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 THE WILEY TECHNICAL SERIES
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 M

Drawing by Drian Frontispiece Courtesy of Harper's Be

COSTUME DESIGN
AND ILLUSTRATION

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

FIRST EDITION

NEwYoRK 1918
JOHN WILEY & SONS, Inc.
CHAPMAN & HALL, LIMITED LONDON
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 are not always looked
upon as distinctly different branches of what is termed fashion work,
but in truth there is a marked difference between them.

<Q
In the former, one must consider the judging of color, and all that this
ftj
includes by way of harmonies, contrasts, areas, etc.; the relation of spaces;

(T) 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
0^ of the purpose of the costume and its suitability to the wearer.

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

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

may not be perfect. Drawing from the nude is of great advantage to

the student, and no serious costume illustrator should be without this
valuable training.

There are some books which may help the ambitious student in the life
class to observe and impress on the mind fundamental facts which it is
believed most life-class teachers will agree in thinking extremely useful.
Among these are Dunlop's Anatomical Diagrams, Figure 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 PAGE

I. SKETCHING 1

II. DRAWING WITHOUT MODELS . . . . 13

III. METHODS 27

IV. COLOR 63

V. DESIGN 75

VI. THE FASHION SILHOUETTE ..... 83

VII. PERIOD FABRIC DESIGN 91

VIII. OUTLINE OF HISTORIC COSTUME ... 99

IX. BIBLIOGRAPHY .127

X. A READING AND REFERENCE LIST OF

COSTUME, ARRANGED ALPHABETIC-
ALLY 137

XI. ARTISTS WHOSE WORK HAS BEARING

ON PERIOD FABRICS OR COSTUME 185 .

XII. INDEX . 199

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

FIG. 1. First steps in constructing a dress form.

store windows, this should be constructed present-day silhouette the connecting lines
to enhance the good lines of the
garment. should be but slightly curved.
Care must be taken, however, never to Next, extend the two lines for the
confuse this with the human figure, the sleeves, add the collar and put in the
structure of which isentirely different. centre line, which, in the front, follows
The simplest way of obtaining this the outside line of the waist and goes
form is by drawing two ovals. First, straight in the skirt. See Fig. 2. (Of
make a straight line for the shoulders, course, the proportions differ according
then swing an oval, somewhat foreshort- to fashion; i.e., the normal waist would
ened, from the shoulder line, to repre- go but twice into the short skirt of the
sent the waist. Next, swung another summer of 1916.) It is interesting to
more elongated oval, from near the end- note how the reverse of this straight line

ing points of the first oval, having the and curve forms the back. In making the
farthest part out always opposite the back, connect the ovals in the same man-
Page Two SKETCHING
ner, but note that the centre line goes the straight full front view, because of
straight in the waist and curves in the the advantage of showing the side of the
skirt. See Fig. 3. dress as well as the front. An examina-
The waist and collar lines curve up. tion of fashion publications will prove
The normal waist goes into the skirt about how general is this preference.

FIG. 2. FIG. 3. FIG. 4.

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
may soon be mastered, and the practice
of doingthem rapidly and turning them
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
waist goes into the instep length skirt
about two and a half times.
In the front view remember that the
centre line follows the outside line in

both ways makes for proficiency. See the waist and goes straight in the skirt,

Pig. 4. Observe that three-quarter front that in the back the centre line goes
and back views are used in preference to straight in the waist and curves in the
SKETCHING A GARMENT Page Three

skirt. (The centre line is the centre of have the centre line of your sketch cor-
the actual figure, not of the sketch.) respond with the centre line of the gar-
The collar and waist lines curve up in ment. You will find the proper observa-
the back and down in the front. The tion of the centre line an infallible guide
bottom of the skirt describes a circle; in giving you the proper relation of the
therefore, like the sketch to the gar-
waist and collar, A ) ment.
the line curves, but *: Next observe
always downward. the large, impor-
The shoulder lines tant facts such as
should be made to length of sleeves,
slant as much as length of coat, the
the silhouette re- long, important
quires. lines and be par-
For this work ticular to put in
use an H.B. pencil, the seams; but
Eberhard Faber, leave details such
Ruby or Emerald as embroidery,
eraser, and emery lace, tucks, plaits,
board pad. The gathers, etc., until
point of the pencil the last. See Figs.
should be kept 5, 6, and 7.

very sharp by con- After the lengths

tinually pointing it of the sleeves,
on the pad. From waist, coat, etc.,
the start great at- are determined,
tention should be you must strive for
paid to a clean-cut skill in keeping
and beautiful line your pencil line
and to the proper clean and sharp.
placement of the FIG. 5. Pencil sketch of a suit
This gives the
sketch on the much-desired, well
*'
paper. Greek Law," page 27.
See under pressed newness to the garment. To
3. Sketching a Garment. After the keep this effect, beware of too rounded
form is mastered up to this point, the curves. After the sketch is finished,
next step is the sketching of a garment some accents should be put in, in
on the foundation drawn. If possible, have places where shadows would naturally be;
as a model a simple dress or suit on a this gives added interest to sketches.

coat-hanger, or preferably a dressmaker's From the first, observe and work for

form; then find the centre line of the texture. Notice how delicate, light lines
garment and see that, in sketching it express thin material better than heavy,
on the oval form first constructed, you hard ones. After ability of this kind is
Page Four SKETCHING
acquired, the next step is to work for series, is absolutely necessary in fashion
speed. Garments in shop windows give work. It is helpful, first for your own
excellent opportunity for sketching when convenience when 'you see things you
the student is trying to acquire speed. wish to remember, or when you wish to
4. Sketching from Memory. Training explain things seen to some one else, next,
the memory in in gathering ideas

sketching is also to adapt to your

most important. A own designs, and
good way to do again, in doing
this is to sketch sketching for news-
from memory papers or maga-
what has been zines.Designers
drawn from ths for manufacturers
garment the day find it a great
before. Another boon to be able to
good way is to sketch in their ex-
observe a dress ploring trips in the
either a shopin shops and along
window or on a Fifth Avenue.
person, and then, Sketching for
without again manufacturers is
looking to aid the done for two pur-
memory, to try to poses: To give
put on paper all 1hem the latest
you remember. It French models
is well
this sketch by
to

comparing it with
verify
\V from the "Open-
ings" from which
to make exact
the garment, to copies or some-
find out how much thing adapted to
you have forgotten their special trade
and where you needs, and to give
have made mis- FIG. 6. Preliminary pencil sketch of a gown.
them an inventory
takes. To be able of their own stock
to sketch from memory is a truly valu- for their reference and convenience.
able asset in costume work. So much Sketching for dressmakers is a little

can be carried away in one's mind from
"Openings" and places where sketching
is not possible.
5. Sketching from Garments. A knowl-
edge of the proper way to sketch gar-
ments such as gowns, hats, and acces-
line of fashion all its own. The sketches
for 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 dress-
form under- makers' sketches
neath, with are done on
sometimes a figures express-
little color ingsome action
added in the and illustrating
background to the presumed
throw the effect of the
sketch out. gown on the
Sometimes they wearer. See
are still more Figs. 13 and 14.
finished though When sketch-
without heads, FIG. es are being
Page Six SKETCHING
done for embroideries, an additional small on the color. The usual method is to put
detail drawing should be made of the in the shadows first, the light big washes
embroidery at the side of the paper. Tex- next, and the detail last. Clear color is
tures and colors should always be noted used as a rule but opaque or tempera is
on the sketch as well as details, such often used in small areas combined with
as the number of buttons, the clear color sketch;
etc., in order that there sometimes opaque paints
may be no confusion when are substituted. (See Page
making the finished sketch 9 and description under
at home or in your studio. Color, page 68.) Pen-and-
A convenient size for ink outlines are often used
rough sketches is six and for these sketches and kid
one-half inches. Practical bristol or illustration board
sizes for finished dress- is considered the best kind
makers' sketches are from of paper.
ten to twelve inches when 6. Hats. Much of what
heads are included; with- has just been stated ap-
out heads, six and one- plies also in sketching
half or seven inches. hats. Care should be
Wide margins lend dis- taken to express the most
tinction. characteristic side of the
Some of the well known hat; in other words, catch
French designers are Paul its "feature." Be careful
Poiret, Cheruet, Beer, not to lose the relation
Callot Sceurs, Paquin, of the crown of the hat
Martial and Armand, to the head. When pos-
Francis and Drecoll. Al- sible, it is best to have
ways note the designer's some one pose for you to
name on your sketch as insure the right angles.
well as the texture, color, See Fig. 12.
and detail. The name of Before going into this
the design always en- further, consult Section
hances the value of a 15, page 17.
sketch. Always place By William Gebhardt Theatrical designs and
FIG. 9. Theatrical design.
these sketches on the sketches are carried out in
paper according to the Greek Law, i.e., the manner of the other sketches of
most margin at the bottom of the paper. hats and dresses, but a greater liberty
When making a finished sketch of this in the way of eccentricity and exaggera-
kind, a pretty pose should be chosta, tion is permitted. See Fig. 9.
and this should be thought out and 7. Accessories. In connection with
practically finished in pencil; then draw sketching, the student would do well to
in the garment carefully before putting pay attention to accessories such as col-
SKETCHING FROM LIFE Page Seven

lars, sleeves and on the paper, and

shoes. It tends to where it is to end,
much greater facility leaving good mar-
on the part of the gins (more at the
student to arrange bottom than top),
these according to and block in between
the Greek Law of these spaces. After-
proportion, page wards make sketches
27. For sugges- from memory of the
tions see Fig. 11 pose you have been
on this page. studying.
8. Sketching from When doing rapid
Life. Sketch ing sketching to catch
from life is strongly the action of a figure
f .
f
advised; drawing in motion, indicate
from the nude is of the position of the
great advantage head, hands, and feet
when done with un- Courtesy of Gerhard Mennen Co and fill in the rest.
In all FIG. 10. Crayon drawing. Excellent practice is
derstanding.
sketching and draw- obtained in doing
ing it is advisable to five, seven, ten, and
block in, or in other minute poses
fifteen

words, sketch with from the nude or

light lines the general draped model.
proportions, using These quick sketches
tentative or trial often afford good
lines and "feeling action poses that can
for" the form. See be carried out and
Figs. 15, 16, 18, and used to great advan-
19. tage. See Figs. 40 and
Never complete 41. This sketching
one part before will be most helpful
another part is in assisting the stu-

thought out; never dent to obtain a pro-

fix your attention fessional touch and
on the outline, but an individual style.
rather on general More and more
proportion, or the stress is being laid
result will be un- on the well-drawn
happy. See Fig. 17. figure underlying the
Decide where your fashion drawing and
drawing is to begin FIG. 11. Shoes drawn by Elfrida Johnson. too much emphasis
Page Eight SKETCHING
cannot be put on the value of drawing "When drawing from life, it is a good
this figure with understanding and appre- plan to put yourself, iri the same pose as
ciation. Great care should be given the the model; that is, imitate as well as
study of hands you can, the ac-

and feet, as these tion, the disposi-

play an impor- tion of the limbs,
tant and telling and the pose of
part in fashion the head. This
work. See Front- mimicry it will

ispiece and Figs. only be that some-

10, 27, and 28. times, as you will
The student is find that different
advised to make persons have dif-
copies, by way of ferent ways of
study, from the
carrying them-
hands in Vander-
and you
selves,
poel's Human Fig- can perhaps only
ure and then to
make studies approximate the
from life. It is pose of the model
will give you a
important in this
work to observe better understand-
from which side ing of the pose
the light is com- and impress itself
ing. (See Figs. on you mentally
28 and 29.) and further the
It is practical work of pictur-
to make the life ing it.

studies in a loose, "Note how,

artistic manner, when the hips
in charcoal, chalk, slant one way,
etc.,and after- the shoulders, to
wards to draw counterbalance,
from this sketch incline the other
another figure, way; and the head
copying the pose again to preserve
Courtesy of N.Y. Globe
and keeping the FIG. 12. An example of hat illustration.
the balance, tilts
action, but refin- away from the
ing it slightly, to make an attractive fashion falling shoulder. This applies to the
drawing on w hich to put the dress from
r
greater part of poses. Sometimes, though,
one's costume sketch See Figs. 40 and 4 1
. . models deviate from the general." This
Lutz, in his book entitled Practical is valuable advice to observe in your
Drawing, wisely says: work.
SKETCHING FROM LIFE Page Nine

Figs. 13 and 14 show two treatments of in clearwater color. The tempera paint
the same kind of sketch. Fig. 13 is done is put on in one flat tone and allowed to
in a realistic way, in Fig. 14 the conven- dry the other colors are then put on over
;

tional method is used. In Fig. 13 light this The opaque paint has the advantage

Courtesy of Henry Block.

FIG. 13. Complete dressmaker's sketch done in trans- FIG. 14. A dressmaker's or manufacturer's sketch
parent water color. in tempera colors.

and shade have been considered while in of being able to be worked over. It is best
Fig. 14 these have been eliminated. to avoid shading, and to keep to flat tones.
Fig. 13 has been done in transparent In this sketch the folds are indicated with
water color, Fig. 14 is done in tempera, strong pencil lines; this same line effect can
an opaque or body color, except the chif- be done with lighter or darker values of
fon, flesh tones, and hair, which are done the tempera used for the garment.*
*
With flat transparent washes, pencil lines often are used most effectively in making a colored sketch.
Page Ten SKETCHING

Courtesy of the Prang Co. Courtesy of the Prang Co.

PIG. 15. First stage of sketch of dog. Pic. 16. Second stage of sketch of dog.

The illustrations on r
centrating on any
this page show one of one part in detail; re-
the most important membering never to
things to be considered one part before
finish
j

in all kinds of draw- the other parts are

j
\
ing, whether it be from j thought out. Fig. 17
life, from memory, |
shows the danger of
chicing, or even copy- your attention
'

fixing
ing, and that is get- on the outline. It is
ting the general pro- :
cJ~' always advisable to
portion and action of Courtesy of the Prang Co. block in. (See Figs.
FIG. 17. Incorrect way to start a sketch.
the whole, before con- 15 and 18.)

Courtesy of the Prang Co. Courtesy of the Prang Co.

FIG. 18. -First stage of sketch of boy. FIG. 19. Sketch of boy completed.
DRAWING WITHOUT MODELS
CHAPTER TWO
CHAPTER TWO DRAWING WITHOUT MODELS
9. To Set Up a Well-proportioned Fig- using one inch as the unit of measure.
ure. It is best to understand how to set This gives the height of the figure. Mark
up a well-proportioned nude figure "out each of these divisions with a dot. The
of one's head" or chicing a figure as it is figure is divided into four important sec-
sometimes See Fig. 21. To con-
called. tions; the head, torso, arms, and legs.
struct this figure find the centre of the To keep the drawing as simple as possible
paper, through which run a vertical line. we will have to start, in some detail,
The head is the unit most useful in meas- with the head, it being our unit of measure.

Drawn 6j/ Reta Senger. Courtesy of Good Housekeeping.

FIG. 20. Editorial featuring infants' wear.

uring the human figure, and in this To construct the oval which will be
instance, we will use it, making it, for used for the head, mark off the first inch
convenience' sake, one inch long. (The and divide this one inch vertical line into
dimensions we are using will vary slightly three equal parts. At a point just a
from those given in most anatomies, be- little below the first third just established,
cause we are
constructing figure a to draw a light horizontal line of indefinite
use in fashion work, where slimness is length and mark off on it a distance
the chief requirement.) Mark off on this equal to a little less than two-thirds of
line seven and one-half heads, in this the one-inch vertical line and so spaced
case seven and one-half inches, as we are that the vertical line exactly bisects the
Page Fourteen DRAWING WITHOUT MODELS
horizontal line. Construct an oval on this intersects the curved line of the neck is

plan. where the neck on the shoulders.

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

with arcs curving slightly towards each one third each shoulder. With these meas-
other, thus giving proper expression to urements established, block in the figure
the neck. and features.
10. The Torso. Three-quarters of the 13. Other Positions of Head and
length of the head gives the width of each Figure. The diagram of a woman's fig-
shoulder and of each hip. Cut the dis- ure on page 72 of Dunlop's Anatomical
tance between the chin and the pit of the Diagrams will be found helpful to the
neck in half by a dot placed on the centre student, at first, in blocking in the figure.
line. Connect this point with the point After the proportions are well under-
made in marking the width of the stood, the figure and head may be turned
shoulders. The point where this line in other positions; for this the "tooth-
THE FIGURE Page Fifteen

PIT OF ARM ONE-THIRD WIDTH

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

SHOULDER LINE oa PIT OF NECK

ONE-THIRD HEAD BELOW CHIN

BREAST LINE

WAIST LINE ONE-HALF WAT BE-

TWEEN 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 is ONE-HALF WAY

BETWEEN HIP LINE AND SOLES
OF FEET

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.

pick figures" (see page 22) make a ities on the human body in the world,
good foundation, helping to make simple says a child grows as follows:
the foreshortening then necessary. For First, in breadth and height from birth

suggestions for turning the head in dif- to the end of the fourth year.
ferent positions, see Fig. 23. Second, in height from the fourth to
Children's Proportions. The chart
14. the beginning of the eighth year.
shown in Fig. 24 illustrates the propor- Third, in breadth from the eighth to
tions found in various stages of devel- the tenth year.
opment. In infancy, or at the age of Fourth, in height from the tenth to
about six months, the head measures about the fifteenth year, when the youth gets
four times into the height; at four years, lanky, thin and angular; this is the period
the head measures about five and one- when the hands and feet look too big.
fourth times into the height; at seven, Growth then continues to manhood or
approximately six and one-half times; at womanhood.
ten years, about six and three-quarter In drawing children, great care should be
times; at fifteen, about seven times; and taken to keep their legs, at the slim period,
in the adult from seven and a half to long and slender. Care must be taken not
eight times. Children's heads, therefore, to make them developed, which detracts
it should be noted, are larger in propor- from their childlike charm and makes
tion than those of the adult, the eyes are them look In studying children,
vulgar.
wider apart, the nose shorter, and the look at good illustrations by Kate Greena-
lips somewhat fuller. See Fig. 22, also way, Jessie Willcox - Smith, Elizabeth
Fig. 24 and Figs. 20, 94 and 95. Shippen Green, Birch, and Helen Dryden.*
Professor C. H. Stratz of The Hague, 15. Heads and Faces. The general
Holland, who is one of the greatest author- shape of the head is that of an oval
* " " "
See Happy All Day Through," illustrated by Janet Laura Scott, and also Figure Drawing for Children by
Caroline Hunt Rirumer.
HEADS AND FACES Page Seventeen

FIG. 23. Showing construction lines that help in drawing heads.

with the greatest width at the top; ob- of the nose is halfway between the eye-
serve this, too, in side, three-quarter and brows and chin. See Fig. 23. The eye-
back views of the head. The eyes are brows are on a level with the top of the
in the centre of the head, and the end ear, and the lower end of the ear on a

Courtesy o] Home Pattern Co.

Year 4 Years 7 Years 10 Years 15 Years Maturity
FIG. 24. Proportion of figure at different ages.
Page Eighteen DRAWING WITHOUT MODELS
level with the nostrils. This forms a rubbed out except the nostrils, but they
never-changing axis on which the head will appear more correctly placed than

turns up and down. when put in with-

Note how the fea- out this foundation
tures are located O thought. See Fig.
in these changes, 25.
and how the fore- In drawing the
shortening is sim- mouth, think first
plified by means of of a Cupid's bow,
this method. In the string of which
drawing heads al- is broken in the

ways use the centre centre; then sug-

and other construc- gest the lower lip,
tion lines. shade the upper
When the head lip, which is always
is turned up, we darkest as the
see more chin and lower catches the
less forehead; when light, and you
turned down, more have the mouth.
forehead and less Never make a hard
chin. The eyes are / line around the
one eye apart, and lips,as it destroys
the lower lip ends the flesh-like qual-
at about half the distance ity. See Fig. 25.
between the nose and In making the eye, al-
chin. A triangle is helpful ways hold the pupil in by
in dividing the face into the line of the lid. Block
planes, and great care in the head, ears, hands,
should be taken not to and everything before
ignore the cheek, jaw and putting in the detail.
chin bones. Observe that Hair should be expressed
the cheek bones come in waves of light and dark,
slightly below the eyes, not by single lines (unless
the jawbone slightly below you are making a deco-
the mouth. rative, unrealistic draw-
In drawing the nose it ing). Never draw a
is helpful to think of a clean-cut line between the
little round knob; from faceand forehead, because
which extend the nostrils, the hair in many places
sketch in the sides, and blends in with the tone of
FIG.
extend a line suggestive of the face. See Fig. 26
the planes. Afterwards everything can be and observe other drawings that show hair.
HANDS AND FEET Page Nineteen

16. Hands and Feet. The next step high, using the Greek Law of arrange-
should be a careful study of the hands ment. It is well to use real shoes and
and feet. The drawing of these is sim- slippers for models, but study also well-
plified by looking for the large masses drawn examples to see how they are usu-
first and blocking them in. See Figs. 27, ally rendered. Notice how the inside of
10, and 28. For the foot is straight-
example, in draw- er than the outside

ing the hand, deter- line, which has

mine the relation of some curve. Ob-
the length of the serve also tow
fingers to the palm, much shorter the
and where the line of the inside
thumb comes in of the shoe is than
relation to the the outside line,

fingers. All knowl- which extends

edge gained by nearer the heel.
study or observa- See Figs. 25 and
tion from life will 11. Note that the

help in drawing or inside ankle is

chicing them. Van- higher than the
derpoel's Human outside ankle.
Figure, mentioned It is -well to ob-
before, has some servewhat is ap-
splendid illustra- propriateand to
tions of both hands select shoes of
and feet that the different character.
student would find There are shoes for
it helpful to study. shopping, for after-
One good way of noon, for evening,
studying them is FIG. 27. Study of hands by Albert Diirer. f r travel, and
to make careful for sport. You
drawings from these plates, and after- must .select the right shoe for the right
wards to try to making your own draw- dress. The footwear must be in keeping

ings first from life and then from with the costume; not afternoon shoes
imagination. See Figs. 28 and 29. or evening slippers with a sport suit. It
Shoes are extremely important in fashion is usually best to have evening slippers
work, and should likewise receive the match the gown and hosiery unless you
careful attention of the student. A good use a patent leather pump.
way to group five or seven pairs of
is

shoes, including sport shoes and slippers,

in different positions on a sheet of bristol In these days we cannot make the
board about 11 inches wide by 14 inches skirt cover up bad drawing of the feet
Page Twenty DRAWING WITHOUT MODELS

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 DRAWING WITHOUT MODELS
and shoes. No longer can it be said of Leaping is best shown in the same
Dame Fashion that manner as running (limbs ready for the
"
Her feet beneath her petticoat next effort), but with the
Like little mice steal in and out, feet off the ground as in
As if they fear the light." See Fig. 31.
jumping.
17. The Human Form Jumping is best shown
Reduced to its Simplest with the feet off the ground
Elements. Relative propor- but gathered together to
tions and helps to express preserve poise and ready to
action can perhaps best be alight safely. See Fig. 31.
acquired by observing the FIG. 30.
A stick stands when
following facts in connection Walki ng. Running. balanced on one end and also
with toothpick when supported
figures : on each side as
The trunk, shown in Fig. 31.
thigh, and leg are The body may
each about one- be bent at the
third the
length hips so as to bring
of the body with- the head over
out the head and either foot and
neck, though the maintain an up-
trunk is a trifle FIG. 31. right position un-
the longest. The Leaping. Jumping. Standing. til the weight of

trunk is about the body is bent

twice the length beyond the line
of the head and of support, when
neck. The elbow itmust come to
reaches to about the ground as
the waist and the shown in Fig. 32.
hand half way -
Kneeling fig-
FIG. 32. Illustrating balance.
down the thigh. ures, leaning
Walking is best de- back, make it necessary
scribedon paper when that support be given
both feet are on the behind as shown by the
ground, though in reality vertical dotted line in
the greater part of the Fig. 33.
time the body rests on The student should
one foot. See Fig. 30. notice that a straight line
Running is best shown FIG. 33. Illustrating balance
extending from the neck
when one foot is on the to the floor comes just
ground, though in reality much of the time between the feet when the weight is

both feet are off the ground. See Fig. 30. evenly distributed on both legs. When
THE HUMAN FORM Page Twenty-three

FIGS. 34 and 35. FIGS. 36 and 37.

Toothpick construction applied to fashion drawing.

the weight is on one leg, the plumb line figure on these foundations to acquire
begins at the pit of the neck (viewed from action. See Fig. 34.
the front) and extends to the ankle of the In Fig. 36 is shown a seated figure;
supporting leg. On the other hand, when the stool is the principal part of support,
the figure is in action, the plumb line though the foot is extended to receive the
from the neck falls between the legs, pro- weight of the body. Fig. 37 is this con-
viding a proper balance; when this bal- struction applied.
ance is destroyed, the figure either has to Figs. 34, 35, 36 and 37 are given as
be leaning against something or it falls to illustrations the use of the toothpick
of
the ground. See Figs. 32 and 33. After construction in giving action to the human
studying these, it is well to build the form.
 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 METHODS
18. The Greek Law. In the sixteenth These same proportions may be prac-
century, in the days of the Renaissance in tically applied in clothing to tucks, hems,
Italy, Leonardo da Vinci with other artists etc., as illustrated in Fig. 39. Suppose a
worked out, through study of classic art, line is drawn six inches long to repre-
an ideal proportion which is commonly sent a muslin skirt. Divide by the Greek
known as the Greek
Law. Instead of
using exact me-
chanical measure-
ments, such as
the half, third,
fourth, etc., so
easily measured
in inches and
easily grasped by
the mind, this law
supplies the idea of a consistent variety, so In Advertising Its Principles and Prac-
fundamental in all artistic things, stimulat- tices,published by The Ronald Press Co.,
ing the imagination and lending interest to the following statement is made:
the object. Thus, if an oblong is divided "This Greek Law of proportion is some-

horizontally in half, the equal areas will times crudely stated as the ratio of
be found both mechanical and uninterest- 5 to 7 to 11. This is somewhere near
ing, see (a), Fig. 38. On the other hand, correct, and perhaps near enough to
if the difference in areas is great, as in work with. In applying this ratio to

(6), Fig. 38, the sizes are too incomparable the margins of a page it will clearly be
to be satisfactory. In (c), Fig. 38, the seen that the widest margin, or 11, should
oblong has been divided into thirds and appear at the bottom, the next widest,
then into halves, and a point found some- or at the top, and 5, the narrowest,
7,
where between one-third and one-half, alike on either side in all vertical com-
through which to draw a horizontal, shown positions of space. In horizontal com-
by the heavy line. It will be seen that the positions the widest margin should still
relation of the areas above and below this appear at the bottom, the middle size
line toeach other are neither mechanical at the right and the left, and the nar-
nor monotonous, but subtle and interesting. rowest at the top. This is so that the
Hem Muslin Tucks

r
HH-H-
FIG. 39.
Page Twenty-eight METHODS
general form of the display within the different enough to interest because of
composition shall preserve the same ratio their unlikeness, satisfy us.
as is found in the enclosing space itself. (4) Spaces are most pleasing together,
"Not only should the Greek Law of when one is between one-half and two-

areas be applied to margins, but also, thirds the length or space of the other.
when possible with- This gives quite a
out interfering with difference in size for
the meaning of the individual treat-
copy, it should ment, but avoids in-
apply to the width harmonious lengths
and strength of the or sizes placed to-
various parts or gether. In other
paragraphs of the words, when two
copy within the lines are in
good
space. When it is relation to each
possible to do this, other, the shorter
the effect is
doubly line isbetween one-
pleasing. There is half and two-thirds
also often a chance the length of the
to apply these pro- longer line.

portions to the The Greek law

blank space between may be applied to
different parts of the margins of draw-
the copy display. ing papers as well
When it is possible as to folds and coat
to do so, this has an Drawn by Esther Wegman. lengths. The best
added value. Not FIG. 40. Quick sketch from FIG. 41. Costume sketch
arrangement of
life. made from quick sketch.
enough attention is margins for a vertical
paid to the relative widths of these blank lay-out is to have the greatest width at
spaces. Blank space is often more eloquent the lower edge, the next at the top, and the
than copy." smallest at the sides; while for a horizontal
Summarizing the above briefly, it is page the widest margin should still appear
to be noted that : at the bottom, the second size at the sides,
(1) Mechanical divisions are in- and the narrowest at the top. This is
artistic. to preserve a like relation with the en-
(2) Sizes too unrelated, such as a very closed space.
large size and a very small one, fail to Design is selection and arrangement,
satisfy, as the mind does not see any and from the start of any work the details
relationship in things that emphasize each which make for good design should be
other's difference. kept in mind. If it is school work, even

(3) Areas or near enough alike to

sizes the name and the lesson should form part
be easily compared by the eye and yet of the plan. Observe how the enclosing
LAY-OUTS AND REDUCTIONS Page Twenty-nine

form determines the shape within. The the printed page is given to the artist
nearer one comes to the structural edge, (for example eight inches high by seven
the more nearly the and one-quarter inches
lines should conform to wide) and the number
it. Avoid lines that lead of figures to be put in
to corners, lines that that space (say five
lead to the centre, and figures). The artist's
lines that tend to be- work is to compose
come tangents. The these figures in the
lines of the background most attractive group
or setting should be or groups.
lessintense than those The first step is to
forming the object enlarge the dimensions
shown against them. to a convenient work-
The larger the area the ing size. In doing this,
less intense the color the original proportions
should be; the smaller must be kept. The en-
the area the more larging is done by means
. . i FIG. 42. Enlarging and reducing. Rectangles , ,
.
rn ,
intense the color may f
having the same fin( as a common diagonal are in
of a drawing board, T-
be. In order to have two proportion.
square, ruler and
or more shapes hold together for unity, triangle. A detailed statement of the
the space between must be less than the process, using the dimensions just given
smallest of these shapes. is as follows:

For illustration, the Draw a horizontal

paths of a garden should line, say two inches
be smaller than the di- from the top of the
visions of the garden paper, straight across,
shapes. using the T-square, the
19. Lay-outs and Re- head of which is held
ductions. Lay-out is against the left edge
the technical name of the drawing board.

given to the composi- Next measure in, let us

tion of a catalogue say, two inches from the
page, and the drawing left side of the paper,
of the figures which and draw the vertical

go on it. It is also ap- line against the edge

plied to the grouping of of a triangle, the base
any objects to be put of which rests against
FIG. 43. The rough lay-out.
in a certain given space, the upper edge of the
whether for magazines, booklets or news- T-square blade. At the left-hand upper
papers. The height and width of the corner, measure seven and one-quarter
space which the lay-out is to occupy on inches to the right and eight inches down
Page Thirty METHODS
with the ruler, using the triangle to per- interesting effect is obtained. See Fig.
fectlycomplete this little rectangle; then 45, the original size of which was 12|
draw a diagonal and determine the height inches wide by 17f high,
desired for working out the lay-out and Each line bounding the lay-out should
extend a horizontal line wherever this be touched by some part of some figure.
horizontal touches The better the lay-
the diagonal, erect out artist the less

a perpendicular and space will be wast-

the dimensions of ed. It will be found
the large and small advisable to give
rectangles will have the centre to the
the same propor- figure with the
tion. See Fig. 42. darkest clothes, as
Catalogue pages this isfound most
often go through agreeable to the
many hands before eye, and also sets
they come out a off the other fig-

technically finished ures to advantage.

product, photo- The law of per-
graphically perfect spective requires
but often stiff, in- that, if there are
artistic and unin- smaller figures,
teresting. There is these should be
often a special nearer the top of
artist who does the page. The
nothing but lay- effect like a
is

outs, grouping the staircase when one

;

figures and plan- stands below, those

ning the page as at the top seem
in Fig. 43; another
John Wanamaker.
smaller than the
Courtesy of
who makes sketches FIG. 44. Conventional Catalogue drawing. The combined people nearer the
work of several artists.
of the garments; foot of the stairs.
another who draws them on the laid-out For the principles of general composition
figures; who puts on the large
another which underlay all design, the student
washes; another who does details such will find it helpful to read Pictorial Com-
as lace and embroidery; another who position, by Henry A. Poor; Principles
finishes the heads; and still another who of Design, by Batchelder; Composition, by
finishes the hands and feet. See Fig. 44; Arthur Dow, and Principles of Advertising
the original of this was twenty-five inches Arrangement by Frank Alvah Parsons.
by seventeen and three-quarter inches. 20. Mechanical Helps and Short Cuts.

When, however, this work is done through- Before taking up ink and wash render-
out by one expert artist, a much more ing, certain mechanical helps and short
MECHANICAL HELPS Page Thirty-one

cuts to results and effects must be con- texture, the smooth white with black
sidered, such as Ben Day rapid shading texture, and the cross-ruled blind with
mediums, Ross Board, spatter, air brush black texture. A knife and pencil are the
and silver prints. Ben Day is a great tools used to obtain effects with this
time-saver, as can be seen from even the paper. See Fig. 48. In the first, the
few samples shown - - stipple effect is ob-
. s-
in Fig. 49 of some tained by rubbing
of the complicated ,
the pencil over the
textiles and half- plain white and
tone effects obtain- the raised surface,
able in the line cut which in this case
or ink drawing. consists of dots.
When Ben Day These catch the
is desired, the lead and a stipple
places where it is effect is the result.
to be used are In the second,
colored with a blue white can be ob-
pencil or blue tained by scraping
water - color wash and
off the surface
and marked with a darker tone by
the number of the rubbing a pencil
texture wanted; on the rough sur-
the engraver with face. Two effects
the Ben Day can be obtained
machine does the with the third ;

rest. See Fig. 49, with the knife, the

and the floor and stipple surface;
hat in Fig. 77, with the pencil,
showing Ben Day the fine check.
stipple. Notice the Black can be put
Courtesy of John Wanamake:
difference between FIG. 45. Catalogue drawing, the work of one artist from on with ink. This
start to finish.
these and Fig. 50, makes possible an
done by hand; observe particularly the even gradation from white to dead black.
greater irregularity of line. When two or Fig. 48. Fig. 46 shows a finished Ross
more printings are made the Ben Day can board drawing.
be put on in color, but this necessitates Spatter work is done with a toothbrush,
two or more plates according to the and makes good flat tone effects for tex-
number of colors used. See Fig. 97 in tures, posters and backgrounds. Cover
which two plates were used. the entire drawing, except the parts to
Ross Board comes in a variety of designs. be spattered, with paper, cutting out these
The three most used kinds are perhaps to make what is practically a stencil
the plain white with raised or embossed (tracing paper fastened down with rubber
Page Thirty-two METHODS
cement is convenient). First, dip the The silver print method is often used
toothbrush in a saucer of ink, hold it for making line cuc or pen drawings of

facing the paper and about three feet shoes. For this purpose a silver print
away, and draw the edge of a penknife photograph is made in a size convenient
or the handle of a pen or brush over the to work over on Clemmon's plain salted
bristles toward IHHHiibe paper and mounted
you, letting the on cardboard to get
spatter fly onto the
a smooth surface
drawing. With a for drawing. Out-
little practice this lines are then care-

can be done very fully traced with

skillfully. See Fig. the usual drawing
47. pens and India-ink,
The texture of doing deep shadows
rough paper often and gradually
first

gives interesting working up to the

effects in the repro- high lights. When
duction of a draw- finished, the silver

ing; for this rea- or photograph

son crayon, pencil, color is bleached
charcoal, and even away by pouring
wash drawings are over it a saturated
sometimes done on solution of bichlo-
what is called a Courtesy of ( ride of mercury.
paper with a FIG. 46. Drawing on Ross Board, reduced f This leaves the
high by 7" wide original.
tooth, such as a pen lines clean and
charcoal or other rough paper. See sharp upon a perfectly white sheet of
Fig. 45. paper. When dry, the result should be
The air brush gives either an even or a compared with the original photograph
varied tone, as desired, and in the doing and touched up where necessary. See
of half-tone shoes it is found very useful. Fig. 52.
It is reallyan atomizer run by pressure, and 21. Tracing. Tracing is often found
by its use a great variety of tone can be necessary and is a time-saver in doing
obtained. See Fig. 55. As in spatter work, repeats, etc. Graphite paper gives a
the surface of the paper to be kept white better line in transferring than carbon
is covered. Frisket paper, which is thin paper.
and transparent, is used for this purpose The pencil should be kept very sharp
and pasted down with rubber cement. when tracing and a hard pencil is good
When the rubber cement is thoroughly dry for doing the transferring through the
it may be rubbed off, leaving a perfectly carbon. Ruled squares are useful to put
clean surface. The effect is photographic under thin paper in doing some kinds of
and mechanical. See Fig. 54. designs.
 Page Thirty-three

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

4o. 333- 9* No. 334- 9 A x I4J4.

1
No. 335. 9J4 x 14%. No. 336. 9 Ax
1
No. 338. 6% x 11.
FIG. 49. Some samples of Ben Day.
Page Thirty-four METHODS

FIG. 50. Stipple work done by hand.

Stipple, which takes a of a head, how much ac-

long time, is done by dots tion, what varying humor,

made with the point of a
pen. When a flat tone
effect is desired, it is often
produced by sets
circlesrunning into each
other. See Fig. 51. If
large dots are required,
will be found convenient
to use a ball -pointed pen.
Artistic and interesting
effects can be obtained in
this manner. See Fig. 50.
22. Silhouette. In do-
may be found in the way
inwhich a head is perched
on a person's shoulders.
of A little boy whom she has
portrayed, Fig. 57, holds
his neck perfectly rigid
it with head raised in the
back and lowered in front.
One can feel the restrained
life in the little chap, the
unusual quality of his
attentive attitude fostered
by some engrossing in-

ing silhouettes the follow- terest outside.

ing statement made by FIG. 51. Detail of stipple.

"There are ever so
Miss Harriet Lord, many things to re-
the silhouette portrait member in making
artist some time ago silhouettes. Certain
in the Tribune, is persons cannot be
helpful commercially, pictured in this posi-
and her
permission tion, for in many
has been secured to persons profile means
quote it: little; it is the eyes

"Perhaps no one or something in the

hasdemonstrated drawing of the full
more clearly than face that is indicative
Miss Lord the im- of the true personality.

portance of the pose FIG. 52. Adams. Many faces are im-
SILHOUETTE Page Thirty-five

mobile and one must look to their eyes for they add character and life to the
for character.They cannot be well sil- drawing.
houetted. Little points must be re- "And then, too," explained Miss Lord,
membered such "one is startled
as in this little how much
to find
girl, Fig. 58. You each line and
see her hair is curve of the face
down her back, means. Nothing
but I have allow- is ignored and a
ed a spot of light slightly upturned
to shine through lip may be
the
to give the out- touch that gives
line in suggestion an unmistakable
of her neck. Not note of character-
to have done this ization to the
would have made cutting or inking."
an awkward line The silhouette

and, more impor- is a very quick

tant, a line that method of gaining
was not satisfac- an effect, being
tory, for it al- merely an outline
most hinted at a 300S7D
sketch, usually
falseness or ap- r
300S69 profile, filled in
Courtesy of John Wanamaker.
parent abnormal- with black ink.
FIG. 53. Catalogue page.
ity. The chair See Figs. 57 and
on which a person is seated must be 58. White is sometimes successfully added
examined, for it must not melt into the as in Fig. 56.

person's figure with puzzling results. Half-tone figures are said to be sil-
And it is well to break in with lights, houetted when the white paper appears

Courtesy of J. J. Staler.

FIG 54 Shoes shaded with air brush. FIG. 55. Effect produced by use of an air brush.
Page Thirty-six METHODS
as the background. A silhouette is a design Ellipse. With a compass measure from
sharply defined; the clear outlines of the A to B, Fig. 59, then put the compass

drawing coming directly against the paper at C and strike a circle as indicated by
on which it is re- the dotted line from
produced. Fig. 69. D to E. Where the
A vignette is a sil- circle intersects the
houette having at horizontal line at D
the base or behind and E, place pins.
the figure, or in See Fig. 60. Also
some part of the at the point C
design of the figure, stretch a thread
a wash that disap- from EtoDaround
pears in a vague C, andtie at C.
shadowy effect. This Remove the pin at
wash is reproduced C, and, holding the
FIG. 56. Black and white silhouette used by the Fulton
only in tone and has Theatre to advertise "The Misleading Lady." pencil perpendic-
no definite line ularly, describe
marking its edges, which end in an indefi- the ellipse shown, see Fig. 60.
nite vagueness (such as the veil ends) 25. Swipe Collections.* Swipe collec-

and the shadow background. See Fig. 63. tions is the commercial and expressive
23. Construction of the Circle. It is term for what most artists call documents,
understood that a circle and this is one of the most important
is made with a compass, items under the list of materials. It con-
and an ink circle usually sists of examples clipped from all sources-
with a ruling pen. In catalogues, booklets, maga-
speaking of pens, we zines and newspapers
might say here that illustrating different tech-
there are many kinds of nique and the expression of
lettering pens, which will numerous textures, plaids,
be found serviceable, stripes, vel-
when such work is re- vets and
quired. Good books on detail of all

lettering are: Writing and kinds. These*

Illuminating and Lettering, are not to
by Edward Johnston, and be used as
the booklet called Book of copies, but
Alphabets, by H. W. Shay- as a teacher,
lor. There are other good showing ways
books on this subject by that have
Lewis F. Day and Frank been used
ofN.Y. Tribune.
Courtesy
Chauteau Brown. with success.
FIG. 57. Silhouette . . Courtesy of N.Y. Tribune.

by Harriet Lord. 24. Constructing an Copying IS FIG. 58, Silhouette by Harriet Lord.
* In
classifyingdocuments 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 Page Thirty-seven

one way of studying, but is advisable alternate square spaces with black. See
only when done with intelligence. See Figs. 67, 68 and 93.
illustration a "swipe," Figs. 61 and
of Dotted and flowered materials should
62, 63 and
showing a case in which one
64, not be expressed in a helter-skelter manner,
drawing suggests the pose for another. but, for satisfactory results, should be
26. Textures. thought out in
In illustrating an orderly way,
black material in using imaginary
pen and ink, con- squares or dia-
sideration must be monds for a foun-

given to whether dation. See Figs.

it is a shiny tex- 7, 8, 68, 69 and 83.
ture with many Chiffons must
high lights, or a keep their trans-
dull black silk or parent quality,
velvet, with little usually expressed
or no shimmer. by a delicate line.
The supporting Chinese white,
FIG. 59.
points usually when used dis-
catch the light, creetly, is often
and it is here that helpful for this
the whites are left purpose.
or put in. The Laces and em-
trimming has to broideries are
be kept light, to carried out either
show the detail. in detail or in
See Figs. 65 and sketchy way, ac-
66. cording to require-
Stripes and ments. When the
plaids are both drawing is needed
done in a manner to advertise a
to give the best particular lace,
expression pos- greater detail
sible to the special must be given
FIG. 60. Constructing an ellipse.
design to be re- than when ad-
presented. Complicated designs often have vertising the pattern of a dress in which
to be greatly simplified for reduction, any kind of lace can be used. See Fig. 72.
and care must be taken to give the gen- When the lace is to be done for repro-
eral effect in the most telling way. See duction in half-tone in other words, when
Fig. 67. Shepherd plaid, when carefully in wash drawing an elaborately worked
in

done, is often made by drawing small out way, i.e., catalogue wash, a dark
cross stripes in pencil, and filling in background is made (for white lace) and
Page Thirty-eight METHODS
the lace is worked out in Chinese white bination of the two being used. See
over this dark ground. See Fig. 68. Fig. 71.
Wash work embroidery To express textures well,
is also done with Chinese the student should cultivate
white, but the background a love and appreciation for
tone according to
differs in them. It is good to handle
the sheerness, while the them, study them, and ob-
solidity of the
pattern is serve them at home, in
indicated by heavier lines shops, in the street, at
on the shadow side. For- plays, inmuseums and in
tunately, even in catalogues pictures, noticing the
of the better character, weight they have, the folds
more is being left to the they make and the lines
imagination, giving a much they take. Still-life studies
less stilted effect. of them are helpful.
Side plaits, box plaits, Very interesting for the
tucks, gathers, etc., are all study of drapery are the
drawn the way they really drawings of Albrecht Diirer.
look in realistic drawings. See Fig. 109. Observe the
See Fig. 7 for decorative supporting points. Of
treatment. They are also course there are many dif-
made simpler, see Figs. 70 ferent methods of treatment
and 71. as, for example, the way
Stitching expressed by
is one would treat a decora-
a straight line or a line of tive drawing as opposed to
dots, though there are sev- how one would treat a real-
eral different ways of istic one. See Figs. 70,
making them. See 71, and 72.

Fig. 7. 27. Pen and Ink.

Fur done in masses
is Pen and ink is a very
of lustrous dark and interesting and much
light with a soft irreg- used medium in fashion
ular edge, avoiding too work. It may be di-

"liney" an effect. The vided into several

treatment, in fact, is headings as, work for
much the same as for newspapers, for maga-
feathers and human zines, and for catalogues.
Courtesy of Gimbel Bros.
hair. See Figs. 26, 74, FIG. 62. The
And
these again may be
adaptation.
and 75. In decorative subdivided into groups.
drawings many different ways of For instance, there is the pen-and-ink
rendering are used, sometimes a line, newspaper proper style. This is paid for

sometimes dots, and sometimes a com- by the newspaper and is often done in a
PEN AND INK Page Thirty-nine

broad, bold way with no particular at-

tention given to seams or texture.
This is also known as editorial, be-
cause under charge of fashion editors.
See Fig. 73.
There is newspaper pattern drawing.

This ispaid for by the pattern com-

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

Courtesy of Gimtxt Brot.

FIG. 64. The adaptation.

partment store, and here seams

are ignored and attention concen-
trated 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 isexpressed in an abstract
way. See Fig. 78.
A good deal of space is often
devoted to the newspaper's own
drawing, while the pattern drawing
is usually given a column or two,

and there is not quite so much

stress laid on the filling of space in
either of these cases as in the de-

partment store work. See Figs. 73

and 77. Ben Day often, and wash
sometimes, are combined with news-

Covrtesy of N. Y. Globe.
paper pen and ink.
FIG. 63. The original An example of vignette. Magazines have the same three
Page Forty METHODS
classes of pen-and-ink drawings and the is because, in the great care used to show
same principles hold true. See Figs. 70, 71, every seam and detail,, much of spontaneity
79, and 83. The is often lost; nev-
magazines, how- ertheless great
ever, are printed improvement in
on superior paper this matter has
and with better ink, been made of late
so that charming by a number of
effects with deli- the pattern
cate washes, houses, as is
which would be shown in the
entirely lost in careful little
newspaper re- drawing of un-
production, can derwear, Fig.
be obtained. See 82, but which
Fig. 81. Ben still seems very
Day is used with stereotype in
great success in comparison to
magazines. See Fig. 97.
Figs. 79 and 97. Decorative,
In the best or more or less
pen-and-ink unrealistic tech-
work for cata- nique, has been
logues and ad- used much more
vertising, care is of late in both
taken, not only newspaper and
to suggest text- magazine edito-
ure and detail, rials and adver-
but to express tising work, but
the general char- it is not often

acterist'cs of the used in pattern

garment and its drawing, be-
special charm. cause of the ex-
A good example actness usually
isgiveninFig.72, required for this
which was used type of work.
for catalogue and Courtesy of Globe. This decora-
FIG. 65. Illustrating dull
also magazine black material. tive work while
'

advertising. so simple and

Pen-and-ink work for pattern catalogues permitting certain uniqueness,
of a
is
usually done in a stiffer way than that requires even a greater knowledge of
done for magazines and newspapers. This drawing to do it successfully than the
PEN AND INK Page Forty-one

Courtesy of Stern Bros.

FIG. t7. Lay-out illustrating methods of rendering, stripes, plaids, checks, etc.
Page Forty-two
METHODS
naturalistic work,
seen in Album
where mistakes Dedie d Tamar
are sometimes Karsavia), Le-
hidden. pape and Erte,
all show the in-
In this decora-
work beauty fluence of Aubrey
tive
of line and in- Beardsley and
should be studied
teresting spotting
is given great by the fashion
artist.See Figs.
consideration.
The effect is ob- 70 and 71.
tained by the Headings and
fewest lines pos-
** * page decorations
and very * are often required
sible,
interesting work *
by the department
* store fashion art-
of type can
this
ist, see Fig. 84,
be found in pen-
and-ink, wash and
color.
of
This style
work was first
***
*****
and here is the
place where good
ideas are at a
made popular by premium. For
this reason, other
Aubrey Beardsley,
see Fig. 85, and people's ideas
the student would *; * should be con-
find it profitable sulted, studied
to see his illustra- and weighed, and
tions of Sir Thomas something plaus-
Mallory's Morte ible and catchy
d' Arthur, Brunel- worked up. The
leschi's illustra- same thing holds
tions ofLa Nuit true of feature
Venetienne, and cuts or, in other
Les Masques et les
words, white
Personnages de la sales, silk sales,
Comedie Italienne,
toys, etc., and
andKayNeilson's these do not want
illustrations of
to be omitted
Powder and Crin-
from the swipe
oline.* The draw-
collection not
ings of George
Barbier (some of
that you are
going to
Copy
which can be FIG. 68. Catalogue detail done by Samuel Cohen.
* Also "
East of the Sun and West of the Moon," a id Fairy Tales by Hans Andersen illustrated by Harry Clarke.
INDIVIDUALITY Page Forty-three

them, but that they may give you an in- straight, even line is desired, satisfactory
spiration. results will be obtained by keeping the
In doing pen and ink the beginner will right arm, from the elbow, resting on the
find Gillott's 170 board and drawing
pen or Gillott's 303 away from you. Do
pen most useful. not get your lines
Because of their too close together.
firmness, it is easier Observe the differ-
at first to gauge ence between a dry,
your line. After- harsh line and one
wards the Gillott's full of variations
290 and 291 pens of color. Practice
will be found very beginning a line
-agreeable to work dark and ending
with because of light and vice versa.
their elasticity. Make your line ex-

Higgins' waterproof press the soft deli-

ink is useful where cacy of skin (see
wash is to be com- Fig. 65), the light-
bined with the pen ness of chiffon or
and ink, but many the heaviness of

people, for general velvet. Make every

use, prefer Higgins' line you put down
non-waterproof and tell or mean some-
French black ink. thing; this requires
Use two- or three- study and applica-
ply Bristol, plate tion. Compare Fig.
(or smooth) finish 82 showing a hard
if for ink alone, kid line with Figs. 20,
finish if washes are 22, 70, 71 and 97,
to be added. Very showing a beautiful
good effects can be one, and be able to
obtained with ink tell the difference
and a brush, see and why.
Figs. 73 and 86. It is understood
A large drawing that a pencil sketch
Drawn by Reta Senger. Courtesy of Good Housekeeping Magazi
board placed at the is made first and
FIG. 69. A silhouetted half-tone drawing.
right angle against that the ink
put is

a table will give better results than the in afterwards. Reproductions in pen and
board flat on the table. Usually speaking, ink are called line cuts.
it is best to work from the top down 28. Individuality. There are great dif-
and from left to right, but when a long, ferences in the make-up of different
Page Forty-four METHODS
people. Some of us seem born with a We cannot declare either of these manners
strong mechanical bias and others with good or bad to the exclusion of the other,
a delicate sensitiveness. In the one case for each of them, and all the gradations

we will tend to draw strong and precise between, have their purpose. The great

Courtesy of Harper's Bazar.

FIG. 70. Erie magazine editorial drawing showing influence of Aubrey Beardsley.

the other to draw lines that are

lines, in thing is to find out the method that is

lightand subtle though by no means to most natural to you and improve that
be confused with the weak and broken to the utmost. Do not be discouraged
lines of inexperience. The distinction is if your forte is the delicate, sketchy line
one that will be noted not only in our and if you do not succeed with the pre-

modern art, but also in old Japanese prints. cise mechanical one. Find the place that
INDIVIDUALITY Page Forty-five

iswaiting for you where your particular Problem. On a one-quarter size sheet
manner is needed. of bristol board, held vertically, plan mar-
Too often those in charge of art de- gins according to the Greek proportions.
partments do not appreciate any kind of Divide the space within the margins into
work except that which they happen to four equal parts. In the upper left-hand
use. Do not let them discourage you, corner draw lightly, with a compass, a
but remember the words of Carlyle, well-related circle; in the upper right-
"The block of granite which is an ob- hand corner draw lightly, free hand, a

Courtesy cf Harper
FIG. 71. Magazine editorial decorative fashion drawings designed by Erte.

stacle in the pathway of the weak be- well-related oval; in the lower left hand
comes a stepping-stone in the pathway of corner another well-related oval; in the
the strong." lower right-hand corner a well-related
One way to cultivate the proper ap- ellipse. Then, with a very sharp pencil,
preciation of beautiful lines is to begin go over these lightly blocked in figures
by drawing the simplest kind of forms. with as beautiful lines as possible. This
This is certainly advantageous in the case problem can then be repeated with the
of children, and a teacher of such a class idea of filling in these spaces with con-
would no doubt find it useful to give out ventionalized designs to be used for belt
such a lesson as this: buckles or other ornaments.
Page Forty-six METHODS

Courtesy of Ellsworth Co. \Courtesy o) Brooklyn Ea&.

FIG. 72. Pen and ink catalogue drawing which FIG. 73. Illustratingnewspaper editorial in which pen and ink
was also used for a magazine advertisement. fashion work is combined with brush work.
WASH Page Forty-seven

The power to make beautiful lines must first

be obtained with the pencil, before the same
result can be attained with ink. It is well to
have the student really know what a good line
is before beginning a
problem of this kind.
For this purpose have examples of different
kinds of good and interesting lines, such as
Japanese prints, some reproductions of good
line drawings by McQuin, Erte, Dryden, 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 mis-
takes of trying to get a hard, inexpressive,
mechanical line is often the result. For that
reason it is well to have drawings made in a

Courtesy of 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
this comparison idea in view.
29. Wash. Wash is a very use-
ful medium for fashion work, espe-

cially where photographic effects are

Courtesy of Stern Bros.
FIG. 74. A fur catalogue page.
desired, as, for instance, in cata-
logues. In newspapers it is not so
often used as in magazines and cata-
logues, because the poorer paper on
which the newspapers are printed does
not tend to successful reproduction.
For magazines, just as there are
ways of using pen and ink,
different
so there are three kinds of wash; the
editorial, the pattern, and the adver-
Page Forty-eight METHODS
tising. These again can be divided into and approaches catalogue work in effect;
different styles of work, as the realistic, the in fact, sometimes the same drawing
and the decorative. Still again, there
sketchy, which has been used in a catalogue is
ispure wash and there is wash combined also used to advertise in the magazines.
with pen and ink or crayon. See Fig. 81.
In the editorial Wash for cata-
type most attention logues is usually very
is given to the at- much finished and
tractiveness of the often done without
picture. See Fig. 89, much addition of pen
done in a decorative and ink. See Fig. 53.
way, and Fig. 90, These drawings are
done in a more re- made with the in-
alistic style. tention of advertising
In the pattern the garments illus-

type most attention trated, and for that

is given to the seams reason great stress
and the way the is laid on the mate-

garments are made, rialsand details.

and less to the ex- Sometimes wash,
pression of any pencil, crayon pencil,
particular kind of and pen and ink are
material; in other all combined in a
words, the textural drawing; for this,
and artistic sides careful reproduction
are subordinated to is required. See
the practical pattern. Fig. 104.
This is done in a The materials
realistic way. See used for wash are
Fig. 91. usually Steinbach or
In wash for adver- Curtis Board (Illus-
tising, attention is tration Board), but
concentrated on for magazine wash,

presenting the kid bristol and some-

Courtesy of Home Pattern Co.
garment to the best FIG. 76.
times even smooth
Newspaper pattern fashions.
advantage, bringing bristol ( when only a
out its best features and its textures. This light flat wash is desired) are used. You
is done in a freer, more artistic manner, will good to have Winsor and
find it
but often is done in a decorative way Newton's Lampblack and four brushes.
except in catalogues. The wash is com- Numbers 3 and 4 and 6 and 7 are suitable.
bined with pen and ink, as in Fig. 92. You should also have a blotter, some rags,
Yet sometimes it is very much finished a sponge for washing off all the color if a
WASH Page Forty-nine

how the small folds often end in a little

hook.
Practice putting darks in with one
brush and blending then off with another.
Get so you know just how much water
you want on your brush to get certain
effects. Always mix enough of the color
which you intend to use as the large wash,
and dip your brush into that instead of into
the water and back into your paint, this
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.

Courtesy of Frederick Loes

-Department store advertising.

mistake is made, and a large white saucer

for mixing black.
Most satisfactory results are obtained
by having your figure and garment very
carefully drawn first, then putting in
your darks or shadows and after these
darks areabsolutely dry, your large
washes. Give very careful study to the
texture and the folds.
It is well, when beginning, to get very

good drawings showing examples of the

materials you are endeavoring to express.
Observe how each material is affected by
light and how the light looks on the
folds. See, for example, how in shiny Sft/
black silk the dark side blends into the
shadow, while on the light side there is Courtesy of Dry Goods Economist Co.
a crispness and unblended look; also note FIG. 78. A department store cut service illustration.
Page Fifty METHODS
To practice large washes com- Gray be put on over
effects to
mence by drawing a large square black are obtained by mixing
and, tipping your board towards Chinese white with lampblack;
you, draw your brush very full this makes a body color and
of color across the top of the can be put on over dark in the
paper from left to right; refill same manner as pure white.
the brush, taking up the rivulet If a light streak is desired,

on the edge of the first line and for instance up one side of the

repeat the operation until you skirt, run a clean brush with
have covered the square. You very little water in it up that
should have enough paint mixed side while thewash is still quite
in your saucer to finish that wet; this will give the desired
square. Very beautiful wash ef- effect.

fects are often obtained with Sometimes a color is added

just flat washes. They are very to a wash drawing effectively.
artistic and lovely because of This is put on like an ordinary
their simplicity and have none wash, but for reproduction
of the worked-over look of the necessitates the using of two
catalogue work. See Fig. 89. plates and two printings. See
There is always transparency Courtesy of Vogii Figs. 98 and 99.
and life to the first wash which FIG. 79. Magazine Fig. 93 shows the method of
pattern drawing.
is lost you go over
if procedure, or steps,
it often. Never be in doing the conven-
afraid if the wash tional wash drawing
looks too dark. Re- for a catalogue. For-
member that it will tunately this photo-
dry lighter and resist graphic method is
the temptation to giving way to a more
work on it when part- artistic one.

ly dried. You must 30. Crayon Pencil.

keep it clean and Crayon pencil is a
bold. Occasionally, fascinating medium.
stand off from your It is used in pref-
work and see how it erence to pencil for
looks. reproduction, because
Such things as it has not the shiny

white dots or stripes quality of the usual

on the dark ground lead which prevents
of a suit are put in that from photo-
with Chinese w hite r
graphing well, and
after the dark material therefore from being
is otherwise finished. FIG. 80. A department store cut service illustration good for reproduction.
CRAYON PENCIL Page Fifty-one

Chalk, crayon and pencil, however, are rough paper, and the tooth or roughness
handled in much the same fashion and of the paper gives an interesting texture
have much the same effect, and by them to the drawing. See Fig. 45.
great beauty and much feeling may be In doing half-tone drawings, especially
expressed. See frontispiece. Nevertheless wash, and particularly in decorative work,
chalk does not .
it is well to limit
lend itself so oneself to a cer-

readily to detail, tain number of

famous as it is tones or values
for its more illus- and not to have
trative or sketchy a number of in-
quality. termediary tints
Wolf crayon and shades. This
pencils are very is best done by

good.B and 3B determining how

Wolf crayon many values are
pencils and kid desired, mixing
bristol board are them in separate
the proper ma- pans (as much as
terials. Kneaded is to be needed of
rubber and Eber- each) and then
hard Faber green limiting the
or red rubber are washes to these.
useful, also an This gives a simple
emery board pad distinction to the
to keep the pencil finished drawing;
points sharp. which is decidedly:
It is best to desirable. See
sketch the draw- Fig. 89. This
ing in first with Courtesy of Stern Bros. simplicity is lost
the B pencil and FIG. 81. Half-tone catalogue drawing, also used for magazine
in Figs. 81, 44,
advertisement.
then put the and which are
53,
darkest darks in with the 3B and the done in such a realistic way because of
more delicate finishing touches with the the almost- photographic reproduction re-
sharply pointed B. Sometimes stumps quired. Both simplicity and charm are
are used to rub the shadows in, giving the lacking in some magazine illustrations,

drawing less line texture. See Fig. 10.
Sometimes wash is combined effectively
with the crayon, then again the crayon
drawing is carried out almost entirely in
line. See Figs. 94 and 95.
Sometimes crayon pencil is used on
and much catalogue work where a realistic,
or photographic effect is the chief aim.
See Figs. 103 and 93. A pleasing com-
promise 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 In considering methods the student must
charcoal drawing. The mistake, however, keep in mind what the purpose of his
of mixing these two styles in one drawing finished work is and then use the method
must be avoided. which is best adapted to that end. But
In instructing a class it is well for the while this is true he must not let the

teacher to give some simple problems to method he is using interfere with the ex-
be done in two or more values of wash. pression of his own style and individuality
Many good examples of this method are of work.
to be found in Composition by Arthur Dow. In doing brush work with ink, see Fig.
BRUSH WORK Page Fifty-three

Courtesy of Rawak Hats.

FIG. 83. Magazine pen and ink advertising.

86, it is well first to become acquainted much for a more comprehensive under-
with this medium and method, on some standing of the possibilities there de-
practice paper. The decorative effect of scribed and These can in
illustrated.

good spotting very important, for the

is many be applied to fashion
instances
finished composition, and the student is work. Fig. 73 and 83 are examples of
again referred to Composition by Arthur fashion sketches where good spotting has
Dow, a careful perusal of which will do been obtained with brush work.
Page Fifty -four METHODS
THE EVEIVINO M A I L, DECEMBER
WANAMAKER'S WANAMAKER'S FANAMAKER'S WANAMAKER'S

OTanamafeer Cfjrtetmas g>ale of Sfeeb $iano anb Diaper =$tano

Courtesy of John Wanamaker.
FIG. 84. An original idea for a musical heading.

Etching is a method lately used in fashion
illustration. 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 not likely to come into general use.
is
The student is recommended, in fact
urged, to become familiar with the work
and methods used by such artists as Drian,
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
comparatively seldom that the
costume designer or illustrator does much
with textile designing, the field being con-
sidered somewhat apart, but as a change
in these matters appears imminent, it

Soulie, Brunelleschi, Barbier, Lepape, has seemed expedient to include the method
Erte, McQuin, Steinmetz, Helen Dryden, of procedure.

Courtesy of Abraham & Straus.

FIG. 85. Drawing by Aubrey Beardsley. FIG. 86. Showing how brush work can be
combined with pen and ink.
TEXTILE DESIGNING Page Fifty-five

that you may clearly understand the part

that dimension plays in the commercial
value of a design, we will describe the
roller over which silk fabrics pass in the

process of printing:
*'
The roller is 16 inches in circumference
and three-quarters of an inch in thickness.
Its width is immaterial because the widths
of different fabrics vary so greatly. The
pattern to be printed is engraved in the
copper. The roller .revolves, takes up the
colorfrom the color box at the bottom;
the color is removed from the smooth

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

TEXTILE DESIGNING*
" The kind and color of
paper used in sub-

mitting designs is immaterial. But we

would suggest that white be used and the
ground painted in. Tempora paints are
generally used. At least one full repeat
and, if the design be small, two or three
repeats should be shown. The design is
a guide to the printer or weaver and must
clearly indicate how the artist desires the
finished fabric to appear.
"
The technique of woven designsis very

complicated, but it is only necessary for

the artist to remember that simple figures
and few colors are best, that the size of
each repeat should never exceed twelve
inches and the repeat is across the web,
not in the length as it is in printing.
"
The size of the paper, then, would de-
pend on the size of your design. In order FIG. 88. Illustrating three kinds of Ben Day.
* Women's Wear.
This is reprinted through the courtesy of
Page Fifty-six
METHOD
"You will see, therefore,
that a pattern (in order to
be mathematically correct)
must either take up the
entire 15 or 16 inches of the
or must repeat an
roller,
even number of times with-
in 15 or 16 inches. In
other words, the pattern must
be 15 or 16 inches in length,
or must be repeated at in-
tervals evenly divisible into
15 or 16. A
three-inch

repeat would register five

times on the 15-inch roller;
a four-inch repeat four times
on a 16-inch roller; a 5 1 -inch

repeat, three times on on a

16-inch roller; there is prac-
tically no limit to the pos-
sible variations. A 12-inch

repeat, on the other hand,

(Jourlcsy of Harper's Bazar. would be impossible; it would
FIG. 89. Decorative half-tone treatment used in magazine editorial. have to be diminished to
* '
surfaces by the scraper, or doctor at the
side, and remains only in the indented
portions,which constitute the pattern. The
cloth, passing justabove the doctor, takes
up the color that remains in the indented
or engraved portions, and registers the
design.
"
A new cylinder, as we have said above,
is When a
16 inches in circumference.
manufacturer wants no more goods printed
from a certain pattern, the cylinder is
polished off and engraved with a new pat-
tern. 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
rawn by E. M. G. Steinmetz. Courtesy of Vogue.
it becomes less than 15 inches it is
junked. FIG. 90. Characteristic Editorial wash
drawing.
TEXTILE DESIGNING Page Fifty-seven
one-third or one-fourth its size to
become practicable for printing. Most
commercial designers work on a 7|-inch
square for silk.
"
The above refers to the printing of
silks. For printing cottons, the same I]

process is used. A cotton printing

roller,however, is 18 inches in cir-
cumference when new, and for suc-
ceeding patterns is polished until the cir-
cumference becomes 16 inches. When
designing for cottons, therefore, the
repeat must be figured on the basis
of a 16- to 18-inch cylinder, corre-

sponding to the 15- to 16-inch scale

For example, a three-
for silk printing.
inch repeat could be used for silk or
cotton being divisible into either 15 or
18. On the other hand, a six-inch
Courtesy of CrU-rlon Magazine.
repeat could be used only for cotton;
FIG 91. Magazine half-tone pattern drawing.
it is evenly divisible into 18 but is

not evenly divisible into 15 or 16.

An 8|-inch 'square is the commer-
cial standard for use in cotton design-

ing for dress goods.

" A pattern is expensive in propor-
tion to the elaborateness of the
engraving and the number of colors
used. It is commercially important,
therefore, that the arrangement of
colors be effective and the actual
number of them be kept down.
It is better to limit the number
of colors, if possible, to five or less
although more colors can be used.
This refers both to silk and cotton.
" With no wish to restrict the art-

ist, we suggest that museums and

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

Courtesy of Henry Sonci

FIG. 93. Illustrating steps in a conventional wash catalogue drawing.

of great importance in determining the a picture, seen on a flat surface, but the
sale of decorated fabrics. Endeavor to decoration of a garment which will fall
make designs that are beautiful and in folds. Visualize your design in the
original at the same time they are fabric, made up as some part of a woman's
appropriate to certain definite fabrics. costume. That is the test of a good design."
Remember that a design
may be intri- The chapters on Color, Design and
cate and not beautiful, may even be Period Fabric Design should be care-
beautiful and not appropriate. Do not fully consulted in connection with the
be afraid to be simple and do not merely mechanical method given above in re-
copy.* gards to Textile Designing. For general
"
Keep in mind that a textile design is not Theory of Design such books as Design
*
In designing, scale of color and texture must not be overlooked. Certain colors that are too brilliant or crude for
indoors are appropriate for sport wear out of doors; where the scale of
everything is greater.
TEXTILE DESIGNING
FIG. 94. Crayon
in Theory and Practice and Principles of
Design by Ernest Batchelder, Handbook
of Ornament by F. S. Meyer, Decorative
Design by Joseph Cummings Chase,
Theory of Pure Design by Denman Ross,
200 Units of Design (plates), Henry
Warren Poor, and Plant Form and Design
by A. E. V. Lilley and W. M. Midgley
will all be found helpful to the student.
Accessories
Page Fifty -nine
Courtesy of Ladi.es Home Jour*
pencil sketches. FIG. 95.
The peasant design must not be over-
looked and such books as "A Magyar
Nep Muveszete," Molonyay, in four vol-
umes, Peasant Art in Austria Hungary,
Peasant Art in Sweden, Lapland and
Iceland, and Peasant Art in Russia,
edited by Charles Holme, will be found
an inspiration to designers and stu-
dents.
drawn by Claire Avery.
 Courtesy of Harper's
From an etching by E. M. A. Steinmetz.
COLOR
CHAPTER FOUR
CHAPTER FOUR COLOR
31. General Theory. The most con- The coldest color is blue and
the warmest
venient and general theory * about color is complement, orange, which is the
its

is that based on the three primaries, red, farthest away from blue in the color
yellow, and blue. As these colors can- wheel.
not be reproduced by the mixture or Tertiary Colors are those formed by
combination of any other colors, they are the mixture of the secondary colors.
said to be pure or simple colors, i.e., Thus, green mixed with purple makes
primaries. olive; orange mixed with green makes
The secondary or binary colors are the tertiary citrine; and orange mixed
orange, and
green, purple. These are with purple gives russet.
made by mixing two of the primary colors The more a color is grayed the more
together. This mixture forms the com- neutral it becomes.
plement of the remaining primary. Binary By normal color is meant the foundation
colors are halfway between the primaries color of a scale of tone, the tones getting
on the color chart. darker or lighter from this foundation.
Red and blue make purple, the com-
By tone is meant the modification of
plement of yellow, and directly opposite any normal color by the addition of
yellow on the color circle. black or white.
Blue and yellow make green, the com-
By tint is meant the light tone of
plement of red, and directly opposite red any color (formed by the adding of white
on the color circle. or water to a standard color).
Yellow and red make orange, the com-
By shade is meant the dark tone ?f
plement of blue, and directly opposite any color (formed by the adding of
blue on the color circle. dark or black to a standard color).
Complementary colors, being directly By scale of color is meant the grada-
opposite in the spectrum circuit, are tion of a series of tones of the same color
wholly unrelated in their normal intensity. from the lightest tint through the normal
They show strong contrast and enrich or pure color to the darkest shade.
each other. See Fig. 96.
By hue is meant the departure from
A color mixed with its complement the original scale of a certain color, to
makes gray. a greater or less degree, by the addition
*
Another Theory: There is another color theory which of a comparatively small proportion of
declares the elements of color to be red, green, and violet-
another color. For hue think around the
blue. This is based on spectrum analysis instead of
color sphere; the even steps between the
pigments and is preferred by some authorities. It changes
the color wheel somewhat, regarding colors and their binary and adjacent primary in the color
complements, making red the complement of blue-green, sphere is called the hue. Thus the step
green the complement of red-purple, and violet-blue the
between blue and green is blue-green,
complement of yellow.
For further explanation see A Color Notation by A. H. between green and yellow, yellow-green,
Munsell. both hues of green. In the same way
Page Sixty-four
COLOR

there are two hues of violet, two of orange, think up and down the color sphere;
and two of red. To change a color to yellow lightest, violet darkest, in value.
is

32. Harmonies of Likeness. Har-

a hue add the next-door neighbor (any
color between two primaries), that is, monies of likeness may be classified as:

its on the spectrum. 1. Monochromatic, i.e., a group of dif-

change place
ferent tones, values or intensities of one
By intensity or chroma is meant the

Drawing by Reta Senger. Courtesy o/GooH Housekeeping.

FIG. 97. Editorial magazine fashion work in which color Ben Day is used.

strength or brilliancy of a color. For color. This is sometimes called a one

intensity think inward or across the mode harmony.
sphere. To change intensity, add the 2. Analogous, i.e., made by colors that

complementary color; in other words, are next to each other in the color circle,
gray it. and are harmonious because they have,
By value meant the amount of dark
is in different quantities, a common element.
or light expressed by a color. For value, 3. Dominant Harmony, i.e., several colors
HARMONIES OF DIFFERENCE Page Sixty-five

all influenced or subdued by the same one part violet makes a neutralized yellow
color. or gray-yellow.
33. Harmonies of Difference. The har- Three parts violet and one part yellow
monies of difference are: 4. (a) Comple- makes a neutralized violet or gray-violet

mentary, i.e., two complementary colors halfway between violet and gray. This
used together with some unifying ele- is true of the other colors.*
ment, by the mixing of the one with the 35. The Color Chart. To make a color
other or by mixing a little gray with circle which is composed of the full in-
both. tense primary colors, yellow, red, and
(&) complementary harmony, i.e.,
Split blue, and full intense binary or sec-
the combination of a primary with the ondary colors, orange, green, and violet,
two colors on each side of its secondary and the full, intense intermediate hues,
complement; as yellow combined with yellow-orange, yellow-green, blue-green,
redrviolet, and blue-violet, or blue com- blue-violet, red-violet and
red-orange,
bined with yellow-orange and red-orange, with the inner circle showing these colors
or red combined with yellow-green and half neutralized and the center neutral

blue-green. Always begin on the pri- gray, a paper should be used which holds
mary and split on the complement; never water color (a "Keystone" Student's
split a primary color. Drawing Block nine by twelve is good),
Double complementary harmony, i.e.,
(c) on which to make the washes. These
that made by the combination of two colors may be put on in small areas from two
side by side on the color wheel with their to four inches square. Satisfactory colors
direct opposites, as, for instance, violet to use for this chart are Winsor & Newton's
and blue-violet with yellow and yellow- Gamboge Winsor & Newton's
for yellow,

orange. Alizarine Crimson mixed with Milton

5. Triad Harmony, i.e., any harmony of Bradley 's Standard Red for red, Winsor
three colors that make an equilateral tri- & Newton's New Blue for blue, Winsor
angle in the spectrum circle. Example: & Newton's Cadmium Orange and Stand-
yellow-orange, blue-green and red-violet. ard Red for orange, New Blue and Milton
In producing triad harmony, use hues Bradley 's Standard Green for green, and
and neutralize to make them harmonious. Milton Bradley 's Standard Violet for
Only one of the three should be wholly violet.
intense. (Don't mix standard red, standard
34. Laws for the Use of Color. Law green, or standard violet with other colors
governing intensity. The
larger the area for use, except on the chart. They stain
the less intense the color must be and and settle. They can be used satisfactorily
the smaller the area the more intense the only in small areas. The ten-cent tube
color may be. is the size to obtain for the color chart

Law of background.
Backgrounds must the Winsor & Newton colors differ in
be more neutral than objects shown upon price and are more expensive. These are
them. the colors that seem the best to obtain
Neutralization. Three parts yellow and the desired result.)
* It
is not well to combine colors in their full intensity unless relieved by black or white.
Page Sixty-six COLOR
To obtain the hues such
as yellow orange, Practice on the paper in these small
it understood that a little yellow is
is squares about three inches in size until
added to the orange, for yellow-green a satisfactory results. are obtained; do not
little yellow to the green, while for blue- get your paint on too thick or too thin.
green a little blue is added to the green,
Be sure your brush is perfectly clean and
etc. The colors of the inner circle, which get one color at a time, always making
are known as colors at their half intensity, four or five squares that you may be sure
as, for instance, gray-orange or gray-yellow, to obtain a satisfactory value for your
are obtained by mixing the color with its choice of color. After you have finished
complement. For example, about three cut your squares out and compare them

parts yellow plus one part violet makes .with your value scale; half closing your
a neutralized yellow or gray-yellow. On eyes often helps this comparison. When
the other hand, three parts violet plus one a satisfactory selection has been made,
part yellow equals gray-violet, and this is use either a quarter, a nickel, or a dime,
true of all the other colors. The three according to the size of the chart you
primaries mixed give the center, neutral wish to make and put these over the
gray. (Alizarine crimson, gamboge and smoothest part of the washes, draw with
new blue.) a sharp pencil a circle, with the coin as
Taking a neutral scale showing nine a guide, and then cut out the colored
degrees of value from white to black, the discs. A compass should be used to
equivalent color values should be found make a guiding line for the placement of
for the color chart; as for example, the these small discs, which should be done
very carefully. A good library paste
W. White
should be used to mount the discs.
Yellow H. L. High Light
36. Significance of Color. In Prin-
Yellow-Orange 1
: Light ciples of AdvertisingArrangement the author
Yellow-Green' j
says: "Color is one of the most interest-
Orange | L. L. Low ing and important elements in nature,
Light
Green ] because the eye, the organ of one of
Red-Orange 1- the five senses of man, sees nothing
M. Middle
Blue-Green J but color. Form, as we call it, is seen
Red only because one color is placed against
H. D. High Dark
another and by its position and contrast
Blue,
Red-Violet 1
makes a shape. And every tone of color
D. Dark has a separate meaning yellow speaks a
Blue- Violet J
definite thing to those who understand it.
Violet Low Dark
Blue cannot say what yellow says
B. Black
neither can red or violet."
This value scale should be used in In a folder gotten up by the Art in
selecting colors in order to keep them Trades Club of New York City, valuable
keyed correctly together according to information was given in a strikingly simple
value. and concise way under the heading, The
SOURCES OF COLOR SCHEMES
Principles of Color Harmony, which reads
as follows:
"
Psychological Significance. Color, as
it varies in hue, value and intensity, by
its intrinsic qualities and the association
of ideas, excites certain definite thoughts
and feelings in the human mind.
Hues. Blue cold, formal and distant.
Green cool and restful.
Yellow cheerful, brilliant and unify-
ing.
Red warm, rich and aggressive.
Orange hot, striking, but decorative.
Violet mournful, mystic, and darken-
ing.
Value. Light color tones express youth,
femininity, gayety and informality.
Dark color tones express strength, dig-
nity, repose, and seriousness.
Intensity. Colors in their full intensity
are strong, loud, vital, and elemental
feeling.
Colors that have been neutralized ex-
press subtlety, refinement and charm.
Balance in Color Harmony. Colors to
balance in harmony must be similar in
intensity and area. If dissimilar, the in-
tensity must vary in inverse proportions
to the area.
Backgrounds should be less intense than
objects to be shown on them." (It is not
well to figure a whole warm object on a
cold background.)
37. Sources of Color Schemes. Many
are the designer's sources for color schemes.
With the knowledge of what harmony
consists in, 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
Page Sixty-seven
old embroidery and laces. Again, he may
go to picture galleries and get inspira-
tions from old and new Japanese prints
and from old and new masters in art.
See illustration of the gown adaptation
from Whistler's Nocturne, Fig. 102.
In deciding what colors are becoming;
it must be remembered that a color not
only reflects its own tint on the face of
the wearer, but also its complement (this
is called simultaneous contrast}. Therefore,
the eyes, hair, and skin of the wearer must
be considered and such a color for the
dress chosen as will neither give the per-
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.
in A very ugly combination may result
from putting together two different hues
of the same color. Simultaneous contrast
can take place with a disastrous result.
This is often what we mean when we
say one blue kills another or one red kills
another red. On account of this matter
of hue, things that are the same color
but of a different hue do not always
harmonize.
Be careful about using together colors
of the same intensity, unless both or one
is much neutralized. It is usually more
satisfactory to use the more brilliant
color in the smaller quantity.
Modern colors have taken on many
titles which they change from season to
season, and which, while catering to the
imagination of the public are quite over-
whelming. This is wittily expressed in
the following quotation from Dr. Frank
Crane.
Page Sixty-eight COLOR
MODERN COLOR "Well, this
dust, cardinal,
is cerise and those are raspberry, brick
crushed strawberry, carnation, and let

BY me see this is old rose, this is ashes of roses, this is

watermelon, this is sunset pink."

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

Courtesy of Criterion Magazine.

FIG. 98. The reproduction from the color plate.
SOURCES OF COLOR SCHEMES Page Sixty-nine

"Isn't there any such thing as just plain, ordinary wood shades walnut brown, mahogany, oak, and chest-
green?" nut; bird colors, such as coxcomb, chanticleer, dove,
"Oh no! It 's the shade, you know. Here, for example, canary, yellow and parrot green; jewel tints, as ruby,
are elephant's breath gray, and taupe." sapphire, pearl, amber, topaz, coral, jade, and turquoise
"Indeed!" blue."
"Yes; and then all the flower colors are represented "I am overwhelmed."
rose, violet, lavender, wistaria, nasturtium, pansy, daf- "Oh, there are others the most fantastic. You can
fodil, American Beauty, cherry blossom, and poppy have a claret necktie, a flame ribbon, laces of ivory or
red." Isabella, a sash of cream, coffee, or chocolate color; a

"Charming! to the imagination."

They appeal gown of mouse gray or steel gray, and other articles of

"Precisely. Half of the color-pleasure of dress goods your apparel, to assist you to perfect self-expression.

is the pleased fancy. We

strive for the unique, such as Maybe the color of pomegranate, apple green, fawn, delft

w
Courtesy of Criterion Magazine.

FIG. 99. Reproduction showing the combination printing from the two plates.
Page Seventy
COLOR
blue, lapis lazuli, taffy, salt and pepper, mustard, cinna- side to side without doing any more
stone, cabbage, putty, string color, or wine
mon, mud,
mixing or dipping your brush again in
color, besides Indian red or Pompeian red, sea green or
the water. Have the drawing board tilted
pea green!"
"
Thanks ! I think I'll take some ribbons, seme of those toward you and enough color in your
advertised as "distinctly American in nomenclature" > brush to ensure its keeping the little
give me some Palm Beach, Piping Rock, Tuxedo brown,
rivulet going without the danger of dry
Arizona silver, Gettysburg gray, Oregon green, Delaware
peach, Newport tan, and Rocky Mountain blue, if you spots. For practice work it is well to
please." make some eight-inch squares and to try
38. Applying Colors. In painting, be- covering their surfaces with a uniform

gin at the top and color downward, from

tone.

your left to your right. The edge of a When you are making a dressmaker's
color may be softened by a clean, damp sketch in white, it is sometimes helpful to
brush; this is necessary in doing velvets. put a little color in the background, up on
Where shiny taffeta is desired,let the one side and down on the other, not mak-

paints dry in a harder line to give crisp- ing it too intense, and taking care to
ness and do not work over while still wet. soften the edge.
Cold colors serve as shadows to warmer When wishing to work in opaque (or
colors and should be laid on first; gen- body color),add a little Chinese White
erally, warm colors over cold should be to your color. This is often useful for
the rule. After the sketch is finished reproduction. What are known as Devoe's
and dry, unfinished-looking darks can be Show Card Colors are good for tempera
picked up with some darker darks and fashion work. Theatrical costume designs
the high lights on the edges of coats, are often carried out in this way.*

pockets, tucks, etc., can be brought out Thompson's Wliite has a stiff quality
by thin, steady, crjsp Chinese white which makes it of value in doing dress-
lines when detail is desired. makers' sketches, where raised buttons,
Prussian Blue, Lake, and Sepia mixed beads, embroidery, lace, etc., are desired.
make One way of graying, or
gray. Put it on rather dry and let it stand
neutralizing, a color is by adding a little until all moistureseems gone before touch-
of its complement; but Payne's Gray ing up these buttons, beads,or lace with
and black are often of value for this use color, gold or silver. Ink is often used
in dressmakers' sketches and commercial with color, both for dressmakers' sketches
drawings. and for reproduction.
All brushes must be kept clean and rinsed Have your
sketch always carefully made
after use. Never leave them in the water. in pencil, putting in the details last.
Take plenty of color in your brush and Put in your big washes first and keep the
try first on a piece of spare paper to see whole sketch going, being particular not
that you have the right tone and that to concentrate too much on any one
"
the brush is not too wet or too dry. part. Avoid niggling "; keep your wash
When you intend covering a space with clean and bold.
a have enough color mixed to
flat tone, Orange Vermilion makes good flesh
go from the top to the bottom and from tones vermilion, good lips and color in
See Page Ni
COLORS Page Seventy-one

cheeks. There are two ways of putting tion of black and white; these should
this color on; one by putting the orange be bought in the tubes.
vermilion in a very light tone over all One should have Prussian Blue and
the flesh and then, when dry, adding the either New Blue, Cobalt, or Ultramarine,
desired color to the cheeks (preferably Payne's Gray, Emerald Green, Hooker's
having it high on the cheek bone) and Green 1, Hooker's Green 2, Lemon Yellow,
quickly softening the edge; the other Yellow Ochre, Naples Yellow, Raw Sienna,
way by stippling or putting on the added Burnt Sienna, either Rose Madder, Car-
color with the tiny point of the brush mine or Crimson Lake, Vermilion, Orange
while the all-over flesh tone is still Vermilion, Mauve, Sepia, Van-Dyck
wet. Brown, Gold, and Silver. In tubes, Lamp-
Always remember that colors dry much black and White, and Thompson's White
lighter. Blue and bluish gray make good if raised work is desired. This list is
shadows for white. In doing a dress- found convenient in saving the time of
maker's sketch in dark blue or black, mixing in doing dressmakers' colored
always keep the color transparent and sketches.

lighter than the real material, though The best colors to get in the Devoe
having the same effect, so that the detail Show Card list are White, Light Yellow,
will be shown. Orange, Light Red, Magenta, Mauve,
The following supplies will be found Dark Blue, Light Blue, and Green. Some
useful in doing this kind of water-color artists use letterine when a shiny finish
work: is wanted.
Colors. Winsor & Newton colors are Brushes. Rubens, and Winsor & New-
preferred. Less expensive but good stu- ton red sable brushes are recommended.
dent's colors are Devoe and Favor Ruhl. Good sizes for fashion work are Nos. 3
It is best to buy the box separately and and 4, and 6 and 7. Devoe or some less

fill it with the colors desired. Tubes dry expensive brushes should be used for ink,
up, therefore, unless colors are to be used Chinese white, gold, and silver, which
constantly or in quantity, it is more eco- are injurious to brushes. Bristle brushes
nomical to buy half pans, with the excep- are good for a steady, broad line.

Drawn by Robert Henry for Felix Jungmann & Cie., Paris.

 Courtesy of Vogue, New York Rcpr
of the Gazette du Bon Ton.

LES COLCHIQUES
Manteau de voyage de Paquin
From a color illustration by George Barbier.
DESIGN
CHAPTER FIVE
 CHAPTER FIVE DESIGN
39. Fundamentals of Good Design. full at the shoulder and skirts that
Order is the law of all
design, No matter are very narrow at the bottom, as these
how far we allow our fancy to go, we should accentuate the size of the hips and trunk.
never lose sight of the Horizontal lines make
principles of design; bal- the figure look shorter
-iince, rhythm, and harmony. and stouter; the shorter
Furthermore, we should the vertical lines are
always aim at simplicity made, the shorter the
and appropriateness. person will seem. Bands
Like the architect, we of contrasting tone or
should study ancient and color accentuate the line
mediaeval examples as well effect.Stout people should
as later ones. Like his, avoid large figured goods
our problem is two-fold : and materials too bright
First, to find out the best or too light in color.
and most beautiful that Thin people with very
can be conceived, and narrow, sloping shoulders
second, to adapt it to our should avoid the exagger-
own present-day needs. ated kimona and shoulder
Great heed must be seams drooping over the
given, fundamentally, to arm, and should keep to
personal characteristics. the horizontal shoulder
The materials used for lines, if they do not wish
comfort or ornament can to emphasize this personal
then be so chosen and so characteristic.
treated as to neutralize Tall, thin people should
individual defects or de- avoid long vertical lines
ficiencies and to enhance such as very definite or
every good point.* large stripes, for these lines
40. Facts Always to be accentuate height. This
Kept Mind. Common
in is not true of inconspicu-

sense and observation ous stripes. They should

show that stout people avoid a coat line which
should avoid large head Courtesy of Mile Jacqueline. cuts them into awkward
FIG. 100. Hat inspired by a bowl
r decorations, and hats which of crocuses. lengths Remember the
make a person appear Greek law: When two
shorterthan their real height, as they lines are in good relation to each other,
enlarge the head proportion. They the shorter comes between one-half and
should also avoid sleeves that are very two-thirds of the longer line.
* "
Woman as Decoration " by Emily Burbank, will be found profitable reading in this connection.
Page Seventy-six DESIGN

Tall, thin people should shoulders give one an ap-

avoid narrow-chested effects pearance of being taller than
and clothes that fit too sloping shoulders, and the
tightly. higher the waist line the
Everybody should beware greater the apparent height .

of too conspicuous plaids and A narrow belt makes the

stripes or figured materials. waist appear smaller and
FIG. 101. Gowns that are in style to-
As a rule do not combine longer, whereas a wide girdle
day were in vogue five thousand years
large figured materials with ago as a study of the figures at the gives the appearance of a
Metropolitan Museum, New York,
small figured materials.* will show. broader, shorter waist (if
Small people, when se- above the waist line).

lecting figured goods for themselves, Over-decoration is always bad.

should always get small figured materials, Broken line effects are always bad.
emphasizing their daintiness. Note this (As, for example, waists and skirts with
even in plain stuffs, as, for instance, seemingly no connection.)
how a narrow-ribbed corduroy suits a A continuation of waist line into the
small person better than a wide-ribbed one. skirt is good.

Figured, striped, or plaid materials, Light colors near the face are good.
which approach plain material, will stand When one striking note of color is used
more trimming than those in which the (as in a belt), it should have a repetition
designs are emphatically decorative. elsewhere (as in a touch on the sleeve
Equal or nearly equal amounts of dark and waist).
and light are unsatisfactory unless they 41. Sources of Designs. Bearing the
approach an "all-over" tone. foregoing facts in mind, we may draw our
When other things are equal, square inspiration from museums, libraries, things
'

Never mix scale in design.

SOURCES OF DESIGNS Page Seventy-seven

in nature, or from any source that appeals was adapted from an Arizona pine, and
to us, and start our design. See Fig. 101. Fig. 99, Pattern No. 8079, from a Hopi
Fig. 100 shows us how Indian woman's dress.
Mile. Jacqueline found If the designer's imag-

her inspiration for a hat ination needs stimulating

in a bowl of tulips. As to get away from the
for the first prize evening commonplace, see what
dress of the Times Prize music or poetry will do
Contest for Original Amer- to help. Notice how,
ica?! Designs, made by when either are sad, one
the writer and shown by thinks in subdued grays
Fig. 102, the Times has and violets and dull blues;

given the following de- when they are joyous,

scription of its source. pinks, yellows and less
somber colors come into
Whistler's well-known Nocturne
furnished the inspiration for this
one's mind.*
evening gown, which owes its The designer has such
distinction to subtlety of color
an immense store-house
and grace of line. It is, unfortu-
a sketch to
from which to draw that,
nately, impossible in
do justice to the extraordinary when his eyes are once
feeling for color which the de- to the endless
opened
signer has shown in her selection
treasures that are wait-
and handling of materials, be-
cause she has obtained her effect ing to inspire him, his
by using semitransparent color world is as full of wonders
over contrasting color.
as the vaulted chambers
She has secured a faithful echo
of the Forty Thieves, or
of the Nocturne's blue-green,
gray-brown harmonies by laying the untold treasures in
pastel-blue chiffon, faintly green the cavern of Aladdin.
tinged, over putty color. The
Appreciation is needful
girdle is in a deeper green-blue
and its Oriental embroidery is and it necessary to
is

worked out in blues and gold and gain this love and under-
the vivid flame color of which
there one single
standing of the beautiful
is glint in the
Whistler picture.
which really comprises
Another note of blue is sounded what we call taste. We
in the necklace of wooden beads, should know something
the smaller beads catching up the
of the art of the past
wing shoulder draperies.
Courtesy of New York Times.
as well as the costumes
The waist made for the FIG. 102. Design for an evening dress in- of these periods, so rich
by "A Nocturne" in Tate Gallery
Ladies' Home Journal,
spired
by Whistler.
in material is that of the
shown in Fig. 103, was Egyptians, Greeks, Ro-
suggested by the Lily of the Valley. Fig. mans, Assyrians, and Byzantines, as
No. ouos,
Pattern rso.
.raiiern tne criterion,
8082, in the Criterion, mat oi
well as that of me
the cruder times 01
of tne the
*Paul Poiret truthfully says "There are gowns which express joy of life; those which announce catastrophe; gowns that weep;
gowns romant
as romantic; gowns full of mystery; and gowns for the Third Act."
Page Seventy-eight DESIGN
Gauls and Franks. Beginning with the of the sculptor in so much as the effect
French costumes of the fifth century is to be viewed from every side and, ac-

and the English after the Norman Con- cording to Beau Brummel, the most
quest in the eleventh century, we come important part of a woman's hat is the
down the centuries with a wonderful un- back. Beside this, the laws of propor-
folding of both beau- tion demand that we
ty and eccentricity of consider not alone
design. the relation of the
There are many hat to the head, but
wonderful costume also the relation cf
books that may be the head and hat to
consulted by the the entire figure.
designer with both (For illustration,
enjoyment and profit. headgear too large
A fairly compre- for the figure gives
hensive list of these a clumsy, awkward
will be found on appearance.)
pages 127 and 128. Thus, no matter
42. Hats. When what fashion decrees,
seen from the side, the law of proper
the lines of the crown proportions for every
of the hat should not individual should be
extend beyond the sought out and
line of the forehead obeyed, even if it
nor beyond the hair brings about a dis-

agreement w ith the

T
in the back. If the
hair extends far in prevailing modes.
the back, the hat 43. Designing
should come between Hats. The height
the head and end of of any hat, generally
the hair in order prop- speaking, should not
erly to balance with be more than three-
the spinal column. Courtesy of Ladles' Home Journal. quarters the depth of
FIG. 103. Green and white blouse inspired by a li
People with small of the valley.
the face. (That is,

or narrow faces the length of the face

require smaller hats than those with from the chin to the eyebrows.) The
large faces, to whom larger hats are greatest width of a wide hat should not
becoming. Care should be taken not to exceed three times the width of the
accentuate undesirable lines or features wearer's face, including the ears and the
by too strong repetition or opposition. hair at the sides of the head. The greater
Try rather to neutralize such. width is often at the left side.
The milliner's problem is allied to that The crown of a hat is very important
DESIGNING HATS Page Seventy-nine

and must appear to cover the head and of clothes as studies in the flat and must
also any puffs of hair. People with large aim to make them please from every
heads should side. At the
not wear hats same time we
with small must not lose
crowns.On the sight of unity
other hand, and must never
people with let distracting
long, thin faces, details interfere
and plain ly with the centre
arranged hair of interest
should not wear which is usually
hats with the head. In
crowns wider other words, we
than the width should aim to
of their faces make personality
and hair. If we dominate the
are ever to clothes.
overcome our For a most
bromidic ten- telling illustra-

dency in dress, tion of this

we shall have last point,
to cultivate an study the paint-
appreciation of ings of Rem-
and
personality brandt. Note
character and how all his
become so in- wonderfully
terested in type thought-out
that we will textures and
resist our hith- tones of gar-
erto sheep-like Courtesy of New York Globe. ments are made
*. ic. 104. Drawing inwhich wash pencil, crayon pencil and pe.n
tendency to and ink are combined. subs er vient
follow the to his char-
modes, even when they distort and cari- acterization, how all these lead up to the
cature us. head and face and seem arranged to per-
The designs shown in Fig. 104 were fectly reveal the individuality of the
made by Kelly for the Globe. In designing sitter, his occupation, his walk in life, and
we must get away from the consideration his inmost character.
Scale must be considered in the combination of textures, for instance crystal bugles and pearl trimming
that could be successfully combined with delicate chiffons or silk would be wholly inappropriate with serge, while an
Indian bead ornament that would be suitable with the serge would be out of place with the chiffon. Fluffy chiffon and
lacy things or baby pinks or blues are out of place with tailored or mannish things. These points should be given
serious consideration in connection with such accessories as parasols, hats, shoes, gloves, jewelry and dress trimmings.
Some books that bear directly on designing are Principles of Correct Dress by Florence Hull Winterburn, Color Harmo-
nies in Dress by G. A. Audsley, What Dress Makes of Us by Dorothy Quigley, Textile and Costume Designing by Ellisworth.
 "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 THE FASHION SILHOUETTE *
44. Value of the Silhouette. The Sil- centuries (the tenth and eleventh were
houette is the foundation of all fashions, so nearly like the twelfth and thirteenth
and it is most interesting to study its that drawings are omitted),
varied aspect through the centuries. Taken The effect is of everything
in a literal sense, it so simplifies the cos- hung from the shoulder
tumes of the period and all garments rather
that the many errors loose. The head was usually
now seen in the cos- more or less bound or wrap-
tume world are un- ped around, though at
necessary to even the certain times in certain
novice. Much less localities the hair was worn
necessary are the glar- in long braids. The four-
FIG. 107 The
ing mistakes we now teenth century shows the
FIG. 105. The gorget. wimple.
see in print in regard innovation of scallops, the
to Moyen Age and Renaissance costumes, fifteenth the increased length of hats and
as well as those of the eighteenth and shoes, but in spite of these touches all
nineteenth centuries, that period of much belong to the Moyen Age, to things that
uncertainty about the hoop and Empire, are Gothic.
the crinoline and bustle, For It is interesting to see these
this reason it seems advantage- clothes so beautifully described
ous, as well as interesting, to in the Gothic Tapestries and
become thoroughly familiar with illuminated books of the time
costume silhouettes of all ages. and the effigies in churches.
The silhouette classifies, sim- See Fig. 108. In the eleventh
plifies, and so condenses details century the wimple was wound
that both time and trouble are around the head, not allowing
saved. Curiously enough, this the hair to show; about a
saving is what its name sig- hundred years latercame the
nifies, as it is taken from the fashion of the chin band and
name Etienne de Silhouette,
of FIG. 106. XV Century forehead-strap. See Fig. 107.
horned head-dress.
Minister of Finance to France The hair was still hidden by the
in 1759, whose public economy in trying wimple. A hundred years later and this
to avert national bankruptcy during the earlier headdress had been followed by the

reign of Louis XV
caused his name to gorget a piece of linen wrapped about
be given to things ostensibly economical. the neck halfway framing the face. See
45. Twelfth to Fifteenth Centuries. Fig. 105.Around the wimple was some-
To begin with, let us glance at Fig. 110, silk band called a snood.
times tied a The
starting with the twelfth and thirteenth gown was still long and loose at the waist
*This chapter is reprinted through courtesy of the New York Globe.
Page Eighty -four THE FASHION SILHOUETTE

FIG. 108. Showing the houppelande or XV Century robe. The Giving of the Rose, a Gothic decorative
tapestry at Metropolitan Museum.

with sometimes a girdle, remaining so example, the Sisterhood of the Annunci-

until the fifteenth century. ation at Bourges by St. Jeanne de Valois,
46. Religious Orders. A picturesque daughter of Louis XI of France. Today
touch of this early costume may be noted they bring to us the legend, beauty and
today in the dress of the nuns and sisters. romance of those dark ages. They breathe
The Dominican nuns wear practically castles, crusades, monasteries, and con-
the same garb as when their order was vents.
instituted by Saint Dominic in 1218, In the fifteenth century, as the pointed
including the rosary, which was his in- arches of the Gothic architecture grew
novation. Many religious orders were more pointed, the head covering or hen-
founded in the eleventh, twelfth, thir- nens (see Figs. 106 and 110) as well as
teenth, and fourteenth centuries as, for the shoes followed suit, so that in this
SIXTEENTH CENTURY Page Eighty-five

century came the high-water mark of by Hans Holbein. There was a stiffening
extremes. To this day we find left over of the figure and a tendency toward the
traces of these headdresses in some of the smaller waistline in the sixteenth century.
costumes of the It might be
peasants in re- well to say
mote districts on here that in the
the continent. twelfth century
47. Sixteenth lacing is sup-
Century. The posed to have
sixteenth cen- come in. Cal-
tury found throp tells us
great changes, in his history
on sea and land. of English
Printing had Costume, "Not
been invented, that the lacing
America had was very tight,
been discovered but it com-
and the first menced the
watches made. habit and the
The silhouette habit begat the
was greatly harm, and the
changed.The thing grew un-
Renaissance til it arrived
changed the finally at the
architecture of b u c k r a m,
dress as well square-built,
as of every- cardboard-and-
thing else. Al- tissue figure
brecht Diirer which titters
has left us and totters
wonderful through the
contemporary Elizabethan
sketches of the era." Up to the
early part of fifteenth cen-
this century, tury is notice-
the originals of able a sense of
which are in looseness, of
Courtesy of An Student Magazine
Nuremberg, see FIG. Late XV Century costume drawing by Albrecht Diirer.
everything
Fig. 109. being more or
We are all familiar with the slashed lesssupported from the shoulders, giving
sleevesof Henry VIII and his queens the straight lines of the middle ages.
(15091547) immortalized in the portraits 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 the tight, long waists and women The Puritans and
of that day.
wide skirts came to stay until the nine- Pilgrims both are distinguished by the
teenth century brought in the Empire costumes prevalent at the time they were
style. organized (period of James I, 1603-1625,
Seventeenth and Eighteenth Cen-
48. and Charles I, 1625-1649, of England).
turies. The Eliza- The portrait painters
bethan high collar was have done
nobly in
the forerunner of the preserving for us the
Charles I (1625-1649) fashions of the times
flat collar and cuffs through the costumes
of which the Crom- worn by their distin-
wellian period (1649- guished sitters. Such
1660) was a simplifica- men as Velasquez, Van
tion. The drawings Dyck, and Rubens in
of Hollar give excel- the seventeenth cen-
lent illustrations of tury, and in the eigh-
these. The Quaker teenth Watteau,
dress is the survival Fragonard, Nattier,
of Lthecostume of Romney, Gainsborough,
Charles II period Lawrence, Raeburn,
(1660-1685), although and Sir Joshua Rey-
the hat is minus the nolds have left us
feather plain linen valuable documents.
takes the place of Thus we pass
lace. The shoes are the through the sixteenth
same, but without the and part of the seven-
ribbon or roses, really FIG. 111. Early XVI Century fashion drawing by teenth
Hans Holbein. centuries,
similar hi every way leaving the time of the
with the
extravagance eliminated and Renaissance for the period of the Louis of
simplicityemphasized. The beaver hat France. The stately dignity and truly
and hood of the Quaker, then called the roya magnificence of Louis XIV was fol-
1

French hood, were both worn by the lowed by the less formal but luxurious
NINETEENTH CENTURY Page Eighty-seven

Uiiitit
rococo period of Louis XV (1723-1774),
FIG. 112.

the classic revival of

Courtesy of London Graphic.

the Greek and

when Pompadour and du Barry set the Roman, modified to suit the climate and
styles in the Parisian world of fashion, epoch. This revival was the natural out-
Then followed the reappearance of the come of the interest people were taking

hoop and the more extreme though re- at that time in the restoration work of
fined attitude toward dress during the the Pompeian cities, and one
buried
reign of Louis XVI and Marie Antoinette, Empire style the classic type
sees in the
In England at this time George III was emphasized. It was an endeavor for
reigning (1760-1820) and the Shakers something different, something essentially
came to this country ^^^ new, for anything
wearing what con- suggesting the
stitutes their cos- former royalty was
tume to-day the frowned upon by
wide, pleated skirt, Napoleon. It is in-
bonnet and apron teresting to note
of the English work- that it was back to
ing class. this quaint period
49. Nineteenth that Kate Green-
Century. The away (1846-1901)
third great change loved to go for in-
in the silhouette did spiration. It was
not come until the she who revived
Directorate in 1795, these costumes of
so that the early the beginning of the
FIG. 113. Quaint styles of Kate Greenaway.
nineteenth century nineteenth century,
found the narrow skirts and short waists and it is truthfully said in this style, made
conspicuous. See first silhouette of Fig. still more beautiful by her naive touch, she
112. Jacques Louis David, the court painter did dress, and still dresses, the children of
of Napoleon, was a strong influence in two continents. See Figs. 113 and 22.
Page Eighty-eight THE FASHION SILHOUETTE
We have left now the hoop of the houette quite as well as the other parts
eighteenth century, and have come to of the costume, with even the added in-
the nineteenth century with its Empire terest of the fact that down through the
and charming 1830 costume, which always centuries the sleeves of men and women
makes one think of nosegays and old- were very much alike, no bigger no
fashioned valentines (see Fig. 112) and smaller, until the nineteenth century, when
the crinoline of 1840, which made the the leg-of-mutton sleeve was affected also
skirt grow wider (To get the
until 1864. by men. That seems to have been, how-
atmosphere of this time, look at
George ever, the time of emancipation, for then
Du Maurier's illustrations of Owen Mere- men's sleeves became small and have re-
dith's "Lucile.") Fashion then took a mained so ever since.
turn and the skirt began in 1865 to grow The thirty beautiful little period dolls
narrower until in the winter of 1869-1870 in the Metropolitan Museum illustrate
the bustle and the draped skirts appeared. how truly the silhouette has kept for us
In this one century, therefore, with its the fleeting shadow of the passing cen-
narrow skirts, its bell skirts, its wide turies. Let us then not deny or push
skirts, its bustles, and its draped skirts, . aside the silhouette as of small importance.
there were really many more definite Historically it is valuable, and the paths
changes than in the ten centuries of sil- it leads us through in the study of cos-

houettes we have been examining. tume are full of beauty and varied interest.
While speaking of skirts, small mention It is with the silhouette in mind that we
has been made of sleeves, but they sil- should observe every fashion.

HWM1199 1330 1513

How different centuries have affected the silhouette of men.

Drawn by Margaret Calderhead.
PERIOD FABRIC DESIGN
CHAPTER SEVEN
CHAPTER SEVEN PERIOD FABRIC DESIGN
50. Primitive Design. Primitive de- wars and conquests, and their designs
sign, often so fresh and simple in treat- were often similar.
ment and character, does not differ much The affinity between the Art of India
in units. The United States Government and Japan is close on account of Bud-
published in 1894 a report that the results dhism, which exercises a strong influence
of its researches showed over both peoples. The
that the san-e swasticka Art of Japan and China
used in prehistoric America is also somewhat similar;
had also been found in indeed, at times the dif-
India, Eastern Turkestan, ferences are difficult to
Northern Europe, Southern determine. The Japanese
Europe, Asia Minor, have a greater love for
Greece, Rome, Northern detail and do not con-
Africa and Byzantium. So ventionalize in as broad
much symbolic significance a way as the Chinese,
is often attached, or some but many of their forms
strict religious meaning, are identical. It is inter-
that design is a deep and esting to know that, where
interesting subject from an this is the case, the in-
ethnological point of view, fluence can be traced to
but "simple pictorial ex- India.
pressions are of world The Japanese in their

usage and are not suffici- designs show a great love

ently intricate to consti- for nature flowers, moun-
tute original thought." tains, waves, dragons,
In these the student of ed by G. RothschM.
tortoises, etc., and the
FIG. 114. Design motive from Indian
design, however, can find basket. method used is usually
splendid motives for mod- picturesque (in spite of
ern treatment. See Fig. 114. This ma- itsinteresting conventionality) instead of
terialwas designed from a unit on an formal.
Indian basket. 52. Early Fabrics and Designs. In
51. Influence in Design. We know outlining period fabric design, Egypt must
that the early civilized races had inter- first be mentioned, where weaving was
course, and we see the influence of this known 3000 B.C. Examples of ancient
in their designs. We
find Greek influence fabrics dating as far back as 1000 B.C.
in the art of China, and for hundreds can be seen in the Louvre, Paris. While
of years B.C. the arts of Assyrians, Egyp- we know that checkered rugs were woven,
tians, and Persians were allied through we find that garments during the Old
Page Ninety-two PERIOD FABRIC DESIGN

Kingdom, Dark Ages, invasion of Alexander the Great. It was

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

been most worn. The The long, graceful folds of this single
material was plain, garment produced a decorative and simple
the decoration,any, if effect, and it is interesting to note also

being embroidery at the different effects obtainable by chang-

the hem. While fond ing the position of the girdle. This was
of ornamentation, the worn at the waist in the Archaic period,

people during this

FIG. 115. Greek Doric time seem to have
costume from Hope.
depended on their
wigs and headdresses, collars, hanging

straps, armlets, and leg decorations,

and not to have introduced figures in
their weaves. See Fig. 116.
The Copts or Egyptian Christians,
like the Greeks and Romans, wore
wonderfully woven or embroidered
bands on their garments, the color
and designs of which are most inter-
esting. Good examples are to be seen
in the Coptic Room, Metropolitan
Museum and in the Cooper
of Art,
Union Museum.
63. Greek Dress. The Greeks used
wool linen, and silk. Linen and silk
were used for the more extravagant
costumes of the later period, though
they had cotton in small quantities.
Cotton belonged to India; it did not
116. Costume of man and woman of Egypt about 2500 B.C.
become known to Europe until the from Eistoire de L'Art Egyptian.
ROMAN DRESS Page Ninety-three

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

under the arms at the last period. ence of the
Interesting and detailed accounts of East.
Greek costumes may be found in Evans's Fab r cs i

Greek Dress and Edith Abraham's Greek seem always

Dress; good illustrations in Hope's Cos- to have
tume of the Ancients. drawn their
54. Roman
Dress. The Romans and inspiration
Greeks imported much material from from the
Babylonia. Some of the silk is described East. We
as having a nap on both sides (velvet), fin d the
and as gold, scarlet and purple in color. Gauls after
The Roman women wore a tunic, a stola the conquest
(like the Grecian chiton), and a palla, of Ca3sar,
which corresponded to a Roman man's 55 B.C.,
toga, or a Grecian woman's himation. adopting a
The Roman women added a ruffle to somewhat
their dress which was often elaborately modified
decorated. Silk was at a premium, but form of the
was frequently mixed in weaving with wool Roman cos-
FIG. 118. XIV Century parti-colored
or linen. With the exception of more tume. The dresses from Jacquemin.

elaboration, the fabrics did not differ Franks in

much from the Grecian. taking possession of Gaul gradually (from
the third to the fifth century A.D.), while
they did not part with their costume as
a whole, the women retaining their veils
for some ten centuries, adopted the Byzan-
tine styles, for the Eastern influence of
the Roman Empire continued after the
arrival of the Franks. We find both men
and women in the ninth and tenth and
twelfth centuries wearing stuffs brought
from the East, even after the art of
embroidery 'became generally understood,
and tapestry weaving and applique work
was carried on in Europe.
56. Weaving. While mechanical weav-
ing was done in Egypt 2000 B.C., the more
complex use of the shuttles by v hich
r

figures were produced without embroider-

ing was not known until 200 A.D. It was
FlG. 117. Italian XIV Century costumes from Jacquemin. then done by the Syrian weavers in the
Page Ninety-four PERIOD FABRIC DESIGN
Eastern Roman Empire. to the twelfth century. rically arranged was also
For many years the devel- These were sometimes used. Up to the thirteenth

opment of weaving was
slow, and the repeat pat-
terns were of the simplest
kind. Ornamental silks
were produced in
first
Europe 500 A.D.; they
were Roman and Byzantine
linked together, large circles
century a formal arrange-
ment was often followed,
consisting of balanced
groupings of birds, beasts,
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-
ing quite elaborate. The
Saracenic hexagon geomet-

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

The design consisting of The ogival form is a

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

spreading out to form Paris. In 800 A.D., the

FIG. 121. XVII and XVIII
bands. Circles continued Century scroll motive. Daughters of Charlemagne
USE OF GOLD THREAD Page Ninety-five

did silk weaving, but up to the eleventh strips of gilded parchment in place of
century the making of fine fabrics was rolled gilt thread. Undoubtedly through
practically monopolized by Athens, Thebes, the influence of the Crusades, the Sicilian
Corinth, and Constantinople. weavers of the thirteenth and fourteenth
No great extravagance had reached centuries produced many fabrics enriched
France before with winged
this. In the lions, crosses,
tenth century crowns, rayed
we read of its stars, harts, or
king, Charles birds, linked
the Simple, together with
possessing but floriations or
three shirts armorial bear-
In the four- ings. See Fig.
teenth century 117.
Isabeau de 58. Parti-
Baviere, com- colored Dress.
ing to marry The same
Charles VI, in f 1 uence
was thought to which brought
be showing an with the Per-
extraordinary pendicular
degree of lux- Gothic the
ury in having introduction
Courtesy of the Metropolitan Museum of An.
three dozen of heraldic
FIG. 123. Painting by Hans Memling of Betrothal of Saint Catherine
chemises in showing surcot and fabrics used in XV Century. forms, such as
her trousseau. shields, crests
The return of the Crusaders initiated and badges, found women of rank wearing
the nobility of France into the luxury of parti-colored dresses; a division which
the Orient. practically cut the figure in half, the right
67. Use of Gold Thread. Drawn gold side representing the arms of the husband,
thread was not used in early fabrics, but the left that of the lady's own family.
gold leaf on paper rolled around a fine See Fig. 118.
thread of silk was employed. Sicilian Late in 1200 A.D. this character of
fabrics of the thirteenth and fourteenth design was introduced into Northern Italy.
centuries frequently show a purple ground Genoa adopted much that was Persian
of twilled silk with birds and foliage from the twelfth to the seventeenth
formed by gold thread weft. Saracenic centuries, and in the fifteenth century,
or Hispano-Moresque fabrics of Spain are when Louis XI encouraged the art of
distinguished by splendid crimson or dark weaving in France at Tours, and later
blue conventional patterns of silk upon at Lyons under Francis I (1515), the
a yellow ground, and by frequent use of Persian and Italian fabrics were closely
Page Ninety-six PERIOD FABRIC DESIGN
followed, and the vase pattern was "V. 1350-1500. A characteristic design

adopted. of the fifteenth century was the use of

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

opments of that style. Louis XIV or XV. This brought the parrot and cockatoo in
Oriental characteristics of either the wicker cages, and similar motifs, much into
French or English styles as shown in the evidence in the embroideries and printed
scenic bits of Chinese or East Indian life. then of animal and floral
fabrics, so full
Louis XVI classic revival examples as ex- design of Eastern character. The British
pressed by the late Louis XVI. rule in India created a demand as early
"Directoire or Transition period in as 1760 for Indian goods, and India cot-
France and the Adam school in England. tons, dimity, and gauze were used in both
This period overlapped into 1800 and was England and France.
generally adopted in American colonies. 61. Becomes the Centre of
Paris
"IX. Empire and Empire influence." Fashion. For centuries Italy was the
centre from which foreign courts adopted
60. The Sixteenth and Seventeenth both fashions in clothes and customs.
Centuries. In the sixteenth and seven- It was not until the seventeenth century
teenth centuries, three distinct types of that Paris became the centre and home of
design were seen, the Renaissance, the taste. Several things had much to do
Oriental Renaissance and the European with bringing this about. First, a great
floral. The Renaissance brought a change and appreciative impetus was given in-
from the accustomed following of Persian dustry by Colbert, the able minister
Oriental design, and such motifs as the Per- of Louis XIV. Secondly, at this time
sian rose and pink, the Rhodian lily and long dresses were abandoned and the
pomegranate gave way to such Egyptian, vogue for large Italian patterns ceased.
Roman, and Greek motifs as the Anthe- Thirdly, the discovery of a way around
mion, Acanthus, Lotus and Iris. The the Cape of Good Hope had much to
second or Oriental Renaissance was really do with the trade in silks turning from
Portuguese-Persian, or the spirit of the Italy to Asia.
Renaissance influencing the East through Under Louis XIV artists held high posi-
commercialism. The third or European tion; it was an ambitious period. World
flora was developed about 1650 during forces, conquests and statecraft, as well
the reign of Louis XIV, when the ferns and as the taste of Louise de la Valliere, Ma-
flora of the Royal Gardens came into use dame de Montespan, Mile, de Fontanges
as motifs. and Madame de Maintenon influenced the
In studying the periods it must not be arts of the time.The magnificent gardens
overlooked that the Dutch brought East that were built, besides the motifs sug-
Indian types into England under Elizabeth, gested by European floriculture, brought
the Jacobean, and Queen Anne reigns, in festoons, vases, architectural designs,
and that the influence of China was etc. It was under this king and his

strong in France during the reign of minister, Colbert, that the highest achieve-
Louis XV, and in England under the ment in lace making was reached in
Georges. The East India Company in France. Lace is supposed to have been
1609 reserved all strange fowls and beasts introduced into France by Catherine de
to be found there, "for the Council." Medici, wife of Henry II, in 1547.
Page Ninety-eight PERIOD FABRIC DESIGN
On the other hand, the arts of Louis The Revolution, 1789-99, brought in
XV had the stimulus qf social life, and simpler materials; cotton, India prints,
were full of ostentation and extravagance. and lawn were used. Colbert had put a
We find much less symmetry or balance stop to their use in former years because
in the motifs, which were shells, feath- it threatened his pet silk industry.

ers, ribbons, knots, garlands, and Chinese The Directoire, 1795 to 1804, followed
and Japanese fancies. Pronounced stripes this Revolution, and this was the tran-
were affected as creations of Madame sition between the classicism of
period
Pompadour, and many charming gowns the late king and the stronger style of
were made of the flowered silks named the Empire. The India shawl introduced
for this favorite of the King. after the Egyptian campaign was much
62. Period of Louis XVI. By the end worn. This led to a French imitation and
of the eighteenth centuryheavy materials then to the Paisley copy made in Scotland,
had fallen from favor and less metallic the Persian design of which has been so
effects were sought in weaving, but popular.
oriental foliation, which was used be- The transition period was largely in
fore and during the Renaissance, again combination with much that was Egyp-
came in. tian in character. The bee, laurel branch,
Under Louis XVI the designers fol- wreath, helmeted warriors, etc., were now
lowed innumerable paths under the im- used as motifs and stripes were still
pulse of capricious fashion. We have popular. This had marked influence and
Arabesque composition, foliage, flowers, effect upon laces now wholly lacking in

figures, landscapes, country scenes, alle- freedom of design.

goriesand Chinese ornament. The costume of the Empire was usually
In the fabrics we find stripes and rib- more or less Oriental in ornamenta-
bons combined with flowers. Stripes were tion, texture, and color. Napoleon's cam-
so much used that in 1788 it was said that, paigns resulted in bringing into France
"Everybody in the king's cabinet looks the accumulated treasures of centuries,
like a Unlike the Pompadour
zebra." which became a source of inspiration,
Queen Marie Antoinette stripes
stripe, the and left a characteristic imprint upon
were interwoven with flowers and orna- the period.
ments such as feathers, medallions, lyres, Fabric design reveals much of the his-
columns, etc. Marie Antoinette liked tory and atmosphere of each century and
flowers, the pink, the tulip, but best of is worthy of intelligent study and con-

allthe rose, and the impetus she gave the sideration, not only by students, but by
production of lace in the beginning of all who wish to develop their knowledge

her reign shows the influence of her taste, and appreciation

of beauty.
which is everywhere seen in the entwined See Die Gewebe Sammlung des Kunst-
ribbons and garlands. gewerbe Museum von Julius Lessing, and
63 Directoire and Empire Designs. Seidenweberei, Otto von Funke.
OUTLINE OF HISTORIC COSTUME
CHAPTER EIGHT
CHAPTER EIGHT OUTLINE OF HISTORIC COSTUME
History and Dress Skirts became longer and narrower,
64. Egyptian Costume. (a) Men. (1) and were closed in front, with one
Old Kingdom, 4th, 5th, and 6th Dynasties side lapping over the other. When of

(2980-2475 B.C.) Memphis, capital.

.
transparent material, a skirt of
Lower classes wore a belt tied thicker material in the shape
around the waist with hanging of the short kilt of the Old
ends down the Empire was worn
front (see Fig. underneath.
127), a kilt-like (4) Period of
loin cloth (see Shepherd Kings,
Fig. 129), or a 13th to 18th
skirt apparently Dynasty. Israel-
made of rushes ites came down
(see Fig. 128). into Egypt.
In the 5th No change in
Dynasty, trian- costume shown.
gular erection (5) New Em-
came in, being pire, 18th, 19th
temporarily Courtesy of Metropolitan Museum. and 20th Dy-
FIG. 124. FIG. 125. FIG. 126.
adopted by the Egyptian costumes. Showing a woman's costume, the triangular
nasties (1580-945
erection and the leopard skin worn by Thebes,
king in this dy- priests. B.C.).

nasty. See Fig. capital.

124 of Perneb, In the 18th
representing an Dynasty a tunic
Egyptian noble- was sometimes
man in full dress. added. This was
Both men and open on the
women shaved right side and
their heads and had a short left
wore wigs. Men sleeve.

appear to have Many changes

gone nude when in skirls now
engaged in stren- took place, plait-
uous exercise. Courtesy of Metropolitan Museum, edeffects be-
(2) Dark FIG. 127.
The costumes worn by men in
FIG. 128. FIG. 129.
Egypt during the Old Kingdom
came popular.
Ages, 6th to (2980-2475 B.C.). See Fig. 131.
12th Dynasty. Cloaks were
No change in costume shown. worn from the time of the 4th Dynasty,
(3) Middle Kingdom, 12th and 13th but became generally used during the
Dynasties (2160-1788 B.C.). Thebes, capital. Middle Kingdom. See Fig. 130.
Page One Hundred Two OUTLINE OF HISTORIC COSTUME

Apron-like decoration were of metal and em-

was worn from the 4th to broidery.
the 20th Dynasty. Men (c) Emblems or Symbols.
were clean shaven, and wore Upper Egyptian crown,
wigs and false beards. Ker- red.
chiefs were often used. Lower Egyptian crown,
Leopards' skins were worn white.
by priests. See Fig. 126. When one king ruled
(6) Women. 4th to 18th
both, he wore a combina-
Dynasty. tion of the above.
All, with the exception of
Lotus signified abun-
some servants and dancing
dance.
girls, wore a simple costume
Globes signified eternal
from bust to ankles, very
life.
tight without folds, some-
Vulture signified the roy-
times held on by one,
sometimes by two shoulder alty of a queen.
Courtesy of Metropolitan Museum.
straps, and sometimes by Asp signified the kingly
FIG. 130. An Egyptian cloak.
a necklace. See Fig. 125. authority.

Embroidery was frequently used on borders. Hanging straps indicated authority.

In the 18th Dynasty
Reference Books
the dress was carried
over the left shoulder, Bulletin of the Met-
became popular,
plaits ropolitan Museum of
and a left sleeve was Art, Vol. XI, No. 11,
introduced. In the for Ancient Egyptian
20th Dynasty a thick Kerchiefs, and The
under dress was used. Dress of the Ancient
White seems to have Egyptians, both pub-
been in favor, also red, lishedby the Metropol-
and blue.
saffron, itan Museum of Art;
Both men and wo- Prisse d'Avennes, His-
men wore sandals in toire de L'Art Egypt; The
the street. The collar Book of the Dead, iac-
was an important dec- shmleofPapyrusofAni,
oration and was made in the British Museum;
of papyrus decorated Wilkinson, The Ancient
with beads or embroi- Egyptian; Erman, Life
dered in wool. in Ancient Egypt, Chap-
Bracelets and leg ter X; Breasted,^! ncient
decorations Were County of Metropolitan Museum. Times; Racinet, History
largely used. These FIG. 131. Plaited effects of the New Empire. of Costume.
GREEK COSTUME Page One Hundred Three

History and Dress a people fond of all things beau-

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

(1200 B.C.). terial are found in the statues.

Both men and women wore
a simplified costume not unlike
the classic.
Dorian Invasion, 8th century
B.C. Rise of Sparta, inhabitants
called Dorians. Rise of Athens,
5th century B.C.,
called lonians.
(3) Classic Period.
of Greek men and
women was the same
except that of the men
was more abbreviated.
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.
The maidens of the Parthenon
frieze are of this time.
inhabitants Girdle worn under the arms
during the last period.
Courtesy of Metropolitan Museum.
Costume FIG. 132. Costume of Wool, linen and silk were
Mycenaean man. used, and the garments
were dyed purple, red,
yellow, and other col-
ors. Sandals and shoes

(a) Chiton or dress. were worn when out of

(6) Himation or doors, and the women
cloak. See Fig! 135. had many different
(c) The chlamys or kinds of jewelry and
short coat was worn hair ornaments.
on horseback. The
Reference Books
chiton or dress was of
two kinds. The Doric A Cretan Snake God-
chiton, worn by the dess, Century Mag-
Dorians, who were war- azine, August, 1916;
like and interested C.H.andH.B.Hawes,
primarily in the phys- Crete the Forerunner of

ical, made of heavy Greece; Hope, Costumes

material and fell in of the Ancients; Ra-
few folds, had no cinet, Histoire du Cos-

sleeves, see Fig. 134. tume; Evans, Greek

The Ionic chiton, Dress; Edith Abra-
Courtesy of Metropolitan Museum.
worn by the lonians, FIG. 133. Costume of Mycenaean woman. hams, Greek Dress;
Page One Hundred Four
OUTLINE OF HISTORIC COSTUME

Courtesy of Metropolitan Museum. Courtesy of Metropolitan Museum.

FIG. 134. Greek Doric chiton. FIG. 135. iGreek Ionic chiton and himation.

G. Baldwin Brown, Bur- circular in form, whereas

Magazine of De- the Greek himation was

lington
cember, 1905, and Janu- rectangular.

ary, 1906, How Greek Only Roman citizens

Women Dressed. could wear the toga,

which was a national
garment, so the pcenula
History was worn by the work-
66. Roman Costume. ing class. This was
Rome founded 753 B.C. like a cape, and some-
Rome was a kingdom times had a hood. This
753-509 B.C. was worn by all classes,
Rome was a republic both men and women,
509-31 B.C. to travel in.

Rome was
an empire Women wore a tunic
31 B.C.-476 A.D. in West. which was like that of

the Roman men; a

stola or dress corre-
Dress (Roman)
sponding to the Greek
Men wore a tunic; a Ionic chiton (differing
toga, or cloak corre- in that it had a border
sponding to the Greek
, . . . From Hope.
or ruffle at the bot-
.

himation but CUt semi-

; FIG. 136. The costume of a Roman man and woman, tom) ;
a pallet or cloak
ROMAN COSTUMES Page One Hundred Five

corresponding to the Grecian Hope, Costume of the Ancients;

himation. Preston and Dodge, Family
Women of the lower classes Life of Romans; Planche,
could not wear the stola; General History of Costume in

they wore tunic and palla, but Europe.

this palla was made like the
Grecian Doric chiton. History and Dress
Roman men did not wear 67. The Gauls. Csesar
hats, except the lower classes, made a complete conquest of
who wore tight-fitting caps. Gaul, 55 B.C. In ancient times
See Fig. 133. the civilized races were un-
Roman women had far more trousered. (See Egyptians,
jewelry than the Greek. They Greeks, and Romans.) Un-
had all the precious stones we civilized races were trousered
now have. They dyed, curled, (Gauls, Franks, etc.).
and arranged their hair elabo- (a) Men. Wore trousers to
rately and wore sandals and the ankles, called braie; a
fancy boots. They took ex- mantle of wool fastened in
cellent care of their bodies. From aottenroth.
front, called sai; a tunic to
FIG. 138.-Gallic costume be-
fore coming under Roman
mid . leg with long s l ee ves;
Books of Reference influence, 55.B.C. shoes to ankles. See
girdles;
~Racmet,Histoiredu Costume; Fig. 137.

From Hottmrofh.
From Hottenroth.
Gallic costume before coming under
Roman
FIG. 137. FIG. 139. Gallo-Roman costume 100 A.D.
influence, 55 B.C.
Page One Hundred Six OUTLINE OF HISTORIC COSTUME
Later the men shortened the trousers
and tunic and wore leggins and sandals
with bands.
(6) Women. Inner tunic to ankles;
short outer tunic with short sleeves;

girdles; shoes. See Fig. 138.

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

Reference Books from Hottenrotii..

FIG. 141. Women's costume of the Franks about

Hottenroth, Le Costumes chez les Peuples: 8th century, showing fichu and veil.

Racinet, Le Costume
Historique; Zur Ge-
schichte der Costume,
Nach Zeichnungen von
W. Diez, C. Frohlish,
M. C. Haberlin,
Heil,
A. Muller, F. Rothbart,
J. Waller Muchen.

History
68. Third to Elev-
enth Centuries.
530 ? A.D. King
Arthur in England
m. Guinevere.
871-901 A.D. King Al-
fred the Great in

England m. Ethels-
witha, d. of Ethel-
.i From Hottenroth.

FIG. 140. Men's costume of the early Franks about 5th to 8th century. ran of Mercia.
THIRD ELEVENTH CENTURY One Hundred Seven
742-814 A.D. Charlemagne m. 1st, Her- by the sixth century. By the ninth cen-
mengardc., m. 2d Hildegarde, m. 3d, tury gloves and handkerchiefs were some-
Fastrade, 4th, Liutgarda. times used. The outer tunic of both the
276 A.D. The Franks came down the men and women was now often decorated
Rhine, took possession of Gaul grad- with a band called a fichu. This was
ually, but made a complete conquest. sometimes set with precious stones and
The fifth century to the sixteenth showed Byzantine influence. See Fig. 142.
century comprises the costume history Reference Books
of the Middle Ages. Zur Geschichte der Costume; Quicherat,
Dress (III to XI Histoiredu Costume en France; Challamel,
Century}
History of Costume in France from Gallo-
(a) Men. Wore a kind of tunic usually
Roman to the Present Time; Shaw, Dresses
to the knee; mantle the shape of a cape
and Decorations of the Middle Ages;
which often had a hood; girdle; shoes.
See Fig. 140.
Jacquemin, Iconographie du Costume.

(b) Women. Wore, like the women of History

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

From Zur Geschictite tier* Costume. From Zur Geschichte der Costume^

FIG. 142. French costume of 9th and 10th centuries. FIG. 143. King and Queen of the llth century.
 One Hundred Eight
1060-1108 Philip I, King of France,
1st Bertha, d. of Florence I,
Holland, m. 2d Bertrade, d. of Simon
I,C. of Montfort.
Dress (XI Century)
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.
(a) Men. Wore a long under tunic down
to the feet called a chemise; outside tunic
long and full called a bliaud (pronounced
bleo). This was held in by a girdle. The
bliaud had sleeves similar to those of our
kimona
(the extra fullness in the skirt
obtained by gores). See Fig. 143.
Trousers and stockings were
underneath.
The long mantle now worn was fastened
often on the left shoulder; up to this
time it had been more conveniently fast-
ened 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.
Men and women now dressed much
Reference Books
Hilaire Billoc, Book
of Bayeux Tapestry,
Racinet, Costume Historique; Zur Geschichte
der Costume; Planche, Dictionary and Cyclo-
pedia; Jacquemin, Iconographie du Co-
stume; La Croix, Manners, Customs, and
Dress During the Middle Ages and Renais-
sance, and Ary Renan, Le Costume en France.
History
70. Twelfth Century.--
1100-1135 Henry I, King of England, m.
1st, Mathilda of Scotland, m. 2d,
Adelicia of Brabant.
1135-1154 Stephen, King of England, m.
Mathilda, d. of Eustace, E. of Boulogne.
OUTLINE OF HISTORIC COSTUME
m. 1154-1189 Henry II, King of England, m.
C. of Eleonora of Aquitaine.
1189-1199 Richard I,. King of England, m.
Berengaria, d. of K. of Navarra.
1108-1137 Louis VI, King of France, m.
Adelaide, d. of Humbert II, of Savoy.
1137-1180 Louis VII, King of France, m.
1st, Eleanor, d. of Guillaume of X
Aquitaine, m. 2d, Constance, d. of
Alphonso VII of Castile, m. 3d, Alice,
d. of Theobald II, C. of Champagne.
1180-1223 Philip II, King of France, m.
1st, Isabelle of Artois, m. 2d, Ingeborg
of Denmark, m. 3d, Marie, d. of
Berthold V of Meran.
was Dress (XII Century}
In the twelfth century the bliaud for the
worn men became fitted and hoods were worn.
The women's outer tunic became fitted,
tricotand lacing were both introduced.
This tunic had long bell-shaped sleeves.
The sleeves of the chemise were long and
fitted at the wrist. A smaller veil called
an antique veil, held by a circlet or crown,
sometimes embroidered, now took the
place of the long veils. The shoes began
alike. to show points. See Fig. 143 and 144.
Reference Books
Calthrop, English Costume; Racinet, Co-
stume Historique; Planche, General History
of Costume; La Croix, Manners, Customs,
and Dress During Middle Ages and Re-
the
naissance; Qtiicherat, Histoire du 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, Tracht-
en, Kunstwerke und Gerathschaften.
History
71.Thirteenth and Fourteenth Centuries.
1199-1216 John, King of England, m. 1st
Alix, d. of Hugo, C. of Mortain, m.
THIRTEENTH FOURTEENTH CENTURIES Page One Hundred Nine

From Vlnllet-le-ttuc. Pram VtoOet-l6-J>uc. From Vlottet-le~Duc.

FIG. 144 Fitted costume of 12th FIG. 146. Parti-colored or PIG. 145. 2nd form of surcot
century. armorial dress. 13th and 14th centuries.

2d, Havoise, d. of D. of Gloucester, 1st, Isabelle, d. of King of Arragon, m.

m. 3d Isabel, d. of C. of Angoulerne.
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
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
2d, Maria, d. of Heinrich III of Brabant.
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-
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,

Bohemia, m. 2d, Isabella of France. Maria of Luxemburg, m. 3d, Jeanne,

1399-1413 Henry IV, Lancaster (Red d. of Louis, C. of Evreaux.

Rose), m. 1st, Mary Bohun, m. 2d, 1328-1350 Philip VI (Valois), King of

Jane of Navarra. France, m. 1st, Jeanne, d. of D. of
1223-1226 Louis VIII, King of France, m. Burgundy, m. 2d, Blanche of Navarra.
Blanche, d. of AlphonsoVIII of Castile. 1350-1364 Jean II, King of France, m.
1226-1270 Louis IX (St. Louis), King of 1st Bonne of Luxemburg, 2d, Jeanne,
France, m. Marguerite, d. of C. of William XII, C. of Auvergne.
d. of
Provence. 1364-1380 Charles V, King of France,
1270-1285 Philip III, King of France, m. m. Jeanne, d. of Duke of Bourbon.
Page One Hundred Ten OUTLINE OF HISTORIC COSTUME
1380-1422 Charles VI, King and the hennins or high head
of France, m. Isabelle of dress came in. Toward the
Bavaria Ingolstadt. last of the century the houp-
pelande or one-piece dress
Dress (XIII and XIV Centuries}
replaced the surcot. See
In the thirteenth century, Figs. 147, 148 and 108. In
more interest was shown in thisgarment women are said
dress. Both men and women to have discovered the nor-
wore a semi-fitted garment mal waistline. This had a
called a surcot, hollowed out V-shaped neck, widely off at
under the arms. the shoulders. The women
(a) Men. Wore close fit- were at this time wearing
ting trousers (braie); mantle; the wimple or head covering,
surcot; tunic (chemise); cotte and about the throat the
(tunic); stockings; hats or gorget in certain localities.
hoods. The surcot of the men grew
(b) Women. Wore inner shorter and had large sleeves.
tunic or chemise, over this Their stockings were close-
a cotte, or fitted chemise worn fittingand combined with
with a girdle, over this the From VioUet-le-I>uc.
the trousers. The shoes were
surcot. The surcot had no FIG. 147 14th and 1 5th century costume more pointed. They added
showing hennin and houppeland
sleeves, and those of the an houpplande or some-
cotte, usually of a con- times long, sometimes
trasting color, were an short, outer garment
important feature of with large sleeves. See
by degrees the
this robe; Figs. 108 and 148.
arms-eye became larger Reference Books
and was trimmed with Books mentioned under
fur. See Figs. 123 and fifteenth century.
145. The skirts were
very long and were held History
up as the woman walk- 72. FifteenthCentury.
1413-1422 Henry
V,
ed, showing the cotte
again, which was the
King of England,
m. C a th erine of
same material as the
Valois,d. of Charles
sleeves, making a pleas- VI of France.
ing repeat of the con- 1422-1461 Henry VI,
trasting color. In the King of England, m.
fourteenth century the Margaret of Anjou.
1461-1483 Edward IV
parti-colored or ar-
(White Rose), m.
morial dress was worn,
From Viollet-le-Duc. Elizabeth of Wood-
see Figs. 146 and 118, FIG. 148. Men of the 15th century. ville.
SIXTEENTH CENTURY Page One Hundred Eleven

1483 Edward V, King of England. used, and had probably been introduced
1483-1485 Richard III (White Rose), m. into France by Anne de Bretagne, Queen
Anne Nevill. of France. See Fig. 150. The Fifth cen-
1485-1509 Henry VII (Tudor), m. Eliza- tury to the Sixteenth century comprises
beth of York. no*.
the costume his-
1422-1461 Charles tory of the Mid-
VII, King of dle Ages.
France, m.
Reference Books
Marie, d. of
Calthrop, Eng-
D. of
Anjou. lish Costume; Zur
1461-1483 Louis Geschichte der Ko-
XI, m. 1st, stume; Quicherat,
Histoire du Co-
Marguerite,
stume en France;
d. of James I,
of Scot-
Pauquet Freres,
King Modes et Costumes
land, m. 2d, Historiques; Hot-
Charlotte of tenroth, Les Co-
Savoy. stumes chez les
1483-1498 Charles Peuples; LaCroix,
VIII,m.Anne
Manners, Cos-
tume, and Dress
of Brittany.
During the Middle
1498-1515 Louis Ages and Renais-
XII, m. 1st, sance ; Robida,
Jeanne, d. of
Ten Centuries in
Toilette; Racinet,
Louis XI, m.
^ Hifitoire du Cc-
2d, Anne, From ZUT Geschichte der Costume, stume / Planch^,
widow of FIG. . 149. German costume of early iGth century.
Dictionary and
Charles VIII, Cyclopedia; Viol-
m. 3d, Mary, d. of Henry VII, King let-le-Duc, Dictionnaire du Mobilier Fran-
of gais, Vols. 3, 4; Raphael Jacquemin, Icono-
England.
graphie du Costume; Shaw, Dresses and De-
Dress corations of the Middle Ages; Piton, Le
The fifteenth century was an exaggera- Costume Civil en France du XIIF au XIX e

tion of the modes of the fourteenth. More Siecle;Strutt, Sport and Pastimes of the

extravagant fabrics were used, and every- People of England; Strutt, Complete A
View of the Dress and Habits of the People
thing became more extreme, even to the
of England;' Bonnard, Costumes Histcriques
points of the hats and shoes. des XIF, XIIF,
e
, et
e
XIV
Siecles; XV
Towards the end of this century came a Boutet de Montvel, Joan of Arc; Sanborn,
transitional period. The toes of the shoes Ann cf Brittany.
became round, the dresses became more
semi-fitting, and were split up the front, History

showing the underskirt. They had square Sixteenth Century. Renaissance.

73.

necks and were worn with a girdle. The 1509-1547 Henry VIII, King of England
close-fitting cap was the head-dress now m. 1st, Catherine of Aragon; m.
Page One Hundred Twelve OUTLINE OF HISTORIC COSTUME

From PoMguet Freres. From Pauquet Frtres.

FIG. 150. Costume of transition period. FIG. 151. Costume of 16th century, 1527.
Anne of Brittany, 1500.

From Pauquct Frerc From Pauquet Freres.

Larly Renaissance, 1530. FIG. 153. French gentleman, 1572.

SIXTEENTH CENTURY Page One Hundred Thirteen

Anne Boleyn; m, 1574-1589 Henry HI,

3d, Jane Seymour; King of France, m.
m. 4th, Anne of Louise of Lorraine.
Cleves; m. 5th s 1589-1610 Henry IV
Catharine Howard; (Bourbon), King of
m. 6th, Catharine France, m. 1st,
Parr. Marguerite of Va-
1547-1553 Edward VI. lois; m. 2d, Marie
1553-1558 Mary Tudor, de Medicis.
Queen of England, Dress (XVI Century}
m. Philip II, King Great changes now
of Spain. The cos-
developed.
1558-1603 Elizabeth, tumes for men and
Queen of England. women from this time
1515-1547 Francis I, on are no longer alike.

King of France, m. The desire now seem-

1st, Claude, d. of ed to be to alter in
Louis XII; m. 2d, various ways the nor-
From Patigttet Frfrres.
Eleanor, d. of PIG. 154. Late Renaissance silhouette, 1586.
mal shape of the figure.
Philip. The women first wore
1547-1559 Henry a boneless corset,
II, King of which they called a
France, m. 1st, basqui?ie,and a crin-
Catherine de oline which gave
Medicis; m. the appearance of a
2d, morga., hooped skirt, which
Diana, Duchess they called thevertu-
of Valentinois. gale. See Fig. 152.
1559-1560 Francis The waistline
II, King of was normal and
France, m. slightly pointed in
Mary Stuart, front. A piece of
Queen of Scot- material was sewed
land. on the vertugale to
1560-1574 Charles take the place of
IX, King of the cotte. The
France, m. 1st, under-sleeves were
Elizabeth, d. made of the same
of Emp. Max- and some-
material,
imilian; m.2d, times slashed to
morga., Marie show the chemise;
From Pauguet Freres
Touchet. FIG. 155. Late Renaissance costume, 1572. sometimes this
Page One Hundred Fourteen OUTLINE OF HISTORIC COSTUME
same material was used in the silhouette. The
as a panel in the front waist became smaller
of the waist. The neck in size. Both round
line was square but length and long skirts
curved upward at the were worn. Trains were
centre. The skirt was worn on horseback, one
round length. of which was seventy
Large mantles, usual- feet long. The widely
ly with hoods, were used open bodice became
for out of doors. The popular, to which im-
shoes were no longer mense ruffs were added.
pointed. Red was the The balloon-shaped
popular color for shoes sleeves, too, had grown
and stockings. Jewels enormous. It was at
were used in profusion this time that ribbon
to elaborate the cos- came in. See Figs. 154
tumes; collars set with and 155.
gems were favored. Men's figures dimin-
The men wore very ished in size as women's
short, often slashed, From fauyuel t'rerc.-.. figures increased. They
trousers, long stockings, FIG. 156. Costume of the late Renaissance, 158G. also wore both corset
a doublet with a and ruffs. See Fig.
square neck, slashed, 156.
round - pointed shoes,
Reference Books
and a mantle. See See books mentioned
Figs. 151 and 153. under fifteenth and
The first change seventeenth centuries.
came in the latter

part of the century, History

when many women 74. Seventeenth
wore a waist which Century.
buttoned to the throat. 1603-1625 James I,

The large over-sleeves King of England,

were discarded for m. Anne, d. of
smaller ones with a Frederick II, King
padded roll at the of Denmark.
arm-eye. The ruff now 1625-1649 Charles I,

became popular. More King of England,

width was given to m. Henriette
the hips by a barrel- Marie, d. of Hen-
shaped hoop which ry IV, King of
made a definite change From Pauquet Frfres. France.
FIG. 157. Early 17th Century costume, 1633.
SEVENTEENTH CENTURY Page One Hundred Fifteen

From Pauqwt Freres.

FIG. 158. Costume of the early part of Louis XIV reign. Fia. 159. Costume of the reign of Loui
XIV, 1670.

From Pauquet Freres. From Pauquet Freres.

FIG. 160. Costume of the later part of Louis XIV FIG. 161. Costume of the later part of
reign showing Fontanges head-dress. Louis XIV reign.
Page One Hundred Sixteen
1649-1653 Interregnum.
1653-1658 Oliver Cromwell, Protector of
England, m. Elizabeth, d.
Thomas Bourchier.
1658-1660 Richard Cromwell, Protector of
Eng., m. Dorothy Mayor.
1660-1685 Charles II, King of England, m.
Catharine of Braganza.
1685-1688 James II, King of England, m.
1st, Anna Hyde; m. 2d, Mary,
Alfonso IV, D. of Modena.
1689-1702 William III and Mary, King
and Queen of England.
OUTLINE OF HISTORIC COSTUME
wore a round length under-petticoat and
an overskirt which was often trailing.
of Sir 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
d. of?
the ruff. See Fig. 157.
In some instances the waistline was
raised and a short slashed peplum added.

1610-1643 Louis XIII, King of France. The woman often wore a string of pearls
m. Anna of Austria. at the neck. Notice the simple way their
1643-1715 Louis XIV, King of France, hair was worn. See Figs. 157 and 158.
m. Marie Therese of Spain. In the latter part of the period, under
Favorites Mile, de la Valliere, Mme. de Louis XIV, the skirt was looped up, the
Montespan, Mile. Fontanges, Mme. waist became longer, heels grew higher,
Maintenon. waists grew tighter and fans were a neces-
Dress (XVII Century} sity. See Fig. 160.
The heaviness of the sixteenth century Two kinds of neck lines were now pop-
gave way by degrees to the more picturesque
ular: The straight line decolletee, close
costume of the seventeenth century. to the neck, which seemed an extension
of the panel front used with short sleeves;
(a) Men. Men's trousers lengthened
and they shortened the waistline and and the round neck line, which was off the
added peplum, and, like the women, used shoulders. A shorter, fluffier sleeve w as
T

lace and ribbon profusely. used with the round neck line. Both these
They wore
musketeer boots. Their hats were high are forerunners of the eighteenth century.
with a flat brim and decorated with flow- The Fontanges headdress came in the

ing plumes. The hair was worn long. late part of this century and clothes be-
For an outer garment the cape was used. came very formal under the sway of Mme.
Men's costumes in the last quarter of de Maintenon. See Fig. 160. Large bro-
this century changed greatly. The doub- cades that looked like furniture covering
let now turned into a waistcoat or vest were much used in the latter part of the
and a new garment or outer coat was reign of Louis XIV, and the material was
added. Sleeves had deep cuffs. The stock draped so that a bustle effect was obtained.
collar and jabot took the place of round The women carried small, round muffs.

collars. The chemise showed at the wrist,

Reference Books
and under the jabot. The trousers were
close-fitting and less decorated. They wore Calthrop, English Costume; Pauquet
large muffs and wigs and a hat with turned- Freres, Modes et Costumes Historiqiies;
up brim and flat plumes. See Figs. 157, Robida, Ten Centuries of Toilette; Pierre
and 161. Lamesangere, Costumes des Femmes Fran-
(6) Women. Abandoned the hoop, and Daises; Zur Geschichte der Costume.
 GHTEENTH CENTURY Page One Hundred Seventeen

History
75. Eighteenth Century.
1702-1714 Anne, Queen of England,
m. George D. Cumberland.
1714-1727 George I, King of Eng-
land, m. Sophia Dorothea, his
cousin.
1727-1760 George II, King of Eng-
land, m. Carolina of Branden-
burg- Ansbach.
1760-1820 George III, King of Eng-
land, m. Charlotte of Mecklen-
burg-Strelitz.
1715-1774 Louis XV, King of France,
m. Maria Leczinska.
Favorites Marchioness de Pom-
padour, Countess du Barry.
1774-1792 Louis XVI, King of France,
m. Marie Antoinette, d. of Franz
From Pcmquet Frtres.
I.Stephen, Germ. Emp. FIG. 162. 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
cane, whalebone, or some similar
material,and was called a panier.
It was wide at the sides and flat
in the back and front, but the
fullness of the skirt gave the re-

quired size at the back. During

the regency, plain, full skirts of
light weight material were in
r
vogue; afterward, heavie fabrics
and more decoration appeared.
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 were usually
made of ruffles of lace; with the
From Pauguet Frires.

FIG. 163. Louis XV Watteau costume showing 18th century hoop, 1729. square neck, the sleeves were
Page One Hundred Eighteen OUTLINE OF HISTORIC COSTUME

From Pauquet Frfres. From Pauquet Frires.

FIG. 164. The costumeof a man in 1740. FIG. 165. Louis XVI costume, 1777.

usually close-fitting pleats were allc

with decoration at to fall straif
the elbow. See Fig. the shouldei
166. Much lace, floor; at other n .

ribbon and artificial the skirt was draped

flowers were used. at the back and sides,
Mantles were cape- showing the under-
shaped with hoods. skirt. The dresses
In the second were often worn
quarter of the cen- short, as much at-

tury the one-piece tention was given to

dress with a Watteau shoes and stockings.
plait came in; this The costume of
was then worn con- the men of this pe-

temporaneously riod was strongly

with the others, influenced by the
and made in differ- paniers used by the
ent ways. See Fig. women and the
1 63 .Sometimes the skirts of the coats
waistline was not Painting bit Nattier.
were stiffened and
defined and the FIG. 166. 18th century round neck line and ruffle lace boned. The shoes
sleeves.
EIGHTEENTH CENTURY Page One Hundred Nineteen

From Zw GescMcJite tier Costume. From Paitquet Writes.

FIG. 167. Louis XVI costume, 1780. FIG. 169. Directoire costume, 1798.

From Zur Geschichte tier Costume. From Pauquet Fr&res.

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

FIG. 172. Costume of the First Empire, FIG. 173. Costume of the First Empire,
1811. 1813.
NINETEENTH CENTURY Page One Hundred Twenty-one

adapted the classic 1837-1901 Victoria

style, borrowing from Alexandra, m.
both Greek and Ro- Albert, Prince of
man fashions. These Saxe-Koburg and
costumes were scanty, Gotha.
and frequently were 1792-1795 Conven-
split up the sides. tion.
The dresses were 1795-1799 Directory.
often transparent and 1799-1804 Consulate.
worn without chem- 1804-1814 Emperor
ises. See Fig. 169. Napoleon Bona-
The gentlemen of this parte, m. 1st,
fantastic period were Josephine Ta-
styled "Incroyables," scher, 2d, Marie
"Unimaginables "; Louise, d. of
the ladies, "Merveil- Franz I.German-
leuses" and "Impos- Roman Emperor.
sibles." See Fig. 170. 1814-1824 Louis
The men wore an XVIII, King of
From PaitQuet Frtirea.
exaggerated copy of France, m. Maria
FIG. 174. Costumes of the Restoration, 1820.
what had been previ- of Sardinia.

ously called the 1824-1830 Charles X,

English fashion. King of France,
m. Maria Theresa
Reference Books
of Sardinia.
See books mentioned
1830-1848 Louis-Phi-
under seventeenth and
lippe of Orleans,
nineteenth centuries.
King of France, m.
Marie Amalie of
History
76. Nineteenth the Two Sicilies.

1848-1870 Louis Na-

Century.
1820-1830 George IV, poleon III, m.
King of England, Eugenie de Guz-
m. 1st, morga., man, Countess
of Teba.
Mrs. Fitzherbert;
m. 2d, Caroline Dress (XIX Century}
of Brunswick- It is said that the
Wolfenbiittel. fashions of the Con-
1830-1837 William sulate, 1799-1804,
IV, King of Eng- which were much more
land, m. Adelaide of restrained, kept all
FIG. 175. Costumes of the Romantic Period during
Saxe-Meiningen. reign of Louis Philippe, 1830-1848.
that was best in the
Page One Hundred Twenty-two OUTLINE OF HISTORIC COSTUME
fashions of the waistline, the
Directory. See sleeves became
Fig. 171. A beau- large and gave
tiful quality of width to the
Indian lawns and shoulders. Much
muslins was used, interest was now
and the shawl being taken in
introduced by bonnets.
Napoleon became The reign of
popular. Louis-Philippe,
During the Em- 1830-1848, was
pire (1804-1814) called the Ro-
materialsbecame mantic Period.
more elaborate. See Fig. 175. The
Things were mil- waists were close-
itary. Oriental fitting with a
silksand heavier very low neck, and
materials were were wide off at
used, and the theshoulders.
tendency was to The popular ber-
be well covered. FIG. 176. Costumes of the Second Empire, 1851. tha effect increas-
See Figs. 172 and ed this still more.
173. The waistline was
The Restoration, pointed in front,
1814-1830 (reign the skirt full but
of Louis XVIII), with less trim-
found the silhou- mings, and floun-
ette changing. ces were some-
See Fig. 174. times used. Shoes
Corsets had again were low and had
come in and no heels. The Re-
caused the waist- public under Louis
line to drop Napoleon, 1848-
slightly. The skirts 1852, found the
had more fullness, skirts increasing
were elaborately and by the
in size,
trimmed and were Second Empire
worn quite short. under Napoleon
(Charles X, 1824- III, 1852 - 1870,
1830.) In the the skirts were
twenties the waist held out by stiff

found its normal FIG. 177. Costumes of the Second Empire, petticoats which
NINETEENTH CENTURY Page One Hundred Twenty-thre*

led up to the return of the crinolines and Geschichte der Costume; Iconographie du
hoops of 1854. See Figs. 176 and 177. The Costume, by Raphael Jacquemin; English
long shoulder line persisted and sleeves Costume, by Calthrop; Fashions in Paris,
were bell-shaped and full at the wrist. 1797-1897, by Octave Uzanne; Modes et
Jackets, shawls,and capes similar to those Usages au temps de Marie Antoinette,
worn Empire were used. By
in the First Livre; Journal de Madame Eloffe, Le
1870 the bustle had supplanted the hoops, Comte de Reiset; Marchande de Modes;
and from that time to the present rapid Dame Fashion, 1786-1912, by Julius M.
changes have taken place. Price; Galerie des Modes et Costumes Fran-
ais, 1778-1787, par M. Paul Cornu;
Die Mode; Modes and Manners of Nine-
Reference Books
teenth Century, by Dr. Oskar Fischel and
Modes et Costumes Historiques, par Pau- Max von Boehn, translated into English
quet Freres, two volumes; Portraits en by M. Edwardes in three volumes, 1790-
Pied, Dessines par Sante Graves. Zur 1878 and Godey's Lady's Book, 1830-1890.

Drawn by Robert Henry for Felix Jungmann & Cie., Paris.

 >
Courtesy of Harper's Bazar.
From a crayon drawing by Soulie.
BIBLIOGRAPHY
 BIBLIOGRAPHY
Racinet. Histoire du Costume. 6 vols. Illustrated. Herbe. Costume Frangais. Illustrated. French text.
French text. Renan, Ary. Le Costume en France. Illustrated.
Dress of the Ancient Egyptians. Published by the French text.
Metropolitan Museum of Art. Illustrated. Robida, A. Ten Centuries of Toilette. Illustrated.
Ancient Egyptian Kerchief. Metropolitan Museum French and English text.

Bulletin, Vol. XI, No. 11. Illustrated. Challamel. The History of Costume in France from
Prisse D'Avennes. Histoire de L'art Egypt. Illus- Gallo-Roman to present time. Illustrated. Eng-
trated. French Text. lish text.

Book of the Dead. Facsimile of Papyrus of Ani Bittoc.

Bayeaux Tapestry. Illustrated. English text.
in British Museum. Illustrated. English text. La Manners, Customs and Dress during the
Croix.
Breasted. Ancient Times. Illustrated. English text. Middle Ages and Renaissance. Illustrated. Eng-
Abrahams. Greek Dress. Illustrated. English text. lish text.

Evans. Greek Dress. Illustrated. English text. Calthrop. English Costume. Early English, Middle
Hope. Costume of the Ancients. 2 vols. Illus- Ages, Tudor and Stuart, and Georgian. Published
trated. English text. in 1 vol. and in 4 vols. Illustrated. English text.
\otor. La, Femme dans L'Antiquit6 Grecque. Strutt, J. Sport and Pastimes of People of England.
French text. Illustrated. English text.
Van Rensselaer, Mrs. Schuyler. A Cretan Snake Strutt, J. A Complete View of the Dress and Habits
Goddess. Century Magazine. August, 1916. of the People of England. 2 vols. Illustrated.
Illustrated.English text. English text.
Brown, G. Baldwin. How Greek Women Dressed. Pauquet Freres. Modes
et Costumes Historiques.

Burlington Magazine, December, 1905, and Jan- 2 vols. Illustrated. French and English text.
uary, 1906. Illustrated. English text. Hughes. Dress Design, an account of Costumes for
T'lnchb. Dictionary and Cyclopaedia. 2 vols. artists and dressmakers. 1 vol. Illustrated.
Illustrated. English text. English text.
Jacquemin. Iconographie du Costume. Illustrated. Hughes. Old English Costume. Illustrated. Eng-
French text. lish text.

Quicherat. Histoire du Costume en France. Illus- Fairholt. Costumes in England. 2 vols. Illus-

trated. French text. trated. English text.

Hottenroth. Le Costume chez les Peuples. Ancienset Smith, J. T. The Cries of London. (Character
Moderns. Illustrated. German and French text. Costume.) Illustrated, English text.
Rosenberg. Geschichte der Kostiime. 3 vols. Il- Aria. Costume. Fanciful, historical and theatrical.
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Hefner- A Iteneck. Trachten, Kunstwerke, und Ge- Le Comte de Reiset. Modes et Usages au temps de
rathschaften. 10 vols. Illustrated. German text. Marie Antionette. Livre-Journal de Madame
Hefner-Alteneck. Costume du Moyen Age Chretien. Eloffe. Marchande de Modes. *
Illustrated.
4 vols. French text. 2 vols. French text.
Boutet de Monvel. Joan of Arc. For XV Century Grand-Carteret. I>es Elegances de la Toilette.
Costume. French and English text.
Illustrated. Louis XVI-Restauration, 1780-1825. Illustrated.
Braun, Diez, Froehlich, etc. Zur Geschichte der Ko- French text.
stiime. Illustrated. German
English index.
text. Wahlen. Moeurs, Usages et Costumes de tous les
Viollet-le-Duc. Dictionnaire du Mobilier Frangais. Peuples du Monde. Illustrated. French text.
Vols. 3 and 4. Illustrated. French text. Lamesangere. Costume des Femmes Frangaises.
Shaw. Dresses and Decorations of the Middle Ages. Illustrated. French text.
2 vols. Illustrated. English text. Sante Graves. Portraits en Pied. Illustrated.
Bonnard. (Middle Ages) Costumes historiques des French text.
e
XII XIII 6 XlV
, ,
e
, et XVe Siecles. 2 vols. (1845), Uzanne, Octave. Fashions in Paris, 1797-1897.
3 vols. (1861). French text.
Illustrated. French and English text. Illustrated.
6
Piton. Les Costume Civil en France de XIII au Price. Dame Fashion, 1786-1912. English text.
XIV e Siecle. Illustrated. French text. Illustrated.
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Cornu, M. Paul. Galerie des Modes etCostumes Jourdain, M. Old Lace. English text.
Franchises, 1778-1787. Illustrated. French text. Lowes, Mrs. Chats on Old Lace and Needlework.
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Modes and Manners of the Nineteenth Century, Laprade, Mme. Laurence de.' Le Poinet de France.
1790-1878. 3 vols. Illustrated. German and French text.

English text. Jackson, Mrs. F. Nevill. A History of Hand-made

Rhead. Chats on Costume. Illustrated. English text. Lace. English text.
Earle. Two Centuries of Costume in America. Lefebure, Ernest. Embroidery and Lace. English
Illustrated. Published in 1 vol. and 2 vols. text.

English text. Whiting, Gertrude. A Lace Guide. English text.

McClellan. Historic Dress in America. Illustrated. Clifford, C. R. The Lace Dictionary. English text.
Vol. 1, 1800-1870. English text.
1607-1800; Vol. 2, Huish, Marcus B. Samplers and Tapestry Em-
Webb. The heritage of Dress. Notes on the history broideries. English Text.
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text. Lepape, 1912, Martin, 1913, and Barbier, 1914.
Bakst, Leon. L'art d^coratif. French text. French text.
Fates. Dressmaking. Chapter I on The Historic De- Nevill, Ralph. British Military Prints. Illustrated.

velopment of Costume. Illustrated. English text. English text.

Ellsworth Textiles and Costume Design. Falls, D. W. C. Army and Navy Information of the
Peterson's Magazine, 1842-1898. English text. Warring Powers. English text.
Godeys Lady's Book. 1830-1898. English text. Wietz. Ecclesiastical Costume. 2 vols. German
Gazette du Bon Ton. Arts, Modes and Frivolities. text.
French text. Villermont, Comtesse de. Histoire de la Coiffure
Journal des Dames et des Modes. Frencfrtext. Feminine. Illustrated. French text.
Burbank. Woman as Decoration. English text. Davey, Richard. A History of Mourning. Illus-
Lessing, Julius von. Die Gewebe Sammlung des trated.
English text.
Kunstgewerbe Museum. German text. Rhead, G. W. History of the Fan. Illustrated.
Funke, Otto von. Seidenweberei. 2 vols. German text. English text.
Moore, N. Hudson. The Lace Book. Showing- Redfern, W. B. Royal and Historic Gloves and
Specimens of Lace, or its wear in famous por- Shoes. , Illustrated. English text.
traits. English text. For Periodical References see Poole's Index and
Palliser, Mrs. Bury. A History of Lace. English th^ Readers' Guide.
text. New York Public Library. Art Division. In prep-
Ricci, Elisa. Antiche Trine Italiane. Italian text. aration, Textile and Costume list. Each not
list

Pollen, Mrs. J. Hungerford. Seven Centuries of only lists books and articles, but parts of books
Lace. English text. and individual plates.

Drawn by Robert Henry for Felix Jungmann & Cie.

A READING AND
REFERENCE LIST
ON COSTUME

BROOKLYN NEW YORK

PUBLISHED BY THE BROOKLYN PUBLIC LIBRARY
FIRST PRINTING 1909 REVISED 1920
 PREFACE
THE primary purpose of this list is to furnish a partial guide to the resources

of the Brooklyn Public Library on the subject of costume. Completeness

has not been attempted. Practically no references to periodicals are
included, as these are generally available through Poole's Index and the
Readers' Guide. Post-cards, works of art, jewelry, and other articles

primarily artistic in nature are not included. A few unindexed periodicals,

especially useful in the study of costume, are listed.

It is hoped that the list, in addition to its use to the patrons of the

library, may serve as a contribution toward a bibliography of the subject.

 CONTENTS

Abyssinia 143 Corea. See KOREA.

Afghanistan 144 Corsica. See FRANCE.
Africa 144 Costume (in Poetry) . . 151
Albania. See BALKAN STATES. Cuba. . .
151
Algeria 144
Arab Costume 145 Denmark 151
Armenia. See TURKISH EMPIRE. Dutch Costume. See NETHERLANDS.
Armor 145
Asiatic Islands. See MALAYSIA, PHILIPPINE Egypt 152
ISLANDS. England 152
Assyria 146 England. Military Costume. . 156
Australia 146 Eskimo Costume 157
Austria-Hungary 146 Etruscan Costume . . 158
Aztec Costume. See INDIANS OF NORTH
AMERICA. Fancy Dress 158
Fans 158
Balkan States 147 Fiji Islands 158
Bedouin Costume. See ARAB COSTUME, EGYPT, Flemish Costume. See BELGIUM.
TURKISH EMPIRE. Foot-wear 158
Belgium 148 France 159
Bibliography 137 France. Military Costume 160
Bohemia. See AUSTRIA-HUNGARY.
Bosnia. See BALKAN STATES. General Works 138
Bridal Costume 148 Germany 161
Brittany. See FRANCE. Germany. Military Costume 161
Brooklyn 148 Gipsy Costume 161
Bulgaria. See BALKAN STATES. Gloves 162
Burma. See INDIA. Greece 162
Guatemala 163
Canada 148
Caricatures and Caricaturists 148 Hair, Hats. See HEAD-DRESS.
Carthage. See AFRICA. Hawaii 163
Central America 149 Head-dress 163
Central Asia 149 Hebrew Costume. See JEWISH COSTUME.
Ceylon 150 Herzegovina. See BALKAN STATES.
Children 150 Holland. See NETHERLANDS.
Chile 150 Hungary. See AUSTRIA-HUNGARY.
China 150 India 164
Colonial Costume. See UNITED STATES. Indians of North America 165
Page One Hundred Thirty -four CONTENTS
PAGE PAGE
Indians of South America. 166 Portugal 172
Ireland 167
Italy 167 Quakers... 172

Japan 168 Religious Costume 173

Jewelry 168 Rome 173
Jewish Costume . 169 Roumania. See BALKAN STATES.
Russian Empire. . 174
Korea.. 169
Samoa 175
Lapland. See NORWAY, RUSSIAN EMPIRE. Savoy .' 175
Scotland 175
Macedonia. See BALKAN STATES. Servia. See BALKAN STATES.
Malaysia 169 Shakespearean Costume 176
Maori Costume. See NEW ZEALAND. Shoes. See FOOT-WEAV*.
Marriage Costume. See BRIDAL COSTUME. Siam. See INDIA.
Mediaeval Costume 169 South America 177
Mexico 170 Spain 177
Montenegro. See BALKAN STATES. Sweden 177
Morocco 170 Switzerland . . 178

Nepal. See TIBET. Theatrical Costume 178

Netherlands 170 Tibet 179
New Zealand 171 Troubadours 179
Normandy. See FRANCE. Tunis. See AFRICA.
Norway 171 Turkish Empire 179
Tyrol. See AUSTRIA-HUNGARY, SWITZERLAND.
Oceanica. 171
Orders. . . 171 United States 180
United States. Militarv and Naval Costume. 181
Palestine. TURKISH EMPIRE.
See
Peasant Costume 171 Venice. See ITALY.
Periodicals Useful for the Study of Costume . 138
Persia 171 Wales 182
Peru 172 Weapons. See ARMOR.
Philippine Islands 172 W est Indies.
T
. . 182
Poland. See RUSSIA.
Porto Rico. . . 172 Zanzibar. . . .182
A READING AND REFERENCE LIST ON COSTUME,
ARRANGED ALPHABETICALLY
THIS OUTLINE OF HISTORIC COSTUME IS ARRANGED TO PROVIDE THE
READER WITH COMPARATIVE DATES, UNDER THE HEADING OF "HISTORY,"
THE MAIN CHARACTERISTICS OF EACH CENTURY'S COSTUME, UNDER
THE HEADING "HISTORY OF DRESS," AND WITH ,THE AIM OF FURTHER
ELUCIDATION ON EACH PERIOD'S COSTUME, THERE WILL BE FOUND SELECTED
DATA UNDER THE HEADING OF THAT CENTURY'S "REFERENCE BOOKS."
 BIBLIOGRAPHY

Barnard, F. P. Books for Reference on English Dillon, H. A. Books Treating of Costume. (In
Costume. (In his Companion to English History : Fairholt, F. W. Costume in England. 3d ed.
Middle Ages. 1902. p. 115.) REF. 942B25 1885. v. 1. pp. xi-xiv. Also 4th ed. 1896.)
391F17
Bibliography of Costume. (In Encyclopedia Ameri-
cana. 1903-04. v. 5.) REF. 031E56 Evans, M. M., Lady.Books on Greek Dress.
List of
"
See article on Costume." 16 titles. (In her Chapters on Greek Dress. 1893. pp.
vi-xvii.) 391E92
Bibliography of Costume. (In New International
Encyclopaedia. 1902-04. v. 5. pp. 333-34.) Fletcher,A. C. Bibliography of Indian Adornment.
REF. 031I61GI (In Hodge, F. W. Hand-book of American Indians.
Annotated list of about 30 titles.
1907. pt. 1. p. 20. U. S. Bureau of Ethnology.
Bibliography of Costume. (In New International Bulletin 30.) REF. 970.1U58
1914. v. 6. 18 titles.
Encyclopaedia. p. 143.)

Bibliography of Ecclesiastical Costume. (In New Gipsy Costume. (In Journal of the Gipsy Lore
Internationa! Encyclopaedia. 1902-04. v. 5. Society. New ser. v. 1. p. 25. July, 1907.)
p. 338.) REF. 031l6lGi REF.
Brief annotated list.
11 titles.

Bibliography of Ecclesiastical Costume. (In New Hough, Walter. Bibliography of Indian Clothing.
International Encyclopaedia. 1914. v. 6. p. (In Hodge, F. W. Hand-book of American Indians.
148.) 1907. pt. 1. p. 313. U. S. Bureau of Ethnology.
Bulletin 30.) REF. 970.1U58
Bibliography of Jewish Costume. (In Jewish Ency- 11 titles.

clopaedia. 1901-06. v. 4. pp. 294, 301, 303.)

REF. 933S61 Lipperheide, F. J., Freiherr von. Katalog der
Brief lists.
Freiherrlich von Lipperheide'schen Kostum-
Bibliography of Roman Comedy Costume. (In bibliothek. 2 v. 1896-1901. REF. G016L76
C. Costume in Roman Comedy. Annotated and illustrated. The most complete bibliog-
Saunders,
raphy.
1909. pp. 143-145.) 391S25
Litteratur. Kostiim. (In Brockhaus' Konversations-
Blumner, II. Costume. (In his Home Life of the
Lexicon. 14th ed. 1895. v. 10. p. 662.)
Ancient Greeks. 1893. p. 533.) 913B65
REF. G033B86
4 titles.
14 titles.

Boutell,Charles. Bibliography of Costume. (In

Luard, J. History of the Dress of the British
Encyclopaedia Britannica. 9th ed. 1875-88. v.
Soldier. 1852. 355L92
6. pp. 478-79.) REF. 032E56
Brief list of authorities, pp. III-IV.
Classified and annotated list.

McClellan, Elizabeth. Authorities Consulted. (In

Chubb, Percival, and others. Festivals and Plays in
Schools and Elsewhere. 1912. 371.7C55 her Historic Dress in America, 1607-1800. 1904.

Costume bibliography, p. 391. pp. 405-07.) REF. 391M12

Page One Hundred Thirty-eight BIBLIOGRAPHY
New York City. Salmagundi Club. Catalogue of Weiss, Hermann. (In his Kostiimkunde. II,
the Costume Books in the Library of the Salma- Mittelalter. 1883. pp. ii-xxviii.)
gundi Club. N. Y. 1906. R016N567S List of works on mediaeval costume.

Peabody Institute, Baltimore. Catalogue of the Same. (In his Kostiimkunde. III. 1. 2,

Library. 14tes Jahrhundert bis auf die Gegenwart. 1872.

Costume, Part I, 18S3, pp. 807-8; 2d series, part II, 1897, pt. 2. pp. 1371-88.)
p. 907; Ecclesiastical Costume, part I, 1883, p. 808; United
States Costume, 2d series, part VI II, 1905, p. 4875. List of works on costumes, 14th century to the present
List of books and periodical articles. time.

Phillip, W. A. Bibliography of Costume. (In

PERIODICALS USEFUL FOB THE STUDY OF COSTUME
Encyclopaedia Britannica. llth ed. 1910. v. 7.

p. 247.) Delineator.
Gazette du Eon Ton
Quellen fur die Kenntnis der Kostume. (In Meyer's
Godey's Lady's Book.
Konversations-Lexicon. 4th ed. 1888. v. 10, Graham's Magazine.
pp. 120-21.) Graphic.
Brief list of works on costume. Harper's Bazar.
Illustrated London Neivs.
Same. (In Same. Cth ed. 1904-08. v. 11, Journal des Dames et des Modes.

p. 539.) REF. G033M61KO L'Illustration.

Preceding list revised and enlarged. Ladies' Cabinet of Fashion, Music, and Romanes.
Ladies' Home Journal.
Racinet, A. C. A. Le Costume Historique. 1888. La Mode Illustree.
Bibliography, v. 1. pp. 113-24. REF. F390R12 Le Costume Royal.
Classified list of about 400 titles. Le Tour du Monde.
National Geographic Magazine.
Rhead, 0. W. Bibliography of Costume. (In his Peterson s Magazine.
Chats on Costume. 1906. pp. 15-16.) 391R46 Punch.
Sketch.
Sargent, J. F. Customs and Costume: a list of
The Children's
Costume Royal.
books and magazine articles. (In his Reading for Ueber Land und Meer.
the Young. Issued by the Amer. Library Assoc., Vogue.
1890. REF. 028S24 Young Ladies' Journal.
pp. 9-10.)
14 annotated titles of books, 88 references to periodicals.
GENERAL WORKS
Select List of Works and References on Costume.
This list includes works dealing u;ith a number of
(In Finsbury [England] Public Library quarterly
countries or subjects
guide. Jan., 1909. pp. 227-34.)
Annotated and classified list. Accurate Historical Account of all the Orders of Knight-
hood at Present Existing in Europe. 2 v. n.d.
Thurston, Herbert. Bibliography of Clerical Cos-
tume. (In Catholic Encyclopedia, v. 4. p. 421.)
REF. 929.7H25
Descriptions of costumes and regalia of the different
REF. 282C363 orders.
12 titles.

Amman, Jobst. The Theatre of Women. 1872.

Vinet, Bibliographic du Costume.
Ernest. (In
R391A51
Racinet. A. Costume Historique. 1888. v. 1.
'
A reprint from the edition of 1586. Female costumes of
pp. 113-24.) REF. F390R12 all the principal nations and peoples of Europe.
Classified list of about 400 titles.
Aria, Mrs. E. Costume: Fanciful, Historical, and
Waern, Cecilia. Note:
Bibliography of Fans. Theatrical. Illus. by Percy Anderson. 1906.

(In her Short Historical Sketch of Fans. 1895. 391A69

pp. 28-29.) 391W12 Historical, peasant, oriental, ceremonial, bridal, dancine,
fancy, and theatrical costume. Colored plates and half-
Brief annotated list. tones.

Weiss, Hermann. Verzeichniss der Abbildungen, Armies of To-day. Edited by Wesley Merritt and
nach ihren Quellen. (In his Kostiimkunde. others. 1893. 355M57
Alterthum. 1881. G391W42 Articles, illustrated by wood-cuts, on armies of United
I, pp. xxiii-xli.) States, Great Britain, Germany, France, Russia, Austria-
Ligt of works on ancient costume. Hungary, Italy, and Mexico.
BIBLIOGRAPHY Page One Hundred Thirty-nine

Art of Dress; or Guide to the Toilette. 1839. 391A78 Child, Theodore. Wimples and Crisping Pins. 1895.
6 plates of colored engravings. 391C53
Illustrated studies in the coiffure and ornaments of
Aspin, J. Cosmorama: a View of the Costumes women, from ancient times through the early 19th century.
and Peculiarities of all Nations. 1826. 910A84
Clothes and the Man; hints on the wearing and caring
Illustrations are small , and are colored.
of clothes. 1900. 646C64
Ballin, A. S. (Mrs. Berry.) Science of Dress in Discussion of modern male attire.

Theory and Practice. 1885. 613B19

Collier, John. Art of Portrait Painting. 1905.
Belin, and others. Costumes de Suede, Norwge, REF. 757C69
41 portraits in color and half-tone, showing costumes from
Danemark, Hollande, et Allemagne; dessines par Giotto to Watts.
Belin, Girardet, Sharles, Verveer. [About I860.]
REF. F391B43 Costume. (In Encyclopedia Americana. 1903.
20 colored plates. v. 5.) REF. 031E56
Historical sketch with brief bibliography.
Berghaus, Ileinrich. Die Volker des Erdballs.
* Costume. (In Encyclopaedia Britannica. llth ed.
2 v. 1861. G572B49
Numerous colored plates. 1910. v. 7. pp. 224-47.) R
Historical. 51 figures. Bibliography.
Beyschlag, Robert. Female Costume Pictures: fig-
ures of female grace and beauty in costumes of Costume. (In New International Encyclopaedia.
various centuries, from twelve drawings in pastel. 1902. v. 5. pp. 328-34.) REF. 031161 Gi
2 plates (15 figures) and bibliography.
1886. R 391B57 Historical.

Blanc, A. A. P. C. Art in Ornament and Dress. Costume. (In New International Encyclopaedia.
1877. 646B63 2d ed. 1914. v. 6. pp. 137-48.) R
" cuts and 2 3 plates (23 figures).
Personal adornment," pp. 49-274. Many Historical.
colored plates of head-dress and apparel.
Costume. (In Nouveau Larousse- Illustr<5. v. 3.
Boehn, Max Die Mode: Menschen und
von.
R
p. 314.)
Moden im neunzehnten Jahrhundert. Ausge- 4 colored plates of civil and military costume.
wahlt von Oskar Fischel. Text von Max von
Boehn. 1907. G391B67 Costume of the Lower Orders of the Metropolis, n.d.

Covers the period 1818-1842. Many illustrations, 36 in 391C84

color. No text. Contains colored plates.

Modes and Manners of the 19th Century. 3 v.

Davis, R. H. Rulers of the Mediterranean. 1894.
1909. 391B67 910D21R
Colored plates. Half-tone plates and wood-cuts of costumes of Gibraltar,
e 6 Malta, Tangier, Egypt, Athens and Constantinople.
Bonnard, C. Costumes Historiques des XII , XIII ,

XIV6 et XV Siecles.
e
Dessine's et grave's par Davy, Richard. Furs and Fur Garments, n.d.
Paul Mercuri avec un texte historique et descriptif 391D24
General historical sketch. 12 plates showing fur gar-
par Camille Bonnard. Nouvelle Edition avec une ments, 9th-19th centuries.
introduction par Charles Blanc. 3 v. 1860-61.
REF. F39lB71o Decorum; a practical treatise on etiquette and dress
200 colored copper engravings. of the best American society. 1880. 395D29

Brownell,H. H. Eastern, or Old World embracing M.

Dewing, Mrs. R.
;
Beauty in Dress. 1881.
ancient and modern history. 2 v. 1856.
646D52
909B88 ^Esthetics of women's dress.

Has hand-colored wood-cuts, showing costumes from early

times to 19th century. E. Volkstrachten Album von 50 Blatt
Duller, :

Kostiimbildern. REF. 391D88

Burke, Sir Bernard. The Book of Orders of Knight-
Colored lithographs taken from Duller's work.
hood and Decorations of Honour of all Nations.
Fully illustrated with colored plates. 1858.
Ecob,H.G. Well-dressed Woman. 1892. 613E19
R 929.7B95Bo Numerous half-tones and wood-cuts.
Page One Hundred Forty BIBLIOGRAPHY
Egerton, M. M., Countess of Wilton. Book of Cos- Haweis, Mrs. H. R. Art of Dress. 1879. 391 H38
tume; or, Annals of fashion, from the earliest Artistic principles of costume. Many wood-cuts.
period to the present time. Newed. 1847. Heaton, H. A. Brooches of Many Nations. 1904.
REF. 391W75 391H44
Detailed descriptions of European and Asiatic dress. 78 wood-cuts of brooches, from Assyria to Scotland.
About 200 wood-cuts.
Hefner-AUeneck, J. II. v. Trachten, Kunstwerke,
Ellsworth, E. P. Textiles and Costume Design.
und Gerathschaften, vom friihen Mittelalter bis
Illustrated. 1917. 646E47
Ende des achtzehnten Jahrhunderts. 5 v. 1879-
Emerson, Edwin, Jr. History of the 19th Century. 89. R G709H46
3 v. 1902. 909E53 720 colored plates.
16 colored and 32 half-tone plates, some of use for costume.
Heyden, A. von. Die Tracht der Kulturvolker
Erskine, Mrs. Beatrice. (Mrs. Stuart.) Beautiful
Europas, von Zeitalter Homers bis zum Beginne
Women in History and Art. 1905.
des XIX. Jahrhunderts.
REF. 920E732 1889. G391H61
37 half-tone plates, showing English and French dress, 222 illustrations (wood-cuts).
16th-18th centuries.
The European Delineator. Containing brief but Higgin, L. Art as Applied to Dress. 1885.

interesting descriptions of Russia, Sweden, Den- 646H63

jEsthetics of dress.
mark, Norway, etc. 1815. REF. 914E89D
20 colored engravings.
A
Manual for Schools
Hints about Men's Dress. By a New York clubman.
Fales, Jane. Dressmaking. 1888. 646H66
andColleges. With chapter on the Historic Devel- Principles of selection.
opment of Costume. Illustrated. 1917. 646F18
Costumes,
Fancy Dress. A Short Chronological Romeyn
Series of Hooge, de. (?) n.p., n.d.

Costumes, n.d. 391F19 REF. 391H77

43 copper-plates of costumes of many countries.
Farmworth, E. 0. The Art and Ethics of Dress.
Illustrated. 1915. 177F23 Hope, Thomas. Costume of the Ancients. 2 v.
Ferrario, Giidio, and others. Le Costume, Ancien New ed. 1841. REF. 391H79
etModerne. 18 v. 1815-29. REF. F391F37 Brief descriptive sketch of Egyptian, Asiatic, Greek, and
Roman costume, followed by 321 outline plates.
Africa (2 v.), America (2 v.), Asia (4 v.), Europe (6 v. in 9).
General sketch of history of costume for practically every
nation of historic note. Illustrated with hand-colored Hottenroth, F. Trachten, Haus-, Feld-, und Kriegs-
copperplates.
gerathschaften der Volker alter und neuer Zeit.
Finden, William. Finden's Tableaux. 1837.
2 v. n.d. G391H83
REF. 769F49 120 colored plates and numerous woodcuts.
13 scenes of national character, beauty, and costume.

Far, G. P. Fashion, the Power that Influences the Hughes, Talbot. Dress Design: an account of cos-
World. 3ded. 1871. 391F79 tume, for artists and dressmakers. 1913.
Chiefly discusses modern male dress.
646H89
Gale, E. C. Hints on Dress. 1872. 646G15 Has 35 collotype plates and numerous other illustrations,
Discussion of modern costume. 90071870
Godwin, E. W. Dress and Its Relation to Health
Hughes, T. P. Dress. (In his Diet, of Islam.
and Climate. 1884. 391G59
Small wood-cuts of dress of various types, from early
1895. pp. 92-99.) REF. 297H89
Egyptian times to about 1850. Mohammedan dress. 9 wood-cuts.

Grasset de Saint-Sauveur, G. Costumes, n.p., n.d. M.

Hunt, Mrs. (Averil Beaumont.) Our Grand-
REF. 391G76
mothers' Gowns, n.d. 391H94
Hand-colored engravings of costumes of all countries.
Contains colored plates.
Grosvenor, G. H. Scenes from Every Land. Second
Hutchinson, H. N. and others. Living Races of
Series. 1909. 910G87
Mankind. 1902. REF. 572H97
Scenes from Every Land. Third Series. 1912. Half-tones of nearly all extant nations, in modern dress.
910G87S
Iconographic Encyclopaedia. 1886. v. 2.
Guillaumot, A. E. Costumes de l'Ope"ra. 1883.
REF. 033117
REF. F391G95C " " " "
See Dress and Costume in Index, and plates 34-38
50 colored plates, 17th and 18th centuries. (80 figures).
BIBLIOGRAPHY Page One Hundred Forty-one

Ireland, J. B. Wall-Street to Cashmere: five years Lacy, T. H. Female Costumes, Historical, National,
in Asia, Africa, and Europe, 1851-36. 1859. and Dramatic. 1865. REF. 391H152C2
910165 Contains colored plates.
Colored plate of Arab costume, and wood-cuts of other
costumes.
Male Costume, Historical, National, and Dra-
matic. 1868. REF. 391L152C1
Jacquemin, /?. Histoire Gcnerale du Costume No text. Contains colored
me me plates.
Civil, Religieux, et Militaire du IV au XII'
Lechevallier-Chevignard, G. Costumes Historiques
Siecle. Occident (315-1100). Paris, n.d. (?188-.) me 6me
de Femmes du XIV* au XVIII Siecle.
REF. F391J19
1889. REF. F391L45
Jeune, Lady. Dress for Motoring: dress for ladies. Colored plates.
(In Harmsworth, A. C. and others. Motors and
Lipperheide, F. J., Freiherr von. Katalog der
Motor-driving. 1902. pp. 66-71.) 621.4H28
Freiherrlich von Lipperheide'schen Kostumbib-
4 cuts of motor costume.
liothek. 2. v. 1896-1901. RG016L76
Johnson, John. A Journey from India to England, G^J illustrations from catalogued works, showing cos-
tumes of all periods. Half-tones.
through Persia, Georgia, Russia, Poland, and
Prussia, in the Year 1817. 1818. 915J67 Loemyer, J. F. N. (Auguste Wahlen.) Mueurs,
5 colored plates.
Usages, et Costumes de tous les Peuples du
Jones, William. Coronation Robes. (In his Monde. Oceanic. 1843. RF919L82
Crowns and Coronations. 1883. 34 colored plates.
pp. 491-504.)
394J79 Lord, W. B. The Corset and the Crinoline; a book
Wood-cuts of costumes.
of modes and costumes, from remote periods to
Joyce, T. A. Women of All Nations. 2 vols. the present time. 1865. 391L11
1908. 572J89 54 full-page and other engravings.
25 colored plates and many smaller illustrations of the
women of all countries. Louandre, Charles. Les Arts Somptuaires. 1857-
58. 3 v. (1 v. text, 2 v. plates.) REF.
Kohl, J. G. Die Volker Europas. 1872.
Special attention paid to French costume. Richly colored
G914K79 plates of costume, etc., from 5th-17th century MSS.
S colored plates.
Le luxe (Paris) Supplement. Ball, Winter, and Sum-
Koppen, F. von. Armies of Europe, illustrated.
mer Costumes for 1893-94. RF391L97
1890. 355K77 Contains colored plates.
20 double-page colored plates and many cuts of uniforms
of modern Europe. Malerische Studien: eine Reise um die Welt, in
Kontum. (In Brockhaus' Kon versa tions-Lexicon. 200 farbigen Photographien. n.d. RG910M24
14th ed. 1895. v. 10.) REF. G033B86 Many of the 200 colored half-tones give the modern
costumes of European and Asiatic countries.
Historical sketch, with 4 colored plates Bibliography.-
Malliot, Joseph. Recherches sur les Costumes . . .

Kostum. (In Meyer's Konversations-Lexicon. 4th

des ancicns peuples. 3 v. 1809. F391M25
ed. 1880. v. 10. pp. 120-21.)
REF. G033M61KO Marechal, P. S. Costumes Civils Actuels de tous
Historical survey. 3 double- page colored plates (41 les peuples connus. 4 v. 1788. RF391M33
figures). Bibliography.
Mazuy, M. A .
Types et Caracteres Anciens. 1841 .

Same. 10th ed. 1905. v. 11. pp. 537-39.

RF390M47
v. 20. p. 242. 21 colored plates.
3 colored plates with smaller figures than those in the
4th ed. Menard, Rene. Le Vetement. (In his Vie Privee

from des Anciens. 1881. v. 2. pp. 227-384.)

Kretschmei, Albert. Costumes of All Nations,
F913M53
the earliest times to the 19th century. 1882.
Ancient, Oriental, Greek, and Roman costumes. Nearly
REF. 391K92 300 outline illustrations.
104 colored plates in general chronological arrangement.
Merrifield, Mrs. M. P. Dress as a Fine Art; with
Die Trachten der Volker, vom Beginn der Ge- With an
suggestions on children's dress. introd.
schichte bis zum 19ten Jahrhundert. 1864. on head dress by Prof. Fairholt. 1854. 391M56
REF. G391K92T Outline plates.
Page One Hundred Forty-two BIBLIOGRAPHY
Michel, F. F. F. (Antony Real.) Story of the K. Travels in Georgia [Asia], Persia,
Porter, Sir R.
Stick in all Ages and Lands. 1891. 391M62 Armenia, Ancient Babylonia, during the years
History of walking sticks. Several plates incidentally 1817, 1818, 1819, 1820. 2 vols. 1821. 915P84
showing costume.
Illustrated with portraits, plates, and maps.
Miln, L. J. When We were Strolling Players in the
What Wear and when
Praga, Mrs. Al/red. to to
East. 1894. 914.39G35
Wear it. 1903. 391P89
Costumes of India, China, and Japan. About 20 plates.
.(Esthetics of dress. 8 half-tones of head-dress and
746M82 female costumes.
Moore, N. H. Lace Book.
Half-tone plates of lace and lace-trimmed costumes. Prichard, J. C. The Natural History of Man.

Morris, Charles. Home Life in all Lands. 1907. 1848. 573P947N

910M97Ho 50 colored and 5 plain steel engravings, and 97 wood-cuts
of native races. 21 of the colored are of American Indians.
" "
In the World's Tailor-shop," chap. 2; In the World's
Dressing-room," chap. 3. Many half-tones of costume. Same. 4th ed. 2 vol. 573P947
Quigley, Dorothy. What Dress Makes of Us. 1897.
Moses, H. Designs of Modern Costume, etc. ca.

1815. R391M91 391Q6

Many outline cuts.
29 plates.
Racinet, A. Costume Historique. 6 v. 1888.
Murray, A. S. Costume. (In Encyc. Brit. 9th
REF. F390R12
ed. 1878.) REF. 032E56
500 plates (300 colored) of practically every country and
Historical and descriptive, with 52 wood-cuts and bibliog- period. Bibliography. One of the most complete and
raphy. accurate works on the subject.

National Beauties and their Costumes, n.d. Rhead, G. W. Chats on Costume. 1906. 391R46
391N27B Colored frontispiece and 117 wood-cuts and line engrav-
ings. Bibliography.
15 photographs of women in various European and
Oriental countries.
Modern Practical Design. 1912. 740R46M
National Types and Costumes, n.d. 391N27 Treatment of Drapery in Art. 1904. 743R46
Photographs of feninine types and costumes of Europe 50 diagrams and line drawings, and 32 half-tone plates.
and Asia.
Ridpath, J. C. Great Races of Mankind. 4 v.
Oliphant, Mrs. M. 0. W. Dress, n.d. 646O47 1892. REF. 572R54
"
.(Esthetics of dress. Several illustrations. See Costume " and "" Dress " in general
"
index. Illus-
trations include colored type pictures and many wood-
Album cuts of many nationalities.
Parmentier, A. Historique, Publie sous la
Direction de Ernes': Lavisse. 4 vols. 1900-1907. Universal History. 17 vols. 1896.
REF. F909P25 REF. 909R54U
Each volume has 1300 to 2000 wood-cuts.
same material as his
"
Great Races."
Practically

Pauquet Freres. Illustrations of English and

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

Petersons Magazine. 1856-98. 051P48 St. John, J. A. Oriental Album. 1848.

Monthlyarticles on current fashions. Steel and colored R916.2S1430
plates of current female fashion.
A series of 30 lithographic plates, with a number of
wood engravings.
Pickering, C. Races of Man. 1854. 572P59
12 colored plates of savage types. Songster, William. Umbrellas and their History.
Home. 1871. 391S22
Pictures of Other Folks at n.d. 914.6P37
Historical sketch, with caricatures.
Illustrations of typical costumes.

Seguin, L. G. Picturesque Tour in Picturesque

Cyclopedia of Costume, from the
Planche, J. R.
Lands. 1881. REF. 914S45
Commencement of the Christian Era to the Nearly 100 wood-cuts of European costumes.
Accession of George the Third. 2 v. 1876.
Shoberl, Frederic. World in Miniature. 42 v.
REF. 391P69C
1821-27. REF.
Volume 1, dictionary; volume 2, general history
"
of cos-
"
tume in Europe. Many chromo-lithographs, plain plates Colored engravings of costumes of all nations. (See
and wood-cuts. under separate countries.)
BIBLIOGRAPHY Page One Hundred Forty-three

Simpson, William. Picturesque People: groups Weise & Co. 100 historische Kostum- and Volks-
from all quarters of the globe. 1876. trachten-Bilder. n.d. R391W42
REF. 915S61 Colored plates, no text.
18 colored plates.
Weiss, Hermann. Kostiimkunde; Geschichte der
The Seat of War in the East. 2 v. in 1. 1855- Tracht und des Geraths. 3 v. in 4. 1872-1883.
56. REF. 947S61 G391W42
81 lithographs, introducing uniforms of Crimean War.
I. Die Volker des Alterthums. 2e. Auflage. 1881.
Skeat, W. W. The Past at our Doors. 1911. 454 wood-cuts and 8 chromolithographic plates.
390S62
"
The Story
II. Das Mittelalter, vom 4. bis zum 14. Jahr-
of our Dress." pp. 50-122 Illustrated.
hundert. 2e. Auflage. 1883.
Spalart, Robert von. Versuch tiber das Kostum der 367 wood-cuts and 8 chromolithographic plates.
vorziiglichsten Volker des Alterthums. 3 v.
RG391S73
III. Vom 14ten Jahrhundert bis auf die
1796-98.
Gegenwart. 2 pts. 1872.
Contains colored plates.
418 wood-cuts (900 figures).
Steele, F. M. Beauty of Form and Grace of Ves-
Whitcomb, Merrick. History of Modern Europe.
ture. 1892. 613.7S81
-Esthetics of dress.
1903. 940W58
Several illustrations of costume.
Sturgis, Russell. Costume. (In Universal Cyclo-
1900. v. 3. R031U58 Whole Art of Dress. 1830. 391W62
paedia. pp. 209-12.)
Engraved illustrations of hate, boots, neckwear, etc.
Historical.

Traphagen, Ethel. Costume Design and Illustration. Willemin, N. X. Choix de Costumes Civils et Mili-
"With outline of historic costume. Illustrated. taires des Peuples de 1'Antiquite. 2 v. 1802.

Un Siecle de Modes Feminines. 1794-1894. Quatre RF913W69

ISO engraved plates.
cents toilettes reproduites en couleurs d'apres des
documents authentiques. 1896. 391S57 Woolson, A. G. Dress-reform. Lectures on dress
as it affects the health of women. 1874. 613W91
Uzanne, L. 0. The Sunshade, the Glove, the Muff.
A few wood-cuts.
1883. 391U99S
Historical. Numerous photogravures. Young, J. R. Around the World with Gen. Grant.
Marius. La Femme dans 1'Art. 1893. 2 v. 1879. 910Y73
Vachon,
REF. F759V11 Many wood-cuts of costumes.

400 wood-cuts, from paintings and sculptures, of women Zogbaum, R. F. Horse, Foot, and Dragoons. 1888.
from early Egypt to the present time.
355Z85
Vecellio, C. Costumes Anciens et Modernes. 2 v. Wood-cuts of uniforms of France, Great Britain, Germany,
and the United States.
1860. RF391V41
513 illustrations of all types of people. Text in Italian
and French.
Zur Geschichte der Kostiime; nach Zeichnungen von
Wilhelm Diez [and others.} Herausg. und verlegt
Vollstdndige Volkergallerie in gdreuen Abbildungen
von Braun & Schneider, n.d. (Miinchener
aller Nationen. Vols. 1, 3. 1830-39. G910V92
Colored illustrations of people in various countries of Bilderbogen.) REF. G391Z96
Europe, Asia, and Africa. 119 colored plates (Nos. 296-1212, not consecutive),
showing costumes of Europe and Asia, 4th to 19th centuries.
Wagner, L. Manners, Customs, and Observances. No index or systematic arrangement.
1895. REF. 390W13
Scattered notes on peculiarities of costume. See Index. ABYSSINIA

Walker, Isaac. Dress: as It has Been, Is, and Will Halle, Clifford. To Menelek in a Motor-car. 1913.
Be. 1885. 391W17 916.3H18
General discussion. A few wood-cuts. 72 illustrations from photographs.

Ward, Mrs. E. S. Phelps. What to Wear. 1873.

1906.
Skinner, R. R. Abyssinia of To-day.
No illustrations. 613W25 916.3S62
Webb, W. M.
Heritage of Dress; being notes on Abyssinian costume, pp. 126-30, 135. 15 half-tone plates.

the history and evolution of clothes. Illustrated.

Vivian, Herbert. Abyssinia. 1901. 916.3V85
1908. 391W36
Page One Hundred Forty-four BIBLIOGRAPHY
AFGHANISTAN Powell, R. S. S. Baden-. Natives of British East
Africa "
<In his Sketch es in Mafeking and East
Bouillane de Lacoste, Major de. Around Afghanis-
Afnca ' 1907 PP- 140-46.)
' R916P88
tan. 1909. 915.8B76
.... . . Numerous sketches and waslj-dravvings of natives of South
83 illustrations, many of them snowing costume. ancl East Africa.

Egerton, M. M., Countess of Wilton. Toilette in Shoberl, Frederic. World in Miniature: Africa.
Afghanistan. (In her Book of Costume. 1847. 4 v .
(Vol. I missing.) n. d. REF. 916S55
pp. 449-56.) REF. 391W75 45 colored engravings of Moors and Negroes.
7 wood-cuts.
Sladen, Douglas. Carthage and Tunis. 2 v. 1906.
Hamilton, Angus. Afghanistan. 1906. 915.8H21 916.1S63
Costume in Kabul, pp. 380-84. Several half-tone plates Numerous half-tones and one colored plate of costumes of
of costume. Tunis.

AFRICA Stow, G. W. Native Races of South Africa. 1905.

Adolf Friedrich, Duke

Mecklenburg-Schwirin.
of see
"
in index.
Clothing
From the Congo to the Niger and the Nile. 2 v. .
, .

QIO\OO Lully, tiicnard. Narrative or a len Years Resi-

dence at Tripoli in Africa. Also, An Account of
Angas, G. F. Kafirs Illustrated. Also portraits of the Domestic Manners of the Moors, Arabs, and
other races inhabiting South Africa. 1849. Turks. 2d ed. 1817. *
916. U92
REF. 916.8A58 6 of the 8 colored plates show costume.
d rCferenCeS n COStUme ' 3 C0l red Pktes and
ll wo^cu ts VoMandige Volkergallerie. Erster Band, zweite

Costume. 1815- Abtheilung.-Afrika. 1830. G910V92 (Vol. 1.)

Ferrario,Giulio. Afrique. (In his
Colored illustrations.
29. Afrique. v. 1-2. [v. 5-6.]) REF. F391F37
Colored copperplates of ancient and modern costume. Werner, A. Natives of British Central Africa.
1906 572W49
Hall, R. N. Great Zimbabwe, Mashonaland.
'

Dress of children, pp. 105-06. Most of the 32 half-tone

-, ,
. , rtrt . ni/joTTiw
Rhodesia. 190o. 916.8H17 plates show costume.
Several half-tones of natives.
-, L o,

TJ T -L n ALBANIA. See BALKAN STATES

Johnston, Sir Harry. Liberia. 2 v. 1906.
966J22
"
Clothing," v. 2, pp. 954-70. Several colored plates and ALGERIA
numerous half-tones of natives.
Ayer,
" Emma B. A Motor Flight through Aleena
Kidd, Dudley. Essential Kafir. 1904. 916.8K46
and Tunisia 1911 . . 916A97
19 half-tone plates of costumes. ,,
Illustrated from
,
o
.

Costumes u < A
of Arabs, oft
photographs
Arab women, and of dragomans described.
Savage Childhood: a story of Kafir children.
1906. 572K46 Berbrugger, M. Algerie; historique, pittoresque, et
32 half-tone plates of children monumentale. 3 v. 1843. RF965B48
Jsinrlnif A H.
IT Qnvnna A r,* ^c IVIl^oc-t Lithographs
g and wood-cuts of natives and French soldiers.
Landor, A. Savage-. Across \
\\ildest Africa. I',-! ..

See al?0 v i, pp 13 _ lr (Mo ori s h women), and v. 3, P t. 5

. . ,

2 V. 1907. 916.6L26 (Algerian races).

See
"
Costumes " in Index. Many half-tone plates of
Leeder, S. H. The Desert Gateway. 1910.
African and Moorish dress.
916.5L48
Lloyd, A. B. Uganda to Khartoum: life and ad- 16 plates, from photographs.

ventures on the upper Nile. 2d ed. 1907.

Nesbitt,F.E. Algeria and Tunis. 1906. 916.5N45
916.7L79 70 co ] ored illustrations.
Dress of the Gangs, pp. 173-77. Over 30 illustrations of
costume -
M. H. Hilton-. and Beyond.
Simpson, Algiers
Mackintosh, C. W. Coillard of the Zambesi. 1907. 1906. 916.5S61
BC679M 9 half-tone plates of costume.

About 25

Neufeld, Charles.
half-tones of Zambesi natives.

Prisoner of the Khaleefa. 1899.

^.^
n.d.
^^ AmQng ^ Berberg of Alger ;ai
916.5W68
916.2N48
25 half-tone plates of Soudanese Arab dress. See also ARAB COSTUME and AFRICA
BIBLIOGRAPHY Page One Hundred Forty-five

ARAB COSTUME Demmin, Auguste. Illustrated History of Arms and

Armor 1877 ' '
(Bell's artists' library.)
Bur^hardt, J. L. Dress of the Bedouins. (In his
Notes on the Bedouins and Wahabys. 1831. Nearly 2 000 out.ine illustrations.
v. 1. pp. 230-35.) 915.3B94N
Druitt, H. Manual of Costume as Illustrated by
Bury, G. Wyman. The Land of Uz. 1911.
Monumental Brasses. 1906. 391D79
915.3B975 110 ii] ustra tions (half-tone) of English armor and dress of
the 14th and 15th centuries.
Egerton, M. M., Countess of Wilton. Toilette in
Palestine and Syria. (In her Book of Costume. Ecdeston, James. Introduction to English Antiq-
1847. REF. 391W75 uities. 1847. 913E17
pp. 476-82.) "
o wr>rifi -..t- See Armor " in Index. Outline cuts of armor to about
1660.

Ferrario, Giulio. Costumes Barbaresques. (In his Chas.

Ffou uces> Armor and Weapons. 1909.
Costume. 1815-29. Afrique. v. 1. [v. 5.]
399F43
pp. 354-417.) REF. F391F37 52 figures and 11 plates.
6 colored copperplates of Arabs of Barbary States. .

Ine Armorer and his Craft, from the llth to the

Ireland, J. B. From Wall Street to Cashmere. 16th Century. 1912. R399F43A
1859. 910165 69 diagrams and 32 plates.
Colored frontispiece of Arab costume. . _, .

Inventory and Survey ot the Armories of the

Lane, E. W. Arabian Society in the Middle Ages. Tower of London. 2 v. 1916. R399L84
1883. 915.3L26
Dress 116-18 157
Gardner, J. S. Armor in England, from the Earliest
Times to the 17th Century. 1898. 399G22
Levah, Ambrogio. Arabes. (In Ferrario, G. Cos- 16 colored plates and more tllan 80 other illustration8 .

tume. 1817. Asie. v. 3. [v. 3.] pp. 173- .

261
,
REF 391F37 Foreign Armor in England. 1898. 759S84
8 colored plates and 44 illustrations in the text.
8 colored copperplates of Arab costume.

NeufeU, Charles. Prisoner of the Khaleefa. 1899. G sse > p - - H

Assyria. 1852. 913G678
"
Gift OTM/ie War," pp. 203-397. Cuts of Assyrian armor and mili-
flU.x.rNto
tary dress.
25 half-tone plates of Soudanese Arab dress.
IIewitt > John Ancient Armor and Weapons in
'
Ruete, Emily. Memoirs of an Arabian Princess;
BR921S Eur P e to the End of the 13th Cent ry- 3 v
' -
tr. by Lionel Strachey. 1907.
Female fashions of Zanzibar, pp. 85-91. 6 half-tone 1855. 399H61
plates of Zanzibar Arabs. Illustrations from contemporary monuments.

Sladcn, Douglas. Carthage and Tunis. 2v. 1906.

jjodgetts, J. F.The English in the Middle Ages,
916.1S63 from tne Norman Usurpation to the Stuarts.
Several plates of Bedouins.
1885. 914.2H68
"
See also AFRICA, EGYPT, TURKISH EMPIRE Armor,'' pp. 111-43.

Lac m P Arms and Armor

ARMENIA. See TURKISH EMPIRE ^
Middle Ages, 1869.
' in Antiquity and the
399L14
Same. 1870.
ARMOR AND WEAPONS
Lacroix, Paul. Arms and Armor. (In his Arts in
Brett, Edwin J.and Descriptive Record
Pictorial
the Middle Ages. n.d. pp. 75-105.)
of the Origin and Development of Arms and
REF 970L14
Armor. 1894. R399B84 Colored plate and wood-cuts.]

Calvert, A. F. Spanish Arms and Armor. 1907. Macklin, H. W. Brasses of England. 1907.
399C16 739M15B
3S6 illustrations.
Wood-cuts and descriptions of armor, 1277-1625.

Davits A C Fox-. Art of Heraldry; an Encyclo- _ Monumental Brasses . 1905 . 739M 15

paedia of Armory. 1904. REF. 929.2D25A ..
Armoi.,, 13th _ 17th centuries . Wood-cuts from rub-
Plates (some colored) and cuts of armor. bings.
Page One Hundred Forty-six BIBLIOGRAPHY
Michaud, J. F. History of the Crusades. 2 v. Spencer, W. B. Native Tribes of Central Australia.
n.d. REF. 940M62H 1899. 572S74N
"
100 plates by Gustave Dor6. Clothing, weapons, implements, decorative art," pp.
567-655. Many half-tones and wood-cuts of native cos-
Saxon, Mrs. A. L. Belt and Spur: stories of the
knights of the Middle Ages. 1883. 940S27 Northern Tribes of Central Australia. 1904.
16 colored illustrations from contemporary MSS.
572S74
"
Scott, Sir J. S. D. British Army. 3 v. 1868-1880. Clothing and ornament," pp. 683-95. Half-tones and
cuts of dress.
355S42
"Body armor," v. 1, pp. 192-222. Many plates, with Thomas, N. W. Natives of Australia. 1906.
notes.
(Native races of the British Empire.) 572T45N
Seymour, T. D. Homeric Arms. (In his Life in "
Dress," pp. 63-69. Half-tone plates.
the Homeric Age. 1907. pp. 629-82.) 913S52
13 cuts of arms and armor.
AUSTRIA-HUNGARY
Stuyvesant, R. Collection of Arms and Armor of
Rutherford Stuyvesant, 1643-1909. 1914. An Accurate and Impartial Narrative of the War,
R399S93 .
Comprising the Campaigns of 1793, 1794,
. .

50 plates. and 1795. 1796. 821A172

the Ro- Has 2 colored plates of Hungarian foot-soldiers.
Trumble, Alfred. Sword and Scimetar:
mance of the Crusades. 1886. 940T86 Alexander, William. Picturesque Representations
The illustrations, by Dor6, show "costumes of the Cru-
saders. More plates in Michaud, Historry of the Cru- of the Dress and Manners of the Austrians. n.d.
sades." REF. 391A37P
50 colored engravings, with descriptive text.
Viollet-Le-Duc, E. E. Military Architecture. 1879.
623V79 Bertrand de Moleville, A. F. Costume of the Hered-
Many wood-cuts of fortifications and weapons of the
House
Roman and mediseval periods. itary States of the of Austria. 1804.
R391B55
See also the entries under GENERAL WORKS 50 colored engravings.

ASIATIC ISLANDS. See MALAYSIA, PHILIPPINE Boner, Charles. Transylvania; its Products and
ISLANDS its People. 1865. 914.39B71
" "
See Costume in Index. 2 plates (1 colored) and 3 cuts
ASSYRIA of costume.

Ferrario, Giulio, and Costumes des Assy-

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

Gosse,P.H. Assyria. 1852. 913G678 Egerton, M. M., Countess of Wilton. Toilette in

"
Costume," pp. 437-87. 20 cuts. Military costume, Hungary. (In her Book of Costume. 1847.
pp. 203-397.
pp. 355-59.) REF. 391W75
Layard, A. H. Nineveh and its Remains. 1852. 2 wood-cuts.

913L42
Eighty Club. Hungary: its people, places, and
Dress, pp. 248-63. A few wood-cuts show costume. *
politics. 1907. 914.39F34
Maspero, G. Life in Ancient Assyria. (In his Life 8 half-tone plates of national costume, peasant and official.
in Ancient Egypt and Assyria. 1892. pp.
913M41 Gerard, E. The Land beyond the Forest: facts,
194-376.)
Cuts of costume from Assyrian antiquities. figures, and fancies from Transylvania. 2 v.
1888. 914.39G35
Contents " of each volume.
"
AUSTRALIA See 6 photogravures and
15 wood-cuts of costume.
Lumholtz, Carl. Among Cannibals in Australia,
and the Aborigines of Queensland. 1889. Grohman, W. A. Baillie. The Land in the Moun-
tains: past and present of Tyrol. 1907.
919.4L95
See
"
Costume " in index. Wood-cuts of aboriginal cos- 943.7G87
tume. A few half-tone plates of costume.
BIBLIOGRAPHY Page One Hundred Forty-seven

Hering, G. E. Sketches on the Danube, in Hungary Brailsford, H. N. Macedonia: its races and their
and Transylvania. 1838. R914.39H53 future. 1906. 914.96B814
Lithographic illustrations, from drawings by the author. Several half-tone plates of costume.
'

..... , v fi. .,., DeWindt, Harry. Through Savage Europe. 1907.

Illuxtnrte Geschichte der K. K. Oesterreichischen
Q14Q7D'i2
Armee. 2 V. 1888. G355I29 About 30 illustrations of costume.
62 colored plates.
Durham, M. E. Burden of the Balkans. 1905.
Koppen, F. von. Austria-Hungary. (In his Armies Q^Q 6D96
of Europe, illustrated. 1890. pp. 36-51.) 12 illustrations of costumes of Albania and Montenegro.
355K77 _ Through the Lands of the Serb. 1904.
2 double colored plates (12 illustrations, including 1 of rvrTknf
naval uniforms) and 4 text illustrations of Austrian uniforms. y 14.97U9O
rr r ri * TT '
A f~T Illustrations of costumes of Albania, Montenegro, Servia.
Kuhn, Gen. Austro-Hunganan Army.
von. (In
Armies of To-day. 1893. pp. 260-310.) Evans, A. J. Through Bosnia and the Herzegovina
355M57 on Foot. 2rl eel. 1877. 914.39E92
13 outs of uniforms. Numerous wood-cuts and scattered Deferences on dress.

Mitton, G. E. Austria. 1914. 914.36M68 Fox, Frank. Bulgaria. 1915. 949.7F79

Colored plates. 25 colored pictures of costums.

Eossi, Francesco. Costume Ancien et Moderne des Fraser, J. F. Pictures from the Balkans. 1906.

Hongrois. (In Ferrario, G. Costume. 1827. 914.96F84

Enrone V 6 TV 171 ) REF 391F37 Colored frontispiece and 40 full-page illustrations from
photographs.
6 colored copperplates of Hungarian costumes, from Attila
to peasants of 1825. Plates 3 and 4 show military uniforms.
Henderson, P. E. A British Officer in the Balkans.

M. L'Autriche. 6 v. 1821. 1909. 914.36H49

Serres, P. T. de.
F914.36S48 Herbert, W. von. By-paths in the Balkans. 1906.
48 engravings, representing more than 105 different
914 96H53
"
Costumes and customs," pp/133-46.
Shoberl, Frederic. World in Miniature. Austria. TT .
01 . .,,
_. TT , .

TI , Aand*,. Henna, George. Sketches on the Danube, in Hun-

2 V nd ' REF - 914 36SO
'

; 9 colored
, engravings. gar ; and Transylvania. 1838. R914.39H53
32 ;
.

Lithographic illustrations from drawings by the author.

Smith, F. B. Budapest; the city of the Magyars.
1903. 914.39S64 Holbach, M. M. Bosnia and Herzegovina. 1909.
Colored plate and about 50 half-tone illustrations of 914.39H72
Hungarian costumes. Photographs of costume.

Trollope, Frances. Vienna and the Austrians. 2 v. Hutchinson, F. K. Motoring in the Balkans. 1909.
1838. 914.36T84 914.36H97
7 plates of costume. Numerous illustrations of dress, reproduced from photo-
graphs.

Uniforms of the Six Great Powers of Europe

Standard Denary. Sup. 1903. p. 21870
(In

^^ ^ ^^^^ ^ ^ ^.^ ^
p

Section of colored plates, showing 14 Austrian uniforms.

REF.423F98SU
^^ ^ 32 half-tone plates,
"
Kustenlande

costume
,

914 3?J12
Istria

from photographs; many line-draw-

''
, and

ings ' Consult Index under

Waring, G. E. Tyrol and the Spirit of the Alps.
1880. 914.37W27 Koppen, F. von. Turkey and the States of the Bal-
ls wood-cuts of costume. kan Peninsula. (In his Armies of Europe, illus-
XT trated. 1890. pp. 73-78.) 355K77
AZTEC COSTUME. See INDIANS OF NORTH AMERICA
Colored plates of uniforms of Servia (5 figures) Bulgaria ;

(4 figures); Roumania (16 figures, 82 text illustrations).

BALKAN STATES The Balkan Trail. 1906.
Moore, Frederick.
Asboth, J. de. Official Tour through Bosnia and 914.96M82
Herzegovina. 1890. 914.39A73 Observer in the Near East. 1907. 949.7O14
16 wood-cuts. Occasional references to costume. About 30 plates of Balkan costumes.
Page One Hundred Forty-eight BIBLIOGRAPHY
Shoberl, Frederic. World in Miniature: Illyria and BRIDAL COSTUME
Dalmatia, and the adjacent countries. 2 v.
jfn E. Of ceremonial and bridal dress.
Arittt . (In
1827 ' REF. 914.37S55
her Costume. 1906. pp. 211-24.) 391A69
32 colored engravings of Balkan costumes.
H^chinson, H. N. Marriage Customs in Many
Singleton, Esther. Turkey and the Balkan States,
1908. 949.6S61
Lands 1897 " " 392H97
as described by great writers.
Cuts of bridal and other wedding costumes.
49 half-tone plates, Bulgarians, Servians, Croatians,
Albanians, etc.
Ma|lj Mrs L j W ooings and Weddings. 1900.
Stratilesco, Tereza. From Carpathian to Pindus: 392M65
pictures of Roumanian country life. 1906.
949 8S89 BRITTANY. See FRANCE
"
CDstu-nos," pp. 112-17. Most of the 63 half-tone plates

BROOKLYN
Wace, A. J. B. The Nomads of the Balkans. 1914. ,7
Vanderbllt
, ,.,,
>
~
G - LT -
^
Dress of
f iU
Flatbush.
, .,
(In her
914 96W11
"The Costumes Social history of Flatbush. 1881. pp. 127-48.)
Chapter IV: of.Samarina."
974.72 V22
Wyon, Reginald. The Balkans from Within. 1904.
914.97W99 BULGARIA. See BALKAN STATES
See also TURKISH EMPIRE
BURMA. See INDIA
BEDOUIN COSTUME. See ARAB COSTUME, EGYPT,
TURKISH EMPIRE CANADA
Campbell, W. W. Canada. 1907. 917.1C19
BELGIUM Colored plates.

Anderson, Mrs. Larz. The Spell of Belgium. 1915.

Hind, H. Y. Explorations in the Interior of Lab-
914.93A54 racj or . 2 v. 1863. 917.19H66
Colored plates. _, ...
Chromo-lithographs and wood-cuts of trappers and
Boulger, D. C. Belgian Life in Town and Country.
1904. 914.93B76 Narrative of the Canadian Red River Exploring
4 half-tones of costume.
Expedition of 1857 and of the Assiniboine and
Edwards, G. W. Some Old Flemish Towns. 1911. Saskatchewan Exploring Expedition of 1858.
914.93E26 2v. 1860. 917.1H66
Colored illustrations, and others. Chromo-lithographs and wood-cuts of Canadian Indians
and their costume, (v. 2).
Holland, Clive. The Belgians at Home. 1911.
914.93H73 CARICATURES AND CARICATURISTS
Colored illustrations, and others.
T, TT 11 j j T> i /T i
Under this heading will bs found such works as are related to the
Koppen, F. von. Holland and Belgium. (In his general subject of Costume
Armies of Europe. 1890. pp. 70-72.) 355K77 Anma c A $ La Com6die de
(BeHall d)
Colored plate (9 figures) and 2 text illustrations of Belgian XT i
JNotre
m T -i-j.' i i i_- i i
uniforms. lemps. -La civihte les habitudes les
G. W. 1908. 949.3056B munars-les coutumes-les manieres^et les man-
Omond, Belgium.
Colored illustrations. les de notre epoque. 2d ed. 2 vols. 1874.

Painted by Ame^e
REF 741A76
'

Bruges and West Flanders. Pencil and pen studies

.
.^ by Bertall.
Forestier. 1906. 914.93O56
13 colored plates of Flemish costume. Boyd, A. S. Glasgow Men and Women, Their
Children, and Some Strangers within their Gates.
Shoberl, Frederic. World in Miniature. The
1905 ' REF. 741B78
Netherlands, n.d. REF. 914.92S55
IS colored engravings of Dutch and Belgian costume.
Brinton, S. The Eighteenth Century in English
BOHEMIA. See AUSTRIA-HUNGARY Caricature. 1904. 741B85
T e T> o 16 illustrations by Bunbury, Hogarth, Gillray, and
BOSNIA. See BALKAN STATES Rowiandson. 2 colored prints.
BIBLIOGRAPHY Page One Hundred Forty-nine

Carkton, G. W. Our Artist in Cuba. 1865. Furniss, H. Pen and Pencil in Parliament. 1897.
741C28 741F98
Leaves from the sketch-book of a traveller during the Illustrated by the author.
winter of 1864-5. 50 drawings on wood.
- Our Gillray, James. Works of James Gillray, the Cari-
Artist in Peru. 1866. 741C28O
caturist, with the Story of his Life and Times.
Leaves from the sketch-book of a traveller during the
winter of 18S35-6. 50 drawings on wood. Edited by Thomas Wright, n.d. REF. 741G48
Gary, E. L. Honore Daumier. A collection of his Grego, Joseph. Rowlandson, the Caricaturist. A
social and political caricatures, together with an selection from his works, and a sketch of his life.
introductory essay on his art. 1907. 741C33 2 vols. 1880. REF. 741G81R
76 full-page illustrations, depicting types in France about 400 illustrations. Wood-cuts. Political and social
the year 1830. caricatures of his period.

Chesson, W. H. George Cruikshank. n.d. Hammerton, J. A. Humorists of the Pencil. 190.5.

BC955C 741H22
55 illustrations from his drawings, in the order of their 86 illustrations by the leading humorous artists of the day.
date of publication.
Jerrold, Blanchard. Life of George Cruikshank, in
Cruikshank, Bachelor's own Book;
G. or, the two epochs. 2 vols. 1882. BC955J
Progress of Mr. Lambkin (Gent.) in the pursuit Numerous illustrations.

of pleasure and amusement, and also in search of A Series of Original Portraits and
Kay, John.
health and happiness. 1844. 741C955B Caricature Etchings. With biographical sketches
George Cruikshank's Omnibus. Ed. by Laman and illustrative anecdotes. 2 vols. 1877.
Blanchard, Esq. 1869. 820.8C95 REF. 741K23S
Illustrated with 103 engravings on steel and wood. 361 portraits, drawn and engraved by John Kay during the
latter part of the 18th century.
Cruikshank's Water Colors. With an introduc-
Parton, James. Caricature and Other Comic Art
tion by Joseph Grego. 1903. 741C955
68 illustrations in color, illustrating Dickens' " Oliver
in all Times and Many Lands. 1877. 741P27
"
Twist,"
"
Ainsworth's The Miser's Daughter," Maxwell's 203 illustrations in caricature from the time of the
" History
of the Irish Rebellion in 1798," and Emmett's Romans to the present day.
Insurrection in 1803."
Paston, George. Social Caricature in the Eighteenth
Currier and Ives. Caricatures
Pertaining to the
Century. 1905. REF. 741P29
Civil War; reproduced from a private collection Over 200 illustrations.

of originals. 1892. REF. 741C97 F. G. Memoir

Stephens, of George Cruikshank.
Dore, P. G. Two Hundred Sketches, Humorous 1891. BC955S
44 illustrations from his drawings. Frontispiece portrait.
and Grotesque. 1867. REF. 741D69
8(5 pages, containing caricatures, chiefly of the French Thackeray, W. M. On the Genius of George Cruik-
and "
Ejigiisn.
shank. Reprinted verbatim from The
T
est- W
Du Maurier, G. Pictures of English Society, from minster Review." 1884. BC955T
"Punch." 1884. 827D88P With upwards of 40 illustrations, including all the original
41 illustrations of English society. wood-cuts.

Social Pictorial Satire : reminiscences and appre- CARTHAGE. See AFRICA

ciations of English illustrators of the past gen-

CENTRAL AMERICA
eration. 1898. 741D88S
Davis, R. H. Three Gringos in Venezuela and
23 illustrations.
Central America. 1896. 918.7D26
Everitt, G. English Caricaturists and Graphic Hu- 3 plates of costume.
morists of the 19th Century: how they illustrated
Putnam, G. P. The Southland of North America.
and interpreted their times. 1893. 741E93 1913. 917.28P99
Many wood-cuts. Illustrations from photographs.

Furniss, H. Confessions of a Caricaturist. 2 vols. CENTRAL ASIA

1902. BF989
Autobiography of Harrv Furniss, with many illustrations Hedin, S. A. Scientific Results of a Journey in
from his sketches of English life. Central Asia, 1899-1902. 6 vols. 1904-07.

Harry Furniss at Home. Written and illustrated REF. 508H45

Vol. VI, Part III, has many illustrations of racial types
by himself. 1904. BF989H from western and central Asia.
Page One Hundred Fifty BIBLIOGRAPHY
CEYLON Spielman, MH '. '. Kate Greenaway. 1905. BG798S
53 colored plates and many sketches in black and white;
Campbell, James. Excursions, Adventures, and nearly all of children.

Field-sports in Ceylon. 2 v. 1843. 915.4C188

8 colored plates of natives, and
Wr^ u H M Handbook of the Philippines.
*'
Dress, v. 1, pp 405-07. .
,
7 other plates of costume. 1907. 919.1\\94

H. W. The Book of Ceylon. 1908.

'"'""" '""" l ^"^ """" ' F " ipi0<> Ch " dren -

Cave,

Illustrations from photographs.

Golden Tips: a description of Ceylon

"
and its Schmidtmeyer, Peter. Travels into Chile, in the
1900. 915.4C37G Years 1820 and 1821. 1824. REF. 914S45
great tea industry.
See "Costume" in Index. Several half-tone plates of 30 Plates (11 colored) of Spanish and Indian costumes of
Chile.
costume.

Corner, Caroline. Ceylon. 1908. 915.4C81 CHINA

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

REF. 759A61 Breton de la Martiniere, J. B. J. China: its cos-

Heliotypes of paintings, from Corregio to late 18th etc. 4 v. in 1824.
tume, arts, manufactures, 2.
Century '

REF. 915.1B84
Boughton, G. H. Sketching Rambles in Holland. About 80 colored engravings of cost umes of China, Tar-
1885. 914.92B75 tary, and Thibet.

Includes several wood-cuts of Dutch children.

Browne, G. W. China. (In his New America and
Bryson, Mrs. M. I. Child Life in China. 1900. the Far East. 1907. v. 4-5.) 910B882
8 illustrations of Chinese dress. 915.1B91 13 plates (3 colored) and numerous cuts of costume.

Earle, A. M. Child Life in Colonial Days. 1899. Bryson, Mrs. M. I. Child Life in China. 1900.
390E12 915.1B91
"
Children's dress," pp. 34-62. Half-tone illustrations Several illustrations of costume.
from photographs.
Carruthers, A. D. M. Unknown Mongolia. 2 v.
Greenaway, Kate. (Various Illustrated Children's
915 -!C31
Books.)
Kidd, Dudley. Savage Childhood. 1906. 572K46 China in Miniature. Containing illustrations of
32 half-tone plates of Kafir children. the manners, customs, character, and costumes of
Marston,A. W. Children of India, n.d. 915.4M37 the people of that empire. 1833. 915.1C539
Several wood-cuts of children. 16 colored engravings.

Menpes, Dorothy. World's Children. 1903. 390M54 Chitty, J. R. Things Seen in China. 1909.
100 colored plates, by Mortimer Menpes.
01 r i PCJ.Q
Mrs. M. P. Dress as a Fine Art; with 50 half-tone illustrations.
Merrifield,
suggestions on children's dress. 1854. 391M56 Doolittle, Justus. Social Life of the Chinese. 2 v.

Miln, Louise. Folk of Lands. 1865. 915.1D69

Little Many 1899.
910M65 15 illustrations, wood-cuts, many showing costume.

USreferencesintext ' About 50 halMone P lates M. M., Countess of Wilton. Toilette in

ofSren Egerton,
D ikT_Li_I j ^i r> T China. (In her Book of Costume. 1847. pp.
Peary, R. E. Northward over the Great Ice. 2 v. .
._ .. ~ OM w~~
N
EEF 39nV- '

<* ^tlcu,,
Includes several illustrations of Eskimo children.

Eyries, J. B. B. La Chine: ou Costumes, moeurs,

Schwatka. Frederick. Children of the Cold. 1899.
et usa es des Chmois. (In his L Angleterre.
9198S41C
"
How their clothes are made," pp. 171-74.
- d< ) REF< F39lE98
Half-tone
and wood-cut plates of Eskimo children. Illustrated by colored plates.
BIBLIOGRAPHY Page One Hundred Fifty-one

Ferrario, Giulio. Costume Ancien et Moderne des Thomson, John. Illustrations of China and its
Chinois. (In his Costume. 1815. Asie. v. 1. People. 1873. REF. 915.1T481
REF. 391F37 200 photographs, with descriptive letter-press.
[v. 1.] pp. 37-366.)
Over 20 colored copperplates of costumes of China and
Formosa. See also JAPAN

Hardy, E. J. John Chinaman at Home. 1905. COLONIAL COSTUME. See UNITED STATES
915.1H26
7 plates (half-tones) of costume, pp. 91, 130-37.
COREA. See KOREA

Hawks, F. L. Narrative of the Expedition of an CORSICA. See FRANCE

American Squadron to the China Seas and Japan,
COSTUME (!N POETRY)
1852, 1853, and 1854, under Commodore M. C.
Perry, v. 1. 1856. REF. 915.2U58 W. Satirical Songs and Poems on Cos-
Fairholt, F.
Lithographs and wood-cuts of Chinese and Japanese tume, from the 13th to the 19th Century. (Percy
costume.
Society. Early English poetry. 1840-52. v.
*
Kemp, E.G. The Face of China. 1909. 915.1K32 27.) 820.8P43
A few colored plates.
CUBA
Mrs. Archibald. Round about
Little, My Peking
Garden. 2d ed. 1905. 915.1L77R Browne, G. W. Cuba. (In his New America and
"
and rank distinctions," pp. 60-72.
Official Several the Far East. v. 6. 1907.) 910B882
half-tones and one colored plate of costume. 3 plates and several cuts of costume.

McNabb, R. L. Women of the Middle Kingdom. Olivares, Jose de, and others. Cuba. (In Bryan,
1903. 915.1M16 W. S. Our Islands and Their People. 1899.
"
Dress," etc., pp. 25-33. 10 of the 18 half-tones show v. 1. REF. 917.29B91
pp. 9-256.)
costume.
Half-tone and colored illustrations, showing costume.
Martin, W. H. P. Awakening of China. 1907.
951M38A DENMARK
Several plates of costume.
Belin. Prime du Journal les Modes Parisiennes.
Mason, G. H. Costume of China; illustrated by Costumes de Suede, Norvege, Danemark, Hol-
sixty engravings [colored], with explanations in lande, et Allemagne. n.d. RF391B43
English and French. 1804. REF. 391M39 No text.

Contains colored plates.

Butlin, F. M. Among the Danes. 1909. 914.8B98
China. 1909. 915.1B63 Illustrations in color and in monotone.
Menpes, Mortimer.
Colored illustrations in addition to 64 facsimile reproduc-
tions in black-and-white.
Colored Costume Plates. A series of 19 fine and
characteristic illustrations of the costumes of
Milne, Mrs. Leslie. The Shans at Home. 1910. Denmark. P1810. R391C71
915.9M65 Each plate has a short description in Danish and German.
Many photographs.
Egerton, M. M., Countess of Wilton. Toilette in
Norman, Henry. Peoples and Politics of the Far Denmark. (In her Book of Costume. 1847.
East. 1895. 915N54 pp. 352-54.) REF. 391W75
Half-tone cuts of Chinese dress. 2 wood-cuts.

Same. 1904. European Delineator. Containing brief but inter-

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

Shoberl, Frederic. World in Miniature. China. Meyrick, S. R. Costume of the Original Inhabitants
2 v. 1827. REF. 915.1S559C of the British Islands. 1821. REF. 391M61
30 colored engravings, with descriptive text. Includes colored plate of 2 ancient Danish costumes.
Page One Hundred Fifty-two BIBLIOGRAPHY
DUTCH COSTUME. See NETHERLANDS Wilkinson, Sir J. G. Egyptians in the Time of the
Pharaohs. Crystal Palace Egyptian collections.
EGYPT 1857. 932W68E
"
Dress," pp. 32-43. 2 colored plates of textiles and mar.y
Clark, E. L. Daleth; or, The Homestead of the
wood-cuts of costume.
Nations. 1864. 916.2C59
of ancient Egyptian Manners and Customs of the Ancient Egyptians.
Reproductions (some colored) art,
showing costume. Rev. ed. 3 v. 1878. 932\V68
" "
See Dress in index, v. 3. Plates (2 colored) and wood-
Curtis, W. E. Egypt. (In his Egypt, Burma, and cuts of costumes.
British Malaysia. 1905. pp. 11-222.) 910C98
8 half-tone plates of modern Arab, Bedouin, and Egyptian Popular Account of the Ancient Egyptians. 2 v.
costume. 1854. 932W68P
" "
See Dress in index, v. 2. Many wood-cuts.
Davis, R. H. Cairo [and] the Englishmen in Egypt.
(In his Rulers of the Mediterranean. 1894.
ENGLAND
pp. 102-77.) 910D26R
Notes on costume and 10 plates and cuts of modern Andrews, Alexander. Eighteenth Century; or, Illus-
Egyptian dress and uniforms.
trations of the manners and customs of our
Ferrario, Giulio, and others. Egypte Ancienne et grandfathers. 1856. 914.2A56
"
Moderne. (In his Costume. 1815-29. Afrique. Costume," pp. 20-40.
v. 1. pp. 26-247.) REF. F391F37 Ashbee, C. R. The Masque of the Edwards of
Colored copperplates of ancient and modern Egyptian
costumes. England; being a coronation pageant to celebrate
the crowning of the King. 1902. REF. 822A81
Hope, Thomas. Costume of the Egyptians. (In Large folio illustrated, printed in colors.
his Costume of the Ancients. 1841. v. 1.

REF. 391H79 Ashdown, Mrs. C. H. British Costume during

pp. 1-9. pi. 1-11.)
Outline illustrations of male and female costume. Nineteen Centuries (civil and ecclesiastical).
1910. 391A82
Kelly, R. T. Egypt. 1902. 916.2K29 450 engravings, 110 plates, and 9 colored reproductions.
7 plates of costume.
Ashton, John. Dawn of the 19th Century in Eng-
Lane, E. W. Account of the Manners and Customs 2 v. 1886. 942A82D2
land.
of the Modern Egyptians. From the 3d ed. Men's dress, v. 2, chap. 30-31. Ladies' dress, v. 2, chap.
3 v. in 1. 1846. 916.2L26Ac 31. Numerous caricatures from contemporary engravings.

Personal characteristics and dress, pp. 49-80. Female

ornaments, pp. 211-28. Many wood-cuts.
Social England under the Regency. 2 v. 1890.
914.2A82S2
Same. 5th ed. 2 v. 1871. 916.2L26A2 Numerous outline cuts and 7 plates of costume, 1811-20.
Personal characteristics,~ v. 1, pp. 31-64. Female orna-
n^nf a v.
tr 9 T^w *! 99.1
2, pp. 312-24. Same cuts as earlier edition.
ments, Same. 1899.

Maspero, G. Life in Ancient Egypt and Assyria. Social Life in the Reign of Queen Anne. 1897.
1892. 913M41 390A82
Wood-cuts of costumes.
Outline cuts from Egyptian monuments.

Barfield, T. C. Longmans' Historical Illustrations

Mayer, Luigi. Views in Egypt. 1801.
England in the Middle Ages. 1909-10.
R916.2M46
48 colored plates. R723B24
72 plates, with explanatory text, showing examplos of
architecture and costume from the llth to the loth century.
Petrie, W. M. F. Arts and Crafts of Ancient Egypt.
1909. 709P49 Barnard, F. P. Costume, Military and Civil. (In
Photographs of jewellery, personages, etc. his Companion to English History. Middle Ages.
1902. pp. 90-115.) REF. 942B25
Salmon, P. R. The Wonderland of Egypt. 1915. Wood-cuts. Bibliography.
916.2S17
Benham, William. Tower of London. 1906.
Thackeray, Lance. The People of Egypt. 1910.
942B46
916.2T36 3 half-tone and 3 colored plates of costume before 16th
32 colored plates; also 37 illustrations in black-and-white. century.
BIBLIOGRAPHY Page One Hundred Fifty-three

Besant, Sir Walter. London in the 18th Century. Gouts, Joseph. Practical Guide for the Tailor's
*
1903. 942.1B55 Cutting-room. 1848. 687C87
"
Dress," chap. 4, pp. 250-62. Half-tones, from con-
temporary, sources, of costumes. The Cries of London, as they are Daily Exhibited in
London in the Time of the Stuarts. 1903. the Streets. 1804. REF. 821C92
* Embellished with 48 elegant characteristic engravings,
942.1B55L colored.
" "
Dress and manners,"
" weddings and funerals," pp.
298-310; sports and amusements," pp. 328-337. Half-
Dallaway, James. Inquiries into the Origin and
tones from contemporary sources.
Progress of the Science of Heraldry in England.
London in the Time of the Tudors. 1904.
1793. REF. 929.6D11
*
942.1B55Lo 12 plates (5 colored) and 1 text illustration of early English
" " costume.
" Dress, Weddings," pp. 303-15; soldiers," pp. 316-22;
prentice," p. 329. Numerous half-tones, mostly from
contemporary sources. 1897. 391D247
Davenport, Cyril English Regalia.
*
Mediaeval London. 2 v. 1906. 942.1B55M Colored plates.
Half-tones from contemporary sources.
Davey, Richard. Pageant of London. 2 v. 1906.
Boulton, W. B. Amusements of Old London. 2 v. 942.1D248
" "
1901. 790B76 See Dress in index.
Includes colored plates showing costumes.
Davies, R. English Society of the Eighteenth
Brinton, S. Eighteenth Century in English Cari- 1907. 759D25
Century in Contemporary Art.
cature. 1904. 741B85 4 illustrations in color and 33 in monochrome.
2 color-prints, 13 half-tones, of illustrations by Bunbury,
Hogarth, Rowlandson, Gillray. Dawson, Thomas. Memoirs of St. George and the
Burges, William. Architectural Drawings. 1870. Order of the Garter. 1714. REF. 929.7D27
R744B95 Engraving of George I, and extra illustration of the
regalia.
Plates 70-74 exhibit male, female, military, and ecclesi-
astical costumes, from Anglo-Saxon times to the late loth
century. Day, T. A. Illustrations of Mediaeval Costume in

England. 1853. R391D27

Calthorp, D. C. English Costume Painted and
Colored plates.
Described. 4 v. 1906. 391C16
v. 1, Early English; v. 2, Middle Ages; v. 3, Tudor and Doran, J. London in Jacobite Times. 2 v. n.d.
Stuart; v. 4, Georgian. Civil costume only. 72 colored
plates and numerous wood-cuts. 942.1D69
Plates of dress of the period.
Carter, John. Specimens of the Ancient Sculpture
and Painting in this Kingdom, from the Earliest H. Manual of Costume,
Druitt, as Illustrated by
Period to Henry VIII. 2 v. 1786. Monumental Brasses. 1906. 391 D79
110 half-tone illustrations of English armor and dress
REF. 709C32 of 14th and 15th centuries.
Many of the 120 engraved plates show costume.
Dryden, Alice. The Art of Hunting; or, Three
Same. Reprinted. 1887.
Hunting MSS. 799D799
Clark, J. C. The Characters of Charles Dickens, Costume, pp. 89-101, covers period from 13th to. 17th
in a series of Original Water Color centuries. A few wood-cuts.
Portrayed '
*
Sketches. P1898. 823C59 Dugdale, Sir William. Antiquities of Warwickshire.
21 plates.
1656. REF. 913D86
Clinch, G. English Costume from Prehistoric Times Some of the illustrations show dress.

to the End of the 18th Century, n.d. 391C64

Du Maurier, George. English Society. 1897.
Cook, C. C. Costumes of the Time of the French REF. 741D88E
Revolution, 1790-1793; together with English 89 plates, with an introduction by W. D. Howells.
costumes, 1795-1806. Drawn from the collection
English Society at Home. 1880. REF. 741D88
of Victorien Sardou. 1889. 391G95
63 of Du Maurier's contributions to Punch, engraved by
65 etchings, executed by Guillaumot fils, colored by hand. Joseph Swain, and printed on India paper.
40 of French, 25 of English costume.

Costumes of the University of n.d. Eccleston, James. Introduction to English Antiqui-

Cambridge,
R378C84 ties. 1847. 913E17
24 colored illustrations, on one plate, showing the costumes See
"
Costume " and
"
Armor " in index. Outline cuta
worn in the different colleges of the University. of English costume to about 1660.
Page One Hundred Fifty-four BIBLIOGRAPHY
, Pierce. Tom & Jerry: Life in London; or, Hardie, Martin. John Pettie, R.A., F.R.S.A
The day and night scenes of Jerry Hawthorn and 1908. BP511H
Corinthian Tom. [Reprint, n.d.] 827E28T 50 illustrations in color, many of use for Scottish and
English costume.
Colored plates, by I.R. and G. Cruikshank, of early 19th
century costumes. Harris, M. D. Life in an Old English Town. 1898.
Egerton, M. M., Countess of Wilton. Toilette in 942.4H31
2 plates of dress.
England. (In her Book of Costume. 1844.

pp. 39-175.) REF. 391W75 Haweis, M. E. Chaucer for Children. 1900.

Numerous wood-cuts. J821C496H
Wood-cuts of early English costumes.
Eyries, J. B. B. L'Angleterre, ou Costumes,
Moeurs, et Usages des Anglais, n.d. Hill,Georgiana. History of English Dress, from
REF. F391E98 the Saxon Period to the Present Day. 2 v.
Illustrated by colored plates. 1893. 391H64
13 engravings, with descriptive notes.
Fairholt, F. W. Costume in England; a history of
dress, from the earliest period till the close of the Hodgetts, J. F. The English in the Middle Ages,
18th century. 1846. 391F17C from the Norman Usurpation to the Days of the
About 600 wood-cuts. Stuarts. 1885. 914.2H68
Armor, pp. 111-43; civil dress, pp. 147-75.
Same. 3d ed., enl. 2 v. 1885. (Bohn's artists'

391F17 Holbein, Hans, the Younger. Portraits of Illustrious

library.)
v. 1. History; v. 2, Glossary. About 700 wood-cuts. Personages of the Court of Henry VIII. 1828.
Bibliography by H. A. Dillon.
REF. 769H72
Same. 4th ed. 2 v. 1896. Contemporary costume.

Gardner, J. S. Armor in England, to the 17th Cen- Holt, E. S. Ye Olden Time; English customs in

1898. 399G22 the Middle Ages. 1884. 914.2H75

tury.
16 colored plates and more than 80 other illustrations. Clothing, pp. 72-98. Frontispiece, costumes of Henry IV.

Gibb, William. The Royal House of Stuart, Illus- Hughes, Talbot. Dress Design. 1913. 646H89
trated from Relics of the Stuarts. 1890. Illustrated from old examples. Includes 35 pages of
collotypes.
REF. 920G43
40 colored plates, many showing wearing apparel.
Old English Costumes, 18th-19th Centuries.
P1913. 391H89
Godfrey, Elizabeth. Home Life under the Stuarts. Colored plates.
1603-1649. 1903. 390G58
"
Dress and fashion," chap. 17. Illustrations showing Jerrold, Douglas, and others. Heads of the People;
dress.
or, Portraits of the English. Drawn by Kenny
Social Life under the Stuarts. 1904. 390G58S Meadows. 2 v. 1st pub. 1838-40. 827J563H
18 plates, engravings and half-tones. Characteristic pictorial sketches from every grade of life.

Gronow, R. H. Reminiscences and Recollections of Jewitt, Llewellynn. Half -hours among Some English
Capt. Gronow, 1810-60. 2 v. 1889. Antiquities. 1877. 913J59
* Among arms and armor, pp. 102-13; among
920G876R personal
ornaments, pp. 203-33. Outline illustrations.
25 etched and aquatint illustrations, with hand-colored
duplicates. Same. Rev. and enl. ed. 1880.
Guillaumot, A. E. Costumes of the Time of the Jusserand, J. J. English Wayfaring Life in the
French Revolution, 1790-1793. Together with Middle Ages. 2d ed. 1889. 914.2J96
English costumes during the years 1795-1806. Many cuts, from contemporary sources, of 14th century
costumes.
1889. R391G95
Plates, colored by hand. Knight, Charles. London. 6 v. 1841. 942.1K69
Manual Monumental
See analytic contents to each vol. Many wood-cuts of
Haines, Herbert. of Brasses. costumes of all periods.
2 v. 1861. 739H15 Same. 6 v. in 3. 1851. 942.1K69L3
200 wood-cuts of costumes, 14th-17th century.
Old England. 2 v. 1845. R913.42K69
Hall, Hubert. Society in the Elizabethan Age. Colored plates.
1886. 942Hl7So Popular History of England. 8 v. Lond. 1858.
" "
From contemporary documents. Wood-cuts of Henry See Costume in indexes of v. 4 and 8. Numerous
VIII and Queen Elizabeth. wood-cuts.
BIBLIOGRAPHY Page One Hundred Fifty-five

Lamed, J.N. History of England. 1900. 942L32 Montgomery, D. H. Leading Facts of English
Several cuts of typical costumes. 1903. 942M78L
History.
" "
See Dress in Index.
Legg,L.G.W. English Coronation Records. 1901.
REF. 3941,51 Nayler, Sir George. Coronation of His Most Sacred
17 illustrations (1 colored) of early coronation scenes, from Majesty, George the Fourth. 1839. REF.
contemporary sources. 42 colored plates.

Lennox, Lord W. P. Fashion Then and Now. 2 v.

Nevill, Ralph. Old Sporting Prints. 1908. (Con-
1878. 390L56
noisseur, Extra Number.) 760N52O
Many scattered notes on 18th and 19th century dress.
52 plates, 36 in color, showing English costume at the end
of the 18th and the beginning of the 19th centuries.
Levati, Ambrogio. Costume des Habitans des lies

Britanniques. (In Ferrario, G. Costume. 1827. New Bon Ton Magazine; or, Telescope of the times,
REF. 391F37 v. 1-6. May, 1818 Apr., 1821. 052N53
Europe, v. 6 [v. 17].)
20 of the 31 colored copperplates show costume from pre- Colored caricatures of costume of period.
Roman period to 19th century.
Nicolas, Sir N. H. History of the Orders of Knight-
Loftie, W. J. Kensington; picturesque and histori- hood of the British Empire. 4 v. 1842.
cal. 1888. 942.1L82K REF. 929.7N63H
6 of the colored plates show 18th century costume. Colored plates of regalia, 5 portraits in full regalia.

London Society of Antiquaries. Vetusta Monu- Oxford University. Oxford Historical Pageant.
menta. 6 v. 1747-1842. REF. 913L84 1907. 822O988
Nearly 100 of the 320 copperplates (including 28 colored) 35 half-tone illustrations, mostly contemporary.
include costume to time of Elizabeth. Elizabeth's funeral
procession (v. 3) and the Bayeux tapestry (v. 6, colored) Parrott, Edward. The Pageant of English Litera-
are given entire.
ture. 1914. 820P26
Macklin, H. W. Brasses of England. 1907. Shows costumes, in color, of English writers, etc.

739M15B
Paston, George. (E. M. Symonds.) Social Carica-
Numerous cuts of costume and armor, 1277-1625. Eccle-
siastical dress. ture in the 18th Century. 1905. REF. 741P29
Colored frontispiece and over 200 half-tone caricatures of
Monumental Brasses. 1905. 739M15 18th century costume.
Armor, dress, and ecclesiastical vestments, 13th-17th
centuries. Wood-cuts. Paul, H. Queen Anne. 1906. REF. 942P32Q
Numerous portraits in Queen Anne costume.
Madise, Daniel. The Story of the Norman Con-
Perkins, Mrs. L. F. Robin Hood: his deeds and
quest. 1866. REF. 741M16
42 illustrations engraved on wood under Professor Griiner,
adventures. 1906. 821.04P44
"
from drawings by Maclise. Coronation of Harold," and Has" colored plates, etc., showing old English costume.
other scenes, showing Saxon and Norman costume.
Pictures of Society; Grave and Gay. From the pencils
Malcolm, J. P. Anecdotes of the Manners and Cus-
of celebrated artists and the pens of popular
toms of London during the 18th Century. 2 v.
*
authors. 1866. 820.8P61
1810. 914.21M24 95 plates, lithographs, a re-issue of the best engravings
" "
Anecdotes of dress and the caprices of fashion," v. 2, from London Society."
pp. 312-57. 12 engravings of dress, 1090-1807.
Picturesque Representations of the Dress and Manners
Anecdotes of the Manners and Customs of
of the English, illus. in 50 colored engravings, with
London from the Roman Invasion to the Year 1814. R391P61E
descriptions.
1700. 3v. 1811. *914.21M24A
"
Dress," v. 2, pp. 279-341. 12 hand-colored engravings
Planche, J. R. History of British Costume, from
of dress, 1053-1675. the Earliest Period to the Close of the 18th Cen-
tury. 1834. 391P69
Martin, Charles. Civil Costume of England from
Numerous illustrations.
the Conquest to the Present Time. 1842.
391M37 Same. 3d ed. Reprinted 1907.
Series of colored etchings. Price, J. M. Dame Fashion: Paris-London (1786-
*
Meyrick, S. R. Costume of the Original Inhabitants 1912). 1913. 391P94
of the British Islands and Adjacent Coasts of the Pyne, W. H. The Costume of Great Britain. 1808.
Baltic. Imp. ed. 1821. REF. 391M61 R391P99
24 colored aquatints, including Britons, Druids, Ancient 60 colored plates, with explanatory text, of various types
Irish, Danes, and Goths. of people.
 Page One Hundred Fifty-six BIBLIOGRAPHY
Repository of Arts, Literature, Fashions, etc. By R. Synge, M. B. Short History of Social Life in Eng-
Ackermann. Ser. 1, v. 3-6, 9-14; Ser. 2, v. 1-14; land. 1906. 942S99
" "
Ser. 3, v. 1-12. Jan., 1810 Dec., 1828. 052R42 See Dress in Index. Brief references.

Letters on London and Paris fashions. Colored steel

plates of women's dress. Thornely, J. L. The Monumental Brasses of Lan-
cashire and Cheshire. 1893. 739T51
Russell, W. II. Marriage of H. R.
Memorial of the
Engravings from drawings.
H. Albert Edward, Prince of Wales, and H. R. H.
Alexandra, Princess of Denmark. 1864. TraiU, H. D. Social England. 6 v. 1894-97.
REF. 394R96 942T76S
" " " "
Includes several chromo-lithographs of court costumes. See Costume and Dress in Index of each vol.

Schild, Marie. Old English Costumes: an epitome Same. Illustrated ed. 1901-04. 942T76
of ladies' costumes, from the 1st to the 19th cen- Many colored illustrations.
tury, n.d. 391S330
40 steel plates and 4 colored engravings, many of histori- Trowbridge, W. R. H. Court Beauties of Old White-
cal characters. historiettes of the Restoration. 1906.
hall;
Old English Peasant Costumes. 1898. 391S33 920H8632
32 Restoration portraits.
Shoberl, F. World in Miniature. England, Scot-
land, and Ireland. Edited by W. H. Pyne. 4 v. Tuer, A. W. Follies and Fashions of our Grand-
1827. REF. 914.2S559 fathers, 1807. 1886-7. REF. 914.2T91
84 colored engravings. Digest of magazine material of 1807. 37 hand-colored
plates.
Smith, Albert. Gavarni in London. Sketches of
London life and character. 1849. 914.21S642G Walker, G. Costume of Yorkshire in 1814. 1885.
Colored illustrations. REF. 391W179
Same. 1859. 914.21S642 A series of 41 facsimiles of original drawings.

22 wood-cuts.
Wingfield, Lewis. Notes on Civil Costume in
Stephenson, H. T. The Elizabethan People. 1910.
England, from the Conquest to the Regency, as
914.2S83
Exemplified in the International Health Exhibi-
Stone, Mrs. E. Chronicles of Fashion, from the 1884. REF. 394W77
tion of 1884.
Time of Elizabeth to the Early Part of the 19th 24 colored illustrations, lithographs, of the period 1066-
1820.
Century. 2 v. 1845. 914.2M55
"
Costumes," v. 1, pp. 394-434; v. 2, pp. 363-455. 15
steel engravings. Woodward, G. M. Eccentric Excursions; or,

Literary and pictorial sketches in England and

Strutt, Joseph. Complete View of the Dress and REF. 827W89
South Wales. 1796.
. Habits of the People of England, from the Estab-
About 100 colored caricatures of contemporary dress.
lishment of the Saxons to the Present Time.
2 v. 1842. REF. 391S92 Wright, Thomas. The Celt, the Roman, and the
Illustrated by engravings and colored plates. Saxon. 1852. 913W95C
Dress of Romans in Britain, pp. 326-33. 3 cuts of
Regal and Ecclesiastical Antiquities of England. ornaments.
1843. REF. 913.42S927
72 copperplate portraits, from Edward the Confessor to Homes of Other Days. 1871. 914.2W953
Henry VIII.
Many small wood-cuts, from contemporary sources, of
costume from Anglo-Saxon times to 16th century.
Sports and Pastimes of the People of England.
New ed., by Wm. Hone. 1850. 790S92
140 wood-cuts, representing popular diversions. ENGLAND, MILITARY COSTUME

Suffling, English Church Brasses, from the

E. R. Archibald, J. F. J. Blue Shirt and Khaki. 1901.
13th to the 17th Century. 1910. 739S94 355A67
237 illustrations, reproduced from rubbings. Contains Many half-tones of English and American soldiers.
" "
chapters on Costume
"
of Ladies," Civilian Costume of
Gentlemen," and Ecclesiastical Vestments."
Besant, Sir Walter. Soldiers. (In his London in
, W.England and the English in the
C. the Time of the Tudors. 1904. pp. 316-22.)
18th Century. 2 v. 1891. 942S98E REF. 942.1B55Lo
"
Dress and Costume," v. 1, pp. 89-130. Several illustrations.
BIBLIOGRAPHY Page One Hundred Fifty-seven

The British Army. By a lieutenant-colonel in the Thornely, J. L. Monumental Brasses of Lanca-

British With an introduction by Major-
Army. shire and Cheshire. 1893. 739T51
General F. Maurice. 1900. 355B86 Outline illustrations, from rubbings, of costumes of 1458-

27 full-page plates (13 in colors) and 30 illustrations in

text -

Uniforms of the Armies of the Six Great Powers of

Costumes of the British Army. 1885. R355C84 Europe. (In Standard dictionary. Sup. 1903.
Colored plates. No text. p. 2187.) REF. 423F98SU
Section of colored plate, showing 18 English uniforms.
EUis, A. B. History of the 1st West India Regi-
ment 1885 355E47 Wolseley, Viscount Garnet. Standing Army of Great
2 colored plates of Negro uniforms.
Britain. (In Armies of To-day. 1893. pp.
57-96.) 355M57
Groves, J. P.History of the 42d Royal Highlanders, 8 cuts of British uniforms .

"
The Black Watch." 1729-1893. 1893. ~ ,
D n ^ T> TT-
T
Britain; a Home of
A t

rssTT Zogbaum,R.F. Great Tommy

Atkins. (In his Horse, Foot, and Dragoons.
Pp. 1-3, 14. 4 colored plates of uniforms, 1729-1893.
1888. pp. 49-74.) 355Z85
Kdppen, F. VOn. Army of the British Empire. (In 10 wood-cuts, plates, and text illustrations of uniforms.

his Armies of Europe, illustrated. 1890. pp.

i_-i q \
S'i'5K'~7
ENGLAND. See also CARICATURES AND CARICATURISTS
Descriptions in text. 3 double colored plates (23 illus-
trations, including 2 naval) and 6 text illustrations of ESKIMO COSTUME
uniforms of the period.

Carstensen, A. R. Two Summers in Greenland.

Luard, John. History of the Dress of the British
189 - 919.8C32
Soldier, from the Earliest Period to the Present
T>- -iota QKKT (\a Photogravures and cuts of Eskimo dress.
lime. 1852. oooLMZ
50 outline plates. Gilder,W. H. Schwatka's Search: sledging in the
. Arctic in quest of the Franklin records. 1881.
Milne, James. Gordon Highlanders. 1898. 01 nor /in 1

yiy.oij<*u
QTTUfRK "
Arctic costumes," pp. 136-46. 4 or 5 plates of costume.
Includes half-tone plates, showing Highland uniforms of
different periods.
Hanbury, D. T. Sport and Travel in the Northland
Rank and Badges Her Majesty's of Canada. 1904. 917.1H23
Perry, 0. L. in
355P46 A few colored plates "

Army and Navy. 2d ed. 1888.

Badges and uniforms of military and naval organizations. Hutton, S. K. Among the Eskimos of Labrador.
1912 ' 917.19H98
Robinson, C. N. Navy and Army Illustrated.
mustrations from photographs.
1895-96. 2v. 355N32
illustrations of British uniforms, including native troops. Mikkclsen, E. Conquering the Arctic Ice. 1909.
919.8M63
Some Notes on Costume
the of the Sailors of the . . .

/T o i TT T T i TVT Nansen, r. rirst Crossing ot Lrreenland. 2 v.

Past. (In Swinburne, H. L. Royal Navy. 8 Nl8Fi2
1907- p. 338.)
10 colored plates of seamen's dress, from 600 A.D. to
359S97
'^y wood-cuts. Consult Inde,

is 00 -
Nordenskiold, A. E. Voyage of the Vega round
D. British 3 v. 1868. Asia and Europe. 1882. 919.8N83V
Scott, Sir J. S. Army.
R355S42
" " "
Body armor," v. i, pp. 192-222; clothing of troops," Peary, R. E. Northward over the Great Ice."
v. 2, pp. 431-45. Many plates with descriptive notes. ^ ^ 18gg 919.8P362
Smith, J. H. Historic Booke, to Keep in Remem- Many half-tone cuts of Eskimos.

brance the Meeting of the Honorable Artillery Schwatka, Frederick. Children of the Cold. 1899.

Company of London and the Ancient and Honor- 919.98S41C

of the Massachusetts. Half-tone and wood-cut plates of costume.
able Artillery Company
1903. REF. 358S65 Stefansson, V. My Life with the Eskimo. 1913.
Colored plates of Royal Artillery uniforms, 1660-1900, 918.8S81
and numerous plates and text illustrations of 17th-19th
century costume. Illustrations from photographs.
Page One Hundred Fifty-eight BIBLIOGRAPHY
ETRUSCAN COSTUME Spielman, M. II. Kate Greenaway. 1905.
REF. BG798S
Desvergers, M. J. A. N. L'Etrurie et les Etrusques.
53 colored plates and many cuts of Kate Greenaway
3 v. 1862-64. REF. F913D47 costumes.
Two-color plates of objets-d'art, showing costumes.
Weldon. Weldon's Practical Fancy Dress for Chil-
Magnetti, Carlo. Costume des Etrusques. (In dren. 1887. 391W34
Ferrario, G. Costume. 1820. Europe, v. 2. 49 illustrations with descriptive text.

pp. 7-219.) REF. 391F37

Many of the 42 colored copperplates show dress. FANS
See also ROME Flory, M. A. Book about Fans: the history of
fans and fan-painting. 1895. 391F64
FANCY DRESS 29 wood-cuts and half-tones.

Aria, Mrs. E. Of Fancy Dress. (In her Costume, Grolier Club The Fan in All Ages:
(New York).
fanciful, historical, and theatrical. 1906. pp. a brief history of its evolution. 1891.
178-189.) 391A69 REF. 391G87
1 colored plate and 4 other illustrations of costume. 19 wood-cuts.

Butterick Pub. Co. Masquerade and Carnival.

Mowrey, Gabriel. Modern Design in Jewellery and
1892. R391B98 Fans. 1902. 745M93
Compte-Calix, F. C. Fourteen Colored Lithographs W.
Rhead, G. History of the Fan. 1910.
of Fancy Dress for Ladies. P1844. R391C73 R391R46H
One design for a man's costume is given.
Modern Practical Design. 1912. 740R46M
"
Travestissements Elegants. P1864. *39lC73T Includes a chapter on Fans and Lace."
15 colored plates.
Salwey,C.M. Fans of Japan. 1894. REF. 391 S18
Fancy Dress: a short chronological series of cos- 10 colored plates and 39 illustrations in black-and-white.
tumes, n.d. 391F19
Uzanne,L.O. The Fan. 1884. REF. 391U99F
Five Water Color Drawings of Fancy Dress for
Ladies (crinoline pattern) about 1850. R391F56 Waern, Cecilia. Short Historical Sketch of Fans.
The drawings are heightened with gold and silver, 1895. 391W12
"
and stamped Mme. E. D6vy." 8 half-tones of fans. Brief bibliography.

Holt, Ardern. Fancy Dresses Described; or,

What to wear at fancy balls. 3d ed., enl. 1882. FIJI ISLANDS
391H75FD Burton, J. W. Fiji of To-day. 1910. 919.6B97
Outline illustrations, restricted to the costume of ladies
and children. 16 models in color, as well as a new series of Many photographs.
smaller illustrations.
FLEMISH COSTUME. See BELGIUM
Same. 5th ed. 1887. R39lH75Fa
Same. 6th ed. n.d.
FOOT-WEAR
Gentleman's Fancy Dress; how to choose it.

4th ed. n.d. 391H75 Becker, W. A. Shoes. (In his Charikles. 1845.
Outline cuts.
pp. 326-31.) 913B39CH
4 cuts of shoes of Homeric times.
Same. 6th ed. n.d.

Lumm, E. G. Twentieth Century Speaker. 1898. Same. 5th ed. 1880. (pp. 442-52.)
808.5L95 Book of the Feet a history of boots and
Hall, J. S. :

Several colored and half-tone plates of costumes for

tableaux, etc. shoes. 3d ed. 1847. 391H17
4 colored plates (42 figures), and many wood-cuts of foot-
Morin, A. E. Twenty -one Colored Lithographs of wear.

Fancy Dress for Ladies. ?1850. R391M85

Lacroix, Paul, and others. Histoire des Cordon-
"
The Sketch." London, Jan. 2, 1907. niers. Precedee de 1'histoire de la chaussure.
Pp. 6-7. Carmen Pompadour flower girl Directoire REF.
Soubretteof the Second Empire Astartc Mireille
1852.
Delilah
Louis XVI period Melisande- Empire court dress. Many cuts of boots and shoes of all periods and countr'i- s.
BIBLIOGRAPHY Page One Hundred Fifty-nine

Menard, Rene. Le Chaussure. (In his La vie Cook, C. C. Costumes of the Time of the French
Prive~e des Anciens. 1881. v. 2. p. 322-30.) Revolution, 1790-1793; together with English
F913M53 costumes, 1795-1806. Drawn from the collec-
22 outline illustrations of boots and shoes.
tion of Victorien Sardou. 1889. REF. 391G95
Redfern, W. B. Royal and Historic Gloves and 65 etchings, executed by Guillaumot fils, colored by hand.
40 of French, 25 of English costume.
Shoes. Illustrated and Described. 1904.
REF. 391R31 D'Este, Margaret. Through Corsica with a Camera.
32 plates (1 colored) of boots and shoes of various nations 1905. 914.59D47
and times.
17 of the half-tones show costumes.
Rhead, G. W. Boots, Shoes, and Other Coverings
Les Fetes Nationales & Paris.
Drumont, Edouard.
for the Feet. (In his Chats on Costume. 1906.
RF944D79
1889.
pp. 279-301.) 391 B46 French costumes from 1389, illustrated in plates. Text
Historical and descriptive. Wood-cuts and half-tone illustrations of national fetes.
illustrations.
Duplessis, G. Costumes Historique^. des XVIe ,

FRANCE XVII6 et XVIII 6 Siecles. 2 v. 1867.

Allinson, The Days of the Directoire. REF. F391D93
Alfred.
Full-page colored illustrations.
1909. 944A43
Chapter XI. Costume from 1795-99. Edwards, G. W. Brittany and the Bretons. 1910.
914.4E263
Arnault, A. V. Vie Politique et Militaire de
Colored plates.
Napoleon. 2 v. 1822-20. REF. FBN216AR
Lithographed plates, after original designs of the first Egerton, M. M., Countess of Wilton. Toilette in
painters of the French school. France. (In her Book of Costume. 1847.
Bourgeois, Emile. France under Louis XIV. Tr. pp. 192-270.) REF. 391W75
REF. 944B77 Numerous cuts of head-dress and costume.
by Mrs. Cashel Hoey. 1897.
Many of the copperplates show costume. Garcia, G. Les Modes du Directoire et du Consulat.
Boutet, H. Les Modes Feminines du Dix-neuvieme n.d. RF391G21
Siecle. 1902. RF391B77 F. M. The Bretons at Home. 1909.
Gostling,
100 colored plates. No text.
914.4G68
Boutet de Monvel, Roger. Beau Brummell and His Colored plates and photographs.

Times. With a chapter on dress and the dandies, Gronow, G. W. Reminiscences and Recollections of
by Mary Craven. 1908. BB893Bo Capt. Gronow, 1810-60. 2 v. 1889.
*
Richard. Sketches Illustrative of the
920G876R
Bridgens,
References to and illustrations of French and English
Manners and Customs of France, Switzerland, and dress of period. Hand-colored, etched, and aquatint plates.

Italy. 1821. R391B851 6

Guillaumot, A. E. Costumes du XVIII Siecle,
Colored plates, with descriptive text.
d'apres les de Watteau fils, Desrais,
Dessins
Bruyn, A. de. Costumes Civils et Militaires du REF. F391G95
Leclerc, Cochin, etc.
XVI e Siecle. 1872. REF. F391B91 60 etchings.
33 photolithographic plates.
Costumes of the Time of the French Revolution,
Challamel, J. B. M. A. History of Fashion in 1790-1793. 1889. R391G95
France; or, The dress of women, from the Gallo- Plates colored by hand.
Roman period to the present time. Tr. by In Vanity Fair; a
Hoyt, Eleanor. (Mrs. Brainerd.)
Mrs. Cashel Hoey and John Lillie. 1882.
1906. 914.4H86
tale of frocks and femininity.
REF. 391C43
20 colored plates (80 figures). Janin, J. G. and others. Pictures of the French.
*
Mrs. Lewis. 1840. 914.4J33
Chase, Vagabond Voyage through
914.4C48 230 enjrravings, from Gavarni, Monnier, and Meissonier,
Brittany. 1915.
of French costume of 1840.

Cloud, Janet. 300 French Portraits of the Courts Armies of Europe.

Koppen, F. von. France. (In his
of Francis I, Henry II, and Francis II. 2 v. 1890. 355K77
Illustrated. pp. 46-53.)
1875. REF. 741C64 2 double colored plates (13 illustrations, including 3
Auto-lithographed from the originals at Castle Howard. naval) and 6 text illustrtu- jaa of Frencn uiutorms.
Page One Hundred Sixty BIBLIOGRAPHY
Lacroi.v, Paul. Dress and Fashions. (In his Repository of Arts, Literature, Fashions, etc. By
Eighteenth Century. 1876. pp. 452-89.) R. Ackermann. Ser. 1, v. 9-14; Ser. 2,
3-6,
*
914.4L14 v. 1-14; Ser. 3, v. 1-12. Jan., 1810 Dec., 1828.
10 colored plates, and many illustrations, of dress of the 052R42
period.
Monthly letters on Paris " icmale fashions." Colored
steel plates.
Lawrence, H. W. French Line Engravings of the
Late 18th Century. 1910. R769L42 Robida, A. "Yester-year": ten centuries of toi-

Pp. 89-102. Le monument de costume. lette. 1891. 391R65

29 colored plates and numerous wood-cuts of French
Lechevallier-Chevignard, G. Costumes Historiques female costume from the Middle Ages to about 1880.
de Femmes du Quatorzieme au Dix-huitieme
Same. [In French.] 1891. F391R65
Siecle. 1889. RF391L45
Contains colored plates. Roger-Miles, L. Le Costume et la Mode. n.d.

Lewis, George. A Series of Groups, Illustrating the R391R72

Relates to the styles of the 8th- 19th centuries.
Physiognomy, Manners, and Character of the
People of France and Germany. 1823. 767L67 Sloane, W. M. Life of Napoleon. 4 v. 1896.
60 etched plates. RBN216SL
Mennechet, E. Le Plutarque Frangais; Vies des Smith, J. H. Troubadours at Home. 2 v. 1899.
Homines et Femmes Illustres de la France. 8 v. 849S65
" "
1835-41. RF920M54 See Costume in Index. A few cuts of costume.

Contains colored plates. Index at end of Vol. 8.

Uzanne, L. 0. Fashion in Paris: feminine taste and
gesthetics, from 1797 to 1897. 1898. REF. 391U99
Menpes, Dorothy. Brittany. Illustrated by Morti-
100 hand-colored plates and 250 text illustrations of both
mer Menpes. 1905. 914.4M54 male and female dress.
About 50 of the 75 colored plates show Breton costume.
Frenchwomen of the Century :
fashions, manners,
Miltoun, Francis. Rambles in Brittany. Illus-
1897. REF. 394U99
usages.
trated by Blanche McManus. 1906. Contains colored plates.
914.4M66RB
" Viollet-Le-Duc, E. E. Dictionnaire Raisonne" du
Manners and customs," pp. 70-87. Many of the half-
tone plates and wood-cuts show costume. Mobilier Frangais de 1'Epoque Carlovingienne a

Nooks and Corners of Old la Renaissance. 6 v. 1858-72. REF. F703V79

Mnsgrave, George.
Dress, personal jewels, toilet articles, v. 3 and 4. Many
France. 2 v. 1867. 914.4M987N wood-cuts and a few colored plates.
"
Touraine caps," v. 1, pp. 225.

Pauquet Freres. Modes et Costumes Historiques. FRANCE, MILITARY COSTUME

P1865. REF. 391P33 Lewal. French Armies of
Army. (In To-day.
93 colored plates of French costume, 493 A. D. to 1864.
1893. pp. 161-215.) 355M57
16 cuts of French and French Colonial uniforms of the
Piton, Camille. Le Costume Civil en France du
period.
Treizieme au Dix-neuvieme Siecle. n.d.
Richard, Jules. L'Armee Franoaise. 2 v. 1885-
F391P68
709 photographic illustrations. A few colored plates.
89. RF355M22
Colored plates and other illustrations.
Planta, Edward. New Pictures of Paris. 5 v.
* La Jeune Armee. n.d. RF355M22J
1827. 914.4P71
Vol. 1 contains 29 colored illustrations of the costumes of Uniforms Armies of the Six Great Powers of
of the
the lower orders in Paris.
Europe. (In Standard dictionary. Sup. 1903.
Price, J. M. Dame Fashion. Paris London, pp. 2187.) REF. 423F98Su
*
1786-1912. 391P94 Section of colored plate, showing 10 modern French
uniforms.
Includes 155 colored plates.

Zogbaum. R. F. France: war pictures in time of

Quicherat, J. Histoire du Costume en France,
6 peace. (In his Horse, Foot, and Dragoons.
jusqu'a la fin du XVIII Siecle. 1875.
1888. pp. 1-47.) 355Z85
REF. F391Q62 15 wood-cuts, plates, and text illustrations of modern
481 wood-cuts of both male and female costume. French uniforms.
BIBLIOGRAPHY Page One Hundred Sixty-one
FRANCE. See also CARICATURES AND CARICATURISTS GERMANY, MILITARY COSTUME
Dally, A. Uniforms de 1'Armee Allemande en 1886.
GERMANY
Illustrated by M. Roy. n.d. [Cahiers d'en-
Avenarius, Tony. Historischer Festzug veranstaltet seignement. No. 13-16.]
bei der Feier der Vollendung des Kolner Domes UNBOUND
(3 PAMPHLETS)
am 16. October, 1880. n.d. REF. 750A95 16 colored fnll-page illustrations, with a few cuts of Ger-
29 large lithographed plates of German costumes, 1248- man uniforms of 1886.
1880.
Illustrated London News. April 26, 1913.
Bossi, Luigi. Costume Aneien et Moderne des Contains colored plates.
Germains. (In Ferrario, G. Costume. 1824. German Army
Exner. of To-day. (In Armies of
Europe, v. 4. [v. 15.] pp. 173-816.) 1893. 355M57
To-day. pp. 97-160.)
REF. 391F37 "
Equipment and clothing," pp. 147-49. 14 cuts of
Over 40 colored copperplates of ancient and modern Ger- modern uniform.
man costumes of all classes.
Guinot, Eugene. Summer at Baden-Baden. 1876.
Egerton, M. M., Countess of Wilton. Toilette in 914.3G96
3 colored plates of uniforms of Baden.
Germany. (In her Book of Costume. 1847.

pp. 271-87.) REF. 391W75 Koppen, F. von. German Army. (In his Armies
Several wood-cuts of male and female costume. of Europe, Illustrated. 1890. pp. 20-35.)
355K77
Grohman, W. A. Baillie. Land in the Mountains:
3 double-page colored plates (20 illustrations, including
past and present of Tyrol. 1907. 943.7G87 3 naval) and 8 text illustrations of uniforms.
"
Costume of the Landesknechte," pp. 232-35.
Landesknechte. (In Meyer's Konversations-Lexicon.
Guinot, Eugene. Summer at Baden-Baden. 1876. 6th ed. 1905. v. 12. p. 126.) REF. G033M6lKo
914.3G96 Brief historical article, and plate of 10 cuts, of German
6 colored plates of costumes. foot-soldiers, 15th-16th centuries.

Same. 4th ed. 1888. (v. 10. p. 469.)

Hottenroth, F. Trachten, Hans-, Feld-, und Kriegs-
gerathschaften der Volker alter und neuer Zeit. Sigel, G. A. Deutschlands Heer und Flotte in Wort

2 vols. n.d. G391H83 und Bild. 1900. RG355S57

120 plates and numerous wood-cuts. Colored plates. Text in English and German.

Uniforms of Armies of the Six Great Powers of

the
Johnson, A. C. Peasant Life in Germany. 1858.
914.3J66 Europe. (In Standard dictionary. Sup., 1903.
" "
See Costumes in Index.
p. 2187.) REF. 423F98Su
Section of colored plates, showing 19 modern German
Kohkr, K. Die Entwickelung der Tracht in uniforms.
Deutschland wahrend des Mittelalters und der
Zogbaum, R. F. Germany a :
night with the Fourth
Neuzeit. 1877. G391K77 his and Dragoons.
Corps. (In Horse, Foot,
100 plates.
1888. pp. 75-99.) 355Z85
Kretschmer, Albert. Costumes Nationaux Alle- 10 plates and cuts of German uniforms.

mands; dessins originaux, avec texte explicatif.

1870. RG391K92 GIPSY COSTUME
Numerous colored plates.
Boner, Charles. Transylvania; its products and its
Laugel, A. Costumes et Coutumes d' Alsace. 1902.
people. 1865. 914.39B71
RF914.3L37 Elate of gipsy group, with brief scattered references in text.
Colored plates.
Cuttriss, Frank. Romany Life. 1915. 397C99
Lewis, George. A Series of Groups, Illustrating
Gerard, E. The Land beyond the Forest: facts,
. .
. the people of France and Germany. 1823.
figures, and fancies from Transylvania. 2 v.
767L67
60 etched plates. 1888. 914.39G35
2 photogravures and 5 wood-cuts of gipsy costume.
Schwind, Moritz von. Schwind; des Meisters Werke
G759W41 McCormicIc, Andrew. The Tinkler-Gypsies. 1907.
in 1265 Abbildungen. 1907.
centur German costume, and a
397M13
Many portraits in 19th century
number off ccuts of historic German dress. Photographic reproductions.
Page One Hundred Sixty-two BIBLIOGRAPHY
Morwood, V. S. Our Gipsies in City, Tent, and Dupre, L. Voyage a Athenes et a Constantinople.
Van. 1885. 397M89 1825. RF391D94
f m dem Creek C stume
Pennell, E. R. To Gipsyland; illustrated by J. te^Sf*^ '
'
rescriptive

Pennell. 1893. 914.39P41

, , , Egerton, M. M., ' Countess of Wilton. Toilette in
Frequent reference to gipsy dress. Many black-and-
white illustrations of gipsy costume. Greece. (In her Book of Costume. 1847.
-
Pp 388 407 -)
'
REF. 391 W75
Smith, F. B. Budapest: the city of the Magyars. 10 wood-cuts, mostly of modern costume.
lgo3 gl4 39gg4
Illustrations include 17 half-tones of Hungarian gipsies. Evans, Lady M. M. Chapters on Greek Dres:
1893 391E9
Yoxall, J. H. A Word on Gypsy Costume. (In
'

T t ii T d ^ cu *;s f classic dress. Bibliography.

i /~<
Journal of the Gypsy Lore Society.
j.
New
TVT
ser.,

v. 1, July, 1907, pp. 23-25.) Ferriman, Z. D. Home Life in Hellas. 1910.

Including 1 illustration and bibliographical notes. 914.95F38

Furtwdngler, Adolf. Masterpieces of Greek Sculp-

ture. REF. 733F99
Beck, S. W. Gloves; their annals and associations. 19 photogravures and 200 wood-cuts show classic dress
Many text references to costume -
1883. 391B39
Many wood-cuts.
Gironi, R. Costume Ancien et Moderne de la
Redfern, W. B.
Royal and Historic Gloves and Grece. (In Ferrario, G. Costume. 1815-29.
Shoes, Illustrated and Described. 1904. Europe, v. 1. pt. 1-2.) REF. F391F37
REF. 391R31 153 colored copperplates include ancient, Byzantine, and
46 plates (4 colored) of gloves, chiefly English and Scotch.

L. 0. The Sunshade-the Glove-the

Guhl E Life of the Greeks and Romans, Described
> '

Uzanne,
from Antique Monuments. 1875. 913G94
REF.391U99S
Muff.
..,,..
1883.
Historic and descriptive.
,T
Numerous photogravures.
"
Dress," pp. 159-84. 20 outline cuts.

Gulick, C. B. Life of the Ancient Greeks. 1903.

GREECE 913G97
"
Abrahams, Ethel B. Greek Dress. 1908. 391A15 6 Warrior> pp 188- 205
" -

Man^hSf-t^neFand^ut^of drJss
54 half-tone illustrations.

W. A. the Harrison, J. E. Greek vase painting. 1894.

Becker, Charikles; or, Illustrations of
life of the ancient Greeks. 1845.
REF 738H31 -

private
Black-and-white illustrations, introducing classic dress.
Q-ior>qQp

iJ^fy^'l^liJ^^S^i^ ^ Hope, Thomas.

of the Ancients.
Grecian costume.
1841.
(In his Costume
v. 1. pp. 16-38; v. 2,
Same. 5th ed. 1880.
REF. 391H79
pp. 37-230.)
fUHer than ^ earUer editi n ' SeC
Outline illustrations.
"2SSN1S1SS*
Blumner, H.Home Life of the Ancient Greeks. Laurent, P. E. Recollections of a Classical Tour
Tr. by A. Zimmern. 1893. 913B65 through Greece, Turkey, and Italy, in 1818 and
"
Costume," pp. 1-77. See also
"
Costume " in Index. 1819. 2 V. 1822. REF. 914L38
Many wood-cuts. Brief bibliography.
Greek
4 hand-colored plates, showing Greek laches,
sailors> etc>
Choisseul-Gouffler, M. G. A. F., comte de. Voyage
Pittoresque de la Grece. 2 v. in 3. 1782-1822. Menard, Rene. Costumes de la Grece. (In his
REF. F914.95C54 Vie Prive"e des Anciens. 1881. v. 2. pp. 271-
Many of the 325 copperplates show ancient and modern 87.) F913M53
Greek dress. Descriptive text.

^f''/'
the Mediterranean.
Modern Greece
1894.
"
dn
pp. 178-97.)'
his Rulers of

910D26K
^ ^
toms
22 outline illustrations.

..
of
j A
.
History of the Manners and Cus-
^.

Ancient Greece.
.
10 *o
3 v. 1842. mocii
913S14
Toilette> dreg?i and ornaments," v. 2, pp. 50-74. See
8 cuts of modern Greek costume, several of peasants. also
"
Costume " in index, v. 3.
BIBLIOGRAPHY Page One Hundred Sixty-three

Seymour, T. D. Life in the Homeric Age. 1907. Dunton, Larkin. The World and its People.
913S52 Vol. 9. Hawaii; by A. S. Twombly. 1899.
" "
Dress and decoration," pp. 153-77. Homeric arms," J910.7D92T
pp. 629-82. 2 plates and 17 cuts of dress and armor.
Gerould, K. F. Hawaii: scenes and impressions.
Smith, J. M. Ancient Greek Female Costume. 1.916. 919.6G37
1882. 391S65
Goodrich, J. K. The Coming Hawaii. 1914.
112 outline plates and many smaller illustrations with
explanatory text. 996G65

Greece in the Times of Homer.

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

Tucker, T. G. Life in Ancient Athens; the social 919.6M98

2 plates of native costume.
and public life of a classical Athenian. 1906.
913T89 Olivares, Jose de. Our Islands and their People.
Dress, pp. 108-20, 167-74. Several cuts of costume. 2 v. 1899. REF. 917.29B91
Hawaii, v. 2, pp. 417-538. Many plates (some colored),
Uniforms of Greece. (In Koppen F. von. Armies and other illustrations of Hawaiian costume.
of Europe, illustrated. 1890.) 355K77
modern Greek uniforms.
Stevens, J. L. Picturesque Hawaii. 1894.
Section of colored plate, showing 5
*
919.6S844

GUATEMALA HEAD-DRESS
Domville-Fife, C. W. Guatemala and the States of Becker, W. A. Hair and Beard. (In his Charikles.
Central America. 1913. 972.8D67 1845. pp. 332-38.) 913B39CH
4 cuts of female hair-dressing of Homeric times.
Franck, H. A. Tramping through Mexico, Guate-
mala, and Honduras. 1916. 917.2F82 Same. 5th ed. 1880. (pp. 453-61.)
REF. 913B39C
Maudslay, A. C. Glimpses at Guatemala. 1899.
REF. 917.28M44 Child, Theodore. Wimples and Crisping Pins:
Occasional references to costume. Photogravures of studies in the coiffures and ornaments of women.
costume and colored plates of native textiles.
1895. 391C53
Ancient Egypt to modern times. Many wood-cuts and
HAIR. See HEAD-DRESS half-tones.

HATS. See HEAD-DRESS Description de Tons les Genres de Turbans et Coiffures

Modernes d'Egypte, Syrie, Turquie, etc. (In
HAWAII Magasin Pittoresque. 1841. pp. 4-6.)
F054M18
Anderson, Mrs. Larz. The Spell of the Hawaiian 16 wood-cuts of modern turbans.
Islands. 1916. 919A54
Dulaure, J. A. Pogonologia; or, A philosophical
Baldwin, C. W. The Geography of the Hawaiian and historical essay on beards. 1786.
Islands. 1908. 919.6B18 REF. 391D87
No illustrations.
Boyce, W. D. United States Colonies and De-
pendencies Illustrated. 1914. 325B78 Fairholt, F. W. Description of Head-dresses. (In
Merrifield, Mrs. M. P. Dress as a Fine Art.
Browne, G. W. Hawaii. (In his New America and
1854. pp. 1-9, 53-60.) REF. 391M56
the Far East. v. 1. 1907.) 910B882
" 3 plates (45 figures) of styles of head-dress.
Dress," pp. 30-31. 9 colored plates, including one of
children, and many cuts of dress.
Head-dress. (In his Costume in England. 1846.
Bnjan, W. A. Natural History of Hawaii. 1915. (pp. 524-47.) 391F17C
996B91 Illustrated by wood-cuts.

Castle, W.R.,J Hawaii :

past and present. 1913. Same. 1885. (v. 2. p. 217-53.)
919.6C35 Same. 1896. (v. 2. p. 217-53.)
Page One Hundred Sixty-four BIBLIOGRAPHY
Genin, J. N. Illustrated history of the hat, from HINDOOSTAN. See INDIA
the earliest ages to the present time. 1848. TT - T
HOLLAND. See NETHERLANDS
39lG33
Jones, William. Crowns and Coronations; a history HUNGARY. See AUSTRIA-HUNGARY
of regalia. 1883. 394J79
Chaps. 1, 2, and 11. Cuts of crowns and coronets. INDIA

Lichtenfeld, J. Principles of Physiognomical Hair- Asiatic Costumes. 44 engravings, with a description

dressing, n.d. 646L69 to each subject. 1828. 391A83
21 illustrations, wood-cuts. Engraved from drawings taken during a residence in

Moler, A. B. Manual on Barbering, Hairdressing,

etc. 1905. 391M71 Birt > F B ' '
Bradley-. Chota Nagpore; a little-
Manicuring,
known province of the Empire. 1903. 915.4B61
Musgravc, George. Nooks and Corners in Old About 20 half-tone plates of costume.
914.4M987N
France.
"
T
2 v. 1867.
uraine caps>
"
v "
P 225
"
Comoayt M . D .
My Pilgrimage to the Wise Men
I' ; .
of the East, 1906. 910C76
Ortner, Jessica. Practical Millinery. 1892. 7 half-tone plates of Indian costume, mostly religious.
646077
Crooke, William. Natives of Northern India. 1907.
illustrated
(Native races of the British Empire.) 572C94
Pauquet freres. Modes et Costumes Histonques.
Frequent test references to costume 32 plates of C08 .
P1865. REF. 391P33 tume.
Col red Plates are valuablc for French head - dress 1906. 915.4C94
493-1864
-

Things Indian.
Dress, pp. 155-67; jewelry, pp. 287-91.
Praga, Mrs. Alfred. What to Wear and When to
Wear it 1903 391P89 Curtis, Lillian J. Laos of North Siam. 1903.

Half-tones of head-dress and female costumes. 91o.JL>97

~ .
, , ^ Dress Makes
What
_ .
,
of us.
-tonrr
1897.
Dress, pp. 108-112, etc.
costume.
Half-tone illustrations, showing
(jmgley, Dorothy.
391Q6 W. E. Burma. (In his Egypt, Burma, and
^Includes
illustrated discussion of hairdressing and head-
^^
Curtis,
Ma]aysia 1905 pp 251-348.)
Repton, J. A. Observations on the Various Fashions 6 half . tone plateg of Burmese cogtume
of Hats, Bonnets, or Coverings for the Head,
Del Mar Walter Romantic East, Burma, Assam,
Chiefly from the Reign of Henry VIII to the
> -

18th Century. v. 24. 1832. and Kashmir. 1906. 915.9D33

(In Arch^ologia.
iftn en "D Costume of Burma, pp. 8-9. Several half-tone plates of
pp. lOJ-oy.;
"\
IEF. costume.
8 steel plates, with many outline figures of hats, etc. ,-,
.

rerrarw, Giulio.
/~ ?

Appelee Indostan, et
TTJ
L Inde, i ' T i i

Rhead,G.W. Hats, Caps, and Bonnets. (In his ITndo-Chine. (In his Costume. 1815-29. Asie,
Chats on Costume. 1906. pp. 205-77.) v 2) REF F391F37
391R46 92 colored copperplates of Hindoo, Burmese, Siamese, and
Cuts of all kinds of head-dress. other costumes.

Speight, Alexanna. A Lock of Hair: its history, Grindlaij. R. M. Scenery, Costumes, and Architec-
ancient and modern. 1871. 391S74 ture, Chiefly on the Western Side of India. 1830.
Stewart, James. Plocacosmos; or, The whole art R915.4G866
Colored engravings.
of Hair-dressing. 1782. REF. 646S84
9 copperplates. Gurdon, P. R. T. The Khasis. 1907. (Ethno-
Winter, F. Die Kamme aller Zeiten. P1906. graphical monograph, published under the orders
REF G39lW 78
r ^ ^ ne Government of Eastern Bengal and Assam.)
1
48 plates (about 300 figures !, with notes on combs, from 572G97
the Stone Age to the present. 8 colored and 11 monochrome plates.

HEBREW COSTUME. See JEWISH COSTUME Hart, W. II. Everyday Life in Bengal and Other
Indian Sketches. 1906. 915.4H32
HERZEGOVINA. See BALKAN STATES Illustrations include several half-tones of costume.
BIBLIOGRAPHY Page One Hundred Sixty -five

Hodson, T. C. The Meitheis. 1908. (Ethno- Solvyns, B. The Costume of Indostan Elucidated
graphical monograph, published under the orders by Sixty Colored Engravings, with Descriptions
of the Government of Eastern Bengal and Assam.) in English and French, taken in the Years 1798
572H69 and 1799. 1804. REF. 391S69
9 colored and 7 monochrome plates, illustrating this
"
dominant race of Manipur." Stack, E. The Mikirs. 1908. (Ethnographical
India and the War. 1915. 355139 monograph, published under the orders of the
Has colored plates of military costume.
Government of Eastern Bengal and Assam.)
572S77
Jacob, S. S. Jeypore Enamels. 1886. REF. 748 Jl 5 4 colored and 4 monochrome illustrations of this tribe of
Colored frontispiece of Jeypore enamellers. Assam.

Steel, F. A. India. Illustrated by Mortimer

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

Malcolm, Ian. Indian Pictures and Problems. Thurston, Edgar. Ethnographic notes in southern
1907. 915.4M24 India. 1906. 572T54
"
\bout 20 of the 50 half-tone plates show costume. On dress," pp. 520-31. 40 half-tone plates.

Marston,A.W. Children of India, n.d. 915.4M37 Watson, J. F. The Textile Manufacturers and the
Many wood-cuts of costumes. Costumes of the People of India. 1866.
REF. 677W338
Menpes, Dorothy. The Durbar. Illustrated by Eight plates of costume illustrations.
Mortimer Menpes. 1903. 915.4M54
Numerous references in text to dress. Most of the 100 Young, Ernest. With 12 full-page illus-
Siam.
colored plates show costumes of all parts of India. trations by E. A. Norbury. 1908.
in color

Murray, A. II. II. High-road of Empire; water- (Peeps at many lands series.) 915.9Y71P
"
color and pen-and-ink sketches in India. 1905. Food and dress," pp. 52-56.

915.4M981 Yusef-Ali, Abdullah. Life and Labor of the People

Wood-cuts and colored plates, many showing dross. 1907. 915.4A136
of India.
Bridal dress, p. 271. Dress traditions, pp. 312-15.
Norman, Henry. Peoples and Politics of the Far Colored frontispiece and 4 other plates of costume.
East. 1895. 915N54
Half-tone plates of dress of Siam and Indo-China.
INDIANS OF NORTH AMERICA
Same. 1904.
Berlin. Royal Museum.
North-west Coast of
Penfield, F. C. East of Suez (Ceylon, India, China, America: ethnological researches of the Royal
and Japan). 1906. 915P39 Museums at Berlin, n.d. REF.
Text references. A number of the plates show Indian The lithographic plates include head-dress and masks.
costume. Photogravures of Chilkat blanket.

Penny, F. E. Southern India. 1914. 915.4P416

Biart, Lucien. The Aztecs: their history, manners,
Contains colored plates.
and customs. 1887. 972B57
Seesodia, T. S. J. The Rajputs. 1915. 954S45 Clothing, pp. 292-94.

Shobcrl, Frederic. World in Miniature. Hindoo- Bourke, J. G. Snake-dance of the Moquis of

stan. 6v. 1827. REF. 915.4S559 Arizona. 1884. 970.3B77
Illustrated by 103 colored engravings. See
"
Costume " in Index. 10 colored plates of Moqui
and Navajo costume.
World in Miniature. Thibet and India beyond
Catlin, George. O-kee-pa: a religious ceremony and
the Ganges. 1827. REF. 915.1S559
other customs of the Mandans. 1867.
12 colored plates of costume.
REF. 970.6C36
Singh, S. N. India's Fighters. 1914. 355S61 Ceremonial dress, pp. 16-22. Seven of the colored plates
Photographs showing soldiers' costumes. ehow costume.
Page One Hundred Sixty-six BIBLIOGRAPHY
Catlin, George. Notes of 8 years' travel. \Vith his Humfreville, J. L. Twenty Years among our Savage
North American Indian collection. 2 v. 1848. Indians. 1897. 970.1H92
" "
970.6C36N See Dress in Index. 10 chromo-lithographs and
numerous half-tone cuts of Indian costume.
Many outline engravings from the author's original
paintings of Indians.
M'Kenney, T. L. History of the Indian Tribes >f
Illustrations of Manners, Customs, and
the
North America. 3 v. 1838-44.
Condition of the North American Indians.
REF. 970.1M155H
9th ed. 2 v. 1857. REF. 970.1C36I 120 colored portraits from the Indian Gallery in the
Many notes on costume. 360 engravings from paintings Department of War at Washington.
by author.
Mason, 0. T. Aboriginal American Basketry. (In
Curtis, Natalie. Indians' Book. 1907. 970.1C97
ilates from
Text does not treat costume. 22 plates fro photographs
U. S. National Museum Report. 1902. pp.
of Indians and several colored plates, showing Indi
Indian pictures 171-548. U. S. Doc. Serial 4549.) REF.
of apparel.
248 plates, including 29 of Indian women.
Dcllenbaugh, F. S. North-Americans of Yesterday.
970.1D35
Indian Basketry. 2 v. 1904. REF. 689M41
1901.
" The same work as the preceding.
Weaving and costume," pp. 123-60. Many illustrations
of Indian costume and ornament.
Schoolcraft, H. R. Information Respecting the
Dodge, R.I. Our Wild Indian. 1882. 970.1D64
" History, Condition, and Prospects of the Indian
Clothing, finery, and personal adornment," pp. 297-310-
6 colored plates and a number of wood-cuts of costume. Tribes of the United States. 5 v. 1853-56.
REF. 970.1U58S
Ferrario, Giulio. L'Amerique. (In his Costume.
Costume, v. 3, pp. 65-6S; v. 4, pp. 5S-59. 10 monotone
1815-29. Am6rique. v. 1.) REF. F391F37 lithographs of costume.
Many colored copperplates of North American Indians.
Same. v. 1-3. 1851-53.
Harvey, Fred. First Families of the Southwest. Several of the plates of costume in this edition are colored.
1913. 970.6H34
Contains colored illustrations of costume of various Starr, Frederick. Indians of Southern Mexico.
tribes of Pueblo Indians. 1899. REF. 970.1S79I
Hind, H. Y. Explorations in the Interior of the Photogravure plates, preceded by descriptions, mostly
showing costume.
Labrador Peninsula, the Country of the Monta-
gnais and Nasquapee Indians. 2 v. 1863. Tout, C. Hill British North America, v. 1. The
917.19H66 Far West. 1907. 572T73
Chromo-lithographs and wood-cuts of trappers and Dress and personal adornment, pp. 63-88. Most of the
Indians. 33 half-tone plates show Salish and D6n6 costume.

Narrative of the Canadian Red River Exploring M. Comparative Study of the Mayas
Tozzer, A.
Expedition of 1857 and of the Assiniboine and and the Lacandones. 1907. (Archseol. Inst. of
Saskatchewan Exploring Expeditions of 1858. America. Report of the Fellow on Amer. Archseol.
2 v. 1860. 917.1H66
1902-05.) 970.3T75
Lithographs and wood-cuts of Canadian Indians and
apparel (v.*2).
Costume, pp. 29-32.

Hodge, F. W. Handbook of American Indians U. S. Census Office. 11th Census. Report on

North of Mexico, 1907. pt. 1, A-M. (U. S. Indians Taxed and not Taxed in the United
Bureau of Ethnology, Bulletin 30.) States (except Alaska), 1890. 1894. REF.
Statistical, historical, and ethnographic monographs by
REF. 970.1U58 Brinton, Donaldson, Lord, and others. Many colored and
"Adornment," by Alice C. Fletcher, pp. 10-20; "Cloth- half-tone plates of costumes of all types of Indians.
ing," by Walter Hough, pp. 310-12. 22 cuts and bibliog-
raphies.
Same. (In U. S. Documents. Serial 3016.)
Hooge, Romeyn de. Costumes; a series of 43 copper REF.
engravings of the peoples and castes of different
nations, n.d. REF. 391H77 INDIANS OF SOUTH AMERICA
Several plates of North American Indians.
Ferrario, Giulio. L'Amerique Meridionale. (In
Hoirard, 0. 0. My Life and Experiences among his Costume. 1815-29. Amerique. v. 2.)
our Hostile Indians. 1907. BH851H REF. F391F37
13 colored plates, showing dress and weapons. Many colored copperplates of South American Indians.
BIBLIOGRAPHY Page One Hundred Sixty-seven

Schmidtmeyer, Peter. Travels into Chile, over the ITALY

Andes, in the Years 1820 and 1821. 1824.
Allom, Thomas. Character and Costume of Turkey
REF. 918.3S35
and Italy, with Descriptive Letter-press by Emma
30 plates, including 11 in color. 4 show Araucanos.
Reeve, n.d. REF. 914.96A44
United States Astronomical Expedition to the Southern 12 lithographic plates of Italian costume of about 1840.

Hemisphere, 1849-52. 1856. (U. S. 33d Con- Richard. Sketches Illustrative of the
Bridgens,
gress, 1st sess. House exec, doc., 121. Serial
Manners and Costumes of France, Switzerland,
728.) REF.
and Italy. 1821. R391B851
Note on Araucanian dress (v. 1, pp. 67-68), with colored
plate of chief. Plates, with descriptive text.

Mrs. M. R. Primitive Inhabitants of Buonaiuti, B. S. Italian Scenery, Representing

Wright,
the Manners, Customs, and Amusements of Italy.
Bolivia. (In her Bolivia. 1907. pp. 439-50.)
REF. 984W95 1823. R914.5B94
32 colored plates.
16 half-tones of modern Indian costume.
Carmichael, Montgomery. In Tuscany. 1901.
IRELAND 914.5C28
11 small half-tones of costume.

Birmingham, G. A. (J. O. Hannay.) Irishmen Egerton, M. M., Countess of Wilton. Costume in

All. 1913. Italy, Sicily, and Malta. (In her Book of Cos-
12 illustrations in color. tume. 1847. REF. 391W75
pp. 315-34.)
11 wood-cuts.
The Lighter Side of Irish Life. 1912. 914.15H24
16 illustrations in color. Ferrario, Giulio. Costume des Italiens. (In his

Our Who Costume. 1815-29. Europe, v. 3, pt. 1-2.)

Bonwick, James. Nationalities. 1. are
the Irish? 1880. 572B72 REF. F391F37
Brief historical notes of Celtic dress and ornament, pp. General sketch of the history of Italian costume. 141
colored plates, mostly showing costume. Plates 79 and
69-76.
80 show uniforms of about 1820.

Egerton, M. M., Countess of Wilton. Toilette in

Gi/ord, Mrs. A. H. Italy, Her People, and Their
Ireland. (In her Book of Costume. 1847. pp.
Story. 1905. 945G458
186-89.) REF. 391W75 Illustrated from portraits and famous paintings.
3 small wood-cuts.
Goiran, G. Italian Army. (In Armies of To-day.
Harvey, William. Irishand Humor. With
Life 1893. pp. 311-58.) 355M27
illustrations by Erskine Nicol. 1904. 914.15H34 12 cuts of uniforms.

Gordon, Lina Duff. Home Life in Italy. Letters

Joyce, P. W. Social History of Ancient Ireland.
from the Apennines. 1908. 914.5G66
2 v. 1903. 941.5J89S
" 28 half-tone illustrations, chiefly of peasant life.
Dress and personal adornment," v. 2, pp. 176-263.
21 illustrations of apparel, mostly from ancient MSS. and Armies of
Koppen, F. von. Italy. (In his Europe,
sculpture.
Illustrated. 1890. pp. 42-45.) 355K77
Meyrick, S. R. Costume of the Original Inhabitants Double colored plates, (7 figures, including 1 of naval
1821. REF. 391M61 uniform) and 2 text illustrations of uniforms of the period.
of the British Islands.
Including 6 colored plates of ancient Irish costume. Molmenti, P. G. Venice, from the Earliest Begin-
0' Curry, Eugene. On the Manners and Customs of nings to the Fall of the Republic. Tr. by H. F.
the Ancient Irish. Ed. by W. K. Sullivan. 3 v. Brown. 6 v. 1906-08. 945M72
"
913O21 Costume," v. 2, pp. 1-22; v. 4, pp. 81-253; v. 5, pp.
1873. 204-29. A few colored and many half-tone plates of 14th-
Dress and ornament, v. 1, by Sullivan; v. 3, pp. 87-211, 18th century dress.
Historical summary.
Perl, Henry. Venezia. From the German, by Mrs.
Shoberl, F. World in Miniature. England, Scot- Arthur Bell. 1894. REF. 914.5P45
land, and Ireland. Edited by W. H. Pyne. 4 v. Many full-page and text wood-cuts of Venetian costume.
1827. REF. 914.2S559
Pinelli, Bartolomeo. Nuevo Raccolta di Cinquanta
2 colored plates, in v. 4, of Irish costume.
Costumi. 1816. RI391P65
See also ENGLAND 50 copperplates of Italian costume.
Page One Hundred Sixty-eight BIBLIOGRAPHY
Pinelli, Bartolomeo. Twenty-seven Etchings Illus- Griffis, W. E. The Mikado's Empire. 1876.
trative of Italian Manners and Costume. 1844. 952G85M
R767P65T Includes many references to and cuts of costume.

Same. 1883.
Sketch-book by an American in Venice. 1860. n
18QQ
391S62
22 plates, colored by hand. No text.
-Same. 9th ed. 1900.
Same. 10th ed. 1903.
Souvenir de St. Lazare, Venice, n.d. REF. 271S72 _,., , , ft/w ,
name, llth ed. 1906.
14 colored plates.

Steilcr, Karl, and others. Italy, from the Alps to Hawks, F. L.

Narrative of the Expedition of an
Mount Etna. n.d. REF. 914.5S85I American Squadron to the China Seas and Japan,
Includes a number of wood-cuts of modern Italian 1852, 1853, and 1854, under Com. M. C. Perry.
v. 1. 1856. (U. S. 33d Cong. 2d seas'. House
Strutt, A. J. Illustrations of a Pedestrian Tour in exec. doc. v. 12. Serial No. 802.) REF. 915.2U58
Calabria and Sicily, n.d. REF. 914.5S92 wood ' cuts and lith s ra P hed P lat * of Japanese
cosYume
Book of etchings.
Holland, Clive. Things Seen in Japan. 1907.
Tulcer, M.A.R. Rome, painted by A. Pisa. 1905.
REF. 914.5T91 50 half-tone illustrations.
Peasant costumes, in color.

, . .
, Knox, G. W. Imperial Japan; the countrv and its
Uniforms Armies oj Athe
of the
,
Six Great Powers of l iqn~
*

Q-OV
"

Europe. (In Standard dictionary. Sup. 1903. ^Numerous illustrative plates of Japanese women.
p. 2187.) REF. 423F98Su
Levati, Ambrogio. lies du Japon. (In Ferrario,
Vaughan, 11. M. The Naples Riviera, n.d. G. Costume. 1815. Asie. v. 1. pp. 383-
914.5 V36 REF 391F37
453.) .

A few 25 illustrations in color, by Maurice Greiffen-

of the 6 co lored copperplates of Japanese costume
hagen, show costume, painted in 1904.

National Geographic Magazine. Vol. 22.

Zimmern, Helen. Italy of the Italians. 1906.
914.5Z76
Ponting, H. G. In Lotus-land Japan. 1907.
A few half-tones of modern Italian costume.
Q-,
-
opo-i
Numerous colored plates and photographs.

JAPAN Salwey, C. M. Fans of Japan. 1894. REF. 391S18

10 colored plates and 39 other illustrations.

Anderson, William. Pictorial Arts of Japan. 1886. S hoberl, F. Japan. 1827. R915.2S559
REF. 709 A55 20 colored engravings.
Includes many colored plates, photogravures, and wood-
cuts of costume by native artists. Silver, J. M. W. Sketches of Japanese Manners and
7J .
, .
T W T _ Customs. 1867. REF. 915.2S58
Arnold, Sir Edwin. Japomca. 1891. 91o.2A75J ...,
27 chromo-hthograph ,fac-similes ,
of native drawings.
Black-and-white illustrations of Japanese dress.
Wilson, H. W. Japan's Fight for Freedom: the
Breton de la Martmiere, J. B. J. Le Japon. 4 v.
war between Russia and Japan. 2 v. 1904-05.
1818. F915.2B84 R 951051 w?4
Contains 51 engravings.
KEF> W74

Browne, G. W. Japan. (In his New America and

the Far East. 1907. v. 2-3.) 910B882 JEWELRY
Customs and costumes, v. 2, pp. 355-62. 18 plates (12

Luthmer, F. Ornamental Jewellery of the Renais-

Japan: the place and the people. 1904. sance in Relation to Costume. 1882.
915.2B882 R739L97O
Same text and plates as preceding work. Colored plates. No text.
BIBLIOGRAPHY Page One Hundred Sixty-nine
JEWISH COSTUME MACEDONIA. See BALKAN STATES
Abrahams, Israel. Jewish Life in the Middle Ages.
MALAYSIA
1897. 296A15
"
Costume law and fashion," pp. 273-90; " The Jewish
in The Achanese.
badge," pp. 291-306.
Hurgronje, C. S. Tr. by W. S.
O'Sullivan. 2 v. 1906. 919.2H96
De Quincey, Thomas. Toilette of the Hebrew Lady. Dress, v.
1, pp. 25-30.
See also "Apparel" in Index.
his Collected Writings. 1890. v.
Numerous wood-cuts and half-tones, showing male and
(In 6. pp. female costume.
152-78.) 828D42
No illustrations.
Shoberl, Frederic. World in Miniature. The Asia-
tic Islands and New Holland. 2 v. n.d.
Levati, Ambrogio. Juifs. (In Ferrario, G. Costume.
26 colored illustrations. REF. 919S559
1817. Asie. v. 3. pp. 70-172.) REF. 391F37
3 colored copperplates of ancient Jewish costume. Skeat, W. W. Pagan Races of the Malay Peninsula.
2 v. 1906. 572S62
Nowack, William, and others. Costume. (In Jew- l~ See
"
Dress
"
in Index. Many half-tones of natives.
ish Encyclopedia. 1901-06. v. 4. pp. 292-
303.) REF. 933S61 MAORI COSTUME. NEW ZEALAND
Series of articles on Biblical to present-day Jewish dress,
with bibliographical notes. Double-page colored plates MARRIAGE COSTUME. See BRIDAL COSTUME
(30 figures) and 17 wood-cuts.

Ermete. Customs and Traditions of

MEDLEVAL COSTUME
Pierotti,
Palestine, Illustrating the Manners of the Ancient Boutet de Monvel, M. Joan of Arc. Illustrated in

Hebrews. 1864. 915.6P61 . color. 1897. JBD214Bo

Costume, pp. 130-53. Cults, E. L. Scenes and Characters of the Middle
Edmond. Palestine in the Time of Christ. Ages. 1885. Ref. 940C99
Stapfer,
933S79 Costume of the merchant class, pp. 51 8-28. Many wood-
1885. cuts.
"
Clothing," pp. 190-201.
Davies, A. C. Fox-. Art of Heraldry: an encyclo-
See also TURKISH EMPIRE paedia of armory. 1904. REF. 929.2D25A
Heraldic costume, pp. 12-32. Plates (5 colored) and
wood-cuts, showing heraldic costume and armor.
KOREA
Gautier, Leon. Chivalry. Translated by Henry
Bishop, Mrs. I. B. Korea and Her Neighbors. Firth. 1891. 394G27
1898. 915.1B62K Numerous wood-cuts.
See
"
Costumes " in Index. 5 half-tone plates of cos-
tumes. Lacroix, Paul. Arts in the Middle Ages. n.d.

W. REF. 709L14
Griffis, E. Corea; the hermit nation. 1882.
10 colored plates and many wood-cuts of costume.
915.1G85CE
" 2 wood-cuts.
Costume," pp. 81, 273-76. Costumes. Manners,
(In his Customs, and
Hamilton, Angus. Korea. 1904. 915.1H21 Dress during the Middle Ages. n.d. pp. 509-
Costume in Seoul, pp. 35-40. Several half-tone plates of 54.) REF. 940L14M
costume.
Many colored plates and wood-cuts of costunv .

Hulbert,H.H. Passing of Corea. 1906. 951H91P

Military and Religious Life in the Middle Ages.
Many half-tone plates of costume.
n.d. REF. 940Ll4Mi
I^well, P. Choson: the land of the morning calm. Colored plates and wood-cuts of dress and armor.
1888. 915.1L91
"
Science and Literature in the Middle Ages. 1878.
Costume," pp. 316-31. Wood-cuts.
REF. 940L14
Norman, Henri/. Peoples and Politics of the Far Most of the wood-cuts and colored plates show costume.
East. 1895. 915N54 Costume de Moyen Age.
Loemyer, J. F. N. 1847.
Several half-tones of Korean costume.
2 v. RF391L82
Same. 1905. Contains colored plates.

Sec also CHINA; JAPAN Lonsdale, H. W. Illustrations of Mediaeval Cos-

tume. 1874. REF. 391L86
LAPLAND. See NORWAY; RUSSIAN EMPIRE 50 plates.
Page One Hundred Seventy BIBLIOGRAPHY
Michaud, J. F. History of the Crusades. 2 v. Sierra, J. Mexico: its social evolution. Trans-
n.d. REF. 940M62H lated from the Spanish by G. Sentinon. 3 v.
100 plates by Gustave Dor6. 1900-04. .
REF. 972S57
Many half-tones, some of which show costume and army
Munro, D. C. History of the Middle Ages. 1902.
uniforms.
940M96
Many of the half-tones and cuts show dress. Starr, Frederick. Indians of Southern Mexico.
1899. REF. 970.1S79I
Shaw, Henry. Dresses and Decorations of the
Photogravures, preceded by descriptive text.
Middle Ages. 2 v. 1858.
. . . REF. 391S53
.

From Anglo-Saxontimes to end of 16th century. Speci See also INDIANS OF NORTH AMERICA
atttention to English costume. Many colored plates an
wood
ood-cuts.

Kostum der MONTENEGRO. See BALKAN STATES

Spalart, Robert von. Versuch tiber das
vorziiglichsten Volker des Mittelalters. 5 v.
MOROCCO
and atlas. 1800-11. RG391S73V
Contains colored plates. Bensusan and Forrest. Morocco. 1904. 916.4B47
Colored piates.
Trumble, Alfred. Sword and Scimetar the romance :
Illustrations.

of the Crusades. 1886. REF. 940T86

NEPAL. See TIBET
Plates by Gustave Dore, showing costume and armor of
the Crusaders. A fuller collection of plates by Dor6 in
Michaud's Crusades.
NETHERLANDS
Viollet-le-Duc, E. E. Military Architecture. 1879.
623V79 Boughton, G. H. Sketching Rambles in Holland.
Many wood-cuts of fortifications and weapons of the 1885. 914.92B75
Roman and medieval periods. Illustrations (wood-cuts), by Boughton and E. A. Abbey.
More than 50 of costume.
Weiss, Hermann. Kostiimkunde; Geschichte der
Tracht und des Geraths im Mittelalter. 2d ed. Edwards, G. W. Holland of To-day. 1909.

1883. G391W42 914.92E26

Contains colored full-page illustrations.
8 colored plates and 367 wood-cuts. List of sources.

Egerton, M. M., Countess of Wilton. Toilette in

See also under the various countries
Holland. (In her Book of Costume. 1847.

pp. 311-14.) REF. 391W75

MEXICO 3 wood-cuts.

Ferrario, Giulio. La Hollande ou Batavie. (In

Carson, W. E. Mexico. 1909. 917.2C32
his Costume. 1815-29. Europe, v. 6. pp. 23-
Contains illustrations showing costume.
172.) REF. 391F37
Decaen, J. Mexico y sus Alrededores. Coleccion Colored plates (14 figures) of 17th century Dutch dress.
de monumentos, trajes y paisajes. 1864. [Span- Three Weeks
Higinbotham, J. W. in Holland and
ish and French text.] REF. S917.2D29 914.92H63
Belgium. 1908.
47 lithographs by Mexican artists; of value for costume.
Jungmann, Nico. Holland. 1904. 914.92J95
Ferrario, Giulio. Mexique. (In his Costume. Many references to costume. Most of the 75 colored
plates show dress.
1815-29. Amerique. v. 1. pp. 501-625.)
REF. 391F37 Koppen, F. von. Holland and Belgium. (In his
Colored copperplates of Indian and Spanish costumes, from Armies of Europe, Illustrated. 1890. pp. 69-
Aztec times to 1820.
70.) 355K77
Garcia Cubas, A. Republic of Mexico in 1876. Colored plates (11 figures, including 4 naval) and 2 text
illustrations of uniforms.
1876. REF. 917.2G21
.

8 colored plates of 'Spanish and native types.

Maaskamp, E. Afbeeldingen van de Kleedingen,
Janvier, Thomas. Mexican Army. (In Armies of Zeden, en Gewoonten in Holland. 1803-05.

To-day. 1893. pp. 359-96.) 355M27 Du39lMll

14 cuts of Mexican uniforms of the period. 21 colored plates, with text in Dutch and French.

Plummer, M. W. Roy and Ray in Mexico. 1907. Meldrum, D. S. Home Life in Holland. 1911.

917.2P73 914.92M51H
9 half-tone plates of modern costumes. Costume illustrations at pp. 170, 176 and 180.
 BIBLIOGRAPHY Page One Hundred Seventy-one
Shoberl, Frederic. World in Miniature. The Neth- OCEANICA
erlands. 1827. REF. 914.92S55
Brassey, Lady. Tahiti. 1882. 919.6B82
18 colored engravings, including Belgium.
Illustrations, from photographs, including G of costume.

NEW ZEALAND Elkington, E. W. Savage South Seas: 1907.

W. P. New 919.3E43S
Reeves, Painted by F. and
Zealand.
Most of the 68 colored plates show native costumes.
W. Wright. Described by W. P. Reeves. 1908.
Ferrario, Giulio. Oceanique. (In his Costume.
993R33Nw
75 illustrations in color. 1815-29. Asie. v. 4. pp. 285-585.)

Waltefield, Edward. New Zealand after REF. 391F37

Fifty
Many colored copperplates of costume.
Years. 1889. 919.3W14
3 half-tone plates of Maoris. Grimshaw, Beatrice. From Fiji to the Cannibal
Islands. 1907. 919G86
NORMANDY. See FRANCE Many half-tones, plates, and insets of costume.

Shoberl, Frederic. World in Miniature. South

NORWAY
Sea Islands. 2 v. n.d. REF. 919S72
Bossi, Luigi. Costume des Norvegiens. (In Fer- Illustrated by colored engravings.
rario, G. Costume. 1815-29. Europe, v. 6.
REF. 391F37
ORDERS
pp. 260-91.)
Lawrence- Archer, J. H. The Orders of Chivalry,
DuChaillu, P. B. Viking Age. 2 v. 1889.
948D82V English and Foreign. 1887. R929.7L42
Colored illustrations of the'decorations and insignia of the
Dress of men, v.-2, pp. 285-300; dress of women, v. 2, orders of Great Britain and Europe.
pp. 301-31. 128 wood-cuts of dress and ornament.

Egerton, M. M., Countess of Wilton. Toilette in PALESTINE. See TURKISH EMPIRE

Norway. (In her Book of Costume. 1847.
REF. 391W75 PEASANT COSTUME
pp. 346-48.)
2 wood-cuts. Of British Peasants.
Aria, Mrs. E. Of some for-

Hyne, C. J. C. W. Through Arctic Lapland. 1898. eign peasants. (In her Costume: fanciful, his-
914.7H99 torical, and theatrical. 1906. pp. 115-46.)
Several half-tone plates of Lapp costume. 391A69
Jungmann, Beatrice. Norway. Illustrated by Nico 2 colored plates and 10 half-tones.

Jungmann. 1905. 914.8J95 Colquhoun, A. R. Whirlpool of Europe; Austria-

Scattered references to costume. About 30 colored plates
show costume. Hungary and the Hapsburgs. 1907. 943.6C72
About 40 half-tones of costume. Peasant costumes have
Koppen, F. von. Sweden and Norway. (In his been given preference.

Armies of Europe. 1890. pp. 61-63.) 355K77 Holme, Charles. Peasant Art in Austria and Hun-
Colored plates (6 figures) and 2 text illustrations of
uniforms. gary. 1911. 709H74PE
In Viking Land Peasant Art in Italy. 1913. 709H74Ps
Monroe, W. S. :
Norway, its peo-
ples, its fjords, and its fjelds. 1908. 948M75 Peasant Art in Russia. 1912. 709H71PR
" Illustrations of peasant costume, in monotone.
Consult Index under Dress." Of the 48 half-tone plates,
3 are definitely of costumes.
" " Lyall, Robert. Character of the Russians, and
Pritchett, R. T. Gamle Norge : rambles and
History of Moscow. 1823. REF. 914.7L98
scrambles in Norway. 1879. 914.8P96 3 colored plates of Russian peasants.
Frequent references to, and several illustrations of,
national costume. Schild, Marie. Old English Peasant Costumes.
1896. 1898. 391S33
Steele, T. S. Voyage to Viking-Land.
914.8S81
S half-tones of Norwegian and Lapp costume. PERSIA

Tonsberg, C. Udvalgte Norske Nationaldragter. De Lorey, Eustache. Queer Things about Persia.
1852. RD391T66 1907. 915.5L86
"
15 colored plates. Text in Norwegian, German, and Persian women and their dress," pp. 103-10. 17 of the
English. half-tone plates show costume.
Page One Hundred Seventy-two BIBLIOGRAPHY
Egerton, M. M., Countess of WUton. Toilette in Sawyer, F. H. Inhabitants of the Philippines.
Persia. (In her Book of Costume. 1847. pp. 1900. 919.1S27
432-40.) REF. 391W75 Many references (pp. 201-375) to dress. Several half-
tone plates of native dress.
3 wood-cuts.

Worcester, D. C. The Philippine Islands and Their

Ferrario, Giulio. Costume Ancien et Moderne des
People. 1898. 919.1W91
Perses. (In his Costume. 1815-29. Asie. v. 3.
3 plates of dress.
pp. 382-596.) REF. 391F37
About 20 colored copperplates of ancient, mediaeval, and Wright, H. M. Handbook of the Philippines. 1907.
modern Persian costume.
919.1W94
W. and Present. Dress, pp. 62-64. Half-tone plates, with small figures in
Jackson, A. V. Persia, Past 1906.
costume. Several plates of children.
915.5J12
More than 20 of the illustrations show costume, mostly
modern. POLAND. See RUSSIA

Shoberl, Frederic. World in Miniature. Persia. PORTO Rico

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

Sparroy, Wilfrid. Persian Children of the Royal 2 v. 1899. REF. 917.29B91

Porto Rico, v. 1, p. 257; v. 2, p. 416. Colored plates and
Family. 1902. 915.5S73 half-tones show costume.
20 half-tone plates of costume.

Wilson, S. G. Persian Life and Customs. 1895. PORTUGAL

915.5W75 William. Sketches of the
5 half-tone plates of dress.
Bradford, Country,
Character, and Costume in Portugal and Spain.
1812-13. R914.6B79
PERU Contains colored plates, including military costume.

Skinner, Joseph. The Present State of Peru. Egerton, M. M., Countess of Wilton. Toilette in
1805. 918.5S62 Portugal. (In her Book of Costume. 1847.
20 colored plates of costumes, etc. pp. 297-301.) REF. 391 W75

Wright, M. R. The Old and the New Peru. 1908.

REF. 985W95 Koppen, F. von. Spain and Portugal. (In his

Infantry uniform, p. 170; Marines, p. 173; Indians, Armies of Europe, Illustrated. 1890. p. 66.)
chap. 36.
355K77
Section of colored plates, showing 5 figures in uniform.
PHILIPPINE ISLANDS
Shoberl, Frederic. World in Miniature. Spain and
Browne, G. W. ThePhilippines. (In his New Portugal. 2 v. n.d. REF. 914.6S55
27 colored engravings.
America and the Far East. 1907. v. 1-2.)
910B882 Stephens, H. M. Portugal. 1891. (Story of the
V. 1, pp. 208-19, contains many references to costume. nations series.) 918.9S83
3 half-tone plates and many cuts of native dress.
Several of the wood-cuts show costume.

Olivares, Jose de. Our Islands and their People, as

Sunshine and Sentiment in Portu-
Watson, Gilbert.
Seen with Camera and Pencil. 2 v. 1899.
1904. 914.69W33
gal.
REF. 917.29B91 5 half-tone plates of costume.
Philippines, v. 2, pp. 549-768. A few colored plates, and
many half-tones, of native dress.
QUAKERS
Russel, F. K. A Woman's Journey through the
Philippines. 1907. 919.1R95 Gummere, A. M. The Quaker: a study in costume.
Consult Index. 8 plates of costumes. 1901. 391G97
BIBLIOGRAPHY Page One Hundred Seventy-three

RELIGIOUS COSTUME ROME

Riedenfeld, F. L. C., Freiherr von. Ursprung, Arnay, d\ Private Life of the Romans. 1808.
Aufleben, Grosse, Herrschaft, Verfall und jetzige 913A74
"
Zustande sammtlicher Monchs- und Kloster- Of clothing," pp. 154-200.

frauen-Orden im Orient und Occident. 2 v. Becker, W. A. Gallus; or, Roman scenes in the
1837-39. G271B58 time of Augustus. 3d ed. 1866. 913B39
Hand-colored plates of 77 religious orders (male and Dress, pp. 98-109; Dress of thp men, pp. 408-30; Dress
female). of the women, pp. 431-50. 4 wood-cuts of male and one of
female attire.

Costume, Ecclesiastical. (In New International En-

Same. 9th ed. 1888. REF. 913B39
cyclopaedia. 1902. v. 5. pp. 334-38.)
REF. 031I61GI Costumi di Roma e del contorni. 1846. RI391C84
Historical and descriptive, with plate (8 figures), 3 wood-
Colored plates. No text.

cuts, and brief bibliography.

Egerton, M. M., Countess of Wilton. Toilette in
Costume, Ecclesiastical. (In New International Ancient Rome. (In her Book of Costume.
Encyclopedia. 1914. v. 6.) 1847. REF. 391W75
pp. 335-45.)

Currier, C. W. History of Religious Orders. 1894.

271C97H Friedldnder, L. Mceurs Romaines du Regne d'Au-
guste a la fin des Antonins. 2 v. 1865-67.
Ilelyot, P. Album; ou, Collection complete et
937F91
historique des costumes de la cour de Rome. Costume and armor of gladiators, v. 2, pp. 273-80.

1862. REF. F391P47

Guhl, E. Life of the Greeks and Romans, Described
80 colored plates, mostly of ecclesiastical and monastic
costume. from Antique Monuments. 1875. 913G94
"
Dress," pp. 476-501. 11 outline cuts.
Lacroix, Paul. Military and Religious Life in the
Middle Ages and at the Period of the Renaissance, Hope, Thomas. Costumes of the Romans. (In his
n.d. REF. 940Ll4Mi Costume of the Ancients. 1841. v. 1. pp. 39-
"
Monastic dress," p. 308. Many colored plates and v. 2, pi. REF. 391H79
50; 232-300.)
wood-cuts of ecclesiastical dress.
Historical and descriptive. 69 outline plates.

Monastic Costumes, n.d. R391M73

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

lic Encyclopedia, v. 4. pp. 419-21.)

Perugini, G. Album; ou, Collection ... des Cos-
REF. 282C363
tumes de la Cour de Rome. Deuxieme <?d.
Bibliography of 12 titles.
1862. RF391P47
Pallium. (In Morris, John. Historical Papers.
80 colored plates of uniforms of the Papal Court and
1892. v. 1. pp. 85-116.) 270M87 Roman Catholic religious costume.

9 wood-cuts.
Saunders, C. Costume in Roman Comedy. 1909.
Tyack, G. S. Historic Dress of the Clergy. 1897. 391S25
247T97H Monograph, with bibliography. No illustrations.
Page One Hundred Seventy-four BIBLIOGRAPHY
Wright, T. The Celt, the Roman, and the Saxon. Holme, Charles. Peasant Art in Russia. 1912.
1852. 913W95C 709H74PR
Dress of Romans in Britain, pp. 326-33. 3 cuts of orna- Peasant costumes,
ments.
Koppen, F. von. Russia. (In his Armies of Europe.
ROUMANIA. See BALKAN STATES 1890 pp 53 _58 } 355K77
Descriptive notes. 2 double colored plates H5 figures,
RUSSIAN JiiMPIRE including 1 naval), and 6 text illustrations of uniforms.

Atkinson, J. A. Picturesque Representations of Latimer, E. W. Russia and Turkey in the 19th

the Manners, Customs, and Amusements of the Century. 1895. 947L35
Russians. 3v.ini. 1803. REF. 914.7A87 8 plates of costume.
100 colored plates of all classes of Russians.
text in English and French.
Descriptive T
Logan, J. A., Jr.
TAT In
TTPIT
Joyful Russia. 1897.

Breton de la Martiniere, J. B. J. La Russie;

914.7L85
ou,
-..- TT 4.^4. JTJU'4-
Moeurs, Usages, et Costumes des Habitans de
J About 20 plates of Russian costumes and uniforms.

Toutes les Provinces de cet Empire. 6 v. 1813. Lyall. Robert. Character of the Russians, and
F914.7B84 History of Moscow. 1823. REF. 914.7L98
_, T> T, . -r, TT
, i
Painted by r de Haenen.
,
3 colored P^tes of Russian peasant costume.
Lfobson, George. Russia, .

1913. 914.7D63R Michell, Thomas. Russian Pictures. 1889.

St. Petersburg. Illustrated by F. de Haenen. Wood-cuts of costumes of the empire.

1910. 914 7D63
Molloy, J. F. Russian Court in the 18th Century.
Egerton, M. M., Countess of Wilton. Toilette in 2 v 1905 947M72
Bokhara, Circassia, and Cashmere. (In her Book -\ plates of costumes,

of Costume. 1847. pp. 441-48.) REF. 391W75 Norman H

, All the Russias. 1902. 914.7N84
3 wood-cuts.
Cuts of Finnish, Russian, and Asiatic types.
-Toilette in Poland. (In her Book of Costume.
Qluf a Through unknown Pamirs. 1904.
184 60 - 62 -)
915.8052
J wo PP;u fs "
Clothing," pp. 63-72. 15 half-tone cuts of Pamir
Toilette in Russia. (In her Book of Costume.
1847. pp. 363-73.) Pallas, P. S. Travels through Southern Provinces
7 wood-cuts. of the Russian Empire in the Years 1793 and 1794.
Eyries, J. B. B. La Russie; ou, Costumes, Moeurs, 2 v. 1802. 914.7P16
Has about ten colored plates.
et Usages des Russes. (In his L'Angleterre.
n.d.) REF. F391E98 Picturesque Representations of the Dress and Manners
Illustrated by colored engravings.
of the Russians, n.d. REF. 391P61R
8 Varl US costumes of the empire
Ferrario, Giulio. Costume Ancien et Moderne de la madVife^* f '

Russie d'Europe. (In his Costume. 1815-29. ,. _. , 7 ,. . .

,
Rechberg.Rothenloewen, Karl, ^chsgraf von. Les
Europe, v. 6, pp. 1-162.) REF. F391F37
24 colored copperplates, mostly of costume. Plates 7
PeU P leS de la RuSSle 2 " * 1812 - 13 '

and 8 show millitary uniforms. REF. F914.7R29

Colored plates of Slavic, Finnish, and Tartar types.
Costume des Habitans du Caboul, du Tibet,
Siberia, etc. (In his Costume. 1815-29. Asie, Russian Army. (In Armies of To-day. 1893. pp.
v. 4. pp. 1-282.) 217-59.) 355M27
Colored copperplates of costumes 9f Kabul, Tibet, Cau- 13 cuts of modern Russian uniform,
casia, Turkey, Turkestan, Bokhara, Siberia.
, _, ,
. ._
, . _ Seven Colored Plates of Russian Costumes of Various
Costume des Polonais. (In his Costume. 1815-
Trades P1820 R391S49
29. Europe. V. 6. pp. 162-181.) Each plate ,s mounted, and has a title in Russian, Ger-
1 colored plate of Polish costumes (7 figures). man and English.

Harding, Edward. Costume of the Russian Empire. Shoberl, Frederic. World in Miniature. Russia.
1811. R391H26 4 v. 1827. REF. 914.7S559
72 colored engravings. 72 colored engravings of Slavs, Poles, Asiatics, etc.
BIBLIOGRAPHY Page One Hundred Seventy-five

Singleton, Esther. Russia as Seen and Described SCOTLAND

by Great Writers. 1904. 914.7S61
5 plates of costume. " Adam, Frank. Clans, Septs, and Regiments of the
, - .'-'. TT Scottish Highlands. 1908. 941A19C
Spencer, Edmund. Travels
,
in Circassia, Knm- Hag 13 p]ates illustrating High!and garb> and colored
Tartary, etc. 3d ed. 2 v. 1839. 914.7S74 plates of .tartans.

Colored frontispiece and several small cuts of dress.

What is my Tartan? The clans of Scotland, with
Stadling, Jonas. In the Land of Tolstoi: experi- their septs and dependents. 1896. REF. 941A19
ences of famine and misrule in Russia. 1897.
Descriptive notes on tartans, arms, badges, etc., of the
914.7S77 various c!ans -

Many wood-cuts and half-tones of Russian costume, .

chiefly peasant. Bonwiclc, James. Uur .Nationalities. Who are the

.
-n . Scotch? 1880. 572B72
Stevem,W.B. Things Seen in Russia. 191*
old Scotch dress," PP 130-32. .

r ,
y 14.7oo4 J.
Contains photographs of contemporary costume. Browne, James. History of the Highlands and of
Provincial Russia. 1913. *!* Highland
Clans. 4 v. 1857-58. 941B88
Stewart, Hugh.
Colored plates, chiefly in v. 4, of principal tartans.
914 7S849
2 UStrati nS in C lor and black - and - white showing
Campbell, Lord Archibald. Children of the Mist; or,
'

cost ume
The Scottish clansmen in peace and war. 1890.
Uniforms of the Armies of the Six Great Powers of
941C18C
Europe. (In Standard Dictionary. Sup. 1903. Numerous notes on costume. Double-page frontispiece,
r> 2187) REF 423F98SU showing Highland and English uniforms of 1745.
Section of colored plates, showing 18 Russian uniforms. . . ,
10on ono/^-io-r
[Craignish tales, and others.] 1889. 398C187
Villari, Luigi. Fire and Sword in the Caucasus. P 84 Notes on the war dress of the Celt. With illus-
trations.
1906. 947 V72

TanaTcosTum?
68 f C SSaCk> Georgian> ArmeniaD -
and
_ Highland Dress, Arms, and Ornament. 1899.
914.1C187
Wilson, H. W. Freedom: the
Japan's Fight for
T j T Many half-tones and several photogravures of uniforms
story of the war between Russia and Japan. 2 v. an a arms.
1904-05. REF. 951W74
Many half-tones, showing Russian uniforms. Egerton, M. M., Countess of Wilton. Toilette in
Scotland. (In her Book of Costume. 1847.

SAMOA PP- 176-85.) REF. 391W75

2 small wood-cuts.

Ckurchill, L.P. Samoa 'Uma, where Life is Dif-

n I,, r;,a, es s,. '**-. ,

tted from re.ies of the Stuarts. ,890.
REF. 920G438
Hamm, M. A. America's New Possessions. 1899.
910H22
4Q co]ored
plates show
^^ some showing wearing appare ,
regalia of Scotland.
4

7 half-tones of Samoan dress.

G *> H G
Olivares,
2v
Jose de.
1899.
Our Islands and their People.
REF. 917.29B91
Century-
See
"
'

Dress
q
2d
.

ed ^}^ 1906.
in Index.
Samoa, v. 2, pp. 539-47. Half-tones of costume.

Turner, George. Samoa a Hundred Years Ago and Grierson, E. W. Children's Book of Edinburgh.
1884. 919.6T94 1906. 941G84
Long Before.
" 2 wood-cuts of costume. 9 colored plates of Scotch dress of various periods.
Clothing," pp. 118-23.

Keltic, J. S. History of the Scottish Highlands,

Highland Clans and Highland Regiments. 2 v.
1875. REF. 941K19
Canziani, Estella. Costumes, Traditions, and Songs
, c , ,
Q11 1. *qqir^ Highland dress, v. 1, pp. 300-03. Illustrations include
OI Savoy. iy colored plates of clan tartans and several wood-cuts showing
Illustrated with 47 colored plates, several of costume. dress.
Page One Hundred Seventy-six BIBLIOGRAPHY
Levati, Ambrogio. Costume des Habitans des lies SHAKESPEAREAN COSTUME
Britanniques. (In Ferrario, Giulio. Costume.
Abbey, E. A. Drawings for Shakespeare: Midsum-
1815-29. Europe, v. 6. pp. 1-178.)
mer Night's Dream, King. Lear, King Richard II.
REF. 391F37
Colored copperplate (plate 30) shows 5 Scotch costumes of King John, Romeo and Juliet, King Richard III,
about 1820. Hamlet, Othello. (In Harper's new monthly

manners magazine, vols. 91, 106, 107, 108 and 109.)

Logan, James. Scottish Gael: or, Celtic
051H29
as preserved among the Highlanders. 2 v. 1831.
941L83S2 "
Bayard, Emile. Shakespeare's As you Like It."
"
Dress of the ancient Celts and costume of the present With 12 illustrations. 1887. R822.3S52Asi
Gael," v. 1, pp. 217-72; table of clan tartans, Appendix,
v. 2, pp. 401-08.
Bodcke, R. L. Shakespearian Costumes. 4 v.
Melon, R. R. Gaelic Gatherings; or, The High- J 889-1892. 822.3B669
landers at home. 1848. [reprinted 1900.] Full-page wood-cuts, with color key. The library has
" "
only4yols.: All's well that ends well "; Twelfth night ";
" "
914.1L83 Taming of the shrew "; Hamlet."
2.1 colored plates of costume.
boydell, J. and J. Boydell's Graphic Illustrations
Mackintosh, J. Story of Scotland from the Earliest of the Dramatic Works of Shakespeare. 1813.
Times to the Present Century. T llustrated. REF. 822.3B78G
1899. 941M15 Stee! plates of characters in costume.

Milne, James. Gordon Highlanders. 1898. Brereton, Austin. Shakespearean Scenes and Char-
355M65 acters. 1886. REF. 822.3B84
Includes half-tones of Highland uniforms. 30 steel plates and 10 wood -engravings.

Carter, Thomas. Stories from Snakespeare. n.d.

Sanderson, William. Scottish Life and Character.
822.3S52STO
1904. 914.1S21 16 full-page colored illustrations.
See pp. 86-88; 130-34. 12 plates of costume. "
Crane, Walter. Shakespeare's Merry Wives of
Scottish Clans and their Tartans. 2d ed. 1892. Windsor," in eight pen designs. 1894.
941S42 R822.3C89
Colored plates of the tartans.
Fitzgerald, Percy H. Shakespearean Representa-
Same. 8th ed. 1906. tion, its Laws and Limits. 1908. 822.3F55

Gerome, J. L. Scenes from Shakespeare. 1875.

Shoberl, Frederic. World in Miniature. England,
Edited by W. H. Pyne.
R822.3G37
Scotland, and Ireland. 30 India proof engravings.
4 v. 1827. REF. 914.2S559 "
4 colored plates, in v. Scotch costume. Grutzner, E. Shakespeare's King Henry IV,"
4, of
two parts. 1887. R822.3S52H4Gi
Stewart, David. Sketches of the Character, Man- 12 illustrations.

ners, and Present State of the Highlanders of "

Lacy, T. H. Costume Plates for the Merchant of
Scotland. 2 v. 1822. 355S84 Venice." ?1862. R822.3L15
"
Highland garb," v. 1, pp. 75-80, 115-20.
"
Linton, Sir. J. D. Shakespeare's King Henry
Stuart, John S. S. The Costume of the Clans. VIII." 1892. R822.3S52H8LD
1892. R391S93 12 illustrations.
37 full-page plates, illustrating the history, antiquities,
and dress of the Highland clans. Shakespeare, William. Complete Works; rev. from
the original editions, with introductions and
Towry, M. H. Clanship ad the Clans. 1870. notes by J. O. Halliwell and other eminent com-
929T75 mentators. 9 v. n.d. 822.3S52WR
"
Highland garb and arms," pp. 12-16.
Many steel engravings of actors in costume.

See also ENGLAND Dramatic Works; rev. by G. Steevens. 6 v.

1802. REF. 822.3S52Ds
SERBIA. See BALKAN STATES Plates practically the same as in Boydell.
BIBLIOGRAPHY Page One Hundred Seventy-seven

Shakespeare, William. Tragedy of Hamlet, Prince Calvert, A. F. Spanish Arms and Armor. 1907.
of Denmark. 1897. 822.3S52HAC 399C16
12 full-page illustrations by H. C. Christy. 3SO half-tone illustrations of the collection in the Royal
Armory at Madrid.

Shakespeare in Pictorial Art. 1916. S22.3S25 _ Valladolid, Oviedo, Segovia. 1908. 914.6C16V
" 156 ~ 165 give peasant costume s of the province of
Shakespeare's
Marchetti.
Othello:'
P1892.
Illustrated by Ludovic
822.3S52OTH
*'
seStiT
,,
r
Cuendias, Manuel
, 7
de. L Espagne; Pittoresque,
Smirke, R., and others. Illustrations of Shake- Artistique, et Monumentalc. n.d. F914.6C96
n.d. R822.3S641 Colored illustrations, and others.
speare's Plays,
Fifty original designs h y R. Smirke, T. stothard, E. H. Delineations of the Most Remarkable Costumes of the
Corbould, etc. Engraved on steel.
Different Provinces of Spain. 1823. R391D35
Stone, Melicent. The Bankside Costume Book for Colored illustrations. No text.

Children. 1913. 391S87 Egerton, M. M., Countess of Wilton. Toilette in

Has 52 illustrations of
dress accoutrements.
Shakesoearian men, women, and c /T i_ T> r/^x io,~
Spam. (In her Book of Costume. 1847. pp.
i

ww n
Wilde, Oscar.
r *i
Truth of AT
t
Masks. i n
(In his T
u- *
Intentions* 288-96.)
4 wood . cuts
REF. 391W75

and the Soul of Man.) 1908. 828W67I

Fltz-Gerald, J. D. Rambles in Spam. 1910.
Essay on Shakespeare's interest in and use of costume.
914.6F553
Wingate, C. E. L. Shakespeare's Heroines on the Shows several costumes of peasants.

Stage. 1875. 822.3W76S Higgin, Louis. Spanish Life in Town and Country.
52 illustrations, half-tones
19Q 2 914.6H63
"
See Costume " and " Dress " in Index. 7 half-tone
SHOES. See FOOT-WEAR plates of costume.

Koppen, F. von. Spain and Portugal. (In his

SIAM. See INDIA Armies of Europe. 1890. pp. 64-66.) 355K77
Double colored plates and 2 text illustrations of uniforms.
SOUTH AMERICA
Penfield, Edward. Spanish Sketches. 1911.

Carpenter, F. G. South America, social, industrial, 914.6P39

and political. 1900. 918C29s
7 plates (half-tones) of costumes. Shoberl, Frederic. World in Miniature. Spain and
'

n, ., , ., .
Portugal. 2 v. 1827. REF. 914.6S55
Forrest, A. S. Tour through South America. 1913.
27 colored engravings.
918F72
Watts, H. E. Christian Recovery of Spain. 1894.
Marcoy, Paul. Journey across South America. 946W34
2 V. 1873. REF. 918.5S13 Has illustrations showing costume, especially of the 13th
Incidental notes on costumes. Many wood-cuts of native
and Spanish costumes. Land of the Dons. 1902. 914.6W72
Williams, L.
Pritchard, H. V. II .
Through the Heart of Pata- 13 plates showing national dress.

gonia. 1902. 918.2P94

3 plates, in color and half-tone, showing Patagonian dress. SWEDEN
See also INDIANS OF SOUTH AMERICA
Afbildningar af Svenska national drakter. 1908.
R391A25
SPAIN Colored plates.

Adams, W. H. Spain and its People. 1872. Bossi, Luigi. Du costume de la Suede. (In Fer-
914.6A21 rario, Costume. 1815-29. Europe, v. 6.
G.
Many wood-cuts of Spanish types.
pp. 232-59.) REF. 391F37
Sketches of the Country, Char- 2 copperplates (1 colored) of ancient Swedish costumes.
Bradford, William.
acter, and Costume in Portugal and Spain. 1812- Le Costume Ancien et Moderne des Scandinaves,
13. R914.6H79 des Suedois, etc. 1827. *F914.8B74
Contains colored plates, including military costume. 19 plates.
Page One Hundred Seventy -eight BIBLIOGRAPHY
Egerton, M. M., Countess of Wilton. Toilette in Yosy, A. Switzerland. With representations of the
Sweden. (In her Book of Costume. 1847. dress and manners of the Swiss. 2 v. 1815.
pp. 349-51.) REF. 391W75 REF. 914.94Y65
3 wood-cuts. 50 colored engravings of costume.

Holme, Charles. Peasant Art in Sweden, Lapland,

THEATRICAL COSTUME
and Iceland. 1910. 709H74P
Illustrations in color and monotone. Mrs. E. Of
Aria, Theatrical Dress. (In her
Koppen, F. von. Sweden and Norway. (In his Costume; fanciful, historical and theatrical.

Armies of Europe. 1890. pp. 61-63.) 355K77 1906. pp. 236-59.) 391A69
2 colored plates and 7 half-tone illustrations.
Colored plates (11 figures, including 3 naval) of uniforms.

Steveni, W. B. Things Seen in Sweden. 1915. Ferrario, Giulio. Costume des Italiens. (In his
914.8S84 Costume. 1815-29. Europe, v. 3., pt. 2.)

About 21 of the 50 photographic reproductions are of REF. F391F37

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

SWITZERLAND Guillaumot, A. E. Costumes de 1'Oplra, Dix-

septieme au dix-huitieme Siecles. 1883.
Bridgens, Richard. Sketches Illustrative of the RF391G95C
Manners and Costumes of France, Switzerland, 50 planches fac-simile a 1'eau-forte en couleurs.

and Italy. 1821. R391B851 Theatricals and Tableaux Vi-

Harrison, Charles.
Plates, with descriptive text.
vants for Amateurs. 1882. 793H31
Egerton, M. M., Countess of Wilton. Toilette in 92 illustrations of stage costume, historical and fancy
design.
Switzerland. (In her Book of Costume. 1847.
REF. 391W75 Jullien, A. Histoire du Costume au Theatre depuis
pp. 302-10.)
10 wood-cuts. les Origines du Theatre en France jusqu'a nos
Jours. 1880. F391J94
Gauter, Henri. Histoire du Service Militaire des
24 plates, partly colored.
Regiments Suisses a la Solde de 1'Angleterre,
de Naples, et de Rome. 1902. F356G21 Kobbc, Gustav. Opera Singers : a pictorial souvenir.
10 colored plates, showing uniforms of Swiss mercenaries. 1904. 920K756
"
Photogravures. A
series of costume and other por-
Koppen, F. von. Switzerland. (In his Armies of traits of the grand opera singers best known to American
opera-goers of to-day."
Europe. 1890. pp. 67-68.) 355K77
Colored plates (7 figures) of uniforms. Krehbiel, H. E. Chapters of Opera. 1908.

Costume Ancien et Moderne des 782K92

Levati, Ambrogio.
Of the 70 half-tone illustrations, 39 are from photographs
Helvetiens ou des Suisses. (In Ferrario, G. of opera singers in costume.
Costume. 1815-29. Europe, v. 4. pp. 1-172.)
Lacy, T. H. Female Costumes, Na-
Historical,
REF. F391F37
16 colored copperplates of ancient and modern Swiss
tional, Dramatic. 1865. R391L152C2
costumes.
Male Costumes, Historical, National, Dramatic.
Schweizer Volkstracht; die Trachten der Cantone 1868. R391L152C1
Aaran, Appenzell, Unterwalden, Glarus, Schaff- Contains colored plates. No text.

hausen, und Luzern, auf acht sehr schonen Twentieth Century Speaker. 1898.
Lumm, E. C.
Chromo-Lithographen dargestellt. 1840.
808.5L95
R391S41 Colored and half-tone'plates of costumes'and poses.

Story, A. T. Swiss Life in Town and Country. Mackay, C. D. Costumes and Scenery for Amateurs.
1902. 914.94S88 1915. 793M153C
BIBLIOGRAPHY Page One Hundred Seventy-nine

Mantzius, Karl. History of Theatrical Art. 5 v. TURKISH EMPIRE

1903-09. 792M29 ,,
,
Addison,
,- n n
C. G.
^
Damascus and Palmyra.
J 2 v.
Plates of actors in costume.
1838. 915 6A22
Mobwson, F. Costumes of the Modern Stage. 10 colored plates of costume.
188 9 - 391M68
^" AttomjThomaSf Character and Costume in Turkey
Colored plates.
,
_
and Italy, n.d. R914.96A44
Paul, Howard. The Stage and its Stars, Past and 10 lithographic plates of Turkish costume about the
Present. A gallery of dramatic illustration and
critical biographies of distinguished English and Amids, E. de. Constantinople. Tr. by Caroline
American actors, from the time of Shakespeare Tilton. 1878. 914.96A51
" " "
till to-day. 2 V. 1887. 9 ostume male ]- PP- 104-05;
t Turkish women," pp.
128 photogravure portraits and scenes from steel plates
and over 400 portraits in the text. Useful for costume. Bell, G. L. The Desert and the Sown. 1907.
Scott, Clement. Drama of Yesterday and To-day. 915.6B43
2 V. 1899. 792S42 Colored frontispiece, by Sargent, of Bedouins and many
half-tones of the different races of Palestine.
Illustrations of actors in costume.

o -ji A i -MT t *v. T\T j -nr u o Copping, Harold. The Gospel in the Old Testament.
Scidl, Anton. Music of the Modern \\ orld. 2 v. \ .
TT ^
_ roncj,*
A ,
series of Pictures
.
A .

by Harold Copping. With

i i

descriptive J H. C. G. Moule.
letterpress by 1908.
Manycolored and half-tone plates of singers and operatic
characters in costume. REF. 221C78
ifT -j 24 illustrations in color.
oione, Muicent. Ihe T>
fTM, r< i T> t
rSankside Costume .Book for
i

Children. 1913. 391S87 Costume of Turkey. 1802. R391C842.

Has 52 illustrations for representing historical
I"trated with colored engravings, with descriptions
especially those of Shakespeare
plays, m
.

En S ksh and French -

Dupre, L. Voyage a Athenes et a Constantinople.

TIBET 1825. REF.

Colored plates of costumes of Constantinople, with text

Crosby, 0. T. Thibet and Turkestan. 1905.

915.8C94 Egerton, M. M., Countess of Wilton. Toilette in
Several of the half-tone plates show costume. Palestine and Syria. (In her Book of Costume.

Landor, A. H. Savage-. Tibet and Nepal, Painted 1847. pp. 465-75.) REF. 391W75
and Described. 1905. 915L26
Over 30 colored plates show costumes of Tibet and Nepal. -Toilette in Turkey, Wallachia, etc. (In her
Book of Costume. 1847. pp. 374^87.)
Slurring, C. A. Western Tibet and the British
Borderland. 1906. 915.1S55
See
"
Dress
"
in Index. Many half-tones in text show ccs- Eyrits, J. B. B. La Turquie, OU, Costumes, Moeurs,
et Usages des Turcs. (In his L'Angleterre. n.d.)
Shoberl, F. The World in Miniature. Tibet and REF. F391E98
India beyond the Ganges. 1827. R915.1S559 Illustrated by colored plates.

12 colored plates of costumes. Ferrario, Giulio. Costume des Peuples de 1'Asie

Mineure. (In his Costume. 1815-29. Asie.
TROUBADOURS v. 3. pp. 263-348.) REF. 391F37
Colored copperplates of costumes of Phrygia, Troy,
F. Troubadours and Courts of PontU? Armenia> and other ancient
Rowbotham, J. inor
'

Love. 1895. 914.2R87 _ .

Dress of the troubadours," pp. 108-70. 7 outline cuts

Hamdl > Sman > ^' *** Costumes Populates de
RF391H21

^
of troubadour and minstrel costume. l a Turquie en 1873.
Troubadours at Home. 4
Smith, J.H. 2 v. 1899.
&?ffi
^|
in Asia.
849S65
"
See a ' S Costume Fisher. Oriental and Sacred Scenes in Greece,
in 'index' ""K* wood ciTts o^dfels Howe,
Turkey, and Palestine. 1856. 915.6H85
mJ.TJNIS. bee AFRICA
Text contains several references to costume. 6 colored
plates of typical costume.
Page One Hundred Eighty BIBLIOGRAPHY
Jessup, H. H. Syrian Home-life. 1874. 915.6J58 Shoberl, F. World in Miniature. Turkey. 6 v.
"
Dress," pp. 28-38. 3 wood-cuts. 1827. REF. 914.96S55
73 colored engravings, showing about 150 costumes of
Women of the Arabs. 1873. 915.6J58W the Empire.
Incidental notes on dress. A few wood-cuts of costumes,
male and female, of Palestine.
Singleton, Esther. Turkey and the Balkan States,
as Described by Great Writers. 1908. 949.6S61
Kelman,J. The Holy Land. 1902. 915.6K29
40 half-tone plates, many useful for costume.
Including colored plates of Syrian peasants and Arabs.

Spry, W. J. J. Life on the Bosphorus. 1895.

Koppen, Turkey and the States of the Bal-
F. von.
914.96S77
kan Peninsula, (in his Armies of Europe. 1890.) 34 portraits of caliphs and sultans, and other plates of
355K77 costume.
Pp. 73-75. Section of colored plates (5 figures) and 4 text
illustrations of uniforms.
Van Lennep, H. J. Oriental Album. Twenty
illustrations, in oil colors, of the people and
Latimer, E. W. Russia and Turkey in the 19th
scenery of Turkey; with an explanatory and
Century. 1895. 947L35
descriptive text. 1862. REF. 914.96V25
Several portraits showing Turkish uniforms.
Folio lithograph plates, showing Turkish and Armenian
costumes.
Laurent, P. E. Recollections of a Classical Tour
Greece, Turkey, and Wilkie, Sir David. Sketches in Turkey, Syria, and
through Various Parts of
Italy, in 1818 and 1819. 2 v. 1822. Egypt, 1840 and 1841. Drawn on stone by
REF. 914L38 Joseph Nash. 1843. REF. 741W68
52 folio lithographs, in monotone.
4 hand-colored plates.'showing Turkish women and girls,
etc.
TYROL. See AUSTRIA-HUNGARY; SWITZERLAND
Maclean, F. Sketches in Character and Costume
in Constantinople, Ionian Islands, etc. 1854. UNITED STATES
R914.96M11
Avery, E. M. History of the United States. 16 v.
No text except short descriptions of the plates.
1907. 973A95
Magnetti, Carlo. Costume de 1'Empire Ottoman. Fully illustrated. Vol. 6 is good for colored illustrations
Costume. 1815-29. Eu- of Colonial costumes, military and civil.
(In Ferrario, Giulio.
rope, v. 1, pt. 3.) REF. F391F37 Earle, Alice M. Child Life in Colonial Days. 1899.
Nearly 60 colored copperplates of costumes, including 390E12
the present Balkan States.
Many half-tones, from photographs, of children's dress.
Mayer. Luigi. Views of the Ottoman Domains in
Costume of Colonial Times. 1894. 391E12
Europe, in Asia, and some of the Mediterranean History of Colonial Dress, pp. 3-42; Dictionary of Terms,
Islands. 1810. REF. 915.6M46 pp. 45-264.

C9lored plates of costumes of the Turkish Empire, in- Dress of the Colonists. (In her Home life in
cluding also Sicily, Tripoli, and the Balkan States.
Colonial Days. 1898. pp. 281-99.) 917.3E12
Millingen, A. van. Constantinople; painted by 6 cuts of costumes.
Goble. 1906. 949.6M655
Colored plates of Turkish costume.
Two Centuries of Costume in America, 1620-
1820. 2 v. 1903. REF. 391E12T
Monroe, W. S. Turkey and the Turks. 1907.
Many ialf-tone plates and wood-cuts of all 1kinds
half-tone of
949.6M753 costume. List of illustrations, with descriptive not
" "
Consult Dress in Index. 16 half-tones show costumes.
Eggleston, Edward. Household History of the
Neil, James. Everyday Life in the Holy Land. United States and its People. 1889. 973E29
1913. 915.6N39 Colored plates of colonial costumes, uniforms of 1776-
1864, and Confederate uniforms. Many vignettes of cos-
Contains colored pictures. tumes, 1492-1880.

Picturesque Representations of the Dress and Manners Goodwin, M. W. Colonial Cavalier; or, Southern
of the Turks. Illustrated in 60 colored engravings, Life before the Revolution. 1894. 917.5G65
REF. 391P61 "
with descriptions, n.d. His dress," pp. 75-96. A few wood-cuts of Colonial
dress.
Turks, Albanians, Arabs, and Armenians.
Fred. First Families of the Southwest.
Rogers, M. E. Domestic Life in Palestine. 1863. Harvey,
915.6R72 1913. 970.6H34
See
"
Costume " in Index. 32 colored plates of Indians, their pottery, basketry, etc.
BIBLIOGRAPHY Page One Hundred Eighty-one
Jennings, P. A Colored Man's Reminiscences of Nelson, H. L. Army of the United States. 1889.
James Madison. 1865. BM182J REF. 355N42
Extra with 26 colored plates, "
illustrations, showing Same plates as in U. S. army Q.-M. G. Uniform of the
fashions in Madison's time. Plates from Ackermann's Army of the U. S."
Repository.

McClellan, Elizabeth. Historic Dress in America, Rodenbaugh, T. F. From Everglade to Canon with
1607-1800. With chapter on
dress in the Spanish the 2d Dragoons. 1836-75. 1875. 355R68
and French settlements in Florida and Louisiana. 5 chromo-lithographs of cavalry uniforms, 1836-75, and
4 wood-cuts of French cavalrymen.
904. REF. 391M12
385 illustrations, colored plates, half-tones, and wood-
cuts. Bibliography. Smith, J. H. Historic Booke, to Keep in remem-
brance the meeting of the Honourable Artillery
Historic Dress- in America, 1800-1870. 1910.
RS91M12H Company of London and the Ancient and Honor-
Continuation of the above. Includes a bibliography.
able Artillery Company of the Massachusetts,
Boston, 1903. 1903. REF. 358S65
Singleton, Esther. Costumes of Men. (In her
Plates and cuts, showing uniforms of 17th-19th centuries.
Social New York under the Georges. 1902.
pp. 171-97.) 917.471SG1 Uniforms of the Army of the United States. (In
6 half-tones of articles of dress.
Standard Dictionary. Sup. 1903. p. 2187.)
Dress of Women. (In Same. pp. 201-56.) REF. 423F98Su
917.471S61 Colored plates, showing 27 uniforms of 1903.
Several half-tones of apparel.

Wharton, A. II. Social Life in the Early Republic. United States Army. Quartermaster-general. Uni-
1902. 390W55S form of the Army of the United States, 1882.
Colored frontispiece, and many half-tone portraits, of 1882. REF. 355U58
1790-1850.
Lithographed plates of uniforms. Several cuts of details.

UNITED STATES. MILITARY AND NAVAL COSTUME United States Army. Uniform of the Army of the
United States. Illustrated from 1774 to 1889.
Archibald, J. F. L. Blue Shirt and Khaki. 1901. 1890. REF. 355U58U
355A67 44 colored plates. Key to plates and descriptive text.

Many half-tones of English and American soldiers.

United States Marine Corps. Uniform Regulations.
Bennett, F.M. Uniforms and Corps Devices of the
Together with uniform regulations common to
Engineer Corps. (In his Steam Navy of the
United States. 1896. pp. 713-31.) 359B47S
both U. S. Navy and Marine Corps. 1913.
R355U58Mu
Bolton, C. K. Private Soldier under Washington.
1902. 973.3B69 United States. Navy Depi. Regulations govern-
Uniforms, pp. 89-104, and double half-tone plates showing ing the uniform of commissioned officers, warrant
uniforms and plate showing hunting shirt.
officers, and enlisted men of the Navy of the
Eggleston, Edward. Household History of the United States. 1886. REF. 355U58N
United States and its People. 1889. 973E29 54 lithographed plates of uniforms.
2 colored plates of U. S. uniforms, 1776-1865, and 1
colored plate of Confederate uniforms, with several vignettes T
of uniforms. Wagner, A. L. L nited States Army and Navy,
from the era of the Revolution to the close of
Logan, J. A. Volunteer Soldier of America. 1887.
the Spanish-American war. 1899.
355 L83
REF. 355W13OU
Colored frontispiece, and several wood-cuts of uniforms.
Lithographs of military a;.d naval uniforms, 1776-1899.
McClellan, Elizabeth. Uniforms in America, 1775-
1800. (In her Historic dress in America. 1904. Walton, W. G., and others. Army and Navy of the
pp. 340-77.) REF. 391M12 United States, from the period of the Revolution
Half-tones of Continental uniforms of army and navy. to the present day. 12 pts. 1889-95.

of the United States. REF. 353.6W24

Merritt, Wesley. Army (In
44 colored plates, mounted, with duplicate etchings, and
Armies of To-day. 1893. pp. 1-55.) 355M57 manv other etchings and photogravures of military and naval
4 cuts of uniforms of the period.
Page One Hundred Eighty-two BIBLIOGRAPHY
Zogbaum, R. F. Across Country with a Cavalry See also ENGLAND
Column. And, With the Bluecoats on the
Border. (In his Horse, Foot, and Dragoons. WEAPONS. Set; ARMOR
1888. pp. 100-170.) 355Z85
.?5 plates and cuts of uniforms of the period.
WEST INDIES
VENICE. See ITALY
Henderson, John. The West Indies. Painted by
A. S. Forrest. 1905. 917.29H49
WALES About 30 of the colored plates show costume, chiefly cf
Jamaica.
Bradley, A. G. Highways and Byways in North
Wales. Illustrated by J. Pennell and H. Thom- Paton, W. A. Down the Islands. 1890. 917.29P31
Frequent references in text. show
Several illustraticrj
son. 1898. 914.29B81 costumes.
6 wood-cuts of costume.

Davies, D. John Vaughan and his Friends. 1897. See also CUBA; PORTO Rico
914.29D255
Several cuts of Welsh costume.
ZANZIBAR
Egerton, M. M., Countess of Wilton. Toilette in
Wales. (In her Book of costume. 1847. pp. Lyne, R. N. Zanzibar in Contemporary Times.
190-91.) REF. 391 W75 1905. 967L98
Rhys, John. Welsh People. 1900. 942.9R47 2 half-tone plates of costume.
Dress [ancient], p. 251; [modern], 565-70. ^ .

Rente, Emily. Memoirs of an Arabian Princess.

Trevelyan, M. Glimpses of Welsh Life and Char- Tr. by L. Strachey. 1907. BR921S
acter. 1893. 914.29T81 Female fashions of Zanzibar, pp. 85-91. 6 plates of Zan-
See
"
Costume " and "
Dress
"
in Index. zibar Arabs.
ARTISTS WHOSE WORK HAS BEARING ON PERIOD
FABRICS OR COSTUME
 ARTISTS WHOSE WORK HAS BEARING ON PERIOD
FABRICS OR COSTUME
Greek and Roman Sculpture. (See University Prints, Students' Series A.)
Mosaic. Emperor Justinian and his suite. Byzantine, 6th century, at Ravenna.
San Vitale.

ca. (circa) = about. fl.

= flourished.

Lorenzetti, A. and P. Follower of (School of Siena)

Italian Painting
fl. 1323-1348-^. 1305-1348.
Ambrogio da Predis (School of Milan), fl. 1482- Mantegna, A. (School of Padua). 1431-1506.
1506. Maratti, C. 1625-1713.
Bartolommeo Veneto (Venetian School), fl. 1505- Masolino. (Florentine School.) 1384-ca. 1435.
1555. Moroni, G. B. 1520-1578.
Bassano, L. da P. (Venetian School). 1557-1622. Palma Vecchio. Venetian SchcoL 1480-1528.
Bissolo, F. (Venetian School). 1464-1528. Parmigianino (School of Parma). 1504-1540.
Botticelli, S. (Florentine School). 1444-1510. Perugino, P. (Umbrian School). 1446-1523.
Bronzino, A. (Florentine School), ca. 1502-1572. Pesello, G. (Florentine School). 1367-1446.
Butinone, B. J. (School of Milan), ca. 1436- Piero di Cosimo (Florentine School). 1462-1521.
1507. Pinturicchio. B. (Umbrian School). 1454-1513.
Calisto Piazza da Lodi (School of Brescia), fl. Pisanello. ca. 1397-1455.
1521-1562. Pulzone, S. ca. 1562-ca. 1588.
Carnevale, Fra (School of Umbria and Perugia). Romanino, G. (School of Brescia), ca. 1485-1566.
15th century. Rotari, P. dei, 1707^ca. 1762.
Carpaccio, V. (Venetian School), ca. 1455- ca. Sellajo, J. del (Florentine School), ca. 1441-1493.
1525. Signorelli, Luca (Umbro-Florentine School). 1441-
Cimabue (Florentine School), ca. 1240-1302. 1523.
Conti, Bernardino de' (School of Milan), fl. Sodoma, II (School of Vercelli). ca. 1477-1549.
1490-? G. (Florentine School). 1387-1452.
Spinello,
Cossa, F. (School of Ferrara). ca. 1435-1480. Stefano da Zevio (School of Verona), ca. 1393-
Crivelli, C. (Venetian School), ca. 1430-ca. 1493. 1451.
Dcmenico Veneziano (Florentine School), ca. Titian (Venetian School). 1477-1576.
1410-1461. Vasari, G. 1511-1574.
Duccio di Buoninsegna (School of Siena), ca. Veronese, P. (Venetian School). 1528-1588.
1260-1320. Verrocchio, A. (Florentine School). 143.5-1488.

Ghirlandajo, D. and pupils (Florentine School). Vivarini, A. (Venetian School), fl. 1444-1470.
1452-1525. Zuccaro, F. ca. 1543-1609.
Giotto and pupils (Florentine School). 1266-1337. Masters dei Cassoni.
Giovanni di Paolo (School of Siena), ca. 1403- Painting, Byzantine School.
1482. Painting, Florentine School.
Giovanni di Piamonte. fl. 15th century. Painting, Italian School.
Giovenone, G. (School of Vercelli). ca. 1490- Painting, North Italian School.
1555. Painting, Umbrian School. 16th century.
Jacobello del Fiore (Venetian School), fl. 1400- Painting, Venetian School. 16th century.
1439. Painting, Venetian School.
Page One Hundred Eighty-six LIST OF ARTISTS
Dutch Pairing Eyck, J. van. ca. 1381-1440.
Codde, P. 1610-1660. Francken, F., the younger. 1581-1642.

Cornelisz, J. 1475-1560. Geerarts, M., the younger. 1561-1635.

Cronenburch, A. van. 16th century. Goes, H. van der. P-1482.

Cuyp, J. G. 1575-1649. Heere, L. de. 1534-1584.

Dou, G. 1613-1675. Isenbrant, A. Before 1510-1551.

Hals, F., the elder. 1580-4-1666. Justus of Ghent ca. 1470?

Heist, B. van der. 1613-1670. Mabuse, J. van. 1470-ca. 1533.

Honthorst, W. van. 1604-1666. Marmion, S. ca. 1425-1489.
Jacobsz, L. 1494-1533. Massys, Jan. 1509-1575.
Janssen, P. 2d half of 17th century. Master of the Legend of St. Lucy. 15th century.
Joest von Calcar, J. 1460-1519 Master of the St. Ursula Legend. 15th century.

Ketel, C. 1546-1616. Memlinc, H. (Memling). ca. 1430(?)-1494.

Keyser, T. de. 1596-1667 (1679?). Moro, A. 1512-1576.

Mesdach, S. 1st half 17th century. Pourbus, F., the elder. 1541-1581 .

Metsu, G. 1630-1667. Pourbus, F., the younger. 1570-1622.

Mierevelt, M. J. 1567-1641. Pourbus, P., the younger. 1510-1584.
Molenaer, J.M. P-1688. Roymerswale, M. van. 1497-1567.
Moreelse, P. 1571-1638. Rubens, P. P. 1577-1640.
Mostaert, J. 1474-1556. Somer, Paul van. 1570-1621.
Mytens, D., the elder. 1590-1658. Vos, C. de, the elder. 1585-1651.
Palamadesz, A. 1601-1673. Weyden, R., van der. 1400-1464.
Painting, Flemish. 16th century.
Ravesteyn, A. van. 17th century.
Santvoort, D. D. 1610-1680. Painting, Flemish, of Brussels. 15th century.

Steen, J. ca. 1626-1679.

German Painting
Ter Borch, G. 1617-1681.
Bruyn, B., the elder. 1493-1655.
Troost, C. 1697-1750.
Venne, A. van der. 1589-1662. Bruyn, B., the younger, ca. 1530-ca. 1610.
Vermeer van Delft, J. 1632-1675. Cranach, L., the elder. 1472-1553.
Verspronck, J. C. 1597-1662. Dunwegge, H. and V. 1520-?
Voort, C. van der. 1576-1624. Master of the Life of the Virgin, fl. ca. 1460-1480.
Wilt, T. van der. 1659-1733. Master of St. Bartholomew, ca. 1490-1510.
Master of St. Severin. P-1515.
Painting, Dutch. 14th century.
Painting, Dutch. 15th century. Multscher, H. ca. 1440-1467.

Painting Dutch. 16th century. Neufchatel, N. ca. 1527-1590.

Painting, Dutch. 17th century. Pacher, M. 1430-1498.

Pleydenwurff. 1450-1494.
Flemish Painting Ratgeb, J. 16th century.
Bles, H. de. 1480-1550. Ring, L. ca. 1521-1583.
Blyenberch, A. 1566-1625. Roos, T. 1638-1698.
Bouts, A. P-1548. Scheits, M. 1640-1700.
Bouts, D. 1410-1475. Seisenegger, J. 1505-1567.
Campin, R., 1375-1444. Wolgemut, M. 1434-1519.
Champaigne, P. van. 1602-1674. Painting, German. 15th century. N

Claeissens, P., the elder. 1500-1576. Painting, German. 16th century.

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

Goya y Lucientes, F. J. de. 1746-1828. Quesnel, Francois, ca. 1544-1619.

Liano, F. de. 1556-1625. Renoir, Firmin Auguste. 1841-
Pantoja de la Cruz, J. 1551-1609. Rigaud, Hyacinthe. 1659-1743.
Velasquez. 1599-1660. Rioult, Louis Edouard. 1780-1855.
Vermejo, B. fl. ca. 1490. Thevenot, Arthur Frangois. 19th century.
Zurbaran, F. de. 1598-1662. Tocque, Louis. 1696-1772.
Painting, Spanish. 15th century. Vestier, Antoine. 1740-1824.
Painting, Spanish. 16th century. Watteau, Jean Antoine. 1684-1721.
Painting, Spanish. 17th century. Painting, French. 15th century.
Painting, Hispano-Flemish. 1451. Painting, French, of Amiens. 15th century.

Russian Painting Painting, French, of Amiens. 16th centuryc

Ritt, A. 1766-1799.
English Painting.
French Painting Beechey, Sir W. 1753-1839.
Bourdichon, J. 1457-1521. Closterman, J. 1656-1713.
Clouet, Francois. 1500-1572. Corvus, J. 16th century.
Corneille de Lyon. ?-ca. 1574. Cotes, F. 1726-1770.
Coypel, C. A. 1694-1752. Gainsborough, T. 1727-1788.
David, L. 1748-1825. Hogarth, W. 1697-1764.
Drouais, F. H. 1727-1775. Hoppner, J. 1758-1810.
Dumont, J. 1701-1781. Jervas, C. 1675-1739. (Irish Pnt.)
Fantin-Latour. 1836-1904. Lawrence, Sir Thomas. 1769-1830.
Favray, A. C. de. 1706-1789. Raeburn, Sir Henry. 1756-1823.
Fouquet, J. ca. 1415-ca. 1480. Ramsay, Allan. 1713-1784.
Fragonard, J. H. 1732-1806. Reynolds, Sir Joshua. 1723-1792.
Froment, N. 15th century. Richardson, J., the elder. 1665-1745.
Gandara, A. de la. 1862-. Romney, G. 1734-1802.
Gerard, F. P. S. 1770-1837. Sharpies, J., the elder, ca. 1750-1811.
Greuze, J. B. 1725-1805. Talfourd, F. 1815-1874.
Hilaire, J. B. 18th-lSth century. Ward, E. M. 1816-1879.
Huet, J. B. 1745-1811. Painting, English. 15th century.

Ingres, J. A. D. 1780-1867. Painting, English. 16th century.

Lancret, N. 1690-1743.
N. de. 1656-1746.
American Painting
Largilliere,
La Tour, M. Q. de. 1704-1788. Badger, Joseph. 1708-1765.
Le Brun, (Mme.) Elisabeth Louise Vigee. 1755- Blackburn, J. B. 1700-1760.
1842. Copley, J. S. 1737-1815.
Lefebvre, Jules Joseph. 1834-? Feke,R. 1724-1769.

Lefevre, Robert. 1756-1830. Frothingham, J. 1786-1864.

Liotard, Jean Etienne. 1702-1789. Greenwood, J. 1729-1792.

Loo, C. A. van. 1705-1765. inman, H. 1801-1846.
Manet. Edouard. 1833-1883. Jarvis, J. W. 1780-1834.

Mares, Pierre. 15th century. Morse, S. F. B. 1791-1872.

Master of Moulins. 15th century. Osgood, C. 18th-19th century.
Nattier, Jean Marc. 1685-1766. Pratt, M. 1734-1805.

Oudry, P. 16th century. Smybert, J. 1684-1751.

Pater, Jean Baptiste Joseph. 1695-1736. Stuart, G. 1755-1828.

Perreal, Jean. fl. 1483(?)-1528. Sully, T. 1783-1872.

Pesne, Antoine. 1683-1757. Trumbull, J. 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 Beardsley, Aubrey, illustration, 54
Action, 10 Beer, 6
Adam school, 97 Ben Day, 31, 39, 40
Advertising, department store illustrated, 49 Ben Day color, illustrated, 62
Advertising, magazine, half-tone, 57 Ben Day, illustrated, 33, 49, 55
Advertising, magazine, illustrated, 51 Ben Day, magazine, illustrated, 50
Advertising, magazine, pen and ink illustrated, 53 Betrothal of Saint Catherine, 95
Advertisement, magazine illustrated, 46 Bibliography, 127-128
Age, Golden, 103 Binary colors, 61
Age of Pericles, 103 Birch, 16
Air brush, illustration, 35 Bliaud, 108
Alfred the Great, 106 Blocking in, 10
Analogous harmony, 62 Boots, musketeer, 116
Anatomy, Preface, 13, 23 Box plaits, 38
Animal arrangement, illustrated, 94 Braie, 110
Anne of Brittany, costume illustrated, 112 Bristol board, kid finish, 43
Anne, Queen, 97 Bristol board, plate, 43
Anne, Queen, of England, 117 British or masculine costume illustrated, 119
Applying color, 9, 70-71 Brittany, Anne of, 111, 112
Armorial dress, 110 Brummel, Beau, 78
Armorial dress, illustrated, 93, 109 Brunelleschi, 42, 54, 134
Arms, 14 Brush, air, 32

Arms, illustration, 21 Brush work, 52-53

Arthur, King, 106 Brush work, illustrated, 40, 45, 46, 53, 54
Artists whose work has bearing in period fabrics or Brushes, 71
costume, 131-133 Brushes, for wash work, 48
Asp, Egyptian, 102 Buddhism, 91
Austria, Anne of, Queen of France, 116 Bustle, 123
A very, Claire, 54, 59 Buttons, illustration, 5
Byzantine influence, 107
Background, 65
Back view, form illustrated, 1, 2, 3, 4 Callot, Soeurs, 6
Balance, 65 Carlyle, 45
Balance, of figure, 22 Catalogue, ink work, illustrated, 46
Barbier, George, 42, 54, 72 Catalogue page, illustrated, 30, 31, 35
Barry, Countess du, 87, 117 Catalogue, pattern work illustrated, 52
Basquine, 113 Catalogue, wash, 50
Batchelder, Ernest A., 30 Catalogue work illustrated, 47, 51
Baviere, de Isabeau, 95 Charlemagne, 107
Page One Hundred Ninety-two INDEX
Charlemagne, daughters of. 94 Color, theory, 63
Charles I, King of England, 86, 114 Color, tone, tint, shade, hue, 63
Charles II, King of England, 86, 116 Color, value, 66
Charles VI, 95 Color, warm, 63
Charles X, 121, 122 Color, water, 9
Charles the Simple, 95 Color, with wash, 50
Chart, color, 65-66 Colors, tertiary, 63
Checks, illustrated, 41, 42 Compass, 36
Chemise, 108 Complementary colors, 63
Cheruet, 6 Complementary harmony, 65
Chicing, 10, 13 Composition, 30, 52, 53
Chiffon, 37 Composition, reference books, 30
Chiffon, illustrated, 9 Construction, head illustrated, 17
Children, 59 Construction of figure illustrated, 15
Children, illustrated, 13, 16 Construction, toothpick, 22
Children, lay-out illustrated, 41 Consulate, 121
Children, proportions, 16 Consulate fashions, illustrated, 120
Children, proportions illustrated, 17 Convention, 121
Chinese influence, 97 Coptic design, 91
Chinese ornament, 98 Copying, 10, 37
Chinese white, 37 Corset, illustrated, 39
Chiton, Doric, 103 Corsets, 114, 120, 122
Chiton, Greek, 103 Costume, Consulate, 120
Chiton, Ionic, 103 Costume Design, Preface
Chlamys, Greek, 103 Costume, Directoire, illustrated, 119
Circle, construction, 36 Costume, Egyptian, 101-102
Classic Period, Greek, 103 Costume Egyptian, illustrated, 101-102
Clifford, Period Furnishings, 96 Costume, 18th century, illustrated, 117, 118, 119
Cloak, Egyptian illustrated, 102 Costume, First Empire, illustrated, 120
Cloaks, Egyptian, 101 Costume, Gallic, illustrated, 105
Colbert, 97, 98 Costume, Gallo-Roman, illustrated, 105
Collar, flat, 116 Costume, Greek, 103-104
Cold color, 63 Costume, Homeric, 103
Collection, documents, 36 Costume, illustration, Preface
Collection, swipe ,36 Costume, Louis XIV, illustrated, 115
Color, 61-71 Costume, Louis XV, illustrated, 117, 118
Color, applying, 9, 70-71 Costume, Louis XVI, illustrated, 119
Color, binary, 63 Costume, Louis XVIII, illustrated, 121
Color chart, 65-66 Costume, Louis Philippe, illustrated, 121
Color, complementary, 63 Costume, masculine, British or English, 120
Color, Dr. Frank Crane, 67-70 Costume, Minoan or Mycenaean, 103
Color, intensity or chroma, 62 Costume, Pre-Hellenic, 103
Color, materials, 65, 70, 71 Costume, Restoration, illustrated, 121
Color, normal, 63 Costume, reference books, 127, 128
Color, primaries, 63 Costume, Roman, 104-105
Color scale, 63 Costume, Romantic Period, illustrated, 121
Color schemes, 67 Costume, Watteau, illustrated, 117
Color, significance, 66, 67 Costumes, Restoration, illustrated, 121
Color sketch, 6 Costumes, 2d Empire, illustrated, 122
Color, tempera, 9 Cotte, 110
INDEX Page One Hundred Ninety-three

Crane, Dr. Frank, color, 67-70 Dress, Consulate, 120

Crayon, pencil, 48, 50, 51, 124 Dress, 18th century, 117-121
Crepe, illustrated, 5 Dress, 18th century illustrated, 117, 118, 119
Cromwell, Oliver, 116 Dress, Egyptian, 92, 101, 102
Cromwellian period, 86 Dress, llth century, 108
Crown, red, 102 Dress, First Empire illustrated, 120
Crown, white, 102 Dress, 14th and 15th centuries illustrated, 110
Crusades, 95, 108 Dress, 15th century, 111
Dress, Greek, 92
Dancing Egyptian, 102
girls, Dress, Louis XIV, illustrated, 115
Dark Ages, Egyptian, 101 Dress, Louis XV, illustrated, 117, 118
David, Jacques Louis, 87 Dress, Louis XVI, illustrated, 119
Decorative detail illustrated, 44, 45 Dress, Louis XVIII, illustrated, 121
Decorative fashion work illustrated, 44, 45 Dress, Louis Philippe, illustrated, 121
Decorative half-tone, 56 Dress, 19th century, 121
Decorative pen and ink, 40 Dress, parti-colored 93, 109, 110,
Decorative pen and ink, illustrated, 53 Dress, Restoration illustrated, 121
Decorative treatment, 38 Dress, Roman, 93, 104, 105

Department store advertising, 39 Dress, Romantic Period, illustrated, 121

Design, adaptation illustrated, 91, 75, 76 Dress, second Empire, illustrated, 122
Design, costume, 75-79 Dress, 16th century, 113, 114
Design, fundamentals of, 65 Dress, 17th century, 116
Design, influences, 91 Dress, 12th century, 108
Design, primitive, 91 Dress, 13th and 14th centuries, 110
Design, sources, 76-78 Dress, Watteau, illustrated, 117
.Design, symbolic significance, 91 Drian, illustration, Frontispiece
Designers, 6 Drian, 47, 54
Detail, decorative, illustrated, 44, 45 Dryden, Helen, 16, 47, 54
Detail, illustrated, 42 Dryden, Helen, illustration, 16, 24
Details, 5-6 Du Maurier, George, 88
Diana, Dutchess of Valentinois, 113 Dunlop, J. M., Preface, 14
Directoire, 98, 120, 121 Diirer, Albert, study of hands, 19
Directoire and Empire design, 98 Diirer, Albrecht, 38
Directoire costume, illustrated, 119 Diirer, Albrecht, illustration, 85
Directoire period, 97 Duval, Preface
Directorate, 87 Dyes, ancient, 92
Directory, 121, 122
Documents, 36, 86 Early fabrics and designs, 91
Documents, use illustrated, 37-38 Early Renaissance costume, illustrated, 112
Dominant harmony, 62 East India Company, 97
Doric chiton, 103 East, influence of, 91, 93
Dotted materials, 37 Eastern character, 97
Double complementary harmony, 65 Eastern design, 91
Doublet, 114 Editorial, magazine, 56
Dow, Arthur, 30, 52, 63 Editorial, magazine, illustrated, 44, 45

Drapery, 38 Editorial, magazine color, illustrated, 62

Drapery, illustrated, 85 Editorial, newspaper, 46

Drawing, without models, 13-23 pen and ink, 38, 39

Editorial,
Drecoll, 6 Egyptian costume, 101, 102
Dress and History, 3d to llth Century, 106-107 Egyptian costume illustrated, 92, 101, 102
Page One Hundred Ninety-four INDEX
Egyptian dress, 92, 101, 102 Fontanges, Mile, de, 97, 116
Egyptian emblems, 102 Fourteenth century dress, 110
Egyptian fabrics, 91, 92 Fifteenth century, reference books, 111

Egyptian, Old Kingdom, 101 Fourteenth and fifteenth century, dress illustrating,
Egyptian symbols, 102 110
Eighteenth century, 86, 88 Formal arrangement, illustrated, 94

Eighteenth century, costume reference books, 116, 123 Forms, 1-3

Eighteenth century costume illustrated, 117, 118, 119 Forrester, Fern, 54

Eighteenth century dress, 117-121 Francis, 6

Eighteenth century, late, illustrated, 119 Francis I, 95

Eleventh century costume, illustrated, 107 Francis I, King of France, 113
Eleventh century dress, 108 Fragonard, 86
Elizabeth, Queen of England, 97, 113 Franks, 107
Elizabethan collar, 86 Front view, form illustrated, 1, 2, 3, 4
Elizabethan era, 85 Fur, 38
Ellipse, constructing, 36 Furs, decorative illustrated, 45
Ellipse, construction illustrated, 37 Furs, realistic method illustrated, 47
Emblems, Egyptian, 102
Embroidery, illustrated, 42 Gainsborough, 86
Embroidery, wash work, 38 Galliccostume illustrated, 105
Empire, 88, 122 Gallo-Roman costume illustrated, 105
Empire costume, 98 Gathers, 38
Empire, 1st, 123 Gathers, illustration, 5
Empire, 2d, 122 Gauls, costume, 105, 106
Empire style, 87 Gauls, history and dress, 105, 106
Enlarging, illustrated, 29 Gauls, reference books. 10(5
Erte\ 42, 47, 54 George I, George II, and George III, 117
Erte", illustrations, 44, 45 George III, 87
Etching, 54, 60 George IV, 121
Girdle, Greek, 103
Fabric, classification, 96 Globes, Egyptian, 102
Fabric, documents, reference to, 131-133 Gloves, 107
Faces, 16-18 Gold thread, use of, 95
Fans, 116 Golden Age, 103
Feathers, realistic treatment, illustrated, 47 Gorget, illustrated, 83
Feature cut illustrated, 50 Gothic architecture, 84
Feet, 19 Gothic tapestry, illustrated, 84
Fichu, 107 Greek Classic Period, 103
Fifteenth century, 84, 85 Greek costume, 103, 104
Fifteenth century dress, 111 Greek costume, illustrated, 103, 104
Fifteenth century dress, illustrated, 110 Greek Doric dress illustrated, 92
Fifteent century reference books, 111 Greek dress, 92
Figure, 13-23 Greek girdle, 103
Figured material, illustrated, 5 Greek history and dress, 103, 104
First Empire, 123 Greek Influence, 91
First Empire fashions illustrated, 120 Greek Law, 6, 27, 28
Flowered, material, illustrated, 5 Greek Law, illustrated, 27
Flowered materials, 37 Green, Elizabeth Shippen, 16
Fontange headdress, 116 Greenaway, Kate, 16, 87
Fontange headdress, illustrated, 115 Greenaway, Kate, style illustrated, 87
INDEX Page One Hundred Ninety-five

Hair, 18 Homeric costume, 103

Hair, illustration, 18 Hoop, 117
Half-tone, see Wash references. Horizontal lines, 65
Handkerchiefs, 107 Houppelande, 96, 110
Hands, Frontispiece, 8, 19 Houppelande, illustrated, 84, 110
Hands, illustration, 7, 18, 19, 20 Hue, 61
Harmonies, 62-63
Harmonies of difference, 65 Imagination, 77
Harmonies of likeness, 62 "
Impossibles," costume illustrated, 119
"
Harmony, 65 Incroyables," costume illustrated, 119
" "
Hat, design illustrated, 75 Incroyables," "unimagineables," merverilleuses'
Hats, 6 and "impossibles," 121
Hats, designing, 78, 79 Indian lawns, 122
Hats, illustration, 8, 24, 79 Indian shawl, 98
Hatton, Richard G., Preface Individuality, 43, 45, 52
Head, 13, 14 Influences in design, 91
Head, illustrated, 17 Ink, 42
Heads, 16, 17 Intensity, laws governing, 65
Heads, children, 16 Interregnum, 116
Headdress, Fontange, 116 Ionic chiton, 103
Headdress, Fontanges, illustrated, 115 Italian 14th century costume illustrated, 93
Headdress, hennens, 110
Headdress, horned, 83 Jabot, 116
Heading, illustrated, 54 Jackets, 123
Headings, 42 Jacobean, 97
Hem, illustrated, 27 James I, 86
Hennin, headdress, illustrated, 110 James I, King of England, 114
Hennins, 110 James II, King of England, 116
Henry II, 97 Japanese prints, 44, 47
Henry VIII, 85 Jeanne d'Arc, 96
Henry VIII, King of England, 111 Josephine, 121
Heraldic forms, 95 Jumping, illustrated, 22
Himation, Greek, 93, 103
Hispano-Moresque fabrics, 95 Kerchiefs, Egyptian, 102
Historic costume, 101-123
History and dress, Gauls, 105-106 Lace, illustrated, 42
History and dress, Greek, 103-104 Laces, 37-38
History, Roman, 104 La Valliere, Louise, 97
History, 3d to llth century, 106 Lawns, Indian, 122
History, llth century, 107-108 Lawrence, 86
History, 12th century, 108 Laws for use of color, 65

History, 13th and 14th centuries, 108-110 Lay-out, illustrated, 41

History, 15th century, 110-111
History, 16th century, 111-113
History, 17th century, 114-116
History, 18th century, 117
Hogarth, 96
Holbein, Hans, 85
Holbein, Hans, illustration, 86
Hollar, 86
Lay-out, finished, illustrated, 30-31, 35, 41, 47, 51
Lay-outs, 29, 30
Lay-outs, rough, illustrated, 29
Leaping, illustrated, 22
Legs, 14
Lepape, George, 42, 54, 80
Lettering,book on, 36
Line cut, see Pen and ink references.
Page One Hundred Ninety-six INDEX
Lines, 45 Monvel, Boutet de, 96, 111
Lord, Harriet, 34 Mosaic, Byzantine, 6th century, 131
Lotus, Egyptian, 102 Moyen age, 83
Louis Philippe, 121, 122 Munsell, A. H., 61
Louis Philippe costume illustrated, 121 Museum, Cooper Union, Coptic designs, 92
Louis XI, 95 Museum, Metropolitan, as a source of design illus
Louis XIII, King of France, 116 trated, 76
Louis XIV, 117 Museum, Metropolitan, Coptic room, 92
Louis XIV, King of France, 86, 96, 97, 116 Museum, Metropolitan, period dolls, 88
Louis XIV costume illustrated, 115 Museum Metropolitan, tapestry from, 84
Louis XV, 87, 97, 98, 117 Musketeer boots, 116
Louis XV, costume illustrated, 117, 118 Muslins, 122
Louis XVI, 87, 97, 98, 117, 120 Mycenaean costume, 103
Louis XVI, costume illustrated, 118, 119
Louis XVI, period of, 98 Napoleon, 87, 98
Louis XVDI, 121, 122 Napoleon Bonaparte, 121
Louis XVIII, costume illustrated, 121 Napoleon, Louis, 122
Lutz, E. G., Preface, 8 Napoleon III, 121, 122
Nattier, 86
Magazine, advertising, 57 Neilson, Kay, 42
Magazine, advertising illustrated, 53 Neutralization, 65
Magazine, editorial, 56 New empire, Egyptian, 101, 102
Magazine, editorial illustrated, 62 Ninth and tenth centuries costume illustrated, 107
Magazine, pattern drawing, 57 Nineteenth century, 87, 88
Main tenon, Madame de, 97, 116 Ninteenth century dress, 121, 123
Mantles, 118 Nocturne by Whistler as inspiration, 77
Margins, 6 Normal color, 61
Marie Antionette, 87, 98
Marie Antionette, strips, 98 Ogival forms, 94
Marie Louise, 121 Old Kingdom, Egyptian, 101
Marshall, Preface One mode harmony, 62
Martial and Armand, 6 Openings, 4
Materials, black, 37 Oriental characteristics, 97
Materials, color, 65, 70, 71 Oval, construction, 13, 14
Materials, for crayon pencil work, 51
Materials, wash, 48 Paenula, Roman, 104
McQuin, 47, 54 Paintings, having bearing on costume, 131-133
Medici, Catherine de, 97, 113 Paintings, having bearing on fabrics, 131-133
Medicis, Marie, 113 Paisley shawl, 98
Memling, Hans, painting of, 95 Palla, Roman, 104
Meredith, Owen, 88 Panier, 117
*'
Marveilleuses,"costume illustrated, 119 Paper, carbon, 32
Method, catalogue wash method llustrated, 58 Paper, frisket, 32
Method, decoration illustrated, 44, 45 Paper, graphite, 32
Method of reproducing two colors, 68, 69 Paquin, 6
Method, realistic illustrated, 39 Parasol, illustrated, 38
Method, realistic treatment illustrated, 40, 46 Parsons, Frank Alvah, 30
Method, textile designing, 54-59 Parti-colored costume, 110
Monochromatic harmony, 62 Parti-colored costume illustrated, 109

Montespan, Madame de, 97, 116 Parti-colored dress, 95

INDEX Page One Hundred Ninety-seven
Parti-colored dress illustrated, 93 Problem, 45
Pattern drawing, magazine, 57 Puritans, 86
Pattern drawing, newspaper, 39
Pattern work, magazine illustrated, 50 Quaker, 86
Pattern work, newspaper illustrated, 48
Pen and ink, 38-47 Raeburn, 86
Pen and ink, black detail work illustrated, 40 Red, crown, 102
Pen and ink, black material illustrated, 40 Reducing, illustrated, 29
Pen and ink, catalogues, 40 Reference books, Egyptian, 102
Pen and ink, catalogue illustrated, 52 Reference books, Gauls, 106
Pen and ink, decorative, 40 Reference books, 3d to llth century, 107
Pen and ink, decorative work illustrated, 53 Reference books, llth century, 108
Pen and ink, illustrated, 46 Reference books, 12th century, 108
Pen and ink, magazine advertising illustrated, 53 Reference books, 13th, 14th, and 15th centuries, 111
Pen and ink, magazine work, 39-47 Reference books, 17th century, 116
Pen and ink, pattern work illustrated, 40, 52 Reference books, 18th century, 116, 123
Pen, ruling, 36 Reference books, 19th century, 123
Pens, 43 Regency, 117
Pencil crayon, 48 Religious orders. 84
Pencil, crayon, 50, 51 Rembrandt, 79
Peplum, 116 Renaissance, 85, 97
Period fabric design, 91-98 Renaissance costume, late, illustrated, 113, 114
Period, how influenced, silhouette, 83-88 Renaissance, early, costume illustrated, 112
Periods in designing, 77, 78 Reproduction, two color process, 68, 69
Periods, painting as references, 131-133 Republic, French, 122
Persian verdure, 96 Restoration, 122
Personal characteristics, 75 Restoration, costume illustrated, 121
Personality, 79 Reta Sanger, illustrations, 13, 43, 62
Pericles, age of, 103 Revolution, French, 98, 120
Perneb, 101 Reynolds, Sir Joshua, 86
Petit Trianon, 120 Rhythm, 65
Phrygean bonnet, 108 Richter, Preface
Pilgrims, 86 Roman costume, 104, 105
Plaids, 37 Roman costume illustrated, 104
Plaids, illustrated, 41 Roman costume reference books, 105, 106
Plaids, shepherd, 37 Roman dress, 93
Plaids, shepherd's, illustrated, 42 Roman history, 104
Pleating, illustrated, 5 Roman palla, 104
Plaits, box, 38 Roman poenula, 104
Plaits, side, 38 Roman toga, 104
Pleats, Watteau, 118 Roman tunic, 104
Poiret, Paul, 6 Romantic period, 122
Pompadour, Marchioness de, 87, 98, 117 Romantic period, costume illustrated, 121

Pompadour stripes, 98 Romney, 86

Poor, Henry A., 30 Ross board, 31
Pre-Hellenic costume, 103 Ross board, illustrated, 33
Premet, 4 Royal gardens, 97
Priests, 102 Rubens.. 86
Primaries, colors, 61 Ruff, 114
Primitive design, 91 Running, illustrated, 22
Page One Hundred Ninety-eight INDEX
Saint Catherine, betrothal of, 95 Spotting, 53
Scale, in design, 79 Squares, ruled, 32
Scale of color, 61 Standing illustrated, 22
Scroll motif, illustrated, 94 Steinmetz, 55
Sculpture, Greek and Roman, 131 Steinmetz, E. M. G., illustration, 56, 60
Second Empire costumes, illustrated, 122 Stipple, 34
Senger, Reta, 13, 43, 54, 64 Stipple, illustrated, 34
Seventeenth century, 86 Stitching, 38
Seventeenth century costume illustrated, 114 Stitching, illustration, 5
Seventeenth century dress, 116 Stock, 116
Shade, 61 Stockings, 110
Shakers, 87 Straps, Egyptian hanging, 102
Shawl, 122 Stripes, 37
Shawl, Indian, 98 Stripes, illustrated, 5,
41
Shawl, Paisley, 98 Stripes, Marie Antoinette, 98
Shawls, 123 Stripes, Pompadour, 98
Shepherd kings, 101 Surcot 110
Shepherd plaid, 37 Surcot, illustrated, 95, 109
Shoes, 19, 22 Swastika, 91
Shoes, illustrated, 7, 18, 34, 35 Swipe collection, 36
Side plaits, 38 Swipe collection, illustrated, 37, 38
Significance, color, 66, 67 Symbols, Egyptian, 102
Silhouette, 34-36 Syrian weavers, 93
Silhouette, fashion, 83
Silhouette, half-tone, illustrated, 43 Tapestries, Gothic, 83, 84
Silhouette, illustrated, 36, 87 Theatrical illustration, 6
Silhouette, period illustrated, 86 Theory, color, 63
Silhouette, value of, 83 Third to eleventh century dress, 106, 107
Silks, oriental, 122 Thirteenth and fourteenth century costume illus-

Silver print, 32 trated, 109

Sixteenth century, 85-86 Thirteenth century dress, 110
Sixteenth century costume illustrated, 111, 112 Thirteenth century reference books, 11 \

Sixteenth century costume reference books, 111 Techn que catalogue

:

illustrated, 30, 31, 35, 41 42,

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, -5
Sketching, life, 7
Sketching, memory, 4
Slashed costumes, 113, 114
Sleeves, 88
Smith, Jessie Wilcox, 16
Soulie, 54, 124
Spatter work, 31,32
Spatte work, illustrated, 33
Split complementary harmony, 65
Sport suit, 54
47, 51, 52, 58
Technique, color, 9
Technique, crayon pencil, 50
Technique, crayon pencil illustrated, 7, 59, 124
Technique, decorating, 40
, 4 Technique, decorative, illustrated, 44, 45, 53
Technique, decorative half-tone illustrated, 56
Technique, detail, 37-38
Technique, detail, illustrated, 42
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
Technique, realistic, illustrated, 35, 42, 47, 51
Technique, silhouette, 34-37
Technique, sketching, 3-10
INDEX Page One Hundred Ninety-nine

Technique, stipple, 34 Vanderpoel, J. H., Preface, 19

Technique, wash, 47-50 Van Dyke, 86
Tempera, show card colors, 71 Valasquez, 86
Tertiary colors, 61 Vertical lines, 75
Textile designing, 54-57 Vertugale, 113
Textile designing, illustrated, 55 Vest, 116
Texture, of paper, 32 Victoria, 121
Textures, 37, 38 Vignette, illustrated, 39
Tint, 61 Vulture, Egyptian, 102
Toga, Roman, 104
Tone, 61 Waist, normal, 122
Toothpick construction, 22 Waistcoat, 116
Toothpick construction, applied, 23 Walking, illustrated, 22
Torso, 14 Warm color, 61

Tracing, 32 Wash, advertising, 47-48

Transferring, 32 Wash, catalogue, 48
Transaction, period, 97 Wash, decorative, 48, 50
Treatment, decorative, 38 Wash, editorial, 47
Triad harmony, 65 Wash, layout illustrated, 41
Triangular erection, 101 Wash, materials, 48
Trianon, Petit, 120 Wash, methods, 49-50
Trimmings, 37 Wash, pattern, 47
Trimmings, illustrated, 5 Wash, pattern work, 48
Trunk motive, illustrated, 94 Wash, realistic, 48
Tucks, 38 Wash, sketching, 48
Tucks, illustration, 5 Wash work, 47-50
Tulle, illustrated, 9 Watteau, 86
Tunic, Roman, 104 Watteau costume, illustrated, 117
Twelfth century, costume illustrated, 109 Wattean plait, 118
Twelfth century, dress, 108 Watteau styles, 120
Weaving, 93
Underwear, illustrated, 52, 64 Weeks, illustrated, 3
White, Chinese, 37
Valliere, Mile, de la, 116 White, crown, 102
Value, 62 William IV, 121
Value, color, 66 William the Conqueror, 107
Values, 52 Wimple, illustrated, 83
Vanderpoel, illustration, 20, 21 Women, Egyptian, 102
94 17 4
 D 000 191 794 /

UNIVERSITY of CALIFORNIA