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COSTUME DESIGN
AND ILLUSTRATION
ETHEL TRAPHAGEN
and Lecturer at Cooper Union, The New York Evening School of Industrial Art, and Brooklyn Teachers' Association Classes; formerly on the staff of Dress Magazine and The Ladies' Home Journal
Instructor

FIRST EDITION

NEwYoRK
CHAPMAN

JOHN WILEY
&

1918

& SONS,

Inc.
LONDON

HALL, LIMITED

COPYRIGHT,

1918,

BY

ETHEL TRAPHAGEN

Art

Library

*TT
50T

THIS BOOK

IS

SINCERELY DEDI-

CATED TO MY STUDENTS, WHOSE ENTHUSIASM AND SUCCESS HAVE BEEN

ITS INCENTIVE

AND INSPIRATION

THE PREFACE
COSTUME DESIGN AND COSTUME ILLUSTRATION
upon
are not always looked
as distinctly different branches of what is termed fashion work, but in truth there is a marked difference between them.
<Q
ftj

(T)

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 arrangements for the production of a design that is dignified, fanciful,
frivolous, dainty, formal, or subtle, to express the designer's conception of the purpose of the costume and its suitability to the wearer.

^ 0^

(^
,

The costume

illustrator,

on

the

other

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 that the actual design is not robbed of any of its charm. Of course, J Rv there are many ways of doing this, according to the technique and
sensitiveness or temperament of the methods customary for the special use
artist,

as

well as the different

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.
for

designer and the illustrator should both have a knowledge and a keen appreciation of the beautiful lines of the human form, to know what lines are important to emphasize and what to conceal in a figure which

The

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.

may

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

ETHEL H. TRAPHAGEN
NEW
YORK,
1918.

THE CONTENTS
CHAPTER
I.

PAGE

SKETCHING

II.

DRAWING WITHOUT MODELS

METHODS
COLOR
DESIGN

13

III.

27

IV.

63
75

V.
VI.
VII.
VIII.

THE FASHION SILHOUETTE

PERIOD FABRIC DESIGN

.....
...

83
91

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

necessary to be able to construct quickly a form on which to sketch

or design a dress, and, like the forms in

work

farthest point out of the other oval, to Connect these and represent the skirt.

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

FIG.

1.

First steps in constructing a dress form.

store windows, this should be constructed

garment. Care must be taken, however, never to confuse this with the human figure, the

to enhance the

good

lines of the

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

Next,
sleeves,

extend

the

add the

collar

two lines for the and put in the

structure of which

The
form
is

simplest

entirely different. way of obtaining this

is

centre line, which, in the front, follows the outside line of the waist and goes

by drawing two
straight line for

ovals.

First,

make a

the shoulders,

then swing an oval, somewhat foreshortened, from the shoulder line, to represent the waist. Next, swung another more elongated oval, from near the ending points of the first oval, having the farthest part out always opposite the

the skirt. See Fig. 2. (Of the proportions differ according to fashion; i.e., the normal waist would
straight in
course,

go but twice into the short

skirt of the

summer of 1916.) It note how the reverse of

is

interesting

to

this straight line

and curve forms the back.

In making the

back, connect the ovals in the same

man-

Page
ner,

Two
line goes

SKETCHING
and curves
in the

but note that the centre

See Fig.
3.

straight in the waist

skirt.

the straight full front view, because of the advantage of showing the side of the
dress as well as the front.
tion
of

An

examinaprove

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

fashion
is

publications

will

how

general

this preference.

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 points at the shoulder, elbow, and hips should be marked, for it is these points that most affect the
drapery.

With a

little

application, these forms

waist goes into the instep about two and a half times.
centre

length skirt

may

soon be mastered, and the practice

In the front view remember that the

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

them rapidly and turning them See both ways makes for proficiency.
of doing

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

line is

the centre of

the actual figure, not of the sketch.) The collar and waist lines curve

up

in

the back and

down
skirt

in

the front.

The
circle;

bottom
waist

of

the
like

describes

in giving

you the proper

relation of the

therefore,

the
A
)

sketch to the gar-

and

collar,

ment.
*:

the line curves, but

Next observe
the
large,

always downward.

The shoulder lines should be made to slant as much as

the
silhouette
re-

tant facts

imporsuch as

length of sleeves, length of coat, the

quires.

long, important lines and be particular

For this work

use an H.B. pencil,

Eberhard

Faber,

Ruby
eraser,

or

Emerald and emery

to put in the seams; but leave details such as embroidery,

lace, tucks, plaits,

board pad.

The
kept
it

gathers, etc., until

point of the pencil

the
5, 6,

last.

See Figs.
7.

should

be

and

very sharp by continually pointing

After the lengths of the

waist,

sleeves,
coat,
etc.,

on the pad. From

the start great attention should be

paid to a clean-cut

and beautiful line and to the proper

placement
paper.
of

the
*'

FIG. 5.

Pencil sketch of a suit

determined, you must strive for skill in keeping your pencil line clean and sharp. This gives the
much-desired, well To the garment. beware of too rounded
to

are

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

newness
After
accents

keep

this effect,

curves.

some

the sketch is finished, should be put in, in

places where shadows would naturally be; this gives added interest to sketches.

From

the

first,

observe

and

work

for

texture.

Notice

how

delicate, light lines

garment and see on the oval form

that,
first

in

sketching

it

constructed, you

hard ones.

express thin material better than heavy, After ability of this kind is

Page Four
acquired,

SKETCHING
is

the next step

to

work

for

series,

is

absolutely necessary in fashion

is

Garments in shop windows give speed. excellent opportunity for sketching when
the student
4.
is

work.

It

helpful,

first

for

your own

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.
good way
this
is

A
do

to

own designs, and again, in doing

sketching for newszines.

to sketch

from memory what has been

drawn from
ths

papers or magaDesigners

garment the day

before. Another good way is to

manufacturers it a great boon to be able to sketch in their exfor find

observe a dress
either

ploring trips in the

a shop window or on a
in

shops and along

Fifth Avenue.

person,

and then,

Sketching

for

without again
looking to aid the

manufacturers is done for two purposes:

memory, to try to put on paper all

you remember.
is

To

give

1hem the latest

It

French models

well

to

verify

this sketch by
comparing it with the garment, to find out how much you have forgotten

\V
FIG. 6.

from the "Openings" from which to make exact copies or something

adapted to

their special trade

and where you

have made mistakes.
Preliminary pencil sketch of a gown.

needs, and to give

them an inventory
of their

To be

able
for their reference

own
is

stock

to sketch

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

and convenience.
a
little

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 garments such as gowns, hats, and acces-

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

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 stylish foundation

but as a rule the more finished dressmakers' sketches

form underneath, with sometimes a

little

are done on
figures express-

color
in the

added

some action and illustrating

ing

background to

throw

the

sketch out.
Sometimes they
are
still

the presumed effect of the gown on the wearer. See

Figs. 13

more
FIG.

and

14.

finished

though

When sketches are

without heads,

being

Page Six
done
detail

SKETCHING
an additional small

for embroideries,

on the
in the

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
as the
etc.,

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

number

in

of buttons, order that there

the clear

color sketch; sometimes opaque paints

may be no confusion when

making the finished sketch
at

are substituted.

(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

6.

makers' sketches are from

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

of paper.

Hats.
also

Much of what
in

has just been stated applies

sketching

hats.

Care should be
of the

Wide margins lend

tinction.

dis-

taken to express the most

characteristic side

Some of

the well

known

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

hat; in other words, catch its "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 name on your sketch as
well as the texture, color,

When posbest to have

for

some one pose

insure

you

to

the

right

angles.

and detail. The name of the design always enhances

the
value
of

See Fig. 12. Before going into this

further,
15,

consult
17.

Section

a
By William
FIG. 9.
Gebhardt

page

sketch.
these

Always place
on
the

sketches

Theatrical design.

Theatrical designs and sketches are carried out in

paper according to the Greek Law, i.e., most margin at the bottom of the paper. When making a finished sketch of this kind, a pretty pose should be chosta, and this should be thought out and
practically finished in pencil; then draw in the garment carefully before putting

the
in

hats
tion
7.

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

permitted. Accessories.

In

See Fig. 9. connection

with

sketching, the student would do well to pay attention to accessories such as col-

SKETCHING FROM LIFE

lars,
shoes.

Page Seven
on the paper, and where it is to end, leaving good margins

sleeves and
It tends to

much greater facility

on the part of the
student to arrange
these

(more

at

the

according the Greek Law

to
of

bottom than top), and block in between

these spaces.

After-

proportion, page 27. For suggestions

see
Fig.

11

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

on

this page.

Sketching from Life. Sketch ing from life is strongly

8.

advised; drawing from the nude is of

When doing rapid sketching to catch the action of a figure in motion, indicate
the position of the head, hands, and feet and fill in the rest.

great advantage when done with understanding.

Courtesy of Gerhard

Mennen Co

In

all

FIG. 10.

Crayon drawing.

sketching and drawing it is advisable to

Excellent practice is obtained in doing

five,

seven, ten, and

block

in,

or in other

words, sketch with light lines the general

minute poses from the nude or

fifteen

draped model.
These quick sketches

proportions, using tentative or trial

lines

often

afford

good

and "feeling
See

action poses that can

for" the form.

Figs. 15, 16, 18, 19.

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

never

in assisting the student to obtain a professional touch

your attention
outline,

and

on the

but
the

rather on general
proportion,
or
result will be unhappy. See Fig. 17. Decide where your drawing is to begin

an individual More and

stress
is

style.

more

being laid

on the well-drawn
figure underlying the

FIG. 11.

Shoes drawn by Elfrida Johnson.

fashion drawing and too much emphasis

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

SKETCHING
"When
drawing from
life,

it is

a good

plan to put yourself, iri the same pose as the model; that is, imitate as well as

study of hands and feet, as these

play an important and telling
part in fashion work. See Frontispiece
10, 27,

you can, the

ac-

tion, the disposi-

tion of the limbs,

and the pose

the
head.

of

This

and Figs. and 28.

it will mimicry only be that some-

times, as

you

will

The student is advised to make copies, by way of

study,

find that different

hands
poel's

in

from the Vander-

persons have different ways of

carrying themselves,

Human Fig-

and you

and then to studies It is from life.

ure

make

important in this work to observe from which side

the light
ing.
is

can perhaps only approximate the pose of the model will give you a
better understand-

ing of the

comFigs.

(See
29.)
is

28 and
It

practical

pose and impress itself on you mentally and further the work of picturing
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,

etc.,

and afterwards to draw

this

counterbalance,
incline the other

from

sketch
figure,
Courtesy of

another

way; and the head

N.Y.
Globe

copying the pose and keeping the action, but refining

it slightly,
r

FIG. 12.

An example

of hat illustration.

again to preserve the balance, tilts

away from
shoulder.

the
the

to make an attractive fashion

falling

This

applies

to

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

greater part of poses. Sometimes, though, models deviate from the general." This

Lutz,

in

his

book

entitled

Practical

Drawing, wisely says:

valuable advice work.

is

to

observe in your

SKETCHING FROM LIFE

Figs. 13

Page Nine
in clear
is

the same kind of sketch.

in a realistic

and 14 show two treatments of Fig. 13 is done

way, in Fig. 14 the convenis used. In Fig. 13 light

tional

method

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

FIG. 13.

Complete dressmaker's sketch done parent water color.

in trans-

FIG. 14.

Courtesy of Henry Block. dressmaker's or manufacturer's sketch

in

tempera

colors.

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
*

of being able to be worked over. It is best to avoid shading, and to keep to 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

Courtesy of the Prang Co.

Courtesy of the Prang Co.

PIG. 15.

First stage of sketch of dog.

r

Pic. 16.

Second stage of sketch of dog.

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

The

centrating on any
one part
finish
in detail; re-

this

membering never to
j

one part before the other parts are thought out. Fig. 17
shows the danger of your attention on the outline. It is

life,

from memory,

chicing, or even copy-

'

fixing

and that is getting the general proportion and action of

ing,

cJ~'
Courtesy of the Prang Co.

always advisable to block in. (See Figs.

15 and 18.)

the whole, before con-

FIG. 17.

Incorrect

way

to start a sketch.

Courtesy of the Prang Co. FIG. 18. -First stage of sketch of boy.

Courtesy of the Prang Co.

FIG. 19.

Sketch of boy completed.

DRAWING WITHOUT MODELS CHAPTER TWO

CHAPTER TWO
9.

DRAWING WITHOUT MODELS

using one inch as the unit of measure. This gives the height of the figure. Mark each of these divisions with a dot. The
figure
tions;
is

ure.

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

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

See Fig. 21. To construct this figure find the centre of the paper, through which run a vertical line.

divided into four important sec-

sometimes

called.

To
we

the head, torso, arms, and legs. keep the drawing as simple as possible
will

have to
it

start,

in

some

detail,

The head

is

the unit most useful in meas-

with the head,

being our unit of measure.

Drawn

6j/

Reta Senger.

Courtesy of Good Housekeeping.

FIG. 20.

Editorial featuring infants' wear.

uring

the

instance,

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

this

for

convenience' sake, one inch long. (The dimensions we 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

cause

in

most anatomies, bea

to
is

below the

first

third just established,

off

constructing figure use in fashion work, where slimness

we

are

draw a
length

light horizontal line of indefinite

and mark

on

it

a distance

the chief requirement.) Mark off on this line seven and one-half heads, in this
case seven and one-half inches, as

equal to a little less than two-thirds of the one-inch vertical line and so spaced
that the vertical line exactly bisects the

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

points that divide the vertical line into thirds give the eyebrows and the tip of horizontal line drawn through the nose.

on the shoulders. The second "head" or unit of measure Curve the line ingives the bust line.
where the neck
sets

dicating the bust section. The third "head" gives the placing of

a point one-third of the distance between the eyebrows and the tip of the nose marks the centre of the eye socket, and a
line drawn through a point one-third of the distance between the tip

the abdomen.

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

horizontal

the waist
of

line.

Indicate

the nose and the base of the oval marks the centre of the mouth.
of

the figure comes slightly above the fourth head, this is also the end of the torso. The line of the
centre

The

Divide the horizontal eye structure line

into five parts; the middle space represents the width of the nose, and the nearest

hip is halfway between the third and fourth head. Establish the width of the hip line by verticals from the shoulders. 11. The Legs. The knees come half-

Guide lines parts on each side the eyes. dropped from the centre of the eyes, vergive 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
tically,

way between
of

the

feet.

the hips and the soles of The ankles come at the

seventh head.
is

The width

of

the ankle

one-third the width of the hip line. The inside ankle is high, the outside ankle
low.

other words, from the line indicating the eyebrow to the line indicating the end of

The

calf of the leg is

about one-half

the nose. Continue

the width of the hip, the outside calf of the leg is higher than the inside calf.
12. The Arms. The length of the arms, stretched out horizontally including the shoulders and the hands, equals the length

down
line

the bisecting vertical line one-third of its length, to establish

the pit of the neck.

Draw

a horizontal

through this point. Drop guide lines from the base of the ear to this line. Connect the extremities of these guide lines with arcs curving slightly towards each other, thus giving proper expression to
the neck.
10. The Torso. Three-quarters of the length of the head gives the width of each Cut the disshoulder and of each hip.

of the body. The wrist comes at about the end of the torso. The elbow comes

at the waist lines.

The

pit of the

arm

is

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

one third each shoulder. With these measurements 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. After the proportions are well understood, the figure and head may be turned in other positions; for this the "tooth-

Connect
in

this point

made

marking

the

with the point width of the

this
line

shoulders.

The

point

where

THE FIGURE

Page Fifteen

PIT OF

ARM ONE-THIRD WIDTH OF SHOULDER

IST

HEAD

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

SHOULDER LINE oa PIT OF NECK

ONE-THIRD HEAD

BELOW CHIN

BREAST LINE

WAIST LINE

ONE-HALF WAT BETWEEN 2ND AND 3RD HEADS

ELBOW LINE

ABDOMEN

HIP LINE ONE-HALF WAY

BE-

TWEEN 3RD AND 4TH HEADS

-END OF TORSO A

LITTLE ABOVE

4TH HEAD WRIST LINE

KNEE LINE
OF FEET

is

ONE-HALF WAY

BETWEEN HIP LINE AND SOLES

ANKLE LINE

SOLES OF FEET
D.-awn by Gertrude F. Derby.

FIG. 21.

Construction of fashion figure without model.

Page Sixteen

DRAWING WITHOUT A MODEL

Courtesy of Vogue.

FIG. 22.

Modern

fashions

by Helen Dryden which show

influence of

Kate Greenaway.

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.

ities

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. The chart in Fig. 24 illustrates the proportions found in various stages of devel14.

shown

the beginning of the eighth year. Third, in breadth from the eighth to

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

the tenth year. Fourth, in height from the tenth to the fifteenth year, when the youth gets
lanky, thin and angular; this is the period when the hands and feet look too big.

fourth times into the height; at seven, approximately six 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
eight times.
it

Growth then continues womanhood.

to

manhood

or

Children's heads, therefore, should be noted, are larger in proportion than those of the adult, the eyes are wider apart, the nose shorter, and the

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 make them developed, which detracts

from

their

childlike

charm

and

makes

lips

Fig. 24

somewhat fuller. See Fig. 22, also and Figs. 20, 94 and 95. Professor C. H. Stratz of The Hague,

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

them look

Heads and
and
also

Faces.
is

The

general

Holland,
*

who

is

one of the greatest authorillustrated

shape of the head

Scott,

that of

an oval
"

See

Caroline

Happy All Day Through," Hunt Rirumer.

"

by Janet Laura

"

Figure Drawing for Children

by

HEADS AND FACES

Page Seventeen

FIG. 23.

Showing construction

lines that help in

drawing heads.

with the greatest width at the top;

ob-

serve this, too, in side, three-quarter and back views of the head. The eyes are
in 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

Courtesy o]

Year

4 Years

7 Years

10 Years

15 Years

Home Pattern Maturity

Co.

FIG. 24.

Proportion of figure at different ages.

Page Eighteen
level

DRAWING WITHOUT MODELS

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

with the nostrils. This forms a never-changing axis on which the head

up and down. Note how the features are located in these changes, and how the foreturns

shortening
plified

is

simof

by means

In method. 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 and other construction lines.

then

suglip,

gest the lower

shade the upper

the head
up, we chin and
lip,

When
is

which

is

always

turned

darkest as the
lower catches the

see
less

more

forehead; when

turned down, more forehead and less

chin.

The eyes

are

light, and you have the mouth. Never make a hard line around the
as it destroys the flesh-like qualSee Fig. 25.
lips,

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

ity.

A triangle is helpful

in dividing the face into

In making the eye, always hold the pupil in by the line of the lid. Block
in the head, ears, hands,

and great care should be taken not to

planes,

and everything before

putting in the detail. Hair should be expressed
in

ignore the cheek, jaw and chin bones. Observe that

cheek bones come 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,
the
slightly

waves of

light

and dark,

not by single lines (unless

you are making a decorative,

unrealistic

drawa

ing).
face

Never draw

clean-cut line between the

and forehead, because the hair in many places

sketch in

the sides, and

FIG.

blends in with the tone of

extend a line suggestive of the planes. Afterwards everything can be

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

HANDS AND FEET

16.

Page Nineteen
The next
step
high,

Hands and

Feet.

should be a careful study of the hands and feet. The drawing of these is simplified
first

ment.

using the Greek Law of arrangeIt is well to use real shoes and

slippers for models,

by looking for the and blocking them in.

28.

large

masses

drawn examples to
ally rendered.

See Figs. 27,

but study also wellhow they are usuNotice how the inside of
see

10,

and

example, in ing the hand, determine the relation of

the length of the fingers to the palm,

For draw-

the foot is straighter than the outside

line,

which has
Ob-

some curve. serve also

tow
than
line,

much
line of

shorter the

and where the thumb comes in

relation to the
fingers.

the inside

of the shoe is

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

outside ankle.
It is -well to ob-

splendid illustrations of both hands and feet that the student would find
it

propriate

what is apand to select shoes of

serve
different character.

There are shoes for

shopping, for after-

One good way studying them

to

helpful to study. of
is
FIG. 27.

noon, for evening,

Study of hands by Albert
Diirer.

make

careful

r travel, for sport.

and

You

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

must .select the

dress.

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;

is

work,

and should likewise receive the

careful attention of the student.

good

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

to group five or seven pairs of shoes, including sport shoes and slippers, in different positions on a sheet of bristol

way

is

In these days we cannot make

skirt cover

the

board about 11 inches wide by 14 inches

up bad drawing

of the feet

Page Twenty

DRAWING WITHOUT MODELS

Courtesy of The Inland P,

FIG. 28.

Construction of

Hand from

"

Vanderpoel's

Human

Figure."

ARMS

Page Twenty-one

Courtesy of The Inland Printer,

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
"

Fashion that
feet
little

manner

as running (limbs ready for the

Her
Like
if

beneath her petticoat mice steal in and out,

next
feet

but with the

in

off

the

As

they fear the light."

jumping.

ground as See Fig. 31.

is

17. The Human Form Reduced to its Simplest

Jumping
but

best

shown

with the feet

off

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

gathered preserve poise and ready to

alight safely.
FIG. 30.

the ground together to

See Fig. 31.

by observing the
Walki ng.

following facts in connection

Running.

stick stands when balanced on one end and also

with

toothpick
:

when supported
on each side as shown in Fig. 31.

figures

The trunk,
thigh,

and
the

leg are

The body may

be bent
at

each about onelength of the body withthird

the

hips so as to bring

out the head and

neck, though the trunk is a trifle
FIG. 31.

the head over either foot and

maintain an upright position unStanding.
til the weight of the body is bent beyond the line

the longest.

trunk
of the

is

The about

Leaping.

Jumping.

twice the length

head and

of support,
it

neck.

The elbow

reaches to about

the waist and the

when must come to the ground as shown in Fig. 32.

ures,

hand half way

down
the thigh.

FIG. 32.

Illustrating balance.

Kneeling figleaning

Walking is best deon paper when both feet are on the

scribed

back, make it necessary that support be given behind as shown by the

vertical

ground, though in reality the greater part of the

dotted

line

in

Fig. 33.

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

The student
FIG. 33.
Illustrating balance

should

Running is best shown when one foot is on the

notice that a straight line extending from the neck

to the floor

comes

just
is

ground, though in reality much of the time both feet are off the ground. See Fig. 30.

between the feet

when the weight

legs.

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

figure

on these foundations to

acquire

supporting the figure

leg.
is

On
in

the other hand,

when
line

See Fig. 34. In Fig. 36 is shown a seated figure; the stool is the principal part of support,
action.

action, the

plumb
legs,

from the neck falls between the viding a proper balance; when

pro-

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

this bal-

ance is destroyed, the figure either has to be leaning against something or it falls to the ground. See Figs. 32 and 33. After
studying
these,
it is

35,

36 and 37 are given as

well to build

the

the use of the toothpick construction in giving action to the human form.
of

Courtesy of Vogue.

From a drawing by Helen Dryden,

in

which

pencil,

wash

and ink were used, on a rough texture paper.

METHODS
CHAPTER THREE

CHAPTER THREE
18.

METHODS
In the sixteenth

The Greek Law.

These same proportions

may

century, in the days of the Renaissance in Italy, Leonardo da Vinci with other artists

tically applied in clothing to tucks,

etc., as illustrated in Fig. 39.

be prachems, Suppose a

worked out, through study of classic art, an ideal proportion which is commonly

line

is

drawn

six

inches

long to repre-

sent a muslin skirt.

Divide by the Greek

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

ments, such as the half, third,

fourth,
easily
etc.,

so

in

measured inches and

easily grasped

by
In Advertising
tices,

the mind, this law supplies the idea of a consistent variety, so fundamental in all artistic things, stimulating the imagination and lending interest to the object. Thus, if an oblong is divided

Its Principles

and Prac-

published by The Ronald Press Co., the following statement is made:

"This Greek
times
crudely

Law

horizontally in half, the equal areas will be found both mechanical and uninteresting, see (a), Fig. 38.
if

stated

of proportion is someas the ratio of

is

5 to 7 to 11.
correct,

This

somewhere near
to
to

On

the other hand,

is

and

the difference in areas

great, as in

work

with.

perhaps near enough In applying this ratio

(6),

Fig. 38, the sizes are too incomparable

to be satisfactory.

In

(c),

Fig.

38,

the

the margins of a page it will clearly be seen that the widest margin, or 11, should

oblong has been divided into thirds and then into halves, and a point found somewhere between one-third and one-half,

appear at the bottom, the next widest,

at the top, and 5, the narrowest, on either side in all vertical comIn horizontal compositions of space.

or

7,

alike

by the heavy
line to

through which to draw a horizontal, shown line. It will be seen that the
relation of the areas

above and below

this

positions the widest margin should still appear at the bottom, the middle size

each other are neither mechanical nor monotonous, but subtle and interesting.

at the right and the left, and the narrowest at the top. This is so that the

Hem

Muslin Tucks

HH-HFIG. 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. "Not only should the Greek Law of
areas

their unlikeness, satisfy us.

(4)

when one

Spaces are most pleasing together, is 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

individual treatment, but avoids inharmonious lengths

or sizes placed to-

various parts or
paragraphs
of

gether.

the

In other words, when two

lines are in

copy within the When it is space.

possible to

good relation to each

other,
line is

do

this,

the

shorter

doubly There is pleasing. also often a chance

to apply these pro-

the effect

is

between onehalf and two-thirds

the length
longer
line.

of

the

portions to the blank space between different parts of

the

The Greek law

be applied to the margins of draw-

may

copy display.
it is

When
added

possible
Drawn by
FIG. 40.
life.

ing papers as to folds

Esther

as

well

and coat
best
of

to do so, this has an

value.

Wegman.
FIG. 41.

lengths.
Costume sketch
sketch.

The

Not
is

Quick sketch from

enough attention

made from quick

arrangement

paid to the relative widths of these blank spaces. Blank space is often more eloquent

than copy."

lay-out is the lower edge, the next at the top, and the smallest at the sides; while for a horizontal

margins for a vertical to have the greatest width at

Summarizing the above

to be noted that
(1)
:

briefly,

it

is

Mechanical

divisions

are

in-

artistic.

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.

(2)

Sizes too unrelated, such as a very

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

relationship in things that emphasize each other's difference.

Design is and from the which make

the

selection
start of

for

and arrangement, any work the details good design should be

kept in mind.

near enough alike to be easily compared by the eye and yet

(3)

Areas or

sizes

name and

of the plan.

If it is school work, even the lesson should form part 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 corners,
lines

Page Twenty-nine
the printed page
(for
is

given to the artist

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.

less

or setting should be intense than those

forming the object shown against them.

The
less

The first step is to enlarge the dimensions to a convenient workIn doing this, size. the original proportions must be kept. The ening
FIG. 42. Rectangles Enlarging and reducing. f having the same fin( as a common diagonal are in

larger the area the intense the color

should be;
.
.

the smaller
i

the area the more

intense
be.

the

color

may

larging is done by means , , rn of a drawing board, T.

or

In order to have two more shapes hold together for unity, the space between must be less than the
smallest of these shapes.

proportion.

square, ruler and

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

shapes.
19.

paper, straight across, using the T-square, the

ductions.

Lay-outs and ReLay-out is

head

of

which

is

held

the technical

name

given to the composition of a catalogue

page, and the drawing of the figures which

against the left edge of the drawing board. Next measure in, let us
say,
left

two inches from the

side of the paper, vertical

and draw the

line

go on

it.

It

is

also ap-

against

the

edge

plied to the grouping of any objects to be put

in

FIG. 43.

The rough

lay-out.

of a triangle, the base of which rests against

a certain given space, whether for magazines, booklets or newsThe height and width of the papers. space which the lay-out is to occupy on

the upper edge of the T-square blade. At the left-hand upper corner, measure seven and one-quarter
inches to the right and eight inches

down

Page Thirty
with the ruler, using the triangle to percomplete this little rectangle; then
interesting
45,
effect
is

METHODS
obtained.

fectly

draw a diagonal and determine the height desired for working out the lay-out and
extend

the original size of which inches wide by 17f high,

was

See Fig. 12|

a horizontal line wherever

this

Each line bounding the lay-out should be touched by some part of some figure.

horizontal touches

The
out

better the layartist the less

the diagonal, erect a perpendicular and

the dimensions of the large and small

rectangles will have

space will be wasted. It will be found

advisable
to give the centre to the

the same proporSee Fig. 42. tion.

figure with the

darkest clothes, as

Catalogue pages often go through

many hands before

they come out a
technically finished

found most agreeable to the eye, and also sets

this is
off

the other

fig-

product, photographically perfect but often stiff, inartistic

ures to advantage. The law of perspective requires that, if there are

teresting.

and uninThere is

smaller figures, these should be

nearer the top of

often a special artist who does

nothing
figures

the page.
effect
is
;

The

but

lay-

outs, grouping the

like a staircase when one

stands below, those

and planJohn Wanamaker.

ning the page as in Fig. 43; another

Courtesy of

at the top seem smaller than the

people nearer the foot of the stairs.

who makes
of the

sketches

FIG. 44.

Conventional Catalogue drawing.

The combined

garments; another who draws them on the

another

work

of several artists.

laid-out

figures;

who puts on the large washes; another who does details such as lace and embroidery; another who finishes the heads; and still another who
finishes the

For the principles of general composition which underlay all design, the student
will find it helpful to

read Pictorial Com-

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

by Henry A. Poor; Principles of Design, 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
position,

MECHANICAL HELPS
cuts to results

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

and

sidered, such as

effects 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
in Fig.

used

to

obtain

effects

with this
first,
is

paper.
.

See Fig. 48.

s-

In the
tained

the

stipple effect

ob-

49 of some
,

by rubbing

of the complicated
textiles

the pencil over the

and

half-

plain white and

the raised surface, which in this case

tone effects obtainable in the line cut

or ink drawing.

consists of dots.

When Ben Day

is

These catch the

lead and a stipple
effect is the result.

desired, the
it

places where

is

to be

used are

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

colored with a blue

pencil or blue
water - color

wash

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 Ben
rest.

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 Wanamake: Catalogue drawing, the work of one artist from

difference

Notice the between

these and Fig. 50,

start to

done by hand; observe particularly the When two or greater irregularity of line. 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 a stencil (tracing paper fastened down with rubber

Page Thirty-two
is convenient). First, dip the toothbrush in a saucer of ink, hold it facing the paper and about three feet away, and draw the edge of a penknife or the handle of a pen or brush over the

METHODS
The
for
silver

cement

print
this

method

is

often

used

making For shoes.

line cuc

or pen drawings of purpose a silver print

bristles toward
you, letting the spatter fly onto the
drawing.
little

IHHHiibe

With a

practice this

can be done very skillfully. See Fig.

47.

photograph is made in a size convenient to work over on Clemmon's plain salted paper and mounted on cardboard to get a smooth surface for drawing. Outlines are then carefully traced with
the usual drawing pens and India-ink, doing deep shadows
first

The texture

of

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 paper with a tooth, such as a
charcoal
or

a saturated
mercury.

solution of bichloCourtesy of
(

of

FIG. 46.

Drawing on Ross Board, reduced high by 7" wide original.

This leaves the pen lines clean and

perfectly white sheet of dry, the result should be

other

rough

paper.

See

sharp
paper.

upon a

Fig. 45. The air brush gives either

When

an even or a

varied tone, as desired, and in the doing of half-tone shoes it is found very useful.
It
is

compared with the original photograph and touched up where necessary. See
Fig. 52.
21. Tracing. Tracing is often found necessary and is a time-saver in doing repeats, etc. Graphite paper gives a

really

by

its

an atomizer run by pressure, and 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

better

line

in

transferring

than carbon

covered.

Frisket paper, which

is

thin

paper.

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
clean surface.

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

doing the transferring through the

carbon.

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.

4o. 333-

9*

No. 334-

A x I4J4.
1

No. 335.

9J4

x 14%.
of

No. 336.

Ax
1

No.

338.

6% x 11.

FIG. 49.

Some samples

Ben Day.

Page Thirty-four

METHODS

FIG. 50.

Stipple

work done by hand.

Stipple, which takes a long time, is done by dots made with the point of a When a flat tone pen.
effect is desired, it is often

of a head,
tion,

how much
in the

ac-

what varying humor,

may be found
in

way

which a head is perched on a person's shoulders.

produced by sets
circles

of

little

boy

whom she has

running into each other. If See Fig. 51.

large dots are required,
will
it

portrayed, Fig. 57, holds

his

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
with
life

and

interesting

in the little chap, the

can be obtained in this manner. See Fig. 50. 22. Silhouette. In doing silhouettes the following statement made by Miss Harriet Lord,
FIG. 51.

unusual quality of his

attentive attitude fostered

by some engrossing
terest outside.
Detail of stipple.

in-

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,

permission has been secured to

and

her

for

in

many

quote
has

it:

persons profile means it is the eyes little;

or something in the

"Perhaps

no one

demonstrated more clearly than

Miss

drawing of the
face that
is

full

indicative

Lord the imFIG. 52.

Adams.

portance of the pose

of the true personality. 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 this

Little points
little

must be

re-

"And

membered such
girl,

then, too," explained Miss Lord, "one is startled

Fig. 58.

You
is

how much each line and

to find

see her hair

curve of the face

down

her back, but I have allowed a spot of light to shine through

to give the outline in suggestion
of her neck.

means.
is

Nothing
upturned

ignored and a

slightly
lip

the touch that gives an unmistakable

may be

Not

note of character-

to have done this

ization

to the
silhouette

would have made an awkward line and, more important, a line that

cutting or inking."

The
is

a very quick

was not
tory,

satisfacit

for

al-

method of gaining an effect, being merely an outline

300S7D
r

most hinted at a falseness or apparent abnormality.

FIG. 53.

sketch, usually
profile,
filled

300S69

in
ink.

Courtesy of John Wanamaker.

with

black

The

Catalogue page.

chair
58.

on which a person is seated must be examined, for it must not melt into the
person's

White

is

See Figs. 57 and sometimes successfully added

as in Fig. 56.

And

it

with puzzling results. figure is 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 the clear outlines of the

sharply defined;

With a compass measure from Ellipse. to B, Fig. 59, then put the compass
at

drawing coming directly against the paper on which it is reproduced.

Fig. 69.

C and

strike a circle as indicated

by

the dotted line from

D to E.

Where the
the

vignette is

sil-

circle intersects

houette

having at the base or behind the figure, or in

horizontal line at

and E, place
See Fig.
60.

pins.

Also

some part

of

the

design of the figure, a wash that disappears

in

at the point C stretch a thread

from
C,

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."

around tie at C. Remove the pin at C, and, holding the

EtoD

and

pencil perpendic-

ularly, describe
collec-

marking its edges, which end in an indefinite vagueness (such as the veil ends) and the shadow background. See Fig. 63.
23.

the ellipse shown, see Fig. 60. 25. Swipe Collections.* Swipe
tions
is

the commercial

and expressive

Construction of the Circle. It is understood that a circle is made with a compass,

term and

for
this

what most
is

artists call documents,

one of the most important

list

items under the

sists of

of materials.
all

It con-

and an ink

circle usually

examples clipped from

sources-

with a ruling pen.

In

catalogues, booklets,

magatech-

speaking of pens, we might say here that

there are

zines

and newspapers
different

illustrating

many

kinds of

nique and the expression of

Courtesy

ofN.Y.

Tribune.

lettering pens, which will be found serviceable, when such work is reGood books on quired. 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.
24.

numerous
stripes,

textures,

plaids,

vel-

vets 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.

* In classifying

Constructing an

Courtesy of N.Y. Tribune.

Copying

IS

FIG. 58,

Silhouette
:

by Harriet Lord.

documents for reference in boxes or envelopes, these headings will be useful Men, Women, Children, Animals, Flowers and Fruit, Outdoor Scenes, Furniture and Interiors, Decorative Subjects and Page Decorations, Color Plates and Booklets.

TEXTURES
one way of studying, but is advisable only when done with intelligence. See
a "swipe," Figs. 61 and showing a case in which one drawing suggests the pose for another.
illustration

Page Thirty-seven
alternate square spaces with black.
Figs. 67, 68

See

of

and 93. Dotted and flowered materials should

62, 63

and

64,

not be expressed in a helter-skelter manner, but, for satisfactory results, should be

26.

Textures.

In illustrating
black material in

thought out in an orderly way,

using imaginary squares or dia-

pen and

ink, con-

sideration

must be
tex-

monds
dation.
7, 8, 68,

for a foun-

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

velvet, with little

keep their transparent quality,

shimmer. The supporting points usually

or no

by a
FIG. 59.

usually expressed delicate line.

Chinese white, when used discreetly,

is

catch the light, and it is here that

the whites are
or put
in.

often

helpful for this

purpose.

left

The

Laces and em-

trimming has to be kept light, to

broideries

are

carried out either

show the
66.

detail.

in detail or in
sketchy way, according to requirements. When the

See Figs. 65 and

Stripes and
plaids

are both

drawing is needed
to

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 be greatly simplified for reduction, and care must be taken to give the general effect in the

must be given than when ad-

vertising the pattern of a dress in which any kind of lace can be used. See Fig. 72.

When
in

the lace

is

to be done for reproin other words,

most

telling

way.

See
small
in

duction in half-tone

when

Fig. 67.

Shepherd
often
in

plaid,

when
and

carefully

done,
cross

is

made by drawing
pencil,

stripes

filling

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

wash drawing

in

Page Thirty-eight
the lace is worked out in Chinese white over this dark ground. See Fig. 68. Wash work embroidery is also done with Chinese
differs in

METHODS
bination
Fig. 71.

of

the

two being

used.

See

To express textures well, the student should cultivate

them.
serve
shops,

white, but the background tone according to

of the

a love and appreciation for It is good to handle

the sheerness, while the

pattern is indicated by heavier lines on the shadow side. Forsolidity

them, study them, and ob-

them
in

at

home,
street,

in

the

at

tunately, even in catalogues better character, of the

museums and in pictures, noticing the

plays, in

more

is

being

left

to

the

imagination, giving a
less stilted effect.

much
plaits,

weight they have, the folds they make and the lines they take. Still-life studies
of

Side

plaits,

box

them are helpful. Very interesting for the

tucks, gathers, etc., are all

drawn the way they

really

look in realistic drawings. See Fig. 7 for decorative

treatment.

study of drapery are the drawings of Albrecht Diirer. See Fig. 109. Observe the

They

are also

supporting points. Of course there are many different

as,

made
and

simpler, see Figs. 70

is

methods of treatment
example, the

71.

for

way

expressed by a straight line or a line of dots, though there are sevStitching

eral

one would treat a decorative

how one would

istic one.

drawing as opposed to treat a realSee Figs. 70,

different

ways

of

making them.
Fig. 7.

See

71,

and

72.

done in masses of lustrous dark and light with a soft irregis

Fur

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

used

medium
It

in fashion

ular edge, avoiding too

work.

may
as,

be

di-

"liney" an

effect.

The

vided into several

headings
zines,
Courtesy of Gimbel Bros.

treatment, in fact, is much the same as for

work

for

newspapers, for maga-

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

and for

catalogues.

FIG. 62.

The

adaptation.

drawings
rendering

many
are

different

ways

of

For

instance,

these again may be subdivided into groups. there is the pen-and-ink

style.
is

And

used,

sometimes dots,

sometimes a line, and sometimes a com-

newspaper proper

This

by the newspaper and

is paid for often done in a

PEN AND INK

broad, bold way with no particular attention given to seams or texture.

Page Thirty-nine

This

is

also

known

as

editorial,

be-

cause under charge of fashion editors. See Fig. 73.

is newspaper pattern drawing. paid for by the pattern company, and here more attention is given to seams, tucks, darts, and the like than See Fig. 76. to texture.

There
is

This

Again there
tising.

is
is

This

department store adverpaid for by the de-

Courtesy of Gimtxt Brot.

FIG. 64.

The adaptation.
store,

partment

and here seams

are ignored and attention concentrated on texture, and expression of the style. See Fig. 77. This is

sometimes done in a more general illustrative way, as in headings, or for a service, when the same illustrations are used in stores throughout the country; then the
idea
is

way.

expressed in an See Fig. 78.

abstract
often

good deal of space

is

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-

Covrtesy 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

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

pen-and-ink drawings and the true. See Figs. 70, 71,

because, in the great care used to

detail,,
is

show

every seam and

much of spontaneity
often lost; nevertheless

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

re-

production, can be obtained. See

derwear, Fig. 82, but which

still

Day

Ben Fig. 81. is used with

magazines. See Figs. 79 and 97.

seems very

great success in

stereotype in comparison to
Fig. 97.

In the best

or

Decorative, more or less

pen-and-ink
work
logues
for

unrealistic tech-

cata-

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 detail,

but

to express the general characterist'cs of the

garment and its special charm.

drawing,

used in pattern be-

cause of the exactness usually required for this

Courtesy of Globe.

good example

isgiveninFig.72,

which was used

for catalogue and

type of work. This decorative

also

magazine

FIG. 65. Illustrating dull black material.

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

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

permitting

of a

PEN AND INK

Page Forty-one

Courtesy of Stern Bros.

FIG. t7.

Lay-out illustrating methods of rendering,

stripes, plaids, checks, etc.

Page Forty-two
naturalistic work,

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

where mistakes
are

sometimes

hidden.

In this decorative
of

work beauty line and in-

Aubrey

Beardsley and
should be studied

teresting spotting
is

given great

by the fashion
artist.

consideration.

The effect is obtained by the

fewest lines possible,
this

See Figs. 70 and 71.

** *
*

Headings and
page decorations
are often required

and very
work
*

interesting
of

by the department
*
store fashion artist,

type can be found in penand-ink, wash and

color.

This style
first

of

work was

*** *****
*; *

see

Fig.

84,

and here is the place where good ideas are at a

made popular by
Aubrey Beardsley, see Fig. 85, and the student would
find it profitable to see his illustrations of Sir Thomas

premium.

For

this reason, other

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

something plausible

Mallory's Morte
d' Arthur,

Brunel-

leschi's

illustra-

and catchy worked up. The same thing holds

true of

tions of

La Nuit Venetienne, and

et les

feature

cuts or, in other

Les Masques

words, white
sales,
silk

Personnages de la Comedie Italienne,

sales,

toys, etc.,
these do not

and
want

andKayNeilson's illustrations of Powder and Crinoline.* The drawings of

George
FIG. 68.

to be omitted from the swipe collection not

Barbier (some of

which can be

to Catalogue detail done by Samuel Cohen. " illustrated Andersen Hans Tales * Also by Harry Clarke. by East of the Sun and West of the Moon," a id Fairy

that you are Copy going

INDIVIDUALITY
them, but that they
spiration.

Page Forty-three

may

give you an inwill

straight, even line is desired, satisfactory results will be obtained by keeping the

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

right arm,

from the elbow, resting on the board and drawing away from you. Do
not get your lines
too close
together.

pen most useful. Because of their

firmness,
it is

easier

at first to gauge Afteryour line. wards the Gillott's 290 and 291 pens will be found very

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

Practice

-agreeable to work with because of their elasticity.

Higgins' waterproof ink is useful where

beginning a line dark and ending light and vice versa.

Make your

line ex-

press the soft delicacy of skin (see

Fig. 65), the lightness of chiffon or

wash
and

is

to be

com-

bined with the pen

ink,

but

many

the
line
tell

heaviness

of

people,

for general

velvet.

Make

every

use, prefer Higgins'

you put down

or

non-waterproof and French black ink.

mean somethis requires

thing;
tion.

Use two- or
(or
if

three-

study and applica-

ply Bristol, plate

Compare

Fig.

smooth)
if

finish

for ink alone, kid

82 showing a hard line with Figs. 20,

22,

finish

washes are

70, 71

and

97,

to be added.

good

effects

Very can be
ink

showing a beautiful one, and be able to

tell

obtained

with

the

difference

a brush, see Figs. 73 and 86.

and

and why.
It
is

understood
first
is

large

drawing
Drawn by Reta Senger. Courtesy of Good Housekeeping Magazi A silhouetted half-tone drawing. FIG. 69.

that a pencil sketch

is

board placed at the

made

and

right angle against a table will give better results than the

in afterwards.

put Reproductions in pen and

cuts.

that the ink

board
it
is

flat

best

on the table. Usually speaking, to work from the top down

left to right,

ink are called line

ferences
in

28. Individuality.

There are great

of

dif-

and from

but when a long,

the

make-up

different

Page Forty-four

METHODS
We cannot declare either of these manners good or bad to the exclusion 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

Courtesy of Harper's Bazar.

FIG. 70.

Erie magazine editorial drawing

showing influence of Aubrey Beardsley.

is to find out the method that is most natural to you and improve that to the utmost. Do not be discouraged

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.

thing

The

distinction

is

if

one that

will

modern

art,

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

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

and

INDIVIDUALITY
waiting for you where your particular manner is needed. Too often those in charge of art deis

Page Forty-five
Problem.

On

a one-quarter size sheet

of bristol board, held vertically, plan margins according to the Greek proportions.

partments 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,

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 rightfree

"The

block of granite which

is

an ob-

hand corner draw

lightly,

hand, a

Courtesy cf Harper

FIG. 71.

Magazine

editorial decorative fashion

drawings designed by Erte.

stacle

in the

pathway

of

the

weak

beof

well-related oval;

in the lower left

hand

comes a stepping-stone
the strong."

in the

pathway

corner another well-related oval; in the lower right-hand corner a well-related

One way to cultivate the proper appreciation of beautiful lines is to begin by drawing the simplest kind of forms.
This
is

of children,

certainly advantageous in the case and a teacher of such a class

it

Then, with a ellipse. go over these lightly with as beautiful lines problem can then be

very sharp pencil, blocked in figures This as possible.

repeated with the

would no doubt find

such a lesson as
this:

useful to give out

idea of filling in these spaces with conventionalized designs to be used for belt

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 o) Brooklyn Ea&. 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, Brian, etc. Too much must not be taken for granted about students or beginners knowing just what a good or beautiful line is, otherwise the mistakes
of

before beginning a

trying
is

to
is

mechanical line
reason
it

get a hard, inexpressive, often the result. For that

well to

have drawings made in a

Courtesy of Gimbel 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

comparison idea in view. Wash. Wash is a very useful medium for fashion work, especially where photographic effects are
this
29.

desired,

as, for

instance, in cata-

In newspapers it is not so often used as in magazines and catalogues, because the poorer paper on which the newspapers are printed does not tend to successful reproduction.
logues.
different
Courtesy of Stern Bros.

For magazines, just as there are ways of using pen and ink,

FIG. 74.

fur catalogue page.

so there are three kinds of wash; the editorial, the pattern, and the adver-

Page Forty-eight
tising.

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

These again can be divided into

different styles of work, as the realistic, the

and the decorative. Still again, there pure wash and there is wash combined with pen and ink or crayon. In the editorial type most attention
sketchy,
is is

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

Wash
much

for cata-

logues is usually very

finished

tractiveness

given to the atof the

and

often done without

picture. See Fig. 89, done in a decorative

much addition of pen

and ink. See Fig. 53. These drawings are

way, and Fig. done in a more

alistic style.

90,
re-

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

and the way the

garments are made, and less to the expression of any

reason great stress is laid on the materials

and details. Sometimes wash,

pencil, crayon pencil,

particular kind of material; in other

words, the textural

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 magazine wash,

Fig. 91.

In wash for advertising,

attention

is

concentrated on presenting the

garment to the best
advantage, bringing out its best features and
is

kid bristol and someCourtesy of Home Pattern Co.

FIG. 76.

Newspaper

pattern fashions.

times even
bristol
(

smooth

when only a

its

textures.

This

light flat
will

wash

is

desired) are used.

You

done in a freer, more artistic manner, but often is done in a decorative way except in catalogues. The wash is combined with pen and ink, as in Fig. 92. Yet sometimes it is very 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 to avoid giving your wash a streaked look. The Eberhard Faber green or red eraser is a great help to pick out lights. Often a wash, when nearly finished, has a very discouraging appearance, and sometimes all it really needs is the intensifying of the blacks and some touching up of the edges, buttons and the like, with Chinese white.
effects.

Courtesy of Frederick Loes

-Department store advertising.

mistake
for

is

made, and a large white saucer

mixing black.
satisfactory results are obtained

Most

by having your figure and garment very carefully drawn first, then putting in your darks or shadows and after these
darks
absolutely dry, your large Give very careful study to the texture and the folds.
are

washes.

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

black

for example, how in shiny the dark side blends into the

Sft/

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

FIG. 78.

department store cut service

Courtesy of Dry Goods Economist Co. illustration.

Page Fifty

METHODS
large square

To

practice large washes com-

mence by drawing a

black are obtained

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

be put on over by mixing Chinese white with lampblack; this makes a body color and

Gray

effects to

paper from

left to right;

refill

the brush, taking up the rivulet on the edge of the first line and
repeat the operation until you have covered the square. You should have enough paint mixed

can be put on over dark in the same manner as pure white. If a light streak is desired, for instance up one side of the skirt, run a clean brush with very little water in it up that
side while the

your saucer to finish that square. Very beautiful wash effects are often obtained with
in

wash is still quite wet; this will give the desired

effect.

just flat washes.

artistic

They

are very
of

to

and lovely because

Sometimes a color is added a wash drawing effectively. This is put on like an ordinary

their simplicity and have none of the worked-over look of the

catalogue work.

See Fig. 89.

Courtesy of Vogii

There is always transparency and life to the first wash which

FIG. 79.

Magazine

wash, but for reproduction the using of two See plates and two printings. Figs. 98 and 99. Fig. 93 shows the method of
necessitates

you go over it often. Never be afraid if the wash Relooks too dark.
is

lost

if

pattern drawing.

procedure, or steps, in doing the conventional wash drawing

for a catalogue.

For-

member

that

it

will

tunately this photo-

dry lighter and

resist

the temptation to work on it when partYou must ly dried. keep it clean and bold. Occasionally, stand off from your work and see how it
looks.

graphic method is giving way to a more

artistic one.

Crayon Pencil. Crayon pencil is a fascinating medium. It is used in pref30.

erence to pencil for

reproduction, because it has not the shiny
quality of the usual lead which prevents

Such things as
white dots or stripes on the dark ground

put in Chinese w hite after the dark material

with
r

of a suit are

that

from photowell,

graphing
FIG. 80.

and

therefore from being

is

otherwise finished.

department store cut service

illustration

good for reproduction.

CRAYON PENCIL
Chalk, crayon and pencil, however, are 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

Page Fifty-one
rough paper, and the tooth or roughness of the paper gives an interesting texture to the drawing. See Fig. 45.
In doing half-tone drawings, especially wash, and particularly in decorative work,
.

chalk does not lend itself so

readily to detail,

it is

well to limit

oneself to a cer-

tain

number
or

of

famous as
for its

it

is

tones

values

more

illus-

trative or sketchy
quality.

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

pencils
bristol

how

many
them
pans
is

values are

and

kid

desired,

mixing
much
as

board are

in separate
(as

the proper
terials.

maKneaded

to be needed of

rubber and Eber-

each)

and

then

hard Faber green or red rubber are

useful, also

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

an

emery board pad

to keep the pencil

finished

drawing;
decidedly:

points sharp.
It
is

which
Fig.
Courtesy of Stern Bros.

is

best to

desirable.
89.

sketch the drawing in first with the B pencil and

FIG. 81.

See This
is

simplicity
in Figs. 53,

lost

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

81,

44,

then put the

darkest darks in with the

and

3B and

the

done

more

delicate finishing touches with the

Sometimes stumps sharply pointed B. are used to rub the shadows in, 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 See Figs. 94 and 95. line. Sometimes crayon pencil is used on

in such a realistic the almost- photographic reproduction reBoth simplicity and charm are quired.

which are way because of

lacking

in some magazine illustrations, and much catalogue work where a realistic,

or photographic effect

is

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.

ing, the flat washes being put on over the The mistake, however, charcoal drawing. of mixing these two styles in one drawing

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

keep

must be avoided.
In instructing a class
it is

which
well for the

is

while this

best adapted to that end. But is true he must not let the
is

teacher to give some simple problems to be done in two or more values of wash.

method he
of work.

using interfere with the ex-

pression of his

own

style

and individuality

Many

good examples of this method are to be found in Composition by Arthur Dow.

In doing brush work with ink, see Fig.

BRUSH WORK

Page Fifty-three

Courtesy of

Rawak

Hats.

FIG. 83.

Magazine pen and ink advertising.

86,

it

is

well first to

become acquainted

much
scribed

for

with this
practice

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

is

standing

of

a more comprehensive underthe possibilities there deillustrated.

good spotting

very important, for the finished composition, and the student is again referred to Composition by Arthur

many

Dow, a

careful perusal of

which

will

do

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

and

Page Fifty -four

METHODS
I

THE EVEIVINO M A
WANAMAKER'S
WANAMAKER'S

L,

DECEMBER
WANAMAKER'S

FANAMAKER'S

OTanamafeer Cfjrtetmas g>ale

FIG. 84.

of

Sfeeb $iano anb Diaper =$tano

Courtesy of John Wanamaker.

An

original idea for a musical heading.

illustration.

Etching is a method lately used in fashion Drian and Miss Steinmetz

have both obtained some charming effects in this way, but it is a difficult and expensive medium to have reproduced, and for that
reason

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

not likely to come into general use. The student is recommended, in fact urged, to become familiar with the work and methods used by such artists as Drian,
is

costume designer or

comparatively seldom that the illustrator does much

Soulie, Brunelleschi, Barbier,

Erte,

Lepape, McQuin, Steinmetz, Helen Dryden,

with textile designing, the field being considered somewhat apart, but as a change in these matters appears imminent, it has seemed expedient to include the method
of procedure.

Courtesy of

Abraham

&

Straus.

FIG. 85.

Drawing by Aubrey Beardsley.

FIG. 86.

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

TEXTILE DESIGNING

Page

Fifty-five

that you may clearly understand the part that dimension plays in the commercial

value of a design, we will describe the roller over which silk fabrics pass in the
process of printing: *' The roller is 16 inches in circumference

and three-quarters
Its

of

an inch

in thickness.

width

is

immaterial because the widths

The of different fabrics vary so greatly. pattern to be printed is engraved in the

copper.
color

The

roller .revolves,

takes

up the

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

Width
Courtesy of Women's Wear.

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

TEXTILE DESIGNING*
" The kind and color of paper used
is

in sub-

mitting designs would suggest that white be used and the

immaterial.

But we

ground painted

in.

Tempora

paints are

generally used. At least one full repeat and, if the design be small, two or three

repeats should be shown. The design is a guide to the printer or weaver and must clearly indicate how the artist desires the
finished fabric to appear. " The technique of woven designs
is very complicated, but it is only necessary for the artist to remember that simple figures and few colors are best, that the size of

each repeat should never exceed twelve inches and the repeat is across the web,
not in the length as it is in printing. " The size of the paper, then, would depend 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 three-inch 16. or 15

repeat would register five times on the 15-inch roller;

on a 16-inch

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

16-inch roller; there is pracno limit to the posvariations.

tically
sible

12-inch

(Jourlcsy 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,

surfaces
side,

by the scraper, or doctor at the and remains only in the indented

portions,

which constitute the pattern. The above the doctor, takes up the color that remains in the indented or engraved portions, and registers the
cloth, passing just

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 new pattern. With each polishing a thickness of

copper

is

removed, and the circumference

of the cylinder of course grows less.

When

a cylinder has been used for a number of patterns, the circumference has gradually

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

rawn by E. M. G. Steinmetz. Courtesy of Vogue. FIG. 90. 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
process
roller,
is

I]

used.

cotton

printing

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

designing
for
is

polished until the cir-

cumference becomes 16 inches.

cottons,

When
the

therefore,

repeat must be figured on the basis of a 16- to 18-inch cylinder, correfor silk printing.

sponding to the 15- to 16-inch scale For example, a threeinch repeat could be used for silk or

cotton being divisible into either 15 or 18. On the other hand, a six-inch
repeat could be used only for cotton; it is evenly divisible into 18 but is
Courtesy of CrU-rlon Magazine.

FIG

91.

Magazine half-tone pattern drawing.

not evenly

divisible into

15 or 16.

An

8|-inch 'square is the commercial standard for use in cotton design-

ing for dress goods.

"

A pattern is expensive
to

in propor-

tion

the
is

elaborateness

of

the

engraving and the number of colors

used.
It

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

libraries

suggest that museums and be often consulted for ideas

feel

and we

that the artist

may

Courtesy of Cheney Bros.

FIG. 92.

Characteristic half-tone magazine advertising.

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

Page Fifty-eight

METHOD

Courtesy of Henry Sonci

FIG. 93.

Illustrating steps in

a conventional wash catalogue drawing.

of

sale

great importance in determining the of decorated fabrics. Endeavor to

designs that are beautiful at the same time they
to
certain
definite

a picture, seen on a

flat surface,

but the

make
original

and
are

decoration of a garment which will fall in folds. Visualize your design in the fabric, made up as some part of a woman's

appropriate

fabrics.

costume.

Remember

may be intricate and not beautiful, may even be beautiful and not appropriate. Do not
be afraid to be simple and do not merely
copy.* "

that a design

The chapters on

That is the test of a good design." Color, Design and

Period Fabric Design should be carefully consulted in connection with the mechanical method given above in regards to Textile Designing. For general Theory of Design such books as Design

Keep

in

mind that a

textile design

is

not

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

TEXTILE DESIGNING

Page Fifty -nine

Courtesy of Ladi.es

Home Jour*

FIG. 94.

Crayon

pencil sketches.

FIG. 95.

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.
in

The peasant design must not be overlooked and such books as "A Magyar Nep Muveszete," Molonyay, in four volumes, 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.

Accessories

drawn by

Claire Avery.

Courtesy of Harper's

From an

etching by E.

M.

A. Steinmetz.

COLOR CHAPTER FOUR

CHAPTER FOUR
31.

COLOR
The most
conthe warmest complement, orange, which is the farthest away from blue in the color
is

General Theory.

The coldest color is blue and

its

venient and general theory * about color is that based on the three primaries, red,
yellow,

and

blue.

As

these colors can-

wheel.

not be

reproduced by the mixture or combination of any other colors, they are said to be pure or simple colors, i.e.,
primaries.

Tertiary Colors are those formed by the mixture of the secondary colors. Thus, green mixed with purple makes olive; orange mixed with green makes
the tertiary citrine; and orange mixed with purple gives russet.

The secondary
orange,
green,

or

binary

colors

are

and made by mixing two

together.

These are purple. of the primary colors

The more a
neutral
it

color

is

grayed the more

This mixture forms the com-

becomes.
color
is

plement of the remaining primary. Binary colors are halfway between the primaries

By normal

meant the foundation

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.

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). By shade is meant the dark tone ?f
color (formed by the adding dark or black to a standard color).

any

of

Complementary colors, being directly opposite in the spectrum circuit, are wholly unrelated in their normal intensity.

By

scale of color

is

tion of a series of tones of the

meant the gradasame color

from the

lightest tint

through the normal

They show strong

each other.

contrast

and enrich

See Fig. 96.

A
*

or pure color to the darkest shade. By hue is meant the departure from

color

mixed with

its

complement

makes gray.
Another Theory: There
is

another color theory which

the original scale of a certain color, to a greater or less degree, by the addition of a comparatively small proportion of

declares the elements of color to be red, green, and violetblue. This is based on spectrum analysis instead of

another color.
color sphere;

For hue think around the

pigments and is preferred by some authorities. It changes the color 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.

the even steps between the binary and adjacent primary in the color sphere is called the hue. Thus the step

Munsell.

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), the on its spectrum. place change By intensity or chroma is meant the

To change a

color to

lightest, violet darkest, in value. yellow Likeness. Harof 32. Harmonies

monies of likeness
1.

may
i.e.,

be
a

classified

as:
dif-

Monochromatic,

group of

ferent tones, values or intensities of one

Drawing by Reta Senger.

Courtesy o/GooH Housekeeping.

FIG. 97.

Editorial magazine fashion

work

in

which color Ben

Day

is

used.

strength
intensity

or

brilliancy

of

a color.
or across

For
the

color.

This

is

sometimes called a one

i.e.,

think

inward

mode harmony.
2.

To change intensity, add the complementary color; in other words,

sphere.

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
i.e.,

of Difference.
4.

The harComplecolors

Three parts

violet

and one part yellow

monies of difference are:

mentary,

(a)

makes a neutralized
halfway between
is

two complementary

violet or gray-violet violet and gray. This

together with some unifying element, by the mixing of the one with the other or by mixing a little gray with

used

true of the other colors.*

35.

The Color
which
is

Chart.

To make
yellow,

a color

circle

composed
colors,

of the full inred,

both.

tense
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
(&)

blue,

primary and full

and
sec-

intense

binary

or

ondary colors, orange, green, and violet, and the full, intense intermediate hues,
yellow-orange,
blue-violet,

yellow-green,

blue-green,

redrviolet,

and

blue-violet,

or blue com-

bined with yellow-orange and red-orange, or red combined with yellow-green and Always begin on the priblue-green.

red-orange, with the inner circle showing these colors half neutralized and the center neutral

red-violet

and

mary and
split
(c)

split

on the complement; never

gray, a paper should be used which holds water color (a "Keystone" Student's

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
direct

Drawing Block nine by twelve is good), on which to make the washes. These may be put on in small areas from two
to four inches square. Satisfactory colors to use for this chart are Winsor & Newton's

and

opposites, as, for instance, violet blue-violet with yellow and yellow-

orange. 5. Triad Harmony, i.e., any harmony of three colors that make an equilateral tri-

Alizarine

angle in the spectrum

circle.

Example:

yellow-orange, blue-green and red-violet. In producing triad harmony, use hues

and neutralize to make them harmonious. Only one of the three should be wholly
intense.
34.

Winsor & Newton's 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

Gamboge

for yellow,

violet.

(Don't
for the

mix

standard

red,

standard

Laws

larger the area governing intensity. the less intense the color must be and

Use The

of Color.

Law

green, or standard violet with other colors for use, except on the chart. They stain

and

settle.

They can be used

satisfactorily

the smaller the area the

color

more intense the

Backgrounds must be more neutral than objects shown upon them. Three parts yellow and Neutralization.
* It
is

may be. Law of background.

only in small areas. The ten-cent tube is the size to obtain for the color chart
the Winsor

& Newton

colors differ in

These are price and are more expensive. the colors that seem the best to obtain
the desired result.)
intensity unless relieved

not well to combine colors in their

full

by black or

white.

Page Sixty-six
as yellow orange, understood that a little yellow is added to the orange, for yellow-green a little yellow to the green, while for bluegreen a little blue is added to the green, The colors of the inner circle, which etc.
it
is

COLOR
Practice on the paper in these small

To obtain the hues such

squares about three inches in size until satisfactory results. are obtained; do not
get your paint on too thick or too thin. Be sure your brush is perfectly clean and
get one color at a time, always making four or five squares that you may be sure to obtain a satisfactory value for your
choice of color.

as colors at their half intensity, as, for instance, gray-orange or gray-yellow, are obtained by mixing the color with its are

known

After you have finished

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

cut your squares out and compare them .with your value scale; half closing your
eyes often helps this comparison. When a satisfactory selection has been made, use either a quarter, a nickel, or a dime,

the other colors.

The

three

primaries mixed give the center, neutral (Alizarine crimson, gamboge and gray.

according to the size of the chart you wish to make and put these over the smoothest part of the washes, draw with

new

blue.)

Taking a neutral scale showing nine degrees of value from white to black, the equivalent color values should be found
for the color chart;

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

as for example, the

W. White
Yellow
Yellow-Orange 1 : Yellow-Green' j

H. L. High Light
Light
L. L.
1-

very carefully. A good library should be used to mount the discs.

36. Significance

paste

of

Color.

In

Prin-

ciples of Advertising

Orange Green

|
]

Low

Light

"Color is and ing important elements

says:

Arrangement the author one of the most interestin

nature,

Red-Orange
Blue-Green

M. Middle
H. D. High Dark

because the eye, the organ of one of the five senses of man, sees nothing but color. Form, as we call it, is seen
only because one color is placed against another and by its position and contrast

Red
Blue,
Red-Violet
Blue- Violet
Violet
1

D. Dark

Low Dark
B. Black
value
scale
in

makes a shape. And every tone of color has a separate meaning yellow speaks a definite thing to those who understand it. Blue cannot say what yellow says
neither can red or violet."
in

This
selecting

should
order
to

be used
according

colors

keep them
to

In a folder gotten up by the Art in Trades Club of New York City, valuable
information was given in a strikingly simple and concise way under the heading, The

keyed
value.

correctly

together

SOURCES OF COLOR SCHEMES

Principles of Color Harmony, which reads as follows: " Color, as Psychological Significance. it varies in hue, value and intensity, by
its intrinsic qualities and the association of ideas, excites certain definite thoughts

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

and

feelings in the

human mind.

Hues.

Blue cold, formal and distant. Green cool and restful. Yellow cheerful, brilliant and unify-

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 dress chosen as will neither give the per-

ing.

warm, rich and aggressive. Orange hot, striking, but decorative. Violet mournful, mystic, and darkening.

Red

Value.

Light color tones express youth,

femininity, gayety and informality. Dark color tones express strength, dignity, repose, and seriousness.
Intensity.

son a faded, ghastly tinge nor too harsh and florid an appearance, but which will enhance his or her particular beauty. In
large areas neutralized colors are always best avoid the harshness of too much
intensity.

Colors in their

full intensity

are strong, loud, vital,

feeling.

and elemental

in

Colors that have been neutralized express subtlety, refinement and charm. Balance in Color Harmony. Colors to

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

balance in harmony must be similar in If dissimilar, the inintensity and area.

tensity must vary in inverse proportions to the area.

say one blue another red.

of hue,

kills

On

another or one red kills account of this matter

things that are the

same

color

Backgrounds should be

less intense

than

(It is not objects to be shown on them." well to figure a whole warm object on a cold background.)

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

37.

Sources of Color Schemes.

Many

With the knowledge

consists in,

are the designer's sources for color schemes. of what harmony

much neutralized. It is usually more satisfactory to use the more brilliant color in the smaller quantity. Modern colors have taken on many
is

he may go to nature and find an endless variety in the animal, mineral, bird, 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

titles

season,

which they change from season to and which, while catering to the

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,
this
is

MODERN COLOR
BY
DR. FRANK CRANE
"Yes," said the saleslady, "we have
all

is

cerise

and those are raspberry, brick

let
is is

crushed strawberry, carnation, and

old rose, this
is

me

see

ashes of roses, this

watermelon, this

sunset pink."

"You
the

interest

me.
is

How
blue,

about blues?"

new

official

"Why,
blue,

there

navy

blue,

Panama

Exposition colors!" "For instance?"

Alice Blue,

and old

and

robin's egg blue,

and Copenhagen blue, and and ultramarine blue, and sky " and

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

travertine, lattice green,

"That's enough.
Tell

I'm

afraid you'll say

Monday

blue.

and

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?"

"Goodness!" "Then we have

lettuce green,

in greens,

Nile green, parrot green,

"We

don't say red, you know, any more."

Alice green,

emerald green, Irish green,

"What then?"

Reseda and others."

Courtesy of Criterion Magazine.

FIG. 98.

The reproduction from the

color plate.

SOURCES OF COLOR SCHEMES

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

Page Sixty-nine
wood shades
nut;
bird colors,

green?"

walnut brown, mahogany, oak, and chestsuch as coxcomb, chanticleer, dove,

jewel tints, as ruby,

"Oh

no!

It 's the shade,

are elephant's breath gray,

you know. Here, and taupe."

for example,

canary, yellow and parrot green;

blue."

sapphire, pearl, amber, topaz, coral, jade,

and turquoise

"Indeed!"

"Yes; and then

rose,
fodil,

violet,

all the flower colors are represented lavender, wistaria, nasturtium, pansy, daf-

American

Beauty,

cherry

blossom,

and poppy

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

red."

a sash of cream,

coffee,

or chocolate color;

is

to the imagination." Half of the color-pleasure of dress goods "Precisely. the pleased fancy. strive for the unique, such as

"Charming!

They appeal

gown

of

mouse gray

or steel gray,

and other

articles of

your apparel, to

We

Maybe

assist you to perfect self-expression. the color of pomegranate, apple green, fawn, delft

w
Courtesy of Criterion Magazine.

FIG. 99.

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!" "

stone, cabbage, putty, string color, or

color, besides

Indian red or Pompeian red, sea green or

I

Thanks

think

I'll

take some ribbons, seme of those

advertised as give

"distinctly American in

nomenclature" >

me some Palm
silver,

Beach, Piping Rock, Tuxedo brown,

Arizona

Gettysburg gray, Oregon green, Delaware

side to side without doing any more mixing or dipping your brush again in the water. Have the drawing board tilted toward you and enough color in your brush to ensure its keeping the little rivulet going without the danger of dry
spots.

peach, Newport tan, and

please."

Rocky Mountain

blue,

if

you

For practice work

it

is

well

to

make some
covering
tone.

In painting, be38. Applying Colors. gin at the top and color downward, from your left to your right. The edge of a
color

eight-inch squares and to try their surfaces with a uniform

When you

are

making a dressmaker's

may be

softened

by a
is

clean,

damp

brush;

this is necessary in

Where shiny

taffeta

desired,

doing velvets. let the

sketch in white, it is sometimes helpful to put a little color in the background, up on

one side and

down on

paints dry in a harder line to give crispness and do not work over while still wet.

ing it too intense, soften the edge.

the other, not makand taking care to

colors

Cold colors serve as shadows to warmer and should be laid on first; generally, warm colors over cold should be
the
rule.

When
body

color),

wishing to work in opaque (or add a little Chinese White

to your color.

This

is

often useful for

After

the

sketch

is

finished

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

reproduction. What are known as Devoe's Show Card Colors are good for tempera
fashion work.

Theatrical costume designs

are often carried out in this way.*

by
lines

thin,

steady,
detail
is

crjsp

Chinese

white

when

desired.

Thompson's Wliite has a stiff quality which makes it of value in doing dressmakers' sketches, where raised buttons,
beads, embroidery, lace, etc., are desired. Put it on rather dry and let it stand
until all moisture

Prussian Blue, Lake, and Sepia mixed

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

make

gray.

and black are often

of value for this use

in dressmakers' sketches

and commercial

seems gone before touchor lace with Ink is often used color, gold or silver. with color, both for dressmakers' sketches
ing

up these buttons, beads,

drawings. All brushes must be kept clean and rinsed Never leave them in the water. after use.

and
in

for reproduction.

Take plenty

of color in

your brush and

sketch always carefully made pencil, putting in the details last. Put in your big washes first and keep the

Have your

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.

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

When you
a
flat tone,

intend covering a space with

have enough color mixed to go from the top to the bottom and from

Orange
tones

Vermilion

makes

vermilion, good lips

good flesh and color in

See Page Ni

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

There are two ways of putting one by putting the orange

tion

vermilion in a very light tone over all the flesh and then, when dry, adding the desired color to the cheeks (preferably

having
quickly

it

high on the cheek bone) and

way by
while
wet.

the other softening the edge; stippling or putting on the added the tiny point of the brush
all-over
flesh

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, Burnt Sienna, either Rose Madder, Car-

color with

the

tone

is

still

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

mine or Crimson Lake, Vermilion, Orange Vermilion, Mauve, Sepia, Van-Dyck Brown, Gold, and Silver. In tubes, Lampblack and White, 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 are White, Light Yellow,

be shown.
following
supplies
will

Light

Red,

Magenta,

Mauve,

The
work:

be found
water-color
colors are

Dark
is

useful in doing this kind of

Blue, Light Blue, and Green. Some artists use letterine when a shiny finish

wanted.

Colors.

Winsor

& Newton

Less expensive but good stupreferred. dent's colors are Devoe and Favor Ruhl.
It
fill

Brushes. Rubens, and Winsor & Newton red sable brushes are recommended. Good sizes for fashion work are Nos. 3

is it

best to

with the colors desired.

buy the box separately and Tubes dry

and

4,

and 6 and

7.

Devoe

or

some

less

up, therefore, unless colors are to be used constantly or in quantity, it is more economical to buy half pans, with the excep-

expensive brushes should be used for ink, Chinese white, gold, and silver, which
are injurious to brushes. Bristle brushes are good for a steady, broad line.

Drawn by Robert Henry

for Felix

Jungmann &

Cie., Paris.

Courtesy of Vogue,

New

of the Gazette

York Rcpr 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

how far we

No matter design, allow our fancy to go, we should

all

are very narrow at the bottom, as these accentuate the size of the hips and trunk.

lose sight of the principles of design; bal-iince, rhythm,

Horizontal

lines

make
shorter

the

figure

look

and harmony.

Furthermore,

we should

always aim at simplicity

and appropriateness.
Like the architect, we should study ancient and mediaeval examples as well Like his, as later ones.
our problem
First, to find
is

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.

two-fold

out the best

Stout people should avoid large figured goods and materials too bright or too light in color.

can

and most beautiful that be conceived, and

second, to adapt
it

to our

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 avoid long vertical lines such as very definite or

own

present-day needs.

Great
given,

heed

must

be

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 deficiencies

and to enhance

every good point.* 40. Facts Always to be

large stripes, for these lines

Kept

Mind. Common sense and observation show that stout people should avoid large head
in
decorations,

This accentuate height. is not true of inconspicuous

Courtesy of Mile Jacqueline.

stripes.

They should
into

avoid a coat line which

cuts

them

awkward
the

and hats which

FIG. 100.

Hat

inspired of crocuses.

by a bowl

lengths

Remember

make
shorter

a person appear
lines are in

Greek law: When two

good relation to each
line.

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

other,

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

Tall, thin people should avoid narrow-chested effects and clothes that fit too
tightly.

shoulders give one an ap-

pearance of being taller than

sloping shoulders, and the higher the waist line the greater the apparent height
.

Everybody should beware

of too conspicuous plaids and stripes or figured materials.

As a

rule

do not combine

FIG. 101.

Gowns

that are in style to-

large figured materials with small figured materials.*

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

narrow belt makes the waist appear smaller and longer, whereas a wide girdle
gives the appearance of a broader, shorter waist (if

show.

Small
lecting

people, figured

when segoods for themselves,

above the waist

Over-decoration
is

line).

always bad.
are

should always get small figured materials,

Broken

line

effects

always
skirts

bad.

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

(As, for example, waists

and

with

seemingly no connection.) A continuation of waist line into the

skirt
is good. Light colors near the face are good. When one striking note of color is used

or

plaid

materials,

which approach plain material, will stand more trimming than those in which the
designs are emphatically decorative. Equal or nearly equal amounts of dark

(as in

belt), it

should have a repetition

elsewhere (as in a touch on the sleeve

and

waist).

and

light are unsatisfactory unless they approach an "all-over" tone.

41.

Sources of Designs.

Bearing the

foregoing facts in mind,

inspiration from
scale in design.

we may draw our

libraries, things

When

other things are equal, square

'

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 the designer's imagination needs stimulating to get away from the

from any source that appeals

See Fig. 101.

to us,

and

start our design.

Fig. 100

Mile.

Jacqueline

shows us how found

her inspiration for a hat As in a bowl of tulips.

for the first prize evening

dress of the Times Prize

Contest for Original America?!

commonplace, see what music or poetry will do

to

Designs, the writer and

Fig. 102, the

made by
shown by
Times has

when
and

Notice how, help. either are sad, one

thinks in subdued grays

violets and dull blues; when they are joyous, pinks, yellows and less somber colors come into

given the

following description of its source.

Whistler's well-known Nocturne

furnished the inspiration for this

one's mind.*

evening

gown,

which
It

owes
of

its

The

designer has such

distinction

to subtlety
of line.
is,

color

and grace
do
justice

unfortu-

nately, impossible in

a sketch to
extraordinary deselection

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

and handling
by using

treasures that are waitinspire him, his as full of wonders

materials,

be-

cause she has obtained her effect

semitransparent color

world
of the

over contrasting color. She has secured a faithful echo

of

as the vaulted

the

Nocturne's

blue-green,

chambers Forty Thieves, or

gray-brown harmonies by laying

pastel-blue
tinged,
girdle
chiffon,

the untold treasures in

faintly

green

the cavern of Aladdin.

over putty color.

is

The

in

a deeper green-blue

Appreciation

is

needful

and its Oriental embroidery is worked out in blues and gold and
the vivid flame color
there
is

of

which
in

one single

glint

the

necessary to gain this love and understanding of the beautiful

it
is

and

Whistler picture. Another note of blue

in the necklace of

which
should
of the
Courtesy
of New

really

comprises

is

sounded

what we

call taste.

We

wooden beads, the smaller beads catching up the

wing shoulder draperies.
York Times.

know something
art
of

the past

as well as the costumes

of these periods, so rich in material is that of the

The waist made

Ladies'

for the

FIG. 102.
spired

Home
in

Journal,

by

"A

Design for an evening dress inNocturne" in Tate Gallery

by Whistler.

shown

Fig. 103,

was

Egyptians,

Greeks, Ro-

suggested by the Lily of the Valley. Fig. Pattern rso. .raiiern No. ouos, tne criterion, 8082, in the Criterion,

mans, Assyrians, and Byzantines, as the mat oi of tne of me well as that the cruder times 01
life;

*Paul Poiret truthfully says "There are gowns which express joy of as romantic; romant gowns 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 English after the Norman Con-

DESIGN
of the sculptor in so much as the effect is to be viewed from every side and, according to Beau Brummel, the most

down

quest in the eleventh century, we come the centuries with a wonderful unof

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

folding of both beau-

demand that we
relation

ty and eccentricity
design.

consider not alone

the
of

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

consulted

designer with both enjoyment and profit. A fairly comprehensive list of these will be found on pages 127 and 128.
42.

the entire figure. (For illustration, headgear too large

for

the figure gives

a clumsy,

awkward

appearance.)

Hats.

When

seen from the side, the lines of the crown

of the hat should not

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

proportions for every individual should be

extend
line of

beyond the
the forehead
If the

sought out and

obeyed, even
brings
if

it

nor beyond the hair

in the back.

about a
T

dis-

agreement w ith the

prevailing modes.
43.

hair

extends

far

in

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

Designing
The height
hat, generally

Hats.
of

any

the spinal column. People with small

FIG. 103.

Courtesy of Ladles' Home Journal. Green and white blouse inspired by a li

speaking, should not be more than threequarters the depth of

or

narrow
faces,

of the valley.

the face.

(That

is,

faces
hats

require
large

smaller
to

than

those

with
are

from the chin to

the length of the face the eyebrows.) The

whom

larger

hats

becoming. Care should be taken not to accentuate undesirable lines or features

greatest width of a wide hat should not exceed three times the width of the

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

wearer's face, including the ears and the hair at the sides of the head. 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 also any puffs of hair. People with large

Page Seventy-nine
of clothes as studies in the flat

aim

to

make them

please

and must 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 plain

ly

with the centre

arranged hair
should not wear

hats with
crowns wider
than the width of their faces

of interest which is usually the head. In

other words, we should aim to

make

personality

and

hair.

If

we

dominate
clothes.

the

are ever to overcome our bromidic tendency in

dress,

For
telling

most

illustra-

we

shall

have
an
of

tion of this last point,

study the paintings of Rem-

to cultivate

appreciation
personality

and character and become so interested in type

brandt.

how

all

Note his

wonderfully thought-out
Courtesy of New York Globe. which wash pencil, crayon pencil and pe.n and ink are combined.

that we will
resist

our hith-

erto sheep-like

tendency follow the

cature us.

to

*.

ic. 104.

Drawing

in

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

modes, even when they distort and

cari-

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

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

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. Some books that bear directly on designing are Principles of Correct Dress by Florence Hull Winterburn, Color Harmonies in Dress by G. A. Audsley, What Dress Makes of Us by Dorothy Quigley, Textile and Costume Designing by Ellisworth.

"FLORB*
R.obe d interieur
Courtesy of Vogue,

New York

representative of the Gazette

du Bon Ton

From a

color illustration

by George Lepape.

THE FASHION SILHOUETTE

CHAPTER

SIX

CHAPTER SIX
44.

THE FASHION SILHOUETTE *

Silhouette.
all

Value
is is it

of the

The
study

Sil-

houette

the foundation of

fashions,
its

and

most

interesting to

(the tenth and eleventh were so nearly like the twelfth and thirteenth that drawings are omitted),

centuries

varied aspect through the centuries. Taken in a literal sense, it so simplifies the cos-

The

effect

is

of everything

tumes of the period

that the

hung and
loose.

from
all

the

shoulder

many

errors

garments rather The head was usually

now

seen in the cosare

more
ped

tume world
novice.

unless

or less bound or wraparound, though at

necessary to even the

certain
localities

times

in

certain

Much

the hair was worn

FIG. 105.

The

necessary are the glaring mistakes we now

gorget.

in long braids.

The

fourFIG. 107

see in print in regard

teenth century shows the innovation of scallops, the

The

wimple.

to
as

Moyen Age and

well

Renaissance costumes,

as those of the eighteenth

and

fifteenth the increased length of hats and shoes, but in spite of these touches all

nineteenth centuries, that period of much uncertainty about the hoop and Empire,
the
crinoline

belong to the are Gothic.

Moyen

Age, to things that

and

bustle,

For
to

this reason it

seems advantageinteresting,

It is interesting to see these clothes so beautifully described in

ous,

as

well as

become thoroughly

familiar with

the Gothic Tapestries and illuminated books of the time

costume silhouettes of

The
plifies,

all ages. silhouette classifies, sim-

and so condenses

details

that both time and trouble are

saved.

the effigies in churches. See Fig. 108. In the eleventh century the wimple was wound around the head, not allowing the
hair
to

and

Curiously enough, this

is

show;
later

about

saving
nifies,

what
it is

its

name

sigFIG. 106.

hundred years
fashion of

as
of

taken from the

came the the chin band and

name

Etienne de Silhouette, Minister of Finance to France

XV Century horned head-dress.

See Fig. 107. forehead-strap. The hair was still hidden by the

in 1759, whose public economy in trying to avert national bankruptcy during the

wimple. A hundred years later and this earlier headdress had been followed by the
gorget a piece of linen wrapped about the neck halfway framing the face. See

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

XV

To

begin with, let us glance at Fig. 110, starting with the twelfth and thirteenth
*This chapter
is

Around the wimple was someThe silk band called a snood. gown was still long and loose at the waist
Fig. 105.

times tied a

reprinted through courtesy of the

New York

Globe.

Page Eighty -four

THE FASHION SILHOUETTE

FIG. 108.

Showing the houppelande or

XV Century robe.
so

tapestry at Metropolitan

The Giving Museum.

of the Rose, a Gothic decorative

with sometimes a girdle, until the fifteenth century.

remaining

A picturesque 46. Religious Orders. 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 when their order was instituted by Saint Dominic in 1218,
including the rosary, which was his innovation. Many religious orders were

example, the Sisterhood of the Annunciation at Bourges by St. Jeanne de Valois, daughter of Louis XI of France. Today

romance
castles,

they bring to us the legend, beauty and of those dark ages. They breathe
crusades,

monasteries,

and con-

vents.

arches

In the fifteenth century, as the pointed of the Gothic architecture grew

founded in the eleventh, twelfth, thirteenth, and fourteenth centuries as, for

more pointed, the head covering or hennens (see Figs. 106 and 110) as well as
the shoes followed
suit,

so that in this

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

sup-

Century. The sixteenth cen-

posed to

have
Cal-

come
throp
in
his

in.

tury found
great

tells

us

changes,
land.

history

on sea and

of

English

Printing had
been invented,

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 b u c k r a m,

dress as well as of everything

else.

square-built,
cardboard-and-

Al-

tissue figure

brecht Diirer has left us

wonderful
contemporary
sketches of the

which titters and totters through the

Elizabethan
era."

Up to the
is

early part of this century,

the originals of which are in

fifteenth cen-

tury

notice-

able a sense of

looseness,
Courtesy of

of

Nuremberg, see
Fig. 109.

An

Student Magazine

FIG.

Late

XV

Century costume drawing by Albrecht

less

Diirer.

everything

We
sleeves

are

all

familiar

with the slashed

of Henry VIII and his queens (15091547) 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

Draicn by Inez Casseau.

FIG. 110.

How

the different centuries affected the fashion silhouette.

after

that
skirts

the

wide
style.

came

teenth
48.

century

long waists and to stay until the ninebrought in the Empire

tight,

women

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

Pilgrims

Seventeenth and Eighteenth CenThe Elizaturies. bethan high collar was

the forerunner of the

organized (period of James I, 1603-1625, and Charles I, 1625-1649, of England).

The portrait
have
done

painters

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
tion.

(1649-

Such

1660) was a simplifica-

men

as Velasquez,

Van
in

The drawings

Dyck, and Rubens

the seventeenth
tury,

Hollar give excellent illustrations of

of
these.

cen-

and

in the eigh-

The Quaker
is

teenth Watteau,
Fragonard, Nattier, Romney, Gainsborough, Lawrence, Raeburn,
and Sir Joshua Reynolds have left us
valuable documents.

dress

the survival

of Lthe

costume of Charles II period

(1660-1685), although the hat is minus the

feather

plain linen takes the place of

lace.

Thus we pass
through the sixteenth

The shoes are the

FIG. 111.

same, but without the ribbon or roses, really

similar hi every

and part
Early

of the seven-

XVI

Century fashion drawing by

Hans Holbein.

teenth

centuries,

way
and
hat
the

with

simplicity

extravagance eliminated The beaver emphasized. and hood of the Quaker, then called French hood, were both worn by

the

leaving the time of the Renaissance for the period of the Louis of

France.
1

The

stately

dignity and truly

the

roya magnificence of Louis XIV was followed by the less formal but luxurious

NINETEENTH CENTURY

Page Eighty-seven

Uiiitit
Courtesy of London Graphic.

FIG. 112.

rococo period of Louis

styles

XV

when Pompadour and du Barry

in

(1723-1774), set the

the

classic

revival

of

the

Greek

Roman, modified
epoch.

to suit the climate

and and

the Parisian world of fashion,

This revival was the natural out-

Then

followed

the reappearance of the

come
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

of the interest people were taking at that time in the restoration work of

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

their

cos-

tume to-day
bonnet

the

wide, pleated skirt,

apron of the English working class.

49.

and

Napoleon. It is interesting to note that it was back to

this

quaint

period

Nineteenth

that

Kate

Green-

Century.
third

The
change

away (1846-1901)
loved to go for in-

great

in the silhouette did

spiration.

It

was
of

not come until the

Directorate in 1795, so that the early

she
these
FIG. 113.

who revived
costumes

Quaint styles of Kate Greenaway.

nineteenth

century

the beginning of the nineteenth century,

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

and
still

it is

more

truthfully said in this style, made beautiful by her naive touch, she

did dress, and still dresses, the children of two continents. See Figs. 113 and 22.

Page Eighty-eight

THE FASHION SILHOUETTE

the hoop
of

We

have

left

now

the

eighteenth century, and have come to the nineteenth century with its Empire

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

and charming 1830 costume, which always makes one think of nosegays and oldfashioned valentines (see Fig. 112) and
the crinoline of
skirt

men and women

no
bigger

were very

much

alike,

no

1840,

which made the

smaller, until the nineteenth century, when the leg-of-mutton sleeve was affected also

(To get the George Du Maurier's illustrations of Owen MereFashion then took a dith's "Lucile.") 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-

grow wider

until 1864.

by men.

That seems

to

have been, how-

atmosphere of

this time, look at

ever, the time of emancipation, for then men's sleeves became small and have re-

mained so ever

since.

The
in

thirty beautiful little period dolls

how

the Metropolitan Museum illustrate truly the silhouette has kept for us

the fleeting shadow of the passing centuries. Let us then not deny or push
.

aside the silhouette as of small importance.

Historically it is valuable, and the paths it leads us through in the study of costume are full of beauty and varied interest.
It
is

with the silhouette in mind that

we

should observe every fashion.

HWM
1199

1330

1513

Drawn by Margaret

Calderhead.

How

different centuries

have affected the silhouette of men.

CHAPTER SEVEN

PERIOD FABRIC DESIGN

CHAPTER SEVEN
50.

PERIOD FABRIC DESIGN

Primitive
dein treat-

Primitive

Design.

sign, often so fresh

and simple
States

ment and
in units.

character, does not differ

much

The United

Government

published in 1894 a report that the results of its 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 had also been found in

India, Eastern Turkestan, Northern Europe, Southern

also

somewhat
are

similar;

indeed, at times the differences

difficult

to

determine.

The Japanese

Europe, Asia Minor, Greece, Rome, Northern

Africa and Byzantium. So

much symbolic
is

significance

often attached, or
religious
is

some

have a greater love for detail and do not conventionalize in as broad a way as the Chinese, but many of their forms
are identical.
esting to
this
is

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, but "simple pictorial expressions

fluence
India.

can be traced to
in

are

of

world
suffici-

The Japanese

their

usage and are not

ently intricate tute original

to constied by G. RothschM.

designs show a great love for nature flowers, moun-

thought." In these the student of design, however, can find

tains,
FIG. 114.

tortoises,

waves, dragons, and the etc.,

used
is

Design motive from Indian

basket.

method

usually
spite
of

splendid motives for modern treatment. See Fig. 114.

terial

picturesque

(in

This ma-

was designed from a unit on an Indian basket.

51.

interesting conventionality) instead of formal.

its

52.

Early

Fabrics

and

Designs.

In

Influence

in

Design.

We know

outlining period fabric design,

first

Egypt must

that the early civilized races had intercourse, and we see the influence of this
in their designs. find Greek influence in the art of China, and for hundreds

We

of years B.C. the arts of Assyrians,

tians,

Egyp-

and Persians were

allied

through

be mentioned, where weaving was B.C. Examples of ancient fabrics dating as far back as 1000 B.C. can be seen in the Louvre, Paris. While we know that checkered rugs were woven, we find that garments during the Old

known 3000

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.

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
See Fig. 115. The designs were design. frequently emblems, and birds, animals or flowers. The garments were woven
in

While the dyes used were principally red, blue,

and saffron, white seems to have

was
plain,
if

one piece which was complete in

long,

itself.

been most worn. The

material

The

graceful

folds

of

this

single

the decoration,

any, being embroidery at the hem. While fond

of ornamentation, the
Greek Doric costume from Hope.

garment produced a decorative and simple effect, and it is interesting to note also
the different effects obtainable by changThis was ing the position of the girdle.

worn at the waist

in the Archaic period,

FIG. 115.

people during this time seem to have

depended on their and headdresses, collars, hanging wigs straps, armlets, and leg decorations, and not to have introduced figures in
their weaves.

See Fig. 116.

or Egyptian Christians,

The Copts
like

the

wonderfully

Greeks and Romans, wore woven or embroidered

bands on their garments, the color and designs of which are most interGood examples are to be seen esting.
in

the

Coptic

Room, Metropolitan

and in the Cooper Union Museum. 63. Greek Dress. The Greeks used wool linen, and silk. Linen and silk were used for the more extravagant
of Art,

Museum

costumes of the later period, though they had cotton in small quantities. Cotton belonged to India; it did not

become known to Europe

116.

until

the

Costume of man and woman

of Egypt about 2500 B.C. from Eistoire de L'Art Egyptian.

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

Page Ninety-three

ence of the

East. Fab r cs
i

seem always

Dress;

good

illustrations in

Hope's Cos-

tume of
54.

the Ancients.

to have drawn their

inspiration

Dress. The Romans and imported much material from Babylonia. Some of the silk is described as having a nap on both sides (velvet),

Roman

Greeks

from the
fi

and as
(like

gold, scarlet

and purple

in color.

East. We n d the Gauls after

the conquest

The Roman women wore a

the Grecian
chiton),

tunic,

stola

and a

palla,

of Ca3sar,

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.

55

B.C.,

adopting a

somewhat modified
form
of the
FIG. 118. XIV Century parti-colored dresses from Jacquemin.

Roman costume.

With the exception

the
fabrics

of

more
differ

elaboration,

did

not

The Franks in

much from

the Grecian.

taking possession of Gaul gradually (from the third to the fifth century A.D.), while

they did not part with their costume as a whole, the women retaining their veils
for

some ten

tine styles, for

centuries, adopted the Byzanthe 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

from the East,

twelfth centuries wearing stuffs brought even after the art of

embroidery 'became generally understood, and tapestry weaving and applique work was carried on in Europe. While mechanical weav56. Weaving. ing was done in Egypt 2000 B.C., the more

FlG. 117.

Italian

XIV Century costumes from Jacquemin.

complex use of the shuttles by v hich figures were produced without embroidering was not known until 200 A.D. It was then done by the Syrian weavers in the
r

Page Ninety-four
Eastern

PERIOD FABRIC DESIGN

to the twelfth century.
rically

Roman

Empire.

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

These were

sometimes

used.

Up

arranged was also to the thirteenth

often followed,

linked together, large circles

century a formal arrange-

ment was

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 becom-

The ing quite elaborate. Saracenic hexagon geomet-

FIG. 120.

XVI

Century trunk

FIG. 122.

motive.

XIV and XV Century animal arrangement.

ogival
of

The design consisting of a circle or square frame developed in the first century;
for

The
form

form

is

the

next

five

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

floral detail, persisted.

This same design was used

for centuries afterwards for

stained glass.

which the joining circles are brought into acute juncture, forming ovals. This design 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 weavdesign in
ing.

About 400
broken
circles

to 600 A.D.

came

in,

the

About merchants
In

this

time

also,

from Syria
in

upper and lower segments out to form spreading bands. Circles continued

opened
Paris.
FIG. 121.

establishments

XVII and XVIII

scroll

800
of

A.D.,

the

Century

motive.

Daughters

Charlemagne

USE OF GOLD THREAD

did silk weaving, but up to the eleventh century the making of fine fabrics was practically monopolized by Athens, Thebes,
Corinth, and Constantinople.
strips

Page Ninety-five
of

gilded

rolled gilt thread.

parchment in place of Undoubtedly through

the influence of the Crusades, the Sicilian weavers of the thirteenth and fourteenth
centuries produced

No

great

extravagance

had reached

many

fabrics enriched

France before this. In the

tenth century we read of its
king, Charles

with winged
lions,

crosses,

crowns, rayed stars, harts, or

birds,

linked
or

the Simple, possessing but

three

together with
floriations

shirts
four-

armorial bearings.

In

the

See Fig.

teenth century

117.
58.

Isabeau de
Baviere, coming to marry

Parti-

colored Dress.

The same
in
f
1

Charles VI,
was thought to be showing an
extraordinary
degree of lux-

uence

which brought with the Per-

pendicular Gothic the

Courtesy of the Metropolitan

ury in having three dozen

Museum

of An.

chemises in
her trousseau.

FIG. 123.

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

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

the Orient.
67.

Use

of

Gold Thread.

Drawn

gold

thread was not used in early fabrics, but

gold leaf on paper rolled around a fine thread of silk was employed. Sicilian
fabrics of the thirteenth

the

left

that of the lady's

A.D.
this

own

family.
of

See Fig. 118. Late in 1200

character

and fourteenth

centuries frequently show a purple ground of twilled silk with birds and foliage

design was introduced into Northern Italy. Genoa adopted much that was Persian

from

the

twelfth

to

the

seventeenth

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

centuries,

and

in

when Louis XI

the fifteenth century, encouraged the art of

weaving in France at Tours, and later at Lyons under Francis I (1515), the Persian and Italian fabrics were closely

Page Ninety-six
followed,

PERIOD FABRIC DESIGN

vase
pattern

and

the

was

"V. 1350-1500.

characteristic design

adopted.
character of design in did not entirely disappear until the seventeenth century when the gardens
Oriental
textiles

The

of the fifteenth century was the use of reversed curves so arranged that they

made

frames.

(The

panels

of

Jeanne

d'Arc, painted

by Boutet de Monvel and

Clark, give

of

Versailles

and

the

Trianons

under

owned by Senator William A.

Louis
flora.

XIV

inspired the use of

European

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

59.

Classification of Fabric Designs.

following brief classification will be found helpful in placing fabric designs

The

proper periods. Twelfth and thirteenth centuries, mal arrangement. See Fig. 119.

in their

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

for-

magnificently to these fabrics.) "This form utilized the Hogarth line of

Fourteenth and fifteenth centuries, aniSee Fig. 122. figures. Sixteenth and seventeenth centuries, trunk motives. See Fig. 120. Seventeenth and eighteenth centuries, See Fig. 121. scroll motives. For a more detailed outline we can refer to that given by Clifford, in his book on Period Furnishings, in conjunction with

mal

form was the interHogarth panel by two bold curving stems coming up through the bottom of the panel and capped by a cone
beauty.

Another

section of a

pineapple or fruit device. "Still another showed a serpentine stem or winding trunk which ran through the

Hogarth pattern

in the

midst of a variety

his well-chosen illustrations.

See Fig. 123. "VI. 1500. Designs adopted a free treatment. The plans of previous centuries
of botanical forms.

"I. 200-400 A.D.

circle

The development of and geometric frames, sometimes filled

were

combined

and

elaborated.

Orna-

ment was arranged with

with simple floral, bird or animal forms. "II. 400-600 A.D. The utilization of

ogival frames, springing out of the frame to which it seems to be attached. Interlacing of

broken
linked
inside

circles

"III. 600-1000 A.D.

spread out to form bands. The use of circles

two frames of which one is ogival. Ogival frames of leaves and flowers enclosing a
Elaborate ogival large concentric pattern. frames caught together by crowns. The use of vases, urns, crowns and animals

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

became common.
"
find

VII. 1600-1700.

During this time we an elaborate use of European garden

or scale patterns as well as geo-

flowers instead of purely tropical Persian verdure, following, however, the general ogival form arrangement. " VIII. 1700. Pictorial tapestries and Pure Renaissance styles, or develprints.

metric straight-line framing. 1200-1300 introduced features of design, as eagles,

falcons, etc.

SIXTEENTH AND SEVENTEENTH CENTURIES

opments
Oriental
of that style. Louis characteristics of

Page Ninety-seven

XIV or XV.
either

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 as 1760 for Indian goods,
tons, dimity,

The British demand as early

Transition

period

in

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.

"IX. Empire and Empire influence."

60.

The Sixteenth and

Seventeenth

Centuries.

In the sixteenth and seven-

teenth centuries, three distinct types of design were seen, the Renaissance, the Oriental Renaissance and the European
floral.

Becomes the Centre of For centuries Italy was the centre from which foreign courts adopted both fashions in clothes and customs. It was not until the seventeenth century that Paris became the centre and home of taste. Several things had much to do
61.

Paris

Fashion.

with bringing this about.

First,

a great

The Renaissance brought a change

from the accustomed following of Persian Oriental design, and such motifs as the Persian rose and pink, the Rhodian lily and

and appreciative impetus was given industry by Colbert, the able minister
of

Louis XIV.
dresses

Secondly,

at

this

long

were

abandoned

and

time the

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 Renaissance influencing the East through

vogue for large Italian patterns ceased. Thirdly, the discovery of a way around the Cape of Good Hope had much to

do with the trade

Italy to Asia.

in silks turning

from

commercialism.
flora

The

third or

European

tion;

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

was developed about 1650 during the reign of Louis XIV, when the ferns and flora of the Royal Gardens came into use
as motifs.

forces, conquests

as well

as the taste of Louise de la Valliere,

Ma-

dame de Montespan,
and

Madame

Mile, de Fontanges 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, and that the influence of China was
strong Louis
in

The magnificent gardens that were built, besides the motifs sugarts of the time.

gested by European floriculture, brought

in festoons,
etc.

vases,

architectural
this

It

was under

king

and

designs, his

France during

the

reign

of

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."

minister, Colbert, that the highest achievement in lace making was reached in

France.

Lace

is

supposed to have been

II, in 1547.

introduced into France by Catherine de

Medici, wife of

Henry

Page Ninety-eight

PERIOD FABRIC DESIGN

The
and
Revolution,
1789-99,

On

the other hand, the arts of Louis

qf social
life,

brought

in

XV
were

had the stimulus

full of

and

simpler

We
in
ers,

find

much

ostentation and extravagance. less symmetry or balance

shells,

materials; cotton, India prints, lawn were used. Colbert had put a

the motifs, which were

fancies.

feath-

ribbons, knots, garlands, and Chinese

stop to their use in former years because it threatened his pet silk industry. The Directoire, 1795 to 1804, followed

and Japanese
were
affected

Pronounced
of

stripes

as

creations

Madame
named
the end

Pompadour, and many charming gowns

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

Period of Louis XVI.

By

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
this Revolution,
sition

period

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
of the eighteenth century

then to the Paisley copy made in Scotland, the Persian design of which has been so
popular.

The

transition

period

was

largely

in

came in. Under Louis

XVI

the designers

fol-

much that was Egyptian in character. The bee, laurel branch, wreath, helmeted warriors, etc., were now
combination with
used
as

lowed innumerable paths under the impulse of capricious fashion. We have

popular.

motifs and stripes were still This had marked influence and

Arabesque composition,
figures,

foliage,

flowers,
alle-

landscapes, country scenes,

and Chinese ornament. In the fabrics we find stripes and ribbons combined with flowers. Stripes were
gories

so

much used
a

that in 1788

it

was

said that,

"Everybody
like

in the king's cabinet looks

Unlike the Pompadour Queen Marie Antoinette stripes were interwoven with flowers and ornaments such as feathers, medallions, lyres, columns, etc. Marie Antoinette liked
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

much

of the his-

flowers, the pink, the tulip,

all

but best of

tory and atmosphere of each century and is worthy of intelligent study and consideration, not only by students, but by all who wish to develop their knowledge

the rose, and the impetus she gave the production of lace in the beginning of

her reign shows the influence of her taste, which is everywhere seen in the entwined
ribbons and garlands. 63 Directoire and Empire Designs.

and appreciation
gewerbe

of beauty. See Die Gewebe Sammlung des Kunst-

Museum von

Julius Lessing,

and

Seidenweberei, Otto

von Funke.

OUTLINE OF HISTORIC COSTUME

CHAPTER EIGHT

CHAPTER EIGHT
History and Dress
64.

OUTLINE OF HISTORIC COSTUME

Skirts

became longer
closed
in

and

Egyptian Costume.
.

(a)

Men.

(1)

and
side

were

front,

narrower, with one

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
front
(see Fig. 127), a kilt-like

lapping over the other.

When

of

transparent material, a skirt of thicker material in the shape

of

the

short

kilt

of

the

Old

Empire was worn

underneath.
(4)

Period of

loin

cloth

(see

Fig.

129), or a

Shepherd Kings, 13th to 18th

Dynasty.
ites

skirt apparently

Israel-

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. 124 of Perneb,

capital.

In the 18th

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

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

Many

changes

in skirls

now

engaged in strenuous exercise.

(2)

Dark

Courtesy of Metropolitan

Museum,

took place, plaitedeffects be-

FIG. 127.

FIG. 128.
in

FIG. 129.

Ages, 6th to
12th Dynasty.

The costumes worn by men

Egypt during the Old Kingdom

B.C.).

came popular.
See Fig. 131. Cloaks were

(2980-2475

No

change in costume shown. (3) Middle Kingdom, 12th and

B.C.).

13th

Dynasties (2160-1788

Thebes, capital.

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
of

Apron-like decoration was worn from the 4th to

metal

and

em-

broidery.
(c)

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. 4th to 18th (6) Women.

Emblems or Symbols.
Egyptian
crown,

Upper
red.

Lower Egyptian crown,

white.

When

one

king

ruled

Dynasty. 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 Metropolitan 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

both, he wore a combination of the above.

over the
plaits

left

shoulder,

Bulletin of the

Met-

became popular, and a left sleeve was introduced. In the

20th Dynasty a thick under dress was used.

ropolitan Museum of Art, Vol. XI, No. 11,

for

Ancient Egyptian

Kerchiefs,

and
the

The

Dress
lished

of

Ancient

White seems
been
saffron,

to

have

in favor, also red,

Egyptians, both pubby the Metropolitan

and blue. Both men and women wore sandals in

the street.

Museum

of Art;

Prisse d'Avennes, Histoire de L'Art

Egypt; The

The

collar

Book

of the Dead, iac-

was an important decoration and was made

of

shmleofPapyrusofAni,
in the British

Museum;

papyrus decorated with beads or embroidered in wool.

Wilkinson, The Ancient

Egyptian; Erman, Life in Ancient Egypt, Chapter X; Breasted,^! ncient

County
FIG. 131.
of Metropolitan

Bracelets and leg decorations Were

largely used.

Museum.

Times; Racinet, History

of Costume.

These

Plaited effects of the

New

Empire.

GREEK COSTUME
History and Dress
65.

Page One Hundred Three

a people fond of
(1)
tiful,
all

things beau-

Greek Costume.
Hellenic otherwise

made of

finer material, fell

Pre

called

in

many and

finer

folds,

had

Minoan

or

Mycenaean Age
See Fig. 132.

sleeves.

(2800-1200

B.C.).

See Fig. 135. Girdle was worn at the waist

wore waist cloth with Women wore hanging ends. tight-fitting waists and flounced
skirts.

Men

during the Archaic period, sixth century B.C. Statues of people of this century adorn the
line

See Fig. 133.

(2)

Homeric or Heroic Age

This was the elaboAcropolis. rate period when cascades of material are

(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

below the waist in the Golden

Age. This was sometimes called the Age of Pericles, 459-431 B.C.

B.C.

Dorian Invasion, 8th century Rise of Sparta, inhabitants called Dorians. 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

called lonians.
(3) Classic Period.

during the last period.

Costume

Museum.
of

FIG. 132.

and of Greek men women was the same

except that of the men was more abbreviated.
(a)
(6)

Costume Mycenaean man.

Chiton or dress.

Himation
The chlamys
horseback.

or
or

cloak.
(c)

See Fig! 135.

Wool, linen and silk were used, and the garments were dyed purple, red, yellow, 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

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
fell

Greece;

material

and

in

of

the

few folds, had no

sleeves, see Fig. 134.

cinet,

Hope, Costumes Ancients; RaHistoire du Cos-

tume;
Courtesy of Metropolitan

The

Ionic

chiton,
FIG. 133.

Museum.

Dress;

Evans, Greek Edith Abra-

worn by the lonians,

Costume

of

Mycenaean woman.

hams, Greek Dress;

Page One Hundred Four

OUTLINE OF HISTORIC COSTUME

Courtesy of Metropolitan

Museum.
FIG. 135.

Courtesy of Metropolitan

Museum.

FIG. 134.

Greek Doric

chiton.

iGreek Ionic chiton and himation.

G. Baldwin Brown, Bur-

circular in form, whereas

Magazine of December, 1905, and Janulington

the Greek himation was

rectangular.

ary,

1906,

How

Greek

Only
could

Roman

citizens

Women

Dressed.

wear the toga, which was a national

History
66. Roman Costume. Rome founded 753 B.C. Rome was a kingdom

garment, so the pcenula was worn by the working

like
class.

This

was

a cape, and sometimes had a hood. This

753-509
509-31

B.C.

Rome was
B.C.

a republic

both

was worn by all classes, 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

corre-

Dress (Roman)

sponding to the Greek

a
Ionic

Men
toga,
,
. .

wore a

tunic;

chiton
it

(differing

or

cloak
.

corre.

in that

had a border
at

sponding to the Greek himation but CUt semi;

or
From Hope.
FIG. 136.

ruffle
;

the

bot-

The costume of a Roman man and woman,

tom)

pallet

or cloak

ROMAN COSTUMES
corresponding to the Grecian himation. Women of the lower classes

Page One Hundred Five

Hope, Costume of the Ancients; Preston and Dodge, Family
Life

wear the stola; they wore tunic and palla, but this palla was made like the Grecian Doric chiton. Roman men did not wear
could

not

Planche, of Romans; General History of Costume in

Europe.
History and Dress
67.

The Gauls.

Csesar

hats, except the lower classes,

made a complete

who wore

tight-fitting

caps.

See Fig. 133.

Gaul, 55 B.C. the civilized races were untrousered.

conquest of In ancient times

Roman women had far more

jewelry than the Greek. They had all the precious stones we

(See

Egyptians,

Greeks,
civilized

and Romans.) Unraces were trousered

now have. They dyed,

curled,

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

(Gauls, Franks, etc.). Wore trousers to (a) Men.

the

ankles,

called

braie;

a
in

mantle of wool fastened

front, called
sai;
FIG. 138.-Gallic costume before coming under Roman
influence, 55.B.C.

a tunic to
s l ee ves;

Books of Reference
~Racmet,Histoiredu Costume;

mid . leg
girdles;

with

long

shoes to ankles.

See

Fig. 137.

From Hottmrofh.
FIG. 137.
Gallic costume before coming under influence, 55 B.C.

Roman
FIG. 139.

From

Hottenroth.

Gallo-Roman costume 100

A.D.

Page One Hundred Six

Later the
with bands.
(6)

OUTLINE OF HISTORIC COSTUME

trousers

men

shortened the
leggins

and tunic and wore

and sandals
to

Women.
shoes.

Inner

tunic

ankles;
sleeves;

short outer
girdles;

tunic

with

short

The women
outer
tunic

See Fig. 138. afterwards shortened their

like

and wore a mantle

Roman paenula. See Fig. 139. Both men and women made their hair red with lime
water.

About a hundred years after the Roman conquest, the Gauls had become civilized, and had adopted a dress somewhat resembling the Roman costume, but the Roman dress was also influenced by that of the

Gauls, as can be seen

of short trousers that

by the introduction were worn under

the tunic.
Reference Books
from
Hottenrotii..

Hottenroth, Le Costumes chez

FIG.

141.

les

Peuples:

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

Racinet, Le Costume Historique; Zur Geschichte

der

Costume,

Nach Zeichnungen von

W. M.
J.

Diez, C. Frohlish, C. Haberlin, A. Muller, F. Rothbart,

Heil,

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. Ethels.i

From

Hottenroth.

FIG. 140.

Men's costume of the early Franks about 5th to 8th century.

witha, d. of Ethelran of Mercia.

THIRD ELEVENTH CENTURY

742-814 A.D.

One Hundred Seven

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

Charlemagne m.

1st,

Her-

mengardc., m. 2d Hildegarde, m. 3d, Fastrade, 4th, Liutgarda. 276 A.D. The Franks came down the

Rhine, took possession of Gaul gradually, but made a complete conquest.

fifth century to the sixteenth century comprises the costume history of the Middle Ages.

often decorated with a band called a fichu. This was sometimes set with precious stones and

men and women was now

The

showed Byzantine

influence.

See Fig. 142.

Quicherat,

Zur

Reference Books Geschichte der Costume;

Dress (III
(a)

to

XI

Century}

Men.

Wore

to the knee;

a kind of tunic usually mantle the shape of a cape

girdle;

which often had a hood;

See Fig. 140.
(b)

shoes.

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

Women.

Wore,

like the

women

of
69.

History

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

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

Empire continued after the arrival of the Franks, who had become well established

From Zur
FIG. 142.

Geschictite

tier*

Costume.

From Zur
FIG. 143.

Geschichte der Costume^

French costume

of 9th

and 10th

centuries.

King and Queen

of the llth century.

One Hundred Eight

1060-1108 Philip
I,

OUTLINE OF HISTORIC COSTUME

m.
C. of

King

of France,

1st Bertha, d. of Florence I,

I,

Holland, m. 2d Bertrade, d. of Simon 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. of 1st, Eleanor, d. of Guillaume

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
full called a bliaud (pronounced This was held in by a girdle. The bliaud had sleeves similar to those of our

Aquitaine, m. 2d,

Constance, d. of

long and
bleo).

Alphonso VII of Castile, m. 3d, Alice, d. of Theobald II, C. of Champagne. 1180-1223 Philip II, King of France, m. 1st, Isabelle of Artois, m. 2d, Ingeborg of Denmark, m. 3d, Marie, d. of Berthold V of Meran.
Dress (XII Century}

kimona

(the extra fullness in the skirt

was

obtained by gores). See Fig. 143. Trousers and stockings were

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.

underneath.
long mantle now worn was fastened often on the left shoulder; up to this

The women's

The

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 Calthrop, English Costume; Racinet, Costume Historique; Planche, General History
of Costume;

Hilaire Billoc,

Book

of

Bayeux Tapestry,

Racinet, Costume Historique; Zur Geschichte

der Costume; Planche, Dictionary and Cyclo-

La

Croix, Manners, Customs,

the

pedia; Jacquemin, Iconographie du Costume; La Croix, Manners, Customs, and Dress During the Middle Ages and Renaissance, and Ary Renan, Le Costume en France.
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.
70.

Middle Ages and Redu Costume en France; Viollet-le-Duc, Dictionnaire du Mobilier Francais,Vo\s.3 and 4; Bonnard, Costumes Historique; Fairholt, Costumes in England; Shaw, Dresses and Decorations of the Middle Ages; Hefner-Alleneck, Trachten, Kunstwerke und Gerathschaften.
naissance; Qtiicherat, Histoire

and Dress During

History

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

71.

Mathilda,

d. of

Eustace, E. of Boulogne.

Alix, d. of

Hugo, C.

of Mortain,

m.

THIRTEENTH FOURTEENTH CENTURIES

Page One Hundred Nine

From
FIG. 144
century.

Vlnllet-le-ttuc.

Pram

VtoOet-l6-J>uc.

From

Vlottet-le~Duc.

Fitted costume of

12th

FIG. 146. Parti-colored or armorial dress.

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

2d, Havoise, d. of D. of Gloucester, m. 3d Isabel, d. of C. of Angoulerne.

1st, Isabelle, d. of

King

of Arragon,

m.

2d, Maria, d. of Heinrich III of Brabant.

1216-1272 Henry III m. Eleanore of Provence. 1272-1307 Edward I m. 1st, Eleanora of

Castile, 2d, Margaret, d. of Philip III. 1307-1327 Edward II m. Isabelle, d. of

1285-1314 Philip IV, King of France, m. Jeanne, Queen of Navarra. 1314-1316 Louis X, King of France, m. 1st, Margaret, cl. of Robert II, of Bur-

Philip IV,

King

of France.

1327-1377 Edward III m. Philippa, d. c/ 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
1st, Mary Bohun, m. 2d, Jane of Navarra. 1223-1226 Louis VIII, King of France, m. Blanche, d. of AlphonsoVIII of Castile. 1226-1270 Louis IX (St. Louis), King of

Rose), m.

gundy, m. 2d, Clemence of Hungaria. 1316-1322 Philip V, 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. 3d, Jeanne, 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,

France, m. Marguerite, d. of C. of Provence.

1270-1285 Philip

III,

King

of France,

m.

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. Isabelle of

OUTLINE OF HISTORIC COSTUME

and the hennins or high head
dress

came
or

in.

Toward the

Bavaria Ingolstadt.
Dress (XIII and XIV Centuries}

last of the

century the houpone-piece dress the surcot. See

pelande
replaced
this

In the thirteenth century,

Figs. 147, 148

and

108.

In

more
dress.

interest

was shown in Both men and women

wore a semi-fitted garment called a surcot, hollowed out under the arms.
(a)

garment women are said to have discovered the normal waistline. This had a
V-shaped neck, widely
the shoulders.
off at

The women
time
wearing

Men.

Wore

close

fit-

were at

this

ting trousers (braie); mantle; surcot; tunic (chemise); cotte (tunic); stockings; hats or

the wimple or head covering, and about the throat the

gorget in certain localities. The surcot of the men grew
shorter and had large sleeves.

hoods.
(b)

Women.

Wore

inner

tunic or chemise, over this a cotte, or fitted chemise worn

fitting
From
FIG. 147
VioUet-le-I>uc.

Their stockings were closeand combined with

the trousers.

with a girdle, over this the

surcot.
sleeves,

The

shoes were

The

surcot had no
of the

14th and 1 5th century costume

and those

showing hennin and houppeland

more pointed.

They added

an houpplande or sometimes long, sometimes

short,

cotte, usually of a con-

trasting color, were an important feature of

outer

garment
See

by degrees the arms-eye became larger and was trimmed with

this robe;
fur.

with large sleeves. Figs. 108 and 148.

Reference Books Books mentioned under

fifteenth century.

145.

See Figs. 123 and The skirts were

very long and were held up as the woman walked,

History

showing the cotte again, which was the

same material
sleeves,

as

the

making a

pleas-

ing repeat of the contrasting color.

In the

fourteenth century the

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

Century. V, King of England, m. C a th erine of Valois,d. of Charles VI of France. 1422-1461 Henry VI, King of England, m. Margaret of Anjou. 1461-1483 Edward IV

72. Fifteenth

1413-1422

Henry

From
FIG. 148.

Viollet-le-Duc.

(White Rose), m. Elizabeth of Woodville.

Men

of the 15th century.

SIXTEENTH CENTURY
Edward V, King of England. 1483-1485 Richard III (White Rose), m.
1483
used,
into France
of France.

Page One Hundred Eleven

and had probably been introduced by Anne de Bretagne, Queen
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 hisno*.

tory of the Middle Ages.

France, m.
Marie, d. of

Reference Books

Anjou. 1461-1483 Louis

D.

of

Calthrop, English

Costume; Zur

Geschichte der Ko-

XI,

m.

1st,

Marguerite, d. of James I,

Histoire

King
land,

of Scot-

stume; Quicherat, du Costume en France; Pauquet Freres,

Modes et Costumes
Historiques; Hottenroth, Les Costumes chez les

m. 2d,

Charlotte of

Savoy. 1483-1498 Charles

VIII,m.Anne
of Brittany.

Peuples; LaCroix, Manners, Costume, and Dress

1498-1515

Louis

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

2d,

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

^
From ZUT
FIG. . 149.
Geschichte der Costume,

Anne,
of
d. of

Toilette; Hifitoire

widow
of

stume

Racinet, du CcPlanch^,

German costume

of early iGth century.

Dictionary and

Charles VIII,

m. 3d, Mary,
England.

Henry VII, King

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

Dress

The

tion of the

fifteenth century was an exaggeramodes of the fourteenth. More

Costume
Siecle;

Civil en

France du

XIIF

au

XIX

extravagant fabrics were used, and everything became more extreme, even to the points of the hats and shoes. Towards the end of this century came a
transitional period.

Strutt, Sport and Pastimes of the People of England; Strutt, Complete View of the Dress and Habits of the People

of England;' Bonnard, Costumes Histcriques e e et des XIF, XIIF, Siecles; ,

XIV

XV

Boutet de Montvel, Joan of Arc; Sanborn,

The

toes of the shoes

Ann

cf Brittany.

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

Sixteenth Century. Renaissance. 1509-1547 Henry VIII, King of England m. 1st, Catherine of Aragon; m.
73.

Page One Hundred Twelve

OUTLINE OF HISTORIC COSTUME

From PoMguet
FIG. 150.

Freres.

From Pauquet
FIG. 151.

Frtres.

Costume

Anne

of transition period. of Brittany, 1500.

Costume

of 16th century, 1527.

From Pauquct

Frerc

From Pauquet
FIG. 153.

Freres.

Larly Renaissance, 1530.

French gentleman, 1572.

SIXTEENTH CENTURY
Anne Boleyn;
m. 4th, m,
of
s

Page One Hundred Thirteen

1574-1589

Henry

3d, Jane Seymour;

King

of France,

HI, m.

Anne

Cleves; m. 5th

Louise of Lorraine. 1589-1610 Henry IV

Catharine Howard;

(Bourbon), King of

m. 6th, Catharine
Parr.

France, m.
lois;

1st,

Marguerite of Va-

1547-1553 Edward VI.

m. 2d, Marie
Century}

1553-1558

Mary Tudor,

de Medicis.
Dress

Queen of England, m. Philip II, King

of Spain.

(XVI

Great

changes

now
cos-

developed.

The

1558-1603 Elizabeth,

Queen of England. 1515-1547 Francis I,

tumes for men and women from this time

on are no longer
alike.

King

of France,

m.
ed
From Patigttet Frfrres. Late Renaissance silhouette, 1586.

The
to

desire

now seemalter

1st, Claude, d. of Louis XII; m. 2d,

be

to

in

Eleanor,
Philip.

d.

of

PIG. 154.

various ways the normal shape of the figure.

The women

first

wore

1547-1559
II,

Henry King of
1st,

a boneless corset, which they called a

basqui?ie,and a crinoline which gave

France, m.

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

Diana, Duchess
of Valentinois.

the appearance of a

hooped skirt, which

they called thevertuSee Fig. 152. gale.

1559-1560 Francis
II,

The waistline
was normal and
slightly pointed in

King

of

France, m. Mary Stuart,

Queen of Scotland.

front.

A piece of material was sewed

on the vertugale to
take the place of

1560-1574 Charles

IX,

King of France, m. 1st,

Elizabeth,
of imilian;
d.

the cotte.

The
same

under-sleeves were

made

of the

Emp. Maxm.2d,
From Pauguet
FIG. 155.
Freres

material,

morga., Marie Touchet.

and sometimes slashed to show the chemise;

Late Renaissance costume, 1572.

sometimes this

Page One Hundred Fourteen

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

OUTLINE OF HISTORIC COSTUME

in the silhouette.

The

waist

in

became smaller size. Both round

line

was square but

The
skirt

curved upward at the

centre.

length and long skirts were worn. Trains were

of

was

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

worn on horseback, one which was seventy

feet long.

The widely

open bodice became

popular, to which immense 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 in profusion elaborate the costumes; collars set with gems were favored. The men wore very short, often slashed,
to
trousers, long stockings,
FIG. 156.

came

time that ribbon in. See Figs. 154

figures dimin-

and 155. Men's

ished in size as
From fauyuel
t'rerc.-..

women's

figures increased.

They
Fig.

Costume

of the late Renaissance, 158G.

also

wore both corset

ruffs.

doublet with a

and
156.

See

square neck, slashed,

round - pointed shoes,

a mantle. See Figs. 151 and 153.

and

Reference Books See books mentioned

under

fifteenth

and

The came
when

first

change
latter

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

King of England, m. Anne, d. of

Frederick II, King
of

ones
roll

with a
at

padded
arm-eye.

the

Denmark.
I,

The ruff now became popular. More

width

1625-1649 Charles

was given

to

the hips

by a

barrel-

King of England, m. Henriette Marie, d. of HenFrom Pauquet

FIG. 157.
Frfres.

shaped hoop which made a definite change

ry IV, France.

King

of

Early 17th Century costume, 1633.

SEVENTEENTH CENTURY

Page One Hundred Fifteen

From Pauqwt
FIG. 158.

Freres.

Costume

of the early part of Louis

XIV

reign.

Fia. 159.

Costume of the XIV, 1670.

reign of Loui

From Pauquet
FIG. 160.
reign

Freres.

From Pauquet
FIG. 161.

Freres.

Costume

of the later part of Louis

XIV

Costume
Louis

showing Fontanges head-dress.

XIV

of the later part of reign.

Page One Hundred Sixteen

OUTLINE OF HISTORIC COSTUME

wore a round length under-petticoat and an overskirt which 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,

Thomas

m. Elizabeth, Bourchier.

d.

of

Sir

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 III 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, Maintenon.

Mme.

waist became longer, heels grew higher, waists grew tighter and fans were a necessity.

Dress (XVII Century} The heaviness of the sixteenth century gave way by degrees to the more picturesque

Two
ular:

See Fig. 160. kinds of neck lines were

now

pop-

The

straight line decolletee, close

costume of the seventeenth century. Men's trousers lengthened (a) Men. and they shortened the waistline and added peplum, and, like the women, used lace and ribbon profusely. They wore musketeer boots. Their hats were high with a flat brim and decorated with flowThe hair was 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 doublet

to the neck, which seemed an extension of the panel front used with short sleeves;

and the round neck

shoulders.

line,

which was
line.

off

the

shorter, fluffier sleeve

w as
T

used with the round neck

Both these
in the

are forerunners of the eighteenth century.

The Fontanges headdress came

late part of this century

and clothes beof

came very formal under the sway

de Maintenon.

Mme.

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 The chemise showed at the wrist, collars. and under the jabot. The trousers were close-fitting and less decorated. They wore large muffs and wigs and a hat with turnedup brim and flat plumes. See Figs. 157, and 161. Abandoned the hoop, and (6) Women.

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 Historiqiies;

of Toilette; Pierre

Robida,
Daises;

Ten Centuries

Lamesangere, Costumes des Femmes Fran-

Zur

Geschichte der Costume.

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

Page One Hundred Seventeen

cousin.

1727-1760 George
land,

II,

King
of

m. Carolina

of EngBranden-

burg- Ansbach. 1760-1820 George III, King of England, m. Charlotte of Mecklenburg-Strelitz.

1715-1774 Louis XV, King of France, m. Maria Leczinska.

Favorites

Marchioness

de

Pom-

padour, Countess du Barry. 1774-1792 Louis XVI, King of France,

I.

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

From Pcmquet
FIG. 162.

Frtres.

Draped costume

of the late 18th century, 1763.

Dress

(XV III

Century}

Early in the eighteenth century the hoop was revived (1711). This time it was a framework of

some similar and was called a panier. It was wide at the sides and flat in the back and front, but the
cane, whalebone, or
material,
fullness of the skirt

gave the

re-

quired size at the back. During the regency, plain, full skirts of

weight material were in r vogue; afterward, heavie fabrics and more decoration appeared.
light

The type was more

frivolous

than that used during the latter part of the reign of Louis XIV. When the bodice had a round
neck, the sleeves
From Pauguet
FIG. 163.

were usually were

made
Frires.

of ruffles of lace; with the

Louis

XV Watteau

costume showing 18th century hoop, 1729.

square

neck, the sleeves

Page One Hundred Eighteen

OUTLINE OF HISTORIC COSTUME

FIG. 164.

The costume

From Pauquet Frfres. of a man in 1740.

From Pauquet
FIG. 165.

Frires.

Louis

XVI

costume, 1777.

usually close-fitting with decoration at

pleats were allc to fall straif

the elbow.
166.

See Fig.
artificial

the shouldei
floor; at

Much lace,
were
used.

other

ribbon and
flowers

the skirt was draped at the back and sides,

Mantles were capeshaped with hoods.

showing the underskirt.

The
often
as

dresses

In

the

second

were
short,

worn
at-

quarter of the century the one-piece

dress with a Watteau
plait

much

tention was given to shoes and stockings.

came

in; this

The costume
the
riod

of

was then worn con-

men

of this pe-

temporaneously
with
the
others,
in differ-

and made
.

was strongly by the paniers used by the

influenced

ent ways. See Fig. 1 63 Sometimes the

waistline

women and
skirts
Painting
bit

the
coats

of the
stiffened

was

not

Nattier.

were
boned.

and

defined

and

the

FIG. 166.

18th century round neck line and

sleeves.

ruffle lace

The shoes

EIGHTEENTH CENTURY

Page One Hundred Nineteen

From
FIG. 167.

Zw GescMcJite tier Costume.

costume, 1780.
FIG. 169.

From

Paitquet Writes.

Louis

XVI

Directoire costume, 1798.

From Zur
FIG. 168.

Geschichte

tier

Costume.

British or masculine costume.

FIG. 170.

The costumes
"

of

(men) and

Merveilleuses

"

From Pauquet Fr&res. " " 1795 of the Incroyables and "Impossibles" (women).

Page One Hundred Twenty

heels, and a tricornered hat was

OUTLINE OF HISTORIC COSTUME

shepherdess crook. See
Fig. 167.

had red
worn.

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

The next change was that

brought in by the approaching French RevThis was a olution.

more masculine costume and was called

British or English. See Fig. 168.

were

extremely tight and stiffly boned, the skirts were elaborately

olution

The days of the Rev- 1799) (1789

in simple
Corsets were

trimmed, and immense

brought
fashions.

headdresses were
worn.

See Fig. 165.

brought
in

discarded,

the

waist

Farming at the Petit

became short and the

skirt

Trianon

clinging,

and

the dainty

overdress

adapted from the

Watteau
style,

cheap materials were used. During the DiFIG. 171.

and the

Fashions of the Consulate, 1799-1803.

rectoire,

the

women

FIG. 172.

Costume

of the First Empire,

FIG. 173.

Costume

1811.

of the First Empire, 1813.

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 "Impossibles." See Fig. 170.

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

Roman Emperor.
1814-1824
From
PaitQuet Frtirea.

Louis

The men wore an

exaggerated copy of
FIG. 174.

Costumes

what had been

of the Restoration, 1820.

XVIII, King of France, m. Maria

of Sardinia.

previ-

ously called the

English fashion.
Reference Books

1824-1830 Charles X,

King

of

France,

m. Maria Theresa
of Sardinia.

See books mentioned

1830-1848
lippe

Louis-Phiof

under seventeenth and

nineteenth centuries.
History
76.

Orleans,

King of France, m. Marie Amalie of

the

Nineteenth

Two

Sicilies.

Century. 1820-1830 George IV,

1848-1870 Louis Na-

King of England, m. 1st, morga.,

Mrs. Fitzherbert; m. 2d, Caroline of BrunswickWolfenbiittel.

poleon III, m. Eugenie de Guzman,

Dress
It
is

Countess
Century}

of Teba.

(XIX
of

said that the

fashions

the Con-

1830-1837

William
FIG. 175.

IV, King of England, m. Adelaide of

Costumes of the Romantic Period during

sulate, 1799-1804, which were much more

reign of Louis Philippe, 1830-1848.

Saxe-Meiningen.

restrained, kept all that was best in the

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

Things were military.

silks

Louis-Philippe, 1830-1848, was called the Romantic Period. See Fig. 175. The waists were closefitting with a very low neck, and were wide off at

Oriental

and heavier materials were

used, and the

tendency was to be well covered. See Figs. 172 and
173.
FIG. 176.

shoulders. The popular berthe

Costumes of the Second Empire, 1851.

tha effect increased this

still

more.

The waistline was

pointed in front, the skirt full but

The Restoration,
1814-1830 (reign of Louis XVIII), found the silhouette changing.

with less trimmings, and flounces were sometimes used. Shoes

See Fig. 174.

Corsets had again come in and

were low and had no heels. The Republic under Louis

caused the waist-

line to drop slightly. The skirts had more fullness,

were
elaborately

Napoleon, 18481852, found the

in size,

skirts increasing and by the

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

Second Empire under Napoleon 1852 - 1870, III,

the
skirts

In the
its

were
stiff

twenties the waist

held out
FIG. 177.

by

found

normal

Costumes

of the

Second Empire,

petticoats

which

NINETEENTH CENTURY
led

Page One Hundred Twenty-thre*

and
der Costume; Iconographie du Costume, by Raphael Jacquemin; English Costume, by Calthrop; Fashions in Paris, 1797-1897, by Octave Uzanne; Modes et Usages au temps de Marie Antoinette,
Geschichte

up

to the return of the crinolines

of 1854.

hoops

See Figs. 176 and 177.

The

long shoulder line persisted and sleeves were bell-shaped and full at the wrist.

and capes similar to those Empire were used. By 1870 the bustle had supplanted the hoops, and from that time to the present rapid changes have taken place.
Jackets, shawls,

worn

in the First

Livre;

Journal

de

Madame
by

Eloffe,

Le

Comte de

Reiset;

Marchande de Modes;
Julius

Dame

Fashion, 1786-1912,

M.

Price; Galerie des

Modes

et

Reference Books

ais, 1778-1787, par M. Die Mode; Modes and Manners of Nineteenth Century, by Dr. Oskar Fischel and

Costumes FranPaul Cornu;

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

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.

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BIBLIOGRAPHY
Racinet.

Histoire
text.

du Costume.

6 vols. Illustrated.

Herbe.

Costume

Frangais. Illustrated. French text.

Illustrated.

French

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

Renan, Ary. Le Costume en France. French text.

Robida, A.
Challamel.

Ten Centuries
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Illustrated.

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Bulletin, Vol.

Metropolitan
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Museum
Illus-

French and English

XI, No.

11.

The History

of

Costume

in

France from

Prisse D'Avennes.
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Histoire de L'art Egypt. French Text.

Gallo-Roman
lish text.

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British

Museum.

English text.
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Illus-

La

Breasted. Ancient Times. Illustrated. English text.

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

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Calthrop.

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English Costume. Early English, Middle Ages, Tudor and Stuart, and Georgian. Published in 1 vol. and in 4 vols. Illustrated. English text.

Femme

dans

L'Antiquit6

Grecque.

Strutt, J.

Sport and Pastimes of People of England.

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French

text.

Illustrated.

Van

Rensselaer, Mrs.

Schuyler.

Cretan Snake
August,
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Strutt, J.

A Complete View of the Dress and Habits

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

Goddess.
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Century

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of the People of England.

English text. Brown, G. Baldwin. How Greek

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Cyclopaedia.

Hughes.
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Old English Costume.

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The

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Hefner- A Iteneck.
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Trachten, Kunstwerke, und Ge10 vols. Illustrated. German text.

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Joan of Arc. For XV Century French and English text. Braun, Diez, Froehlich, etc. Zur Geschichte der KoCostume.
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I>es Elegances de la Toilette. Louis XVI-Restauration, 1780-1825. Illustrated.

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Dresses and Decorations of the Middle Ages.

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,

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XIV e

French text. 6 Les Costume Civil en France de XIII au French text. Siecle. Illustrated.
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French and English

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Page One Hundred Twenty-eight

Cornu,
Fishel

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Jourdain,

M.

Paul.

Galerie des

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Franchises, 1778-1787.

Illustrated.

Costumes French text.

Edwardes.

M.

Lowes, Mrs.

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

Laurence
de.'

and Von Boehn Modes and Manners

1790-1878.

translated by of the

M.

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Laprade,

Mme.
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Le Poinet de France.
History of Hand-made
English

vols.

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German and

French
Lace.

English text. Rhead. Chats on Costume. Illustrated. English text. Two Centuries of Costume in America. Earle.
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Jackson, Mrs. F. Nevill.

English text.

Lefebure, Ernest.
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Embroidery and Lace.

Published

in

vol.

and 2

vols.

English text. McClellan. Historic Dress in America.

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Clifford, C.

Lace Guide.

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The Lace Dictionary. English

Samplers and Tapestry
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1607-1800; Vol.

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Huish, Marcus B.
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Em-

Modes

text.

Bakst, Leon.
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French

text.

et Maniers D'Aujourd'Hui, Illustrated by Lepape, 1912, Martin, 1913, and Barbier, 1914. French text.

Dressmaking. Chapter I on The Historic Development of Costume. Illustrated. English text.

Nevill, Ralph.

British Military Prints.

Illustrated.

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

English text. Falls, D. W. C.

Wietz.
text.

Army and Navy Information of the

English text.

Warring Powers.

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
Coiffure

Modes and

Villermont,
des Modes.

Comtesse de.
Illustrated.

Histoire

de
text.

la

Frencfrtext.

Feminine.
trated.

French

Burbank.

Woman

as Decoration.

English text.
text.

Lessing, Julius von.

Die Gewebe Sammlung des

Kunstgewerbe Museum.

German

A History of Mourning. IllusEnglish text. Rhead, G. W. History of the Fan. Illustrated.

Davey, Richard.
Redfern, Shoes.

Funke, Otto von. Seidenweberei. 2 vols. German text. Moore, N. Hudson. The Lace Book. Showing-

English text. W. B.
,

Royal and Historic Gloves and

English text.

Specimens of Lace, or
traits.

its

wear

in

famous porEnglish

Illustrated.

English text.

For Periodical References see Poole's Index and

History of Lace.
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

Drawn by Robert Henry

for Felix

Jungmann &

Cie.

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
of the

a partial guide to the resources

Brooklyn Public Library on the subject of costume.

Practically

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
Abyssinia

143
144 144
See

Corea.
Corsica.

See

KOREA.
Poetry)
151
151

Afghanistan
Africa

See FRANCE.
(in
. .

Costume
Cuba.
.
.

Albania.
Algeria

BALKAN STATES.
144

Arab Costume
Armenia.
See

145

Denmark
Dutch Costume.
See NETHERLANDS.

151

TURKISH EMPIRE.
145
See

Armor
Asiatic
Islands.

MALAYSIA, PHILIPPINE
146
146

Egypt
England
England.
Military Costume.
.

ISLANDS.
Assyria Australia

152 152
156 157
. .

Austria-Hungary Aztec Costume.

146
See

Eskimo Costume Etruscan Costume

Fancy Dress Fans
Fiji Islands

158 158
158

INDIANS

OF

NORTH

AMERICA.
147 Balkan States Bedouin Costume. See ARAB COSTUME, EGYPT, TURKISH EMPIRE.

158
See BELGIUM.

Flemish Costume.

Foot-wear

158

Belgium
Bohemia.
Bosnia.
Bridal

148

France
France.

159
Military Costume

Bibliography See AUSTRIA-HUNGARY.

See

137

160
138
161 161

BALKAN STATES.
148
148

Costume See FRANCE. Brittany.

Brooklyn
Bulgaria.

General Works Germany

Germany. Military Costume Gipsy Costume

Gloves

161

See

BALKAN STATES.

162

Burma.

See INDIA.

Greece

162
163
See HEAD-DRESS.

Guatemala

Canada
Caricatures and Caricaturists

148 148
149
Hair, Hats.

See AFRICA. Carthage. Central America

Hawaii
Head-dress
149

163
163
See JEWISH COSTUME.

Central Asia

Hebrew Costume.

Ceylon
Children
Chile

150
150 150 150
See

Herzegovina. See BALKAN STATES. Holland. See NETHERLANDS.

Hungary.
India

See AUSTRIA-HUNGARY. 164 165

China
Colonial Costume.

UNITED STATES.

Indians of North America

Page One Hundred Thirty -four

PAGE

CONTENTS
PAGE

Indians of South America.

Ireland
Italy

166
167

Portugal

172 172

167

Quakers...
Religious

Japan
Jewelry Jewish Costume
.

168 168
169 169

Costume
See

173 173

Rome
Roumania.

BALKAN STATES.
.

Russian Empire.

174
175
.'

Korea..
Lapland.
See

Samoa

NORWAY, RUSSIAN EMPIRE.

Savoy
Scotland
Servia.

175
175

Macedonia.

See

BALKAN STATES.
169
See

See

BALKAN STATES.
176

Malaysia Maori Costume.

Marriage Costume. Mediaeval Costume

ZEALAND. See BRIDAL COSTUME.

169

NEW

Shakespearean Costume Shoes. See FOOT-WEAV*.

Siam.
See INDIA.

South America
Spain

177 177
177

Mexico
Montenegro.
See

170

BALKAN STATES.
170

Sweden
Switzerland
.
.

Morocco
Nepal. See TIBET. Netherlands

178 178 179

179 179

Theatrical

Costume

170
171

Tibet

New

Zealand
See FRANCE.

Normandy.

Norway
Oceanica.
Orders.
.

171 171 171

See

Troubadours Tunis. See AFRICA. Turkish Empire

Tyrol.

See AUSTRIA-HUNGARY, SWITZERLAND.

United States United States.

Venice.

180
Militarv and Naval Costume.
181

TURKISH EMPIRE. Peasant Costume

Palestine.

171

See ITALY.

Periodicals Useful for the Study of Persia

Costume

138
171

Wales

182
See ARMOR.
.

Peru
Poland.
Philippine Islands See RUSSIA.
.
.

172
172
172

Weapons.
T

W est Indies.
Zanzibar.
. .

182

Porto Rico.

.182

A READING AND REFERENCE LIST ON COSTUME, ARRANGED ALPHABETICALLY

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

BIBLIOGRAPHY
Barnard, F. P.

Books for Reference on English Costume. (In his Companion to English History Middle Ages. 1902. p. 115.) REF. 942B25

Dillon,

H. A.
v. 1.

Books Treating

of

Costume.

(In

Fairholt, F.

W. Costume
pp. xi-xiv.

1885.

England. 3d ed. Also 4th ed. 1896.)

in

(In Encyclopedia AmeriBibliography of Costume. cana. 1903-04. v. 5.) REF. 031E56

See article on
"

391F17
Evans,

Costume."

16

titles.

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

Annotated
list

New
5.

International

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

M. M., Lady.

pp. 333-34.)

Fletcher,

REF. 031I61GI
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. U. S. Bureau of Ethnology. pt. 1. p. 20. Bulletin 30.) REF. 970.1U58
(In
18
titles.

p. 143.)

(In New Bibliography of Ecclesiastical Costume. Internationa! 1902-04. v. 5. Encyclopaedia.

p. 338.)
11 titles.

Gipsy Costume.
Society.

(In
ser.

Journal of the Gipsy Lore

v. 1.

New

p. 25.

July, 1907.)

REF. 031l6lGi
Brief annotated
list.

REF.

Bibliography of Ecclesiastical Costume. International 1914. Encyclopaedia.

148.)

(In
v.

New
6.

p.

(In Jewish EncyBibliography of Jewish Costume. 1901-06. v. 4. pp. 294, 301, 303.) clopaedia.

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

REF. 933S61
Brief
lists.

Lipperheide, F. J., Freiherrlich von

Freiherr

von.

Katalog

der

Bibliography

of

Roman
Costume

Comedy
in

Costume.

(In

Saunders,
1909.

C.

Roman Comedy.
391S25

KostumLipperheide'schen REF. G016L76 2 v. 1896-1901. bibliothek. Annotated and illustrated. The most complete bibliography.

pp. 143-145.)

Blumner, II. Costume. (In his Home Life of the Ancient Greeks. 1893. p. 533.) 913B65
4
titles.

Litteratur. Kostiim.

Lexicon.
14
titles.

14th ed.

(In Brockhaus' Konversations1895. v. 10. p. 662.)

REF. G033B86

Boutell,

Charles. Bibliography of Costume. (In Encyclopaedia Britannica. 9th ed. 1875-88. v.

6.

Luard, J.
Soldier.
Brief
list

History of the Dress of the British

1852.
of authorities, pp. III-IV.

pp. 478-79.)
Classified

REF. 032E56
list.

355L92

and annotated

Chubb, Percival, and others. Festivals and Plays in Schools and Elsewhere. 1912. 371.7C55
Costume bibliography,
p. 391.

McClellan, Elizabeth.

Authorities Consulted.

(In

her Historic Dress in America, 1607-1800.

pp. 405-07.)

1904.

REF. 391M12

Page One Hundred Thirty-eight

New
the

BIBLIOGRAPHY
Weiss,

York

City.

Salmagundi Club.
in the

Costume Books gundi Club. N. Y.

Peabody
Institute,

Catalogue of Library of the Salma-

Hermann.

Mittelalter.
List of

his Kostiimkunde. (In 1883. pp. ii-xxviii.)

II,

1906.

R016N567S
Catalogue
of

works on mediaeval costume.

Baltimore.

the

Same.
pt. 2.

(In

his

Kostiimkunde.

III.

1.

2,

Library.
Costume, Part I, 18S3, pp. 807-8; 2d series, part II, 1897, 907; Ecclesiastical Costume, part I, 1883, p. 808; United States Costume, 2d series, part VI II, 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. llth ed. 1910. Encyclopaedia Britannica.

p. 247.)

(In
v. 7.

PERIODICALS USEFUL FOB THE STUDY OF COSTUME

Delineator. Gazette du

Eon Ton

Quellen fur die

Kenntnis der Kostume.

4th ed.

(In Meyer's

Godey's Lady's Book.

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

1888.

v.

10,

Graham's Magazine.
Graphic.

works on costume.

Harper's Bazar.
Illustrated

London

Same.
p. 539.)

(In Same.
list

Cth

ed.

1904-08.

v.

11,

Journal des Dames

Neivs. et des Modes.

REF. G033M61KO
revised

L'Illustration.
Ladies' Cabinet of Fashion, Music, Ladies' Home Journal.

Preceding

and enlarged.

and Romanes.

Racinet, A. C. A.

Bibliography,
Classified
list

Le Costume Historique. 1888. v. 1. pp. 113-24. REF. F390R12

about 400
titles.

La Mode

Illustree.

of

Le Costume Royal. Le Tour du Monde.

National Geographic Magazine. Peterson s Magazine.

Rhead, 0.

W.

Bibliography of Costume.
1906.

(In his

Chats on Costume.
Sargent, J. F.

pp. 15-16.)

391R46
a
list

Punch.
Sketch. The Children's

Customs and Costume:

articles.

of for

books and magazine

the Young. Issued 1890. pp. 9-10.)
14 annotated
titles of

(In his

Reading

by the Amer. Library Assoc.,

REF. 028S24
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 works dealing u;ith 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,

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

Amman,
A
all

Jobst.

The Theatre

of

Racinet. A.

Women. 1872. R391A51

'

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

Classified list of

about 400

titles.

Aria, Mrs. E.

Costume: Fanciful,
Illus.

Historical,

and

Waern,

Bibliography of (In her Short Historical Sketch of Fans.

Cecilia.
Brief annotated
list.

Note:

Fans.
1895.

Theatrical.

by Percy Anderson.

1906.

391A69
Historical, peasant, oriental, ceremonial, bridal, dancine, Colored plates and halffancy, and theatrical costume. tones.

pp. 28-29.)

391W12
Verzeichniss
(In

Weiss, Hermann.

der Abbildungen,
his

Armies of To-day.
others.

Edited by Wesley Merritt and

nach
I,

ihren

Quellen.
1881.

Kostiimkunde.

1893.

355M57

Alterthum.
Ligt 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.

910A84

Illustrations are small

and are

colored.

and

the

Man;
1900.

hints

of clothes.

on the wearing and caring 646C64

Ballin, A. S.

(Mrs. Berry.)
Practice.

Science of Dress in

Discussion of modern male attire. Collier,

Theory and
Belin,

1885.

613B19
John.

and

others.

Costumes de Suede, Norwge,

et

Art of Portrait Painting. 1905. REF. 757C69

Danemark, Hollande,

Allemagne; dessines par

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

Belin, Girardet, Sharles, Verveer.

20 colored

[About I860.]

REF. F391B43
plates.

Costume.
v. 5.)

(In

Encyclopedia

Americana.

1903.

REF. 031E56

Historical sketch with brief bibliography.

Berghaus, Ileinrich. Die 1861. 2 v. Numerous colored plates.

Volker

des
*

Erdballs.

G572B49

Costume.
1910.

(In Encyclopaedia Britannica.

v. 7.

llth ed.

pp. 224-47.)
51 figures.

R
Encyclopaedia.

Historical.

Beyschlag, Robert. Female Costume Pictures: figures of female grace and beauty in costumes of

Bibliography.

Costume.
1902.

(In
v. 5.

New

International

various centuries, from twelve drawings in pastel.

1886.

pp. 328-34.)

REF. 031161 Gi

R 391B57
Art
in

Historical.

2 plates (15 figures) and bibliography.

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

Ornament and Dress. 646B63

Many
cuts and 2

Costume.

(In

New
v. 6.

International

Encyclopaedia.

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).

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

Costume.

(In

Nouveau Laroussecivil

Illustr<5.

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.

v.

Davis, R.

H.

Rulers of the Mediterranean.

1894.

391B67
Costumes Historiques des XII
e
e
,

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

Bonnard, C.

XIII

6
,

et XV Siecles. Dessine's et grave's par Paul Mercuri avec un texte historique et descriptif par Camille Bonnard. Nouvelle Edition avec une

XIV6

Davy, Richard.

Furs and Fur Garments,

n.d.

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

introduction par Charles Blanc.

200 colored copper engravings.

3 v.

1860-61.

REF. F39lB71o

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

Brownell,

H. H. Eastern, or Old World embracing 1856. ancient and modern history. 2 v.

;

M.

R.

Beauty
dress.

in Dress.

1881.

646D52
^Esthetics of

909B88
Has hand-colored wood-cuts, showing costumes from
times to 19th century.
early

women's

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.

R 929.7B95Bo

Ecob,H.G.

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. 391 H38 Many wood-cuts.

period to the present time.

Newed.

1847.

Brooches of

Many

Nations.

1904.

REF. 391W75
Detailed descriptions of 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

some
of use for

Hefner-AUeneck, J. II. v. Trachten, Kunstwerke, und Gerathschaften, vom friihen Mittelalter bis Ende des achtzehnten Jahrhunderts. 5 v. 187989.

Emerson, Edwin, Jr.

3 v.
1902.

History of the 19th Century.

costume.

R G709H46
720 colored
plates.

16 colored and 32 half-tone plates,

Erskine, Mrs. Beatrice.

Women

in

(Mrs. Stuart.) History and Art. 1905.

Beautiful

Heyden,

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

A. von. Die Tracht der Kulturvolker Europas, von Zeitalter Homers bis zum Beginne des XIX. Jahrhunderts. 1889. G391H61
222 illustrations (wood-cuts).

The European Delineator.

Containing

brief

but

Higgin, L.

Art as Applied to Dress.

1885.

interesting descriptions of Russia, Sweden, DenREF. 914E89D mark, Norway, etc. 1815. 20 colored engravings. Manual for Schools Dressmaking. Fales, Jane.

646H63
jEsthetics of dress.

Hints about Men's Dress.

1888.
Principles of selection.

By a New York clubman.

646H66

Colleges. With chapter on the Historic Development of Costume. Illustrated. 1917. 646F18

and

Fancy Dress. A Short Chronological Costumes, n.d. Farmworth, E. 0. The Art and Ethics
Illustrated.

Series

of

Hooge,

Romeyn

de. (?)

Costumes,
of

n.p., n.d.

391F19
of Dress.
43 copper-plates of costumes

REF. 391H77
many
countries.

1915.

177F23
others.

Hope, Thomas.

Costume

of the Ancients.

2 v.
and

Ferrario, Giidio,

and
18 v.

etModerne.

Le Costume, Ancien REF. F391F37 1815-29.

New

ed.

1841.

REF. 391H79

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. copperplates.

Roman

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

Hottenroth, F.

Finden, William.

Finden's Tableaux.

1837.

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

Trachten, Haus-, Feld-, und Kriegsgerathschaften der Volker alter und neuer Zeit. 2 v. n.d. G391H83
120 colored plates and numerous woodcuts.

Far, G. P.

Fashion, the Power that Influences the

World.
Gale, E. C.

3ded.

Chiefly discusses

1871. modern male

391F79
dress.

Hughes, Talbot. Dress Design: an account of costume, for artists and dressmakers. 1913.

Hints on Dress.

1872.

646G15

646H89
Has 35 collotype
90071870
plates

and numerous other

illustrations,

Discussion of modern costume.

Godwin, E. W. and Climate.

Dress and Its Relation to Health

1884.

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.

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

all

M.

(Averil
n.d.

Beaumont.)

mothers' Gowns,

Our Grand391H94

Hand-colored engravings of costumes of

countries.

Contains colored plates.

Grosvenor, G. H.
Series.

Scenes from Every Land.

Second

1909.

910G87
Third
Series.

Hutchinson, H. N. and others.

Living Races of

Mankind.
Scenes from Every Land.
Guillaumot, A. E.
1912.

1902.
all

REF. 572H97
extant nations, in modern dress.

Half-tones of nearly

910G87S
Costumes de
l'Ope"ra.

1883.

Iconographic Encyclopaedia.
See Dress (80 figures).
"

1886.
"

v. 2.

REF. F391G95C
50 colored plates, 17th and 18th centuries.

REF. 033117
"

and

"

Costume

in Index,

and

plates

34-38

BIBLIOGRAPHY
Ireland, J. B.
in Asia, Africa,

Page One Hundred Forty-one

Lacy, T. H.

Wall-Street to Cashmere: five years and Europe, 1851-36. 1859.

Female Costumes, and Dramatic. 1865.

Contains colored plates.

Historical, National,

REF. 391H152C2

910165
Colored plate of Arab costume, and wood-cuts of other costumes.

Male Costume,
matic.
1868.
text.

Historical, National,

Jacquemin,
Siecle.

/?.

Histoire

Gcnerale

du
me

Costume
au XII'
me

and DraREF. 391L152C1

No
de

Contains colored

Civil, Religieux, et Militaire

du IV

plates.

Occident (315-1100).

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

Lechevallier-Chevignard,

REF. F391J19
Jeune, Lady.

Femmes

du XIV*

G. me

1889.

Costumes Historiques 6me au XVIII Siecle. REF. F391L45

Dress for Motoring: dress for ladies. Motors and (In Harmsworth, A. C. and others.
1902.

Colored plates.

Motor-driving.

pp. 66-71.)

621.4H28

4 cuts of motor costume.

Lipperheide, F. J., Freiherr von. Katalog der Freiherrlich von Lipperheide'schen Kostumbibliothek.
2. v.

Johnson, John.

1896-1901.
Half-tones.

Journey from India to England,

Georgia,
Russia,
1818.

RG016L76

through

Persia,

Prussia, in the

Year 1817.

Poland, and 915J67

tumes

G^J illustrations from catalogued works, showing cosof all periods.

Loemyer, J. F. N.

5 colored plates.

Jones, William.

Coronation

Robes.

(In his

(Auguste Wahlen.) Mueurs, Usages, et Costumes de tous les Peuples du Monde. Oceanic. 1843. RF919L82
34 colored plates.

Crowns and Coronations.

Wood-cuts
of costumes.

1883.

pp. 491-504.)

394J79
Joyce, T. 1908.

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.

572J89
many
smaller illustrations of the
of all countries.

women

25 colored plates and

Kohl, J. G.

Die Volker Europas.

1872.

Louandre, Charles. Les Arts Somptuaires. 58. 3 v. (1 v. text, 2 v. plates.)

1857-

REF.

G914K79
S colored plates.

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

Koppen, F.
1890.
of

von.

Armies of Europe,
many

illustrated.

355K77
cuts of uniforms

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

20 double-page colored plates and modern Europe.

Malerische

Kontum.

(In

Brockhaus'
v. 10.)

Kon versa tions-Lexicon.

REF. G033B86
Bibliography.-

14th ed.

1895.

Studien: eine Reise um die Welt, in n.d. 200 farbigen Photographien. RG910M24 Many of the 200 colored half-tones give the modern
costumes
of

European and Asiatic

countries.

Historical sketch, with 4 colored plates

Kostum.
ed.

(In

Meyer's Konversations-Lexicon.
v. 10.

4th

Malliot, Joseph.

Recherches sur
3 v.

les

Costumes

1880.

des ancicns peuples.

1809.

F391M25
de tous

pp. 120-21.)

REF. G033M61KO
Historical
figures).

Marechal, P. S.
les

Costumes
4 v.

Civils Actuels

3 double- page survey. Bibliography.

colored

plates

(41

peuples connus.

1788.

RF391M33
1841
.

Mazuy, M.
Same.
v. 20.
4th ed.

Types et Caracteres Anciens.

10th
p. 242.

ed.

1905.

v.

11.

pp.

537-39.
21 colored plates.

RF390M47
Menard, Rene.
des Anciens.

3 colored plates with smaller figures than those in the

Le Vetement.
1881.
v. 2.

(In his Vie Privee

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. 391K92
104 colored plates in general chronological arrangement.

Nearly

300 outline

illustrations.

Die Trachten der Volker, vom Beginn der Geschichte bis

Merrifield,

Mrs.

M.

P.

Dress as a Fine Art; with

zum

19ten Jahrhundert.

1864.

REF. G391K92T

suggestions on children's dress. on head dress by Prof. Fairholt.

Outline plates.

With an
1854.

introd.

391M56

Page One Hundred Forty-two

Michel, F. F. F. (Antony Real.) Story of the 391M62 1891. Stick in all Ages and Lands.
History of walking showing costume.
sticks.

BIBLIOGRAPHY
Porter, Sir R.

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

Several plates incidentally

2 vols. 1821. and maps.

to

915P84
to
and

Miln, L. J.

When We were
India, China,

Strolling Players in the

1894. East. Costumes of

914.39G35
and Japan.

Praga, Mrs. Al/red.

What
8

Wear and when

of

About 20

Wear

it.

1903.
of

391P89
half-tones

plates.
.(Esthetics

dress.

head-dress

Moore, N. H.

Lace Book.

746M82
1907.

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 In the World's Tailor-shop," chap. 2; 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.

4th ed.

2 vol.

573P947

Moses, H.
1815.

Designs of Modern Costume,

etc.

ca.

Quigley, Dorothy.

What

Dress

Makes

of Us.

1897.

R391M91
S.

391Q6
Many
Racinet, A.
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,

15 photographs of Oriental countries.

n.d.

Rhead, G.
ings.

W.

Chats on Costume.

1906.

391R46
line

391N27B
women
in

various

European and

Colored frontispiece and 117 wood-cuts and Bibliography.

engrav-

Modern
n.d.

National Types and Costumes,

Photographs and Asia.
of feninine types

391N27
of

Treatment of Drapery

and costumes

Europe

Practical Design. 1912. 740R46M in Art. 1904. 743R46 50 diagrams and line drawings, and 32 half-tone plates.

Oliphant, Mrs.

M.

0.

W.

Dress,

n.d.

646O47

.(Esthetics of dress.

Several illustrations.

Ridpath, J. C. Great Races of Mankind. 4 v. 1892. REF. 572R54 " " in Dress index. IllusSee Costume " and " general " "
trations include colored type pictures cuts of many nationalities.

and many wood-

Parmentier, A.

Historique, Publie sous la 1900-1907. Direction de Ernes': Lavisse. 4 vols.

Album

Universal History.
Practically

17 vols.
as his "

1896.

REF. F909P25
Each volume has 1300
to 2000 wood-cuts.

REF. 909R54U
same material
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 nations. 1838. REF. 391R59

1848.

12 steel plates with brief descriptive text.

Petersons Magazine.
Monthly

1856-98.
Steel

051P48
and colored

St.

John, J. A.

Oriental

Album.

articles on current fashions. plates of current female fashion.

R916.2S1430
A
series

of

30 lithographic plates, with a number of

Pickering, C.

Races of Man.

1854.

572P59
914.6P37

wood

engravings.

12 colored plates of savage types.

Pictures of Other Folks at

Home.

n.d.

Songster, William. 1871.

Umbrellas and their History. 391S22

Illustrations of typical costumes.

Historical sketch, with caricatures.

Planche, J. R.

Cyclopedia of Costume, from the Commencement of the Christian Era to the

2 v.
1876.

Seguin,

L.

G. 1881.

Picturesque Tour in Picturesque

Lands.

REF. 914S45
of

Nearly 100 wood-cuts

European costumes.
in

Accession of George the Third.

REF. 391P69C
Volume 1, dictionary; volume 2, general tume in Europe. Many chromo-lithographs, and wood-cuts.
of coshistory " " plain plates

Shoberl,

Frederic.

World

Miniature.
of
all

42

v.

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

REF.
(See

BIBLIOGRAPHY
Simpson, William. Picturesque from all quarters of the globe.
18 colored plates.

Page One Hundred Forty-three

People:
1876.

groups

Weise

&

Co.

100 historische Kostum- and Volksn.d.

trachten-Bilder.

R391W42

REF. 915S61

Colored plates, no text.

Weiss,
in the East.

The Seat
56.

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.
plates.

Skeat,
"

W. W.
The Story

The Past

at our Doors.

1911.

454 wood-cuts and 8 chromolithographic

II.

390S62
of our Dress."

pp. 50-122

Illustrated.

Das

Mittelalter,

vom

4. bis

zum

14. Jahr-

Spalart, Robert von.

Versuch

tiber

das

Kostum der
3
v.

1883. 2e. Auflage. 367 wood-cuts and 8 chromolithographic plates.

III.

hundert.

vorziiglichsten

Volker

des

Alterthums.

1796-98.
Contains colored plates.
Steele,

RG391S73
Beauty
of

Vom

14ten

Jahrhundert
2 pts.
figures).

bis

auf

die

Gegenwart.
418 wood-cuts (900

1872.

F.

M.
1892.

Form and Grace

of Ves-

ture.

613.7S81

Whitcomb, Merrick.
1903.

History of Modern Europe.

-Esthetics of dress.

940W58
1830.

Several illustrations of costume.

Sturgis, Russell.
paedia.

Costume.
v. 3.

(In Universal Cyclo-

1900.

pp. 209-12.)

R031U58
Illustration.

Whole Art of Dress.

Engraved

391W62

Historical.

illustrations of hate, 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 1'Antiquite.

Un Siecle de Modes Feminines.

1794-1894.

Quatre
ISO engraved plates.

RF913W69
Woolson, A. G. Dress-reform. Lectures on dress 1874. 613W91 as it affects the health of women.

cents toilettes reproduites en couleurs d'apres des 391S57 documents authentiques. 1896.

Uzanne, L. 0.
1883.
Historical.

The Sunshade,

the Glove, the Muff.

391U99S
Numerous photogravures.

A
2 v.

few wood-cuts.

Young, J. R.
1'Art.

Vachon,

Marius.

La Femme dans

1893.

1879.

Around the World with Gen. Grant. 910Y73

of costumes.

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

REF. F759V11 women

2 v.

Many

wood-cuts

Zogbaum, R. F.

Horse, Foot, and Dragoons.

of France,

1888.

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

Costumes Anciens
all

et

Modernes.

1860.
513 illustrations of and French.
types of people.

RF391V41
Text in Italian

Zur

Vollstdndige Volkergallerie in gdreuen Abbildungen 1830-39. G910V92 Vols. 1, 3. aller Nationen.

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

Geschichte der Kostiime; nach Zeichnungen von Wilhelm Diez [and others.} Herausg. und verlegt von Braun & Schneider, n.d. (Miinchener REF. G391Z96 Bilderbogen.)
119
colored
plates
of

(Nos.

Wagner, L.
1895.

Manners, Customs, and Observances. REF. 390W13

See Index.

showing costumes

No

Europe and

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

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.

391W17
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.

613W25

Skinner, R. R.

Abyssinia of To-day.

1906.

916.3S62
Abyssinian costume, pp. 126-30, 135.
15 half-tone plates.

Heritage of Dress; being notes on the history and evolution of clothes. Illustrated.

M.

391W36

Vivian, Herbert.

Abyssinia.

1901.

916.3V85

Page One Hundred Forty-four

AFGHANISTAN
Bouillane de Lacoste, Major de. Around Afghanis915.8B76 1909. tan. . .... 83 illustrations, many of them snowing costume.
.

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

Africa

"

Afnca

'

Natives of British East In his Sketch es in Mafeking and East 1907 R916P88 PP- 140-46.)
<
'

Numerous sketches and waslj-dravvings of natives of South ancl East Africa.

Shoberl, Frederic.

Egerton,

M. M.,

Countess of Wilton.
(In her

Toilette in

World

in

Miniature:

Africa.

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

Book

of

Costume. 1847. REF. 391W75

1906.

4 v

(Vol. I missing.)

n. d.

REF. 916S55
2 v.

45 colored engravings of Moors and Negroes.

Sladen, Douglas.

Carthage and Tunis.

and one colored plate

1906.

Hamilton, Angus.
Costume
of costume.
in

Afghanistan.

915.8H21
Numerous
Tunis.
half-tones
of

916.1S63
costumes of

Kabul, pp. 380-84.

Several half-tone plates

AFRICA
Adolf
Friedrich,

Stow, G.
see

W.

Native Races of South Africa.

"
in index.
.

1905.

From

Mecklenburg-Schwirin. the Congo to the Niger and the Nile. 2 v.

of

Duke

Clothing

QIO\OO
Angas, G. F. Kafirs Illustrated. Also portraits of other races inhabiting South Africa. 1849.

Lully, tiicnard.

Narrative or a len Years Residence at Tripoli in Africa. Also, An Account of the Domestic Manners of the Moors, Arabs, and * Turks. 2d ed. 1817. 916. U92
6 of the 8 colored plates

REF. 916.8A58
d rCferenCeS
ll

show costume.

wo^cu ts
Afrique.

n COStUme

'

C0l red

Pktes and

VoMandige

Volkergallerie.

Erster

Band,

zweite
(Vol. 1.)

Ferrario,Giulio.
29.

Afrique.
v. 1-2.

(In his
[v.

Costume. 1815REF. F391F37 5-6.])

Abtheilung.-Afrika.
Colored illustrations.

1830.

G910V92

Colored copperplates of ancient and modern costume.

Hall, R.
,

N.
.

Great
, rtrt .

-, Rhodesia.
-,
,

Zimbabwe,
T -L Liberia.

190o.

Mashonaland. ni/joTTiw 916.8H17

1906.

Werner, A. 1906
'

Natives of British Central Africa.

572W49
Most
of the 32 half-tone

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

Several half-tones of natives.

L o TJ Johnston, Sir Harry.

n 2 v.

ALBANIA.
966J22

See

BALKAN STATES

"

Clothing," v.

2,

numerous half-tones

pp. 954-70. of natives.

Several colored plates and

ALGERIA
Ayer, "

Emma

B.
.

A
of

Motor
.
.

Kidd, Dudley.

Essential Kafir.

1904.

916.8K46

Flight through Aleena

19 half-tone plates of costumes.

1911 and Tunisia ,, Illustrated from

Arab women, and

916A97
u
of Arabs,
<
A

photographs

Savage Childhood:
1906.

a story of Kafir children.

o Costumes dragomans described.

,

t of

572K46
Savage-.

Berbrugger,

M.

32 half-tone plates of children

Jsinrlnif A H. IT A. Landor, 2 V. 1907.

monumentale.
I',-!
..
.

Algerie; historique, pittoresque, et 3 v. 1843. RF965B48

.

Qnvnna

A r,* ^c IVIl^oc-t \ Across \\ildest Africa.

and wood-cuts of natives and French soldiers. Lithographs g See al?0 v i, pp 13 _ lr (Mo ori s h women), and v. 3, P t. 5
,

916.6L26

(Algerian races).

" 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-

16 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 co ] ored 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.

^.^
1899.
n.d.

^^

AmQng

Berberg of Alger ;ai

Neufeld, Charles.

Prisoner of the Khaleefa.

916.5W68

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

See also

ARAB COSTUME and AFRICA

BIBLIOGRAPHY
ARAB COSTUME
Bur^hardt, J. L. Dress of the Bedouins. (In his Notes on the Bedouins and Wahabys. 1831.
v. 1.
'

Page One Hundred Forty-five

Demmin, Auguste. 1877 Armor
'

Illustrated History of

Arms and

(Bell's artists' library.)

Nearly 2 000 out.ine illustrations.

pp. 230-35.)

915.3B94N
Druitt,

Bury, G.

Wyman.

The Land

of Uz.

1911.

H. Manual of Costume Monumental Brasses. 1906.

as Illustrated

by 391D79

915.3B975
Toilette in Egerton, M. M., Countess of Wilton. Palestine and Syria. (In her Book of Costume.

110 ii] ustra tions (half-tone) of English armor and dress of the 14th and 15th centuries.

Ecdeston, James.
uities.
1660.

Introduction to English Antiq-

1847.

pp. 476-82.)

REF. 391W75
(In his
[v. 5.]

o wr>rifi -..t-

1847. " See Armor "

913E17
in Index.

Outline cuts of armor to about

Ferrario, Giulio.

Costumes Barbaresques.
Afrique.
v.
1.

Ffou uces>

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.

Ine Armorer and

16th Century.
.

his Craft,

from the llth to the

Ireland,

J.

B.

From Wall

Street to Cashmere.

1912.

R399F43A
.

1859.
Colored frontispiece of Arab costume.

910165

69 diagrams and 32 plates.

Lane, E.
1883.

W.

Arabian Society
116-18 157

in the

Middle Ages.
915.3L26

Tower

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

_,

Dress

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

Armor

in

England, from the Earliest

1898.

Levah, Ambrogio.

Arabes.
Asie.
v.

Cos-

Times to the 17th Century.

.

399G22
.

16 colored plates and more tllan 80 other illustration8

tume.
,

1817.

pp.

173-

261
8 colored copperplates of Arab costume.

REF 391F37
Prisoner of the Khaleefa.
1899.

Foreign Armor

in

England.

1898.

759S84

8 colored plates and 44 illustrations in the text.

NeufeU, Charles.

sse >
"

Gift OTM/ie flU.x.rNto

Assyria. War," pp. 203-397.

-

1852.
Cuts
of

913G678
Assyrian armor and mili-

25 half-tone plates of Soudanese Arab dress.

tary dress.

Ruete, Emily.
tr.

Memoirs
of

of

an Arabian Princess;

IIewitt >

by Lionel Strachey.
Female fashions
Zanzibar Arabs.

1907.
pp.

BR921S
85-91.

Zanzibar,

6 half-tone

John Ancient Armor and Weapons in Eur P e to the End of the 13th Cent ry- 3 v 399H61 1855.
' '
-

plates of

Illustrations

from contemporary monuments.

Sladcn, Douglas.

Carthage and Tunis.

2v.

1906.

jjodgetts, J. F.

916.1S63
Several plates of Bedouins.

The English in the Middle Ages, from tne Norman Usurpation to the Stuarts. 914.2H68 1885.
"

See also AFRICA, EGYPT,

TURKISH EMPIRE

Armor,'' pp. 111-43.

'

ARMENIA.

See

TURKISH EMPIRE

ARMOR AND WEAPONS

Brett,

P Arms and Armor Lac m Middle Ages, 1869. Same. 1870.

in

Antiquity and the

399L14

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

Edwin

Lacroix, Paul.

Arms and Armor.

n.d.

(In his Arts in

the Middle Ages.

pp. 75-105.)

REF 970L14
Colored plate and wood-cuts.]

Calvert,

A. F.

Spanish

Arms and Armor.

1907.

Macklin, H. W.

Brasses of England.

1907.

399C16
3S6 illustrations.

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

Davits

A C

Fox-.

paedia of

Armory.

Art of Heraldry; an EncycloREF. 929.2D25A 1904.

_ Monumental Brasses
..

1905

739M 15
Wood-cuts from rub-

Armoi.,, 13th _ 17th centuries

Plates (some colored) and cuts of armor.

bings.

Page One Hundred Forty-six

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

BIBLIOGRAPHY
2
v.

History of the Crusades.

REF.

940M62H

Spencer, 1899.
"

W. B.

Native Tribes of Central Australia.

572S74N

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

Saxon, Mrs. A. L. Belt and Spur: stories of the 1883. 940S27 knights of the Middle Ages. 16 colored illustrations from contemporary MSS.
Scott, Sir J. S.

Northern Tribes of Central Australia.

"

1904.

572S74
Clothing and ornament," pp. 683-95.
Half-tones and
cuts of dress.

D.

British

Army.

3 v.

1868-1880.

355S42
"Body
notes.

armor,"

v.

1,

pp. 192-222.

Many

plates,

with

Thomas,
"

N.

W.

Natives

of

Australia.

1906.

Seymour, T. D.

Homeric Arms.
1907.

(Native races of the British Empire.)

(In his Life in
Dress," pp. 63-69.

572T45N

Half-tone plates.

the Homeric Age.

Stuyvesant, R.

pp. 629-82.)

913S52

13 cuts of arms and armor.

AUSTRIA-HUNGARY

Collection of

Arms and Armor

1914.

of

Rutherford Stuyvesant, 1643-1909.

50 plates.

An
.

R399S93
Trumble, Alfred. Sword and Scimetar: mance of the Crusades. 1886. The illustrations, by Dor6, show "costumes Histor saders. More plates in Michaud, ry
sades."

the Ro-

Accurate and Impartial Narrative of the War, Comprising the Campaigns of 1793, 1794, and 1795. 1796. 821A172 Has 2 colored plates of Hungarian foot-soldiers.
. .

940T86
of the of the

Alexander,
of the

CruCru-

William. Picturesque Representations Dress and Manners of the Austrians. n.d.

REF. 391A37P
Military Architecture.
1879.
50 colored engravings, with descriptive
text.

Viollet-Le-Duc, E. E.

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, Charles.
its

Transylvania;

its

Products and
914.39B71

1865. People. " " Costume in Index. See

ASSYRIA
Ferrario,
riens,

2 plates (1 colored) and 3 cuts

of costume.

Asie.

Costumes des Assy1817. des Babyloniens. (In his Costume. REF. I391F37 v. 3 [v. 3]. pp. 351-81.)
Giulio,

and

others.

Colquhoun, A. R. Whirlpool of Europe; Austria943.6C72 Hungary and the Hapsburgs. 1907,

About 40 half-tone
costume.
plates of costume, especially peasant

Colored copperplate of Assyrian costume.

Gosse,P.H.
"

Assyria.

1852.
20 cuts.

913G678
Military costume,

Egerton,

M. M.,
(In

Costume," pp. 437-87.

Hungary.

Countess of Wilton. Toilette in 1847. her Book of Costume.

pp. 203-397.

pp. 355-59.)

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

Maspero, G. Life in Ancient Assyria. in Ancient Egypt and Assyria.

194-376.)
Cuts
of

(In his Life 1892.

914.39F34 1907. politics. 8 half-tone plates of national costume, peasant and official.
Gerard, E.
figures,

pp.

913M41
costume from Assyrian antiquities.

1888.

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

AUSTRALIA
Lumholtz, Carl. Among Cannibals in Australia, and the Aborigines of Queensland. 1889.

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

919.4L95
See tume.
"

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,
future.

Sketches on the Danube, in Hungary

1838.

H. N.
1906.

Macedonia:

its

races

and

their

and Transylvania.
'

R914.39H53

914.96B814

Lithographic illustrations, from drawings by the author.

Several half-tone plates of costume.

.....

Illuxtnrte

Geschichte

der

v K. K.

Oesterreichischen

fi.

.,.,

DeWindt, Harry.
About 30

Through Savage Europe.

1907.

Q14Q7D'i2
illustrations of costume.

Armee.

2 V.

1888.

G355I29

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.

Q^Q

6D96

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

_ Through the Lands

12 illustrations of costumes of Albania and Montenegro.

of the Serb.

1904.
rvrTknf y 14.97U9O

Kuhn,

rr

Austro-Hunganan Army. Armies of To-day. 1893. pp. 260-310.)

von.
13 outs of uniforms.

Gen.

ri

TT

'

f~T

(In

Illustrations of costumes of Albania, Montenegro, Servia.

355M57
Mitton, G. E.
Austria.

Evans, A. J. Through Bosnia and the Herzegovina on Foot. 2rl eel. 1877. 914.39E92 Numerous wood-cuts and scattered Deferences on dress.
Fox, Frank.
Fraser, J. F.

1914.

914.36M68
et

Bulgaria.

1915.

949.7F79
1906.

Colored plates.

25 colored pictures of costums.

Eossi, Francesco.

Costume Ancien
G.

Moderne des
1827.

Pictures from the Balkans.

Hongrois.

Enrone

(In Ferrario, 6 TV 171 )

Costume.

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

REF 391F37

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

914 96H53
Costumes and customs," pp/133-46.
George.
_. ., TT Sketches on the Danube, in Hun-

Shoberl,

Frederic.

World

in

Miniature.
TI

2 V

nd

'

REF

914 36SO
'

, A

Austria. and*,.

Henna,

TT

01

; 9 colored ; , engravings. 32

gar ; and Transylvania.

.

Lithographic illustrations

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

Smith, F. B.
1903.

Budapest; the city of the Magyars. 914.39S64

Holbach,

M. M.
of

Colored plate and about 50 half-tone illustrations of

Bosnia and Herzegovina. 1909. 914.39H72

costume.

Hungarian costumes.
Trollope, Frances.

Photographs

1838.

Vienna and the Austrians. 2 v. 914.36T84

Hutchinson, F. K.
Numerous
graphs.

Motoring

in the Balkans.

1909.

914.36H97
illustrations of dress,

7 plates of costume.

reproduced from photo-

Uniforms of the Six Great Powers of Europe Standard Denary. Sup. 1903. p. 21870

(In

REF.423F98SU
Section of colored plates, showing 14 Austrian uniforms.

^^^^ ^ ^ ^.^ ^ ^ ^^ ^^ ^
p
Kustenlande
,

Istria

and

32 half-tone plates,
ings
'

Waring, G. E.
1880.

Tyrol and the Spirit of the Alps.

Consult Index under

914 3?J12 from photographs; many line-draw"

costume
''

914.37W27
XT

ls wood-cuts of costume.

Koppen, F. von. kan Peninsula.

trated.

Turkey and the States of the Bal(In his Armies of Europe, illuspp. 73-78.)
;

AZTEC COSTUME.

See INDIANS OF

NORTH AMERICA

1890.

355K77

(4 figures);

Colored plates of uniforms of Servia (5 figures) Bulgaria Roumania (16 figures, 82 text illustrations).

BALKAN STATES
Asboth, 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.

914.96M82
949.7O14

Herzegovina.
16 wood-cuts.

1890.

Occasional references to costume.

Page One Hundred Forty-eight

Shoberl, Frederic.

BIBLIOGRAPHY
and
v. Arittt
.

World
the

in Miniature:

Illyria

BRIDAL COSTUME
jfn E. Of ceremonial and bridal her Costume. 1906. pp. 211-24.)
dress.

Dalmatia, 1827
'

and

adjacent

countries.

REF. 914.37S55

(In

391A69
in

32 colored engravings of Balkan costumes.

Singleton, Esther.

Turkey and the Balkan

great writers.
plates,

States,

as described
49
Albanians,

by

1908.
Servians,

949.6S61
Croatians,

H^chinson, H. N. 1897 Lands

" "

Marriage Customs

Many

392H97

Cuts

of bridal

half-tone
etc.

Bulgarians,

and other wedding costumes.

Ma|lj

Mrs L j

W ooings and
See

Weddings.

1900.

Stratilesco,

Tereza.

From Carpathian
life.

to Pindus:
1906.

392M65
BRITTANY.

pictures of
"

Roumanian country
Most

949 8S89
CDstu-nos," pp. 112-17.
of the 63 half-tone plates

FRANCE

BROOKLYN
Wace, A. J. B.
Chapter IV:

The Nomads
"The Costumes

of the Balkans.

1914.

,7

914
of.Samarina."

96W11
1904.

Vanderbllt

,.,,

>

~
-

T L

^ Dress

of

Flatbush.
1881.

iU

.,

(In

her

Social history of Flatbush.

Wyon, Reginald.

The Balkans from Within.

pp. 127-48.) 974.72 V22

914.97W99
See also TURKISH EMPIRE

BULGARIA.

See

BALKAN STATES
See INDIA

BURMA.

BEDOUIN 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. Y.
racj or .
_,

Explorations in the Interior of Lab1863.

and
wood-cuts
of

914.93A54
Boulger, D. C. 1904.

2 v.
...

917.19H66
trappers

Chromo-lithographs

and

Belgian Life in

Town and

Country. 914.93B76
1911.

4 half-tones of costume.

Narrative of the Canadian Red River Exploring Expedition of 1857 and of the Assiniboine and

Edwards, G. W.

Some Old Flemish Towns.

914.93E26
Colored illustrations, and others.

Saskatchewan 2v. 1860.

Exploring

Expedition
of

of

1858.

917.1H66
Canadian Indians

Chromo-lithographs and wood-cuts and their costume, (v. 2).

Holland,

Clive.

The Belgians

at

Home.

1911.

914.93H73
Colored illustrations, and others.

CARICATURES AND CARICATURISTS

Under
this

Koppen, F. von. Holland and Belgium. (In his Armies of Europe. 1890. pp. 70-72.) 355K77 Colored plate (9 figures) and 2 text illustrations of Belgian
uniforms.

T,

TT

11

T>

/T

heading

will

bs found such works as are related to the

general subject of

Costume
d)

Anma
JNotre
XT
i

c A $

Omond,

G.

W.

Belgium.

1908.

949.3056B
Painted by Ame^e .^ 914.93O56
Miniature.

Colored illustrations.

lemps. -La civihte les habitudes les munars-les coutumes-les manieres^et les man2d ed. 2 vols. 1874. les de notre epoque.

(BeHall
T
-i-j.'

La Com6die de
i

i_-

Bruges and West Flanders.

.

REF 741A76
'

Forestier.

1906.

Pencil and pen studies

by

Bertall.

13 colored plates of Flemish costume.

Boyd, A. S.

Glasgow

Men

and Women, Their

REF. 741B78

Shoberl,

Frederic.
n.d.

World

in

The

Children, and

Some

Strangers within their Gates.

Netherlands,

REF. 914.92S55
Dutch and Belgian costume.

1905

'

IS colored engravings of

Brinton, S.

The Eighteenth Century

1904.

in English

BOHEMIA.
T

See
e See

AUSTRIA-HUNGARY
T>

Caricature.
16

741B85
Bunbury,
Hogarth, Gillray,

BOSNIA.

o BALKAN STATES

illustrations

by

and

Rowiandson.

2 colored prints.

BIBLIOGRAPHY
Carkton, G.

Page One Hundred Forty-nine

1865.

W.

Our

Artist in Cuba.

Furniss, H.
Illustrated

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.

741F98
Gillray,

- Our

Artist in Peru.

1866.

741C28O

James.

Works

of

James

Gillray, the Cari-

Leaves from the sketch-book of a traveller during the winter of 18S35-6. 50 drawings on wood.

caturist,

with the Story of his Life and Times.

n.d.

Edited by Thomas Wright,

Grego, Joseph.

REF. 741G48

Gary, E. L.
social

Honore Daumier.
political

collection of his

and

caricatures, together with

introductory essay on his art.

1907.

an 741C33

Rowlandson, the Caricaturist. A selection from his works, and a sketch of his life.
2 vols.
400

1880.
illustrations.

REF. 741G81R
Wood-cuts.
Political

76 full-page illustrations, depicting types in France about the year 1830.

and

social

caricatures of his period.

Chesson,

W. H.

George Cruikshank.

n.d.

Hammerton,

J. A.

Humorists of the

Pencil.

190.5.

BC955C
55 illustrations from his drawings, in the order of their date of publication.

741H22
86 illustrations by the leading humorous artists of the day.

Jerrold, Blanchard.

Cruikshank,

Bachelor's own Book; or, the Mr. Lambkin (Gent.) in the pursuit of pleasure and amusement, and also in search of health and happiness. 1844. 741C955B
G.

two epochs.
Numerous

2 vols.

Life of George Cruikshank, in 1882. BC955J

Progress of

illustrations.

Kay, John.

George Cruikshank's Omnibus.

Blanchard,
Esq.
1869.
on
Illustrated with 103 engravings

Ed. by Laman 820.8C95

and wood.

A Series of Original Portraits and Caricature Etchings. With biographical sketches and illustrative anecdotes. 2 vols. 1877.
REF. 741K23S
361 portraits, drawn and engraved latter part of the 18th century.

steel

by John Kay during the

Cruikshank's Water Colors.

tion

by Joseph Grego.

1903.

With an introduc741C955

Parton, James.
in all

Caricature and Other Comic Art

68 illustrations in color, illustrating Dickens' " Oliver " Ainsworth's The Miser's Daughter," Maxwell's Twist," " of the Irish Rebellion in 1798," and Emmett's " History Insurrection in 1803."

Times and

Many

Lands.

1877.

741P27

Romans

203 illustrations in caricature from the time of the to the present day.

Currier and Ives.

Civil

Pertaining to the War; reproduced from a private collection of originals. 1892. REF. 741C97
G.

Caricatures

Paston, George. Social Caricature in the Eighteenth REF. 741P29 Century. 1905.
Over 200
illustrations.

Dore, P.
8(5

Two Hundred
1867.

Sketches,

and Grotesque.
and
Ejigiisn.

Humorous REF. 741D69

Stephens, 1891.

F.

G.

Memoir

of

George Cruikshank.

BC955S
Frontispiece portrait.

44 illustrations from his drawings.

pages, containing caricatures, chiefly of the French

Du

Thackeray, W. M. On the Genius of George CruikT " shank. Reprinted verbatim from The est-

Maurier, G.

"Punch."

Pictures of English Society, from 1884. 827D88P

minster Review."
With upwards
wood-cuts.

1884.

BC955T

of 40 illustrations, including all the original

41 illustrations of English society.

Social Pictorial Satire

reminiscences and appre-

CARTHAGE.

See AFRICA

ciations of English illustrators of the past generation. 1898. 741D88S

23 illustrations. Everitt, G.

CENTRAL AMERICA
Davis,

R.

H.

Three Gringos
1896.

in

Venezuela and

Central America.

918.7D26
of

English Caricaturists and Graphic Humorists of the 19th Century: how they illustrated

3 plates of costume.

Putnam, G. P.
1913.
Illustrations

The Southland
from photographs.

North America.
917.28P99

and interpreted Many wood-cuts.

Furniss, H.
1902. Autobiography
from

their

times.

1893.

741E93
2 vols.

Confessions of a Caricaturist.
with

CENTRAL ASIA
Hedin, S. A. Scientific Results of a Journey in 1904-07. Central Asia, 1899-1902. 6 vols. REF. 508H45 Vol. VI, Part III, has many illustrations of racial types
from western and central Asia.

BF989
many
illustrations

of Harrv Furniss, his sketches of English life.

Harry Furniss at Home. by himself. 1904.

Written and illustrated

BF989H

Page One Hundred Fifty

CEYLON
Campbell,

BIBLIOGRAPHY
Spielman,

MH
'.

'.

Kate Greenaway.
many

1905.

BG798S

James.

Excursions,
2 v.

Field-sports in Ceylon. Dress, v. 1, pp 405-07.

7 other plates of costume.

1843.

Adventures, 915.4C188
and

and

53 colored plates and

nearly
all of

sketches in black and white;

children.

8 colored plates of natives,

Wr^ u
1907.

H M
l

Handbook
.

of

the

Philippines. *'
, 919.1\\94

'"'""" '"""
Cave,

H. W.

The Book

of Ceylon.

1908.

^"^ """"

'

F " ipi0<>

Ch " dren

Illustrations

from photographs.

Golden Tips:

and a description of Ceylon "

1900.

its

great tea industry.

915.4C37G
Several half-tone plates of

Schmidtmeyer, Peter. Travels into Chile, in the Years 1820 and 1821. 1824. REF. 914S45
30 Plates (11 colored) of Spanish Chile.

See "Costume" in Index. costume.

and Indian costumes

of

Corner, Caroline.

Ceylon.

1908.

915.4C81
Alexander, William.
of the

CHINA
Picturesque Representations Dress and Manners of the Chinese, n.d.

See also INDIA

CHILDREN
Auker, A., and
Heliotypes Century
'

REF. 391A37
1876.
18th

Others.

Child-life in Pictures.

50 colored engravings, with descriptive

,

text.

REF. 759A61
of

Breton de la Martiniere, J. B. J.

China:
4 v. in
2.

its

cos-

paintings,

from

Corregio

to

late

tume,

arts,

manufactures,

etc.

1824.

REF. 915.1B84
Sketching Rambles in Holland. 914.92B75
Dutch
children.

Boughton, G. H.
1885.

About 80 colored engravings tary, and Thibet.

of cost umes of China,

Tar-

Includes several wood-cuts of

Bryson, Mrs.

M.

I.

Child Life in China.

1900.

Browne, G. W. the Far East.

13 plates (3

8 illustrations of Chinese dress.

915.1B91
1899.

(In his New America and 1907. v. 4-5.) 910B882 colored) and numerous cuts of costume.

China.

Earle,
"

A.

M.

Child Life in Colonial Days.

pp. 34-62.

Bryson, Mrs.

M.

I.

Child Life in China.

1900.

390E12
Children's dress,"

915.1B91
Several illustrations of costume.

Half-tone illustrations

from photographs.

Greenaway, Kate.
Books.)

(Various Illustrated Children's

Carruthers, A. D.

M.

Unknown

Mongolia.

2 v.

915 -!C31

Kidd, Dudley.

Savage Childhood.
of India,

1906.

572K46
915.4M37

China in Miniature.

Containing illustrations of
1833.

32 half-tone plates of Kafir children.

the manners, customs, character, and costumes of

n.d.

Marston,A. W. Children

the people of that empire.

16 colored engravings.

915.1C539

Several wood-cuts of children.

Menpes, Dorothy.
Merrifield,

World's Children. 1903.

390M54

100 colored plates, by Mortimer Menpes.

Chitty,

J. R.

Things Seen
illustrations.

in

China.

1909.
01 r
i

PCJ.Q

Mrs. M. P. Dress as a Fine Art; with 1854. 391M56 suggestions on children's dress.
Little

50 half-tone

Doolittle, Justus.

Social Life of the Chinese.

2 v.

Miln, Louise.

Folk of

Many

Lands.

1899.

1865.
15
illustrations, wood-cuts,

915.1D69
many showing
costume.

910M65

ofSren
Peary, R. E.

USreferencesintext
ikT

'

About 50 halMone P lates

T Ice.

Egerton,

M. M.,
N

_Li_I j ^i r> Northward over the Great

China.
2 v.
.

._ ..

Countess of Wilton. (In her Book of Costume.

Toilette in

1847.
-

<*
Includes several illustrations of Eskimo children.

OM w~~ EEF 39nV

'

pp.

^tlcu,,
Eyries, J. B. B.
et
-

Schwatka. Frederick.
"

Children of the Cold.

1899.

La Chine: ou Costumes,
Chmois.
plates.

moeurs,

9198S41C
How
and wood-cut plates
their clothes are made," pp. 171-74. of Eskimo children.

usa es
d< )

des

(In

his

L Angleterre.
REF< F39lE98

Half-tone

Illustrated

by colored

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.

(!N POETRY)

Kemp, E.G. The Face of China. A few colored plates.

Little,

1909.

915.1K32

W. Satirical Songs and Poems on Costume, from the 13th to the 19th Century. (Percy 1840-52. v. Society. Early English poetry. * 820.8P43 27.)

Mrs. Archibald. Round about Garden. 2d ed. 1905.

"
Official

My

CUBA
Peking
Browne, G.
Several

915.1L77R

W.

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

3 plates and several cuts of costume.

McNabb, R.
1903.
Dress," costume.
"

L.

Women

of the

Middle Kingdom. 915.1M16

Olivares, Jose de,

and

others.

Cuba.

(In Bryan,

W.
v. 1.

S.

Our Islands and Their

illustrations,

People.

1899.

etc., pp.

25-33.

10 of the 18 half-tones show

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

Prime du Journal les Modes Parisiennes. Costumes de Suede, Norvege, Danemark, Holn.d.

sixty engravings [colored], with explanations in

lande, et Allemagne.

RF391B43
1909.

English and French.

Contains colored plates.

1804.

REF. 391M39
915.1B63

No

text.

Butlin, F.

M. Among

the Danes.
and
in

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,

P1810.

R391C71
and German.

915.9M65
Many
photographs.

plate has a short description in Danish

M. M.,

Norman, Henry.
East.
1895.

Peoples and Politics of the Far

Denmark.
pp. 352-54.)

Countess of Wilton. Toilette in 1847. (In her Book of Costume.

915N54

REF. 391W75
Containing brief but inter-

Half-tone cuts of Chinese dress.

2 wood-cuts.

Same.
Penfield,

1904.

European Delineator.
East of Suez.
1906.

F.

C.

(Ceylon,

India,

China, and Japan.)

915P39

esting descriptions of Russia, Sweden, Denmark, R914E89D Norway, etc. 1815.

Several plates of Chinese costume.

Koppen, F.
1898.

von.

Denmark.
pp. 59-60.)
figures)

(In

his

Armies of

Ralph, Julian.

Alone

in China.

915.1R16

Europe.
forms.

1890.

355K77
illustrations of uni-

Several of the illustrations show costume.

Colored plate (8

and 2 text

Shoberl,

Frederic.

World

in

Miniature.
text.

China.

2 v.

1827.

REF. 915.1S559C

Meyrick, S. R. Costume of the Original Inhabitants REF. 391M61 1821. of the British Islands.
Includes colored plate of 2 ancient Danish costumes.

30 colored engravings, with descriptive

Page One Hundred Fifty-two

DUTCH COSTUME.
See

BIBLIOGRAPHY
Wilkinson, Sir J. G. Egyptians in the Time of the Pharaohs. Crystal Palace Egyptian collections.
1857.
"

NETHERLANDS

EGYPT
Clark, E. L.

932W68E
2 colored plates of textiles and mar.y

Daleth;
1864.

or,

The Homestead
of ancient

of the

wood-cuts

Dress," pp. 32-43. of costume.

Nations.

916.2C59
Egyptian
art,

Reproductions (some colored) showing costume.

Manners and Customs

Rev. ed.
"

of the Ancient Egyptians.

Curtis,

W. E.

Egypt.

(In his

British Malaysia.
8 half-tone plates of

1905. modern Arab, Bedouin, and Egyptian

Egypt, Burma, and 910C98 pp. 11-222.)

See Dress in index, v. cuts of costumes.

v. "

1878.
3.

932\V68
Plates (2 colored) and wood-

Popular Account of the Ancient Egyptians.

1854.
See
"

2 v.

costume.

932W68P
Dress
"
in index, v. 2.

Davis, R. (In

H.

his

Rulers

Cairo [and] the Englishmen in Egypt. of the Mediterranean. 1894.

Many

wood-cuts.

pp. 102-77.)
Notes on costume and 10 plates and cuts Egyptian dress and uniforms.

910D26R
of

ENGLAND
Andrews, Alexander.
trations
of

modern

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

Ashbee,

C.

R.

Colored copperplates of ancient and modern Egyptian costumes.

The Masque

of the

Edwards

of

Hope, Thomas.
his

Costume
of

Costume
pi.

the

of the Egyptians. (In 1841. Ancients. v. 1.

England; being a coronation pageant to celebrate 1902. REF. 822A81 the crowning of the King.
Large
folio illustrated,

printed in colors.

pp. 1-9.

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

in

Kelly, R. T.

Egypt.

1902.

916.2K29

450 engravings, 110 plates, and 9 colored reproductions.

7 plates of costume.

Lane, E. W. Account of the Manners and Customs From the 3d ed. of the Modern Egyptians.
3 v. in
1.

Ashton, John. 2 v. land.

Men's
31.

Dawn
1886.

of the 19th

Century

Eng-

942A82D2

dress, v. 2, chap. 30-31.

1846.

916.2L26Ac
Female

Numerous

Ladies' dress, v. 2, chap. caricatures from contemporary engravings.

Personal characteristics and dress, pp. 49-80. ornaments, pp. 211-28. Many wood-cuts.

Social

England under the Regency.

outline cuts

2 v.

1890.

914.2A82S2
Same.
5th ed.
2 v.
1871.

916.2L26A2

Numerous

and 7 plates

of

costume, 1811-20.

Female ornaPersonal characteristics, ~ v. 1, pp. 31-64. n^nf a v. tr 9 T^w *! 99.1 Same cuts as earlier edition. 2, pp. 312-24. ments,

Same.

1899.

Maspero, G.
1892.

Life in Ancient

Egypt and Assyria.

Social Life in the

Reign of Queen Anne.

1897.

913M41
Wood-cuts
Barfield, T. C.
of

390A82
costumes.

Outline cuts from Egyptian monuments.

Mayer, Luigi.

Views

in

Egypt.

1801.

R916.2M46
48 colored plates.
Petrie,

England

in the

Longmans' Historical Illustrations Middle Ages. 1909-10.

R723B24
architecture

W. M.

F.

Arts and Crafts of Ancient Egypt.

72 plates, with explanatory text, showing examplos of and costume from the llth to the loth century.

1909.
Photographs of jewellery, personages,
etc.

709P49

Barnard, F. P.
his

Companion
Wood-cuts.

Salmon, P. R.

The Wonderland

1902.
of

Egypt. 1915. 916.2S17

1910.

Costume, Military and Civil. (In to English History. Middle Ages. REF. 942B25 pp. 90-115.)
Bibliography.

Thackeray, Lance.

The People

of Egypt.

Benham, William.

Tower

of

London.

1906.

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

Gouts,

Joseph.

Practical
1848.

Guide

for

the Tailor's

942.1B55

Cutting-room.

687C87

Half-tones, from con-

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. " Half298-310; sports and amusements," pp. 328-337.
tones from contemporary sources.

London
"

in the

Time

of the Tudors.
* "

Dallaway, James. Inquiries into the Origin and Progress of the Science of Heraldry in England.
1793.
12 plates (5 colored) and
1

1904.

REF. 929.6D11
text illustration of early English

942.1B55Lo

Dress, Weddings," pp. 303-15; soldiers," pp. 316-22; " Numerous half-tones, mostly from prentice," p. 329.

costume.

contemporary sources.

Davenport, Cyril

English Regalia.

1897.

391D247
1906.

Mediaeval London.

2 v.

1906.

942.1B55M

Colored plates.

Half-tones from contemporary sources.

Davey, Richard.
See
"

Pageant
in index.

of

London.

2 v.

Boulton,
1901.

W. B.

Amusements

of

Old London. 2 v. 790B76

Dress

"

942.1D248
of

Includes colored plates showing costumes.

Davies,

R.
in

English

Society

the
1907.

Eighteenth

Brinton, S.
cature.

Eighteenth Century in English Cari1904.

741B85
by Bunbury,

Century

Contemporary Art.
St.

759D25

4 illustrations in color and 33 in monochrome.

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,
v. 1,

D.

C.

English
1906.

Described.

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 Earliest
Period to Henry VIII.
2 v.
1786.

Druitt,

H. Manual of Costume, Monumental Brasses. 1906.

of 14th

as Illustrated

by

391 D79

REF. 709C32
Many
Same.
of the

110 half-tone illustrations of English armor and dress and 15th centuries.

120 engraved plates show costume.

Reprinted.

1887.

Dryden, Alice.

The Art

of

Hunting;

or,

Three
to.

Clark, J. C.

The Characters
in
'

Portrayed
Sketches.
21 plates.

of Charles Dickens, a series of Original Water Color

*

Hunting MSS.
centuries.

799D799
17th

Costume, pp. 89-101, covers period from 13th

few wood-cuts.

P1898.

823C59

Dugdale, Sir William.

1656.

Antiquities of Warwickshire.

REF. 913D86
of the illustrations

Clinch, G.

English Costume from Prehistoric Times n.d. 391C64 to the End of the 18th Century,

Some

show

dress.

Du

Cook, C. C.

Costumes

of the

Time

of the

French

Maurier, George.

English Society.

1897.

REF. 741D88E
89 plates, with an introduction by

Revolution, 1790-1793; together with English costumes, 1795-1806. Drawn from the collection
of Victorien Sardou.

W. D.

Howells.

1889.
fils,

391G95
colored

English Society at

Home.

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.

Eccleston, James.
ties.
of

Introduction to English Antiqui-

R378C84
24 colored illustrations, on one plate, showing the costumes

1847. " " Armor " See Costume " and

English costume to about 1660.

913E17
in index.

Outline cuta

worn

in the different colleges of the University.

Page One Hundred Fifty-four

,

BIBLIOGRAPHY
or,

Pierce.

Tom &

The day and night Corinthian Tom.

Colored plates, by century costumes.

Jerry: Life in London; scenes of Jerry Hawthorn

[Reprint, n.d.] R. and G. Cruikshank,

Hardie,
1908.

Martin.

John

Pettie,

R.A.,

F.R.S.A

and

BP511H
many
of use for Scottish

827E28T
of early 19th

50 illustrations in color, English costume.

and

I.

Harris,

M. D.

Life in an Old English

Town.

1898.

Egerton,

M. M.,
(In

England.

Countess of Wilton. Toilette in 1844. her Book of Costume.

942.4H31
2 plates of dress.

pp. 39-175.) Numerous wood-cuts.

Eyries,
J.

REF. 391W75

Haweis,

M.

E.

Chaucer
of early

for Children.

1900.

J821C496H
ou
n.d.

Wood-cuts

B.

B.

English costumes.

L'Angleterre,

Costumes,
Hill,

Moeurs, et Usages des Anglais,

Illustrated

REF. F391E98
by colored
plates.

Georgiana. History of English Dress, from the Saxon Period to the Present Day. 2 v.
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

147-75.

ed., enl.

(Bohn's

artists'

391F17
About 700 wood-cuts.

v. 1. History; v. 2, Glossary. Bibliography by H. A. Dillon.

Portraits of Illustrious Holbein, Hans, the Younger. Personages of the Court of Henry VIII. 1828.

REF. 769H72
Contemporary costume.
Holt, E. S.

Same.

4th ed.

2 v.
in

1896.

Gardner, J. S.
tury.

Armor

England, to the 17th Cen-

Ye Olden Time;
1884.

English customs

in

1898.

399G22

the Middle Ages.

Clothing, pp. 72-98.

914.2H75
Henry IV.
1913.
Includes

16 colored plates and more than 80 other illustrations.

Frontispiece, costumes of

Gibb, 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
P1913.

English

Costumes,

18th-19th

Centuries.

Godfrey, Elizabeth. Home Life under the Stuarts. 1603-1649. 1903. 390G58 " Dress and fashion," chap. 17. Illustrations showing
dress.

391H89
and
others.

Colored plates.

Jerrold, Douglas,

Heads

of the People;

or, Portraits of

the English.
1st pub.

Drawn by Kenny
1838-40.

Social Life

under the Stuarts.

1904.

390G58S

Meadows.

2 v.

827J563H
life.

18 plates, engravings and half-tones.

Characteristic pictorial sketches from every grade of

Gronow, R. H.

Reminiscences and Recollections of

2 v.
1889.
*

Jewitt, Llewellynn.

Half -hours among

Some English
913J59
among
personal

Capt. Gronow, 1810-60.

920G876R

1877. Antiquities. Among arms and armor, pp. 102-13;

ornaments, pp. 203-33.

25 etched and aquatint illustrations, with hand-colored

duplicates.

Outline illustrations.

Same.

Rev. and

enl. ed.

1880.

Guillaumot, A. E.

Costumes

of the

Time

of the

Jusserand, J. J.

French Revolution, 1790-1793. Together with English costumes during the years 1795-1806.
1889.
Plates, colored

Middle Ages. Many cuts, from

costumes.

English Wayfaring Life in the 914.2J96 2d ed. 1889.

contemporary sources,
of

14th century

R391G95
by hand.

Knight, Charles.
of

London.

6 v.

1841.

942.1K69
wood-cuts of

Haines, Herbert. 2 v. 1861.

Hubert.

Manual

Monumental

Brasses.

See analytic contents to each vol.

Many

costumes

of all periods.

739H15
Society
in

Same.

6 v. in

3.

1851.

942.1K69L3

200 wood-cuts of costumes, 14th-17th century.

Hall,

the

Elizabethan
Wood-cuts
of

Old England.
Age.
Henry
Colored plates.

2 v.

1845.

R913.42K69
8 v. Lond. 1858. and 8. Numerous

1886.

942Hl7So

From contemporary documents. VIII and Queen Elizabeth.

Popular History of England. "

See Costume wood-cuts.
"

in indexes of v. 4

BIBLIOGRAPHY
Lamed, J.N.
History of England.
1900.

Page One Hundred

942L32
1901.

Fifty-five
of

Montgomery,
History.
See
"

D.
1903.
"

H.

Leading

Facts

English

Several cuts of typical costumes.

942M78L
Coronation of His Most Sacred
1839.

Legg,L.G.W.

English Coronation Records.

(1 colored) of

Dress

in Index.

REF. 3941,51
17 illustrations
early coronation scenes, from

Nayler, Sir George.

42 colored plates.

contemporary sources.

Majesty, George the Fourth.

Nevill, Ralph.

REF.
1908.

Lennox, Lord W. P.
1878.

Fashion Then and Now.

2 v.

390L56
scattered notes on 18th and 19th century dress.

Old Sporting Prints.

(Conend

noisseur, Extra

Many

Number.)

760N52O

Levati, Ambrogio.

Costume des Habitans des

(In Ferrario, G.

lies

52 plates, 36 in color, showing English costume at the of the 18th and the beginning of the 19th centuries.

Britanniques. Europe, v. 6

[v. 17].)

Costume. 1827. REF. 391F37

New Bon Ton

v. 1-6.

Magazine;

or,

Telescope of the times,

May, 1818
N. H.

Apr., 1821.
of period.

052N53

20 of the 31 colored copperplates show costume from pre-

Colored caricatures of costume

Roman
Loftie,
cal.

period to 19th century.

Nicolas, Sir
histori-

W.

J.

Kensington; picturesque and

hood

of the British Empire.

History of the Orders of Knight4 v. 1842.

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

822O988
Edward.
1914.

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-

820P26
in color, of English writers, etc.

Macklin, H.

W.

Brasses of England.

1907.

Shows costumes,
Eccle-

739M15B
Numerous
cuts of costume

and armor, 1277-1625.

siastical dress.

Monumental
Armor,
centuries.

dress,

1905. 739M15 Brasses. and ecclesiastical vestments, 13th-17th

Social CaricaPaston, George. (E. M. Symonds.) 1905. REF. 741P29 ture in the 18th Century. Colored frontispiece and over 200 half-tone caricatures of
18th century costume.

Wood-cuts.

Madise, Daniel.
quest.

The Story

of the

1866.

Norman ConREF. 741M16

1906. REF. Paul, H. Queen Anne. Numerous portraits in Queen Anne costume.

942P32Q
and

Perkins, Mrs. L. F.

Robin Hood:

his deeds

42 illustrations engraved on wood under Professor Griiner, " Coronation of Harold," and from drawings by Maclise. other scenes, showing Saxon and Norman costume.

adventures.

1906.

821.04P44
showing old English costume.

Has" colored plates, etc.,

Malcolm, J. P.

toms
1810.
"

of

Anecdotes of the Manners and CusLondon during the 18th Century. 2 v. * 914.21M24
of dress

Pictures of Society; Grave of celebrated artists

and Gay. From the pencils and the pens of popular

820.8P61
re-issue of the best engravings

authors.

1866.

Anecdotes

and the caprices

of fashion," v. 2,

95 plates, lithographs, a " from London Society."

pp. 312-57.

12 engravings of dress, 1090-1807.

Anecdotes of the Manners and Customs of London from the Roman Invasion to the Year
1700.
"

Picturesque Representations of the Dress and Manners of the English, illus. in 50 colored engravings, with
descriptions.

1814.

R391P61E

3v.

1811.
v. 2, pp.

*914.21M24A
279-341.
12 hand-colored engravings

Dress,"

Planche, J. R.

of dress, 1053-1675.

History of British Costume, from the Earliest Period to the Close of the 18th Cen1834. Numerous illustrations.

Martin, Charles. Civil Costume of England from the Conquest to the Present Time. 1842.

tury.

391P69

391M37
Series of colored etchings.

Same.
Price, J.

3d

ed.

M.

Dame

Reprinted 1907. Fashion: Paris-London (1786*

Meyrick, S. R. Costume of the Original Inhabitants of the British Islands and Adjacent Coasts of the
Baltic.

1912).

1913.

391P94

Pyne, W. H.

Imp.

ed.

1821.

REF. 391M61
of people.

The Costume of Great Britain. 1808. R391P99

24 colored aquatints, including Britons, Druids, Ancient Irish, Danes, and Goths.

60 colored plates, with explanatory text, of various types

Page One Hundred

Fifty-six
Synge,
land.
See

BIBLIOGRAPHY
M.
"

Repository of Arts, Literature, Fashions, etc. By R. Ackermann. Ser. 1, v. 3-6, 9-14; Ser. 2, v. 1-14; 052R42 Ser. 3, v. 1-12. Jan., 1810 Dec., 1828. Colored steel Letters on London and Paris fashions.
plates of

B.
Dress

Short History of Social Life

"
in Index.

in

1906.
Brief references.

Eng942S99

women's
II.

dress.

Thornely, J. L.
of the

The Monumental
1893.

Brasses of Lan-

Russell,

Marriage of H. R. H. Albert Edward, Prince of Wales, and H. R. H.

W.

Memorial

cashire

and Cheshire.

739T51
6 v.
in

Engravings from drawings.

Alexandra, Princess of Denmark.

1864.

TraiU, H. D.
See
"

Social England.
"

1894-97.

REF. 394R96
Includes several chromo-lithographs of court costumes.

942T76S
Costume
and
"

Dress

"

Index of each

vol.

Schild, Marie.
of ladies'

Old English Costumes: an epitome costumes, 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.

historiettes of the Restoration.

Old English Peasant Costumes.

Shoberl, F.

1898.

391S33
32 Restoration portraits.

920H8632
Tuer, A.

World
Ireland.

in Miniature.

land,

and

Edited by

W.

England, ScotH. Pyne. 4 v.

W.

Follies

and Fashions

1827.
84 colored engravings.

REF. 914.2S559
Gavarni
in

fathers, 1807.
plates.

1886-7.

GrandREF. 914.2T91
of our
37 hand-colored

Digest of magazine material of 1807.

Smith, Albert.

London.
1849.

Sketches of

London
Same.

life

and character.

914.21S642G
914.21S642

Walker, G.

Costume

of Yorkshire in 1814.

1885.

Colored illustrations.

REF. 391W179

1859.

series of 41 facsimiles of original drawings.

22 wood-cuts.

Stephenson, H. T.
Stone, Mrs. E.

The Elizabethan

Wingfield,

Lewis.

Notes

on

Civil

Costume

in

People.

1910.

914.2S83
Chronicles of Fashion, from the
1845.
v. 1, pp.

England, from the Conquest to the Regency, as Exemplified in the International Health Exhibition of 1884.
1820.

1884.

REF. 394W77

Time
"

of Elizabeth to the Early Part of the 19th

24 colored illustrations, lithographs, of the period 1066-

Century.

2 v.

914.2M55
394-434;
v. 2, pp.

Costumes,"

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 REF. 827W89 South Wales. 1796. About 100 colored caricatures of contemporary dress.
Wright, Thomas. The Celt, the Roman, and the 913W95C Saxon. 1852. Dress of Romans in Britain, pp. 326-33. 3 cuts of
ornaments.

by engravings and

colored plates.

1843.

Regal and Ecclesiastical Antiquities of England. REF. 913.42S927

72 copperplate portraits, from Edward the Confessor to

Homes

of

Henry VIII.

Other Days.

1871.

914.2W953

New

Sports and Pastimes of the People of England. 790S92 1850. ed., by Wm. Hone.
140 wood-cuts, representing popular diversions.

Many small wood-cuts, from contemporary sources, of costume from Anglo-Saxon times to 16th century.

ENGLAND, MILITARY COSTUME

Archibald, J. F. J.

Suffling,

English Church Brasses, from the 13th to the 17th Century. 1910. 739S94
E. R.
chapters on

Blue Shirt and Khaki.

1901.

355A67
Many
half-tones of English and American soldiers.

237 illustrations, reproduced from rubbings. " "

Contains
of

Gentlemen," and
,

Costume "

of Ladies," Civilian Ecclesiastical Vestments."

Costume

Besant, Sir Walter.

Soldiers.

(In his

London

in

England and the English in the 18th Century. 2 v. 1891. 942S98E

C.
"

W.

the

Time

of the Tudors.

1904.

pp.

316-22.)

REF. 942.1B55Lo
Several illustrations.

Dress and Costume,"

v. 1, pp.

89-130.

BIBLIOGRAPHY
The British Army.
British

Page One Hundred Fifty-seven

Thornely, J. L. Monumental Brasses of Lanca739T51 1893. shire and Cheshire.
Outline illustrations, from rubbings, of costumes of 1458-

By

a lieutenant-colonel in the

With an introduction by MajorGeneral F. Maurice. 1900. 355B86

Army.
27 full-page plates (13 in colors) and 30 illustrations in
text
-

Uniforms of
1885.

the

Costumes of the British Army.

Colored plates.

R355C84

Europe.
p. 2187.)

(In

No

text.

Armies of the Six Great Powers of Standard dictionary. Sup. 1903. REF. 423F98SU

EUis, A. B.

ment

History of the 1st West India Regi355E47 1885

Negro uniforms.

Section of colored plate, showing 18 English uniforms.

Wolseley, Viscount Garnet.

Britain.

Standing
of

Army of Great
1893.

2 colored plates of

(In

Armies

To-day.

pp.

57-96.)
Groves, J. P.

355M57
.

History of the 42d Royal Highlanders, " The Black Watch." 1729-1893. 1893.

8 cuts of British uniforms

rssTT
Pp.
1-3, 14.

~ D n Zogbaum,R.F.
,

^ T> A TT t Great Britain; a Home of

-

T Tommy
355Z85

4 colored plates of uniforms, 1729-1893.

Atkins.
1888.

(In

his

Horse,
and

Foot,

and Dragoons.

pp. 49-74.)

Kdppen, F. VOn. Army of the British Empire. 1890. his Armies of Europe, illustrated.
i_-i

(In

10 wood-cuts, plates,

text illustrations of uniforms.

pp.

S'i'5K'~7

ENGLAND. See

also

CARICATURES AND CARICATURISTS

Descriptions in text. 3 double colored plates (23 illustrations, including 2 naval) and 6 text illustrations of uniforms of the period.

ESKIMO COSTUME
Carstensen,

Luard, John.
Soldier,
T>-

History of the Dress of the British

the Earliest Period to the Present

A. R.

Two Summers

in

Greenland.

from
-iota

189

919.8C32

lime.

1852.

QKKT (\a oooLMZ

.

Photogravures and cuts of Eskimo dress.

50 outline plates.

Gilder,

Milne, James.

Gordon Highlanders.

1898.

W. H. Schwatka's Search: sledging in the 1881. Arctic in quest of the Franklin records.
01 nor /in yiy.oij<*u
1

QTTUfRK
Includes half-tone plates, showing Highland uniforms of
different periods.

"

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 organizations.

Illustrated.

Her Majesty's 355P46

Hanbury, D. T. Sport and Travel of Canada. 1904.

in the

Northland 917.1H23

A
1912

few colored plates

"

Hutton, S. K.
'

Among

the Eskimos of Labrador.

N. 2v.

Navy and Army

917.19H98
Conquering the Arctic
.

355N32
the
i

mustrations from photographs.

illustrations of British uniforms, including native troops.

Mikkclsen, E.

Ice.

1909.

919.8M63

Some Notes on
Past.
/T

(In

Costume o TT Swinburne, H.

of the Sailors of the T T i TVT

L.

Royal

Navy.

Nansen, r.

rirst

Crossing ot
Consult Inde,

Lrreenland.

v.

1907-

p. 338.)

359S97

10 colored plates of seamen's dress, from 600 A.D. to is 00

'^y

8 Nl8Fi2
wood-cuts.

Nordenskiold, A. E.

Voyage
1882.

of the

Scott, Sir J. S.
"

D.

British

Army.

3 v.

1868.

Asia and Europe.

Peary, R. E. ^ ^ 18gg

Vega round 919.8N83V

Great Ice."
919.8P362
1899.

R355S42
Body armor,"
431-45.
v. i, pp.

v. 2, pp.

Many

" 192-222; clothing of troops," plates with descriptive notes.

Northward over the

"

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.
and numerous

Schwatka, Frederick.

Children of the Cold.

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, plates and text illustrations of 17th-19th century costume.

918.8S81
Illustrations

from photographs.

Page One Hundred Fifty-eight

ETRUSCAN COSTUME
Desvergers,

BIBLIOGRAPHY
Spielman,

M. II.

Kate Greenaway.
many
cuts of

1905.

M.

J. A.

N.

L'Etrurie et

les

REF. BG798S
Etrusques.
53 colored plates and costumes.

3 v.

1862-64.

REF. F913D47

Kate Greenaway

Two-color plates of objets-d'art, showing costumes.

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,

1895. fans and fan-painting. 29 wood-cuts and half-tones.

Grolier Club

391F64

historical,

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.

1892.

R391B98
Fourteen Colored Lithographs
P1844.
is

Mowrey,
Fans.

Gabriel.

Modern Design

in Jewellery

and

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.

Modern
*39lC73T

Travestissements Elegants.
15 colored plates.

P1864.

Practical Design. 1912. " Fans and Lace." Includes a chapter on

R391R46H 740R46M
REF. 391 S18

Fancy Dress: a short chronological

tumes,
Five
n.d.

Salwey,C.M.
series

Fans

of Japan.

1894.

of cos-

10 colored plates and 39 illustrations in black-and-white.

391F19
Uzanne,L.O.

The Fan.

1884.

REF. 391U99F

Water

Color

Drawings 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

Cecilia.

Short Historical Sketch of Fans.

391W12

Mme.

E. D6vy."

Holt,

Ardern.
to

Fancy

Dresses
balls.

Described;

or,

What
and

wear at fancy

3d

ed., enl.

1882.

FIJI ISLANDS

391H75FD
Outline illustrations, restricted to the costume of ladies children. 16 models in color, as well as a new series of smaller illustrations.

Burton, J.

W.

Fiji of

To-day.

1910.

919.6B97

Many

photographs.

Same. Same.
4th ed.

5th ed. 6th ed.

n.d.

1887.
n.d.

R39lH75Fa
how
to choose
it.

FLEMISH COSTUME.

See

BELGIUM

Gentleman's Fancy Dress;

Outline cuts.

FOOT-WEAR
Becker,

391H75
n.d.

W. A.

Shoes.

(In his Charikles.

1845.

pp. 326-31.)
4 cuts of shoes of Homeric times.

913B39CH
1880.
of the

Same.

6th ed.

Lumm,

E. G.

Twentieth Century Speaker. 1898. 808.5L95

and half-tone
plates
of

Same.
Hall, J. S.
shoes.

5th ed.

(pp. 442-52.)
:

Book
3d
ed.

Feet

Several colored tableaux, etc.

costumes for

a history of boots and

1847.

391H17
many wood-cuts
of foot-

Morin, A. E. Twenty -one Colored Lithographs of R391M85 Fancy Dress for Ladies. ?1850.

4 colored plates (42 figures), and wear.

The

"

Lacroix,
niers.

Paul, and others.

Histoire des Cordon-

Sketch."

London, Jan.

2,

1907.

Precedee de

1'histoire

de

la

chaussure.

Pp. 6-7. Carmen Pompadour flower girl Directoire Soubretteof the Second Empire Astartc Mireille Delilah Louis XVI period Melisande- Empire court dress.

1852.

REF.
cuts of boots and shoes of
all

Many

periods and countr'i- s.

BIBLIOGRAPHY
Menard, Rene.
Prive~e

Page One Hundred Fifty-nine

(In
v.
2.

Le Chaussure.
1881.

his
p.

La

vie

Cook, C. C.

Costumes

of the

Time

of the

French

des Anciens.

322-30.)

F913M53
22 outline illustrations of boots and shoes.

Revolution, 1790-1793; together with English costumes, 1795-1806. Drawn from the collection of Victorien Sardou.

1889.
fils,

REF. 391G95
colored

Redfern, Shoes.

W. B.

Royal and Historic Gloves and 1904. Illustrated and Described. REF. 391R31
(1

65 etchings, executed by Guillaumot 40 of French, 25 of English costume.

by hand.

32 plates

colored) of boots

and shoes

of various nations

D'Este, Margaret. 1905.

Through Corsica with a Camera.

914.59D47
Les Fetes Nationales & Paris.

and

times.

17 of the half-tones show costumes.

Rhead, G.

W.

Boots, Shoes, and Other Coverings

(In his

for the Feet.

Chats on Costume.

Drumont, Edouard.
1889.

1906.

RF944D79
in plates.

pp. 279-301.) Historical and

illustrations.

391 B46
descriptive.

French costumes from 1389, illustrated

illustrations of national fetes.

Text

Wood-cuts and half-tone

FRANCE
Allinson,
Alfred.

Costumes Historique^. des Duplessis, G. XVII6 et XVIII 6 Siecles. 2 v. 1867.

of

XVIe

The Days

the

Directoire.

REF. F391D93
Full-page colored illustrations.

1909.
Chapter XI.

944A43
Costume from 1795-99.

Edwards, G. W.
Militaire

Brittany and the Bretons.

1910.

Arnault,

A.

V.
2 v.

Vie

Napoleon.

Politique 1822-20.

et

de
first

914.4E263
Colored plates.

REF.

FBN216AR

Lithographed plates, after original designs of the painters of the French school.

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
Gostling,
text.

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.

Gronow, G. W.

Reminiscences and Recollections of

2 v. 1889.
*

by Mary Craven.
Bridgens,

BB893Bo
Illustrative

Capt. Gronow, 1810-60.

Richard.

Sketches

of

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 dress of period. Hand-colored, etched, and aquatint plates.

Guillaumot,
d'apres
Leclerc,

Bruyn, A.

de.

Costumes
1872.

Civils et Militaires

du

XVI e

Siecle.

REF. F391B91
A.
the

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

History of Fashion in
1790-1793.
1889.
Plates colored

of the

French Revolution,

Challamel,

J.

B.

M.
to

R391G95
In Vanity Fair; a
1906.

France; or,

The

dress of

women, from the Gallopresent

time.

by hand.

Roman

period

Tr.

by

Mrs. Cashel Hoey and John

20 colored plates (80 figures).

Lillie.

1882.

Hoyt, Eleanor.
tale of frocks

(Mrs. Brainerd.)

REF. 391C43
Chase,

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.

230 enjrravings, from Gavarni, Monnier, and Meissonier, of French costume of 1840.

Cloud, Janet. of Francis

1875.

300 French Portraits of the Courts

I,

Henry

II,

and Francis II. 2 v. REF. 741C64

Castle Howard.

Koppen, F.

von.

France.
1890.

(In his

Armies of Europe.

Illustrated.

pp. 46-53.)

355K77
3

Auto-lithographed from the originals at

2 double colored plates (13 illustrations, including naval) and 6 text illustrtu- jaa of Frencn uiutorms.

Page One Hundred Sixty

Lacroi.v,

BIBLIOGRAPHY
(In
*

Paul.

Dress

and
1876.

Fashions.

his

Repository of Arts, Literature, Fashions,

etc.

By

Eighteenth Century.
10 colored plates, and
period.

pp. 452-89.)

R. Ackermann.
v.

Ser.

1,

914.4L14

1-14; Ser. 3, v. 1-12.

Monthly
letters

9-14; Ser. 2, Jan., 1810 Dec., 1828.

3-6,

v.

many

illustrations, of dress of the

052R42
on Paris " icmale fashions."
Colored
steel plates.

Lawrence, H. W. French Line Engravings of the R769L42 Late 18th Century. 1910. Pp. 89-102. Le monument de costume.
Lechevallier-Chevignard,

Robida, A.
lette.

"Yester-year":

ten centuries of

toi-

1891.

391R65

G.

Costumes Historiques

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. Siecle.

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
"

Mennechet, E.

Le Plutarque Frangais;

Smith, J. H.

Troubadours at Home.
"
in Index.

2 v.

1899.

Homines
1835-41.

et

Femmes

Illustres

de

la

France.
of Vol. 8.

849S65
Costume

RF920M54
Index at end

few cuts

of costume.

Contains colored plates.

Menpes, Dorothy. Brittany. mer Menpes. 1905.

About 50
Francis.

Illustrated

by Morti914.4M54

Uzanne, L. 0. Fashion in Paris: feminine taste and 1898. REF. 391U99 gesthetics, from 1797 to 1897.
100 hand-colored plates and 250 text illustrations of both

male and female

dress.

of the 75 colored plates

show Breton costume.

Frenchwomen
Miltoun,
trated
"

of the

Rambles

Century

fashions, manners,

in

by Blanche McManus.

Brittany. 1906.

Illus-

usages.

1897.

REF. 394U99
E. E. Dictionnaire

Contains colored plates.

914.4M66RB
Manners and customs," pp. 70-87. tone plates and wood-cuts show costume.

Many

of the half-

Viollet-Le-Duc,

Raisonne"

du

Mnsgrave, France.
"

Nooks George. 2 v. 1867.

and

Corners

of

Old

Mobilier Frangais de 1'Epoque Carlovingienne a 1858-72. REF. F703V79 6 v. la Renaissance.

Dress, personal jewels, toilet articles, v. 3 and
4.

914.4M987N
Costumes Historiques. REF. 391P33
A. D.

Many

wood-cuts and a few colored plates.

Touraine caps,"

v. 1, pp. 225.

Pauquet Freres.
P1865.

Modes

et

FRANCE, MILITARY COSTUME

Lewal.
1893.

French

Army.

(In

Armies

of

To-day.

93 colored plates of French costume, 493

to 1864.

Piton, Camille.

Le Costume

Civil en

France du

355M57 pp. 161-215.) 16 cuts of French and French Colonial uniforms of the
L'Armee Franoaise.
2 v.

period.

Treizieme au Dix-neuvieme Siecle.

709 photographic illustrations.

n.d.

F391P68
A
few colored plates.

Richard, Jules.
89.

1885-

RF355M22
Colored plates and other illustrations.

Planta,
1827.

Edward.

New

Pictures

of

Paris. *

v.

914.4P71

La Jeune Armee.
of the

n.d.

RF355M22J

Vol. 1 contains 29 colored illustrations of the costumes of the lower orders in Paris.

Price,

J.

M.

Dame

Fashion.

Paris

1786-1912.
Includes 155 colored plates.

London, 391P94

Armies of the Six Great Powers of Uniforms Sup. 1903. (In Standard dictionary. Europe. REF. 423F98Su pp. 2187.)
Section uniforms.
of

colored

plate,

showing 10 modern French

Quicherat,

J.
fin

Histoire

du Costume en France,
6

Zogbaum. R. F.

France:

war

pictures in time of

jusqu'a la

du XVIII

Siecle.

1875.

REF. F391Q62
481 wood-cuts of both male and female costume.

(In his peace. 1888. pp. 1-47.)

French uniforms.

Horse,

Foot,

and Dragoons. 355Z85

15 wood-cuts, plates, and text illustrations of modern

BIBLIOGRAPHY
FRANCE.
See also CARICATURES

Page One Hundred Sixty-one

AND CARICATURISTS
Dally, A.

GERMANY, MILITARY COSTUME

Uniforms de 1'Armee Allemande en 1886.
Illustrated

GERMANY
Avenarius, Tony. Historischer Festzug veranstaltet bei der Feier der Vollendung des Kolner Domes

seignement.

by M. Roy. No. 13-16.]

n.d.

[Cahiers

d'en-

am

16.

October, 1880.

n.d.

REF. 750A95

29 large lithographed plates of

1880.

German costumes, 1248et

man

(3 PAMPHLETS) 16 colored fnll-page illustrations, with a few cuts of Geruniforms of 1886.

UNBOUND

Illustrated

London News.
of

April 26, 1913.

(In Armies of

Bossi,

Luigi.

Costume Aneien
(In
Ferrario,
[v. 15.]

Moderne des
1824.

Contains colored plates.

Germains.
Europe,

G.

Costume.

Exner.

German Army
1893.

To-day.

v. 4.

pp. 173-816.)

To-day.

REF. 391F37
man costumes
Egerton, Over 40 colored copperplates
of all classes.

of ancient

and modern Ger-

pp. 97-160.) " Equipment and clothing," pp. 147-49. modern uniform.

355M57
14
cuts
of

Guinot, Eugene.

Summer

at Baden-Baden.

1876.

M. M.,
(In

Countess

of Wilton.
of

Toilette in
3 colored plates of uniforms of Baden.

914.3G96

Germany.
pp. 271-87.)

her

Book

1847. Costume. REF. 391W75

Several wood-cuts of male and female costume.

Koppen, F. von. German Army. (In his Armies of Europe, Illustrated. 1890. pp. 20-35.)

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, Hans-, Feld-, und Kriegsgerathschaften der Volker alter und neuer Zeit.
2 vols.
n.d.

Same.
Sigel, G.

4th ed.

1888.

(v. 10.

p. 469.)
in Wort RG355S57

A.

Deutschlands Heer und Flotte

1900.
Text
in English

G391H83
Peasant Life
"
in Index.

und

Bild.

120 plates and numerous wood-cuts.

Colored plates.

and German.

Johnson, A. C.
See
"

in

Germany.

1858.

Uniforms of

914.3J66
Costumes

Armies of the Six Great Powers of (In Standard dictionary. Sup., 1903. Europe. REF. 423F98Su p. 2187.)
the
Section of colored plates, showing 19 modern uniforms.

Kohkr, K. Die Entwickelung der Tracht in Deutschland wahrend des Mittelalters und der
Neuzeit.
1877.

German

G391K77

Zogbaum, R. F.
Corps.
1888.
(In

Germany a
:

night with the Fourth

his

Horse, German

Foot,

100 plates.

pp. 75-99.)

and Dragoons. 355Z85

Kretschmer,

Costumes Nationaux AlleAlbert. mands; dessins originaux, avec texte explicatif.

1870. Numerous colored

10 plates and cuts of

uniforms.

RG391K92
plates.

GIPSY COSTUME
Boner, Charles.

Transylvania;

its

Laugel, A.

Costumes

et

Coutumes

d' Alsace.

1902.

people.

1865.

products and its 914.39B71

RF914.3L37
Colored plates.

Elate of gipsy group, with brief scattered references in text.

A Series of Groups, Illustrating Lewis, George. . the people of France and Germany. 1823.
. .

Cuttriss,

Frank.

Romany

Life.

1915.

397C99
facts,

Gerard, E.
figures,

The Land beyond the

Forest:

767L67
60 etched plates.

1888.

and fancies from Transylvania. 2 v. 914.39G35

and
5

Schwind, Moritz von. Schwind; des Meisters Werke G759W41 1907. in 1265 Abbildungen. centur German costume, and a Many portraits in 19th century f c number of cuts of historic German dress.

2 photogravures

wood-cuts of gipsy costume.

McCormicIc, Andrew.

The Tinkler-Gypsies. 1907. 397M13

Photographic reproductions.

Page One Hundred Sixty-two

Morwood, V. S. Van. 1885.
Pennell, E. R.

BIBLIOGRAPHY
Dupre, L.
1825.

Our

Gipsies in City, Tent, and

Voyage a Athenes
f

et a Constantinople.

397M89

RF391D94

To

Gipsyland;

illustrated

by
,

J.

te^Sf*^
Egerton,

m dem
'

Creek

stume

'

rescriptive

Pennell.

1893.

914.39P41

Frequent reference to gipsy dress. white illustrations of gipsy costume.

Many

black-and-

M. M.,
'

Countess of Wilton.

Toilette in

Greece.
'

(In

her

Book

of

Smith, F. B. lgo3

Budapest: the city of the Magyars. gl4 39gg4

Hungarian
gipsies.

Pp 388 407 -)
10 wood-cuts, mostly of

Costume. 1847. REF. 391 W75

modern costume.

Illustrations include 17 half-tones of

Yoxall, J.
i

H.

A Word

on Gypsy Costume.
j.

Evans, Lady 1893

'

M. M.
classic dress.

Chapters on Greek Dres:

(In
ser.,

391E9
Bibliography.

T t ii /~< T d Journal of the Gypsy Lore Society.

New
TVT

^ cu

*;s

v. 1, July, 1907, pp. 23-25.)

Including
1

Ferriman, Z. D.
notes.

Home

Life in Hellas.

1910.

illustration

and bibliographical

914.95F38
Furtwdngler, Adolf.
ture.

Masterpieces of Greek Sculp-

REF. 733F99
text references to costume -

Beck, S.
1883.

W.

Gloves; their annals and associations.

19 photogravures and 200 wood-cuts show classic dress

391B39
wood-cuts.

Many
Gironi,

Many
Redfern,

R.

Costume Ancien
(In
Ferrario,

Royal and Historic Gloves and 1904. Shoes, Illustrated and Described. REF. 391R31
46 plates
(4 colored) of gloves, chiefly

W. B.

Grece.

G.

Europe,

v. 1. pt. 1-2.) 153 colored copperplates include ancient, Byzantine, and

et Moderne de la Costume. 1815-29. REF. F391F37

English and Scotch.

Uzanne, Muff.

L.

0.

1883. Historic and

..,,..

The Sunshade-the Glove-the REF.391U99S

,T

Guhl

E Life of the Greeks and Romans, Described from Antique Monuments. 1875. 913G94
> '

"

descriptive.

Numerous photogravures.

Dress," pp. 159-84.

20 outline

cuts.

Gulick, C. B.

Life of the Ancient Greeks.

"

1903.

GREECE
Abrahams, Ethel B.
Becker,

913G97
1908.

Greek Dress.

391A15
the

Warrior>

pp 188- 205
"

Man^hSf-t^neFand^ut^of
Harrison, J. E.

drJss

54 half-tone illustrations.

W. A.
life

Charikles;

or, Illustrations of

Greek vase painting.

1894.

private

of the ancient Greeks.

iJ^fy^'l^liJ^^S^i^ ^
Same.
5th ed.
1880.
fUHer

1845. Q-ior>qQp

REF 738H31
-

Black-and-white illustrations, introducing classic dress.

Hope, Thomas.
pp. 37-230.)

Grecian costume.
1841.
v. 1.

(In his

Costume
v. 2,

of the Ancients.
than

pp. 16-38;

Blumner, H.
Tr.
"

"2SSN1S1SS* Home
Many
wood-cuts.

REF. 391H79

earUer

editi

'

SeC

Outline illustrations.

Life of the Ancient Greeks.

Laurent, P. E.
1819.
4

Recollections of a Classical
in

Tour

by A. Zimmern.
Costume," pp. 1-77.

1893.

913B65

through Greece, Turkey, and Italy,

2 V.
1822.
plates,

1818 and
Greek

" Costume " in Index. See also Brief bibliography.

REF. 914L38
showing

hand-colored

Greek

laches,

Choisseul-Gouffler,

M.

G. A. F., comte de.

Voyage

sailors> etc>

Pittoresque de la Grece.

2 v. in

3.

1782-1822.

Menard, Rene.

Costumes de

la

Grece.
v. 2.

REF. F914.95C54 Many

Greek
of the 325 copperplates dress. Descriptive text.

Vie Prive"e des Anciens.

87.) 22 outline illustrations.

1881.

(In his pp. 271-

show ancient and modern

F913M53

^f''/' the Mediterranean.

Modern Greece
1894.

"

dn

his Rulers of

pp. 178-97.) '

910D26K
8 cuts of modern Greek costume, several of peasants.

toms
..

j A

of

History of the Manners and Cus. ^ 10 *o mocii 913S14 Ancient Greece. 3 v. 1842.
. .

Toilette> dreg?i and ornaments," v. 2, pp. 50-74. " Costume " in index, v. 3. also

See

BIBLIOGRAPHY
Seymour, T. D.
"

Page One Hundred Sixty-three

Homeric Age.
"

Life in the

1907.

Dunton,
Vol.
9.

Larkin.

The

World
S.

and

its

913S52
pp. 629-82.

Hawaii; by A.

Twombly.

People. 1899.

Homeric arms," Dress and decoration," pp. 153-77. 2 plates and 17 cuts of dress and armor.

J910.7D92T
Gerould,

K. F.

Hawaii:

scenes and impressions.

Smith, J. 1882.

M.

112 outline explanatory text.

Ancient Greek Female Costume. 391S65 plates and many smaller illustrations with
Greece in the Times of Homer.

1.916.

919.6G37

Goodrich, J. K.

The Coming Hawaii.

1914.

996G65

Timayenis, T. T.
1885.
"

La

913T58

Farge, John. 1912.

Reminiscences of the South Seas.

919.6L15
:

Dress 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

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.)

F. von.

Armies

Hawaii,

Many

plates (some colored),

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.

1913.

Guatemala and the States of 972.8D67

W. A.

Hair and Beard.

(In his Charikles.

pp. 332-38.)
Homeric

913B39CH
times.

Franck, H. A.

Tramping through Mexico, Guate1916.

4 cuts of female hair-dressing of

mala, and Honduras.

917.2F82
1899.

Same.

5th ed.

1880.

(pp. 453-61.)

Maudslay, A. C.
Occasional

Glimpses at Guatemala.
to

REF. 913B39C
Child,

REF. 917.28M44
references

Theodore.

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

HAIR.

See HEAD-DRESS See HEAD-DRESS

Ancient Egypt to modern times.

HATS.

Description de Tons

les

Genres de Turbans
Syrie,

et

Coiffures
etc.

Modernes

d'Egypte,

Turquie,
pp. 4-6.)

(In

HAWAII
Anderson, Mrs. Larz.
Islands.

Magasin Pittoresque.
Hawaiian 919A54

1841.

The

F054M18
16 wood-cuts of modern turbans.

Spell of the

1916.

Dulaure, J. A.

Pogonologia;

or,

Baldwin, C.
Islands.

W.
1908.

The Geography

of the

Hawaiian
919.6B18

and

historical essay
illustrations.

on beards.

philosophical 1786.

REF. 391D87 No
Fairholt, F.

Boyce,

W. D.

United States Colonies and De1914.

(In his 1907.)

pendencies Illustrated.

325B78

W.

Browne, G. W.
the Far East.
"

Hawaii.
v. 1.

New

America and 910B882

Merrifield, Mrs.

(In Description of Head-dresses. M. P. Dress as a Fine Art.

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 (45 figures) of styles of head-dress.

Head-dress.
(pp. 524-47.)
Illustrated

(In his

Bnjan, W. A.

Natural History of Hawaii.

1915.

Costume in England. 1846. 391F17C

996B91
Castle,

by wood-cuts.
(v. 2.

W.R.,J

Hawaii

past and present.

1913.

Same.

1885.

p. 217-53.) p. 217-53.)

919.6C35

Same.

1896.

(v. 2.

Page One Hundred Sixty-four

Genin, J. N. Illustrated history of the hat, from 1848. the earliest ages to the present time.

BIBLIOGRAPHY
HINDOOSTAN.
TT

See INDIA
- T

39lG33
Crowns and Coronations; a history Jones, William. 394J79 1883. of regalia. Chaps. 1, 2, and 11. Cuts of crowns and coronets.
Lichtenfeld, J.

HOLLAND.

See

NETHERLANDS

HUNGARY.

See

AUSTRIA-HUNGARY
INDIA

Principles of Physiognomical Hair-

Asiatic Costumes.

44 engravings, with a description

dressing,

n.d.

646L69

21 illustrations, wood-cuts.

to each subject. 1828. 391A83 Engraved from drawings taken during a residence in

Moler, A. B.

Manual on Barbering,
etc.

Hairdressing,

Manicuring,
Musgravc, France.
"

1905.

391M71
and
Corners
in

Birt

>

F B
'

'

Bradley-.
of the

Chota Nagpore;
Empire.
1903.

little-

known province
Old
About 20

915.4B61

Nooks George. 2 v. 1867.

"

half-tone plates of costume.

914.4M987N
;
.

uraine caps>

"

P 225
"

Comoayt

My
1906.

Pilgrimage to the Wise

Men

I'

of the East,

910C76
1907.

Ortner, Jessica.
illustrated

Practical Millinery.

1892.

7 half-tone plates of Indian costume, mostly religious.

646077
Pauquet
P1865.
Col red Plates are

Crooke, William.

Natives of Northern India.

freres.

Modes

et

Costumes Histonques. REF. 391P33

-

(Native races of the British Empire.)

Frequent test references to costume tume.

572C94

32 plates of C08 .

valuablc for French head - dress

493-1864

Things Indian.

1906.

915.4C94

Praga, Mrs. Alfred. Wear it 1903

What

to

Wear and When

Dress, pp. 155-67; jewelry, pp. 287-91.

to
Curtis, Lillian J.

391P89
_
.

Laos

of

North Siam.

1903.

Half-tones of head-dress and female costumes.

91o.JL>97
-tonrr

(jmgley, Dorothy.

^ Dress Makes What

of us.

Dress, pp. 108-112, etc.

1897.

Half-tone illustrations, showing

costume.

391Q6
illustrated discussion of hairdressing

Curtis,

and head-

^Includes

^^
Mar
>

W.

E.

Burma.

(In his Egypt,

Ma]aysia

1905

Burma, and pp 251-348.)

Repton, J. A.
of Hats,

Observations on the Various Fashions

6 half . tone plateg of Burmese cogtume

Bonnets, or Coverings for the Head, Chiefly from the Reign of Henry VIII to the 18th Century. v. 24. 1832. (In Arch^ologia. iftn en "D IEF.
pp. lOJ-oy.;
"\

Del

Walter
of

and Kashmir.
Costume
costume.
,-,
.

1906.

Romantic East, Burma, Assam, 915.9D33

8-9.

Burma, pp.

Several half-tone plates of

i '

8 steel plates, with

many

outline figures of hats, etc.

Rhead,G.W.

Hats, Caps, and Bonnets.

1906.

(In his

Chats on Costume.
Cuts
of all

pp. 205-77.)

rerrarw, Giulio. Appelee Indostan, et ITndo-Chine. (In his Costume. 1815-29. Asie, REF F391F37 v 2)
92 colored copperplates of Hindoo, Burmese, Siamese, and other costumes.
Grindlaij. R.

/~

TTJ L Inde,

391R46
kinds of head-dress.

Speight, Alexanna.

Lock

of Hair:

its

history,

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
P1906.
r

Colored engravings.

Gurdon, P. R.
aller Zeiten.

T.

The

Khasis.

1907.

(Ethno-

Winter, F.

Die

Kamme

graphical monograph, published under the orders

^ ^ ne

REF G39lW 78
48 plates (about 300 figures !, with notes on combs, from the Stone Age to the present.
1

Government

of Eastern

Bengal and Assam.)

572G97
8 colored and 11

monochrome

plates.

HEBREW COSTUME.
HERZEGOVINA.

See See

JEWISH COSTUME

Hart,

W.

II.

Everyday Life
1906.

in

Indian Sketches.

Bengal and Other 915.4H32

BALKAN STATES

Illustrations include several half-tones of costume.

BIBLIOGRAPHY
Hodson,
T.

Page One Hundred Sixty -five

1908.

C.

The

Meitheis.

(Ethno-

Solvyns, B.

graphical monograph, published under the orders of the Government of Eastern Bengal and Assam.)

572H69
"

The Costume of Indostan Elucidated by Sixty Colored Engravings, with Descriptions in English and French, taken in the Years 1798 and 1799. 1804. REF. 391S69
E.

9 colored and 7 monochrome dominant race of Manipur."

plates,

illustrating

this

Stack,

The

Mikirs.

1908.

(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 monochrome illustrations of this tribe of

Jeypore Enamels.

1886.

REF. 748 Jl 5
Steel,

Colored frontispiece of Jeypore enamellers.

Assam.

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 Hans von.

Officer in India.
rank.

A German
men

Staff

1910.

915.4K78
in high

Thompson, P. A. Lotus Land: account of the country and the people of southern Siam. 1907. 915.9T47
of

Gives a few illustrations (not colored) of

" " in See Dress Index. Siamese costume.

7 plates, including 2 of children,

Malcolm,
1907.

Ian.

Indian

Pictures

and

Problems.

915.4M24
of

Thurston, Edgar. 1906. India.

"

Ethnographic notes

in southern

572T54
40 half-tone plates.

\bout 20

the 50 half-tone plates show costume.

On

dress," pp. 520-31.

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.

REF. 677W338
Eight plates of costume illustrations.

Mortimer Menpes.
Numerous
colored plates

by 915.4M54

Most of the 100 references in text to dress. show costumes of all parts of India.

Young,

trations
"

Murray, A. II. II. High-road of Empire; watercolor and pen-and-ink sketches in India. 1905. 915.4M981 Wood-cuts and colored plates, many showing dross.

With 12 full-page illusby E. A. Norbury. 1908. 915.9Y71P (Peeps at many lands series.)
Ernest.
in

Siam.

color

Food and

dress," pp. 52-56.

Yusef-Ali, Abdullah. 1907. of India.

Life

and Labor

of the People

915.4A136

Norman, Henry.
East.
1895.

Peoples and Politics of the Far

Bridal dress, p. 271. Dress traditions, pp. 312-15. Colored frontispiece and 4 other plates of costume.

915N54
INDIANS OF
Berlin.

Half-tone plates of dress of Siam and Indo-China.

NORTH AMERICA

Same.

1904.

Penfield, F. C.

and Japan).
costume.

East of Suez (Ceylon, India, China, 915P39 1906.

North-west Coast of Royal America: ethnological researches of the Royal REF. Museums at Berlin, n.d.
The
lithographic plates include head-dress

Museum.

Text references.

A number

of the plates

show Indian

and masks.

Photogravures of Chilkat blanket.

Penny, F. E.

Southern India.

1914.

915.4P416

Biart, Lucien.

The

Contains colored plates.

Aztecs: their history, manners,

and customs.
1915.

1887.

972B57
of

Seesodia, T. S. J.
Shobcrl,
stan.

The Rajputs.
World
in

954S45

Clothing, pp. 292-94.

Frederic.

Miniature.

6v.

1827.

HindooREF. 915.4S559

Bourke, J. Arizona.

G.

Snake-dance

the

Moquis

of

Illustrated

by 103 colored engravings.

1884. " Costume " in Index. See and Navajo costume.

970.3B77
10 colored plates of

Moqui

World

in Miniature.

the Ganges.

1827.

Thibet and India beyond REF. 915.1S559

Catlin, George.

O-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
355S61
Seven
of the colored plates

1914. Singh, S. N. India's Fighters. Photographs showing soldiers' costumes.

ehow costume.

Page One Hundred Sixty-six

Catlin, George.

BIBLIOGRAPHY
Humfreville, J. L. Indians. 1897.
See
"

Notes of 8 years' travel. \Vith 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
in

Dress

"

Index.
of

numerous half-tone cuts

10 chromo-lithographs Indian costume.

and

Illustrations

of

Condition 9th ed.

of

2 v.

Manners, Customs, and the North American Indians. 1857. REF. 970.1C36I
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

notes on costume.

Department

of

War

at

Washington.

by author.
1907. 970.1C97 Indians' Book. Curtis, Natalie. ilates from fro Text does not treat costume. 22 plates photographs Indian pictures of Indians and several colored plates, showing Indi
of apparel.

Mason, 0. T.
U.
S.

Aboriginal American Basketry.

(In

National

Museum

Report.

1902.

pp.

171-548.

U.

S.

Doc. Serial 4549.)

REF.
REF. 689M41

248 plates, including 29 of Indian women.

Dcllenbaugh, F. S. 1901.
"
of

North-Americans of Yesterday. 970.1D35 Weaving and costume," pp. 123-60. Many illustrations

Indian Basketry. The same work as

Schoolcraft,

2 v.

1904.

the preceding.

Indian costume and ornament.

Dodge, R.I.
"

Our Wild Indian.

1882.

970.1D64

H.

R.

Information

Respecting

the

Clothing, finery, and personal adornment," pp. 297-3106 colored plates and a number of wood-cuts of costume.

History, Condition, and Prospects of the Indian Tribes of the United States. 5 v. 1853-56.

Ferrario,

Giulio.

L'Amerique.
v. 1.)

(In his

1815-29.

Am6rique.
First

Costume. REF. F391F37

REF. 970.1U58S
Costume, v. 3, pp. 65-6S; lithographs of costume.
v. 4, pp.

5S-59.

10

monotone

Many
Harvey,
1913.
tribes of

colored copperplates of North American Indians.

Same.

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

Starr,

Frederick.

Indians

of

1899.

Southern Mexico. REF. 970.1S79I

Hind, H. Y. Explorations in the Interior of the Labrador Peninsula, the Country of the Montagnais and

Photogravure plates, preceded by descriptions, mostly showing costume.

Nasquapee Indians.
and

2 v.
of

1863.

Tout, C. Hill

British

North America,

v. 1.

The

917.19H66
Chromo-lithographs
Indians.

Far West.

1907.

572T73

wood-cuts

trappers

and

Dress and personal adornment, pp. 63-88. Most of the 33 half-tone plates show Salish and D6n6 costume.

Narrative of the Canadian Red River Exploring 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

Tozzer, A.

Canadian Indians and

M. Comparative Study of the Mayas and the Lacandones. 1907. (Archseol. Inst. of America. Report of the Fellow on Amer. Archseol. 970.3T75 1902-05.)
Costume, pp. 29-32.
S.

Hodge, F.

W. Handbook of American Indians North of Mexico, 1907. pt. 1, A-M. (U. S. Bureau of Ethnology, Bulletin 30.) REF. 970.1U58
ing," by Walter raphies.

U.

Census

Office.

11th

Census.

Report on
United

Indians Taxed and not Taxed in the

States (except Alaska), 1890.
1894.

REF.

"Adornment," by Alice C. Fletcher, pp. 10-20; "ClothHough, pp. 310-12. 22 cuts and bibliog-

Statistical, historical, and ethnographic monographs by Brinton, Donaldson, Lord, and others. Many colored and half-tone plates of costumes of all types of Indians.

Same.

(In U. S.

Documents.

Serial 3016.)

Hooge,

Romeyn

de.

Costumes; a

series of

43 copper

REF.
INDIANS OF SOUTH AMERICA
Ferrario,
his
Giulio.

engravings of the peoples and castes of different

nations,
n.d.

REF. 391H77

Several plates of North American Indians.

Hoirard, 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
Schmidtmeyer, Peter. Travels into Chile, over the Andes, in the Years 1820 and 1821. 1824.

Page One Hundred Sixty-seven

ITALY
Allom, Thomas. Character and Costume of Turkey and Italy, with Descriptive Letter-press by Emma Reeve, n.d. REF. 914.96A44
12 lithographic plates of Italian costume of about 1840.

REF. 918.3S35
30 plates, including 11 in color.
4

show Araucanos.

United States Astronomical Expedition to the Southern Hemisphere, 1849-52. 1856. (U. S. 33d Congress,

1st sess.

House

Bridgens,

Richard.

Sketches

Illustrative

of

the

exec,

doc.,

121.

Serial

Manners and Costumes

and
Italy.

728.) Note on Araucanian dress

plate of chief.

REF.
(v. 1,

of France, Switzerland,

1821.

pp. 67-68), with colored

R391B851

Plates, with descriptive text.

Wright,

Mrs.

M.

R.

Primitive

Inhabitants

of

Bolivia.

(In her

Bolivia.

1907.

pp. 439-50.)

Buonaiuti, B. S. Italian Scenery, Representing the Manners, Customs, and Amusements of Italy.
1823.
32 colored plates.

REF. 984W95
16 half-tones of modern Indian costume.

R914.5B94
In Tuscany.
1901.

Carmichael, Montgomery.

IRELAND
11 small half-tones of costume.

914.5C28

Birmingham,
All.

G.

A.

(J.

O.

Hannay.)

Irishmen

Egerton,

M. M.,
1847.

1913.

Italy, Sicily,

and Malta.

Countess of Wilton. (In her

12 illustrations in color.

tume.
1912.

pp. 315-34.)

Costume in Book of CosREF. 391W75

(In
his

The Lighter

Side of Irish Life.

914.15H24

11 wood-cuts.

16 illustrations in color.

Ferrario,
1.

Giulio.

Costume des
Europe,

Italiens.

Bonwick, James.
the Irish?
69-76.

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

Egerton,

M. M.,

Countess of Wilton.

Toilette in

Ireland.

(In her

Book

of

186-89.)
3 small wood-cuts.

Costume. 1847. pp. REF. 391W75

Gi/ord, Mrs. A. H. 1905. Story.

Illustrated

Italy,

Her

People, and Their

945G458

from portraits and famous paintings.

Goiran, G.
Life

Italian

Army.

(In Armies of To-day.

Harvey,

and Humor. With 914.15H34 1904. illustrations by Erskine Nicol.

William.
Irish

1893.

pp. 311-58.)

355M27

12 cuts of uniforms.

Joyce, P. W. 2 v. 1903.

Social History of Ancient Ireland.

941.5J89S

Gordon, Lina Duff. Home Life in Italy. Letters 914.5G66 from the Apennines. 1908.
28 half-tone
illustrations, chiefly of

" Dress and personal adornment," v. 2, pp. 176-263. 21 illustrations of apparel, mostly from ancient MSS. and
sculpture.

peasant

life.

Koppen, F.

von.

Italy.

(In his

Armies

of

Europe,

Illustrated.

1890.

pp. 42-45.)

355K77

Meyrick, S. R. Costume of the Original Inhabitants REF. 391M61 1821. of the British Islands.
Including 6 colored plates of ancient Irish costume.

Double colored plates, (7 figures, including 1 of naval uniform) and 2 text illustrations of uniforms of the period.

0' Curry, Eugene.

On

the

Manners and Customs

of

the Ancient Irish.

1873.

Ed. by
1,

W. K.

Sullivan.

3 v.

Molmenti, P. G. Venice, from the Earliest Beginnings to the Fall of the Republic. Tr. by H. F. 945M72 Brown. 6 v. 1906-08.
" Costume," v. 2, pp. 1-22; v. 4, pp. 81-253; v. 5, pp. A few colored and many half-tone plates of 14th204-29. 18th century dress.

913O21
by
Sullivan; v. 3, pp. 87-211,

Dress and ornament, v.

Historical

summary.

Shoberl, F.

World
Ireland.

in Miniature.

land,

and

Edited by
4, of Irish

W.

1827.
2 colored plates, in v.

England, ScotH. Pyne. 4 v. REF. 914.2S559

Perl, Henry.

Venezia.

From

the German, by Mrs.

Arthur Bell. 1894. Many full-page and text

Pinelli, Bartolomeo.

REF. 914.5P45
wood-cuts of Venetian costume.

Nuevo Raccolta

di

costume.

Cinquanta

Costumi.

1816.

RI391P65

See also

ENGLAND

50 copperplates of Italian costume.

Page One Hundred Sixty-eight

Pinelli, Bartolomeo.

BIBLIOGRAPHY
IllusGriffis,

Twenty-seven Etchings

W. E.

The Mikado's Empire.

references to

1876.

trative of Italian

Manners and Costume.

1844.
Includes

952G85M
many
and
cuts of costume.

R767P65T
Sketch-book

Same.

1883.

by an American

in Venice.

1860.

18QQ
9th ed.
10th ed.
_,.,

391S62
22 plates, colored by hand.

No

text.

-Same.
Same.

1900.

1903.
, ft/w ,

Souvenir de

St.

Lazare, Venice,

n.d.

REF. 271S72

name,

llth ed.

14 colored plates.

1906.

Steilcr,

Karl, and others.

Italy,

Mount

Etna.
a

n.d.

from the Alps to REF. 914.5S85I

of

Includes

number

of

wood-cuts

modern

Italian

Strutt,

A. J.

Illustrations of a Pedestrian
n.d.

Calabria and Sicily, Book of etchings.

Tour in REF. 914.5S92

Narrative of the Expedition of an Hawks, 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 seas'. House exec. doc. v. 12. Serial No. 802.) REF. 915.2U58
wood ' cuts and
cosYume
lith

F. L.

s ra P hed

P lat

of

Japanese

Tulcer, M.A.R.

Rome, painted by A.
in color.
,
.

Holland, Clive.
Pisa.

1905.

Things Seen

in

Japan.

1907.

REF. 914.5T91
Peasant costumes,
, Armies oj A the Six Great Powers of Uniforms Standard (In dictionary. Sup. 1903. Europe. REF. 423F98Su p. 2187.)
.

50 half-tone illustrations.

of the

Knox, G. W.
l

and its Imperial Japan; the countrv * " iqn~ Q-OV

illustrative plates of

^Numerous
Levati,

Japanese women.

Ambrogio.

lies

du Japon.
Asie.
v.

(In
1.

Ferrario,

Vaughan,

11.

M.

The Naples

Riviera,

n.d.

G.
453.)

Costume.

1815.

pp.
.

383-

914.5 V36
25 illustrations in color, by Maurice GreiffenA few hagen, show costume, painted in 1904.
of the

REF 391F37
Vol. 22.

6 co lored copperplates of Japanese costume

Zimmern, Helen.

Italy of the Italians.

1906.

National Geographic Magazine.

Ponting, H. G. Numerous

914.5Z76

A few

In Lotus-land Japan.
colored plates and photographs.

1907.
Q-,

half-tones of

modern

Italian costume.

opo-i

JAPAN
Anderson, William.
Pictorial Arts of Japan.

Salwey, C.
1886.

M. Fans
Japan.

of Japan.

1894.

REF. 391S18

10 colored plates and 39 other illustrations.

S hoberl,

F.

1827.

R915.2S559

REF. 709 A55

Includes many colored plates, photogravures, and woodcuts of costume by native artists.
7J Arnold, Sir Edwin.
.

20 colored engravings.
Silver, J.

M. W.

Japomca.

1891.

W T 91o.2A75J

Customs.

1867.

Black-and-white illustrations of Japanese dress.

... 27 chromo-hthograph , fac-similes

,

Sketches of Japanese Manners and REF. 915.2S58

of native drawings.
,

Wilson, H.

W.

Breton de
1818.

la

Martmiere, J. B. J.

Le Japon.

4 v.

F915.2B84
(In his
v. 2, pp.

war between Russia and Japan.

Japan's Fight for Freedom: the 2 v. 1904-05.

Contains 51 engravings.

R 951 051 w?4 KEF> W74

JEWELRY
Luthmer, F. Ornamental Jewellery of the Renaissance in Relation to Costume. 1882.

Browne, G. W.
the Far East.

Japan.
1907.

New

v. 2-3.)

America and 910B882

18 plates (12

Customs and costumes,

355-62.

Japan: the place and the people.

Same
text

1904.

915.2B882
and
plates as preceding work.

R739L97O
Colored plates.

No text.

BIBLIOGRAPHY
JEWISH COSTUME
Abrahams,
Israel.

Page One Hundred Sixty-nine

MACEDONIA.
See

BALKAN 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.

Tr.

by W.

S.

O'Sullivan.

2 v.

De Quincey, Thomas.
(In
his

Toilette of the

Hebrew Lady.
v.
6.

919.2H96

Collected Writings.

1890.

pp.

See also "Apparel" in Index. 1, Numerous wood-cuts and half-tones, showing male and female costume.
Dress, v.

pp. 25-30.

152-78.)

828D42
Shoberl, Frederic.
tic

No
Levati,

illustrations.

World

in Miniature.

The
n.d.

Asia-

Islands and

Ambrogio.
Asie.

Juifs. v. 3.

(In Ferrario, G.

1817.

pp. 70-172.)

Costume. REF. 391F37

(In Jewpp.

New

Holland.

2 v.

26 colored illustrations.

REF. 919S559
of the

3 colored copperplates of ancient Jewish costume.

Skeat,

W. W.
1906.
"

Pagan Races
"
in Index.

Malay

Peninsula.

2 v.

Nowack, William, and

ish

others.

Costume.
v.
4.

572S62

l~

See

Dress

Many

half-tones of natives.

Encyclopedia.

1901-06.

292-

303.)
(30 figures) and 17 wood-cuts.

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

Pierotti,

Ermete.

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.

1864.

JBD214Bo
Ref. 940C99
class, pp. 51 8-28.

Costume, pp. 130-53.

Stapfer,

Cults,

E. L.

Scenes and Characters of the Middle

Edmond.

Palestine in the

Time

of Christ.

1885.
"

933S79

Ages. 1885. Costume of the merchant

cuts.

Many wood-

Clothing," pp. 190-201.

Davies, A. C. Fox-.

See also

TURKISH EMPIRE

paedia of armory.

1904.

Art of Heraldry: an encycloREF. 929.2D25A

and

KOREA
Bishop, 1898.
See tumes.
Griffis,

Heraldic costume, pp. 12-32. Plates (5 colored) wood-cuts, showing heraldic costume and armor.

Gautier,

Leon.
1891.

Chivalry.

Translated

Mrs.
"

I.

B.

Korea and Her Neighbors. 915.1B62K

in Index.

Firth.

by Henry 394G27
n.d.

Numerous wood-cuts.
Lacroix, Paul.

Costumes "

5 half-tone plates of cos-

Arts in the Middle Ages.

W.

E.

Corea; the hermit nation.

81, 273-76.

1882.
10 colored plates and

REF. 709L14
many
wood-cuts
of

915.1G85CE
"

costume.

Costume," pp.

2 wood-cuts.

Hamilton, Angus.
Costume
costume.

Korea.

1904.

915.1H21

Manners, Dress during the Middle Ages.

(In
his
54.)

Costumes.

Customs,
n.d.

and

pp. 509-

in Seoul, pp. 35-40.

Several half-tone plates of

REF. 940L14M
colored plates and wood-cuts of costunv
.

Many
1906.

Hulbert,H.H. Passing of Corea. Many half-tone plates of costume.

I^well, P.

951H91P

Military and Religious Life in the Middle Ages.

n.d.

REF. 940Ll4Mi
1878.

1888.
"

Choson: the land of the morning calm. 915.1L91

Wood-cuts.

Colored plates and wood-cuts of dress and armor.

Science and Literature in the Middle Ages.

Most
of the

Costume," pp. 316-31.

REF. 940L14

Norman,
East.

Henri/.

Peoples and

Politics of the

Far

wood-cuts and colored plates show costume.

1895.

915N54

Several half-tones of Korean costume.

Loemyer, J. F. N.
2 v.

Costume de Moyen Age.

1847.

RF391L82
Illustrations of Mediaeval Cos-

Same.

1905.

Contains colored plates.

Sec also CHINA;

JAPAN

Lonsdale, H. W. tume. 1874.

50 plates.

REF. 391L86

LAPLAND.

See

NORWAY; RUSSIAN EMPIRE

Page One Hundred Seventy

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

BIBLIOGRAPHY
2 v.
Sierra,

History of the Crusades.

J.

Mexico:

its

social

evolution.

REF.
C.

940M62H
1902.

lated from the Spanish

by G.
.

Sentinon.

Trans3 v.

1900-04.

REF. 972S57

Munro, D.
Many

History of the Middle Ages.

and cuts show
dress.

Many
Starr,

half-tones,

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.

. . .

Decorations
.

of

the

1899.

REF. 970.1S79I

REF. 391S53

Photogravures, preceded by descriptive text.

times to end of 16th century. Speci att tention to English costume. Many colored plates an

From Anglo-Saxon

See also INDIANS OF

NORTH AMERICA
BALKAN STATES

wood ood-cuts.
Spalart, Robert von.
vorziiglichsten

Versuch
des

tiber

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. Sword and Scimetar the romance REF. 940T86 1886. of the Crusades.
Plates by Gustave Dore, showing costume and armor of A fuller collection of plates by Dor6 in the Crusaders. Michaud's Crusades.

Illustrations.

Colored piates.

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.
1883.
8 colored plates and 367 wood-cuts.
of the

Sketching Rambles in Holland. 914.92B75

by Boughton and E. A. Abbey.
1909.

Kostiimkunde; Geschichte der Tracht und des Geraths im Mittelalter. 2d ed.

More than 50

Illustrations (wood-cuts), of costume.

Edwards, G. W.

Holland of To-day.

G391W42
List of sources.

914.92E26
Contains colored full-page illustrations.

See also under the various countries

Egerton,

M. M.,
(In

Holland.

Countess of Wilton. Toilette in 1847. her Book of Costume.

pp. 311-14.)

REF. 391W75

MEXICO
Carson,

3 wood-cuts.

Ferrario,

Giulio.

La Hollande ou
1815-29.

Batavie.
v. 6.

(In

W. E.

Mexico.

1909.

917.2C32

his

Costume.

Contains illustrations showing costume.

Europe,

pp. 23-

172.)

REF. 391F37

Decaen, J. Mexico y sus Alrededores. Coleccion de monumentos, trajes y paisajes. 1864. [Spanish

Colored plates (14 figures) of 17th century Dutch dress.

and French
Giulio.

text.]
artists;

REF. S917.2D29
of value for

Higinbotham, J.
Belgium.

W.

Three Weeks

in

1908.

Holland and 914.92H63

914.92J95

47 lithographs by Mexican

costume.

Ferrario,

1815-29.

Mexique. (In his Costume. Amerique. v. 1. pp. 501-625.) REF. 391F37

Jungmann, Nico. Holland. 1904. Many references to costume. Most

plates

of the 75 colored

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.

(In his pp. 69-

Garcia Cubas, A.
1876.

Republic of Mexico in 1876. REF. 917.2G21

.

355K77 70.) Colored plates (11 figures, including 4 naval) and 2 text
illustrations of uniforms.

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. 1911.

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.

917.2P73
9 half-tone plates of

914.92M51H
illustrations at pp. 170, 176

modern costumes.

and

180.

BIBLIOGRAPHY
Shoberl, Frederic.

Page One Hundred Seventy-one

in Miniature.

World

erlands.

1827.

The NethREF. 914.92S55

Brassey, Lady.
Illustrations,

OCEANICA
Tahiti.

18 colored engravings, including Belgium.

1882.

919.6B82
of costume.

from photographs, including G

NEW ZEALAND
Reeves,

Elkington, E.

W.

Savage South Seas:

1907.

W. P.

W.

Wright.

Painted by F. and Described by W. P. Reeves. 1908.

Zealand.

New

919.3E43S
Most
Ferrario,
of the 68 colored plates

show native costumes.

(In
his

993R33Nw
75 illustrations in color.

Giulio.

Oceanique.
v. 4.

Costume.

1815-29.

Asie.

pp. 285-585.)

Waltefield,

Edward.
1889.

New

Zealand

after

Fifty

REF. 391F37
Many
colored copperplates of costume.

Years.

919.3W14
See

3 half-tone plates of Maoris.

Grimshaw, Beatrice.
Islands.

From
and

Fiji

to

the Cannibal

1907.
half-tones, plates,
insets of costume.

NORMANDY.

FRANCE

919G86
World
n.d.
in

Many
Shoberl,

NORWAY
Bossi, Luigi.
rario,

Frederic.

Miniature.

Sea Islands.
(In FerIllustrated

2 v.

South REF. 919S72

Costume des Norvegiens.

Costume.
1815-29.

by colored engravings.

G.

pp. 260-91.)

Europe, v. 6. REF. 391F37

1889.

ORDERS
Lawrence- Archer, J. H.
English and Foreign.

DuChaillu, P. B.

Viking Age.

2 v.

The Orders
1887.

of Chivalry,

948D82V
Dress of men, v.-2, pp. 285-300; dress of women, 128 wood-cuts of dress and ornament. pp. 301-31.
v. 2,

R929.7L42

Colored illustrations of the'decorations 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. (In her Costume:
1906.

Of some

for-

Hyne, C. J. C. W.

Through Arctic Lapland.

Lapp costume.
Illustrated

eign peasants.
torical,

fanciful, his-

914.7H99
Several half-tone plates of

and

theatrical.

pp. 115-46.)

391A69

Jungmann, Beatrice. Norway. Jungmann. 1905.

Scattered references to costume.

by Nico
plates

2 colored plates

and 10

half-tones.

914.8J95
About 30 colored

show costume.

Colquhoun, A. R. Whirlpool of Europe; Austria943.6C72 Hungary and the Hapsburgs. 1907.

About 40 half-tones of costume. been given preference.
Peasant costumes have

Koppen, F. von. Sweden and Norway. Armies of Europe. 1890. pp. 61-63.)
Colored plates (6
uniforms.
figures)

(In his

355K77
of

Holme, Charles.
gary. 1911.

Peasant Art

in Austria

and 2

text

illustrations

and Hun709H74PE

Monroe, W. S.

In Viking Land

Norway,

its

peo-

Peasant Art

in Italy.

1913. 1912.

709H74Ps

1908. 948M75 ples, its fjords, and its fjelds. " Consult Index under Dress." Of the 48 half-tone plates, 3 are definitely of costumes.
Pritchett,

Peasant Art

in Russia.

709H71PR
Russians,

Illustrations of peasant costume, in monotone.

R.

T.

"

Gamle Norge
to,

"
:

rambles and

Lyall,

Robert.

Character

of

the

scrambles in Norway.
Frequent references national costume.
Steele,

1879. and several

914.8P96
illustrations
of,

History of Moscow. Marie.

1823.

and REF. 914.7L98

Costumes. 391S33

3 colored plates of Russian peasants.

Schild,

Old

English

Peasant

T. S.

Voyage to Viking-Land.

1896.

1898.

914.8S81
S half-tones of Norwegian and

Lapp costume.

PERSIA

Tonsberg, 1852.

C.

Udvalgte Norske Nationaldragter.

De

RD391T66
plates.

Lorey, Eustache. 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, M. M., Countess of WUton. Persia. (In her Book of Costume.

BIBLIOGRAPHY
Sawyer,
1900. F.

Toilette in
1847.

H.

Inhabitants

of

the

Philippines.

pp.

919.1S27
Several half-

432-40.)
3 wood-cuts.

REF. 391W75

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

pp. 382-596.) About 20 colored copperplates modern Persian costume.

REF. 391F37
of ancient, mediaeval,

3 plates of dress.

and

Wright, H.

M. Handbook of the

Philippines.

1907.

919.1W94
and Present.
1906.
costume.
Half-tone plates, with small figures in Dress, pp. 62-64. Several plates of children.

Jackson, A. V.

W.

Persia, Past
of the

915.5J12
More than 20
modern.
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.

Sparroy, Wilfrid. Family. 1902.

Persian Children of the Royal 915.5S73

2 v.

1899.

REF. 917.29B91
Colored plates and

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

Contains colored plates, including military costume.

PERU
Skinner,
1805.
20 colored plates of costumes,
etc.

Joseph.

The Present

State

of

Peru.

Egerton,

M. M.,
(In

918.5S62

Portugal.

Countess of Wilton. Toilette in her Book of Costume. 1847.

pp. 297-301.)

REF. 391 W75

Wright,

M.

R.

The Old and

170;

the

New

Peru.

1908.

REF. 985W95
Infantry uniform, p. chap. 36.

Marines, p.

173;

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.

America and

(In his New Philippines. the Far East. 1907. v. 1-2.)

The

Portugal.

2 v.

Spain and REF. 914.6S55

27 colored engravings.

910B882
V. 1, pp. 208-19, contains many references to costume. 3 half-tone plates and many cuts of native dress.

1891. Portugal. Stephens, H. M. (Story of the nations series.) 918.9S83 Several of the wood-cuts show costume.

Olivares, Jose de.

Our Islands and

their People, as

Watson,

Gilbert.

Sunshine and Sentiment in Portu-

Seen with Camera and Pencil.

Philippines, v. 2, pp.

2 v.

1899.
and

REF. 917.29B91
many
549-768. half-tones, of native dress.

1904. gal. 5 half-tone plates of costume.

914.69W33

few colored

plates,

Russel, F.

K.

A Woman's
1907.

QUAKERS
Journey through the 919.1R95

Philippines.

Gummere, A. M.
1901.

The Quaker: a study

in

costume.

Consult Index.

8 plates of costumes.

391G97

BIBLIOGRAPHY
RELIGIOUS COSTUME
Riedenfeld,

Page One Hundred Seventy-three

ROME
Ursprung,

F.

L.

C.,

Freiherr

von.

Arnay, d\
"

Private Life of the Romans.

1808.

Aufleben, Grosse, Herrschaft, Verfall und jetzige Zustande sammtlicher Monchs- und Kloster-

913A74
Of clothing," pp. 154-200.

frauen-Orden im Orient und Occident.

1837-39.
Hand-colored plates
female).
of

v.

Becker,

W. A.

Gallus;

or,

Roman
1866.

scenes in the

G271B58
77 religious orders (male and

time of Augustus.
of the

3d ed.

913B39

Dress, pp. 98-109; Dress of thp men, pp. 408-30; Dress women, pp. 431-50. 4 wood-cuts of male and one of
attire.

female

Costume, Ecclesiastical.
cyclopaedia.

(In
v. 5.

New

International En-

1902.

pp. 334-38.)

Same.
Costumi di

9th ed.

1888.
e del contorni.

REF. 913B39
1846.

REF. 031I61GI
Historical and descriptive, with plate (8 figures), 3 cuts, and brief bibliography.

Roma

RI391C84

wood-

Colored plates.

No

text.

Egerton,

M. M.,

Costume,

Ecclesiastical.

(In
v. 6.)

New

International

Ancient
1847.

Rome.

Countess of Wilton. Toilette in (In her Book of Costume.

Encyclopedia.
Currier, C.

1914.

pp. 335-45.)

REF. 391W75

W.

History of Religious Orders.

1894.
Friedldnder, L.

271C97H
Ilelyot,

Mceurs Romaines du Regne d'Au2 v.

guste a la fin des Antonins.

1865-67.

P.

Album;

ou,

Collection complete

et

937F91
Costume and armor
of gladiators, v. 2, pp. 273-80.

historique des costumes de la cour de Rome. REF. F391P47 1862. 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," p. 308. wood-cuts of ecclesiastical dress.
"

Hope, Thomas.

Costumes
232-300.)
descriptive.

of the

Romans.
v. 1.

(In his

REF. 940Ll4Mi

Costume
50;

of the Ancients.
and

1841.

pp. 39-

Many

colored plates and

v. 2, pi.
Historical

REF. 391H79
69 outline plates.

Monastic Costumes,

n.d.

R391M73
James,

A
Each

series of plates,

plate

is

showing various monastic costumes. accompanied by descriptive letter-press in

Constantin.

Toilette
n.d.

d'une
of

Romaine au
F391J27
Roman
costume.

Latin and Italian.

temps d'Auguste.
Historical

and descriptive sketch

Nainfa, J. A. Costume of Prelates of the Catholic Church, according to Roman Etiquette. 1909.

Without
Levati,

illustrations.

Ambrogio.

Costume Ancien
v.
2.

et

Moderne des
1815-

247N15
Many
198.
illustrations, not colored.

Romains.
29.

(InFerrario, Giulio.

Costume.

Bibliography, pp. 195-

Europe,

pp. 221-606.)

REF. 391F37
Bernard.
General historical sketch of Roman costume. Many of the 62 colored plates show ancient and mediaeval Roman costume. Several plates of Papal costume.

Picart,

Ceremonies and Religious Customs of the Various Nations of the Known World. REF. 265P58C 1733-36. 6 v, in 3. v. 3-4, Idolatrous V. 1-2, Jews, Roman Catholics; nations; v. 5-6, Greeks and Protestants, English, Mohammedans. Many copperplates showing religious costumes.
Clerical
v. 4.

Menard, Rene.
des Anciens.

Le Vetement.
1881.
v. 2.

(In his Vie Privee

pp. 288-300.)

F913M53
12 outline illustrations.

Thurston, Herbert.
lic

Costume.

(In Catho-

Encyclopedia,
Bibliography of 12

pp. 419-21.)

REF. 282C363
titles.

Perugini, G.

tumes de
1862.

la

Album; ou, Collection ... des CosCour de Rome. Deuxieme <?d.

RF391P47

Pallium.
1892.

(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.

Tyack, G. S.

Historic Dress of the Clergy.

391S25
Monograph, with bibliography.

247T97H

Page One Hundred Seventy-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.

709H74PR
Peasant costumes,

3 cuts of orna-

ROUMANIA.

See

BALKAN STATES
JiiMPIRE

Koppen, F.
1890

von.

Russia.
}

(In his Armies of Europe.

pp 53 _58

355K77

RUSSIAN
Atkinson,

Descriptive notes. 2 double colored plates H5 figures, including 1 naval), and 6 text illustrations of uniforms.

J. A. Picturesque the Manners, Customs, and 1803. Russians. 3v.ini.

Amusements

Representations of of the

Latimer, E.

W.

Russia and Turkey in the 19th

Century.
T

1895.

947L35

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.

TAT In TTPIT Joyful Russia.

plates of Russian costumes

1897.

Breton de la Martiniere, J. B. J.
-..-

La

TT 4.^4. JTJU'4J Moeurs, Usages, et Costumes des Habitans de Toutes les Provinces de cet Empire. 6 v. 1813.

Russie;

ou,

914.7L85
and uniforms.

Robert.

Character

of

the

Russians,

and

F914.7B84
Lfobson, George.

History of Moscow.

1823.

REF. 914.7L98

_,

T>

Russia,

-r, TT Painted by r de Haenen.

T,

3 colored P^tes of Russian peasant costume.

1913.

914.7D63R
Illustrated

Michell,

Thomas.
of

Russian Pictures.

1889.

Petersburg. 1910.
Egerton,

St.

by F. de Haenen. 914 7D63

Toilette in

Wood-cuts

costumes of the empire.

in the

M. M.,

Countess of Wilton.

Molloy, J. F. 2 v 1905

Russian Court

18th Century.

947M72
All the Russias.

Bokhara, Circassia, and Cashmere. (In her Book 1847. of Costume. pp. 441-48.) REF. 391W75
3 wood-cuts.

-\ plates of costumes,

Norman
Qluf
"

H a

1902.

914.7N84
1904.

Cuts

of Finnish, Russian,

and Asiatic types.

-Toilette
184

in Poland.

(In her

Book

of

Costume.

60 - 62 -)
(In her

Through unknown Pamirs.

pp.

J wo PP;u fs
Toilette in Russia.

915.8052
Clothing,"
63-72.

15

half-tone

cuts

of

Pamir

Book

of

Costume.
Pallas, P. S.
of the

1847.

pp. 363-73.)

7 wood-cuts.

Eyries, J. B. B.
et

La

Russie; ou, Costumes, Moeurs,

(In
his

Usages des
Illustrated

Russes.

L'Angleterre.

2 v. Has about ten

Travels through Southern Provinces Russian Empire in the Years 1793 and 1794. 1802. 914.7P16
colored plates.

n.d.)

REF. F391E98
by
colored engravings.

Picturesque Representations of the Dress and Manners n.d. REF. 391P61R of the Russians,

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

madVife^*
,.
_.
, 7

Varl US costumes of the empire

.
.

'

,.
"

24 colored copperplates, mostly of costume. and 8 show millitary uniforms.

Rechberg.Rothenloewen, Karl, 2 PeU P leS de la RuSSle

^chsgraf
1812 - 13
'

von.

Les

REF. F914.7R29
Colored plates of Slavic, Finnish, and Tartar types.

Costume des Habitans du Caboul, du Tibet,

Siberia, etc.
v. 4.
casia,

(In his Costume.

1815-29.

Asie,

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 9f Kabul, Tibet, CauTurkey, Turkestan, Bokhara, Siberia.

,

Costume des
29.
1

_,

Polonais.
V. 6.

._

(In his

Costume.

1815-

Seven Colored Plates of Russian Costumes of Various P1820 Trades R391S49

Each
Shoberl,

Europe.

pp. 162-181.)
of the

colored plate of Polish costumes (7 figures).

man and

plate ,s mounted, English.

and has a
in

title

in

Russian, Ger-

Harding, Edward.
1811.

Costume

Russian Empire.

Frederic.

World

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
914.7S61

Russia as Seen and Described

1904.

by Great Writers.
5 plates of costume.

"

Adam, Frank.

Spencer, Edmund. Travels Tartary, etc. 3d ed. 2

,

.'-'. in Circassia,
v.

TT Knm-

Clans, Septs, and Regiments of the Scottish Highlands. 1908. 941A19C Hag 13 p]ates illustrating High!and garb> and colored
plates of .tartans.

1839.

914.7S74
of dress.

Colored frontispiece and several small cuts

Stadling, Jonas.

In the Land of Tolstoi:

What is my Tartan?
experi1897.
their septs
-

The clans

of Scotland,

with
the

ences of famine and misrule in Russia.

and dependents.

1896.

REF. 941A19
etc., of

914.7S77

Descriptive notes on tartans, arms, badges, various c!ans

.

Many

wood-cuts and

half-tones

of

Russian
.

costume,

chiefly peasant.
.

Bonwiclc, James.

Uur

.Nationalities.

Who

are the

Stevem,W.B.

Things Seen
r
,

in Russia.

-n

191*
y 14.7oo4 J.

Scotch?

1880.
.

572B72

old Scotch dress," PP 130-32.

Contains photographs of contemporary costume.

Browne, James.

Stewart,

Hugh.

Provincial Russia.

1913.

History of the Highlands and of Clans. 4 v. 1857-58. 941B88 *!* Highland

Colored plates, chiefly
in v. 4, of principal tartans.

914 7S849
2 UStrati nS in C lor and black - and - white cost ume
'

showing

Uniforms Europe. r> 2187)

of the

Armies of the Six Great Powers of Sup. 1903. (In Standard Dictionary.

Campbell, Lord Archibald. Children of the Mist; or, The Scottish clansmen in peace and war. 1890.

941C18C
Numerous notes on costume. Double-page frontispiece, showing Highland and English uniforms of 1745.
. .

REF 423F98SU
Fire and
68

Section of colored plates, showing 18 Russian uniforms.

[Craignish tales, and others.]

10on 1889.

ono/^-io-r

398C187
With
illus-

Villari, Luigi.

Sword

in the

Caucasus.

84

Notes on the war dress

of the Celt.

1906.
f

947 V72

trations.

SSaCk> Georgian> ArmeniaD

and

TanaTcosTum?
Wilson, H.

_ Highland Dress, Arms, and Ornament.

Many
half-tones

1899.

Freedom: the T j T story of the war between Russia and Japan. 2 v. REF. 951W74 1904-05. Many half-tones, showing Russian uniforms.
Japan's Fight for

W.

914.1C187
and several photogravures
of

uniforms

an a arms.

Egerton, M. M., Countess of Wilton. Toilette in 1847. Scotland. (In her Book of Costume.

SAMOA
Ckurchill,

PP- 176-85.)
2 small wood-cuts.

REF. 391W75

L.P.

Samoa 'Uma, where

,

Life

is

Dif-

n I,, r;,a, es s,. '**-. Hamm, M. A. America's New Possessions.

7 half-tones of

tted
1899.

from

re.ies of

the Stuarts.

,890.

4Q co]ored
plates

910H22
Samoan
dress.

show
'

regalia of Scotland.

^^

REF. 920G438
some showing wearing appare ,
4

Olivares,

Jose de.
1899.
v. 2, pp.

Our
539-47.

Islands and their People.

*> H
CenturySee
"

G
.

2v

REF. 917.29B91
Half-tones of costume.

q ed 2d

^}^
1906.
in Index.

Dress

Samoa,

Turner, George. Long Before.

"

Samoa a Hundred Years Ago and

1884.

Grierson,

E.

W.

Children's

Book

of

Edinburgh.

919.6T94
2 wood-cuts of costume.

1906.

941G84

Clothing," pp. 118-23.

9 colored plates of Scotch dress of various periods.

Keltic, J.

S.

History of the Scottish Highlands,

Canziani, Estella.
OI
,

Costumes, Traditions, and Songs

,

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.

Savoy.

Q1 1 1. iy

*qqir^

Illustrated with 47 colored plates, several of costume.

Page One Hundred Seventy-six

Levati, Ambrogio.

BIBLIOGRAPHY
SHAKESPEAREAN COSTUME
Abbey, E. A.

(In Ferrario, Giulio. Britanniques. 1815-29. Europe, v. 6. pp. 1-178.)

Costume des Habitans des lies Costume.

REF. 391F37

Colored copperplate (plate 30) shows 5 Scotch costumes of about 1820.

Logan, James.
as preserved
"

Scottish Gael:

or, Celtic

manners
1831.

among

the Highlanders.

2 v.

Drawings for Shakespeare: Midsummer Night's Dream, King. Lear, King Richard II. 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
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. 401-08.

Bayard, Emile.

With 12
Bodcke,

illustrations.

As you Like It." R822.3S52Asi

Costumes.
4
v.

R.

L.

Shakespearian

Melon, R. R. Gaelic Gatherings; or, The High1848. landers at home. [reprinted 1900.]
914.1L83
2.1

889-1892.

822.3B669

with color key. The library has Full-page wood-cuts, " " All's well that ends well "; Twelfth night "; only4yols.: " " Hamlet." Taming of the shrew ";

colored plates of costume.

Mackintosh, J.

Times
1899.

to

Story of Scotland from the Earliest the Present Century. T llustrated.

boydell, J. and J. Boydell's Graphic Illustrations of the Dramatic Works of Shakespeare. 1813.

REF. 822.3B78G
Stee! plates of characters in costume.

941M15
Gordon Highlanders.
1898.

Milne, James.

Brereton, Austin.
acters.

355M65
Includes half-tones of Highland uniforms.

1886.

Shakespearean Scenes and CharREF. 822.3B84

Stories

30 steel plates and 10 wood -engravings.

Sanderson, William.
1904.

Scottish Life

and Character.
914.1S21

Carter,

Thomas.

from Snakespeare. n.d. 822.3S52STO

"

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 Tartans.

2d ed.

1892.

Windsor,"

in eight

pen designs.

941S42
Colored plates of the tartans.

R822.3C89
Fitzgerald,

Same.

8th ed.

1906.

tion, its in Miniature.

Shakespearean RepresentaLaws and Limits. 1908. 822.3F55

L.

Percy H.

Shoberl, Frederic.

World

Scotland, and Ireland.

4 v.

1827.
4, of

England, Edited by W. H. Pyne. REF. 914.2S559

Scotch costume.

Gerome, J.

Scenes from Shakespeare.

1875.

R822.3G37
30 India proof engravings.

4 colored plates, in v.

Grutzner,

E.

"
Shakespeare's
1887.

two parts.
Stewart, David.
ners,
"

King Henry IV," R822.3S52H4Gi

"

and Present State

2 v.
1822.
Highland garb,"

Sketches of the Character, Manof the Highlanders of

12 illustrations.

Scotland.

355S84
75-80, 115-20.

Lacy, T. H. Venice."
Linton,
Sir.

Costume Plates
?1862.
J.

for the

Merchant of R822.3L15

v. 1, pp.

D.

Shakespeare's

Stuart,

John

S.

S.

The Costume

of

the Clans.

VIII."

1892.

King Henry R822.3S52H8LD

"

1892.
and dress

R391S93

12 illustrations.

37 full-page plates, illustrating the history, antiquities, of the Highland clans.

Towry,
"

M. H.

Clanship

ad

Shakespeare, William. Complete Works; rev. from the original editions, with introductions and

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
1802.

steel

engravings of actors in costume.

See also

ENGLAND

Dramatic Works;
Plates practically the

rev.

by G.

Steevens.

v.

REF. 822.3S52Ds
same
as in Boydell.

SERBIA.

See

BALKAN STATES

BIBLIOGRAPHY
Shakespeare, William.
of

Page One Hundred Seventy-seven

of

Tragedy

Hamlet, Prince

Calvert,

A. F.

Spanish

Arms and Armor.

of the collection in the

1907.

Denmark.

1897.

822.3S52HAC
by H. C. Christy.
1916.

399C16
Armory
3SO half-tone illustrations at Madrid.

12 full-page illustrations

Royal

Shakespeare in Pictorial Art.

S22.3S25

_ Valladolid, Oviedo, Segovia.

seStiT

1908.

914.6C16V

"
Shakespeare's Marchetti.

Othello:'

Illustrated

P1892.

by Ludovic 822.3S52OTH
of

*'

156 ~ 165 give peasant costume s of the province of

,

,, r Cuendias, Manuel
Artistique, et

de.

Espagne;
n.d.

Pittoresque,

Smirke,

R.,

and

others.

Illustrations

Shake-

Monumentalc.

F914.6C96

speare's Plays,
Corbould,
etc.

n.d.

R822.3S641
steel.

Colored illustrations, and others.

Fifty original designs h y R. Smirke, T. stothard, E. H.

Engraved on

Delineations of the Most Remarkable Costumes of the 1823. R391D35 Different Provinces of Spain.
Colored illustrations.

Stone, Melicent.

The Bankside Costume Book

for

No

text.

Children. Has 52

1913.
illustrations of

391S87
Shakesoearian men, women, and

Egerton, M.
4

dress accoutrements.

ww n Wilde, Oscar.
and the Soul

r *i Truth
of

of AT Masks.
t
i

n (In

uhis T

Intentions

M., Countess of Wilton. Toilette in c /T i_ T> r/^x io,~ Spam. (In her Book of Costume. 1847. pp. REF. 391W75 288-96.)
i

wood . cuts

Man.)

1908.

828W67I
of costume.

Essay on Shakespeare's interest in and use

Fltz-Gerald, J. D.

Rambles

in

Spam.

1910.

914.6F553
Wingate, C. E. L.
Stage.
1875.

Shakespeare's Heroines on the

Shows

several costumes of peasants.

822.3W76S

52 illustrations, half-tones

Higgin, Louis. Spanish Life in Town and Country. 19Q 2 914.6H63 " See Costume " and " Dress " in Index. 7 half-tone
plates of costume.

SHOES.
SIAM.

See

FOOT-WEAR

See INDIA

Koppen, F. von. Spain and Portugal. Armies of Europe. 1890. pp. 64-66.)
Double colored plates and
Penfield,

(In

his

355K77

2 text illustrations of uniforms.

SOUTH AMERICA
Carpenter, F. G.

Edward.

Spanish Sketches.

1911.

South America,
1900.
'

social, industrial,

914.6P39
Shoberl, Frederic.

and

political.

918C29s

7 plates (half-tones) of costumes.

World
1827.

in Miniature.

Forrest,

A.

S.

n,

Tour through South America.

.,

.,

1913.

Portugal.
Watts, H. E.

2 v.

Spain and REF. 914.6S55

27 colored engravings.

918F72
Christian Recovery of Spain.
1894.

Marcoy,
2 V.

Paul.
1873.

Journey

across

Incidental notes on costumes.

South America. REF. 918.5S13 Many wood-cuts of native

of Pata-

946W34
Has
illustrations

showing costume, especially of the 13th

and Spanish costumes.

Williams, L.

Land

of the

Dons.

1902.

914.6W72

Pritchard,

H. V. II
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 drakter.
Colored plates.

See also INDIANS OF

SOUTH AMERICA

1908.

R391A25
SPAIN

Adams, W. H.
Many

Spain and

its

People.

1872.

Bossi, Luigi.
rario,

914.6A21
wood-cuts of Spanish types.

Du costume de la Suede. (In FerCostume. 1815-29. Europe, v. 6. REF. 391F37 pp. 232-59.)
G.
2 copperplates
(1

Bradford, William.
acter,
13.

and Costume

Sketches of the Country, Charin Portugal and Spain. 1812-

colored) of ancient Swedish costumes.

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
Switzerland. With representations of the Yosy, A. dress and manners of the Swiss. 2 v. 1815.

M. M.,
(In

Countess of Wilton.

Toilette in

Sweden.

her

Book

of

pp. 349-51.)
3 wood-cuts.

Costume. 1847. REF. 391W75

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

Mrs.

E.

Of

Theatrical
historical

Dress.

(In

her

Koppen, F. von. Sweden and Norway. Armies of Europe. 1890. pp. 61-63.)
Colored plates (11

Costume;
1906.

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

in

Sweden.

Ferrario,

Giulio.

Costume des
Europe,

(In his

914.8S84
About 21
costume.

Costume.

1815-29.

v. 3., pt. 2.)

50 photographic reproductions are of

Plates 120-22, dancers of Italy.
p.

REF. F391F37
877,

show costumes

of actors

and

Thomas,
1893.

W. W.,

Jr.

Sweden and the Swedes.

914.8T46
of ancient

8 plates and 3 text illustrations Swedish costumes.

and modern

Galerie Dramatique. 1843.

A Paris, chez Martinet.

1796-

R391G15
Costumes de 1'Oplra,
Siecles.

50 copper engravings, in color.

SWITZERLAND
Bridgens,

Guillaumot,
of

A.

E.

Dix-

septieme au dix-huitieme
Richard.

1883.

Sketches

Illustrative

the

RF391G95C
50 planches fac-simile a 1'eau-forte en couleurs.

Manners and Costumes and Italy. 1821.

of France, Switzerland,

R391B851

Harrison, Charles.
92 illustrations of design.
Jullien,
les

Theatricals and Tableaux Vi1882.

Plates, with descriptive text.

vants for Amateurs.

793H31

Toilette in Egerton, M. M., Countess of Wilton. 1847. Switzerland. (In her Book of Costume.

stage costume, historical and fancy

pp. 302-10.)
10 wood-cuts.

REF. 391W75

Gauter, Henri.

Histoire

du Service

Militaire des
1'Angleterre,

A. Histoire du Costume au Theatre depuis Origines du Theatre en France jusqu'a nos 1880. Jours. F391J94
24 plates, partly colored.

Regiments Suisses a la Solde de de Naples, et de Rome. 1902.

Koppen, F.
Europe.
von.

F356G21

Kobbc, Gustav.
1904.

Opera Singers
"

a pictorial souvenir.

10 colored plates, showing uniforms of Swiss mercenaries.

920K756
A

Switzerland.

(In his Armies of

1890.

pp. 67-68.)

355K77
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.
illustrations,

1908.

Levati, Ambrogio.

Costume Ancien
des
Suisses.

Moderne des
Ferrario,

782K92
Of the 70 half-tone
of opera singers in

Helvetiens

ou

(In
v. 4.

G.

39 are from photographs

costume.

Costume.

1815-29.

Europe,

pp. 1-172.)

REF. F391F37
16 colored copperplates of ancient and modern Swiss costumes.

Lacy,

T.

H.

Female Costumes,
1865.

Historical,

tional,

Dramatic.

NaR391L152C2

Male Costumes,
1868.

Historical, National, Dramatic.

Schweizer Volkstracht;

die Trachten der

Cantone

R391L152C1
No
text.

Aaran, Appenzell, Unterwalden, Glarus, Schaffhausen, und Luzern, auf acht sehr schonen

Contains colored plates.

Lumm,

E. C.

Chromo-Lithographen

dargestellt.

1840.

Twentieth Century Speaker. 1898. 808.5L95

R391S41
Story, A.

Colored and half-tone'plates of costumes'and poses.

T.

Swiss Life in

Town and

1902.

Country. 914.94S88

Mackay,
1915.

C.

D.

Costumes and Scenery

for

Amateurs.

793M153C

BIBLIOGRAPHY
Mantzius, Karl. 1903-09.

Page One Hundred Seventy-nine

5 v.

History of Theatrical Art.

TURKISH EMPIRE
Addison,
1838.
,,

792M29
Costumes of the Modern
Stage.

,-

n n C. G.

Plates of actors in costume.

^ Damascus

and Palmyra. J

v.

915 6A22

Mobwson, F.
188
9
,

10 colored plates of costume.

391M68
The Stage and
its Stars,

^" Colored plates.

Paul, Howard.
Present.
critical

AttomjThomaSf Character and Costume in Turkey _ and Italy, n.d. R914.96A44

10 lithographic plates of

Past and

Turkish costume

about the

gallery of dramatic illustration

biographies of
actors,

and distinguished English and

of Shakespeare

Amids, E.
Tilton.

de.

Constantinople.
"

Tr.

by Caroline
914.96A51

American
till

from the time

1887.

to-day.

2 V.

1878. " " 9 ostume male ]- PP- 104-05;

t

Turkish women," pp.

and over 400 portraits

Scott,

128 photogravure portraits and scenes from steel plates in the text. Useful for costume.

Bell, G. L.

The Desert and

the Sown.

1907.

Clement.
1899.
A i Anton.

Drama

of

2 V.
o
-ji

Yesterday and To-day. 792S42

T\T Modern
j

Colored frontispiece, by Sargent, of Bedouins and half-tones of the different races of Palestine.

915.6B43 many

Illustrations of actors in costume.

Scidl,

-MT Music

of the

*v.

-nr

\\ orld.

o 2 v.

Copping, Harold.
\ A
.

roncj,*

series of Pictures

colored and half-tone plates of singers and operatic characters in costume.

Many

descriptive

The Gospel in the Old Testament. TT ^ by Harold Copping. With 1908. letterpress by J H. C. G. Moule. REF. 221C78
.

oione, Muicent.

ifT

fTM,

Children. Has 52

1913.

-j r< T> t Ihe T> rSankside Costume .Book for 391S87

i
i

24 illustrations in

color.

Costume of Turkey.

1802.
engravings,
-

R391C842.
with descriptions

illustrations for representing historical especially those of Shakespeare

plays,

m
.

I"trated with

colored

En S ksh and French

Dupre, L.

Voyage a Athenes

et a Constantinople.

TIBET
Crosby, 0. T.

1825.

REF.

Colored plates of costumes of Constantinople, with text

Thibet and Turkestan.

1905.

915.8C94
Several of the half-tone plates show costume.

Toilette in Egerton, M. M., Countess of Wilton. Palestine and Syria. (In her Book of Costume.

Landor, A. H. Savage-. Tibet and Nepal, Painted 915L26 and Described. 1905.
Over 30 colored plates show costumes
of Tibet

1847.

pp. 465-75.)
in

REF. 391W75
Wallachia,
etc.

and Nepal.

-Toilette

Turkey,

(In

her

Slurring,
See
"

C.

A.
"

Western Tibet and the British

1906.
in Index.

Book

of Costume.

1847.

pp. 374^87.)

Borderland.
Dress

915.1S55

Many half-tones in text show

in Miniature.

ccs-

Eyrits, J. B. B.
et

Shoberl, F.

The World

India beyond the Ganges.

12 colored plates of costumes.

1827.

Tibet and R915.1S559

La Turquie, OU, Costumes, Moeurs, Usages des Turcs. (In his L'Angleterre. n.d.) REF. F391E98
Illustrated

by colored

plates.

Ferrario,

Giulio.

Costume des Peuples de

his

1'Asie

Mineure.

(In

Costume.
of

1815-29.

Asie.

TROUBADOURS
Rowbotham, J.
Love.
1895.

v. 3.

pp. 263-348.)
copperplates
inor

REF. 391F37
costumes of Phrygia, Troy, Armenia> and other ancient
'

Colored

F.

Troubadours and Courts of 914.2R87

7 outline cuts

PontU?

Dress of the troubadours," pp. 108-70. of troubadour and minstrel costume.

Hamdl
l

_
>

Sman

>

^'

*** Costumes Populates de

a Turquie en 1873.

Smith,

J.H.

Troubadours at Home.
See a ' S
ciTts

2 v.

1899.

849S65
in 'index'

^| in Asia.
Howe,

RF391H21

&?ffi
Oriental and Sacred Scenes in Greece,
1856.

""K* wood

Costume

"

o^dfels

Fisher.

Turkey, and Palestine.

915.6H85
6 colored

m J.TJNIS.

bee 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. 28-38.

1827.

Turkey. 6 v. REF. 914.96S55

Women

of the Arabs.

1873.

915.6J58W

male and female,

A few wood-cuts of costumes, Incidental notes on dress. of Palestine.

73 colored engravings, showing about 150 costumes of the Empire.

Singleton, Esther.

Kelman,J.

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,

Turkey and the States of the BalKoppen, kan Peninsula, (in his Armies of Europe. 1890.)
F. von.

Spry,

W.

J. J.

Life

on the Bosphorus.

1895.

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

in

of

Latimer, E.

W.

Russia and Turkey in the 19th

the people and

Century.

1895.

947L35

Several portraits showing Turkish uniforms.

scenery of Turkey; with an explanatory and 1862. REF. 914.96V25 descriptive text.
Folio lithograph plates, showing Turkish and Armenian costumes.

Laurent, P. E.

Recollections of a Classical

through Various Parts of 2 Italy, in 1818 and 1819.

Tour Greece, Turkey, and

v.

Wilkie, Sir David.

1822.

Egypt,
52
girls,

1840 and

Sketches in Turkey, Syria, and 1841. Drawn on stone by

REF. 914L38
4 hand-colored plates.'showing Turkish
etc.

Joseph Nash.

1843.
monotone.

REF. 741W68

women and

folio lithographs, in

TYROL.
Maclean, 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.
v. 1, pt.

(In Ferrario, Giulio.

rope,

Costume de 1'Empire Ottoman. Costume. 1815-29. EuREF. F391F37 3.)

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.
C9lored plates of costumes of the Turkish Empire, including also Sicily, Tripoli, and the Balkan States.

Costume

of Colonial Times.

1894.

391E12

History of Colonial Dress, pp. 3-42; Dictionary of Terms,

pp. 45-264.

Dress of the Colonists.

Colonial Days.
1898.
6 cuts of costumes.

(In her

Home

life

in

Millingen, A. van. Goble. 1906.

Constantinople;

painted

by

pp. 281-99.)

917.3E12

949.6M655
1907.

Colored plates of Turkish costume.

Two
1820.

Centuries of Costume in America, 16202 v.

Monroe, W. S.
Consult
"

Turkey and the Turks.

"
in Index.

1903.

REF. 391E12T
of

949.6M753
Dress
16 half-tones

Many
costume.

half-tone ialf-tone plates and wood-cuts of all 1 kinds List of illustrations, with descriptive not

show costumes.
Eggleston,

Edward.

Household
its

History
1889.

of

the

Neil, James.

Everyday Life

in

the Holy Land.

United States and

1864,

People.

973E29

1913.
Contains colored pictures.

915.6N39

Colored plates of colonial costumes, uniforms of 1776and Confederate uniforms. Many vignettes of costumes, 1492-1880.

Picturesque Representations of the Dress and Manners Illustrated in 60 colored engravings, of the Turks.

Goodwin,
Life
"

M. W.

Colonial Cavalier;
1894.

or,

before the Revolution.

His dress," pp. 75-96.

Southern 917.5G65

with descriptions,

n.d.

REF. 391P61
in Palestine.

few wood-cuts of Colonial

Turks, Albanians, Arabs, and Armenians.

dress.

Rogers,

M.
"

E.

Domestic Life

1863.

Harvey,
1913.

Fred.

First Families

of

the

Southwest.

915.6R72
See

970.6H34

Costume " in Index.

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.

Army
"

of the United States.

1889.
of the

James Madison.
illustrations,

BM182J
Same

REF. 355N42
Army
of the

fashions in Repository.

with 26 colored plates, showing Madison's time. Plates from Ackermann's

plates as in U. S."

U.

S.

army Q.-M. G.

Uniform

McClellan, Elizabeth.

Historic Dress in America,

1607-1800.

and

dress in the Spanish French settlements in Florida and Louisiana.

With chapter on

Rodenbaugh, T. F. From Everglade to Canon with the 2d Dragoons. 1836-75. 1875. 355R68
5 chromo-lithographs of cavalry uniforms, 1836-75, and 4 wood-cuts of French cavalrymen.

904.
cuts.

REF. 391M12
Bibliography.

385 illustrations, colored plates, half-tones, and wood-

Smith, J. H.

Historic Dress- in America, 1800-1870.

Continuation of the above.

1910.

RS91M12H
Includes a bibliography.

Historic Booke, to Keep in remembrance the meeting of the Honourable Artillery Company of London and the Ancient and Honor-

Singleton,

Esther.

Costumes
under

of

Men.

(In

her

able Artillery Boston, 1903.

Company
1903.

of

the Massachusetts,

REF. 358S65

Social

New York

Plates and cuts, showing uniforms of 17th-19th centuries.

the

pp. 171-97.)
6 half-tones of articles of dress.

1902. Georges. 917.471SG1

Uniforms of the Army of the United States. (In Standard Dictionary. Sup. 1903. p. 2187.)

Dress of

Women.

(In

Same.

pp. 201-56.)

REF. 423F98Su
Colored plates, showing 27 uniforms of 1903.

917.471S61
Several half-tones of apparel.

Wharton, A.
1902.

II.

Social Life in the Early Republic.

390W55S
many
half-tone
portraits,

United States Army. Quartermaster-general. Uniform of the Army of the United States, 1882.
1882.
Lithographed plates of uniforms.

Colored frontispiece, and 1790-1850.

of

REF. 355U58
Several cuts of details.

UNITED STATES.
Archibald, J. F. L.

MILITARY AND NAVAL COSTUME

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. Uniforms and Corps Devices of the Engineer Corps. (In his Steam Navy of the 359B47S United States. 1896. pp. 713-31.)
Private Soldier under Washington.
1902.

United States Marine Corps. Uniform Regulations. Together with uniform regulations common to

both U.

S.

Navy and Marine

Corps.

1913.

R355U58Mu
United
States.

Bolton, C. K.

973.3B69

Navy Depi.
enlisted

Uniforms, pp. 89-104, and double half-tone plates showing uniforms and plate showing hunting shirt.

ing the uniform of

officers,

commissioned

Regulations governofficers, warrant

and

men

of the

Navy

of the

Eggleston,

Edward.

Household
its

History
1889.

of

the

United States.

1886.

REF. 355U58N

United States and

People.

973E29

54 lithographed plates of uniforms.

T Wagner, A. L. L nited States Army and Navy, from the era of the Revolution to the close of

2 colored plates of U. S. uniforms, 1776-1865, and 1 colored plate of Confederate uniforms, with several vignettes of uniforms.

Logan, J. A.

Volunteer Soldier of America.

1887.

355 L83
Colored frontispiece, and several wood-cuts of uniforms.

the Spanish-American war.

1899.

REF.

355W13OU

Lithographs of military a;.d naval uniforms, 1776-1899.

McClellan, Elizabeth. Uniforms in America, 17751904. 1800. (In her Historic dress in America.
pp. 340-77.)
Half-tones of Continental uniforms of

Walton,

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 manv other etchings and photogravures of military and naval

Armies of To-day.

1893.

pp. 1-55.)

355M57

4 cuts of uniforms of the period.

Page One Hundred Eighty-two

Zogbaum, R. F. Across Country with a Cavalry Column. And, With the Bluecoats on the Border. (In his Horse, Foot, and Dragoons. 1888. 355Z85 pp. 100-170.)
.?5

BIBLIOGRAPHY
See also

ENGLAND
Set;

WEAPONS.

ARMOR

plates

and cuts

of

uniforms of the period.

WEST
VENICE.
See ITALY

INDIES
Painted by

WALES
Bradley, A. G.

Henderson, John. The West Indies. A. S. Forrest. 1905.

About 30
Jamaica.
of the colored plates

917.29H49
chiefly cf

show costume,

Wales.
son.

Highways and Byways in North Illustrated by J. Pennell and H. Thom914.29B81

his Friends.

Paton,

W. A.

Down

the Islands.
text.

1898.

Frequent references in
costumes.

Several illustraticrj

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.,

Wales.
190-91.)

Countess of Wilton. (In her Book of costume.

Toilette in

ZANZIBAR
Lyne, R. N.
1905.
2 half-tone plates of costume.

1847.

pp.

Zanzibar

in

Rhys, John.

Welsh People.
p. 251;

1900.

REF. 391 W75 942.9R47

^
.

Contemporary Times. 967L98

an Arabian Princess.

Dress [ancient],

[modern], 565-70.

Trevelyan,
acter.
See
"

Glimpses of Welsh Life and Char1893. 914.29T81

Costume " and
"

M.

Rente,

Emily.

Memoirs

of

Tr.

Dress

"

L. Strachey. 1907. Female fashions of Zanzibar, pp. 85-91.

by

BR921S
6 plates of Zan-

in Index.

zibar Arabs.

ARTISTS

WHOSE WORK HAS BEARING ON PERIOD FABRICS OR COSTUME

ARTISTS WHOSE WORK HAS BEARING ON PERIOD FABRICS OR COSTUME

Greek and

Roman

Sculpture.

Mosaic. Emperor Justinian and his

(See University Prints, Students' Series A.) suite. Byzantine, 6th century, at Ravenna.

San
ca. (circa)

Vitale.

= about.

fl.

= flourished.
and P. Follower of (School
of Padua). of Siena)

Italian Painting
fl.

Lorenzetti, A.

1323-1348-^. 1305-1348.

Ambrogio da Predis (School

1506.

of Milan),

fl.

1482-

Mantegna, A. (School
Maratti, C.

1431-1506.

1625-1713.
(Florentine School.) 1520-1578.

Bartolommeo Veneto (Venetian

1555.

School),

fl.

1505-

Masolino.

1384-ca. 1435.

Moroni, G. B.

Bissolo, F. (Venetian School).

Bassano, L. da P. (Venetian School). 1557-1622. 1464-1528.

1444-1510.

Palma Vecchio.

Venetian SchcoL

1480-1528.

Parmigianino (School of Parma).

1504-1540.

Botticelli, S. (Florentine School).

Bronzino, A. (Florentine School), ca. 1502-1572. ca. 1436Butinone, B. J. (School of Milan),

1507.

Perugino, P. (Umbrian School). 1446-1523. 1367-1446. Pesello, G. (Florentine School).

Piero di Cosimo (Florentine School). 1462-1521. Pinturicchio. B. (Umbrian School). 1454-1513.
Pisanello.
ca.

Calisto Piazza

da Lodi (School

of Brescia),

fl.

1397-1455.
1562-ca. 1588.
of Brescia),
ca.

1521-1562.
Carnevale, Fra (School of 15th century.

Pulzone, S.

ca.

Umbria and
ca.

Perugia).

Romanino, G. (School

1485-1566.

Rotari, P. dei, 1707^ca. 1762.

Carpaccio, V. (Venetian School), 1525.

1455-

ca.

Sellajo, J. del (Florentine School),

Signorelli,

ca.

1441-1493.

Luca (Umbro-Florentine School).

II

1441-

Cimabue
Conti,

(Florentine School),

ca.

1240-1302.
of

1523.
fl.

Bernardino de'

(School

Milan),

Sodoma,
Spinello,

(School of Vercelli).

ca.

1477-1549.

1490-?
Cossa, F. (School of Ferrara).
Crivelli, C.
ca. ca.

1435-1480.
1430-ca. 1493.
School),
ca.

G. (Florentine School). 1387-1452. Stefano da Zevio (School of Verona), ca. 13931477-1576.

(Venetian School),

1451.

Dcmenico Veneziano
1410-1461.

(Florentine

Titian (Venetian School). 1511-1574. Vasari, G.

Duccio

di

Buoninsegna (School

of Siena),

ca.

1260-1320.
Ghirlandajo, D. and pupils (Florentine School). 1452-1525.

1528-1588. Veronese, P. (Venetian School). 143.5-1488. Verrocchio, A. (Florentine School).

Vivarini, A.

(Venetian School), Zuccaro, F. ca. 1543-1609.

fl.

1444-1470.

Giotto and pupils (Florentine School).

1266-1337.
ca.

Masters dei Cassoni.

Painting, Byzantine School. Painting, Florentine School.
Painting, Italian School. North Italian School.

Giovanni di Paolo (School

1482.

of Siena),

1403-

Giovanni di Piamonte. fl. 15th century. Giovenone, G. (School of Vercelli). ca.

1555.

14901400-

Painting,

Painting,
fl.

Umbrian

School.

Jacobello del Fiore (Venetian School), 1439.

Painting, Venetian School. Painting, Venetian School.

16th century. 16th century.

Page One Hundred Eighty-six

Dutch Pairing

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.

Cuyp, J. G. 1575-1649. Dou, G. 1613-1675.

Hals, F., the elder.
Heist, B.

Goes, H. van der. P-1482. Heere, L. de. 1534-1584.

Isenbrant, A.

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. Master of the Legend of St. Lucy. Master of the St. Ursula Legend.
15th century. 15th century.

1494-1533.

Janssen, P.
Ketel, C.

2d half

Joest von Calcar, J.

1460-1519

1546-1616.

Keyser, T. de.

1596-1667 (1679?).

Memlinc, H. (Memling). Moro, A. 1512-1576.

ca. 1430(?)-1494.

Mesdach, S. 1st half 17th century. Metsu, G. 1630-1667.

Mierevelt,

Pourbus, F., the elder. 1541-1581 Pourbus, F., the younger. 1570-1622.
.

Molenaer,

J.

M. J. M.

1567-1641.
P-1688.

Pourbus, P., the younger. 1510-1584. Roymerswale, M. van. 1497-1567.

Moreelse, P.

1571-1638.
1474-1556.

Mostaert, J.

Rubens, P. P. 1577-1640. Somer, Paul van. 1570-1621.

Vos, C. de, the elder.

Mytens, D., the elder. 1590-1658. Palamadesz, A. 1601-1673. Ravesteyn, A. van. 17th century.
Santvoort, D. D.
Steen, J.
ca.

1585-1651. 1400-1464.

Weyden,

R.,

van

der.

1610-1680.

16th century. 15th century. Painting, Flemish, of Brussels.

Painting, Flemish.

1626-1679.
1617-1681.

Ter Borch, G.
Troost, C.

German Painting
Bruyn, B., the
elder.

1697-1750. 1589-1662.

1493-1655.

Venne, A. van der.

Vermeer van

Delft, J.

1632-1675.

Verspronck, J. C. 1597-1662. 1576-1624. Voort, C. van der.

Wilt, T.

van

der.

1659-1733.

Painting, Dutch.

Painting, Dutch.

14th century. 15th century. 16th century. 17th century.

Painting Dutch.
Painting, Dutch.

Bruyn, B., the younger, ca. 1530-ca. 1610. Cranach, L., the elder. 1472-1553. Dunwegge, H. and V. 1520-? Master of the Life of the Virgin, fl. ca. 1460-1480. Master of St. Bartholomew, ca. 1490-1510. Master of St. Severin. P-1515. Multscher, H. ca. 1440-1467. Neufchatel, N. ca. 1527-1590.
Pacher,

M.

1430-1498.

Flemish Painting
Bles,

Pleydenwurff. 1450-1494. Ratgeb, J. 16th century.

H.

de.

1480-1550.

Blyenberch, A. 1566-1625. P-1548. Bouts, A.

Bouts, D.

Ring, L. Roos, T.
Scheits,

ca.

1521-1583.

1638-1698.
1640-1700.

M.

1410-1475.

Seisenegger, J.

1505-1567.

Campin, R., 1375-1444. Champaigne, P. van. 1602-1674.

Claeissens, P., the elder.

1500-1576.

Wolgemut, M. 1434-1519. 15th century. Painting, German. 16th century. Painting, German.
Spanish Painting
Carreno, J. de M. 1614-1685. Coello, A. S. 1513(?)-1590. Gonzalez, B. 1564-1627.

Cleve, J. van, the elder, ca. 1485-1540.

Coffermans, M. fl. 1549-1575. Cristus, P. 1400(?)-1473. David, G. 1450-1523.

Dyck, A. van.

1599-1641.

LIST OF ARTISTS
Goya y
Lucientes, F. J. de.

Page One Hundred Eighty-seven

1746-1828.
Quesnel, Francois, ca. 1544-1619. Renoir, Firmin Auguste. 1841Rigaud, Hyacinthe. 1659-1743.
Rioult, Louis Edouard.

Liano, F. de.

1556-1625.

Pantoja de

la

Cruz,

J.

1551-1609.

1599-1660. Velasquez. Vermejo, B. fl. ca. 1490.

1780-1855.

Zurbaran, F. de.
Painting, Spanish.
Painting, Spanish. Painting, Spanish.

1598-1662.

Thevenot, Arthur Frangois. Tocque, Louis. 1696-1772.

Vestier, Antoine.

19th century.

15th century. 16th century. 17th century.

1451.

1740-1824. 1684-1721.

Watteau, Jean Antoine.

Painting, French.

Painting, Hispano-Flemish.

Russian Painting
Ritt, A.

15th century. 15th century. Painting, French, of Amiens. 16th centuryc Painting, French, of Amiens.

1766-1799.

English Painting.

French Painting

Beechey, Sir
Closterman,

W.
J.

1753-1839. 1656-1713.

Bourdichon,

J.

1457-1521.
1500-1572.

Clouet, Francois.

Corvus,

J.

16th century.
1726-1770.

?-ca. 1574. Corneille de Lyon. Coypel, C. A. 1694-1752.

Cotes, F.

David, L.

1748-1825.

Gainsborough, T. 1727-1788. Hogarth, W. 1697-1764.

Drouais, F. H. 1727-1775. Dumont, J. 1701-1781.

Hoppner,
Jervas, C.

J.

1758-1810.

1675-1739.

Fantin-Latour.

1836-1904.

Lawrence, Sir Thomas.

(Irish Pnt.) 1769-1830.

Favray, A. C. de.

1706-1789.
1415-ca. 1480.

Raeburn, Sir Henry.

1756-1823.

Fouquet,

J.
J.

ca.

Ramsay,

Allan.

1713-1784.

Fragonard,

H.

1732-1806.

Froment, N.

15th century. Gandara, A. de la. 1862-. Gerard, F. P. S. 1770-1837.

Reynolds, Sir Joshua. 1723-1792. Richardson, J., the elder. 1665-1745.

Romney, G.
Sharpies,
J.,

1734-1802.

the elder,
1815-1874.

ca.

1750-1811.

Greuze,

J.

B.

1725-1805.

Talfourd, F.

Hilaire, J. B.

18th-lSth century.
1745-1811.

Ward, E. M.

1816-1879. 15th century.

Huet,

J.

B.

Painting, English.
Painting, English.

Ingres, J. A.

D.
de.

1780-1867.
1656-1746.

16th century.

Lancret, N.
Largilliere,

1690-1743.

N.

American Painting
Badger, Joseph. 1708-1765. Blackburn, J. B. 1700-1760. Copley, J. S. 1737-1815.

La Tour, M.
1842.

Q. de.

1704-1788.
Vigee.

Le Brun, (Mme.) Elisabeth Louise

1834-? Lefebvre, Jules Joseph. 1756-1830. Lefevre, Robert.
Liotard, Jean Etienne.

1755-

Feke,R.

1724-1769.
J.

Frothingham,

1786-1864.

1702-1789.

Loo, C. A. van.

1705-1765. 1833-1883.

Greenwood, J. 1729-1792. inman, H. 1801-1846.

Jarvis, J.

Manet.

Edouard.

W.

1780-1834.
B.

Mares, Pierre. 15th century. Master of Moulins. 15th century.

Nattier, Jean Marc.

Morse,
Pratt,

S. F.

1791-1872.

Osgood, C.

1685-1766. 1695-1736.

M.

18th-19th century. 1734-1805.

Oudry, P. 16th century. Pater, Jean Baptiste Joseph.

Perreal, Jean.
fl.

Smybert, J. 1684-1751. 1755-1828. Stuart, G.

Sully, T.

Pesne, Antoine.

1483(?)-1528. 1683-1757.

1783-1872.
J.

Trumbull,

1756-1843.

Prud'hon, Pierre Paul.

1758-182?

Waldo,

S. L.

1783-1861.

tesy of h'arper's Bazar.

From a

colored cover design

by

Brunelleschi.

INDEX

INDEX
Accessories, 6

Beardsley, Aubrey, 42

Acropolis, 103

Action, 10

Beardsley, Aubrey, illustration, 54 Beer, 6

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 Binary colors, 61
Birch, 16

Advertisement, magazine illustrated, 46 Age, Golden, 103

Age

of Pericles, 103

Air brush, illustration, 35 Alfred the Great, 106

Bliaud, 108

Blocking

in,

10

Analogous harmony, 62 Anatomy, Preface, 13, 23

Boots, musketeer, 116

Box

plaits,

38

Animal arrangement, illustrated, 94 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

Braie, 110
Bristol board, kid finish, 43
Bristol board, plate,

43

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
59

Bustle, 123

A very,
Back

Claire, 54,

Buttons, illustration, 5 Byzantine influence, 107

Background, 65 view, form

Balance, 65

illustrated, 1, 2, 3,

Callot, Soeurs, 6

Carlyle, 45

Balance, of figure, 22
Barbier, George, 42, 54, 72

Catalogue, ink work, illustrated, 46

Barry, Countess du, 87, 117 Basquine, 113

Batchelder, Ernest A., 30
Baviere, de Isabeau, 95

Catalogue page, illustrated, 30, 31, 35 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,

INDEX
Color, theory, 63
Color, tone, tint, shade, hue, 63 Color, value, 66
Color,

King

of

England, 86, 116

Charles VI, 95 Charles X, 121, 122 Charles the Simple, 95

Chart, color, 65-66

warm, 63

Color, water, 9 Color, with wash, 50

Colors, tertiary, 63

Checks, illustrated, 41, 42 Chemise, 108

Cheruet, 6
Chicing, 10, 13
Chiffon, 37 Chiffon, illustrated, 9

Compass, 36 Complementary colors, 63 Complementary harmony, 65 Composition, 30, 52, 53

Composition, reference books, 30 Construction, head illustrated, 17
Construction of figure illustrated, 15 Construction, toothpick, 22
Consulate, 121

Children, 59
Children, illustrated, 13, 16

Children, lay-out illustrated, 41 Children, proportions, 16 Children, proportions illustrated, 17

Consulate fashions, illustrated, 120

Convention, 121
Coptic design, 91 Copying, 10, 37
Corset, illustrated, 39
Corsets, 114, 120, 122

Chinese influence, 97 Chinese ornament, 98 Chinese white, 37 Chiton, Doric, 103

Chiton, Greek, 103 Chiton, Ionic, 103

Costume, Consulate, 120

Costume Design, Preface

Costume, Directoire, illustrated, 119 Costume, Egyptian, 101-102 Costume Egyptian, illustrated, 101-102 Costume, Costume, Costume, Costume, Costume, Costume, Costume, Costume, Costume,
18th century, illustrated, 117, 118, 119
First Empire, illustrated, 120
Gallic, illustrated, 105

Chlamys, Greek, 103 Circle, construction, 36

Classic Period, Greek, 103
Clifford, Period Furnishings, 96

Cloak, Egyptian illustrated, 102 Cloaks, Egyptian, 101

Colbert, 97, 98
Collar, flat, 116

Gallo-Roman, illustrated, 105 Greek, 103-104

Homeric, 103
illustration, Preface

Cold

color,

63

Collection, documents, 36 Collection, swipe ,36

Color, 61-71 Color, applying, 9, 70-71

Louis XIV, illustrated, 115 Louis XV, illustrated, 117, 118

Color, binary, 63

Costume, Louis XVI, illustrated, 119 Costume, Louis XVIII, illustrated, 121 Costume, Costume, Costume, Costume,
Louis Philippe, illustrated, 121 masculine, British or English, 120 Minoan or Mycenaean, 103
Pre-Hellenic, 103

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, 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 Crayon, pencil, 48, 50, 51, 124
Crepe, illustrated, 5 Cromwell, Oliver, 116

Page One Hundred Ninety-three

Dress, Consulate, 120
Dress, 18th century, 117-121 Dress, 18th century illustrated, 117, 118, 119

Cromwellian period, 86 Crown, red, 102

Dress, Egyptian, 92, 101, 102 Dress, llth century, 108 Dress, First Empire illustrated, 120 Dress, 14th and 15th centuries illustrated, 110 Dress, 15th century, 111 Dress, Greek, 92 Dress, Louis

Crown, white, 102

Crusades, 95, 108

Dancing

Egyptian, 102 Dark Ages, Egyptian, 101 David, Jacques Louis, 87

girls,

XIV,

illustrated,

115
118

Dress, Louis
Dress, Louis

XV,
XVI,

illustrated, 117,
illustrated,

119

Decorative detail illustrated, 44, 45 Decorative fashion work illustrated, 44, 45 Decorative half-tone, 56 Decorative pen and ink, 40 Decorative pen and ink, illustrated, 53 Decorative treatment, 38

Dress, Louis XVIII, illustrated, 121 Dress, Louis Philippe, illustrated, 121
Dress, 19th century, 121

Dress, parti-colored 93, 109, 110, Dress, Restoration illustrated, 121 Dress,

Roman,

93, 104, 105

Department

store advertising, 39

Dress, Romantic Period, illustrated, 121 Dress, second Empire, illustrated, 122 Dress, 16th century, 113, 114 Dress, 17th century, 116 Dress, 12th century, 108 Dress, 13th and 14th centuries, 110 Dress, Watteau, illustrated, 117

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 Designers, 6
Detail, decorative, illustrated, 44, 45
Detail, illustrated, 42
Details, 5-6
of,

65

Drian, illustration, Frontispiece 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
study of hands, 19

Diirer, Albert,

Directoire and

Empire

design, 98

Diirer, Albrecht, 38

Directoire costume, illustrated, 119

Directoire period, 97

Diirer, Albrecht, illustration, 85

Directorate, 87

Duval, Preface Dyes, ancient, 92

Early fabrics and designs, 91 Early Renaissance costume, illustrated, 112 East India Company, 97
East, influence
of, 91,

Directory, 121, 122

Documents, 36, 86 Documents, use illustrated, 37-38 Dominant harmony, 62

Doric chiton, 103

93

Dotted materials, 37 Double complementary harmony, 65

Doublet, 114

Eastern character, 97 Eastern design, 91 Editorial, magazine, 56

Editorial, magazine, illustrated, 44, 45

Dow, Arthur,
Drapery, 38

30, 52,

63

Editorial,

magazine

color, illustrated,

62

Drapery, illustrated, 85 Drawing, without models, 13-23 Drecoll, 6 Dress and History, 3d to llth Century, 106-107

Editorial, newspaper, 46

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 Eleventh century costume, illustrated, 107 Eleventh century dress, 108
Elizabeth,

INDEX
Fontanges, Mile, de, 97, 116 Fourteenth century dress, 110 Fifteenth century, reference books, 111 Fourteenth and fifteenth century, dress illustrating, 110

Formal arrangement, Forms, 1-3 Forrester, Fern, 54

Francis, 6

illustrated, 94

Francis Francis

I, I,

95

King

of France, 113

Queen

of

Elizabethan

collar,

England, 97, 113 86

36

Elizabethan era, 85
Ellipse, constructing, Ellipse, construction illustrated,

Fragonard, 86 Franks, 107 Front view, form illustrated, Fur, 38

1, 2, 3,

Furs, decorative illustrated, 45

37

Furs, realistic method illustrated, 47

Emblems, Egyptian, 102

Embroidery,
illustrated,

42

Embroidery, wash work, 38

Empire, 88, 122 Empire costume, 98

Gallic

Gainsborough, 86 costume illustrated, 105

Gallo-Roman costume
Gathers, 38

illustrated,

105

Empire,

1st,

123

Empire, 2d, 122 Empire style, 87

Enlarging, illustrated, 29
Erte\ 42, 47, 54
Erte", illustrations, 44,

Gathers, illustration, 5 Gauls, costume, 105, 106

Gauls, history and dress, 105, 106 Gauls, reference books. 10(5

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

Faces, 16-18

Globes, Egyptian, 102 Gloves, 107 Gold thread, use of, 95

Fans, 116
Feathers, realistic treatment, illustrated, 47

Golden Age, 103

Gorget, illustrated, 83 Gothic architecture, 84

Feature cut illustrated, 50 Feet, 19

Fichu, 107 Fifteenth century, 84, 85 Fifteenth century dress, 111
Fifteenth century dress, illustrated, 110 Fifteent century reference books, 111
Figure, 13-23

Gothic tapestry, illustrated, 84 Greek Classic Period, 103

Figured material, illustrated, 5 First Empire, 123

First

Empire fashions

illustrated,

120

Flowered, material, illustrated, 5 Flowered materials, 37

Greek Greek Greek Greek Greek Greek Greek Greek Greek

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

Fontange headdress, 116 Fontange headdress,

illustrated,

Green, Elizabeth Shippen, 16 Greenaway, Kate, 16, 87

115

Greenaway, Kate, style

illustrated,

87

INDEX
Hair, 18

Page One Hundred Ninety-five

Homeric costume, 103 Hoop, 117
references.

Hair, illustration, 18
Half-tone, see

Wash

Horizontal

lines,

65

Handkerchiefs, 107

Houppelande, 96, 110

Hands, Frontispiece, 8, 19 Hands, illustration, 7, 18, 19, 20 Harmonies, 62-63 Harmonies of difference, 65 Harmonies of likeness, 62

Houppelande, Hue, 61

illustrated, 84,

110

Harmony, 65
Hat, design illustrated, 75 Hats, 6 Hats, designing, 78, 79
Hats, illustration,
8, 24,

Imagination, 77 " Impossibles," costume illustrated, 119 " Incroyables," costume illustrated, 119 " " merverilleuses' Incroyables," "unimagineables," and "impossibles," 121

79

Indian lawns, 122 Indian shawl, 98

Individuality, 43, 45, 52 Influences in design, 91

Hatton, Richard G., Preface

Head, 13, 14 Head, illustrated, 17 Heads, 16, 17 Heads, children, 16

Headdress, Fontange, 116 Headdress, Fontanges, illustrated, 115 Headdress, hennens, 110 Headdress, horned, 83 Heading, illustrated, 54

Ink, 42
Intensity, laws governing, 65

Interregnum, 116 Ionic chiton, 103

Italian 14th century

costume

illustrated,

93

Jabot, 116 Jackets, 123

Headings, 42

Hem,

illustrated,

27
illustrated,

Jacobean, 97 James I, 86

Hennin, headdress, Hennins, 110 Henry II, 97

110

James James

I,

II,

King of England, 114 King of England, 116

Henry VIII, 85 Henry VIII, King

Heraldic forms, 95

Japanese prints, 44, 47 Jeanne d'Arc, 96

Josephine, 121

of England, 111

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, Roman, 104
History, 3d to llth century, 106
History, llth century, 107-108 History, 12th century, 108 History, 13th and 14th centuries, 108-110 History, 15th century, 110-111 History, 16th century, 111-113
History, 17th century, 114-116 History, 18th century, 117

Lace, illustrated, 42
Laces, 37-38

La

Valliere, Louise,

97

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 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

Lord, Harriet, 34
Lotus, Egyptian, 102 Louis Philippe, 121, 122

Mosaic, Byzantine, 6th century, 131 Moyen age, 83

Munsell, A. H., 61

Louis Philippe costume illustrated, 121 Louis XI, 95 Louis XIII, King of France, 116 Louis XIV, 117 Louis

Museum, Cooper Union, Coptic designs, 92 Museum, Metropolitan, as a source of design

trated, 76

illus

XIV, King

of France, 86, 96, 97, 116

illustrated, 115

Museum, Metropolitan, Coptic room, 92 Museum, Metropolitan, period dolls, 88

Louis
Louis Louis

XIV

costume

Museum

Metropolitan, tapestry from, 84

XV, 87, 97, 98, 117 XV, costume illustrated,

Musketeer boots, 116

117, 118

Muslins, 122

Louis XVI, 87, 97, 98, 117, 120 Louis XVI, costume illustrated, 118, 119 Louis XVI, period of, 98
Louis

Mycenaean costume, 103

Napoleon, 87, 98

XVDI,

121, 122

Napoleon Bonaparte, 121

Napoleon, Louis, 122 Napoleon III, 121, 122 Nattier, 86
Neilson,

Louis XVIII, costume illustrated, 121

Lutz, E. G., Preface, 8

Magazine, advertising, 57

Kay, 42

Magazine, advertising illustrated, 53 Magazine, editorial, 56

Magazine, editorial illustrated, 62 Magazine, pattern drawing, 57 Main tenon, Madame de, 97, 116
Mantles, 118 Margins, 6

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, 98
strips,

color, 61

Marie Antionette, Marie Antionette, Marie Louise, 121

98

Ogival forms, 94

Marshall, Preface Martial and Armand, 6

Materials, black, 37 Materials, color, 65, 70, 71 Materials, for crayon pencil work, 51
Materials, wash, 48

Old Kingdom, Egyptian, 101 One mode harmony, 62

Openings, 4
Oriental characteristics, 97

Oval, construction, 13, 14

Paenula,

Roman, 104

McQuin,

47, 54

Paintings, having bearing on costume, 131-133

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 Paper, frisket, 32 Paper, graphite, 32 Paquin, 6

Parasol, illustrated, 38

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, Method, textile designing, 54-59 Monochromatic harmony, 62
Montespan,
40, 46

Parsons, Frank Alvah, 30 Parti-colored costume, 110

Parti-colored costume illustrated, 109 Parti-colored dress, 95

Madame

de, 97, 116

INDEX
Parti-colored dress illustrated, 93

Page One Hundred Ninety-seven

Problem, 45 Puritans, 86
Quaker, 86

Pattern drawing, magazine, 57 Pattern drawing, newspaper, 39 Pattern work, magazine illustrated, 50 Pattern work, newspaper illustrated, 48

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

illustrated,

40

Raeburn, 86 Red, crown, 102

Reducing, illustrated, 29 Reference books, Egyptian, 102 Reference books, Gauls, 106
Reference books, 3d to llth century, 107 Reference books, llth century, 108
Reference books, 12th century, 108 Reference books, 13th, 14th, and 15th centuries, 111 Reference books, 17th century, 116 Reference books, 18th century, 116, 123 Reference books, 19th century, 123 Regency, 117
Religious orders. 84

ink, black material illustrated, 40 ink, catalogues, 40

ink, catalogue illustrated,

52
53

ink, decorative,
ink, decorative ink, illustrated, ink, ink, ink,

40

work

illustrated,

46 magazine advertising illustrated, 53 magazine work, 39-47 pattern work illustrated, 40, 52

Pen, ruling, 36 Pens, 43

Pencil crayon, 48
Pencil, crayon, 50, 51

Rembrandt, 79
Renaissance, 85, 97 Renaissance costume, late, illustrated, 113, 114 Renaissance, early, costume illustrated, 112

Peplum, 116
Period fabric design, 91-98
Period,

how

influenced, silhouette, 83-88

Periods in designing, 77, 78 Periods, painting as references, 131-133 Persian verdure, 96 Personal characteristics, 75
Personality, 79
Pericles, age of, 103

Reproduction, two color process, 68, 69 Republic, French, 122 Restoration, 122
Restoration, costume illustrated, 121

Reta Sanger,

illustrations, 13, 43,

62

Perneb, 101
Petit Trianon, 120

Revolution, French, 98, 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 38

Pleats,

Watteau, 118
de, 87, 98,

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
117

105, 106

Poiret, Paul, 6

Pompadour, Marchioness

Romantic Romantic

period, 122

period,

costume

illustrated, 121

Pompadour stripes, 98 Poor, Henry A., 30

Pre-Hellenic costume, 103

Romney, 86
Ross board, 31 Ross board, illustrated, 33

Premet, 4 Priests, 102

Primaries, colors, 61 Primitive design, 91

Royal gardens, 97
Rubens.. 86
Ruff, 114

Running,

illustrated,

22

Page One Hundred Ninety-eight

Saint Catherine, betrothal Scale, in design, 79
Scale of color, 61
Scroll motif, illustrated, 94
of,

INDEX
Spotting, 53

95

Squares, ruled, 32

Standing illustrated, 22 Steinmetz, 55

Steinmetz, E. Stipple, 34
Stitching, 38 Stitching, illustration, 5

Sculpture, Greek and Roman, 131 Second Empire costumes, illustrated, 122
Senger, Reta, 13, 43, 54, 64

M.

G., illustration, 56, 60

Stipple, illustrated, 34

Seventeenth century, 86 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

37

41 Stripes, illustrated, 5,
Stripes,
Stripes,

Shawl, Paisley, 98 Shawls, 123

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, 37, 38 Symbols, Egyptian, 102

Syrian weavers, 93
Tapestries, Gothic, 83, 84 Theatrical illustration, 6

Silhouette, 34-36 Silhouette, fashion, 83 Silhouette, half-tone, illustrated, 43

Silhouette, illustrated, 36, 87 Silhouette, period illustrated, 86

Silhouette, value of, 83

Silks, oriental,

Silver print,

122 32

Theory, color, 63 Third to eleventh century dress, 106, 107 Thirteenth and fourteenth century costume
trated, 109

illus-

Sixteenth century, 85-86 Sixteenth century costume illustrated, 111, 112 Sixteenth century costume reference books, 111
Sixteenth century dress, 113, 114 Sixteenth and seventeenth centuries, 97 Sketch, dressmaker's, 9 Sketch, manufacturer's, 9 Sketching, 10 Sketching, for manufacturer Sketching, garment, Sketching, life, 7
,

Thirteenth century dress, 110 Thirteenth century reference books, 11

Techn que catalogue

:

illustrated, 30, 31, 35, 41

42,

47, 51, 52,

58

Technique, color, 9
Technique, crayon pencil, 50 Technique, crayon pencil illustrated, Technique, decorating, 40
7, 59,

124

-5

Technique, decorative, illustrated, 44, 45, 53 Technique, decorative half-tone illustrated, 56 Technique, Technique,
detail,

37-38
42

Sketching, memory, 4 Slashed costumes, 113, 114

Sleeves, 88

detail, illustrated,

Smith, Jessie Wilcox, 16 Soulie, 54, 124

Spatter work, 31,32

Technique, mechanical, see Ben Day, Air Brush, Silver Print, Ross Board, etc. Technique, pattern pen and ink, 40

Technique, pen and ink, 38-41

Technique, pencil, 3

Spatte
Split

work, illustrated, 33
54

Technique,

realistic, illustrated, 35, 42, 47,

51

complementary harmony, 65
suit,

Sport

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

colors, 71

Tertiary colors, 61 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 Trianon, Petit, 120

47

layout illustrated, 41 materials, 48

Trimmings, 37 Trimmings, illustrated, 5

methods, 49-50 pattern, 47

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 Weeks, illustrated, 3 White, Chinese, 37 White, crown, 102 William IV, 121 William the Conqueror, 107

Underwear,

illustrated, 52,

64

Valliere, Mile,

de

la,

116

Value, 62 Value, color, 66

Values, 52

Wimple,

illustrated,

83
102

Vanderpoel, illustration, 20, 21

Women, Egyptian,

94 17

D 000

191 794

UNIVERSITY

of

CALIFORNIA