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Drawing by Drian

Frontispiece

Courtesy of Harper's Bazai

COSTUME DESIGN
AND ILLUSTRATION
ETHEL TRAPHAGEN
and Brooklyn Teachers' Association Classes; formerly on the staff of Dress Magazine and The Ladies' Home Journal
Industrial Art,

and Lecturer York Evening School of

Instructor

at Cooper Union,

The New

'H'

FIRST EDITION

NewYork
CHAPMAN

JOHN WILEY
&

1918

& SONS,

Inc.
Londok

HALL, Limited

Copyright,

1918,

by

ETHEL TRAPHAGEN

PRINTEBS

Art Library

^rr rr
50'f

THIS BOOK

IS

SINCERELY DEDI-

CATED TO MY STUDENTS, WHOSE ENTHUSIASM AND SUCCESS HAVE BEEN

ITS INCENTIVE

AND INSPIRATION

THEPREFAGE
Costume Design and Costume Illustration
upon
as distinctly different branches
is

are not always looked

of

but in truth there

a marked difference

what is termed fashion work, between them.

^ In the former, one must consider the judging of color, and all that this includes by way of harmonies, contrasts, areas, etc.; the relation of spaces; (?) proper proportions; and the beauty and effect of line, balance and scale
(\j

^
^^
Oft

arrangements for the production of a design that

frivolous, dainty, formal, or subtle, to express

is

dignified, fanciful,

the designer's conception

to the wearer.

of the purpose of the

costume and

its suitability

(^
,

The costume

^
^
("V

hand, has the privilege of representing the garment after it has been designed he must be able to render the material with his pen, pencil or brush in such a way
illustrator,

on

the

other

that the actual design

there are

is

many ways

of

not robbed of any of doing this, according

its

to

charm. Of course, the technique and

or temperament of the artist, as well as the different methods customary for the special use for which the design is intended. It can easily be seen how advantageous it is to any fashion artist, whether designer or illustrator, to have an understanding of both branches to get the best out of either, for they have much in common.
sensitiveness

The

designer and the illustrator should both have a knowledge and a keen

appreciation of the beautiful lines of the

lines are

human

form, to

know what

important to emphasize and what to conceal in a figure which may not be perfect. Drawing from the nude is of great advantage to the student, and no serious costume illustrator should be without this
valuable training.

There are some books which may help the ambitious student in the life class to observe and impress on the mind fundamental facts which it is believed most life-class teachers will agree in thinking extremely useful. Among these are Dunlop's Anatomical Diagrams, Figure Draicing by Hatton, Anatomy in Art by J. S. Hartley, Richter, Marshall or Duval, and Drawing the Human Figure by J. H. Vanderpoel. If the student is studying without an instructor, Practical Drawing, by Lutz, will be found helpful.

Ethel H. Traphagen,
New
York,
1918.

THE CONTENTS
CHAPTER
I.

PAGE

Sketching

II.

Drawing without Models

Methods
Color
Design

....

13

III.

27

IV.
V.
VI.
VII.

63
75

The Fashion Silhouette

Period Fabric Design

.....
...

83
91

VIII.

Outline of Historic Costume

Bibliography

99

IX.

.127

X.

Costume,
ally
XI.
Artists

Reading and Reference List of Arranged Alphabetic137

whose Work Has Bearing ON Period Fabrics or Costume 185

.

XII.

Index

199

SKETCHING
CHAPTER ONE

COSTUME DESIGN AND ILLUSTRATION

CHAPTER ONE
1.

SKETCHING
lines

Forms.
it
is

In

both

of

fashion

farthest point out of the other oval, to

work

necessary to be able to eon-

struct quickly a

form on which to sketch

or design a dress, and, like the forms in

represent the skirt. Connect these and you have a form. See Fig. 1. The bust and hip should be on a line, and for the

fufthat

Fig.

1.

First steps

in constructing

a dress form.

store windows, this should be constructed

to enhance the

good

lines of the

garment.

present-day silhouette the connecting lines should be but slightly curved.

Care must be taken, however, never to

confuse this with the
structure of which
is

Next,
sleeves,

extend

the

human
of
tw^o

figure, the

add the
line,

collar

two lines for the and put in the

entirely different.

centre
this

which, in the front, follows

The
form
is

simplest

way

obtaining
ovals.

by drawing

First,

the outside line of the waist and goes straight in the skirt. See Fig. ^. (Of
course,

make a

straight line for

the shoulders,

the proportions
i.e.,

differ

according

then swing an oval, somewhat foreshortened, from the shoulder line, to repreNext, swing another sent the waist. more elongated oval, from near the ending points of the first oval, having the
farthest

to fashion;

the normal waist would

skirt of the

go but twice into the short

summer of 1916.) It note how the reverse of

is

interesting

to

this straight line

and curve forms the back.

In making the

part

out

always

opposite

the

back, connect the ovals in the same

man-

Page
ner,

Two
the straight
full

SKETCHING
front view, because of

straight in the waist

skirt.

but note that the centre Hne goes and curves in the
See Fig.
3.

the advantage of showing the side of the

dress as well as the front.
tion
of

An

The waist and collar lines curve up. The normal waist goes into the skirt about

fashion
is

publications

will

examinaprove

how

general

this preference.

JlJlu
Fig. 2.
Fig.
3.

Fig. 4.
2. Summary. The main points to be remembered are that the bust and hips, for the present silhouette, should be on a line, that the arms bend at the waist line or a little above, and that the normal

two and a half times, and the sleeves bend at the waist line or a little above.

The supporting
elbow,
it
is

points

at the shoulder,

and hips should be marked, for these points that most affect the
little

drapery.

waist goes into the instep

application, these forms

length skirt

With a

may

of doing

soon be mastered, and the practice them rapidly and turning them

about two and a half times. In the front view remember that the
centre
line follows the outside line in the waist and goes straight in the skirt, that in the back the centre line goes straight in the waist and curves in the

See both ways makes for proficiency. Observe that three-quarter front Pig. 4. and back views are used in preference to

SKETCHING A GARMENT
skirt.

Page Three
have the centre
line of your sketch correspond with the centre line of the garment. You will find the proper observation of the centre line an infallible guide

(The centre hne

is

the centre of

the actual figure, not of the sketch.) The collar and waist lines curve up in
the back and down in the front. The bottom of the skirt describes a circle;
therefore,
like

in giving

you the proper

relation of the

the

sketch to the gar-

waist

and

collar,

ment.

the line curves, but

im
V'

Next observe
the
large,

always downward. The shoulder lines

should be
slant as

x\

imporsleeves,

tant facts

such as

made much

to

length of

as
re-

jU

length of coat, the

the

silhouette

quires.

For this work

use an H.B. pencil,

Eberhard

Faber,

Ruby
eraser,

or

Emerald and emery

long, important lines and be particular to put in the seams; but leave details such as embroidery,
lace, tucks, plaits,

board pad.

The

gathers, etc., until

point of the pencil

the
5, 6,

last.

See Figs.
7.

be kept very sharp by conshould

tinually pointing
it
'[]'"! ]''"".<

and

After the lengths

^

of the sleeves,
waist,

on the pad. From

the start great attention should be

coat,

etc.,

paid to a clean-cut

and beautiful line and to the proper

placement
paper.
of

the

Fig. 5.

Pencil sketch of a
pressed

suit.

determined, you must strive for skill in keeping your pencil line clean and sharp. This gives the
are
much-desired, well
to

sketch on the
See under " Greek Law," page 27. 3. Sketching a Garment. After the form is mastered up to this point, the

newness
After
accents

the

garment.
is

To

keep

this effect,

beware of too rounded

the

curves.

sketch

finished,

next step

is

the sketching of a garm^ent

on the foundation drawn. If possible, have as a model a simple dress or suit on a

coat-hanger, or preferably a dressmaker's form; then find the centre line of the

garment and see on the oval form

that,
first

in

sketching

it

constructed, you

be put in, in places where shadows would naturally be; this gives added interest to sketches. From the first, observe and work for Notice how delicate, light lines texture. express thin material better than heavy, hard ones. After ability of this kind is
should

some

Page Four
acquired,
speed.

SKETCHING
is

the next step

in

to

work

for

sories,

is

absolutely necessary in fashion

is

Garments
is

shop windows give

work.

It

helpful,

first

for

your own

excellent opportunity for sketching

when

the student
4.

trying to acquire speed.

Sketching from Memory.

Training

convenience when you see things you wish to remember, or when you wish to explain things seen to some one else, next,
in gathering ideas

the

memory
is

in
also

sketching

to adapt to your

most important. A good way to do

this
is

own designs, and again, in doing

sketching for newszines.

to sketch

from memory what has been

drawn from
ths

papers or magaDesigners
manufacturers

for

garment the day

before. Another

find

it a great boon to be able to

good way
either
in

is

to

sketch in their exploring trips in the

observe a dress
a shop

shops and along

Fifth Avenue.

window or on a person, and then,

Sketching

for

without again
looking to aid the

memory, to try to put on paper all you remember. It

is

manufacturers is done for two purposes: To give Ihem the latest

French models
from the "Openings" from which to make exact copies or something adapted to
their special trade

well

to

verify

this sketch by
comparing it with the garment, to
find out

how much

you have forgotten

and where you have made mistakes. To be able

to sketch from

needs, and to give

FiG. 6.

Preliminary pencil sketch of a gown

for their reference

them an inventory
of their

own
is

stock
little

a truly valuSo much able asset in costume work. can be carried away in one's mind from "Openings" and places where sketching
is

memory

and convenience.
a

Sketching for dressmakers

line of fashion all its

own.

The

sketches

for

not possible. A knowl5. Sketching from Garments. edge of the proper way to sketch garis

them must be daintily finished, as they are to be shown to the customer and play an important part in the sale
of

ments such as gowns, hats, and acces-

the gown represented. The simple ones (see Fig. 6) are done in pencil, with-

SKETCHING FROM GARMENTS

Page Five

Fig. 7. Illustrating a variety of details.

out heads, but with a styhsh foundation

but as a rule the more finished dressmakers' sketches

form underneath, with sometimes a

little

are done on
figures express-

color
in the

ing some action

added

and illustrating
the presumed effect of the gown on the wearer. See

background to

throw

the

sketch out.
Sometimes they
are
still

more
Fiq. 8.

finished

though

without heads,

and 14. WTien sketches are being

Figs. 13

Page Six
done
an additional small drawing should be made of the embroidery at the side of the paper. Textures and colors should always be noted on the sketch as well as details, such
for embroideries, detail

SKETCHING
on the
in the
color. The usual method is to put shadows first, the light big washes next, and the detail last. Clear color is used as a rule but opaque or tempera is often used in small areas combined with

as the
etc.,

number

of buttons,

in order that there

the clear color sketch; sometimes opaque paints

are substituted.

may be no confusion when

making the finished sketch
at

(See Page and description under

home

or in your studio.

Color,

page

68.)

Pen-and-

A convenient
rough sketches
one-half inches.
sizes

size for

ink outlines are often used

for these sketches

is six

and

and kid

Practical
dress-

bristol or illustration board

is

for

finished

considered the best kind

makers' sketches are from

ten to twelve inches when heads are included; without heads, six and onehalf or seven inches. Wide margins lend distinction.

of paper.
6.

Hats.Much of what
also

has just been stated applies

in

sketching

hats.

Care should be
of the

taken to express the most

characteristic side

Some of the

well

known

hat; in other words, catch

its

French designers are Paul Poiret, Cheruet, Beer, Callot Sceurs, Paquin,

"feature."

Be

careful

not to lose the relation of the crown of the hat

to the head.
sible,
it is

Martial and Armand, Francis and Drecoll. Always note the designer's

When
for

pos-

best to have

some one pose

insure

you to
angles.

name on your

sketch as

the
12.

right

well as the texture, color,

See Fig.
further,
15,
Fig. 9.

and detail. The name of the design always enhances

the
value
of

Before going into this

consult
17.

Section

page

sketch.
these

Always place
on
the

sketches

^Theatrical design.
the
in

By William

Gebhardt

Theatrical designs and

sketches are carried out in

paper according to the Greek Law, i.e., most margin at the bottom of the paper.

hats
tion
7.

When making
kind,

and
in

a finished sketch of this a pretty pose should be chosen, this should be thought out and

manner of the other sketches of and dresses, but a greater liberty the way of eccentricity and exaggerais

permitted.

See Fig.

9.

Accessories.

In

connection

with
col-

practically finished in pencil;

then draw

sketching, the student would do well to

the garment carefully before putting

pay attention to accessories such as

SKETCHING FROM LIFE

lars,
shoes.

Page Seven
on the paper, and where it is to end, leaving good margins (more at the bottom than top), and block in between
these spaces.

sleeves and
It tends to of the
to
of

much greater facility

on the part
these

?.A*S

student to arrange
according
the Greek

Law

After-

proportion, page 27. For suggestions

see
Fig.

11

wards make sketches from memory of the pose you have been
studying.

on

this page.

8.

Sketching from

Life.

Sketching

When doing rapid

sketching
to

catch

from life is strongly advised; drawing from the nude is of

the action of a figure

in

motion, indicate

the position of the

great advantage when done with unIn all sketching and drawderstanding.
ing
it is Fig. 10.

head, hands, and feet

Courtesy of Gerhard

Menncn Co

and

fill

in the rest.
is

Crayon drawing.

Excellent practice

obtained
five,

in

doing

advisable to

seven, ten, and

block

in,

or in other

words, sketch

with

minute poses from the nude or

fifteen

light lines the general

draped model.
These quick sketches

proportions, using tentative or trial lines and "feeling

for" the form.
Figs. 15, 16, 18,
19.

often

afford

good

action poses that can

See

and

be carried out and used to great advantage.

See Figs. 40 and

Never complete one part before another part is

thought out;
fix

41.
will

This sketching

be most helpful

in assisting the stu-

never

dent to obtain a professional touch

your attention
outline,

and

on the

but rather on general

proportion,
or

an individual More and

stress
is

style.

more

the

being laid

result will be unhappy. See Fig. 17. Decide where your drawing is to begin

on the well-drawn
figure underlying the

fashion drawing and

Fia. 11.Shoes

drawn by

Elfrida Johnson.

too

much emphasis

Page Eight
cannot be put on the value of drawing this figure with understanding and appreGreat care should be given the ciation.

SKETCHING
"When drawing from fife, it is a good plan to put yourself, in the same pose as the model; that is, imitate as well as
you can, the
ac-

study of hands and feet, as these play an important and telling

part in fashion work. See Frontispiece
10, 27,

tion, the disposi-

tion of the limbs,

and the pose

the
head.

of

and Figs. and 28.

mimicry it will only be that sometimes, as you will

find that different

This

The student is advised to make

copies,

persons have dif-

by way

of

from the hands in Vanderstudy,

ferent ways of carrying themselves,

poeVs Human Figure and then to

and you

make

studies

from life. It is important in this work to observe from which side the light is coming.

can perhaps only approximate the pose of the model

will give

you a

better understand-

(See
29.)

Figs.

28 and
It
is

practical

pose and impress itself on you mentally and further the work of picturing of the ing
it.

to

make

the

life

studies in a loose,
artistic

manner,

"Note how, when the hips

slant one way,
the shoulders, to

in charcoal, chalk,

and afterwards to draw

etc.,

counterbalance,
incline the other

from

this

sketch
figure,
Courtesy of

another

way and the head

;

copying the pose and keeping the action, but refining

it slightly,

again to preserve
N.Y.
Globe

Fig. 12.

An example

of hat illustration.

the balance,

tilts

away from

the

to make an attractive fashion

drawing on which to put the dress from one's costume sketch See Figs. 40 and 4 1
.

Lutz,

in

his

book

entitled

Practical

This applies to the greater part of poses. Sometimes, though, models deviate from the general." This to observe in your is valuable advice
falling

shoulder.

Drawing, wisely says:

work.

SKETCHING FROM LIFE

and 14 show two treatments of Fig. 13 is done in a reahstic way, in Fig. 14 the conventional method is used. In Fig. 13 hght
Figs. 13
in clear
is

Page Nine
water color. The tempera paint put on in one flat tone and allowed to dry the other colors are then put on over The opaque paint has the advantage this
;

the same kind of sketch.

Fig. 13.

Complete dressmaker's sketch done

parent water color.

in trans-

Fig. 14.

A dressmaker's or manufacturer's sketch

in

Courtesy of Henry Block.

colors.

tempera

and shade have been considered while in Fig. 14 these have been eliminated. Fig. 13 has been done in transparent water color, Fig. 14 is done in tempera, an opaque or body color, except the chiffon, flesh tones, and hair, which are done
*

worked over. to avoid shading, and to keep to

of being able to be
;

It

is

best

flat tones.

In this sketch the folds are indicated with strong pencil lines this same line effect can be done with lighter or darker values of the tempera used for the garment.*

With

flat

transparent washes, pencil lines often are used most effectively in making a colored sketch.

Page Ten

SKETCHING
"

^;v
-

^-'V

\.

h
Second stage of sketch of dog.
one part
CoiirUsy of Che Prang Co,

CouTtesy of the Prang Co.

Fig. 15,

First stage of sketch of dog.

Fig. 16.

illustrations on page show one of the most important things to be considered in all kinds of drawing, whether it be from

The

this

n
--

centrating on any
in detail ; re-

membering never
_._
]

to

finish

one part before

the other parts are

life,

from memory,
and that
is

chieing, or even copying,

get-

V
Fig. 17.

)<^^

ting the general pro-

thought out. Fig. 17 shows the danger of fixing your attention on the outline. It is always advisable to
block
in.

portion and action of

the whole, before con-

Incorrect way to start a sketch.

Courtesy of the Prang Co.

(See Figs.

15 and 18.)

'%^i<^

Courtesy of the Prang Co. Fig. 18. First stage of sketch of boy.

Fig. 19.

Sketch of boy completed.

Courtesy of the Prang Co.

DRAWING WITHOUT CHAPTER MODELS TWO

CHAPTER TWO
9.

DRAWING WITHOUT MODELS

using one inch as the unit of measure.

ure.-

It

To Set Up a Well-proportioned Figis best to understand how to set

This gives the height of the

figure.

Mark

up a well-proportioned nude figure "out of one's head" or chicing a figure as it is

sometimes
called.

each of these divisions with a dot. The figure is divided into four important sections;

See Fig. 21.

To

con-

the head, torso, arms, and

legs.

struct this figure find the centre of the

To keep
we
will

the drawing as simple as possible

paper, through which run a vertical

line.

have to
it

start,

in

some

detail,

The head

is

the unit most useful in meas-

with the head,

being our unit of measure.

Dratm

hy Reta Senger.

CouTtesy of Good Homekeeptng,

Fig. 20.

Editorial featuring infants' wear.

this

uring

the

instance,

human figure, and in we will use it, making it,

we
are

for

convenience' sake, one inch long.

(The

dimensions
cause

are using will vary slightly

To construct the oval which will be used for the head, mark off the first inch and divide this one inch vertical line into three equal parts. At a point just a
little

from those given in most anatomies, be-

below the

first

third just established,

we

constructing

figure

to

draw a
length

light horizontal line of indefinite

use in fashion work, where slimness is the chief requirement.) Mark off on this
line

and mark
little

off
less

equal to a

on it a distance than two-thirds of

seven

and one-half heads,

in

this

the one-inch vertical line and so spaced

that the vertical line exactly bisects the

case seven and one-half inches, as

we

are

Page Fourteen
horizontal line.
plan.

DRAWING WITHOUT MODELS

Construct an oval on this
intersects the curved line of the

neck

is

Horizontal

lines

drawn through the

and the
tip of

points that divide the vertical line into

thirds give the eyebrows

on the shoulders. The second "head" or unit of measure gives the bust line. Curve the line insets

where the neck

dicating the bust section.

the nose.

A horizontal line drawn through

The

third

"head"

gives the placing of

a point one-third of the distance between the eyebrows and the tip of the nose

the abdomen.

marks the centre of the eye socket, and a horizontal line drawn through a point one-third of the distance between the tip of the nose and the base of the oval marks the centre of the mouth.
Divide the horizontal eye structure line
into five parts; the middle space represents

One-half the distance between the bust and abdomen, or between the second and
third
this.

head,

is

the waist
of

line.

Indicate

The

centre

the figure comes

the

parts on each side the eyes.

width of the nose, and the nearest Guide lines

above the fourth head, this is end of the torso. The line of the hip is halfway between the third and fourth head. Establish the width of the hip line by verticals from the shoulders.
slightly

also the

dropped from the centre of the eyes, vertically, give the corners of the mouth. For the ears extend a line a little beyond the oval on each side of the head, from the first third to the second third, or, in other words, from the line indicating the eyebrow to the line indicating the end of the nose. Continue the bisecting vertical line

11. The Legs. The knees come halfway between the hips and the soles of of the feet. The ankles come at the seventh head. The width of the ankle
is

one-third the width of the hip

inside ankle
is

line.

The
low.

high, the outside ankle

The

calf of the leg is

about one-half
calf.

the width of the hip,

of the leg
12.
is

the outside calf

higher than the inside

The Arms.

The length of the arms,

wrist

down
line

one-third of

its

length, to establish

stretched out horizontally including the

the pit of the neck.

Draw a

horizontal
lines
line.

shoulders and the hands, equals the length

of the body.

through this point. Drop guide from the base of the ear to this Connect the extremities of these guide

The

comes at about

lines

with arcs curving slightly towards each other, thus giving proper expression to
the neck.
10.

The elbow comes at the waist lines. The pit of the arm is one third each shoulder. With these measthe end of the torso.

The Torso.

Three-quarters

of the

length of the head gives the width of each

shoulder and of each hip.

Cut the

dis-

tance between the chin and the pit of the neck in half by a dot placed on the centre

urements established, block in the figure and features. 13. Other Positions of Head and Figure.The diagram of a woman's figure on page 72 of Dunlop's Anatomical Diagrams will be found helpful to the
student, at
first,

in blocking in the figure.

Connect this point with the point made in marking the width of the The point where this line shoulders.
line.

After the proportions are well understood, the figure

and head may be turned

for this the

in other positions;

"tooth-

THE FIGURE

Page Fifteen

PIT OF

ARM ONE-THIRD width OF SHOULDER

IsT

HEAI>

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

SHOULDER LINE ow pit of neck

ONE-THIRD HEAD BELOW CHIN

2nd

head

BREAST LINE

WAIST LINE

ONE-HALF WAT BETWEEN 2nd AND 3rd heads

ELBOW LINE
Sbd

head

ABDOMEN

HIP LINE one-half way

be-

tween 3rd and 4th heads

END OF TORSO a little above

4th

head

4th head whist line

6th

head

KNEE LINE
OF FEET

is

one-half way

BETWEEN HIP LINE AND SOLES

6th head.

7th

head

ANKLE LINE

7iTH

HEAD.
Fig. 21.

SOLES OF FEET
Drawn
by Gertrude F. Derby.

Construction

of fashion figure without model.

Page Sixteen

DRAWING WITHOUT A MODEL

Courtesy of Vogue.

Fig. 22.

Modern fashions by Helen Dryden which show influence of Kate Greenaway.

ities

a figures" (see page 22) make good foundation, helping to make simple For the foreshortening then necessary. suggestions for turning the head in difpick
ferent positions, see Fig. 23.
14.

on the human body

in

the world,

says a child grows as follows:

First, in

breadth and height from birth

to the end of the fourth year.

Second, in height from the fourth to

Children's Proportions.
in Fig. 24
in
illustrates

The chart
the propor-

the beginning of the eighth year.

Third, in breadth

shown

from the eighth to

the

tions found

various stages of devel-

the tenth year.

Fourth,
in

opment. In infancy, or at the age of about six months, the head measures about
four times into the height;
at four years,

height from

tenth

to

the fifteenth year,

when

the youth gets

is

lanky, thin and angular; this

the period

the head measures about five and

fourth times into the height;

one-

at seven,

and one-half times; at ten years, about six and three-quarter times; at fifteen, about seven times; and in the adult from seven and a half to
approximately
six

when the hands and feet look too big. Growth then continues to manhood or womanhood.
In drawing children, great care should be taken to keep their legs, at the slim period, long and slender. Care must be taken not
to

eight times.
it

Children's heads, therefore,

make them
their

developed, which detracts

should be noted, are larger in proportion than those of the adult, the eyes are

from

childlike

charm

and

makes

wider apart, the nose shorter, and the

lips

somewhat
and

fuller.

See Fig. 22, also

Fig. 24

Figs. 20, 94

and

95.

In studying children, look at good illustrations by Kate Greenaway, Jessie Willcox - Smith, Elizabeth Shippen Green, Birch, and Helen Dryden.*
vulgar.
15.

them look

Professor C. H. Stratz of

Holland,
*

who

is

The Hague, one of the greatest authorillustrated

Heads and
and

Faces.
is

The
of

general

shape of the head

Scott,
also " Figure

that

an oval
by

See "

Caroline

Happy All Day Through," Hunt Rimmer.

by Janet Laura

Drawing

for Children "

HEADS AND FACES

Page Seventeen

Fig. 23.

Showing construction
obare

lines that help in

drawing heads.

with the greatest width at the top;

serve this, too, in side, three-quarter and

back views of the head.

in

The eyes

the centre of the head, and the end

of the nose is halfway between the eyebrows and chin. See Fig. 23. The eyebrows are on a level with the top of the ear, and the lower end of the ear on a

Courteav 0/

Year

7 Years

10 Years

15 Years

Home Pattern Maturity

Co.

Fig. 24.

Proportion of figure at different ages,

Page Eighteen
This forms a level with the nostrils. never-changing axis on which the head
turns up and down. Note how the features are located in these changes, and how the fore-

DRAWING WITHOUT MODELS

rubbed out except the nostrils, but they will appear more correctly placed than when put in without this foundation thought. See Fig.
25.

shortening
plified

is

simof

by means

method. In drawing heads althis

In drawing the mouth, think first of a Cupid's bow, the string of which in the is broken
centre;

ways use the centre c^"^ and other construction lines.

then

suglip,

gest the lower

shade the upper

the head
up,
lip,

When
is

which is always

turned

we

darkest as the
lower catches the

see
less

more chin and

forehead
;

when turned down, more

chin.

forehead and less

The eyes

are

light, and you have the mouth. Never make a hard line around the
lips,

one eye apart, and the lower lip ends at about half the distance between the nose and
chin.

as

it

destroys

the flesh-like quality.

See Fig. 25. In making the eye,

lid.

al-

A triangle is helpful
and
great

ways hold the pupil in by

the line of the

in dividing the face into

Block

planes,

care
to

in the head, ears, hands,

should be taken
ignore the cheek,

not

and everything before

putting in the detail.

jaw and

Observe that cheek bones come slightly below the eyes, the jawbone slightly below the mouth. In drawing the nose it is helpful to think of a little round knob; from which extend the nostrils,
chin bones. the

Hair should be expressed waves of light and dark, not by single lines (unless
in

you are making a decorative,

unrealistic

drawa

ing).
face

Never draw

clean-cut line between the

and forehead, because

the hair in
Courtesy of Vogue.

many

places

sketch in

the sides, and

Fig. 26,

blends in with the tone of

the planes.

extend a line suggestive of Afterwards everything can be

the face. See Fig. 26 and observe other drawings that show hair.

HANDS AND FEET

16.

Page Nineteen
next step
is

Hands and

Feet.

The
in.

high,

using the Greek

It
is

Law

of arrange-

should be a careful study of the hands

and
first

feet.

The drawing

of these

sim-

plified

by looking

for the large

masses

10,

and blocking them and 28. For

See Figs. 27,

and but study also welldrawn examples to see how they are usuNotice how the inside of ally rendered.
ment.
well to use real shoes
slippers for models,

the foot is straight-

example, in drawing the hand, deter-

mine the

relation of

the length of the

fingers to the palm,

than the outside which has some curve. Observe also liow much shorter the
er

line,

and where the thumb comes in

relation to the
fingers.

line of

the inside

of the shoe is

than
line,

the

outside

All knowl-

which extends
nearer the heel. See Figs. 25 and
11. Note that the inside ankle is higher than the

edge gained by
study or observation

from

life

will

help in drawing or
chicing them.

Van-

derpoel's Human Figure, mentioned before, has some splendid illustrations of both hands and feet that the student would find
it

outside ankle.
It is well to ob-

propriate

what is apand to select shoes of

serve
different character.

There are shoes for

shopping, for after-

helpful to study.

One good way studying them

to

of
is
Pig. 27.

noon, for evening,

^Study of hands by Albert Diirer

must
dress.

careful drawings from these plates, and afterwards to try to making your own drawings first from life and then from imagination. See Figs. 28 and 29. Shoes are extremely important in fashion
work,

make

for travel, for sport.

and

You

select the right

shoe for the right

in keeping not afternoon shoes or evening slippers with a sport suit. It

The footwear must be

with the costume;

and should
is

likewise

receive

the

careful attention of the student.

good

is usually best to have evening slippers match the gown and hosiery unless you use a patent leather pump.

way

to group five or seven pairs of

and slippers, on a sheet of bristol board about 11 inches wide by 14 inches

shoes, including sport shoes
in different positions

skirt cover

In these days we cannot make the up bad drawing of the feet

Page Twenty

DRAWING WITHOUT MODELS

"^
^

Coinimy
Fig. 28.

of

The Inhuid Printer.

Construction

of

Hand from

Vanderpoel's "

Human

Figure."

ARMS

Page Twenty-one

H H I
Hj
^^^^Ik-'<'

1^ ^^|H ^^^H |H ^^^^^H ^^^^^^H ^^H ^^^1 ^^1 ^^^^^^^^^^H ^^y^*^^H '^1 ^^^^P^H ^^^^1 ^^^H ^^^^^^^^kII^I^h
.

<'!3^^^M

^Fsl^
y^

^^fl

J^^
J

^H
^V ^1
1
Courtesy of The Inland PriTUer,

1
Fig. 29.

Construction

of

Arm

from Vanderpoel's "

Human

Figure."

Page Twenty-two
and
shoes.

DRAWING WITHOUT MODELS

it

No

longer can

be said of

Leaping

is

best

shown
effort),

in

the

same

Dame
As
17.

Fashion that
feet

manner
and
out,

as running (limbs ready for the

"Her
Like
if

beneath her petticoat

next
feet

little

mice

steal in

off

the

but with the ground as in

is

they fear the light."

jumping.

See Fig. 31.

best

The Human Form Reduced to its Simplest

Elements. Relative proportions and helps to express action can perhaps best be
acquired by

Jumping

shown

with the feet off the ground but gathered together to

preserve poise and ready to
alight safely.
Fig. 30

See Fig. 31.

observing

the
Walking.

following facts in connection

Running.

with

toothpick

figures

The trunk,
thigh,

and
the

leg are

stick stands when balanced on one end and also when supported on each side as shown in Fig. 31. The body may
be bent
at

each about onethird

of the

the

length

hips so as to bring

body with-

out the head and

neck, though the

the head over either foot and

Fig. 31.

trunk

is

trifle
Leaping.

the longest.

trunk
of the

is

The about

Jumping.

Standing.

maintain an upright position until the weight of the body is bent

twice the length

beyond the
of support,

line

head and neck. The elbow reaches to about the waist and the hand half way

down

the thigh.

Walking is best described on paper when both feet are on the ground, though in reality
the greater part of the

when it must come to the ground as shown in Fig. 32. Kneeling figures, leaning back, make it necessary
support be given behind as shown by the
that
vertical

dotted

line

in

Fig. 33.

time the body rests on one foot. See Fig. 30.

The student
Fig. 33.

should

notice that a straight line

Running is best shown when one foot is on the

ground, though in reality

Illustrating balance.

extending from the neck

to the floor comes
just
is

much of the time

See Fig. 30,

between the feet

when the weight

legs.

both feet are

off

the ground.

evenly distributed on both

When

THE HUMAN FORM

Page Twenty-three

Figs. 34 and 35.

Figs. 36 and 37.

Toothpick construction applied to fashion drawing.

the weight

is

on one

leg,

the plumb line

figure

on these foundations to
See Fig. 34.
is

acquire
figure;

begins at the pit of the neck (viewed from the front) and extends to the ankle of the

action.

In Fig. 36
the stool
is

shown a seated

supporting
the figure

leg.
is

On
in
falls

the other hand,

action,

when the plumb line

legs,

the principal part of support,

from the neck

ance
is

between the

pro-

though the foot is extended to receive the weight of the body. Fig. 37 is this construction applied.
Figs. 34,
illustrations
35,

viding a proper balance;

when

this bal-

destroyed, the figure either has to

36 and 37 are given as

the use of the toothpick

be leaning against something or it falls to After the ground. See Figs. 32 and 33. studying these, it is well to build the

of

construction in giving action to the

human

form.

/'

-A-

CouTtcsv of

VoflJie

From a drawing by Helen Dryden,

and

in

which

pencil,

wash

ink were used, on a rough texture paper.

METHODS
CHAPTER THREE

CHAPTER THREE
18.

METHODS

The Greek Law.

In

the sixteenth

These same proportions

may

century, in the days of the Renaissance in

Italy,

tically applied in clothing to tucks,

etc., as illustrated in Fig. 39.

Leonardo da Vinci with other artists worked out, through study of classic art, an ideal proportion which is commonly

be prachems, Suppose a

line

is

drawn

six

inches

long to repre-

sent a muslin skirt.

(c)

Divide by the Greek

known as the Greek Law. Instead of using exact mechanical measure-

(a)

Law

to

find

where any trim-

ming (hem and tucks) should

start.

ments,
the
fourth,
easily

such
etc.,

as

Re-divide
given

half,

thu-d,

the

space

so

in

measured inches and

up to this trimming to obtain

further good pro-

easily grasped

by
Fig. 38.

portions

(of

the

the mind, this law

supplies the idea of a consistent variety, so

In Advertising
tices,

hem to the tucks).

Its Principles

and PracCo.,

fundamental in
the object.

all artistic

things, stimulat-

published by

ing the imagination

and lending interest to Thus, if an oblong is divided

the following

The Ronald Press statement is made

"This Greek
times
correct,

Law

of proportion

is

someof

horizontally in half, the equal areas will

crudely

stated

as
is

the

ratio

be found both mechanical and uninteresting, see (a), Fig. 38. On the other hand,
if

5 to 7 to 11.

This

somew^here near

the difference in areas

is

great, as in

(6),

Fig. 38, the sizes are too incomparable

perhaps near enough to In applying this ratio to the margins of a page it will clearly be

and

work

with.

to be satisfactory.

In

(c).

Fig.

38,

the

seen that the widest margin, or 11, should

oblong has been divided into thirds and then into halves, and a point found some-

appear at the bottom, the next widest,

or
at the top, and 5, the narrowest, on either side in all vertical compositions of space. In horizontal compositions the widest margin should still appear at the bottom, the middle size at the right and the left, and the nar7,

where between one-third and one-half, through which to draw a horizontal, shown by the heavy line. It will be seen that the relation of the areas above and below this line to each other are neither mechanical nor monotonous, but subtle and interesting.
Muslin Tucks

alike

rowest at the top.

This

is

so

that the

^r

^
^
Fig. 39.

Page Twenty-eight
general

METHODS
different

form

of

the display within the

enough to

interest

because of

composition shall preserve the same ratio as is found in the enclosing space itself.

their unlikeness, satisfy us.

(4)

Spaces are most pleasing together,

is

"Not only should

areas

the Greek

Law

of

when one

between one-half and twoThis gives quite a

difference in size for

be applied to margins, but

possible with-

also,

thirds the length or space of the other.

when

out interfering with the meaning of the

copy,

it

should

apply to the width and strength of the

y^^

individual treatment, but avoids inharmonious lengths

or sizes placed to-

various parts
paragraphs
of

or

gether.

the

In other words, when tv-o

copy within the When it is space.

do this, doubly pleasing. There is also often a chance to apply these proportions to the blank space between different parts of
possible to
;

good relation to each

lines are in
other,
line is

the

shorter

the effect

is

between onehalf and two-thirds

the length
longer
line.

of

the

The Greek law

may
be applied to
as
well

the margins of drawing papers

/:
Drawn by
Fig. 40.
life.

the

copy display.
it is

When

possible
BstJier

as to folds and coat

lengths.

to do so, this has an

Wegman.
Fig. 41 .Costume sketch made from quick sketch.

The
p

best
of

added value. Not enough attention is

spaces.

Quick sketch from

arrangement
margms tor a

vertical

paid to the relative widths of these blank

lay-out

is

to

have the greatest width at

;

Blank space is often more eloquent

the lower edge, the next at the top, and the

smallest at the sides

than copy."

while for a horizontal

Summarizing the above briefly, it is to be noted that divisions are in(1) Mechanical
artistic. (2)

page the widest margin should still appear at the bottom, the second size at the sides, and the narrowest at the top. This is to preserve a like relation with the enclosed space.

Sizes too unrelated, such as a very

large size
satisfy,

and a very small one, fail to as the mind does not see any

relationship in things that emphasize each

other's difference.
(3)

Design is and from the which make

the

selection
start of

for

and arrangement, any work the details good design should be

work, even

kept in mind.
near enough alike to

If it is school

Areas or

sizes

name and

the lesson should form part

be easily compared by the eye and yet

of the plan.

Observe how the enclosing

LAY-OUTS AND REDUCTIONS

form determines the shape within. The nearer one comes to the structural edge, the more nearly the lines should conform to it. Avoid lines that lead
to

Page Twenty-nine
the printed page
(for
is

given to the artist

corners,

lines

that

example eight inches high by seven and one-quarter inches wide) and the number of figures to be put in that space (say five
figures).

lead to the centre,

lines that

and

The
to

artist's

tend to be-

work
these

is

compose
in

come tangents.
lines of

The

figures

the

the background

most attractive group

or groups.

or setting should be less intense than those

The

first

step

is

to

forming the object shown against them.

The
less

enlarge the dimensions

to a convenient work-

larger the area the

ing

size.

In doing

this,

intense

the

color

the original proportions

should be;
.
,

the smaller
1

the area the more

mtense tne color may be. In order to have two
or
,1

Rectangles Rec Fig. 42. Enlarging and reducing. having the same line as a common diagonal are in
proportion.

must be kept. The enlarging is done by means of a drawing board, T-

square, ruler and

more shapes hold together for unity, the space between must be less than the
smallest of these shapes.

triangle.

detailed

statement

of

the

process, using the dimensions just given

is

as follows:

For illustration, the

paths of a garden should be smaller than the divisions

Draw a horizontal
line,

say

two
top

inches
of

from the

the

of

the

garden

paper, straight

across,

shapes.

using the T-square, the

Lay-outs and Reductions. Lay-out is

19.

head

of

which
the

is

held

against
of the

left

edge

the technical

name

drawing board.

given to the composi-

tion of a catalogue page, and the drawing of the figures which go on it. It is also applied to the grouping of

Next measure in, let us say, two inches from the

left

side of the paper,

vertical

and draw the

line

against

the

edge

of a triangle, the base

any objects to be put of which rests against Fig. 43. The rough lay-out. a certain given space, the upper edge of the whether for magazines, booklets or news- T-square blade, At the left-hand upper papers. The height and width of the corner, measure seven and one-quarter space which the lay-out is to occupy on inches to the right and eight inches down
in

Page Thirty
with the ruler, using the triangle to percomplete this little rectangle; then draw a diagonal and determine the height
desired for working out the lay-out
interesting
45,
effect
is

METHODS
obtained.

See Fig.

fectly

the original size of which

was

12^

and
this

extend

a horizontal line wherever

by 17f high. Each line bounding the lay-out should be touched by some part of some figure.
inches wide

horizontal touches

The
out

better the layartist

the diagonal, erect

a perpendicular and the dimensions of

the less space will be wasted. It will be found

and small rectangles will have the same proporthe large

tion.

advisable

to

give

the centre to the

figure with the

darkest clothes, as
is found most agreeable to the eye, and also sets

See Fig. 42. Catalogue pages

this

go through many hands before they come out a

often
technically finished

off

the other
of

fig-

ures to advantage.

product, photographically perfect

The law
that,
if

per-

spective requires

but often
artistic

stiff,

in-

there

are

and uninteresting. There is often a special artist who does nothing but layouts, grouping the

smaller figures, these should be

nearer the top of

the page.
effect
is
;

The

figures

and plan43
;

like a staircase when one stands below, those

ning the page as

in Fig.

another

of the

who makes sketches Fig. 44. Conventional Catalogue drawing work of several artists. garments; another who draws them on the laid-out For the
figures;

Courtesy of John

at the top seem smaller than the

people nearer the
foot of the stairs.

The combined

principles of general composition

all

another

washes;
as

lace

who puts on the large another who does details such and embroidery; another who

which underlay
position,

design,

the

student

will find it helpful to

read Pictorial ComPrinciples

by Henry A. Poor;

and still another who finishes the hands and feet. See Fig. 44; the original of this was twenty-five inches by seventeen and three-quarter inches. When, however, this work is done throughout by one expert artist, a much more
finishes the heads;

o/Dmgrii, by Batchelder; Composition, by

Arthur Dow, and Principles of Advertising Arrangement by Frank Alvah Parsons. 20. Mechanical Helps and Short Cuts. Before taking up ink and wash rendering, certain mechanical helps and short

MECHANICAL HELPS
cuts to results and effects
sidered, such as

Page Thirty-one
the smooth white with black and the cross-ruled blind with black texture. A knife and pencil are the
texture, texture,
tools

must be conBen Day rapid shading

mediums, Ross Board, spatter, air brush and silver prints. Ben Day is a great time-saver, as can be seen from even the few samples shown
49 of some of the complicated
in Fig.
textiles

used

to

obtain

effects

with this
first,
is

paper.

See Fig. 48.

In the
tained

the

stipple effect

ob-

by rubbing

the pencil over the

and

half-

plain white and

the raised surface,

tone effects obtainable in the line cut or ink drawing.

When Ben Day

is

desired, the
it
is

which in this case consists of dots. These catch the lead and a stipple
effect is the result.

places where

to be

used are
a blue wash

In the second,
white can be obtained by scraping
off the surface

colored with

pencil or blue
water - color

and marked with

the number of the texture wanted;
the engraver with

and a darker tone by

rubbing a pencil on the rough surface.

Two

effects

the
rest.

Ben Day

can be obtained

machine does the

See Fig. 49, and the floor and

with the third

stipple

with the knife, the

surface;
the
pencil,

hat in Fig. 77, showing Ben Day

stipple.

with

the fine check.

Fig. 45.
Courtesy of John Wanamaker Catalogue drawing, the work of one artist from

Notice the

difference

between

these and Fig. 50,

greater irregularity of line.

start to

done by hand; observe particularly the

When two or more printings are made the Ben Day can be put on in color, but this necessitates two or more plates according to the number of colors used. See Fig. 97 in which two plates were used.
Ross Board comes in a variety of designs. The three most used kinds are perhaps the plain white with raised or embossed

Black can be put on with ink. This finish. makes possible an even gradation from white to dead black. Fig. 48. Fig. 46 shows a finished Ross board drawing. Spatter work is done with a toothbrush, and makes good flat tone effects for texCover tures, posters and backgrounds.
the entire drawing, except the parts to

be spattered, with paper, cutting out these

to

make what

is

practically

stencil

(tracing paper fastened

down with rubber

Page Thirty-two
cement
facing
is

METHODS
First,

convenient).
in a saucer

dip

the
it

The
for

silver

print

method

is

often

used
of

toothbrush

of ink,

hold

the paper

and about three

feet

making For shoes.

photograph
to

line cuc^ or

pen drawings

this
is

away, and draw the edge of a penknife or the handle of a pen or brush over the bristles toward
you, letting the spatter fly onto the
drawing.
little

purpose a silver print made in a size convenient

"

work over on Clemmon's plain salted paper and mounted on cardboard to get a smooth surface
for drawing.
lines are

With a

Out-

practice this

then care-

can be done very skillfully. See Fig.

47.

fully

traced with

the usual drawing

pens and India-ink,

of

The texture

doing deep shadows

first

rough paper often

gives interesting
effects in the repro-

and gradually working up to the

lights.

high

When

duction of a drawing;
for this rea-

finished, the silver

or

photograph
is

son crayon, pencil, charcoal, and even

color

bleached

away by pouring
over
ride
it

wash drawings are sometimes done on what is called a

a saturated
mercury.

solution of bichlo-

paper with
tooth,

Fig. 48.

^Drawing on Ross Board, reduced from an

high by 7" wide original.

Courtesy of QuiU Magazine

of

8j

such
or

as a

This leaves the pen lines clean and

charcoal
Fig. 45.

other

rough

paper.

See

sharp
paper.

upon

When

The air hnish gives either an even or a

varied tone, as desired, and in the doing

compared and touched

Fig. 52.
21.

a perfectly white sheet of dry, the result should be with the original photograph

up where

necessary.

See

found very useful. It is really an atomizer run by pressure, and by its use a great variety of tone can be obtained. See Fig. 55. As in spatter work, the surface of the paper to be kept white is covered. Frisket paper, which is thin and transparent, is used for this purpose and pasted down with rubber cement. When the rubber cement is thoroughly dry it may be rubbed off, leaving a perfectly
of half-tone shoes
it is

Tracing.

Tracing
is

is

often found

necessary and
repeats,
etc.

a time-saver in doing Graphite paper gives a

transferring

better

line

in

than carbon

paper.

The pencil should be kept very sharp when tracing and a hard pencil is good
for

doing the transferring through the

carbon.

clean surface.

The

effect is

photographic

Ruled squares are useful to put under thin paper in doing some kinds of
designs.

and mechanical.

See Fig. 54.

Page Thirty-three

Fig. 48.

Ross

Board:

Embossed

white, black

and white texture and

cross rules.

m
"No. 317

-9'4'f 9H-

No. 318. 9^4 X 14^.

No. 319.-9I4X14I4

No. 337- 9*4 X

THn^
'-

i4'4'

No. 322. J4 XII.

WM\
Mt
No.
I

=r

Tf

^ii
3236^4
X
!

ti
No. 324-6M XII

No. 325.-654x11.

No. 326.

:I i 654x11

No. 327-6J4 X

'mmmm
y/.^^yy/yy/yyACf^yM
No. 330-9'A X
1454-

No. 329-9J4 X 14:4.

No. 33I.-9J4 X 14^.

No. 332.9'A X

I4J4.

tt
^'o.

4=
=

iJ
333-9^4 X
14!4-

No. 334-9J4 X I4J4.

No. 335-9^ X I4J4.

No. 336.9J4 X I4J4-

No. 338. 6^x11.

Fig. 49.

Some samples of Ben Day.

Page Thirty-four

METHODS

Fig. 50.

Stipple work done by hand

tion,

ul

Abraham

js

which takes a done by dots made with the point of a pen. When a flat tone
Stipple,

of a head,

how much
in the
is

ac-

long time,

is

what varying humor,

may be found
in

way

which a head

perched

effect is desired, it is often

produced by sets

of circles running into each other. If See Fig. 51.

large dots are required,
will
it

on a person's shoulders. A little boy whom she has

portrayed, Fig. 57, holds

be found convenient

to use a ball -pointed pen.

Artistic
effects

neck perfectly rigid head raised in the back and lowered in front. One can feel the restrained
his

with

and

interesting

life

in the little chap, the

can be obtained in this manner. See Fig. 50. 22. Silhouette. In do-

unusual quality of his

attentive attitude fostered

by some engrossing
terest outside.
Fig. 51.

in-

ing silhouettes the following statement made by Miss Harriet Lord,

Detail of

stipple.

the silhouette portrait

artist

"There are ever so many things to remember in making

silhouettes.

some time ago

Tribune,
is

Certain

in

the

persons cannot be
pictured in this position,

helpful commercially,

and

her

permission

for

in

many

has been secured to quote it:

persons profile means

little;
it is

the eyes

"Perhaps
has

no one

or something in the

demonstrated more clearly than

Miss

drawing of the
face that
is

full

indicative

Lord the imFig. 52

of the true personality.

portance of the pose

Many

faces

are im-

SILHOUETTE
for character.

Page Thirty-five
for

mobile and one must look to their eyes They cannot be well sil-

they add character and

life

to

the

drawing.

houetted.
as
in

Little points
little

must be

re-

"And

then, too," explained Miss Lord,

membered such
this
girl,

"one
to find

is

startled

Fig. 58.

You

how much each line and

curve of the face

see her hair is down her back,

means.
is

Nothing
upturned
the

but I have allowed a spot of light to shine through

to give the outline in suggestion

ignored and a

slightly
lip

may be

touch that gives an unmistakable

note of character-

of her neck.

Not

have done this would have made an awkward line and, more importo
tant, a line that

ization

to the
silhouette

cutting or inking."

The
is

a very quick

was not
tory,

satisfacit

for

al-

most hinted at a
falseness or apparent abnormality. The chair on which a person
examined, for
person's
it
Courtesy of John Wanamater.

method of gaining an effect, being merely an outline sketch, usually

profile,
Fig. 53.

filled

in
ink.

-Catalogue page.

with

black

is

seated

must be
results.

58.

White

is

See Figs. 57 and sometimes successfully added

must not melt into the

with
puzzling

as in Fig. 5Q.

figure
is

And

it

well to break in with lights.

Half-tone figures are said to be silhouetted when the white paper appears

Courtesy of J. J.

Staler.

Fig 54

Shoes shaded with air brush.

Fig. 55.

Effect

produced by use

of

an

air brush.

Page Thirty-six
as the background.

METHODS
A silhouette is a design
Ellipse.

With

a compass measure from

sharply defined;

the clear outlines of the

A
at

to B, Fig. 59, then put the compass

drawing coming directly against the paper on which it is reproduced. Fig. 69. A vignette is a silhouette having at the base or behind the figure, or in

C and

strike a circle as indicated

by
the

the dotted line from

D to E.

Where

circle intersects

the

horizontal line at

and E, place
See Fig.
60.

pins.

Also

some part of

the

design of the figure,

at the point C stretch a thread

from
C,

a wash that disappears

in

E to D

around

vague

shadowy effect. This wash is reproduced only in tone and has no definite line

Fig. 56.

Black and white silhouette used

by the Fulton

Theatre to advertise "The Misleading Lady."

tie at C. Remove the pin at C, and, holding the pencil perpendic-

and

ularly, describe
the ellipse shown, see Fig. 60.
25.

marking its edges, which end in an indefinite vagueness (such as the veil ends) and the shadow background. See Fig. 63. 23. Construction of the Circle. It is
understood that a circle is made with a compass,

Swipe Collections.*
is

Swipe

collec-

tions

the commercial

and expressive

and an ink
with a

circle usually

ruling

pen.

In

term for what most artists call documents, and this is one of the most important items under the list of materials. It consists of examples clipped from all sources catalogues, booklets, magazines

speaking of pens, we might say here that

there are

and newspapers
different

illustrating

tech-

many

kinds of

nique and the expression of

Councsy ofN. Y. Trttune.

lettering pens, which will be found serviceable, when such work is required. Good books on lettering are Writing and Illuminating and Lettering, by Edward Johnston, and the booklet called Book of Alphabets, by H.W. Shaylor. There are other good books on this subject by Lewis F. Day and Frank Chauteau Brown.
:

numerous
stripes,

textures, plaids,

vel-

ve t s and
detail of all

kinds. These

are not to be used as copies, but as a teacher, showing ways

that have been used

with success.

Fig.

57. Silhouette by Harriet Lord.

24.

Constructing an

Copying

Courtesy of

IS

Fig. 58 Silhouette

N Y Tribune. by Harriet Lord.

.

* In classifying documents for reference in boxes or envelopes, these headings will be useful: Men, Women, Children, Animals, Flowers and Fruit, Outdoor Scenes, Furnitiu-e and Interiors, Decorative Subjects and Page Decorations, Color

Plates

and Booklets.

TEXTURES
one way of studying, but is advisable only when done with intelligence. See illustration of a "swipe," Figs. 61 and 62, 63 and 64, showing a case in which one drawing suggests the pose for another. 26. Textures. In illustrating
black material in
Figs. 67, 68

Page Thirty-seven
alternate square spaces with black.

See

and 93. Dotted and flowered materials should not be expressed in a helter-skelter manner, but, for satisfactory results, should be
thought out in an orderly way,
using imaginary squares or diamonds for a foundation.
7, 8, 68,

pen and

ink, con-

sideration

must be
tex-

given to whether
it

is

a shiny
with

See Figs. 69 and 83.

ture

many

Chiffons

must

high lights, or a
dull black silk or

keep their transparent quality,

usually expressed

velvet, with little

shimmer. The supporting points usually

or no

by a

delicate line.

Chinese white, when used discreetly,

is

catch the light, and it is here that

the whites are
or put in.
left

often

helpful for this

purpose.

The

Laces and em-

trimming has to be kept light, to

broideries

are

carried out either

show the
66.

detail.

in detail or in

See Figs. 65 and

sketchy way, according to require-

Stripes and
plaids

ments. to

When

the

are both

drawing is needed

done in a manner
to give the best

advertise a

expression possible to

particular lace, greater detail

Fig. 60.

the special

Constructing an

ellipse

design to be represented. Complicated designs often have

to

must be given than when adcan be used. See Fig. 72. is to be done for repro-

vertising the pattern of a dress in which

be greatly

simplified

for

reduction,

any kind

of lace

and care must be taken to give the genSee eral effect in the most telling way. Shepherd plaid, when carefully Fig. 67. done, is often made by drawing small cross stripes in pencil, and filling in

When
in

the lace

duction in half-tone

an elaborately worked out way, i.e., catalogue wash, a dark background is made (for white lace) and

wash drawing

in other words,

when

in

Page Thirty-eight
is worked out in Chinese white over this dark ground. See Fig. 68. Wash work embroidery

METHODS
bination
Fig. 71.

the lace

of

the

two being

used.

See

To

express textures well,

is

done with Chinese white, but the background

also

the student should cultivate a love and appreciation for

differs in

tone according to
pattern
is

them.
serve

the sheerness, while the

solidity

It is good to handle them, study them, and ob-

of the

them
in

at

home,
street,

in

by heavier lines on the shadow side. Forindicated

tunately, even in catalogues
of

shops,

the

at

museums and in pictures, noticing the

plays, in

the
is

better

character,
left

weight they have, the folds

they
of

more

being

to

the

make and

the

lines

imagination, giving a
less stilted effect.

much
plaits,

they take.

Still-life

studies

Side

plaits,

box

them are helpful. Very interesting for the

tucks, gathers, etc., are all

drawn the way they

really

study of drapery are the drawings of Albrecht Durer. See Fig. 109.

look in realistic drawings.

Observe the

See Fig. 7 for decorative

treatment.

They

are also

supporting points. course there are many

ferent
as,

Of
dif-

made
and

simpler, see Figs. 70

methods of treatment

71.
is

Stitching

expressed

by

dots,
eral

a straight line or a line of though there are sevdifferent

example, the way one would treat a decorative drawing as opposed to how one would treat a realfor
istic

ways

of

one.
72.

See Figs. 70,

making them.
Fig. 7.

See

71,

and

Fur
of
light

done in masses lustrous dark and

is

27. Pen and Ink. Pen and ink is a very interesting and much

with a soft
effect.

irreg-

ular edge, avoiding too

used medium in fashion work. It may be di-

"liney" an
treatment,

The
is

vided into several

headings
zines,
Courtesy of Gimbel Bros

in

fact,

as,

work

for

much

the same as for

newspapers, for maga-

feathers and human hair. See Figs. 26, 74, and 75. In decorative

and for

catalogues.

Fig. 62

The

adaptation.

And

may be subdivided into groups.

these again
is

drawings
rendering

many
are

different

ways

of

For instance, there

neicspaper proper

the

pen-and-ink
is

used,

sometimes dots,

sometimes a line, and sometimes a com-

style.
is

This

paid for

by the newspaper and

often done in a

PEN AND INK

broad, bold
tention

Page Thirty-nine
particular at-

way with no
to

given
also

seams
as

or

texture.

This

is

known

editorial,

be-

cause under charge of fashion editors.

See Fig. 73.

There
This
is

is

newspaper pattern dravnng.

paid for by the pattern company, and here more attention is given
to seams, tucks, darts, to texture.

and the like than

See Fig. 76. Again there is department store adverThis is paid for by the detising.

Courtesy

FiG. 64. -The adaptation.

partment

and here seams and attention concentrated on texture, and expression

store,

are ignored

See Fig. 77. This is sometimes done in a more general illustrative way, as in headings, or for a service, when the same illustrations are used in stores throughout the country; then the
of the style.

idea

is

expressed in an

abstract

way.

See Fig. 78.

good deal of space

is

often

devoted to the newspaper's own drawing, while the pattern drawing is usually given a column or two, and there is not quite so much stress laid on the filling of space in
either of these cases as in the de-

Courtesy of

N. Y.

Globe.

Fig.

63.The original An example

of vignette.

partment store work. See Figs. 73 and 77, Ben Day often, and wash sometimes, are combined with newspaper pen and ink. Magazines have the same three

Page Forty
classes of

METHODS
is

pen-and-ink drawings and the

true.

because, in the great care used to

,^

show

same principles hold 79, and 83. The magazines, however, are printed

See Figs. 70, 71,

every seam and detail

much of spontaneity
is

often lost; nev-

ertheless

great
in

improvement
this

on superior paper and with better ink,

so that
effects

matter has
of

been made of late

charming with deli-

by a number

the

pattern
is

cate washes,
which would be
entirely
lost

houses, as

shown in the
careful little
drawing of un-

in

newspaper
production,

re-

can

be obtained. See
Fig. 81.

derwear, Fig. 82, but which

still

Ben

seems very
in

Day

is

used with
See

great success in

stereotype comparison
Fig. 97.

to

magazines.
Figs. 79

and 97. In the best

for

or

Decorative, more or less

pen-and-ink
work
logues
cata-

unrealistic tech-

nique, has been

and ad-

used

much more
both

vertising, care is

of late in

taken, not only

to suggest text-

newspaper and
magazine editoand advertising work, but it is not often
rials

ure

and
to

detail,

but

express

the general characterisfcs of the

used in pattern

garment and its special charm. A good example

isgiveninFig.72,

drawing,
actness

be-

cause of the exusually

required for this

Counesy of Globe.

which was used

for catalogue and

type of work. This decoraFig. 66 -Illustrating shiny black material.

also

magazine

Fig.

65. Illustrating
black material.

dull

tive work, while

advertising.

so simple

and

Pen-and-ink work for pattern catalogues is usually done in a stiffer way than that done for magazines and newspapers. This

a certain uniqueness, requires even a greater knowledge of drawing to do it successfully than the
of

permitting

PEN AND INK

Page Forty-one

'

p
\

"'

\ ^
CourUsy
of Stern Bros.

^^K KI76

Fig.

ti7.

Lay-out

illustrating

methods

of rendering, stripes, plaids, checks, etc.

Page Forty-two
naturalistic work,

METHODS
seen in Album Dedie a Tamar Karsavia), Lepape and Erte, all show the influence of Aubrey

where mistakes
are

sometimes

hidden.
tive
of

In this decorawork beauty

line

and

in-

Beardsley and
should be studied

teresting spotting
is

given great

by the fashion
artist.

consideration. The effect is ob-

See Figs. 70 and 71.

tained by the
fewest lines possible,

1^

vlfe

z
F

Headings and
page
decorations
are often required

and very
work

interesting
of
this

by the department
store fashion artist,
I

type can be found in penand-ink, wash and This style color.

of

see

Fig.

84,

work was

first

and here is the place where good ideas are at a

made popular by
ft.coHor

premium.

For

Aubrey

Beardsley,

this reason, other

see Fig. 85,

and the student would

it

find

profitable

f
r^
i^
:

*'

to see his illustrations of Sir Thomas

people's ideas should be consulted, studied and weighed, and

something plausible

Mallory's Morte
d' Arthur,

'

Brunel-

^ ^
;

^.

leschi's

illustra-

-.,_^_M.

and catchy worked up. The same thing holds

true of

tions of

La Nuit

feature

cuts or, in other

words, white
sales, silk sales,

toys, etc.,
these do not

and
want

to be omitted from the swipe

ings of

George
Fig.

collection

not

Barbier (some of

which can be
* Also " East of the

68.Catalogue
of the

detail

done by Samuel Cohen.

that you are going to copy

illustrated

Sun and West

Moon,"

d Fauy Tales

by Hans Andersen

by Harry

Clarke.

INDIVIDUALITY
them, but that they
spiration.

Page Forty-three

may

give you an in-

find

In doing pen and ink the beginner Gillott's 170 pen or Gillott's 303

will

even Hne is desired, satisfactory be obtained by keeping the right arm, from the elbow, resting on the board and drawing
straight,

results will

away from you. Do

not
get your lines
together.

pen most useful. Because of their

firmness,
it is

too close

easier

at first to gauge Afteryour line. wards the Gillott's 290 and 291 pens will be found very -agreeable to work with because of their elasticity.

Observe the difference between a dry, harsh line and one full of variations
of
color.

Practice

beginning a line dark and ending light and vice versa.

Make your

line ex-

Higgins' waterproof

press the soft deli-

where combined with the pen and ink, but many

ink
is

useful

cacy of skin (see

Fig. 65), the light-

wash

is

to be

ness

of

chiffon

or
of

the
line
tell

heaviness

people,

for

general

velvet.

Make

every

use, prefer Higgins'

you put down

or

non-waterproof and French black ink.

mean somethis requires

thing;

Use two- or
(or
if

three-

study and application.

ply Bristol, plate

Compare

Fig.

smooth)
if

finish

for ink alone, kid

washes are Very good effects can be obtained with ink and a brush, see Figs. 73 and 86. A large drawing board placed at the
finish

to be added.

82 showing a hard line with Figs. 20, 22, 70, 71 and 97, showing a beautiful
one,
tell

and be able to
the
difference

and why.
It
Drawn by Reta
Courtesy of Good Housekeeping Magazine.

is

understood
first

that a pencil sketch

Senger.

Fig. 69.

right angle against

A silhouetted half-tone drawing.

in afterwards.

is

made

that the ink

a table will give better results than the board flat on the table. Usually speaking, it is best to work from the top down and from left to right, but when a long,

Reproductions in
cuts.

and put pen and

is

ink are called line

ferences
in

28. Individuality.

There are great

of

dif-

the

make-up

different

Page Forty-four

METHODS
We cannot declare either of these manners good or bad to the ex.clusion of the other, for each of them, and all the gradations between, have their purpose. The great

Some of us seem born with a strong mechanical bias and others with a delicate sensitiveness. In the one case
people.

we

will

tend to draw strong and precise

Fig. 70.

Erie magazine

editorial

drawing

showing influence of Aubrey Beardsley.

thing

Courtesy of Harper's Bazar.

lines, in

light

the other to draw lines that are and subtle though by no means to be confused with the weak and broken
lines of inexperience.

is to find out the method that is most natural to you and improve that

to the utmost.
if

The

distinction

is

one that

will

modern

art,

be noted not only in our but also in old Japanese prints.

Do not be discouraged your forte is the delicate, sketchy line and if you do not succeed with the preFind the place that cise mechanical one.

INDIVIDUALITY
waiting for you where your particular manner is needed. Too often those in charge of art departments do not appreciate any kind of work except that which they happen to use. Do not let them discourage you, but remember the words of Carlyle,
is

Page Forty-five
Problem.

On

a one-quarter size sheet

gins according to the

"The

block of granite which

is

an ob-

marGreek proportions. Divide the space within the margins into four equal parts. In the upper left-hand corner draw lightly, with a compass, a well-related circle; in the upper righthand corner draw lightly, free hand, a
of bristol board, held vertically, plan

Fig. 71.

Magazine
of
in the

Courtesy cf Harper's Bazar.

editorial decorative fashion

drawings designed by Erte.

in the pathway comes a stepping-stone

stacle

the

weak bepathway of

well-related oval;

in the lower left

hand

corner another well-related oval;

in the

the strong."

lower
to cultivate the proper aplines
is

right-hand

One way

ellipse.

corner a well-related Then, with a very sharp pencil,

preciation of beautiful

to begin
of forms.

by drawing the simplest kind

This
is

certainly advantageous in the case

go over these lightly blocked in figures with as beautiful lines as possible. This problem can then be repeated with the
idea of filling in these spaces with con-

of children,

and a teacher of such a class would no doubt find it useful to give out
this:

ventionalized designs to be used for belt

such a lesson as

buckles or other ornaments.

Page Forty-six

METHODS

Courtesy of Ellsworth Co.

Fig. 72. Pen and ink catalogue drawing which was also used for a magazine advertisement.

Fig. 73.

^Courtesy of Brootlin Ea:,le.

newspaper editorial in which pen and ink fashion work is combined with brush work.
Illustrating

WASH
The power
to

Page Forty-seven

make

beautiful lines

must

first

be obtained with the pencil, before the same result can be attained with ink. It is well to

have the student

is

really

know what a good

line

problem of this kind. For this purpose have examples of different kinds of good and interesting lines, such as Japanese prints, some reproductions of good line drawings by McQuin, Erte, Dryden, Drian, etc. Too much must not be taken for granted about students or beginners knowing just what a good or beautiful line is, otherwise the misbefore beginning a

takes

of

trying

to
is

get a hard, inexpressive,

mechanical line
reason
it
is

often the result.

well to

For that have drawings made in a

Courtesy of Glmbel Bros.

Fig. 75.

Realistic treatment of feathers.

tight, mechanical way to compare with those done with more feeling. Each student should start making a collection of line drawings with this comparison idea in view.
29. ful

Wash. Wash is a very usemedium for fashion work, espewhere photographic

as, for

cially

effects are

desired,

instance, in catait is

logues.

In newspapers

not so

often used as in magazines and catalogues, because the poorer paper on which the newspapers are printed does not tend to successful reproduction. For magazines, just as there are different ways of using pen and ink, so there are three kinds of wash; the editorial, the pattern, and the adver-

Fig. 74.

A fur catalogue page.

Cffurtesy of

Stem

Page Forty-eight
Using.

METHODS
and approaches catalogue work in effect; fact, sometimes the same drawing which has been used in a catalogue is
in

These again can be divided into

different styles of work, as the realistic, the

sketchy,
is

and the decorative. Still again, there pure wash and there is wash combined

with pen and ink or crayon. In the editorial

also used to advertise in the magazines. See Fig. 81.

Wash
much

for cata-

type most attention is given to the attractiveness

picture.

logues is usually very

finished

and

of the

often done without

See Fig. 89,

90,
re-

much addition of pen

and ink. See Fig. 53. These drawings are

done in a decorative

way, and Fig. done in a more

alistic style.

made with

the in-

tention of advertising

In the pattern
type most attention is given to the seams

the garments
trated,

illus-

and

for that
stress

reason great
is

and the way the

garments are made, and less to the expression of any particular kind of material; in other
words, the textural

laid

on the mate-

rials

and details. Sometimes wash,

pencil, crayon pencil,

and pen and ink are all combined in a

drawing;
is

for

this,

and

artistic

sides

careful reproduction

are subordinated to

required.

See

the practical pattern.

Fig. 104.

This

is

done
way.

realistic

in a See

The materials
used for wash are usually Steinbach or
Curtis Board (Illustration Board), but
for
Courtesy of

Fig. 91.

In wash for advertising,

attention

is

concentrated on presenting the

garment to the best
advantage, bringing
Home
Pattern Co.

magazine wash,

kid bristol and someFig. 76.

Newspaper
This

pattern fashions.

times even
bristol
(

smooth

when only a

out
is

its

best features and

freer,

its textures.

light flat
will

wash

is

desired) are used.

You

done in a
is

more
in

artistic

manner,

but often

done

a decorative

way
com-

except in catalogues.

The wash
very

is

bined with pen and ink, as in Fig. 92.

Yet sometimes

it

is

much

finished

good to have Winsor and Newton's Lampblack and four brushes. Numbers 3 and 4 and 6 and 7 are suitable. You should also have a blotter, some rags, a sponge for washing off all the color if a
find it

WASH
how
hook.

Page Forty-nine
the small folds often end in a
little

Practice putting darks in with one brush and blending then off with another. Get so you know just how much water you want on your brush to get certain

Always mix enough of the color which you intend to use as the large wash, and dip your brush into that instead of into the water and back into your paint, this lo avoid giving your wash a streaked look. The Eberhard Faber green or red eraser is a great help to pick out lights. Often a wash, when nearly finished, has a very discouraging appearance, and sometimes
effects.
all it really

needs

is

the intensifying of the

some touching up of the edges, buttons and the like, with Chinese white.
blacks and

Cuurh SI/ uf Fri drrick Looser Co.

Fig. 77.- -Department store advertising.

mistake is made, and a large white saucer for mixing black. Most satisfactory results are obtained by having your figure and garment very carefully drawn first, then putting in

your darks or shadows and after these darks are absolutely dry, your large washes. Give very careful study to the texture and the folds. It is well, when beginning, to get very good drawings showing examples of the materials you are endeavoring to express. Observe how each material is affected by light and how the light looks on the
folds.

See,
silk

for

example,

how

in

shiny

black

the dark side blends into the

78.a department
Courtesy of Dry Goods Economist Co. store cut service illustration.

shadow, while on the light side there is a crispness and unblended look; also note

Fig.

Page Fifty

METHODS
com-

To

practice large washes

Gray

mence by drawing a

large square

black are obtained

and, tipping your board towards you, draw your brush very
of color across
full

the top of the

refill

paper from

left to right;

be put on over by mixing Chinese white with lampblack; this makes a body color and can be put on over dark in the same manner as pure white.
effects to

the brush, taking up the rivulet

on the edge of the

first line

repeat the operation until

and you

have covered the square. You should have enough paint mixed in your saucer to finish that square. Very beautiful wash effects

a light streak is desired, up one side of the skirt, run a clean brush with very little water in it up that
If

for instance

side while the

wash

is still

quite

wet; this will give the desired

effect.

are

often

obtained

with

just flat washes.

artistic

They

are very

their simplicity
of the

and lovely because of and have none

'

worked-over look of the See Fig. 89. There is always transparency and life to the first wash which
catalogue work.

Courtesy of Vogue.

you go over Never be afraid if the wash looks too dark. Reis

lost

Fig. 79. Magazine pattern drawing.

Sometimes a color is added a wash drawing effectively. This is put on like an ordinary wash, but for reproduction necessitates the using of two plates and two printings. See Figs. 98 and 99. Fig. 93 shows the method of
to

if

procedure,
tional

or

steps,

it

often.

in doing the conven-

wash drawing
For-

for a catalogue.

member

that

it

will

tunately this photogiving

dry fighter and

resist

the temptation to work on it when partYou must ly dried. keep it clean and
bold. stand
looks.

graphic method is way to a more

artistic one.
30.

Crayon pencil
fascinating

Crayon Pencil.
is

Occasionally,
off

medium.
pref-

from your
see

It

is

used in

work and

how

it

erence to pencil for

reproduction, because
it

Such things as
white dots or stripes

has not the shiny

quality of the usual

lead

on the dark ground put in with Chinese white after the dark material
of a suit are
ouTtesy of

which prevents

that

from photowell,

graphing
Dry Goods Economist

and

therefore from being

is

otherwise finished.

Fig. 80.

A department store cut service

illustration

good for reproduction.

CRAYON PENCIL
Chalk, crayon and pencil, however, are

Page Fifty-one
rough paper, and the tooth or roughness
of the paper gives an interesting texture to the drawing.

handled in much the same fashion and have much the same effect, and by them great beauty and much feeling may be expressed. See frontispiece. Nevertheless

See Fig. 45.

In doing half-tone drawings, especially wash, and particularly in decorative work,

it is

chalk does not

well to limit

lend itself so
readily to detail,

oneself to a cer-

tain

number
or

of

famous as for its more

quality.

it

is

tones

values

illus-

trative or sketchy

and not to have a number of intermediary

tints

Wolf crayon
pencils

are very

and shades. This is best done by

determining

good.

B and 3B Wolf crayon

and
kid

how

many
them
pans
is

values are

pencils
bristol

desired,

mixing
much
as

board are

in separate
(as

the proper
terials.

maKneaded

to be needed of

rubber and Eberhard Faber green

or red rubber are

each)

and

then

limiting the
washes to these.
This gives a simple
distinction to the

useful, also

an

emery board pad

to keep the pencil

finished

drawing;
decidedly*

points sharp.
It
is

which
Fig.
CouTtesy of Stern Bros.

is

best to
first

desirable.
89.

sketch the drawing in

See This
is

with

simplicity
in

lost

the

pencil

and

Fig. 81.

-Half-tone catalogue drawing, also used for magazine advertisement.

Figs. 53,

81,

44,

then put the

darkest darks in

and
with the
B.

3B and

the

more

delicate finishing touches with the

sharply

pointed

Sometimes stumps
in,

are used to rub the shadows

giving the

drawing less line texture. See Fig. 10. Sometimes wash is combined effectively with the crayon, then again the crayon drawing is carried out almost entirely in line. See Figs. 94 and 95. Sometimes crayon pencil is used on

done in such a realistic the almost photographic reproduction reBoth simplicity and charm are quired. lacking in some magazine illustrations, and much catalogue work where a realistic,
or photographic effect
is

which are way because of

the chief aim.

See Figs. 103 and 93. A pleasing compromise between the strictly decorative and the absolutely photographic can be seen in Fig. 45, where line effect is used for shad-

Page Fifty-two

METHODS

Courtesy of Butterick.

Fig. 82.

Pen and ink pattern catalogue drawing.

In considering methods the student must keep in mind what the purpose of his finished work is and then use the method

washes being put on over the The mistake, however, of mixing these two styles in one drawing must be avoided. In instructing a class it is well for the teacher to give some simple problems to be done in two or more values of wash. Many good examples of this method are to be found in Composition by Arthur Dow.
ing, the flat

charcoal drawing.

which

is

best adapted to that end.

is
is

But
the

while this

true he

must not

let

method he
of work.

using interfere with the ex-

pression of his

own

style

and individuality

In doing brush work with ink, see Fig.

BRUSH WORK

Page Fifty-three

Fig. 83.

Magazine

Courtesy of

Rawak

Hats.

pen and ink advertising.

86, it

is

well first to

become acquainted

much
scribed

for

a more comprehensive underof

with this
practice

medium and method, on some paper. The decorative effect of

is

standing

the

possibilities

there

dein

and

illustrated.

These

can

good spotting

very important, for the

many

finished composition,

and the student is by Arthur Dow, a careful perusal of which will do

again referred to Composition

be applied to fashion work. Fig. 73 and 83 are examples of fashion sketches where good spotting has been obtained with brush work.
instances

Page Fifty -four

METHODS
MAIL,
1

THE BVEIVINO
1

DECEMBER
1

19

1911
Biodwjr-Eihth
1

to

WANAMAKER'S

WANAMAKER-S

WANAMAKER'S

WANAMAKERS

Tfnth

St.

W\)t

Wiammaktv Cfjrigtmasf ^ale of iHsJeb l^iam^ anb ^(aper=3^ianos(

Fig. 84.

An original idea for a musical heading.

Cuurtesy of John Wanamater.

Etching is a method lately used in fashion Drian and Miss Steinmetz have both obtained some charming effects in
illustration.

Reta Senger, Fern Forrester, Claire Avery, and the other artists mentioned in the text, as good examples of the best work is
often the best instructor one could have.
It
is still

way, but it is a difficult and expensive to have reproduced, and for that reason is not likely to come into general use.
this

medium

comparatively seldom that the

illustrator does
field

costume designer or
sidered
in

much

The student
urged, to

is

recommended,

in

fact

with textile designing, the

being con-

become familiar with the work and methods used by such artists as Drian, Soulie, Brunelleschi, Barbier, Lepape, Erte, McQuin, Steinmetz, Helen Dryden,

somewhat
matters

apart, but as a change

appears imminent, it has seemed expedient to include the method of procedure.

these

Fig. 85.

Drawing by Aubrey Beardsley.

Fig. 86.

Showing how brush work can be combined with pen and ink.

Courtesy of

Abraham

&

Straus.

TEXTILE DESIGNING
that you

Page

Fifty-five

may

clearly understand the part

that dimension plays in the commercial

value of a design,
roller

we

will

describe the

over which silk fabrics pass in the

roller is 16 inches in

process of printing:
*'

The

circumference
in thickness.

and three-quarters
Its

of

an inch

width

is

immaterial because the widths

4
Courtesy of Women's Wear.

of different fabrics vary so greatly.

The

pattern to be printed
copper.
color

is

engraved in the

The

roller revolves, takes

up the

from the color box at the bottom; the color is removed from the smooth

Width

Fig. 87. This illustrates the repeat of a design for silk or cotton printing. The dotted lines are not part of the design, but are to show that the unit of design is repeated in the length every three inches.

TEXTILE DESIGNING*

The kind and color of paper used in submitting designs is immaterial. But we
**

would suggest that white be used and the ground painted in. Tempora paints are generally used. At least one full repeat and, if the design be small, two or three repeats should be shown. The design is a guide to the printer or weaver and must
clearly indicate

how
of
it

the artist desires the

finished fabric to appear.

"

The technique

woven designs
is

is

very

complicated, but
the artist to

only necessary for

figures

remember that simple

and few

colors are best, that the size of

each repeat should never exceed twelve

inches and the repeat
is across the web, not in the length as it is in printing. " The size of the paper, then, would de-

pend on the

size of

your design.
*

In order

Fig.

88.Illustrating

three kinds of

Ben Day.

This

is

reprinted through the courtesy of

Women's Wear.

Page

Fifty-six

METHOD
"You
be
will
see,

therefore,

that a pattern (in order to

must

mathematically correct) either take up the

entire 15 or 16 inches of the

or must repeat an even number of times withIn in 15 or 16 inches.

roller,

other words, the pattern must

be 15 or 16 inches in length, or must be repeated at intervals evenly divisible into

15

or

16.

three-inch

would register five times on the 15-inch roller;

repeat

on a 16-inch

a four-inch repeat four times roller; a 5 1 -inch three times on on a repeat,

16-inch roller; there
is

prac-

tically

no limit to the posvariations.

sible

12-inch

Courtesy of Harper's Bazar.

Fig.

89.Decorative

half-tone treatment used in magazine editorial.

on the other hand, would be impossible; it would have to be diminished to

repeat,

by the scraper, or 'doctor' at the and remaics only in the indented portions, which constitute the pattern. The cloth, passing just above the doctor, takes up the color that remains in the indented or engraved portions, and registers the
surfaces
side,

design.

"
is

A new

cylinder, as

we have

said above,

When a manufacturer wants no more goods printed from a certain pattern, the cylinder is
16 inches in circumference.
polished off and engraved with a
tern.

new

pat-

With each
is

polishing a thickness of

copper

removed, and the circumference

of the cylinder of course grows less.

When
of

a cylinder has been used for a

number

patterns, the circumference has gradually

been reduced from 16 to 15 inches, and when it becomes less than 15 inches it is junked.

E.

M.

G. SteinmeU.

FiT 9a

Courtesy of Vogue.

-Characteristic Editorial wash drawing.

TEXTILE DESIGNING
one-third
or

Page Fifty-seven
size

one-fourth

its

to

become practicable

for printing.

Most

commercial designers work on a 7|-inch

square for silk. " The above refers to the printing of
silks.

For printing cottons, the same

is

process
roller,

used.

cotton

printing

however, is 18 inches in circumference when new, and for succeeding patterns

designing
of for
is

polished until the cir-

cumference becomes 16 inches.

cottons,

When
the

therefore,

repeat must be figured on the basis

a 16- to 18-inch cylinder, corresponding to the 15- to 16-inch scale For example, a threefor silk printing. inch repeat could be used for silk or cotton being divisible into either 15 or
18.

On
is

the other hand,

a six-inch
Courtesy of CrU^on Magazine.

repeat could be used only for cotton;

it

evenly divisible into 18 but

91.

is

Magazine

half-tone pattern drawing.

not evenly

divisible into
is

15 or 16.

An
cial

8|-inch square

the commer-

standard for use in cotton design-

ing for dress goods.

"
tion

A pattern is expensive
to

in propor-

the

elaborateness

of

the

engraving and the number of colors used. It is commercially important,

therefore, that the

colors

be

effective

number
It
is

of

them

arrangement of and the actual be kept down.

the

better
if

to limit

number

of colors,

possible, to five or less

although more colors can be used. This refers both to silk and cotton. " With no wish to restrict the artist,

we

suggest that

libraries

museums and be often consulted for ideas

feel

and we

that the artist

may

Fig. 92.

Characteristic half-tone magazine advertising.

Courtesy of Cheney Brus.

with profit give some thought to the condition of mind of the women For this is always of America.

Page Fifty -eight

METHOD

Fig. 93.

Illustrating steps in a conventional wash catalogue drawing.

determining the
a picture, seen on a
in
folds.

Courtesy of Henry Soncit:

of

great importance in
of

flat surface,

but the
fall

sale

decorated fabrics.
designs at the
to

Endeavor
beautiful

to

decoration of a garment which will

Visualize
fabric,

make
original

that

are

and

your design in the

same time they are

certain
definite
fabrics.

appropriate

costume.

Remember
cate

that a design may be intriand not beautiful, may even be beautiful and not appropriate. Do not be afraid to be simple and do not merely
copy.

as some part of a woman's That is the test of a good design." The chapters on Color, Design and Period Fabric Design should be care-

made up

fully

consulted in connection with the mechanical method given above in regards to Textile Designing. For general

Keep

in

mind that a

textile design is

not

Theory

of Design such

books as Design

and texture must not be overlooked. Certain colors that are too brilliant or crude for indoors are appropriate for sport wear out of doors; where the scale of everything is greater.

* In designing, scale of color

TEXTILE DESIGNING

Page Fifty-nine

Courtesy ot Ladies

Home

Journal.

Fig. 94.

Crayon

pencil sketches.

Fig. 95.

in Theory and Practice and Principles of Design by Ernest Batchelder, Handbook of Ornament by F. S. Meyer, Decorative Design by Joseph Cummings Chase, Theory of Pure Design by Denman Ross, 200 Units of Design (plates), Henry Warren Poor, and Plant Form and Design by A. E. V. Lilley and W. M. Midgley will all be found helpful to the student.

The peasant

design must not be over-

looked and such books as

"A Magyar

Nep

Miiveszete," Molonyay, in four vol-

umes, Peasant Art in Austria Hungary, Peasant Art in Sweden, Lapland and Iceland, and Peasant Art in Russia, edited by Charles Holme, will be found an inspiration to designers and students.

Courtesy oj Vogue.

Accessories

drawn by

Claire Avery.

Courtesy of Harver's

From an etchmg by

E.

M.

A. Steinmetz.

COLOR CHAPTER FOUR

CHAPTER FOUR
31. General Theory. The most convenient and general theory * about color
is

COLOR

that based on the three primaries, red,

the warmest complement, orange, which is the farthest away from blue in the color
is

The coldest color is blue and

its

yellow,

and

blue.

As

these colors can-

wheel.
are those formed by mixture of the secondary colors. Thus, green mixed with purple makes olive; orange mixed with green makes

reproduced by the mixture or combination of any other colors, they are said to be pure or simple colors, i.e.,
not be
primaries.

Tertiary Colors

the

The secondary
orange,
green,

or

binary

colors

are

the tertiary citrine;

and orange mixed

is

and purple. These are made by mixing two of the primary colors
This mixture forms the complement of the remaining primary. Binary
together.
colors are halfway

with purple gives russet.

The more a
neutral
it

color

grayed the more

becomes.
color
is

By normal

meant the foundation

between the primaries

color of a scale of tone, the tones getting

on the color chart. Red and blue make purple, the complement of yellow, and directly opposite yellow on the color circle. Blue and yellow make green, the complement of red, and directly opposite red on the color circle. Yellow and red make orange, the complement of blue, and directly opposite blue on the color circle. Complementary colors, being directly opposite in the spectrum circuit, are wholly unrelated in their normal intensity. They show strong contrast and enrich
each other.

darker or lighter from this foundation. By tone is meant the modification of

any normal color by

black or white.

the

addition

of

By tint is meant the light tone of any color (formed by the adding of white
or water to a standard color),
is meant the dark tone ^f (formed by the adding oi dark or black to a standard color).

By shade
color

any

By

scale of color

is

tion of a series of tones of the

meant the gradasame color

from the

lightest tint

through the normal

or pure color to the darkest shade.

See Fig. 96.

A
*

By hue
its

is

meant the departure from

color

mixed with

complement

the original scale of a certain color, to

makes gray.
Another Theory: There
is

another color theory which

declares the elements of color to be red, green,

blue.

and
It

violet-

This

is is

based on spectrum analysis instead of

preferred

pigments and
the color

by some

authorities.

changes

wheel somewhat, regarding colors and their complements, making red the complement of blue-green,
green the complement of red-purple, and violet-blue the complement of yellow. For further explanation see A Color Notation by A. H.

Munsell.

a greater or less degree, by the addition of a comparatively small proportion of another color. For hue think around the color sphere; the even steps between the binary and adjacent primary in the color sphere is called the hue. Thus the step between blue and green is blue-green, between green and yellow, yellow-green, both hues of green. In the same way

Page Sixty-four
there are two hues of violet,

COLOR
two
of orange,

think

up and down the

is

color

sphere;

and two of red. a hue add the next-door neighbor (any that is, color between two primaries), change its place on the spectrum. By intensity or chroma is meant the

To change

a color to

yellow
32.

lightest, violet darkest, in value.

Harmonies

of

Likeness.

Haras:
dif-

monies of likeness 1. Monochromatic,

may
i.e.,

be classified a group of

ferent tones, values or intensifies of one

Drawing by Reta Senger.

Courtesy o/Good Houaekeeptng.

Fig. 97.- -Editorial magazine fashion

work

in

which color Ben

Day

is

used.

of a color. For inward or across the sphere. To change intensity, add the complementary color; in other words,

strength

or

brilliancy

color.

This

is

sometimes called a one

i.e.,

intensity

think

mode harmony.
2.

Analogous,

made by

colors that

are next to each other in the color circle,

gray

it.

and are harmonious because they have,

By

value

or light

meant the amount of dark expressed by a color. For value,

is

in different quantities, a
3.

common
i.e.,

element.

Dominant Harmony,

several colors

HARMONIES OF DIFFERENCE
all

Page

Sixty-five

influenced

or subdued

by the same

one part violet makes a neutralized yellow

or gray-yellow.

color.
33.

Harmonies

of Difference.

The haris

Three parts

violet

and one part yellow

violet or gray- violet

monies of difference are: 4. (a) Complementary, i.e., two complementary colors used together with some unifying element, by the mixing of the one with the other or by mixing a little gray with
both.
(&)

makes a neutralized

halfway between violet and gray.

true of the other colors.*
35.
circle

This

The Color

Chart.

To make a color

Split

complementary harmony,

i.e.,

the combination of a primary with the

two colors on each side of its secondary complement; as yellow combined with redrviolet, and blue-violet, or blue combined with yellow-orange and red-orange, or red combined with yellow-green and Always begin on the priblue-green. mary and split on the complement; never
a primary color. Double complementary harmony, i.e., that made by the combination of two colors side by side on the color wheel with their
split
(c)

which is composed of the full inprimary colors, yellow, red, and blue, and full intense binary or secondary colors, orange, green, and violet, and the full, intense intermediate hues,
tense

yellow-orange,
blue-violet,

yellow-green,

blue-green,

red-violet
circle

and

red-orange,

showing these colors and the center neutral gray, a paper should be used which holds water color (a "Keystone" Student's Drawing Block nine by twelve is good), on which to make the washes. These may be put on in small areas from two
with the inner
half

neutralized

to four inches square. to use for this chart are

Satisfactory colors

direct

opposites,

as,

for

instance,

violet

and blue-violet with yellow and yelloworange.

5.

Triad Harmony,

i.e.,

any harmony

of

three colors that

make an

equilateral tri-

yellow-orange, blue-green

Example: and red-violet. In producing triad harmony, use hues and neutralize to make them harmonious. Only one of the three should be wholly
angle in the spectrum
circle.

Winsor & Newton's Gamboge for yellow, Winsor & Newton's Alizarine Crimson mixed with Milton Bradley's Standard Red for red, Winsor & Newton's New Blue for blue, Winsor & Newton's Cadmium Orange and Standard Red for orange. New Blue and Milton Bradley's Standard Green for green, and Milton Bradley's Standard Violet for
violet.

intense.
34.

(Don't
for the

mix

standard

red,

standard

Laws

governing intensity.

Use The

of

Color. Law

green, or standard violet with other colors

for use, except

larger the area

the less intense the color must be and the smaller the area the more intense the
color

and
is

settle.

only in

on the chart. They stain They can be used satisfactorily small areas. The ten-cent tube

may be. Law of background.

Backgrounds must the

price
full

the size to obtain for the color chart

be more neutral than objects shown upon them. Three parts yellow and Neutralization.

Winsor & Newton colors ditter in and are more expensive. These are the colors that seem the best to obtain
the desired result.)
by black or
white.

* It

is

not well to combine colors in their

intensity unless relieved

Page Sixty-six

COLOR
as yellow orange,
little

To obtain the hues such

it
is

Practice on the paper in these small

understood that a

yellow

is

squares about three inches in size until

satisfactory results. are obtained;

added to the orange,

little

for yellow-green

do not

yellow to the green, while for bluegreen a little blue is added to the green, The colors of the inner circle, which etc.
are

get your paint on too thick or too thin.

Be

sure your brush

is

perfectly clean

get one color at a time, always

and making

known

as colors at their half intensity,

gray-orange or gray-yellow, are obtained by mixing the color with its complement. For example, about three
as, for instance,

may be sure obtain a satisfactory value for your choice of color. After you have finished
four or five squares that you
to

parts yellow plus one part violet

makes

cut your squares out and compare them with your value scale; half closing your
eyes often helps this comparison.

a neutralized yellow or gray-yellow. On the other hand, three parts violet plus one
part yellow equals gray-violet, and this
true of
all
is

When

the other colors.

crimson,

The

three

primaries mixed give the center, neutral

gray.
(Alizarine

a satisfactory selection has been made, use either a quarter, a nickel, or a dime, according to the size of the chart you wish to make and put these over the

gamboge and
showing nine

new

blue.)

Taking a neutral

scale

degrees of value from white to black, the

equivalent color values should be found

for the color chart;

smoothest part of the washes, draw with a sharp pencil a circle, with the coin as a guide, and then cut out the colored discs. A compass should be used to make a guiding line for the placement of
these small discs, which should be done

as for example, the

W. White
Yellow
Yellow-Orange Yellow- Green
1

very

carefully.

good

library

paste

H. L. High Light
Light
J

should be used to
36. Significance

mount

the discs.

Orange Green

|
j

L. L.

Low

Light

of Color. In PrinArrangement the author says: "Color is one of the most interesting and important elements in nature, because the eye, the organ of one of
ciples of Advertising

Red-Orange
Blue-Green

M. Middle
H. D. High Dark
D. Dark

the

five
color.

senses

of

man,

sees
call
it,

nothing

but

Red
Blue

is seen only because one color is placed against another and by its position and contrast

Form,

as

we

Red-Violet
Blue- Violet
Violet

makes a shape. And every tone of color has a separate meaning yellow speaks a

Low Dark
B. Black
value
scale
in

definite thing to those

who understand

it.

This
selecting

should
order
to

colors

be used in keep them

to

cannot say what yellow says neither can red or violet." In a folder gotten up by the Art in Trades Club of New York City, valuable
information was given in a strikingly simple

Blue

keyed
value.

correctly

together

according

and concise way under the heading, The

SOURCES OF COLOR SCHEMES

Principles of Color
as follows:

Page Sixty-seven
old embroidery and laces. Again, he may go to picture galleries and get inspirations from old and new Japanese prints and from old and new masters in art. See illustration of the gown adaptation from Whistler's Nocturne, Fig. 102. In deciding what colors are becoming; it must be remembered that a color not only reflects its own tint on the face of the wearer, but also its complement (this
is called simultaneous contrast) Therefore, the eyes, hair, and skin of the wearer must be considered and such a color for the
.

Harmony, which reads

" Psychological Significance.

it

Color, as

varies in hue, value

intrinsic qualities

its

and intensity, by and the association

of ideas, excites certain definite thoughts

and

ing.

ing.

Blue formal and distant. Greencool and and unifyYellow cheerful, Red warm, rich and aggressive. but decorative. Orangehot, Violet mournful, mystic, and darkenValue. Light color tones express youth,
Hues.
cold,
restful.

feelings in the

human mind.

brilliant

striking,

dress chosen as will neither give the per-

son a faded, ghastly tinge nor too harsh

femininity, gayety

and informality.

and florid an appearance, but which enhance his or her particular beauty.
best

will

In

Dark

color tones express strength, dig-

large areas neutralized colors are always

nity, repose,

Intensity.

Colors

and

seriousness.
in their full intensity

avoid

the harshness of too

much

intensity.

are strong, loud, vital,

feeling.

and elemental

in

Colors that have been neutralized ex-

and charm. Balance in Color Harmony. Colors to balance in harmony must be similar in
press subtlety, refinement

A very ugly combination may result from putting together two different hues of the same color. Simultaneous contrast can take place with a disastrous result.
This
is

often

what we mean when we

say one blue

kills

and area. tensity must vary

intensity

If dissimilar, the in-

another red.
of hue,

On

another or one red kills account of this matter

in inverse proportions

things that are the

same

color

to the area.

objects to be

Backgrounds should be less intense than shown on them." (It is not well to figure a whole warm object on a
37.

but of a different hue do not always harmonize. Be careful about using together colors of the same intensity, unless both or one
is

cold background.)

Sources of Color Schemes.

of

Many

much

neutralized.
to

It

is

usually

more

satisfactory

use

the

more

brilliant

are the designer's sources for color schemes.

color in the smaller quantity.

colors have taken on many which they change from season to season, and which, while catering to the
titles

With the knowledge

consists in,

what harmony he may go to nature and find

Modern

an endless variety in the animal, mineral, reptile and flower kingdoms, and in atmospheric effects. Or he may go to museums and study china and glass and textiles, such as tapestries, rugs and
bird,

imagination of the public are quite overwhelming. This is wittily expressed in

the following quotation from Dr. Frank

Crane.

Page Sixty-eight

COLOR
"Well, this
dust,
cardinal,
is

MODERN COLOR
BY
Dr. Frank Crane
"Yes," said the saleslady, "we have
all

cerise

and those are raspberry, brick

crushed strawberry, carnation, and

old rose, this
is is

me

see

let
is

this

is

ashes of roses, this

watermelon, this

sunset pink."

the

new

oflBcial

"You interest me. How about blues?" "Why, there is navy blue, and Copenhagen
Alice Blue,
blue,

blue,

Panama

Exposition colors!"

and old

blue,

"For instance?"
travertine, lattice green,

"Well, there's flagpole red, wall blue, exposition gold, "

and robin's egg blue, "That's enough. I'm afraid you'll say Monday

and ultramarine " and

blue,

and and sky

blue.

and

Tell

me some

yellows."

green, or yellow

"But haven't you anything and so on?"

in

just

plain colors

red,

"Oh,

lots of

them!

Straw, champagne, dust, tan, ca-

nary, lemon, orange, tango, sand, and so on."

"Oh, no!" "Aren't those reds over there?" "We don't say red, you know, any more."

"Goodness!" "Then we have

lettuce green,

in greens,

Nile green, parrot green,

Alice green,

emerald green, Irish green.

"What then?"

Reseda and others."

>^
ir

Fig. 98.

The reproduction from the color

CouTtesv of Criterion Magazine.

plate.

SOURCES OF COLOR SCHEMES

"Isn't there any such thing as just plain, ordinary

Page Sixty-nine
wood shades
nut;

walnut

brown, mahogany, oak, and chestdove,

jewel tints, as ruby,

green?"

bird colors, such as coxcomb, chanticleer,

"Oh

no!

It

's

the shade, you know.

Here, for example,

canary,

yellow and parrot green;

are elephant's breath gray,

and taupe."

sapphire, pearl, amber, topaz, coral, jade, blue."

and turquoise

"Indeed!"
"Yes; and then
rose,
fodil,
all

the flower colors are represented

violet,

lavender, wistaria, nasturtium, pansy, daf-

American

Beauty,

cherry

blossom,

and poppy

"I am overwhelmed.'' "Oh, there are others the most fantastic. You can have a claret necktie, a flame ribbon, laces of ivory or

Isabella,

a sash of cream,

coffee,

or chocolate color;

"Charming!
"Precisely.
is

They appeal

to the imagination."

gown

of

mouse gray

or steel gray,

and other

articles of

Half of the color-pleasure of dress goods

your apparel, to

assist

you to perfect

self-expression.

the pleased fancy.

We

strive for the unique, such as

Maybe

the color of pomegcteiate, apple green, fawn, delfl

Courtesy of CriteTion Magazine.

Fig.

89.-

-Reproduction showing the combination printing from the two plates.

"

Page Seventy
blue, lapis lazuli, taffy, salt

COLOR
and pepper, mustard, cinnawine

mon, mud,
pea green " Thanks
give
!

stone, cabbage, putty, string color, or

color, besides

Indian red or Pompeian red, sea green or

side to side without doing any more mixing or dipping your brush again in the water. Have the drawing board tilted

think

I'll

take some ribbons, some of those

advertised as

"distinctly American in

nomenclature"

me some Palm
silver,

Arizona

Beach, Piping Rock, Tuxedo brown, Gettysburg gray, Oregon green, Delaware

peach, Newport tan, and

please."

Rocky Mountain

blue,

if

you

38.

Applying Colors.
left

In

painting, be-

toward you and enough color in your brush to ensure its keeping the little rivulet going without the danger of dry For practice work it is well to spots. make some eight-inch squares and to try covering their surfaces with a uniform
tone.

gin at the top and color downward, from

your
color

to your right.

The edge

of a

When you

are

making a dressmaker's

may

brush;

be softened by a clean, damp this is necessary in doing velvets.

is

"Where shiny taffeta

ness and do not

desired,

let

the

sometimes helpful to put a little color in the background, up on one side and down on the other, not maksketch in white,
it is

paints dry in a harder line to give crisp-

ing

it

too

intense,

and taking care

to

work over while still wet. Cold colors serve as shadows to warmer colors and should be laid on first; generally,

soften the edge.

When
body

wishing to work in opaque (or

color),

add a

little
is

Chinese White
often useful for
as Devoe's

warm

colors over cold should

be

to your color.

This

the

rule.

After

the

sketch

is

finished

reproduction.

What are known

and dry, unfinished-looking darks can be picked up with some darker darks and the high lights on the edges of coats, pockets, tucks, etc., can be brought out

Show Card

Colors are good for tempera

Theatrical costume designs

fashion work.

are often carried out in this way.*

by
lines

thin,

steady,
detail
is

crisp

Chinese

w^hite

when

desired.

Thompson's White has a stiff quality which makes it of value in doing dressmakers' sketches, where raised buttons,
beads, embroidery, lace,
etc.,

Prussian Blue, Lake, and Sepia mixed

are desired.

One way of graying, or neutralizing, a color is by adding a little but Payne's Gray of its complement;

make

gray.

Put
ing

it

until all

on rather dry and let it stand moisture seems gone before touch-

and black are often

drawings.

of value for this use

color,

up these buttons, beads, or lace with gold or silver. Ink is often used
for reproduction.

in dressmakers' sketches

and commercial

with color, both for dressmakers' sketches

and
in

must be kept clean and rinsed Never leave them in the water. after use. Take plenty of color in your brush and
All brushes

Have your
pencil,
in

sketch always carefully

in

made
last.

putting

the
first

details

Put

your big washes

and keep the

try first on a piece of spare paper to see

that you have the right tone and that

the brush

is not too wet or too dry. WTien you intend covering a space with a flat tone, have enough color mixed to go from the top to the bottom and from

whole sketch going, being particular not to concentrate too much on any one part. Avoid " niggling "; keep your wash
clean and bold.

Oramge
tones

Vermilion

vermilion,

makes good flesh good lips and color in

*See Page Nine.

COLORS
cheeks.
this color on;

Page Seventy-one
of black and white; these should be bought in the tubes. One should have Prussian Blue and either New Blue, Cobalt, or Ultramarine, Payne's Gray, Emerald Green, Hooker's Green 1, Hooker's Green 2, Lemon Yellow, Yellow Ochre, Naples Yellow, Raw Sienna,

There are two ways of putting one by putting the orange vermilion in a very light tone over all the flesh and then, when dry, adding the
color
it

tion

desired

to

the the

cheeks
edge;

(preferably

having
quickly

high on the cheek bone) and

the

soft^ening

other

way by
while
wet.

stippling or putting

on the added
tone
is

color with

the tiny point of the brush

all-over
flesh
still

the

Always remember that colors dry much Blue and bluish gray make good shadows for white. In doing a dressmaker's sketch in dark blue or black, always keep the color transparent and lighter than the real material, though having the same effect, so that the detail
lighter.
will

Burnt Sienna, either Rose Madder, Carmine or Crimson Lake, Vermilion, Orange Vermilion, Mauve, Sepia, Van-Dyck Brown, Gold, and Silver. In tubes, Lampblack and \Miite, and Thompson's White if raised work is desired. This list is
found convenient in saving the time of mixing in doing dressmakers' colored
sketches.

The best Show Card

Orange,

colors
list

to get in the

Devoe
Mauve,

are White, Light Yellow,

be shown.
following
supplies
will

Light

Red,

Magenta,

The
work

be found
water-color
colors are

Dark
is

Blue, Light Blue, and Green.

Some
finish

useful in doing this kind of

artists

use letterine

when a shiny

wanted.

Colors.

Winsor

& Newton

Brushes.

Rubens, and Winsor

& New-

preferred.

Less expensive but good stu-

dent's colors are

It
fill

is it

best to

Devoe and Favor Ruhl. buy the box separately and with the colors desired. Tubes dry
it is

ton red sable brushes are recommended. Good sizes for fashion work are Nos. 3

and

4,

and 6 and
white,

7.

Devoe
and

or

some

less

expensive brushes should be used for ink,

up, therefore, unless colors are to be used

Chinese

gold,

silver,

which

constantly or in quantitj^

more

eco-

are injurio\is to brushes.

Bristle brushes

nomical to buy half pans, with the excep-

are good for a steady, broad line.

y^

Drawn by Robert Henry

for Felix

Jungmann &

Cie., Paris.

-<^x)

C.BflR8;E.R

x^lJ

CouTtesv of Vogue,

New

the Gaiette

York Rcpresmtalltes du Bon Ton.

LES COLCHIQUES
Manteau de voyage de Paquin
From
a color illustration

by George

Barbier.

DESIGN
CHAPTER FIVE

CHAPTER FIVE
39.

DESIGN
of

Fundamentals
is

Good Design.

full

at

the

shoulder

and

skirts

that

Order
never

the law of
sight

all

design,

No

matter

are very narrow at the bottom, as these

how far we
lose

allow our fancy to go,

of

we should

accentuate the size of the hips and trunk.

Horizontal
lines

the
6a/-

make
shorter

principles of design;

the

figure

look

-imce, rhythm, and harmony. Furthermore, we should

always aim at simplicity

and appropriateness.
Like the architect, we should study ancient and
mediaeval examples as well
as
later

and stouter; the shorter the vertical lines are made, the shorter the person will seem. Bands of contrasting tone or
color accentuate the line
effect.

Stout people should

ones.
is

Like

his,

avoid large figured goods

cur problem
First, to find

two-fold:

and materials too bright

or too light in color.

out the best

can

and most beautiful that be conceived, and

second, to adapt
it

Thin people with very

narrow, sloping shoulders
should avoid the exaggerated kimona and shoulder seams drooping over the arm, and should keep to the horizontal shoulder lines, if they do not wish to emphasize this personal
characteristic.
Tall, thin people should

to our

own

present-day needs.

Great heed must be given, fundamentally, to

personal characteristics.

The

materials

used

for

comfort or ornament can then be so chosen and so

treated
as to
neutralize

individual defects or de-

avoid long

vertical

lines

and to enhance every good point.* 40. Facts Always to be Kept in Mind. Common sense and observation show that stout people should avoid large head
ficiencies

such as very definite or

large stripes, for these lines

accentuate height.
is

This

not true of inconspicuous stripes. They should

avoid a coat line which
Fig. 100.
Courtesy of Mile JacQueline.

decorations,

and hats which

Hat inspired by a bowl

of crocuses.

cuts

them

into

awkward
the

lengths

Remember

make
shorter

a person appear
lines are in

Greek law: When two

good relation to each other,
line.

than their real height, as they enlarge the head proportion. They
* "

the shorter comes between one-half and

two-thirds of the longer
will

should also avoid sleeves that are very

Woman

as Decoration "

by Emily Burbank,

be found profitable reading

in this connection.

Page Seventy-six

DESIGN

Courtesy of New York Evenini World.

Tall, thin people

should
effects

shoulders give one an ap-

avoid narrow-chested

pearance of being taller than

sloping shoulders, and the

and

clothes

that

fit

too

tightly.

higher the waist

line

the

Everybody should beware of too conspicuous plaids and

stripes or figured materials.

greater the apparent height

A
Fig. 101.

narrow belt makes the

As a

rule

do not combine

Gowns that are

will

waist appear smaller and

in style to-

large figured materials with

small figured materials.*

in vogue five thousand years ago as a study of the figures at the Metropolitan Museum, New York,

day were

longer, whereas a wide girdle

gives

the appearance of a
(if

show.

broader, shorter waist

Small
lecting

people,

figured

when segoods for themselves,

Note
this

should always get small figured materials,

emphasizing their daintiness.

even in plain stuffs, as, for instance, how a narrow-ribbed corduroy suits a small person better than a wide-ribbed one.
Figured,
striped,

above the waist line). Over-decoration is always bad. Broken line effects are always bad. (As, for example, waists and skirts with seemingly no connection.)

A
skirt

continuation of waist line into the

is

good.

or

plaid

materials,

Light colors near the face are good.

which approach plain material, will stand more trimming than those in which the
designs are emphatically decorative.

one striking note of color is used belt), it should have a repetition elsewhere (as in a touch on the sleeve
(as in

When

Equal or nearly equal amounts of dark and light are unsatisfactory unless they approach an "all-over" tone.

and

waist).

41.

Sources of Designs.

Bearing the

foregoing facts in mind,

inspiration
scale in design.

we may draw our

libraries, things

When

other things are equal, square

*

from museums,

Never mix

SOURCES OF DESIGNS
in nature, or

Page Seventy-seven
was adapted from an Arizona pine, and Fig. 99, Pattern No. 8079, from a Hopi Indian woman's dress.
If

from any source that appeals

See Fig. 101.

to us,

and

start our design.

shows us how found her inspiration for a hat As in a bowl of tulips.

Fig. 100

Mile.

Jacqueline

the designer's imag-

ination needs stimulating

for the first prize evening

dress of the Times Prize

Contest for Original Amer-

ican

Designs,

made by

the writer and shown by Fig. 102, the Times has

given the
following description of its source.
Whistler
s

get away from the commonplace, see what music or poetry will do to help. Notice how, when either are sad, one thinks in subdued grays and violets and dull blues;
to

when they
pinks,

are

joyous,

yellows

and

less

well-known Nocturne

furnished the inspiration for this

somber colors come into one's mind.*

evening

gown,

which
It

owes
of
is,

its

The

designer has such

distinction

to subtlety
of line.

color

and grace
do
justice

unfortu-

nately, impossible in

a sketch to
extraordinary
de-

an immense store-house from which to draw that,

to

the

when

his eyes are once

feeling for

color

which the
in her

opened
ing
to
is

to

the

endless

signer has

shown
of

selection

and handling
by using

treasures that are waitinspire

materials,

be-

cause she has obtained her effect

him, his

semitransparent color

world
of the

as full of wonders

over contrasting color.

as the vaulted
echo
blue-green,

She has secured a

of

faithful

the

Nocturne's

chambers Forty Thieves, or

gray-brown harmonies by laying

pastel-blue
tinged,
girdle
is

the untold treasures in the cavern of Aladdin.

chiffon,

faintly

green

over putty color.

in

The
is

a deeper green-blue
embroidery
color
of

Appreciation

is

needful
to

and

its

Oriental

and

it

is

necessary

worked out
there
is

in blues

and gold and

which
in
glint

gain this love and under-

the vivid flame

standing of the beautiful

one single

the

Whistler picture.

which
should
of the

really

comprises

Another note of blue

in the necklace of

is

sounded

what we

call taste.

We

wooden beads, the smaller beads catching up the

wing shoulder draperies.
Cuuru^y uj iSew York Times.

know something
art
of

the past

as well as the costumes

of these periods, so rich
in material
is

The waist made

Ladies^

for the

Home
in

Journal,

Fig. 102. spired by

Design
"A

for an evening dress inNocturne" in Tate Gallery by Whistler.

that of the

shown

Fig. 103,

was

Egyptians,

Greeks, Ro-

suggested by the Lily of the Valley. Fig. 99, Pattern No. 8082, in the Criterion,

mans, Assyrians, and Byzantines, as

well as that of the cruder times of the
life;

*Paul Poiret truthfully says "There are gowns which express joy of gowns romantic; gowns full of mystery; and gowns for the Third Act."

those which announce catastrophe;

gowns that weep;

Page Seventy-eight
Gauls and Franks. Beginning with the French costumes of the fifth century and the Enghsh after the Norman Conquest in the eleventh century, we come down the centuries with a wonderful unfolding of both beauof the sculptor in so
is

DESIGN
much
as the effect
to be viewed to

cording

from every side and, acBeau Brummel, the most

important part of a woman's hat is the back. Beside this, the laws of proportion

demand
relation

that
of

we
the

ty and eccentricity of
design.

consider not alone

the

There are many wonderful costume

books that

hat to the head, but also the relation cf

the head and hat to

may be
by the
both

consulted
designer

with

enjoyment and profit. fairly comprehensive list of these will be found on pages 127 and 128. 42. Hats.Wlien seen from the side, the lines of the crown of the hat should not extend beyond the

the entire figure. (For illustration, headgear too large

for

the figure

gives

clumsy,

awkward

appearance.)

Thus, no matter what fashion decrees, the law of proper

proportions for every
individual should be

sought out and

obeyed, even
brings
if

line of

the forehead
If the

it

nor beyond the hair

in the back.

hair

extends

far

in

about a disagreement with the prevailing modes.

43. Designing Hats.The height

the back, the hat should come between the head and end of
the hair in order properly to balance with

of

any

hat, generally

speaking, should not

the spinal column.

People with small

Fig. 103.

Green and white blouse inspired by a

of the valley.

Courtesy of Ladles'

Home

Journal.
lily

be more than threequarters the depth of the face. (That is,

the length of the face

or

narrow
faces,

faces
hats

require
large

smaller
to

than

those

with
are

whom

larger

hats

becoming.

Care should be taken not to

accentuate undesirable lines or features

from the chin to the eyebrows.) The greatest width of a wide hat should not exceed three times the width of the wearer's face, including the ears and the
hair at the sides of the head.

by too strong repetition or opposition. Try rather to neutralize such. The milliner's problem is allied to that

The

greater

width

is

often at the left side.

of a hat
is

The crown

very important

DESIGNING HATS
and must appear to cover the head and People with large also any puffs of hair.

Page Seventy-nine
of clothes as studies in the flat

and must aim to make them please from every

heads should not wear hats

with small
On the other hand, people with
crowns.
long, thin faces,

At the same time we must not lose

side.

sight of unity and must never let distracting

details interfere

and plainly
arranged hair
should not wear

with the centre

hats with
crowns wider
than the width of their faces

of interest which is usually the head. In

other words,

we
to

should

aim

make

personality

and hair. If we are ever to overcome our bromidic tendency

in
dress,

dominate
clothes.

the

For
telling

most

illustra-

we

shall

have
an
of

tion of this last point,

study the paintin gs of Rem-

to cultivate

appreciation

personality and character and become so interested in type

brandt.

how

all

Note his

wonderfully thought-out
textures and tones of garments are made subs er vient to his char-

that we will
our hitherto sheep-like
resist
Courtesy of New York Globe. which wash pencil, craj-on pencil and pen and ink are combined.

tendency to follow the

cature us.

ic. 104.

Drawing

in

modes, even when they distort and

cari-

acterization, how all these lead up to the head and face and seem arranged to perfectly

The designs shown in Fig. 104 were made by Kelly for the Globe. In designing we must get away from the consideration

reveal

the

individuality

of
life,

the

sitter, his

occupation, his walk in

and

his

inmost character.

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

Robe
From

d inteneur
New York
represeniattve of the
i

Courtesy of Vogue,

a color illustration

by George Lepape,

THE FASHION SILHOUETTE

CHAPTER

SIX

CHAPTER SIX
44.

THE FASHION SILHOUETTE *

Silhouette. The
all

Value of the
is is it

Sil-

centuries

(the tenth

houette

the foundation of

fashions,

so nearly like the twelfth

and eleventh were and thirteenth

and

varied aspect through the centuries.

in a literal sense, it so simplifies

most interesting to study its Taken

the coserrors

that drawings are omitted)

The

effect

is

of everything

tumes of the period

that the

hung and

many

now

seen in the cosare

tume world
novice.

unless

from the shoulder all garments rather loose. The head was usually more or less bound or wrapped around, though at
certain
localities

necessary to even the

times

in

certain

Much

the hair was worn

necessary are the glarFig. 105.

in long braids.

The

fourFig. 107. The

^The gorget. mg

mistaKes mistakes

we now

teenth century shows the

wimple.

see in print in regard

innovation of scallops, the

fifteenth the increased length of hats

to
as

Moyen Age and

well

Renaissance costumes,

and
all

as those of the eighteenth

and

shoes, but in spite of

these touches

nineteenth centuries, that period of

the
ous,

much

belong to the
are Gothic.
It

Moyen
is

Age, to things that

uncertainty about the hoop and Empire,

crinoline

and

bustle.

For
to
in

interesting to see these

this reason it

seems advantageinteresting,

clothes so beautifully described

as

well as

the

Gothic Tapestries
of

and

become thoroughly

familiar with
all

illuminated books

the time

costume silhouettes of

ages.

and

The
plifies,

silhouette classifies, sim-

the efiSgies in churches. See Fig. 108. In the eleventh

and so condenses

details

century the wimple was wound

that both time and trouble are saved.

Curiously enough, this

is

saving
nifies,

what
it is

its

name

sig-

as
of

taken from the

Fig.

around the head, not allowing about a hair to show; hundred years later came the fashion of the chin band and
the
106.XV Century horned head-dress.

name

Etienne de Silhouette,

forehead-strap.

See Fig.

107.

Minister of Finance to France

in 1759,

whose public economy

in trying

to avert national bankruptcy during the

XV caused his name to be given to things ostensibly economical. 45. Twelfth to Fifteenth Centuries.
reign of Louis

was still hidden by the wimple. A hundred years later and this earlier headdress had been followed by the gorget a piece of linen wrapped about
hair

The

the neck halfway framing the face.

Fig. 105.

See

To

begin with,

let

us glance at Fig. 110,

times tied

Around the wimple was somea silk band called a snood. The
still

starting with the twelfth

and thirteenth
is

gown was

long and loose at the waist

Globe.

* This chapter

reprinted through courtesy of the

New York

Page Eighty-four

THE FASHION SILHOUETTE

Fig. 108.

Showing the houppelande or XV Century

remaining
so

robe.

Tlie Giving of the Rose, a Gothic decorative

tapestry at Metropolitan

Museum.

with sometimes a girdle, until the fifteenth century.

46.

example, the Sisterhood of the Annunciation at Bourges by St. Jeanne de Valois, daughter of Louis XI of France. Today they bring to us the legend, beauty and romance of those dark ages. They breathe
castles,

Religious Orders.

picturesque

touch of this early costume may be noted today in the dress of the nuns and sisters. The Dominican nuns wear practically
the same garb as
instituted

crusades,

monasteries,

and con-

when their order was by Saint Dominic in 1218,

vents.

including the rosary, which was his in-

novation.
teenth,

Many

religious

orders

were
thir-

founded in the eleventh, twelfth,

In the fifteenth century, as the pointed Gothic architecture grew more pointed, the head covering or hennens (see Figs. 106 and 110) as well as
arches of the the shoes followed suit, so that in this

and fourteenth centuries

as,

for

SIXTEENTH CENTURY
century came the high-water mark of extremes. To this day we find left over traces of these headdresses in some of the

Page Eighty-five
by Hans Holbein. There was a stiffening of the figure and a tendency toward the
smaller waistline in the sixteenth century.
-

costumes of the
peasants in re-

It might be well to say

here that in the
twelfth century
lacing
is

mote

districts

on

,-^^

the continent.
47. Sixteenth

supCal-

Century. The
sixteenth cen-

posed to have

come
throp
in his

in.

tury found
great

tells

us

changes,
land.

history

on sea and

Printing had
been invented,

'%

of English Costume, "Not

that the lacing

America had
been discovered and the first watches made.

was very

tight,

but

it

com-

menced the
habit and the habit begat the

The

silhouette

was greatly
The Renaissance changed the
changed.
architecture of

harm, and the thing grew until

it

arrived

finally at the

buckram,
square-built,
cardboard-and-

dress as well as of everything

else.

Al-

tissue figure

brecht Diirer has left us won d erf ul

which titters and totters through the

contemporary
sketches of the

Elizabethan
era."

Up to the
is

early part of
this century,

fifteenth cen-

tury

notice-

the originals of

able a sense of

which

are in
Courtesy of Art Stvdent Magtuine.

looseness,
Fig. 109.

of

Nuremberg, see
Fig. 109.

Late XV Century costume drawing by Albrecht

less

everything

Diirer.

We
sleeves

are
of

all

with the slashed Henry VIH and his queens

familiar

(1509-1547) immortalized in the portraits

being more or supported from the shoulders, giving the straight lines of the middle ages. The fifteenth century was transitional;

Page Eighty-six

THE FASHION SILHOUETTE

iHMm
Fig. 110.

How the
long

Draim by

Inez Casseau.

different centuries affected the fashion silhouette.

after

that
skirts

the

tight,

waists

and

women

wide
style.

came

to stay until the nine-

teenth
48.

century

brought in the Empire

The Puritans and both are distinguished by the costumes prevalent at the time they were
of that day.

Pilgrims

organized (period of James

I,

1603-1625,
painters

Seventeenth and Eighteenth Centuries. The Elizabethan high collar was

and Charles

I,

1625-1649, of England).

The portrait
have
done

the forerunner of the

Charles I (1625-1649)
flat

of

collar and cuffs which the Crom-

nobly in preserving for us the fashions of the times through the costumes

worn by
guished

their distinsitters.

wellian period

(1649-

Such

1660) was a simplification.

men

as Velasquez,

Van
in

The drawings

Dyck, and Rubens

the seventeenth
tury,

of

Hollar give excel-

cen-

lent illustrations of
these.

and

in the eigh-

The Quaker
is

teenth Watteau,
Fragonard,
Nattier,

dress

the survival

of

costume of Charles II period

the
(1660-1685), although

Romne}', Gainsborough,

Lawrence, Raeburn,
and Sir Joshua Reynolds have left us valuable documents.

minus the plain linen feather takes the place of

the hat
is

Thus we pass
through the sixteenth
Fig. 111.

lace.

The shoes are the

same, but without the

ribbon or roses, really
similar in every

and part
XVI
Century fashion drawing by

of the seven-

^Early

Hans Holbein.

teenth

centuries,

way
eliminated

leaving the time of the

with

the

extravagance
emphasized.

and

simplicity

The beaver hat

and hood of the Quaker, then called the French hood, were both worn by the

Renaissance for the period of the Louis of The stately dignity and truly France. roya' magnificence of Louis XIV was followed by the less formal but luxurious

NINETEENTH CENTURY

Page Eighty-seven

iUil^t
Courtesy of London Graphic.

Fig. 112.

rococo period of Louis

styles

XV

(1723-1774),
set the

the

classic

revival

of

the

Greek

when Pompadour and du Barry

in

Roman, modified
epoch.

to suit the climate

and and

the Parisian world of fashion,

Then

followed

the reappearance of the

hoop and the more extreme though refined attitude toward dress during the reign of Louis XVI and Marie Antoinette. In England at this time George III was reigning (1760-1820) and the Shakers

This revival was the natural outwere taking at that time in- the restoration work of

come
the

of the interest people

Pompeian cities, and one Empire style the classic type emphasized. It was an endeavor for
buried
sees in the

something

different,

came to this country wearing what constitutes

something essentially new, for anything

suggesting the
former royalty was frowned upon by Napoleon. It is interesting to note
that
this
it

their

tume to-day
bonnet

the
apron work-

cos-

wide, pleated skirt,

and

of the English

was back to
period

ing class.
49.

quaint

Nineteenth
change

that

Kate

Century. The
third great
in the silhouette did

away

Green(1846-1901)
It

loved to go for in-

spiration.

was
of

not come until the

Directorate in 1795,

she
these
Fig. 113.

who revived
costumes

so that the early nineteenth

Quaint

styles of

Kate Greenaway.
it is

the beginning of the

nineteenth century.

century

found the narrow skirts and short waists conspicuous. See ^rst silhouette of Fig. 112. Jacques Louis David, the court painter of Napoleon, was a strong influence in

and
still

truthfully said in this style,

made

more

beautiful
still

by her naive touch, she

did dress, and

two continents.

dresses, the children of See Figs. 113 and 22.

Page Eighty-eight
the hoop of the and have come to the nineteenth century with its Empire and charming 1830 costume, which always makes one think of nosegays and oldfashioned valentines (see Fig. 112) and the crinoline of 1840, which made the (To get the skirt grow wider until 1864. atmosphere of this time, look at George Du Manner's illustrations of Owen Mere-

THE FASHION SILHOUETTE

houette quite as well as the other parts of the costume, with even the added interest of the fact that

We

have

left

now

eighteenth

century,

centuries the sleeves of

down through the men and women

no
bigger

were very

much

alike,

no

smaller, until the nineteenth century,

when

the leg-of-mutton sleeve was affected also

by men.

That seems

to

have been, howre-

ever, the time of emancipation, for then

men's sleeves became small and have

dith's

Fashion then took a turn and the skirt began in 1865 to grow narrower until in the winter of 1869-1870 the bustle and the draped skirts appeared. In this one century, therefore, with its narrow skirts, its bell skirts, its wide skirts, its bustles, and its draped skirts, there were really many more definite changes than in the ten centuries of silhouettes we have been examining. While speaking of skirts, small mention has been made of sleeves, but they sil"Lucile.")

mained so ever

since.

The
in

thirty beautiful little period dolls

the Metropolitan

Museum

illustrate

how

truly the silhouette has kept for us

the fleeting shadow of the passing centuries.

-

Let us then not deny or push

it is

aside the silhouette as of small importance.

Historically
it

valuable, and the paths

leads us through in the study of cos-

tume
It
is

are

full of

beauty and varied

interest.

with the silhouette in mind that

we

should observe every fashion.

1199

1350

IJ2J

1580

1640

1660

1723

1620

Drawn by Maraaret

Calderhead.

How

different centuries

have affected the silhouette of men.

CHAPTER SEVEN

PERIOD FABRIC DESIGN

CHAPTER SEVEN
50.

PERIOD FABRIC DESIGN

Primitive

Design.

Primitive

de-

sign, often so fresh

and simple
States

in treat-

ment and
in units.

character, does not differ

much

The United

Government

pubhshed
of
its

in 1894 a report that the results

researches

showed

that the san^e

swasticka

wars and conquests, and their designs were often similar. The affinity between the Art of India and Japan is close on account of Buddhism, which exercises a strong influence over both peoples. The Art of Japan and China
is

used in prehistoric America

also

somewhat
are

similar;

been found in India, Eastern Turkestan, Northern Europe, Southern

also

had

indeed, at times the differences

difficult

to

determine.

The Japanese

Europe, Asia Minor, Greece, Rome, Northern

Africa and Byzantium. So

have a greater love for detail and do not conventionaHze in as broad

a way as the Chinese, but many of their forms
are identical.
esting to
this
is

much symbolic
is

significance

often attached, or
religious
is

some

strict

meaning,

It

is

inter-

that design

a deep and

know that, where

the case, the in-

interesting subject

from an

ethnological point of view,

fluence
India.

can be traced to
in

but "simple pictorial expressions are of world usage and are not sufficiently intricate

The Japanese
designs

their

to constiDrawn and designed by G. Rothschild Design motive from Indian

basket.

thought." In these the student of

tute
original

design, however, can find

Fig. 114

show a great love for nature flowers, mountains, waves, dragons, and the tortoises, etc., method used is usually

splendid motives for

ern treatment.
terial

modThis maits

picturesque
formal.
52.

(in

spite

of

See Fig. 114.

interesting conventionality) instead of

was designed from a unit on an

Influence
in

Indian basket.
51.

Early

Fabrics

and

Designs.

Design.

We

In

know

that the early civilized races had intercourse,

and we

see the influence of this

in their designs.
in

We

find

Greek influence

Egypt must first be mentioned, where weaving was known 3000 b.c. Examples of ancient fabrics dating as far back as 1000 B.C.
outlining period fabric design,

the art of China, and for hundreds

of years B.C. the arts of Assyrians,

tians,

Egyp-

and Persians were

allied

through

can be seen in the Louvre, Paris. While we know that checkered rugs were woven, we find that garments during the Old

Page Ninety-two
Kingdom, Dark Ages,

PERIOD FABRIC DESIGN

invasion of Alexander the Great.
It

was

Middle
Period of

Kingdom,
Shepherd

too expensive for large garments and was

a deep yellow in color..

Kings, and New Empire, i.e., from

2980
B.C.,

B.C.

until

945

were usually
of

made
wool,

linen

and

woven by hand.

While the dyes used were principally red, blue, and saffron, white seems to have been most worn. The material was plain,
the decoration,
if

The Doric and Ionic chitons, or dress, and the himation, or cloak, were used in different colors. Blue and Tyrian purple as well as red and yellow were popular. Different borders were often combined in the Greek costume with an all-over design. See Fig. 115. The designs were frequently emblems, and birds, animals or flowers. The garments were woven in one piece which was complete in itself. The
long,

graceful

folds

of

this

single

any,

being embroidery at the hem. While fond

of ornamentation, the

garment produced a decorative and simple effect, and it is interesting to note also the different effects obtainable by changing the position of the girdle. This was worn at the waist in the Archaic period.

people during this

time seem to have depended on their wigs and headdresses, collars, hanging

Greek Doric Fig. 115. cx)stume from Hope.

and leg decorations, and not to have introduced figures in

straps, armlets,

their weaves.

See Fig. 116.

or Egyptian Christians,

The Copts
like

wore embroidered bands on their garments, the color and designs of which are most interesting. Good examples are to be seen in the Coptic Room, Metropolitan Museum of Art, and in the Cooper
wonderfully

the Greeks and Romans,

woven

or

Union Museum. 53. Greek Dress. The Greeks used wool linen, and silk. Linen and silk were used for the more extravagant costumes of the later period, though they had cotton in small quantities.

Cotton belonged to India;

it

did not
116.

become known to Europe

until

the

Costume of man and woman of Egypt about 2500

from Kistoire de L'Art Egyptian.

B.C.

ROMAN DRESS
over the hips in the Golden Age, and
55. Influ-

Page Ninety-three

under the arms at the

last period.

Interesting and detailed accounts of Greek costumes may be found in Evans's Greek Dress and Edith Abraham's Greek Dress; good illustrations in Hope's Costume of the Ancients. 54. Roman Dress. The Romans and Greeks imported much material from

ence of the E a s t .

Fabrics
seem always

to have drawn their

inspiration

from the
East.

Babylonia.
as having a

Some

of the silk

is

described

We
the

nap on both sides (velvet), and as gold, scarlet and purple in color. The Roman women wore a tunic, a stola (like the Grecian chiton), and a palla, which corresponded to a Roman man's toga, or a Grecian woman's himation. The Roman women added a ruffle to their dress which was often elaborately decorated. Silk was at a premium, but was frequently mixed in weaving with wool or linen. With the exception of more
elaboration,

find

Gauls after
the conquest

of Csesar,

55

B.C.,

adopting a

somewhat

m odified
form
of the
Fig. 118. XIV Century parti-colored dresses from Jacquemin.

Roman cosThe Franks in

tume.

the

fabrics

did

not

differ

much from

the Grecian.

taking possession of Gaul gradually (from

the third to the fifth century a.d.), while they did not part with their costume as

whole", the

women

retaining their veils

for

some ten

centuries, adopted the

Byzan-

tine styles, for

the Eastern influence of

the

Roman Empire

continued after the

arrival of the Franks.

We

find both

men

and women

in the ninth

and tenth and

Fig. 117.

Italian XIV Century costumes from Jacquemin.

twelfth centuries wearing stuffs brought from the East, even after the art of embroidery became generally understood, and tapestry weaving and applique work was carried on in Europe. WTiile mechanical weav56. Weaving. ing was done in Egypt 2000 B.C., the more complex use of the shuttles by vhich figures were produced without embroidering was not known until 200 a.d. It was then done by the Syrian weavers in the

Page Ninety-four
Eastern

PERIOD FABRIC DESIGN

to the twelfth century.
rically

Roman

Empire.

arranged was also

For many years the development of weaving was slow, and the repeat patterns were of the simplest

These were

sometimes

used.

Up

to the thirteenth

linked together, large circles

century a formal arrange-

ment was

often followed,

consisting of balanced
groupings of birds, beasts,

Ornamental silks produced in Europe 500 a.d.; they were Roman and Byzantine
kind.

were

first

and men placed face to face or back to back.

Fig.

119.XIII Century formal

arrangement.

being joined by small ones

at points of contact,

and

the patterns often becoming quite elaborate.

The

Saracenic hexagon geomet-

Fig.

120.XVI Century trunk

motive.

Fig.

122.XIV and

XV Century animal arrangement.

The

design consisting of
cenfive

a circle or square frame

developed in the
tury;
for

first

the

next

The ogival form is a form of design in which the joining circles are brought into acute juncture,
forming ovals.
This design

hundred years circles or squares, sometimes filled with Persian or Syrian

floral detail, persisted.

came in about 800 a.d., and like most things that

were pointed, it continued through the Gothic period. In 700 A.D. Spain was progressing with silk weaving. About this time also, merchants from Syria opened establishments in Paris. In 800 a.d., the Daughters of Charlemagne

This same design was used

for centuries afterwards for

stained glass.

About 400 to 600 a.d. broken circles came in, the upper and lower segments spreading out to form bands. Circles continued

Fig.

121.XVII and XVIII

scroll

Century

motive.

USE OF GOLD THREAD

did silk weaving, but up to the eleventh century the making of fine fabrics was
practically monopolized
strips

Page Ninety-five
of

gilded

rolled gilt thread.

parchment in place of Undoubtedly through

by Athens, Thebes,
had reached

the influence of the Crusades, the Sicilian

Corinth, and Constantinople.

weavers of the thirteenth and fourteenth

centuries produced

No

great

extravagance

many

fabrics enriched

France before this. In the tenth century

with winged
lions,

crosses,

crowns, rayed
stars, harts, or

we read

of its

king, Charles

birds,

linked
or

the Simple, possessing but

three

together with
floriations

shirts

armorial bearings.

In the fourteenth century

See Fig.

117.
58.

Isabeau de
Baviere, coming to

Parti-

marry Charles VI,

The
in
f

colored Dress.

same

uence

was thought to be showing an

extraordinary
degree of lux-

which brought with the Per-

pendicular Gothic the

Courtesy of the Metropolitan

ury in having

three

dozen
Fig. 123.

Museum

of Art.

chemises in
her trousseau.

Painting by

Hans Memling

of Betrothal of Saint Catherine

in

showing surcot and fabrics used

XV

Century.

introduction of heraldic forms, such as

shields, crests

The

return of the Crusaders initiated

the nobility of France into the luxury of the Orient.

57.

and badges, found women of rank wearing parti-colored dresses; a division which
practically cut the figure in half, the right
side representing the

Use

of

Gold Thread.

Drawn

gold

arms

of the

husband,
family.

thread was not used in early fabrics, but

gold leaf on paper rolled around a fine

the

left

that of the lady's

own

See Fig. 118.

was employed. Sicilian and fourteenth centuries frequently show a purple ground of twilled silk with birds and foliage formed by gold thread weft. Saracenic or Hispano-Moresque fabrics of Spain are distinguished by splendid crimson or dark blue conventional patterns of silk upon a yellow ground, and by frequent use of
thread
of
silk

Late in

1200

a.d.

this

character

of

fabrics of the thirteenth

design was introduced into Northern Italy.

Genoa adopted much that was Persian

from
the
twelfth
to

the

seventeenth

centuries,

and

in

the fifteenth century,

when Louis XI encouraged the art of weaving in France at Tours, and later
at

Lj'ons

under Francis I (1515), the

Persian and Italian fabrics were closely

Page Ninety-six
followed,

PERIOD FABRIC DESIGN

vase
pattern
of

and

the

was
in

"V. 1350-1500.
reversed

A
so

characteristic design

adopted. The Oriental

textiles

of the fifteenth century

was the use

of

of

character

design

curves

firranged that they

did not entirely disappear until

made

frames.

(The

panels

Jeanne

the seventeenth century of Versailles and the

when the gardens

Trianons

d'Arc, painted

by Boutet de Monvel and

Clark, give

Louis
flora.

XIV

inspired the use of

under European

owned by Senator William A.

very fine illustrations of the textures used at this period; they may be seen certain

59.

Classification of Fabric Designs.

The

following brief classification will be

found helpful in placing fabric designs in their proper periods. Twelfth and thirteenth centuries, formal arrangement. See Fig. 119. Fourteenth and fifteenth centuries, animal figures. See Fig. 122. Sixteenth and seventeenth centuries, trunk motives. See Fig. 120. Seventeenth and eighteenth centuries, scroll motives. See Fig. 121. For a more detailed outline we can refer to that given by Clifford, in his book on Period Furnishings, in conjunction with
his well-chosen illustrations.

upon written request. Both the which was now gradually disappearing, and the houppelande, or robe, which was appearing, lent themselves
days
surcot,

magnificently to these fabrics.)

"This form utilized the Hogarth line of Another form was the intersection of a Hogarth panel by two bold curving stems coming up through the bottom of the panel and capped by a cone
beauty.

pineapple or fruit device.

"Still

another showed a serpentine stem

in the

or winding trunk which ran through the

Hogarth pattern

midst of a variety

of botanical forms.

See Fig. 123.

"I. 200-400 A.D.

circle

The development of and geometric frames, sometimes filled

floral,

with simple

bird or animal forms.

"II. 400-600 A.D.

The

utilization of

broken
linked
inside

circles

spread out to form bands.

"III. 600-1000 A.D.

The use of circles by smaller circles, with ornaments and out, developing at length the

often hexagon framework. "IV. 1000-1350 A.D. Repeated parallel bands or ornamentation, detached details, patterns animated and inanimated, enclosed in ogival framing and combination
ogival form;
circles

"VI. 1500. Designs adopted a free treatment. The plans of previous centuries were combined and elaborated. Ornament was arranged with ogival frames, springing out of the frame to which it seems to be attached. Interlacing of two frames of which one is ogival. Ogival frames of leaves and flowers enclosing a large concentric pattern. Elaborate ogival frames caught together by crowns. The use of vases, urns, crowns and animals

became common. "VII. 1600-1700.

find an elaborate use of

During this time we European garden

flowers instead of purely tropical Persian

or scale patterns as well as geo-

verdure, following, however, the general

ogival form arrangement. " VIII. 1700. Pictorial tapestries
prints.

metric straight-line framing.

falcons, etc.

1200-1300

introduced features of design, as eagles,

and

Pure Renaissance

styles, or devel-

SIXTEENTH AND SEVENTEENTH CENTURIES

opments
Oriental
of that style.

Page Ninety-seven

Louis
of

XIV or XV.
either

characteristics

the

This brought the parrot and cockatoo in wicker cages, and similar motifs, much into
fabrics, so full

French or English styles as shown in the scenic bits of Chinese or East Indian life. Louis XVI classic revival examples as expressed by the late Louis XVI.
"Directoire
or

evidence in the embroideries and printed then of animal and floral

design of Eastern character.

rule in India created a

The British demand as early

Transition

period

in

as 1760 for Indian goods,

tons, dimity,

France and the Adam school in England. This period overlapped into 1800 and was generally adopted in American colonies.

and India cotand gauze were used in both

England and France.

61.

Paris

"IX. Empire and Empire influence."

60.

Fashion.

For

Becomes
centuries

the

Centre

of
^

Italy

was the

centre from which foreign courts adopted

The Sixteenth and

Seventeenth
seven-

Centuries.
design

In the

sixteenth and

teenth centuries, three distinct types of

were seen, the Renaissance, the

fashions in clothes and customs. was not until the seventeenth century that Paris became the centre and home of taste. Several things had much to do
It

both

Oriental Renaissance and the

floral.

European

with bringing this about.

dustry
of

First,

a great
in-

The Renaissance brought a change

and appreciative impetus was given

from the accustomed following of Persian Oriental design, and such motifs as the Persian rose and pink, the Rhodian lily and pomegranate gave way to such Egyptian, Roman, and Greek motifs as the Anthemion. Acanthus, Lotus and Iris. The second or Oriental Renaissance was really
Portuguese-Persian, or the spirit of the

by Colbert, the Louis XIV. Secondly,

dresses
for

able
at

minister
this

time
the

long

were

abandoned

and

vogue

large Italian patterns ceased.

Thirdly, the discovery of a

the Cape of
Italy to Asia.

way around Good Hope had much to

in silks turning

do with the trade

from

Renaissance influencing the East through commercialism. The third or European

flora

tion;

Under Louis XIV artists held high posiit was an ambitious period. World
conquests and statecraft, as well

the reign of Louis

flora

was developed about 1650 during XIV, when the ferns and of the Royal Gardens came into use

forces,

as the taste of Louise de la Valliere,

Ma-

dame de Montespan,
and
arts of the time.

Mile, de Fontanges

as motifs.

Madame de Maintenon

influenced the

In studying the periods it must not be overlooked that the Dutch brought East Indian types into England under Elizabeth, the Jacobean, and Queen Anne reigns,

The magnificent gardens

that were built, besides the motifs suggested by European floriculture, brought
in festoons,
etc.

vases,

architectural
this

designs,

and that the influence of China was strong in France during the reign of Louis XV, and in England under the Georges. The East India Company in 1609 reserved all strange fowls and beasts to be found there, "for the Council."

It

was under
lace

king

and

his

minister, Colbert, that the highest achieve-

making was reached in supposed to have been introduced into France by Catherine de Medici, wife of Henry II, in 1547.

ment

in

France.

Lace

is

Page Ninety-eight

PERIOD FABRIC DESIGN

The
Revolution,
materials;

On

the other hand, the arts of Louis

qi social
life,

1789-99,
cotton,

brought
India

in

XV
were

had the stimulus

full of

and

simpler

prints,

ostentation and extravagance.

less

We
in
ers,

find

much

symmetry

or balance
feath-

and law^n were used. Colbert had put a stop to their use in former years because
it

the motifs, which were

ribbons, knots, garlands,
fancies.

shells,

threatened his pet

silk industry.

and Japanese
I

and Chinese Pronounced stripes

of

The
sition

Directoire, 1795 to 1804, followed

were

affected

as

creations

Madame
named

Pompadour, and many charming gowns

were made of the flowered
for this favorite of the King.
62.
silks

\,

the end heavy materials had fallen from favor and less metallic were sought in weaving, but effects oriental foliation, which was used before and during the Renaissance, again

Period of Louis

XVI.By

of the eighteenth century

and this was the tranbetween the classicism of the late king and the stronger style of the Empire. The India shawl introduced was much after the Egyptian campaign worn. This led to a French imitation and then to the Paisley copy made in Scotland, the Persian design of which has been so
this Revolution,

period

popular.

The

transition

period

was

largely

in

combination with

came in. Under Louis

XVI

the

designers

fol-

much that was Egyptian in character. The bee, laurel branch, wreath, helmeted warriors, etc., w'ere now
as

lowed innumerable paths under the impulse of capricious fashion. We have Arabesque composition, foliage, flowers, figures, landscapes, country scenes, allegories and Chinese ornament. In the fabrics we find stripes and ribbons combined with flowers. Stripes were so much used that in 1788 it was said that,

used

motifs

and

stripes

were

still

popular.

This had marked influence and

"Everybody
like

in the king's cabinet looks

1/

Unlike the Pompadour Queen Marie Antoinette stripes were interwoven wuth flowers and ornaments such as feathers, medallions, lyres, columns, etc. Marie Antoinette liked
a
zebra."
stripe, the

effect upon laces now wholly lacking in freedom of design. The costume of the Empire was usually more or less Oriental in ornamentation, texture, and color. Napoleon's campaigns resulted in bringing into France the accumulated treasures of centuries, which became a source of inspiration,

and

left

characteristic

imprint

upon

the period.

Fabric design reveals

is

much

of the his-

tory and atmosphere of each century and

flowers, the pink, the tulip,

all

but best of

worthy

of intelligent

the rose, and the impetus she gave the

sideration, not only

all

production of lace in the beginning of

her reign shows the influence of her taste,

who wish

to

study and conby students, but by develop their knowledge

and appreciation
gewerbe

of beauty.

which
63

is

everywhere seen in the entwined

See Die Gewebe Sammlung des Kunst-

ribbons and garlands.

Directoire

Museum von

Julius Lessing,

and

and Empire Designs.

Seidenweberei, Otto

von Funke.

OUTLINE OF HISTORIC COSTUME

CHAPTER EIGHT

CHAPTER EIGHT
History and Dress
64.

OUTLINE OF HISTORIC COSTUMESkirts

Egyptian Costume. (a) Men. (1) Old Kingdom, 4th, 5th, and 6th Dynasties (2980-2475 B.C.) Memphis, capital. Lower classes wore a belt tied around the waist with hanging ends down the
.

became longer
closed
in

and

narrower,

and
side

were

front,

with

one
of

lapping over the other.

transparent material,
thicker
of

When
the

a skirt of

material
short
kilt

in

shape

the

of

the

Old

Empire was worn

underneath.
(4)

front

(see

Fig.

127), a kilt-like
loin

Period of

cloth

(see

Fig.

129), or

skirt apparently

Shepherd Kings, 13th to 18th Djnasty. Israelites

made

of

rushes

came down

(see Fig. 128).

into Egypt.

In the 5th
Dynasty, trian-

No change in costume shown.

(5)

gular erection came in, being

New Em18th, 19th

pire,
Courtesy of Metropolitan

temporarily
adopted by the king in this dynasty.
Fig. 124.

Museum.

and 20th Dynasties (1580-945

B.C.).

Fig. 125.

Egyptian costumes. Showing a woman's erection and the leopard skin worn by

Fig. 126. costume, the triangular

priests.

Thebes,

See Fig.

capital.

124 of Perneb,
representing

an

Egyptian noble-

man in full dress. Both men and women shaved

heads and wore wigs. Men appear to have gone nude when
their

In the 18th Dynasty a tunic was sometimes added. This was open on the right side and had a short left
sleeve.

Many

changes

in skir+s

now

engaged in stren-

uous

exercise.

Courtesy of Metropolitan

Museum

took place, plaited effects be-

(2)

Dark

Fig. 127.

Fig. 128.
in

Fig. 129.

Ages, 6th to
12th Dynasty.

The costumes worn by men

Egvpt during the Old Kingdom

came popular.
See Fig. 131. Cloaks were

(2980-2475"^ B.C.).

change in costume shown. Middle Kingdom, 12th and 13th Dynasties (2160-1788 B.C.). Thebes, capital.
(3)

No

worn from the time of the 4th Dynasty, but became generally used during the Middle Kingdom. See Fig. 130.

Page One Hundred

Two

OUTLINE OF HISTORIC COSTUME

were
(c)

Apron-like decoration was worn from the 4th to Men the 20th Dynasty. were clean shaven, and wore wigs and false beards. Kerchiefs were often used. Leopards' skins were worn by priests. See Fig. 126.
(b)

of

metal

and

em-

broidery.

Emblems or Symbols. Upper Egyptian crown,

red.

Lower Egyptian crown,

white.

When

one

king

ruled

Women.~^th

to 18th

both, he wore a combina-

Dynasty. tion of the above. All, with the exception of Lotus signified abunsome servants and dancing dance. girls, wore a simple costume Globes signified eternal from bust to ankles, very life. tight without folds, someVulture signified the roytimes held on by one, alty of a queen. sometimes by two shoulder Courtesy of MetropolUan Museum. Asp signified the kingly straps, and sometimes by Fig. 130. An Egyptian cloak. authority. a necklace. See Fig. 125. Hanging straps indicated authority. Embroidery was frequently used on borders. In the 18th Dynasty Reference Books
the dress was carried

over the
plaits

left

shoulder,

Bulletin of the

Metof

became popular, and a left sleeve was introduced. In the 20th Dynasty a thick under dress was used. White seems to have
been
in favor, also red,

ropolitan
Art,

Museum

No. 11, for Ancient Egyptian The Kerchiefs, and

Vol. XI,

Dress
lished

of

the

Ancient

Egyptians,

both pubINIetropol-

by the

saffron,

and

blue.

itan

Museum

of Art;

Both men and women wore sandals in

the street.

Prisse d'Avennes, Histoire de L'Art

Egypt; The

The

collar

Book

of the Dead, tac-

was an important decoration and was made

of papyrus

shmleoi PapyrusofAniy
in the British

Museum;

decorated

Wilkinson, The Ancient

with beads or embroidered in wool.

Egyptian; Erman, Life

in Ancient Egypt, Chap-

Bracelets and leg decorations were

largely used.

terX; Breasted,^ waeni

CouTtesy of Metropolitan

Museum.

Times; Racinet, History

of Costume.

These

fig

131.

Plaited

effects of the

New Empire

GREEK COSTUME
History and Dress
65.

Page One Hundred Three

Greek Costume.
Hellenic otherwise

a people fond of
(1)
tiful,

all

things beau-

made of

finer material, fell

Pre

called

in

many and
Girdle was

finer

folds,

had

Minoan

or Mycenaean Age (2800-1200 B.C.). See Fig. 132. ]Men wore waist cloth with

sleeves.

See Fig. 135.

worn at the waist

Statues of

line

during the Archaic period,

hanging ends.
skirts.
(2)

Women

tight-fitting waists

wore and flounced

sixth century B.C.

people of this century adorn the

Acropolis.

See Fig. 133.

This was the elabo-

Homeric or Heroic Age

rate period when cascades of

terial are

ma-

(1200 B.C.).

found in the statues.

Both men and women wore

a simplified costume not unlike
the classic.

Girdle

worn over the hip or

Dorian Invasion, 8th century

B.C.

below the waist in the Golden Age. This was sometimes called the Age of Pericles, 459-431 B.C.

called Dorians.

Rise of Sparta, inhabitants Rise of Athens,

B.C.,

The maidens
Girdle
Courtesy of Metropolitan

of the Parthenon

frieze are of this time.

5th century

inhabitants

worn under the arms

linen

called lonians.
(3)

during the last period.

Classic Period.

Costume

Museum.
of

Fig.

of

Greek men and women was the same

except that of the

132.Costume Mycenaean man.

Wool,

and

silk

were

used, and the garments

men

yellow,

was more abbreviated.

(a)
(6)

Chiton or dress.

Himation

or

cloak.
(c)

See Fig. 135. The chlamys or

were dyed purple, red, and other colors. Sandals and shoes were worn when out of doors, and the women had many different kinds of jewelry and
hair ornaments. Reference Books

short coat

was worn

on

horseback.

The

chiton or dress was of

chiton,

two kinds. The Doric worn by the Dorians, who were warlike

A
dess,

Cretan Snake God-

Century MagAugust.
1916;

azine,

and interested

C.H.andH.B.Hawes,
Crete the Forerunner of

primarily in the physical,

made

of

heavy

Greece;

and fell in few folds, had no

material
sleeves, see Fig. 134.

of

the

cinet,

Hope, Costumes Ancients; RaHistoire du Cos-

tume;

The

Ionic

chiton,
fig. 133.

worn by the lonians,

Costume

Courtesy of MetropolUan

Museum.

Dress;

Evans, Greek Edith Abra-

of

Mycenaean woman.

hams, Greek Dress;

Page One Hundred Four

OUTLINE OF HISTORIC COSTUME

Fig. 134.

Greek Doric
De-

Courtesy of Metropolitan

Museum.

Courtesy of Metropolitan

Museum.

chiton.

Fig. 135.iGreek Ionic chiton and himation.

G. Baldwin Brown, Burlington

circular in form, whereas

Magazine

of

the Greek himation was

rectangular.

cember, 1905, and January, 1906, How Greek

Only
could

Roman

citizens

Women

Dressed.

History
66. Roman Costume. Rome founded 753 b.c. Rome was a kingdom

753-509
509-31

B.C.

Rome was
B.C.

a republic

wear the toga, which was a national garment, so the pwnula was worn by the workThis was ing class. like a cape, and sometimes had a hood. This was worn by all classes, both men and women,
to travel
in.

an empire 31 B.C.-476 A.D. in West.

Rome was

Women
which was
the
stola

wore a tunic
like that

of

Roman
or

men;

Dress (Roman)

dress

corre-

sponding to the Greek

a
Ionic

Men
toga,
,
. ,

wore a

tunic;

chiton
it

(differing

or

cloak
1
. .

corre

in that

had a border
at

sponding to the Greek

or
FromHope.
Fig.

ruffle

the

bot-

mmation but cut

;

semi-

136.The costume

of a

Roman man and woman. tom);

a palla or cloak

ROMAN COSTUMES
corresponding to the Grecian
himation.

Page One Hundred Five

Hope, Costume of the Ancients; Preston and Dodge, Family Planche, Life of Romans; General History of Costume in
Europe.
History and Dress
67.

Women
could

of the lower classes

not

wear

the stola;
like the

they wore tunic and palla, but

this palla

was made

Grecian Doric chiton. Roman men did not wear

hats, except the lower classes,

The Gauls. Csesar

a complete conquest of

made

who wore

tight-fitting

caps.

Gaul, 55 B.C.
trousered.

In ancient times
(See

See Fig. 133.

the civilized races were un-

Roman women had far more

jewelry than the Greek.

Egyptians,

had

all

the precious

They stones we
curled,

Greeks,
civilized

and Romans.) Unraces were trousered

now have. They dyed,

(Gauls, Franks, etc.).

(a)

and arranged their hair elaborately and wore sandals and fancy boots. They took excellent care of their bodies.
Fig. 138.

Men.

Wore trousers to
called
braie;

the
Trom UoUenroth.

ankles,

a
in

mantle of wool fastened

Gallic costume be-

front,

called sai;

a tunic to
sleeves;

Books of Reference
'RacinetiHistoire du Costume;

fore coming

under Koman influence, 55 b.c.

mid-leg
girdles;

with

long

shoes to ankles.

See

Fig. 137.

From
Fig.
influence, 55 b.c.

Hottenroth.

137.Gallic costume before coming under Roman

From
Fig.

Hottenroth.

139.Gallo-Roman costume 100

a.d.

Page One Hundred Six

Later the
with bands.
(6)

OUTLINE OF HISTORIC COSTUME

and sandals
to

men

shortened the trousers

leggins

and tunic and wore

Women.

Inner

tunic

ankles;
sleeves;

short outer
girdles;

tunic

with

short

See Fig. 138. shortened their outer tunic and wore a mantle like a Roman paenula. See Fig. 139. Both men and women made their hair red with lime
shoes.

The women

afterwards

water.

About a hundred years

after the

Roman

conquest, the Gauls had become civilized,

and had adopted a dress somewhat resemRoman costume, but the Roman dress was also influenced by that of the Gauls, as can be seen by the introduction of short trousers that were worn under
bling the

the tunic.
Reference Books
^Women's costume of the Franks about 8th century, showing fichu and veil.

Hottenroth, Le Costumes chez

les

Peuples:

Fig.

141.

From

Hottenroti^

Rac

i n e t, Le Costu me Historique; Zur Ge-

schichte

der

Costume,

Nach Zeichnungen von W. Diez, C. Frohlish, M. Heil, C. Haberlin,

J.

A. Muller, F. Rothbart, Waller Muchen.

History
68.

Third
.?

to

Elev-

enth 530

Centuries.
A.D.

King

Arthur in England m. Guinevere. 871-901 A.D. King Alfred

the Great in

England m. EthelsPig. 140.

Men's

From

HotleiiToth.

costume of the early Franks about Sth to 8th century.

witha, d. of Ethelran of Mercia.

THIRDELEVENTH CENTURY
742-814 A.D. Charlemagne m. 1st, Hermengardg, m. 2d Hildegarde, in. 3d,
Fastrade, 4th, Liutgarda.

One Hundred Seven

by the
sixth century. By the ninth century gloves and handkerchiefs were sometimes used. The outer tunic of both the

276 A.D. The Franks came down the Rhine, took possession of Gaul gradually, but made a complete conquest. The fifth century to the sixteenth century comprises the costume history
of the

often decorated with a band called a fichu. This was sometimes set with precious stones and showed Byzantine influence. See Fig. 142.

men and women was now

Reference Books

Middle Ages.
to

Zur
Century)

Geschichte der Costume;

Quicherat,

Dress {III
(a)

XI

Men.

Wore a kind of tunic usually

mantle the shape of a cape which often had a hood; girdle; shoes. See Fig. 140. Wore, like the women of (6) Women. Gaul, two tunics, also a veil (sometimes large enough to take the place of a mantle) See Fig. 141. The women in England wore a similar head covering, called a wimple. The influence of the Eastern Roman Empire continued after the arrival of the Franks, who had become well established
to the knee;

du Costume en France; Challamel, History of Costume in France from GalloRoman to the Present Time; Shaw, Dresses and Decorations of the Middle Ages; Jacquemin, Iconographie du Costume.
Histoire

History
69.

Eleventh Century. 1066-1087 William the Conqueror, King of England, m. Mathilda, d. of Baldwin
V, E. of Flanders. 1087-1100 William H, King of England. 1031-1060 Henry I, King of France m. Anna, d. of Jaroslaw I of Russia.

From Zur
Fig.

Geschichte der' Costume.

From Zur
Fig. 143.

Geschichte der Costume^

142.French costume

of 9th

and 10th

centuries.

King and Queen of the 11th century.

^age

One Hundred Eight

I,

OUTLINE OF HISTORIC COSTUME

m.
I,

1060-1108 Philip
1st Bertha,

King

of France,

d.

of Florence

C, of

Holland, m. 2d Bertrade, d. of Simon

I,

C. of Montfort.

Dress {XI Century)

1154-1189 Henry II, King of England, m. Eleonora of Aquitaine. 1189-1199 Richard I,. King of England, m. Berengaria, d. of K. of Navarra. 1108-1137 Louis VI, King of France, m.
Adelaide, d. of Humbert II, of Savoy. 1137-1180 Louis VII, King of France, m. 1st, Eleanor, d. of Guillaume of Aquitaine, m. 2d, Constance, d. of Alphonso VII of Castile, m. 3d, Alice, d. of Theobald II, C. of Champagne. 1180-1223 Philip II, King of France, m.

In the eleventh century the influence of the Crusades began to show in costume; apparently the costumes of the Orient influenced costume and men adopted a very long and inconvenient type of dress, Wore a long under tunic down (a) Men.

to the feet called a chemise; outside tunic

long and
bleo).

full called

a bliaud (pronounced
bj^

This was held in

a girdle.

The
was

bliaud had sleeves similar to those of our

m. 2d, Ingeborg Denmark, m. 3d, Marie, d. of Berthold V of Meran.

1st, Isabelle of Artois,

of

kimona

(the extra fullness in the skirt

Dress {XII Century)

obtained by gores).

Trousers
underneath.

and

See Fig. 143. were stockings

worn

In the twelfth century the bliaud for the men became fitted and hoods were worn.
outer tunic became fitted, and lacing were both introduced. This tunic had long bell-shaped sleeves. The sleeves of the chemise were long and
tricot
fitted at the wrist.

The women's

The

long mantle

now worn was

up

fastened
to
this

often on the left shoulder;

time it had been more conveniently fastened on the right shoulder, giving freedom to the right arm. Men wore two kinds of hats, one that
resembled a Phrygian bonnet, and a cap.

smaller veil called

Men

and women now dressed much

Reference Books

alike.

an antique veil, held by a circlet or crown, sometimes embroidered, now took the place of the long veils. The shoes began to show points. See Fig. 143 and 144.
Reference Books

Hilaire Billoc,

Book

of

Bayeux Tapestry,

Calthrop, English Costume; Racinet, Coof Costume;

Racinet, Costume Historique; Zur Geschichte

der Costume; Blanche, Dictionary and Cyclo-

Jacquemin, Iconographie du CoCroix, Manners, Customs, and Dress During the Middle Ages and Renaissance, and Ary Renan, Le Costume en France.
pcrdia;

stume Historique; Blanche, General History La Croix, Manners, Customs, and Dress During the Middle Ages and Re-

stume;

La

naissance; Quicherat, Histoire du Costume

en France; Viollet-le-Duc, Dictionnaire du

Mobilier FranQais,Yoh. 3 and 4; Bonnard,

History

Twelfth Century.1100-1135 Henry I, King of England, m. 1st, Mathilda of Scotland, m. 2d, Adelicia of Brabant. 1135-1154 Stephen, King of England, m. Mathilda, d. of Eustace, E. of Boulogne.
70.

Costumes Historique; Fairholt, Costumes in England; Shaw, Dresses and Decorations of the Middle Ages; Hefner-Alleneck, Trachten, Kunstwerke und Gerdthschaften.
History

Thirteenth and Fourteenth Centuries. 1199-1216 John, King of England, m. 1st

71.

Alix, d. of

Hugo, C.

of Mortain,

m.

THIRTEENTH-FOURTEENTH CENTURIES
r

Page Oue Hundred Nine

L\^j^

1
iiViTm VtoOetrle-iyuc.

mff
111
IIH 1
From Fig.
i

Viollet-ie-Duc.

144 Fitted

costume of 12th

century.

Pro. 146. Parti-colored or armorial dress.

Pig. 145. 2nd form of surcot 13th and 14th centuries.

From VioUel46-Duc

2d, Havoise, d. of D. of Gloucester,

m. 3d
1216-1272

Isabel, d. of C. of Angouleine.

Henry

III

m.

Eleanore

of

1st, Isabelle, d. of King of Arragon, m. 2d,Maria,d.ofHeinrichIII of Brabant. 1285-1314 Philip IV, King of France, m.

Provence.

1272-1307 Edward I m. 1st, Eleanora of Castile, 2d, Margaret, d. of Philip III. 1307-1327 Edward II m. Isabelle, d. of
Philip IV,

Jeanne, Queen of Navarra. 1314-1316 Louis X, King of France, m. 1st, Margaret, d. of Robert II, of Bur-

King

of France.
d.

1327-1377 Edward III m. Philippa,

of

Wilhelm

III, C. of

Holland.

1377-1399 Richard II m. 1st, Anna of Bohemia, m. 2d, Isabella of France. 1399-1413 Henry IV, Lancaster (Red Rose), m. 1st, Mary Bohun, m. 2d, Jane of Navarra. 1223-1226 Louis VIIT, King of France, m. Blanche, d. of Alphonso VIII of Castile. 1226-1270 Louis IX (St. Louis), King of France, m. Marguerite, d. of C. of Provence. 1270-1285 Philip III, King of France, m.

m. 2d, Clemence of Hungaria. King of France, m. Jeanne, d. of C. of Meran. 1322-1328 Charles IV, King of France, m. 1st, Blanch, d. of Otho IV, m. 2d, Maria of Luxemburg, m. .'kl, Jeanne,
gundy',

1316-1322 Philip V,

d. of Louis, C. of Evreaux. 1328-1350 Philip VI (Valois), King of France, m. 1st, Jeanne, d. of D. of Burgundy, m. 2d, Blanche of Navarra. 1350-1364 Jean II, King of France, m.

1st

Bonne

of

Luxemburg,

2d, Jeanne,

William XII, C. of Auvergne. 1364-1380 Charles V, King of France, m. Jeanne, d. of Duke of Bourbon.
d. of

Page One Hundred Ten

1380-1422 Charles VI, King of France, m. Isabella of Bavaria Ingolstadt.
Dress (XIII and XIV Centuries)

OUTLINE OF HISTORIC COSTUME

and the hennins or high head
dress

came
or

last of the

in. Toward the century the howp-

pelande
replaced
this

one-piece
surcot.

dress

the

In the thirteenth century,

Figs. 147, 148

and

108.

See In

was shown in Both men and women wore a semi-fitted garment

more

interest

garment women are said

dress.

to have discovered the nor-

mal

called a surcot, hollowed out

waistline. This had a V-shaped neck, widely off at

under the arms.

(a)

the shoulders.
fit-

Men.
;

Wore close
; ;

The women

ting trousers (braie)

mantle;
cotte

surcot tunic (chemise)

(tunic);

were at this time wearing the wimple or head covering, and about the throat the
gorget in certain localities.

stockings; hats or

hoods.
(6)

Women.

Wore

The surcot of the men grew

inner
shorter and had large sleeves.

Their stockings were closefitting and combined with a cotte, or fitted chemise worn the trouscrs. The shoes were with a girdle, over this the T^omviouei.ie^i>uc. surcot. The surcot had no FiG.147. 14th and 15th century costume more pointed. They added showing hennin and houppeland. an houpplande or somesleeves, and those of the
tunic or chemise, over this
i
,
i
,

cotte, usually of a con-

trasting color, were an

;i

important feature of this robe; by degrees the arms-eye became larger

and was trimmed with fur. See Figs. 123 and
145.

times long, sometimes

short,

outer

garment
See

with large sleeves. Figs. 108 and 148.

Reference Books Books mentioned under

fifteenth century.

The

skirts

were
History
72. Fifteenth

very long and were held

up
ed,

as the

woman

walk-

showing the cotte again, which was the

1413-1422

Century. V, King of England,

Henry

same material as the sleeves, making a pleasing repeat of the contrasting color.

m. Catherine

of

Valois,d. of Charles

VI

of France.

In the

fourteenth century the

parti-colored or armorial dress was worn, see Figs. 146 and 118,

Henry VI, King of England, m. Margaret of Anjou. 1461-1483 Edward IV (White Rose), m.
From
Fig. 148.
Viollet-le-Duc.

1422-1461

Elizabeth of
ville.

Men

Wood-

of the 15th century.

SIXTEENTH CENTURY
1483

Page One Hundred Eleven

used,

Edward V, King of England. 1483-1485 Richard III (White Rose), m.

into France
of France.

and had probably been introduced by Anne de Bretagne, Queeii

See Fig. 150.

Anne

Nevill.

The Fifth

cen-

1485-1509 Henry VII (Tudor), m. Elizabeth of York.

1422-1461 Charles
VII, King of

tury to the Sixteenth century comprises

the costume his-

tory of the Middie Ages.

France, m.
Marie, d. of D. of Anjou.

Reference Books

Calthrop, English

Costume; Znr
Quicherat,

1461-1483

Louis

Geschichte der Kostiime;

XI, m. 1st, Marguerite,

d. of James I, King of Scotland, m. 2d,

Histoire du Costume en France; Pauquet Fr^res,

Modes et Costumes
Historiques; Hottenroth, Les Costumes chez les Peuples; LaCroix, Manners, Costume, and Dress

Charlotte of

Savoy. 1483-1498 Charles

VIII,m.Anne
of Brittany.

1498-1515

Louis

XII, m. 1st, Jeanne, d. of Louis XL m.

2d,

During the Middle Ages and Renaissance ; Robida, Ten Centuries in

Toilette;

Anne,
of
d. of
FlG.

Histoire
From ZUT
Geschichte der Costume.

widow
of

stume

Racinet, du CoPlanch^,

149.German costume

of early iGth century.

Dictionary and

CharlesVIII,

m. 3d, Mary,
England.

Henry VII, King

Cyclopedia; Viollet-le-Duc, Dictionnaire du Mobilier Frangais,Yo\s. 3, 4; Raphael Jacquemin, Iconographie du Costume; Shaw, Dresses and Decorations of the Middle Ages; Piton, Le

Dress

The

fifteenth century

was an exaggera-

tion of the

modes

of the fourteenth.

More

extravagant fabrics were used, and everything became more extreme, even to the
points of the hats and shoes.

Civil en France du XIIP au XIX" Strutt, Sport and Pastimes of the People of England; Strutt, Complete

Costume
Siecle;

and Habits of the People of England;' Bonnard, Costumes Historiques

View

of the Dress

des

Xir, Xlir, XIV\

of Brittany.

et

Towards the end

transitional period.

of this century

came a

ZP

Siecles;

Boutet de Montvel, Joan of Arc; Sanborn,

The

toes of the shoes

Ann

became round, the dresses became more semi-fitting, and were split up the front, showing the underskirt. They had square necks and were worn with a girdle. The close-fitting cap was the head-dress now

History
73.

Renaissance. 1509-1547 Henry VIII, King of England m. 1st, Catherine of Aragon; m. 2d^
Sixteenth Century.

Page One Hundred Twelve

OUTLINE OF HISTORIC COSTUME

Fig. 150.

Costume of transition Anne of Brittany, 1500.

Tram Pauquet
period.

Freres.

Fig. 151.

Costume

From Pauquet

Frires.

of 16th century, 1527.

P/K^..

From Pauqiut
lu.
ii/i.

Freres.

Frovt,

Pauquet Freres.

Larlv

Ftenaissance, 1530.

Fig.

153.French gentleman,

1572.

SIXTEENTH CENTURY
Anne Boleyn;
m. 4th, m.
of
3d, Jane Seymour;

Page One Hundred Thirteen

1574-1589

Henry

King

of France,

IH, m.

Anne

Cleves; m. 5ths
Catharine Howard; m. 6th, Catharine
Parr.

Louise of Lorraine. 1589-1610 Henry IV

(Bourbon), King of

France, m.

1st,

1547-1553 Edward VI. 1553-1558

Mary Tudor,

Marguerite of Valois; m. 2d, Marie de Medicis.

Dress

Queen of England, m. Phihp II, King

of Spain.

{XVI

Century)

Great

changes

now
cos-

developed.

The

1558-1603 Elizabeth, Queen of England.

tumes for men and women from this time

on are no longer
alike.

1515-1547 Francis

I,

King
1st,

of France,

m.
ed

The
to

desire

now seemalter

Claude, d. of
d.

be

to

in

Louis XII; m. 2d,

various ways the norPig. 154.

Eleanor,
Philip.

of

Late Renaissance

From Pauguet

Freres.

silhouette, 1586.

mal shape

of the figure.
first

The women

wore

1547-1559
II,

Henry King of
1st,

a boneless corset,

France, m.

Catherine de Medicis; m. 2d, morga.,

Diana, Duchess
of Valentinois.

1559-1560 Francis
II,

which they called a basquine, and a crinoline which gave the appearance of a hooped skirt, which they called ihevertugale. See Fig. 152. The waistline

King

of

was normal and

slightly pointed in
front.

France, m. Mary Stuart,

Queen of Scotland.

piece of

material was sewed

on the vertugale to
take the place of

1560-1574 Charles IX, King of

France, m.
of
1st,

the cotte.

The
same

under-sleeves were

Elizabeth,

d.

made

of the

Emp.

^lax-

material,

imilian;

m.2d,
From Pauquet
Fig. 155.
Freres.

morga., Marie

and sometimes slashed to show the chemise;

Touchet.

-Late Renaissance costume, 1572.

sometimes this

Page One Hundred Fourteen

same material was used
as a panel in the front
of the waist.

OUTLINE OF HISTORIC COSTUME

in the silhouette.

The

waist
in

line

The neck was square but The

skirt

became smaller size. Both round

length and long skirts

curved upward at the

centre.

was

round length. Large mantles, usually with hoods, were used The for out of doors. shoes were no longer
pointed.

were worn. Trains were worn on horseback, one of which was seventy
feet long.

The widely

open bodice became

popular, to which im-

mense

ruffs

were added.

Red was

the

The balloon-shaped
sleeves, too,

popular color for shoes and stockings. Jewels

enormous.
this

had grown It was at

were used
to

in profusion

time that ribbon

in.

elaborate

the

cos-

came

See Figs. 154

figures dimin-

tumes; collars set with gems were favored. The men wore very short, often slashed,
trousers, long stockings,
Fig. 156.

and 155. Men's

ished in size as

women's

Costume

From PauQuet

FTcrta.

figures increased.

They
Fig.

of the late Renaissance, 158G.

also

wore both corset

ruffs.

a doublet with a square neck, slashed,

and
156.

See

round - pointed shoes, and a mantle. See Figs. 151 and 153.

Reference Books

See books mentioned

under

fifteenth

The came
when

first

change
latter

and

seventeenth centuries.
History
74.

in

the

part of the century,

many

women

Seventeenth

wore a waist which buttoned to the throat.

Century. 1603-1625

James

I,

The large over-sleeves were discarded for

smaller

ones
roll

padded

at

with a the

arm-eye. The ruff now became popular. More width was given to the hfps by a barrelshaped hoop which

King of England, m. Anne, d. of Frederick II, King of Denmark. 1625-1649 Charles I, King of England, m. Henriette Marie, d. of Henry IV, King of
From Pauguet
Fig.
Freres.

made a

definite

change

France.

157.Early 17th Century costume,

1633.

SEVENTEENTH CENTURY

Page One Hundred Fifteen

^ifujaEsamm^

Fig. 158.

Co.stume

From Paugua
of the early part of Louis

Freres.

brum rauqutl
Fia.
159.

Frtrt.^.

XIV

reign.

Costume of the reign of Louis

XIV,
1670.

'--^
Fig.

-"A
From Pauguet
Freres.

From Pauguet
Fig. 161.

Frires.

160.Costume
reigo

of the later part of Louis

XIV

Costume of the
Louis

later part of

showing Fontanges head-dress.

XIV

reign.

Page One Hundred Sixteen

OUTLINE OF HISTORIC COSTUME

wore a round length under-petticoat and an overskirt whici was often trailing. The fullness was at the sides and back. Often the skirt opened in front. When this was done, a narrow panel of the same kind of material as the petticoat was used up the front of the bodice. The round neck line was used most at this period and the large, flat collar generally replaced
ruff. See Fig. 157. In some instances the waistline was raised and a short slashed peplum added. The woman often wore a string of pearls at the neck. Notice the simple way their hair was worn. See Figs. 157 and 158. In the latter part of the period, under Louis XIV, the skirt was looped up, the

1649-1653 Interregnum. 1653-1658 Oliver Cromwell, Protector of England, m. Elizabeth, d. of Sir

Thomas

Bourchier.

1658-1660 Richard Cromwell, Protector of

Eng., m. Dorothy Mayor.

1660-1685 Charles II, King of England, m. Catharine of Braganza. 1685-1688 James II, King of England, m. 1st, Anna Hyde; m. 2d, Mary, d. of< Alfonso IV, D. of Modena. 1689-1702 William HI and Mary, King and Queen of England. 1610-1643 Louis XIII, King of France.

the

m. Anna

of Austria.

1643-1715 Louis XIV, King of France, m. Marie Therese of Spain. Favorites Mile, de la Valliere, Mme. de Montespan, Mile. Fontanges, Mme. Maintenon.
Dress

waist became longer, heels grew higher,

waists grew tighter and fans were a necessity.

{XVII

Century)

The heaviness of the sixteenth century gave way by degrees to the more picturesque
costume of the seventeenth century. Men's trousers lengthened (a) Men. and they shortened the waistline and added peplum, and, like the women, used They wore lace and ribbon profusely. musketeer boots. Their hats w^ere high with a flat brim and decorated with flowThe hair w^as worn long. ing plumes. For an outer garment the cape was used. Men's costumes in the last quarter of this century changed greatly. The doub-

Two
ular:

See Fig. 160. kinds of neck lines were

now pop-

The

straight line decolletee, close

to the neck, which

seemed an extension
line,

of the panel front used with short sleeves;

and the round neck

shoulders.

which was

off

the

shorter, fluffier sleeve

was

let

now turned

into a waistcoat or vest

and a new garment or outer coat was added. Sleeves had deep cuffs. The stock collar and jabot took the place of round collars. The chemise showed at the wrist, and under the jabot. The trousers were close-fitting and less decorated. They wore large muffs and w igs and a hat with turnedup brim and flat plumes. See Figs. 157, and 161. Abandoned the hoop, and (6) Women.

used with the round neck line. Both these are forerunners of the eighteenth century. The Fontanges headdress came in the late part of this century and clothes became very formal under the sway of Mme. de Maintenon. See Fig. 160. Large brocades that looked like furniture covering were much used in the latter part of the reign of Louis XIV, and the material was draped so that a bustle effect was obtained.

The women

carried small, round muffs.

Reference Books

Calthrop,
Freres,

English
et

Modes

Costume; Pauquet Costumes Historiques;

Robida, Ten Centuries of Toilette; Pierre Lamesangere, Costumes des Femmes Frandaises;

Zur

Geschichte der Costume.

EIGHTEENTH CENTURY
History

Page One Hundred Seventeen

Eighteenth Century. 1702-1714 Anne, Queen of England, m. George D. Cumberland. 1714-1727 George I, King of England, m. Sophia Dorothea, his
75.

cousin.

1727-1760 George H, King of England, m. Carolina of Brandenburg-Ansbach. 1760-1820 George HI, King of England, m. Charlotte of Mecklenburg-Strelitz.

1715-1774 Louis XV, King of France, m. Maria Leczinska. Favorites Marchioness de Pompadour, Countess du Barry. 1774-1792 Louis XVI, King of France,
I.

m. Marie Antoinette, d. of Franz Stephen, Germ. Emp.

Fig. 162.

Draped costume

From Pauquet

Frires.

of the late 18th century, 1763.

Dress

{XVIII

Century)

Early in the eighteenth century

the hoop was
revived
(1711).

was a framework of cane, whalebone, or some similar material, and was called a panier. It was wide at the sides and flat in the back and front, but the fullness of the skirt gave the required size at the back. During
This time
it

the regency, plain,

light

full skirts of

weight

material were in

vogue; afterward, heavier* fabrics

The

and more decoration appeared. tj'pe was more frivolous

than that used during the latter

part of the reign of Louis

XIV.

When
From Pamuet
Fig. 163.- -Louis

the bodice had a round

neck, the sleeves

were usually

made
Frires.

of ruffles of lace; with the

XV Watteau

costume showing 18th century hoop, 1729.

square

neck, the sleeves

were

Page One Hundred Eighteen

'^^B VH^B
^Hfl^^^>
^^^^^^RE^I^^^^H

OUTLINE OF HISTORIC COSTUME

^?SES?^

^
t

^
Fig.

Jf /

^
fc/V
^

fl^S^Ck^

^ ^S HL ^^^
^B^^H
^^BKm^jkjttMiiSr^^
^^SSBftafc
From Pauquet
Fig. 164.
Frires.

bfiifeiiL^Si^'

HP''
-

^^^^^^^^L

^P^^^^ l^jP^ ll^^^L ';:.,<5|^g ^IPB*

From Pauquet
Frires.

The costume of a man

in 1740.

165.Louis

XVI

costume, 1777.

usually close-fitting

pleats were allowe<i

with decoration at the elbow. See Fig.

166.

to

fall straif^-t

from
l1x._

the shouldei
floor; at

to the

Much lace,
artificial

other

ribbon and
flowers

the skirt was draped

at the back and sides, showing the underskirt.

were

used.

Mantles were capeshaped with hoods.

The
often
as

dresses

In

the

second

were
short,

worn
at-

quarter of the cen-

much

tury the one-piece

dress with a Watteau
plait

tention was given to

shoes and stockings.

came in; this was then worn conthe

others,
in differ-

The costume
the
riod

of

men

of this pe-

tempo raucously
with

and made
ent ways.
1 63
.

See Fig.

was strongly by the paniers used by the women and the

influenced
skirts
Painting by Nattier.

Sometimes the waistline was not defined and the

of the

coats

were stiffened and

boned.

Fig. 166.

18th century round neck

sleeves.

line

and

ruffle lace

The shoes

EIGHTEENTH CENTURY

Page One Hundred Nineteen

From ZvT GescMchte

Fig.

cler

Costume.

Fro?n Pauquet Freres.

167 Louis XVI

costume. 1780.

Fig.

1G9.Directoire costume, 1798.

m^

From ZuT
Fig. 168.

Oeschicfite der

Costume.

British or masculine costume.

Fig. 170.

(men) and

The costumes "

From Patiquet Frires. " 1795 of the " Incroyables Merveilleuses " and "Impossibles" (women).
of

Page One Hundred Twenty

had red heels, and a tricornered hat was
worn.

OUTLINE OF HISTORIC COSTUME

shepherdess crook. See
Fig. 167.

See Fig. 164. The costumes of the reign of Louis XVI from 1774 to 1792 were
exaggerations
before.
of

The next change was that

brought in by the ap-

proaching French RevThis was a more masculine costume and was called
olution.

the

costumes of the reign

The

bodices
tight

British or English. See

Fig. 168.

were

extremely
stiffly

and

boned, the

The days of the Revolution

were elaborately trimmed, and immense

skirts

(1789 - 1799)

brought
fashions.

in simple
Corsets were

headdresses were
worn.

See Fig. 165.

brought
in

discarded,

the

waist

Farming at the Petit

Trianon

became short and the skirt clinging, and

cheap materials were During the Diused.
Fig.

the dainty

overdress

adapted from the

Watteau
style,

and the

171.Fashions

of the Consulate, 1799-1803.

rectoire,

the

women

Fig.

172. Costume

of the First Empire,

Fig. 173.

Costume of the
1813.

First Empire,

1811.

NINETEENTH CENTURY
adapted the classic style, borrowing from both Greek and Roman fashions. These costumes were scanty, and frequently were
split

Page One Hundred Twenty-one

1837-1901 Victoria

Alexandra,

m.

Albert, Prince of

Saxe-Koburg and
Gotha. 1792-1795 Convention.

up

the

sides.

The dresses were

often transparent and

worn without chemises.

1795-1799 Directory. 1799-1804 Consulate. 1804-1814 Emperor

See Fig.

169.

The gentlemen of this

fantastic period were

styled "Incroyables," "Unimaginables ";

the ladies, "Merveilleuses" and

sibles."

Napoleon Bonaparte, m. 1st, Josephine Tascher, 2d, Marie Louise, d. of Franz I. German-

"Impos-

Roman Emperor.
1814-1824

See Fig. 170.

Louis

The men wore an

exaggerated copy of
Fig. 174.

Costumes

From Pamuet Fr^ea.

of the Restoration, 1820.

XVIII, King of France, m. Maria

of Sardinia.

what had been

previ-

ously called the

English fashion.
Reference Books

1824-1830 Charles X,

King

of

France,

m. Maria Theresa
of Sardinia.

See books mentioned under seventeenth and

nineteenth centuries.
History
76.

1830-1848
lippe

Louis-Phiof

Orleans,

King of France, m. Marie Amalie of

the

Nineteenth

Two

Sicilies.

Century.

1820-1830 George IV, King of England,

1848-1870 Louis Napoleon III, m. Eugenie de Guz-

m.

1st, morga., Mrs. Fitzherbert; m. 2d, Caroline of Brunswick-

man,
Dress
It
is

Countess
Century)

of Teba.

{XIX

said that the

Wolfenbiittel.

1830-1837

William
Pig. 175.

IV, King of England, m. Adelaide of

Saxe-Meiningen.

Costumes of the Romantic Period during reign of Louis PhUippe, 1830-1848.

of the Consulate, 1799-1804, which were much more restrained, kept all that was best in the

fashions

Page One Hundred Twenty-two

fashions
Fig. 171.
tiful

OUTLINE OF HISTORIC COSTUME

waistline, the
sleeves

of the

Directory.

See
of

became

A beau-

quality

large and gave width to the

shoulders.
interest

Indian lawns and muslins was used,

Much

was now

and the shawl introduced by

Napoleon became
popular.

being taken in
bonnets.

The reign

of

During the Empire

(1804-1814)

became more elaborate.

materials

Louis-Philippe, 1830-1848, was called the Romantic Period.

See Fig. 175.

The

Things were military.

silks

waists were close-

Oriental

fitting

with a
off

and heavier materials were used, and the tendency was to be well covered. See Figs. 17 and
173.

very low neck, and

were wide
the

at

shoulders.
ber-

The popular
Fig
176.

Costumes of the Second Empire, IS.jL

tha effect increased this

still

more.

The

waistline

was
but

The Restoration,
1814-1830 (reign
of Louis XVIII),

pointed in front,
the skirt
full

with less trimmings, and flounces were sometimes used. Shoes were low and had no heels. TheRe[)ublic

found the silhouette changing.

See Fig. 174.

Corsets had again

come

in

and

caused the waist-

under Louis

line to drop slightly. The skirts had more fullness,

were
elaborately

Napoleon, 18481852, found the

i-kirts increasing
in size,

trimmed and were worn quite short. (Charles X, 18241830.)

and by the Second Empire under Napoleon

skirts

III,

In the
its

the

1852-1870, were

twenties the waist

held out
Fig. 177.

by

stiff

found

normal

Gjstumes of the Second Empire, 1852.

petticoats

which

NINETEENTH CENTURY
led

Page One Hundred Twenty-three

and
Geschichte

up

to the return of the crinoHnes

of 1854.

der Costume;

Iconographie du

hoops

See Figs. 176 and 177. The

full

Costume, by Raphael Jacquemin; English

long shoulder line persisted and sleeves

Costume, by Calthrop; Fashions in Paris,

were bell-shaped and

Jackets, shawls,

at the wrist.

1797-1897, by Octave Uzanne;

Modes

et

and capes similar to those worn in the First Empire were used. By 1870 the bustle had supplanted the hoops, and from that time to the present rapid changes have taken place.
Reference Books

Usages
Livre;

au

temps
de
Reiset;

de

Marie

Antoinette,

Madame Eloffe, Le Marchande de Modes; Dame Fashion, 1786-1912, by Julius M.

Journal

Comte de

Price; Galerie des 31 odes

gais,

et

Costumes Fran-

1778-1787,

par

M. Paul Cornu;

Modes et Costumes Historiques, par Pauquet Freres, two volumes; Portraits en Pied, Dessines par Sante Graves. Zur

Die Mode; Modes and Manners of Nineteenth Century, by Dr. Oskar Fischel and Max von Boehn, translated into English by M. Edwardes in three volumes, 17901878 and Godey's Lady's Book, 1830-1890.

Drawn by Robert Henry

for Felix

Jungmann &

Cie., Paris,

Courtesy of Harper s Bazar.

From a crayon drawing by

Soulie,

BIBLIOGRAPHY

BIBLIOGRAPHY
Racinet.

Histoire
text.

du Costume.

6 vols. Illustrated.

Herbe.

French

Renan, Ary.

Costume Frangais. Illustrated. French text. Le Costume en France. Illustrated.

text.

Dress of the Ancient Egyptians. Published by the Metropolitan Museum of Art. Illustrated.

French

Robida, A.

Ten Centuries
text.

of Toilette.

Illustrated.

Ancient Egyptian Kerchief.

Bulletin, Vol.

Metropolitan
Illustrated.

Museum
Illus-

French and English

Challamel.

XI, No.

11.

The History

of

Costume

in

France from

Prisse D\ivennes.
trated.

Histoire de L'art Egypt.

Gallo-Roman
lish text.

to present time.

Illustrated.

Eng-

French Text.
Facsimile of Papyrus of Ani
Illustrated.

Book

of the Dead.

Billoc.

in British

Museum.

English text.

La

Breasted. Ancient Times. Illustrated. English text.

Bayeaux Tapestry. Illustrated. English text. Manners, Customs and Dress during the Middle Ages and Renaissance. Illustrated. EngCroix.
lish text.

Abrahams. Greek Dress. Illustrated. English Evans. Greek Dress. Illustrated. English
Hope.
Notor.

text. text.
Illus-

Calthrop.

English Costume. Early English, Middle

Costume

of the Ancients.

2 vols.

Ages, Tudor and Stuart, and Georgian. Published

in 1 vol.
Strutt, J.

trated.

English text.

and

in 4 vols.

Illustrated.

English text.

La, Femme dans L'Antiquit6 Grecque. French text. Van Rensselaer, Mrs. Schuyler. A Cretan Snake Goddess. Century Magazine. August, 1916.
Illustrated.

Sport and Pastimes of People of England. English text.

2 vols.
Illustrated.

Illustrated.
Strutt, J.

A Complete View of the Dress and Habits

Modes

of the People of England.

English text.

English text.

Brown, G. Baldwin. How Greek AYomen Dressed. Burlington Magazine, December, 1905, and January, 1906.
r'inche.
Illustrated.

Pauquet Freres.
2 vols.

English text.
Cyclopaedia.

Hughes.
2
vols.

Dictionary

and

artists

et Costumes Historiques. French and English text. Dress Design, an account of Costumes for and dressmakers. 1 vol. Illustrated.
Illustrated.

Illustrated.

English text.

English text.

Jacquemin. Iconographie du Costume. Illustrated.

Hughes.
Fairholt.

Old English Costume.

Illustrated.

EngIllus-

French
Quicherat.
trated.

text.

lish text.

Histoire

du Costume en France.

Illus-

Costumes
T.

in

England.

vols.

French

text.

trated.

English text.

Hottenroth.

Moderns.
Rosenberg.
lustrated.

LeCostumechez lesPeuples. Ancienset Illustrated. German and French text.

Geschichte der Kostiime.
3 vols.
Il-

Smith, J.

The

Cries of London.

(Character

Costume.)
Aria.
Illustrated.

Illustrated, English text.

Costume.

Fanciful, historical

and

theatrical.

German

text.

English text.

Hefner- Alteneck.
rathschaften.

Trachten, Kunstwerke, und Ge10 vols.

Hefner- Alteneck.
4 vols.

German text. Costume du Moyen Age Chretien.

Illustrated.
text.

French

Le Comte de Reiset. Modes et Usages au temps de Marie Antionette. Livre-Journal de Madame Illustrated. Eloffe. Marchande de Modes. 2 vols. French text.
'

Boutet de Monvel.

Joan of Arc. For XV Century Costume. Illustrated. French and English text. Braun, Diez, Froehlich, etc. Zur Geschichte der Kostiime.
Illustrated.

Grand-Carteret.

I>es

Elegances

de

la

Toilette.

Louis XVI-Restauration, 1780-1825.

Illustrated.

French
Wahlen.

text.

German

text.

English index.

Moeurs, Usages et Costumes de tons

Illustrated.

les

Viollet-le-Duc.

Dictionnaire du Mobilier FranQais.

4.

Peuples du Monde.
Lamesangere.
Illustrated.

French

text.

Vols. 3

and

Illustrated.

French

text.

Costume
French

des

Femmes
Pied.

Frangaises.

Shaw.

Dresses and Decorations of the Middle Ages.

Illustrated.

text.

2 vols.

English text.

Sante

Graves.
text.

Portraits

en
in

Illustrated.

Bonnard.

(Middle Ages) Costumes historiques des

et

French
Uzanne,
Price.

Xir, Xlir, XIV",

3 vols. (1861).

XV" Siecles.

2 vols. (1845).

Octave.

Fashions
text.

Paris,

1797-1897.

French text. Piton. I>es Costume Civil en France de XIlP au XIV^ Siecle. Illustrated. French text.
Illustrated.

French and English

Illustrated.

Dame

Fashion, 1786-1912.

English text.

Illustrated.

Page One Hundred Twenty -eight

Cornu,

BIBLIOGRAPHY
Jourdain,

M.

Paul.

Galerie des

Modes

et

Frangaises, 1778-1787.
Fishel arid

Illustrated.

Costumes French text.

Edwardes.

M.

Lowes, Mrs.

Old Lace. English text. Chats on Old Lace and Needlework.

Laurence
de.'

Von Boehn Modes and Manners

1790-1878.

translated by of the

M.

English text.

Nineteenth Century,

Laprade,

Mme,
text.

Le Poinet de France.
History of Hand-made
English

vols.

Illustrated.

German and

French
Lace.

English text.

Jackson, Mrs. F. Nevill.

Illustrated. English text.

Rhead.
Earle.

Chats on Costume.

English text.

Two

Centuries

of
in

Costume
1

in

America.
vols.

Lefebure, Ernest.
text.

Embroidery and Lace.

Illustrated.

Published

vol.

and 2

English text.
McClellan.
Vol.
1,

Whiting, Gertrude.
Illustrated.
Clifford, C. R.

Lace Guide.

English text.
text.

Historic Dress in America.

2,

The Lace Dictionary. English

Samplers and Tapestry
English Text.

1607-1800; Vol.

1800-1870. English text.

Huish, Marcus B.
broideries.

Emby

Webb.
text.

The

heritage of Dress. Notes on the history

clothes.
Illustrated.

and evolution of
Bakst, Leon.
Fales.

English

Modes

et

Maniers D'Aujourd'Hui.

Illustrated

L'art decoratif.

Dressmaking. Chapter

French text. on The Historic De-

Lepape, 1912, Martin, 1913, and Barbier, 1914. French text.

Nevill, Ralph.

British Military Prints.

Illustrated.

velopment of Costume. Illustrated. English text. Ellsworth Textiles and Costume Design. English text. Peterson's Magazine, 1842-1898.

English text.
Falls,

D.

W.

C.

Army and Navy Information

English text.

of the

Warring Powers.
Wietz.
text.

Godeys Lady's Book. Gazette du Bon Ton. French text.

Journal des Dames
et

1830-1898.
Arts,

English text.
Frivolities.

Ecclesiastical

Costume.

2 vols.

German

Modes and

Villermont,
des Modes.

Comtesse de.

Frencfrtext.

Feminine.
trated.

Illustrated.

Burbank.

Woman

as Decoration.

English text.

Davey, Richard.

de la Coiffure French text. History of Mourning. IllusHistoire

Illustrated.

Lessing, Julius von.

Die Gewebe Sammlung des

English text.

Kunstgewerbe Museum.
Moore,

German

text.

Rhead, G.
Redfern,

W.

History of the Fan.

Funke, Otto von. Seidenweberei.

2 vols.

German text.

English text.

N. Hudson. The Lace Book. ShowingSpecimens of Lace, or its wear in famous portraits.

W. B.
.

Royal and Historic Gloves and

English text.

Shoes.

Illustrated.

English text.

For Periodical References see Poole's Index and

History of Lace.
English
th; Readers' Guide.

Palliser,
text.

Mrs. Bury.

New
Antiche Trine Italiane.
Italian text.

York Public Library.

list

Art Division.

In prep-

Ricci, Elisa.

aration, Textile

Pollen,

Mrs. J. Hungerford.
English text.

Seven Centuries of

only

lists

and Costume list. Each not books and articles, but parts of books
plates.

Lace.

and individual

ip

Drawn by Robert Henry

for Felix

Jungmann &

Cie., Paris.

^p

A READING AND REFERENCE LIST

ON COSTUME

BROOKLYN
Published BY
FIRST PRINTING
1909

NEW YORK

THE BROOKLYN PUBLIC LIBRARY

REVISED
1920

PREFACE
The primary purpose of this list is to furnish a partial guide to
of the

the resources

Brooklyn Public Library on the subject

Practically

of costume.

Completeness

has not been attempted.

no references to periodicals are

included, as these are generally available through Poole's Index

and the
articles

Readers' Guide.

Post-cards, works of art, jewelry,

and other

primarily artistic in nature are not included.

few unindexed periodicals,

especially useful in the study of costume, are listed.

It
is

hoped that the

list,

in addition to its use to the patrons of the

library,

may

serve as a contribution toward a bibliography of the subject.

CONTENTS
PAQB
FAGB
Corea.
Corsica.

Abyssinia

143

See Koreia. See France.

(in

Afghanistan
Africa

Hi lU
Balkan States.
144 145

Albania.
Algeria

See

Costume Cuba

Poetry)

151
151

Arab Costume
Armenia.
See

Denmark
Dutch Costume.
See Nethi;rlands.

151

Turkish Empire.
145 See

Armor
Asiatic
Islands.

Malaysia, Philippine
146
146

Egypt
England
England.
Military

Islands.
Assyria
Australia

152 152

Costume

156

Austria-Hungary
Aztec

146
See

Eskimo Costume Etruscan Costume

Fancy Dress Fans
Fiji Islands

157 158

Costume. America.

Indians

of

North
158
158

147 Balkan States Bedouin Costume. See Arab Costume, Egypt, Turkish Empire. 148 Belgium
Bibliography 137

158
See Belgium.

Flemish Costume.

Foot-wear France
France.

158

159

Military Costume

160 138
161

Bohemia.
Bosnia.
Bridal

See Austria-Hungary. See

Balkan States.
148
148

Costume Brittany. See France.

Brooklyn
Bulgaria.

General Works Germany

Germany. Military Costume Gipsy Costume

Gloves
,

161

161

See

Balkan States.

162

Burma.

See India.

Greece

162
163
See Head-dress.

Guatemala

Canada
Caricatures and Caricaturists

148
148 149
Hair, Hats.

Carthage.

See Africa.

Hawaii
Head-dress
149

163
163
See Jewish Costume.

Central America Central Asia

Hebrew Costume.
Herzegovina.
Holland.
See See

Ceylon
Children
Chile

150
150 150

Balkan States.

Hungary.
India

Netherlands. See Austria-Hungary.

164 165

China
Colonial Costimie.

150
See

United States.

Indians of North America

Page One Hundred Thirty -four

PAGE

CONTENTS
PAGE

Indians of South America

Ireland
Italy

166
167

Portugal

172

167

Quakers
Religious

172

Japan
Jewelry Jewish Costume

168 168
169

Costume

173 173
174 175
.'

Rome
Roumania. See Balkan States. Russian Empire

Korea
Lapland.
See

169

Samoa

Norway, Russian Empire.

Savoy
Scotland
Servia.

175
175

Macedonia. See Balkan States. Malaysia Maori Costume. See New Zealand. Marriage Costume. See Bridal Costume.
Mediaeval Costume

See

Balkan States.
176

169

Shakespearean Costume
Shoes.

See Foot-weAjI.
See India.
-

Siam.
169

South America
Spain

177
177 177

Mexico Montenegro.

170
See Balk.\n States.

Sweden
170
Switzerland
Theatrical

Morocco
Nepal.
See Tibet.

178
178 179
179 179

Costume

Netherlands

170
171
See France. 171

Tibet

New

Zealand

Normandy.

Norway
Oceanica
Orders
Palestine.

Troubadours Tunis. See Africa. Turkish Empire

Tyrol.

See Austria-Hungary, Switzerland.

171
171
See

United States United States.

Military and Naval Costume.

180
181

Turkish Empire. Peasant Costume

Periodicals Useful for the

171
171

Venice.

See Italy.

Study of Costume ... 138 Wales

182
See Armor.

Persia

Peru
Philippine Islands

172 172
172
See Russia.

Weapons.

West Indies
Zanzibar

182
182

Poland.

Porto Rico

A READING AND REFERENCE LIST ON COSTUME, ARRANGED ALPHABETICALLY

THIS OUTLINE OF HISTORIC COSTUME IS ARRANGED TO PROVIDE THE READER WITH COMPARATIVE DATES, UNDER THE HEADING OF "HISTORY," THE MAIN CHARACTERISTICS OF EACH CENTURY'S COSTUME, UNDER THE HEADING "HISTORY OF DRESS," AND WITH THE AIM OF FURTHER ELUCIDATION ON EACH PERIOD'S COSTUME, THERE WILL BE FOUND SELECTED DATA UNDER THE HEADING OF THAT CENTURY'S "REFERENCE BOOKS."

Bibliography
Barnard, F. P.

Costume. (la Middle Ages.

his

Books for Reference on English Companion to Enghsh History 190'2. Ref. 942B25 p. 115.)

Dillon,

H. A.
V. 1.

Books Treating

of

Fairholt, F.

W. Costume
pp. xi-xiv.

in

England.

Costume. (In 3d ed.

1885.

Also 4th ed. 1896.)

Bibliography of Costume. (In Encyclopedia Ameri1903-04. V. 5.) cana. Ref. 031E56

See article on " Costume."
16
titles.

391F17
Evans,

Bibliography of Costume. (In 1902-04. v. Encyclopaedia.

Annotated
list

New
5.

International

Books on Greek Dress. (In her Chapters on Greek Dress. 1893. pp. vi-xvii.) 391E92
List of

M. M., Lady.

pp. 333-34.)

Fletcher,

Ref. 031l6lGi
of

about 30

titles.

Bibliography of Costume.
Encyclopaedia.
1914.

(In
v. 6.

New

International

A. C. Bibliography of Indian Adornment. Hodge, F. W. Hand-book of American Indians. 1907. pt. 1. p. 20. U. S. Bureau of Ethnology. Bulletin 30.) Ref. 970.1U58
(In
18
titles.

p. 143.)

Bibliography of Ecclesiastical Costume.

Internationa!
p. 338.)
11 titles.

(In

New
v.
5.

Gipsy Costume.
Society.

(In
ser.

Journal of the Gipsy Lore

v. 1.

Encycit^eedia.

1902-04.

New

p. 25.

July, 1907.)

Ref. 031l6lGi
Brief annotated
list.

Ref.

Bibliography

of Ecclesiastical

Costume.
1914.

(In
v.

New
6.

International
148.)

Encyclopaedia.

p.

Bibliography of Jewish Costume.

clopaedia.
Brief

(In Jewish

Ency-

Hough, Walter. Bibliography of Indian Clothing. (In Hodge, F. W. Hand-book of American Indians. 1907. pt. 1. p. 313. U. S. Bureau of Ethnology. Bulletin 30.) Ref. 970.1U58
11
titles.

1901-06.

V. 4.

pp. 294, 301, 303.)

Ref. 933S61
lists.

Lipperheide,
Freiherrlich

F.

J.,

Freiherr

von.

Katalog

der

von
2 v.

Lipperheide 'schen

Kostiim-

Bibliography

of

Roman
Costume

Comedy
in

Costume.

(In

bibliothek.
raphy.

Saunders,
1909.

C.

Roman Comedy.
391S25

Annotated and

illustrated.

1896-1901. Ref. G016L76 The most complete bibliog-

pp. 143-145.)

Bliimner, II.
4
titles.

Costume.
1893.

(In his

Home

Litteratur.

Kostum.
14th ed.

(In Brockhaus' Konversations1895.

v. 10.

Life of the

Lexicon.
14
titles.

p. 662.)

Ancient Greeks.

p. 533.)

913B65
(In

Ref. G033B86

Boutell,

Charles.

Bibliography of Costume.
9th ed.
1875-88.

Encyclopaedia Britannica.
6.

Luard, J.
v.

History of the Dress of the British

1852.

pp. 478-79.)
Classified

Ref. 032E56
list.

Soldier.
Brief

355L92

list of

and annotated

authorities, pp. III-IV.

Chubb, Percival, and

others.

Festivals

and Plays

in

McClellan, Elizabeth.
pp. 405-07.)

Authorities Consulted.

(In

Schools and Elsewhere.

Costume bibliography,

1912.

371.7C55

her Historic Dress in America, 1607-1800.

1904.

p. 391.

Ref. 391M12

Page One Hundred Thirty-eight

New
the

BIBLIOGRAPHY
Weiss,

York

City.

Salmagundi Club.
in the

Catalogue of

Hermann.

(In

his

Kostiimkunde.

11,

Costume Books gundi Club. N. Y.

Peahody
Institute,

Library of the Salma-

Mittelalter.
List of

1883.

pp. ii-xxviii.)

1906,

R016No67S
Catalogue
of

works on mediaeval costume.

Baltimore.

the

Same.
pt. 2.

(In

his

Kostiimkunde.

III.

1.

2,

Library.
Costume. Part I, 18S3, pp. S07-8; 2d series, part II, 1897, 907; Ecclesiastical Costume, part I, 1883, p. 808; United States Costume, 2d series, part Vfll, 1905, p. 4875. List of books and periodical articles.
p.

14tes Jahrhundert bis auf die Gegenwart.

1872.

pp. 1371-88.)

List of works on costumes, 14th century to the present time.

Phillip,

W. A.

Bibliography

of

Costume.
1910.

(In
v. 7.

Encyclopaedia Britannica.
p. 247.)

11th ed.

Periodicals Useful for the Study of Costume

Delineator.

Quellen fiir die Kenntnis der Kostume.

(In Meyer's

du Bon Ton Godeys Lady's Book.

Gazette

Konversations-Lexicon.
pp. 120-21.)
Brief
list

4th ed.

1888.

v.

10,

of

works on costume.

Graham's Magazine. Graphic. Harper's Bazar.

Ulustrated

Same.
p. 539.)

London News.

(In

Same.
revised

6th

ed.

1904-08.

v.

11,

Journal des Dames

Ref. G033M61KO
list

Preceding

and enlarged.

Racinet, A. C. A.

Bibliography,
Classified
list

v. 1.
of

Le Costume Historique. 1888. pp. 113-24. Ref. r390Rl2

titles.

et des Modes. L'Hlustration. Ladies' Cabinet of Fashion, Music, Ladies' Home Journal. La Mode Ulustree. Le Costume Royal.

and Romanes.

about 400

Le Tour du Monde.
(In his

Rhead, G.

W.

Bibliography of Costume.
1906.

National Geographic Magazine. Peterson s Magazine.

Chats on Costume.
Sargent, J. F.

pp. 15-16.)

391R46

Punch.
Sketch. The Children's

Customs and Costume: a list of books and magazine articles. (In his Reading for the Young. Issued by the Amer. Library Assoc, Ref. 028S24 1890. pp. 9-10.)
14 annotated titles of books, 88 references to periodicals.

Costume Royal.

Ueber Land und Meer. Vogue. Young Ladies' Journal.

General Works
Select

List

of

Works and References on Costume.

This
list

(In Finsbury [England] Public Library quarterly

Jan., 1909. guide. pp. 227-34.) Annotated and classified list.

includes tcorks dealing with a

countries or subjects

number

of

Thurston, Herbert.

Bibliography of Clerical Cosv. 4.

Accurate Historical Account of all the Orders of Knighthood at Present Existing in Europe. 2 v. n.d.

tume.
12

(In Catholic Encyclopedia,

titles.

p. 421.)
Descriptions
orders.
of

Ref. 929.7H25
costumes and regalia of the different

Ref. 282C363
Vinet,

Bibliographic du Costume. (In Costume Historique. 1888. v. 1. Ref. F390R12 pp. 113-24.)
Ernest.

Ammon,
a
all

Jobst.

The Theatre

of

Racinet, A.

Women. 1872. R391A51

reprint from the edition of 1586. Female costumes of the principal nations and peoples of Europe.

Classified list of

about 400

titles.

Aria, Mrs. E.
of

Waern,

Cecilia.

Note:

Bibliography

Fans.
1895.

Theatrical.

Illus.

(In her Short Historical Sketch of Fans.

Costume: Fanciful, Historical, and by Percy Anderson. 1906. 391A69

pp. 28-29.)
Brief annotated
list.

391W12
Verzeichniss
(In

Historical, peasant, oriental, ceremonial, bridal, dancine, fancy, and theatrical costume. Colored plates and halftones.

Weiss, Hermann.

der Abbildungen,
his

Armies of To-day.
others.

Edited by W^esley Merritt and

nach
I,

ihren

Quellen.
1881.

Kostiimkunde.

1893.

355M57

Alterthum.
Liit of

pp. xxiii-xli.)

G391W42

works on ancient costume.

Articles, illustrated by wood-cuts, on armies of United States, Great Britain, Germany, France, Russia, AustriaHungary, Italy, and Mexico.

BIBLIOGRAPHY
Art of Dress; or Guide
to the Toilette.

Page One Hundred Thirty-nine

1839.

391A78

Child, Theodore.

6 plates of colored engravings.

Wimples and Crisping Pins. 1895. 391C53

in

Aspin, J.

Cosmorama:
,

a View of the Costumes

1826.

Illustrated

studies

the coiffure

and

ornaments

of

women, from ancient times through the

Clothes

early 19th century.

and

Peculiarities of all Nations.

910A81.

Illustrations are small

and are

colored.

and

the

Man;
1900.

hints on the wearing

and caring
6-16C64.

of clothes.

Ballin, A. S.

(Mrs. Berry.)
Practice.

Science of Dress in

Discussion of modern male attire. Collier,

Theory and
Belin,

1885.

613B19
John.

Costumes de Su&de, Norw^ge, Danemark, HoUande, et AUemagne; dessines par

and
others.

Art of Portrait Painting. 1905. Ref. 757C69

41 portraits in color and half-tone, showing costumes from Giotto to Watts.

Belin, Girardet, Sharles, Verveer.

[About I860.]

Ref. F391B43
20 colored
plates.

Costume.
V. 5.)

(In

Encyclopedia

Americana.

1903.

Ref. 031E56

Historical sketch with brief bibliography.

Berghaus,

Ileinrich.

Die
plates.

Volker

des
*

Erdballs.

2 V. 1861. Numerous colored

G572B49

Costume.
1910.

(In Encyclopaedia Britannica.

V. 7.

11th ed.

pp. 224-47.)
51 figures.

R
Encyclopaedia.

Historical.

Bibliography.

Beyschlag, Robert.

Female Costume Pictures: figures of female grace and beauty in costumes of various centuries, from twelve drawings in pastel. R 391B57 1886.
Art
in

Costume.
1902.

(In
V. 5.

New

International

pp. 328-34.)

Ref. 031 161 Gi

Historical.

2 plates (15 figures) and bibliography.

Blanc, A. A. P. C.
1877.

Ornament

and Dress.

Costume.

(In

New
v. 6.

International

Encyclopaedia.

646B63
Many
cuts and 2

2d ed.

1914.

pp. 137-48.)

R
v.
3.

" Personal adornment," pp. 49-274. colored plates of head-dress and apparel.

Historical.

3 plates (23 figures).

Costume.

Boehn,

Die Mode: Menschen und Moden im neunzehnten Jahrhundert. Ausgewahlt von Oskar Fischel. Text von Max von G391B67 Boehn. 1907. Covers the period 1818-1842. Many illustrations, 36 in
von.
color.

Max

(In

Nouveau Larousse
civil

Illustr*?.

p. 314.)
4 colored plates of

R
and military costume.
the Metropolis,

Costume of

the

Lower Orders of

n.d.

391C84
No
text.

Contains colored plates.

Modes and Manners

1909.
Colored plates.

of the 19th Century.

3 v.

Davis, R. H.

Rulers of the Mediterranean.

1894.

391B67
Costumes Historiques des XII^, XIII,

910D21R
Half-tone plates and wood-cuts of costumes of Gibraltar, Malta, Tangier, Egypt, Athens and Constantinople.

Bonnard, C.

XIV

et

XV

Siecles.

Dessines et graves

par

Davy, Richard.

Furs and Fur Garments,

n.d.

Paul Mercuri avec un texte historique et de.scriptif par Camille Bonnard. Nouvelle Edition avec ime
introduction par Charles Blanc.
200 colored copper engravings.

391D24
General historical sketch. ments, 9th-19th centuries.
12 plates showing fur gar-

3 v.

1860-61.

Ref. F391B710

Decorum; a practical treatise on etiquette and dress 1880. 395D29 of the best American society.
Dewing, Mrs.

Brownell,

H. H.

Eastern, or Old World

2 v.

embracing

M.

R.

Beauty
dress.

in Dress.

1881.

ancient and modern history.

1856.

646D52
909B88
^Esthetics of

women's

Has hand-colored wood-cuts, showing costumes from

times to 19th century.

early

Duller,

E.

Volkstrachten

Album von

50 Blatt

Burke, Sir Bernard.

The Book of Orders of Knighthood and Decorations of Honour of all Nations.

Fully illustrated with colored plates.
1858.

Kostiimbildern.

Ref. 391D88

Colored lithographs taken from Duller's work.

Ecob,H.G.

R 929.7B95BO

Well-dressed Woman. Numerous half-tones and wood-cuts.

1892.

613E19

Page One Hundred Forty

Egerton,

BIBLIOGRAPHY
Book
of Cosearliest

M. M.,
or.

Countess of Wilton.

Haweis, Mrs. H. R.
Heaton, H. A.

tume;

Annals of fashion, from the

Artistic principles of costume.

Art of Dress. 1879. 391H38 Many wood-cuts.

period to the present time.

Detailed
descriptions
of

Newed.

1847.

Brooches of

Many

Nations.

1904.

Ref. 391\V75
European and Asiatic
dress.

391H44
78 wood-cuts of brooches, from Assyria to Scotland.

About 200 wood-cuts.

Ellsworth,

E. P.

Textiles

Illustrated.

1917.

and Costume Design. 646E47 909E53

Hefner- Alieneck, J. H.

v.

Trachten, Kunstwerke,
friihen Mittelalter bis

und Gerathschaften, vom

89.
720 colored plates.

Ende des achtzehnten Jahrhunderts.

5 v.

1879-

Emerson, Edwin, Jr.

3 V.
1902.

History of the 19th Century.

R G709H46
A.
von.

16 colored and 32 half-tone plates, some of use for costume.

Erskine, Mrs. Beatrice.

(Mrs. Stuart.)
1905.

Beautiful

Heyden,
des

Women

in

History and Art.

Europas, von Zeitalter Homers bis

Die Tracht der Kulturvolker zum Beginne

1889.

Ref. 920E732
37 half-tone plates, showing English and French dress, 16th-18th centuries.

XIX.

Jahrhunderts.

G39lHei
1885.

222 illustrations (wood-cuts).

The European Delineator.

mark, Norway,
Fales, Jane.
etc.

Containing brief but

Higgin, L.

Art as Applied to Dress.

interesting descriptions of Russia,

1815.

Sweden, DenRef. 914E89D

for Schools

646H63
^Esthetics of dress.

20 colored engravings.

Dressmaking.

A Manual

Hints about
1888.

Mens Dress. By a New York clubman.

646H66
Costumes,
many
n.p., n.d.

and Colleges. With chapter on the Historic Development of Costume. Illustrated. 1917. 646F18 Fancy Dress. A Short Chronological Series of 391F19 Costumes, n.d. Farnsworth, E. 0. The Art and Ethics of Dress. 177F23 1915. Illustrated. Le Costume, Ancien Ferrario, Giulio, and others. Ref. F391F37 ctModeme. 18 v. 1815-29.
Africa (2 v.), America (2 v.), Asia (4 v.), Europe (6 v. in 9). General sketch of history of costume for practically every Illustrated with hand-colored nation of historic note.

Principles of selection.

Hooge, Romeyn de.

{?)

Ref. 391H77
43 copper-plates of costumes of
countries.

Ho-pe,

Thomas.
cd.

Costume

of the Ancients.

2 v.
and

New

1841.

Ref. 391H79

Roman

Brief descriptive sketch of Egyptian, Asiatic, Greek, costume, followed by 321 outline plates.

Hottenroth, F.

Trachten, Hans-, Feld-, und Kriegs-

copperplates.

gerathschaften der Volker alter und neuer Zeit.

Finden, William.

Finden's Tableaux.

1837.

2 V.

n.d.

Ref. 769F49
13 scenes of national character, beauty, and costume.

G391H83
Dress Design: an account of cos-

120 colored plates and numerous woodcuts.

Fo.v, G.

P.

Fashion, the Power that Influences the

Hughes, Talbot.

World.
Gale, E. C.

3ded.

Chiefly discusses

1871. modern male

391F79
dress.

tume, for
Has 35
900^1870

artists

and dressmakers.

1913.

Hints on Dress.

1872.

646G15

646H89
collotype plates and numerous other illustrations,

Discussion of modern costume.

Godwin, E. W.

Dress and Its Relation to Health

1884.

and Climate.

391G59

Hughes,
1895.

T.

P.

Dress.

(In

his

Diet,

of

Islam.

Small wood-cuts of dress of various types, from early Egyptian times to about 1850.

pp. 92-99.)
dress.

Ref. 297H89
9 wood-cuts.

Mohammedan
Hunt, Mrs.

Grasset de Saint-Sauveur, G.
Hand-colored engravings

Costumes, n.p., n.d. Ref. 391G76

costumes
of all countries.

M.

(Averil
n.d.

Beaumont.)

mothers' Gowns,

Our Grand391H94

of

Contains colored plates.

Grosvenor, G. H.
Series.

Scenes from Every Land.

Second

1909.

910G87
Third
Series.

Hutchinson, H. N. and others.

Living Races of

Scenes

Mankind.
from Every Land.
1912.

1902.
all

Ref. 572H97
extant nations, in modern dress.

Half-tones of nearly

910G87S
GuiUaumot, A. E.

Costumes de I'Op^ra. 1883. Ref. F391G95C

Iconographic Encyclopedia.
See " Dress " and " (80 figures).

1886.

v. 2.

Ref. 033117
Costume
" in Index,

50 colored plates, 17th and 18th centuries.

and

plates

34-38

BIBLIOGRAPHY
Ireland, J. B.

Page One Hundred Forty-one

Lacy, T. H.

Wall-Street to Cashmere: five years

in Asia, Africa,

and Europe, 1851-56.

1859.

Female Costumes, and Dramatic. 1865.

Contains colored plates.

Historical, National,

Ref. 391H152C2

910IG5
Colored plate of Arab costume, and wood-cuts of other costumes.

Male
matic.

Jacquemin,

R.

Histoire

G6nerale

du

Costume
au
XIl''"''

Costume, Historical, National, and Dra1868. Ref. 391L152C1

text.

No

Contains colored

plates.

Civil, Religieux, et Militaire

du

IV""''

Siecle.Occident (.315-1100).

Paris, n.d. (?188-.)

Lechevallier-Chevignard,

Ref. F391J19
Jeune, Lady.
(In

de Femmes
1889.

Dress for Motoring dress for ladies. Harmsworth, A. C. and others. Motors and
:

Costumes Historiques du XIV^"*^ au XVIir"'" Siecle. Ref. F391L45

G.
J.,

Colored plates.

Lipperheide,
Freiherrlich
liothek.

F.

Freiherr

von.

Motor-driving.

190'-2.

pp. 66-71.)

621.4H^28

Katalog

der

4 cuts of motor costume.

von Lipperheide'schen Kostiimbib1896-1901.

Half-tones.

Johnson, John.
Prussia, in the

2. v.

RG016L76

Journey from India to England,

Georgia,
Ru.ssia,

03? illustrations from catalogued works, showing cos-

through Persia,
5 colored plates.

Poland, and

tumes

of all periods.

Year 1817.

1818.

915J67
(In his

Loemyer, J. F. N.
Usages, et

(Auguste
1843.

Wahlen.)
les

Mueurs,

Costumes de tons

Peui)les

du

Jones, William.

Coronation

Robes.

Monde.Oceanic.
34 colored plates.

RF919L82

Crowns and Coronations.

Wood-cuts
of costumes.

1883.

pp. 491-504.)

394J79
Joyce,
T.

Lord,
of

A.

Women

of

All

Nations.

vols.

W. B. The Corset and the Crinoline; a book modes and costumes, from remote periods to the present time. 1865. 391L11
54 full-page and other engravings.

1908.
25 colored plates and

572J89
many
smaller illustrations of the
of all countries.

women

Louandre, Charles.
58.

Les Arts Somptuaires.

2 v. plates.)

1857-

Kohl, J. G.

Die Volker Europas.

1872.

3 v.

(1 V. text,

Ref.

G914K79
8 colored plates.

Special attention paid to French costume. Richly colored plates of costume, etc., from 5th-17th century MSS.

Koppen, F.
1890.
of

von.

Armies of Europe,
many

illustrated.

Le luxe (Paris) Supplement. Ball, Winter, and Summer Costumes for 1893-94. RF391L97
Contains colored plates.

3.55K77
cuts of uniforms

20 double-page colored plates and modern Europe.

Malerische

Studien:

eine Reise

um

die Welt, in

Kostiim.

(In

Brockhaus'
v. 10.)

Konversations-Lexicon.

14th ed.

1895.

Ref. G033B86
Bibliography.

200 farbigen Photographien. n.d. RG910M24 Many of the 200 colored half-tones give the modern
costumes
of

European and Asiatic

countries.

Historical sketch, with 4 colored plates

Malliot, Joseph.

Recherches sur
3 v.

les

Costumes

Kostiim.
ed.

(In

Meyer's Konversations-Lexicon.
v. 10.

4th

des ancicns peuples.

1809.

F391M25
de tous

1880.

pp. 120-21.)

Ref.
Historical
figures).

G033M61KO
plates
(41

Marechal, P. S.
les

Costumes
4 v.

Civils Actuels

survey. 3 double- page Bibliography.

colored

peuples connus.

1788.

RF391M32
1841

Same.
V. 20.
4th ed.
,

Mazny, M. A.
10th
p. 242.

Types et Caracteres Ancicns.

ed.

1905.

v.

11.

pp.

537-39.
21 colored plates.

RF390M47
Menard, Rene.
des Ancicns.

3 colored plates with smaller figures than those in the

Le Vetement.
1881.
v. 2.

(In his Vie Priv^e

Kretschmei Albert.

Costumes of

All Nations,

from

pp. 227-384.)

the earliest times to the 19th century.

1882.
Ancient, Oriental, Greek, and

F913M53
Roman
costumes.

Ref. 391 K92

lot colored plates in general chronological arrangement.

Nearly

300 outline

illustrations.

Die

Merrifield,

Mrs. M. P.

Trachten der Volker,

vom Beginn

der Ge-

suggestions on children's dress.

Outline plates.

Dress as a Fine Art; with With an introd.

1854.

schichte bis

zum

19ten Jahrhundert.

1864.

on head dress by Prof. Fairholt.

391M56

Ref. G391K92T

Page One Hundred Forty-two

Michel, F. F. F.
Stick in
all

BIBLIOGRAPHY
Porter, Sir R.

(Antony Real.) Story of the 391M62 Ages and Lands. 1891.

sticks.

K. Travels in Georgia [Asia], Persia, Armenia, Ancient Babylonia, during the years
1817, 1818, 1819, 1820.
Illustrated with portraits, plates,

History of walking showing costume.

Several plates incidentally

2 vols. 1821. and maps.

to

915P84
to
and

Miln, L. J.

When We were
India, China,

Strolling Players in the

Praga, Mrs. Alfred.

1894. East. Costumes of

914.39G35
and Japan.

What
S

Wear and when

of

About 20

Wear

it.

1903.
half-tones

plates.

391P89
head-dress

Moore,

N.H.

Lace Book.

746M82
1907.

Esthetics of dress. female costumes.

Half-tone plates of lace and lace-trimmed costumes.

Prichard,
1848.

J.

C.

The Natural History

Morris, Charles.

Home

Life in all Lands.

of Man. 573P947N

910M97HO
" In the World's Tailor-shop," chap. 2; " In the World's Dressing-room," chap. 3. Many half-tones of costume.

50 colored and 5 plain

of native races.

steel engravings, and 97 wood-cuts 21 of the colored are of American Indians.

Same.
Many
Racinet, A.

4th ed.

2 vol.

573P947
1897.

Moses, H.
1815.

Designs of Modern Costume,

etc.

ca.

Quigley, Dorothy.

What

Dress Makes of Us.

R391M91
S.

391Q6
outline cuts.

29 plates.

Murray, A.
ed.

Costume.

(In Encyc. Brit.

and

9th

Costume Historique.

6 v.

1888.
and and

1878.)
Historical

Ref. 032E56
and
descriptive, with 52 wood-cuts
bibliog-

Ref. F390R12
500 plates (300 colored) of practically every country period. Bibliography. One of the most complete accurate works on the subject.

raphy.

National Beauties and their Costumes,

1.5 photograph-s of Oriental countries.

n.d.

Rhead, G. W.
ings.

Chats on Costume.

1906.

391R46
line

391N27B
women
in

various

European and

Colored frontispiece and 117 wood-cuts and Bibliography.

engrav-

National Types and Costumes,

Photographs and Asia.
of feriinine types

n.d.

391N27
of

Modern Practical Design. 1912. Treatment of Drapery Art. 1904.

in

740R46M
743R46

and costumes

Europe

50 diagrams and line drawings, and 32 half-tone plates.

Ridpath, J. C.
Oliphant, Mrs.

M.

0.

W.

Dress,

n.d.

646047

1892.

Great Races of Mankind. 4 v. Ref. 572R54

Illus-

.Esthetics of dress.

Several illustrations.

Parmentier, A.

Album

Historique, Publie sous la

See " Costume " and " Dress " in general index. trations include colored " type pictures " and many cuts of many nationalities.

wood-

Direction de Ernest Lavisse.

Each volume has 1500

4 vols.

1900-1907.

Universal History.
Practically

17 vols.

1896.

Ref. F909P25
to 2000 wood-cuts.

Ref. 909R54U
same material
as his " Great Races."

Illustrations of English and Pauquet Freres. Foreign Costume, from the 15th Century to the Ref. 391P33I Present Day. 1875.
96 colored plates (Europe, Asia, Africa), without
text.

Ritchie, Leitch.

Beauty's Costume: female figures

in the dresses of all times

and rations. 1838. Ref. 391R59

1848.

12 steel plates with brief descriptive text.

Petersons Magazine.

1856-98.
Steel

051P48
and colored

St.

John, J. A.

Oriental Album.

Monthly articles on current fashions. plates of current female fashion.

R916.2S1430
A series of 30 wood engravings.
Songster, William.
lithographic plates, with a

number

of

Pickering, C.

Races of Man.

1854.

572P59
914.6P37

12 colored plates of savage types.

Umbrellas and their History.

Pictures of Other Folks at

Home.

n.d.

1871.
Historical sketch, with caricatures.

391S22
L.
G.

lUiistrations of typical costumes.

Seguin,

Planche, J. R.

Cyclopedia of Costume, from the

of

Picturesque Tour in Picturesque

Commencement

the

Christian

Era

Lands.

1881.

Ref. 914S45

to

the

Nearly 100 wood-cuts of European costumes.

Accession of George the Third.

2 v.

1876.
Shoberl,
Frederic.

Ref. 391P69C
Volume 1, dictionary; volume 2, general history of costume in Europe. Many chroaio-lithographs, "plain plates" and wood-cuts.

World

in

Miniature.
of
all

42

v.

1821-27.
Colored engravings of costumes under separate countries.)
nations.

Ref.
(See

BIBLIOGRAPHY
Simpson,
William.

Page One Hundred Forty-three

People:
187C.

Picturesque

groups

Weise

&

Co.

100 historische Kostum- and Volksn.d.

from

all

quarters of the globe.

trachten-Bilder.

R391W42

Ref. 915861
18 colored plates.

Colored plates, no text.

The Seat
56. Skeat,
"

Weiss,
in the East.

of

War

2 v, in

1.

1855-

Hermann. Kostiimkunde; Geschichte der Tracht und des Geraths. 3 v. in 4. 1872-1883.

Ref. 947S61
81 lithographs, introducing uniforms of Crimean War.
I.

G391W42
Die Volker des Alterthums.
2e. Auflage. 1881.

W. W.
The Story

The Past

at our Doors.
pp. 50-122

1911.

454 wood-cuts and 8 chromolithographic plates.

II.

390S62
of our Dress."
Illustrated.

Das

Mittelalter,

vom

4. bis

zum

14. Jahr-

Spalart, Robert von. Versuch iiber das

Kostum
3

hundert.
der
v.

2e. Auflage.

1883.
plates.

367 wood-cuts and 8 chromolithographic

vorziiglichsten

Volker

des

Alterthums.

1796-98.
Contains colored plates.
Steele, F.

RG391S73
Beauty
of

m. Vom

14ten

Jahrhundert
2 pts.
figures).

bis

auf

die

Gegenwart.
418 wood-cuts (900

1872.

M.
1892.

Form and Grace

of Ves-

ture.

613.7S81

Whitcomb, Merrick.
1903.

History of

iEsthetics of dress.

Modern Europe. 940W58

Several illustrations of costume.

Sturgis, Russell.
paedia.

Costume.
V. 3.

(In Universal Cyclo-

1900.

pp. 209-12.)

R03ir58
Illustration.

Whole Art of Dress.

Engraved

1830.

391W62

Historical.

illustrations of hats, boots, neckwear, etc.

Traphagen, Ethel.

Costume Design and

Willemin, N. X.
taires des

Choix de Costumes Civils et Mili2 v.

1802.

"With outline of historic costume.

Illustrated.

Peuples de I'Antiquite.

Un

Siecle de

Modes Feminines.

1794-1894.
1896.

Quatre
ISO engraved plates.

RF913W69
Woolson, A. G.
as
it

cents toilettes reproduites en couleurs d'apres des

documents authentiques.
JJzanne, L. 0.

391S57

Dress-reform.

Lectures on dress
1874.

The Sunshade,

the Glove, the Muff.

affects the health of

few wood-cuts.

women.

613W91

1883.
Historical.

391U99S
Numerous photogravures.

A
2 V.

Young, J. R.
I'Art.

Vackon,

Marius.

La Femme dans

1893.

1879.

Around the World with Gen. Grant. 910Y73

Horse, Foot, and Dragoons.
of France,

Ref. F759V11
400 wood-cuts, from paintings and sculptures, from early Egypt to the present time.
Vecellio, C.
of

Many

wood-cuts of costumes.

women
2 v.

Zogbaum, R. F.

1888.

355Z85
Wood-cuts of uniforms and the United States.
Great Britain, Germany,

Costumes Anciens
all

et

Modernes.

1860.
513 illustrations of
types of people.

RF391V41
Text in Italian

and French.

Zur

Geschichte der Kostume;

others.]

nach Zeichnungen von Herausg. und verlegt

n.d.

Volbtandige Volkergallerie in getreuen Abbildungen 1830-39. G910V92 Vols. 1, 3. aller Nationen.

Colored illustrations of people in various countries of Europe, Asia, and .Vfrica.

Wilhelm Diez [and

von
119

Braun
colored

&
of

Schneider,

(Miinchener

Bilderbogen.)
plates

Ref. G391Z96
(Nos.

Wagner, L.
1895.

Manners, Customs, and Observances. Ref. 390W13

See Index.

showing costumes

Europe and

296-1212, not consecutive), .Asia, 4th to 19th centuries.

No

index or systematic arrangement.

Scattered notes on peculiarities of costume.

Abyssinia
Halle, Clifford.

Walker, Isaac.
Be.
1885.

Dress: as It has Been,

Is,

and Will

To Menelek

in

a Motor-car.

1913.

39nYl7
A
few wood-cuts.
72 illustrations from photographs.

916.3H18

General discussion.

Ward, Mrs. E. S. Phelps. No illustrations.

Webb, W.
1908.

What

to Wear.

1873.

Skinner, R. R.

Abyssinia of To-day.

1906.

613W25
Abyssinian costume, pp. 126-30, 135.

916.3S62
15 half-tone plates.

M.

Heritage of Dress; being notes on

Illustrated.

the history and evolution of clothes.

391W36

Vivian, HerbeH.
80 illustrations.

Abyssinia.

1901.

916.3V85

Page One Hundred Forty-four

Afghanistan
Bouillane de Lacoste, Major de.
tan.

BIBLIOGRAPHY
Powell, R. S. S. Baden-.
Africa. Africa.

Around Afghanis915.8B76

(In his Sketches in

Natives of British East Mafeking and East

1909.

83 illustrations,

many

of

them showing costume.

Toilette in

1907. pp. 140-46.) R916P88 Numerous sketches and wash-drawings of natives of South
Africa.

and East
Shoberl,

Egerton,

M. M.,

Countess of Wilton.
(In her

Frederic.

World

in Miniature:
n. d.

Africa.

Afghanistan.
pp. 449-.56.)
7 wood-cuts.

Book

of

Costume. 1847. Ref. 391W75

1906.

4 V.

(Vol. I missing.)

Ref. 916S55
2 v.

45 colored engravings of Moors and Negroes.

Sladen, Douglas.

Carthage and Tunis.

and one colored plate

1906.

Hamilton, Angus.

Afghanistan.

915.8H21
Numerous
Tunis.
half-tones
of

916.1S63
costumes of

Costume in Kabul, pp. 380-84. of costume.

Several half-tone plates

Africa
Adolf

Stow, G.

W.

Native Races of South Africa.

1905.

Duke of Mecklenburg-Schw^rin. From the Congo to the Niger and the Nile. 2 v. 1913. 916A23
Friedrieh,

572S89
See " Clothing " in index.

Tully, Richard.

Narrative of a Ten Years' Residence at Tripoli in Africa. Also, An Account of

the Domestic

Angas, G. F.

Kafirs Illustrated.

Also portraits of
1849.

other races inhabiting South Africa.

Scattered references on costume. 11 wood-cuts.

Turks.

Manners 2ded. 1817.

of the

Moors, Arabs, and

*

916.1J92

Ref. 916.8A58
30 colored plates and

6 of the 8 colored plates

show costume.

Vollstandige

Volkergallerie.

Erster

Band,

zweite
(Vol. 1.)

Ferrario, Giulio.
29.

Afrique.
v. 1-2.

(In his Costume.

[v. 5-6.])

1815-

Abtheilung.Afrika.
Colored illustrations.

1830.

G910V92

Afrique.

Ref. F391F37

Colored copperplates of ancient and modern costume.

Werner, A.
1906.
plates

Natives of British Central Africa.

Hall, R.

N.

Great
1905.

Zimbabwe,

Rhodesia.

Mashonaland, 916.8H17
1906.

572W49
Most
of the 32 half-tone

Dress of children, pp. 105-06. show costume.

Several half-tones of natives.

Johnston, Sir Harry.

" Clothing," V.

Liberia.

2 v.

Albania.
966J22

See

Balkan States

2,

pp

numerous half-tones

9.54-70. of natives.

Several colored plates and

Algeria
Ayer,

Emma

B.

Motor

Flight through Algeria

Kidd, Dudley.

Essential Kafir.

1904.

916.8K46

and Tunisia.

1911.

916A97
of Arabs,

19 half-tone plates of costumes.

Savage
1906.

Childhood:

a story of Kafir children.

Illustrated from photographs Costumes Arab women, and of dragomans described.

of

572K46
Savage-.

Berbrugger,

M.

Alg^rie; historique, pittoresque, et

32 half-tone plates of children.

monumentale.
916.6L26
(Algerian races).

3 v.

1843.

RF965B48

Landor, A. H.
2 V.
1907.

Across Wildest Africa.

Lithographs and wood-cuts of natives and French soldiers. See also v. 1, pp. 13-15 (Moorish women), and v. 3, pt. 5

See " Costumes " in Index. African and Moorish dress.

Many

half-tone plates of

Leeder, S.

H.

The Desert Gateway.

1910.

916.5L48
Lloyd, A. B.

Uganda

to

Khartoum:
2d ed.
Over 30

life

and ad-

10 plates, from photographs.

ventures on the upper Nile.

Dress of the Gangs, pp. 173-77. costume.

1907.

Nesbitt,F.E.

Algeria and Tunis.

1906.

916.5N45

916.7L79
illustrations of

70 colored illustrations.

Simpson,
1907.
1906.

M. H.

Hilton-.

Algiers

and Beyond.
916.5S61

Mackintosh, C.
About 25

W.

Coillard of the Zambesi.

BC679M
half-tones of Zambesi natives.

9 half-tone plates of costume.

Wilkin, Anthony.
1899.
n.d.

Among

the Berbers of Algeria,

Neufeld, Charles.

Prisoner of the Khaleefa.

916.5W68
See also

916.2N48
25 half-tone plates of Soudanese Arab dress.

Arab Costume and Africa

BIBLIOGRAPHY
Arab Costume
PuTv.:hardt, J. L.

Page One Hundred Forty-five

Demmin, Auguste.
(In his
Illustrated History of

Arms and
399D38

Dress of the Bedouins.

Armor.

1877.

(Bell's artists' library.)

Notes on the Bedouins and Wahabys. 1831. 915.3B94N V. 1. pp. 230-35.)

Bury, G. Wyman.

Nearly 2000 outline

illustrations.

Druitt,

The Land

of Uz.

1911.

H. Manual of Costume Monumental Brasses. 1900.

as Illustrated

by 391D79

915.3B975
Egerton,

110 illustrations (half-tone) of English armor and dress of the 14th and loth centuries.

M. M.,
and

Countess of Wilton.
(In her

Toilette in
of Costume. Ref. 391W75
Eccleston, James.
uities.
1660.

Palestine
1847.

Syria.

Book

Introduction to English Antiq-

pp. 476-82.)

3 wood-cuts.

1847. See " Armor "

913E17
in Index.

Outline cuts of armor to about

Ferrario, Giulio.

Costumes Barbaresques.
Afrique.
v.
1.

(In his
[v. 5.]

Ffoulkes, Chas.

Armor and Weapons.

1909.

Costume.

1815-29.

399F43
52 figures and 11 plates.

pp. 354-417.)

Ref. F391F37

6 colored copperplates of Arabs of Barbary States.

The Armorer and

16th Century.

his Craft,

from the 11th to the

Ireland,

J.

B.

From Wall

Street to Cashmere.

1912.

R399F43A

1859.
Colored frontispiece of Arab costume.

910165

69 diagrams and 32 plates.

Inventory
Middle Ages.
915.3L26

Lane, E.
1883.

W.

Arabian Society

in the

Tower

of

and Survey of the Armories of the London. 2 v. 1916. R399L84

Dress, pp. 116-18, 157.

Gardner, J. S.
(In Ferrario, G.
3.
[v. 3.]

Armor

in

England, from the Earliest

1898.

Times to the 17th Century.

Levati, Amhrogio.

399G22
759S84

Arabes.
Asie.
v.

tume.
261.)

1817.

pp.

Cos173-

16 colored plates and more than 80 other illustrations.

Ref. 391F37
Prisoner of the Khaleefa.
1899.

Foreign Armor
8 colored plates

in

England.

1898.

8 colored copperplates of Arab costume.

and 44

illustrations in the text.

Neufeld, Charles.

Gosse, P.
"

916.2N48
25 half-tone plates of Soudanese Arab dress.
Riiete,
tr.

H. Assyria. War," pp. 203-397.

John.

1852.
Cuts
of Assyrian

913G678
armor and
mili-

tary dress.

Emily. Memoirs by Lionel Strachey.

of

an Arabian Princess;

Hewitt,

Ancient Armor and

Weapons

in

1907.
pp.

BR921S
85-91.
6 half-tone

Europe, to the
1855.
Illustrations

End

of the 13th Century.

3 v.

Female fashions of Zanzibar, plates of Zanzibar Arabs.

399H61
from contemporary monuments.

Sladcn, Douglas.

Carthage and Tunis

2 V.

1906.

Hodgetts, J. F.

916.1S63
Several plates of Bedouins.

The English in the Middle Ages, from the Norman Usurpation to the Stuarts. 1885. 914.2H68
" Armor,'' pp. 111-43.

See also Africa, Egypt,

Turkish Empire

Armenia.

See

Turkish Empire

Lacombe, P.

Armor and Weapons

Brett,

Arms and Armor Middle Ages, 1869. Same. 1870.

n.d.

in

Antiquity and the

399L14

Lacroix, Paul.

Arms and Armor.

(In his Arts in

and Descriptive Record of the Origin and Development of Arms and Armor. 1894. R399B84
J.

Edwin

Pictorial

the Middle Ages.

pp. 75-105.)

Ref. 970L14
Colored plale and wood-cuts.]

Calvert,

A. F.

Spanish Arms and Armor.

1907.

MacJclin,

H. W.

Brasses of England.

1907.

399C16
3S6
illustrations.

739M15B
Wood-cuts and descriptions
of armor, 1277-1625.

Davies, A. C. Fox-.
paedia of

Armory.

Art of Heraldry; an Encyclo1904. Ref. 929.2D25A

and cuts
of

Monumental
"

Bras.ses.

1905.

739M15
Wood-cuts from rub-

Armor," 13th-17th

centuries,

Plates (some colored)

armor.

bings.

Page One Hundred Forty-six

Michaud, J. F.
n.d.
100 plates by Gustave Dor6.

BIBLIOGRAPHY
2
v.

History of the Crusades.

Spencer,
1899.

W. B.

Native Tribes of Central Australia.

Ref.
Belt and Spur:
1883.

940M62H

572S74N

Saxon, Mrs. A. L.

stories of the

" Clothing, weapons, implements, decorative art," pp. 567-655. Many half-tones and wood-cuts of native costumes.

knights of the Middle Ages.

940S27
MSS.

Northern Tribes
cuts of dress.

of Central Australia.

1904.

16 colored illustrations from contemporary

572S74
" Clothing and ornament," pp. 683-95.

Scott, Sir J.

S.D.

British

Army.

3 v.

1868-1880.

Half-tones and

355S42
"

Body armor,"

v,

1,

pp. 192-222.

Many

plates, with

Thomas,

N.

W.

Natives

of

Australia.

1906.

notes.

(Native races of the British Empire.)

572T45N

Seymour, T. D.

Homeric Arms.
1907.

(In his Life in

" Dress," pp. 63-69.

Half-tone

the Homeric Age.

pp. 629-82.)

913S52

13 cuts of arms and armor.

Austria-Hungary

Stuyvesant, R.

Collection of

Arms and Armor

1914.

of

Rutherford Stuyvesant, 1643-1909.

50
plates.

An
.

R399S93
Trumble, Alfred.

Accurate and Impartial Narrative of the War, Comprising the Campaigns of 1793, 1794,
.

and 1795.

1796.

821A172

Sword and Scimetar:

1886. by Dor6, show costumes Michaud, " History

the Ro-

Has

2 colored plates of Hungarian foot-soldiers.

mance
The
saders.

of the Crusades.
illustrations,

940T86
of the of the

Alexander,
of the

More

plates in

CruCru-

sades."

William. Picturesque Representations Dress and Manners of the Austrians. n.d. Ref. 391A37P
text.

Viollet-Le-Duc, E. E.

Military Architecture.

1879.

50 colored engravings, with descriptive

623V79
Many wood-cuts of fortifications and weapons Roman and mediseval periods.
See also the entries under
of

Bertrand de Moleville, A. F.
itary States of the

Costume
of Austria.

of the Hered-

the

House

1804.

General Works

R391B55
50 colored engravings.

Asiatic Islands.

See Malaysia, Philippine Islands

Boner,
its
of

Charles.

Transylvania;
Index.

its

Products and
914.39B71
and 3 cuts

People. 1865. See " Costume " in

costume.

2 plates (1 colored)

Assyria
Ferrario,
Giulio,

and

others.

riens, des

Babyloniens.

Asie.

V.

[v. 3].

Costumes des AssyCostume. 1817. Ref. I391F37 pp. 351-81.)

(In his

Colquhoun, A. R.

Whirlpool of Europe;
1907.

Austria-

Hungary and the Hapsburgs.

About 40 half-tone
costume.

943.6C72

plates of costume, especially peasant

Colored copperplate of Assyrian costume.

Gosse,P.H.

Assyria.

1852.
20
cuts.

913G678
Military costume,

Egerton,

M. M.,
(In

Countess of Wilton.

Toilette in

" Costume," pp. 203-397.

pp. 437-87.

Hungary.

her

Book

of

pp. 355-59.)

Costume. 1847. Ref. 391W75

Layard, A. H.

Nineveh and

its

Remains.

1852.

2 wood-cuts.

913L42
Dress, pp. 248-63.

few wood-cuts show costume.

Eighty

Club.

Hungary:

its

people,

places,

and

politics.

1907.

914.39F34
official.

Maspero, G. Life in Ancient Assyria. (In his Life in Ancient Egypt and Assyria. 1892. pp.
194-376.)
Cuts
of

8 half-tone plates of national costume, peasant and

913M41
costume from Assyrian antiquities.

Gerard, E.
figures,

1888.

The Land beyond the Forest: facts, and fancies from Transylvania. 2 v. 914.39G35
6 photogravures

Australia
Lumholtz,
Carl.

See " Contents " of each volume. 15 wood-cuts of costume.

and

Among

Cannibals

in

Australia,

and the Aborigines

of Queensland.

1889.

919.4L95
See " Costume " in index.

Wood-cuts

of aboriginal cos-

Grohman, W. A. Baillie. The Land in the Moun1907. tains: past and present of Tyrol. 943.7G87

few half-tone plates of costume.

BIBLIOGRAPHY
Hering, G. E.

Page One Hundred Forty-seven

Brailsford, II.
future.

Sketches on the Danube, in Hungary

1838.

N.

Macedonia:

its

races

and

their

and Transylvania.
No
text.

R914.39H53

1906.

914.96B814

Lithographic illustrations, from drawings by the author.

Several half-tone plates of costume.

Illustrirte

Geschiehte

der

K. K.

De Windt, Harry.
Oesterreichischen

Through Savage Europe.

1907.

Armee.

2 v.

1888.

G355I29

914.97D52
About 30
illustrations of costume.

62 colored plates.

Durham, M. E.

Burden

of the Balkans.

1905.

Koppen, F. von. Austria-Hungary. (In his Armies 1890. pp. 36-51.) of Europe, illustrated.

949.6D96
12 illustrations of costumes of Albania and Montenegro.

355K77
2 double colored plates (12 illustrations, including 1 of naval uniforms) and 4 text illustrations of Austrian uniforms.

Through the Lands

Evans, A. J.

of the Serb.

1904.

914.97D96
Illustrations of costumes of Albania,

Kuhn, Gen.

von.

Austro-Hungarian
1893.

Army.

(In

Montenegro, Servia.

Armies of To-day.
13 cuts of uniforms.

pp. 260-310.)

Through Bosnia and the Herzegovina

2d ed.
1877.

35oM57
Mitton, G. E.
Austria.

on Foot.
Fox, Frank.

914.39E92
scattered references on dress.

Numerous wood-cuts and

1914.

914.36M68
et

Bulgaria.

1915.

949.7F79
1906.

Colored plates.
IRossi,

25 colored pictures of costume.

Francesco.
(In

Costume Ancien
Ferrario,

Moderne des

Eraser, J. F.

Pictures from the Balkans.

Hongrois.

G.

Europe,

v. 6 [v. 17].)

Costume. 1827. Ref. 391F37

914.96F84
Colored frontispiece and 40 full-page illustrations from photographs.

6 colored copperplates of Hungarian costumes, from Attila Plates 3 and 4 show military uniforms. to peasants of 1825.

Henderson, P. E.
1909.
Herbert,
"

British Officer in the Balkans,

Serres, P.

M.

T. de.

L'Autriche.

6 v.

1821.

914.36H49

F914.36S48
48
engravings,

W.

von.

By-paths

in the Balkans.

1906.

representing

more than

105

different

characters.

914.96H53
Costumes and customs," pp.1133-46.

Shoberl,

Frederic.

World

in

Miniature.

Austria.

2 V.

n.d.

Ref. 914.36S55

Hering, George.

Sketches on the Danube, in

Hun-

32 colored engravings.

gary and Transylvania.

Lithographic illustrations

1838. R914.39H53 from drawings by the author.

Smith, F. B.
1903.

Budapest; the city of the Magj^ars. 914.39S64

No

text.

Holbach,

M. M.
of

Bosnia and Herzegovina.

costume.

1909.

Colored plate and about 50 half-tone illustrations of

914.39H72
Photographs

Hungarian costumes.
Trollope, Frances.

1838.

Vienna and the Austrians. 2 v. 914.36T84

Hutchinson, F. K.
Numerous
graphs.

Motoring

in the Balkans.

1909.

914.36H97
illustrations of dresa,

7 plates of costume.

reproduced from photo-

Uniforms of the Six Great Powers of Europe. (In Standard Dictionary. Sup. 1903. p. 2187.) Ref. 423F98SU
Section of colored plates, showing 14 Austrian uniforms.

Jackson, F. H.

The Shores
the

of the Adriatic.
Istria,

The
and

Austrian

side:

Kiistenlande,

Dalmatia.
ings.

1908.

32 half-tone plates,

914.37J12 from photographs; many line-draw-

Waring, G. E.
1880.

Tyrol and the Spirit of the Alps.

Consult Index under " costume."

914.37W27

13 wood-cuts of costume.

Koppen, F. von. Turkey and the States of the Balkan Peninsula. (In his Armies of Europe, illustrated.

Aztec Costume.

See Indians of

North America

1890.

pp. 73-78.)
;

355K77

(4 figures);

Colored plates of uniforms of Servia (5 figures) Bulgaria Roumania (10 figures, 82 text illustrations).

Balkan States
Ashoth, J. de.
Official

Moore, Frederick.

The Balkan

Trail.

1906.

Tour through Bosnia and

914.39A73
1907. Observer in the Near East. About 30 plates of Balkan costumes.

9l"4.96M82

Herzegovina.
16 wood-cuts.

1890.

949.7014

Occasional references to costume.

Page One Hundred Forty-eight

Shoberl, Frederic.

BIBLIOGRAPHY
and
v.

World
the

in Miniature:

Illyria

Bridal Costume
Aria, Mrs. E.

Dalmatia,
1827.

and

adjacent

countries.

Of ceremonial and bridal

1906.

dress.

(In

Ref. 914.37S55

her Costume.

32 colored engravings of Balkan costumes.

pp. 211-24.)
in

391 A69

Singleton, Esther.

as described
49
Albanians,

Turkey and the Balkan States, 949.6S61 by great writers. 1908.

plates,

Hutchinson, H. N.

Marriage Customs

Many

Lands.
Cuts

1897.
of bridal

392H97
and other wedding costumes.

half-tone
etc.

Bulgarians,

Servians,

Croatians,

Miln, Mrs. L. J.

Wooings and Weddings.

1900.

Stratilesco,

Tereza.

From Carpathian
life.

to Pindus:

392M65
Brittany.
See

pictures of

Roumanian country
Most

1906.

949.8S89
" CsstuTios," pp. 112-17.
of the 63 half-tone plates

France

show costume.

Brooklyn
The Nomads
"

Wace,A.J.B.
Chapter IV:

of the Balkans.

1914.
Vanderhilt,

914.96W11
The Costumes of.Samarina."

G.

L.

Dress

of

Flatbush.
1881.

(In

her

Social history of Flatbush.

pp. 127-48.)

Wyon, Reginald.

The Balkans from Within.

1904.

974.72V22

914.97W99
See also Turkish Empire

Bulgaria.

See

Balkan States
See India

Burma.

Bedoxhn Costume. See Arab Costume, Egypt, Turkish Empire

Campbell,

Canada
W. W.
Canada.
1907.

917.1C19

Belgium
Anderson, Mrs. Larz.
Colored plates.

Colored plates.

The

Spell of Belgium.

1915.

Hind, H. V.
rador.
Indians.

Explorations in the Interior of Lab1863.

and
wood-cuts
of

914.93A54
Boulger, D. C.
1904.
4 half-tones of costume.

2 V.

917.19H66
traprcns

Chromo-lithographs

and

Belgian Life in

Town and

Country.

914.93B76

Narrative of the Canadian Red River Exploring

Expedition of 1857 and of the Assiniboine and Saskatchewan Exploring Expedition of 1858.
2 V.
and

Edwards, G. W.

Some Old Flemish Towns.

1911.

914.93E26
Colored illustrations, and others.

1860.

917.1H66

Chromo-lithographs and wood-cuts of Canadian Indians their costume, (v. 2).

Holland,

Clive.

The Belgians

at

Home.

1911,

914.93H73
Colored illustrations, and others.

Caricatures and Caricaturists

Under
this

heading

will

Koppen, F. von. Holland and Belgium. Armies of Europe. 1890. pp. 70-72.)
Colored uniforms.
plate (9 figures)

bs found such works as arc related to the

(In his

general subject of

Costume

355K77

and 2 text

illustrations of Belgian

Omond,

G.

W.

Belgium.

1908.

949.3056B
Painted by Am^d^e

Arnoux, C. A. d' {Bertall, pseud). La Comcdie de Notre Temps. La civilite les habitudes les maeurs les coutumes les manieres et les man-

by

Colored illustrations.

ies

de notre epoque.
Pencil and pen studies

2d ed.
Bertall.

2 vols.

1874.

Bruges and W^est Flanders.

Forestier.

Ref. 741A76
Boyd, A. S.

1906.

914.93056

13 colored plates of Flemish costume.

Shoberl,

Frederic.
n.d.

World

in

Miniature.

The

Netherlands,

Ref. 914.92S55

18 colored engravings of Dutch and Belgian costume.

Glasgow Men and Women, Their Children, and Some Strangers within their Gates. 1905. Ref. 741B78 A selection from the sketches of Twym.

Brinton, S.

The Eighteenth Century

1904.
bj'

in

English

Bohemia.
Bosnia.

See

Austria-Hungary

Caricature.
16

741B85
Bunbury,
Hogarth, Gillray,

See Baijcan States

illustrations

and

Rowlandson.

2 colored prints.

BIBLIOGRAPHY
Carleton, G.

Page One Hundred Forty-nine

1865.

W.

Our

Artist in Cuba.

Furniss,

H.

Pen and Pencil

by the author.

in Parliament.

1897.

741C28
Leaves from the sketch-book of a traveller during the winter of 1864-5. 50 drawings on wood.
Illustrated

741F98
Gillray,

Our

Artist in Peru.

1866.

741C280

James.

Works

of

James

Gillray, the Cari-

Leaves from the sketch-book of a traveller during the winter of 18lJo-(j. 50 drawings on wood.

caturist,

with the Story of his Life and Times. Edited by Thomas Wright, n.d. Ref. 741G48
selection

Cary, E. L.
social

Honore Daumier.
political

collection of his

Grego, Joseph.

and

caricatures, together with

an

from
1880.

Rowlandson, the Caricaturist. A his works, and a sketch of his life.

introductory essay on his art.

1907.

741C33

2 vols.
400

Ref. 741G81R
Wood-cuts.
Political

76 full-page illustrations, depicting types in France about the year 18i0.

illustrations.

and

social

caricatures of his period.

Ckesson,

W. H.

George Cruikshank.

n.d.

Hammerton,
of their

J. A.

Humorists of the

Pencil.

1905.

BC955C
55 illustrations from his drawings, in the order date of publication.

741H22
80 illustrations by the leading humorous artists of the day.

Jerrold, Blanchard.

Life of George Cruikshank, in

Cruikshank,

G.

Bachelor's

own Book;

or,

the

two epochs.
Numerous

2 vols.
illustrations.

1882.

BC955J

Progress of Mr.
of pleasure

Lambkin

(Gent.) in the pursuit

also in search of

and amusement, and

1844.

Kay, John.

Series

of

health and happiness.

741C955B
Ed. by

George

Caricature Etchings.

Original Portraits and With biographical sketches

Cruikshank's Omnibus.
Esq.
1869.
on

Laman

and

illustrative anecdotes.

2 vols.

1877.

Blanchard,

820.8C95
steel

Ref. 741K23S
361 portraits, drawn and engraved by John latter part of the 18th century.

Illustrated with 100 engravings

and wood.

Kay during the

Cruikshank's
tion

Water

Colors.

With an

introduc-

by Joseph Grego.

Parton, James.
in all
203

1903.

741C955

Caricature and Other Comic Art

6S illustrations in color, illustrating Dickens' " Oliver Twist," Ainsworth's " The Miser's Daughter," Maxwell's " History of the Irish Rebellion in 1798," and Emmett's
" Insurrection in 1803."

Times and

Many

Lands.

1877.

741P27
of

Romans

illustrations in caricature to the present day.

from the time

the

Paston, George.
Currier and Ives.
Civil

Social Caricature in the Eighteenth

Caricatures

Pertaining

to

the

Century.
Over 200

1905.
illustrations.

War; reproduced from a private

1892.

Ref. 741P29

collection

of originals.

Ref. 741C97
Sketches,

Stephens, 1891.

F.

G.

Memoir

of

George Cruikshank.

Dore, P.

G.

Two Hundred
1867.

and Grotesque.
and
E[uglish.

Humorous Ref. 741D69

BC955S
Frontispiece portrait.

44 illustrations from his drawings.

86 pages, containing caricatures, chiefly of the French

Thackeray,

Du

Maurier, G.

Pictures of English Society, from

W. M. On the Genius of George CruikReprinted verbatim from " The Westminster Review." 1884. BC955T
shank.
With upwards
wood-cuts.
of 40 illustrations, including all the original

"Punch."

1884.

827D88P
:

41 illustrations of English society.

Social Pictorial Satire

eration.

reminiscences and appre-

Carthage.

See Africa

ciations of English illustrators of the past gen-

Central America
Davis,
3

1898.

741D88S

23 illustrations. Everitt, G.

R.

H.

Three Gringos
1896.
costume.

in

Venezuela and

Central America.

918.7D26
of

English Caricaturists and Graphic

Hu-

plates of

morists of the 19th Century:

how they
1893.

illustrated

Putnam, G. P.
1913.
Illustrations

The Southland
from photographs.

North America.
917.28P99

and interpreted Many wood-cuts.

Furniss,

their

times.

741E93
2 vols.

H.

Confessions of a Caricaturist.
of Harry Furniss, of English life.

Central Asia
Hedin, S. A.
Scientific

1902.
Autobiography from his sketches
with

BF989
many
illustrations

Results of a Journey in
6 vols.

Central Asia, 1899-1902.

1904-07.

Harry Furniss at Home.

by
himself.

Written and illustrated

Ref, 508H45
Vol. VI, Part III, has many illustrations of racial types from western and central Asia.

1904.

BF989H

Page One Hundred Fifty

Ceylon
Campbell,

BIBLIOGRAPHY
Spielman,

M. H. Kate Greenaway.
many

1905.

BG798S

James.

Excursions,
2 v.

Adventures,
1843.

and

53 colored plates and nearly all of children.

sketches in black and white;

Field-sports in Ceylon.

8 colored plates of natives, Dress, v. 1, pp 405-07. 7 other plates of costume.

91.5.4C188 and

Wright,
1907.

H.

M.

Handbook
'

of

the

Philippines.

919.1W94

Includes several half-tone plates of Filipino children.

Cave,

H. W.

The Book

of Ceylon.

1908.

915.4C37B
Illustrations

Chile
Schmidtmeyer, Peter.

from photographs.
:

Golden

Tips

a description of
1900.

great tea industry.

Ceylon and its 915.4C37G

Travels into Chile,

1824.

in

the
of

Years 1820 and 1821.

Ref. 914S45
and Indian costumes

See "Costume" in Index. costume.

Several half-tone plates of

30 plates (11 colored) of Spanish Chile.

Corner, Caroline.

Ceylon.

1908.

915.4C81
Alexander, William.
of the

China
Picturesque Representations
n.d.

See also India

Dress and Manners of the Chinese,

text.

Children
Auker, A., and others.
Heliotypes century.
of

Ref. 391A37
1876.
18th

Child-life in Pictures.

50 colored engravings, with descriptive

Ref. 7o9A61
paintings,

Breton de la Martiniere, J. B. J.

China:
4 v. in
of

its

cos-

from

Corregio

to

late

tume,

arts,

manufactures,

etc.

2.

1824.

Ref. 915.1B84
Boughton, G. H.
1885.

Sketching Rambles in Holland. 914.92B75

Dutch
children.

tary,

About 80 colored engravings and Thibet.

of

costumes

China, Tar-

Includes several wood-cuts of

Browne, G. W.
1900.

China.
1907.

(In his
v. 4-5.)

New

Bryson, Mrs.

M.

I.

Child Life in China.

the Far East.

America and 910B882

of

8 illustrations of Chinese dress.

915.1B91
1899.

13 plates (3 colored)

and numerous cuts

costume.

Earle,

A.

M.

Child Life in Colonial Days.

dress,"

Bryson, Mrs.

M.

I.

Child Life in China.

1900.

390E12
" Children's

915.1B91
Several illustrations of costume.

pp. 31-62.

Half-tone illustrations

from photographs.

Greenaway,Kate.
Books.)

(Various Elustrated Children's

Carruthers, A. D.

M.

Unknown

Mongolia.

2 v.

915.1C31

Kidd, Dudley.

Savage Childhood.

1906.

572K46
915.4M37

32 half-tone plates of Kafir children.

Marston,A.W. Children of Lidia.

Several wood-cuts of children.

n.d.

China in Miniature. Containing illustrations of the manners, customs, character, and costumes of 1833. 915.1C539 the people of that empire.
16 colored engravings.

Menpes, Dorothy. World's Children. 1903. 390M54

100 colored plates, by Mortimer Menpes.

Chitty, J.

R.

Things Seen

in

China.

1909.

915.1C543
50 half-tone illustrations.
Doolittle, Justus.

Merrifield,

Mrs.

M.

P.

Dress as a Fine Art; with

1854.

suggestions on children's dress.

391M56
1899.

Social Life of the Chinese.

2 v.

Miln, Louise.
Numerous
of children.

Little

Folk of

Many

Lands.

1865.
150 illustrations, wood-cuts,

915.1D69
many showing
costume.

910M65
references in text.

About 50

half-tone plates

Egerton,

M. M.,

Countess of Wilton.

Toilette in

Peary, R. E.
1898.

Northward over the Great

China.
Ice.

(In her

Book

of

2 v.
457-64.)
6 wood-cuts.

Costume. 1847. pp. Ref. 391W75

919.8P362

Includes several illustrations of Eskimo children.

Schwatka, Frederick.
"

Children of the Cold.

1899.

Eyries, J. B. B.
et

La Chine: ou Costumes,
Chinois.
(In
his

moeurs,

919.8S41C

usages

des
by

L'Angleterre.

How

and wood-cut plates

their clothes are made," pp. 171-74. of Eskimo children.

Half-tone

.d.)

Ref. F391E98
colored plates.

Illustrated

BIBLIOGRAPHY
Ferrario, Giulio.

Page One Hundred Fifty-one

et

Costume Ancien

Moderne des
Asie.
v. 1.

Thomson,
People.

John.
1873.

Illustrations

of

Chinois.
[v. 1.]

(In his Costume.

1815.

China and its Ref. 915.1T481

pp. 37-366.)
of

Ref. 391F37
costumes of China and

200 photographs, with descriptive

letter-press.

Over 20 colored copperplates

Formosa.

See also Japan

Hardy, E. J.

John Chinaman at Home.

1905.

Colonial Costume.
CoREA.
Corsica.

See See See

United States

915.1H26
7 plates (half-tones) of costume, pp. 91, 130-37.

Korea
France

Hawks, F. L. Narrative of the Expedition of an American Squadron to the China Seas and Japan, 1852, 1853, and 1854, under Commodore M. C. Ref. 915.2U58 1856. Perry, v. 1.
Lithographs and wood-cuts of Chinese and Japanese costume.

Costume
Fairholt, F.

(In Poetry)

Songs and Poems on Costume, from the 13th to the 19th Century. (Percy Society. Early English poetry. 1840-52. v.
Satirical
27.) *

W.

Kemp, E.G.
A
Little,

The Face of China.

plates.

1909.

915.1K32

820.8P43

few colored

Mrs. Archibald.

Round about

My

Cuba
Peking
Browne, G. W.

Garden.
" Official

2d ed.

1905.

915.1L77R
Several

Cuba.
v. 6.

(In his
1907.)

New

and rank distinctions," pp. 60-72. half-tones and one colored plate of costume.

the Far East.

America and 910B882

(In Bryan,

3 plates and several cuts of costume.

McNabb, R.
1903.
" Dress," costume.

L.

Women

of the

Middle Kingdom. 915.1M16

show

Olivares, Jose de,

and

others.

Cuba.

W.
V. 1.

S.

Our Islands and Their

illustrations,

People.

1899.

etc.,

pp. 25-33.

10 of the 18 half-tones

pp. 9-256.) Half-tone and colored

Ref. 917.29B91
showing costume.

Martin,

W. H.

P.

Awakening

of China.

1907.

951M38A
Several plates of costume.

Denmark
Belin.

Mason, G. H.

Costume

of China;

illustrated

by

sixty engravings [colored], with explanations in

English and French.

Contains colored plates.

1804.

Ref. 391M39
915.1B63

Prime du Journal les Modes Parisiennes. Costumes de Suede, Norv^ge, Danemark, HolRF391B43 lande, et AUemagne. n.d. No text.

Butlin, F.

M. Among

the Danes.
and
in

1909.

914.8B98

Menpes, Mortimer.

China.

1909.

Illustrations in color

monotone.
series of

Colored illustrations in addition to 64 facsimile reproductions in black-and-white.

Colored Costume Plates.

characteristic

19 fine and
of

illustrations

of

the costumes

Milne, Mrs. Leslie.

The Shans

at

Home.

1910.

Denmark.
Each
Egerton,

.?1810.

R391C71
German. Toilette in

915.9M65
Many
photographs.

plate has a short description in Danish and

M. M.,
(In

Countess of Wilton.

Norman, Henry.
East.
1895.

Peoples and Politics of the Far

Denmark.
pp. 352-54.)

her

Book

of

915N54

Costume. 1847. Ref. 391W75

Half-tone cuts of Chinese dress.

2 wood-cuts.

Same.
Penfiekl,

1904.

European Delineator.
East of Suez.
1906.

Containing brief but inter-

F.

C.

(Ceylon,

India,

esting descriptions of Russia, Sweden,

Denmark,

China, and Japan.)

915P39

Norway,
Koppen, F.

etc.

1815.

R914E89D
(In
his

Several plates of Chinese costume.

von.

Denmark.
pp. 59-60.) figures) and 2

Armies of

Ralph, Julian.

Alone

in China.

1898.

915.1R16

Europe.
forms.

1890.

355K77
text illustrations of uni-

Several of the illustrations show costume.

Colored plate (8

Shoberl,

Frederic.

World

in

Miniature.

China.

Meyrick, S. R.

Costume

of the Original Inhabitants

V.

1827.

Ref. 915.1S559C

of the British Islands.

1821.

Ref. 391M61

30 colored engravings, with descriptive text.

Includes colored plate of 2 ancient Danish costumes.

Page One Hundred Fifty-two

Dutch Costume.
See

BIBLIOGRAPHY
Wilkinson, Sir J. G.

Netherlands

Egyptians

in the

Time

of the

Pharaohs.

Crystal Palace Egyptian collections.

Egypt
Clark, E. L.

1857.
of the
" Dress," pp. 32-43.

932W68E
2 colored plates of textiles and mar.y
of costume.

Daleth;
1864.

or,

The Homestead
of ancient

wood-cuts

Nations.

916.2C59
Egyptian
art,

Reproductions (some colored) showing costume.

Manners and Customs

Rev. ed.
v. 1878. See " Dress " in index, v. cuts of costumes.

of the Ancient Egyptians.

932\V68
3.

Curtis,

W. E.

Egypt.

(In his Egypt,

British Malaysia.

1905.

Burma, and 910C98 pp. 11-222.)

Plates (2 colored) and wood2 v.

8 half-tone plates of modern Arab, Bedouin, and Egyptian costume.

Popular Account of the Ancient Egyptians.

1854.
See " Dress " in index, v.
2.

932W68P
Many
wood-cuts.

Davis, R.
(In

H.

Cairo [and] the Englishmen in Egypt.

of

his

Rulers

the

Mediterranean.
of

1894.

pp. 102-77.)
Notes on costume and 10 plates and cuts Egyptian dress and uniforms.

910D26R
modern

England
Andrews, Alexander.
trations
of

Eighteenth Century;

or, Illus-

the

Ferrario, Giulio,

and

others.

Egypte Ancienne
1815-29.

et

grandfathers.
"

manners and customs of our 1856. 914.2A56

Moderne.
V. 1.

(In his

Costume.

Afrique.

Costume," pp. 20-40.

pp. 26-247.)

Ref. F391F37

Ashhee,

C.

R.

The Masque

of the

Edwards

of

Colored copperplates of ancient and modern Egyptian

costumes.

England; being a coronation pageant to celebrate 1902. the crowning of the King. Ref. 822A81
Large
folio illustrated, printed in colors.

Hope, Thomas.
his

Costume
of

of the Egyptians.

(In
1.

Costume

the

Ancients.

1841.

v.

pp. 1-9.

pi. 1-11.)

Ref. 391H79

Outline illustrations of male and female costume.

Ashdown, Mrs. C. H. Nineteen Centuries

1910.

British
(civil

Costume during and ecclesiastical). 391A82

Century

Kelly, R. T.

Egypt.

1902.

916.2K29

450 engravings, 110 plates, and 9 colored reproductions.

7 plates of costume.

Ashton, John.

Dawn

of the 19th

in

Eng-

Lane, E.
of

the

W. Account of the Manners and Customs Modern Egyptians. From the 3d ed.
1.

3 V. in

1846.

916.2L26Ac
Female

942A82D2 2 V. 1886. land. Men's dress, v. 2, chap. 30-31. Ladies' dress, v. 2, chap. Numerous caricatures from contemporary engravings. 31.

Personal characteristics and dress, pp. 49-80. ornaments, pp. 211-28. Many wood-cuts.

Social England under the Regency.

Numerous
outline cuts

2 v. 1890. 914.2A82S2

Same.

5th ed.

1871.

916.2L26A2

and 7 plates

of costume, 1811-20.

Personal characteristics, v. 1, pp. 31-64. Female ornaments, V. 2, pp. 312-24. Same cuts as earlier edition.

Maspero, G.
1892.

Life in Ancient

Egypt and Assyria.

Same. 1899. Social Life

Wood-cuts
Barfield, T. C.

in the

Reign of Queen Anne.

1897.

913M41
of costumes.

390A82
Longmans' Historical Illustrations Middle Ages. 1909-10.

Outline cuts from Egyptian monuments.

Mayer, Luigi.

Views

in

Egypt.

1801.

R916.2M46
48 colored plates.

England

in the

R723B24
architecture

Pdrie,

W. M.

F.

Arts and Crafts of Ancient Egypt.

72 plates, with explanatory text, showing examples of and costume from the 11th to the loth century.

1909.
Photographs of jewellery, personages,
etc.

709P49

Barnard, F. P.
his

Companion
Wood-cuts.

Salmon, P. R.

The Wonderland

of

Egypt.

1902. 1915.

Costume, Military and Civil. (In Middle Ages. to English History. Ref. 942B25 pp. 90-115.)
Bibliography.

916.2S17
Thackeray, Lance.

The People

Benham, William.
of Egypt.

Tower

of

London.

1906.

1910.

942B46
3 half-tone and 3 colored plates of costume before 16th century.

916.2T36
32 colored plates; also 37 illustrations in black-and-white.

BIBLIOGRAPHY
Besant, Sir Walter.
1903.
" Dress," chap. 4, pp. 250-62. temporary, sources, of costumes.

Page One Hundred Fifty-three

in the 18th Century.
*

London

Couts,

Joseph.

Practical
1848.

Guide

for

the Tailor's

942.1B55

Cutting-room.

687C87

Half-tones, from con-

London London

in

the

Time

of the Stuarts.
*

1903.

The Cries of London, as they are Daily Exhibited in the Streets. 1804. Ref. 821C92
Embellished with 48 elegant characteristic engravings,
colored.

942.1B55L

" Dress and manners," " weddings and funerals," pp. 298-310; " sports and amusements," pp. 328-337. Halftones from contemporary sources.

Dallaway, James.
1793.

Inquiries

into

the Origin and

Progress of the Science of Heraldry in England.

in the

Time

of the Tudors.
*

1904.

Ref. 929.6D11
1

942.lBo5Lo

12 plates (5 colored) and

text illustration of early English

" Dress, Weddings," pp. 303-15; " soldiers," pp. 316-22; " prentice," p. 329. Numerous half-tones, mostly from contemporary sources.

costume.

Mediaeval Ixjndon.
Boullon,
1901.

Davenport, Cyril.
Colored plates.

English Regalia.

1897.

391D247
1906.

2 v.

1906.

942.1B55M

Half-tones from contemporary sources.

Davey, Richard.

Pageant

of

London.

2 v.

W. B.

Amusements

of

Old London. 2 v. 790B76

942.1D248
See " Dress " in index.

Includes colored plates showing costumes.

Davies,

R.
in

English

Society

of

the

Eighteenth

Brinton, S.
cature.

Eighteenth Century in EngHsh Cari1904.

Century

Contemporary Art.

741B85
by Bunbury,

4 illustrations in color and 33 in

1907. monochrome.
St.

759D25

2 color-prints, 13 half-tones, of illustrations Hogarth, Rowlandson, Gillray.

Burges,

William.

Architectural Drawings.

1870.

Dawson, Thomas. Memoirs of Order of the Garter. 1714.

Engraving
regalia.

George and the Ref. 929.7D27

illustration
of

R744B95
astical costumes,

of

George

I,

and extra

the

Plates 70-74 exhibit male, female, military, and ecclesifrom Anglo-Saxon times to the late loth century.

Day, T. A.
England.

Illustrations of Mediaeval

Costume

in

Calthorp,

D.

C.

English
1906.

Described.
V.
1,

4 v.

Costume Painted and 391C16

1853.

R391D27
in Jacobite

Colored plates.

Early English; v. 2, Middle Ages; v. 3, Tudor and Civil costume only. 72 colored Stuart; v. 4, Georgian. plates and numerous wood-cuts.

Doran, J.

London

Times.

2 v.

n.d.

942.1D69
Plates of dress of the period.

Carter, John.

Specimens of the Ancient Sculpture

and

Painting in this

Kingdom, from the

2 v.
1786.

Earliest

Druitt,

Period to Henry VIII.

H. Manual of Costume, Monumental Brasses. 1906.

of 14th

as Illustrated

by

391 D79

Ref. 709C32
Many
of the

110 half-tone illustrations of English armor and dress and 15th centuries.

120 engraved plates show costume.

Same.

Dryden, Alice.
Reprinted.
1887.
of Charles Dickens,

The Art

of Hunting;

or.

Three

Hunting MSS.
centuries.

799D799

Clark, J. C.

The Characters
in
.?1898.
'

Portrayed
Sketches.
21 plates.

a series of Original Water Color

*

Co.stume, pp. 89-101, covers period from 13th to 17th A few wood-cuts.

823Co9

Dugdale, Sir William.

1656.

Antiquities of Warwickshire.

Ref. 913D86
of the illustrations

Clinch, G.

English Costume from Prehistoric Times

Some

show

dress.

to the

End

of the 18th Century,

n.d.

391C64
French

Du

Maurier, George.

English Society.

1897.

Cook, C. C.

Costumes

of the

Time

of the

Ref. 741D88E
89 plates, with an introduction by

Revolution,

1790-1793;

together

with English
the collection

W. D.

Howells.

costumes, 1795-1806.
of Victorien Sardou.

Drawn from
1889.
fils,

391G95
colored

English Society at Home.

Eccleston, James.
ties.

1880.

Ref. 741D88

65 etchings, executed by Guillaumot 40 of French, 25 of English costume.

by hand.

63 of Du Maurier's contributions to Punch, engraved by Joseph Swain, and printed on India paper.

Costumes of

the University of

Cambridge,

n.d.

Introduction to English Antiqui-

R378C84
24 colored illustrations, on one plate, showing the costumes

1847. See " Costume " and

913E17
"

Armor "

in index.

Outline cuts

worn

in the dififerent colleges of the University.

of English

costume to about 1660.

Page One Hundred Fifty -four

Egan, Pierce.

BIBLIOGRAPHY
or.

Tom &

Jerry:

Life in

London;

Hardie,
1908.

Martin.

John

Pettie,

R.A

F.R.S.A

The day and night Corinthian Tom.

Colored plates, by century costumes.

scenes of Jerry

Hawthorn and
8^27E28T
of early

BP511H
many
of use for Scottish

I.

[Reprint, n.d.] R. and G. Cruikshank,

50 illustrations in color, English costume.

and

19th

Harris,
Toilette in

M. D.

Life in an Old English

Town.

1898.

Egerton,

M. M.,
(In

Countess of Wilton.

942.4H31
2 plates of dress.

England.

her

Book

of

pp. 39-175.) Numerous wood-cuts.

Eyriks,
J.

Costume. 1844. Ref. 391W75

Haweis,

M.

E.

Chaucer
of early

for Children.

1900.

J821C496H
ou
n.d.

Wood-cuts

B.

B.

L'Angleterre,

Costumes,
Hill,

English costumes.

Moeurs, et Usages des Anglais,

Illustrated

Georgiana.

History of English Dress, from Present Day.

2 v.

Ref. F391E98
by colored
plates.

the Saxon Period to the

1893.

391H64

Fairholt, F.

W.

Costume
1846.

in

England; a history of
till

13 engravings, with descriptive notes.

dress,

from the

earliest period

the close of the

Hodgetts, J. F.

18th century.

391F17C
2 v.
1885.

About 600 wood-cuts.

The English in the Middle Ages, from the Norman Usurpation to the Days of the Stuarts. 1885. 914.2H68
Armor, pp. 111-43;
civil dress, pp.

Same.
library.)

3d

ed., enl.

(Bohn's

147-75.

artists'

391F17
About 700 wood-cuts.

Holbein, Hans, the Younger.

Portraits of Illustrious
1828.

V. 1. History; v. 2, Glossary. Bibliography by H. A. Dillon.

Personages of the Court of Henry VIII.

Contemporary costume.
Holt, E. S.

Ref. 769H72

SaTTie.

4th ed.

2
in

1896.

Gardner, J. S.
tury.

Armor

England, to the 17th Cen-

Ye Olden Time;
1884.

English customs

in

1898.

399G22
more than 80 other
illustrations.

the Middle Ages.

Clothing, pp. 72-98.

914.2H75
Henry IV. 1913.
Includes

16 colored plates and

Frontispiece, costumes of

Gihh, William.

The Royal House

of Stuart, Illus-

Hughes,

Talbot.

Dress

Design.

646H89
35 pages
of

trated from Relics of the Stuarts.

40 colored plates,

1890.

Illustrated collotypes.

from old examples.

Ref. 920G43
many showing wearing
apparel.

Old
.?1913.

English

Costumes,

18th-19th

Centuries.

Godfrey, Elizabeth.

Home

Life under the Stuarts.

391H89
and
others.

Colored plates.

1603-1649.
" Dress
dress.

1903.
17.

390G58
Illustrations

and fashion," chap.

showing

Jerrold, Douglas,

Heads

of the People;

or. Portraits of

the English.
1st pub.

Drawn by Kenny
1838-40.

Social Life under

Gronoio, R.

the Stuarts.

1904.

390G58S
of

Meadows.

2 v.

827J563H
life.

18 plates, engravings and half-tones.

Characteristic pictorial sketches from every grade of

H. Reminiscences and Recollections Capt. Gronow, 1810-60. 2 v. 1889.

*
2.5

Jewitt, Llewellynn.

920G876R

Half -hours among Some English 913J59 Antiquities. 1877. Among arms and armor, pp. 102-13; among personal
ornaments, pp. 203-33.
Outline illustrations.

etched and aquatint illustrations, with hand-colored

duplicates.

Same.

Rev. and

enl. ed.

1880.

Guillaumot, A. E.

Costumes

of the

Time

of the

Jusserand, J. J.

English Wayfaring lafe in the

Engli.sh

French Revolution, 1790-1793. Together with costumes during the years 1795-1806.
1889.
Plates, colored

Middle Ages. 2d ed. 1889. Many cuts, from contemporary

costumes.

914.2J96
sources, of 14th century

R391G95
by hand.

Knight, Charles.
of

London.

6 v.

1841.

942.1K69
wood-cuts
of

Haines, Herbert.
2 V.
1861.

Manual

Monumental

Brasses.

See analytic contents to each vol.

Many

costumes

of all periods.

739H15
Society
in

200 wood-cuts of costumes, 14th-17th century.

Hall,

Hubert.

the

Elizabethan
Wood-cuts
of

Age.
Henry

1886.

942H17SO

Same. 6 1851. Old England. 2 1845. Popular History of England.

v. in 3.

942.1K69L3

V.

R913.42K69
Lond. 1858.
8.

Colored plates.

From contemporary documents. VIII and Queen Elizabeth.

8 v. See " Costume " in indexes of v. 4 and wood-cuts.

Numerous

BIBLIOGRAPHY
Lamed, J.N.
Legg, L. G.

Page One Hundred

1900.

Fifty-five
of

History of England.

942L32
1901.

Montgomery,
History.

D.
1903.

H.

Leading

Facts

English

Several cuts of typical costumes.

942M78L
Coronation of His Most Sacred
1839.

W.

English Coronation Records.

(1

See " Dress " in Index.

Ref. 3941.51
17 illustrations

Nayler, Sir George.

42 colored plates. Nevill, Ralph.

contemporary

colored) of early coronation scenes, from sources.

Majesty, George the Fourth.

Ref.
1908.

Lennox, Lord
1878.

W.

P.

Fashion Then and Now.

2 v.

Old Sporting Prints.

(Conend

3901.56
scattered notes on 18th and 19th century dress.

noisseur, Extra

Number.)

Many

760N52O

Levati, Ambrogio.

Costume des Habitans des

(In Ferrario, G.

52 plates, 36 in color, showing English costume at the of the 18th and the beginning of the 19th centuries.

lies

Britanniques.

Europe,
20

v.

[v. 17].)

Costume. 1827. Ref. 391F37

pre-

New Bon Ton

V. 1-6.

Magazine;

or.

Telescope of the times.

1821.
of period.

May, 1818Apr.,
N. H.

052N53

of the 31 colcn-ed copperplates

show costume from

Colored caricatures of costume

Roman
Loftie,
cal.

period to 19th century.

Nicolas, Sir

History of the Orders of Knight4 v.

1842.

W.

J.

Kensington; picturesque and histori-

hood

of the British Empire.

1888.

942.1L82K
Colored plates

Ref. 929.7N63H
of regalia, 5 portraits in full regalia.

6 of the colored plates show 18th century costume.

London
menta.

Society

of

Antiquaries.

Vetusta

Monu-

Oxford
1907.

University.

Oxford

Historical

Pageant.

6 v.

1747-1842.

Ref. 913L84

8220988
Edward.

Nearly 100 of the 320 copperplates (including 28 colored) include costume to time of Elizabeth. Elizabeth's funeral procession (v. 3) and the Bayeux tapestry (v. 6, colored) are given entire.

35 half-tone illustrations, mostly contemporary.

Parrott,
ture.

The Pageant

of English Litera-

MacJclin,

H. W.

Brasses of England.

1907.

1914. Shows costumes,

820P26
in color, of English writers, etc.

739M15B
Numerous
cuts of costume

Paston, George.

(E.

M. Symonds.)

Social Carica-

and armor, 1277-1C23.

Eccle-

siastical dress.

Monumental Brasses.
Armor,
centuries.
dress,

1905. ture in the 18th Century. Ref. 741P29 Colored frontispiece and over 200 half-tone caricatures of
18th century costume.

1905.
vestments,

739M15
13th-17th

and

ecclesiastical

Wood-cuts.

Ref. Paul, H. Queen Anne. 1906. Numerous portraits in Queen Anne costume.
Perkins, Mrs. L. F.

942P32Q
and

Maclise, Daniel.
quest.

The Story

of the

1866,

Norman ConRef. 741M16

Robin Hood:

his deeds

42 illustrations engraved on wood under Professor Griiner, from drawings by Maclise. " Coronation of Harold," and other scenes, showing Saxon and Norman costume.

adventures.

1906.

821.04P44
showing old English costume.

IlaS colored plates, etc.,

Malcolm, J. P.
1810.

Anecdotes of the Manners and Customs of London during the 18th Century. 2 v.
*

Pictures of Society; Grave and Gay.

of celebrated
artists

From the pencils

of

and the pens

popular

authors.

1866.

820.8P61
re-issue of the best engravings

914.21M24

" Anecdotes of dress and the caprices of fashion," v. 2, 12 engravings of dress, 1G90-1807. pp. 312-57.

95 plates, lithographs, a from ' London Society."

Anecdotes

Picturesque Representations of the Dress and

of the English,
illus.

Manners

of the Manners and Customs of London from the Roman Invasion to the Year * 914.21M24A 1700. 3 V. 1811.
" Dress," v. 2, pp. 279-341. of dress, 1053-1675.

in

50 colored engravings, with

descriptions.

1814.

R391P61E

12 hand-colored engravings

Planche, J. R.

History of British Costume, from

the Earliest Period to the Close of the 18th Cenof

Martin, Charles.

Civil

Costume

England from
1842.

tury.

the Conquest to the Present Time.

Series of colored etchings.

1834. Numerous illustrations.

391P69

391M37
Meyrich, S. R.
Baltic.
Irish,

Same.
Price, J.

3d

ed.

Reprinted 1907.
Fashion: Paris-London (1786*

M.

Dame

Costume of the Original Inhabitants

ed.

1912).

1913.

391P94

of the British Islands

Imp.

and Adjacent Coasts of the 1821. Ref. 391M61

Pyne, W. H.

The Costume of Great Britain. 1808. R391P99

24 colored aquatints, including Britons, Druids, Ancient Danes, and Goths.

60 colored plates, with explanatory text, of various types

of people.

Page One Hundred

Fifty-six
Synge,
land.

BIBLIOGRAPHY
M.
B.

Repository of Arts, Literature, Fashions, etc. By R. Ackermann. Ser. 1, v. 3-6, 9-14; Ser. 2, v. 1-14;

Short History of Social Life

Brief references.

in

Eng-

1906.

942S99

052R42 Jan., 1810Dec, 1828. Ser. 3, V. 1-12. Colored steel Letters on London and Paris fashions.
plates of

See " Dress " in Index.

women's
11.

dress.

Thornely, J. L.
cashire

The Monumental
1893.

Brasses of Lan-

Russell,

Memorial of the Marriage of H. R. H. Albert Edward, Prince of Wales, and H. R. H. Alexandra, Princess of Denmark. 1864. Ref. 394R96

W.

and Cheshire.

739T51
1894-97.

Engravings from drawings.

Traill,

H. D.

Social England.
"

6 v.

942T76S
See "

Includes several chromo-lithographs of court costumes.

Costume

and

" Dress " in Index of each vol.

Schild, Marie.

of ladies' costumes,

Old English Costumes: an epitome from the 1st to the 19th cen-

Same. Illustrated ed. 1901-04. Many colored illustrations.

Trowbridge,
hall;

942T76

tury,

n.d.

391S330
and 4 colored engravings, many
of histori-

40 steel plates cal characters.

W. R. H.

Court Beauties of Old White1906.

Old
land,

historiettes of the Restoration.

EngHsh Peasant Costumes.

World
in Miniature.

1898.

391S33
32 Restoration portraits.

920H8632
Tuer, A.

Shoberl, F.

England, ScotPyne. 4 v. Ref. 914.2S559

Sketches of

and Ireland.

Edited by

W. H.

W.

Follies

and Fashions

1827.
84 colored engravings.

fathers, 1807.
plates.

1886-7.

GrandRef. 914.2T91
of our
37 hand-colored

Digest of magazine material of 1807.

Smith, Albert.

Gavarni

in

London.
1849.

London

life

and character.

914.21S642G
914.21S642

Walker, G.

Costume

of Yorkshire in 1814.

1885.

Colored illustrations.

Same.

Ref. 391W179

1859.

series of 41 facsimiles of original drawings.

22 wood-cuts.

Wingfield,

Leivis.

Notes

on

Civil

Costume

in

Stephenson, H. T.
Stone, Mrs. E.

The Elizabethan

People.

1910.

England, from the Conquest to the Regency, as

Exemplified in the International Health Exhibition of 1884.
1820.

914.2S83
Chronicles of Fashion, from the

1884.

Ref. 394W77

Time

of Elizabeth to the Early Part of the 19th

24 colored illustrations, lithographs, of the period 1066-

Century.

2 v. 1845. "Costumes," v. 1, pp. S94-434;

914.2M55
v. 2, pp.

363-455.

15

steel engravings.

Woodward,

G.

M.

Eccentric

Excursions;

or,

Strutt, Joseph.

Complete View of the Dress and Habits of the People of England, from the Establishment of the Saxons to the Present Time. 2 V. 1842. Ref. 391S92
Illustrated

Literary and pictorial sketches in England and

South Wales.

1796. About 100 colored caricatures

Ref. 827W89
of

contemporary

dress.

Wright, Thomas.

The
in

Celt,

the Roman, and the

by engravings and

colored plates.

Saxon.

1852.

913W95C
Britain,

Regal and Ecclesiastical Antiquities of England.

1843.

Dress of ornaments.

Romans

pp.

326-33.

cuts

of

Ref. 913.42S927

72 copperplate portraits, from Edward the Confessor to

Henry VIII.

Homes

Sports
New

ed.,

and Pastimes of the People of England. by Wm. Hone. 1850. 790S92

English Church Brasses, from the
1910.

914.2W953 1871. of Other Days. Many small wood-cuts, from contemporary sources, of costume from Anglo-Saxon times to 16th century.

140 wood-cuts, representing popular diversions.

England, Military Costume

Archibald, J. F. J.

Suffling, E. R.

Blue Shirt and Khaki.

1901.

13th to the 17th Century.

739S94

355A67
Many
half-tones of English and American soldiers.

237 illustrations, reproduced from rubbings. Contains chapters on " Costume of Ladies," " Civilian Costume of

Gentlemen," and " Ecclesiastical Vestments."

Besant, Sir Walter.

Soldiers.

(In his

London

in

Sydney,

England and the English in the 18th Century. 2 v. 1891. 942S98E

C.
" Dress and Costume," v.
1,

W.

the

Time

of the Tudors.

1904.

pp.

316-22.)

Ref. 942.1B55LO
Several illustrations.

pp. 89-130.

BIBLIOGRAPHY
The British Army.
British

Page One Hundred Fifty-seven

Thornely, J. L.
shire
1650.

By

a lieutenant-colonel in the

Monumental
1893.

Bras,ses

of

Lanca-

With an introduction by MajorGeneral F. Maurice. 1900. 355B86

27 full-page plates (13
text.

Army.

and Cheshire.

739T51

Outline illustrations, from rubbings, of costumes of 145S-

colors)

and 30

illustrations in

Uniforms of
1885.

the

Costumes of the British Army.

Colored plates.
Ellis,

R355C84

Europe.
p. 2187.)

(In

No

text.

Armies of the Six Great Powers of Standard dictionary. Sup. 1903. Ref. 423F98Su
Standing
of

Section of colored plate, showing 18 English uniforms.

A. B. History of the 1st West India Regiment. 1885. 355E47

2 colored plates of

Wolseley, Viscount Garnet.

Britain.

Army of Great
1893.

Negro uniforms.

(In

Armies

To-day.

pp.

57-96.)
Groves, J. P.

355M57
Great Britain; a
his

History of the 42d Royal Highlanders,

1729-1893.
1893.

8 cuts of British uniforms.

"

The Black Watch."

Pp. 1-3,
14.

Ref. 355G88H
4 colored plates of uniforms, 1729-1893.

Zogbaum, R. F.
Atkins.
1888.
(In

Home

of

Tommy

Horse,

Foot,

pp. 49-74.)

and Dragoons. 355Z85

Koppen, F. von. Army of the British Empire. 1890. his Armies of Europe, illustrated.
1-19.)

(In

10 wood-cuts, plates, and text illustrations of uniforms.

pp.

355K77

England. See

also

Caricatures and Caricaturists

Descriptions in text. 3 double colored plates (23 illustrations, including 2 naval) and G text illustrations of uniforms of the period.

Eskimo Costume
Carstensen,

Luard, John.

History of the Dress of the British Soldier, from the Earliest Period to the Present
1852.

A. R.

Two Summers

in

Greenland.

1890.
Photogravures and cuts of Eskimo dress.
Gilder,

919.8C32

Time.

355L92

50 outline plates.

W. H.

Schwa tka's Search:

sledging in the
1881.

Milne, James.

Gordon Highlanders.

Arctic in quest of the Franklin records.

1898.

355M65
Includes half-tone plates, showing Highland uniforms of
different periods.

919.8G40
" Arctic costumes," pp. 136-46. 4 or 5 plates of costume.

Perry, 0. L.

Rank and Badges

2d ed.
of military

in

Army and Navy.

Robinson,
1895-96.
C.

Badges and uniforms

1888. and naval

Her Majesty's 355P46

organizations.

Hanbury, D. T. Sport and Travel of Canada. 1904.

in the

Northland 917.1H23

a
1912.

few colored plates.

Hutton, S. K.
Illustrations

Among

the Eskimos of Labrador.

N.

Navy and Army

Illustrated.

917.19H98
from photographs.

2 V.

355N32
of the Sailors of the

Illustrations of British uniforms, including native troops.

Mikkelsen, E.

Conquering the Arctic

First

Ice.

1909.

Some Notes on the Costume

Past.
1907. (In

919.8M63
L.

Swinburne,

H.

Royal

Navy.
359S97

Nansen, F.
1890.

Crossing of Greenland.
Consult Index.

v.

919.8Nl8Fi2
wood-cuts.

p. 338.)

Many

10 colored plates of seamen's dress, from 600 a.d. to

Nordenskiold, A. E.
Scott, Sir J. S.

Voyage
1882.

of the

Vega round

D.

British

Army.

V.

1868.

Asia and Europe.

Consult Index.

919.8N83V
"

R355S42
"

Wood-cuts.

Body armor,"

v. 1, pp.

V. 2, pp. 431-45.

Many

192-222; " clothing of troops," plates with descriptive notes.

Peary, R. E. 2 V.
1898.

Northward over the

Great Ice."
919.8P362

Smith, J. H.

Historic Booke, to

Keep

in

Remem-

Many

half-tone cuts of Eskimos.

brance the Meeting of the Honorable Artillery Company of London and the Ancient and Honorable Artillery
1903.

Schivatka, Frederick.

Children of the Cold.

1899.

919.98S41C
Half-tone and wood-cut plates of costume.

Company

of the Massachusetts.

Ref. 358S65

Stefansson,

V.

My

Life with the Eskimo.

1913.

Colored plates of Royal Artillery uniforms, 1660-1900, and numerous plates and text illustrations of 17th-19th
century costume.
Illustrations

918.8S81
from photographs.

Page One Hundred Fifty-eight

Etruscan Costume
Desvergers,

BIBLIOGRAPHY
Spielman,

M. 11.

Kate Greenaway.
many
cuts
of

1905.

M.

J. A.

N.

L'Etrurie et

les

Etrusques.
5.3 colored plates and costumes.

Ref. BG798S
Kate Greenaway

3 V.

1862-64.
of objets-d'art,

Ref. F913D47
showing costumes.

Two-color plates

Weldon.
Magnetti,
Ferrario,
Carlo.

Weldon's Practical Fancy Dress for Chil1887.

text.

Costume
Costume.

des
1820.

Etrusques.

(In
v.
2.

dren.

391W34

G.

Europe,
show
dress.

49 illustrations with descriptive

pp. 7-219.)

Ref. 391F37

Many

of the 42 colored copperplates

Fans
Flory,

See also

Rome

M. A.

Book about Fans:

the history of

Fancy Dress
Aria, Mrs. E.
fanciful,
historical,

1895. fans and fan-painting. 29 wood-cuts and half-tones.

Grolier Club

391F64

178-189.)
1

Of Fancy Dress. (In her Costume, and theatrical. 1906. pp. 391A69
Co.

{New

York).
its

The Fan

in All Ages:

a brief history of
19 wood-cuts.

evolution.

1891.

Ref. 391G87

colored plate and 4 other illustrations of costume.

Butterick

Pub.

Masquerade

and

Carnival.

Mowrey,
Fans.

Gabriel.

Modern Design

in Jewellery

and

1892.

R391B98
Fourteen Colored Lithographs
.?1844.
is

1902.

745M93
History of the Fan.
1910.

Compte-Calix, F. C.
of

Rhead, G.

W.

Fancy Dress
One design
for a

for Ladies.
man's costume

R391C73

given.

Travestissements
15 colored plates.

Modern
*391C73T
of cos-

^l^gants.

.'1864.

Practical Design. 1912. Includes a chapter on " Fans and Lace."

R391R46H 740R46M
Ref. 391S18

Salwey,C.M.
Fancy Dress: a short chronological
tumes,
Five
n.d.
series

Fans

of Japan.

1894.

10 colored plates and 39 illustrations in black-and-white.

391F19
Uzanne,L.O.

The Fan.

1884.

Ref. 391U99F

Water

Color

Draioings

of

Fancy Dress for

Waern,
1895.
8 half-tones of fans.
Brief bibliography.

Ladies (crinoline pattern) about 1850. R391F56 The drawings are heightened with gold and silver,
and stamped
Holt,
"

Cecilia.

Short Historical Sketch of Fans.

391W12

Mme.

E. D6vy."

Ardern.
to

Fancy

Dresses
balls.

Described;

or.

What

wear at fancy

3d

ed., enl.

1882.

Fiji Islands

391H75FD
Outline illustrations, restricted to the costume of ladies 16 models in color, as well as a new series of smaller illustrations.

and children.

BuHon, J. W. Fiji of To-day. Many photographs.

1910.

919.6B97

-Same. 5th Same. 6th Gentleman's

4th ed.
n.d.

ed.

1887.
n.d.

R39lH75Fa
how
to choose
it.

Flemish Costume.

See

Belgium

ed.

Fancy Dress;

Foot-wear
Becker,

391H75
n.d.

W. A.

Shoes.

(In his Charikles.

1845.

Outline cuts.

Same.
Lumm,

pp. 326-31.)
4 cuts of shoes of Homeric times.

913B39CH
1880.
(pp. 442-52.)

6th ed.

E. G.

Twentieth Century Speaker.

and half-tone
plates
of

1898.

Same.
Hall, J. S.
shoes.

5th ed.

808.5L95
Several colored tableaux, etc.

Book of
3ded.

the Feet: a history of boots and

costumes for

1847.

391H17
many wood-cuts
of foot-

Morin, A. E.

Twenty -one Colored Lithographs

for Ladies.
.?1850.
2,

of

4 colored plates (42 figures), and wear.

Fancy Dress
The " Sketch."

R391M85

Lacroix,
niers.

Paul, and others.

Histoire des Cordon-

London, Jan.

1907.

Pp. 6-7. Carmen Pompadour flower girl Directoire Soubretteof the Second Empire Astartc Mireille Delilah Louis XVI period M^lisande Empire court dress.

Pr^cedee de

I'histoire

de

la

chaussure.

1852.

Ref.
cuts of boots and shoes of
all

Many

periods and countrVs,

BIBLIOGRAPHY
Menard, Rene.

Page One Hundred Fifty-nine

(In
v.
2.

Le Chaussure.
1881.

his
p.

La

vie

Cook, C. C.

Costumes
1795-1806.

of the

Time

of the

French

Priv6e des Anciens.

322-30.)

Revolution,

1790-1793;

together with English

F913M53
22 outline illustrations of boots and shoes.

costumes,

Drawn from
1889.
fils,

the collecby hand.

tion of Victorien Sardou.

Ref. 391G95
colored

Redfern,

W. B.

Shoes.

Illustrated

Royal and Historic Gloves and and Described. 1904. Ref. 391R31
and shoes
of various nations

6.5 etchings, executed by Guillaumot 40 of French, 25 of English costume.

D'Este, Margaret.
1905.

Through Corsica with a Camera.

914.59D47
show costumes.

32 plates

(1

colored) of boots

and

times.

17 of the half-tones

Rhead, G.

W.

Boots, Shoes, and Other Coverings

(In his

Drumont, Edouard.
1889.

Les Fetes Nationales a Paris.

for the Feet.

Chats on Costume.

1906.

RF944D79
plates.

pp. 279-301.) Historical and

illustrations.

391 B46
descrir-t've.

French costumes fiom 1389, illustrated in

illustrations of national
ffites.

Text

Wood-cuts and half-tone

Duplessis,

G.

Costumes
Siecles.

Historique''.

des

XVI^,

France
Allinson,
Alfred.

XVir et XVIir
of

2 v.

1867.

The Days

the

Directoire.

Ref. F391D93
Full-page colored illustrations.

1909.
Chapter XI.

944 A43
Costume from 1795-99.

Edwards, G. W.
Militaire

Brittany and the Bretons.

1910.

Arnault,

A.

V.
2 v.

Vie

Politique

et

de
first

914.4E263
Colored plates.

Napoleon.

1822-26.

Ref.

FBN216Ar
of

Lithographed plates, after original designs

painters of the French school.

the

Egerton,

M. M.,
(In

Countess of Wilton.

Toilette in

France.

her

Book

of

Bourgeois, Emile.

by Mrs. Cashel Hoey.

Many
Boutet,

France under Louis XIV. Tr. Ref. 944B77 1897.

show costume.

pp. 192-270.) Numerous cuts

Garcia, G.
n.d.

Costume. 1847. Ref. 391W75

of head-dress

and costume.

of the copperplates

Les Modes du Directoire et du Consulat.

H.

Les Modes Feminines du Dix-neuvieme

1902.

RF391G21
F.

Siecle.

RF391B77
No
text.

Gostling,

M.

The Bretons

at

Home.

1909.

100 colored plates.

914.4G68
Colored plates and photographs.

Boutet de Monvel, Roger.

Times.

Beau Brummell and His With a chapter on dress and the dandies,
1908.

Gronoiv, G.

W.

Reminiscences and Recollections of

2 v.
1889.
*

by Mary Craven.
Bridgens,

BB893Bo
Illustrative of

Capt. Gronow, 1810-60.

Richard.

Sketches

the

920G876R

Manners and Customs of France, Switzerland, and R391B851 1821. Italy.

Colored plates, with descriptive text.

References to and illustrations of French and English Hand-colored, etched, and aquatint plates. dress of period.

Guillaumot,
d'apres

Bruyn, A.

de.

Costumes
1872.

Civils et Militaires

XVr

Siecle.

du Ref. F391B91

Leclerc,

Costumes du XVIII'' Siecle, de Watteau fils, Desrais, Ref. F391G95 Cochin, etc.
A.
E.
les

Dessins

60 etchings.

33 photolithographic plates.

Costumes of the Time of the French Revolution,

History of Fa.shion in
1790-1793.
1889.

Challamel,

J.
or.

B.

M.
to

A.
the

R391G95
In Vanity Fair; a
1906.

France;

The

dress of

women, from the

present
time.
Lillie.

Gallo-

Plates colored

by hand.

Roman

period

Tr.

by
Iloyt, Eleanor.

(Mrs. Brainerd.)

Mrs. Cashel Hoey and John

20 colored plates (80
figures).

1882.

Ref. 391C43
Chase,

tale of frocks

and femininity.
others.

914.4H86

Janin, J. G. and
1840.

Pictures of the French.

*

Mrs.

Lewis.
1915.

Vagabond Voyage through

914.4C48

914.4J33

Brittany.
Clouet, Janet.

230 engravings, from Gavarni, Monnier, and Meissonier, of French costume of 1840.

300 French Portraits of the Courts

Koppen, F.

von.

France.
1890.

(In his

Armies

of

Europe.

of Francis I,

Henry

II,

1875.

and Francis II. 2 v. Ref. 741C64

Illustrated.

pp. 46-53.)

355K77
3

Auto-lithographed from the originals at Castle Howard.

2 double colored plates (13 illustrations, includiT^g naval) and 6 text illustraujua of Frencn uniforms.

Page One Hundred Sixty

Lacroix,

BIBLIOGRAPHY
(In
his

Paul.

Dress

and
1876.

Fashions.
*

Repository of Arts, Literature, Fashions,

etc.

By
2,

Eighteenth Century.
10 colored plates, and
period.

pp. 452-89.)

R. Ackerniann.
V.

Ser.

1,

v.

3-6, 9-14;

Ser.

914.4L14

1-14; Ser. 3, v. 1-12.

Monthly
letters

Jan.,

1810Dec.,

1828.

many

illustrations, of dress of the

052R42
on Paris
'"

female fashions."

Colored

Lawrence, H.

W.

French Line Engravings of the

steel plates.

I^te

18th

Pp. 89-102.

Century. 1910. Le monument de costume.

G.

R769L42
Historiqiies

Robida, A.
lette.

"Yester-year":

ten centuries of

toi-

1891.

391R65

Lechevallier-Chevignard,

Costumes

29 colored plates and numerous wood-cuts of French female costume from the Middle Ages to about 1880.

de

Femmes du Quatorzieme au Dix-huitieme RF391L45 1889. Sieele.

Contains colored plates.

Same.

[In French.]

1891.
et
la

F391R65
Mode.
n.d.

Roger-Miles,

L.

Le Costume

Lewis, George.

Series of Groups, Illustrating the

R391R72
Relates to the styles of the 8th- 19th centuries.

Physiognomy, Manners, and Character of the 767L67 People of France and Germany. 1823.
60 etched plates.

Sloane,

W. M.

Life of Napoleon.

4 v.

1896.

RBN216SL
Vies des
8 v.
See " Costume " in Index.

Mennechet, E.

Le Plutarque Frangais;

Smith, J. H.

Troubadours at Home.
A

2 v.

1899.

Hommes
1835-41.

et

Femmes

Illustres

de

la

France.
of Vol. 8.

849S65
few cuts of costume.

RF920M54
Index at end

Contains colored plates.

Uzanne, L. 0.
aesthetics,

Fashion

in Paris:

feminine taste and

1898.

Menpes, Dorothy. Brittany. mer Menpes. 1905.

About 50

Illustrated

by Morti914.4M54

from 1797 to 1897.

dress.

Ref. 391U99

100 hand-colored plates and 250 text illustrations of both

male and female

of the 75 colored plates

show Breton costume.

Frenchwomen of the Century

usages.

fashions, manners,

Milioun,
trated

Francis.

Rambles

in

Brittany.
1906.

Illus-

1897.

Ref. 394U99
E. E. Dictionnaire

by Blanche McManus.

Contains colored plates.

of the half-

914.4M66RB
" Manners and customs," pp. 70-87. tone plates and wood-cuts show costume.

Many

Viollet-Le-Duc,

RaLsonne

du

Mobilier FranQais de I'Epoque Carlovingienne a

la

Mnsgrave,
France.

George.

2 v.

1867.

Nooks and Corners of Old 914.4M987N

1,

Renaissance.

6 v.

1858-72.

Dress, personal jewels, toilet articles, v. 3

Ref. F703V79 and 4. Many

wood-cuts and a few colored plates.

" Touraine caps," v.

pp. 225.

Pauquet Freres.
?1865.

Modes

et

Costumes Historiques. Ref. 391P33

a. d.

France, Military Costume

Lewal.
1893.

French

Army.

(In

Armies

of

To-day.

93 colored plates of French costume, 493

to 1S64.

pp. 161-215.)

355M57
of the

Piton, Camille.

Le Costume

Civil en

France du

16 cuts of French period.

and French Colonial uniforms

Treizieme au Dix-neuvieme Sieele.

700 photographic illustrations.

n.d.

F391P68
A
few colored plates.

Richard, Jules.
89.

L'Armee Fran^aise.

2 v.

1885-

RFS55M22
Colored plates and other illustrations.

Planta,
1827.
Vol.

Edward.
1

New

Pictures

of

Paris.
*

v.

914.4P71

La Jeune Armee.
Uniforms of
the

n.d.

RF355M22J

contains 29 colored illustrations of the costumes of the lower orders in Paris.

Price,

J.

M.

Dame

Fashion.

Paris

London,
*

Armies of the Six Great Powers of Sup. 1903. Europe. (In Standard dictionary. Ref. 423F98Su pp. 2187.)
Section uniforms.
of

1786-1912.
Includes 155 colored

391P94

colored

plate,

showing 16 modern French

Quicherat,

J.
fin

Histoire

du Costume en France,
Sieele.

Zoghaum. R. F.
peace. 1888.
(In

France:
his

jusqu'^ la

du

XVIIF

Horse,

1875.

Ref. F391Q62
481 wood-cuts of both male and female costume.

pp. 1-47.)

war pictures in time of Foot, and Dragoons. 355Z85

15 wood-cuts, plates, and text illustrations of modern

French uniforms.

BIBLIOGRAPHY
France.
See also Caricatures

Page One Hundred Sixty-one

and Caricaturists
Dally, A.

Germany, Military Costume

Uniforms de I'Armee Allemande en 1886. by M. Roy. n.d. [Cahiers d'enseignement. No. 13-16.]
Illustrated
(3

Germany
Avenarius, Tony.
Historischer Festzug veranstaltet
bei der Feier der Vollendung des

am
Bossi,

16.

October, 1880.

n.d.

Kolner Domes Ref. 750A95

Unbound Pamphlets)

29 large lithographed plates of

1880.

German costumes, 1248et

man

16 colored full-page illustrations, with a few cuts of Geruniforms of 1886.

Illustrated

London News.

April 26, 1913.

Luigi.

Costume Ancien
(In
Ferrario,
[v. 15.]

Moderne des
1824.

Contains colored plates.

Germains.
Europe,

G.

Costume.

Exner.
"

German Army
1893.

of To-day.

(In Armies of

v. 4.

pp. 173-816.)

To-day.

pp. 97-160.)

355M57
14
cuts
of

Ref. 391F37
Over 40 colored copperplates
of ancient

and modern Ger-

Equipment and clothing," pp. 147-49. modern uniform.

man costumes
Egerton,

of all classes.

Guinot, Eugene.
of Wilton.
of

Summer

at Baden-Baden.

1876.

M. M.,
(In

Countess

Toilette in
3 colored plates of uniforms of Baden.

914.3G96

Germany.
pp. 271-87.)

her

Book

Costume. 1847. Ref. 391W75

Several wood-cuts of male and female costume.

Koppen, F. von. German Army. (In his Armies 1890. pp. 20-35.) of Europe, Illustrated.

Grohman, W. A. Baillie. Land in the Mountains: 943.7G87 past and present of Tyrol. 1907.
"

355K77
3 double-page colored plates (20 illustrations, including 3 naval) and 8 text illustrations of uniforms.

Costume

of the

Landesknechte," pp. 232-35.

Landesknechte.

(In Meyer's Konversations-Lexicon.

v. 12.

Guinot, Eugene.

Summer

at

Baden-Baden. 1876. 914.3G96

6th ed.

1905.

p. 126.)

Ref.

G033M6lKo
German

6 colored plates of costumes.

Brief historical article, and plate of 10 cuts, of foot-soldiers, 15th-16th centuries.

Hottenroth, F.

Trachten, Haus-, Feld-, und Kriegs-

Same.
Sigel, G.

4th ed.

1888.

(v. 10.

p. 469.)
in Wort RG355S57

gerathschaften der Volker alter und neuer Zeit.

2 vols.
n.d.

A.

Deutschlands Heer und Flotte

1900.
Text
in English

G391H83
Peasant Life
in

und

Bild.

120 plates and numerous wood-cuts.

Colored plates.

and German.

Johnson, A. C.

Germany.

1858.

914.3J66
See " Costumes " in Index.

Uniforms of the Armies of the Si.c Great Powers of Europe. (In Standard dictionary. Sup., 1903. Ref. 423F98Su p. 2187.)
Section of colored plates, showing 19 modern uniforms.

Kohler,

K. Die Entwickelung der Tracht in Deutschland wahrend des Mittelalters und der
1877.

German

Neuzeit.

G391K77
Costumes
Nationaux
Alle-

Zogbaum, R. F.
Corps.
1888.
(In

his

Germany: a night with the Fourth Horse, Foot, and Dragoons.

355Z85
German
uniforms.

100 plates.

pp. 75-99.)

Kretschmer,

Albert.

10 plates and cuts of

mands; dessins originaux, avec texte

1870. Numerous colored
Laugel, A.
plates.

explicatif.

RG391K92
Boner, Charles.
d'Alsace.
et

Gipsy Costume
Transylvania;
its

products and

its

Costumes

Coutumes

1902.

people.

1865.

914.39B71
in text.

RF914.3L37
Colored plates.

Elate of gipsy group, with brief scattered references

Cuttriss,

Frank.

Romany

Life.

1915.

397C99

Lewis, George.
.
.

Series

of

Groups, Illustrating
1823.
Gerard, E.
figures,

the people of France and Germany.

767L67
60 etched plates.

1888.

The Land beyond the Forest: facts, and fancies from Transylvania. 2 v. 914.39G35
The
Tinkler-Gypsies.
1907.

Schwind, Moritzvon.
in 1265

Schwind; des Meisters Werke

1907.

2 photogravures and 5 wood-cuts of gipsy costume.

Abbildungen.

G759W41
and a

McCormick, Andrew.

Many
number

portraits in 19th century German costume, of cuts of historic German dress.

397M13
Photo.graphic reproductions.

Page One Hundred Sixty-two

Morwood, V. S. Van. 1885.
Pennell, E. R.

BIBLIOGRAPHY
Dupre, L.
1825.
Colored plates of text in French.

Our

Gipsies in City, Tent, and

Voyage a Athenes

et a Constantinople.

397M89

RF391D94
modern Greek costume.
Descriptive

To

Gipsyland;

illustrated

by

J.

Pennell.

1893.

914.39P41

Frequent reference to gipsy dress. white illustrations of gipsy costume.

Many

black-and-

Egerton,

M. M.,
(In

Countess of Wilton.

Toilette in

Greece.

her

Book

of

Costume.

1847.

Smith, F. B.
1903.

Budapest: the city of the Magyars. 914.39S64

Hungarian
gipsies.

pp. 388-407.)
10 wood-cuts, mostly of

Ref. 391W75
modern costume.

Illustrations include 17 half-tones of

Evans, Lady
1893.

M. M.

Chapters on Greek Dres

Yoxall, J.

H.

A Word

on Gypsy Costume.

(In
ser.,

391E9
Bibliography.

Journal of the Gypsy Lore Society.

V. 1, July, 1907, pp. 23-25.)
Including
1

New

74 cuts of classic dress.

Ferriman, Z. D.

Home

Life in Hellas.

1910.

illustration

and bibliographical notes.

914.95F39
Furtwdngler, Adolf.
ture.

Gloves
Beck, S.
1883.

Masterpieces of Greek Sculp-

Ref. 733F99

W.

Gloves; their annals and associations.

391B39
wood-cuts.

Many
Gironi,

19 photogravures and 200 wood-cuts show classic dress. text references to costume.

Many

R.

Costume Ancien
(In
Ferrario,

Redfem, W. B.

Royal and Historic Gloves and 1904. Shoes, Illustrated and Described. Ref. 391R31
46 plates
(4 colored) of gloves, chiefly

Grece.

G.

Europe.

V. 1.

pt. 1-2.)

et Moderne de la Costume. 1815-29. Ref. F391F37

153 colored copperplates include ancient, Byzantine, and

English and Scotch.

modern Greek costumes.

Guhl, E.
Life of the Greeks and Romans, Described from Antique Monuments. 1875. 913G94
" Dress," pp. 159-84.

Uzanne,

L.

0.

The Sunshade
descriptive.

the

Muff.

1883. Historic and

Glove the Ref. 391U99S

Numerous photogravures.

20 outline

cuts.

Gulick, C. B.

Life of the Ancient Greeks.

1903.

Greece
Abrahams, Ethel B.
Becker,

913G97
1908.

Greek Dress.

391 A15

" Clothing," pp. 153-78. " The Warrior," pp. 188-205. Many half-tones and cuts of dress.

54 half-tone illustrations.

W. A.
life

Charikles;

or. Illustrations of

the

Harrison, J. E.

Greek vase painting.

1894.

private

of the ancient Greeks.

1845.

Ref. 738H31
Black-and-white illustrations, introducing classic dress.

913B39CH
Dress, pp. 159-71, 304-25; Shoes, pp. .326-31; Hair and 1 plate and 9 wood-cuts of dress. beard, pp. 332-38.

Hope, Thomas.
pp. 37-230.)

Grecian costume.
1841.
v. 1.

(In his

Costume
v. 2,

Same.
Tr.

ot the Ancients.

pp. 16-38;

5th ed.

1880.
fuller

Ref. 391H79

Notes somewhat " Dress " in index.

than

in

earlier

edition.

See

Outline illustrations.

Blumner, H.

Home

Life of the Ancient Greeks.

Laurent, P. E.

Recollections of a Classical
in

Tour

by A. Zimmern.

1893.

913B65

through Greece, Turkey, and Italy,

1819.
4

1818 and
Greek

Many

" Costume," pp. 1-77. See also " Costume " in Index. wood-cuts. Brief bibliography.

2v.

1822.
plates,

Ref. 914L38
showing

hand-colored

Greek

ladies,

Choisseul-Gouffler,

M.

G. A. F., comte de.

Voyage

sailors, etc.

Pittoresque de la Grece.

2 v. in

3.

1782-1822.

Menard, Rene.
87.)

Costumes de

la

Grece.

(In

his

Ref. F914.95C54 Many

Greek
of the 325 copperplates Descriptive text. dress.

Vie Privee des Anciens.

22 outline illustrations.

1881.

pp. 271-

show ancient and modern

F913M53
History of the Manners and Cus3
v.

Davis, R. H.

Modern

Greece.
1894.

(In his Rulers of

St.

John, J. A.
of

the Mediterranean.

pp. 178-97.)

910D26R
8 cuts of modern Greek costume, several of peasants.

toms

Ancient Greece.

1842.

913S14
See

" Toilette, dress, and ornaments," v. 2, pp. 50-74. also " Costume " in index, v. 3.

BIBLIOGRAPHY
Seymour, T. D.
Life in the

Page One Hundred Sixty-three

Homeric Age.
1907.

Dunton,
Vol. 9.

Larkin.

The

913S52
" Dress and decoration," pp. 153-77. " Homeric arms," pp. 629-82. 2 plates and 17 cuts of dress and armor.

Hawaii; by A.

World and its People. S. Twombly. 1899. J910.7D92T

scenes and impressions.

GerouM, K. F.
Smith, J.
1882.
112 outline plates and explanatory text.

Hawaii:

M.

Ancient Greek Female Costume.

1.916.

919.6G37

391S65
many
smaller illustrations with

Goodrich, J. K.

The Coming Hawaii.

1914.

996G65
in the

Timayenis, T. T.
1885.
" Dress

Greece

Times

of

Homer. 913T58

La

Farge, John.

Reminiscences of the South Seas.

1912.

919.6L15

and ornaments," pp. 226-40.

Musick,J.R.
the social
1906.

Hawaii

our new possessions.

1898.

Tucker, T. G.

Life in Ancient Athens;

life

919.6M98
2 plates of native costume.

and public

of a classical Athenian.

913T89
Dress, pp. 108-20, 167-74.

Olivares,

Jose de.
1899.
v. 2, pp.

Our

Islands and their People.

Several cuts of costume.

2 V.

Ref. 917.29B91
417-538.

Uniforms of Europe,

of Greece.

(In

Koppen
1890.)

Hawaii,

Many

plates (some colored),

F. von.

Armies

and other

illustrations of

Hawaiian costume.

illustrated.

355K77

Section of colored plate, showing 5

modern Greek uniforms.

Stevens, J. L.

Picturesque Hawaii.

1894.
*

919.6S844

Guatemala
Domville-Fife, C.

Head-dress
Becker,
1845.

W.

Central America.
FrancJc,

1913.

Guatemala and the States of 972.8D67

W. A.

Hair and Beard.

(In his Charikles.

pp. 332-38.)
Homeric

913B39Ch
times.

H. A. Tramping through Mexico, Guate917.2F82 mala, and Honduras. 1916.

Glimpses at Guatemala. 1899. Ref. 917.28M44
to

4 cuts of female hair-dressing of

Same.
Child,

5th ed.

1880.

(pp. 453-61.)

Maudslay, A. C.
Occasional

Ref. 913B39C
Theodore.

references

costume.

Photogravures

of

studies in

costume and colored plates of native

textiles.

1895.
half-tones.

Wimples and Crisping Pins: the coiffures and ornaments of women. 391C53
Many
wood-cuts and

Haik.

See Head-dress
See Head-dress

Ancient Egypt to modern times.

Hats.

Description de Tons

les

Genres de Turbans
Syrie,

et

Coiffures
etc.

Hawaii
Anderson, Mrs. Larz.
Islands.

Modernes d'Egypte, Magasin Pittoresque.

Turquie,
pp. 4-6.)

(In

1841.

The

Spell of the

1916.

Hawaiian 919A54

F054M18
16 wood-cuts of

modern turbans.
or,

Dulaure, J. A.

Pogonologia;

philosophical

Baldwin, C.
Islands.

W.
1908.

The Geography

of the

Hawaiian
919.6B18

and

historical essay

on beards.

1786.

Ref. 391D87 No
illustrations.

Boyce,

W. D.

United States Colonies and De1914.

(In his 1907.)

pendencies Illustrated.

325B78

Fairholt, F.

W.

Description of Head-dresses.

(In
Art.

Browne, G. W.
the Far East.

Hawaii.
v. 1.

New

America and 910B882

Merrifield,

Mrs. M. P.

Dress as a Fine

1854.

pp. 1-9, 53-60.)

Ref. 391M56

" Dress," pp. 30-31. 9 colored plates, including one of children, and many cuts of dress.

3 plates (43 figures) of styles of head-dress.

Head-dress.
(pp. 524-47.)
Illustrated

(In his

Bryan, W. A.

Natural History of Hawaii.

1915.

Costume in England. 1846. 391F17C

217-53.)

996B91
Castle,W.R.,J
Hawaii: past and present.
1913.

by wood-cuts.
(v. 2.

919.6C35

Same. Same.

1885.

p.

1896.

(v. 2.

p. 217-53.)

Page One Hundred Sixty -four

Genin, J. N.
Illustrated history of the hat,

BIBLIOGRAPHY
from

Hindoostan.

See India

the earliest ages to the present time.

1848.

391G33
Jones, William.
of regalia.
Chaps.
1, 2,

Holland.

See

Netherlands

Crowns and Coronations; a history

1883.
and
11.

Hungary.

See

Austria-Hungary
India

394J79
Cuts
of

crowns and coronets.

Lichtcnfeld, J.

Principles of Physiognomical Hair-

Asiatic Costumes.

44 engravings, with a description

dressing,

n.d.

646L69
Hairdressing,

21 illustrations, wood-cuts.

1828. to each subject. 391A83 Engraved from drawings taken during a residence in
India.

Moler, A. B.

Manual on Barbering,
etc.

Manicuring,
Musgravc,
France.

1905.

391M71
Corners
in

Birt,

F. B.

Bradley-.

Chota Nagpore;
1903.

little-

known province
Nooks and
1,

of the Empire.

yi5.4B61

George.

Old

About 20

half-tone plates of costume.

2 v.

1867.
p. 225.

914.4M987N
1892,

Conway,

" Touraine caps," v.

M. D.

My
1906.

Pilgrimage to the Wise

Men

of the East.

910C76
1907.

Ortner, Jessica.
Illustrated.

Practical Millinery.

7 half-tone plates of Indian costume, mostly religious.

646077
Pauquet
.?1865.

Crooke, William.

Natives of Northern India.

freres.

Modes

(Native races of the British Empire.)

et

Costumes Historiques. Ref. 391P33

572C94

Frequent text references to costume. tume.

32 plates of cos-

The 96
493-1864.

colored plates are valuable for French head-dress,

Things Indian.

1906.

915.4C94

Dress, pp. 155-67; jewelry, pp. 287-91.

Praga, Mrs. Alfred.

What

to

Wear and

'Wlien to

Wear

it.

1903.

391P89
WTiat Dress Makes of
us.

Curtis, Lillian J.

Laos

of

North Siam.

1903.

Half-tones of head-dress and female costumes.

Dress, pp. 108-1 1^, etc.

915.9C97
Half-tone illustrations, showing

Quigley, Dorothy.

1897.

costume.

391Q6
Includes illustrated discussion of hairdressing and headdress.

Curtis,

W. E.

Burma.

(In his Egypt,

Burma, and
910C98

British Malaysia.

1905.

pp. 251-348.)

Repton, J. A.
of Hats,

Observations on the Various Fashions

6 half-tone plates of Burmese costume.

Bonnets, or Coverings for the Head,

Chiefly from the Reign of

Henry

VHI
v. 24.

to the

Del Mar, Walter.

18th Century.
pp. 169-89.)

(In Archteologia.

1832.

and Kashmir.
Costume
costume.
of

Ref.
many
outline figures of hats, etc.

1906. Burma, pp.

Romantic East, Burma, Assam, 915.9D33

8-9.

Several half-tone plates of

8 steel plates, with

Ferrario,

Giulio.

Rhead, G.

W.

Hats, Caps, and Bonnets.

1906.

(In his

rindo-Chine.
V. 2.)

(In his

Chats on Costume.
Cuts
of all

pp. 205-77.)

LTnde, Appelee Indostan, et Costume. 1815-29. Asie, Ref. F391F37

391R46
kinds of head-dress.

92 colored copperplates of Hindoo, Burmese, Siamese, and other costumes.

Speight, Alexanna.

Lock

of Hair:

its

history,

Grindlay, R.

M.

ancient and modern.

Stewart, James.

1871.
or,

391S74

ture, Chiefly

Plocacosmos;
1782.

The whole

art

Scenery, Costumes, and Architecon the Western Side of India. 1830. R915.4G866

of Hair-dressing.
9 copperplates.

Ref. 646S84
?1906.

Colored engravings.

Gurdon, P. R.
aller Zeiten.

T.

The

Khasis.

1907.

(Ethno-

Winter, F.

Die

Kamme

graphical monograph, published under the orders

of the

Ref. G391W78
48 plates (about 300 figures^, with notes on combs, from the Stone Age to the present.

Government

of Eastern

Bengal and Assam.)

572G97
8 colored and 11

monochrome

plates.

Hebrew Costume.
Herzegovina.

See Jewish
See

Costume

Hart,

W. H.

Everyday Life
1906.

in

Indian Sketches.

Bengal and Other 915.4H32

Balkan States

Illustrations include several half-tones of costume.

BIBLIOGRAPHY
Hodson,
of the
T.

Page One Hundred

1908.

Sixty-five

C.

The

Meitheis.

(Ethno-

Solvyns, B.

graphical monograph, published under the orders

The Costume of Indostan Elucidated by Sixty Colored Engravings, with Descriptions

in

Government

of Eastern

Bengal and Assam.)

English and French, taken in the Years 1798

1804.

572H69
9 colored and 7 monochrome plates, " dominant race of Manipur."
illustrating
this

and 1799.
Stack,

Ref. 391S69
1908.

E.

The

Mikirs.

(Ethnographical

India and the War. Has colored plates

Jacob, S.S.

1915.
of military costume.

355139

monograph, published under the orders of the Government of Eastern Bengal and Assam.)
572S77
4 colored and 4

Jeypore Enamels.

1886.

Ref. 748J15
Steel,

monochrome

Illustrations of this tribe of

Colored frontispiece of Jeypore enamellers.

Kelly, R. T.

Burma, Painted and Described. 1905. 915.9K29

F.

A.

India.

Illustrated

by

Mortimer
915.4S813

Menpes.

1905.

Several of the colored plates show costume.

Koenigsmarck, Count
Officer in India.
rank.

Hans
1910.

von.

A German
men

Staff

Thompson, P. A. Lotus Land: account of the country and the people of southern Siam. 1907.
915.9T47
of

915.4K78
in high

Gives a few illustrations (not colored) of

See " Dress " in Index. Siamese costume.

7 plates, including 2 of children,

Malcolm,
1907.

Ian.

Indian

Pictures

and

Problems.

Thurston, Edgar.
India.
"

Ethnographic notes

in

southern

915.4M24

1906.
dress," pp. 520-31.

572T54
40 half-tone plates.

\bout 20 of the 50 half-tone plates show costume.

On

Marston,A.W.
Many
Menpes,

Children of India,

n.d.

915.4M37

Watson, J. F.

The

Textile Manufacturers and the

1866.

wood-cuts of costumes.

Costumes
Illustrated

of the People of India.

Dorothy.

The Durbar.
1903.

Mortimer Menpes.

by 915.4M54

Ref. 677W338
Eight plates of costume illustrations.

Numerous references in text to dress. Most of the 100 colored plates show costumes of all parts of India.

Young,

Ernest.
in

Siam.
color

trations

With 12 full-page illusby E. A. Norbury. 1908.

915.9 Y71P

Murray, A. H. H. High-road of Empire; watercolor and pen-and-ink sketches in India. 1905. 915.4M981 Wood-cuts and colored plates, many showing dross.

(Peeps at
"

many

lands series.)

Food and

dress," pp. 52-56.

Yusef-Ali, Abdullah.
of India.

Life

and Labor

of the People

1907.

915.4A136

Norman, Henry.
East.
1895.

Peoples and Politics of the Far

Dress traditions, pp. 312-15. Bridal dress, p. 271. Colored frontispiece and 4 other plates of costume.

915N54
Indians of
Berlin.

Half-tone plates of dress of Siam and Indo-China.

Same.
costume.

North America
North-west
Coast
of

1904.

Royal

Museum.
n.d.

Penfield, F. C.

and Japan).

East of Suez (Ceylon, India, China, 915P39 1906.

America:

ethnological researches of the Royal

at Berlin,

Museums
The

Ref.

Text references.

A number

of the plates

show Indian

lithographic plates include head-dress and masks.

Photogravures of Chilkat blanket.

Penny, F. E.

Southern India.

1914.

915.4P416

Biart, Lucien.

The

Aztecs: their history, manners,

Contains colored plates.

and
1915.

cu.stoms.

1887.

972B57
of

Seesodia, T. S. J.
Shoberl,

The Rajputs.
World
in

954S45

Clothing, pp. 292-94.

Frederic.

Miniature.

stan.

6 V.

1827.

HindooRef. 915.4S559

Bourke,

J.

G.

Snake-dance

the

Moquis

of

Arizona.

Illustrated

by 103 colored engravings.

World
Singh, S.

1884. See " Costume " in Index. and Navajo costume.

970.3B77
10 colored plates of

Moqui

in Miniature.

the Ganges.

1827.

Thibet and India beyond Ref. 915.18559

1914.

Catlin, George.

0-kee-pa

a religious ceremony and

1867.

12 colored plates of costume.

other customs of the Mandans.

Ceremonial dress, pp. 16-22.

Ref. 970.6C36

N.

India's Fighters.

355S61

Seven

of the colored plates

Photographs showing

soldiers' costumes.

show costume.

Page One Hundred Sixty-six

Catlin, George.

BIBLIOGRAPHY
Humfreville, J. L.

Notes of 8 years' travel. With his North American Indian collection. 2 v. 1848. 970.6C36N Many outline engravings from the author's original
paintings of Indians.

Twenty Years among our Savage

970.1H92
and

Indians.

1897.

See " Dress " in Index. 10 chromo-lithographs numerous half-tone cuts of Indian costume.

Illustrations
Condition
9th ed.
2
of
v.

of

Manners, Customs, and the North American Indians. Ref. 970.1C36I 1857.
the
360 engravings from paintings

M'Kenney, T. L. History of the Indian Tribes )f North America. 3 v. 1838-44. Ref. 970.1M155H
120 colored portraits from the Indian Gallery in the

Many
by

notes on costume.

Department

of

War

at

Washington.

autlior.

Curtis, Natalie.

Indians' Book.

1907.

970.1C97

Mason, 0. T.
U.
S.

Aboriginal American Basketry.

(In

22 plates from photographs of Indians and several colored plates, showing Indian pictures

Text does not treat costume.

National
S.

Museum

Report.

1902.

pp.

171-548.U.

Doc. Serial 4549.)

Ref.
Ref. 689M41

of apparel.

248 plates, including 29 of Indian women.

Dellenbaugh, F. S.

North -Americans of Yesterday.

970.1D35 Many illustrations
Indian Basketry.
The same work
Schoolcraft,

1901. " Weaving and costume," pp. 123-60. of Indian costume and ornament.

2 v.

1904.

as the preceding.

Dodge, R.I.

Our Wild Indian.

1882.

970.1D64

H.

R.

Information

Respecting
1853-56.

the

" Clothing, finery, and personal adornment," pp. 297-310. 6 colored plates and a number of wood-cuts of costume.

History, Condition, and Prospects of the Indian

Tribes of the United States.

Costume, v. 3, pp. 65-6G; lithographs of costume.

5 v.

Ferrario,

Giulio.

L'Amerique.
v. 1.)

(In his

Costume.
v. 4, pp.

Ref. 970.1U58S
58-59.
10 monotone

1815-29.

Am^rique.
First

Ref. F391F37

Many
Harvey,
1913.
tribes of

colored copperplates of North American Indians.

Same.
Starr,

v. 1-3.

1851-53.

Fred.

Families of the Southwest.

Several of the plates of costume in this edition are colored.

970.6H34
of

Contains colored illustrations Pueblo Indians.

costume

of

various

Frederick.

Indians

of

Southern

1899.

Mexico. Ref. 970.1S79I

Hind, H. Y. Explorations in the Interior of the Labrador Peninsula, the Country of the Monta1863. gnais and Nasquapee Indians. 2 v. 917.19H66
Chromo-lithographs
Indians.

Photogravure plates, preceded by descriptions, mostly showing costume.

Tout, C. Hill.

British

North America,

v. 1.

The
of

Far West.

1907.

572T73
the

and

wood-cuts

of

trappers

and

Dress and personal adornment, pp. 63-88. Most 33 half-tone plates show Salish and D6n6 costume.

Narrative

of the

Canadian Red River Exploring

Tozzer, A.

Expedition of 1857 and of the Assiniboine and

Saskatchewan Exploring Expeditions of 1858. 917.1H66 2 v. 1860.

Lithographs and wood-cuts apparel (v. 2).
of

M. Comparative Study of the Mayas and the Lacandones. 1907. (Archseol. Inst, of America. Report of the Fellow on Amer. Archaeol. 1902-05.) 970.3T75
Costume, pp. 29-32.
S.

Canadian Indians and

Hodge, F.

W.

Handbook

of
pt.

American
1,

Indians
(U.
S.

U.

Census

Office.

11th

Census.

Report on
United

North

of

Mexico, 1907.

A-M.

Indians Taxed and not Taxed in the

States (except Alaska), 1890.

Burea-a of Ethnology, Bulletin 30.)

Ref. 970.1U58
"Adornment," by Alice C. Fletcher, pp. 16-20; "Cloth22 cuts and bibliog3. 310-12. ing," by Walter Hough,
raphies.

1894. Ref. Statistical, historical, and ethnographic monographs by Rrinton, Donaldson, Lord, and others. Many colored and
all

half-tone plates of costumes of

types of Indians.

Same.
de.

(In U. S.

Documents.

Serial 3016.)

Hooge,

Costumes; a series of 43 copper engravings of the peoples and castes of different Ref. 391H77 nations, n.d.

Romeyn

Ref.
Indians of South America
Ferrario,
his

Several plates of North American Indians.

Giulio.

Howard, 0. 0.

My

Life

and Experiences among

Costume.

1815-29.

our Hostile Indians.

1907.
and weapons.

BH851H
Many

L'Amerique Meridionale. (In Amerique. v. 2.) Ref. F391F37

13 colored plates, showing dress

colored copperplates of South American Indians.

BIBLIOGRAPHY
Schmidimeyer, Peter.

Page One Hundred Sixty-seven

Italy
Allom, Thomas.

Travels into Chile, over the

1824.

Andes, in the Years 1820 and 1821.

30 plates, including 11 in color.
4

Ref. 918.3S35
show Araucanos.
to the

Character and Costume of Turkey and Italy, with Descriptive Letter-press by Emma

Reeve,
United States Astronomical Expedition
Southern

n.d.

Ref. 914.96A44

12 lithographic plates of Italian costume of about 1840.

Hemisfhere, 1849-52.
gress,

1856.
exec,

1st sess.

House

728.) Note on Araucanian dress

plate of chief.

(U. S. 33d Condoc, 121. Serial Ref.

Bridgens,

Richard.

Sketches

Illustrative

of

the

Manners and Costumes

and
Italy.

of France, Switzerland,

1821,

(v. 1,

pp. 67-6S), with colored

R391B851
Italian

Plates, with descriptive text.

Wright,

Mrs.

M.

R.

Primitive

Inhabitants

of

Buonaiuti,

B.

S.

Scenery,

Representing

BoHvia.

(In her

Bolivia.

1907.

pp. 439-50.)

the Manners, Customs, and

1823.
32 colored plates.

Ref. 984W95
16 half-tones of modern Indian costume.

Amusements of Italy. R914.5B94

1901.

Carmichael, Montgomery.

In Tuscany.

Ireland
11 small half-tones of costume.

914.5C28

Birmingham,
All.

G.

A.

(J.

O.

Hannay.)

Irishmen

Egerton,

M. M.,
1847.

Countess of Wilton.
(In her

1913.

Italy, Sicily,

and Malta.
pp. 315-34.)

12 illustrations in color.

tume.
Life.

Costume in Book of CosRef. 391W75

(In
his

The Lighter Side of Irish

16 illustrations in color.

1912.

914.15H24

11 wood-cuts.

Ferrario,
1.

Giulio.

Costume des
Europe,

Italiens.

Bonwick, James.
the
Irish.'

Our

Nationalities.

Who

are

Costume.

1815-29.

v. 3, pt. 1-2.)

1880.

572B72
and ornament, pp.
colored

Ref. F391F37
General sketch of the history of Italian costume. 141 Plates 79 and plates, mostly showing costume. 80 show uniforms of about 1820.

Brief historical notes of Celtic dress

69-76.

Egerton,

M. M.,

Countess of Wilton.

Toilette in

Gifford,

Mrs. A. H.
1905.

Italy,

Ireland.

(In her

Book

of

186-89.)
3 small wood-cuts.

Costume. 1847. pp. Ref. 391W75

Story.

Her People, and Their 945G458

(In Armies of To-day.

Illustrated

from portraits and famous paintings.

Goiran, G.
Life

Italian

Army.

Harvey,

and Humor. With 914.15H34 1904. illustrations by ErskineNicol.

William.
Irish

1893.

pp. 311-58.)

355M27
Life in Italy.

12 cuts of uniforms.

Joyce, P.

W.

Social History of Ancient Ireland.

Gordon, Lina Duff.

Home

Letters

2 V.

1903.

941.5J89S

from the Apennines.

1908.

914.5G66
life.

" Dress and personal adornment," v. 2, pp. 176-263. 21 illustrations of apparel, mostly from ancient MSS. and

28 half-tone illustrations, chiefly of peasant

sculpture.

Koppen, F.

von.

Italy.

(In his

Armies

of

Europe,

Illustrated.

1890.

pp. 42-45.)

355K77

Meyrick, S. R.

Costume of the Original Inhabitants

1821.

of the British Islands.

Ref. 391M61
of
v.

Double colored plates, (7 figures, including 1 of naval uniform) and 2 text illustrations of uniforms of the period.

Including 6 colored plates of ancient Irish costume.

Molmenti, P. G.

Venice, from the Earliest BeginTr.

0' Curry, Eugene.

On

the Ancient Irish.

1873.

Manners and Customs Ed. by W. K. Sullivan. 3

the
1,

nings to the Fall of the Republic.

by H. F.

Brown.

6 v.

1906-08.

945M72

913021
by
Sullivan; v.
3,

Dress and ornament, v.

Historical

pp. 87-211,

" Costume," v. 2, pp. 1-22; v. 4, pp. 81-253; v. 5, pp204-29. A few colored and many half-tone plates of 14th18th century dress.

summary.
Perl, Henry.

Venezia.

From

the German,

Sh-oberl,

F.

World
Ireland.

in Miniature.

land,

and

1827.

England, ScotEdited by W. H. Pyne. 4 v, Ref. 914.2S559

4, of Irish

Arthur Bell. 1894. Many full-page and text

Pinelli, Bartolomeo.

by Mrs. Ref. 914.5P45

di

wood-cuts of Venetian costume.

Nuevo Raccolta

Cinquanta

2 colored plates, in v.

costume.

Costumi.
See also

1816.

RI391P65

England

50 copperplates of Italian costume.

Page One Hundred Sixty-eight

Pinelli, Bartolomeo.

BIBLIOGRAPHY
IllusGriffis,

Twenty-seven Etchings

W. E.

Th(- Mikado's Empire.

references to

1876.

trative of Italian

Manners and Costume.

18t4.
Includes

952G85M
many
and cute
of costume.

R767P65T
Sketch-book

by an American

in Venice.

1860.

391S62
22 plates, colored by hand.

No

text.

Souvenir de

St.

Lazare, Venice,

n.d.

Ref. 271S72

14 colored plates.

Same. Same. Same. Same. Same.

1883. 1899.

9th ed.
10th ed. 11th ed.

1900.
1903.
1906.

Steiler,

Karl, and others.

Italy,

Mount

Etna.
a

n.d.

from the Alps to Ref. 914.5S85I

of

Includes costume.

number

of

wood-cuts

modern

Italian

Strutt,

A. J.

Illustrations of a Pedestrian
n.d.

Tour

in

Calabria and Sicily, Book of etchings.

Tuker,

Ref. 914.5S92

Hawks, F. L. Narrative of the Expedition of an American Squadron to the China Seas and Japan, 1852, 1853, and 1854, under Com. M. C. Perry. V. 1. 1856. (U. S. 33d Cong. 2d sess' House exec. doc. v. 12. Serial No. 802.) Ref. 915.2U58 Many wood-cuts and lithographed plates of Japanese
costume.

Holland, Clive.

M. A.

R.

Rome, painted by A.

Things Seen

in

Japan.

1907.

Pisa.

1905.

Ref. 914.5T91
Peasant costumes, in color.

915.2H73
50 half-tone illustrations.

Uniforms of
Europe.
p. 2187.)

the

Armies of
Standard

Knox, G. W.
the

(In

dictionary.

Six Great Powers of Sup. 1903.

Imperial Japan; the country and

plates of Japanese

its

people. 1905. Numerous illustrative

Levati,

952K74
women.
(In
1.

Ref. 423F98Su
Ambrogio.
lies

du Japon.
Asie.
v.

Ferrario,

Vaughan, H.

M.

The Naples

Riviera,

n.d.

G.
453.)

Costume.

1815.

pp.

383-

914.5V36
A few of the 2.5 illustrations in color, by Maurice Greiffenhagen, show costume, painted in 1904.

Ref. 391F37

6 colored copperplates of Japanese costume.

Zimmern, Helen.

Italy of the Italians.

1906.

National Geographic Magazine.

Ponting, H. G. Numerous

Vol. 22.

914.5Z76

In Lotus-land Japan.
colored plates and photographs.

1907.

A few

half-tones of

modern

Italian costume.

915.2P81

Japan
Anderson, William..
Pictorial Arts of Japan.

Salwey,C.M. Fans
1886.

of Japan.

1894.

Ref. 391S18

10 colored plates and 39 other illustrations.

Shoherl,F.

Japan.

1827.

R915.2S559

Ref. 709A5O
Includes many colored plates, photogravures, and woodcuts of costume by native artists.

20 colored engravings.
Silver, J.

M. W.

Sketches of Japanese Manners and

Arnold, Sir Edwin.

Japonica.

1891.

915.2A75J

Customs.

1867.

Ref. 915.2S58

27 chromo-lithograph fac-similes of native drawings.

Black-and-white illustrations of Japanese dress.

Wilson, H.

W.

Japan's Fight for Freedom:

2 v.

the

Breton de
1818.

la Martiniere, J.

B. J.

Le Japon.

4 v.

war between Russia and Japan.

1904-05.

F915.2B84
Japan.
1907.
(In his

Contains 51 engravings.

Ref. 951W74

Browne, G. W.
the Far East.
colored)

New

v. 2-3.)

America and 910B882

18 plates (12

Jewelry
Luihmer, F.

Customs and costumes, v. 2, pp. 355-62. and many cuts of costume.

Japan:
Same

Ornamental Jewellery

of the Renais-

the place and the people.

text

1904.

sance in Relation to Costume.

Colored plates.

1882.

915.2B882
and plates as preceding work.

R739L970
No text.

BIBLIOGRAPHY
Jewish Costume
Abrahams,
Israel.

Page One Hundred Sixty-nine

Macedonia.
Baijcan States

Jewish Life in the Middle Ages.

1897. " Costume

296A15
in

Malaysia
Hurgronje, C. S.

law and fashion," pp. 273-90; " The Jewish badge," pp. 291-306.

The Achanese.
1906.
See also

Tr.

by W.

S.

O'SuUivan.

2 v.
1,

De Qnincey, Thomas.
(In
his

Toilette of the

Hebrew Lady.
v.
6,

919.2H96
"Apparel"
in Index.

Dress, v.

pp. 25-30.

Collected Writings.

1890.

pp.

Numerous wood-cuts and half-tones, female costume.

Shoberl, Frederic.
tic

showing male

and

152-78.)

828D42
Islands and
Juifs. V. 3.

No
Levati,

illustrations.

World

in

Miniature.
2 v.

The
n.d.

Asia-

New

Holland.

Ambrogio.
Asie.

(In Ferrario, G.

1817.

pp. 70-172.)

Costume. Ref. 391F37

(In JewI

26 colored illustrations.

ReF. 919S559
of the

3 colored copperplates of ancient Jewish costume.

Skeat,

W. W.
1906.

Pagan Races

Malay

Peninsula.

NowacJc, William, and others.

ish

2 V.

Costume.
v.
4.

572S62

See " Dress " in Index.

Many

half-tones of natives.

Encyclopedia.

1901-06.

pp.

292-

303.)

Ref. 933S61

Maori Costume.
Marriage Costume.

New

Zealand

Series of articles on Biblical to present-day Jewish dress, with bibliographical notes. Double-page colored plates

See Bridal

Costume

(30 figures) and 17 wood-cuts.

Pierotti,

Ermete.
1864.

Palestine, Illustrating the

Customs and Traditions of Manners of the Ancient

915.6P61
.

Boutet de
color.

Medleval Costume Monvel, M. Joan of Arc.

1897.

Illustrated in

Hebrews.

JBD214Bo
Ref.
class,

Costume, pp. 130-53.

Stapfer,

Cutts,

E. L.

Scenes and Characters of the Middle

pp.51 8-28.

Edmond.

Palestine in the

Time

of Christ.

1885.
" Clothing," pp. 190-201.

933S79

Ages. 1885. Costume of the merchant

cuts.

940C99 Many wood-

Davies, A. C. Fox-.

See also

Turkish Empire

paedia of armory.

1904.

Art of Heraldry: an encycloRef. 929.2D25A

and

Korea
Bishop,
1898.

Heraldic costume, pp. 12-32. Plates (5 colored) wood-cuts, showing heraldic costume and armor.

Gautier,

Leon.

Chivalry.

Translated

Mrs.

I.

B.

Korea and Her Neighbors. 915.1B62K

5 half-tone plates of cos-

Firth.

1891. Numerous wood-cuts.

by Henry 394G27
n.d.

See " Costumes " in Index. tumes.

Griffis,

Lacroix, Paul.
1882.

Arts in the Middle Ages.

W.

E.

Corea; the hermit nation.

2 wood-cuts.

Ref. 709L14
10 colored plates and

915.1G85CE
" Costume," pp. 81, 273-76.

many wood-cuts

of

costume.

Costumes.
54.)

Hamilton, Angus.
Costume
costume.

Korea.

1904.

915.1H21

Manners, Dress during the Middle Ages.

(In
his

Customs,
n.d.

and

pp. 509-

in Seoul, pp. 35-40.

Several half-tone plates of

Ref. 940L14M
colored plates and wood-cuts of costumf

Many
1906.

Hulbert,H.n. Passing of Corea. Many half-tone plates of costume.

Lowell, P.

951H91P

Military and Religious Life

"

in

the Middle Ages.

n.d.

Ref. 940L14Mi
in the

1888. " Costume," pp. 316-31.

Choson: the land of the morning calm. 915.1L91

Wood-cuts.

Colored plates and wood-cuts of dress and armor.

Science and Literature

Most
of the

Middle Ages. 1878. Ref. 940L14

1847.

Norman,
East.

Henri/.

Peoples and

Politics of the

Far

wood-cuts and colored plates show costume.

1895.

915N54

Loemyer, J. F. N.
2 V.

Costume de Moyen Age.

Several half-tones of Korean costume.

Same.

RF391L82
H. W.
1874.
Illustrations of Mediaeval Cos-

1905.

Contains colored plates.

See also China;

Japan

Lonsdale,

tume.

Ref. 391L86

Lapland.

See

Norway; Russian Empire

50 plates.

Page One Hundred Seventy

Michaud, J. F.
n.d.
100 plates by Gustave Dor^.

BIBLIOGRAPHY
2 v.
Sierra, J.

History of the Crusades.

Mexico:

its

social

evolution.

Trans3
v.

Ref.

940M62H
1902.

lated from the Spanish

by G.

Sentinon.

1900-04.

Ref. 972S57
half-tones,

Munro, D.
Many

C.

History of the Middle Ages.

and cuts show
dress.

Many
Starr,

some

of

which show costume and army

uniforms.

940M96
of the half-tones

Frederick.

Indians

of

Southern

Mexico.

Shaw, Henry. Dresses and Middle Ages. 2 v. 1858.

From Anglo-Saxon

Decorations

of

the

1899.

Ref. 970.1S79I

Ref. 391S53

Photogravures, preceded by descriptive text.

Special times to end of 16th century. Many colored plates and attention to English costume. wood-cuts.

See also Indians of

North America
Balkan States

Spalart, Robert von.

vorziiglichsten

Versuch
des

iiber

das

Kostum der
5
v.

Montenegro.

See

Volker

Mittelalters.

and

atlas.

1800-11.

RG391S73V
Bensusan and
:

Morocco
Forrest.

Contains colored plates.

Morocco.

1904.

916.4B47

Trumble, Alfred.
of

Sword and Scimetar the romance Ref. 940T86 1886. the Crusades.

Illustrations.

Colored piates.

Plates by Gustave Dor^, showing costume and armor of the Crusaders. A fuller collection of plates by Dore in Michaud's Crusades.

Nepal.

See Tibet

Netherlands
Boughton, G. H.
1885.

Viollet-Le-Duc, E. E.

Military Architecture.

1879.

623V79
Many wood-cuts of fortifications and weapons Roman and medieval periods.
Weiss, Hermann.
of

Sketching Rambles in Holland.

the

914.92B75
by Boughton and E. A. Abbey.
1909.

Kostiimkunde; Geschichte der Tracht und des Geraths im Mittelalter. 2d ed.

1883.
8 colored plates and 367 wood-cuts.

More than 50

Illustrations (wood-cuts), of costume.

Edwards, G. W.

Holland of To-day.

G391W42
Contains colored full-page illustrations.
List of sources.

914.92E26
Egerton,

See also under the various countries

M. M.,
(In

Countess of Wilton.

Toilette in

Holland.

her

Book

of

pp. 311-14.)

1847. Costume. Ref. 391W75

Mexico
Carson,

3 wood-cuts.

Ferrario,

Giulio.

La HoUande ou
1815-29.

Batavie.
v. 6.

(In

W. E.

Mexico.

1909.

917.2C32

his

Costume.

Europe,

pp. 23-

Contains illustrations showing costume.

172.)

Ref. 391F37

Decaen, J.

Mexico y sus Alrededores. Coleccion de monumentos, trajes y paisajes. 1864. [SpanRef. S917.2D29 ish and French text.]
47 lithographs by Mexican artists; of value for costume.

Colored plates (14 figures) of 17th century Dutch dress.

Higinbotham, J.
Belgium.

W.

Three Weeks

in

1908.

Holland and 914.92H63

914.92J95
75 colored

Ferrario,

Giulio.

1815-29.

Mexique. (In his Costume. Am^rique. v. 1. pp. 501-625.) Ref. 391F37

Jungmann, Nico. Holland. 1904. Many references to costume, Most

plates

of the

show

dress.

Colored copperplates of Indian and Spanish costumes, from Aztec times to 1820.

Koppen, F. von. Holland and Belgium. Armies of Europe, Illustrated. 1890.

70.)
Colored plates (11 figures, including 4 naval) illustrations of uniforms.

(In his

pp. 69-

355K77
and 2 text

Garcia Cubas, A.
1876.

Republic of Mexico

in

1876.

Ref. 917.2G21

8 colored plates of Spanish and native types.

Maaskamp, E.
Zeden,

Janvier, Thomas.

Mexican Army.
pp. 359-96.)

(In Armies of

en

Gewoonten

Afbeeldingen van de Kleedingen, 1803-05. in Holland.

To-day.

1893.

355M27
21 colored plates, with text in

Du39lMll
Dutch and French.

14 cuts of Mexican uniforms of the period.

Plummer, M. W.

Roy and Ray

in Mexico.

1907.

Meldrum, D.
Costume

S.

Home

Life in Holland. and

1911.

917.2P73
9 half-tone plates of

914.92M51H
illustrations at pp. 170, 176

modern costumes.

180.

BIBLIOGRAPHY
Shoberl, Frederic.

Page One Hundred Seventy-one

in Miniature.

World

erlands.

1827.

The NethRef. 914.92S55

OCEANICA
Brassey, Lady.
Illustrations,

18 colored engravings, including Belgium.

Tahiti.

1882.

919.6B82
of

from photographs, including G

costume.

New Zealand
Reeves,

Elkington, E. Most
Ferrario,

W.

Savage South Seas:

1907.

W. P.

New

Zealand.

Painted by F. and
P. Reeves.
1908.

919.3E43S
of the 68 colored plates

W.

Wright.

Described by

W.

show native costumes.

(In
his

993R33NW
75 illustrations in color.

Giulio.

Ocean ique.
v. 4.

Costume.

1815-29.

Asie.

pp. 285-585.)

Wakefield,

Edward.
1889.

New

Zealand

after

Fifty

Ref. 391F37
Many
colored copperplates of costume.

Years.

919.3W14
Grimshaw, Beatrice.
Islands.

3 half-tone plates of Maoris.

From
and

Fiji

to

the Cannibal

1907.
half-tones, plates,
insets of costume.

Normandy.

See

France

919G86

Many
Shoberl,

Norway
Bossi, Luigi.
rario,

Frederic.

World
n.d.

in

Miniature.

Sea Islands.
(In Ferv.
6.
Illustrated

2 v.

South Ref. 919S72

Costume des Norvegiens.

Costume,
1815-29.

by colored engravings.

G.

Europe,

pp. 260-91.)

Ref. 391F37
Viking Age.
2 v.
1889.

Orders
Lawrence- Archer, J. H.
English and Foreign.

DuChaillu, P. B.

The Orders
1887.

of Chivalry,

948D82V
pp. 301-31.

R929.7L42

Dress of men, v.- 2, pp. 285-300; dress of women, 128 wood-cuts of dress and ornament.

v. 2,

Colored illustrations of the'deeorations and insignia of the orders of Great Britain and Europe.

Egerton,

M. M.,
(In

Countess of Wilton.

Toilette in

Palestine.

See

Turkish Empire

Norway.

her

Book

of

pp. 346-48.)
2 wood-cuts.

Costume. 1847. Ref. 391W75

Aria, Mrs. E.
1898.

Peasant Costume
Of British Peasants. Of some for(In her Costume: fanciful, hiseign pea.sauts. torical, and theatrical. 1906. pp. 115-46.) 391A69
2 colored plates

Eyne, C. J. C. W.

Through Arctic Lapland.

Lapp costume.
Illustrated

914.7H99
Several half-tone plates of

Jungmann, Beatrice. Norway. Jungmann. 1905.

Scattered references to costume.

by Nico

and 10

half-tones.

914.8J95
About 30
colored plates

Colquhoun, A. R.

Whirlpool of Europe;
1907.
of

Austria-

show costume.

Hungary and the Hapsburgs.

About 40 half-tones
costume.

943.6C72

Peasant costumes have

Koppen, F. von. Sweden and Norway. Armies of Europe. 1890. pp. 61-63.)
Colored plates
uniforms.
(6
figures)

(In his

been given preference.

355K77
of

Holme, Charles.
gary. 1911.

Peasant Art

in Austria

and 2

text

illustrations

and Hun709H74PE

Monroe, W. S.

In Viking Land

Norway,
1908.

its

peo-

ples, its fjords,

and

its fjelds.

948M75

Peasant Art Peasant Art

Lyall,

in Italy.

1913. 1912.

709H74Ps

in Russia.

709H74Pr
Russians,

Consult Index under " Dress."

3 are definitely of costumes.

Of the 48 half-tone plates,

Illustrations of peasant costume, in monotone.

Robert.

Character

of

the

Pritchett,

R.

T.

"

Gamle Norge "

to,

rambles and

History of Moscow.

1823.

and Ref. 914.7L98

Costumes.

scrambles in Norwav.
Frequent references national costume.
Steele,

1879. and several

914.8P90
illustrations
of,

3 colored plates of Russian peasants.

Schild,

Marie.

Old

English

Peasant

T. S.

Voyage to Viking-Land.

1896.

1898.

391S33

914.8S81
S half-tones of Norwegian and

Lapp costume.

Persia

Tonsberg,
1852.

C.

Udvalgte Norske Nationaldragter.

De

Lorey, Eustache.

RD391T66
plates.

1907.

Queer Things about Persia. 915.5L86

17 of the

15 colored English.

Text in Norwegian, German, and

" Persian women and their dress," pp. 103-10. half-tone plates show costume.

Page One Hundred Seventy-two

Egerton,
Persia.

BIBLIOGRAPHY
Sawyer,
1900. F.

M. M.,

Countess of Wilton.

Toilette in

H.

Inhabitants

of

the

Philippines.

(In her

Book

of

432-40.)
3 wood-cuts.

Costume. 1847. pp. Ref. 391W75

919.1S27
Several half-

Many references (pp. 201-375) to dress. tone plates of native dress.

Worcester, D. C.

Ferrario, Giulio.

Costume Ancien
Costume.

et

Moderne des
Asie.
v. 3.

The

Philippine Islands and Their

Perses.

(In his

1815-29.

People.

1898.

919.1W91
of the Philippines.

3 plates of dress.

pp. 382-596.)
About 20 colored copperplates modern Persian costume.

Ref. 391F37
of ancient, medieval,

and

Wright, H.

M. Handbook

1907.

9I9.1W94
and Present.
1906.
costume.
Dress, pp. 62-64. Half-tone plates, with small figures in Several plates of children.

Jackson, A. V.

W.

Persia, Past

915.5J12
More than 20
modern.
of the illustrations

show costume, mostly

Poland.

See Russia

Shoberl,

Frederic.
n.d.

World

in

Miniature.

Persia.

Porto Rico
Browne, G. W.

3 V.

Ref. 915.5S55P
Porto Rico.
1907. (In his
v.
6.)

30 colored engravings.

New

Shoemaker,

M. M.

Heart

of the Orient.

1904.

and the Far East.

4 cuts of costume.

America 910B882

915S55H
3 plates of Persian dress (half-tones).

Olivares, Jose de.

Our Islands and Their People.

Ref. 917.29B91
Colored plates and

Sparroy, Wilfrid.

Persian Children of the Royal

2 V.

1899.

Family.

1902.

915.5S73

Porto Rico, V. 1, p. 257; v. 2, p. 416. half-tones show costume.

20 half-tone plates of costume.

Wilson, S. G.

Persian Life and Customs.

1895.

Portugal
Bradford,

915.5W75
5 half-tone plates of dress.

William.

Sketches

of

the

Country,

Character, and Costume in Portugal and Spain.

1812-13.

R914.6B79

Peru
Skinner,
1805.
20 colored plates
of costumes, etc.

Contains colored plates, including military costume.

Joseph.

The Present

State

of

Peru.

Egerton,

M. M.,
(In

Countess of Wilton.

Toilette in

918.5S62

Portugal.

her

Book

of

pp. 297-301.)

Costume. 1847. Ref. 391 W75

Wright,

M.

R.

The Old and

170;

the

New

3 wood-cuts.

Peru.
173;

1908.

Ref. 985W95
Infantry uniform, p. chap. 36.

Marines, p.

Indians,

Koppen, F. von. Spain and Portugal. Armies of Europe, Illustrated. 1890.

(In

his

p. 66.)

355K77
Section of colored plates, showing 5 figures in uniform.

Philippine Islands
Shoberl, Frederic.

World
n.d.

in

Miniature.

Browne,

G.

W.

The

Philippines.

(In

his

New

Portugal.

2 v.

Spain and Ref. 914.GS55

America and the Far East.

1907.

v. 1-2.)

27 colored engravings.

910B882
v. 1, pp. 208-19, contains many references to costume. 3 half-tone plates and many cuts of native dress.

Stephens,

H. M.

Portugal.

1891.

(Story of the

nations series.)
Several of the wood-cuts

9iG.9S83
show costume.

Olivares, Jose de.

Our Islands and

their People, as

Watson,
gal.

Gilbert.

Sunshine and Sentiment in Portu-

Seen with Camera and Pencil.

Philippines, v. 2, pp. 549-768. many half-tones, of native dress.

2 v.

1899.
and

1904.

914.69W33

Ref. 917.29B91

5 half-tone plates of costume.

few colored

plates,

Quakers
Journey through the 919.1R95

Russel, F.

K.

A Woman's
1907.

Philippines.

Gummere, A. M.
1901.

The Quaker: a study

in

costume.

Conault Index.

8 plates of costumes.

391G97

BIBLIOGRAPHY
Religious Costume
Biedenjeld
,

Page One Hundred Seventy-three

Rome
Ursprung,
"

F.

L.

C,

Freiherr

von.

d\

Private Life of the Romans.

1808.

Aufleben, Grosse, Herrschaft, Verfall und jetzige

913A74
Of clothing," pp. 154-2C0.

Zustande sammtlicher Monchs- und Klosterfrauen-Orden im Orient iind Occident. 2 v.

1837-39.
female)

Becker,

W. A.

Gallus;

or,

Roman

scenes in the

G271B58

time of Augustus.
female
attire.

Hand-colored plates of 77 religious orders (male and

1866. 913B39 Dress, pp. 98-109; Dress of thn men, pp. 408-30; Dress of the women, pp. 431-50. 4 wood-cuts of male and one of

3d ed.

Costume, Ecclesiastical.
cycloptedia.

(In
v. 5.

New

International En-

1902.

pp. 334-38.)

Same.
Costumi di
Egerton,

9th ed.

1888.
e dei contorni.

Ref. 913B39
1846.

Ref. 031I61GI
Historical
cuts,

Roma

RI391C84
Toilette
in

and descriptive, with plate

(8 figures), 3

wood-

Colored plates.

No

text.

and

brief bibliography.

M. M.,

Countess of Wilton.
(In

Costume,

Ecclesiastical.

(In
v. 6.)

New

International

Ancient
1847.

Rome.

her

Book

of

Encyclopedia.
Currier, C.

1914.

pp. 335-45.)

Costume. Ref. 391W75

5 wood-cuts.

W.

History of Religious Orders.

1894.
Friedlander, L.

271C97H
Ilelyot,

Moeurs Romaines du Regne d'Au2 v. 1865-67.

guste a la fin des Antonins.

P.

Album;

ou.

Collection complete

et

937F91
Costume and armor
of gladiators, v. 2, pp. 273-80.

historique des costumes de la cour de

1862.

Rome. Ref. F391P47

80 colored plates, mostly of ecclesiastical and monastic costume.

Guhl, E.

Life of the Greeks and Romans, Described from Antique Monuments. 1875. 913G94
" Dress," pp. 476-501. 11 outline cuts.

Lacroix, Paul.

Military and Religious Life in the

Middle Ages and at the Period of the Renaissance,

n.d.
" Monastic dress,"

Hope, Thomas.

Costumes
232-300.)
descriptive.

of the

Romans.
v. 1.

(In his

Ref. 940L14Mi
p. 308. of ecclesiastical dress.

Costume
50;

of the Ancients.

1841.

pp. 39-

Many

colored plates and

wood-cuts

V. 2, pi.
Historical

Ref. 391H79
69 outline plates.

and

Monastic Costumes,

n.d.

R391M73

A
Each

scries of plates,

plate

is

showing various monastic costumes. accompanied by descriptive letter-press in

James,

Constantin.

Toilette
n.d.

d'une
of

Romaine au
F391J27
Roman
costume.

temps d'Auguste.
Historical

Latin and Italian.

and descriptive sketch

Nainfa, J. A.

Costume

Without
of Prelates of the Catholic

illustrations.

Church, according to

Roman

Etiquette.

1909.

Levati, Ambrogio.

247N15
Many
198.
illustrations, not colored.

Bibliography, pp. 195-

Picart,

Bernard. Ceremonies and Religious Customs of the Various Nations of the Known World. Ref. 265P58C 6 V, in 3. 1733-36. v. 3-4, Idolatrous V. 1-2, Jews, Roman Catholics;
nations;
v. 5-6,

Costume Ancien et Moderne des Remains. (InFerrario, Giulio. Costume. 1815Europe, v. 2. pp. 221-606.) 29. Ref. 391F37 General historical sketch of Roman costume. Many of the 62 colored plates show ancient and mediaeval Roman
costume.
Several plates of Papal costume.

Menard, Rene.
des Anciens.

Le Vetement.
1881.
v. 2.

(In his Vie Privee

medans.

Many

Greeks and Protestants, English, Mohamcopperplates showing religious costumes.

pp. 288-300.)

F913M53
12 outline illustrations.

Thurston, Herbert.
lic

Clerical
v. 4.

Costume.

(In Catho-

Encyclopedia,
Bibliography of 12

pp. 419-21.)

Perugini, G.

Ref. 282C363
titles.

tumes de
1862.

la

Album; ou. Collection ... des CosCour de Rome. Deuxieme ed.

Pallium.
1892.
TijacJc,

RF391P47

(In Morris, John.

Historical Papers.

V. 1.

pp. 85-116.)

270M87
1897.

Roman

80 colored plates of uniforms of the Papal Court and Catholic religious costume.

9 wood-cuts.

Saunders, C.

Costume

in

Roman Comedy.
No
illustrations.

1909.

G. S.

Historic Dress of the Clergy.

391S25
Monograph, with bibliography.

247T97H

Page One Hundred Seventj^-four

Wright, T.
1852.
Dress of ments.

BIBLIOGRAPHY
Holme, Charles.
Peasant Art
in Russia.

The

Celt, the

Roman, and the Saxon.

1912.

913W95C
Romans
in Britain, pp. 326-33.

709H74PB
Peasant costumes.

3 cuts of orna-

Koppen, F.

von.

Russia.

(In his

Armies

of

RouMANiA.

See

Balkan States

Europe.

1890.

pp. 53-58.)

355K77

Russian Empire
Atkinson,
J.

Descriptive notes. 2 double colored plates ^lo figures, including 1 naval), and 6 text illustrations of uniforms.

A.

Picturesque Representation.s of

Latimer, E.

W.

Russia and Turkey in the 19th

the Manners, Customs, and

Russians.

Amusements

of the

Century.

1895.

947L35
In Joyful Russia.

3 v. in

1.

1803.

Ref. 914.7A87
Descriptive

8 plates of costume.

100 colored plates of all classes of Russians. text in English and French.

Logan, J. A., Jr.

About 20
Lyall,

1897.

Breton de la Martiniere, J. B. J.

La

Russie;

ou,
plates of Russian costumes

914.7L85
and uniforms.

Moeurs, Usages, et Costumes des Habitans de

Toutes

les

Provinces de cet Empire.

6 v.

1813.

Robert.

Character

of

the

Russians,

F914.7B84
Dohson, George.
1913.

History of Moscow.

1823.

and Rrf. 914.7L98

1889.

Russia,

Painted by F. de Haenen.

3 colored plates of Russian peasant costume.

914.7D63R
Illustrated

Michell,

Thomas.
of

Russian Pictures.

St.

Petersburg.

by

F. de Haenen.

914.7M62
Wood-cuts
costumes of the empire.
in the

1910. Egerton,

914.7D63
Molloy, J. F.

Russian Court

18th Century.

M. M.,

Countess of Wilton,
pp. 441-48.)

Toilette in
(In her

2 V.

1905.

947M72
All the Russias.

Bokhara, Circassia, and Cashmere.

of

Book

'1 plates of costumss.

Costume.
3 wood-cuts.

1847.

Ref. 391W75
of

Norman, Henry.
Cuts

1902.

914.7N84
1904.

Toilette
1847.

of Finnish, Russian,

and Asiatic types.

in Poland.

(In her

Book

Costume.

Olufsen, 0.

Through unknown Pamirs.

pp.

pp. 360-62.)
" Clothing," costume.

4 wood- cuts.

915.8052
63-72.

Toilette
1847.

15

half-tone

cuts

of

Pamir

in Russia.

(In her

Book

of

Costume.

pp. 363-73.)

Pallas, P. S.

Travels through Southern Provinces

7 wood-cuts.

of the Russian

Empire

in the

Years 1793 and 1794. 914.7P16

Eyries, J. B. B.
et

La

Russie; ou. Costumes, Moeurs,

(In
his

Usages des Russes.

Illustrated

L'Angleterre.

1802. 2 V. Has about ten

colored plates.

n.d.)

Ref. F391E98
by
colored engravings.

Picturesque Representations of the Dress and

of the Russiaiis.
n.d.

Manners

Ref. 391P61R

Ferrario, Giulio.

Costume Ancien
(In
his

Russie d'Europe.

Europe,

v. 6, pp.

1-162.)

et Moderne de la Costume. 1815-29. Ref. F391F37

Plates 7

64 colored engravings of various costumes of the empire,

made 1776-1779.
Rechberg-Rothenloewen,
Karl, Reichsgraf von.

Les

24 colored co^perplate3, mostly of costume. and 8 show millitary uniforms.

Peuples de

la Russie.

2 v.

1812-13.

Ref. F914.7R29
Tibet,
Asie,
Colored plates of Slavic, Finnish, and Tartar types.

Costume
V. 4.
casia,

des Habitans

du Caboul, du
1815-29.

Siberia, etc.

(In his Costume.

Russian Army.
217-59.)
13 cuts of

(In

Armies

of To-day.

1893.

pp.

pp. 1-282.)

355M27
modern Russian uniform.

Colored copperplates of costumes of Kabul, Tibet, CauTurkey, Turkestan, Bokhara, Siberia.

Costume des Polonais.

29.
1

(In his

Costume.

1815-

Seven Colored Plates of Russian Costumes of Various

Trades. .^820. Each plate is mounted, and has a man and English.

R391S49
title

Europe,

v. 6.

pp. 162-181.)

in

Russian, Ger-

colored plate of Polish costumes (7 figures).

Harding, Edward.
1811.

Costume

of the Russian

Empire.

Shoberl,

Frederic.

World

in

Miniature.

Russia.

R391H26

V.

1827.

Ref. 914.7S559
etc.

72 colored engravings.

72 colored engravings of Slavs, Poles, Asiatics,

BIBLIOGRAPHY
Singleton, Esther.

Page One Hundred Seventy-five

Scotland

Russia as Seen and Described

1904.

by Great
Spencer,

Writers.

914.7S61

5 plates of costume.

Adam, Frank.
in

Clans, Septs, and Regiments of the

Edmund.
3d

Travels
ed.

Circassia,

Krim-

Scottish Highlands. 1908. 941A19C Has 13 plates illustrating Highland garb, and colored
plates oftartans.

Tartary, etc.

2 v.

1839.

914.7S74
of dress.

Colored frontispiece and several small cuts

What

is

my Tartan.'* The clans of Scotland, with

and dependents.
1896.

Stadling, Jonas.

In the Land of Tolstoi:

experi-

their septs

Ref. 941A19
etc., of

ences of famine and misrule in Russia.

1897.

914.7S77

Descriptive notes on tartans, arms, badges, various clans.

the

Many
Steveni,

wood-cuts

and half-tones

of

Russian

costume,

chiefly peasant.

Bonwick, James.

Our

Nationalities.

Who

are the

W. B.

Things Seen

in Russia.

1913.

Scotch.^
"

1880.

572B72

Old Scotch dress," pp. 130-32.

914.7S84T
Contains photographs of contemporary costume.

Browne, James.

History of the Highlands and of

4 v. 1857-58.

Stewart, Ihigh.

Provincial Russia.

1913.

the Highland Clans.

Colored plates, chiefly

941B88

914.7S849
32 illustrations in color and black-and-white, showing costume.

in v. 4, of principal tartans.

Campbell, Lord Archibald.

Children of the Mist;

or.

The
Uniforms of the Armies of the Six Great Powers of Europe. (In Standard Dictionary. Sup. 1903. Ref. 423F98SU p. 2187.)
Section of colored plates, showing IS Russian uniforms.

Scottish clansmen in peace and war.

1890.

941C18C
Numerous notes on costume. Double-page frontispiece, showing Highland and English uniforms of 1745.

[Craignish
p. 84. trations.

tales,

and

others.]

1889.

398C187
With
illus-

Villari, Luigi.

Fire

and Sword

in the

Caucasus.

Notes on the war dress

of the Celt.

1906.

947V72

Half-tone plates of Cossack, Georgian, Armenian, and Tartar costume.

Highland Dress, Arms, and Ornament.

Many
half-tones

1899.

Wibon, H. W. Japan's Fight for Freedom: the 2 v. story of the war between Russia and Japan. Ref. 951W74 1904-05. Many half-tones, showing Russian uniforms.

914.1C187
and several photogravures
of

uniforms

and arms.

Egerton,

M. M.,
(In

Countess of Wilton.

Toilette in

Scotland.

her

Book

of

Samoa
Churchill, L. P.
ferent.

pp. 176-85.)
2 small wood-cuts.

Costume. 1847. Ref. 391 W75

Samoa 'Uma, where

Samoan costume.

Life

is

DifGibb, William.

1902.

919.6C.56

The Royal House

of Stuart, illus-

11 half-tone plates of

trated from relics of the Stuarts.

1899.
40 colored
plates
plates, some showing regalia of Scotland.

1890.

Hamm, M.

A.

America's
Samoan

New

Ref. 920G438
Possessions.
wearing apparel.

910H22
7 half-tones of
dress.

show

Olivares, Jose de.

Our

Islands and their People.

1899. 2 V. Samoa, v.

Ref. 917.29B91
2,

Graham, H. G. Social Life of Scotland Century. 2d ed. 1906.

See " Dress " in Index.

in the

18th

914.1G73

pp. 539-47.

Half-tones of costume.

Turner, George.

Samoa a Hundred Years Ago and

1884.

Grierson, E.

W.

Children's

Book

of

Edinburgh.

Long

Before.

919.6T94
2 wood-cuts of costume.

1906.

941G84

" Clothing," pp. 118-23.

9 colored plates of Scotch dress of various periods.

Savoy
Canziani, Estella.
of Savoy.

Keltic, J.

S.

History of the Scottish Highlands,

1911.

Costumes, Traditions, and Songs *391C23

Highland Clans and Highland Regiments. 2 v. Ref. 941K19 1875.

Highland dress, v. 1, pp. 300-03. Illustrations include colored plates of clan tartans and several wood-cuts showing
dress.

Illustrated with 47 colored plates, several of costume.

Page One Hundred Seventy-six

Levati, Ambrogio.

BIBLIOGRAPHY
Shaicespearean Costume
Abbey, E. A.

Britanniques.

(In

Costume des Habitans des lies Costume, Ferrario, Giulio.

v, 6.

1815-29,

Europe,

pp, 1-178.)

Ref. 391F37
Colored copperplate (plate 30) shows 5 Scotch costumes of about 1820.

Logan, James.
as preserved

Scottish Gael:

or, Celtic

manners
v,

among

the Highlanders.

1831,

Drawings for Shakespeare: Midsummer Night's Dream, King. Lear, King Richard IL King John, Romeo and Juliet, King Richard III, Hamlet, Othello. (In Harper's new monthly magazine, vols. 91, 106, 107, 108 and 109.) 051H29
Shakespeare's " As you Like It."
1887.

941L83S2
" Dress of the ancient Celts and costume of the present Gael," V. 1, pp. 217-72; table of clan tartans, Appendix,
V. 2, pp.

Bayard, Emile.

With 12
Boocke,

illustrations.

R822.3S52Asi
Costumes,
4
v,

401-08.

R.

L.

Shakespearian

Mclan, R. R. Gaelic Gatherings; or. The High[reprinted 1900.] 1848. landers at home,
914,1L83
21 colored plates of costume.

889-1892.

822.3B669

Full-page wood-cuts, with color key. The library has onIv4vols.: " All's well that ends well "; " Twelfth night "; " Taming of the shrew " " Hamlet."
;

hoydell, J.

Mackintosh, J.

Story of Scotland from the Earliest

the

of

Times
1899.

to

Present

Century,

illustrated.

and J. Boydell's Graphic Illustrations the Dramatic Works of Shakespeare, 1813, Ref, 822,3B78G
Shakespearean Scenes and Char-

941M15
Gordon Highlanders,
1898.

Steel plates of characters in costume.

Milne, James.

Brereton, Austin.
acters,
30

355M65
Includes half-tones of Highland uniforms.

1886.
and 10 wood engravings.
Stories

Ref, 822,3B84
from Snakespeare, n.d, 822,3S52Sto
"

steel plates

Sanderson, William.
1904,

Scottish Life

and Character.
914.1S21

Carter,

Thomas.

16 full-page colored illustrations.

See pp. 86-88; 130-34.

12 plates of costume.

Crane,
Scottish Clans

Walter.

Shakespeare's

Merry Wives
1894.

of

and

their

TaHans.

2d ed,

1892.

Windsor," in eight pen designs,

Percy H.

941S42
Colored plates of the tartans.

R822.3C89
Fitzgerald,

Same.
4 V.

Shakespearean Representa1908,

8th ed.

1906.

tion, its
in Miniature.

Laws and

Limits,

822,3Fo5
1875.

Shoberl, Frederic.

World

England,

Gerdme, J. L.

Scenes from Shakespeare.

Scotland, and Ireland.

1827.
v. 4, of

Edited by

W. H. Pyne.

R822.3G37
30 India proof engravings.

Ref. 914.2S5o9
Scotch costume.

4 colored plates, in

GrUtzner,

E.

Shakespeare's
1887.

" King

two
Stewart, David.
ners,
"

parts.

Henry IV," R822.3S52H4Gi

Merchant of R822,3L15

Sketches of the Character,

1822,
v. 1, pp.

Man-

12 illustrations.

and Present State

2 v.
Highland garb,"

of the Highlanders of

Lacy, T. H.

Costume Plates
.^1862.

for the "

Scotland.

355S84
75-80, 11.5-20.

Venice."
Linton,
Sir.

J.

D.

Shakespeare's " King

Stuart,

John

S.

S.

The Costume

of

the Clans.

VIII,"

1892,

Henry R822.3S52H8LD
rev,

1892,
and dress

R391S93
the

12 illustrations.

37 full-page plates, illustrating the history, antiquities, of the Highland clans.

Shakespeare, William.
original

Complete Works;
with

from

editions,

introductions

and

Towry,

M. H.

Clanship aad the Clans.

1870.

notes

by

J,

O. Halliwell and other eminent com9 V.

n.d.

929T75
" Highland garb and arms," pp. 12-16.

mentators,

822.3S52WR

Many

steel

engravings of actors in costume.

See also

England

Dramatic
1802.

Works;

rev.

by G. Steevens.
as in Boydell.

v,

Ref. 822.3S52Ds
same

Serbia.

See

Balkan States

Plates practically the

BIBLIOGRAPHY
Shakespeare, William.
of

Page One Hundred Seventy-seven

of

Tragedy

Hamlet, Prince
8^22.3S5^2Hac

Calvert,

A. F.

Spanish

Arms and Armor.

of the collection in the

1907.

Denmark.

1897.

399C16
Armory
3S0 half-tone illustrations at Madrid.

12 full-page illustrations

by H. C. Christy.
1916.

Royal

Shakespeare in Pictorial Art.

Shakespeare's

S22.3S25

Valladolid, Oviedo, Segovia.

Cuendias,
Artistique, et

1908.

9U.6C16V

"

Othello.''

Illustrated

by Ludovic
822.3So^20tu

Plates 156-165 give peasant costumes of the province of Segovia.

Marchetti.
Smirke,
R.,

.^895.

and

others.

Illustrations

of

ShakeII.

Manuel de. L'Espagne; Monumentalc. n.d.

Pittoresque,

F914.6C96
of the

speare's Plays,
Corbould,
etc.

n.d.

R822.3S641

Colored illustrations, and others.

Fifty original designs

by R. Smirke, T. Stothard, E. Engraved on steel.

Delineations of the

Most Remarkable Costumes

1823.

Different Provinces of Spain.

R391D35
Toilette in

Stone, Melicent.

The Bankside Costume Book

for

Colored illustrations.

No

text.

Children. Has 52

1913.
illustrations of

391S87
Shakespearian men, women, and

Egerton,

M. M.,
(In her

Countess of Wilton.

dress accoutrements.

Spain.

Book

of

288-96.)

Wilde, Oscar.

Truth of Masks. (In and the Soul of Man.) 1908.

his Intentions

Costume. 1847. pp. Ref. 391\V75

in Spain.

4 wood-cuts.

828W67I
of costume.

Essay on Shakespeare's interest in and use

Fitz-GeraU, J. D.
Shows

Rambles

1910.

914.6F553
Wingate, C. E. L.
Stage.
1875.

Shakespeare's Heroines on the

several costumes of peasants.

822.3W76S

Higgin, Louis.
1902.

Spanish Life in

Town and
in Index.

Country.

52 illustrations, half-tones

914.6H63
and " Dress "
7 half-tone

Shoes.
SiAM.

See

Foot-wear

See " Costume " plates of costume.

See India

Koppen, F. von. Spain and Portugal. Armies of Europe. 1890. pp. 64-66.)
Double colored plates and 2 text
Penjield,

(In

his

355K77

illustrations of uniforms.

South America
Carpenter, F. G.

Edward.

Spanish Sketches.

1911.

South America,
1900.

social, industrial,

914.6P39
Colored plates.

and

political.

918C29s

7 plates (half-tones) of costumes.

Shoberl, Frederic.

World
1827.

in Miniature.

Forrest,

A.

S.

Tour through South America.

Portugal.
1913.

2 v.

Spain and Ref. 914.6S55

27 colored engravings.

918F72
Watts, H. E.

Christian Recovery of Spain.

1894.

Marcoy,
2 V.

Paul.
1873.

Journey

across

Incidental notes on costumes. and Spanish costumes.

South America. Ref. 918.oS13 Many wood-cuts of native

of Pata-

946\V34
Has
illustrations show!

costume, especially of the 13th

century.

Williams, L.

Land

of the

Dons.

1902. 914.6Vv'72

Pritchard,

H. V. H.
1902.

Through the Heart

13 plates showing national dress.

gonia.

918.2P94

3 plates, in color and half-tone, showing Patagonian dress.

Sweden
Afbildningar af Svenska national drdkter.
Colored plates.

See also Indians of

South America

1908.

R391A25
Spain

Adams, W. H.
Many

Spain and

its

People.

1872.

Bossi, Luigi.
rario,

Du

costume de

la

Suede.

(In Ferv.
6.

9U.6A21
wood-cuts of Spanish types.

G.

Costume.
(1

1815-29.

Europe,

pp. 232-59.)
2 copperplates

Ref. 391F37
colored) of ancient Swedish costumes.

Bradford, William.
acter,
13.

and Costume

Sketches of the Country, Char1812in Portugal and Spain.

Le Costume Ancien
des Suedois, etc.
19 plates.

et

Moderne des Scandinaves,

*F914.8B74

R914.6H79
Contains colored plates, including military costume.

1827.

Page One Hundred Seventy -eight

Egerton,

BIBLIOGRAPHY
Yosy, A.
dress

M. M.,
(In

Countess of Wilton.

Toilette in

Switzerland.

With representations
2 v.

of the

Sweden.

her

Book

of

pp. 349-0I.)
3 wood-cuts.

Costume. 1847. Ref. 391W75

and manners

of the Swiss.

1815.

Ref. 914.94Y65
50 colored engravings of costume.

Holme, Charles.

Peasant Art
1910.

in

Sweden, Lapland,

and Iceland.

709H74P
and monotone. (In his

Theatrical Costume
Aria,

Illustrations in color

Koppen, F. von. Sweden and Norway. Armies of Europe. 1890. pp. 61-63.)
Colored plates (11

Mrs. Costume;
1906.

E.

Of

Theatrical
historical

Dress.

(In

her

fanciful,

and

theatrical.

355K77
1915.

pp. 236-59.)

391A69
Italiens.

figures, including 3 naval) of uniforms.

2 colored plates and 7 half-tone illustrations.

Steveni,

W. B.

Things Seen
of the
.50

in

Sweden.

Ferrario,

Giulio.

Costume des
Europe,

(In

his

914.8S84
About 21
costume.

Costume.

1815-29.
877,

v. 3., pt. 2.)

photographic reproductions are of

Plates 120-22, dancers of Italy.
p.

Ref. F391F37
show costumes
of actors

and

Thomas,
1893.

W. W.,

Jr.

Sweden and the Swedes.

914.8T46
of ancient

Galerie Dramatique.

A Paris, chez Martinet.

1796-

8 plates and 3 text illustrations Swedish costumes.

and modern

1843.
50 copper engravings, in color.

R391G15
A.
E.

Switzerland
Bridgens,

Guillaumot,

Costumes de I'Op^ra,
1883.

Dix-

septieme au dix-huiti^me Si^cles.

Richard.

Sketches

Illustrative

of

the

RF391G95C
50 planches fac-simi'e & I'eau-forte en couleurs.

Manners and Costumes and Italy. 1821.

Egerton,

of France, Switzerland,

R391B851
Toilette in

Harrison, Charles.
92 illustrations
design.
of

Theatricals and Tableaux Vi1882.

Plates, with descriptive text.

vants for Amateurs.

of

793H31

M. M.,

Countess of Wilton.
(In her

stage costume, historical and fancy

Switzerland.

Book

pp. 302-10.)
10 wood-cuts.

Costume. 1847. Ref. 391W75

Jullien,
les

A.

Histoire

Origines
1880.

du Costume au Theatre depuis du Theatre en France jusqu'a nos

F391J94

Gauter, Henri.

Histoire
Suisses

du Service
la

Militaire des

Jours.

24 plates, partly colored.

Regiments

Solde de I'Angleterre,
1902.

de Naples, et de Rome.

F356G21
(In his Armies of

Kobbe, Gustav.
1904.

Opera Singers
A

a pictorial souvenir.

10 colored plates, showing uniforms of Swiss mercenaries.

920K756

Koppen, F.
Europe.

von.

Switzerland.
pp. 67-68.)

1890.

3o5K77
et

" series of costume and other porPhotogravures. traits of the grand opera singers best known to American opera-goers of to-day."

Colored plates (7 figures) of uniforms.

Krehbiel,

H. E.

Chapters of Opera.

1908.

Levati, Ambrogio.

Costume Ancien
des
Suisses.

Moderne des
Ferrario,

782K92
Of the 70 half-tone illustrations, 39 are of opera singers in costume. from photographs

Helvetiens

ou

(In
v. 4.

G.

Costume.

1815-29.

Europe,

pp. 1-172.)
modern Swiss

Ref. F391F37
16 colored copperplates of ancient and costumes.

Lacy,

T.

H.

Female Costumes,
1865.

Historical,

tional,

Dramatic.

NaR391L152C2
Dramatic.

Male Costumes, Historical, National,

Cantone
.schonen

Schweizer Volkstracht;

die Traehten der

1868.
Contains colored plates.

R391L152C1
No
text.

Aaran, Appenzell, Unterwalden, Glarus, Schaffhausen,

und Luzern, Chromo-Lithographen

auf

acht

sehr
1840.

Lumm,

E. C.

Twentieth Century Speaker.

1898.

dargestellt.

808.5L95
Colored and half-toneplates of costumes'and poses.

R391S41
Story,

A. T.

Swiss Life in

Town and

Country.
914.94S88

Mackay,
1915.

C.

D.

Costumes and Scenery

for

Amateurs.

1902.

793M153C

BIBLIOGRAPHY
Mantzius, Karl.
1903-09.
Plates of actors in costume.

Page One Hundred Seventy-nine

5 v.

History of Theatrical Art.

Turkish Empire
Addison,
1838.
C.

792M29
F.

G.

Damascus and Palmyra.

^

v.

Mohisson,
1889-90.

Costumes of the Modern

915.6A22

Stage.

10 colored plates of costume.

391 M68

Allom, Thomas.

Colored plates.

Character and Costume

and
Paul, Howard.
Present.
critical

Italy,

n.d.

in Turkey R914.96A44

The Stage and

gallery of dramatic illustration

biographies of
actors,

and and distinguished English and

its

Stars, Past

10 lithographic plates of year 1840.

Turkish costume

about the

Amicis, E. de.
Tilton.

Constantinople.
104-0.5;

Tr.

by Caroline
914.96A51
women," pp.
1907.

American
till

from the time

1887.

of Shakespeare

to-day.

2 v.

1878. " Costume " [male], pp.

" Turkish

20G-37.

128 photogravure portraits and scones from steel plates and over 400 portraits in the text. Useful for costume. Scott,

Bell, G. L.

The Desert and

the Sown.

Clement.
1899.

Drama

of

2 V.

Yesterday and To-day. 792S42

Colored frontispiece, by Sargent, of Bedouins and half-tones of the different races of Palestine.

915.6B43 many

Illustrations of actors in costume.

Seidl,

Anton.

Music

of the

Modern World.

Copping, Harold.
2 v.

1895.

Ref. 780S45

series of Pictures

Many colored and half-tone plates of singers and operatic characters in costume.
Stone, Milicent.

descriptive

The Gospel in the Old Testament. by Harold Copping. With letterpress by H. C. G, Moule. 1908. Ref. 221C78
1802.
engravings,

The Bankside Costume Book

historical

24 illustrations in color.

for

Children. Has 52

1913.

391S87
plays,

Costume of Turkey.

R391C842.
with descriptions

illustrations for representing especially those of Shakespeare.

Illustrated with colored in English and French.

Dupre, L.

Voyage k Ath^nes

et h Constantinople.

Tibet
Crosby, 0. T.

1825.
in French.

Ref.

Colored plates of costumes of Constantinople, with text

Thibet and Turkestan.

1905.

915.8C94
Several of the half-tone plates show costume.

Egerton,

M. M.,
and

Countess of Wilton.
(In her

Toilette in

Palestine
1847.

Syria.

Book

Landor, A. H. Savage-.

Tibet and Nepal, Painted

pp. 465-75.)
in

Costume. Ref. 391W75

of

and Described.
Sherring,
C.

1905.
of

915L26
Tibet and Nepal.

2 wood-cuts.

Over 30 colored plates show costumes

Toilette
Book

Turkey, Wallachia,
1847.

etc.

(In

her

A.

Western Tibet and the British

1906.

of Costume.

pp. 374-87.)

7 wood-cuts.

Borderland.
tume.

915.1S55

See " Dress " in Index.

Many half-tones in
in

text

show

cos-

Eyries, J. B. B.
et

La Turquie,

ou, Costume.-j, Moeurs,

n.d.)

Usages des Turcs.

Illustrated

(In his L'Angleterre.

plates.

Shoberl, F.

The World

Mmiature.Tibet and
1827.

Ref. F391E98
by colored
Ferrario,
Giulio.

India beyond the Ganges.

12 colored plates of costumes.

R915.1S559

Costume des Peuples de

his

I'Asie

Mineure.

(In

Costume.

1815-29.

Asie.

Troubadours
Rowbotham, J. F.
Love.
of

V. 3.

pp. 263-348.)

Ref. 391F37

1895.

Troubadours and Courts of 914.2R87

7 outline cuts

Colored copperplates of costumes of Phrygia, Troy, Lydia, Lycia, Cilicia, Pontus, Armenia, and other ancient districts of Asia Minor.

" Dress of the troubadours," pp. 108-70.

Hamdi, Osman,
la

bey.

Les Costumes Populaires de

troubadour and minstrel costume.

Turquie en 1873.

RF391H21
Turkey Turkey

Smith, J. H.

Troubadours at Home.
1,

2 v.

1899.

849S65
" Their attire," v.
in Index.

74 plates, illustrative of the costumes of people in in Europe, the isiund.s of the Ottoman Empire, and in in Asia.

pp. 168-69.

" See also " Costume

few wood-cuts of dress.

Howe,

Fisher.

Oriental and Sacred Scenes in Greece,

1856.

Turkey, and Palestine.

TxJNis.

915.6H85
6 colored

See Africa

Text contains several references to costume. plates of typical costume.

Page One Hundred Eighty

Jessup, H. H.

BIBLIOGRAPHY
1874.

Syrian Home-life.
3 wood-cuts.

915.6J58

Shoberl, F.

World

in

Miniature.

" Dress," pp. 28-3S.

1827.

Turkey. 6 v. Ref. 914.96S55

Women
Kelman,J.

of the Arabs.

1873.

915.6J58W

73 colored engravings, showing about 150 costumes of the Empire.

male and female,

A few wood-cuts of costumes, Incidental notes on dress. of Palestine.

Singleton, Esther.

The Holy Land.

1902.

915.6K29

as Described

Turkey and the Balkan States, by Great Writers. 1908. 949.6S61

many
useful for costume.

Including colored plates of Syrian peasants and Arabs.

40 half-tone plates,

Koppen, kan Peninsula,

F. von.

Turkey and the States

(in his

of the Bal-

Spry, TV. J. J.

Life on the Bosphorus.

1895.

Armies of Europe.

1890.)

914.96S77
34 portraits of caliphs and sultans, and other plates of costume.

355K77
Pp. 73-75. Section of colored plates (5 figures) illustrations of uniforms.

and

4 text

Van Lennep, H.
illustrations,

J.
oil

Oriental
colors,

Album.

Twenty
and

in

of

the people

Latimer, E.

W.

Russia and Turkey in the 19th

scenery of Turkey;
descriptive text.

Century.

1895.

947L35

with an explanatory and

1862.

Several portraits showing Turkish uniforms.

Ref. 914.96V25

Laurent, P. E.

Recollections of a Classical Tour through Various Parts of Greece, Turkey, and 2 v. 1822. Italy, in 1818 and 1819. Ref. 914L38 4 hand-colored plates,~showing Turkish women and girls,
etc.

Folio lithograph plates, showing Turkish and Armenian costumes.

Wilkie, Sir David.

Sketches in Turkey, Syria, and

1841.

Egypt,
52

1840 and

Drawn on

stone

by

Joseph Nash.

1843.
monotone.

Ref. 741W68

folio lithograplis, in

Tyrol.
Macbean, F.
Sketches in Character and Costume
in Constantinople,

See Austria-Hungary; Switzerland

Ionian Islands,

etc.

1854.

United States
Avery, E.
1907.

R914.96M11
No
text except short descriptions of the plates.

M.

History of the United States.

16 v.

973A95

Magnetti, Carlo.

Costume de I'Empire Ottoman.

Costume.
1815-29.

(In Ferrario, Giulio.

rope.

V. 1, pt. 3.)

EuRef. F391F37

Fully illustrated. Vol. 6 is good for colored illustrations of Colonial costumes, military and civil.

Earle, Alice

M.

Child Life in Colonial Days.

1899.

Nearly 60 colored copperplates of costumes, including the present Balkan States.

390E12
Many
half-tones, from photographs, of children's dress.

Mayer, Luigi. Views of the Ottoman Domains in Europe, in Asia, and some of the Mediterranean Ref. 915.6M46 1810. Islands.
Colored plates of costumes of the Turkish Empire, including also Sicily, Tripoli, and the Balkan States.

Costume of Colonial Times.

pp. 45-264.

1894.

391E12

Historv of Colonial Dress, pp. 3-42; Dictionarv of Terms,

Dress
Two
1820.

of the Colonists.

(In her

Home

life

in

Millingen,

A. van.
1906.

Constantinople;

painted

Goble.

by 949.GM655
1907.

Colonial Days.

1898.

pp. 281-99.)

917.3E12

6 cuts of costumes.

Colored plates of Turkish costume.

Centuries of Costume in America, 16202 V.

Monroe, W. S.

Turkey and the Turks.

in Index.

1903.

Ref. 391E12T
of

Many
costume.

949.6M753
Consult " Dress "
16 half-tones show costumes.

half-tone plates and wood-cuts of all kinds List of illustrations, with descriptive notes.

Eggleston,

Edward.

Household
its

History
1889.

of

the

Neil, James.

Everyday Life

in

the Holy Land.

United States and

People.

973E29

1913.
Contains colored pictures.

915.6N39

Colored plates of colonial costumes, uniforms of 1776Many vignettes of cos1864, and Confederate uniforms. tumes, 1492-1880.

Picturesque Representations of the Dress and

of the Turks.

Manners

Goodunn,
Life

M. W.

Colonial Cavalier;
1894.

or,

Illustrated in 60 colored engravings,

n.d.

before the Revolution.

Southern 917.5G65

with descriptions,

Ref. 391P61
in Palestine.

Turks, Albanians, Arabs, and Armenians.

" His dress," pp. 75- dress.

few wood-cuts of Coloni;

Rogers,

M.

E.

Domestic Life

1863.

Harvey,
1913.

Fred.

First

Families of the

Southwest.

915.6R72
See " Costume " in Index.

970.6H34

32 colored plates of Indians, their pottery, basketry, etc.

BIBLIOGRAPHY
Jennings, P.
Extra

Page One Hundred Eighty-one

Nelson, H. L.

Colored Man's Reminiscences of

1865.
i-ith

Army

of the

James Madison.
illustrations,

BM182J
2fi

United States. 1889. Ref. 355N42

fashions in Repository.

Madison's

time.

colored plates, showing Plates from Ackermann's

Same

Army

plates as in " of the U. S."

U.

S.

army Q.-M. G.

Uniform

of the

McClellan, Elizabeth.

Historic Dress in America,

dress in the Spanish

Rodenbaugh, T. F.

From Everglade
1875.

to

1607-1800.
904.
cuts.

With chapter on

the 2d Dragoons. 1836-75.

Canon with 355R68

and

and French settlements

in Florida

and Louisiana. Ref. 391M13

5 chromo-lithographs of cavalry uniforms, 1836-75, 4 wood-cuts of French cavalrymen.

383 illustrations, colored plates, half-tones, and woodBibliography.

Smith, J. H.

Historic DressSingleton,

in

America, 1800-1870.

1910.

Historic Booke, to Keep in remembrance the meeting of the Honourable Artillery

R301M1^2H
Continuation of the above.
Includes a bibliography.

Company

of

London and the Ancient and Honor-

able Artillery

Company
1903.

of

the Massachusetts,

Esther.

Social

New

Costumes of York under the

Men.

Boston, 1903.
(In

her
190^2.

Ref. 358S65

Plates and cuts, showing uniforms of 17th-19th centuries.

Georges.

pp. 171-97.)
6 half-tones of articles of dress.

917.471SG1

Dress of Women.
Wharton, A.
1902.
II.

Uniforms of the Army of the United States. (In Standard Dictionary. Sup. 1903. p. 2187.)

(In

Same.

pp. 201-56.)

Ref. 423F98SU
Colored plates, showing 27 uniforms of 1903.

917.471S61
Several half-tones of apparel.

Social Life in the Early Republic.

United States Army.

Quartermaster-general.

Uni-

390W55S
many
half-tone
portraits,

form
1882.

of the

Army

of the United States, 1882.

Colored frontispiece, and 1790-1850.

of

Ref. 355U58
Several cuts of details.

Lithographed plates of uniforms.

United States.
Archibald, J. F. L.

Military axd Naval CosTL'iiE

Blue Shirt and Khaki.
and American
soldiers.

United States Army.

Uniform

of the

Army

of the

United States.
1901. 1890.
44 colored plates.

Illustrated

from 1774 to 1889. Ref. 355U58U

and descriptive
text.

355A67
Many
Bennett, F.
half-tones of English

Key

to plates

M.

L^niforms and Corps Devices of the

(In his

United States Marine Corps.

Uniform Regulations.

Engineer Corps.

United States.
Bolton, C. K.

1896.

pp. 713-31.)

Steam Navy of the 359B47S

Together with uniform regulations both U. S. Navy and Marine Corps.

common
1913.

to

R355U58MU
United
States.

Private Soldier under Washington.

1902.

973.3B69

Navy Dcpt.
enlisted

Regulations governofficers,

Uniforms, pp. 89-104, and double half-tone plates showing uniforms and plate showing hunting shirt.

ing the uniform of

officers,

commissioned

warrant

and

men

of

the

Eggleston,

Edward.

Household
its

History
1889.

of

the

United States.

1880.

Navy of the Ref. 355U58N

United States and

People.

973E29

54 lithographed plates of uniforms.

2 colored plates of U. S. uniforms, 1776-1865, and 1 colored plate of Confederate uniforms, with several vignettes of uniforms.

Wagner, A. L.

L'nited

States

Army and Navy,

Logan, J. A.

Volunteer Soldier of America.

1887.

355 L83
Colored frontispiece, and several wood-cuts of uniforms.

from the era of the Revolution to the close of 1899. the Spanish-American war. Ref. 355W130U
Lithographs of military
a;

d naval uniforms, 1776-1899.

McClellan, Elizabeth.
1800.

Uniforms

in

America, 1775190-t.

(In her Historic dress in America.

Walton,

pp. 340-77.)
Half-tones of Continental uniforms of

Ref. 391M12
army and navy.
(In

W. G., and others. Army and Navy of the United States, from the period of the Revolution
to the present day,

12 pts.

1889-95.

Merritt, Wesley.

Army

of the

United States.

Ref. 353.6W24
44 colored plates, mounted, with duplicate etchings, and many other etchings and photogravures of military and naval
uniforms.

Armies

of

To-day.

1893.

pp. 1-55.)

355M57

4 cuts of uniforms of the period.

Page One Hundred Eighty-two

Zoghaum, R. F. Across Country with a Cavalry Column. And, With the Bluecoats on the Border. (In his Horse, Foot, and Dragoons. 355Z85 1888. pp. 100-17G.)
?,5

BIBLIOGRAPHY
See also

England
See Araior

Weapon.s.

plates

and cuts

of

uniforms of the period.

West
Venice.
See Italy

Indies
Indies.

Henderson, John.
A. S. Forrest.
About 30
Jamaica.

The West
1905.

Painted by

Wales
Bradley, A. G.

917.29H49
show costume,
chiefly cf

of the colored plates

Wales.
son.

Highways and Byways in North Illustrated by J. Pennell and H. Thom914.29B81

his Friends.

Paton,

W. A.

Down

the Islands.
in text.

1898.

Frequent references
costumes.

Several illustratirra

1890. 917.29P31 show

6 wood-cuts of costume.

Davies, D.

John Vaughan and

1897.

See also Cuba;

Porto Rico

914.29D255
Several cuts of Welsh costume.

Egerton,

M. M.,

Countess of Wilton.

Toilette in

Zanzibar
Lyne, R. N.
1905.
2 half-tone plates of costume.

Wales.
190-91.)

(In her

Book

of costume.

1847.

pp.

Zanzibar in Contemporary Times.

Rhys, John.

Welsh People.
p. 251;

1900.

Ref. 391 W75 942.9R47

^

9G7L98
Emily.

Dress [ancient],

[modern], 565-70.

Trevehjan,
acter.
See "

M.

Rente,

Glimpses of Welsh Life and Char-

Memoirs

of

an Arabian Princess.

Tr.

1893. Costume " and

914.29T81
" Dress " in Index.

L. Strachey. 1907. Female fashions of Zanzibar, pp. 85-91.

by

BR921S
6 plates of Zan-

zibar Arabs.

\RTISTS

WHOSE WORK HAS BEARING ON PERIOD FABRICS OR COSTUME

ARTISTS WHOSE WORK HAS BEARING ON PERIOD FABRICS OR COSTUME

Greek and

Roman

Sculpture.

(See University Prints, Students' Series A.)

suite.

Mosaic. Emperor Justinian and his

Byzantine,

6tli

century, at Ravenna.

San
ca. (circa)

Vitale.

= about.

fl.

= flourished.

Italian Painting
fl.

Lorenzetti, A.

and P. Follower of (School of Siena) 1323-1348-^. 1305-1348.

of Padua).

Ambrogio da Predis (School

1506.

of Milan),

fl.

1482-

Mantegna, A. (School
Maratti, C.

1431-1506.

1625-1713.
(Florentine School.)

Bartolommeo Veneto (Venetian

1555.

School),

fl.

1505-

Masolino.

1384-ca. 1435.

Moroni, G. B.
1557-1622.

1520-1578.

Bassano, L. da P. (Venetian School).

Bissolo, F. (Venetian School).
Botticelli, S. (Florentine School).

Palma Vecchio.
Perugino, P.

Venetian SchcoL

1480-1528.
1446-1523.

1464-1528. 1444-1510.
ca.

Parmigianino (School of Parma).

1504-1540.

(Umbrian School).

Bronzino, A. (Florentine School),

Butinone, B.
1507.
J.

1502-1572.
ca.

Pesello, G. (Florentine School).

1367-1446.
1462-1521. 1454-1513.

(School

of

Milan),

1436-

Piero di Cosimo (Florentine School).

Pinturicchio, B.

(Umbrian School).
1397-1455.
1562-ca. 1588.

Calisto Piazza

da Lodi (School

of Brescia),

fl.

Pisanello.

ca.

1521-1562.
Carnevale, Fra (School of

Pulzone, S.

ca.

Umbria and
ca.

Perugia).

Roraanino, G.

(School of Brescia), ca. 1485-1566.

15th century.
Carpaccio, V. (Venetian School),
1525.

Rotari, P. dei, 1707-ca. 1762.

1455-

ca.

Sellajo, J. del (Florentine School),

Signorelli,

ca.

1441-1493.

Luca (Umbro-Florentine School).

II

1441-

Cimabue
Conti,
1490-.=

(Florentine School),

ca.

1240-1302.
of

1523.
fl.

Bernardino de'

(School

Milan),

Sodoma,
Spinello,

(School of Vercelli).

ca.

1477-1549.

G. (Florentme School).

1387-1452.
ca.

Cossa, F. (School of Ferrara).

Crivelli, C.

ca. ca.

1435-1480.
1430-ca. 1493.
School),
ca.

Stefano da Zevio (School of Verona),

1451.

1393-

(Venetian School),

Domenico Veneziano
1410-1461.

(Florentine

Titian (Venetian School).

Vasari, G.

1477-1576. 1528-1588.
143.5-1488.
fl.

1511-1574.

Duccio

di

Buoninsegna (School

of

Siena),

ca.

Veronese, P. (Venetian School).

1260-1320.
Ghirlandajo, D. and pupils
(Florentine School).

Verrocchio, A. (Florentine School).

Vivarini, A.

(Venetian School),

1444-1470.

1452-1525.
Giotto and pupils (Florentine School).

Zuccaro, F. ca. 1543-1609.

1266-1337.
ca.

Masters dei Cassoni.

Painting, Byzantine School. Painting, Florentine School. Painting, Italian School.

Giovanni di Paolo (School of Siena),

1482.

1403-

Giovanni di Piamonte. fl. 15th century. Giovenone, G. (School of Vercelli). ca.

1555.

1490-

Painting,

Painting,
fl.

North Italian School. Umbrian School. 16th

century.

Jacobello del Fiore (Venetian School),

1439.

1400-

Painting, Venetian School.

Painting, Venetian School.

16th century.

Page One Hundred Eighty-six

Dutch Painting

LIST OF ARTISTS
Eyck,
J.

van.

ca.

1381-1440.
1581-1642.

Codde, P.
Cornelisz, J.

1610-1660. 1475-1560.

Francken, F., the younger.

Geerarts, M., the younger.

1561-1635.

Cronenburch, A. van.

16th century.

Goes, H. van der.

Heere, L. de.
Isenbrant, A.

.?-1482.

Cuyp, J. G. 1575-1649. Dou. G. 1613-1675.

Hals, F., the elder.
Heist, B.

1534-1584.

Before 1510-1551.
ca.

1580-4-1666.
1613-1670.
1604-1666.
of 17th century.

Justus of Ghent

1470?

van

der.

Honthorst,
Jacobsz, L.

W.

van.

Mabuse, J. van. 1470-ca. 1533. Marmion, S. ca. 1425-1489.

Massys, Jan.
1509-1575.

1494-1533.

Janssen, P.

2d half

Joest von Calcar, J.

Ketel, C.

1460-1519

1546-1616.

Keyser, T. de.

1596-1667 (1679?).

Master of the Legend of St. Lucy, 15th century. Master of the St. Ursula Legend. 15th century. Memlinc, H. (Memling). ca. 1430(?)-1494. Moro, A. 1512-1576.
Pourbus, F., the
elder.

Mesdach, S. 1st half 17th century. Metsu, G. 1630-1667.

Mierevelt,

1541-1581
1570-1622.

Pourbus, F., the younger.

Molenaer,

M. J. J. M.

1567-1641.
.?-1688.

Pourbus, P., the younger.

1510-1584.

Roymerswale,
Rubens, P. P.

M.

van.

1497-1567.

Moreelse, P.

1571-1638.
1474-1556.
elder.

1577-1640.

Mostaert, J.

Somer, Paul van.

1570-1621.

Mytens, D., the

Palamadesz, A.
Santvoort, D.
Steen, J.
ca.

1590-1658.

Vos, C. de, the elder.

1585-1651.

1601-1673.
17th century.

Weyden,

R.,

van

der.

1400-1464.
15th century.

Ravesteyn, A. van.

Painting, Flemish.

16th century.

D.

1610-1680.

Painting, Flemish, of Brussels.

1626-1679. 1617-1681.

German Painting
Bruyn, B., the elder. 1493-1655. Bruyn, B., the younger, ca. 1530-ca. 1610. Cranach, L., the elder. 1472-1553. Dunwegge, H. and V. 1520-?

Ter Borch, G.
Troost, C.

1697-1750. 1589-1662.

Venne, A. van der.

Vermeer van
Verspronck,
Wilt, T.

Delft, J.

1632-1675.

J.

C.

1597-1662. 1576-1624.
1659-1733.

Voort, C. van der.

van

der.

Painting, Dutch.

14th century. 15th century. 16th century.

Painting, Dutch.

Painting Dutch.
Painting, Dutch.

Master of the Life of the Virgin, fl. ca. 1460-1480. Master of St. Bartholomew, ca. 1490-1510. Master of St. Severin. .''-1515. Multscher, H. ca. 1440-1467. Neufchatel, N. ca. 1527-1590.
Pacher,

17th century.

M.
J.

1430-1498.

Pleydenwurff.

1450-1494.

Flemish Painting
Bles,

Ratgeb,
Ring, L. Roos, T.
Scheits,

16th centiu'y.
ca.

H.

de.

1480-1550.

1521-1583.

Blyenberch, A.

1566-1625.

1638-1698.
1640-1700.

Bouts, A.
Bouts, D.

.M548.
1410-1475.

M.

Seisenegger, J.

1505-1567.

Campin, R., 1375-1444. Champaigne, P. van. 1602-1674.

Claeissens, P., the elder.

1500-1576.

Wolgemut, M. 1434-1519. Painting, German. 15th century. 16th century. Painting, German.
Spanish Painting
Carreno,
J.

Cleve, J. van, the elder, ca. 1485-1540.

Coffermans,
Cristus, P.

M.

fl.

1549-1575.

1400(?)-1473.
1450-1523.
1599-1641.

de

M.

1614-1685.

David, G.

Coello, A. S.

1513(?)-1590.
1564-1627.

Dyck, A. van.

Gonzdlez, B.

LIST OF ARTISTS
Goya y
Liicientes, F. J. de.

Page One Hundred Eighty-seven

1746-1828.
Quesnel, FranQois.
ca.

1544-1619.

Liano, F. de.

1556-1625.

Renoir, Firmin Auguste.

18411780-1855.

Pantoja de
Velasquez.

la

Cruz,

J.

1551-1609.

Rigaud, Hyacinthe.

1659-1743.

1599-1660.
fl.

Rioult, Louis Edouard.

Vermejo, B.

ca. 1490.

Thevenot, Arthur Frangois.

19th century.

Zurbaran, F. de.
Painting, Spanish.
Painting, Spanish. Painting, Spanish.

1598-1662.
15th century.

Tocque, Louis.
Vestier, Antoine.

1696-1772.

1740-1824.
1684-1721.

16th century. 17th century.

1451.

Watteau, Jean Antoine.

Painting, French.

15th century. 15th century. 16th centuryc

Painting, Hispano-Flemish.

Painting, French, of Amiens.

Russian Painting
Ritt, A.

Painting, French, of Amiens.

1766-1799.

English Painting.

French Painting

Beechey, Sir
Closterman,

W.
J.

1753-1839,

Bourdichon,

J.

1457-1521.
1500-1572.
?-ca. 1574c

1656-1713.

Clouet, Frangois.
Corneille de Lyon.

Corvus,

J.

16th century.
1726-1770.

Cotes, F.

Coypel, C. A.

1694-1752. 1727-1775.

Gainsborough, T.

1727-1788.

David, L.

1748-1825. 1701-1781.

Hogarth,

W.
J.

1697-1764.

Drouais, F. H.

Hoppner,
Jervas, C.

1758-1810.

Dumont,

J.

1675-1739.

(Irish Pnt.)

Fantin-Latour.

1836-1904.

Lawrence, Sir Thomas.

1769-1830. 1756-1823.

Favray, A. C. de.

1706-1789.

Raeburn, Sir Henry.

Fouquet, J. ca. 1415-ca. 1480. Fragonard, J. H. 1732-1806.

Froment, N.
15th century.
la.

Ramsay,

Allan.

1713-1784.

Reynolds, Sir Joshua.

1723-1792.

Richardson,

J.,

the elder.

1665-1745.

Gandara, A. de
Greuze,
J.

1862-.

Romney, G.
Sharpies,
J.,

1734-1802.

Gerard, F. P. S.
B.
Hilaire, J. B.

1770-1837.

the elder,
1815-1874.

ca.

1750-1811.

1725-1805.

Talfourd, F.

18th-19th century.
1745-1811.

Ward, E. M.

1816-1879.

Huet,

J.

B.

Painting, English.
Painting, English.

15th century.

Ingres, J. A.

D.

1780-1867.

16th century.

Lancret,

Largilliere,

N. 1690-1743. N. de. 1656-1746.

Q. de.

American Painting
Badger, Joseph.
Vig^e.

La Tour, M.
1842.

1704-1788.
1755-

1708-1765. 1700-1760.

Le Brun, (Mme.) Elisabeth Louise

Lefebvre, Jules Joseph.
Lefevre, Robert.
1834-.?

Blackburn,
Copley, Feke, R.

J.

B.

J. S.

1737-1815. 1786-1864.

1724-1769.
J.

1756-1830.

Frothingham,

Liotard, Jean fitienne.

1702-1789.

Loo, C. A. van.

1705-1765.

Greenwood, J. 1729-1792. Inman, H. 1801-1846.

Jarvis, J.

Manet. Edouard. 1833-1883. Mares, Pierre. 15th century. Master of Moulins. 15th century. 1685-1766. Nattier, Jean Marc.
Oudry, P. 16th century. Pater, Jean Baptiste Joseph.
Perreal, Jean.
fl.

W.

1780-1834.

Morse, S.F.B. 1791-1872. Osgood, C. 18th-19th century,

Pratt,

M.
J.

1734-1805.

Smybert,
1695-1736.
Stuart, G.
Sully, T.

1684-1751.
1755-1828.

1483(r)-1528.

1783-1872.
J.

Pesne, Antoine.

1683-1757.

Trumbull,

1756-1843.

Prud'hon, Pierre Paul,

1758-182?

Waldo, S.L.

1783-1861.

Courtesy of Har-per't

From a

colored cover design

by

Brunelleschi.

INDEX

INDEX
Accessories, 6
Acroi>olis, 103

Beardsley, Aubrey, 42

Beardsley, Aubrey, illustration, 54

Beer, 6

Action, 10

Adam

school, 97

Advertising, department store illustrated, 49

Advertising, magazine, half-tone, 57 Advertising, magazine, illustrated, 51 Advertising, magazine, pen and ink illustrated, 53

Ben Ben Ben Ben

Day,

31, 39, 40
color, illustrated,

Day

62

Day, illustrated, 33, 49, 55 Day, magazine, illustrated, 50

Betrothal of Saint Catherine, 95

Bibliography, 127-128

Advertisement, magazine illustrated, 46

Age, Golden, 103

Binary

colors,

61

Age

of Pericles, 103

Birch, 16

Air brush, illustration, 35

Alfred the Great, 106

Bliaud, 108

Blocking

in,

10

Analogous harmony, 62

Boots, musketeer, 116

Anatomy, Preface, 13, 23 Animal arrangement, illustrated, 94

Box

plaits,

38

Braie, 110
Bristol board, kid finish, 43
Bristol board, plate, 43

Anne

of Brittany, costume illustrated, 112 Anne, Queen, 97 Anne, Queen, of England, 117 Applying color, 9, 70-71 Armorial dress, 110 Armorial dress, illustrated, 93, 109

British or masculine

costume

illustrated, 119

Brittany,

Anne

of.

111, 112

Brummel, Beau, 78
Brunelleschi, 42, 54, 134
air, 32 Brush work, 52-53 Brush work, illustrated,

Arms, 14 Arms, illustration, 21

Arthur, King, 106
Artists

Brush,

40, 45, 46, 53, 54

whose work has bearing

in period fabrics or

Brushes, 71

costume, 131-133 Asp, Egyptian, 102

Austria,

Brushes, for wash work, 48

Buddhism, 91
of France, 116

Anne

of,

Queen

Bustle, 123

Avery, Claire, 54, 59

Buttons, illustration, 5

Byzantine influence, 107

Background, 65 Back view, form

Balance, 65

illustrated, 1, 2, 3,

Callot, Sceurs, 6

Carlyle, 45

Balance, of figure, 22
Barbier, George, 42, 54, 72

Catalogue, ink work, illustrated, 46

Catalogue page,

illustrated, 30, 31,

35

Barry, Countess du, 87, 117 Basquine, 113

Batchelder, Ernest A., 30
Baviere, de Isabeau, 95

Catalogue, pattern work illustrated, 52 Catalogue, wash, 50

Catalogue work illustrated, 47, 51 Charlemagne, 107

Page One Hundred Ninety -two

Charlemagne, daughters of, 94 Charles I, King of England, 86, 114 Charles II, King of England, 86, 116
Charles VI, 95
Color, theory, 63
Color, tone, tint, shade, hue, 63 Color, value, 66
Color,

INDEX

warm, 63

Charles X, 121, 122

Charles the Simple, 95
Chart, color, 65-66

Color, water, 9 Color, with wash, 50

Colors, tertiary, 63

Checks, illustrated, 41, 42

Chemise, 108
Cheruet, 6
Chicing, 10, 13
Chiffon, 37
ChiflFon, illustrated, 9

Compass, 36 Cetnplementary colors, 63 Complementary harmony, 65 Composition, 30, 52, 53

Composition, reference books, 30
Construction, head illustrated, 17

Children, 59
Children, illustrated, 13, 16 Children, lay-out illustrated, 41

Construction of figure illustrated, 15

Construction, toothpick, 22

Consulate, 121

Children, proportions, 16 Children, proportions illustrated, 17

Consulate fashions, illustrated, 120

Convention, 121
Coptic design, 91

Chinese influence, 97

Chinese ornament, 98
Chinese white, 37
Chiton, Doric, 103 Chiton, Greek, 103
Chiton, Ionic, 103

Copying,

10,

37

Corset, illustrated, 39
Corsets, 114, 120, 122

Costume, Consulate, 120

Costume Design, Preface

Costume, Directoire, illustrated, 119 Costume, Egyptian, 101-102 Costume Egyptian, illustrated, 101-102

Chlamys, Greek, 103 Circle, construction, 36

Classic Period, Greek, 103
Clifford, Period Furnishings, 96

Cloak, Egj^ptian illustrated, 102

Cloaks, Egyptian, 101
Colbert, 97, 98
Collar, flat, 116

Cold

color,

63

Collection, documents, 36
Collection, swipe ,36

Color, 61-71 Color, applying, 9, 70-71

Costume, Costume, Costume, Costume, Costume, Costume, Costume, Costume, Costume,

18th century, illustrated, 117, 118, 119

First

Empire,

illustrated, 120

Gallic, illustrated, 105

Gallo-Roman, illustrated, 105 Greek, 103-104

Homeric, 103
illustration. Preface

Louis XIV, illustrated, 115

Louis

XV,

illustrated, 117,

118

Color, binary, 63

Color chart, 65-66

Color, complementary, 63 Color, Dr.

Frank Crane, 67-70

Color, intensity or chroma, 62 Color, materials, 65, 70, 71

Color, normal, 63
Color, primaries, 63

Color scale, 63

Color schemes, 67
Color, significance, 66, 67

Color sketch, 6
Color, tempera, 9

Costume, Louis XVI, illustrated, 119 Costume, Ix)uis XVIII, illustrated, 121 Costume, Louis Philippe, illustrated, 121 Costume, masculine, British or English, 120 Costume, INIinoan or Mycenaean, 103 Costume, Pre-Hellenic, 103 Costume, Restoration, illustrated, 121 Costume, reference books, 127, 128 Costume, Roman, 104-105 Costume, Romantic Period, illustrated, 121 Costume, Watteau, illustrated, 117 Costumes, Restoration, illustrated, 121 Costumes, 2d Empire, illustrated, 122
Cotte, 110

INDEX
Crane, Dr. Frank, color, 67-70

Page One Hundred Ninety -three

Dress, Consulate, 120 Dress, 18th century, 117-121 Dress, 18th century illustrated, 117, 118, 119

Crayon, pencil, 48, 50, 51, 124

Crepe, illustrated, 5

Cromwell, Oliver, 116

Dress, Egyptian, 92, 101, 102

Dress, 11th century, 108 Dress, First

Cromwcllian period, 86 Crown, red, 102

Empire

illustrated,

120

Crown, white, 102

Crusades, 95, 108

Dress, 14th and 15th centuries illustrated, 110 Dress, loth century, 111 Dress, Greek, 92

Dancing

girls,

Egyptian, 102

Dress, Louis

XIV,

illustrated,

115
118

Dark Ages, Egyptian, 101

David, Jacques Louis, 87
Decorative detail illustrated, 44, 45 Decorative fashion work illustrated, 44, 45 Decorative half-tone, 56 Decorative p>en and ink, 40

Dress, Louis
Dress, Louis

XV,
XVI,

illustrated, 117,
illustrated,

119

Dress, Louis XVIII, illustrated, 121

Dress, Louis Philippe, illustrated, 121
Dress, 19th century, 121

Dress, parti-colored 93, 109, 110,

Dress, Restoration illustrated, 121

Decorative pen and ink, illustrated, 53

Decorative treatment, 38

Dress,

Roman,

93, 104, 105

Department

store advertising, 39

Dress, Romantic Period, illustrated, 121 Dress, second Empire, illustrated, 122 Dress, 16th century, 113, 114

Design, adaptation illustrated, 91, 75, 76 Design, costume, 75-79 Design, fundamentals Design, influences, 91 Design, primitive, 91 Design, sources, 76-78
.Design, symbolic significance, 91
of,

65

Dress, 17th century, 116

Dress, 12th century, 108 Dress, 13th and 14th centuries, 110 Dress, Watteau, illustrated, 117

Drian, illustration. Frontispiece

Designers, 6
Detail, decorative, illustrated, 44, 45 Detail, illustrated, 42
Details, 5-6

Drian, 47, 54

Dryden, Helen, Dryden, Helen,

16, 47,

54

illustration, 16,

24

Du

Maurier, George, 88
J.

Diana, Dutchess of Valentinois, 113

Directoire, 98, 120, 121

Dunlop,

M., Preface, 14

Diirer, Albert, study of hands, 19

Directoire and

Empire

design, 98

Durer, Albrecht, 38
Diirer, Albrecht, illustration, 85

Directoire costume, illustrated, 119

Directoire period, 97

Directorate, 87

Duval, Preface Dyes, ancient, 92

Early fabrics and designs, 91 Early Renaissance costume, illustrated, 112

Directory, 121, 122

Documents, 36, 86 Documents, use illustrated, 37-38 Dominant harmony, 62

Doric chitoU; 103

East India Company, 97

East, influence
of, 91,

93

Dotted materials, 37 Double complementary harmony, 65

Doublet, 114

Eastern character, 97
Eastern design, 91
Editorial, magazine, 56 Editorial, magazine, illustrated, 44, 45 Editorial,

Dow, Arthur,
Drapery, 38 Drapery,
Drecoll, 6

30, 52,

53
85

magazine

color, illustrated,

62

illustrated,

Editorial, newspaper, 46

Drawing, without models, 13-23

Dress and History, 3d to 11th Century, 106-107

pen and ink, 38, 39 Egyptian costume, 101, 102 Egyptian costume illustrated, 92, 101, 102
Editorial,

Page One Hundred Ninety -four

Egyptian dress, 92, 101, 102 Egyptian emblems, 102 Egyptian fabrics, 91, 92 Egyptian, Old Kingdom, 101 Egyptian symbols, 102
Eighteenth century, 86, 88 Eighteenth century, costume reference books, 116, 123 Eighteenth century costume illustrated, 117, 118, 119 Eighteenth century dress, 117-121 Eighteenth century, late, illustrated, 119
Fontanges, Mile, de, 97, 116 Fourteenth century dress, 110
Fifteenth century, reference books. 111

INDEX

Fourteenth and fifteenth century, dress 110

illustrating,

Formal arrangement, Forms, 1-3 Forrester, Fern, 54

Francis, 6

illustrated, 94

Francis Francis

I, I,

95

Eleventh century costume, illustrated, 107 Eleventh century dress, 108

Elizabeth,

King

of France, 113

Fragonard, 86
Franks, 107

Queen

of

England, 97, 113

Elizabethan collar, 86 Elizabethan era, 85

Ellipse, constructing,

Front view, form Fur, 38

36

illustrated, 1, 2, 3,

Furs, decorative illustrated, 45

Ellipse, construction illustrated,

37

Furs, realistic method illustrated, 47

Emblems, Egyptian, 102

Embroidery,
illustrated, 42 Embroidery, wash work, 38

Gainsborough, 86
Gallic

Empire, 88, 122 Empire costume, 98 Empire, 1st, 123

costume illustrated, 105 Gallo-Roman costume illustrated, 105

Gathers, 38 Gathers, illustration, 5

Gauls, costume, 105, 106

Empire, 2d, 122

Empire

style,

87

Gauls, history and dress, 105, 106 Gauls, reference books, 106

Enlarging, illustrated, 29
Ert6, 42, 47, 54 Ert6, illustrations, 44, 45

Etching, 54, 60
Fabric, classification, 96 Fabric, documents, reference to, 131-133

George I, George George III, 87 George IV, 121

II,

and George

III,

117

Girdle, Greek, 103

Globes, Egyptian, 102 Gloves, 107

Faces, 16-18

Fans, 116
Feathers, realistic treatment, illustrated, 47

Gold thread, use Golden Age, 103

of,

95

Gorget, illustrated, 83

Feature cut illustrated, 50

Feet, 19

Gothic architecture, 84

Gothic tapestry, illustrated, 84

Fichu, 107
Fifteenth century, 84, 85
Fifteenth century dress. 111 Fifteenth century dress, illustrated, 110

century reference books, 111 Figure, 13-23

Fifteent

Figured material, illustrated, 5

First Empire, 123 First

Empire fashions

illustrated,

120

Flowered, material, illustrated, 5

Greek Greek Greek Greek Greek Greek Greek Greek Greek Greek

Classic Period, 103

costume, 103, 104

costume, illustrated, 103, 104

Doric dress illustrated, 92

dress,
girdle,

92
103

history and dress, 103, 104

Influence, 91

Law, Law,

6, 27,

28

illustrated,

27

Flowered materials, 37 Fontange headdress, 116

Green, Elizabeth Shippen, 16

Fontange headdress,

illustrated,

115

Greenaway, Kate, Greenaway, Kate,

16,

87

style illustrated,

87

INDEX
Hair, 18 Hair, illustration, 18
Half-tone, see

Page One Hundred Ninety-five

Homeric costume, 103 Hoop, 117
references.

Wash

Horizontal

lines,

65
84, 110

Handkerchiefs, 107

Hands, Frontispiece, 8, 19 Hands, illustration, 7, 18, 19, 20 Harmonies, 62-63 Harmonies of difference, 65 Harmonies of likeness, 62

Houppelande, 96, 110 Houppelande, illustrated, Hue, 61

Harmony, 65
Hat, design illustrated, 75
Hats, 6
Hats, designing, 78, 79 Hats, illustration,
8, 24, 79 Hatton, Richard G., Preface

Imagination, 77 " Impossibles," costume illustrated, 119 " Incroyables," costume illustrated, 119 " Incroyables," "uniniagineables," " merverilleuses'

and "impossibles," 121

Indian lawns, 122 Indian shawl, 98
Individuality, 43, 45, 52

Head, 13, 14 Head, illustrated, 17 Heads, 16, 17 Heads, children, 16

Headdress, Fontange, 116 Headdress, Fontanges, illustrated, 115
Headdress, hennens, 110

Influences in design, 91

Ink, 42
Intensity, laws governing, 65

Interregnum, 116
Ionic chiton, 103
Italian 14th century

costume

illustrated,

93

Headdress, horned, 83

Jabot, 116
Jackets, 123

Heading,

illustrated,

54

Headings, 42

Jacobean, 97

Hem,

illustrated,

27
illustrated,

Hennin, headdress,
Hennins, 110

110

James James James

I, I,

86

II,

King of England, 114 King of England, 116

Henry II, 97 Henry VIII, 85 Henry VIII, King

Heraldic forms, 95

Japanese prints, 44, 47

Jeanne d'Arc, 96
of England, 111

Josephine, 121

Jumping,
fabrics, 95

illustrated,

22

Himation, Greek, 93, 103

Hispano-Moresque

Kerchiefs, Egyptian, 102

Historic costume, 101-123

History and dress, Gauls, 105-106

History and dress, Greek, 103-104
History,

Lace, illustrated, 42
Laces, 37-38

Roman, 104

La

Valliere, Louise,

97

History, 3d to 11th century, 106 History, 11th century, 107-108 History, 12th century, 108
History, 13th and 14th centuries, 108-110 History, 15th century, 110-111

Lawns, Indian, 122 Lawrence, 86

Laws

for use of color, 65

Lay-out, illustrated, 41

Lay-out, finished, illustrated, 30-31, 35, 41, 47, 51

Lay-outs, 29, 30 Lay-outs, rough, illustrated, 29

History, 16th century, 111-113

History, 17th century, 114-116 History, 18th century, 117

Leaping, illustrated, 22
Legs, 14

Hogarth. 96
Holbein, Hans, 85
Holbein, Hans, illustration, 86
Hollar, 86

Lettering,

Lepape, George, 42, 54, 80 book on, 36

Line cut, see Pen and ink references.

Page One Hundred Ninety-six

Lines, 45

INDEX
Monvel, Boutet de, 96, 111 Mosaic, Byzantine, 6th century, 131

Lord, Harriet, 34
Lotus, EgjTptian, 102

Moyen

age, 83

Louis Philippe, 121, 122

Louis Philippe costume illustrated, 121 Louis XI, 95

Munsell, A. IL, 61

Museum, Cooper Union, Coptic designs, 92 Museum, Metropolitan, as a source of design

trated, 76

illus-

Louis XIII, King of France, 116

Louis Louis

XIV, 117 XIV, King

of France, 86, 96, 97, 116

illustrated, 115

Museum, Metropolitan, Coptic room, 92 Museum, Metropolitan, period dolls, 88

Louis
Louis
liouis

XIV

costume

Museum

Metropolitan, tapestry from, 84

XV, 87, 97,98, 117 XV, costume illustrated,

Musketeer boots, 116

117, 118

Muslins, 122

I^uis XVI, 87, 97, 98, 117, 120 Louis XVI, costume illustrated, 118, 119 Louis XVI, period
Louis
of,

Mycenaean costume, 103

Napoleon, 87, 98 NajKjleon Bonaparte, 121 Napoleon, Louis, 122

98

XVin,

121, 122

Louis X\TII, costume illustrated, 121

Lutz, E. G., Preface, 8

Napoleon
Neilson,

III, 121,

122

Nattier, 86

Magazine, advertising, 57 Magazine, advertising illustrated, 53 Magazine, editorial, 56 Magazine, editorial illustrated, 62 Magazine, pattern drawing, 57 Maintenon, Madame de, 97, 116 Mantles, 118
Margins, 6

Kay, 42

Neutralization, 65

New

empire, Egyptian, 101, 102

illustrated,

Ninth and tenth centuries costume

Nineteenth century, 87, 88 Ninteenth century dress, 121, 123

107

Nocturne by Whistler as

inspiration,

77

Normal
87,

color, 61

Marie Antionette, Marie Antionette, Marie Louise, 121

Marshall, Preface

98
98
Ogival forms, 94

strips,

Old Kingdom, Egyptian, 101 One mode harmony, 62

Openings, 4
Oriental characteristics, 97

Martial and Armand, 6

Materials, black, 37
Materials, color, 65, 70, 71

Oval, construction, 13, 14

Materials, for crayon pencil work, 51 Materials, wash, 48

Paenula,

Roman, 104
on costume, 131-133

McQuin,

47, 54

Paintings, having bearing

Medici, Catherine de, 97, 113

Medicis, Marie, 113

Paintings, having bearing on fabrics, 131-133

Paisley shawl, 98
of,

Memling, Hans, painting Meredith, Owen, 88

*'

95

Palla,

Roman, 104

Panier, 117

Marveilleuses,"costume illustrated, 119

Paper, carbon, 32

Method, catalogue wash method llustrated, 58 Method, decoration illustrated, 44, 45 Method of reproducing two colors, 68, 69 Method, realistic illustrated, 39 Method, realistic treatment illustrated, 40, 46 Method, textile designing, 54-59 Monochromatic harmony, 62
Montespan,

Paper, frisket, 32
Paper, graphite, 32

Paquin, 6
Parasol, illustrated, 38

Parsons, Frank Alvah, 30

Parti-colored costume, 110

Parti-colored costume illustrated, 109

Madame

de, 97, 116

Parti-colored dress, 95

INDEX
Parti-colored dress illustrated, 93

Page One Hundred Ninety-seven

Problem, 45
Puritans, 86

Pattern drawing, magazine, 57 Pattern drawing, newspaper, 39 Pattern work, magazine illustrated, 50
Pattern work, newspaper illustrated, 48

Quaker, 86

Pen Pen Pen Pen Pen Pen Pen Pen Pen Pen Pen

and and and and and and and and and and and

ink,

38-47

ink, black detail

work
40

illustrated,

40

ink, black material illustrated, ink, catalogues,

40

Raeburn, 86 Red, crown, 102 Reducing, illustrated, 29

Reference books, Egyptian, 102

ink, catalogue illustrated,

52
53

Reference books, Gauls, 106

Reference books, 3d to 11th century, 107 Reference books, 11th century, 108 Reference books, 12th century, 108 Reference books, 13th,
1 tth,

ink, decorative, ink, decorative

40

work

illustrated,

ink, illustrated, 46
ink, ink,
ink,

magazine advertising illustrated, 53 magazine work, 39-47 pattern work illustrated, 40, 52

and 15th

centuries. 111

Reference books, 17th century, 116 Reference books, 18th century, 116, 123 Reference books, 19th century, 123

Pen, ruling, 36
Pens, 43
Pencil crayon, 48
Pencil, crayon, 50, 51

Regency, 117
Religious orders. 84

Rembrandt, 79
Renaissance, 85, 97

Peplum, 116
Period fabric design, 91-98
Period,

Renaissance costume,

late, illustrated, 113,

114

how

influenced, silhouette, 83-88

Renaissance, early, costume illustrated, 112

Periods in designing, 77, 78

Periods, painting as references, 131-133

Reproduction, two color process, 68, 69

Republic, French, 122
Restoration, 122

Persian verdure, 96

Personal characteristics, 75
Personality, 79
Pericles, age of, 103

Restoration, costume illustrated, 121

Reta Sanger,

illustrations, 13, 43,

62

Revolution, French, 98, 120

Perneb, 101
Petit Trianon, 120

Reynolds, Sir Joshua, 86

Rhythm, 65
Richter, Preface

Phrygean bonnet, 108

Pilgrims, 86
Plaids, 37

Plaids, illustrated, 41
Plaids, shepherd,

37

Plaids, shepherd's, illustrated,

42

Pleating, illustrated, 5
Plaits, box, Plaits, side,

38

Pleats,

38 Watteau, 118
de, 87, 98, 117

Roman costume, 104, 105 Roman costume illustrated, 104 Roman costume reference books, Roman dress, 93 Roman history, 104 Roman palla, 104 Roman poenula, 104 Roman toga, 104 Roman tunic, 104
Romantic period, 122 Romantic period, costume Romney, 86 Ross board, 31 Ross board, illustrated, 33 Royal gardens, 97
Rubens, 86
Ruff, 114

105, 106

Poiret, Paul, 6

Pompadour, Marchioness

illustrated, 121

Pompadour stripes, 98 Poor, Henry A., 30

Pre-Hellenic costume, 103

Premet, 4
Priests,

102

Primaries, colors, 61

Primitive design, 91

Running,

illustrated,

22

Page One Hundred Ninety-eight

Saint Catherine, betrothal
Scale, in design, 79
of,

INDEX
Spotting, 53

95

Squares, ruled, 32

Scale of color, 61
Scroll motif, illustrated, 94

Standing illustrated, 22
Steinmetz, 55
Steinmetz, E.

Sculpture, Greek and

Roman, 131
illustrated,

M.

G., illustration, 56, 60

Second Empire costumes,

1?2

Stipple, 34
Stipple, illustrated, 34

Senger, Reta, 13. 43, 54, 64 Seventeenth century, 86

Stitching, 38 Stitching, illustration, 5

Seventeenth century costume illustrated, 114 Seventeenth century dress, 116

Shade, 61
Shakers, 87

Stock, 116
Stockings, 110
Straps, Egyptian hanging, 102
Stripes,

Shawl, 122 Shawl, Indian, 98 Shawl, Paisley, 98

Shawls, 123

37

Stripes, illustrated, 5, 41

Stripes,
Stripes,

Marie Antoinette, 98 Pompadour, 98

Shepherd kings, 101 Shepherd plaid, 37

Shoes, 19, 22 Shoes, illustrated, 7, 18, 34, 35

Surcot 110
Surcot, illustrated, 95, 109

Swastika, 91

Side plaits, 38
Significance, color, 66, 67

Swipe collection, 36 Swipe collection, illustrated, Symbols, Egyptian, 102

Syrian weavers, 93
Tapestries, Gothic, 83, 84

37, 38

Silhouette, 34-36
Silhouette, fashion, 83

Silhouette, half-tone, illustrated, 43 Silhouette, illustrated, 36, 87

Silhouette, period illustrated, 86

Theatrical illustration, 6

Theory, color, 63

Silhouette, value of, 83

Silks, oriental,

122

Silver print,

32

Third to eleventh century dress, 106, 107 Thirteenth and fourteenth century costume trated, 109
Thirteenth century dress, 110

illus-

Sixteenth century, 85-86

Sixteenth century costume illustrated. 111, 112

Thirteenth century reference books, 111

Sixteenth centur

j"^

costume reference books. 111

Sixteenth century dress, 113, 114 Sixteenth and seventeenth centuries, 97

Sketch, dressmaker's, 9 Sketch, manufacturer's, 9

Technique catalogue 47,51,52,58

Technique, color, 9

illustrated, 30, 31, 35, 41

42,

Technique, crayon pencil, 50

Technique, crayon pencil illustrated, Technique, decorating, 40
,

7, 59,

124

Sketching, 10
Sketching, for manufacturer Sketching, garment, Sketching,
life,

Technique, decorative, illustrated, 44, 45, 53

-5

Technique, decorative half-tone illustrated, 56 Technique, detail, 37-38

Technique,
detail, illustrated,

Sketching,
Sleeves, 88

memory, 4

42

Slashed costumes, 113, 114

Technique, mechanical, see Ben Day, Air Brush,

Silver Print,

Ross Board,

etc.

Smith, Jessie Wilcox, 16

Soulie, 54, 124

Technique, pattern pen and ink, 40 Technique, pen and ink, 38-41 Technique, pencil, 3

Spatter work, 31,32

Spatte- work, illustrated, 33

Split

Technique,

realistic, illustrated, 35, 42, 47,

51

complementary harmony, 65
suit,

Sport

54

Technique, silhouette, 34-37 Technique, sketching, 3-10

INDEX
Technique, stipple, 34 Technique, wash, 47-50

Page One Hundred Ninety-nine

Vanderpoel,
J. H., Preface,

19

Van Dyke, 86
Valasquez, 86
Vertical lines, 75

Tempera, show card

Tertiary colors, 61

colors, 71

Textile designing, 54-57 Textile designing, illustrated, 55

Vertugale, 113
Vest, 116
Victoria, 121

Texture, of paper, 32
Textures, 37, 38
Tint, 61

Vignette, illustrated, 39

Vulture, Egyptian, 102

Toga, Roman, 104 Tone, 61 Toothpick construction, 22 Toothpick construction, applied, 23

Torso, 14
Tracing, 32
Transferring, 32

Waist, normal, 122

Waistcoat, 116

Walking,

illustrated,

22

Warm
Wash, Wash, Wash, Wash, Wash, Wash, Wash, Wash, Wash, Wash, Wash,

color, 61

advertising, 47-48

catalogue, 48
decorative, 48, 50
editorial,

Transaction, period, 97

Treatment, decorative, 38
Triad harmony, 65
Triangular erection, 101

47

layout illustrated, 41
materials, 48

Trianon, Petit, 120

methods, 49-50
pattern, 47

Trimmings, 37 Trimmings, illustrated, 5

pattern work, 48
realistic,

Trunk motive,
Tucks, 38

illustrated,

94

48

sketching, 48

Tucks,
Tunic,

illustration, 5

Wash

work, 47-50

Tulle, illustrated, 9

Watteau, 86

Roman, 104

Twelfth century, costume illustrated, 109

Twelfth century, dress, 108

Watteau costume, illustrated, 117 Wattean plait, 118 Watteau styles, 120 Weaving, 93
W^eeks, illustrated, 3

Underwear,

illustrated, 52,

64

Valliere, Mile,

de

la,

116

Value, 62
Value, color, 66
Values, 52

White, Chinese, 37 White, crown, 102 William IV, 121

William the Conqueror, 107

Wimple,

illustrated,

83
102

Vanderpoel, illustration, 20, 21

Women, Egyptian,

17

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