

which creaked

the

tumble.'

it,'

made

folded),

movement

the

the 'wench,' and the

was by no means prudish

called 'considerations.'

ones were called

in the

creaker (a bustle

there

the more respectable small paniers

also

The

coming down

'

at the slightest

this

to

All these names were inventions of

a time that

were

'

much gummed and

'call-bird,' the 'finger

'

Prior

little Janseiiist paniers,'

knee only

to the

of

of

'

matres des requtes.*

large panier

make

For some time the large

naturally to a change

letl

of gowns.

Then

arose those most

graceful, dexterously-negligent fashions which

we have

called

by the name of Watteau, in

honour of the great painter of gala gallantry,

on whose canvas so many of the
his time survive "in

hoops of wondrous

painted and patched, fan or

and always ready

to

fair ladies of

tall

embark

size,"

cane in hand,

for

Cyprus with

ttez-y,

gourgandine,

some red-heeled admirer.

^

Criardo.

culbute.

Itonti^-on-tvnin,

Toii.in'ji;

i)i;

col'k i.oims

w.

THE EIGHTEENTH CENTUllY.

The
Paris,

real

145

realm of Cytliera was, however,

whether governed by the Regent or by

Flying Gowu.

Louis the Well-beloved.

years before

it,

in

which

The century had

to

fifty

gambol and amuse

146

YESTER-YEAR.

itself, fifty

games and

years for

laughter, but

when the powder and the

the time Avould come

patches were to be washed off by tears.

In

day

this

bodice

or

only

loose

to

fitted

cestus,'

gowns without either

hanging straight from the

girdle,

over

slioulders

unbraced

'the

of

fashion invented

the
the

wide-spread
waist

in

panier,

and

front,

quite loose with large folds at the back.

or
left

This

device gave the wearer an air of pretty carelessness

mark

and indolent

OTace, the distino-uishinsr

of the age.

The

thick and heavy stuffs of the preceding

l^eriod

were

gowns,

and

unfit
to

for

drape

these

the

paniers, so lighter fabrics

muslin,

dimity,

and

On

of

the

were adopted, lawn,

other

bouquet patterns, or scattered

little

hanging

loose

vastness

stuffs

with

flowers, or

even

thin

rural designs.
fine

days the promenades were crowded

with ladies who looked as though they had

come out
fashioned

in their
like

in

gowns

their

arms

morning costume,

dressing-gowns,

THE EIGHTEENTH CENTURY.

emerging from clouds of
from

lace,

and

they waved

soft frills, as

147
faces

tlieir

fans,

tlieir

and

lazily clicked tlieir higli-lieeled slippers.

It
is

was the period of the Regency

There

The

a world of meaning in that word.

suppers and the orgies of the Palais-Royal were

largely imitated elsewhere

there was

many

Parabre in the gay and pleasure-loving

city,

which had just then been thrown into fresh

Day

excitement by the fever of sjieculation.

after

day the believers in

either enriched or ruined

lous

every degree of enjoyment,

others being beggared, so

drown

sorrows in

their

John Lav/ were

some making fabu-

enabled them to procure

that

fortunes

every kind and

that they had

dissipation

to

any

at

cost.

The

of

satirists

material

in

the

pen had

the

loose

gowns,

the head-dresses, the gew-gaws,

inventions

of

the

Italian

fair,

caricatures

fashion.

theatre,

and

Plays
the

plenty

the
all

of

paniers,

the daily

and
booth

songs,
in

the

and pamphlets, ridiculed the

148

YESTER-YEAR.
paniers, while

preposterous
paniers

triumphant

the

mocked the mockers, and swelled them-

selves out

more and more vaingloriously.

Everybody

laughed

were several ladies

which could only hold one with her

coach

balloon-skirt
streets

Everything was too small

were too narrow

be widened

allow

to

to pass in, just as it

the

overgrown

might enter without a

of

hoops,
into

to sit

which either refused

the

seat,

or

top, so

days

hitch.

down with

embarrassing way

after-

later

The arm-chairs were not big enough

Was a lady

the

ladies

became necessary

head-dresses

the gigantic

salon-doors had to

wards to make the doors higher at the

that

Here

lamented.

or

be accommodated in a

to

started

how

those tremendous
to

up

be squeezed
in

the

most

Nevertheless, paniers went on growing larger

until the early] days of

the

skirts

Marie Antoinette, and

worn over them were laden more

and more heavily with big and

lattice work, pleated

frills,

little

flounces,

scallops, or ribbons

THE EIGHTEENTH CENTURY.

149

arranged in a thousand different ways.

These

fashions

were

in

some

Large

they were

cases

as

pretty

as

P.iuier.

comphcated, but

in

otliers

they

were merely absurd.

Under the gown, which continued

to

be

YESTER-YEAR.

150

worn loose and flowing

Watteau, the 'body'

or corset

strictly

con-

the bust, the satin bodice was pointed

fined

and

long time, la

for a

the

necked, a

waist very
'

long;

breast-front

'

as

it

was

low-

and ribbons

of lace

protected the chest from cold.

Mantles were adapted to the season or the

temperature
pi'etty

that

is

to say, they

mantillas^

little

which

the shoulders, with a light

hood,

or

down

to

cloaks

the

covered

frilled silk or satin

covering

the heels;

were either

just

the

entire

figure

hood was held out

by a hoop of brass wire around the head.

From 1725

to

gowns retained

1770 or 75, the fashion in

the

same

and almost

lines,

the same general arrangements, the

skirts,

swelling

the clouds of lace, and the bunches of

ribbon.

The

best period of the

mode

of the

eighteenth century, that in which the Louis

Quinze costume was at

elegance,

its

highest point of

was between 1750 and

middle period between the

^

1770,

exaggeration

Cofjuehichoiis (obsolete).

the
of

THE EIGHTEENTH CENTURY.

Regency time and that

the

which was no

and

encroaching

de Pompadour, reigned.

up a
its

XVI.,

of Louis

less unreasonable.

During those years her

artistic,

151

If

beautiful,

astute,

Madame
we would summon

majesty,

vision of that radiant period

and

realize

charm, we have but to quote the names

little milliuer.

of Boucher, Baudoin,

La Tour, Lancret,

Elsen, Gravelot, Saint- Aubin,

galaxy of
silly

fops

and

Pater,

and the whole

exquisites,

scented

and

indeed, but also delightfully polished and

graceful.

There was corruption under the perfume

of roses,

it is

true,

and

it

will not

do to scratch

152

YESTER-YEAR.

that vernis-Martin

was

much

so

'

laisser-aller

everywhere, and

deeply;

society too

was

it

and

'

laisser-faire

difficult

so

there
'

be

to

scandalized by anything whatsoever.

After Pompadour, Louis

even down to Dubarry

at the
his

'

Pare an

daughters.

drank

Loque,

their " Follies,"

very low,

the Grand Turk,

Chiffe,

smoke

brandy, and

fell

he had his seraglio

Cerfs,' like

and

pipes

Graille,

borrowed

Nobles and financiers

from the guard-room.

had

XV.

where they received great

ladies or opera-girls,

and marchionesses

sat at

table with Gardes-Franaises at Ramponneau's.

How
ranged

skilfully this
its

eighteenth century ar-

scenery and decorations,

fully it laid out a pleasant

for itself, never

which awaited
play

Its

Latour's

lace.

care-

and charming

in the fifth act of its fairy

most exquisite personification

great

which

is

life

thinking or caring about that

it

pastel,

the portrait of

de Pompadour, in a so-called
rieur,'

how

poem

'

nglig

is

in

Mme,
d'int-

in satin, ribbons,

and

PARISIENNE SOUS LOUIS XV.

THE EIGHTEENTH CENTURY.

Woman

reigns

her sovereignty

is

and

rules,

the

153

sceptre

of

For a long time

the fan.

"Walking-dress.

the fan had been in

it

was called

'

vise

Esmouchoir

in the
';

middle ages

there

had been

square ftms, feather-fans attached by a jewelled

YESTER-YEAR.

154

chain to the girdles

of noble ladies in

tlie

sixteen til century, and the folded fan, brought

from

Italy

by

Catherine

de

and

Mdicis,

adopted by Henri III.

From the time

of Louis XIV., the fan

been indispensable to the

but

great

its

toilet

women,

of

which

in

period,

had

the

finest

specimens were produced, was the eighteenth

century.

The Louis Quinze

fans,

with their ivory

and mother-of-pearl mounts, marvellously cut

and worked, and their exquisite paintings by
Watteau, Lancret, and others, were the sceptres
of a powdered, effeminate,

and affected society

wielded by the hands of favourites, the fan

swayed the monarch,

rals,

the

and gene-

his ministers

arts, letters, politics,

and the world.

The engraving by Gabriel de Saint-Aubin,

entitled
ladies

of that

Watteau
bodice

Le Bal

'

folds,

and

Par,'

time in

shows
full

us

dress

the
still

fine

the

the loose gowns open over the

under-skirt,

caught

in

at

the

waist by ribbons, and raised high at the sides

THE EIGHTEENTH CENTURY.

on the swell of the panier,
of

fluttering

still

155

the profusion

trimmings, borders

of

fur

or

folded bands, and flounces of satin or lace.

After

(i.

de Saiut-Aubin.

Head-dresses began to mount up again, but

were
hair

still

elegant and becoming, the powdered

was raised over the well-displayed

fore-

YESTER-YEAR.

156

head, and arranged in bows and rolls mingled

with loops of ribbon, feathers, and pearls.

Let us glance at those same ladies at the

Promenade de Longchamps,

in superb painted

and gilded coaches,

was the carriage-

for that

building time of fairy

tale,

the most

and compared with

sumptuous vehicles

its

productions,

of

our prosaic epoch, however well

out," varnished,

" tui'ned

and blazoned, would look

like

hearses.

In these imposing carriages, driven by stately

bewigged, belaced, and befrogged,

coachmen,
with

tall

footmen in showy

liveries

hanging

on behind, what a display there was of luxurious dress, lace, feathers, ribbons, diamonds

and pearls

Grooms rode

at the carriage doors, running-

footmen pushed through the crowd of equipages

and equestrians of both

sexes.

In the crowd

assembled on both sides of the road to admire

the

amid

fashionable

the

beauties,

chatter

of

and

casual

fashion

meetings,

itself,

and

conversations with young nobles, dandies, and

THE EIGHTEENTH CENTUllY.

After the younger Moreau.

157

YESTER-YEAR.

158
the

rous,

'

inaniuise/

the lady of quality and

and
tlie

the

'

prsidente/

lady of

'

finance,'

the opera-girl, the dancer, the actress of the

hour,

who was turning

the play-going gallants

the

who

empty heads

with each

vied

other for her favour, and the courtesan

might next week be proclaimed

'

of

who

Queen by

the

hand/ elbowed each other j)romiscuously.

left

When

winter came, these fine ladies would

forsake their coaches, and that other delightcreation

ful

chair

{chaise

of

a charming age, the Sedan

porteurs),

painted

vernis-

in

Martin with scenes of gallantry or pastoral

in

life

they

the

styles

would

lay

of Boucher and
aside

wrap themselves up

laces

in furs,

and

and be

Watteau

ribbons,
off,

their

little

pink noses just peeping out of sable or

blue

fox,

as

and their hands hidden

big as drums, to drive

in

muffs

on the snow in

splendid sleighs of extraordinary shapes, brilliantly painted,

ornamented with carved and

gilded figures, and elegant and fanciful beyond

description.

Large Louis Suizu bat.

IX.

EIGHTEENTH CENTURY
Enormous

head-dresses

Parks,
figures,

The

LOUIS XVI.

pouf

'au

sentiment'

and landscapes with

Belle-Poule
head The
Country fashions' Neg-

kitchen-gardens,

worn on the

'

'

Patches
Fashionable colours
habits English fashions The bourgeoises.

head-dress
ligent

The

'

gowns

century

was growing old

the

Eiding-

age of

exquisite coquetry, of powdered and perfumed

160

YESTER-YEAE.
was becoming stricken

elegance,

waxing weary of

its

butterfly air

in years,

and

and

its tinsel

decoration.

Taste had grown tired and was indolent,

novelty

no

Avas

sought

longer

remained stationary

for,

for a long time, or

fashion

moved

in a circle only.

The Louis Quinze

that

like

but

to

'

rococo

date,
'

was

be 'jDerruque' and 'vieux jeu'

us wait a

let

was now out of

Louis Quatorze

of

pronounced

style

bit, fasliion is

about to spread

wings suddenly and to risk everything, even

its

a tumble into the preposterous; but surely

may

allow itself to do this three or four times

in a century, after all

The

little

goddess

While

of

still

seed of folly which always lurks

in the frivolous

and topsy-turvy brain of the

was

fashion,

about

mode was preparing

upon
for the

to

sprout.

retaining the beautiful and becoming

Pompadour and Watteau forms

the

it

head-dresses,

to

parade-ground of

to

work

take
its

for a while,
its

wild will

women's

heads

maddest whims, to

GRANDS PAXIHRS LOUIS

XVI.

EIGHTEENTH CENTURY

them with the most absurd inventions

load

imder

the pretext of

transform

them

sea-pieces, then

raise

them up

edifices

them, to

beautifying
landscapes,

into

into

of

LOUIS XVI. 161

to a fabulous height,

upon them, with

men and women

Then would

to

little

latter,

and erect

cardboard figures

complete the absurdity.

swarm with

Paris

indeed

or

befeather the

to

hair-dressers

of genius, the

Legros and the Leonards, the

Raphaels and

the

Rubenses, or rather

Soufflots of the barber's art,

the

and these person-

ages would set up academies for teaching the

principles
striving

their

of

who should

capillary

attain

the

fection of the ridiculous in the

and

heads,

aristocratic

equally in reaching

all

architecture

adornment of

succeeding pretty

it.

The wigmakers had already had

of glory and

renown

of the majestic

academicians

about

to

secure

day

having now become

hair-dressing,

their

in the great century, that

peruke

of

utmost per-

fresh

they

triumph,

at

expense of feminine grace.

were
the

YESTER-YEAR.

162

Let us observe the lady of the period at

toilette,

preparing to

make

her

or to go

calls,

to the Tuileries at the fashionable hour.

laboratory business, for so

is

the impoitant

affair of

it

lier

This

must be reckoned,

the day,

it

means the

adjustment of mere beauty to the prevalent

taste.

The

toilette hour, after the

'

petit lever,'

has been delineated by Lancret, Baudoin, and

age, with

the

all

the skill that they possessed, and

have

caricaturists

depicting

it

Madame,
is

or elegant painters of the

other gallant

the

its

from

either.

white

in

Avood

by her

women

'

its

frame

the dressing-closet

panels,

carved in the style called

dressed

refrained

seated before her mirror

carved and gilded

with

not

moulded and

rock-work,' has been

at

her

'
'

petit lever

she has given audience to her admirers and

her milliners, to the marquis and the banker,

the poet

to

Almanadi

who

extols

her charms in the

des Muscs, to the flippant

'

chevalier,'

and the gallant Court Abb.

"

What

does the

Abb

say

"

The Abb

is

EIGHTEENTH CENTURY

LOUIS

XVI.

1G3

a person of taste, and his opinion upon every-

thing connected with the freaks of fashion

is

valuable.

But

these

all

dismissed,

it

is

people have been

frivolous

the

hair-dresser's

hour,

important

moment

serious, the only really

the
of

the day.

The

artist

needs to be alone,

lest his inspir-

ation should be put to flight, and besides, the

task

is

long, difficult,

and preparation

to

and requires much care

render

it

successful.

He

can tolerate one or two waiting- women who

understand him at half a word, and hand him

everything he requires while he

is

in

the fine

frenzy of composition, but no other spectator.

According to the rank of the lady, this hairdresser will be the great artist,
his coach, passing swiftly
in the noble

Tuileries, or

in

Faubourg, and expected at the

by some

princess, or else he will be

one of the great

artist's pupils,

dress-coat, with

lace ruffles

his side.

who comes

from htel to hotel

operating in a

and a sword by

164

YESTER-YEAR.

The

inspiration comes,

and under the

fingers,

the comb, and the curling-tongs of the artist

an extraordinary structure of
skilfully

curls,

mingled with enormous quantities of

borrowed
are

natural

up

hair, is built

bows,

piled

frizzes,'

'

'crutches,' &c., for these

in stages,
gates,'

'

'

on which
chestnuts,'

extraordinary names

were given to the inventions of the hair-dressers.

For twenty years

this

medley of strange

constructions under pretence of hair-dressing

went

Among

the heads of women.

posterous
*

'

the

'

'

the

Hrisson quatre boucles

with four

curls,'

'

'

Comte,' the

(or

'

'Parterre galant.'

of fashion), the

Then we have the Cradle

Love and the Novice of Venus,

for hats of

Poufs

Hedgehog

invented by Marie Antoinette,

who outdid the exaggeration

of

abode on

proportions),

its

its

the most pre-

may enumerate the

(the name
Monte-au-ciel

inventions,

Qusaco/

indicates

up

Folly had taken

on.

as

names

outrageous size and shape.

were bewildering things

au sentiment

'

the

'

pouf

was an absurd arrangement of

EIGHTEENTH CENTURY

LOUIS

courtesan, after Wille.

XVI.

1G5

166

YESTER-YEAR.

flowers and shrubs, witlv birds in the branches,

growing on a high

hill of

Cupids flew about

this

hair

butterflies

garden.

and

There were

Court dress.

also the

'

pouf

la chanceliere,'

pouf, the 'pouf droite,'

The

'

pouf

au

or foot-muff

and the 'pouf gauche.'

sentiment

'

allowed

great

EIGHTEENTH CENTURY

and

The Duchesse de

taste.

1G7

XVI.

and the display of feeling

latitude to invention,

of

LOUIS

Chartres, mother

King Louis-Philippe, wore on her pouf a

miniature

museum

of little images, her eldest

son in his nurse's arms, a

negro, a parrot

little

nibbling a clierry, and designs executed in the

hair of her nearest and dearest kinsfolk.

After the

'

garden

we

hair-dressing,

'

Cascade of Saint-Cloud

'

'

find the

style, consisting of

cataract of powdered ringlets falling from the

top of the head, the

'

kitchen-garden

'

style,

with bunches of vegetables hooked in to the

side-curls,

the

representing

'

rural

'

style,

windmills

hill-side,

meadow

actually turned, a

with landscapes

which

crossed by a silver

stream, with a shepherdess tending her sheep,

mountains, a forest with a sportsman and his

dog

in pursuit of

Then came
the 'Peal of
maid,'
'

the

game,

the

'

Bather,'

Neckerchief,' the

the

'

Minerva's

'

Innocence,'

the 'Bobwig,' the 'Milk-

bells,'
'

&c., &c.

Coliseum,' the

'

the

'

Kerchief,'

Oriental,' the

helmet,'

the

'

'

the

Circassian,'

Crescent,'

the

YESTER-YEAR.

168
'

Bandeau

'

Enigma,' the

up

of

of the age,'

'

the

hats,
'

Tiirned-

Pilgrim Venus/ ^ the 'Treasurer

Frivolous Bather/ &c., while hair-

curling was done in

'

among

Desire to please,' the

'

Calash,' the
'

and

Love,'

'

sustained sentiments/ or

sentiments recalled.'

The

full-dress head-gear, a great scafFolding

bedecked with feathers and flowers in

tufts

and

garlands, was so large and so heavy, and took

much

so

space, that ladies,

up

already found

to get their paniers into their

cai'-

had to hold their heads down on one

side,

it difficult

riages,

who

or even to kneel on the floor of the vehicle.^

Caricatures

of the period

represent

ladies

wearing these monstrous head-dresses in Sedan

chairs,

with the roof taken off to allow the top

of the gigantic structure,

whiteness, to

'

an Alpine

of all these inventions

Belle-Poule,' so called in honour of

Pilgrim Venus apparently means Venus with her

cockle-shell,
2

to

come through.

The most amazing

was the

powdered

an antique design.

See note, Appendix,

p. 263.

PARISIENNES

17S9.

EIGHTEENTH CENTURY

La

the victory of the frigate

The Arethusa, an English

the

great

LOUIS XVI.

1G9

Belle Poule over

Upon

ship, in 1778.

mass of hair arranged in rolling

waves, was placed

a frigate in full

sail,

witli

Head-dress la Belle Poule.

all

its

masts, yards, guns, and

After having composed such

Lonard or Da< micjht

g;o

they could never beat that.

little

sailors.

master-piece,

hano- themselves,

YESTEE-YEAR.

170
It

of

was in

women

'89 that the ridiculous head-gear

reached

highest of them

the

set

example,

expiate her fault and

she had to

The head had

penalty, and

sinned, the

head

the loftiest of

if

The

utmost absurdity.

its

all

all

Alas

her folly

the

paid
fell,

was

it

through the fault of the very person who had

tempted

with

her

eccentric

his

inventions

during her prosperous years.

Lonard, the

'

illustrious

'

hair-dresser to the

one of the party who went

Queen, was

At

Varennes.

great shipwreck

that
of

terrible

The

indispensable Lonard.

That

to

secure

hers turned
it

is

(quite

troops

said,

out

ill

services
last

of the

weakness

the poor Queen,

for

of

for,

some erroneous information given

innocently)

by Lonard,

who

to

commanded by

fugitives,

in the

monarchy, the object

tlie

what

was

moment,

to

detachment of

the

the Marquis de Bouille,

had

was the cause

preceded
of

the

the

royal

disaster

of

Varennes, where the expected aid was missing.

When

the fashionable lady's hair had been

EIGHTEEXTH CENTCJRY LOUIS

XVI.

171

dressed, she hid her face in a large paper bag,

While a thick coating of powder was applied to

the structure
that shed

what

a strange fashion

it

was

the snow of years on the heads of

Lirge Pouf.

young and

old alike

and then, her cheeks being

rouged to the right colour, forming a harsh

contrast with the plastered white hair
said

Madame

de

Svign, ' is all the

'rouge,'

law and

YESTER-YEAR.

72

the prophets"

she needed

patches

which

certain

points

were

only to put on the

intended

to

physiognomy,

of

bring out

and

give

piquancy to expression, in order to be quite

irresistible.

These patches, which

women were

careful

place in the most becoming manner, each

to

according to her special style of beauty, bore

the following amusing names

The
the

'

'

majestic

funny

lips of

'

was

j)laced

on the forehead,

at a corner of the mouth, on the

'

a brunette the patch- was 'the roguish,'

on the nose

it

of the cheek

'

Avas

'

the saucy,' in the middle

the gallant,' near the eye, as

it

rendered the glance either languid or passionate,

'

the

according to the fair one's intention,

murderous,'

while

the

fanciful

crescents, stars, comets, hearts, etc.,

it

was

patches,

were past

counting.

But we

are

coming to the

last

days of a

world about to go to pieces, of a society about

to disappear in a

From 1785

sudden catastrophe.

the old ro^ime was in a totterinf

EIGHTEENTH CENTURY
state

LOUIS

XVI.

173

the revolution was an accomplished fact

in dress.
It

was a complete revolution, and

it

came

almost without transition, the gay and gallant

costume of the eighteenth century was aban-

Head-dress worn at home.

doned

for

a series of

new

inventions

which

imparted totally different lines to the form,

"Adieu paniers, vendanges sont

well-known
to

all

priate.

phrase, applicable

at

earthly things, was never

The enormous

faites."

The

some time
more appro-

paniers ceased to exist,

174

YESTER-YEAR.

at first they

had been replaced by elbow-paniers

two

comic), consisting of a roll attached to

(cl

short pieces

and serving as a
a third

But

roll

at

little

in

the back

to

the

and

short a bustle.

compromise was soon

this

side,

supjJort for the elbows,

wonjen in almost
by

worn on either

of padding,

skirts

flat
'

sheath

'

and

rejected,

approached

little

gown, and the too

simple apparel of the Revolution.

Marie

Antoinette,

jjlaying

farming

at

at

Trianon, brought a touch of peasant costume

into fashion, of course it

was peasant costume

of the comic opera kind, shepherdess dress in

the sense of Florian or

'

Le Devin du

Straw

hats, aprons, short jackets,

made

their appearance,

Lonard

them

reigned

after his fancy

over
;

in

Village.'

and bed-gowns

and

ruled

other things

Mile.

heads,

Rose Bertin, the great purveyor of fashion

the

Queen

(she

was called her

"

to

Minister of

Modes"), was the supreme arbiter of taste at

the Court of Marie Antoinette.

Rose Bertin issued orders and made decrees.

EIGHTEENTH CENTURY
she invented and composed

LOUIS
;

XVI.

175

the ladies declared

everything that came out of her hands to be

a marvel, and

their

A
the

husbands com[)lained of

large hat.

magnitude of her charges

as

husbands

always do.

About 1780 there came a turn

of fashion,

of the tide

and new shapes were demanded.

YESTER-YEAR.

176

and Circassian gowns, which had no-

Polish

thing either Polish or Circassian about them,

were invented

gowns were short

these

at

first,

and looped up on paniers, afterwards they

were

lonsj

and flowing.

The tendency towards negligent

'

creased, 'Lvite'

gowns ^ came

'

fashion in-

and gave

rise

Garden of the Luxem-

to a disturbance in the

bourg.

in,

'

certain countess appeared there in a

Monkey-tailed

that

lvite,'

is

to say a

with a curiously cut and twisted train

gown

she was

followed by a mocking crowd, and the guard had

to be called to her rescue.

After the
'

'

half-negligent,'

undress

The

'

came

Lvites,'

'

'

'

chemise,'

'

negligent,'

and

bather's,'

and

gowns.

fashionable colours for these oddly-named

garments were
'

'

Canary's

carmlite,'

worn,

'

tail,'
'

'

agitated

dauphin,'

'

nymph's

thigh,'

newly-arrived people,'

Lvite was a long straight frock-coat, like that

by

'

priests

the train added.

the

'

Robe-lvite

The word

is

'

imitated

obsolete.

it,

with

PROMIA'ADI-: I'AKISIIIW'H

1790.

EIGHTEENTH CENTURY
'

lively

shepherdess,'

LOUIS

green

XVI.

apple,'

'

177

stifled

sigh.'

Lvite Eobe.

A flea had

somehow come

at the gates of the

to Court,

the guard

Louvre notwithstanding

YESTER-YEAR.

178

immediately there was a

'

flea

'

('pitcc)

series

'flea-belly/ 'flea-back,' 'flea-thigh,' 'old

'

young

flea,'

flea/ etc.i

The

flea-colours

gave

suddenly

place

to

another tint which was also of courtly origin,

but bore the more seemly name,

Queen,'

d'Artois.

be

'

conferred

On

The

Queen

dress in which
'

'

colour.

the eighteenth

gloomy black garment

by the hideous

taste,

inflicted

and aggravated

tall hat.

Morcau the ycunger, whose

in

rode on horseback,

not, in

upon the world by modern

ings

by the Comte

it

women

Amazone/ was

century, the

hair of the

the instant every stuff had to

hair of the

called

upon

'

series of engrav-

Lo Monument de Costume shows us

the whole of the society of his time, in the midst

of

its ftes, its

ceremonies, and

its

pleasures, in

the salon, in the boudoir, in country-houses, at

the Court, at the opera, in the Bois de Boulogne,
^ The King, Lonis XYI.,
name on the new colour.
2

Cheveu de

la Reine.

is

said to

have bestowed this

EIGHTEENTH CENTURY

LOUIS

XVI.

179

every wliere, has drawn the line ladies of 1780

in

riding-dress,

with

long

English over-coats and

large

perched

hats

Au

Cadogan

skirts

waistcoats,

little

atop

and

of

the

belts,

and

powdered

'Amazou,' after the younger Morean.

plait

which

is

familiar to us in these

latter days.

The

riding-habits of the eighteenth century

^

See note, Apj^endix,

p. 264.

YESTER-YEAR.

180

were very becoming, and admitted

variety

Avenue

certainly the crowd in the

of great
of

the Champs-Elyses did not then present the

gloomy aspect which

on the

it

wears at present even

finest spring days.

Was it

in reprisal for the

war

in

America, that

the monarchy was invaded by British fashions

during the

last

years of

its

existence

The

shapes were new, and, both in general outlines

and

in

detail,

airs

preceding

the

and an English

new rgime.
jackets

The

with

'

and

cachet,'

'

only wear

waistcoats,

buttons or laced, and

lapels

fashions

were

assumed unceremonious

Dress

disregarded.

'

which implied a
'

included vests,

frocks

with

'

driving coats

'

triple collars, tight to the figure

very long at the back.

The

large

big

with large

'

and

and showy

buttons of the vests were in metal of every

kind and shape, and sometimes adorned with

little

pictures

there are curious samples of these

in various collections.

Women

as well as

watches with two

men

long'

of fashion

wore two

chains hanrino- from the

EIGHTEENTH CENTURY
waistcoat

LOUIS XVI. 181

they also wore cravats, Cadogans, and

Eoglish fashions.
'

clubs

'

like

men, and carried long canes, while

men took kindly

And the fichu

to the
!

All

women's big muffs.

women

wore, with every

TESTEE -YEAR.

182

kind of dress, large

fichus,

which swelled out

the chest to an unnatural extent above the long

and horribly-squeezed waist.

These costumes hoisted

the rainbow, the
strangest
of

lemon

Indian

lightest,

silks,

the

and cloths

colour, pink, apple green, canary, shot

silks,

muslins, either plain or striped, of

every possible

tint.

Stripes had an

immense

During the summer of that

success in 1787.
year,

the brightest,

there were satins,

the colours of

all

men, women, and

children, all

wore striped

costumes.

Head-dressing also joined the revolutionary

movement.

The

birth of the

modern bonnet

was at hand, head-costume, as understood by the

nineteenth century, was about to develope

Women

were

still

immense quantity

powdered, and
of

wore an

hair in enormous wigs

which bulged out around their

style

still

itself.

faces,

in tlie

of the masculine peruke, with big curls

hanofiuCT at either side of the

neck and down

or, like

men, a thick club or Cadogan

behind the head.

Hats were of extraordinary

the back,

EIGHTEENTH CENTURY

LOUIS

XVI.

183

shapes and dimensious, with immense brims,

and enormous crowns laden with an extravagant

quantity of trimming.

frigate in full sail

The bounet-hat.

was
boat,

no

longer

worn

to serve as

was the height of

tlie

head,

but

put on sideways, and big

keel upward,

enough

on

an umbrella on occasion,

fashion.

YESTER-YEAR.

84

The bonnet-hat, and the demi-bonnet,

little

same height, were trimmed

smaller, but of the

with bows of ribbon, ruches, and tufts of cock's

The turban-hat, a

feathers.

was

striped,

tall

Janissary's cap,

plumed, and trimmed with a gauze

scarf; the hat, called for the sake of the satirical

pun,
'

la Caisse d'escompte,' because

'

made

sans fonds,' was

which came into fashion

and

Necklace,
paille

'

it

was

of open straw, the hat

after ihe affair of the

was called 'Cardinal sur

la

de Rohan), made

( propos of Cardinal

of straw edged with ribbon of Cardinal red.

The

hat

big

invented

and

after

many

'

la

Widow

'

Fixed Globe,' the

of Malabar,' the

honour of the

made the

first

fashions

'

tlie

success of

the

other

Tarare/ the

'

'

Basile,'

Beaumarchais,
la

Figaro,

Montgolfier cap, the

Balloon

'

these

latter in

aerostatic experiments

sensation of the

the

moment

which

preceded

cap 'of the Three Orders,' with which the

long series of revolutionary fasliions began, on

the Assembly of the States-General.

In this eighteenth centurv, which was nearing

EIGHTEENTH CENTURY

LOUIS XVI. 185

SO dismal a close, there were, besides the belles

of the Court

and the

capital, the

the

more

demi-monde

or less

already

great

ladies

existed

the famous dancers, and the celebrated

for

courtesans, besides the queens of fashion

went

to

who

Longchamps attended by a turbaned

footman to carry their parasols, and preceded

18G

YESTER-YEAR.

by a running footman in tights and a plumed

cap, with a long gold-tipped cane in his hand,

besides

the

every freak

bedizened
of

the

dames who

capricious

charming women of the bourgeoisie,

trace

them

Memoirs

in old portraits,

who

and

followed

many
we may

mode,

minor

in the

did not cover themselves with

feathers and lace, but dressed with

taste

and

discretion, following fashion at a wise distance,

and discreetly preserving the

and the old

so

traditions

attire.

These were the

coifs,

old

different

fair

women who wore

little

from the pyramids of hair

and trumpery built up by Lonard, exquisitely

becoming and pretty under a hood

with wire

these were the

stiffened

women who wore

modestly-cut gowns and small hoops, and

eschewed furbelowed paniers twenty

who

feet

in

circumference.

These were the women who retained

the

purity of the good old ways and morals, in a

licentious age,

who

led calm

and dutiful

lives,

treading the narrow paths of household occu-

EIGHTEENTH CENTURY
pations

XVI.

and simple pleasures, going

religious duties on
to such

LOUIS

Sundays and

187

to their

feast-days,

and

homely entertainments and country-

parties as

came

in

due -course

in

their quiet

existence.

Theirs, too,

was a world nearing

its

end, in

the fusion and

confusion of classes in the great

revolutionary

caldron,

first

in

the

political.

YESTER-YEAE.

188
and afterwards

in the industrial

revolution, that vast upturning

which was

and

scientific

and overthrow

to result for us all in the feveiisli

and breathless

life

of our

own

epoch.

women on whom we turn a

the worthy, simple women of

Meanwhile, the
passing glance,

the

lesser

bourgeoisie, never

dreamed

of the

troublous time that was so near, saw nothing

of

that

terrible

blood-cloud,

which

was

gathering upon the horizon, but would sing

with light

hearts

to

their little wliite salons

mental

air,

their

harpsichords

some pretty

in

little senti-

very different from our complicated

musical logarithms.
Plaisir

d'amour ne dure qu'un moment,

Chacjriu d'amour dure toute la vie.

Charlotte Corday Cap.

X.

THE REVOLUTION AND THE EMPIRE.

Fashions called

Revolution

' la

Bastille'

Notre

Fashions

Dame

de

the

of

Thermidor

Antiquity in
'Incroyables' and
Paris Athenian and Roman women A pound
of clothes -Transparent tunics Tights, bracelets,
and buskins The reticule or ridicule Tlie
'Merveilleuses'

'

'

'

'

Victims

Ball

'

Blonde

wigs and dog's ears

Robes-fourreau Little
Shakos Turbans.

Titus'

The
as

'^

'

caps and

'

'

la

Hats

hurricane which was destined to sweep

cyclone

twenty-five

over

years,

our

ancient

ah-eady blew

Europe

upon

for

Paris,

190

YESTER-YEAR.

whence

took

it

molishing

all

before

lasted for centuries

shaking and de-

origin,

its

it.

monarchy that had

was about

to fall

amidst

the dbris of the old order, like a Bastille or

a house of cards.

During

this

time,

while

were carrying heads about

the

new masters

the

on pikes, while

of France at the

Commune were
millions of men about to

or the

in her

new queen,

Assembly

the fate

deciding

of

be set in battle array,

while already, in that ominous

age, the

slaughterers

dawn

of a

new

the Guillotine, had risen

might and spread her blood-red arms

over her

people, imperturbable

Fashion

was

busy with fresh contrivances, altering the cut

of skirts, arrano^ing

bodices, twisting ribbons

previously- unknown

into

knots,

inventing

idyllic toilettes of exquisite novelty, for

not a

new

new costumes

nation have

The change

that

set

in

must

during the

last

peaceful years of Louis Seize gathered speed

and

new

character.

path,

and

Fashion had struck

little

by

little all

into

the character-

THE REVOLUTION AND THE EMPIRE. 191

the former time, the old rgime, as

istics of

it is called,

disappeared.

famous

In the

Promenade

by

print

picllique,

Debucourt,

La

which gives us a vivid

vision of a crowd of fine folk in the early days

of the Revolution,

what remains of the costumes

and modes of the century among that charming assemblaoe of belles and beaux,

who seem
drama

wholly unconcerned with the great

Powder, a few shovel-hats on the heads of a

few old men, who lag behind the time, and that
is all.

The

aspect of

women was

English fashions prevailed

say waistcoats and

but

make and

became

days.
silk,

and

satins, to

were

is

to

worn,

more simple,

to

rich

tissues,

the costly gear of former

Cotton, Indian print, and lawn replaced

and

dressmakers

lines with little

Lawn

that

material.

Times were hard, good-bye

to silks

first,

riding-habits

afterwards gowns

both in

strangely altered.

at

bodices

adhered

to

ornament and few

were

made

straight

accessories.

chemise-wise,

YESTER-YEAR.

192
leaving the

arm bare from

were

almost

plain,

the elbow, skirts

and had long

flat,

saslies.

This extreme simplicity was relieved by the

national

symbols, imprinted on
frill

was added

and

trophies,

colours,

the

to the

revolutionary
or

stuff,

edge of the

were

Large muslin fichus

still

a scanty
skirt.

worn, and

on great occasions the costume was completed

by a bunch of tricolored flowers placed on

the

left side

trinkets,

cockades,

copper,

or

Bastille,'

&c.

above the heart, and by patriotic

neck-lockets, waist-buckles, in

'

buttons

earrings,

au Tiers-tat,'

'

steel
'

la

la Constitution,'

For a while everything was

'

la Bastille,'

even the hats.

The
and

large cone-shaped hats with wide brims,

with

over-laden

tried to hold out for

then came a

ribbons,

some

after

having

time, disappeared

spell of caps only

caps with great

puffed and be-ribboned crowns, caps like the

head-tires of the
especially the

'

women

peasant

and the graceful

of
'

Caux

and

coif with

'

in

Normandy,

milkmaid

'

caps

wide lace borders.

.MERVEFLLEUSE EX TUXiaUE A LA GRECaCE.

THE REVOLUTION AND THE EMPIRE. 193

which we now

call

mounting a large
Hardly any

the

'

Charlotte Corday cap,'

tricolour cockade.

white

powder was

much black was about

the

hair was

worn

as

to

it

used

so

be consumed

grew, with

little

added, but white wigs were just 'coming

Soon, however, the

tempest broke out in

The Terror had begun.

earnest.

in.'

Could there

be any further question of luxury, frivolity and

fashion

The

ranks

of

fine

ladies

thinned, they were in the Abbaye, in

La
o

were
Force,

194
in a

YESTER-YEAR.
hundred

or at Coblentz

prisons,

they

were in hiding, or they were dead.

The extreme

simplicity affected

either from motives

it

was

by everybody,

of prudence, or

impossible

about

care

to

because
dress

at

such a time, did not always suffice to avert

the appellation of
passport
that

those
of

society

the

to

suspect,'

live,

Talleyrand

who had

not

lived

former times did not

In

sweetness of living.
to

which was a sure

scaffold,

'93,

said

the

old

know

the

in

the problem was

no matter in what seclusion, like a

mouse

in a hole,

reign

of

if

Liberty,

necessary.

the

Under this

gentle

law ordained that a

placard should be placed on every house, setting forth the

names

even their ages

Many

of all the inhabitants, and

this

was a hard enactment.

harmless people who had

and happy days endeavoured

known

bright

to shut out the

mutte rings of the storm, the tumult of the

streets,

and the horrible clamour of clubs and

newspapers, in

and sleepy

obscure apartments in silent

streets.

Nevertheless, a small group

THE REVOLUTION AND THE EMPIRE. 195

yet hoisted the standard of dress in the face

These brave men and

of the Sans-culottes.

women

still

displayed

elegant attire, at the

Palais-Royal, on the boulevards, at the prome-

The Hussar

hat.

nades, and at such of the theatres as remained

open,

braving

and red

caps,

guillotine.

the

citizens

in

carmagnoles

and the knitting hags of the

But, at

how

great

risk

was

Y ESTER- YE AE.

196
this

done

any

longer, the poor thing hid its

Fashion did not dare to struggle

head under

wing, and hoped for a better day.

its

The

was

guillotine

always

at

work,

interrupted only from time to time by some

idyllic festival, tlie fete of

the

Supreme Being,

of Agriculture, or of Old Age, with rows of

young

girls

choruses

white,

in

men and

old

of

Robespierre.
for

boys,

which sweetly

pastorals, spectacles

hearts of the

goddesses of

Liberty,

charming
stirred the

good Marat and the sensitive

Sand was strewn over the blood

the day, on the morrow the red stream

be;an

to run acjain.

Ninth Thermidor

For love of Citizeness

Thrse Cabarrus, a star about to

rise,

Tallien

had braved death, then hanging over every

He

head.
flung

him

had

Robespierre,

and

in his turn into the impassive

arms

defeated

of the goddess Guillotine.

Mme.

became

Tallien

Notre-Dame

Thermidor, she who saves by the

power of beauty

de

sovereign

THE REVOLUTION AND THE EMPIRE. 107

deep sigh of

was

relief

heaved by

France, and immediately the

terrorized powers lifted

came

and

dress

laughter after so

antl

forth

with luxury,

with

with gladness, and

folly,

much

Incroyables,'

'

repressed

their heads

Yes, there was a frantic longing for

laughter.

The

fashion,

and even

frivolity,

up

all

who had

blood and weeping.

and the

'

Merveilleuses,'

already appeared before the Terror,

themselves

displayed

and

promenades

on

crowds

in

and

boulevards,

the

Fashion,

whose head had no doubt been turned by the

Kobespierre
fear,

rgime,

began

at

though

once

to

pale

still

revel

with

countless

in

follies.

While
youth
'

'

the
of

Incroyables,'

their

fops

Paris,

belonging to the 'gilded

and

appropriately

with their high-collared

huge cravats and the twisted

were so necessary
Jacobins and
English

for

terrorist

fashions,

unanimous

called

the

their

sticks that

defence against

sectionaries,
'

coats,

imitated

Merveilleuses

'

in the worship of antiquity.

were

For

198

YESTER-YEAK.

some years there were no more

the

Parisians, all

women were Greek and Roman.

Straight gowns without waists, mere sheaths

bound around the bosom by a

girdle, short in

front to let the foot be seen, slightly trained

at
'

was

back, such

the

Merveilleuses.'

the

the

of

attire

Nothing but antiquity was

known; everything had begun over

again.

During the Terror, modesty had been

gotten

this

chemise, and might have passed, but

second

for the jewellery that

was worn with

for a

it,

symbol of the poverty of that time of

when

for-

Athenian costume was merely a

ruin,

the louis d'or was worth eight hundred

livres in assignats.

was a tunic of trans-

It

parent lawn, which clung to the wearer's body

with each movement.

In addition to

this,

the

diaphanous tunics of the leaders of fashion

were

slit

down the

Notre-Dame
barrus,

now

de

sides

from the

Thermidor,

Citizeness

hips.

Thrse

Tallien,

the

Ca-

Queen

of Fashion, appeared at Frascati, dressed, or,

rather,

undressed,

in

the

classic

style

her

THE REVOLUTION AND THE EMPIRE. 199

Athenian cjown showed her

IcsTS

clad in

flesli-

coloured tights with golden circlets for garters,

antique buskins, and rings on each toe of her

statue-like foot.

In
at

the

salons,

the promenades,

in

the

the

summer-gardens

only wear was this

Y ESTER- YEAR.

200

antique gown, open above and below, worn

Carthaginian

with

'

any

chemise

at

chemises, or even without

'

sandals

ail,

and

buskins

fastened by narroAv red bands, gold circlets set

with precious stones,

and peplums,

arrangements

'

'

of tunics

corset-belts a couple of inches

wide close under the bosom and adorned with

brilliants.

The

fluttering

seen, or even,

gowns allowed the

when not

legs to be

open at the

slit

side,

were raised above the knee, and, fastened with

a cameo brooch, boldly displaying the

Very

little

sleeve

was worn, a mere

even no sleeves at

drawn

were

shoulders,

all,

the

strap, or

the edges of the

gown

by cameos on

together

and

left leg.

arms were

laden

the

with

bracelets.

As

it

was impossible

to put

pockets into

these flimsy tunics, the ladies adopted the use

of the

'balantine,'

immediately

name
or

or

'reticule''

pronounced

for a little

embroidery,

'

(which was

ridicule

'),

an

old

bag ornamented with spangles

and

shaped

like

hussar's

MERVEILLEUSH DU DIRECTOIRE.

THE REVOLUTION AND

sabretaclie

EMPIKE. 201

TilE

and

iu this the handkerchief

jturse

were

carried,

that

on a certain evening, in a fashionable

salon

under the Directory, everybody being

eloquent

in

Jacob

tlie

admiration

Bibliophilist rehites

of

costume

the Garden

of

Eden could be more

a wager that

fortunate wearer laid

weigh

two

Proof

pounds.

lady retired

was

it

of

the

so,

did not

the

given,

a boudoir, and

into

so

mode

truly antique that nothing except the

her entire

costume with the trinkets was found to weigh

little

over one pound.

dame might count

This neo-Athenian
self

to

very

be

much

still

actually

less

dressed, for others found

encumbered with

ventured

a costume called

to
'

exhibit

The female

her-

means

clothes,

themselves

and
in

Savage,' which

consisted solely of a gauze chemise over pink

fleshings with golden garters.

Women
Elyses in
parent, or

actually
'

sheaths

walked in the
'

almost

Champs-

entirely

trans-

even with the bosom completely

bared, and these

women were

not courtesans.

202

YESTER-YEAR.

but belonged

to tlic otficial

woiiJ

'

of the day,

'

and were friends of Josphine de Beauharnais.

This was thoughtlessness rather
modesty, a jDassing
pleasure

of

The

'

furious

madness

and

the

defied

the

who had

Merveilleuses,'

guillotine, also

many

of insanity, the delirium

fit

after

delirium of blood

than im-

defied

Nevertheless,

disease.

women were

of these foolish half-naked

seized witli pleurisy

and inflammation of the

lunos on leavinjf crowded ball-rooms and salons,

after dancing,

with no more protection from the

cold of the night than a thin fichu or a shawl

no larger than a

scarf.

Having taken

their

costume fashions from Athens, these semi-draped

fine

ladies

borrowed their head-dresses from

Greek statues, and wore their crisply-curled hair

in a net, the tresses

inserted in them.

haired wigs.

Mme.

shade of light hair.

sliglitly

powdered,

and

plaits

But the rage

'

having jewels
'

was

for fair-

Tallien had thirty, of every

These wigs, which were

had

been

proscribed by the Jacobins;

abhorred

after

and

Thermidor

THE REVOLUTION AND THE EMPIRE. 203

came

their tiiiniiph, the

'peruke blonde' was

thenceforth a symbol of the coimter-re volution.

For a while hair was dressed

la Victime,'

'

or

'

la Sacrifie

back

being combed up at the

'
;

and brouglit forward on the forehead

in wild
dress,

locks.

with

This

gu-illotine style

blood

red

ribbon

of head-

round

the

neck, and a shawl of the same colour on the

shoulders, was indispensable for all those

appeared at the famous and ghastly

Victimes/ to which neitlier

man

nor

'

who

Bal des

woman was

admitted who could not prove that either of

some near

his or her parents, or

relation,

had

died upon the scaffold in the Terror.^

"Paole d'honneu victime, ces dames sont

dliantes!"

said

the

'Incroyables,'

in

the

fashionable slang, and with the lisp la mode,

to each
'

new

antique

'

invention,

more

'delicious'

than the preceding, of

and more

Mme. Nancy

and Mme. Raimbout, a pair of learned and

artistic

to assist

dressmakers,

them
^

who employed

in devising

sculptors

methods of draping

See nute, Appendix,

p. 264.

204

YESTER-YEAR.

more and more Greek, and

folds increasingly

Roman.

Roman
light

somewhat

fashions, wliicli were

and

loose,

less

were adopted by ladies who

shrank from the too

transparency of

literal

the Flora and the Diana tunics.

Roman gowns
official

world,

to exercise

w^ere

who

worn by the

considered themselves bound

a certain discretion, but the two

Light and frivolous

worlds effected a fusion.

'

Athenians,' remains of the old and parvenus

new

the

of

society,

army

suddenly enriched speculators,

'

ladies of the

muscadines,' victims and

youth, the army,

politics,

contractors
'

or

muscadins and
'

persecutors, gilded

and

finance, all these

formed the most marvellous of mixtures after

the great shock, and rejoiced in the happiness
of living

after

the great slaughter, notwith-

standing the troubles of the present, and the

uncertainty of the future.

sudden decree of fashion put an end to

the fair wigs, and imposed the

women

on

all

with any pretensions to a place in

its

'

Titus

'

THE REVOLUTION AND THE EMPIRE. 205

ranks.

The Directory

belles

threw away their

perukes, and also sacrificed their

more
"

hair, or at

any rate as

The Titus mode,"

Lc hon Genre, the

own

little as

No

locks.

possible

La Mosangere

says

in

organ of Fashion,

official

havinsf the hair cut close to the

"consists in

Titus Coiffure.

roots,

to

the

SO

as

tube,

pendicular

to

restore

and make

direction."

'Muscadins' each and

and were

its

natural

grow

stiffness

per-

'Merveilleuses'

and

it

in

all

adopted the 'Titus,'

closely shorn, a

few long dishevelled

locks being allowed to

hang over the brow.

YESTER-YEAR.

206

There was yet another type of Merveilleuses

'

'

under

the

This

Directory.

'Merveilleuse la Carle Vernet/

clothed,

squeezed into a

still

skirt of 'Fie

Fie

above

wearing

her

was

lightly

still

thin

the

clinging

pale startled' colour/ but

bodice

(which

was

so

small as to be almost invisible), and above her

naked bosom, a formidable

folds her

neck was

cravat, in

whose

enveloped several times,

the muscadin's, while from be-

precisely like

neath her huge plumed hat long locks of hair

hunsc like

dock's

ears about her face.

Such was the

beaux and

attire

and the head-dress of

belles at the

dawn

of our century.

During the Consulate and the

the Empire, the

'

Merveilleuses

first
'

years of

were a

little,

but not much, more clothed than under the

Directory.

The same gowns, frequently

tran-

sparent, continued to be worn, necks continued

to

be bared to excess in

women

all

seasons.

of that time went out walking in

day, as the

women
1

The
tlie

of our time go to balls,

Fifi ple efFarouclie.

THE REVOLUTION AND THE EMPIRE. 207

with their bosoms and arms exposed.
defence against cold

shawls the

consisted of

forerunners

of

Their

scarfs

those

and

famous

Under the Consulate.

'

Cachemires,' which played so great a part in

the

first

half of the century.

Special garments were invented, such as the

little

hussar vest, in 1808, which was put on

YESTER-YEAR.

208

over the low-necked bodice, and encircled the

shoulders with

fur border, also the far less

its

becoming spencer.

The

celebrated

by

Beauharnais

portrait

of

Josphine

and that

David,

of

de

Mme.

Rcamier by Gerard, shew us two beautiful

Roman women
reclining

of the time of the Emperors,

upon couches in the antique

rather than

Frenchwomen

the

the

crowded round
'

beauties

those

Directory,

less

than one

Such however was the

hundred years ago.

costume of

of

style,

Garat

of

the

salons

while

he

of

who

Parisians

fair

sang

his

romances,' or danced the gavotte, or the waltz,

then the very newest novelty, with the hand-

some

Trnitz.

In 1803, or 1804, the 'Titus' style of hairdressing had ceased

'

it

old,'

was

'

to be fashionable,

provincial.'

And what

it

was

of the

hair that was not to be hurried into crrowins

long again, immediately upon the change of

taste

The

ladies

bemoaned

locks, fair, brown, or auburn,

their luxuriant

and were obliged

PREMIER EMPIRE.

The revolution and the empire. 209

to

have recourse to

ringlets

'

fronts

and

once more,

in order to display

'

make up

to

Etruscan chignons with borrowed

It

plaits.

was an unfortunate moment

costume.

Fashion

itself

seemed

feminine

for

have been

to

conquered by the great con(|ueror, and

devoted

all

their

the zeal and grace of

its

to

have

fancy to

dressing magnificently, braiding, embroidering,

gilding,

and

befeathering

innumerable

the

squadrons of gallant swordsmen about to be

despatched by His Majesty the Emperor and

King

to gallop

flung upon the

its

over Europe,

all

and

be

united peoples.

What, we may

ask, did the Frascati Salons

and the Tivoli Gardens, whither the

of

to

cannon and the bayonets of

the

Directory

frippery,

had

now worn by
their

younger

What

did

bold

their

in

their transparent tunics,

and

in

Athenian

of the costumes

these very same

they

undress,

all their

resorted, think

sisters

fair ladies

women,

or

by

think

of

the

ugly bogs

which were called gowns, of the ridiculous

p

210
*

YESTER-YEAR,

sheaths,'

the

lainp-shade

cabriolet-hood bonnets

and

hats,

the

Masculine fashions were no less inelegant.

Let those who would not consent to adopt

them

Hussars

enlist in the

The

male costume, which increased

had ah'eady

of the century,

But the women

Here

ugliness of

in the course

set in.

a fine

is

lady of

1810!
First,

the skirt

there

so little bodice that

is

the skirt forms almost the whole costume

of print or

the

arms,

feet, or is

boots

some common

a few

folds, four or five

The

a tight girdle
for

shoulders,

under

to

the

is

bodice

form

its sole

hardly perceptible,

is

placed close under the bosom

which

dress

rows of notched

little flounces,

sleeves there are

hideous

is

cut short just over the tops of the

trimming, or three

ornament.

stuff; it begins

hangs ungracefully down

is

are

two thick
also

finished

rolls

bared,
off

at

and

the
this

by a worked

muslin tippet, or a big collar made of several

rows of quilled net.

The

latter

were the only

THE REVOLUTION AND THE

possibly

pretty

of

features

EMPIltE. 211

the

toilette,

but

even these were put on so ungracefully that

they were cumbersome rather than ornamental.

Begiuniug of the

liith century.

Hats and bonnets were mostly

As
the

all

heads were

ladies

stuck

full

of

the

ridiculous.

army and

war,

head-gear of extraordinary

shapes atop of their senseless costumes

some-

YESTER-YEAR.

212

times a kind of helmet, with a wreath and a

great tuft of feathers, sometimes a big hat in

the form of a shako, and even real hehnets

Avere

worn,

memory

named

and

Clorindc,

la

in

of those of the Knights-Crusaders.

For awhile small caps were the mode; these

Averejust like infant's caps trimmed with lace,

and gave the wearers a pretty childlike

air.

But the

the

triumph

big 'cabriolet'

of

the

period

was

an enormous hood that

hat,

stretched out far beyond the face, which was

hidden in the depths of the ungainly structure.

Sometimes

these

'

cabriolets

boasted

'

the

monstrous addition of a tube-shaped crown,

taller

than

the

tallest

shako

in

His

all

Majesty's armies.

The women
really

of those

handsome

times needed

to

be

this hideous

to captivate, in

head-gear, the brilliant officers

who between

two victorious campaigns came

to singe their

hearts,

like

moths' wings, at

the

flame

of

bright eyes.

At

balls

and

receptions,

in

the

salons

THE REVOLUTION AND THE EMPIRE. 213

where the gikled military

humble civihaus

butterflies

into tlie shade, the ladies,

no longer affected the triumphant

'Merveilleuses'

threw

of

the

who

airs of the

preceding

perioil,

assumed a dove-like gentleness and timidity

Waiting for

tlie

couqncrors.

beneath the gaze of the plumed heroes.

ball-dresses had extremely short

skirts

Their

adorned

with bunches of flowers, showing the leg and

the buskin, no longer the antique cothurnus
of the

fair

Tallien,

but a buskin-shoe, tied

with ribbons upon the instep.

214

YESTER-YEAR.

These belles of the Empire, these sentimental

Malvinas in baggy gowns, who were dreaming of
the gallant warriors beyond the Rhine, wore

Large Empire Hat.

their

or

'

liair

la

either

piled

Chinoise,'

top of the head.

into a

drawn

helmet-shape,

tightly

up on the

THE EEVOLUTION AND THE EMPIRE. 215

Serious

the

Mme.

of

turban.

The

the

kuows

Everybody

portrait

Odalisques,

assumed

beauties

Turk.

de Stal

turban

of

famous

the

imposing

in her

salons were crowded with Parisian

and

their

head-dress

was pro-

Orieutal Dress and Turban.

nounced charming.

After

this,

what

is

there

that a pretty face and fine eyes, either lively or

languorous, will not

make

acceptable

Presently these turbans grew to a vast

and were adorned with gauze

size,

scarfs of various

216

YESTER-YEATl.
and

colours,

Under the Restoration

feathers.

mammas

turbans became the special wear of

and mothers-in-law, and gave them so comic

an aspect, that

it

impossible

is

look

to

at

the portraits of the period without laughter.

And

then, only to think of the

the heavy
'

'

top-coats,'

'

Spencers,'

Carricks,' or driving-coats, the furred

and the

very fashionable

'

Vitchouras

'
!

Furs were

astrakhan, marten, or sable

was worn on garments of

all

sorts,

and in

pelisses of every shape.

All these queerly-dressed people,

women whose costumes seem

to

all

those

be divided by

ages from the attire of the eighteenth century,

and

also

mothers

from the furbelows that their own

had worn,

lived

amid objects and

svn*rounding3 entirely different

from those of

the recent 'rococo' period.

Are we

in

France or in Greece, in Egypt, in

Etruria, or in

we

Palmyra

Christian era

assumed

all

In what century are

nineteenth after or before the

living, the

The antique

of

sudden,

form, which was

dates

from

tlie

PARISIEXXI- DE

1810.

THE EEVOLUTION AND THE EMPIRE. 217

Directory;

it

was introduced

and

into Paris,

the htels of distinguished persons of

fasliion,

by Percier and Fontaine, two architects who

had returned from Rome, and was speedily

adapted in the houses of the bourgeoisie.

Empire Hat.

Dress had become Greek and

before

Percier

and

Fontaine

Roman
exerted

even
their

influence,

costume had j^rcceded architecture

this time,

and assisted

style.

in

the creation of a

218

YESTER-YEAR.

Imaofine

resembles
interior

of

the

elegance

Greek

an

of

temple,

Etruscan

salon

or

tomb

pieces of funereal style, tripods

which

recalls

the

Chimney-

copied from

Pompeii, curule chairs, inconvenient arm-chairs.

Empire Head-dress.

adorned with
beds

guarded

lions,

by

swans,

and cornucopias,

sphinxes,

consoles

laden

with swords, couches in the forms of buriallitters,

ation,

and

altars,

hard

lines,

stiff

ornament-

and the everlasting palmetto, Greek or

Etruscan borders, and afterwards, when the

THE REVOLUTION AND THE EMPIRE. 219

expedition to Egypt had brought the kind of

the Pharaohs into fashion, Egyptian designs.

One must have been

blessed

with Large

reserves of animal spirits to enjoy Hfe in the

midst of these hard,

stiff

in so solemn, antique,

shapes

daily

life

set

and stern a frame was

calculated to produce a moodiness and ennui

that were quite modern.

Hat worn

1814.

in

XT.

THE RESTORATION AND THE JULY MONARCHY.

Full sleeves, and Leg-of-mntton sleeves
Girafle fasliions

Hair-dressing

1830

Collerettes

and big hats

Expansion of Romantic fashions The last caps

1840 Chaste bands Medium (Juste-milieu)
'

'

fashions.

Under

the

Restoration

the

very ugly and

inelegant fashions of the Empire were improved

from year to year, and acquired some degree

of gracefulness.
to

concentrate

Fashion had probably ceased

all

its

thoufdits

and

all

the

221

THE RESTORATION.
resources of

and

its

brilliant

genius upon the sliowy Imssurs

aides-de-camp

Feminine

army.

its

its

French

the

taste revived.

Costume was about

discard

of

make

borders here, to

im[)rove

to

commonplace

to

enkirge

itself lighter there,

become

and, from 1825, to

daily,

stiffness, to

(piite

charming

for

the space of a decade.

Grace, distinction, originality, a supjDle and

natural elegance, well-hung skirts, extremely

becoming head-dresses, were among the delightful features of that period,

women

and the

1830 have a right to a high

i)lace

most charming figures of the

of

among the

past,

when we

evoke the dead modes of Yester-year.

At a

later date,

when our poor nineteenth

century shall have slijjped into the gulf which

it is, alas,

already approaching,

of to-day shall have

their

turn,

when the

age come to be
will be

when the

belles

become grandmothers
typical

represented,

chosen to represent

of 1890 its second half.

women
those

its first,

of

of

in

our

1830

and those

222

YESTER-YEAR.

That

was

an

good

epoch of

taste

the

drawings and paintings of the time, by Devria,

Gavarni and others, bear witness to the graceful

toilettes of the ladies

the second period

from 1825 to 1835, from

of the Restoration to the

early days of the July Monarchy, during the

great renewal of ideas and

Ah

We

arts.

have known those women, and

they are the most interesting of

summoned

are not vague faces

past.

We

all to us, theirs

xxp

from the

far

have known them as good and

charming old

ladies,

faces as of yore

eyes which once

with curls around their

but the curls are white, the

bright and

were

laughing

look through spectacles.

After the

fall

of the Empire,

in dress prevailed for

touch

of

Cossacko-mania

from

fashions

some

years,

The

also a

imported

by degrees

ceased to be the case, and the

began

and

Paris

London, but

Anglo-mania

Mode

this

at length

to invent very pretty styles.

'

bag '-shaped

gown continued

to

gown and the sheath

be worn

for

a few years,

THE EESTORATION.
with

attempts at

223

somewliat longer

bodices,

^-4:.:^

^^^
(^

Hat 1815.
waists, large puffed sleeves,

ugly hats,

of

the

oddest

and more or
shapes,

less

and great

224
size

YESTER-YEAR.
;

sometimes, indeed, the

face

was almost

completely hidden.

With

tranquillity,

however, luxury revived.

With the return

of the Court,

that had not been

known

and a repose

for twenty-five years,

the salons recovered their former brilliancy, and

were no longer
contents, or
victory or

gatherings whereat mal-

little

mere

tlie last

gossips, discussed

the last

reverse of the Emperor, as

the sole subject of conversation between two

Let us take up one of the

rubbers of whist.

old slides of the great magic-lantern

passes before us so rapidly, and

which time

we

shall find

the fine ladies of the Restoration, the romantic

belles,

and the lionnes

'

'

Monarchy

of the July

attired as follows.

The gown

is

white 'gros de Naples' with

yellow flounces at the bottom of the widened

skirt,

same

the

shoulders
'

in

leg-of-mutton

'

the

contemporaneous
'

imbecile

'

trimming

sleeves.

is

worn on

shape, the

pelerine

latter

with

newly

the

With

this

sleeves
'

out,'

'elephant'

gown

is

the
are

and
and

worn a

PARISIENNE

i8r_(.

225

THE RESTORATION.
fluted collerette,

and a big hat of rice-straw with

We may

satin ribbons and nodding feathers.

Eveniug-dress

Ilestoration perioil.

also observe fuller skirts,

pufifs

and satin bows,

trimmed with gauze

lace flounces

and

inser-

226

YESTEK-YEAE.

tion, canezous,

tartan

adorned with Lig buncLes of flowers

hats

Mme.

Herbault's

the

in

decorative

skirts, large

and

liats^

gloves

loose

worn by

and

chronicles

novels

all

of

the belles

the

period

completely covering the

arms.

That lady who

a

at

fashionable

dreamily playing the harp

is

whose shoulders are

party,

draped in a scarf of striped gauze, wears on

her head a large Scotch or Tam-o'-shanter cap
(bret)

which

leaving

the salon

up

in

suits

her

madame

will

profile

wrap

a curled

collar,

toupee, a blue

on

herself

a cape, or in a fur-lined cloak

with a tippet and a large

in

poetic

made

while monsieur,

coat

Avith

brass

buttons, and tights, will put on his box-coat.^

For summer wear,

ing, for visits

to

for tlie country, for

walk-

the Tivoli wizard, there are

canezous of Organdy muslin ruched with

tulle,

and large straw hats with broad upstanding

libbons.

For the theatre, and

for

outdoor

wear in cold weather there are boas (these

1

Carrick.

THE RESTORATION.

227

have recently been revived), which afforded

opportunities
the

for

many

pretty movements, as

serpents of fur were twined

shoulders,

and

tints of the

also

showed

off

about bare
the

delicate

complexion.

m-..

"^^

Hat 1820.
In 1827, in honour of the arrival of the
giraffe

at

the

fashions were

'

Jardin

des

Plantes,

all

first

the

la Girafe.'

In 1830, the sole remainder of the giraffe

fashion was the large tortoisesbell

comb which

228

YESTER-YEAR.
worn

Avas

at the top,

crowning

Tlie

tlie edifice.

was dressed very high, in several bows,

hair

with curls

three

irregularly,

falling

on the other, around the

side, four

on one

The

face.

fashionable fair of 1830 was a charming person

her

in

evening dress,

with

completely

the

developed leg-of-mutton sleeve, her slioulders

emerging from a

line of fine lace, the

nape of

her neck fully shown under the large

comb

or dark tresses, which were

fixed in the fair

drawn up and gathered together at the top

of her head.

In the

street,

on the boulevards

at the promenades, or in the Champs-Elyses,

she

still

wore a low-necked gown, and draped,

but did not

hide

herself

in

little

shawl

coquettishly adjusted.

Let us return

for awhile to the

head-dresses, which

The head-dresses
as chivalric

is

subject of

not Avithout importance.

of the period

may be

classified

and Ossianic, toques and Tam-o'-

shanters (brets), caps and turbans, and finally,

hats.
It

would need

a poet

fitly

to

extol

the

THE RESTORATION.

220

grandeur, and bewail the decline of the femi-

Under

nine hat.
the

hat was

period,

in

rested

it

A
flaunted

bows,

its

the Restoration, nntil 1835,

its

gdorious and triumphant

proudly

gauze

'

Empire

'

the

head,

it

buret.'

phimes, with gracefully swaying

and big satin knots.

figuring

on

blunderbuss

'

or

After the

shako

mere tube enclosing the

of
face

dis-

the
at

230

YESTER-YEAR.

the end of a dark passage

alterations, it

merly
head,

it

the

hat underwent

was widened and opened.

had been set quite straight

now

For-

upon the

was daintily plnced sideways upon

it

the hair, which was rolled into large irregular

The

curls.

naj^e of

the neck was

most be-

comingly displayed, the slioulders were

also

seen under the shade of a big hat, for bodices

were

worn

low-necked, and

very

were not

invariably edged with a fluted collerette.

This was the hour of triumph for the

but

its

decline was

coming

fast

the turned-up

brim, horn-shaped, or in a long

to

reappear, ribbons

suppressed,

the face

htt,

roll,

was about

and plumes were to be

was

once

more

to

be

hidden at the end of the passage, and the neck

by a big ugly cottage-bonnet.

to be concealed

And from
whole

series

eccentric

time forth wc were to have a

tliat

of

lamentable

and inelegant

styles,

'bibi' bonnet of the second

ridiculous

But a

'

plate

'

inventions

even

to

in

the

Empire, and the

hat of 1867.

reaction has set in, of late years

we

THE RESTORATION.

231

have seen some really pretty and becoming

hats and bonnets.

Large Restoration Hat.

As
when

for the cap, the ladies of those

at

home, coquettish

'

days wore,

rumpled

'

caps,

is

232

YESTER-YEAR.

big as hats, with a crown raised very high to

the

liold

their curls, or

and

comb,

tall

English

'

bordered

with

and ribbon, which confined

quantity of lace

'

These were

ringlets.

the last days of elegance in caps

henceforth

the pretty cap was no more to be seen except

the

in
'

country,

hennins

winged
After

coifs of

the

'lionnes

The

'

for

the

of

'

long as the majestic

so

Norman,

the Breton

pretty

or

the

women

house-caps

various

shall last.

worn

by

the

of 1830, the decline of the cap set in.

capriciously-quilled

cap looked well

on

the heads of milliners' girls and grisettes, with

their pert, Parisian noses,

ing eyes

it

was

still

and knowing, mock-

pretty, and, besides,

was the head-dress that they

it

so lightly toss

metaphorically over the highest windmills, but

the cap of the grisette afterwards became the

ungraceful head-dress worn by fat shopwomen,

and

it

finally fell to the lowest

level, that of

the porteress.

The

belle of

1830 went forth

to conquest in

the boudoirs of the Chausse d'Antin, or on the

UNE HLHGAXTH AUX CHAMPSLLYSLHS. RliSTAUKATIOX.

THE RESTORATION.
fashionable
or

promenades

Longchamps

of dandies

and

cramped

the

233

Champs-Elyses

she captured the hearts

in their high-collared coats,

s^

House-cap.

as a sprightly, elegant person in Avide,

lating skirts,

She could

and leg-of-mutton
hide

undu-

sleeves.

herself behind

under the

YESTER-YEAR.

234
brim of her

and

in

a strict incognito.

with

habit

adorned with

frogs, or

of

the

When

she

Boulogne she wore a

de

Bois

the

coloured

movement

by a mere

feathers,

neck, securing

rode

hat bristling with ribbons

bisj

leg-of-mutton
'

sleeves,

Brandenburgs,' or even

brightened up by a white canezou.

Unfortunately, she

when on horseback

later date,
to
'

substitute

casquette

'

the peaked

which

is

ventured

actually

at

in the country,

that

cap,

hideous

the disgrace of the nine-

teenth century, for her large hat with

its

grace-

pretty,

bare-

ful floating veil.

At

this

period

numbers of

necked women were to be seen at the fashionable

down

theatres, in
to

the

bodices opening in a peak

waist

over

wide,

worked

chemisette, the trimmings of the bodice coming

up on the shoulders and

sleeves.

wore looped boas, curls and

'

They

also

heart-breakers

'

(inelegantly called spit-curls in England), and

had their hair dressed in several

^

Accroclie-curs.

different

and

235

THE RESTORATION.
complicated

ways,

with

flowers,

combs,

antl

sprigs of satin.

Belles of the romantic school tried to outdo

one another in medival

toilettes.

They sought

Riding-li.ibit in 1S.30.

tlieir

tlie

literary

pabulum

in

the

Middle-Ages

troubadours of the Vicomte d'Arlincourt,

Ossian, Byron, and Walter Scott, had liad

day

in

tlicir

the imj)assioned tirades of the great

dramas of

the

time,

Hcrnani,

La Tour

de

YESTER-YEAR.

236
Ncsle,

and Lucrce

novels,

of

and

Jjorfj/a,

and chronicles of the

'

in the verses,

romantic

'

writers

young France.
But, even on the

were a

good

deal

'

like

1830,

V^:''"''

""-..'/

Head-dress

standing the
colouring,

pains

the

Middle Ages

stage, the

la Cliiuoisc,

for

notwith-

1830.

taken to reproduce local

heroines

of

those

dramas,

Isabcan, Marguerite de Bourgogne, or la Belle

Ferronire, wore the inevitable

leg-of-mutton

THE RESTOlATIOX.
iu

sleeves,

connnou

witli

the

237

fair

sieet;it()rs,

and, in reality, the belles of LSod, while trying

hard to be mediaeval, were

Alas

still

up

to date.

these pretty, graceful, feathery fashions,

Laryu hat and collerette.

of a

'

truculent

'

elegance, to

employ an ex-

pression of the time, passed a^vay.

picturesque

bourgeois reaction,

The

which

anti-

set

in

with the Arts, achieved a far more rapid triumph

238
ill

YESTER-YEAR.
After a few years fasliion

dross.

must
I80G,

tlie

word be said

fashion,

tlie

poetic,

wiser.

became

In 1835 or

romantic,

the

the

became commonplace, the fashion

chivahic,

of

shopkeepers and the wives of the National

Guard

In 1835, fashion discarded grace, and

adopted clumsiness, by exaggerating the charac-

The women were no longer

teristics of 1830.

those of Devria and Gavarni, they are those

of Grandville,

Skirts were as big as bells, and untriinmed,

made

either of plain white muslin, or printed

in silly httle patterns like the wall-paper of the

same

j^eriocl.

Big leg-of-mutton sleeves were

worn quite limp, hanging

narrow wristbands

over the bodice were large

worked pelerines edged with

below the waist.
of

Leghorn or

and low over

loose

Add

lace,

and

to this a large

rice-straw, closed

the chin, and the combination

and
is

falling

bonnet

tied

under

certainly not

attractive.

Contemplating the ladies of 1830 ten years

later, in

1840,

we

find

them wearing shape-

THE EESTORATION.
less,

uutrimmed

retain just

239

skirts, hesitating sleeves

enough

which

of the fulhiess of the leg-

of-niuttou to be ugly,

'

House

unsightly

bonnets

unsightly

ribbons.

tied

anyhow

'

bodices,

and

dress.

under the

chin

by

Hair-dressing has none of the pretty audacity

of former times

framework

flat

bands make a

for the face, those

'

cold,

chaste

'

hard

bands,

YESTER-YEAR.

240

as they were then called,

and

all

ringlets,

beauty

killed all grace,

there were also the

'

English

'

droopiug like the twigs of the weeping-

Eomautic

willow, and
to the

which

giving

dress.

whimpering expression

most cheerful of feminine

became more and more

dull

end of the July Monarchy.

faces.

Fashion

and ugly at the

Taste there was

ToiLETTi;s i)'ixti;rii;l'r

1850.

THE RESTORATION.
none

and

insipidity

241

commonplace

were

supreme.

The
to

the

fashions

always

narrowest,

go

from

the

widest

and come back from the

narrowest to the widest.

This

is

a law.

It

1830.

is

the same

goes,

iii

the case of head-gear, the

and always

will go,

mode

from the smallest to

the largest, and back again from the largest to

the smallest, with unfailing regularity.

After the panier of the time of Louis

XV.

242

YESTER-YEAR.

and Louis XVI. catne the clinging gown of

the

the
and then

Directory

the skirt

suppression.

From

expression

of

nothing remained but

its

primitive

the

'

sheath

'

gowns

of the

Empire, amplitude was developed by degrees,

and the great

maximum

of width

was

re-

gained under the Second Empire, with the

third restoration of the farthingale,

the

name

of crinoline.

1835.

now bearing

1845.

XIL
THE MODERN EPOCH.
1848

Revolutions everywhere, except in the kingdom

of Fashion

shawls
waist

Talma, the burnous, and the 'pinchShort

Sea-side fashions

(pince-taille)

'

gowns

Universal reign of crinoline Cashmere

The

The

'jump in' costume (saute-en-barque)

Wide and narrow skirts Clinging fashions Poufs

and bustles Valois fashions More erudition than
imagination A fin-de-sicle fashion in demand.
'

The
not

'

Eevolution of 1848, unlike the

afifect

mode

into

Fashion at

new

paths.

all

it

first,

did

did not drive the

In that day of topsy-

turveydom, when the whole of Europe seemed

244

YESTER-YEAR.

to be infected

by the revolutionary

spirit,

when

the excited brain of the nations was crowded

with
less

many

dreams, more or less

foolish,

mad

admitted to be
itself

been supposed

to

Mean and

be

or

indeed

'

set

'

it

it

might

by Mme.

ugly bonnets of a

smaller 'cabriolet' kind, tied

witli

so distinctly bourgeois tliat

Prudhomme.

more

nor'-nor'-west, conducted

with wisdom and prudence

remained
have

fair,

which may certainly be

fashion,

under the chin

narrow ribbons, were universally worn;

in fact only

one shape, with the curtain, and

ribbon-trimming, was in vogue.

were quite

Gowns,

too,

plain, the bodice very long, the skirt

straight.

With these Hat

mantles were worn.

dresses,

shawls and small

Such was the sober and

retiring toilette of the beuinninf; of the Second

Empire, a rgime destined to transform

it

by

degrees into a complicated, showy, and exaggerated costume, of doubtful taste and no stjde,

with the exception, about 1864, of a few passing

alterations and additions.

THE MODERN EPOCH.

The main idea
was concerned
to

give

to

all

toilette,

contemned

attacked,

hooted,

so

far as fasliion

the great innovation which was

the tone

caricaturists,

over

of the reign

245

was Crinoline,
by journalists,

husbands, everybody, but victorious

clamour and

the

all

the

mockery.

Bonuet, 1848.

as

well

as

over

the

blame which

it

really

deserved.
It

may be

said quite truly that

Empire woman occupied three

much

place in the world

ference

that

as

of

dyu'ing

Louis

under the

or four times as

at least in circum-

any preceding period, even

XV.

of

unvirtiious

memory,

246

YESTER-YEAR.

paniers.

was adopted

It

and

class,

more despotically than

reigned

crinoline

l'or

not consider themselves

unless

tliey

the

crinoline,
first

dressed

town

ladies.

made

the eye gradually familiar

enlargement

and

pure

for steel

of

skirts,

was abandoned,

simple,

delighted with

the

when

and

hoops, and then for the

with hoops and cross-bars of

were

on Sundays

and petticoats flounced with horse-

hair stuff, had

with

of every

the fields did

in

wore balloon-shaped steel hoops

like those of the

Bustles,

women

Ijy

worked

girls wlio

'

cage

'

the

ladies

balloon-like

effect,

steel,

and the cage-crinoline became fashionable

all

over the world.

It

is

unnecessary to dwell upon the

objections

to

what they were

but,

from the

ought

to

mode

this
or

upon

can

its

remember

inconvenience

aesthetic point of view, crinoline

be solemnly anathematized, ridiculed,

and excommunicated,
until the day of

name.

we

many

its

for ever

that

is

to say

re-appearance under another

THE MUDKllN
It

is

true tliat the skirts wliicli were spread

out over the

like

247

El'UCH.

much-reviled crinolines

wobbling

and

domes,

that

the

looked
entire

Criuoline.

toilette

style

was loaded in a heavy and awkward

with

common

little

stuffs,

eighteenth

shabby adjuncts
while

century

the

were

ap^ilied

worn

to

of

the

under

the

paniers

248

YESTEll-YEAK.

artistically-trimmed
rich brocade

and flowered

stuffs.

of

The exagger-

and the absurdity of paniers possessed

ation

charm

the

gowns made

skirts of

redeem

to

The masterpiece

ment.

while

gracefulness,

of

had nothing

its

crinoline

ridiculous

of Impeiial

movefashion

was overdone.
Witli these absurd and intrusive crinolines,

worn by the women of the

recall the

memory

period,

we may

of the Talma, the burnous,

a rather pretty Algerian mantle, the 'pinchwaist

in ribbed silk with pagoda sleeves

'

that pagoda sleeve

venient funnel

made

It

oh

was an ugly and incon-

by lace or fringe

uglier

trimming.
Special

mention must be made of shawls

the famous
'

tapis

Indian cashmere, and the large

The elegance

shawl.

'

been much lauded, but in

at

all,

unless

scarf,

What

is

it

of the shawl has

fact

it is

be small, almost as narrow as

and worn with an easy

there to be said

hitched upon

not elegant

its

carelessness.

for the big

shawl,

wearer's shoulders as though

PAHISinXNE

1835.

THE MODERN EPOCH.

upon a

clothes' peg,

and hanging straight down,

hiding her figure and her attire

it

is

249

an ugly garment, and

tit

Merely that

only to he worn

by market-women on Sundays.

Among

convenient inventions we

capelines, zouave jackets,

may

notice

red garibaldis, and

Al'^'l
Second Empire Bouuet.

figaros,

among

the commendable

novelties

of

the Empire.

Bonnets were not meritorious.

About 1863,

the cabriolet shape, with a curtain, and flowers

both outside and inside the brim, was universally

worn

it

was

in

fact

only the

original

big bonnet of the Restoration period, spoiled,

ridiculously trimmed,

able end.

and coming

to a

lament-

250

YESTEIl-YEAR.

Such, then, was the unbounded luxury with

which President Dupiu reproached the women

pamphlet that made

of the time, in the famous

a sensation in 1865,
its

the luxury which attained

utmost height in the great City on Grand-

Prix days, spreading from the hippodrome of

Longchamps

along

all

luxury which,

we were

the

boulevards,

made

told,

the

of Paris a

second Byzantium in decline, gave scandal to

the worthy bourgeoise in a

little

shawl, and

brought blushes to the cheeks of the rest of

virtuous Europe,
plicity,

constant to

still

and practising the

sweet sim-

Muslin

cult of Saint

at sixpence a yard.

This demoralizing and appalling luxury

have been unbounded, but

or in good taste, aud

it

it

was not

may

artistic,

conveyed at great cost

the impression of a sham.

Although the

enough

to

recoil

enable

us

has not yet gone far

to

estimate

judgment upon the fashions

Empire

period

as

whole,

of the

or

pass

Second-

without

being

influenced by the sense of something ridiculous

THK MODEllN
that

'gone

is

ont,' it

and the
it

always

very

conveyed

seems

artists of the

mncli

to

by

me

things

that

the

merely

women

next century will regard

we

as

251

Kl'OCJI.

do

now.

We

cannot

imagine the painters of that future day reviving

the fashions of 1860 in their pictures, for the

Piuch-waist.i

delight of fine ladies and

Americans

in

the

twentieth century.
Nevertheless, as the custom of sea-bathing

became more and more

to

diffused,

and was about

develop into a regular annual migration of

the whole of the middle classes to the

1

Pince-tiiillc.

Norman

YESTER-YEAR.

252

or Breton coasts, these habitual

summer

ex-

some welcome changes

cursions brought about

in fashion.

In 1864, short dresses had a brief triumph,

which originated at the fashionable sea-bathing

places.
Avith

No more

skirts

The

broad Hounces were worn.

but moderated in

Avas retained,

were

gowns

trailing skirts, or long

its

crinoline

width, and

caught up, and adorned

draj)ed,

with a great variety of ornamental trimmings,

all

large and effective.

Fancy,

which

had been suppressed

1830, was once more allowed some

play.

since

The

very smart short skirts displayed very smart

and much-adorned

boots;

thin

boots

little

were these, coming well up above the ankle,

and with high clinking

some

fine ladies

heels.

adopted the

For a short time

tall

Louis Treize

cane at the seaside.

To

this period wide

large sleeves,
called

Hats,

and

'jump-in'
quite

handsome mantles with

also

the

outdoor garment

(Saute-en-barque)

different

from

the

belong.

formal

tied

THE MODERN EPOCH.

bonnet, and

saucily perched

side, like bull-fighters' liats,^

feathers,

were worn.

The

253

little

on one

with big

tufts, or

hnir was dressed low.

^ihins^^
Large Empire mantle.

waved on the forehead, and placed

in a long

net at the back of the head.

Short
1

skirts,

Known

which suited the crinolines so

in

England

.1.^

tlie

'

pork-pie.'

254
well,

YESTER-YEAR.
with broad belts and buckles, and

braid and

gimp with which

all

the

fashionable costume

was covered, were, however, speedily displaced

by a return

to the objectionable long dresses,

and fashion immediately

The

crinoline itself

lost its smartness.

was eclipsed

for a while,

in 1867,

when

bodices

(denoting a revival of the taste

tragedy

flat,

trained gowns, and

fragments

from

the

'

peplum

'

for

French

great

tragedies were recited at this time at the CafConcert),

of the

down

little

big

'

ball-like

'

bonnets stuck on in front

chignons, with streamers

the back, called by the expressive

of " Follow me,

And

i^late

the

so

narrow

skirts

young man

fight

went on

to the

The big-hooped
and the

As width was
petticoat

still

it

and

beaten and

finally

crinoline

skirts

having held

crinoline,

domain of archaeology

like the panier

name

became popular.

between wide

out for a few years, was

dead.

"
!

now
is

belongs

an antique,

farthingale.
desired,

was succeeded by the

the

defeated

'pouf,' a

bunch of the gown-material tucked up

big

at the

THE MODERN EPOCH.

back over the
the path

width

Fashion was now on

skirt.

of anti-crinoline

of

was

skirts

255

reaction,

and the

and

re(Uiced,

reduced

until at last

gowns were actually moulded on

the body, a

mode which

were very

two

lasted

The

years, about 1880.^

but after a

pretty, very sthetic;

while the least

little

or three

fashions of that time

of width

increase

admitted, and soon after came the

'

was

tournure,' or

petticoat-bustle.

From
still

the

retain

period

of

the jersey

'

clinging

bodices,

'

gowns, we

which mould

the bust and the hips very becomingly.

jersey

is

The

admirably adapted to Avalking and

country costume.

For several summers, from

one end of Europe to the other, on every beach

in

England, France, and elsewhere, the jersey

was worn as a kind

women, young
all

girls,

of obligatory uniform
children,

girls,

were dressed in dark blue jerseys, orna-

mented with gold anchors

a

boys or

Children

sailor's.
1

still

every costume was

Avear this

'Tied-l)ack' time in Encjland,

becominsf

YESTER-YEAR.

256

and convenient garment, and now

adopted by tourists and

The day

being

cyclists.

sumptuary

of

is

it

edicts,

and

legislation

by governments with the object of restraining

luxury,

is

From

over.

the time of Philip the

Fair to that of Richelieu a long series of edicts

were

issued

applied
oblivion,

were

these

at

just

first,

always

before

they

rigorously
fell

into

even by kings who exhausted their

Treasuries by the extravagance of their Courts.

An
fop,

instance of this

Henry

is

afforded by the bedizened

who, in one of his

III.,

fits

of

repression of other people's lavishness, threw

thirty
in

women

one day

into the prison of Fort l'Evque

and

Parisian ladies
tion of brocade

The time
rescripts

is

of

for

and

having defied his prohibi-

silk.

sumptuary prohibitions, of royal

over.

industry and

they not the least among

In the general interests of

commerce,

all

luxury on a large scale must

that can develop

now be

fostered.

Luxiiry on a small scale ought, on the contrary, to

be repiessed as

much

as possible, or

MODES

]JH PI.AGIi 1S64.

257

THE MODERN EPOCH.

rather, it
evil

ought

was wrought

to

have been repressed

in past times,

and

is

it

the

now

past remedy.

Cliugiug

Ah

if fashion,

gowQ

which

before

is

l'"80.

mightier than kings

and ministers, than decrees, laws, and

edicts,

had but ordained the preservation of the old

feminine costumes of our provinces, the local
s

YESER-YEAE.

258

modes which were

many

in

instances so grace-

and becoming, those rural refinements which

ful

has so often borrowed, in the various

Paris

forms of o^owns, mantles, and head-dresses, the

Bressan

coifs,

Breton

coifs,

the lace caps of Caux, the large

Aries, &c., &c.,

have been

But

caps

the

Avhat

women

the

of

there would

salvage

fashion

did nothing of the

those pretty things have vanished

influx of

of

sham and shabby

kind, and

before the

finery, the tasteless

caricature of Parisian elegance, in the shape-

'confections'

less

turned

by

out

hundreds,

and convo3^ed into the r(motest parts of the

country

Local fashions, and the peculiar individual

grace of dress that belongs to special regions,

have

finally

ceded their place to

new

which are mostly pretentious and

The

'

from

all

for

'

costume of the country

our provinces

it

is lost,

the fashion of the towns

for the loss

by some

'

'

real grace

fashions

ridiculous.

has vanished

and now

it is

to indemnify us

and elegance.

THE MODERN EPOCH.

Fasliion

is

experiment
trying
past

the

in
for

a period of
lack

imitations

those

of

of

new

the

259
and

transition
novelties,

novelties

it

of

is

the

which have grown old enough, as

Empress

Josephine's

dressmaker

said.

Fashion goes from the Louis-Seize or Empire

'cut' to the

attire

of

the Valois, to

Louis-

Treize bodices, to mediseval sleeves, or else to

the leg-of-mutton sleeves of 1830.

see

what

will

come

We

shall

of these experiments,

and

whether, in the case of the art of dress as in

YESTER-YEAR.

260

that of every other art, the study of the ancient

shall bring forth tlie

new.

Let us hope that an original fashion,

de

sicle,' to

last arise.

use the current phrase,

'fin

may

at

If this be so, the granddaughters

of the fair ladies of the present day will be

able to form mental pictures of their grand-

mothers in

attire that

was

really their

a personal

possession,

and

not in

borrowed from

all

the a^es.

own,

costumes

APPENDIX.
BALLADE
DES MODES DU TEMPS JADIS.

Du

tout premier Vertiigadin,

Madame Eve

Celui qu'inventa

celui

qu'admirons soudain,

Que d'autres passant comme rve

Combien leur existence est brve

Tu

resplendis toujours pourtant,

beaut changeante sans trve,

Mais o sont

O donc

les

modes

d'antan.

es-tu, riche bliaut

Armori sur chaque maille,

Et le pelion d'Isabeau ?
EscofRon de haute

Pour qui

l'on vit

taille

mainte chamaille,

Hennin qui charma Buridan

Hlas, ce n'est plus qu'antiquaille

Mais o sont

les

modes d'antan

262

APPENDIX,
Oil est la fraise de Margot,

Et

le surcot

Oil sont les

doubl d'hermine,

manches gigot

Habit cavalier d'hrone

Que

portait Reine

ou baladine.

Large panier pompadourant,

Et toi-mme
Mais o sont

aussi, crinoline
les

modes d'antan

Envoi.

Dame,
Depuis

Qui

il

ne fut point de semaine

le

temps d'Eve pourtant

n'et caprices par trentaine.

Mais o sont

les

modes d'antan

NOTES.
Head-gear,

The following

etc.

See

lines bear witness,

to the height of the head-gear in

p. 168.

among

England

other matters,
at this time.

"The buckle then its modest limits knew,

Now, like the ocean, dreadful to the view,
Hath broke its bounds, and swallowed up the shoe
The wearer's foot, like his once fine estate,
Is almost lost, the

Ladies

may

smile

encumbrance

is so great.

are they not in the plot

The bounds of nature have not they forgot ?

Were thej'- design'd to be, when jut together.
Made up, like shuttlecocks, of cork and feather ?
Their pale-faced grandmammas appeared with grace

When dawning
No

blushes

The

foe

is

now

blushes rose upon the face

their once-loved station seek

in possession of the cheek

No

heads of old, too high in feather'd state,

Hinder'd the fair to pass the lowest gate
;

church to enter now, they must be bent,

If ever they should try the experiment."
Prologue to Sheridan's Trip to Scarhorwuyh, acted
in 1777.

264

KOTES.
Cadogan.

For the Cadogan

Dictionary.

(said

who

Earl of Cadogan,

See
to

p. 179.

be derived from the

died in

1726),

The following quotation

see
is

first

Murray s

given from

Memoirs of Baroness D'Oberkirch,vo\.. ii. chap. ix. " The

Duchess of Bourbon had introduced at the Court of
Montbliard [the fashion] of Cadogans, hitherto worn
only by gentlemen." It was a mode of plaiting and
looping the hair behind, and has been revived of late
years in Paris.

Guillotine.

The

guillotine at

this

Sainte Guillotine," and

See

p. 203.

time was canonized as " La

worn on necklaces

in place of

the cross.

Richard Clay

8;

Sons, Limited,

London

Sf

Bungay.

St. Dunstan's House,

Fetter Lane,
London, E.C. 1892.

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Celebrated Racehorses, 4 vols.

of

Women,

CLARK,

CELIRE.

See Low's Stan-

dard Books.

Changed

Cross, &c., poems, 2s.6(i.

Chant-look Companion to the

Common Prayer, 2s. organ ed.

;

CHAPIN,

Mountaineering

4s.

in

CHAPLIN, J. G., Bookheeping,

2s. e,d.

CHATTOCK,

Notes on Etching

edit. 10s. 6d.

CHERUBINL

See

Great

Musicians.

CHESTERFIELD.

See

Ba-

yard Series.
Choice Editions of choice boohs,
illustrated by C. W. Cope, E.A.,
T. Creswick, E.A., E. Duncan,
Foster, J. C. Horsley,
G. Hicks, R. Redgrave,
R.A., C. Stonehouse, F. Tayler,
G. Thomas, H. G. Townsend,

Birket

A.E.A.

A.,

DarJc Place of

the Earth, 6s.

K.

Mrs.

M.,

Southern

Cross Fairy Tale, 5s.

CLARKE,

C.

C,

Writers,

10s. 6d.

Percy, Three Diggers, Gs.

Valley Council; from T.
Bateman's Journal,

6s.

Classified Catalogue of Englishprinted Educational Works, 3rd

edit. 6s.

Claude

Colorado, 10s. Qd.

Physical Culture

Is.

and Letters,

126s.

new

Choice Editions
continued.
E. H. Wehnert, Harrison Weir,

Elizabethan Songs and Sonnets.

CARNEGIE, Andrew,
can

of Books

le

Lorrain.

CLOUGH,

See Great

A. H., Plutarch's

Lives, one vol. 18s.

COLERIDGE,
Squire,

C. R., English

6s.

S. T. See Choice Editions

and Bayard Series.
COLLINGWOOD, H.
See
Low's Standard Books.
COLLINSON, Adm. Sir R.,
H.M.8. Enterprise in Search of
FranHin, lis.

COl^BER,

J., Flowers

Decoration, coloured
Plates, 42s. nett.

of Japan;
Japanese

In

all Departme7its

COEKEGGIO.

Great

See

of Literature.

D'ANVERS,

COWLEY.

See Bayard Scries.

David. See Great Artists.

COX,

COZZENS,

American

P.,

Yachts, pfs. 211.

Elementary

Elementary
Music,

Archi-

new

History

of

2s. Gd.

Painting, by F. Cundall,

Books.

CRADDOCK.

Low's

See

Standard Novels.

CREW,

B.

Petroleum, 21s.
R. S., Soaj} and

J.,

CRISTIANI,

Perfumery, 255.
Mrs. B. M.

CROKER,

See
Low's Standard Novels.
CROUCH, A. P., Glimpses of
Feverland (West Africa), Gs.

a Surf-hound

071

new

Chad,

My

A.,

Jacl;, 7s. Gd.

Port

Brother

also 5s.

by II,
new edit, 5s.
D AVI ES, C, Modern Whist,
Tarascon,

7s. Gd.

4s.

DAVIS,
^'c,

C. T., BricJcs, Tiles,

new

edit. 25s.

Ma7izifacture

of Leather,

52s. Gd.

Mamifaciire of Paper, 2Ss.

edit. 5s.

CRUIKSHAN"K,

See

G.

Steam Boiler Incrustation,

8s. Gd.

Great Artists.

CUDWORTH,
Sharp,

DAUDET,
James,

Candles, 42s.

Is. 6cL

edit. 5s.

Art,

tecture, Sculpture, Painting,

edit. 10s. Gd.

art. pfs. 31^. 10s.

See also Low's Standard

N., Architecture

and Sculpture, new

Artists.

G. B., International

W., Ahraliam

Law,

lOs. Gd.

26.?.

CUMBERLAND,

Stuart,

Thought-reader's Thought:?, 10 s 6d.

DAWIDOYv^SKY,

Glue, Gela-

tine, ^''c, 12s. Gd.

See also Low's Standard

Novels.

CUNDALL,

F.

Great

See

Slialies^jpeare,

J.,

and

o^.

)d.,

2s.

CURTIN,
sians, lOs.

Myths of

J.,

the

Rus-

6cl.

CURTIS,

C. B., Velazquez and

Murillo, with etchings, 31s. Gd.

and

Anonyms, 2

Initials

and Pseudonyms,

ser. II., 2l3.

CUTCLIFFE, H. C,
Fishing,

DALY,

also

DE JOIN VILLE.
DE LEON,

boy,

Is.

See Bayard

Trout

new edit. 3s. 6d.

Mrs. D., Bilging,

SquattiMig, <^c., in N, 8. Australia,

12s.

Edwin,

Under

Stars and Under the

2 vols. 12s.
new edit.
;

DELLA ROBBIA.

the

Crescent,
Gs.

See Great

Artists.

Denmark and

Iceland.

See

Conn tries.

DENNETT,
among

vols. 52s. Gd.

edit. 2s. Gd.

Foreis^n

63s.

GUSHING,
2.'s.

new

Series.

Artists.

5s.

Day of my Life, by an Eton

R. E., Seven Years

the Fjort, 7s. Gd.

DERRY

(Bishop

DE WINT.

of).

See Groat

See

Artist.s.

DIGGLE,

J, W., Bishop Erascr's Lancashire Life, new edit.

12s. 6d.

popular ed.

3.9.

6d.

Sermonsfoi- Daily Life, 5s

;

Select List

DOBSO^, Austin, Hogarth,

with

Ac,

bibliography,

prints, illust. 24s.;

1.

paper

of

52s.

6cZ.

See also Great Artists.

DODGE,

Mrs.,

DONKIN",

Trooj^er

J. G.,

5s.,

and

Bedskin; N. W. mounted police,

Canada, 8s. Qd.

DONNELLY,

Countries.

Anti-Jacohin,

and 21s.
Educational

new

Co Zwmn, authorized

Cipher in Shakespeare, 2

vols.

30*.

Ragnarolc : the Age of

and Gravel, 12s. Qd.
DORE, GUSTAVK, Life and Reminiscences, by Blanche RooseFire

velt, fully illust. 24s.

DOS PASSOS,

J. R., Law of
Stockbrokers and Stock Exchanges,

DOLJDNEY, Sarah,
J.

D.,

Appliances, Practice,

new

Steam Engineer's Guide,

12s. 6d.

H.

Shooting

Sj'c, 10s. Gd.;

H. M., Friesland

edit, illust. 10s. Qd.

DOVETON,

F. B., Poems and

Snatches of Sotigs, 5s. ; new edit.

DU

Sutherland.

6d.

CHAILLU,

Paul.

M.

B.,

Dream of Millions,

Sfc, Is.

See Low's StandardNovels.

G. Cart, Jug-

EGGLESTON,
gernaut, Qs.

See Foreign Countries.

Egypt.
Elizabethan Songs. See Choice
Editions.

EMERSON,
English

("Verax.")
Prime Ministers.

DUNDERDALE,
Prairie and Bush,

Durer.

Preachers.

Is.

Idylls,

new

ed. 2s.

new

edit. 5s.

Pictures of East Anglian

Life ; plates and vignettes, 105s.

and

14:7s.

and

GOODALL,

Life on

the Norfolk Broads, plates, 126s.

and 210s.

a Tidal

]Vild Life on

See
See

8s. Qd.

George,
6s.

See Great Artists.

J.
OsATALD.

DYKES,

Dr. P. H., East

Water, copper plates, ord. edit.

edit, de luxe, Q3s.
25*.
K. W., hy G. W. COOKE,

Low's Standard Books.

DUNCKLEY

See

Great Musicians.

Naturalistic Photography,

Meres and the Netherlands, new

3.?.

American Steam

Modern Locomotive En-

Godica

edit. 7s. Qd.

DOUGHTY,

See

gines, 12s. Qd.

Durleigh, 3 vols. 31s. 6d.

DOUGALL,

Qd.

7s.

Engineer, 12s. Qd.

Coast Yarns,

35s.

edit.

Catalogue.

EDWARDS,

edition, 3s. Gd.

Doctor Huguet, 3s. &d.

Great Cryptogram, Bacon's

Poetrrj of the

new

Classified Catalogue.

Ignatius, ^^Zaw-

the Antediluvian World,

edit. 12s. Qd.

tis,

ftegar'e'

Echoes from the Heart, 3s. ^d.

See Foreign
C. H.

EDEN,

EDMONDS, C,

Hans Brmker,

the Silver Skates, new edit.

3s. fid.. 2s. 6cl. ; text only, Is.

of Books

Birthday Book,
Li Concord, a

3s. 6d.

memoir,

7s. Qd.

English
See

Catalogue,

42s.;
1872-80,
425.;
52s. Qd. 5 5s. yearly.

18G3-71,
1881-1,

In

all

Departments of Literature.

English Catalogue, Index

vii.. 2.js.

FEILDEN,

v. 45s.

vi.,

English Philosophers, edited by

E. B. Ivan Millier, M.A., 3s. 6d.
each.

Bacon, by Fowler.
Haniiltou, by Monck.
Hartley and James Mill, by Bower.
Sbaftesbnry & Hutcheson Fowler.
Smith, by

A. Farrer.

J.

ERCKMANN-CHATRIAK
See Low's Standard Books.

ERICHSON,

by

Life,

G. :Manville.
Low's Standard Books.

FENNELL,
FFORDE,
man, and

W.

C.

B., Subaltern, Policethe Little Girl. Is.

Trotter,

a Poona Mystery,

Is.

FIELD, Maunsell

FIELDS, James

Writers.

See Gentle Life Series.

also

Figure

10.S.

FINCK,

5s.

FITCH, Lucy.

Upper Ten, a

F.,

story, Is.

W.

E.,

Songs of the Birds,

J.,

An

Inca Queen,

5s.

John, Life of Mrs. GodolpMn,

EVES,

7s. 6d.

W.,

C.

West
A.

Indies,

M.

See

Preachers.

See Gentle

Familiar Words.
Life Series.

EARINI,

G.

A.,

Kalahari

C.

S.,

Hist-y

of

Sculpture, ^c., 6s.

INIaurice, Minnesota, 6s.

FAURIEL,

Last Days of the

Consulate, 10s. Gd.

FAY,

T.,

role. 35$.

Three

of

Henry

Record Series,

Holland.

Germanyt, 2

Pacific

T.,

See Nursing
Is.

FITZGERALD.

See Foreign

Countries.

Percy, Book Fancier,

and

5s.

12s. Gd.

FITZPATRICK,
Cruise in ihe

T.,

^gean,

Autumn

10s.

Gd

Holiday,

lOs. Gd.

FLEMING,
Canada,

S.,

E7igland and

6s.

Foreign Countries and British

Colonies, descriptive handbooks
edited by F. S. Pulling, M.A.
Each volume is the work of a
writer

Desert, 21s.

EARRAR,

6d.

Transatlantic

n. ed. 7s. 6d.

FAIRBAIRN,

Memoirs,

Coast Scenic Tour, 10s. 6d.

n. ed. 6s.

EVELYN,

T.,

Painters

G. E., Repmtance of
Magdalene Bespar, Sc, poems,

&

Memo-

See Great Artists.

EVAKS,
S.

B.,

Yesterdays with Authors,

16s.

English

on

tlie

12s. Gd.

Surgery, 24s.

Essays

Seo

Book of

J. G.,
Roach, n. ed. 2s.

Handbook of

.,

African Home,

ries, lOs. 6d.

Church, 2 vols. 24s.

ESMARCH,

My

7s. 6d.

Adam

Soyne

J.-,

FENN,

viii., 42s.

St.

IT.

Public Schools, 2s. 6d.

Mrs.,

Etchings, vol.
25s.

vol.
42s.;

1856-76,

1837-56, 26s.;
1874-80, 18s.

who has

special acquaint-

ance with the subject, 3s. Gd.

Australia, by Fitzgerald.
Austria-IIungary, by Kay.
Denmark and Iceland, by E. O.Ott.
Egypt, by S. L. Poole.
France, by Miss Roberts.
Germany, by L. Sergeant.
Greece, by S. Baring Goold.

lO

of Books

Select List

Foreign Countries, &c.

Japan, by Mossman.
Pern, by R. Markham.
Russia, by MorfiU.

FRANKEL,

cont.

Julius,

StarcJi

Glucose, ^"c, 18*.

ERASER,

Bishop, Lancashire

Life, n. ed. 12s. 6d.;

Spain, by Webster.

popular ed.

3s. 6d.

Sweden and Norway, by Wooda.

West Indies, by C. H. Eden.

FREEMAN, J.,3Ielhour?ie Life,

FOREMAN",

Phili2:)pine

FRENCH, .,Home Fairies and

M.,

French and English Birthday

Booh, by Kate D.' Clark, 7s. Gd.
French Revolution, Letters from

lights

J.,

Islands, 21s.

Heart Flowers,

EOTHEPJNGHAM,
Nyassaland,

rOWLEE,

L.

7s. 6d.

Japan, China, and

India, 10s. 6d.

6s.

illust. 24s.

Paris, translated, 10s. Gd.

ERA ANGELICO.

See Great

Artists.

ERA BARTOLOMMEO,

ALBERTINELLI, and ANDREA

DEL SARTO. See Great Artists.

FRANC, Maud

and shadoivs,

Jeanne, Beat-

Fresh Woods and Pastures Netv,

by the Author of "An Angler's
Days,"

5s., Is. Gd., Is.

FRIEZE,

Dupre,

Florentir^e

Sculptor, 7s. Gd.

FRISWELL, J. H.

rice Melton, 4s.

See Gentle

Life Series.

Eniih/s Clioice, n. ed. 5^".

Golden Gifts, 4s.
Hall's Vineyard, 4s.
Into tlie Light, is.
Jolm^s Wife, is.
Little Mercy ; for letter,

Froissart for Boys, by Lanier,

new

ed. 7s. Gd.

'

for worse,

is,

Marian, a Tale, n. ed. 5s.

Master of Ralston, is.
Minnie's Mission, a Temperance Tale, 4s.
No longer a Child, is.

Silken

and

Cords

Iron

Fetters, a Tale, 4s.

Two

Sides to Every Ques-

tion, 4s.

Vermont Vale,

plainer edition
2s. Gd.

France.

5s.

is ^JubZ'is/iecZ

at

See Foreign Countries.

Waves,
F., War,

FRANCIS,

and Wanderings, 2 vols.

24s.

See also Low's Standard

Series.

Frank's Ranche

day in the Rockies,

or,

My

Holi-

n. cd. 5s,

FliOUDE,

J.

A.

See Prime

Ministers.

Gainshorough

and

Constable.

See Great Artists.

GASPARIN, Sunny
Shady JVoods,

GEEECKEN,

Fields and

Gs.

British Empire,

7s. Gd.

Generation of Judges, n.e. 7s.6d.

Gentle Life Sei'ies, edited by J.
Hain Priswell, sm. 8vo. Gs. per
vol.; calf extra, 10s. Gd. ea.; 16mo,
2s. Gd., except when price is given.
Gentle Life.
About in the World.
Like unto Christ.
Familiar Words, Gs. ; also 3s. Gd.
Montaigne's Essaya.
Sidney's Arcadia, 6s.
Gentle Life, second seriea.
Varia; readings, 10s. Gd.
Silent hour; essays.
Half-length Portraits.
Essays on English Writers.
OtherPeople'sWindows,6s. &2s. 65.

Man's Thoughts.

In all Departments of Literature,

George Eliot, by G. "W. Cooke,
lOs. Gd.

See Foreign Coun-

Germamj.

GORDON,

School Electricity,

Years in the Soudan, 18s.

GHIBERTI & DOInTATELLO.

See Great Artists.

GILES,

Australia

E.,

Traversed, 1872-76, 2 vols.

Twice
30*.-.

See Low's Eeaders.

GILLESPIE, W. M., SurveyJ.

Mrs. J. E.
Electricity

by Harry

hook

Devotions, 2s.

GLADSTONE.

See

Prime

Ministers.

Devil and

the

Doctor, Is.

GLOVER,

World, n. d.,

Light

of the

2s. Qd.

GLIJCK. See Great Musicians.

Goethe's Faustus, in orig. rhyme,
by Huth, 5s.
Frosa, by C. A. Buchheim
(Low's German Series), 3s. 6c.

GOLDSMITH,

0., She Stoops

Conquer, by Austin Dobson,
illust. by E. A. Abbey, 8is.
See also Choice Editions.
to

GOOCH, Fanny C,

Mexicans,

16s.

GOODALL,

Life

and Land-

scape on the Norfolk Broads, 126s.

210s.

&EMERSON",

Pictures of

East Anglian Life,o 5s. and 7 7s.

E. J., The Best
Tour in Nor way, Gs.
A., Fen Skating, 5s.
N.

GOODMAN,
&

GOOD YEAR, W. H., Grammar

of the Lotus,

Gallery,

G3*'.

2 vols. 126s.

See also Great Artists.

Italian Dictionary,

GRAESSI,
3s.

Gd.

roan,

Ornament and Sun

Worship, 63s. nett.

5s.

GRAY,

T.

Great

Artists,

See Choice Eds.

Eiograj)hies,

illustrated, emblematical binding, 3s. Gd. per vol. except where

the price
R.,

ILand-

the Art Galleries of Belgium

Portraits at CastleHoward.
Quilter, illust.

See also Great Artists.

GIRDLESTONE, C, Private

P.,

to

5s.

Decorative

illust. 12s.

and Holland, 5s.

Northhrook
and 105s.

15s.

GLENELG,

IT.,

G OWER, Lord Ronald,

ing, n. ed. 21s.

and

Mag-

Electric Lighting, 18s.

tries.

Giotto,

H., Physical

Treatise on Electricity and

netism. 3rd ed. 2 vols. 42s.

GESSI, RoMOLO Pasha, Seven

GILL,

J. E.

II

is

given.

Barbizon School, 2 vols.

Claude le Lorrain.
Correggio, 2s. Gd.
Cox and De Wint.
George Cruikshank.
Delia Eobbia and Cellini, 2s. Gd,
Albrecht Diirer.
Figure Paintings of Holland.

Fra Angelico, Masaccio, &c.

Fra Bartolommeo, &c.
Gainsborough and Constable.
Ghiberti and Donatello, 2s. Gd.
Giotto, by . Quilter, 15s.
Ilogarth, by A. Dobson.
Hans Holbein.
Landscape Painters of Holland.
Land seer.
Leonardo da Vinci.
Little Masters of Germany, by
Scott

d.

de luxe, lOs. Gd.

Mantegna and Francia.

Mcissonier, 2^. Gd.
Michelangelo.
JIulready.
Muiillo, by Minor, 2s. Gd.

Overbeck.
Eaphael.

12
Great Artists
Rembrandt.

Select List

continued.

HADLEY,

Romney and Lawrence,

Rubens, by Kett.
Tintoretto, by Osier.
Titian, by Heath.
Turner, by Monkhouae.

Poiiraiis.
Gentle Life Series.

HALFORD,

F. M.,

Dry

Floating Flies, 15s.

& SO^j.

HALL, Hoo to Live Long, '2s.

HALSEY, F. A,, Slide Voice
Gears, 8s. 6d.

HAMILTON.

2s. Qi.

by

edited

F, Hueffer.
seriea
graphies, 3.. each :
Bach, by Poule.

of

bio-

English

See

Philosophers.

E.
10s.

Fly-fishing,

and

6s,

6(3.

Riverside Naturalist, 14s.

HAMILTON'S

Beethoven.

hook,

*Berlioz.
Cherubini.

Mexican Hand-

6tZ.

8.S.

HANDEL.

English Church ComposerB,

Great Musi-

See

cians.

* Gluck,

HANDS,

Handel,

Numerical Exer-

T,,

Chemistry 2s. 6ct.

out ans, 2s.; ans. sep. 6d.
cises in

Haydn,
* Marcello.

Mendelssohn.
Mozart,
*Palestrina and the

Fly.

fishing, n. ed. 25s,

Hals.

Watteau, by Mollett,
Wilkie, by Mollett,
Great Musicians,

with-

Handy Guide
Roman School.

to Dry-fly Fishing,
by Cotswold Isys, Is.
Handy Guide Book to Japanese

Italian School.

HARDY,

Islands, 6s. 6d.

Purcell,

Modern

Eossini and
Schubert.

Schumann.
Richard Wagner.
Weber,

A, S., Passe-rose, 6s.

Thos.
See Low's Stand-

ard Novels.

Are not yet published.

See Foreign Countries,
GRIEB, German Dictionary, n.
Greece.

ed, 2 vols. 21s.

H., Literature, 8s. 6d.

Camps in the

GROHMANN,

HARKUT, F Conspirator, 6s.

HARLAND, Marion, Home
Kitchen,

5s.

Harper''s
I. VII.

Young
7s. Qd.

HARRIES,
Record

People, vols.
each ; gilt 8s,

A.

See Nursing

Series,

HARRIS, W.
See

B., Land of the

African Sidtan, 10s, 6d. ; 1. p.

Low's Standard Books.

History of England,

HARRISON, Mary, Modern

Rockies, 12s. 6d.

GROVES,

J.

Percy.

GUIZOT,

illust. 3 vols,

per

re-issue at 10s.

6ci.

vol.

History of France,

illust.

r9-lssue, 8 vols. 10s, 6d, each,

.

See

Half-length
2s. 6cl.

Velasquez.
Vernet & Delaroobe.

GRIMM,

Roman Law,

J,,

7s, Q.

Reynolds.

Vandyck and

of Books

Abridged by G, Masson, 5s.

GUYOX,

Madame,

Life, 6s.

31s. 6d.

Cookery, 6s.

Skilful Cook, n. ed. 5s.

Mrs. B. Old-fashioned
Fairy Book, 6s.

W., London Houses,

n. edit. Is. 6d., 6s.

not

Illust.
2s. 6d.

>

In

HARTLEY

Departments of Literature

all

and MILL.

See

English Philosophers.
HATTON, Joseph, Journalistic
London, 12s. Gi,

See also Low's Standard

Novels.

HAWEIS, n.^.,Broad Church,

HILL,

Poets in the Pulpit, '10s.6d.

new

edit. 6s.

also 3s.

son, 63s,

See Great Musicians.

HAZLITT, W., Round

Table,

See

R.

Illus.

16s.

L.,

proving Wills u-ithout

Mrs. Cashel.
Low's Standard Novels.

HOFEER,

Caoutchouc

See

Gutta

4-

HOGARTH.

See Gr. Artists.

See Great Artists.
Charles F., Ivory

HOLBEIN.

King, 8s. 6d.

Living Lights, 8s. G(7.

Marvels of Animal Life,

HOLM,

B.,

HOLMES,

Richmond,

HERBERT,
Sandwiches

Salads

Our Boys, and

to do with
Service, 5s.

Them; Merchant

what

Yachts, Boats,

and Canoes,

lOs. 6d.

HIGGINSON",

Is.

6d,

Our

8s. 6d.,

Is.

Hundred Days
new

edit. 6s.;

1.

in
paper

15s.

Poetical Woi'ks,

new

edit.,

2 vols. 10s. 6d.

Works, prose, 10

6c?.

S.,

C.

and

Europe,

and

Wendell, Before

Mortal Antipathy,

Standard

Australiana,

T.,

and Morals,
2s.

5s

Miller,

Over the Tea Cups, (})S.

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John

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We

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21

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22

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24
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See Great Musicians.

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Life,

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Engl. Painters,
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In
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all

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Is.

10s. Qd.

Roger

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Sir Ludar,
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25

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26

Select List of Books

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ROSSmi, &c., See Great

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See

Great

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Leader, Renaissance

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See also Illust. Text-boolcs.

Sir Gilbert, Autobio-

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SCHILLER'S

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SCHAUERMANN,

27

SOMERSET, Our
5s.

SjJaiyi.

See Foreign Countries.

SPAYTH,
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